The influence of depth segmentation on colour constancy

In real scenes, surfaces in different depth planes often differ in the luminance and chromatic content of their illumination. Scene segmentation is therefore an important issue when considering the compensation of illumination changes in our visual perception (lightness and colour constancy). Chromatic adaptation is an important sensory component of colour constancy and has been shown to be linked to the two-dimensional spatial structure of a scene (Werner, 2003 Vision Research 43 1611 - 1623). Here, the question is posed whether this cooperation also extends to the organisation of a scene in depth. The influence of depth on colour constancy was tested by introducing stereo disparity, whereby the test patch and background were perceived in either the same or one of five different depth planes (1.9-57 min of arc). There were no additional cues to depth such as shadows or specular highlights. For consistent illumination changes, colour constancy was reduced when the test patch and background were separated in depth, indicating a reduction of contextual influences. An interaction was found between the influences of stereo depth and spatial frequency on colour constancy. In the case of an inconsistent illumination change, colour constancy was reduced if the test patch and background were in the same depth plane (2-D condition), but not if they were separated in depth (3-D condition). Furthermore, colour constancy was slightly better in the 3-D inconsistent condition than in the 2-D inconsistent condition. It is concluded that depth segmentation supports colour constancy in scenes with inconsistent illumination changes. Processes of depth segmentation are implemented at an early sensory stage of colour constancy, and they define visual regions within which the effects of illuminant changes are discounted for separately. The results support recent models that posit such implementation of scene segmentation in colour constancy.     

颜色知觉恒常理论的回顾

本文对早期颜色恒常理论、系数理论、计算理论和 Octant模型作了简要回顾 ,并结合已有的研究成果进行评述。对影响颜色恒常性机制的主要因素进行了探讨。强调了知觉经验、记忆、认知决策等高级意识活动对颜色恒常知觉的作用 ,并尝试性地提出了描述颜色恒常知觉过程的一般参照框架。     

Developmental changes in colour constancy in a naturalistic object selection task

When the illumination falling on a surface change, so does the reflected light. Despite this, adult observers are good at perceiving surfaces as relatively unchanging—an ability termed colour constancy. Very few studies have investigated colour constancy in infants, and even fewer in children. Here we asked whether there is a difference in colour constancy between children and adults; what the developmental trajectory is between six and 11 years; and whether the pattern of constancy across illuminations and reflectances differs between adults and children. To this end, we developed a novel, child-friendly computer-based object selection task. In this, observers saw a dragon's favourite sweet under a neutral illumination and picked the matching sweet from an array of eight seen under a different illumination (blue, yellow, red, or green). This set contained a reflectance match (colour constant; perfect performance) and a tristimulus match (colour inconstant). We ran two experiments, with two-dimensional scenes in one and three-dimensional renderings in the other. Twenty-six adults and 33 children took part in the first experiment; 26 adults and 40 children took part in the second. Children performed better than adults on this task, and their performance decreased with age in both experiments. We found differences across illuminations and sweets, but a similar pattern across both age groups. This unexpected finding might reflect a real decrease in colour constancy from childhood to adulthood, explained by developmental changes in the perceptual and cognitive mechanisms underpinning colour constancy, or differences in task strategies between children and adults.

Highlights

• Six- to 11-year-old children demonstrated better performance than adults on a colour constancy object selection task.
• Performance decreased with age over childhood.
• These findings may indicate development of cognitive strategies used to overcome automatic colour constancy mechanisms.

     

PSYCHOPHYSICAL INVARIANTS OF ACHROMATIC COLOUR VISION: III. Colour constancy and its relation to identification of illumination

L ie , I. Psychophysical invariants of achromatic colour vision. III. Colour constancy and its relation to identification of illumination. Scand. J. Psychol ., 1969, 10 , 7.69–281.—Identification of illumination as a separate determinant of the dimensions of achromatic colour was investigated with classical methods for manipulating shifts in perceived level of illumination, while controlling the changes in colour contrast brought about by these methods. With the spot-shadow method, constancy effects may be explained by laws of colour contrast, but not by perceived shifts in illumination, whereas neither explanation holds with the cast-shadow method. Results with a method of conceiled cast-shadow may be consistent with both interpretations.     

Colour constancy with change of viewing distance under water

Colour constancy is commonly considered to be the product both of high-order (cognitive) and of lower-order (retinal) mechanisms. A study is reported of colour appearance in situations where the spectral radiance of an object changes significantly with viewing distance. Subjects were instructed to match the colour appearance of a number of coloured tiles in air and at various viewing distances in different types of water. Colour-constancy ratios were calculated by comparing the visual data with simultaneously obtained spectroradiometric and photometric data. The obtained constancy ratios were attributed to the role of distance estimation in the determination of colour appearance, an effect that is presumably masked under normal viewing conditions, where long viewpaths are necessary to produce significant radiance changes. A similarity to the size-distance invariance hypothesis is noted.     

