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The focal length of a lens is the distance (D) between the plane of the sensor (C) and the optical centre or nodal point (B) of the lens. This determines the lens's angle of view (A).

The largest digital sensors in commercially available cameras are described as "medium format", in reference to film formats of similar dimensions. Although the most common medium format film, the 120 roll, is 6 cm (2.4 in) wide, and is most commonly shot square, the most common "medium-format" digital sensor sizes are approximately 48 mm × 36 mm (1.9 in × 1.4 in), which is roughly twice the size of a full-frame DSLR sensor format.

In order to maintain pixel counts smaller sensors will tend to have smaller pixels, while at the same time smaller objective lens f-numbers are required to maximise the amount of light projected on the sensor. To combat the effect discussed above, smaller format pixels include engineering design features to allow the reduction in f-number of their microlenses. These may include simplified pixel designs which require less metallisation, 'light pipes' built within the pixel to bring its apparent surface closer to the microlens and 'back side illumination' in which the wafer is thinned to expose the rear of the photodetectors and the microlens layer is placed directly on that surface, rather than the front side with its wiring layers.[b]

As of November 2013[update], there was only one mirrorless model equipped with a very small sensor, more typical of compact cameras: the Pentax Q7, with a 1/1.7" sensor (4.55 crop factor). See Sensors equipping Compact digital cameras and camera-phones section below.

Available CCD sensors include Phase One's P65+ digital back with Dalsa's 53.9 mm × 40.4 mm (2.12 in × 1.59 in) sensor containing 60.5 megapixels[20] and Leica's "S-System" DSLR with a 45 mm × 30 mm (1.8 in × 1.2 in) sensor containing 37-megapixels.[21] In 2010, Pentax released the 40MP 645D medium format DSLR with a 44 mm × 33 mm (1.7 in × 1.3 in) CCD sensor;[22] later models of the 645 series kept the same sensor size but replaced the CCD with a CMOS sensor. In 2016, Hasselblad announced the X1D, a 50MP medium-format mirrorless camera, with a 44 mm × 33 mm (1.7 in × 1.3 in) CMOS sensor.[23] In late 2016, Fujifilm also announced its new Fujifilm GFX 50S medium format, mirrorless entry into the market, with a 43.8 mm × 32.9 mm (1.72 in × 1.30 in) CMOS sensor and 51.4MP. [24] [25]

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Due to inch-based sensor formats not being standardized, their exact dimensions may vary, but those listed are typical.[29] The listed sensor areas span more than a factor of 1000 and are proportional to the maximum possible collection of light and image resolution (same lens speed, i.e., minimum f-number), but in practice are not directly proportional to image noise or resolution due to other limitations. See comparisons.[31][32] Film format sizes are also included, for comparison. The application examples of phone or camera may not show the exact sensor sizes.

For the 'same picture' conditions, same angle of view, subject distance and depth of field, then the f-numbers are in the ratio 1 / C {\displaystyle 1/C} , so the scale factor for the diffraction MTF is 1, leading to the conclusion that the diffraction MTF at a given depth of field is independent of sensor size.

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Focal length size guide ; 35mm - 85mm. Standard. Street, travel, portrait ; 85mm - 135mm. Short telephoto. Street photography and portraits ; 135mm+. Medium ...

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As of 2018 high-end compact cameras using one inch sensors that have nearly four times the area of those equipping common compacts include Canon PowerShot G-series (G3 X to G9 X), Sony DSC RX100 series, Panasonic Lumix TZ100 and Panasonic DMC-LX15. Canon has APS-C sensor on its top model PowerShot G1 X Mark III.

The resolution of all optical systems is limited by diffraction. One way of considering the effect that diffraction has on cameras using different sized sensors is to consider the modulation transfer function (MTF). Diffraction is one of the factors that contribute to the overall system MTF. Other factors are typically the MTFs of the lens, anti-aliasing filter and sensor sampling window.[7] The spatial cut-off frequency due to diffraction through a lens aperture is

In general for a planar structure such as a pixel, capacitance is proportional to area, therefore the read noise scales down with sensor area, as long as pixel area scales with sensor area, and that scaling is performed by uniformly scaling the pixel.

In summary, as sensor size reduces, the accompanying lens designs will change, often quite radically, to take advantage of manufacturing techniques made available due to the reduced size. The functionality of such lenses can also take advantage of these, with extreme zoom ranges becoming possible. These lenses are often very large in relation to sensor size, but with a small sensor can be fitted into a compact package.

