Colour vision brings clarity to shadows

We have revealed a new role for colour vision in visual scene analysis: colour vision facilitates shadow identification. Shadows are important features of the visual scene, providing information about the shape, depth, and movement of objects. To be useful for perception, however, shadows must be distinguished from other types of luminance variation, principally the variation in object reflectance. A potential cue for distinguishing shadows from reflectance variations is colour, since chromatic changes typically occur at object but not shadow boundaries. We tested whether colour cues were exploited by the visual system for shadow identification, by comparing the ability of human test subjects to identify simulated shadows on chromatically variegated versus achromatically variegated backgrounds with identical luminance compositions. Performance was superior with the chromatically variegated backgrounds. Furthermore, introducing random colour contrast across the shadow boundaries degraded their identification. These findings demonstrate that the visual system exploits inbuilt assumptions about the relationships between colour and luminance in the natural visual world.     

Some varieties of shadow illusions: split shadows, occluded shadows, stolen shadows, and shadows of shadows

Shadows are visual objects and as such are subject to preference rules for segmenting the visual scene (such as Gestalt laws). These rules govern shadows along two dimensions: their general unity and individuation (eg they describe a certain area as a unitary shadow as opposed to a set of two distinct shadows), and their being the shadow of a given object, as opposed to being the shadow of any other object in the scene (the shadow correspondence problem Mamassian, 2004 Perception 33 1279-1290). I describe a few phenomena that indicate the interplay of preferences in determining the final visual aspect of scenes in which shadows are present.     

The role of color in visual search in real-world scenes: evidence from contextual cuing

Because the importance of color in visual tasks such as object identification and scene memory has been debated, we sought to determine whether color is used to guide visual search in contextual cuing with real-world scenes. In Experiment 1, participants searched for targets in repeated scenes that were shown in one of three conditions: natural colors, unnatural colors that remained consistent across repetitions, and unnatural colors that changed on every repetition. We found that the pattern of learning was the same in all three conditions. In Experiment 2, we did a transfer test in which the repeating scenes were shown in consistent colors that suddenly changed on the last block of the experiment. The color change had no effect on search times, relative to a condition in which the colors did not change. In Experiments 3 and 4, we replicated Experiments 1 and 2, using scenes from a color-diagnostic category of scenes, and obtained similar results. We conclude that color is not used to guide visual search in real-world contextual cuing, a finding that constrains the role of color in scene identification and recognition processes.     

My shadow,myself: Cast-body shadows are embodied

Objects that serve as extensions of the body can produce a sensation of embodiment, feeling as if they are a part of us. We investigated the characteristics that drive an object’s embodiment, examining whether cast-body shadows, a purely visual stimulus, are embodied. Tools are represented as an extension of the body when they enable observers to interact with distant targets, perceptually distorting space. We examined whether perceptual distortion would also result from exposure to cast-body shadows in two separate distance estimation perceptual matching tasks. If observers represent cast-body shadows as extensions of their bodies, then when these shadows extend toward a target, it should appear closer than when no shadow is present (Experiment 1). This effect should not occur when a non-cast-body shadow is cast toward a target (Experiment 2). We found perceptual distortions in both cast-body shadow and tool-use conditions, but not in our non-cast-body shadow condition. These results suggest that, although cast-body shadows do not enable interaction with objects or provide direct tactile feedback, observers nonetheless represent their shadows as if they were a part of them.     

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.     

The influence of cast shadows on visual search

We show that cast shadows can have a significant influence on the speed of visual search. In particular, we find that search based on the shape of a region is affected when the region is darker than the background and corresponds to a shadow formed by lighting from above. Results support the proposal that an early-level system rapidly identifies regions as shadows and then discounts them, making their shapes more difficult to access. Several constraints used by this system are mapped out, including constraints on the luminance and texture of the shadow region, and on the nature of the item casting the shadow. Among other things, this system is found to distinguish between line elements (items containing only edges) and surface elements (items containing visible surfaces), with only the latter deemed capable of casting a shadow.     

