Natural Image Statistics for Digital Image Forensics

We describe a set of natural image statistics that are built upon two multi-scale image decompositions, the quadrature mirror filter pyramid decomposition and the local angular harmonic decomposition. These image statistics consist of first- and higher-order statistics that capture certain statistical regularities of natural images. We propose to apply these image statistics, together with classification techniques, to three problems in digital image forensics: (1) differentiating photographic images from computer-generated photorealistic images, (2) generic steganalysis; (3) rebroadcast image detection. We also apply these image statistics to the traditional art authentication for forgery detection and identification of artists in an art work. For each application we show the effectiveness of these image statistics and analyze their sensitivity and robustness

Digital Image Access & Retrieval

The 33th Annual Clinic on Library Applications of Data Processing, held at the University of Illinois at Urbana-Champaign in March of 1996, addressed the theme of "Digital Image Access & Retrieval." The papers from this conference cover a wide range of topics concerning digital imaging technology for visual resource collections. Papers covered three general areas: (1) systems, planning, and implementation; (2) automatic and semi-automatic indexing; and (3) preservation with the bulk of the conference focusing on indexing and retrieval.published or submitted for publicatio

Change blindness: eradication of gestalt strategies

Arrays of eight, texture-defined rectangles were used as stimuli in a one-shot change blindness (CB) task where there was a 50% chance that one rectangle would change orientation between two successive presentations separated by an interval. CB was eliminated by cueing the target rectangle in the first stimulus, reduced by cueing in the interval and unaffected by cueing in the second presentation. This supports the idea that a representation was formed that persisted through the interval before being 'overwritten' by the second presentation (Landman et al, 2003 Vision Research 43149–164]. Another possibility is that participants used some kind of grouping or Gestalt strategy. To test this we changed the spatial position of the rectangles in the second presentation by shifting them along imaginary spokes (by ±1 degree) emanating from the central fixation point. There was no significant difference seen in performance between this and the standard task [F(1,4)=2.565, p=0.185]. This may suggest two things: (i) Gestalt grouping is not used as a strategy in these tasks, and (ii) it gives further weight to the argument that objects may be stored and retrieved from a pre-attentional store during this task

ImageNet Large Scale Visual Recognition Challenge

The ImageNet Large Scale Visual Recognition Challenge is a benchmark in object category classification and detection on hundreds of object categories and millions of images. The challenge has been run annually from 2010 to present, attracting participation from more than fifty institutions. This paper describes the creation of this benchmark dataset and the advances in object recognition that have been possible as a result. We discuss the challenges of collecting large-scale ground truth annotation, highlight key breakthroughs in categorical object recognition, provide a detailed analysis of the current state of the field of large-scale image classification and object detection, and compare the state-of-the-art computer vision accuracy with human accuracy. We conclude with lessons learned in the five years of the challenge, and propose future directions and improvements.Comment: 43 pages, 16 figures. v3 includes additional comparisons with PASCAL VOC (per-category comparisons in Table 3, distribution of localization difficulty in Fig 16), a list of queries used for obtaining object detection images (Appendix C), and some additional reference

EXISTING WITHOUT PERMISSION: A VISUAL RHETORICAL ANALYSIS ON BANKSY’S NOLA CHILDREN AND THE BETRAYAL OF AUTHORITY

This study examines eight images by the world renowned—and incognito—graffiti street artist known only as Banksy. The eight images are all of lone children; fourteen paintings comprise the total of Banksy’s 2008 visit to post-Katrina New Orleans. For the research, the eight images of children are referred to collectively as the “NOLA Children Series.” Banksy critics and fans have provided their own names for each piece: Simpsons Boy, Umbrella Girl, Fridge Kite, Levee Boy, Life Preserver Swing, Girl on Stool, and Trumpet Boy 1 & 2. The primary research objective was to understand Banksy’s motives for creating these eight “dramas” as he did. Secondarily, the research also advances the interpretative framework for Visual Rhetoric. Close Textual Analysis and Kenneth Burke\u27s Dramatistic Pentad combine as methods informed by scholarship in visual design and visual rhetoric. The study concludes by noting Banksy’s condemnation of authority figures for their role in betraying the children of New Orleans. Recent studies confirm that the failed levees and failed leadership of 2005 still haunt those who were children when Hurricane Katrina made landfall in Southeast Louisiana

