Surface reconstruction from disparate shading: an integration of shape-from-shading and stereopsis

A cooperative integration of stereopsis and shape-from-shading is presented. The integration makes the process of D surface reconstruction better constrained and more reliable. It also obviates the need for surface boundary conditions, and explicit information about the surface albedo and the light source direction, which can now be estimated in an iterative manner

Robust Photo-topography by Fusing Shape-from-Shading and Stereo

Methods for fusing two computer vision methods are discussed and several example algorithms are presented to illustrate the variational method of fusing algorithms. The example algorithms seek to determine planet topography given two images taken from two different locations with two different lighting conditions. The algorithms each employ assingle cost function that combines the computer vision methods of shape-from-shading and stereo in different ways. The algorithms are closely coupled and take into account all the constraints of the photo-topography problem. The algorithms are run on four synthetic test image sets of varying difficulty.

A Modern Differential Geometric Approach to Shape from Shading

How the visual system extracts shape information from a single grey-level image can be approached by examining how the information about shape is contained in the image. This technical report considers the characteristic equations derived by Horn as a dynamical system. Certain image critical points generate dynamical system critical points. The stable and unstable manifolds of these critical points correspond to convex and concave solution surfaces, giving more general existence and uniqueness results. A new kind of highly parallel, robust shape from shading algorithm is suggested on neighborhoods of these critical points. The information at bounding contours in the image is also analyzed.

Shape from Shading: A Method for Obtaining the Shape of a Smooth Opaque Object from One View

A method will be described for finding the shape of a smooth apaque object form a monocular image, given a knowledge of the surface photometry, the position of the lightsource and certain auxiliary information to resolve ambiguities. This method is complementary to the use of stereoscopy which relies on matching up sharp detail and will fail on smooth objects. Until now the image processing of single views has been restricted to objects which can meaningfully be considered two-dimensional or bounded by plane surfaces. It is possible to derive a first-order non-linear partial differential equation in two unknowns relating the intensity at the image points to the shape of the objects. This equation can be solved by means of an equivalent set of five ordinary differential equations. A curve traced out by solving this set of equations for one set of starting values is called a characteristic strip. Starting one of these strips from each point on some initial curve will produce the whole solution surface. The initial curves can usually be constructed around so-called singular points. A number of applications of this metod will be discussed including one to lunar topography and one to the scanning electron microscope. In both of these cases great simplifications occur in the equations. A note on polyhedra follows and a quantitative theory of facial make-up is touched upon. An implementation of some of these ideas on the PDP-6 computer with its attached image-dissector camera at the Artificial intelligence Laboratory will be described, and also a nose-recognition program.

Investigating shape-from-shading illusions using solid objects

Recent growth in the shape-from-shading psychophysics literature has been paralled by an increasing availability of computer graphics hardware and software, to the extent that most psychophysical studies in this area now employ computer lighting algorithms. The most widely used of algorithms is shape-from-shading psychophysics is the Phong lighting model. This model, and other shading models of its genre, produce readily ineterpretable imiages of three-dimensional scenes. However, such algorithms are only approximations of how light interacts with real objects in the natural environment. Nevertheless, the results from psychophysical experiments using these techniques have been used to infer the processes underlying the perception of shape-from-shading in natural environments. It is important to establish whether this substitution is ever valid. We report a series of experiments investigating whether two recently reported illusions seen computer-generated, Phond shaded images occur for solid objects under real illuminants. The two illusions investigated are three-dimensional curvature contrast and the illuminant-position effect on perceived curvature. We show that both effects do occur for solid objects, and that the magnitude of these effects are equivalent regardless of whether subjects are presented with ray traced or solid objects.

