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Individuals value information that improves decision making. When social interactions complicate the decision process, acquiring information about others should be particularly valuable. In primate societies, kinship, dominance, and reproductive status regulate social interactions and should therefore systematically influence the value of social information, but this has never been demonstrated. Here, we show that monkeys differentially value the opportunity to acquire visual information about particular classes of social images. Male rhesus macaques sacrificed fluid for the opportunity to view female perinea and the faces of high-status monkeys but required fluid overpayment to view the faces of low-status monkeys. Social value was highly consistent across subjects, independent of particular images displayed, and only partially predictive of how long subjects chose to view each image. These data demonstrate that visual orienting decisions reflect the specific social content of visual information and provide the first experimental evidence that monkeys spontaneously discriminate images of others based on social status.

CoreLogic developed Image Analytics to drive innovation in the appraisal review process and help lenders and mortgage industry professionals analyze property images quickly and accurately. This technology eliminates the need for manual, multi-touchpoint review, which saves time and reduces errors.

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Image Analytics meets the need of the industry to lower costs per loan, improve operational profitability and help satisfy regulatory requirements, ensuring lenders can be confident they are reviewing trustworthy collateral investment valuations.

These image generators are already facing controversy: Many of them have been trained by processing billions of images on the internet without the consent of the copyright holder, prompting debate over ethics and legality. Last week, a testy debate broke out online after a Colorado fine arts competition awarded a top prize to an AI-generated work of art.

The contemporary hierarchy of images, however, is not only based on sharpness, but also and primarily on resolution. Just look at any electronics store and this system, described by Harun Farocki in a notable 2007 interview, becomes immediately apparent.2In the class society of images, cinema takes on the role of a flagship store. In flagship stores high-end products are marketed in an upscale environment. More affordable derivatives of the same images circulate as DVDs, on broadcast television or online, as poor images.

As Kodwo Eshun has noted, poor images circulate partly in the void left by state-cinema organizations who find it too difficult to operate as a 16/35-mm archive or to maintain any kind of distribution infrastructure in the contemporary era.7 From this perspective, the poor image reveals the decline and degradation of the film essay, or indeed any experimental and non-commercial cinema, which in many places was made possible because the production of culture was considered a task of the state. Privatization of media production gradually grew more important than state controlled/sponsored media production. But, on the other hand, the rampant privatization of intellectual content, along with online marketing and commodification, also enable piracy and appropriation; it gives rise to the circulation of poor images.

In his manifesto, Espinosa also reflects on the promises of new media. He clearly predicts that the development of video technology will jeopardize the elitist position of traditional filmmakers and enable some sort of mass film production: an art of the people. Like the economy of poor images, imperfect cinema diminishes the distinctions between author and audience and merges life and art. Most of all, its visuality is resolutely compromised: blurred, amateurish, and full of artifacts.

Sometimes, you will have to play with certain regions of images. For eye detection in images, first face detection is done over the entire image. When a face is obtained, we select the face region alone and search for eyes inside it instead of searching the whole image. It improves accuracy (because eyes are always on faces :D ) and performance (because we search in a small area).

No. Many platforms use hash technology to detect known CSAM in order to remove it from their platforms. This does not violate users' privacy because the technology only detects matching hashes and does not 'see' any images which don't match the hash. Hash values are also not reversible, so cannot be used to recreate an image.

Stock photography is the supply of photographs that are often licensed for specific uses.[1] The stock photo industry, which began to gain hold in the 1920s,[1] has established models including traditional macrostock photography,[2] midstock photography,[3] and microstock photography.[4] Conventional stock agencies charge from several hundred to several thousand US dollars per image, while microstock photography may sell for around US$0.25 cents.[4] Professional stock photographers traditionally place their images with one or more stock agencies on a contractual basis,[1] while stock agencies may accept the high-quality photos of amateur photographers through online submission.[5]

