The Reproduction of Colour - 6th Edition (The Wiley-IS&T Series in Imaging Science and Technology)

Increasing use of digital signals for transmitting data in television, photography and printing means the reproduction of pictorial colour in the 21 st century continues to drive innovation in its development. Hunt’s classic text The Reproduction of Colour has been fully revised and updated for the sixth edition to provide a comprehensive introduction to colour imaging and colour reproduction. New illustrations, diagrams and photographs ensure that both students and practising engineers using colour images can gain a full understanding of the theory and practical applications behind the phenomena they encounter. Key features: Describes the fundamental principles of colour reproduction for photography, television, printing and electronic imaging. Provides detailed coverage of the physics of light and the property of colorants. Includes new chapters on digital printing and digital imaging, which discuss colour reproduction on HDTV and desktop publishing. Presents expanded coverage of the evaluation of colour appearance. The Reproduction of Colour is already used as a basis for lectures in universities and specialist institutions and continues to be an essential resource for scientists, engineers and developers needing to appreciate the technologies of colour perception. Reviews of the Fifth Edition: "The book is beautifully written and superbly presented. It is a credit to both author and publisher, and deserves to be on the shelves of anyone who has any concern with the reproduction of colour." From The Journal of Photographic Science, Vol. 43 1995 "Using his ability as a teacher, Dr Hunt has made potentially very difficult topics quite readable…he brings the insight that leads the reader to a greater depth of understanding." From Color Research and Application, Vol. 23 1998 The Society for Imaging Science and Technology is an international society that aims to advance the science and practices of image assessment. A major objective of the Wiley-IS&T series will be to explain the latest scientific and technological developments in the field of imaging at a professional level. The broad scope of the series will focus on imaging in all its aspects, with particular emphasis on digital printing, electronic imaging, photofinishing, image preservation, image assessment, image archiving, pre-press technologies and hybrid imaging systems. The Reproduction of Colour......Page 3 Contents......Page 7 Series Preface......Page 20 Preface to the Sixth Edition......Page 22 PART ONE FUNDAMENTALS......Page 25 1.2 The spectrum......Page 27 1.3 The micro-dispersion method of colour photography......Page 29 1.4 The Lippmann method......Page 30 1.7 A simplified approach......Page 31 2.2 Maxwell’s method......Page 33 2.3 The physiology of human colour vision......Page 34 2.4 Spectral sensitivity curves of the retina......Page 35 2.5 Unwanted stimulations......Page 37 3.2 The successive frame method......Page 42 3.3 The mosaic method......Page 43 3.4 The lenticular method......Page 45 3.6 The diffraction method......Page 47 3.7 Errors in additive methods......Page 48 4.1 Introduction......Page 49 4.2 The subtractive principle......Page 50 4.3 Defects of the subtractive principle......Page 51 5.1 Introduction......Page 55 5.2 The basis of judgement......Page 56 5.3 Variations of hue......Page 57 5.5 Variations of colourfulness......Page 58 5.6 Priorities......Page 60 5.7 Factors affecting apparent colour balance......Page 65 5.8 Integrating to grey......Page 68 5.9 The perception of depth......Page 69 6.3 Characteristic curves......Page 71 6.4 Different luminance levels......Page 72 6.5 Different surround conditions......Page 79 6.7 Comparisons of transparencies and reflection prints......Page 83 6.9 Exposure latitude......Page 84 6.10 Tone reproduction in duplicating......Page 85 6.13 Conclusions......Page 89 7.2 Colour terminology......Page 92 7.3 Trichromatic matching......Page 94 7.4 Colour-matching functions......Page 98 7.5 The colour triangle......Page 102 7.6 The centre of gravity law......Page 103 7.7 Other colour triangles......Page 105 7.8 Additive colour reproduction......Page 107 7.9 The Ives-Abney-Yule compromise......Page 109 7.11 Two-colour reproductions......Page 112 8.2 Standard illuminants......Page 116 8.3 The Standard Observers......Page 118 8.4 Colour transformations......Page 120 8.5 Properties of the XYZ system......Page 125 8.6 Uniform chromaticity diagrams......Page 128 8.7 Nomograms......Page 131 8.8 Uniform colour