Why sensor dust is more visible at small apertures

Another reader of ours, Frank Di Luzio, sent the below image that explains exactly why sensor dust is more visible at small apertures. While I have explained this phenomenon to some of our readers before (see the comment section), I have not had a chance to write a separate article with a proper illustration, demonstrating how aperture size affects the shape and size of dust particles. Thanks to our generous readers like Frank, I now do not have to do it, because the below illustration is perfect.

Dust on Sensor

In summary, when the size of aperture is large (a small F-number like f/2.8), light rays reach dust particles that are sitting on the sensor filter from different angles. Remember, although I refer to this as “sensor dust”, dust actually never touches the sensor, because there is a thick filter (actually, more like a number of filters packed together to form a single filter) that sits in front of the camera sensor. Therefore, by the time light reaches the physical sensor, it is spread out on a very large area, making dust appear as a large blob with a soft ring. When using very large apertures like f/1.4 on fast prime lenses, these blobs might be so washed out that they might be practically invisible to your eye. That’s why portrait photographers notice dust less often than landscape photographers!

Now when the lens is stopped down and aperture is significantly smaller, say at f/16, light rays coming from the lens diaphragm are perpendicular to the sensor filter. Because the angle is more or less straight, dust specks also cast direct and defined shadows on the sensor. That’s why dust shows up in images much smaller, darker and with more defined edges at small apertures.

Big thanks to Frank for sending the illustration!

Benefits of a High Resolution Sensor

As camera manufacturers are continuing the megapixel race, with Sony releasing a bunch of 24 MP APS-C (1.5 crop-factor) cameras like Sony A77, A65 and NEX-7, and Nikon releasing a high resolution 36 MP Nikon D800, many of us photographers question the need for such a high resolution sensor. Some of us are happy while others are angry about these latest trends. Just when we thought companies like Nikon abandoned the megapixel race, instead of seeing other companies do the same, we now see Nikon back in the game with a new breed of product with a boatload of pixels. Why did Nikon all of a sudden decide to flip the game? Why does everyone seem to be going for more pixels rather than better low-light / high ISO performance? Does a high resolution sensor make sense? What are the true benefits of a high resolution sensor? In this article, I will provide my thoughts on what I think has happened with Nikon’s camera strategy, along with a few points on benefits of a high resolution sensor.

Nikon D4 Sensor

Pixel Size, Pixel Density, Sensor Size and Image Processing Pipeline

OK, this topic is rather complex if you do not know anything about pixels and sensors. Before you read any further, I highly recommend to read my “FX vs DX” article, where I specifically talk about pixel and sensor sizes and their impact on image quality.

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What is Moiré?

Moiré pattern occurs when a scene or an object that is being photographed contains repetitive details (such as lines, dots, etc) that exceed the sensor resolution. As a result, the camera produces a strange-looking wavy pattern as seen below:

Moiré

(Image courtesy of photo.net)

See how noticeable the moiré pattern is on the jacket? That’s moiré for you, at its worst. Moiré is almost never seen in nature, but is very common in everyday objects and items around us – you might see it in all kinds of fabric, straight hair, architecture, etc. You might have even seen it on your television. In photography, moiré happens mostly because of the way light reaches the sensor and how the sensor interprets the light through the bayer interpolation filter.

While there are methods to effectively reduce moiré, there is no easy way to completely remove it in post-processing software. Lightroom 4 will ship with a moiré reduction tool and Nikon will also ship its next version of Capture NX with built-in moiré reduction functionality, but neither one will be able to fully get rid of the worst moiré pattern occurrences.

Here is a comparison between the Nikon D800 and D800E (the latter is prone to moire), which clearly shows Moiré on the Nikon D800E (Image courtesy of Nikon):
Nikon D800 vs D800E Moire

See “How to Avoid Moiré

What is a Low-Pass Filter?

A low-pass filter, also known as anti-aliasing or “blur” filter, was designed by camera manufacturers to eliminate the problem of moiré by blurring what actually reaches the sensor. While extreme details are lost in the process, the problem of moiré is completely resolved. Since most cameras are designed to be used for day-to-day photography, where moiré pattern is very common, most cameras on the market today use a low-pass / anti-aliasing filter. While this surely benefits most photographers out there, it is a big blow on landscape photographers that never see moiré and yet end up with blurred details. Because of this problem, some companies on the market started specializing in removing the low-pass / anti-aliasing filter from modern DSLR cameras, specifically targeting landscape photographers. Most digital medium-format and some high-end cameras do not have a low-pass filter, because they want to deliver the best performance from their sensors. While those cameras are affected by moiré, manufacturers leave it up to the photographer to decide on how to avoid it or deal with it in post-processing. Below you will find two examples of low-pass filters used on typical Nikon DSLRs and on the Nikon D800E.

