Lessons Learned from Mondrians Applied to Real Images and Color Gamuts
Lessons Learned from Mondrians Applied to Real Images and Color Gamuts
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DOI：
10.2352/cic.1999.7.1.art00001
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发表时间：
1999-01
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影响因子：
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通讯作者：
J. McCann
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文献类型：
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作者：
J. McCann
摘要 本文试图将各种心理物理实验整合到一个计算模型中来计算颜色外观。描述了此类模型的基本原理后，我们转向应用该模型来打印宽动态范围的现实生活场景，并在有限的打印机色域内找到图像的最佳再现。关键词：蒙德里安、Retinex、复杂图像、视觉模型。简介 1963 年，埃德温·兰德 (Edwin Land) 决定将他的工作愿景转向不同的方向。他打趣说，许多评论家认为他关于人类视觉的结论是值得怀疑的，因为实验是照相的，而且这些评论家认为他（兰德）可以用胶片做任何事情。他开始仅使用纸张、灯光和一个非常好的远距光度计进行实验。红白实验已经表明了复杂图像的重要性，因此兰德开始使用大约 100 张纸进行展示。他要求卢克丽霞·威德在伦敦泰特美术馆展出类似蒙德里安画作的作品。事实证明，卢克丽霞在我们找到蒙德里安画作的彩色照片之前就完成了展览。多年后，Hank Spekreijse 在阿姆斯特丹的一次会议上指出，他的同胞蒙德里安从未使用过高彩度绿色。因此，尽管这些实验显示器的色度和对比度比泰特·蒙德里安的画作更高，但它们是比原始显示器更好的视觉测试目标，因为它们具有更大的颜色范围。奈杰尔·道（Nigel Daw）的残像实验1说服了兰德避免使用规则的正方形阵列。道的实验分为两个部分：首先，他让观察者通过注视彩色图像中的一个点（例如方形枕头）来制作物体的强烈彩色残像，从而在视网膜上形成钻石残像。其次，他要求观察者描述当观察者将视线移动到同一场景的黑白图像上的不同注视点时的残像。当观察者注视图像中的新点时，外部场景和内部残像之间的轮廓不匹配会抑制残像的可见性。然而，当观察者将注意力集中在枕头黑白图像中记录彩色残像的原始点时，残像变得更加明显。在几分钟内，观察者可以通过查看原始注视点来使枕头的彩色残像出现，并通过查看图像中的另一个点来使其消失。结论是当前图像上的不同轮廓抑制了残像。因此，兰德通过使蒙德里安的每种颜色具有不同的尺寸或形状来避免残像的问题。恒定大小色块的规则阵列会遇到最后一个正方形的颜色残像与新感兴趣区域的轮廓相匹配的问题。兰德开始通过改变落在各种蒙德里安上的照明的光谱、强度和持续时间来研究颜色的外观。
Abstract This paper is an attempt to integrate a wide variety of psycho-physical experiments into a computational model to calculatecolor appearance. Having described the fundamentals of sucha model, we turn to applying this model to printing wide dy-namic range, real-life scenes and finding the best reproduc-tion of an image with limited printer gamut.Key words: Mondrians, Retinex, Complex Images, Mod-els of Vision. Introduction In 1963 Edwin Land decided he wanted to take his workon vision in a different direction. He quipped that many crit-ics thought that his conclusions about human vision were sus-pect, because the experiments were photographic, and thatthese critics thought that he (Land) could do anything withphotographic film. He set out to do experiments using justpapers, lights and a very good telephotometer. Red and Whiteexperiments had shown the importance of complex images,so Land started with displays using about 100 papers. Heasked Lucretia Weed to make a display resembling Mondrian’spainting in the Tate Gallery, London. As it turned out Lucretiafinished the display before we could find color photographsof that Mondrian painting. Years later, Hank Spekreijse, at aconference in Amsterdam, pointed out that his countrymanMondrian had never used high-chroma greens. So, althoughthese experimental displays are higher in chroma and contrastthan the Tate Mondrian painting, they are better visual testtargets than the original because they have a much larger rangeof colors.Nigel Daw’s experiments1 with afterimages had con-vinced Land to avoid regular arrays of squares. Daw’s ex-periment had two parts: First, he had observers make a strongcolor afterimage of an object by fixating at a point in a colorimage, say a square pillow, that formed a diamond afterimageon the retina. Second, he asked observers to describe the af-terimages as the observers moved their gaze to different fixa-tion points on a black and white image of the same scene.When observers fixated on new points in the image, the mis-match of contours between external scene and the internal af-terimage inhibited the visibility of the afterimage. However,when the observers fixated on the original point registeringthe color afterimage in the black and white image of the pil-low, the afterimage became more visible. For several minutesthe observers could make the color afterimage of the pillowappear by looking at the original fixation point, and make itdisappear by looking at another point in the image. The con-clusion is that afterimages are inhibited by different contourson the current image. Hence, Land avoided the problem ofafterimages by making each color in the Mondrian a differentsize or shape. Regular arrays of constant size patches are sub-ject to the problem that the color afterimage of last square fitsthe contours of the new area of interest.Land set out to study the appearance of colors by varyingthe spectra, intensity and duration of illumination falling on alarge variety of Mondrians.