Academic literature on the topic 'Commercial photography Technique'
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Journal articles on the topic "Commercial photography Technique"
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Fuentes, Sigfredo, Anthony R. Palmer, Daniel Taylor, Melanie Zeppel, Rhys Whitley, and Derek Eamus. "An automated procedure for estimating the leaf area index (LAI) of woodland ecosystems using digital imagery, MATLAB programming and its application to an examination of the relationship between remotely sensed and field measurements of LAI." Functional Plant Biology 35, no. 10 (2008): 1070. http://dx.doi.org/10.1071/fp08045.
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Leaf area index (LAI) is one of the most important variables required for modelling growth and water use of forests. Functional–structural plant models use these models to represent physiological processes in 3-D tree representations. Accuracy of these models depends on accurate estimation of LAI at tree and stand scales for validation purposes. A recent method to estimate LAI from digital images (LAID) uses digital image capture and gap fraction analysis (Macfarlane et al. 2007b) of upward-looking digital photographs to capture canopy LAID (cover photography). After implementing this technique in Australian evergreen Eucalyptus woodland, we have improved the method of image analysis and replaced the time consuming manual technique with an automated procedure using a script written in MATLAB 7.4 (LAIM). Furthermore, we used this method to compare MODIS LAI values with LAID values for a range of woodlands in Australia to obtain LAI at the forest scale. Results showed that the MATLAB script developed was able to successfully automate gap analysis to obtain LAIM. Good relationships were achieved when comparing averaged LAID and LAIM (LAIM = 1.009 – 0.0066 LAID; R2 = 0.90) and at the forest scale, MODIS LAI compared well with LAID (MODIS LAI = 0.9591 LAID – 0.2371; R2 = 0.89). This comparison improved when correcting LAID with the clumping index to obtain effective LAI (MODIS LAI = 1.0296 LAIe + 0.3468; R2 = 0.91). Furthermore, the script developed incorporates a function to connect directly a digital camera, or high resolution webcam, from a laptop to obtain cover photographs and LAI analysis in real time. The later is a novel feature which is not available on commercial LAI analysis softwares for cover photography. This script is available for interested researchers.
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McIlleron, W. Geoff, and Ferdinand C. De Moor. "Photography of Trichoptera in flight." Zoosymposia 5, no. 1 (June 10, 2011): 297–318. http://dx.doi.org/10.11646/zoosymposia.5.1.23.
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Whereas photography of insects at rest is used for a wide variety of purposes, including illustrating publications and aiding their identification, photography of insects in flight is more challenging and little practiced. This paper describes a system that uses a digital single-lens-reflex camera combined with commercial-level flashes (with electronic power settings to give very short exposures) and simple electronics in a rig that can be used to capture high quality images of night-flying insects. With such a rig, hundreds of images of free flying Trichoptera have been obtained. Preliminary observations of night-flying Athripsodes bergensis (Leptoceridae) indicate that this system could be used for studying the mechanics of flight, wing beat frequency, aerodynamics, flying speed, aerial activity, and behavioural ecology of night-flying insects in their natural environment. This paper briefly describes the technique as applied at a site on the banks of the Groot River in the southern Cape region of South Africa between October 2008 and April 2009 and presents a selection of the images obtained.
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Fox, Paul. "An unprecedented wartime practice: Kodaking the Egyptian Sudan." Media, War & Conflict 11, no. 3 (July 13, 2017): 309–35. http://dx.doi.org/10.1177/1750635217710676.
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This article examines Kodak photographs made by participant soldiers and photographer–correspondents working in the field for the illustrated press during the concluding phase of the 1883–1898 campaign to defeat an Islamist insurgency in the Egyptian Sudan, whose leaders sought to create a regional caliphate. It explores how the presence of early generation portable cameras impacted on image making practices on British operations, and how aspects of campaign experience were subsequently represented in Kodak-derived photograph albums. With reference to graphic art and commercial photographic practices associated with Nile tourism and recent military activity in the Nile valley after 1882, the author argues, firstly, that the representation of combat was transformed by handheld photography and, secondly, that in the context of photographs of logistical activity and leisure, picturesque aesthetics were occluded by a ‘documentary’ mode of representation synonymous with the increasingly industrial nature of Western armed conflict. The article also calls attention to how photomechanical reproduction made possible the widespread availability of affordable albums for a public here identified as the readership of the illustrated general interest weeklies. More generally, the sheer number of photographs resulting from the use of Kodak technology prompted a more fluid use of montage-like techniques by album makers, for public and private use, including text and multiple image combinations, to build more dynamic visual narratives of experience on campaign than had hitherto been possible.
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Johnson, Dennis A., J. Richard Alldredge, Philip B. Hamm, and Bruce E. Frazier. "Aerial Photography Used for Spatial Pattern Analysis of Late Blight Infection in Irrigated Potato Circles." Phytopathology® 93, no. 7 (July 2003): 805–12. http://dx.doi.org/10.1094/phyto.2003.93.7.805.
