Design and Scaling of Monocentric Multiscale Imagers
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Beauty Redefined, Entropy, and Breakthrough MY PRECIOUS
Beauty Redefined, Entropy, and Breakthrough MY PRECIOUS contents Go Wide 76 Beauty Redefined The Sigma 10-20mm 68 You Are Beautiful By Dave Markowski Making Things Better, One Sticker at a Time Interview by Julie Jackson I admit it. When I got my first digital (without going all the way to fisheye), shots can also benefit and yield some SLR, I didn’t have a clue what I was and I almost never find myself cursing excellent results. I’ve done quite a few 70 Pretty Is Boring doing. So I started asking the question because something isn’t fitting in the shots of the college campus where I Photos of Strong Women by Mark Velasquez that gives seasoned shooters facial tics: frame quite right. currently work, and clients have been “What lens should I get?” I do quite a bit of nighttime long very pleased with the dramatic angles 94 Photographing Female Models The advice I got was simple: exposure photography, so the lack of that an ultra-wide gives. Ten Tips by Kimberly Millard “Figure out what you shoot most, and a set aperture isn’t really an issue. The Since I got the Sigma 10-20mm, get the lens that will help you capture Sigma is great for the nontraditional it rarely leaves my camera. So if you’ve it best.” So I used my kit lens for a few candid-portrait photographer as well. got a hankerin’ for some ultra-wide 96 Diversity Decontextualized months, and found myself shooting You can really get some neat effects at action, give the Sigma a try. -
Consuming Fashions: Typefaces, Ubiquity and Internationalisation
CONSUMING FASHIONS: TYPEFACES, UBIQUITY AND INTERNATIONALISATION Anthony Cahalan School of Design and Architecture University of Canberra ACT ABSTRACT Typefaces are essential to a designer’s ability to communicate visually. The late twentieth century witnessed the democratisation and internationalisation of typeface design and usage due to the ease of access to desktop computer technology and a related exponential growth in the number of typefaces available to users of type. In this paper, theories of fashion, consumption and material culture are used to explain and understand this phenomenon of the proliferation of typefaces. Theories are explored from outside art and design to position typeface designing as an activity, and typefaces as artefacts, within a more comprehensive societal picture than the expected daily professional practice of graphic designers and everyday computer users. This paper also shows that by tracking and thereby understanding the cultural significance of ubiquitous typefaces, it is possible to illustrate the effects of internationalisation in the broader sphere of art and design. CONSUMING FASHIONS: TYPEFACES, UBIQUITY AND INTERNATIONALISATION Technological and stylistic developments in the design, use and reproduction of text since the invention of the alphabet three-and-a-half thousand years ago were exponential in the last two decades of the twentieth century, due significantly to the ready access of designers to the desktop computer and associated software. The parallels between fashion and typefaces—commonly called ‘fonts’— are explored in this paper, with particular reference to theories of fashion, consumption and material culture. This represents the development of a theoretical framework which positions typeface design as an activity, and typefaces as artefacts, within a broader societal picture than the expected daily professional practice of graphic designers and everyday computer users. -
Macro References and Glossary Ofterms.Docx
