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首页探索HDR成像的艺术与科技:融合传统与未来
"《艺术与科学:高动态范围成像的艺术》是一本深入探讨高动态范围(HDR)成像的综合性著作,它结合了绘画历史、图像科学与技术的发展,以及数字图像处理的进步。作者约翰·J·麦卡恩和亚历山德罗·里兹zi分别来自美国的McCann Imaging和意大利米兰大学,他们以跨学科的视角审视HDR成像技术,旨在帮助读者理解这项技术在相机设计、软件图像处理、数字图形艺术和电影制作中的广泛应用。 本书首先回顾了绘画史,强调传统摄影的历史背景,以此为基石探讨HDR成像的革新。HDR技术突破了传统摄影受光线限制的局限,能够捕捉和显示超出人眼感知范围的广阔动态范围,这对于那些包含强烈对比度场景(如日落、舞台灯光或高光与阴影区域丰富的照片)尤为重要。通过深入解析图像科学中的色彩理论、色彩管理、颜色空间转换等概念,作者揭示了HDR如何实现细节丰富且逼真的影像。 在技术层面,书中详细介绍了HDR成像的传感器技术,如线阵相机和激光测距仪的应用,以及如何通过软件算法进行HDR合成和色彩校准。此外,还涵盖了JPEG 2000等新型图像编码标准在HDR图像传输和存储中的作用,以及色彩管理对于确保HDR图像一致性的重要性。 最后,作者展望了HDR成像的未来可能性,包括新的显示技术、算法改进和与虚拟现实、增强现实等新兴领域相结合的应用。《艺术与科学:高动态范围成像》不仅是一本技术手册,也是一部关于图像艺术与科学交融的百科全书,为专业人士和爱好者提供了全面理解和实践HDR成像的指南。"
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xvi Contents
30.3.4 Rod Retinex plus L-cone Color Appearance Demonstration 276
30.3.5 Rod Retinex plus L-cone Retinex Color Space 278
30.3.6 Rod Retinex plus L-cone Retinex 278
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
31.3.1 One Pixel – Histogram 286
31.3.2 One Pixel – LookUp Tables 287
31.3.3 Using 1-D LookUp Tables for Rendering HDR Scene Captures 287
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
32.2.1 Three Independent Spatial Retinexes Calculate Three Lightnesses – 1964 293
32.2.2 Ratio-Product 294
32.3 How to Calculate Lightness Using Ratio-Products 297
32.3.1 Normalization 297
32.3.2 Models that Include the Limitations of Vision 298
32.3.3 Gradient Threshold 298
32.3.4 Reset 299
32.3.5 Average Old and New Products 300
32.3.6 Scene Dependent Output 301
32.3.7 Models Using Imposed Limits in Computation 301
32.4 A Variety of Processing Networks 301
32.5 Image Content 302
32.5.1 Normalization in Vision – Neither Local, Nor Global 303
32.5.2 Tools to Control a Response to Scene Content 305
32.5.3 Edges and Gradients 305
32.6 Real Images – 1975 307
32.6.1 Real Images in Real Time 308
32.6.2 Goal: Lightness Field Replaces Refl ectance 311
32.6.3 Dynamic Range Compression from Threshold or Reset 312
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Contents xvii
32.6.4 Retinex and Lightness Field Hardware 312
32.6.5 Spatial Processing is in the Middle of the Imaging Chain 315
32.6.6 Zoom Processing 315
32.7 The Extended Family of Retinex Models 319
32.7.1 Land’s Designator – 1983 319
32.7.2 NASA Retinex – 1996 321
32.7.3 Color Gamut Retinex – 1999 322
32.7.4 Brownian Path Retinex 324
32.7.5 Random Spray Retinex 326
32.7.6 Different Properties of Locality 326
32.7.7 Sobol’s Digital Flash Retinex – 2002 329
32.8 Algorithm’s Goal 334
32.8.1 Refl ectance and Illumination 335
32.9 References 337
33 ACE Algorithms 341
33.1 Topics 341
33.2 Introduction 341
33.3 ACE Algorithm 341
33.3.1 ACE Stage 1 342
33.3.2 ACE Stage 2 344
33.4 Retinex and ACE 344
33.5 ACE Characteristics 345
33.5.1 ACE uses GrayWorld 346
33.5.2 ACE- De-quantization 346
33.5.3 ACE on Simultaneous Contrast and Mach Bands 347
33.5.4 Effi cient ACE Processing 348
33.6 RACE 349
33.6.1 ACE with Sprays 349
33.6.2 RACE Formula 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
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xviii Contents
35.5 Ratio Metric 362
35.5.1 Spatial Color Metric 362
35.5.2 Experiment in Munsell Space 365
35.6 Quantitative Evaluation of 3-D Mondrians 367
35.6.1 Rendition Quality Metric 367
35.6.2 3-D Mondrians 367
35.6.3 Spatial Color Examples 367
35.6.4 Evaluations of LDR and HDR 3-D Mondrians 368
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
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About the Authors
John McCann received a degree in Biology from Harvard College in 1964. He worked in, and 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 fi ne art. His publica-
tions and patents have studied Retinex theory, color constancy, color from rod/cone interactions at low
light levels, appearance with scattered light, and HDR imaging. He is a Fellow of the Society of Imaging
Science & Technology (IS & T) and the Optical Society of America (OSA). He is a past President of
IS & T and the Artists Foundation, Boston. He is currently consulting and continuing his research on
color vision. He is the IS & T/OSA 2002 Edwin H. Land Medalist, and IS & T 2005 Honorary Member.
