An Equivalent F-Number for Light Field Systems: Light Efficiency, Signal-To-Noise Ratio, and Depth of Field Ivo Ihrke
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Breaking Down the “Cosine Fourth Power Law”
Breaking Down The “Cosine Fourth Power Law” By Ronian Siew, inopticalsolutions.com Why are the corners of the field of view in the image captured by a camera lens usually darker than the center? For one thing, camera lenses by design often introduce “vignetting” into the image, which is the deliberate clipping of rays at the corners of the field of view in order to cut away excessive lens aberrations. But, it is also known that corner areas in an image can get dark even without vignetting, due in part to the so-called “cosine fourth power law.” 1 According to this “law,” when a lens projects the image of a uniform source onto a screen, in the absence of vignetting, the illumination flux density (i.e., the optical power per unit area) across the screen from the center to the edge varies according to the fourth power of the cosine of the angle between the optic axis and the oblique ray striking the screen. Actually, optical designers know this “law” does not apply generally to all lens conditions.2 – 10 Fundamental principles of optical radiative flux transfer in lens systems allow one to tune the illumination distribution across the image by varying lens design characteristics. In this article, we take a tour into the fascinating physics governing the illumination of images in lens systems. Relative Illumination In Lens Systems In lens design, one characterizes the illumination distribution across the screen where the image resides in terms of a quantity known as the lens’ relative illumination — the ratio of the irradiance (i.e., the power per unit area) at any off-axis position of the image to the irradiance at the center of the image. -
Introduction to CODE V: Optics
Introduction to CODE V Training: Day 1 “Optics 101” Digital Camera Design Study User Interface and Customization 3280 East Foothill Boulevard Pasadena, California 91107 USA (626) 795-9101 Fax (626) 795-0184 e-mail: [email protected] World Wide Web: http://www.opticalres.com Copyright © 2009 Optical Research Associates Section 1 Optics 101 (on a Budget) Introduction to CODE V Optics 101 • 1-1 Copyright © 2009 Optical Research Associates Goals and “Not Goals” •Goals: – Brief overview of basic imaging concepts – Introduce some lingo of lens designers – Provide resources for quick reference or further study •Not Goals: – Derivation of equations – Explain all there is to know about optical design – Explain how CODE V works Introduction to CODE V Training, “Optics 101,” Slide 1-3 Sign Conventions • Distances: positive to right t >0 t < 0 • Curvatures: positive if center of curvature lies to right of vertex VC C V c = 1/r > 0 c = 1/r < 0 • Angles: positive measured counterclockwise θ > 0 θ < 0 • Heights: positive above the axis Introduction to CODE V Training, “Optics 101,” Slide 1-4 Introduction to CODE V Optics 101 • 1-2 Copyright © 2009 Optical Research Associates Light from Physics 102 • Light travels in straight lines (homogeneous media) • Snell’s Law: n sin θ = n’ sin θ’ • Paraxial approximation: –Small angles:sin θ~ tan θ ~ θ; and cos θ ~ 1 – Optical surfaces represented by tangent plane at vertex • Ignore sag in computing ray height • Thickness is always center thickness – Power of a spherical refracting surface: 1/f = φ = (n’-n)*c -
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. -
Section 10 Vignetting Vignetting the Stop Determines Determines the Stop the Size of the Bundle of Rays That Propagates On-Axis an the System for Through Object
10-1 I and Instrumentation Design Optical OPTI-502 © Copyright 2019 John E. Greivenkamp E. John 2019 © Copyright Section 10 Vignetting 10-2 I and Instrumentation Design Optical OPTI-502 Vignetting Greivenkamp E. John 2019 © Copyright On-Axis The stop determines the size of Ray Aperture the bundle of rays that propagates Bundle through the system for an on-axis object. As the object height increases, z one of the other apertures in the system (such as a lens clear aperture) may limit part or all of Stop the bundle of rays. This is known as vignetting. Vignetted Off-Axis Ray Rays Bundle z Stop Aperture 10-3 I and Instrumentation Design Optical OPTI-502 Ray Bundle – On-Axis Greivenkamp E. John 2018 © Copyright The ray bundle for an on-axis object is a rotationally-symmetric spindle made up of sections of right circular cones. Each cone section is defined by the pupil and the object or image point in that optical space. The individual cone sections match up at the surfaces and elements. Stop Pupil y y y z y = 0 At any z, the cross section of the bundle is circular, and the radius of the bundle is the marginal ray value. The ray bundle is centered on the optical axis. 10-4 I and Instrumentation Design Optical OPTI-502 Ray Bundle – Off Axis Greivenkamp E. John 2019 © Copyright For an off-axis object point, the ray bundle skews, and is comprised of sections of skew circular cones which are still defined by the pupil and object or image point in that optical space. -
