We love good pictures. You know, being worth a thousand words and all. So, after our article on taking good reference photos, we were pleased to see a reader, [Steve], sharing his photography set-up.
Taking good technical photos is a whole separate art from other fields of photography like portraiture. For example, [Steve] mentions that he uses “bullseye” composition, or, putting the thing right in the middle. The standard philosophy on this method is that it’s bad and you are bad. For technical photos, it’s perfect.
[Steve] also has some unique toys in his arsenal. Like a toy macro lens from a subscription chemistry kit. He also showed off his foldscope. Sadly, they appear to no longer be for sale, but we sometimes get by with a loupe held in front of the lens. He also uses things standard in our shop. Such as a gridded cutting mat as a backdrop and a cheap three dollar tripod with spring actuated jaws to hold his phone steady.
In the end, [Steve] mostly shows that a little thought goes a long way to producing a photo that doesn’t just show, but communicates an idea in a better way than just words can manage.
[Artem Litvinovich] wanted to see by heat vision like in the Predator movies. He not only succeeded but went on to see in color, medium-wave IR, short-wave IR, and ultraviolet using a very unique approach since his effort began back in 2009.
He started with a box based on the basic pinhole camera concept. In the box is a physical X-Y digitizer moving a photodiode to collect the thousands of points needed to create a picture. First all he got, due to the high signal amplification, was the 60 cycle hum that permeates our lives. A Faraday cage around the box helped but metal foil around the sensor and amplifier finally eliminated the noise. Now he had pictures in the near infrared (NIR). Continue reading “Using Missile Tech to See Like Predator”→
I’ve taken lots of reference photos for various projects. The first time, I remember suffering a lot and having to redo a model a few times before I got a picture that worked. Just like measuring parts badly, refining your reference photo skills will save you a lot of time and effort when trying to reproduce objects in CAD. Once you have a model of an object, it’s easy to design mating parts, to reproduce the original, or even for milling the original for precise alterations.
I’m adding some parts onto a cheap food dehydrator from the local import store. I’m not certain if my project will succeed, but it’s a good project to talk about taking reference photos. The object is white, indistinct, and awkward, which makes it a difficult object to take a good photo for reference use in a CAD program. I looked around for a decent tutorial on the subject, and only found one. Maybe my Google-fu wasn’t the best that day. Either way, It was mostly for taking good orthogonal shots, and not how to optimize the picture to get dimensions out of it later.
There are a few things to note when taking a reference photo. The first is the distortion and the setup of your equipment to combat it. The second is including reference scales and surfaces to assist in producing a final model from which geometry and dimensions can be accurately taken. The last is post-processing the picture to try to fight the distortion, and also to prepare it for use in cad and modeling software.
A camera slider is an accessory that can really make a shot. But when your business is photography rather than building camera accessories, quick-and-dirty solutions often have to suffice. Thus the genesis of this camera slider controller.
The photographer in question in [Paulo Renato], and while his passion may be photography, he seems to have a flair for motorized dollies and sliders. This controller is a variable-speed, reversible, PIC-based design that drives an eBay gearmotor. The circuit lives on a scrap of perfboard, and it along with batteries and a buck converter are stuffed into the case-modded remains of an old KVM switch. Push buttons salvaged from another bit of e-waste act as limit switches, and a little code provides the magic. We like the hacked nature of the controller, but we wonder about the wisdom of using the former KVM’s USB ports to connect the controller to the drivetrain; it’s all fun and games until you plug a real USB device into it. In sum, though, a nice build with nice results. Check out his other videos for more on the mechanicals.
There was a time in the late 80s and early 90s where the Amiga was the standard for computer graphics. Remember SeaQuest? That was an Amiga. The intro to Better Call Saul? That’s purposefully crappy, to look like it came out of an Amiga. When it comes to the Amiga and video, the first thing that comes to mind is the Video Toaster, hardware and software that turns an Amiga 2000 into a nonlinear video editing suite. Digital graphics, images, and video on the Amiga was so much more than the Video Toaster, and at this year’s Vintage Computer Festival East, [Bill] and [Anthony] demonstrated what else the Amiga could do.
Wherever you stand on the topics of road safety and vehicle speed limits it’s probably fair to say that speed cameras are not a universally popular sight on our roads. If you want a heated argument in the pub, throw that one into the mix.
But what if you live in a suburban street used as a so-called “rat run” through route, with drivers regularly flouting the speed limit by a significant margin. Suddenly the issue becomes one of personal safety, and all those arguments from the pub mean very little.
The theory of operation is straightforward, the software tracks moving objects along the road in the camera’s field of view, times their traversal, and calculates the resulting speed. The area of the image containing the road is defined by a bounding box, to stop spurious readings from birds or neighbours straying into view.