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Tetrachromacy and how it relates to computer graphics

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BrianHG:

--- Quote from: Whales on February 26, 2023, 12:04:01 pm ---
--- Quote from: I wanted a rude username on February 26, 2023, 04:59:37 am ---This is especially noticeable with deep violet hues

--- End quote ---

My newest monitor does goofy stuff in the purples, see the attached photo vs screenshot.  sRGB preset chosen and annoying stuff turned off.  It's much more obvious in real life than the camera photo suggests.

--- End quote ---
I looked at your second 'true' screen shot on my studio grade CRT and 3-chuip DLP video projector and the violet color gradient is perfect.  (Note that the color you chose is tilted toward purple where a dark violet would have been a tint further to the left.)
Your camera shot of your LCD screen is crap.

TimFox:

--- Quote from: schmitt trigger on February 26, 2023, 05:38:06 pm ---Color spaces and its rendering are a fascinating subject which long predates electronics displays. During the late 1970s I was both an amateur photographer and also worked for Kodak. At our photography club we would discuss and compare color rendering and faithfulness.
Of course, we all recognized that color rendering is always a compromise: a film and light source which provides the best skin tones and thus suitable for portraits, would not be the best choice for landscape photography.
If I recall correctly, the zenith of color photography was achieved with a low speed Fuji Velvia slide film. But that was in the early 90s.
Those were the days…

--- End quote ---

In the glory days of color transparency (positive) films, comparison of different emulsions was a popular topic.
Many people thought Velvia 50 to be too saturated:  one photographer I knew attributed that choice to the normal cloudy weather in Japan, requiring extra saturation in the film to get vivid colors.
For normal color photography, my short-lived favorite (after the demise of Kodachrome) was Kodak Lumiere, but E100G Ektachrome also worked for me in broad daylight.
Unfortunately, my all-time favorite Koday EPY (ASA 64 tungsten balanced) went extinct along with the other tungsten-balanced transparency films.

Siwastaja:
Velvia 50 was excellent IMHO and I did not find it too saturated; it also had surprisingly good dynamic range and clipped in a nice way around highlights. Contrast that to the "new" Velvia 100 of late 2000's, which had kind of digital look to it, with even more contrast and clipping highlights. Did not like that. Fuji's Sensia 100 which was basically just consumer-branded version of the (way more expensive) Astia 100 was my favorite slide film, though.

I do remember exposing Velvia at ISO25 and pull processing it (as I did my own E6 processing) and this reduced the contrast and color saturation a tad, it looked really good.

Speaking of which, the film dyes (as in, dyes in slide films, or motion picture print films) did better job getting that correct wavelength for green, which CRT monitors sucked at. You could see some beautiful deep pure (or cyanish) green colors on films.

Many CRT projectors used filter dyes mixed with the CRT cooling glycol to help shift the output peak wavelength a bit and improve the color rendition, but this came at expense of light output, and it still wasn't spot-on.

SiliconWizard:
https://www.colourlovers.com/blog/2008/04/19/octarine-the-imaginary-color-of-magic

Tomorokoshi:
Imagine trying to make film for these:
https://en.wikipedia.org/wiki/Mantis_shrimp
https://en.wikipedia.org/wiki/Stokes_parameters

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