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Computer Vision
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Computer Vision
Principles, Algorithms,
Applications, Learning
Fifth Edition
E.R. Davies
Royal Holloway, University of London, United Kingdom
Academic Press is an imprint of Elsevier
125 London Wall, London EC2Y 5AS, United Kingdom
525 B Street, Suite 1800, San Diego, CA 92101-4495, United States
50 Hampshire Street, 5th Floor, Cambridge, MA 02139, United States
The Boulevard, Langford Lane, Kidlington, Oxford OX5 1GB, United Kingdom
No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical,
including photocopying, recording, or any information storage and retrieval system, without permission in writing
from the publisher. Details on how to seek permission, further information about the Publisher’s permissions policies
and our arrangements with organizations such as the Copyright Clearance Center and the Copyright Licensing
Agency, can be found at our website: www.elsevier.com/permissions.
This book and the individual contributions contained in it are protected under copyright by the Publisher (other than
as may be noted herein).
Notices
Knowledge and best practice in this field are constantly changing. As new research and experience broaden our
understanding, changes in research methods, professional practices, or medical treatment may become necessary.
Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any
information, methods, compounds, or experiments described herein. In using such information or methods they
should be mindful of their own safety and the safety of others, including parties for whom they have a professional
responsibility.
To the fullest extent of the law, neither the Publisher nor the authors, contributors, or editors, assume any liability
for any injury and/or damage to persons or property as a matter of products liability, negligence or otherwise, or
from any use or operation of any methods, products, instructions, or ideas contained in the material herein.
ISBN: 978-0-12-809284-2
vii
viii Contents
xxi
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Foreword
It is an honor to write a foreword for Roy Davies’ new edition of Computer and
Machine Vision, now entitled Computer Vision: Principles, Algorithms,
Applications, Learning. This is one of the major books in Computer Vision and
not just for its longevity, having now reached its Fifth Edition. It is actually a
splendid achievement to reach this status and it reflects not only on the tenacity
and commitment of its author, but also on the achievements of the book itself.
Computer Vision has shown awesome progress in its short history. This is part
due to technology: computers are much faster and memory is now much cheaper
than they were in the early days when Roy started his research. There have been
many achievements and many developments. All of this can affect the evolution
of a textbook. There have been excellent textbooks in the past, which were neither
continued nor maintained. That has been avoided here as the textbook has contin-
ued to mature with the field and its many developments.
We can look forward to a future where automated computer vision systems
will make our lives easier while enriching them too. There are already many
applications of Computer Vision in the food industry and robotic cars that will be
with us very soon. Then there are continuing advancements in medical image
analysis, where Computer Vision techniques can be used to aid in diagnosis and
therapy by automated means. Even accessing a mobile phone is considerably
more convenient when using a fingerprint and access by face recognition con-
tinues to improve. These have all come about due to advancements in computers,
Computer Vision, and applied artificial intelligence.
Adherents of Computer Vision will know it to be an exciting field indeed. It
manages to cover many aspects of technology from human vision to machine
learning requiring electronic hardware, computer implementations, and a lot of
computer software. Roy continues to cover these in excellent detail.
I remember the First Edition when it was first published in 1990 with its
unique and pragmatic blend of theory, implementation, and algorithms. I am
pleased to see that the Fifth Edition maintains this unique approach, much appre-
ciated by students in previous editions who wanted an accessible introduction to
Computer Vision. It has certainly increased in size with age, and that is often the
way with books. It is most certainly the way with Computer Vision since many of
its researchers continue to improve, refine, and develop new techniques.
