Here are 100 books that Vision fans have personally recommended if you like
Vision.
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It’s been fantastic to work in computer vision, especially when it is used to build biometric systems. I and my 80 odd PhD students have pioneered systems that recognise people by the way they walk, by their ears, and many other new things too. To build the systems, we needed computer vision techniques and architectures, both of which work with complex real-world imagery. That’s what computer vision gives you: a capability to ‘see’ using a computer. I think we can still go a lot further: to give blind people sight, to enable better invasive surgery, to autonomise more of our industrial society, and to give us capabilities we never knew we’d have.
Adding perspective puzzled artists in the fourteenth century; analysing perspective is integral to applied computer vision. You might have seen Hawkeye in action: the principles by which it works are explained superbly within this book. It was the first of its kind to set this analysis in a lucid and compelling format. Richard and Andrew’s text will be on researchers’ bookshelves for many years for its bedrock description of how we analyse three-dimensional scenes.
A basic problem in computer vision is to understand the structure of a real world scene given several images of it. Techniques for solving this problem are taken from projective geometry and photogrammetry. Here, the authors cover the geometric principles and their algebraic representation in terms of camera projection matrices, the fundamental matrix and the trifocal tensor. The theory and methods of computation of these entities are discussed with real examples, as is their use in the reconstruction of scenes from multiple images. The new edition features an extended introduction covering the key ideas in the book (which itself has…
It’s been fantastic to work in computer vision, especially when it is used to build biometric systems. I and my 80 odd PhD students have pioneered systems that recognise people by the way they walk, by their ears, and many other new things too. To build the systems, we needed computer vision techniques and architectures, both of which work with complex real-world imagery. That’s what computer vision gives you: a capability to ‘see’ using a computer. I think we can still go a lot further: to give blind people sight, to enable better invasive surgery, to autonomise more of our industrial society, and to give us capabilities we never knew we’d have.
This fine book is about learning the relationships between what is seen in an image, and what is known about the world. It’s a counterpart to our book on feature extraction and it shows you what can be achieved with the features. It’s not for those who shy from maths, as is the case for all of the books here. So that you can build the techniques, Simon’s book also includes a wide variety of algorithms to help you on your way.
This modern treatment of computer vision focuses on learning and inference in probabilistic models as a unifying theme. It shows how to use training data to learn the relationships between the observed image data and the aspects of the world that we wish to estimate, such as the 3D structure or the object class, and how to exploit these relationships to make new inferences about the world from new image data. With minimal prerequisites, the book starts from the basics of probability and model fitting and works up to real examples that the reader can implement and modify to build…
It’s been fantastic to work in computer vision, especially when it is used to build biometric systems. I and my 80 odd PhD students have pioneered systems that recognise people by the way they walk, by their ears, and many other new things too. To build the systems, we needed computer vision techniques and architectures, both of which work with complex real-world imagery. That’s what computer vision gives you: a capability to ‘see’ using a computer. I think we can still go a lot further: to give blind people sight, to enable better invasive surgery, to autonomise more of our industrial society, and to give us capabilities we never knew we’d have.
Richard’s authoritative leading textbook excellently describes the whole field of computer vision. It starts with the sensor, moves to image formation followed by feature extraction and grouping, and then by vision analysis. It’s pragmatic too, with excellent descriptions of applications. And there is a ton of support material. This is a mega textbook describing the whole field of computer vision.
Computer Vision: Algorithms and Applications explores the variety of techniques commonly used to analyze and interpret images. It also describes challenging real-world applications where vision is being successfully used, both for specialized applications such as medical imaging, and for fun, consumer-level tasks such as image editing and stitching, which students can apply to their own personal photos and videos.
More than just a source of "recipes," this exceptionally authoritative and comprehensive textbook/reference also takes a scientific approach to basic vision problems, formulating physical models of the imaging process before inverting them to produce descriptions of a scene. These problems are…
It’s been fantastic to work in computer vision, especially when it is used to build biometric systems. I and my 80 odd PhD students have pioneered systems that recognise people by the way they walk, by their ears, and many other new things too. To build the systems, we needed computer vision techniques and architectures, both of which work with complex real-world imagery. That’s what computer vision gives you: a capability to ‘see’ using a computer. I think we can still go a lot further: to give blind people sight, to enable better invasive surgery, to autonomise more of our industrial society, and to give us capabilities we never knew we’d have.
