Figure 1: (a) Top: Photograph taken in a dark environment, the image is noisy and/or blurry. Bottom: Flash photography provides a sharp but flat image with distracting shadows at the silhouette of objects. (b) Inset showing the noise of the available-light image. (c) Our technique merges the two images to transfer the ambiance of the available lighting. Note the shadow of the candle on the table. Our technique enhances photographs shot in dark environments by combining a picture taken with the available light and one taken with the flash. We preserve the ambiance of the original lighting and insert the sharpness. We use the bilateral filter to decompose the images into detail and large scale. We reconstruct the image using the large scale of the available lighting and the detail of the flash. We detect and correct flash shadow. Our output combines the advantages of available illumination and flash photography.

Permission to make digital or hard copies of part or all of this work for personal or classroom use is granted without fee provided that copies are not made or distributed for profit or direct commercial advantage and that copies show this notice on the first page or initial screen of a display along with the full citation. Copyrights for components of this work owned by others than ACM must be honored. Abstracting with credit is permitted. To copy otherwise, to republish, to post on servers, to redistribute to lists, or to use any component of this work in other works requires prior specific permission and/or a fee.

Due to rapid technological progress in high dynamic range (HDR) video capture and display, the efficient storage and transmission of such data is crucial for the completeness of any HDR imaging pipeline. We propose a new approach for inter-frame encoding of HDR video, which is embedded in the well-established MPEG4 video compression standard. The key component of our technique is luminance quantization that is optimized for the contrast threshold perception in the human visual system. The quantization scheme requires only 10--11 bits to encode 12 orders of magnitude of visible luminance range and does not lead to perceivable contouring artifacts. Besides video encoding, the proposed quantization provides perceptually-optimized luminance sampling for fast implementation of any global tone mapping operator using a lookup table. To improve the quality of synthetic video sequences, we introduce a coding scheme for discrete cosine transform (DCT) blocks with high contrast. We demonstrate the capabilities of HDR video in a player, which enables decoding, tone mapping, and applying post-processing effects in real-time. The tone mapping algorithm as well as its parameters can be changed interactively while the video is playing. We can simulate post-processing effects such as glare, night vision, and motion blur, which appear very realistic due to the usage of HDR data.

The ultimate aim of realistic graphics is the creation of images that provoke the same responses that a viewer would have to a real scene. This STAR addresses two related key problem areas in this effort which are located at opposite ends of the rendering pipeline, namely the data structures used to describe light during the actual rendering process, and the issue of displaying such radiant intensities in a meaningful way.

Abstract—A common task in computer graphics is the mapping of digital high dynamic range images to low dynamic range display devices such as monitors and printers. This task is similar to the adaptation processes which occur in the human visual system. Physiological evidence suggests that adaptation already occurs in the photoreceptors, leading to a straightforward model that can be easily adapted for tone reproduction. The result is a fast and practical algorithm for general use with intuitive user parameters that control intensity, contrast, and level of chromatic adaptation, respectively. Index Terms—Tone reproduction, dynamic range reduction, photoreceptor physiology. 1

New imaging and rendering systems commonly use physically accurate lighting information in the form of highdynamic range (HDR) images and video. HDR images contain actual colorimetric or physical values, which can span 14 orders of magnitude, instead of 8-bit renderings, found in standard images. The additional precision and quality retained in HDR visual data is necessary to display images on advanced HDR display devices, capable of showing contrast of 50,000:1, as compared to the contrast of 700:1 for LCD displays. With the development of high-dynamic range visual techniques comes a need for an automatic visual quality assessment of the resulting images. In this paper we propose several modifications to the Visual Difference Predicator (VDP). The modifications improve the prediction of perceivable differences in the full visible range of luminance and under the adaptation conditions corresponding to real scene observation. The proposed metric takes into account the aspects of high contrast vision, like scattering of the light in the optics (OTF), nonlinear response to light for the full range of luminance, and local adaptation. To calibrate our HDR VDP we perform experiments using an advanced HDR display, capable of displaying the range of luminance that is close to that found in real scenes.

Image processing often involves an image transformation into a domain that is better correlated with visual perception, such as the wavelet domain, image pyramids, multi-scale contrast representations, contrast in retinex algorithms, and chroma, lightness and colorfulness predictors in color appearance models. Many of these transformations are not ideally suited for image processing that significantly modifies an image. For example, the modification of a single band in a multi-scale model leads to an unrealistic image with severe halo artifacts. Inspired by gradient domain methods we derive a framework that imposes constraints on the entire set of contrasts in an image for a full range of spatial frequencies. This way, even severe image modifications do not reverse the polarity of contrast. The strengths of the framework are demonstrated by aggressive contrast enhancement and a visually appealing tone mapping which does not introduce artifacts. Additionally, we perceptually linearize contrast magnitudes using a custom transducer function. The transducer function has been derived especially for the purpose of HDR images, based on the contrast discrimination measurements for high contrast stimuli.

The ultimate aim of realistic graphics is the creation of images that provoke the same responses that a viewer would have to a real scene. While research into ways of rendering images provides us with better and faster methods, we do not necessarily see their full effect due to limitations of the display hardware. The low dynamic range of a standard computer monitor requires some form of mapping to produce images that are perceptually accurate. Tone reproduction operators attempt to replicate the effect of real-world luminance intensities. This paper reviews the work to date on tone reproduction techniques. It includes an investigation into the need for accurate tone reproduction and a discussion of techniques to date. The future of tone reproduction is considered, together with the implications of advances in display hardware.

A number of successful tone mapping operators for contrast compression have been proposed due to the need to visualize high dynamic range (HDR) images on low dynamic range devices. They were inspired by fields as diverse as image processing, photographic practice, and modeling of the human visual systems (HVS). The variety of approaches calls for a systematic perceptual evaluation of their performance. We conduct a psychophysical experiment based on a direct comparison between the appearance of real-world scenes and HDR images of these scenes displayed on a low dynamic range monitor. In our experiment, HDR images are tone mapped by seven existing tone mapping operators. The primary interest of this psychophysical experiment is to assess the differences in how tone mapped images are perceived by human observers and to find out which attributes of image appearance account for these differences when tone mapped images are compared directly with their corresponding realworld scenes rather than with each other. The human subjects rate image naturalness, overall contrast, overall brightness, and detail reproduction in dark and bright image regions with respect to the corresponding real-world scene. The results indicate substantial differences in perception of images produced by individual tone mapping operators. We observe a clear distinction between global and local operators in favor of the latter, and we classify the tone mapping operators according to naturalness and appearance attributes. Keywords: high dynamic range (HDR) images, human visual systems (HVS), tone mapping, psychophysics, ANOVA, correlation, MANOVA, Mahalanobis distances. 1.

In the real world, the human eye is confronted with a wide range of luminances from bright sunshine to low night light. Our eyes cope with this vast range of intensities by adaptation; changing their sensitivity to be responsive at di#erent illumination levels. This adaptation is highly localized, allowing us to see both dark and bright regions of a high dynamic range environment. In this paper we present a new model of eye adaptation based on physiological data. The model, which can be easily integrated into existing renderers, can function either as a static local tone mapping operator for single high dynamic range image, or as a temporal adaptation model taking into account time elapsed and intensity of preadaptation for a dynamic sequence. We finally validate our technique with a high dynamic range display and a psychophysical study.