Wide-Angle Lens
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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. -
Panoramas Shoot with the Camera Positioned Vertically As This Will Give the Photo Merging Software More Wriggle-Room in Merging the Images
P a n o r a m a s What is a Panorama? A panoramic photo covers a larger field of view than a “normal” photograph. In general if the aspect ratio is 2 to 1 or greater then it’s classified as a panoramic photo. This sample is about 3 times wider than tall, an aspect ratio of 3 to 1. What is a Panorama? A panorama is not limited to horizontal shots only. Vertical images are also an option. How is a Panorama Made? Panoramic photos are created by taking a series of overlapping photos and merging them together using software. Why Not Just Crop a Photo? • Making a panorama by cropping deletes a lot of data from the image. • That’s not a problem if you are just going to view it in a small format or at a low resolution. • However, if you want to print the image in a large format the loss of data will limit the size and quality that can be made. Get a Really Wide Angle Lens? • A wide-angle lens still may not be wide enough to capture the whole scene in a single shot. Sometime you just can’t get back far enough. • Photos taken with a wide-angle lens can exhibit undesirable lens distortion. • Lens cost, an auto focus 14mm f/2.8 lens can set you back $1,800 plus. What Lens to Use? • A standard lens works very well for taking panoramic photos. • You get minimal lens distortion, resulting in more realistic panoramic photos. • Choose a lens or focal length on a zoom lens of between 35mm and 80mm. -
Chapter 3 (Aberrations)
Chapter 3 Aberrations 3.1 Introduction In Chap. 2 we discussed the image-forming characteristics of optical systems, but we limited our consideration to an infinitesimal thread- like region about the optical axis called the paraxial region. In this chapter we will consider, in general terms, the behavior of lenses with finite apertures and fields of view. It has been pointed out that well- corrected optical systems behave nearly according to the rules of paraxial imagery given in Chap. 2. This is another way of stating that a lens without aberrations forms an image of the size and in the loca- tion given by the equations for the paraxial or first-order region. We shall measure the aberrations by the amount by which rays miss the paraxial image point. It can be seen that aberrations may be determined by calculating the location of the paraxial image of an object point and then tracing a large number of rays (by the exact trigonometrical ray-tracing equa- tions of Chap. 10) to determine the amounts by which the rays depart from the paraxial image point. Stated this baldly, the mathematical determination of the aberrations of a lens which covered any reason- able field at a real aperture would seem a formidable task, involving an almost infinite amount of labor. However, by classifying the various types of image faults and by understanding the behavior of each type, the work of determining the aberrations of a lens system can be sim- plified greatly, since only a few rays need be traced to evaluate each aberration; thus the problem assumes more manageable proportions. -
Large Format Camera
Large format Camera Movements and Operation Presented by N. David king 619-276-3225 © N. David King All rights Reserved Large Format Camera Movements and Operations Page 1 COURSE CURRICULA he Large format camera, in “View” and “Field” versions, are the T primary tool for many of the commercial/professional photographic disciplines. Especially for product, advertising, illustration, and high-end fashion and portraiture work, as well as for landscape and nature photography this workhorse camera is the tool selected whenever the ultimate in quality is required. This course will teach the rudiments of using this tool to control and enhance the image. Why Large Format Large format cameras shooting a negative in the 4”x 5” size and larger are cumbersome to carry and slow to set up. So why would a working photographer with deadlines to meet, bother? The answer is in the resulting image quality and image control. No other photographic tool, including digital post acquisition image