Colorblind Paperback Now Available

This entry is part 3 of 4 in the series Seeing Color Colorblind

Colorblind Paperback Now Available

Seeing Color Colorblind” is now available at Amazon as a paperback book, in addition to the Kindle e-book version released earlier in April. I am as proud of this 60 page, 8×10 paperback book as I was of my PhD dissertation; maybe more so. It represents a labor of love for the colorblind people who have always been in my life, and whose world I really did not understand until I began this project.

colorblind paperback

From the Amazon description:

What do colorblind people see? What does the world look like to them? No single “right” answer exists, because there are different types and degrees of what is more appropriately called “color deficient vision.” Formally trained in Anthropology (PhD) and Medicine (MD), Susan Brandt Graham is a photographic artist who has had a lifelong interest in understanding how “colorblind” people see the world. Using the art and technology of digital photography, she unlocks the fascinating world seen by people with severe red deficient vision. From images in her professional portfolio, she creates diptychs that are indistinguishable to her son, who, like his maternal grandfather, has a severe red deficiency. This instructive and affordable volume is useful for people with red deficient vision to explain to others what they see; for family and friends to understand the world of their loved one; for ophthalmologists, optometrists, pediatricians, and other healthcare professionals who diagnose color deficient vision to use in explanation to patients and family/friends; for teachers to help students empathize with classmates who may perceive the world differently; and for anyone who desires to understand how others may see the world.

In the summer of 2015, after seeing the first of many videos from EnChroma, the company that makes special glasses that allow many, but not all, colorblind people to see a wider range of color, I tried experimenting with three of my images to see if I could produce images that my son would see as the same, even though quite different to me. I knew that, at least in theory, those three images should be close. But, I really did not believe the results. I did not think anyone saw the world like that. How could they? I mean, green people? I knew my son did not see me in shades of cyan. It was just too strange.

I posted those images here, and didn’t give it more thought because I did not believe them. I don’t think I even mentioned it to my son until quite a bit later. Some time later, when he saw the three pairs, he said, “Oh, yeah, those look the same to me.” What? The theory that should have worked, but produced results so strange to me I could not believe them at the time, produced results that were real and accurate.

Early this year (2016) I converted a series of additional images, and my son confirmed that each pair really did look the same. We were able to do the work at a distance, using computers, and on April 2, released the Kindle version of “Seeing Color Colorblind.”

In retrospect, that work was very easy in comparison to producing a print version. Monitors, hand-held devices, and many other things use projected light, in which the primary colors are Red, Green, and Blue, the RGB color space of projected light.

colorblind paperback
RGB Color Wheels

Print versions, such as for books, are done in the Cyan, Magenta, and Yellow color space, which is reflected light. Those are the colors you see if you look at the overlapping areas of the color wheel of the RGB system. For someone with a severe red deficiency, cyan, blue, and green are about the only colors left in that space. Converting the diptychs we had done in the RGB color space was not difficult for me; it is easily done in Photoshop. However, we could not accurately proof CMYK color for print on our RGB monitors. Doing proofs required actual print proofs, and that became a huge challenge.

My friends doing serious digital photography know that the print is in the CMYK color space, but that the photographer does not manage color in that space. You color calibrate your monitor, using one of the devices available for that purpose. When getting ready to print, you proof using the appropriate ICC profile for the particular papers and the particular printer you are using. All of that is done in the RGB color space. In fact, labs for photographic prints tell you not to convert to CMYK, but keep the proof in RGB. When you actually print, your computer talks to the printer’s computer, which is where the conversion is done, and out comes a print in CMYK that matches the RGB “proof” you created on your monitor. Photo books are done this way, but not regular hardcover and paperback books.

I considered photo books, even though they are quite a bit more expensive. None of them produced images that looked the same to my son. We decided to give paperbacks a try. Again, these did not have ICC profiles to apply, and the images had to be submitted in CMYK. Much to my surprise (this has definitely been a learning experience from beginning to end!), the interior images looked the same to my son, but the cover image did not, even though it was the same image used on the interior, where it did match. That cover had a glossy finish. We gave a matte cover a try, and that worked perfectly to my son’s eyes. We finally had our “colorblind paperback!” I would never have thought of using a matte cover, but I actually think it is more attractive. I will use matte covers for work in the future, work having nothing to do with this particular topic.