Glossary of terms for Macro Photography Achromatic lens A lens that brings at least two wavelengths (typically red and blue) into focus in the same plane, thereby limiting the effects of chromatic and spherical aberration Airy disk and Airy pattern Descriptions of the best focused spot of light that a perfect lens with a circular aperture can make, limited by the diffraction of light Angle of view (AOV) The angular extent of a given scene that is imaged by a camera Aperture control filter An adapter that fits on the rear of a reversed lens to m anually control the aperture Astigmatism Light rays that propagate in two perpendicular planes have different foci Asymmetric lens A lens where the aperture appears to have different dimensions when viewed from the front and from the back Bellows A pleated light -tight ex ten sible part in a camera between the film plane and the lens Circle of confusion (CoC) The optical spot caused by a cone of light rays from a lens not coming to a perfect focus when imaging a point source (also known as a disk of confusion) Close focus distance See minimum focus distance Close -up lens A single or multi -element lens that fi ts on the filter t hread of a primary lens to increase magnification Close -up photography Images taken close to the subject typically with magnifications of ~0.1X to ~1X Coma or comatic aberration A lens aberration due to imperfections in a lens , or other components, that results in off-axis point sources appearing to have a tail (coma) similar to a comet Chromatic a berration (or An optical effect when a lens is unable to bring all wavelengths of colo ur to the same colour/purple fringing) focal plane, and/or when wavelengths of different colours are focused at different positions in the focal plane. -
PRESS KIT Typecon2019: Nice MINNEAPOLIS, MN August 28–September 1, 2019 Typecon2019 MINNEAPOLIS, MN the CONFERENCE August 28–Sept 1
PRESS KIT TypeCon2019: Nice MINNEAPOLIS, MN August 28–September 1, 2019 TypeCon2019 MINNEAPOLIS, MN THE CONFERENCE August 28–Sept 1 50 WORDS Founded 21 years ago, TypeCon is the nation’s premier typography and lettering arts conference. Hundreds of attendees convene each year for an immersive five day program of inspiring presentations, workshops, and events. At TypeCon, both professionals and educators can learn, grow, and network in the company of like-minded enthusiasts. 120 WORDS Founded 21 years ago, TypeCon is the nation’s premier typography and lettering arts conference. Hundreds of attendees from around the world convene each year for an immersive five day program centered around typography, lettering, and design. TypeCon is best-known for its educational presentations, all of which are submitted via open-call, “by the community, for the community.” Recent speakers and workshop leaders have included Tobias Frere-Jones, Lance Wyman, Gemma O’Brien, Underware, Jessica Hische, Matthew Carter, and Louise Fili. TypeCon oers a unique opportunity for both professionals and educators to learn, study, network, and further their knowledge in the company of like-minded enthusiasts. TypeCon2019: “Nice” will take place August 28th–September 1st, at the Hilton Minneapolis in downtown Minneapolis, Minnesota. FULL Founded 21 years ago by The Society of Typographic Aficionados (SOTA), TypeCon is the nation’s premier typographic and lettering arts conference. Hundreds of attendees from around the world convene each year for an immersive five day program centered around typography, lettering, and design. The conference takes place in a dierent city each year and is dedicated to promoting and disseminating knowledge of both historical and contemporary typography. -
(12) Patent Application Publication (10) Pub. No.: US 2015/0124336A1 Kaufman (43) Pub
US 2015O124336A1 (19) United States (12) Patent Application Publication (10) Pub. No.: US 2015/0124336A1 Kaufman (43) Pub. Date: May 7, 2015 (54) WIDE SPECTRUM OPTICAL SYSTEMIS AND Publication Classification DEVICESIMPLEMENTING FIRST SURFACE MIRRORS (51) Int. Cl. GO2B I7/08 (2006.01) (71) Applicant: Public Service Solutions, Inc., Fresh GOL 5/50 (2006.01) Meadows, NY (US) GO3B 7/4 (2006.01) GOIN 2L/25 (2006.01) (72) Inventor: Peter N. Kaufman, Fresh Meadows, NY (52) U.S. Cl. (US) CPC .............. G02B 17/08 (2013.01); G0IN 2 1/255 (2013.01); G0IJ 5/505 (2013.01); G03B 17/14 (2013.01); G0IN 220.1/061 13 (2013.01) (21) Appl. No.: 14/315,270 (57) ABSTRACT The present invention generally relates to wide spectrum optical systems and devices for use in multispectral imaging (22) Filed: Jun. 25, 2014 systems and applications and in particular, wide spectrum optical assemblies that are implemented using low cost, first Surface mirrors in an optical framework that enables real-time Related U.S. Application Data viewing of an image in multiple spectral bands simulta (60) Provisional application No. 61/839,356, filed on Jun. neously over the same optical centerline with one main opti 25, 2013. cal element. 1. 42 41 Patent Application Publication May 7, 2015 Sheet 1 of 26 US 201S/O124336A1 : Patent Application Publication May 7, 2015 Sheet 2 of 26 US 2015/0124336A1 FIG. 2C FIG. 2D Patent Application Publication May 7, 2015 Sheet 3 of 26 US 2015/O124336A1 FIG. 3B Patent Application Publication May 7, 2015 Sheet 4 of 26 US 2015/0124336A1 FIG. -
