Sun, Sky Brightness, and Glow: Making the Most of Daylight

Total Page:16

File Type:pdf, Size:1020Kb

Sun, Sky Brightness, and Glow: Making the Most of Daylight By C.C. Sullivan, Contributing Editor | DAYLIGHTING TECHNIQUES | SUN, SKY BRIGHTNESS, AND GLOW: MAKING THE MOST OF DAYLIGHT LEARNING OBJECTIVES After reading this article, you should be able to: + DISCUSS the bene ts and ideal kinds of daylighting illumination desired for such interiors as workplaces, libraries, and museums. + DESCRIBE the types of enclo- sure technologies and whole- building design approaches for maximizing bene cial JEFF GOLDBERG/ESTO, COURTESY CARRIER JOHNSON+CULTURE CARRIER COURTESY GOLDBERG/ESTO, JEFF daylighting. + LIST techniques for improving daylighting performance. + COMPARE the methods or materials commonly used in daylighting applications. The Tidewater Joint-Use Library, Virginia Beach, Va., has an angled “day- light harvester” that runs its length to maximize available sunlight. o some project teams, “daylighting” and material degradation caused by ultraviolet means using glass area to admit direct (UV) light. sunlight, period. Yet there are better Building occupants and owners want useful, approaches to illuminating building uniform light, not high-contrast or high-heat interiors. Often, the sun’s direct rays sources, according to surveys like the semi- are the last thing you need for effective nal study led by the University of Washington daylighting. Sunlight comes with high (https://tinyurl.com/zhpx7h3). That’s why solar heat gain—measured as solar controlled and redirected sunlight almost heat gain coeffi cient (SHGC) for various always provides the best approach, while direct types of glazing and translucent materials—and rays may be counted among the least desirable Tcan lead to glare, occupant thermal discomfort, techniques. Building surfaces and enclosures BDCuniversity.com | BUILDING DESIGN+CONSTRUCTION | 47 | DAYLIGHTING TECHNIQUES | that maximizes the smart use of daylight has a multitude of benefi ts. Energy savings and health ‘THE BEST APPROACH FOR DAYLIGHTING IS TO benefi ts are both achievable.” Natural light, with the full visible light spectrum, has been DELIVER GENTLE, EVEN ILLUMINATION THROUGH- shown to increase alertness and productivity, says Pew. Views to the outdoors also improve OUT A SPACE. THIS DIFFUSED, COMFORTABLE mood and possibly health. Seminal research by DAYLIGHT IS THE BEST FOR VISUAL NEEDS AND Roger Ulrich at Texas A&M University reported an 8.5% advantage in recovery for patients in FOR MINIMIZING ENERGY USE.’ rooms with windows. — LAYNG PEW, AIA, WXY ARCHITECTURE + URBAN DESIGN Daylight is essential to sustainable design ratings as well as health certifi cations, notably the WELL Building Standard. Light helps “mini- receiving direct sunlight need solar control mize disruption to the body’s circadian rhythm,” systems, including shading devices such as says the International Well Building Institute, overhangs and fi ns that may be opaque or which spells out requirements for window per- translucent, solid or louvered, according to formance and design, light output and lighting the Best Practices Manual published by the controls, and task-appropriate illumination lev- Collaborative for High Performance Schools. els to improve energy, mood, and productivity. Canopies, window fi lms, and insulated glazing The effectiveness of daylighting strategies units (IGUs) with internal louvers may also be should be evaluated on the basis of human required. Façades and areas facing north, on usefulness, energy effi ciency, and other factors, the other hand, need ways to maximize daylight says Christopher Alt, RA, Principal and Techni- To renovate a 1990 commercial building in harvest. cal Leader with architecture fi rm Studio Ma, Boston for Columbia “The best approach for daylighting is to Phoenix. Alt’s team uses daylight simulation in Property Trust, design deliver gentle, even illumination throughout a design-phase project modeling in order to as- fi rm Dyer Brown opened up the northwest-facing space. This diffused, comfortable daylight is the sess spatial illuminance qualities, visibility and lobby with a fl oor-to- best for visual needs and for minimizing energy glare, thermal considerations, and the protec- ceiling, point-supported use,” says Layng Pew, AIA, a Principal with WXY tion of building contents. “The 3D simulations glazing system and