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Letteratura scientifica selezionata sul tema "Stereoscopic photography"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 29 luglio 2024

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Articoli di riviste sul tema "Stereoscopic photography"

Šejbl, Jan. "Čína ve třech rozměrech. Nejstarší fotografie z Číny ve sbírce stereoskopů Náprstkova muzea v Praze." Muzeum Muzejní a vlastivedná práce 60, no. 1 (2022): 14–27. http://dx.doi.org/10.37520/mmvp.2022.003.

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The study deals with the representation of photographs from China in the Náprstek Museum’s stereoscope collection. A brief summary of the historical development of the Náprstek Museum’s photographic collections and the phenomenon of stereoscopic photography in the 19th century is followed by the results of a survey itself. The images were categorised by an authorship and analysed both technically and thematically. It turned out that the stereoscope collection contains the oldest photographs of China, which can be dated to the turn of the 1850’s and 1860’s.

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Klahr, Douglas M. "Stereoscopic Architectural Photography and Merleau-Ponty’s Phenomenology." ZARCH, no. 9 (December 4, 2017): 84–105. http://dx.doi.org/10.26754/ojs_zarch/zarch.201792269.

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Stereoscopic photography utilizes dual camera lenses that are placed at approximately the interocular distance of human beings in order to replicate the slight difference between what each eye sees and therefore the effect of parallax. The pair of images that results is then viewed through a stereoscope. By adjusting the device, the user eventually sees the two photographs merge into a single one that has receding planes of depth, often producing a vivid illusion of intense depth. Stereoscopy was used by photographers throughout the second half of the Nineteenth Century to document every building that was deemed to be culturally significant by the European and American photographers who pioneered the medium, starting with its introduction to the general public at the Crystal Palace in London in 1851. By the early 1900s, consumers in Europe and America could purchase from major firms stereoscopic libraries of buildings from around the world. Stereoscopic photography brought together the emotional, technical and informed acts of looking, especially with regard to architecture. In this essay, the focus in upon the first of those acts, wherein the phenomenal and spatial dimensions of viewing are examined. Images of architecture are used to argue that the medium not only was a manifestation of Maurice Merleau-Ponty’s phenomenology of perception, but also validated the philosophy. After an analysis of how stereoscopic photography and Merleau-Ponty’s philosophy intersect, seven stereographs of architectural and urban subjects are discussed as examples, with the spatial boundaries of architecture and cities argued as especially adept in highlighting connections between the medium and the philosophy. In particular, the notion of Fundierung relationships, the heart of Merleau-Ponty phenomenology, is shown to closely align with the stereoscopic viewing experience describing layers of dependency.

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Wade, Nicholas J. "On Stereoscopic Art." i-Perception 12, no. 3 (May 2021): 204166952110071. http://dx.doi.org/10.1177/20416695211007146.

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Pictorial art is typically viewed with two eyes, but it is not binocular in the sense that it requires two eyes to appreciate the art. Two-dimensional representational art works allude to depth that they do not contain, and a variety of stratagems is enlisted to convey the impression that surfaces on the picture plane are at different distances from the viewer. With the invention of the stereoscope by Wheatstone in the 1830s, it was possible to produce two pictures with defined horizontal disparities between them to create a novel impression of depth. Stereoscopy and photography were made public at about the same time and their marriage was soon cemented; most stereoscopic art is now photographic. Wheatstone sought to examine stereoscopic depth without monocular pictorial cues. He was unable to do this, but it was achieved a century later by Julesz with random-dot stereograms The early history of non-photographic stereoscopic art is described as well as reference to some contemporary works. Novel stereograms employing a wider variety of carrier patterns than random dots are presented as anaglyphs; they show modulations of pictorial surface depths as well as inclusions within a binocular picture.

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Pavlov, V. I. "Aerial photography of the water area." Geodesy and Cartography 956, no. 2 (March 20, 2020): 18–24. http://dx.doi.org/10.22389/0016-7126-2020-956-2-18-24.