• What is focal length? • Understanding prime and zoom lenses • How crop factor affects focal length • What is the focal length of the human eye? • Wide-angle, standard and telephoto lenses explained • Gaining extra reach with lens extenders and teleconverters

Most sensors are made for camera phones, compact digital cameras, and bridge cameras. Most image sensors equipping compact cameras have an aspect ratio of 4:3. This matches the aspect ratio of the popular SVGA, XGA, and SXGA display resolutions at the time of the first digital cameras, allowing images to be displayed on usual monitors without cropping.

True or falsefocal vision is the vision that identifiesspecific objects

Lenses can be divided into three broad categories according to focal length: wide-angle, standard and telephoto. Wide-angle lenses – loosely defined as lenses with a wider field of view than the human eye – are lenses with a focal length up to around 35mm. These are useful for large group portraits, architectural photography and capturing expansive vistas in landscape photography. They are also popular with vloggers who want to include plenty of their environment in the frame. Lenses with focal lengths below about 24mm (full frame equivalent) are sometimes referred to as "ultra-wide". Standard lenses are those with a focal length of around 50mm, or more broadly from about 35mm to 85mm. These, as we have noted, are generally said to have a "natural perspective" comparable to that of the human eye, making them a popular choice for travel and portrait photography as well as all-purpose lenses whenever a distortion-free perspective is desired. Telephoto lenses – those with a focal length of around 85mm or more – produce a more tightly framed view than the human eye, making them ideal for photographing distant subjects without moving closer to them. This includes photographing people at social events and capturing outdoor portraits. Lenses above 300mm are often called "super-telephoto". Lenses such as the RF 600mm F4L IS USM and RF 800mm F5.6L IS USM are highly valued for sporting events and wildlife photography when it's impossible to get close to the subject. The longer the lens, the more tightly the subject can be framed, or the more distant the subject can be.

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In order to avoid shading, G p i x e l ≥ G o b j e c t i v e , {\textstyle G_{\mathrm {pixel} }\geq G_{\mathrm {objective} },} therefore w p h o t o r e c e p t o r ( f / # ) m i c r o l e n s ≥ w p i x e l ( f / # ) o b j e c t i v e . {\displaystyle {\frac {w_{\mathrm {photoreceptor} }}{{(f/\#)}_{\mathrm {microlens} }}}\geq {\frac {w_{\mathrm {pixel} }}{{(f/\#)}_{\mathrm {objective} }}}.}

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The read noise is the total of all the electronic noises in the conversion chain for the pixels in the sensor array. To compare it with photon noise, it must be referred back to its equivalent in photoelectrons, which requires the division of the noise measured in volts by the conversion gain of the pixel. This is given, for an active pixel sensor, by the voltage at the input (gate) of the read transistor divided by the charge which generates that voltage, C G = V r t / Q r t {\displaystyle CG=V_{rt}/Q_{rt}} . This is the inverse of the capacitance of the read transistor gate (and the attached floating diffusion) since capacitance C = Q / V {\displaystyle C=Q/V} .[3] Thus C G = 1 / C r t {\displaystyle CG=1/C_{rt}} .

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When full-frame sensors were first introduced, production costs could exceed twenty times the cost of an APS-C sensor. Only twenty full-frame sensors can be produced on an 8 inches (20 cm) silicon wafer, which would fit 100 or more APS-C sensors, and there is a significant reduction in yield due to the large area for contaminants per component. Additionally, full frame sensor fabrication originally required three separate exposures during each step of the photolithography process, which requires separate masks and quality control steps. Canon selected the intermediate APS-H size, since it was at the time the largest that could be patterned with a single mask, helping to control production costs and manage yields.[18] Newer photolithography equipment now allows single-pass exposures for full-frame sensors, although other size-related production constraints remain much the same.

Bird photography is one specialism where it really helps to have a lens with the longest reach possible. The RF 200-800mm F6.3-9 IS USM lens is currently the longest reaching telephoto zoom lens for the RF mount, and its very versatile focal length range, combined with 5.5-stop optical image stabilisation, makes it ideal for photographers looking for an all-in-one wildlife lens. Plus, as nature photographer Guy Edwardes points out, "the longer the focal length, the quicker the background and foreground elements fall out of focus, while your subject stays sharp." Taken on a Canon EOS R5 with a Canon RF 200-800mm F6.3-9 IS USM lens at 637mm, 1/3200 sec, f/9 and ISO 1250 © Guy Edwardes