Effect of scene complexity on colour constancy with real three-dimensional scenes and objects

The effect of scene complexity on colour constancy was tested with a novel technique in which a virtual image of a real 3-D test object was projected into a real 3-D scene. Observers made discriminations between illuminant and material changes in simple and complex scenes. The extent of colour constancy achieved varied little with either scene structure or test-object colour, suggesting a dominant role of local cues in determining surface-colour judgments.     

The AMBEGUJAS phenomenon and colour constancy

The AMBEGUJAS phenomenon is a reversible flat figure that is spontaneously shifting between two apparent 3-D shapes-'tile' and 'roof'. 2-D perceptions have very rarely been reported. Tied to the shifts between the tile and roof shapes are remarkable changes of perceived colour. In our example, the tile appears to have orange (top half) and blue-green (bottom half) surface colours in white light. The roof appears grey but in an orange illumination and with a blue-green shadow. This phenomenon appears whether a grey display is presented in two coloured illuminations, or a chromatic display with two surface colours (orange and blue-green) is presented in white light. In the coloured illuminations the tile is an example of non-constancy, since its colours are non-veridical colour perceptions. The centre stripe of the display appears to have the same orange and blue-green colours as the lateral stripes but in a shadow. This seems like a colour constancy in a non-constancy situation. An alternative to the classical definition of colour constancy is discussed.     

Colour constancy in goldfish and man: influence of surround size and lightness

Colour constancy was investigated by using a series of 10 simultaneously presented surface colours ranging in small steps from green through gray to red-purple. Goldfish were trained to select one medium test field when the entire setup was illuminated with white light. In the tests, either red or green illumination was used. Colour constancy, as inferred from the choice behaviour, was perfect under green illumination when the test fields were presented on a gray or a white background, but imperfect on a black background. Under red illumination and a white background, however, colour constancy was overcompensated. Here, a colour contrast effect was observed. The influence of background lightness was also found when the surround was restricted to a narrow annulus of 4-11 mm width (test field diameter: 14 mm). By applying colour metrics it could be shown that the von Kries coefficient law can describe the overall effect of colour constancy. For an explanation of the effect of surround size and lightness, lateral inhibitory interactions have to be assumed in addition, which are also responsible for simultaneous colour contrast. Very similar results were obtained in experiments with the same colours in human subjects. They had to name the test field appearing 'neutral' under the different illumination and surround conditions, as tested in the goldfish experiment.     

Representation or context as a cognitive strategy in colour constancy?

If an identification task with colour constancy as its objective is carried out under drastically changing illumination, do people rely mainly on colour information or do they rely on other sources of information? This question suggested two hypotheses for testing: (i) context hypothesis: people rely mainly on colour information (spectral reflectance or illumination chromaticity) to achieve colour constancy; (ii) representation hypothesis: people rely mainly on all other clues associated with colour to achieve colour constancy, including form information (any shape elements) and space information (spatial coordinates or spatial correlation). Experiment 1 showed that form information was readily associated with colour information to produce implicit representation. This gave the best colour-constancy performance (95.72%) and the fastest processing speed, so it probably used a top-down process. However, it was also prone to error owing to assumptions. Space information was not readily associated with colour information so colour-constancy performance was halved (48.73%) and processing time doubled. When the subject was deprived of both information sources and only given colour information, this resulted in the longest reaction times and the worst colour-constancy performance (41.38%). These results clearly support the representation hypothesis rather than the context hypothesis. When all three clues were available at the same time, the order of preference was: symbol, location, then colour. Experiment 2 showed that when form information was the main clue, colour-constancy performance was conceptually driven and processed more quickly; this supports the representation hypothesis. However, when form information was not used, colour constancy was data-driven, processed more slowly, and achieved an inferior identification rate overall; this supports the context hypothesis.     

