Perception

The concept of articulation was first introduced by Katz [1935 The World of Colour (London: Kegan Paul, Trench, Trubner & Co)] to refer to the degree of complexity within a field. Katz, who created the basic research methods for studying lightness constancy, found that the greater the degree of articulation within a field of illumination, the greater the degree of constancy. Even though this concept has been largely forgotten, there is much empirical evidence for Katz's principle, and the effects on lightness are very strong. However, when articulation is increased within a framework that does not coincide with a region of illumination, constancy is weakened. Kardos (1934 Zeitschrift für Psychologie Ergänzungband 23) advanced the concept of co-determination, according to which the lightness of a surface is determined relative to more than one field of illumination. Gilchrist et al (1999 Psychological Review 106 795–834) argue that the fields concept should be replaced by the more operational frameworks concept and that a wide variety of lightness errors can be explained by a modification of the Katz principle: the greater the articulation within a perceptual framework, the stronger the anchoring of lightness values within that framework.

The ability of observers to detect changes in illuminant over two scenes containing different random samples of reflecting surfaces was determined in an experiment with Mondrian-like patterns containing different numbers of coloured patches. Performance was found to improve as the number of patches increased from 9 to 49. In principle, observers could have used space-average scene colour as the cue (‘grey-world’ hypothesis) or the colour of the brightest surface in the scene (‘bright-is-white’ hypothesis), as the two cues generally covary. In a second experiment, observers matched illuminants across different patterns in which the space-average cue and the brightest-patch cue were independently manipulated. The articulation of the patterns was varied: the number of patches increased from 49 (patch width 1 deg visual angle) to over 50 000 (patch width 0.03 deg), while the gamut of colours was held constant. Space-average colour was found to be the dominant cue with all patterns except for those with the largest patches.

Luminance edges in the environment can be due to regions that differ in reflectance or in illumination. In three experiments, we varied the spatial organization of 10 achromatic (simulated) surfaces so that some arrangements were consistent with an ecologically valid and parsimonious interpretation of 5 surfaces under two different illuminants. A constant contrast-ratio along a luminance edge in the scene allows this interpretation. The brightness of patches in this condition was compared to their brightness with minimally different spatial arrangements that fail to maintain the constant contrast-ratio criterion. When the spatial arrangement of the 10 surfaces included a luminance edge satisfying the constant contrast-ratio criterion, brightness changed systematically, compared to arrangements without such a luminance edge. We account for the results by positing that a luminance edge with a constant contrast-ratio segments the scene into regions of lower and higher illumination, with the same effect as a difference in real physical illumination: all else equal, a given surface appears brighter under higher than under lower illumination.

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.

In White's display the gray target surrounded more by black than white appears darker than the target of the same physical luminance surrounded more by white than black. Several subsequent studies have shown that this effect occurs only when the luminance of the test regions lies between the minimum and maximum luminance values of the inducing stripes. With targets either lighter or darker than both inducing stripes, the direction of the effect is reversed and the effect is known as the ‘inverted’ White's effect. Views differ on whether the classical and inverted White's effects are mediated by common or separate underlying mechanisms. We varied the aspect ratio of the test and inducing regions in the classical and inverted White's effects. Consistent with previously reported findings, we found that the direction of the classical effect did not depend on the amount of black or white border in immediate contact with the test patch. On the other hand, perceived lightness in the inverted White's effect was affected by such variations, suggesting that induction in classical and inverted White's configurations is governed by different mechanisms. These results confirm the critical importance of the interaction between luminance and geometric relationships in induced brightness.

Recent work by British artists Rob and Nick Carter uses kinetic lights illuminating abstract photographic prints to induce dramatic failures of colour constancy.

Many researchers believe the human visual system classifies luminance edges into those produced by reflectance edges or those produced by illumination edges, yet this classification process is not completely understood. One suggestion is that heuristics are used for edge classification. For example, specific contrast relationships at the luminance edge (‘codirectional contrast invariance’ and ‘transversal luminance-ratio preserving’) may distinguish an illumination edge from a reflectance edge on the one hand, and from a translucent edge on the other. Distinct from luminance junctions, these features are global characteristics of the luminance pattern that make distinguishing between different types of edge easier with more highly articulated scenes. I demonstrate that apparent translucency, nonreversing X-junctions, and single-reversing X-junctions are insufficient on their own to produce the lightness illusion of Adelson's well-known tile pattern. While tolerating violations of the codirectional contrast invariance and transversal-luminance-ratio preserving without reversing the sign of contrast, the visual system is quite sensitive to such contrast reversal at the luminance edge. I account for this by suggesting that humans process lightness in terms of an ordinal, rather than interval, (or ratio) scale.