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Spatial and temporal dynamics of late blight were investigated from color, infrared aerial photographs of five commercial potato fields in the Columbia Basin during epidemics in 1993, 1995, and 1998. Aerial photographs were taken one to four times at 6- to 21-day intervals. Photographs were scanned and pixels, representing approximately 1 m2 in the field, were used in the analysis. Late blight-infected plants were aggregated as indicated by runs analysis. Significant z-tests were computed for four directions during each sampling date in each of the five fields. Absolute z-values for runs analysis increased, indicating increasing aggregation in the four directions, as disease incidence increased in the early and midphases of the epidemics in each field. Variograms indicated the existence of autocorrelation among infected plants in four directions; the range of influence increased as disease incidence increased except at the highest levels of disease. Late blight was observed to spread in fields as foci. Late blight foci enlarged in size, produced distinct daughter foci, and coalesced. A field where initial inoculum likely originated from infected seed tubers exhibited less initial aggregation than the other fields, perhaps due to a different source of primary inoculum. Aerial photography coupled with spatial analyses of late blight-infected plants was an effective technique to quantitatively assess disease patterns in relatively large fields and was useful in quantifying an intensification of aggregation during the epidemic process on a large scale.
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BAPPA DAS, R.N. SAHOO, SOURABH PARGAL, GOPAL KRISHNA, V.K. GUPTA, R. VERMA, and C. VISWANATHAN. "Measuring leaf area index from colour digital image of wheat crop." Journal of Agrometeorology 18, no. 1 (June 1, 2016): 22–28. http://dx.doi.org/10.54386/jam.v18i1.885.
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Leaf area index (LAI) is an important physiological trait that determines solar radiation interception and thus biomass. In this study leaf area index (LAI) was estimated from vertical gap fraction derived from top-of-canopy digital colour photography ofwheat canopies. An improved vegetation index, Excess Green minus Excess Red (ExG-ExR) was compared to the commonly used Excess Green (ExG), Excess Red (ExR) and normalized difference (NDI) indices. A histogram-based threshold technique was used to separate green vegetation tissues from background soil in order to derive the canopy vertical gap fraction. LAI derived from the ExG-ExR, ExG indexed image was comparable to the LAI measured using the commercial plant canopy analyzer (LAI-2200,LI-CORInc., USA) (R2 = 0.68 and 0.66 for ExG-ExRand ExG, respectively) with RMSE of 0.63 and 0.79, respectively.However, NDI was overestimated while Ex Rwas found to be under estimated LAI as compared with that measured using the commercial plant canopy analyzer(R2 = 0.47 and 0.35 for NDI and ExR, respectively) with RMSE of 4.09 and 2.19, respectively. Thus, digital photography based ExG-ExRmethod can be used as low cost, non-destructive high through put method for assessing LAI, early vigour and gap fraction of wheat and potentially other cereal crops.
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Suroko, Arif Pujo, and Setyo Tohari Caturriyanto. "TEKNIK ONE SHOT DAN PEWARNAAN KONTRAS DALAM PENATAAN KAMERATELEVISI KREATIF." Capture : Jurnal Seni Media Rekam 3, no. 2 (June 19, 2017): 14–29. http://dx.doi.org/10.33153/capture.v3i2.1883.
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There are several television programs format,including the drama and non-drama.Videoclip is not drama or non-drama or journalism.However,video clips and commercials is a part ofa television program. Creative television is the format of audio-visual works that consist ofvideo clips and commercials. In making the creative television programs should be requiredcreative ideas for producing a visual work that is interesting and innovative.Video clip (musicvideo) is a tool for music producers to market a product or its artists through the medium oftelevision.So video clips can be defined as audiovisual works from a song produced by a group ofmusic in order to promote or popularize the music group along with their songs.Advertising isany forms of communication that is intended to motivate someone of potential buyers andsellers to promote a product or service.Advertising as a media campaign is divided into severalcategories,including:TV Commercial and Non-commercial ads.Commercial ads are advertisingthat aim to support the marketing campaign of a product or service. Meanwhile, noncommercial ads are ads in the form of a social marketing campaign to sell the idea or ideas forthe benefit or public service.Director of photography has an important role in determining thevisual concept. Changes of the script into a visual form is through the role of a camera personthinking through the medium of the camera.The use of One Shot shooting technique and colorcontrast are a visual concept that is applied in making this work.The One Shot technique is usedin the manufacture of video clips,while the contrasting coloring is applied in the manufacture ofadvertising is also on the video clip.With the visual concept is expected to give an idea of the feelof the new visualization mainly to the appreciation of communicative media are experimentaland educational, so as to form a pattern of thinking creatively in generating ideas artvisualization.Keywords :One Shot technique, color contrast, video clip, and creative television
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Aditia, Dio Rama, Zulisih Maryani, and Oscar Samaratungga. "MOBIL MAINAN DIECAST SKALA 1:24 DALAM FOTOGRAFI STILL LIFE." spectā: Journal of Photography, Arts, and Media 1, no. 1 (February 13, 2018): 13–22. http://dx.doi.org/10.24821/specta.v1i1.1894.
