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f-number

The f-number, also known as the f-stop or relative aperture, is a dimensionless measure in optics that quantifies the light-gathering capability of a lens or optical system by representing the ratio of the system's focal length to the diameter of its entrance pupil.^[1]^[2] This ratio, typically denoted as f/N where N is the numerical value of the f-number, directly influences the amount of light transmitted through the aperture: lower f-numbers (e.g., f/1.4) allow more light to pass, enabling brighter images or shorter exposure times, while higher f-numbers (e.g., f/16) restrict light intake for greater control over exposure.^[3]^[1] In practical terms, each full stop increase in f-number halves the light throughput, as the aperture area decreases proportionally to the square of the diameter.^[3] Beyond light control, the f-number plays a critical role in image quality by governing depth of field (DOF), the range of distances in a scene that appear acceptably sharp; higher f-numbers increase DOF, which is advantageous for landscapes or macro photography where extensive focus is desired, whereas low f-numbers produce shallow DOF for isolating subjects like portraits.^[1]^[3] It also impacts resolution and contrast: while low f-numbers enhance resolution by minimizing diffraction effects in well-designed lenses, excessively high f-numbers can limit resolution due to increased diffraction, creating a trade-off in optical performance.^[3]^[1] In photography, "fast" lenses with low minimum f-numbers (e.g., f/2.8 or below) are prized for low-light conditions and motion freezing, whereas "slow" lenses with higher f-numbers prioritize compactness and reduced aberrations.^[2]^[1] The f-number's standardization in steps—such as f/1, f/1.4, f/2, f/2.8, f/4, and so on, each reducing area by approximately half—facilitates consistent exposure adjustments across cameras and lenses.^[1] Its applications extend beyond consumer photography to scientific and industrial fields, including astronomical telescopes where it defines the focal ratio for light collection efficiency, and machine vision systems where it balances throughput with precision.^[2]^[3] In infrared optics, the f-number similarly dictates sensitivity and field performance, underscoring its universal relevance in imaging technologies.^[1]

Definition and Notation

Notation

The f-number is denoted as f/N, where f represents the focal length of the lens and N is the numerical f-number value. This notation expresses the f-number as a ratio, indicating that the diameter of the aperture opening is the focal length divided by N. For example, f/2.8 specifies an aperture diameter equal to the focal length divided by 2.8.^[1]^[4] The f-number is synonymous with the term relative aperture, which quantifies the proportion of the focal length to the aperture diameter, yielding a dimensionless measure of the lens opening relative to its optical design.^[5]^[6] Historically, the notation for the f-number has included variations such as "f/", "f-", or "1:" in early photographic contexts to denote the relative aperture ratio.^[6] The mathematical formulation derives the f-number as N = \frac{f}{D}, where D is the diameter of the entrance pupil, standardizing the representation across different lens focal lengths.^[1]^[3]

Basic Principles

The f-number, denoted as N, quantifies the relative aperture of an optical system by defining the ratio of the lens's focal length f to the diameter D of the entrance pupil, expressed as N = \frac{f}{D}.^[3] This ratio determines the size of the cone of light that converges onto the image plane, where a smaller N corresponds to a wider cone and thus greater light collection efficiency.^[1] In practical notation, it is often written as f/N, such as f/2.8, to indicate the system's light-gathering capability.^[1] The illuminance, or light intensity, on the image plane follows the inverse square law in relation to the f-number, with intensity proportional to \frac{1}{N^2}.^[7] This means that halving the f-number (e.g., from f/4 to f/2) quadruples the light intensity, as the area of the aperture scales with the square of its diameter while the focal length remains fixed.^[3] Unlike absolute aperture size, which varies with lens design, the f-number provides scale-invariance across different focal lengths, allowing consistent comparison of light-gathering ability for lenses of varying sizes.^[3] For instance, a 50 mm lens at f/2 and a 100 mm lens at f/2 both deliver the same relative light intensity per unit area on the image plane, independent of their physical scale.^[1] From a physics perspective, larger apertures (smaller N) enhance light collection but increase the angle of incidence for marginal rays, exacerbating optical aberrations such as spherical aberration, which degrades image sharpness at the edges.^[8] This trade-off necessitates careful lens design to balance brightness with optical fidelity.^[9]

Aperture Scales

Full-Stop Scale

The full-stop scale for f-numbers constitutes a standardized series in photography and optics, where each increment doubles or halves the effective aperture area, resulting in a corresponding change in light intensity by a factor of two. This logarithmic progression ensures consistent exposure adjustments, with each step termed a "full stop." The scale originates from the need to quantify light transmission in a manner that aligns with the quadratic relationship between aperture diameter and area. The conventional full-stop sequence is f/1, f/1.4, f/2, f/2.8, f/4, f/5.6, f/8, f/11, f/16, f/22, f/32, and continues similarly for higher values.^[10] These values approximate powers of \sqrt{2}, reflecting the geometric nature of the scale. The derivation stems from the f-number definition, N = f / d, where f is the focal length and d is the aperture diameter. Light intensity I is proportional to the aperture area A \propto d^2, so I \propto 1/N^2. To halve the light (one full stop), the new f-number N' satisfies (N'/N)^2 = 2, yielding N' = N \sqrt{2} \approx N \times 1.414. Thus, each successive f-number is the previous multiplied by \sqrt{2}, halving transmission while maintaining the proportional exposure change.^[10] In practice, photographic lenses often feature maximum apertures aligned with this scale for optimal performance; for instance, fast prime lenses commonly achieve f/1.4, enabling superior low-light capability and shallow depth of field, while professional zoom lenses frequently max out at f/2.8.^[11] This full-stop framework underpins finer subdivisions like half-stops for precise control in contemporary systems.

