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Reading MTF 2
Reading MTF 2
Part II
by
H. H. Nasse
The twelve different results of each image This mosaic made up of three lines and
detail have been combined into a new four columns is an image file. When you
image producing a kind of chessboard view this file with a suitable program
showing the twelve different transfer (e.g. Photoshop), let us compare three
functions: partial images with each other in each
case. Their position is color-labeled in a
type of map of the mosaic.
100 100
60 60
40 40
20 20
0 0
0 10 20 30 40 0 5 10 15 20
Lp/mm u' [mm]
u'=5 mm u'=10 mm u'=21.5 mm
Correlation of MTF curves plotted over the spatial frequency versus over the image height
The MTF curves, whose meaning is to be If, for example, a miniature camera and
illustrated by means of the images, have an APS-C format camera have the same
been calculated from digital image files. number of pixels, their low-pass filters
For this reason, two images each were differ because the APS camera has a
recorded for each lens and camera smaller sensor area and therefore a
setting: one specific test object for higher Nyquist frequency because the
measuring the transfer function and then pixel size and pixel pitch is smaller.
the motif for our eyes, both taken at an
identical distance from the camera. A comparison of the MTF curves plotted
over the spatial frequency in Lp/mm as
The MTF curves obtained by this means calculated from the file leads to the
are system curves. They therefore confusing observation that the lens
depend not only on the properties of the appears to be much better on the APS
lens but also on the features of the digital camera. However, it’s a misconception
camera. caused by the properties of the camera.
The number and size of the sensor pixels, If the intention is to test lenses by this
the design of the low-pass filter, the method, only results taken with the same
spectral sensitivity, the algorithms used for camera should be compared in order to
conversion of the Bayer matrix data, the avoid confusion. The method has some
degree of subsequent sharpening to other disadvantages which I will discuss
compensate for the low-pass filter - all later.
these factors have an impact on the
modulation transfer function that is found But the advantage of the procedure is
on the memory card. that it allows both the fixed and the
variable properties of the camera, even
Obviously, MTF curves for the same lens the influence of later image processing
measured as described can look different on the computer, to be captured by a
if the lens is used on different cameras. measurement.
100
80
Modulation
60
40
20
0
0 200 400 600 800 1000 1200 1400
Lp/Image Height
100
80
Modulation
60
40
20
0
0 200 400 600 800 1000 1200 1400
Lp/Image Height
These two diagrams compare optical MTF measurement and system MTF
measurement from the image file. The same lens was used on two different
cameras. The black curve shows the result of the optical measurement; plotted
over the spatial frequency in Lp/mm (blue scale, top), the values of the two cases
are identical - there is no way it can be different.
The red curve was calculated from the image file. It shows more bulging for the
APS camera in its middle part as this is where a higher sharpening was selected
than on the full-format camera. The resolution limit on the two cameras is
approximately equal if one looks at the lower axis where the spatial frequency is
related to the image height. Obviously this is a consequence of the number of
pixels being equal.
However, looking at the upper axis, where the spatial frequency is related to the
absolute distance of one millimeter, the resolution of the APS camera is higher. It
has the higher Nyquist frequency of approx. 90 Lp/mm (broken line). Here, the
optical and the digital curve show clear differences: the resolution of the digital
camera is limited by the number of pixels and the low-pass filter - rather than by
the lens.
Most likely you are viewing the images If one runs Photoshop on a monitor with
provided as examples on a computer 1200 pixels in the vertical direction,
monitor. This gives us reason to look a some of these pixels are taken up by the
little more closely at how the monitor menu bars and the net number of pixels
properties may influence our perception of seen is, for example, only 1036 pixels.
the images.
In the 100% view, in which each pixel of
Image size the data file is represented by a monitor
pixel, only approx. one third of the image
The 12MP digital camera used here has a with a height of 2832 pixels is seen,
Nyquist frequency of approx. 1400 line which corresponds to approx. 13% of the
pairs per image height (image height area of the image.
being the short side of the 24x36 format;
think of a picture in landscape format). It If the monitor diagonal is for example 21"
takes at least two pixels to display a line = 54 cm, the size of the whole camera
pair made up of a bright and a dark line. image in the 100% view is 76 x 114 cm.