Lightness constancy and illumination discounting

Contrary to the implication of the term "lightness constancy", asymmetric lightness matching has never been found to be perfect unless the scene is highly articulated (i.e., contains a number of different reflectances). Also, lightness constancy has been found to vary for different observers, and an effect of instruction (lightness vs. brightness) has been reported. The elusiveness of lightness constancy presents a great challenge to visual science; we revisit these issues in the following experiment, which involved 44 observers in total. The stimuli consisted of a large sheet of black paper with a rectangular spotlight projected onto the lower half and 40 squares of various shades of grey printed on the upper half. The luminance ratio at the edge of the spotlight was 25, while that of the squares varied from 2 to 16. Three different instructions were given to observers: They were asked to find a square in the upper half that (i) looked as if it was made of the same paper as that on which the spotlight fell (lightness match), (ii) had the same luminance contrast as the spotlight edge (contrast match), or (iii) had the same brightness as the spotlight (brightness match). Observers made 10 matches of each of the three types. Great interindividual variability was found for all three types of matches. In particular, the individual Brunswik ratios were found to vary over a broad range (from .47 to .85). That is, lightness matches were found to be far from veridical. Contrast matches were also found to be inaccurate, being on average, underestimated by a factor of 3.4. Articulation was found to essentially affect not only lightness, but contrast and brightness matches as well. No difference was found between the lightness and luminance contrast matches. While the brightness matches significantly differed from the other matches, the difference was small. Furthermore, the brightness matches were found to be subject to the same interindividual variability and the same effect of articulation. This leads to the conclusion that inexperienced observers are unable to estimate both the brightness and the luminance contrast of the light reflected from real objects lit by real lights. None of our observers perceived illumination edges purely as illumination edges: A partial Gelb effect ("partial illumination discounting") always took place. The lightness inconstancy in our experiment resulted from this partial illumination discounting. We propose an account of our results based on the two-dimensionality of achromatic colour. We argue that large interindividual variations and the effect of articulation are caused by the large ambiguity of luminance ratios in the stimulus displays used in laboratory conditions.     

The influence of illumination direction on the pictorial reliefs of Lambertian surfaces

In order to assess the influence of illumination direction on shape constancy, we studied the pictorial relief of computer images of globular 3-D objects. We used two globally convex objects, one with a furrow and one with a dimple. Observers adjusted local surface attitude probes at 200-250 different locations in the image such that they seemed to lie on the pictorial surface. We manipulated the viewing direction and the illumination direction in a 2 x 2 orthogonal design. Viewing directions were chosen such that the image contained only a few, or no, contour singularities. Changes in the illumination direction were found to induce systematic changes in the settings for both viewing directions. Effects were especially pronounced for images that had no contour singularities. The results showed that a change in the illumination direction can change the local shape of the pictorial relief in addition to the bas-relief ambiguities of scaling and shearing in depth. We found that concavities in the pictorial relief are associated with the darker areas in the image. The deviation from shape constancy cannot be explained by bas-relief ambiguity since the required transformation between the shapes is nonlinear.     

ACHROMATIC COLOUR CONSTANCY

The traditional conception of achromatic colour constancy, defined in terms of a psychophysical colour-albedo relation, is found to be unfruitful from a functional as well as a theoretical point of view. An alternative definition of colour constancy in terms of the validity of perception of illumination is suggested.     

PSYCHOPHYSICAL INVARIANTS OF ACHROMATIC COLOUR VISION: II. Albedo/illumination substitution

Lie , I. Psychophysical invariants of achromatic colour vision. II. Albedo/ illumination substitution. Scand. J. Psychol., 1969,10, 176–184.—Can ‘identification of illumination’ be identified as one of the determinants of achromatic vision? Colour constancy is redefined in terms of deviation from albedo/ illumination substitution (A/I-substitution). A series of A/I-substitution experiments, performed under conditions assumed to provide minimal possibilities for identification of illumination, indicate that complete A/I-substitution (zero constancy) is obtained for both brightness and whiteness, provided the test fields are equated with respect to colour temperature and perceived texture.     

Lightness constancy: Ratio invariance and luminance profile

The term simultaneous lightness constancy describes the capacity of the visual system to perceive equal reflecting surfaces as having the same lightness despite lying in different illumination fields. In some cases, however, a lightness constancy failure occurs; that is, equal reflecting surfaces appear different in lightness when differently illuminated. An open question is whether the luminance profile of the illumination edges affects simultaneous lightness constancy even when the ratio invariance property of the illumination edges is preserved. To explore this issue, we ran two experiments by using bipartite illumination displays. Both the luminance profile of an illumination edge and the luminance ratio amplitude between the illumination fields were manipulated. Results revealed that the simultaneous lightness constancy increases when the luminance profile of the illumination edge is gradual (rather than sharp) and homogeneous (rather than inhomogeneous), whereas it decreases when the luminance ratio between the illumination fields is enlarged. The results are interpreted according to the layer decomposition schema, stating that the visual system splits the luminance into perceived lightness and apparent illumination components. We suggest that illumination edges having gradual and homogeneous luminance profiles facilitate the luminance decomposition process, whereas wide luminance ratios impede it.     