spaces......Page 133 8.10 Haploscopic matching......Page 140 8.11 Subjective colour scaling......Page 142 8.13 Whiteness......Page 147 9.2 Subtractive chromaticity gamuts......Page 150 9.3 Subtractive gamuts in the colour solid......Page 152 9.4 Spectral sensitivities for block dyes......Page 156 9.5 Spectral sensitivities for real dyes......Page 158 9.7 Umberger’s analysis......Page 159 9.8 Two-colour subtractive systems......Page 161 9.9 Subtractive quality......Page 162 10.2 Tungsten lamps......Page 163 10.3 Spectral-power converting filters......Page 166 10.4 Daylight......Page 170 10.5 Fluorescent lamps......Page 174 10.6 Sodium, mercury, and metal-halide lamps......Page 175 10.7 Xenon arcs......Page 176 10.8 Carbon arcs......Page 178 10.11 Correlated colour temperatures of commonly used light sources......Page 179 10.12 Colour rendering of light sources......Page 180 10.13 Visual clarity......Page 183 10.14 Polarization......Page 184 10.15 Light Emitting Diodes (LEDs)......Page 185 11.2 Comparative methods......Page 187 11.4 Spectral colour reproduction......Page 188 11.5 Colorimetric colour reproduction......Page 190 11.6 Exact colour reproduction......Page 191 11.7 Equivalent colour reproduction......Page 192 11.8 Colorimetric colour reproduction as a practical criterion......Page 195 11.9 Corresponding colour reproduction......Page 196 11.10 Preferred colour reproduction......Page 198 11.11 Degree of metamerism......Page 201 11.12 Conclusions......Page 202 PART TWO COLOUR PHOTOGRAPHY......Page 205 12.2 Relief images......Page 207 12.3 Colour development......Page 209 12.4 Integral tripacks......Page 210 12.5 Processing with the couplers incorporated in the film......Page 211 12.6 Reversal processing......Page 213 12.7 Processing with the couplers in developers......Page 214 12.8 The philosophy of colour negatives......Page 215 12.9 Subtractive methods for amateur use in still photography......Page 216 12.10 Subtractive methods for professional use in still photography......Page 217 12.11 Subtractive methods for motion-picture use......Page 218 12.12 Motion-picture frame rates......Page 221 13.2 Direct reflection-print systems......Page 223 13.5 Internegative systems......Page 224 13.9 Inter-reflections in the image layer......Page 225 13.10 Luminance ranges......Page 228 13.11 Luminance levels......Page 231 13.12 Geometry of illumination and viewing......Page 234 14.1 Introduction......Page 236 14.3 Sensitometric wedges......Page 237 14.5 Exposure time......Page 238 14.6 Light sources for sensitometry......Page 239 14.10 Controlled processing......Page 240 14.12 Logarithmic scales......Page 242 14.13 Densitometers......Page 243 14.14 Specular and diffuse transmission densities......Page 245 14.15 Printing densities......Page 246 14.16 Integral densities......Page 251 14.17 Some effects of curve shape......Page 255 14.18 Colorimetric densities......Page 257 14.20 Analytical densities......Page 259 14.22 Analytical reflection densities......Page 261 14.23 Exposure densities......Page 262 14.24 Scales of equal visual increments......Page 263 14.26 Stability of dye images......Page 264 14.27 Photographic speed......Page 265 15.2 Contrast masking......Page 268 15.4 Coloured couplers......Page 271 15.5 Inter-image effects......Page 275 15.6 Masking when making separations......Page 277 15.7 Masking for colorimetric colour reproduction......Page 279 15.8 Masking for approximate colour reproduction......Page 282 15.9 Calculation of mask gammas......Page 284 16.2 Printing studio negatives......Page 286 16.4 Printing amateurs’ negatives......Page 287 16.6 Early printers......Page 288 16.7 Integrating to grey......Page 289 16.8 The 1599 printer......Page 290 16.10 Subtractive printers......Page 292 16.13 Factors affecting slope control......Page 294 16.15 Electronic printing......Page 298 17.1 Colour development......Page 301 17.2 Developing agents......Page 303 17.3 Couplers......Page 305 17.4 Coloured couplers......Page 310 17.5 The dye-coupling reaction......Page 311 17.7 Colour developing solutions......Page 312 17.9 Processing sequences......Page 314 17.10 Dye-bleach and dye-removal systems......Page 316 17.11 Development-inhibitor-releasing (DIR) couplers......Page 322 18.2 Magnifications......Page 324 18.4 Granularity of silver images......Page 329 18.5 Noise power spectra......Page 331 18.7 Granularity of colour images......Page 334 18.8 Reducing granularity of colour systems......Page 340 18.9 Sharpness......Page 341 18.11 Depth of field......Page 344 18.12 Modulation transfer functions......Page 345 18.13 Photographic