The camera has exactly 2832 pixels
(2x1416) on 24 mm of image height. Even if our demonstration images are
smaller in absolute units (in order not to
The monitor would have to have at least let the file sizes grow towards infinity!)
as many pixels to be able to display this you should always be aware that you are
image information free of losses. However looking at parts of a poster-sized image.
we will usually have to be satisfied with a
lesser monitor performance, e.g. 1600 x
1200 pixels. The monitor can therefore
only display parts of the full image without
losses.
Viewing distance
If the monitor has 1200 pixels distributed Viewing the image on the monitor from a
over an image height of 32.4 cm, it has 3.7 distance of 50 cm, the maximum
pixels per millimeter. Thus the resolution resolving power of the eye at this
of the monitor screen is approx. 2 Lp/mm. distance is approx. 4 Lp/mm. In simple
terms, this is about twice as good as the
In the (nearly) loss-free 100% view, this monitor image.
also corresponds to the camera sensor
performance: the image with a height of For this reason, images in 100% view
76 cm is magnified 31-fold as compared will never appear perfectly sharp to our
to the camera image with a height of 24 eye. Both the performance limits of the
mm. The sensor's resolution limit (Nyquist) monitor and the giant magnification of
that is determined by the number of pixels the image for the small viewing distance
is just less than 60 Lp/mm. give rise to a certain degree of softness
of the image.
Magnified 31-fold, this also corresponds to
approx. 2 Lp/mm. Viewing a 100% view from a distance of
50 cm is a very critical view of the image.
For a more realistic assessment, the
viewed distance can be doubled, for
instance.
The explanations and MTF measuring Now let's compare three (usually
data provided in the following relate to the neighboring) images with each other in
following image files: each case. A small "map" shows you
where these images are located and
image_01 file size 4.8 MB which MTF curve was measured in the
image_02 file size 3.7 MB respective image.
The curves show the modulation transfer
image_03 file size 0.8 MB over the spatial frequency - in units of
line pairs per image height on the bottom
Each of these three files contains twelve and in Lp/mm on the top, valid for a
partial images; the partial images at the 24x36 miniature camera. The colors of
same position in the "chessboard pattern" the lines match the markings in the
have the same modulation transfer. "map".
Comparison 1
6 10 20 30 Lp/mm 40
120
100
Modulation [%]
80
60
40
20
0
100 200 300 400 500 600 700 800 900 1000
Lp/Image height
SQF 62 SQF 45 SQF 35 Int. range
Decreasing quite evenly from 100 to 20%, the blue curve for the partial image on
the top left is representative of acceptable image sharpness, in particular for
moderate image magnification: this is typical for the digital camera with its
sharpening facility by image processing turned off. In an analogue image on film,
the values would correspond approximately to the situation at the border of the
depth of field. Showing a more rapid decrease, the red and black curves belong to
images that are definitely blurred at least in the 100% view.
If you view all 3x12 samples and also vary The quality parameter, SQF (Granger &
the distance to the monitor in the process, Cupery, 1972), calculates the area under
let's say between 0.5 and 2 m, you will an MTF curve, whereby the spatial
have a surprising experience: it is certainly frequency is on a logarithmic scale.
not so easy to say which image is the best
or which images are good enough. The spatial frequency range for
calculation of the area depends on the
It is more than likely that your judgment size and distance of the image viewed. It
will vary depending on the motif viewed is defined such that the eye sees these
and particularly depending on the viewing spatial frequencies under 3 to 12
distance. Lp/degree (line pairs per degree of
viewing angle). This range for calculation
The absolute MTF values alone are of the area is indicated in the diagrams
therefore not a sufficient criterion for by the grey triangular markers.
predicting the subjectively perceived
image quality. The curves must be Unfortunately, we just had to confuse the
assessed appropriately and the viewing reader by introducing a third unit for the
conditions in each case must be taken into spatial frequency. But the unit of
account. Lp/degree makes sense in so far as
subjective perception is concerned
It has been shown in many experiments because a pattern of stripes with a
with test subjects and many different certain frequency expressed in Lp/mm is
images that there is a fairly useful viewed very differently depending on
correlation between the subjective quality distance.
assessment and the area under the MTF The resolution limit of the eye is approx.
curve. 40 Lp/degree - this corresponds to
approx. 9 Lp/mm at a distance of 25 cm
from the eye or 1 Lp/mm at a distance of
approx. 2 m - you can try this with an
ordinary ruler.