manipulation, provides the degree of control and quality available in this format. Even where the image will be manipulated after acquisition by traditional airbrushing, darkroom techniques, or via digital editing, the old rule of thumb still applies: the better the original image, the better the results will be. Course Objectives After successfully completing this course. The student will be able to set up and operate a large format camera and use its optical and film plane movements to control the distortion and depth of field of their photographs. Course Elements The complete course will contain: 1. An instructor-led lecture and demonstration, 2. -
Alternative Processes a Few Essentials Introduction
Alternative Processes A Few Essentials Introduction Chapter 1. Capture Techniques From Alternative Photographic Processes: Crafting Handmade Images Chapter 2. Digital Negatives for Gum From Gum Printing: A Step-by-Step Manual, Highlighting Artists and Their Creative Practice Chapter 3. Fugitive and Not-So-Fugitive Printing From Jill Enfield?s Guide to Photographic Alternative Processes: Popular Historical and Contemporary Techniques 2 Featured Books on Alternative Process Photography from Routledge | Focal Press Use discount code FLR40 to take 20% off all Routledge titles. Simply visit www.routledge.com/photography to browse and purchase books of interest. 3 Introduction A young art though it may be, photography already has a rich history. As media moves full steam ahead into the digital revolution and beyond, it is a natural instinct to look back at where we?ve come from. With more artists rediscovering photography?s historical processes, the practice of photography continually redefines and re-contextualizes itself. The creative possibilities of these historical processes are endless, spawning a growing arena of practice - alternative processes, which combines past, present and everything in between, in the creation of art. This collection is an introduction to and a sample of these processes and possibilities. With Alternative Photographic Processes, Brady Wilks demonstrates techniques for manipulating photographs, negatives and prints ? emphasizing the ?hand-made? touch. Bridging the gap between the simplest of processes to the most complex, Wilks? introduction demonstrates image-manipulation pre-capture, allowing the artist to get intimate with his or her images long before development. In the newly-released Gum Printing, leading gum expert Christina Z. -
A N E W E R a I N O P T I
A NEW ERA IN OPTICS EXPERIENCE AN UNPRECEDENTED LEVEL OF PERFORMANCE NIKKOR Z Lens Category Map New-dimensional S-Line Other lenses optical performance realized NIKKOR Z NIKKOR Z NIKKOR Z Lenses other than the with the Z mount 14-30mm f/4 S 24-70mm f/2.8 S 24-70mm f/4 S S-Line series will be announced at a later date. NIKKOR Z 58mm f/0.95 S Noct The title of the S-Line is reserved only for NIKKOR Z lenses that have cleared newly NIKKOR Z NIKKOR Z established standards in design principles and quality control that are even stricter 35mm f/1.8 S 50mm f/1.8 S than Nikon’s conventional standards. The “S” can be read as representing words such as “Superior”, “Special” and “Sophisticated.” Top of the S-Line model: the culmination Versatile lenses offering a new dimension Well-balanced, of the NIKKOR quest for groundbreaking in optical performance high-performance lenses Whichever model you choose, every S-Line lens achieves richly detailed image expression optical performance These lenses bring a higher level of These lenses strike an optimum delivering a sense of reality in both still shooting and movie creation. It offers a new This lens has the ability to depict subjects imaging power, achieving superior balance between advanced in ways that have never been seen reproduction with high resolution even at functionality, compactness dimension in optical performance, including overwhelming resolution, bringing fresh before, including by rendering them with the periphery of the image, and utilizing and cost effectiveness, while an extremely shallow depth of field. -
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. -
Irix 45Mm F1.4
