COLOR

  • Eye retina’s Bipolar Cells, Horizontal Cells, and Photoreceptors

    In the retina, photoreceptors, bipolar cells, and horizontal cells work together to process visual information before it reaches the brain. Here’s how each cell type contributes to vision:

     

    1. Photoreceptors

    • Types: There are two main types of photoreceptors: rods and cones.
      • Rods: Specialized for low-light and peripheral vision; they help us see in dim lighting and detect motion.
      • Cones: Specialized for color and detail; they function best in bright light and are concentrated in the central retina (the fovea), allowing for high-resolution vision.
    • Function: Photoreceptors convert light into electrical signals. When light hits the retina, photoreceptors undergo a chemical change, triggering an electrical response that initiates the visual process. Rods and cones detect different intensities and colors, providing the foundation for brightness and color perception.

     

    2. Bipolar Cells

    • Function: Bipolar cells act as intermediaries, connecting photoreceptors to ganglion cells, which send signals to the brain. They receive input from photoreceptors and relay it to the retinal ganglion cells.
    • On and Off Bipolar Cells: Some bipolar cells are ON cells, responding when light is detected (depolarizing in light), and others are OFF cells, responding in darkness (depolarizing in the absence of light). This division allows for more precise contrast detection and the ability to distinguish light from dark areas in the visual field.

     

    3. Horizontal Cells

    • Function: Horizontal cells connect photoreceptors to each other and create lateral interactions between them. They integrate signals from multiple photoreceptors, allowing them to adjust the sensitivity of neighboring photoreceptors in response to varying light conditions.
    • Lateral Inhibition: This process improves visual contrast and sharpness by making the borders between light and dark areas more distinct, enhancing our ability to perceive edges and fine detail.

     

    These three types of cells work together to help the retina preprocess visual information and perception, emphasizing contrast and adjusting for different lighting conditions before signals are sent to the brain for further processing and interpretation.

     

     

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  • Christopher Butler – Understanding the Eye-Mind Connection – Vision is a mental process

    https://www.chrbutler.com/understanding-the-eye-mind-connection

     

    The intricate relationship between the eyes and the brain, often termed the eye-mind connection, reveals that vision is predominantly a cognitive process. This understanding has profound implications for fields such as design, where capturing and maintaining attention is paramount. This essay delves into the nuances of visual perception, the brain’s role in interpreting visual data, and how this knowledge can be applied to effective design strategies.

     

    This cognitive aspect of vision is evident in phenomena such as optical illusions, where the brain interprets visual information in a way that contradicts physical reality. These illusions underscore that what we “see” is not merely a direct recording of the external world but a constructed experience shaped by cognitive processes.

     

    Understanding the cognitive nature of vision is crucial for effective design. Designers must consider how the brain processes visual information to create compelling and engaging visuals. This involves several key principles:

    1. Attention and Engagement
    2. Visual Hierarchy
    3. Cognitive Load Management
    4. Context and Meaning

     

     

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  • Björn Ottosson – OKHSV and OKHSL – Two new color spaces for color picking

    https://bottosson.github.io/misc/colorpicker

     

    https://bottosson.github.io/posts/colorpicker/

     

    https://www.smashingmagazine.com/2024/10/interview-bjorn-ottosson-creator-oklab-color-space/

     

    One problem with sRGB is that in a gradient between blue and white, it becomes a bit purple in the middle of the transition. That’s because sRGB really isn’t created to mimic how the eye sees colors; rather, it is based on how CRT monitors work. That means it works with certain frequencies of red, green, and blue, and also the non-linear coding called gamma. It’s a miracle it works as well as it does, but it’s not connected to color perception. When using those tools, you sometimes get surprising results, like purple in the gradient.

     

     

    There were also attempts to create simple models matching human perception based on XYZ, but as it turned out, it’s not possible to model all color vision that way. Perception of color is incredibly complex and depends, among other things, on whether it is dark or light in the room and the background color it is against. When you look at a photograph, it also depends on what you think the color of the light source is. The dress is a typical example of color vision being very context-dependent. It is almost impossible to model this perfectly.

     

    I based Oklab on two other color spaces, CIECAM16 and IPT. I used the lightness and saturation prediction from CIECAM16, which is a color appearance model, as a target. I actually wanted to use the datasets used to create CIECAM16, but I couldn’t find them.

     

    IPT was designed to have better hue uniformity. In experiments, they asked people to match light and dark colors, saturated and unsaturated colors, which resulted in a dataset for which colors, subjectively, have the same hue. IPT has a few other issues but is the basis for hue in Oklab.

     

    In the Munsell color system, colors are described with three parameters, designed to match the perceived appearance of colors: Hue, Chroma and Value. The parameters are designed to be independent and each have a uniform scale. This results in a color solid with an irregular shape. The parameters are designed to be independent and each have a uniform scale. This results in a color solid with an irregular shape. Modern color spaces and models, such as CIELAB, Cam16 and Björn Ottosson own Oklab, are very similar in their construction.

