Color constancy in the nearly natural image. 2. achromatic loci

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中西方建筑色彩差异英语作文

中西方建筑色彩差异英语作文

中西方建筑色彩差异英语作文The Colorful Divergence: A Comparison of Architectural Hues in Eastern and Western Cultures.Architecture, a testament to the evolution of human civilization, is often regarded as a silent narrator of history, culture, and traditions. The use of color in architecture is not merely aesthetic; it carries profound symbolic and cultural meanings. The difference in architectural colors between the East and the West is a fascinating topic that highlights the unique aesthetic preferences and cultural values of these two regions.In Eastern architecture, particularly in Asian countries like China, Japan, and India, the use of color is often subtle and harmonious. White, a color associated with purity and peace, is widely used in these regions. White walls, often accented with red or black roofs, create a stark contrast that is visually appealing and culturally significant. In China, for instance, the red roof tilessymbolize prosperity and good fortune, while white walls reflect the values of simplicity and modesty. This color scheme is also prevalent in Japanese architecture, where white walls and black or gray tiled roofs blend harmoniously with the natural environment.On the other hand, Western architecture tends to be more bold and vibrant in its color choices. In European countries, the use of various hues and shades is common, reflecting the region's rich history and diverse cultural influences. Red, for instance, is a popular color in many European countries, associated with passion, power, and royalty. The red facades of palaces and castles in France, England, and Spain reflect this association. Yellow, another prominent color in Western architecture, is often seen in Gothic cathedrals, symbolizing divinity and holiness.The difference in color preferences can be traced back to the historical, geographical, and religious backgrounds of these regions. Eastern cultures, influenced by Confucianism, Taoism, and Buddhism, emphasize harmony withnature and a balanced, inward-looking lifestyle. This philosophy is reflected in the use of natural colors like white, black, and brown, which blend seamlessly with the natural environment. By contrast, Western cultures, shaped by Greco-Roman traditions, the Renaissance, and the Industrial Revolution, tend to be more outgoing and expressive. This is reflected in the use of vibrant colors that stand out and make a statement.Moreover, the materials used in construction also play a role in determining the color palette of architecture. In the East, natural materials like wood, stone, andterracotta are commonly used, resulting in a more earthy and organic color scheme. In the West, brick, stone, and concrete are frequently employed, allowing for a wider range of color expressions.In conclusion, the colorful divergence in architectural hues between the East and the West is a testament to the rich cultural and historical differences that exist between these regions. Eastern architecture, with its harmonious and natural color schemes, reflects the values ofsimplicity, modesty, and harmony with nature. By contrast, Western architecture, with its bold and vibrant hues, embodies the spirit of expression, diversity, and innovation. Both approaches have their unique charm and beauty, contributing to the rich and diverse architectural landscape of the world.。

我喜欢的颜色英语作文

我喜欢的颜色英语作文

Color is an integral part of our lives,adding vibrancy and expressiveness to the world around us.When it comes to personal preferences,the choice of favorite colors can be as unique as the individuals themselves.In this essay,I will share my fondness for a particular color and explore its significance in my life.My favorite color is blue.It is a color that resonates with me on multiple levels,from its calming effect to its association with the vastness of the sky and the depths of the ocean. Blue is a hue that evokes tranquility and serenity,a feeling that is particularly comforting in our fastpaced world.The sky on a clear day,a deep blue canvas dotted with fluffy white clouds,is a sight that never fails to lift my spirits.It is a reminder of the infinite possibilities that life holds and the freedom to explore them.The color blue,in this context,symbolizes hope and the promise of a new beginning.In contrast,the deep blue of the ocean represents mystery and the unknown.It is a color that invites exploration and discovery,a call to venture beyond the familiar and embrace the challenge of the unknown.The oceans blue depths are a metaphor for the human spirits capacity for growth and the pursuit of knowledge.Blue is also a color that is often associated with stability and reliability.It is a hue that exudes trustworthiness and loyalty,qualities that are essential in building strong relationships and fostering a sense of community.In the corporate world,blue is frequently used to convey professionalism and integrity,reinforcing the image of a dependable and trustworthy brand.On a personal level,I find that surrounding myself with shades of blue helps to create a peaceful and harmonious environment.My bedroom is adorned with blue curtains and a comforter,creating a soothing atmosphere that is conducive to rest and relaxation.The calming effect of blue is also evident in the choice of blue lighting in many spas and wellness centers,where it is used to promote relaxation and reduce stress.In art and design,blue is a versatile color that can be used to create a wide range of moods and effects.From the soft pastel blues of a watercolor painting to the bold and vibrant hues of a modern abstract piece,blue offers endless possibilities for creative expression.In conclusion,my love for the color blue is rooted in its ability to evoke a sense of calm, its association with the natural world,and its symbolic representation of hope,stability, and trust.Whether it is the sky,the ocean,or the simple pleasure of a bluetoned room,thecolor blue holds a special place in my heart and continues to inspire and comfort me in my daily life.。

