Article about light loss on various sensors

I don't understand this notation. What does the period signify?
Common notation for "multiply", f/# is the reciprocal of twice the numerical aperture.
I've never seen a period (.) used for multiply before. A middle dot (·) yes. So 1/2·NA then? And shouldn't that be 1/(2·NA)? Otherwise, what you have would simply be NA/2.
--

 
Contrary to the LL article, there is a noticeable difference in exposure - the camera does not increase the ISO to compensate.
It seems that the camera only compensates (by increasing gain) for the loss caused by the sensor, not for the loss caused by the lens itself.
But the whole "loss caused by the sensor" bit is nuts. The article claims that the effect is due to the angle of incidence (which, by the way, is in itself bogus (hint 44 mm is a long way when the sensor diagonal is also 44mm)), and then shows the effect being larger for small sensors.

It's completely, 100% batguano crazy.

--
David J. Littleboy
Tokyo, Japan
 
Yes, it does seem weird because the smaller sensors would generally have a less acute angle of incidence. On the other hand, the smaller sensors tend to have smaller pixels, and that's where the article's claim lies (I believe). They're trying to say that the smaller pixels are not able to get the the rays at more acute angles of incidence.

This is why they really need to better control their experiment.

Kaz
 
I don't know which part of that post you were trying to draw my attention to but if it was the difference between metering at full aperture with and without the lens talking to the camera, which has been raised in this thread already, then it is a bit of a red herring. This is just the difference between full aperture and stop down metering and has been present in SLRs since full aperture metering came into existence.

When the lens is talking to the camera it identifies itself as f/1.2, measures the amount of light reaching the exposure meter and converts this through a look up table to get the exposure for the selected aperture. This table uses the approximation that exposure is proportional to the reciprocal of f/# squared and thus underexposes slightly at f/1.2 because it is really only f/1.3.

When the lens is not talking to the camera then it uses "stop-down metering - the amount of light reaching the exposure meter is what will be used for exposure and no conversion or look-up is required. The camera doesn't know it is an f/1.2 lens with an effective f/1.3 relative aperture and it exposes correctly.

Contrary to the LL article, there is a noticeable difference in exposure - the camera does not increase the ISO to compensate.

I just checked my 5D with 50/1.4 attached.
When properly connected, 1/200@f/1.4
When rotated off contacts, 1/160th@f/1.4 - about 1/3 of a stop difference.

Guess what? The first image is about 1/3 of a stop darker - underexposed. No hidden ISO correction - just a consequence of a rule of thumb approximation being applied to the laws of physics.
--
Its RKM
hmm that might be a good point although why then don't they get the same for all camera models? that correction should be fixed, no?
 
Contrary to the LL article, there is a noticeable difference in exposure - the camera does not increase the ISO to compensate.
It seems that the camera only compensates (by increasing gain) for the loss caused by the sensor, not for the loss caused by the lens itself.
But the whole "loss caused by the sensor" bit is nuts. The article claims that the effect is due to the angle of incidence (which, by the way, is in itself bogus (hint 44 mm is a long way when the sensor diagonal is also 44mm)), and then shows the effect being larger for small sensors.

It's completely, 100% batguano crazy.
The LL/DxO graphs show the light loss in the center of the image/sensor.
 
I don't know which part of that post you were trying to draw my attention to but if it was the difference between metering at full aperture with and without the lens talking to the camera, which has been raised in this thread already, then it is a bit of a red herring. This is just the difference between full aperture and stop down metering and has been present in SLRs since full aperture metering came into existence.

When the lens is talking to the camera it identifies itself as f/1.2, measures the amount of light reaching the exposure meter and converts this through a look up table to get the exposure for the selected aperture. This table uses the approximation that exposure is proportional to the reciprocal of f/# squared and thus underexposes slightly at f/1.2 because it is really only f/1.3.
Hmm, do you mean that camera manufacturers aren't aware of this approximation/mislabelling and they fool themselves into calculating the wrong exposure, based on their own mislabelling?

