Digital Color Imaging

This paper surveys current technology and research in the area of digital color imaging. In order to establish the background and lay down terminology, fundamental concepts of color perception and measurement are first presented us-ing vector-space notation and terminology. Present-day color recording and reproduction systems are reviewed along with the common mathematical models used for representing these devices. Algorithms for processing color images for display and communication are surveyed, and a forecast of research trends is attempted. An extensive bibliography is provided

Evaluation and improvement of the workflow of digital imaging of fine art reproduction in museums

Fine arts refer to a broad spectrum of art formats, ie~painting, calligraphy, photography, architecture, and so forth. Fine art reproductions are to create surrogates of the original artwork that are able to faithfully deliver the aesthetics and feelings of the original. Traditionally, reproductions of fine art are made in the form of catalogs, postcards or books by museums, libraries, archives, and so on (hereafter called museums for simplicity). With the widespread adoption of digital archiving in museums, more and more artwork is reproduced to be viewed on a display. For example, artwork collections are made available through museum websites and Google Art Project for art lovers to view on their own displays. In the thesis, we study the fine art reproduction of paintings in the form of soft copy viewed on displays by answering four questions: (1) what is the impact of the viewing condition and original on image quality evaluation? (2) can image quality be improved by avoiding visual editing in current workflows of fine art reproduction? (3) can lightweight spectral imaging be used for fine art reproduction? and (4) what is the performance of spectral reproductions compared with reproductions by current workflows? We started with evaluating the perceived image quality of fine art reproduction created by representative museums in the United States under controlled and uncontrolled environments with and without the presence of the original artwork. The experimental results suggest that the image quality is highly correlated with the color accuracy of the reproduction only when the original is present and the reproduction is evaluated on a characterized display. We then examined the workflows to create these reproductions, and found that current workflows rely heavily on visual editing and retouching (global and local color adjustments on the digital reproduction) to improve the color accuracy of the reproduction. Visual editing and retouching can be both time-consuming and subjective in nature (depending on experts\u27 own experience and understanding of the artwork) lowering the efficiency of artwork digitization considerably. We therefore propose to improve the workflow of fine art reproduction by (1) automating the process of visual editing and retouching in current workflows based on RGB acquisition systems and by (2) recovering the spectral reflectance of the painting with off-the-shelf equipment under commonly available lighting conditions. Finally, we studied the perceived image quality of reproductions created by current three-channel (RGB) workflows with those by spectral imaging and those based on an exemplar-based method

Estimation of illuminants from color signals of illuminated objects

Color constancy is the ability of the human visual systems to discount the effect of the illumination and to assign approximate constant color descriptions to objects. This ability has long been studied and widely applied to many areas such as color reproduction and machine vision, especially with the development of digital color processing. This thesis work makes some improvements in illuminant estimation and computational color constancy based on the study and testing of existing algorithms. During recent years, it has been noticed that illuminant estimation based on gamut comparison is efficient and simple to implement. Although numerous investigations have been done in this field, there are still some deficiencies. A large part of this thesis has been work in the area of illuminant estimation through gamut comparison. Noting the importance of color lightness in gamut comparison, and also in order to simplify three-dimensional gamut calculation, a new illuminant estimation method is proposed through gamut comparison at separated lightness levels. Maximum color separation is a color constancy method which is based on the assumption that colors in a scene will obtain the largest gamut area under white illumination. The method was further derived and improved in this thesis to make it applicable and efficient. In addition, some intrinsic questions in gamut comparison methods, for example the relationship between the color space and the application of gamut or probability distribution, were investigated. Color constancy methods through spectral recovery have the limitation that there is no effective way to confine the range of object spectral reflectance. In this thesis, a new constraint on spectral reflectance based on the relative ratios of the parameters from principal component analysis (PCA) decomposition is proposed. The proposed constraint was applied to illuminant detection methods as a metric on the recovered spectral reflectance. Because of the importance of the sensor sensitivities and their wide variation, the influence from the sensor sensitivities on different kinds of illuminant estimation methods was also studied. Estimation method stability to wrong sensor information was tested, suggesting the possible solution to illuminant estimation on images with unknown sources. In addition, with the development of multi-channel imaging, some research on illuminant estimation for multi-channel images both on the correlated color temperature (CCT) estimation and the illuminant spectral recovery was performed in this thesis. All the improvement and new proposed methods in this thesis are tested and compared with those existing methods with best performance, both on synthetic data and real images. The comparison verified the high efficiency and implementation simplicity of the proposed methods

