Talk:F-number
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A Spatial Filter
Is a F-stop basically a camera's spatial filter? That is it is an iris positioned at the focal point between the lens system of the camera?Waxsin (talk) 16:10, 2 February 2016 (UTC)
- It is not intended as a spatial filter, and it is not at the focus of the lens. It does in some way behave as a low-pass filter, at small apertures, when sharpness is limited by diffraction. — Edgar.bonet (talk) 18:29, 2 February 2016 (UTC)
Definition of lens brightness
It took me a while to wrap my head around the definition of lens brightness in this article, but I think what is in the article now is correct. The brightness of the projected image is pretty straightforward: the illuminance on the image sensor, or luminous flux per unit area. The brightness of the scene is the trickier one - I'm pretty sure it is luminance, or luminous intensity per unit area of light travelling in a particular direction and passing through a given area. What area? the front of the lens. What direction? towards the front of the lens and within the lens's field of view. Scene brightness when described this way is largely invariant of the size of the front of the lens, because of the m^-2 in the unit, as it should be: make the front of the lens larger and more light from the scene will fall on the front of the lens, but the scene looks just as bright to the lens, so your description of scene brightness should be normalized against the area of the front of the lens. Illuminance and luminance are measured in different units, but that is o.k. Lens brightness in f-stops or t-stops is really a description of the sensor illuminance to scene luminance quotient, which would have a unit of steradians. Please speak up here if you aren't in agreement. Balazer (talk) 21:05, 15 January 2013 (UTC)
- As far as standard units are concerned, we should strive for a more consolidated presentation of the various units and their conversions.
- Regarding lens brightness, as I understand it ... Roughly speaking, compared to a smaller lens aperture, the geometry of a larger lens aperture focusing on the same image frame will allow more light to enter the lens and be projected onto the sensor/film/eye-piece. Think of aperture size like the size of a bucket for bailing out a leaking boat. Say you pour water out of a leaking boat at the same rate (pours per second) no matter what sized bucket you have. The larger the bucket, the more water you get each time.
- The more light that can enter through the lens and arrive at the sensor/film/eye-piece, as filtered through the lens, the brighter the image and that's what is meant, in generic terms, by lens brightness. Lens material, component geometries, and composite efficiencies all effect light loss and thereby, lens brightness (on this final note, I have to acknowledge that I may not be using the standard terminology). Don't yell at me internet. JimsMaher (talk) 17:34, 17 January 2013 (UTC)
- Better yet ... Think of aperture size like a sieve straining rocks and debris. The larger the holes, the looser the sieve, the more stuff will fall through. The smaller the holes, the denser the sieve, the more solid material making up the sieve, the less debris is allowed through. A sieve that stops a lot of material from going through corresponds to a large f number (f/45, f/64). A sieve that's no more than a metal ring, for sake of example, corresponds to a lens with a low f number (f/1.4, f/1). JimsMaher (talk) 17:49, 17 January 2013 (UTC)
- Balazer has it right. I haven't looked to see if have good refs to back that up, but they exist (e.g. this page). The resulting ratio (in steradians) is inversely proportional to the square of the f-number. Dicklyon (talk) 18:22, 17 January 2013 (UTC)
- Since the light is passing through a circle (for sake of example), with light intensity following the Inverse-square law, every halving of the diameter of the aperture corresponds to a doubling of the distance from a fixed light source, in terms of exposure value. Or atleast that's the parsimonious model. JimsMaher (talk) 20:02, 17 January 2013 (UTC)
I have a question about the fourth paragraph in the "Notation" section. The first three sentences are very clear - explaining how the 200mm lens receives four times as much light. In the next sentence, I believe the focal length numbers need to be reversed, since the 100mm lens is wider than the 200mm lens, and would therefore be the one that covers four times the area. As it's written, it sounds like the 200mm lens produces 16 times the illuminance. BigslyE5 (talk) 15:09, 26 July 2014 (UTC)
