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In painting, photography, graphical perspective and descriptive geometry, a picture plane is an image plane located between the "eye point" (or oculus) and the object being viewed and is usually coextensive to the material surface of the work. It is ordinarily a vertical plane perpendicular to the sightline to the object of interest.
Visual crowding is the inability to view a target stimulus distinctly when presented in a clutter. Crowding impairs the ability to discriminate object features and contours among flankers, which in turn impairs people's ability to respond appropriately to the target stimulus.
Crowding itself, however, i.e. the difference between singular letters and groups thereof, went unnoticed up to the 20th century. In 1924, then, the Gestalt psychologist Wilhelm Korte was the first to describe, in detail, percepts and phenomena of form perception in indirect vision ( peripheral vision ). [ 5 ]
In Justine Kurland’s photographs, shot across the American West, trains silently pass through the picture plane: Burnt red and yellow railroad cars emerge from tree-lined curves, bisect flat ...
If one makes the analogy of taking a photograph to rendering a 3D image, the surface of the film is the image plane. In this case, the viewing transformation is a projection that maps the world onto the image plane. A rectangular region of this plane, called the viewing window or viewport, maps to the monitor.
Investigators head into the debris field at the site of a commercial plane crash near Shanksville, Pennsylvania, September 11, 2001. The crash is one of four planes that were hijacked as part of a ...
[6] [8] Behind them, the viewer catches a sliver of the final woman's blue dress and yellow hair as she steps off the picture plane. [6] With the upward movement of the vetical lines created by the surrounding foilage and arms and gazes of the women, the viewer's gaze is brought to the main focal point of the piece: the branches and leaves of ...
The painting is on a monumental scale of 491 cm × 716 cm (193 in × 282 in), so that most of the figures rendered are life-sized [22] and those in the foreground almost twice life-size, pushed close to the picture plane and crowding onto the viewer, who is drawn into the physical action as a participant. [23]