FUNDAMENTALS

OF LIGHTING:
MODULE 1
INTRODUCTION TO
LIGHT AND
LIGHTING

Illuminating Engineering Society

www.ies.org

IES Fundamentals of Lighting, Module 1 1

 CONTINUING EDUCATION: AIA APPROVED

The IES is a Registered Provider with The American Institute of

Architects Continuing Education System. Credit earned on
completion of this program will be reported to CES Records for AIA
HSW-LU approved courses.

This program is registered with the AIA/CES for HSW continuing

professional education. As such, it does not include content that
may be deemed or construed to be an approval or endorsement by
the IES or AIA of any material or product.

Partial attendance will not be eligible for the IES CEU certificate of
completion. Individuals are responsible for their respective
credential maintenance reporting requirements.

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-2

IES Fundamentals of Lighting, Module 1 2

 CONTINUING EDUCATION: GBCI APPROVED

The IES is a Registered Provider of GBCI Approved Courses for

Continuing Education.

This program is registered with GBCI for continuing professional

education. As such, it does not include content that may be
deemed or construed to be an approval or endorsement of GBCI of
any materials or product.

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-3

IES Fundamentals of Lighting, Module 1 3

 FUNDAMENTALS OF LIGHTING

Module 1: Introduction to Light and Lighting

Module 2: Electric Light Sources
Module 3: Daylighting
Module 4: Luminaires
Module 5: Controls
Module 6: Photometry and Calculations
Module 7: Codes, Standards, and Design Process
Module 8: Lighting for Interior Applications
Module 9: Lighting for Exterior Applications
Module 10: Review
www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-4

IES Fundamentals of Lighting, Module 1 4

 LEARNING OBJECTIVES

• Identify highpoints in the history of light and lighting and the role of the
lighting designer in the building design process.

• Describe the properties of light.

• Analyze how the human visual system processes light and color,
engendering positive emotional and physical responses.

• Identify important effects of light on human health that promote physical

well-being.

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-5

IES Fundamentals of Lighting, Module 1 5

 A BRIEF HISTORY OF LIGHT AND LIGHTING

• A brief history of light and lighting

• Professional practice
• The physics of light
• Vision
• Color
• Light and health

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-6

IES Fundamentals of Lighting, Module 1 6

 BEFORE ELECTRIC LIGHT

Palace at Knossos, Crete, Pantheon, Rome, Italy, Hagia Sophia, Istanbul, Turkey
circa 1700 – 1300 BCE circa 126 CE circa 537 CE

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-7

For millennia, daylight was the main source of light for interiors, and architectural elements were included in
buildings to bring in sunlight, often in a way that complemented some aspect of the building.
Ask the students to remark on the pros and cons of lighting via an oculus (letting rain in would be one big minus
for many climates). Ask them to imagine how the interiors of ancient Rome would look before electric light given
the sorts of windows provided. Mention buildings such as castles, cathedrals, palaces and ask them to consider
others they may have seen themselves. Have them mention some modern daylighting features included in
buildings that resemble those in the examples.

IES Fundamentals of Lighting, Module 1 7

 BEFORE ELECTRIC LIGHTING

Greek and Roman Oil Lamps (4500 BCE) Candle (3000 BCE) Kerosene lanterns (900 CE)

Decorative gas lighting

(1792)

Argand lamps
(1780)
www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-8

An observation is that flames --- in combination with plants, animal fats, oils, and eventually petroleum based
products--were used for centuries as the primary source of “man-made” light.
c. 70,000 BCE Hollow rocks or shells or other natural found objects were filled with moss or a similar material
that was soaked in animal fat and then ignited
c. 4500 BCE oil lamps began to appear
c. 3000 BCE candles were invented.
c. 900 CE Muhammad ibn Zakarīya Rāzi, a Persian scholar, invented the kerosene lamp
1780 Aimé Argand, a Swiss physicist and chemist, improved oil lamp efficiency and performance with improved
oils and the use of glass chimneys to draft the flame
1792 William Murdoch, Scotland, began experimenting with gas lighting and probably produced the first gas
light in this year.
Regardless of the technology, even if it was just flame, the wide adoption of a lighting method was based on
“the most light for the least cost” and this persists today.

IES Fundamentals of Lighting, Module 1 8

 A BRIEF HISTORY

1840 1860 1880 1900 1920 1940 1960 1980 2000 2020

www.ies.org| © Illuminating Engineering Society, 2023

www.ies.org FOL 1-9
Image 1911, ‘Grand Elm Street Illumination’. George W. Cook
Dallas/Texas image collection

Additional advances in lighting. Each lighting technology consists of a system of parts; each of those
parts represents a certain innovation that permits the entire system to work, and there is a key light
source.
• Incandescent: key light source is the filament. Edison used trial and error experimentation to
determine which filament material would be most feasible for his initial filament bulb. Subsequent
improvements included “coiled coil” filament configurations. The gas filling the lamp’s bulb was
another consideration, and various gasses were used to extend the filament’s life span.
• Fluorescent: This light source is based on producing invisible electromagnetic energy, UV light,
which in turn is used to excite phosphors on the lamp’s bulb that produce visible light. The
innovations here include the electrodes, the gasses inside the lamps, and the reduction of the
mercury used to provide the initial electrons of energy.
• Metal halide: Scientists experimented with various ways of applying electricity to cause gases to
glow under various pressures. They also knew that a material would produce the sort of light that
was present in its chromatographic spectrum. Knowing this, by combining glowing gas under high
pressure with metal salts that produced a suitable spectrum, they were able to boost the amount
of white light produced.

IES Fundamentals of Lighting, Module 1 9

 WHERE ARE THEY NOW?

Light sources at the time of IES founding (1906)

• Kerosene lighting
• Gas lighting
• Incandescent gas lighting with mantles
• Arc lighting
• Incandescent electric lighting
• Moore tube discharge lighting
• Cooper-Hewitt mercury-vapor discharge lighting
• Acetylene lighting

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-10

Important innovators in lighting.

• Nikola Tesla: Tesla experimented with phosphors and high energy, concepts that were eventually used in
the fluorescent lamp.
• Peter Cooper-Hewitt: Patented the mercury vapor lamp. Although this lamp produced a greenish light, it
was a “jumping-off point” for other light.
• Charles Proteus Steinmetz: First to add metal salts to mercury vapor lamps in order to make the light
brighter and less greenish.

