The science of color and color vision

A survey of color science and color vision

Sex-related differences in chromatic sensitivity

Generally women are believed to be more discriminating than men in the use of colour names and this is often taken to imply superior colour vision. However, if both X-chromosome linked colour deficient males (~8%) and females (<1%) as well as heterozygote female carriers (~15%) are excluded from comparisons, then differences between men and women in red-green colour discrimination have been reported as not being significant (e.g., Pickford, 1944; Hood et al., 2006). We re-examined this question by assessing the performance of 150 males and 150 females on the Colour Assessment and Diagnosis (CAD) test (Rodriguez-Carmona, 2005). This is a sensitive test that yields small colour detection thresholds. The test employs direction-specific, moving, chromatic stimuli embedded in a background of random, dynamic, luminance contrast noise. A four-alternative, forced-choice procedure is employed to measure the subject’s thresholds for detection of colour signals in 16 directions in colour space, while ensuring that the subject cannot make use of any residual luminance contrast signals. In addition, we measured the Rayleigh anomaloscope matches in a subgroup of 111 males and 114 females. All the age-matched males (30.8 ± 9.7) and females (26.7 ± 8.8) had normal colour vision as diagnosed by a battery of conventional colour vision tests. Females with known colour deficient relatives were excluded from the study. Comparisons between the male and female groups revealed no significant differences in anomaloscope midpoints (p=0.709), but a significant difference in matching ranges (p=0.040); females on average tended to have a larger mean range (4.11) than males (3.75). Females also had significantly higher CAD thresholds than males along the red-green (p=0.0004), but not along the yellow-blue discrimination axis. The differences between males and females in red-green discrimination may be related to the heterozygosity in X-linked cone photopigment expression common among females

Natural images from the birthplace of the human eye

Here we introduce a database of calibrated natural images publicly available through an easy-to-use web interface. Using a Nikon D70 digital SLR camera, we acquired about 5000 six-megapixel images of Okavango Delta of Botswana, a tropical savanna habitat similar to where the human eye is thought to have evolved. Some sequences of images were captured unsystematically while following a baboon troop, while others were designed to vary a single parameter such as aperture, object distance, time of day or position on the horizon. Images are available in the raw RGB format and in grayscale. Images are also available in units relevant to the physiology of human cone photoreceptors, where pixel values represent the expected number of photoisomerizations per second for cones sensitive to long (L), medium (M) and short (S) wavelengths. This database is distributed under a Creative Commons Attribution-Noncommercial Unported license to facilitate research in computer vision, psychophysics of perception, and visual neuroscience.Comment: Submitted to PLoS ON

Digital Color Imaging

This paper surveys current technology and research in the area of digital color imaging. In order to establish the background and lay down terminology, fundamental concepts of color perception and measurement are first presented us-ing vector-space notation and terminology. Present-day color recording and reproduction systems are reviewed along with the common mathematical models used for representing these devices. Algorithms for processing color images for display and communication are surveyed, and a forecast of research trends is attempted. An extensive bibliography is provided

Spatial frequency tuned covariance channels for red–green and luminance-modulated gratings: psychophysical data from human adults

AbstractBoth chromatic and luminance-modulated stimuli are served by multiple spatial-frequency-tuned channels. This experiment investigated the independence versus interdependence of spatial frequency channels that serve the detection of red–green chromatic versus yellow–black luminance-modulated stimuli at low spatial frequencies. Contrast thresholds for both chromatic and luminance-modulated gratings were measured within 12 individual subjects using a repeated-measures design. Spatial frequencies ranged from 0.27 to 2.16 c/deg. A covariance structure analysis of individual differences was applied to the data. We computed statistical sources of individual variability, used them to define covariance channels, and determined the number and frequency tuning of these channels. For luminance-modulated gratings, two covariance channels were found, including one above and one below 1 c/deg [cf. Peterzell, & Teller (1996). Individual differences in contrast sensitivity functions: the coarsest spatial pattern analyzer. Vision Research, 36, 3077–3085]. For chromatic gratings, correlations between thresholds for most spatial frequencies were uniformly high, yielding a single covariance channel covering all but the highest spatial frequency tested. A combined analysis of both data sets recovered the same three covariance channels, and showed that detection thresholds for low-frequency red–green chromatic and luminance-modulated stimuli are served by separate, statistically independent processes

