DxOMark on wide apertures.

The chart says the EOS 450D loses more than 1 EV at f/1.2.
yeah, so much for those that handed out a bunch of money to maximise their low light performance, those ultra fast lenses dont come cheap
It's only a tough break if mFT loses less than that at f/0.95. It would be interesting to see what that result is.
you really are struggling here, that lens isnt an Olympus product, Olympus were not on the list of manufacturers to whom Ludicrous Landscapes 'Open Letter' was addressed
and what a tough break for the sisters who claimed that telecentric lenses were just marketing fluff
Calling Joseph Wisniewski a "sister" is far from kind:

http://forums.dpreview.com/forums/read.asp?forum=1018&message=31632124
meh 18 months old
I'm quite sure Oly has the technical know-how to make a 50mm f1.2 that can match a classic FF 105mm f2.5 in terms of sharpness and bokeh. But doing so would mean coming out of the closet: in effect, admitting that all their talk of "near telecentric lenses" and their rather whacked patent were just so much marketing fluff.

He is likely the most knowledgable person on DPR in terms of lens design.
if people dont wan to be associated with the 'sisters' they can always change their minds

sister ;)

--
Riley

any similarity to persons living or dead is coincidental and unintended
 
Just out of curiosity, does the light that makes it to the sensor or size of the aperture determine DOF? I assume its the size of aperture that really determines this but I'm not positive.
You are right. Think, if you put an ND filter on the lens, it doesn't affect DOF. Here, we're talking about the lens elements each acting as a bit of a ND filter.
I think it is really a difference in semantics. If it is as I assume and aperture size determines DOF than f-stops should really only be used to determine DOF calculations (and therefore in composing images to have the DOF you want) while T-stops should be used to determine how much light is hitting the sensor (and therefore be used to adjust the ISO and shutter speed). Its almost too bad lens manufacterers don't give us both of these pieces of information.
That's true, but my guess is that even Joe isn't obsessive enough about DOF to do calculations where the difference between T and F is critical.
yeah i mean

its not like he's had an essay running for years as a system of comparison between different formats based on how their DoF compares

i mean
that would be crazy wouldnt it

--
Riley

any similarity to persons living or dead is coincidental and unintended
 
DOF depends on f-number. Check here the math:

http://en.wikipedia.org/wiki/Depth_of_field#DOF_formulas

The whole wikipedia article makes a good read.

The t-stops are about how much light actually hits the film/gathers the sensor. The DOF depends largely on the angle of rays hitting the film/sensor (diameter of circle of confusion => bokeh) and the angle depends on the f-number.
 
..

and what a tough break for the sisters who claimed that telecentric lenses were just marketing fluff
Calling Joseph Wisniewski a "sister" is far from kind:

http://forums.dpreview.com/forums/read.asp?forum=1018&message=31632124
meh 18 months old
You mean, since then many things have changed, and what JW did say then is by now utterly irrelevant? Or why else in this context does 18 months make difference?
I'm quite sure Oly has the technical know-how to make a 50mm f1.2 that can match a classic FF 105mm f2.5 in terms of sharpness and bokeh. But doing so would mean coming out of the closet: in effect, admitting that all their talk of "near telecentric lenses" and their rather whacked patent were just so much marketing fluff.

He is likely the most knowledgable person on DPR in terms of lens design.
if people dont wan to be associated with the 'sisters' they can always change their minds

sister ;)
This is yet the strangest quibble I have read from you.

--
- sergey
 
I would venture to say that the article delves into a realm that cinematographers have always dealt with. F stop vs T stop. The folks making movies never consider the f stop of a lens in the way still photographers do. Their metering is based on the actual light reaching the film, not the relative diameter of the lens to focal length.
Exposure is expressed in T stops and maked as such on the lens, but we still use F-stops for geometric calculations like FOV and DOF. Those parameters don't change with the light loss.

jb

--
John Brawley
Cinematographer
Sydney Australia
http://www.johnbrawley.com
 
Increasing ISO reduces noise, it doesn't increase it, it is reduced exposure which increases noise.
Now that you said that, it totally makes sense.

Yet, somehow if I make a shot at ISO 100 with exposure time of 10s I would get very little noise - yet if I take the same shot at ISO 1600/3200 with shorter exposure time noise would be visible. What I am missing here?
 