IES Fundamentals of Lighting, Module 1 10

 RISE OF LIGHTING DESIGN

DESIGNERS:
IES Lighting Handbook Richard Kelly
(1st edition), 1947
Stanley McCandless
John Flynn

Artificial Light…
M. Luckiesh, 1920
Electric Light in
Our Homes
R. Hammond
…Lighting the Stage
S. McCandless, 1958
www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-11

1930s Richard Kelly, USA, became a pioneer in the foundation of the lighting design profession through his
work on the Kimball Art museum and the Seagram Building.
1946 H. Richard Blackwell, USA, developed a system for specifying illuminance criteria, adopted by IESNA in
1958
1947 Robert McKinley, USA, edited first edition of the IESNA Handbook
1950s Stanley McCandless, USA, authored A Method of Lighting the Stage, the pioneering stage lighting
reference

IES Fundamentals of Lighting, Module 1 11

 LIGHTING THROUGH THE AGES
…1800’s 1800-1900 1900-40 1940-80 1980-2010 2010…

Age of Flame. Age of Gas. Age of Age of Age of

Age of Digital.
Wood and oil First exterior Incandescent. Discharge Energy
Evolution of
as light lighting and First practical Sources. Efficiency. LED
sources. then interior. electric Fluorescent Improved LPW technology,
lighting, and HID for replacing
supports replace conventional conventional
changes in incandescent sources, drop sources,
work and in non- in emphasis on
architecture. residential incandescent lighting
applications; usage, new controls and
use of lighting energy codes broader design
grows while and energy- concerns
cost declines. focused design including
practice. sustainability
and wellness.

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-12

IES Fundamentals of Lighting, Module 1 12

 LOOKING AHEAD

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-13

Where might the industry be in 5 years? 10?

IES Fundamentals of Lighting, Module 1 13

 PROFESSIONAL PRACTICE

• A brief history of light and lighting

• Professional practice
• The physics of light
• Vision
• Color
• Light and health

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-14

IES Fundamentals of Lighting, Module 1 14

 PROFESSIONAL PRACTICE IS A TEAM ENTERPRISE

Design Engineering Product Construction Ownership

Lighting General
Electrical Lighting Sales Contractor End User
Designer
Engineer Rep
Electrical Facilities &
Architect Maintenance
Lighting Control Distributor Contractor
System
Interior Designer Specialist
Manufacturer Commissioning
Specialist
Landscape BIM Specialist
Architect

Theater
Consultant

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-15

Professional paths in the lighting industry vary, like those in the architecture field. Successful design and
installation of a lighting project is a team effort.

IES Fundamentals of Lighting, Module 1 15

 THE DESIGN PROCESS

Programming Contract/Const
Schematic Design
(includes ruction
Design Development
research) Documents
1 2 3 4

Occupancy &
Bidding & Post-
Construction
Negotiation Occupancy
Evaluation
5 6 7

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-16

Get feedbacks & help

for next projects
The process can be described simply as follows:
A need for new construction is recognized by the client.
The client engages people who have the ability to create that ‘something new’ and a design team is brought
together to learn more about the client’s needs, and the team conducts additional research. (Programming
phase)
The representatives of the design team who are working with the client develop those needs into the type of
“picture” that provides the people in their profession with an understanding of the project (Schematic design)
That understanding is further refined into a design (Design development) through collaboration, which design is
ultimately described in a detailed set of documentation that is the plan for the project. (Construction docs)
Various other practitioners are brought into the project, such as a general contractors, that can execute on the
plan. They are asked to provide their estimates for the work. (Bidding/Negotiation)
The work proceeds according to plan. (Construction)
The client then occupies the new construction and evaluates the delivered construction against their needs
(Occupancy/post-occupancy)

IES Fundamentals of Lighting, Module 1 16

 THE PHYSICS OF LIGHT

• A brief history of light and lighting

• Professional practice
• The physics of light
• Vision
• Color
• Light and health

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-17

IES Fundamentals of Lighting, Module 1 17

 WHAT IS LIGHT?

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-18

What is light?
What does light enable us to do? Light has many meanings--and could mean different things in different
situations. Is the light of the noon-day desert sun the same light as the light of a foggy evening? Is the strong
beam of a theatrical light the same as the glow of candlelight? Instinctively we know that they are not the same,
but how well are we able to articulate the various attributes and qualities of that ephemeral entity we know as
“light?”
Physics presents optical radiation as a wave-particle duality.

IES Fundamentals of Lighting, Module 1 18

 망막

LIGHT IS…

“Light is radiant energy that is capable of exciting the retina

and producing a visual sensation. The visible portion of the
electromagnetic spectrum extends from about 380 to 770
nanometers”.

IES RP-16-10 Nomenclature and Definitions for Illuminating Engineering

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-19

In order to truly understand this definition, we will need to understand the terminology and what it describes.
We will discuss nanometers in a moment. “Light is the energy that enables us to see”…Can we see dark? What
is dark?

Two eyes help perceiving the depth.

IES Fundamentals of Lighting, Module 1 19

 light of speed

DID YOU KNOW?

Light travels in a straight line at 186,000 mi/s or 300,000 km/s - equivalent to

going 7.5 times around earth in one second.
Light travels from sun to Earth in only 8 minutes.

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-20

Light is one of the most omnipresent physical phenomenon we are aware of with our five senses.
It informs us about every other physical phenomenon we encounter, yet we can only theorize about its actual
nature.
We can't see light itself, but rather the interaction of light and surfaces: everything we perceive with our visual
sense is the effect of light's behavior.

IES Fundamentals of Lighting, Module 1 20

 LIGHT AS A WAVE

Wavelength

Wavelengths of light are typically

measured in nanometers (nm), or
billionths of a meter

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-21

Even though light can behave as both particle and wave, it is useful to focus on “light as wave” for several
reasons, including its relationship to light and color – which will be discussed shortly.

Wavelength is the “size” of a periodically occurring wave, measured as the distance between any two
corresponding points on successive waves, usually peak-to-peak or trough-to-trough.

Frequency is how often one part of the wave occurs per second. If you think about it, wavelength and
frequency should have a reciprocal relationship. In other words, with the speed of light being constant, the
shorter the wavelength, the more frequently a particular wave occurs per second.

Wavelike behavior contributes to our understanding of both color and optics.

IES Fundamentals of Lighting, Module 1 21

 THE ELECTROMAGNETIC SPECTRUM

Increasing wavelength →
← Increasing frequency

Light is “visually perceived radiant

energy,” and it is one small portion of the
electromagnetic spectrum.

