Chapter IV: Part 4

In order to simplify the presentation of the general subject, discussions of color have been omitted in so far as possible from the preceding chapters. There are almost numberless phenomena involving color, many of which are illusions, or seemingly so. It will be obvious that many are errors of sense; some are errors of judgment; others are errors due to defects of the optical system of the eye; and many may be ascribed to certain characteristics of the visual process. It is not the intention to cover the entire field in detail; indeed, this could not be done within the confines of a large volume. However, substantial glimpses of the more important phases of color as related to illusions are presented in this chapter. In the early chapters pertaining to the eye and to vision some of the following points were necessarily touched upon, but the repetition in the paragraphs which follow is avoided as much as possible.

_Simultaneous Contrast._--That the life of color is due to contrast is demonstrable in many ways. If a room is illuminated by deep red light, at first this color is very vivid in consciousness; however, gradually it becomes less saturated. After a half hour the color is apparently a much faded red but upon emerging from the room into one normally lighted, the latter appears very markedly greenish in tint. The reason that the pure red light does not appear as strongly colored as it really is, is due to the lack of contrast. In a similar manner at night we see white objects as white even under the yellowish artificial light. The latter appears very yellow in color when it is first turned on as daylight wanes but as darkness falls and time elapses it gradually assumes a colorless appearance.

An apparatus constructed after the plan of Fig. 62 is very effective for demonstrating the remarkable effects of color-contrast but some additions will add considerably to its convenience. If the lamps _F_ are divided into three circuits, each emitting, respectively, red, green, and blue primary colors, it is possible by means of controlling rheostats to illuminate _E_, the environment, with light of any hue (including purple), of any saturation, and of a wide range of intensities or resulting brightnesses. Thus we have a very simple apparatus for quickly providing almost numberless environments for _H_. The same scheme can be applied to lamps _R_, with the result that a vast array of colors may be seen through the hole _H_. If the hole is the shape of the star in Fig. 66 it will be found very effective. The observer will actually see a star of any desired color amid an environment of any desired color. Care should be taken to have the star cut in very thin material in order to eliminate conspicuous boundary lines. It is quite satisfactory to use a series of colored papers on a slide at _C_ and ordinary clear lamps at _R_. By means of this apparatus both contrasts--hue and brightness--may be demonstrated. Of course, for black and white only brightness-contrast is present; but in general where there is color-contrast there is also brightness-contrast. The latter may be reduced or even eliminated if the brightness of the star and of its surroundings are made equal, but it is difficult to make a satisfactory balance in this respect. Assuming, however, that brightness-contrast is eliminated, we have left only hue and saturation contrast, or what will be termed (rather loosely, it is admitted) color-contrast.

If the surroundings are dark and, for example, an orange star is seen alone, it does not appear very colorful. However, if the surroundings are now made bright with white light, the star appears quite saturated. With blue or green light the orange star appears even more intensely orange, but when the color-contrast is reduced, as in the case of yellow or red surroundings, the vividness of the orange star again decreases. This may be summarized by stating that two widely different colors viewed in this manner will mutually affect each other so that they appear still more different in hue. If their hues are close together spectrally this effect is not as apparent. For example, if orange and green are contrasted, the orange will appear reddish in hue and the green will appear bluish.

Let us now assume the star to be white, and that the surroundings are of any color of approximately the same brightness. The star which is really white will now appear decidedly tinted and of a hue approximately complementary to that of the surroundings. When the latter are of a green color the white star will assume a purplish tinge; when red the white star will appear of a blue-green tint; when yellow the white star will appear bluish. This is an illusion in any sense of the term.

The strength of this illusion caused by simultaneous contrast is very remarkable. For example, if a grayish purple star is viewed amid intense green surroundings it will appear richly purple, but when the surroundings are changed to a rich purple the grayish purple star will even appear greenish. The apparent change of a color to its complementary by merely altering its environment is really a remarkable illusion.

The importance of simultaneous contrast is easily demonstrated upon a painting by isolating any colored object from its surroundings by means of a hole in a gray card. For example, an orange flower-pot amid the green foliage of its surroundings will appear decidedly different in color and brightness than when viewed through a hole in a white, black, or gray cardboard. By means of colored papers the same color may be placed in many different environments and the various contrasts may be viewed simultaneously. The extent of the illusion is very evident when revealed in this simple manner. However, too much emphasis cannot be given to Figs. 62 and 66 as a powerful means for realizing the greatest effects.

_After-images._--After looking at bright objects we see after-images of the same size and form which vary more or less in color. These after-images are due to persistence or fatigue of the visual process, depending upon conditions. After looking at the sun for a moment a very bright after-image is seen. Undoubtedly this at first is due to a persistence of the visual process, but as it decays it continuously changes color and finally its presence is due to fatigue.

