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Illumination Technology for Machine Vision

Ligh­ting is es­sen­tial for in­dus­trial image pro­ces­sing. Type, color and in­ten­si­ty of the illu­mi­na­tion create contrast which de­fines what is vi­sible in the cap­tu­red image. The­re­fore only ho­mo­ge­neous ligh­ting condi­tions re­sult in a ro­bust and re­pea­table image cap­ture. Fluc­tua­ting light condi­tions such as day­light are to be avoi­ded.

What Makes Ligh­ting Tech­no­lo­gy Cru­cial in In­dus­trial Ma­chine Vi­sion?

Ma­chine Vi­sion illu­mi­na­tion is a fun­da­men­tal com­ponent for crea­ting contrast for ef­fi­cient image pro­ces­sing. Wi­thout light there is no way for a ca­me­ra to “see” the fea­tures to be ins­pec­ted. Using LED illu­mi­na­tion in the cor­rect way will create black on white contrast that al­lows an image to be pro­ces­sed with a high through­put. The bright­ness of the ligh­ting is also cri­ti­cal for Ma­chine Vi­sion. With a hi­gher in­ten­si­ty of light, the image pro­ces­sing will be more ro­bust and re­pea­table.
 
More power en­ables to …
•  … re­duce the ex­po­sure time, thus eli­mi­na­ting mo­tion blur and li­mi­ting the im­pact of am­bient light.
•  … close the aper­ture which re­sults in a big­ger depth of field.

What Is Light?

Illu­mi­na­tion tech­no­lo­gy emits light in se­ve­ral wa­ve­lengths of va­rying in­ten­si­ty. The ra­dia­tion emit­ted from the sun comes in a huge range of wa­ve­lengths from ul­tra­vio­let light through to in­fra­red. Ma­chine Vi­sion illu­mi­na­tion comes in a range of wa­ve­lengths most­ly in the vi­sible spec­trum.
For example, a red light illu­mi­na­tion can have its peak at about 630 nm, as can be seen in the chart. The red light emit­ted from an LED has a wide spec­trum where the in­ten­si­ty across the spec­trum falls off from the peak.

The human eye is par­ti­cu­lar­ly sen­si­tive to color va­ria­tions. Two pro­ducts with the same color may ap­pear dif­fe­rent­ly to the eyes of the user. Ho­we­ver, a strict bin sor­ting in the se­lec­tion of LED’s used in wen­glor illu­mi­na­tion pro­ducts en­sures that the maxi­mum va­ria­tion of the peak wa­ve­length does not ex­ceed 10 nm. The image chip of a ca­me­ra or a bar­code scan­ner has dif­ferent sen­si­ti­vi­ties to dif­ferent wa­ve­length ranges spe­ci­fied in the res­pec­tive ope­ra­ting ins­truc­tions. For op­ti­mal bright­ness condi­tions, both the image chip sen­si­ti­vi­ty and the type of light must be mat­ched to each other. Ex­ter­nal blo­cking fil­ters can be used to avoid ex­tra­neous light. In some ca­me­ras, a fil­ter is al­rea­dy ins­tal­led.

How to Choose the Right Illu­mi­na­tion Color?

Color Ma­chine Vi­sion al­lows the de­tec­tion of color dif­fe­rences si­mi­lar to the human eye. These dif­fe­rences can­not be re­co­gni­zed with the 256-​level gray scale of mo­no­chrome ca­me­ras. Pro­ces­sing times the­re­fore in­crease slight­ly when using color ca­me­ras due to the large amount of in­for­ma­tion.

In com­bi­na­tion with mo­no­chrome ca­me­ras, ho­we­ver, the use of co­lo­red light sources is cru­cial to de­fine the de­si­red gray scale va­lues of spe­ci­fic fea­tures to create contrast. Thus, for example, red and neigh­bou­ring green ob­jects ap­pear in dif­ferent shades of gray in the cap­tu­red image. Ho­we­ver, good contrast can be achie­ved when the back­ground color is cho­sen in the com­ple­men­ta­ry color of the illu­mi­na­ted ob­ject. This in­creases the ins­pec­tion sta­bi­li­ty of the Ma­chine Vi­sion sys­tem.

What Is the Ef­fect Using a Po­la­ri­za­tion Fil­ter?

A po­la­ri­za­tion fil­ter is an ac­ces­so­ry for lights and ca­me­ras to im­prove contrast by re­du­cing glare and un­wan­ted re­flec­tions. It is main­ly used for ap­pli­ca­tions in­clu­ding shiny or trans­pa­rent ma­te­rials. The ad­van­tages of po­la­ri­za­tion can be achie­ved through the use of a li­near po­la­ri­zing film on the light com­bi­ned with a po­la­ri­zing fil­ter pla­ced on the ca­me­ra.

Wi­thout Po­la­ri­zing Fil­ter

With Po­la­ri­zing Fil­ter

What Is UV Light?

Ul­tra­vio­let (UV) light is elec­tro­ma­gne­tic ra­dia­tion with wa­ve­lengths in the spec­tral range of 280 to 400 nm, which is in­vi­sible to the human eye. When UV illu­mi­na­tion is com­bi­ned with a lu­mi­nes­cence sub­stance (lu­mi­no­phore), the emit­ted light of the lu­mi­no­phore is vi­sible. This pro­cess is cal­led fluo­res­cence, where light is emit­ted in res­ponse to ex­ci­ta­tion by UV light.

Fluo­res­cent sub­stances ex­po­sed to UV ra­dia­tion ab­sorb them and emit them as vi­sible, longer-​wave ra­dia­tion, ty­pi­cal­ly in the co­lors blue (470 nm) or green (525 nm). This emit­ted light can then be used for vi­sual ins­pec­tion.

How Is UV Light Used?