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Mobil mainan merupakan suatu benda yang biasa dimainkan oleh anak-anak. Akan tetapi berbeda halnya dengan mobil mainan jenis diecast, yakni mobil mainan yang terbuat dari logam kemudian dicetak ke dalam bentuk yang diinginkan. Mobil mainan diecast yang memiliki berbagai macam ukuran tidak hanya dimainkan oleh anak-anak karena pada perkembangannya diecast menjadi karya seni yang menarik untuk dikoleksi dan dipajang salah satunya mobil dengan ukuran skala1:24. Dengan demikian muncul keinginan untuk menampilkan mobil mainan diecast dalam bentuk karya fotografi. Alasan pemilihan ukuran skala 1:24 adalah ukurannya yang terbilang sedang dan mempunyai detail kemiripan yang cukup baik sehingga cocok digunakan untuk foto stilllife. Selain itu, ukuran mobil mainan diecastskala 1:24 juga cenderung kurang diminati oleh para kolektor shingga diharapkan penciptaan karya seni ini dapat meningkatkan minat para kolektorterhadap diecastskala 1:24. Teknik fotografi still life merupakan salah satu metode dalam fotografi yang digunakan untuk keperluan komersial. Teknik still life digunakan untuk mempermudah penataan objek yang dikombinasikan dengan diorama. Kemudian penataan cahaya dan komposisi dalam teknik ini mampu menjadikan sebuah objek menjadi lebih bernilai jual. Ditambah dengan teknik olah digital focus stacking yang membantu menguatkan detail dari sebuah produk mobil mainan. Penciptaan karya fotografi ini bertujuan untuk menampilkan sebuah mobil mainan yang menyerupai mobil sesungguhnya sehingga dapat menarik perhatian penikmat foto dan juga pencinta mobil mainan diecast khususnya yang berskala 1:24. Hasil dari penciptaan karya seni ini didapatkan bahwa mobil mainan yang semula hanya benda mati saja, melalui fotografi dapat diciptakan menjadi sebuah karya seni visual yang tampak lebih nyata. Mobil mainan diecast merek Welly ini banyak ditemukan hasil pengecatan yang kurang maksimal. Akan tetapi, penggunaan set diorama sebagai elemen pendukung sangat membantu untuk menguatkan kesan lebih nyata sehingga secara umum penciptaan karya seni ini dapat menambahkan nilai jual pada mobil mainandiecast skala 1:24.Kata kunci: mobil mainan, diecast skala 1:24, fotografi, stilllife Abstract Diecast Toycar 1:24 Scale in Still Life Photography. A toy car is an object commonly played by children. Diecast is way a different type of toycar which is made of metal and then formed into the desired shape. Diecast cars with variety of sizes not only played by children because in its development the diecast is becoming into an interesting work of art to be collected and displayed, one of them is with a scale of 1:24. Thus, it seems interesting to feature diecast toycars in the form of photography works. The reason for choosing scale of 1:24 is because this size is quite moderate and the detail similarity is good enough so that it will be suitable to be used in still life photography. In addition to that, the size of the 1: 24 scale diecast toycar also tends to be less desirable by collectors so it is expected that the creation of this artwork can increase the interest of collectors for the 1:24 scale diecast. Still life photography technique is one of the methods in photography used for commercial purposes. Still life technique is used to facilitate the arrangement of objects to be combined with diorama. Then, the arrangement of light and composition in this technique can make an object becomes more valuable. Coupled with the technique of digital focus stacking that helps strengthen the details of a toycar product. The creation of this photography work aims to showcase a toycar that resembles a real car so as to attract the attention of photo enthusiasts as well as diecast car enthusiasts especially for 1: 24 scale. The result of the creation of this artwork shows that toycars which were originally only inanimate objects, through photography can be made into a work of visual art that looks more real. The paintings in Welly diecast toyscars are found not really good enough. However, the use of diorama sets as a supporting element is helpful to reinforce a more realistic impression so that in general the creation of this work can add a commercial value to a 1:24 scale diecast toycar. Keywords: toycar, diecastscale 1:24, photography, still life
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Fisk, Connie L., Yanyun Zhao, and Bernadine C. Strik. "Iodine Staining Does Not Indicate Harvest Maturity of `Ananasnaya' Hardy Kiwifruit Berries." HortTechnology 16, no. 4 (January 2006): 655–58. http://dx.doi.org/10.21273/horttech.16.4.0655.
