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Chapter 5: Color vision remnants Chapter 6: Depth perception Lec 12 - - PowerPoint PPT Presentation

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Chapter 5: Color vision remnants Chapter 6: Depth perception Lec 12 Jonathan Pillow, Sensation & Perception (PSY 345 / NEU 325) Princeton University, Fall 2017 1 Other types of color-blindness: Monochromat: true

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Chapter 5: Color vision remnants

Jonathan Pillow, Sensation & Perception (PSY 345 / NEU 325) 
 Princeton University, Fall 2017

Lec 12

Chapter 6: Depth perception

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Other types of color-blindness:

  • Monochromat: true “color-blindness”; world

is black-and-white

  • cone monochromat - only have one cone

type (vision is truly b/w)

  • rod monochromat - visual in b/w AND

severely visually impaired in bright light

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Rod monochromacy

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normal trichromat deuteranope protanope tritanope monochromat scotopic light levels

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Color Vision in Animals

  • most mammals (dogs, cats, horses): dichromats
  • old world primates (including us): trichromats
  • marine mammals: monochromats
  • bees: trichromats (but lack “L” cone; ultraviolet

instead)

  • some birds, reptiles & amphibians: tetrachromats!

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Color vision doesn’t work at low light levels!

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Two Regimes of Light Sensitivity

  • Photopic: cones active, rods “saturated”
  • Sunlight and bright indoor lighting
  • Scotopic: rod vision, too dim to stimulate cones
  • Moonlight and extremely dim indoor lighting

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Other (unexplained) color phenomenon:

  • watercolor illusion
  • neon color spreading
  • motion-induced color: Benham’s top

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Watercolor illusion

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Watercolor illusion

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Watercolor illusion

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Neon Color-Spreading

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Neon Color-Spreading

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Neon Color-Spreading

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Neon Color-Spreading

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http://www.michaelbach.de/ot/col_benham/index.html

Benham’s top: motion-induced color perception

  • not well-understood; believed to arise from different color-
  • pponent retinal ganglion cells having different temporal latencies.
  • the flickering pattern stimulates the different color channels

differently (although this is admittedly a crude theory)

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  • trichromacy: 3-dimensional color vision (vs. hyper-spectral cameras!)
  • metamers
  • color-matching experiment
  • color space (RGB, HSB)
  • non-spectral hues
  • opponent channels, negatives & after-images
  • color-opponent channels
  • surface reflectance functions
  • color constancy
  • photopic / scotopic light levels
  • additive / subtractive color mixing
  • color blindness

Summary: color vision

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Chapter 6: Space & Depth Perception

Jonathan Pillow, Sensation & Perception (PSY 345 / NEU 325) 
 Princeton University, Fall 2017

Lec 12

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Depth Perception: figuring out how far away things are Problem: fundamental ambiguity between size and distance. visual angle Large pizza, far away?

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visual angle … or small pizza, close by?

  • Retinal signal is the same in both cases
  • Have to use a variety of “cues” to decide distance to things

Depth Perception: figuring out how far away things are Problem: fundamental ambiguity between size and distance.

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Study: People Far Away From You Not Actually Smaller

PRINCETON, NJ—According to a groundbreaking new study published Thursday in The Journal Of Natural And Applied Sciences, people who are far away from you are actually not, as once thought, physically smaller than you. The five-year study, conducted by researchers at Princeton University, has shattered traditionally accepted theories that people standing some distance away from you are very small, and people close-by are very big.

http://www.theonion.com/articles/study-people-far-away-from-you-not-actually-smalle,33594/?ref=auto

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  • moon subtends same visual angle at horizon as at zenith 


(0.52 deg = a thumb’s width an arm’s length)

  • if sky overhead perceived as being closer than sky at horizon, you’d infer

that the moon overhead must be smaller

Moon illusion: moon looks bigger at horizon than at its zenith One explanation:

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Motivating questions:

  • 1. Why do we have two eyes?
  • 2. How does the brain combine

information from the two eyes to get a percept of depth?

  • 3. How can information from just one eye

provide a percept of depth?

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Why have two eyes?

  • 1. Binocular summation: pool twice as much light.

– (Eye chart is easier to read with both eyes than with one, for example)

190 deg total 110 deg binocular

  • 2. Increase field of view (prey, more than predators)

360 deg vision!

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Why have two eyes?

  • 1. Binocular summation: pool twice as much light.

– (Eye chart is easier to read with both eyes than with one, for example)

  • 2. Increase field of view (prey, more than predators)

360 deg vision! “This explains why it is so hard to sneak up on a rabbit.”

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Why have two eyes?

  • 1. Binocular summation: pool twice as much light.

– (Eye chart is easier to read with both eyes than with one, for example)

  • 2. Increase field of view (prey, more than predators)
  • 3. Depth perception: can tell how far away things are

by comparing the images captured by two eyes

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  • Monocular depth cue: cue that is

available even when the world is viewed with one eye alone

Surprisingly, you can get a lot of info about depth from a single eye! But first…

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Monocular Cues to Three-Dimensional Space Occlusion: one object obstructs the view of part of another object

  • cue to relative depth order
  • non-metrical depth cue - provides order information
  • nly, no measure of distance in depth

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Monocular Cues to Three-Dimensional Space Occlusion: one object obstructs the view of part of another object could be accidental view of this more likely scene

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Relative Size

Metrical depth cue: A depth cue that provides quantitative information about distance in the third dimension

If all beads are all the same size, then a bead twice as small is twice as far away

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Depth from Shadows

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Depth from Shadows

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Texture Gradient

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Size, Texture Gradient, & Height in Plane

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Size & Texture = less influential if not paired with Height in Plane

Rabbits on a wall?

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Linear perspective

  • parallel lines converge if moving away in depth
  • this is due to perspective projection

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Medieval (pre-renaissance) art

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renaissance art

  • parallel lines in a single depth plane remain parallel
  • other parallel lines converge as they recede in distance

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impossible figures: rely on rules of linear perspective

(provide local information about depth that is globally inconsistent)

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Hans Holbein:
 The 
 Ambassadors 
 (1533)

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Hans Holbein, The Ambassadors (1533)

anamorphosis


“A distorted projection

  • r perspective requiring

the viewer to use special devices or occupy a specific vantage point to reconstitute the image.”

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same idea: use rules of linear perspective to create images that look 3D only from a particular vantage point (i.e., an “accidental” one)

modern day anamorphic art

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modern day anamorphic art

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modern day anamorphic art

István Orosz. “Mirror Anamorphosis”

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Motion Parallax

  • Nearby objects move by more quickly than far away objects

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http://www.youtube.com/watch?v=Jd3-eiid-Uw

Depth cues from motion parallax with wii-mote

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Accommodation - “depth from focus”

near far

  • Lens needs more accommodation to focus nearby objects
  • Blur: cue that an object is in a different depth plane

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Predatory behavior

time (+) lens (-) lens

chameleon Harkness 1977

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