OCR, Another Tool for Blind Photographers?

Well, one of the best tools i've developed to date has been my
Perl script for evaluating image exposure. The script takes an
image, analyzes all the pixels and breaks their brightness down,
plotting each as a constituent of an Ansel Adams zone. Using
this system, I can assess any scene even more accurately than you
sighted photographers.

The next step in the evolution of this script is to modify it a
bit, so that it will be able to detect / document lighting
gradations. With that capability, not only will I be able to
evaluate overall lighting, but I'll be able to assess whether I'm
achieving the effects I'm after -- i.e. high or low contrast,
subject isolation, etc.

But, all this pales when compared to the latest tool I've learned
to employ as a blind photographer: OCR.

Now, I don't mean that I'll be using my camera to read signs,
plaques, etc, although that is all possible. What I mean is
that, through tons of practice, I've developed a method in which
OCR can be used to help frame and layout any image I might
envision.

By placing a page of text in the frame, in front of the main part
of my subject, and taking a picture, running it through Omnipage,
and then reading back whatever text I've captured, it is possible
to detect whether or not the subject (behind the page) is in the
picture. And, by placing other, smaller cards, with captions
like "top left corner," bottom right corner," etc at points I
want to be the outer limits, it is possible to make sure that
everything is layed out as desired.

Pretty slick, eh?

While this isn't exactly going to help me get a wild crowd scene
at a local nightclub, it definitely can be used to get great
nature shots, studio setups, macro shots, etc.

Damn, "I love it when a plan comes together" ...

Take Care,
Dudley

In article ,
says...

Well, one of the best tools i've developed to date has been my
Perl script for evaluating image exposure. The script takes an
image, analyzes all the pixels and breaks their brightness down,
plotting each as a constituent of an Ansel Adams zone. Using
this system, I can assess any scene even more accurately than you
sighted photographers.

The next step in the evolution of this script is to modify it a
bit, so that it will be able to detect / document lighting
gradations. With that capability, not only will I be able to
evaluate overall lighting, but I'll be able to assess whether I'm
achieving the effects I'm after -- i.e. high or low contrast,
subject isolation, etc.

But, all this pales when compared to the latest tool I've learned
to employ as a blind photographer: OCR.

Now, I don't mean that I'll be using my camera to read signs,
plaques, etc, although that is all possible. What I mean is
that, through tons of practice, I've developed a method in which
OCR can be used to help frame and layout any image I might
envision.

By placing a page of text in the frame, in front of the main part
of my subject, and taking a picture, running it through Omnipage,
and then reading back whatever text I've captured, it is possible
to detect whether or not the subject (behind the page) is in the
picture. And, by placing other, smaller cards, with captions
like "top left corner," bottom right corner," etc at points I
want to be the outer limits, it is possible to make sure that
everything is layed out as desired.

Pretty slick, eh?

While this isn't exactly going to help me get a wild crowd scene
at a local nightclub, it definitely can be used to get great
nature shots, studio setups, macro shots, etc.

Damn, "I love it when a plan comes together" ...

I'm having trouble envisioning what you are doing. Is there any
possibility that you could take us through it step by step with
illustrations?

"J. Clarke" wrote:
In article ,
says...

Well, one of the best tools i've developed to date has been my
Perl script for evaluating image exposure. The script takes an
image, analyzes all the pixels and breaks their brightness down,
plotting each as a constituent of an Ansel Adams zone. Using
this system, I can assess any scene even more accurately than you
sighted photographers.

The next step in the evolution of this script is to modify it a
bit, so that it will be able to detect / document lighting
gradations. With that capability, not only will I be able to
evaluate overall lighting, but I'll be able to assess whether I'm
achieving the effects I'm after -- i.e. high or low contrast,
subject isolation, etc.

But, all this pales when compared to the latest tool I've learned
to employ as a blind photographer: OCR.

Now, I don't mean that I'll be using my camera to read signs,
plaques, etc, although that is all possible. What I mean is
that, through tons of practice, I've developed a method in which
OCR can be used to help frame and layout any image I might
envision.

