Construct · 3 fields · 3 citations
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In imaging, dynamic range is the ratio between the brightest and darkest scene luminances a film or sensor can record together without clipping to white or crushing to black, usually expressed in stops or decades of light. Debevec and Malik's 1997 Recovering high dynamic range radiance maps from photographs showed how to recover a scene's full range by combining differently exposed frames, the basis of high-dynamic-range imaging. The referent is the span of signal an imaging system faithfully captures between its noise floor and its saturation point, measured in stops, and it is the same ratio-of-extremes construct that recurs in audio and in sensory coding.[1]
In audio engineering, dynamic range is the ratio between the loudest signal a system can pass without distortion and the quiet noise floor beneath which signal is lost, reported in decibels. Rumsey and McCormick's Sound and recording treats how recording chains, converters, and media set this span and how it limits what a track can hold. It is the identical ratio-of-extremes construct as an imaging sensor's range, realised in sound and measured against distortion and hiss rather than clipping and shadow noise.[2]
In sensory neuroscience, dynamic range is the span of stimulus intensities a system can distinguish by its response, from the weakest it reliably detects to the point where response saturates, again a ratio of extremes. Kinouchi and Copelli's 2006 Optimal dynamical range of excitable networks at criticality showed that a network of excitable units maximises this range precisely at a critical point, linking the engineering quantity to how neural tissue codes intensity. It is the same construct as a camera's or an amplifier's dynamic range, transposed to the range of inputs a coding system can represent at all.[3]
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