Angle of View Examples
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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. -
Estimation and Correction of the Distortion in Forensic Image Due to Rotation of the Photo Camera
Master Thesis Electrical Engineering February 2018 Master Thesis Electrical Engineering with emphasis on Signal Processing February 2018 Estimation and Correction of the Distortion in Forensic Image due to Rotation of the Photo Camera Sathwika Bavikadi Venkata Bharath Botta Department of Applied Signal Processing Blekinge Institute of Technology SE–371 79 Karlskrona, Sweden This thesis is submitted to the Department of Applied Signal Processing at Blekinge Institute of Technology in partial fulfillment of the requirements for the degree of Master of Science in Electrical Engineering with Emphasis on Signal Processing. Contact Information: Author(s): Sathwika Bavikadi E-mail: [email protected] Venkata Bharath Botta E-mail: [email protected] Supervisor: Irina Gertsovich University Examiner: Dr. Sven Johansson Department of Applied Signal Processing Internet : www.bth.se Blekinge Institute of Technology Phone : +46 455 38 50 00 SE–371 79 Karlskrona, Sweden Fax : +46 455 38 50 57 Abstract Images, unlike text, represent an effective and natural communica- tion media for humans, due to their immediacy and the easy way to understand the image content. Shape recognition and pattern recog- nition are one of the most important tasks in the image processing. Crime scene photographs should always be in focus and there should be always be a ruler be present, this will allow the investigators the ability to resize the image to accurately reconstruct the scene. There- fore, the camera must be on a grounded platform such as tripod. Due to the rotation of the camera around the camera center there exist the distortion in the image which must be minimized. -
Photography and Photomontage in Landscape and Visual Impact Assessment
Photography and Photomontage in Landscape and Visual Impact Assessment Landscape Institute Technical Guidance Note Public ConsuDRAFTltation Draft 2018-06-01 To the recipient of this draft guidance The Landscape Institute is keen to hear the views of LI members and non-members alike. We are happy to receive your comments in any form (eg annotated PDF, email with paragraph references ) via email to [email protected] which will be forwarded to the Chair of the working group. Alternatively, members may make comments on Talking Landscape: Topic “Photography and Photomontage Update”. You may provide any comments you consider would be useful, but may wish to use the following as a guide. 1) Do you expect to be able to use this guidance? If not, why not? 2) Please identify anything you consider to be unclear, or needing further explanation or justification. 3) Please identify anything you disagree with and state why. 4) Could the information be better-organised? If so, how? 5) Are there any important points that should be added? 6) Is there anything in the guidance which is not required? 7) Is there any unnecessary duplication? 8) Any other suggeDRAFTstions? Responses to be returned by 29 June 2018. Incidentally, the ##’s are to aid a final check of cross-references before publication. Contents 1 Introduction Appendices 2 Background Methodology App 01 Site equipment 3 Photography App 02 Camera settings - equipment and approaches needed to capture App 03 Dealing with panoramas suitable images App 04 Technical methodology template -
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. -
Determination of Focal Length of a Converging Lens and Mirror
Physics 41- Lab 5 Determination of Focal Length of A Converging Lens and Mirror Objective: Apply the thin-lens equation and the mirror equation to determine the focal length of a converging (biconvex) lens and mirror. Apparatus: Biconvex glass lens, spherical concave mirror, meter ruler, optical bench, lens holder, self-illuminated object (generally a vertical arrow), screen. Background In class you have studied the physics of thin lenses and spherical mirrors. In today's lab, we will analyze several physical configurations using both biconvex lenses and concave mirrors. The components of the experiment, that is, the optics device (lens or mirror), object and image screen, will be placed on a meter stick and may be repositioned easily. The meter stick is used to determine the position of each component. For our object, we will make use of a light source with some distinguishing marking, such as an arrow or visible filament. Light from the object passes through the lens and the resulting image is focused onto a white screen. One characteristic feature of all thin lenses and concave mirrors is the focal length, f, and is defined as the image distance of an object that is positioned infinitely far way. The focal lengths of a biconvex lens and a concave mirror are shown in Figures 1 and 2, respectively. Notice the incoming light rays from the object are parallel, indicating the object is very far away. The point, C, in Figure 2 marks the center of curvature of the mirror. The distance from C to any point on the mirror is known as the radius of curvature, R. -
Secrets of Great Portrait Photography Photographs of the Famous and Infamous
SECRETS OF GREAT PORTRAIT PHOTOGRAPHY PHOTOGRAPHS OF THE FAMOUS AND INFAMOUS BRIAN SMITH SECRETS OF GREAT PORTRAIT PHOTOGRAPHY PHOTOGRAPHS OF THE FAMOUS AND INFAMOUS Brian Smith New Riders Find us on the Web at: www.newriders.com To report errors, please send a note to [email protected] New Riders is an imprint of Peachpit, a division of Pearson Education. Copyright © 2013 by Brian Smith Acquisitions Editor: Nikki Echler McDonald Development Editor: Anne Marie Walker Production Editor: Tracey Croom Proofreader: Liz Welch Composition: Kim Scott, Bumpy Design Indexer: James Minkin Interior Design: Brian Smith, Charlene Charles-Will Cover Design: Charlene Charles-Will Cover Photograph of Sir Richard Branson: Brian Smith 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 [email protected]. 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 Many of the designations used by manufacturers and sellers to distinguish their products are claimed as trademarks. Where those designations appear in this book, and Peachpit was aware of a trademark claim, the designations appear as requested by the owner of the trademark. -
How Does the Light Adjustable Lens Work? What Should I Expect in The