     

     

    By far the most used color spaces today for color picking are HSL and HSV, two representations introduced in the classic 1978 paper “Color Spaces for Computer Graphics”. HSL and HSV designed to roughly correlate with perceptual color properties while being very simple and cheap to compute.

     

    Today HSL and HSV are most commonly used together with the sRGB color space.

     

     

    One of the main advantages of HSL and HSV over the different Lab color spaces is that they map the sRGB gamut to a cylinder. This makes them easy to use since all parameters can be changed independently, without the risk of creating colors outside of the target gamut.

     

     

    The main drawback on the other hand is that their properties don’t match human perception particularly well.
    Reconciling these conflicting goals perfectly isn’t possible, but given that HSV and HSL don’t use anything derived from experiments relating to human perception, creating something that makes a better tradeoff does not seem unreasonable.

     

     

    With this new lightness estimate, we are ready to look into the construction of Okhsv and Okhsl.

     

     

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LIGHTING

  • GretagMacbeth Color Checker Numeric Values and Middle Gray

    The human eye perceives half scene brightness not as the linear 50% of the present energy (linear nature values) but as 18% of the overall brightness. We are biased to perceive more information in the dark and contrast areas. A Macbeth chart helps with calibrating back into a photographic capture into this “human perspective” of the world.

     

    https://en.wikipedia.org/wiki/Middle_gray

     

    In photography, painting, and other visual arts, middle gray or middle grey is a tone that is perceptually about halfway between black and white on a lightness scale in photography and printing, it is typically defined as 18% reflectance in visible light

     

    Light meters, cameras, and pictures are often calibrated using an 18% gray card[4][5][6] or a color reference card such as a ColorChecker. On the assumption that 18% is similar to the average reflectance of a scene, a grey card can be used to estimate the required exposure of the film.

     

    https://en.wikipedia.org/wiki/ColorChecker

     

     

    https://photo.stackexchange.com/questions/968/how-can-i-correctly-measure-light-using-a-built-in-camera-meter

     

    The exposure meter in the camera does not know whether the subject itself is bright or not. It simply measures the amount of light that comes in, and makes a guess based on that. The camera will aim for 18% gray independently, meaning if you take a photo of an entirely white surface, and an entirely black surface you should get two identical images which both are gray (at least in theory). Thus enters the Macbeth chart.

     

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    Note that Chroma Key Green is reasonably close to an 18% gray reflectance.

    http://www.rags-int-inc.com/PhotoTechStuff/MacbethTarget/

     

    No Camera Data

     

    https://upload.wikimedia.org/wikipedia/commons/b/b4/CIE1931xy_ColorChecker_SMIL.svg

     

    RGB coordinates of the Macbeth ColorChecker

     

    https://pdfs.semanticscholar.org/0e03/251ad1e6d3c3fb9cb0b1f9754351a959e065.pdf

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  • Photography basics: How Exposure Stops (Aperture, Shutter Speed, and ISO) Affect Your Photos – cheat cards

     

    Also see:

    https://www.pixelsham.com/2018/11/22/exposure-value-measurements/

     

    https://www.pixelsham.com/2016/03/03/f-stop-vs-t-stop/

     

     

    An exposure stop is a unit measurement of Exposure as such it provides a universal linear scale to measure the increase and decrease in light, exposed to the image sensor, due to changes in shutter speed, iso and f-stop.

     

    +-1 stop is a doubling or halving of the amount of light let in when taking a photo

     

    1 EV (exposure value) is just another way to say one stop of exposure change.

     

    https://www.photographymad.com/pages/view/what-is-a-stop-of-exposure-in-photography

     

    Same applies to shutter speed, iso and aperture.
    Doubling or halving your shutter speed produces an increase or decrease of 1 stop of exposure.
    Doubling or halving your iso speed produces an increase or decrease of 1 stop of exposure.

     

    Details in the post

    (more…)

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  • HDRI Median Cut plugin

    www.hdrlabs.com/picturenaut/plugins.html

     

     

    Note. The Median Cut algorithm is typically used for color quantization, which involves reducing the number of colors in an image while preserving its visual quality. It doesn’t directly provide a way to identify the brightest areas in an image. However, if you’re interested in identifying the brightest areas, you might want to look into other methods like thresholding, histogram analysis, or edge detection, through openCV for example.