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During the development of water resources the characteristics of excitement, direction, and flow velocity, depth, points of bottom, temperature and chemical composition of water is to be taken into account. Some of these indicators are determined through the results of measuring single aerial photographs and their stereoscopic pairs. Making aerial photography (APS) of water surface on technology for topographic land survey enables obtaining only single overlapping aerial photographs, as the water surface is in constant motion. Stereoscopic pairs of aerial photographs can be obtained if photographing is performed simultaneously by two aerial cameras (AFA) with close elements of internal orientation. The author considers two technological schemes of using two AFA in aerial photography of water space

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Sommer, Bjorn. "Hybrid Stereoscopic Photography - Analogue Stereo Photography meets the Digital Age with the StereoCompass app." Electronic Imaging 2021, no. 2 (January 18, 2021): 58–1. http://dx.doi.org/10.2352/issn.2470-1173.2021.2.sda-058.

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Stereoscopic photography has a long history which started just a few years after the first known photo was taken: 1849 Sir David Brewster introduced the first binocular camera. Whereas mobile photography is omnipresent because of the wide distribution of smart phones, stereoscopic photography is only used by a very small set of enthusiasts or professional (stereo) photographers. One important aspect of professional stereoscopic photography is that the required technology is usually quite expensive. Here, we present an alternative approach, uniting easily affordable vintage analogue SLR cameras with smart phone technology to measure and predict the stereo base/camera separation as well as the focal distance to zero parallax. For this purpose, the StereoCompass app was developed which is utilizing a number of smart phone sensors, combined with a Google Maps-based distance measurement. Three application cases including red/cyan anaglyph stereo photographs are shown. More information and the app can be found at: <uri>http://stereocompass.i2d.uk</uri>

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Hoffman, Jesse. "ARTHUR HALLAM’S SPIRIT PHOTOGRAPH AND TENNYSON’S ELEGIAC TRACE." Victorian Literature and Culture 42, no. 4 (September 19, 2014): 611–36. http://dx.doi.org/10.1017/s1060150314000229.

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Blanche Warre Cornish's 1921–22tripartite memoir, “Memories of Tennyson,” begins in 1869 when she meets the poet by way of her parents’ friendship with Tennyson's neighbor, the photographer Julia Margaret Cameron (145) (Figure 1). The photograph that Cornish recalls as “psychophotography” is one instance of a trend in Victorian England of spirit photography that was first practiced around 1872 after it was imported from America, where William Mumler had developed it (Tucker 68; Doyle 2: 128). Reactions to these spirit photographs took various forms: while some viewers regarded them as a credible medium for communication with the dead, their detractors saw them as deliberate acts of deception. Others employed photography's spectral qualities for entertainment, such as the London Stereoscopic Company that had marketed photographs of angels, fairies, and ghosts for their customers’ amusement in the 1860s (Chéroux 45–53). By the time the “shadowy figure of a man” appears beside Arthur Hallam's erstwhile fiancé, Mrs. Jesse, Tennyson's sister, the practice had been subject to public intrigue and scandal as a part of broader and contentious Victorian debates about the status of photography as art or document. The already surreal qualities of Cornish's anecdote are amplified by Tennyson's question, “Is that Arthur?,” which entertains the possibility of Hallam being present in a visible, spectral form while unrecognized by his beloved friend.

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Häsler, Leonie. "Stereo Imaging In Fashion Photography." Networking Knowledge: Journal of the MeCCSA Postgraduate Network 11, no. 1 (April 30, 2018): 38–55. http://dx.doi.org/10.31165/nk.2018.111.528.

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Fashion photographs are generally two-dimensional images showing one side of a three-dimensional model. This paper, however, deals with far less well-known stereoscopic fashion photographs. Stereoscopy is a technique that creates the illusion of a 3-D image. Based on the image collection of Swiss textile and clothes company HANRO, the article analyzes the composition of 3-D pictures by putting them in a broader media-historical context. The archived stereoscopic photographs date back to the 1950s and show a series of women’s fashion. In the same period, Hollywood experienced a 3-D-boom that may have had a technical and aesthetical impact on these photographs. Although fashion is not mediated in moving images in this case study, codes or formal languages of a film are inscribed in the images, as will be shown in the following text. Building on these findings, this paper further discusses the influence of cinematography and other media practices on the fashion industry’s attempt to free its fashion imagery from the confines of a two-dimensional page.

