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Digital Camera Patent Abstract
A digital camera is provided, comprising an image system having
a unique combination of features that aid in generating creative,
high-quality images. The system presents a variety of overlays,
each having prescribed attributes, e.g., ranging in size, opacity,
and functionality, and from iconic overlays to full-scale overlays
having varied opacity. The overlays can be used as an aid in composing
a live image for digital capture, either as a constant or intermittent
presence on the view-screen of the camera. In an exemplary embodiment,
the camera can create a composite photograph in which a live image
and the overlay are combined together. In an independent aspect,
the camera can include an auto-compositing feature that aids in
creating images free of improperly exposed regions. Thus, a photographer
can create and combine images "on location" in a unique
manner.
Digital Camera Patent Claims
1. A handheld digital camera, comprising: a processor; a digital
memory in communication with the processor; a view-screen in communication
with the processor and configured to present images from the field-of-view
of the camera; a plurality of files stored in the digital memory;
and a user interface executable by the processor, the interface
configured to be presented on the view-screen to enable creation
of overlays and selection of overlays from the plurality of files,
the resulting overlay having a user-assignable opacity level and
configured to be depicted on the view-screen in conjunction with
image data corresponding to the field-of-view of the camera such
that the opacity of the overlay affects the presentation of the
image data on the view-screen.
2. A camera as defined in claim 1, wherein the camera can save
two digital files to the digital memory upon taking a photograph,
the first file comprising the image data corresponding to the field-of-view
of the camera and the second file comprising a composite image of
the overlay superimposed on the image data corresponding to the
field-of-view of the camera.
3. A camera as defined in claim 1, wherein the user interface enables
sizing and positioning of the overlay for use relative to the image
data captured from the field-of-view of the camera.
4. A camera as defined in claim 1, wherein the plurality of files
includes at least one file usable as an overlay sized to correspond
to a default image size for the digital camera such that the assigned
opacity level of the overlay affects the entirety of corresponding
image data.
5. A camera as defined in claim 1, wherein the overlay can be presented
on the view-screen as a constant or an intermittent presence.
6. A camera as defined in claim 1, wherein the user interface enables
modification of an overlay selected from the plurality of files
by designating the region of the selected overlay with a first color
via the user input device, and removing the first color from the
overlay.
7. A camera as defined in claim 1, wherein the user interface enables
modification of an overlay selected by removing a first color from
the overlay.
8. A camera as defined in claim 1, wherein the plurality of files
includes at least one print overlay having one or more regions of
altered appearance, including an unaltered region and an altered
region, the altered region of the overlay having an altered appearance
relative to the unaltered region, the unaltered region having a
prescribed aspect ratio corresponding to a photograph print size.
9. A camera as defined in claim 8, wherein the plurality of files
includes multiple print overlays, wherein the open region of each
print overlay has a distinct aspect ratio.
10. A camera as defined in claim 8, wherein the prescribed aspect
ratio of the open region is 8.times.10.
11. A camera as defined in claim 1, wherein the user interface
enables automated creation of a line overlay from an image file
via an edge-detect feature in which the line overlay is a line drawing
of the image of the image file.
12. A camera as defined in claim 11, wherein the edge-detect feature
analyzes the image file by identifying borders between regions of
differing color and tone of a prescribed value, and defines, in
the line overlay, a line of prescribed opacity and color corresponding
to the identified border.
13. A camera as defined in claim 11, wherein the user can set the
prescribed value used for identifying the border between regions
in the image file.
14. A camera as defined in claim 13, wherein the user can set the
opacity value and the color for the line overlay.
15. A method of generating an overlay for use with a digital camera,
comprising: selecting a stored image from digital memory of a digital
camera for use as an overlay atop a live image corresponding to
the field-of-view of the camera; assigning an opacity level to the
overlay via a user input device of the digital camera; presenting
the image selected on a view-screen of the camera; erasing a region
of the stored image designated via the user input device such that,
when used, a portion of the live image corresponding to the erased
region is unaffected by the overlay; and saving the resultant image
to digital memory for use as an overlay.
16. A method as defined in claim 15, wherein the erasing step further
comprises designating the region with a first color via the user
input device, and removing the first color from the image.
17. A method as defined in claim 15, further comprising sequentially
displaying (a) the image unaltered and (b) the image having the
defined region erased, prior to the saving step.
18. A method as defined in claim 15, wherein the resultant image
is sized to correspond to a default image size for the digital camera
such that the assigned opacity level of the overlay affects the
entirety of the live image.
19. A method as defined in claim 15, wherein the resultant image
has two region of differing opacity, including an open region and
a shaded region, the shaded region of the overlay having one or
more regions of altered appearance, including an unaltered region
and an altered region, the altered region of the overlay having
a altered appearance relative to the unaltered region, the unaltered
region having a prescribed aspect ratio corresponding to a photograph
print size.
20. A method of generating an overlay for use with a digital camera,
comprising: selecting an icon file from digital memory of a digital
camera for use as an overlay atop a live image corresponding to
the field-of-view of the camera; presenting the selected icon on
a view-screen of the camera against an alignment background; positioning
the icon with respect to the alignment background via an user input
device of the digital camera such that, when used, a portion of
the live image corresponding to the icon as positioned is affected
by the overlay; and saving the icon and associated positioning to
digital memory for use an overlay.
21. A method as defined in claim 20, further comprising the step
of assigning an opacity level to the overlay via the user input
device.