high- refl ectance, specular wall Architecture + Urban Design, New York. “Design and analyses are especially important in our fi nishes. many museum and cultural building projects, in- cluding some in desert climates, where artifact protection is of paramount concern,” says Alt. Underlying photometrics and daylight modeling are highly effective in the early design phases DARRIN HUNTER DARRIN to assess a range of project goals, including: n Uniform light distribution n Low glare n Reduction of energy costs n Overall cost effectiveness n Safety and security issues n Maintenance requirements Controlled daylighting is historically elemental to the design of museums, yet recently some cultural institutions have erred on the side of using more artifi cial illumination, including halo- gen and LED sources, and less natural light. SPECIAL CASES FOR DAYLIGHTING Experts in museum design from Cooper Rob- ertson encourage expanded use of controlled daylight for gallery spaces through careful analy- sis and the application of novel building tech- 48 | BUILDING DESIGN+CONSTRUCTION | March 2017 nologies that “preserve safe light levels and environmental conditions for the art,” says NIC LEHOUX, COURTESY COOPER ROBERTSON Scott Newman, FAIA, a Partner. “Daylighting reduces the need for artificial illumination, allows works to be shown in the full light spectrum for which they were conceived, and accentu- ates the three-dimensionality of sculpture,” he adds. Newman describes the design of the new Whitney Museum of American Art, in Manhattan. For its extensive use of solar illumination, Cooper Robertson and design architect Renzo Piano Build- ing Workshop used fritted glass edges, interior and institutional designs,” says Moss. “For the shades activated by photosensors, and insulat- renovation of the Yuma Heritage Library, we To daylight the new ing glass units with a polyvinyl butyral (PVB) added four double-height structures to serve as Whitney Museum of interlayer. The façade designs respond to the light monitors for the one-story Carnegie town American Art, Cooper Robertson used fritted building’s position or solar orientation. The de- library, a daylighting strategy that transformed glass edges, inte- sign also admits light to wash interior walls and the scale and quality of the user experience.” rior shades activated by illuminate display areas. Other products and assemblies used to admit photosensors, and IGUs with PVB interlayers to At the Florence (S.C.) County Museum, con- tempered, useful solar illumination for daylight- illuminate display areas. trolled natural light illuminates the second-floor ing include view windows, high sidelights with galleries through filtered clerestories and light light shelves, wall-wash toplighting, central and scoops, says Newman. patterned toplighting, linear toplighting, and Whether for museums or any other use, po- tubular skylights. sitioning of openings is critical to the effective- Skylights, roof windows, and other forms ness of daylighting, according to Gregg D. Ander, of toplighting are highly effective for internal FAIA, of Southern California Edison. “The higher light propagation, but they raise similar ques- the window head height, the deeper into the tions about undesirable hotspots, glare, and space the daylight can penetrate,” writes Ander interior wear, says Kevin Krumdieck, AIA, LEED in the Whole Building Design Guide. AP, Principal with Carrier Johnson + Culture. “To Openings “should ideally be composed of two prevent unwanted heating or over-illumination, discrete components: a daylight window and a we assess the skylight orientation (north is view window,” Ander writes. In a typical space, preferred), the roof slope, and the skylight size the daylight window’s sill should be 7½ feet and spacing to distribute the daylight well, while above the finished floor, with a high visible light controlling heat gain and glare,” says Krum- transmission (VLT) of 50–75%. The windows dieck. In some projects, the firm uses solar for occupant view should be located below the panels integrated with sunshade elements to daylight openings, with a lower VLT. mitigate heat from high-angle sun. For some building types, the view windows For office buildings and workplace interiors, often are beside the point. That’s one reason north light is a valuable asset, says Brent D. Zei- Studio Ma Principal Christiana Moss, AIA, often gler, AIA, IIDA, President