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Satisloh is the leader in anti-reflective (AR) and mirror coating equipment. The company’s experience is based on developing and building sophisticated coating systems for over 55 years. Innovation, the broadest portfolio of equipment and processes, & a responsive and large service team that keeps Satisloh machines running.

Covering the full process chain, we offers a wide range of proven & easy to install AR, mirror and top-coat processes as well as matching coating consumables, for all lens materials & coating quality requirements. With increased sophistication and controllability of vacuum chambers, new and unique coating designs with specific hardness, residual reflection, transmission and other performance attributes have been developed.

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The Uniform System (scales are sometimes marked U.S. on lenses) is an alternative system for expressing the aperture size, used by many manufacturers for a rather short period: U.S. diaphragm numbers can be found on many leaf shutters made between 1890 and 1920. The U.S. system never displaced the f-stop notation; it may sometimes be found on the aperture scale even when the speed is engraved on the lens as an f-stop value (the lens and shutter are often from different makers, and the camera may be by another). For example a popular Kodak Anastigmat with max. aperture f/7.7 was sold together with shutters with an iris scaled to aperture 4 (U.S. stop). Whereas f-stop numbers are proportional to the reciprocal of the aperture diameter, the Uniform System stop numbers are proportional to the reciprocal of its area.

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An F-stop or f/stop is a number representing the aperture setting on a lens. Confusingly, the f-stop number increases as the aperture gets smaller, letting in less light.

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The f-stop setting (the aperture size) affects depth of field; smaller apertures (numerically larger f-stops) increase the depth of field. This can be used by the photographer at both ends of the scale:

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The f-stop number is a ratio of the focal length of the lens to the diameter of the aperture[1]. A lens is said to be "wide open" when it's set on its numerically smallest f-stop, i.e. with the aperture opened as wide as possible. Typically, the smallest f-stop will be something like 1.8 or 2 for a 35mm camera lens; from there, the normal marked progression is 4—5.6—8—11—16—22. Some lenses only go down to f/16, while other lenses (such as the larger lenses used on view cameras) may go down farther, to f/22, f/32, f/45 or even to f/64.

The "faster" a lens, the smaller its widest f-stop number; fast lenses for 35mm cameras may be f/1.8, f/1.4 or even f/1.2. (There is usually an inverse correspondence between the lens's smallest f-stop number and its price.)

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No matter which process, Satisloh’s expansive knowledge regarding equipment, processes and consumables guarantees uniform coating quality within each batch and from batch to batch.

Some Kodak cameras with simple lenses had a simplified aperture scale 1-2-3-4, equivalent to f/11-f/32. The Argus Match-Matic C3 had a scale derived from EV numbering where e.g. "5" meant f/5.6 and "8" meant f/16. Many other cameras dispensed with numbering entirely, and simply showed icons representing bright sunny or overcast conditions.

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Mid-volume vacuum box coating machine for AR & mirror coatings. Processes up to 129 lenses. Revolutionary new sector dome design with slim rings.

To make things a little easier, it turns out that each f-stop (the numbers shown above) lets in twice as much light as the next higher one, and half as much light as the next lower one. This makes it simple to adjust exposure by selecting shutter speed and f-stop combinations: for example, going from f/11 to f/8 has the same effect on exposure as going from 1/250 second to 1/125 second. All of the following combinations would result in the same exposure on film:

Colloquially, photographers may use "stops" to mean any change in aperture, shutter speed, or film sensitivity equivalent to one f-stop. That is , an ISO 400 film might be described as two stops faster than an ISO 100 type. This extends even to push and pull processing of film to raise or lower its effective sensitivity (and change its color response, contrast, et cetera); to "push" film one stop is to double its box ISO by increasing the development time.

AR coating stack designs minimize reflection, specialized coatings protect from Blue and UV light, mirror coatings, and other performance attributes for Rx lenses.