Dark current contributes two kinds of noise: dark offset, which is only partly correlated between pixels, and the shot noise associated with dark offset, which is uncorrelated between pixels. Only the shot-noise component Dt is included in the formula above, since the uncorrelated part of the dark offset is hard to predict, and the correlated or mean part is relatively easy to subtract off. The mean dark current contains contributions proportional both to the area and the linear dimension of the photodiode, with the relative proportions and scale factors depending on the design of the photodiode.[4] Thus in general the dark noise of a sensor may be expected to rise as the size of the sensor increases. However, in most sensors the mean pixel dark current at normal temperatures is small, lower than 50 e- per second,[5] thus for typical photographic exposure times dark current and its associated noises may be discounted. At very long exposure times, however, it may be a limiting factor. And even at short or medium exposure times, a few outliers in the dark-current distribution may show up as "hot pixels". Typically, for astrophotography applications sensors are cooled to reduce dark current in situations where exposures may be measured in several hundreds of seconds.

A visualisation of the approximate angle of view of lenses with different focal lengths, from 15mm (ultra-wide) to 400mm (super-telephoto). (Sensor size also affects the maximum angle of view possible; for simplicity, this assumes lenses are attached to a full-frame camera.) The longer the focal length, the narrower the angle of view.

where λ is the wavelength of the light passing through the system and N is the f-number of the lens. If that aperture is circular, as are (approximately) most photographic apertures, then the MTF is given by

for ξ < ξ c u t o f f {\displaystyle \xi <\xi _{\mathrm {cutoff} }} and 0 {\displaystyle 0} for ξ ≥ ξ c u t o f f {\displaystyle \xi \geq \xi _{\mathrm {cutoff} }} [8] The diffraction based factor of the system MTF will therefore scale according to ξ c u t o f f {\displaystyle \xi _{\mathrm {cutoff} }} and in turn according to 1 / N {\displaystyle 1/N} (for the same light wavelength).

Semiconductor image sensors can suffer from shading effects at large apertures and at the periphery of the image field, due to the geometry of the light cone projected from the exit pupil of the lens to a point, or pixel, on the sensor surface. The effects are discussed in detail by Catrysse and Wandell.[14] In the context of this discussion the most important result from the above is that to ensure a full transfer of light energy between two coupled optical systems such as the lens' exit pupil to a pixel's photoreceptor the geometrical extent (also known as etendue or light throughput) of the objective lens / pixel system must be smaller than or equal to the geometrical extent of the microlens / photoreceptor system. The geometrical extent of the objective lens / pixel system is given by G o b j e c t i v e ≃ w p i x e l 2 ( f / # ) o b j e c t i v e , {\displaystyle G_{\mathrm {objective} }\simeq {\frac {w_{\mathrm {pixel} }}{2{(f/\#)}_{\mathrm {objective} }}}\,,} where wpixel is the width of the pixel and (f/#)objective is the f-number of the objective lens. The geometrical extent of the microlens / photoreceptor system is given by G p i x e l ≃ w p h o t o r e c e p t o r 2 ( f / # ) m i c r o l e n s , {\displaystyle G_{\mathrm {pixel} }\simeq {\frac {w_{\mathrm {photoreceptor} }}{2{(f/\#)}_{\mathrm {microlens} }}}\,,} where wphotoreceptor is the width of the photoreceptor and (f/#)microlens is the f-number of the microlens.

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Sizes are often expressed as a fraction of an inch, with a one in the numerator, and a decimal number in the denominator. For example, 1/2.5 converts to 2/5 as a simple fraction, or 0.4 as a decimal number. This "inch" system gives a result approximately 1.5 times the length of the diagonal of the sensor. This "optical format" measure goes back to the way image sizes of video cameras used until the late 1980s were expressed, referring to the outside diameter of the glass envelope of the video camera tube. David Pogue of The New York Times states that "the actual sensor size is much smaller than what the camera companies publish – about one-third smaller." For example, a camera advertising a 1/2.7" sensor does not have a sensor with a diagonal of 0.37 in (9.4 mm); instead, the diagonal is closer to 0.26 in (6.6 mm).[28][29][30] Instead of "formats", these sensor sizes are often called types, as in "1/2-inch-type CCD."

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Some zoom lenses cover more than one of these categories, with some going all the way from wide-angle to telephoto, such as the versatile Canon RF 24-240mm F4-6.3 IS USM. Super-telephoto lenses used to be accessible only to dedicated professionals able to justify the investment, but advances in lens design and technologies have brought RF lenses with focal lengths above 400mm within the reach of a much broader range of users. The RF 600mm F11 IS STM, for example, is perfect for animal portraits and casual wildlife photography even in your back garden thanks to its short closest focusing distance, and is much more affordable than its pro 600mm counterparts. The same applies to the RF 800mm F11 IS STM, which is ideal for travel and wildlife, including specialist interests such as bird and aviation photography.

