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Recording `lightspace' so shadows and highlights vary with varying viewing illumination

2538OPTICS LETTERS/Vol.20,No.24/December15,1995

Recording lightspace so shadows and highlights vary with

varying viewing illumination

Steve Mann

Media Laboratory,Massachusetts Institute of Technology,Building E15-389,20Ames Street,Cambridge,Massachusetts02139

Received July17,1995

Methods are proposed to record the way in which objects respond to varying illumination—to capture and

reproduce varying shadows and highlights and thus give the illusion that absent objects are present behind a

‘‘window’’into which people may shine arbitrary lights of their choice.When the recording is viewed under

two separate point sources,one sees a reproduction of the original scene with double shadows.When it is

viewed outdoors,on an overcast day,one sees a reproduction of soft or almost nonexistent shadows,whereas

the reproduction of the objects themselves remains sharply defined,regardless of the viewing illumination.

?1995Optical Society of America

What information can we obtain by probing objects with rays of light from all possible directions while measuring the response from every possible direction (see Fig.1)?Hypothetically,this entire measurement space(‘‘lightspace’’)completely characterizes the appearance of the scene under arbitrary lighting conditions.

Traditional holography captures the part of light-space that corresponds to fixed lighting and varying viewpoint.I propose the recording and viewing of new dimensions;the goal depicted in Fig.1is to record both changes in viewpoint and changes in lighting.The lightspace recording may be thought of as a collection of many holograms of the same object,one for each object beam position.

The Denisyuk hologram has the property that the illumination during viewing coincides exactly with the object beam during recording,so the reproduced ob-jects appear to derive their shadows from the viewing https://www.wendangku.net/doc/897990663.html,bining multiple Denisyuk expo-sures,differing only in object beam placement,on a single plate gave rise to a crude recording of light-space.I imaged a plaster model of a human head, making a plate that could be viewed with one or more white lights.I found that the result was visually compelling:I could illuminate the plate from above to obtain the pleasant appearance of how a human face appears when lit from above or from below to obtain the appearance of a face resembling a scene from a horror movie(face lit from underneath).By the superposition of incoherent light,I found,as expected, that if I simultaneously lit the plate from both below and above,in a particular ratio,I could obtain the likeness of a face lit in that same ratio.

The major practical limitations were(1)reduced diffraction efficiency of each exposure as I increased the total number of exposures and(2)limited localiza-tion of the reproduction of each one(each hologram exposure becomes distorted rather than turning dark when the light is moved from its proper location,giving rise to overlapping of the multiple exposures).Thus successful recordings of this sort were limited to those that captured the response of objects to a few discrete light source locations,although they did show that both parallax and the new dimensions of lightspace could co-exist on the same plate.

I then explored recordings of lightspace that cap-tured only the way in which the scene responds to light, and not to changes in viewpoint.These recordings surprised people:the new dimensions of lightspace alone provided a compelling sense of three-dimensional structure despite the lack of parallax.

People first held the plates steady with respect to the light source,moving their heads from side to side as though expecting to see parallax,until I put the plates in boxes(open at the top,sides,or back to accept varying lighting)fitted with peepholes to force them to adopt the new viewing paradigm.(I also made some recordings in pairs to be viewed in standard and familiar stereo viewers.)

The elimination of parallax made it possible to use an emulsion of moderate thickness(such as Agfa8E75) to record the response to a continuously varying

light Fig.1.Hypothetical measurement of the response of a scene to light,using a spot meter and an idealized spotlight (producing a single ray).The entire measurement space provides all information necessary to reconstruct the scene from any viewpoint under any illumination.

0146-9592/95/242538-03$6.00/0?1995Optical Society of America

December 15,1995/Vol.20,No.24/OPTICS LETTERS

2539

Fig.2.Two of the 615image pairs I acquired by moving a white light over a planar lattice 41source widths across and 15source widths high:(a)frame 163left,(b)frame 163right,(c)frame 203left,(d)frame 203

right.

(a)

(b)

Fig.3.In a fixed-viewpoint recording of lightspace,all the objects remain sharp regardless of illumination during reconstruction:(a)When objects are viewed under a f luorescent lamp,at close range,the viewer experiences a superposition of images that reconstructs shadows that appear sharp perpendicular to the line of the lamp but soft across it.Notice also the slender linelike highlight in the specular sphere.(b)When objects are viewed under diffuse illumination (e.g.,outside on an overcast day),a superposition of all 615images produces shadows that are soft both horizon-tally and vertically.

source.I made one such recording by taking 615pairs of pictures (Fig.2)of a static scene,where I varied the lighting in small increments in accordance with the geometry designed for the final plate.I moved an approximately Gaussian-distributed light source to each of 41different horizontal and 15different vertical

positions.I chose light source size to be large enough that there would be a smooth transition from one location to the next but small enough that there would be sharply defined shadows whenever the plate was viewed under sharply defined illumination.