And that is why or focal length divided by f-stop equals Diameter.19dreiundachtzig (talk) 00:35, 18 December 2020 (UTC)
Aperture vs. Entrance Pupil in the definition of f-number
I'm in favor of using entrance pupil instead of aperture in the definition of f-number, because entrance pupil is more precisely defined. There are multiple types of apertures, which are not all the same. The aperture formed by a lens's diaphragm, for example, is usually not the same as the entrance pupil and not what the f-number is defined in terms of. But we must recognize that in common photography speak, people say aperture when they really mean entrance pupil. So I wrote in the first sentence of the Notation section that the entrance pupil is often called the aperture. I'd be fine to move that statement up into the definition also, but I think we should maintain a distinction between aperture and entrance pupil, and not turn them into synonyms. Lens design textbooks are pretty consistent about using entrance pupil or clear aperture, and never just aperture. Balazer (talk) 04:30, 19 January 2013 (UTC)
- I suppose, but for the early cameras, when f-number was being defined, with fairly simple lenses and the aperture very close to the lens, it would have been close enough. With modern retrofocus lenses, it is much less obvious, so entrance pupil is better. But unless someone actually takes the lens apart, they won't know the actual size of the aperture! Gah4 (talk) 20:38, 7 February 2013 (UTC)
- But there are common real-world examples where the the distinction really matters and the difference is easy to see. Take most any video zoom lens, or any other zoom lens with an f-number that is constant across the zoom range. The physical aperture is unchanged as you zoom, but the entrance pupil gets larger as you zoom in. It's quite obvious if you look into the front of the lens as you increase the focal length: the image of the aperture becomes increasingly magnified. Balazer (talk) 04:59, 10 March 2013 (UTC)
- Seems to me, though, that aperture is the WP:COMMONNAME used by photographers, even though it is technically wrong. As you note the physical aperture can change, such as in zoom lenses, but photographers never say "physical aperture", just "aperture". It seems that "effective aperture" is used for antennas, and from Webster, also used in place of entrance pupil in photography. Gah4 (talk) 16:04, 13 September 2018 (UTC)
- I would suggest using the term 'objective lens,' or just 'objective' rather than the term 'entrance pupil,' as pupils generally have a (biologic and common) definition that includes adjusting in size to adapt the eye to the amount of light entering. 'Objective lens,' or 'Objective' are both used for microscopes and telescopes, which relates nicely to camera lenses. DocKrin (talk) 18:07, 11 August 2019 (UTC)
- Sorry, but you don't seem to understand what is being discussed here. The entrance pupil of an optical system is the image of the system's aperture stop, formed by whatever optics are in front of the stop. The system's f-number is the ratio of its focal length to the diameter of the entrance pupil. When you look into someone's eye, the image of their pupil that you see is in fact the entrance pupil of the eye; the terminology is not a coincidence.--Srleffler (talk) 22:43, 11 August 2019 (UTC)
Higher or Lower?
While as written it seems technically correct, it seems to me that actual photographers do it differently.
Well, maybe I have never heard a photographer say "increase the f-stop" but always "increase the aperture." Now, since as written it is actually a fraction with the numerical part in the denominator, is it wrong to say that, for example, f/8 is larger than f/11? (Is the f/number 8 or 1/8?)
Continuing, photographers usually talk about shutter speed, rarely shutter time, and it is more usual to label the shutter dial with the reciprocal of the time in seconds. That is, 125(/second) and not 1/125(seconds). (In EE terms, the inverse of period is frequency, but that doesn't seem quite right here.) (When the time is longer than 1s, it might be that calling it a time instead of speed is not unusual, but even then speed might be used.)