Explore the magic of medium format photography with the Irix 45mm f/1.4 lens equipped with the native mount for Fujifilm GFX cameras! The Irix Lens brand introduces a standard 45mm wide-angle lens with a dedicated mount that can be used with Fujifilm GFX series cameras equipped with medium format sensors. Digital medium format is a nod to traditional analog photography and a return to the roots that defined the vividness and quality of the image captured in photos. Today, the Irix brand offers creators, who seek iconic image quality combined with mystical vividness, a tool that will allow them to realize their wildest creative visions - the Irix 45mm f / 1.4 G-mount lens. It is an innovative product because as a precursor, it paves the way for standard wide-angle lenses with low aperture, which are able to cope with medium format sensors. The maximum aperture value of f/1.4 and the sensor size of Fujifilm GFX series cameras ensure not only a shallow depth of field, but also smooth transitions between individual focus areas and a high dynamic range. The wide f/1.4 aperture enables you to capture a clear background separation and work in low light conditions, and thanks to the excellent optical performance, which consists of high sharpness, negligible amount of chromatic aberration and great microcontrast - this lens can successfully become the most commonly used accessory that will help you create picturesque shots. The Irix 45mm f / 1.4 GFX is a professional lens designed for FujiFilm GFX cameras. It has a high-quality construction, based on the knowledge of Irix Lens engineers gained during the design and production of full-frame lenses. -
Basic View Camera
PROFICIENCY REQUIRED Operating Guide for MEDIA LOAN CALUMET 4X5 VIEW CAMERA Media Loan Operating Guides are available online at www.evergreen.edu/medialoan/ View cameras are usually tripod mounted and lend When checking out a 4x5 camera from Media Loan, themselves to a more contemplative style than the more patrons will need to obtain a tripod, a light meter, one portable 35mm and 2 1/4 formats. The Calumet 4x5 or both types of film holders, and a changing bag for Standard model view camera is a lightweight, portable sheet film loading. Each sheet holder can be loaded tool that produces superior, fine grained images because with two sheets of film, a process that must be done in of its large format and ability to adjust for a minimum of total darkness. The Polaroid holders can only be loaded image distortion. with one sheet of film at a time, but each sheet is light Media Loan's 4x5 cameras come equipped with a 150mm protected. lens which is a slightly wider angle than normal. It allows for a 44 degree angle of view, while the normal 165mm lens allows for a 40 degree angle of view. Although the controls on each of Media Loan's 4x5 lens may vary in terms of placement and style, the functions remain the same. Some of the lenses have an additional setting for strobe flash or flashbulb use. On these lenses, use the X setting for use with a strobe flash (It’s crucial for the setting to remain on X while using the studio) and the M setting for use with a flashbulb (Media Loan does not support flashbulbs). -
Lens Openings and Shutter Speeds
Illustrations courtesy Life Magazine Encyclopedia of Photography Lens Openings & Shutter Speeds Controlling Exposure & the Rendering of Space and Time Equal Lens Openings/ Double Exposure Time Here is an analogy to photographic exposure. The timer in this illustration represents the shutter speed portion of the exposure. The faucet represents the lens openings. The beaker represents the complete "filling" of the sensor chip or the film, or full exposure. You can see that with equal "openings" of the "lens" (the faucet) the beaker on the left is half full (underexposed) in 2 seconds, and completely full in 4 seconds... Also note that the capacity of the beaker is analogous to the ISO or light sensitivity setting on the camera. A large beaker represents a "slow" or less light sensitive setting, like ISO 100. A small beaker is analogous to a "fast" or more light sensitive setting, like ISO 1200. Doubling or halving the ISO number doubles or halves the sensitivity, effectively the same scheme as for f/stops and shutter speeds. 