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Science for the Curious Photographer Science for the Curious Photographer While there are many books that teach the A crucial read for those seeking the sci­ "how-to" of photography, Science for the entific context to photographic practice, this Curious Photographer is a book for those second edition has been comprehensively who also want to understand how photogra­ updated, including discussion of DSLRs, phy works. Beginning with an introduction mirror-less cameras, and a new chapter on to the history and science of photography, the limits of human vision and perception. Charles S. Johnson, Jr. addresses questions about the principles of photography, such as Charles S. Johnson, Jr. taught physi­ why a camera needs a lens, how lenses work, cal chemistry at Yale University and the and why modern lenses are so complicated. University of North Carolina at Chapel Hill. Addressing the complex aspects of digi­ He now uses his scientific background to tal photography, the book discusses color research and write about the science behind management, resolution, "noise" in images, photography. In 2010 he published Science and the limits of human perception. The for the Curious Photographer. creation and appreciation of art in photog­ raphy is discussed from the standpoint of modern cognitive science. Science for the Curious Photographer An Introduction to the Science of Photography Second Edition CHARLES S. JOHNSON, JR. First edition published 2010 by Routledge 52 Vanderbilt Avenue, New York, NY 10017 and by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Routledge is an imprint of the Taylor & Francis Group, an informa business © 2017 Charles S. Johnson, Jr. The Right of Charles S. Johnson, Jr. to be identified as the author of this work has been asserted by him in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. The following names and trademarks are used throughout the book: 360Precision, Adobe, Adobe Camera RAW, Adobe Digital Negative, Adobe Flash, AT&T Bell Labs, Autopano Pro, B+W, CamRanger, Canon, Canon Digital Photo Professional, Capture One Pro, Cibachrome, Ciba-Geigy Corp., CoCam, Cognisys, Cokin, ColorChecker Passport, Colormunkie, , Combine ZM, Datacolor, DxO Optics Pro, Dynamic Photo HDR, Eastman Kodak, EIZO ColorEdge, Epson, Eyescan, Fairchild Semiconductor, Fisheye-Hemi, FocalBlade, FocusMagic, Foveon X3, Fuji, Fujifilm, Fujifilm Provia, GigaPan, Google, HDR Efex Pro, HDR Expose, HeliconFocus, Heliopan, Hoya, Ilfochrome, Integrated Color, Intel, iPad, iPhone, JPG, KelbyOne, Kenko, Kirk, Kodak, Kolor Panogear, Kodachrome, Leica, LifePixel, Lightroom, Linhof, LR/Enfuse, Lytro, Manfroto, Mathcad, MaxMax, Microsoft HD View, Nik, Nik Sharpener Pro, Nikon, Nodal Ninja, Olympus, OSLO, Panasonic, PangeaVR, Pano2VR, Panorama Tools, Panoscan, PhotoKit Sharpener, Photomatix Pro, Photoshop, Photoshop CC, Polaroid Corp., Popular Photography, PT-Gui, Rhythm & Hues Studios, Rolleicord, Roundshot VR Drive, Samyang, Schneider-Kreuznach, Schott Glass, Sigma, Sony, Spyder5PRO, SpyderCHECKER, Stackshot Macro Rail, Sunwayfoto, Tamron, Texas Instruments, Tiffen, Topaz Detail, Twisting Pixels, Wikipedia, Wratten, X-Rite, Zeiss, and Zerene Stacker. First edition published by A.K. Peters/CRC Press 2010 Library of Congress Cataloging in Publication Data A catalog record for this book has been requested ISBN: 978-0-415-79322-3 (hbk) ISBN: 978-0-415-79326-1 (pbk) ISBN: 978-1-315-21116-9 (ebk) Typeset in Warnock Pro by Keystroke, Neville Lodge, Tettenhall, Wolverhampton To Ellen, my wife and best friend Contents Preface to the First Edition xiii Preface to the Second Edition xv Permissions xvii chapter What Is Photography? 1 chapter What Is Light? 5 chapter The Camera—An Introduction 11 3.1 Introduction 11 3.2 The Camera Body 12 3.3 The Lens 13 3.4 Film and Sensors 15 3.5 Digital Camera Design 18 chapter Images: What Is Perspective? 21 chapter Why Does a Camera Need a Lens? 27 chapter Elementary Optics: How Do Lenses Work? 31 viii contents chapter The Simple Thin Lens and What it Does 37 7.1 Introduction 37 7.2 Optical Surfaces 38 7.3 Compound Lenses 40 7.4 Conclusion 41 chapter How to Make Lenses that Are Good Enough for Photography 43 8.1 Introduction 43 8.2 Aberrations 46 8.3 The Petzval Sum 48 8.4 Optical Materials 49 8.5 Anti-Reflective Coatings 50 8.6 Conclusion 54 chapter Coming to Terms with Real Camera Lenses 57 9.1 Introduction 57 9.2 The Thin Lens 58 9.3 The Compound lens 59 9.4 Gaussian Optics 60 9.5 Entrance Pupil, Stop, and Illumination of the Image 61 9.6 Vignetting 63 9.7 Metalenses and the New Optics of the 21st Century 65 9.8 Conclusion 66 chapter Wide-Angle Lenses, Fisheye Lenses, and Panoramas 69 10.1 Introduction 69 10.2 Conventional or Rectilinear Lenses 72 10.3 Types of Fisheye Lenses 72 10.4 How Fisheye Lenses Accomplish Their Magic 72 10.5 Examples and Illustrations 74 10.6 Panoramas 76 10.7 Conclusions 82 chapter What Is an Equivalent Image? 