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    No. 37 - Optimum Viewing

    Uploaded by

    xiansha

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
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    item oa eg coo ao eee Fig. 3: Fresnel lens, bellows: Uniform ee NO eau mar ar enue Mea ee eee at Aenean Wek Deis Cea omu eR Optimum focusing screen viewing FOR THE ULTIMATE IMAGE Optimum focusing screen viewing Hf you have professional ambitions and are ‘aiming at pictures ful of crativty, and Approaching & peretion not obiainable by the broad mass of pont-and-shoot photo {grachers, you have Yo go for large-format ‘This operates on a qule special qualitative {and creative love. The process begins vat ewing the large iocusing screen image. the same way 2s an arist needs a minimum 820 for hs canvas, a photogracher wih de ‘sgn intentions needs the big screen Its of ‘Special mperiance to avo atthe best pos: sbis condtions of viewng. The choto ‘rapher can only Kontty the optimum, te has had an opportunity 10 exparience the features of affornt products “wih his own eyes! While tho fm format, camera setting, ight ing equipment and creativity in the compo- sition ofthe picture make their contributions 1 the effect ofa photograph, tis the sharp ness that determines tho technical qalty ‘The sharpness 's governed by a numer of factors: the camera system used, the song power of tho fim and ions, and above al bythe setting accuracy ofthe fo sing screen, When you view the screen statically, you ‘can never say with certainty whether the i ‘age has opimum sharpness. The best set- ting has to be found by veryng the focusing. Fst you start with an unsharp image, and then focus it gradually to sharpness end then unsharpness. The contropomnt ie thon ‘chosen by itution from the overall meres: ‘Tho salting accuracy is closely associated with the lmited resohing power of the human eye. Aan inaccurate setting. a point ‘on the screen is depicted as a cies of un: Sharpness. AS long as this cicle does not exceed a certain size (the so-called "per mesible cole of contusion’), it carnot be resolved by the human eye at normal \fewing distance wrhout optical aids, and is therefore perceived as sharp, Tests have shown that the focusing of the screen isa highly subjective matter. Judge: ‘ments vary form person to person. Even ‘one and the sama person wil not always ‘make the camo seting for a certan point ‘The accuracy of screen salting Ie bout + (0.1% of the ‘camera extension for normal vvaion, Example: with focal length of 210 fm and. setting to infinty, tis range is 202mm. Hf the camera extension & changod, the in: ‘age see Crangos as wellas tho image sharp ness, A bigger image often looks sharper. A tot of poopie tend to set fora larger nage ‘and not exactly forthe mage plane ‘The staring aperture otha lens aso creates more uncertainty i mage setting, Each lens laeady has a certs depth of fold at ful aperture. This doh of field increases as the eubject wath increases. tna ons wth a focal length of 240 mm and a maximum aperture of 5.6 for example, the sharpness Tange in the image rea is around 0.5mm twith the seting at Pinky, tat isthe camara faxension has to be changed by at least halt 4 milimatra before an effect on the shexp fess becomes. visible, This phenomenon has the rosut that tis often very offical, above all with larses. with shorter focal lenatne, to hd the optimum setting for i finfy. In such stualons setting tolerances canbe largely avoided by proceading as fo: lows, ‘Sot the camera so tht the imago with is ‘greater than the lens'focal length. Shorten the camera extension unt th in fin range on the screen shown sharp. Carefuly docrease furthor tho extension Uti the st plane looks unstiap aga = Then focus in the middle of the Wo set tings with lenses with a small starting aperture, the low beighiness of the soreen image also has an adverse effect on focusing accuracy. ‘As the ikistrations on the tite page cleary ‘chow, the condons of foousng scroon owing can be improved by making use of \arious viewing aids. Those aids exciot the ‘eye's vison 10 the full and result in more precise focusing The focusing screen Crgjnaly, a white surface was used to view the mage projected by a lon (for stance in the camera obscura). A subject iluminat fed by a light source was depicted by the Tens on a white wall, The image was made visible by the light dspersed on the wall. In the soarch fora better solution, which would spread outwards some of the captured light, Daguerre eventually hit on a focusing ‘A tocusing screen is matt on one side. This matting © as a ru produced mechanically (by arinding) or chemical (by etching). a 'baam of grt fals vertically on the scraon, it 's scattered outwards in all crectons ftom the pont of nadance (Fg. 5). The kangth of the mows the dagam cortescond ap- prox. fo the intensity ofthe beams, the in- tensity bang strongest in the direction ofthe incident ight, and fling lateral f.5 Effect of focusing screen FOR THE ULTIMATE IMAGE 500-fold magnitiation of screen texture with a scanning alectran microscope [A coarse screen texture (granularity) gene- rates a high lovel of scatter. Ifthe texture is ner, the cone of ight behind the soreDn Is artower. Booause a coarse tedure makes KRmore dieu to cstingulsh Seta, scroons with a5 fine texture as possible ae prefer adie ut the finer the texture is, the more ditfeut 15 to locate the image on the screen. The ight source, the ext pup ofthe lens, enters the Image ‘more and more, Tho screon “Breaks dowe’, Ths fs why the screen tox ture cannot be made inritey frer. The op- timum compromise has to be found, ‘A good focusing screen combines the fol lowing features: 8 soreen image which is as bright and ‘convasty as possible, even with the cam adoquate soatoring features, that s good Foceation othe image = good datal resohing power due to as fie 8 grain structure as possible low suscepti to ight scatter Fig, 6 shows a 500-magniication of the franulanty of a machined screen, 0s used fon many large-format cameras. Fig. 7 lus tes for comparison the texture of the finaly etched surface ofa SINAR screen. ‘The chamioaly treated surface has a rea thaly untorm texture, The ground surlace is brogular and randomly ped. Its more sus Cepttie to ight. scatter, and oftan looks ‘opaque in bright ambient ight. Etched sereene are thorcfo as @ rule bxghter and mere bilan The asymettic axes of owing are marked on the SINAR screens. They faciitate two-point setting, The gro marieng enables the came: ra to be aligned fo pari of the mage that ‘0 vertical or horizontal When focusing, is important to make sure frst whether your fee has accimaised to the soreen (auto ‘matic focusng). Before each setting, check ‘whother the square ines on tho screen are ‘perceived as razor sharp, The Fresnel lens SLL Fg, 8 5 2 simplified representation of the interaction of fons, Scr9an and eye. Vertical fang oblque beams of ght passthrough the lens on tothe screen, to generate an image. ‘Due to the scattring action of the screen, light passas info the viawer's eye fom every Point of the mat side. That is you can take in the complete image at a glance. The in tensity ofthe lateral ays of ight atthe edge ff the sereon is much weaker than the cen- tral rays in the middie, in other words the brighiness of the image fal atts margins Nevertheless, 10 Kently cary data at the ‘margins, you should focus your eye on the pont which corresponds to the extension of the incident rays fight Fg.9 Etfoct of Fresnel fons The Froshel lans aiminates this eror. It has the effect of reracing the rays at the margin and drecing them towards the eye Fig. 6 The screen image appears evenly bight, ‘and simultaneously has more contrat. ‘The optical quaty of Fresnel ens depends large on the arrangement and theness of the conceniricaly located lens olements. ‘The focal lengths of SINAR Fresnel lenses ate designed precisaly forthe relevant fm format, These characierisics contrbute to Fig. Interaction of lone (A), screen (B) and eye of ower ©) roctucng fatigue for the jewer's eyes; ths is ‘an essential feature, which has a great inl fence on the photographer's mental abit to Judge screen images.

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