22. A method for image composition using a handheld digital camera,
comprising: capturing multiple digital images in automated sequence
using a digital camera, each image captured at a distinct exposure
setting, the digital camera having a processor assembly and a digital
sensor assembly in communication with the processor, the sensor
assembly having a exposure latitude beyond which a captured image
will have over- or under-exposed regions; analyzing a first digital
image of the multiple digital images for over- or under-exposed
regions; identifying properly exposed regions in the remaining digital
images of the multiple digital images corresponding in location
to the over- or under-exposed regions of the first digital image,
the identifying step performed by the processor assembly of the
camera; automated compositing of properly exposed regions identified
in the first digital image and the remaining digital images of the
multiple digital images, resulting in a composite image in which
the identified regions replace the corresponding over- or under-exposed
regions of the first digital images; and storing the composite image
in digital memory of the camera.
23. A method as defined in claim 22, further comprising, prior
to the capturing multiple images step, analyzing an image taken
as a single exposure for over- or under-exposed regions and, if
found, prompting user to initiate the capturing multiple images
step.
24. A method as defined in claim 22, further comprising storing
the multiple digital images that were captured in automated sequence
for later use.
25. A method as defined in claim 22, further comprising automated
deletion of the multiple digital images following completion of
the composite image.
26. A handheld digital camera configured to perform the method
of claim 22.
27. A method as defined in claim 22, wherein the identifying and
automated compositing steps further include (a) selecting a second
digital image of the multiple digital images having at least one
properly exposed region corresponding in location to an over- or
under-exposed region of the first digital image; (b) automated compositing
of all regions from the second digital image region corresponding
in location to all over- or under-exposed region of the first digital
image with the remaining portions of the first digital image; and
(c) repeating steps (a) and (b) with the resultant image from the
prior step (b) and a third digital image of the multiple digital
images.
28. A method as defined in claim 27, further comprising, prior
to the capturing multiple images step, analyzing an image taken
as a single exposure for over- or under-exposed regions and, if
found, prompting user to initiate the capturing multiple images
step.
29. A handheld digital camera configured to perform the method
of claim 27.
Digital Camera Patent Description
BACKGROUND OF THE INVENTION
[0001] The present invention relates generally to photography and,
more particularly, to composition of digital photographs.
[0002] Photography has long been a popular medium of creative expression.
In traditional photography, factors such as composition and exposure
settings, all contribute to creating an esthetic photograph. Of
these, composition is a particularly important consideration. To
aid in composition of the subject, cameras typically include indicia
such as cross-hairs, grid lines, or the like, to help the photographer
in alignment. In traditional film cameras the alignment indicia
typically are etched on a screen of a viewfinder assembly. In digital
cameras, the alignment indicia typically are presented as iconic
images on a view-screen, commonly an LCD screen, atop the live image,
thereby serving as reference in aligning the subject of the photograph.
[0003] More recently, some digital cameras include several indicia
schemes, providing various configurations of indicia to aid the
photographer in composing the photograph. The various schemes typically
are geared for a particular photographic composition such as a one-person
portrait or a two-person portrait. Some digital cameras can be prompted
to depict the indicia on the resulting photograph, if desired. Thus,
such photographs include a composite of the live image from the
camera and the indicia. For example, some cameras provide overlays
having the current date and time, serving as a time stamp for the
photograph. Some digital cameras have provided factory-installed
overlays, simply for comical effect. For example, overlays have
been provided that depict a contrived magazine cover having a blank
spot for a person's head. In use, the overlay is depicted on the
view screen of the camera. The photographer aligns the camera such
that the subject's head is positioned within the blank spot of the
overlay, and then takes the picture. As a result, a photograph is
generated depicting the subject on the cover of a magazine.
[0004] Similarly, it can be desired to compose multiple images
in a single photograph. For example, certain film cameras allow
a photographer to expose a single frame of film multiple times.
This "multi-exposure" mechanism allows a photographer
to open the shutter multiple times without advancing the film between
the exposures. Light from each of the exposures is recorded onto
a single frame of film. However, the results are often dependent
on the photographer precisely controlling many aspects of the composition
or at least making an educated guess regarding alignment of the
stored image with the live image in the viewfinder. Insofar as the
photographer is unable to precisely recall the prior photograph,
the quality of the resulting composite is left to chance. If an
error is made on either exposure, both exposures are typically rendered
useless.
[0005] In contrast, in digital photography, multiple-exposure photographs
typically are created in post processing. For example, a photographer
will capture separate digital images. Then, using a personal computer
running software for digital image editing (e.g., Adobe.RTM. Photoshop.RTM.
available from Adobe Systems, Inc), the photographer will composite
the separate images into a single image. During this process, the
photographer typically will need to register the images so that
corresponding features within the images are properly aligned. Since
each image was taken separately, there is a good bit of guesswork
involved in composing each image. Thus, it is common that the contents
of the images will not align precisely. During post processing,
portions of each image typically must be cropped to conform the
images, which can eliminate desired aspects of the image.
[0006] A post processing method called compositing can also be
used to refine improperly exposed images. When a photographer tries
to capture an image with a large disparity between bright and dark
regions it is common for the bright areas to overexpose to excessive
lightness and/or for the dark areas to underexpose to excessive
darkness. The traditional solution to this problem is to put the
camera on a tripod and shoot multiple images at a range of different
shutter and/or aperture settings. Then in post processing, the images
are composited together, which can be tedious and time consuming.
Even utilizing this approach, it is possible to make exposure errors
which might not be detected until the editing process. However,
by that time, arranging to remake the photograph might be difficult
or impossible. Thus, despite the aforementioned advancements in
photography, a certain amount of good fortune is needed to achieve
a desired esthetic in a photograph composed of multiple exposures.
Post processing can be complicated and prone to failure due to errors
made at the time of exposure.
[0007] It should, therefore, be appreciated that there remains
a need for a system of digital image composition that allows users
to create, modify, or personalize digital images from a digital
camera to include image composition and image exposure without undue
reliance on post processing. The present invention fulfills this
need and others.
SUMMARY OF THE INVENTION
[0008] The invention provides a system for digital composition
usable with a digital camera providing image overlays that enable
the photographer to create and combine images in a unique manner.