After-images may be seen after looking intently at any object and then directing the eyes toward a blank surface such as a wall. A picture-frame will be seen as a rectangular after-image; a checkered pattern will be seen as a checkered after-image. When these after-images are projected upon other objects it is obvious that the appearance of the latter is apparently altered especially when the observer is not conscious of the after-image. The effects are seen in paintings and many peculiar phenomena in the various arts are directly traceable to after-images.

It appears unnecessary to detail the many effects for the explanations or at least the general principles of after-images are so simple that the reader should easily render an analysis of any given case.

Let us assume that vision is fixed upon a green square upon a gray or white background. Despite the utmost effort on the part of the observer to gaze fixedly upon this green square, the latter will begin to appear fringed with a pinkish border. This is due to the after-image of the green square and it is displaced slightly due to involuntary eye-movements. After gazing as steadily as possible for a half minute, or even less, if the point of sight is turned to the white paper a pink square is seen upon it. Furthermore, this pink square moves over the field with the point of sight. This is the type most generally noticed.

After-images have been classified as positive and negative. The former are those in which the distribution of light and shade is the same as in the original object. Those in which this distribution is reversed, as in the photographic negative, are termed "negative." After-images undergo a variety of changes in color but in general there are two important states. In one the color is the same as in the original object and in the other it is approximately complementary to the original color. In general the negative after-image is approximately complementary in color to the color of the original object.

After-images are best observed when the eyes are well rested, as in the morning upon awakening. With a little practice in giving attention to them, they can be seen floating in the air, in the indefinite field of the closed eyes, upon a wall, or elsewhere, and the changes in the brightness and color can be readily followed. Negative after-images are sometimes very persistent and therefore are more commonly noticed than positive ones. The positive after-image is due to retinal inertia, that is, to the persistency of the visual process after the actual stimulus has been removed. It is of relatively brief duration. If an after-image of a window is projected on a white area it is likely to appear as a "negative" when projected upon a white background, and as a "positive" upon a dark background, such as is readily provided by closing the eyes. It may be of interest for the reader to obtain an after-image of a bright surface of a light-source and study its color changes with the eye closed. Upon repeating the experiment the progression of colors will be found to be always the same for the same conditions. The duration of the after-image will be found to vary with the brightness and period of fixation of the object.

It is interesting to note that an after-image is seen with difficulty when the eyes are in motion, but it becomes quite conspicuous when the eyes are brought to rest.

An after-image due to the stimulation of only one eye sometimes seems to be seen by the other eye. Naturally this has given rise to the suggestion that the seat of after-images is central rather than peripheral; that is, in the brain rather than at the retina. However, this is not generally the case and the experimental evidence weighs heavily against this conclusion.

If Fig. 52 is revolved about its center and fixated for some time striking effects are obtained upon looking away suddenly upon any object. The latter will appear to shrink if the spiral has seemed to run outward, or to expand if the spiral has seemed to run inward. These are clearly after-images of motion.

As stated elsewhere, we may have illusions of after-images as well as of the original images. For example, if a clearly defined plane geometrical figure such as a cross or square is bright enough to produce a strong after-image, the latter when projected upon a perspective drawing will appear distorted; that is, it is likely to appear in perspective.

A simple way of demonstrating after-images and their duration is to move the object producing them. For example, extinguish a match and move the glowing end. If observed carefully without moving the eye a bluish after-image will be seen to follow the glowing end of the match. In this case the eyes should be directed straight ahead while the stimulus is moving and the observation must be made by averted or indirect vision.

_Growth and Decay of Sensation._--Although many after-images may not be considered to be illusions in the sense in which the term is used here, there are many illusions in which they at least play a part. Furthermore, it is the intention throughout these chapters to adhere to a discussion of "static" illusions, it is difficult to avoid touching occasionally upon motion. The eyes are in motion most of the time, hence, certain effects of an illusory nature may be superposed upon stationary objects.

The persistence of vision has been demonstrated by every small boy as he waved a glowing stick seized from a bonfire. Fireworks owe much of their beauty to this phenomenon. A rapidly revolving spoked wheel may appear to be a more or less transparent disk, but occasionally when a rapid eye-movement moves the point of sight with sufficient speed in the direction of motion, the spokes reappear momentarily. Motion-pictures owe their success to this visual property--the persistence of vision. If a lantern-slide picture be focused upon black velvet or upon a dark doorway, the projected image will not be seen. However, if a white rod be moved rapidly enough in the plane of the image, the latter may be seen in its entirety. The mixture of colors, by rotating them on disks, owes its possibility to the persistence of the color-sensations beyond the period of actual stimulation. The fact that it takes time for sensations of light to grow and decay is not as important here as the fact that the rates of growth, and also of decay, vary for different colors. In general, the growth and the decay are not of similar or uniform rates. Furthermore, the sensation often initially "overshoots" its final steady value, the amount of "overshooting" depending upon the intensity and color of the stimulus. These effects may be witnessed in their extensive variety by rotating disks so constructed that black and various colors stimulate the retina in definite orders.