Half-Stop Scale

The half-stop scale extends the full-stop f-number series by inserting intermediate values that enable more precise exposure control. Typical half-stop insertions include f/1.2 between f/1.0 and f/1.4, f/1.7 between f/1.4 and f/2.0, f/2.5 between f/2.0 and f/2.8, f/3.5 between f/2.8 and f/4.0, and f/6.3 between f/5.6 and f/8.0.^[12] These half-stops are achieved by multiplying the preceding f-number by $2^{1/4} \approx 1.189, which corresponds to a change in light transmission by a factor of \sqrt{2} \approx 1.414, equivalent to approximately a 41% adjustment in exposure value.^[12] The half-stop scale is widely used in consumer cameras to provide balanced, incremental exposure adjustments that closely approximate the granularity of analog exposure metering in traditional film systems.^[12] Some manual lenses feature aperture rings with clicks at half-stop positions for tactile reference, though many classic designs, such as Nikon AI-series primes, mark only full stops and allow manual positioning between them.^[13]

Third-Stop and Quarter-Stop Scales

The third-stop scale provides finer granularity than half-stop increments, dividing each full stop into three equal parts for more precise aperture adjustments in modern photography. This scale uses a multiplier of \sqrt{2}^{1/3} \approx 1.122 applied to the f-number for each step, resulting in approximately a 26% change in light transmission per increment, as the area of the aperture varies by $2^{1/3} \approx 1.26.^[14] Common examples include f/2.0, f/2.2, f/2.5, and f/2.8, allowing photographers to fine-tune exposure without large jumps in depth of field or light intake.^[15] The quarter-stop scale offers even greater precision, subdividing a full stop into four parts. Increments typically follow a multiplier of $2^{1/8} \approx 1.0905 for the f-number, yielding about an 18.9% light change per step via $2^{1/4} \approx 1.189. Some cameras use internal 1/8-stop steps to approximate 1/3-stop settings for more accurate electronic control, though user-selectable adjustments are usually limited to 1/3-stop in most high-end DSLRs and mirrorless systems as of 2025. Nominal values often round, such as f/2.2 for positions approximating both third- and quarter-stops due to manufacturing conventions.^[16] These scales enhance digital workflows by enabling subtle adjustments that align closely with in-camera histograms, reducing the risk of clipping highlights or shadows during capture. In RAW processing, the finer steps support post-production corrections with minimal noise introduction, as initial exposures can be optimized more accurately before editing.^[12]^[4] The adoption of third-stop scales evolved with the shift from film to digital photography, where coarser full- or half-stop markings sufficed for film's latitude, but digital sensors demanded tighter control for dynamic range management.^[17]

Exposure Calculation

Camera Exposure Equation

The camera exposure equation quantifies the relationship between the f-number, shutter speed, and ISO sensitivity to determine the total light exposure on the image sensor or film. In its logarithmic form, known as the exposure value (EV) at ISO 100 (EV_{100}), the equation is given by

\text{EV}_{100} = \log_2 \left( \frac{N^2}{t} \right),

where N is the f-number and t is the shutter speed in seconds.^[18] This formulation links the f-number directly to light accumulation, as EV represents the base-2 logarithm of the exposure, with each unit corresponding to a doubling or halving of the light reaching the sensor at ISO 100. For other ISO values S, the adjusted exposure value is \text{EV}_S = \text{EV}_{100} + \log_2 (S / 100), allowing consistent exposure across sensitivities. The squared term N^2 in the equation arises from the geometry of the lens aperture. The f-number N is defined as the ratio of the lens focal length f to the aperture diameter D, so N = f / D and D = f / N. The aperture area, which determines the light-gathering capacity, is proportional to \pi (D/2)^2 \propto D^2 \propto 1/N^2. Thus, the illuminance on the sensor is inversely proportional to N^2, reflecting how smaller apertures (higher N) reduce light intake quadratically.^[19]^[18] A one-stop change in the f-number, which multiplies or divides N by \sqrt{2} (approximately 1.414), doubles or halves the aperture area and thus the light exposure, since (\sqrt{2})^2 = 2. This adjustment compensates exactly for a one-stop change in shutter speed (doubling or halving t) or ISO sensitivity (doubling or halving the ISO value), maintaining constant EV and proper exposure. For instance, increasing N from f/5.6 to f/8 (a one-stop reduction in light) requires halving t (e.g., from 1/60 s to 1/30 s) or doubling ISO (e.g., from 100 to 200) to preserve the same exposure level.^[19]^[18]^[20] In practice, for a typical midday outdoor scene at ISO 100, a balanced exposure might use f/8 and 1/125 s, yielding EV_{100} ≈ 13, as \log_2(8^2 / 0.008) = \log_2(8000) \approx 13.^[18]^[20]

