Modern smartphone lenses are crazy
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This particular design is from the iPhone 7 (or, more precisely, my guess is that it's from the iPhone 7 due to both the date of the patent [1] and due to the elements matching up with marketing images of the iPhone 7), which is 6 years old now, but I think it's broadly still representative of modern smartphone lenses. In the past 5 years or so, advancements in phone cameras have come mostly in better sensors, far better image processing, and adding more cameras, but the basic principles of the compact ultra-aspherical lens design seem to still be in place.
As an example, here [2] is an exploded view of the iPhone 6's lens setup, and here [3] is an exploded view of the more recent iPhone 12's lens setup. The iPhone 12 gained an extra element, but they both use similarly weird ripply elements and you can see the clear lineage between the two phones.
Also, as mentioned in the tweet thread and elsewhere in the comments here, Kats Ikeda has an excellent, incredibly detailed and thorough explainer on mobile phone lens design [4]. I don't actually know a whole lot about the optics field; I'm just dabbling as a hobbyist from a computer graphics perspective. Kats Ikeda's site is a much better resource than my Twitter posts for learning about this stuff.
[1] https://patentimages.storage.googleapis.com/7e/4e/3f/4e88d65...
[2] https://pbs.twimg.com/media/FMyGm6IVkAY77eY?format=jpg&name=...
[3] https://pbs.twimg.com/media/FMyIbszVQAQhMQ_?format=jpg&name=...
[1] https://pixar-community-production.s3.us-west-1.amazonaws.co...
[2] https://petapixel.com/2020/10/22/this-cheap-projector-lens-c...
https://en.wikipedia.org/wiki/Achromatic_lens
https://www.dpreview.com/forums/post/61074908 https://photography.tutsplus.com/tutorials/here-is-what-to-l...
https://www.spiedigitallibrary.org/journals/journal-of-appli...
The problem is that it is extremely difficult to manufacture surfaces with optical quality that are not spherical. Even today, aspheres tend to be more expensive than spherical lenses and have significantly worse surface quality. This is the price you have to pay if the objective has to fit inside a phone.
Optics equations are nonlinear (and generally nonconvex). Global optimization for nonconvex functions has not existed since the 60s. Even fast function eval (for brute force solutions) has not existed since the 60s.
At some point we’ll just use metaoptics for lenses that are fully optimized using some general heuristics, but so far I am not sure they (both lenses and heuristics) are ready for prime time :)
How they manufacture these is what I'd like to know.
https://www.zemax.com/blogs/news/future-of-cell-phone-camera...
Coarse manufacture is fairly simple - you can just press out plastic blanks. The tricks are fine shaping and polishing. You can also use resin:
https://jp.mitsuichemicals.com/en/techno/feature/feature06.h...
https://en.m.wikipedia.org/wiki/Barlow_lens https://en.wikipedia.org/wiki/Achromatic_lens
>I love the word Anastigmat. That means that “Anastigmat” can be translated as a “non-non-stigmatic”. I guess “Stigmat” didn’t really have a good ring to it. Nowadays, almost all lenses have the basic aberrations corrected, so we don’t have the need to call them Anastigmats anymore. Sad.
We’re either doing high school wrong or this person has seen their fair share of top schools in their lifetime.
In my school all of that equipment was broken, lost or stolen years before I got there.
The point still stands though. But 6 instead of 8 years.
Meanwhile my Pixel 3 XL is three years old and is no longer receiving updates.
To my understanding, there is still only a single set of moving lenses in an iPhone 13 lens.
Edit: The thing that really killed the DSLR for me was lugging the whole kit up Scafell Pike in the pissing rain and cold in the UK. I got some good photos in the morning but carried a brick for the entire day after the battery dumped because of the cold. I had an iPhone XR back then and that kept me going all day fine. When I got back the whole damn camera despite being weather sealed had condensation in it.
Best advice with batteries is to keep them in your coat pocket, where they stay reasonably warm.
But they are excellent.
Good phone cameras have a value proposition all of their own, and they are utterly changing what we expect from photography.
My mobile has taught me that a lot of what I relied on or worked with in a DSLR or mirrorless is a crutch.
Mobile phone cameras force you, for example, to really think about composition, because you can't simply blur out the bits you don't like (portrait mode still sucks). They force you to think of other ways to isolate subjects, other ways to make use of light and contrast.
