The first comprehensive and detailed presentation of techniques for authenticating digital images. Photographs have been doctored since photography was invented. Dictators have erased people from photographs and from history. Politicians have manipulated photos for short-term political gain. Altering photographs in the predigital era required time-consuming darkroom work. Today, powerful and low-cost digital technology makes it relatively easy to alter digital images, and the resulting fakes are difficult to detect. The field of photo forensics—pioneered in Hany Farid's lab at Dartmouth College—restores some trust to photography. In this book, Farid describes techniques that can be used to authenticate photos. He provides the intuition and background as well as the mathematical and algorithmic details needed to understand, implement, and utilize a variety of photo forensic techniques. Farid traces the entire imaging pipeline. He begins with the physics and geometry of the interaction of light with the physical world, proceeds through the way light passes through a camera lens, the conversion of light to pixel values in the electronic sensor, the packaging of the pixel values into a digital image file, and the pixel-level artifacts introduced by photo-editing software. Modeling the path of light during image creation reveals physical, geometric, and statistical regularities that are disrupted during the creation of a fake. Various forensic techniques exploit these irregularities to detect traces of tampering. A chapter of case studies examines the authenticity of viral video and famously questionable photographs including “Golden Eagle Snatches Kid” and the Lee Harvey Oswald backyard photo.

The first comprehensive and detailed presentation of techniques for authenticating digital images. Photographs have been doctored since photography was invented. Dictators have erased people from photographs and from history. Politicians have manipulated photos for short-term political gain. Altering photographs in the predigital era required time-consuming darkroom work. Today, powerful and low-cost digital technology makes it relatively easy to alter digital images, and the resulting fakes are difficult to detect. The field of photo forensics—pioneered in Hany Farid's lab at Dartmouth College—restores some trust to photography. In this book, Farid describes techniques that can be used to authenticate photos. He provides the intuition and background as well as the mathematical and algorithmic details needed to understand, implement, and utilize a variety of photo forensic techniques. Farid traces the entire imaging pipeline. He begins with the physics and geometry of the interaction of light with the physical world, proceeds through the way light passes through a camera lens, the conversion of light to pixel values in the electronic sensor, the packaging of the pixel values into a digital image file, and the pixel-level artifacts introduced by photo-editing software. Modeling the path of light during image creation reveals physical, geometric, and statistical regularities that are disrupted during the creation of a fake. Various forensic techniques exploit these irregularities to detect traces of tampering. A chapter of case studies examines the authenticity of viral video and famously questionable photographs including “Golden Eagle Snatches Kid” and the Lee Harvey Oswald backyard photo.

Photographic imagery has come a long way from the pinhole cameras of the nineteenth century. Digital imagery, and its applications, develops in tandem with contemporary society’s sophisticated literacy of this subtle medium. This book examines the ways in which digital images have become ever more ubiquitous as legal and medical evidence, just as they have become our primary source of news and have replaced paper-based financial documentation. Crucially, the contributions also analyze the very profound problems which have arisen alongside the digital image, issues of veracity and progeny that demand systematic and detailed response: It looks real, but is it? What camera captured it? Has it been doctored or subtly altered? Attempting to provide answers to these slippery issues, the book covers how digital images are created, processed and stored before moving on to set out the latest techniques for forensically examining images, and finally addressing practical issues such as courtroom admissibility. In an environment where even novice users can alter digital media, this authoritative publication will do much so stabilize public trust in these real, yet vastly flexible, images of the world around us.

This book discusses blind investigation and recovery of digital evidence left behind on digital devices, primarily for the purpose of tracing cybercrime sources and criminals. It presents an overview of the challenges of digital image forensics, with a specific focus on two of the most common forensic problems. The first part of the book addresses image source investigation, which involves mapping an image back to its camera source to facilitate investigating and tracing the source of a crime. The second part of the book focuses on image-forgery detection, primarily focusing on “copy-move forgery” in digital images, and presenting effective solutions to copy-move forgery detection with an emphasis on additional related challenges such as blur-invariance, similar genuine object identification, etc. The book concludes with future research directions, including counter forensics. With the necessary mathematical information in every chapter, the book serves as a useful reference resource for researchers and professionals alike. In addition, it can also be used as a supplementary text for upper-undergraduate and graduate-level courses on “Digital Image Processing”, “Information Security”, “Machine Learning”, “Computer Vision” and “Multimedia Security and Forensics”.

Digital imaging technology has been used in forensics since at least 1992, yet until now there?has been?no practical instruction available to address the unique issues of image processing in an everyday forensic environment. Photoshop CS3 for Forensics Professionals serves the everyday, real-world needs of law enforcement and legal personnel dealing with digital images (including both photos and video stills). This book is an excellent tool for: Law enforcement personnel, from crime scene and arson investigators, detectives, and patrol officers to forensic photographers, fingerprint examiners, video analysts, tool mark and footwear examiners, and criminalists. Security pros in such fields as private investigation, insurance, fraud detection, and loss prevention. Scientific and technical users of Photoshop with workflows similar to law enforcement, such as medical photographers, research imaging experts, engineering and architecture staff, and industrial photographers. Staff responsible for maintaining a photo archive or printing images for court. Photoshop CS3 for Forensics Professionals is the only book to provide forensics professionals with specific answers to their imaging questions. This is the perfect resource for those who want to move from simple theory to the essential skills needed to be more effective. This resource is dividied into three parts: Part I: The Essentials is about setting up your workflow, archiving your images, and familiarizing yourself with Adobe Photoshop and Adobe Bridge, including the setting up of preferences. Also covered are the best practices in writing reports and providing courtroom testimony. Part II: The Digital Darkroom teaches how to use Photoshop to accomplish what traditionally was done in the darkroom, from correcting color casts to making prints and exhibits for courtroom use. Part III: Image Analysis & Enhancement covers techniques for clarifying images so that details can be better viewed and used for analysis or comparison, from contrast enhancement and pattern removal to even forensic video analysis. The companion CD-ROM provides sample images—including various accident and crime scenes—you can use to practice the techniques from the book while?following along with the tutorials. It also includes several scripts, plug-ins, and actions so you can work more effectively. In addition, instructor's materials are available so you can use book in workshops and training seminars. Order this one-of-a-kind resource today! Note: CD-ROM/DVD and other supplementary materials are not included as part of eBook file.

