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Imatest Documentation Luminance (relative pixel level) contour plot The text displays the maximum normalized pixel level for the luminance channel, the worst and mean corner values (in normalized pixel levels and as a percentage of maximum), and the side values. Selected EXIF data is shown on the right. Two hot and two dead pixels (which were simulated) were detected with thresholds of 246 and 10 (pixels), respectively. The crop (Left, Right, Top, Bottom) is shown just below. Details below. The setting for correcting light falloff in the Picture Window Pro Light falloff transformation is also given. The PW pro Light Falloff dialog box is shown on the right. Film Size (mm) remains at 36 (the PW Pro default value: the width of a 35mm frame). Picture Window Pro is the powerful and affordable photographic image editor that I use for my own work. The Lens Focal Length is rarely the exact focal length of the lens. Light falloff depends on the lens aperture (f-stop) as well as a number of lens design parameters. Lenses designed designed for digital cameras, where the rays emerging from the rear of the lens remain nearly normal (perpendicular) to the sensor surface, tend to have reduced light falloff. For aesthetic purposes I generally recommend undercorrecting the image, i.e., using a larger Lens Focal Length. This makes the edges somewhat darker, which is usually pleasing. Ansel Adams routinely burned (darkened) the edges of his prints. Part of the reason was that he had to compensate for light falloff from his enlarger (when he wasn't contact printing). "My experience indicates that practically every print requires some burning of the edges, especially prints that are to be mounted on a white card, as the flare from the card tends to weaken visually the tonality of the adjacent areas. Edge burning must never be overdone..." The second figure: f-stop contour plot Ansel Adams, "The Print," p. 66. 1966 edition. shows image file luminance contours, measured in f-stops, normalized to a maximum value of 0. A pseudocolor display with color bar has been selected. The colors in the color bar are fixed: colors always vary from white at 0 f-stops to black at -4 f-stops and darker. For this plot to be accurate, a correct estimate of gamma (the camera's intrinsic contrast) is required. Gamma is measured by Stepchart, using any one of several widely-available step charts, or by Colorcheck. 332 of 451
Imatest Documentation F-stop contour plot in pseudocolor (normalized) Gamma can be tricky to measure for several reasons. (1) Many cameras have complex response curves, for example, "S"-curves superposed atop gamma curves. This means that gamma can vary with brightness. (2) Some cameras employ adaptive signal processing in their RAW conversion algorithms. This increases contrast (i.e., gamma) for low contrast subjects and decreases it for contrasty subjects. This improves image quality for a wide range of scenes, but makes measurements difficult, especially since Light Falloff targets have the lowest possible contrast. Both contour plots are available as 3D plots (Master-only). The following 3D plot is unnormalized and shaded. Deriving f-stop falloff 3D shaded pseudocolor F-stop contour plot (unnormalized) The f-stop falloff in the second plot is derived from the equations, Pixel level = k1 luminance γ ; Luminance = k2 pixel level 1/γ and F-stop loss = log2(luminance ratio) = 3.322 log10(luminance ratio) 333 of 451
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