and Director of Design advocates for clerestory windows and other with Dyer Brown Architects, Boston. “Sunlight fenestration concepts with high sill heights coming from the west, and the setting sun, can ideal for lighting museums and libraries. “For be tough on open workspaces. It can be hot, both qualitative and quantitative reasons, we with long shadows and too much glare on moni- keep going back to clerestory in our cultural tors,” he says. “Morning light from the southeast BDCuniversity.com | BUILDING DESIGN+CONSTRUCTION | 49 | DAYLIGHTING TECHNIQUES | can have a wonderful through lower-height window areas causing visual quality, and in glare, or areas closer to the ceiling plane that the winter months this create excessive brightness during the day. low-angled sunlight Another tool is called dynamic tinting, an appli- helps warm spaces.” cation of smart
Recommended publications
  • Illumination and Distance
    PHYS 1400: Physical Science Laboratory Manual ILLUMINATION AND DISTANCE INTRODUCTION How bright is that light? You know, from experience, that a 100W light bulb is brighter than a 60W bulb. The wattage measures the energy used by the bulb, which depends on the bulb, not on where the person observing it is located. But you also know that how bright the light looks does depend on how far away it is. That 100W bulb is still emitting the same amount of energy every second, but if you are farther away from it, the energy is spread out over a greater area. You receive less energy, and perceive the light as less bright. But because the light energy is spread out over an area, it’s not a linear relationship. When you double the distance, the energy is spread out over four times as much area. If you triple the distance, the area is nine Twice the distance, ¼ as bright. Triple the distance? 11% as bright. times as great, meaning that you receive only 1/9 (or 11%) as much energy from the light source. To quantify the amount of light, we will use units called lux. The idea is simple: energy emitted per second (Watts), spread out over an area (square meters). However, a lux is not a W/m2! A lux is a lumen per m2. So, what is a lumen? Technically, it’s one candela emitted uniformly across a solid angle of 1 steradian. That’s not helping, is it? Examine the figure above. The source emits light (energy) in all directions simultaneously.
    [Show full text]
  • Sunlight Readability and Luminance Characteristics of Light
    SUNLIGHT READABILITY AND LUMINANCE CHARACTERISTICS OF LIGHT- EMITTING DIODE PUSH BUTTON SWITCHES Robert J. Fitch, B.S.E.E., M.B.A. Thesis Prepared for the Degree of MASTER OF SCIENCE UNIVERSITY OF NORTH TEXAS May 2004 APPROVED: Albert B. Grubbs, Jr., Major Professor and Chair of the Department of Engineering Technology Don W. Guthrie, Committee Member Michael R. Kozak, Committee Member Roman Stemprok, Committee Member Vijay Vaidyanathan, Committee Member Oscar N. Garcia, Dean of the College of Engineering Sandra L. Terrell, Interim Dean of the Robert B. Toulouse School of Graduate Studies Fitch, Robert J., Sunlight readability and luminance characteristics of light- emitting diode push button switches. Master of Science (Engineering Technology), May 2004, 69 pp., 7 tables, 9 illustrations, references, 22 titles. Lighted push button switches and indicators serve many purposes in cockpits, shipboard applications and military ground vehicles. The quality of lighting produced by switches is vital to operators’ understanding of the information displayed. Utilizing LED technology in lighted switches has challenges that can adversely affect lighting quality. Incomplete data exists to educate consumers about potential differences in LED switch performance between different manufacturers. LED switches from four different manufacturers were tested for six attributes of lighting quality: average luminance and power consumption at full voltage, sunlight readable contrast, luminance contrast under ambient sunlight, legend uniformity, and dual-color uniformity. Three of the four manufacturers have not developed LED push button switches that meet lighting quality standards established with incandescent technology. Copyright 2004 by Robert J. Fitch ii ACKNOWLEDGMENTS I thank Don Guthrie and John Dillow at Aerospace Optics, Fort Worth, Texas, for providing the test samples, lending the use of their laboratories, and providing tremendous support for this research.