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Kyram, Dan. "Early stereoscopic photography in Palestine." History of Photography 19, no. 3 (September 1995): 228–30. http://dx.doi.org/10.1080/03087298.1995.10443560.

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Nicholson, Paul T. "Three-dimensional imaging in archaeology: its history and future." Antiquity 75, no. 288 (June 2001): 402–9. http://dx.doi.org/10.1017/s0003598x00061056.

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Whilst digital cameras and computer graphics are starting to be used in archaeological recording, stereoscopic photography tends to be overlooked. This technique has been used successfully in three recent projects and could be beneficial as a means of 3D photographic recording.

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Sturm, Robert. "Stereoscopic Photography in Transmitted Light Microscopy." Microscopy Today 25, no. 4 (July 2017): 46–49. http://dx.doi.org/10.1017/s1551929517000621.

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Tesi sul tema "Stereoscopic photography"

Selmanovic, Elmedin. "Stereoscopic high dynamic range imaging." Thesis, University of Warwick, 2013. http://wrap.warwick.ac.uk/58125/.

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Two modern technologies show promise to dramatically increase immersion in virtual environments. Stereoscopic imaging captures two images representing the views of both eyes and allows for better depth perception. High dynamic range (HDR) imaging accurately represents real world lighting as opposed to traditional low dynamic range (LDR) imaging. HDR provides a better contrast and more natural looking scenes. The combination of the two technologies in order to gain advantages of both has been, until now, mostly unexplored due to the current limitations in the imaging pipeline. This thesis reviews both fields, proposes stereoscopic high dynamic range (SHDR) imaging pipeline outlining the challenges that need to be resolved to enable SHDR and focuses on capture and compression aspects of that pipeline. The problems of capturing SHDR images that would potentially require two HDR cameras and introduce ghosting, are mitigated by capturing an HDR and LDR pair and using it to generate SHDR images. A detailed user study compared four different methods of generating SHDR images. Results demonstrated that one of the methods may produce images perceptually indistinguishable from the ground truth. Insights obtained while developing static image operators guided the design of SHDR video techniques. Three methods for generating SHDR video from an HDR-LDR video pair are proposed and compared to the ground truth SHDR videos. Results showed little overall error and identified a method with the least error. Once captured, SHDR content needs to be efficiently compressed. Five SHDR compression methods that are backward compatible are presented. The proposed methods can encode SHDR content to little more than that of a traditional single LDR image (18% larger for one method) and the backward compatibility property encourages early adoption of the format. The work presented in this thesis has introduced and advanced capture and compression methods for the adoption of SHDR imaging. In general, this research paves the way for a novel field of SHDR imaging which should lead to improved and more realistic representation of captured scenes.

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Prentice, Helen Jane. "Development of stereoscopic speckle photography techniques for studies of dynamic plate deformation." Thesis, University of Cambridge, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.614341.

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Nadella, Suman. "Multi camera stereo and tracking patient motion for SPECT scanning systems." Link to electronic thesis, 2005. http://www.wpi.edu/Pubs/ETD/Available/etd-082905-161037/.

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Thesis (M.S.)--Worcester Polytechnic Institute.<br>Keywords: Feature matching in multiple cameras; Multi camera stereo computation; Patient Motion Tracking; SPECT Imaging Includes bibliographical references. (p.84-88)

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Ivanov, Georgi. "Freedom of Interpretation." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2808.

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The photographic series Ideal Cities that I started in 2011 is inspired by the conflict between my idea of the “west” and my evolving experience in the United States. What struck me was the popularity of what I see as model experience – a spatial experience controlled by the Spectacle. In the terms of the Situationist International and its most prominent figure Guy Debord, the Spectacle is the collapse of reality into the streams of images, products and activities sanctioned by centralized monopolist business or state bureaucracy. Thus, personal experience is replaced with preconceived notions, which control the way people perceive and understand their surroundings.

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Schemali, Leila. "Interaction, édition et visualisation stéréoscopiques." Electronic Thesis or Diss., Paris, ENST, 2015. http://www.theses.fr/2015ENST0007.

