Human observers have been demonstrated to be sensitive to the local (physical) light field, or more precisely, to the primary direction, intensity, and diffuseness of the light at a point in a space. In the present study we focused on the question of whether it is possible to reconstruct the global visual light field, based on observers' inferences of the local light properties. Observers adjusted the illumination on a probe in order to visually fit it in three diversely lit scenes. For each scene they made 36 settings on a regular grid. The global structure of the first order properties of the light field could then indeed be reconstructed by interpolation of light vectors coefficients representing the local settings. We demonstrate that the resulting visual light fields (individual and averaged) can be visualized and we show how they can be compared to physical measurements in the same scenes. Our findings suggest that human observers have a robust impression of the light field that is simplified with respect to the physical light field. In particular, the subtle spatial variations of the physical light fields are largely neglected and the visual light fields were more similar to simple diverging fields than to the actual physical light fields.
The aim of this study was to investigate whether inferences of light in the empty space of a painting and on objects in that painting are congruent with each other. We conducted an experiment in which we tested the perception of light qualities (direction, intensity of directed and ambient components) for two conditions: a) for a position in empty space in a painting and b) on the convex object that was replaced by the probe in the first condition. We found that the consistency of directional settings both between conditions and within paintings is highly dependent on painting content, specifically on the number of qualitatively different light zones [1] in a scene. For uniform lighting observers are very consistent, but when there are two or more light zones present in a painting the individual differences become prominent. We discuss several possible explanations of such results, the most plausible of which is that human observers are blind to complex features of a light field 2 .
In computer graphics, illuminating a scene is a complex task, typically consisting of cycles of adjusting and rendering the scene to see the effects. We propose a technique for visualization of light as a tensor field via extracting its properties (i.e., intensity, direction, diffuseness) from (virtual) radiance measurements and showing these properties as a grid of shapes over a volume of a scene. Presented in the viewport, our visualizations give an understanding of the illumination conditions in the measured volume for both the local values and the global variations of light properties. Additionally, they allow quick inferences of the resulting visual appearance of (objects in) scenes without the need to render them. In our evaluation, observers performed at least as well using visualizations as using renderings when they were comparing illumination between parts of a scene and inferring the final appearance of objects in the measured volume. Therefore, the proposed visualizations are expected to help lighting artists by providing perceptually relevant information about the structure of the light field and flow in a scene. CCS Concepts: • Human-centered computing → Visualization;
In this article, we studied perception of a particular case of light fields that is characterized by a difference in its consistent structure between parts of a scene. In architectural lighting design, such a consistent structure in a part of a light field is called a light zone. First, we explored whether human observers are sensitive to light zones, that is, zones determined primarily by light flow differences, for a natural-looking scene. We found that observers were able to distinguish the light conditions between the zones. The results suggested an effect of light zones’ orientation. Therefore, in Experiment 2, we systematically examined how the orientation of light zones (left-right or front-back) with respect to a viewer influences light inferences in symmetric scenes. We found that observers are quite sensitive to the difference in the light flow of the light zones. In addition, we found that participants showed idiosyncratic behavior, especially for front-back-oriented light zones. Our findings show that observers are sensitive to differences in light field structure between two parts of a scene, which we call visual light zones.
Vision in depth is distorted. A similar distortion can be observed for pointing to visual targets in depth. It has been suggested that pointing errors in depth reflect the visual distortion. Alternatively, pointing in depth might be guided by a prior that biases movements toward the natural grasping distance at which object manipulation is usually performed. To dissociate whether pointing is guided by distorted vision only or whether it takes into account a natural grasping distance prior, we adapted pointing movements. Participants received visual feedback about the success of their pointing once the movement was finished. We distorted the feedback to signal either that pointing was not far enough or in separate sessions that pointing was too far. Participants adapted to this artificial error by either extending or shortening their pointing movements. The generalization of pointing adaptation revealed a bias in movement planning that is inconsistent with pointing being guided only by distorted vision but with the involvement of knowledge about the natural grasping distance. Adaptation was strongest for pointing movements to a middle position that corresponds to the natural grassing distance and it was weakest for movements leading away from it. It has been demonstrated that pointing adaptation in depth changes visual perception (Volcic et al., 2013). We also wondered how effects of pointing adaptation on visual space would generalize in depth. We found that adaptation changed visual space, but that this change was independent of the adaptation direction.
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