Chromostereopsis and Chromatic Dispersion

Bode, Donald

doi:10.1097/00006324-198611000-00001

Cited by 8 publications

(2 citation statements)

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“…To my knowledge, only the paper by Bodé 28 explicitly rejects this extended Bruecke‐Einthoven explanation. It claims to offer a completely new explanation of the reversal effect in terms of a shift in the postulated ‘chromosteroscopic axis’.…”

Section: Chromostereopsismentioning

confidence: 95%

Depth in colour, a history of a chapter in physiologie optique amusante

Vos¹

2008

Clinical and Experimental Optometry

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Two centuries ago, Goethe wrote in his Farbenlehre about blue as a receding colour, against yellow/red as a colour 'piercing into the organ'. Though any verification of these psychological attributes seems to be absent, this depth effect in colour still seems to be taken for granted in art history. In visual science, the completely different and far better documented colour stereoscopic effect, known as chromostereopsis, prevails. A historical account is given of the development of ideas about this chromostereopsis, often by amusing trials and errors. The original explanation by Bruecke in terms of chromatic aberration (in present-day literature usually indicated as transverse chromatic aberration) and a temporal off-axis position of the fovea still forms the basis of present-day understanding, even though Bruecke rejected his own explanation. It had to be complemented by an additional off-axis effect of the pupil, not in an anatomical sense, as Einthoven presumed but failed to find but in a functional sense by a non-centric StilesCrawford effect. Although a comprehensive individual experimental proof is still missing, the evidence available indicates that a satisfactory quantitative explanation has been reached. Figure 1A). Listeners to the talk had been sent the picture in advance. De Wilde indicated how Gestel had disregarded conventional depth cues like perspective or light incidence and that he had attained an impression of depth by his particular use of colour. 'If you put violet next to yellow or green next to orange, the violet and the green retreat. In general, the warm colours come forward, and the cool colours retreat. Gestel has made use of these properties of colour to give his shapes plasticity. The shadow of the chin is green and therefore retreats and the chin becomes convex. The violet around the eyes retreats with respect to the yellow of the cheek. The eyes, then, sink further back in space. ' I must confess that De Wilde's psychological attribution of depth to colour did not convince me. Would the painting really loose its credibility when in black and white ( Figure 1B)? Would the chin turn concave when printed in complementary colours? A few of these experiments only confirmed my doubts. The knowledge that a face is convex is so strong a depth cue that it overrules every other depth cue. Even changing left and right pictures in a stereoscope does not affect the credibility of a person's convex appearance. 2Where does the story of evading and protruding colours come from? Most probably Goethe must be the source. In his Farbenlehre, 3 he argued that, 'like we see the high sky, the far away mountains, as blue, in the same way a blue field seems to recede'. Also, 'One can stare at a perfectly yellow/red field, then the colour seems to pierce into the organ'. Goethe did not do any experiments to measure 139the presumed effect of depth and it may even be doubted whether he would have really intended 'pierce into the organ' as an expression of distance in terms of centimetres or, to be histori...

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Section: Chromostereopsismentioning

confidence: 95%

Depth in colour, a history of a chapter in physiologie optique amusante

Vos¹

2008

Clinical and Experimental Optometry

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“…The effect has been attributed to chromatic aberration, that is, arising from optical and physiological factors related to the differential refraction of light due to wavelength 6 . The physiological and optical factors are understood to arise from the displacement of the fovea from the eye's optical axis or to the eccentric location of the pupils 7 and the Stiles‐Crawford effect 4,8 . Generally, the depth stratification under binocular viewing is attributed to the formation of small binocular disparities between the surfaces due to chromatic aberration, while in the monocular condition the surfaces are in focus at different depth planes due to differential refraction at different wavelengths.…”

Section: Introductionmentioning

confidence: 99%

Color determinants of surface stratification

Pos

Vishwanath

Albertazzi

2020

Color Research & Application

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Although color plays a crucial role in the demarcation of surfaces in the visual field, its role in depth perception is not well understood. Certain special effects of color on depth perception that arise from optical factors such as chromatic aberration (chromostereopsis) have been studied, but less is known about the role of perceptual factors of color in determining depth relations. The present study explores the role that the different attributes of color such as hue, chroma, and lightness play in the stratification of surfaces in depth. In two experiments, subjects manipulated specific dimensions of colors (hue, chroma, lightness, and whiteness) while making judgments of coplanarity of either two or more abutting surfaces. The results demonstrate that for surfaces to appear coplanar, their lightness has to be proportional to the natural (intrinsic) lightness of the hues. No meaningful effects of chroma, whiteness, or blackness were found in depth stratification. The results suggest a primary role of the natural lightness of hues in depth perception.

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