Assimilation Effects of Eye Shadow on Facial Colors

Makeup can change facial complexion, making it of interest both practically and for empirical research on perception. We examined the assimilation effect of eye shadow on complexion using two series of eye shadows: typical colors that are not evenly saturated and colors with saturation as even as possible. Twenty participants assessed the degree of redness in reddish faces, yellowness in yellowish faces, and lightness in both faces via paired comparisons. The results indicated that: (a) the reddish face was perceived as redder when it had eye shadow of pinkish and purplish colors or reddish saturated colors instead of containing yellowish components; (b) the yellowish face became less yellow with colors without a greenish or yellowish component; and (c) except for the lighter yellowish shade, eye shadow made the face perceptually darker. We confirmed the assimilation effect of eye shadow on complexion and showed differences in perceptual hue change according to the original face colors.     

Contrast and depth perception: effects of texture contrast and area contrast

Many objects in natural scenes have textures on their surfaces. Contrast of the texture surfaces (the texture contrast) reduces when the viewing distance increases. Similarly, contrast between the surfaces of the objects and the background (the area contrast) reduces when the viewing distance increases. The texture contrast and the area contrast were defined by the contrast between random dots, and by the contrast between the average luminance of the dot pattern and the luminance of the background, respectively. To examine how these two types of contrast influence depth perception, we ran two experiments. In both experiments two areas of random-dot patterns were presented against a uniform background, and participants rated relative depth between the two areas. We found that the rated depth of the patterned areas increased with increases in texture contrast. Furthermore, the effect of the texture contrast on depth judgment increased when the area contrast became low.     

The perception and recognition of natural object shape from deforming and static shadows

In this study of the informativeness of shadows for the perception of object shape, observers viewed shadows cast by a set of natural solid objects and were required to discriminate between them. In some conditions the objects underwent rotation in depth while in other conditions they remained stationary, thus producing both deforming and static shadows. The orientation of the light source casting the shadows was also varied, leading to further alterations in the shape of the shadows. When deformations in the shadow boundary were present, the observers were able to reliably recognize and discriminate between the objects, invariant over the shadow distortions produced by movements of the light source. The recognition performance for the static shadows depended critically upon the content of the specific views that were shown. These results support the idea that there are invariant features of shadow boundaries that permit the recognition of shape (cf Koenderink, 1984 Perception 13 321-330).     

Perception of scene layout from optical contact, shadows, and motion

Kersten et al (1997 Perception 26 171-192) found that the perceived motion of an object in a 3-D scene was determined by the motion of a shadow. In the present study, we compared the effect of a shadow to that of a second object on the ground in determining the perceived position in depth of a floating object in both dynamic and stationary scenes. Changing the second (lower) object from textured to dark increased the influence of the second object on the judged position of the first object. Giving the second object zero thickness had this effect only if it was also dark. Variations in the height of the floating object were important with a second object but not with a shadow, in motion scenes. With alternative shadows present, the position of the floating object was determined primarily by matching speeds, with matching sizes as a secondary factor. These results show some similarities but important differences between the effect of a second object and that of a shadow.     

The perception of 3-D shape from shadows cast onto curved surfaces

In a natural environment, cast shadows abound. Objects cast shadows both upon themselves and upon background surfaces. Previous research on the perception of 3-D shape from cast shadows has only examined the informativeness of shadows cast upon flat background surfaces. In outdoor environments, however, background surfaces often possess significant curvature (large rocks, trees, hills, etc.), and this background curvature distorts the shape of cast shadows. The purpose of this study was to determine the extent to which observers can “discount” the distorting effects of curved background surfaces. In our experiments, observers viewed deforming or static shadows of naturally shaped objects, which were cast upon flat and curved background surfaces. The results showed that the discrimination of 3-D object shape from cast shadows was generally invariant over the distortions produced by hemispherical background surfaces. The observers often had difficulty, however, in identifying the shadows cast onto saddle-shaped background surfaces. The variations in curvature which occur in different directions on saddle-shaped background surfaces cause shadow distortions that lead to difficulties in object recognition and discrimination.     

Size From Shadow: Some Informational Paths Less Traveled

This article deals with informational structure in cast shadows. Most research on cast shadows has focused on retrieving various geometric properties of the scene from shadow patterns, the shape of objects and distances between objects being the foremost features. Size appears to be a rather neglected aspect. However, shadows contain a wealth of information about size. I explore first a simple heuristic (approximate equivalence of size of shadow and size of object) and some complicating factors: elongated shadows, shadows from pinholes, and penumbra. Finally, I discuss the case of relative size of objects in multiobject scenes with shadows.     

