Misidentifying illuminant changes in natural scenes due to failures in relational colour constancy.

The colours of surfaces in a scene may not appear constant with a change in the colour of the illumination. Yet even when colour constancy fails, human observers can usually discriminate changes in lighting from changes in surface reflecting properties. This operational ability has been attributed to the constancy of perceived colour relations between surfaces under illuminant changes, in turn based on approximately invariant spatial ratios of cone photoreceptor excitations. Natural deviations in these ratios may, however, lead to illuminant changes being misidentified. The aim of this work was to test whether such misidentifications occur with natural scenes and whether they are due to failures in relational colour constancy. Pairs of scene images from hyperspectral data were presented side-by-side on a computer-controlled display. On one side, the scene underwent illuminant changes and on the other side, it underwent the same changes but with images corrected for any residual deviations in spatial ratios. Observers systematically misidentified the corrected images as being due to illuminant changes. The frequency of errors increased with the size of the deviations, which were closely correlated with the estimated failures in relational colour constancy.

Discrimination of natural colors in anomalous trichromacy and the effects of EnChroma and Vino filters.

It is still unclear how well anomalous trichromats discriminate natural colors and whether commercial spectral filters improve performance in these conditions. We show that anomalous trichromats have good color discrimination with colors drawn from natural environments. It is only about 14% poorer, on average, than normal trichromats in our sample of thirteen anomalous trichromats. No measurable effect of the filters on discrimination was found, even after 8 hours of continuous use. Computations of cone and post-receptoral signals show only a modest increase in medium-to-long-wavelength difference signals, which may explain the absent effect of the filters.

Information gains from commercial spectral filters in anomalous trichromacy.

Red-green color discrimination is compromised in anomalous trichromacy, the most common inherited color vision deficiency. This computational analysis tested whether three commercial optical filters with medium-to-long-wavelength stop bands increased information about colored surfaces. The surfaces were sampled from 50 hyperspectral images of outdoor scenes. At best, potential gains in the effective number of surfaces discriminable solely by color reached 9% in protanomaly and 15% in deuteranomaly, much less than with normal trichromacy. Gains were still less with lower scene illumination and more severe color vision deficiency. Stop-band filters may offer little improvement in objective real-world color discrimination.

Art through the Colors of Graffiti: From the Perspective of the Chromatic Structure.

Graffiti is a general term that describes inscriptions on a wall, a practice with ancient origins, ranging from simple drawings and writings to elaborate pictorial representations. Nowadays, the term graffiti commonly describes the street art dedicated to wall paintings, which raises complex questions, including sociological, legal, political and aesthetic issues. Here we examine the aesthetics of graffiti colors by quantitatively characterizing and comparing their chromatic structure to that of traditional paintings in museums and natural scenes obtained by hyperspectral imaging. Two hundred twenty-eight photos of graffiti were taken in the city of São Paulo, Brazil. The colors of graffiti were represented in a color space and characterized by several statistical parameters. We found that graffiti have chromatic structures similar to those of traditional paintings, namely their preferred colors, distribution, and balance. In particular, they have color gamuts with the same degree of elongation, revealing a tendency for combining similar colors in the same proportions. Like more traditional artists, the preferred colors are close to the yellow-blue axis of color space, suggesting that graffiti artists' color choices also mimic those of the natural world. Even so, graffiti tend to have larger color gamuts due to the availability of a new generation of synthetic pigments, resulting in a greater freedom in color choice. A complementary analysis of graffiti from other countries supports the global generalization of these findings. By sharing their color structures with those of paintings, graffiti contribute to bringing art to the cities.

Hyperspectral environmental illumination maps: characterizing directional spectral variation in natural environments.

Objects placed in real-world scenes receive incident light from every direction, and the spectral content of this light may vary from one direction to another. In computer graphics, environmental illumination is approximated using maps that specify illumination at a point as a function of incident angle. However, to-date, existing public databases of environmental illumination specify only three colour channels (RGB). We have captured a new set of 12 environmental illumination maps (eight outdoor scenes; four indoor scenes) using a hyperspectral imaging system with 33 spectral channels. The data reveal a striking directional variation of spectral distribution of lighting in natural environments. We discuss limitations of using daylight models to describe natural environmental illumination.

Color constancy of color reproductions in art paintings.