This is really disappointing...

--
http://www.flickr.com/photos/bogdanmoisuc/
 
Contrary to the LL article, there is a noticeable difference in exposure - the camera does not increase the ISO to compensate.
It seems that the camera only compensates (by increasing gain) for the loss caused by the sensor, not for the loss caused by the lens itself.
But the whole "loss caused by the sensor" bit is nuts. The article claims that the effect is due to the angle of incidence (which, by the way, is in itself bogus (hint 44 mm is a long way when the sensor diagonal is also 44mm)), and then shows the effect being larger for small sensors.

It's completely, 100% batguano crazy.
Not at all.
Read this :
http://www.imageval.com/public/Papers/EI%205678-01%20Peter%20Catrysse.pdf
the relevant part is in the chapter 3. Microlens design.
Look at this post if you need a very brief summary
http://forums.dpreview.com/forums/readflat.asp?forum=1018&message=36025858

Smaller sensors have deeper wells (relative to their surface), therefore obtaining fast enough microlenses is not always possible.
--
David J. Littleboy
Tokyo, Japan
--
http://www.flickr.com/photos/bogdanmoisuc/
 
I don't know which part of that post you were trying to draw my attention to but if it was the difference between metering at full aperture with and without the lens talking to the camera, which has been raised in this thread already, then it is a bit of a red herring. This is just the difference between full aperture and stop down metering and has been present in SLRs since full aperture metering came into existence.

When the lens is talking to the camera it identifies itself as f/1.2, measures the amount of light reaching the exposure meter and converts this through a look up table to get the exposure for the selected aperture. This table uses the approximation that exposure is proportional to the reciprocal of f/# squared and thus underexposes slightly at f/1.2 because it is really only f/1.3.

When the lens is not talking to the camera then it uses "stop-down metering - the amount of light reaching the exposure meter is what will be used for exposure and no conversion or look-up is required. The camera doesn't know it is an f/1.2 lens with an effective f/1.3 relative aperture and it exposes correctly.

Contrary to the LL article, there is a noticeable difference in exposure - the camera does not increase the ISO to compensate.

I just checked my 5D with 50/1.4 attached.
When properly connected, 1/200@f/1.4
When rotated off contacts, 1/160th@f/1.4 - about 1/3 of a stop difference.

Guess what? The first image is about 1/3 of a stop darker - underexposed. No hidden ISO correction - just a consequence of a rule of thumb approximation being applied to the laws of physics.
--
Its RKM
Lenses have a 'natural' light loss at wide apertures (like you explained above), that'll be the same on all cameras, but the LL/DxO graph shows that the (center) loss at f/1.2 is app. 0.42ev with 5D and 0.94ev with 7D. That shows that there is an additional light loss caused by the sensor/camera, and the cameras use different amounts of digital gain to compensate for that additional loss.
 
I don't know which part of that post you were trying to draw my attention to but if it was the difference between metering at full aperture with and without the lens talking to the camera, which has been raised in this thread already, then it is a bit of a red herring. This is just the difference between full aperture and stop down metering and has been present in SLRs since full aperture metering came into existence.

When the lens is talking to the camera it identifies itself as f/1.2, measures the amount of light reaching the exposure meter and converts this through a look up table to get the exposure for the selected aperture. This table uses the approximation that exposure is proportional to the reciprocal of f/# squared and thus underexposes slightly at f/1.2 because it is really only f/1.3.

When the lens is not talking to the camera then it uses "stop-down metering - the amount of light reaching the exposure meter is what will be used for exposure and no conversion or look-up is required. The camera doesn't know it is an f/1.2 lens with an effective f/1.3 relative aperture and it exposes correctly.

Contrary to the LL article, there is a noticeable difference in exposure - the camera does not increase the ISO to compensate.

I just checked my 5D with 50/1.4 attached.
When properly connected, 1/200@f/1.4
When rotated off contacts, 1/160th@f/1.4 - about 1/3 of a stop difference.

