Display resolutions' chart  HD 1280x720 QHD+ 3200x1800 6K 6144x3160 16K 15360x8640 Full HD 1920x1080 UHD / 4K 3840x2160 8K 7680x4320 - - QHD / 2K 2048x1080 4K 4096x2160 10K 10240x4320 - - WQHD 2560x1440 5K 5120x2880 12K 12288x6480 - - Note: The aspect ratio and pixel ratio between monitors and TV may vary. There are also several differences per brand. Consult the specifications of your supplier for this.  Possible resolutions for Video Splitters VIDEO SPLITTER ITEM CODE MAXIMUM SUPPORTED RESOLUTIONS * x 2 SCREENS x 3 SCREENS x 4 SCREENS DISPLAYPORT MST CSV-5200 2* 2560x1440 @ 60Hz or 2* 3840x2160 @ 30Hz - - CSV-6200 CSV-6200H CSV-3203 CSV-6400 2* 2560x1440 @ 60Hzor2* 3840x2160 @ 30Hz 3* 1920x1080 @ 60Hz 4* 1920x1080 @ 60Hz CSV-7300 2* 3840x2160 @ 60Hz 3* 3840x2160 @ 60Hz - USB TYPE C MST CSV-1545 3840x2160 (Ultra HD 4K) @60hz - - CSV-1546 3840x2160 (Ultra HD 4K) @30hz - - CSV-1550 2* 3840x2160 60Hz (24bpp) 3 *3840x2160 60Hz CSV-1556 3840x2160 (Ultra HD 4K) @ 60hz - - HDMI CSV-1370 4096x2160 @ 60Hz (input) 4096x2160 @ 60Hz (input) 4096x2160 @ 60Hz (input) CSV-1380 4096x2160 @ 60Hz 4096x2160 @ 60Hzmirror 4096x2160 @ 60Hzmirror CSV-13817680x4320 @ 60Hz mirror7680x4320 @ 60Hz mirror- THUNDERBOLT 3 CSV-1577 4096x2160 @ 60Hz - - CSV-1574 3840x2160 @ 60Hz - - USB TYPE A CSV-1477 4096x2160 @ 60Hz - - CSV-1474 3840*2160 @ 60Hz - - * The maximum supported resolutions are also dependent on the capacity of the Graphics inside the source system.  Possible resolutions for Docking Stations DOCKING ITEM CODE MAXIMUM SUPPORTED RESOLUTIONS * X 1 SCREEN X 2 SCREENS X 3 SCREENS USB TYPE C CSV-1560 3840x2160 @ 30Hz 1920x1200 @ 60Hz - CSV-1460 5120x2880 @ 60Hz 3840x2160 @ 60Hz - CSV-1562 4K 60Hz via DP or HDMI 4K 60Hz via DP or HDMI 4K 30Hz CSV-1564 CSV-1564W65 CSV-1564W100 HDMI™ 4K 30Hz DP™ 4K 30Hz VGA 1920x1200 @ 60Hz HDMI™ 1920x1080 @ 60Hz DP™ 1920x1080 @ 60HzVGA 1920x1080 @ 60Hz HDMI™ 1280x720 @ 60HzDP™ 1280x720 @ 60HzVGA 1280x720 @ 60Hz CSV-1591 4K 60Hz via DP or HDMI - - CSV-1592 4K60Hz via DP or HDMI - - CSV-1593 4K60Hz 4K/30Hz under MST mode (Windows™ System)4K/60Hz under SST mode (Mac™ System ONLY) - USB TYPE A CSV-3103D 3840x2160 @ 30Hz 2048x1152 @ 60Hz -    CSV-3104D 3840x2160 @ 30Hz 2048x1152 @ 60Hz - CSV-3242HD 2048x1152 @ 60Hz 2048x1152 @ 60Hz - CSV-3242HDA 2048x1152 @ 60Hz 2048x1152 @ 60Hz - CSV-1460 5120x2880 @ 60Hz 3840x2160 @ 60Hz - * The maximum supported resolutions are also dependent on the capacity of the Graphics inside the source system.

Last­ly, dou­bling the f‑number, such as chang­ing it from ƒ/2.8 to ƒ/5.6, reduces pic­ture bright­ness by one-quar­ter. And con­verse­ly, halv­ing the f‑number, such as adjust­ing from ƒ/8 to ƒ/4, increas­es pic­ture bright­ness four times.