By way of example, the handheld digital camera includes a plurality
of files stored in digital memory. Each file can be used as an overlay
that has a user-assignable opacity corresponding to the field-of-view
of the camera such that the opacity of the overlay controls the
clarity of the image data as presented on the view-screen. The camera
implements a user interface presented on the view-screen to enable
creation of overlays and selection of overlays from the plurality
of files. Thus, a photographer can create and combine images "on
location" in a unique manner.
[0009] Optionally, the overlays can be used as an aid in composing
a live image for digital capture, either as a constant or intermittent
presence on the view-screen of the camera. Also, the camera can
be configured to save two digital files to the digital memory upon
taking a photograph, the first file comprising the image data corresponding
to the field-of-view of the camera and the second file comprising
a composite image of the overlay superimposed on the image data
corresponding to the field-of-view of the camera.
[0010] In an exemplary embodiment, the camera can present a variety
of overlays, each having prescribed attributes, e.g., ranging in
size, opacity, and functionality. For example, an overlay can be
configured such that its assigned opacity level affects the entirety
of a resulting image. The user interface can be configured to modify
attributes of the stored files. For example, modification of an
overlay can be achieved by removing a first color from the overlay.
The user interface can further enable sizing and positioning of
the overlay for use relative to the image data from the field-of-view
of the camera.
[0011] In a detailed aspect of an exemplary embodiment, the plurality
of files includes at least one print overlay having two region of
differing opacity, including an open region and a shaded region,
the shaded region of the overlay having a reduced opacity relative
to the open region, the open region having a prescribed aspect ratio
corresponding to a photograph print size. Optionally, multiple print
overlays would be available, wherein the open region of each print
overlay has a distinct aspect ratio, (e.g., 8.times.10 and 4.times.6).
[0012] In another detailed aspect of an exemplary embodiment, the
user interface enables automated creation of a line overlay from
an image file via an edge-detect feature in which the line overlay
is a line drawing of the image file. The edge-detect feature analyzes
the image file by identifying borders between regions of differing
color and tone of a prescribed value, and defines, in the line overlay,
a line of prescribed opacity and color corresponding to the identified
border. Optionally, the user can set the prescribed value used for
identifying the border between regions in the image file. Also,
the user can set the opacity value and the color for the line overlay.
[0013] In a preferred method of generating an overlay with a digital
camera, a user selects a stored image from digital memory. The image
is presented on a view-screen of the camera. The user may assign
an opacity level to this overlay via a user input device of the
digital camera. A user input device is used to designate a region
of the stored image to be erased. The resultant image is saved to
digital memory for use as an overlay. When used, a portion of the
live image corresponding to the erased region is unaffected by the
overlay.
[0014] In an independent aspect of the invention, a method for
image composition using a handheld digital camera comprises the
steps of: [0015] capturing multiple digital images in automated
sequence using a digital camera, each image captured at a distinct
exposure setting, the digital camera having a processor assembly
and a digital sensor assembly in communication with the processor,
the sensor assembly having a prescribed sensing range beyond which
a captured image will have over- or under-exposed regions; [0016]
analyzing a first digital image of the multiple digital images for
over- or under-exposed regions; [0017] identifying properly exposed
regions in the remaining digital images of the multiple digital
images corresponding in location to the over- or under-exposed regions
of the first digital image, the identifying step performed by the
processor assembly of the camera; [0018] automated compositing of
properly exposed regions identified in the first digital image and
the remaining digital images of the multiple digital images, resulting
in a composite image in which the identified regions replace the
corresponding over- or under-exposed regions of the first digital
images; and [0019] storing the composite image in digital memory
of the camera.
[0020] In an exemplary embodiment, the method further comprises,
prior to the capturing multiple images step, analyzing an image
taken as a single exposure for over- or under-exposed regions and,
if found, prompting user to initiate the capturing multiple images
step.
[0021] In a detailed aspect of an exemplary embodiment, the identifying
and automated compositing steps further include: (a) selecting a
second digital image of the multiple digital images having at least
one properly exposed region corresponding in location to an over-
or under-exposed region of the first digital image; (b) automated
compositing of all regions from the second digital image region
corresponding in location to all over- or under-exposed region of
the first digital image with the remaining portions of the first
digital image; and (c) repeating steps (a) and (b) with the resultant
image from the prior step (b) and a third digital image of the multiple
digital images.
[0022] In another detailed aspect of an exemplary embodiment, the
method further includes storing the multiple digital images that
were captured in automated sequence for later use.
[0023] In yet another detailed aspect of an exemplary embodiment,
the method further includes automated deletion of the multiple digital
images following completion of the composite image.
[0024] For purposes of summarizing the invention and the advantages
achieved over the prior art, certain advantages of the invention
are described herein. Of course, it is to be understood that not
necessarily all such advantages may be achieved in accordance with
any particular embodiment of the invention. Thus, for example, those
skilled in the art will recognize that the invention may be embodied
or carried out in a manner that achieves or optimizes one advantage
or group of advantages as taught herein without necessarily achieving
other advantages as may be taught or suggested herein.
[0025] All of these embodiments are intended to be within the scope
of the invention herein disclosed. These and other embodiments of
the present invention will become readily apparent to those skilled
in the art from the following detailed description of the exemplary
embodiments having reference to the attached figures, the invention
not being limited to any particular embodiment disclosed.
BRIEF DESCRIPTION OF THE DRAWINGS
[0026] Embodiments of the present invention will now be described,
by way of example only, with reference to the following drawings
in which:
[0027] FIG. 1 is a rear view of a digital camera in accordance
with the present invention, depicting a first overlay having a selected
opacity level and presented on a view-screen of the camera.
[0028] FIG. 2 is screen shot of the view-screen of the camera of
FIG. 1, depicting an overlay menu of a user interface for selecting
and setting an image overlay.