A macro lens is a camera lens designed for photographing small subjects at very close distances. They can focus much nearer than normal lenses.

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Three possible depth-of-field comparisons between formats are discussed, applying the formulae derived in the article on depth of field. The depths of field of the three cameras may be the same, or different in either order, depending on what is held constant in the comparison.

Canon offers lens extenders to suit RF lenses (left) and EF lenses (right), which can increase the reach of a compatible lens by up to double. They can be a great option if you need to travel light, because they are much more compact than a second lens.

Finally, Sony has the DSC-RX1 and DSC-RX1R cameras in their lineup, which have a full-frame sensor usually only used in professional DSLRs, SLTs and MILCs.

Focal length is crucial because it determines the lens's field of view. The longer the focal length, the narrower the area of the scene captured by the lens. This means that a lens with a short focal length such as the Canon RF 16mm F2.8 STM captures a much broader view than a telephoto lens such as the RF 1200mm F8L IS USM. This is often expressed as a lens's angle of view, which is the angle between two lines drawn out from the nodal point to the outer edge of the lens's field of view. A shorter focal length, such as 24mm, produces a wide angle of view. A distant subject will appear smaller in the frame than it does when viewed through a lens with a narrow angle of view (that is, a longer focal length). Because a camera's sensor and image frame are rectangular, you will sometimes see three measurements given for a lens's angle of view – horizontal, vertical and diagonal (corner-to-corner). For the RF 16mm F2.8 STM, the angles of view are 98°, 74°10' and 108°10' (horizontal, vertical and diagonal), while for the RF 1200mm F8L IS USM they are 1°45', 1°10' and 2°05'. Often, however, just one angle of view is quoted, usually the diagonal.

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where l 1 {\displaystyle l_{1}} and l 2 {\displaystyle l_{2}} are the characteristic dimensions of the format, and thus l 1 / l 2 {\displaystyle l_{1}/l_{2}} is the relative crop factor between the sensors. It is this result that gives rise to the common opinion that small sensors yield greater depth of field than large ones.

Some professional DSLRs, SLTs and mirrorless cameras use full-frame sensors, equivalent to the size of a frame of 35 mm film.

Most consumer-level DSLRs, SLTs and mirrorless cameras use relatively large sensors, either somewhat under the size of a frame of APS-C film, with a crop factor of 1.5–1.6; or 30% smaller than that, with a crop factor of 2.0 (this is the Four Thirds System, adopted by Olympus and Panasonic).

Prime lenses are typically smaller and lighter than zoom lenses. The Canon RF 28mm F2.8 STM, for example, is very lightweight and compact at just 24.7mm long, making it ideal for travel and street photography.

In both the 'same photometric exposure' and 'same lens' conditions, the f-number is not changed, and thus the spatial cutoff and resultant MTF on the sensor is unchanged, leaving the MTF in the viewed image to be scaled as the magnification, or inversely as the crop factor.

Image sensor noise can be compared across formats for a given fixed photon flux per pixel area (the P in the formulas); this analysis is useful for a fixed number of pixels with pixel area proportional to sensor area, and fixed absolute aperture diameter for a fixed imaging situation in terms of depth of field, diffraction limit at the subject, etc. Or it can be compared for a fixed focal-plane illuminance, corresponding to a fixed f-number, in which case P is proportional to pixel area, independent of sensor area. The formulas above and below can be evaluated for either case.

The image sensor format of a digital camera determines the angle of view of a particular lens when used with a particular sensor. Because the image sensors in many digital cameras are smaller than the 24 mm × 36 mm image area of full-frame 35 mm cameras, a lens of a given focal length gives a narrower field of view in such cameras.

where P {\displaystyle P} is the incident photon flux (photons per second in the area of a pixel), Q e {\displaystyle Q_{e}} is the quantum efficiency, t {\displaystyle t} is the exposure time, D {\displaystyle D} is the pixel dark current in electrons per second and N r {\displaystyle N_{r}} is the pixel read noise in electrons rms.[2]

Due to the size constraints of powerful zoom objectives, most current bridge cameras have 1/2.3" sensors, as small as those used in common more compact cameras. As lens sizes are proportional to the image sensor size, smaller sensors enable large zoom amounts with moderate size lenses. In 2011 the high-end Fujifilm X-S1 was equipped with a much larger 2/3" sensor. In 2013–2014, both Sony (Cyber-shot DSC-RX10) and Panasonic (Lumix DMC-FZ1000) produced bridge cameras with 1" sensors.

