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Hub AI
Panoramic photography AI simulator
(@Panoramic photography_simulator)
Hub AI
Panoramic photography AI simulator
(@Panoramic photography_simulator)
Panoramic photography
Panoramic photography is a technique of photography, using specialized equipment or software, that captures images with horizontally elongated fields of view. It is sometimes known as wide format photography. The term has also been applied to a photograph that is cropped to a relatively wide aspect ratio, like the familiar letterbox format in wide-screen video. When displayed interactively, it is known as an interactive panorama.
While there is no formal division between "wide-angle" and "panoramic" photography, "wide-angle" normally refers to a type of lens, but using this lens type does not necessarily make an image a panorama. An image made with an ultra wide-angle fisheye lens covering the normal film frame of 1:1.33 is not automatically considered to be a panorama. An image showing a field of view approximating, or greater than, that of the human eye – about 160° by 75° – may be termed panoramic. This generally means it has an aspect ratio of 2:1 or larger, the image being at least twice as wide as it is high. The resulting images take the form of a wide strip. Some panoramic images have aspect ratios of 4:1 and sometimes 10:1, covering fields of view of up to 360 degrees. Both the aspect ratio and coverage of field are important factors in defining a true panoramic image.
Photo-finishers and manufacturers of Advanced Photo System (APS) cameras use the word "panoramic" to define any print format with a wide aspect ratio, not necessarily photos that encompass a large field of view.
The device of the panorama existed in painting, particularly in murals as early as A.D. 20 in those found in Pompeii, as a means of generating an immersive 'panoptic' experience of a vista, long before the advent of photography. In the century prior to the advent of photography, and from 1787, with the work of Robert Barker, it reached a pinnacle of development in which whole buildings were constructed to house 360° panoramas, and even incorporated lighting effects and moving elements. Indeed, the careers of one of the inventors of photography, Daguerre, began in the production of popular panoramas and dioramas.
The idea and longing to create a detailed cityscape without a paintbrush, inspired Friedrich von Marten. von Marten created panoramic daguerreotype by using a special panoramic camera that he created himself. The camera could capture a broad view on a single daguerreotype plate. In complete and vivid detail, a cityscape is laid out before the viewer.
The development of panoramic cameras was a logical extension of the nineteenth-century fad for the panorama. One of the first recorded patents for a panoramic camera was submitted by Joseph Puchberger in Austria in 1843 for a hand-cranked, 150° field of view, 8-inch focal length camera that exposed a relatively large Daguerreotype, up to 24 inches (610 mm) long. A more successful and technically superior panoramic camera was assembled the next year by Friedrich von Martens in Germany in 1844. His camera, the Megaskop, used curved plates and added the crucial feature of set gears, offering a relatively steady panning speed. As a result, the camera properly exposed the photographic plate, avoiding unsteady speeds that can create an unevenness in exposure, called banding. Martens was employed by Lerebours, a photographer/publisher. It is also possible that Martens camera was perfected before Puchberger patented his camera. Because of the high cost of materials and the technical difficulty of properly exposing the plates, Daguerreotype panoramas, especially those pieced together from several plates (see below) are rare.
After the advent of wet-plate collodion process, photographers would take anywhere from two to a dozen of the ensuing albumen prints and piece them together to form a panoramic image (see: Segmented). This photographic process was technically easier and far less expensive than Daguerreotypes. While William Stanley Jevons' wet-collodion Panorama of Port Jackson, New South Wales, from a high rock above Shell Cove, North Shore survived undiscovered until 1953 in his scrap-book of 1857, some of the most famous early panoramas were assembled this way by George N. Barnard, a photographer for the Union Army in the American Civil War in the 1860s. His work provided vast overviews of fortifications and terrain, much valued by engineers, generals, and artists alike. (see Photography and photographers of the American Civil War)[citation needed] In 1875, through remarkable effort, Bernard Otto Holtermann and Charles Bayliss coated twenty-three wet-plates measuring 56 by 46 centimeters to record a sweeping view of Sydney Harbour.
Following the invention of flexible film in 1888, panoramic photography was revolutionised. Dozens of cameras were marketed, many with brand names indicative of their era; such as the Pantascopic, (1862) Cylindrograph survey camera (1884), Kodak Panoram (1899), Wonder Panoramic (1890),[page needed] and Cyclo-Pan (1970). More portable and simple to operate, and with the advantage of holding several panoramic views on the one roll, these cameras were enthusiastically deployed around the turn of the century by such photographers as the American adventurer Melvin Vaniman, who popularised the medium in Australia where it was taken up by both Pictorialist and postcard photographers, such as Robert Vere Scott, Richard T. Maurice (1859-1909), H.H. Tilbrook (1884-1937), and Harry Phillips (1873-1944).
