MODIFYING ARTIFICIAL LIGHT

Artificial Light: Its Influence Upon Civilization by Matthew Luckiesh is part of the HackerNoon Books Series. You can jump to any chapter in this book here. MODIFYING ARTIFICIAL LIGHT

XXI. MODIFYING ARTIFICIAL LIGHT

In a single century science has converted the dimly lighted nights with their feeble flickering flames into artificial daytime. In this brief span of years the production of light has advanced far from the primitive flames in use at the beginning of the nineteenth century, but, as has been noted in another chapter, great improvements in light-production are still possible. Nevertheless, the wonderful developments in the last four decades, which created the arc-lamps, the gas-mantle, the mercury-vapor lamps, and the series of electric incandescent-filament lamps, have contributed much to the efficiency, safety, health, and happiness of mankind.

A hundred years ago civilization was more easily satisfied and an improvement which furnished more light at the same cost was all that could be desired. To-day light alone is not sufficient. Certain kinds of radiant energy are required for photography and other photochemical processes and a vast array of colored light is demanded for displays and for effects upon the stage. Man now desires lights of various colors for their expressive effects. He is no longer satisfied with mere light in adequate quantities; he desires certain qualities. Furthermore, he no longer finds it sufficient to be independent of daylight merely in quantity of light. In fact, he has demanded artificial daylight.

Doubtless the future will see the production of efficient light of many qualities or colors, but to-day many of the demands must be met by modifying the artificial illuminants which are available. Vision is accomplished entirely by the distinction of brightness and color. An image of any scene or any object is focused upon the retina as a miniature map in light, shade, and color. Although the distinction of brightness is a more important function in vision than the ability to distinguish colors, color-vision is far more important in daily life than is ordinarily appreciated. One may go through life color-blind without suffering any great inconvenience, but the divine gift of color-vision casts a magical drapery over all creation. Relatively few are conscious of the wonderful drapery of color, except for occasional moments when the display is unusual. Nevertheless a study of vision in nearly all crafts reveals the fact that the distinction of colors plays an important part.

In the purchase of food and wearing-apparel, in the decoration of homes and throughout the arts and industries, mankind depends a great deal upon the appearance of colors. He depends upon daylight in this respect and unconsciously often, when daylight fails, ceases work which depends upon the accurate distinction of colors. His color-vision evolved under daylight; arts and industries developed under daylight; and all his associations of color are based primarily upon daylight. For these reasons, adequate artificial illumination does not make mankind independent of daylight in the practice of arts and crafts and in many minor activities. In quality or spectral character, the unmodified illuminants used for general lighting purposes differ from daylight and therefore do not fully replace it. Noon sunlight contains all the spectral colors in approximately the same proportions, but this is not true of these artificial illuminants. For these reasons there is a demand for artificial daylight.

The "vacuum" tube affords a possibility of an extensive variety of illuminants differing widely in spectral character or color. Every gas when excited to luminescence by an electric discharge in the "vacuum" tube (containing the gas at a low pressure) emits light of a characteristic quality or color. By varying the gas a variety of illuminants can be obtained, but this means of light-production has not been developed to a sufficiently practicable state to be satisfactory for general lighting. Nitrogen yields a pinkish light and the nitrogen tube as developed by Dr. Moore was installed to some extent a few years ago. Neon yields an orange light and has been used in a few cases for displays. Carbon dioxide furnishes a white light similar to daylight and small tubes containing this gas are in use to-day where accurate discrimination of color is essential.

The flame-arcs afford a means of obtaining a variety of illuminants differing in spectral character or color. By impregnating the carbons with various chemical compounds the color of the flame can be widely altered. The white flame-arc obtained by the use of rare-earth compounds in the carbons provides an illuminant closely approximating average daylight. By using various substances besides carbon for the electrodes, illuminants differing in spectral character can be obtained. These are usually rich in ultra-violet rays and therefore have their best applications in processes demanding this kind of radiant energy. The arc-lamp is limited in its application by its unsteadiness, its bulkiness, and the impracticability of subdividing it into light-sources of a great range of luminous intensities.

