Abstract: The estimation of the illuminant of a scene from a digital image has been the goal of a large amount of research in computer vision. Color constancy algorithms have dealt with this problem by defining different heuristics to select a unique solution from within the feasible set. The performance of these algorithms has shown that there is still a long way to go to globally solve this problem as a preliminary step in computer vision. In general, performance evaluation has been done by comparing the angular error between the estimated chromaticity and the chromaticity of a canonical illuminant, which is highly dependent on the image dataset. Recently, some workers have used high-level constraints to estimate illuminants; in this case selection is based on increasing the performance on the subsequent steps of the systems. In this paper we propose a new performance measure, the perceptual angular error. It evaluates the performance of a color constancy algorithm according to the perceptual preferences of humans, or naturalness (instead of the actual optimal solution) and is independent of the visual task. We show the results of a new psychophysical experiment comparing solutions from three different color constancy algorithms. Our results show that in more than a half of the judgments the preferred solution is not the one closest to the optimal solution. Our experiments were performed on a new dataset of images acquired with a calibrated camera with an attached neutral grey sphere, which better copes with the illuminant variations of the scene.

Abstract: In a previous experiment [Parraga et al, 2009 Journal of Imaging Science and Technology 53(3)] the boundaries between basic colour categories were measured by asking subjects to categorize colour samples presented in isolation (ie on a dark background) using a YES/NO paradigm. Results showed that some boundaries (eg green – blue) were very diffuse and the subjects' answers presented bimodal distributions, which were attributed to the emergence of non-basic categories in those regions (eg turquoise). To confirm these results we performed a new experiment focussed on the boundaries where bimodal distributions were more evident. In this new experiment rectangular colour samples were presented surrounded by random colour patches to simulate contextual conditions on a calibrated CRT monitor. The names of two neighbouring colours were shown at the bottom of the screen and subjects selected the boundary between these colours by controlling the chromaticity of the central patch, sliding it across these categories' frontier. Results show that in this new experimental paradigm, the formerly uncertain inter-colour category boundaries are better defined and the dispersions (ie the bimodal distributions) that occurred in the previous experiment disappear. These results may provide further support to Berlin and Kay's basic colour terms theory.

Abstract: Generally the bag-of-words based image representation follows a bottom-up paradigm. The subsequent stages of the process: feature detection, feature description, vocabulary construction and image representation are performed independent of the intentioned object classes to be detected. In such a framework, combining multiple cues such as shape and color often provides below-expected results. This paper presents a novel method for recognizing object categories when using multiple cues by separating the shape and color cue. Color is used to guide attention by means of a top-down category-specific attention map. The color attention map is then further deployed to modulate the shape features by taking more features from regions within an image that are likely to contain an object instance. This procedure leads to a category-specific image histogram representation for each category. Furthermore, we argue that the method combines the advantages of both early and late fusion. We compare our approach with existing methods that combine color and shape cues on three data sets containing varied importance of both cues, namely, Soccer ( color predominance), Flower (color and shape parity), and PASCAL VOC Challenge 2007 (shape predominance). The experiments clearly demonstrate that in all three data sets our proposed framework significantly outperforms the state-of-the-art methods for combining color and shape information.

Abstract: Abstract: In this paper we show how the techniques of image deconvolution can increase the ability of image sensors as, for example, CCD imagers, to detect faint stars or faint orbital objects (small satellites and space debris). In the case of faint stars, we show that this benefit is equivalent to double the quantum efficiency of the used image sensor or to increase the effective telescope aperture by more than 30% without decreasing the astrometric precision or introducing artificial bias. In the case of orbital objects, the deconvolution technique can double the signal-to-noise ratio of the image, which helps to discover and control dangerous objects as space debris or lost satellites. The benefits obtained using CCD detectors can be extrapolated to any kind of image sensors.

Abstract: Painting restoration which involves filling in material loss (called lacuna) is a complex process. Several standard techniques exist to tackle lacuna restoration,
and this article focuses on those techniques that employ a “neutral” colour to mask the defect. Restoration experts often disagree on the choice of such a colour and in fact, the concept of a neutral colour is controversial. We posit that a neutral colour is one that attracts relatively little visual attention for a specific lacuna. We conducted an eye tracking experiment to compare two common neutral
colour selection methods, specifically the most common local colour and the mean local colour. Results obtained demonstrate that the most common local colour triggers less visual attention in general. Notwithstanding, we have observed instances in which the most common colour triggers a significant amount of attention when subjects spent time resolving their confusion about whether or not a lacuna was part of the painting.

Abstract: The aim of this work is to explain how to apply perceptual concepts to define a perceptual pre-quantizer and to improve JPEG2000 compressor. The approach consists in quantizing wavelet transform coefficients using some of the human visual system behavior properties. Noise is fatal to image compression performance, because it can be both annoying for the observer and consumes excessive bandwidth when the imagery is transmitted. Perceptual pre-quantization reduces unperceivable details and thus improve both visual impression and transmission properties. The comparison between JPEG2000 without and with perceptual pre-quantization shows that the latter is not favorable in PSNR, but the recovered image is more compressed at the same or even better visual quality measured with a weighted PSNR. Perceptual criteria were taken from the CIWaM (Chromatic Induction Wavelet Model).

Abstract: The aim of writer identification is determining the writer of a piece of handwriting from a set of writers. In this paper, we present an architecture for writer identification in old handwritten music scores. Even though an important amount of music compositions contain handwritten text, the aim of our work is to use only music notation to determine the author. The main contribution is therefore the use of features extracted from graphical alphabets. Our proposal consists in combining the identification results of two different approaches, based on line and textural features. The steps of the ensemble architecture are the following. First of all, the music sheet is preprocessed for removing the staff lines. Then, music lines and texture images are generated for computing line features and textural features. Finally, the classification results are combined for identifying the writer. The proposed method has been tested on a database of old music scores from the seventeenth to nineteenth centuries, achieving a recognition rate of about 92% with 20 writers.

Abstract: Understanding how colour is used by the human vision system is a widely studied research field. The field, though quite advanced, still faces important unanswered questions. One of them is the explanation of the unique hues and the assignment of color names. This problem addresses the fact of different perceptual status for different colors.
Recently, Philipona and O'Regan have proposed a biological model that allows to extract the reflection properties of any surface independently of the lighting conditions. These invariant properties are the basis to compute a singularity index that predicts the asymmetries presented in unique hues and basic color categories psychophysical data, therefore is giving a further step in their explanation.
In this paper we build on their formulation and propose a new singularity index. This new formulation equally accounts for the location of the 4 peaks of the World colour survey and has two main advantages. First, it is a simple elegant numerical measure (the Philipona measurement is a rather cumbersome formula). Second, we develop a colour-based explanation for the measure.