Depth perception is the visual ability to perceive the world in three dimensions (3D) and the distance of an object. Depth sensation is the corresponding term for animals, since although it is known that animals can sense the distance of an object (because of their ability to move accurately or to respond consistently, according to that distance), it is not known whether they "perceive" it in the same subjective way that humans do
Depth perception arises from a variety of depth cues. These are typically classified into binocular cues that are based on the receipt of sensory information in three dimensions from both eyes and monocular cues that can be represented in just two dimensions and observed with just one eye. Binocular cues include stereopsis, eye convergence, disparity, and yielding depth from binocular vision through exploitation of parallax. Monocular cues include size: distant objects subtend smaller visual angles than near objects, grain, size, and motion parallax.
When an observer moves, the apparent relative motion of several stationary objects against a background gives hints about their relative distance. If information about the direction and velocity of movement is known, motion parallax can provide absolute depth information. This effect can be seen clearly when driving in a car. Nearby things pass quickly, while far off objects appear stationary. Some animals that lack binocular vision due to their eyes having little common field-of-view employ motion parallax more explicitly than humans for depth cueing (e.g., some types of birds, which bob their heads to achieve motion parallax, and squirrels, which move in lines orthogonal to an object of interest to do the same
Depth from motion
When an object moves toward the observer, the retinal projection of an object expands over a period of time, which leads to the perception of movement in a line toward the observer. Another name for this phenomenon is depth from optical expansion. The dynamic stimulus change enables the observer not only to see the object as moving, but to perceive the distance of the moving object. Thus, in this context, the changing size serves as a distance cue. A related phenomenon is the visual system’s capacity to calculate time-to-contact (TTC) of an approaching object from the rate of optical expansion – a useful ability in contexts ranging from driving a car to playing a ball game. However, calculation of TTC is, strictly speaking, perception of velocity rather than depth.
Kinetic depth effect
If a stationary rigid figure (for example, a wire cube) is placed in front of a point source of light so that its shadow falls on a translucent screen, an observer on the other side of the screen will see a two-dimensional pattern of lines. But if the cube rotates, the visual system will extract the necessary information for perception of the third dimension from the movements of the lines, and a cube is seen. This is an example of the kinetic depth effect. The effect also occurs when the rotating object is solid (rather than an outline figure), provided that the projected shadow consists of lines which have definite corners or endpoints, and that these lines change in both length and orientation during the rotation.
Perspective The property of parallel lines converging in the distance, at infinity, allows us to reconstruct the relative distance of two parts of an object, or of landscape features. An example would be standing on a straight road, looking down the road, and noticing the road narrows as it goes off in the distance.
If two objects are known to be the same size (e.g., two trees) but their absolute size is unknown, relative size cues can provide information about the relative depth of the two objects. If one subtends a larger visual angle on the retina than the other, the object which subtends the larger visual angle appears closer.
Since the visual angle of an object projected onto the retina decreases with distance, this information can be combined with previous knowledge of the object's size to determine the absolute depth of the object. For example, people are generally familiar with the size of an average automobile. This prior knowledge can be combined with information about the angle it subtends on the retina to determine the absolute depth of an automobile in a scene.
Even if the actual size of the object is unknown and there is only one object visible, a smaller object seems further away than a large object that is presented at the same location
Due to light scattering by the atmosphere, objects that are a great distance away have lower luminance contrast and lower color saturation. Due to this, images seem hazy the farther they are away from a person's point of view. In computer graphics, this is often called "distance fog". The foreground has high contrast; the background has a low contrast. Objects differing only in their contrast with a background appear to be at different depths. The color of distant objects are also shifted toward the blue end of the spectrum (e.g., distant mountains). Some painters, notably Cézanne, employ "warm" pigments (red, yellow and orange) to bring features forward towards the viewer, and "cool" ones (blue, violet, and blue-green) to indicate the part of a form that curves away from the picture plane.
