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التقاط الصور في 3 - د
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STRIVE FOR THE STEREO EFFECT
What do we mean by the stereo effect ? It does not have an exact definition , unfortunately , but basically it is the feeling of depth and distance . It is the realism of a solid , tangible object which can be touched and handled , not merely looked at . There are quite a number of ways in which the stereo effect can be created we will discuss those which you can use to best advantage .
Binocular vision - two - eyed vision - is effective for a relatively short distance only . Hold some object about 10 inches from your face and look at it first with the left eye only , then with the right only . There will be quite a noticeable difference between these two views . A stereo picture taken of this object at 10 inches would have a great deal of stereo effect - as a matter of fact , it would have too much of a stereo effect unless it was a very small object . Now look at the same object with each eye separately when it is 5 feet away . At this distance , both eyes see almost the same thing unless the object is fairly large . The farther away you go , the less is the depth perception and the more limited the stereo effect .
As a general working rule , you may set up this table of depth perception : It is very strong up to about 10 feet . It is still strong up to about 25 feet , but rather limited at 50 feet . From there on it gradually fades away . Distant objects have no perceptible depth at all . The values given here , of course , hold true for the average run of subjects . For small objects , these distances are much shorter .
Now , with these figures in mind , how can we get stereo effect in our pictures ? The answer is obvious . Give your camera some depth to photograph . For example , a common mistake in taking snapshots of people is to line them up against a solid background such as a house or trees which fill the viewing area completely . There is nothing farther away for the camera to see , hence very little stereo effect .
To make a successful stereo picture , put something in the picture which is nearer or farther away than the principle subject . Select a camera angle which will take in a wider range of distance . If you have an interesting landscape , put an appropriate figure in the foreground ( see Figure 11 ) . If you are photographing a number of people , put some of them in front so they overlap those in back . While overlapping is a clue to depth which does not depend on binocular vision , nevertheless , it is a strong aid to the stereo effect .
Let us illustrate these ideas with actual photographs so you can see how they can be put into practice . If you follow the general suggestions given here , you should have no trouble achieving the stereo effect in your pictures .
Figure 11 Figure in the foreground provides depth . which is essential to good stereo .
Figure 12 How not to take stereo pictures . Mountain peaks are in substantially same plane , so there is practically no stereo effect .
PICTURES IN ONE PLANE . The mountain view in Figure 12 shows how not to achieve the stereo effect . Here we have a mountain landscape which is interesting in two dimensions , but everything is in substantially one plane ... that is , at one distance from the camera . To make matters worse , that plane is at a considerable distance . We have two strikes against us here , and obviously this scene might just as well have been taken with a " one - eyed " camera .
Figure 13 Stereo in two planes . This shows greater stereo effect than Figure 12 .
Figure 14 Stereo in many planes . Picture of this kind creates maximum stereo effect .
Figure 15 Stereo in many planes is particularly effective in city scenes such as this ..
PICTURES IN TWO PLANES . In Figure 13 , we have introduced the two figures in the foreground . The figures are near enough to the camera to give good three - dimensional qualities , but what is even more important , you can now get a good idea of how far away the mountains really are . The foreground figures set the scales of size and distance , so the far - away mountains are now seen in truer perspective .
PICTURES IN MANY PLANES . The picture in Figure 14 is much better . You I don't have the sudden jump between foreground and far distance , but instead , you have a series of steps of varying size to carry you through the picture in easy stages . That is the best way to get a true stereo effect . You don't , of course , have to go to the mountains to get a scene having a wide range of distance to provide good stereo . Figure 15 shows how easily this can be done in a city scene .
PICTURES WITH HEIGHT AND DEPTH . Some of the most disappointing pictures are those which have been taken from a height , shooting down . Such pictures seldom give an impression of the actual height or depth of the scene . In stereo , this impression can be captured if you include the foreground , middle ground and distance - as in Figure 16. The foreground cliff adds tremendously to the depth , even in this two - dimensional illustration . In stereo it is truly breath - taking .
Figure 16 Foreground mountain detail gives this picture tremendous impact in stereo .
Figure 17 Strong use of converging lines , all leading to principle subject provides necessary stereo effect .