颜色影响心情的英语作文

颜色影响心情的英语作文

Colors play a significant role in our daily lives,and their influence on our moods is undeniable.The way we perceive colors can evoke various emotions,ranging from happiness and excitement to sadness and calmness.This essay will explore the impact of colors on our moods and how they can be used to create a more positive environment.IntroductionColors are a universal language that transcends cultural and linguistic barriers.They are a form of nonverbal communication that can convey messages and emotions without the need for words.The psychological effects of colors on human beings have been studied extensively,and it is widely accepted that they can influence our moods and behavior.The Science Behind Color and MoodThe human brain processes colors in the visual cortex,which is responsible for interpreting what we see.Different colors can stimulate different areas of the brain, leading to various emotional responses.For example,warm colors like red and orange are associated with energy and excitement,while cool colors like blue and green are linked to calmness and tranquility.The Impact of Colors on Different Moods1.Red Often associated with passion and love,red can also evoke feelings of anger and aggression.It is a powerful color that can stimulate the mind and increase heart rate, making it a common choice for sports teams and fastfood restaurants.2.Blue Known for its calming effects,blue is often used in settings where relaxation is desired,such as in bedrooms or hospitals.It is also associated with trust and loyalty, making it a popular choice for corporate branding.3.Green As the color of nature,green is linked to growth,renewal,and health.It can create a sense of balance and harmony,making it a popular choice for offices and public spaces.4.Yellow A color that is often associated with happiness and optimism,yellow can also be seen as a symbol of caution.It is a bright color that can stimulate creativity and energy, but too much yellow can be overwhelming and lead to feelings of anxiety.5.Purple Often associated with royalty and luxury,purple can evoke feelings of sophistication and spirituality.However,it can also be seen as a color of mourning insome cultures.6.White Symbolizing purity and cleanliness,white is often used in minimalist designs to create a sense of space and simplicity.It can also be associated with sterility,which is why it is commonly used in medical settings.7.Black A color that can be associated with both elegance and mourning,black is often used to convey a sense of power and authority.However,too much black can create feelings of depression and emptiness.Practical ApplicationsUnderstanding the impact of colors on mood can be beneficial in various aspects of life. For instance,in interior design,choosing the right colors can create a more inviting and comfortable living space.In marketing,color can be used to target specific emotions and influence consumer behavior.In education,the use of colors can enhance learning and improve focus.ConclusionThe influence of colors on our moods is a fascinating aspect of human psychology.By being aware of how different colors can affect our emotions,we can make more informed decisions in our personal and professional lives.Whether its choosing the right color for a bedroom to promote relaxation or selecting a color scheme for a marketing campaign to evoke a specific response,the power of color should not be underestimated.。

The von Kries Hypothesis and a Basis for Color Constancy

The von Kries Hypothesis and a Basis for Color Constancy
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Todd Zickler Harvard University
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Abstract
Color constancy is almost exclusively modeled with diagonal transforms. However, the choice of basis under which diagonal transforms are taken is traditionally ad hoc. Attempts to remedy the situation have been hindered by the fact that no joint characterization of the conditions for {sensors, illuminants, reflectances} to support diagonal color constancy has previously been achieved. In this work, we observe that the von Kries compatibility conditions are impositions only on the sensor measurements, not the physical spectra. This allows us to formulate the von Kries compatibility conditions succinctly as rank constraints on an order 3 measurement tensor. Given this, we propose an algorithm that computes a (locally) optimal choice of color basis for diagonal color constancy and compare the results against other proposed choices.

七中颜色英语作文

七中颜色英语作文

Color plays a significant role in our lives,influencing our emotions,perceptions,and even our decisions.Each color has its own unique characteristics and connotations.Here is an essay exploring the significance and symbolism of seven colors:red,orange,yellow, green,blue,indigo,and violet.Red:The Color of Passion and EnergyRed is often associated with strong emotions such as love,anger,and passion.It is a color that grabs attention and is commonly used in warning signs and to convey urgency.In many cultures,red symbolizes good fortune and is used in celebrations and festivals.The color red can also evoke feelings of excitement and energy,making it a popular choice for sports teams and brands that want to convey dynamism.Orange:The Color of Creativity and WarmthOrange is a vibrant color that combines the energy of red with the happiness of yellow.It is often associated with creativity,enthusiasm,and warmth.Orange is a social color that encourages communication and is often used in settings where people gather,such as restaurants and social media platforms.It is also a color that can stimulate appetite,which is why it is frequently used in the food industry.Yellow:The Color of Happiness and OptimismYellow is the color of the sun and is often linked to happiness,optimism,and enlightenment.It is a bright and cheerful color that can lift spirits and is known to improve concentration and memory.Yellow is also associated with caution,as seen in traffic signs and warning labels.However,it can also symbolize cowardice,as in the expression yellowbellied.Green:The Color of Nature and GrowthGreen is the color of nature,symbolizing growth,renewal,and fertility.It is a calming color that is often associated with peace and tranquility.Green is also the color of money and is used to represent wealth and prosperity.In environmental contexts,green signifies ecofriendliness and sustainability.It is a versatile color that can be both soothing and invigorating.Blue:The Color of Trust and StabilityBlue is often described as a calming color that can have a tranquilizing effect on the mind.It is associated with trust,loyalty,and stability,which is why it is frequently used by corporations and institutions to convey reliability.Blue is also linked to the sky and the ocean,symbolizing depth and vastness.In some cultures,it represents wisdom and intelligence.Indigo:The Color of Spirituality and IntuitionIndigo is a deep,rich color that is often associated with spirituality,intuition,and the supernatural.It is a color that can evoke deep contemplation and introspection.Indigo is not as commonly used as other colors,but it is often found in settings that promote relaxation and meditation,such as spas and yoga studios.Violet:The Color of Luxury and EleganceViolet,or purple,is a color that combines the stability of blue with the energy of red.It is often associated with luxury,creativity,and power.Historically,violet has been associated with royalty and nobility,as it was once a difficult color to produce and thus became a symbol of wealth.Today,it is used to convey sophistication and elegance.In conclusion,colors are more than just visual elements they carry deep meanings and can significantly impact our lives.Understanding the symbolism and psychological effects of colors can help us make more informed decisions in design,marketing,and personal expression.。

