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Proper Pivot Point for Panoramic Photography Douglas A The Proper Pivot Point for Panoramic Photography Douglas A. Kerr Issue 4 April 4, 2019 ABSTRACT When doing panoramic photography with a conventional camera, multiple, slightly-overlapping shots of the overall scene are taken by pivoting the camera in steps, and the images are joined to make a single large-scope image. In order to be able to properly join the images, we must avoid parallax shift between them. To do so, the camera must be pivoted about the camera’s center of perspective, which turns out to be the center of the entrance pupil of the lens. It is widely, but incorrectly, said that the proper pivot point is “the nodal point” of the lens. In this article we discuss the optical principles involved, and demonstrate why the center of the entrance pupil is the proper pivot point. 1 MULTIPLE-IMAGE PANORAMIC PHOTOGRAPHY 1.1 Introduction By using multiple-image technique, panoramic images (generally thought of as images whose field of view, horizontally and/or vertically, is very great) can be produced with conventional cameras. In this technique, multiple, slightly overlapping images are taken of the scene from the same point by rotating the camera horizontally (and/or vertically) in steps between the shots. The multiple images are then joined by a process which, in effect, involves cropping them to bring corresponding points of the scene to the abutting edges and properly aligning the images. Today, digital image manipulation software is available which automates this process, making multi-image panoramic photography readily available to the photography enthusiast. In this article, we discuss an important consideration in enabling the successful joining of the multiple images—the selection of the proper point about which the camera must be pivoted between shots. We begin by reviewing some important optical principles and terms. 1.2 Parallax shift Suppose that we were to take multiple images for this purpose but did not use a tripod, and in fact were so careless that we moved considerably to the side between one shot and the next. The result would be what is called parallax shift between the frames. Copyright 2005-2019 Douglas A. Kerr. May be reproduced and/or distributed but only intact, including this notice. Brief excerpts may be reproduced with credit. The Proper Pivot Point for Panoramic Photography Page 2 Suppose that in our first shot, near the right edge of the image, there was a fence post in the scene fairly near the camera, perfectly aligned with a tree trunk at a greater distance. Now suppose that, when we took the second frame (for which we assume we aimed the camera further to the right), we also inadvertently moved the overall camera position a bit to the right. Now, the fence post and the tree would both appear on the left side of the image, but the camera would have “seen around” the fence post, and it would appear on the image not aligned with the tree trunk but to the left of it. It is this phenomenon that we describe as parallax shift. If we decide to make the “seam” between these two frames along a line passing just left of the tree trunk, we find that in the resulting composite the fence post appears twice—exactly in front of the tree trunk and also just to the left of it. To avoid this unsatisfactory result, we must of course take care to keep the left-to-right position of the camera in the same place as we rotate it. But if we are to be precise in doing so, we must ask, “Which particular place on the camera must not move from left to right?” For example, if we pivot the camera to the right about its tripod screw, the front of the lens will move to the right, while the back of the body will move to the left. The answer is that the camera’s “center of perspective” must not move from left to right—that is, we must pivot the camera about that point. But what is that? 1.3 The center of perspective The center of perspective of a camera is the point at which the camera seems to be with respect to the relative alignment of the different elements of the scene. It is in effect the “peephole” through which the camera sees the world. It is where a human observer’s eye would need to be to experience the same perspective as the camera does. The center of perspective of a camera turns out to be at the center of the entrance pupil of the lens (as we will demonstrate later in this article). 1.4 The entrance pupil In a camera lens, there is ordinarily an aperture stop, an opaque plate with a generally-round circular opening in it. Typically, the diameter of the hole can be varied, usually with a multiple blade “iris”, so as to “throttle” the incoming light in order to control exposure. In simple box cameras, the aperture stop is often placed in front of the lens, which itself may have only a single element. In more sophisticated cameras, though, the aperture stop is usually located inside the lens, perhaps behind the first group of lens elements. If we look into such a lens from the front, we “see” the aperture stop—but not in its real size or distance from us. In optical terms, we see the “virtual image” of the The Proper Pivot Point for Panoramic Photography Page 3 aperture stop which is created for us by the lens elements between us and the stop—just as is presented to us by a magnifying glass or a telescope. This virtual image of the aperture stop is called the “entrance pupil” of the lens, both with respect to its (apparent) diameter and its (apparent) axial location. When we look into the matter of the “collection” of light by the lens from a small patch on the object, it is the area of the entrance pupil—not the area of the physical aperture stop itself—which is of importance. And it is for this reason that the f/number of the lens, which tells us about the effect of the lens on exposure, is actually defined as the ratio of the focal length of the lens to the diameter of the entrance pupil—not to the diameter of the physical aperture stop (as is often, but incorrectly, thought). It should also be apparent, when we use the metaphor that the camera “sees the world through a peephole”, that the entrance pupil is that peephole. 1.5 About “the nodal point” In a large number of publications devoted to photographic technique, it is stated (incorrectly) that the proper pivot point for multiple-image panoramic photography is “the nodal point” of the lens. The discerning student of optics should be immediately suspicious of this since, with the exception of the fanciful “thin lens” used to illustrate optical principles, a camera lens has two nodal points. The nodal points of a lens are defined this way: If we have a light ray that arrives (at any angle) at the front of the lens headed for the first nodal point, then it will emerge from the rear of the lens along a line that appears to start at the second nodal point and is parallel to the line along which the ray arrives. Thus a ray that arrives headed toward the first nodal point is not “deflected” (in its angle of travel) by the lens; its path, in effect, just holds up its lateral motion for the longitudinal distance between the nodal points. (For this reason, the distance between the two nodal points is sometimes called the “hiatus distance” of the lens.) The locations of the nodal points of the lens are not involved in the matter of the elimination of parallax error by the use of the proper pivot point. But that is involved in a closely related mater, which I will discuss later. 1.6 The Bottom Line The proper pivot point for multi-image panoramic photography is at the center of the entrance pupil of the lens. It is not (except by coincidence) either nodal point of the lens. 2 A DEMONSTRATION Figure 1 allows us to see why the proper pivot point for panoramic photography— the center of perspective of the camera—is located at the entrance pupil of the lens, and not (necessarily) at either nodal point of the lens. (Depending on the The Proper Pivot Point for Panoramic Photography Page 4 detailed design of the lens, though, the entrance pupil may be located at the same place as a nodal point). To simplify the presentation, and hopefully illuminate the “peephole” metaphor, I assume a simple camera with single-element “thin” lens, whose two nodal points we can treat as if they were both in the very center of the lens, with an aperture stop in front of the lens. In Appendix A, I give a more general demonstration. Nodal points Camera Image Film (as viewed) plane Objects tree Fence Tree trunk trunk post Lens Aperture Fence post (a) stop First position (b) Swing 60° right about center of aperture stop (entrance pupil) Pivot point (c) Swing 60° right about center of lens (nodal points) Figure 1. Rotation of camera with “in front of the lens” aperture stop Note that with the aperture stop in front of the entire lens, the entrance pupil is identical to the physical aperture stop. The Proper Pivot Point for Panoramic Photography Page 5 The test scene comprises two objects, a fence post fairly near the camera and a tree trunk at a greater distance.
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