White balance — where it appears
Named by 34 essays across 4 fields — each of them below, with the objects they name alongside it.
Constancy is the default
A sheet of paper looks white in daylight and white under a tungsten lamp, although the light reaching the eye differs enormously. The visual system is solving one equation with two unknowns, and it solves it by assumption.
The algorithms that guess the light
What reaches a sensor is an illuminant multiplied by a reflectance, and no arithmetic separates a product into its factors. Every white-balance algorithm therefore works by assuming something about the world — and the interesting content of each is not its formula but the assumption, because a scene can violate it.
Raw is not a picture
A raw file is three integrals per site and a list of decisions nobody has taken yet. Every one of those decisions has a defensible answer and none of them has a correct one, which is why two converters open the same file and disagree.
A camera profile is a fit
Since no matrix is exact, the one a manufacturer ships is a least-squares compromise over a set of surfaces somebody chose. Fitted on desaturated patches it is excellent on desaturated patches — and the sample set is a hidden argument to every camera profile in existence.
The highlight is the white balance
Every estimator a camera uses is an assumption about the scene wearing the costume of a measurement. The specular component of a glossy surface is not — it carries the illuminant to within a third of a degree on a scene where averaging is fifty times worse, and it does so without knowing what colour the paint underneath is.
A photograph is not a measurement
A photograph is a measurement made by an instrument whose kernel nobody published, under an illuminant nobody recorded, corrected by a matrix fitted to somebody else's surfaces, with two thirds of every pixel invented. It supports relative claims well and absolute ones badly, and it is used for the second.
Fitted to an eye nobody has
A camera profile's residual against the observer it was fitted to is under a unit, and that is the number everybody quotes. Against a person drawn from a population it is 3.35 at the ninety-fifth percentile — and a camera with no spectral error whatever, reporting the standard observer's tristimulus values exactly, would carry 3.47. The camera is not the problem.
A camera balances in another basis
White balance is a per-channel gain on raw values, which makes it a von Kries adaptation in whatever axes the filter dyes happen to give. Those axes are not a property of the dyes alone — they move with the light, by up to seventeen degrees across the adaptation census — and the sensor for which they would not move is the one that adapts worst of all.
Only one of these devices adapts
An eye, a camera, a display and a press all meet the same changes of light, and each has at most one thing it can do about them. The press has nothing at all, so its column is the whole change; and this collection's sensor built to satisfy the Luther condition exactly is the one that adapts worst.
A camera cannot record the excitation
Two lamps of nearly the same chromaticity, one with ultraviolet and one with none, put a brightened sheet twelve units apart after a perfect white balance. Nothing in the camera measured the difference — the filter stack removed the band before the sensor saw it — so the correction that would fix the picture needs a quantity the file does not contain.
The lamp that stopped emitting ultraviolet
A blue-pumped white LED has a die at 450 nanometres and emits nothing shorter. Between about 2005 and 2020 that lamp replaced almost every other indoor source, which removed the excitation supply from a great many rooms — so brightened materials stopped glowing indoors without a single one of them being reformulated.
An image does not determine the light
A photograph of a scene under one illuminant gives three numbers per surface and asks for the illuminant plus three numbers per surface. The count closes only if reflectances lie in a two-dimensional model, and no number of surfaces helps — at three dimensions the alternative scenes can be written down, and they reproduce every sensor response exactly.
A matrix is fitted under one light
A camera's colour matrix is nine numbers determined by a chart photographed under a particular illuminant, and the error it quotes is the error under that illuminant. Fitted under a tungsten lamp and used under a cold sky it delivers eight times as much — and the two-matrix scheme every real profile uses turns out not to be a compromise at all.
A sensor designed for its inverse
A camera's white balance is a gain in a basis made from its own dyes and the light in the room. Choose the dyes for that basis instead of for cost and quantum efficiency, hold the sensor within a stated distance of the Luther condition, and the design reaches the best adaptation figure any basis achieves — and then the room moves it.
