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More About This Title The Art and Science of HDR Imaging
English
Human visual appearance and reproduction rendition of the HDR world requires spatial-image processing to overcome the veiling glare limits of optical imaging, in eyes and in cameras. Illustrated in full colour throughout, including examples of fine-art paintings, HDR photography, and multiple exposure scenes; this book uses techniques to study the HDR properties of entire scenes, and measures the range of light of scenes and the range that cameras capture. It describes how electronic image processing has been used to render HDR scenes since 1967, and examines the great variety of HDR algorithms used today. Showing how spatial processes can mimic vision, and render scenes as artists do, the book also:
- Gives the history of HDR from artists' spatial techniques to scientific image processing
- Measures and describes the limits of HDR scenes, HDR camera images, and the range of HDR appearances
- Offers a unique review of the entire family of Retinex image processing algorithms
- Describes the considerable overlap of HDR and Color Constancy: two sides of the same coin
- Explains the advantages of algorithms that replicate human vision in the processing of HDR scenes
- Provides extensive data to test algorithms and models of vision on an accompanying website
www.wiley.com/go/mccannhdr
English
John J. McCann, Consultant, McCann Imaging, USA
John McCann received a B.A. degree in Biology from Harvard University in 1964. He worked in, and later managed, the Vision Research Laboratory at Polaroid from 1961 to 1996. He has studied human color vision, digital image processing, large format instant photography and the reproduction of fine art. His 120 publications have studied Retinex theory, color from rod/Lcone interactions at low light levels, appearance with scattered light, and HDR imaging.
He has been a Fellow of the Society of Imaging Science and Technology (IS&T) since 1983. He is a past President of IS&T and the Artists Foundation, Boston. In 1996 he received the SID Certificate of Commendation. He is the IS&T/OSA 2002 Edwin H. Land Medalist, and IS&T 2005 Honorary Member, and is a 2008 Fellow of the Optical Society of America. He is currently consulting and continuing his research on color vision.
Alessandro Rizzi, Università degli Studi di Milano, Italy
Professor Alessandro Rizzi holds a degree in Computer Science at University of Milano and received a PhD in Information Engineering at University of Brescia (Italy). He taught Information Systems and Computer Graphics at University of Brescia and at Politecnico di Milano. He is currently an assistant professor teaching Multimedia and Human-Computer Interaction, and senior research fellow at the Department of Information Technologies at University of Milano. Since 1990 he has researched in the field of digital imaging and vision. His main research topic is the use of color information in digital images with particular attention to color perception mechanisms. He is the coordinator of the Italian Color Group
Conference Chair of Color Conference at IS&T/SPIE Electronic Imaging, and a principle organizer of European Marie Curie Project CREATE.
English
Preface xxi
Series Preface xxiii
Acknowledgements xxv
Section A HISTORY OF HDR IMAGING 1
1 HDR Imaging 3
1.1 Topics 3
1.2 Introduction 3
1.3 Replicas and Reproductions 4
1.4 A Choice of Metaphors for HDR Reproduction 5