I've owned a lot of kit over 20 years or so, though I still own a lot of it -- I'm using a 14-year-old full frame DSLR and a seven year old full-frame mirrorless.
In the last two years, when studio portrait photography has been complicated or impossible, I have used my phone a lot, when out walking by myself. What I thought was just a way to not-totally-give-up photography has turned into a work of its own.
It will anger a lot of photographers who like to whine about how mobile phone cameras can't do X, Y and Z, but here's the truth: if you don't understand what a mobile phone camera can teach you as a photographer, you're probably not really trying.
A solid color workflow, tilt-shift/specialized optics, high resolution, and lighting/strobe control all go to the DSLR system, whereas just about everything else goes to the iPhone.
> Mobile phone cameras force you, for example, to really think about composition, because you can't simply blur out the bits you don't like (portrait mode still sucks). They force you to think of other ways to isolate subjects, other ways to make use of light and contrast.
I would argue that Bokeh is an incredibly important tool that is part of composition and saying it is just there to "blur out the bits you don't like" seems weird to me.
And yet that is exactly how many photographers use depth of field. Especially amateur portraitists; the shallowest depth of field they can pull off, with the eyes sharp and the least "distracting" background.
(Ever notice the fundamental difference between commercial editorial photography and amateur portrait photography? It is this. Amateur portraitists use blurry backgrounds as a tool to escape complexity.)
FWIW, 25 years ago we would not have had this conversation (notwithstanding the non-existence of HN), because this idea of out-of-focus-rendering as an inherently important quality of a specific lens almost did not ever come up. (And we didn't have the word until Mike Johnston introduced it to the english language).
Bokeh obsession (as distinct from what used to be called "choosing the right depth of field for your composition") is a very modern, super-fast-aperture, gear-maximalist thing. The mobile phone bursts this very contemporary bubble, if you'll excuse the pun.
To be clear what I mean is that really the "shot at f/1.4 wide open" portrait thing is an amateur phenomenon. It is just not a big part of commercial portraiture at all, outdoors or in.
> TBH, when I shoot the wide end of my kit lens on the X-T30 and don't pixel peep, it's hard to tell apart the jpeg's from my camera and my phone.
Right. This is what I find -- especially with black and white images (my iPhone seems to produce images that work well with, say, a Pan F thing).
But this depth of field stuff what I mean about the way mobile phones force you to think about subject isolation, all of the time; even on the telephoto lens except with subjects less than a couple of feet away.
My experience is that people who have never used a DSLR do not have as much trouble getting phone photos they like that are actually good.
Partly because they haven't had either the scope or crutch it offers; they are used to seeing and instinctively composing without it.
Also because DSLR users spend most of their time composing wide open, not at their target aperture, which ultimately warps our perception and steers us towards shooting images more like the full-time view we get from the viewfinder.
There is an art to subject isolation in composition with constant front-to-back sharpness at all times, and a mobile phone will force you to think about it.
Personally I think almost all of the output of phone cameras (except what's in their glossy ads) is missing a certain je ne sais quoi that distinguishes Photography (note the capital P) from an ordinary photo. That and you can pry the amazing bokeh from a high-quality SLR lens from my cold dead hands.
You might, but even then you might also consider that learning from one medium can translate even to a very different medium.
But in any case here we're not talking about quite different media. The images are processed and edited in fundamentally the same way. As a result, many photographers tend to perceive the one (mobile phone digital photography) as an inherently inferior subset of the range of the other (large digital sensor photography).
This is because photographers -- particularly in the digital era -- do not ordinarily consider the creative advantages of self-imposed restrictions.
And when deliberate creative restrictions are suggested, the immediate response is to dismiss them or to suggest that they are wasteful (you're losing information at capture), better achieved in post-processing (so you have more "flexibility").
So there is a "precision maximalist" and "gear maximalist" default to most contemporary photography. Use the sharpest, fastest, least quirky lens you can get, shoot at the highest resolution, buy the latest if you can.
All of these things are narrowly valuable in some area of photography, but they get glommed together to make a giant assumption.
The mobile phone presents a convenient, nearly unavoidable way to question many of the impacts of that maximalist position.
One of the things I often want to do is ask photographers "why are your DSLR photos better than your friend's mobile phone photos?" and then poke them in the ribs each time they mention the technical advantages of their kit. But it would generally get quite violent.