     

    Here is an openCV example:

     

    # bottom left coordinates = 0,0
    import numpy as np
    import cv2
    
    # Load the HDR or EXR image
    image = cv2.imread('your_image_path.exr', cv2.IMREAD_UNCHANGED)  # Load as-is without modification
    
    # Calculate the luminance from the HDR channels (assuming RGB format)
    luminance = np.dot(image[..., :3], [0.299, 0.587, 0.114])
    
    # Set a threshold value based on estimated EV
    threshold_value = 2.4  # Estimated threshold value based on 4.8 EV
    
    # Apply the threshold to identify bright areas
    # The luminance array contains the calculated luminance values for each pixel in the image. # The threshold_value is a user-defined value that represents a cutoff point, separating "bright" and "dark" areas in terms of perceived luminance.
    thresholded = (luminance > threshold_value) * 255 
    
    # Convert the thresholded image to uint8 for contour detection 
    thresholded = thresholded.astype(np.uint8) 
    
    # Find contours of the bright areas 
    contours, _ = cv2.findContours(thresholded, cv2.RETR_EXTERNAL, cv2.CHAIN_APPROX_SIMPLE) 
    
    # Create a list to store the bounding boxes of bright areas 
    bright_areas = [] 
    
    # Iterate through contours and extract bounding boxes for contour in contours: 
    x, y, w, h = cv2.boundingRect(contour) 
    
    # Adjust y-coordinate based on bottom-left origin 
    y_bottom_left_origin = image.shape[0] - (y + h) bright_areas.append((x, y_bottom_left_origin, x + w, y_bottom_left_origin + h)) 
    
    # Store as (x1, y1, x2, y2) 
    # Print the identified bright areas 
    print("Bright Areas (x1, y1, x2, y2):") for area in bright_areas: print(area)

     

    More details

     

    Luminance and Exposure in an EXR Image:

    • An EXR (Extended Dynamic Range) image format is often used to store high dynamic range (HDR) images that contain a wide range of luminance values, capturing both dark and bright areas.
    • Luminance refers to the perceived brightness of a pixel in an image. In an RGB image, luminance is often calculated using a weighted sum of the red, green, and blue channels, where different weights are assigned to each channel to account for human perception.
    • In an EXR image, the pixel values can represent radiometrically accurate scene values, including actual radiance or irradiance levels. These values are directly related to the amount of light emitted or reflected by objects in the scene.

     

    The luminance line is calculating the luminance of each pixel in the image using a weighted sum of the red, green, and blue channels. The three float values [0.299, 0.587, 0.114] are the weights used to perform this calculation.

     

    These weights are based on the concept of luminosity, which aims to approximate the perceived brightness of a color by taking into account the human eye’s sensitivity to different colors. The values are often derived from the NTSC (National Television System Committee) standard, which is used in various color image processing operations.

     

    Here’s the breakdown of the float values:

    • 0.299: Weight for the red channel.
    • 0.587: Weight for the green channel.
    • 0.114: Weight for the blue channel.

     

    The weighted sum of these channels helps create a grayscale image where the pixel values represent the perceived brightness. This technique is often used when converting a color image to grayscale or when calculating luminance for certain operations, as it takes into account the human eye’s sensitivity to different colors.

     

    For the threshold, remember that the exact relationship between EV values and pixel values can depend on the tone-mapping or normalization applied to the HDR image, as well as the dynamic range of the image itself.

     

    To establish a relationship between exposure and the threshold value, you can consider the relationship between linear and logarithmic scales:

    1. Linear and Logarithmic Scales:
      • Exposure values in an EXR image are often represented in logarithmic scales, such as EV (exposure value). Each increment in EV represents a doubling or halving of the amount of light captured.
      • Threshold values for luminance thresholding are usually linear, representing an actual luminance level.
    2. Conversion Between Scales:

      • To establish a mathematical relationship, you need to convert between the logarithmic exposure scale and the linear threshold scale.

      • One common method is to use a power function. For instance, you can use a power function to convert EV to a linear intensity value.



       

      threshold_value = base_value * (2 ** EV)



      Here, EV is the exposure value, base_value is a scaling factor that determines the relationship between EV and threshold_value, and 2 ** EV is used to convert the logarithmic EV to a linear intensity value.


    3. Choosing the Base Value:
      • The base_value factor should be determined based on the dynamic range of your EXR image and the specific luminance values you are dealing with.
      • You may need to experiment with different values of base_value to achieve the desired separation of bright areas from the rest of the image.

     

    Let’s say you have an EXR image with a dynamic range of 12 EV, which is a common range for many high dynamic range images. In this case, you want to set a threshold value that corresponds to a certain number of EV above the middle gray level (which is often considered to be around 0.18).

    Here’s an example of how you might determine a base_value to achieve this:

     

    # Define the dynamic range of the image in EV
    dynamic_range = 12
    
    # Choose the desired number of EV above middle gray for thresholding
    desired_ev_above_middle_gray = 2
    
    # Calculate the threshold value based on the desired EV above middle gray
    threshold_value = 0.18 * (2 ** (desired_ev_above_middle_gray / dynamic_range))
    
    print("Threshold Value:", threshold_value)
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