The Magazine of Panoramic Imaging Volume 16, Number 1 Two
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Optics – Panoramic Lens Applications Revisited
Panoramic Lens Applications Revisited Simon Thibault* M.Sc., Ph.D., Eng Director, Optics Division/Principal Optical Designer ImmerVision 2020 University, Montreal, Quebec, H3A 2A5 Canada ABSTRACT During the last few years, innovative optical design strategies to generate and control image mapping have been successful in producing high-resolution digital imagers and projectors. This new generation of panoramic lenses includes catadioptric panoramic lenses, panoramic annular lenses, visible/IR fisheye lenses, anamorphic wide-angle attachments, and visible/IR panomorph lenses. Given that a wide-angle lens images a large field of view on a limited number of pixels, a systematic pixel-to-angle mapping will help the efficient use of each pixel in the field of view. In this paper, we present several modern applications of these modern types of hemispheric lenses. Recently, surveillance and security applications have been proposed and published in Security and Defence symposium. However, modern hemispheric lens can be used in many other fields. A panoramic imaging sensor contributes most to the perception of the world. Panoramic lenses are now ready to be deployed in many optical solutions. Covered applications include, but are not limited to medical imaging (endoscope, rigiscope, fiberscope…), remote sensing (pipe inspection, crime scene investigation, archeology…), multimedia (hemispheric projector, panoramic image…). Modern panoramic technologies allow simple and efficient digital image processing and the use of standard image analysis features (motion estimation, segmentation, object tracking, pattern recognition) in the complete 360o hemispheric area. Keywords: medical imaging, image analysis, immersion, omnidirectional, panoramic, panomorph, multimedia, total situation awareness, remote sensing, wide-angle 1. INTRODUCTION Photography was invented by Daguerre in 1837, and at that time the main photographic objective was that the lens should cover a wide-angle field of view with a relatively high aperture1. -
Hardware and Software for Panoramic Photography
ROVANIEMI UNIVERSITY OF APPLIED SCIENCES SCHOOL OF TECHNOLOGY Degree Programme in Information Technology Thesis HARDWARE AND SOFTWARE FOR PANORAMIC PHOTOGRAPHY Julia Benzar 2012 Supervisor: Veikko Keränen Approved _______2012__________ The thesis can be borrowed. School of Technology Abstract of Thesis Degree Programme in Information Technology _____________________________________________________________ Author Julia Benzar Year 2012 Subject of thesis Hardware and Software for Panoramic Photography Number of pages 48 In this thesis, panoramic photography was chosen as the topic of study. The primary goal of the investigation was to understand the phenomenon of pa- noramic photography and the secondary goal was to establish guidelines for its workflow. The aim was to reveal what hardware and what software is re- quired for panoramic photographs. The methodology was to explore the existing material on the topics of hard- ware and software that is implemented for producing panoramic images. La- ter, the best available hardware and different software was chosen to take the images and to test the process of stitching the images together. The ex- periment material was the result of the practical work, such the overall pro- cess and experience, gained from the process, the practical usage of hard- ware and software, as well as the images taken for stitching panorama. The main research material was the final result of stitching panoramas. The main results of the practical project work were conclusion statements of what is the best hardware and software among the options tested. The re- sults of the work can also suggest a workflow for creating panoramic images using the described hardware and software. The choice of hardware and software was limited, so there is place for further experiments. -
Download a Sample
Copyright ©2017 Hudson Henry All rights reserved. First edition, November 2017 Publisher: Rick LePage Design: Farnsworth Design Published by Complete Digital Photography Press Portland, Oregon completedigitalphotography.com All photography ©Hudson Henry Photography, unless otherwise noted. PANORAMAS MADE SIMPLE How to create beautiful panoramas with the equipment you have—even your phone By Hudson Henry Complete Digital Photography Press Portland, Oregon TABLE OF CONTENTS PREFACE MY PASSION FOR PANORAMAS 1 3 CAPTURING THE FRAMES 26 How is this book organized? Lens selection Exposure metering 1 AN INTRODUCTION TO PANORAMIC PHOTOGRAPHY 5 Use a tripod, Where Possible Go wide and with more detail The importance of being level Simple Panoramas Defined Orient your camera vertically Not all panoramas are narrow slices (most of the time) Equipment for simple panoramas Focus using live view Advanced panoramas Beware of polarizers or graduated filters Marking your panoramas 2 THINKING ABOUT LIGHT, FOCUS AND SETUP 12 Compose wide and use lots of overlap Light and composition: the rules still apply Move quickly and carefully Watch out for parallax Finding the infinity distance 4 ASSEMBLING YOUR PANORAMA 35 Learning how to lock your camera settings My workflow at a glance Why shouldn’t I use my phone’s Building Panoramas with automatic panorama mode? Lightroom Classic CC Why is manual exposure so important? Working with Photoshop CC to create panoramas Building Panoramas in ON1 Photo Raw 2018 5 RESOURCES 52 PREFACE MY PASSION FOR PANORAMAS My frst panorama, I GREW UP WITH ADVENTURESOME EXTENDED FAM- with image quality. Like many similar photographers, I created from three ILY MEMBERS WHO LOVED TRAVELING, CLIMBING, AND shifted to medium-format film for the bigger frame and frames of medium- format flm. -
