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Until recently, due to a light-skin bias embedded in colour film stock emulsions and digital camera design, the rendering of non-Caucasian skin tones was highly deficient and required the development of compensatory practices and technology improvements to redress its shortcomings. Using the emblematic “Shirley” norm reference card as a central metaphor reflecting the changing state of race relations/aesthetics, this essay analytically traces the colour adjustment processes in the industries of visual representation and identifies some prototypical changes in the field. The author contextualizes the history of these changes using three theoretical categories: the ‘technological unconscious’ (Vaccari, 1981), ‘dysconsciousness’ (King, 2001), and an original concept of ‘cognitive equity,’ which is proposed as an intelligent strategy for creating and promoting equity by inscribing a wider dynamic range of skin tones into image technologies, products, and emergent practices in the visual industries. Resume : Jusqu’a recemment, en raison d’un prejuge favorisant la peau claire dans les films couleurs et dans la conception des cameras numeriques, la reproduction des couleurs de peaux non-caucasiennes a ete tres deficiente, exigeant le developpement de diverses techniques de compensation et d’amelioration. Utilisant la carte de reference normative « Shirley » comme metaphore pour refleter l'evolution des rapports entre les races et leurs pratiques esthetiques, cet essai analyse les processus d’ajustement de la couleur dans les industries de la representation visuelle et identifie certains prototypes de changements dans le domaine. L’auteur situe ces changements historiquement en se rapportant a trois concepts theoriques : « l’inconscient technologique » (Vaccari, 1981), la « dysconscience » (« dysconsciousness » – King, 2001), et un concept original, « l’equite cognitive », propose comme strategie intelligente pour creer et promouvoir l'equite en inscrivant un plus grand eventail de couleurs de peau dans les technologies et produits de l'image et dans les pratiques emergeantes des industries visuelles.

Looking at Shirley, the Ultimate Norm: Colour Balance, Image Technologies, and Cognitive Equity