Fabric defects inspection is a vital step for fabric quality assessment. Many vision-based automatic fabric defect detection methods have been proposed to detect fabric flaws efficiently and accurately. Because the inspection methods are vision-based, image quality is of great importance to the accuracy of detection result. To our knowledge, most of camera lenses have radial distortion. So our goal in this project is to remove the radial distortion and achieve undistorted images. Much research work has been done for 2-D image correction, but the study for 1-D line scan camera image correction is rarely done, although line scan cameras are gaining more and wider applications due to the high resolution and efficiency on 1-D data processing. A novel line scan camera correction method is proposed in this project. We first propose a pattern object with mutually parallel lines and oblique lines to each pair of parallel ones. The purpose of the pattern design is based upon the fact that line scan camera acquires image one line at a time and it's difficult for one scan line to match the "0-D" marked points on pattern. We detect the intersection points between pattern lines and one scan line and calculate their position according to the pattern geometry. As calibrations for 2-D cameras have been greatly achieved, we propose a method to calibrate 1-D camera. A least-square method is applied to solve the pinhole projection equation and estimate the values of camera parameter matrix. Finally we refine the data with maximum-likelihood estimation and get the camera lens distortion coefficients. We re-project the data from the image coordinate to the world coordinate, using the obtained camera matrix and the re-projection error is 0.68 pixel. With the distortion coefficients ready, we correct captured images with an undistortion equation. We introduce a term of unit distance in the discussion part to better assess the proposed method. When testifying the undistortion results, we observe corrected image has almost identical unit distance with standard deviation of 0.29 pixels. Compared to the ideal distortion-free unit distance, the corrected image has only 0.09 pixel off the average, which proves the validity of the proposed method. / text

n order to accurately assess the status of the cheetah Acinonyx jubatus it is necessary to obtain data on numbers and demographic trends. However, cheetahs are notoriously difficult to survey because they occur at very low population densities and are often shy and elusive. In South Africa the problem is further complicated in areas where land is privately owned, restricting access, with dense bush and cheetahs that are frequently persecuted. Cheetahs are individually identifiable by their unique spot patterns, making them ideal candidates for capture–recapture surveys. Photographs of cheetahs were obtained using four camera traps placed successively at a total of 12 trap locations in areas of known cheetah activity within a 300 km² area in the Thabazimbi district of the Limpopo Province. During 10 trapping periods, five different cheetahs were photographed. These results were used to generate capture histories for each cheetah and the data were analysed using the capture–recapture software package CAPTURE. Closure tests indicated that the population was closed (P = 0.056). The Mh model was used to deal with possible heterogeneous capture probabilities among individual cheetahs. Closure tests did not reject the model assumption of population closure (P = 0.056).TheMh model produced a capture probability of 0.17 with an estimate of 6–14 cheetahs (P = 0.95) and a mean population size of seven cheetahs (S.E. = 1.93). These results are promising and will be improved with employment of more camera traps and sampling a larger area.

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Thesis (M.S.)--Rochester Institute of Technology, 1992. / Typescript. Includes bibliographical references (leaves 59-61).

Aspects of the design, development and evaluation of a 1-5 ?m near-infrared camera for a large ground-based telescope are described and discussed. In particular this the?sis will consider the detailed cryogenic design and the closely inter-related areas of the optical and mechanical design. Also discussed is near-infrared imaging and imag?ing polarimetry of the star forming region OMC 2, acquired during the astronomical commissioning of the camera.

