Recognized visual space of illumination: A new account of center‐surround simultaneous color contrast

Appearances of an object color in a space are determined by a cortical representation of illuminant for a space or the recognized visual space of illumination (RVSI). The simultaneous color contrast phenomenon on a simple center‐surround configuration can be explained by RVSI. It is hypothesized that our visual system constructs an RVSI on the surround and then that RVSI determines color appearance of the center test. If this is correct, the color contrast can be quite strong when the surround is enlarged to be an enclosed space. To support the hypothesis, color appearance of a physical gray test was measured in a green surround of various sizes. Observers were asked to do elementary color naming in the first experiment. The results showed same tendency for all observers: once the surround was extended to walls, a ceiling, and a floor of a box, perceived chromaticness abruptly increased. In other words, three‐dimensional surround evoked strong simultaneous color contrast. In the second experiment the matching method was employed with the green and other three surround colors: red, blue, and yellow. The results were consistent with the first experiment. The well‐known color contrast is thought to be a weak version of this color change. It suggested that RVSI plays an important role in the well‐known color contrast demonstration on two‐dimensional planes. © 2004 Wiley Periodicals, Inc. Col Res Appl, 29, 255–260, 2004; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.20019     

Categorical color constancy under RGB‐LED light sources

The light‐emitting diode (LED)‐based light sources have been widely applied across numerous industries and in everyday practical uses. Recently, the LED‐based light source consisting of red, green and blue LEDs with narrow spectral bands (RGB‐LED) has been a more preferred illumination source than the common white phosphor LED and other traditional broadband light sources because the RGB‐LED can create many types of illumination color. The color rendering index of the RGB‐LED, however, is considerably lower compared to the traditional broadband light sources and the multi‐band LED light source (MB‐LED), which is composed of several LEDs and can accurately simulate daylight illuminants. Considering 3 relatively narrow spectral bands of the RGB‐LED light source, the color constancy, which is referred to as the ability of the human visual system to attenuate influences of illumination color change and hold the perception of a surface color constant, may be worse under the RGB‐LED light source than under the traditional broadband light sources or under the MB‐LED. In this study, we investigated categorical color constancy using a color naming method with real Munsell color chips under illumination changes from neutral to red, green, blue, and yellow illuminations. The neutral and 4 chromatic illuminants were produced by the RGB‐LED light source. A modified use of the color constancy index, which describes a centroid shift of each color category, was introduced to evaluate the color constancy performance. The results revealed that categorical color constancy under the 4 chromatic illuminants held relatively well, except for the red, brown, orange, and yellow color categories under the blue illumination and the orange color category under the yellow illumination. Furthermore, the categorical color constancy under red and green illuminations was better than the categorical color constancy under blue and yellow illuminations. The results indicate that a color constancy mechanism in the visual system functions in color categories when the illuminant emits an insufficient spectrum to render the colors of reflecting surfaces accurately. However, it is not recommended to use the RGB‐LED light source to produce blue and yellow illuminations because of the poor color constancy.     

No measured effect of a familiar contextual object on color constancy

Some familiar objects have a typical color, such as the yellow of a banana. The presence of such objects in a scene is a potential cue to the scene illumination, since the light reflected from them should on average be consistent with their typical surface reflectance. Although there are many studies on how the identity of an object affects how its color is perceived, little is known about whether the presence of a familiar object in a scene helps the visual system stabilize the color appearance of other objects with respect to changes in illumination. We used a successive color matching procedure in three experiments designed to address this question. Across the experiments we studied a total of six subjects (two in Experiment 1, three in Experiment 2, and four in Experiment 3) with partial overlap of subjects between experiments. We compared measured color constancy across conditions in which a familiar object cue to the illuminant was available with conditions in which such a cue was not present. Overall, our results do not reveal a reliable improvement in color constancy with the addition of a familiar object to a scene. An analysis of the experimental power of our data suggests that if there is such an effect, it is small: less than approximately a change of 0.09 in a constancy index where an absence of constancy corresponds to an index value of 0 and perfect constancy corresponds to an index value of 1. © 2013 Wiley Periodicals, Inc. Col Res Appl, 39, 347–359, 2014     