The role of local luminance amplitude in the interpretation of shape-from-shading in textured surfaces

Luminance changes within a scene are ambiguous; they can indicate reflectance changes, shadows, or shading due to surface undulations. How does vision distinguish between these possibilities? When a surface painted with an albedo texture is shaded, the change in local mean luminance (LM) is accompanied by a similar modulation of the local luminance amplitude (AM) of the texture. This relationship does not necessarily hold for reflectance changes or for shading of a relief texture. Here we concentrate on the role of AM in shape-from-shading. Observers were presented with a noise texture onto which sinusoidal LM and AM signals were superimposed, and were asked to indicate which of two marked locations was closer to them. Shape-from-shading was enhanced when LM and AM co-varied (in-phase), and was disrupted when they were out-of-phase. The perceptual differences between cue types (in-phase vs out-of-phase) were enhanced when the two cues were present at different orientations within a single image. Similar results were found with a haptic matching task. We conclude that vision can use AM to disambiguate luminance changes. LM and AM have a positive relationship for rendered, undulating, albedo textures, and we assess the degree to which this relationship holds in natural images. [Supported by EPSRC grants to AJS and MAG].

Local luminance amplitude modulates the interpretation of shape-from-shading in textured surfaces

The pattern of illumination on an undulating surface can be used to infer its 3-D form (shape-from-shading). But the recovery of shape would be invalid if the luminance changes actually arose from changes in reflectance. So how does vision distinguish variation in illumination from variation in reflectance to avoid illusory depth? When a corrugated surface is painted with an albedo texture, the variation in local mean luminance (LM) due to shading is accompanied by a similar modulation in local luminance amplitude (AM). This is not so for reflectance variation, nor for roughly textured surfaces. We used depth mapping and paired comparison methods to show that modulations of local luminance amplitude play a role in the interpretation of shape-from-shading. The shape-from-shading percept was enhanced when LM and AM co-varied (in-phase) and was disrupted when they were out of phase or (to a lesser degree) when AM was absent. The perceptual differences between cue types (in-phase vs out-of-phase) were enhanced when the two cues were present at different orientations within a single image. Our results suggest that when LM and AM co-vary (in-phase) this indicates that the source of variation is illumination (caused by undulations of the surface), rather than surface reflectance. Hence, the congruence of LM and AM is a cue that supports a shape-from-shading interpretation. © 2006 Elsevier Ltd. All rights reserved.

The role of texture amplitude in shape from shading: evidence from a haptic matching task

The pattern of illumination on an undulating surface can be used to infer its 3-D form (shape from shading). But the recovery of shape would be invalid if the shading actually arose from reflectance variation. When a corrugated surface is painted with an albedo texture, the variation in local mean luminance (LM) due to shading is accompanied by a similar modulation in texture amplitude (AM). This is not so for reflectance variation, nor for roughly textured surfaces. We used a haptic matching technique to show that modulations of texture amplitude play a role in the interpretation of shape from shading. Observers were shown plaid stimuli comprising LM and AM combined in-phase (LM+AM) on one oblique and in anti-phase (LM-AM) on the other. Stimuli were presented via a modified ReachIN workstation allowing the co-registration of visual and haptic stimuli. In the first experiment, observers were asked to adjust the phase of a haptic surface, which had the same orientation as the LM+AM combination, until its peak in depth aligned with the visually perceived peak. The resulting alignments were consistent with the use of a lighting-from-above prior. In the second experiment, observers were asked to adjust the amplitude of the haptic surface to match that of the visually perceived surface. Observers chose relatively large amplitude settings when the haptic surface was oriented and phase-aligned with the LM+AM cue. When the haptic surface was aligned with the LM-AM cue, amplitude settings were close to zero. Thus the LM/AM phase relation is a significant visual depth cue, and is used to discriminate between shading and reflectance variations. [Supported by the Engineering and Physical Sciences Research Council, EPSRC].

The role of texture in shape from shading: are humans biased towards seeing relief textures?