The condition chooses no axes
It has long been said here that a sensor satisfying the Luther condition exactly adapts worse than a silicon one, and offered a reason — that its channels are the matching functions, and a gain on those is the oldest mistake in the subject. The measurement was of one sensor. The condition leaves the axes entirely free.
The order is not in the documentation
A raw converter performs a white balance, a colour matrix, a tone curve and a clip, and every account of the process lists them in that order without saying the order decides anything. Exchanging the first two moves the picture by nine colour differences at the mean and thirteen at the worst patch. The twenty-four arrangements collapse into five outcomes running out to sixty-five, and nothing a converter ships says which of them it is.
The corner of the frame has another filter
A camera's infrared-cut filter is an interference stack, and light crossing it at an angle sees its edge moved towards the blue — from 665 nm at the centre of a frame to 646 at twenty-five degrees. The corner's red channel loses a tenth of its response under daylight and a sixth under tungsten. A grey-card gain map makes the corner exactly right under the lamp it was made under; under a tungsten lamp the same grey is 2.6 colour differences wrong, under a white LED 4.2, and even under its own lamp the coloured patches are not corrected, because a moved edge is not a gain.
A black level is multiplied by the balance
Every raw value carries a pedestal that is subtracted before anything else, and a white balance is then a different gain in each channel. Subtracting a constant and multiplying by one commute only when the constant is zero or the gains are equal. So a pedestal left three thousandths of white too high becomes 2.4 colour differences in a two per cent grey, most of it chroma, in the colour the lamp starves — and pushing that shadow four stops in editing makes it 8.9. An offset in proportion to the lamp's own white is the exception, and it is exactly grey.
Clipped noise does not average away
Noise on a raw reading is as likely to fall below the true value as above it, which is why averaging an area removes it. A converter that sets negative readings to zero keeps the upper half and throws the lower away, and the mean of what is left is the signal plus a pedestal. With no black level error anywhere, a half per cent grey under a tungsten lamp comes out 1.04 colour differences off at high gain, 8.98 after a four-stop push — and a blur that removes every trace of the noise leaves the tint where it was.
A corner is corrected by one row
A grey-card gain map makes the corner of a frame exactly right on grey and leaves coloured patches 1.86 colour differences wrong at twenty-five degrees. A three-by-three matrix fitted at that position halves it — and six of its nine numbers do nothing, because the moved filter edge is in one channel. The three that matter rebuild the lost red from green and blue, they carry to another lamp better than a gain map in eleven cases of twelve, and in the twelfth, a row fitted under tungsten and used in daylight, they leave the grey 9.2 off.
Two matrices do not reach a white LED
A camera profile's two matrices, blended by the scene's colour temperature, are as good as a matrix fitted anywhere along daylight. Under a white LED or a fluorescent tube the same blend leaves colours twice as far off as a matrix fitted under that lamp, and no weight inside the profile's range repairs it. What decides it is not how far the lamp sits from the Planckian locus — a triphosphor tube sits nearly on it and fares worst — but whether its spectrum has lines in it, which a white balance reading cannot see.
Filling in a highlight is a claim about the surface
A converter that rebuilds a clipped channel has to say what the highlight was. A matt surface over-exposed keeps its own colour, and filling the lost channel from that colour is exact. A glossy highlight is the surface's colour plus a reflection of the lamp, and the same fill leaves it 7.6 colour differences too colourful — while a fill that solves for surface and lamp is exact. Neither works once two channels are clipped, and a tungsten lamp keeps a highlight in the one-channel band more than twice as long as daylight does.
Four places to clamp are two pipelines
The essay on clipped noise ended on a procedure: a black frame and a dim grey card at a high amplification would place each raw converter's clamp. A procedure is a claim that a measurement identifies something, and this one identifies less than it looks. A clamp at zero commutes with the white balance and with the tone curve and not with the colour matrix, so the four positions are two pipelines — and the measurement separates them, on a card at half a per cent of white rather than on the black frame.
