The influence of the tear film on the intraocular pressure and the corneal biomechanical properties analyzed with the Ocular Response Analyzer / La influencia de la película lagrimal sobre la presión intraocular y las propiedades biomecánicas corneales analizadas con el Analizador de Respuesta Ocular

Purpose: As ocular dryness and glaucoma are more prevalent with increasing age, understanding how the tear film affects tonometry is important. The present study aims to understand the impact that changes in the tear film have on intraocular pressure (IOP), corneal hysteresis, and corneal resistance factor measurements. Methods: Cross-sectional research was conducted and 37 patients were assessed. The tear film lipid layer and the non-invasive break-up time (NIBUT) were evaluated using the Tearscope Plus (Keeler, Windsor, UK). Dry eye symptoms were evaluated using the Ocular Surface Disease Index (OSDI) questionnaire. IOP was measured using rebound tonometry and the Ocular Response Analyzer (ORA, Reichert). Corneal biomechanical properties were measured using ORA. Results: It was found that an increase in the IOP measured with the iCare was directly correlated with the subclass that evaluated symptomatology associated with environmental factors (r = 0.414, p<0.05, Spearman). Goldmann-correlated IOP (IOPg) and Corneal-compensated IOP (IOPcc) values were statistically significantly different between the various interferometric patterns (p<0.05). It was also found that an increase in the corneal biomechanical properties measured with ORA was directly correlated with the overall scores obtained when using the OSDI and some of its subclasses. Conclusions: Tear film interferometric patterns were shown to have some impact on the IOP measured using ORA. The IOP measured with iCare seems to be related to the symptomatology obtained from OSDI. Corneal biomechanical properties were related to the OSDI total score and some of its subclasses. An increase in symptomatology was associated with an increase in the measured biomechanical properties of the cornea.(AU)

Heterologous expression and structure prediction of a xylanase identified from a compost metagenomic library.

Xylanases are key biocatalysts in the degradation of the ß-1,4-glycosidic linkages in the xylan backbone of hemicellulose. These enzymes are potentially applied in a wide range of bioprocessing industries under harsh conditions. Metagenomics has emerged as powerful tools for the bioprospection and discovery of interesting bioactive molecules from extreme ecosystems with unique features, such as high temperatures. In this study, an innovative combination of function-driven screening of a compost metagenomic library and automatic extraction of halo areas with in-house MATLAB functions resulted in the identification of a promising clone with xylanase activity (LP4). The LP4 clone proved to be an effective xylanase producer under submerged fermentation conditions. Sequence and phylogenetic analyses revealed that the xylanase, Xyl4, corresponded to an endo-1,4-ß-xylanase belonging to glycosyl hydrolase family 10 (GH10). When xyl4 was expressed in Escherichia coli BL21(DE3), the enzyme activity increased about 2-fold compared to the LP4 clone. To get insight on the interaction of the enzyme with the substrate and establish possible strategies to improve its activity, the structure of Xyl4 was predicted, refined, and docked with xylohexaose. Our data unveiled, for the first time, the relevance of the amino acids Glu133 and Glu238 for catalysis, and a close inspection of the catalytic site suggested that the replacement of Phe316 by a bulkier Trp may improve Xyl4 activity. Our current findings contribute to enhancing the catalytic performance of Xyl4 towards industrial applications. KEY POINTS: • A GH10 endo-1,4-ß-xylanase (Xyl4) was isolated from a compost metagenomic library • MATLAB's in-house functions were developed to identify the xylanase-producing clones • Computational analysis showed that Glu133 and Glu238 are crucial residues for catalysis.

The influence of the tear film on the intraocular pressure and the corneal biomechanical properties analyzed with the Ocular Response Analyzer.

PURPOSE: As ocular dryness and glaucoma are more prevalent with increasing age, understanding how the tear film affects tonometry is important. The present study aims to understand the impact that changes in the tear film have on intraocular pressure (IOP), corneal hysteresis, and corneal resistance factor measurements. METHODS: Cross-sectional research was conducted and 37 patients were assessed. The tear film lipid layer and the non-invasive break-up time (NIBUT) were evaluated using the Tearscope Plus (Keeler, Windsor, UK). Dry eye symptoms were evaluated using the Ocular Surface Disease Index (OSDI) questionnaire. IOP was measured using rebound tonometry and the Ocular Response Analyzer (ORA, Reichert). Corneal biomechanical properties were measured using ORA. RESULTS: It was found that an increase in the IOP measured with the iCare was directly correlated with the subclass that evaluated symptomatology associated with environmental factors (r = 0.414, p<0.05, Spearman). Goldmann-correlated IOP (IOPg) and Corneal-compensated IOP (IOPcc) values were statistically significantly different between the various interferometric patterns (p<0.05). It was also found that an increase in the corneal biomechanical properties measured with ORA was directly correlated with the overall scores obtained when using the OSDI and some of its subclasses. CONCLUSIONS: Tear film interferometric patterns were shown to have some impact on the IOP measured using ORA. The IOP measured with iCare seems to be related to the symptomatology obtained from OSDI. Corneal biomechanical properties were related to the OSDI total score and some of its subclasses. An increase in symptomatology was associated with an increase in the measured biomechanical properties of the cornea.

