Ординатура / Офтальмология / Английские материалы / Seeing_De Valois_2000
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C H A P T E R 4
Color Vision
Karen K. De Valois
Russell L. De Valois
I. INTRODUCTION
Color vision is the ability to discriminate changes in the wavelength composition of a visual stimulus independently of its e ective intensity. It is an ability that humankind shares with many other species, including insects, amphibians, reptiles, fish, and birds, as well as other mammals. Because color vision apparently evolved independently several times, and the range and limitations of color vision di er significantly among di erent animals (Jacobs, 1981), the underlying neural mechanisms are not identical in di erent species. For this reason, we shall restrict our discussion of the relevant anatomy and physiology to data derived primarily from humans and the Old World primates, which have been shown to have color vision essentially identical in every measured aspect to that of humans (De Valois, Morgan, Polson, Mead, & Hull, 1974).
A. Trichromacy
A complete physical description of the spectral composition of a stimulus requires specifying its location in a space of many dimensions. A human observer with normal color vision, however, can provide a match for every possible test light by approximately combining and adjusting just three variable lights. This trichromatic limitation reflects a huge loss of information in the human visual system. The
Seeing
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trichromatic nature of color vision was postulated as early as the 18th century (Palmer, 1777; Young, 1802), and it was empirically demonstrated during the 19th century (Maxwell, 1860). Trichromacy implies that at some processing stage, color information is limited by being transmitted through a three-channel pathway. It does not identify the point at which the three-channel bottleneck occurs, despite many suggestions that trichromacy implies the existence of only three cone types. Indeed, recent evidence (vide infra) clearly implicates not the receptors, but rather a later, postreceptoral site as the source of the trichromatic limitation.
The three variable lights which, when mixed, can produce a match for any test light, can be selected from an infinite set of possible primaries. The only restriction is that no two primaries can be mixed (in any proportion) to match the third. Thus, the three primaries can be all drawn from similar colors or from very di erent colors. There is no requirement that they be red, blue, and yellow, or any other particular set. In color matching, one of the primaries must often be added to the test light to be matched, while the other two are combined.
In a standard color-matching experiment, the test light (which the subject is asked to match) is displayed on one side of a bipartite field, usually a circle divided into halves. The subject may combine any or all of the three primaries in the other half field, or he may add a primary to the half field containing the test light. In this case, of course, the appearance of the test light itself will generally be altered. The subject controls the radiance as well as the half-field position of each of the three primaries. The results are described in the form of an equation, such as:
A B C I T
where A, B, and C are the three primaries; , , and are the radiances of primaries A, B, and C, respectively; T is the test light to be matched; the symbol I denotes a complete visual match; and a minus sign indicates that the primary so designated was added to the half field containing the test light. The strong form of the trichromatic generalization (Grassmann, 1853) also states that adding any other light to both sides of a color match will not disturb the match (the additivity property), and that multiplying the radiances of both sides of a color match by the same factor will not disturb the match (the proportionality property).
The quantitative data generated by color-matching experiments and the strong implication of a three-channel limiting stage combined to drive research and theory in color vision for many decades. Models proposing three largely independent channels that began at the receptor stage and continued with little or no interaction through most of the visual system were based on the undeniable demonstrations of trichromacy. Among the best known of such models was that of Helmholtz (1867), who postulated three receptors with somewhat overlapping spectral absorption functions but widely separated peaks centered in the regions of the spectrum typically identified as red, green, and blue by a normal observer adapted to an achromatic background. We now know that both of these postulates—widely separated spectral peaks and independent channels from the di erent cone types to the
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brain—are quite wrong. Nonetheless, attention to the trichromatic nature of color vision is essential to an understanding of many anomalies of color vision, as well as of normal color matching. For example, the reduced chromatic discrimination of a dichromat can be understood as the behavior of a system in which only two, not three, channels are present.
B. Color Spaces and the Representation of Color
Because color vision is trichromatic, all visible colors can be adequately represented in a three-dimensional space. There are an infinite number of possible spaces, and insofar as color mixing in the visual system is linear (and it is), any one space can be linearly transformed to any other. Thus the characteristics of the space used can be selected for convenience or for their ability to represent more or less directly the processing stages in the neural color system. Several color spaces have been devised over the years. We briefly describe three of the most useful.
