Color Vision

Normal-sighted individuals have three different types of cones that mediate color vision. Each of these cone types is maximally sensitive to a slightly different wavelength of light. According to the Young-Helmholtz trichromatic theory of color vision, shown in Figure 1, all colors in the spectrum can be produced by combining red, green, and blue. The three types of cones are each receptive to one of the colors.

Connect the concepts

Colorblindness: A Personal Story

Several years ago, I dressed to go to a public function and walked into the kitchen where my 7-year-old daughter sat. She looked up at me, and in her most stern voice, said, “You can’t wear that.” I asked, “Why not?” and she informed me the colors of my clothes did not match. She had complained frequently that I was bad at matching my shirts, pants, and ties, but this time, she sounded especially alarmed. As a single father with no one else to ask at home, I drove us to the nearest convenience store and asked the store clerk if my clothes matched. She said my pants were a bright green color, my shirt was a reddish orange, and my tie was brown. She looked at my quizzically and said, “No way do your clothes match.” Over the next few days, I started asking my coworkers and friends if my clothes matched. After several days of being told that my coworkers just thought I had “a really unique style,” I made an appointment with an eye doctor and was tested (Figure 5.15). It was then that I found out that I was colorblind. I cannot differentiate between most greens, browns, and reds. Fortunately, other than unknowingly being badly dressed, my colorblindness rarely harms my day-to-day life.

Some forms of color deficiency are rare. Seeing in grayscale (only shades of black and white) is extremely rare, and people who do so only have rods, which means they have very low visual acuity and cannot see very well. The most common X-linked inherited abnormality is red-green color blindness (Birch, 2012). Approximately 8% of males with European Caucasian decent, 5% of Asian males, 4% of African males, and less than 2% of indigenous American males, Australian males, and Polynesian males have red-green color deficiency (Birch, 2012). Comparatively, only about 0.4% in females from European Caucasian descent have red-green color deficiency (Birch, 2012).

The trichromatic theory of color vision is not the only theory—another major theory of color vision is known as the opponent-process theory. According to this theory, color is coded in opponent pairs: black-white, yellow-blue, and green-red. The basic idea is that some cells of the visual system are excited by one of the opponent colors and inhibited by the other. So, a cell that was excited by wavelengths associated with green would be inhibited by wavelengths associated with red, and vice versa. One of the implications of opponent processing is that we do not experience greenish-reds or yellowish-blues as colors. Another implication is that this leads to the experience of negative afterimages. An afterimage describes the continuation of a visual sensation after removal of the stimulus. For example, when you stare briefly at the sun and then look away from it, you may still perceive a spot of light although the stimulus (the sun) has been removed. When color is involved in the stimulus, the color pairings identified in the opponent-process theory lead to a negative afterimage. You can test this concept using the flag in Figure 2.

But these two theories—the trichromatic theory of color vision and the opponent-process theory—are not mutually exclusive. Research has shown that they just apply to different levels of the nervous system. For visual processing on the retina, trichromatic theory applies: the cones are responsive to three different wavelengths that represent red, blue, and green. But once the signal moves past the retina on its way to the brain, the cells respond in a way consistent with opponent-process theory (Land, 1959; Kaiser, 1997).

Depth Perception

Our ability to perceive spatial relationships in three-dimensional (3-D) space is known as depth perception. With depth perception, we can describe things as being in front, behind, above, below, or to the side of other things.

Our world is three-dimensional, so it makes sense that our mental representation of the world has three-dimensional properties. We use a variety of cues in a visual scene to establish our sense of depth. Some of these are binocular cues, which means that they rely on the use of both eyes. One example of a binocular depth cue is binocular disparity, the slightly different view of the world that each of our eyes receives. To experience this slightly different view, do this simple exercise: extend your arm fully and extend one of your fingers and focus on that finger. Now, close your left eye without moving your head, then open your left eye and close your right eye without moving your head. You will notice that your finger seems to shift as you alternate between the two eyes because of the slightly different view each eye has of your finger.

A 3-D movie works on the same principle: the special glasses you wear allow the two slightly different images projected onto the screen to be seen separately by your left and your right eye. As your brain processes these images, you have the illusion that the leaping animal or running person is coming right toward you.

Although we rely on binocular cues to experience depth in our 3-D world, we can also perceive depth in 2-D arrays. Think about all the paintings and photographs you have seen. Generally, you pick up on depth in these images even though the visual stimulus is 2-D. When we do this, we are relying on a number of monocular cues, or cues that require only one eye. If you think you can’t see depth with one eye, note that you don’t bump into things when using only one eye while walking—and, in fact, we have more monocular cues than binocular cues.

An example of a monocular cue would be what is known as linear perspective. Linear perspective refers to the fact that we perceive depth when we see two parallel lines that seem to converge in an image (Figure 3). Some other monocular depth cues are interposition, the partial overlap of objects, the relative size and closeness of images to the horizon, relative size, and the variation between light and shadow.