Light black photo12/4/2023 In such a context, to say that the apple has "no color" when it sits in a room so dark that our eyes can only see a black shadow is ridiculous. We can even know, with a fair degree of certainty, what color the apple will appear to be in our photo if we shift the white balance of the photo to other values that don't match our light source. And we know what color the apple will be in the photo assuming our white balance is matched to the color of the flash's output. We know what color the apple will be during the near-instantaneous flash of bright light for our strobe. We know what color the apple was before we turned the lights out. When considering photographing a red apple in a dark room lit only with the very short burst of light of a flash we don't wonder what color the apple will show up as in the photo because we can't see anything except a black silhouette in the dark. Put a coloured object in a completely dark room and it does not stop being coloured, you just can't see it. You can specify a colour, not being able to see it does not mean it's not there any more. Check out any of the perceptual colour models which split hue from brightness like HSV/HSL, Lab etc. Most newer LCD screens use a white backlight that is blocked by a color matrix that changes density depending on the amount of energy flowing through each "dot" on the screen.Īs James Snell said in a comment to another answer to this question:īlack is not a lack of colour, it's a lack of luminosity/reflectance. LCD screens using a backlight are a kind of an odd mix of additive and subtractive color going on at the same time. Black is what we call the areas of the screen that aren't emitting any light. Thus adding all of the different colors together makes whatever we have applied our pigments to appear black to our eyes.ĬRT screens and older LCD screen that use individual pixels that emit light are additive - lack of a signal means the screen emits no light. If we include a substance made up of various pigments that each absorb various parts of the color spectrum, we can wind up with a substance that reflects no light in the wavelengths that we humans can perceive. Each substance used to create color is a substance that absorbs some of the visible spectrum and reflects the rest, which is what we see when we look at something that is that color. Inkjet and mass produced prints are subtractive - they add color to a white or near white piece of paper or other material to reduce the various wavelengths of light reflected by the paper. Within the color models used by creative photography there are both additive and subtractive color models. The context here at Photography.stackexchange is creative photography - not the physics of light other than as it applies to creating perceptual equivalents of the way our eye/brain systems see physical light and objects that reflect and/or absorb light. Even though each answer will be nearly a polar opposite of the other both will be correct within the context in which they are produced. Asking such a question in a physics classroom dealing with the nature of light as energy will elicit an entirely different answer than asking the same question at a paint factory. What are the characteristics that defines a color?Īgain, the answer to such a question totally depend upon the context in which it is being asked. ![]() you can add all of the various color pigments together to get "black") methods to reproduce color information. you can't combine different colors of light to create light that is "black") or subtractive (e.g. Selecting a region changes the language and/or content on all depends on how you define color, and whether you are considering additive (e.g. Until, in 1908, Gabriel Jonas Lippmann won the Nobel Prize in Physics for his method of creating color in a photo in just one single process using a color-sensitive film coating, or emulsion, on top of a glass plate. ![]() Still, plate methods were complicated, drawn-out processes that yielded less than ideal results. Louis Ducos du Hauron used a similar technique to create a famous colored landscape photo of southern France in 1877, named View of Agen.Īutochrome Lumière, created by Auguste and Louis Lumière at the start of the 1900s, was another long-exposure color photography technique that used “autochrome plates” coated with tiny dots of multicolored starch, instead of just one color. For this famous photo of a tartan ribbon, Sutton used a three-color method invented by physicist James Clerk Maxwell, who realized that the perception of all colors in an image could be created with a several-step process of taking multiple images through three colored glass plates: red, green, and blue. Thomas Sutton created the first color photograph in 1861.
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