Geometrical Structures of Photographic and Stereoscopic Spaces

Watanabe, Tetsu

doi:10.1017/s1138741600006168

Cited by 5 publications

(6 citation statements)

References 23 publications

(35 reference statements)

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“…Hagen, Jones, and Reed (1978), Takezawa (2005), and Watanabe (2004Watanabe ( , 2006 indicated that apparent depth in a picture is compressed as compared to apparent depth in ordinary environments (cf. Hecht, van Doorn, & Koenderink, 1999).…”

Section: Discussionmentioning

confidence: 99%

Apparent depth of pictures reflected by a mirror: The plastic effect

Higashiyama

Shimono

2012

Atten Percept Psychophys

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We investigated the plastic effect in picture perception, in which the apparent depth of a picture is increased when it is reflected by a mirror. The plastic effect was well known in the mid-18th century, but very few studies have elucidated its nature. In Experiment 1, we examined how often the plastic effect occurs in different ocular conditions. A group of 22 observers compared directly observed pictures and their mirror-reflected images in each of freebinocular, free-monocular, and restrictive-monocular conditions. When the observers were forced to choose the picture that appeared greater in depth, 73 % of them chose the reflected pictures, regardless of oculomotor condition. In Experiment 2, we examined how often the plastic effect is detected as a function of observation time. When 22 observers compared a directly watched movie and its mirrorreflected movie for 5 min, the number of observers who judged the reflected movie to be greater in depth was about 55 % at the onset of the trial but was 86 % at the end. In Experiment 3, we examined transfer of the plastic effect. Ten observers judged the change in apparent depth of directly observed pictures after prolonged exposure to the same reflected or actual pictures. Transfer was confirmed and was greater for pictures that represented greater depth (r 0 .88). We suggested that the plastic effect is mainly induced by the double apparent locations of a reflected picture. From the long incubation time and the transfer to real pictures, we also suggested that it involves perceptual learning regarding visual skill.

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Section: Discussionmentioning

confidence: 99%

Apparent depth of pictures reflected by a mirror: The plastic effect

Higashiyama

Shimono

2012

Atten Percept Psychophys

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“…Segundo Watanabe (2006), representar o espaço através de fotografias é equivalente a representá-lo por meio de desenhos gerados no computador, pois ambas encerram propriedades não-euclidianas (hiperbólicas) do espaço visualmente percebido. Além disso, outros estudos sugerem que a percepção de tamanho e a percepção de distância são afetadas da mesma maneira em fotografias e no ambiente real ) e que as distorções do espaço observadas em ambos são similares .…”

Section: Gradiente De Texturaunclassified

“…Estas informações eram provenientes de desenho gerado computacionalmente ou de fotografia com elementos naturais. Segundo Watanabe (2006) (Chelazzi, 1999), o que repercute na dificuldade em ignorar estas informações numa tarefa de comparar tamanhos .…”

Section: Discussão Geralunclassified

“…Uma interessante perspectiva de investigação deste assunto é o uso de fotografias de cenas reais ou mesmo contendo elementos naturais. Segundo Watanabe (2006), as representações do espaço fotografadas são equivalentes às pictóricas. Para este autor, ambas as representações encerram propriedades não-euclidianas do espaço visualmente percebido.…”

Section: Introductionunclassified

“…Também há evidências de que o tamanho é processado de maneira rápida, pois a representação do tamanho é sensível ao tamanho aparente dos estímulos e não apenas ao tamanho retiniano (Found & Muller, 2001). Estes achados psicofísicos são corroborados por estudos neurofisiológicos, que indicam que a atividade de V1 reflete não o tamanho do input retiniano, mas sim o tamanho percebido Os estímulos foram apresentados através do método psicofísico das escadas duplas Representações pictóricas e fotografadas são processadas de modo semelhante, segundo Watanabe (2006). No entanto, observou-se que para as comparações de tamanho realizadas sob o gradiente de textura fotografado, o processamento é mais lento e há a necessidade de um tempo maior (150 ms) para acontecer a integração tamanho-distância.…”

Section: Introductionunclassified

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Tamanhos pictóricos percebidos sobre gradientes de textura desenhados e fotografados após exposições breves

Bernardino¹

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Do Artists Use Linear Perspective to Depict Visual Space?

Pepperell

Haertel

2014

Perception

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The question of how to accurately depict visual space has fascinated artists, architects, scientists, and philosophers for hundreds of years. Many have argued that linear perspective, which is based on well-understood laws of optics and geometry, is the correct way to record visual space. Others have argued that linear perspective projections fail to account for important features of visual experience, and have proposed various curvilinear, subjective, and hyperbolic forms of perspective instead. In this study we compare three sets of artistic depictions of real-world scenes with linear perspective versions (photographs) of the same scenes. They include a series of paintings made by one of the authors, a selection of landscape paintings by Paul Cézanne, and a set of drawings made as part of a controlled experiment by people with art training. When comparing the artworks with the photographs depicting the same visual space, we found consistent differences. In the artworks the part of the scene corresponding to the central visual field was enlarged compared with the photograph, and the part corresponding to the peripheral field was compressed. We consider a number of factors that could explain these results.

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Geometrical Structures of Photographic and Stereoscopic Spaces

Cited by 5 publications

References 23 publications

Apparent depth of pictures reflected by a mirror: The plastic effect

Apparent depth of pictures reflected by a mirror: The plastic effect

Tamanhos pictóricos percebidos sobre gradientes de textura desenhados e fotografados após exposições breves

Do Artists Use Linear Perspective to Depict Visual Space?

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