用英语形容老虎的颜色作文

用英语形容老虎的颜色作文

When describing the color of a tiger,one must pay attention to the distinct patterns and hues that make this majestic creature so visually striking.The tigers coat is a canvas of contrasts,with the rich,warm tones of its fur providing a striking backdrop for the bold,black stripes that are characteristic of its species.The Base Color:The base color of a tigers fur is typically an orange or reddish hue, which can vary in intensity.This warm color is often described as tawny,a term that captures the golden undertones that shimmer in the sunlight.The furs texture is also an important aspect of its appearance,with the short,dense coat providing a velvety feel that adds to the animals regal presence.The Stripes:The most distinctive feature of a tigers coat is its pattern of black stripes. These stripes are not just a random assortment but are arranged in a way that enhances the tigers stealth in its natural habitat.The stripes are often described as jet black or inky, emphasizing their stark contrast against the orange base.They are not solid lines but rather have a slightly wavy or irregular edge,which adds to their natural and wild appearance.The Variations:While the orange and black combination is the most common,there are variations in tiger coloration.For instance,the white tiger,which is a genetic rarity,has a cream or snowwhite base with dark chocolate stripes.This coloration is often described as ethereal or ghostly,highlighting the unique and almost otherworldly appearance of these animals.The Underside:The underside of a tiger,including its belly and the insides of its legs,is typically a lighter shade than the rest of its body.This lighter coloration,often a soft cream or beige,provides a gentle contrast to the more vibrant tones of the tigers upper body.The Eyes:While not a part of the fur,the tigers eyes are a crucial aspect of its overall appearance.The eyes are often described as having a golden glow or amber hue,which adds to the animals fierce and captivating gaze.The Overall Effect:When viewed as a whole,the tigers coloration creates a powerful visual impact.The combination of the warm,rich tones of the fur with the stark black stripes is often described as dramatically beautiful or wildly elegant.It is this striking coloration that has made the tiger an enduring symbol of strength,power,and grace in many cultures around the world.In conclusion,the color of a tiger is a complex interplay of warm and cool tones,creatinga visual spectacle that is as aweinspiring as the animal itself.Whether its the fiery glow of the orange fur or the mysterious allure of the black stripes,the tigers coloration is a testament to the beauty and diversity found in the natural world.。

颜色影响购买决定的英语作文

颜色影响购买决定的英语作文

颜色影响购买决定的英语作文英文回答:Colors play a significant role in shaping purchasing decisions, influencing consumer preferences and driving sales. Here are some key ways in which colors impact consumer behavior:1. Emotional Impact:Colors evoke strong emotions and associations. For instance, red is often associated with excitement and urgency, while blue conveys calmness and trust. By incorporating specific colors into their packaging or branding, businesses can tap into these emotions and create desired psychological responses in consumers.2. Cognitive Association:Colors are also linked to specific concepts andmeanings. Green is often perceived as environmentally friendly, while yellow is associated with happiness and optimism. By selecting colors that align with the desired brand image, businesses can create quick and effortless recognition and understanding among consumers.3. Cultural Context:Colors have different meanings and associations across cultures. In Western cultures, white is often associated with purity, while in some Eastern cultures, it signifies mourning. It is crucial for businesses to consider the cultural context in which their products will be marketed to ensure that colors are appropriately chosen.4. Brand Recognition:Colors can be instrumental in building brand recognition and solidifying brand identity. Think of the iconic red and white of Coca-Cola or the bright yellow of McDonald's. By consistently using specific colors in their marketing materials and products, businesses create avisual cue that consumers can easily identify and associate with the brand.5. Impulse Purchases:Certain colors have been found to trigger impulse purchases. Studies have shown that people are more likely to make spontaneous purchases when presented with products in packaging that features bright or contrasting colorslike red, orange, or yellow.中文回答:颜色对购买决策的影响。

关于颜色偏好的英语作文

关于颜色偏好的英语作文

关于颜色偏好的英语作文Color preferences are a fascinating aspect of human behavior that can reveal a lot about our personalities and emotions. They can be as diverse as the spectrum itself, ranging from the calming blues to the energetic reds.From a young age, we start developing a connection with certain colors, often influenced by our environment and experiences. Some may find solace in the tranquility of green, while others are drawn to the warmth of yellow, which can evoke feelings of happiness and comfort.As we grow older, our color preferences can evolve, reflecting changes in our tastes and life circumstances. For instance, a teenager might favor the boldness of black, signaling a desire for independence and sophistication, while an adult may opt for the stability and reliability associated with navy blue.Colors can also be deeply personal, with each individual having their own unique reasons for their preferences. Some people may associate certain colors with memories or emotions, making them more than just a visual choice but a connectionto their inner world.In a broader sense, color preferences can be indicativeof cultural and societal norms. Different cultures may view colors in various lights, with some being associated withluck or prosperity, while others might carry negative connotations.Finally, the world of fashion and design is heavily influenced by color trends, which can sway our preferences. What's in vogue one season may be replaced by another, demonstrating the dynamic nature of our relationship with color.Understanding our color preferences is more than just an aesthetic exercise; it's a journey into the depths of our own personal narratives and the collective human experience.。

