Photographs taken with these lenses appear as round images, surrounded by a black, or unexposed remainder of the frame.
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There are three primary types of lenses that panoramic VR photographers tend to prefer the true fisheye, the full frame fisheye, and the ultra wide rectilinear.Ī true fisheye renders a hemispheric view in a circular area fully within the frame coverage of the camera. Today, photographers choosing a lens for stitched panoramic photography have a wide variety of options.
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The benefit since then has been that panoramic software developers have expanded the lens choices and capabilities of their stitching applications. Ultimately, the company went out of business in 2006. IPIX aggressively protected their patents, and for years successfully prevented most others from releasing stitching software that could assemble panoramic images from any type of fisheye lens capture methods.Īs a result of their aggressive legal tactics, IPIX generated considerable ill will in the VR community. These were initially also shot on 35mm film using another expensive Nikon lens the Nikkor 8mm f/2.8 fisheye.
IPIX followed Apple’s release of QTVR a year or two later with their proprietary software, which assembled two hemispheric fisheye images into a “PhotoBubble,” or complete spherical panorama. The wider the lens, the more vertical coverage you could get in your panorama, since stitching was limited to a single row of images.įor many years, this remained the case, even as newer stitching applications came on to the market. QTVR Authoring software required that source images for panoramic stitching be rectilinearly corrected (so straight lines in the scene appeared as straight lines on film), and the 15mm Nikkor was one of the widest lenses available of this type.
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Shooting on 35mm film was the only real option, and Nikon’s manual focus 15mm f/3.5 ultra wide lens was the lens of choice, even though it cost close to $2,000. In 1994, when Apple first released QuickTime VR, photographers had very little choice in what camera and lens types they could use for panoramic VR. But these have issues too: you can't tilt your head sideways (otherwise your eye alignment won't match the panorama) and it's harder/more expensive to capture.By Scott Highton for Virtual Reality Photography (March, 200 8 One way to fix this is to use 3d panoramas (stereo images). But it also means the ground below us is 30m away! With stereo vision, we feel like we are way up in the air, even though the panorama was captured at head height. This makes things around us look far away, which tends to suit most panoramas. This sphere is probably around 30m radius (that's where our stereo depth perception breaks down). The standard way a panorama is rendered is by projecting it onto the inside of a sphere. Look around in a panorama using both eyes, everything looks ok. The problem comes in when you have stereo vision.
Of course there won't be accomodation (focus), consumer VR headsets don't do that yet.
There is a problem with panoramas though: depth.Īssuming you are using only one eye to view a panorama in VR, the image will be correct in all directions. Consumer 360 cameras are cheap and software like Hugin and PTGui let you turn normal photographs into panoramas.
While some consider them "not VR", viewing 360x180 panoramas on a VR headset is quite cool.
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