Similarly, resolution should be an inverse length (spatial frequency) not a distance (dot pitch), such that "high resolution" has the right meaning. Gah4 (talk) 09:12, 4 March 2013 (UTC)
- I'm not quite sure if you are asking a question, but f/8 is definitely a larger aperture than f/11; going from f/11 to f/8 would be increasing the aperture. One could say it is also "reducing the f/#", but that's not common and is asking for ambiguity. —Ben FrantzDale (talk) 21:31, 4 March 2013 (UTC)
As I remember it, the aperture terminology was "open up"(f/11 to f/8), "stop down"(f/8 to f/11), "widen the aperture"(f/11 to f/8), "narrow the aperture"(f/8 to f/11) ... but "increase the aperture"(what are you talking about? stop trying to confuse us.)?
Depending on if you think of the aperture as being the hole which allows the light to pass, or the circular structure that restricts variable amounts of light, it could go either way. While the technical definition may go one way or the other, the phrase "increase the aperture" is ambiguous and non-specific as to the many-varied cogency and oft-reversible thinking of the absent-minded photographer. It could mean increase the light being stopped, or increase the light allowed through. I suggest using a different phrase. JimsMaher (talk) 14:35, 7 March 2013 (UTC)
- No, it is not ambiguous, and not uncommon to say "increase the aperture" (meaning to open up); see books. The aperture is the hole; increasing it can only mean making it bigger. Dicklyon (talk) 15:49, 7 March 2013 (UTC)
- OK, books. But that's not my experience. In verbal communication, there's a different set of vocabulary used. When efficiency of communication is a priority, then any terminology that is known to be easily misunderstood is actively avoided in diverse climates. It is ambiguous for photographic purposes, varying the aperture serves multiple purposes (EV, DOF, compensating for vignetting or CA, etc.) not all of which lead to the same understanding. And I didn't say it was uncommon, I just suggested using a more universally understandable phrasing. But to be clear, that phrase is foreign to my ear. JimsMaher (talk) 19:42, 7 March 2013 (UTC)
- It's only confusing if you conflate aperture and f-number. An aperture is an opening. An f-number is a ratio. Increasing the aperture must be taken to mean increasing the size of the aperture. Yes, it has the opposite effect of increasing the f-number. Saying increase the aperture is common in my experience, and is always understood to mean choosing a lens or aperture setting with a smaller f-number. Balazer (talk) 05:16, 10 March 2013 (UTC)
- F-number confusion is another matter (referring to the misunderstanding of the fractional representation of f-numbers). I'm referring to the general 'conflation' of two properties, whereby the increasing of one property is positively related to some other property. Compared to the negative correlation of properties. Negative relations are less intuitive, that's all I was addressing. Unless you're suggesting that the phrase "increase the aperture" is the preferred way to tell someone to increase the f-number, i.e. widen the aperture ... but I don't think anyone here is saying that.
- I suggest there is potential confusion with either phrase, "increase the F-stop" or "increase the aperture". Which is unfortunate. JimsMaher (talk) 19:02, 11 March 2013 (UTC)
- It's only confusing if you conflate aperture and f-number. An aperture is an opening. An f-number is a ratio. Increasing the aperture must be taken to mean increasing the size of the aperture. Yes, it has the opposite effect of increasing the f-number. Saying increase the aperture is common in my experience, and is always understood to mean choosing a lens or aperture setting with a smaller f-number. Balazer (talk) 05:16, 10 March 2013 (UTC)
- OK, books. But that's not my experience. In verbal communication, there's a different set of vocabulary used. When efficiency of communication is a priority, then any terminology that is known to be easily misunderstood is actively avoided in diverse climates. It is ambiguous for photographic purposes, varying the aperture serves multiple purposes (EV, DOF, compensating for vignetting or CA, etc.) not all of which lead to the same understanding. And I didn't say it was uncommon, I just suggested using a more universally understandable phrasing. But to be clear, that phrase is foreign to my ear. JimsMaher (talk) 19:42, 7 March 2013 (UTC)
