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A monthly magazine that believes that enjoyment of photography will increase the more one learns about camera functions. It delivers news on the latest cameras and features and regularly introduces various photography techniques. Published by Impress Corporation

At the smallest f-number, you achieve “maximum aperture”. This allows the greatest amount of light possible to enter, and is also when you can achieve the most prominent ("biggest") bokeh.

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After graduating from the Tokyo Polytechnic University Junior College, Suzuki joined an advertisement production firm. She has also worked as an assistant to photographers including Kirito Yanase, and specializes in commercial shoots for apparels and cosmetic products. She now works as a studio photographer for an apparel manufacturer.

Lenses that are equipped with C-Mount (1.00"-32) threads are fully compatible with most of our C-Mount CMOS Cameras and our line of Scientific-Grade Cameras. CS-Mount cameras are compatible with these lenses when using a CML05 CS- to C-Mount adapter.

C-Mount Macrolens

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#1: The Relationship Between Lens Aperture and Bokeh #2: Create Background Bokeh for a Warm, Friendly Family Photo #3: The Wonders of f/2.2 in Still-Life Photography #4: Photographing Facial Expressions (f/2.8) #5: Camera Settings for the Perfect Outdoor Portrait (f/4) #6: A Useful Aperture Setting for Street Photography (f/5.6) #7: Aperture Settings for Sharp Depictions of Nightscapes (f/8) #8: The Ideal Aperture for Sharp Depictions of Natural Landscapes with Depth (f/11) #9: Getting Sharp Depictions of Landscapes from Foreground to Background (f/16)

40X High Magnification Objective, 40X Achromatic Microscope Objective Lens High Magnification 20.2mm Thread for Compound, Microscope Accessories.

Exposure settings, also commonly referred to by photographers as “f-stops,” allow you to adjust the amount of light that enters the camera. These settings are also known as the “EV”, or exposure value. Increasing the aperture by 1 stop halves the amount of light entering the camera. Conversely, decreasing it by 1 stop doubles the amount of light entering the camera. For most DSLR cameras, in addition to the standard 1 stop, you can also set stops at 1/2 and 1/3 intervals. For example, if you set a 1/3 stop, the range of a full stop between f/2.8 to f/4 is divided into 3 parts, so it becomes f/2.8→f/3.2→f/3.5→f/4. The use of 1/3 stops allows finer adjustments to be made to the amount of light entering the camera.

Learn the best ways to create amazing images and videos, share your works with the community and be inspired by our community.

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Microscope Notes · The eyepiece, also called the ocular lens, is a low power lens. · The objective lenses of compound microscopes are parfocal. · The field of view ...

The bokeh also gets more prominent the closer the focusing distance. The range of focus (how much of the image is in focus) is known as the “depth of field”. When this range is small, it is known as a “shallow depth of field”. Likewise when the range is large, this is a “deep depth of field”.

When taking photographs, you want to have a good grasp of shutter speed and its effects on your photographs. What kind of effects can you create with a faster or slower shutter speed? Let us examine the effects of different shutter speeds with the help of the following examples. (Reported by: Tomoko Suzuki)

The metering function measures the brightness of a subject and decides how much exposure is best for the photo. Let’s take a look at each metering mode available, and get a better idea of which of them to use is best to use under which conditions/scene. (Reported by Tomoko Suzuki)

c-mountlensmicroscope

When the f-number changes, it is not only the amount of light entering the camera that changes, but also the size of area in the image that appears in focus. The smaller the f-number, the smaller the image area in focus. Conversely, the larger the f-number, the larger the image area in focus. The latter results in a photo that is sharp all the way to the background.

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Phase detection AF (also known as phase-difference detection AF) is the autofocus system used in viewfinder shooting on DSLR cameras. Its main feature lies in its rapid autofocusing speed. In the following, we will explain more about phase detection AF, and how Canon’s Dual Pixel CMOS AF utilizes the latest AF technology to enable phase detection AF even in Live View. (Reported by Tomoko Suzuki)

C Mount Lensebay

There are three general classifications for lenses related to the image field of view. A lens with a focal length close to the diagonal length of the sensor format produces an image with a near-human field of view and is considered a "normal" lens for that sensor format. A wide-angle lens has a focal length shorter than normal, which produces a wider field of view but has a tendency to exhibit barrel distortion effects towards the edge of the image. Finally, a lens with a focal length longer than normal is known as a telephoto lens, which has a smaller field of view and a greater magnification of objects in the image.