I wouldn't conflate "buy the latest you can" with gear maximalism. My own journey with that started with dissatisfaction of the quality of the output that I had, and, as I became a better photographer, running up against the limits of my camera and lens. Then, after understanding what I was experiencing was indeed the hardware and not a limitation of my skill, I upgraded, and the hardware leapfrogged my abilities. Then I got better and I once again started hitting the limits of my hardware. Though I am now at a point where the hardware and my abilities are so good that I am content with the output as one can reasonably expect for a hardcore amateur. My point is that "gear maximalism" is not always just mere materialism.
As for the phone, it's convenient. I can guss it up and if the output is sufficiently pig-like I can put lipstick on it til it looks good enough. With the right software I can even output RAW files and theoretically feed them into Lightroom like my normal workflow. But it will never be as good, and there are so many techniques that I simply can't do with it.
"The best camera is the one in your hand" is true and all, but it's flooding the world with shit photos. Good is the enemy of great, after all.
But that's the point of what I'm getting at, concerning limitations and maximalism.
We've got into a mindset where we seek to push the edges of the kit we have -- we are urged to shoot faster lenses, shallower depth of field, lower and lower light.
But it doesn't get you a higher rate of good photos. A good photo is a good photo regardless of kit, and it's possible to flounder creatively when you have more scope.
As a photographer I think we should be able to creatively progress with whatever photographic tool we have in our hands. See a creative angle, refine it, improve on it, etc. Finding a way to be creative within a set of limitations is all that matters, and therefore starting with a serious set of restrictions is good practice.
FWIW I am a fairly good portraitist, a long-standing small-venue gig photographer, and I'm pretty technically-minded. But thinking back to the first DSLR I owned (a secondhand Fuji S2 Pro), I can think of precisely one photographic limitation I'd run into regularly even now: its high ISO performance was not that good. Otherwise I'd have that camera back to shoot with, even now, especially in the studio. Though I might rage at the maximum card capacity.
I'm regularly surprised to hear people talking of hitting the photographic limits of the kit they use; it suggests to me very specific niches or unusually rubbish kit lenses (I've owned one of those, and even then I got some results I liked).
Because I can't think of a popular DSLR made after about 2005 that is bad; certainly not after 2008. I can think of only a couple of entry-level DSLR or mirrorless cameras with limitations that would trouble me (the lack of a depth of field preview being the main one, aside from glasses-unfriendly viewfinders).
I still shoot with digital kit I bought 13 years ago, and got some of my best results in the last few years with the oldest of those cameras that is now so cheap I'm better off not selling it. I've only bought secondhand, old-model equipment since 2011. I probably won't ever buy new again -- except maybe a Cambo Actus.
The same is true of lenses. I'm currently doing a bit of work with an early 1980s Vivitar wide-to-standard zoom that cost me £30. Crap in the corners, gorgeous otherwise. I don't plan to buy a new lens ever again.
I'd always recommend going back to your former kit (buy it again, cheap on eBay) and testing those beliefs about limits in retrospect.
> But it doesn't get you a higher rate of good photos.
Beg to differ here, if one knows what they're doing.
I do a lot of low-light, event photography, among other stuff, and the fancy expensive kit is just flat-out way better. I've shot thousands of these photos with both by now, and the extra technical flexibility is totally worth it. Hell, the extra sensor size and autofocus alone took me to a whole new level. Do you know how much it sucks trying to do low-light with manual focus at a DJ performance because your autofocus can't keep up? How much time do you want to spend twiddling noise reduction controls because the entry-level kit's ISO 1600 looks like crap? How much shadow detail are you willing to sacrifice? It's such a pain in the ass.
And through all that I like to take a few shots with my phone for the instant social media gratification... and those shots are never anywhere near as good. The color is flatter, depth of field is blah, everything is just...meh. They look good on instagram, but that's about it.
> I can think of precisely one photographic limitation I'd run into regularly even now: its high ISO performance was not that good. Otherwise I'd have that camera back to shoot with, even now, especially in the studio. Though I might rage at the maximum card capacity.