[0029] FIG. 3 is a simplified block diagram of the digital camera
of FIG. 1, depicting the memory having a plurality of image files
usable as overlays.
[0030] FIG. 4 is a rear view of the camera of FIG. 1, depicting
an overlay against an alignment background.
[0031] FIG. 5 is simplified view of the digital camera of FIG.
1 aligned to capture an image of a subject.
[0032] FIG. 6 is a representative view of the first image overlay
superimposed atop the captured image from FIG. 5, forming a composite
image incorporating both the first overlay and the captured image.
[0033] FIG. 7 is rear view of the camera of FIG. 1, depicting the
composite image on the view-screen of the first image overlay and
the captured image.
[0034] FIG. 8 is a rear view of the camera of FIG. 1, depicting
a second image overlay presented on the view-screen.
[0035] FIG. 9 is a rear view of the camera of FIG. 1, depicting
the second image overlay of FIG. 8 reoriented by the photographer.
[0036] FIG. 10 is a screen shot of the view-screen of the camera
of FIG. 1, depicting the composite image from FIG. 8 selected by
the photographer for modification as an image overlay.
[0037] FIG. 10B is a screen shot similar to FIG. 10A, the composite
image having a prescribed area in which pixels were "erased"
by the photographer.
[0038] FIG. 10C is a screen shot similar to FIG. 10B, depicting
a composite image combining the image overlay from FIG. 10B with
a captured image having the subject's head aligned to reside in
the area of "erased" pixels.
[0039] FIG. 11 is a screen shot of the view-screen of the camera
of FIG. 1, depicting a scenic image captured by the camera.
[0040] FIG. 12 is a screen shot similar to FIG. 11, depicting an
overlay having an open area sized to an aspect ratio of 4.times.6.
[0041] FIG. 13 is a screen shot similar to FIG. 11, depicting an
overlay having an open area sized to an aspect ratio of 5.times.7.
[0042] FIG. 14 is a screen shot similar to FIG. 1, depicting an
overlay having an open area sized to an aspect ratio of 8.times.10.
[0043] FIG. 15A is an exemplary scaled-tone image taken by the
camera of FIG. 1.
[0044] FIG. 15B is an exemplary line overlay derived from the image
of FIG. 15A, using the edge-detect feature of the camera of FIG.
1.
[0045] FIG. 15C is a refined line overlay derived from the FIG.
15B, having extraneous marks removed using edit feature of the camera
of FIG. 1.
[0046] FIG. 16 is a simplified flow chart of an exemplary method
for exposure bracketing implemented by the camera of FIG. 1.
[0047] FIG. 17A is a desired image, depicting a person standing
in front of the corner of a building, having large disparity between
bright and dark regions.
[0048] FIG. 17B is a simplified histogram chart of the image of
FIG. 17A.
[0049] FIG. 18A is an image, similar to FIG. 17A, captured by the
camera of FIG. 1 at a first exposure setting.
[0050] FIG. 18B is a simplified histogram chart of the image of
FIG. 18A.
[0051] FIG. 19A, is an image, similar to FIG. 17A, captured by
the camera of FIG. 1 at a second exposure setting.
[0052] FIG. 19B is a simplified histogram chart of the image of
FIG. 19A.
[0053] FIG. 20A, is an image, similar to FIG. 17A, captured by
the camera of FIG. 1 at a third exposure setting.
[0054] FIG. 20B is a simplified histogram chart of the image of
FIG. 20A.
DETAILED DESCRIPTION OF THE PREFERRED EMBODIMENTS
[0055] Referring now to the drawings, and particularly FIGS. 1-3,
there is shown a digital camera 20 comprising an image system 21
having a unique combination of features that aid in generating creative,
high-quality images. The system includes a set of digital files
stored in camera memory 40 (FIG. 3) that can be presented as overlays
(e.g., first overlay 24). The system can present a variety of overlays,
each having prescribed attributes, e.g., ranging in size, opacity,
and functionality, from iconic overlays to full-scale overlays having
varied opacity. The overlays can be used as an aid in composing
a live image for digital capture, either as a constant or intermittent
presence on the view-screen 22 of the camera. Also, the system can
create a composite photograph in which a live image and the overlay
are combined together. The system further includes an auto-compositing
feature that aids in creating images free of improperly exposed
regions, which is discussed in detail further below. Thus, a photographer
can create and combine images "on location" in a unique
manner, creating high-quality photographs.
[0056] With reference to FIG. 2, a photographer can create or select
an overlay having a desired combination of attributes via an overlay
menu 34. The menu provides a number of queries to guide the photographer
through the process. The photographer interacts with the menu using
directional buttons 36 (FIG. 1) located to the left of the view-screen.
The directional buttons preferably are used to scroll through the
menu, highlighting and selecting items, as desired. Other embodiments
are contemplated that allow the photographer to interact with the
menu by various other means, e.g., touch-screen, stylus, joystick,
and so on. At the first query 38, the photographer can select from
any image stored in memory 40 (FIG. 3) for use as an overlay. The
images are presented in a scrollable list 42 to the right of the
query, allowing the photographer to select a desired image. In other
embodiments, various other approaches can be taken to enable the
photographer to create or select overlays or to access various other
features in accordance with the invention, such as, use of file
galleries depicted on the view-screen, presentation of a list of
overlays, and so on.
[0057] At a second query 44 of the menu, the photographer can set
the opacity level to a desired percentage from 0 to 100 percent,
as desired. The opacity level for the overlay controls the clarity
through which the subject of the camera is viewed. For example,
in a fully opaque image (100%) none of the underlying image is viewable.
In use, the view-screen depicts both the live image received from
the camera lens 26 and the overlay, superimposing the overlay atop
the live image. The photographer can align the camera (FIG. 5),
composing a photograph to combine the overlay and the subject 28
in a desired manner.
