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More About This Title Color Appearance Models 3e
English
The essential resource for readers needing to understand visual perception and for those trying to produce, reproduce and measure color appearance in various applications such as imaging, entertainment, materials, design, architecture and lighting.
This book builds upon the success of previous editions, and will continue to serve the needs of those professionals working in the field to solve practical problems or looking for background for on-going research projects. It would also act as a good course text for senior undergraduates and postgraduates studying color science.
The 3rd Edition of Color Appearance Models contains numerous new and expanded sections providing an updated review of color appearance and includes many of the most widely used models to date, ensuring its continued success as the comprehensive resource on color appearance models.
Key features:
- Presents the fundamental concepts and phenomena of color appearance (what objects look like in typical viewing situations) and practical techniques to measure, model and predict those appearances.
- Includes the clear explanation of fundamental concepts that makes the implementation of mathematical models very easy to understand.
- Explains many different types of models, and offers a clear context for the models, their use, and future directions in the field.
English
Mark D. Fairchild, Rochester Institute of Technology, USA
Dr. Fairchild is Professor of Color Science and Imaging Science at RIT. He is an Associate Dean for Research & Graduate Education of RIT's College of Science, facilitating the growth and strengthening of the college's research activities and graduate programs. Until recently, he had been the Director of the Munsell Color Science Laboratory for the past 12 years.
English
Preface xv
Acknowledgments xviii
Introduction xix
1 Human Color Vision 1
1.1 Optics of the Eye 2
1.2 The Retina 7
1.3 Visual Signal Processing 14
1.4 Mechanisms of Color Vision 19
1.5 Spatial and Temporal Properties of Color Vision 27
1.6 Color Vision Deficiencies 32
1.7 Key Features for Color Appearance Modeling 36
2 Psychophysics 38
2.1 Psychophysics Defined 39
2.2 Historical Context 40
2.3 Hierarchy of Scales 43
2.4 Threshold Techniques 45
2.5 Matching Techniques 49
2.6 One-Dimensional Scaling 50
2.7 Multidimensional Scaling 52
2.8 Design of Psychophysical Experiments 54
2.9 Importance in Color Appearance Modeling 55
3 Colorimetry 56
3.1 Basic and Advanced Colorimetry 57
3.2 Why is Color? 57
3.3 Light Sources and Illuminants 59
3.4 Colored Materials 63
3.5 The Human Visual Response 68
3.6 Tristimulus Values and Color Matching Functions 70
3.7 Chromaticity Diagrams 77
3.8 Cie Color Spaces 79
3.9 Color Difference Specification 81
3.10 The Next Step 83
4 Color Appearance Terminology 85
4.1 Importance of Definitions 85
4.2 Color 86
4.3 Hue 88
4.4 Brightness and Lightness 88
4.5 Colorfulness and Chroma 90
4.6 Saturation 91
4.7 Unrelated and Related Colors 91
4.8 Definitions in Equations 92
4.9 Brightness–Colorfulness Vs Lightness–Chroma 94
5 Color Order Systems 97
5.1 Overview and Requirements 98
5.2 The Munsell Book of Color 99
5.3 The Swedish Ncs 104
5.4 The Colorcurve System 106
5.5 Other Color Order Systems 107
5.6 Uses of Color Order Systems 109
5.7 Color Naming Systems 112
6 Color Appearance Phenomena 115
6.1 What are Color Appearance Phenomena? 115
6.2 Simultaneous Contrast, Crispening, and Spreading 116
6.3 Bezold–Brücke Hue Shift (Hue Changes with Luminance) 120
6.4 Abney Effect (Hue Changes with Colorimetric Purity) 121
6.5 Helmholtz–Kohlrausch Effect (Brightness
Depends On Luminance and Chromaticity) 123
6.6 Hunt Effect (Colorfulness Increases
with Luminance) 125
6.7 Stevens Effect (Contrast Increases
with Luminance) 127
6.8 Helson–Judd Effect (Hue of Non-Selective Samples) 129
6.9 Bartleson–Breneman Equations (Image
Contrast Changes with Surround) 131
6.10 Discounting-the-Illuminant 132
6.11 Other Context, Structural, and
Psychological Effects 133
6.12 Color Constancy? 140
7 Viewing Conditions 142
7.1 Configuration of the Viewing Field 142
7.2 Colorimetric Specification of the Viewing Field 146
7.3 Modes of Viewing 149
7.4 Unrelated and Related Colors Revisited 154
8 Chromatic Adaptation 156
