Phase measuring deflectometry based on calibrationof the entrance pupil center of the camera lens

2022 ◽  
Author(s):  
Renhao Ge ◽  
Dahai Li ◽  
Xinwei Zhang ◽  
Ruiyang Wang ◽  
Wanxing Zheng ◽  
...  
Keyword(s):  
Entrance Pupil ◽  
Camera Lens ◽  
Pupil Center

A new phase to height model in fringe projection profilometry by considering radial distortion of camera lens

Optik ◽  
2021 ◽  
pp. 167895
Author(s):  
Jong-Chol Kang ◽  
Chol-Su Kim ◽  
Il-Jun Pak ◽  
Ju-Ryong Son ◽  
Chol-Sun Kim
Keyword(s):  
Fringe Projection ◽  
Camera Lens ◽  
Radial Distortion ◽  
New Phase ◽  
Height Model ◽  
Fringe Projection Profilometry

ON OPTIMUM PUPIL FIELDS WITH MAXIMUM ELECTRIC FIELD COMPONENT IN FOCUS

2010 ◽  
Vol 19 (01) ◽  
pp. 189-201
Author(s):  
H. P. URBACH ◽  
S. F. PEREIRA ◽  
D. J. BROER
Keyword(s):  
Electric Field ◽  
Field Component ◽  
Optical Axis ◽  
Focal Point ◽  
Longitudinal Component ◽  
Electric Field Component ◽  
Incident Power ◽  
Entrance Pupil ◽  
Maximum Electric Field ◽  
High Na Lens

The field in the entrance pupil of a high NA lens can be optimized such that, for given incident power, the electric field component in a given direction in the focal point is maximum. If the field component is chosen parallel to the optical axis, the longitudinal component is maximized and it is found that the optimum longitudinal component is narrower than the Airy spot. We discuss how this can be used to obtain higher resolution in photolithography when a resist is used that is sensitive to only the longitudinal component. We describe a proposition for realizing such resist.

Eye Camera Window: Takashi Homma on Le Corbusier

Public ◽  
2021 ◽  
Vol 32 (63) ◽  
pp. 118-121
Author(s):  
Na’ama Freeman
Keyword(s):  
Le Corbusier ◽  
Focus Attention ◽  
Visual Interpretation ◽  
Camera Lens ◽  
The Way

A new exhibition at the Canadian Centre for Architecture (Montreal, QC), Eye Camera Window: Takashi Homma on Le Corbusier, investigates the practice of Japanese architectural photographer Takashi Homma (1962) and his exploration of the intrinsic similarities between windows and cameras in the way they mediate an experience, be it in a modernist dwelling or in a photograph recalling a memory. Homma’s photographs focus attention on the ‘eye’, the ‘camera’, and the ‘window’ in the way they shape perspective in intimate form. In a visual interpretation that uses the camera lens as an eye to witness new forms, Homma advances an argument of timelessness, providing intimate architectural perspectives on eternal vistas.

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