Relevant bibliographies by topics / Digital images

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Digital images'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 June 2025

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Journal articles on the topic "Digital images"

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Matthews, Linda, and Gavin Perin. "Digital Images." International Journal of Creative Interfaces and Computer Graphics 2, no. 1 (January 2011): 27–41. http://dx.doi.org/10.4018/jcicg.2011010103.

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The valence of any visual paradigm and its accompanying technologies is subject to the contingencies of political regimes and cultural shifts. The instigation, implementation and even reconfiguring of any associated technological system effects a translation and adjustment to the structure and use of these supporting mechanisms that both re-defines the relationship between object and viewer and ultimately influences its translation into material form. The permeation of digital systems throughout contemporary urban space is typified by Internet Protocol webcam systems, instigated by civic authorities for surveillance and the imagistic promotion of iconic city form. This paper examines how this system’s reception and subsequent translation of transmitted data signals into digital information not only presents new material to mediate people’s engagement with public space, but moreover, how it presents new opportunities for the designer to materialize its three-dimensional form within the spatial ambiguity of virtual and real-time environments.
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Balter, Stephen. "Digital images." Catheterization and Cardiovascular Interventions 46, no. 4 (April 1999): 487–96. http://dx.doi.org/10.1002/(sici)1522-726x(199904)46:4<487::aid-ccd22>3.0.co;2-m.

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x, Priyanka. "Review Paper on Identifying Fake Images by Digital Image Processing." International Journal of Scientific Engineering and Research 5, no. 5 (May 27, 2017): 169–71. https://doi.org/10.70729/ijser151486.

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Deahl, Elizabeth Davis. "Accessing Digital Images." Journal of Religious & Theological Information 3, no. 3-4 (July 6, 2001): 105–25. http://dx.doi.org/10.1300/j112v03n03_08.

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Swartz, Michael L. "Managing digital images." American Journal of Orthodontics and Dentofacial Orthopedics 118, no. 3 (September 2000): 354–58. http://dx.doi.org/10.1067/mod.2000.110525.

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McEvoy, F., E. Svalastoga, and B. McEvoy. "Certifying digital images." Veterinary Record 164, no. 10 (March 7, 2009): 312. http://dx.doi.org/10.1136/vr.164.10.312.

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Karapanagiotis, Nicole. "Of Digital Images and Digital Media." Nova Religio 21, no. 3 (February 1, 2018): 74–102. http://dx.doi.org/10.1525/nr.2018.21.3.74.

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This article is a theoretical and ethnographic investigation of the role of marketing and branding within the contemporary ISKCON movement in the United States. In it, I examine the digital marketing enterprises of two prominent ISKCON temples: ISKCON of New Jersey and ISKCON of D.C. I argue that by attending to the vastly different ways in which these temples present and portray ISKCON online—including the markedly different media imagery by which they aim to draw the attention of the public—we can learn about an ideological divide concerning marketing within American ISKCON. This divide, I argue, highlights different ideas regarding how potential newcomers become attracted to ISKCON. It also illuminates an unexplored facet of the heterogeneity of American ISKCON, principally in terms of the movement’s public face.
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Longhi, Raquel Ritter. "Slideshow como formato noticioso no webjornalismo." Revista FAMECOS 18, no. 3 (December 22, 2011): 782. http://dx.doi.org/10.15448/1980-3729.2011.3.10384.