Growing up I messed around with 35mm and even had a SLR camera for a short while. But I got serious with my first DSLR (a Nikon D3100). Maybe I was wrong in expecting something comparable to my old 35mm stuff but the dynamic range sucked, high ISO sucked (1600 is grainy AF), autofocus with like 12 points with only one cross-type sensor sucked, and no matter how good I focused the image (even on a nice 35mm prime) I couldn't get the razor sharpness I was after. There was something about how that sensor processed certain light transitions that had a really nice quality, and the camera took a lot of hits, but ultimately I felt like I was hitting a plateau.
One example: I like to do long-exposure shots of firedancers doing their thing. Depending on the fuel type the dancer uses there could be a lot of dynamic range to deal with, and most of the other photographers in this space seem to struggle in coping with it: either the dancer is exposed nicely but the flame is blown out, or the flame is exposed nicely but the dancer is super dark (losing a lot of color detail if you try and fix it in post). Or they just try to squash both together and the picture looks like a bad HDR merge. Here is another place where the sensor and lens matters a ton and both my phone and my DX kit struggle. Can I do and have I done these shots on that kit? Sure. But the nice camera, with its amazing sensor, and the amazing lenses I have for it, are able to capture way more detail, and as a result I get way better results straight-away and spend way less time in post trying to fix things.
Mm, yep. I do gig photography in small, dark venues -- I've shot probably 125 thousand photos at high ISOs, with six different cameras (Nikon DSLRs for the bulk of it, and Sony mirrorless experiments alongside in a parallel track).
> Hell, the extra sensor size and autofocus alone took me to a whole new level.
The difference in light gathering between an APS-C and full-frame camera of the same technological era is usually about one stop. If you make a several-year jump at the same time, that can be noticeable, I suppose.
> Do you know how much it sucks trying to do low-light with manual focus at a DJ performance because your autofocus can't keep up?
At gigs, I do quite a lot of manual focus (and single-point, back-button focus with manual adjustment). I have no particular issue with it and it helps solve problems autofocus simply cannot solve.
Especially with a Nikon, because you get focus point confirmation even manually.
You do a lot more thinking and observation about equivalent distance. For example if you cannot focus on someone's face because they are behind a brightly lit microphone that autofocus will always prefer: How far are they behind it? If you focus further down the microphone stand or on a belt buckle, lock and recompose on their face, without changing your position, how much does that correct it? Or can you judge how far in inches and then literally move yourself or your camera forward?
One good cross-type sensor is all you absolutely need (stay away from old-style Phase One autofocus kit if this bothers you!)
Admittedly back button focus makes that more useful. And focus peaking on a mirrorless camera is the bee's knees.
> How much time do you want to spend twiddling noise reduction controls because the entry-level kit's ISO 1600 looks like crap? How much shadow detail are you willing to sacrifice? It's such a pain in the ass.
I said above that the only thing that really forced me to upgrade from my S2 Pro was low light performance. But again, I think if I was to go back to using that camera, I would be getting results I wanted a whole stop, maybe a stop and a half faster than I did at the time, through better subject selection, better understanding of its limitations and fifteen years more understanding of exposure.
If you're talking about the D3100, I'd shoot that up to ISO 3200, I reckon. Its low light ISO performance is a little better than the D300 which I used for years at gigs with enormous success. And its dynamic range is not all that noticeably worse. As long as you are careful with your exposure, that's a useful little camera.
DxO Optics Pro/PhotoLab helps of course.
Newer kit does a lot of stuff better, certainly, and it can save you time. And yeah, low light photography is about the only place people run up against the limitations of older kit. But IMO nothing since 2008 has any kind of problem with low light, and in many cases the newer kit is tripped up by the exact same difficult situations.
Maybe it works for your style, but it was cramping mine. There is enough suffering in art, why add to it?
> The difference in light gathering between an APS-C and full-frame camera of the same technological era is usually about one stop. If you make a several-year jump at the same time, that can be noticeable, I suppose.
That's exactly what I am talking about, a sensor and format upgrade after several years. I have a DX body of the same generation and its sensor performance is very close to its FX brother, and they're both considerably better than the D3100.
At a first approximation every great photo -- even every great live music photo -- has been taken with equipment less capable than that D3100.
Ansel Adams did his best work on equipment far less capable than a D3100.
The point is...?
SLR is a specialized format designed for fast autofocus used by news/sports photographers and 35mm “full frame” is not the largest film size.
