Camera System Considerations for Geomorphic Applications of Sfm Photogrammetry Adam R
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Sample Manuscript Showing Specifications and Style
Information capacity: a measure of potential image quality of a digital camera Frédéric Cao 1, Frédéric Guichard, Hervé Hornung DxO Labs, 3 rue Nationale, 92100 Boulogne Billancourt, FRANCE ABSTRACT The aim of the paper is to define an objective measurement for evaluating the performance of a digital camera. The challenge is to mix different flaws involving geometry (as distortion or lateral chromatic aberrations), light (as luminance and color shading), or statistical phenomena (as noise). We introduce the concept of information capacity that accounts for all the main defects than can be observed in digital images, and that can be due either to the optics or to the sensor. The information capacity describes the potential of the camera to produce good images. In particular, digital processing can correct some flaws (like distortion). Our definition of information takes possible correction into account and the fact that processing can neither retrieve lost information nor create some. This paper extends some of our previous work where the information capacity was only defined for RAW sensors. The concept is extended for cameras with optical defects as distortion, lateral and longitudinal chromatic aberration or lens shading. Keywords: digital photography, image quality evaluation, optical aberration, information capacity, camera performance database 1. INTRODUCTION The evaluation of a digital camera is a key factor for customers, whether they are vendors or final customers. It relies on many different factors as the presence or not of some functionalities, ergonomic, price, or image quality. Each separate criterion is itself quite complex to evaluate, and depends on many different factors. The case of image quality is a good illustration of this topic. -
Camera System Considerations for Geomorphic Applications of Sfm Photogrammetry Adam R
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln USGS Staff -- ubP lished Research US Geological Survey 2017 Camera system considerations for geomorphic applications of SfM photogrammetry Adam R. Mosbrucker US Geological Survey, [email protected] Jon J. Major US Geological Survey Kurt R. Spicer US Geological Survey John Pitlick University of Colorado Follow this and additional works at: http://digitalcommons.unl.edu/usgsstaffpub Part of the Geology Commons, Oceanography and Atmospheric Sciences and Meteorology Commons, Other Earth Sciences Commons, and the Other Environmental Sciences Commons Mosbrucker, Adam R.; Major, Jon J.; Spicer, Kurt R.; and Pitlick, John, "Camera system considerations for geomorphic applications of SfM photogrammetry" (2017). USGS Staff -- Published Research. 1007. http://digitalcommons.unl.edu/usgsstaffpub/1007 This Article is brought to you for free and open access by the US Geological Survey at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in USGS Staff -- ubP lished Research by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. EARTH SURFACE PROCESSES AND LANDFORMS Earth Surf. Process. Landforms 42, 969–986 (2017) Published 2016. This article is a U.S. Government work and is in the public domain in the USA Published online 3 January 2017 in Wiley Online Library (wileyonlinelibrary.com) DOI: 10.1002/esp.4066 Camera system considerations for geomorphic applications of SfM photogrammetry Adam R. Mosbrucker,1* Jon J. Major,1 Kurt R. Spicer1 and John Pitlick2 1 US Geological Survey, Vancouver, WA USA 2 Geography Department, University of Colorado, Boulder, CO USA Received 17 October 2014; Revised 11 October 2016; Accepted 12 October 2016 *Correspondence to: Adam R. -
Exposure Metering and Zone System Calibration
