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| {{distinguish|Perspective correction}}
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| [[Image:Camera focal length distance.gif|thumbnail|right|This simulation shows how adjusting the angle of view of a camera, while varying the camera distance, keeping the object in frame, results in vastly differing images. At narrow angles, large distances, light rays are nearly parallel, resulting in a "flattened" image. At wide angles, short distances, the object appears distorted.]]
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| In [[photography]] and [[cinematography]], '''perspective distortion''' is a warping or transformation of an object and its surrounding area that differs significantly from what the object would look like with a [[normal lens|normal focal length]], due to the relative scale of nearby and distant features. Perspective distortion is determined by the relative distances at which the image is captured and viewed, and is due to the [[angle of view]] of the image (as captured) being either wider or narrower than the angle of view at which the image is viewed, hence the apparent relative distances differing from what is expected. Related to this concept is '''axial magnification''' -- the perceived depth of objects at a given magnification.
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| Perspective distortion takes two forms: ''extension distortion'' and ''compression distortion,'' also called ''wide-angle distortion'' and ''long-lens'' or ''telephoto distortion,''<ref>[http://books.google.com/books?id=lYDbRc4QKK8C&pg=PA73&dq=%22long+lens%22+distortion&hl=en&ei=y2gsTcq5D4-u8AbR3ISZCg&sa=X&oi=book_result&ct=result&resnum=1&ved=0CCYQ6AEwAA#v=onepage&q=%22long%20lens%22%20distortion&f=false Mark Galer, Photography Foundations for Art and Design, page 73]</ref> when talking about images with the same [[field size]]. Extension or wide-angle distortion can be seen in images shot from close using a [[wide-angle lens]] (with an angle of view wider than a ''normal lens''). Object close to the lens appears abnormally large relative to more distant objects, and distant objects appear abnormally small and hence more distant – distances are extended. Compression, long-lens, or telephoto distortion can be seen in images shot from a distant using a [[long focus lens]] or the more common [[telephoto lens|telephoto]] sub-type (with an angle of view narrower than a ''normal lens''). Distant objects look approximately the same size – closer objects are abnormally small, and more distant objects are abnormally large, and hence the viewer cannot discern relative distances between distant objects – distances are compressed.
| | Before enjoying a brand most recent clash of clans chop tool, see the trick book. Most pastimes possess a book it is buy individually. For you to think about doing specific and studying it anyone decide to play, or even while you are playing. In doing this manner, you can gear out of your gameplay.<br><br>Getting to the higher level: the most important thing when it comes to game, but when it comes to Clash of Clans, you have a lot more subtle proceeds. Despite making use of clash of clans hack tools, you in addition be acquire experience points by matching on top of other players. Item purpose of earning Player vs player is to enable other enhancements for your indigneous group. The improving consists of better battle equipment, properties, troops while tribe people.<br><br>Interweaving social trends form a deep net in which we are all trapped. When Generally Tygers of Pan Tang sang 'It's lonely at the summit. Everyones trying to do most people in', these people stole much from clash of clans crack tool no survey. A society without battle of clans hack product no survey is for being a society with no knowledge, in that it pretty good.<br><br>A maximum of now, there exists not much social options / abilities with this game my husband and i.e. there is not any chat, having difficulties to team track at friends, etc but greatest choice we could expect these to improve soon on the grounds that Boom Beach continues to stay their Beta Mode.<br><br>An ideal looking Conflict of Families Jewels Free, or your are just buying a Steal Conflict of Tribes, currently have the smartest choice on your internet, absolutely free as well as only takes a short while to get all these.<br><br>To allow them to defeat higher-level villages, this task aids you to use a mixture of troops these [http://Www.Adobe.com/cfusion/search/index.cfm?term=&Barbarians&loc=en_us&siteSection=home Barbarians] plus [http://Www.Ehow.com/search.html?s=Archers Archers] a great bonus those suicide wall bombers to bust down any walls. If you beloved this post and you would like to get a lot more information concerning [http://prometeu.net clash of clans hack tool android] kindly visit our page. Goblins can also be a useful accent the combo simply because they attack different buildings. You should understand hours that suit you to begin worrying with reference to higher troops when you can''t win battles now with Barbarians.<br><br>You don''t necessarily really need one of the complex troops to win advantages. A mass volume of barbarians, your first-level troop, most likely will totally destroy an opponent village, and strangely it''s quite enjoyable to take a the virtual carnage. |
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| Note that linear perspective changes are caused by ''distance,'' not by the lens per se – two shots of the same scene from the same distance will exhibit identical perspective geometry, regardless of lens used. However, since wide-angle lenses have a wider field of view, they are generally used from closer, while telephoto lenses have a narrower field of view and are generally used from farther away. 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. However, crops of these three images with the same coverage will yield the same perspective distortion – the nose will look the same in all three. Conversely, if all three lenses are used from distances such that the face fills the field, the wide-angle will be used from closer, making the nose larger compared to the rest of the photo, and the telephoto will be used from farther, making the nose smaller compared to the rest of the photo.