Transmission Adjustment (T-Number)

The effective f-number accounting for transmission, often called the T-number, adjusts the marked f-number for actual light transmission through a lens, which is typically less than 100% due to absorption and reflection losses. It is defined as T = \frac{N}{\sqrt{\tau}}, where N is the marked f-number and \tau is the lens transmission factor representing the fraction of incident light that reaches the image plane.^[10] Lens transmission is reduced primarily by reflections at air-glass interfaces, with each uncoated surface reflecting about 4-5% of light, compounded by the number of elements in the lens design; absorption in glass materials contributes minimally in the visible spectrum. Anti-reflective coatings mitigate these losses by reducing surface reflectivity to below 1% per interface, while increased element counts in complex lenses (e.g., zooms with 10+ elements) can still lower overall \tau if coatings are suboptimal. For instance, a lens marked as f/2.8 with \tau \approx 0.77 (common for mid-20th-century designs) has a T-number of approximately f/3.2, meaning it transmits about 23% less light than an ideal lens at the same marked aperture.^[21]^[22] Typical transmission factors for photographic lenses range from 0.7 to 0.9, depending on design complexity and coating quality, with simpler prime lenses often achieving higher values than zooms. Multi-layer anti-reflective coatings, introduced in the early 1970s by manufacturers like Asahi Pentax with their Super-Multi-Coating (SMC), dramatically improved transmission by optimizing reflectivity across wavelengths, boosting \tau to over 95% in modern high-end lenses and reducing flare for better image contrast.^[23]

Film and Sensor Sensitivity

The ISO/ASA film speed system, standardized by the American National Standards Institute (ANSI) in 1974 through adoption of ISO 6, defines sensitivity such that each doubling of the ISO number represents a one-stop increase in film speed, meaning the film requires half the exposure to produce the same density.^[24] For example, ISO 100 film is twice as sensitive as ISO 50, allowing photographers to adjust exposure by changing the f-number, shutter speed, or ISO to maintain proper illumination on the film plane. This arithmetic progression aligns directly with f-number stops, where opening the aperture one stop (e.g., from f/8 to f/5.6) doubles the light intake, compensating for a halving of sensitivity when shifting from ISO 100 to ISO 200.^[24] A practical heuristic for exposure in bright conditions is the Sunny 16 rule, which states that on a clear, sunny day at midday, correct exposure for a subject in full sunlight can be achieved by setting the aperture to f/16 and the shutter speed to the reciprocal of the ISO value (e.g., 1/100 second for ISO 100).^[25] This rule ties the f-number directly to scene luminance and film sensitivity, providing a quick estimate without a light meter; for instance, with ISO 400 film, the shutter speed would be 1/400 second at f/16, assuming EV 15 lighting typical of bright sun.^[25] It integrates with the broader camera exposure equation by balancing f-number against ISO and shutter speed for scenes around 1000 lux illuminance. In digital sensors, ISO adjustments primarily involve analog gain applied after photon capture but before analog-to-digital conversion, amplifying the signal to simulate higher sensitivity while introducing noise from read-out electronics and photon shot noise.^[26] Unlike film, where ISO is fixed by emulsion chemistry, digital gain boosts at higher settings (e.g., from ISO 100 to 200) effectively double the output but amplify thermal and pattern noise, reducing dynamic range; for example, ISO 800 may yield usable images in low light but with visible grain compared to base ISO 100.^[26] Exposure adjustments for accessories like neutral density (ND) filters or bellows extension scale the effective f-number to account for reduced light transmission or increased lens-to-sensor distance. ND filters, rated in stops (e.g., a 3-stop filter halves light thrice, requiring a three-stop wider aperture like f/8 to f/2.8 for equivalent exposure), maintain the marked f-number while compensating via shutter speed or ISO.^[27] Bellows factor in macro or large-format photography increases the working f-number by the factor (1 + e/f), where e is the extension and f the focal length (e.g., at 1:1 magnification where e = f, the working f-number doubles, effectively halving light and raising f/8 to f/16 equivalent), necessitating longer exposures or higher ISO to preserve image density.^[28]

Image Quality Effects

Depth of Field

The depth of field (DoF) refers to the range of distances in object space over which objects appear acceptably sharp in an image, determined primarily by the lens's f-number, focal length, subject distance, and the acceptable circle of confusion. A larger f-number, corresponding to a smaller aperture diameter, increases the DoF by narrowing the cone of light rays passing through the lens, which reduces the rate at which defocus blur accumulates away from the focal plane.^[29]^[30] An approximate formula for the total DoF when the subject distance u is much greater than the focal length f is given by

\text{DoF} \approx \frac{2 N c u^2}{f^2},

where N is the f-number, c is the circle of confusion diameter (typically around 0.03 mm for 35 mm format sensors), u is the subject distance, and f is the focal length.^[31] This approximation highlights the direct proportionality of DoF to N, showing how stopping down the aperture extends the sharp focus range. The hyperfocal distance H, defined as the closest focusing distance at which the DoF extends to infinity, is calculated as

H = \frac{f^2}{N c}.