I would venture to say that the article delves into a realm that cinematographers have always dealt with. F stop vs T stop. The folks making movies never consider the f stop of a lens in the way still photographers do. Their metering is based on the actual light reaching the film, not the relative diameter of the lens to focal length.
With video, consistent apparent exposure is far more important than with still photography, as even small differences from frame to frame will result in a very distracting flicker.
Still, this article does put the absolutist attitude toward F stop and sensor size in better perspective. And perhaps explains why Olympus, in adopting the 4/3 has been in no hurry to produce the fast primes some people declare are needed to be considered a "pro system". That is, the f2 on a lens like the 14-35 really does transmit more light onto the 4/3 sensor, than a comparable aperture lens on aps-c or 35mm FF equivalent.
Exactly backwards. In fact, I already addressed that point in another post in this thread:
unfortunately you are quoting yourself
.. and a very good quote indeed. Why is it unfortunately, Rriley?

--
- sergey
 
With video, consistent apparent exposure is far more important than with still photography, as even small differences from frame to frame will result in a very distracting flicker.
Cine lenses are click-less and continually variable. When the lens is stopped down, unlike an SLR, it's stopped down even when the camera isn't running / recording.

This is why stills lenses generally aren't ideal at all for cine work (among many other reasons). If you want to change your exposure during a take or recording you'll see (and hear) nice little 1/3 ev jumps in exposure. Very very annoying. I've done 6 stop iris pulls during a take going from indoors to outdoors and you can get it to be almost seamless with the right staging. But not with 1/3 ev exposure jumps.
Correct. This is because light transmission (T stop) may vary a fair amount from lens to lens set at the same F stop. It is relatively difficult to adjust the brightness from shot film, and so you could end up with light / dark / light transitions in a scene that would make it obvious that you were using two different lenses unless you know that each can be set to ensure the same amount of light is getting to the film -- hence the T stop.
It's certainly common to run more than one camera on a scene. To be totally honest, worrying about T stops Vs F stops is pretty insignificant in the scheme of things. I'm sure that it never amounts to more than 0.3ev and more likely 0.1ev difference.

This kind of exposure difference is very very easily grade-able to make the shots match. You're more likely to have a greater exposure difference because the two cameras will often have different frame sizes and will be pointing at the scene from different angles. That means each camera gets a different amount of reflected light anyway. Often the two or more cameras won't have the same exposure anyway for this reason.

jb
--
John Brawley
Cinematographer
Sydney Australia
http://www.johnbrawley.com
 
Just out of curiosity, does the light that makes it to the sensor or size of the aperture determine DOF? I assume its the size of aperture that really determines this but I'm not positive.
You are right. Think, if you put an ND filter on the lens, it doesn't affect DOF. Here, we're talking about the lens elements each acting as a bit of a ND filter.
I think it is really a difference in semantics. If it is as I assume and aperture size determines DOF than f-stops should really only be used to determine DOF calculations (and therefore in composing images to have the DOF you want) while T-stops should be used to determine how much light is hitting the sensor (and therefore be used to adjust the ISO and shutter speed). Its almost too bad lens manufacterers don't give us both of these pieces of information.
That's true, but my guess is that even Joe isn't obsessive enough about DOF to do calculations where the difference between T and F is critical.
yeah i mean

its not like he's had an essay running for years as a system of comparison between different formats based on how their DoF compares
Let's think about this. The f/2 on FT gives the same DOF as f/4 on FF. f/2 on FT might come out as T2.2 or such. Two stops versus a fraction of a stop - a bit of a difference.

--
Bob
 
Just out of curiosity, does the light that makes it to the sensor or size of the aperture determine DOF? I assume its the size of aperture that really determines this but I'm not positive.
You are right. Think, if you put an ND filter on the lens, it doesn't affect DOF. Here, we're talking about the lens elements each acting as a bit of a ND filter.
Yes, that sounds reasonable if we're talking about the t-stop of the lens in itself, but what if we're talking about the combined 't-stop' for the lens/sensor (or lens/microlenses)? If the microlenses are to 'slow', won't the sensor/microlens then 'see' a smaller 'effective' aperture, and won't that affect DoF? Won't the f-stop of the microlens determine how shallow the DoF can get? (just speculating, don't think it's quite clear yet, to me at least, whether DoF is affected or not by this 'pixel-vignetting')
I think it is really a difference in semantics. If it is as I assume and aperture size determines DOF than f-stops should really only be used to determine DOF calculations (and therefore in composing images to have the DOF you want) while T-stops should be used to determine how much light is hitting the sensor (and therefore be used to adjust the ISO and shutter speed). Its almost too bad lens manufacterers don't give us both of these pieces of information.
That's true, but my guess is that even Joe isn't obsessive enough about DOF to do calculations where the difference between T and F is critical.
If my assumption is wrong and DOF is determined by how much light reaches the sensor, than f-stops seem to be useless and I would say that lens manufacters should really be focused on using T-stops rather than a rating which varies from lens to lens (f-stops).
Your assumption was right.
--
Bob
 
DOF depends on f-number. Check here the math:

http://en.wikipedia.org/wiki/Depth_of_field#DOF_formulas

The whole wikipedia article makes a good read.