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Camera lenses that can collect a lot of light (i.e., a low f-number) are known as fast lenses as they can be used with shorter exposure times and are ideal for low-light conditions. For example, a 50 mm focal length lens with a f/1.4 aperture has a bigger aperture and is therefore faster than a lens at the same focal length with a f/2.5 aperture. While using larger apertures increases light collection, doing so reduces the axial in-focus region of the image, known as the depth of field. To illustrate the effect of different aperture sizes visually, the table below shows a sequence of images taken with the same lens (MVL12M43 on a DCU224C 1/2" format camera) for increasing f-numbers. Because the images were taken at constant exposure, for each f/# increase (by a factor of ~1.4) the amount of light collected by the lens is reduced by half.

Specifically, f-number is defined as:where f/# is the f-number, f is the focal length and d is the entrance pupil diameter.

The Camera Lenses sold here are specifically designed to be used with 1/2", 2/3", 1", or 4/3" sensor format cameras and are well-suited for machine vision applications. Thorlabs offers lenses with fixed focal length (i.e., prime lenses) that offer superior optical performance at focal lengths from 3.5 mm to 100 mm, as well as a 2/3" format zoom lens with an adjustable focal length of 18 mm to 111 mm. All lens models are equipped with lockable focus and aperture rings.

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When establishing focus on a subject, it is vitally important to anticipate the subject’s movement and capture it at the right moment. This means it is essential to know the appropriate autofocus (AF) mode to use for a stationary subject, and which to use when the subject is moving. Let us take a closer look at the 3 types of AF modes. (Reported by Tomoko Suzuki)

The focal length (FL) is roughly defined as the distance from principal plane to the focal plane. For a camera lens, the focal length determines the field of view of the camera system; the longer the focal length, the smaller the field of view. As a general guideline, a 50 mm focal length lens and 35 mm format camera combination produces roughly the same field of view as the human eye (~53° diagonal). The table below lists the focal lengths needed to achieve the same field of view as the human eye for different sensor formats.

ISO speed plays an equally important role as aperture and shutter speed in its effect on exposure. Now let us learn more about the advantages and disadvantages of turning up the ISO speed. (Reported by: Tomoko Suzuki)

C-Mount ZoomLens

The implementation of Dual Pixel CMOS AF in Canon's latest camera models have vastly improved shooting conditions in Live View. Live View, which features fast AF speed that measures up to viewfinder AF, is gradually becoming the choice method of shooting for many photographers. In the following, we will explain more about the characteristics of Live View. (Reported by: Tomoko Suzuki)

An image that is cropped appears as if it was taken with a lens of higher focal length (i.e. a smaller field of view), but does not magnify the image. The cropping effect can be quantified using an adjusted focal length (defined as the crop factor multiplied by the lens focal length). For example, an image taken using a 1" format, 50 mm focal length lens with a 1/2" format sensor will produce an image with an adjusted focal length of 100 mm. While the field of view is reduced as if using a 100 mm lens, objects in the image will remain at the same size. The table to the right lists all of the lenses offered on this page with the adjusted focal length for different sensor formats.

Selecting an appropriate camera and lens pair can significantly improve image quality. A lens should generally not be used with camera sensors that have a larger format than the lens. While these lenses can be used with a smaller format camera, the resultant image will be cropped (see Camera Lens Tutorial tab for details). See the table below for a list of sensor formats for Thorlabs cameras.

CroppingWhen the lens format is larger than the camera format, the effect on the resultant image is known as cropping. In this case, a full image is produced but at a smaller size (i.e. cropped) because the sensor is only capturing a fraction of the complete image. A crop factor or focal length multiplier quantifies the amount of cropping and is defined as the ratio of the diagonal length of the lens' design format divided by the diagonal length of the sensor format. The crop factor for all possible 1/3", 1/2.9", 1/2", 1/1.8", 2/3", 1", and 4/3" format lens/sensor combinations are shown in the table to the right.

The one thing that enables the photographer to convey his photographic intent to the viewer is establishing the focus. What are the secrets to establishing the best focus? Let’s find out more about the special features of autofocus (AF) and manual focus (MF). (Reported by: Tomoko Suzuki)

The Program AE mode, a semi-automatic mode where the camera automatically sets the aperture and shutter speed, enables you to shoot quickly to capture sudden photographic opportunities, and yet still retain creative control over other settings such as white balance.

