Absorbing new subjects: holography as an analog of photography

I discuss the early history of holography and explore how perceptions, applications, and forecasts of the subject were shaped by prior experience. I focus on the work of Dennis Gabor (1900–1979) in England,Yury N. Denisyuk (b. 1924) in the Soviet Union, and Emmett N. Leith (1927–2005) and Juris Upatnieks (b. 1936) in the United States. I show that the evolution of holography was simultaneously promoted and constrained by its identification as an analog of photography, an association that influenced its assessment by successive audiences of practitioners, entrepreneurs, and consumers. One consequence is that holography can be seen as an example of a modern technical subject that has been shaped by cultural influences more powerfully than generally appreciated. Conversely, the understanding of this new science and technology in terms of an older one helps to explain why the cultural effects of holography have been more muted than anticipated by forecasters between the 1960s and 1990s

Single-shot compressed ultrafast photography: a review

Compressed ultrafast photography (CUP) is a burgeoning single-shot computational imaging technique that provides an imaging speed as high as 10 trillion frames per second and a sequence depth of up to a few hundred frames. This technique synergizes compressed sensing and the streak camera technique to capture nonrepeatable ultrafast transient events with a single shot. With recent unprecedented technical developments and extensions of this methodology, it has been widely used in ultrafast optical imaging and metrology, ultrafast electron diffraction and microscopy, and information security protection. We review the basic principles of CUP, its recent advances in data acquisition and image reconstruction, its fusions with other modalities, and its unique applications in multiple research fields

Data visualization within urban models

Models of urban environments have many uses for town planning, pre-visualization of new building work and utility service planning. Many of these models are three-dimensional, and increasingly there is a move towards real-time presentation of such large models. In this paper we present an algorithm for generating consistent 3D models from a combination of data sources, including Ordnance Survey ground plans, aerial photography and laser height data. Although there have been several demonstrations of automatic generation of building models from 2D vector map data, in this paper we present a very robust solution that generates models that are suitable for real-time presentation. We then demonstrate a novel pollution visualization that uses these models

Spontaneity and Materiality: What Photography Is in the Photography of James Welling

Images are double agents. They receive information from the world, while also projecting visual imagination onto the world. As a result, mind and world tug our thinking about images, or particular kinds of images, in contrary directions. On one common division, world traces itself mechanically in photographs, whereas mind expresses itself through painting.1 Scholars of photography disavow such crude distinctions: much recent writing attends in detail to the materials and processes of photography, the agency of photographic artists, and the social determinants of the production and reception of photographs. As such writing makes plain, photographs cannot be reduced to mechanical traces.2 Yet background conceptions of photography as trace or index persist almost by default, as no framework of comparable explanatory power has yet emerged to replace them. A conception of photography adequate to developments in recent scholarship is long overdue. Rather than constructing such a conception top-down, as philosophers are wont to do, this paper articulates it by examining selected works by James Welling.3 There are several reasons for this: Welling’s practice persistently explores the resources and possibilities of photography, the effect of these explorations is to express a particular metaphysics of the mind’s relation to its world, and appreciating why this metaphysics is aptly expressed by exploring photography requires a revised conception of what photography is. In as much as it provides a framework for a richer interpretation of Welling, the new conception is also capable of underwriting a wide range of critical and historical approaches to photography

Recent Progress in Image Deblurring

This paper comprehensively reviews the recent development of image deblurring, including non-blind/blind, spatially invariant/variant deblurring techniques. Indeed, these techniques share the same objective of inferring a latent sharp image from one or several corresponding blurry images, while the blind deblurring techniques are also required to derive an accurate blur kernel. Considering the critical role of image restoration in modern imaging systems to provide high-quality images under complex environments such as motion, undesirable lighting conditions, and imperfect system components, image deblurring has attracted growing attention in recent years. From the viewpoint of how to handle the ill-posedness which is a crucial issue in deblurring tasks, existing methods can be grouped into five categories: Bayesian inference framework, variational methods, sparse representation-based methods, homography-based modeling, and region-based methods. In spite of achieving a certain level of development, image deblurring, especially the blind case, is limited in its success by complex application conditions which make the blur kernel hard to obtain and be spatially variant. We provide a holistic understanding and deep insight into image deblurring in this review. An analysis of the empirical evidence for representative methods, practical issues, as well as a discussion of promising future directions are also presented.Comment: 53 pages, 17 figure

The Grin of Schrödinger's Cat; Quantum Photography and the limits of Representation

The famous quantum physics experiment 'Schrödinger's cat' suggests that some situations are undecidable, i.e. they exist outside of the normative distinctions between 'truth' and 'false' because both states can co-exist under certain conditions. This paper suggests that photography has very close links with this state of affairs, because photography allows one to move from the world of certainty into the quantum dimension of undecidability and indeterminate states