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Iodine staining of starch was explored as a harvest index for hardy kiwifruit (Actinidia arguta). Weekly from 2 Sept. to 14 Oct. 2005, the cut surfaces of 20 halved fruit were dipped in an iodine solution and the staining intensity was measured using digital photography and color analysis. Harvest date had a significant effect on percent soluble solids and each of the color readings (L*, a*, b*, and chroma) before and after staining. Fruit harvested later in the season had less starch and thus were lighter in color. However, an observable color difference was only visually apparent weeks after commercial harvest is recommended based on percent soluble solids. Therefore, while the technique can distinguish the conversion of starch to sugar in hardy kiwifruit berries, it cannot be used as a harvest index.
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Li, Kexin, Xinwang Huang, Jingzhe Zhang, Zhihu Sun, Jianping Huang, Chunxue Sun, Qiancheng Xie, and Wenlong Song. "A New Method for Forest Canopy Hemispherical Photography Segmentation Based on Deep Learning." Forests 11, no. 12 (December 19, 2020): 1366. http://dx.doi.org/10.3390/f11121366.
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Research Highlights: This paper proposes a new method for hemispherical forest canopy image segmentation. The method is based on a deep learning methodology and provides a robust and fully automatic technique for the segmentation of forest canopy hemispherical photography (CHP) and gap fraction (GF) calculation. Background and Objectives: CHP is widely used to estimate structural forest variables. The GF is the most important parameter for calculating the leaf area index (LAI), and its calculation requires the binary segmentation result of the CHP. Materials and Methods: Our method consists of three modules, namely, northing correction, valid region extraction, and hemispherical image segmentation. In these steps, a core procedure is hemispherical canopy image segmentation based on the U-Net convolutional neural network. Our method is compared with traditional threshold methods (e.g., the Otsu and Ridler methods), a fuzzy clustering method (FCM), commercial professional software (WinSCANOPY), and the Habitat-Net network method. Results: The experimental results show that the method presented here achieves a Dice similarity coefficient (DSC) of 89.20% and an accuracy of 98.73%. Conclusions: The method presented here outperforms the Habitat-Net and WinSCANOPY methods, along with the FCM, and it is significantly better than the Otsu and Ridler threshold methods. The method takes the original canopy hemisphere image first and then automatically executes the three modules in sequence, and finally outputs the binary segmentation map. The method presented here is a pipelined, end-to-end method.
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Bochon, Krzysztof, Włodzimierz Wrόblewski, Artur Szymański, Mirosiaw Majkut, Michał Strozik, and Krzysztof Marugi. "Experimental and numerical tip leakage flow visualization in the LP turbine labyrinth seal." E3S Web of Conferences 137 (2019): 01008. http://dx.doi.org/10.1051/e3sconf/201913701008.
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The subject of this publication is the identification of basic flow parameters and flow structures in the seal experimentally and compare them with CFD results. A straight-through seal with two leaning fins and smooth or honeycomb land was analysed. The sealing concept is characteristic for the tip seal of the last stage of an aircraft low-pressure turbine. Due to the limitations of the test rig the analyses presented here were conducted on a highly simplified, stationary model of the seal itself, with an axial inflow and no curvature in the circumferential direction. The characteristics of the discharge coefficient as a function of the pressure ratio for different clearances and the pressure distribution along the seal, for different pressure ratios are presented. In addition, an attempt was made to visualize the flow using the schlieren technique. The main idea of application schlieren photography was to observe the vortex and separation structures occurring during the flow through the labyrinth seal, which is the major source of pressure losses. CFD calculations were carried out using the Ansys CFX commercial code.
Books on the topic "Commercial photography Technique"
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Camera creative: Professional photography techniques for innovative images / Chris Gatcum. New York, N.Y: Amphoto Books, 2009.
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Professional commercial photography: Techniques and images from master digital photographers. Buffalo, NY: Amherst Media, 2010.
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Wang dian she ying: Cong hong xin dao huang guan = Online store photography. Beijing Shi: Zhongguo she ying chu ban she, 2014.
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Lighting for product photography: Step-by-step guide to sculpting with light. Buffalo, NY: Amherst Media, 2013.
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1914-, Müller-Brockmann Josef, ed. The graphic artist and his design problems: Creative problems of the graphic designer : design and training in commercial art = Gestaltungsprobleme des Grafikers : Gestalterische und erzieherische Probleme in der Werbegrafik : die Ausbildung des Grafikers = Les problèmes d'un artiste graphique : typographie, dessin, photo, labels, couleurs, etc. Niederteufen, Schweiz: A. Niggli AG, 2003.
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Vernon, Gorter, ed. Pro techniques of studio photography. Tucson, AZ: HPBooks, 1986.
