How many surfaces can you distinguish by color? Real environmental lighting increases discriminability of surface colors.

Color supports object identification. However, two objects that differ in color under one light can appear indiscriminable under a second light, a phenomenon known as illuminant metamerism. Past studies evaluated the frequency of illuminant metamerism only under single, uniform illuminants.

Hyperspectral Imaging Database of Human Facial Skin.

The perceived color of human skin is the result of the interaction of environmental lighting with the skin. Only by resorting to human skin spectral reflectance, it is possible to obtain physical outcomes of this interaction. The purpose of this work was to provide a cured and validated database of hyperspectral images of human faces, useful for several applications, such as psychophysics-based research, object recognition, and material modeling.

How the orientation of the color gamut of natural scenes influences color discrimination in red-green dichromacy.

In natural scenes, visual discrimination of colored surfaces by individuals with X-linked dichromacy is known to be only a little poorer than in normal trichromacy. This surprising result may be related to the properties of the colors of these scenes, like the shape and orientation of the color gamut, uneven frequency, and a considerable variation in lightness. It is unclear, however, how much each of these factors contributes to the small impairment in discrimination, in particular, what is the contribution of the orientation of the gamut.

Misidentifying illuminant changes in natural scenes due to failures in relational colour constancy.

The colours of surfaces in a scene may not appear constant with a change in the colour of the illumination. Yet even when colour constancy fails, human observers can usually discriminate changes in lighting from changes in surface reflecting properties. This operational ability has been attributed to the constancy of perceived colour relations between surfaces under illuminant changes, in turn based on approximately invariant spatial ratios of cone photoreceptor excitations.

Little information loss with red-green color deficient vision in natural environments.

Inherited color vision deficiency affects red-green discrimination in about one in twelve men from European populations. Its effects have been studied mainly in primitive foraging but also in detecting blushing and breaking camouflage. Yet there is no obvious relationship between these specific tasks and vision in the real world.

Discrimination of natural colors in anomalous trichromacy and the effects of EnChroma and Vino filters.

It is still unclear how well anomalous trichromats discriminate natural colors and whether commercial spectral filters improve performance in these conditions. We show that anomalous trichromats have good color discrimination with colors drawn from natural environments. It is only about 14% poorer, on average, than normal trichromats in our sample of thirteen anomalous trichromats.

Information gains from commercial spectral filters in anomalous trichromacy.

Red-green color discrimination is compromised in anomalous trichromacy, the most common inherited color vision deficiency. This computational analysis tested whether three commercial optical filters with medium-to-long-wavelength stop bands increased information about colored surfaces. The surfaces were sampled from 50 hyperspectral images of outdoor scenes.

Universality and superiority in preference for chromatic composition of art paintings.

Color composition in paintings is a critical factor affecting observers' aesthetic judgments. We examined observers' preferences for the color composition of Japanese and Occidental paintings when their color gamut was rotated. In the experiment, observers were asked to select their preferred image from original and three hue-rotated images in a four-alternative forced choice paradigm.

Naturalness and aesthetics of colors - Preference for color compositions perceived as natural.

What makes a colored image, e.g. an abstract painting or a landscape, look pleasing? We hypothesized that a preference for complex color compositions, such as paintings and images of natural scenes, might be related to how natural the colors are perceived.

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.

An independent contribution of colour to the aesthetic preference for paintings.

Walking around an art museum we can see how colours influence our aesthetic preferences: many great works of art would not be as impressive in grey scales. Is the beauty of colours in abstract paintings anchored to the spatial composition of the paintings, or can it be preserved even with random spatial arrangements? To test whether colour can have an independent contribution to aesthetic appreciation, we asked participants to select the preferred image among pairs of colour-manipulated versions of the same painting. We changed hue, but preserved lightness and saturation, by rotating the colour volume around the L* axis in CIELAB space.

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.

Hyperspectral environmental illumination maps: characterizing directional spectral variation in natural environments.