When a textured surface is modulated in depth and illuminated, the level of illumination varies across the surface, producing coarse-scale luminance modulations (LM) and amplitude modulation (AM) of the fine-scale texture. If the surface has an albedo texture (reflectance variation) then the LM and AM components are always in-phase, but if the surface has a relief texture the phase relation between LM and AM varies with the direction and nature of the illuminant. We showed observers sinusoidal luminance and amplitude modulations of a binary noise texture, in various phase relationships, in a paired-comparisons design. In the first experiment, the combinations under test were presented in different temporal intervals. Observers indicated which interval contained the more depthy stimulus. LM and AM in-phase were seen as more depthy than LM alone which was in turn more depthy than LM and AM in anti-phase, but the differences were weak. In the second experiment the combinations under test were presented in a single interval on opposite obliques of a plaid pattern. Observers were asked to indicate the more depthy oblique. Observers produced the same depth rankings as before, but now the effects were more robust and significant. Intermediate LM/AM phase relationships were also tested: phase differences less than 90 deg were seen as more depthy than LM-only, while those greater than 90 deg were seen as less depthy. We conjecture that the visual system construes phase offsets between LM and AM as indicating relief texture and thus perceives these combinations as depthy even when their phase relationship is other than zero. However, when different LM/AM pairs are combined in a plaid, the signals on the obliques are unlikely to indicate corrugations of the same texture, and in this case the out-of-phase pairing is seen as flat. [Supported by the Engineering and Physical Sciences Research Council (EPSRC)].

The role of texture amplitude in shape from shading

When a textured surface is modulated in depth and illuminated, parts of the surface receive different levels of illumination; the resulting variations in luminance can be used to infer the shape of the depth modulations-shape from shading. The changes in illumination also produce changes in the amplitude of the texture, although local contrast remains constant. We investigated the role of texture amplitude in supporting shape from shading. If a luminance plaid is added to a binary noise texture (LM), shape from shading produces perception of corrugations in two directions. If the amplitude of the noise is also modulated (AM) such that it is in-phase with one of the luminance sinusoids and out-of-phase with the other, the resulting surface is seen as corrugated in only one directionöthat supported by the in-phase pairing. We confirmed this subjective report experimentally, using a depth-mapping technique. Further, we asked naïve observers to indicate the direction of corrugations in plaids made up of various combinations of LM and AM. LM+AM was seen as having most depth, then LM-only, then LM-AM, and then AM-only. Our results suggest that while LM is required to see depth from shading, its phase relative to any AM component is also important.

Sun and sky:does human vision assume a mixture of point and diffuse illumination when interpreting shape-from-shading?

People readily perceive smooth luminance variations as being due to the shading produced by undulations of a 3-D surface (shape-from-shading). In doing so, the visual system must simultaneously estimate the shape of the surface and the nature of the illumination. Remarkably, shape-from-shading operates even when both these properties are unknown and neither can be estimated directly from the image. In such circumstances humans are thought to adopt a default illumination model. A widely held view is that the default illuminant is a point source located above the observer's head. However, some have argued instead that the default illuminant is a diffuse source. We now present evidence that humans may adopt a flexible illumination model that includes both diffuse and point source elements. Our model estimates a direction for the point source and then weights the contribution of this source according to a bias function. For most people the preferred illuminant direction is overhead with a strong diffuse component.

Generation of a 3D proximal femur shape from a single projection 2D radiographic image.

Summary Generalized Procrustes analysis and thin plate splines were employed to create an average 3D shape template of the proximal femur that was warped to the size and shape of a single 2D radiographic image of a subject. Mean absolute depth errors are comparable with previous approaches utilising multiple 2D input projections. Introduction Several approaches have been adopted to derive volumetric density (g cm-3) from a conventional 2D representation of areal bone mineral density (BMD, g cm-2). Such approaches have generally aimed at deriving an average depth across the areal projection rather than creating a formal 3D shape of the bone. Methods Generalized Procrustes analysis and thin plate splines were employed to create an average 3D shape template of the proximal femur that was subsequently warped to suit the size and shape of a single 2D radiographic image of a subject. CT scans of excised human femora, 18 and 24 scanned at pixel resolutions of 1.08 mm and 0.674 mm, respectively, were equally split into training (created 3D shape template) and test cohorts. Results The mean absolute depth errors of 3.4 mm and 1.73 mm, respectively, for the two CT pixel sizes are comparable with previous approaches based upon multiple 2D input projections. Conclusions This technique has the potential to derive volumetric density from BMD and to facilitate 3D finite element analysis for prediction of the mechanical integrity of the proximal femur. It may further be applied to other anatomical bone sites such as the distal radius and lumbar spine.