modulation transfer functions......Page 347 18.14 Acutance......Page 350 18.15 Sharpness of colour images......Page 351 18.16 Increasing sharpness of colour films......Page 353 18.18 Image structure in transfer systems......Page 355 PART THREE COLOUR TELEVISION......Page 357 19.1 Historical introduction......Page 359 19.2 Bandwidth......Page 360 19.3 Interlacing......Page 362 19.5 The field sequential system......Page 363 19.6 Blue saving......Page 364 19.7 Band saving......Page 365 19.8 Colour-difference signals......Page 368 19.9 Band sharing......Page 370 19.10 The effect of band sharing on monochrome receivers......Page 372 19.11 Carrier sharing......Page 373 19.12 The effects of signal processing on colour reproduction......Page 374 19.13 Gamma correction......Page 377 19.14 Noise reduction......Page 378 19.16 High definition television (HDTV)......Page 379 19.17 Signals used in video-compression systems......Page 381 19.18 Videoconferencing......Page 382 20.2 Early camera tubes......Page 384 20.3 Tubes suitable for colour......Page 386 20.5 Charge-coupled device (CCD) sensors......Page 389 20.6 Camera arrangements......Page 391 20.8 R-Y-B cameras......Page 392 20.9 Four-sensor cameras......Page 393 20.11 Spectral sensitivities used in cameras......Page 396 20.13 Electronic news gathering (ENG)......Page 398 20.15 Electronic still cameras......Page 399 21.1 Introduction......Page 400 21.2 The trinoscope......Page 402 21.4 The shadow-mask tube......Page 403 21.5 The Trinitron......Page 405 21.7 Light-valve projectors......Page 406 21.8 Liquid crystal displays (LCDs)......Page 407 21.10 Beam-penetration tubes......Page 410 21.13 Phosphors for additive receivers......Page 411 21.14 The chromaticity of reproduced white......Page 413 21.16 Reflective displays......Page 415 22.2 N.T.S.C. chromaticities......Page 417 22.3 The luminance signal......Page 418 22.5 The effects of variations in chrominance-signal magnitude......Page 420 22.6 The effect of gamma correction on E(R) - E(Y) and E(B) - E(Y)......Page 424 22.8 The P.A.L. and S.E.C.A.M. systems......Page 425 22.10 Blue saving in the N.T.S.C. system......Page 428 22.11 Gamma correction in the N.T.S.C. system......Page 435 22.13 Cross-talk between E(I) and E(Q)......Page 437 22.15 Comparison of the N.T.S.C., P.A.L., and S.E.C.A.M. systems......Page 440 22.16 Some useful graphical constructions......Page 441 22.17 Some useful equations......Page 447 23.2 Filming and televising techniques......Page 451 23.4 Choice of film......Page 453 23.5 Deriving television signals from colour film......Page 454 23.8 Telecines giving 60 fields per second......Page 455 23.9 Flying-spot scanners......Page 456 23.10 Telecines using solid-state sensors......Page 457 23.11 Telerecording......Page 458 23.12 Electronic adjustment of signals derived from colour film......Page 459 23.13 Electronic masking......Page 460 23.14 Overall transfer characteristics......Page 463 23.15 Reviewing colour films for television......Page 465 24.2 Magnetic tape......Page 467 24.3 Magnetic tape with helical scanning......Page 469 24.4 Recording on discs......Page 471 24.7 Discs using lasers......Page 472 24.8 Photo CD......Page 474 24.9 The duplication of programmes on video cassettes and discs......Page 478 25.2 Coloured captions......Page 479 25.4 Teletext......Page 481 25.6 Video graphics......Page 486 25.7 Computer assisted cartoons......Page 492 25.9 Colour ranges......Page 493 25.10 Colorization and restoration of films......Page 496 PART FOUR COLOUR PRINTING......Page 497 26.2 Letterpress......Page 499 26.4 Gravure (Intaglio)......Page 505 26.6 Superimposed dot images......Page 506 26.7 Colorimetric colour reproduction with dot images......Page 507 26.9 Contact screens......Page 509 26.11 Colour photocopying......Page 514 27.1 Introduction......Page 516 27.3 Duplicating transparencies......Page 517 27.6 Working from colour negatives......Page 518 27.8 A practical system of transparency duplication......Page 519 27.9 Comparing transparencies......Page 522 27.10 Comparing reflection prints and transparencies......Page 523 27.11 Prepress colour proofing......Page 525 28.2 A two-mask system......Page 528 28.4 Masking procedures......Page 530 28.5 Special colour films for masking......Page 531 28.7 Two-stage masking......Page 532 28.10 Choice of filters for making masks and separations......Page 534 28.11 Patches for controlling masking procedures......Page 535 28.12 Inks used in practice......Page 536 28.13 The subtractive colour triangle......Page 538 28.14 Standard inks......Page 540 28.16 The use of extra