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Relative luminance

Relative luminance is the relative brightness of a color stimulus as perceived by the human visual system, quantified by the Y tristimulus value in the CIE 1931 XYZ color space, where Y directly corresponds to luminance weighted by the spectral luminous efficiency function V(λ).^[1] This value is normalized such that Y = 100 for a perfect reflecting diffuser (reference white) under the specified illuminant, making it a dimensionless measure independent of absolute light intensity.^[2] The Y component arises from the transformation of earlier RGB color-matching functions to ensure additivity and perceptual uniformity in color specification.^[2] Developed as part of the International Commission on Illumination (CIE) 1931 standard observer model, relative luminance enables precise color quantification by integrating the spectral power distribution of a stimulus with the CIE color-matching functions x(λ), y(λ), and z(λ), where y(λ) matches the photopic luminosity function.^[2] For non-spectral stimuli, such as reflecting or transmitting objects, Y is computed as Y = k ∫ φ(λ) y(λ) dλ, with k a normalizing constant and φ(λ) the product of spectral reflectance/transmittance and illuminant power.^[2] This framework underpins modern colorimetry, providing a measure of luminance independent of hue or saturation.^[1] In practical applications, relative luminance is essential for assessing visual accessibility and display performance; for instance, in the sRGB color space, it is approximated via the formula L = 0.2126 R + 0.7152 G + 0.0722 B, where R, G, and B are linearized sRGB components, normalizing L from 0 (black) to 1 (white).^[3] The Web Content Accessibility Guidelines (WCAG) 2.1 leverage this to define contrast ratios as (L_1 + 0.05) / (L_2 + 0.05), where L_1 and L_2 are the relative luminances of foreground and background colors, ensuring readability for users with low vision.^[3] Beyond digital media, it informs lighting design, photometry, and color reproduction standards, such as in ISO/CIE norms for object color specification.^[2]

Introduction

Definition

Relative luminance, denoted as Y, is a dimensionless quantity in color science that measures the proportion of luminance contributed by a color stimulus relative to a reference white under identical illumination conditions. It ranges from 0, corresponding to absolute black with no light emission or reflection, to 1, representing the full luminance of the reference white, such as a perfect reflecting diffuser. This normalization allows Y to capture the relative brightness perception without dependence on absolute light intensity, making it essential for comparing stimuli across different viewing environments.^[4] The value of Y is derived by weighting the spectral power distribution of the stimulus according to the human visual system's sensitivity, specifically through the CIE 1931 luminous efficiency function V(\lambda), which approximates the eye's photopic response across wavelengths from approximately 380 nm to 780 nm, peaking near 555 nm for green light. This weighting ensures that Y reflects how the human eye perceives brightness, prioritizing wavelengths to which it is most sensitive while diminishing the contribution of others, such as deep reds and blues.^[4] Unlike absolute luminance, which is measured in physical units like candelas per square meter (cd/m²), relative luminance Y is typically expressed as a fraction between 0 and 1 or as a percentage from 0% to 100%, emphasizing proportional relationships rather than measurable light flux. In modern applications, the reference white is commonly defined using the CIE Standard Illuminant D65, simulating average daylight, where the white point is assigned Y = [1](/page/1) to standardize comparisons.^[4]^[5] As the luminance component of the CIE XYZ tristimulus values, Y provides a foundation for broader color representation and analysis.^[4]

