Advanced color image processing and analysis

511 Pages·2012·14.501 MB·English

by  Christine Fernandez-Maloigne

Christine Fernandez-Maloigne
Editor
Advanced Color Image
Processing and Analysis
123
Editor
ChristineFernandez-Maloigne
Xlim-SICLaboratory
UniversityofPoitiers
11BdMarieetPierreCurie
Futuroscope
France
ISBN978-1-4419-6189-1 ISBN978-1-4419-6190-7(eBook)
DOI10.1007/978-1-4419-6190-7
SpringerNewYorkHeidelbergDordrechtLondon
LibraryofCongressControlNumber:2012939723
©SpringerScience+BusinessMediaNewYork2013
Thisworkissubjecttocopyright.AllrightsarereservedbythePublisher,whetherthewholeorpartof
thematerialisconcerned,specificallytherightsoftranslation,reprinting,reuseofillustrations,recitation,
broadcasting,reproductiononmicrofilmsorinanyotherphysicalway,andtransmissionorinformation
storageandretrieval,electronicadaptation,computersoftware,orbysimilarordissimilarmethodology
nowknownorhereafterdeveloped.Exemptedfromthislegalreservationarebriefexcerptsinconnection
with reviews or scholarly analysis or material supplied specifically for the purpose of being entered
and executed on a computer system, for exclusive use by the purchaser of the work. Duplication of
this publication or parts thereof is permitted only under the provisions of the Copyright Law of the
Publisher’slocation,initscurrentversion,andpermissionforusemustalwaysbeobtainedfromSpringer.
PermissionsforusemaybeobtainedthroughRightsLinkattheCopyrightClearanceCenter.Violations
areliabletoprosecutionundertherespectiveCopyrightLaw.
Theuseofgeneraldescriptivenames,registerednames,trademarks,servicemarks,etc.inthispublication
doesnotimply,evenintheabsenceofaspecificstatement,thatsuchnamesareexemptfromtherelevant
protectivelawsandregulationsandthereforefreeforgeneraluse.
While the advice and information in this book are believed to be true and accurate at the date of
publication,neithertheauthorsnortheeditorsnorthepublishercanacceptanylegalresponsibilityfor
anyerrorsoromissionsthatmaybemade.Thepublishermakesnowarranty,expressorimplied,with
respecttothematerialcontainedherein.
Printedonacid-freepaper
SpringerispartofSpringerScience+BusinessMedia(www.springer.com)
Preface
Colorislifeandlifeiscolor!
We liveourlifeincolorsandthenaturethatsurroundsusoffersthemall,inall
theirnuances,includingthecolorsoftherainbow.Colorsinspireustoexpressour
feelings.Wecanbe“redintheface”or“purplewithrage.”Wecanfeel“bluewith
cold”inwinteror“greenwithenvy,”lookingatourneighbors’newcar.Or,arewe
perhapstheblacksheepofourfamily?....
Color has accompanied us through the mists of time. The history of colors is
indissociable,on the culturalas well as the economiclevel, fromthe discoveryof
newpigmentsandnewdyes.Fromfourorfiveatthedawnofhumanity,thenumber
ofdyeshasincreasedtoafewthousandstoday.
AristotleascribedcolorandlighttoAntiquity.Atthetime,therewasanotherno-
tionoftheconstitutionofcolors:perhapsinfluencedbytheimportanceofluminosity
in the Mediterraneancountries, clearness and darknesswere dominatingconcepts
compared to hues. Elsewhere, colors were only classified by their luminosity as
whiteandblack.Hueswerelargelysecondaryandtheirrolelittleexploited.Itshould
besaidthatitwasratherdifficultatthattimetoobtaindyesofferingsaturatedcolors.
DuringtheMiddleAges,theprevalenceoftheperceptionofluminositycontinuedto
influencethecomprehensionofcolor,andthisgenerallybecamemorecomplicated
with the theological connotations and with the dual nature of light declining in
Lumen,thesourceoflightofdivineorigin(forexample,solarlight)andLux,which
acquiresa more sensory and perceptualaspect like the light of a very close wood
fire,whichonecanhandle.Thisdualityisincludedinthemodernphotometricunits
wherelumenistheunitthatdescribestheflowofthesourceoflightandLuxisthe
unitofilluminationreceivedbyamaterialsurface.Thisdesignbasedonclearness,
the notion taken up by the painters of the Renaissance as well under the term of
value, continues to play a major role, in particular for graphic designers who are
veryattachedtotheconceptofthecontrastofluminosityfortheharmonyofcolors.