Depth of Field PDF Only
Depth of Field for Digital Images Robin D. Myers Better Light, Inc. In the days before digital images, before the advent of roll film, photography was accomplished with photosensitive emulsions spread on glass plates. After processing and drying the glass negative, it was contact printed onto photosensitive paper to produce the final print. The size of the final print was the same size as the negative. During this period some of the foundational work into the science of photography was performed. One of the concepts developed was the circle of confusion. Contact prints are usually small enough that they are normally viewed at a distance of approximately 250 millimeters (about 10 inches). At this distance the human eye can resolve a detail that occupies an angle of about 1 arc minute. The eye cannot see a difference between a blurred circle and a sharp edged circle that just fills this small angle at this viewing distance. The diameter of this circle is called the circle of confusion. Converting the diameter of this circle into a size measurement, we get about 0.1 millimeters. If we assume a standard print size of 8 by 10 inches (about 200 mm by 250 mm) and divide this by the circle of confusion then an 8x10 print would represent about 2000x2500 smallest discernible points. If these points are equated to their equivalence in digital pixels, then the resolution of a 8x10 print would be about 2000x2500 pixels or about 250 pixels per inch (100 pixels per centimeter). The circle of confusion used for 4x5 film has traditionally been that of a contact print viewed at the standard 250 mm viewing distance. -
Multi-Agent Recognition System Based on Object Based Image Analysis Using Worldview-2
intervals, between −3 and +3, for a total of 19 different EVs To mimic airborne imagery collection from a terrestrial captured (see Table 1). WB variable images were captured location, we attempted to approximate an equivalent path utilizing the camera presets listed in Table 1 at the EVs of 0, radiance to match a range of altitudes (750 to 1500 m) above −1 and +1, for a total of 27 images. Variable light metering ground level (AGL), that we commonly use as platform alti- tests were conducted using the “center weighted” light meter tudes for our simulated damage assessment research. Optical setting, at the EVs listed in Table 1, for a total of seven images. depth increases horizontally along with the zenith angle, from The variable ISO tests were carried out at the EVs of −1, 0, and a factor of one at zenith angle 0°, to around 40° at zenith angle +1, using the ISO values listed in Table 1, for a total of 18 im- 90° (Allen, 1973), and vertically, with a zenith angle of 0°, the ages. The variable aperture tests were conducted using 19 dif- magnitude of an object at the top of the atmosphere decreases ferent apertures ranging from f/2 to f/16, utilizing a different by 0.28 at sea level, 0.24 at 500 m, and 0.21 at 1,000 m above camera system from all the other tests, with ISO = 50, f = 105 sea level, to 0 at around 100 km (Green, 1992). With 25 mm, four different degrees of onboard vignetting control, and percent of atmospheric scattering due to atmosphere located EVs of −⅓, ⅔, 0, and +⅔, for a total of 228 images. -
Holographic Optics for Thin and Lightweight Virtual Reality
Holographic Optics for Thin and Lightweight Virtual Reality ANDREW MAIMONE, Facebook Reality Labs JUNREN WANG, Facebook Reality Labs Fig. 1. Left: Photo of full color holographic display in benchtop form factor. Center: Prototype VR display in sunglasses-like form factor with display thickness of 8.9 mm. Driving electronics and light sources are external. Right: Photo of content displayed on prototype in center image. Car scenes by komba/Shutterstock. We present a class of display designs combining holographic optics, direc- small text near the limit of human visual acuity. This use case also tional backlighting, laser illumination, and polarization-based optical folding brings VR out of the home and in to work and public spaces where to achieve thin, lightweight, and high performance near-eye displays for socially acceptable sunglasses and eyeglasses form factors prevail. virtual reality. Several design alternatives are proposed, compared, and ex- VR has made good progress in the past few years, and entirely perimentally validated as prototypes. Using only thin, flat films as optical self-contained head-worn systems are now commercially available. components, we demonstrate VR displays with thicknesses of less than 9 However, current headsets still have box-like form factors and pro- mm, fields of view of over 90◦ horizontally, and form factors approach- ing sunglasses. In a benchtop form factor, we also demonstrate a full color vide only a fraction of the resolution of the human eye. Emerging display using wavelength-multiplexed holographic lenses that uses laser optical design techniques, such as polarization-based optical folding, illumination to provide a large gamut and highly saturated color. -