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Verifica a utilização do slideshow pelo webjornalismo enquanto formato noticioso. A partir de um estudo sobre a imagem técnica e a imagem digital, discorre sobre o estatuto da imagem fotojornalística nos meios digitais. Examina narrativas com imagens no webjornalismo, buscando analisar o formato slideshow nesse cenário. Divide-se em três partes: 1) A imagem técnica, a imagem digital e o fotojornalismo; 2) Narrativas webjornalísticas com imagens e 3) Slideshow como formato noticioso no webjornalismo. Dentre os autores referenciados estão Vilém Flusser, Arlindo Machado, Jorge Pedro Sousa, Lúcia Santaella e Winifried Nöth, Mindy McAdams e Miquel Alsina. Palavras-chave: Slideshow; Webjornalismo; Formato noticioso. Slideshow as news format in web journalism Verifies the use of slideshow format in web journalism. From a study on the imaging technique and digital imaging, talks about the status of photojournalistic image in digital media. Examines narratives with images in web journalism, trying to analyze the slideshow format in this scenario. It is divided into three parts: 1) imaging technique, digital imaging and photojournalism; 2) web journalistic narratives with images; 3) Slideshow as news in web journalism. Among the authors referred are Vilém Flusser, Arlindo Machado, Jorge Pedro Sousa, Lucia Santaella and Winifried Nöth, Mindy McAdams and Miquel Alsina. Keywords: Slideshow; Web journalism; News format.
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Saepulrohman, Asep, Agus Ismangil, and Leny Heliawati. "Message Encryption in Digital Images using the Zhang LSB Imange Method." Komputasi: Jurnal Ilmiah Ilmu Komputer dan Matematika 21, no. 1 (January 29, 2024): 21–30. http://dx.doi.org/10.33751/komputasi.v21i1.9314.

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Message encryption in digital images using the Zhang LSB Image method is a steganography technique that utilizes the Least Significant Bit (LSB) method to hide secret messages in the last bit of the image pixel. This method allows the use of images as a medium to convey hidden messages. The encryption process involves two main stages, namely message encryption and message hiding in an image. Message encryption is carried out using strong cryptographic algorithms to secure the authenticity and confidentiality of messages. Then, the encrypted message is inserted into the last bit of the image pixel using the LSB method. This is done by modifying the last bit value of the pixel so that the change is not visually visible to the human eye. To recover the original message, the message recovery process involves extracting the last bit of the modified image pixel and decrypting the message using the appropriate key. The Zhang LSB Image method is a steganography technique that is relatively simple but effective in hiding messages in digital images.
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NYBERG, WILLIAM C. "STORAGE OF DIGITAL IMAGES." Retina 14, no. 3 (1994): 281–82. http://dx.doi.org/10.1097/00006982-199414030-00017.

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Dissertations / Theses on the topic "Digital images"

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Travisani, Tatiana Giovannone [UNESP]. "Imagem digital em movimento." Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/86983.

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Made available in DSpace on 2014-06-11T19:22:29Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-04Bitstream added on 2014-06-13T19:27:53Z : No. of bitstreams: 1 travisani_tg_me_ia.pdf: 2449318 bytes, checksum: 3292e9571a4159da36b4a5591c796aee (MD5)<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)<br>Este trabalho reúne análises sobre as imagens digitais com questões estruturais e poéticas do movimento, fazendo um levantamento histórico e artístico desde os primeiros experimentos em cronofotografia, até as manifestações atuais, do universo digital, que incorporam o movimento como temática. A imagem digital tratada não é de cunho sintético, mas sim que passou por algum processo de captura analógica, por meio de câmeras, e após isso, foi digitalizada. A partir daí, a pesquisa reflete as transformações estéticas e sinestéticas que as imagens podem sofrer de acordo com as possibilidades oferecidas pela tecnologia digital. Procuramos discutir os processos e precedimentos artísticos sob a luz desse caráter tecnológico, em que as imagens ganham novas formas dinâmicas e novos padrões de movimento. Buscamos incluir os principais fatores que são singulares ao universo digital e permitem concepções artísticas inovadoras através das novas mídias surgidas. Entre as características estão a convergência, desmaterialização, ubiqüidade e a replicabilidade dos remixes e samplers. Três obras foram discutidas com maior profundidade por oferecerem suporte conceitural, visual e nova proposta estética: Stop Motion Studies (David Crawford), Soft Cinema (Lev Manovich) e as Live Images (Luiz Duva). Durante a pesquisa, a autora também elaborou três obras construídas em momentos distintos, que acompanhavam os questionamentos feitos ao longo do processo: convergência, gradeativa e passagens. As obras sugerem um estreitamento intenso entre arte e pesquisa, pratica e teoria, no intuito de atingir complexidade sobre o tema, para contribuir com estudos contemporâneos sobre as manifestações artísticas nas novas mídias.<br>This work analyses the digital under the structural and poetical issues of the movement, making a historical and artistic retrospective since the first experiments in cronophotography, to the current manisfestations of the digital universe, that incorporate the movement as thema. The treated digital image is not asynthetic matrix, but the one that passed for some process of analogical capture by cameras and then digitalized. Further on, the research reflects about the aesthetic and synesthesic transformations that images can receive with possibilities offered by the digital technology. We look for debate the processes and artistic procedures and its techological features, when the images gain new dynamic forms and new standards of movement. We try to include the main factors that are singular to the digital universe and allow innovative artistic comceptions through the new appeared medias. Some of the features are the convergence, dematerialization, ubiquity and the replicability of remixes and samplers. Three artistic creation had been deeply analysed because of its conceptual visual and new aesthetic proposal support: Stop Motion Studies (David Crawford), Soft Cinema (Lev Manovich) and the Live Images (Luiz Duva). During this work, the author also elaboreted three creactions built in different times, that accompany the debates made throughout the process: Convergência, Gradeativa and Passagens. These creations suggest an intense relationship between aty and research, practical and theory in intention to reach complexity on the subject, to contribute with contemporaneous studies on artistic manisfestations in the new medias.
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Moëll, Mattias. "Digital image analysis for wood fiber images /." Uppsala : Swedish Univ. of Agricultural Sciences (Sveriges lantbruksuniv.), 2001. http://epsilon.slu.se/avh/2001/91-576-6309-2.pdf.