Emotional Perception of Typography Messages in Fashion Design
I Emotional Perception of Typography Messages in Fashion Design Case Study: Amman City Prepared by: Amal Dahmoos Supervised by: Dr. Wael Al Azhari Thesis Submitted in Partial Fulfillment for the Requirements of the Masters Degree in Graphic Design Department of Graphic Design, Faculty of Architecture and Design Middle East University, Amman, Jordan May- 2018 II Authorization I, Amal Fawzi Dahmoos, authorize the Middle East University for Graduate Studies to provide hard or electronic copies of my thesis to libraries, organizations, or institutions concerned in academic research upon request. Name: Amal Fawzi Dahmoos Date: 16 May 2018 Signature: III Committee Decision IV Dedication “And she loved a little boy very very much, even more than she loved herself” Anonymous I dedicate this humble effort To my little boy, my biggest muse, Issa Dughlas V Acknowledgment I would like to express my deepest gratitude to my supervisor Prof. Wael Al- Azhari, for his patience, encouragement and immense knowledge. For being the best mentor and for instructing me through this whole journey. I could never thank you enough. I would like to thank the “Middle East University” for making this accomplishment possible. I would also like to thank all my professors at the university whom had given me invaluable assistance. I’m sincerely grateful for Prof. Ziyad Haddad’s massive guidance. For always believing in me, guiding me to the right directions and for his great help in getting me to this point. I would like to thank my hero, my idol, my infinite support, my dad Fawzi Dahmoos, and my strength, my siblings Arwa, Moe, Sandy and Ahmad. -
Introduction to Differential Equations
Modern Optics, Prof. Ruiz, UNCA doctorphys.com Chapter H Solutions. Camera Lenses HW H1. Close-Up Photography. Courtesy Andrew Magill via Courtesy Wikipedia: Fg2 Flickr and Wikipedia You have there close-up lens attachments 1D , 2D , and 4D along with three extension tubes of lengths 12 mm , 20 mm , and 36 mm . You have an SLR camera with its standard 50 mm focal length lens. The most you can turn the focusing mechanism to focus close up gets you a maximum lens-to-film distance of si 60 mm , which allows you to bring a subject as si 60 1 close as so 300 mm for a magnification of M 0.2 . Even though you so 300 5 know that the optical quality due to aberrations will not be ideal, you thread on all three close-up attachments to the front of your lens and use all three extension tubes between the lens and the camera body. Calculate the closest you can bring an object now for photographing and determine the magnification for your image on the photo. While the lens projects an inverted and left-right flipped image, you simply turn the photo around and all looks good. Report your answers to two significant figures. Comment on your magnification comparing it to life size. HW H2. The Teleconverter I: Formula for Diverging Insert. A primary camera lens with focal length ffcamera 1 can be converted into a telephoto lens by inserting a diverging lens, the converter secondary lens with focal length f2 , between the primary lens and camera body. -
When Is Typography Conceptual? Steen Ejlers, the Royal Danish Academy of Fine Arts, School of Architecture
