The thread: Determined up to something
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.
Many pictures at onceThe 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.
What a pair is forThe range a pair cannot see past
A stereo rig has a distance beyond which it cannot say "no further than", and the distance is fixed before anything is built. It is the focal length times the baseline divided by the reading precision, and for a human pair of eyes it is fifty-eight and a half metres.
Many pictures at onceSeven numbers no picture can name
Shift a whole reconstruction by a metre and a half, turn it half a radian, scale it by 2.7, and every photograph of it stays where it was to a hundredth of a billionth of a pixel. Move one point by fifty millimetres and they move by two thirds of a pixel.
What a pair is forTwo 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.
Many pictures at onceA chain and an adjustment
Composing pairwise poses along a sequence is supposed to drift. Measured over five links it wanders instead — one chain ends closer to the truth than its own worst link — and the real cost of chaining turns out to be something else entirely.
The second eyeFour cameras fit, and one of them can see
The essential matrix does not determine a camera pair. It determines four, all of which reproject every correspondence exactly, and the thing that picks one is not more algebra — it is the assumption that the photographer could see what was photographed.
Many pictures at onceAnother picture of the same sweep
Going from three views to seven across the same sixty degrees leaves the reconstruction exactly where it started, and at one point makes it worse. What a reconstruction is short of is angular spread, not photographs.
The second eyeTwo 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 other systemsAny three lines you draw are a cube
Four earlier essays said that cavalier projection is not the projection of anything — because its axis scales sum to three where every orthographic projection sums to two. That is true of orthographic projection and false of projection. Three lines from a point, drawn by hand, are a picture of an actual cube seen from an actual direction, and the cube and the direction come out of the drawing in closed form.
Light and mirrorsThe lamp, out of the picture
Two posts and their shadows put the light's position in a photograph, exactly, with nothing given but the drawn lines and the camera's own horizon. Two posts. One gives a residual of zero and an answer that is a whole one-parameter family — the sharpest counter-example there is to the idea that a small residual means a right answer, met again in a new field.
The second projectionTurning the cameras inwards
A stereo pair made by rotating two cameras toward a common point puts the same world point at different heights in the two pictures — up to thirty pixels here, on a frame of four hundred. Two eyes level with each other see every point at the same height, so a pair with vertical difference is a pair of pictures of no scene at all.
Mirrors that are not camerasA mirror ball does not know its size
The outline of a mirror ball in a photograph gives the ratio of its radius to its distance and stops there — a ball three and a half times bigger, three and a half times further away, draws an outline identical to the last bit. What breaks the tie is a point of the room, and only a near one: the sensitivity falls as one over the room's distance, so a mirror ball photographed against a landscape has no recoverable size at all.
Through water and glassThe dome knows its offset in units of itself
A dome port centred on the entrance pupil bends nothing at all, exactly. One that is not bends rays by an amount that depends on the decentring over the radius and on nothing else, so a ten-centimetre dome six millimetres off centre and a twenty-centimetre dome twelve millimetres off centre are the same instrument, bit for bit. The picture carries the ratio, which means it never carries the radius.
The second eyeA flat scene fixes no second eye
Eight marks on one plane leave the eight-point design matrix two ranks short, so a two-parameter family of fundamental matrices satisfies every mark exactly — three of its members are 1.41 apart after normalisation and all three fit to 1.6 × 10⁻⁶ pixels. The same photographs determine the plane's own map from four marks, to 5.9 × 10⁻¹³ pixels.
Many pictures at onceFar enough away, a pair is one eye
Hold the baseline and walk the scene away, and the parallax a single homography cannot explain falls as the distance to the power −0.968 — one over the distance, which says the ratio of baseline to depth is the whole of it. The recovered translation direction follows it down, from 3.3° at four metres to 74.5° at two hundred and fifty-six.
Systems that kept the measureThe second eye is a shear
A picture drawn from two eyes is a picture drawn from one, of a different room. The map that puts the second eye away holds the picture plane still point by point and carries one centre onto the other, and the member of its family that matters turns out to be affine — a shear along the line joining the eyes, growing with depth, which is the same operation an oblique drawing performs.
Through water and glassA pane gives a product before it gives two numbers
A flat pane of glass displaces every point it is seen through, and the displacement at small angles is the thickness times one minus the reciprocal of the index. So the two numbers arrive multiplied together. Four panes from 6.5 to 13.2 millimetres thick, with indices from 1.35 to 2.1, agree to under two microns over an eight-degree fan and separate by more than a millimetre over sixty — and a fit over the narrow fan returns whichever pair it started near.
The second eyeHow flat is flat enough
With exact marks the transition has no width at all — 84° of pose error at exactly coplanar and 0.000° at eight parts in ten thousand of relief. Put three tenths of a pixel of reading error in and the same sweep becomes a slope three decades wide, crossing into usefulness when the out-of-plane parallax reaches about ten times the marking error.
What a pair is forThe 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.
Many pictures at onceAn uncertainty is quoted from something
One adjustment, one set of marks read to a pixel, and its uncertainty written four ways. Held at the first camera, the last camera is 105 mm from certain; held at nothing, every camera is within 4 to 6 mm. A ratio of two distances carries 0.1465 per cent in all four, to two parts in a billion.
The other systemsThe drawing does not say which corner is nearer
The Necker cube is filed under optical illusion, as though the flipping were something the eye does. It is not: a parallel drawing of a cube is a drawing of exactly two cubes, mirror images of each other, and they project to the identical picture to the last bit. Perspective rules the second one out at a rate exactly inverse in the eye's distance, and never entirely.
What survivesWhat one picture of a plane determines
A photograph of a tiled floor fixes that floor's geometry up to a projectivity, and no further. Supplying the horizon buys back the midpoint — exactly, and nothing else. Supplying the image of one circle buys the right angle and the ratio of two lengths at right angles. Three stages, three prices, and a quantity a stage does not determine has no value rather than a wrong one.
What a machine computesThe near plane can be any plane
Rewrite one row of a projection matrix and the near plane stops being perpendicular to the axis and becomes whatever plane is asked for. Every x and every y is untouched — it is the same projection of the same scene from the same eye — and the depth order is wrecked, which is a clean separation of the two things a projection matrix does.