Shree Nayar, a professor of computer science at Columbia University. “The game becomes interesting when you think about optics and computation within the same framework, designing optics for the computations and designing computations to support a certain type of optics.” That line of thinking, Nayar says, has been evolving in both fields, optics on one side and computer vision and graphics on the other.
One of the most visually striking examples of computational photography is high dynamic range (HDR) imaging, a technique that involves using photo-editing software to stitch together multiple images taken at different exposures. HDR images—many of which have a vibrant, surreal quality—are almost certain to elicit some degree of surprise in those who aren’t yet familiar with the technique. But the traditional process of creating a single HDR image is painstaking and cannot be accomplished with moving scenes because of the requirement to take multiple images at different exposures. In addition to being inconvenient, traditional HDR techniques require expertise beyond the ability or interest of casual photographers unfamiliar with photo-editing software. However, those working in computational photography have been looking for innovative ways not only to eliminate the time it takes to create an HDR image, but also to sidestep the learning curve associated with the technique.
“It turns out that you can do HDR with a single picture,” says Nayar. “ Instead of all pixels having equal sensitivity on your detector, imagine that neighboring pixels have different sunshades on them—one is completely open, one is a little bit dark, one even darker, and so on.” With this technique, early variations of which have begun to appear in digital cameras, such as recent models in the Fujifilm FinePix line, the multiple exposures required of an HDR image would be a seamless operation initiated by the user with a single button press.
Another research area in computational photography is depth of field. In traditional photography, if you want a large depth of field—where everything in a scene is in focus—the only way to do so is to make the camera’s aperture very small, which prevents the camera from gathering light and causes images to look grainy. Conversely, if you want a good picture in terms of bright-
a photo containing 62 frames, taken through a group of trees, of Chicago’s newberry Library.
12 CommunICatIons of the aCm | feBRuaRY 2009 | vol. 52 | No. 2
ness and color, then you must open the camera’s aperture, which results in a reduced depth of field. Nayar, whose work involves developing vision sensors and creating algorithms for scene interpretation, has been able to extend depth of field without compromising light by moving an image sensor along a camera’s optical axis. “Essentially what you are doing is that while the image is being captured, you are sweeping the focus plane through the scene,” he explains. “And what you end up with is, of course, a picture that is blurred, but is equally blurred everywhere.” Applying a deconvolution algorithm to the blurred image can recover a picture that Nayar says doesn’t compromise the quality of the image.
One of the major issues that those working in computational photography face is testing their developments on real-world cameras. With few exceptions, the majority of researchers working in this area generally don’t take apart cameras or try to make their own, which means most research teams are limited to what they can do with existing cameras and a sequence of images. “It would be nicer if they could program the camera,” says Marc Levoy, a professor of computer science and electrical engineering at Stanford University. Levoy, whose research involves light-field sensing and applications of computer graphics in microscopy and biology, says that even those researchers who take apart cameras to build their own typically do not program them in real time to do on-the-spot changes for different
autofocus algorithms or different metering algorithms, for example.
“No researchers have really addressed those kind of things because they don’t have a camera they can play with,” he says. “The goal of our open-source camera project is to open a new angle in computational photography by providing researchers and students with a camera they can program.” Of course, cameras do have computer software in them now, but the vast majority of the software is not available to researchers. “It’s a highly competitive, IP-protected, insular industry,” says Levoy. “And we’d like to open it up.”
But in developing a programmable platform for researchers in computational photography, Levoy faces several
PhotograPh by Mike Warot
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