Earlier quoted context omitted.
True. Also, in most gradients, the full range of R G and B is not used. In rgb(50, 60, 70) to rgb(150, 130, 120), there are only 200 total transitions.
In terms of color spaces, SRGB (the typical baseline default RGB of desktop computing) is quite naive and inefficient. Pretty much its only upsides are its conceptual and mathematical simplicity. There are much more efficient color spaces which use dynamic non-linear curves and are based on how the rods and cones in human eyes sense color. The current hotness for wide color gamuts and High Dynamic Range is ICTCP ( ht…
Why do we need dithering?
51–60 of 115 posts
Re: Why do we need dithering?
#52Re: Why do we need dithering?
#53Earlier quoted context omitted.
The original Lenna is controversial, but I'm delighted to share the "ethically sourced Lenna": https://mortenhannemose.github.io/lena/
This feels better than the original anyway. I never liked the yellow color that one had. Maybe it was an artistic choice, but to me it just looked degraded, like when white plastic is left exposed to the sun.
Re: Why do we need dithering?
#54Earlier quoted context omitted.
This also used to be a really common test image: https://en.wikipedia.org/wiki/Lenna But its apparently a cropped centerfold from Playboy
The original Lenna is controversial, but I'm delighted to share the "ethically sourced Lenna": https://mortenhannemose.github.io/lena/
Re: Why do we need dithering?
#55We really don't anymore. Back in the late 90s maybe. Gifs and other paletted image formats were popular. I even experimented with them. I designed various formats for The Palace. The most popular was 20-bit (6,6,6,2:RGBA, also 5,5,5,5; but the lack of color was intense, 15 bits versus 18 is quite a difference). This allowed fairly high color with anti-aliasing -edges that were semi transparent.
Re: Why do we need dithering?
#56Re: Why do we need dithering?
#57I have noticed author uses values 0-255 for shades of grey. When 0-255 range is used, this is usually nonlinear scale with average gamma 2.2. And de facto there is a standard function that maps 0-31 to linear function and the rest to power 2.4. Average power 2.2. Checkmate black 0 and white 255 is equavalent to uniform grey shade 185 or 186 as opposed to 127 or 128. Proper calculations should be done in linear space,…
Re: Why do we need dithering?
#58This is going to be an odd comment, but I immediately recognised the parrot in the test images. It's the scarlet macaw from 2004 which is often used in many Wikipedia articles about colour graphics. I think this is the original, photographed and contributed by Adrian Pingstone: https://commons.wikimedia.org/wiki/File:Parrot.red.macaw.1.a... But this particular derivative is the one that appears most often in the Wiki…
Re: Why do we need dithering?
#59This is going to be an odd comment, but I immediately recognised the parrot in the test images. It's the scarlet macaw from 2004 which is often used in many Wikipedia articles about colour graphics. I think this is the original, photographed and contributed by Adrian Pingstone: https://commons.wikimedia.org/wiki/File:Parrot.red.macaw.1.a... But this particular derivative is the one that appears most often in the Wiki…
https://r0k.us/graphics/kodak/kodim23.html
It seems to have been uploaded in 1999 from an old slide dataset.
This seems to be the Photo CD from 1993. I suppose the source goes back earlier.
Re: Why do we need dithering?
#60This is going to be an odd comment, but I immediately recognised the parrot in the test images. It's the scarlet macaw from 2004 which is often used in many Wikipedia articles about colour graphics. I think this is the original, photographed and contributed by Adrian Pingstone: https://commons.wikimedia.org/wiki/File:Parrot.red.macaw.1.a... But this particular derivative is the one that appears most often in the Wiki…
For example see "A treatise on wood engravings : historical and practical", by John Jackson and William Chatto, 1839[1]; here is a quote (p585 of the linked edition):
"With respect to the direction of lines, it ought at all times to be borne in mind by the wood engraver, — and more especially when the lines are not laid in by the designer, — that they should be disposed so as to denote the peculiar form of the object they are intended to represent. For instance, in the limb of a figure they ought not to run horizontally or vertically, — conveying the idea of either a flat surface or of a hard cylindrical form, — but with a gentle curvature suitable to the shape and the degree of rotundity required. A well chosen line makes a great difference in properly representing an object, when compared with one less appropriate, though more delicate. The proper disposition of lines will not only express the form required, but also produce more colour as they approach each other in approximating curves, as in the following example, and thus represent a variety of light and shade, without the necessity of introducing other lines crossing them, which ought always to be avoided in small subjects : if, however, the figures be large, it is necessary to break the hard appearance of a series of such single lines by crossing them with others more delicate."
There was even a period of a few decades after the invention of photography, during which it was not known how to mass produce photographs, and so they were manually engraved as with artworks. Eventually however, the entire profession became extinct.
[1] https://archive.org/details/treatiseonwooden00chat/page/585/.... (This is the 1881 edition)