Creators of Evenlite®

Vision Lighting Seminar

Daryl Martin
Midwest Sales & Support Manager
Advanced illumination
734-213-1312
[email protected]
www.advill.com

2005 1
 Objectives

• Lighting Source Comparison / Contrast

• Machine Vision Illumination Principles &
Techniques
• Sample Applications
• Imaging Beyond the “Visible” – Near IR & UV
• “Pass” and Polarizing Filters in Vision
• Toward a Standard Lighting Analysis Method

2005 2
 Sources

• LED - Light Emitting Diode

• Quartz Halogen – W/ Fiber Optics
• Fluorescent
• Metal Halide (Microscopy)
• Xenon
• High Pressure Sodium
• Ultraviolet (Black Light)
• Infrared
• Electro-luminescent

2005 3
 Lighting Source Comparisons

The lighting source with the largest envelope MAY be the most versatile!

2005 4
 Lighting – Intensity vs. Spectrum
Quartz Halogen / Tungsten
Mercury (Purple)
100
Daytime Sunlight

80 Fluorescent
Relative Intensity (%)

60
White
Xenon LED
40

20 Red
LED

0
300 400 500 600 700

Wavelength (nm)
2005 5
 The right light helps the vision
system do its job

• Sample-appropriate lighting is critical for a

successful inspection.
• Provides for a quality, consistent & robust
lighting environment.
• Saves development time, effort & resources
better applied to other aspects of the vision
system.
• A Standard Method for Developing Machine
Vision Lighting.

2005 6
 Brief Review of Light and Optics for
Vision Illumination

2005 7
 The Visible Light Spectrum

UV IR

390
735

400 nm 500 nm 600 nm 700

nm
Human Visible Range

Decreasing Frequency Increasing Wavelength

Decreasing Photon Energy Increasing Photometric Output

Increasing Penetration Depth

2005 8
 The Visible Light Spectrum

• Light is Seen Differently by film, humans and CCDs

UV IR

390 455 470 505 520 595 625 660 695

735

400 nm 500 nm 600 nm 700

nm
Human Visible Range

2005 9
 Spectral Response - CCD vs.
Human Vision
IR Enhanced Analog
80 Digital Interline Transfer
Standard Analog
CMOS
UV Enhanced Analog
Absolute QE (%)

60
Human Photopic
Human Scotopic
IR Block (Short Pass)
40

20

0
300 400 500 600 700 800 900 1000

Wavelength (nm)
2005 10
 Where Does the Light Go?

• Total Light In =
Reflected Light +
Absorbed Light (may be re-emitted) +
Transmitted Light

Illumination
Absorb

Reflect
Emit Transmit
2005 11
 Reflection on Specular Surfaces
• Light reflects at the
angle of incidence
• Just like a pool ball off
the bumper 1 2
Φ1 = Φ2

• Surface Angle
determines where light
comes from in order to
illuminate the surface

2005 12
 Divergence and Intensity

• Intensity falls with the inverse square of the

divergence radius
• I = 1/r2
• Use collimation and short working distances
when possible

2005 13
 Lighting Environment
and the Part

• Ring Light
– Small Solid Angle

Note: The solid angle of any light

source may be increased by placing
it closer to the object of interest.

• Continuous Dome
– Large Solid Angle

2005 14
 OK, so where do we start?

2005 15
 Standard Lighting Method
1) Knowledge of:
- Lighting types and application advantages & disadvantages
- Vision camera sensor quantum efficiency & spectral range
- Illumination Techniques and their application fields relative to
surface flatness & surface reflectivity
- Illumination Technique Requirements & Limitations
2) Familiarity with the 4 Cornerstones of Vision Illumination:
- Geometry
- Structure (pattern)
- Color (wavelength)
- Filtering
3) Detailed Analysis of:
- Immediate Inspection Environment – Physical constraints and
requirements
- Sample – Light Interactions with respect to your unique sample

2005 16
 Three Lighting Acceptance Criteria

• It’s All About (creating) Contrast!

• Feature Separation, or Segmentation
1) Maximum contrast
• features of interest
2) Minimum contrast
• features of no interest (noise)
3) Minimum sensitivity to normal variations
• minor part differences
• presence of, or change in ambient lighting
• sample handling / presentation differences

2005 17
 Creating Contrast – 4 Lighting
Cornerstones
• Change Light Direction w/ Respect to Sample and
Camera (Geometry)
- 3-D spatial relationship - sample, light & camera

• Change Light Pattern (Structure)

- Light Head Type: Spot, Line, Dome, Sheet
- Illumination Type: B.F. - D.F. - Diffuse - B.L.