By placing a page of text in the frame, in front of the main part
of my subject, and taking a picture, running it through Omnipage,
and then reading back whatever text I've captured, it is possible
to detect whether or not the subject (behind the page) is in the
picture. And, by placing other, smaller cards, with captions
like "top left corner," bottom right corner," etc at points I
want to be the outer limits, it is possible to make sure that
everything is layed out as desired.

Pretty slick, eh?

While this isn't exactly going to help me get a wild crowd scene
at a local nightclub, it definitely can be used to get great
nature shots, studio setups, macro shots, etc.

Damn, "I love it when a plan comes together" ...

I'm having trouble envisioning what you are doing. Is there any
possibility that you could take us through it step by step with
illustrations?



Actually, I'm working on a television episode for a tech show (
did some filming this week), so I might be able to post a link
in a few months to some better demo footage than I can produce,
myself. But, I also want to put some of the details on my
web site. So, one way or another, I'll try to clarify the
procedure as best as I can.

For now, think of it this way:

You might have seen the last pic I took of Mich doing shake-a-
paw with me (http://www.blind-apertures.ca/pics/ShakeAPaw.jpg).


In order to set that shot up, think of a few preliminary shots.


1. I put an open book with large print in front of the flower
pot situated behind where Mich and I will be located, situate
the camera on a tripod in such a way that I think I've got the
area framed properly. And take a pic.

Then, run the pic through Omnipage to see if I can read the
page.

If all the text is there (the page has already been scanned so
I know what's on it), I know I've at least got the base of the
flower pot as a starting point.

2. next, I sit where I want to sit, holding the book near
where I want the bottom left corner of the pic to be. I take
another pic, OCR it, and, check for completeness.


If I'm cutting off the beginnings of the lines of text, I know
I have to move the image area farther to the left. If the
bottom part of the page isn't there, I know I have to shift
the camera down.

3. I bring Mich into the picture and get him to sit where I
want him, put the book page where I want the bottom right edge,
and do the OCR evaluation again.

This time, I look for the right edge of the lines to be cut
short. and, if I've made a shift down to get more of the
bottom area in the pic, I once again look to see if the page
is readable all the way to the bottom.

4. If all is well, I hold the book up in the center, near the
top of the plant, and take a pic. This is to make sure I'm
not going to cut off either my head or Mich's. When I do the
OCR, I check to see if the page is readable from the top. If
it isn't, I have to zoom out a bit, and then recheck the top,
as well as the bottom corners.

6. I repeat these steps untill I've got the page scanning
perfectly in each of the important areas, all the while
orienting everything to the planter near the center, which can
be viewed as a sort of anchor.

7. Of course, as I'm doing the OCR evaluations, I'm also
running the pics through my Perl exposure evaluation script,
making sure the lighting is good. (The cam was in manual mode,
and I used 2 manual flashes.)

8. When all is as good as I think I'm like to get it, I bring
in Mich, press the remote (10 second trigger), tell him to
shake a paw, and hope for the best.

After all was set up, it took one shot for the actual pic.


Needless to say, the procedure is a bit primitive, so far, and
I haven't taken any pics that I'd consider well layed out, but
I'm very pleased with what I've been able to set up, so far,
and I'm looking forward to much better shots in the not too
distant future.

BTW, SuperZoom, in any of your manifestations, care to tell us
once again how a blind guy taking a pic is akin to 500 monkeys
hacking away in a room full of typewriters?

Take Care,
Dudley

Dudley Hanks wrote:

"J. Clarke" wrote:
In article ,
says...

Well, one of the best tools i've developed to date has been my
Perl script for evaluating image exposure. The script takes an
image, analyzes all the pixels and breaks their brightness down,
plotting each as a constituent of an Ansel Adams zone. Using
this system, I can assess any scene even more accurately than you
sighted photographers.

The next step in the evolution of this script is to modify it a
bit, so that it will be able to detect / document lighting
gradations. With that capability, not only will I be able to
evaluate overall lighting, but I'll be able to assess whether I'm
achieving the effects I'm after -- i.e. high or low contrast,
subject isolation, etc.

But, all this pales when compared to the latest tool I've learned
to employ as a blind photographer: OCR.

Now, I don't mean that I'll be using my camera to read signs,
plaques, etc, although that is all possible. What I mean is
that, through tons of practice, I've developed a method in which
OCR can be used to help frame and layout any image I might
envision.