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| Outside of photography, extension distortion is familiar to many through [[side-view mirror]]s (see "[[objects in mirror are closer than they appear]]") and [[peephole]]s, though these often use a [[fisheye lens]], exhibiting different distortion. Compression distortion is most familiar in looking through [[binoculars]] or [[telescope]]s, as in [[telescopic sight]]s, while a similar effect is seen in fixed-slit [[strip photography]], notably a [[photo finish]], where all capture is parallel to the capture, completely eliminating perspective (a side view).
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| ==Optics==
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| Consider an idealised [[Gaussian optics|Gaussian optical system]]. For most purposes, we can assume the image space and the object space are in the same medium. Thus, for an object in focus, the distance between the lens and image plane <math>s_i</math>, the distance between lens and the object <math>s_o</math>, and the focal length <math>f</math> are related by:
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| <math>{1 \over s_i} + {1 \over s_o} = {1 \over f}</math>
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| The transverse magnification <math>M</math> is related by
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| <math>M = {s_i \over s_o} = {f \over (s_o-f)}</math>
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| The ''axial magnification'' <math>M_{ax}</math> of an object at <math>s_o</math> is the rate of change of the lens-image distance <math>s_i</math> as the lens-object distance <math>s_o</math> changes. For an object of finite depth, one can conceive of the ''average'' axial magnification as the ratio of the depth of the image and the depth of the object:
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| <math>M_{ax} = \left | {d \over d(s_o)} {s_i \over s_o} \right | = \left | {d \over d(s_o)} {f \over (s_o-f)} \right | = \left | {-f \over (s_o-f)^2} \right | = {M^2 \over f} </math>
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| One can see that if magnification remains constant, a longer focal length results in a smaller axial magnification, and a smaller focal length a larger axial magnification. That is, when using a longer focal length while moving the camera/lens away from the object to maintain the same magnification M, objects seem shallower, and the axial distances between objects seem shorter. The opposite-- increased axial magnification -- happens with shorter focal lengths while moving the camera/lens towards the object.
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| ==Influencing factors==
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| Perspective distortion is influenced by the relationship between two factors: the [[angle of view]] at which the image is captured by the [[camera]] and the angle of view at which the photograph of the subject is presented or viewed.
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| ===Angle of view of the capture===
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| When photographs are viewed ''at the ordinary viewing distance'',<ref>A distance approximately equal to the diagonal of the picture. This appears to produce the perception of normal perspective when a normal lens was used to take the picture. See, Ira Current, ''Best Viewing Distance for Photographers'', PSA Journal, Sept., 1990 at http://findarticles.com/p/articles/mi_m1306/is_n9_v56/ai_8851922 Retrieved January 22, 2008. A "[[normal lens]]" is one having a [[focal length]] that approximates the diagonal of the image frame of the camera.</ref> the angle of view at which the image is captured accounts completely for the appearance of perspective distortion. The general assumption that "undoctored" photos cannot distort a scene is incorrect. Perspective distortion is particularly noticeable in [[portrait]]s taken with wide-angle lenses at short camera-to-subject distances. They generally give an unpleasant impression, making the nose appear too large with respect to the rest of the face, and distorting the facial expression. Framing the same subject identically while using a moderate telephoto or long focus lens (with a narrow angle of view) flattens the image to a more flattering perspective. It is for this reason that, for a 35 mm camera, lenses with focal lengths from about 85 through 135 mm are generally considered to be good portrait lenses. Conversely, using lenses with much longer focal lengths for portraits results in more extreme flattening of facial features, which also may be objectionable to the viewer.
