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Format: 1 online resource (417 pages)

Edition: 1st ed.

ISBN: 9781119951476

Series Statement: The Wiley-IS&T Series in Imaging Science and Technology Series v.26

Note: 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 and others'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

Additional Edition: Print version McCann, John J. The Art and Science of HDR Imaging Newark : John Wiley & Sons, Incorporated,c2011 ISBN 9780470666227

Language: English

Keywords: Electronic books ; Electronic books

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