By placing a page of text in the frame, in front of the main part
of my subject, and taking a picture, running it through Omnipage,
and then reading back whatever text I've captured, it is possible
to detect whether or not the subject (behind the page) is in the
picture. And, by placing other, smaller cards, with captions
like "top left corner," bottom right corner," etc at points I
want to be the outer limits, it is possible to make sure that
everything is layed out as desired.

Pretty slick, eh?

While this isn't exactly going to help me get a wild crowd scene
at a local nightclub, it definitely can be used to get great
nature shots, studio setups, macro shots, etc.

Damn, "I love it when a plan comes together" ...

I'm having trouble envisioning what you are doing. Is there any
possibility that you could take us through it step by step with
illustrations?



Actually, I'm working on a television episode for a tech show (
did some filming this week), so I might be able to post a link
in a few months to some better demo footage than I can produce,
myself. But, I also want to put some of the details on my
web site. So, one way or another, I'll try to clarify the
procedure as best as I can.

For now, think of it this way:

You might have seen the last pic I took of Mich doing shake-a-
paw with me (http://www.blind-apertures.ca/pics/ShakeAPaw.jpg).


In order to set that shot up, think of a few preliminary shots.


1. I put an open book with large print in front of the flower
pot situated behind where Mich and I will be located, situate
the camera on a tripod in such a way that I think I've got the
area framed properly. And take a pic.

Then, run the pic through Omnipage to see if I can read the
page.

If all the text is there (the page has already been scanned so
I know what's on it), I know I've at least got the base of the
flower pot as a starting point.

2. next, I sit where I want to sit, holding the book near
where I want the bottom left corner of the pic to be. I take
another pic, OCR it, and, check for completeness.


If I'm cutting off the beginnings of the lines of text, I know
I have to move the image area farther to the left. If the
bottom part of the page isn't there, I know I have to shift
the camera down.

3. I bring Mich into the picture and get him to sit where I
want him, put the book page where I want the bottom right edge,
and do the OCR evaluation again.

This time, I look for the right edge of the lines to be cut
short. and, if I've made a shift down to get more of the
bottom area in the pic, I once again look to see if the page
is readable all the way to the bottom.

4. If all is well, I hold the book up in the center, near the
top of the plant, and take a pic. This is to make sure I'm
not going to cut off either my head or Mich's. When I do the
OCR, I check to see if the page is readable from the top. If
it isn't, I have to zoom out a bit, and then recheck the top,
as well as the bottom corners.

6. I repeat these steps untill I've got the page scanning
perfectly in each of the important areas, all the while
orienting everything to the planter near the center, which can
be viewed as a sort of anchor.

7. Of course, as I'm doing the OCR evaluations, I'm also
running the pics through my Perl exposure evaluation script,
making sure the lighting is good. (The cam was in manual mode,
and I used 2 manual flashes.)

8. When all is as good as I think I'm like to get it, I bring
in Mich, press the remote (10 second trigger), tell him to
shake a paw, and hope for the best.

After all was set up, it took one shot for the actual pic.


Needless to say, the procedure is a bit primitive, so far, and
I haven't taken any pics that I'd consider well layed out, but
I'm very pleased with what I've been able to set up, so far,
and I'm looking forward to much better shots in the not too
distant future.

BTW, SuperZoom, in any of your manifestations, care to tell us
once again how a blind guy taking a pic is akin to 500 monkeys
hacking away in a room full of typewriters?

Take Care,
Dudley




Sorry, J., the inclusion of the SuperZoom slam wasn't intended
to cast you as one of SZ's manifestations. Sometimes, I just
get carried away, and my writings become a stream of
consciousness exercise...

Take Care,
Dudley

In article ,
says...

"J. Clarke" wrote:
In article ,
says...

Well, one of the best tools i've developed to date has been my
Perl script for evaluating image exposure. The script takes an
image, analyzes all the pixels and breaks their brightness down,
plotting each as a constituent of an Ansel Adams zone. Using
this system, I can assess any scene even more accurately than you
sighted photographers.

The next step in the evolution of this script is to modify it a
bit, so that it will be able to detect / document lighting
gradations. With that capability, not only will I be able to
evaluate overall lighting, but I'll be able to assess whether I'm
achieving the effects I'm after -- i.e. high or low contrast,
subject isolation, etc.