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Commercial photography handbook: Business techniques for professional digital photographers. Buffalo, N.Y: Amherst Media Inc., 2010.
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Minimalist lighting: Professional techniques for location photography. Buffalo, NY: Amherst Media, 2008.
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Lozoya, Oscar. Fine art portrait photography: Commercial techniques and images in black and white. Buffalo, N.Y: Amherst Media, 1999.
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Zhe yang pai, jue dui mai! DSLR wang pai zhe yang jiu dui le. Taibei Shi: Mao tou ying chu ban, 2011.
Find full textBook chapters on the topic "Commercial photography Technique"
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Montanaro, Carlo. "Sulla storia della fotografia attorno al 1868." In Venezia 1868: l’anno di Ca’ Foscari. Venice: Edizioni Ca' Foscari, 2018. http://dx.doi.org/10.30687/978-88-6969-294-9/006.
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Photography in Venice around 1868 was going through a period of great vitality. Mapping the main photographic studios, located mainly around St. Mark Square, includes indeed about a hundred operators who create images in various formats, from the large ‘imperial’ to the small ‘visiting cards’ with all the suggestions allowed by the existing techniques, from monochrome imbibitions to printing on pre-colored paper to the romantic ‘moonlight’ effect. From Antonio Perini to Carlo Ponti to Carlo Naya, these professionals trace a new path to the creation of images, inventing new tools and leaving evidence of fascinating views of the city of Venice, such as the one that portrays the R. Scuola Superiore di Commercio.
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Withall, Keith. "Prologue: What was Silent Cinema?" In Studying Early and Silent Cinema, 1–4. Liverpool University Press, 2014. http://dx.doi.org/10.3828/liverpool/9781906733704.003.0001.
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This prologue provides an overview of silent cinema. Our sense of cinema as a site of commercial entertainment can be traced back to the Lumière brothers. In December of 1895, they attracted a fee-paying public in Paris to sit and watch flickering images on an illuminated screen. The commercial Pandora's Box they opened was to blossom in a few years into a world cinema industry and, at its peak, the fantastical Hollywood. Yet in the 30 years in which this miraculous construction was accomplished, audiences rarely had to listen to films, only watch them. Hence, the early decades of cinema were characterised by the title ‘silent’. In fact, there was a lot of noise, machinery, audiences, musicians, and commentators. Even so, the absence of the human voice and dialogue make the films seem rather strange when viewed by a modern audience. Nevertheless, while they lack the audio impact of the sound film, the photographic quality of many silents is superb. Not only had the film-makers mastered the main techniques of photography, but as the industry developed they also added a whole range of techniques for editing and movement.
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Dule, Chhaya Suryabhan, and Rajasekharaiah K. M. "Privacy Preservation of Image Data With Machine Learning." In Applications of Machine Learning and Deep Learning for Privacy and Cybersecurity, 189–215. IGI Global, 2022. http://dx.doi.org/10.4018/978-1-7998-9430-8.ch010.
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The methods used to predict, categorize, and recognize complex data like pictures, audio, and texts have been popular in machine learning. These methods are the basis for future AI-driven internet providers because of unparalleled precision in deep learning methodologies. Commercial firms gather large-scale user data and perform machine learning technique. The massive information necessary for machine learning raises privacy problems. The user's personal and extremely sensitive data such as photographs and voice records are gathered and retained forever by these commercial firms and users can not limit the intents of these sensitive information. In addition, centrally stored data is susceptible to legal and extrajudicial monitoring. Many data owners use profound extensive learning by security and confidentiality. This chapter contains a practical approach that allows several parties to learn a precise model of complex systems for a specific purpose without disclosing their data sets. It provides an interesting element in utility and privacy.
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Cook, Pam. "Revisiting performance: Nicole Kidman’s enactment of stardom." In Revisiting Star Studies, 25–44. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474404310.003.0002.
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This chapter on Nicole Kidman’s extra-cinematic performance focuses on her enactment of commodity stardom, and the acting techniques she deploys in her multi-media appearances including talk shows, magazine fashion shoots, celebrity tabloid gossip, commercials and philanthropy. It contends that the study of acting and performance should go beyond the confines of the film text to examine ‘the poses, gestures, costume, make-up, props, scripted dialogue and photographic mise en scène that constitute the star interview and photo shoot’.
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Loew, Katharina. "Modern Magicians: Guido Seeber and Eugen Schüfftan." In Special Effects and German Silent Film. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463725231_ch02.
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Two technicians had a particularly formative impact on the evolution of special effects in Germany. Film pioneer Guido Seeber favoured methods like multiple exposure composites, which allow the cinematographer to excel both technically and creatively. Aiming at forging convincing composite spaces on screen, Eugen Schüfftan invented the only widely used commercial special-effects technique originating in Europe, the Schüfftan process. In similar ways, Seeber’s photographic and Schüfftan’s perceptual effects construe technology as cinema’s core creative tool and the cinematic image as fundamentally malleable. Both shared technoromantic views, which is apparent from their devotion to the goal of film art and commitment to devising medium-specific means for transcending material reality and expressing emotions and ideas.