83 11.1 Introduction 83 11.2 Determinants of Image Appearance 84 11.3 Comments and Conclusions 88 chapter How to Get Very High Magnification 91 12.1 Introduction 91 contents ix 12.2 Supplemental Lenses 95 12.3 Extension 97 12.4 Teleconverters (Tele-Extenders) for Cameras with Interchangeable Lenses 98 12.5 Afocal Teleconverters for Fixed Lens Cameras 100 12.6 Combinations of Lenses and Extenders for Real World Macrophotography 100 12.7 Special Problems Resulting from High Magnification 103 12.8 Lighting for Close-Up Nature Photography with High Shutter Speeds 103 12.9 The Optimum F-Number for Macrophotography 105 12.10 Expanding the Depth-of-Field 106 12.11 Conclusions 107 chapter Do We Need Filters Anymore? 109 13.1 Introduction 109 13.2 Absorption Filters 110 13.3 Polarization Filters 115 13.4 Polarization in Nature 117 13.5 UV and IR Photography 122 chapter The Limits of Human Vision 131 14.1 Introduction 131 14.2 Structure of the Eye 132 14.3 Operation of the Visual Receptors 133 14.4 Visual Acuity 135 14.5 Sensitivity 137 14.6 Conclusions 140 chapter How Can Color Be Managed? 143 15.1 Introduction 143 15.2 Color Theories 146 15.3 Colorimetry 149 15.4 Color Spaces for Digital Photography 155 15.5 Color Management in the Tristimulus World 157 15.6 Goethe-Hering Theory 158 15.7 Monochrome and Monotone Images 160 15.8 Color Constancy and the Land Theory 161 15.9 Color Opponent Cells in the Retina and Brain 162 chapter Image Capture and Processing 167 16.1 Introduction 167 16.2 Capturing Photons with Image Sensors 168 16.3 CCD and CMOS Image Sensors 168 x contents 16.4 Encoding of Color 169 16.5 How Film/Sensor Speed (ISO) Is Defined 172 16.6 How the Dynamic Range Is Determined 175 16.7 Exposure Settings for High Image Quality 178 16.8 Saving and Storing the Image 182 16.9 Image Processing and Manipulation 183 16.10 Artifacts Resulting from Inadequate Periodic Sampling 184 16.11 Gamma Correction 185 16.12 Capturing the LightField 186 16.13 Does the Sensor Really Determine the Resolution of My Digital Camera? 187 chapter What Is Perceived Image Quality? 189 17.1 Introduction 189 17.2 Image Blurring and Softness 190 17.3 Focus 191 17.4 Camera Motion 191 17.5 Signal-to-Noise Ratios 192 17.6 Diffraction 192 17.7 Lens Performance 193 17.8 Sensor Resolution 196 17.9 Perceived Image Quality 199 17.10 Sharpening by Means of Image Processing 199 17.11 Contrast Sensitivity Function 200 17.12 Subjective Quality Factor 201 17.13 A Caveat 203 chapter The Creation and Appreciation of Art in Photography 207 18.1 What Is a Good Photograph? 207 18.2 Art and Consciousness 209 18.3 How Images Are Perceived 211 18.4 Why Do Images Attract or Repel? 214 18.5 How Knowledge of the Visual System Can Enhance the Artist’s Bag of Tricks 218 18.6 Reflections on Art in Photography 221 chapter What We See and How We Photograph It 223 appendices 231 A Historical Note on Enlargers 231 B What Is Behind the Rules of Optics? 233 C Derivation of the Lens Maker’s Equation 239 D Gaussian Optics and the Principal Planes 241 E A Macro Lens with Attachments 243 F Observing and Managing Color: Dealing with Color Vision Anomalies 245 contents xi G Capturing Photons with Photographic Film 253 H Microelectronics and the Path to Digital Sensors 261 I Irradiance and Illuminance Units 265 J All about Depth-of-Field and Hyperfocal Distance 267 index 271 Preface to the First Edition y love of photography started doing freelance photography (while still very early. As a teenager I in high school), I ordered a Rolleicord III Mworked in a small, full-service medium format camera. It served me well photography shop. Portraits were made, and is still functional. events were photographed, snapshots were From the beginning I was fascinated by developed and printed, and equipment was all aspects of photography. I love the equip­ sold. From that experience, I learned about ment, the techniques, the processing of photographic techniques and the value of images, and, of course, the chance to pho­ quality cameras and lenses. I started devel­ tograph interesting things.
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