Alessandro Rizzi obtained his PhD in Information Engineering, Universit à di Brescia in 1999, and is
an Associate Professor in the Department of Information Science and Communication at the University
of Milano. He teaches fundamentals of digital imaging, multimedia video and human - computer interac-
tion. Since 1990, he has studied digital imaging and human vision. His research focuses on issues
regarding vision when combined with digital imaging. He has worked on computational models of
color appearance for standard and high - dynamic - range images when applied to image enhancement,
movie and picture restoration, medical imaging, and computer vision. He is one of the founders of the
Italian Color Group, and member of several program committees of conferences related to color and
digital imaging. He serves as Co - Chair of the Color Conference in IST & T/SPIE Electronic Imaging in
which he introduced “ The Dark Side of Color ” .
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Preface
Vision and visual reproduction are a giant puzzle. By comparison, it is much more complicated than a
jigsaw puzzle that lies on a fl at table. We know a lot about the fl at puzzle piece before we start. We
know the surface that lays on the table, and just need to fi gure out its location and orientation.
Vision is more like a wooden three - dimensional puzzle in which the craftsman passes the jigsaw
through a volume of wood at many angles and adds many curves. All the pieces of such solid block
puzzles have complex irregular shapes. To solve these puzzles we need to look at each piece in all
possible ways. We need to inspect each surface to recognize its shape, and then search for its matching
surface. We rotate each piece in our hands to see it from all possible directions.
Vision has far more than three dimensions. However, the principle is the same. We need to look at
the properties of vision from all possible directions to see if we can fi nd pieces that fi t together.
All HDR imaging is the result of having variable illuminations falling on objects. This variable
illumination is the result of the 3 - D world that has multiple illuminants, shadows, specular and diffuse
refl ections from other objects. The scene components in a 3 - D world play a big part in controlling the
light coming from them. This is quite different from fl at 2 - D surfaces in uniform illumination. Just as
with jigsaw puzzles, 3 - D scenes are more interesting and complex than spots of light, and 2 - D fl at
scenes.
This text integrates three topics that are thought of as independent disciplines: artists ’ renditions of
scenes and their illumination, color and lightness constancy, and digital HDR imaging. Each is a rich
fi eld of study; each is a piece of the puzzle. The shapes of these topics fi t together. Their contours match
because measurements of appearances in each give the same results. This book is about those measure-
ments of appearances, and models of the results.
This text differs from others in the Wiley - IS & T Series in Imaging Science & Technology in that it
concentrates on measuring color appearances in complex scenes. It integrates and extends the work of
two photographers who were close friends: Edwin Land and Ansel Adams. One began as an optical
physicist and inventor, and then built a great company around instant photography. The other began as
a pianist, and turned to photography to express his incredible artistic talent. Both Adams and Land were
IS & T Fellows; both were awarded the United States Presidential Medal of Freedom.
Adams taught his Zone System to many thousands of photographers. His books have many scientifi c
plots of fi lm - response functions measured with spots of light. The Zone System taught photographers
HDR image capture. That is the record of the scene; it is the analog of a musical score. Making the
print, the analog of performing the score, departed from the physics of spots of light and turned to
implement the skills of painters in controlling the spatial information content. By controlling the light
from the negative in each spatial region of the print, Adams taught how to perform HDR compression.
He not only fi t the very large dynamic range of scenes in the U.S. southwest into a lower dynamic
range print, he synthesized the print ’ s appearance using spatial image processing. Adams did not accu-
rately reproduce the HDR world; he captured it, transformed it, and rendered his artistic visualization
of it in the print.
At the same time that Adams started to write about the Zone System, his friend Edwin Land started
to create instant photography. Ten years later, after receiving hundreds of photographic patents, Land
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