Two 8in.310in.(20.3cm 325.4cm)transmission masters were made by sequential He–Ne projection of each image onto 4in.35in.(10.15cm 312.7cm)of ground-glass screen.The recording process was the same as that commonly used to make traditional holo-graphic stereograms.1,2(For a good review of holo-graphic stereograms see Refs.3and 4.)I transferred the master to a 4in.35in.plate using a large collima-tor for the object beam and another (smaller)lens (set to converge slightly so viewing with a hand-held light bulb close to the plate would produce an approximately phase-conjugated beam)for the reference beam on the opposite side of the plate.

When a conventional ref lection hologram is viewed under f luorescent light,or outdoors on a cloudy day,the different perspective views are blurred together,making objects imaged far from the plate difficult or impossible to discern.A recording of lightspace where parallax is omitted,however,differs in that all

objects

(a)

(b)

Fig.4.Making the recording of the way the author’s dwelling responds to light:(a)With a scale model.(b)With a sequence of 41pictures taken at different times of day,using the sun shining in the windows as the sole source of illumination;the sequence of images was later multiplexed onto a holographic plate with a 35-mm motion picture projector illuminated with laser light.

2540OPTICS LETTERS/Vol.20,No.24/December15,1995

in the scene are just as easy to see under diffuse light as under a point source(Fig.3).

I also made some transmissive lightspace recordings. The most compelling example was a recording of my dwelling that gave people the illusion of being inside a scale model of the dwelling while holding the sun (actually a light bulb),moving it around outside and shining moving beams of sunlight into the windows.

The first attempt at recording the dwelling consisted of making a backward scale model[Fig.4(a)].The geometry is such that the collimated beam appropri-ately illuminates the scene while providing the correct reference beam so phase-conjugated viewing will re-construct correct shadows.Multiple exposures made while the angle of a collimated beam is varied record the way the model responds to light.In principle,the beam angle could be varied continuously(in at least the horizontal direction)with a laser shining through a cylindrical lens,projected onto a ground glass behind a moving slit(approximating a collimated beam sweep-ing through a continuum of different angles),although results were not very successful.

I made a successful recording by setting up a time-lapse camera in the dwelling itself and recording images at different times of day,with the Sun shining into the south-facing windows.The pictures were scanned to PhotoCD,and then I recorded them back onto film but in a slightly different place in each frame [Fig.4(b)],starting at the right edge of the film and moving across(approximately0.35mm?frame),so that an8E75plate could also be moved between exposures while maintaining registration.(See Refs.5and6 for background reading.)The motion of the plate provided a moving image of the node of the lens through which one could then see moving shadows and highlights of the dwelling when it was backlit with the moving phase-conjugated illumination.Although the recording captured the way the scene responded to changes in lighting only along a horizontal path, the image was very clear and bright,and the illusion proved to be visually compelling.

Although overmodulation was frequently encoun-tered,I found that for lightspace recordings contain-ing no depth information it was not distracting to the viewer.I found registration of images to be the most troublesome of all problems and therefore used elec-tronic acquisition instead of film in more recent work. References

1.D.J.De Bitetto,Appl.Opt.8,1740(1969).

2.M.C.King,A.M.Noll,and D.H Berry,Appl.Opt.9,

471(1970).

3.S.A.Benton,Proc.Soc.Photo-Opt.Instrum.Eng.367,

15(1982).

4.G.Saxby,Practical Holography,2nd ed.(Prentice-Hall,

Englewood Cliffs,N.J.,1994).

5.J.D.Redman,Proc.Soc.Photo-Opt.Instrum.Eng.15,

117(1968).

6.N.D.Haig,Appl.Opt.12,419(1973).