6 10 20 Lp/mm 30 40
120
100
Modulation [%]
80
60
40
20
0
100 1000
Lp/Image height
SQF 62 Int. range
An MTF curve plotted over the spatial frequency log scale (identical spatial
frequency ratios have the same distance; the distance from 100 to 200 Lp/image
height is equal to the distance from 200 to 400 Lp/image height). Selecting the log
scale gives greater weight to the lower spatial frequencies. The area under the
curve bordered by the blue lines corresponds to the quality parameter, SQF.
6 10 20 Lp/mm 30 40
120
100
Modulation [%]
80
60
40
20
0
100 1000
Lp/Image height
SQF 82 Int. range
This shows the same transfer function as on the preceding page but is now viewed
from a larger distance. This shifts the area bordered by the blue lines towards
lower spatial frequencies and the SQF parameter increases from 62 to 82.
6 10 20 Lp/mm 30 40
120
100
Modulation [%]
80
60
40
20
0
100 1000
Lp/Image height
SQF 71 Int. range
A relatively minor modulation transfer at low spatial frequencies has a large impact
on the SQF parameter; it is clearly smaller although the high spatial frequencies
are imaged at higher contrast than in the preceding example.
3 - 12 Lp/degree :
0.3 50 27 20 - 80 13 - 53 8 - 30 6 - 23 4 - 14
0.4 75 54 15 - 60 10 - 40 6 - 23 4 - 17 3 - 11
0.5 30 27 12 - 48 8 - 32 5 - 18 3 - 14 2-8
0.7 20 25 9 - 34 6 - 23 3 - 13 2.4 - 10 1.5 - 6
1 30 54 6 - 24 4 - 16 2.3 - 9 1.7 - 7 1-4
1.4 10 25 4 - 17 3 - 11 1.6 - 6.5 1.2 - 5 0.8 - 3
2 100 361 3 - 12 2-8 1.1 - 5 0.9 - 3.4 0.5 - 2.1
This table shows the spatial frequencies in units of Lp/mm that correspond to the
viewing angle-related range of 3-12 Lp/degree that is taken into account in the
calculation of the SQF. Obviously these spatial frequencies depend on the size of
the sensor and viewed image as well as on the viewing distance.
The last two parameters can be combined by specifying the viewing distance
relative to the image diagonal. This important value is shown on the far left in the
first column. Next to it, in the second and third columns, examples of image sizes
and distances are given: the grey background indicates the viewing of a 12 MP
image in 100% view on a 21” monitor as presumed in the SQF data of the image
comparisons, whereas a postcard image is shown in the next to last line and a
projection image viewed from projector distance (24x36 slide projector f = 90mm)
is shown in the last line.
The columns on the right indicate the spatial frequencies ranges that are relevant
for the SQF for five different sensor formats. The maximum resolution power of
the eye is approx. 3 times larger than the upper value of each range. (numbers
rounded)
6 10 20 30 Lp/mm 40
120
100
Modulation [%]
80
60
40
20
0
100 200 300 400 500 600 700 800 900 1000
Lp/Image height
SQF 36 SQF 45 SQF 36 Int. range
Examples of images that are "poor“ in one way or another: fuzzy, but rich in
contrast or quite sharp (in places) but poor in contrast.
The images in the blue versus the black It is self-evident that a steeper gradation
field have absolutely identical MTF curves is no cure-all to compensate for
and still look different on inspection! How shortcomings in contrast transfer, since
can this be? Well, in the image in the blue the steeper gradation simultaneously
field, the gradation was made steeper in reduces the overall brightness range that
the subsequent processing. This renders can be imaged. If a motif includes very
the image richer in contrast - but it has no large differences in brightness, e.g. due
impact on the MTF values since these to differences in illumination (sun and
refer to the contrast at a very low spatial shade), this trick cannot be used.
frequency. The contrast at a spatial
frequency of zero is always set equal to Compared to the red curve, the blue and
100%. the black curves are very flat and are
characterized by very low values at low
Therefore the MTF curve describes the spatial frequencies.
change relative to this reference value; it This type of curve is characteristic of a
does not measure the absolute image rather unimpressive image with
contrast. For the same reason, the MTF conspicuous bleeding at high-contrast
does not take into account any contours. This is particularly evident at
deterioration of the contrast due to stray the highlights on the shiny chrome parts
light. Gradation and color saturation of the camera. Dark details in bright
influence subjective perception as well. surroundings are significantly
brightened. Contour definition is
surprisingly good, the legibility of the
writing is clearly better than in the red
example.