Guess what? The first image is about 1/3 of a stop darker - underexposed. No hidden ISO correction - just a consequence of a rule of thumb approximation being applied to the laws of physics.
--
Its RKM
Lenses have a 'natural' light loss at wide apertures (like you explained above), that'll be the same on all cameras, but the LL/DxO graph shows that the (center) loss at f/1.2 is app. 0.42ev with 5D and 0.94ev with 7D. That shows that there is an additional light loss caused by the sensor/camera, and the cameras use different amounts of digital gain to compensate for that additional loss.
Can you reference anywhere in the LL article what exactly is the 0 EV baseline? And after that please explain exactly how DXO measured the EV loss and concluded that it was due to angle dependence of the light impinging on the sensor and not something due to the design of the sensor itself like less efficency.

To indicate that the 1DsIII has a .55EV loss due to using a f1.2 lens is not established by the DXO data at all. Why does the 30D have .8EV loss compared to the .95EV loss of the 20D?
--
A bird in the viewfinder is worth...
 
Lenses have a 'natural' light loss at wide apertures (like you explained above), that'll be the same on all cameras, but the LL/DxO graph shows that the (center) loss at f/1.2 is app. 0.42ev with 5D and 0.94ev with 7D. That shows that there is an additional light loss caused by the sensor/camera, and the cameras use different amounts of digital gain to compensate for that additional loss.
Can you reference anywhere in the LL article what exactly is the 0 EV baseline? And after that please explain exactly how DXO measured the EV loss and concluded that it was due to angle dependence of the light impinging on the sensor and not something due to the design of the sensor itself like less efficency.
Good questions, but sorry, don't know what the 0 EV baseline is. Guess it's something like the EV at f/5.6, and if so, then it follows naturally that the (additional, see above) loss at wide apertures must be caused by the sensor/microlenses.
To indicate that the 1DsIII has a .55EV loss due to using a f1.2 lens is not established by the DXO data at all. Why does the 30D have .8EV loss compared to the .95EV loss of the 20D?
Again, I can only guess. Could be that the 30D has better (faster) microlenses than 20D.
 
Lenses have a 'natural' light loss at wide apertures (like you explained above), that'll be the same on all cameras, but the LL/DxO graph shows that the (center) loss at f/1.2 is app. 0.42ev with 5D and 0.94ev with 7D. That shows that there is an additional light loss caused by the sensor/camera, and the cameras use different amounts of digital gain to compensate for that additional loss.
Can you reference anywhere in the LL article what exactly is the 0 EV baseline? And after that please explain exactly how DXO measured the EV loss and concluded that it was due to angle dependence of the light impinging on the sensor and not something due to the design of the sensor itself like less efficency.
Good questions, but sorry, don't know what the 0 EV baseline is. Guess it's something like the EV at f/5.6, and if so, then it follows naturally that the (additional, see above) loss at wide apertures must be caused by the sensor/microlenses.
To indicate that the 1DsIII has a .55EV loss due to using a f1.2 lens is not established by the DXO data at all. Why does the 30D have .8EV loss compared to the .95EV loss of the 20D?
Again, I can only guess. Could be that the 30D has better (faster) microlenses than 20D.
This batguano craziness implies that exposure should change with focus. Does it?

--
David J. Littleboy
Tokyo, Japan
 
Lenses have a 'natural' light loss at wide apertures (like you explained above), that'll be the same on all cameras, but the LL/DxO graph shows that the (center) loss at f/1.2 is app. 0.42ev with 5D and 0.94ev with 7D. That shows that there is an additional light loss caused by the sensor/camera, and the cameras use different amounts of digital gain to compensate for that additional loss.
Can you reference anywhere in the LL article what exactly is the 0 EV baseline? And after that please explain exactly how DXO measured the EV loss and concluded that it was due to angle dependence of the light impinging on the sensor and not something due to the design of the sensor itself like less efficency.
Good questions, but sorry, don't know what the 0 EV baseline is. Guess it's something like the EV at f/5.6, and if so, then it follows naturally that the (additional, see above) loss at wide apertures must be caused by the sensor/microlenses.
To indicate that the 1DsIII has a .55EV loss due to using a f1.2 lens is not established by the DXO data at all. Why does the 30D have .8EV loss compared to the .95EV loss of the 20D?
Again, I can only guess. Could be that the 30D has better (faster) microlenses than 20D.
This batguano craziness implies that exposure should change with focus. Does it?
The craziness was confirmed by John Sheehy in the link below (see his next post too). And focus? Well, since focus affects the local contrast (sharpness) in the image, then I guess you could say that the local exposure changes too, but that has nothing to do with this.

