Seeing colors in real scenes

Color perception in real conditions is determined by the spectral and spatial properties of objects and illumination. These properties are best evaluated by spectral imaging, a technique that records the reflecting spectral profile for each point of the scene. Using this technique on a set of natural scenes it was found that the color gamut expressed in the CIELAB color space is much smaller than the theoretical limits defined for the object colors. Moreover, the colors more frequent are those around the white point and their frequency of occurrence can be well described by a power law. Spatial variations of the spectral composition of the illumination across natural scenes were also quantified by placing small reflecting spheres in different locations of the scenes. The extent of these variations across scenes was found to be large and of the same order of magnitude as the variations of daylight along the day. These findings show that colors in nature are considerable constrained and that constancy mechanisms must be efficient over a wide range of stimuli variations to compensate for large natural variations of illumination

Color diversity index : the effect of chromatic adaptation

Common descriptors of light quality fail to predict the chromatic diversity produced by the same illuminant in different contexts. The aim of this paper was to study the influence of the chromatic adaptation in the context of the development of the color diversity index, a new index capable of predicting illuminant-induced variations in several types of images. The spectral reflectance obtained from hyperspectral images of natural, indoor and artistic paintings, and the spectral reflectance of 1264 Munsell surfaces were converted into the CIELAB color space for each of the 55 CIE illuminants and 5 light sources tested. The influence of the CAT02 chromatic adaptation was estimated for each illuminant and for each scene. The CIELAB volume was estimated by the convex hull method and the number of discernible colors was estimated by segmenting the CIELAB color volume into unitary cubes and by counting the number of non-empty cubes. High correlation was found between the CIELAB volume occupied by the Munsell surfaces and the number of discernible colors and the CILEAB color volume of the colors in all images analyzed. The effects of the chromatic adaptation were marginal and did not change the overall result. These results indicate that the efficiency of the new illuminant chromatic diversity index is not influenced by chromatic adaptation

Time-lapse ratios of cone excitations in natural scenes

The illumination in natural environments varies through the day. Stable inferences about surface color might be supported by spatial ratios of cone excitations from the reflected light, but their invariance has been quantified only for global changes in illuminant spectrum. The aim here was to test their invariance under natural changes in both illumination spectrum and geometry, especially in the distribution of shadows. Time-lapse hyperspectral radiance images were acquired from five outdoor vegetated and nonvegetated scenes. From each scene, 10,000 pairs of points were sampled randomly and ratios measured across time. Mean relative deviations in ratios were generally large, but when sampling was limited to short distances or moderate time intervals, they fell below the level for detecting violations in ratio invariance. When illumination changes with uneven geometry were excluded, they fell further, to levels obtained with global changes in illuminant spectrum alone. Within sampling constraints, ratios of cone excitations, and also of opponent-color combinations, provide an approximately invariant signal for stable surface-color inferences, despite spectral and geometric variations in scene illumination.This work was supported by the Engineering and Physical Sciences Research Council, United Kingdom (Grant Nos. GR/R39412/01, EP/B000257/1, and EP/E056512/1). We thank Iván Marín-Franch for advice on statistical analysis and Oscar González for critical comments on the manuscript

Lighting spectra for the maximum colorfulness

The advent of modern solid-state sources enabled almost any spectrum for lighting and a wide range of possibilities in color rendering. The quality of the lighting has been typically evaluated by the color rendering index which measures how much the colors of objects illuminated by the light under test look similar to those produced when the objects are illuminated by the daylight or a conventional incandescent light. On the other hand, how colorful or vivid the colors under the illumination are perceived is also an important quality to evaluate lighting. We investigated, computationally, the spectral profiles of the illumination that maximizes the theoretical limit of the perceivable object colors. A large number of metamers with various degree of smoothness were generated using the Schmitt’s elements method at chromaticity points on and around the Planckian locus ranging from 2,222 K to 20,000 K. The general color rendering index (CRI) and MacAdam volumes in CIELAB color space were calculated for each metamer. The metamers maximizing the CRI had smoother spectra than the metamers maximizing the MacAdam volume. These results show that maximum colorfulness in nature can only be obtained with spectrally non-smooth illuminatio