Although, one of my son’s first responses when this volume was finally done, was “Now you can do a book for colorblind people that shows what everybody else sees…:)” I wish…

This has been quite a journey into the land of color, a very satisfying journey. I’ve lived my entire life with colorblind people – my father and son – and until now had no idea what their world looked like. While I am not overly thrilled with appearing cyan with black lips (kind of “dead” to an Ob/Gyn surgeon), at least I know, and I find the rest of their world quite beautiful in its own right. I wish I could tell my father I’m sorry I told him to quit teasing me and expecting me to believe he and my son were seeing a “blue team and yellow team” on a black and white television years ago, and especially to stop teaching my son to lie like that, even as a joke. The joke was definitely on me, but not in the way I thought at the time.

My son hopes this “colorblind paperback” will help other colorblind people to be better understood, even if they have a different type of colorblindness to which these specific images do not apply. I share that hope.

For those who are interested, this “colorblind paperback” is now available at Amazon. It is 60 pages, 8×10, has diptychs for pink, orange, red, yellow, blue, monochrome, black and white, and skin tones. Green is discussed in some of the images along with a different color with which it appears. Its retail list price is an affordable $19.99.

My Amazon Author Page is, not surprisingly, Susan Brandt Graham 🙂

I thank you for your interest.

Garden Joys

Garden Joys – An Early Morning in the Garden

Garden joys abound in the high desert, even with the typical spring winds, this time of year. For the past several months, I have been very busy with projects of my own choosing, driven to work by no one but myself. Snail mail for required proofs for one of the projects has given me a kind of enforced relaxation time. Last evening I set one goal for today, to enjoy my back yard.

For the past several days I have seen cedar waxwings, a very infrequent visitor to my yard, drinking at the bird bath. I have noticed them at around 7:00am, so last evening I set my camera with plans to try to photograph a cedar waxwing. When I first got up I watered all the container plants and then filled the bird feeders. By that time it was almost 7:00am, so I sat down on the patio with my camera and a cup of coffee. Immediately I saw the doves, finches, and sparrows that are frequent visitors here, and a little male black chinned hummingbird drank at one of the feeders, not really bothered by my presence. At 7:07am the magic I was hoping for happened. This cedar waxwing appeared in pyracantha, on a branch that allowed me to photograph it without distractions that would have been present at the bird bath.

garden joys
Cedar Waxwing, an Uncommon Visitor to My Garden

It flew away at 7:08am. It had given me one minute to obtain the portrait I had hoped for.

After the cedar waxwing flew, I saw the first female black chinned hummingbird of the season. The females arrive about two weeks after the males, and the timing was perfect. She was thirsty! She drank, and drank, and drank. A male hummer watched her from his guard post, and did not interrupt her breakfast. When she finished, she flew into a large rose bush near where I keep the hummingbird feeders. Year after year I always thought it possible the hummers nested there, but I have never seen a nest. Maybe this year…Because at that point, the male who had been observing her began the flying loops of the hummingbird mating display. Those are always so much fun to watch.

Finally, sparkling green trees early in the morning. They only look like this for a few minutes, but they also are garden joys.

garden joys
Sparkling Trees in Early Morning

Thank you for joining me during my forced relaxation time. 🙂

The New Guidelines for Judging Rose Photography: Breaking It Down I

This entry is part 3 of 3 in the series Showing Photographs at Rose Shows

The New Guidelines for Judging Rose Photography: Breaking It Down I

Since September 2015 the ARS has had national Guidelines for Judging Rose Photography. Although I am writing this series to help make the transition from the old and outdated PSWD Guidelines easier for those who are used to using them, if others find this useful, so much the better.

Starting at the beginning, National Chairman Curtis Aumiller states

This first edition is not meant to be an ending point, but rather a starting point for
those who judge rose photographs. The standards agreed upon in this manual will grow and
evolve in future manuals, just as our roses grow and evolve over time. This manual is meant
as a way to find common ground when judging photography of roses for those who already
judge roses for horticulture or arrangements. As with the other guidelines, the most important
aspect to any judging is to enjoy the beauty of the roses displayed while fairly applying
standards to all exhibits. This book will help the seasoned rose judge, the student judge, the
apprentice judge, and most of all, the exhibitor to frame the beauty of America’s flower!