Focusing at H maximizes the DoF for scenes with distant subjects, such as landscapes, where everything from approximately H/2 to infinity remains sharp.^[32]^[31] In practice, photographers select smaller f-numbers like f/2.8 to achieve shallow DoF for isolating subjects in portraits, creating pronounced background blur, while larger f-numbers such as f/11 are used for expansive landscapes to maintain sharpness across foreground and background elements.^[33]

Diffraction and Sharpness

In optical imaging, diffraction imposes a fundamental limit on the sharpness of an image formed by a lens, particularly as the aperture is stopped down to higher f-numbers. When light passes through a circular aperture, it does not converge perfectly to a point but instead spreads out due to wave interference, forming a central bright spot known as the Airy disk surrounded by concentric rings. The radius of this Airy disk, which represents the smallest resolvable detail in a diffraction-limited system, is given by the formula r \approx 1.22 \lambda N, where \lambda is the wavelength of light (typically around 550 nm for visible green light) and N is the f-number of the lens.^[34] As N increases, the Airy disk enlarges proportionally, causing adjacent points in the subject to blur together and reducing overall image resolution. This effect becomes noticeable at small apertures, such as f/16 or higher, where the diffraction blur can exceed other optical imperfections like lens aberrations.^[35] For typical 35mm full-frame sensors, the optimal f-number for maximum sharpness often falls in the range of f/8 to f/11, where lens aberrations are minimized while diffraction remains negligible. At these settings, the system achieves peak resolution by balancing the reduction in spherical aberration and field curvature from stopping down with the onset of diffraction. Beyond f/11, diffraction progressively dominates, leading to a measurable decline in fine detail, though modern image processing can partially mitigate this in post-production.^[35]^[36] Modulation transfer function (MTF) curves illustrate this tradeoff quantitatively, plotting contrast retention (modulation) against spatial frequency (line pairs per millimeter) for different f-numbers. These curves typically peak in resolution around f/5.6 to f/8 for high-quality lenses, with a gradual decline at higher f-numbers as diffraction attenuates high-frequency details. For instance, an excellent 35mm lens might resolve 60 lp/mm at 50% MTF at f/8, dropping to about 40 lp/mm at f/16 due to the expanding Airy disk overlapping more closely spaced lines.^[35]^[37] The impact of diffraction is more pronounced in systems with smaller pixels, such as those in smartphone cameras, where pixel pitches are often 1-2 μm. Here, the diffraction limit is reached at lower f-numbers like f/2.8 to f/4, as the Airy disk size quickly exceeds the pixel dimensions, limiting the effective resolution regardless of sensor megapixel count. In contrast, larger full-frame sensors with 4-6 μm pixels can tolerate higher f-numbers before diffraction significantly degrades sharpness.^[38]^[39]

Specialized Applications

T-Stops in Cinematography

In cinematography, T-stops provide a measure of the actual light transmission through a lens, accounting for losses due to absorption, reflection, and scattering in the glass elements, which ensures precise and consistent exposure across multiple shots and lenses.^[40] The T-number relates to the f-number by the formula T = \frac{N}{\sqrt{\tau}}, where N is the f-number and \tau is the transmittance (the fraction of incident light passing through the lens), typically ranging from 0.70 to 0.90 for modern cinema lenses.^[41] This adjustment results in T-stops being approximately 1/3 to 1/2 stop slower than corresponding f-stops, as real-world light losses reduce effective illumination by 10–30% compared to the theoretical aperture.^[42] Cinema lenses are specifically calibrated and marked in T-stops—such as T/2.0 or T/4—for use in film and video production, enabling cinematographers to match exposures seamlessly when changing lenses, using multiple cameras, or editing sequences where even minor variations would be visible.^[43] This transmission-based marking originated as a standard in motion picture optics to prioritize exposure uniformity over theoretical calculations.^[40] While general lens transmission affects all photography, T-stops extend this principle into production-specific calibration for consistent results in dynamic shooting environments.^[41]

Focal Ratio in Astronomy

In astronomy, the focal ratio, often denoted as f/D, represents the ratio of a telescope's focal length (f) to the diameter of its primary mirror or objective lens (D). This parameter, equivalent to the f-number in optical systems, determines the telescope's speed and field of view. For instance, a wide-field telescope designed for observing extended objects like galaxies might have a focal ratio of f/8 or lower, providing a broader sky coverage, while planetary telescopes often feature slower ratios such as f/20, which yield higher magnification and finer detail resolution on small, bright targets.^[44]^[2] The focal ratio significantly influences exposure times in astronomical imaging and observation. Faster focal ratios (lower f/D values) concentrate light over a shorter focal length, allowing more photons to reach the detector or eyepiece per unit time, which reduces the required exposure duration for faint objects. Conversely, slower ratios demand longer exposures to achieve comparable signal-to-noise ratios, as the light is spread over a longer path; however, they offer improved sampling of fine details, minimizing issues like undersampling in high-resolution planetary or lunar imaging. This trade-off is particularly relevant in astrophotography, where faster systems enable shorter sub-exposures to mitigate atmospheric turbulence.^[45]^[46] Accessories such as eyepieces and Barlow lenses alter the effective focal ratio experienced by the observer or imager. An eyepiece primarily affects magnification by dividing the telescope's focal length by its own, but the base focal ratio remains unchanged; however, it influences the exit pupil size and overall image brightness. A Barlow lens, functioning as a diverging optic, increases the effective focal length—typically by a factor of 2x or more—thereby slowing the effective focal ratio (e.g., transforming an f/5 system to f/10), which enhances magnification but requires brighter conditions or longer exposures to maintain image quality. These adjustments are common in visual astronomy to optimize for specific targets without changing the telescope itself.^[47]^[48] Modern catadioptric telescopes, combining refractive and reflective elements, have pushed focal ratios to exceptionally fast levels for astrophotography. Designs like the Celestron Rowsell-Allen Schmidt Astrograph (RASA) achieve f/2 ratios with apertures up to 11 inches, enabling wide-field imaging of nebulae and star clusters in significantly reduced exposure times compared to traditional refractors or reflectors. These systems prioritize light-gathering efficiency for deep-sky objects, often incorporating corrector plates to maintain edge-to-edge sharpness across large sensor formats.^[49]^[50]

