Colour Science & Perception
what the eye settles, and what it cannot
The collection

Every essay — page 14

Page 14 of 54, continuing through the fields in the same order.

What light is What the eye does Matching and measuring Difference and uniformity What the brain does What a scene does What a camera does Where the model breaks What it takes to deliver it

SeriesObserversNamed objectsRefutationsSearch

What the eye does

Three cone types project an infinite-dimensional spectrum onto three numbers. Everything colour science can and cannot do follows from that one collapse.

Temporal sensitivity, and where each channel gives out. Modulation frequency in hertz against relative sensitivity. The luminance channel is band-pass, peaking at 8 hertz and running out at 60; an isoluminant modulation is low-pass and runs out at 15, which is 4.0 times sooner. Both cutoffs are at the same criterion of 5 per cent of that channel's own peak, so the ratio between them is a ratio between two measurements rather than between two conventions.

The eye has a shutter

An isoluminant flicker fuses at fifteen hertz and a luminance one at sixty, so a light whose colour changes forty times a second is a steady light of a colour it never emits. And the frequency at which flicker stops being visible is not a property of the eye — it moves twelve and a half hertz for every decade of light.

8 figures The drift window, asked about each channel in turn. Every spatial frequency a channel can resolve, drifting at v degrees a second, arrives at f × v hertz; the bar is the range of v over which all of them stay above a quarter of that channel's temporal peak. The luminance band is closed at both ends — 0.018 to 0.71 degrees a second — because its temporal sensitivity has a dip at zero to fall into. The chromatic bands have no slow edge at all, because chromatic temporal sensitivity is low-pass: a stationary chromatic pattern sits at the top of its own sensitivity. The mark is the measured drift, and it is inside all three.

The drift is a luminance mechanism

The eye's own drift was shown to sit inside a band of speeds that keeps every spatial frequency modulating, and the band was quoted as though it were about vision. Asked about colour, it has no slow edge at all — a stationary chromatic pattern needs no eye movement whatever. And a stabilised chromatic pattern is the first thing to fade.

7 figures Coming back from a bleach, against the clock already measured. A 94 per cent bleach, and the pigment returning at its own time constant of 120 seconds. The lower curve is the site's slow neural adaptation constant, 60 seconds, started from the same place — it is finished while the chemistry is barely half done. Regeneration does not speed up because the light went away: the rate constant is the same one it always was, which is why the recovery is slow while the bleaching was fast.

The slowest clock is chemical

An earlier essay here joined the afterimage to the adaptation clock and named what was still missing — a third gain, upstream of both, in the pigment itself. It is twice as slow as anything measured before it, it leaves a coloured after-tint from a white field, and at steady state it cancels exactly, which is why nobody has ever needed to model it.

9 figures Where a pooled gain gives out, against where the eye does. The falling curve is how much of a pattern of each spatial frequency a local adaptation pool of 0.5° can see — and therefore how much of it a settled eye can cancel. It is half gone by 0.37 cycles per degree, which is a feature about 2.7° across. The three marks are the acuity limits of the luminance channel and the two chromatic ones. Every one of them is more than an order of magnitude finer than the pool, which is why a stabilised eye loses the fill of a picture and keeps its outline rather than losing the picture.

What a still eye stops seeing

A stabilised image is said to vanish, and nothing in a temporal filter predicts it — sensitivity at zero frequency is a quarter of the peak, not nothing. Give the adaptation gain a size and the answer falls out — fading is a high-pass filter that switches on over a minute, it takes the fill and leaves the outline, and a patch has to be about two degrees across before it goes at all.

8 figures What the same eye reports about one field, in the middle and at the edge. Each row is a uniform field, drawn at the most saturated version of itself this page can show — the percentage is how much of the full stimulus survived, the rest being the adapting light added to bring it inside the gamut. The left patch is what the centre of gaze reports and the right one what 10 degrees out reports, each adapted to the same light as that position sees it. The adapting white comes out identical to 5e-13, because an adapted eye cancels its own filter exactly. Nothing else does, and the largest difference is in the blue. tungsten light is not drawn: it cannot be shown at any useful saturation, and at full strength it differs by ΔE00 1.87.

One person is two observers

The macular pigment is a yellow screen over the fovea and nowhere else, so a cone at the centre of gaze and a cone ten degrees away have different colour-matching functions in the same eye. A match made in the middle comes apart at the edge by six units — and fitting one filter to the gap between the CIE's two standard observers gives a density of 0.40 against a measured 0.35.

9 figures The share of itself each change leaves behind, and the smallest is inside the eye. The residual as a fraction of the change rather than as a colour difference, which sorts the census differently. At the top is the macular pigment — the filter in front of the central few degrees of one's own retina — leaving 2.4 per cent of itself. It is a fixed transmittance multiplying the light and the white together, which is as close to a pure gain as anything here gets, and it is why nobody notices they have one.

