Surface color perception in three-dimensional scenes

Boyacı, Hüseyin; Doerschner, Katja; Snyder, Jacqueline L.; Maloney, Laurence T.

doi:10.1017/s0952523806233431

Cited by 43 publications

(28 citation statements)

References 45 publications

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“…Although the study of pictorial illusions certainly gives insight about how the visual system analyzes lightness and color, there is reason to believe that, in everyday threedimensional scenes, there is more relevant information about the light field in a scene, and therefore less ambiguity in classifying illumination and material edges (Boyaci, Doerschner, Snyder, & Maloney, 2006;Maloney, 1999Maloney, , 2002. It is plausible that the visual system will arrive at a consistent interpretation of illumination and surface layout in those scenes that is not too far from the actual.…”

Section: Discussionmentioning

confidence: 99%

A scaling analysis of the snake lightness illusion

Logvinenko

Petrini

Maloney

2008

Perception & Psychophysics

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Section: Discussionmentioning

confidence: 99%

A scaling analysis of the snake lightness illusion

Logvinenko

Petrini

Maloney

2008

Perception & Psychophysics

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“…Moreover, complex scenes containing physically accurate illuminant cues such as depth, shadows, and highlights can be readily simulated with the latest computer rendering techniques (e.g., Boyaci, Doerschner, Snyder, & Maloney, 2006). Still, some features of real scenes, such as depth along with the correct oculomotor cues, are hard to reproduce on conventional monitors (e.g., Hoffman, Girshick, Akeley, & Banks, 2008).…”

Section: Introductionmentioning

confidence: 99%

Categorical color constancy for real surfaces

et al. 2010

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In everyday experience, perceived colors of objects remain approximately constant under changes in illumination. This constancy is helpful for identifying objects across viewing conditions. Studies on color constancy often employ monitor simulations of illumination and reflectance changes. Real scenes, however, have features that might be important for color constancy but that are in general not captured by monitor displays. Here, we investigate categorical color constancy employing real surfaces and real illuminants in a rich viewing context. Observers sorted 450 Munsell samples into the 11 basic color categories under a daylight and four filtered daylight illuminants. We additionally manipulated illuminant cues from the local surround. Color constancy as quantified both with a classification consistency index and a standard color constancy index was high in both cue conditions. Observers generally classified colors with the same precision across different illuminants as across repetitions for the daylight illuminant. Moreover, the pattern of classification consistency in terms of stimulus hue, value, and chroma was similar when comparing different observers for the daylight illuminant and when comparing individual observers across different illuminants. We conclude that color categorization is robust under illuminant changes as well as across observers, thus potentially serving both object identification and communication.

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“…There is ample evidence that the spatial layout of scenes influences colour appearance and this has often been attributed to cognition and memory, for example knowledge about scene geometry and the physics of light in a scene (Bloj, Kersten, & Hurlbert, 1999;Boyaci et al, 2006;Doerschner, Boyaci, & Maloney, 2004;Yang & Shevell, 2002), or grouping factors related to the Gestalt concept (Schirillo & Shevell, 2000).…”

Section: Spatial Properties Of Chromatic Adaptationmentioning

confidence: 99%

Spatial and temporal aspects of chromatic adaptation and their functional significance for colour constancy

Werner

2014

Vision Research

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Illumination in natural scenes changes at multiple temporal and spatial scales: slow changes in global illumination occur in the course of a day, and we encounter fast and localised illumination changes when visually exploring the non-uniform light field of three-dimensional scenes; in addition, very long-term chromatic variations may come from the environment, like for example seasonal changes. In this context, I consider the temporal and spatial properties of chromatic adaptation and discuss their functional significance for colour constancy in three-dimensional scenes. A process of fast spatial tuning in chromatic adaptation is proposed as a possible sensory mechanism for linking colour constancy to the spatial structure of a scene. The observed middlewavelength selectivity of this process is particularly suitable for adaptation to the mean chromaticity and the compensation of interreflections in natural scenes. Two types of sensory colour constancy are distinguished, based on the functional differences of their temporal and spatial scales: a slow type, operating at a global scale for the compensation of the ambient illumination; and a fast colour constancy, which is locally restricted and well suited to compensate region-specific variations in the light field of three dimensional scenes.

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Surface color perception in three-dimensional scenes

Cited by 43 publications

References 45 publications

A scaling analysis of the snake lightness illusion

A scaling analysis of the snake lightness illusion

Categorical color constancy for real surfaces

Spatial and temporal aspects of chromatic adaptation and their functional significance for colour constancy

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