Pupilaperture

Possible resolutions for HDMI™DescriptionResolutionRefresh Rate (Hz)Data RateHDMI Version / Maximum Data Rate*1.0 - 1.11.2 - 1.2a1.3 - 1.4b2.0 -2.0b2.13.96 Gbit/s[b]3.96 Gbit/s[b]8.16 Gbit/s[b]14.4 Gbit/s[b]42.6 Gbit/s[b]720p1280 x 72024592,42 Mbit/sYESYESYESYESYES30740,52 Mbit/sYESYESYESYESYES601,49 Mbit/sYESYESYESYESYES1203,08 Gbit/sNOYESYESYESYES1080p1920 × 1080301,63 Gbit/sYESYESYESYESYES603,29 Gbit/sYESYESYESYESYES1206,78 Gbit/sNONOYESYESYES1448,15 Gbit/sNONOYESYESYES24014,40 Gbit/sNONONOYESYES1440p2560 × 1440302,86 Gbit/sNOYESYESYESYES605,79 Gbit/sNONOYESYESYES757,29 Gbit/sNONOYESYESYES12011,92 Gbit/sNONONOYESYES14414,40 Gbit/sNONONOYESYES16516,76 Gbit/sNONONONOYES24025,32 Gbit/sNONONONOYES4K3840 × 2160306,36 Gbit/sNONOYESYESYES6012,90 Gbit/sNONONOYESYES7516,24 Gbit/sNONONONOYES12025,90 Gbit/sNONONONOYES14432,24 Gbit/sNONONONOYES24056,40 Gbit/sNONONONOYES DSC SUPPORT**5K5120 × 28803011,25 Gbit/sNONONOYESYES6022,81 Gbit/sNONONONOYES12046,96 Gbit/sNONONONOYES DSC SUPPORT**8K7680 × 43203025,18 Gbit/sNONONONOYES6051,07 Gbit/sNONONONOYES DSC SUPPORT**120105,11 Gbit/sNONONONOYES DSC SUPPORT***Maximum Data Rate means 8b/10b overhead subtracted. **DSC - Display Stream Compression. VESA (Video Electronics Standard Association) published a new standard in 2014 that uses visually lossless image compression to increase the amount of data carried by a display interface data rate, thus saving power.

Numerical aperture

A 50 mm lens set to ƒ/4 will have an entrance pupil diam­e­ter of 12.5 mm—because 50 divid­ed by 12.5 equals 4. A 24 mm lens set to ƒ/8 will have an entrance pupil diam­e­ter of 3 mm. Some lens­es can open to ƒ1.0, in which case the entrance pupil diam­e­ter and focal length are equal.

Field of view

Possible resolutions for DisplayPort™ Description Resolution Refresh Rate (Hz) Data Rate DisplayPort Version / Maximum Data Rate* 1.0 -1.1a 1.2 -1.2a 1.3 1.4 8.64 Gbit/s[b] 17.28 Gbit/s[b] 25.92 Gbit/s[b] 25.92 Gbit/s[b] 720p 1280 x 720 24 592,42 Mbit/s YES YES YES YES 30 740,52 Mbit/s YES YES YES YES 60 1,49 Mbit/s YES YES YES YES 120 3,08 Gbit/s YES YES YES YES 1080p 1920 × 1080 30 1,63 Gbit/s YES YES YES YES 60 3,29 Gbit/s YES YES YES YES 120 6,78 Gbit/s YES YES YES YES 144 8,15 Gbit/s YES YES YES YES 240 14,40 Gbit/s NO YES YES YES 1440p 2560 × 1440 30 2,86 Gbit/s YES YES YES YES 60 5,79 Gbit/s YES YES YES YES 75 7,29 Gbit/s YES YES YES YES 120 11,92 Gbit/s NO YES YES YES 144 14,40 Gbit/s NO YES YES YES 165 16,76 Gbit/s NO YES YES YES 240 25,32 Gbit/s NO NO YES YES 4K 3840 × 2160 30 6,36 Gbit/s YES YES YES YES 60 12,90 Gbit/s NO YES YES YES 75 16,24 Gbit/s NO YES YES YES 120 25,90 Gbit/s NO NO YES YES 144 32,24 Gbit/s NO NO NO YES DSC SUPPORT** 240 56,40 Gbit/s NO NO NO YES DSC SUPPORT** 5K 5120 × 2880 30 11,25 Gbit/s NO YES YES YES 60 22,81 Gbit/s NO NO YES YES 120 46,96 Gbit/s NO NO NO YES DSC SUPPORT** 8K 7680 × 4320 30 25,18 Gbit/s NO NO YES YES 60 51,07 Gbit/s NO NO NO YES DSC SUPPORT** 120 105,11 Gbit/s NO NO NO NO **Maximum Data Rate means 8b/10b overhead subtracted. **DSC - Display Stream Compression. VESA (Video Electronics Standard Association) published a new standard in 2014 that uses visually lossless image compression to increase the amount of data carried by a display interface data rate, thus saving power.