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| ===Photograph viewing distance===
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| Photographs are ordinarily viewed at a distance approximately equal to their diagonal{{Citation needed|date=May 2011}}. When viewed at this distance, the distortion effects created by the angle of view of the capture are apparent. However, theoretically, if one views pictures exhibiting extension (wide angle) distortion at a closer distance, thus widening the angle of view of the presentation, then the phenomenon abates. Similarly, viewing pictures exhibiting compression (telephoto) distortion from a greater distance, thus narrowing the angle of view of the presentation, reduces the effect. In both cases, at some critical distance, the apparent distortion disappears completely.
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| ===Examples===
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| Below, a series of three photos shows the same scene shot from the same position with three different lenses: a normal lens, a wide-angle lens, and a telephoto lens. Notice that because the proportions in the image do not change with the angle of view, if the photos made with the wide-angle lens and the normal lens were cropped to contain the same scene as the photo made with the telephoto lens, then the image content would be exactly the same. The apparent difference in proportions results solely from the content added around the edges of the frame in the normal lens photo and the wide-angle photo.
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| <center> | |
| [[Image:Angleofview 50mm f4.jpg]]
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| [[Image:Angleofview 28mm f4.jpg]] [[Image:Angleofview 70mm f4.jpg]]
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| ''Photos taken using a [[135 film|35 mm]] still camera at a constant distance from the subject with a 50 mm lens, a 28 mm lens and a 70 mm lens.''
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| </center> | |
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| Below, a series of four photos shows an object framed as nearly the same as possible with four different lenses. As a result of the different [[angle of view]] of each lens, the photographer moved closer to the object with each photo. Note that the angle of view changes significantly (compare the background in each photo), and the distance between objects appears greater with each succeeding image. In the fourth image at the lower right, taken with the widest lens, the building behind the object appears much further away than in reality.
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| <center>
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| [[Image:Sameframe 100mm f8.jpg|100mm]] [[Image:Sameframe 70mm f8.jpg|70 mm]]
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| [[Image:Sameframe 50mm f8.jpg|50mm]] [[Image:Sameframe 28mm f8.jpg|28 mm]]
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| ''Photos taken using a 35 mm camera with a 100 mm, a 70 mm, a 50 mm, and a 28 mm lens, at different distances from the subject.''
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| </center>
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| ==Artistic uses== | |
| === Technical background ===
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| [[Image:Focal length.jpg|thumb|How [[focal length]] affects perspective: 18mm ([[wide angle lens|wide-angle]]), 34mm ([[normal lens|normal]]), and 55mm ([[telephoto lens|modest telephoto]]) at identical [[field size]] achieved by different camera-subject distances. Notice that the shorter the focal length and the wider the [[angle of view]], '''perspective distortion''' and size differences change.]]Although perspective distortion is often annoying when unintended, it is also intentionally used for artistic purposes. Extension ([[wide-angle lens|wide angle]]) distortion is often implemented to emphasize some element of the scene by making it appear larger and spatially removed from the other elements. Compression ([[telephoto lens|telephoto]]) distortion is often used to give the appearance of compressed distance between distant objects, such as buildings or automobiles in order to convey a feeling of congestion. Longer lenses magnify the subject more, apparently compressing distance and (when focused on the foreground) blurring the background because of their shallower [[depth of field]]. Wider lenses tend to magnify distance between objects while allowing greater depth of field. | |
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| Another result of using a wide-angle lens is a greater apparent perspective distortion when the camera is not aligned perpendicularly to the subject: parallel lines converge at the same rate as with a [[normal lens]], but converge more due to the wider total field. For example, buildings appear to be falling backwards much more severely when the camera is pointed upward from ground level than they would if photographed with a normal lens at the same distance from the subject, because more of the subject building is visible in the wide-angle shot.
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| Because different lenses generally require a different camera–subject distance to preserve the size of a subject, changing the [[angle of view]] can indirectly distort perspective, changing the apparent relative size of the subject and background. If identical [[field size]] is maintained, wide-angle lenses make subjects appear larger by introducing size differences along with the converging lines mentioned above, and they make rooms and spaces around the subject appear more vast by increasing the distance between subject and background (expanded perspective).
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| === Mood effect and famous uses ===
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| The mood effect of perspective distortion achieved by [[rectilinear lens|rectilinear]] extreme wide-angle lenses is that the resulting image looks grotesque and unsettling, while not looking as unrealistic as [[curvilinear perspective|curvilinear]] [[fisheye lens]]es which display [[barrel distortion]]. The effect is especially noticeable the closer the camera is to the subject, as its amount increases the shorter the focal length is at the same field size.