If wphotoreceptor / wpixel = ff, the linear fill factor of the lens, then the condition becomes ( f / # ) m i c r o l e n s ≤ ( f / # ) o b j e c t i v e × f f . {\displaystyle {(f/\#)}_{\mathrm {microlens} }\leq {(f/\#)}_{\mathrm {objective} }\times {\mathit {ff}}\,.}

In considering the effect of sensor size, and its effect on the final image, the different magnification required to obtain the same size image for viewing must be accounted for, resulting in an additional scale factor of 1 / C {\displaystyle 1/{C}} where C {\displaystyle {C}} is the relative crop factor, making the overall scale factor 1 / ( N C ) {\displaystyle 1/(NC)} . Considering the three cases above:

Telephoto and super telephoto lenses are a great choice for sports photography because they make it possible to fill the frame with the subject without having to get close. Taken on a Canon EOS R with a Canon RF 600mm F11 IS STM lens at 1/1600 sec, f/11 and ISO 800.

Photographing small and distant subjects requires a long focal length to fill the frame with the subject. This is also handy for photographing wildlife that may be spooked by a photographer attempting to get close. Taken on a Canon EOS R with a Canon RF 800mm F11 IS STM lens at 1/40 sec, f/11 and ISO 1600.

As of December 2010[update] most compact digital cameras used small 1/2.3" sensors. Such cameras include Canon Powershot SX230 IS, Fuji Finepix Z90 and Nikon Coolpix S9100. Some older digital cameras (mostly from 2005–2010) used even smaller 1/2.5" sensors: these include Panasonic Lumix DMC-FS62, Canon Powershot SX120 IS, Sony Cyber-shot DSC-S700, and Casio Exilim EX-Z80.

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Photographers and videographers often aspire to capture a "natural perspective" – a view comparable to that of the human eye. Comparison is tricky, however, both because the retina is curved and because human vision is normally binocular. Each of our eyes has a field of view of around 120-200°. It's a range because we can usually only detect movement at the outer edges of our vision rather than pick out specific details. There's around 130° of overlap in the field of view of our eyes, but our central vision equates to approximately 40-60°. It is generally accepted that a 50mm lens provides a perspective closest to the human eye, although the field of view is not exactly the same. Different lenses paired with different cameras and even lens extenders (see below) can offer a wide range of effective focal lengths, some of which are a close match to the perspective of the human eye. The Canon RF 5.2mm F2.8L DUAL FISHEYE lens takes a different approach. This specialist lens, part of Canon's pioneering EOS VR SYSTEM, is two fisheye lenses in one. The centres of the two lens elements are approximately 60mm apart – the average distance between the centres of the pupils in human eyes – to provide a natural stereoscopic viewing experience. On a compatible full-frame camera capable of 8K video capture such as the EOS R5, this left- and right-eye footage is captured as a single 180° VR file. After processing, the result is immersive VR footage where the viewer with a compatible headset can look up, down, left and right around a complete 180° field of view.

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There is another factor that affects the field of view in a given image: the camera's sensor size. APS-C sensors are physically smaller than full-frame sensors, which means APS-C cameras won't utilise the full field of view of a full-frame lens. Instead, the image will be cropped to the sensor's smaller active area. The effect of this reduced field of view is the same as zooming in, making the subject larger in the frame. This change in the framing can therefore be described in two ways: you can say the APS-C sensor introduces a crop factor or a focal length multiplier. The two are actually the same thing. For Canon APS-C cameras, the focal length multiplier (or crop factor) is 1.6x. This means that using a 50mm lens on a Canon APS-C camera gives a field of view equivalent to that of an 80mm lens on a full-frame camera (50 x 1.6 = 80). Hence, if you use the RF 50mm F1.8 STM lens, for example, on an APS-C camera such as the EOS R7, the lens is said to have an effective focal length of 80mm. The formula is the same when you use a zoom lens, but of course the calculation starts with the focal length to which you have set the lens. To be clear, all this also applies to RF-S lenses. These lenses are designed for use with APS-C cameras and therefore project a smaller image circle than full-frame lenses, but the focal lengths given in their names describe their optical construction, as explained above. When you fit them on APS-C cameras, you still require the same calculation to determine their effective focal lengths – so the Canon RF-S 18-45mm F4.5-6.3 IS STM lens, for example, has an effective focal length of 28.8-72mm when fitted on an APS-C camera.