100
90
10, 20, 40 Lp/mm
80
70
60
50
40
MTF [%]
30
20
10
0
-0.15 -0.1 -0.05 0 0.05 0.1 0.15
Lens <<< Defocusing in image space [mm] >>> Pressure plate
Slanted focus MTF curve of a spherically under-corrected lens. The values for
positive defocusing describe the imaging of objects behind the focal plane. The
values for negative defocusing apply to the foreground.
This can be illustrated by the focus series of a catalogue image of the first Zeiss
Planar made in 1897: left foreground, middle best focus, right background.
With equal defocusing, the contour definition is better in the background. You can
also see the secondary spectrum, the reddish colors in the foreground and the
greenish colors in the background caused by the longitudinal chromatic aberration.
6 10 20 30 Lp/mm 40
120
100
Modulation [%]
80
60
40
20
0
100 200 300 400 500 600 700 800 900 1000
Lp/Image height
SQF 74 SQF 89 SQF 68 Int. range
Three transfer functions with identical MTF50 value and identical resolution
This group of images and MTF curves For most image contents the subjective
shows us that all attempts to describe impression of sharpness depends on the
image quality with simple numbers have contour definition. The contour
their limits and must be interpreted with definition is high when the curves are
caution: flat. The red curve, though, shows the
largest change in the important range of
The MTF50 parameter is often used as a spatial frequencies and therefore has the
measure of image sharpness; the MTF50 lowest contour definition. Only if the
is the spatial frequency at which the more sloping curve would be shifted to
contrast transfer is 50%. The MTF50 the right, the corresponding image would
values are between 760 and 800 look sharper.
Lp/image height in the three curves The SQF quality parameter is largest in
shown, meaning that they are close to the red curve. This quality judgement
identical but as you can see in the images based on the area under the curve is not
the sharpness is by no means identical. always consistent with our subjective
perception. The simple formula "the
If we define the resolution power such higher the better" does not always apply.
that there is just less than 10%
modulation, this number should be equal In all motifs with many sharp contours
in the three images. However, on close you will certainly prefer one of the other
inspection the impression of image two examples. Only the wood structure
sharpness appears to be poorest in the with its innate softer structures benefits
red picture. Why is this the case? from the high contrast at low spatial
frequencies in the red image. And at a
very large viewing distance one will
probably prefer the red image because
of its more brilliant appearance.
Zeiss Softar
100
80
MTF [%]
60
40
20
0
0 10 20 30 40
The Sonnar 4/180 for the 6x6 format is an excellent lens although its sharp and
high-contrast imaging is not desirable in all applications. However, if it is combined
with a Softar, a halo is added to the point image. This mainly reduces the contrast
transfer at all frequencies and good contour definition is retained (flat curve!)
Accessories like a Softar can, of course, be However, not every soft-focus filter has
possibly supplanted in digital photography the same properties as a Softar. This is
by software solutions (pun intended). Just evident from a comparison of the MTF
as it is possible to sharpen an image by curves of a Softar image and those
computing, an image can also be made generated by a Gaussian soft-focus
"softer". filter:
60
50
40
30
20
10
0
0 200 400 600 800 1000 1200
Lp/Image Height
System MTF curves from digital image files, Macro-Planar 2/100 ZF on a full-
format miniature camera. The two black curves show the modulation transfer with
small and medium sharpening parameter for the JPG files generated by the
camera.
The blue curves are obtained using a Softar soft-focus attachment on the lens at
the same camera settings. As in the optical measurement on the Sonnar 180
shown above, the transfer of contrast decreases clearly at all spatial frequencies.
This produces a flat curve at a lower level so that we expect the image to be
characterized by the following features: softer impression of the image due to
reduced contrast, good contour definition on contours with small contrast range,
bleeding on contours that are high in contrast (in a portrait, this is typically the case
with hair seen against the light).
The red curves are produced by the Gaussian soft-focus filter with a pixel radius
of 1 in Photoshop. It leaves the low spatial frequencies unchanged and reduces the
modulation only at high frequencies. As a result we obtain a steeply decreasing
curve and the impression of the image is very different from the image produced by
Softar, as you can see for yourself:
6 10 20 30 Lp/mm 40
120
100
Modulation [%]
80
60
40
20
0
100 200 300 400 500 600 700 800 900 1000
Lp/Image height
SQF 64 SQF 89 SQF 80 Int. range
Three images with relatively small differences but the image with the highest SQF
is certainly not the sharpest image.
