COMPOSITION
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Composition – These are the basic lighting techniques you need to know for photography and film
Read more: Composition – These are the basic lighting techniques you need to know for photography and filmhttp://www.diyphotography.net/basic-lighting-techniques-need-know-photography-film/
Amongst the basic techniques, there’s…
1- Side lighting – Literally how it sounds, lighting a subject from the side when they’re faced toward you
2- Rembrandt lighting – Here the light is at around 45 degrees over from the front of the subject, raised and pointing down at 45 degrees
3- Back lighting – Again, how it sounds, lighting a subject from behind. This can help to add drama with silouettes
4- Rim lighting – This produces a light glowing outline around your subject
5- Key light – The main light source, and it’s not necessarily always the brightest light source
6- Fill light – This is used to fill in the shadows and provide detail that would otherwise be blackness
7- Cross lighting – Using two lights placed opposite from each other to light two subjects
DESIGN
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Create striked-out text
http://fsymbols.com/generators/strikethrough/
s̶t̶r̶i̶k̶e̶ ̶i̶t̶ ̶l̶i̶k̶̶e̶ ̶i̶t̶s̶ ̶h̶o̶t
COLOR
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HDR and Color
Read more: HDR and Colorhttps://www.soundandvision.com/content/nits-and-bits-hdr-and-color
In HD we often refer to the range of available colors as a color gamut. Such a color gamut is typically plotted on a two-dimensional diagram, called a CIE chart, as shown in at the top of this blog. Each color is characterized by its x/y coordinates.
Good enough for government work, perhaps. But for HDR, with its higher luminance levels and wider color, the gamut becomes three-dimensional.
For HDR the color gamut therefore becomes a characteristic we now call the color volume. It isn’t easy to show color volume on a two-dimensional medium like the printed page or a computer screen, but one method is shown below. As the luminance becomes higher, the picture eventually turns to white. As it becomes darker, it fades to black. The traditional color gamut shown on the CIE chart is simply a slice through this color volume at a selected luminance level, such as 50%.
Three different color volumes—we still refer to them as color gamuts though their third dimension is important—are currently the most significant. The first is BT.709 (sometimes referred to as Rec.709), the color gamut used for pre-UHD/HDR formats, including standard HD.
The largest is known as BT.2020; it encompasses (roughly) the range of colors visible to the human eye (though ET might find it insufficient!).
Between these two is the color gamut used in digital cinema, known as DCI-P3.
sRGB
D65
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THOMAS MANSENCAL – The Apparent Simplicity of RGB Rendering
https://thomasmansencal.substack.com/p/the-apparent-simplicity-of-rgb-rendering
The primary goal of physically-based rendering (PBR) is to create a simulation that accurately reproduces the imaging process of electro-magnetic spectrum radiation incident to an observer. This simulation should be indistinguishable from reality for a similar observer.
Because a camera is not sensitive to incident light the same way than a human observer, the images it captures are transformed to be colorimetric. A project might require infrared imaging simulation, a portion of the electro-magnetic spectrum that is invisible to us. Radically different observers might image the same scene but the act of observing does not change the intrinsic properties of the objects being imaged. Consequently, the physical modelling of the virtual scene should be independent of the observer.
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The Forbidden colors – Red-Green & Blue-Yellow: The Stunning Colors You Can’t See
Read more: The Forbidden colors – Red-Green & Blue-Yellow: The Stunning Colors You Can’t Seewww.livescience.com/17948-red-green-blue-yellow-stunning-colors.html
While the human eye has red, green, and blue-sensing cones, those cones are cross-wired in the retina to produce a luminance channel plus a red-green and a blue-yellow channel, and it’s data in that color space (known technically as “LAB”) that goes to the brain. That’s why we can’t perceive a reddish-green or a yellowish-blue, whereas such colors can be represented in the RGB color space used by digital cameras.
https://en.rockcontent.com/blog/the-use-of-yellow-in-data-design
The back of the retina is covered in light-sensitive neurons known as cone cells and rod cells. There are three types of cone cells, each sensitive to different ranges of light. These ranges overlap, but for convenience the cones are referred to as blue (short-wavelength), green (medium-wavelength), and red (long-wavelength). The rod cells are primarily used in low-light situations, so we’ll ignore those for now.
When light enters the eye and hits the cone cells, the cones get excited and send signals to the brain through the visual cortex. Different wavelengths of light excite different combinations of cones to varying levels, which generates our perception of color. You can see that the red cones are most sensitive to light, and the blue cones are least sensitive. The sensitivity of green and red cones overlaps for most of the visible spectrum.
Here’s how your brain takes the signals of light intensity from the cones and turns it into color information. To see red or green, your brain finds the difference between the levels of excitement in your red and green cones. This is the red-green channel.