Like the Guidelines for Judging Horticulture and Judging Arrangements, these guidelines are for exhibitors of rose photographs in shows that give ARS awards, and for judges who “already judge roses for horticulture or arrangements.” This, of course, is not surprising to anyone who has done the work to become an accredited judge. The people to judge rose photographs are the people who have prepared themselves to judge roses in rose shows. That was always the intent under my chairmanship in the PSWD, strongly supported by Bruce Monroe who at that time was the National Chairman of Horticulture Judges. My last official act as PSWD photography chair was in June 2012, when I organized a day long seminar and workshop on judging rose photography, taught by myself, Sally Long, and photographer Pat Berrett. Because Bruce Monroe so strongly supported photography in our shows, horticulture judges who attended were given four hours of credit, which is what they needed for that cycle of accreditation. Additionally, Arrangement judges received two hours of credit.

The 40 available spaces for that seminar filled fast. The day was a lot of fun, people felt they learned a lot, and left excited about the possibilities for photography in our shows. Click here for a few images from that seminar.

Photography in the PSWD took a sharp turn with a new district director and photography chairman, but Sally Long, the third PSWD photography chairman is working to revive the interest in rose photography present in that district at the end of my tenure.

The challenge for photography at the National level now that official Guidelines have been adopted will be to provide educational programs for both exhibitors and judges on their use. This can be done in a variety of ways. I do believe one important component will be the addition of a segment on judging rose photographs to Horticulture and Arrangement judging schools and seminars. At the present time the ARS has no plans for separate accreditation of Photography judges, so it becomes especially important that our judges are presented with opportunities to learn some of the specifics of the new ARS Guidelines for Judging Rose Photography. They will certainly be called upon to judge rose photographs in our shows.

RESPECTING INTELLECTUAL PROPERTY

Chapter 2 in the new Guidelines is “Intellectual Property.” This was definitely a needed addition, and in the past few months I have been reminded just how needed this new chapter is. It may surprise some of you who know me when I say I had nothing to do with this chapter. It appeared one day in the Committee’s discussions, and I was delighted! From Chapter 2 of the ARS Guidelines:

All photographs entered into an ARS show, from local shows to national shows, are the property
of the photographer and are protected as intellectual property…The information about intellectual property
should be in the show schedule; however, failure to include this information in the schedule does not negate
the legal precedence, and the show must still follow this rule…

The following should be included in any schedule for photography:
All rights to the submitted photographs are retained by the owners of the photographs. However, by submitting
a photograph to the contest, the exhibitor (1) warrants that he or she owns the copyright of the submitted
photograph and is not legally prohibited from submitting it to the contest, and (2) agrees to allow the
[name of the rose society sponsoring the show] to display the photo at the [name of the show] show [optionally
time and place of the show], [if applicable] and publish the photograph in [name of newsletter or newsletters,
optionally specify the issue].

The chapter on Intellectual Property is a new addition, a much needed one. Any questions may be directed to ARS Photography Chairman, Curtis Aumiller.

That is enough to both write and absorb for one day. Stay tuned for Breaking It Down Part II at a later time. If you have read this far, thank you for your interest.

Toss Those PSWD Guidelines for Judging Rose Photography

This entry is part 2 of 3 in the series Showing Photographs at Rose Shows

Rose Photography Has New Guidelines, The ARS Guidelines for Judging Rose Photography

When the Board of the American Rose Society (ARS) approved the new Guidelines for Judging Rose Photography in Syracuse in September 2015, the PSWD Guidelines became obsolete. When I wrote the PSWD Guidelines, with considerable input from Sally Long, the goal was to ultimately have standardized, national guidelines. The new guidelines, written by the ARS Photography Committee, chaired by Curtis Aumiller, have been officially approved and replace everything that came before. This will not be an issue for Districts that have never had guidelines for photography, but it could be confusing for anyone who continues to use the now-outdated PSWD Guidelines. They are as outdated as rotary phones and party lines in this era of cell phones.