An interesting case of this kind may be demonstrated by rotating the disk shown in Fig. 67. Notwithstanding the fact that these are only black and white stimuli, a series of colored rings is seen varying from a reddish chocolate to a blue-green. Experiment will determine the best speed, which is rather slow under a moderate intensity of illumination. The reddish rings will be outermost and the blue-green rings innermost when the disk is rotated in one direction. Upon reversing the direction of rotation the positions of these colored rings will be reversed. By using various colors, such as red and green for the white and black respectively, other colors will be produced, some of which are very striking. The complete explanation of the phenomenon is not clear, owing to the doubt which exists concerning many of the phenomena of color-vision, but it appears certain that the difference in the rates of growth and decay of the various color-sensations (the white stimulus includes all the spectral hues of the illuminant) is at least partially, if not wholly, responsible.

An interesting effect, perhaps due wholly or in part to the differences in the rates of growth and decay of color-sensations, may be observed when a colored pattern is moved under a low intensity of illumination, the eyes remaining focused upon a point in space at about the same distance as the object. A square of red paper pasted in the center of a larger piece of blue-green paper is a satisfactory object. On moving this object gently, keeping the point of sight fixed in its plane of movement, the central red square will appear to shake like jelly and a decided trail of color will appear to cling to the lagging edge of the central square. Perhaps chromatic aberration plays some part in making this effect so conspicuous.

A similar case will be noted in a photographic dark-room illuminated by red light upon observing the self-luminous dial of a watch or clock. When the latter is moved in the plane of the dial, the greenish luminous figures appear separated from the red dial and seem to lag behind during the movement. For such demonstrations it is well to experiment somewhat by varying the intensity of the illumination and the speed of movement. Relatively low values of each appear to be best.

Although the various color-sensations grow and decay at different rates, the latter depend upon conditions. It appears that blue-sensation rises very rapidly and greatly overshoots its final steady value for a given stimulus. Red ranks next and green third in this respect. The overshooting appears to be greater for the greater intensity of the stimulus. The time required for the sensation to reach a steady value depends both upon the spectral character and the brightness of the color but is usually less than a second.

_Chromatic Aberration._--It is well known that the eye focuses different spectral colors at different points. This is true of any simple lens and the defect is overcome in the manufacture of optical instruments by combining two lenses consisting respectively of glasses differing considerably in refractive index. If a white object is viewed by the eye, it should appear with a purplish fringe; however, the effect is observed more readily by viewing a light-source through a purple filter which transmits only violet and red light. The light-source will have a red or a violet fringe, depending upon the accommodation or focus of the eye.

This effect is perhaps best witnessed on viewing a line spectrum such as that of the mercury arc, focused upon a ground glass. The violet and blue lines are not seen in good focus when the eyes are focused upon the green and yellow lines. Furthermore, the former can be seen in excellent focus at a distance too short for accommodating the eyes to the green and the yellow lines. This experiment shows that the focal length of the optical system of the eye is considerably shorter for the spectral hues of shorter wave-length (violet, blue) than for those of longer wave-length (such as yellow). Narrow slits covered with diffusing glass and illuminated respectively by fairly pure blue, green, yellow, and red lights may be substituted.

The effect may be demonstrated by trying to focus fine detail such as print when two adjacent areas are illuminated by blue and red lights respectively. It is also observed when fine detail such as black lines are held close to the eye for colored fringes are seen. This optical defect is responsible for certain visual illusions.

An excellent demonstration of chromatic aberration in the eye is found by viewing fine detail through a purple filter. Now if a red filter be superposed on the purple one only the red light is transmitted. Notwithstanding the decrease in illumination or rather of light reaching the eye, measurement shows that finer detail can be discriminated than in the first case. A similar result is found on superposing a blue filter upon the purple one.

_Retiring and Advancing Colors._--For years the artist and the decorator have felt that certain colors seem to advance nearer than others or that the latter seem to retire more than the former. The author[5] obtained actual measurements of this phenomenon, but the evidence also indicated that the effects were not the same for all persons. The phenomenon is very noticeable in the case of the image of a colored lantern-slide projected upon a screen and is readily observed when the image consists of letters of various colors. In the case of red and green letters, for example, the former appear (to most persons) to be considerably nearer the observer than the green letters. It has appeared to the writer that the illusion is apparent even for white letters upon a dark background. In general, the colors whose dominant hues are of the shorter wave-lengths (violet, blue, blue-green, green) are retiring and those whose dominant hues are of the longer wave-lengths (yellow, orange, red) are advancing.

