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High Dynamic Range Imaging: Acquisition, Display, and Image-Based Lighting 2nd Edition
Purchase options and add-ons
- New material includes chapters on High Dynamic Range Video Encoding, High Dynamic Range Image Encoding, and High Dynammic Range Display Devices
- Written by the inventors and initial implementors of High Dynamic Range Imaging
- Covers the basic concepts (including just enough about human vision to explain why HDR images are necessary), image capture, image encoding, file formats, display techniques, tone mapping for lower dynamic range display, and the use of HDR images and calculations in 3D rendering
- Range and depth of coverage is good for the knowledgeable researcher as well as those who are just starting to learn about High Dynamic Range imaging
- The prior edition of this book included a DVD-ROM. Files from the DVD-ROM can be accessed at: http://www.erikreinhard.com/hdr_2nd/index.html
- ISBN-10012374914X
- ISBN-13978-0123749147
- Edition2nd
- PublisherMorgan Kaufmann
- Publication dateJune 8, 2010
- LanguageEnglish
- Dimensions7.3 x 1.4 x 9.3 inches
- Print length672 pages
Editorial Reviews
Review
"With the mainstream introduction of affordable LED HDTVs and computer monitors, the principles of high dynamic range imaging have gone from an academic research topic to essential knowledge. For anyone involved in software or hardware development for computer games and entertainment video, this second edition of High Dynamic Range Imaging offers everything you need and more. Highly recommended." --Ian Ashdown, President, byHeart Consultants Limited
Review
From the Back Cover
About the Author
Wolfgang Heidrich is Associate Professor and Dolby Research Chair at the Department of Computer Science, University of British Columbia.
Paul Debevec is a research assistant professor at the University of Southern California and the executive producer of graphics research at USC's Institute for Creative Technologies. Paul's PhD thesis (UC Berkeley, 1996) presented Façade, an image-based modeling and rendering system for creating photoreal architectural models from photographs. Using Façade, he led the creation of virtual cinematography of the Berkeley campus for his 1997 film The Campanile Movie whose techniques were used to create virtual backgrounds in the 1999 film The Matrix. Subsequently he pioneered techniques for illuminating computer-generated scenes with real-world lighting captured through high dynamic range photography, demonstrating new image-based lighting techniques in his films Rendering with Natural Light (1998), Fiat Lux (1999), and The Parthenon (2004). He has also led the design of HDR Shop, the first widely used high dynamic range image editing program. Most recently Paul has led the development of a series of Light Stage devices that allow objects, actors, and performances to be synthetically illuminated with novel lighting. This technique was used to create photoreal digital actors for the film Spider Man 2. Paul received the first ACM SIGGRAPH Significant New Researcher Award in 2001, was named one of the world's top "100 Young Innovators" by MIT's Technology Review in 2002, and was awarded a Lillian Gilbreth Lectureship from the National Academy of Engineering in 2005.
Sumanta Pattanaik is an associate processor of computer science at the University of Central Florida, Orlando (UCF). His main area of research is realistic rendering where he has been active for over 15 years and has contributed significantly through a number of research publications. His current focus is developing real-time rendering algorithms and modeling natural environments. He is currently serving as the computer graphics category editor of ACM Computing Review. Sumanta received his MS degree in chemistry from Utkal University, India in 1978 and PhD degree in computer science from Birla Institute of Technology and Science in Pilani (BITS-Pilani), India in 1993. Prior to joining UCF he was a research associate at the Program of Computer Graphics at Cornell University, a post-doctoral researcher at the SIAMES program of IRISA/INRIA France, and a senior staff scientist at the National Center of Software Technology, India.
Greg Ward is a pioneer in HDRI, having developed the first widely used HDR image file format in 1986 as part of the Radiance lighting simulation system. In 1998 he introduced the more advanced LogLuv TIFF encoding and more recently the backwards-compatible HDR extension to JPEG. He is also the author of the Mac OS X application Photosphere, which provides advanced HDR assembly and cataloging and is freely available from www.anyhere.com. Currently he is collaborating with Sunnybrook Technologies on their HDR display systems. Greg has worked as a part of the computer graphics research community for over 20 years, developing rendering algorithms, reflectance models and measurement systems, tone reproduction operators, image processing techniques, and photo printer calibration methods. His past employers include the Lawrence Berkeley National Laboratory, EPFL Switzerland, SGI, Shutterfly, and Exponent. He holds a bachelor's degree in physics from UC Berkeley and a master's degree in computer science from San Francisco State University. He is currently working as an independent consultant in Albany, California.