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Bourne, John D. A. "Processing digital images." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1996. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq22757.pdf.

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Kailasanathan, Chandrapal. "Securing digital images." Access electronically, 2003. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20041026.150935/index.html.

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Travisani, Tatiana Giovannone. "Imagem digital em movimento /." São Paulo : [s.n.], 2008. http://hdl.handle.net/11449/86983.

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Orientador: Milton Terumitsu Sogabe<br>Banca: Pelópidas Cypriano de Oliveira<br>Banca: Silvia Laurentz<br>Resumo: Este trabalho reúne análises sobre as imagens digitais com questões estruturais e poéticas do movimento, fazendo um levantamento histórico e artístico desde os primeiros experimentos em cronofotografia, até as manifestações atuais, do universo digital, que incorporam o movimento como temática. A imagem digital tratada não é de cunho sintético, mas sim que passou por algum processo de captura analógica, por meio de câmeras, e após isso, foi digitalizada. A partir daí, a pesquisa reflete as transformações estéticas e sinestéticas que as imagens podem sofrer de acordo com as possibilidades oferecidas pela tecnologia digital. Procuramos discutir os processos e precedimentos artísticos sob a luz desse caráter tecnológico, em que as imagens ganham novas formas dinâmicas e novos padrões de movimento. Buscamos incluir os principais fatores que são singulares ao universo digital e permitem concepções artísticas inovadoras através das novas mídias surgidas. Entre as características estão a convergência, desmaterialização, ubiqüidade e a replicabilidade dos remixes e samplers. Três obras foram discutidas com maior profundidade por oferecerem suporte conceitural, visual e nova proposta estética: Stop Motion Studies (David Crawford), Soft Cinema (Lev Manovich) e as Live Images (Luiz Duva). Durante a pesquisa, a autora também elaborou três obras construídas em momentos distintos, que acompanhavam os questionamentos feitos ao longo do processo: convergência, gradeativa e passagens. As obras sugerem um estreitamento intenso entre arte e pesquisa, pratica e teoria, no intuito de atingir complexidade sobre o tema, para contribuir com estudos contemporâneos sobre as manifestações artísticas nas novas mídias.<br>Abstract: This work analyses the digital under the structural and poetical issues of the movement, making a historical and artistic retrospective since the first experiments in cronophotography, to the current manisfestations of the digital universe, that incorporate the movement as thema. The treated digital image is not asynthetic matrix, but the one that passed for some process of analogical capture by cameras and then digitalized. Further on, the research reflects about the aesthetic and synesthesic transformations that images can receive with possibilities offered by the digital technology. We look for debate the processes and artistic procedures and its techological features, when the images gain new dynamic forms and new standards of movement. We try to include the main factors that are singular to the digital universe and allow innovative artistic comceptions through the new appeared medias. Some of the features are the convergence, dematerialization, ubiquity and the replicability of remixes and samplers. Three artistic creation had been deeply analysed because of its conceptual visual and new aesthetic proposal support: Stop Motion Studies (David Crawford), Soft Cinema (Lev Manovich) and the Live Images (Luiz Duva). During this work, the author also elaboreted three creactions built in different times, that accompany the debates made throughout the process: Convergência, Gradeativa and Passagens. These creations suggest an intense relationship between aty and research, practical and theory in intention to reach complexity on the subject, to contribute with contemporaneous studies on artistic manisfestations in the new medias.<br>Mestre
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Zain, Jasni Mohamad. "Digital watermarking in medical images." Thesis, Brunel University, 2005. http://bura.brunel.ac.uk/handle/2438/4978.