But, all this pales when compared to the latest tool I've learned
to employ as a blind photographer: OCR.

Now, I don't mean that I'll be using my camera to read signs,
plaques, etc, although that is all possible. What I mean is
that, through tons of practice, I've developed a method in which
OCR can be used to help frame and layout any image I might
envision.

By placing a page of text in the frame, in front of the main part
of my subject, and taking a picture, running it through Omnipage,
and then reading back whatever text I've captured, it is possible
to detect whether or not the subject (behind the page) is in the
picture. And, by placing other, smaller cards, with captions
like "top left corner," bottom right corner," etc at points I
want to be the outer limits, it is possible to make sure that
everything is layed out as desired.

Pretty slick, eh?

While this isn't exactly going to help me get a wild crowd scene
at a local nightclub, it definitely can be used to get great
nature shots, studio setups, macro shots, etc.

Damn, "I love it when a plan comes together" ...

I'm having trouble envisioning what you are doing. Is there any
possibility that you could take us through it step by step with
illustrations?



Actually, I'm working on a television episode for a tech show (
did some filming this week), so I might be able to post a link
in a few months to some better demo footage than I can produce,
myself. But, I also want to put some of the details on my
web site. So, one way or another, I'll try to clarify the
procedure as best as I can.

For now, think of it this way:

You might have seen the last pic I took of Mich doing shake-a-
paw with me (http://www.blind-apertures.ca/pics/ShakeAPaw.jpg).


In order to set that shot up, think of a few preliminary shots.


1. I put an open book with large print in front of the flower
pot situated behind where Mich and I will be located, situate
the camera on a tripod in such a way that I think I've got the
area framed properly. And take a pic.

Then, run the pic through Omnipage to see if I can read the
page.

If all the text is there (the page has already been scanned so
I know what's on it), I know I've at least got the base of the
flower pot as a starting point.

2. next, I sit where I want to sit, holding the book near
where I want the bottom left corner of the pic to be. I take
another pic, OCR it, and, check for completeness.


If I'm cutting off the beginnings of the lines of text, I know
I have to move the image area farther to the left. If the
bottom part of the page isn't there, I know I have to shift
the camera down.

3. I bring Mich into the picture and get him to sit where I
want him, put the book page where I want the bottom right edge,
and do the OCR evaluation again.

This time, I look for the right edge of the lines to be cut
short. and, if I've made a shift down to get more of the
bottom area in the pic, I once again look to see if the page
is readable all the way to the bottom.

4. If all is well, I hold the book up in the center, near the
top of the plant, and take a pic. This is to make sure I'm
not going to cut off either my head or Mich's. When I do the
OCR, I check to see if the page is readable from the top. If
it isn't, I have to zoom out a bit, and then recheck the top,
as well as the bottom corners.

6. I repeat these steps untill I've got the page scanning
perfectly in each of the important areas, all the while
orienting everything to the planter near the center, which can
be viewed as a sort of anchor.

7. Of course, as I'm doing the OCR evaluations, I'm also
running the pics through my Perl exposure evaluation script,
making sure the lighting is good. (The cam was in manual mode,
and I used 2 manual flashes.)

8. When all is as good as I think I'm like to get it, I bring
in Mich, press the remote (10 second trigger), tell him to
shake a paw, and hope for the best.

After all was set up, it took one shot for the actual pic.


Needless to say, the procedure is a bit primitive, so far, and
I haven't taken any pics that I'd consider well layed out, but
I'm very pleased with what I've been able to set up, so far,
and I'm looking forward to much better shots in the not too
distant future.

BTW, SuperZoom, in any of your manifestations, care to tell us
once again how a blind guy taking a pic is akin to 500 monkeys
hacking away in a room full of typewriters?

Take Care,
Dudley

Got it now I think. Lot of work--when there's a will there's a way.

"J. Clarke" wrote:
In article ,
says...

"J. Clarke" wrote:
In article ,
says...

Well, one of the best tools i've developed to date has been my
Perl script for evaluating image exposure. The script takes an
image, analyzes all the pixels and breaks their brightness down,
plotting each as a constituent of an Ansel Adams zone. Using
this system, I can assess any scene even more accurately than you
sighted photographers.