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-22

The simplest definition of light is “visually perceived radiant energy.” “Visible” light, then, is just a small segment
of what we call the “electromagnetic spectrum” — a broad range of radiant energy that also includes X-rays,
ultraviolet and infrared energy, microwaves and radio waves. This small segment is what stimulates our visual
system and enables us to see. Any form of electromagnetic energy, including light, radiates outward from its
source in straight lines at “the speed of light.”
The wavelengths of light that stimulate the human visual system range from approximately 380 to 770 billionths
of a meter. And since a billionth of a meter is a nanometer, we say that light, as part of the electromagnetic
spectrum, occurs in the range of wavelengths from 380 to 770 nanomenters (nm).

IES Fundamentals of Lighting, Module 1 22

 LIGHT AS A PARTICLE 공전

When energy excites a material, this

causes electrons in the atoms of that
material to 'jump' to higher orbits, then
slow back down to lower orbits pulled
there by the strong force of nuclear
attraction.

When electrons lose energy by slowing to

a lower orbit, that energy is emitted as
photons.
광자:
an elementary particle that is a quantum of the
electromagnetic field, including electromagnetic radiation
such as light and radio waves, and the force carrier for
the electromagnetic force.
www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-23

This 'jumping/slowing' cycle occurs as long as the electric energy is applied to the material.

IES Fundamentals of Lighting, Module 1 23

 PHYSICS AND LIGHT: SUMMARY

• Light is electromagnetic radiation, energy, that enables vision

• Light comprises a very small band of the overall electromagnetic spectrum and
extends from 380nm (violet/blue) to 770nm (red).
• Shorter wavelengths have higher frequencies and carry more energy.
• Non-visible wavelengths of light, particularly ultraviolet and infrared, can affect our
environment and impact our health.
• Light has particle-like behaviors and wave-like behaviors: each of these behaviors
can help us better understand the nature of light.

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-24

IES Fundamentals of Lighting, Module 1 24

 VISION

• A brief history of light and lighting

• Professional practice
• The physics of light
• Vision
• Color
• Light and health

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-25

IES Fundamentals of Lighting, Module 1 25

 VISION: FOUR COMPONENTS

Source Interpreter

Receiver
Reflecting
Surface
(modifier)

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-26

The visual system is perhaps the most important sensory system for humans, as vision is our primary means of
interacting with and learning about our world.
Our eyes and brain are the primary organs of our visual system; however, our ability to see is as dependent
upon light and objects as it is on our biology.
Vision is the result of a complex interaction of four components:
Source: Light is emitted from a source (the sun, an electric lamp, etc.) and then interacts with surfaces and
objects in a space.
Modifier: Light reflected from or transmitted through an object or surface is modified (i.e., it is no longer the
original direct light source) and is then directed into our eyes, where it is processed by the visual system.
Eye: The eye acts as the receiver of light stimuli and initiates neural processing.
Brain: Nerve impulses from the eyes, which are initiated by light, are interpreted in the brain, thus bringing
perception to consciousness , resulting in vision.

IES Fundamentals of Lighting, Module 1 26

 blind spot

THE HUMAN EYE

Vitreous
Iris Lens
humor
Aqueous
humor Fovea

Optic
Nerve

Retina
Ciliary
Pupil Sclera
body

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-27

We focus on the eye and the brain in this module. The optical components of the eye are those through which
light travels, including:
Cornea- transparent surface of the eye
Aqueous humor- a transparent gelatinous fluid, comprised mostly of water, between the lens and cornea
Pupil- circular opening through which light enters the eye.
Iris- muscular tissue that surrounds the pupil and adjusts its size,
Lens- focuses light entering the eye onto the light sensitive receptors on the back of the eye
Vitreous humor- the inner transparent gelatinous filling inside the eye. It is similar to the aqueous humor in that
it consists of primarily water, but also includes a network of flexible collagen fibers that supports the eye.
The retina is the innermost layer of the eye that contains receptor cells, nerve cells, and blood vessels that
supply nutrients to these cells.
The choroid supplies the outer retina with nutrients, and maintains the temperature and volume of the eye.
The choroidal circulation, which accounts for 85% of the total blood flow in the eye, is a high-flow system with
relatively low oxygen content. The conjunctiva, a thin layer of tissue lining the eye and eyelids, contributes to
homeostasis of the tear film, provides a layer of protection from foreign material and wards off infection.
The sclera, a dense connective tissue made of collagen and elastin, encapsulates the eye, giving it structure
and rigidity.

IES Fundamentals of Lighting, Module 1 27

 망막
THE HUMAN RETINA

Blind spot

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-28

The retina is a collection of cells converts the electromagnetic energy (light) to chemical signals and, finally, to
electrical impulses that nerve cells in the retina begin to process and then deliver to the brain.
The retina contains two classes of visual receptor cells: rods and cones, which are named for their shape. The
typical human eye has about 100 million rods and about 40 million cones.
These receptors are distributed differently throughout the eye and perform different functions.
There is also a “new” class of photoreceptor – ipRGCs – intrinsically photosensitive retinal ganglion cells. These
cells respond to optical radiation and contain melanopsin and affect the human circadian pacemaker (the
day/night cycle).

IES Fundamentals of Lighting, Module 1 28

 What we visualize
PHOTOPIC, SCOTOPIC, AND MESOPIC VISION

Photopic Mesopic Scotopic

Receptors Cones Rods and cones Rods
Color
Full color vision Some color vision Black and white vision
Sensitivity
Visual
Excellent Diminished Very poor
Acuity
Operating
Range Daylight and nearly all Bright moonlight and Dark night sky
(typical) interior lighting conditions most street lighting (no electric illumination)

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-29

Review the table so that the terms “photopic,” “scotopic,” and “mesopic” are generally understood in terms of
their relationship to the visual system.

not use anymore

since we use LED
light

IES Fundamentals of Lighting, Module 1 29

 ADAPTATION

LIGHT ADAPTATION
Adapting from extreme dark to extreme light conditions
can be uncomfortable and momentarily disabling (like
glare) but takes only a few seconds.

DARK ADAPTATION
Adapting from extreme light to extreme dark conditions is
not typically uncomfortable but can take up to 20
minutes for full adaptation. This can cause unsafe
conditions, particularly while driving or moving into a dark
environment, such as a parking garage or movie theater.

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-30

Our eyes permit us to see objects over a wide range of light levels, from dim starlight to bright sunlight (a range
of over 1012:1).
This adaptation permits us to see comfortably across a limited range at one time and will cause problems if we
are exposed to a different level than that to which we are adapted.
When we switch between different extremes of lighted environments, from daylight to dark or vice versa, there
is some amount of time needed for our vision to adapt.
Dark adaptation refers to the adjustment of our eyes to lower light levels, and light adaptation is the adjustment
higher light levels.
When designing lighting for areas that require occupants to move through a space and adjust from light to dark
or dark to light, transition spaces with intermediate lighting can be employed to cause a gradual adjustment and
maintain safe conditions.