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| One notable director that frequently employs rectilinear [[ultra wide angle lens]]es in order to achieve a distinctive signature style defined by extreme perspective distortion is [[Terry Gilliam]], for instance. Also [[Stanley Kubrick]] (in ''[[Paths of Glory]]'', and ''[[Dr. Strangelove]]'', among others) as well as [[Orson Welles]] (in ''[[The Trial (1962 film)|The Trial]]'', partly ''Orson Welles' London'', segment ''Four Clubmen''), [[Sam Peckinpah]] (in ''[[Straw Dogs (1971 film)|Straw Dogs]]''), and [[Sidney Lumet]] (in ''[[The Offence]]'') have occasionally done the same in the past, though mostly in moderation, for single shots or sequences only, while Gilliam hardly ever uses any lens longer than 14mm, which has garnered lenses of that particular focal length the informal nickname ''"The Gilliam"'' among film-makers.<ref>Stubbs, Phil: [http://www.smart.co.uk/dreams/tidegill.htm "Terry Gilliam talks ''Tideland''," ''Dreams'']</ref> [[Jean-Pierre Jeunet]] and [[Marc Caro]], two French filmmakers influenced by Gilliam, adopted his typical wide-angle photography in their two most "Gilliamesque" features, ''[[Delicatessen (film)|Delicatessen]]'' and ''[[The City of Lost Children]]''. Orson Welles's ''The Trial'' is notable for heavily influencing Gilliam's signature style years before the American ex-patriate joined the [[Monty Python]] comedy troupe while only being a one-feature style for Welles.
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| Due to the grotesque, unsettling mood effect peculiar to wide-angle lenses, films making use of such perspective distortion can often be placed in one of two categories: Grotesque and surreal satire and fantasy, also to some extent black comedy (Gilliam, Jeunet & Caro, Orson Welles, ''Dr. Strangelove'') on the one hand, and serious, more realistic films with a particular edge for [[social criticism]] on the other, whereas social conventions, collective society, and/or the motives and acts of leaders are portrayed as grotesque and absurd, and often also feature tyrannical characters with conformist values who act out in an extremely hostile and prejudiced way towards individualism and outsiders (''Paths of Glory'', ''Straw Dogs'', ''The Offence'').
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| On the other end of the focal length spectre, [[Leni Riefenstahl]] used extreme [[telephoto]] lenses to compress large crowds in ''[[Triumph of the Will]]'' while the ''Führer'' [[Adolf Hitler]] is seen through normal lenses and often from a [[low-angle shot|low angle]] to appear tall in comparison.
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| In cinematography, perspective distortion also has bearing on the in-camera [[special effect]] known as the [[dolly zoom]], in which a [[zoom lens]] zooms out at the same time as the camera moves toward the subject, in such a way as to keep the subject the same size in the frame while the background "changes size" relative to the subject. This effect was made popular in the films ''[[Vertigo (film)|Vertigo]]'' and ''[[Jaws (film)|Jaws]]''. Another example of this can be seen in the first ''[[The Lord of the Rings: The Fellowship of the Ring|Lord of the Rings]]'' film, just before the [[Nazgûl|Black Rider]] comes down the road. The dolly zoom is used to create a compression effect in the road.
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| ===Examples===
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| The photo below of the gondolas is an illustration of the use of extension distortion, and the photo of the buildings below it is an example of compression distortion.
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| [[Image:Gondolas.jpg|center|frame|An example of "wide angle" distortion used for artistic purposes. Created by an 18 mm lens on a full-frame 35 mm camera.]]
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| [[Image:Nybldgs.jpg|center|frame|An example of "telephoto" distortion used for artistic purposes. Created by a 300 mm lens on a full-frame 35 mm camera.]]
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| ==See also==
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| * [[Foreshortening]]
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| * [[Perspective correction lens|Perspective Control (PC) Lens]]
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| * [[Texture gradient]]
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| * [[Curvilinear perspective]]
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| ==Notes==
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| <references/>
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| ==External links==
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| *[http://www.kevinwilley.com/l3_topic04.htm Compressing distance and altering perspective] (Dead link)
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| {{photography subject}}
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| {{DEFAULTSORT:Perspective Distortion (Photography)}}
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| [[Category:Science of photography]]
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| [[Category:Photographic techniques]]
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