Depth perception


Depth perception

Depth perception is the visual ability to perceive the world in three dimensions (3D) and the distance of an object. Depth sensation is the ability to move accurately, or to respond consistently, based on the distances of objects in an environment.[citation needed]

Depth perception arises from a variety of depth cues. These are typically classified into binocular cues that require input from both eyes and monocular cues that require the input from just one eye.[1] Binocular cues include stereopsis, yielding depth from binocular vision through exploitation of parallax. Monocular cues include size: distant objects subtend smaller visual angles than near objects.[2]

Contents

Monocular cues

Monocular cues provide depth information when viewing a scene with one eye.

  • Motion parallax – When an observer moves, the apparent relative motion of several stationary objects against a background gives hints about their relative distance. If information about the direction and velocity of movement is known, motion parallax can provide absolute depth information.[3] This effect can be seen clearly when driving in a car. Nearby things pass quickly, while far off objects appear stationary. Some animals that lack binocular vision due to wide placement of the eyes employ parallax more explicitly than humans for depth cueing (e.g. some types of birds, which bob their heads to achieve motion parallax, and squirrels, which move in lines orthogonal to an object of interest to do the same).[note 1]
  • Depth from motion – One form of depth from motion, kinetic depth perception, is determined by dynamically changing object size. As objects in motion become smaller, they appear to recede into the distance or move farther away; objects in motion that appear to be getting larger seem to be coming closer. Using kinetic depth perception enables the brain to calculate time to crash distance (aka time to collision or time to contact - TTC) at a particular velocity. When driving, we are constantly judging the dynamically changing headway (TTC) by kinetic depth perception.
  • Perspective – The property of parallel lines converging at infinity allows us to reconstruct the relative distance of two parts of an object, or of landscape features.
  • Relative size – If two objects are known to be the same size (e.g., two trees) but their absolute size is unknown, relative size cues can provide information about the relative depth of the two objects. If one subtends a larger visual angle on the retina than the other, the object which subtends the larger visual angle appears closer.
  • Familiar size – Since the visual angle of an object projected onto the retina decreases with distance, this information can be combined with previous knowledge of the object's size to determine the absolute depth of the object. For example, people are generally familiar with the size of an average automobile. This prior knowledge can be combined with information about the angle it subtends on the retina to determine the absolute depth of an automobile in a scene.
  • Aerial perspective – Due to light scattering by the atmosphere, objects that are a great distance away have lower luminance contrast and lower color saturation. In computer graphics, this is often called "distance fog". The foreground has high contrast; the background has low contrast. Objects differing only in their contrast with a background appear to be at different depths.[4] The color of distant objects are also shifted toward the blue end of the spectrum (e.g., distant mountains). Some painters, notably Cézanne, employ "warm" pigments (red, yellow and orange) to bring features forward towards the viewer, and "cool" ones (blue, violet, and blue-green) to indicate the part of a form that curves away from the picture plane.
  • Accommodation – This is an oculomotor cue for depth perception. When we try to focus on far away objects, the ciliary muscles stretch the eye lens, making it thinner, and hence changing the focal length. The kinesthetic sensations of the contracting and relaxing ciliary muscles (intraocular muscles) is sent to the visual cortex where it is used for interpreting distance/depth. Accommodation is only effective for distances less than 2 meters.
  • Occlusion (also referred to as interposition) – Occlusion (blocking the sight) of objects by others is also a clue which provides information about relative distance. However, this information only allows the observer to create a "ranking" of relative nearness.
  • Curvilinear perspective – At the outer extremes of the visual field, parallel lines become curved, as in a photo taken through a fish-eye lens. This effect, although it is usually eliminated from both art and photos by the cropping or framing of a picture, greatly enhances the viewer's sense of being positioned within a real, three dimensional space. (Classical perspective has no use for this so-called "distortion", although in fact the "distortions" strictly obey optical laws and provide perfectly valid visual information, just as classical perspective does for the part of the field of vision that falls within its frame.)
  • Texture gradient – Suppose you are standing on a gravel road. The gravel near you can be clearly seen in terms of shape, size and colour. As your vision shifts towards the distant road the texture cannot be clearly differentiated.
  • Lighting and shading – The way that light falls on an object and reflects off its surfaces, and the shadows that are cast by objects provide an effective cue for the brain to determine the shape of objects and their position in space.[5]
  • Defocus blur – Selective image blurring is very commonly used in photographic and video for establishing the impression of depth. This can act as a monocular cue even when all other cues are removed. It may contribute to the depth perception in natural retinal images, because the depth of focus of the human eye is limited. In addition, there are several depth estimation algorithms based on defocus and blurring.[6]