For this reason, let's compare the image The black curve is produced by the
again, this time to the image just below it camera with a good lens and moderate
(blue field) whose MTF values are sharpening of the camera's JPG files, i.e.
consistently below the red curve. this is a relatively well-balanced imaging
However, we discover that this image is overall.
not less sharp.
6 10 20 30 Lp/mm 40
120
100
Modulation [%]
80
60
40
20
0
100 200 300 400 500 600 700 800 900 1000
Lp/Image height
SQF 36 SQF 64 SQF 80 Int. range
One example of an image with low contrast and bleeding effects but good contour
definition, one example of an image with better contrast but lesser contour
definition, and one image in which both properties are good.
The blue and black curves are almost The red curve is sloping more steeply
parallel to each other and therefore the and therefore the contour definition of
change of modulation with spatial the corresponding image is poorer than
frequency is almost equal. As a result we that of the two other images.
can expect the images to have similar
contour definition. However, if one views these three
images from a large distance where only
However, the image of the black curve the left part of the curves is effective for
shows that it is also important how high in the eye and where the red curve is flat,
the diagram the flat curve is positioned. there is little difference between the red
Only then is the image free from bleeding and the black image visible to the eye.
in strong light, only then are filigree dark
structures in bright surroundings However, the special features of the blue
reproduced with dark tones and rich in image remain visible even at a very large
contrast. This is quite evident on the book distance from the monitor. Therefore,
spines. And only then are the edges of good values at low spatial frequencies
bright areas cleanly defined. are important even for small images.
6 10 20 30 Lp/mm 40
120
100
Modulation [%]
80
60
40
20
0
100 200 300 400 500 600 700 800 900 1000
Lp/Image height
SQF 80 SQF 80 SQF 95 Int. range
We have finally arrived where the top We see bleeding on the chrome parts of
qualities are to be found. The images of the camera, the writing on the book
the blue and black curves are taken by the spines is low in contrast and some parts
camera in medium and high sharpness appear too smooth.
settings. Both curves are flat and the
images convey an impression of excellent The red curves indicate this to us by
sharpness. means of its pronounced drop at 10
Lp/mm at which point the modulation
This is even more evident in the image of decreases below 80% whereas it is
the black curve - just look at the leather relatively high at higher frequencies.
texture of the camera. This high
modulation may even appear somewhat This curious image is produced by the
aggressive for such fine structures. In following parameters: a lens with high
addition, sharpening activities are clearly spherical aberration and therefore a
evident: dark structures are surrounded by point image with a large halo as well as
a bright fringe. an increase in contrast in a medium
frequency range caused by blurred
The black curve reflects these properties masking in the subsequent processing.
in that it has a hump where the modulation However, the shortcomings of the lens
increases from 10 to 20 Lp/mm. cannot be remedied in the subsequent
The red curve also has a hump of this processing.
type; it is flat in the center and is In summary, this example shows that
positioned at a high level. And still we are small changes at low spatial frequencies
not quite happy with the image. can have a much larger impact than
small changes at high spatial
frequencies.
100 100
MTF [%] MTF [%]
80 80
60 60
40 40
20 20
0 0
0 5 10 15 20 0 5 10 15 20
u' [mm] u' [mm]
MTF in white light at 10, 20, and 40 Lp/mm plotted over the image height; the blue
continuous line and broken red line indicate sagittal and tangential slit orientation,
respectively.
The obvious difference is that the tangential values in the field, e.g. at 15 mm
image height, are much smaller for the zoom lens. The cause of this effect is
evident in the tangential line image which shows the zoom lens to have strong
lateral chromatic aberration.
120
100
80
Modulation
60
40
20
0
0 500 1000 1500 2000
Lp/PH
100
80
Modulation
60
40
20
0
0 500 1000 1500 2000
Lp/PH
We do not find the values from the optical A whole range of causes is responsible
measurement so readily here, for instance for this.
when we compare at 40 Lp/mm and 15
mm image height. Now we are aware that The MTF changes as a function of the
low-pass filter and sharpening will distort magnification; remember, the optical
the curves, but here the relationships are measurement was for objects that are far
simply not correct: what was equal is away and the camera measurement was
different now and what was very different at a distance of 1 m.
with one lens is almost equal now.