Objects placed in real-world scenes receive incident light from every direction, and the spectral content of this light may vary from one direction to another. In computer graphics, environmental illumination is approximated using maps that specify illumination at a point as a function of incident angle. However, to-date, existing public databases of environmental illumination specify only three colour channels (RGB).

Neighboring chromaticity influences how white a surface looks.

To identify surface properties independently of the illumination the visual system must make assumptions about the statistics of scenes and their illumination. Are assumptions about the intensity of the illumination independent of assumptions about its chromaticity? To find out, we asked participants to judge whether test patches within three different sets of surrounding surfaces were white or grey. Two sets were matched in terms of their maximal luminance, their mean luminance and chromaticity, and the variability in their luminance and chromaticity, but differed in how luminance and chromaticity were associated: the highest luminance was either associated with colorful surfaces or with achromatic ones.

The colors of natural scenes benefit dichromats.

Dichromacy impairs color vision and impoverishes the discrimination of surface colors in natural scenes. Computational estimates based on hyperspectral imaging data from natural scenes suggest that dichromats can discriminate only about 10% of the colors discriminated by normal trichromats. These estimates, however, assume that the colors are equally frequent.

Color constancy of color reproductions in art paintings.

Popular color reproductions of art paintings such as postcards are intended to remind viewers of the original works. It is, however, unclear how well the quality of the reproductions is preserved under various illuminations. Color constancy of the reproductions in relation to colors in the original paintings was estimated computationally with hyperspectral images of 15th-century Flemish paintings, 20th-century modern abstract paintings, and their corresponding postcards with a series of illuminants: the CIE daylight D65 with correlated color temperature (CCT) 6500 K, daylight D40, fluorescent lamps F2 and F11, and a LED lamp designed for museums with CCT approximately 3500-4000 K.

Color Vision 2018: Introduction by the feature editors.

This feature issue of the Journal of the Optical Society of America A (JOSA A) reflects the basic and applied research interests of members of the color vision community. Most of the articles stem from presentations at the 24th Biennial Symposium of the International Colour Vision Society (ICVS).

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.

The colors of paintings and viewers' preferences.

One hypothesis to explain the aesthetics of paintings is that it depends on the extent to which they mimic natural image statistics. In fact, paintings and natural scenes share several statistical image regularities but the colors of paintings seem generally more biased towards red than natural scenes. Is the particular option for colors in each painting, even if less naturalistic, critical for perceived beauty? Here we show that it is.

Assessing the effects of dynamic luminance contrast noise masking on a color discrimination task.

The aim of this work was to assess the influence of dynamic luminance contrast noise masking (LCNM) on color discrimination for color normal and anomalous trichromats. The stimulus was a colored target on a background presented on a calibrated CRT display. In the static LCNM condition, the background and target consisted of packed circles with variable size and static random luminance.

Statistics of colors in paintings and natural scenes.

Painters reproduce some spatial statistical regularities of natural scenes. To what extent they replicate their color statistics is an open question. We investigated this question by analyzing the colors of 50 natural scenes of rural and urban environments and 44 paintings with abstract and figurative compositions.

Spatial distributions of local illumination color in natural scenes.

In natural complex environments, the elevation of the sun and the presence of occluding objects and mutual reflections cause variations in the spectral composition of the local illumination across time and location. Unlike the changes in time and their consequences for color appearance and constancy, the spatial variations of local illumination color in natural scenes have received relatively little attention. The aim of the present work was to characterize these spatial variations by spectral imaging.

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.

Changes in spatial extent and peak double optical density of human macular pigment with age.

The purpose of the present work was to estimate the changes in spatial distribution and optical density of macular pigment (MP) with age. A fundus imaging system with high spatial and spectral resolution was adapted to form an indirect ophthalmoscope. The double optical density at 490 nm of the MP as a function of the location in the retina was obtained for 33 healthy subjects (ages: 21-60 years).