基于波前技术的人眼神经对比敏感度测量

搭建了基于波前像差的神经对比敏感度(NCSF)测试系统。该系统在测试人眼空间对比敏感度(CSF)的同时,利用Hartmann-Shack波前传感器测量人眼波前像差,通过计算进而得到人眼的NCSF。与通过两种设备分别测量全视觉CSF和波前像差获得NCSF相比,该方法避免了不同测试状态下像差波动的影响,简化了测试过程;和传统激光干涉方法测量NCSF相比,该方法避免了激光干涉产生的相干噪音和激光散斑等不利因素,并且通过改变不同亮度不同颜色视标,可以得到不同亮度,不同波长下的NCSF。选用绿光视标对四例正常人眼的NCSF进行了测量,结果表明:该系统可以同时获得人眼的全视觉CSF、屈光系统调制传递函数和NCSF;在同等亮度下,不同人眼的NCSF存在个体差异;对同一个体,NCSF曲线的最大值对应的空间频率比全眼空间CSF曲线的最大值对应的空间频率高一些。     

与观察时间相关的人眼对比度敏感特性研究

研究了人眼在不同观察时间下的亮度对比度敏感函数。从CIE规定的颜色中心中分别选取中性灰和橙色作为图片背景,并得到不同空间频率的矩形条纹图片。根据心理物理学的极限法进行视觉评价,测得在两个背景三种典型适应观察时间下人眼的亮度对比度敏感函数。比较了中性灰和橙色背景下人眼亮度对比度敏感函数数据,并拟合得到在不同背景及对比度适应时间下的亮度对比度敏感特性曲线。结果表明,当观察时间相同时,橙色背景的亮度对比敏感函数值比中性灰背景的亮度对比度敏感函数值小;随着人眼对条纹观察时间的延长,人眼亮度对比度敏感函数的峰值及其对应的空间频率也随之增大,与背景颜色无关。     

基于人眼视觉的电润湿电子纸显示器 亮度非线性校正方法

针对反射式电润湿显示器在不同环境光下,对显示器上内容的清晰度、对比度的影响,提出一种保留相邻灰度人眼视觉响应差的亮度校正方法.该方法保证其它环境光下的人眼对相邻灰度的响应差与参考环境光下的响应差一致.同时为实现电润湿显示器的精准调制,将校正后的亮度进行二次校正,非线性校正.采用本文方法校正后的电压与亮度曲线的关系更接近线性,提高了电润湿显示器对比度,增加图像细节,优化了显示效果.     

阴极射线管显示器亮度范围内对人眼视觉特性的实验研究

用CRT显示器显示5种频率的目标光栅,通过改变矩形波光栅的平均亮度,测量了9名男性青年在不同平均亮度条件下的对比度觉察阈值,并得出亮度与对比度觉察阈值间的关系曲线,从而探讨人眼在显示器亮度范围内的亮度视觉特性.实验结果表明,不同人眼对频率f＝3.79和4.97cpd(周/度)的目标光栅的对比度觉察阈值非常相近,而对频率f＝1.23,1.97和9.86cpd的目标光栅的对比度觉察阈值相差甚远;提高显示器亮度可以降低对比度觉察阈值,提高显示器显示图像分辨力,但是随着亮度的增加(达到Weber区域),亮度对分辨力的提高达到一定限度,而且,当亮度在60cd/m²左右时,显示信息效果与人眼视觉特性最匹配.基于对人眼在显示器亮度范围内的亮度视觉特性的研究,为在显示器上进行图像处理、显示器制造、摄影、印刷、配色等研究和应用奠定基础. 关键词： 人眼视觉特性 对比度觉察阈值 视角 空间频率     

符合人眼视觉特性的颜色亮度模型

从色度学基本理论出发,对颜色变量Ｙ进行了深分析,提出了由孟塞尔（Ｍｕｎｓｅｌｌ）颜色体系进行颜色视亮度主观匹配的新方法。实验和理论分析指出孟塞尔色立体的等明度面并非在视觉上是等明度的,建立了人眼主观亮度与孟 明度值Ｉ之间满足线性关系的色亮度模型。     

摄像机色度特性的研究

在一个由一些颜色输入输出设备组成的混合系统中,理想情况是输出设备能直接利用输入设备获得的颜色数据,即输入设备是一个标准色度观察者。考察了常用输入设备———摄像机的色度特性,从色差、亮度差、色调差、彩度差等角度计算了摄像机与标准色度观察者的差别,并对结果作出了评价。     