Themes for stock photos are diverse, although Megan Garber of The Atlantic wrote in 2012 that "one of the more wacky/wondrous elements of stock photos is the manner in which, as a genre, they've developed a unifying editorial sensibility. To see a stock image is... to know you're seeing a stock image."[5] Historically notable traditional stock photo agencies have included RobertStock, the Bettman Archive in New York,[1] and the Hulton Archive in the United Kingdom,[6] among many others.[7] In the 1990s companies such as Photodisc in Seattle, Washington, began selling CD ROMs with packs of images, pioneering the royalty-free licensing system at a time when Rights Managed licensing was the norm in the stock industry.[7] There was a great amount of consolidation among stock photo agencies[8][9] between 1990 and the mid-2000s, particularly through Corbis and Getty Images.[1] The early microstock company iStockphoto was founded in May 2000,[10] followed by companies such as Dreamstime,[11] fotoLibra,[12][13] Can Stock Photo,[14] 123RF, Shutterstock, JumpStory and Adobe Stock.[15]

The Bettmann Archive in New York is an example of an early traditional stock agency,[1] with the company delivering photos upon 24-hour request to magazines such as Look and Life.[1] Founded in 1936 by Otto Bettmann, a German curator who emigrated to the United States in 1935,[17] the Bettman Archive began with Bettmann's personal collection of 15,000 images which he brought with him in suitcases when he escaped from Nazi Germany.[18] He actively expanded his collection by placing ads in magazines for stills and photos.[17] A different early pioneer with the stock industry was photographer Tony Stone, whose portfolio of mountain scenes proved popular with chocolate advertisers. Stone's stock library eventually reached 20,000 images, each selected for its likelihood to sell multiple copies.[7]

By the 1980s, stock photography had become a specialty in its own right, with the stock industry advancing quickly.[7] As photo libraries transitioned from physical archives to servers in the mid-1990s, "stock libraries" were increasingly called "stock agencies".[7] The archives also began to rely increasingly on keywords for sorting and retrieving photographs.[7] In 1991, Photodisc in Seattle, Washington, began selling CD ROMs with packs of images. Unlike their competitors, Photodisc licensed the image packs as Royalty Free. In contrast to the Rights Managed system, royalty free allowed the purchaser of a CD ROM to use the images as many times as they liked without paying further fees.[7]

Alamy (registered as Alamy Limited) is a privately owned stock photography agency launched in 1999. Alamy maintains an online archive of over one hundred million still images, illustrations and hundreds of thousands of videos contributed by agencies and independent photographers or collected from news archives, museums and national collections. Its suppliers include both professional and amateur photographers, stock agencies, news archives, museums and national collections. Its clients are from the photography, publishing and advertising industries and the general public.

Between the 1990s and the mid-2000s, Bill Gates' Corbis Images and Getty Images combined purchased more than 40 stock photo agencies.[1] iStockphoto, or iStock.com, was acquired by Getty in 2006.[7] In February 2009,[28] Jupitermedia Corporation sold their online stock images division, Jupiterimages, to Getty Images for $96 million in cash,[29] including the sites stock.xchng and StockXpert.[28] In 2005, Scoopt started a photo news agency for citizen journalism enabling the public to upload and sell breaking news images taken with cameraphones. In 2007 Scoopt was purchased by Getty Images, which closed it in 2009.[30] In 2012 Shutterstock became the first microstock agency to complete an initial public offering,[31] with the company's shares reaching a $2.5 billion market value by late 2013.[25] The stock photo company Fotolia announced that it would be acquired by Adobe for $800 million on December 11, 2014.[32]

According to The New York Times, conventional stock agencies charge from several hundred to several thousand American dollars per image, and "base fees on the published size of an image, circulation and other factors." Microstock photos may sell for as little as US$0.25.[4] Professional stock photographers traditionally place their images with one or more stock agencies on a contractual basis, with a defined commission basis and specified contract term. The industry standard is purportedly 30 to 50 percent to the photographer, although at the start of the stock photography industry, fees were typically cut half and half between the agency and artist.[1] Other stock agencies may accept the high-quality photos of amateur photographers through online submission.[5] 2351a5e196