The advances of deep learning have been awesome, and fast. It’s been hard for the textbooks to keep up, so it’s good to include one that describes the advances and state of art very well. It seems appropriate that it’s edited by two leading researchers who are Roy – who described computer vision systems implementations in a long series of excellent books – and Matt, whose work on face recognition revolutionised and transformed the progress of face recognition in the 1990s. This book gives you an image of where we are now in computer vision, and where we are going.
Advanced Methods and Deep Learning in Computer Vision presents advanced computer vision methods, emphasizing machine and deep learning techniques that have emerged during the past 5-10 years. The book provides clear explanations of principles and algorithms supported with applications. Topics covered include machine learning, deep learning networks, generative adversarial networks, deep reinforcement learning, self-supervised learning, extraction of robust features, object detection, semantic segmentation, linguistic descriptions of images, visual search, visual tracking, 3D shape retrieval, image inpainting, novelty and anomaly detection.
This book provides easy learning for researchers and practitioners of advanced computer vision methods, but it is also suitable as…
Writing my first book, I found out how dependent my thinking about the world beyond my doorstep was on language made up by engineers (“Please don’t block the driveway”). Engineering language defined how I saw the street. It was a shock to realize how severely this had limited my thinking about public space but also a liberation to become aware of this: now I could perceive streets in completely new and different ways. The books I recommend all have made me perceive the world differently. I hope they do the same for you. Also, see the recommendations by my co-author, Marco te Brömmelstroet.
Many thousands of adults have learned to draw better by following Betty Edwards’ course. I am one of them.
In the book, she also explains why so many people (including me) believe they cannot draw. Why, she asks, do children spend so many hours at school learning to write? What if schools devoted that much time to drawing? Why don’t they?
Letting go of thinking in words and starting to use our senses to perceive the world helps us see the world more like it is and less as we believe it is. Betty Edwards provides great methods for getting ‘out of the words’ into the senses. I see more detail around me after having spent some time drawing something around me attentively.
'You will quickly amaze and delight yourself. Hands down the best and most life-enhancing thing I've done in lockdown' India Knight, Sunday Times
Drawing on the Right Side of the Brain is the world's most widely used drawing instruction book. Whether you are a professional, a student, or enjoy art as a hobby, Betty Edwards' practical step-by-step guide will give you greater confidence in your ability, deepen your artistic perception and provide a new way to appreciate the way you perceive the world around you.
This groundbreaking guide includes: - Expert advice on materials…
I love wordless books immoderately, and I also love books that have meta, surreal, or magical realism elements. This list combines these two features! I was personally so happy that The Red Book was described in a review as “a wordless mind trip for tots,” and I think all the books on this list would perfectly fit that description (and much, much more!) too.
This book never fails to astound me with its visual surprises. I have looked at it at least a hundred times, and each time I cannot stop turning the pages to see what is next, despite already knowing! The art is superbly drawn, and has the perfect amount of rich detail to savor while “zooming” before we come to a satisfying rest at the contemplative ending.
As seen on the SERIAL podcast, season 2, episode 1 ("Dustwun")!
Open this wordless book and zoom from a farm to a ship to a city street to a desert island. But if you think you know where you are, guess again. For nothing is ever as it seems in Istvan Banyai's sleek, mysterious landscapes of pictures within pictures, which will tease and delight readers of all ages.
"This book has the fascinating appeal of such works of visual trickery as the Waldo and Magic Eye books." -- Kirkus Reviews
I am a philosopher of language (and of art) and have been for 30+ years. Why philosophy of language? Well, it encourages a certain salutary kind of self-consciousness—which is extremely valuable to philosophy—and facilitates greater rigor. But it only got going some one hundred and twenty years ago. So it's modern(ish) as well as deep. And whereas it might seem a narrow slice of the philosophical pie, it isn't; it seems to provide fruitful ways of thinking for almost any philosophical subject. For example, rather than 'What is X?', we ask 'What do we mean by "X"?'; a subtle difference perhaps but the change in perspective might be a key.
Wollheim teaches that this is largely, if tacitly, a philosophical interest, in particular, an interest in philosophy in mind, depth psychology, and meaning. That is why pictures fascinate us in the way they do. It is the very opposite of deconstructionism; the facts of history, artistic intention, psychoanalysis, and perception make something urgently real out of painting.