The most extensive applications of artificial daylight have been made by means of the electric incandescent filament lamp, equipped with a colored glass which alters the light to the same quality as daylight. The light from the electric filament lamp is richer in yellow, orange, and red rays than daylight, and by knowing the spectral character of the two illuminants and the spectral characteristics of colored glasses in which various chemicals have been incorporated, it is possible to develop a colored glass which will filter out of the excess of yellow, orange, and red rays so that the transmitted light is of the same spectral character as daylight. Thousands of such artificial daylight units are now in use in the industries, in stores, in laboratories, in dye-works, in print-shops, and in many other places. Currency and Liberty Bonds have been made under artificial daylight and such units are in use in banks for the detection of counterfeit currency. The diamond expert detects the color of jewels and the microscopist is certain of the colors of his stains under artificial daylight. The dyer mixes his dyes for the coloring of tons of valuable silk and the artist paints under this artificial light. These are only a few of a vast number of applications of artificial daylight, but they illustrate that mankind is independent of natural light in another respect.

FIREWORKS AND ILLUMINATED BATTLE-FLEET AT HUDSON-FULTON CELEBRATION

There are various kinds of daylight, two of which are fairly constant in spectral character. These are noon sunlight and north skylight. The former may be said to be white light and its spectrum indicates the presence of visible radiant energy of all wave-lengths in approximately equal proportions. North skylight contains an excess of violet, blue, and blue-green rays and as a consequence is a bluish white. Noon sunlight on a clear day is fairly constant in spectral character, but north skylight varies somewhat depending upon the absence or presence of clouds and upon the character of the clouds. If large areas of sunlit clouds are present, the light is largely reflected sunlight. If the sky is overcast, the north skylight is a result of a mixture of sunlight and blue skylight filtered through the clouds and is slightly bluish. If the sky is clear, the light varies from light blue to deep blue.

FIREWORKS EXHIBITION ON MAY DAY AT PANAMA-PACIFIC EXPOSITION

The daylight which enters buildings is often considerably altered in color by reflection from other buildings and from vegetation, and after it enters a room it is sometimes modified by reflection from colored surroundings. It may be commonly noted that the light reflected from green grass through a window to the upper part of a room is very much tinted with green and the light reflected from a yellow brick building is tinted yellow. Besides these alterations, sunlight varies in color from the yellow or red of dawn through white at noon to orange or red at sunset. Throughout the day the amount of light from the sky does not change nearly as much as the amount of sunlight, so there is a continual variation in the proportion of direct sunlight and skylight reaching the earth. This is further varied by the changing position of the sun. For example, at a north window in which the direct sunlight may not enter throughout the day, the amount of sunlight which enters by reflection from adjacent buildings and other objects may vary greatly. Thus it is seen that daylight not only varies in quantity but also in quality, and an artificial daylight, which is based upon an extensive analysis, has the advantage of being constant in quantity and quality as well as correct in quality. Modern artificial-daylight units which have been scientifically developed not only make mankind independent of daylight in the discrimination of colors but they are superior to daylight.

Although there are many expert colorists who require an accurate artificial daylight, there are vast fields of lighting where a less accurate daylight quality is necessary. The average eyes are not sufficiently skilled for the finest discrimination of colors and therefore the Mazda "daylight" lamp supplies the less exacting requirements of color matching. It is a compromise between quality and efficiency of light and serves the purpose so well that millions of these lamps have found applications in stores, offices, and industries. In order to make an accurate artificial north skylight for color-work by means of colored glass, from 75 to 85 per cent. of the light from a tungsten lamp must be filtered out. This absorption in a broad sense increases the efficiency of the light, for the fraction that remains is now satisfactory, whereas the original light is virtually useless for accurate color-discrimination. About one third of the original light is absorbed by the bulb of the tungsten "daylight" lamp, with a resultant light which is an approximation to average daylight.