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This thesis addresses authenticity and integrity of medical images using watermarking. Hospital Information Systems (HIS), Radiology Information Systems (RIS) and Picture Archiving and Communication Systems (P ACS) now form the information infrastructure for today's healthcare as these provide new ways to store, access and distribute medical data that also involve some security risk. Watermarking can be seen as an additional tool for security measures. As the medical tradition is very strict with the quality of biomedical images, the watermarking method must be reversible or if not, region of Interest (ROI) needs to be defined and left intact. Watermarking should also serve as an integrity control and should be able to authenticate the medical image. Three watermarking techniques were proposed. First, Strict Authentication Watermarking (SAW) embeds the digital signature of the image in the ROI and the image can be reverted back to its original value bit by bit if required. Second, Strict Authentication Watermarking with JPEG Compression (SAW-JPEG) uses the same principal as SAW, but is able to survive some degree of JPEG compression. Third, Authentication Watermarking with Tamper Detection and Recovery (AW-TDR) is able to localise tampering, whilst simultaneously reconstructing the original image.
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Condell, Joan V. "Motion tracking in digital images." Thesis, University of Ulster, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.274406.

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Ahmed, Kamal Ali. "Digital watermarking of still images." Thesis, University of Manchester, 2013. https://www.research.manchester.ac.uk/portal/en/theses/digital-watermarking-of-still-images(0dc4b146-3d97-458f-9506-8c67bc3a155b).html.

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This thesis presents novel research work on copyright protection of grey scale and colour digital images. New blind frequency domain watermarking algorithms using one dimensional and two dimensional Walsh coding were developed. Handwritten signatures and mobile phone numbers were used in this project as watermarks. In this research eight algorithms were developed based on the DCT using 1D and 2D Walsh coding. These algorithms used the low frequency coefficients of the 8 × 8 DCT blocks for embedding. A shuffle process was used in the watermarking algorithms to increase the robustness against the cropping attacks. All algorithms are blind since they do not require the original image. All algorithms caused minimum distortion to the host images and the watermarking is invisible. The watermark is embedded in the green channel of the RGB colour images. The Walsh coded watermark is inserted several times by using the shuffling process to improve its robustness. The effect of changing the Walsh lengths and the scaling strength of the watermark on the robustness and image quality were studied. All algorithms are examined by using several grey scale and colour images of sizes 512 × 512. The fidelity of the images was assessed by using the peak signal to noise ratio (PSNR), the structural similarity index measure (SSIM), normalized correlation (NC) and StirMark benchmark tools. The new algorithms were tested on several grey scale and colour images of different sizes. Evaluation techniques using several tools with different scaling factors have been considered in the thesis to assess the algorithms. Comparisons carried out against other methods of embedding without coding have shown the superiority of the algorithms. The results have shown that use of 1D and 2D Walsh coding with DCT Blocks offers significant improvement in the robustness against JPEG compression and some other image processing operations compared to the method of embedding without coding. The originality of the schemes enables them to achieve significant robustness compared to conventional non-coded watermarking methods. The new algorithms offer an optimal trade-off between perceptual distortion caused by embedding and robustness against certain attacks. The new techniques could offer significant advantages to the digital watermark field and provide additional benefits to the copyright protection industry.
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Stokes, Mike. "Colorimetric tolerances of digital images /." Online version of thesis, 1991. http://hdl.handle.net/1850/10896.