http://forums.dpreview.com/forums/read.asp?forum=1018&message=36777132
 
I don't understand this notation. What does the period signify?
Common notation for "multiply", f/# is the reciprocal of twice the numerical aperture.
I've never seen a period (.) used for multiply before. A middle dot (·) yes. So 1/2·NA then? And shouldn't that be 1/(2·NA)? Otherwise, what you have would simply be NA/2.
What keyboard are you using that has a middle dot?

Also, you can't always be certain that non-standard characters will reproduce as originally intended (although in this case it is readable here). I was once accused of being 6 orders of magnitude out simply because the "µ" character I typed had been propagated to some recipients as a space. Others managed to read it OK and the whole discussion descended into chaos.

--
Its RKM
 
Also according to the LL article, you picked the worst contender to chack if a gain is applied. Do you have an APS-C camera? Run the same test.
I only have the 5D with me at the moment but, best or worst, I would expect the effect to show up.

I have what I think to be the latest version of the late GaborSch's Rawnalyse (v2.10.4.0) here, which is what he used to find the fake ISOs due to gaps and spikes in the RAW histograms. So I have just run off a few shots at ISO100 f/1.4, ISO200 f/2, ISO400 f/2.8 etc. and had a look at the RAW histograms using that software. I expected to see spikes and gaps at f/1.4 compared to the others but, although the histogram was different due to the lens vignette, I can't see any spikes or gaps that would generally give away digital gain.

Its dark here now so I might try to repeat this tomorrow.
OK, although it was a bit dull outside today I ran off a few exposures and had a look at them in Rawnalyse - sure enough, there are missing codes at fast apertures, indicative of digital gain being applied to the RAW files.

Delving into this a bit more, from the missing codes over the entire RAW range I could calculate, to 4 decimal places, the gain applied (total ADU/used ADU) for each aperture in 1/3rd stop steps. This seems to be considerably less than the values presented in the LL article - even for the 5D.

f/# : Gain
1.4 : 1.0426
1.6 : 1.0283
1.8 : 1.0199
2 : 1.0147
2.2 : 1.0098
2.5 : 1.0078
2.8 : 1.0049
3.2 : 1.0020
3.5 : 1.0010
4 : 1





By the way, the "bumps" seem to be real - I checked those twice.
--
Its RKM
 
Also according to the LL article, you picked the worst contender to chack if a gain is applied. Do you have an APS-C camera? Run the same test.
I only have the 5D with me at the moment but, best or worst, I would expect the effect to show up.

I have what I think to be the latest version of the late GaborSch's Rawnalyse (v2.10.4.0) here, which is what he used to find the fake ISOs due to gaps and spikes in the RAW histograms. So I have just run off a few shots at ISO100 f/1.4, ISO200 f/2, ISO400 f/2.8 etc. and had a look at the RAW histograms using that software. I expected to see spikes and gaps at f/1.4 compared to the others but, although the histogram was different due to the lens vignette, I can't see any spikes or gaps that would generally give away digital gain.

Its dark here now so I might try to repeat this tomorrow.
OK, although it was a bit dull outside today I ran off a few exposures and had a look at them in Rawnalyse - sure enough, there are missing codes at fast apertures, indicative of digital gain being applied to the RAW files.