    [Show full text]
  • Color-Proposal.Pdf
    Colors in Snap! -bh proposal, draft, do not distribute Your computer monitor can display millions of colors, but you probably can’t distinguish that many. For example, here’s red 57, green 180, blue 200: And here’s red 57, green 182, blue 200: You might be able to tell them apart if you see them side by side: … but maybe not even then. Color space—the collection of all possible colors—is three-dimensional, but there are many ways to choose the dimensions. RGB (red-green-blue), the one most commonly used, matches the way TVs and displays produce color. Behind every dot on the screen are three tiny lights: a red one, a green one, and a blue one. But if you want to print colors on paper, your printer probably uses a different set of three colors: CMY (cyan-magenta-yellow). You may have seen the abbreviation CMYK, which represents the common technique of adding black ink to the collection. (Mixing cyan, magenta, and yellow in equal amounts is supposed to result in black ink, but typically it comes out a not-very-intense gray instead.) Other systems that try to mimic human perception are HSL (hue-saturation-lightness) and HSV (hue-saturation-value). If you are a color professional—a printer, a web designer, a graphic designer, an artist—then you need to understand all this. It can also be interesting to learn about. For example, there are colors that you can see but your computer display can’t generate. If that intrigues you, look up color theory in Wikipedia.
    [Show full text]
  • Color Appearance Models Second Edition
    Color Appearance Models Second Edition Mark D. Fairchild Munsell Color Science Laboratory Rochester Institute of Technology, USA Color Appearance Models Wiley–IS&T Series in Imaging Science and Technology Series Editor: Michael A. Kriss Formerly of the Eastman Kodak Research Laboratories and the University of Rochester The Reproduction of Colour (6th Edition) R. W. G. Hunt Color Appearance Models (2nd Edition) Mark D. Fairchild Published in Association with the Society for Imaging Science and Technology Color Appearance Models Second Edition Mark D. Fairchild Munsell Color Science Laboratory Rochester Institute of Technology, USA Copyright © 2005 John Wiley & Sons Ltd, The Atrium, Southern Gate, Chichester, West Sussex PO19 8SQ, England Telephone (+44) 1243 779777 This book was previously publisher by Pearson Education, Inc Email (for orders and customer service enquiries): [email protected] Visit our Home Page on www.wileyeurope.com or www.wiley.com All Rights Reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning or otherwise, except under the terms of the Copyright, Designs and Patents Act 1988 or under the terms of a licence issued by the Copyright Licensing Agency Ltd, 90 Tottenham Court Road, London W1T 4LP, UK, without the permission in writing of the Publisher. Requests to the Publisher should be addressed to the Permissions Department, John Wiley & Sons Ltd, The Atrium, Southern Gate, Chichester, West Sussex PO19 8SQ, England, or emailed to [email protected], or faxed to (+44) 1243 770571. This publication is designed to offer Authors the opportunity to publish accurate and authoritative information in regard to the subject matter covered.
