Panorama Images Research Papers - Academia.edu (original) (raw)

In recent years, the production of panoramic images has been boosted by the increasing use of digital photographic cameras and mobile phones. However, for highly demanding applications such as long-range deformation monitoring, the accuracy and quality control of panoramic images and processes used to obtain accurate 3D models should be properly assessed. Therefore, prior to being applied in real projects, the quality of the spherical panoramic images generated by three widely used computer programs (Agisoft Metashape, GigaPan Stitch and PTGui) is evaluated using the same images of a photogrammetric laboratory full of control points and an outdoor environment by shooting from several stations. In addition to the assessment of the geometrical accuracy, the study also includes important aspects for practical efficiency such as workflow, speed of processing, user-friendliness, or exporting products and formats available. The results of the comparisons show that Agisoft Metashape meets the required geometric specifications with higher quality and has clear advantages in performance if compared to the other two tested programs.

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- Geomatics, Photogrammetry, Monitoring, Panorama Images
- by Alexander Streitberger
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- Photography, Panorama Images

This essay traces the emergence of the panoramic apparatus in a cross-historical and intercultural context, and demonstrates how the theoretical principles of nineteenth-century panoramic apparatus have continued to inform modern and... more

- by Jens Ruchatz
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- Panoramas, Nineteenth-Century Panoramas, Photography Theory, History of photography

High resolution 3D models produced from photographs acquired with consumer-grade cameras are becoming increasingly common in the fields of geosciences. However, the quality of an image-based 3D model depends on the planning of the photogrammetric surveys. This means that the geometric configuration of the multi-view camera network and the control data have to be designed in accordance with the required accuracy, resolution and completeness. From a practical application point of view, a proper planning (of both photos and control data) of the photogrammetric survey especially for terrestrial acquisition, is not always ensured due to limited accessibility of the target object and the presence of occlusions. To solve these problems, we propose a different image acquisition strategy and we test different geo-referencing scenarios to deal with the practical issues of a terrestrial photogrammetric survey. The proposed photogrammetric survey procedure is based on the acquisition of a sequence of images in panorama mode by rotating the camera on a standard tripod. The offset of the pivot point from the projection center prevents the stitching of these images into a panorama. We demonstrate how to still take advantage of this capturing mode. The geo-referencing investigation consists of testing the use of directly observed coordinates of the camera positions, different ground control point (GCP) configurations, and GCPs with different accuracies, i.e. artificial targets vs. natural features. Images of the test field in a low-slope hill were acquired from the ground using an SLR camera. To validate the photogrammetric results a terrestrial laser scanner survey is used as benchmark.

- by Livia Piermattei and +1
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- Georeferencing, Structure from Motion, Panorama Images, Digital Terrestrial Photogrammetry
- by Angela Miller
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- Panorama Images

I was educated as a city planner and an architect. I am not practising any of these professions anymore due to the fact that they do not offer enough freedom during the process of creation. I later turned into an artist using mainly... more

- by Murat Germen
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- Art, Visualization, Contemporary Art, Panoramas

Los avances en el campo de la imagen digital nos han permitido ampliar los horizontes de la fotografía panorámica, gracias a la aparición de software de stitching o cosido de imágenes, con los que se pueden unir varias fotografías para formar una imagen panorámica de amplio campo visual. Las imágenes producidas mediante el software de stitching pueden llegar a abarcar un campo visual de 360º en horizontal y 180º en vertical, formando un panorama esférico. Este tipo de panorama tiene una gran potencial para la representación arquitectónica, por lo que resultaría interesante añadir una nueva dimensión aplicando los fundamentos de la visión estereoscópica. Por ello, en el artículo se estudia esta problemática con el fin de aportar una metodología asequible de captura fotográfica de panoramas esféricos estereoscópicos, además de analizar su compatibilidad con los últimos sistemas de visualización inmersiva.