Exposure Metering Relating Subject Lighting to Film Exposure By Jeff Conrad A photographic exposure meter measures subject lighting and indicates camera settings that nominally result in the best exposure of the film. The meter calibration establishes the relationship between subject lighting and those camera settings; the photographer’s skill and metering technique determine whether the camera settings ultimately produce a satisfactory image. Historically, the “best” exposure was determined subjectively by examining many photographs of different types of scenes with different lighting levels. Common practice was to use wide-angle averaging reflected-light meters, and it was found that setting the calibration to render the average of scene luminance as a medium tone resulted in the “best” exposure for many situations. Current calibration standards continue that practice, although wide-angle average metering largely has given way to other metering tech- niques. In most cases, an incident-light meter will cause a medium tone to be rendered as a medium tone, and a reflected-light meter will cause whatever is metered to be rendered as a medium tone. What constitutes a “medium tone” depends on many factors, including film processing, image postprocessing, and, when appropriate, the printing process. More often than not, a “medium tone” will not exactly match the original medium tone in the subject. In many cases, an exact match isn’t necessary—unless the original subject is available for direct comparison, the viewer of the image will be none the wiser. It’s often stated that meters are “calibrated to an 18% reflectance,” usually without much thought given to what the statement means. -
Schneider-Kreuznach Erweitert Seine F-Mount-Objektiv-Familie
FAQ Century Film & Video 1. What is Angle of View? 2. What is an Achromat Diopter? 3. How is an Achromat different from a standard close up lens? 4. What is a matte box? 5. What is a lens shade? 6. When do you need a lens shade or a matte box? 7. What is aspect ratio? 8. What is 4:3? 9. What is 16:9? 10. What is anamorphic video? 11. What is the difference between the Mark I and Mark II fisheye lenses? 12. What is anti-reflection coating? 13. How should I clean my lens? 14. Why should I use a bayonet Mount? 15. How much does my accessory lens weigh? 16. What is hyperfocal distance? 17. What is the Hyperfocal distance of my lens? 18. What is a T-Stop? 19. What is a PL mount? 1. What is Angle of View? Angle of view is a measure of how much of the scene a lens can view. A fisheye lens can see as much as 180 degrees and a telephoto lens might see as narrow an angle as 5 degrees. It is important to distinguish horizontal angle of view from the vertical angle of view. 2. What is an Achromat Diopter? An achromat diopter is a highly corrected two element close up lens that provides extremely sharp images edge to edge without prismatic color effects. 3. How is an Achromat different from a standard close up lens? Standard close-up lenses, or diopters, are single element lenses that allow the camera lens to focus more closely on small objects. -
Nikon D5100: from Snapshots to Great Shots
Nikon D5100: From Snapshots to Great Shots Rob Sylvan Nikon D5100: From Snapshots to Great Shots Rob Sylvan Peachpit Press 1249 Eighth Street Berkeley, CA 94710 510/524-2178 510/524-2221 (fax) Find us on the Web at www.peachpit.com To report errors, please send a note to [email protected] Peachpit Press is a division of Pearson Education Copyright © 2012 by Peachpit Press Senior Acquisitions Editor: Nikki McDonald Associate Editor: Valerie Witte Production Editor: Lisa Brazieal Copyeditor: Scout Festa Proofreader: Patricia Pane Composition: WolfsonDesign Indexer: Valerie Haynes Perry Cover Image: Rob Sylvan Cover Design: Aren Straiger Back Cover Author Photo: Rob Sylvan Notice of Rights All rights reserved. No part of this book may be reproduced or transmitted in any form by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. For information on getting permission for reprints and excerpts, contact permissions@ peachpit.com. Notice of Liability The information in this book is distributed on an “As Is” basis, without warranty. While every precaution has been taken in the preparation of the book, neither the author nor Peachpit shall have any liability to any person or entity with respect to any loss or damage caused or alleged to be caused directly or indirectly by the instructions contained in this book or by the computer software and hardware products described in it. Trademarks All Nikon products are trademarks or registered trademarks of Nikon and/or Nikon Corporation. Many of the designations used by manufacturers and sellers to distinguish their products are claimed as trademarks. -
E-300 Advanced Manual