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Color constancy in the nearly natural image.2.Achromatic lociDavid H.BrainardDepartment of Psychology,University of California,Santa Barbara,Santa Barbara,California93106Received April28,1997;revised manuscript received August28,1997;accepted September5,1997 Most empirical work on color constancy is based on simple laboratory models of natural viewing conditions. These typically consist of spots seen against uniform backgrounds or computer simulations offlat surfaces seen under spatially uniform illumination.In this study measurements were made under more natural viewing conditions.Observers used a projection colorimeter to adjust the appearance of a test patch until it appeared achromatic.Observers made such achromatic settings under a variety of illuminants and when the test sur-face was viewed against a number of different backgrounds.An analysis of the achromatic settings reveals that observers show good color constancy when the illumination is varied.Changing the background surface against which the test patch is seen,on the other hand,has a relatively small effect on the achromatic loci. The results thus indicate that constancy is not achieved by a simple comparison between the test surface and its local surround.©1998Optical Society of America[S0740-3232(98)00102-1]1.INTRODUCTIONIn the companion paper1we introduce the problem of color constancy and discuss the distinction between si-multaneous and successive constancy.The term simul-taneous constancy refers to the case in which the illumi-nation varies within a single scene,for example when the spectrum of the illumination changes across a shadow boundary.The term successive constancy refers to the case in which the illumination varies from one time to an-other,for example because the spectrum of the illumina-tion differs between dawn and noon.The companion pa-per presents experiments designed to study simultaneous constancy under nearly natural viewing conditions.This paper presents experiments that measure successive con-stancy under similarly natural conditions.Asymmetric matching provides a convenient and natu-ral experimental method for studying simultaneous color constancy.1–3Although asymmetric matching may also be employed to study successive constancy,4–6matching across time involves a memory component and can be challenging for observers.A simpler experimental task is to have subjects adjust a test patch until it appears achromatic.7–12This task is easy even for the most naı¨ve of observers.In this paper we study how the achromatic locus depends on viewing context.Most studies of color constancy investigate the stability of object color appearance when the illumination is varied.1–4,6,10,11,13–18Although this is a natural question, it neglects an important aspect of constancy,namely, whether object color appearance is stable when the other objects in the scene are varied.19–23Computational stud-ies indicate that it is difficult to design a visual system that adjusts to changes of illumination without introduc-ing a dependence of color appearance on the stimulus at multiple scene locations.22–25For example,a visual sys-tem that codes color as a function of local contrast will show approximate color constancy when the illuminant is changed.At the same time,object color for such a visual system will depend markedly on the collection of objects in the scene.19,26The assumption that color constancy is achieved through the influence of the local surround is implicit in studies of constancy that employ the classic stimulus configuration of an isolated test presented on a uniform background(see for example Burnham et al.15).In this paper we measure how the achromatic locus de-pends on two contextual variables.First,we study how it depends on the illumination.Second,we study how it depends on changes in the objects in the scene—in par-ticular,changes in the immediate vicinity of the test loca-tion.2.GENERAL METHODSA.OverviewThe apparatus consisted of an entire experimental room, shown schematically in Fig.1.The spectral power distri-bution of the ambient illumination in the room was pro-duced by theater stage lamps and was under computer control.The observer judged the appearance of a test patch,located on the far wall of the room.The light re-flected from the test patch to the observer consisted of two components.Thefirst was from the ambient illumina-tion.The second was generated by a computer-controlled projection colorimeter.This second component was spa-tially coincident with the test patch.The use of the colo-rimeter made it possible to vary the chromaticity of the light reaching the observer from the test patch while holding its luminance approximately constant.The ob-server’s task was to adjust the chromaticity of the test patch so that it appeared achromatic.A more detailed description follows.B.Experimental RoomThe experimental room was8ft.9in.ϫ11ft.4in.Its walls and ceiling were painted a matte gray of roughly 50%reflectance;itsfloor was covered with a gray carpet.0740-3232/98/020307-19$10.00©1998Optical Society of AmericaThe test patch consisted of a8.5in.ϫ11in.Munsell matte N3/paper and was mounted near the right-hand edge of a48in.ϫ72in.sheet of particle board painted the same gray as the room.From the observer’s vantage point(111in.away),the test patch subtended4.4°ϫ5.7°of visual angle.In most experimental conditions,the test patch was surrounded by a thin1/4-in.border of black felt.The test patch was mounted on a1/4-in.-thick board,so that there was depth relief between it and the background surface.It was possible to vary the immediate context in which the test patch was viewed.The most complex configura-tion that we used is illustrated in the right panel of Fig.1. In this configuration,the test patch was seen amidst an array of14matte8.5in.ϫ11in.(4.4°ϫ5.7°)Munsell papers and against a background surface that consisted of a large piece of matte poster board.Each Munsell paper was mounted on a1/4-in.-thick board and was surrounded by a thin(1/4in.)black felt border.The poster board was 32in.ϫ40in.