Comparison to Human Eye

The human eye's optical system can be approximated using the f-number concept, where the effective f-number is the ratio of the eye's focal length to the diameter of the entrance pupil (the pupil). The focal length of the relaxed human eye is approximately 17 mm, while the pupil diameter ranges from about 2 mm in bright light to 8 mm in dim conditions. This yields an effective f-number of roughly f/8.5 during daylight viewing and f/2.1 in low-light scenarios.^[51]^[52]^[53] The iris regulates pupil size to modulate light intake, analogous to a camera lens's adjustable aperture, enabling adaptation to varying illumination levels. Constriction in response to bright light occurs rapidly, peaking within 0.5 to 1 second, whereas dilation in darkness is slower, often requiring several seconds for initial changes and up to minutes for complete dark adaptation due to photochemical processes in the retina. In contrast, modern camera apertures adjust mechanically in fractions of a second, allowing faster exposure shifts without the biological delays inherent to the eye.^[54] The depth of field in human vision—the range of distances appearing acceptably sharp—benefits from the eye's accommodation mechanism, which adjusts focus dynamically from near objects to infinity, extending beyond what a fixed-focus camera at equivalent f-numbers would achieve. Instantaneously, with a typical pupil size of 3–4 mm (f/4 to f/5.6), the sharp focus plane resembles an f/8 equivalent in photography, limited by optical aberrations and the eye's small circle of confusion. However, the brain enhances perceived depth of field by integrating information from rapid eye movements (saccades) and selectively filling perceptual gaps, creating an illusion of greater overall sharpness.^[55]^[56] In low-light conditions, the dilated pupil (low f-number) minimizes diffraction effects, which would otherwise blur fine details as seen with high f-numbers in cameras; instead, night vision blur arises primarily from increased spherical aberrations due to the larger pupil and the reliance on rod cells, which provide lower resolution in the eye's periphery. This contrasts with bright-light viewing, where the constricted pupil (high f-number) introduces more diffraction but sharper central acuity through reduced aberrations.^[57]^[58]

Historical Development

Origins of Relative Aperture

The concept of relative aperture emerged in the mid-19th century as photographers and opticians sought to quantify the light-gathering efficiency of lenses independent of focal length, drawing from earlier optical traditions. In the nascent field of photography, apertures were initially determined empirically to balance exposure times with image clarity, laying the groundwork for more systematic approaches. The Daguerreotype process, publicly announced in 1839 by Louis Daguerre, exemplified this early empirical approach. Cameras for daguerreotypes featured fixed apertures sized by trial and error to suit the slow sensitivity of the silvered copper plates, often equivalent to modern f/14 to f/17 ratios, which allowed exposures of several minutes in bright light without a formalized relative measure.^[59] These practical adjustments highlighted the need for a standardized way to compare lens performance across different focal lengths, leading to conceptual shifts by the 1860s. Influences from telescope optics further shaped these ideas, with Galileo Galilei's 1610 use of aperture stops in his refracting telescopes to minimize spherical aberration and enhance image sharpness providing an early model for controlling light cones in imaging systems.^[60] This principle of restricting the aperture to optimize optical quality resonated in photography, where similar light bundle management became essential for reproducible results. A pivotal advancement came in 1867 with Thomas Sutton and George Dawson's A Dictionary of Photography, which defined the "apertal ratio" as the diameter of the aperture divided by the focal length—essentially the reciprocal of the modern f-number—allowing photographers to express lens speed relatively.^[61] Building on this, William de Wiveleslie Abney's 1878 Treatise on Photography elaborated on relative aperture measures to guide exposure calculations and lens selection, emphasizing their role in achieving consistent photographic outcomes. These contributions established relative aperture as a foundational concept before the widespread adoption of formal f-number notation.