- by Pedro M. Cabezos-Bernal
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- Photography, Virtual Reality (Computer Graphics), Panoramas, Fotografia
- by Jon Leaver
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- Panoramas, Urbanism, The Sublime, Los Angeles

This paper discusses subject formation in today's panorama-like digital moving images by contrasting the idea of suture in film theory with stitching process necessary in digital 360-degree photographic image production. Derived from Lacanian psychoanalysis, suture refers to the complicated mechanism of signification in classical narrative cinema: by integrating multiple points of view of movie camera, audience, and character in film into a syntagmatic entity, films successfully hide the " Absent One, " an inevitably assumed absence of ownership of shots, and place spectators on a particular subject position in the diegetic world. Compared to the complicated suturing mechanism in the temporal medium, today's VR movies seem to choose a simpler solution for audience's immersion and their omnipotent all-encompassing view: the camera position always corresponds with the viewer's as viewing platforms were placed in the center in panorama buildings in the nineteenth century. However, the immersive images require a process called "stitching" in order to assure the audience's all-seeing power. Each image captured by multiple cameras needs digitally fixed to make the overlaps between them seamless. Based on the contrast of cinematic suture and panoramic stitch, this paper discusses contemporary panoramic immersive media as case studies of subject formation.

- by Kohki Watabe
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- Film Theory, VR Panorama, Panoramas, Nineteenth-Century Panoramas

Les panoramas préfigurent les dispositifs immersifs contemporains en libérant le regard d'un point de vue unique ou centré et en donnant l'illusion au spectateur d'être physiquement plongé, puis impliqué, dans un ailleurs distant. Pour parvenir à cela, un triple mouvement s'opère : l'enveloppement, la saturation puis la participation. Si le panorama, décliné maintenant par le numérique avec des interfaces instrumentées, fascine toujours autant, c'est qu'il active, au plus intime de chacun, la possibilité de la transgression. Dès lors, les propositions immersives, tel qu'elles se déve-loppent dans la production des panoramas, relèvent-elles d'un processus de dé-focalisation ? Les systèmes immersifs en tant que dispositifs conçus pour projeter un spectateur dans un monde en trompe-l'oeil, pourraient être reconnus dans les coupoles des églises toscanes dans lesquelles les anges et les nuages semblent flotter au-dessus de nous. Mais il est plus juste de voir dans l'invention du panorama par Baker en 1787 en Écosse, le véritable ancêtre de tout ce qui s'est développé ensuite. Le panorama donne à voir un ailleurs représenté, mis en scène, projeté sur une toile envi-ronnant le spectateur à 360 ° et relié à lui par un élément construit : le faux terrain. Le panorama met en oeuvre un ensemble de solutions architecturales, dont les sys-tèmes les plus récents sont les héritiers : il s'agit d'une surface de projection, d'un point d'où le public observera la scène, d'un accès et d'un protocole d'entrée en forme de sas sensoriel. Très rapidement, les panoramas ont intégré les nouvelles inventions liées à la représentation, la restitution sonore, la lumière contrôlée, la photographie puis le cinéma, les effets cinétiques et l'interactivité. Les expositions universelles du début du XXe siècle ont présenté des dispositifs dont l'ampleur et l'ingéniosité fascinent encore, tels le Cinéorama de Grimoin-Sanson ou le Marérama. Puis, ce sont les parcs d'attractions, comme ceux de Disney, qui ont perpétué ce type d'attraction jusqu'à aujourd'hui comme c'est le cas au Futuroscope de Poitiers, par exemple. Attraction majeure à la fin du XIXe siècle, les panoramas et leurs innombrables dé-clinaisons dont la nomenclature rime avec rama, s'effaceront au profit du cinéma, plus facile à mettre en oeuvre et moins gourmand en espace. Les rotondes sont

- by Laurent Lescop and +1
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- Panoramas, Virtual Worlds, Immersion, Ambiance

The preponderance of the great painted panoramas of the 19th-century that were presented to a paying audience portrayed historic battle scenes, great views of important cities or scenes of extraordinary natural beauty. Most contemporary panoramic photography typically does the same by showing dramatic natural scenes. This paper presents how an artist has focused on the everyday, with large scale and highly detailed panoramic photographs which are informed by research in urban design and planning, psychogeography, landscape architecture, map making and the field of geography (human & physical) with a particularly focus on the causal relationships between people and place. In geography, this is framed as 'chorology' or the study of 'cultural landscapes.' This paper provides a brief review of the research and the trajectory of an artist who makes panoramic vernacular cultural landscape photographs.

