Physiological and anatomical findings in the primate visual system, as well as clinical evidence in humans, suggest that different components of visual information processing are segregated into largely independent parallel pathways. Such a segregation leads to certain predictions about human vision. In this paper we describe psychophysical experiments on the interactions of color, form, depth, and movement in human perception, and we attempt to correlate these aspects of visual perception with the different subdivisions of the visual system.

Psychophysical evidence for separate channels for the perception of form, color, movement, and depth

A method of producing red-green and blue-yellow sinusoidal chromatic gratings is used which permits the correction of all chromatic aberrations. A quantitative criterion is adopted to choose the intensity match of the two colours in the stimulus: this is the intensity ratio at which contrast sensitivity for the chromatic grating differs most from the contrast sensitivity for a monochromatic luminance grating. Results show that this intensity match varies with spatial frequency and does not necessarily correspond to a luminance match between the colours. Contrast sensitivities to the chromatic gratings at the criterion intensity match are measured as a function of spatial frequency, using field sizes ranging from 2 to 23 deg. Both blue-yellow and red-green contrast sensitivity functions have similar low-pass characteristics, with no low-frequency attenuation even at low frequencies below 0.1 cycles/deg. These functions indicate that the limiting acuities based on red-green and blue-yellow colour discriminations are similar at 11 or 12 cycles/deg. Comparisons between contrast sensitivity functions for the chromatic and monochromatic gratings are made at the same mean luminances. Results show that, at low spatial frequencies below 0.5 cycles/deg, contrast sensitivity is greater to the chromatic gratings, consisting of two monochromatic gratings added in antiphase, than to either monochromatic grating alone. Above 0.5 cycles/deg, contrast sensitivity is greater to monochromatic than to chromatic gratings.

The contrast sensitivity of human colour vision to red‐green and blue‐yellow chromatic gratings.

Moving the retinal image of a sinusoidal grating at a constant velocity (compensated for eye movements) provides controlled spatial and temporal frequencies at every point in the stimulus field. Using this controlled-velocity technique, we have measured the detection threshold for isoluminance, red/green gratings as a function of their spatial and temporal frequencies. The chromatic contrast-threshold surface obtained in this way is analogous to the achromatic contrast-threshold surface measured previously, but the results are quite different. For very low temporal frequencies (below 0.2 Hz), the chromatic sensitivity decreases steadily with decreasing temporal frequency. Below 0.01 Hz, chromatic patterns disappear completely even at maximum contrast (although achromatic or homochromatic patterns do not). In the region above 0.2 Hz, both achromatic and chromatic thesholds can be explained by the same receptive-field-like model. When the center and the surround components of this model are additively combined, they form the chromatic threshold surface; when the sign of either component is reversed, they form the achromatic one.

Spatiotemporal variation of chromatic and achromatic contrast thresholds

The appearance of an object or surface depends strongly on the light from other objects and surfaces in view. This review focuses on color in complex scenes, which have regions of different colors in view simultaneously and/or successively, as in natural viewing. Two fundamental properties distinguish the chromatic representation evoked by a complex scene from the representation for an isolated patch of light. First, in complex scenes, the color of an object is not fully determined by the light from that object reaching the eye. Second, the chromatic representation of a complex scene contributes not only to hue, saturation, and brightness, but also to other percepts such as shape, texture, and object segmentation. These two properties are cornerstones of this review, which examines color perception with context that varies over space or time, including color constancy, and chromatic contributions to such percepts as orientation, contour, depth, and motion.

Color in Complex Scenes

Visual evoked potentials in three-dimensional color space: correlates of spatio-chromatic processing.

Letters to the editor: Visual chromaticity-modulation transfer function.

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Letters to the editor: Visual chromaticity-modulation transfer function.