Lighting of objects or of a scene can alone produce an illusion

Visual Illusions: Their Causes, Characteristics and Applications by Matthew Luckiesh is part of the HackerNoon Books Series. You can jump to any chapter in this book here.

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[Pg 145] 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.

a

b

Fig. 74.—a. A disk (above) and a sphere (below) lighted from overhead.
b. A disk and a sphere lighted by perfectly diffused light.

Fig. 70.—A bas-relief lighted from above.

Fig. 71.—An intaglio lighted from above.

Fig. 72.—A bas-relief lighted from the left.

Fig. 73.—An intaglio lighted from the left.

[Pg 150]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.

Fig. 75.—A concave hemispherical cup on the left and a convex hemisphere on the right
lighted by a light-source of large angle such as a window.

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[Pg 151] 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.

Fig. 76.—The same as Fig. 75, but lighted by a very small light-source.

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[Pg 152] 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[Pg 153] 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[Pg 154] 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 rôle 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[Pg 155] 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[Pg 156] 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[Pg 157] 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[Pg 158] 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 rôle. 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 coöperated toward creating the psychological effect of coldness in the case of bluish light. By contrast[Pg 159] 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 [Pg 160]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.

Fig. 77.—Apparent ending of a searchlight beam.

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[Pg 162] 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[Pg 163] 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.

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