Recap ! Exposure ! The Art, Science and Algorithms Control: ! - - PDF document

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Recap ! Exposure ! The Art, Science and Algorithms Control: ! - - PDF document

Recap ! Exposure ! The Art, Science and Algorithms Control: ! Shutter, aperture and ISO ! of Photography ! Metering ! Camera meter ! Histograms ! Camera Capture & White Balance ! Zone system ! CSCI 4900/6900 !


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SLIDE 1

The Art, Science and Algorithms

  • f Photography!

Camera Capture & White Balance! CSCI 4900/6900! Maria Hybinette!

1!

Recap!

  • Exposure!

– Control:!

  • Shutter, aperture and ISO!

– Metering!

  • Camera meter!
  • Histograms!
  • Zone system!

– Limitations:!

  • Your meter knows about ‘middle gray’!
  • Limited dynamic range (contrast levels)!

2!

Basic Photography: Left to talk about!

  • Digital Capture:!

– Bits / RAW and dynamic range!

  • HDR (beginning, Photoshop)!
  • White balance (start tomorrow)!
  • Gamma (Thursday)!

– http://graphics.stanford.edu/courses/cs178/applets/ gamma.html!

Coming Soon:!

  • Camera hacking (next week)!
  • Noise and dynamic range!
  • Advanced HDR!
  • Lenses, focal lengths, distortion and DOF !

3!

Digital Camera: Linear Capture!

  • Film record light in a non-linear

fashion, just like our eyes.!

– It enables us a higher dynamic range, we can naturally compress contrast levels.!

  • Doubling number of photons reaching our eyes

doesn’t seem twice as bright.!

  • Digital sensors lack the non-linearity of

human perception!

– Count photons in a linear fashion!

4!

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Digital Exposure Dangers!

  • Expose it assuming film (non-linearity)!
  • Don’t exploit camera’s true dynamic range!
  • Create exposure whose shadows are noisier than then

should be!

  • Non-linearity: Real life examples:!

– Golf ball in hand and weight! – If you add another golf ball does it feel twice as heavy? [probably not]! – If you add twice the number of photons reaching your eye does it feel twice as bright? !

  • Brighter yes – but TWICE as bright? Probably not.!

5!

Linear Capture!

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SLIDE 2

Linear Processed Image!

  • Looks very dark!

– You don’t really see this view because your monitor does a transformation on the image before hand! – In nature your eye is drawn towards bright areas – and you over-estimate number of bights in nature.!

  • Vast majority of pixels are

clumped at the darker end.!

7!

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After Raw Processing!

8!

Applying a Tone Curve (Gamma)!

  • What you see after applying a tone curve, the

image appears normal (gamma correction)!

– The histogram now has a normal distribution! – Spread the darker tones over a larger range in output! – Compress lighter tones (extenuates lights in output)!

9!

Linear Distribution!

  • Assuming we camera uses 12 bits to encode

capture into 4,096 levels (and we force each region to be twice brighter than the next region,

  • r half as bright if you go in the other direction)!

– Levels corresponds to the number of photons captured :!

  • Example: Level 2,048 represents half the number of

photons recorded at level 4,096!

10!

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Linear Capture Implications!

  • Linear gamma means that contrast levels

corresponds to number of photons captured!

– Camera with a dynamic range of 6 that uses 12 bits encodes the capture into 4,096 levels!

11!

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Linear vs Gamma Distribution!

12!

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  • Equalize

Levels!

  • Darkest

Stop: 64 Levels!

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SLIDE 3

Another Representation!

  • Top image, gradation and pixels levels of a non-

linear, converted digital spectrum – this is how a graduated spectrum will look after converting from a RAW image (balanced middle gray in middle)!

  • Bottom image: how tonal images are distributed

across the raw image – more levels are devoted to the lighter tones!

13!

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Underexposure: Implications!

  • If you underexpose (too much) to avoid blowing out

highlights:!

– You are wasting a lot of bits in the camera! – You may introduce (more) noise in the mid tones and shadows!

  • The 64 levels of the darkest stop is spread out over a wider tonal

range which exaggerates the noise and invites posterization!

  • Digital: Expose for the highlights!

– Keep the highlights as close as possible to blowing out (expose to the right)!

  • Film: Expose for the shadows!