• Change Spectrum (Color / Wavelength)

- Monochrome, white vs. sample / camera response
- Warm vs. cool color families – object vs. background

• Change Light Character (Filtering)

- Affecting the wavelength / direction of light to the camera

Need to understand the impact of incident light on both

2005
the part of interest and its immediate background! 18
 Immediate Inspection Environment

• Physical Constraints
- Access for camera, lens & lighting in 3-D (working volume)
- The size and shape of the working volume
- Min and max camera, lighting working distance and FOV
• Part Characteristics
- Sample stationary, moving, or indexed?
- If moving or indexed, speeds, feeds & expected cycle time?
- Strobing? Expected pulse rate, on-time & duty cycle?
- Are there any continuous or shock vibrations?
- Is the part presented consistently in orientation & position?
- Any potential for ambient light contamination?
• Ergonomics and Safety
- Man-in-the-loop for operator interaction?
- Safety related to strobing or intense lighting applications?

2005 19
 Using Color to our Advantage

2005 20
 Using Color
Use Colored Light to Create Contrast

Warm Cool

• Use Like Colors or Families

to Lighten (yellow light makes
R V
yellow features brighter)

O B
• Use Opposite Colors or
Families to Darken (red light
makes green features darker) Y G

2005 21
 Increasing Contrast with Color

Red Green

Blue White

• Consider how color affects both your object and its background!

• White light will contrast all colors, but may be a contrast compromise.
2005 22
 Using Color for Selection
White Light Monochrome Light

Red +
Red Green

Color CCD

Green

B&W CCD
Blue

2005 23
 Using Geometry and Structure

2005 24
 Common Lighting Techniques

Partial Bright Field Dark Field Back Lighting

Diffuse Dome Axial Diffuse

Full Bright Field
2005 25
 Lights for Partial Bright Field

2005 26
 Lights for Full Bright Field

2005 27
 Dark Field Illuminators

2005 28
 Bright Field vs. Dark Field

Camera

Bright Field Image

Bright Field
Ring Light

Mirrored Surface
2005 29
 Bright Field vs. Dark Field

Camera Dark Field Image

Scratch

Dark Field
Ring Light

Mirrored Surface

2005 30
 Dark Field

• Angled light
• Used on highly
reflective surfaces
• OCR or surface
defect applications

2005 31
 Result of Dark-Field Light

• Emphasize Height Changes

• Diffuse Surfaces are Bright
• Flat Polished Surfaces are Dark
• Shape and Contour are Enhanced

2005 32
 Axial Diffuse

• Light directed at beam splitter

• Used on reflective objects

2005 33
 Result of Axial Diffuse
Illumination

• Surface Texture Is Emphasized

• Angled Elevation Changes Are Darkened
 Diffuse Dome

• Similar to the light on an

overcast day.
• Creates minimal glare.

2005 35
 Technique vs. Sample
Surface Reflectiveness

Matte Mixed Mirror Specular

Flat Axial Diffuse

Geometry
Independent Bright Field
Area

Surface Dark Field

Texture / Topography
Shape

Diffuse Dome / Cylinder

Curved

2005 36
Wavelength vs. Composition Checklist
Monochrome
UV B G R IR RGB WHI
Doped w/ UV Fluorescing Agent X

Dark Rubber X X
Dark Plastics X X
Transparent Plastics / Glass X X
Semi-metallic X X X
Metallic X X X
Mixed Color Parts X X
General Purpose X X
Ambient Light Problems X X X
Strobe / Ergonomic Problems X

2005 37
Sample Applications
 Stamped Date Code

• Recessed metal part

• Reflective, textured,
flat or curved surface

Bright
Bright fieldLine
field
Dark Field spotlight
ring
ring light
light
light

2005 39
 Data Matrix

• Peened data matrix

• Flat, shiny surface
• Curved, matte
surface
• May be viewed w/ a
perspective shift Broad
BrightStandard
DarkArea
Field
Field RingDome
Linear
Ring Light
Array
Light

2005 40
 UPC Bar Code

• Printing beneath
cellophane wrapped
package

Broad
Axial
Bright
DarkDiffuse
Area
Field
FieldLinear
Ring
Ring
Illuminator
Light
Light
Array

2005 41
 Bar Code under Clear Wrap

Coaxial BF Ring Light

DF Linear Array - BALA

2005
Broad Area Linear Array 42
 Ink Jet OCR

• Purple Ink
• Concave, reflective
surface

Axial
Bright
DarkDiffuse
Field
Field Illuminator
Ring
RingDome
Diffuse Light
Light