When teaching this material (which I do for college multimedia production classes), aperture (or the effective term "entrance pupil" used here) and f-stop numbers need to be consistently spoken of in the same breath to avoid the confusion we're talking about. We put our hands in a circle, then make it larger or smaller, saying, "Here's f/2... and here's f/11..." constantly reiterating that the larger aperture has a smaller f-stop number because the f-stop is a ratio. It is my feeling that the same approach should be used in this article as well - and for the most part that is the case. I agree that "increase the aperture" clearly means making the hole larger. During instruction it is common to use redundancy in a single reference - referring to the aperture being larger or smaller, more opened or closed, increased or decreased - to give students a sense that there are multiple ways to say the same thing. BigslyE5 (talk) 14:55, 26 July 2014 (UTC)
- Since I started this one, I will add one more comment. It seems to me that photography does it one way and optics the other way. I am not so sure that there is a good reason for that, but it occurred to me while reading an optics book. Gah4 (talk) 18:57, 17 July 2015 (UTC)
- So, I have to say, no, it's not written technically correct. The f number is the whole "f/2", not just the "2". f/2 is larger than f/8 (plug in 50 for the focal length's f to each: for f/2, you'll get 50/2 which 25 fully reduced, and for f/8 you'll get 50/8 which is 12.5. 25>12.5). It's important to maintain this connection because 25mm is the actual size of the aperture when a 50mm lens is set to f/2. By calling f/8 "bigger" than f/2, you're divorcing the concepts from each other, while also introducing a weird inversion that is a source of confusion for many people which muddles communication and carries on to understanding the relationship between focal length, aperture (as in the apparent size of the opening), and the amount of light that passes through. This is an important enough concept that not only should the article be corrected, but there should also be a section included directly addressing this common mistake.107.77.235.71 (talk) 22:15, 8 April 2019 (UTC)
- That is the way I thought of it, and why I started this section. Optics uses N.A. (numerical aperture) instead of f/number, but most often photographers says aperture, and not eff-number. Most of the article considers the number below the f, and not the fraction. A similar problem comes up with shutter speeds, where often enough, one indicates the number in the denominator. (In both cases, that is what is printed on the lens and camera.) Continuing, faster shutter speeds have larger denominators, or smaller values. A speed should be a value with time in the denominator! Anyway, as written the article seems to use the number below the f, not the fraction. I don't know if there is enough of a consensus to change it. Gah4 (talk) 00:38, 9 April 2019 (UTC)
- Which books are these? Not that I disagree, as I mostly don't read books where the question would come up. Photographers that I know say set the aperture to eff two. Maybe followed by decrease the aperture to eff four. I sounds strange to say set the eff number to 11, and I pretty much don't know anyone to use the phrase eff number. Maybe what eff-stop did you use, but not what did you set the eff number to? That is more for what photographers say, and less what they might write in books. Phrases like full aperture, minimum aperture and maximum aperture are common. (I read books on darkroom work more than camera work, but enlargers also have an aperture ring.) Gah4 (talk) 04:13, 9 April 2019 (UTC)
- Just scanning through these book hits and and these. Dicklyon (talk) 18:50, 9 April 2019 (UTC)
- The term "f-stop" is actually more commonly used, but has a hard time finding an agreed definition. Here, for example, the f-stop is the reciprocal of the f-number. More commonly the "f-stop value" or "f-stop measurement" or "f-stop setting" or "f-stop number" is defined like what's commonly called "f-number". Of these, "f-stop number" is most common, but not nearly as common as "f-number". Dicklyon (talk) 19:18, 9 April 2019 (UTC)
- Which books are these? Not that I disagree, as I mostly don't read books where the question would come up. Photographers that I know say set the aperture to eff two. Maybe followed by decrease the aperture to eff four. I sounds strange to say set the eff number to 11, and I pretty much don't know anyone to use the phrase eff number. Maybe what eff-stop did you use, but not what did you set the eff number to? That is more for what photographers say, and less what they might write in books. Phrases like full aperture, minimum aperture and maximum aperture are common. (I read books on darkroom work more than camera work, but enlargers also have an aperture ring.) Gah4 (talk) 04:13, 9 April 2019 (UTC)
