Brightness in the context of Luminance

In astronomy, magnitude is a measure of the brightness of an object, usually in a defined passband. An imprecise but systematic determination of the magnitude of objects was introduced in ancient times by Hipparchus.

Magnitude values do not have a unit. The scale is logarithmic and defined such that a magnitude 1 star is exactly 100 times brighter than a magnitude 6 star. Thus each step of one magnitude is ${\displaystyle {\sqrt[{5}]{100}}\approx 2.512}$ times brighter than the magnitude 1 higher. The brighter an object appears, the lower the value of its magnitude, with the brightest objects reaching negative values.

Gold is a chemical element; it has chemical symbol Au (from Latin aurum) and atomic number 79. In its pure form, it is a bright-metallic-yellow, dense, soft, malleable, and ductile metal. Chemically, gold is a transition metal, a group 11 element, and one of the noble metals. It is one of the least reactive chemical elements, being the second lowest in the reactivity series, with only platinum ranked as less reactive. Gold is solid under standard conditions.

Gold often occurs as the free element (native state), as nuggets or grains, in rocks, veins, and alluvial deposits. It occurs in a solid solution series with the native element silver (as in electrum), naturally alloyed with other metals like copper and palladium, and mineral inclusions such as within pyrite. Less commonly, it occurs in minerals as gold compounds, often with tellurium (gold tellurides).

In color theory, hue is one of the properties (called color appearance parameters) of a color, defined in the CIECAM02 model as "the degree to which a stimulus can be described as similar to or different from stimuli that are described as red, orange, yellow, green, blue, violet," within certain theories of color vision.

Hue can typically be represented quantitatively by a single number, often corresponding to an angular position around a central or neutral point or axis on a color space coordinate diagram (such as a chromaticity diagram) or color wheel, or by its dominant wavelength or by that of its complementary color. The other color appearance parameters are colorfulness, saturation (also known as intensity or chroma), lightness, and brightness. Usually, colors with the same hue are distinguished with adjectives referring to their lightness or colorfulness - for example: "light blue", "pastel blue", "vivid blue", and "cobalt blue". Exceptions include brown, which is a dark orange.

Colorfulness, chroma and saturation are attributes of perceived color relating to chromatic intensity. As defined formally by the International Commission on Illumination (CIE) they respectively describe three different aspects of chromatic intensity, but the terms are often used loosely and interchangeably in contexts where these aspects are not clearly distinguished. The precise meanings of the terms vary by what other functions they are dependent on.

• Colorfulness is the "attribute of a visual perception according to which the perceived color of an area appears to be more or less chromatic (Any color that is absent of white, grey, or black)". The colorfulness evoked by an object depends not only on its spectral reflectance but also on the strength of the illumination, and increases with the latter unless the brightness is very high (Hunt effect).
• Chroma is the "colorfulness of an area judged as a proportion of the brightness of a similarly illuminated area that appears white or highly transmitting". As a result, chroma is mostly only dependent on the spectral properties, and as such is seen to describe the object color. It is how different from a grey of the same lightness such an object color appears to be.
• Saturation is the "colorfulness of an area judged in proportion to its brightness", which in effect is the perceived freedom from whitishness of the light coming from the area. An object with a given spectral reflectance exhibits approximately constant saturation for all levels of illumination, unless the brightness is very high.

As colorfulness, chroma, and saturation are defined as attributes of perception, they can not be physically measured as such, but they can be quantified in relation to psychometric scales intended to be perceptually even—for example, the chroma scales of the Munsell system. While the chroma and lightness of an object are its colorfulness and brightness judged in proportion to the same thing ("the brightness of a similarly illuminated area that appears white or highly transmitting"), the saturation of the light coming from that object is in effect the chroma of the object judged in proportion to its lightness. On a Munsell hue page, lines of uniform saturation thus tend to radiate from near the black point, while lines of uniform chroma are vertical.

A projection screen is an installation consisting of a surface and a support structure used for displaying a projected image for the view of an audience. Projection screens may be permanently installed on a wall, as in a movie theater, mounted to or placed in a ceiling using a rollable projection surface that retracts into a casing (these can be motorized or manually operated), painted on a wall, or portable with tripod or floor rising models as in a conference room or other non-dedicated viewing space. Another popular type of portable screens are inflatable screens for outdoor movie screening (open-air cinema).

Uniformly white or grey screens are used almost exclusively as to avoid any discoloration to the image, while the most desired brightness of the screen depends on a number of variables, such as the ambient light level and the luminous power of the image source. Flat or curved screens may be used depending on the optics used to project the image and the desired geometrical accuracy of the image production, flat screens being the more common of the two. Screens can be further designed for front or back projection, the more common being front projection systems, which have the image source situated on the same side of the screen as the audience.

In photography and optics, vignetting (/vɪnˈjɛtɪŋ/ vin-YET-ing) is a reduction of an image's brightness or saturation toward the periphery compared to the image center. The word vignette, from the same root as vine, originally referred to a decorative border in a book. Later, the word came to be used for a photographic portrait that is clear at the center and fades off toward the edges. A similar effect is visible in photographs of projected images or videos off a projection screen, resulting in a so-called "hotspot" effect.

