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It is suggested that you have or seek experience into all the elements in the process in order to make an educated decision on your investment.

Some buyers are looking purely for short term investment and others expect to keep a vessel in the family for generations - purchasing a yacht is a very personal decision. An example of this is the metre Feadship, a great brand from a shipyard with excellent build quality, known for building yachts timeless in their design and look. This may represent a great deal in terms of purchase price, but in reality you have to then consider the costs of the crew and running the yacht.

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In addition to that, capital will have to be spent on refits, which incurs further costs. Before you know it, your budget to feed your passion for yachting is blown! Some may have considered the Feadship as an exciting project that would give them great value for money. After making their mark on the yacht during refits, they have a personalised yacht designed to suit their tastes for at least another ten to five years.

Instead, another vessel with lesser upkeep, a smaller crew and no refit worries would be ideally suited. Yacht brokers are there to supply you with the information you need to know when it comes to deciding which yachts best suit you. How clear and detailed that information is when choosing your yacht is key. It is vital for brokers to relay the facts and figures in as much detail to potential owners. Let us consider a simple question. Imagine a room with a square mirror. A top view is provided in Figure 1. The side of the mirror is about 1 metre long, and is attached in the centre of a long wall, at eye height.

Now imagine that you have just entered the room through the door.

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Note that this is a situation not unlike everyday life. As you look towards the mirror will you be able to see yourself? Maybe not, but what if you move towards the mirror? How far do you have to walk towards the centre of the room before you will start seeing yourself? That makes some intuitive sense — surely what we see reflected in a mirror is more than just a one-metre wide tunnel and so the scene must extend to the left and the right.


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In reality people must reach at least the near edge of the mirror to start seeing themselves. Light has to bounce off the object the person in this case , hit the mirror, bounce back with the same angle as that of incidence, and then reach the eye of the observer. One could work out this answer on the basis of knowing that angles of incidence and reflection are the same, but everyday experience should also suffice. We often walk in front of mirrors and in every instance we need to be in front of them to see our own reflection.

It seems, therefore, that some simple questions about what is visible in a mirror can be challenging. Something similar happens when we ask what can another person see in a mirror. For instance, most paintings that have a Toilet of Venus as the subject and there are many, especially after Titian reintroduced this theme into Renaissance art tend to place Venus next to a small mirror, held by herself or by a cherub, and the face of Venus is visible in the mirror.

A classic example from Veronese is shown in Figure 2 overleaf , and many more can be found in Miller Observers admiring the painting have the impression that she is looking at herself. The tendency to claim that Venus is looking at herself in such scenes is known as the Venus effect. The Venus effect does not imply any error on the part of the painter: on the contrary, the painters may cleverly exploit how perception works, as do directors. To share the same view as the actor the camera should really be behind the actor, but thanks to the Venus effect this is not necessary. This is fortunate because a camera behind the actor would not only show the back of the actor, it would also appear in the mirror.

The actors on the other hand may not see themselves they see the camera instead or may not see themselves centred in the mirror, depending on the size of the mirror. An example where the positioning is chosen so as to centre the image of the face for the camera is the final scene of Raging Bull, in which LaMotta Robert DeNiro is talking to himself in front of his dressing room mirror. So why do we all struggle when dealing with mirrors?

To understand these errors it is useful to remember a few things. Firstly, the illusion of depth of knowledge. This illusion is not specific to mirrors: in general, people have a feeling that they understand devices with far greater precision than they really do. This illusion is particularly strong for mechanical devices like a can-opener or a bicycle.

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Many adults produce schematic drawings of bicycles that could not work, for instance because the chain joins the back and the front wheels Lawson, Therefore, the confidence that people display in making wrong predictions about mirrors is probably related to the illusion of depth of knowledge.

Secondly, virtual objects are hard to imagine. We might think that as we look in the mirror what we see is an identical copy of ourselves and everything else. In reality the copy is different in a subtle way — the real object and the virtual object are related the way that our right hand is related to our left hand. An important point is that this relationship is hard to picture in our mind, we end up rotating the real objects to try and match the virtual objects.

Therefore, it is in general difficult to rely on our power of imagination to picture what the scene in a mirror would look like even when we know exactly what the real objects look like and where they are in the real world. Finally, the projection is hard to see. If we could look at mirrors and then remember the image on the surface we could answer a number of questions about mirrors.

But this option is not available because projections on a mirror are treated by the visual system like projections on transparent surfaces: neither can be judged accurately. I doubt that you will take my word for it, therefore you may check the studies in which we tried asking people to judge the size of projections on mirrors or on window panes Lawson et al.

Alternatively, to give you a quick idea, imagine that you are in your house, drinking coffee in your usual chair and looking out of the window at your Vespa you can change the scenario to suit you. You have seen that image through the window countless times, so how big is the image of the projection of the Vespa on the glass of the window?

That is, if you were to outline the Vespa with felt-tip pen on the window, while remaining in your chair i. I suspect that you cannot easily answer the question even though you know exactly what projection we are talking about, and you know that you have been exposed to it many times. In Ernst Gombrich wrote about a fascinating demonstration of the fact that we do not see the projection on a mirror surface, although he did not discuss it in these terms.

The demonstration is the following. If you stand in front of a fogged up mirror in a bathroom, you can clear just enough space to see your face.

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You will then be surprised that the area that you cleared is rather small. It is in fact half in height and width of the physical size of your face. This is counterintuitive, as is the fact that the size of the projection does not change as one moves nearer or farther from the mirror. Note, however, that both of these facts are specific to our own body, or more precisely specific to a situation where the location of the viewpoint is the same as the location of the physical object that is reflected Figure 3. Therefore, they do not apply to the projection of another person, as in the Venus effect for example.

In the special case when we look at our own face or body in a mirror, we tend to believe that the projection should be the same size as our face or body.

However, when we consider a rather small mirror the size of a pocket book , we also believe that we could see the whole of ourselves if we are allowed to move as far away as we want. The two beliefs are not compatible, so they cannot both be true. But they can both be false. The projection, as discussed above, is half the physical size, so we need a mirror at least that size to see ourselves in it. It seems that what is on the surface of the mirror is hard to see and therefore hard to know anything about, but it is still interesting to see what people believe about it in the general case where target and observer do not coincide.

We found that most people expect the size of the projected image to change if the target object is moved away from the mirror, but not if only the observer is moved away from the mirror. In reality the projection depends on both the location of the target and the location of the observer but it is interesting that we intuitively seem to regard the projection as only related to the target Bertamini et al.

What we have seen, in summary, is that mirrors are amongst the most familiar objects in our environment, yet not only is the way that they work hard to predict but also we hold systematically wrong expectations about them. Underneath these surprising errors there is a combination of factors, including a general overconfidence in what we know about familiar objects, a problem with performing mental transformations that match real and virtual objects, and the fact that what is on the surface of the mirror is only a projection and therefore not something that we see in the same way that we see distal objects.

Why does a mirror reverse left and right but not up and down? Richard Feynman is also known to have discussed it in detail. There is no controversy on the source of the problem, but disagreement on the best way to explain the answer.