Anya Hurlbert

Perception of three-dimensional shape influences colour perception through mutual illumination.

Objects in the natural world possess different visual attributes, including shape, colour, surface texture and motion. Previous perceptual studies have assumed that the brain analyses the colour of a surface independently of its three-dimensional shape and viewing geometry, although there are neural connections between colour and two-dimensional form processing early in the visual pathway. Here we show that colour perception is strongly influenced by three-dimensional shape perception in a novel, chromatic version of the Mach Card—a concave folded card with one side made of magenta paper and the other of white paper. The light reflected from the magenta paper casts a pinkish glow on the white side. The perceived colour of the white side changes from pale pink to deep magenta when the perceived shape of the card flips from concave to convex. The effect demonstrates that the human visual system incorporates knowledge of mutual illumination—the physics of light reflection between surfaces—at an early stage in colour perception.

Color contrast: a contributory mechanism to color constancy.

Color constancy--by which objects tend to appear the same color under changes in illumination--is most likely achieved by several mechanisms, operating at different levels in the visual system. One powerful contributory mechanism is simultaneous spatial color contrast. Under changes in natural illumination the spatial ratios of within-type cone excitations between natural surfaces tend to be preserved (Foster and Nascimento, 1994); therefore, the neural encoding of colors as spatial contrasts tends to achieve constancy. Several factors are known to influence the strength of chromatic contrast induction between surfaces, including their relative luminance, spatial scale, spatial configuration and context (Ware and Cowan, 1982; Zaidi et al., 1991). Here we test the hypothesis that color contrast is weakened by differences between surfaces which indicate that they may be under distinct illuminants. We summarize psychophysical measurements of the effects of relative motion, relative depth and texture differences on chromatic contrast induction. Of these factors, only texture differences between surfaces weaken chromatic contrast induction. We also consider neurophysiological and neuropsychological evidence and conclude that the mechanisms which mediate local chromatic contrast effects are sited at low levels in the visual system, in primary visual cortex (V1) or below, prior to image segmentation mechanisms which require computation of relative depth or motion. V1 and lower areas may therefore play a larger role in color constancy than previously thought.

Neuromagnetic correlates of visual motion coherence

In order to characterize cortical responses to coherent motion we use magnetoencephalography (MEG) to measure human brain activity that is modulated by the degree of global coherence in a visual motion stimulus. Five subjects passively viewed two‐phase motion sequences of sparse random dot fields. In the first (incoherent) phase the dots moved in random directions; in the second (coherent) phase a variable percentage of dots moved uniformly in one direction while the others moved randomly. We show that: (i) visual‐motion‐evoked magnetic fields, measured with a whole‐scalp neuromagnetometer, reveal two transient events, within which we identify two significant peaks – the ‘ON‐M220’ peak approximately 220 ms after the onset of incoherent motion and the ‘TR‐M230’ peak, approximately 230 ms after the transition from incoherent to coherent motion; (ii) in lateral occipital channels, the TR‐M230 peak amplitude varies with the percentage of motion coherence; (iii) two main sources are active in response to the transition from incoherent to coherent motion, the human medial temporal area complex/V3 accessory area (hMT+/V3A) and the superior temporal sulcus (STS), and (iv) these distinct areas show a similar, significant dependence of response strength and latency on motion coherence.

Role of color memory in successive color constancy

We investigate color constancy for real 2D paper samples using a successive matching paradigm in which the observer memorizes a reference surface color under neutral illumination and after a temporal interval selects a matching test surface under the same or different illumination. We find significant effects of the illumination, reference surface, and their interaction on the matching error. We characterize the matching error in the absence of illumination change as the “pure color memory shift” and introduce a new index for successive color constancy that compares this shift against the matching error under changing illumination. The index also incorporates the vector direction of the matching errors in chromaticity space, unlike the traditional constancy index. With this index, we find that color constancy is nearly perfect.