For­tu­nate­ly, pho­tog­ra­phers don’t need to per­form such cal­cu­la­tions to take pic­tures! That’s because hid­den with­in these num­bers is a straight­for­ward rela­tion­ship. For exam­ple, notice how the expo­sure pro­duced by the 50 mm lens with a 25 mm entrance pupil is iden­ti­cal to the 100 mm lens with a 50 mm entrance pupil. This is because in both cas­es, the ratio of the focal length to the entrance pupil diam­e­ter is 2:1.

These equa­tions demon­strate that choos­ing the same f‑number on a lens of any focal length will result in the same amount of light pass­ing through the lens. They also explain the inverse rela­tion­ship between f‑numbers and expo­sure. For a giv­en focal length, as the aperture’s size increas­es, the ratio decreas­es, and vice ver­sa.

The 100 mm lens can pro­vide an expo­sure equal to its 50 mm coun­ter­part by open­ing its aper­ture to col­lect four times more light, assum­ing its aper­ture can open that much. Since aper­tures are rough­ly cir­cu­lar, we can deter­mine how big they should be by cal­cu­lat­ing the area of a cir­cle. An entrance pupil with a 25 mm diam­e­ter has an area of about 491 mm^2. The 100 mm lens would need an entrance pupil with an area of 1,964 mm^2, which is formed by a cir­cle with a 50 mm diam­e­ter. Sim­ple, right?

Depth of focus

F-stops

Let’s pre­tend we have two lens­es attached to iden­ti­cal cam­eras: one lens is 50 mm and the oth­er is 100 mm, and both have entrance pupils with 25 mm diam­e­ters. Since their entrance pupils are iden­ti­cal in size, an equal amount of light enters each lens. How­ev­er, because the focal length of the 100 mm lens is twice that of the 50 mm lens, the light pass­ing through it has to trav­el twice the dis­tance to reach its camera’s image sen­sor, which pro­duces a dark­er image.

Aperturediameter

In both cas­es, the rela­tion­ship between the set­ting and its effect on pic­ture bright­ness is easy to under­stand because there’s a pos­i­tive cor­re­la­tion, and they move in tan­dem. For exam­ple, when you dou­ble the expo­sure dura­tion, it dou­bles the bright­ness; when you halve the ISO, it halves the bright­ness. It’s a sim­ple rela­tion­ship that stu­dents in my pho­tog­ra­phy work­shops grasp with ease.

Chang­ing the size of the aper­ture adjusts the inten­si­ty of light pass­ing through the lens. Increas­ing the aperture’s size allows more light to pass through the lens, increas­ing expo­sure and cre­at­ing a brighter pic­ture. Con­verse­ly, decreas­ing the aperture’s size reduces how much light pass­es through the lens, reduc­ing expo­sure and result­ing in a dark­er pho­to.

Hi there, my name is Paul, and this is Expo­sure Ther­a­py. In this video, I’ll explain the rea­son for the inverse numer­i­cal rela­tion­ship between f‑numbers and the aper­ture. This rela­tion­ship is a wide­spread point of con­fu­sion for many begin­ner pho­tog­ra­phers, who regard it as irra­tional or need­less­ly com­plex. My goal is to dis­pel the mys­tery around f‑numbers and demon­strate why they’re a per­fect­ly rea­son­able method for express­ing how the aper­ture affects expo­sure.

Unfor­tu­nate­ly, the rela­tion­ship between f‑numbers, aper­ture size, and pic­ture bright­ness is not as imme­di­ate­ly intu­itive. Begin­ners are con­fused by the neg­a­tive (or inverse) rela­tion­ship between f‑numbers and aper­ture size. In addi­tion, they have a hard time under­stand­ing why big­ger f‑numbers rep­re­sent small­er aper­tures that reduce bright­ness, and small­er f‑numbers define larg­er aper­tures that increase bright­ness.

The best way to address this is by start­ing with the basics. Inside every inter­change­able lens is a ring of over­lap­ping blades col­lec­tive­ly known as an iris diaphragm or iris. Expand­ing or con­tract­ing the blades adjusts the open­ing in the cen­tre of the iris, called the aper­ture.

Reduc­tion in bright­ness occurs because light has the prop­er­ty of spread­ing out as it recedes from its source, and from the per­spec­tive of your camera’s image sen­sor, this source is the point inside the lens from which focal length is mea­sured. This trait of light to dif­fuse out­wards is described by the Inverse Square Law, which states that inten­si­ty is inverse­ly pro­por­tion­al to the square of the dis­tance. In this exam­ple, the inverse square law informs us that the 100 mm lens expos­es its camera’s image sen­sor to 1/4 the light com­pared to the 50 mm lens because it’s twice as long. This occurs because one over two squared equals one-quar­ter.

Under­stand­ing the rela­tion­ship between pic­ture bright­ness and both the shut­ter speed and ISO is straight­for­ward for stu­dents learn­ing the basics of pho­tog­ra­phy. Shut­ter speed is expressed numer­i­cal­ly in time units, with the most com­mon being frac­tions of a sec­ond; longer dura­tions result in brighter pic­tures, and short­er dura­tions result in dark­er pic­tures. ISO is also expressed numer­i­cal­ly; big­ger num­bers pro­duce brighter pho­tos, and small­er num­bers make dark­er pho­tos.