Inthisphilosophy,thereareonlytwoprimarycolors,whiteandblack,andtheother
colorscanonlybequiteprecisemixturesofwhiteandblack.Wecannowmeasure
thedistancethatseparatesourperceptionfromthatoftheoldentimes.
v
vi Preface
Each color carries its own signature, its own vibration... its own universal
language built over millennia! The Egyptians of Antiquity gave to the principal
colors a symbolic value system resulting from the perception they had of natural
phenomena in correlation with these colors: the yellow of the sun, the green of
the vegetation, the black of the fertile ground, the blue of the sky, and the red of
the desert. For religious paintings, the priests generally authorized only a limited
numberofcolors:white,black,thethreebasiccolors(red,yellowandblue),ortheir
combinations(green,brown,pinkandgray).Eversince,thelanguageofcolorhas
madeitsway throughtime, andtodaytherapeutictechniquesuse colorsto convey
thisuniversallanguagetotheunconscious,toopendoorstofacilitatethecure.
Inthescientificworld,althoughthefundamentallawsofphysicswerediscovered
inthe1930s,colorimetricshadtoawaittheriseofdataprocessingtobeabletouse
themanymatrixalgebraapplicationsthatitimplies.
Inthenumericalworld,colorisofvitalimportance,asitisnecessarytocodeand
tomodel,whilerespectingthebasicphenomenaoftheperceptionofitsappearance,
as we recall in Chaps. 1 and 2. Then color is measured numerically (Chap. 3),
moves from one peripheral to another (Chap. 4), is handled (Chaps. 5–7), to
extract automatically discriminating information from the images and the videos
(Chaps.8–11) to allow an automatic analysis. It is also necessary to specifically
protect this information, as we show in Chap. 12, to evaluate its quality, with
the metrics and standardized protocols described in Chap. 13. It is with the two
applicationsinwhichcoloriscentral,thefieldofartandthefieldofmedicine,that
weconcludethiswork(Chaps.14and15),whichhasbroughttogetherauthorsfrom
allthecontinents.
Whetherlookedatasasymbolofjoyorofsorrow,singleorcombined,coloris
indeedasymbolofunion!Thankstoit,Imetmanyimpassionedresearchersfrom
aroundtheworldwhobecamemyfriends,whoarelikethemembersofabigfamily,
richincolorsofskin,hair,eyes,landscapes,andemotions.Eachchapterofthiswill
delivertoyouapartoftheenigmaofdigitalcolorimagingand,withinfiligree,the
storiesofalltheserainbowmeetings.Goodreading!
Contents
1 FundamentalsofColor..................................................... 1
M.JamesShyuandJussiParkkinen
2 CIECAM02andItsRecentDevelopments............................... 19
MingRonnierLuoandChangjunLi
3 ColourDifferenceEvaluation............................................. 59
ManuelMelgosa,AlainTre´meau,andGuihuaCui
4 Cross-MediaColorReproductionandDisplayCharacterization..... 81
Jean-BaptisteThomas,JonY.Hardeberg,andAlainTre´meau
5 DihedralColorFiltering................................................... 119
ReinerLenz,VasileiosZografos,andMartinSolli
6 ColorRepresentationandProcesseswithCliffordAlgebra ........... 147
PhilippeCarre´ andMichelBerthier
7 ImageSuper-Resolution,aState-of-the-ArtReview
andEvaluation.............................................................. 181
AldoMaaloufandMohamed-ChakerLarabi
8 ColorImageSegmentation ................................................ 219
MihaiIvanovici,Noe¨lRichard,andDietrichPaulus
9 Parametric Stochastic Modeling for Color Image
SegmentationandTextureCharacterization............................ 279
Imtnan-Ul-HaqueQazi,OlivierAlata,andZoltanKato
10 ColorInvariantsforObjectRecognition................................. 327
DamienMuseletandBrianFunt
11 MotionEstimationinColourImageSequences......................... 377
JennyBenois-Pineau,BrianC.Lovell,andRobertJ.Andrews
vii
viii Contents
12 ProtectionofColourImagesbySelectiveEncryption.................. 397
W.Puech,A.G.Bors,andJ.M.Rodrigues
13 QualityAssessmentofStillImages ....................................... 423
Mohamed-ChakerLarabi,ChristopheCharrier,
andAbdelhakimSaadane
14 ImageSpectrometers,ColorHighFidelity,andFine-Art
Paintings..................................................................... 449
AlejandroRibe´s
15 ApplicationofSpectralImagingtoElectronicEndoscopes............ 485
YoichiMiyake
Index............................................................................... 499
Chapter 1
Fundamentals of Color
M.JamesShyuandJussiParkkinen
Thecoloristhegloryofthelight
JeanGuitton
Abstract Color is an importantfeaturein visualinformationreachingthe human
eyeoranartificialvisualsystem.Thecolorinformationisbasedontheelectromag-
netic(EM)radiationreflected,transmitted,orirradiatedbyanobjecttobeobserved.