Depth of Focus (DOF)
Erect Image Depth of Focus (DOF) unit: mm Also known as ‘depth of field’, this is the distance (measured in the An image in which the orientations of left, right, top, bottom and direction of the optical axis) between the two planes which define the moving directions are the same as those of a workpiece on the limits of acceptable image sharpness when the microscope is focused workstage. PG on an object. As the numerical aperture (NA) increases, the depth of 46 focus becomes shallower, as shown by the expression below: λ DOF = λ = 0.55µm is often used as the reference wavelength 2·(NA)2 Field number (FN), real field of view, and monitor display magnification unit: mm Example: For an M Plan Apo 100X lens (NA = 0.7) The depth of focus of this objective is The observation range of the sample surface is determined by the diameter of the eyepiece’s field stop. The value of this diameter in 0.55µm = 0.6µm 2 x 0.72 millimeters is called the field number (FN). In contrast, the real field of view is the range on the workpiece surface when actually magnified and observed with the objective lens. Bright-field Illumination and Dark-field Illumination The real field of view can be calculated with the following formula: In brightfield illumination a full cone of light is focused by the objective on the specimen surface. This is the normal mode of viewing with an (1) The range of the workpiece that can be observed with the optical microscope. With darkfield illumination, the inner area of the microscope (diameter) light cone is blocked so that the surface is only illuminated by light FN of eyepiece Real field of view = from an oblique angle. -
Multi-Perspective Stereoscopy from Light Fields
Multi-Perspective stereoscopy from light fields The MIT Faculty has made this article openly available. Please share how this access benefits you. Your story matters. Citation Changil Kim, Alexander Hornung, Simon Heinzle, Wojciech Matusik, and Markus Gross. 2011. Multi-perspective stereoscopy from light fields. ACM Trans. Graph. 30, 6, Article 190 (December 2011), 10 pages. As Published http://dx.doi.org/10.1145/2070781.2024224 Publisher Association for Computing Machinery (ACM) Version Author's final manuscript Citable link http://hdl.handle.net/1721.1/73503 Terms of Use Creative Commons Attribution-Noncommercial-Share Alike 3.0 Detailed Terms http://creativecommons.org/licenses/by-nc-sa/3.0/ Multi-Perspective Stereoscopy from Light Fields Changil Kim1,2 Alexander Hornung2 Simon Heinzle2 Wojciech Matusik2,3 Markus Gross1,2 1ETH Zurich 2Disney Research Zurich 3MIT CSAIL v u s c Disney Enterprises, Inc. Input Images 3D Light Field Multi-perspective Cuts Stereoscopic Output Figure 1: We propose a framework for flexible stereoscopic disparity manipulation and content post-production. Our method computes multi-perspective stereoscopic output images from a 3D light field that satisfy arbitrary prescribed disparity constraints. We achieve this by computing piecewise continuous cuts (shown in red) through the light field that enable per-pixel disparity control. In this particular example we employed gradient domain processing to emphasize the depth of the airplane while suppressing disparities in the rest of the scene. Abstract tions of autostereoscopic and multi-view autostereoscopic displays even glasses-free solutions become available to the consumer. This paper addresses stereoscopic view generation from a light field. We present a framework that allows for the generation However, the task of creating convincing yet perceptually pleasing of stereoscopic image pairs with per-pixel control over disparity, stereoscopic content remains difficult. -
Super-Resolution Imaging by Dielectric Superlenses: Tio2 Metamaterial Superlens Versus Batio3 Superlens
