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Computational Photography, an AI-powered Slopendium — 46 Missing stuff, bugs
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▸Part 46 MISSING STUFF, BUGS⧉
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▸46.1 fig-learning-transition (hand-designed → learned → generative spectrum) — parked here⧉
Moved out of the intro (`Draft — 01-01`) on 2026-06-25: the one-axis placement of every part on the classical → learned → generative spectrum was the author's rough qualitative estimate, not a measurement, and needs rethinking (per-part data, a cleaner visual, or folding it into the Machine-learning / Deep-learning chapters) before it returns to the book. Figure id: `fig-learning-transition`.
46.2 Denoising by averaging is after basic denoising⧉
46.3 Photomosaics, my self organizing maps⧉
▸46.4 Rephotography⧉
in multiple images?
46.5 Extreme low light⧉
46.6 Tilt shift,⧉
▸46.7 Misc.⧉
Something about plugins
Something about software engineering and image processing libraries
Zero lag shutter
Beautification????
Decluttering
Hybrid images
Depth map extraction, especially for fake Depth of field
▸46.8 De-weathering (fog, rain)⧉
Moved here from the former *Advanced computational photography* part — dehazing, rain/snow removal, and through-the-weather imaging still need a home chapter (fold into edge-aware / single-image restoration, or give its own treatment).
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▸46.9 Near-infrared (NIR) photography *(relocated from REVEALING THE INVISIBLE, 2026-06-28)*⧉
fig-atmospheric-scattering
fig-atmospheric-scattering · Rayleigh scattering: blue sky (short path) vs red sunset (long path) 🟨
fig-bw-conversions
fig-bw-conversions · one color photo → black & white several ways: single channel (R/G/B) · average · weighted luminance · red-filter channel mix (dark sky) · an isoluminant pair collapsing to one gray — the choices differ (Converting to B&W, Color technology) ✅
• **how**: silicon photodiodes respond well into the **near-infrared**, so every camera ships with an **IR-cut filter** to keep IR from contaminating color. Two routes to NIR imaging: (1) **convert the camera** — remove the internal IR-cut filter (and optionally replace it with clear glass or an IR-pass filter); (2) **filter the lens** — an **IR-pass (visible-blocking) filter** (e.g. R72 / 720 nm) on a stock camera, at the cost of long exposures since most IR is being thrown away by the still-present internal cut filter.
• **what changes — the look**: **foliage glows bright white** (chlorophyll/leaf cell structure reflects NIR strongly) — the classic **"Wood effect"** (after R. W. Wood, 1910); **skin** goes smooth and waxy (NIR penetrates the surface, veins show); **blue sky darkens** and **haze is cut** (less Rayleigh scattering at longer wavelengths → see further); **water** goes inky black.
• **false-color IR**: since NIR is invisible, render it by **mapping bands to visible channels** (e.g. NIR→red, red→green, …) — the surreal magenta-foliage "Aerochrome" look; a channel-remapping choice, not a measurement.
• **uses beyond art**: **forensics & art conservation** (read faded ink, underdrawings, alterations beneath paint); **agriculture / remote sensing** — **NDVI** $=(\text{NIR}-\text{Red})/(\text{NIR}+\text{Red})$, the vegetation-health index that exploits the foliage-glows-in-NIR effect; **astronomy** (NIR pierces dust, redshifted light — e.g. JWST); and as an **extra channel** for computational photography (NIR-assisted denoising / dehazing / dark flash, cross-ref).