Measurements of Colour Constancy by Using a Forced-Choice Matching Technique

Colour constancy is typically measured with techniques involving asymmetric matching by adjustment, in which the observer views two scenes under different illuminants and adjusts the colour of a reference patch in one to match a test patch in the other. This technique involves an unnatural task, requiring the observer to predict and adjust colour appearance under an illumination shift. Natural colour constancy is more a simple matter of determining whether a colour is the same as or different from that seen under different illumination conditions. There are also technical disadvantages to the method of matching by adjustment, particularly when used to measure colour constancy in complex scenes. Therefore, we have developed and tested a two-dimensional method of constant-stimuli, forced-choice matching paradigm for measuring colour constancy. Observers view test and reference scenes haploscopically and simultaneously, each eye maintaining separate adaptation throughout a session. On each trial, a pair of test and reference patches against multicoloured backgrounds are presented, the reference patch colours being selected from a two-dimensional grid of displayable colours around the point of perfect colour constancy. The observers task is to respond “same” or “different”. Fitting a two-dimensional Gaussian to the percentage of “different” responses yields (1) the subjective colour-constancy point, (2) the discrimination ellipse centred on this point, and (3) a map of changes in sensitivity to chromatic differences induced by the illuminant shift. The subjective colour-constancy point measured in this way shows smaller deviations from perfect colour constancy—under conditions of monocular adaptation—than previously reported; discrimination ellipses are several times larger than standard MacAdam ellipses; and chromatic sensitivity is independent of the direction of the illuminant shift, for broad distributions of background colours.

Colour vision: Is colour constancy real?

Colour constancy is typically weaker in the laboratory than it seems in our everyday experience. New measurements using real-world stimuli show that colour constancy is in fact almost perfect, and that several different perceptual mechanisms contribute to achieving it.

Colour Vision: Understanding #TheDress

A widely-viewed image of a dress elicits striking individual variation in colour perception. Experiments with multiple variants of the image suggest that the individual differences may arise through the action of visual mechanisms that normally stabilise object colour.

Chromatic Illumination Discrimination Ability Reveals that Human Colour Constancy Is Optimised for Blue Daylight Illuminations

The phenomenon of colour constancy in human visual perception keeps surface colours constant, despite changes in their reflected light due to changing illumination. Although colour constancy has evolved under a constrained subset of illuminations, it is unknown whether its underlying mechanisms, thought to involve multiple components from retina to cortex, are optimised for particular environmental variations. Here we demonstrate a new method for investigating colour constancy using illumination matching in real scenes which, unlike previous methods using surface matching and simulated scenes, allows testing of multiple, real illuminations. We use real scenes consisting of solid familiar or unfamiliar objects against uniform or variegated backgrounds and compare discrimination performance for typical illuminations from the daylight chromaticity locus (approximately blue-yellow) and atypical spectra from an orthogonal locus (approximately red-green, at correlated colour temperature 6700 K), all produced in real time by a 10-channel LED illuminator. We find that discrimination of illumination changes is poorer along the daylight locus than the atypical locus, and is poorest particularly for bluer illumination changes, demonstrating conversely that surface colour constancy is best for blue daylight illuminations. Illumination discrimination is also enhanced, and therefore colour constancy diminished, for uniform backgrounds, irrespective of the object type. These results are not explained by statistical properties of the scene signal changes at the retinal level. We conclude that high-level mechanisms of colour constancy are biased for the blue daylight illuminations and variegated backgrounds to which the human visual system has typically been exposed.

An Empirical Study of the Traditional Mach Card Effect

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.

Discrimination of cone contrast changes as evidence for colour constancy in cerebral achromatopsia

Abstract One proposed mechanism for underpinning colour constancy is computation of the relative activity of cones within one class – cone ratios, or cone contrasts – between surfaces in a fixed scene undergoing a change in illuminant. Although there is evidence that cone ratios do determine colour appearance under many conditions, the site or sites of their computation is unknown. Here, we report that a cerebrally achromatopsic observer, MS, displayed evidence of colour constancy in asymmetric colour matching tasks and was able to discriminate changes in cone ratios for simple, but not complex scenes. We hypothesise that the site of local cone-ratio computation is therefore early in the visual system, probably retinal.