The t-stops are about how much light actually hits the film/gathers the sensor. The DOF depends largely on the angle of rays hitting the film/sensor (diameter of circle of confusion => bokeh) and the angle depends on the f-number.
It's not necessarily as straight forward as that (though in practice it is). There was a suggestion by Andy Westlake that these effects would affect the size of the blur circle - presumably round the edges of the circle, the amount of light collected per pixel would be less so the size of the circle would effectively be diminished. Andy produced an example here:
http://forums.dpreview.com/forums/read.asp?forum=1018&message=36768003
which prompted Lee jay to do some tests which didn't show the effect:
http://forums.dpreview.com/forums/read.asp?forum=1018&message=36774908

My own thought is the Andy was doing the test using a lens with a floating element, and I think its focal length might have been changing slightly, thus changing the blur circle diameter.

It's also worth remembering that many AF lenses use internal focussing which works by changing the FL (sometime quite markedly, as in the Nikon 70-200/2.8 G II). This, of course, could have an effect on the actual f-number as the lens is focussed and also on the DOF. I have no idea whether manufacturers consider the variance trivial or compensate.

--
Bob
 
Just out of curiosity, does the light that makes it to the sensor or size of the aperture determine DOF? I assume its the size of aperture that really determines this but I'm not positive.
You are right. Think, if you put an ND filter on the lens, it doesn't affect DOF. Here, we're talking about the lens elements each acting as a bit of a ND filter.
Yes, that sounds reasonable if we're talking about the t-stop of the lens in itself, but what if we're talking about the combined 't-stop' for the lens/sensor (or lens/microlenses)? If the microlenses are to 'slow', won't the sensor/microlens then 'see' a smaller 'effective' aperture, and won't that affect DoF? Won't the f-stop of the microlens determine how shallow the DoF can get? (just speculating, don't think it's quite clear yet, to me at least, whether DoF is affected or not by this 'pixel-vignetting')
See my response here:
http://forums.dpreview.com/forums/read.asp?forum=1022&message=37022920

I don't think that the microlens f-number will affect the DOF of the image projected onto the sensor, that would require that they effect some quite large deviation to the path of the light through the objective lens, and I can't imagine a physical mechanism that would cause that. The microlens f-number will affect the DOF in the image of the exit pupil projected onto the photosensitive part of the pixel, which would be a possible factor in the dimming effect as the position of the exit pupil changed, but I doubt whether its a big one.

--
Bob
 
Increasing ISO reduces noise, it doesn't increase it, it is reduced exposure which increases noise.
Now that you said that, it totally makes sense.

Yet, somehow if I make a shot at ISO 100 with exposure time of 10s I would get very little noise - yet if I take the same shot at ISO 1600/3200 with shorter exposure time noise would be visible. What I am missing here?
You said it yourself. The exposure time would be shorter, if the f-number and scene luminance was the same (which I assume is what you meant), the exposure would be smaller, hence more noise.
--
Bob
 
Hmm I always though going up in iso made the sensor more sensitive to light but then made the possibility for noise greater because of the sensor electronics.

Hence iso 100 long exposure cleaner than 1600 shorter exposure. It has nothing to do with the light or the time exposed but the quality of the sensor at said iso.

And ultimatey whatever just let me go out and get good pictures.

Equivalence must be too complex a concept for my mind.
 
Hmm I always though going up in iso made the sensor more sensitive to light
the sensitivity of the sensor never changes, it is fixed when the thing is manufactured. One sensor (the new Aptina) has dual sensitivity, but apart from that, it's fixed.
but then made the possibility for noise greater because of the sensor electronics.
the extra electronic noise

Not the case. The gain of the variable gain amplifier is generally controlled by changing the feedback ratio, and has no effect of the amplifiers noise performance.
Hence iso 100 long exposure cleaner than 1600 shorter exposure.
The reverse is true, since the electronic noise is the same and the gain is higher, when compared and normalised against photon noise, the electronic noise drops.
It has nothing to do with the light or the time exposed but the quality of the sensor at said iso.
It has everything to do with the light and time (and f-number), in fact the exposure, and nothing to do with the quality of the sensor at that ISO, since the quality fo teh sensor never changes,
And ultimatey whatever just let me go out and get good pictures.
No-one's stopping you.
Equivalence must be too complex a concept for my mind.
Perhaps, though this isn't equivalence.
--
Bob
 