Product details
- Publisher : Morgan Kaufmann; 2nd edition (June 8, 2010)
- Language : English
- Hardcover : 672 pages
- ISBN-10 : 012374914X
- ISBN-13 : 978-0123749147
- Item Weight : 3.55 pounds
- Dimensions : 7.3 x 1.4 x 9.3 inches
- Best Sellers Rank: #3,167,589 in Books (See Top 100 in Books)
- #444 in Photography (Books)
- #805 in Computer Graphics
- #1,560 in Graphics & Multimedia Programming
- Customer Reviews:
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"Stumpfel et al. [310] presented a technique for capturing light from the sky up to and including the sun. To image the sky, the authors used a Canon EOS 1Ds digital camera with a Sigma 8-mm fish-eye lens facing upward on the roof of an office building (Figure 11.13[a]). The lens glare caused by the sun was minor, which was verified by photographing a clear sky twice and blocking the sun in one of the images. For nearly the entire field of view, the pixel values in the sky were within a few percentage points of each other in both images."
And it continues with HDR pro photography secrets for very bright sources:
"As expected, the sun was far too bright to record even using the camera's shortest shutter speed of 1/8000s at f/16, a relatively small aperture. The authors thus placed a Kodak Wratten 3.0 neutral density (ND) filter on the back of the lens to uniformly reduce the light incident on the sensor by a factor of 1000. ND filters are often not perfectly neutral, giving images taken though them a significant color cast. The authors calibrated the transmission of the filter by taking HDR images of a scene with and without the filter, and divided the two images to determine the filter's trandmission in the red, green, and blue color channels. All images subsequently taken through the filter were scaled by the inverse of these transmission ratios."
The technique is unwrapped like an onion:
"Having the 3.0 ND filter on the lens made it possible to image the sun at 1/8000s at f/16 without saturating the sensor (see Figure 11.13[a]), but it made the sky and clouds require an undesirably long exposure time of 15s. To solve this problem, the authors used a laptop computer to control the camera so that both the shutter speed and aperture could be varied during each HDR image sequence. Thus, the series began at f/4 with exposures of 1, 1/4, and 1/32s and then switched to f/16 with exposures of 1/16, 1/125, 1/1000, amd 1/8000s. Images from such a sequence are seen in Figure 11.13(b) through 11.13(h). For presunrise and postsunrise images, the f/16 images were omitted and an additional exposure of 4s at f/4 was added to capture the dimmer sky of dawn and dusk."
And this continues for several more pages..
This book IS a valuable resource for pro photographers.
If you are a consumer photographer afraid to turn the dial away from full-auto mode, then this book will be scary for you.
The subject of High Dynamic Range imaging exists mostly because of a simple observation. When you look with your eyes at a natural scene, typically outdoors in daytime, the dynamic range of the image can vary up to 5 orders of magnitude in intensity. But when the scene is captured and then displayed, the output page or screen can often only show 2 orders of magnitude. The latter is called Low Dynamic Range imaging. The conventional 24 bit RGB representation, which allocates 8 bits each to red, green and blue, is for LDR. The 8 bits in each colour channel is that 2 orders of magnitude variation.
The book also explains clearly why 24 bit RGB is really effectively 8 bits or 2 orders of magnitude range. You might think naively that we have 24 bits of variation. But the text takes an example image, of an outdoors scene, and does scatterplots of red, green and blue pixel intensities against each other. They are strongly correlated. Which makes sense, when you realise that a pixel that is bright in red is often also bright in green and blue. The practical effect is that the information content in 24 bit pixels is actually much less than 24 bits. Which also explains why a mapping from RGB to other colour spaces that use 1 luminance channel and 2 chromatic channels is often performed. The latter 2 channels have much less information and so can be better compressed.
Anyhow, the top level understanding of this book is to appreciate the discrepancy between the 5 orders of magnitude in an actual scene and the 2 orders in an output image. This impedance mismatch accounts for most of the book's complexity and length. Many of the algorithms strive to somehow capture more of the natural dynamic range and make it visible in the far more restrictive output.
The book seems ideal for a colour scientist or engineer who wants a deep understanding of the optical interactions as well as the physiology of human image perception. It is not meant for someone who needs a quickie tweak of an existing software imaging package. Rather, the book helps explain the science behind those packages, which might be often way more intricate than can be appreciated by the typical users of such packages.
You can see this for yourself by reading many of the other reviews. Most are cursory and utter drivel. Written by people who were clearly out of their depths in terms of understanding maths or science or engineering in the text. Several reviews were just a short paragraph of generalities. Written by people who got their books thru the Amazon Vine program and just needed to post a review to satisfy the Vine requirements. Basically so that they could continue to get more free books from Vine.
Top reviews from other countries
5.0 out of 5 stars HDR imaging bible. Recommended by computer vision professor.
Reading this book really helped me understand important concepts related to computer vision and HDR imaging. I am not a computer engineering student and didn't know much about HDR photography. The book covered everything I needed to know to work with HDR in a computer vision lab.
Explanations are clear and detailed. They use great pictures to make sure the reader understands.
Thank you for this well made book.