200 ISO film is "one stop faster" than ISO 100. Equal Time One f/stop down In the second illustration, the example on the left, the faucet (lens opening, f-stop, or "aperture"- all the same meaning here) is opened twice as much as the example on the right- or one "stop." It passes twice as much light as the one on the right, in the same period of time. Thus by opening the faucet one "stop," the beaker will be filled in 2 seconds. In the right example, with the faucet "stopped down" the film is underexposed by half- or one "stop." On the left, the "lens" is "opened by one stop." Equivalent Exposure: Lens Open 1 f/stop more & 1/2 the Time In this illustration, we have achieved "equivalent exposure" by, on the left, "opening the lens" by one "stop" exposing the sensor chip fully in 2 seconds. -
Datenbank Kameras
Hersteller Kameraname Objektiv Verschluß Verschlußzeit Format Blende Filmtyp Zustand Baujahr Gewicht Tasche Toptron Microcam fashon 3 3PAGEN Versand Supercolor NoName ca. 11/20mm Zentral ca. 1/30 sec. 13 x 17 mm ca. 11 110er Kassette A-B 2000 70 Gramm Nein Adox 300 Schneider Kreuznach Xenar 2,8/45 mm Compur Rapid B, 1 - 1/150 sec. 24 x 36 mm 2,8 - 22 35er Kleinbildfilm C 1956 870 Gramm Ja Adox Golf 63 Adoxar 6,3/75 mm Vario B, 1/25 - 1/200 sec. 6 x 6 cm 6,3 - 22 120er Rollfilm C-D 1954 520 Gramm Ja Adox Fotowerke Frankfurt a. M. Adoxon 2,8 / 45 Adox Golf Ia mm Prontor 125 B, 1/30 - 1/125 sec. 24 x 36 mm 2,8 - 22 35er Kleinbildfilm B 1964 330 Gramm Ja Adox Polo mat 1 Schneider Kreuznach Radionar L 2,8/45 mm Prontor 500 LK B, 1/15-1/500 sec. 24 x 36 mm 2,8 - 22 35er Kleinbildfilm C 1959 - 60 440 Gramm Nein Adox (Wirgin) Adrette I Adox Wiesbaden Adoxar 4,5/5 cm Vario B, T, 1/25-1/100 sec. 24 x 36 mm 4,5 - 16 35er Kleinbildfilm C 1939 420 Gramm Ja Agfa Agfamatic easy Agfa Color Apotar 26 mm Zentral Auto 13 x 17 mm Auto 110er Pocketfilm B 1981 200 Gramm nein Agfa Agfamatic Makro Pocket 5008 Agfa Solinar 2,7 Zentral Auto 13 x 17 mm Auto 110er Pocketfilm B 1977 300 Gramm nein Agfa Agfamatic Optima 5000 Set Agfa Solinar 2,7 Zentral Auto 13 x 17 mm Auto 110er Pocketfilm B 1974 510 Gramm nein Agfa Agfamatic Optima 6000 Agfa Solinar 2,7 Zentral Auto 13 x 17 mm Auto 110er Pocketfilm B 1977 320 Gramm nein Agfa Agfamatic Pocket 1000 S Agfa Color Agnar 26 mm Zentral Auto 13 x 17 mm Auto 110er Pocketfilm B 1974 120 Gramm nein Agfa Agfamatic Pocket 2008 Agfa Color Agnar Zentral Auto 13 x 17 mm Auto 110er Pocketfilm B 1975 180 Gramm nein Agfa Agfamatic Pocket 3000 Agfa Color Apotar Zentral Auto 13 x 17 mm Auto 110er Pocketfilm B 1976 300 Gramm nein Agfa Agfamatic Pocket 4008 Agfa Color Apotar Zentral Auto 13 x 17 mm Auto 110er Pocketfilm B 1975 200 Gramm nein Agfa Billy (I) Jgestar 8,8 / ca. -
Step up to the Latest in Ultra-Telephoto Zoom Lenses
Lightest in its class* Shoot precisely in the moment Extremely portable, with a highly responsive AF. Now you can seize the moment with lasting effect. Step up to the latest in ultra-telephoto zoom lenses 100-400mm F/4.5-6.3 Di VC USD (Model A035) For Canon and Nikon mounts Di: For full-frame and APS-C format DSLR cameras * Among 100-400mm interchangeable lenses for DSLR cameras (as of Oct, 2017; Tamron) Tripod mount is an option. Heavyweight Performance in a Lightweight Lens Excellent AF performance meets Mobility meets precision enhanced VC (Vibration Compensation) with the A035 ultra-telephoto lens eBAND Coating delivers sharp, clear photos Focal Length: 300mm Exposure: F/8 1/500sec ISO: 200 Precise AF tracking and VC (Vibration Compensation) are essential to ultra-telephoto lens performance. Tamron’s Dual MPU high-speed control system** helps make this possible. In addition to an MPU (micro-processing unit) with a built-in DSP for superior signal processing, the A035 features a separate MPU dedicated exclusively to vibration compensation. With AF tracking and enhanced VC, you can enjoy shooting fast-moving subjects with stability and ease— even in low-light. Focal Length: 140mm Exposure: F/14 1/200sec ISO: 200 The Tamron 100-400mm F/4.5-6.3 Di VC USD (Model A035) is a highly portable, Expand your possibilities ultra-telephoto zoom lens with AF precision for shooting instantaneous movement with an optional tripod mount with the utmost clarity. With this effectively positioned, extraordinary glass LD (Low Dispersion) lens, aberrations typical with many telephoto lenses are a thing of the Using a tripod is as easy as shooting handheld with the past.