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<H1>Re: Which scanners REALLY provide 36 bit output? HP?</H1>
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<STRONG>From:</STRONG> Steve Underwood (<A HREF="mailto:steveu@coppice.org?Subject=Re:%20Which%20scanners%20REALLY%20provide%2036%20bit%20output?%20HP?&In-Reply-To=&lt;3A36D172.D5B862BB@coppice.org&gt;"><EM>steveu@coppice.org</EM></A>)<BR>
<STRONG>Date:</STRONG> Tue Dec 12 2000 - 17:31:30 PST
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Stephen Williams wrote:
<BR>
<P><EM>&gt; <A HREF="mailto:s57uuu@hamradio.si?Subject=Re:%20Which%20scanners%20REALLY%20provide%2036%20bit%20output?%20HP?&In-Reply-To=&lt;3A36D172.D5B862BB@coppice.org&gt;">s57uuu@hamradio.si</A> said:
</EM><BR>
<EM>&gt; &gt; (Yes, it's 3 - the luminance sensors (the 'rods') have the same
</EM><BR>
<EM>&gt; &gt; sensitivity as the 'green' channel 'cones')
</EM><BR>
<EM>&gt;
</EM><BR>
<EM>&gt; Not quite, they respond to a wider spectrum then the green sensors.
</EM><BR>
<EM>&gt; Though they are highly sensitive to green, they respond to most all
</EM><BR>
<EM>&gt; of the visible color range. I think.
</EM><BR>
<P><EM>&gt; (Actually, after saying that I'm not really sure how wide the spectral
</EM><BR>
<EM>&gt; response is for luminance, but I do know that luminance calculations
</EM><BR>
<EM>&gt; certainly all include some red and blue, and I presume there is a
</EM><BR>
<EM>&gt; psychological/physiological reason for that.)
</EM><BR>
<P>Its not just about spectrum, but about resolution and sensitivity.
<BR>
<P>The luminence sensors are much denser than the chroma sensors. They are
<BR>
most sensitive at green, drop off badly below red, and drop off much worse
<BR>
in the blue.
<BR>
<P>The green/red sensing is at a much lower density than the luminence, but
<BR>
has fairly good sensitivity. NTSC and PAL colour TV take advantage of this,
<BR>
and use only about 1/4 of the bandwidth for the chroma info, as they use
<BR>
for the luminence info. The density and sensitivity of the blue sensors are
<BR>
very very poor. A pure red or green TV image looks bright and clear. A pure
<BR>
blue TV image looks dark and noisy. That is mostly due to the limitations
<BR>
of the eye, although the blue emitter in a TV tube is also poorer than the
<BR>
red or green..
<BR>
<P>The bottom line is we cannot see colour in detail. Try grouping a lot of
<BR>
tiny varously coloured images together. You can still the fine detail of
<BR>
their shapes, but they all appear white.
<BR>
<P>When you try to scan a colour photo or magazine print you are using three
<BR>
sensors which don't accurately match the spectral response of the eye, but
<BR>
have peak responses in roughly the same places. You are scanning images
<BR>
made of three dyes which strange spectral responses that only *very*
<BR>
roughly approxiamate the response of the eye's sensors. You will display
<BR>
the result on a CRT, LCD, or printer, with their own set of very rough
<BR>
approxiamations to the right spectral response. In addition, some of these
<BR>
steps are working in cyan, magenta, and yellow, rather than red, green and
<BR>
blue. There are further limitations in colour accuracy caused by this
<BR>
swapping of primary/secondary colour mode.
<BR>
<P>If the eye's colour sensing worked in an absolute way the result would
<BR>
probably always look awful. However, the eye senses colour only in a
<BR>
relative way. Basically, an averaging process takes place across the entire
<BR>
field of vision, and the eye assumes this average to be white. All colours
<BR>
are rendered within the brain's signal processing according to this
<BR>
averaging. Now, if the sun changes to flourescent light as night comes we
<BR>
don't see the world turn the awful blue which most flourescent tubes
<BR>
produce. We see just a minor tinting of the colouration of the scene. More
<BR>
puzzling, and not fully explained, is why we appear to see a somewhat
<BR>
colourful image under low pressure sodium lamps. These produce extremely
<BR>
narrow band monochromatic light. We see zero colour variation in the
<BR>
relected light from any part of the scene, and yet we don't see the world
<BR>
in pure orange. The eye is clearly cooking up some fake, but realistic,
<BR>
colourfulness. How that realism works is a mystery, as we seem to detect
<BR>
the approxiamately correct colour of objects we have never seen in white
<BR>
light!
<BR>
<P>Unless you understand these things, imaging will always be disappointing.
<BR>
Without a feel for the limitations of the chain of factors resulting in a
<BR>
final image, the nature of that result tends to be an unpleasant suprise.
<BR>
Often, the only way to prove to people just how bad something will look is
<BR>
to produce a sample! A sad, but necessary, waste of effort.
<BR>
<P>Regards,
<BR>
Steve
<BR>
<P><P><P><PRE>
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