coloured inks......Page 541 29.2 The Hardy and Wurzburg scanners......Page 543 29.3 The P.D.I. scanner......Page 545 29.5 Other flat-bed mechanical scanners......Page 547 29.7 Scanners with variable magnification......Page 550 29.9 Electronic retouching......Page 551 29.13 Differential masking in scanners......Page 553 29.16 Typical scanner signal sequences......Page 556 29.18 Spectral sensitivities of scanners......Page 557 29.19 Calibration targets......Page 560 29.20 Scanners for desktop publishing......Page 564 PART FIVE DIGITAL IMAGING......Page 567 30.1 Introduction......Page 569 30.3 Spatial digitisation......Page 570 30.6 Using non-linear scales for tonal digitisation......Page 571 30.7 Allowing for the limited reproduction gamut......Page 572 30.8 Using luminance and chrominance signals to achieve bit reduction......Page 575 30.9 Allowing for the modulation transfer function of the eye......Page 576 30.11 Digital cinema......Page 577 30.12 Conclusions......Page 578 31.2 Filter arrays......Page 579 31.4 Spectral sensitivities......Page 580 31.6 Number of pixels......Page 581 31.7 Electronic camera flow chart......Page 582 31.8 Digital still camera signal processing......Page 583 31.9 White balance in electronic cameras......Page 585 31.10 A proposed standard default colour space, sRGB......Page 586 32.2 Scanning Methods......Page 588 32.6 Colorimetry......Page 589 32.7 Scanner targets......Page 590 32.9 Tonal resolution......Page 591 33.2 Number of tone levels required......Page 593 33.3 Dot gain......Page 594 33.4 Comparison of visual, continuous tone, half-tone, and micro-dot resolutions......Page 596 33.6 Desktop printing methods......Page 597 33.8 Laser electrophotography......Page 598 33.9 Thermal dye transfer......Page 599 33.10 Thermal wax transfer......Page 600 33.11 Ink jet......Page 602 33.13 Colour management systems......Page 603 33.15 Viewing conditions......Page 604 33.16 Gamut mapping......Page 605 33.17 Device stability......Page 606 33.19 Glossary of terms used in desktop printing......Page 607 PART SIX EVALUATING COLOUR APPEARANCE......Page 611 34.3 Adaptive colour shift......Page 613 34.4 Chromatic adaptation transforms......Page 614 34.5 The 1997 chromatic adaptation transform (CAT97)......Page 615 34.6 The 1997 colour inconstancy index (CON97)......Page 616 34.7 Reversing the 1997 chromatic adaptation transform (CAT97)......Page 618 35.2 Visual areas in the observing field......Page 620 35.3 Chromatic adaptation......Page 621 35.4 Spectral sensitivities of the cones......Page 622 35.5 Cone response functions......Page 623 35.6 Luminance adaptation......Page 624 35.7 Criteria for achromacy and for constant hue......Page 625 35.8 Effects of luminance adaptation......Page 626 35.9 Criteria for unique hues......Page 629 35.12 Correlate of saturation, s......Page 630 35.13 Correlates of hue, H and H(C)......Page 632 35.15 The achromatic response, A......Page 633 35.16 Correlate of lightness, J......Page 634 35.17 Correlate of brightness, Q......Page 635 35.19 Testing model CIECAM97s......Page 636 35.21 Effect of screen luminance on quality of projected pictures......Page 640 35.22 Steps for using the CIECAM97s model......Page 641 35.23 Steps for using the CIECAM97s model in reverse mode......Page 643 35.24 Worked example for the model CIECAM97s......Page 646 35.25 Using reversed colour models......Page 649 36.1 Introduction......Page 651 36.2 Steps for using the 1997 comprehensive colour appearance model, CAM97c......Page 652 36.4 Unrelated colours, model CAM97u......Page 653 36.5 Steps involved in using the model CAM97u for unrelated colours......Page 656 37.2 Steps in using a colour reproduction index......Page 661 37.3 Using the colour reproduction index in practice......Page 664 APPENDICES......Page 667 A1.1 General principles......Page 669 A1.2 Application to colorimetry......Page 671 A2.1 Calculating colorimetric measures......Page 674 A2.2 Formulae and tables......Page 679 A3.1 Relations between units of luminance......Page 687 A3.4 Typical levels of luminance and illumination......Page 688 A3.5 Typical levels of illumination from projectors......Page 689 A4.1 Film speeds......Page 690 A4.2 Film dimensions......Page 691 A4.3 Motion picture parameters......Page 692 A4.5 Flash guide numbers......Page 693 A5.3 CMC (l:c) colour difference formula......Page 694 A5.4 CIEDE2000 colour difference formula......Page 695 A6.2 Forward model......Page 696 A6.3 Reverse model......Page 699 A6.4 Worked example......Page 701 Appendix 7 Spectral Luminous Efficiency Functions......Page 702 Index......Page 705