In order to obtain experimental measurements two light-tight boxes, each containing a light-source, were arranged to run independently upon tracks. Over the front end of each a diaphragm was placed so that the observer saw two characters as in Fig. 68. A saturated red filter was placed over one and a saturated blue filter over the other. In a dark room the observer saw a blue _E_ and a red _H_ standing out in the darkness. One of these boxes was fastened so as to be immovable and the observer moved the other to and fro by means of a cord over pulleys until the two characters appeared equi-distant from him. This was done for a series of distances of the stationary box from the observer's eye. Nearly all the observers (without being acquainted with the positions) were obliged to set the red _H_ further behind the blue _E_ in order that both appeared at the same distance. This added distance for the red _H_ was as much as 2.4 feet when the blue _E_ was at a distance of 24 feet. In other words the difference in the positions of the two was as much as 10 per cent of the total distance in this case.

Many other interesting data were obtained but most of these are not particularly of interest here. Some of the experiments tended to show the effect of certain optical defects in the eye and the variations and even reversal of the effect for some persons were accounted for by differences in the curvatures, etc., of certain eye-media for the observers. These details are not of interest here but it may be of interest to know that the phenomenon may be accounted for by the chromatic aberration in the eye. This may not be the true explanation, or it may be only partially correct. Perhaps some of the illusion is purely psychological in origin. Certainly the illusion is very apparent to most careful observers.

_Color-sensibility of the Retina._--This aspect was touched upon in Chapter III, but the differences in the sensibility of various areas of the retina to various colors are of sufficient importance to be discussed further. The ability to distinguish light and color gradually fades or decreases at the periphery of the visual field, but the actual areas of the fields of perception vary considerably, depending upon the hue or spectral character of the light reaching the retina. The extreme peripheral region of the visual field is "color-blind"; that is, color ceases to be perceived before brightness-perception vanishes in the outskirts of the visual field. These fields for various colors depend in size and contour not only upon the hue or spectral character of the light-stimuli but also upon the intensity and perhaps upon the size of the stimuli. There is some disagreement as to the relative sizes of these fields but it appears that they increase in size in the following order: green, red, blue, white (colorless). The performances of after-images, and the rates of growth and decay of sensation vary for different colors and for different areas of the retina, but it would be tedious to peruse the many details of these aspects of vision. They are mentioned in order that the reader may take them into account in any specific case.

As already stated, the central part of the visual field--the fovea upon which we depend for acute vision--contains a yellowish pigmentation, which is responsible for the term "yellow spot." This operates as a yellow filter for this central area and modifies the appearance of visual fields quite the same as if a similar yellow filter was placed in the central position of the field of vision. The effect of the selectivity of the "yellow spot" is noticeable in viewing certain colors.

_Purkinje Effect._--The relative sensibility of the retina varies for different colors with a change in brightness; or it may be better to state that the relative sensations for various colors alters as the brightness values are reduced to a low intensity. For example, if a reddish purple (consisting of red and blue or violet rays) be illuminated in such a manner that the intensity of illumination, and consequently its brightness, may be reduced from normal to a low value (approximating moonlight conditions), it will be seen to vary from reddish purple to violet. In doing this its appearance changes through the range of purples from reddish to violet. This can be accomplished by orientation of the purple surface throughout various angles with respect to the direction of light or by reducing the illumination by means of screens.

In general the Purkinje effect may be described as an increasing sensibility of the retina for light of shorter wave-lengths (violet, blue, green) as the brightness decreases, or a corresponding decreasing sensibility for light of longer wave-lengths (yellow, orange, red). The effect may be seen on any colored surfaces at twilight illumination. A blue and a red flower, which appear of the same brightness before sunset will begin to appear unequal in this respect as twilight deepens. The red will become darker more rapidly than the blue if there are no appreciable changes in the color of the daylight. Finally all color disappears. It is better to perform this experiment under artificial light, in order that the spectral character of the illuminant may be certain to remain constant. In this case rheostats must not be used for dimming the light because of the attendant changes in color or quality of the light.

The Purkinje effect may be noticed by the careful observer and it is responsible for certain illusions. Apparently it cannot operate over one portion of the retina, while the remainder is stimulated by normal intensities of light.

_Retinal Rivalry._--Many curious effects may be obtained by stimulating the two retinas with lights, respectively different in color. For example, it is interesting to place a blue glass before one eye and a yellow or red one before the other. The two independent monocular fields strive for supremacy and this rivalry is quite impressive. For a moment the whole field may appear of one color and then suddenly it will appear of the other color. Apparently the fluctuation of attention is a factor. Usually it does not seem to be possible to reach a quiescent state or a perfect mixture of the two colors in this manner. The dependence of one monocular field upon the other, and also their independence, are emphasized by this experiment. It is of interest to consider the illusions of reversible perspective and others in Chapter V in this connection.

One of the interesting results of retinal rivalry is found in combining two stereoscopic pictures in black and white with the black and white reversed in one of them. The apparently solid object will appear to possess lustre. The experiment may be tried with Fig. 69 by combining the two stereoscopic pictures by converging or diverging the axes of the eyes as described in connection with Figs. 2 and 3.

