The Art and Science of HDR Imaging.

John J. McCann
Bok · Engelsk · 2011 · Electronic books.

Omfang	1 online resource (417 pages)
Utgave	1st ed.
Opplysninger	Intro -- THE ART AND SCIENCE OF HDR IMAGING -- Contents -- About the Authors -- Preface -- Series Preface -- Acknowledgements -- Section A: History of HDR Imaging -- 1: HDR Imaging -- 1.1 Topics -- 1.2 Introduction -- 1.3 Replicas and Reproductions -- 1.4 A Choice of Metaphors for HDR Reproduction -- 1.4.1 Pixel-based Reproduction -- 1.4.2 Spatial Reproduction -- 1.5 Reproduction of Scene Dynamic Range -- 1.6 HDR Disciplines -- 1.6.1 Interactions of Light and Matter -- 1.6.2 Light Sensors -- 1.6.3 Image Processing -- 1.6.4 Image Rendition -- 1.7 Outline of the Text -- 1.7.1 Section A - History of HDR Imaging -- 1.7.2 Section B - Measured Dynamic Ranges -- 1.7.3 Section C - Separating Glare and Contrast -- 1.7.4 Section D - Scene Content Controls Appearances -- 1.7.5 Section E - Color HDR -- 1.7.6 Section F - HDR Image Processing -- 1.8 Summary -- 1.9 References -- 2: HDR Tools and Definitions -- 2.1 Topics -- 2.2 Introduction -- 2.3 Pixels -- 2.4 Dynamic Ranges -- 2.4.1 Dynamic Range of Light in Scenes -- 2.4.2 Dynamic Range of Vision -- 2.5 Measuring Light -- 2.5.1 Radiometry - Measuring Electromagnetic Radiation -- 2.5.2 Photometry - Measuring Visible Light -- 2.6 Measuring Color Spaces -- 2.6.1 Color Matching Functions -- 2.6.2 Uniform Color Spaces -- 2.6.3 Early Pixel-based Color Matches Followed by Neural Spatial Interactions -- 2.7 Image Reproduction -- 2.7.1 Color-Forming Technologies -- 2.7.2 Spatial Additive Color in Flat-Panel Displays -- 2.7.3 Tone Scale Control of the Interior Color Space -- 2.7.4 Colorimetric Reproductions -- 2.8 Contrast -- 2.9 Digital Imaging -- 2.10 Summary -- 2.11 References -- 3: HDR in Natural Scenes -- 3.1 Topics -- 3.2 Appearance in HDR and Color Constancy -- 3.3 Summary -- 3.4 References -- 4: HDR in Painting -- 4.1 Topics -- 4.2 Introduction -- 4.3 Ancient Painting -- 4.4 Perspective.. - 13.6 References -- Section C: Separating Glare and Contrast -- 14: Two Counteracting Mechanisms: Glare and Contrast -- 14.1 Topics -- 14.2 Introduction -- 14.3 Two Spatial Mechanisms -- 14.4 Calculated Retinal Image -- 14.4.1 Making a Standard Lightness Scale -- 14.4.2 Scatter Calculation -- 14.4.3 Results of Scatter Calculations -- 14.4.4 Retinal Contrast with Different Backgrounds -- 14.4.5 Stiehl et al.'s Conclusions -- 14.5 Measuring the Range of HDR Appearances -- 14.6 Calculating the Retinal Image -- 14.7 Visualizing the Retinal Image -- 14.8 HDR and Uniform Color Space -- 14.9 Summary -- 14.10 References -- 15: Measuring the Range of HDR Appearances -- 15.1 Topics -- 15.2 Introduction -- 15.3 Design of Appearance Scale Target -- 15.3.1 Single- and Double-Density Targets -- 15.4 Magnitude Estimation Experiments -- 15.4.1 Average luminance = 50 % max luminance -- 15.4.2 Average luminance = 8 % max luminance -- 15.4.3 Control Surrounds - White and Black -- 15.5 Scene Dependent Tone Scale -- 15.6 Glare and Contrast -- 15.7 Summary -- 15.8 References -- 16: Calculating the Retinal Image -- 16.1 Topics -- 16.2 Introduction -- 16.3 Converting Scene Luminance to Retinal Contrast -- 16.4 Calculating Retinal Radiance -- 16.4.1 Scene Contrast - Input Luminance Array -- 16.4.2 CIE Veiling Glare Standard -- 16.4.3 Calculate Retinal Radiances -- 16.5 Changes in