Figure 18 Converging line of bridge directing eye strongly into center of interest area , provides necessary stereo effect in this study .
PICTURES WITH CONVERGING LINES . Converging lines in a picture give a very strong stereoscopic effect . Figure 17 , for example , has very little stereoscopic effect insofar as the model is concerned because she is alone in the background . However , the strong converging lines running towards the subject the picture considerable stereo effect . A more conventional subject is shown in Figure 18 . Here the line of the bridge entering from the left provides the converging line which greatly enhances the stereo effect .
PICTURES WITH SIZE COMPARISONS . Size is a very important clue to distance , but size in itself will not enable you to judge distances . It will be helpful only when the principle subject is compared to something else of a known size . An object in a picture may be small or close , or it may be larger and far away . We can't really be sure which unless we have some other object whose size we know against which we can compare it . By introducing a comparison of this sort in our picture , we immediately introduce the element of distance and create the stereo effect . This was shown in Figure 13. It is still more striking in Figure 19 ..
In outdoor scenes , try to include houses , trees , cars and people . This will give size comparison and add to the stereo effect . Be sure , however , when you introduce something for purpose of size comparison that you don't give it too much prominence . If you do , it may become a source of distraction . Be guided in this respect by the basic principles of composition discussed in Assignment 8 .
Figure 19 Element of size comparison is used here to provide sterco effect in this composition .
CONCLUSION
This has been a brief discussion . It is unique in the course , since it is the only discussion that deals exclusively with 3 - dimensional photography . You've learned that the stereo camera duplicates binocular vision by taking two separate pictures through separate lenses . The dimension of depth is re - created when these pictures are viewed by the eyes representing the lenses through which they were taken . With projected pictures , the separation is achieved by projecting and viewing through polarizing filters so that each picture is visible only to the corresponding eye .
Taking stereo pictures requires application of all the basic principles of good photography , plus the special requirements of keeping the camera level , the picture sharp , the color accurate , and the stereo effect predominant . With the proper attention to these basic principles , you should get amazingly realistic 3 - D pictures .
التقاط الصور في 3 - د
المتطلبات الأساسية لشريحة ستيريو جيدة
الحصول على تأثير الاستريو
STRIVE FOR THE STEREO EFFECT
What do we mean by the stereo effect ? It does not have an exact definition , unfortunately , but basically it is the feeling of depth and distance . It is the realism of a solid , tangible object which can be touched and handled , not merely looked at . There are quite a number of ways in which the stereo effect can be created we will discuss those which you can use to best advantage .
Binocular vision - two - eyed vision - is effective for a relatively short distance only . Hold some object about 10 inches from your face and look at it first with the left eye only , then with the right only . There will be quite a noticeable difference between these two views . A stereo picture taken of this object at 10 inches would have a great deal of stereo effect - as a matter of fact , it would have too much of a stereo effect unless it was a very small object . Now look at the same object with each eye separately when it is 5 feet away . At this distance , both eyes see almost the same thing unless the object is fairly large . The farther away you go , the less is the depth perception and the more limited the stereo effect .
As a general working rule , you may set up this table of depth perception : It is very strong up to about 10 feet . It is still strong up to about 25 feet , but rather limited at 50 feet . From there on it gradually fades away . Distant objects have no perceptible depth at all . The values given here , of course , hold true for the average run of subjects . For small objects , these distances are much shorter .
Now , with these figures in mind , how can we get stereo effect in our pictures ? The answer is obvious . Give your camera some depth to photograph . For example , a common mistake in taking snapshots of people is to line them up against a solid background such as a house or trees which fill the viewing area completely . There is nothing farther away for the camera to see , hence very little stereo effect .
To make a successful stereo picture , put something in the picture which is nearer or farther away than the principle subject . Select a camera angle which will take in a wider range of distance . If you have an interesting landscape , put an appropriate figure in the foreground ( see Figure 11 ) . If you are photographing a number of people , put some of them in front so they overlap those in back . While overlapping is a clue to depth which does not depend on binocular vision , nevertheless , it is a strong aid to the stereo effect .
Let us illustrate these ideas with actual photographs so you can see how they can be put into practice . If you follow the general suggestions given here , you should have no trouble achieving the stereo effect in your pictures .