[0058] A third query 46 allows the photographer to further customize
the overlay. For example, by selecting the "full screen"
option 48, the overlay can be sized to correspond to the entire
viewable area, as depicted on the view-screen. By selecting the
"size/orient" option 66, the photographer can adjust the
size and orientation of the overlay, to achieve a desired look.
Also, "compare mode" presents the selected image overlay,
whether opaque or translucent, by toggling between the selected
image and the live image, i.e., rather than a constant depiction,
the overlay is iteratively presented. This image toggling can take
place automatically or initiated manually, e.g., via a toggle button.
[0059] A fourth query 52 is provided. This query allows the photographer
to activate different editing features to further modify the overlay,
even down to the pixel level. For example, the photographer can
erase portions of the overlay to allow corresponding portions of
the "live" image to be unaffected by the overlay, an example
of which is discussed below with reference to FIGS. 10A-10C (i.e.,
the fifth example below). Once an overlay is configured, the "enter"
icon 54 is selected, and the overlay is presented for use.
[0060] In use, the system enables a number of distinct overlays
that provide unique features. As a result, the photographer can
create creative, high-quality images, without having to be unduly
dependent on post processing of the image to obtain a desired look.
Instead, much of the guesswork is eliminated; the photographer has
a greater ability to generate a desired image, to include composition
and compositing, while in the field. To illustrate, exemplary overlays
of the system are discussed below.
[0061] 1. Small-Scale, Uniform Opacity Overlay
[0062] In a first example, a first overlay 24 (FIG. 1) depicting
a "smiley face" is presented. The first overlay is sized
to affect just a portion of the overall image and is semi-transparent.
In use, the first overlay is presented on the view-screen 22 of
the camera superimposed atop the live image received from the camera's
lens 26 (e.g., FIGS. 6 and 7). Thus, the photographer can align
the camera (FIG. 5), composing a photograph to combine the overlay
and the subject 28 in a desired manner. In this example, the photographer
decided to offset the head of the subject with the "smiley
face," to create a composition similar to an infinity sign.
The camera saves two digital files--the first file comprises an
unaltered image 30 (FIG. 6) of the subject itself, and the second
file is a composite image 32 (FIG. 7) of the overlay superimposed
on the image of the subject. These files are then available for
use as an overlay, if desired.
[0063] To create the first overlay using the overlay menu 34 (FIG.
2), the "smiley" file 56 is selected and the opacity level
is set at a prescribed percentage, e.g., 60 percent. By selecting
the "size/orient" option 66, the smiley icon 56 will be
depicted against an alignment background 60 (see FIG. 4). The alignment
background includes a uniform field of black orthogonal gridlines
on a gray background at a resolution corresponding to that of the
digital sensor of the camera. Using the directional buttons 36,
the smiley icon can be sized, positioned, and oriented, as desired.
FIG. 4 depicts the smiley icon against an alignment background 60.
Arrows are depicted in the figure only to indicate movement of the
smiley icon from an initial location in the center of the view-screen
to a final location. Once finished, the overlay menu 34 will be
displayed again. The fourth query 52 is left at its default response
of "no." If satisfied, the photographer selects the "enter"
icon 54, and the image overlay is ready for use. Of course, these
selections can remain as defaults associated with the "smiley"
file or can be saved in any additional overlay file.
[0064] 2. Small-Scale, Opaque Overlay
[0065] With reference now to FIGS. 8 and 9, a second overlay 64
in the form of dumbbell is depicted. The overlay is opaque, i.e.,
the underlying image is not viewable through the overlay. In FIG.
8, the dumbbell icon 64 is depicted in a default orientation in
which it is oriented horizontally. FIG. 9, however, shows the dumbbell
icon angled. This can be achieved using the "size/orient"
option 66 of the overlay menu 34 (FIG. 2). As previously mentioned,
when this option is selected from the overlay menu, the image identified
at the first query is presented on the view-screen 22 against the
alignment background 60. In this example, therefore, the dumbbell
image is presented. Then, using the directional buttons 36, the
dumbbell can be re-oriented. Once completed, the photographer can
use the new overlay having the angled dumbbell.
[0066] Using the system 21 (FIG. 3), overlays formed of various
different images can also be used, such as crosshairs, dots, circles,
company logos, and so on. Moreover, the photographer can also select
just a portion of an image for use as an overlay. For example, a
flower can be "picked" out of a saved image and stored
as an icon. The photographer can position one or more of the icons
on the view screen. The user can choose to photograph against these
icons "on-the-fly." The user can utilize the icons to
align a composition and then save only live image data. The user
may also choose to save any particular iconic arrangement as an
overlay image for later use. The positioning of icons can occur
against a variety of backgrounds which may selectively include,
for example, a live image, a stored image, a neutral background,
or an alignment grid.
[0067] 3. Full-Scale, Uniform Opacity Overlay
[0068] With reference to FIG. 11, a third example is provided of
a full-scale, semi-transparent overlay, (third overlay 80). In this
example, the third overlay is generated for an image of an island
village previously captured with the camera, and the photographer
would like to mimic the composition of this image. To create this
overlay using the overlay menu 34 (FIG. 2), the photographer selects
the desired image and assigns an opacity level of 25% to the entire
overlay. In use, the third overlay is presented on the view-screen
22, allowing it to assist in the composition of the live image.
When the live image is sufficiently composed, the photographer could
either take the photograph or exit from the "overlay mode"
and continue making other adjustments prior to taking the shot.
[0069] Optionally, the camera can save two distinct types of images.
The first image type is the live image as recorded by the digital
sensor, which would presumably share the compositional characteristics
of the overlay. The second image is a composite of the overlay and
the live image as had been previewed in the view screen. The second
image type is analogous to a multiple exposure of a traditional
film camera. This functionality simplifies the production of multiple
exposures and frees the photographer to apply attention to the artistic
concerns. Using this approach, the photographer can use any image
in camera memory or otherwise accessible via the system. Stored
images can be randomly and repeatedly accessed as overlay. Thus,
a photographer could create a photograph of multiple exposures overlaid
atop each other. For example, a single image could consist of ten
images combined together, each image having an assigned opacity
level.