Some people are confused by the fact the ARS guidelines were approved as “temporary” and think that means “optional.” The Committee requested temporary approval so that the guidelines could be used and feedback obtained about changes people would like to see. A show committee never has to use ARS rules unless ARS awards are going to be given. This includes even the little ribbons for 1st-4th places. Show committees are used to this when writing schedules for Horticulture and Arrangements. Now the new Guidelines for Photography need to be followed in the same manner if ARS awards are to be given. ARS members may download the Guidelines here.

If your District has now appointed a District Chairman for Photography, feel free to address your photography schedule questions to that person, as well as to the ARS Photography Chairman, Curtis Aumiller (caumiller[at]yahoo.com). The current PSWD Chairman of Photography is Sally Long. If your District does not have a Photography Chairman, Curtis Aumiller and the ARS Photography Committee are ready to assist you with your schedule and other questions.

A transition from one set of guidelines to the new ARS guidelines will not be a problem for people who have never had guidelines. The PSWD Guidelines are ubiquitous in that district, and are found elsewhere when people have seen what was done here. It is for people who have used the old guidelines and know them well that I am doing a series, of which this is the first post, that explains what is the same, what is different, what is new.

The Score Card in the ARS Guidelines is unchanged. 🙂

Subsequent posts will address some new additions and some very important changes that judges and exhibitors alike need to know. Stay tuned.

Showing Rose Photographs

showing rose photographs
This entry is part 1 of 3 in the series Showing Photographs at Rose Shows

Showing Rose Photographs in Rose Shows – Cost Effective Mounting and Matting How-To

Especially for my friends in roses: those who already show photographs in rose shows, and especially those who would like to but haven’t yet because they think it is too expensive.

FREE pdf that you may download, share, print, link to, etc. I wrote this to be freely shared:

HOW TO MOUNT AND MAT_for new pdf 04102016

For those who would prefer the information in a Kindle format, readable on any device with the free Kindle app, it is $0.99, the minimum price Amazon allows:

Many readers here know that while my interests have grown in many directions, digital photography for me began with roses. I purchased my first digital camera, a little Nikon Coolpix, in 2004 to have a light weight camera that would fit in my purse to take to rose shows that I judged. When that camera died – I wore it out! – in 2008, I bought a Canon G9, a compact digital with many manual controls and RAW capabilities. I had to take a class, “How to Use Your Digital Camera,” to learn how to use that camera and also the software necessary to process RAW files. One thing led to another, and in the end, I did the entire photography program and also picked up a certificate in Web Design. When I outgrew the G9, I got a Canon 5D. I now use a Canon 5D Mark II.

In the spring of 2008, I began thinking about and working on photography in rose shows. In 2009 I was appointed the first Photography Chair of the PSWD of the American Rose Society, and in my three-year tenure wrote Guidelines for Judging Rose Photographs for shows in the District. I was intimately familiar with “growing pains” in this district with respect to the new discipline in rose shows.

In 2012, Curtis Aumiller was appointed the first Photography Chairman for the American Rose Society, and I have been honored to work with him and the wonderful committee he put together to develop rose photography at the national level. With a lot of hard work, national guidelines were approved by the ARS Board in September of 2015. It felt like birthing a baby. As any parent knows, the really hard work lies in nurturing and raising that baby to maturity. That’s where we are now, in my opinion. I’ve gotten the sense that one obstacle to be overcome is a perception that showing photographs in rose shows is very expensive because of the mounting and matting specifications. While it is true that dry mounting and double matting a photograph can be expensive, that is not what is required for rose shows. Photos need to be mounted in some manner to a backing board and then matted. Specified dimensions are 11×14 in on the outside, with images ranging between 5×7 to 8×10.

Shows last a day or two. These images are not intended for sale. They are lovely images, but not intended for gallery shows. The purpose of the mounting and matting requirement is to standardize the display; to make it possible to display the images; and to separate one image from another by the use of mat to give focus and visual weight to the separate images. Here in the PSWD, the last time I judged photographs laid on a table and unmatted was in 2008. Once people saw the beautiful displays that mounting and matting gave, that approach is what was used. But nationally, this is something of a new concept.

