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It’s important to remember that the computer screen itself is a source of light and staring at one for long hours causes eye fatigue. Reducing the brightness of your computer screen might ease discomfort. This however creates glare and reflections as the screen then works as a mirror due to its smooth and reflective surface. The same rule applies when your environment is overly bright.

Light sources placed directly behind you, directly overhead or desk lamps placed too close to the screen can cause screen glare.

Placing desk lamps farther away and replacing harsh lights with dimmer bulbs or adding fabric or frosted glass shades to diffuse light are simple steps you can take to reduce glare.

What is the best lighting for office work?What’s the best home office lighting for computer work?What’s the best lighting for video conferencing?

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Because different lenses generally require a different camera–subject distance to preserve the size of a subject, changing the angle of view can indirectly distort perspective, changing the apparent relative size of the subject and foreground.

Note that the angle of view varies slightly when the focus is not at infinity (See breathing (lens)), given by S 2 = S 1 f S 1 − f {\displaystyle S_{2}={\frac {S_{1}f}{S_{1}-f}}} rearranging the lens equation.

The sensed image, which includes the target, is displayed on a monitor, where it can be measured. Dimensions of the full image display and of the portion of the image that is the target are determined by inspection (measurements are typically in pixels, but can just as well be inches or cm).

The purpose of this test is to measure the horizontal and vertical FOV of a lens and sensor used in an imaging system, when the lens focal length or sensor size is not known (that is, when the calculation above is not immediately applicable). Although this is one typical method that the optics industry uses to measure the FOV, there exist many other possible methods.

To project a sharp image of distant objects, S 2 {\displaystyle S_{2}} needs to be equal to the focal length, F {\displaystyle F} , which is attained by setting the lens for infinity focus. Then the angle of view is given by:

As a rule, to eliminate glare and reflections, ensure the space in your field of vision is illuminated with evenly diffused light while the remaining space (including you) is in a darker setting. This prevents the objects behind you from being reflected on the screen.

From the definition of magnification, m = S 2 / S 1 {\displaystyle m=S_{2}/S_{1}} , we can substitute S 1 {\displaystyle S_{1}} and with some algebra find: S 2 = F ⋅ ( 1 + m ) {\displaystyle S_{2}=F\cdot (1+m)}

The total field of view is then approximately: F O V = α D d {\displaystyle \mathrm {FOV} =\alpha {\frac {D}{d}}} or more precisely, if the imaging system is rectilinear: F O V = 2 arctan ⁡ L D 2 f c d {\displaystyle \mathrm {FOV} =2\arctan {\frac {LD}{2f_{c}d}}}

For a given camera–subject distance, longer lenses magnify the subject more. For a given subject magnification (and thus different camera–subject distances), longer lenses appear to compress distance; wider lenses appear to expand the distance between objects.

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Another point to remember is to avoid placing reflective objects and light sources behind your computer that can cause irritation.

The effective focal length is nearly equal to the stated focal length of the lens (F), except in macro photography where the lens-to-object distance is comparable to the focal length. In this case, the magnification factor (m) must be taken into account: f = F ⋅ ( 1 + m ) {\displaystyle f=F\cdot (1+m)}

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Screens in dim lightThis might seem pleasing to the eye for a little while but the contrast your bright screen creates against the darker surrounds will soon cause eye fatigue. Placing your computer in a low light environment is far from ideal. So, how do you light a dark office? If there’s no way to add ceiling lights, a single lampshade or even two on either side for even distribution can give you the necessary degree of diffused light. You can supplement with a desk lamp for more focused activity. LED strip lightsIf you do not have much leeway to move your desk or PC monitor around to receive the best light and adding lighting fixtures is not an option, LED strip lights might be your saving grace. If your computer is placed in a study nook, adding undercabinet LED strip lights to cabinetry overhead will give you the light you need to see your screen clearly. Backlighting is another space saving alternative where you do not have the option of installing lights or adding a floor lamp. Backlighting, also referred to as bias lighting, involves a weak source of light such as LED strips placed on the back end of your screen. This casts your screen in an ambient halo or soft surround light to give you improved visibility. It’s a lighting method that’s considered beneficial for professional image editing work as it improves the accuracy of contrasts on-screen.