IES Fundamentals of Lighting, Module 1 30

 VISIBILITY

• Task size

• Contrast
• Color
• Luminance
• Speed Time
• Age

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-31

The four main factors of visibility include Size (or relative size given distance), Luminance, Speed or Time and
Contrast. Color is another but is more difficult to assess. Age is also sometimes considered to be one of the
“factors of visibility”.
LUMINANCE How much light is reflected in a particular direction into your eyes?
SPEED/TIME How long do you have to view an object, such as a street sign?
CONTRAST Tasks of high contrast will require less light than low contrast
COLOR Photoreceptors in the eye, light source spectral power density, and object color all may affect visibility
AGE The visual system deteriorates with age, thereby reducing visibility

IES Fundamentals of Lighting, Module 1 31

 VISIBILITY: TASK SIZE

Landolt rings
when person has a
problem in len with
lack of uniformity

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-32

The effect of size on visibility does not mean the physical size of the object being viewed. Size, for visual
purposes, refers to the visual angle that an object makes at a particular viewing distance. For example, an
object such as a ball may have a physical size of 15 cm diameter and be visible to a person from 2 meters
away. Yet that same 15 cm ball placed at 1 kilometer from the person may not be visible.
Visual angle is typically measured in degrees or minutes of arc. Size is used to test the quality of our vision in
the standard Snellen Eye Chart, which is viewed at a standardized viewing distance. The smaller the print we
are able to read on the chart, the better is our visual acuity. Sometimes acuity is measured by showing different
sizes of Landolt rings. Subjects are asked to determine whether the opening in the ring is located in the up,
down, left, or right position as they are presented with decreasing ring sizes.

IES Fundamentals of Lighting, Module 1 32

 VISIBILITY: CONTRAST AND COLOR

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-33

Instructor notes
Contrast is defined as the magnitude of the luminance difference between an object and its background, divided
by the background luminance.
It is a measure of the relative difference in the amount of light leaving an object and its background that enables
one to see an object.
This contrast enhances the edge of the object, which is revealed to the eye and the brain.
When the task is brighter than the background, this is referred to as positive contrast, and when the task is
darker, it is negative contrast. In any case, the higher the contrast, the greater the difference between the
detail and its background, which makes an object easier to see or to detect.
When the contrast is low, visibility and visual performance are reduced.

IES Fundamentals of Lighting, Module 1 33

 VISIBILITY: SPEED AND TIME

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-34

In general, a person must take more time to accomplish a task accurately when visibility is reduced, whether
by low light levels or reduced contrast.
When we work at the same pace under reduced visibility conditions, then accuracy will almost certainly be
compromised.
Ask participants to name some tasks where time is a critical aspect of visibility. Answers may include factory
production work, sports, highway driving, etc.

IES Fundamentals of Lighting, Module 1 34

 VISIBILITY: AGE

The Smith-Kettlewell Institute

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-35

Deterioration occurs in a number of different areas as we age. For example, the lens may also yellow, which
results in the absorption of blue light. An older person is therefore more likely to have problems distinguishing
blues and greens, and will also have reduced night vision.
Another change that occurs is that the pupils of older people tend to be smaller. Older adults therefore have
more difficulty seeing under low light conditions and some difficulty adapting to these conditions.
The figure in this slide shows the reduction of vision functions and its impact at various ages of the elderly.

IES Fundamentals of Lighting, Module 1 35

 VISIBILITY: LUMINANCE

Luminance expresses light directionally

reflected from or transmitted through a
Source Interpreter
surface to the viewer.
Receiver
Reflecting
Luminance is a function of the source, the Surface
(modifier)
modifier, and the angle to the viewer.

Luminance improves visual acuity but with

diminishing impact.

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-36

The slide is self explanatory. The pictures are showing two situations where people are reading maps – the top
one shows how a small increase in luminance will make a big difference, whereas the bottom image shows that
the task is already visible and increasing luminance will likely have no effect at all on visibility.

IES Fundamentals of Lighting, Module 1 36

 VISUAL COMFORT

Direct glare Veiling reflections Reflected glare

Luminance ratios

check IES for

proper ratio level.

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-37

1. Luminance ratios deal with luminance differences in a person's field of view. To see the detail of an object
(print), there needs to be contrast between the print and the background (paper), which is a luminance
difference.
2. Veiling reflections are specular (or almost mirrorlike) reflections that occur from a polished or shiny surface
and act like a “veil” that obscures visibility. The luminance of the reflection decreases the contrast of the detail
on the material’s surface. Veiling reflections are sometimes considered to be a form of reflected glare.
3. Glare is defined as excessive brightness that causes annoyance, discomfort and/or a loss in visibility. The
proper definitions of the different forms of glare are important to remember. Direct glare is due to any
excessively bright source of light, coming directly to the eyes, causing discomfort and/or a loss in visibility.
Reflected glare from surfaces in an environment may also produce similar discomfort, as when direct sunlight
is admitted to a space and reflects off a light colored wall.
Discomfort glare is a form of direct glare caused by a light source in the field of view that makes vision
uncomfortable but does not necessarily interfere with visual performance or visibility. Disability glare, on the
other hand, is the effect of stray light in the eye that causes a reduction in visual performance and visibility.

IES Fundamentals of Lighting, Module 1 37

 FLICKER

Common end user complaint with growing recognition and concern.

Older fluorescent lamps with magnetic ballasts & LED products.
Can be caused incompatible dimmers and electronics.

vision visual experience

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-38

Light flicker refers to quick, repeated changes- light that appears to flutter and be unsteady, rapidly changing
from bright to dark, best described technically as rapid changes in luminous flux and luminance contrast.
It is caused when the voltage supplied to a light source changes or when the power line voltage itself fluctuates.
All light sources flicker to some extent. Flicker is a cyclical variation in the output of a light source. Early
fluorescent lamps with magnetic ballasts evidenced flicker as a result of alternate current. Magnetic ballasts
would modify the voltage supplied to the fluorescent lamps but would not alter the power line frequency (EU
50hz, US, Canada, Australia 60hz) so the light output might vary accordingly.
New, energy-efficient electronic ballasts take the 60 hz supplied power and convert it to a much higher
frequency. (20 khz-60 khz)
LEDs use drivers that are directly connected to the AC line.
Drivers convert the AC current to DC current at a voltage suitable for LEDs
There is risk that visible flicker may occur if drivers are not correctly designed: for example, when dimming
LEDs, flicker may occur when LEDs are driven at less than 100% power.