1. Perceptual Color Space
A consideration of the perceptual dimensions of color led to the representation of color in a three-dimensional space in which each dimension corresponds to one of the three main perceptual dimensions of color. It is most commonly illustrated (in a nonquantitative, diagrammatic way) as two cones of equal size with their round bases abutting, as illustrated in Figure 1. The vertical axis (running lengthwise through the two cones) is the locus of all achromatic lights and corresponds to lightness or brightness, with bright, achromatic lights being represented near the peak, intermediate grays arrayed in order along the middle of the axis, and dark, achromatic stimuli near the bottom. The lateral distance of a point from the achromatic axis indicates its saturation, the perceived amount of hue in the stimulus. Thus, the light pastel colors would plot to points above the middle and near the vertical axis; the dark desaturated colors such as navy and brown would be represented near the vertical axis and below the middle; and the most highly saturated colors would be arranged around the perimeter of the midlevel of the double cone. At any vertical level, the hues vary in sequence around any horizontal plane through the space. The hues are arranged in such a way that nearest neighbors are those hues that appear most similar. Thus green, for example, would gradually shade into yellowish-green, which would gradually turn into yellow, and so on. Generally, such an ordering re- flects spectral ordering, with adjacent wavelengths appearing most similar. The one exception results from the fact that while wavelength varies along a single dimension and can be represented along a straight line, the color appearance of spectral lights has a circular organization, with the long wavelengths curling back to meet the shortest visible wavelengths. Thus very short-wavelength violets appear reddish. This space also illustrates the fact that greatly increasing the intensity of a light reduces its saturation, so that the brightest lights appear white (Parsons, 1915). Sim-
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A perceptually based color space, in which the vertical axis represents lightness or brightness, the angle around a circular cross-section at any level represents hue, and the distance along any radius represents saturation. All colors that lie along the central vertical axis, thus, are achromatic, and all colors that lie along any vertical axis have the same hue.
ilarly, even monochromatic stimuli much darker than the adaptation level appear black.
2. CIE xyz Color Space
Although a perceptually defined color space well represents the relationships in appearance across the broad gamut of visible colors, it has proven less useful as a scientific tool, though a modified version of such a space, the Munsell color space, is still widely used in industry. A more widely used color space is the 1931 xyz chromaticity diagram defined by the Commission Internationale de l’Eclairage (CIE). This is based upon color-matching data generated early in the 20th century using several observers in di erent laboratories, making color matches using di erent sets of primaries. The data were combined and averaged to produce color-matching functions for a standard observer.
Recall that in color-matching experiments, one primary often must be added to the test light, and that the amount of this primary is represented by a negative coe - cient. If any set of three physically realizable primaries were used to define the three dimensions of the space, many points would plot outside the first quadrant. In order
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to eliminate negative values, the color-matching data defining the standard observer were transformed to a set of imaginary primaries. These were selected such that all realizable colors could be represented using only positive coe cients. One of the three imaginary primaries was defined as matching the photopic spectral sensitivity function (known as V ) of the standard observer. The absolute values representing the amounts of each of the three primaries used for a particular color match (called distribution coe cients) were also transformed into ratios. Each distribution coe cient was represented as a proportion of the sum of the three distribution coe cients. With the transformation from absolute values to ratios, if two of the transformed values (known as chromaticity coordinates) are given, the third is implicitly known, since the three proportions must sum to 1. Thus, any point in this three-dimensional space can be shown in the two-dimensional representation shown in Figure 2. The z coe cient, which is not shown directly, equals 1 (x y).
In the CIE 1931 xyz chromaticity diagram, the monochromatic lights are represented on the curved spectral locus bounding most of the space. The wavelengths corresponding to several points are shown on the figure. The straight line connecting the longest wavelengths with the shortest wavelengths is the locus of the most saturated purples. A region in the middle of the space contains the loci of points
The Commission Internationale de l’Eclairage (CIE) 1931 xyz chromaticity diagram, in which the third (z) dimension is implicitly represented. The sum of x y z is constrained to equal 1. Monochromatic lights are represented on the curved spectral locus, whereas the straight line segment connecting the longest and shortest wavelengths is the locus of the most saturated purples. A central region of the diagram represents the points a normal observer in a state of neutral adaptation will see as white.