E-300AdEN-Cover 04.10.22 11:43 AM Page 1 Basic operations DIGITDIGITALAL CAMERA Things to know before shooting http://www.olympus.com/ Selecting the right mode for shooting conditions ADVANCED MANUAL ADVANCED ADADVANCEDVANCED MANUMANUALAL Shinjuku Monolith, 3-1 Nishi-Shinjuku 2-chome, Shinjuku-ku, Tokyo, Japan Various shooting functions Focusing functions Two Corporate Center Drive, PO Box 9058, Melville, NY 11747-9058, U.S.A. Tel. 1-631-844-5000 Exposure, image and color Technical Support (USA) 24/7 online automated help: http://www.olympusamerica.com/E1 Phone customer support: Tel. 1-800-260-1625 (Toll-free) Playback Our phone customer support is available from 8 am to 10 pm (Monday to Friday) ET Customizing the settings/ E-Mail: [email protected] functions of your camera Olympus software updates can be obtained at: http://www.olympus.com/digital Printing Premises: Wendenstrasse 14-18, 20097 Hamburg, Germany Transferring images to a Tel. +49 40 - 23 77 3-0 / Fax +49 40 - 23 07 61 computer Goods delivery: Bredowstrasse 20, 22113 Hamburg, Germany Letters: Postfach 10 49 08, 20034 Hamburg, Germany Appendix European Technical Customer Support: Please visit our homepage http://www.olympus-europa.com or call our TOLL FREE NUMBER*: 00800 - 67 10 83 00 Information for Austria, Belgium, Denmark, Finland, France, Germany, Italy, Luxemburg, Netherlands, Norway, Portugal, Spain, Sweden, Switzerland, United Kingdom * Please note some (mobile) phone services/provider do not permit access or request an additional prefix to +800 numbers. For all not listed European Countries and in case that you can’t get connected to ● Thank you for purchasing an Olympus digital camera. -
The Usage of Digital Cameras As Luminance Meters [6502-29]
The usage of digital cameras as luminance meters Dietmar Wüllera, Helke Gabeleb aImage Engineering, Augustinusstrasse 9d, 50226 Frechen, Germany; bFRAMOS Electronic Vertriebs GmbH, Zugspitzstrasse 5 Haus C, 82049 Pullach, Germany ABSTRACT Many luminance measuring tasks require a luminance distribution of the total viewing field. The approach of image- resolving luminance measurement, which could benefit from the continual development of position-resolving radiation detectors, represents a simplification of such measuring tasks. Luminance measure cameras already exist which are specially manufactured for measuring tasks with very high requirements. Due to high-precision solutions these cameras are very expensive and are not commercially viable for many image-resolving measuring tasks. Therefore, it is desirable to measure luminance with digital still cameras which are freely available at reasonable prices. This paper presents a method for the usage of digital still cameras as luminance meters independent of the exposure settings. A calibration of the camera is performed with the help of an OECF (opto-electronic conversion function) measurement and the luminance is calculated with the camera’s digital RGB output values. The test method and computation of the luminance value irrespective of exposure variations is described. The error sources which influence the result of the luminance measurement are also discussed. Keywords: digital camera, luminance, OECF measurement, exposure value 1. INTRODUCTION Many measuring points are necessary for the determination of luminance ratios in a whole scene. If a conventional luminance meter, which can only perform point-by-point measurements, is used for such large-scale assessments, the process of measuring would be very time-consuming. Likewise, measuring small details can not be realised with a luminance meter because of its fixed measuring angle, which is usually not small enough. -
Measuring Luminance with a Digital Camera
® Advanced Test Equipment Rentals Established 1981 www.atecorp.com 800-404-ATEC (2832) Measuring Luminance with a Digital Camera Peter D. Hiscocks, P.Eng Syscomp Electronic Design Limited [email protected] www.syscompdesign.com September 16, 2011 Contents 1 Introduction 2 2 Luminance Standard 3 3 Camera Calibration 6 4 Example Measurement: LED Array 9 5 Appendices 11 3.1 LightMeasurementSymbolsandUnits. 11 3.2 TypicalValuesofLuminance.................................... 11 3.3 AccuracyofPhotometricMeasurements . 11 3.4 PerceptionofBrightnessbytheHumanVisionSystem . 12 3.5 ComparingIlluminanceMeters. 13 3.6 FrostedIncandescentLampCalibration . 14 3.7 LuminanceCalibrationusingMoon,SunorDaylight . 