Rangefinder and mirrorless formats actually have a much easier time with lens design and don’t need such gigantic lenses, which might make them less impressive looking than an SLR, but I have a cheap Mamiya medium format rangefinder that takes better street photos than they do. And if you’re doing product or landscape photography, you want a large format digital back like Phase One or a view camera, which really are the top of the line.
Designed for, no. Optimised for and evolved for, yes! :-)
When the SLR emerged it was definitely slower than the cameras press photographers were using. Even the later instant-return-mirror models, probably. Press photographers didn't switch to SLRs until the Nikon F arrived fifteen years later, in the first few years of the Laos and Vietnam wars. Press shooters mostly hadn't been shooting 35mm for more than a decade before that.
The rest: I'm not convinced at this point, and I think high-end mirrorless really blurs most of those boundaries pretty conclusively. We're definitely stepping towards a formatless world in the sense of distinct boundaries, with computational photography being a big part of it.
Which is precisely why I'd urge really any digital photographer to spend as much time learning to get the best out of their mobile phone as possible. It is one point on the continuum; small sensors but a lot of computation.
There is trade offs, none of them justifies carrying heavy gear around most of the time.
edit: it’s a hobby and I just spent a lot of time trying to take pretty pictures, and searching the proper cost tradeoff to do them
I think this is also why we see lots of people who own high end full-frame etc., are now adapting old lenses, building extraordinary DIY rigs like the "digital camera obscura" trend of the moment, making entirely custom lenses with surplus optics and 3D printers, etc.
It's the same reason as for why there's so much interest in film.
These things have different strengths. I think mobile phones have liberated photography in a way unparalleled since the time when 35mm film liberated photography.
There was a period when DSLRs were improving pretty rapidly and it made sense to move up on a pretty regular cadence because the new stuff was so much better. (And we've seen this with phones more recently.)
There's definitely a retro aspect to film and vinyl. Personally that's not for me having lived with the limitations of both. But I spent years working with custom film developing chemistry and the like.
But I think I view film photography, darkroom work, and mobile phones in basically the same way.
They are just some photography tools among many, and my photography education would be incomplete without them.
I spent a lot of time on it and got a lot of enjoyment out of it. I also probably got a bit burned out and wasn't really interested any longer once I didn't have easy access to a good darkroom any longer. But yeah, happy I did it, zero interest in doing any longer. Digital pretty much rekindled that interest.
(Also could really not get into video in those days because overhead was just too much. Don't have obvious entry point into creative video these days but at least casual is easier.)
It really boils down to this. A lot of people have enough pocket space to need no bag most of the time, so having one just for the camera is extra grating.
What suprises me the most is that on the other side, smartphone photo UI hasn’t progressed much from the early days. A lot of my shots that fail on smartphone are because of the controls. The cycle of zooming/framing then locking focus and/or exposure is still a pain, adjusting exposition, forcing an ISO setting that could result in a bad photo is out of the window. I ended up bringing an old DSLR on random walks when I might want to capture stray cats and don’t care about the extra bulk.
All of these are easier to do with third party apps, but those aren’t available on quick access. And taking photos out of quick access is so slow. A DSLR is ready instantly from power down, we’re happy if the phone instantly unlocks.
I have high end kit (and some semi-pro lighting) which I love to use, but I now use a secondhand iPhone X, an Apexel teleconverter lens and a cheap Ulanzi grip, and I really enjoy this combination for its immediacy.
The higher end kit is now increasingly used in novel, DIY ways, because carrying a phone has taught me that gear should be used for its strengths.
I bought it because I wanted a slightly longer lens for portrait location scouting, and chose this one not because I am certain it is excellent but because I doubt there's enough of a quality gap between the Apexels and the Moment or Rhinoshield lenses to justify the much higher price.
It is really fairly good though, until you get into the corners. But then I happily use vintage lenses on my A7II that are worse in the corners!
What difference there is, is that the Moment lenses use a tiny bayonet, which I think I would prefer to the 17mm thread Apexel, Ulanzi and others use. Screwing the lens on can be fiddly, especially with the semi-open, three-quarter circumference attachment threads you typically see on lens adapter phone cases.
Don't use the clamp attachments. They are hard to align and I think that is a lot of why people find attachment lenses so disappointing.
Get a phone case with a built-in 17mm thread (or bayonet if you pick a bayonet lens type). I think I'm using a Ulanzi case.