Whether or not it makes sense to have But one should not underestimate the
this many pixels in the miniature camera effort that goes into a lens for a good
format of 24x36 mm is currently a much- mobile phone camera: four elements
discussed topic. Is this type of camera with eight aspherical surfaces are quite
really worth the money? Can I really see a normal in this segment. And yet the
gain in image quality or is this purely a photo-module can do without a low-pass
question of prestige, a "pixel race"? Is the filter which is, in a way, incorporated into
optical system even good enough? These the lens since the sensor performance is
are the most typical doubts people have. so close to the physical limits of the
optical system.
In one tutorial on the interesting internet
page “The Luminous Landscape” one To have 24 megapixels on a significantly
author asked “Do sensors "outresolve" larger surface is obviously still far
lenses ?” removed from this situation but it is a
step in the same direction. And it can
One can answer this question with the happen even in optical systems for the
words of a new popular saying “Yes, they miniature format that the resolution
can!” because the smallest pixels are 1 power of the sensor exceeds that of the
µm in size today and this calls for lenses lens in some parts of the image or at the
that are diffraction-limited even at an less favorable aperture stops.
aperture stop of 2.8. Fortunately, the area
of these sensors is also very small and the But let me show you that the 24 MP
lenses therefore have correspondingly sensor can provide a gain in image
short focal lengths combined with very quality as compared to only half this
normal image angles. Therefore, high number of pixels even under these
performance at surprisingly low prices is conditions. This is easy to comprehend
feasible. based on our knowledge of MTF curves.
And the sample images will allow you to
convince yourself that the theory is
correct.
100
90
80
70
60
MTF [%]
50
40
30
20
10
0
0 10 20 30 40 50 60 70 80 90
Let's consider two lenses with these transfer functions: one is diffraction-limited at
aperture stop 8-11 and has a resolution of 160 Lp/mm, whereas the other shows
stronger aberrations and, as a consequence, has the typical sagging MTF curve;
its resolution is only 80 Lp/mm and thus somewhat less than that of the 24 MP
sensor which has a Nyquist frequency of 84 Lp/mm.
100
90
80
70
MTF [%]
60
50
40
30
20
10
0
200 400 600 800 1000 1200 1400 1800
[Lp/Image height] 1600 2000
100
90
80
70
MTF [%]
60
50
40
30
20
10
0
200 400 600 800 1000 1200 1400 1800
1600 2000
[Lp/Image height]
This is the inverse case: we are combining the poorer of the two lenses with the 24
MP camera. The lens is poorer than the sensor, its blue curve is below the sensor
curve. The sagging of the MTF curve of the poorer lens is not evident here and the
sensor curve is not straight either because we are using a logarithmic spatial
frequency scale which fits our subjective perception better.
90
80
70
60
MTF [%]
50
40
30
20
10
0
200 400 600 800 1000 1200 1400 1800
[Lp/Image height] 1600 2000
Sensor: 59 Lp/mm ( 12 MP) Lens: 160 Lp/mm (24mm)
Sensor: 59 Lp/mm ( 12 MP) Lens: 80 Lp/mm (24mm)
Sensor: 84 Lp/mm ( 24.3 MP) Lens: 160 Lp/mm (24mm)
Sensor: 84 Lp/mm ( 24.3 MP) Lens: 80 Lp/mm (24mm)
MTF curves for the four possible combinations of two cameras and two lenses
each with the different resolution limits of 59 and 84 Lp/mm, and 160 and 80
Lp/mm.
What can these curves tell us based on Thus concerns that today's good lenses
what we learned from the images used as may in general not be able to cope with a
examples? 24 MP sensor appear somewhat
exaggerated. Of course the full potential of
1. Doubling the number of pixels the huge data files can only be used with
improves the transfer function even if a very good lens. But we can expect some
the sensor resolution is better than improvement of image quality not only for
the resolution of the lens. the optimal aperture stops but also outside
of the range of best performance,
2. The curve for the poor lens on the 24 provided there is no price to pay in the
MP sensor is almost as good as the form of increased noise or reduced
curve of the good lens with the 12 MP dynamic range.
sensor.