The next step in the evolution of this script is to modify it a
bit, so that it will be able to detect / document lighting
gradations. With that capability, not only will I be able to
evaluate overall lighting, but I'll be able to assess whether I'm
achieving the effects I'm after -- i.e. high or low contrast,
subject isolation, etc.

But, all this pales when compared to the latest tool I've learned
to employ as a blind photographer: OCR.

Now, I don't mean that I'll be using my camera to read signs,
plaques, etc, although that is all possible. What I mean is
that, through tons of practice, I've developed a method in which
OCR can be used to help frame and layout any image I might
envision.

By placing a page of text in the frame, in front of the main part
of my subject, and taking a picture, running it through Omnipage,
and then reading back whatever text I've captured, it is possible
to detect whether or not the subject (behind the page) is in the
picture. And, by placing other, smaller cards, with captions
like "top left corner," bottom right corner," etc at points I
want to be the outer limits, it is possible to make sure that
everything is layed out as desired.

Pretty slick, eh?

While this isn't exactly going to help me get a wild crowd scene
at a local nightclub, it definitely can be used to get great
nature shots, studio setups, macro shots, etc.

Damn, "I love it when a plan comes together" ...

I'm having trouble envisioning what you are doing. Is there any
possibility that you could take us through it step by step with
illustrations?



Actually, I'm working on a television episode for a tech show (
did some filming this week), so I might be able to post a link
in a few months to some better demo footage than I can produce,
myself. But, I also want to put some of the details on my
web site. So, one way or another, I'll try to clarify the
procedure as best as I can.

For now, think of it this way:

You might have seen the last pic I took of Mich doing shake-a-
paw with me (http://www.blind-apertures.ca/pics/ShakeAPaw.jpg).


In order to set that shot up, think of a few preliminary shots.


1. I put an open book with large print in front of the flower
pot situated behind where Mich and I will be located, situate
the camera on a tripod in such a way that I think I've got the
area framed properly. And take a pic.

Then, run the pic through Omnipage to see if I can read the
page.

If all the text is there (the page has already been scanned so
I know what's on it), I know I've at least got the base of the
flower pot as a starting point.

2. next, I sit where I want to sit, holding the book near
where I want the bottom left corner of the pic to be. I take
another pic, OCR it, and, check for completeness.


If I'm cutting off the beginnings of the lines of text, I know
I have to move the image area farther to the left. If the
bottom part of the page isn't there, I know I have to shift
the camera down.

3. I bring Mich into the picture and get him to sit where I
want him, put the book page where I want the bottom right edge,
and do the OCR evaluation again.

This time, I look for the right edge of the lines to be cut
short. and, if I've made a shift down to get more of the
bottom area in the pic, I once again look to see if the page
is readable all the way to the bottom.

4. If all is well, I hold the book up in the center, near the
top of the plant, and take a pic. This is to make sure I'm
not going to cut off either my head or Mich's. When I do the
OCR, I check to see if the page is readable from the top. If
it isn't, I have to zoom out a bit, and then recheck the top,
as well as the bottom corners.

6. I repeat these steps untill I've got the page scanning
perfectly in each of the important areas, all the while
orienting everything to the planter near the center, which can
be viewed as a sort of anchor.

7. Of course, as I'm doing the OCR evaluations, I'm also
running the pics through my Perl exposure evaluation script,
making sure the lighting is good. (The cam was in manual mode,
and I used 2 manual flashes.)

8. When all is as good as I think I'm like to get it, I bring
in Mich, press the remote (10 second trigger), tell him to
shake a paw, and hope for the best.

After all was set up, it took one shot for the actual pic.


Needless to say, the procedure is a bit primitive, so far, and
I haven't taken any pics that I'd consider well layed out, but
I'm very pleased with what I've been able to set up, so far,
and I'm looking forward to much better shots in the not too
distant future.

BTW, SuperZoom, in any of your manifestations, care to tell us
once again how a blind guy taking a pic is akin to 500 monkeys
hacking away in a room full of typewriters?

Take Care,
Dudley

Got it now I think. Lot of work--when there's a will there's a way.



Beauty is in the mind of the beholder, not the eye ...