Popular color reproductions of art paintings such as postcards are intended to remind viewers of the original works. It is, however, unclear how well the quality of the reproductions is preserved under various illuminations. Color constancy of the reproductions in relation to colors in the original paintings was estimated computationally with hyperspectral images of 15th-century Flemish paintings, 20th-century modern abstract paintings, and their corresponding postcards with a series of illuminants: the CIE daylight D65 with correlated color temperature (CCT) 6500 K, daylight D40, fluorescent lamps F2 and F11, and a LED lamp designed for museums with CCT approximately 3500-4000 K. Despite large colorimetric differences between the types of art paintings and between the illuminants simulated, local areas showed good color constancy: skin areas in the Flemish paintings ranged from 0.76 to 0.81, whereas nonskin areas ranged from 0.19 to 0.68. This result suggests that viewers may be able to achieve color constancy with the reproduction postcards by disregarding inconsistent colors representations from the original paintings caused by changes in illumination conditions.

Color Vision 2018: Introduction by the feature editors.

This feature issue of the Journal of the Optical Society of America A (JOSA A) reflects the basic and applied research interests of members of the color vision community. Most of the articles stem from presentations at the 24th Biennial Symposium of the International Colour Vision Society (ICVS).

Statistics of colors in paintings and natural scenes.

Painters reproduce some spatial statistical regularities of natural scenes. To what extent they replicate their color statistics is an open question. We investigated this question by analyzing the colors of 50 natural scenes of rural and urban environments and 44 paintings with abstract and figurative compositions. The analysis was carried out using hyperspectral imaging data from both sets and focused on the gamut and distribution of colors in the CIELAB space. The results showed that paintings, like natural scenes, have gamuts with elongated shapes in the yellow-blue direction but more tilted to the red direction. It was also found that the fraction of discernible colors, expressed as a function of the number of occurrences in the scene or painting, is well described by power laws. These have similar distribution of slopes in a log-log scale for paintings and natural scenes. These features are observed in both abstract and figurative compositions. These results suggest that the underlying chromatic structure of artistic compositions generally follows the main statistical features of the natural environment.

Assessing the effects of dynamic luminance contrast noise masking on a color discrimination task.

The aim of this work was to assess the influence of dynamic luminance contrast noise masking (LCNM) on color discrimination for color normal and anomalous trichromats. The stimulus was a colored target on a background presented on a calibrated CRT display. In the static LCNM condition, the background and target consisted of packed circles with variable size and static random luminance. In the dynamic LCNM condition, a 10 Hz square luminance signal was added to each circle. The phase of this signal was randomized across circles. Discrimination thresholds were estimated along 20 hue directions concurrent at the color of the background. Six observers with normal color vision, six deuteranomalous observers, and three protanomalous observers performed the test in both conditions. With dynamic LCNM, thresholds were significantly lower for anomalous observers but not for normal observers, suggesting a facilitation effect of the masking for anomalous trichromats.

Changes in spatial extent and peak double optical density of human macular pigment with age.

The purpose of the present work was to estimate the changes in spatial distribution and optical density of macular pigment (MP) with age. A fundus imaging system with high spatial and spectral resolution was adapted to form an indirect ophthalmoscope. The double optical density at 490 nm of the MP as a function of the location in the retina was obtained for 33 healthy subjects (ages: 21-60 years). There was an increase in spatial extent and decrease in double optical density with age. Furthermore, the spatial distribution of MP showed central areas with irregular shapes and a tendency toward asymmetry.

How the orientation of the color gamut of natural scenes influences color discrimination in red-green dichromacy.

In natural scenes, visual discrimination of colored surfaces by individuals with X-linked dichromacy is known to be only a little poorer than in normal trichromacy. This surprising result may be related to the properties of the colors of these scenes, like the shape and orientation of the color gamut, uneven frequency, and a considerable variation in lightness. It is unclear, however, how much each of these factors contributes to the small impairment in discrimination, in particular, what is the contribution of the orientation of the gamut. We measured the discrimination of colors from natural scenes by six normal trichromats and six dichromats. Colors were drawn either from the original color gamut of the scenes or from gamut-rotated versions of the scenes. Pairs of colors were randomly drawn from hyperspectral images of one rural and one urban environment and presented on a screen. As expected, dichromats were only a little poorer than normal trichromats at discrimination but the disadvantage varied systematically with the orientation of the color gamut by a factor of about three with a minimum around a yellow-green axis. Dichromats also took longer to respond, and the response times were modulated with the orientation of the color gamut in a similar way as the loss in discrimination. For the scenes tested here, these results imply an important impact of the orientation of the gamut on discrimination. They also indicate that the predominantly yellow-blue orientation of the gamut of natural scene might not be optimal for discrimination in dichromacy.