The first rose show season after adoption of the national Guidelines for Judging Rose Photography is just getting underway. The anthropologist in me sees this first year as a critical time. The Ob/Gyn in me asks, “What does this baby need to thrive?” The answer, of course, is, like all newborns, “a lot of things.” I am seeing those things come from many people, including ARS President Pat Shanley and the wonderful photography committee members. Our Chairman is the one who “gets paid the big bucks” – not true; totally voluntary job, often with little thanks – to handle the growing pains of this new discipline in our shows. I have a very positive feeling it is all going to work!

I woke up this past Friday morning wondering what I could be contributing. I decided to do a Power Point presentation showing how easily and inexpensively rose photographs could be mounted and matted to meet the specifications of the Guidelines. Once I finished that, I decided to also convert it to a pdf so it could easily be shared. Some of you saw that version on Facebook. There was such a good response, I decided I really needed to do a cleaner version in Word and then convert that to a pdf. I got that done by early Sunday afternoon. That version is the link posted just below, as well as at the beginning of this post. That pdf may be downloaded and shared. The link may be posted on websites and in newsletters. I want people to know that displaying their rose images in a rose show is not complicated and it need not be expensive. This is how I show my rose images in rose shows.

HOW TO MOUNT AND MAT_for new pdf 04102016

By the time I got to that point, my three day weekend had pretty much been consumed. I’m familiar with how to publish Kindle e-books, and given the work I had already done, I knew it would not be hard.

The pdf information will be gotten out and around to a variety of places this year. What about next year, or the year after? I decided Amazon is a pretty good repository for information, easily accessible by anyone anywhere. Amazon requires a minimum list price of $0.99 USD for an e-book, so the Kindle version is not free as the pdf is, but it is as close to free as I could make it on a Kindle platform at Amazon.
The result is this:

How to Mount and Mat an 8×10 Photo for Rose Shows

I hope this information will be helpful to people who already show rose photographs, and especially to those who have considered showing rose photographs in our shows but who need a little encouragement and an explanation and guide of “how to.”

Wishing you good light and beautiful roses ~ Susan

showing rose photographs
Rose ‘Gemini’

Slideshow of Some Rose Photographs

Colorblindness – New Release

This entry is part 2 of 4 in the series Seeing Color Colorblind

Colorblindness – Seeing Color Colorblind

“Colorblindness,” more accurately color deficient vision, affects 8-10% of people in the US. Roughly 10% of those, or a total of 1% of the US population, have a severe red deficiency, called protanopia.

“Seeing Color Colorblind” is now available in Kindle format from Amazon. The book contains a series of diptychs showing images as seen by people with normal color vision, and how they are seen by someone with a severe red color vision deficiency – “colorblindness.” There are different types and degrees of what has been labeled “colorblindness.” These images speak to severe red deficiency or protanopia, the type of color vision my father had and my son has. My son sees both sides of the diptychs in the Kindle as the same. Yes, I know it is very surprising to see for the first time – and the tenth time.

protanopia colorblindness
Seeing Color Colorblind: Pomegranates

A preview of the Kindle is here:

Susan’s Amazon Author Page

In the coming months look for hard copy formats as well.

Dramatic Sunset

A dramatic sunset, that appears to be stormy. The afternoon and evening were actually quite calm. In this case, looks were a bit deceiving.
The sun has clearly moved farther north, as we approach the equinox.

sunset
Dramatic Sunset

Seeing Color Colorblind

This entry is part 1 of 4 in the series Seeing Color Colorblind

Seeing Color Colorblind

Seeing color is something that those of us with normal color vision take for granted. But many people do not see the range of colors seen by most people. “Colorblind” has been applied to such people, people with a color deficiency. As my son has said,

“‘colorblind’ as a term is sort of a misnomer in that even extremely colorblind people see colors – they just see them differently than people who are not colorblind. Unfortunately, many people are ignorant regarding this.”

