In this paper, a forensic tool able to discriminate between original and forged regions in an image captured by a digital camera is presented. We make the assumption that the image is acquired using a Color Filter Array, and that tampering removes the artifacts due to the demosaicking algorithm. The proposed method is based on a new feature measuring the presence of demosaicking artifacts at a local level, and on a new statistical model allowing to derive the tampering probability of each 2 × 2 image block without requiring to know a priori the position of the forged region. Experimental results on different cameras equipped with different demosaicking algorithms demonstrate both the validity of the theoretical model and the effectiveness of our scheme.

In this paper, we propose a forensic algorithm to discriminate between original and forged regions in JPEG images, under the hypothesis that the tampered image presents a double JPEG compression, either aligned (A-DJPG) or nonaligned (NA-DJPG). Unlike previous approaches, the proposed algorithm does not need to manually select a suspect region in order to test the presence or the absence of double compression artifacts. Based on an improved and unified statistical model characterizing the artifacts that appear in the presence of both A-DJPG or NA-DJPG, the proposed algorithm automatically computes a likelihood map indicating the probability for each 8 × 8 discrete cosine transform block of being doubly compressed. The validity of the proposed approach has been assessed by evaluating the performance of a detector based on thresholding the likelihood map, considering different forensic scenarios. The effectiveness of the proposed method is also confirmed by tests carried on realistic tampered images. An interesting property of the proposed Bayesian approach is that it can be easily extended to work with traces left by other kinds of processing.

The aim of this survey is to provide a comprehensive overview of the state of the art in the area of image forensics. These techniques have been designed to identify the source of a digital image or to determine whether the content is authentic or modified, without the knowledge of any prior information about the image under analysis (and thus are defined as passive). All these tools work by detecting the presence, the absence, or the incongruence of some traces intrinsically tied to the digital image by the acquisition device and by any other operation after its creation. The paper has been organized by classifying the tools according to the position in the history of the digital image in which the relative footprint is left: acquisition-based methods, coding-based methods, and editing-based schemes.

Forensic research community keeps proposing new techniques to analyze digital images and videos. However, the performance of proposed tools are usually tested on data that are far from reality in terms of resolution, source device, and processing history. Remarkably, in the latest years, portable devices became the preferred means to capture images and videos, and contents are commonly shared through social media platforms (SMPs, for example, Facebook, YouTube, etc.). These facts pose new challenges to the forensic community: for example, most modern cameras feature digital stabilization, that is proved to severely hinder the performance of video source identification technologies; moreover, the strong re-compression enforced by SMPs during upload threatens the reliability of multimedia forensic tools. On the other hand, portable devices capture both images and videos with the same sensor, opening new forensic opportunities. The goal of this paper is to propose the VISION dataset as a contribution to the development of multimedia forensics. The VISION dataset is currently composed by 34,427 images and 1914 videos, both in the native format and in their social version (Facebook, YouTube, and WhatsApp are considered), from 35 portable devices of 11 major brands. VISION can be exploited as benchmark for the exhaustive evaluation of several image and video forensic tools.

Digital watermarking has been proposed as a viable solution to the need of copyright protection and authentication of multimedia data in a networked environment, since it makes it possible to identify the author, owner, distributor or authorized consumer of a document. In this paper a new watermarking technique to add a code to digital images is presented; the method operates in the frequency domain embedding a pseudo-random sequence of real numbers in a selected set of DCT coefficients. Watermark casting is performed by exploiting the masking characteristics of the human visual system, to ensure watermark invisibility. The embedded sequence is extracted without resorting to the original image, so that the proposed technique represents a major improvement to methods relying on the comparison between the watermarked and original images. Experimental results demonstrate that the watermark is robust to most of the signal processing techniques and geometric distortions.