• The KIPS Transactions:PartB
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• v.16B no.1
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• pp.35-46
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• 2009

Lane extraction and lane departure warning algorithms using the image sensor attached in the vehicle are addressed. With the research about intelligent automobile, there have been many algorithms about lane recognition and lane departure warning system. However, since these algorithms require to detect 2 lanes, the high time complexity and the low recognition rate under various driving circumstances are critical problems. In this paper, we present a lane departure warning algorithm using single lane extraction and center point analysis that achieves the fast processing time and high detection rate. From the geometry between camera and objects, the region of interest (ROI) is determined and splitted into two parts. Hough transform detects the part of the lane. After the detected lane is restored to have a pre-determined size, lane departure is estimated by calculating the distance from the center point. On real driving environments, the presented algorithm is compared with previous algorithms. Experiment results support that the presented algorithm is fast and accurate.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2020.11a
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• pp.377-379
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• 2020

The hologram data is having a dependence on the pixel pitch of the SLM (spatial light modulator) and the wavelength of light, and the quality of the digital hologram is proportional to the unit pixel pitch and the total resolution. In addition, since each pixel has a complex value, the amount of data in the digital hologram also increases exponentially, and the size is bound to be very large. Therefore, in order to efficiently handle digital hologram files, it is essential to reduce the file size through a codec and store it. Recently, research on enhancing image quality damaged by the codec is actively underway. In this paper, the hologram image of JPEG Pleno, which is the standard hologram data, was used, and the image quality damage that occurs whenthe holographic image is encoded and decoded through the JPEG2000, AVC, and HEVC codec is enhanced with a deep learning network to find out whether the image quality can be improved. we also compare and quantitatively find out the degree of improvement in image quality.

• Journal of the Korean Society of Surveying, Geodesy, Photogrammetry and Cartography
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• v.40 no.4
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• pp.275-292
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• 2022

In order to detect climate changes using satellite imagery, the GCOS (Global Climate Observing System) defines requirements such as spatio-temporal resolution, stability by the time change, and uncertainty. Due to limitation of GK-2A sensor performance, the level-2 products can not satisfy the requirement, especially for spatial resolution. In this paper, we found the optimal pan-sharpening algorithm for GK-2A products. The six pan-sharpening methods included in CS (Component Substitution), MRA (Multi-Resolution Analysis), VO (Variational Optimization), and DL (Deep Learning) were used. In the case of DL, the synthesis property based method was used to generate training dataset. The process of synthesis property is that pan-sharpening model is applied with Pan (Panchromatic) and MS (Multispectral) images with reduced spatial resolution, and fused image is compared with the original MS image. In the synthesis property based method, fused image with desire level for user can be produced only when the geometric characteristics between the PAN with reduced spatial resolution and MS image are similar. However, since the dissimilarity exists, RD (Random Down-sampling) was additionally used as a way to minimize it. Among the pan-sharpening methods, PSGAN was applied with RD (PSGAN_RD). The fused images are qualitatively and quantitatively validated with consistency property and the synthesis property. As validation result, the GSA algorithm performs well in the evaluation index representing spatial characteristics. In the case of spectral characteristics, the PSGAN_RD has the best accuracy with the original MS image. Therefore, in consideration of spatial and spectral characteristics of fused image, we found that PSGAN_RD is suitable for GK-2A products.

• KIPS Transactions on Software and Data Engineering
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• v.12 no.12
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• pp.519-524
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• 2023

In hashing-based image retrieval, the hash code of a manipulated image is different from the original image, making it difficult to search for the same image. This paper proposes and evaluates a self-supervised deephashing model that generates perceptual hash codes from feature information such as texture, shape, and color of images. The comparison models are autoencoder-based variational inference models, but the encoder is designed with a fully connected layer, convolutional neural network, and transformer modules. The proposed model is a variational inference model that includes a SimAM module of extracting geometric patterns and positional relationships within images. The SimAM module can learn latent vectors highlighting objects or local regions through an energy function using the activation values of neurons and surrounding neurons. The proposed method is a representation learning model that can generate low-dimensional latent vectors from high-dimensional input images, and the latent vectors are binarized into distinguishable hash code. From the experimental results on public datasets such as CIFAR-10, ImageNet, and NUS-WIDE, the proposed model is superior to the comparative model and analyzed to have equivalent performance to the supervised learning-based deephashing model. The proposed model can be used in application systems that require low-dimensional representation of images, such as image search or copyright image determination.