The reproduction angular error for evaluating the performance of illuminant estimation algorithms

The angle between the RGBs of the measured illuminant and estimated illuminant colors - the recovery angular error - has been used to evaluate the performance of the illuminant estimation algorithms. However we noticed that this metric is not in line with how the illuminant estimates are used. Normally, the illuminant estimates are ‘divided out’ from the image to, hopefully, provide image colors that are not confounded by the color of the light. However, even though the same reproduction results the same scene might have a large range of recovery errors. In this work the scale of the problem with the recovery error is quantified. Next we propose a new metric for evaluating illuminant estimation algorithms, called the reproduction angular error, which is defined as the angle between the RGB of a white surface when the actual and estimated illuminations are ‘divided out’. Our new metric ties algorithm performance to how the illuminant estimates are used. For a given algorithm, adopting the new reproduction angular error leads to different optimal parameters. Further the ranked list of best to worst algorithms changes when the reproduction angular is used. The importance of using an appropriate performance metric is established

Use of commercial off-the-shelf digital cameras for scientific data acquisition and scene-specific color calibration

Author Posting. © Optical Society of America, 2014. This article is posted here by permission of Optical Society of America for personal use, not for redistribution. The definitive version was published in Journal of the Optical Society of America A: Optics, Image Science, and Vision 31 (2014): 312-321, doi:10.1364/JOSAA.31.000312.Commercial off-the-shelf digital cameras are inexpensive and easy-to-use instruments that can be used for quantitative scientific data acquisition if images are captured in raw format and processed so that they maintain a linear relationship with scene radiance. Here we describe the image-processing steps required for consistent data acquisition with color cameras. In addition, we present a method for scene-specific color calibration that increases the accuracy of color capture when a scene contains colors that are not well represented in the gamut of a standard color-calibration target. We demonstrate applications of the proposed methodology in the fields of biomedical engineering, artwork photography, perception science, marine biology, and underwater imaging.T. Treibitz is an Awardee of the Weizmann Institute of Science—National Postdoctoral Award Program for Advancing Women in Science and was supported by NSF grant ATM-0941760. D. Akkaynak, J. Allen, and R. Hanlon were supported by NSF grant 1129897 and ONR grants N0001406-1-0202 and N00014-10-1-0989 and U. Demirci by grants R01AI093282, R01AI081534, and NIH U54EB15408. J. Allen is grateful for support from a National Defense Science and Engineering Graduate Fellowship

Does Dehazing Model Preserve Color Information?

International audience—Image dehazing aims at estimating the image information lost caused by the presence of fog, haze and smoke in the scene during acquisition. Degradation causes a loss in contrast and color information, thus enhancement becomes an inevitable task in imaging applications and consumer photography. Color information has been mostly evaluated perceptually along with quality, but no work addresses specifically this aspect. We demonstrate how dehazing model affects color information on simulated and real images. We use a convergence model from perception of transparency to simulate haze on images. We evaluate color loss in terms of angle of hue in IPT color space, saturation in CIE LUV color space and perceived color difference in CIE LAB color space. Results indicate that saturation is critically changed and hue is changed for achromatic colors and blue/yellow colors, where usual image processing space are not showing constant hue lines. we suggest that a correction model based on color transparency perception could help to retrieve color information as an additive layer on dehazing algorithms

Stereo disparity improves color constancy

AbstractBinocular disparity is an aspect of natural viewing. This research investigates whether disparity affects surface color perception. Achromatic settings were obtained and compared for two stereograms of a scene with specular reflections, one stereogram with binocular disparity and one without it (cyclopean view). Binocular disparity was found to improve color constancy. Next, the geometry of specular highlights, which is distorted without binocular disparity, was specifically examined. Measurements compared color constancy with specular reflections that were either normal (with stereo disparity) or distorted (cyclopean view of the specularities). No significant change in constancy was found due to the geometrical distortion of specular highlights that occurs without stereo disparity, suggesting that constancy depends on other features of the percept affected by disparity. The results are discussed in terms of illuminant estimation in surface color perception