双头增强与非均匀校正的水下图像增强算法

受水下环境浑浊度高、光照不足和均匀性差等因素影响,水下成像所获取的图像存在对比度低、细节模糊和颜色失真等缺陷,为此提出一种双头增强和非均匀校正的水下图像增强算法。利用构建的双头增强网络从浅层信息中提取多尺度特征,同时融合不同通道的上下文信息,有利于水下图像低对比度的增强;此外构建了非均匀校正网络,对图像不同通道和不同位置进行非线性加权融合,有利于颜色一致性和亮度的恢复。与10种算法相比,本文算法在UIEB测试集上峰值信噪比、结构相似性比其他方法的最优值分别提高了4.02 dB和0.120,CIEDE2000指标下降了1.51,在LUSI测试集上述指标分别提高了2.13 dB、0.025及下降了0.48。实验结果表明：所提算法针对不均匀的水下图像增强效果显著,更加符合人眼特性。     

物体的颜色

你知道物体的颜色是怎样产生的吗？ 物体的颜色分为彩色和非彩色两大类．非彩色是指白色、浅灰、中灰、深灰和黑色等一系列中性色．它反映了物体反射率的大小,在视觉上表现为亮度的变化．纯白是理想的完全反射体,反射率为１;纯黑是理想的无反射体,反射率为０．彩色是指自黑系列以外的各种颜色．彩色的基本特性常用亮度。色调和饱和度来表征,称之为彩色的三要素．亮度是光作用于人眼明亮程度的感觉．亮度与彩色光的强弱和波长有关．色调表示彩色的种类,是人眼看到一种或多种波长的光时所产生的彩色感觉．单色光的色调决定于光的频率,…     

基于闪烁光度法测量人眼视见函数的研究

基于闪烁光度法,设计并搭建了一种新的测量人眼视见函数的实验系统,得到了人眼视见函数曲线。利用人眼对间断光的响应特性,有效地避开了白光和单色光的颜色差异对亮度的干扰,通过对比两束光视亮度的方式,使系统达到光度平衡,进而度量辐亮度得到人眼视见函数曲线,并与CIE推荐的标准视见函数进行差异比较,分析了差异原因和改进方法,从而深入了解光电探测器的光响应与人眼的差异,为今后的新型光电探测器的研究与应用打下基础。结果表明,实验系统可用于测量人眼视见函数,与CIE推荐的标准视见函数曲线吻合程度较高。     

低照度夜视成像的自然感彩色化及增强方法

低照度成像系统输出一般都是黑白视频,为了获得更好的夜视实际应用效果,提出了一种基于YUV空间色彩传递的低照度视频图像彩色化及增强的亮度拉伸色彩传递方法.该方法借鉴了双波段色彩传递自然感彩色融合方法,由灰度图像及其负片图像构成初始彩色图像,并对亮度通道进行自适应亮度拉伸,在UV通道进行参考图像的色彩传递,实现灰度图像的自然感彩色化和增强.通过与其他基于色彩传递的彩色化方法比较,亮度拉伸色彩传递方法对参考图像和源图像的相似程度要求较低;选取几幅适当的典型场景彩色参考图像,可对绝大多数场景取得较好的彩色化效果,具有很好的场景环境普适性.同时可以看出,该方法高效,对比度高,颜色协调性好,色彩自然,更有利于人眼的观察感知,对于低照度夜视成像效果提升效果明显.该方法已在硬件平台上实时应用,可在无需增加硬件资源的基础上,有效地应用于低照度夜视成像.     

基于高动态范围成像的极端亮度测量方法研究

为了解决光污染中存在的极端亮度对比问题,针对此类复杂照明光环境,提出了一种基于高动态范围成像技术的极端亮度测量方法。利用24色标准色卡和CS-2000分光辐射亮度计对D5300数码相机进行标定,获得了高动态范围亮度分布图像与CIE 1931-XYZ表色系统刺激值之间的拟合关系,实现了极端亮度对比环境中亮度分布的准确测量。通过在城市道路中实地测量,验证了基于高动态范围成像技术的极端亮度测量方法的亮度测量动态范围可达10⁴,其测量值与CS-2000分光辐射亮度计测得的标准亮度值的相对误差分别为-2.2%和-2.5%,表明该方法具有良好的适用性,可为道路照明质量的高效、高准确度测量提供计量保障,为有效防治光污染等复杂光环境问题提供了解决方案。     

红外和彩色可见光图像亮度-对比度传递融合算法

以红外和彩色可见光图像为研究对象,提出了一种基于亮度-对比度传递（LCT）技术的彩色图像融合算法。首先借助灰度融合方法将红外图像与彩色可见光图像亮度分量融合,然后用LCT技术改善灰度融合结果的亮度和对比度,最后利用快速YCBCR变换融合策略在RGB空间内直接生成彩色融合图像。文中利用像素平均融合法和多分辨率融合法作为不同的灰度融合措施以分别满足高实时性和高融合质量的需求。实验结果表明,提出算法的融合结果不仅具有与输入彩色可见光图像相近的自然色彩,而且具备令人满意的亮度和对比度,即使采用运算简单的像素平均法进行灰度融合,同样可以获得良好的融合效果。     

Objective evaluation of target detectability in night vision color fusion images

An evaluation for objectively assessing the target detectability in night vision color fusion images is proposed.On the assumption that target detectability could be modeled as the perceptual color variation between the target and its optimal sensitive background region,we propose an objective target detectability metric in CIELAB color space defined by four color information features:target luminance,region perceptual luminance variation in human vision system,region hue difference,and region chroma difference.Experimental results show that this proposed metric is perceptually meaningful because it corresponds well with subjective evaluation.     