2013 | Volume III, Issue 1 | Pages 1.1-1.10 When is typography conceptual? Steen Ejlers, The Royal Danish Academy of Fine Arts, School of Architecture A conceptual artwork is not necessarily constituted the sentences disappeared in an even vertical/ by exceptional practical skill, sublime execution or horizontal pattern of letters: beautiful and orderly - whatever might otherwise regularly characterize and difficult to access. “fine art”. Instead, the effort is seated in the Both of these strategies of making stone preparatory process of thought – or as Sol Lewitt inscriptions appear strange to our eyes but once put it: “The idea becomes a machine that apparently it must have worked out. And even so! makes art” (LeWitt 1967). The conceptual work of – the everyday frequency of stone inscriptions that art typically speaks primarily to the intellect and not had to be decoded by the ancient Greeks can hardly necessarily to an aesthetic/sensual experience. be likened to the text bombardment, let alone the But what about the notion of “conceptual reading process, that we live with today. Moreover, type”? Could this be, in a way that is analogous to the Greek inscriptions, like the Roman ones of “conceptual art”, typefaces that do not necessarily the same time, consisted solely of capital letters, function by virtue of their aesthetic or functional all of which could, characteristically enough, be qualities but are interesting alone owing to the deciphered when laterally reversed. However, when foregoing idea-development process? Or is a boustrophedon was brought into practice with the typeface which, in its essential idiom, conveys a Latin alphabet’s majuscule and minuscule letters, message or an idea, conceptually? In what follows, I a number of confusing situations could arise and will try to examine these issues by invoking a series of crucial moments in the history of typeface, from antiquity up to the twenty-first century. -
Mamiya 645 200Mm F2.8 APO Review
16/08/2018 REVIEW | Mamiya 645M 200mm F2.8 APO PEBBLE PLACE REVIEWS - Medium Format - Mamiya 645M 200mm F2.8 APO Telephoto Lens HOME REVIEWS Rangefinder SLR Medium Format Accessories GEAR TALK LEICA db CONTAX db MAMIYA 645M 200MM F2.8 TELEPHOTO LENS My Facebook Page PICTURES Like 0 Updated June 19, 2018 Production Early 1980’s to 2002 Lens Composition 7 Elements in 5 Groups Floating Element No Angular Field of View 20˚ at infinity Actual Field of View 124mm (35mm Equivalent, on a 645 film negative) Minimum Focus 2.5 Meters / 8.2 Feet Aperture 8 Blades, Octagonal F-Stop Scale F2.8 to F22; full stop detents Filter Size 77mm Lens Cap 77mm Mamiya 645M 200mm F2.8 APO Lens Hood Built-in (slides into place) plus Screw-on Extension Phase One P65+ • F8 • 4-Sec • ISO 50 Weight 1107 Grams / 2.43 pounds (without caps) Lens Size 91mm Wide x 143.5mm Long OVERVIEW The Mamiya 645M 200mm F2.8 APO was designed for use on the Mamiya M645, M645-1000S, M645 J 645 Super and M645 PRO. While those cameras are long since discontinued, the Mamiya 200mm F2.8 APO's mounts directly to today’s modern Mamiya / Phase One 645AF bodies. These days I use the Mamiya 200mm F2.8 APO via the Leica S-Adapter Mamiya on the Leica S Typ 006, and have found the Mamiya 200mm APO to be outstanding portrait lens and equally adept Mamiya 645M 200mm F2.8 APO Phase One P65+ • F8 • 1/125 • ISO 50 as a landscape lens. -
Greek Type Design Introduction
A primer on Greek type design by Gerry Leonidas T the 1997 ATypI Conference at Reading I gave a talk Awith the title ‘Typography & the Greek language: designing typefaces in a cultural context.’ The inspiration for that talk was a discussion with Christopher Burke on designing typefaces for a script one is not linguistically familiar with. My position was that knowledge and use of a language is not a prerequisite for understanding the script to a very high, if not conclusive, degree. In other words, although a ‘typographically attuned’ native user should test a design in real circumstances, any designer could, with the right preparation and monitoring, produce competent typefaces. This position was based on my understanding of the decisions a designer must make in designing a Greek typeface. I should add that this argument had two weak points: one, it was based on a small amount of personal experience in type design and a lot of intuition, rather than research; and, two, it was quite possible that, as a Greek, I was making the ‘right’ choices by default. Since 1997, my own work proved me right on the first point, and that of other designers – both Greeks and non- Greeks – on the second. The last few years saw multilingual typography literally explode. An obvious arena was the broader European region: the Amsterdam Treaty of 1997 which, at the same time as bringing the European Union closer to integration on a number of fields, marked a heightening of awareness in cultural characteristics, down to an explicit statement of support for dialects and local script variations. -