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Hoof, Florian. "Visualizing “Everything under the Sun”." In Angels of Efficiency, translated by Daniel Fairfax, 26–81. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190886363.003.0002.
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Chapter 1 gives a detailed introduction to the book’s historical-epistemological perspective, a combination of approaches from business and media history, media archeology, German media theory, and social theory. First, it establishes a systematic approach to understand visual consulting knowledge as media boundary objects and as part of a historically emergent graphic media network. It looks at the genealogy of the static, kinetic, and calculative media devices that form the graphic media network. Second, it traces the popularization of visualization methods that were originally developed in disciplines such as statistics, engineering, physiology, and macroeconomics. It shows the utopian potential that was attributed to visualization devices, which were conceived as new modes of intuitive thinking. It describes how management in industrial and commercial firms increasingly made use of these graphic, photographic, and filmic techniques. The chapter shows how this connection leads to fundamental changes in business practices, which are characterized as a form of “visual management.”
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Westervelt, James D. "Geographic Information Systems and Agent-Based Modeling." In Integrating Geographic Information Systems and Agent-Based Modeling Techniques for Understanding Social and Ecological Processes. Oxford University Press, 2002. http://dx.doi.org/10.1093/oso/9780195143362.003.0010.
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As we enter the twenty-first century, decreasing computer costs continue to result in the development of new generations of computation-based land management tools. Geographical information systems (GIS) emerged from laboratories in the mid-1970s and became, by the mid-1990s, a mainstay of the land manager’s toolbox. During this time, GIS technicians moved from a role as the sole GIS operator to one that includes the design and development of decision support systems (DSS) developed on a foundation of GIS technologies. The land manager is now provided with interactive environments that provide limited, but directed, manipulation and querying of GIS data files. GIS, now a mature technology, is an incomplete tool. It allows for the capture and analysis of landscape system state information. Historic maps, satellite and high-altitude photography, survey data, communication networks, and other sources now provide a rich record of historic and present conditions. Our culture has now embraced the idea that ideas about the state of our landscapes should be formally captured. Ideas about how landscape works, however, remain concepts in the minds of land managers. These ideas develop through formal education, continual review of the literature, and perhaps most importantly, personal experiences during one’s career. While applications of GIS technologies reflect land manager knowledge about the land processes, the GIS does not easily allow that knowledge to be formally captured. The scientific community has now developed a rich array of formalized landscape processes in the form of computer simulations. Hydrologic engineers have a wealth of groundwater, surface water, and overland water flow simulation models. Regional planners offer simulations of urban growth and traffic flow. Ecologists are developing plant and community succession models , and models of habitat responses to land use patterns. Working with scientists, land managers can apply such models to their land management decision processes. However, each model focuses on only part of the landscape system. Full use of the scientific models to affect land management decisions will not occur until the models are integrated as components of a simulation-based geographic modeling system (GMS). Over the next decade experimental systems are expected to result in the release of commercially viable land simulation modeling environments. As we currently capture our understandings of state information in GISs, we will formalize our understandings regarding the dynamics of the landscape in GMSs.
Conference papers on the topic "Commercial photography Technique"
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Kang, Can, Liang Zhou, Weifeng Wang, and Haixia Liu. "Characteristics of Impinging Water Jet Discharged From a Central-Body Nozzle." In ASME-JSME-KSME 2011 Joint Fluids Engineering Conference. ASMEDC, 2011. http://dx.doi.org/10.1115/ajk2011-16011.
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Submerged water jet discharged from a central-body nozzle was investigated through flow visualization, numerical simulation and impingement experiment. Under jet pressure of 15 MPa, three layout plans of central body were introduced and corresponding water jets were visualized by using high speed photography technique. Cavitating jet flow fields were simulated with commercial computational fluid dynamics (CFD) software Fluent which employs full cavitation model. Sandstone cuboid was used as the sample workpiece exposed to the submerged water jet of 15MPa. It is proved that cavitation tone exist in the wake flow after the central body. When the end cross-section of the central body is parallel with the nozzle outlet section, the largest axial length of cavitation zone is obtained. Compared with round water jet with the same equivalent nozzle outlet area, the central-body nozzle yields stronger impinging effect.
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Akyuzlu, K. M., and J. Farkas. "An Experimental Study of Natural Convection in a Rectangular Enclosure Using PIV Measurement Techniques." In ASME 2011 International Mechanical Engineering Congress and Exposition. ASMEDC, 2011. http://dx.doi.org/10.1115/imece2011-64276.