Different kinds and degrees of color deficiencies have been lumped under “colorblindness.” Most color deficiencies are inherited genetically, as an X-linked recessive trait. The genes that produce the photopigments in the cones of the retina, required for color vision, are located on the X chromosome. A female has two X chromosomes. If one is defective but the other normal, in most cases she will have normal color vision. Males, on the other hand, have one X chromosome. The Y chromosome has no matching parts that produce photopigments, so a male who inherits a X chromosome with the defect will be colorblind. Males inherit the X chromosome from their mother, the Y from their father. Females inherit one X chromosome from their mother, and one X chromosome from their father. If a woman’s father is colorblind, she will inherit a color deficient X chromosome from him. If we assume for the moment that the X chromosome she inherits from her mother is normal, the probably that the abnormal X will be passed on to her children is 50%, and the probability that the normal one will be passed on is 50%. Any of her sons have a 50% chance of inheriting their maternal grandfather’s color deficiency through their normal color sighted mother.

That was the situation in my family. My father was colorblind, and I knew early on that any sons of mine had a 50% probability of being colorblind. So, it was no surprise when he was colorblind. I’ve always been glad that they had a close relationship, because they saw the world in the same way and could talk about it. My father laughed about being colorblind. He was a child of the Great Depression, and his father had died when he was three, so I guess there were a lot worse things in his childhood than being colorblind.

Although I knew they both had the same “red-green” colorblindness, until quite recently I really had no idea exactly how they saw the world. It just was, and nothing could be done about it. All of that changed in March of 2015, when Enchroma posted a video on YouTube:

 

 

I must have watched that video 20 times in a row the first time I saw it. I had such hope my son could see the world as I saw it. In short order, his grandmother had ordered a pair of Enchroma glasses for him. Here is a description of how these glasses work to help colorblind people see color. My son did not get the “wow” effect from his glasses, but he likes them. He wears them as sunglasses on his daily commutes and other trips. On one trip, he commented that he saw pink in a sunset for the first time ever. So, they do make some difference, but it took a little while for that to come out.

After hoping so much that he could see color the way I do, I had to accept that was not likely to happen in the near future. And for the first time ever, I began to wonder if there were any way that maybe I could see his world. Now it seems odd to me that it took me a lifetime to ask that question, but there it was.

I thought about it for several months, and gradually some possibilities occurred to me. In my digital photography program I had become acquainted with the RGB (red-green-blue) color system. I was also aware of some beautiful old Russian images done in color by shooting three black and white images in rapid succession, using red, green, and blue filters, and then combining the images into one. Those still amaze me. By Sergey Prokudin-Gorsky – from the Library of Congress’ website, Public Domain:

Work of By Sergey Prokudin-Gorsky
Work of By Sergey Prokudin-Gorsky

The more I thought about some of those different things, I began to play with RGB channels. In the spring/summer of 2015 I made three sets of images, each set containing an image as I saw it, and another image as I thought my son might possibly see it, based on what I knew about his color deficiency by that point in time. I knew that in theory the two images in each set should appear the same to him. But, I was very, very surprised when they actually did!! I was happy that I finally had a glimpse into his world, and sad that I did not have the technology to show him mine.

Then, I got very busy with many things, and did not work on more sets until early this year (2016). I’ve done a fair number of these diptychs now, with my son giving me a lot of time to go over them. My father had and my son has a red color deficiency, rather severe. People with a different color deficiency, or a different degree, would not see these images in the same way at all.

Before I show some of the diptychs, I want to show this image of the color wheel for the RGB system of additive light. As you look at it, try to imagine what you might see if red were missing or almost missing. You might want to refer back to it if some of the sets puzzle you.