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Lenses can be divided into two types: prime and zoom lenses. Prime lenses are those with a fixed focal length, such as the Canon RF 35mm F1.8 Macro IS STM, RF 85mm F1.2L USM and RF 100mm F2.8L Macro IS USM. A fixed focal length means that the perspective of the image can be changed only by physically moving the camera closer towards the subject or further away. In contrast, zoom lenses have variable focal lengths. The Canon RF 14-35mm F4L IS USM, for instance, offers any focal length from 14mm to 35mm, while the popular RF 24-105mm F4L IS USM offers focal lengths from 24mm to 105mm, a broad range which makes it an excellent choice for everyday photography. Meanwhile, the RF 100-500mm F4.5-7.1L IS USM is a favourite lens for wildlife photography when the distance between the camera and the subject can vary dramatically. This versatility means zoom lenses are more convenient because you can carry just one lens to be prepared for a range of shooting situations. However, prime lenses also have great benefits, such as being smaller and lighter or offering better optical quality and larger apertures. Find out more about choosing between prime and zoom lenses.

so the DOFs are in inverse proportion to the absolute aperture diameters d 1 {\displaystyle d_{1}} and d 2 {\displaystyle d_{2}} .

central or "fringe"vision is theedge of othervisionareas. a) true b) false

In a very simple lens containing just one element, the focal length is the distance in millimetres between the focal plane and the centre of the element when the lens is focused at infinity. In a film camera, the focal plane is the film; in a digital camera, it's the light-receptive surface of the sensor. Modern lenses are much more complex than a single element, but they still have an optical centre known as the nodal point. That's the spot through which all light rays pass, converging to a point on their way to the sensor. The focal length is the distance between the focal plane and the lens's nodal point. This partly explains how two lenses can have different dimensions and yet the same focal length – it's the optical centre that matters, not the physical length of the casing. The maximum aperture also has an impact. The Canon RF 50mm F1.8 STM and RF 50mm F1.2L USM, for example, which have the same focal length but different apertures, measure 60.3mm vs. 115.1mm in length respectively (fully extended). Their maximum diameters are 69.2mm for the former, as compared to 89.8mm for the latter.

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When a full-frame lens is mounted on an APS-C camera, the smaller sensor crops the image, making the subject larger in the frame. The effect is to increase the reach of the lens, so that a 500mm lens on an APS-C camera has the same field of view as an 800mm lens on a full-frame camera.

It might be expected that lenses appropriate for a range of sensor sizes could be produced by simply scaling the same designs in proportion to the crop factor.[9] Such an exercise would in theory produce a lens with the same f-number and angle of view, with a size proportional to the sensor crop factor. In practice, simple scaling of lens designs is not always achievable, due to factors such as the non-scalability of manufacturing tolerance, structural integrity of glass lenses of different sizes and available manufacturing techniques and costs. Moreover, to maintain the same absolute amount of information in an image (which can be measured as the space-bandwidth product[10]) the lens for a smaller sensor requires a greater resolving power. The development of the 'Tessar' lens is discussed by Nasse,[11] and shows its transformation from an f/6.3 lens for plate cameras using the original three-group configuration through to an f/2.8 5.2 mm four-element optic with eight extremely aspheric surfaces, economically manufacturable because of its small size. Its performance is 'better than the best 35 mm lenses – but only for a very small image'.

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Coherence length is the distance over which a coherent beam of light maintains a specified degree of coherence. It is a critical concept in understanding ...

Due to the ever-changing constraints of semiconductor fabrication and processing, and because camera manufacturers often source sensors from third-party foundries, it is common for sensor dimensions to vary slightly within the same nominal format. For example, the Nikon D3 and D700 cameras' nominally full-frame sensors actually measure 36 × 23.9 mm, slightly smaller than a 36 × 24 mm frame of 35 mm film. As another example, the Pentax K200D's sensor (made by Sony) measures 23.5 × 15.7 mm, while the contemporaneous K20D's sensor (made by Samsung) measures 23.4 × 15.6 mm.

Apart from the quantum efficiency it depends on the incident photon flux and the exposure time, which is equivalent to the exposure and the sensor area; since the exposure is the integration time multiplied with the image plane illuminance, and illuminance is the luminous flux per unit area. Thus for equal exposures, the signal to noise ratios of two different size sensors of equal quantum efficiency and pixel count will (for a given final image size) be in proportion to the square root of the sensor area (or the linear scale factor of the sensor). If the exposure is constrained by the need to achieve some required depth of field (with the same shutter speed) then the exposures will be in inverse relation to the sensor area, producing the interesting result that if depth of field is a constraint, image shot noise is not dependent on sensor area. For identical f-number lenses the signal to noise ratio increases as square root of the pixel area, or linearly with pixel pitch. As typical f-numbers for lenses for cell phones and DSLR are in the same range f/1.5–2 it is interesting to compare performance of cameras with small and big sensors. A good cell phone camera with typical pixel size 1.1 μm (Samsung A8) would have about 3 times worse SNR due to shot noise than a 3.7 μm pixel interchangeable lens camera (Panasonic G85) and 5 times worse than a 6 μm full frame camera (Sony A7 III). Taking into consideration the dynamic range makes the difference even more prominent. As such the trend of increasing the number of "megapixels" in cell phone cameras during last 10 years was caused rather by marketing strategy to sell "more megapixels" than by attempts to improve image quality.