    [Show full text]
  • How to Measure and Characterize LED Lighting Fixtures
    How to Measure and Characterize LED Lighting Fixtures. Explanation of Photometric Quantities and Measurement Instruments Requirements According to CIE Standards and Other International Norms by Mikolaj Przybyla, Brand Director About GL Optic : GL Optic is the brand name of JUST Normlicht GmbH Germany the world's leading supplier of the standardized light solutions for printing and graphic arts industries. For more than 30 years Just has been developing the innovative solutions which are of the highest quality in standard-light viewing conditions. About GL Optic : The spectral light measurement project was created at the end of 2009 by Michael Gall the owner and CEO of Just Normlicht in cooperation with Jan Lalek, a Polish physicist who had been involved in the creation of the innovative LED tunable standard lighting systems. They also developed together the light quality assurance instruments installed at Just spectral measurements laboratory. How to measure LEDs When designing an LED lighting fixtures, we instantly had to deal with parameters and issues such as Flux and Colour shift with temperature and current, accurate current control and heat management are just a few of them. Therefore the accurate light measurement system is crucial for the development of these LED products. This presentation will cover basic information on light measurement procedures, international standards as well as the presentation of available instrumentation for very different measurement tasks from luminous flux measurement with integrating spheres to luminance
    [Show full text]
  • EL Light Output Definition.Pdf
    GWENT GROUP ADVANCED MATERIAL SYSTEMS Luminance The candela per square metre (cd/m²) is the SI unit of luminance; nit is a non-SI name also used for this unit. It is often used to quote the brightness of computer displays, which typically have luminance’s of 50 to 300 nits (the sRGB spec for monitor’s targets 80 nits). Modern flat-panel (LCD and plasma) displays often exceed 300 cd/m² or 300 nits. The term is believed to come from the Latin "nitere" = to shine. Candela per square metre 1 Kilocandela per square metre 10-3 Candela per square centimetre 10-4 Candela per square foot 0,09 Foot-lambert 0,29 Lambert 3,14×10-4 Nit 1 Stilb 10-4 Luminance is a photometric measure of the density of luminous intensity in a given direction. It describes the amount of light that passes through or is emitted from a particular area, and falls within a given solid angle. The SI unit for luminance is candela per square metre (cd/m2). The CGS unit of luminance is the stilb, which is equal to one candela per square centimetre or 10 kcd/m2 Illuminance The lux (symbol: lx) is the SI unit of illuminance and luminous emittance. It is used in photometry as a measure of the intensity of light, with wavelengths weighted according to the luminosity function, a standardized model of human brightness perception. In English, "lux" is used in both singular and plural. Microlux 1000000 Millilux 1000 Lux 1 Kilolux 10-3 Lumen per square metre 1 Lumen per square centimetre 10-4 Foot-candle 0,09 Phot 10-4 Nox 1000 In photometry, illuminance is the total luminous flux incident on a surface, per unit area.
    [Show full text]
  • Application Note
    How Light Meters Can Fool Us A primer on why bluer white light looks brighter to us and how it can help save the planet Imagine two identical rooms artificially illuminated with exactly the same amount of white light. A light meter confirms that the two rooms have equal light levels. In fact, everything about the rooms is the same except for one important detail: The light in one room has a little more blue in it than the other room. Why, then, does the room with the bluer light seem so much brighter? (See Fig. 1.) For decades this effect has created more than a little controversy among vision scientists, with many dismissing it as nothing more than an illusion. But recent advances in vision science now support the view that this is a real effect. The room with the bluer light does appear brighter to the human eye — a fact that can help reduce lighting costs by as much as 40% or more. To understand why, we need to know a little more about the history of why light meters are calibrated the way they are and how our eyes react to light. Figure 1: The shopping center above was initially lighted by fluorescent lamps having a color temperature of 4100K (left photo). The fluorescents were replaced by LEDs with a color temperature of 6000K (right photo). Even though the LED lamps use less electricity, the area still looks brighter because LED lighting is more efficient, but also because the higher color temperature creates a bluer white light that looks brighter to us.