Thanks to Wikimedia Commons for this public domain image of the RGB system of additive light.
AdditiveColor

The following images show how moderate red deficiency and severe red deficiency would affect seeing of the RGB colors:


The Orange Reds

Seeing color colorblind
Seeing Color Colorblind: Red Lacewing Butterfly
seeing color colorblind
Seeing Color Colorblind: Hibiscus
seeing color colorblind
Seeing Color Colorblind: Wildflower
seeing color colorblind
Seeing Color Colorblind: Butterfly
Seeing Color Colorblind
Seeing Color Colorblind: Pomegranates

The Pinks/Magentas

seeing color colorblind
Seeing Color Colorblind: Rose ‘Marriotta’
seeing color colorblind
Seeing Color Colorblind: Desert Rose
seeing color colorblind
Seeing Color Colorblind: Rose ‘Othello’

Things We See Not Too Differently

seeing color colorblind
Seeing Color Colorblind: The Observer/The Observed
seeing color colorblind
Seeing Color Colorblind: Wildflower

Big Surprise: Skin Tones
In retrospect I should have anticipated skin tones, but it took me a little while to accept how I look to my son.

seeing color colorblind
Seeing Color Colorblind: Mother
seeing color colorblind
Seeing Color Colorblind: from the Persephone Series

seeing color colorblind
Seeing Color Colorblind: Fire of Passion


Another Big Surprise: Monotones and Black and White

This is Bishop’s Cap, and the color on the left is just the way it occurred naturally.

seeing color colorblind
Seeing Color Colorblind: Bishop’s Cap

For these in black and white, if the cyan tone surprises you (it certainly did me, initially), you might want to refer back to the RGB color wheel of additive light, and imagine if the red is not there what would be left. White, black, and true grays have equal amounts of red, green, and blue. With no or little red, you get a combination of blue and green, which equals cyan.

seeing color colorblind
Seeing Color Colorblind: Rose ‘Leonidas’ in B&W

I definitely prefer these developing pears the way my son sees the black and white image:

seeing color colorblind
Seeing Color Colorblind: Developing Pears

A Final Image in this Post

seeing color colorblind
Seeing Color Colorblind: My Mother’s Garden

I included this image, although it is not a very good one, for a specific reason. Color deficiencies at times can have some adaptive benefits. Colorblind people were used in WWII (and I have heard also Vietnam, but I do not know that for a fact) to detect the enemy through camouflage. I am not certain if it was for color, per se, or that they could detect movements better than people distracted by lots of color. There has been speculation that among our big game hunting ancestors, colorblind males might also have been better able to detect movements of animals, giving them an advantage over those with normal color vision. When my son was in Oklahoma working on his degree in Boot and Saddle Making, the FAA called him frequently for tests for projects they were working on. I don’t know any of the details, but my son said they were working to improve safety (this was in the 1990’s, long before 9/11, just for clarification). Color deficiency can have some adaptive advantages.

A Final Video and Thought:

“Sometimes I wish people could see what I saw…” Andrew from this Enchroma video:

I have never heard my son say, “I wish people could see what I see.” But he has certainly given me a lot of time and help as I have worked on this project, something I felt compelled to try once the idea popped into my head and I realized I had learned tools in photography that might allow me to see the world through his eyes.

This project is far from finished, even in working with the one specific type and degree of color deficiency. Over time I hope to work with other types of color deficiency as well. But should I never get any farther with this, I am happy that at this stage of my life I have learned to see the world through the eyes of my son (and thus, also, my father). Although the technology does not currently exist for him to see the world through my eyes, I have hopes that will happen some time in his lifetime.

That’s what you get from a mother, a daughter, a PhD anthropologist, a board-certified Ob/Gyn, and photographer. 🙂

If anyone has read this far, or even looked at all of the images, thank you!

Persephone: My Fate, By Choice

“My Fate, By Choice” from the Persephone Series in Color It Red 2016

My thanks to Red Dog News editor Tim Anderson, along with jurors Ann Marquis Hart and Pat Berrett, for selecting “My Fate, By Choice” from the Persephone Series as a winner in Color It Red 2016 contest.

My Fate, By Choice

Persephone color it red 2016
My Fate, By Choice

This is the fifth year for this particular competition, and it is always interesting. There were some beautiful entries this year. All the winners may be seen in the Color It Red 2016 gallery. Be sure to click on the little thumbnails to see the full images.

Sometime later in the year, this image will appear in the Single Image Showcase section of Anderson’s Shadow and Light Magazine.

This is but one image from the Series. More images, and an explanation of the series, almost as an autobiographical photoessay, may be seen in the e-book available at Amazon. The book may be read on any device with the free Kindle app.

Once again, many thanks to Kelly Angerosa who played Persephone so beautifully.

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