(16°ϫ20°).It was partially occluded by the Munsell papers,as illustrated in thefigure.We had several different pieces of poster board,each with a dif-ferent surface reflectance,and we could thus vary the identity of the background surface from session to ses-sion.In all experiments,additional objects in the room were visible to the observer.These included a white table,a brown metal bookcase,and the walls,floor,and ceiling of the room.In early experiments,a light trap provided a black area at the right front of the room.The ambient illumination of the room was controlled by four sets of theater stage lamps(SLD Lighting,6-in.Fresnel#3053,BTL500-W bulb),as shown in thefigure by the triads of circles.In early experiments,each set consisted of two lamps.One lamp from each set had a broadband blue gelatinfilter(Roscolux#65),and the other had a broadband yellowfilter(Roscolux#08).We refer to this as the BY illuminant setup.In later experi-ments,each set consisted of three lamps.One lamp from each set had a dichroic redfilter(Rosco6100‘‘Flame Red’’),one a dichroic greenfilter(Rosco4959‘‘Light Green’’),and one a dichroic bluefilter(Rosco4600‘‘Blue’’). In this case,the light from each triad was passed through a gelatin diffuser to minimize colored shadows.We refer to this as the RGB illuminant setup.For both illumina-tion arrangements,the lamp intensities were controlled from software by varying the rms voltage across the bulbs (NSI5600Dimmer Packs,NSI OPT-232interface card, 100voltage quantization levels).We yoked the voltages of all lights with the same colorfilter together.By vary-ing the intensities of the differentlyfiltered lamps,we varied the spectral power distribution of the ambient illu-mination.Control software(described in detail elsewhere1,27)corrected for spectral shifts introduced when the voltage to individual bulbs was varied.The chromaticity and luminance of the test patch were controlled by the projection colorimeter.In early experi-ments,the colorimeter consisted of three slide projectors (Kodak4400)stacked vertically.The light from each projector passed through a red,green,or blue dichroicfil-ter so that we had three independent primaries.The beam from each projector was masked so that its projec-tion was spatially coincident with the test patch.In later experiments,the colorimeter was a custom device.InFig.1.Experimental room.Left panel,top view;right panel,schematic of the observers’view of the far wall of the room in its most complex configuration.Other objects in the room were visible to the observers,including a brown metal bookcase and an off-white table. Not drawn proportionally;locations are approximate.this device,the light source for each primary was a slide projector bulb(Type FHS,300W,82V).Light from each bulb passed through a heat-absorbingfilter and a red, green,or blue dichroicfilter(OCLI).The light from the three bulbs was then combined with dichroic beam split-ters(OCLI)and passed through a slide projector con-denser(Kodak4400),an adjustable mask,and a slide pro-jector lens(WIKO,100mm,f2.8).The beam from the custom colorimeter was masked so that its projection was spatially coincident with the test patch.The custom colorimeter provided better spatial uniformity than its three-projector predecessor.For both versions of the colorimeter,the intensity of each primary was controlled by adjusting the voltage supplied to the corresponding projector lamp(NSI5600Dimmer Packs,NSI OPT-232 interface card,factory modified to provide255voltage quantization levels).Control software(described in de-tail elsewhere1,27)compensated for the ambient illumina-tion reflected to the observer from the test patch and cor-rected for spectral shifts introduced when the voltage to the bulbs was varied.For the experiments reported here,we used the projection colorimeter to hold the lumi-nance of the test patch constant while we varied its chro-maticity.Although the test patch was spot illuminated, this illumination was not perceptually apparent;the test patch appeared to be a reflective surface over most of the luminance range we used.27C.Experimental ProcedureThe observers’task was to adjust the appearance of the test patch until it appeared achromatic.7–12During an adjustment,control software held the luminance of the test patch approximately constant.The observer used buttons(early experiments)or knobs(later experiments) to control the CIELAB a*and b*coordinates of the test patch.Varying the a*coordinate of the test patch varies the appearance of the test patch along a roughly red–green perceptual axis;varying the b*coordinate varies the appearance of the test patch along a roughly blue–yellow perceptual axis.At the beginning of each experimental session,the am-bient lighting was set and the observer adapted for20s. The observer then made a block of achromatic settings at a number of different test patch luminances.In some ex-periments,there was only a single illuminant per experi-mental session.In these experiments,observers made two blocks of settings per session.These blocks were separated by a rest period of20s.In other experiments, observers made settings under two different illuminants within a single session.In these experiments,the illumi-nant was changed gradually between blocks(10s)and the observer then adapted for an additional10s.In sessions with two illuminants,the illuminants were presented in random order and observers made two blocks of settings under each illuminant.Immediately following each session,the observer’s ach-romatic settings were replayed and the proximal stimulus reaching the observer for each setting was measured di-rectly(Photo Research PR-650).This procedure compen-sates for any calibration error introduced by voltage drift over time,by voltage drift with temperature,or from in-teractions between channels within the dimmer control packs.We also measured the ambient illumination inci-dent on the test patch(excluding the colorimeter compo-nent)and the light reflected to the observer from thebackground surface behind the test patch.