Consider a rectilinear lens in a camera used to photograph an object at a distance S 1 {\displaystyle S_{1}} , and forming an image that just barely fits in the dimension, d {\displaystyle d} , of the frame (the film or image sensor). Treat the lens as if it were a pinhole at distance S 2 {\displaystyle S_{2}} from the image plane (technically, the center of perspective of a rectilinear lens is at the center of its entrance pupil):[6]

Eye issues often stem from prolonged use of computers. Computer Vision Syndrome (CVS) is a commonplace affliction today and has everything to do with our screen-based lifestyle. While there is no escaping the use of screens, especially when it involves work there are several ways that lighting can serve to alleviate the problem and give relief to your eyes. There are several aspects that you must take into consideration when planning your home office lighting. In addition to general lighting and the brightness of your computer, the positioning of various light sources and their type influence your ability to see a screen clearly. As mentioned earlier direct sunlight is a harsh source of light and can wash out your screen hindering your ability to see clearly. While blinds can easily remedy this, how you place your lighting is also important for screen visibility. We explore the common issues as well as solutions or alternatives to consider when lighting your screen-based workspace.

The collimator's distant virtual image of the target subtends a certain angle, referred to as the angular extent of the target, that depends on the collimator focal length and the target size. Assuming the sensed image includes the whole target, the angle seen by the camera, its FOV, is this angular extent of the target times the ratio of full image size to target image size.[10]

A camera's angle of view depends not only on the lens, but also on the sensor. Digital sensors are usually smaller than 35 mm film, and this causes the lens to have a narrower angle of view than with 35 mm film, by a constant factor for each sensor (called the crop factor). In everyday digital cameras, the crop factor can range from around 1 (professional digital SLRs), to 1.6 (consumer SLR), to 2 (Micro Four Thirds ILC) to 6 (most compact cameras). So a standard 50 mm lens for 35 mm photography acts like a 50 mm standard "film" lens on a professional digital SLR, but would act closer to an 80 mm lens (1.6×50mm) on many mid-market DSLRs, and the 40-degree angle of view of a standard 50 mm lens on a film camera is equivalent to an 80 mm lens on many digital SLRs.

Defining f = S 2 {\displaystyle f=S_{2}} as the "effective focal length", we get the formula presented above: α = 2 arctan ⁡ d 2 f {\displaystyle \alpha =2\arctan {\frac {d}{2f}}} where f = F ⋅ ( 1 + m ) {\displaystyle f=F\cdot (1+m)} .

Light sources placed directly behind you, directly overhead or desk lamps placed too close to the screen can cause screen glare.

It is important to distinguish the angle of view from the angle of coverage, which describes the angle range that a lens can image. Typically the image circle produced by a lens is large enough to cover the film or sensor completely, possibly including some vignetting toward the edge. If the angle of coverage of the lens does not fill the sensor, the image circle will be visible, typically with strong vignetting toward the edge, and the effective angle of view will be limited to the angle of coverage.

(In photography m {\displaystyle m} is usually defined to be positive, despite the inverted image.) For example, with a magnification ratio of 1:2, we find f = 1.5 ⋅ F {\displaystyle f=1.5\cdot F} and thus the angle of view is reduced by 33% compared to focusing on a distant object with the same lens.

A bright light behind you will leave you backlit resulting in an unflattering and harsh picture. Instead, ensure that you are facing the light source to bring your face into focus and not the background. While a light source works well behind the camera to illuminate your face, it’s not ideal to have your computer placed in front of it. The best solution is to place a desk lamp off to your side. A desk lamp that’s tiltable and dimmable gives you the flexibility to control the amount of light required and some lamps even have colour temperature adjustment which helps to achieve the optimum lighting for video.Having just one light above or in front can also cast shadows on your face and using more than one source of light placed at different angles can help balance the lighting. Lighting for video also needs to be diffused to produce a softer more appealing look and pairing your desk lamp with a shade can spread the light to further enhance the quality of your video.Regardless of the location or orientation of your workspace, by incorporating the right mixture of general, task and accent lighting, you’ll be sure to create a space that is both functional and appealing. And, if you’re still stuck on home office lighting ideas, why not get in touch with our friendly team at Fat Shack Vintage? We’re always on call to assist in creating the perfect office space.