17 3.8 ISOSpeedRating.......................................... 17 3.9 WorkFlowSummary ........................................ 18 3.10 ProcessingScripts.......................................... 18 3.11 UsingImageJToDeterminePixelValue . 18 3.12 UsingImageJToGenerateaLuminance-EncodedImage . 19 3.13 EXIFData.............................................. 19 References 22 1 Introduction There is growing awareness of the problem of light pollution, and with that an increasing need to be able to measure the levels and distribution of light. This paper shows how such measurements may be made with a digital camera. Light measurements are generally of two types: illuminance and lumi- nance. Illuminance is a measure of the light falling on a surface, measured in lux. Illuminanceis widely used by lighting designers to specify light levels. In the assessment of light pollution, horizontal and vertical measurements of illuminance are used to assess light trespass and over lighting. Luminance is the measure of light radiating from a source, measured in candela per square meter. Luminance is perceived by the human viewer as the brightness of a light source. In the assessment of light pollution, (a) Lux meter luminance can be used to assess glare, up-light and spill-light1. -
Hyperfocal Distance
Advanced Photography Topic – 5 - Optics – Hyper Focal Distance Learning Outcomes In this lesson, we will look at what the hyper focal distance means and how it is important in relation to optics in digital photography. Knowing the hyperfocal distance for a given focal length and aperture can be challenging but we will go through this step by step so that you have a better understanding of this important concept. Page | 1 Advanced Photography Hyperfocal Distance Focusing your camera at the hyperfocal distance guarantees maximum sharpness from half of this distance all the way to infinity. This hyperfocal distance is very useful in landscape photography, because it allows you to make the best use of your depth of field. This produces a more detailed final image. Where Do You Find This Hyperfocal Distance? The hyperfocal distance is defined as the focus distance which places the furthest edge of a depth of field at infinity. If we were to focus any closer than this, even by the slightest amount, then a distant background will appear unacceptably soft or ‘unsharp’. Alternatively, if one were to focus any farther than this, then the most distant portion of the depth of field would be out of focus. The best way to optimize your focusing distance is visually. Begin by first focusing on the most distant object within your scene, then manually adjust the focusing distance as close as possible while still retaining an acceptably sharp background. If your scene has distant objects near the horizon, then this focusing distance will closely approximate the hyper focal distance. -
Marking Period 3 1 Course Introduction & Elements of Digital
DEPARTMENT APPLIED TECH COURSE: DIGITAL PHOTOGRAPHY II Marking Period 1(Quarters 1 & 2) Marking Period 3 Week Week 1 Course Introduction & Elements of Digital 21 Photography 2 Using Your Camera: Visual Foundations & 22 Workflow 3 History and Future of Photography 23 4 Lighting Conditions and Challenges/Personal 24 Theme Term Projects 5 Digital Image Output/Portfolio Development 25 6 Photoshop vs. In-camera Controls 26 7 High Dynamic Range, Photomerge and 27 Collage 8 Personal Theme Projects Critique/Edit 28 9 Editing Final Portfolio / Print Output 29 10 30 Marking Period 2 Marking Period 4 Week Week 11 31 12 32 13 33 14 34 15 35 16 36 17 37 18 38 19 39 20 40 DEPARTMENT APPLIED TECH COURSE: DIGITAL PHOTOGRAPHY II Time Frame WEEK ONE Topic Course Introduction & Elements of Digital Photography Essential Questions What is Digital Photography and how has it evolved? What areas will be explored in the Digital Photography II course? What projects will be accomplished in the course? What are the student requirements in the Digital Photography II course? How is the course grade determined? What are the teacher expectations for student behavior in the Digital Photography II course? What general safety measures should I be aware of in the classroom environment? What safety measures should I be aware of when making photographs with electronic digital cameras and electrical lighting apparatus in the studio/ classroom? What electrical safety measures should I be aware of when using computer equipment and printers in the classroom? What physical responses should I conduct in the event of personal injury, peer injury, or school evacuation requirements? Enduring Understandings Digital Photography II provides students with an understanding of the technological systems that extend the range of human communications, with an emphasis on visual communications and personal artistic expression. -