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Cembalo, Maurizio. "Forensic analysis for digital images." Doctoral thesis, Universita degli studi di Salerno, 2011. http://hdl.handle.net/10556/227.

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IX n.s.<br>Nowadays, taking and sharing digital pictures is becoming a very popular activity. This is witnessed by the explosive growth of the digital cameras market: e.g., more than one billion of digital cameras have been produced and shipped in 2010. A consequence of this trend is that also the number of crimes involving digital pictures increases, either because pictures are part of the crime (e.g., exchanging pedopornographic pictures) or because their analysis may reveal some important clue about the author of the crime. The highly technical nature of computer crimes facilitated a wholly new branch of forensic science called digital forensics. The Digital Forensic Sci- ence involves processes such as acquisition of data from an electronic source, analysis of the acquired data, extraction of evidence from the data, and the preservation and presentation of the evidence. Digital Imaging Forensics is a specialization of the Digital Forensics which deals with digital images. One of the many issues that the Digital Imaging Forensics tries to deal with is the source camera identi cation problem, i.e., establish if a given image has been taken by a given digital camera. Today this is a practical and important problem aiming to identify reliably the imaging device that acquired a particular digital image. Techniques to authenticate an electronic image are especially important in court. For example, identifying the source device could establish the origin of images presented as evidence. In a prosecution for child pornography, for example, it could be desirable that one could prove that certain imagery was obtained with a speci c camera and is thus not an image generated by a computer, given that "virutal images" are not considered offense. As electronic images and digital video replace their analog counterparts, the importance of reliable, inexpensive, and fast identification of the origin of a particular image will increase. The identification of a source camera of an image is a complex issue which requires the understanding of the several steps involved in the creation of the digital photographic representation of a real scene. In particular, it is necessary to understand how the digital images are created, which are the processes which create (and therefore affect) the creation of the digital data, starting from the real scene. Moreover, it is necessary to point out the factors which can be used to support the camera identification and, may be even more important, which are the factors which can tamper the photos and prevent (maliciously or not) the camera identification. Many identification techniques have been proposed so far in literature. All these techniques generally work by using the sensor noise (an unexpected variation of the digital signal) left by a digital sensor when taking a picture as a fingerprint for identifying the sensor. These studies are generally accompanied with tests proving the effectiveness of these techniques, both in terms of False Acceptance Rate (FAR) and False Rejection Rate (FRR). Unfortunately, most of these contributions do not take into consideration that, in practice, the images that are shared and exchanged over the Internet have often been pre-processed. Instead, it is a common practice to assume that the images to be examined are unmodified or, at most, to ignore the e ects of the pre-processing. Even without considering the case of malicious users that could intention- ally process a picture in order to fool the existing identification techniques, this assumption is unrealistic for at least two reasons. The first is that, as previously mentioned, almost all current photo-managing software o ers several functions for adjusting, sometimes in a "magic" way (see the "I'm feeling lucky" function on Google Picasa) different characteristics of a picture. The second reason can be found in the way the images are managed by some of the most important online social network (OSN) and online photo sharing (OPS) sites. These services usually make several modifications to the original photos before publishing them in order to either improve their appearance or reduce their size. In this thesis we have first implemented the most prominent source camera identification technique, proposed by Lukas et al. and based on the Photo-Response Non-Uniformity. Then, we present a new identification technique that use a SVM (Support Vector Macchine) classifier to associate photos to the right camera. Both our implementation of Lukas et al. technique and our SVM technique have been extensively tested on a test-sample of nearly 2500 images taken from 8 different cameras. The main purpose of the experiments conducted is to see how these techniques performs in presence of pre-processed images, either explicit modified by a user with photo management tools or modified by OSNs and OPSs services without user awareness. The results confirm that, in several cases, the method by Lukas et al. and our SVM technique is resilient to the modifications introduced by the considered image-processing functions. However, in the experiments it has been possible to identify several cases where the quality of the identifica- tion process was deteriorated because of the noise introduced by the image- processing. In addition, when dealing with Online Social Networks and Online Photo Sharing services, it has been noted that some of them process and modify the uploaded pictures. These modifications make ineffective, in many cases, the method by Lukas et al. while SVM technique performs slightly better. [edited by author]<br>2009 - 2010
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Books on the topic "Digital images"

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Dawson, Ian, Andrew Meirion Jones, Louisa Minkin, and Paul Reilly. Diffracting Digital Images. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003042129.

