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In optics, the aperture of an optical system (including a system consisting of a single lens) is the hole or opening that primarily limits light propagated through the system. The aperture defines a bundle of rays from each point on an object that will come to a focus in the image plane.
An optical system typically has many structures that limit ray bundles (ray bundles are also known as pencils of light). These structures may be the edge of a lens or mirror, or a ring or other fixture that holds an optical element in place or may be a special element such as a diaphragm placed in the optical path to limit the light admitted by the system. These structures are called stops, and the aperture stop is the stop that primarily determines the cone of rays that an optical system accepts (see entrance pupil). As a result, it also determines the ray cone angle and brightness at the image point (see exit pupil). Optical systems are typically designed for a particular stop to be the aperture stop, but it is possible for different stops to serve as the aperture stop for objects at different distances. Some rays from object points away from the optical axis may clip on surfaces other than the aperture stop. This is called vignetting. The aperture stop is not necessarily the smallest stop in the system. Magnification and demagnification by lenses and other elements can cause a relatively large stop to be the aperture stop for the system.
In some contexts, especially in photography and astronomy, aperture refers to the opening diameter of the aperture stop through which light can pass. For example, in a telescope, the aperture stop is typically the edges of the objective lens or mirror (or of the mount that holds it). One then speaks of a telescope as having, for example, a aperture. In astrophotography, the aperture may be given as a linear measure (for example, in inches or millimetres) or as the dimensionless ratio between that measure and the focal length. In other photography, it is usually given as a ratio.
A usual expectation is that the term aperture refers to the opening of the aperture stop, but in reality, the term aperture and the aperture stop are mixed in use. Sometimes even stops that are not the aperture stop of an optical system are also called apertures. Contexts need to clarify these terms.
The word aperture is also used in other contexts to indicate a system which blocks off light outside a certain region. In astronomy, for example, a photometric aperture around a star usually corresponds to a circular window around the image of a star within which the light intensity is assumed.Nicholas Eaton, Peter W. Draper & Alasdair Allan, Techniques of aperture photometry in PHOTOM – A Photometry Package, 20 August 2002
In addition to an aperture stop, a photographic lens may have one or more field stops, which limit the system's field of view. When the field of view is limited by a field stop in the lens (rather than at the film or sensor) vignetting results; this is only a problem if the resulting field of view is less than was desired.
In astronomy, the opening diameter of the aperture stop (called the aperture) is a critical parameter in the design of a telescope. Generally, one would want the aperture to be as large as possible, to collect the maximum amount of light from the distant objects being imaged. The size of the aperture is limited, however, in practice by considerations of its manufacturing cost and time and its weight, as well as prevention of aberrations (as mentioned above).
Apertures are also used in laser energy control, close aperture z-scan technique, diffractions/patterns, and beam cleaning. Laser applications include , Q-switching, high intensity x-ray control.
In light microscopy, the word aperture may be used with reference to either the condenser (that changes the angle of light onto the specimen field), field iris (that changes the area of illumination on specimens) or possibly objective lens (forms primary images). See Optical microscope.
A device called a diaphragm usually serves as the aperture stop and controls the aperture (the opening of the aperture stop). The diaphragm functions much like the iris of the Human eye – it controls the effective diameter of the lens opening (called pupil in the eyes). Reducing the aperture size (increasing the f-number) provides less light to sensor and also increases the depth of field (by limiting the angle of cone of image light reaching the sensor), which describes the extent to which subject matter lying closer than or farther from the actual plane of focus appears to be in focus. In general, the smaller the aperture (the larger the f-number), the greater the distance from the plane of focus the subject matter may be while still appearing in focus.
The lens aperture is usually specified as an f-number, the ratio of focal length to effective aperture diameter (the diameter of the entrance pupil). A lens typically has a set of marked "f-stops" that the f-number can be set to. A lower f-number denotes a greater aperture which allows more light to reach the film or image sensor. The photography term "one f-stop" refers to a factor of (approx. 1.41) change in f-number which corresponds to a change in aperture diameter, which in turn corresponds to a factor of 2 change in light intensity (by a factor 2 change in the aperture area).