It will be noted that in order for two stereoscopic pictures, when combined, to produce a perfect effect of three dimensions their dissimilarity must be no more than that existing between the two views from the two eyes respectively. The dissimilarity in Fig. 69 is correct as to perspective, but the reversal of white and black in one of them produces an effect beyond that of true third dimension. When the colors are so arranged in such pictures as to be quite different in the two the effects are striking. There is, in such cases, an effect beyond that of perfect binocular combination.

By means of the stereoscope it is possible to attain binocular mixture of colors but this is usually difficult to accomplish. The difficulty decreases as the brightness and saturation of the colors decrease and is less for colors which do not differ much in hue and in brightness. These effects may be studied at any moment, for it is only necessary to throw the eyes out of focus for any object and to note the results. Many simple experiments may be arranged for a stereoscope, using black and white, and various combinations of colors. For example, Fig. 65 may be combined by means of double images (produced by converging or diverging the optical axes) so that the two inner squares are coincident. Actual observation is much more satisfactory than a detailed description.

_Miscellaneous._--There are many interesting effects due to diffraction of light by edges of objects, by meshes such as a wire screen or a handkerchief, by the eye-media, etc. On looking at a very bright small light-source it may be seen to be surrounded by many colors.

Streamers of light appear to radiate from brilliant sources and all bright areas colored or colorless, when viewed amid dark surroundings, appear to be surrounded by diffuse brushes of light. These brushes are likely to be of a bluish tint.

Many of these phenomena are readily explained, but this cannot be done safely without knowing or recognizing all conditions. Many are not easily explained, especially when reported by others, who may not recognize certain important conditions. For example, authentic observers have reported that black letters on white paper appeared vivid red on a white background, under certain conditions. Of the latter, the apparently important one was "sun's rays falling aslant the forehead." When the eyes were shaded with the hand the letters immediately appeared black as they should.

The influence of the color of an object upon its apparent weight is relatively slight, but there is evidence of a tendency to judge a red or black object to be slightly heavier than a yellow or blue object of the same weight. It appears that hue is a minor factor in influencing the judgment and that there is no correlation between the affective quality of a color and its influence upon apparent weight. Although the scanty evidence available attributes but a slight influence to color in this respect, it is of interest in passing as a reminder of the many subtle factors which are at work modifying our judgments.

X

LIGHTING

It should be obvious by this time that the lighting of objects or of a scene can alone produce an illusion, and that it can in still more cases contribute toward an illusion. Furthermore, there are many cases of illusions in lighting due to brightness and color. Many effects of lighting have been described elsewhere with detailed analyses of the underlying principles, but a condensed survey applying particularly to illusions will be presented here.

The comparison of intaglio with low relief has been mentioned several times in preceding chapters. Examples of these as related to lighting are found in Figs. 70 to 73. Fig. 70 represents a bas-relief lighted from above and Fig. 71 would ordinarily be taken to represent a bas-relief lighted from below. However, the latter was made from a photograph of the mold (intaglio) from which the bas-relief was made and Fig. 71 really represents an intaglio lighted from above.

Similarly Fig. 72 represents the bas-relief lighted from the left and Fig. 73 ordinarily would be taken to be a bas-relief lighted from the right. However, Fig. 73 was made from a photograph of an intaglio lighted from the left. These amply demonstrate the effect of lighting as an influence upon the appearance of objects and they indicate the importance of correct assumptions in arriving at a correct judgment. In these cases the concealment of the light-source and the commonness of bas-relief as compared with intaglio are the causes for the illusion or the error in judgment. Certainly in these cases the visual sense delivers its data correctly.

In Fig. 74 the upper object is a disk and the lower is a sphere. In _a_ Fig. 74 the lighting is due to a source of light of rather small physical dimensions directly above the objects. The same objects illuminated by means of highly diffused light (that is, light from many directions and of uniform intensity) appear as in _b_. Both objects now appear as disks. It is obvious that under appropriate lighting a disk might be taken for a sphere and vice versa, depending upon which dominates the judgment or upon the formulation of the attendant assumptions. Incidentally an appearance quite similar to that of _a_, Fig. 74 is obtained when the light-source is near the observer; that is, when it lies near the line of sight.

Somewhat similar to the confusion of intaglio with bas-relief is the confusion of the two hemispherical objects illustrated in Fig. 75. The one on the left is concave toward the observer. In other words, both could be hemispherical shells--one a mold for the other. Under the lighting which existed when the original photographs were made they could both be taken for hemispheres. The lighting was due to a large light-source at the left, but if the object on the left is assumed (incorrectly) to be a hemisphere convex toward the observer or a sphere, it must be considered to be lighted from the right, which is also an incorrect assumption. Obviously, if the direction of the dominant light is clear to the observer, he is not likely to make the error in judgment. Incidentally the object on the right might be assumed to be a sphere because a sphere is more commonly encountered than a hemisphere.