    [Show full text]
  • Physical and Luminous Units of Light Intensity
    Physical and Luminous Units of Light Intensity Energy vs Brightness Paul Avery Dept. of Physics University of Florida PHY 3400 Light, Color and Holography http://www.phys.ufl.edu/~avery/course/phy3400_f99/ Paul Avery (PHY 3400) 1 Physical and Luminous Units Physical ⇒ energy flow • Measured by instruments ⇒ radiant flux • Basic unit: watt = joule/sec Luminous ⇒ subjective brightness • Measured by observer ⇒ luminous flux • Same energy flow at different wavelengths gives different visual response and thus different brightness • Basic unit: lumen Paul Avery (PHY 3400) 2 Physical and Luminous Units Visual Sensitivity vs Wavelength 1.0 0.9 0.8 0.7 0.6 0.5 0.4 0.3 Relative Sensitivity 0.2 0.1 0.0 350 400 450 500 550 600 650 700 750 Wavelength in nm Relative Sensitivity of Eye vs. Wavelength Peak at λ = 555 nm Paul Avery (PHY 3400) 3 Physical and Luminous Units Define “Luminous efficiency” luminous flux in lumens LE= radiant flux in watts • LE is maximum for a light source emitting at λ = 555 nm. • To achieve desired lumens for lowest $ ⇒ maximize LE • Projectors, indoor/outdoor lighting, displays, floodlights Paul Avery (PHY 3400) 4 Physical and Luminous Units Luminous efficiencies for different sources Light Source LE (lumens/watt) Candle 0.1 Kerosene lamp 0.3 Tungsten-filament lamp (100-watt) 15 High-intensity tungsten-filament lamp 30 “Photoflood” lamp 36 Mercury-vapor lamp, low pressure 25–40 Mercury-vapor lamp, high pressure 40–65 Sodium-vapor lamp 50 LEDs 10–20 Fluorescent lamp 60–75 Metal halide lamps 65–90 http://www.phoenixlamps.com/mhl.html
    [Show full text]
  • Illuminating Terms & Graphics
    Illuminating Terms & Graphics Candela ~ the basic SI unit of luminous intensity; the luminous intensity in a given direction of a source that emits monochromatic radiation Golden Ratio in design ~ an ideal based on Fibonacci. In this case the number 8, which is 3 + 5. Lumen (unit) ~ The lumen (symbol: lm) is the SI derived unit of luminous flux, a measure of the total quantity of visible light emitted by a source. Illuminance ~ the lighting up of a surface area. It is a measure of the amount of light falling onto (illuminating) and spreading over the given surface area. It correlates with how humans perceive brightness of an illuminated area. Illuminance is often called brightness, which leads to confusion, as brightness can be used to also describe luminance. Brightness is a reference to physiological sensations and perceptions of light; it is not to be used for quantitative purposes. The SI unit for illuminance is lux (lx). Sometimes people use the term foot-candle; foot-candle is a non SI unit of illuminance widely used in the United States. The term “foot-candle” means “the illuminance on a surface by a candela source one foot away”. One foot-candle is equivalent to one lumen per square foot which is approximately 10.764 lux. Luminance ~ the measure of the amount of light passing through, emitting or reflected from a particular surface traveling at a solid angle; it indicates how much luminous power can be perceived by a human eye. Thus luminance indicates the brightness of emitted or reflected surface. Luminance is used in the display industry to quantify the brightness of displays.
    [Show full text]
  • COLOR APPEARANCE MODELS, 2Nd Ed. Table of Contents
    COLOR APPEARANCE MODELS, 2nd Ed. Mark D. Fairchild Table of Contents Dedication Table of Contents Preface Introduction Chapter 1 Human Color Vision 1.1 Optics of the Eye 1.2 The Retina 1.3 Visual Signal Processing 1.4 Mechanisms of Color Vision 1.5 Spatial and Temporal Properties of Color Vision 1.6 Color Vision Deficiencies 1.7 Key Features for Color Appearance Modeling Chapter 2 Psychophysics 2.1 Definition of Psychophysics 2.2 Historical Context 2.3 Hierarchy of Scales 2.4 Threshold Techniques 2.5 Matching Techniques 2.6 One-Dimensional Scaling 2.7 Multidimensional Scaling 2.8 Design of Psychophysical Experiments 2.9 Importance in Color Appearance Modeling Chapter 3 Colorimetry 3.1 Basic and Advanced Colorimetry 3.2 Why is Color? 3.3 Light Sources and Illuminants 3.4 Colored Materials 3.5 The Visual Response 3.6 Tristimulus Values and Color-Matching Functions 3.7 Chromaticity Diagrams 3.8 CIE Color Spaces 3.9 Color-Difference Specification 3.10 The Next Step Chapter 4 Color Appearance Models: Table of Contents Page 1 Color-Appearance Terminology 4.1 Importance of Definitions 4.2 Color 4.3 Hue 4.4 Brightness and Lightness 4.5 Colorfulness and Chroma 4.6 Saturation 4.7 Unrelated and Related Colors 4.8 Definitions in Equations 4.9 Brightness-Colorfulness vs. Lightness-Chroma Chapter 5 Color Order Systems 5.1 Overview and Requirements 5.2 The Munsell Book of Color 5.3 The Swedish Natural Color System (NCS) 5.4 The Colorcurve System 5.5 Other Color Order Systems 5.6 Uses of Color Order Systems 5.7 Color Naming Systems Chapter 6 Color-Appearance