Now α / 2 {\displaystyle \alpha /2} is the angle between the optical axis of the lens and the ray joining its optical center to the edge of the film. Here α {\displaystyle \alpha } is defined to be the angle-of-view, since it is the angle enclosing the largest object whose image can fit on the film. We want to find the relationship between:

As noted above, a camera's angle level of view depends not only on the lens, but also on the sensor used. Digital sensors are usually smaller than 35 mm film, causing the lens to usually behave as a longer focal length lens would behave, and have a narrower angle of view than with 35 mm film, by a constant factor for each sensor (called the crop factor). In everyday digital cameras, the crop factor can range from around 1 (professional digital SLRs), to 1.6 (mid-market SLRs), to around 3 to 6 for compact cameras. So a standard 50 mm lens for 35 mm photography acts like a 50 mm standard "film" lens even on a professional digital SLR, but would act closer to a 75 mm (1.5×50 mm Nikon) or 80 mm lens (1.6×50mm Canon) on many mid-market DSLRs, and the 40-degree angle of view of a standard 50 mm lens on a film camera is equivalent to a 28–35 mm lens on many digital SLRs.

Another result of using a wide angle lens is a greater apparent perspective distortion when the camera is not aligned perpendicularly to the subject: parallel lines converge at the same rate as with a normal lens, but converge more due to the wider total field. For example, buildings appear to be falling backwards much more severely when the camera is pointed upward from ground level than they would if photographed with a normal lens at the same distance from the subject, because more of the subject building is visible in the wide-angle shot.

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Placing desk lamps farther away and replacing harsh lights with dimmer bulbs or adding fabric or frosted glass shades to diffuse light are simple steps you can take to reduce glare.

What is the best lighting for office work?What’s the best home office lighting for computer work?What’s the best lighting for video conferencing?

A second effect which comes into play in macro photography is lens asymmetry (an asymmetric lens is a lens where the aperture appears to have different dimensions when viewed from the front and from the back). The lens asymmetry causes an offset between the nodal plane and pupil positions. The effect can be quantified using the ratio (P) between apparent exit pupil diameter and entrance pupil diameter. The full formula for angle of view now becomes:[7] α = 2 arctan ⁡ d 2 F ⋅ ( 1 + m / P ) {\displaystyle \alpha =2\arctan {\frac {d}{2F\cdot (1+m/P)}}}

Zoom lenses are a special case wherein the focal length, and hence angle of view, of the lens can be altered mechanically without removing the lens from the camera.

For lenses projecting rectilinear (non-spatially-distorted) images of distant objects, the effective focal length and the image format dimensions completely define the angle of view. Calculations for lenses producing non-rectilinear images are much more complex and in the end not very useful in most practical applications. (In the case of a lens with distortion, e.g., a fisheye lens, a longer lens with distortion can have a wider angle of view than a shorter lens with low distortion)[3] Angle of view may be measured horizontally (from the left to right edge of the frame), vertically (from the top to bottom of the frame), or diagonally (from one corner of the frame to its opposite corner).

Avoid placing bright light sources directly behind you during a video or zoom call. The webcam automatically detects the brightest source of light in your space and adjusts accordingly.

If the subject image size remains the same, then at any given aperture all lenses, wide angle and long lenses, will give the same depth of field.[15]

In the optical instrumentation industry the term field of view (FOV) is most often used, though the measurements are still expressed as angles.[8] Optical tests are commonly used for measuring the FOV of UV, visible, and infrared (wavelengths about 0.1–20 μm in the electromagnetic spectrum) sensors and cameras.

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This table shows the diagonal, horizontal, and vertical angles of view, in degrees, for lenses producing rectilinear images, when used with 36 mm × 24 mm format (that is, 135 film or full-frame 35 mm digital using width 36 mm, height 24 mm, and diagonal 43.3 mm for d in the formula above).[16] Digital compact cameras sometimes state the focal lengths of their lenses in 35 mm equivalents, which can be used in this table.

As with any other living space in your home, your home office also needs to be well-balanced where lighting is concerned; even more so than other rooms as you spend eight hours a day focused on a range of tasks. Today, office spaces are designed with the understanding that working conditions influence productivity. Lighting is one among key factors that contribute to a conducive workspace and the same applies to home office spaces as well. There is a whole host of home office lighting ideas out there but take a moment to find out the dos and don’ts to make sure you end up with a functional and productive sanctuary.