Old illuminants such as that emitted by the candle and oil-lamp were used for centuries in interiors. All these illuminants were of a warm yellow color. Even the earlier modern illuminants were not very different in color, so it is not surprising that there is a deeply rooted desire for artificial light in the home and in similar interiors of a warm yellow color simulating that of old illuminants. The psychological effect of warmth and cheerfulness due to such illuminants or colors is well established. Artificial light in the home symbolizes independence of nature and protection from the elements and there is a firm desire to counteract the increasing whiteness of modern illuminants by means of shades of a warm tint. The white light is excellent for the kitchen, laundry, and bath-room, and for reading-lamps, but the warm yellow light is best suited for making cozy and cheerful the environment of the interiors in which mankind relaxes. An illuminant of this character can be obtained efficiently by using a properly tinted bulb on tungsten filament lamps. By absorbing about one fourth to one third of the light (depending upon the temperature of the filament) the color of the candle flame may be simulated by means of a tungsten filament lamp. Some persons are still using the carbon-filament lamp despite its low efficiency, because they desire to retain the warmth of tint of the older illuminants. However, light from a tungsten lamp may be filtered to obtain the same quality of light as is emitted by the carbon filament lamp by absorbing from one fifth to one fourth of the light. The luminous efficiency of the tungsten lamp equipped with such a tinted bulb is still about twice as great as that of the carbon-filament lamp. Thus the high efficiency of the modern illuminants is utilized to advantage even though their color is maintained the same as the old illuminants.

All modern illuminants emit radiant energy, which does not affect the ordinary photographic plate. This superfluous visible energy merely contributes toward glare or a superabundance of light in photographic studios. A glass has been developed which transmits virtually all the rays that affect the ordinary photographic plate and greatly reduces the accompanying inactive rays. Such a glass is naturally blue in color, because it must transmit the blue, violet, and near ultra-violet rays. Its density has been so determined for use in bulbs for the high-efficiency tungsten lamps that the resultant light appears approximately the color of skylight without sacrificing an appreciable amount of the value of the radiant energy for ordinary photography. This glass, it is seen, transmits the so-called chemical rays and is useful in other activities where these rays alone are desired. It is used in light-therapy and in some other activities in which the chemical effects of these rays are utilized.

In the photographic dark-room a deep red light is safe for all emulsions excepting the panchromatic, and lamps of this character are standard products. An orange light is safe for many printing papers. Panchromatic plates and films are usually developed in the dark where extreme safety is desired, but a very weak deep red light is not unsafe if used cautiously. However, many photographic emulsions of this character are not very sensitive to green rays, so a green light has been used for this purpose.

A variety of colored lights are in demand for theatrical effects, displays, spectacular lighting, signaling, etc., and there are many superficial colorings available for this purpose. Few of these show any appreciable degree of permanency. Permanent superficial colorings have recently been developed, but these are secret processes unavailable for the market. For this reason colored glass is the only medium generally available where permanency is desired. For permanent lighting effects, signal glasses, colored caps, and sheets of colored glass may be used. Tints may be obtained by means of colored reflectors. Other colored media are dyes in lacquers and in varnishes, colored inks, colored textiles, and colored pigments.

Inasmuch as colored glass enters into the development of permanent devices, it may be of interest to discuss briefly the effects of various metallic compounds which are used in glass. The exact color produced by these compounds, which are often oxides, varies slightly with the composition of the glass and method of manufacture, but this phase is only of technical interest. The coloring substances in glass may be divided into two groups. The first and largest group consists of those in which the coloring matter is in true solution; that is, the coloring is produced in the same manner as the coloring of water in which a chemical salt is dissolved. In the second group the coloring substances are present in a finely divided or colloidal state; that is, the coloring is due to the presence of particles in mechanical suspension. In general, the lighter elements do not tend to produce colored glasses, but the heavier elements in so far as they can be incorporated into glass tend to produce intense colors. Of course, there are exceptions to this general statement.

The alkali metals, such as sodium, potassium, and lithium, do not color glass appreciably, but they have indirect effects upon the colors produced by manganese, nickel, selenium, and some other elements. Gold in sufficient amounts produces a red in glass and in low concentration a beautiful rose. It is present in the colloidal state. In the manufacture of "gold" red glass, the glass when first cooled shows no color, but on reheating the rich ruby color develops. The glass is then cooled slowly. The gold is left in a colloidal state. Copper when added to a glass produces two colors, blue-green and red. The blue-green color, which varies in different kinds of glasses, results when the copper is fully oxidized, and the red by preventing oxidation by the presence of a reducing agent. This red may be developed by reheating as in the case of making gold ruby glass. Selenium produces orange and red colors in glass.