Vignetting is often an unintended and undesired effect caused by camera settings or lens limitations. However, it is sometimes deliberately introduced for creative effect, such as to draw attention to the center of the frame. A photographer may deliberately choose a lens that is known to produce vignetting to obtain the effect, or it may be introduced with the use of special filters or post-processing procedures.

Varieties of the color red may differ in hue, chroma (also called saturation, intensity, or colorfulness), lightness (or value, tone, or brightness), or in two or three of these qualities. Variations in value are also called tints and shades, a tint being a red or other hue mixed with white, a shade being mixed with black. A large selection of these various colors are shown below.

Contrast is the difference in luminance or color that makes an object (or its representation in an image or display) visible against a background of different luminance or color. The human visual system is more sensitive to contrast than to absolute luminance; thus, we can perceive the world similarly despite significant changes in illumination throughout the day or across different locations.

The maximum contrast of an image is termed the contrast ratio or dynamic range. In images where the contrast ratio approaches the maximum possible for the medium, there is a conservation of contrast. In such cases, increasing contrast in certain parts of the image will necessarily result in a decrease in contrast elsewhere. Brightening an image increases contrast in darker areas but decreases it in brighter areas; conversely, darkening the image will have the opposite effect. Bleach bypass reduces contrast in the darkest and brightest parts of an image while enhancing luminance contrast in areas of intermediate brightness.

Flicker is a visible change in brightness between cycles displayed on video displays. It applies to the refresh interval on cathode-ray tube (CRT) televisions and computer monitors, as well as plasma computer displays and televisions.

In colorimetry, CIECAM02 is the color appearance model published in 2002 by the International Commission on Illumination (CIE) Technical Committee 8-01 (Color Appearance Modelling for Color Management Systems) and the successor of CIECAM97s. It has since been superseded by CIECAM16.

The two major parts of the model are its chromatic adaptation transform, CIECAT02, and its equations for calculating mathematical correlates for the six technically defined dimensions of color appearance: brightness (luminance), lightness, colorfulness, chroma, saturation, and hue.

Photometry is a branch of optics that deals with measuring light in terms of its perceived brightness to the human eye. It is concerned with quantifying the amount of light that is emitted, transmitted, or received by an object or a system.

In modern photometry, the radiant power at each wavelength is weighted by a luminosity function that models human brightness sensitivity. Typically, this weighting function is the photopic sensitivity function, although the scotopic function or other functions may also be applied in the same way. The weightings are standardized by the CIE and ISO.

In photometry, illuminance is the total luminous flux incident on a surface, per unit area. It is a measure of how much the incident light illuminates the surface, wavelength-weighted by the luminosity function to correlate with human brightness perception. Similarly, luminous emittance is the luminous flux per unit area emitted from a surface. Luminous emittance is also known as luminous exitance.

In SI units illuminance is measured in lux (lx), or equivalently in lumens per square metre (lm·m). Luminous exitance is measured in lm·m only, not lux. In the CGS system, the unit of illuminance is the phot, which is equal to 10000 lux. The foot-candle is a non-metric unit of illuminance that is used in photography.

An X-ray image intensifier (XRII) is an image intensifier that converts X-rays into visible light at higher intensity than the more traditional fluorescent screens can. Such intensifiers are used in X-ray imaging systems (such as fluoroscopes) to allow low-intensity X-rays to be converted to a conveniently bright visible light output. The device contains a low absorbency/scatter input window, typically aluminum, input fluorescent screen, photocathode, electron optics, output fluorescent screen and output window. These parts are all mounted in a high vacuum environment within glass or, more recently, metal/ceramic. By its intensifying effect, It allows the viewer to more easily see the structure of the object being imaged than fluorescent screens alone, whose images are dim. The XRII requires lower absorbed doses due to more efficient conversion of X-ray quanta to visible light. This device was originally introduced in 1948.

In photography, acutance describes a subjective perception of visual acuity that is related to the edge contrast of an image. Acutance is related to the magnitude of the gradient of brightness. Due to the nature of the human visual system, an image with higher acutance appears sharper even though an increase in acutance does not increase real resolution.

Historically, acutance was enhanced chemically during development of a negative (high acutance developers), or by optical means in printing (unsharp masking). In digital photography, onboard camera software and image postprocessing tools such as Photoshop or GIMP offer various sharpening facilities, the most widely used of which is known as "unsharp mask" because the algorithm is derived from the eponymous analog processing method.

A dimmer is a device connected to a light fixture and used to lower the brightness of the light. By changing the voltage waveform applied to the lamp, it is possible to lower the intensity of the light output. Although variable-voltage devices are used for various purposes, the term dimmer is generally reserved for those intended to control light output from resistive incandescent, halogen, and (more recently) compact fluorescent lamps (CFLs) and light-emitting diodes (LEDs). More specialized equipment is needed to dim fluorescent, mercury-vapor, solid-state, and other arc lighting.

Dimmers range in size from small units the size of domestic light switches to high-power units used in large theatrical or architectural lighting installations. Small domestic dimmers are generally directly controlled, although remote control systems (such as X10) are available. Modern professional dimmers are generally controlled by a digital control system like DMX or DALI. In newer systems, these protocols are often used in conjunction with Ethernet.

A heat map (or heatmap) is a 2-dimensional data visualization technique that represents the magnitude of individual values within a dataset as a color. The variation in color may be by hue or intensity.

In some applications such as crime analytics or website click-tracking, color is used to represent the density of data points rather than a value associated with each point.