Panoramic photography
Panoramic photography is a technique of photography, using specialized equipment or software, that captures images with horizontally elongated fields of view. It is sometimes known as wide format photography. The term has also been applied to a photograph that is cropped to a relatively wide aspect ratio, like the familiar letterbox format in wide-screen video. When displayed interactively, it is known as an interactive panorama.
While there is no formal division between "wide-angle" and "panoramic" photography, "wide-angle" normally refers to a type of lens, but using this lens type does not necessarily make an image a panorama. An image made with an ultra wide-angle fisheye lens covering the normal film frame of 1:1.33 is not automatically considered to be a panorama. An image showing a field of view approximating, or greater than, that of the human eye – about 160° by 75° – may be termed panoramic. This generally means it has an aspect ratio of 2:1 or larger, the image being at least twice as wide as it is high. The resulting images take the form of a wide strip. Some panoramic images have aspect ratios of 4:1 and sometimes 10:1, covering fields of view of up to 360 degrees. Both the aspect ratio and coverage of field are important factors in defining a true panoramic image.
Photo-finishers and manufacturers of Advanced Photo System (APS) cameras use the word "panoramic" to define any print format with a wide aspect ratio, not necessarily photos that encompass a large field of view.
The device of the panorama existed in painting, particularly in murals as early as A.D. 20 in those found in Pompeii, as a means of generating an immersive 'panoptic' experience of a vista, long before the advent of photography. In the century prior to the advent of photography, and from 1787, with the work of Robert Barker, it reached a pinnacle of development in which whole buildings were constructed to house 360° panoramas, and even incorporated lighting effects and moving elements. Indeed, the careers of one of the inventors of photography, Daguerre, began in the production of popular panoramas and dioramas.
The idea and longing to create a detailed cityscape without a paintbrush, inspired Friedrich von Marten. von Marten created panoramic daguerreotype by using a special panoramic camera that he created himself. The camera could capture a broad view on a single daguerreotype plate. In complete and vivid detail, a cityscape is laid out before the viewer.
The development of panoramic cameras was a logical extension of the nineteenth-century fad for the panorama. One of the first recorded patents for a panoramic camera was submitted by Joseph Puchberger in Austria in 1843 for a hand-cranked, 150° field of view, 8-inch focal length camera that exposed a relatively large Daguerreotype, up to 24 inches (610 mm) long. A more successful and technically superior panoramic camera was assembled the next year by Friedrich von Martens in Germany in 1844. His camera, the Megaskop, used curved plates and added the crucial feature of set gears, offering a relatively steady panning speed. As a result, the camera properly exposed the photographic plate, avoiding unsteady speeds that can create an unevenness in exposure, called banding. Martens was employed by Lerebours, a photographer/publisher. It is also possible that Martens camera was perfected before Puchberger patented his camera. Because of the high cost of materials and the technical difficulty of properly exposing the plates, Daguerreotype panoramas, especially those pieced together from several plates (see below) are rare.
After the advent of wet-plate collodion process, photographers would take anywhere from two to a dozen of the ensuing albumen prints and piece them together to form a panoramic image (see: Segmented). This photographic process was technically easier and far less expensive than Daguerreotypes. While William Stanley Jevons' wet-collodion Panorama of Port Jackson, New South Wales, from a high rock above Shell Cove, North Shore survived undiscovered until 1953 in his scrap-book of 1857, some of the most famous early panoramas were assembled this way by George N. Barnard, a photographer for the Union Army in the American Civil War in the 1860s. His work provided vast overviews of fortifications and terrain, much valued by engineers, generals, and artists alike. (see Photography and photographers of the American Civil War)[citation needed] In 1875, through remarkable effort, Bernard Otto Holtermann and Charles Bayliss coated twenty-three wet-plates measuring 56 by 46 centimeters to record a sweeping view of Sydney Harbour.
Following the invention of flexible film in 1888, panoramic photography was revolutionised. Dozens of cameras were marketed, many with brand names indicative of their era; such as the Pantascopic, (1862) Cylindrograph survey camera (1884), Kodak Panoram (1899), Wonder Panoramic (1890),[page needed] and Cyclo-Pan (1970). More portable and simple to operate, and with the advantage of holding several panoramic views on the one roll, these cameras were enthusiastically deployed around the turn of the century by such photographers as the American adventurer Melvin Vaniman, who popularised the medium in Australia where it was taken up by both Pictorialist and postcard photographers, such as Robert Vere Scott, Richard T. Maurice (1859-1909), H.H. Tilbrook (1884-1937), and Harry Phillips (1873-1944).