The Relative Contribution of Relative Height, Linear Perspective, and Texture Gradients to Pictorial Depth Perception in 7-Month-Old Infants

Perception ◽  
10.1068/p6682 ◽  
2010 ◽  
Vol 39 (11) ◽  
pp. 1476-1490 ◽  
Author(s):  
Laura Hemker ◽  
Michael Kavšek
Keyword(s):  
Depth Perception ◽  
Linear Perspective ◽  
Relative Height ◽  
Pictorial Depth ◽  
Relative Contribution

Depth Perception in Pandora's Box and Size Illusion: Evolution with Age

Perception ◽  
1983 ◽  
Vol 12 (2) ◽  
pp. 177-185 ◽  
Author(s):  
Jacques Chevrier ◽  
André Delorme
Keyword(s):  
Depth Perception ◽  
Relative Position ◽  
Linear Perspective ◽  
Pictorial Stimulus ◽  
Texture Gradient ◽  
Familiar Size ◽  
Depth Cues ◽  
Pictorial Depth

The aim of the experiment was to study the evolution with age (6, 8, 11 and 14 years) of pictorial depth perception in Pandora's box and to compare it with the evolution of size illusion with the same subjects and the same pictorial backgrounds. In addition to familiar size and relative position, each pictorial stimulus contained one or more of the following depth cues: linear perspective, texture gradient, and interposition. The two kinds of measurements produced different results. Size illusions, although present, did not vary with age but increased with the number of cues. Estimates of distance in Pandora's box increased with age and varied according to the type of cue present: texture gradient seemed to be critical to the amount of depth perceived. The correlation between size adjustments and distance adjustments was significant only for the two oldest groups of subjects (11 and 14 years).

Linear Perspective, Pictorial Depth Perception and Education among the Baganda

1968 ◽  
Vol 27 (2) ◽  
pp. 601-602 ◽  
Author(s):  
Philip L. Kilbride ◽  
Michael C. Robbins
Keyword(s):  
Depth Perception ◽  
Significant Relationship ◽  
Formal Education ◽  
Linear Perspective ◽  
Pictorial Depth

A positive and significant relationship between the amount of formal education and the use of the linear perspective cue to pictorial depth perception was found among 523 Ss living in Uganda.

Depth Perception in Linear and Inverse Perspective Pictures

Perception ◽  
1981 ◽  
Vol 10 (3) ◽  
pp. 305-312 ◽  
Author(s):  
David R Topper ◽  
William A Simpson
Keyword(s):  
Depth Perception ◽  
Linear Perspective ◽  
Apparent Depth ◽  
Line Drawings ◽  
Pictorial Depth

The range of pictorial depth perception was tested with four pictures from the repertoire of European art, rather than the customary line drawings or photographs. These pictures included those rendered in linear perspective and inverse perspective, as well as those with different degrees of depth. Using Pandora’ Box, the subjects were asked to place a lamp at the same apparent depth as objects in the pictures. The subjects did so without regard to the depiction technique. The results suggest that depth is seen in pictures both where the rules of linear perspective hold and where they have been violated.

Pictorial Depth Perception by Children in Scotland and Ghana

1975 ◽  
Vol 6 (3) ◽  
pp. 279-296 ◽  
Author(s):  
Harry McGurk ◽  
Gustav Jahoda
Keyword(s):  
Depth Perception ◽  
Pictorial Depth

Some Pictorial Artifacts in Studies of African Children's Pictorial Depth Perception

1974 ◽  
Vol 45 (2) ◽  
pp. 535-539
Author(s):  
Issa M. Oman ◽  
Walter H. MacGinitie
Keyword(s):  
Depth Perception ◽  
Pictorial Depth

Pictorial Depth Perception of Papua New Guinean Students

1991 ◽  
Vol 4 ◽  
pp. 11-14
Author(s):  
Leo Marai
Keyword(s):  
Sex Differences ◽  
Papua New Guinea ◽  
Depth Perception ◽  
Three Dimensional ◽  
New Guinea ◽  
Major Result ◽  
Culturally Appropriate ◽  
Pictorial Depth ◽  
Pictorial Perception ◽  
Papua New Guinean

Twenty male and five female undergraduates were assessed in a study designed to test for three dimensional pictorial perception in a Papua New Guinea sample. A version of Hudson's (1960) and Deregowski's (1968) test stimuli was used; the stimuli were slightly modified to make them culturally appropriate. The major result of the study was a finding of consistent sex differences in pictorial depth perception. Males tended to perceive three dimensionally while females tended to perceive two dimensionally.

Effect of Relative Positions of Segments on Strength of the Mueller-Lyer Illusion

1971 ◽  
Vol 33 (3_suppl) ◽  
pp. 1051-1058 ◽  
Author(s):  
Clive M. Davis ◽  
Marshall H. Segall
Keyword(s):  
Visual Field ◽  
Depth Perception ◽  
Interaction Effects ◽  
The Other ◽  
Relative Height ◽  
Lyer Illusion ◽  
Main Effect ◽  
Depth Cue

Segall, Campbell, and Herskovits (1966) postulated that the Mueller-Lyer illusion results from the misapplication of normally valid visual inference habits related to depth perception. To test the hypothesis that the depth cue of the relative height of the Mueller-Lyer segments in the visual field affects susceptibility, 100 Ss were presented two identical sets of 15 slides of Mueller-Lyer stimuli, one set with the >—–< above the <——> and the other set in the reverse orientation. Placement of the >—–< above the <—–> produced significantly greater illusion susceptibility, as predicted by the depth cue hypothesis. Females were more susceptible than males, but there were no interaction effects of sex with figure orientation or trials nor a main effect for trials. The results were interpreted as supporting an empiricistic explanation of the Mueller-Lyer illusion.

