Aerial perspective, or atmospheric perspective, refers to the effect the atmosphere has on the appearance of an object as viewed from a distance. As the distance between an object and a viewer increases, the contrast between the object and its background decreases, and the contrast of any markings or details within the object also decreases. The colours of the object also become less saturated and shift toward the background colour, which is usually bluish, but may be some other colour under certain conditions (for instance, reddish around sunrise or sunset).
Atmospheric perspective was used in Pompeian Second Style frescos, one of the Pompeian Styles, dating as early as 30 BCE. Notable examples include the Garden Room Fresco from the Villa of Livia in Prima Porta, Italy, and the first century Pompeian fresco Paris on Mount Ida. [1]
With varying degrees of accuracy, explanations of the effects of atmospheric perspective were written by polymaths such as Leon Battista Alberti and Leonardo da Vinci. The latter used aerial perspective in many of his paintings such as The Annunciation , the Mona Lisa , and The Last Supper , introducing a technique to paint the effect accurately that was adopted by his followers, the Leonardeschi. Art historians note that it is lacking in works by some artists of the same period, such as Raphael, [2] although he adopted the use of sfumato that was introduced by Leonardo at the same time.
Aerial perspective was used in paintings from the Netherlands in the fifteenth century.
The major component affecting the appearance of objects during daylight is scattering of light, called sky light, into the line of sight of the viewer. Scattering occurs from molecules of the air and also from larger particles in the atmosphere such as water vapour and smoke. Scattering adds the sky light as a veiling luminance onto the light from the object, reducing its contrast with the background sky light. Sky light usually contains more light of short wavelength than other wavelengths (this is why the sky usually appears blue), which is why distant objects appear bluish.
The ability of a person with normal visual acuity to see fine details is determined by contrast sensitivity. [3] Contrast sensitivity is the reciprocal of the smallest contrast for which a person can see a sine-wave grating. A person's contrast sensitivity function is contrast sensitivity as a function of spatial frequency. Normally, peak contrast sensitivity is at about four cycles per degree of visual angle. At higher spatial frequencies, comprising finer and finer lines, contrast sensitivity decreases, until at about forty cycles per degree even the brightest of bright lines and the darkest of dark lines cannot be seen.
The high spatial frequencies in an image give it fine details. [4] Reducing the contrast of an image reduces the visibility of these high spatial frequencies because contrast sensitivity for them already is poor. This is how a reduction of contrast can reduce the clarity of an image—by removing its fine details.
Reducing the contrast is not the same as blurring an image. Blurring is accomplished by reducing the contrast only of the high spatial frequencies. Aerial perspective reduces the contrast of all spatial frequencies.
In art, especially painting, aerial perspective or atmospheric perspective [5] refers to the technique of creating an illusion of depth by depicting distant objects as paler, less detailed, and usually bluer than near objects. This technique was introduced in painting by Leonardo da Vinci to portray what was observed in nature and evident in his interest in optics.
The technique allows a painter to capture the effect that atmosphere has on the appearance of an object as viewed from a distance. As the distance between an object and a viewer increases, the contrast between the object and its background decreases, and the contrast of any markings or details within the object also decreases. The colours of the object also become less saturated and shift toward the colour of the atmosphere, which is bluish when sunlit, but will shift to other colours under certain conditions (for instance, reddish around sunrise and sunset or saturated during fog).
(One caution: in common speech, the words perspective and viewpoint tend to be used interchangeably; however, in art, aerial perspective does not imply an aerial viewpoint, such as that forming the basis of the aerial landscape genre. The example by Frans Koppelaar pictured here shows the difference. This landscape is a good example of aerial perspective; however, it is not an aerial landscape, since apparently, the observer is standing on the ground.) As such, the term atmospheric perspective can be understood to better describe how properties of the scene's atmosphere effect the appearance of an object as it moves further from the viewer.
Optics is the branch of physics that studies the behaviour and properties of light, including its interactions with matter and the construction of instruments that use or detect it. Optics usually describes the behaviour of visible, ultraviolet, and infrared light. Light is a type of electromagnetic radiation, and other forms of electromagnetic radiation such as X-rays, microwaves, and radio waves exhibit similar properties.
Rayleigh scattering, named after the 19th-century British physicist Lord Rayleigh, is the predominantly elastic scattering of light, or other electromagnetic radiation, by particles with a size much smaller than the wavelength of the radiation. For light frequencies well below the resonance frequency of the scattering medium, the amount of scattering is inversely proportional to the fourth power of the wavelength, e.g., a blue color is scattered much more than a red color as light propagates through air.
In physics, attenuation is the gradual loss of flux intensity through a medium. For instance, dark glasses attenuate sunlight, lead attenuates X-rays, and water and air attenuate both light and sound at variable attenuation rates.
Forced perspective is a technique that employs optical illusion to make an object appear farther away, closer, larger or smaller than it actually is. It manipulates human visual perception through the use of scaled objects and the correlation between them and the vantage point of the spectator or camera. It has uses in photography, filmmaking and architecture.
A shadow is a dark area where light from a light source is blocked by an object. It occupies all of the three-dimensional volume behind an object with light in front of it. The cross section of a shadow is a two-dimensional silhouette, or a reverse projection of the object blocking the light.