- by David Kutz
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- Cultural Geography, Contemporary Art, Landscape Photography, Landscape (Art)

Das seit einigen Jahren wieder aktualisierte Phänomen des 360°-Rundbildes, dessen Ursprung bereits im Jahr 1787 liegt, war Thema der Jahrestagung des Geisteswissenschaftlichen Zentrums Geschichte und Kultur Ostmitteleuropas an der Universität Leipzig (GWZO). Eine internationale Gruppe von Wissenschaftler/innen ging der Frage nach, welche Spezifika die vorwiegend historisch-politisch kodierten Panoramen in Ostmitteleuropa kennzeichnen und wo diese im internationalen Vergleich verortet werden können.

На материале не востребованных прежде текстовых и иллюстративных источников из РГИА, ЦГИА СПб, ЦГТМ им. А.А. Бахрушина и РНБ, а также периодики середины XIX в. в статье освещено экспонирование в Петербурге «Панорамы Палермо». Монументальная картина кругового обзора (4,8 м x 28,8 м) была написана К.Ф. Шинкелем в 1808 г. по эскизам, созданным им во время поездки в Италию 1803-1805 гг. На склоне лет мастер решил повторить эту композицию в большем размере (9,6 м x 70 м). Ослабленный болезнью, он не мог воплотить замысел сам и при посредничестве своего друга художника К. Гропиуса препоручил его К.Э. Бирману (1840-1844 гг.). Панорама демонстрировалась в Берлине, а затем была продана Гропиусом в Петербург. До этого момента ее история досконально прослежена европейскими исследователями. Судьба «Панорамы Палермо» в России оставалась до сих пор неизвестной — как и сам этот художественный феномен был забыт отечественной историографией.
Удалось выяснить, что вторая версия панорамы Шинкеля была приобретена у Гропиуса за 2500 талеров А.Л. Роллером, который занимал в России должность декоратора и первого машиниста Императорских театров. Устройство панорамы (1846 г.) происходило при благосклонном внимании Николая I, поскольку она должна была сохранить память о недавнем путешествии в Палермо императорской семьи. Обсуждалось 6 возможных мест для нее; предпочтение было отдано Манежной площади. Но панорама оказалась недостаточно посещаемой. Роллер был освобожден от налогов, сам жил в здании панорамы, пытался сделать более гибкими цены и режим работы, выставил новые виды, но ему так и не удалось покрыть расходы. Наконец он получил разрешение на строительство для панорамы в Большой Морской улице нового здания с пристройками для двух диорам, но дело затянулось, а панорама тем временем погибла в пожаре.
“Panorama of Palermo” was painted in 1808 by K.F. Schinkel after his field sketches made in Italy in 1803-1805. In 1840 he wished to create a new version of the composition on even greater scale. Because of Schinkel’s fatal illness, the task was entrusted to E. Biermann. In 1844 the new panorama was exhibited in Berlin and thereafter sold to Saint-Petersburg. Up until that moment its history is profoundly explored by European scholars. The present paper examines its destiny in Saint-Petersburg which remained so far obscure on the basis of textual and visual archival materials as well as from mid-19th-century Russian newspapers.
The panorama was purchased from C. Gropius for 2500 Thalers by his friend A. Roller who was employed as a scenic artist and the main machine operator of the Imperial theaters in Russia. The idea was supported by Nicholas I as this spectacle was to keep memories of the recent trip of Emperor’s family to Palermo (1845-1846). There was a discussion about its location. Out of 6 places the Manezhnaia square in the very center of the city was chosen. The panorama was opened on 6th July 1846. Even though Roller enjoyed tax-free land holding and excise-free concession, lived in the building of panorama, introduced flexible prices and opening hours, “Panorama of Palermo” suffered lack of visitorship. Finally, Roller got a permission for erecting a new edifice for it in Bol’shaia Morskaia street with two extensions for dioramas, but the construction lingered and in the meantime the panorama was devastated by the fire.