A concise and accessible guide to techniques for detecting doctored and fake images in photographs and digital media. Stalin, Mao, Hitler, Mussolini, and other dictators routinely doctored photographs so that the images aligned with their messages. They erased people who were there, added people who were not, and manipulated backgrounds. They knew if they changed the visual record, they could change history. Once, altering images required hours in the darkroom; today, it can be done with a keyboard and mouse. Because photographs are so easily faked, fake photos are everywhere—supermarket tabloids, fashion magazines, political ads, and social media. How can we tell if an image is real or false? In this volume in the MIT Press Essential Knowledge series, Hany Farid offers a concise and accessible guide to techniques for detecting doctored and fake images in photographs and digital media. Farid, an expert in photo forensics, has spent two decades developing techniques for authenticating digital images. These techniques model the entire image-creation process in order to find the digital disruption introduced by manipulation of the image. Each section of the book describes a different technique for analyzing an image, beginning with those requiring minimal technical expertise and advancing to those at intermediate and higher levels. There are techniques for, among other things, reverse image searches, metadata analysis, finding image imperfections introduced by JPEG compression, image cloning, tracing pixel patterns, and detecting images that are computer generated. In each section, Farid describes the techniques, explains when they should be applied, and offers examples of image analysis.

Section 1: What is Digital Forensics? Chapter 1. Digital Evidence is Everywhere Chapter 2. Overview of Digital Forensics Chapter 3. Digital Forensics -- The Sub-Disciplines Chapter 4. The Foundations of Digital Forensics -- Best Practices Chapter 5. Overview of Digital Forensics Tools Chapter 6. Digital Forensics at Work in the Legal System Section 2: Experts Chapter 7. Why Do I Need an Expert? Chapter 8. The Difference between Computer Experts and Digital Forensic Experts Chapter 9. Selecting a Digital Forensics Expert Chapter 10. What to Expect from an Expert Chapter 11. Approaches by Different Types of Examiners Chapter 12. Spotting a Problem Expert Chapter 13. Qualifying an Expert in Court Sections 3: Motions and Discovery Chapter 14. Overview of Digital Evidence Discovery Chapter 15. Discovery of Digital Evidence in Criminal Cases Chapter 16. Discovery of Digital Evidence in Civil Cases Chapter 17. Discovery of Computers and Storage Media Chapter 18. Discovery of Video Evidence Ch ...

Since the mid-nineteenth century, there has been a notable acceleration in the development of the techniques used to confirm identity. From fingerprints to photographs to DNA, we have been rapidly amassing novel means of identification, even as personal, individual identity remains a complex chimera. The Art of Identification examines how such processes are entangled within a wider sphere of cultural identity formation. Against the backdrop of an unstable modernity and the rapid rise and expansion of identificatory techniques, this volume makes the case that identity and identification are mutually imbricated and that our best understanding of both concepts and technologies comes through the interdisciplinary analysis of science, bureaucratic infrastructures, and cultural artifacts. With contributions from literary critics, cultural historians, scholars of film and new media, a forensic anthropologist, and a human bioarcheologist, this book reflects upon the relationship between the bureaucratic, scientific, and technologically determined techniques of identification and the cultural contexts of art, literature, and screen media. In doing so, it opens the interpretive possibilities surrounding identification and pushes us to think about it as existing within a range of cultural influences that complicate the precise formulation, meaning, and reception of the concept. In addition to the editors, the contributors to this volume include Dorothy Butchard, Patricia E. Chu, Jonathan Finn, Rebecca Gowland, Liv Hausken, Matt Houlbrook, Rob Lederer, Andrew Mangham, Victoria Stewart, and Tim Thompson.

As multimedia applications have become part of contemporary daily life, numerous paradigm-shifting technologies in multimedia processing have emerged over the last decade. Substantially updated with 21 new chapters, Multimedia Image and Video Processing, Second Edition explores the most recent advances in multimedia research and applications. This edition presents a comprehensive treatment of multimedia information mining, security, systems, coding, search, hardware, and communications as well as multimodal information fusion and interaction. Clearly divided into seven parts, the book begins with a section on standards, fundamental methods, design issues, and typical architectures. It then focuses on the coding of video and multimedia content before covering multimedia search, retrieval, and management. After examining multimedia security, the book describes multimedia communications and networking and explains the architecture design and implementation for multimedia image and video processing. It concludes with a section on multimedia systems and applications. Written by some of the most prominent experts in the field, this updated edition provides readers with the latest research in multimedia processing and equips them with advanced techniques for the design of multimedia systems.

This book constitutes the thoroughly refereed post-conference proceedings of the 9th Interntaional Workshop on Digital Watermarking, IWDW 2010, held in Seoul, Korea, in October 2010. The 26 revised full papers presented were carefully reviewed and selected from 48 submissions. The papers are organized in topical sections on forensics, visual cryptography, robust watermarking, steganography, fingerprinting, and steganalysis.