8.1 Light, Dark, and Chromatic Adaptation 157
8.2 Physiology 159
8.3 Sensory and Cognitive Mechanisms 170
8.4 Corresponding Colors Data 174
8.5 Models 177
8.6 Color Inconstancy Index 178
8.7 Computational Color Constancy 179
9 Chromatic Adaptation Models 181
9.1 Von Kries Model 182
9.2 Retinex Theory 186
9.3 Nayatani et al. Model 187
9.4 Guth’s Model 190
9.5 Fairchild’s 1990 Model 192
9.6 Herding Cats 196
9.7 Cat02 197
10 Color Appearance Models 199
10.1 Definition of Color Appearance Models 199
10.2 Construction of Color Appearance Models 200
10.3 Cielab 201
10.4 Why Not Use Just Cielab? 210
10.5 What About Cieluv? 210
11 The Nayatani et al. Model 213
11.1 Objectives and Approach 213
11.2 Input Data 214
11.3 Adaptation Model 215
11.4 Opponent Color Dimensions 217
11.5 Brightness 218
11.6 Lightness 219
11.7 Hue 219
11.8 Saturation 220
11.9 Chroma 221
11.10 Colorfulness 221
11.11 Inverse Model 222
11.12 Phenomena Predicted 222
11.13 Why Not Use Just the Nayatani et al. Model? 223
12 The Hunt Model 225
12.1 Objectives and Approach 225
12.2 Input Data 226
12.3 Adaptation Model 228
12.4 Opponent Color Dimensions 233
12.5 Hue 234
12.6 Saturation 235
12.7 Brightness 236
12.8 Lightness 238
12.9 Chroma 238
12.10 Colorfulness 238
12.11 Inverse Model 239
12.12 Phenomena Predicted 241
12.13 Why Not Use Just the Hunt Model? 242
13 The Rlab Model 243
13.1 Objectives and Approach 243
13.2 Input Data 245
13.3 Adaptation Model 246
13.4 Opponent Color Dimensions 248
13.5 Lightness 250
13.6 Hue 250
13.7 Chroma 252
13.8 Saturation 252
13.9 Inverse Model 252
13.10 Phenomena Predicted 254
13.11 Why Not Use Just the Rlab Model? 254
14 Other Models 256
14.1 Overview 256
14.2 Atd Model 257
14.3 Llab Model 264
14.4 Ipt Color Space 271
15 The Cie Color Appearance Model (1997), Ciecam97s 273
15.1 Historical Development, Objectives, and Approach 273
15.2 Input Data 276
15.3 Adaptation Model 277
15.4 Appearance Correlates 279
15.5 Inverse Model 280
15.6 Phenomena Predicted 281
15.7 The Zlab Color Appearance Model 282
15.8 Why Not Use Just Ciecam97s? 285
16 Ciecam02 287
16.1 Objectives and Approach 287
16.2 Input Data 288
16.3 Adaptation Model 290
16.4 Opponent Color Dimensions 294
16.5 Hue 294
16.6 Lightness 295
16.7 Brightness 295
16.8 Chroma 295
16.9 Colorfulness 296
contents xi
16.10 Saturation 296
16.11 Cartesian Coordinates 296
16.12 Inverse Model 297
16.13 Implementation Guidelines 297
16.14 Phenomena Predicted 298
16.15 Computational Issues 298
16.16 Cam02-Ucs 300
16.17 Why Not Use Just Ciecam02? 301
16.18 Outlook 301
17 Testing Color Appearance Models 303
17.1 Overview 303
17.2 Qualitative Tests 304
17.3 Corresponding-Colors Data 308
17.4 Magnitude Estimation Experiments 310
17.5 Direct Model Tests 312
17.6 Colorfulness in Projected Images 316
17.7 Munsell in Color Appearance Spaces 317
17.8 Cie Activities 318
17.9 A Pictorial Review of Color Appearance Models 323
18 Traditional Colorimetric Applications 328
18.1 Color Rendering 328
18.2 Color Differences 333
18.3 Indices of Metamerism 335
18.4 A General System of Colorimetry? 337
18.5 What About Observer Metamerism? 338
19 Device-Independent Color Imaging 341
19.1 The Problem 342
19.2 Levels of Color Reproduction 343
19.3 A Revised Set of Objectives 345
19.4 General Solution 348
19.5 Device Calibration and Characterization 349
19.6 The Need for Color Appearance Models 354
19.7 Definition of Viewing Conditions 355
19.8 Viewing-Conditions-Independent
Color Space 357
19.9 Gamut Mapping 357
19.10 Color Preferences 361
19.11 Inverse Process 362
19.12 Example System 363
19.13 Icc Implementation 364
20 I mage Appearance Modeling and the Future 369
20.1 From Color Appearance to Image Appearance 370
20.2 S-Cielab 375
20.3 The icam Framework 376
20.4 A Modular Image Difference Model 382
20.5 Image Appearance and Rendering Applications 385
20.6 Image Difference and Quality Applications 391
20.7 icam06 392
20.8 Orthogonal Color Space 393
20.9 Future Directions 396
21 High-Dynamic-Range Color Space 399
21.1 Luminance Dynamic Range 400
21.2 The Hdr Photographic Survey 401
21.3 Lightness–Brightness Beyond Diffuse White 403
21.4 hdr-Cielab 404
21.5 hdr-Ipt 406
21.6 Evans, G0, and Brilliance 407
21.7 The Nayatani Theoretical Color Space 409
21.8 A New Kind of Appearance Space 409
21.9 Future Directions 416
References 418
Index 440