Thus if shading is to be avoided the f-number of the microlens must be smaller than the f-number of the taking lens by at least a factor equal to the linear fill factor of the pixel. The f-number of the microlens is determined ultimately by the width of the pixel and its height above the silicon, which determines its focal length. In turn, this is determined by the height of the metallisation layers, also known as the 'stack height'. For a given stack height, the f-number of the microlenses will increase as pixel size reduces, and thus the objective lens f-number at which shading occurs will tend to increase.[a]

An alternative is to consider the depth of field given by the same lens in conjunction with different sized sensors (changing the angle of view). The change in depth of field is brought about by the requirement for a different degree of enlargement to achieve the same final image size. In this case the ratio of depths of field becomes

Most of these image sensor formats approximate the 3:2 aspect ratio of 35 mm film. Again, the Four Thirds System is a notable exception, with an aspect ratio of 4:3 as seen in most compact digital cameras (see below).

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In practice, if applying a lens with a fixed focal length and a fixed aperture and made for an image circle to meet the requirements for a large sensor is to be adapted, without changing its physical properties, to smaller sensor sizes neither the depth of field nor the light gathering l x = l m m 2 {\displaystyle \mathrm {lx=\,{\frac {lm}{m^{2}}}} } will change.

Using the same absolute aperture diameter for both formats with the "same picture" criterion (equal angle of view, magnified to same final size) yields the same depth of field. It is equivalent to adjusting the f-number inversely in proportion to crop factor – a smaller f-number for smaller sensors (this also means that, when holding the shutter speed fixed, the exposure is changed by the adjustment of the f-number required to equalise depth of field. But the aperture area is held constant, so sensors of all sizes receive the same total amount of light energy from the subject. The smaller sensor is then operating at a lower ISO setting, by the square of the crop factor). This condition of equal field of view, equal depth of field, equal aperture diameter, and equal exposure time is known as "equivalence".[1]

Short focal lengths capture a wider view, making them ideal for sweeping landscape shots or environmental portraits, where it is important to capture the setting as well as the subject. Taken on a Canon EOS R5 with a Canon RF 24-105mm F2.8L IS USM Z lens at 24mm, 1/2000 sec, f/3.5 and ISO 100.

Lenses produced for 35 mm film cameras may mount well on the digital bodies, but the larger image circle of the 35 mm system lens allows unwanted light into the camera body, and the smaller size of the image sensor compared to 35 mm film format results in cropping of the image. This latter effect is known as field-of-view crop. The format size ratio (relative to the 35 mm film format) is known as the field-of-view crop factor, crop factor, lens factor, focal-length conversion factor, focal-length multiplier, or lens multiplier.

Sensor sizes are expressed in inches notation because at the time of the popularization of digital image sensors they were used to replace video camera tubes. The common 1" outside diameter circular video camera tubes have a rectangular photo sensitive area about 16 mm on the diagonal, so a digital sensor with a 16 mm diagonal size is a 1" video tube equivalent. The name of a 1" digital sensor should more accurately be read as "one inch video camera tube equivalent" sensor. Current digital image sensor size descriptors are the video camera tube equivalency size, not the actual size of the sensor. For example, a 1" sensor has a diagonal measurement of 16 mm.[26][27]

If a standard reference pointisnot used correctly it does not affecttheother reference points