Aperture priority is a semi-automatic shooting mode used in cameras. It permits the photographer to select an aperture setting and let the camera decide the shutter speed and sometimes also ISO sensitivity for the correct exposure. This is also referred to as Aperture Priority Auto Exposure, A mode, AV mode (aperture-value mode), or semi-auto mode. (original link no longer works, but page was saved by archive.org)
Typical ranges of apertures used in photography are about – or – , covering six stops, which may be divided into wide, middle, and narrow of two stops each, roughly (using round numbers) – , – , and – or (for a slower lens) – , – , and – . These are not sharp divisions, and ranges for specific lenses vary.
Lenses with apertures opening or wider are referred to as "fast" lenses, although the specific point has changed over time (for example, in the early 20th century aperture openings wider than were considered fast. The fastest lenses for the common 35 mm film format in general production have apertures of or , with more at and , and many at or slower; is unusual, though sees some use. When comparing "fast" lenses, the Film format used must be considered. Lenses designed for a small format such as half frame or APS-C need to project a much smaller image circle than a lens used for large format photography. Thus the optical elements built into the lens can be far smaller and cheaper.
In exceptional circumstances lenses can have even wider apertures with f-numbers smaller than 1.0; see for a detailed list. For instance, both the current Leica Noctilux-M 50mm ASPH and a 1960s-era Canon 50mm rangefinder lens have a maximum aperture of . Cheaper alternatives began appearing in the early 2010s, such as the Cosina Voigtländer Nokton (several in the range) and () Super Nokton manual focus lenses in the Micro Four-Thirds System, and the Venus Optics (Laowa) Argus .
Professional lenses for some movie cameras have f-numbers as small as . Stanley Kubrick's film Barry Lyndon has scenes shot by candlelight with a NASA/Zeiss 50mm f/0.7, the fastest lens in film history. Beyond the expense, these lenses have limited application due to the correspondingly shallower depth of field (DOF) – the scene must either be shallow, shot from a distance, or will be significantly defocused, though this may be the desired effect.
Zoom lenses typically have a maximum relative aperture (minimum f-number) of to through their range. High-end lenses will have a constant aperture, such as or , which means that the relative aperture will stay the same throughout the zoom range. A more typical consumer zoom will have a variable maximum relative aperture since it is harder and more expensive to keep the maximum relative aperture proportional to the focal length at long focal lengths; to is an example of a common variable aperture range in a consumer zoom lens.
By contrast, the minimum aperture does not depend on the focal length – it is limited by how narrowly the aperture closes, not the lens design – and is instead generally chosen based on practicality: very small apertures have lower sharpness due to diffraction at aperture edges, while the added depth of field is not generally useful, and thus there is generally little benefit in using such apertures. Accordingly, DSLR lens typically have minimum aperture of , , or , while large format may go down to , as reflected in the name of Group f/64. Depth of field is a significant concern in macro photography, however, and there one sees smaller apertures. For example, the Canon MP-E 65mm can have effective aperture (due to magnification) as small as . The Pinhole camera optic for Lensbaby creative lenses has an aperture of just .
Where the two equivalent forms are related via the f-number N = f / D, with focal length f and entrance pupil diameter D.
The focal length value is not required when comparing two lenses of the same focal length; a value of 1 can be used instead, and the other factors can be dropped as well, leaving area proportion to the reciprocal square of the f-number N.
If two cameras of different format sizes and focal lengths have the same angle of view, and the same aperture area, they gather the same amount of light from the scene. In that case, the relative focal-plane illuminance, however, would depend only on the f-number N, so it is less in the camera with the larger format, longer focal length, and higher f-number. This assumes both lenses have identical transmissivity.
