Triangulation — where it appears
Named by 29 essays across 8 fields — each of them below, with the objects they name alongside it.
Depth is a reciprocal
Two eyes measure a shift in the picture, and depth is that shift divided into a constant. So a fixed error in what is read maps to an interval in what is reported that is not centred on the answer, and at forty metres runs sixteen metres nearer and eighty-six further.
The track and the scene together
Six photographs go in and one hundred and sixty-eight numbers come out — every camera's position and orientation and every point's place in space, solved for at once. Nothing in the solve was ever told where a camera or a point was.
Two rays that do not meet
Triangulation is described everywhere as the intersection of two rays, and two rays in space do not intersect. Read the same two marks to a whole pixel and they miss by 2.77 mm at seven metres, which is a real length and is the part a residual will not report.
Two pictures on one screen
A stereoscopic display puts a point where two sightlines cross, so the depicted depth is b·D/(b−d) and the disparity that reaches infinity is exactly the separation of the reader's eyes — 63 mm, at any screen distance whatever. The depth budget is set by the width of a head and by nothing about the scene.
Two views give shape and no size
Every pairwise distance ratio in a courtyard recovered from two photographs matches the real one to fourteen digits. The courtyard's actual size is not merely uncertain — it is absent, and a reconstruction three and a half times larger fits the same two pictures exactly as well.
The wall under the paint
An anamorph's design is a set of rays from a known eye, fixed before any paint is applied — so the marks are a calibration target whose rays are known exactly and whose shape is not. One ordinary photograph supplies the second ray for each mark and the wall comes back at the arithmetic floor, on a dished floor, a ridged one, and a floor with a step in it. What it says between the marks is nothing, by the sagitta.
The depth a pair calls zero
Two eyes verged on a point agree — the same coordinate in both pictures — not on a plane at the fixation distance but on a circle through both eyes and that point. Found by bisection along 121 azimuths and fitted rather than assumed, it is a circle to 0.0000 cm; at 26° off centre it lies 23 cm nearer than a flat wall does.
The midpoint is a choice of ruler
Two photographs do not change when the world is measured with a different ruler, so an answer that belongs to the photographs cannot change either. The midpoint of two skew rays does: a threefold stretch moves it 0.203 mm and a projective frame 1.503 mm, while the point that minimises reprojection error stays put to 10⁻¹⁵ m. Both are 15.5 mm from the truth, which is the part a choice of route does not touch.
Two pictures of a ball
Two outlines give two tangent cones, and where their axes cross is the ball's centre — with the radius following from either half-angle. There is no correspondence problem, because a ball's outline in one picture and its outline in another are guaranteed to be the same ball; and there is a degeneracy, which is the two eyes and the ball in a line, and the solver refuses it rather than returning something plausible.
The surface two pictures cannot separate
There is a quadric through both camera centres on which two genuinely different motions draw identical pictures. Built explicitly, forty-two marks satisfy both epipolar geometries to 2 × 10⁻¹³ pixels, and the two scenes they reconstruct place the same mark at 15.6 metres and 35.1. The design matrix's nullspace has two dimensions rather than one, which is the seven-point situation arrived at from the other side.
Both coordinates agree on a circle and a line
Two eyes fixating a point straight ahead see their horizontal image coordinates agree on a whole vertical cylinder over the Vieth–Müller circle, the same radius at every height to the last bit. Their vertical coordinates agree on almost none of it — 7.35 px apart at 26° aside and 30 cm up, 29.26 px when the fixation is brought to 60 cm. The points where both agree are the circle and one vertical line, and the line is the axis of the motion that carries one eye onto the other.
A point under water has two depths
The apparent depth of a submerged point is not one number even along one line of sight. The rays it sends to an eye pass through two focal lines, and at 60° from the vertical a point 1.50 m down has an image 0.740 m down and another 0.320 m down. Two eyes side by side read the first, a head moving up and down reads the second, and a pair of eyes tilted between them reads neither — their two rays miss each other by as much as 6.39 mm.
A scale chain leans rather than wanders
A camera driven 200 m along a street, each pair's scale handed to the next through the points they share. Across sixteen streets the scale does not spread the way a random walk would — 7.3 per cent after 199 links, where independent ties would give 108 — and its average leans by an amount the choice of average decides, from +28.6 per cent to −12.2.
Square to the camera is the worst mirror
A mirror pair's baseline runs along the mirror's normal, so a mirror facing the camera puts the second eye directly behind the first — the forward-motion arrangement, with the epipole in the middle of the frame and the rays to a mark crossing at 23°. Turning it forty-four degrees opens that to 65° and cuts the worst depth error threefold, and the number to watch is not the angle but where the reflected lens sits on the print.
A mismatch on its own line needs a third eye
Slide one mark of a correspondence 30 px along the epipolar line the other mark fixes, and every test two photographs can run stays at the arithmetic floor — epipolar distance 2.2e-14 px, the two rays meeting to 1.5e-15 m, reprojection 1.1e-13 px — while the point is reported half a metre too near. A third picture exposes it by 21.4 px from a third eye two metres off the first line of sight, and by exactly nothing from an eye on that line.