- The one you call Here seems to agree with me. It mentions aperture 96 times, f-stop not quite as many, but (unless I missed it) f-number only once. Seems to me from that, the the WP:COMMONNAME should be aperture or f-stop. I didn't look at the other ones yet. Gah4 (talk) 20:42, 9 April 2019 (UTC)
- Also, the article starts with The f-number of an optical system (such as a camera lens, though every where else in optics, except for camera lenses, numerical aperture is used. That page does explain that camera lenses are described differently. Gah4 (talk) 21:36, 9 April 2019 (UTC)
- Oops, I misinterpreted; that's your impression, not a quote. An opposite impression might come from this optics book, in which f-number is primary and not camera-specific. Dicklyon (talk) 22:36, 9 April 2019 (UTC)
- Sometime after I started this section, I found my actual optics book, which is an earlier edition of this book. But also, numerical aperture and has a section Numerical_aperture#Numerical_aperture_versus_f-number explaining how photography is different. I have worked in optics labs, though don't remember at the time thinking about it one way or the other. I suppose some optics books would be written by photographers, and so describe some things that way. By optics, I mean optical bench laboratory research, and the books that go along with them. There are a lot more photographers than optics researchers, though. Gah4 (talk) 22:56, 9 April 2019 (UTC)
- G, I sense that we have a lot of common interests. Shoot me an email if you'd like to discuss offline, or if you'd like to come visit and look through my collection of photography and optics books and such (if you're in the Silicon Valley area at some point). For starters, here's a little historical survey I did: "Depth of Field Outside the Box", which will give you an idea on some of the relevant sources. Dicklyon (talk) 16:54, 10 April 2019 (UTC)
- Thanks for the link to the paper. Reminds me that when I was young (10), I had a Kodak Autographic Junior 1A from my grandfather, which uses 116 film. I did get a roll for it (easier to find then) and after not so long, realized that it had US (I didn't know the name at the time) aperture numbering. My father and I then tried to guess how they correspond to f/stops, but I think we were wrong. (But that was VP, with good exposure latitude.) Not long after that, I inherited much more of my grandfather's photographic equipment, including light meters. I still have the 1A, and have used it not so long ago. I wonder now if US didn't take hold, as the numbers get too big (or too small). Note also that some older Kodak cameras just number them 1, 2, 3, 4. (That is, no system at all.) Gah4 (talk) 00:42, 13 April 2019 (UTC)
- OK, we're more aligned than I realized. The one at File:No1-A Autographic Kodak Jr.jpg is the one my granddad bought in 1922 to take pictures of my dad when he was born. Size 116 film was still easy to find in the 1960s, so that's the camera I learned on. But the US stops were a puzzle. I finally found, in the local public library, an old Boy Scouts Photography Merit Badge booklet that had the conversion. So I made a table on the typewriter and taped it on the camera. When I was messing with it in my sister's Kodak collection a few years ago, I took the picture. I recently bought a pack of long-expired size 116 Kodacolor if you'd like to give it a try. I think I still have a developing tank to fit. Anyway, I think US stops failed because their definition was too arbitrary; a simple ratio just made more sense and was easy to remember. Dicklyon (talk) 03:30, 13 April 2019 (UTC)
- Thanks for the link to the paper. Reminds me that when I was young (10), I had a Kodak Autographic Junior 1A from my grandfather, which uses 116 film. I did get a roll for it (easier to find then) and after not so long, realized that it had US (I didn't know the name at the time) aperture numbering. My father and I then tried to guess how they correspond to f/stops, but I think we were wrong. (But that was VP, with good exposure latitude.) Not long after that, I inherited much more of my grandfather's photographic equipment, including light meters. I still have the 1A, and have used it not so long ago. I wonder now if US didn't take hold, as the numbers get too big (or too small). Note also that some older Kodak cameras just number them 1, 2, 3, 4. (That is, no system at all.) Gah4 (talk) 00:42, 13 April 2019 (UTC)
Early mentioning of EV
I would like to have more detail on the importance in the introduction? How about replacement of "It is a dimensionless number that is a quantitative measure of lens speed, and an important concept in photography" by "The f-number is a quantitative measure of lens speed, and contributes to the Exposure value", which is a very practical photographic property.