Evolution of Numbering Systems

The f-number system, denoting the ratio of a lens's focal length to its aperture diameter, gained prominence in the early 20th century as manufacturers sought consistent methods for specifying light transmission across lenses of varying focal lengths. Carl Zeiss pioneered its widespread adoption with the introduction of the Unar lens design in 1899, which incorporated f-number markings to standardize aperture settings independent of focal length. This approach built on 19th-century concepts of relative aperture but marked the first practical implementation in commercial photographic lenses, enabling photographers to predict exposure outcomes more reliably regardless of lens type.^[62] The system rapidly spread through influential European and American firms. Ernst Leitz, founder of what would become Leica, integrated f-numbers into their early microscope and camera objectives by the 1910s, aligning with the growing demand for precision optics in scientific and amateur photography. Similarly, Eastman Kodak transitioned to f-stops in their lens designs during the 1910s and 1920s, replacing inconsistent diameter-based markings on earlier models to facilitate universal exposure calculations. By the mid-1920s, Kodak had largely abandoned alternative scales, promoting f-numbers as the basis for interchangeable lens compatibility in their popular folding cameras.^[63]^[64] Regional variations persisted, particularly in the United States, where the Uniform System (US)—established by the Royal Photographic Society in 1881—remained common into the early 20th century. Under this scheme, aperture numbers directly corresponded to relative exposure times, such that US 1 equated to an f/4 opening (requiring one unit of exposure time), US 2 to f/5.6, and US 4 to f/8, with each step doubling the exposure. This system, favored for its simplicity in calculating exposures without focal length considerations, was marked on many American lenses and Kodak products until the 1920s. However, as the f-number system's advantages in precision and international consistency became evident, the Uniform System was phased out by the 1930s, fully supplanted by f-stops in mainstream photography.^[63]^[65] In the 1920s, advancements in exposure metering and shutter technology led to unified scales that integrated f-stops with shutter speeds, simplifying overall exposure determination. This era saw the development of exposure tables and early coupled systems where f-stop increments aligned with shutter speed doublings, laying groundwork for later logarithmic frameworks like the Exposure Value (EV) system introduced in the 1950s. These integrations allowed photographers to balance aperture and time for consistent results across diverse lighting conditions.^[63] World War II accelerated the standardization of f-stops in military optics, as allied forces required interoperable sighting and reconnaissance equipment. The U.S. military's adoption of MIL-STD specifications for lenses emphasized f-number uniformity to ensure consistent performance in shared photographic and targeting systems, reducing errors in field operations across multinational units.^[66]

Standardization Efforts

The efforts to standardize f-number notation and its integration into exposure systems gained momentum in the mid-20th century through international bodies. In 1974, the International Organization for Standardization (ISO) introduced ISO 6:1974, which harmonized the American Standards Association (ASA) arithmetic scale and the Deutsche Industrie Norm (DIN) logarithmic scale for film speed into a single ISO system. This convergence simplified global exposure calculations by aligning film sensitivity ratings with f-stop apertures and shutter speeds, reducing inconsistencies in photographic practice across regions.^[67]^[24] Typographical conventions for denoting f-numbers also underwent formalization during this period, shifting from earlier formats like colons (f:5.6) or parentheses to the slash notation (f/5.6), which improved readability in technical printing and lens markings by the 1970s. This change was driven by industry needs for consistent documentation in manuals and equipment labeling, ensuring universal interpretation of aperture values.^[6] In the post-2000 digital era, ISO standards for camera performance, such as ISO 12232 for digital still camera sensitivity, have incorporated finer exposure increments, including third-stops for f-number adjustments (e.g., f/3.5 to f/4 as one-third stop). This update reflects advancements in sensor technology and allows precise control in digital specifications, aligning with the traditional f-stop scale while accommodating electronic adjustments.