Evaluation and improvement of the workflow of digital imaging of fine art reproduction in museums

Fine arts refer to a broad spectrum of art formats, ie~painting, calligraphy, photography, architecture, and so forth. Fine art reproductions are to create surrogates of the original artwork that are able to faithfully deliver the aesthetics and feelings of the original. Traditionally, reproductions of fine art are made in the form of catalogs, postcards or books by museums, libraries, archives, and so on (hereafter called museums for simplicity). With the widespread adoption of digital archiving in museums, more and more artwork is reproduced to be viewed on a display. For example, artwork collections are made available through museum websites and Google Art Project for art lovers to view on their own displays. In the thesis, we study the fine art reproduction of paintings in the form of soft copy viewed on displays by answering four questions: (1) what is the impact of the viewing condition and original on image quality evaluation? (2) can image quality be improved by avoiding visual editing in current workflows of fine art reproduction? (3) can lightweight spectral imaging be used for fine art reproduction? and (4) what is the performance of spectral reproductions compared with reproductions by current workflows? We started with evaluating the perceived image quality of fine art reproduction created by representative museums in the United States under controlled and uncontrolled environments with and without the presence of the original artwork. The experimental results suggest that the image quality is highly correlated with the color accuracy of the reproduction only when the original is present and the reproduction is evaluated on a characterized display. We then examined the workflows to create these reproductions, and found that current workflows rely heavily on visual editing and retouching (global and local color adjustments on the digital reproduction) to improve the color accuracy of the reproduction. Visual editing and retouching can be both time-consuming and subjective in nature (depending on experts\u27 own experience and understanding of the artwork) lowering the efficiency of artwork digitization considerably. We therefore propose to improve the workflow of fine art reproduction by (1) automating the process of visual editing and retouching in current workflows based on RGB acquisition systems and by (2) recovering the spectral reflectance of the painting with off-the-shelf equipment under commonly available lighting conditions. Finally, we studied the perceived image quality of reproductions created by current three-channel (RGB) workflows with those by spectral imaging and those based on an exemplar-based method

A low-cost hyperspectral scanner for natural imaging and the study of animal colour vision above and under water

Hyperspectral imaging is a widely used technology for industrial and scientific purposes, but the high cost and large size of commercial setups have made them impractical for most basic research. Here, we designed and implemented a fully open source and low-cost hyperspectral scanner based on a commercial spectrometer coupled to custom optical, mechanical and electronic components. We demonstrate our scanner's utility for natural imaging in both terrestrial and underwater environments. Our design provides sub-nm spectral resolution between 350-950 nm, including the UV part of the light spectrum which has been mostly absent from commercial solutions and previous natural imaging studies. By comparing the full light spectra from natural scenes to the spectral sensitivity of animals, we show how our system can be used to identify subtle variations in chromatic details detectable by different species. In addition, we have created an open access database for hyperspectral datasets collected from natural scenes in the UK and India. Together with comprehensive online build- and use-instructions, our setup provides an inexpensive and customisable solution to gather and share hyperspectral imaging data

Tetrachromacy: the mysterious case of extra-ordinary color vision

Recent years have witnessed a growing public interest in human tetrachromacy – the possibility that a subpopulation of women enjoy an extra dimension of color vision. Yet, by contrast, rigorous studies of this unusual phenotype are sparse. The aim here is to offer the reader a guide to the facts and myths regarding this potential‘superpower’ and to address the core methodological issues that need to be considered when investigating it

Relating color discrimination to photopigment genes in deutan observers

AbstractDeutan observers are a heterogeneous group, varying nearly continuously from deuteranomalous trichromats with fine chromatic discrimination in the red/green range to deuteranopes who have none. We sought to relate chromatic discriminative ability among deutans measured psychophysically (phenotypes) to observers' separation between long-wave visual pigments inferred from visual pigment genes (genotypes). If middle-wave pigment genes are assumed not to be expressed in these deutan observers there is a clear relation between phenotype and genotype