(In early ex-periments we did not measure the background directly.In these cases,we subsequently computed the light re-flected to the observer from the measurement of the am-bient illumination and a measurement of the backgroundsurface reflectance function.)D.Adjustment Starting PointsIn pilot experiments we observed that for our conditions,the chromaticity at which an achromatic adjustmentstarts influences thefinal achromatic setting.In gen-eral,thefinal achromatic setting is pulled toward thepoint at which the adjustment started.This fact impliesthat how the starting point for the adjustments is chosenmust be handled with some care.To study color constancy,a natural way to start the ad-justments is to choose a random surface reflectance,ren-der it under the ambient illumination,and use the resultas the starting point.This procedure accurately modelswhat would be seen by an observer viewing a random col-lection of surfaces under an unknown illuminant.Sincethe illumination differs across conditions,this startingrule will not equate the adjustment starting points interms of the proximal stimulus reaching the eye.For the bulk of our experiments,we adopted an adjust-ment starting rule that is roughly equivalent to the pro-cedure described above.We refer to this rule as the basicstarting rule.Each adjustment began at CIELAB a*b* coordinates chosen randomly within the rectangle ͓Ϫ25,25͔ϫ͓Ϫ25,25͔.Note that the transformation be-tween CIE XYZ tristimulus coordinates and CIELABL*a*b*coordinates depends on the specification of a white point.28For the basic starting rule,we took the white-point tristimulus coordinates to be those of the illu-minant.Thus the actual CIE xy chromaticities of the ad-justment starting points differed across illuminants.In-deed,given this method of specifying the white point,the CIE xy chromaticity of CIELAB a*b*coordinates(0,0) match those of the illuminant.This means that for the basic starting rule,the starting point for the adjustment was chosen from a gamut centered on the illuminant chromaticity.This is essentially the same as would be achieved by choosing a random surface and rendering it.E.ObserversTen observers participated in the experiments reported here.Observer DHB(male,mid-30’s,color normal as tested by anomaloscope)is the author.Observer JMK (male,mid-30’s,color normal as tested by anomaloscope) was a postdoctoral volunteer.Observer WAB(female, mid-20’s,color normal by self-report)was a graduate stu-dent volunteer.Observer MDR(female,mid-20’s,color normal as tested by psuedoisochromatic plates)was a graduate student volunteer.Observer Kl(male,mid-20’s,color normal as tested by psuedoisochromatic plates, Menicon EX contact lenses)was a graduate student vol-unteer.Observer PW(male,mid-20’s,color normal as tested by psuedoisochromatic plates)was a paid under-graduate.Observers RLJ,JPH,and AMO(male,mid-20’s,color normal by self-report)were paid undergradu-ates.Observer JAD(female,mid-20’s,color normal by self-report)was a paid undergraduate.3.RESULTSThis paper reports a large data set collected by use of the basic methods described above.For convenience of expo-sition,we have divided the results into seven separate ex-periments.Experiments1and2measure the effect of the illuminant change for a variety of illuminants and background surfaces.Experiment3compares directly the effect of the changing the illuminant and changing the background surface.Experiments4and5investi-gate the effect of adding a large piece of red cloth in the vicinity of the test patch.Experiments6and7study the effect of the adjustment starting rule.Specific methods are provided in the exposition for each experiment.A.Experiment1:Effect of the IlluminantExperiment1makes baseline measurements of the effect of the illuminant on color appearance.Experiment1was conducted with the BY illuminant setup.Observers viewed the test patch among an array of14Munsell pa-pers,as shown at the right of Fig.1.Two illuminants were used in each experimental session,we refer to these as the Blue and Yellow illuminants,respectively.We used a number of different background surfaces.We re-fer to these as the Gray,Red,Yellow,Dark Blue,Brown, and White background surfaces.Table1provides the CIE xy chromaticities and luminances of the illuminants and background surfaces.Observers made achromatic settings at four CIELAB L*values(50,70,90,110).For each illuminant, CIELAB values were computed with respect to a white point defined by its CIE XYZ tristimulus coordinates. Since the computation of CIELAB coordinates depends on the white point,the actual photopic luminances at which settings were made differed across the two illuminants. In each block,settings at the four different L*values were made in random order.We used the basic starting rule for this experiment.1.Achromatic LociFigure2shows individual achromatic settings obtained in a single session.Each panel of thefigure shows a two-Table1.Chromaticities and Luminances of Illuminants and Backgrounds aExperiment1Blue Illuminant Yellow IlluminantCIE x CIE y Lum.(cd/m2)CIE x CIE y Lum.(cd/m2)Illuminant(gray background)0.3530.37313.60.5090.41815.2 Illuminant(all backgrounds)0.3460.37113.60.5090.41916.3Gray background0.4630.4630.50.5550.5550.6Red background0.6220.6220.60.3680.3680.4 Yellow background0.5150.5150.50.5530.5530.6 Dark Blue background0.2360.298 1.60.4160.412 1.5 Brown background0.4680.394 2.20.5810.394 3.4 Black background0.3490.3690.60.5150.4150.7 White background0.3550.37911.60.5150.42014.5Experiment2CIE x CIE y Lum.(cd/m2)Illuminant00.4120.40318.3Illuminant10.3050.39618.0Illuminant20.4030.30019.9Illuminant30.4030.49817.4Illuminant40.4860.40717.3Illuminant50.2930.30919.5Illuminant60.4910.31420.4Illuminant70.3120.49018.1Illuminant80.4740.48218.4a The top half of the table gives values for Experiment1.There is some session-to-session variability in the measured values.The top line specifies the Blue and Yellow illuminants averaged over all sessions where the Gray background was used.The second line specifies the same illuminants averaged over all sessions in Experiment1.The chromaticities and luminances of the light reflected to the observer from the background surfaces are specified for the two experimental illuminants.The specified values were obtained by averaging over all sessions in which the particular background surface was used. The bottom half of the table provides the chromaticities and luminances of the nine experimental illuminants used in Experiment2,obtained by averaging across sessions.dimensional view of the three-dimensional cone space.Each cluster of points represents repeated settings at a single nominal CIELAB L *value.The data in the figure lie along a single straight line through the origin.The best-fitting line is shown in the figure.In each panel,the plotted line is a two-dimensional projection