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Wednesday, November 03, 2010

My Response to the "Open Letter to the Major Camera Manufacturers" from the LL

Here is the latest letter written by Mark Dubovoy of the Luminous Landscape:-

An Open Letter To The Major Camera Manufacturers - Luminous Landscape

Although I am not any of the camera manufacturers, I think I have something to respond.. :-)

First of all, there is an error at the beginning of the article, I believe. I think the fact is that *nowadays* the indicated f-stop values do have already taken account of all the light loss inside a lens and from its optical elements. Why? It is because if it is not the case, correct metering and exposure is just impossible, especially when modern (zoom) lenses that have 20+ glass elements are not uncommon nowadays, which just mean more than 40+ surfaces and physically light path boundaries/barriers in total! Well, even with the most excellent glass and state-of-art coatings and technologies, each surface can still have 0.x% light loss and with 40+ surfaces it will accumulate to a significant amount!

Btw, the lens by itself can be and should be seen as a black box actually. I firmly believe that nowadays the f-stop values indicated and shown are already the *effective* numbers. In fact, there is nothing by any means which is physically related, i.e., nothing about the true lens "diameter" to focal length ratio, which is indeed non-existent for the complicated lens formulae and designs adopted nowadays. So, after all, the loss and non-ideal factors have all been considered and taken into account, i.e., the aggregated light loss within a lens should have been reflected with the f-stop numbers already - that's my point.

But then, the light loss at the sensor could be another real issue. But yet once again, depending what you look at and where you look from, this may not be an issue again. Um.. well, the ISO value of the sensor is indeed not always be true! Everything is software adjusted nowadays! In fact, I just wish to ask: what is the true ISO value? I think the answer is: we just don't know and will never know! As I have said above, if you are viewing the whole camera (i.e., body w/ sensor & processor + lens) as a black box, everything can be compensated inside. Actually, as similarly pointed out in LL's article, a "slower" lens could be used and then the ISO to be increased and vice versa, which will yield the "same" exposure result (first putting aside the DoF concern). After all, the exposure value could yet be kept the same with the change of multiple variable at the same time. Under this case, there is NO test can be carried out to find out the "true" ISO value, indeed! It is because since everything is relative and every test used to find out the "true ISO" by the methodology of comparison on exposure times is just meaningless, IMHO. In other words, since all those tests in finding out the "true" and "actual" ISO speeds are done on the basis of assuming one or more of the variables to be correct and "trustworthy" in the very beginning, e.g., the f-stop and value.

Or, to ask the question more specifically, just think in another way and answer my this question: Why can't the testers assuming that the rated ISOs are accurate first and then to measure the "actual" f-stop, on the other hand?? This might really be the case, although it is more unlikely. So, it boils down to a basic question of logics for thinking which could shake the bases of all those similar testing methodologies, which is really worth for some more thoughts.

Do keep in mind that no two digital camera models created on Earth are made equally, neither do different sensors/imagers, non the image processors, and then nor the software written and the algorithms programmed into the firmware. So, after all, everything varies! But, only the end results and outcomes count! And, the result is the only thing that matters!

All in all, If LL is asking for a response from the "major manufacturers" for the "issue" and proposing to use a new value to represent the light transmission and energy, I would think that there is just no issue and everything has just been right already, although the problem is tackled in various different ways, as it might be. For some more food for thought, one more example is that with today's' lens correction function for correcting the vignetting of lens on digital sensors, i.e., one of the practical digital problems as pointed out in the LL article, WHAT "actual" ISO value should be defined for an image/picture that has been corrected via software, with the brightness value of (the pixels at) the corners are raised but the centre are kept. So? Just think about it..

In short, I am opposing to the proposition of adopting the new "T-stop" in order to "help" the current situation, which I think will just create more chaos than what it has been now - which a different sensitivity value IMO is just a non-issue in real-life, as the "true" ISO value in use is never known. As I have been emphasizing, everything is relative and all the variables are now inside a black box, e.g., even the Tv should not be trusted as it can still have variations so the exact exposure times should also be re-measured, say, in addition to the actual "real" f-stop value! After all, only the final result produced by the blackbox does matter, but anything else!

P.S. I am still glad to see that my 5D is yet the king of being having the most efficient sensor in it with the minimal light loss, amongst of all the current and past Canon and Nikon DSLRs as listed! :-) So, sometimes old stuff with more primitive structure do still shine! ;->

Comments (21)

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You should first learn how TTL metering works... your theory doesn't hold water, as there is absolutely no problem metering and exposing, even if the lenses are using f-stops (which they are).
5 replies · active 747 weeks ago
Yes, you really should, but you never did.
Rice, please use the first person when you're talking about yourself.
The metering takes into account light loss because the meter measures how much light there is behind the lens. TTL means through the lens.
Wide opened metering is more complicated than what you imagined. If the light loss on sensor is severe at wide apertures where it is metered, than lots of issue will arise.