Historical Context

The development of relative luminance originated in the 1920s and 1930s through the International Commission on Illumination (CIE), as colorimetry evolved from absolute photometry—concerned with physical light intensity—to relative perceptual measures for device-independent color representation. This transition addressed the limitations of photometry in capturing human color vision under varying conditions, emphasizing standardized responses from "standard observers" to enable reproducible specifications for industries like textiles and dyes. Key motivations included operationalizing color measurement for practical applications and accommodating perceptual variability, shifting focus from absolute radiant energy to weighted luminous efficiency based on visual sensitivity.^[6] In the late 1920s, pioneering color-matching experiments by W. David Wright, using ten observers, and John Guild, using seven, provided empirical data on human spectral sensitivity, forming the basis for tristimulus color models. These studies measured how observers mixed primary lights to match spectral colors, revealing the need for a framework that separated luminance from hue and saturation. In 1931, the CIE formalized the XYZ color space from this data, designating the Y tristimulus value as luminance to represent relative brightness independently of chromaticity, thus establishing relative luminance as a core element of device-agnostic color science.^[7]^[8] Post-World War II refinements enhanced the precision of luminous efficiency functions integral to relative luminance. In 1964, the CIE introduced a supplementary standard colorimetric observer for 10-degree visual fields, updating the spectral luminous efficiency function to better approximate peripheral vision and improve accuracy in broader photometric applications. During the 1970s, analog video standards adapted this framework for broadcast; while the original 1953 NTSC system incorporated CIE 1931-derived luminance for monochrome compatibility, the European Broadcasting Union (EBU) in 1970 revised PAL and SECAM colorimetry to new primaries, retaining the Y-based relative luminance for perceptual fidelity and international program exchange.^[9] In the digital era, relative luminance achieved widespread standardization for multimedia. The sRGB color space, jointly developed by HP and Microsoft in 1996 and codified in IEC 61966-2-1, defined relative luminance computation from linear RGB to align with CIE XYZ, ensuring consistent brightness rendering on consumer displays and web content. Concurrently, ITU-R Recommendation BT.709, revised in 2002, specified relative luminance weights for high-definition television, harmonizing with sRGB primaries to support global digital video production and transmission. These milestones bridged photometric principles to computational color management, influencing standards from imaging to accessibility.^[10]

Mathematical Foundations

Formulation in CIE Colorimetry

In CIE colorimetry, the relative luminance is quantified as the Y tristimulus value within the CIE XYZ color space, which represents the luminance component of a color stimulus relative to a reference white. This formulation derives from the spectral properties of light and the human visual system's sensitivity, ensuring that Y correlates closely with perceived brightness under photopic conditions. The CIE system, established in 1931 and refined in subsequent standards, separates color into tristimulus values X, Y, and Z to enable device-independent color specification.^[2] The Y value is computed through spectral integration of the stimulus's power distribution weighted by the color matching function \bar{y}(\lambda), which approximates the photopic luminous efficiency function V(\lambda). Specifically, for a light source or reflecting object,

Y = k \int_{380}^{780} P(\lambda) \bar{y}(\lambda) \, d\lambda,

where P(\lambda) is the spectral power distribution of the stimulus (in energy units per wavelength interval), and the integral spans the visible spectrum (typically 380–780 nm). The function \bar{y}(\lambda) is defined for the CIE 1931 standard colorimetric observer (2° field of view) or the 1964 supplementary observer (10° field), with values tabulated at 1 nm or 5 nm intervals; it peaks at unity (\bar{y}(555) = 1) near the eye's maximum sensitivity for green light. In discrete form for practical computation, this becomes Y = k \sum P(\lambda_i) \bar{y}(\lambda_i) \Delta\lambda, where \Delta\lambda is the wavelength step (e.g., 5 nm). The constant k normalizes the result, often set such that Y = 100 for a perfect reflecting (or transmitting) diffuser under the reference illuminant, making Y a relative measure rather than absolute luminance. For self-luminous sources, P(\lambda) represents the absolute spectral radiance, and k may incorporate the maximum luminous efficacy (683 lm/W at 555 nm).^[2]^[11] Normalization ensures comparability across stimuli: for the reference white, such as the equal-energy illuminant (where all wavelengths have equal power) or CIE standard illuminant D65 (daylight simulation), Y_n = 100 or 1 depending on the scaling convention. For any stimulus, the relative luminance is then Y = Y_{\text{stimulus}} / Y_{\text{reference}}, expressing the stimulus's luminance as a fraction of the reference (e.g., 0 to 1 for displays). This relative scaling assumes the reference is a 100% reflecting diffuser under the same illumination, aligning Y directly with perceptual luminance ratios. For monochromatic light, CIE tables yield Y \approx [1](/page/1) at 555 nm for unit power input, dropping to near 0 at spectrum edges (e.g., Y \approx 0.001 at 400 nm), illustrating the function's bell-shaped sensitivity curve.^[2]^[11] This formulation rests on key assumptions: the human visual response is linear with respect to light intensity (Grassmann's laws), colors mix additively, and the standard observer represents average trichromatic vision without adaptation effects beyond the specified field of view. These enable the transformation from spectral data to tristimulus values while preserving luminance as a linear-light quantity proportional to physical radiance, weighted by visual sensitivity. Deviations occur for mesopic or scotopic vision, but the model excels for typical daylight applications.^[2]^[12]