For some lenses, including a few long Telephoto lens, lenses mounted on bellows, and perspective-control and tilt/shift lenses, the mechanical linkage was impractical, and automatic aperture control was not provided. Many such lenses incorporated a feature known as a "preset" aperture,B. "Moose" Peterson. Nikon System Handbook. New York: Images Press, 1997, pp. 42–43. which allows the lens to be set to working aperture and then quickly switched between working aperture and full aperture without looking at the aperture control. A typical operation might be to establish rough composition, set the working aperture for metering, return to full aperture for a final check of focus and composition, and focusing, and finally, return to working aperture just before exposure. Although slightly easier than stopped-down metering, operation is less convenient than automatic operation. Preset aperture controls have taken several forms; the most common has been the use of essentially two lens aperture rings, with one ring setting the aperture and the other serving as a limit stop when switching to working aperture. Examples of lenses with this type of preset aperture control are the Nikon PC Nikkor 28 mm and the SMC Pentax Shift 6×7 75 mm . The Nikon PC Micro-Nikkor 85 mm lens incorporates a mechanical pushbutton that sets working aperture when pressed and restores full aperture when pressed a second time.
Canon EF lenses, introduced in 1987, Canon Camera Museum. Accessed 12 December 2008. have electromagnetic diaphragms, EF Lens Work III: The Eyes of EOS. Tokyo: Canon Inc., 2003, pp. 190–191. eliminating the need for a mechanical linkage between the camera and the lens, and allowing automatic aperture control with the Canon TS-E tilt/shift lenses. Nikon PC-E perspective-control lenses, Nikon USA web site . Accessed 12 December 2008. introduced in 2008, also have electromagnetic diaphragms, Nikon PC-E product comparison brochure . Accessed 12 December 2008. a feature extended to their E-type range in 2013.
Optically, as a lens is stopped down, the defocus blur at the Depth of Field (DOF) limits decreases but diffraction blur increases. The presence of these two opposing factors implies a point at which the combined blur spot is minimized (Gibson 1975, 64); at that point, the f-number is optimal for image sharpness, for this given depth of field – a wider aperture (lower f-number) causes more defocus, while a narrower aperture (higher f-number) causes more diffraction.
As a matter of performance, lenses often do not perform optimally when fully opened, and thus generally have better sharpness when stopped down some – this is sharpness in the plane of critical focus, setting aside issues of depth of field. Beyond a certain point, there is no further sharpness benefit to stopping down, and the diffraction occurred at the edges of the aperture begins to become significant for imaging quality. There is accordingly a sweet spot, generally in the – range, depending on lens, where sharpness is optimal, though some lenses are designed to perform optimally when wide open. How significant this varies between lenses, and opinions differ on how much practical impact this has.
While optimal aperture can be determined mechanically, how much sharpness is required depends on how the image will be used – if the final image is viewed under normal conditions (e.g., an 8″×10″ image viewed at 10″), it may suffice to determine the f-number using criteria for minimum required sharpness, and there may be no practical benefit from further reducing the size of the blur spot. But this may not be true if the final image is viewed under more demanding conditions, e.g., a very large final image viewed at normal distance, or a portion of an image enlarged to normal size (Hansma 1996). Hansma also suggests that the final-image size may not be known when a photograph is taken, and obtaining the maximum practicable sharpness allows the decision to make a large final image to be made at a later time; see also critical sharpness.
Some individuals are also able to directly exert manual and conscious control over their iris muscles and hence are able to voluntarily constrict and dilate their pupils on command. However, this ability is rare and potential use or advantages are unclear.
However, modern optical research concludes that sensor size does not actually play a part in the depth of field in an image. An aperture's f-number is not modified by the camera's sensor size because it is a ratio that only pertains to the attributes of the lens. Instead, the higher crop factor that comes as a result of a smaller sensor size means that, in order to get an equal framing of the subject, the photo must be taken from further away, which results in a less blurry background, changing the perceived depth of field. Similarly, a smaller sensor size with an equivalent aperture will result in a darker image because of the pixel density of smaller sensors with equivalent megapixels. Every photosite on a camera's sensor requires a certain amount of surface area that is not sensitive to light, a factor that results in differences in pixel pitch and changes in the signal-noise ratio. However, neither the changed depth of field, nor the perceived change in light sensitivity are a result of the aperture. Instead, equivalent aperture can be seen as a rule of thumb to judge how changes in sensor size might affect an image, even if qualities like pixel density and distance from the subject are the actual causes of changes in the image.
For example, film grain is quantified as graininess via a measurement of film density fluctuations as seen through a 0.048 mm sampling aperture.
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