The reason for an overly pessimistic view
3. We expect differences between 12 is the misconception that only the
and 24 MP to be visible but we also resolution limit of the system determines
see that they should not be the image quality and that it is identical to
overestimated (see Comparison 4). the resolution of the weakest link of this
The differences are not as large as chain. This is not the case, though, since
the numbers 12 and 24 may suggest. the curves are multiplied, or it is the case
only if the optical system performs very
poorly.
100
MTF [%] 10, 20, 40, 80 Lp/mm
90
80
70
60
50
40
30
20
10
0
1.4 2 2.8 4 5.6 8 11 16 22 f-number
MTF of the Planar 1.4/85 ZA lens at 10, 20, 40, and 80 Lp/mm as a function of the
aperture stop. The optimal aperture stop is f/8 as the lens is diffraction-limited at
smaller apertures. The limits from diffraction theory are indicated by the red lines for
40 and 80 Lp/mm. The transfer functions used in the model calculation presented
above correspond approximately to the performance of this Planar at aperture stops
1.4 and 5.6, respectively.
If we measure the modulation transfer in When fully open, the contrast is clearly
the digital image, we expect to find this lower at low frequencies up to 40 Lp/mm
character of the lens to be reflected there but it increases when the aperture stop is
as well i.e. when fully opened it starts soft; set to f/2.8. On stopping down further to
it has an optimal range at medium f/5.6 we note a clear increase at all
aperture stops and deteriorates again frequencies and aperture stop 8 is optimal
beyond aperture stop 11. again (yellow curve).
Lp/mm
0 10 20 30 40 50 60 70 80
100
90
80
70
Modulation [%]
60
50
40
30
20
10
0
0 200 400 600 800 1000 1200 1400 1600 1800 2000
Lp/Image Height
Lp/mm
0 10 20 30 40 50 60 70 80
100
90
80
70
Modulation [%]
60
50
40
30
20
10
0
0 200 400 600 800 1000 1200 1400 1600 1800 2000
Lp/Image Height
Lp/mm
0 10 20 30 40 50 60 70 80
100
90
80
70
Modulation [%]
60
50
40
30
20
10
0
0 200 400 600 800 1000 1200 1400 1600 1800 2000
Lp/Image Height
System-related differences between the original sizes of the images (e.g. analog scan
versus digital) were converted to the size of the 24 MP files using bicubic spline
interpolation to enable easy comparison on the monitor.
You see here how the image quality varies The lower MTF at f/1.4 can be partially
with the f-stop; the shot at f/11 is clearly the compensated by suitable parameters of
best. But the differences are not as large as the image processing. This in shown in
the shape of the curves might suggest or as image_08. Many problems with f/1.4 in
many interpretations try to tell us. In the practical photography are related to the
image shot wide open at f/1.4 you see the narrow depth-of-field and the demanding
color effects, which are not explained by focus accuracy rather than to the lower
MTF. lens performance.
The samples above show us how fuzzy the RAW and camera-JPG may deliver quite
difference between 12 and 24 MP may be, if different results from the same exposure.
we compare images with different types of After best possible processing even a
processing. 12MP image might come close to the
quality of a scan from the 6x7 film.
100
80
Modulation
60
40
20
0
0 200 400 600 800 1000 1200 1400
Lp/Image height
Modulation transfer functions of the same digital camera after different types of data
processing. The JPG-files (red curve) calculated by the camera are usually a bit
more cautious with respect to aggressive sharpening in order to avoid artefacts.
When you compare the scans from film Concerning the differences between 12
images with the “original” and with the and 24 MP you will have noticed that
previous digital images, you will they are sometimes surprisingly small.
understand why the 24x36 digital camera But this is also a question of the motif,
competes with the analog medium format. not all of them reveal the differences of
But you see as well that the quality of the high spatial frequency transfer. But
larger analog formats is not matched. So they exist: extremely fine line and dot
there is the need for even better digital patterns are the nightmare of all digital
cameras. cameras, as you can see in the next
sample images which tried to copy a
microscope catalogue from 1906:
When you compare the “Original” with the In the image on the sensor the dot
copies you will notice that the 24MP image pattern corresponds to 50 Lp/mm, and
gives an illusion of resolution – but reality the thin black lines have a width of
looks different. 5µm. With these structures plenty of
artifacts have to be expected and one
starts to wish for many more pixels …
As in most other fields of knowledge, the This view of images as a combination of many
understanding of the modulation transfer sinusoidal components was placed in a much
function is based on the ideas and insights of broader context in 1946 by the French
many individuals and the available space physicist Pierre-Michelle Duffieux. In his
allows me to mention only the most influential landmark paper entitled "L’intégrale de Fourier
pioneers and to list the place in history only for et ses applications à l’optique“, he included a
some of the more well-known names. This is in discussion of the close mathematical
no way meant to belittle the achievements of relationships with the laws of physics in the
so many others. field of wave optics. Many parts of that had
already been described by Ernst Abbe in Jena
In 1936, Helmut Frieser was the first to in 1873 in his theory of the microscope, which
propose measuring image quality by means of was the foundation of the success of Carl
sinusoidal patterns. He was a staff member of Zeiss.