This is an oculomotor cue for depth perception. When we try to focus on faraway objects, the ciliary muscles stretch the eye lens, making it thinner, and hence changing the focal length. The kinesthetic sensations of the contracting and relaxing ciliary muscles (intraocular muscles) is sent to the visual cortex where it is used for interpreting distance/depth. Accommodation is only effective for distances less than 2 meters.
Occultation (also referred to as interposition) happens when near surfaces overlap far surfaces. If one object partially blocks the view of another object, humans perceive it as closer. However, this information only allows the observer to create a "ranking" of relative nearness. The presence of monocular ambient occlusions consists of the object's texture and geometry. These phenomena are able to reduce the depth perception latency both in natural and artificial stimuli.
At the outer extremes of the visual field, parallel lines become curved, as in a photo taken through a fisheye lens. This effect, although it is usually eliminated from both art and photos by the cropping or framing of a picture, greatly enhances the viewer's sense of being positioned within a real, three-dimensional space. (Classical perspective has no use for this so-called "distortion," although in fact the "distortions" strictly obey optical laws and provide perfectly valid visual information, just as classical perspective does for the part of the field of vision that falls within its frame.)
Fine details on nearby objects can be seen clearly, whereas such details are not visible on faraway objects. Texture gradients are grains of an item. For example, on a long gravel road, the gravel near the observer can be clearly seen of shape, size, and color. In the distance, the road's texture cannot be clearly differentiated.
Lighting and shading
The way that light falls on an object and reflects off its surfaces, and the shadows that are cast by objects provide an effective cue for the brain to determine the shape of objects and their position in space.
Selective image blurring is very commonly used in photographic and video for establishing the impression of depth. This can act as a monocular cue even when all other cues are removed. It may contribute to the depth perception in natural retinal images because the depth of focus of the human eye is limited. In addition, there are several depth estimation algorithms based on defocus and blurring. Some jumping spiders are known to use image defocus to judge depth.
Elevation When an object is visible relative to the horizon, we tend to perceive objects which are closer to the horizon as being farther away from us and objects which are farther from the horizon as being closer to us. In addition, if an object moves from a position close the horizon to a position higher or lower than the horizon, it will appear to move closer to the viewer.
Stereopsis, or retinal (binocular) disparity, or binocular parallax
Animals that have their eyes placed frontally can also use information derived from the different projection of objects onto each retina to judge depth. By using two images of the same scene obtained from slightly different angles, it is possible to triangulate the distance to an object with a high degree of accuracy. Each eye views a slightly different angle of an object seen by the left and right eyes. This happens because of the horizontal separation parallax of the eyes. If an object is far away, the disparity of that image falling on both retinas will be small. If the object is close or near, the disparity will be large. It is stereopsis that tricks people into thinking they perceive depth when viewing Magic Eyes, Autostereograms, 3-D movies, and stereoscopic photos.
This is a binocular oculomotor cue for distance/depth perception. Because of stereopsis, the two eyeballs focus on the same object. In doing so they converge. The convergence will stretch the extraocular muscles. As happens with the monocular accommodation cue, kinesthetic sensations from these extraocular muscles also help in-depth/distance perception. The angle of convergence is smaller when the eye is fixating on far away objects. Convergence is effective for distances less than 10 meters.
Antonio Medina Puerta demonstrated that retinal images with no parallax disparity but with different shadows are fused stereoscopically, imparting depth perception to the imaged scene. He named the phenomenon "shadow stereopsis". Shadows are therefore an important, stereoscopic cue for depth perception.
Since (by definition), binocular depth perception requires two functioning eyes, a person with only one functioning eye has no binocular depth perception.
Depth perception must be learned using an unconscious inference, which is much less likely to happen after a few years of age
Howard, Ian (2012). Perceiving in Depth. New York: Oxford University Press. ISBN 978-0-199-76414-3. Sternberg, R. K. (2012). Goldstein E.B. (2014, 2017) Sensation and perception (10th ed.). Pacific Grove CA: Wadsworth.