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La stéréoscopie s’est développée depuis plus de 150 ans à travers la photographie,les films, la réalité virtuelle et la visualisation scientifique. L’affichage de données stéréoscopiques estaujourd’hui de bien meilleure qualité et le contenu ainsi que les écrans stéréoscopiques sont accessiblesà un large public. De plus, la stéréoscopie est un élément essentiel dans la compréhension d’un modèle3D, notamment dans le cadre de l’enseignement ou de la visualisation de modèles médicaux. Elle permetégalement d’appuyer le message véhiculé par une image. Utilisée à des fins artistiques, la stéréoscopiejoue un rôle émotionnel important.Cependant, la quantité de profondeur perçue dans une image stéréo est limitée par les technologiesd’affichages ainsi que par le système visuel humain. Il est alors toujours malaisé de créer du contenustéréoscopique assurant le confort du spectateur et utilisant de manière appropriée cette dimensionadditionnelle. Pour palier à cette difficulté, de multiples méthodes ont été développées, en particulierpour améliorer l’acquisition d’images stéréoscopiques, mais un grand nombre d’interventions manuellessubsistent lors du processus de création. De plus, la manipulation de contenu stéréoscopique nécessitel’utilisation d’outils adaptés, qui sont encore à définir. Enfin, de multiples méthodes d’affichagesstéréoscopiques existent aujourd’hui, certaines mieux adaptées à des conditions de visualisations qued’autres.C’est dans ce cadre que s’inscrit cette thèse, dont les contributions sont la définition d’un modèled’interaction utilisateur stéréoscopique adapté à un environnement de bureau, une méthode d’édition deprofondeur d’images stéréoscopiques assurant un confort visuel du spectateur et une nouvelle utilisationd’une méthode d’affichage stéréoscopique ne nécessitant qu’une image, la chromo-stéréoscopie<br>Stereoscopy has developed since 1838 through photography, movies, virtual reality andscientific visualization. Stereoscopic displays have increased in quality since the first stereoscope andstereoscopic content is now widely available. Furthermore, the understanding of 3D models is greatlyeased by stereoscopy, in particular for educational purposes or medical data visualization. The messageconveyed by an image is also further held by stereoscopy. Used in an artistic way, stereoscopy can bean important emotional vector.However, the depth interval of a stereoscopic image is limited by the displays technologies as well asthe human visual system. It is thus still difficult to create stereoscopic content ensuring a comfortableexperience to the viewer while using stereoscopy appropriately. To overcome this limitation, severalmethods have been developed, in particular to ease stereo image acquisition, but a great amount ofmanual work still remains. Moreover, stereoscopic content manipulation requires specific tools, whichare still to define. Finally, many stereoscopic display methods are available, with some more appropriateto specific viewing conditions than others.This thesis was conducted in this context, with the following contributions : the definition of a stereoscopicuser interaction model designed for a desktop environment, a new depth editing method ensuringthe viewer’s comfort and a new way to create single-image stereo using chromo-stereoscopy

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Ebel, Sarah C. "Selling and stereoscopy reading "A Visit to Sears, Roebuck & Co." /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 88 p, 2007. http://proquest.umi.com/pqdweb?did=1338865461&sid=1&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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Fernandes, Sandro Roberto. "Ferramenta de visão computacional para processos fotogramétricos." Universidade do Estado do Rio de Janeiro, 2008. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=718.

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Nesta dissertação é apresentado o desenvolvimento de uma ferramenta computacional para o processamento de pares de imagens estereoscópicas obtidos por câmeras aéreas métricas e não métricas. O programa foi desenvolvido na linguagem C++ e foi utilizado a biblioteca OpenGL. O resultado obtido é uma imagem tridimensional de onde pode ser extraídas cotas de altura e formas de terreno. Estas imagens poderão ser usadas no estudo de áreas de risco em encostas.<br>In this dissertation is presented the development of a computational tool for the processing of pairs of images estereoscópicas obtained by metric and not metric aerial cameras. The program was developed in the program language C++ and the library was used OpenGL. The result of the program is a three-dimensional image from where it can be extracted height quotas and land forms. These images can be used in the study of risk areas on slopes.

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Bughin, Eric. "Towards automated, precise and validated vectorisation of disparity maps in urban satellites stereoscopy." Phd thesis, École normale supérieure de Cachan - ENS Cachan, 2011. http://tel.archives-ouvertes.fr/tel-00653875.

