The thread: Say which colour — page 4
What a scene does
The window is part of the light
A viewing condition here has always been a spectrum and a geometry. For anything fluorescent it needs a third thing — the transmittance of whatever the daylight came through — because ordinary window glass, a laminated windscreen and a museum filter remove three quite different parts of the band a brightener eats, and the sheet is a different colour behind each.
What it takes to deliver it
An instrument brings its own light
ISO 13655 names four measurement conditions and they are usually read as four degrees of care. They are not. They are four different quantities — on an unbrightened sheet all four agree to a rounding, and on a brightened one they are up to seven and a half units apart, with every instrument in calibration and every answer correct.
Difference and uniformity
Whiteness is mostly the lamp
The CIE whiteness formula ranks white samples the way people do, which is what it was built for and is not in question. What is in question is what it is a measurement of — take the ultraviolet out of the instrument and 82 per cent of the scale collapses, because the part that separates a premium sheet from an ordinary one was contributed by the lamp.
What a camera does
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.
What the brain does
A brighter white still looks white
Colorimetry says a brightened sheet is nine units of b* from neutral, which sounds like a visible blue. An appearance model with the observer adapted to the room says it carries eleven units of chroma at a hue of 295 degrees — genuinely blue-violet — and that the number falls by nearly half between a bright room and a dark one. What it cannot say is why anybody calls the result white.
What the eye does
The matches do not name the cones
Colour matching is the whole empirical basis of colorimetry, and it fixes the observer's three curves only up to a nonsingular 3×3 — nine numbers that no match, in any quantity, to any precision, can see. One particular choice of those nine is used throughout here, and it was made for a different purpose.
Matching and measuring
The diagram has no area
A chromaticity diagram is a projective picture of a three-dimensional space, and the freedom colour matching leaves in the observer acts on it as a projective map. Straight lines and mixture ratios survive that; area, distance and angle do not — so half of what the diagram is used to say is a statement about the paper.
What a camera does
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.
What light is
The colour is right first
A reconstruction of a lamp from twelve filtered readings gets its colour right to half a unit while two thirds of its spectrum is still unmeasured. That combination is not a partial success — it is the exact condition under which a spectral prediction made from the reconstruction will be confidently wrong.
Where the model breaks
Which of these is a convention
Nine ordinary sentences from this collection, put through one test — do they mean the same thing after the observer's three curves are replaced by a nonsingular combination of themselves? Five survive and four do not, and none of the four is wrong, because each is a statement about a set of coordinates being read as a statement about an eye.
What it takes to deliver it
A profile is a fit between its nodes
A printer profile is a table, exact at every patch that was printed and interpolated everywhere else — and everywhere else is where every job lives. Going from a hundred and thirty-five patches to three and a half thousand is twenty-seven times the work for eight times the accuracy, and the exponents say that is as good as it gets.
What the brain does
One matrix doing two jobs
CIECAM16 adapts in CAT16 and then applies its response compression in the same axes, so a single matrix decides both how well the model handles a change of light and how uniform the space it produces is. The two jobs have different best answers, and the matrix was chosen against only one of them.
What light is
Which changes of light pay for it
A fitted adaptation basis beats the receptors by 0.68 units on average, and an average is a poor description of what it does. On six of fourteen changes of light it is worse, and the whole of its advantage comes from four — a tungsten lamp and three coloured walls.
What light is
Everyone is beaten by the same wall
Eight candidate adaptation bases, fourteen changes of light, and seven of the eight have their worst row in the same place — not a lamp, but a green wall reflecting twice. The one that does not is the one that was fitted, and what its fit bought was permission to give up on that row.
What it takes to deliver it
Primaries chosen for their inverse
Moving a display's white point is a gain on its R, G and B, so a display adapts in the inverse of its own primary matrix — a basis chosen by committees for gamut coverage and phosphor availability. Pose the design problem properly and the answer costs one per cent of the gamut argument and reaches within two per cent of the best basis there is.
What a camera does
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.
Matching and measuring
How long is the bowl
The optimum of an adaptation objective is twenty-nine times longer one way than another, and the two ends have names — the stiffest direction is almost entirely the short-wavelength row of the basis, the flattest almost entirely the long-wavelength one. Twenty-four random directions reported a factor of eight, and no number of them would have done better.
What it takes to deliver it
Best on the average, undefined at the edge
Bradford has the lowest mean residual of any adaptation transform over the census of illumination changes, which is why colour management uses it. Inside the family that census was drawn from, its middle row's reading of the white passes through zero — so the gain is a division by nothing, and the model stops being defined rather than merely doing badly. CAT16, which exists because its predecessor did this, does not.
Matching and measuring
Two points out of three
Every published adaptation transform implies three dichromat confusion points, whether or not it was fitted to any. Measured in the population's own standard deviations they are two to fourteen out on the protanope's point and four to twelve on the deuteranope's — and between half a standard deviation and two and a half on the tritanope's, which is inside the population. The claim that these matrices are not cone responses is safe. The evidence for it is two points.
What a camera does
Where a camera is blind to itself
A colour filter array is six numbers — three dye centres and three bandwidths — and how well the resulting sensor adapts is far more sensitive to some combinations than to others. The stiffest direction is almost entirely where the blue dye sits. The flattest is all three bandwidths at once, and the design can move twenty-five times further along it for the same cost.
What it takes to deliver it
A tolerance is a region
How far a display's red primary can move before its adaptation behaviour costs anything is not a distance. It is a closed region on the chromaticity diagram, fifteen times longer one way than another, and about half of it lies outside the area a real primary can occupy — where the objective does not rise and the primary cannot go.
What a scene does
The darkest wall anybody sells
Asked which property of a paint decides the worst change of light a room can produce, anybody would answer how saturated it is allowed to be. A ceiling on saturation never comes near binding, because the worst wall is dark rather than colourful — and the constraint that does bind is one nobody would nominate.
What light is
Four steps the test set cannot order
The adaptation census prints fourteen numbers to four figures and its ranking is asked to say which lamps adaptation handles worst. Nine of its thirteen steps are established beyond any doubt the test set can raise; the other four are not, and three of them are consecutive — a tungsten lamp, a halogen lamp and a white LED are simply not ordered.
What light is
A fourth dimension has a shape
How much a fourth reflectance dimension costs spans a factor of nine across four equally plausible shapes at one amplitude, and the expensive ones are not the shapes a variance figure would identify. The band that hurts is set by the illuminant rather than by the eye, which is why a triphosphor tube and a tungsten lamp disagree about it.
167 essays on this thread, page 4 of 7 · all threads · all essays