An optical system typically has many openings, or structures that limit the 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. In general, these structures are called stops, and the aperture stop is the stop that determines the ray cone angle, or equivalently the brightness, at an image point.
In some contexts, especially in photography and astronomy, ''aperture'' refers to the ''diameter'' of the aperture stop rather than the physical stop or the opening itself. 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 100 centimeter ''aperture''. Note that 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.
Sometimes stops and diaphragms are called apertures, even when they are not the aperture stop of the system.
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 summed.
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.
The biological pupil of the eye is its aperture in optics nomenclature; the iris is the diaphragm that serves as the aperture stop. Refraction in the cornea causes the effective aperture (the entrance pupil in optics parlance) to differ slightly from the physical pupil diameter. The entrance pupil is typically about 4 mm in diameter, although it can range from 2 mm () in a brightly lit place to 8 mm () in the dark.
In astronomy, the 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 cost and weight, as well as prevention of aberrations (as mentioned above).
Apertures are also used in laser energy control, focusing, diffractions/patterns, and beam cleaning. Laser applications include spatial filters, Q-switching, high intensity x-ray control.
[[Image:Aperture diagram.svg|right|thumb|350px|Diagram of decreasing aperture sizes (increasing f-numbers) for "full stop" increments (factor of two aperture area per stop)]]
A device called a diaphragm usually serves as the aperture stop, and controls the aperture. The diaphragm functions much like the iris of the eye – it controls the effective diameter of the lens opening. Reducing the aperture size increases the depth of field, 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 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. 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 opening which allows more light to reach the film or image sensor. The photography term "one f-stop" refers to a factor of √2 (approx. 1.41) change in f-number, which in turn corresponds to a factor of 2 change in light intensity.
Aperture priority is a semi-automatic shooting mode used in cameras. It allows the photographer to choose an aperture setting and allow the camera to decide the shutter speed and sometimes ISO sensitivity for the correct exposure. This is sometimes referred to as Aperture Priority Auto Exposure, A mode, Av mode, or semi-auto mode.
Typical ranges of apertures used in photography are about 2.8–22 or 2–16, covering 6 stops, which may be divided into wide, middle, and narrow of 2 stops each, roughly (using round numbers) 2–4, 4–8, and 8–16 or (for a slower lens) 2.8–5.6, 5.6–11, and 11–22. These are not sharp divisions, and ranges for specific lenses vary.
Lenses with apertures larger than 2.8 are typically known as "fast" lenses, though this has changed historically (in the past, larger than 6 was considered fast, for example by the 1911 Encyclopaedia Britannica). The fastest lenses in general production are 1.2 or 1.4, with more at 1.8 and 2.0, and many at 2.8 or slower; 1.0 is unusual, though sees some use.
In exceptional circumstances lenses can have f-numbers smaller than 1.0; see lens speed: fast lenses for a detailed list. For instance, in photography, both the current Leica Noctilux-M 50mm ASPH and a 1960s-era Canon 50mm rangefinder lens have a maximum aperture of 0.95. Such lenses tend to be optically exotic and very expensive; at launch, in September 2008, the Leica Noctilux retailed for $11,000. Professional lenses for some movie cameras have f-numbers as small as 0.75. Stanley Kubrick's film ''Barry Lyndon'' has scenes shot 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 – the scene must either be shallow, shot from a distance, or will be significantly defocused, though this may be a desired effect.
Zoom lenses typically have a maximum relative aperture (minimum f-number) of 2.8 to 6.3 through their range. High-end lenses will have a constant aperture, such as 2.8 or 4, 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 focal length at long focal lengths; 3.5 to 5.6 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, 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 16, 22, or 32, while large format may go down to 64, 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 96. The pinhole optic for Lensbaby creative lenses has an aperture of just 177.
:
Where ''f'' is focal length and ''N'' is the f-number.
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. The relative focal-plane illuminance, however, depends only on the f-number ''N'', independent of the focal length, so is less in the camera with the larger format, longer focal length, and higher f-number. This assumes both lenses have identical transmissivity.
The first SLR cameras with internal (“through-the-lens” or “TTL”) meters (e.g., the Pentax Spotmatic) required that the lens be stopped down to the working aperture when taking a meter reading. With a small aperture, this darkened the viewfinder, making viewing and composition difficult. Subsequent models soon incorporated mechanical coupling between the lens and the camera body, indicating the working aperture to the camera while allowing the lens to be at its maximum aperture for composition and focusing; this feature became known as automatic aperture control or automatic diaphragm control.
For some lenses, including a few long telephotos, 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, 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. 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 3.5 and the SMC Pentax Shift 6×7 75 mm 4.5. The Nikon PC Micro-Nikkor 85 mm 2.8D 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, have electromagnetic diaphragms, 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, introduced in 2008, also have electromagnetic diaphragms. Automatic aperture control is provided with the newer Nikon digital SLR cameras; with some earlier cameras, the lenses offer preset aperture control by means of a pushbutton that controls the electromagnetic diaphragm.
Optically, as a lens is stopped down, the defocus blur at the 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 – note that 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 begins to become significant. There is accordingly a sweet spot, generally in the 4 – 8 range, depending on camera, where sharpness is optimal, though some lenses are designed to perform optimally when wide open. How significant this is 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.
For example, film grain is quantified as ''graininess'' via a measurement of film density fluctuations as seen through a 0.048 mm sampling aperture.
Category:Science of photography Category:Geometrical optics Category:Physical optics Category:Observational astronomy
ar:بؤرة cs:Clona da:Blænde de:Apertur et:Ava (fotograafia) es:Apertura eo:Relativa truo de objektivo fr:Ouverture (photographie) ko:조리개 id:Tingkap is:Ljósop it:Diaframma (ottica) ml:അപ്പെര്ച്വര് nl:Diafragma (optica) ja:開口 (光学) no:Irisblender pl:Apertura pt:Abertura (óptica) ru:Относительное отверстие simple:Aperture sk:Clona fi:Valotusaukko sv:Bländare tr:Işık düzengeci uk:Апертура vi:Độ mở zh-classical:光圈 zh:光圈 zh-yue:光圈This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
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