To get “brightness,” your brain combines the excitement of your red and green cones. This creates the luminance, or black-white, channel. To see yellow or blue, your brain then finds the difference between this luminance signal and the excitement of your blue cones. This is the yellow-blue channel.
From the calculations made in the brain along those three channels, we get four basic colors: blue, green, yellow, and red. Seeing blue is what you experience when low-wavelength light excites the blue cones more than the green and red.
Seeing green happens when light excites the green cones more than the red cones. Seeing red happens when only the red cones are excited by high-wavelength light.
Here’s where it gets interesting. Seeing yellow is what happens when BOTH the green AND red cones are highly excited near their peak sensitivity. This is the biggest collective excitement that your cones ever have, aside from seeing pure white.
Notice that yellow occurs at peak intensity in the graph to the right. Further, the lens and cornea of the eye happen to block shorter wavelengths, reducing sensitivity to blue and violet light.
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The Color of Infinite Temperature
This is the color of something infinitely hot.
Of course you’d instantly be fried by gamma rays of arbitrarily high frequency, but this would be its spectrum in the visible range.
johncarlosbaez.wordpress.com/2022/01/16/the-color-of-infinite-temperature/
This is also the color of a typical neutron star. They’re so hot they look the same.
It’s also the color of the early Universe!This was worked out by David Madore.
The color he got is sRGB(148,177,255).
www.htmlcsscolor.com/hex/94B1FFAnd according to the experts who sip latte all day and make up names for colors, this color is called ‘Perano’.
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“Reality” is constructed by your brain. Here’s what that means, and why it matters.
“Fix your gaze on the black dot on the left side of this image. But wait! Finish reading this paragraph first. As you gaze at the left dot, try to answer this question: In what direction is the object on the right moving? Is it drifting diagonally, or is it moving up and down?”
What color are these strawberries?
Are A and B the same gray?
LIGHTING
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7 Easy Portrait Lighting Setups
Read more: 7 Easy Portrait Lighting SetupsButterfly
Loop
Rembrandt
Split
Rim
Broad
Short
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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. # Thethreshold_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:
- 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.
- 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, and2 ** EV
is used to convert the logarithmic EV to a linear intensity value. - 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.
- The
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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Black Body color aka the Planckian Locus curve for white point eye perception
Read more: Black Body color aka the Planckian Locus curve for white point eye perceptionhttp://en.wikipedia.org/wiki/Black-body_radiation
Black-body radiation is the type of electromagnetic radiation within or surrounding a body in thermodynamic equilibrium with its environment, or emitted by a black body (an opaque and non-reflective body) held at constant, uniform temperature. The radiation has a specific spectrum and intensity that depends only on the temperature of the body.
A black-body at room temperature appears black, as most of the energy it radiates is infra-red and cannot be perceived by the human eye. At higher temperatures, black bodies glow with increasing intensity and colors that range from dull red to blindingly brilliant blue-white as the temperature increases.
The Black Body Ultraviolet Catastrophe Experiment
In photography, color temperature describes the spectrum of light which is radiated from a “blackbody” with that surface temperature. A blackbody is an object which absorbs all incident light — neither reflecting it nor allowing it to pass through.
The Sun closely approximates a black-body radiator. Another rough analogue of blackbody radiation in our day to day experience might be in heating a metal or stone: these are said to become “red hot” when they attain one temperature, and then “white hot” for even higher temperatures. Similarly, black bodies at different temperatures also have varying color temperatures of “white light.”
Despite its name, light which may appear white does not necessarily contain an even distribution of colors across the visible spectrum.
Although planets and stars are neither in thermal equilibrium with their surroundings nor perfect black bodies, black-body radiation is used as a first approximation for the energy they emit. Black holes are near-perfect black bodies, and it is believed that they emit black-body radiation (called Hawking radiation), with a temperature that depends on the mass of the hole.
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studiobinder.com – What is Tenebrism and Hard Lighting — The Art of Light and Shadow and chiaroscuro Explained
Read more: studiobinder.com – What is Tenebrism and Hard Lighting — The Art of Light and Shadow and chiaroscuro Explainedhttps://www.studiobinder.com/blog/what-is-tenebrism-art-definition/
https://www.studiobinder.com/blog/what-is-hard-light-photography/
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Simulon – a Hollywood production studio app in the hands of an independent creator with access to consumer hardware, LDRi to HDRi through ML
Read more: Simulon – a Hollywood production studio app in the hands of an independent creator with access to consumer hardware, LDRi to HDRi through MLDivesh Naidoo: The video below was made with a live in-camera preview and auto-exposure matching, no camera solve, no HDRI capture and no manual compositing setup. Using the new Simulon phone app.
LDR to HDR through ML
https://simulon.typeform.com/betatest
Process example
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