Optical Design of a Novel Collimator System with a Variable Virtual-Object Distance for an Inspection Instrument of Mobile Phone Camera Optics
applied sciences Article Optical Design of a Novel Collimator System with a Variable Virtual-Object Distance for an Inspection Instrument of Mobile Phone Camera Optics Hojong Choi 1, Se-woon Choe 1,2,* and Jaemyung Ryu 3,* 1 Department of Medical IT Convergence Engineering, Kumoh National Institute of Technology, Gumi 39253, Korea; [email protected] 2 Department of IT Convergence Engineering, Kumoh National Institute of Technology, Gumi 39253, Korea 3 Department of Optical Engineering, Kumoh National Institute of Technology, Gumi 39253, Korea * Correspondence: [email protected] (S.-w.C.); [email protected] (J.R.); Tel.: +82-54-478-7781 (S.-w.C.); +82-54-478-7778 (J.R.) Featured Application: Optical inspection instrument for a mobile phone camera. Abstract: The resolution performance of mobile phone camera optics was previously checked only near an infinite point. However, near-field performance is required because of reduced camera pixel sizes. Traditional optics are measured using a resolution chart located at a hyperfocal distance, which can only measure the resolution at a specific distance but not at close distances. We designed a new collimator system that can change the virtual image of the resolution chart from infinity to a short distance. Hence, some lenses inside the collimator systems must be moved. Currently, if the focusing lens is moved, chromatic aberration and field curvature occur. Additional lenses are required to Citation: Choi, H.; Choe, S.-w.; Ryu, correct this problem. However, the added lens must not change the characteristics of the proposed J. Optical Design of a Novel collimator. Therefore, an equivalent-lens conversion method was designed to maintain the first-order Collimator System with a Variable and Seidel aberrations. -
(DSLR) Cameras
Optimizing Radiometric Fidelity to Enhance Aerial Image Change Detection Utilizing Digital Single Lens Reflex (DSLR) Cameras Andrew D. Kerr and Douglas A. Stow Abstract Our objectives are to analyze the radiometric characteris- benefits of replicating solar ephemeris (Coulter et al., 2012, tics and best practices for maximizing radiometric fidel- Ahrends et al., 2008), specific shutter and aperture settings ity of digital single lens reflex (DSLR) cameras for aerial (Ahrends et al., 2008, Lebourgeois et al., 2008), using RAW image-based change detection. Control settings, exposure files (Deanet al., 2000, Coulter et al., 2012, Ahrends et al., values, white balance, light metering, ISO, and lens aper- 2008, Lebourgeois et al., 2008), vignetting abatement (Dean ture are evaluated for several bi-temporal imagery datasets. et al., 2000), and maintaining intra-frame white balance (WB) These variables are compared for their effects on dynamic consistency (Richardson et al., 2009, Levin et al., 2005). range, intra-frame brightness variation, acuity, temporal Through this study we seek to identify and determine how consistency, and detectability of simulated cracks. Test- to compensate and account for, the photometric aspects of im- ing was conducted from a terrestrial, rather than airborne age capture and postprocessing with DSLR cameras, to achieve platform, due to the large number of images collected, and high radiometric fidelity within and between digital multi- to minimize inter-image misregistration. Results point to temporal images. The overall goal is to minimize the effects of exposure biases in the range of −0.7 or −0.3EV (i.e., slightly these factors on the radiometric consistency of multi-temporal less than the auto-exposure selected levels) being preferable images, inter-frame brightness, and capture of images with for change detection and noise minimization, by achiev- high acuity and dynamic range.