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Cette thèse se porte sur la segmentation affine par régions des cartes de profondeurs obtenues par stéréoscopie en milieu urbain.Cette détection est constituée de 3 étapes.Tout d'abord, un modèle statistique a contrario est introduit afin de déterminer de manière automatique la valeur de certains paramètres courants dans ce genre de problèmes: seuil de validation d'un groupe comme plan, seuil de rejet des points aberrants. Ce modèle permet de plus la comparaison de plusieurs solutions.Dans un second temps, un algorithme glouton est proposé pour obtenir la segmentation plane par morceaux y compris dans des conditions parcimonieuses. Cet algorithme est basé uniquement sur l'information 3D fournie par la carte de profondeur.Enfin, une dernière étape est proposée afin d'affiner le résultat de la segmentation notamment dans les zones où les disparités sont inconnues ou éventuellement fausses. Cette dernière étape est basée sur la combinaison des informations 3D et images de la paire stéréo.

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Hennlich, Andrew Joseph. "(un)Fixing the Eye : William Kentridge and the optics of witness." Thesis, University of Manchester, 2011. https://www.research.manchester.ac.uk/portal/en/theses/unfixing-the-eye-william-kentridge-and-the-optics-of-witness(9d9a31ed-43b8-4f5a-9121-8b98cc7e7fde).html.

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South African artist William Kentridge's (b. 1955) work frequently employs optical tools, such as the stereoscope, to highlight the contingency and instability of witness. These visual tools become metaphors for the process of historicization in post-apartheid South Africa. Kentridge is best known for his animations that are filmed by drawing with charcoal, photographing, erasing, redrawing and photographing again, leaving a palimpsest of previous traces on the paper's surface. Kentridge's prints, drawings, puppetry, theatrical projects and performances are also addressed in (un)Fixing the Eye. Kentridge's vast array of works narrates a history critical of the narrow and objective history of apartheid constructed by the Truth and Reconciliation Commission's (TRC) official report. Furthermore, the metaphors suggested by Kentridge's optical tools undermine the ideology that apartheid is in the past. It suggests the necessity of colonial narratives as well as issues of class and materialism, within apartheid as traces that are very much part of the present. Each chapter of (un)Fixing the Eye uses a separate optical device to explore the narration of history in South Africa. To do so I draw from an eclectic group of thinkers: psychoanalytic models of melancholia and reparation, Jacques Derrida's work on forgiveness, Hayden White's theories of narrative and Jonathan Crary's work on optical tools and perception. Chapter one argues there is an ironic and impossible condition of forgiveness and truth in the TRC. Using Kentridge's Ubu Tells the Truth and its specific invocation of Dziga Vertov's realist 'kino-eye' and Alfred Jarry's brutal and absurd King Ubu as metaphors of absurdity and truth represented through the movie camera, this chapter argues that there is an impossibility of truth in the TRC. Chapter two reads Kentridge's Felix in Exile as a materialist response to the naturalized and a historical landscape tradition in South Africa. Felix's use of the theodolite and sextant as mapping and navigation tools highlights colonial mapping practices and the history of property ownership, particularly in the mining industry. In this way these optical tools link colonialism and mining alongside of the violence rendered in the film, unearthing a history of colonialism and class issues in apartheid narratives. Chapter three uses X-rays and CAT scans as metaphors for the testimony in the TRC, as both require an expert to decode and contextualize the testimony. Kentridge's films during the TRC use medical imaging technologies that are ambiguous and uncertain within the TRC's discourse of truth. Chapter four returns to the camera, this time as a colonial image in Namibia, arguing its usage in Black Box/Chambre Noir creates a melancholic relationship between Enlightenment Europe and colonial Africa. In this melancholia, Kentridge's history of the 20th century's first genocide in Namibia links a tremendous number of global histories. The focus in optical discourses, particularly the stereoscope is not new in Kentridge's work but (un)Fixing the Eye considers a number of tools that have not previously been a part of this optical work in Kentridge's art. It expands the political scope of Kentridge's work to include colonialism and class issues, insisting on their place in the current political landscape. Ultimately this project argues that Kentridge's work through a destabilized optical apparatus works both formally and allegorically as a way of conceiving of narrative and ideological critique in an expanded sense from the narrow confines set by the TRC.