IES Fundamentals of Lighting, Module 1 38

 BRIGHTNESS PERCEPTION

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-39

White Dog effect - The grey squares in the black and white lines have the same reflectance. Simultaneous
contrast
is the heightening of the difference in brightness when objects are placed next to each other.

IES Fundamentals of Lighting, Module 1 39

 PERCEPTION AND CONTRAST

What do you see?

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-40

Spotting effect - At the intersections of the dark squares on the contrasting field, dark spots appear.
Ceiling light fixtures can have the same effect when the layout is alternating dark and bright illuminated areas.

IES Fundamentals of Lighting, Module 1 40

 Why? eyes want to
make the view in
PERCEPTION AND ILLUSION 3D so that the
illusion happens

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-41

This slide demonstrates perceptions of images.

Size illusion - The two lines are the same length. The arrows that close the line on the bottom make it appear
shorter.
The size of objects are compared when viewed in the same field.

IES Fundamentals of Lighting, Module 1 41

 VISION: SUMMARY

• Vision relies on four components: a light source, a 'modifier' of that light

(reflecting or transmitting objects), the eye, and the brain.
• Cones are most involved in sensing color in higher light levels and visual acuity; they
are responsible for visual photopic vision.
• Rods are more attuned to seeing contrast and motion: they require less light input
and provide scotopic vision, low-light or “night” vision.
• Adaptation refers to the adjustment of our visual system to lower or higher light
levels, than what is currently experienced.
• Visibility depends on task size, contrast, color, luminance, time or speed, and
age.

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-42

IES Fundamentals of Lighting, Module 1 42

 COLOR

• A brief history of light and lighting

• Professional practice
• The physics of light
• Vision
• Color
• Light and health

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-43

IES Fundamentals of Lighting, Module 1 43

 WHAT IS A RAINBOW?

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-44

Can you see a rainbow on a dark and overcast day?

From Wikipedia, the free encyclopedia. (April 2008)
Semi-circle double rainbow (second one barely discernible) in Wrangell-St. Elias National Park, Alaska.
Supernumerary rainbows can be seen on the inside of the primary arc.
Rainbows are optical illusions and meteorological phenomena that cause a spectrum of light to appear in the
sky when the Sun shines onto droplets of moisture in the Earth's atmosphere. They take the form of a
multicolored arc, with red on the outer part of the arch and violet on the inner section of the arch. More rarely, a
secondary rainbow is seen, which is a second, fainter arc, outside the primary arc, with colors in the opposite
order, that is, with violet on the outside and red on the inside. This secondary rainbow occurs when there are
two internal reflections from the raindrop.
A rainbow spans a continuous spectrum of colors. Rainbows can be caused by other forms of water than rain,
including mist, spray, dew, fog, and ice. Moreover, rainbows can have shapes other than a bow (arc), including
stripes, circles, or even flames.

IES Fundamentals of Lighting, Module 1 44

 REFRACTION OF WHITE LIGHT THROUGH A PRISM

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-45

In the late 1600s, Isaac Newton performed an experiment that involved splitting daylight into a spectrum of
colors by refraction through a glass prism – yielding a rainbow!
Newton showed that different wavelengths of light elicit different color sensations.
In Newton’s experiment, and in all seeing, light is the stimulus. It is the energy that enters the human visual
system and initiates vision.
The visual system interprets these wavelengths and subconsciously assigns them different color perceptions.
Though it is common and convenient to assign different color sensations to different wavelengths of light, it is
also fundamentally wrong.
The wavelengths themselves have no color. Color is a construct of vision. Color is a perception.

IES Fundamentals of Lighting, Module 1 45

 LIGHT AND THE ELECTROMAGNETIC SPECTRUM

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-46

Understanding that light is made up of different wavelengths is important in understanding the nature of the light
produced by any light source, including electric light sources.
This shows that shorter wavelengths, near the 400 nm end of the range will produce a “blue” sensation,
provided the viewing conditions are appropriate of course. Medium wavelengths, in the 500 to 600 nm portion of
the range, will produce a “green” or “yellowish” color sensation. And longer wavelengths will produce a “reddish”
color sensation.

IES Fundamentals of Lighting, Module 1 46

 manufacturers
make LED like
SPECTRAL POWER DISTRIBUTION daylight

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-47

Understanding that light is made up of different wavelengths is important in understanding the nature of the light
produced by any light source, including electric light sources.
The composition of light from lamps and from daylight can be broken down into individual wavelength
components and plotted on a graph known as a Spectral Power Distribution (SPD).
SPD graphs show the relative amounts of power at each wavelength, through the entire spectrum of light.
Two SPDs are shown here – one for noontime sunlight and one for an LED source to demonstrate the concept.
There will be more discussion of SPDs in Module 2.
The importance of light source spectral power distribution becomes important for normal vision needs, but also
plays a role in those with color vision deficiencies, such as total color blindness and partial color blindness (red-
green or blue-yellow). When one of the three cone types is deficient or absent in a person’s eye, that person is
referred to as being “color blind”, i.e., lacks the ability to distinguish certain colors, or is referred to as having
color deficient vision, depending on the severity of the altered color vision. Approximately 8 percent of the
human male population and 0.2 percent of the female population has some form of color blindness.

IES Fundamentals of Lighting, Module 1 47

 SPECTRAL POWER DISTRIBUTION

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-48

Understanding that light is made up of different wavelengths is important in understanding the nature of the light
produced by any light source, including electric light sources.
The composition of light from lamps and from daylight can be broken down into individual wavelength
components and plotted on a graph known as a Spectral Power Distribution (SPD).
SPD graphs show the relative amounts of power at each wavelength, through the entire spectrum of light.

Additional SPDs are shown here. This time a fluorescent lamp and an LED lamp. There will be more discussion
of SPDs in Module 2.

IES Fundamentals of Lighting, Module 1 48

 SPECTRAL REFLECTANCE AND OBSERVED COLOR

Spectral Power Distribution Spectral Reflection Distribution Reflected Spectral Distribution

Daylight Red Apple

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-49

Objects themselves do not have an inherent color; rather they reflect, transmit, and absorb various wavelengths
of light in different proportions. When an object is viewed under various light sources both the object and the
light contribute to color appearance (what we see). On the left, the spectral power distribution of daylight just as
we saw SPDs for electric sources in the previous slides. In the center, is a red apple’s spectral reflection
distribution, or SRD. And on the far right, is how this red apple would appear to us in daylight. If we swapped out
daylight for a different source, the reflected spectral distribution would change (even if the apple remained the
same). A key point in understanding color is to understand that the color we see in objects is the result of the
spectrum of light energy that reaches our eyes, which itself is a result of the complex interaction between the
spectrum of light produced by the light source and the modification (i.e., reflection, transmission, or absorption)
of that spectrum by an object.