Computation from RGB Values

To compute relative luminance from RGB color values, the input components must first be converted from the gamma-encoded sRGB space to linear RGB, as relative luminance is defined in a linear-light colorimetric space.^[3] The sRGB encoding applies a piecewise opto-electronic transfer function (OETF) during capture or encoding, which must be inverted using the electro-optical transfer function (EOTF). For each sRGB component c (where c is R', G', or B' in the range [0, 1]), the linear value c_{lin} is obtained as follows:

c_{lin} = \begin{cases} \frac{c}{12.92} & \text{if } c \leq 0.04045 \\ \left( \frac{c + 0.055}{1.055} \right)^{2.4} & \text{otherwise} \end{cases}

This linearization ensures that the subsequent summation reflects actual light intensities rather than perceptual encodings.^[10]^[3] Once linearized, relative luminance Y (the Y tristimulus value in CIE XYZ, normalized relative to a reference white of 1.0) is computed as a weighted sum of the linear RGB components, using coefficients derived from the sRGB primaries and D65 white point:

Y = 0.2126 R_{lin} + 0.7152 G_{lin} + 0.0722 B_{lin}

These weights correspond to the second row of the 3×3 transformation matrix M that converts linear sRGB to CIE XYZ tristimulus values:

\begin{pmatrix} X \\ Y \\ Z \end{pmatrix} = \begin{pmatrix} 0.4124 & 0.3576 & 0.1805 \\ 0.2126 & 0.7152 & 0.0722 \\ 0.0193 & 0.1192 & 0.9505 \end{pmatrix} \begin{pmatrix} R_{lin} \\ G_{lin} \\ B_{lin} \end{pmatrix}

The matrix elements are calculated from the chromaticities of the sRGB primaries (red: x=0.6400, y=0.3300; green: x=0.3000, y=0.6000; blue: x=0.1500, y=0.0600) and the D65 illuminant (x=0.3127, y=0.3290), ensuring the Y component matches the luminance definition in CIE colorimetry.^[10]^[13] Relative luminance is specifically the Y value from this transformation, scaled such that mid-gray (sRGB 0.5) yields approximately 0.215.^[3] Input RGB values are typically clamped to the [0, 1] range before processing to handle any out-of-gamut or negative values, preventing invalid results. For high dynamic range (HDR) content exceeding this range, such as in scRGB or PQ-encoded signals, the linear values are scaled relative to the peak white luminance of the display or reference (e.g., 1000 cd/m²), normalizing Y to the maximum achievable white rather than 1.0.^[3]

Integration with Color Spaces

Linear Colorimetric Spaces

In the CIE XYZ color space, the tristimulus value Y directly corresponds to the relative luminance of a stimulus, scaled such that Y = 100 represents the luminance of a perfect white diffuser under the reference illuminant, while X and Z tristimulus values capture the chromaticity components. This structure provides a device-independent framework for color specification, where all real colors have non-negative tristimulus values, enabling metamerism-free matching by ensuring no negative lobes in the color matching functions as in earlier RGB systems.^[4] The CIE xyY color space transforms XYZ coordinates into chromaticity values x = X/(X + Y + Z) and y = Y/(X + Y + Z), retaining Y as the luminance measure to facilitate visualization and specification of colors on a 2D chromaticity diagram. This representation is widely used for defining standard illuminants; for instance, the daylight illuminant D65, simulating average midday light in Western/Northern Europe, has chromaticity coordinates x = 0.3127 and y = 0.3290 with Y normalized to 1. Illuminant adaptation in xyY allows straightforward scaling of Y to adjust for varying light intensities while preserving chromaticity, as seen in applications like adjusting reference whites for different viewing conditions.^[4] Key advantages of these linear colorimetric spaces include their support for additive color mixing, where the XYZ tristimulus values of superimposed lights sum linearly to yield the mixture's values, making them suitable for computational color reproduction. They also scale predictably with illuminant changes, simply by multiplying tristimulus values by the illuminant's intensity factor, and form the foundational basis for the color rendering index (CRI), which quantifies a light source's ability to render colors accurately relative to a reference illuminant like D65.^[4] However, a notable limitation is the lack of perceptual uniformity in CIE XYZ and xyY, where equal increments in Y do not produce equal perceived brightness differences due to the nonlinear nature of human vision.