[0070] The composite of the stored image and the live image can
be previewed in real-time, allowing the photographer to make adjustments
prior to depressing the shutter button, thereby minimizing the need
for post-processing of the captured image. The photographer could
optionally store both the live image data and the composited image
data.
[0071] 4. Full-Scale, Regional Opacity Overlay
[0072] With reference now to FIGS. 12-14, the system 21 includes
overlays that aid in composing images for prescribed aspect ratios
to include standard aspect ratios as well as custom aspect ratios.
The photographer can compose the image within the parameters of
the desired aspect ratio.
[0073] For example, an overlay 82 is shown in FIG. 12 that is configured
to aid in composing images for prints having an aspect ratio of
4.times.6, e.g., "4.times.6" prints. The overall size
of the overlay corresponds to the aspect ratio of the camera's default
image configuration, as dictated by the camera's sensor, i.e., 3.times.4.
However, the overlay defines an open region 84 with an opacity level
of 0% and an aspect ratio of 4.times.6, such that the corresponding
portion of the live image can be depicted on the view-screen and
saved to the resulting image file unhindered. The overlay further
includes shaded regions 86 provided for remaining area of overlay
having an increased opacity level, e.g., 60 percent. The photographer
can, therefore, compose the image with a particular print size in
mind. When a photograph is taken, the camera can save several image
files, including a first file simply depicting the scenic image
without the overlay at the default aspect ratio, a second file depicting
the scenic image and the overlay at the default aspect ratio, and
a third file depicting the scenic image as defined by the open portion
of the open region of the overlay.
[0074] With reference now to FIGS. 13 and 14, an overlay 90, depicted
in FIG. 13, includes an open area 94 having an aspect ratio of 5.times.7
usable for composing 5.times.7 prints. The overlay 92, depicted
in FIG. 14, includes an open area 96 having an aspect ratio of 8.times.10,
usable for composing 8.times.10 prints. Moreover, additional custom
overlays having an open area of any desired aspect ratio can be
configured using the overlay menu 34. In other embodiments, other
visual means of designating areas graphically can be used, e.g.,
hatching, marching ants, borders, and so on.
[0075] In selected embodiments, the user can select if the camera
saves the entire image or performs an automatic crop to the previewed
aspect ratio. Saving the entire image would result in a somewhat
larger file size but would give identical results when printed on
a zoom-in default printer. Saving the entire image preserves the
potential to recompose the image later by performing an alternate
crop utilizing regions that would have been discarded during the
automatic crop process.
[0076] 5. Editing Opacity of Selected Portions of Overlay
[0077] With reference to FIGS. 10A-10C, an example is provided,
detailing features of editing selected portions of an overlay. More
particularly, the camera 20 allows the photographer to independently
adjust the intensity of selected areas of an overlay, as desired.
[0078] Using the overlay menu 34, a photographer can erase pixels
from a stored image by selecting the "yes" option 67 at
the fourth query. Once this option is selected, the image is presented
on the view-screen 22, and the software feature for erasing pixels
is activated. For purpose of illustration, this feature is sequentially
depicted in FIGS. 10A-10C. In FIG. 10A, an image 68 is presented
on the view-screen 22. As indicated by a designator 70 in the lower
corner, the image is presented with the feature of erasing pixels
activated. This image was taken using the dumbbell overlay 62 (FIG.
8) to appear as though person "A" is lifting the dumbbell.
Assume, for example, the photographer would like to create a photograph
in which the head of person "B" replaces the head of person
"A." With the erasing feature activated and using the
directional buttons 36 (FIG. 4), the photographer can designate
a region, or regions, of the image from which to erase pixels, e.g.,
region 72 (FIG. 10B). In the present example, as shown in FIG. 10B,
the designated region identified the pixels associated with the
head of person "A." Once satisfied, the photographer selects
the erase designator, erasing the identified pixels and returning
to the overlay menu.
[0079] Once the remaining overlay queries are completed, the new
overlay is presented for use. The original image of person "A"
lifting the dumbbell remains in the camera's memory, unaltered.
FIG. 10C depicts an image 74 created using this overlay, taken of
person "B" in the manner discussed with reference to FIG.
2. The camera saves two digital files--the first file consists simply
of an image of person "B," and the second file is the
composite image 74.
[0080] To further illustrate, at an event, a photograph is taken
of a baby in a bonnet. The photographer selects the saved image
for conversion into an overlay. Using the system, the photographer
can adjust global opacity, regional opacity, or both. In the foregoing
example, the image of the baby in the bonnet is selected and presented
on the view screen. The baby's face is erased, and the result is
saved as an overlay image. Alternatively, the portion of the image
corresponding to the baby's face can be set at a prescribed opacity
level, e.g., 50 percent, allowing a corresponding portion of a live
image (or another stored image) to be viewable. The overlay is saved
to the camera independently of the original image of the baby in
the bonnet. Using this overlay, the photographer can now compose
other faces into the bonnet. The resulting images can be very humorous
or even informative.