A note about the abnormal hue angle change in CIELAB space

Liu et al. [Color Res Appl 1995;20:245–250] compared the CIELAB hue angles under CIE illuminants D65 and A for quantifying the color appearance changes for gem materials. They found that CIELAB hue angle for some gem materials under illuminant D65 was larger than under A, which is contrary to the perceived blue and purple appearances under daylight and incandescent light sources, respectively. They called this phenomenon as the abnormal hue angle change in the CIELAB space for the gem materials. In this article, we note the proper way to quantify the appearance changes is to use chromatic adaptation transforms (CATs), since we are only concerning the color change of the illumination. At the same time, it is found that the chromatic adaptations in the sharper sensor space and in the cone fundamental space provide different results, the ones related to the latter being in better agreement with current blue‐to‐purple color appearance change. © 2012 Wiley Periodicals, Inc. Col Res Appl, 38, 322–327, 2013     

Colour constancy of vat prints on cotton fabrics

Colour constancy of prints with vat dyes on cotton fabrics was investigated by computing the CMCCON02 colour inconstancy index with the key element CAT02 for chromatic adaptation transform. The results show that the highest changes in colour appearance can be expected when the average daylight is replaced with fluorescent light. If D65 daylight is replaced with some other type of daylight, such as D50 or D55, only minor colour deviations occur which do not substantially change the colour appearance of the prints. The analysis of the influence of the lightness and chromaticity of prints shows that the chromaticity of the samples significantly affects their colour constancy. The change of appearance of the prints with lower chroma because of changed illumination conditions is less probable. The influence of a dye blend composition was also investigated. On average, multi‐coloured dye blends have proved to be more colour constant.     

Digital image‐color conversion between different illuminants by color‐constancy actuation in a color‐vision model based on the OSA‐UCS system

In digital image capture, the camera signals produced by the D65 illuminant, once translated into tristimulus values of the CIE 1931 standard colorimetric observer (assuming the Maxwell‐Ives‐Luther criterion is satisfied), are considered good to produce accurate color rendering. An image obtained under any illuminant other than D65 does not appear realistic and the tristimulus values of the camera must be transformed into the corresponding ones produced by the D65 illuminant. This transformation must satisfy color constancy. In this work, the transformation is obtained by a color‐vision model based on the Optical Society of America‐Uniform Color Scales system [Color Res Appl 2005; 30: 31–41] and is represented by a matrix dependent on the adaptation illuminant. This matrix is obtained by minimizing the distance between the pairs of the uniform scale chromatic responses related to the tristimulus values of the 99 different color samples of the SG Gretag‐Macbeth ColorChecker measured under a pair of different illuminants, one of which is the D65. Then any picture captured under a given light source can be translated into the picture of the same scene under the D65 illuminant. Metameric reason allows only approximate solutions. The transformations from Daylight and Planckian illuminants to the D65 illuminant have a very regular dependence on the color temperature, that appears to be the typical parameter for the color conversion. © 2012 Wiley Periodicals, Inc. Col Res Appl, 38, 412–422, 2013     

Strong effect of the simultaneous color contrast in an afterimage

The color appearance of the afterimage of the simultaneous color contrast pattern was investigated by the elementary color naming method. The color appearances of the surrounding, an afterimage of the surrounding, and the test patch were measured, and the results were shown on the polar diagram of the opponent colors theory. The colors of both the surrounding and the afterimage of the test patch were the same. The relationship between the afterimage color of the test patch and the afterimage of the surrounding was found to be the same as the relationship between the illumination color and the test patch color in the two‐rooms technique, implying that the same visual mechanism works for both situations, that is, eyes chromatically adapt to the afterimage color of the surroundings, and the afterimage color of the test patch is determined with the eyes so adapted.     

Complementary colors theory of color vision: Physiology,color mixture,color constancy and color perception