Binocular cues

Binocular cues provide depth information when viewing a scene with both eyes.

  • Stereopsis or retinal (binocular) disparity - Animals that have their eyes placed frontally can also use information derived from the different projection of objects onto each retina to judge depth. By using two images of the same scene obtained from slightly different angles, it is possible to triangulate the distance to an object with a high degree of accuracy. If an object is far away, the disparity of that image falling on both retinas will be small. If the object is close or near, the disparity will be large. It is stereopsis that tricks people into thinking they perceive depth when viewing Magic Eyes, Autostereograms, 3-D movies and stereoscopic photos.
  • Convergence - This is a binocular oculomotor cue for distance/depth perception. By virtue of stereopsis the two eye balls focus on the same object. In doing so they converge. The convergence will stretch the extraocular muscles. As happens with the monocular accommodation cue, kinesthetic sensations from these extraocular muscles also help in depth/distance perception. The angle of convergence is smaller when the eye is fixating on far away objects. Convergence is effective for distances less than 10 meters.[citation needed]
  • Shadow Stereopsis - Medina demonstrated that retinal images with no parallax disparity but with different shadows are fused stereoscopically, imparting depth perception to the imaged scene. He named the phenomenon "shadow stereopsis." Shadows are therefore an important, stereoscopic cue for depth perception.[7]

Of these various cues, only convergence, accommodation and familiar size provide absolute distance information. All other cues are relative (i.e., they can only be used to tell which objects are closer relative to others). Stereopsis is merely relative because a greater or lesser disparity for nearby objects could either mean that those objects differ more or less substantially in relative depth or that the foveated object is nearer or further away (the further away a scene is, the smaller is the retinal disparity indicating the same depth difference).

Evolution

Most open-plains herbivores, especially hoofed grazers, lack binocular vision because they have their eyes on the sides of the head, providing a panoramic, almost 360°, view of the horizon - enabling them to notice the approach of predators from almost any direction. However most predators have both eyes looking forwards, allowing binocular depth perception and helping them to judge distances when they pounce or swoop down onto their prey. Animals that spend a lot of time in trees take advantage of binocular vision in order to accurately judge distances when rapidly moving from branch to branch.

Matt Cartmill, a physical anthropologist & anatomist at Boston University, has criticized this theory, citing other arboreal species which lack binocular vision, such as squirrels and certain birds. Instead, he proposes a "Visual Predation Hypothesis," which argues that ancestral primates were insectivorous predators resembling tarsiers, subject to the same selection pressure for frontal vision as other predatory species. He also uses this hypothesis to account for the specialization of primate hands, which he suggests became adapted for grasping prey, somewhat like the way raptors employ their talons.

Depth perception in art

Photographs capturing perspective are two-dimensional images that often illustrate the illusion of depth. (This differs from a painting, which may use the physical matter of the paint to create a real presence of convex forms and spatial depth.) Stereoscopes and Viewmasters, as well as 3-D movies, employ binocular vision by forcing the viewer to see two images created from slightly different positions (points of view). By contrast, a telephoto lens—used in televised sports, for example, to zero in on members of a stadium audience—has the opposite effect. The viewer sees the size and detail of the scene as if it were close enough to touch, but the camera's perspective is still derived from its actual position a hundred meters away, so background faces and objects appear about the same size as those in the foreground.