A straight stick in water is a kink and a curve
The bent stick is described as one kink at the surface. Traced point by point, the image two level eyes see leaves the surface 14.96° off a stick leaning 30° — the same whichever way it leans — and then keeps turning, by 1.11° when it leans away from the eye and 7.62° when it leans toward it. A photograph from the eye shows the kink and almost none of the curve, 1.63 px over 166 px, and when the stick leans straight toward or away from the eye it shows neither: the picture is one straight line.
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°.
An epipole in the picture leaves a blind disc
Step a camera half a metre straight forward and the image of the other eye sits in the middle of both pictures. Around it lies a disc where one pixel of reading costs a tenth of the depth or more — 20 px across a surface 2 m off, 247 px at 16 m — and at its centre no depth is recovered at any range.
A third ray is worth what its picture is worth
Three eyes on one point, two at seven metres and one walked back to seventy. The point nearest all three rays in metres is 132 millimetres from the truth and the point of least reprojection error is 34 — the same 34 the near pair gives alone — and the first is pulled 12 millimetres along the line to the distant eye. And arrangement beats count outright — two rays spread over fifty-five degrees beat eight rays inside four, by a factor of 4.4.
The spread a point gets
A track of sixty degrees gives no point of the scene sixty degrees. The nearest receive 89 and the furthest 41, a factor of 2.2, and their errors run from 1.5 to 8.4 millimetres — following the angle at the point as its −1.68 power, with 94 per cent of the variation explained. The arc a track covers is one number for forty-four different situations and predicts none of them.
The stick a stereo pair puts back
Two eyes side by side reconstruct a submerged stick exactly as the sagittal image — kinked 14.96° — and two eyes one above the other exactly as the tangential one, kinked 9.59°. Roll the baseline between them and the two rays to a point miss each other by up to 3.13 millimetres, past the 2.85 a pixel covers at that range, and the reconstruction is a third stick that is neither — 551 millimetres of a one-metre stick, with its tip at 0.405 metres against a true 0.866.
A third eye that lands on the next post
Match one post of a railing to its neighbour and the pair reports it at 19.8 metres instead of 9.0, with every test two photographs can run at the arithmetic floor. A third picture usually exposes that by hundreds of pixels — but at five azimuths in seventy-eight degrees the wrong point lands within three pixels of another post, and the third view confirms the mistake. Narrow the railing to twenty centimetres and those places cover 28 per cent of the arc.
The residual does not warn
Fit a straight line to the stick a stereo pair puts back and the fit looks best exactly where the reconstruction is least supported: the residual is 0.535 mm at a level baseline, where the two rays meet perfectly, and 0.038 mm at sixty degrees of roll, inside the band where they miss by more than a pixel covers. Over the same sweep the fitted line is 285 to 584 mm short of the stick's metre — fourteen thousand times its own residual at worst.
A fit weighted by the miss trusts only the surface
Weight each point of a reconstructed underwater stick by how well its two rays meet, and the fit hands all but a ten-billionth of its trust to the one point where the stick enters the water — and reports a residual of nothing at every rolled baseline. Floored at the reading error, the weighting changes the answer by a few thousandths of a millimetre. And the miss itself, the one honest number, is exactly zero at a level baseline where the stick comes back 285 mm short.
A sway gives the blind centre a depth, not a good one
A camera driving straight forward cannot see how far away the thing it is driving toward is: the mark at the epipole does not move between pictures. Let one of three pictures sway sideways and the centre gets a depth at once — but a depth resting on the sway alone, which a pixel of reading moves by the focal length's reciprocal times the depth over the sway. For a centimetre of steering wobble at eight metres that is 144 per cent; for a tenth of the forward step, 29. The hole closes; the disc around it stays until the sway is a third of the step.
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.
A third eye sees the water the pair cannot
A level stereo pair looking at a stick in water gets two rays that meet exactly and a stick 285 mm too short, with nothing to warn it. A third eye raised ten centimetres above the pair sees a disagreement of 2.6 pixels at the stick's tip. Asked to agree with the other two as if there were no water, it hides nearly all of that and makes the stick shorter still. Told only that there is a flat surface, the same three eyes find its refractive index and put the metre back.
Split the track and the needles turn
A point triangulated from a track of cameras is not known equally well in every direction: its error is a needle, long along the direction its lines of sight barely constrain. That direction is not the mean line of sight but the lines of sight weighted by how near each camera is — and it can be turned. Two groups of cameras more than a right angle apart swing every needle across, and the same six pictures of a facade then measure its depth four times better.
A shadow edge read as a profile
A lamp, a stick and a camera recover a stepped object's profile to 4.9e-15 m rms when the marks are exact, and to 10.4 mm once they are read to two tenths of a pixel — the same linear law a fitted exponent of 1.001 confirms. What actually sets that number is the angle between the sweeping light plane and the camera's own ray — the amplification is least, 17.0 times a pixel, broadside at 6°, and grows without bound toward -36.1°, where the plane contains the camera's own eye and the recovery keeps none of its marks at all.
Named alongside it
The objects these essays reach for when they reach for this one.
BaselineConditioningDepth uncertaintyResidualskew raysDemonstrationDisparityStereo pairCorrespondencereconstruction ambiguityReprojection errorApparent-depth