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An experimental study is conducted to determine the circulation patterns inside a rectangular enclosure due to natural convection using a Particle Image Velocimeter (PIV). Experiments were conducted using two different fluids (air and water) and for rectangular enclosures with aspect ratios 0.5 and 1.0. Natural convection in enclosures has been experimentally studied in the past. Many of these studies cited in the literature use some kind of an optical method like interferograms, shadowgraphs, streak photographs, or multi-exposure photographs to visualize the flow patterns in the enclosure. The present study employs a commercial two-dimensional PIV to capture, instantaneously, the circulation patterns inside the test section. The test cavity in the present setup is of rectangular shape, which is 5 inches (127 mm) wide, where the height of the enclosure can be changed to obtain aspect ratios of 0.5 and 1.0. The depth of the rectangular enclosure measures 12 inches (305 mm) to minimize the effect of walls normal to the two dimensional flow patterns that are expected in this type of arrangement. The walls of the cavity are made of Aluminum plates. These plates are kept at constant but different temperatures during the experiments. In the present study, hollow glass sphere particles with 10 microns in diameter were used as seeding for water experiments and fine particles/flakes of ash generated from burned incense were used as seeding in the air experiments. For each working fluid, the experiments were repeated for different aspect ratios and for different wall temperature differences which corresponded to Rayleigh numbers in the range of 106 and 107. Velocity fields were captured at steady state for each experiment using the two-dimensional PIV system. Numerical studies were also carried out using a commercial CFD software. Comparisons of the numerical and experimental results indicate a good match in terms of circulation patterns and velocity magnitudes in the core of the buoyancy driven flow. Discrepancies in measured and predicted values of velocities are more pronounced near to the boundaries of the enclosure. Separate measurements with finer interrogation areas and different PIV setting were required to improve the accuracy of the measurements near the corners (top and bottom) of the enclosure. The results of these measurements are also presented.
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McClung, A. J. W., G. P. Tandon, K. E. Goecke, and J. W. Baur. "Non-Contact Technique for Characterizing Full-Field Surface Deformation of Shape Memory Polymers." In ASME 2010 Conference on Smart Materials, Adaptive Structures and Intelligent Systems. ASMEDC, 2010. http://dx.doi.org/10.1115/smasis2010-3679.
Full textAbstract:
Thermally-actuated shape memory polymers (SMPs) typically display two phases separated by the glass transition temperature (Tg). At temperatures well below the Tg, the polymer exhibits a relatively high elastic modulus. Well above the Tg the elastic modulus drops by several orders of magnitude. In this high temperature region, SMP materials can achieve strain levels well above 100 %. The complex behavior of SMPs (stiffnesses dropping to the order of 1 GPa and extremely high strain levels) precludes the use of traditional strain gages and low-contact force extensometers. The present study presents a detailed expansion of state-of-the-art thermomechanical testing techniques used to characterize the material behavior of SMPs. An MTS environmental chamber with an observation window allows for non-contact optical measurements during testing. A laser extensometer is used for measurement and active control of axial strain. The upper limit on the strain rate capability of the laser extensometer is established. In addition, the photographic strain measurement method known as digital image correlation (DIC) is incorporated, allowing for full field measurement of axial and transverse strains of SMPs over a range of temperatures and strain rates. The strain measurements of the DIC and laser extensometer are compared to each other as well as to clip-on extensometers and strain gages. The comparisons provide insight into the limitations of the traditional strain measurement systems. A series of tensile tests are performed on a commercial SMP from 25 °C up to temperatures of 130 °C and strain levels above 100 %. The laser extensometer provides a robust method for controlling the strain in the gage section of the samples. In addition, results show that the full field measurements of both the axial and the transverse strain are essential for characterizing the constitutive response of SMPs at room and elevated temperatures.
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Diver, Richard B., and Timothy A. Moss. "Test Results and Status of the TOP Alignment System for Parabolic Trough Solar Collectors." In ASME 2010 4th International Conference on Energy Sustainability. ASMEDC, 2010. http://dx.doi.org/10.1115/es2010-90092.
Full textAbstract:
Parabolic trough solar power plants produce the lowest cost solar electricity, yet unsubsidized electricity from parabolic trough power plants costs about twice that from conventional sources. To make parabolic trough electricity more competitive, we are developing an innovative approach for rapidly and effectively evaluating the alignment of mirrors in parabolic trough power plants and prescribing corrective actions as needed. The Theoretical Overlay Photographic Collector Alignment Technique (TOPCAT) system could be used during construction, to improve the performance of existing power plants, or for routine maintenance. It is also an enabling technology for higher concentration ratio and lower cost trough solar collector designs needed to make solar electricity more competitive with conventional sources. In this paper a truck-mounted TOPCAT field characterization system is described. Test results from mirror alignment of an LS-3 loop in a commercial parabolic trough power plant in southern California are also presented. The performance improvements were measured using a comparative calorimetric technique which inherently accounts for variations in insolation levels, sun incident angle, and mirror and heat collection element (HCE) glass envelope cleanliness. Measurements indicate a 3.5% increase in thermal performance of an LS-3 loop aligned with the TOPCAT system. Benchmarking results of labor hours and materials show that the TOPCAT system is an extremely cost effective tool for improving the performance of existing parabolic trough power plants.