– Keep the shadows as close as possible without plugging the shadows (you are stuck with the shadows with film).!

14!

Histogram and JPG on LCD!

  • Compressed JPG!
  • May show a

blown out image even if it isn’t because: it has applied a gamma curve!

15!

Histogram on Camera!

  • Based on a JPG – 8 bits per channel!

– So 2^8 or 256 levels per channel!

  • Split into 256 levels per color channel!

– In the Zone system (Zone V - 128 would be middle gray)!

16!

Digital Exposure!

  • Expose to the left: Danger Noise!!
  • Digital cameras have disproportional fewer darker

tones than we see with our eyes (lots of bright tones)!

  • Full tonal range of scene:!

17!

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Workflow: Underexposed Image!

  • Underexposed

Image!

  • Data on left!
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SLIDE 4

Correcting an Underexposure!

  • Corrected Image!
  • Gaps – indicate tonal

values not present in the image!

– Loss of pixel values or banding in shadows (not noise)!

  • Banding effect greatest in

the darkest tonal values, more gaps on left side of grey pointer than on the right side!

19!

Banding, Posterization!

20! 21!

Properly Exposed!

22!

Zone System!

  • roughly 1 f/stop per zone!
  • X = “maximum white of the paper

base”!

  • IX = “slight tonality, but no texture: flat

snow in sunlight”!

  • VIII = “textured snow, lightest wood at

right” ..... [digital exposure]!

  • VII = light/pale skin tones !
  • V = 18% gray card, sky, light foliage!
  • III textured shadows [film exposure]!
  • II first hint of texture!
  • I stuck with these cant contract or

expand after exposure.!

  • 0 = “maximum black that photographic

paper can produce” !

  • lesson for the digital age!

23!

Expose for the Highlights!

  • Minimize banding!

– Place the important highlights on Zone VII )+2 (light skin) or VIII (snow) +3 where they belong, minimizes the need to stretch thee images pixel levels to much.!

24!

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SLIDE 5

Example: Door, Wall, Snow!

  • Snow is +3 from middle

gray!

  • Door is middle gray.!
  • Expose for the

highlights, i.e., snow +3, put meter at middle on snow (snow is now middle grey), so then compensate by letting more light in, i.e., slow it down 3 stops to make it ‘textured’ white again.!

25!

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Middle Grey!

  • How do you know which is middle

grey, you can calibrate the palm of your hand and see how far it is from middle grey and then always have a ‘calibration’ point.!

  • Make sure you put the palm of the

hand under the same light that you are metering.!

26!

White Balance!

  • Just like exposure (luminosity) and the

camera normalizing to middle gray, for color the camera ‘neutralizes’ to gray.!

  • Example: Setting a camera to Tungsten

(warm light 2.7K) neutralizes a warm lit scene to a cooler (bluer) scene.!

27! 28!

  • Candlelit scenes – < 2000 K!
  • Household incandescent (tungsten) Lights –

2000-3000K!

  • Early sunrise or late sunset – 3000-4000K!
  • Older fluorescent and mercury lamps –

4000-5000 K!

  • Most studio strobes and camera flash –

5000-5500K!

  • Newer energy-saving, daylight-balanced

compact fluorescent lamps – 5500-6000K!

  • Cloudless bright, sunny afternoon –

5000-6500 K!

  • Typical overcast and cloudy sky with sunlight

– 6500-7500K!

  • Open shade, thick cloudy skies – >8500K!

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Slide Credits/Resources!

  • Prof. Fredo Durand & Prof. Marc Levoy!
  • Bruce Fraser!

– Raw Capture (read)!

  • London, Stone, Upton Textbook!
  • The Simplified Zone System: Farzad, Bahman!
  • The Practical Zone System (4th Edition): Chris Johnson!
  • Wikipedia!
  • http://www.normankoren.com/makingfineprints1A.html!
  • http://www.normankoren.com/digital_tonality.html!
  • http://www.luminous-landscape.com/tutorials/expose-right.shtml!
  • http://www.cambridgeincolour.com/tutorials (Dr. Sean McHugh)!
  • http://www.bythom.com/graycards.htm!

– ANSI standard is 12% gray (1/2 stop less than 18% gray on Kodak Gray Cards).! – http://david.spielman.com/Gray_Card/ANSI_PH3_49_1971.PDF!

29!