If one wishes to gauge the intensity of an experience of depth induced by
a picture, it is best to compare it to the most effective technique available:
the stereoscope. Figure 4.1 shows a stereoscopic pair of drawings prepared
by Sir Charles Wheatstone in 1831 to demonstrate his discovery of the basis
of stereoscopic vision to the Royal Society (Wheatstone, 1838). If you look
at them as instructed in the caption, only one picture will be seen by each
eye, and you will experience the full strength of the effect. To understand
the effect, hold an object in your hand and look at it first with one eye
and then with the other. Because each eye sees the object from a slightly
different vantage point, the object casts a somewhat different image on the
retina of each eye. Each of the lines of the drawing projects a slightly different
image (in orientation or position) to the two eyes. Moreover the difference
between the images depends on what you're looking at in the picture. Nevertheless,
when both eyes are open we see only one object; we do not see double as we
might naively expect. Of course, the visual system cannot fuse two images
that are very different. To see how limited is our ability to fuse disparate
images, hold up your two hands, side by side, a few inches apart, their backs
facing your eyes, index fingers pointing up, about half a foot before your
nose, and focus on one of your fingers. Make sure that you can see both fingers
clearly. If you can't, move them closer to each other. Now slowly move the
hand at which you were looking closer or further away. Over a short distance,
both fingers will remain in focus, but after your hand has moved about an
inch you will notice that the finger at rest looks double. This is because
the visual system can only fuse the two disparate images that a single object
casts on the two retinæ if the so-called retinal disparity
between these two images is not too large. The retinal disparity of the finger
you were looking at remained zero while the retinal disparity of the other
finger grew as you moved it away. Wheatstone demonstrated that if retinal
disparity is small the two images not only fuse but also give rise to
a most compelling experience of depth, called stereopsis.1
What is the function of stereoscopic vision? It gives us the ability to accurately
gauge and compare distances in our environment, over the range of a mile or
more away. For instance, you will find it extremely difficult - indeed almost
impossible - to perform a task requiring fine perceptual motor coordination
at close range (such as threading a needle) with one eye closed. Given the
critical role played by stereoscopic vision in the performance of such perceptual-motor
skills, and given the range over which stereoscopic vision can operate, one
might think that the world would appear flat when seen through one eye. The
truth is that one-eyed people are not at all handicapped when it comes to
visually-controlled tasks, such as throwing a ball or landing an airplane,
which draw upon many types of depth information other than stereoscopic vision.
From our ability to gauge depth with one eye, we might predict that a monocularly
viewed picture that projects onto the retina the same image as might be projected
by a three-dimensional scene would be seen in depth, because the picture would
then be a projective surrogate for the scene. A projective surrogate
was considered by Gibson (1954) to be a special case of the
Surrogates fall into two classes: conventional and nonconventional. The nonconventional
surrogates can also be subdivided:
Non-conventional, projective or replicative surrogates (are) characterized
by ... the theoretical possibility of the surrogate becoming more and more
like the original until it is undistinguishable from it. (p. II)
It is easy to create a projective surrogate: One draws a picture in rigorous
perspective and places the observer's eye at the picture's center of projection.
The impression of depth obtained in this situation is quite compelling. If
the perspective is accurate, and is not disconfirmed by other contradidtory
depth cues, one obtains a strong sense of being in the three-dimensional scene
depicted.