Glockenklang1 (talk) 10:06, 14 July 2013 (UTC)
- I believe the details of the relationship between f-number, exposure time, and exposure value are better left in the Exposure Value article, and not in the f-number article. Exposure value is a concept quite specific to photography, and not about lenses in general. Exposure value doesn't apply to binoculars, microscopes, telescopes, projectors, and other optical systems where there is no shutter or camera. In the f-number article we already explain the concept of lens brightness, and relate it to image brightness and exposure. I believe that's sufficient. Balazer (talk) 00:41, 15 July 2013 (UTC)
- May be I am just stumbling about the wording 'important concept', which is rather a 'starter' but is lacking the impact within the intro - However, there is already enough content lateron. Glockenklang1 (talk) 18:30, 15 July 2013 (UTC)
- Should we just remove the "important concept" bit? I always thought it was awkward wording. I usually think the part before the article contents should be a straightforward definition without any editorializing, though I'm not sure what Wikipedia style guides say about the matter. Balazer (talk) 18:44, 15 July 2013 (UTC)
- The introduction is quite short for the length of the article, I would like to see one or two sentences about why we have this definition [for the beginning photographer]. The article is hard to digest. Glockenklang1 (talk) 19:49, 15 July 2013 (UTC)
- May be I am just stumbling about the wording 'important concept', which is rather a 'starter' but is lacking the impact within the intro - However, there is already enough content lateron. Glockenklang1 (talk) 18:30, 15 July 2013 (UTC)
- As I know it, EV is a combination of aperture and shutter speed. It allows for one number to indicate any of the combinations that allow for equivalent exposure. However, changes to either aperture or shutter speed give the equivalent change in EV.
Two references (google books) after searching for effective aperture and relative aperture (f/ number)
Nanette L. Salvaggio Basic Photographic Materials and Processes
Sidney F. Ray Applied Photographic Optics: Lenses and Optical Systems for Photography
Nanette Salvaggio makes the mistake of saying "effective aperture" instead of "relative aperture" - a common mistake as Sidney F. Ray points out.
F-stops rounding error?
This is more of a question that comes out of ignorance. When I calculate the half f-stops series using the formula published in the article the resulting series rounded would yield 3.4 instead of 3.3, 5.7 instead of 5.6, 23 instead of 22 etc. I tried to find on google why the rounding seems to follow a rather arbitrary sometimes up sometimes down rule, but I was unable to shed light on this. My obsessive nature would like to know why. — Preceding unsigned comment added by 50.138.183.186 (talk) 17:33, 9 April 2014 (UTC)
- I now see in the article that... "For all practical purposes extreme accuracy is not required (mechanical shutter speeds were notoriously inaccurate as wear and lubrication varied, with no effect on exposure)." - OK, that seems to explain it more or less.
- Seems to me that they are powers of two, and powers of two times 1.4 and rounded. More decimal digits is more than has any use, for the reasons noted above. This was all done in the time of slide rules, or, with some luck, mechanical calculators. Once people get used to the values, why change them? I have known lenses with 32 and 45 on them. Gah4 (talk) 09:45, 4 May 2014 (UTC)

Sorry to come back to such an old topic.