- by SANAL TUR
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- Panoramic Photography, Panorama Images, Virtual Tour, Sanal Tur
- by Giorgio Marini
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- Prints, Drawings and Prints, Prints (Art History), Prints and Drawings
- by Murat Germen
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- Geography, Computer Science, Art, Visualization

Abstract: A visual sensor network (VSN) is constructed by a set of small and low cost sensor nodes which can produce images or videos from a sensed area. Different solutions exist to prolong the lifetime of such networks by considering the remaining energy of the sensors. In this paper surveillance of air space through a terrestrial VSN with randomly distributed sensors is considered. The goal of the network is to form a panoramic image. Hence, it is necessary that the sensors generate a full coverage of the monitored area. It is shown that only a subset of distributed sensors could form the required panoramic image. For this purpose we describe the steps of selection of sensors, formation of full coverage and generation of panoramic image from the captured data. Two novel methods for sensor selection are proposed. For elongation of network’s lifetime, we prove that considering the area covered by each sensor, as well as the overlap between the selected sensors, have better results than only considering the energy of each sensor.

- by Shadrokh Samavi
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- Wireless Sensor Networks, Panorama Images

Sanat tarihi boyunca gerçekliği sorgulayıp, ona ulaşma çabası içerisinde olan insanlar her
dönemin kendi şartlarında sahip olunan yüksek teknolojiyi kullanmaya çalışmışlardır. Teknolojinin sanat ile birlikteliği, çeşitli tekniklerin gelişimine olanak sağlarken, sanatçıları/tasarımcıları da yeni arayışlara itmiştir. Bilgisayarın icadı ile başlayan dijitalleşme süreci sanat üretiminde ifade biçimlerine alternatifler getirmiş, ortaya çıkan yeni medya ortamına uyarlanmış sanatsal üretim tekniklerinin önünü açmıştır. Geleneksel boyama ile yapılan çalışmalar, bilgisayar destekli yazılımlar ve donanımlar ile dijital ortamda yapılabilir hale gelmiştir. Önceleri, basit düzeyde çizim ve boyama yapılabilen grafik yazılımlar ve donanımların gelişmesi, iki boyutlu düzlemde üç boyutlu görüntüler
yaratmayı mümkün kılmıştır. Daha sonraki süreç içerisinde, gelişen teknolojik imkânlara ayak uyduran dijital boyama teknikleri 3 boyutlu veya sanal gerçeklik ortamında uygulanabilir hale gelmiştir. Şüphesiz ki, bu seviyeye ulaşan dijital boyama tekniklerinin tarihine değinmek gerekmektedir. Dolayısıyla, bu çalışmada, öncelikle sanat ve tasarım alanında gerçeklik algıları üzerine genel bir değerlendirme yapılmış, sonrasında ise, dijital boyama tekniklerinin gelişim sürecinden bahsedilerek sanal gerçeklik boyutuna ulaşan boyama konusunda teknik bilgiler verilmiş ve gelecekteki kullanım alanlarına dair öngörülerden söz edilmiştir.
Anahtar Sözcükler: Dijital boyama, VR boyama, sanal gerçeklik.
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People who have been trying to reach the reality by questioning it throughout the history of art, have tried to use the high technology that each period has in its own conditions. While the coexistence of technology with art has enabled the development of various techniques, it has also led artists/designers to new pursuits. The process of digitalization, which began with the invention of the computer, brought alternatives to forms of expression in art production and paved the way for artistic production techniques adapted to the emerging new media environment. It became possible to create the traditional painting works in digital media by using computer aided softwares and
hardwares. The development of graphic softwares and hardwares, which previously could only allow simplest level of drawing and painting, has made it possible to create 3D images on a two-dimensional plane. Afterwards, digital painting techniques, which keep pace with the developing technological opportunities, have been able to be applied in 3D or virtual reality environment. T here is no doubt that, it is necessary to address the history of digital painting techniques that have reached this level. Therefore, in this study, a general evaluation is made on perceptions of reality in the field of art and design, technical information is given about the development process of digital painting techniques, which has almost reached reality, and predictions about their future use are underlined.
Keywords: Digital painting, vr painting, virtual reality.

Le format du panorama. S'il existe une chose difficile à mettre dans un catalogue, c'est l'image d'un panorama. En effet, que ce soit celui de Barker, l'inventeur du panorama en 1787, représentant Edinbourg, celui de Mesdag en Hollande ou encore celui de Waterloo en Belgique, impossible de savoir où commence l'image et à quel endroit il faut la couper, elle tourne infiniment autour de nous.