The same objects are represented in Fig. 76 lighted from the left by means of a light-source of relatively small dimensions; that is, a source subtending a relatively small solid-angle at the objects. In this case the sharp shadow due to the edge of the hemispherical cup (on the left) is likely to cause the observer to inquire further before submitting his judgment. The more gradual modulation of light and shade as in the case of a sphere or a hemisphere convex toward the observer is not present in the case of the cup. This should be sufficient information for the careful observer to guide him, or at least to prevent him from arriving at the definite conclusion that the left-hand object is a hemisphere with its convex side toward him. Furthermore it should be noted that we often jump at the conclusion that an object is a sphere even though we see with one eye practically only a hemisphere and with two eyes hardly enough more to justify such a conclusion. However, spheres are more commonly encountered than hemispheres, so we take a chance without really admitting or even recognizing that we do.

The foregoing figures illustrate several phases which influence our judgments and the wonder is that we do not make more errors than we do. Of course, experience plays a large part and fortunately experience can be depended upon in most cases; however, in the other cases it leads us astray to a greater extent than if we had less of it.

The photographer, perhaps, recognizes more than anyone else the pitfalls of lighting but it is unfortunate that he is not better acquainted with the fundamentals underlying the control of light. Improper lighting does produce apparent incongruous effects but adequately controlled it is a powerful medium whose potentiality has not been fully realized. The photographer aims to illuminate and to pose the subject with respect to the source or sources of light so that undesirable features are suppressed and desirable results are obtained.

Finally his work must be accepted by others and the latter, being human, possess (unadmittedly of course) a desire to be "good looking." Lighting may be a powerful flatterer when well controlled and may be a base revealer or even a creator of ugliness.

Incidentally, the photographer is always under the handicap of supplying a "likeness" to an individual who perhaps never sees this same "likeness" in a mirror. In other words, the image which a person sees of himself in a mirror is not the same in general that the photographer supplies him in the photographic portrait. The portrait can be a true likeness but the mirrored image in general cannot be. In the mirror there is a reversal of the parts from right to left. For example, a scar on the right cheek of the actual face appears on the left cheek in the mirror. Faces are not usually symmetrical and this reversal causes an individual to be familiar with his own facial characteristics in this reversed form. This influence is very marked in some cases. For example, suppose the left side of a companion's face to be somewhat paralyzed on one side due to illness. We have become more or less oblivious to the altered expression of the left side by seeing it so often. However, if we catch a glimpse of this companion's face in the mirror and the altered expression of the left side now appears upon the right side of the face, the contrast makes the fact very conspicuous. Perhaps this accounts for the difference which exists between the opinions of the photographer (or friends) and of the subject of the portrait.

All the illusions of brightness-contrast may be produced by lighting. Surfaces and details may appear larger or smaller, harsh or almost obliterated, heavy or light; in fact, lighting plays an important part in influencing the mood or expression of a room. A ceiling may be "lifted" by light or it may hang low and threatening when dark, due to relatively little light reaching it. Columns may appear dark on a light background or vice versa, and these illustrate the effects of irradiation. A given room may be given a variety of moods or expressions by varying the lighting and inasmuch as the room and its physical characteristics have not been altered, the various moods may be considered to be illusions. It should be obvious that lighting is a potent factor.

In connection with lighting it should be noted that contrasts play a prominent role as they always do. These have been discussed in other chapters, but it appears advantageous to recall some of the chief features. The effect of contrast is always in the direction of still greater contrast. That is, black tends to make its surroundings white; red tends to make its surroundings blue-green (complementary), etc. The contrast-effect is greatest when the two surfaces are juxtaposed and the elimination of boundary lines of other colors (including black or white) increases its magnitude. The contrast-effect of colors is most conspicuous when there is no brightness-contrast, that is, when the two surfaces are of equal brightness and therefore differ chiefly in hue. This effect is also greatest for saturated colors. It has been stated that cold colors produce stronger contrast-effects than warm colors, but experimental evidence is not sufficiently plentiful and dependable to verify this statement.

As the intensity of illumination increases, colors appear to become less saturated. For example, a pure red object under the noonday sun is likely to be painted an orange red by the artist because it does not appear as saturated as it would under a much lower intensity of illumination. In general, black and white are the final appearances of colors for respectively very low and very high brightness. As the intensity of illumination decreases, hue finally disappears and with continued decrease the color approaches black. Conversely, as the intensity of illumination increases, a color becomes apparently less and less saturated and tends toward white. For example, on viewing the sun through a colored glass the sun appears of a much less saturated color than the haze near the sun or a white object illuminated by sunlight.

Visual adaptation also plays a prominent part, and it may be stated that all sensations of light tend toward a middle gray and all sensations of color tend toward neutrality or a complete disappearance of hue. The tendency of sensations of light toward a middle gray is not as easily recognized as changes in color but various facts support this conclusion. In lighting it is important to recognize the tendency of color toward neutrality. For example, a warm yellow light soon disappears as a hue and only its subtle influence is left; however, a yellow vase still appears yellow because it is contrasted with objects of other colors. In the case of colored light the light falls upon everything visible, and if there is no other light-source of another color with which to contrast it, its color appears gradually to fade. This is an excellent example of the tremendous power and importance of contrast. It is the life of color and it must be fully appreciated if the potentiality of lighting is to be drawn upon as it should be.