1.5 Reproduction of Scene Dynamic Range 7
1.6 HDR Disciplines 8
1.7 Outline of the Text 10
1.8 Summary 11
1.9 References 12
2 HDR Tools and Defi nitions 13
2.1 Topics 13
2.2 Introduction 13
2.3 Pixels 14
2.4 Dynamic Ranges 14
2.5 Measuring Light 17
2.6 Measuring Color Spaces 18
2.7 Image Reproduction 21
2.8 Contrast 24
2.9 Digital Imaging 25
2.10 Summary 25
2.11 References 26
3 HDR in Natural Scenes 27
3.1 Topics 27
3.2 Appearance in HDR and Color Constancy 27
3.3 Summary 30
3.4 References 31
4 HDR in Painting 33
4.1 Topics 33
4.2 Introduction 33
4.3 Ancient Painting 33
4.4 Perspective 35
4.5 Chiaroscuro 37
4.6 Gerritt van Honthorst (Gherardo delle Notti) 37
4.7 Rembrandt van Vijn 40
4.8 John Constable 40
4.9 John Martin 40
4.10 Impressionism 41
4.11 Photorealism 43
4.12 Summary 43
4.13 References 44
5 HDR in Film Photography 45
5.1 Topics 45
5.2 Introduction 45
5.3 Multiple Exposures in the 1850s 46
5.4 HP Robinson 47
5.5 Hurter and Driffi eld-Scientifi c Calibration of AgX Film Sensitivity 48
5.6 Sheppard and Mees 50
5.7 19th Century – Professional Amateur Photography 50
5.8 20th Century – Corporate Photography 50
5.9 20th Century Control of Dynamic Range 51
5.10 Other Silver-Halide Stories 56
5.11 Summary 56
5.12 References 57
6 The Ansel Adams Zone System 59
6.1 Topics 59
6.2 Introduction 59
6.3 Compressing the HDR World into the LDR Print 59
6.4 Visualization 60
6.5 Scene Capture 61
6.6 “Performing the Score” 65
6.7 Moonrise, Hernandez 66
6.8 Apparent vs. Physical Contrast 66
6.9 Summary 66
6.10 References 68
7 Electronic HDR Image Processing: Analog and Digital 69
7.1 Topics 69
7.2 Introduction 69
7.3 Human Spatial Vision 69
7.4 Electronic HDR Image Processing 70
7.5 Summary 74
7.6 References 75
8 HDR and the World of Computer Graphics 77
8.1 Topics 77
8.2 Introduction 77
8.3 Early Years: the 60s 78
8.4 Early Digital Image Synthesis: the 70s 78
8.5 The Turning Point: the 80s 79
8.6 Computational Photorealism: from the 90s 80
8.7 Summary 80
8.8 References 81
9 Review of HDR History 83
9.1 Topics 83
9.2 Summary of Disciplines 83
9.3 Review 84
9.4 Summary 87
9.5 References 87
Section B MEASURED DYNAMIC RANGES 89
10 Actual Dynamic Ranges 91
10.1 Topics 91
10.2 Introduction 91
10.3 Dynamic Range of Light Sensors 92
10.4 Bits per Pixel 93
10.5 Dynamic Range of Display Devices 94
10.6 Interactions of Pixels in Images 95
10.7 Summary 96
10.8 References 96
11 Limits of HDR Scene Capture 99
11.1 Topics 99
11.2 Introduction 99
11.3 HDR Test Targets 99
11.4 Camera Veiling Glare Limits 101
11.5 Glare in Film Cameras 107
11.6 Review 111
11.7 Summary 111
11.8 References 112
12 Limits of HDR in Humans 113
12.1 Topics 113
12.2 Introduction 113
12.3 Visual Appearance of HDR Displays 113
12.4 von Honthorst’s Painting and the 4scaleBlack HDR Target 116
12.5 HDR Displays and Black and White Mondrian 116
12.6 HDR and Tone Scale Maps 117
12.7 HDR Displays and Contrast 117
12.8 Summary 117
12.9 References 118
13 Why Does HDR Improve Images? 119
13.1 Topics 119
13.2 Introduction 119
13.3 Why are HDR Images Better? 120
13.4 Are Multiple Exposures Necessary? 120
13.5 Summary 121
13.6 References 121
Section C SEPARATING GLARE AND CONTRAST 123
14 Two Counteracting Mechanisms: Glare and Contrast 125
14.1 Topics 125
14.2 Introduction 125
14.3 Two Spatial Mechanisms 126
14.4 Calculated Retinal Image 126
14.5 Measuring the Range of HDR Appearances 131
14.6 Calculating the Retinal Image 131
14.7 Visualizing the Retinal Image 131