Discrimination of natural colors in anomalous trichromacy and the effects of EnChroma and Vino filters.

It is still unclear how well anomalous trichromats discriminate natural colors and whether commercial spectral filters improve performance in these conditions. We show that anomalous trichromats have good color discrimination with colors drawn from natural environments. It is only about 14% poorer, on average, than normal trichromats in our sample of thirteen anomalous trichromats. No measurable effect of the filters on discrimination was found, even after 8 hours of continuous use. Computations of cone and post-receptoral signals show only a modest increase in medium-to-long-wavelength difference signals, which may explain the absent effect of the filters.

Coloured filters can simulate colour deficiency in normal vision but cannot compensate for congenital colour vision deficiency.

Red-green colour vision deficiency (CVD) affects ~ 4% of Caucasians. Notch filters exist to simulate CVD when worn by colour vision normal (CVN) observers (simulation tools), or to improve colour discrimination when worn by CVD observers (compensation tools). The current study assesses effects of simulation (Variantor) and compensation (EnChroma) filters on performance in a variety of tasks. Experiments were conducted on 20 CVN and 16 CVD participants under no-filter and filter conditions (5 CVN used Variantor; 15 CVN and 16 CVD used EnChroma). Participants were tested on Ishihara and Farnsworth-Munsell 100 hue tests, CVA-UMinho colour discrimination and colour naming tasks and a board-game colour-sorting task. Repeated-measures ANOVAs found Variantor filters to significantly worsen CVN performance, mimicking protanopia. Mixed-model and repeated-measures ANOVAs demonstrate that EnChroma filters do not significantly enhance performance in CVD observers. Key EnChroma results were replicated in 8 CVD children (Ishihara test) and a sub-sample of 6 CVD adults (CVA-UMinho colour discrimination and colour naming tasks) for a smaller stimulus size. Pattern similarity exists across hue for discrimination thresholds and naming errors. Variantor filters are effective at mimicking congenital colour vision defects in CVN observers for all tasks, however EnChroma filters do not significantly compensate for CVD in any.

Universality and superiority in preference for chromatic composition of art paintings.

Color composition in paintings is a critical factor affecting observers' aesthetic judgments. We examined observers' preferences for the color composition of Japanese and Occidental paintings when their color gamut was rotated. In the experiment, observers were asked to select their preferred image from original and three hue-rotated images in a four-alternative forced choice paradigm. Despite observers' being unfamiliar with the presented artwork, the original paintings (0 degrees) were preferred more frequently than the hue-rotated ones. Furthermore, the original paintings' superiority was observed when the images were divided into small square pieces and their positions randomized (Scrambled condition), and when the images were composed of square pieces collected from different art paintings and composed as patchwork images (Patchwork condition). Therefore, the original paintings' superiority regarding preference was quite robust, and the specific objects in the paintings associated with a particular color played only a limited role. Rather, the original paintings' general trend in color statistics influenced hue-angle preference. Art paintings likely share common statistical regulations in color distributions, which may be the basis for the universality and superiority of the preference for original paintings.

How Good Are RGB Cameras Retrieving Colors of Natural Scenes and Paintings?-A Study Based on Hyperspectral Imaging.

RGB digital cameras (RGB) compress the spectral information into a trichromatic system capable of approximately representing the actual colors of objects. Although RGB digital cameras follow the same compression philosophy as the human eye (OBS), the spectral sensitivity is different. To what extent they provide the same chromatic experiences is still an open question, especially with complex images. We addressed this question by comparing the actual colors derived from spectral imaging with those obtained with RGB cameras. The data from hyperspectral imaging of 50 natural scenes and 89 paintings was used to estimate the chromatic differences between OBS and RGB. The corresponding color errors were estimated and analyzed in the color spaces CIELAB (using the color difference formulas ΔE*ab and CIEDE2000), Jzazbz, and iCAM06. In CIELAB the most frequent error (using ΔE*ab) found was 5 for both paintings and natural scenes, a similarity that held for the other spaces tested. In addition, the distribution of errors across the color space shows that the errors are small in the achromatic region and increase with saturation. Overall, the results indicate that the chromatic errors estimated are close to the acceptance error and therefore RGB digital cameras are able to produce quite realistic colors of complex scenarios.