The Perception of Distance in Simulated Visual Displays:A Comparison of the Effectiveness and Accuracy of Multiple Depth Cues Across Viewing Distances

1997 ◽  
Vol 6 (5) ◽  
pp. 513-531 ◽  
Author(s):  
R. Troy Surdick ◽  
Elizabeth T. Davis ◽  
Robert A. King ◽  
Larry F. Hodges
Keyword(s):  
Relative Size ◽  
Linear Perspective ◽  
Depth Information ◽  
Texture Gradient ◽  
Viewing Distance ◽  
Relative Height ◽  
Distance Information ◽  
Depth Cues ◽  
Relative Brightness ◽  
Depth Cue

The ability effectively and accurately to simulate distance in virtual and augmented reality systems is a challenge currently facing R&D. To examine this issue, we separately tested each of seven visual depth cues (relative brightness, relative size, relative height, linear perspective, foreshortening, texture gradient, and stereopsis) as well as the condition in which all seven of these cues were present and simultaneously providing distance information in a simulated display. The viewing distances were 1 and 2 m. In developing simulated displays to convey distance and depth there are three questions that arise. First, which cues provide effective depth information (so that only a small change in the depth cue results in a perceived change in depth)? Second, which cues provide accurate depth information (so that the perceived distance of two equidistant objects perceptually matches)? Finally, how does the effectiveness and accuracy of these depth cues change as a function of the viewing distance? Ten college-aged subjects were tested with each depth-cue condition at both viewing distances. They were tested using a method of constant stimuli procedure and a modified Wheat-stone stereoscopic display. The perspective cues (linear perspective, foreshortening, and texture gradient) were found to be more effective than other depth cues, while effectiveness of relative brightness was vastly inferior. Moreover, relative brightness, relative height, and relative size all significantly decreased in effectiveness with an increase in viewing distance. The depth cues did not differ in terms of accuracy at either viewing distance. Finally, some subjects experienced difficulty in rapidly perceiving distance information provided by stereopsis, but no subjects had difficulty in effectively and accurately perceiving distance with the perspective information used in our experiment. A second experiment demonstrated that a previously stereo-anomalous subject could be trained to perceive stereoscopic depth in a binocular display. We conclude that the use of perspective cues in simulated displays may be more important than the other depth cues tested because these cues are the most effective and accurate cues at both viewing distances, can be easily perceived by all subjects, and can be readily incorporated into simpler, less complex displays (e.g., biocular HMDs) or more complex ones (e.g., binocular or see-through HMDs).

Ambiguity in Pictorial Depth

Perception ◽  
10.1068/p5591 ◽  
2007 ◽  
Vol 36 (9) ◽  
pp. 1290-1304 ◽  
Author(s):  
Balaraju Battu ◽  
Astrid M L Kappers ◽  
Jan J Koenderink
Keyword(s):  
Linear Regression ◽  
Cross Sections ◽  
Depth Perception ◽  
Large Degree ◽  
Picture Plane ◽  
Pictorial Space ◽  
Pictorial Depth ◽  
Pictorial Structure ◽  
Depth Dimension ◽  
Very High

Pictorial space is the 3-D impression that one obtains when looking ‘into’ a 2-D picture. One is aware of 3-D ‘opaque’ objects. ‘Pictorial reliefs’ are the surfaces of such pictorial objects in ‘pictorial space’. Photographs (or any pictures) do in no way fully specify physical scenes. Rather, any photograph is compatible with an infinite number of possible scenes that may be called ‘metameric scenes’. If pictorial relief is one of these metameric scenes, the response may be considered ‘veridical’. The conventional usage is more restrictive and is indeed inconsistent. Thus the observer has much freedom in arriving at such a ‘veridical’ response. To address this ambiguity, we determined the pictorial reliefs for eight observers, six pictures, and two psychophysical methods. We used ‘methods of cross-sections’ to operationalise pictorial reliefs. We find that linear regression of the depths of relief at corresponding locations in the picture for different observers often lead to very low (even insignificant) R2s. Thus the responses are idiosyncratic to a large degree. Perhaps surprisingly, we also observed that multiple regression of depth and picture coordinates at corresponding locations often lead to very high R2s. Often R2s increased from insignificant up to almost 1. Apparently, to a large extent ‘depth’ is irrelevant as a psychophysical variable, in the sense that it does not uniquely account for the relation of the response to the pictorial structure. This clearly runs counter to the bulk of the literature on pictorial ‘depth perception’. The invariant core of interindividual perception proves to be of an ‘affine’ rather than a Euclidean nature; that is to say, ‘pictorial space’ is not simply the picture plane augmented with a depth dimension.

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