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观察，综合各方面的信息，给予他们指导，力所能及地打动他们学习的欲望。亲其师，信其道，学生对学科、对老师的好恶等非智力因素对学生的学习有着很大的影响。渐渐地，很多学生开始喜欢我授课，无数次的心灵交流，使我们的情谊日渐深厚。 (二)因材施教，务实双基从第一次的测试中，我发现大部分同学听、说、读、写的基本功很不扎实，需加强双基训练。同学们浏览新教材后，也感到他们即将面临一个新的学习高源。备课中，我参考教参及一些双基教辅材料，结合所教学生实际，采用一些独特的做法。 1.变考前集中复习为课上天天复习高中英语知识总量较之初中英语成倍增加，课时却相对较紧。我所教的学生中，中差生居多。如把复习集中在期中或期末考前进行，势必挤占平时教学课时，影响课文的透彻讲解。因此，我对教材中的每一个重要语言点都尽可能做到：以新带旧，深入浅出。课堂习题浓缩精选，先放低要求，待务实巩固后，再循序渐进，逐步拔高。这样就变课前集中复习为课上天天复习。 2.强化词汇、句型、语篇教学在词汇教学方面，坚持分单元集中讲授，适度扩展，并要求学生熟练掌握构词规律。在课文教学方面，强调句型和语篇的有机联系，要求学生以句子为单位，有选择地背一些重要句型，这样既可减轻学生过重的学习负担，又可达到提高书面表达能力的效果。上阅读理解

初中主谓一致专项练习题带答案

主谓一致的用法及专项练习题一、主谓一致三原则主谓一致是指谓语动词与主语在人称和数上保持一致，主谓一致必须遵循三原则：语法一致原则，意义一致原则，就近一致原则。 1. 语法一致原则：指主语是单数形式，谓语动词用单数形式，主语是复数形式，谓语也用复数形式。 Tom is a good student. 汤姆是个好学生。 They often play football on the playground. 他们经常在操场上踢足球。 2. 意义一致：指主语形式上为单数，但意义为复数，因此谓语动词用复数形式；或主语形式上为复数,但表示单数意义，这是谓语动词用单数形式。 My family is having lunch now. 我们一家人现在正吃午饭。 Twenty dollars is too expensive for the book. 这本书20美元太贵了。 3. 就近一致：指谓语动词用单数形式还是用复数形式，取决于最靠近他的主语。例如： Not only the teacher but also his students like playing football. 不仅老师喜欢踢足球，而且他的学生也喜欢踢足球。 There is a pen and some books on the desk. 课桌上有一支钢笔和一些书。二、主谓一致常考题型 1. 单数名词(代词)，不可数名词作主语时，谓语用单数形式，复数名词(代词)作主语，谓语用复数形式。 The desk is Tom’s. 这张桌子是汤姆的。 Some water is in the bottle. 一些水在瓶子里。 The students are playing football on the playground. 这些学生正在操场上踢足球。 2. many a+单数名词作主语，意义虽为“许多”，但谓语要用单数形式。 Many a student has been to Shanghai. 许多学生到过上海。 3. more than one+单数名词作主语，谓语用单数。 More than one student has ever been to Beijing. 不止一个学生曾经去过北京。 4. 表示时间，价格，重量，数目，长度，数学运算等的词或短语作主语时，这些通常作一个整体概念，谓语用单数形式。例如： Two months is a long holiday. 两个月是一个长假。 Twenty pounds isn’t so heavy. 20英镑并不太重。 Ten miles isn’t a long distance. 10英里并不是一段很长的距离。 Five minus four is one. 5减4等于1。 5. 主语是each/every+单数名词+and(each/every)+单数名词时，谓语动词用单数。 Each boy and each girl has got a seat. 每个男孩和女孩都有一个座位。

初中英语动词ing-用法小结

［导读］动词finish, mind, enjoy, practise, keep 等后接动词，要用动名词形式作宾语。在英语教学中，我发现考动词-ing形式的题目很多。根据多年教学经验，现在把初中阶段容易考-ing的情况总结如下：一、一些动词后要接动名词作宾语 1. Everyone enjoys __ (watch) TV in the evening. 2. Please finish ___ (draw)the picture after school. 3. The stude nts practise __ (read) En glish every morning. 【解析】动词finish, mind, enjoy, practise, keep, miss, hate, consider, con ti nue , Imagine, suggest, advise 等后接动词，要用动名词形式作宾语。答案是：watching ；drawing ；reading. 二、一些介词后面要加动名词作宾语 1. He is good at ___ (write). 2. We are look ing forward to __ (see)you. 3. They are in terested in __ (liste n)to music. 4. You can drink a lot of water without ___ (get) fat. 【解析】介词后跟动词，要用动名词形式作其宾语。如下列结构中的介词： thanks for doing sth, thi nk about doing, be good at doing sth, do well in doing sth, succeed in doing , How/What about doing sth?, in stead of doing sth, keep sb from doing sth, stop sb from doing sth, look forward to doing sth, be used to (习惯于) doing sth, devote to doing sth, pay attention to doing, prefer doing to doing, make a contribution ( 贡献)to doing sth 答案是：writing; seeing; listening;getting. 三、一些固定结构要加动词的ing形式