Previously, in Hermundstad et al., 2014, we showed that when sampling is limiting, the efficient coding principle leads to a ‘variance is salience’ hypothesis, and that this hypothesis accounts for visual sensitivity to binary image statistics. Here, using extensive new psychophysical data and image analysis, we show that this hypothesis accounts for visual sensitivity to a large set of grayscale image statistics at a striking level of detail, and also identify the limits of the prediction. We define a 66-dimensional space of local grayscale light-intensity correlations, and measure the relevance of each direction to natural scenes. The ‘variance is salience’ hypothesis predicts that two-point correlations are most salient, and predicts their relative salience. We tested these predictions in a texture-segregation task using un-natural, synthetic textures. As predicted, correlations beyond second order are not salient, and predicted thresholds for over 300 second-order correlations match psychophysical thresholds closely (median fractional error <0.13).

Using the visual system as a model, we recently showed that the efficient coding principle accounted for the allocation of computational resources in central sensory processing: when sampling an image is the main limitation, resources are devoted to compute the statistical features that are the most variable, and therefore the most informative (eLife 2014;3:e03722. DOI: 10.7554/eLife.03722 Hermundstad et al., 2014). Building on these results, we use single-unit recordings in the macaque monkey to determine where these computations—sensitivity to specific multipoint correlations—occur. We find that these computations take place in visual area V2, primarily in its supragranular layers. The demonstration that V2 neurons are sensitive to the multipoint correlations that are informative about natural images provides a common computational underpinning for diverse but well-recognized aspects of neural processing in V2, including its sensitivity to corners, junctions, illusory contours, figure/ground, and ‘naturalness.’