We argue, from an ethology-inspired perspective, that the internal concepts ‘surface colours' and ‘illumination colours' are part of the data format of two different representational primitives. Thus, the internal concept of ‘colour’ is not a unitary one but rather refers to two different types of ‘data structure’, each with its own proprietary types of parameters and relations. The relation of these representational structures is modulated by a class of parameterised transformations whose effects are mirrored in the idealised computational achievements of illumination invariance of colour codes, on the one hand, and scene invariance, on the other hand. Because the same characteristics of a light array reaching the eye can be physically produced in many different ways, the visual system, then, has to make an ‘inference’ whether a chromatic deviation of the space-averaged colour codes from the neutral point is due to a ‘non-normal’, ie chromatic, illumination or due to an imbalanced spectral reflectance composition. We provide evidence that the visual system uses second-order statistics of chromatic codes of a single view of a scene in order to modulate corresponding transformations. In our experiments we used centre – surround configurations with inhomogeneous surrounds given by a random structure of overlapping circles, referred to as Seurat configurations. Each family of surrounds has a fixed space-average of colour codes, but differs with respect to the covariance matrix of colour codes of pixels that defines the chromatic variance along some chromatic axis and the covariance between luminance and chromatic channels. We found that dominant wavelengths of red — green equilibrium settings of the infield exhibited a stable and strong dependence on the chromatic variance of the surround. High variances resulted in a tendency towards ‘scene invariance’, low variances in a tendency towards ‘illumination invariance’ of the infield.

Judgments of the colour of a surface are influenced by the colour of the surrounding. To determine whether only the average colour of the surrounding matters, or also the chromatic variability, judgments in colourful scenes are often compared with ones in which a target is surrounded by a plain background that provides the same average physical illumination of the retina as the colourful scene. The variability sometimes makes a difference (eg Shevell and Wei, 1998 Vision Research 38 1561–1566), and sometimes it does not (eg Brenner and Cornelissen, 1998 Vision Research 38 1789–1793). Is this because of the nonlinearity in cone responses? We designed scenes that stimulated the cones in an equivalent manner, both on average and in terms of variability, and yet differed markedly in chromatic variability. The more colourful surroundings had considerably less influence on subjects' colour judgments. We conclude that early cone-specific regulation of sensitivity cannot be responsible for the change in perceived colour, and deduce that chromatic induction takes place after contrast gain control.

The traditional achromatic Mach card effect is an example of lightness inconstancy and a demonstration of how shape and lightness perception interact. We present a quantitative study of this phenomenon and explore the conditions under which it occurs. The results demonstrate that observers show lightness constancy only when sufficient information is available about the light-source position, and the perceptual task required of them is surface identification rather than direct colour-appearance matching. An analysis and comparison of these results with the chromatic Mach card effect (Bloj et al 1999 Nature 402 877–879) demonstrate that the luminance effects of mutual illumination do not account for the change in lightness perception in the traditional Mach card.

Two experiments were conducted to study how scene complexity and cues to depth affect human color constancy. Specifically, two levels of scene complexity were compared. The low-complexity scene contained two walls with the same surface reflectance and a test patch which provided no information about the illuminant. In addition to the surfaces visible in the low-complexity scene, the high-complexity scene contained two rectangular solid objects and 24 paper samples with diverse surface reflectances. Observers viewed illuminated objects in an experimental chamber and adjusted the test patch until it appeared achromatic. Achromatic settings made under two different illuminants were used to compute an index that quantified the degree of constancy. Two experiments were conducted: one in which observers viewed the stimuli directly, and one in which they viewed the scenes through an optical system that reduced cues to depth. In each experiment, constancy was assessed for two conditions. In the valid-cue condition, many cues provided valid information about the illuminant change. In the invalid-cue condition, some image cues provided invalid information. Four broad conclusions are drawn from the data: (a) constancy is generally better in the valid-cue condition than in the invalid-cue condition; (b) for the stimulus configuration used, increasing image complexity has little effect in the valid-cue condition but leads to increased constancy in the invalid-cue condition; (c) for the stimulus configuration used, reducing cues to depth has little effect for either constancy condition; and (d) there is moderate individual variation in the degree of constancy exhibited, particularly in the degree to which the complexity manipulation affects performance.