The first thing to consider when taking photographs with a digital camera is the effect that the aperture can have on your pictures. How will the photograph finish change depending on the aperture is widened or narrowed? In this article, we study the effects of varying apertures on depth-of-field by comparing several examples, and learn about the concept of f-stops. (Reported by Tomoko Suzuki)

To illustrate this, the sequence of three images to the right were taken with the same camera with three different lenses. As focal length of the lens increases, magnification of the objects in the photos increases while the field of view decreases. The items in the image are each roughly spaced in 10" (254 mm) increments in the following order: Polaris™ Fixed Monolithic Mirror Mount (10" from camera), Ø1/2" post with KM100 mirror mount (20" from camera), and post-mounted RSP1 rotation mount (30" from camera). The MVL4WA used to shoot the first image is a wide angle lens which clearly distorts the door frame on the left edge of the image.

The aperture allows us to control the amount of light entering the lens. When the aperture is widened, more light can enter, and conversely, when the aperture is narrowed, less light can enter the lens. The numerical values of the difference in aperture size is known as the f-number. The standard f-numbers are: f/1.4, f/2, f/2.8, f/4, f/5.6, f/8… etc. Widening the aperture reduces the f-number whereas narrowing the aperture increases it.

When it comes to shooting, a vital part of the camera is the viewfinder. Nowadays, there are cameras that do not come with viewfinders, only with Live View shooting. However, as you get more experienced with photography, you will realise how much shooting with a viewfinder can affect your photos. In this article, we take a closer look at the viewfinder. (Reported by: Tomoko Suzuki)

If you want control over both the aperture and the shutter speed, Manual exposure mode is the way to go. It might be quite a tough mode to conquer for a beginner, but also can be very convenient to achieve certain shooting intentions. In this final article in our Camera Basics series, we take a closer look at this mode and what it can be used for. (Reported by Tomoko Suzuki)

Shutter-priority AE mode is a shooting mode that is useful for when you want to ‘freeze’ subjects in action, or conversely, photograph moving subjects with motion blur. Read on to find out how you can use it! (Reported by Tomoko Suzuki)

Some lenses are designed for improved aperture or resolution performance. Because of the simplified optical design, some prime lenses are designed as fast lenses with large maximum apertures up to f/0.95 (see the Camera Lens Tutorial tab for details). Thorlabs also offers 2/3" format lenses at 5 mm, 25 mm, and 50 mm fixed focal lengths that feature 200 lp/mm resolution, commonly referred to as 10 megapixel (10 MP) lenses. These lenses are the ideal choice for high-end inspection or high-resolution imaging applications. For more information on these lenses, Modulation Transfer Function (MTF) plots can be found in the 10 MP Lens Data tab above.

There are zoom lenses with a range of f-numbers given as f/3.5-5.6. These are known as “variable aperture zoom lenses”, where the aperture changes with the focal length. In the case of the EF24-105mm f/3.5-5.6 IS STM, the aperture (f-number) at the wide-angle end (24mm) is f/3.5, and the aperture at the telephoto end (105mm) is f/5.6. Lenses in which the aperture does not change even when the focal length changes are known as “fixed aperture zoom lenses”.

The images below illustrate this effect visually using two images taken using the same lens with 1/2" and 1/3" format cameras. The image taken using the smaller 1/3" format camera produces an image that is cropped compared to the image taken using the 1/2" format camera. Note, however, that the objects in both images remain at the same magnification.

Want to create photographs with a lovely background blur (bokeh effect), or perhaps ensure that everything in the image remains in focus? The Aperture-priority AE mode is a convenient mode to use for achieving those effects. Let’s look at this mode in closer detail. (Reported by Tomoko Suzuki)

The position and angle are two elements that greatly influence the outcome of your photos. Since they have such a significant impact, varying them ensures that you will be able to get a different effect in your photos. In the following, we go over 3 points each in relation to the position and the angle. (Reported by Tomoko Suzuki)

EOS 5D Mark III/ FL: 50mm/ Aperture-priority AE (f/1.8, 1/80sec., EV+0.7)/ ISO 100/ WB: Auto Shallow depth of field f/1.8

C-mountlensadapter

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White balance is a feature that ensures that the colour white is reproduced accurately regardless of the type of lighting under which a photo is taken. At a very basic level, it is common to use the Auto White Balance setting. However, this setting is no one-size-fits-all solution. For a white balance setting that best suits the lighting source, choose one of the preset white balance settings on your camera.(Reported by Tomoko Suzuki)

Learn the best ways to create amazing images and videos, share your works with the community and be inspired by our community.

