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Movies for TV - Early Television Foundation

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LENSES 137<br />

In addition the older film emulsions and exposures were quite in-<br />

accurate so that the error in the / value was not important. Now,<br />

however, emulsions are controlled very precisely and exposures are<br />

determined by photoelectric means so that the margin <strong>for</strong> error<br />

is much less. There<strong>for</strong>e the / value error is much greater by con-<br />

trast, and a better means of measurement was requested.<br />

Probably the greatest error occurred in the assumption that<br />

there was 100 per cent light transmission in every lens with the<br />

same / stop. Every time there is an air to glass surface, light is lost<br />

by reflection; some glasses absorb more than others, and the more<br />

elements there are in a lens, the more light will be lost. The Bell<br />

& Howell Company brought out the T system:<br />

it seems to the<br />

author coincident with the upsurge of television in 1948. The T<br />

stop is a pure measurement of the amount of light<br />

transmitted and<br />

is calibrated by an electronic measurement at the time the lens is<br />

manufactured so that the real transmission is recorded. Because<br />

the T system takes losses into account by the very action of meas-<br />

uring the light transmitted, it is obvious that it will be very slightly<br />

slower than the / rating <strong>for</strong> the same lens. Probably a new generation<br />

of photographers who have never heard of the / stop and<br />

rely only on the T figures will arise. What does it matter? They<br />

will still <strong>for</strong>get to remove the lens cap on occasion!<br />

One last note on / and T stops; <strong>for</strong> every aperture there is a<br />

minimum distance that must be maintained between the subject<br />

and the camera. This varies according to the setting of the speed-<br />

controlling diaphragm; as this opens so does this minimum distance<br />

increase together with a decrease in the depth of field. This<br />

means that in conditions of poor light when it is necessary to use<br />

a wide-open lens, focussing of the lens is more critical and greater<br />

care must be used to ensure that all areas of the frame are in<br />

focus.<br />

These are all problems which will apply more to the cameraman<br />

than the producer and there are any number of excellent<br />

books written on the use and operation of cameras and lenses<br />

which explain in greater detail exactly what to do about these<br />

effects.

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