A major change here is the inclusion of Deep Learning. Indeed, this has been
a major change in the field of Computer Vision and Pattern Recognition. One
implication of the increase in computing power and the reduction of memory cost
is that techniques can become considerably more complex, and that complexity
lends itself to application in the analysis of “big data.” One cannot ignore the per-
formance of deep learning and convolutional neural networks: one only has to
peruse the program of top international conferences to perceive their revolution-
ary effect on research direction. Naturally, it is early days but it is good to have
xxiii
xxiv Foreword
Mark S. Nixon
University of Southampton, Southampton, United Kingdom
July 2017
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promise to spread into a generous shade. At the tea-house where
the great Japanese dinner was given by the local governor, with
maiko and geisha and jugglers performing between the courses,
they still preserve the floor-cushion on which their illustrious guest
was seated, and bring it out to show to favored Americans. To the
Japanese, General Grant and Commodore Perry mean America; nor
could we have sent them better types than the great sailor who
peaceably opened Japan to the world, and the greater soldier who
made use of war only to insure enduring peace.
The Portuguese and Dutch have left records of their occupancy
here in the sixteenth and seventeenth centuries. Francis Xavier and
the Jesuit fathers who succeeded him converted thousands of
Japanese to Christianity, and though it had been supposed that the
persecutions and tortures under Iyeyasu had destroyed the
Christians, the opening of the country after the Restoration
discovered whole communities of them near Nagasaki, who retained
their belief, wore the peculiar dress prescribed for them by the
Jesuits, knew the prayers and forms, and made the sign of the cross.
Nothing in the Book of Martyrs exceeds the tortures and suffering of
these Christians, who would not deny their religion, nor tread upon
the paper picture of Christ, as they were bidden to do. The tradition
goes that at Pappenberg, the precipitous little island at the mouth of
the harbor, thousands of converts were forced by spear-points into
the sea, but the best scholars and authorities now discredit this
wholesale horror, of which no trustworthy record exists.
From 1641 the Dutch lived as prisoners on the little island of
Deshima, where the porcelain bazaar now stands, suffering
incredible restrictions and humiliations for the sake of monopolizing
the trade of the country. Nagasaki’s children and beggars still follow
strangers with the shout, “Hollander san! Hollander san!” as a
remembrance of those first foreign residents, and in curio-shops
queer clocks and ornaments show the adaptation and imitation of
many Dutch articles by the Japanese.
The fact of Nagasaki’s being only a port of call makes its curio
market fluctuate in proportion to the number of merchantmen and
men-of-war in port. When the harbor is full, no resident visits the
curio-shops, whose prices always soar at such times. Tortoise-shell
carving is a great industry of the place, but porcelain is still the
specialty of this southern province, where the art was first
introduced. Those wares of South Japan known anciently as
Nabeshima and Hirado are the finest of Japanese porcelains, their
blue and white beauty being simply perfect. The potters who brought
the art from Korea and China settled in Satsuma and Hizen, and the
kilns of Arita and Kagoshima are still firing. The Dutch carried the
Arita ware to Europe under the name of Hizen. This porcelain is now
more commonly termed Imari, while Deshima is another general
name for the modern product, and Nabeshima and Hirado are the
words used by connoisseurs in vaunting precious wares. This
confusion of names misleads the traveller, who cannot at once
discern that Hizen is the name of the province; Arita of the town
where the potters live and the kilns are at work; Imari of the port from
which it is shipped; Nabeshima the family name of that daimio of
Hizen who brought the potters from Korea; and Hirado of the daimio,
whose factory at Mikawaji, near Arita, produced the exquisite pieces
coveted by all of his fellow-daimios. Modern Imari ware is much too
fascinating and tempting to the slender purse, but when one
acquires a fondness for the exquisite porcelains the old Nabeshima
made for themselves, learns the comb-like lines and the geometrical
and floral marks on the underside that characterize them, and is
aroused to the perception of the incomparable “seven boy” Hirado,
his peace of mind is gone. Genuine old Hirado vases or plates, with
the seven boys at play, or even five boys or three boys, are hardly to
be bought to-day, and the countless commercial imitations of the old
designs do not deceive even the amateur connoisseur. Old Satsuma
is even rarer, and a purchaser needs to be more suspicious of it in
Japan than in London. It is true that the air is full of tales of
impoverished noblemen finally selling their treasures; of forgotten
godowns being rediscovered; and of rich uncles leaving stores of
Hirado and Satsuma to poor relations, whose very rice-box is empty.