14.8 HDR and Uniform Color Space 132
14.9 Summary 132
14.10 References 132
15 Measuring the Range of HDR Appearances 135
15.1 Topics 135
15.2 Introduction 135
15.3 Design of Appearance Scale Target 136
15.4 Magnitude Estimation Experiments 138
15.5 Scene Dependent Tone Scale 141
15.6 Glare and Contrast 142
15.7 Summary 143
15.8 References 143
16 Calculating the Retinal Image 145
16.1 Topics 145
16.2 Introduction 145
16.3 Converting Scene Luminance to Retinal Contrast 146
16.4 Calculating Retinal Radiance 146
16.5 Changes in the Retinal Image from Glare 149
16.6 Appearance and Retinal Image 149
16.7 Scene Content and Psychometric Functions 151
16.8 Summary 151
16.9 References 152
17 Visualizing HDR Images 153
17.1 Topics 153
17.2 Introduction 153
17.3 Calculated Retinal Image Contrast 154
17.4 Retinal Image Contrast 155
17.5 Summary 159
17.6 References 159
18 HDR and Uniform Color Spaces 161
18.1 Topics 161
18.2 Introduction 161
18.3 Uniform Color Spaces – Psychophysics 161
18.4 Color Vision – Physiology 164
18.5 Accurate Transformations from CMF to UCS 165
18.6 Summary 167
18.7 References 168
19 Glare: A Major Part of Vision Theory 169
19.1 Topics 169
19.2 Introduction 169
19.3 Glare: Distorts Lightness below Middle Gray, More or Less 169
19.4 Pixel-based HDR Image Processing 170
19.5 Summary 171
19.6 References 171
Section D SCENE CONTENT CONTROLS APPEARANCE 173
20 Scene Dependent Appearance of Quanta Catch 175
20.1 Topics 175
20.2 Introduction 175
20.3 Models of Vision – A Choice of Paradigms 175
20.4 Illumination, Constancy and Surround 176
20.5 Maximum’s Enclosure and Distance 176
20.6 Size of Maxima 177
20.7 Assimilation 177
20.8 Maxima and Contrast with Maxima 177
21 Illumination, Constancy and Surround 179
21.1 Topics 179
21.2 Introduction 179
21.3 Hipparchus of Nicea 180
21.4 Flat-2-D Transparent Displays 182
21.5 A Simple Two-Step Physical Description 183
21.6 Complex 3-D Scenes 185
21.7 Local Maxima 189
21.8 Review 190
21.9 Summary 190
21.10 References 191
22 Maximum’s Enclosure and Separation 193
22.1 Topics 193
22.2 Introduction 193
22.3 Experimental Design 194
22.4 Lightness Matches – Light Gray on Black 194
22.5 Lightness Matches – Dark Gray on Black 195
22.6 Dark Gray on Black: Varying White’s Position 197
22.7 Review 198
22.8 Summary 199
22.9 References 200
23 Maxima Size and Distribution 201
23.1 Topics 201
23.2 Introduction 201
23.3 Experimental Procedure 202
23.4 Controls 202
23.5 Dispersion of White (“Snow”) 202
23.6 Sides and Corners 203
23.7 Lines 204
23.8 Equivalent Backgrounds 205
23.9 Equivalent Backgrounds and Models of Vision 207
23.10 Summary 207
23.11 References 208
24 From Contrast to Assimilation 209
24.1 Topics 209
24.2 Introduction 209
24.3 Segmented Surrounds 210
24.4 Checkerboard Variants 215
24.5 Summary 216
24.6 References 216
25 Maxima and Contrast with Maxima 217
25.1 Topics 217
25.2 Merger of Aperture and Object Modes 217
25.3 Infl uence of the Maxima 218
25.4 Summary 219
Section E COLOR HDR 221
26 HDR, Constancy and Spatial Content 223
26.1 Topics 223
26.2 Introduction 223
26.3 Red and White Projections 224
26.4 Color Mondrians 225
26.5 Constancy’s On/Off Switch 225
26.6 Color of 3-D Mondrians – LDR/HDR Illumination 226
26.7 Color Constancy is HDR 226
26.8 References 226
27 Color Mondrians 227
27.1 Topics 227
27.2 Introduction 227
27.3 Color Mondrians 229
27.4 The Signature of Color Constancy 237
27.5 Search for Evidence of Adaptation – Averages 240
27.6 Transparency in Mondrians 243
