30 Vision

The eye is the major sensory organ involved in vision (Figure SAP.13). Light waves are transmitted across the cornea and enter the eye through the pupil. The cornea is the transparent covering over the eye. It serves as a barrier between the inner eye and the outside world, and it is involved in focusing light waves that enter the eye. The pupil is the small opening in the eye through which light passes, and the size of the pupil can change as a function of light levels as well as emotional arousal. When light levels are low, the pupil will become dilated, or expanded, to allow more light to enter the eye. When light levels are high, the pupil will constrict, or become smaller, to reduce the amount of light that enters the eye. The pupil’s size is controlled by muscles that are connected to the iris, which is the coloured portion of the eye.

After passing through the pupil, light crosses the lens, a curved, transparent structure that serves to provide additional focus. The lens is attached to muscles that can change its shape to aid in focusing light that is reflected from near or far objects. As our gaze shifts from near to distant objects, accommodation occurs. Accommodation refers to the process of changing the curvature of the lens to keep light entering the eye focused on the retina. In a normal-sighted individual, the lens will focus images perfectly on a small indentation in the back of the eye known as the fovea, which is part of the retina, the light-sensitive lining of the eye. The fovea contains densely packed specialized photoreceptor cells (Figure SAP.14). These photoreceptor cells, known as cones, are light-detecting cells. The cones are specialized types of photoreceptors that work best in bright light conditions. Cones are very sensitive to acute detail and provide tremendous spatial resolution. They also are directly involved in our ability to perceive colour.

While cones are concentrated in the fovea, where images tend to be focused, rods, another type of photoreceptor, are located throughout the remainder of the retina. Rods are specialized photoreceptors that work well in low light conditions, and while they lack the spatial resolution and colour function of the cones, they are involved in our vision in dimly lit environments as well as in our perception of movement on the periphery of our visual field.

We have all experienced the different sensitivities of rods and cones when making the transition from a brightly lit environment to a dimly lit environment. Imagine going to see a blockbuster movie on a clear summer day. As you walk from the brightly lit lobby into the dark theatre, you notice that you immediately have difficulty seeing much of anything. After a few minutes, you begin to adjust to the darkness and can see the interior of the theatre. In the bright environment, your vision was dominated primarily by cone activity. As you move to the dark environment, rod activity dominates, but there is a delay in transitioning between the phases. If your rods do not transform light into nerve impulses as easily and efficiently as they should, you will have difficulty seeing in dim light, a condition known as night blindness.

Rods and cones are connected (via several interneurons) to retinal ganglion cells. Axons from the retinal ganglion cells converge and exit through the back of the eye to form the optic nerve. The optic nerve carries visual information from the retina to the brain. There is a point in the visual field called the blind spot: Even when light from a small object is focused on the blind spot, we do not see it. We are not consciously aware of our blind spots for two reasons: First, each eye gets a slightly different view of the visual field; therefore, the blind spots do not overlap. Second, our visual system fills in the blind spot so that although we cannot respond to visual information that occurs in that portion of the visual field, we are also not aware that information is missing.

The optic nerve from each eye merges just below the brain at a point called the optic chiasm. As Figure SAP.15 shows, the optic chiasm is an X-shaped structure that sits just below the cerebral cortex at the front of the brain. At the point of the optic chiasm, information from the right visual field (which comes from both eyes) is sent to the left side of the brain, and information from the left visual field is sent to the right side of the brain.

Once inside the brain, visual information is sent via a number of structures, such as the lateral geniculate nucleus (LGN), to the occipital lobe at the back of the brain for processing. The LGN is a cluster of neurone cell bodies located in the thalamus. Visual information might be processed in parallel pathways which can generally be described as the “what pathway” and the “where/how” pathway. The “what pathway” (ventral stream) is involved in object recognition and identification, while the “where/how pathway” (dorsal stream) is involved with location in space and how one might interact with a particular visual stimulus (Milner & Goodale, 2008; Ungerleider & Haxby, 1994). For example, when you see a ball rolling down the street, the “what pathway” identifies what the object is, and the “where/how pathway” identifies its location or movement in space.

TRICKY TOPIC: VISUAL PATHWAY

Color and Depth Perception

We do not see the world in black and white; neither do we see it as two-dimensional (2-D) or flat (just height and width, no depth). Let’s look at how colour vision works and how we perceive three dimensions (height, width, and depth).

Color Vision

Normal-sighted individuals have three different types of cones that mediate colour vision. Each of these cone types is maximally sensitive to a slightly different wavelength of light. According to the trichromatic theory of colour vision, shown in Figure SAP.16, all colours in the spectrum can be produced by combining red, green, and blue. The three types of cones are each receptive to one of the colours.

 

The trichromatic theory of colour vision is not the only theory—another major theory of colour vision is known as the opponent-process theory. According to this theory, colour 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 colours 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 colours. 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 colour is involved in the stimulus, the colour pairings identified in the opponent-process theory lead to a negative afterimage. You can test this concept using the flag in Figure SAP.18.

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.

Table SAP.1 Monocular Depth Cues That Help Us Judge Depth at a Distance.
Name	Description	Example	Image
Position	We tend to see objects higher up in our field of vision as farther away.	The fence posts at right appear farther away not only because they become smaller but also because they appear higher up in the picture.
Relative size	Assuming that the objects in a scene are the same size, smaller objects are perceived as farther away.	At right, the cars in the distance appear smaller than those nearer to us.
Linear perspective	Parallel lines appear to converge at a distance.	We know that the tracks at right are parallel. When they appear closer together, we determine they are farther away.
Light and shadow	The eye receives more reflected light from objects that are closer to us. Normally, light comes from above, so darker images are in shadow.	We see the images at right as extending and indented according to their shadowing. If we invert the picture, the images will reverse.
Interposition	When one object overlaps another object, we view it as closer.	At right, because the blue star covers the pink bar, it is seen as closer than the yellow moon.
Aerial perspective	Objects that appear hazy, or that are covered with smog or dust, appear farther away.	The artist who painted the picture on the right used aerial perspective to make the clouds more hazy and thus appear farther away.

Table credit: USask Psychology Textbook

TRICKY TOPIC: BINOCULAR DEPTH PERCEPTION

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