Distributionofthisradiationintensityis representedasa wavelengthspectrum.In
the standard approach, color is seen as human sensation to this spectrum on the
wavelengthrange380–780nm.Amoregeneralapproachistomanagecolorascolor
informationcarriedbytheEMradiation.Thismodernapproachisnotrestrictedto
thelimitationsofhumanvision.Thecolorcanbemanaged,notonlyinatraditional
∗ ∗ ∗
three-dimensionalspacelike RGBorL a b butalsoinann-dimensionalspectral
space.Inthischapter,wedescribethebasisforbothapproachesanddiscusssome
fundamentalquestionsincolorscience.
Keywords Color fundamentals • Color theory • History of color theory • Col-
orimetry • Advancedcolorimetry • Electromagneticradiation • Reflectancespec-
trum • Metamerism • Standard observer • Color representation • Color space •
Spectral color space • n-dimensional spectral space • Color signal • Human
vision • Colordetectionsystem
M.J.Shyu((cid:2))
DepartmentofInformationCommunications,ChineseCultureUniversity,Taipei,Taiwan
e-mail:[email protected]
J.Parkkinen
SchoolofComputing,UniversityofEasternFinland,Joensuu,Finland
SchoolofEngineering,MonashUniversitySunwayCampus,Selangor,Malaysia
e-mail:[email protected]
C.Fernandez-Maloigne(ed.),AdvancedColorImageProcessingandAnalysis, 1
DOI10.1007/978-1-4419-6190-7 1,
©SpringerScience+BusinessMediaNewYork2013
2 M.J.ShyuandJ.Parkkinen
1.1 EverythingStarts with Light
The ability of human beings to perceive color is fantastic. Not only does it make
it possible for us to see the world in a more vibrant way, but it also creates the
wonder that we can express our emotionsby using variouscolors. In Fig.1.1, the
colorsonthewoodenwindowarepaintedwiththemeaningofbringingprosperity.
In a way, we see the wonderful world through the colors as a window. There are
endlesswaystouse,tointerpret,andeventoprocesscolorwiththeversatilitythat
isinthenatureofcolor.However,tobetterhandlethevocabularyofcolor,weneed
to understand its attributes first. How to process as well as analyze color images
for specific purposes under various conditionsis another importantsubject which
furtherextendsthewonderofcolor.
In the communication between humans, color is a fundamental property of
objects.Welearndifferentcolorsinourearlychildhoodandthisseemstobeobvious
forus.However,whenwestarttoanalyzecolormoreaccuratelyand,forexample,
wanttomeasurecoloraccurately,itisnotsoobviousanymore.Foraccuratecolor
measurement, understanding, and management, we need to answer the question:
Whatiscolor?
Fig.1.1 Acolorfulwindow
withthethemeofbringing
prosperity(Photographedby
M.JamesShyuinPingtong,
Taiwan)
1 FundamentalsofColor 3
In a common use of the term and as an attribute of an object, color is treated
in many ways in human communication. Color has importance in many different
disciplinesandthereareanumberofviewstothecolor:inbiology,colorvisionand
colorization of plants and animals; in psychology, color vision; in medicine, eye
diseasesandhumanvision;inart,colorasanemotionalexperience;inphysics,the
signal carrying the color information and light matter interaction; in chemistry,
themolecularstructureandcausesofcolor;intechnology,differentcolormeasuring
anddisplaysystems;incultural,studiescolornaming;andinphilosophy,coloras
anabstractentityrelatedtoobjectsthroughlanguage[2,9,28].