Increasing use of digital signals for transmitting data in television, photography and printing means the reproduction of pictorial colour in the 21 st century continues to drive innovation in its development.

Hunt's classic text The Reproduction of Colour has been fully revised and updated for the sixth edition to provide a comprehensive introduction to colour imaging and colour reproduction. New illustrations, diagrams and photographs ensure that both students and practising engineers using colour images can gain a full understanding of the theory and practical applications behind the phenomena they encounter.

Key features:

• Describes the fundamental principles of colour reproduction for photography, television, printing and electronic imaging.
• Provides detailed coverage of the physics of light and the property of colorants.
• Includes new chapters on digital printing and digital imaging, which discuss colour reproduction on HDTV and desktop publishing.
• Presents expanded coverage of the evaluation of colour appearance.

The Reproduction of Colour is already used as a basis for lectures in universities and specialist institutions and continues to be an essential resource for scientists, engineers and developers needing to appreciate the technologies of colour perception.

Reviews of the Fifth Edition:

"The book is beautifully written and superbly presented. It is a credit to both author and publisher, and deserves to be on the shelves of anyone who has any concern with the reproduction of colour."

From The Journal of Photographic Science, Vol. 43 1995

"Using his ability as a teacher, Dr Hunt has made potentially very difficult topics quite readable...he brings the insight that leads the reader to a greater depth of understanding."

From Color Research and Application, Vol. 23 1998

The Society for Imaging Science and Technology is an international society that aims to advance the science and practices of image assessment. A major objective of the Wiley-IS&T series will be to explain the latest scientific and technological developments in the field of imaging at a professional level. The broad scope of the series will focus on imaging in all its aspects, with particular emphasis on digital printing, electronic imaging, photofinishing, image preservation, image assessment, image archiving, pre-press technologies and hybrid imaging systems.

Increasing use of digital signals for transmitting data in television, photography and printing means the reproduction of pictorial colour in the 21st century continues to drive innovation in its development. Hunts classic text The Reproduction of Colour has been fully revised and updated for the sixth edition to provide a comprehensive introduction to colour imaging and colour reproduction. New illustrations, diagrams and photographs ensure that both students and practising engineers using colour images can gain a full understanding of the theory and practical applications behind the phenomena they encounter. Key features: Describes the fundamental principles of colour reproduction for photography, television, printing and electronic imaging. Provides detailed coverage of the physics of light and the property of colorants. Includes new chapters on digital printing and digital imaging, which discuss colour reproduction on HDTV and desktop publishing. Presents expanded coverage of the evaluation of colour appearance. The Reproduction of Colour is already used as a basis for lectures in universities and specialist institutions and continues to be an essential resource for scientists, engineers and developers needing to appreciate the technologies of colour perception. Reviews of the Fifth Edition: "The book is beautifully written and superbly presented. It is a credit to both author and publisher, and deserves to be on the shelves of anyone who has any concern with the reproduction of colour." The Journal of Photographic Science, Vol. 43 1995 "Using his ability as a teacher, Dr Hunt has made potentially very difficult topics quite readable he brings the insight that leads the reader to a greater depth of understanding." Color Research and Application, Vol. 23 1998