[0081] 6. Color Subtract Feature
[0082] With reference again to FIG. 2, the camera 20 further includes
a feature of overlay generation from an image file that enables
a user to delete a predominant color. The camera prompts the photographer
to select a saved image that will be edited to create an image overlay
with opacity characteristics. In this embodiment, the "overlay
creation" mode includes an "automatic" setting. When
the graphic file is selected and the automatic setting is chosen,
a processor 41 (FIG. 3) determines the predominant single color
in the image. In the exemplary embodiment, this feature can be activated
via the overlay menu 34 by identifying the appropriate file at the
first query 38 and selecting the "Color Subtract" option
69 for the fourth query 52. Then, the selected image file will be
displayed on the view-screen 22. The camera will automatically identify
the predominant single color for removal and designates regions
containing that color on the view screen with a graphical identification
method such as "color flashing." Next, the photographer
will be prompted if the proper color was removed. The user is prompted
to "subtract this region? Yes/no/cancel." If "yes"
is selected, the predominant region is subtracted and the result
may be stored as an image overlay. If "no" is selected,
the region of secondary dominance is designated and the prompt is
renewed. In this manner, the user can subtract large regions rapidly.
[0083] To further illustrate, if the user subtracted the predominant
gray background a custom designed grid becomes immediately available
as an image overlay. The user would be able to compose live images
against this grid. Because the grid was created at the same resolution
as the digital sensor, the overlay could also be composited in fine
detail to the final image and used immediately for many purposes
such as scientific measurement.
[0084] Moreover, an image file in the camera's digital memory 40
could be modified in a similar manner. In one approach, a selected
image could be modified to include a predominant single color, e.g.,
cyan, at desired locations throughout the image using the "modify"
option 71 of the third query 46 of the overlay menu. This feature
allows the photographer to interact with the image, adding colors,
icons, and other indicia. The user could manually designate a color
to be removed with a pointer or eyedropper cursor, as are well known
in the art. Alternatively, blocks of a single color could be added
to the image, covering portions of the image. Then, using the "Color
Subtract" option 69, the designated color blocks can be removed.
In another example, a user could download a photograph of Mt. Rushmore
from the internet. On a personal computer, the user could operate
a simple paint program to apply a color to one or more of the president's
faces, preferably using a color not otherwise present in the image.
As described above, the user could rapidly transfer the image to
the camera and create an entertaining overlay image.
[0085] 7. Edge Detect Feature
[0086] With reference to FIGS. 1, 2, and 15A-15C, the camera 20
further includes a feature for overlay generation initiated by selecting
"edge detect" 73 from the fourth query 52 of the overlay
menu 34. This feature is configured to generate a line drawing based
off an image file by detecting edges between regions of high contrast.
To initiate, at the first query 38, the photographer selects a saved
image that will be edited to create an image overlay with opacity
characteristics. In this embodiment, the "overlay creation"
mode includes an "automatic" setting. When the graphic
file is selected and the automatic setting is chosen, a processor
41 (FIG. 3) utilizes an "edge-detect" algorithm to determine
the location of edges in the image field. Such edges are algorithmically
identified by determining where regions are changing color or tone
along a path. Such edge-paths are typically displayed in a selectable
or uncommon color. The edges could be displayed against the original
image or against a neutral background. In the exemplary embodiment,
the system presents three slider bars that allow the user to vary
the tolerance of the edge hardness that would be displayed as well
the opacity of the edges and the color of the edge-delineating pixels.
Optionally, a further step would allow the user to manually delete
extraneous pixels, and a final step would allow the "edge map"
to be saved as an overlay.
[0087] The present example relates to photography for a catalog
display. In catalogs, it is often desirable to minimize inconsistencies
between photographs. Compositional consistency enhances the ability
of the consumer to compare the merchandise. FIG. 15A depicts a photograph
75 of women's shoes. Traditionally, consistency among several such
photographs would be achieved simply by marking shoe positions on
the floor and mounting the camera on a tripod. However, if a floor
mark was accidentally removed or a tripod was accidentally struck,
re-establishment of the composition becomes problematic. The problem
of re-establishing the composition is increased when multiple photo
sessions occur at different times or in different places. In any
event, the traditional method may properly identify the shoe arrangement
but it will often fail to identify the proper leg position.
[0088] Using the "edge-detect" feature 73 (FIG. 2) in
conjunction with the photograph 75 of FIG. 15A, a line overlay 77
is created that can serve as to aid in composition for further images.
When the photograph 75 is selected from digital memory and the automatic
setting is chosen, a processor 41 (FIG. 3) utilizes an "edge-detect"
algorithm to determine the location of edges in the image field.
Such edges are algorithmically identified by determining where regions
are changing color or tone along a path. Such edge-paths can be
displayed in a selectable or uncommon color, for example. The edges
can be displayed against the original image or against a neutral
background, as depicted in image 79 of FIG. 15B. By means of multiple
slider bars (not shown), the user could vary the tolerance of the
edge hardness that would be displayed as well the opacity of the
edges and the color of the edge-delineating pixels. A further step
would allow the user to manually delete extraneous pixels as shown
in FIG. 15C.
[0089] 8. Compare Mode
[0090] With continued reference to FIGS. 1-2, the system of the
camera 20 includes a "compare mode" that toggles between
the selected overlay and the live image without application of the
overlay. As mentioned above, compare mode can be selected at the
third query. 46 of menu 34. In this mode, rather than a constant
depiction, the overlay is iteratively presented. This iteration
can take place automatically or initiated manually, e.g., via a
toggle button 55.
[0091] In the example presented, the overlay is opaque. Using the
toggle button, the photographer can manually toggle between the
stored image overlay and the live image in order to compare and
make adjustments. In automatic mode, the camera will toggle at a
pre-determined or user-definable rate between the selected image
and the live image. Optionally, the photographer can override the
automatic toggling, e.g., via the toggle button. When the live image
was sufficiently composed, the photographer could either take the
shot or exit from the "compare mode" and continue making
other adjustments prior to making the exposure.
[0092] 9. Auto-Compositing Feature
[0093] With reference now to FIG. 16 through FIG. 20B, an example
is provided illustrating the auto-compositing feature of the system
21. The camera 20 includes a sensor assembly 25 configured to capture
a digital representation of the camera's field-of-view. However,
due to performance characteristics of the sensor assembly, i.e.,
exposure latitude, the captured image of the camera's field-of-view
can be non-ideal, particularly when there is a large disparity between
bright and dark regions. In these situations, the captured image
can include over-exposed and under-exposed regions. The auto-compositing
feature aids in creating a composite image free of such improperly
exposed regions.
