Shadow projection — where it appears
Named by 29 essays across 6 fields — each of them below, with the objects they name alongside it.
An anamorph at true size, on paper
An anamorph is the shadow of the intended picture, cast from the reader’s own eye. Every claim about a figure on a screen is quoted against an assumed display width, because nobody can know how wide a screen shows it; this one is not, because it ships a sheet in millimetres and states where to put an eye.
The curvature a shadow reports
A flat floor makes a shadow a homology, so four marks predict the rest exactly and a curved floor mispredicts them by millimetres. Turn that round and the mispredict is a measurement of the floor. It recovers a dished floor's own curvature to a per cent — and returns 0.482 for a floor made of two planes, whose curvature is zero everywhere, with a residual of ten microns.
The floor that is not a plane
A shadow on a flat floor is a homology, so four marks determine the whole map and the rest of the outline comes back exactly. Dish the floor and the same four marks mispredict the rest by 5.67 mm; ridge it and 9.07 mm; put a step in it — two planes, each of them exactly a homology — and 74.95 mm. The receiver's shape is what breaks the projective description, and it breaks it worst where the surface is flattest.
A shadow across an edge
A straight rod's shadow crossing the crease between floor and wall is two straight pieces, each dead straight to 1e-15 m, meeting at 35.08°. The corner is a fact about the room and not about the rod. Fit the floor's map from four marks and apply it across the whole shadow and the part on the wall comes back up to 78.9 cm from the object — the wrong map, applied confidently.
The lamp is the second eye
One photograph, one lamp whose position is known, and a point's place in space comes back to 9e-16 m — the camera's ray through the point, the lamp's ray through the image of its shadow, and the intersection of two lines. It is triangulation with one of the two eyes replaced by a light, and it degrades exactly like a stereo pair: 5.9 mm of depth per pixel at 39° between the rays, 1 mm at 15.4°.
Two lamps and one map
A flat object lit by two lamps casts two shadows, and one is the other scaled about a point — ratio 1.2509 here, carrying every point of the first outline onto the second to 1e-15 m. No rotation and no shear is available to it, because a projection between two parallel planes has its axis at infinity. And the ratio is exactly 1 when the two lamps are at the same height, which makes a pair of shadows a measurement of the lamps.
A shadow map's texels land by two distances and two cosines
A renderer finds its shadows by taking a second picture from the lamp and storing a depth in every texel. Each texel reaches the screen through the surface it falls on, and how many pixels it covers there is a closed form — two focal lengths, two distances and two cosines. From a lamp beside the eye every texel lands at 0.79 px; from a lamp 40 m ahead facing back, the same map lands texels of 8.69 px on the floor 5 m out.
Three constructions, one map
A shadow cast on a floor, an anamorph painted on one, and a reflection in a mirror are usually treated as three different subjects, each with its own derivation and its own figure. Decomposed into their fixed points and lines, three of them are the same kind of map — a central collineation with a line of fixed points — and the fourth, a rectification, is not. That difference separates changing where a picture is seen from, from changing one picture into another.
A wire with a corner in its shadow
A bent wire has no corner anywhere on it, and its shadow has one. The lamps that do it are not a coincidence — they are a surface in the room, two-dimensional, made of the wire's own tangent lines, and a lamp being carried across the room passes through it.
The edge of a shadow is drawn on the object
The outline of a cast shadow is the image of a curve, and the curve is on the caster. It is not painted there: it slides when the lamp moves, it is not the outline the camera sees, and the two coincide only in the arrangement where no shadow is visible at all.
One warped shadow map, and what it cannot reach
The lamp facing the eye needed a shadow map 9,530 texels square — 90.8 million texels — for none of them to land on the near floor larger than a pixel. Fitted to the floor and warped by one projective parameter, the same map needs 805 thousand; nothing can do better than one texel per pixel of the eye's picture, 148 thousand. What stays out of reach is not the cosine of a surface, which a warp absorbs, but two surfaces that want different densities along one ray from the lamp.
A hole is not preserved
The shadow of a connected object is connected — always, at every lamp position, and for a reason with no geometry in it. A hole survives in neither direction: a ring's shadow closes up at a computable tilt, and an object with no hole in it casts a shadow that has one.
A shadow across a second object
A straight edge held in front of a lamp defines one plane, and the shadow's boundary is wherever that plane meets something. That turns a picture of a shadow into a measurement: a camera ray and a known plane meet in one point, and the object the shadow is falling on comes back out.
The shadow rules that hold here
Drop the foot, run a line from the top at forty-five degrees, take the intersection: the drawing manual's shadow construction is exact in a parallel drawing, to arithmetic noise, at every point of the picture and with one set square. It is where the rule came from, and carrying it into a perspective picture is what broke it.
One homography makes a shadow map the eye's picture
A shadow map for a lamp facing the eye needed 706 thousand texels however its rows were re-spaced, nearly five times the one texel per pixel no map can beat. Warp the whole map by a projective transformation, not only its rows, and it needs 154 thousand — within five per cent of the bound — and every texel, carried into the eye's picture, lands at one pixel. The reason is exact: the eye's picture of a floor and the lamp's picture of the same floor are one homography apart.
The ball stands at a focus
A ball on a floor casts an ellipse, and the point where the ball touches the floor is a focus of it — not near a focus, on one, to two parts in ten thousand million million. That is Dandelin's theorem arriving somewhere nobody puts it, and it is the only thing about the lamp that the shadow gives away.