With the Picture Style function, you can adjust the colour tone and the contrast to enhance the charm and appeal of the subject. By selecting the perfect Picture Style setting, you can get perfect results in expressing your shooting intent in a vivid photo. (Reported by Tomoko Suzuki)

C-Mountlenssize

Modern cameras that use CCD or CMOS sensors are specified for a camera sensor format, and similarly, lenses are designed to provide optimal imaging for a specific camera format. This format designation (e.g., 1/2", 2/3", 4/3") is a hold-over convention from when video was recorded using cathode-ray tubes and refers to the outer diameter of the video tube required for a given image size. The diagram to the right illustrates the size difference between several standard camera formats. In the ideal imaging system, a camera and lens would be designed for the same format, however, it is also possible to use camera/lens combinations with different formats. Doing this will have an effect, either vignetting or cropping, on the resulting image.

For more on individual f-numbers and the scenes they are commonly used for, check out our Aperture-Priority Technique series:

A: Foreground depth of field B: Background depth of field C: Focus position Expressing as a ratio the distance from the focus position to the foreground depth of field, to the distance from the focus position to the background depth of field, the focus ratio is said to be 1:2 foreground: background.

VignettingVignetting occurs when the lens format is smaller than the camera format. When this occurs, the area of the sensor is incompletely exposed, causing a dark ring to appear around the borders of the image. The vignetting effect is illustrated in the two images below, which were both captured using the same 4/3" format camera. In the image to the left, using a 12 mm focal length, 4/3" format lens produces a full image with slight dimming around the edges. This minor example of vignetting is due to the lens design which has decreased transmission at the edge of the lens. On the other hand, a 2/3" format lens at the same focal length produces a prominent dark ring around the photo edge. As the latter example is very visually apparent, we do not recommend using lenses with smaller formats than the camera sensor for imaging.

Arducam CS-Mount Lens Kit for Raspberry Pi HQ Camera (Type 1/2.3), 6mm to 25mm Focal Lengths, 65 to 14 Degrees, Telephoto, Wide Angle, Pack of 5 · Overview.

C-mount camera

Exposure compensation is a function you can use to change the exposure set by the camera (camera-determined correct exposure) into something of your own preference. Here, we find out more about the function, and learn how to identify subjects that require positive or negative exposure compensation along the way. (Reported by: Tomoko Suzuki)

Vintage C-mountLens

This tab contains performance plots for the MVL5TM23, MVL25TM23, and MVL50TM23 10 megapixel lenses sold on this page. Shown below are modulation transfer function (MTF) plots for each lens calculated for an infinite object distance. The MTF is calculated at four different full-angle fields of view (FOV) that span the specified FOV of each lens, as well as the diffraction-limited case.

Exposure is one of the major factors that can make or break a picture. Let us talk about how we can go about make best use of exposure to get the best results from a shot (Reported by: Tomoko Suzuki)

- The larger the aperture (i.e. the smaller the f-number), the larger the bokeh. - The smaller the aperture (i.e. the larger the f-number), the larger the area in-focus (depth-of-field). - The amount of light that enters The sensor can be controlled by widening/narrowing The aperture.

The aperture of the lens controls the amount of light that a lens can collect; the more light a lens collects, the brighter the image. Because of this, the aperture size affects the exposure time and therefore the speed of the camera. Thorlabs provides the maximum aperture size in the tables below for each lens in terms of the f-number, which is expressed using the symbol f/# (e.g., f/1.4). As the f-number increases, the aperture opening becomes smaller and less light is collected by the lens.

When the aperture is widened, the f-number decreases. The in-focus area of the image decreases, and the bokeh gets more prominent (or "larger"). Conversely, when the aperture is narrowed, the f-number increases. The in-focus image area increases, and the bokeh becomes less obvious.

The MVL7002 macro lens features a removable close-up lens for imaging between 5.00" (127.0 mm) and 12.00" (304.8 mm). When removed, the MVL7002 can be used for imaging objects at distances from 19.70 inches" (500.4 mm) to infinity. The lens focus, iris, and zoom are each manually adjustable and lockable.

The MVL7002 lens comes with lens caps for both ends. Due to the weight of the MVL7002, we do not suggest using it with cameras with plastic lens mounts unless the lens is supported by additional hardware.