Gamma-Encoded Spaces

Gamma encoding applies a nonlinear opto-electronic transfer function (OETF) to linear RGB values, transforming them into encoded R'G'B' values for storage and transmission, with the sRGB OETF approximating a power law of γ ≈ 2.2 to allocate more code values to darker tones and minimize visible quantization noise in limited bit-depth formats like 8-bit per channel.^[10] This encoding efficiently utilizes the dynamic range by aligning with human vision's greater sensitivity to relative changes in low-light levels, preventing banding artifacts in shadows that would occur with linear encoding.^[10] In gamma-encoded spaces, computing relative luminance Y from encoded R'G'B' values without decoding leads to inaccuracies, as the direct weighted sum of encoded components overestimates the true linear luminance due to the concave nature of the encoding curve. Accurate calculation requires first applying the inverse electro-optical transfer function (EOTF) to linearize R'G'B' back to linear RGB, then applying the standard linear weights (as detailed in the computation from RGB values) to obtain Y. For sRGB, this linearization step ensures Y reflects the photometric contribution correctly, normalized such that RGB = (1,1,1) yields Y = 1.^[14] Standards for gamma-encoded RGB spaces define specific primaries and transformation matrices that determine the luminance weighting coefficients, with ITU-R BT.709 specifying coefficients of 0.2126 for R, 0.7152 for G, and 0.0722 for B, derived from its primaries and D65 white point to match human visual sensitivity. Adobe RGB (1998), designed for wider gamut printing, employs a different matrix with coefficients approximately 0.297 for R, 0.627 for G, and 0.076 for B, normalized to sum to 1 for Y at white.^[15] Modern variants like Display P3 (introduced in 2016 for wide-gamut displays) update the primaries from DCI-P3 to better align with D65 illumination, using coefficients around 0.229 for R, 0.738 for G, and 0.033 for B while retaining an sRGB-like γ ≈ 2.2 encoding.^[16] Failing to linearize gamma-encoded values before luminance or contrast computations introduces significant artifacts, such as inflated contrast ratios and distorted perceived brightness, because the nonlinear encoding skews the additive properties essential for accurate Y derivation. This issue is prevalent in legacy video workflows using Rec. 601 standards for standard-definition content, where coefficients of 0.299 R + 0.587 G + 0.114 B—optimized for NTSC/PAL primaries—often result in mismatched luminance if decoded assuming modern BT.709 parameters, leading to washed-out or oversaturated renders without proper correction.

Perceptual Uniformity Spaces

In perceptual uniformity color spaces, relative luminance Y is transformed through nonlinear functions to approximate the human visual system's response, aiming to create scales where equal numerical differences correspond to equal perceived differences in lightness. These transformations account for the compressive nature of brightness perception, where perceived lightness changes more slowly than physical luminance, particularly under typical adaptation conditions. Such spaces, developed by the International Commission on Illumination (CIE), provide a foundation for color difference metrics and appearance modeling by mapping tristimulus values to coordinates that better align with psychophysical data.^[17] A prominent example is the CIELAB color space, where the lightness component L^* is derived from relative luminance as follows:

L^* = 116 f\left(\frac{Y}{Y_n}\right) - 16

Here, Y_n is the Y tristimulus value of the reference white (often normalized to 1 for illuminant D65), and the function f(t) is defined piecewise to ensure perceptual uniformity across low and high luminance ranges:

f(t) = \begin{cases} t^{1/3} & \text{if } t > \left(\frac{6}{29}\right)^3 \\ \frac{1}{3} \left(\frac{29}{6}\right)^2 t + \frac{4}{29} & \text{otherwise} \end{cases}

