As color constancy is standardly conceived, perfect color constancy would involve the apparent colors of objects being completely invariant with respect to changes in illumination (and scene composition). The illuminant would not figure in the way objects look (in respect of color) and an apple or a rose would look the same color under the fluorescent lights of my office or the direct sunlight of the plaza outside. Although we might see lights, the way in which an object is illuminated would play no role in its appearance. Yet it is quite common, particularly in travel writing and writing about art to find statements like the following explanation of why there is so much brightly colored stuff in southern California: "Failing to understand that the beautiful coloring of the land is not a reflection of things, but consists in the peculiar quality of the light itself, newcomers have indulged in riotously incongruous color schemes." (McWilliams 1973) Or to take an even more extreme claim, "The choice and composition of landscape could narrate a feeling of the locale; for the painter George Harvey all of America was definable by the peculiar quality of the light."(Reese and Miles 1996) Now it could be that the authors are thinking of the peculiar appearance of the principle sources of light, i.e. the sun and sky, but I doubt it. They could also be noticing failures of color constancy, consistent shifts in the apparent colors of objects when viewed in the special circumstances of Los Angeles and the like. This is more plausible, but the idea that I would like to explore is the possibility that these writers are responding to the way the things they see are illuminated but not by way of a failure of color constancy. Discussion of this possibility will then lead to a consideration of different ways of understanding some of the processes that give rise to the imperfect degree of color constancy actually possessed by human color vision.