of the same line in the full three-dimensional cone space.The fact that the data lie along a line imply that the chromaticity of the achromatic point is independent of test stimulus luminance.This allows us to summarize the achromatic locus simply by its chromaticity.29To find the chromaticity of the achromatic locus,we proceeded as follows.For each separate session,we found the line through the origin that best fitted the ob-servers’achromatic settings at all four luminances.Each line may be specified by its CIE xy chromaticity.We averaged the chromaticities of the lines from each separate session to obtain the plotted achromatic points.The left panel of Fig.3shows such a summary for a single condition and observer.The open circles show the chro-maticities of the two experimental illuminants.The cor-responding solid circles show the chromaticities of the two achromatic loci.The gray background was used for the condition shown.The data show that changing the illu-minant has a large effect on the achromatic locus.As shown in the right panel,this is true for all five observers (PW,DHB,WAB,RLJ,and JPH)who observed in thiscondition.Fig.2.Linearity of achromatic loci.Each panel shows a scatterplot of the cone coordinates of the individual achromatic settings from a single session,for observer PW and Gray background.Each panel shows a two-dimensional view of the three-dimensional cone space.Each pair of lines is a two-dimensional projection of a single line fitted to the data in the three-dimensional cone space.The lines are constrained to pass through the origin.The cone coordinates were computed from our full spectral measurements with respect to the Smith –Pokorny fundamentals.60,61The peak of each cone fundamental was normalized to1.0.Fig.3.Basic results from Experiment 1for the Gray background for observer PW (left panel)and for five observers (right panel).Both plots:solid circles,CIE xy chromaticity of achromatic loci determined under two illuminants (Blue and Yellow);open circles,illuminant chromaticities.Note the large effect of the illuminant on the achromatic locus.The data for all observers are quite similar,with the exception of the achromatic setting under the Blue illuminant for observer JPH.Where visible,the error bars for the achromatic loci represent Ϯ1standard error of the mean,computed between sessions.For each observer,we computed the average of the within-session standard deviations of the individual achromatic settings.The crossed bars in the upper right of the left plot show these for observer PW.The corresponding bars in the right plot show the maxima of these mean standard deviations,computed across observers.In both plots,the left cross was computed from the settings under the Blue illuminant and the right cross was computed from the settings under the Yellow illuminant.The solid curves in both panels plot the blackbody locus from 2500°K to 20000°K.To assess the precision of the obtained achromatic loci, we computed the between-session standard error of mea-surement(SEM)for the mean x and y chromaticities. Except as otherwise noted,at least two sessions were run for each condition presented in this paper,and error bars corresponding toϮ1SEM are plotted with each achro-matic point.Typically,however,the SEM’s are smaller than the plotted points and are not visible.Although the data shown in Fig.2indicate that a single chromaticity summarizes the achromatic locus,we can also use a summary measure to examine this issue.For each session we computed the within-session standard de-viation of the chromaticities of the individual achromatic settings.For each condition we then averaged these within-session standard deviations.The two crosses in the upper right of the left panel of Fig.3show the result for one condition and observer.The left cross represents Ϯ1mean session standard deviation for the Blue illumi-nant settings,and the right cross representsϮ1mean session standard deviation for the Yellow illuminant set-tings.The sizes of these crosses provide a visual sense of the scatter in the chromaticities of the individual achro-matic settings.The right panel of Fig.3shows the Blue and Yellow illuminant achromatic loci forfive observers. Here the crosses at the upper left of thefigure indicate the maxima,taken across observers,of the mean session standard deviations.2.Effect of the IlluminantThe data in Fig.3indicate that changing the illuminant affects the achromatic locus.This is to be expected for a color-constant visual system.Consider a nonselective surface that reflects light equally at all wavelengths. The light reflected from it to an observer has the same chromaticity as the illuminant.Suppose that the nonse-lective surface appears achromatic under a typical day-light.Then for this illuminant,the achromatic locus will have the same chromaticity as the illuminant.For a color-constant visual system,the color appearance of the nonselective surface should remain unchanged as the il-luminant varies.Thus for such a system,the achromatic locus should track any changes in the illuminant chroma-ticity.This is roughly what is seen in Fig.3.3.Degree of ConstancyAlthough the achromatic loci do not superimpose exactly on the illuminant chromaticities,this does not necessarily indicate a failure of constancy.Constancy per se does not specify the appearance of nonselective surfaces;it re-quires only the invariance of whatever appearance such surfaces have.Thus a visual system may be color con-stant even though the chromaticities of the achromatic loci differ from those of the illuminants.The differences could indicate simply that the percept of achromaticity is associated with a selective surface(i.e.,one that does not reflect light equally at all wavelengths).To interpret the achromatic data in terms of constancy,we need to take this possibility into account.Because of surface metamerism,there is no unique method for doing so.I have,however,implemented what I feel is a reasonable calculation.We assume that the effect of the illuminant may be de-scribed by a von Kries transformation.30That is,we as-sume that changing the illuminant has the effect of changing the gain on the three types of cone.That such a diagonal model provides a good description of the effect of the illuminant is supported by a number of previous studies.1,4In