The visual light field in paintings of Museum Prinsenhof: comparing settings in empty space and on objects

Kartashova, T. A.; Ridder, Huib de; Pas, Susan F. te; Schoemaker, Marga; Pont, Sylvia C.

doi:10.1117/12.2085030

Cited by 11 publications

(11 citation statements)

References 15 publications

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“…This demonstrates that humans not only take the illumination into account when judging surface color but are also able to explicitly estimate the properties of the illumination of a given scene. The method by Koenderink and colleagues (2007) has also been successfully used to probe the representation of the illumination in real complex scenes (Kartashova, Sekulovski, de Ridder, te Pas, & Pont, 2016;Xia, Pont, & Heynderickx, 2014) and drawings (Kartashova, de Ridder, te Pas, Schoemaker, & Pont, 2015).…”

Section: Introductionmentioning

confidence: 99%

Differences in illumination estimation in #thedress

2017

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We investigated whether people who report different colors for #thedress do so because they have different assumptions about the illumination in #thedress scene. We introduced a spherical illumination probe (Koenderink, Pont, van Doorn, Kappers, & Todd, 2007) into the original photograph, placed in fore-, or background of the scene and-for each location-let observers manipulate the probe's chromaticity, intensity and the direction of the illumination. Their task was to adjust the probe such that it would appear as a white sphere in the scene. When the probe was located in the foreground, observers who reported the dress to be white (white perceivers) tended to produce bluer adjustments than observers who reported it as blue (blue perceivers). Blue perceivers tended to perceive the illumination as less chromatic. There were no differences in chromaticity settings between perceiver types for the probe placed in the background. Perceiver types also did not differ in their illumination intensity and direction estimates across probe locations. These results provide direct support for the idea that the ambiguity in the perceived color of the dress can be explained by the different assumptions that people have about the illumination chromaticity in the foreground of the scene. In a second experiment we explore the possibility that blue perceivers might overall be less sensitive to contextual cues, and measure white and blue perceivers' dress color matches and labels for manipulated versions of the original photo. Results indeed confirm that contextual cues predominantly affect white perceivers.

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Section: Introductionmentioning

confidence: 99%

Differences in illumination estimation in #thedress

2017

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“…In the Mondrian case, the relevant information about the illuminant is mainly in the spectral distribution of the light, not the spatial distribution. However, there has been a growing interest in investigating interactions that emerge in complex, typically three-dimensional, scenes (e.g., Boyaci, Fang, Murray, & Kersten, 2007;Braje, Legge, & Kersten, 2000;Kartashova, de Ridder, te Pas, Schoemaker, & Pont, 2015;Kartashova, Sekulovski, de Ridder, te Pas, & Pont, 2016;Ling & Hurlbert, 2004;Marlow, Kim, & Anderson, 2012;Nishida & Shinya, 1998;Obein, Knoblauch, & Vienot, 2004;Robilotto & Zaidi, 2004;Xia, Pont, & Heyndericx, 2014). The context provided in the scene can help in the disambiguation between light and material, but even in complex, photorealistic images, material changes are often confounded with illumination changes (Anderson, 2011;Boyaci, Maloney, & Hersh, 2003;Doerschner, Boyaci, & Maloney, 2007;Fleming, 2014;Fleming, Dror, & Adelson, 2003;Maloney, Gerhard, Boyaci, & Doerschner, 2010;Pont, Koenderink, Van Doorn, Wijntjes, & te Pas, 2012;Pont & Te Pas, 2006;Ripamonti et al, 2004;te Pas & Pont, 2005;Toscani, Zdravković, & Gegenfurtner, 2016;Zhang, de Ridder, & Pont, 2015).…”

Section: Introductionmentioning

confidence: 99%

Perception of object illumination depends on highlights and shadows, not shading

et al. 2017

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Human observers are able to successfully infer direction and intensity of light from photographed scenes despite complex interactions between light, shape, and material. We investigate how well they are able to distinguish other low-level aspects of illumination, such as the diffuseness and the number of light sources. We use photographs of a teapot, an orange, and a tennis ball from the ALOI database (Geusebroek, Burghouts, & Smeulders, 2005) to create different illumination conditions, varying either in diffuseness of a single light source or in separation angle between two distinct light sources. Our observers were presented with all three objects; they indicated which object was illuminated differently from the other two. We record discrimination performance, reaction times, and eye fixations. We compare the data to a model that uses differences in image structure in same-object comparisons, and outcomes suggest that participants mostly rely on the information contained in cast shadows and highlights. The pattern of eye fixations confirms this, showing that after the first fixation, observers mostly fixate cast shadow areas. However, information in the highlights is rather salient, so it might be available from first fixation, making separate fixations are unnecessary.

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“…But even when visual cues are scarce we feel confident in what we perceive (Koenderink, 2001), for instance, for representations of materials in paintings of Vermeer or photographs. Despite the reduction of information in comparison with reality in these cases, we are generally still able to estimate where the light source is, what the shape of an object is, and which material that object has been made of (although these estimates may not be veridical, see Kartashova, Heynderickx, Sekulovski, & Pont, 2014;Kartashova, te Pas, Pont, de Ridder, & Schoemaker, 2015;te Pas & Pont, 2005). Gloss perception is strongly dependent on the illumination, surface shape, and material properties.…”

Section: Introductionmentioning

confidence: 99%

Highlight shapes and perception of gloss for real and photographed objects

2016

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Gloss perception strongly depends on the three-dimensional shape and the illumination of the object under consideration. In this study we investigated the influence of the spatial structure of the illumination on gloss perception. A diffuse light box in combination with differently shaped masks was used to produce a set of six simple and complex highlight shapes. The geometry of the simple highlight shapes was inspired by conventional artistic practice (e.g., ring flash for photography, window shape for painting and disk or square for cartoons). In the box we placed spherical stimuli that were painted in six degrees of glossiness. This resulted in a stimulus set of six highlight shapes and six gloss levels, a total of 36 stimuli. We performed three experiments of which two took place using digital photographs on a computer monitor and one with the real spheres in the light box. The observers had to perform a comparison task in which they chose which of two stimuli was glossiest and a rating task in which they rated the glossiness. The results show that, perhaps surprisingly, more complex highlight shapes were perceived to produce a less glossy appearance than simple highlight shapes such as a disk or square. These findings were confirmed for both viewing conditions, on a computer display and in a real setting. The results show that variations in the spatial structure of "rather simple" illumination of the "extended source" type highlight influences perceived glossiness.

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The visual light field in paintings of Museum Prinsenhof: comparing settings in empty space and on objects

Cited by 11 publications

References 15 publications

Differences in illumination estimation in #thedress

Differences in illumination estimation in #thedress

Perception of object illumination depends on highlights and shadows, not shading

Highlight shapes and perception of gloss for real and photographed objects

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