A typical low-pass filter contains of 3 or more different layers, as shown on the top illustration below:

Nikon D800 vs D800E Low-Pass Filter

As light rays reach the first “horizontal low-pass filter”, they get split in two, horizontally. Next, they go through an infrared absorption filter (illustrated in green color). After that, the light rays go through the “second vertical low-pass filter”, which further splits the light rays vertically. This light ray conversion process essentially causes blurring of the details.

With the Nikon D800E DLSR model, Nikon took a different approach. The full low-pass filter cannot be completely removed, because it would cause the focal plane to move; plus, the camera still needs to be able to reflect infrared light rays. Instead of making a single filter with one layer, Nikon decided to still use three layers, but with two layers canceling each other out. As light rays get split into two with a vertical low-pass filter, then through the IR absorption filter, those same light rays get converged back when passing through a reversed vertical low-pass filter. Hence, instead of getting blurred details as in the first illustration, we get the full resolution.

I am not sure if the above method is the best way to deal with the issue, but I suspect that Nikon decided to take this route for cost reasons. It would probably be more expensive to produce a single IR absorption filter layer coated on both sides, than continue to use the same layers, but in a different configuration.

Here is a sharpness comparison between the Nikon D800 and D800E (Image courtesy of Nikon):
Nikon D800 vs D800E Sharpness

What is Chromatic Aberration?

Chromatic Aberration, also known as “color fringing” or “purple fringing”, is a common optical problem that occurs when a lens is either unable to bring all wavelengths of color to the same focal plane, and/or when wavelengths of color are focused at different positions in the focal plane. Chromatic aberration is caused by lens dispersion, with different colors of light travelling at different speeds while passing through a lens. As a result, the image can look blurred or noticeable colored edges (red, green, blue, yellow, purple, magenta) can appear around objects, especially in high-contrast situations.

A perfect lens would focus all wavelengths into a single focal point, where the best focus with the “circle of least confusion” is located, as shown below:

Corrected Chromatic Aberration

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What is Focus Shift?

Focus Shift is an optical problem that occurs due to Spherical Aberration, when an object is brought into focus at maximum aperture and captured with the lens stopped down. Focus shift can lead to blurry images and focus errors, when working with subjects at close distances and using fast aperture lenses. With the lens aperture fully open or “wide open”, incoming rays of light converge at different focal points due to spherical aberration along the optical axis, as shown in the top illustration below:

Focus Shift

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What is Spherical Aberration?

Spherical Aberration is an optical problem that occurs when all incoming light rays end up focusing at different points after passing through a spherical surface. Light rays passing through a lens near its horizontal axis are refracted less than rays closer to the edge or “periphery” of the lens and as a result, end up in different spots across the optical axis. In other words, the parallel light rays of incoming light do not converge at the same point after passing through the lens. Because of this, Spherical Aberration can affect resolution and clarity, making it hard to obtain sharp images. Here is an illustration that shows Spherical Aberration:

Spherical Aberration

As shown above, light rays refract or change their angle when passing through the lens. The ones closer to the top and the bottom of the illustration end up converging at a shorter distance along the optical axis (black/red dotted line), while the ones closer to the optical axis converge at a longer distance, creating different focal points along the same axis. The point of best focus with the “circle of least confusion” is illustrated as the thick green line. Spherical Aberration is not just caused by lens design, but also by the quality of the lens material. Lenses made of poor quality material and large bubbles can drastically impact light refraction.

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Cloud Storage for Photographers

Everybody is talking about The Cloud – it is on television and radio, in magazines and newspapers, and has been flooding the Internet, presented as a revolutionary technology that will shape up the future. For most people, cloud computing means nothing, since the words “cloud” and “computing” sound very confusing and only make it seem like something overly geeky and out of reach. While the actual technology behind the cloud can be complex, the concept of cloud computing is actually quite simple to understand. In this article, I will explain cloud computing in very simple terms and talk about cloud storage for photographers – what it can offer to us now and in the future, and whether we should be taking advantage of it today.

Hole in Clouds

Whether you backup your photographs to an external hard drive or a storage device, you should regularly back up your photographs to an offsite location as well. There are many cases when photographers foolishly assume that their data is safe just because somebody told them it is. No matter how redundant your storage is, there is always a threat of theft, misuse, various accidents and natural disasters that might cause data loss. Imagine losing everything you have worked on so far – all of your clients photographs, your portfolio images and your photo libraries you spent countless numbers editing and organizing. Are you prepared to lose it all? If you are not, then you should be evaluating a good backup strategy. I frequently get questions from our readers about backing up large photo libraries without breaking the bank. Some are thinking about investing in locally attached storage solutions from companies like QNAP and Drobo, while others are wondering about online backup solutions that seem to be getting more and more affordable every day. “What should I invest in now?” seems to be the question. Large locally attached backup storage solutions can get rather expensive to buy and maintain overtime. Is online storage a good alternative to local storage? I will try to answer this question shortly, but first, let me talk about cloud computing and explain what cloud storage technology is all about.