this case we can use the achromatic loci measured under two illuminants to derive a transforma-tion that maps the chromaticity of a stimulus seen under thefirst illuminant to the chromaticity of a perceptually matching stimulus seen under the second illuminant. The appendix provides the details of this calculation.We can then use the calculation to compute the chromaticity of a stimulus,seen under the second illuminant,that would be a perceptual match to a stimulus with thechro-Fig.4.Equivalent illuminants.Data from Experiment1for the Gray background surface.The left panel illustrates the equivalent illuminant calculation for observer PW.Open circles,chromaticities of the Blue and Yellow illuminants;solid circles,chromaticities of the measured achromatic loci under the two illuminants.The data are the same as those shown in the left panel of Fig.3.Open triangle,equivalent illuminant computed from these data.Here,the equivalent illuminant represents the effect of the illuminant change relative to Blue illuminant chromaticity.In the right panel,closed circles represent the equivalent illuminants forfive observers in the Gray background condition,computed from the data shown in the right panel of Fig.3.Open circles represent the illuminant chromaticities.The equivalent illuminant representation separates the effect of the illuminant change from the scatter of the achro-matic points within a single illuminant condition.The effect of the illuminant change is very similar across thefive observers.Thus the differences between observers seen in Fig.3are primarily shifts in the achromatic loci within a single illuminant condition.maticity of thefirst illuminant,seen under thefirst illu-minant.We call the result of this calculation the chro-maticity of the equivalent illuminant.(See Brainard et al.1for a more general discussion of the notion of an equivalent illuminant.)The left panel of Fig.4illustrates the equivalent illu-minant calculation.The data are the same as in the left panel of Fig.3.The open triangle plots the chromaticity of the equivalent illuminant.The relation between this and the actual illuminant chromaticities summarizes how the visual system adjusts to the illuminant,irrespective of what surface is seen as achromatic.The summary de-pends on the adequacy of the diagonal model.This is not tested by the current data set.The right panel of thefig-ure shows as closed circles the equivalent illuminants for five observers measured on the Gray background surface.We can use the equivalent illuminant to compute a color-constancy index1,2,10as follows.Let the CIE1976 uv chromaticity coordinates of thefirst illuminant be c1ϭ(u1,v1),the uv chromaticity coordinates of the second illuminant be c2ϭ(u2,v2),and the uv chroma-ticity coordinates of the equivalent illuminant be c dϭ(u d,v d).We define the constancy index CI byCIϭ1Ϫʈc2Ϫc dʈʈc2Ϫc1ʈ.(1)This index is1if c dϭc2(perfect constancy)and0if c d ϭc1(no effect of the illuminant).It behaves reasonably if c d lies near the line connecting c1and c2.We use the uv chromaticity diagram because it is more perceptually uniform than the xy chromaticity diagram.31Table2provides the constancy indices for thefive ob-servers of Experiment1for each background surface. For the data collected on the Gray background surface, the mean index is0.84.B.Experiment2:More IlluminantsExperiment1examined the effect of the illuminant for two illuminants with chromaticities near the daylight lo-cus.One might expect better adjustment to these illumi-nants than to others.The purpose of Experiment2was to explore this notion.Experiment2was identical to Experiment1with fourexceptions.First,we used the RGB illuminant setup rather than the BY illuminant setup.Second,because the achromatic loci measured in Experiment1were well described by lines through the origin,observers in Experi-ment2made achromatic settings at only two CIELAB L* values(50and70).Third,settings were made for one il-luminant per session.Finally,we did not use a back-ground surface,so that the immediate surround was the gray sheet of particle board rather than a matte poster-board.We used the basic starting rule for this experi-ment.Across sessions,we used nine different illuminants, which we call illuminants0–8.The illuminant chroma-ticities and luminances are tabulated in Table1.Two observers(DHB and JAD)participated in the experiment.Observer JAD made settings in two sessions per illumi-nant.Observer DHB made settings in only one session per illuminant.Figure5shows the results for both observers,plotted as equivalent illuminants.The equivalent illuminants were computed with respect to illuminant0,which is at the center of the quasi-grid.There is no obvious pattern in the degree of compensation to the different illumi-nants.In particular,there is no indication that the vi-sual system compensates more fully for illuminant changes along the blackbody locus.The constancy indi-ces for both observers for the individual illuminants are given in Table2.The mean index for JAD is0.87and for DHB is0.84.These indices are very similar to the ones obtained for the Gray background in Experiment1.Table2.Constancy and Background Indices aExperiment1Observer Background CI BI(Blue)BI(Yellow) PW Gray0.80RLJ Gray0.88WAB Gray0.92DHB Gray0.86JPH Gray0.75PW Red0.810.080.13RLJ Red0.940.000.04 WAB Red0.870.100.10 DHB Red0.86Ϫ0.13Ϫ0.02PW Yellow0.860.210.35RLJ Yellow0.930.01Ϫ0.03 WAB Yellow0.900.140.04PW Dark Blue0.820.200.08PW Brown0.75Ϫ0.020.00PW Black0.73PW White0.95Experiment2Illuminant CI,JAD CI,DHB10.930.8620.810.8030.870.8240.810.8350.940.8660.870.9170.930.8280.780.78a The top half of the table gives the indices computed for each observer/ background pair in Experiment1.The average constancy index for the Gray background is0.84.The average constancy index for all observer/ background pairs for thefive observers is0.85.The background indices were computed with respect to the Gray background surface for both the Blue and the Yellow illuminants.The average background index for the Blue illuminant is0.07and for the Yellow illuminant is0.08.The bottom half of the table gives the constancy indices for Experiment2for illumi-nants1–8,computed with respect to illuminant0.The average index is 0.87for observer JAD and0.84for observer DHB.。

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