Hyperspectral environmental illumination maps: characterizing directional spectral variation in natural environments.

Objects placed in real-world scenes receive incident light from every direction, and the spectral content of this light may vary from one direction to another. In computer graphics, environmental illumination is approximated using maps that specify illumination at a point as a function of incident angle. However, to-date, existing public databases of environmental illumination specify only three colour channels (RGB). We have captured a new set of 12 environmental illumination maps (eight outdoor scenes; four indoor scenes) using a hyperspectral imaging system with 33 spectral channels. The data reveal a striking directional variation of spectral distribution of lighting in natural environments. We discuss limitations of using daylight models to describe natural environmental illumination.

The colors of natural scenes benefit dichromats.

Dichromacy impairs color vision and impoverishes the discrimination of surface colors in natural scenes. Computational estimates based on hyperspectral imaging data from natural scenes suggest that dichromats can discriminate only about 10% of the colors discriminated by normal trichromats. These estimates, however, assume that the colors are equally frequent. Yet, pairs of colors confused by dichromats may be rare and thus have small impact on overall perceived chromatic diversity. This study estimated, empirically, how much dichromats are disadvantaged in discriminating surface colors drawn from natural scenes. The stimulus for the experiment was a scene made of real three-dimensional objects painted with matte white paint and illuminated by a spectrally tunable light source. In each trial the observers saw the scene illuminated by two spectra in two successive time intervals and had to indicate whether the colors perceived in the objects in the two intervals were the same or different. The spectra were drawn randomly from hyperspectral data of natural scenes and therefore represented natural spectral statistics. Four normal trichromats and four dichromats carried out the experiment. It was found that the number of pairs that could be discriminated by dichromats was almost 70% of those discriminated by normal trichromats, a proportion much higher than anticipated from estimates of discernible colors. Moreover, data from model simulations show that normal trichromats and dichromats use lightness differences for discrimination in about 40% and 50% of the discriminable pairs, respectively. Together these results suggest that the color distributions of natural scenes benefit the color vision of dichromats.

Color constancy of color reproductions in art paintings.

Popular color reproductions of art paintings such as postcards are intended to remind viewers of the original works. It is, however, unclear how well the quality of the reproductions is preserved under various illuminations. Color constancy of the reproductions in relation to colors in the original paintings was estimated computationally with hyperspectral images of 15th-century Flemish paintings, 20th-century modern abstract paintings, and their corresponding postcards with a series of illuminants: the CIE daylight D65 with correlated color temperature (CCT) 6500 K, daylight D40, fluorescent lamps F2 and F11, and a LED lamp designed for museums with CCT approximately 3500-4000 K. Despite large colorimetric differences between the types of art paintings and between the illuminants simulated, local areas showed good color constancy: skin areas in the Flemish paintings ranged from 0.76 to 0.81, whereas nonskin areas ranged from 0.19 to 0.68. This result suggests that viewers may be able to achieve color constancy with the reproduction postcards by disregarding inconsistent colors representations from the original paintings caused by changes in illumination conditions.

Robust colour constancy in red-green dichromats.

Colour discrimination has been widely studied in red-green (R-G) dichromats but the extent to which their colour constancy is affected remains unclear. This work estimated the extent of colour constancy for four normal trichromatic observers and seven R-G dichromats when viewing natural scenes under simulated daylight illuminants. Hyperspectral imaging data from natural scenes were used to generate the stimuli on a calibrated CRT display. In experiment 1, observers viewed a reference scene illuminated by daylight with a correlated colour temperature (CCT) of 6700K; observers then viewed sequentially two versions of the same scene, one illuminated by either a higher or lower CCT (condition 1, pure CCT change with constant luminance) or a higher or lower average luminance (condition 2, pure luminance change with a constant CCT). The observers' task was to identify the version of the scene that looked different from the reference scene. Thresholds for detecting a pure CCT change or a pure luminance change were estimated, and it was found that those for R-G dichromats were marginally higher than for normal trichromats regarding CCT. In experiment 2, observers viewed sequentially a reference scene and a comparison scene with a CCT change or a luminance change above threshold for each observer. The observers' task was to identify whether or not the change was an intensity change. No significant differences were found between the responses of normal trichromats and dichromats. These data suggest robust colour constancy mechanisms along daylight locus in R-G dichromacy.

