Photographs
Panoramic photography soon came to displace painting as the most common method for creating wide views. Not long after the introduction of the Daguerreotype in 1839, photographers began assembling multiple images of a view into a single wide image. In the late 19th century, panoramic cameras using curved film holders employed clockwork drives to scan a line image in an arc to create an image over almost 180 degrees. Digital photography of the late twentieth century greatly simplified this assembly process, which is now known as image stitching. Such stitched images may even be fashioned into forms of virtual reality movies, using technologies such as Apple Inc.'s QuickTime VR, Flash, Java, or even JavaScript. A rotating line camera such as the Panoscan allows the capture of high resolution panoramic images and eliminates the need for image stitching, but immersive "spherical" panorama movies (that incorporate a full 180° vertical viewing angle as well as 360° around) must be made by stitching multiple images. Stitching images together can be used to create extremely high resolution gigapixel panoramic images.
On rare occasions, 360° panoramic movies have been constructed for specially designed display spaces—typically at theme parks, world's fairs, and museums. Starting in 1955, Disney has created 360° theaters for its parks and the Swiss Transport Museum in Lucerne, Switzerland, features a theatre that is a large cylindrical space with an arrangement of screens whose bottom is several metres above the floor. Panoramic systems that are less than 360° around also exist. For example, Cinerama used a curved screen and IMAX Dome / OMNIMAX movies are projected on a dome above the spectators.
One final form of panoramic representation is digital mapping generated from SRTM data. In these diagrams, a computer calculates the panorama from a given point.
Read more about this topic: Panorama
Famous quotes containing the word photographs:
“As photographs give people an imaginary possession of a past that is unreal, they also help people to take possession of space in which they are insecure.”
—Susan Sontag (b. 1933)
“The charm, one might say the genius of memory, is that it is choosy, chancy, and temperamental: it rejects the edifying cathedral and indelibly photographs the small boy outside, chewing a hunk of melon in the dust.”
—Elizabeth Bowen (1899–1973)
“A way of certifying experience, taking photographs is also a way of refusing it—by limiting experience to a search for the photogenic, by converting experience into an image, a souvenir. Travel becomes a strategy for accumulating photographs.”
—Susan Sontag (b. 1933)