Itissaidthatthereisnocolorinthelight—toquoteSirIsaacNewton,“Forthe
Raystospeakproperlyarenotcoloured.Inthemthereisnothingelsethanacertain
Power and Disposition to stir up a Sensation of this or that Colour” [21,26]. It is
theperceptionofhumanvisionthatgeneratesthefeelingofcolor.Itistheperceived
color feeling of the human vision defining how we receive the physical property
of light. Nevertheless,if color is only defined by humanvision, it leaves all other
animals“colorblind.”However,itisknownthatmanyanimalsseecolorsandhave
anevenrichercolorworldthanhumanbeing[13,19].
The new technologicaldevelopmentin illumination and in camera and display
technologyrequiresnewwayofmanagingcolors.RGBorotherthree-dimensional
colorrepresentationsarenotenoughanymore.Thelight-emittingdiodes(LED)are
comingintoilluminationanddisplaysrapidly.There,thecolorradiationspectrumis
sopeakythatmanagingitrequiresamoreaccuratecolorrepresentationthanRGB.
Thereexistalsodigitalcamerasanddisplays,wherecolorsarerepresentedbyfour
orsixcolors.Alsothistechnologyrequiresnewwaystoexpressandcomputecolor
values.
Therefore,ifwewanttounderstandcolorthoroughlyandbeabletomanagecolor
in all purposes, where it is used today, we cannot restrict ourselves to the human
vision.We have to look colorthroughthe signal, whichcauses colorsensation by
humans.Thissignalwecallcolorsignalorcolorspectrum.
1.2 Development of ColorTheory
Incolorvocabulary,blackandwhite arethe firstwordstobe usedas colornames
[2].Afterthemwhenthelanguagedevelops,comeredandyellow.Thevocabulary
is naturally related to the understandingof nature. Thereforein ancient times, the
color names were related to the four basic elements of the world, water, air, fire,
andearth[9].Inancienttimes,thecolortheorywasdevelopedbyphilosopherslike
PlatoandAristotle.Forthelaterdevelopmentofcolortheory,itisnotablethatwhite
wasseenasabasiccolor.Alsothecolormixturesweretakenintotheories,buteach
basiccolorwasconsideredtobeasingleandseparateentity[14].
AlsofromthepointofviewoftherevolutionofcolortheorybyNewton[20],itis
interestingtonotethatAristotlehadasevenbasiccolorscale,wherecolorscrimson,
4 M.J.ShyuandJ.Parkkinen
a
1
0.9
0.8
B
0.7
G
0.6
R
0.5
Y
0.4
M
0.3
C
0.2
0.1
0
380 430 480 530 580 630 680 730
b
>
m
o
ok.c
o
b
e
w
o
w
w. Fig.1.2 (a) A set ofcolorspectra (x-axis: wavelength from 380 to730nm,y-axis: reflectance
w
w factor)and(b)thecorrespondingcolors
<
ok
o
B
e
w! violet,leek-green,deepblue,andgrayoryellowformedthecolorscalefromblack
o
W
m towhite[9].Aristotlealsoexplainsthecolorsensationso,thatcolorsetstheairin
o
d fr movementandthatmovementextendsfromobjecttotheeye[24].
a
nlo From these theories, one can see that already in ancient times, there exists the
w
Do idea of some colors to be mixtures of primary colors and seven primary colors.
Also, it is easy to understand the upcoming problems of Newton’s description of
colors,when the view was that each primarycoloris a single entity and the color
sensationwasseenasakindofmechanicalcontactbetweenlightandtheeye.The
ancientwayofthinkingwasstronguntiltheSeventeenthcentury.
InthemiddleoftheSeventeenthcentury,thecollectedinformationwasenough
to break the theory of ancient Greek about light and color. There were a number
of experiments by prism and color in the early Seventeenth century. The credit
for the discovery of the nature of light as a spectrum of wavelengths is given to
Isaac Newton [20]. The idea that colors are formed as a combination of different
component rays, which are immaterial by nature, was revolutionary at Newton’s
time. It broke the strong influence of ancient Greek thinking. This revolutionary
ideawasnoteasilyaccepted.AnotablepersonwasJohannWolfgangvonGoethe,
whowasstillintheNineteenthcenturyopposingNewton’stheorystrongly[10].
Newton also presented colors in a color circle. In his idea, there were seven
basiccolors:violet,indigo,blue,green,yellow,orange,andred[14].Inthespectral
approachtocolorasshowninFig.1.2,thewavelengthscaleislinearandcontinuing