The colors of paintings and viewers' preferences.

One hypothesis to explain the aesthetics of paintings is that it depends on the extent to which they mimic natural image statistics. In fact, paintings and natural scenes share several statistical image regularities but the colors of paintings seem generally more biased towards red than natural scenes. Is the particular option for colors in each painting, even if less naturalistic, critical for perceived beauty? Here we show that it is. In the experiments, 50 naïve observers, unfamiliar with the 10 paintings tested, could rotate the color gamut of the paintings and select the one producing the best subjective impression. The distributions of angles obtained are described by normal distributions with maxima deviating, on average, only 7 degrees from the original gamut orientation and full width at half maximum just above the threshold to perceive a chromatic change in the paintings. Crucially, for data pooled across observers and abstract paintings the maximum of the distribution was at zero degrees, i.e., the same as the original. This demonstrates that artists know what chromatic compositions match viewers' preferences and that the option for less naturalistic colors does not constrain the aesthetic value of paintings.

Statistics of colors in paintings and natural scenes.

Painters reproduce some spatial statistical regularities of natural scenes. To what extent they replicate their color statistics is an open question. We investigated this question by analyzing the colors of 50 natural scenes of rural and urban environments and 44 paintings with abstract and figurative compositions. The analysis was carried out using hyperspectral imaging data from both sets and focused on the gamut and distribution of colors in the CIELAB space. The results showed that paintings, like natural scenes, have gamuts with elongated shapes in the yellow-blue direction but more tilted to the red direction. It was also found that the fraction of discernible colors, expressed as a function of the number of occurrences in the scene or painting, is well described by power laws. These have similar distribution of slopes in a log-log scale for paintings and natural scenes. These features are observed in both abstract and figurative compositions. These results suggest that the underlying chromatic structure of artistic compositions generally follows the main statistical features of the natural environment.

Assessing the effects of dynamic luminance contrast noise masking on a color discrimination task.

The aim of this work was to assess the influence of dynamic luminance contrast noise masking (LCNM) on color discrimination for color normal and anomalous trichromats. The stimulus was a colored target on a background presented on a calibrated CRT display. In the static LCNM condition, the background and target consisted of packed circles with variable size and static random luminance. In the dynamic LCNM condition, a 10 Hz square luminance signal was added to each circle. The phase of this signal was randomized across circles. Discrimination thresholds were estimated along 20 hue directions concurrent at the color of the background. Six observers with normal color vision, six deuteranomalous observers, and three protanomalous observers performed the test in both conditions. With dynamic LCNM, thresholds were significantly lower for anomalous observers but not for normal observers, suggesting a facilitation effect of the masking for anomalous trichromats.

Colour rendering of indoor lighting with CIE illuminants and white LEDs for normal and colour deficient observers.

The goal of this work was to evaluate the colour rendering of indoor lighting with CIE illuminants and white LEDs by estimating the chromatic diversity produced for normal and colour deficient observers. Reflectance spectra of a collection of scenes made of objects typically found indoors were obtained with hyperspectral imaging. Chromatic diversity was computed for 55 CIE illuminants and five LED light sources by estimating the number of different colours perceived in the scenes analysed. A considerable variation in chromatic diversity was found across illuminants, with the best producing about 50% more colours than the worst. For normal observers, the best illuminant was CIE FL3.8 which produced about 8% more colours than CIE illuminant A and D(65); for colour deficient observers, the best illuminants varied with the type of deficiency. When the number of colours produced with a specific illuminant was compared against its colour rendering index (CRI) and gamut area index (GAI), weak correlations were obtained. Together, these results suggest that normal and colour deficient observers may benefit from a careful choice of the illuminant, and this choice may not necessarily be based only on the CRI or GAI.

The number of discernible colors perceived by dichromats in natural scenes and the effects of colored lenses.

The number of discernible colors perceived by normal trichromats when viewing natural scenes can be estimated by analyzing idealized color volumes or hyperspectral data obtained from actual scenes. The purpose of the present work was to estimate the relative impairment in chromatic diversity experienced by dichromats when viewing natural scenes and to investigate the effects of colored lenses. The estimates were obtained computationally from the analysis of hyperspectral images of natural scenes and using a quantitative model of dichromats' vision. The color volume corresponding to each scene was represented in CIELAB color space and segmented into cubes of unitary side. For normal trichromats, the number of discernible colors was estimated by counting the number of non-empty cubes. For dichromats, an algorithm simulating for normal observers the appearance of the scenes for dichromats was used, and the number of discernible colors was then counted as for normal trichromats. The effects of colored lenses were estimated by prior filtering the spectral radiance from the scenes with the spectral transmittance function of the lenses. It was found that in dichromatic vision the number of discernible colors was about 7% of normal trichromatic vision. With some colored lenses considerable improvements in chromatic diversity were obtained for trichromats; for dichromats, however, only modest improvements could be obtained with efficiency levels dependent on the combination of scene, lens and type of deficiency.