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Storer, Rebecca N., Armand J. Beaudoin, and Peter Kurath. "Investigation of the PLC Effect Using DIC." In ASME 2010 International Mechanical Engineering Congress and Exposition. ASMEDC, 2010. http://dx.doi.org/10.1115/imece2010-38941.
Full textAbstract:
In certain alloys non-homogeneous plastic flow is observed. A category of jerky flow, also called the Portevin-Le Chatelier (PLC) effect, is attributed to the competition between dislocation aging by solute atoms and plastic strain rate. In this study, the PLC effect was examined in an aluminum-magnesium alloy using digital image correlation (DIC) techniques. A cold rolling procedure was developed for Al5052-T0 specimens that resulted in repeatable jerky flow when tested in tension at nominal displacement rates that spanned three orders of magnitude. The tests were successful in producing repeatable propagating type bands of serrated flow, which resulted in serrations or stress drops on the stress versus time curve. Deforming specimens were photographed during testing, and the images were correlated using commercially available DIC software to determine local strains and local strain rates. The present study focuses upon type B, or hopping, bands. The DIC results revealed that the strain front moved along the length of the specimen and strains 1 to 2% higher were observed in the wake of the propagating bands. In addition, at least an order of magnitude increase in local strain rate corresponded to the band front as it moved through the specimen. At slower nominal displacement rates, the magnitude of the stress drops for type B bands was greater, but the number of stress drops was fewer for a given nominal displacement. The repeatability of this study shows that DIC provides an effective way to characterize this type of non-homogeneous or localized plastic flow.
Reports on the topic "Commercial photography Technique"
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Atkinson, Dan, and Alex Hale, eds. From Source to Sea: ScARF Marine and Maritime Panel Report. Society of Antiquaries of Scotland, September 2012. http://dx.doi.org/10.9750/scarf.09.2012.126.
Full textAbstract:
The main recommendations of the panel report can be summarised under four headings: 1. From Source to Sea: River systems, from their source to the sea and beyond, should form the focus for research projects, allowing the integration of all archaeological work carried out along their course. Future research should take a holistic view of the marine and maritime historic environment, from inland lakes that feed freshwater river routes, to tidal estuaries and out to the open sea. This view of the landscape/seascape encompasses a very broad range of archaeology and enables connections to be made without the restrictions of geographical or political boundaries. Research strategies, programmes From Source to Sea: ScARF Marine and Maritime Panel Report iii and projects can adopt this approach at multiple levels; from national to site-specific, with the aim of remaining holistic and cross-cutting. 2. Submerged Landscapes: The rising research profile of submerged landscapes has recently been embodied into a European Cooperation in Science and Technology (COST) Action; Submerged Prehistoric Archaeology and Landscapes of the Continental Shelf (SPLASHCOS), with exciting proposals for future research. Future work needs to be integrated with wider initiatives such as this on an international scale. Recent projects have begun to demonstrate the research potential for submerged landscapes in and beyond Scotland, as well as the need to collaborate with industrial partners, in order that commercially-created datasets can be accessed and used. More data is required in order to fully model the changing coastline around Scotland and develop predictive models of site survival. Such work is crucial to understanding life in early prehistoric Scotland, and how the earliest communities responded to a changing environment. 3. Marine & Maritime Historic Landscapes: Scotland’s coastal and intertidal zones and maritime hinterland encompass in-shore islands, trans-continental shipping lanes, ports and harbours, and transport infrastructure to intertidal fish-traps, and define understanding and conceptualisation of the liminal zone between the land and the sea. Due to the pervasive nature of the Marine and Maritime historic landscape, a holistic approach should be taken that incorporates evidence from a variety of sources including commercial and research archaeology, local and national societies, off-shore and onshore commercial development; and including studies derived from, but not limited to history, ethnology, cultural studies, folklore and architecture and involving a wide range of recording techniques ranging from photography, laser imaging, and sonar survey through to more orthodox drawn survey and excavation. 4. Collaboration: As is implicit in all the above, multi-disciplinary, collaborative, and cross-sector approaches are essential in order to ensure the capacity to meet the research challenges of the marine and maritime historic environment. There is a need for collaboration across the heritage sector and beyond, into specific areas of industry, science and the arts. Methods of communication amongst the constituent research individuals, institutions and networks should be developed, and dissemination of research results promoted. The formation of research communities, especially virtual centres of excellence, should be encouraged in order to build capacity.