Infant sensitivity to shadow motions

Preferential looking experiments investigated 5- and 8-month-old infants' perception and understanding of the motions of a shadow that appeared to be cast by a ball upon a box. When all the surfaces within the display were stationary, infants looked reliably longer when the shadow moved than when the shadow was stationary, indicating that they detected the shadow and its motion. In further experiments, however, infants' looking was not consistent with a sensitivity to the shadow's natural motion: They looked longer at natural events in which the shadow moved with the ball or remained at rest under the moving box than at unnatural events in which the shadow moved with the box or remained at rest under the moving ball. These findings suggest that infants overextend to shadows a principle that applies to material objects: Objects move together if and only if they are in contact. In a final experiment, infants were habituated to a moving shadow that repeatedly violated one aspect of the contact principle. In a subsequent test they failed to infer that the shadow would violate another aspect of the contact principle. Instead, they appeared to suspend all predictions concerning the behavior of the shadow.     

To see and remember: visually specific information is retained in memory from previously attended objects in natural scenes

What is the nature of the representation formed during the viewing of natural scenes? We tested two competing hypotheses regarding the accumulation of visual information during scene viewing. The first holds that coherent visual representations disintegrate as soon as attention is withdrawn from an object and thus that the visual representation of a scene is exceedingly impoverished. The second holds that visual representations do not necessarily decay upon the withdrawal of attention, but instead can be accumulated in memory from previously attended regions. Target objects in line drawings of natural scenes were changed during a saccadic eye movement away from those objects. Three findings support the second hypothesis. First, changes to the visual form of target objects (token substitution) were successfully detected, as indicated by both explicit and implicit measures, even though the target object was not attended when the change occurred. Second, these detections were often delayed until well after the change. Third, changes to semantically inconsistent target objects were detected better than changes to semantically consistent objects.     

Differential effects of cast shadows on perception and action

In two experiments we investigated the effects of cast shadows on different real-life tasks. In experiment 1, participants were required to make a speeded verbal identification of the target object (perceptual task), whereas in experiment 2 participants were required to reach for and grasp the target object (motor task). In both experiments real three-dimensional (3-D) objects were presented, one at a time, either with their own natural cast shadow (congruent condition) or with the cast shadow of a different object (incongruent condition). Shadows were cast either to the left or to the right of the object. We asked whether the features of the shadow (ie whether it is congruent or incongruent with the object, and whether it is cast to the left or to the right of the object) could influence perception and action differently. Results showed that cast shadows did not influence identification of real 3-D objects (experiment 1), but they affected movement kinematics, producing distractor-like interference, particularly on movement trajectory (experiment 2). These findings suggest a task-dependent influence of cast shadows on human performance. In the case of object-oriented actions, cast shadows may represent further affordances of the object, and as such compete for the control of the action.     

Rapid processing of cast and attached shadows

We used a visual-search method to investigate the role of shadows in the rapid discrimination of scene properties. Targets and distractors were light or dark 2-D crescents of identical shape and size, on a mid-grey background. From the dark stimuli, illusory 3-D shapes can be created by blurring one arc of the crescent. If the inner arc is blurred, the stimulus is perceived as a curved surface with attached shadow. If the outer arc is blurred, the stimulus is perceived as a flat surface casting a shadow. In a series of five experiments, we used this simple stimulus to map out the shadow properties that the human visual system can rapidly detect and discriminate. To subtract out 2-D image factors, we compared search performance for dark-shadow stimuli with performance for light-shadow stimuli which generally do not elicit strong 3-D percepts. We found that the human visual system is capable of rapid discrimination based upon a number of different shadow properties, including the type of the shadow (cast or attached), the direction of the shadow, and the displacement of the shadow. While it is clear that shadows are not simply discounted in rapid search, it is unclear at this stage whether rapid discrimination is acting upon shadows per se or upon representations of 3-D object shape and position elicited by perceived shadows.     