Effect of sport-tinted contact lenses for contrast enhancement on retinal straylight measurements.

PURPOSE: To investigate the effect of two tinted contact lenses (CL) designed for outdoor sports activity on the psychometric determination of retinal straylight using the compensation comparison method. METHODS: Thirteen emmetropic subjects were randomly fitted with two different tinted Nike Maxsight (Bausch & Lomb, Rochester, NY, USA) CL in one eye, while the contralateral eye was fitted with a clear lens made of the same material (Optima 38, Bausch & Lomb). Three valid straylight measurements were taken on each eye before and a few minutes after lens insertion, when lens stabilization had occurred. RESULTS: The subjects' mean straylight values were 0.90 +/- 0.09 at baseline and 0.95 +/- 0.10 with the clear Optima 38 CL. Straylight values were 0.97 +/- 0.10 and 1.0 +/- 0.10 log units with the amber and grey-green tinted CL, respectively. Differences in straylight between baseline (without CL) and with the clear CL in place were neither statistically significant (p = 0.066) nor was there a significant difference between baseline and the amber CL (p = 0.052). However, the grey-green CL showed a statistically significant difference from baseline (p = 0.006). Differences in straylight with the clear CL compared with the grey-green CL were also statistically different from zero (p = 0.002) showing an increased straylight value for the tinted CL. These differences were variable, but consistent for each subject, thus those showing higher or lower changes with one tinted lens tended to show the same trend with the second lens (r(2) = 0.736). CONCLUSIONS: Despite increases having been found in straylight values with tinted contact lenses, those changes are not likely to induce clinically significant changes in visual function under photopic conditions, even for the grey-green CL, which seems to increase straylight values more significantly than the amber CL. This difference between the tinted CL could suggest a wavelength dependence of straylight values, although this should be investigated further by controlling for pupil size and subjects' pigmentation, as well as by using neutral density filters.

Visual sensitivity to color errors in images of natural scenes.

Simple color-difference formulae and pictorial images have traditionally been used to estimate the visual impact of color errors introduced by image-reproduction processes. But the limited gamut of RGB cameras constrains such analyses, particularly of natural scenes. The purpose of this work was to estimate visual sensitivity to color errors introduced deliberately into pictures synthesized from hyperspectral images of natural scenes without gamut constraints and to compare discrimination thresholds expressed in CIELAB and S-CIELAB color spaces. From each original image, a set of approximate images with variable color errors were generated and displayed on a calibrated RGB color monitor. The threshold for perceptibility of the errors was determined in a paired-comparison experiment. In agreement with previous studies, it was found that discrimination between original and approximate images needed on average a CIELAB color difference DeltaEab* of about 2.2. Although a large variation of performance across the nine images tested was found when errors were expressed in CIELAB units, little variation was obtained when they were expressed in S-CIELAB units.

Psychophysical estimation of the best illumination for appreciation of Renaissance paintings.

A variety of light sources are used in museum environments where the main concern is to prevent damaging effects of the light on paintings. Yet, the visual impression of an artistic painting is strongly influenced by the intensity and spectral profile of the illumination. The aim of this work was to determine psychophysically the spectral profile of the illumination preferred by observers when seeing paintings dated from the Renaissance époque and to investigate how their preferences correlate with the color temperature of the illumination and with the chromatic diversity of the paintings. Hyperspectral images of five oil paintings on wood were collected at the museum and the appearance of the paintings under five representative illuminants computed. Chromatic diversity was estimated by computing the representation of the paintings in the CIELAB color space and by counting the number of nonempty unit cubes occupied by the corresponding color volume. A paired-comparison experiment using precise cathode ray tube (CRT) reproductions of the paintings rendered with several illuminant pairs with different color temperatures was carried out to determine observers' preference. The illuminant with higher color temperature was always preferred except for one pair where no clear preference was expressed. The preferred illuminant produced the larger chromatic diversity, and for the condition where no specific illuminant was preferred the number of colors produced by the illuminant pair was very similar, a result suggesting that preference could have been influenced by chromatic diversity.