IES Fundamentals of Lighting, Module 1 49

 OBJECTS HAVE NO COLOR

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-50

Objects do not actually have color, they only have the ability to reflect color from the light source that is present.
Without light, we cannot see color – as illustrated in the photo of the deep water fish shown: the deep water has
absorbed the lower energy red and yellow wavelengths of light, where only higher energy blue wavelengths
penetrate. As a result, fish that would otherwise appear brightly colored appear dull.

IES Fundamentals of Lighting, Module 1 50

 OBJECTS HAVE NO COLOR

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-51

Ultimately, there are three elements necessary for us to perceive color – light, objects, and vision
This slide demonstrates that if “red” is the desired color outcome, then “red” must be present in the light source
and “red” must also be present in the spectral reflectance of the object being illuminated.
Obviously, the human being viewing the illuminated object must also be “color normal” and be able to interpret
the result as “red.”

IES Fundamentals of Lighting, Module 1 51

Colour theory

ADDITIVE COLOR MIXING

B
M
Y
G

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-52

The basic idea behind additive color mixing is that as different wavelengths combine, the resultant effect on our
visual system is the sum of the individual colors. For example, if red and green colors are mixed together, the
resulting sensation is of yellow light. If red, green, and blue colors are added together, the resulting sensation is
white light.
Therefore, we say that the “primary colors of light” are red, blue, and green, because these three can combine
to make white light.
If you can, demonstrate additive color mixing using the primary colors red, green and blue by using projectors or
colored reflector lamps aimed at a white screen.

IES Fundamentals of Lighting, Module 1 52

 SUBTRACTIVE COLOR MIXING

Y
R

G
B

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-53

A schematic representation of subtractive color mixing using cyan, magenta, and yellow paints. The secondary
colors shown are where two filters overlap are blue, red, and green.

IES Fundamentals of Lighting, Module 1 53

 CHROMATICITY AND COLOR SPACE

Chromaticity Diagram
www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-54

Chromaticity is an objective specification of the quality of a color or a light source regardless of its luminance.
An international organization, the Commission International de L'Eclairage (CIE), worked in the first half of the
20th century to develop a method for systematically measuring color in relation to the wavelengths they contain.
This system became known as the CIE color model.
One of the most commonly used tools in the CIE color system is the CIE chromaticity diagram, which is a two-
dimensional map of color. While there are really 3 dimensions, it has been constructed so that if you know any
two coordinates you can find the third. This graphic shows how the 1931 CIE chromaticity diagram is
constructed—rather like a bent horseshoe. This particular version shows the wavelengths of light (in
nanometers) along the outer perimeter. X and y axes are included, along with a bent line in the center that
represents the blackbody locus, discussed later in this module.

A chromaticity diagram is like a map of color.

IES Fundamentals of Lighting, Module 1 54

 THE LANGUAGE OF COLOR

Hue
Saturation
Lightness

Hue
Saturation
Lightness

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-55

The ‘Hue,’ ‘Saturation,’ and ‘Lightness’ settings in image editing software are a terrific visual demonstration of lighting
color terminology. How does each of the slider bars above impact the perception of this apple?
Hue is the perceived color (e.g. red, yellow, green or blue)
Saturation is, roughly, how intense a given hue is. As per IES/ANSI LS-1-22, saturation is “The attribute according to
which it appears to exhibit more or less chromatic color, judged in proportion to its brightness. In a given set of viewing
conditions, and at luminance levels that result in photopic vision, a stimulus of a given chromaticity exhibits
approximately constant saturation for all luminances.”
Lightness is, roughly, the relative degree of black/white mixed with a hue. As per IES/ANSI LS-1-22, lightness is “The
brightness of an area judged relative to the brightness of a similarly illuminated area that appears to be white or highly
transmitting.”

IES Fundamentals of Lighting, Module 1 55

 BLACKBODY RADIATOR AND COLOR TEMPERATURE

As iron is heated in a blacksmith’s forge,

it glows in a series of colors: first red, then
orange, then yellow and finally white.

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-56

The “color temperature” of a light source is a numerical measurement of its color appearance.
In actual practice, blackbody radiators, not iron in a blacksmith’s forge, are used to assign color temperature
to light sources. The blackbody radiator is theoretical. The blackbody radiator does not exist in the real world: it
is a theoretical object that glows in a continuous spectrum as it is heated without changing state (ie. melting into
liquid).
Looking to the chart on the right, which temperature would be most appropriate for a high-end restaurant? How
about an office?

IES Fundamentals of Lighting, Module 1 56

 CORRELATED COLOR TEMPERATURE

Correlated Color Temperature

(CCT) is a measure of warmth or 4000K

coolness of a light source’s

appearance.
4000K

It is measured in kelvin (K).

4000K

Chromaticity Diagram (left)

(right) 3 selections along the 4000K iso-CCT line, showing
www.ies.org | © Illuminating Engineering Society, 2023 acceptable (but sometimes undesirable) difference within 4000K. FOL 1-57

Correlated Color Temperature (CCT) is a measure of warmth or coolness of the color of an artificial light
source. It is expressed in degrees Kelvin.

Color temperatures can vary, though. If you select three sources of 4000K, the iso-CCT lines (straight lines)
represent an “acceptable” range of what 4000K is.

IES Fundamentals of Lighting, Module 1 57

 IMPACT OF COLOR TEMPERATURE

Warm light source (3000K) Cool light source (5000K)

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-58

The correlated color temperature provides a way to refer to the color of the light itself compared to the
corresponding light emitted by a blackbody at that temperature.

Color rendering refers to the ability of a light source to accurately portray colors, tested with a sample set of
standardized color tiles.

There is an interaction between CRI and CCT, where light sources with a CCT closer to that of sunlight will tend
to render colors more naturally, but these are completely separate measures.

IES Fundamentals of Lighting, Module 1 58

 COLOR RENDERING

POOR FAIR GOOD EXCELLENT

Color Rendering expresses how well a light source shows the color of objects.

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-59

The Color Rendering Index (CRI) is a scale that defines how closely a light source renders a set of test color
samples as compared to a standard. The higher the number, the closer the test color samples are rendered to
those of the standard.
In short, the CRI is intended as a measure of how accurately colors appear under a light source, using a range
of colors.
CRI is measured on a scale of 0-100 and is an average of the individual rendition scores.
Remember to make the point that CRI values should only be compared between or among sources of the same
or similar color temperature.
CRI is a guide, not an absolute. For example, if you have two warm light sources, one with a CRI of 70 and
another with CRI 75, it would be difficult to tell the difference.
Using the lamp sources brought for demonstration compare lamps with similar CCT and different CRIs.