Trained artists are keenly aware of the various methods for indicating spatial depth (color shading, distance fog, perspective and relative size), and take advantage of them to make their works appear "real". The viewer feels it would be possible to reach in and grab the nose of a Rembrandt portrait or an apple in a Cézanne still life—or step inside a landscape and walk around among its trees and rocks.

Cubism was based on the idea of incorporating multiple points of view in a painted image, as if to simulate the visual experience of being physically in the presence of the subject, and seeing it from different angles. The radical "High Cubist" experiments of Braque and Picasso circa 1909 are interesting but more bizarre than convincing in visual terms. Slightly later paintings by their followers, such as Robert Delaunay's views of the Eiffel Tower, or John Marin's Manhattan cityscapes, borrow the explosive angularity of Cubism to exaggerate the traditional illusion of three-dimensional space. A century after the Cubist adventure, the verdict of art history is that the most subtle and successful use of multiple points of view can be found in the pioneering late work of Cézanne, which both anticipated and inspired the first actual Cubists. Cézanne's landscapes and still lifes powerfully suggest the artist's own highly-developed depth perception. At the same time, like the other Post-Impressionists, Cézanne had learned from Japanese art the significance of respecting the flat (two-dimensional) rectangle of the picture itself; Hokusai and Hiroshige ignored or even reversed linear perspective and thereby remind the viewer that a the picture can only be "true" when it acknowledges the truth of its own flat surface. By contrast, European "academic" painting was devoted to a sort of Big Lie that the surface of the canvas is only an enchanted doorway to a "real" scene unfolding beyond, and that the artist's main task is to distract the viewer from any disenchanting awareness of the presence of the painted canvas. Cubism, and indeed most of modern art is a struggle to confront, if not resolve, the paradox of suggesting spatial depth on a flat surface, and explore that inherent contradiction through innovative ways of seeing, as well as new methods of drawing and painting.

Disorders affecting depth perception

  • Ocular conditions such as amblyopia, optic nerve hypoplasia, and strabismus may reduce the perception of depth.
  • Since (by definition), binocular depth perception requires two functioning eyes, a person with only one functioning eye has no binocular depth perception.

See also

References

  1. ^ Goldstein, E. B. (2002). Sensation and perception (6th ed.). Pacific Grove CA: Wadsworth.
  2. ^ Burton, H. E. (1945). The optics of Euclid. Journal of the Optical Society of America, 35, 357-372.
  3. ^ Ferris, S. H. (1972). Motion parallax and absolute distance. Journal of experimental psychology, 95(2), 258--63.
  4. ^ O’Shea, R. P., Blackburn, S. G., & Ono, H. (1994). Contrast as a depth cue. Vision Research, 34, 1595-1604.
  5. ^ Lipton, L. (1982) Foundations of the Stereoscopic Cinema - A Study in Depth. New York, Van Nostrand Reinhold, pg 56.
  6. ^ George Mather (1996) "Image Blur as a Pictorial Depth Cue". Proceedings: Biological Sciences, Vol. 263, No. 1367 (Feb. 22, 1996), pp. 169-172.
  7. ^ Medina, A (1989). The power of shadows: shadow stereopsis. J. Opt. Soc. Am. A 6, 309-311.

Bibliography

  • Palmer, S. E. (1999) Vision science: Photons to phenomenology. Cambridge, MA: Bradford Books/MIT Press.
  • Pinker, S. (1997). The Mind’s Eye. In How the Mind Works (pp. 211–233) ISBN 0-393-31848-6
  • Purves D, Lotto B (2003) Why We See What We Do: An Empirical Theory of Vision. Sunderland, MA: Sinauer Associates.
  • Scott B. Steinman, Barbara A. Steinman and Ralph Philip Garzia. (2000). Foundations of Binocular Vision: A Clinical perspective. McGraw-Hill Medical. ISBN 0-8385-2670-5

External links

Notes

  1. ^ The term 'parallax vision' is often used as a synonym for binocular vision, and should not be confused with motion parallax. The former allows far more accurate gauging of depth than the latter.

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