Physical measurements are as essential in lighting as in other phases of human endeavor for forming a solid foundation, but in all these activities where visual perception plays an important part judgment is finally the means for appraisal. Wherever the psychological aspect is prominent physical measurements are likely to be misleading if they do not agree with mental appraisals. Of course the physical measurements should be made and accumulated but they should be considered not alone but in connection with psychological effects.

The photometer may show a very adequate intensity of illumination; nevertheless seeing may be unsatisfactory or even impossible. An illumination of a few foot-candles under proper conditions at a given surface is quite adequate for reading; however, this surface may appear quite dark if the surroundings are bright enough. In such a case the photometer yielded results quite likely to be misinterpreted as satisfactory. It should be obvious that many illusions discussed in preceding chapters are of interest in this connection.

An interesting example of the illusion of color may be easily demonstrated by means of a yellow filter. For this purpose a canary glass is quite satisfactory. When such a filter is placed before the eyes a daytime scene outdoors, for example, is likely to appear to be illuminated to a greater intensity than when the eyes are not looking through the filter. This is true for a glass used by the author notwithstanding the fact that the filter transmits only about one-half as much light as a perfectly clear colorless glass. In other words, the brightnesses of objects in the scene are reduced on the average about fifty per cent, still the subject is impressed with an apparent _increase_ in the intensity of illumination (and in brightness) when the filter is placed before the eyes. Of course, the actual reduction in brightness depends upon the color of the object.

In such a case as the foregoing, true explanations are likely to involve many factors. For this reason explanations are usually tedious if they are to be sufficiently qualified to be reasonably near completeness. In this case it appears that the yellow filter may cause one to appraise the intensity of illumination as having increased, by associating such an influence as the sun coming out from behind a cloud. If we look into the depths where light and color accumulated their psychological powers, we are confronted on every hand by associations many of which are more or less obscure, and therefore are subtly influential.

The psychological powers of colors could have been discussed more generally in the preceding chapter, but inasmuch as they can be demonstrated more effectively by lighting (and after all the effect is one of light in any case) they will be discussed briefly here. They have been presented more at length elsewhere.

It is well known that the artist, decorator, and others speak of warm and cold colors, and these effects have a firm psychological foundation. For example, if a certain room be illuminated by means of blue light, it does seem colder. A theater illuminated by means of bluish light seems considerably cooler to the audience than is indicated by the thermometer. If this lighting is resorted to in the summer time the theater will be more inviting and, after all, in such a case it makes little difference what the thermometer indicates. The "cold" light has produced an illusion of coolness. Similarly "warm" light, such as yellow or orange, is responsible for the opposite feeling and it is easily demonstrated that an illusion of higher temperature may be produced by its use. As already stated, color-schemes in the decorations and furnishings produce similar effects but in general they are more powerful when the primary light is colored. In the latter case no object is overlooked for even the hands and faces of the beings in the room are colored by the light. In the case of color-schemes not all objects are tinged with the desired "warm" or "cold" color.

In the foregoing, associations play a prominent role. The sky has been blue throughout the numberless centuries during which the human organism evolved. The blue-sky during all these centuries has tinged the shadows outdoors a bluish color. That shade is relatively cool we know by experience and perhaps we associate coolness or cold with the aerial realm. These are glimpses of influences which have cooeperated toward creating the psychological effect of coldness in the case of bluish light. By contrast with skylight, sunlight is yellowish, and a place in the sun is relatively warm. South rooms are usually warmer than north rooms in this hemisphere when artificial heat is absent and the psychological effect of warmth has naturally grown out of these and similar influences.

We could go further into the psychology of light and color and conjecture regarding effects directly attributable to color, such as excitement, depression, and tranquillity. In so doing we would be led far astray from illusions in the sense of the term as used here. Although this term as used here is still somewhat restricted, it is broader in scope than in its usual applications. However, it is not broad enough to lead far into the many devious highways and byways of light and color. If we did make these excursions we would find associations almost universally answering the questions. The question would arise as to innate powers of colors and we would find ourselves wondering if all these powers were acquired (through associations) and whether or not some were innate. And after many interesting views of the intricate subject we would likely conclude that the question of the innateness of some of the powers of color must be left unanswered.

