Despite of the claims of Gibsonian Naïve Realism (…), our perceptions often do not match physical reality under very ordinary circumstances. “The first conclusion that presents itself from the data discussed in this book is that visual space is not the same as physical space. Wagner (2006) ends his meticulous examination of human visual space as follows (p 223): Neither is the slavish study of classical optics and the geometry of linear perspective. Although physiological optics, how the retina works, and how we can create a 3D model of the world from the images captured by a pair of eyes, are all very interesting, they are not immediately relevant. When drawing or painting realistically, our aim is to produce a 2D image which, when viewed by another human, creates in their mind what we perceived of the motif at the time of drawing or sketching. The overwhelming majority of these have either been created by cameras or other optical devices, or (when computer generated) in accordance with geometrical rules which model the optics of cameras.Īs with my series of articles on colour, rather than trotting out a summary of the geometric transformations which would map the 3D world onto a 2D surface, I want to approach the subject from what we know about human perception. Even when far from human habitation you only have to pull out a book, smartphone, or tablet to gaze again at images, still or moving. Even when printed images became popular, from the sixteenth century onwards, for many they remained sporadic treats.įor the last century or two, pictures, photographs, movies, and now even 3D movies have become so commonplace that in the West it is hard to escape them. For many their only opportunity was in church, if there had been no puritannical purge to remove imagery from places of worship. Every time that we sketch, draw or paint, we accomplish the small miracle of depicting a three-dimensional motif on our two-dimensional ground.īefore widespread exposure to images created by optical instruments, notably the camera, most people saw very few 2D representations of 3D motifs, unless they were privileged enough to live in a house with paintings.
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