Ul­tra­vio­let light has a wide range of ap­pli­ca­tions in me­di­cal, in­dus­trial and com­mer­cial areas. It is used for di­sin­fec­tion, hy­giene control as well as the de­tec­tion of se­cu­ri­ty inks and fluo­res­cent, counterfeit-​proof pa­cka­ging fea­tures. UV fluo­res­cent se­cu­ri­ty mar­kings are used to fight coun­ter­fei­ting and au­then­ti­cate brands through 2D codes, bar­codes, al­pha­nu­me­ric codes, images and gra­phics. These mar­kings en­sure the au­then­ti­ci­ty of pro­ducts and sup­port tra­cea­bi­li­ty in the sup­ply chain. The fluo­res­cence of UV mar­kings de­pends on the type of ink used. Some inks fluo­resce over a broad spec­trum of UV wa­ve­lengths, while others re­flect on more spe­ci­fic wa­ve­lengths.

What Hap­pens When Light Hits a Sur­face?

When ins­tal­ling a Ma­chine Vi­sion sys­tem, it must be consi­de­red how the light pho­tons react when they strike a sur­face. It is im­por­tant to map out how the light will reach the ca­me­ra. The light can react in five com­mon ways: re­flec­tion, trans­mis­sion, ab­sorp­tion, fluo­res­cence and dif­fu­sion. Ho­we­ver, a large num­ber of ef­fects ap­pear si­mul­ta­neous­ly.

How Does Light React to Dif­ferent Sur­face Ma­te­rials?

Light Re­flec­tion on a Shiny Sur­face

When light ir­ra­diates shiny sur­faces, most of the light pho­tons re­flect in the same in­ci­dent angle. Ho­we­ver, even a high­ly po­li­shed mir­ror re­flects ap­proxi­ma­te­ly 95% of the in­ci­dent light.

Light Be­ha­vior on a Sur­face In­bet­ween Shiny and Matte

When light ir­ra­diates sur­faces that are nei­ther high­ly po­li­shed nor ex­tre­me­ly rough most of the light pho­tons scat­ter in many dif­ferent angles. Des­pite the scat­te­ring, most of the light in­ten­si­ty will fol­low the re­flec­ted in­ci­dent angle.

Light Dif­fu­sion on Matte Sur­face

When light ir­ra­diates sur­faces that are very rough or matte the light pho­tons will scat­ter. In theo­ry, an ideal dif­fuse sur­face re­flects the light in all pos­sible di­rec­tions. In this case the hi­ghest light in­ten­si­ty fol­lows the nor­mal (90°) to the sur­face.

How Do Dif­ferent Shapes of Sur­faces Re­flect Light?

The form of the ins­pec­ted ob­ject is de­ci­sive for the way the light reaches the ca­me­ra to create contrast. In the dia­grams, the light out­put is sim­pli­fied and the illu­mi­na­ted sur­face is as­su­med to be a per­fect mir­ror. The ins­pec­ted in­dents are re­pre­sen­ta­tive of a dot peen mar­ked code but sim­pli­fied down to a single groove.

The dot­ted blue lines show the light re­flec­tion which reaches the ca­me­ra and is seen in the image as white. The dot­ted gray lines show that the light does not reach the ca­me­ra, this creates an ab­sence of light in the field of view.

Fea­ture on a Flat Sur­face

By pla­cing the ca­me­ra in the re­flec­ted in­ci­dent angle of the illu­mi­na­tion, most of the light pho­tons reach the ca­me­ra. In­dents cause an ab­sence of light that shows the sur­face fea­ture with good contrast. 

Fea­ture on a Cur­ved Sur­face

On a cur­ved sur­face, most of the light pho­tons do not reach the ca­me­ra. Due to this, ap­pli­ca­tions with a cur­ved sur­face nor­mal­ly re­quire a lar­ger light or a light that comes from many di­rec­tions around the ob­ject.

Where Do I Need to Place my Illu­mi­na­tion Re­la­tive to the Ca­me­ra?

What Is the Ef­fect Using Dif­ferent Ope­ra­ting Modes?

Conti­nuous Light

Conti­nuous mode is when the light is tur­ned on constant­ly or for a time much lon­ger than the ex­po­sure time of the ca­me­ra. As an example, the light may be swit­ched on two se­conds be­fore image cap­ture and then swit­ched off two se­conds after. 

The most im­por­tant ad­van­tage of conti­nuous mode is the com­fort for people in the en­vi­ron­ment. 

Strobe Light

Stro­bing the light means that the LEDs from the pro­duct will be swit­ched on and off via an ex­ter­nal si­gnal, ty­pi­cal­ly from a PLC/SPS or di­rect­ly from the ca­me­ra. When using a light in strobe mode, the light is tur­ned on for the time the ca­me­ra takes to ac­quire the image. This means the light is fully illu­mi­na­ted over the en­tire ex­po­sure time.

The main ad­van­tage of strobe mode is an in­crea­sed LED life time due to less heat buil­ding up in the pro­duct. In some cases, es­pe­cial­ly for ap­pli­ca­tions with large illu­mi­na­tion ins­tal­la­tions, ener­gy consump­tion can be re­du­ced si­gni­fi­cant­ly. 
 

Strobe Over­drive Mode

Strobe over­drive mode is a term used for LED lights that allow a hi­gher cur­rent to be put through the LEDs with res­pect to a de­fi­ned duty cycle. All wen­glor over­drive LED pro­ducts contain an in­ter­nal control­ler to en­force the duty cycle; this way, the pro­duct is pro­tec­ted. 

In ad­di­tion to the ad­van­tages of strobe mode lis­ted above, the hi­gher cur­rent en­ables a hi­gher bright­ness which en­ables a lower ex­po­sure time and a re­du­ced aper­ture for the ca­me­ra.

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