Archived posting to the Leica Users Group, 1998/04/09
[Author Prev] [Author Next] [Thread Prev] [Thread Next] [Author Index] [Topic Index] [Home] [Search]>That is, what are the sources of the high and low >contrast in a lens, in terms of optical aberations? Is there someting more >going on then simple flare in the lens? Yes, there is more to it (as usual). One obvious source of low contrast is the unwanted reflection of light rays from every glass surface of a lenselement. The more lens elements, the more reflections (non image forming illumination). Another source is the mechanical reflection, due to bad internal construction. A most imporant source, hardly ever mentioned is more difficult to explain. In general we have two different planes of sharpness from any lensssystem: the plane where we see the highest contrast and the plane where we see the highest resolution. In both cases only a fraction of the infinite number of light rays emanating from the object (point) is needed for a sharp reproduction of the object point.Then we can use this small selection of light rays to produce a sharp image with very small circles of of least confusion. The rest of the rays are not eliminated, they are present in the optical system,and have to be dealt with. One option is to produce very wide circles that do not produce any clear images, but will be present as general illumination, contributing to a general low contrast. Older lenses are invariably tuned to the plane of highest resolution. Therefore the designer needs to spread the rest of the light rays as uniformly as possible in order to enhance the resolution. That is why older lenses with high resolution are almost always lenses with low contrast. If you go for the high contrast plane, the desigher can handle the rest of the rays differently. The relationship between optical aberrations (implying low circles of least confusion), resolution and contrast is complex. But the general low contrast of a lens depends partly on the way the designer handles the aberrations in relation to his choices between contrast and resolution. Erwin