Light direction from shad(ow)ed random Gaussian surfaces

Three human observers estimated the illumination direction for samples of random Gaussian surfaces illuminated by a collimated beam from random directions. These stimuli appear as 'texture' due to shading and shadowing (the surface on the microscale was Lambertian of uniform albedo; thus texture appears only through shading and shadowing). We found that observers were able to estimate the azimuth of the source with remarkable accuracy. In the shading regime (no shadows) the observers committed 180 degrees azimuth errors with 50% probability, whereas in the shadow-dominated regime they were able to avoid this convex/concave confusion to a large extent. They evidently relied on second-order statistics in the shading regime and used an unidentified first-order cue in the shadow regime. The elevations of the source were also estimated with remarkable precision. We attribute this to the statistical homogeneity of the sample which can apparently be exploited by the observers. Likely cues are the fraction of shadowed surface, average intensity and rms contrast. The ability of human observers to estimate the illumination direction from surface texture no doubt contributes to the ability to estimate the light field in scenes, which is a prerequisite to the photometric parsing of scenes (shape from shading, and so forth).     

Neural correlates of object indeterminacy in art compositions

Indeterminate art invokes a perceptual dilemma in which apparently detailed and vivid images resist identification. We used event-related fMRI to study visual perception of representational, indeterminate and abstract paintings. We hypothesized increased activation along a gradient of posterior-to-anterior ventral visual areas with increased object resolution, and postulated that object resolution would be associated with visual imagery. Behaviorally, subjects were faster to recognize familiar objects in representational than in both indeterminate and abstract paintings. We found activation within a distributed cortical network that includes visual, parietal, limbic and prefrontal regions. Representational paintings, which depict scenes cluttered with familiar objects, evoked stronger activation than indeterminate and abstract paintings in higher-tier visual areas. Perception of scrambled paintings was associated with imagery-related activation in the precuneus and prefrontal cortex. Finally, representational paintings evoked stronger activation than indeterminate paintings in the temporoparietal junction. Our results suggest that perception of familiar content in art works is mediated by object recognition, memory recall and mental imagery, cognitive processes that evoke activation within a distributed cortical network.     

Is Complex Visual Information Implicated During Language Comprehension? The Case of Cast Shadows

Previous research showed that sensorimotor information affects the perception of properties associated with implied perceptual context during language comprehension. Three experiments addressed a novel question of whether perceptual context may contribute to a simulation of information about such out-of-sight objects as cast shadows. In Experiment 1, participants read a sentence that implied a particular shadow cast on a target (blinds vs. an open window) and then verified the picture of the object onto which a shadow was cast. Responses were faster when the shadow of blinds cast on the object matched that implied by the sentence. However, the data did not show the same matching effect for pictures with cast shadows from an open window. In Experiments 2 and 3, we found that verification times for pictures with no cast shadows were faster when preceded by an “open window” sentence, thus suggesting that reading the sentence does not elicit a visual simulation of any specific shadow. Experiment 3 showed that the objects superimposed with a cast shadow of the blinds and blinds themselves were verified faster after reading a “blinds” sentence. However, the results of an order analysis showed the temporal stability of the “blinds shadows” effect, but the disappearance of the “blinds” effect in the second half of the data. We conclude that the results are compatible, to a lesser or greater extent, with multiple accounts, and discuss our findings in the context of a mental imagery view, a mental simulation view, and an amodal representation view.     

Functions of parahippocampal place area and retrosplenial cortex in real-world scene analysis: An fMRI study

We used functional MRI to investigate several hypotheses concerning the functions of posterior parahippocampal cortex and retrosplenial cortex, two regions that preferentially activate to images of real-world scenes compared to images of other meaningful visual stimuli such as objects and faces. We compared activation resulting from photographs of rooms, city streets, cityscapes, and landscapes against activation to a control condition of objects. Activation in posterior parahippocampal cortex, including parahippocampal place area, was greater for all scene types than objects, and greater for scenes that clearly convey information about local three-dimensional (3-D) structure (city streets and rooms) than scenes that do not (cityscapes and landscapes). Similar differences were observed in retrosplenial cortex, though activation was also greater for city streets than rooms. These results suggest that activation in both cortical areas is primarily related to analysis or representation of local 3-D space. The results are not consistent with hypotheses that these areas reflect panoramic spatial volume, an artificial versus natural category distinction, an indoor versus outdoor distinction, or the number of explicit objects depicted in a scene image.