Panorama Photography by Andrew Mcdonald
Panorama Photography by Andrew McDonald Crater Lake - Andrew McDonald (10520 x 3736 - 39.3MP) What is a Panorama? A panorama is any wide-angle view or representation of a physical space, whether in painting, drawing, photography, film/video, or a three-dimensional model. Downtown Kansas City, MO – Andrew McDonald (16614 x 4195 - 69.6MP) How do I make a panorama? Cropping of normal image (4256 x 2832 - 12.0MP) Union Pacific 3985-Andrew McDonald (4256 x 1583 - 6.7MP) • Some Cameras have had this built in • APS Cameras had a setting that would indicate to the printer that the image should be printed as a panorama and would mask the screen off. Some 35mm P&S cameras would show a mask to help with composition. • Advantages • No special equipment or technique required • Best (only?) option for scenes with lots of movement • Disadvantages • Reduction in resolution since you are cutting away portions of the image • Depending on resolution may only be adequate for web or smaller prints How do I make a panorama? Multiple Image Stitching + + = • Digital cameras do this automatically or assist Snake River Overlook – Andrew McDonald (7086 x 2833 - 20.0MP) • Some newer cameras do this by “sweeping the camera” across the scene while holding the shutter button. Images are stitched in-camera. • Other cameras show the left or right edge of prior image to help with composition of next image. Stitching may be done in-camera or multiple images are created. • Advantages • Resolution can be very high by using telephoto lenses to take smaller slices of the scene -
Enlarger / Photogram Review Worksheet Photography 1 Ms. Brown Names Block Date
Enlarger / Photogram Review Worksheet Photography 1 Ms. Brown Names Block Date Find your enlarger partner and work as a team to fill out the following handout. 1. It is safe to have your photo paper out of the box/bag while you focus the enlarger light. a. True, photo paper is light sensitive but not THAT sensitive. b. False, photo paper is light sensitive and should never be left out or opened when any kind of white light is present in the darkroom or classroom, which is why you turn your timer OFF while you get out your paper. 2. Please explain why we make “test strips” in photography. 3. What should you consider for your photogram composition? a. Asymmetry b. Movement c. Full range of values including true black and true white d. Strong focal point e. All of the above 4. A PHOTOGRAM is also known as a RAYOGRAM named after the artist MAN RAY. a. True b. False 5. What is the difference between “focus” and “time” on your timer? Please explain. 6. What number enlarger are you assigned to? _____ 7. Find your assigned enlarger and write down the apertures (f-stops) from brightest to dimmest. (hint…apertures are located on the lens of your enlarger) BRIGHEST (2.8) ------------------------------------------------------------------- (32) DIMMEST 8. Turn your aperture (f/stop) to the brightest setting. Now set your aperture to f/8. How many clicks does it take to get to f/8 on YOUR enlarger? (This will vary depending on the brand of your enlarger) _______ BEFORE YOU BEGIN WORKING IN THE DARKROOM TODAY. -
Ground-Based Photographic Monitoring
United States Department of Agriculture Ground-Based Forest Service Pacific Northwest Research Station Photographic General Technical Report PNW-GTR-503 Monitoring May 2001 Frederick C. Hall Author Frederick C. Hall is senior plant ecologist, U.S. Department of Agriculture, Forest Service, Pacific Northwest Region, Natural Resources, P.O. Box 3623, Portland, Oregon 97208-3623. Paper prepared in cooperation with the Pacific Northwest Region. Abstract Hall, Frederick C. 2001 Ground-based photographic monitoring. Gen. Tech. Rep. PNW-GTR-503. Portland, OR: U.S. Department of Agriculture, Forest Service, Pacific Northwest Research Station. 340 p. Land management professionals (foresters, wildlife biologists, range managers, and land managers such as ranchers and forest land owners) often have need to evaluate their management activities. Photographic monitoring is a fast, simple, and effective way to determine if changes made to an area have been successful. Ground-based photo monitoring means using photographs taken at a specific site to monitor conditions or change. It may be divided into two systems: (1) comparison photos, whereby a photograph is used to compare a known condition with field conditions to estimate some parameter of the field condition; and (2) repeat photo- graphs, whereby several pictures are taken of the same tract of ground over time to detect change. Comparison systems deal with fuel loading, herbage utilization, and public reaction to scenery. Repeat photography is discussed in relation to land- scape, remote, and site-specific systems. Critical attributes of repeat photography are (1) maps to find the sampling location and of the photo monitoring layout; (2) documentation of the monitoring system to include purpose, camera and film, w e a t h e r, season, sampling technique, and equipment; and (3) precise replication of photographs. -