Single Lens Off-Chip Cellphone Microscopy
Single Lens Off-Chip Cellphone Microscopy Aydın Arpa Gordon Wetzstein Douglas Lanman Ramesh Raskar MIT Media Lab MIT Media Lab MIT Media Lab MIT Media Lab Abstract Within the last few years, cellphone subscriptions have widely spread and now cover even the remotest parts of the planet. Adequate access to healthcare, however, is not widely available, especially in developing countries. We propose a new approach to converting cellphones into low-cost scientific devices for microscopy. Cellphone mi- croscopes have the potential to revolutionize health-related screening and analysis for a variety of applications, includ- ing blood and water tests. Our optical system is more flex- ible than previously proposed mobile microscopes and al- lows for wide field of view panoramic imaging, the acquisi- tion of parallax, and coded background illumination, which optically enhances the contrast of transparent and refrac- tive specimens. 1. Introduction Today, an estimated six billion cellphone subscriptions exist worldwide with about 70% of those in developing countries (www.itu.int/ict/statistics). However, developing countries often suffer from a lack of access to adequate healthcare, which is party due to the cost and training as- sociated with high-tech scientific instruments required for medical analysis. We present a low-cost portable micro- scope that uses a cellphone camera and a simple, secondary lens that is placed on top of the specimen. As illustrated in Figure 1. Illustration of our cellphone microscope in the field. The Figure 1, our device can be used in the field, for instance data captured by this versatile and low-cost platform can either to analyze water sources for potential contamination, and be analyzed directly on the phone or remotely, for instance by a can either directly process the captured data or transmit it medical doctor in a hospital. -
Single Lens Off-Chip Cellphone Microscopy
Single lens off-chip cellphone microscopy The MIT Faculty has made this article openly available. Please share how this access benefits you. Your story matters. Citation Arpa, Aydin, Gordon Wetzstein, Douglas Lanman, and Ramesh Raskar. “Single lens off-chip cellphone microscopy.” In 2012 IEEE Computer Society Conference on Computer Vision and Pattern Recognition Workshops, Providence, RI, 16-21 June 2012. p. 23-28. Institute of Electrical and Electronics Engineers, 2012. As Published http://dx.doi.org/10.1109/CVPRW.2012.6239195 Publisher Institute of Electrical and Electronics Engineers Version Author's final manuscript Citable link http://hdl.handle.net/1721.1/80831 Terms of Use Creative Commons Attribution-Noncommercial-Share Alike 3.0 Detailed Terms http://creativecommons.org/licenses/by-nc-sa/3.0/ Single Lens Off-Chip Cellphone Microscopy Aydın Arpa Gordon Wetzstein Douglas Lanman Ramesh Raskar MIT Media Lab MIT Media Lab MIT Media Lab MIT Media Lab Abstract Within the last few years, cellphone subscriptions have widely spread and now cover even the remotest parts of the planet. Adequate access to healthcare, however, is not widely available, especially in developing countries. We propose a new approach to converting cellphones into low-cost scientific devices for microscopy. Cellphone mi- croscopes have the potential to revolutionize health-related screening and analysis for a variety of applications, includ- ing blood and water tests. Our optical system is more flex- ible than previously proposed mobile microscopes and al- lows for wide field of view panoramic imaging, the acquisi- tion of parallax, and coded background illumination, which optically enhances the contrast of transparent and refrac- tive specimens.