Even for stopped down metering, nowadays nearly all of the modern DSLRs' focusing screens bundled have a non-linear response so that correct metering and exposure cannot be achieved at smaller apertures.

Btw, mirrorless LiveView EVILs and ILDCs could have even more accurate metering as everything is measured at "realtime", by the sensor.

Fortunately, camera manufacturers had already sorted this out by making "intelligent" lenses that are able to talk with the body (and vice versa) and appropriate compensations will be made accordingly for different situations and settings.
From what you just said then correct metering and exposure is easily possible without the F-stop taking into account light transmissions. Because the manufacturer can just program the lens to send the meter the T-stops (instead of F-stops) for metering. In this case the F-stop on the lens will still be "diameter to focal length ratio" and indicates depth of field correctly.
Probably right, but then again: who cares, really?
I'll apologize if I understood you wrong, but are you claiming that since there are two unknowns (the actual T-stop of a lens and the actual ISO of a sensor) in a single function (the camera & lens combination) you can't really tell if a maker is cheating or if its the natural light loss through a lens? (afaik all dslr lens are marked w/ unalterated f-stops)
Sorry but the solution to this problem would be to first solve for the T-stop for a lens (should be do-able without any input from any dslrs) then mount that very lens to solve for its actual ISO for a dslr.

I think the 'issue' that the letter tries to draw attention to is the fact that digtal sensors behave differently compared to film with regard to using increasingly large apertures with seemingly 'diminishing returns', and the fact that camera makers seem to know enough about it to 'tweak' the ISO for us when we use one. (btw, if this theory holds true, then you shouldn't see DOF effects as the 'marginal light rays' [- as I call them..] won't even register on the sensor. The sensor is effectively limited to some certain f-stop (consequently t-stop) given a lens design that may or may not be able to achieve/exceed that limitation.)

Now I have no knowledge about lens manufacturing and profit margins of different lens bar the fact that large aperture lenses costs more, but it does seem that makers should at least give an explaination as to why should their cameras alter the ISO behind the scenes when a certain aperture is set if this is true.

my 2c,

PS: I'm sure as hell NOT going to complain about DAL35 F2.4 and all da limiteds' "slow" aperture anymore...
1 reply · active 749 weeks ago
The T-stop setting proposition is impractical, IMHO.

How can one control the DoF is there is no f-stop? And, does the user need to have the option to set the T-stop as well just for the sake of some light loss at those really wide apertures, which then is varied from sensor to sensor, i.e., body to body! Wouldn't the case be even more complicated? And, do note that LL did not suggest a practical way for rating the lens and setting the camera, which is indeed that something to be thought about, also!

No ISO rating is perfect and absolute even back to the film days. There is also light loss at the corners, but possibly may not be as severe as now with the digital sensors. And, for longer time exposure, the sensitivity of the film does also drop (which is then opposite to digital imagers which suffer less from this). So, an ISO 100 film is not actually as sensitive as 100 for longer exposure, say, just a few seconds or more. As such, should the speed of the films be re-rated or a range needed to be specified? There is just no film manufacturer had ever done that. It is just because as we all knew, there are always some limitations in particular cases!
Edgar Bonet's avatar

Edgar Bonet · 749 weeks ago

You wrote: “there is nothing by any means which is physically related, i.e., nothing about the true lens ‘diameter’ to focal length ratio, which is indeed non-existent for the complicated lens formulae and designs adopted nowadays.” Well, there is something you may not know about if you did not take an advanced optics course. It's called “entrance pupil” and its diameter is, just as the focal length and the f-number, *perfectly* well defined, even for the most complex lens designs.

This entrance pupil is not quite the same as the physical aperture, and it may sound like an abstract concept to you. But for practical purposes, it is the only aperture you care about, because it has big implications on depth of field, background blur and light gathering power. Also on parallax if you do panorama stitching.

Regards,
3 replies · active 749 weeks ago
Your mentioned "entrance pupil" is actually what the f-number represents nowadays. If not, what are their differences?

As I have said, the f-numbers are already in effective values. Otherwise, the wide opened metering and exposure will all be in a big mess.
Edgar Bonet's avatar

Edgar Bonet · 749 weeks ago

Yes, the f-number refers to the entrance pupil.

As for the aperture values displayed by the camera being “effective”, I always thought these were real f-numbers, but I am not absolutely sure. Zeiss makes some cinema lenses for DSLRs with the aperture explicitly labeled in T-numbers, but only the cinema industry seems to care about the difference between f-numbers and T-numbers.

In most cases you don't care: since you meter through the lens, the light loss will be the same while metering and while exposing. Only when using a hand-held meter you may underexpose because of light loss in the lens. And even then, the error may be something like 1/6 stop, which is hard to detect unless you do carefully calibrated measurements.
Previcely. The f-number i just the relation of the size of the entrance pupil to the focal length.

