Let's put a smile on that face-A positive facial expression improves aesthetics of portrait photographs.

In today's age of social media and smartphones, portraits-such as selfies or pictures of friends and family-are very frequently produced, shared and viewed images. Despite their prevalence, the psychological factors that characterize a 'good' photo-one that people will generally like, keep, and think is especially aesthetically pleasing-are not well understood. Here, we studied how a subtle change in facial expression (smiling) in portraits determines their aesthetic image value (beyond a more positive appearance of the depicted person). We used AI-based image processing tools in a broad set of portrait photographs and generated neutral and slightly smiling versions of the same pictures. Consistent across two experiments, portraits with a subtle smile increased both spontaneous aesthetic preferences in a swiping task as well as improving more explicit aesthetic ratings after prolonged viewing. Participants distinguished between aspects associated with image beauty and the depicted person's attractiveness, resulting in specific interactions between variables related to participant traits, image content, and task. Our study confirms that a subtle-and in this case fully artificial-smile reliably increases the aesthetic quality of portraits, illustrating how current image processing methods can target psychologically important variables and thereby increase the aesthetic value of photographs.

Swipes and Saves: A Taxonomy of Factors Influencing Aesthetic Assessments and Perceived Beauty of Mobile Phone Photographs.

Digital images taken by mobile phones are the most frequent class of images created today. Due to their omnipresence and the many ways they are encountered, they require a specific focus in research. However, to date, there is no systematic compilation of the various factors that may determine our evaluations of such images, and thus no explanation of how users select and identify relatively "better" or "worse" photos. Here, we propose a theoretical taxonomy of factors influencing the aesthetic appeal of mobile phone photographs. Beyond addressing relatively basic/universal image characteristics, perhaps more related to fast (bottom-up) perceptual processing of an image, we also consider factors involved in the slower (top-down) re-appraisal or deepened aesthetic appreciation of an image. We span this taxonomy across specific types of picture genres commonly taken-portraits of other people, selfies, scenes and food. We also discuss the variety of goals, uses, and contextual aspects of users of mobile phone photography. As a working hypothesis, we propose that two main decisions are often made with mobile phone photographs: (1) Users assess images at a first glance-by swiping through a stack of images-focusing on visual aspects that might be decisive to classify them from "low quality" (too dark, out of focus) to "acceptable" to, in rare cases, "an exceptionally beautiful picture." (2) Users make more deliberate decisions regarding one's "favorite" picture or the desire to preserve or share a picture with others, which are presumably tied to aspects such as content, framing, but also culture or personality, which have largely been overlooked in empirical research on perception of photographs. In sum, the present review provides an overview of current focal areas and gaps in research and offers a working foundation for upcoming research on the perception of mobile phone photographs as well as future developments in the fields of image recording and sharing technology.

A Method for Measuring Contact Points in Human-Object Interaction Utilizing Infrared Cameras.

This article presents a novel method for measuring contact points in human-object interaction. Research in multiple prehension-related fields, e.g., action planning, affordance, motor function, ergonomics, and robotic grasping, benefits from accurate and precise measurements of contact points between a subject's hands and objects. During interaction, the subject's hands occlude the contact points, which poses a major challenge for direct optical measurement methods. Our method solves the occlusion problem by exploiting thermal energy transfer from the subject's hand to the object surface during interaction. After the interaction, we measure the heat emitted by the object surface with four high-resolution infrared cameras surrounding the object. A computer-vision algorithm detects the areas in the infrared images where the subject's fingers have touched the object. A structured light 3D scanner produces a point cloud of the scene, which enables the localization of the object in relation to the infrared cameras. We then use the localization result to project the detected contact points from the infrared camera images to the surface of the 3D model of the object. Data collection with this method is fast, unobtrusive, contactless, markerless, and automated. The method enables accurate measurement of contact points in non-trivially complex objects. Furthermore, the method is extendable to measuring surface contact areas, or patches, instead of contact points. In this article, we present the method and sample grasp measurement results with publicly available objects.