Numerical Aperturecalculator

Most pho­tog­ra­phers sim­ply com­mit the stan­dard f‑number scale to mem­o­ry. How­ev­er, if you’re hav­ing trou­ble, a more straight­for­ward method is to remem­ber just the first two numbers—1 and 1.4—because the rest of the scale is an iter­a­tion of dou­bling each in alter­nat­ing order. The next f‑number is always dou­ble the pre­vi­ous one. So the num­ber after ƒ/1.4 is dou­ble of ƒ/1, which is ƒ2. Like­wise, the num­ber after ƒ/2 is dou­ble of ƒ/1.4, which is ƒ/2.8.  And on and on it goes.

I hope this helped you under­stand the inverse numer­i­cal rela­tion­ship between f‑numbers and their effect on the aper­ture. If you have requests for future top­ics, let me know in the com­ments, and I’ll address them in future videos. In the mean­time, you can learn more about pho­tog­ra­phy on ExposureTherapy.ca. See you next time.

numericalaperture中文

The stan­dard f‑number scale is: 1, 1.4, 2, 2.8, 4, 5.6, 8, 11, 16, 22, 32, and so on. The dif­fer­ence in expo­sure between adja­cent num­bers is one stop, which means that it either dou­bles or halves the amount of light pass­ing through the lens depend­ing on whether you’re open­ing or clos­ing the aper­ture. How­ev­er, the numer­ic sequence grows by a fac­tor of about 1.4 or shrinks by a fac­tor of about 0.7.

When you hold a lens up and look at the aper­ture, what you’re see­ing is tech­ni­cal­ly called the “entrance pupil.” The entrance pupil is the opti­cal image of the phys­i­cal aper­ture as seen through the front of the lens. This dis­tinc­tion mat­ters because when you look at the front of a lens, you see the aper­ture through mul­ti­ple lay­ers of glass that affect its mag­ni­fi­ca­tion and per­ceived loca­tion in space com­pared to the phys­i­cal open­ing in the iris. For the sake of sim­plic­i­ty, I’ll use “aper­ture” when refer­ring to both the set­ting and the phys­i­cal open­ing and “entrance pupil” in ref­er­ence to dimen­sions.

Possible resolutions for DVI Description Resolution Refresh Rate (Hz) Data Rate DVI / Maximum Data Rate* Single Link Dual Link 3.96 Gbit/s[b] 7.92 Gbit/s[b] 720p 1280 x 720 24 592,42 Mbit/s YES YES 30 740,52 Mbit/s YES YES 60 1,49 Mbit/s YES YES 120 3,08 Gbit/s NO YES 1080p 1920 × 1080 30 1,63 Gbit/s YES YES 60 3,29 Gbit/s YES YES 120 6,78 Gbit/s NO YES 144 8,15 Gbit/s NO NO 240 14,40 Gbit/s NO NO 1440p 2560 × 1440 30 2,86 Gbit/s NO YES 60 5,79 Gbit/s NO YES 75 7,29 Gbit/s NO YES 120 11,92 Gbit/s NO NO 144 14,40 Gbit/s NO NO 165 16,76 Gbit/s NO NO 240 25,32 Gbit/s NO NO 4K 3840 × 2160 30 6,36 Gbit/s NO YES 60 12,90 Gbit/s NO NO 75 16,24 Gbit/s NO NO 120 25,90 Gbit/s NO NO 144 32,24 Gbit/s NO NO 240 56,40 Gbit/s NO NO 5K 5120 × 2880 30 11,25 Gbit/s NO NO 60 22,81 Gbit/s NO NO 120 46,96 Gbit/s NO NO 8K 7680 × 4320 30 25,18 Gbit/s NO NO 60 51,07 Gbit/s NO NO 120 105,11 Gbit/s NO NO *Maximum Data Rate means 8b/10b overhead subtracted.

We express aper­ture val­ues using f‑numbers and not as the mea­sured size of the entrance pupil, such as its diam­e­ter, radius, or area, because it neglects the essen­tial role of focal length. This can be demon­strat­ed with a thought exer­cise.

This is pre­cise­ly why the f‑number is some­times called the f‑ratio. The f‑number express­es a ratio of the lens focal length to the diam­e­ter of the entrance pupil, and it’s defined by the equa­tion N=ƒ/D. Thus, the f‑number equals the focal length divid­ed by the entrance pupil diam­e­ter. It can also be mod­i­fied to solve for the entrance pupil diam­e­ter using the equa­tion D=ƒ/N. Thus, the entrance pupil diam­e­ter equals the focal length divid­ed by the f‑number.