Color Printing Techniques
4-H Photography Skill Guide Color Printing Techniques Enlarging Color Negatives Making your own color prints from Color Relations color negatives provides a whole new area of Before going ahead into this fascinating photography for you to enjoy. You can make subject of color printing, let’s make sure we prints nearly any size you want, from small ones understand some basic photographic color and to big enlargements. You can crop pictures for the visual relationships. composition that’s most pleasing to you. You can 1. White light (sunlight or the light from an control the lightness or darkness of the print, as enlarger lamp) is made up of three primary well as the color balance, and you can experiment colors: red, green, and blue. These colors are with control techniques to achieve just the effect known as additive primary colors. When you’re looking for. The possibilities for creating added together in approximately equal beautiful color prints are as great as your own amounts, they produce white light. imagination. You can print color negatives on conventional 2. Color‑negative film has a separate light‑ color printing paper. It’s the kind of paper your sensitive layer to correspond with each photofinisher uses. It requires precise processing of these three additive primary colors. in two or three chemical solutions and several Images recorded on these layers appear as washes in water. It can be processed in trays or a complementary (opposite) colors. drum processor. • A red subject records on the red‑sensitive layer as cyan (blue‑green). • A green subject records on the green‑ sensitive layer as magenta (blue‑red). -
A Curriculum Guide
FOCUS ON PHOTOGRAPHY: A CURRICULUM GUIDE This page is an excerpt from Focus on Photography: A Curriculum Guide Written by Cynthia Way for the International Center of Photography © 2006 International Center of Photography All rights reserved. Published by the International Center of Photography, New York. Printed in the United States of America. Please credit the International Center of Photography on all reproductions. This project has been made possible with generous support from Andrew and Marina Lewin, the GE Fund, and public funds from the New York City Department of Cultural Affairs Cultural Challenge Program. FOCUS ON PHOTOGRAPHY: A CURRICULUM GUIDE PART IV Resources FOCUS ON PHOTOGRAPHY: A CURRICULUM GUIDE This section is an excerpt from Focus on Photography: A Curriculum Guide Written by Cynthia Way for the International Center of Photography © 2006 International Center of Photography All rights reserved. Published by the International Center of Photography, New York. Printed in the United States of America. Please credit the International Center of Photography on all reproductions. This project has been made possible with generous support from Andrew and Marina Lewin, the GE Fund, and public funds from the New York City Department of Cultural Affairs Cultural Challenge Program. FOCUS ON PHOTOGRAPHY: A CURRICULUM GUIDE Focus Lesson Plans Fand Actvities INDEX TO FOCUS LINKS Focus Links Lesson Plans Focus Link 1 LESSON 1: Introductory Polaroid Exercises Focus Link 2 LESSON 2: Camera as a Tool Focus Link 3 LESSON 3: Photographic Field -
Photography Techniques Intermediate Skills
Photography Techniques Intermediate Skills PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Wed, 21 Aug 2013 16:20:56 UTC Contents Articles Bokeh 1 Macro photography 5 Fill flash 12 Light painting 12 Panning (camera) 15 Star trail 17 Time-lapse photography 19 Panoramic photography 27 Cross processing 33 Tilted plane focus 34 Harris shutter 37 References Article Sources and Contributors 38 Image Sources, Licenses and Contributors 39 Article Licenses License 41 Bokeh 1 Bokeh In photography, bokeh (Originally /ˈboʊkɛ/,[1] /ˈboʊkeɪ/ BOH-kay — [] also sometimes heard as /ˈboʊkə/ BOH-kə, Japanese: [boke]) is the blur,[2][3] or the aesthetic quality of the blur,[][4][5] in out-of-focus areas of an image. Bokeh has been defined as "the way the lens renders out-of-focus points of light".[6] However, differences in lens aberrations and aperture shape cause some lens designs to blur the image in a way that is pleasing to the eye, while others produce blurring that is unpleasant or distracting—"good" and "bad" bokeh, respectively.[2] Bokeh occurs for parts of the scene that lie outside the Coarse bokeh on a photo shot with an 85 mm lens and 70 mm entrance pupil diameter, which depth of field. Photographers sometimes deliberately use a shallow corresponds to f/1.2 focus technique to create images with prominent out-of-focus regions. Bokeh is often most visible around small background highlights, such as specular reflections and light sources, which is why it is often associated with such areas.[2] However, bokeh is not limited to highlights; blur occurs in all out-of-focus regions of the image. -
