Re: Composing for window effects

[P3D <PTWW@xxxxxxx>]

In answering one question, DrT touches on an issue that has been
bugging me for some time:

>This is also similar to taking a close-up with an SLR and parallel
>shift (no convergence) or also in aerial photos.

Based on a few personal experiences, (details suppressed for brevity) I
had long suspected that large-base hypers require some sort of toe-in of
the two cameras or shots.  However, every write-up I have seen of taking
stereo photos with one or two SLRs includes a big warning about the dire
consequences (mostly keystoning) of toeing in.  At what point does toe-in
become proper and necessary?  I can see why it is needed for aerials, but
why is it needed for close-ups?

>The areas at the edges that does not overlap (sometimes called "ghost
>bands") need to be masked out to set the proper window (if not masked
>out then the window is "beyond infinity")

What is the definition of "does not overlap?"  The edges of the two chips
produced by the Realist are not identical, but the differences are not
masked out when mounting.  What is the maximum allowable size of the strip
of image that is different?

Thanks,
Paul Talbot


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