But the wise heed not the voice of the charmer. The credulity of the
stranger and the tourist is not greater than the ignorance of residents
who have been in the country for years without learning to beware of
almost everything on which the Emperor’s chrysanthemum crest, the
Tokugawa trefoil, or the Satsuma square and circle stand
conspicuous.
The fine modern Satsuma, all small pieces decorated in
microscopically fine work, is painted chiefly by a few artists in Kioto
and Osaka, and their work and signatures are easily recognized. The
commoner Satsuma—large urns, koros, vases, and plates—is made
in the province of Satsuma and in the Awata district of Kioto, but it is
decorated anywhere—Kobé, Kioto, Yokohama, and Tokio all coating
it with the blaze of cheap gilding that catches and delights the foreign
eye. Once upon a time ship-loads of porcelains, bronzes, and
lacquer were sold for a song; fine bells going for ship ballast, and
ships’ cooks using veritable old Satsuma jars to put their drippings
in. But that time is not now. A collection of old Satsuma lately
gathered up in Europe by a Japanese buyer brought five times its
cost when disposed of in Japan. Some notion of the wealth of art
works, and of the great stores the country contained in the old days,
may be conveyed by the drain of these twenty years, since
Japanese art began to revolutionize the art world. The Restoration,
the Satsuma rebellion, the adoption of foreign dress for the army and
the court, each sent a flood of rare things into the curio market, and
hard times still bring forth treasures. The great collectors and
connoisseurs are now so generally known that sacrifices of choice
curios are made directly to them by private sale, and not in the open
market. Government has begun to realize the irrecoverable loss of
the country, and the necessity of retaining what still remains, and
lists and photographs are being made of all art treasures stored in
the Government and temple godowns throughout the empire. Much
has been destroyed by fire, of course, and it is said that the priests
themselves have put the torch to their temples at the approach of the
official commission that would have discovered what priceless
temple treasures they had sold in times of need. All the Buddhist
establishments suffered loss of revenues after the Restoration, and
only by secretly disposing of the sacred objects in the godowns were
many priests kept from starvation.
While the Dutch were there, Nagasaki had a large trade with
China, and still does a great business with that country in the
exportation of dried fish. It smells to heaven all along the Bund, and
in the court-yards of the large warehouses men and women turn in
the sun and pack into bags oblong brown things that might be either
the billets of wood used in cricket, or old boot-soles. These hard
blocks are the dried bonito which, shaved on a plane, stewed, and
eaten with rice, are a staple of food in both countries, and not
unpalatable, as we found while storm-bound on Fuji.
Almost all the coal used in China and Japan, and by the Asiatic
fleets of the different nations, comes from the mines on the island of
Takashima, at the entrance of Nagasaki’s fiord-like harbor. Cargoes
of it have been sent even to San Francisco with profit, although this
soft and very dirty fuel is much inferior to the Australian coal. The
Takashima mines and the dry-dock at Nagasaki are owned by the
Mitsu Bishi company, which retained those properties when it sold its
steamship line to the Government, and the coal-mine brings in two
million yen a year to its owners. Its deepest shaft is only one
hundred and fifty feet down, and barges carry the coal from the
mouth of the shafts to the waiting ships in harbor.
In 1885, the year of the great cholera epidemic, the village of
mining employés was almost depopulated. The harbor was nearly
deserted, the American and English mission stations were closed,
and the missionaries and their families fled to Mount Hiyeizan. Only
the Catholic fathers and the nuns remained, much to the concern of
the governor and officials, who begged them to go. On our way to
China we touched at Nagasaki while the epidemic was at its height,
but no passenger was allowed to go ashore, and all day we kept to
the decks that were saturated with carbolic acid. It took six hours to
coal the ship, and from noon to sundown we beheld a water carnival.