Download Product Catalog
PHOTOGRAPHIC EQUIPMENT Developing excellence for over 65 years 150 Years of Manufacturing Excellence The Charles Beseler Company was founded in 1869 as a manufacturer of a variety of products including inhalers, magic lanterns with oil lamps and stereopticons. By 1943 the company had become an innovative audio-visual company serving the military and education markets. In 1953, Beseler entered the amateur and professional photography fields with the development of the 45 Series Enlarger and other darkroom products. Today, the Charles Beseler Company continues to be the leading supplier of photographic darkroom equipment for the educational market. Proudly made in the USA, at a modern manufacturing facility in Stroudsburg, Pennsylvania, Beseler’s line of high-quality photographic equipment continues to withstand the test of time and remains the industry standard for professionals and amateurs alike. beseler.com NEW PRODUCT DESIGN AND INNOVATION. A BESELER TRADITION. Our team of experts is constantly working on engineering and manufacturing new products to meet your most challenging photographic needs. Check back on our website to discover the very latest Beseler products, parts and accessories in the coming months! From enlargers and light sources to copy stands and easels, Beseler offers the highest quality photographic equipment, all backed by an experienced sales and service team. See why photographers have trusted our products for generations. ENLARGERS 2-3 LIGHT SOURCES 4-5 EASELS 6 COPY STANDS 7 ACCESSORIES AND REPLACEMENT PARTS 8-9 800.237.3537 • beseler.com 1 ENLARGERS 23C III-XL Enlargers All 23C III-XL enlargers are built around the extra long and rigid twin girder construction which helps reduce vibrations while allowing print sizes larger than 16” x20” on the baseboard. -
The Production of Images Using Photographic Equipment and Serigraphy Charles Roger Banks Iowa State University
Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 1977 The production of images using photographic equipment and serigraphy Charles Roger Banks Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Part of the Advertising and Promotion Management Commons, Art and Design Commons, Marketing Commons, and the Public Relations and Advertising Commons Recommended Citation Banks, Charles Roger, "The production of images using photographic equipment and serigraphy " (1977). Retrospective Theses and Dissertations. 7969. https://lib.dr.iastate.edu/rtd/7969 This Thesis is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. The production of images using photographic equipment and serigraphy by Charles Roger Banks A Thesis Submitted to the Graduate Faculty in Partial Fulfillment of The Requirements for the Degree of MASTER OF ARTS Department: Applied Art Major: Applied Art (Advertising Design) Signatures have been redacted for privacy Iowa State University Ames, Iowa 1977 ii TABLE OF CONTENTS Page INTRODUCTION 1 EPITOME OF PHOTOGRAPHY 2 EPITOME OF SERIGRAPHY 8 THE INDIVIDUAL IMAGE ELEMENTS PRODUCED USING PHOTOGRAPHIC EQUIPMENT 14 INDIVIDUAL IMAGE ELEMENTS PRODUCED BY SERIGRAPHY 32 THE CREATIVE COMBINATION OF THE INDIVIDUAL IMAGE ELEMENTS 35 THE CREATIVE PIECES 36 SUMMARY 46a SELECTED BIBLIOGRAPHY 47 GLOSSARY 48 ACKNOWLEDGMENTS 49 1 INTRODUCTION This study was undertaken to investigate the character of visual images created by combining individual image elements produced using specific photographic equipment and serigraphy. -
Panoramic Cameras I Built Over the Years
PANORAMIC CAMERAS I'VE MADE Andrew Davidhazy, Imaging and Photographic Technology Rochester Institute of Technology My experiences with panoramic camera construction started in the late 1960's while still an undergraduate student at R.I.T. and while involved with exploring the photographic possibilities of moving film type cameras generically known as "strip" cameras. I first learned of the pictorial applications of these cameras from the work of Life Magazine's George Silk and his coverage of the 1960 Olympics with a camera modified for him by Marty Forsher. The first panoramic camera I built consisted of a mechanism for rewinding the film in a standard 35mm camera while the camera was manually panned at a rate controlled by the focal length used on the camera. The longer the lens the slower the pan for a given rewind speed. I took an approach to determining the length of film required for a full 360° shot which was, and remains, rather unorthodox. Instead of using the traditional formula of 2 x f x pi, I divide the vertical angle of view of the lens in use into 360 and multiply this figure by 24mm. While normal focal length lenses require similar lengths by each method it was not until I came in contact with Cirkut photographers that the advantages of the previous method became evident. At the same time that my interest in panoramic photography increased I started to experiment with enlargements. In 1970 I made a 360° 32 foot long print from a panoramic photography made with a 35mm focal length lens on the above camera turned by a battery driven rotating tripod head made for it.