Lightness constancy and illumination discounting

Shining a Light on Race: Contrast and Assimilation Effects in the Perception of Skin Tone and Racial Typicality

Researchers have long debated the extent to which an individual’s skin tone influences their perceived race. Brooks and Gwinn (2010) demonstrated that the race of surrounding faces can affect the perceived skin tone of a central target face without changing perceived racial typicality, suggesting that skin lightness makes a small contribution to judgments of race compared to morphological cues (the configuration and shape of the facial features). However, the lack of a consistent light source may have undermined the reliability of skin tone cues, encouraging observers to rely disproportionately on morphological cues instead. The current study addresses this concern by using 3D models of male faces with typically Black African or White European appearances that are illuminated by the same light source. Observers perceived target faces surrounded by White faces to have darker skin than those surrounded by Black faces, particularly for faces of intermediate lightness. However, when asked to judge racial typicality, a small assimilation effect was evident, with target faces perceived as more stereotypically White when surrounded by White than when surrounded by Black faces at intermediate levels of typicality. This evidence of assimilation effects for perceived racial typicality despite concurrent contrast effects on perceived skin lightness supports the previous conclusion that perceived skin lightness has little influence on judgments of racial typicality for racially ambiguous faces, even when lighting is consistent.

The Achromatic Object-Colour Manifold is Three-Dimensional

When in shadow, the achromatic object colours appear different from when they are in light. This immediate observation was quantitatively confirmed by Logvinenko and Maloney (2006, Perception & Psychophysics, 68, 76-83) who, using multidimensional scaling (MDS), showed the two-dimensionality of achromatic object colours. As their experiments included only cast shadows, a question arises: is this also the case for attached shadows? Recently, Madigan and Brainard (2014) argued in favour of the negative answer. However, they also failed to confirm the two-dimensionality for cast shadows. To resolve this issue, an experiment was conducted in which observers rated the dissimilarity between achromatic Munsell chips presented in light and in shadows of both types. Specifically, the chips were presented in four conditions: in front in light; at slant in light; in front in shadow; and at slant in shadow. MDS analysis of the obtained dissimilarities confirmed the two-dimensionality of achromatic colours for both types of shadow. Furthermore, the dimension induced by the cast shadow (shadowedness) was found to be different from that induced by the attached shadow (shading). In the three-dimensional MDS output configuration these were represented by clearly different dimensions. This quantitatively supports a fact, well-known to artists, that attached and cast shadows are experienced as different phenomenological entities. It is argued that a shading gradient is perceptually experienced as shape (ie spatial relief).

The nature of instructional effects in color constancy

The instructions subjects receive can have a large effect on experimentally measured color constancy, but the nature of these effects and how their existence should inform our understanding of color perception remains unclear. We used a factorial design to measure how instructional effects on constancy vary with experimental task and stimulus set. In each of 2 experiments, we employed both a classic adjustment-based asymmetric matching task and a novel color selection task. Four groups of naive subjects were instructed to make adjustments/selections based on (a) color (neutral instructions); (b) the light reaching the eye (physical spectrum instructions); (c) the actual surface reflectance of an object (objective reflectance instructions); or (d) the apparent surface reflectance of an object (apparent reflectance instructions). Across the 2 experiments we varied the naturalness of the stimuli. We find clear interactions between instructions, task, and stimuli. With simplified stimuli (Experiment 1), instructional effects were large and the data revealed 2 instruction-dependent patterns. In 1 (neutral and physical spectrum instructions) constancy was low, intersubject variability was also low, and adjustment-based and selection-based constancy were in agreement. In the other (reflectance instructions) constancy was high, intersubject variability was large, adjustment-based constancy deviated from selection-based constancy and for some subjects selection-based constancy increased across sessions. Similar patterns held for naturalistic stimuli (Experiment 2), although instructional effects were smaller. We interpret these 2 patterns as signatures of distinct task strategies-1 is perceptual, with judgments based primarily on the perceptual representation of color; the other involves explicit instruction-driven reasoning. (PsycINFO Database Record

A unified account of perceptual layering and surface appearance in terms of gamut relativity