Best lighting for naturalness and preference.

Spectral optimization for naturalness and preference was carried out empirically in a set of psychophysical experiments in which observers adjusted the spectral composition of the illumination to render commercial food counters containing a variety of fruits and vegetables as well as meat and fish. The scenes were simulated with high chromatic precision on a calibrated computer monitor from data obtained by hyperspectral imaging. The illuminants were daylight-like and their metamers, representing a set of nearly arbitrary spectra. For daylights, the most natural colors were produced with illuminants with an average correlated color temperature (CCT) of 6040 K and the most preferred colors with an average CCT of 4410 K. For metamers, the CCT for the two conditions were a little higher than for daylights, and the corresponding spectra were considerably different from daylight with characteristic peaks at both ends of the visible band and at about 490 nm and 560 nm. When compared directly with daylights, these metamers were preferred for most of the scenes. It was hypothesized that observers' choices may be determined by the chromatic volume and the symmetry of the color distributions: The best illuminants for preference produced larger gamuts, and the best illuminants for naturalness produced gamuts with aspect ratios closer to unity, i.e., more symmetrically distributed.

Little information loss with red-green color deficient vision in natural environments.

Inherited color vision deficiency affects red-green discrimination in about one in twelve men from European populations. Its effects have been studied mainly in primitive foraging but also in detecting blushing and breaking camouflage. Yet there is no obvious relationship between these specific tasks and vision in the real world. The aim here was to quantify the impact of color vision deficiency by estimating computationally the information available to observers about colored surfaces in natural scenes. With representative independent sets of 50 and 100 hyperspectral images, estimated information was found to be only a little less in red-green color vision deficiency than in normal trichromacy. Colorimetric analyses revealed the importance of large lightness variations within scenes, small redness-greenness variations, and uneven frequencies of different colored surfaces. While red-green color vision deficiency poses challenges in some tasks, it has much less effect on gaining information from natural environments.

Lighting spectrum to maximize colorfulness.

The spectrum of modern illumination can be computationally tailored considering the visual effects of lighting. We investigated the spectral profiles of the white illumination maximizing the theoretical limits of the perceivable object colors. A large number of metamers with various degrees of smoothness were generated on and around the Planckian locus, and the volume in the CIELAB space of the optimal colors for each metamer was calculated. The optimal spectrum was found at the color temperature of around 5.7×10(3) K, had three peaks at both ends of the visible band and at around 510 nm, and was 25% better than daylight and 35% better than Thornton's prime color lamp.

Psychophysical optimization of lighting spectra for naturalness, preference, and chromatic diversity.

The optimal spectral profiles of lighting for naturalness, individual preference, and chromatic diversity were estimated with psychophysical experiments in which observers selected illuminants from a set of metamers of D65 to render outdoor and indoor scenes. For naturalness, the illuminant selected was more spectrally structured than daylight and had a low color rendering index. For preference, the illuminant was similar but produced colors a little more saturated. For chromatic diversity, the spectrum was much more structured, with clearly defined peaks in the blue, green, and red spectral regions. These experiments show that light sources with specific structured spectra may have important visual applications in lighting.

Contrast edge colors under different natural illuminations.

Essential to sensory processing in the human visual system is natural illumination, which can vary considerably not only across space but also along the day depending on the atmospheric conditions and the sun's position in the sky. In this work, edges derived from the three postreceptoral Luminance, Red-Green, and Blue-Yellow signals were computed from hyperspectral images of natural scenes rendered with daylights of Correlated Color Temperatures (CCTs) from 2735 to 25,889 K; for low CCT, the same analysis was performed using Planckian illuminants up to 800 K. It was found that average luminance and chromatic edge contrasts were maximal for low correlated color temperatures and almost constants above 10,000 K. The magnitude of these contrast changes was, however, only about 2% across the tested daylights. Results suggest that the postreceptoral opponent and nonopponent color vision mechanisms produce almost constant responses for color edge detection under natural illumination.