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Sep 10, 2022 · For example, the half-stop between f/11 and f/16 is f/13, but then the first third-stop is also defined as f/13. How could it be, if a third ...
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Half stop between the F stops - Medium Format - Photo.net
Jan 25, 2008 · If the aperture has half-stop clicks, you are always within 1/4 stop of the "correct" setting, and within 1/6 stop of the nearest 1/3rd stop setting.Half stops on a Manual Camera - Medium FormatNikon AIS lens half stopsMore results from www.photo.netMissing: consumer | Show results with:consumer
[14]
Charts of Camera Nominal and Precise Goal Values of Shutter ...
Understanding the camera's Numbers - computed charts and explanations of the numbers of third stops, tenth stops, precise goals and nominal markings.
[15]
F Stop Chart - Lens Apertures for Full Stops, 1/2 Stops, and 1/3 Stops
Jul 1, 2025 · This F Stop Chart shows full stops, 1/2 stops, and 1/3 stops when setting the aperture of digital camera lenses.
[16]
Why are 1/3 stop apertures uneven numbers apart?
Jul 29, 2018 · Why do 1/3 stop apertures go like 8, 9, 10, 11, 13, 14, 16, 18? There's a difference of 2 between 11 and 13, it goes back to 1 between 13 and 14 ...What motivated lens makers to now use 1/3 f-stops rather than say 1 ...aperture - What does f-stop mean? - Photography Stack ExchangeMore results from photo.stackexchange.com
[17]
https://www.adobe.com/digitalimag/pdfs/phscs2ip_filmtodig.pdf
[18]
[PDF] Making the Transition from Film to Digital - Adobe
Cameras remained pretty much the same over the years with features such as a lens, a light-tight chamber to hold the film, and an aperture and shutter mechanism ...
[19]
The photographic exposure equation - Project Nayuki
Nov 9, 2014 · If we interpret standard aperture notations like f /5.6 or F5.6 as the number 1/5.6, then the lens aperture area is proportional to the square ...
[20]
Camera Math for computing photography values, EV, f/stops, shutter ...
N is f/stop Number and t is shutter speed duration Time. Note f/stop Numbers are always squared in exposure calculations, as above, to convert their √2 names ...
[21]
Exposure Value (EV) Explained - Plus EV Charts - Photography Life
Dec 29, 2019 · Exposure Value (EV) combines shutter speed and aperture into a single value, relating to exposure, not motion blur or depth of field.
[22]
When Your Lenses Lie to You - Fstoppers
Oct 27, 2015 · A modern camera lens has a transmittance 0.6-0.9 (60-90%), while top-level lenses may exceed that. Have you ever looked into the interior of ...F-Stops · What The F(-Stop)? · How Fast Can We Go?
[23]
https://www.pentaxforums.com/forums/10-pentax-slr-lens-discussion/479598-forgotten-legacy-zeiss-s-technological-influence-pentax-1970s.html
[24]
Zeiss's technological influence on Pentax in the 1970s
May 27, 2025 · Multilayer Coatings: By the late 1960s Asahi had developed its Super-Multi-Coating, significantly improving light transmission and reducing ...
[25]
ISO Speed Standard for Film Speed - The ANSI Blog
The ASA and DIN scales were merged together to create the ISO scale, which was first introduced in the original 1974 version of ISO 6. ISO speed makes use of ...
[26]
the 'Sunny 16' rule or how-to expose with no meter - DPReview
Mar 19, 2021 · It's simple: Sunny 16 says that on a sunny day, you should set your aperture to F16 and your shutter speed to the reciprocal of your film speed, ...Missing: source | Show results with:source
[27]
https://www.bhphotovideo.com/explora/photography/hands-on-review/a-guide-to-neutral-density-filters
[28]
A Complete Guide to Neutral Density Filters - B&H
Oct 10, 2023 · Original exposure: ISO 200, f/16.0, 1/800. Exposure with 6-stop ND filter: ISO 200, f/16.0, 1/13. Here is an example of an exposure adjustment ...
[29]
Bellows extension exposure compensation
Bellows extension compensation can be calculated by (E/F)^2, where E is the extension and F is the focal length, or by comparing the extension to f-stops.
[30]
Depth of Field and Depth of Focus
### Summary of Depth of Field from Edmund Optics
[31]
Depth of Field - RP Photonics
In photography, the depth of field is increased by reducing the diameter of the aperture stop (i.e., using a larger f-number). This increases the range of ...
[32]
[PDF] lenses and apertures - Stanford Computer Graphics Laboratory
Depth of field formula ! DoF is asymmetrical around the in-focus object ... • if you focus at the hyperfocal distance H = f 2 / NC, everything from H ...
[33]
hyperfocal distance
### Summary of Hyperfocal Distance
[34]
Understanding Depth of Field - A Beginner's Guide
### Summary: How Aperture Affects Depth of Field
[35]
The Airy Disk and Diffraction Limit
### Summary of Airy Disk Radius Formula and Diffraction Limit
[36]
Resolution and MTF curves in film and lenses - Norman Koren
The best estimate is the f-stop where the diffraction-limited f50 (0.38/(N ω)) equals flens-- the 50% MTF frequency at the sharpest aperture. For the excellent ...
[37]
How to Choose the Sharpest Aperture - Photography Life
Feb 19, 2025 · Then, simply focus at ten feet, set the lens to f/10.0, and take the picture. Everything from five feet until infinity will be as sharp as is ...
[38]
Camera Lens Quality: MTF, Resolution & Contrast
A high-end lens with an MTF-50 of 50 LP/mm will appear far sharper than a lower quality lens with an MTF-50 of 20 LP/mm, for example (presuming that these are ...Mtf: Modulation Transfer... · How To Read An Mtf Chart · Mtf & Aperture: Finding The...
[39]
Diffraction Limited Photography: Pixel Size, Aperture and Airy Disks
This calculator shows a camera as being diffraction limited when the diameter of the airy disk exceeds what is typically resolvable in an 8x10 inch print viewed ...
[40]
Diffraction, Optimum Aperture, and Defocus - Imatest