Figure 11 Figure in the foreground provides depth . which is essential to good stereo .
Figure 12 How not to take stereo pictures . Mountain peaks are in substantially same plane , so there is practically no stereo effect .
PICTURES IN ONE PLANE . The mountain view in Figure 12 shows how not to achieve the stereo effect . Here we have a mountain landscape which is interesting in two dimensions , but everything is in substantially one plane ... that is , at one distance from the camera . To make matters worse , that plane is at a considerable distance . We have two strikes against us here , and obviously this scene might just as well have been taken with a " one - eyed " camera .
Figure 13 Stereo in two planes . This shows greater stereo effect than Figure 12 .
Figure 14 Stereo in many planes . Picture of this kind creates maximum stereo effect .
Figure 15 Stereo in many planes is particularly effective in city scenes such as this ..
PICTURES IN TWO PLANES . In Figure 13 , we have introduced the two figures in the foreground . The figures are near enough to the camera to give good three - dimensional qualities , but what is even more important , you can now get a good idea of how far away the mountains really are . The foreground figures set the scales of size and distance , so the far - away mountains are now seen in truer perspective .
PICTURES IN MANY PLANES . The picture in Figure 14 is much better . You I don't have the sudden jump between foreground and far distance , but instead , you have a series of steps of varying size to carry you through the picture in easy stages . That is the best way to get a true stereo effect . You don't , of course , have to go to the mountains to get a scene having a wide range of distance to provide good stereo . Figure 15 shows how easily this can be done in a city scene .
PICTURES WITH HEIGHT AND DEPTH . Some of the most disappointing pictures are those which have been taken from a height , shooting down . Such pictures seldom give an impression of the actual height or depth of the scene . In stereo , this impression can be captured if you include the foreground , middle ground and distance - as in Figure 16. The foreground cliff adds tremendously to the depth , even in this two - dimensional illustration . In stereo it is truly breath - taking .
Figure 16 Foreground mountain detail gives this picture tremendous impact in stereo .
Figure 17 Strong use of converging lines , all leading to principle subject provides necessary stereo effect .
Figure 18 Converging line of bridge directing eye strongly into center of interest area , provides necessary stereo effect in this study .
PICTURES WITH CONVERGING LINES . Converging lines in a picture give a very strong stereoscopic effect . Figure 17 , for example , has very little stereoscopic effect insofar as the model is concerned because she is alone in the background . However , the strong converging lines running towards the subject the picture considerable stereo effect . A more conventional subject is shown in Figure 18 . Here the line of the bridge entering from the left provides the converging line which greatly enhances the stereo effect .
PICTURES WITH SIZE COMPARISONS . Size is a very important clue to distance , but size in itself will not enable you to judge distances . It will be helpful only when the principle subject is compared to something else of a known size . An object in a picture may be small or close , or it may be larger and far away . We can't really be sure which unless we have some other object whose size we know against which we can compare it . By introducing a comparison of this sort in our picture , we immediately introduce the element of distance and create the stereo effect . This was shown in Figure 13. It is still more striking in Figure 19 ..
In outdoor scenes , try to include houses , trees , cars and people . This will give size comparison and add to the stereo effect . Be sure , however , when you introduce something for purpose of size comparison that you don't give it too much prominence . If you do , it may become a source of distraction . Be guided in this respect by the basic principles of composition discussed in Assignment 8 .
Figure 19 Element of size comparison is used here to provide sterco effect in this composition .
CONCLUSION
This has been a brief discussion . It is unique in the course , since it is the only discussion that deals exclusively with 3 - dimensional photography . You've learned that the stereo camera duplicates binocular vision by taking two separate pictures through separate lenses . The dimension of depth is re - created when these pictures are viewed by the eyes representing the lenses through which they were taken . With projected pictures , the separation is achieved by projecting and viewing through polarizing filters so that each picture is visible only to the corresponding eye .
Taking stereo pictures requires application of all the basic principles of good photography , plus the special requirements of keeping the camera level , the picture sharp , the color accurate , and the stereo effect predominant . With the proper attention to these basic principles , you should get amazingly realistic 3 - D pictures .
تعليق