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pigmented colorants: dependence on media and time - Cornell ...

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This routinely happens when you view an object under different lighting c<strong>on</strong>diti<strong>on</strong>s.<br />

For instance, the spectral distributi<strong>on</strong> of indoor tungsten lights is different to that<br />

of natural sunlight. Yet, a sheet of notebook paper in each is still perceived as<br />

white. The tendency of an object’s color to remain unchanged despite changes<br />

in the light spectrum is called color c<strong>on</strong>stancy. To achieve color c<strong>on</strong>stancy, the<br />

visual system must separate the surface’s reflecti<strong>on</strong> properties from the spectral<br />

distributi<strong>on</strong> of the emitted light. One way this is d<strong>on</strong>e is the visual system adjusts<br />

its sensitivity to the overall level of illuminati<strong>on</strong>, called light adaptati<strong>on</strong>. One<br />

has experienced this by entering a very dark room, such as a movie theater–the<br />

eyes gradually adjust to much lower light levels after a few minutes. Colored<br />

afterimages, which are often experienced after l<strong>on</strong>g exposures to the same stimulus,<br />

are attributed as an effect of adaptati<strong>on</strong>. In this case, different regi<strong>on</strong>s of the eye<br />

have adapted to different colors, not an overall luminance change.<br />

Yet, adaptati<strong>on</strong> is not a complete explanati<strong>on</strong> for color c<strong>on</strong>stancy. Color c<strong>on</strong>-<br />

trast am<strong>on</strong>g objects <strong>and</strong> their surroundings is also important. Since c<strong>on</strong>trast does<br />

not change much when the illuminati<strong>on</strong> changes, the visual system exploits the<br />

ratios between colors in a scene. This is evident in the work of Edwin L<strong>and</strong> in<br />

his Retinex Theory of Color Visi<strong>on</strong> [Lan77]. In L<strong>and</strong>’s experiment, he created<br />

a painting with a collecti<strong>on</strong> of rectangular shapes of varying hues in the manner<br />

of M<strong>on</strong>drian, a famous abstract painter. For each of five trials, he illuminated a<br />

different colored shape such that it exhibited an identical energy flux to the other<br />

four colors. Hence, all of the energy reaching the viewer’s eye from the five shapes<br />

is identical. The viewer then matched each shape’s color with the closest Munsell<br />

color chip, illuminated under the same source. Even though the five samples all<br />

sent the same physical color sensati<strong>on</strong> to the eye, the viewer had different color<br />

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