IES Fundamentals of Lighting, Module 1 59

 COLOR RENDERING: CRI

• Color Rendering Index (CRI)

measures the fidelity of a light source
compared to a reference of the same CRI: 8 Color Samples
CCT
• CRI measures how much reflected light
from the the test source differs the
reference
• CRI is reported as an average, but
values for specific colors can be
reported as well
• CRI dates from 1965

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-60

Light sources are assigned a CRI based on how similarly they render a set of eight object colors compared to a
reference light source. For lamps with a CCT below 5000 K, the reference source is a blackbody radiator
operating at the same color temperature. For lamps with a CCT greater than 5000 K, the reference source is a
mathematical model of daylight derived from measurements of the daylight spectrum.
Lamps that, on average, render the eight test colors very similarly to the test source will have a high CRI;
conversely, lamps with a low CRI produce a large color shift when compared to the standard. The set of eight
standard colors for determining CRI are shown in this slide.
CRI is readily available on manufacturer websites but is quickly being displaced by IES/ANSI TM-30 metrics
due to its inherent limitations.

IES Fundamentals of Lighting, Module 1 60

 more than 8
colours now

COLOR RENDERING: IES TM-30

• ANSI/IES TM-30 describes a method for evaluating light TM-30: 99 Color Samples (CES)
source color rendition that takes an objective and
statistical approach, quantifying both overall average
properties (color fidelity, gamut area) and hue-specific
properties (fidelity, chroma shift, hue shift)
• Like CRI, IES TM-30-20 is based on comparisons of
colors as rendered by a test source and a reference at
the same CCT.

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-61

Accurately quantifying the color rendition characteristics of a light source is a complex problem. Color rendition
affects many subjective perceptual attributes of a space, including naturalness, vividness, preference,
normalness, and visual clarity. Traditionally, there have been distinct approaches for characterizing color
rendition, focusing on concepts such as color fidelity, color discrimination, or color preference, and often relying
on a single number characterization. These approaches vary in their relationship to any given subjective
impression. Regardless of approach, there is no one metric or measure that can accurately quantify all
subjective perceptions of color rendition or identify the most desirable light source for every application.

IES/ANSI TM-30 describes a method for evaluating light source color rendition that takes an objective and
statistical approach, quantifying both overall average properties (color fidelity, gamut area) and hue-specific
properties (fidelity, chroma shift, hue shift) of a light source using numerical and graphical techniques.

This method utilizes 99 color evaluation samples (CES)— each represented by a spectral reflectance function—
to quantify the difference in color rendition between the test source and reference illuminant. The samples were
statistically down-selected from an initial collection of more than 100,000 measured objects, in order to be
representative of the world of possible colors.

IES Fundamentals of Lighting, Module 1 61

 COLOR RENDERING: IES TM-30

(left) method of displaying TM-30 information

can see a red
(99 CES Color Sample Fidelity) colour
accurately
rather than
yellow -->
perceiving red
higher than
(right) CES Color Sample Fidelity data is plotted into a Color yellow
Vector Graphic to show: Fidelity (Rf) by deviation of red plot
from black reference illuminant.
Gamut (Rg) (chroma shift) indicated by direction of small
arrows.

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-62

(Top) IES/ANSI TM-30 utilizes 99 color evaluation samples as opposed to the original 8 color samples utilized
by the CRI metric.

The color vector graphic (bottom) is a visual representation of hue and chroma shifts around the hue circle,
which may be referred to as gamut shape.

IES Fundamentals of Lighting, Module 1 62

 GAMUT

• Color Vector Graphics (right) illustrate This light source will

both Rf and Rg impacts on color
render greenish-
rendering.
yellows vividly
• Gamut shows average color shift, (oversaturated)
indicating saturation differences from
the reference illuminant.
• Most people prefer somewhat saturated This light source will
color. cause
magentas/reds/red-
• Rg can exceed 100, indicating that colors orange to render less
are “oversaturated”. vivid (under-
saturated).

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-63

How does the gamut vary between the samples listed above? What impact might the shift in the vector graphic
have upon color quality?

IES Fundamentals of Lighting, Module 1 63

 COLOR TERMS

• Color Temperature: the ”whiteness” of a light source

• Color Rendering: ability of a light source to show the color in objects
• Fidelity: a metric for color rendition, comparing a light source to a
reference
• CRI: a widely used fidelity metric.
• Chromaticity: the color of a light source, specified in two dimensions.
• Hue: a color (red, green, blue, etc)
• Saturation: the intensity of color (saturated color is not diluted with white)
• Brightness: the subjective experience of light

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-64

IES Fundamentals of Lighting, Module 1 64

 COLOR SUMMARY

• Perception of color:
o Spectrum (Spectral Power Distribution) of the light source
o Spectral reflectivity of the modifier (Spectral Reflection Distribution)
o Retinal cones (color)
o And the brain

• White light is mix of several wavelengths.

• Daylight includes all visible wavelengths
• Electric light sources may include only some wavelengths
• Color experience is subjective, but color can be measured in many ways.

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-65

• When we consider light behaviors, we need to think in “slow motion”: the light is emitted from the source
with a certain level of energy, then travels some distance through air then strikes an object, which then
modifies the light and reflects it. The light source has a certain overall production of light, a certain
'availability' or intensity of light in any particular direction, and also a spectrum of colors that comprise that
'white' light.
• Modified/reflected light which enters the eye interacts with the visual components in the retina, then brain.
The wavelengths or 'energy levels' of the light are perceived as colors. Items with color do not “have” that
color: they reflect some areas of the spectrium and absorb others.
• “White light” contains all frequencies of the visible spectrum. To understand which light sources emit what
type of light we refer to the “Spectral Power Distribution” or SPD. Also, light can appear white if the SPD
contains enough of red, blue and green light (as in fluorescent light).
• Color Rendering Index, or CRI is the indicator of the ability of a light source to portray or 'render' colors
from a sample set . A source with a high CRI contains sufficient levels of all spectra such that objects that
reflect any combination of wavelengths will appear as they should.