The residual has a shape
A flat-floor map mispredicts a shadow by millimetres on any floor that is not flat, and the number everybody quotes is the worst one. Tune a dish, a ridge and a step until all three mispredict by exactly 25.0 millimetres and the scalar can no longer tell them apart — by construction. The signed residual around the ring still can. The second harmonic of it reads 0.09%, 2.79% and 19.37%, a factor of two hundred across three floors the headline number calls identical.
The floor is a choice of coordinates
Four rungs of this field have measured what a curved floor costs a shadow reading, in millimetres. It costs nothing. A shadow mark sits on the ray from the lamp through the occluder's edge, and where along that ray the floor caught it is a fact about the floor alone — so un-casting in rays returns the occluder to three parts in ten thousand of a millionth of a millimetre on a plane, a dish, a ridge and a step alike, while the same shadow read in the plan is wrong by up to 216 millimetres.
The lamp comes out in rays and not in plan
One drawing of three posts and their shadows yields two points, and a curved floor treats them completely differently. The lines through each post's top and its shadow's tip meet at the lamp's image to a ten-thousandth of a pixel at every curvature, because a top and a tip are two points of one real ray. The lines through each foot and the same tips meet 113 pixels from the lamp's foot — and the lamp placed from an exact point and a wrong one lands 1.3 metres away.
The corners a floor cannot add
A wire with no corner anywhere on it casts a shadow with one, wherever its tangent runs along the ray. That condition contains the lamp and the wire and no surface at all — so the same helix over a plane, a dish and a ridge draws shadows that differ by metres and each has exactly one corner. A floor with a crease draws five more, and the two kinds are separable by a hundredfold: a real corner is where the shadow stops dead, and a crease is where it turns at full speed.
A floor is read along curves
Whatever a shadow says about the floor it landed on, it says only where the shadow is — and a shadow is a curve while a floor is a surface. Shadow curve length grows exactly linearly in the number of lamps, by a fitted exponent of 0.999, and the fraction of floor within two centimetres of one grows more slowly at 0.94, because the curves begin to overlap. At thirty-two lamps, seventy-one per cent of a nine square metre patch has still never had a shadow on it.
A floor cannot fake a second lamp
Cast the same two lamps onto four floors at four curvatures and ask how well one centre explains the drawing. Every one of the thirteen answers is 138.3277 pixels — the same to fifteen digits, because a floor decides where along a ray the shadow's tip landed, and a line through a point and another point that has slid along it is the same line.
Counting shadows is not counting lamps
Two lamps close together cast one connected dark patch and the drawn lines say two. One lamp behind two cards casts two patches and the lines say one, exactly. And the arrangement where the patch count is right — two lamps far apart — has no fully dark region at all, so the same floor answers one, two or zero depending on which darkness is being counted.
A soft shadow on a curved floor is not the lamp's image
On a flat floor the soft edge a lamp with a size casts is exactly the lamp's own image, cast through the occluder's edge as though through a pinhole. On a floor with a step the same construction lands 1.047 m off the line that fits a flat one, and on a dished floor the image's own shape departs by 0.0453 of the lamp's width even where its overall span barely moves.
What a point in shadow can see of the sky
A place directly under a slab is not sealed off from the sky at all — it sees 83.4 per cent of it, 5.242 of the 6.283 steradians a place in the open has, against 5.240 from the closed form for a rectangle's own solid angle. The same counted-directions call that measures a lamp's penumbra measures this fraction too, and the two agree to 2.50e-4 with the source simply swapped from a lamp to the whole sky.
Where a shadow splits in two
A gantry's shadow is two pieces at a lamp height of 1.36 m, and the crossing to one piece happens at a tangency running the whole length of the beam rather than at a point — the same plane that meets a ball at an aspect of 1.00 to 1 meets the beam at 1736 to 1, and a grid finds the true crossing height to a fitted exponent of 1.00 as it is refined. A ring tipped 70° keeps its hole for a completely unrelated reason, closing only at 71.34°, which is the warning that a shadow's topology changes at a tangency names two different accidents rather than one.
How many shadows determine the object
One lamp's shadow says only that a convex section lies inside a wedge 10.5 times its own area; four already cut that down to 1.17 times, and 128 close a convex section's boundary to 0.10 mm everywhere. The identical sweep on a section with a bite taken out of it stalls at 70.3 mm, 675 times worse, because an outline is the boundary of the smallest convex body with that shadow and no direction ever sees inside a concavity.
A dent breaks the terminator
A ball's lit boundary is one closed curve, 313.2 cm around; press a dimple into its top and, at 45° of elevation, the walk that traces it finds 181 crossings where a point still faces the light but is occluded by the body's own rim — a second curve, 23.1 cm long, that a convex surface can never produce. The two curves meet where the dent's own deepest point goes dark, at 50.952°, with the ray's clearance reaching zero at a stationary point rather than merely a small one.
The lamp and the floor cannot both be recovered
Every member of a one-parameter family of lamp-and-floor pairs draws the identical photograph to a fraction of a thousandth of a pixel — one member swings the lamp 90 cm and tilts the floor 4.3° and the picture does not move at all. A tape measure or a post of known height each pin the true member uniquely, and so does a wall known in advance to be square to the floor, whose angle to the recovered floor peaks at exactly 90° at μ = 1.000 and nowhere else; a receiver merely known to be parallel drifts thirteen times more weakly.
Named alongside it
The objects these essays reach for when they reach for this one.
Point lightReceiving surfaceResidualHomographyUmbraConditioningContour generatorProjective mapReconstructionDemonstrationForeshorteningPlan view