The filters inside the eye

The macular pigment leaves 2.4 per cent of itself after adaptation — the smallest share of anything in this site's census of light changes, and less than half the next smallest. Fifty years of lens yellowing leaves 7.9 per cent, and the difference between the two says what a gain is actually good at.

8 figures A stabilised grating fades at a rate that depends on which way its bars run. What is left of a 0.3 cycle-per-degree grating, in multiples of its own threshold, as a function of its orientation, at four moments after the image was stabilised on the retina. The first curve is flat to floating point: at the instant the pattern arrives, orientation does not matter, because the filter that carries it has no orientation preference at this frequency. The anisotropy arrives with the fading, reaching ×2.09 after five minutes, and a pool with no axis predicts none of it.

A fading pool has a shape

Giving the local adaptation pool two axes instead of one costs a single parameter and produces a prediction the circular version cannot make — a stabilised grating fades at a rate that depends on which way its bars run. The obvious objection is the oblique effect, and the two act in bands that do not overlap.

9 figures What reaches the retina, and why the observer's table stops at 360 nanometres. The transmittance of the eye's own optics across the short-wave band, at three ages, with the brightener's absorption shaded underneath. The upper curve is an eye whose lens has been removed — the cornea alone, opaque below about 295 nanometres and transparent above it. The photopigments absorb perfectly well in this band; what stops the light is a piece of optics in front of them, which is why the short-wave limit of colour vision moves with age and can be removed surgically. A twenty-year-old receives 21 times as much of the band a brightener works in as a seventy-year-old does.

The eye stops at the lens

Neither standard observer is tabulated below 360 nanometres, and the reason is not that the photopigments stop absorbing there. It is that the light never arrives — the cornea and the crystalline lens take it — so the short-wave limit of human colour vision is a piece of optics, it moves by a factor of twenty across a lifetime, and it can be surgically removed.

7 figures One observer's matching functions, in three of the bases the matches leave free. The three colour-matching functions after a change of basis 0.00 of the way from Hunt–Pointer–Estévez towards the set built from the dichromat confusion points. Every one of these triples predicts exactly the same matches as every other, because a match is an equality and a matrix applied to both sides of an equality changes nothing. What moves is where the peaks are and whether the curves go negative — these ones do not, and going negative is what the 1931 committee constructed XYZ to avoid.

The matches do not name the cones

Colour matching is the whole empirical basis of colorimetry, and it fixes the observer's three curves only up to a nonsingular 3×3 — nine numbers that no match, in any quantity, to any precision, can see. One particular choice of those nine is used throughout here, and it was made for a different purpose.

9 figures Where a dichromat's confusions converge. Every pair of colours a protanope cannot tell apart lies on one of these lines, and all the lines meet at a single point — at (0.7465, 0.2535) for this class. The point is the chromaticity of the missing cone's own response direction, which is why it need not lie inside the diagram or correspond to any light at all. Two of the three do not. The three points between them carry six numbers, and six is two thirds of what the matching data leave undetermined.

A confusion point is a missing pigment

The nine numbers colour matching leaves free are fixed by three points on a chromaticity diagram, each of them the place where everything one class of dichromat cannot tell apart converges. Two of the three lie outside the diagram entirely, which is not a defect — a direction in tristimulus space need not correspond to a light.

8 figures Four different bases, one adaptation model, one number. The middle row of the basis built from the confusion points multiplied by 0.21, 1, 3.7 and 11 in turn, with the resulting adaptation residual drawn as a bar in each case. The four bars are the same height to 9e-16 of a ΔE00, because the row's scale cancels exactly between the gain and the inverse. Three of the nine numbers a colour match leaves free are invisible to an adaptation model, which is why the six the dichromat data supply determine it outright with nothing left to fit.

The three numbers a gain cannot see

Colour matching leaves nine numbers free. Three dichromat confusion points fix six of them and three choices of unit fix the rest — and it turns out that a von Kries gain is exactly blind to those last three. So the dichromat data do not merely constrain an adaptation basis. They determine it, with nothing left over to fit.

7 figures How cone-like a basis is, against how well it adapts. Each basis placed by how far its own implied deuteranope confusion point falls from the measured one (horizontal) and by how much an adapted observer is left with in it (vertical). The construction from the confusion points sits at zero on the horizontal by definition and near the top on the vertical. Nothing near the left of the picture is near the bottom: the closer a basis is to the receptors, the more a von Kries gain leaves behind. The unconstrained winner sits at 1.63 on the horizontal, further from the measurement than any published transform except CAT02 and Bradford.

The best axes are not receptors

If the axes that make a von Kries gain work were nearly the cone fundamentals, the published adaptation transforms would be cone-like and their departures would be slack in a fit. They are not. Minimise the residual over all nine free numbers and the winner sits further from the measured dichromat confusion points than any of them.

7 figures