I describe complementary colors' physiology and functional roles in color vision, in a three‐stage theory (receptor, opponent color, and complementary color stages). 40 specific roles include the complementary structuring of: S and L cones, opponent single cells, cardinal directions, hue cycle structure, hue constancy, trichromatic color mixture, additive/subtractive primaries, two unique hues, color mixture space, uniform hue difference, lightness‐, saturation‐, and wavelength/hue‐discrimination, spectral sensitivity, chromatic adaptation, metamerism, chromatic induction, Helson‐Judd effect, colored shadows, color rendering, warm‐cool colors, brilliance, color harmony, Aristotle's flight of colors, white‐black responsivity, Helmholtz‐Kohlrausch effect, rainbows/halos/glories, dichromatism, spectral‐sharpening, and trimodality of functions (RGB peaks, CMY troughs whose complementarism adapts functions to illuminant). The 40 specific roles fall into 3 general roles: color mixture, color constancy, and color perception. Complementarism evidently structures much of the visual process. Its physiology is evident in complementarism of cones, and opponent single cells in retina, LGN, and cortex. Genetics show our first cones were S and L, which are complementary in daylight D65, giving a standard white to aid chromatic adaptation. M cone later split from L to oppose the nonspectral (red and purple) hues mixed from S+L. Response curves and wavelength peaks of cones L, S, and (S+L), M, closely resemble, and lead to, those of opponent‐color chromatic responses y, b, and r, g, a bimodal system whose summation gives spectral‐sharpened trimodal complementarism (RGB peaks, CMY troughs). Spectral sharpening demands a post‐receptoral, post‐opponent‐colors location, hence a third stage. © 2011 Wiley Periodicals, Inc. Col Res Appl, 2011     

Study of color perceptibility of gonio‐apparent panels with curvature angle

Color tolerances of curved gonio‐apparent panels have been studied in this work. To achieve that, an experimental set‐up of the illumination and tilt variation of two identical coated panels was designed for simulation of curved panels with both concave and convex borders and with and without effect pigments (perceived as solid and gonio‐apparent colors, respectively). Finally, visual and instrumental measures were collected with both curvatures. The results show that the relationship of the instrumental color difference with the tilt angle can be modeled by a second‐order and the vertex did not depend on illumination, but on coating type. The critical angles (the angle marked when the color discrepancy between two identical samples is merely perceived) assessed by the observers showed that they were not equal according to border, nor according to coating type. The color tolerances at these angles were clearly higher than the conventional chromatic thresholds of industrial color comparisons.     

Chromatic adaptation and color constancy: A possible dichotomy

Differences between chromatic adaptation and color constancy are discussed, in order to call into question the commonly held view that chromatic adaptation is the mechanism of color constancy. Whereas chromatic adaptation requires many seconds of time and occurs for simple visual scenes, color constancy asserts itself immediately and is most powerful in complex visual scenes. Furthermore, models of chromatic adaptation are not so illuminant invariant as other models of color vision. Therefore, a new operational foundation for color constancy is proposed, and existing non-adaptation models of color constancy are enumerated for future tests.     

Near perfect visual compensation for atmospheric color distortions

Light is scattered and absorbed in the atmosphere producing visual effects that increase with viewing distance. Contrast and chromatic diversity decrease with distance, thereby modifying the way objects and scenes are perceived. Although some perceptual compensation to produce color constancy of individual surfaces has been reported, it is unclear to what extent unknown original images can be visually inferred from their distorted versions, that is, how much these effects can be discounted by the visual system. We investigated this issue with a paradigm akin to the paper-matching paradigm used in color constancy studies but with complex natural images. Hyperspectral data from 11 natural scenes were used to simulate their colors for distances up to 2000 m using a precise physical model of the effects of atmosphere. In each trial of the experiment, observers viewed the range of simulated images derived from one scene displayed on a calibrated monitor and selected the one perceived as more natural, without color distortion. Pooling data across scenes and observers showed that the image selected as more natural was very close to the undistorted one, corresponding to a simulated distance of only 2 m. These results suggest that observers are sensitive to changes in the naturalness of colors due to atmospheric effects and, crucially, can retrieve the original chromatic content with good accuracy revealing an efficient form of color constancy.     

Separate processing of chromatic and achromatic contrast in color constancy

In a preceding study we measured human color constancy in experimental conditions in which simulated illuminants and surface colors were varied in the chromatic domain only. Both illumination level and sample reflectance were fixed in that study. In the present study we focus on the achromatic dimension, both with respect to luminance contrast (Experiment 1) and overall illumination (Experiment 2). Sample‐to‐background contrast was varied over a two log unit range that covered both luminance decrements and increments. Illumination level was varied either for the short‐wave‐sensitive (S) cones only or for all three cone types simultaneously. Data predictions on the basis of a cone‐specific response function, derived in our preceding study, indicate that this model has difficulty in accommodating the results obtained with varying luminance contrast. However, a modified version of the response function, incorporating separate processing of color and luminance contrast, correctly predicts the data from both the present and the previous study. We also show that over a limited stimulus range our earlier response function is mathematically equivalent to Jameson and Hurvich's model of brightness contrast. The latter model, cast into a trichromatic format, performs equally well or better than our original response function, but is less accurate than our modified model. © 2005 Wiley Periodicals, Inc. Col Res Appl, 30, 172–185, 2005; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.20105     