27.7 Color Assimilation 243
27.8 Summary 244
27.9 References 245
28 Constancy’s On/Off Switch 247
28.1 Topics 247
28.2 Introduction 247
28.3 Maximov’s Shoe Boxes 247
28.4 New Maxima Restores Constancy 250
28.5 Independent L, M, S Spatial Processing 251
28.6 Model Predictions 253
28.7 Center-Surround Target – Results 253
28.8 Summary 255
28.9 References 256
29 HDR and 3-D Mondrians 257
29.1 Topics 257
29.2 Color Constancy and Appearance 257
29.3 Color Constancy Models 258
29.4 Measuring Changes in Appearance from Changes in Illumination 259
29.5 Magnitude Estimation Appearance Measurements 262
29.6 Watercolor Rendition Measurements of Appearance 263
29.7 Review of 3-D Mondrian Psychophysical Measurements 266
29.8 Color Constancy Models 268
29.9 Conclusions 270
29.10 References 271
30 Color Constancy is HDR 273
30.1 Topics 273
30.2 Introduction 273
30.3 Rod Receptors and HDR 274
30.4 Assembling Appearance: Color Constancy, Rod Vision and HDR 279
30.5 Summary 280
30.6 References 280
Section F HDR IMAGE PROCESSING 283
31 HDR Pixel and Spatial Algorithms 285
31.1 Topics 285
31.2 Introduction – HDR Image Processing Algorithms 285
31.3 One Pixel – Tone Scale Curves 286
31.4 Some of the Pixels – Local Processing 288
31.5 All of the Pixels 289
31.6 All Pixels and Scene Dependent – The Retinex Extended Family 289
31.7 Retinex Algorithms 290
31.8 ACE Algorithms 290
31.9 Analytical, Computational and Variational Algorithms 290
31.10 Techniques for Analyzing HDR Algorithms 290
31.11 The HDR Story 291
31.12 References 291
32 Retinex Algorithms 293
32.1 Topics 293
32.2 Introduction 293
32.3 How to Calculate Lightness Using Ratio-Products 297
32.4 A Variety of Processing Networks 301
32.5 Image Content 302
32.6 Real Images – 1975 307
32.7 The Extended Family of Retinex Models 319
32.8 Algorithm’s Goal 334
32.9 References 337
33 ACE Algorithms 341
33.1 Topics 341
33.2 Introduction 341
33.3 ACE Algorithm 341
33.4 Retinex and ACE 344
33.5 ACE Characteristics 345
33.6 RACE 349
33.7 Other Vision-based Models 350
33.8 Summary 350
33.9 References 351
34 Analytical, Computational and Variational Algorithms 353
34.1 Topics 353
34.2 Introduction 353
34.3 Math in the Framework of the Human Visual System 354
34.4 Analytical Retinex Formulas 354
34.5 Computational Retinex in Wavelets 354
34.6 Retinex and the Variational Techniques 355
34.7 Summary 356
34.8 References 357
35 Evaluation of HDR Algorithms 359
35.1 Topics 359
35.2 Introduction 359
35.3 Quantitative Approaches to Algorithm Evaluation 360
35.4 Lightness Test Targets 361
35.5 Ratio Metric 362
35.6 Quantitative Evaluation of 3-D Mondrians 367
35.7 Locality Test Targets 369
35.8 Summary 370
35.9 Lessons From Quantitative Studies of HDR in Cameras 371
35.10 References 371
36 The HDR Story 373
36.1 Topic 373
36.2 Straightforward Technology Stories 373
36.3 The HDR Story is Defi ned by Limits 373
36.4 HDR Works Well 374
36.5 References 375
Glossary 377
Author Index 385
Subject Index 387
English
“Overall, this book provides an excellent overview of the history of imaging, HDR imaging algorithms, and the abilities of the human visual system. The book is a great achievement for the authors, and it will be well appreciated by anyone who enjoys learning about a field from the key players. Most importantly, it will encourage the reader to think about how visual processing works, and how that process can serve as a model for imaging systems for HDR images.” (Journal of Electronic Imaging, 1 September 2012)