The only frustration that remains is that the iPhone's built-in camera app does not let you force the choice of either of the lenses. It will choose for you if you pick 2x. So you might want an app. I really like the ProCamera app.
I'm not sure whether accessory lenses are so useful on some of the three and four camera mobiles, but it works well enough for my iPhone X.
I really enjoy the cheap little Ulanzi CapGrip thing, too.
It's definitely not 100% like using a real camera (no half-press for focus, though I am a back-button-focus guy on DSLRs anyway!)
But it adds just enough of a camera-like feel to allow relaxed one-handed grips and slightly more immediate shooting. And it weighs nothing so it's always in a bag or jacket pocket.
The always with you is a big thing.
Sensors these days are phenomenal.
Last time I lugged a DSLR around all it did was give me a sore neck.
That's why, if you're super concerned with low light sensitivity, you go with fixed-focal length prime lenses. Not having to support zoom means far fewer lens elements through which to pass light.
I have a 18-50mm F/2 zoom lens. It's a really nice piece of kit, but I noticed that at the extreme wide end of the zoom range, it has quite catastrophic coma. Zoom lenses are hard.
Reminds me of this surprising little tidbit from E. T. Jaynes' 1991 paper "Theory of Radar Target Discrimination" (https://bayes.wustl.edu/etj/articles/craddis.pdf)
One might then think naively that we should take equal care to match the receiver to its transmission line so that all the energy captured by the receiving antenna is actually delivered to the receiver. However, this is not the case for a good receiver.
[...]
Quite generally, in order to deliver the maximum signal/noise ratio at its output, an ideal receiver must reflect all the energy incident up on it. It is only in the limit of an infinitely bad receiver, in which all the output noise is generated internally, that matched input impedance becomes the condition for maximum signal/noise ratio at the output. Actual receivers are somewhere between ideal and infinitely bad, and so they perform best when partially matched, so that a part of the incident energy is reflected and radiated back out the receiver antenna. In fact, an ideal receiver does not run on energy at all, but reflects back all the energy incident on it!
[...]
This fact surprises many people on first hearing; but we note that it is so general that it remains true in quantum theory, at optical frequencies where hf >> kT and the Nyquist noise formula no longer holds. For initiation of a photo chemical reaction it is not necessary that the light energy be absorbed. For example, it might be thought that the eyes of animals adapted to seeing in the dark would have pupils that act as perfect black bodies, absorbing all the incident light energy. On the contrary, it is a familiar fact that the animals with best night vision have eyes that reflect the incident light strongly, looking like search-lights in the dark.
There have been experiments with this over the years. Minolta coined the phrase for a 3x zoom in the DiMAGE X series, starting twenty years ago, and as I recall they were the first to use this technology in a consumer camera:
Hopefully, a general overview of the 100s of lenses they've found/made the models for, alongside how modern optics fail to be accurately modeled by the polynomial model of optics...
> When filmed, the Gaussian Girl is shot through a soft-focus filter, a piece of translucent plastic (or very sheer silk, in the days of classic film), or a quick smear of Vaseline, depending on the director's and/or cinematographer's preference. This surrounds her with a softly glowing aura, and smooths out any unappealing pores or lines on her face. The result makes her look nothing short of ethereal.
Is there a downside to using plastic lens elements compared to glass, in terms of image quality?
If there isn't a downside, could lenses for SLRs/mirrorless cameras also use such elements?
Edit: It sounds like aspheric lens elements might be made from plastic in SLR lenses. But also I found that plastic might not be used for outer lens elements as it scratches easily
Designs of aspheres are typically created via Zernike Polynomials. If you have access to an Optical Design program such as Code V, Zemax, OSLO, ASAP, HEXAGON (Raytheon), or Quadoa or equivalent one can spit out something called a SAG Table which takes in account the Zernike Polynomials and allows for much easier time when it comes time to produce either mold or the actual aspheric curved surface that's going to be machined.
Yes there is a downside to using plastic, namely chromatic aberration due to lack of index matching. Other issues are limitations on the bandwidth of transmitted light. Furthermore, most "plastics" used for cell phone lenses have historically been glass-like plastics such as PMMA (polymethylmethyl acrylate) or Zeonex. Most of these types of materials however are extremely sensitive in the UV. The plastic lenses also don't do well with wave front correction or even with just shaping light. To make matters worse, coating plastic is usually problematic as it doesn't do well with higher temperature coatings which tend to aid in not only anti-reflective, but also color correction and glare reduction, i.e. PECVD or other types of enhanced plasma coatings.