Surface analysis and visualization from multi-light image collections

Multi-Light Image Collections (MLICs) are stacks of photos of a scene acquired with a fixed viewpoint and a varying surface illumination that provides large amounts of visual and geometric information. Over the last decades, a wide variety of methods have been devised to extract information from MLICs and have shown its use in different application domains to support daily activities. In this thesis, we present methods that leverage a MLICs for surface analysis and visualization. First, we provide background information: acquisition setup, light calibration and application areas where MLICs have been successfully used for the research of daily analysis work. Following, we discuss the use of MLIC for surface visualization and analysis and available tools used to support the analysis. Here, we discuss methods that strive to support the direct exploration of the captured MLIC, methods that generate relightable models from MLIC, non-photorealistic visualization methods that rely on MLIC, methods that estimate normal map from MLIC and we point out visualization tools used to do MLIC analysis. In chapter 3 we propose novel benchmark datasets (RealRTI, SynthRTI and SynthPS) that can be used to evaluate algorithms that rely on MLIC and discusses available benchmark for validation of photometric algorithms that can be also used to validate other MLIC-based algorithms. In chapter 4, we evaluate the performance of different photometric stereo algorithms using SynthPS for cultural heritage applications. RealRTI and SynthRTI have been used to evaluate the performance of (Neural)RTI method. Then, in chapter 5, we present a neural network-based RTI method, aka NeuralRTI, a framework for pixel-based encoding and relighting of RTI data. In this method using a simple autoencoder architecture, we show that it is possible to obtain a highly compressed representation that better preserves the original information and provides increased quality of virtual images relighted from novel directions, particularly in the case of challenging glossy materials. Finally, in chapter 6, we present a method for the detection of crack on the surface of paintings from multi-light image acquisitions and that can be used as well on single images and conclude our presentation

The History and Evolution of North American Ski Resort Map Style and Design

The first official ski resort in North America opened to the public in 1936 in Sun Valley, Idaho. Today, there are over 400 resorts across the continent in constant competition with one another for customers. Ski maps were first introduced as navigational tools, but quickly became a means for advertising what the resorts had to offer. The desire to outshine rival resorts has produced thousands of unique ski maps over the years, forming a collection of maps that has never been comprehensively analyzed until now. The first phase of the thesis involved the gathering of historical and modern ski maps to be examined and catalogued into a database. A total of 1,779 maps were archived along with relevant attribute information concerning the style and design of each map. This database, in addition to interviews with key informants and historical texts, helps to provide a complete picture of North American ski mapping history for the first time. The second phase of the thesis was a quantitative survey of skiers and snowboarders to assess users’ impressions and satisfaction levels of modern ski maps. Several examples of ski maps were presented to the survey respondents, and they were asked to provide their opinions and concerns about the overall appearance of the map. It was found that most respondents preferred the traditional painted panoramic style over other styles of printed ski maps, and many were hesitant about the effectiveness of newer mobile ski mapping alternatives. While it appears that printed maps are around to stay for now, the recent retirement of prominent ski map painter James Niehues may signify the demise of traditionally hand-painted ski resort maps. Extensive literature already exists regarding the reproduction of hand-painted panoramas using computer software programs, and as the digital image becomes more accepted in our culture it is possible that many future ski resort maps will be digitally-rendered

James Abbott McNeill Whistler: Photographs of His Paintings and the Art of Photography

James Abbott McNeill Whistler (1834-1903) is an important figure in the development of art photography. His lyrical and atmospheric images were not only admired by modernist painters, but also influenced many photographers who aspired to be artists. His treatment of the subject matter, careful selection of paper, and arduous printing process gave profound inspiration to many of the early twentieth century photographers. Nonetheless, Whistler\u27s own attitude towards the medium of photography was quite elusive. He never took the camera seriously as a tool of his artistic expression and photography was never included in his oeuvre. The artist never explained his position in the nineteenth-century debate of whether photography belonged to fine art or was a branch of science. There has been much scholarly research and writing about Whistler’s art and its influence on late nineteenth century photography, but few have been concerned with Whistler’s own views on the medium. I this paper, I examine Whistler\u27s use of photographs in my attempt to contextualize his view of photography as an artistic medium. What was photography for Whistler? How did he see it in relation to art? The purpose of this study is to offer a fresh insight into the art and ideas of James Abbott McNeill Whistler, one of the greatest artists of the nineteenth century