When we look at the world--or a graphical depiction of the world--we perceive surface materials (e.g. a ceramic black and white checkerboard) independently of variations in illumination (e.g. shading or shadow) and atmospheric media (e.g. clouds or smoke). Such percepts are partly based on the way physical surfaces and media reflect and transmit light and partly on the way the human visual system processes the complex patterns of light reaching the eye. One way to understand how these percepts arise is to assume that the visual system parses patterns of light into layered perceptual representations of surfaces, illumination and atmospheric media, one seen through another. Despite a great deal of previous experimental and modelling work on layered representation, however, a unified computational model of key perceptual demonstrations is still lacking. Here we present the first general computational model of perceptual layering and surface appearance--based on a boarder theoretical framework called gamut relativity--that is consistent with these demonstrations. The model (a) qualitatively explains striking effects of perceptual transparency, figure-ground separation and lightness, (b) quantitatively accounts for the role of stimulus- and task-driven constraints on perceptual matching performance, and (c) unifies two prominent theoretical frameworks for understanding surface appearance. The model thereby provides novel insights into the remarkable capacity of the human visual system to represent and identify surface materials, illumination and atmospheric media, which can be exploited in computer graphics applications.

Scaling measurements of the effect of surface slant on perceived lightness

The light reflected from an object depends on its reflectance, the illumination, and the pose of the object within the scene. An observer is called lightness constant if the perceived reflectance (lightness) of achromatic objects stays the same despite variation in object-extrinsic factors such as illumination and pose. Here, we used a dissimilarity scaling task to measure lightness constancy as the intensity of the illuminant and the slant of test surfaces were varied. Across two experiments, we had observers rate the dissimilarity of flat grayscale test stimulus pairs. The test stimuli were real illuminated surfaces, not computer simulations. Each test stimulus was seen in its own illuminated chamber, with the two chambers viewed side by side. We varied test surface reflectance, chamber illumination intensity, and the slant of the test in relation to the single light source in each chamber. Data were analyzed using nonmetric multidimensional scaling. The data were well-described by a one-dimensional perceptual representation. This representation was consistent across observers, revealed partial lightness constancy with respect to a change in illumination intensity, and no lightness constancy with respect to changes in surface slant. An additional experiment using a matching procedure and the same stimulus set, however, revealed moderate constancy with respect to changes in surface slant. The difference in results between the two methods is interesting, but not understood.

A unified account of gloss and lightness perception in terms of gamut relativity

A recently introduced computational theory of visual surface representation, termed gamut relativity, overturns the classical assumption that brightness, lightness, and transparency constitute perceptual dimensions corresponding to the physical dimensions of luminance, diffuse reflectance, and transmittance, respectively. Here I extend the theory to show how surface gloss and lightness can be understood in a unified manner in terms of the vector computation of "layered representations" of surface and illumination properties, rather than as perceptual dimensions corresponding to diffuse and specular reflectance, respectively. The theory simulates the effects of image histogram skewness on surface gloss/lightness and lightness constancy as a function of specular highlight intensity. More generally, gamut relativity clarifies, unifies, and generalizes a wide body of previous theoretical and experimental work aimed at understanding how the visual system parses the retinal image into layered representations of surface and illumination properties.

A reinterpretation of transparency perception in terms of gamut relativity

Classical approaches to transparency perception assume that transparency constitutes a perceptual dimension corresponding to the physical dimension of transmittance. Here I present an alternative theory, termed gamut relativity, that naturally explains key aspects of transparency perception. Rather than being computed as values along a perceptual dimension corresponding to transmittance, gamut relativity postulates that transparency is built directly into the fabric of the visual system's representation of surface color. The theory, originally developed to explain properties of brightness and lightness perception, proposes how the relativity of the achromatic color gamut in a perceptual blackness-whiteness space underlies the representation of foreground and background surface layers. Whereas brightness and lightness perception were previously reanalyzed in terms of the relativity of the achromatic color gamut with respect to illumination level, transparency perception is here reinterpreted in terms of relativity with respect to physical transmittance. The relativity of the achromatic color gamut thus emerges as a fundamental computational principle underlying surface perception. A duality theorem relates the definition of transparency provided in gamut relativity with the classical definition underlying the physical blending models of computer graphics.