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Heinz, Marcel. "Kalibrierverfahren und optimierte Bildverarbeitung für Multiprojektorsysteme." Doctoral thesis, Universitätsbibliothek Chemnitz, 2013. http://nbn-resolving.de/urn:nbn:de:bsz:ch1-qucosa-129508.

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Gegenstand der vorliegenden Dissertation ist die Entwicklung von Kalibrierverfahren und Algorithmen zur Bildverarbeitung im Kontext von Multiprojektorsystemen mit dem Ziel, die Einsatzmöglichkeiten von derartigen Anlagen zu erweitern und die Nutzerakzeptanz solcher Systeme zu steigern. Die Arbeit konzentriert sich dabei insbesondere auf (annähernd) planare Mehrsegment-Projektionsanlagen, die aus preisgünstigen, nicht speziell für den Visualisierungbereich konzipierten Consumer- und Office-Projektoren aufgebaut werden. Im ersten Teil der Arbeit werden bestehende Verfahren zur geometrischen Kalibrierung, zum Edge-Blending sowie zur Helligkeits- und Farbanpassung auf ihre Eignung im Hinblick auf die Anforderungen untersucht und Erweiterungen entwickelt. Für die kamerabasierte Geometrie- Kalibrierung wird mit Lininenpattern gearbeitet, wobei ein effizienter rekursiver Algorithmus zur Berechnung der Schnittpunkte bei leicht gekrümmten Oberflächen vorgestellt wird. Für das Edge-Blending wird ein generalisiertes Modell entwickelt, das mehrere bestehende Ansätze kombiniert und erweitert. Die vorgenommene Modifikation der Distanzfunktion erlaubt insbesondere die bessere Steuerung des Helligkeitsverlaufs und ermöglicht weichere Übergänge an den Grenzen der Überlappungszonen. Es wird weiterhin gezeigt, dass das Edge-Blending mit bestehenden Ansätzen zum Ausgleich der Helligkeitsunterschiede wie Luminance Attenutation Maps kombiniert werden kann. Für die photometrische Kalibrierung ist die Kenntnis der Farb-Transferfunktion, also der Abbildung der Eingabe-Farbwerte auf die tatsächlich vom Projektor erzeugten Ausgaben, unerlässlich. Die herkömmlichen Ansätze betrachten dabei vorwiegend RGB-Projektoren, bei denen die dreidimensionale Transferfunktion in drei eindimensionale Funktionen für jeden Farbkanal zerlegt werden kann. Diese Annahme trifft jedoch auf die betrachteten Projektoren meist nicht zu. Insbesondere DLP-Projektoren mit Farbrad verfügen oft über zusätzliche Grundfarben, so dass der Farbraum deutlich von einem idealen RGB-Modell abweicht. In dieser Arbeit wird zunächst ein empirisches Modell einer Transferfunktion vorgestellt, das sich für derartige Projektoren besser eignet, allerdings die Helligkeit der Projektoren nicht vollständig ausnutzt. Im zweiten Teil der Arbeit wird ein kamerabasiertes Messverfahren entwickelt, mit dem direkt die dreidimensionale Farb-Transferfunktion ermittelt werden kann. Gegenüber bestehenden Verfahren werden tausende von Farbsamples gleichzeitig erfasst, so dass die erreichbare Sampledichte unter praxisrelevanten Messbedingungen von 17x17x17 auf 64x64x64 erhöht und damit die Qualität der photometrischen Kalibrierung signifikant gesteigert werden kann. Weiterhin wird ein Schnellverfahren entwickelt, dass die Messungsdauer bei 17x17x17 Samples von mehreren Stunden mit bisherigen Verfahren auf weniger als 30 Minuten reduziert. Im dritten Teil werden Algorithmen zur effizienten Bildverarbeitung entwickelt, die der GPU-basierten Anwendung der Kalibrierparameter auf die darzustellenden Bilddaten in Echtzeit dienen. Dabei werden die Möglichkeiten zur Vermeidung redundanter Berechnungsschritte beim Einsatz Stereoskopie-fähiger Projektoren ausgenutzt. Weiterhin wird das eigentliche Kalibrierverfahren effizient mit Verfahren zur Konvertierung von stereoskopischen Bildverfahren kombiniert. Es wird gezeigt, dass ein einzelner PC aus Standardkomponenten zur Ansteuerung einer Mehrsegment-Projektionsanlage mit bis zu 6 Projektoren ausreicht. Die Verwendung von DVI-Capture-Karten ermöglicht dabei den Betrieb einer solchen Anlage wie einen "großen Monitor" für beliebige Applikationen und Betriebssysteme.