Two lamps decide what one lamp could not
Under one lamp a handful of surfaces cannot tell a glossy highlight from a matt over-exposure without most of a frame, because there the two differ by a scale a ratio cannot see. In a room lit evenly by a 3000 K lamp and daylight, every surface on the chart is decided from ten pixels. A body can sit at one lamp's white, not at two, and the rescue holds only while the second lamp carries a fifth of the light and its white sits far enough from the first.
One row for every lamp costs the lamps that lose least
A corner correction fitted under one lamp is right under that lamp and can be badly wrong under another, so a converter unsure of its lamp was offered a single row fitted under several at once. Pooled over four lamps, one row holds every lamp's corner between 1.33 and 1.56 colour differences — no lamp worse than a grey-card map, and none near the 4.91 a wrong row can leave. The price falls on the white LED and the fluorescent tube, which it leaves four times worse than their own rows, because they lose the least red at the corner and the pooled row is built to repair the lamps that lose the most. Two rows, one per class of lamp, keep almost all of both.
The lamps two channels miss are smooth to the camera
A narrow channel at 450 nm tells a phone which lamps are structured, and a white LED pumped in the violet might hide from it; a channel at 500 nm does the same job, and an LED with a cyan emitter should blind it. Reading both and calling a lamp structured if either departs was supposed to cover both families. It covers the cyan family only because the 450 nm channel already did, and half the violet-pumped LEDs escape both channels. Every one that escapes leaves the camera's colours as accurate as a smooth lamp does. What the classifier misses is what the camera does not need to be warned about.
Two channels estimate what one can only sort
A narrow sensor channel was fitted to call lamps smooth or structured, and the label turned out to be a proxy for the thing a camera cares about: its own colour error under the lamp. Scored against that error directly, the best channel is still the one at 450 nm — the band where camera and observer differ most comes close and no closer. Read as an estimate rather than a verdict, a second channel at 500 nm, useless as a vote, earns its place: together they predict the camera's error to within 0.14 ΔE00 over fifty-four lamps, and deciding when to repair from that estimate raises a quarter of the false alarms the label raises.
A straightened channel repeats the one beside it
A phone's narrow sensor channel at 570 nm ranks a camera's colour error under a lamp almost as well as the one at 450, and estimates it worse than guessing the mean, because one lamp reads ten times higher than any other. Read through a logarithm, the channel is rescued: its estimate improves from ±0.57 to ±0.23. It still does not reach the 450 nm channel's ±0.16, and put beside that channel it adds nothing at all, where a 500 nm channel cuts the error to ±0.14. Straightened, 570 nm sorts the lamps as 450 nm already does; and the two lamps it reads highest have the most different errors, which no transform of one reading can tell apart.
One ratio reads a peak and a trough
Two narrow sensor channels, at 450 and 500 nm, estimate a camera's colour error under a lamp to ±0.14 ΔE₀₀; the proposal was to read their ratio as one number instead. Taken as one channel's departure over the other's, the ratio is worthless — no better than the mean, because for smooth lamps both departures are nearly nothing. Taken as the departure of the two readings' ratio from what the camera predicts for it, one number estimates the error to ±0.141, as well as the two channels as two. The reason is a sign: under every structured lamp the channels depart in opposite directions, a peak at 450 and a trough at 500, and the ratio adds them; where a cyan fill lifts 500, it subtracts them, as the error falls. And no five per cent calibration error moves any of these estimates by a hundredth.
The tube a third channel misses has no family
Two narrow sensor channels read as one ratio estimate a camera's colour error under fifty-four lamps to ±0.141 ΔE₀₀, and their worst miss is the halophosphate tube, whose trouble lies in its long-wave phosphor. A third narrow channel in the long-wave gap was predicted to halve that miss near 610 nm. No channel does, at any centre or width: the best buys under a tenth of the whole error and leaves the tube's miss above three quarters of what it was. At 610 nm the camera already predicts the tube's share almost exactly. The tube's error follows where its main phosphor band sits, and a 620 or 640 nm channel does read that — inside the tube's own family. The census has one halophosphate tube, and a lamp left out of a census that holds nothing like it is a lamp no channel can be fitted to.