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Kayyali, Mohamed S. Digital image processing. Lima: Facultad de Ingenieria y Arquitectura de la Universidad de San Martin de Porres, 2002.

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Peters, James F. Topology of Digital Images. Berlin, Heidelberg: Springer Berlin Heidelberg, 2014. http://dx.doi.org/10.1007/978-3-642-53845-2.

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Fletcher, Glennys. Indexing digital skating images. Birmingham: University of Central England in Birmingham, 2000.

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Davies, Adrian. Digital imaging for photographers. 3rd ed. Oxford: Focal Press, 1998.

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Busselle, Michael. Creative digital photography. New York: Amphoto Books, 2001.

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Ihrig, Sybil. Preparing digital images for print. Berkeley, Calif: Osborne McGraw-Hill, 1996.

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Yahya, Abid. Steganography Techniques for Digital Images. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-78597-4.

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Droblas, Adele. Digital images: A practical guide. Berkeley: Osborne McGraw-Hill, 1995.

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Condell, Joan V. Motion tracking in digital images. [s.l: The Author], 2002.

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Book chapters on the topic "Digital images"

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Burger, Wilhelm, and Mark J. Burge. "Digital Images." In Texts in Computer Science, 1–21. London: Springer London, 2016. http://dx.doi.org/10.1007/978-1-4471-6684-9_1.

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Gomes, Jonas, and Luiz Velho. "Digital Images." In Image Processing for Computer Graphics, 107–43. New York, NY: Springer New York, 1997. http://dx.doi.org/10.1007/978-1-4757-2745-6_5.

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Schiller, Thomas. "Digital Images." In Real-World Problems for Secondary School Mathematics Students, 257–71. Rotterdam: SensePublishers, 2011. http://dx.doi.org/10.1007/978-94-6091-543-7_15.

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Ryan, Øyvind. "Digital Images." In Springer Undergraduate Texts in Mathematics and Technology, 283–312. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-01812-2_8.

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Kinser, Jason M. "Digital Images." In Image Operators, 55–66. First edition. | Boca Raton, FL: CRC Press/Taylor & Francis Group, [2019] |: CRC Press, 2018. http://dx.doi.org/10.1201/9780429451188-4.

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Bourne, Roger. "Digital Images." In Fundamentals of Digital Imaging in Medicine, 7–30. London: Springer London, 2009. http://dx.doi.org/10.1007/978-1-84882-087-6_2.

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Wright, Steve. "Digital Images." In Digital Compositing for Film and Video, 329–86. 5th ed. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781032418070-11.

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Ryan, Øyvind. "Digital Images." In Springer Undergraduate Texts in Mathematics and Technology, 287–316. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-02940-1_8.

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Burger, Wilhelm, and Mark James Burge. "Digital Images." In Principles of Digital Image Processing, 1–24. London: Springer London, 2009. http://dx.doi.org/10.1007/978-1-84800-191-6_1.

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Velho, Luiz, Alejandro Frery, and Jonas Gomes. "Digital Images." In Texts in Computer Science, 135–46. London: Springer London, 2009. http://dx.doi.org/10.1007/978-1-84800-193-0_6.

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Conference papers on the topic "Digital images"

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Shaw, G. "Digital document integrity." In IEE Seminar on Secure Images and Image Authentication. IEE, 2000. http://dx.doi.org/10.1049/ic:20000223.

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Mori, Masako, Toshibumi Kashiwa, and Yoshimitsu Aoki. "Digital Image Evaluation Method for Digital Radiography." In ASME 2010 Pressure Vessels and Piping Division/K-PVP Conference. ASMEDC, 2010. http://dx.doi.org/10.1115/pvp2010-25264.