The table below Standard full-stop f-number scale is not realistic. AFAIK, the fastest lens was the Carl Zeiss Planar 50mm f/0.7. Hence, we should drop ƒ 0.5. Although I have seen lenses with ƒ 90, they are practically useless due to extreme diffraction (images are very soft). Don't know whether a lens with ƒ 128 exists at all. ƒ 256 is already a pinhole. Given. But: What puzzles me (like IP 50.138.183.186) is the rounding issue. I understand that there is limited space on a lens to print numbers with more than two significant digits. But why 5.6 instead of 5.7, 22 instead of 23, and 90 instead of 91? I failed to find any reference. Any ideas?
Alfie↑↓© 00:23, 1 December 2022 (UTC)
- First, it is not unusual that the largest aperture (smallest number) is not on of the standard values, and is marked on the lens.
- Otherwise, I suspect that the tolerance on building lenses means that two digits is plenty. If you use 1.4 as an approximate (two digit) value for sqrt(2), you get the usual values, including 45. Once people started using some set of numbers, there would be tendency to keep using them. I believe the lens with 45 is designed for use with an extension tube, and two stop loss, and is numbered accordingly.
- Note also that the values only represent the amount of light when focused to infinity. For ordinary distances, it will still be close enough to one sigfig. At extreme close-up distances, even that isn't close. Gah4 (talk) 09:14, 1 December 2022 (UTC)
- I certainly agree with most of your points. Can you please outline how one would arrive at 5.6, 22, 45, and 90? I don’t want to dive into WP:OR. Rather I'm interested how/why/when these numbers entered the scene. Alfie↑↓© 15:46, 2 December 2022 (UTC)
- Fortunately, WP:OR is allowed in talk pages. 4*1.4, 8*1.4, 16*1.4, 32*1.4, rounded to two digits. If you use 1.41, they don't round to those values. Note that WP:CALC allows for calculations. We don't know when these values appeared, or who did it. There were other numbering systems around in the early years, including the U.S. (not United States) system. I have some cameras that use it. In U.S., values increase as the area decreases. Gah4 (talk) 01:28, 3 December 2022 (UTC)
- I certainly agree with most of your points. Can you please outline how one would arrive at 5.6, 22, 45, and 90? I don’t want to dive into WP:OR. Rather I'm interested how/why/when these numbers entered the scene. Alfie↑↓© 15:46, 2 December 2022 (UTC)
Effects on image sharpness
In the "Effects on image sharpness" section, the article makes two contradictory points:
- Depth of field can be described as depending on just angle of view, subject distance, and entrance pupil diameter (as in von Rohr's method).
- Therefore, reduced–depth-of-field effects will require smaller f-numbers (and thus larger apertures and so potentially more complex optics) when using small-format cameras than when using larger-format cameras.
These two points are contradictory because
- point 1 claims that as long as the three variables (angle of view, subject distance, and entrance pupil diameter) remain the same, the depth of field remains the same,
- but the parenthetical clause of point 2 claims that larger apertures are needed for small-format cameras to maintain the depth of field.
Assuming that we are using the large-format and the small-format cameras to take the same picture (i.e., same angle of view and subject distance), according to the first point, the entrance pupil diameter (i.e., effective aperture) required to maintain a particular depth of field would remain unchanged. Sure, the small-format camera lens would have a smaller f-number (to match the correspondingly smaller focal length needed to maintain the angle of view), but the aperture size (entrance pupil diameter) would be the same. To clarify, the small-format camera would NOT require a larger aperture than the large-format camera.
I suppose that the second point can also be interpreted in an alternate way: instead of holding the angle-of-view constant (to get the same photo), we can instead hold the focal length constant between the the large- and small-format cameras. However, this comparison between cameras would be unusual since the two cameras wouldn't be taking the same picture: the photo on the small-format camera would appear more zoomed in. Still, even if this alternate interpretation is intended, point 2 does not appear to be true: when the focal lengths and aperture sizes are identical between the large- and small-format cameras, we are more-or-less using the same lens for both cameras, so for the same subject distance, the circles-of-confusion would be identical in size.
If anything, assuming that both the large- and small-format cameras have the same number of pixels, the pixels on the small-format camera would be more closely spaced; as a result, the circle-of-confusion would cover more pixels in the small-format camera, making the blur more obvious there.