IES Fundamentals of Lighting, Module 1 65

 COLOR

• A brief history of light and lighting

• Professional practice
• The physics of light
• Vision
• Color
• Light and health

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-66

IES Fundamentals of Lighting, Module 1 66

 THE VISUAL AND CIRCADIAN SYSTEMS

Intensity Spectrum Distribution Timing Duration

Visual System Visual

Appearance
Performance

Performance,
Well-being,
Satisfaction,
and Comfort

Alerting Effects Circadian System Phase Shift

Intensity Spectrum Distribution Timing Duration

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-67

When light enters the eye, most of the signals travel along visual pathways, enabling us to see; however, we
now know that some signals travel another route and are converted into neural signals for the circadian system,
thereby becoming a major factor in controlling the biological clock, located in the brain.
The identical labels at the top and bottom of the graphic indicate the similarities between light used by the visual
system in terms of ascertaining the appearance of a visual object, the effect of light quality on visual
performance and the light used to activate the circadian system. These same factors in circadian light will
trigger alerting effects and the beginnings and ends of phase shifts. So just as the named aspects of the quality
of light affect how visual receptors will cause something to appear to the visual system, these same aspects of
circadian light on circadian receptors will cause circadian alerting effects.

This graphic pulls together:

The difference in the vision and circadian light signal path
The similarity in factors that affect both

IES Fundamentals of Lighting, Module 1 67

 CIRCADIAN RHYTHMS

• Sleep/wake cycle
• Alertness
• Core body temperature
• Hormone production
• Heart rate
• Melatonin secretion
• Impact of light

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-68

Circadian rhythms occur over about a 24-hour cycle

The most important external factor affecting these rhythms is light
But what about the light? What makes it “circadian” light?
Scientists discovered that the light/dark (daylight/night) pattern plays an important role in human health and well being
because it regulates the body’s “circadian” system.
• Circadian rhythms are a result of the earth’s 24 hour rotation around its axis. All creatures are exposed to the 24-
hour cycle of light and dark. Living organisms have adapted to this by developing biological rhythms that repeat at
approximately 24-hour intervals. These rhythms are called circadian rhythms.
• This system is profoundly important for many of our behaviors, as well as our well being.

IES Fundamentals of Lighting, Module 1 68

 LIGHT EXPOSURE AND CIRCADIAN RESPONSE

Quantity

Spectrum

Direction

Time of
day

Duration

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-69

Here are the factors that determine how effective light will be in stimulating a “circadian” response in humans.
Generally, compared with the light needed for vision,
The quantity needs to be higher
The spectrum is on the “blue” side
Timing is critical
Duration must be much longer to elicit a response

IES Fundamentals of Lighting, Module 1 69

 for safety and
security

“PREVENTIVE” LIGHTING

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-70

Quality lighting contributes to improved quality of life and can serve as a preventative measure against common
physical injuries resulting from accidents in the home that tend to increase with age, such as falls. Determining
the required illuminance and calculating the luminances necessary to achieve this level is only the first step in
designing a lighting system, even one as simple as a single lamp in a conventional luminaire. Quantity without
quality is self-defeating. Quality lighting can address a variety of complex physiological goals including visual
acuity, contrast sensitivity, color discrimination, speed of adaptation, absolute sensitivity to light, and sensitivity
to glare.

Outdoor lighting, regardless of the illuminance, will not necessarily reduce or eliminate crime. Where lighting
that addresses normal criteria is introduced as a means to advance public nighttime activity, it might function as
a potential deterrent to criminal activity and provide pedestrians with a sense of security (and a sense of safety).
Higher color rendering helps people better identify and distinguish colors. It is also important that the lighting is
tuned to the nighttime outdoor lighting zone to avoid adaptation issues. Lighting that addresses color rendering,
nighttime outdoor lighting zones, and normal criteria enables users to see and identify surroundings and
potential perpetrators. It is this identification that serves to indirectly deter criminal activity. Perpetrators will
learn that their risk of exposure and identification is greater in such well-designed areas.

IES Fundamentals of Lighting, Module 1 70

 APPLICATIONS FOR LIGHT TREATMENTS

Space Travel

Sleep Disorders

Jet lag

Neonatal
Intensive Care
Units (NICU)

Night-shift Work

Sports
Performance

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-71

Light of the correct characteristics (quantity, spectrum, timing, duration, and spatial distribution) can mitigate
some of the symptoms associated with certain disorders and diseases of the circadian system, including the
following:
Seasonal affective disorder (SAD)
Jetlag
Well-being of premature infants
Sports performance and space travel
Sleep in older adults and in Alzheimer’s patients
Performance night-shift workers

IES Fundamentals of Lighting, Module 1 71

 LIGHT AND HEALTH SUMMARY

• Circadian rhythm: daily cycle of light and dark. Disruption of circadian systems
has adverse health effects.
• Circadian rhythms can be influenced by the quantity, spectrum, spatial distribution,
duration and timing of light (daylight and electric light).
• Flickering or flashing lights at a rate of 15-20 flashes per second can trigger seizures
in some people with epilepsy, and can also exacerbate or trigger other conditions,
such as migraine headaches.

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-72

IES Fundamentals of Lighting, Module 1 72

 MODULE 1: SUMMARY

• Electric lighting is less than 150 years old.

• Vision is based on visible electromagnetic radiation from a source that reflects from
an object, enters the eye and is interpreted by the brain.
• Visibility - task size, contrast, luminance, speed/time and age
• Increasing luminance improves visual acuity but with diminishing effect.
• Color of light is a function of its spectrum.
• Color perception - spectrum of the source, the spectral reflectance of the object, and
the visual system.
• Chromaticity, CCT, and color rendering are key color metrics for light sources
• Light and health is a rapidly expanding field with significant opportunity to enhance
human and environmental well being.
www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-73

IES Fundamentals of Lighting, Module 1 73

 RESOURCES

• Lighting Science Collection: https://store.ies.org/product-category/science/

o LS-7 Vision-Eye-Brain and LS-8 Vision-Perceptions and Performance
o LS-5 Color
o TM-30 IES Method for Evaluating Light Source Color Rendition
o Light and Human Health: An Overview of the Impact of Optical Radiation on Visual,
Circadian, Neuroendocrine, and Neurobehavioral Responses
o Concepts and Language of Lighting

• Lighting Science: Nomenclature and Definition for Illuminating Engineering

https://www.ies.org/standards/definitions/

www.ies.org | © Illuminating Engineering Society, 2023 FOL 1-74

The Lighting Science Collection is free for IES members and features many topics covered in this module.
The link to the Nomenclature and Definition page is free for the public.

IES Fundamentals of Lighting, Module 1 74

 FUNDAMENTALS
OF LIGHTING:
MODULE 1
INTRODUCTION TO
LIGHT AND
LIGHTING

Illuminating Engineering Society

www.ies.org

IES Fundamentals of Lighting, Module 1 75