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Autostereogram

Visual illusion of 3D scene

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Through Depth perception, Parallax and Wallpaper

The optical illusion of an autostereogram is one of depth perception and involves stereopsis: depth perception arising from the different perspective each eye has of a three-dimensional scene, called binocular parallax.

Individuals with disordered binocular vision and who cannot perceive depth may require a wiggle stereogram to achieve a similar effect.

The simplest type of autostereogram consists of a horizontally repeating pattern, with small changes throughout, that looks like wallpaper. When viewed with proper vergence, the repeating patterns appear to float above or below the background. The well-known Magic Eye books feature another type of autostereogram called a random-dot autostereogram , similar to the first example, above. In this type of autostereogram, every pixel in the image is computed from a pattern strip and a depth map. A hidden 3D scene emerges when the image is viewed with the correct vergence.

Unlike normal stereograms, autostereograms do not require the use of a stereoscope. A stereoscope presents 2D images of the same object from slightly different angles to the left eye and the right eye, allowing the viewer to reconstruct the original object via binocular disparity. When viewed with the proper vergence, an autostereogram does the same, the binocular disparity existing in adjacent parts of the repeating 2D patterns.

There are two ways an autostereogram can be viewed: wall-eyed and cross-eyed. Most autostereograms (including those in this article) are designed to be viewed in only one way, which is usually wall-eyed. Wall-eyed viewing requires that the two eyes adopt a relatively parallel angle, while cross-eyed viewing requires a relatively convergent angle. An image designed for wall-eyed viewing if viewed correctly will appear to pop out of the background, whereas if viewed cross-eyed it will instead appear as a cut-out behind the background and may be difficult to bring entirely into focus.

History

In 1593, Giambattista della Porta viewed one page of a book with one eye and another page with the other eye. He was able to read one of the pages, the other being invisible, and switch "the visual virtue" to read the other page, the first becoming invisible. This is an early example of dissociating vergence from accommodation—a necessary ability for seeing autostereograms. However, Porta saw competition between images viewed by the two eyes, binocular rivalry.

It was not until 1838 that the Charles Wheatstone published an example of cooperation between the images in the two eyes: stereopsis (binocular depth perception). He explained that the depth arose from differences in the horizontal positions of the images in the two eyes. He supported his explanation by showing flat, two-dimensional pictures with such horizontal differences, stereograms, separately to the left and right eyes through a stereoscope he invented based on mirrors. From such pairs of flat images, people experienced the illusion of depth.

In 1844, David Brewster discovered the "wallpaper effect". He noticed that when he stared at repeated patterns in wallpapers while varying his vergence, he could see them either behind the wall (with wall-eyed vergence) or in front of the wall (with cross-eyed vergence). This is the basis of wallpaper-style autostereograms.

In 1939 Boris Kompaneysky published the first random-dot stereogram containing a hand-drawn image of the face of Venus, intended to be viewed with a device.

In 1959, Bela Julesz, vision scientist, psychologist, and MacArthur Fellow, invented random dot stereograms while working at Bell Laboratories on recognizing camouflaged objects from aerial pictures taken by spy planes. At the time, many vision scientists assumed that stereopsis required prior analysis of visible contours of images in each eye, but Julesz showed it occurs with images with no such visible contours in each of the eyes. The contours of the depth object become visible only after stereopsis had processed the differences in the horizontal positions of dots in the two eyes' images.

Japanese designer Masayuki Ito, following Julesz, created a single image stereogram in 1970 and Swiss painter Alfons Schilling created a handmade single-image stereogram in 1974, after creating more than one viewer and meeting with Julesz. Having experience with stereo imaging in holography, lenticular photography, and vectography, he developed a random-dot method based on closely spaced vertical lines in parallax.

In 1979, Christopher Tyler of Smith-Kettlewell Institute, a student of Julesz and a visual psychophysicist, combined the theories behind single-image wallpaper stereograms and random-dot stereograms (the work of Julesz and Schilling) to create the first black-and-white random-dot autostereogram with the assistance of computer programmer Maureen Clarke using Apple II and BASIC. Stork and Rocca published the first scholarly paper and provided software for generating random-dot stereograms. This type of autostereogram allows a person to see 3D shapes from a single 2D image without the aid of optical equipment. In 1991 computer programmer Tom Baccei and artist Cheri Smith created the first color random-dot autostereograms, later marketed as Magic Eye.

A computer procedure that extracts back the hidden geometry out of an autostereogram image was described by Ron Kimmel. In addition to classical stereo it adds smoothness as an important assumption in the surface reconstruction.

In the late '90s many children's magazines featured autostereograms. Even gaming magazines like Nintendo Power had a section specifically made for these illusions. Since then several books were published with Magic Eye Beyond 3D: Improve Your Vision being one key publication that placed this intriguing illusion into the mainstream.

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