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1.
Although the optical properties of seawater at extreme depths are more suitable for underwater photography than those at the surface or on continental shelves, they still impose severe limitations on long-range wide area bottom photography. Additionally, deep ocean operations impose technical limitations on control, power and bandwidth. This chapter reviews the approaches contemplated or made towards improving the camerato-target range in underwater photography in the deep ocean. Further significant improvements await advances in control, power/light sources and bandwidth reduction. With the developments now contemplated, TV and video systems will eventually present a strong challenge to emulsion film techniques.  相似文献   
2.
介绍了三线阵数码航摄仪ADS 80,探讨了其Level 0级影像的后处理技术,分析了不同软件在相同地面分辨率下不同地面控制条件下的后处理精度。得出的结论是控制点分布、数量、位置和航摄影像地面分辨率对ADS 80相机L0级影像空三解算和生成的L1级影像精度影响较大;在充分考虑以上因素的情况下,ADS 80相机在获取的航摄影像地面分辨率低于成图比例尺要求时仍能得到较高的校正精度。  相似文献   
3.
Representative images of split sediment cores document geological records, serve as visual aids for multimedia, and provide samples for image analysis. Existing core imaging systems, often containing integrated hardware and software, are capable of providing excellent images; unfortunately these systems are also bulky and expensive, and are therefore limited to labs that process large volumes of core and those actively involved in image analysis. For most research groups such systems are unfeasible to buy and maintain. Producing good quality core images with a hand-held digital camera is very difficult without a consistent lighting source, and changes in camera angle (in all three spatial dimensions) between photographs may prevent accurate image compositing. Tripods allow for camera stability, but typically do not accommodate downward-facing photography. Presented here is an easily constructed core-imaging system that minimizes many of the drawbacks of personal digital cameras. Software necessary for using this system is readily available and can be run from a personal computer.  相似文献   
4.
Gillian Rose 《Geoforum》2009,40(1):46-54
The paper begins with the recent interest in what Mbembe has called ‘necropolitics’: the politics of the distribution of life and death by modern sovereign states. The necropolitical works through the production of spatialities, visualities, and bodies that are classed, racialised and gendered in particular ways. The paper explores a series of such productions in its discussion of the British press coverage of the bombs that exploded on London’s public transport system on 7 July 2005, and in particular the photographs used by the newspapers. It argues that the newspapers pictured bodies as gendered and racialised, with the former fixed and visible much more clearly than the latter. It further argues that the newspapers differentiated between various bodies by assuming that a certain sort of care was deserved only by some of those involved in the bombings. Finally, the paper examines how the coverage worked to place the readers of the newspapers in a specific position in the necropolitical order of power as citizens who care only for certain people, and in a particular way. The paper concludes by considering the implications of that specific caring for contemporary necropolitics and its visualities and spatialities.  相似文献   
5.
The photo-sieving method enables the grain-size analysis of particles > 10 mm from unconsolidated openwork bedding surfaces. The accuracy is equal to the machine-sieving method. The sediment surface is photographed in the field using a camera stand. The enlarged print is digitized for computer processing by tracing the outlines of the pebbles. From the size and shape of the projection area of the individual pebble images the computer determines the ellipsoids of revolution, classifies these ellipsoids, and establishes their grain-size distribution in percentage by weight. Thus photo-sieving differs distinctly from point-counting techniques. With the aid of photo-sieving, the surface grain-size distributions of larger sedimentary systems may be regularly mapped. Alluvial fans, braided rivers, both onshore and offshore coasts or areas of relict sediments and manganese nodules are suitable for this method.  相似文献   
6.
数字摄影测量系统的数据获取   总被引:1,自引:0,他引:1  
随着计算机技术的发展,摄影测量由模拟摄影测量和解析摄影测量发展到当今的数字摄影测量阶段,本文介绍了数字摄影测量的定义、主要的几种系统以及作业流程。  相似文献   
7.
基于省级1:10 000基础测绘成图,以试验生产的方式探讨了ADS80数码相机航摄影像生产的关键技术——Level 0级影像空中三角测量和空三加密后的Level 1级影像立体测图,分析了不同影像地面分辨率、不同控制点数量和分布条件下ADS80影像的后处理精度,提出了ADS80影像在1:10 000成图中的控制点布设方案,结果可以为省级基础测绘生产提供参考依据。  相似文献   
8.
In this paper, first we introduce the wave run-up scale which describes the degree of wave run-up based on observed sea conditions near and on a coastal structure. Then, we introduce a simple method which can be used for daily forecast of wave run-up on a coastal structure. The method derives a multiple linear regression equation between wave run-up scale and offshore wind and wave parameters using long-term photographical observation of wave run-up and offshore wave forecasting model results. The derived regression equation then can be used for forecasting the run-up scale using the offshore wave forecasting model results. To test the implementation of the method, wave run-up scales were observed at four breakwaters in the East Coast of Korea for 9 consecutive months in 2008. The data for the first 6 months were used to derive multiple linear regression equations, which were then validated using the run-up scale data for the remaining 3 months and the corresponding offshore wave forecasting model results. A comparison with an engineering formula for wave run-up is also made. It is found that this method can be used for daily forecast and warning of wave run-up on a coastal structure with reasonable accuracy.  相似文献   
9.
本文根据灰色系统理论,应用关联序分析,探讨了一种对航空像片进行林分类型识别的方法.该方法首先确定航空像片样区信息中反映林分类型空间分布结构特征的频谱光电流数据序列,然后确定标准识别对象频谱序列的模式,再根据关联序分析法计算待识别对象与标准识别对象间的关联程度,从而根据关联度的大小确定待识别对象的林分类型。  相似文献   
10.
This article explores the relationship between historical memory, urban space, and photography by way of a case study: the place-specific public art of the Guatemalan photographer and human rights activist, Daniel Hernández-Salazar. As one of a growing number of Latin American artists committed to combating the “institutionalized forgetfulness” of human rights violations throughout the hemisphere, Hernández-Salazar deploys geographically-rich photographic installations to help his society remember its difficult past. The installations, known as Street Angel, are like ghosts haunting the graves of the murdered, fortresses of the powerful, bastions of the complicit. By shedding light on these ghostly angels, this article reveals the important role of photography, as a crucial vehicle of memory, in bearing witness to the unimaginable horrors that consumed much of the twentieth century, as well as that technology’s limitations. It also shows how remembrances of those atrocities depend on urban space for their grounding, articulation, and maintenance. Finally, by probing the artistic impulse and political sensibility that created Guatemala City’s angels of memory, it makes the case that, in the combustible political climate of post-war Central America, the work of remembering the past is not an antiquarian exercise: the labor of memory is a fundamental component of building a just society.
Steven HoelscherEmail:
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