2005 43
 Lighting Technique Requirements
Partial Bright Dark Field Diffuse Axial Diffuse Dome
Field Full Bright Field Full Bright Field

Lighting Ring, Spot Angled Ring, Bar Diffuse Box Dome

Type
No Specular Negate Specular Use Specular Use Specular

When
To -Non specular -Specular / Non -Specular / Non -Specular / Non
Use -Area lighting -Surface / Topo -Flat / Textured -Curved surfaces
-May be used as -Edges -Angled surfaces -If ambient light
a dark field light -Look thru trans- issues
parent parts
Require -Light must be very -Light close to part
ments -No WD limit close to part -Light close to part -Large footprint
(limited only to -Large footprint -Large footprint -Camera close to
intensity need -Limited spot size -Ambient light minor light
on part) -Ambient light may -Beam splitter lowers -Spot size is ½ light
interfere light to camera inner diameter
2005 44
Using Near IR and Near UV Light
 Imaging Beyond “Visible” – Near IR

• Infra-red (IR) light interacts with sample material

properties, often negating color differences.

Black

Red

White Yellow

White light – B&W Camera IR light – B&W Camera

2005 46
 Imaging Beyond “Visible” – Near IR

• Near IR light can penetrate materials more easily

because of the longer wavelength.

Red 660 nm Back Light IR 880 nm Back Light

2005 47
 Imaging Beyond “Visible” – Near IR

• Red 660 nm light reveals the blue dot matrix printed

bottle date & lot codes.

IR 880nm Red 660nm

Back Light Back Light

2005 48
 Imaging Beyond “Visible” – Near UV

• Near UV light when

used w/ a matched
UV excitation dye,
illuminates codes
and structural fibers.

• Top Image Set:

Diaper
• Lower Image Set:
Motor Oil Bottle
2005 49
 Imaging Beyond “Visible” – Near UV

• Near UV light
fluoresces many
polymers, including
nylon.

• Top Image: UV
Light, B&W CCD

• Lower Image: UV
Light, Color CCD
2005 50
 Filters are useful too!

2005 51
Pass Filters in Machine Vision
• Pass filters exclude light 715 nm Long
based on wavelength. Pass
• Sunlight and mercury vapor
light are reduced by 4X
• Fluorescent light is reduced
by 35X
510 nm Short 660 nm Band
Pass Pass

2005 52
 Pass Filters

• Top Image: UV light w/

strong Red 660 nm
“ambient” light.

• Bottom Image: Same

UV and Red 660 nm
“ambient” light, with
510 nm Short Pass
filter applied.
2005 53
 Light Polarization

2005 54
Polarizing Filters in Machine Vision

Coaxial Ring Light Coaxial Ring Light Off-Axis Ring Light

w/o Polarizers w/ Polarizers w/o Polarizers

BALA

Longitudinal Linear Transverse Linear

w/o Polarizers w/o Polarizers

2005 55
Polarizing Filters in Machine Vision
• Top image: Without
polarizing, the plastic
material appears free
of defects.
Back Light - No Polarizer

• Bottom image: The

use of crossed
polarizers shows an
internal strain field
Back Light - Crossed Polarizers
along the edge.

2005 56
General Sequence for Lighting Analysis
• Determine the Exact Features of Interest
• Analyze Part Access / Presentation
- Clear or obstructed, Moving / Stationary
- Min / Max WD range, Sweet Spot FOV, etc.
• Analyze Surface Characteristics
- Texture
- Reflectivity / Specularity
- Effective Contrast – Object vs. background
- Surface flat, curved, combination
• Light Types and Applications Techniques Awareness
- Rings, Domes, Bars, ADIs, Spots, Controllers
- Bright Field, Diffuse, Dark Field, Back Lighting
• Determine Cornerstone Issues
- 3-D Geometry, Structure, Color & Filters
• Ambient Light Effects / Environmental Issues
2005 57
 Light Specification: Rules-of-Thumb
• Need more part / background contrast? – Think B&W
camera & color lights
• Ambient light issues? – Try monochrome light and a
matched band pass filter
• Shiny, curved surfaces? – Try a diffuse dome light
• Shiny, flat, but textured surfaces? – Try axial diffuse
• See surface topography? – Think dark-field (low angle)
• When inspecting plastics – Try UV or IR light
• Need to see features through a reflective cover? – Try
low angle linear lights (dark-field)
• Light combinations can solve problems too
• Strobing can generate up to 20x as much light
2005 58
 Thank you!

24 Peavine Dr. Rochester, VT 05767

802-767-3830
www.advancedillumination.com