Some lenses are compatible with lens extenders such as the Extender RF 1.4x and Extender RF 2x. Also known as teleconverters, these increase the focal length of a compatible lens by a factor of 1.4x and 2x respectively, allowing much tighter subject framing. The trade-off is a reduction in maximum aperture (1-stop and 2-stop respectively), but the lens still retains its autofocusing capability. Extenders are much smaller, lighter and more affordable than telephoto lenses, so they can be a great option for increasing your reach without having to carry an additional lens. Some lenses have an extender built-in. The Canon EF 200-400mm f/4L IS USM Extender 1.4x, for instance, incorporates a 1.4x teleconverter. This extends its normal focal length range of 200-400mm, which is perfect for many sports, to 280-560mm. That's very handy for more distant subjects, for example when the action in a football or rugby match is on the far side of the pitch. Some cameras, including the EOS R8, EOS R50 and PowerShot SX70 HS, have a digital teleconverter feature that magnifies the central portion of an image. On the EOS R6 Mark II, this feature gives a choice of a 2x or 4x digital zoom, which effectively doubles or quadruples the focal length of the lens you have mounted. On the EOS R6 Mark II and EOS R8 this can even be used in conjunction with a built-in 1.6x crop feature, which emulates the field of view of an APS-C sensor to increase the reach of the lens. Whatever you want to photograph, close or distant, Canon RF lenses offer a comprehensive range of focal lengths from 5.2mm all the way to 1200mm – and beyond to 2400mm with extenders – to help you get the shot you're after.

Using the right lens is arguably the most critical part of your photographic setup. It's the optical quality of the lens, not the camera's resolution, that determines how sharp your images are. It's the lens that governs how much of the scene you're shooting is in focus, because it's primarily the lens aperture that dictates the depth of field. Crucially, it is also the lens's focal length that determines whether you capture a wide vista or a close-up of a distant subject. Here we'll explain what focal length is and how it determines what part of the scene is captured by the camera, and explore focal length related terms such as prime, zoom and telephoto.

Lens extenders (also known as teleconverters) increase the effective focal length of your lenses. Find out how lens extenders can enhance your telephoto capabilities and prove helpful especially when you can't physically get closer to your subject.

Dynamic range is the ratio of the largest and smallest recordable signal, the smallest being typically defined by the 'noise floor'. In the image sensor literature, the noise floor is taken as the readout noise, so D R = Q max / σ readout {\displaystyle DR=Q_{\text{max}}/\sigma _{\text{readout}}} [6] (note, the read noise σ r e a d o u t {\displaystyle \sigma _{readout}} is the same quantity as N r {\displaystyle N_{r}} referred to in the SNR calculation[2]).

Small body means small lens and means small sensor, so to keep smartphones slim and light, the smartphone manufacturers use a tiny sensor usually less than the 1/2.3" used in most bridge cameras. At one time only Nokia 808 PureView used a 1/1.2" sensor, almost three times the size of a 1/2.3" sensor. Bigger sensors have the advantage of better image quality, but with improvements in sensor technology, smaller sensors can achieve the feats of earlier larger sensors. These improvements in sensor technology allow smartphone manufacturers to use image sensors as small as 1/4" without sacrificing too much image quality compared to budget point & shoot cameras.[12]

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The sensors of camera phones are typically much smaller than those of typical compact cameras, allowing greater miniaturization of the electrical and optical components. Sensor sizes of around 1/6" are common in camera phones, webcams and digital camcorders. The Nokia N8 (2010)'s 1/1.83" sensor was the largest in a phone in late 2011. The Nokia 808 (2012) surpasses compact cameras with its 41 million pixels, 1/1.2" sensor.[19]

Considering the signal to noise ratio due to read noise at a given exposure, the signal will scale as the sensor area along with the read noise and therefore read noise SNR will be unaffected by sensor area. In a depth of field constrained situation, the exposure of the larger sensor will be reduced in proportion to the sensor area, and therefore the read noise SNR will reduce likewise.

Sensor size is often expressed as optical format in inches. Other measures are also used; see table of sensor formats and sizes below.

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The RF lens mount is at the heart of Canon's EOS R System. Find out about the many innovations and design advances it has made possible.

For calculating camera angle of view one should use the size of active area of the sensor. Active area of the sensor implies an area of the sensor on which image is formed in a given mode of the camera. The active area may be smaller than the image sensor, and active area can differ in different modes of operation of the same camera. Active area size depends on the aspect ratio of the sensor and aspect ratio of the output image of the camera. The active area size can depend on number of pixels in given mode of the camera. The active area size and lens focal length determines angles of view.[13]

Discounting photo response non-uniformity (PRNU) and dark noise variation, which are not intrinsically sensor-size dependent, the noises in an image sensor are shot noise, read noise, and dark noise. The overall signal to noise ratio of a sensor (SNR), expressed as signal electrons relative to rms noise in electrons, observed at the scale of a single pixel, assuming shot noise from Poisson distribution of signal electrons and dark electrons, is

And, we might compare the depth of field of sensors receiving the same photometric exposure – the f-number is fixed instead of the aperture diameter – the sensors are operating at the same ISO setting in that case, but the smaller sensor is receiving less total light, by the area ratio. The ratio of depths of field is then