Robust colour constancy in red-green dichromats

Colour discrimination has been widely studied in red-green (R-G) dichromats but the extent to which their colour constancy is affected remains unclear. This work estimated the extent of colour constancy for four normal trichromatic observers and seven R-G dichromats when viewing natural scenes under simulated daylight illuminants. Hyperspectral imaging data from natural scenes were used to generate the stimuli on a calibrated CRT display. In experiment 1, observers viewed a reference scene illuminated by daylight with a correlated colour temperature (CCT) of 6700K; observers then viewed sequentially two versions of the same scene, one illuminated by either a higher or lower CCT (condition 1, pure CCT change with constant luminance) or a higher or lower average luminance (condition 2, pure luminance change with a constant CCT). The observers' task was to identify the version of the scene that looked different from the reference scene. Thresholds for detecting a pure CCT change or a pure luminance change were estimated, and it was found that those for R-G dichromats were marginally higher than for normal trichromats regarding CCT. In experiment 2, observers viewed sequentially a reference scene and a comparison scene with a CCT change or a luminance change above threshold for each observer. The observers' task was to identify whether or not the change was an intensity change. No significant differences were found between the responses of normal trichromats and dichromats. These data suggest robust colour constancy mechanisms along daylight locus in R-G dichromacy.This work was supported by FEDER through the COMPETE Program and by the Portuguese Foundation for Science and Technology (FCT) in the framework of the project PTDC/MHC-PCN/4731/2012 and by Ministerio de Ciencia y Competitividad in the framework of the project PSI2012-37778. LA was supported by Beca Santander JPI2014. The publication of this article was funded by the Anglia Ruskin Open Access Fund.info:eu-repo/semantics/publishedVersio

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.This work was supported by Fundação CAPES (Coordenação de Aperfeiçoamento de Pessoal de Nível Superior) to Carlo M. Gaddi (88882.376512/2019-01), and the Portuguese Foundation for Science and Technology (FCT) in the framework of the Strategic Funding UID/FIS/04650/2019

Implicit knowledge of the colours of natural scenes matches real colours

Some studies suggest that there is a memory colour effect for familiar objects but whether this effect generalizes to natural scenes is unclear. Here we tested this hypothesis with an experiment where observers adjust the colour gamut of unknown natural scenes to produce realistic images. The stimuli were images of natural scenes unknown to the observers synthesized from hyperspectral imaging data. The images were rendered under D65 and could be manipulated to adjust the colour gamut in the CIELAB (a*, b*) by a multiplicative factor between 1.5 and 0.5. The images were presented on a calibrated CRT computer screen driven by a ViSaGe MKII. In the experiment the observers adjusted the gamut by actuating freely on a joy-pad. At the beginning of each trial each image was presented with its colour gamut compressed or expanded by a random factor. The task of the observers was to adjust the gamut such that the image appeared real. Data from five observers with normal colour vision shows that, on average, the gamut selected by observers was within 2% of the original one. These results suggest that observers have implicit unbiased knowledge of the colours of natural scenes.info:eu-repo/semantics/publishedVersio

IOP variations in the sitting and supine positions

Purpose: The aim of this study was to assess the influence of the position (upright vs. supine) in the intraocular pressure (IOP) measured with a non-contact portable tonometer. Methods: Fifty university students with a mean age of 22.3±4.2 years (mean±SD) were recruited to participate in this study. IOP was measured with the non-contact tonometer Keeler, Pulsair EasyEye. Measurements in upright and supine positions were randomly obtained. In the upright position, 2 series of 3 measures (UP1 and UP2) and a series of 3 measures in the supine position were performed. Results: The values obtained in the positions UP1 and UP2 were compared, as well as the values of the upright and supine positions. No statistically significant differences were found when comparing the values obtained in the upright position (P>0.05). Instead, when the subjects were in the supine position, IOP increased 2.47±2.12mm Hg (mean±SD), as opposed to the value obtained in the upright position (P<0.001). Conclusions: Results from this study showed that IOP increased when measured in the supine position and that the Pulsair EasyEye tonometer can determine those variations in a healthy young population

How good are RGB cameras retrieving colors of natural scenes and paintings?—A study based on hyperspectral imaging

RGB digital cameras (RGB) compress the spectral information into a trichromatic system capable of approximately representing the actual colors of objects. Although RGB digital cameras follow the same compression philosophy as the human eye (OBS), the spectral sensitivity is different. To what extent they provide the same chromatic experiences is still an open question, especially with complex images. We addressed this question by comparing the actual colors derived from spectral imaging with those obtained with RGB cameras. The data from hyperspectral imaging of 50 natural scenes and 89 paintings was used to estimate the chromatic differences between OBS and RGB. The corresponding color errors were estimated and analyzed in the color spaces CIELAB (using the color difference formulas ΔE*ab and CIEDE2000), Jzazbz, and iCAM06. In CIELAB the most frequent error (using ΔE*ab) found was 5 for both paintings and natural scenes, a similarity that held for the other spaces tested. In addition, the distribution of errors across the color space shows that the errors are small in the achromatic region and increase with saturation. Overall, the results indicate that the chromatic errors estimated are close to the acceptance error and therefore RGB digital cameras are able to produce quite realistic colors of complex scenarios.This work was supported by the Portuguese Foundation for Science and Technology (FCT) in the framework of the Strategic Funding UIDB/04650/2020