[0094] FIG. 16 depicts a flowchart for implementing the auto-compositing
feature of system 21. In the exemplary embodiment, the system can
composite images taken at various exposure settings to generate
a desired image having disparity between bright and dark regions
beyond the maximum latitude of the sensor assembly 25 of the camera.
In this example, FIG. 17A depicts a desired image of a person standing
in front of the corner of a building, having large disparity between
bright and dark regions. Bright light streams onto the building
wall depicted in the right side of the photograph. On the left side
of the photograph the building wall is in dark shadows, indicated
by the cross-hatched lines. At the center of the photograph the
person is in moderate light, perhaps shade, indicated by the single-hatched
lines.
[0095] FIG. 17B is a histogram that classifies the brightness of
the image of FIG. 17A by area. Such histograms typically plot darker
values on the left and brighter values on the right. By coincidence,
the dark values at the left of the photograph correspond primarily
to the hump near the left of the histogram. The light values at
the right of the photograph correspond primarily to the hump near
the right of the histogram. The moderate light on the person corresponds
to the center hump. The arrow at the bottom of the histogram illustrates
the tremendously wide latitude required to capture this image, beyond
the maximum latitude of the sensor assembly 25 of the camera.
[0096] FIGS. 18A, 19A, and 20A depict resulting images captured
by camera 20, at various exposure settings. FIG. 18A represents
the result of photographing the image with a non-ideal camera at
a first exposure setting. The exposure has been set to capture the
dark left side of the building. The remaining portions of the image
are extremely overexposed. The camera's latitude at the first exposure
setting is indicated by arrow of FIG. 18B. Notably, this latitude
is less than is required to capture the desired image of FIG. 17A.
In FIG. 19A the exposure has been set to capture the moderate light
of the person but the details of the building are underexposed on
the left and overexposed on the right. In FIG. 20A the exposure
has been set to capture the bright side of the building at the right
of the photograph. The left side and the person are underexposed.
[0097] Referring to the flowchart 100 (FIG. 16), the auto-compositing
feature is initiated by identifying a potentially bad image, step
200. Such identification comprises an algorithm that identifies
significant bad regions as are evident in FIGS. 18A, 19A, and 20A.
At step 202, the camera prompts the user to make a new exposure-bracketed
attempt at the shot or to exit back to normal camera function. If
the user chooses to attempt the improved image, further guidance
prompts may be presented as illustrated in step 204. Such guidance
may also comprise using a tripod. When ready, the user depresses
the shutter, step 206.
[0098] In step 208, under the guidance of the processor 41 (FIG.
3), the camera exposes and saves multiple bracketed images, each
at a distinct exposure setting. The processor examines all the captured
images and selects a first image using an algorithm that typically
gives the best results (step 210). In this example, the image of
FIG. 18A is selected. In other embodiments, the system can randomly
select one of the images for evaluation. In yet other embodiments,
the system can utilize an algorithm that would evaluate and compare
characteristics of the bracketed set in order to establish the most
appropriate first image with which to begin the compositing process.
Such selection algorithms could evaluate with respect to the compositing
algorithms in order to determine the combination that would provide
the most pleasing final images.
[0099] At step 212, the image is evaluated and may branch to saving
the image at step 220. In the image of FIG. 18A, an overexposed
region 213 is identified. In step 214, the overexposed region will
be measured against comparable regions in a corresponding location
in the other bracketed images. In our example the overexposed region
213 of FIG. 18A would be replaced by the region 215 of FIG. 19A
depicting the image of the person.
[0100] At step 216, the image is reevaluated by the processor to
determine if additional compositing would improve it. In the present
example, the system would yet identify a large portion of overexposed
right region and, thus, would loop the processor back to step 214.
Then, the system would composite the properly exposed right region
217 from FIG. 19A into the image.
[0101] Returning back to step 216, no further improvement would
be possible without a re-shoot. A final evaluation at step 218 would
determine if the final image might be improvable with a re-shoot.
If so, the user would get a preview of the current result on the
view screen and be prompted with the opportunity to re-shoot at
step 222. If the user chose to re-shoot, the camera would make additional
adjustments of exposure and number of shots in order to achieve
a higher likelihood of success. If the camera determines that a
re-shoot would not improve the shot, or if the user elects to not
re-shoot, the image is saved at step 220. The compositing process
would obviously be benefited by algorithms that can smooth the transition
between the composited sections. These algorithms are widely known.
It is possible that the quality of such composites may, in many
cases, obviate the need for later editing. In any case, the auto-composited
image would provide satisfactory assurance to the photographer that
the bracketed exposures contained adequate image data for later
compositing.
[0102] It should be appreciated from the foregoing that the present
invention provides a digital camera comprising an image system having
a unique combination of features that aid in generating creative,
high-quality images. The system presents a variety of overlays,
each having prescribed attributes, e.g., ranging in size, opacity,
and functionality, and from iconic overlays to full-scale overlays
having varied opacity. The overlays can be used as an aid in composing
a live image for digital capture, either as a constant or intermittent
presence on the view-screen of the camera. In an exemplary embodiment,
the camera can create a composite photograph in which a live image
and the overlay are combined together. In an independent aspect,
the camera can include an auto-compositing feature that aids in
creating images free of improperly exposed regions. Thus, a photographer
can create and combine images "on location" in a unique
manner.
[0103] Although the invention has been disclosed in detail with
reference only to the preferred embodiments, those skilled in the
art will appreciate that various other embodiments can be provided
without departing from the scope of the invention. Accordingly,
the invention is defined only by the claims set forth below. |