Working memory is related to perceptual processing: a case from color perception

We explored the relation between individual differences in working memory (WM) and color constancy, the phenomenon of color perception that allows us to perceive the color of an object as relatively stable under changes in illumination. Successive color constancy (measured by first viewing a colored surface under a particular illumination and later recalling it under a new illumination) was better for higher WM individuals than for lower WM individuals. Moreover, the magnitude of this WM difference depended on how much contextual information was available in the scene, which typically improves color constancy. By contrast, simple color memory, measured by viewing and recalling a colored surface under the same illumination, showed no significant relation to WM. This study reveals a relation between WM and a low-level perceptual process not previously thought to operate within the confines of attentional control, and it provides a first account of the individual differences in color constancy known about for decades.     

Does colour constancy exist?

For a stable visual world, the colours of objects should appear the same under different lights. This property of colour constancy has been assumed to be fundamental to vision, and many experimental attempts have been made to quantify it. I contend here, however, that the usual methods of measurement are either too coarse or concentrate not on colour constancy itself, but on other, complementary aspects of scene perception. Whether colour constancy exists other than in nominal terms remains unclear.     

The perception of lightness in 3-D curved objects

Lightness constancy in complex scenes requires that the visual system take account of information concerning variations of illumination falling on visible surfaces. Three experiments on the perception of lightness for three-dimensional (3-D) curved objects show that human observers are better able to perform this accounting for certain scenes than for others. The experiments investigate the effect of object curvature, illumination direction, and object shape on lightness perception. Lightness constancy was quite good when a rich local gray-level context was provided. Deviations occurred when both illumination and reflectance changed along the surface of the objects. Does the perception of a 3-D surface and illuminant layout help calibrate lightness judgments? Our results showed a small but consistent improvement between lightness matches on ellipsoid shapes, relative to flat rectangle shapes, under illumination conditions that produce similar image gradients. Illumination change over 3-D forms is therefore taken into account in lightness perception.     

Illumination change at a depth edge can reduce lightness constancy

Lightness constancy requires that a surface retain its lightness not only when the illumination is changed but also when the surface is moved from one background to another. Occlusion of one surface by another frequently results in a retinal juxtaposition of patches under different illuminations. At such edges, retinal luminance ratios can be much higher than in scenes with a single illumination. We demonstrate that such retinal adjacencies can produce failures of lightness constancy. We argue that they are responsible for departures from perfect lightness constancy in two prior experiments that examined the effects of depth relations on lightness constancy.     

The response criterion,the stimulus configuration,and the relationship between brightness contrast and brightness constancy

Four experiments were designed to investigate the nature of the relationship between brightness contrast and brightness constancy while controlling the response criterion, the area of the surround, the stimulus configuration, and the mode of appearance of the modulus target. Ten Os in each of the four experiments estimated the apparent whiteness or brightness of targets with different contrast ratios. All targets were viewed at several illumination levels. Most constancy (whiteness and brightness) functions displayed shallow slopes that reflected a good approximation to constancy. The functions within Experiments I, III, and IV were vertically displaced and parallel; those in Experiment II were vertically displaced and increased in slope. This suggests that decreasing the contrast ratio had no effect on the tendency towards constancy when the area of the surround was greater than that of the target but resulted in a decrease in constancy when the area of the surround was equal to that of the target.     

Cerebral achromatopsia: colour blindness despite wavelength processing

Cortical colour blindness is caused by brain damage to the ventro-medial occipital and temporal lobes. A possible explanation is that the pathway responsible for transmitting information about wavelength and its subsequent elaboration as colour has been destroyed at the cortical level. However, several signs of chromatic processing persist in an achromatopsic subject who, despite his inability to tell colours apart, can still detect chromatic borders, perceive shape from colour, and discriminate the direction in which a striped pattern moves when the determination of direction requires the viewer to 'know' which stripes have a particular colour. Perhaps only the information about wavelength that leads to conscious awareness of colour has been destroyed. It is unclear whether incomplete achromatopsia is merely a less severe form of the disorder or whether it is qualitatively different, perhaps reflecting impaired colour constancy. In monkeys, removing cortical area V4 impairs performance on colour constancy tasks but, invariably, impairs several other aspects of visual perception. If the lesion that causes total achromatopsia in human subjects corresponds to area V4 in monkeys, it is an unsolved puzzle that a totally achromatopsic subject paradoxically demonstrates certain characteristics of colour constancy, unless his residual performance reflects the much underrated retinal contribution to colour constancy.