This formulation, introduced in the CIE 1976 recommendations, approximates uniform perceived lightness differences such that \Delta L^* \approx constant corresponds to a just-noticeable difference in lightness, based on experimental data from color matching and scaling studies. The cube-root compression in f(t) for mid-to-high luminances reflects the nonlinear adaptation of cone responses and post-receptoral processing in the visual pathway.^[18] The CIELUV color space employs a similar transformation for its lightness coordinate L^*, using the same cube-root function f(Y/Y_n) to achieve approximate perceptual uniformity, though optimized for different applications like additive color mixture in displays. This shared structure underscores the CIE's 1976 effort to standardize uniform spaces that outperform earlier linear models in predicting suprathreshold color differences. Stevens' power law provides a foundational psychophysical basis for these cube-root approximations, positing that perceived brightness \psi scales with relative luminance Y as \psi \propto Y^{0.33} near typical adaptation levels, derived from magnitude estimation experiments on isolated stimuli.^[19] Validation of these models in the 1990s through psychophysical experiments confirmed their utility but highlighted limitations, such as deviations in uniformity under varying illuminants or for highly chromatic stimuli; for instance, studies using paired comparisons and category scaling showed that while \Delta L^* = 1 approximates a just-noticeable difference on average, actual perceptual steps vary by up to 20% depending on context. These findings, from researchers like Fairchild, informed refinements in subsequent appearance models while affirming the enduring role of CIELAB and CIELUV in practical colorimetry.^[20]

Applications and Standards

In Digital Imaging and Displays

In digital imaging pipelines, relative luminance plays a key role in tone mapping operations, particularly during the conversion from high dynamic range (HDR) to standard dynamic range (SDR) content. This process scales the relative luminance component (Y) to fit the target display's gamut and peak brightness capabilities, ensuring perceptual consistency without clipping highlights or shadows. For instance, in the Perceptual Quantizer (PQ) electro-optical transfer function (EOTF) defined in ITU-R Recommendation BT.2100, the non-linear signal is mapped to display luminance values, where Y represents the normalized luminance relative to a reference white, allowing for dynamic range compression in HDR-to-SDR workflows.^[21] Color management systems leverage relative luminance through ICC profiles to maintain accurate reproduction across devices. In black point compensation (BPC), the luminance (Y) of the source black point is mapped to the destination's minimum luminance, using a scale factor derived from Y values in the Profile Connection Space (PCS), typically CIE XYZ, to prevent shadow detail loss during conversions.^[22] For gamut mapping, ICC profiles apply transformations in the PCS where relative luminance Y guides the adjustment of out-of-gamut colors, preserving overall lightness while clipping or compressing chromaticities to fit the destination gamut, as specified in the ICC.1:2022 standard.^[23] Display metrology involves measuring panel luminance in nits (cd/m²) and normalizing it to relative luminance Y for accurate white balance calibration. Instruments capture the absolute luminance output, which is then scaled relative to a D65 white point target (where Y=1 corresponds to the reference white luminance of approximately 80-100 cd/m² in typical viewing environments), ensuring neutral greyscale tracking and color accuracy.^[24] This normalization process aligns the display's Y response with CIE colorimetric standards, compensating for variations in backlight intensity or panel aging. In software implementations like Adobe Photoshop, the relative colorimetric rendering intent preserves relative luminance ratios by mapping the source white point to the destination white point and clipping out-of-gamut colors without altering in-gamut Y proportions, which is essential for proofing and cross-device consistency.^[25] Modern video codecs, such as AV1 developed by the Alliance for Open Media, utilize relative luminance as the basis for luma coding in their hybrid compression framework. The luma plane (Y) is encoded first using block-based prediction and transform techniques, with relative luminance values normalized within the BT.709 or BT.2020 color space to optimize bitrate efficiency while maintaining perceptual brightness fidelity.^[26]