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UV/visible light from an integrating sphere (and/or other source such as a black body) is focused onto a square test target at the focal plane of a collimator (the mirrors in the diagram), such that a virtual image of the test target will be seen infinitely far away by the camera under test. The camera under test senses a real image of the virtual image of the target, and the sensed image is displayed on a monitor.[9]

Another point to remember is to avoid placing reflective objects and light sources behind your computer that can cause irritation.

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In photography, angle of view (AOV)[1] describes the angular extent of a given scene that is imaged by a camera. It is used interchangeably with the more general term field of view.

Because this is a trigonometric function, the angle of view does not vary quite linearly with the reciprocal of the focal length. However, except for wide-angle lenses, it is reasonable to approximate α ≈ d f {\displaystyle \alpha \approx {\frac {d}{f}}} radians or 180 d π f {\displaystyle {\frac {180d}{\pi f}}} degrees.

For macro photography, we cannot neglect the difference between S 2 {\displaystyle S_{2}} and F {\displaystyle F} . From the thin lens formula, 1 F = 1 S 1 + 1 S 2 . {\displaystyle {\frac {1}{F}}={\frac {1}{S_{1}}}+{\frac {1}{S_{2}}}.}

For a lens projecting a rectilinear image (focused at infinity, see derivation), the angle of view (α) can be calculated from the chosen dimension (d), and effective focal length (f) as follows:[4] α = 2 arctan ⁡ d 2 f {\displaystyle \alpha =2\arctan {\frac {d}{2f}}}

Modifying the angle of view over time (known as zooming), is a frequently used cinematic technique, often combined with camera movement to produce a "dolly zoom" effect, made famous by the film Vertigo. Using a wide angle of view can exaggerate the camera's perceived speed, and is a common technique in tracking shots, phantom rides, and racing video games. See also Field of view in video games.

Video conferencing is part and parcel of working from home and offers an effective way to connect and have virtual meetings with your colleagues or clients. Here again, lighting is imperative to achieve the best possible result and create a positive impression. You might have a great web cam and internet connection, but bad lighting will deteriorate the quality of your call.

Working remotely is increasingly gaining momentum the world over, however in the current covid-19 environment it has become a way of life. While your workspace should be ergonomically arranged and designed to ensure physical comfort, it’s a given that your eyes bear a large burden. This is why optimum lighting is vital to ensure that your all-important eyes can stay up to the task. Regardless of whether a work-from-home arrangement is intermittent or long-term, having the right lighting for office work is essential. We put together an all-you-need-to-know about home office lighting so you can get on top of it right away. Once you've read our guide have look at our Office lighting collection.

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Consider a 35 mm camera with a lens having a focal length of F = 50 mm. The dimensions of the 35 mm image format are 24 mm (vertically) × 36 mm (horizontal), giving a diagonal of about 43.3 mm.

The target's angular extent is: α = 2 arctan ⁡ L 2 f c {\displaystyle \alpha =2\arctan {\frac {L}{2f_{c}}}} where L {\displaystyle L} is the dimension of the target and f c {\displaystyle f_{c}} is the focal length of collimator.

d {\displaystyle d} represents the size of the film (or sensor) in the direction measured (see below: sensor effects). For example, for 35 mm film which is 36 mm wide and 24 mm high, d = 36 m m {\displaystyle d=36\,\mathrm {mm} } would be used to obtain the horizontal angle of view and d = 24 m m {\displaystyle d=24\,\mathrm {mm} } for the vertical angle.

Using basic trigonometry, we find: tan ⁡ ( α / 2 ) = d / 2 S 2 . {\displaystyle \tan(\alpha /2)={\frac {d/2}{S_{2}}}.} which we can solve for α, giving: α = 2 arctan ⁡ d 2 S 2 {\displaystyle \alpha =2\arctan {\frac {d}{2S_{2}}}}

Avoid placing bright light sources directly behind you during a video or zoom call. The webcam automatically detects the brightest source of light in your space and adjusts accordingly.

The table below shows the horizontal, vertical and diagonal angles of view, in degrees, when used with 22.2 mm × 14.8 mm format (that is Canon's DSLR APS-C frame size) and a diagonal of 26.7 mm.