As an example let us take the case of the restfulness or depression due to blue. We note that the blue sky is quite serene or tranquil and we find that the delicate sensibilities of poets verify this impression. This association could account for the impression or feeling of tranquillity associated with blue. On proceeding further, we would find nature's solitudes often tinged with the blue skylight, for these solitudes are usually in the shade. Thus their restfulness or even depressiveness may be accounted for--partially at least. These brief glimpses are presented in order that they may suggest to the reader another trend of thought when certain illusions of light and color are held up for analysis. Besides these our individual experiences which have molded our likes and dislikes must be taken into account. This phase of light and color has been treated elsewhere.[6]

A very unusual kind of optical illusion is illustrated by the phenomenon of the apparent ending of a searchlight beam which has attracted much attention in connection with the powerful searchlights used for locating aeroplanes (Fig. 77). For years the apparent ending has more or less carelessly been attributed to the diminution of the density of atmospheric fog or haze, but recently Karrer[13] has suggested what appears to be the correct explanation.

When the beam of light from a powerful searchlight is directed into space, its path is visible owing to the scattering of some of the light by dust and moisture particles and the molecules of the air itself. While obviously the beam itself must go on indefinitely, its luminous path appears to end abruptly at no very great distance from the source. This is true whether the beam is photographed or viewed with the naked eye.

The fact that the appearance of the beam is no different when it is directed horizontally than when directed vertically proved that the common assumption pertaining to the ending of the haze or fog is untenable. Furthermore, photometric measurements on the different portions of the beam as seen from a position near the searchlight show that the beam is actually brighter at its outer termination than near its origin. Again, the apparent length of the beam varies with the position of the observer, and bears a direct ratio to his distance from the searchlight.

The fact is, that the luminous path of the beam has no definite ending, and extends to a very great distance--practically to infinity. It appears to be sharply cut off for the same reason that the boundary between earth and sky in a flat landscape is a sharp line. Just as the horizon recedes when the landscape is viewed from an elevation, so the beam appears longer when one's distance from it is increased. The outer portion appears brighter, because here the line of sight pierces it to great depth.

That the ending of the beam appears _close at hand_ is no doubt partly due to the brightness distribution, but is also a matter of perspective arising from the manner in which the beam is adjusted. Searchlight operators in the army were instructed to adjust the light to throw a parallel beam. Accordingly, the adjustments were so made that the beam appeared the same width at its outer extremity as at its base. The result seems to be a short parallel shaft of light, but is really a divergent cone of infinite extent, its angle of divergence being such as exactly to offset the effects of perspective.

If the beam were a truly parallel one it would seem to come to a point, just as the edges of a long straight stretch of country road seem to meet at the horizon. If the sides of the road were not parallel, but diverged from the observer's eye at exactly the rate at which they ordinarily would appear to converge, then the road would seem to be as wide where it passed out at the horizon as at the observer's feet. If there were no other means in the landscape of judging the distance of the horizon than by the perspective afforded by the road, it would likely be inferred that the road only extended a short distance on the level, and then went down a hill, that is, passed abruptly from the observer's view.

These conditions obtain ideally in the case of the searchlight beam. There is no other means of judging the position in space of the "end" of an unobstructed searchlight beam than by the perspective of the beam itself, and the operator in adjusting it to appear parallel eliminates the perspective.

The angle at which the beam must diverge to appear parallel to an observer depends upon the distance of the observer from the searchlight. A beam which seems parallel to a person close to it will not appear so at a distance. This fact probably accounts for the difficulties encountered during "searchlight drill" in the army in getting a beam which satisfied both the private operating the lamp and the officer down the field as to its parallelity.

To summarize, the apparent abrupt ending of a searchlight beam is purely an optical illusion. It really has no ending; it extends to infinity.

XI

NATURE

Visual illusions abound everywhere, and there are a number of special interest in nature. Inasmuch as these are representative of a wide range of conditions and are usually within the possible experience of nearly everyone daily, they appear worthy of special consideration. Some of these have been casually mentioned in other chapters but further data may be of interest. No agreement has been reached in some cases in the many suggested explanations and little or no attempt of this character will be made in the following paragraphs. Many illusions which may be seen in nature will be passed by because their existence should be obvious after reading the preceding chapters. For example, a tree appears longer when standing than after it has been felled for the same reason that we overestimate vertical lines in comparison with horizontal ones. The apparent movement of the sun, moon, and stars, when clouds are floating past, is a powerful, though commonplace, illusion but we are more specifically interested in static illusions. However, it is of interest to recall the effect of involuntary eye-movements or of fluctuation in fixation because this factor in vision is important in many illusions. It is demonstrated by lying face upward on a starlit night and fixing the gaze upon a star. The latter appears to move more or less jerkily over its dark background. The magnitude and involuntary nature of these eye-movements is demonstrated in this manner very effectively.

The effect sometimes known as aerial perspective has been mentioned heretofore. The atmosphere is not perfectly transparent or colorless and is not homogeneous from an optical standpoint. It scatters rays of the shorter wave-lengths more than those of the longer wave-lengths. Hence it appears of a bluish tint and anything seen through great distances of it tends toward a reddish color. The blue sky and the redness of the setting sun are results of this cause. Distant signal-lights are reddened, due to the decrease in the rays of shorter wave-length by scattering. Apparently we have come to estimate distance to some extent through the amount of blurring and tinting superposed upon the distant scene.