• Korean Journal of Remote Sensing
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• v.39 no.6_1
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• pp.1283-1297
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• 2023

Mid-wave infrared (MWIR) imagery, due to its ability to capture the temperature of land cover and objects, serves as a crucial data source in various fields including environmental monitoring and defense. The KOMPSAT-3A satellite acquires MWIR imagery with high spatial resolution compared to other satellites. However, the limited spatial resolution of MWIR imagery, in comparison to electro-optical (EO) imagery, constrains the optimal utilization of the KOMPSAT-3A data. This study aims to create a highly visible MWIR fusion image by leveraging the edge information from the KOMPSAT-3A panchromatic (PAN) image. Preprocessing is implemented to mitigate the relative geometric errors between the PAN and MWIR images. Subsequently, we employ a pre-trained pixel difference network (PiDiNet), a deep learning-based edge information extraction technique, to extract the boundaries of objects from the preprocessed PAN images. The MWIR fusion imagery is then generated by emphasizing the brightness value corresponding to the edge information of the PAN image. To evaluate the proposed method, the MWIR fusion images were generated in three different sites. As a result, the boundaries of terrain and objects in the MWIR fusion images were emphasized to provide detailed thermal information of the interest area. Especially, the MWIR fusion image provided the thermal information of objects such as airplanes and ships which are hard to detect in the original MWIR images. This study demonstrated that the proposed method could generate a single image that combines visible details from an EO image and thermal information from an MWIR image, which contributes to increasing the usage of MWIR imagery.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.54-88
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• 2019