Universality and superiority in preference for chromatic composition of art paintings.

Color composition in paintings is a critical factor affecting observers' aesthetic judgments. We examined observers' preferences for the color composition of Japanese and Occidental paintings when their color gamut was rotated. In the experiment, observers were asked to select their preferred image from original and three hue-rotated images in a four-alternative forced choice paradigm. Despite observers' being unfamiliar with the presented artwork, the original paintings (0 degrees) were preferred more frequently than the hue-rotated ones. Furthermore, the original paintings' superiority was observed when the images were divided into small square pieces and their positions randomized (Scrambled condition), and when the images were composed of square pieces collected from different art paintings and composed as patchwork images (Patchwork condition). Therefore, the original paintings' superiority regarding preference was quite robust, and the specific objects in the paintings associated with a particular color played only a limited role. Rather, the original paintings' general trend in color statistics influenced hue-angle preference. Art paintings likely share common statistical regulations in color distributions, which may be the basis for the universality and superiority of the preference for original paintings.

Naturalness and aesthetics of colors - Preference for color compositions perceived as natural.

What makes a colored image, e.g. an abstract painting or a landscape, look pleasing? We hypothesized that a preference for complex color compositions, such as paintings and images of natural scenes, might be related to how natural the colors are perceived. We tested this possibility with two experiments in which the degree of naturalness of images was manipulated by rotating their color gamut rigidly in the color space CIELAB. This changed just the hue composition, but preserved saturation and lightness. In the first experiment we obtained individual scaling curves for perceived naturalness and for preference as a function of the angle of gamut rotation for a small set of images. The naturalness and preference scaling curves were found to be largely similar and their maxima were close to the original image. In the second experiment, we tested whether this effect generalized to a larger set of images. We used a simultaneous 5AFC procedure where in each trial participants had to select the most natural or the most preferred image from five different rotations of the color gamut. The results confirmed the first experiment and showed that, in general, the images perceived as the more natural tend to be the ones that are preferred. Together these results show that perceived naturalness and preference are indeed perceptually closely related and may be driven by related mechanisms.

An independent contribution of colour to the aesthetic preference for paintings.

Walking around an art museum we can see how colours influence our aesthetic preferences: many great works of art would not be as impressive in grey scales. Is the beauty of colours in abstract paintings anchored to the spatial composition of the paintings, or can it be preserved even with random spatial arrangements? To test whether colour can have an independent contribution to aesthetic appreciation, we asked participants to select the preferred image among pairs of colour-manipulated versions of the same painting. We changed hue, but preserved lightness and saturation, by rotating the colour volume around the L* axis in CIELAB space. To test the influence of the spatial structure, the images of the paintings were presented: (1) in their original format, (2) spatially scrambled but preserving the colour composition, and (3) in a control condition with both colour and spatial scrambling. Relative preference as a function of hue angle was obtained for the four paintings in their original and modified forms. For the original paintings, we found that participants generally preferred the colour angles that matched the original version of the paintings. Crucially, participants preferred the same colour distributions for spatially scrambled paintings as for the original paintings. For the control condition, there were no preferred colour configurations. This suggests that the aesthetic preference of colours in our abstract paintings is not anchored to particular spatial compositions, but is at least partly preserved even when the spatial composition is destroyed. Paintings thus can contain an aesthetic component that is exclusively related to colour.

Approaching ideal observer efficiency in using color to retrieve information from natural scenes.

Variations in illumination on a scene and trichromatic sampling by the eye limit inferences about scene content. The aim of this work was to elucidate these limits in relation to an ideal observer using color signals alone. Simulations were based on 50 hyperspectral images of natural scenes and daylight illuminants with correlated color temperatures 4000 K, 6500 K, and 25,000 K. Estimates were made of the (Shannon) information available from each scene, the redundancies in receptoral and postreceptoral coding, and the information retrieved by an observer identifying corresponding points across image pairs. For the largest illuminant difference, between 25,000 K and 4000 K, a postreceptoral transformation providing minimum redundancy yielded an efficiency of about 80% in the information retrieved. This increased to about 89% when the transformation was optimized directly for information retrieved, corresponding to an equivalent Gaussian noise amplitude of 3.0% or to a mean of 3.6 x 10(4) distinct identifiable points per scene. Using color signals to retrieve information from natural scenes can approach ideal observer efficiency levels.