Just a thought (and looking forward to thoughtful replies)?
I don't know what you mean by a 'Leica Style Micro Lens System', but even having said this, the answer is 'no'. It is a property of the sensor, what counteracts it is making the microlenses faster. They need to be faster than the taking lens f-number times the silicon fill factor (how much of the silicon can collect light). So, if you want f/1.4=f1/1.4=f/1.4 and you have a silicon fill factor of 0.5 (half of the silicon active) the microlenses need to be f/0.7 or faster.
--
Bob
 
The chart says the EOS 450D loses more than 1 EV at f/1.2.
yeah, so much for those that handed out a bunch of money to maximise their low light performance, those ultra fast lenses dont come cheap
It's only a tough break if mFT loses less than that at f/0.95. It would be interesting to see what that result is.
you really are struggling here, that lens isnt an Olympus product, Olympus were not on the list of manufacturers to whom Ludicrous Landscapes 'Open Letter' was addressed
...you have that rather misplaced. Let's see if I can't help you out. You see, as I discussed earlier in the thread:

http://forums.dpreview.com/forums/read.asp?forum=1022&message=37014029

there's a discrepancy between the Numerical Aperture and the entrance pupil in terms of light gathering that is fundamental and unavoidable -- one of those "laws of physics" things, and it affects all formats.

On top of that , there are differences in the mircolens efficiency and stack height -- properties of the sensor -- that add to the effect.

On top of that, there's a light loss due to light being absorbed or scattered by the lens elements.

So, the fact that the lens is not made by Olympus has all of squat to do with it.
and what a tough break for the sisters who claimed that telecentric lenses were just marketing fluff
Calling Joseph Wisniewski a "sister" is far from kind:

http://forums.dpreview.com/forums/read.asp?forum=1018&message=31632124

I'm quite sure Oly has the technical know-how to make a 50mm f1.2 that can match a classic FF 105mm f2.5 in terms of sharpness and bokeh. But doing so would mean coming out of the closet: in effect, admitting that all their talk of "near telecentric lenses" and their rather whacked patent were just so much marketing fluff.

He is likely the most knowledgable person on DPR in terms of lens design.
meh 18 months old
So has Joseph realized that he was in error in these past 18 months? Why don't you sport me a link.
if people dont wan to be associated with the 'sisters' they can always change their minds

sister ;)
Nah -- I think I'll stay associated with "sister" Joseph Wisniewski when it comes to lens design, thank you very much.
 
unfortunately you are quoting yourself
...it had nothing to do with me -- you weren't such a fan of me quoting Joseph Wisniewski upthread, either. But as technical knowledge goes, I quoting myself, or Joseph, or Bob, goes a long way to help people understand.

But, sure, I'll quote you for some balance:

http://forums.dpreview.com/forums/read.asp?forum=1022&message=28461902

i dont do macro, thats for drunks
same old shallow dof UWA bokeh discussion, completely ridiculous, almost useless


Oddly enough, I do macro:

http://forums.dpreview.com/forums/read.asp?forum=1029&message=35088167
http://forums.dpreview.com/forums/read.asp?forum=1029&message=34529358

and shallow DOF UWA:

http://forums.dpreview.com/forums/read.asp?forum=1029&message=36057373

I must be drunk. Well, let's chalk that up to Thanksgiving dinner last night, eh? ;)
 
DOF depends on f-number. Check here the math:

http://en.wikipedia.org/wiki/Depth_of_field#DOF_formulas

The whole wikipedia article makes a good read.

The t-stops are about how much light actually hits the film/gathers the sensor. The DOF depends largely on the angle of rays hitting the film/sensor (diameter of circle of confusion => bokeh) and the angle depends on the f-number.
It's not necessarily as straight forward as that (though in practice it is). There was a suggestion by Andy Westlake that these effects would affect the size of the blur circle - presumably round the edges of the circle, the amount of light collected per pixel would be less so the size of the circle would effectively be diminished. Andy produced an example here:
http://forums.dpreview.com/forums/read.asp?forum=1018&message=36768003
which prompted Lee jay to do some tests which didn't show the effect:
http://forums.dpreview.com/forums/read.asp?forum=1018&message=36774908

My own thought is the Andy was doing the test using a lens with a floating element, and I think its focal length might have been changing slightly, thus changing the blur circle diameter.

It's also worth remembering that many AF lenses use internal focussing which works by changing the FL (sometime quite markedly, as in the Nikon 70-200/2.8 G II). This, of course, could have an effect on the actual f-number as the lens is focussed and also on the DOF. I have no idea whether manufacturers consider the variance trivial or compensate.
Interesting stuff. It appears that not even all 70-200 / 2.8s are necessarly "equivalent".
 

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