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A darkroom technician can correct perspective distortion in the printing process. It is usually done by exposing the paper at an angle to the film, with the paper raised toward the part of the image that is larger, therefore not allowing the light from the enlarger to spread as much as the other side of the exposure.
Perspective-n-Point [1] is the problem of estimating the pose of a calibrated camera given a set of n 3D points in the world and their corresponding 2D projections in the image. The camera pose consists of 6 degrees-of-freedom (DOF) which are made up of the rotation (roll, pitch, and yaw) and 3D translation of the camera with respect to the world.
For example, if standing at a distance so that a normal lens captures someone's face, a shot with a wide-angle lens or telephoto lens from the same distance will have exactly the same linear perspective geometry on the face, though the wide-angle lens may fit the entire body into the shot, while the telephoto lens captures only the nose.
The principle is named after Austrian army Captain Theodor Scheimpflug, who used it in devising a systematic method and apparatus for correcting perspective distortion in aerial photographs, although Captain Scheimpflug himself credits Jules Carpentier with the rule, thus making it an example of Stigler's law of eponymy.
Darkroom manipulation is a traditional method of manipulating photographs without the use of computers. Some of the common techniques for darkroom manipulation are dodging, burning , and masking , which though similar conceptually to digital manipulations, involve physical rather than virtual techniques.
Unsharp masking (USM) is an image sharpening technique, first implemented in darkroom photography, but now commonly used in digital image processing software. Its name derives from the fact that the technique uses a blurred , or "unsharp", negative image to create a mask of the original image.
The 1961 35 mm f / 3.5 PC-Nikkor lens—the first perspective-control lens for a 35 mm camera. In photography, a perspective-control lens allows the photographer to control the appearance of perspective in the image; the lens can be moved parallel to the film or sensor, providing the equivalent of corresponding view camera movements.
Our model for this example is based on a pair of images that observe a 3D point P, which corresponds to p and p' in the pixel coordinates of each image. O and O' represent the optical centers of each camera, with known camera matrices M = K [ I 0 ] {\displaystyle M=K[I~0]} and M ′ = K ′ [ R T ] {\displaystyle M'=K'[R~T]} (we assume the ...