The Reproduction of Colour

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.
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 ai ms 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.

Spis treści:
Series Preface.
Preface to the Sixth Edition.
PART ONE. FUNDAMENTALS.
1. Spectral Colour Reproduction.
1.1 Introduction.
1.2 The spectrum.
1.3 The micro–dispersion method of colour photography.
1.4 The Lippmann method.
1.5 Use of identical dyes.
1.6 Approximate spectral colour reproduction.
1.7 A simplified approach.
2. Trichromatic Colour Reproduction and the Additive Principle.
2.1 Introduction.
2.2 Maxwell’s method.
2.3 The physiology of human colour vision.
2.4 Spectral sensitivity curves of the retina.
2.5 Unwanted stimulations.
3. Additive Methods.
3.1 Introduction.
3.2 The successive frame method.
3.3 The mosaic method.
3.4 The lenticular method.
3.5 The virtual–image method.
3.6 The diffraction method.
3.7 Errors in additive methods.
4. The Subtractive Principle.
4.1 Introduction.
4.2 The subtractive principle.
4.3 Defects of the subtractive principle.
5. Visual Appreciation.
5.1 Introduction.
5.2 The basis of judgement.
5.3 Variations of hue.
5.4 Variations of lightness.
5.5 Variations of colourfulness.
5.6 Priorities.
5.7 Factors affecting apparent colour balance.
5.8 Integrating to grey.
5.9 The perception of depth.
6. Tone Reproduction.
6.1 Introduction.
6.2 Identical viewing conditions.
6.3 Characteristic curves.
6.4 Different lum inance levels.
6.5 Different surround conditions.
6.6 Complications with solid objects.
6.7 Comparisons of transparencies and reflection prints.
6.8 Colourfulness.
6.9 Exposure latitude.
6.10 Tone reproduction in duplicating.
6.11 Tone reproduction in television.
6.12 Lighting geometry.
6.13 Conclusions.
7. The Colour Triangle.
7.1 Introduction.
7.2 Colour terminology.
7.3 Trichromatic matching.
7.4 Colour–matching functions.
7.5 The colour triangle.
7.6 The centre of gravity law.
7.7 Other colour triangles.
7.8 Additive colour reproduction.
7.9 The Ives–Abney–Yule compromise.
7.10 Colour gamuts of reflecting and transmitting colours.
7.11 Two–colour reproductions.
8. Colour Standards and Calculations.
8.1 Introduction.
8.2 Standard illuminants.
8.3 The Standard Observers.
8.4 Colour transformations.
8.5 Properties of the XYZ system.
8.6 Uniform chromaticity diagrams.
8.7 Nomograms.
8.8 Uniform colour spaces.
8.9 Subjective effects.
8.10 Haploscopic matching.
8.11 Subjective colour scaling.
8.12 Physical colour standards.
8.13 Whiteness.
9. The Colorimetry of Subtractive Systems.
9.1 Introduction.
9.2 Subtractive chromaticity gamuts.
9.3 Subtractive gamuts in the colour solid.
9.4 Spectral sensitivities for block dyes.
9.5 Spectral sensitivities for real dyes.
9.6 MacAdam’s analysis.
9.7 Umberger’s analysis.
9.8 Two–colour subtractive systems.
9.9 Subtractive quality.
10. Light Sources.
10.1 Introduction.
10.2 Tungsten lamps.
10.3 Spectral–power converting filters.
10.4 Daylight.
10.5 Fluorescent lamps.
10.6 Sodium, mercury, and metal–halide lamps.
10.7 Xenon arcs.
10.8 Carbon arcs.
10.9 Photographic flash–bulbs.
10.10 The red–eye effect.
10.11 Correlated colour temperatures of commonly used light sources .
10.12 Colour rendering of light sources.
10.13 Visual clarity.
10.14 Polarization.
10.15 Light Emitting Diodes (LEDs).
11. Objectives in Colour Reproduction.
11.1 Introduction.
11.2 Comparative methods.
11.3 Absolute methods.
11.4 Spectral colour reproduction.
11.5 Colorimetric colour reproduction.
11.6 Exact colour reproduction.
11.7 Equivalent colour reproduction.
11.8 Colorimetric colour reproduction as a practical criterion.
11.9 Corresponding colour reproduction.
11.10 Preferred colour reproduction.
11.11 Degree of metamerism.
11.12 Conclusions.
PART TWO. COLOUR PHOTOGRAPHY.
12. Subtractive Methods in Colour Photography.
12.1 Introduction.
12.2 Relief images.
12.3 Colour development.
12.4 Integral tripacks.
12.5 Processing with the couplers incorporated in the film.
12.6 Reversal processing.
12.7 Processing with the couplers in developers.
12.8 The philosophy of colour negatives.
12.9 Subtractive methods for amateur use in still photography.
12.10 Subtractive methods for professional use in still photography.
12.11 Subtractive methods for motion–picture use.
12.12 Motion–picture frame rates.
13. Reflection Prints in Colour.
13.1 Introduction.
13.2 Direct reflection–print systems.
13.3 Reversal–reversal (positive–positive) systems.
13.4 Negative–positive systems.
13.5 Internegative systems.
13.6 Printing from electronic images.
13.7 Basic difficulties in reflection prints.
13.8 Effect of surround.
13.9 Inter–reflections in the image layer.
13.10 Luminance ranges.
13.11 Luminance levels.
13.12 Geometry of illumination and viewing.
14. Quantitative Colour Photography.
14.1 Introduction.
14.2 Sensitometric pictures.
14.3 Sensitometric wedges.
14.4 Uniformity of illumination.
14.5 Exposure time.
14.6 Light sources for sensitometry.
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