The work presented in this thesis documents the design, development and evaluation of a high performance stereoscopic telepresence system. Such a system offers the ability to enhance the operator perception of a remote and potentially hazardous environment as an aid to performing a remote task. To achieve this sensation of presence demands the design of a highly responsive remote camera system. A high performance stereo platform has been designed which utilises state- of-the-art cameras, servo drives and gearboxes. It possesses four degrees of freedom; pan, elevation and two camera vergence motions, all of which are controlled simultaneously in real-time by an open architecture controller. This has been developed on a PC/AT bus architecture and utilises a PID control regime. The controller can be easily interfaced to a range of input devices such as electromagnetic head tracking systems which provide the trajectory data for controlling the remote mechatronic platform. Experiments have been performed to evaluate both the mechatronic system and operator oriented performance aspects of the telepresence system. The mechatronic system investigations identify the overall system latency to be 80ms, which is considerably less than other current systems. The operator oriented evaluation demonstrates the necessity for a head tracked telepresence system with a head mounted display system. The need for a low latency period to achieve high operator performance and comfort during certain tasks is also established. This is evident during trajectory following experiments where the operator is required to track a highly dynamic target. The telepresence system has been fully evaluated and demonstrated to enhance operator spatial perception via a sensation of visual immersion in the remote environment.

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The elusive and nocturnal nature of the ocelot Leopardus pardalis poses difficulty in gaining basic information on demographic parameters needed to better inform conservation. My study used camera trapping data from long-term monitoring of ocelot populations on six different protected areas in Belize over a time span ranging from 1 to 12 years, with 1,700 ocelot detections in 65,157 total trap nights. I used classical and spatially explicit methods, including multi-session robust design, to estimate and compare ocelot density and survival across sites and time. Full likelihood single session models estimated densities ranging from 6.4 - 22.5 individuals/100km2 in the broadleaf forested sites. Robust design models estimated densities from 8.8 - 22.8 individuals/100 km2 and ocelots had high annual survival (71-79%) in 2 broadleaf sites. Contrary to predictions, robust design models had higher precision than full likelihood models less than half the time. Spatially explicit models estimated density ranging between 7.2 – 22.0 individuals/100 km2 in broadleaf sites, and much lower estimates at 0.9 individuals/100 km2 in the pine forest site. Accounting for sex in spatially explicit methods, which directly incorporate locations of captures into the model, increased precision in density estimates by reducing individual heterogeneity in capture probability. The spatial models also demonstrated that males moved larger distances than females and had slightly higher detection rates. Ocelot populations remained relatively stable over time at the long term sites. My study produced methodologically rigorous abundance/density estimates for ocelots in Belize and the first ever ocelot survival estimates. / Master of Science

This practice-based PhD is located in the field of live art practice and looks at the relationship between the camera and artworks that are critical of phallocentrism. It proposes a radical address to maternal methodology, using a series of performance-to-camera works where the focus is on the matrilineal and mother-daughter relationships. It focuses on maternal theorising, which is prevalent in contemporary feminist theory, and the renascent maternal aesthetic that forms the subject matter of the performance and art-making reviewed here. I include collaborative practice with photographer, Alan Duncan, and my eldest daughter, Matilda. I argue that power imbalances and representational autonomy cannot be challenged effectively by performance-to-camera per se, however, when aligned with maternal aesthetics, in this instance, mother-daughter and matrilineal performance, the critique is re-invigorated because aesthetic distance and the latent influence of binary thought are not pre-supposed or engaged with uncritically. The first chapter locates the practice-based research within a context of feminist theory; artists Ana Mendieta and Jemima Stehli, and the philosophy of Luce Irigaray, underpin my subsequent performance interventions as inherently resistant to phallocentric objectification. The second chapter discusses how critiques are re-ignited, via Alison Stone, when mother-daughter relationships are explored in women s performance and how combining this with Derrida's Parergon acts on the distancing effect of the frame. The establishment of a maternal aesthetic is supported by primary interviews, presented as oral histories in the form of recordings, with artists Shirley Cameron, Evelyn Silver, Tracey Kershaw and Sam Rose. Finally, the third chapter considers maternal aesthetics, both as an art practice and a practice of care, to establish it as a radical approach that differs widely from traditional Western aesthetics. I draw on Jessica Benjamin's intersubjective theory to demonstrate a relational approach to the maternal, and I emphasise the role of play as having nurturing qualities and, simultaneously, as material within my practice. This research has been crucial to the burgeoning area of maternal aesthetics because it makes work visible that has previously been absent in mainstream art criticism and canonisation. Original artworks have been produced, that interrogate the relationship between Derrida, Irigaray, the frame and the maternal.