In Web Accessibility and Contrast Calculation

Relative luminance is integral to web accessibility standards, serving as the basis for calculating contrast ratios in the Web Content Accessibility Guidelines (WCAG) 2.1 to promote readability and inclusivity for users with visual impairments.^[27] In WCAG 2.1, the contrast ratio between text and its background is defined as (L1 + 0.05) / (L2 + 0.05), where L1 and L2 represent the relative luminances of the lighter and darker colors, respectively.^[28] This formula accounts for the non-linear perception of brightness near black levels by adding a small constant (0.05).^[28] For Level AA conformance, normal text requires a minimum ratio of 4.5:1, while large text (18 point or 14 point bold) needs only 3:1; Level AAA elevates these to 7:1 and 4.5:1, respectively, to support users with more significant vision loss.^[27] To compute relative luminance for contrast, sRGB color values are first converted to linear light by applying the inverse gamma correction—for each channel C (R, G, or B), if sRGB ≤ 0.03928, then linear = sRGB / 12.92, else linear = ((sRGB + 0.055) / 1.055)^2.4—yielding linear RGB components that feed into the luminance formula L = 0.2126 × R + 0.7152 × G + 0.0722 × B.^[28] This process ensures accurate simulation of how colors appear on typical displays. Tools like WAVE automate these calculations during web audits, flagging elements that fail WCAG thresholds based on relative luminance differences.^[29] Legal requirements under the Americans with Disabilities Act (ADA) increasingly reference WCAG 2.1 Level AA as a benchmark for web accessibility, mandating the 4.5:1 contrast minimum to avoid discrimination claims; for instance, the U.S. Department of Justice's 2024 rule explicitly ties compliance to these ratios for public entities' digital content.^[30] Achieving AAA-level 7:1 ratios, which demand greater relative luminance separation, further mitigates risks in high-stakes contexts like education or government sites.^[30] The WCAG 3.0 draft, updated in September 2025, proposes evolving beyond these ratios by adopting the Advanced Perceptual Contrast Algorithm (APCA), which better models human visual response to lightness differences while retaining relative luminance as its core input for foundational brightness assessment.^[31]

Versus Luma in Video Signals

Relative luminance Y, a linear photometric quantity derived from tristimulus values, differs fundamentally from luma Y', which serves as the nonlinear brightness component in video signals. Luma is computed as a weighted sum of gamma-encoded RGB components, typically using the formula Y' = 0.299 R' + 0.587 G' + 0.114 B' as specified in ITU-R Recommendation BT.601 for standard-definition television. This approximation applies directly to encoded RGB values without full linearization, prioritizing perceptual encoding over strict photometric accuracy. The primary distinction arises from their domains: relative luminance Y represents linear light intensity, suitable for colorimetric computations, whereas luma Y' incorporates gamma compensation to match the nonlinear response of cathode-ray tube (CRT) displays prevalent in early television systems. Historically, this made Y' a better proxy for perceived brightness in analog video transmission, as it aligned signal levels with human vision's sensitivity under display constraints.^[32] In video encoding, the use of luma enables significant bandwidth efficiencies through Y'CbCr subsampling schemes like 4:2:0, where chroma components (Cb and Cr) are reduced to one-quarter the resolution of luma, achieving approximately 50% overall bandwidth savings compared to unsubsampled formats while preserving perceived detail, since human vision prioritizes luma resolution.^[33] While legacy broadcast standards adhere to nonlinear luma Y', modern codecs such as HEVC (H.265) and AV1 have evolved to incorporate elements of linear processing for enhanced prediction; for instance, AV1's Chroma from Luma (CfL) mode models chroma as a linear function of reconstructed luma samples to improve intra-frame efficiency in high-dynamic-range content.^[34] However, the core signal representation remains gamma-encoded luma to maintain compatibility with existing pipelines.