Distance fog is a technique used in 3D computer graphics to enhance the perception of distance by shading distant objects differently.
In optics, any optical instrument or system – a microscope, telescope, or camera – has a principal limit to its resolution due to the physics of diffraction. An optical instrument is said to be diffraction-limited if it has reached this limit of resolution performance. Other factors may affect an optical system's performance, such as lens imperfections or aberrations, but these are caused by errors in the manufacture or calculation of a lens, whereas the diffraction limit is the maximum resolution possible for a theoretically perfect, or ideal, optical system.
A sunbeam, in meteorological optics, is a beam of sunlight that appears to radiate from the position of the Sun. Shining through openings in clouds or between other objects such as mountains and buildings, these beams of particle-scattered sunlight are essentially parallel shafts separated by darker shadowed volumes. Their apparent convergence in the sky is a visual illusion from linear perspective. The same illusion causes the apparent convergence of parallel lines on a long straight road or hallway at a distant vanishing point. The scattering particles that make sunlight visible may be air molecules or particulates.
Atmospheric diffraction is manifested in the following principal ways:
Haze is traditionally an atmospheric phenomenon in which dust, smoke, and other dry particulates suspended in air obscure visibility and the clarity of the sky. The World Meteorological Organization manual of codes includes a classification of particulates causing horizontal obscuration into categories of fog, ice fog, steam fog, mist, haze, smoke, volcanic ash, dust, sand, and snow. Sources for particles that cause haze include farming, traffic, industry, windy weather, volcanic activity and wildfires. Seen from afar and depending on the direction of view with respect to the Sun, haze may appear brownish or bluish, while mist tends to be bluish grey instead. Whereas haze often is considered a phenomenon occurring in dry air, mist formation is a phenomenon in saturated, humid air. However, haze particles may act as condensation nuclei that leads to the subsequent vapor condensation and formation of mist droplets; such forms of haze are known as "wet haze".
Day for night is a set of cinematic techniques used to simulate a night scene while filming in daylight. It is often employed when it is too difficult or expensive to actually shoot during nighttime. Because both film stocks and digital image sensors lack the sensitivity of the human eye in low light conditions, night scenes recorded in natural light, with or without moonlight, may be underexposed to the point where little or nothing is visible. This problem can be avoided by using daylight to substitute for darkness. When shooting day for night, the scene is typically underexposed in-camera or darkened during post-production, with a blue tint added. Additional effects are often used to heighten the impression of night.
In meteorology, visibility is the measure of the distance at which an object or light can be clearly discerned. It depends on the transparency of the surrounding air and as such, it is unchanging no matter the ambient light level or time of day. It is reported within surface weather observations and METAR code either in meters or statute miles, depending upon the country. Visibility affects all forms of traffic: roads, railways, sailing and aviation.
The term composition means "putting together". It can be thought of as the organization of the elements of art according to the principles of art. Composition can apply to any work of art, from music through writing and into photography, that is arranged using conscious thought.
Contrast is the difference in luminance or color that makes an object visible against a background of different luminance or color. The human visual system is more sensitive to contrast than to absolute luminance; thus, we can perceive the world similarly despite significant changes in illumination throughout the day or across different locations.
The Chubb illusion is an optical illusion or error in visual perception in which the apparent contrast of an object varies substantially to most viewers depending on its relative contrast to the field on which it is displayed. These visual illusions are of particular interest to researchers because they may provide valuable insights in regard to the workings of human visual systems.
The photoacoustic Doppler effect is a type of Doppler effect that occurs when an intensity modulated light wave induces a photoacoustic wave on moving particles with a specific frequency. The observed frequency shift is a good indicator of the velocity of the illuminated moving particles. A potential biomedical application is measuring blood flow.
Atmospheric optics is "the study of the optical characteristics of the atmosphere or products of atmospheric processes .... [including] temporal and spatial resolutions beyond those discernible with the naked eye". Meteorological optics is "that part of atmospheric optics concerned with the study of patterns observable with the naked eye". Nevertheless, the two terms are sometimes used interchangeably.
Long-distance observation is any visual observation, for sightseeing or photography, that targets all the objects, visible from the extremal distance with the possibility to see them closely. The long-distance observations can't cover:
Light in painting fulfills several objectives, both plastic and aesthetic: on the one hand, it is a fundamental factor in the technical representation of the work, since its presence determines the vision of the projected image, as it affects certain values such as color, texture and volume; on the other hand, light has a great aesthetic value, since its combination with shadow and with certain lighting and color effects can determine the composition of the work and the image that the artist wants to project. Also, light can have a symbolic component, especially in religion, where this element has often been associated with divinity.
Ultrasound-switchable fluorescence (USF) imaging is a deep optics imaging technique. In last few decades, fluorescence microscopy has been highly developed to image biological samples and live tissues. However, due to light scattering, fluorescence microscopy is limited to shallow tissues. Since fluorescence is characterized by high contrast, high sensitivity, and low cost which is crucial to investigate deep tissue information, developing fluorescence imaging technique with high depth-to-resolution ratio would be promising.. Recently, ultrasound-switchable fluorescence imaging has been developed to achieve high signal-to-noise ratio (SNR) and high spatial resolution imaging without sacrificing image depth.