The sampling lattice used to digitize continuous image data is a signi?cant determinant of the quality of the resulting digital image, and therefore, of the e?cacy of its processing. The nature of sampling lattices is intimately tied to the tessellations of the underlying continuous image plane. To allow uniform sampling of arbitrary size images, the lattice needs to correspond to a regular - spatially repeatable - tessellation. Although drawings and paintings from many ancient civilisations made ample use of regular triangular, square and hexagonal tessellations, and Euler later proved that these three are indeed the only three regular planar tessellations possible, sampling along only the square lattice has found use in forming digital images. The reasons for these are varied, including extensibility to higher dimensions, but the literature on the rami?cations of this commitment to the square lattice for the dominant case of planar data is relatively limited. There seems to be neither a book nor a survey paper on the subject of alternatives. This book on hexagonal image processing is therefore quite appropriate. Lee Middleton and Jayanthi Sivaswamy well motivate the need for a c- certedstudyofhexagonallatticeandimageprocessingintermsoftheirknown uses in biological systems, as well as computational and other theoretical and practicaladvantagesthataccruefromthisapproach. Theypresentthestateof the art of hexagonal image processing and a comparative study of processing images sampled using hexagonal and square grids.
Photographic imagery has come a long way from the pinhole cameras of the nineteenth century. Digital imagery, and its applications, develops in tandem with contemporary society's sophisticated literacy of this subtle medium. This book examines the ways in which digital images have become ever more ubiquitous as legal and medical evidence, just as they have become our primary source of news and have replaced paper-based financial documentation. Crucially, the contributions also analyze the very profound problems which have arisen alongside the digital image, issues of veracity and progeny that demand systematic and detailed response: It looks real, but is it? What camera captured it? Has it been doctored or subtly altered? Attempting to provide answers to these slippery issues, the book covers how digital images are created, processed and stored before moving on to set out the latest techniques for forensically examining images, and finally addressing practical issues such as courtroom admissibility. In an environment where even novice users can alter digital media, this authoritative publication will do much so stabilize public trust in these real, yet vastly flexible, images of the world around us.
Remote Sensing Digital Image Analysis provides the non-specialist with an introduction to quantitative evaluation of satellite and aircraft derived remotely retrieved data. Since the first edition of the book there have been significant developments in the algorithms used for the processing and analysis of remote sensing imagery; nevertheless many of the fundamentals have substantially remained the same. This new edition presents material that has retained value since those early days, along with new techniques that can be incorporated into an operational framework for the analysis of remote sensing data.
Each chapter covers the pros and cons of digital remotely sensed data, without detailed mathematical treatment of computer based algorithms, but in a manner conductive to an understanding of their capabilities and limitations. Problems conclude each chapter.
Digital Fundamentals: A Systems Approach offers unique coverage of digital technology with a system emphasis, providing a fundamental grounding in the basic concepts of digital technology and systems reinforced by an abundance of illustrations, examples, applications, and exercises.
Why does the Bible prohibit the fabrication of graven images? What is the relationship between imagery and idolatry? Within what limits does the Biblical prohibition apply? Lionel Kochan makes these questions the starting-point for a perceptive analysis, in the Jewish perspective, of religious symbolism, the ambivalent concept of the holy, the absence of mediation between man and God, the role of memory, and the notion of time. Has the Biblical prohibition made the Jews a people of the ear rather than the eye? How has it affected the welcome that Judaism extends to music above all the other arts? How has Jewish figurative art been affected, especially in its depiction of the human being?
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