the Retinal Image from Glare -- 16.6 Appearance and Retinal Image -- 16.7 Scene Content and Psychometric Functions -- 16.8 Summary -- 16.9 References -- 17: Visualizing HDR Images -- 17.1 Topics -- 17.2 Introduction -- 17.3 Calculated Retinal Image Contrast -- 17.4 Retinal Image Contrast -- 17.5 Summary -- 17.6 References -- 18: HDR and Uniform Color Spaces -- 18.1 Topics -- 18.2 Introduction -- 18.3 Uniform Color Spaces - Psychophysics -- 18.4 Color Vision - Physiology -- 18.4.1 Spectral Sensitivity.. - 18.4.2 Intensity Response -- 18.5 Accurate Transformations from CMF to UCS -- 18.5.1 Data-based LUT Transformations from CMF to UCS -- 18.5.2 Data-based Fit for Transformation from CMF to UCS -- 18.6 Summary -- 18.7 References -- 19: Glare: A Major Part of Vision Theory -- 19.1 Topics -- 19.2 Introduction -- 19.3 Glare: Distorts Lightness below Middle Gray, More or Less -- 19.4 Pixel-based HDR Image Processing -- 19.5 Summary -- 19.6 References -- Section D: Scene Content Controls Appearance -- 20: Scene Dependent Appearance of Quanta Catch -- 20.1 Topics -- 20.2 Introduction -- 20.3 Models of Vision - A Choice of Paradigms -- 20.4 Illumination, Constancy and Surround -- 20.5 Maximum's Enclosure and Distance -- 20.6 Size of Maxima -- 20.7 Assimilation -- 20.8 Maxima and Contrast with Maxima -- 21: Illumination, Constancy and Surround -- 21.1 Topics -- 21.2 Introduction -- 21.3 Hipparchus of Nicea -- 21.3.1 Magnitude Estimation of Brightness -- 21.4 Flat-2-D Transparent Displays -- 21.4.1 Experiments -- 21.4.2 Results -- 21.5 A Simple Two-Step Physical Description -- 21.6 Complex 3-D Scenes -- 21.6.1 Experiments -- 21.6.2 Results -- 21.6.3 Do Uniform Stimuli Appear Uniform? -- 21.7 Local Maxima -- 21.8 Review -- 21.9 Summary -- 21.10 References -- 22: Maximum's Enclosure and Separation -- 22.1 Topics -- 22.2 Introduction -- 22.3 Experimental Design -- 22.4 Lightness Matches - Light Gray on Black -- 22.5 Lightness Matches - Dark Gray on Black -- 22.5.1 Dark Gray on Black - White on Four Sides -- 22.5.2 Dark Gray on Black - White on Three Sides -- 22.5.3 Dark Gray on Black - White on Two Sides -- 22.5.4 Dark Gray on Black - White on One Side -- 22.5.5 Dark Gray on Black -- 22.6 Dark Gray on Black: Varying White's Position -- 22.7 Review -- 22.8 Summary -- 22.9 References -- 23: Maxima Size and Distribution -- 23.1 Topics -- 23.2 Introduction.. - 23.3 Experimental Procedure.. - 4.4.1 Perspective in the Renaissance -- 4.5 Chiaroscuro -- 4.6 Gerritt van Honthorst (Gherardo delle Notti) -- 4.7 Rembrandt van Vijn -- 4.8 John Constable -- 4.9 John Martin -- 4.10 Impressionism -- 4.11 Photorealism -- 4.12 Summary -- 4.13 References -- 5: HDR in Film Photography -- 5.1 Topics -- 5.2 Introduction -- 5.3 Multiple Exposures in the 1850s -- 5.3.1 Edouard Baldus -- 5.4 HP Robinson -- 5.5 Hurter and Driffield-Scientific Calibration of AgX Film Sensitivity -- 5.6 Sheppard and Mees -- 5.7 19th Century - Professional Amateur Photography -- 5.8 20th Century - Corporate Photography -- 5.9 20th Century Control of Dynamic Range -- 5.9.1 The Tone Scale Curve -- 5.9.2 The Physics Behind the Tone Scale Curve -- 5.9.3 Jones and Condit - Range of Light in Scenes -- 5.9.4 Color Film -- 5.9.5 LA Jones -- 5.9.6 Color Measurement vs. Color Photography -- 5.9.7 HDR Pseudocolor Measurement - Wyckoff -- 5.10 Other Silver-Halide Stories -- 5.11 Summary -- 5.12 References -- 6: The Ansel Adams Zone System -- 6.1 Topics -- 6.2 Introduction -- 6.3 Compressing the HDR World into the LDR Print -- 6.4 Visualization -- 6.5 Scene Capture -- 6.5.1 Assigning Scene Luminances to Zones in the Print -- 6.5.2 Zone System: Interplay of Exposure and Development -- 6.5.3 Compressing the HDR Scene into the LDR Print - Spatial Image Processing -- 6.6 "Performing the Score" -- 6.6.1 Dodging and Burning -- 6.7 Moonrise, Hernandez -- 6.8 Apparent vs. Physical Contrast -- 6.9 Summary -- 6.10 References -- 7: Electronic HDR Image Processing: Analog and Digital -- 7.1 Topics -- 7.2 Introduction -- 7.3 Human Spatial Vision -- 7.4 Electronic HDR Image Processing -- 7.4.1 The Black and White Mondrian -- 7.4.2 Analog Electronic Spatial Rendering -- 7.4.3 Digital Electronic Spatial Rendering -- 7.4.4 Electronic HDR Pixel Processing -- 7.5 Summary -- 7.6 References.. - 8: HDR and the World of Computer Graphics -- 8.1 Topics -- 8.2 Introduction -- 8.3 Early Years: the 60s -- 8.4 Early Digital Image Synthesis: the 70s -- 8.5 The Turning Point: the 80s -- 8.6 Computational Photorealism: from the 90s -- 8.7 Summary -- 8.8 References -- 9: Review of HDR History -- 9.1 Topics -- 9.2 Summary of Disciplines -- 9.3 Review -- 9.4 Summary -- 9.5 References -- Section B: Measured Dynamic Ranges -- 10: Actual Dynamic Ranges -- 10.1 Topics -- 10.2 Introduction -- 10.3 Dynamic Range of Light Sensors -- 10.4 Bits per Pixel -- 10.5 Dynamic Range of Display Devices -- 10.6 Interactions of Pixels in Images -- 10.6.1 Capture to Reproduction -- 10.6.2 Reproduction to Perception -- 10.7 Summary -- 10.8 References -- 11: Limits of HDR Scene Capture -- 11.1 Topics -- 11.2 Introduction -- 11.3 HDR Test Targets -- 11.4 Camera Veiling Glare Limits -- 11.4.1 Digital Camera Response -- 11.4.2 Measurements of Luminous Flux on the Camera's Image Plane (1scaleBlack) -- 11.4.3 Measurements of Luminous Flux on the Camera's Image Plane (4scaleBlack) -- 11.4.4 Measurements of Luminous Flux on the Camera's Image Plane (4scaleWhite) -- 11.4.5 Errors in Estimated Scene Luminance -- 11.5 Glare in Film Cameras -- 11.5.1 Duplication Film-Camera Response -- 11.5.2 Negative Film-Camera Response -- 11.5.3 Pinhole-Camera Response -- 11.6 Review -- 11.7 Summary -- 11.8 References -- 12: Limits of HDR in Humans -- 12.1 Topics -- 12.2 Introduction -- 12.3 Visual Appearance of HDR Displays -- 12.4 von Honthorst's Painting and the 4scaleBlack HDR Target -- 12.5 HDR Displays and Black and White Mondrian -- 12.6 HDR and Tone Scale Maps -- 12.7 HDR Displays and Contrast -- 12.8 Summary -- 12.9 References -- 13: Why Does HDR Improve Images? -- 13.1 Topics -- 13.2 Introduction -- 13.3 Why are HDR Images Better? -- 13.4 Are Multiple Exposures Necessary? -- 13.5 Summary.. - Rendering High Dynamic Range (HDR) scenes on media with limited dynamic range began in the Renaissance whereby painters, then photographers, learned to use low-range spatial techniques to synthesize appearances, rather than to reproduce accurately the light from scenes. The Art and Science of HDR Imaging presents a unique scientific HDR approach derived from artists' understanding of painting, emphasizing spatial information in electronic imaging. 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.
Emner	High dynamic range imaging.
Sjanger	Electronic books.
Dewey	771/.44
ISBN	9781119951476
ISBN(galt)	9780470666227