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▸ 18.1 Tone mapping and perception🔗 ⧉ 18.1.1 Why a faithful copy looks flat: four causes🔗 ⧉ 18.1.2 The four do not multiply🔗 ⧉ 18.1.3 What local tone mapping relies on🔗 ⧉ ▸ 18.2 Global tone mapping🔗 ⧉ 18.2.1 Two families: global and local🔗 ⧉ 18.2.2 Scale factors and logarithms: Ward and Drago🔗 ⧉ 18.2.3 One curve for everything: Reinhard's photographic operator🔗 ⧉ 18.2.4 Histogram adjustment: a curve shaped by the image🔗 ⧉ 18.2.5 Why log space helps🔗 ⧉ 18.2.6 From luminance to color🔗 ⧉ 18.2.7 Why a single curve cannot win🔗 ⧉ 18.2.8 Choosing and checking a tone map🔗 ⧉ ▸ 18.3 Two-scale and bilateral tone mapping🔗 ⧉ 18.3.2 The first attempt, and its halos🔗 ⧉ 18.3.3 LCIS: diffusion that stops at edges🔗 ⧉ 18.3.4 Bilateral tone mapping🔗 ⧉ 18.3.5 The decomposition zoo, and what it fixes🔗 ⧉ 18.4.1 Three qualities, one weight🔗 ⧉ 18.4.2 Blending without seams🔗 ⧉ ▸ 18.5 Local Laplacian filtering and other multiscale methods🔗 ⧉ 18.5.1 Multiscale models of adaptation🔗 ⧉ 18.5.2 Subband companding: Li, Sharan and Adelson🔗 ⧉ 18.5.3 Local Laplacian filters🔗 ⧉ 18.5.4 Pyramids in exposure fusion and phones🔗 ⧉ ▸ 18.6 Gradient-domain tone mapping🔗 ⧉ 18.6.1 Attenuating large gradients: Fattal, Lischinski and Werman🔗 ⧉ 18.6.2 Why it is hard to control🔗 ⧉ 18.6.3 A screened version: anchoring the large scales🔗 ⧉ ▸ 18.7 Tone mapping as perceptual optimization🔗 ⧉ 18.7.1 Display-adaptive tone mapping🔗 ⧉ 18.7.2 iCAM06: the color appearance route🔗 ⧉ 18.7.3 Why they did not take over🔗 ⧉ 18.8.2 Per-channel curves and the hue problem🔗 ⧉ 18.8.3 The responses: AgX, OpenDRT, ACES 2.0 and PBR Neutral🔗 ⧉ 18.8.4 Looks and grading🔗 ⧉ 18.8.5 Learned tone mapping, in brief🔗 ⧉ ▸ 18.9 High dynamic range in traditional photography🔗 ⧉ 18.9.1 Three places to intervene🔗 ⧉ 18.9.2 Combination printing: Le Gray and his successors🔗 ⧉ 18.9.3 Reducing the range of the scene: lighting🔗 ⧉ 18.9.4 Filters at capture: graduated neutral density and its relatives🔗 ⧉ 18.9.5 Exposure and development: the negative's curve🔗 ⧉ 18.9.7 Printing: paper grade, dodging and burning🔗 ⧉ 18.9.8 Masking: the darkroom's base and detail🔗 ⧉ 18.9.9 What carried over to computation🔗 ⧉ ▸ 18.10 HDR displays and display mapping🔗 ⧉ 18.10.1 What a display can actually show🔗 ⧉ 18.10.2 HDR displays and dual modulation🔗 ⧉ 18.10.3 Display mapping: rendering for the display at hand🔗 ⧉ 18.10.4 Gain maps on displays of different headroom🔗 ⧉ 18.10.5 Inverse tone mapping🔗 ⧉ ▸ 18.11 Evaluating tone mapping🔗 ⧉ 18.11.1 Why the comparisons disagree🔗 ⧉ 18.11.2 What can be measured without a reference🔗 ⧉ 18.11.3 What needs people🔗 ⧉