How does the Light Adjustable Lens work? The unique feature of the Light Adjustable Lens is that the shape and focusing characteristics can be changed after implantation in the eye using an office-based UV light source called a Light Delivery Device or LDD. The Light Adjustable Lens itself has special particles (called macromers), which are distributed throughout the lens. When ultraviolet (UV) light from the LDD is directed to a specific area of the lens, the particles in the path of the light connect with other particles (forming polymers). The remaining unconnected particles then move to the exposed area. This movement causes a highly predictable change in the curvature of the lens. The new shape of the lens will match the prescription you selected during your eye exam. What should I expect in the period after cataract surgery? Please follow all instructions provided to you by your eye doctor and staff, including wearing of the UV-blocking glasses that will be provided to you. As with any cataract surgery, your vision may not be perfect after surgery. While your eye doctor selected the lens he or she anticipated would give you the best possible vision, it was only an estimate. Fortunately, you have selected the Light Adjustable Lens! In the next weeks, you and your eye doctor will work together to optimize your vision. Please make sure to pay close attention to your vision and be prepared to discuss preferences with your eye doctor. Why do I have to wear UV-blocking glasses? The UV-blocking glasses you are provided with protect the Light Adjustable Lens from UV light sources other than the LDD that your doctor will use to optimize your vision. -
Portraiture, Surveillance, and the Continuity Aesthetic of Blur
Michigan Technological University Digital Commons @ Michigan Tech Michigan Tech Publications 6-22-2021 Portraiture, Surveillance, and the Continuity Aesthetic of Blur Stefka Hristova Michigan Technological University, [email protected] Follow this and additional works at: https://digitalcommons.mtu.edu/michigantech-p Part of the Arts and Humanities Commons Recommended Citation Hristova, S. (2021). Portraiture, Surveillance, and the Continuity Aesthetic of Blur. Frames Cinema Journal, 18, 59-98. http://doi.org/10.15664/fcj.v18i1.2249 Retrieved from: https://digitalcommons.mtu.edu/michigantech-p/15062 Follow this and additional works at: https://digitalcommons.mtu.edu/michigantech-p Part of the Arts and Humanities Commons Portraiture, Surveillance, and the Continuity Aesthetic of Blur Stefka Hristova DOI:10.15664/fcj.v18i1.2249 Frames Cinema Journal ISSN 2053–8812 Issue 18 (Jun 2021) http://www.framescinemajournal.com Frames Cinema Journal, Issue 18 (June 2021) Portraiture, Surveillance, and the Continuity Aesthetic of Blur Stefka Hristova Introduction With the increasing transformation of photography away from a camera-based analogue image-making process into a computerised set of procedures, the ontology of the photographic image has been challenged. Portraits in particular have become reconfigured into what Mark B. Hansen has called “digital facial images” and Mitra Azar has subsequently reworked into “algorithmic facial images.” 1 This transition has amplified the role of portraiture as a representational device, as a node in a network -
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. -
Field of View - Wikipedia, the Free Encyclopedia
Field of view - Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/Field_of_view From Wikipedia, the free encyclopedia The field of view (also field of vision, abbreviated FOV) is the extent of the observable world that is seen at any given moment. In case of optical instruments or sensors it is a solid angle through which a detector is sensitive to electromagnetic radiation. 1 Humans and animals 2 Conversions Horizontal Field of View 3 Machine vision 4 Remote sensing 5 Astronomy 6 Photography 7 Video games 8 See also 9 References In the context of human vision, the term “field of view” is typically used in the sense of a restriction Vertical Field of View to what is visible by external apparatus, like spectacles[2] or virtual reality goggles. Note that eye movements do not change the field of view. If the analogy of the eye’s retina working as a sensor is drawn upon, the corresponding concept in human (and much of animal vision) is the visual field. [3] It is defined as “the number of degrees of visual angle during stable fixation of the eyes”.[4]. Note that eye movements are excluded in the definition. Different animals have different visual fields, depending, among others, on the placement of the eyes. Humans have an almost 180-degree forward-facing horizontal diameter of their visual field, while some birds have a complete or nearly complete 360-degree Angle of view can be measured visual field. The vertical range of the visual field in humans is typically horizontally, vertically, or diagonally. -
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. -
Investigation of Driver's FOV and Related Ergonomics Using Laser Shadowgraphy from Automotive Interior
of Ergo al no rn m u ic o s J Hussein et al., J Ergonomics 2017, 7:4 Journal of Ergonomics DOI: 10.4172/2165-7556.1000207 ISSN: 2165-7556 Research Article Open Access Investigation of Drivers FOV and Related Ergonomics Using Laser Shadowgraphy from Automotive Interior Wessam Hussein1*, Mohamed Nazeeh1 and Mahmoud MA Sayed2 1Military Technical College, KobryElkobbah, Cairo, Egypt 2Canadian International College, New Cairo, Cairo, Egypt *Corresponding author: Wessam Hussein, Military Technical College, KobryElkobbah, 11766, Cairo, Egypt, Tel: + 20222621908; E-mail: [email protected] Received date: June 07, 2017; Accepted date: June 26, 2017; Publish date: June 30, 2017 Copyright: © 2017 Hussein W, et al. This is an open-access article distributed under the terms of the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. Abstract A new application of laser shadowgraphy in automotive design and driver’s ergonomics investigation is described. The technique is based on generating a characterizing plot for the vehicle’s Field of View (FOV). This plot is obtained by projecting a high divergence laser beam from the driver’s eyes cyclopean point, on a cylindrical screen installed around the tested vehicle. The resultant shadow-gram is photographed on several shots by a narrow field camera to form a complete panoramic seen for the screen. The panorama is then printed as a plane sheet FOV plot. The obtained plot is used to measure and to analyse the areal visual field, the eye and nick movement ranges in correlation with FOV, the horizontal visual blind zones, the visual maximum vertical angle and other related ergonomic parameters.