Two stages catch the tube and bill the lamps they misplace
A narrow-channel estimate of a camera's colour error missed the halophosphate tube because the census held nothing like it, and a line that learned the tube's family from four siblings cost every other lamp. The proposed cure was two stages: recognise a lamp's family, then apply that family's own line. Given each lamp's family, it works as predicted and better — the tube missed by 0.011 ΔE₀₀, the fifty-four lamps estimated to ±0.133 against the ratio's ±0.141. Found by the nearest other lamp in the sensor's departures, the family is right for the tube and wrong for five lamps, and those five, missed by ±0.41, take the whole census back to ±0.162. The gain is real; the classifier is where it is lost.
LEDs built on the locus still fall off the line
A camera's colour error under a lamp can be estimated from three narrow channels of a small sensor, read as departures from a smooth lamp of the same colour, and the estimate held for the census's white LEDs, which varied only their blue pump. Rebuilt on LEDs varied freely in pump, converter and red phosphor, it failed: the error was a V about the Planckian locus, and no line in the departures read it. A maker does not let the white fall where it falls, so the proposal was to build the LEDs as a maker does — the converter tuned for each pump and red phosphor until the white sits on the locus — and the prediction was that the V would go and the line return, the census's held-out error to within ±0.15. Thirty of thirty-six such LEDs can be built. On the locus the V is gone and the line is not: the LEDs alone are missed by ±0.25 to ±0.28, the census's lamps by ±0.27. Taken one pump at a time, the departures read the LEDs pumped at 452 nm to ±0.05 and those at 440 and 465 nm no better than ±0.17. Within one pump the LEDs are readable, and across pumps they are not.
A channel at each pump cannot see the recipe
Thirty white LEDs built onto the Planckian locus defeat a line in a small sensor's three departures, except within one pump: the 452 nm LEDs are read to ±0.047 by the 450 nm channel, the others no better than ±0.15. The proposal was a channel at each pump — 440 and 465 nm beside the 450 — and the prediction that each pump's LEDs would be read from their own channel within ±0.08. The 465 nm LEDs' own channel halves their miss, to ±0.135; the 440 nm LEDs' moves it from ±0.171 to ±0.149. No line in any three of the five departures reads either pump better than ±0.1. Yet the camera's error is simple: a line in what each LED is made of — its red phosphor, its colour temperature and their product — reads every pump within ±0.07, the 440 nm LEDs to ±0.043. The error is easy; the channels cannot see the recipe that sets it. Knowing each LED's pump halves the pooled miss, to ±0.119, and two blue channels can tell only one pump of three from the others.
The converter gives the red phosphor away
A camera's error under white LEDs built onto the Planckian locus is simple in what each LED is made of — its red phosphor and its colour temperature — and a small sensor's narrow departures cannot read the red phosphor. The proposal was a channel at 610 nm, where a garnet converter falls and a red phosphor rises, and the prediction that it reads the red-phosphor strength within a tenth of its range. Within a pump it reads nothing: ±0.36 to ±0.43 at 440 and 452 nm against a spread of ±0.36, and no red channel from 600 to 680 nm does better than ±0.22. The reason is the locus. To keep the white's colour, each step of red phosphor pushes the converter's peak shorter, by 29 to 55 nanometres from none to the most, and in every red channel the two changes cancel. What survives is the converter: the 600 nm departure reads its peak to ±5 nm. Read across all thirty LEDs at once, the converter gives the red phosphor away — ±0.12 — and the error read through that estimated recipe comes within ±0.08 at every pump, the 440 nm LEDs at ±0.078, half their own channel's miss.
Named alongside it
The objects these essays reach for when they reach for this one.
Camera rawColour matrixIlluminantHeld-out validationSpectral sensitivityIdentifiabilityCalibrationLeast-squaresWhite LEDLuther conditionChromatic adaptationCorrelated colour temperature