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Digital radiography is becoming one of the common radiographic testing techniques in various industries. However, to apply this new technique to nuclear components, one big issue is how to evaluate the images and ensure that the images have enough quality to be used as inspection record. In film radiography, the IQI, which stands for Image Quality Indicator, have been used to ensure that the films have enough quality to detect any specified defects in the products. In this paper, new alternative IQI that was developed in our previous study for digital radiography to evaluate digital image quality is tested and evaluated. In addition, new image evaluation criteria are also developed and evaluated by calculating MTF, which stands for Modulation Transfer Function, from the IQI images of the products. Finally, the recommended procedures to evaluate radiographic testing image are summarized.
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Blake, Richard E. "Digital image processing of underwater images." In 2006 IEEE US/EU Baltic International Symposium on Integrated Ocean Observation Syst. for Managing Global & Regional Ecosys.Marine Resch. IEEE, 2006. http://dx.doi.org/10.1109/baltic.2006.7266195.

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Mohanna, Y., S. Malaeb, H. Alaeddine, O. Bazzi, and A. Alaeddine. "Digital image stabilization for video images." In 2015 27th International Conference on Microelectronics (ICM). IEEE, 2015. http://dx.doi.org/10.1109/icm.2015.7437987.

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Candik, Marek, and Dagmar Brechlerova. "Digital watermarking in digital images." In 2008 IEEE International Carnahan Conference on Security Technology (ICCST). IEEE, 2008. http://dx.doi.org/10.1109/ccst.2008.4751274.

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Voronin, Sergei, Vitaly Kober, Artyom Makovetskii, and Aleksei Voronin. "Image dehazing using spatially displaced images." In Applications of Digital Image Processing XLII, edited by Andrew G. Tescher and Touradj Ebrahimi. SPIE, 2019. http://dx.doi.org/10.1117/12.2529684.

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Mori, Masako, Toshibumi Kashiwa, and Yoshimitsu Aoki. "Digital Image Evaluation Method for Digital Radiography." In 18th International Conference on Nuclear Engineering. ASMEDC, 2010. http://dx.doi.org/10.1115/icone18-29702.

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Digital radiography is getting one of the common radiographic testing techniques in various industries now. However, to apply this new technique to nuclear components radiographic testing, one big issue is how we can evaluate and ensure that the taken images have enough image qualities to be used as inspection record. In film radiography, the IQI, which stands for Image Quality Indicator, have been used to ensure that taken films have enough quality to detect any specified defects in the products. So in this paper, new alternative IQI that developed in our previous study for digital radiography to evaluate digital image quality are tested and evaluated. In addition, image evaluation criteria are also developed and evaluated by calculating MTF, which stands for Modulation Transfer Function, from the IQI images taken with the products. Finally, the recommended procedures to evaluate radiographic testing image are summarized.
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Wang, Jinlong, Leilei Wu, Guowei Ma, and Yao Lu. "Making esophageal squamous cell carcinoma survival prediction from histopathological images and CT images." In Digital Pathology, edited by John E. Tomaszewski and Aaron D. Ward. SPIE, 2020. http://dx.doi.org/10.1117/12.2549285.

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Di Santo, Simone, Nadege Bize-Forest, Isabelle Le Nir, and Carlos Maeso. "WELLBORE IMAGES DIGITAL FUSION: BEYOND SINGLE-SENSOR PHYSICAL CONSTRAINTS." In 2021 SPWLA 62nd Annual Logging Symposium Online. Society of Petrophysicists and Well Log Analysts, 2021. http://dx.doi.org/10.30632/spwla-2021-0007.

