Editing Forced perspective (section)

===Techniques employed===
* Solely manipulating angular size by moving objects closer and farther away cannot fully trick the eye. Objects that are farther away from the eye have a lower luminescent contrast due to atmospheric scattering of rays. Fewer rays of light reach the eye from more distant objects. Using the monocular cue of aerial perspective, the eye uses the relative luminescence of objects in a scene to discern relative distance. Filmmakers and photographers combat this cue by manually increasing the luminescence of objects farther away to equal that of objects in the desired plane. This effect is achieved by making the more distant object more bright by shining more light on it. Because luminance decreases by ½''d'' (where ''d'' is distance from the eye), artists can calculate the exact amount of light needed to counter the cue of aerial perspective.<ref>O'Shea, R.P., Blackburn, S.G., & Ono, H. (1994). Contrast as a depth cue. Vision Research, 34, 1595–1604.</ref>
* Similarly, blurring can create the opposite effect by giving the impression of depth. Selectively blurring an object moves it out of its original visual plane without having to manually move the object.<ref>George Mather (1996) "Image Blur as a Pictorial Depth Cue". Proceedings: Biological Sciences, Vol. 263, No. 1367 (Feb. 22, 1996), pp. 169–172.</ref>
* A perceptive illusion that may be infused in film culture is the idea of Gestalt psychology, which holds that people often view the whole of an object as opposed to the sum of its individual parts.<ref>{{cite web|title = Gestalt Psychology|url=http://webspace.ship.edu/cgboer/gestalt.html|access-date=5 March 2013}}</ref>
* Another monocular cue of depth perception is that of lighting and shading. Shading in a scene or on an object allows the audience to locate the light source relative to the object. Making two objects at different distances have the same shading gives the impression that they are in similar positions relative to the light source; therefore, they appear closer to each other than they actually are.<ref>Lipton, L. (1982) Foundations of the Stereoscopic Cinema - A Study in Depth. New York, Van Nostrand Reinhold, pg 56.</ref>
* Artists may also employ the simpler technique of manipulating relative size. Once the audience becomes acquainted with the size of an object in proportion to the rest of the objects in a scene, the photographer or filmmaker can replace the object with a larger or smaller replica to change another part of the scene's apparent size. This is done frequently in movies. For example, to aid in the appearance of a person as a giant next to a "regular sized" person, a filmmaker might have a shot of two identical glasses together, then follow with the person who is supposed to play the giant holding a much smaller replica of the glass and the person who is playing the regular-sized person holding a much larger replica. Because the audience sees that the glasses are the same size in the original shot, the difference in relation to the two characters allows the audience to perceive the characters as different sizes based on their relative size to the glasses they hold.<ref name="Purves">Purves D, Lotto B (2003) ''Why We See What We Do: An Empirical Theory of Vision''. Sunderland, MA: Sinauer Associates.</ref>
* A painter can give the illusion of distance by adding blue or red tinting to the color of the object he is painting. This monocular cue takes advantage of the trend for the color of distant objects to shift towards the blue end of the spectrum, while the colors of closer objects shift toward the red end of the spectrum.<ref name="Purves"/> The optical phenomenon is known as [[chromostereopsis]].