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Più fonti

Libri sul tema "Stereoscopic photography"

Knuchel, Hans. Stereo. Baden: L. Müller, 1990.

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Knuchel, Hans. Flatlands: Stereo pictures. Baden: L. Müller, 1995.

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Pellerin, Denis. La photographie stéréoscopique sous le second Empire. Paris: Bibliothèque nationale de France, 1995.

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Palmquist, Peter E. Return to El Dorado: A century of California stereographs from the collection of Peter Palmquist. Riverside, CA: California Museum of Photography, University of California, 1986.

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Kuzʹmichev, Kirill. Tretʹe izmerenie: Rossii︠a︡ Aleksandra II vo frant︠s︡uzskoĭ stereofotografii. Sankt-Peterburg: "Izdatelʹstvo Kriga", 2018.

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Sanguin, Joseph. Photographies, 1860-1903. Saint-Chamas: Les Amis du Vieux Saint-Chamas, 1995.

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Przybyło, Jerzy. Kraków przez uchylone drzwi: Stereoskopowy obraz miasta na zdjęciach z XIX i XX wieku. Kraków: Towarzystwo Autorów i Wydawców Prac Naukowych "Universitas", 2019.

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(Paris, France) Stéréo-club français. Images en relief d'aujourd'hui: Une collection des meilleures images stéréoscopiques des photographes du Stéréo-club français. Sommières: Romain pages, 2003.

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Kuzmichev, Kirill. The third dimension: Russia of Alexander II in the French stereography. [United States?]: www.stereoviewme, 2017.

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A, Dudnikov I͡U. Rastrovye sistemy dli͡a poluchenii͡a obʺemnykh izobrazheniĭ. Moskva: "Mashinostroenie," Leningradskoe otd-nie, 1986.

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Capitoli di libri sul tema "Stereoscopic photography"

Kontou, Tatiana, Victoria Mills, and Richard Menke. "Stereoscope and stereoscopic photography." In Victorian Material Culture, 259–68. London: Routledge, 2022. http://dx.doi.org/10.4324/9781315400303-58.

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Wigoder, Meir. "The Surface-Depth of Photography’s Stereoscopic Imagination." In Photography and Imagination, 15–35. New York, NY: Routledge, 2020. | Series: Routledge history of photography: Routledge, 2019. http://dx.doi.org/10.4324/9780429457005-2.

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Lee, Yu-Hua, and Tai-Pao Chuang. "Finding Object Depth Using Stereoscopic Photography." In Algorithms and Architectures for Parallel Processing, 651–60. Berlin, Heidelberg: Springer Berlin Heidelberg, 2009. http://dx.doi.org/10.1007/978-3-642-03095-6_61.

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Chen, Xv, Xi-Cai Li, Bang-Peng Xiao, and Yuan-Qing Wang. "Research on Production of Stereoscopic UAV Aerial Photography Based on Optical Flow Image Migration Technology." In Advances in 3D Image and Graphics Representation, Analysis, Computing and Information Technology, 297–306. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-3863-6_33.

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Potter, Jonathan. "“Hocus Focus”: The Stereoscope and Photography." In Discourses of Vision in Nineteenth-Century Britain, 145–82. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-89737-0_6.

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Marchesini, Ivan, Michele Santangelo, Federica Fiorucci, Mauro Cardinali, Mauro Rossi, Francesco Bucci, and Fausto Guzzetti. "TXT-tool 1.039-1.2 Bedding Attitude Information Through the Interpretation of Stereoscopic Aerial Photographs and GIS Modeling." In Landslide Dynamics: ISDR-ICL Landslide Interactive Teaching Tools, 175–86. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-57774-6_13.