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In the modern oilfield, borehole images can be considered as the minimally representative element of any well-planned geological model/interpretation. In the same borehole it is common to acquire multiple images using different physics and/or resolutions. The challenge for any petro-technical expert is to extract detailed information from several images simultaneously without losing the petrophysical information of the formation. This work shows an innovative approach to combine several borehole images into one new multi-dimensional fused and high-resolution image that allows, at a glance, a petrophysical and geological qualitative interpretation while maintaining quantitative measurement properties. The new image is created by applying color mathematics and advanced image fusion techniques: At the first stage low resolution LWD nuclear images are merged into one multichannel or multiphysics image that integrates all petrophysical measurement’s information of each single input image. A specific transfer function was developed, it normalizes the input measurements into color intensity that, combined into an RGB (red-green-blue) color space, is visualized as a full-color image. The strong and bilateral connection between measurements and colors enables processing that can be used to produce ad-hoc secondary images. In a second stage the multiphysics image resolution is increased by applying a specific type of image fusion: Pansharpening. The goal is to inject details and texture present in a high-resolution image into the low resolution multiphysics image without compromising the petrophysical measurements. The pansharpening algorithm was especially developed for the borehole images application and compared with other established sharpening methods. The resulting high-resolution multiphysics image integrates all input measurements in the form of RGB colors and the texture from the high-resolution image. The image fusion workflow has been tested using LWD GR, density, photo-electric factor images and a high-resolution resistivity image. Image fusion is an innovative method that extends beyond physical constraints of single sensors: the result is a unique image dataset that contains simultaneously geological and petrophysical information at the highest resolution. This work will also give examples of applications of the new fused image.
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Kim, Hye Kyung. "Digital abstract images." In ACM SIGGRAPH 2006 Sketches. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1179849.1179923.

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Reports on the topic "Digital images"

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Lee, Chung-Nim, and Azriel Rosenfeld. Continuous Representations of Digital Images. Fort Belvoir, VA: Defense Technical Information Center, October 1985. http://dx.doi.org/10.21236/ada164189.

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Duffany, Jeffrey L., and Marcus D. Velez. Steganography and Steganalysis in Digital Images. Fort Belvoir, VA: Defense Technical Information Center, January 2012. http://dx.doi.org/10.21236/ada582940.

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Mount, D. M., T. Kanungo, N. S. Netanyahu, C. Piatko, R. Silverman, and A. Y. Wu. Approximating Large Convolutions in Digital Images. Fort Belvoir, VA: Defense Technical Information Center, May 1999. http://dx.doi.org/10.21236/ada458736.

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Naderi, Ramin. Quadtree-based processing of digital images. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.5474.

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Barrett, Steven F. Digital Tracking and Control of Retinal Images. Fort Belvoir, VA: Defense Technical Information Center, May 1993. http://dx.doi.org/10.21236/ada267490.

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Shaw, J., and R. C. Courtney. Postglacial coastlines of Atlantic Canada: digital images. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 2002. http://dx.doi.org/10.4095/213399.

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Flynn, Ploipailin, Nadia Piet, Dominika Čupková, Cristóbal Ascencio, Hanna Barakat, Zeina Saleem, and Eryk Salvaggio, eds. Archival Images of AI. Creating better images of AI through digital heritage. AIxDESIGN, November 2024. https://doi.org/10.18146/aioai.

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Sugisaka, Masanori, and Jeffrey Johnson. Construct Abstraction for Automatic Information Abstraction from Digital Images. Fort Belvoir, VA: Defense Technical Information Center, May 2006. http://dx.doi.org/10.21236/ada455945.

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Greaves, C., and J. B. R. Eamer. Focus stacking for cataloguing, presentation, and identification of microfossils in marine sediments. Natural Resources Canada/CMSS/Information Management, 2023. http://dx.doi.org/10.4095/331355.

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Microfossils represent an important part of studying past depositional environments and determining ages for the strata they are found within. The key to ascribing paleoenvironmental interpretations to the sediments in which a microfossil is found is accurate identification of the microfossil. A number of techniques can be used to identify microfossils, including ones that use key features, morphologies, and characteristics from imagery acquired using a scanning electron microscope. A low-cost, efficient alternative method is digital photography of optical microscope images. This technical note presents a method for acquiring photos of microfossils and two methods for compiling them into high-resolution images using focus stacking. The process is described in four main steps: image acquisition, exportation, focus stacking, and annotation.
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Lee, Jingeol. Measurements of granular flow dynamics with high speed digital images. Office of Scientific and Technical Information (OSTI), January 1994. http://dx.doi.org/10.2172/425294.

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