To Rice, the entrance pupil is the image of the iris looked from the front of the lent. It can actually be of rather different size to the actual physical size of it. Interestingly the position of the entrance pupil can also be very different from the position of the actual physical apertutre - even so much so, that it can be at infinity (for subject side telecentric lenses).
I totally agree with you, congrats ! (the others don't understand anything ...)
Rice -
beg your pardon, but do I understand correctly?
1. f-stop is well defined for any lens even in the digital age, in contrast to what LL claims. The definition is, however, more complex than LL claims.
2. ISO is another issue, but this is related to sensor and processing hard- and software.
If I am right with my understanding of your article, this would make absolutely a lot of sense to me.
There were further statements by the commentaries above:
3. The sensor's acceptance of light coming from the outer regions of the last lens may differ between sensors. This is a difference between digital and analog photography.
This also makes sense to me.
However, one statement I do not understand: that according to your view, the "absolute" f-stop cannot be measured with a digital camera because the "absolute" ISO is uncertain. Why? It seems to me that if you shoot in RAW with a lens of known f-stop a background of known intensity, you can use that to calibrate your ISO. Then, with known ISO, you can shoot through a new lens at the same background to find out its f-stop. Right or wrong?
Thanks for clarifying
C
I just wrote a lengthy text and now it vanished... ok, I'll try again for short.
If I understand you correctly, this is basically what you are saying:

f-stop is a LENS property, so this is independent of digital vs. analog cameras. It's film replaced by sensors, nothing about lenses. So it absolutely makes no sense to me that anything should be defined differently about the lenses. f-stop was originally defined as the ratio LL quotes, but today the f-stop should definitely include transmission losses and everything else that influences the light intensity reaching the sensor. I agree 100%.

On ISOs. I understand from all this that ISO values can be imprecise, they can be influenced by processing hard- and software, etc. There seems to be even a directional component, i.e. a pixel receiving light perpendicular to the sensor plane has different sensitivity than with light coming from an angle. Not really new, I'd say, since film also responds differently, e.g., to different colors. So this should lead to a clarification of the definition of ISO, e.g. taking a certain standard light distribution as measurement basis. The new definition should come from a standardization committee such as ANSI.

Of course, given that f-stop is well defined but does not take into account specifics about a given sensor, and ISO is well-defined but does not take into account specifics about the light paths coming from a given lens, this leads to the funny situation that both are well-defined but you still cannot calculate things on the basis of these numbers!

C
Millions of digital pictures taken and never a peep about this newfound "problem" until MD discovered it. Much ado about nothing, now you can return to your regular programming.
I would like a few answers from anyone.

Does the cameras only change the iso when it "talks" to the lens? If it does not know what lens it is, it would default to the non corrected "real" iso right?

If you find a way to "block" the communication from lens to camera...you should be able to see if the camera is doing any type of compensation.

If i where to sum up what LL theory is (in my own words): ie... at F4 there is 5% light loss at the sensor, at F1.4 there is 40% light loss at the sensor. Im not sure what the math works out to be but maybe the F4 lets in about the same light as the F1.4 and you might just have wasted your money on fast glass since the sensor does not "absorb it." (I did make up those number to prove my point to some degree)

CCD's as in the leica M9 do not have this issue, maybe why it suffers in DXOmark but amazes people in real life.

Also, I only see this to be a issue with wide to normal focal length fast lenses. Fast macros/tele light rays seem to hit the sensor very perpendicular.

If you go to four-thirds.org and click on four-thirds story, it talks about light loss at the sensor, and why they decided to make the sensor smaller in order to have light waves hit the sensor in a certain way. (four thirds to this day only plays catch up as far as image quality but there physics look to be in order)

Take everything i say in a grain of salt, I just got done watching the F1 final race and its very early in the morning here.
1 reply · active 748 weeks ago
Thanks for your salty insights then! ;-)
"four thirds to this day only plays catch up as far as image quality.."
As someone who owns and uses apsc and four thirds dslrs, the results don't automatically follow. I presume you are referring to the claimed higher noise levels of four thirds at higher isos?
Generally correct, but variable from model to model amongst Olympus. Test results at Dreview show E30 has higher noise than E620, which along with E3, E420/450 and E520 have noise comparable to the competition.
I find with my E420 noise at higher isos is very film-like, and resolution is still very good. Portability and compact form factor, along with lens quality and colour rendition are excellent.
We should all write Kodak [for example] and ask the manufacturer what are the sensors ISO value.
Then, take our lense and have it re-calibrated to the film industry standard [they rate each lense with another that is not in f stops].
This new index/ number/index will take into account all the manufacturing deviations for each of the millions of lenses made for light transfer.
With these two pieces of information we should be able to find out if our cameras can take a proper exposure.
OR
Lets just send our equipment to Linhof/ Scheider etc and have them match something to our camera.

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