    [Show full text]
  • A Luminous Efficiency Function, V*(1), for Daylight Adaptation
    Journal of Vision (2005) 5, 948–968 http://journalofvision.org/5/11/3/ 948 A luminous efficiency function, V *(1), for daylight adaptation Institute of Ophthalmology, University College London, Lindsay T. Sharpe London, United Kingdom Institute of Ophthalmology, University College London, Andrew Stockman London, United Kingdom Forschungstelle fu¨r Experimentelle Ophthalmologie, Wolfgang Jagla Universita¨ts-Augenklinik, Tu¨bingen, Germany Forschungstelle fu¨r Experimentelle Ophthalmologie, Herbert Ja¨gle Universita¨ts-Augenklinik, Tu¨bingen, Germany We propose a new luminosity function, V Ãð1Þ, that improves upon the original CIE 1924 Vð1Þ function and its modification by D. B. Judd (1951) and J. J. Vos (1978), while being consistent with a linear combination of the A. Stockman & L. T. Sharpe (2000) long-wavelength-sensitive (L) and middle-wavelength-sensitive (M) cone fundamentals. It is based on experimentally determined 25 Hz, 2- diameter, heterochromatic (minimum) flicker photometric data obtained from 40 observers (35 males, 5 females) of known genotype, 22 with the serine variant L(ser180), 16 with the alanine L(ala180) variant, and 2 with both variants of the L-cone photopigment. The matches, from 425 to 675 nm in 5-nm steps, were made on a 3 log troland xenon white (correlated color temperature of 5586 K but tritanopically metameric with CIE D65 standard daylight for the Stockman and Sharpe L- and M-cone fundamentals in quantal units) adapting field of 16- angular subtense, relative to a 560-nm standard. Both the reference standard and test lights were kept near flicker threshold so that, in the region of the targets, the total retinal illuminance averaged 3.19 log trolands.
    [Show full text]
  • The Inverse Square Law of Light the Relationship Between Distance and Brightness, and How Astronomers Measure Distances to Far Away Objects
    The Inverse Square Law of Light The relationship between distance and brightness, and how astronomers measure distances to far away objects Image Credit: Splung.com Overview: We all know that a light, such as a candle or a streetlight, looks dimmer the farther away from it we get. This activity gives an easy way for students to measure the relationship between distance and brightness. Once students discover the relationship, they can begin to understand how astronomers use this knowledge to determine the distances to stars and far away galaxies. Grade Level: This lesson is intended for grades 5-12. (See standards correlation in Appendix A.) Objectives: Students will be able to: • demonstrate that the brightness of a source of light is a function of the inverse square of its distance. • understand how the brightness of light could be used to measure distances, even to stars and far away galaxies. Time: Prep Time: For each shade box, 15 minutes if using a MiniMaglite™, 30 minutes or less if you make the light source Part I: 45- 60 minutes Part II: 45-60 minutes 1 Acknowledgments: Nancy Alima Ali, Dr. Bryan Mendez and Kyle Fricke developed and produced these lessons using funding from the Education and Public Outreach program of the NASA Wide-field Infrared Survey Explorer Mission while at the Center for Science Education at the Space Sciences Laboratory (CSE@SSL) at the University of California in Berkeley. Karin Hauck, Darlene Yan and Leitha Thrall assisted with the testing of the lesson. We would also like to thank the Astrophysics Educator Ambassadors and teachers attending the “Cool Astronomy” workshop at the American Museum of Natural History for their feedback on the lesson.
    [Show full text]