F/2 apertures are relatively common in small (mobile) cameras, and are often diffraction-limited. Increasing the aperture (decreasing the f/number), makes it ...Missing: smartphone | Show results with:smartphone
[41]
Why Cinema Lenses Are Measured With T-Stops And ... - Fstoppers
Dec 28, 2016 · The T-stop is about taking into account the transmittance of the lens optics, which always is less than 100% perfect. Unlike the example in this ...
[42]
F-Stops vs T-Stops: The Difference Explained in Plain English
Oct 18, 2022 · The F-stop is a theoretical value, while the T-stop is an actual tested value. So while both the Zeiss Otus 55mm f/1.4 and 85mm f/1.4 lenses ...
[43]
What is a T-Stop — Camera Lens Essentials Explained - StudioBinder
Jan 7, 2023 · The term "F-stop" refers to the lens's focal length ratio to the diameter of the entrance pupil (the effective aperture). It's a crucial concept ...
[44]
Do You Know What The Difference Between A T-Stop And An F ...
A T-Stop is no different than an F-Stop in the sense that it is also initially measured by the relationship between the focal length and lens opening, however ...Missing: notation | Show results with:notation
[45]
The Five Numbers That Explain a Telescope - Cosmic Pursuits
Apr 4, 2020 · Wide field telescopes have a focal ratio of f/7 or less. Focal ratio also influences the brightness of extended objects like a nebula or galaxy.
[46]
How Focal Ratio Affects Your Astro Images - Sky & Telescope
Mar 15, 2021 · While both noise and signal increase with exposure time, noise lags behind at the square root of the signal. We typically average our individual ...
[47]
Telescope Focal Ratio Explained
The F-ratio is the ratio of the telescope's focal length to its aperture: F ratio = Telescope Focal Length (mm) / Telescope Aperture (mm)
[48]
https://astrobackyard.com/barlow-lens/
[49]
How to Use a Barlow Lens | Everything You Need to Know
A Barlow lens is used to increase the magnification of your eyepiece or telescope in astronomy ... focal ratio (i.e. f/5) could accommodate a 4X Barlow.
[50]
https://optcorp.com/collections/catadioptric-telescopes
[51]
https://hypertextbook.com/facts/2002/JuliaKhutoretskaya.shtml
[52]
Focal Length of a Human Eye - The Physics Factbook - hypertextbook
The focal length, or the distance from the cornea to the retina, of a normal relaxed eye is about 1.7 cm (17 mm).
[53]
A unified formula for light-adapted pupil size | JOV - Journal of Vision
In the human eye, pupil diameter ranges between approximately 2 and 8 mm. Pupil diameter has a large effect on the optical transfer function of the eye, as ...
[54]
What's the F-number of the Human Eye? - PetaPixel
Jun 11, 2012 · The f-number of the human eye varies from about f/8.3 in a very brightly lit place to about f/2.1 in the dark.
[55]
Pupillometry: Psychology, Physiology, and Function - PMC
In humans, the pupil orienting response is characterized by a fast pupil dilation that peaks between 0.5 and 1 s after stimulus onset and dissipates quickly ...
[56]
Depth of Field and Depth of Focus | Nikon's MicroscopyU
The human eye can normally accommodate from infinity to about 25 centimeters, so that the depth of field can considerably greater than that given by the ...
[57]
Cameras vs. The Human Eye - Cambridge in Colour
In that case, most estimate that our eyes can see anywhere from 10-14 f-stops of dynamic range, which definitely surpasses most compact cameras (5-7 stops), ...Missing: number | Show results with:number<|control11|><|separator|>
[58]
Is the human eye diffraction limited, or is there another limiting factor?
Jul 23, 2015 · The human eye is close to being fully diffraction-limited, at least for photopic (cone-based) vision at the center of the visual field.Missing: night blur
[59]
The Optical Design of the Human Eye: a Critical Review - PMC
In this way the pupil can balance optical blur and noise to obtain an optimal trade-off between these two major factors affecting the quality of vision. The ...
[60]
Le Daguerreotype - Camera-wiki.org - The free camera encyclopedia
May 17, 2025 · Original daguerreotype camera from 1839 built by Susse Frères, Place ... aperture (f14 to f17) and in focal length. The camera was sold ...
[61]
[PDF] Inside the Camera Obscura – Optics and Art under the Spell of the ...
Galileo put aperture stops on his objective lenses to improve the images produced, and later on Huygens found out that putting a ring in the focal plane ...
[62]
Fundamental optical formulae - Book chapter - IOPscience
Relative aperture. Figure 1.31 shows a ray bundle entering and exiting a ... [13] Sutton T and Dawson G (ed) 1867 A Dictionary of Photography (London ...
[63]
Carl Zeiss - A History Of A Most Respected Name In Optics
The first of these anastigmat lenses was the Protar of 1890. This would be followed in 1895 with the Planar, the Unar of 1899, the Tessar of 1902 so sharp that ...
[64]
Understanding the Camera Numbers of f/stop and shutter speed
Wikipedia shows a few early historical versions of aperture numbering, until the current f/stop system was invented in the late 1800s (some define it as 1895, ...<|control11|><|separator|>
[65]
[PDF] Camera History 1900 to 1940 - NET
Eastman Kodak entered into its own agreement with Zeiss, and the 3A was produced with the Zeiss Kodak Anastigmat. (1909–1912). Eastman Kodak Company began ...
[66]
Glossary A to E
The earliest was the US (Uniform System) system but this was replaced by the ƒ/number system. ... Phased out around 1930. cf rim-set shutter. diaphragm, A series ...
[67]
International Standards for Optics: A Progress Report
United States involvement in international standards for optics began shortly after WWII, when MIL-Standards were called out on drawings for U.S. military ...Missing: f- stops interoperability
[68]
[PDF] INTERNATIONAL STANDARD
Feb 15, 1974 · This International Standard represents an extensive revision of ISO/R 6, Method for determining photographic speed and exposure index. The ...Missing: ASA DIN