hv photonics Article Super-Resolution Imaging by Dielectric Superlenses: TiO2 Metamaterial Superlens versus BaTiO3 Superlens Rakesh Dhama, Bing Yan, Cristiano Palego and Zengbo Wang * School of Computer Science and Electronic Engineering, Bangor University, Bangor LL57 1UT, UK; [email protected] (R.D.); [email protected] (B.Y.); [email protected] (C.P.) * Correspondence: [email protected] Abstract: All-dielectric superlens made from micro and nano particles has emerged as a simple yet effective solution to label-free, super-resolution imaging. High-index BaTiO3 Glass (BTG) mi- crospheres are among the most widely used dielectric superlenses today but could potentially be replaced by a new class of TiO2 metamaterial (meta-TiO2) superlens made of TiO2 nanoparticles. In this work, we designed and fabricated TiO2 metamaterial superlens in full-sphere shape for the first time, which resembles BTG microsphere in terms of the physical shape, size, and effective refractive index. Super-resolution imaging performances were compared using the same sample, lighting, and imaging settings. The results show that TiO2 meta-superlens performs consistently better over BTG superlens in terms of imaging contrast, clarity, field of view, and resolution, which was further supported by theoretical simulation. This opens new possibilities in developing more powerful, robust, and reliable super-resolution lens and imaging systems. Keywords: super-resolution imaging; dielectric superlens; label-free imaging; titanium dioxide Citation: Dhama, R.; Yan, B.; Palego, 1. Introduction C.; Wang, Z. Super-Resolution The optical microscope is the most common imaging tool known for its simple de- Imaging by Dielectric Superlenses: sign, low cost, and great flexibility. -
A Guide to Smartphone Astrophotography National Aeronautics and Space Administration
National Aeronautics and Space Administration A Guide to Smartphone Astrophotography National Aeronautics and Space Administration A Guide to Smartphone Astrophotography A Guide to Smartphone Astrophotography Dr. Sten Odenwald NASA Space Science Education Consortium Goddard Space Flight Center Greenbelt, Maryland Cover designs and editing by Abbey Interrante Cover illustrations Front: Aurora (Elizabeth Macdonald), moon (Spencer Collins), star trails (Donald Noor), Orion nebula (Christian Harris), solar eclipse (Christopher Jones), Milky Way (Shun-Chia Yang), satellite streaks (Stanislav Kaniansky),sunspot (Michael Seeboerger-Weichselbaum),sun dogs (Billy Heather). Back: Milky Way (Gabriel Clark) Two front cover designs are provided with this book. To conserve toner, begin document printing with the second cover. This product is supported by NASA under cooperative agreement number NNH15ZDA004C. [1] Table of Contents Introduction.................................................................................................................................................... 5 How to use this book ..................................................................................................................................... 9 1.0 Light Pollution ....................................................................................................................................... 12 2.0 Cameras ................................................................................................................................................ -
Samyang T-S 24Mm F/3.5 ED AS
GEAR GEAR ON TEST: Samyang T-S 24mm f/3.5 ED AS UMC As the appeal of tilt-shift lenses continues to broaden, Samyang has unveiled a 24mm perspective-control optic in a range of popular fittings – and at a price that’s considerably lower than rivals from Nikon and Canon WORDS TERRY HOPE raditionally, tilt-shift lenses have been seen as specialist products, aimed at architectural T photographers wanting to correct converging verticals and product photographers seeking to maximise depth-of-field. The high price of such lenses reflects the low numbers sold, as well as the precision nature of their design and construction. But despite this, the tilt-shift lens seems to be undergoing something of a resurgence in popularity. This increasing appeal isn’t because photographers are shooting more architecture or box shots. It’s more down to the popularity of miniaturisation effects in landscapes, where such a tiny part of the frame is in focus that it appears as though you are looking at a scale model, rather than the real thing. It’s an effect that many hobbyist DSLRs, CSCs and compacts can generate digitally, and it’s straightforward to create in Photoshop too, but these digital recreations are just approximations. To get the real thing you’ll need to shoot with a tilt-shift lens. Up until now that would cost you over £1500, and when you consider the number of assignments you might shoot in a year using a tilt-shift lens, that’s not great value for money. Things are set to change, though, because there’s The optical quality of the lens is very good, and is a new kid on the block in the shape of the Samyang T-S testament to the reputation that Samyang is rapidly 24mm f/3.5 ED AS UMC, which has a street price of less gaining in the optics market.