Zeiss-Ikon Filmwerk in Berlin and noticed that
periodic sinusoidal grids are the only patterns But the mathematical tools newly used by
which do not change their shape, but only their Duffieux were much older and had been
amplitude and position, in response to any type invented by his compatriot, the mathematician
of deterioration of the image quality. He had and physicist Jean-Baptiste Fourier (1768 -
already recognized that the imaging of both 1830).
coarse and fine structures must be sufficiently
good for image quality to be optimal. Many terms Duffieux applied to the field of
optics have analogies in other areas. These
had been developed from the late 1920s
onwards in telecommunications and acoustics.
These fields also know modulation transfer
functions. Let me also mention another name
that may be known to readers of the technical
literature in the field of photography, the
American physicist Harry Nyquist who
published his sampling theorem in 1928.
Since the invention of television, In the 1950s, the optical industry began to
telecommunications has obviously much to do construct the first MTF measuring devices
with images as well. It was therefore an in order to be able to measure the quality of
obvious step to apply these terms, which had lenses impartially, i.e. independently of any
become common in telecommunications, also human bias. Up to that point in time there
to optics in order to understand the working of were already some laboratory devices
a lens as that of an electrical filter. Although available which allowed individual aspects
these components are quite different inside, of the geometric-optical correction to be
they can be described using the same measured quite apart from the projection of
mathematics. a test image using a test apparatus or test
photography. However, the interplay of
A wealth of experimental results based on this these aspects in the final image was not so
new concept was published since 1948 by easy to assess.
Otto H. Schade, an employee of RCA Victor in
Harrison N.J., a major American manufacturer The 1960s and 1970s were characterized
of TV technology at the time. by the refinement of the instruments, the
development of standards and predictive
MTF calculations using optical computing
programs in order to optimize lenses.
2. Fourier transformation
3. Autocorrelation
Much of this part of optics is closely related to
the mathematical field of integrals which is no Optics uses different concepts of the nature
surprise since the task is to add many of light. Many features of lenses can be
individual energy contributions. The image understood by thinking of rays that are
results from object and point image by means refracted at the surfaces of lenses. But we
of the convolution integral; the diffraction is also need to use the term “wave” in order to
described by similar integrals and the Fourier understand the phenomena of diffraction.
transformation is an integrating transformation There is a simple correlation between waves
of functions which is also important in many and rays: a ray is perpendicular to a wave
other fields (from the space or time to the surface. If you throw a rock into a pool and
frequency domain). It can be used to calculate circular waves propagate outwards, all rays
the MTF from the intensity distribution of a are directed towards the middle of the circles
point or a line image. This involves quite a bit where the rock hit the water.
of mathematical calculation and has become If not all rays arrive in an ideal point in the
feasible only with the advent of fast computers. presence of aberrations, this is caused by the
In order to measure the intensity distribution of wave surfaces being deformed. They would
a line (a contour can be used as well) at be spherical in the ideal case. Therefore the
sufficiently high accuracy, the image of the test brightness distribution in the point image can
apparatus must first be magnified with a also be measured indirectly by measuring the
microscope. deviation of the wavefront from an ideal
The Fourier transformation can also be applied spherical shape in the pupil (= aperture
to data from digital image files. For this surface).
purpose, slightly slanted black/white contours
are shown on well-known test charts. This is usually done with an interferometer;
its pattern of stripes and its autocorrelation
integral (Duffieux integral) yield the MTF. Its
advantage: it provides detailed information
about the type of aberration. Its
disadvantage: the interferometer works with
monochromatic laser light and therefore does
not produce MTF values for the practical
application of a photographic lens.
Because of computing advantages, the
autocorrelation of the pupil is often used in
lens design programs.