Perception of stereoscopic direct gaze: The effects of interaxial distance and emotional facial expressions.

Gaze perception has received considerable research attention due to its importance in social interaction. The majority of recent studies have utilized monoscopic pictorial gaze stimuli. However, a monoscopic direct gaze differs from a live or stereoscopic gaze. In the monoscopic condition, both eyes of the observer receive a direct gaze, whereas in live and stereoscopic conditions, only one eye receives a direct gaze. In the present study, we examined the implications of the difference between monoscopic and stereoscopic direct gaze. Moreover, because research has shown that stereoscopy affects the emotions elicited by facial expressions, and facial expressions affect the range of directions where an observer perceives mutual gaze-the cone of gaze-we studied the interaction effect of stereoscopy and facial expressions on gaze perception. Forty observers viewed stereoscopic images wherein one eye of the observer received a direct gaze while the other eye received a horizontally averted gaze at five different angles corresponding to five interaxial distances between the cameras in stimulus acquisition. In addition to monoscopic and stereoscopic conditions, the stimuli included neutral, angry, and happy facial expressions. The observers judged the gaze direction and mutual gaze of four lookers. Our results show that the mean of the directions received by the left and right eyes approximated the perceived gaze direction in the stereoscopic semidirect gaze condition. The probability of perceiving mutual gaze in the stereoscopic condition was substantially lower compared with monoscopic direct gaze. Furthermore, stereoscopic semidirect gaze significantly widened the cone of gaze for happy facial expressions.

Visual Performance With Small Concave and Convex Displays.

OBJECTIVE: In this study, we aim to investigate how users' visual performance with a small flexible display changes based on the direction (i.e., convex, concave) and the magnitude (i.e., low, high) of the display curvature. BACKGROUND: Despite the wide interest in flexible display materials and deformable displays, the potential effects of nonplanar display surfaces on human perception and performance have received little attention. This study is the first to demonstrate how curving affects visual performance with an actual flexible display (4.5-in. active-matrix organic light-emitting diode). METHOD: In a series of three experiments, we compared the performance with a planar display to the performance with concave and convex display surfaces with low and high curvature magnitudes. Two visual search tasks were employed that required the subject to detect target letters based on their contrast (Experiments 1 and 2) and identity (Experiment 3). Performance was measured as the sensitivity of target detection (d') and threshold time of the search, respectively. RESULTS: There were similar sensitivities for targets across the curvature variants, but the high-magnitude curvatures resulted in prolonged search times, especially for the convex form. In both of the tasks, performance was dependent on the display location, which was defined as the target's distance from the display center. CONCLUSION: High curvature magnitudes should be avoided, even in small displays, because large local changes in visual stimuli decrease processing speed outside the central display. APPLICATION: The findings have implications for the development of technologies, applications, and user interfaces for flexible displays and the design of visual display devices.

Stereoscopy Amplifies Emotions Elicited by Facial Expressions.

Mediated facial expressions do not elicit emotions as strongly as real-life facial expressions, possibly due to the low fidelity of pictorial presentations in typical mediation technologies. In the present study, we investigated the extent to which stereoscopy amplifies emotions elicited by images of neutral, angry, and happy facial expressions. The emotional self-reports of positive and negative valence (which were evaluated separately) and arousal of 40 participants were recorded. The magnitude of perceived depth in the stereoscopic images was manipulated by varying the camera base at 15, 40, 65, 90, and 115 mm. The analyses controlled for participants' gender, gender match, emotional empathy, and trait alexithymia. The results indicated that stereoscopy significantly amplified the negative valence and arousal elicited by angry expressions at the most natural (65 mm) camera base, whereas stereoscopy amplified the positive valence elicited by happy expressions in both the narrowed and most natural (15-65 mm) base conditions. Overall, the results indicate that stereoscopy amplifies the emotions elicited by mediated emotional facial expressions when the depth geometry is close to natural. The findings highlight the sensitivity of the visual system to depth and its effect on emotions.