Delving into this a bit more, from the missing codes over the entire RAW range I could calculate, to 4 decimal places, the gain applied (total ADU/used ADU) for each aperture in 1/3rd stop steps. This seems to be considerably less than the values presented in the LL article - even for the 5D.
Nice test. So we know have "independent" numbers for the 7D, 5D and 5D mk II :).

But why do you say this is less than the values presented by LL for the 5D. They only present the gain for 3 cameras (picked, of course, among those who behave pretty badly):the Canon 550D, the Sony A350 and the Nikon D200.

Or have you seen something that I've missed?

And could you please elaborate on this
http://forums.dpreview.com/forums/read.asp?forum=1032&message=36785148

I find it pretty hard to believe camera manufacturers would fall into their own trap like this...
f/# : Gain
1.4 : 1.0426
1.6 : 1.0283
1.8 : 1.0199
2 : 1.0147
2.2 : 1.0098
2.5 : 1.0078
2.8 : 1.0049
3.2 : 1.0020
3.5 : 1.0010
4 : 1





By the way, the "bumps" seem to be real - I checked those twice.
--
Its RKM
--
http://www.flickr.com/photos/bogdanmoisuc/
 
I don't understand this notation. What does the period signify?
Common notation for "multiply", f/# is the reciprocal of twice the numerical aperture.
I've never seen a period (.) used for multiply before. A middle dot (·) yes. So 1/2·NA then? And shouldn't that be 1/(2·NA)? Otherwise, what you have would simply be NA/2.
What keyboard are you using that has a middle dot?

Also, you can't always be certain that non-standard characters will reproduce as originally intended (although in this case it is readable here). I was once accused of being 6 orders of magnitude out simply because the "µ" character I typed had been propagated to some recipients as a space. Others managed to read it OK and the whole discussion descended into chaos.
True. I'm using a Windows machine, so I used charmap (although I happen to know it can be entered using ALT-250, since I program in a language that uses those high valued ASCII characters as delimiters). Using ASCII only, I prefer to use the " " character for multiplication, although no character at all also works (parentheses added if necessary).

--

 
Look at this post if you need a very brief summary
http://forums.dpreview.com/forums/readflat.asp?forum=1018&message=36025858

Smaller sensors have deeper wells (relative to their surface), therefore obtaining fast enough microlenses is not always possible.
They don't have "deeper wells", as you put it, and nothing in that paper suggests they do.

They have smaller active areas, since they still have to fit in the same connections and circuitry as larger pixels. Therefore they require more optical concentration from the microlens.
--
Its RKM
 
Look at this post if you need a very brief summary
http://forums.dpreview.com/forums/readflat.asp?forum=1018&message=36025858

Smaller sensors have deeper wells (relative to their surface), therefore obtaining fast enough microlenses is not always possible.
They don't have "deeper wells", as you put it, and nothing in that paper suggests they do.
I said "deeper wells relative to surface", which means either that they are effectively deeper, or just that theyir surfaces are smaller, and therefre their relative depth is bigger. If we really want to be pedantic, I should have said have smaller surface to stack height ratio, but I was aiming for a more intuitive explanation.

Anyway in the article they suggest that usually what happens when technology advances is that stack height increases (the wells get deeper ;)).

Quote from page 10:

"The dilemma in pixel scaling for CMOS imagers is the following. Small pixel sizes require imaging lenses with small f/#s to obtain a sufficient photon supply at the sensor surface (see section Photon noise). Concentration of light onto the photosensitive area in small pixels requires a microlens with even smaller f/#. Given the small pixel aperture, the

smaller f/# means shorter focal length. The focal length is determined by the sensor thickness (stack height). When CMOS technology scales, the lateral dimensions (e.g., transistor size and pixel size) shrink but the stack height usually increases."
They have smaller active areas, since they still have to fit in the same connections and circuitry as larger pixels. Therefore they require more optical concentration from the microlens.
--
Its RKM
--
http://www.flickr.com/photos/bogdanmoisuc/
 

Keyboard shortcuts

Back
Top