How We Look at Photographs as Indicated by Contrast Discrimination Performance Versus Contrast Preference

Gershoni, Sharon; Kobayashi, Hisato

doi:10.2352/j.imagingsci.technol.(2006)50:4(320)

Cited by 4 publications

(7 citation statements)

References 19 publications

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“…Tinio et al [35] conducted an experiment where subjects looked at 200 photographs of each type. They demonstrated among other things, that degradations in contrast affect judgements of photographs of human-made scenes more than those of natural scenes which contradicted previous findings that the effects of image degradations are similar across various image types [36], [37]. In this case, the explanation given was that natural scenes are more robust or tolerant to contrast degradations than humanmade scenes because humans evolved in and are well adapted to natural environments [38].…”

Section: Experimental Design and Childrencontrasting

confidence: 54%

Exploring children's 'indexical encounter' with real and digitised archive photographs using tablet and large flat screen technologies

Jones

Hall

Hilton³

2012

Proceedings of the 11th International Conference on Interaction Design and Children

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Archive photographs are used widely in heritage education, but the photographic experience and our understanding of it, is poorer than it could be. This is primarily because the learning often fails to harness a photograph's tangible indexical link with the past, but also because the instability of photographic meaning requires that we assign explicit labels for historic purposes, without always being fully cognisant of the impact. Research has shown that manipulating defined realness does affect adults emotional and cognitive responses to photographs, but no similar studies have been undertaken to date with children. Pragmatics of re-creating the experience of looking at actual archive photographs remains a significant barrier, but the uptake of small, mobile tablet devices offers new opportunities to investigate what we have described here as children's indexical encounter with photographs. In this study children were shown matched pairs of natural and staged archive images, across three viewing conditions, (i) as real archive photographs and as (ii) digitised images on tablet and (iii) large flat screen devices. Children's emotional responses to natural archive images was significantly stronger when these were viewed as real archive photographs, but cognitive responses to natural photographs were significantly greater when these were viewed on tablets. Results are discussed with reference to the indexical experience and how an understanding of photographic properties can help tailor better visual learning experiences for children both in a heritage education context and in other disciplines.

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Section: Experimental Design and Childrencontrasting

confidence: 54%

Exploring children's 'indexical encounter' with real and digitised archive photographs using tablet and large flat screen technologies

Jones

Hall

Hilton³

2012

Proceedings of the 11th International Conference on Interaction Design and Children

View full text Add to dashboard Cite

show abstract

“…Furthermore, the preference for the original versions was independent of image category or image region. Gershoni and Kobayashi's (2006) study effectively demonstrated that the photographer's choices regarding contrast corresponded highly with observer preference. Several features of their study are directly relevant to the present study and should be noted.…”

mentioning

confidence: 85%

“…Gershoni and Kobayashi (2005; Experiments 2 and 3) also focused on the effects of variations in contrast on discrimination performance with photographs. They extended their initial psychophysical investigations by incorporating aesthetic measures in a related set of studies (Gershoni & Kobayashi, 2006). Their stimuli consisted of eight grayscale photographs by Ansel Adams (three landscapes, three portraits, and two architectural).…”

mentioning

confidence: 99%

“…Assessing the effects of the three degradation types within one experimental study and using a large and controlled set of stimuli allow the examination of differential effects specific to each degradation type. Regarding the interaction between image class and image manipulation type, it was possible that the effects of the manipu-lations would be different for natural and human-made scenes, although Gershoni and Kobayashi (2006) and Calabria and Fairchild (2003) found that the effects of contrast variations on aesthetic judgments were independent of image class. The paired effects of the degradations on aesthetic judgments were investigated in Experiment 2, in which contrast-sharpness, contrast-grain, and sharpness-grain degraded combinations were presented along with the high-quality images.…”

mentioning

confidence: 99%

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Image quality and the aesthetic judgment of photographs: Contrast, sharpness, and grain teased apart and put together.

Tinio

Leder

Strasser

2011

Psychology of Aesthetics, Creativity, and the Arts

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We examined the individual and combined effects of contrast, sharpness, and grain degradations on the aesthetic judgments of photographs depicting natural and human-made scenes. Our systematic approach demonstrated that certain degradations, and their combinations, had more impact on aesthetic judgments than others, and that the effects varied depending on the type of scene. We also showed that the degradations were additive in that the more degradations to which an image was subjected, the less it was liked. Finally, we found evidence for a contrast effect in which the aesthetic judgments of high-quality images were more positive as the images they were presented with were more degraded.

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“…Reviewing the literature on measuring aesthetic appeal in the visual domain, we found a great variety in scales and a broad range of methods, including preference ranking tasks (Axelsson, 2007), photo quality assessment by experts (Cerosaletti & Loui, 2009) or by crowdsourcing (Lebreton, Raake, & Barkowsky, 2016), liking scales (Gershoni & Kobayashi, 2006; Tinio, Leder, & Strasser, 2011), as well as rating scales for various aesthetic descriptors, including beautiful-ugly (Jacobsen, Buchta, Köhler, & Schröger, 2004), attractive-unattractive, pleasant-unpleasant, and interesting-uninteresting (Russell & George, 1990). There is also a growing body of research dealing with deep learning and convolutional neural networks (CNN) to rate aesthetics of visual stimuli (e.g., Kong, Shen, Lin, Mech, & Fowlkes, 2016) and to model aesthetic perception (e.g., Denzler, Rodner, & Simon, 2016).…”

Section: Measuring Aesthetic Appealmentioning

confidence: 99%

Why people press “like”: A new measure for aesthetic appeal derived from Instagram data.

Thömmes

Hübner

2022

Psychology of Aesthetics, Creativity, and the Arts

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Be it on Facebook, Twitter, or Instagram, “Like” buttons are all over social media generating huge amounts of data. In this project, we develop methods for leveraging Instagram data with the purpose of developing a measure that is useful as a proxy for the aesthetic appeal of photographs. Based on the metadata of 15,073 photographs from the photographic genres of architecture, dance, and landscape gathered from 9 different Instagram accounts of professional photographers, we compute the Image Aesthetic Appeal score (IAA). We conduct an online experiment to test how IAA scores relate to more commonly used psychological variables, such as rating scales of aesthetic liking. We also investigate both low-level features and content-related preferences in the image set. Our results show that IAA scores are a reliable measure and are substantially predictive for experimental liking data. Also, solidly established preferences for curvature and visual balance as well as content-related preferences are reflected in IAA scores. We provide a simple method to compute IAA scores for all sorts of content on Instagram. This prepares ground for investigating large data sets with regard to aesthetic appeal of photographic images.

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How We Look at Photographs as Indicated by Contrast Discrimination Performance Versus Contrast Preference

Cited by 4 publications

References 19 publications

Exploring children's 'indexical encounter' with real and digitised archive photographs using tablet and large flat screen technologies

Exploring children's 'indexical encounter' with real and digitised archive photographs using tablet and large flat screen technologies

Image quality and the aesthetic judgment of photographs: Contrast, sharpness, and grain teased apart and put together.

Why people press “like”: A new measure for aesthetic appeal derived from Instagram data.

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