One of the twentieth century's most influential texts on philosophical aesthetics
Painting as an Art is acclaimed philosopher Richard Wollheim's encompassing vision of how to view art. Transcending the traditional boundaries of art history, Wollheim draws on his three great passions-philosophy, psychology, and art-to present an illuminating theory of the very experience of art. He shows how to unlock the meaning of a painting by retrieving-almost reenacting-the creative activity that produced it. In order to fully appreciate a work of art, Wollheim argues, critics must bring a much richer conception of human psychology than they have in the past. This…
My journey began as a high school camp counselor at the Ability Center of Greater Toledo in Ohio. As I worked with children who had neurodevelopmental differences and collaborated with a co-counselor who had cerebral palsy, I saw how people with differences were marginalized and devalued despite being insightful, empathetic, passionate, funny, and talented. My appreciation for their strengths and perspectives shaped my approach as a pediatric neurologist, BCBA, neuroscientist, researcher, and founder of Cortica, which is focused on a whole-child, neurodivergent-affirming approach to care for autism and other neurodevelopmental differences. Reading is an important way for me to stay connected to the strengths-based lens I began cultivating in my teens.
Our society places a premium on verbal thinking, but over the course of my career, I’ve had the pleasure of learning from neurodivergent children who see the world around them in images and use those images to solve mundane and complex challenges alike. This book by Temple Grandin has helped me to shift my own mindset as a verbal thinker and appreciate the abilities of those who think in more abstract, non-linear, and systemic ways.
As a BCBA and pediatric neurologist, having the opportunity to hear directly from Grandin, who is autistic, is invaluable. I share her perspective that we do autistic people–and society as a whole–a great disservice when we relegate visual thinkers to the sidelines instead of empowering them to be the artists, designers, engineers, inventors, mechanics, and innovators our world desperately needs.
I’ve had a life-long love affair with the arts. I intended to become an artist, but ultimately became a psychologist researching psychological aspects of the arts. My first book, Invented Worlds, examined the key questions and findings in the psychology of the arts. In Gifted Children: Myths and Realities, I wrote about gifted child artists. My Arts & Mind Lab at Boston College investigated artistic development in typical and gifted children, habits of mind conferred by arts education, and how we respond to works of art. The walls of my home are covered with framed paintings by young children, often side by side paintings by professional artists.
This is a classic book by German-born psychologist Rudolf Arnheim, in which he lays out the principles underlying our perception and understanding of works of visual art. One of the major principles discussed is the human tendency to see the simplest form possible in any visual array. This ‘simplicity principle’ is also used to explain the intelligence and inventiveness of children’s art. In a brilliant chapter called Growth, Arnheim shows us that children are not striving towards realism; rather they are trying to create the simplest possible recognizable structural equivalent for the object they are representing. The inventiveness with which children reduce complex forms to simple structural equivalents requires far more intelligence than mindless copying.
Since its publication fifty years ago, this work has established itself as a classic. It casts the visual process in psychological terms and describes the creative way one's eye organizes visual material according to specific psychological premises. In 1974 this book was revised and expanded, and since then it has continued to burnish Rudolf Arnheim's reputation as a groundbreaking theoretician in the fields of art and psychology.
I'm a designer, a teacher, a father, a husband, and a friend. I love beautiful things and personally want to know why I find certain things more beautiful than others. I love learning about the world and finding connections between everyday experience and art. When I say “art” I really am blending art, design, architecture, landscape architecture, product design, etc. I believe everything is connected in some way. If I were to pigeonhole myself in any way I would call myself a generalist design thinker. I draw, I write, I make little objects, I make big objects – I see very little difference in any of these things.
This book outlines how the visual field operates at a psychological level.
I am an architect and cannot believe that we don’t teach straight from this and other Arnheim books more often. If you want to know what is happening to you, why you get chills up your spine when looking at art, read this book.
Arnheim is a psychologist, not a designer, so he breaks art down from this perspective.
For thirty-five years Visual Thinking has been the gold standard for art educators, psychologists, and general readers alike. In this seminal work, Arnheim, author of "The Dynamics of Architectural Form", "Film as Art", "Toward a Psychology of Art", and "Art and Visual Perception", asserts that all thinking (not just thinking related to art) is basically perceptual in nature, and that the ancient dichotomy between seeing and thinking, between perceiving and reasoning, is false and misleading. This is an indispensable tool for students and for those interested in the arts.