Color correction for tiled projection with irregularly shaped,overlapping region

In this Letter, a new, constrained color-matching algorithm that removes the color variations is presented, in which all the color gamut of the projectors is mapped into a common gamut that can be produced by all the devices in the system. The smoothness constraints on the difference between two adjacent pixels are taken into account to calculate the luminance attenuation map of each pixel in the overlapping region to achieve luminance seamlessness. The experimental results demonstrate the validity and superiority of this correction algorithm.     

Luminance-Type Additive Mechanism Produces Shading

It has been reported that the luminance mechanism mediates shadow perception of binary images. We evaluated the luminance additivity law to determine whether shading, which is produced by gradual intensity changes, is mediated by luminance or brightness using pictures with tones: two still lives and a painting. They were depicted by two colors-a reference color and a test color. The reference color was white with a constant luminance profile, and the test color was a mixture of red and green in various proportions. The observer’s task was to adjust the luminance of the test color in order that the impression of depth due to shading just disappeared (shading disappearance setting), where the intensity that produced the shading supposed to be equated between the test and the reference colors. The results show that the luminance additivity law holds for shading disappearance settings. This suggests that shading perception is based on luminance or a luminance-type additive mechanism as well as shadow.     

Saliency detection via textural contrast

We present a new approach for visual saliency detection from various natural images. It is inspired by our careful observation that the human visual system (HVS) responds sensitively and quickly to high textural contrast, derived from the discriminative directional pattern from its surroundings as well as the noticeable luminance difference, for understanding a given scene. By formulating such textural contrast within a multiscale framework, we construct a more reliable saliency map even without color information when compared to most previous approaches still suffering from the complex and cluttered background. The proposed method has been extensively tested on a wide range of natural images, and experimental results show that the proposed scheme is effective in detecting visual saliency compared to various state-of-the-art methods.     

Effects of luminance and size of stimuli upon binocular color fusion limit

We aimed to examine the effects of luminance and size of stimuli upon the binocular fusion limit. A three-dimensional display was used to present dichoptic stimuli to the left and right eye, respectively. The range of dominant wavelength was from 450 to 650 nm. We measured the binocular color fusion limits Δλ _d for each dominant wavelength λ _d quantitatively with different luminance. The results show that the binocular color fusion ceases when the color difference introduced between the left and right eyes exceeds a certain threshold value, and the color fusion limit becomes smaller with the increase of the luminance of stimuli. In experiment 2, we adjusted the visual size of stimuli from 2 to 10° and found that color fusion is more difficult to achieve at 10° than at 2°.     

Room Illuminance rather than Immediate Surrounding Luminance Determines Natural to Unnatural Color of an Object Border

The color of an object placed in a room goes through various modes of color appearance if its luminance is increased independently from the room illumination; from the natural object color to an unnatural object color, and to the light source color having two borders. We were interested in investigating the determining factor for the first border as it is useful in lighting design. It has been thought without a specific theory that it is the surrounding luminance that determines the border. According to a new concept of the recognized visual space of illumination (RVSI), the border is solely determined by the room illumination, and not by the luminance of the immediate surroundings of the object. In the first experiment of the present paper the border of a test stimulus was determined for various room illuminance while keeping the luminance of the immediate surroundings constant. It was shown that the border luminance was roughly proportional to the room illuminance, confirming the prediction based on the RVSI theory. In the second experiment the border was determined for varying luminance of the immediate surroundings while maintaining constant room illuminance. The border did not change, again confirming the prediction based on this theory.     

Failure of color constancy for high luminance of a test patch that appears unnatural as an object in a space

The theory of the recognized visual space of illumination (RVSI) is that the color appearance of objects in a space is determined in relation to its recognition axis RX whose direction is determined by the brain action to adapt to the illumination in the space. Thus the color constancy holds. RX is applicable to objects in the space but not to an object or a portion that does not belong in the space in terms of illumination, that is to say, the luminance of which is too high based on the illumination for that space. In that case the color appearance would be determined in relation to the fundamental axis FX and the color constancy would not hold. In the present paper the chromaticity points were measured for a test patch that appeared achromatic for various luminance of the patch. The points were close to the color of illumination to indicate the color constancy when the luminance was low enough to assure its appearance as the object color, but they departed from the color of illumination and approached the colorimetrically achromatic color. The color constancy gradually failed for the test patch with the high luminance when the color mode became an unnatural object color and then a light color.