Can someone help me double-check this? In any case, the second point (that small-format cameras would require larger apertures to maintain the same depth-of-field) is not obvious; if it stays unchanged, I think it should be supported by a citation.
Best regards, -Jimmy C. Chau 128.197.53.42 (talk) 22:56, 16 July 2015 (UTC)
- It might be the uncertainty in the meaning of depth-of-field. When I first learned about DOF, it was explained in terms of the abilities of the lens. That is, a better (less aberration) lens will have a smaller circle of confusion, and so smaller depth of field. Eventually, you are diffraction limited. Given all the uncertainties, I believe you can make arguments either way. It is likely not possible to make two lenses of equal 'quality' for the same angle of coverage and different image size. There are too many variables. This is especially interesting considering the lenses available for APS-C format DSLRs, and full frame 35mm lenses, used on the same camera. As noted, there is the additional complication of increased magnification viewing the smaller format image. As well as I know it, DOF is independent of that, depending only on the circle of confusion at the image plane. But others might disagree. Gah4 (talk) 19:07, 17 July 2015 (UTC)
- I agree with you (Gah4) on some points, but I have to disagree with your explanation of depth of field. Before proceeding, to avoid misunderstanding, I must clarify the terminology that I use. I will use
- "circle of confusion" to mean "an optical spot caused by a cone of light rays from a lens not coming to a perfect focus when imaging a point source" (copied from the Wikipedia article), and
- "maximum permissible circle of confusion" to refer to the largest acceptable circle of confusion. As the Circle of confusion article states, this is commonly set to the "largest blur spot that is indistinguishable from a point". Thus, the maximum permissible circle of confusion may depend on the pixel pitch (i.e., the distance between the center of the pixels).
- Although "maximum permissible circle of confusion" is often shortened to just "circle of confusion", the distinction between the two is important in this case to avoid accidentally swapping the two values.
- I agree with you (Gah4) on some points, but I have to disagree with your explanation of depth of field. Before proceeding, to avoid misunderstanding, I must clarify the terminology that I use. I will use
- All else being equal, as you state, reducing aberrations will yield a smaller "circle of confusion", but unless this somehow affects the requirements for the imaging system, should not affect the "maximum permissible circle of confusion".
- You seem to argue that this smaller "circle of confusion" would lead to a smaller depth of field. However, a smaller depth of field means that less of the scene is in focus (corresponding to a /larger/ circle of confusion (i.e., more blurring) for those parts that are too far or too close to be in focus). Perhaps you mean that a smaller "maximum permissible circle of confusion" would yield a smaller depth of field.
- Although aberrations certainly affect how well a lens can focus on a scene, from my understanding, depth-of-field calculations often ignore aberrations for simplicity. This seems to be the case with the von Rohr method mentioned in the f-number article, which (as stated in the article) only accounts for angle of view, subject distance, and entrance pupil diameter; these parameters alone are insufficient to specify the lens's aberrations. Even if we ignore aberrations though, the depth-of-field would still be limited if the aperture was larger than a point. Jcchau (talk) 06:54, 20 July 2015 (UTC)
- In the case of interchangeable lenses, the lens doesn't know the pixel pitch of the camera it might be attached to, but I learned about depth of field in the film camera days. Film also has a resolution limit, but it is more gradual than digital. If you allow for a Gaussian due to lens effects, and an additional Gaussian due to focus error, the widths add as RMS, so I would set the permissible circle of confusion to sqrt(2) times the lens (diffraction and aberration) circle of confusion. In the case of non-interchangeable lens, you can include the sensor resolution. But non-interchangeable lenses often don't have DOF scales. Gah4 (talk) 17:45, 24 July 2015 (UTC)
I have removed this incorrect parenthetical clause from the article. Jcchau (talk) 02:58, 24 July 2015 (UTC)