The Album of Complete Views of Seas and Mountains comprises sixty real scenery landscape paintings depicting Geumgangsan Mountain, the Haegeumgang River, and the eight scenic views of Gwandong regions, as well as fifty-one pieces of writing. It is a rare example in terms of its size and painting style. The paintings in this album, which are densely packed with natural features, follow the painting style of the Southern School yet employ crude and unconventional elements. In them, stones on the mountains are depicted both geometrically and three-dimensionally. Since 1973, parts of this album have been published in some exhibition catalogues. The entire album was opened to the public at the special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea" held at the National Museum of Korea in 2019. The Album of Complete Views of Seas and Mountains was attributed to Kim Eung-hwan (1742-1789) due to the signature on the final leaf of the album and the seal reading "Bokheon(painter's penname)" on the currently missing album leaf of Chilbodae Peaks. However, there is a strong possibility that this signature and seal may have been added later. This paper intends to reexamine the creator of this album based on a variety of related factors. In order to understand the production background of Album of Complete Views of Seas and Mountains, I investigated the eighteenth-century tradition of drawing scenic spots while travelling in which scenery of was depicted during private travels or official excursions. Jeong Seon(1676-1759), Sim Sa-jeong(1707-1769), Kim Yun-gyeom(1711-1775), Choe Buk(1712-after 1786), and Kang Se-hwang(1713-1791) all went on a journey to Geumgangsan Mountain, the most famous travel destination in the late Joseon period, and created paintings of the mountain, including Album of Pungak Mountain in the Sinmyo Year(1711) by Jeong Seon. These painters presented their versions of the traditional scenic spots of Inner Geumgangsan and newly depicted vistas they discovered for themselves. To commemorate their private visits, they produced paintings for their fellow travelers or sponsors in an album format that could include several scenes. While the production of paintings of private travels to Geumgangsan Mountain increased, King Jeongjo(r. 1776-1800) ordered Kim Eung-hwan and Kim Hong-do, court painters at the Dohwaseo(Royal Bureau of Painting), to paint scenic spots in the nine counties of the Yeongdong region and around Geumgangsan Mountain. King Jeongjo selected these two as the painters for the official excursion taking into account their relationship, their administrative experience as regional officials, and their distinct painting styles. Starting in the reign of King Yeongjo(r. 1724-1776), Kim Eung-hwan and Kim Hong-do served as court painters at the Dohwaseo, maintained a close relationship as a senior and a junior and as colleagues, and served as chalbang(chief in large of post stations) in the Yeongnam region. While Kim Hong-do was proficient at applying soft and delicate brushstrokes, Kim Eung-hwan was skilled at depicting the beauty of robust and luxuriant landscapes. Both painters produced about 100 scenes of original drawings over fifty days of the official excursion. Based on these original drawings, they created around seventy album leaves or handscrolls. Their paintings enriched the tradition of depicting scenic spots, particularly Outer Inner Geumgang and the eight scenic views of Gwandong around Geumgangsan Mountain during private journeys in the eighteenth century. Moreover, they newly discovered places of scenic beauty in the Outer Geungang and Yeongdong regions, establishing them as new painting themes. The Album of Complete Views of Seas and Mountains consists of four volumes. The volumes I, II include twenty-nine paintings of Inner Geumgangsan; the volume III, seventeen scenes of Outer Geumgangsan; and the volume IV, fourteen images of Maritime Geumgangsan and the eight scenic views of Gwandong. These paintings produced on silk show crowded compositions, geometrical depictions of the stones and the mountains, and distinct presentation of the rocky peaks of Geumgangsan Mountain using white and grayish-blue pigments. This album reflects the Joseon painting style of the mid- and late eighteenth century, integrating influences from Jeong Seon, Kang Se-hwang, Sim Sa-jeong, Jeong Chung-yeop(1725-after 1800), and Kim Hong-do. In particular, some paintings in the album show similarities to Kim Hong-do's Album of Famous Mountains in Korea in terms of its compositions and painterly motifs. However, "Yeongrangho Lake," "Haesanjeong Pavilion," and "Wolsongjeong Pavilion" in Kim Eung-hwan's album differ from in the version by Kim Hong-do. Thus, Kim Eung-hwan was influenced by Kim Hong-do, but produced his own distinctive album. The Album of Complete Views of Seas and Mountains includes scenery of "Jaundam Pool," "Baegundae Peak," "Viewing Birobong Peak at Anmunjeom groove," and "Baekjeongbong Peak," all of which are not depicted in other albums. In his version, Kim Eung-hwan portrayed the characteristics of the natural features in each scenic spot in a detailed and refreshing manner. Moreover, he illustrated stones on the mountains using geometric shapes and added a sense of three-dimensionality using lines and planes. Based on the painting traditions of the Southern School, he established his own characteristics. He also turned natural features into triangular or rectangular chunks. All sixty paintings in this album appear rough and unconventional, but maintain their internal consistency. Each of the fifty-one writings included in the Album of Complete Views of Seas and Mountains is followed by a painting of a scenic spot. It explains the depicted landscape, thus helping viewers to understand and appreciate the painting. Intimately linked to each painting, the related text notes information on traveling from one scenic spot to the next, the origins of the place names, geographic features, and other related information. Such encyclopedic documentation began in the early nineteenth century and was common in painting albums of Geumgangsan Mountain in the mid- nineteenth century. The text following the painting of Baekhwaam Hermitage in the Album of Complete Views of Seas and Mountains documents the reconstruction of the Baekhwaam Hermitage in 1845, which provides crucial evidence for dating the text. Therefore, the owner of the Album of Complete Views of Seas and Mountains might have written the texts or asked someone else to transcribe them in the mid- or late nineteenth century. In this paper, I have inferred the producer of the Album of Complete Views of Seas and Mountains to be Kim Eung-hwan based on the painting style and the tradition of drawing scenic spots during official trips. Moreover, its affinity with the Handscroll of Pungak Mountain created by Kim Ha-jong(1793-after 1878) after 1865 is another decisive factor in attributing the album to Kim Eung-hwan. In contrast to the Album of Famous Mountains in Korea by Kim Hong-do, the Album of Complete Views of Seas and Mountains exerted only a minor influence on other painters. The Handscroll of Pungak Mountain by Kim Ha-jong is the sole example that employs the subject matter from the Album of Complete Views of Seas and Mountains and follows its painting style. In the Handscroll of Pungak Mountain, Kim Ha-jong demonstrated a painting style completely different from that in the Album of Seas and Mountains that he produced fifty years prior in 1816 for Yi Gwang-mun, the magistrate of Chuncheon. He emphasized the idea of "scholar thoughts" by following the compositions, painterly elements, and depictions of figures in the painting manual style from Kim Eung-hwan's Album of Complete Views of Seas and Mountains. Kim Ha-jong, a member of the Gaeseong Kim clan and the eldest grandson of Kim Eung-hwan, is presumed to have appreciated the paintings depicted in the nature of Album of Complete Views of Seas and Mountains, which had been passed down within the family, and newly transformed them. Furthermore, the contents and narrative styles of Yi Yu-won's writings attached to the paintings in the Handscroll of Pungak Mountain are similar to those of the fifty-one writings in Kim Eunghwan's album. This suggests a possible influence of the inscriptions in Kim Eung-hwan's album or the original texts from which these inscriptions were quoted upon the writings in Kim Ha-jong's handscroll. However, a closer examination will be needed to determine the order of the transcription of the writings. The Album of Complete View of Seas and Mountains differs from Kim Hong-do's paintings of his official trips and other painting albums he influenced. This album is a siginificant artwork in that it broadens the understanding of the art world of Kim Eung-hwan and illustrates another layer of real scenery landscape paintings in the late eighteenth century.