Physics‐based spectral sharpening through filter‐chart calibration

The spectral overlap of color‐sampling filters increases errors when using a diagonal matrix transform, for color correction and reduces color distinction. Spectral sharpening is a transformation of colors that was introduced to reduce color‐constancy errors when the colors are collected through spectrally overlapping filters. The earlier color‐constancy methods improved color precision when the illuminant color is changed, but they overlooked the color distinction. In this article, we introduce a new spectral sharpening technique that has a good compromise of color precision and distinction, based on real physical constraints. The spectral overlap is measured through observing a gray reference chart with a set of real and spectrally disjoint filters selected by the user. The new sharpening method enables to sharpen colors obtained by a sensor without knowing the camera response functions. Experiments with real images showed that the colors sharpened by the new method have good levels of color precision and distinction as well. The color‐constancy performance is compared with the data‐based sharpening method in terms of both precision and distinction. © 2014 Wiley Periodicals, Inc. Col Res Appl, 40, 564–576, 2015     

Illuminant invariance from a single reflected light

This article presents an algorithm for computing an illuminant‐invariant quantity inherent in a single pixel of an imaged object color. The invariance pertains for two different assumptions about the illuminant spectrum: the photoreceptor sensitivities and the reflectance spectrum of the object. For one regime the illuminant spectrum is exponential, the photoreceptor sensitivities are equal‐width Gaussians, and the reflectance is also Gaussian. For the other regime the illuminant is a Wien approximation to a blackbody radiator, the photoreceptor sensitivities are narrow band in wavelength, and the reflectance is unconstrained. The existence of two regimes for the invariant testifies to its robustness. Computing this invariant over all pixels in an image will assist object‐color recognition (machine‐vision color constancy) without resorting to the usual assumption that illuminant variation over a scene is gradual compared to reflectance variation over that scene. © 2002 John Wiley & Sons, Inc. Col Res Appl, 27, 45–48, 2002     

Color constancy from invariant wavelength ratios. III: Chromatic adaptation theory,model and tests

A theory of chromatic adaptation is derived from Parts I and II, and presented in terms of relative wavelength, purity, and radiant power, leading directly to a predictive model of corresponding hue, chroma, and lightness. Considering that even simple animals have effective color vision and color constancy, the aim was to develop a simple model of complete adaptation. The model is tested against well‐known data sets for corresponding colors in illuminants D65, D50, and A, and for small and large visual fields, and performs comparably to CIECAM02. Constant hue is predicted from Part I's mechanism of color constancy from invariant wavelength ratios, where constant hues shift wavelength linearly with reciprocal illuminant color temperature. Constant chroma is predicted from constant colorimetric purity. Constant lightness is predicted from chromatic adaptation of spectral sensitivity represented by power ratios of complementary colors (rather than cone responses which lack spectral sharpening). This model is the first of its type and is not formatted for ease of computation. © 2010 Wiley Periodicals, Inc. Col Res Appl, 2010     

Color appearance of afterimages compared to the chromatic adaptation to illumination

The color appearance of negative afterimages was measured by the elementary color naming method, and the results were compared with those obtained by the two‐room technique. Twenty adapting stimuli were presented on a display sequentially. Subjects first assessed the color appearance of the stimuli. After looking at the adapting stimulus for 10 seconds, the subjects assessed color of the afterimage. Apparent hue of the afterimage was in general not opponent color to the adapting color. The relation between the adapting stimuli and the afterimages was analyzed by the angle difference Δθ, when apparent hues are expressed by the angles of the points on the polar diagram of the opponent color theory. The relation relationship of Δθ to the angle of the adapting color θ_ing was quite similar to the results obtained by the two‐room technique, implying that the chromatic adaptation shown by the afterimage also occurs in the brain rather than in the retina.