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"Stereoscopic (3D) photography." In Scientific Photography and Applied Imaging, 272–94. Routledge, 1999. http://dx.doi.org/10.4324/9780080516707-23.

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"Principles of Stereoscopic Vision." In Aerial Photography and Image Interpretation, 44–67. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2012. http://dx.doi.org/10.1002/9781118110997.ch3.

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"That ‘spoof of visibility’: stereoscopic ‘realism’ in Stephen Hero to Finnegans Wake." In James Joyce and Photography. Bloomsbury Academic, 2022. http://dx.doi.org/10.5040/9781350136991.ch-002.

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"Introduction – Stereoscopic visions: reading colonial and contemporary African photography." In Photography in and out of Africa, 15–25. Routledge, 2018. http://dx.doi.org/10.4324/9781315667485-7.

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Atti di convegni sul tema "Stereoscopic photography"

Ferreira, Michel, Hugo Conceição, Ricardo Fernandes, and Ozan K. Tonguz. "Stereoscopic aerial photography." In the sixth ACM international workshop. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1614269.1614279.

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Toeppen, John, and David Sykes. "Digital stereoscopic photography using StereoData Maker." In IS&T/SPIE Electronic Imaging, edited by Andrew J. Woods, Nicolas S. Holliman, and John O. Merritt. SPIE, 2009. http://dx.doi.org/10.1117/12.807422.

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Albe, Felix, and Paul Smigielski. "Stereoscopic holographic cinematography." In 19th Intl Congress on High-Speed Photography and Photonics, edited by Peter W. W. Fuller. SPIE, 1991. http://dx.doi.org/10.1117/12.23947.

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Wang, Jian, Tianfan Xue, Jonathan T. Barron, and Jiawen Chen. "Stereoscopic Dark Flash for Low-light Photography." In 2019 IEEE International Conference on Computational Photography (ICCP). IEEE, 2019. http://dx.doi.org/10.1109/iccphot.2019.8747337.

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Wang, Lei, Zining Zhen, Xiaolin Zhang, and Makoto Sato. "Adaptive camera control method for efficient stereoscopic photography." In 2016 IEEE International Conference on Industrial Technology (ICIT). IEEE, 2016. http://dx.doi.org/10.1109/icit.2016.7474840.

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László, Noémi, and Pál Tóth. "3D Reconstruction of Turbulent Flames by Stereoscopic Photography." In MultiScience - XXIX. microCAD International Multidisciplinary Scientific Conference. University of Miskolc, 2015. http://dx.doi.org/10.26649/musci.2015.022.

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Ferreira, Michel, Hugo Conceicao, Ricardo Fernandes, and O. K. Tonguz. "Urban Connectivity Analysis of VANETs through Stereoscopic Aerial Photography." In 2009 IEEE Vehicular Technology Conference (VTC 2009-Fall). IEEE, 2009. http://dx.doi.org/10.1109/vetecf.2009.5378962.

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Niu, Yuzhen, Qingyang Zheng, Wenxi Liu, and Wenzhong Guo. "Recurrent Enhancement of Visual Comfort for Casual Stereoscopic Photography." In 2020 IEEE Conference on Virtual Reality and 3D User Interfaces (VR). IEEE, 2020. http://dx.doi.org/10.1109/vr46266.2020.00061.

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Murynin, Alexander B., Ivan A. Matveev, and Victor D. Kuznetsov. "Automatic stereoscopic system for person recognition." In Twenty-Third International Congress on High-Speed Photography and Photonics, edited by Valentina P. Degtyareva, Mikhail A. Monastyrski, Mikhail Y. Schelev, and Alexander V. Smirnov. SPIE, 1999. http://dx.doi.org/10.1117/12.350520.

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Rapporti di organizzazioni sul tema "Stereoscopic photography"

Frazier, John W., Joe W. McDaniel, Vance D. Skowronski, Nilss M. Aume, and Donald F. Stewart. Body Displacement Measured during Sustained +GZ, -GZ and + or -GY Acceleration Using a Stereoscopic Photographic System. Fort Belvoir, VA: Defense Technical Information Center, March 1988. http://dx.doi.org/10.21236/ada197988.

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