Versus Perceptual Lightness

Relative luminance, denoted as Y in the CIE XYZ color space, represents a linear photometric measure of light intensity, normalized between 0 and 1, and is directly dependent on the illuminant spectrum illuminating the surface.^[35] In contrast, perceptual lightness is a psychophysical attribute describing the human perception of a surface's reflectance, designed to remain invariant across changes in illuminant color or intensity, as exemplified by the Munsell value scale, which arranges grays in perceptually equal steps from black (value 0) to white (value 10).^[36] This invariance arises because the visual system computes lightness based on contextual cues like relative contrasts and anchors, rather than absolute light levels, allowing observers to perceive a gray surface as consistently light or dark regardless of whether it is viewed under daylight or incandescent light.^[37] The Weber-Fechner law posits that just-noticeable differences (JNDs) in stimulus intensity are proportional to the background intensity, expressed as \Delta L / L \approx k where k is a constant, implying a logarithmic relationship between physical luminance and perceived magnitude.^[38] However, relative luminance assumes a linear response to light, which mismatches human vision's compressive nonlinearity; perceptual lightness models address this by applying cube-root or power-law transformations, such as L^* \propto Y^{1/3}, to approximate equal perceptual steps.^[39] Psychophysical experiments by S. S. Stevens in the 1940s and 1950s demonstrated that brightness perception follows a power law \psi = k I^n with n \approx 0.33 for luminance, supporting the need for nonlinear scaling in lightness over linear relative luminance. Color appearance models like the Hunt-Pointer-Estevez adaptation incorporate relative luminance Y as a foundational input but extend it with the von Kries transform to model cone responses under chromatic adaptation, enabling predictions of lightness that account for illuminant shifts.^[40] For instance, two gray patches with identical relative luminance may appear to have different lightness due to simultaneous contrast effects, where a gray on a dark surround seems lighter than the same gray on a light surround, as shown in classic experiments revealing low-level inhibitory mechanisms in early vision.^[41] Under colored illuminants, such as one patch under reddish light and another under bluish light, lightness models compensate via adaptation transforms to maintain perceived equivalence, whereas raw relative luminance would vary with the illuminant spectrum.^[42]

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Apr 8, 2024 · WCAG 2.1, Level AA requires a color contrast ratio of 4.5:1 for this text. It can be hard for some people with vision disabilities to see text ...
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W3C Accessibility Guidelines (WCAG) 3.0
Sep 4, 2025 · W3C Accessibility Guidelines (WCAG) 3.0 will provide a wide range of recommendations for making web content more accessible to users with disabilities.
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Gamma FAQ - Frequently Asked Questions about Gamma
So in image science, luminance is more properly called relative luminance. (A different quantity, luma, is often carelessly referred to as luminance, as I will ...4. What Is Luminance? · 8. What Is Gamma? · 10. Does Ntsc Use A Gamma Of...
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Introduction to Color Spaces in Video
Subsampling size saving In 4:2:2, every two pixels will have four bytes of data. This gives an average1 of two bytes per pixel (33% bandwidth reduction). In 4: ...
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[PDF] Tool Description for AV1 and libaom - Alliance for Open Media
Oct 4, 2021 · The framework of the Alliance for Open Media Video 1 (AV1) codec is based on a hybrid video coding structure that consists of a few major ...Missing: luminance | Show results with:luminance
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https://developer.mozilla.org/en-US/docs/Web/Accessibility/Guides/Colors_and_Luminance
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Munsell System - SPIE
The position along this axis, with ten steps from zero to nine, is called the value, representing the perceived lightness, which is nonlinear with the luminance ...
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[PDF] Lightness Perception in Complex Scenes - York University
Jun 24, 2021 · Abstract. Lightness perception is the perception of achromatic surface colors: black, white, and shades of grey. Lightness has long been a ...
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[PDF] Weber's Law and Fechner's Law Introduction
Weber's law expresses a general relationship between a quantity or intensity of something and how much more needs to be added for us to be able to tell that ...Missing: lightness | Show results with:lightness
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[PDF] Scaling Lightness Perception and Differences Above and Below ...
This is illustrated in Fig. 1 with the example of Munsell Value scale, where the CIELAB lightness equation exhibits a good approximation. CIELAB L* is scaled ...
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[PDF] Modeling Human Color Perception under Extended Luminance Levels
It aims to accurately predict lightness, colorfulness and hue, including the Hunt effect (colorfulness in- creases with luminance levels), the Stevens effect ( ...
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Mechanisms Underlying Simultaneous Brightness Contrast
May 25, 2020 · Simultaneous brightness contrast is when patches appear different brightness despite being the same. It's based on low-level, innate mechanisms ...
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A colour-appearance transform for the CIE 1931 Standard ...
Aug 7, 2025 · The one-step von Kries CAT integrated with Hunt-Pointer-Estevez (HPE) transformation matrix [29, 30] was used to predict the corresponding color ...