1) What is Cloud Computing?

Here is an oversimplified explanation of cloud computing. Imagine a large company that employs many contractors, ready and available to work for you any time you want them to. You can hire only one contractor if you are not busy, or you could hire many contractors at once during your peak season, without having to employ them on a permanent basis. Just like your electricity bill, your costs stay low when your business is slow and increase on demand automatically when you get busy, so you only pay for the contractors you actually use. The contractor that you release from work goes to work for somebody else, so his time is not wasted doing nothing. A single contractor could work on several jobs for you and other companies simultaneously and his employer takes care of him, making sure that other contractors help him out if he is overloaded. The company is happy, because it uses their staff efficiently through resource sharing and you as a customer is also happy, because you only pay for what you actually use. You do not know or care about how those contractors are employed, what their shifts and schedules are and how much the company is paying them. All you know is that they are available for you any time you need them at a flat rate. If the demand for contractors grows, the company that employs them can get many more on their payroll to match the demand. So if you are successful and your business expands very rapidly, the company will be able to provide enough resources to match your growth.

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Lens Filters Explained

Camera lens filters can serve different purposes in digital photography. They can be indispensable for capturing scenery in extremely difficult lighting conditions, they can enhance colors and reduce reflections or can simply protect lenses. Filters are widely used in photography and cinematography and while some only use filters in rare situations, others rely on filters for their everyday work. For example, landscape photographers heavily rely on various filters, while street and portrait photographers rarely get to use them. Since digital photography is all about the quality and intensity of light, lens filters are often necessary to modify the light before it enters the lens. Many photographers think that some of the built-in tools in Lightroom and Photoshop can simulate filter behavior, making filters redundant in the digital age. As I will demonstrate below, some filters in fact can never be simulated in software and some actually help in getting even better results during post-processing. In this article, I will talk about the different types of lens filters available, what they do, when and how to use them.

Lee Filter Set

1) What are filters and why should you use them?

Why do you wear sunglasses? Because along with other benefits, they help you see better in intense light, protect your eyes from harmful UV rays/wind/dust and reduce glare. Filters also serve a similar purpose – they can help reduce reflections, protect your lenses from potential damage, fully or partially reduce the amount of light that enters the lens and even enhance colors. At the same time, filters can actually hurt photographs if they are not properly used. A good analogy would be wearing sunglasses in a dark room. Therefore, not only do you need to know what filters to use, but you also need to know how to use them and in which situations. There are many different kinds of filters out there – from cheap UV filters to very expensive filters worth several hundred dollars, which can make the process of choosing the right filter type rather challenging.

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How to Remove Dust From Nikon 24-70mm Lens

I often get plenty of dust behind the rear element of my Nikon 24-70mm f/2.8G lens. While for the most part it does not affect my images, after my last trip to Utah, I ended up with a large dust particle that somehow made it into the lens. Nikon only removes dust from lenses if you pay for the service, because the normal lens warranty does not cover dust removal. I did not feel like waiting for a couple of weeks and paying a hefty sum to get mine cleaned, so I decided to do it myself. In this video, I will show you how to remove dust from the rear element of the Nikon 24-70mm f/2.8G lens in less than 5 minutes.

WARNING: Opening your lens will void your warranty if Nikon finds out you did it. This video is NOT for beginners. Do not attempt this if you have a couple of small dust specks in your lens. See my “what to do with dust inside lenses” article for more information.
DISCLAIMER: I take ZERO responsibility for any potential damage that you might cause as a result of opening the rear lens element. DO THIS AT YOUR OWN RISK.

Now for the brave souls that decide to do this: the process is actually fairly simple. Start out in a clean, dust-free room. All you need to do is remove three screws from the rear wall of the lens mount, then gently lift the rear lens element and use a rocket blower to remove the dust from it. You can also remove the dust from the next lens element that sits inside the lens. Just zoom out to 24mm so that the element moves down towards the rear, then blow off the dust from it using the same rocket blower. Be very careful during the process and make sure not to touch any lens parts or lens elements from the inside. When using the blower, keep a safe distance, so that you do not accidentally hit anything. Do NOT try to blow off the dust with your breath or canned air – use Giotto’s Rocket Blower instead. When putting the screws back, don’t over-tighten them.

Here is the video with full details: