Perception (psychology)

D

Size Constancy

Depth perception also plays a major role in size constancy, the tendency to perceive objects as staying the same size despite changes in our distance from them. When an object is near to us, its image on the retina is large. When that same object is far away, its image on the retina is small. In spite of the changes in the size of the retinal image, we perceive the object as the same size. For example, when you see a person at a great distance from you, you do not perceive that person as very small. Instead, you think that the person is of normal size and far away. Similarly, when we view a skyscraper from far away, its image on our retina is very small—yet we perceive the building as very large.

Psychologists have proposed several explanations for the phenomenon of size constancy. First, people learn the general size of objects through experience and use this knowledge to help judge size. For example, we know that insects are smaller than people and that people are smaller than elephants. In addition, people take distance into consideration when judging the size of an object. Thus, if two objects have the same retinal image size, the object that seems farther away will be judged as larger. Even infants seem to possess size constancy.

Another explanation for size constancy involves the relative sizes of objects. According to this explanation, we see objects as the same size at different distances because they stay the same size relative to surrounding objects. For example, as we drive toward a stop sign, the retinal image sizes of the stop sign relative to a nearby tree remain constant—both images grow larger at the same rate.

IV

Depth Perception

Depth perception is the ability to see the world in three dimensions and to perceive distance. Although this ability may seem simple, depth perception is remarkable when you consider that the images projected on each retina are two-dimensional. From these flat images, we construct a vivid three-dimensional world. To perceive depth, we depend on two main sources of information: binocular disparity, a depth cue that requires both eyes; and monocular cues, which allow us to perceive depth with just one eye.

---

---

A

Binocular Disparity

Because our eyes are spaced about 7 cm (about 3 in) apart, the left and right retinas receive slightly different images. This difference in the left and right images is called binocular disparity. The brain integrates these two images into a single three-dimensional image, allowing us to perceive depth and distance.

For a demonstration of binocular disparity, fully extend your right arm in front of you and hold up your index finger. Now, alternate closing your right eye and then your left eye while focusing on your index finger. Notice that your finger appears to jump or shift slightly—a consequence of the two slightly different images received by each of your retinas. Next, keeping your focus on your right index finger, hold your left index finger up much closer to your eyes. You should notice that the nearer finger creates a double image, which is an indication to your perceptual system that it is at a different depth than the farther finger. When you alternately close your left and right eyes, notice that the nearer finger appears to jump much more than the more distant finger, reflecting a greater amount of binocular disparity.

You have probably experienced a number of demonstrations that use binocular disparity to provide a sense of depth. A stereoscope is a viewing device that presents each eye with a slightly different photograph of the same scene, which generates the illusion of depth. The photographs are taken from slightly different perspectives, one approximating the view from the left eye and the other representing the view from the right eye. The View-Master, a children’s toy, is a modern type of stereoscope.

Filmmakers have made use of binocular disparity to create 3-D (three-dimensional) movies. In 3-D movies, two slightly different images are projected onto the same screen. Viewers wear special glasses that use colored filters (as for most 3-D movies) or polarizing filters (as for 3-D IMAX movies). The filters separate the image so that each eye receives the image intended for it. The brain combines the two images into a single three-dimensional image. Viewers who watch the film without the glasses see a double image.

Another phenomenon that makes use of binocular disparity is the autostereogram. The autostereogram is a two-dimensional image that can appear three-dimensional without the use of special glasses or a stereoscope. Several different types of autostereograms exist. The most popular, based on the single-image random dot stereogram, seemingly becomes three-dimensional when the viewer relaxes or defocuses the eyes, as if focusing on a point in space behind the image. The two-dimensional image usually consists of random dots or lines, which, when viewed properly, coalesce into a previously unseen three-dimensional image. This type of autostereogram was first popularized in the Magic Eye series of books in the early 1990s, although its invention traces back to 1979. Most autostereograms are produced using computer software. The mechanism by which autostereograms work is complex, but they employ the same principle as the stereoscope and 3-D movies. That is, each eye receives a slightly different image, which the brain fuses into a single three-dimensional image.

Although binocular disparity is a very useful depth cue, it is only effective over a fairly short range—less than 3 m (10 ft). As our distance from objects increases, the binocular disparity decreases—that is, the images received by each retina become more and more similar. Therefore, for distant objects, your perceptual system cannot rely on binocular disparity as a depth cue. However, you can still determine that some objects are nearer and some farther away because of monocular cues about depth.

B

Monocular Cues

Close one eye and look around you. Notice the richness of depth that you experience. How does this sharp sense of three-dimensionality emerge from input to a single two-dimensional retina? The answer lies in monocular cues, or cues to depth that are effective when viewed with only one eye.

The problem of encoding depth on the two-dimensional retina is quite similar to the problem faced by an artist who wishes to realistically portray depth on a two-dimensional canvas. Some artists are amazingly adept at doing so, using a variety of monocular cues to give their works a sense of depth.

Although there are many kinds of monocular cues, the most important are interposition, atmospheric perspective, texture gradient, linear perspective, size cues, height cues, and motion parallax.

B

1

Interposition

Probably the most important monocular cue is interposition, or overlap. When one object overlaps or partly blocks our view of another object, we judge the covered object as being farther away from us. This depth cue is all around us—look around you and notice how many objects are partly obscured by other objects. To understand how much we rely on interposition, try this demonstration. Hold two pens, one in each hand, a short distance in front of your eyes. Hold the pens several centimeters apart so they do not overlap, but move one pen just slightly farther away from you than the other. Now close one eye. Without binocular vision, notice how difficult it is to judge which pen is more distant. Now, keeping one eye closed, move your hands closer and closer together until one pen moves in front of the other. Notice how interposition makes depth perception much easier.

	More from Encarta
	•  Important Notice: MSN Encarta to be discontinued. Learn more. •  Presidential Myths Quiz •  Coffee break: Recharge your brain