As the first coal-barge drew near, a man in the airy summer costume
of the harbor country—which consisted of a rope around his waist—
jumped over the side and swam to the stern of our steamer. He was
like a big, brown frog kicking about in the water, and when he came
dripping up the gang-way the faithful steerage steward gave him a
carbolic spraying with his bucket and brush. The barge was hauled
up alongside and made fast, and our consignment of coal was
passed on board in half-bushel baskets from hand to hand along a
line of chanting men and women. Nothing more primitive could be
imagined, for, with block, tackle, windlass, steam, and a donkey
engine on board, it took a hundred pairs of hands to do their work. At
the end of each hour there was a breathing spell. Many of the
women were young and pretty, and some of them had brought their
children, who, throwing back the empty baskets and helping to pass
them along the line, thus began their lives of toil and earned a few
pennies. The passengers threw to the grimy children all the small
Japanese coins they possessed, and when the ship swung loose
and started away their cheerful little sayonaras long rang after us.
CHAPTER XXXVII
IN THE END
Baku, 99.
Baltimore, 51.
Bamboo, 35, 136, 233, 346, 347.
Banko ware, 209.
Baths, 128, 169, 170, 173, 194, 195, 203, 349.
Battledore, 283.
Bazaars, 131, 273, 335.
Beauvais, 260.
Behring Strait, 2.
Belgium, 344.
Benkei, 217.
Benten, the Goddess, 41, 42, 272.
⸺ Dori, 13, 15.
Berry, Dr. J. C., 241.
Bird, Miss Isabella, 146.
Bishamon, 271.
Biwa, 22.
⸺ Lake, 179, 216-218, 235, 331.
Black tea, 351, 352.
Bleaching, 283.
Bluff, the, Yokohama, 7, 11.
Board of Trade, 331.
Bon Festival, 242, 361.
Boston, 51, 328, 329.
Botan, 77.
Bridge, the Sacred Red, 148, 160.
Brocades, 63, 257-259.
Bronze, 275, 276.
Buddha, 38, 78, 148, 157, 222, 230, 234, 235, 237, 238, 308,
311, 312, 327, 342, 344, 345, 359.
Buddhism, 21, 47, 135, 138, 230, 236, 237, 239, 241, 310, 311,
313, 321, 322, 326, 327, 338, 342, 366.
Bund, Hiogo, 341.
⸺ Kobé, 341.
⸺, Nagasaki, 366.
⸺ Yokohama, 3, 4, 8.
Earthquakes, 61.
Ebisu, 264, 271.
Echigoya, 62.
Edinburgh, Duke of, 98.
Education, 57, 240, 241, 371, 373, 375.
Eels, 95.
El Capitan, 333.
Electric lights, 23, 104, 126, 282.
Embroideries, 267, 268.
Emperor, the. See Mutsu Hito.
Empress, the. See Haruko.
⸺ the Dowager. See Asahiko.
Enamel, cloisonné, 209, 278, 285-291.
Engei Kyokai, 97.
Enoshima, 38, 41, 42.
Eta, 96, 159, 373.
Etruscan, 272.
Execution-ground, 342.
Eyeball, Buddha’s, 327, 328.
Face-powder, 12.
Faience, 277.
Fans, 281, 366.
Farm-houses, 12.
Feast of Dolls, 54.
⸺ of Lanterns, 243.
Festival, boys’, 56.
Fine Arts Club, Tokio, 50.
Fire-flies, 188, 280, 320, 351.
Fires, 59.
Fish, 40, 42, 285, 366.
Flash-light, 327, 341, 362.
Fleas, 145.
Fleur-de-lis, 77.
Floods, 331, 332.
Florists, 11, 49, 81.
Flower festivals, 65-86.
Frescos, 327.
Fruits, 22.
Fuji-san, the Goddess, 176, 186.