- by Laurent Lescop
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- Panoramas, Virtual Worlds, Immersion and Experience, Immersion

The panorama has a two-century history in the world, but it is a newly developing and spreading concept in Turkey. The most venerable example in Turkey opened in Istanbul just a decade ago. This paper examines the Panorama 1326 Bursa, which opened in 2018, as an exemplar of the full-panorama or rotunda + dome technique. It reflects on the historiography of the image, the 3D object platform, and its impact for the community. The technical details are based on interviews conducted on August, 2020 with Haşim Vatandaş, the art director of the Panorama 1326, and the sculptor Atilla Tunca.

- by Emek YILMAZ
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- Panoramas, Museums and social exclusion, Bursa, Panorama Images

Hand jitter reduction (HJR) is an algorithm developed to offset the jitter effect caused by camera users. The hand jitter algorithm can be added and implemented in digital signal processing using hardware acceleration to execute these noise reduction algorithms. HJR involves the detection of noise in the camera images and the application of noise reduction algorithms to smoothen these noises. HJR tests are critical for validating the authenticity of the HJR algorithm. The challenge here is to be able to simulate similar motions to what a real-world user would experience while using the camera. We have inducted and programmed a robotic arm to simulate real-world user motions. We have developed software to simulate different motions, such as the generation of sine waves, and we also generate a randomized motion that is a combination of different motions, such as a sine wave, a cosine wave, and vertical, horizontal, and angular motions. In the robotic arm setup, the robot comprises six joints, and we can rotate the joints to generate a specific motion. We have developed an algorithm to find the locations of joints depending on the motion we need to simulate. For example, if we need a 30 • rotation while the camera is at a specific location, we can calculate the joint value for specific joints in the robotic arm. The goal of HJR tests is also to categorize the results of the camera as having acceptable or non-acceptable results based on the induced motions. The test automation has immensely helped us to objectively benchmark the performance of the algorithm over several software builds. We have provided test results of computer vision use cases of camera panorama to show the effect of hand jitter on the quality of the software.

- by Debdeep Banerjee
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- Software Engineering, Computer Vision, Image Processing, Robotics and automation
- by Natasja Peeters
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- First World War, Belgian Artist, Panorama Images
- by Pere Freixa
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- Panoramas, Panoramic Photography, Fotografía Panorámica, Panorama Images

Antakya (Antioch), the southernmost city in Turkey, has a very important place in world history. Barnabas and Paul, who are the apostles of Jesus, came to Antakya, which has an important place in the history of religions. They then began to spread the disciples and teachings of Jesus in Antakya after Jerusalem. Later, Saint Peter (St. Pierre), the third envoy, came to support other envoys. Christian rhetoric first emerged in Antakya to indicate those who believe in Jesus. Antakya also has a very important place in Islamic understanding. It is believed that Yuhanna, Paul, Saint Peter, and Habib-i Neccar (Habib Al-Nejjar) from Antakya, who are Jesus' apostles, are mentioned in the Surah Yasin of the Holy Quran sent to Prophet Muhammad (peace be upon him). The purpose is to convey the story of the city of Antakya, the apostles, and Habib-i Neccar, mentioned in the holy books, to today's people through a panorama. A visual presentation was created with a narrative appropriate to the city's land structure, settlement, view directions, and the flow of the story.

- by Gökhan Maraşlıoğlu
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- Digital Media, Digital Painting, Panorama, 19th Century Rotunda Panoramas

Panoramas were extremely popular in the late 18th and early 19th centuries. A panorama was a large circular painting that aimed to give the viewer the experience of being physically present in the scene being depicted, whether that was a landscape, a city, a battle or other historical event. Panoramas served as mass entertainment, popular education and propaganda. Visiting them was more like going to the theatre or the opera than to an art gallery. At their best, panoramas provided convincing illusions of the real, transporting the audience to another place and time.

- by Shannon Selin
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- Art History, Panoramas, Nineteenth-Century Panoramas, Nineteenth-century Art
- by Gunseli Gurel
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- History of photography, Istanbul, Panorama Images