Abstract

Human observers' ability to infer the light field in empty space is known as the “visual light field.” While most relevant studies were performed using images on computer screens, we investigate the visual light field in a real scene by using a novel experimental setup. A “probe” and a scene were mixed optically using a semitransparent mirror. Twenty participants were asked to judge whether the probe fitted the scene with regard to the illumination intensity, direction, and diffuseness. Both smooth and rough probes were used to test whether observers use the additional cues for the illumination direction and diffuseness provided by the 3D texture over the rough probe. The results confirmed that observers are sensitive to the intensity, direction, and diffuseness of the illumination also in real scenes. For some lighting combinations on scene and probe, the awareness of a mismatch between the probe and scene was found to depend on which lighting condition was on the scene and which on the probe, which we called the “swap effect.” For these cases, the observers judged the fit to be better if the average luminance of the visible parts of the probe was closer to the average luminance of the visible parts of the scene objects. The use of a rough instead of smooth probe was found to significantly improve observers' abilities to detect mismatches in lighting diffuseness and directions.

Highlights

  • The interplay between lighting, geometry, and materials in a scene shapes the architectural space and the light field in it

  • 3 Results This results section is organized as follows: first, we analyze the overall percentages of correct answers; after that we use the data of Group I to investigate how sensitive our observers are to variations in lighting intensity; the data of Group II are used to check how sensitive they are to the variations of lighting direction and diffuseness

  • We found that the observers were sensitive to variations of the light intensity, direction, and diffuseness, which confirmed the results of former studies

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Summary

Introduction

The interplay between lighting, geometry, and materials in a scene shapes the architectural space and the light field in it. The structure of the light field depends on the spatial and spectral characteristics of the light sources, and on the shape, 3D texture (corrugation), and material reflectance properties of the patches in the light field that receive and re-emit the light. According to Gershun, if color and temporal variations are neglected, the light field is a 5-dimensional function that describes the light traveling in every direction (θ, φ) through any point (x,y,z) in space (Gershun, Moon, & Timoshenko, 1939). Gershun’s light field is essentially the radiance distribution over space and directions. The theory of the light field developed by Gershun describes light physically (optically). It describes everything that can potentially be seen and in psychology this concept was called the “plenoptic function” by Adelson and Bergen (Adelson & Bergen, 1991)

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