A comprehensive introduction to colorimetry from a conceptual perspective Color for the Sciences is the first book on colorimetry to offer an account that emphasizes conceptual and formal issues rather than applications Jan Koenderink s introductory text treats colorimetry literally, color measurement as a science, freeing the topic from the usual fixation on conventional praxis and how to get the right result Readers of Color for the Sciences will learn to rethink concepts from the roots in order to reach a broader, conceptual understanding After a brief account of the history of the discipline beginning with Isaac Newton and a chapter titled Colorimetry for Dummies, the heart of the book covers the main topics in colorimetry, including the space of beams, achromatic beams, edge colors, optimum colors, color atlases, and spectra Other chapters cover specialized topics, including implementations, metrics pioneered by Schroedinger and Helmholtz, and extended color space Color for the Sciences can be used as a reference for professionals or in a formal introductory course on colorimetry It will be especially useful both for those working with color in a scientific or engineering context who find the standard texts lacking and for professionals and students in image engineering, computer graphics, and computer science Each chapter ends with exercises, many of which are open ended, suggesting ways to explore the topic further, and can be developed into research projects The text and notes contain numerous suggestions for demonstration experiments and individual explorations The book is self contained, with formal methods explained in appendixes when necessary

2 thoughts on “Koendrick: Color for the Sciences (The MIT Press)

  1. drollere drollere says:

    this book is an appalling failure of scholarship and literacy incoherent, undisciplined, opaque, fruitlessly arcane, factually wayward and often flat out incorrect and terribly frustrating to slog through worst of all, it s delivered in an authorial voice that weilds a fatuous laod of jargon in a disorganized and confused narration.how is this book positioned the publisher s blurb, assuring that this is a fine introductory text for students, is misleading to the point of unethical i ve corresponded with PhD students in colorimetry who have found this book difficult to read the student exercises at the end of each chapter include and i quote Read everything you can about colorimetry indeed, when the exercises are bracketed with rubrics such as exercise for zombies or requires a lot of computation or mental gymnastics or elaborate and conceptual you re left wondering what purpose they are intended to serve, other than to reflect the expertise of the author.a continual irritant of style and obfuscation of meaning is Koenderink s addiction to scare quotes as an excuse for lazy and inaccurate writing the caption to figure 9.11, for example The arc length rate with wavelength as a function of wavelength Notice how the rate is maximum near the centers of the parts and hesitates on their common boundaries A behavior like this makes the parts appear natural The spectral compositions have been plotted on a rectified scale The parts peak at Thornton s prime colors The entire text, front to back, proceeds in pretty much the same manner.the scare quotes are symptomatic of the general point that Koenderink never really clearly defines or explains his terms he simply assumes space or manifold or vector without defining them for the student stooping to clarify has two benefits it allows students to understand the terms as they are meant to be used, and it allows experts to confirm that the author knows what he is talking about this book fails in both ways.this also means the author can t explain complex methods in simple terms browse for example his account of singular value not values, Jan decomposition as an alternative route to the matrix R devised by Jozef Cohen what we get is a lot of inline matrix algebra, statistical word salad, handwaving to points that will be explained later and the ridiculous claim that the procedure strips away the fluff from colormatching functions when, in fact, extracting three analysis dimensions from three input vectors strips away nothing it only redistributes the variance in a way that is presumed by some to identify fundamental and imaginary prime colors in color perception this is in reality a formal way to achieve what is essentially a geometric rotation of the original dimensions, and is easy to explain in those terms we find statements such as black beams are orthogonal to any other beam, including themselves when what is meant is the statistical tautology that any variable of zero value has a zero correlation with everything else but that doesn t sound quite so professorial.then there s the task of organizing the presentation to make sense chapters and chapter sections start out talking about one topic and end up talking about another there are many instances where specific problems will be discussed later although where that happens is never made clear with an endnote or page reference inconsistencies of presentation abound, as for example when the notes to chapter one state that I will occasionally use SMALL CAPS to indicate subjective entities he means color sensations, which require no scare quotes then in chapter three says I should really start a big show of writing RED or some other typographic convention when I mean the quale red another typographic convention I consider it too pedantic he seems to think he s scored twice in a display of nuance, when he s only shown once that he can t make up his mind the whole book is evidence of a lack of intellectual discipline.another problem Koenderink refuses to take perceptual issues seriously, considering them all ad hoc or psychological this creates a number of needless confusions and is encumbering when the topic under discussion is sensory phenomena the problem raised by the black fluff perceptually ineffective content of color stimuli is actually the problem of metamerism two different spectra can and often do appear to an observer to be the same color an absolutely central feature of colorimetry and of color perception, metamerism is given a single page reference in the index the claim that RGB beams can create all colors omits that these must be imaginary physically impossible beams to do so, and can do so only in a mathematical rather than perceptual way.there are copious illustrations, which the author clearly enjoyed making, but they often don t have a purpose and many are presented without the minimum necessary dimensional scales, orientations, or explanations take for example figure 7.5 Some views of the color solid apparently, though never expressly stated, the XYZ colormatching space in an SVD rescaling where the analysis dimensions are not shown and it is not mentioned that the space has been distorted by standardizing SVD variance the original brightness metric is lost So when you turn to figure 7.6 again, Some views of the color solid The representation is the same as with the previous figure what you actually have as far as I can tell is the raw values form of the XYZ solid not the same as the previous figure , again without the necessary dimensions and apparently not to equal luminance scale you re shown two useless diagrams at once incommensurate, uninterpretable, incorrectly captioned and pedagogically empty for students along the way Koenderink manages to disparage almost everyone who came before except Goethe, who flatly did not know what he was talking about, and Wilhelm Ostwald, who was subtle in his misconceptions Goethe mounted a bilious attack on Newton and a similarly carping tone surfaces frequently in Koenderink s exposition he mentions than once his exasperation with lecture audiences, who are in his view laughable dullards amusing, since Koenderink badly misinterprets Newton s insights, for example when he fails to recognize that Newton s color circle does not omit extraspectral mixtures, and in fact correctly shows the basic complementary color relationships among the spectral hues the circle describes the colors that result when we mix the seven primary spectral hues of the visible spectrum, and the extraspectral hues, as mixtures themselves, are not primary for that purpose.i realize that much of my critique will be over the head of the average reader, which is fine those who know will know I know what I m talking about, and those who don t will know to avoid this book.my final amazement is that the editors at MIT Press allowed this miscarriage to see print, despite the apparently commonsense efforts of the proofreader who, as Koenderink says, taught me humility yet was clearly overwhelmed in the effort to mend Koenderink s many eristic sallies.in short a botched job, front to back, a classic of academic flapdoodle masquerading as expertise and, as we say in the vernacular, a real shame.

  2. crbrown1 crbrown1 says:

    Awesome resource