Silver when applied to the surface of glass produces a beautiful yellow color and it has been widely used in this manner. It has little coloring effect in glass, because it is so readily reduced, resulting in a metallic black. Uranium produces a canary yellow in soda and potash-lime glasses, which fluoresce, and these glasses may be used in the detection of ultra-violet rays. The color is topaz in lead glass. Both sulphur and carbon are used in the manufacture of pale yellow glasses. Antimony has a weak effect, but in the presence of much lead it is used for making opaque or translucent yellow glasses. Chromium produces a green color, which is reddish in lead glass, and yellowish in soda, and potash-lime glasses.

Iron imparts a green or bluish green color to glass. It is usually present as an impurity in the ingredients of glass and its color is neutralized by adding some manganese, which produces a purple color complementary to the bluish green. This accounts for the manganese purple which develops from colorless glass exposed to ultra-violet rays. Iron is used in "bottle green" glass. Its color is greenish blue in potash-lime glass, bluish green in soda-lime glass, and yellowish green in lead glass.

Cobalt is widely used in the production of blue glasses. It produces a violet-blue in potash-lime and soda-lime glasses and a blue in lead glasses. It appears blue, but it transmits deep red rays. For this reason when used in conjunction with a deep red glass, a filter for only the deepest red rays is obtained. Nickel produces an amethyst color in potash-lime glass, a reddish brown in soda-lime glass, and a purple in lead glass. Manganese is used largely as a "decolorizing" agent in counteracting the blue-green of iron. It produces an amethyst color in potash-lime glass and reddish violet in soda-lime and lead glasses.

These are the principal coloring ingredients used in the manufacture of colored glass. The staining of glass is done under lower temperatures, so that a greater variety of chemical compounds may be used. The resulting colors of metals and metallic oxides dissolved in glass depend not only upon the nature of the metal used, but also partly upon the stage of oxidation, the composition of the glass and even upon the temperature of the fusion.

In developing a glass filter the effects of the various coloring elements are determined spectrally and the various elements are varied in proper proportions until the glass of desired spectral transmission is obtained. It is seen that the coloring elements are limited and the combination of these is further limited by chemical considerations. In combining various colored glasses or various coloring elements in the same glass the "subtractive" method of color-mixture is utilized. For example, if a green glass is desired, yellowish green chromium glass may be used as a basis. By the addition of some blue-green due to copper, the yellow rays may be further subdued so that the resulting color is green.

The primary colors for this method of color-mixture are the same as those of the painter in mixing pigments—namely, purple, yellow, and blue-green. Various colors may be obtained by superposing or intimately mixing the colors. The resulting transmission (reflection in the case of reflecting media such as pigments) are those colors commonly transmitted by all the components of a mixture. Thus,

The colors produced by adding lights are based not on the "subtractive" method but on the actual addition of colors. These primaries are red, green, and blue and it will be noted that they are the complementaries of the "subtractive" primaries. By the use of red, green, and blue lights in various proportions, all colors may be obtained in varying degrees of purity. The chief mixtures of two of the "additive" primaries produce the "subtractive" primaries. Thus,

Although the coloring media which are permanent under the action of light, heat, and moisture are relatively few, by a knowledge of their spectral characteristics and other principles of color the expert is able to produce many permanent colors for lighting effects. The additive and subtractive methods are chiefly involved, but there is another method which is an "averaging" additive one. For example, if a warm tint of yellow is desired and only a dense yellow glass is available, the yellow glass may be cut into small pieces and arranged upon a colorless glass in checker-board fashion. Thus a great deal of uncolored light which is transmitted by the filter is slightly tinted by the yellow light passing through the pieces of yellow glass. If this light is properly mixed by a diffusing glass the effect is satisfactory. These are the principal means of obtaining colored light by means of filters and by mixing colored lights. By using these in conjunction with the array of light-sources available it is possible to meet most of the growing demands. Of course, the ideal solution is to make the colored light directly at the light-source, and doubtless future developments which now appear remote or even impossible will supply such colored illuminants. In the meantime, much is being accomplished with the means available.

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