Using glass and by glass I mean a crystalline glass, perhaps something closer to a high grade fused silica or if budget permits sapphire or some type of chalcogenide, one gains better modeling control of the index of refraction (abbe number, glass melt, etc..) and also overall optical sensitivities and STOP (structural, thermal and optical) performance parameters. Something else to consider is the coefficient of thermal expansion between glass and metal can more easily be optimized. But all this comes at a cost.
The reason for plastic typically over glass is because of procurement and manufacturing cost. Plastic can have molds machined and have tolerances held rather tightly. Because of this it becomes much easier to pop out lenses. As of late holographic replication and lithographic roll to roll processing has also made making plastic optics a more cost effective option. This is a form of additive manufacturing and actually is probable where things are headed.
Manufacturing "glass optics" especially for aspherical optics are dependent upon first ensuring the substrate is pure and that the glass melts are consistent. In most cases glass must be thermal cycled, typically annealed to ensure and maintain rigidity. Rough machining is then performed essentially hogging out the material, in some cases only yielding between 60 to 70% of useable material. Finally and typically either some type of computer controlled polishing, MRF (magneto rheological finishing) or single point diamond lathing of the crystalline glass is performed. The final finishing steps are extremely costly as a combination of advanced metrology (i.e. MTF, interferometry, point-cloud analysis, non-contact surface analysis, various forms of spectroscopy) has to be performed to ensure that said advanced fabrication has either optimized surfaces for wavefront performance by either optimizing or in most cases eliminating mid-spatial frequencies in the form for micron to nanometer level peaks and valleys, all the while not changing or sacrificing the size and other physical dimensions and also preserving the most sensitive clear aperture (i.e. useable and functional area of the lens). It can be quite a time consuming process.
TLDR; Glass is better than Plastic, but is more costly to manufacture at scale, unless volume and market acceptance can drive the cost down.
https://www.bhphotovideo.com/explora/amp/video/buying-guide/...
Even more amazing is how they designed very complex lenses in the 50's and 60's essentially by hand. And those designs have stood the test of time and have barely changed. Compared to what modern lens designers have available to them, I just find it mindblowing how the designers then could come up with these things.
It's funny. The 1970s Sony Trinitron CRT TVs are what inspired Steve Jobs to make the Apple II case, and here they are working together, at the highest end of technology, many decades later.
But as the linked thread says, apple designed the lens itself (as it has a patent on it, which is apparently common?)
I am curious what the Samsung lens system looks like given it has real optical zoom
https://www.dpreview.com/files/p/articles/8346943838/iPhone_...
It’s the bottom end of the market that’s been completely made obsolete, and as the quality gap shrinks there are also less people that want to carry / spend money on two devices.
Are you sure about this?
The last point-and-shoot camera I owned I bought around 2010, and other than zoom, my smartphone gives much better results. But then I met someone with a new hobby-level Panasonic point-and-shoot camera and I was flabbergasted at the quality of the photos she gets out of it. I tried taking some pictures with it and compared to my smartphone they all looked they belonged in a magazine. Smartphones have a ton of processing power and sensor quality packed into a small package, but I think it's still hard to outperform a half-decent lens and good quality sensor that are much, much larger, and it seems like point-and-shoot cameras have gotten really good.
Here is what I mean:
Smartphone cameras usually have a pretty wide field of view. The complex shapes are required in order to compensate for the aberrations caused by the large angles between the optical rays and the lens surfaces.
It would be really cool to seen an animation of this showing a sweep of the approach angle from one side of the sensor to the other.
- Chrome: 79% - Firefox: 82% - Safari: 81%
I feel like this gives a better insight into the current state of things
Stars: https://www.macrumors.com/2021/10/10/amazing-night-sky-photo...
Street light: https://cdn.vox-cdn.com/thumbor/R51UlZi7g1UPq7b9Be05nWfOP_o=...
I have the 12 and it multiplies any tiny source of light in dozens of fake lights.
The street light I;m referring too is much darker than this: a dark street with a string of lights. All the lights will get multiplied as fake lights.
In other words, they were shot on an iPhone. And processed there too, incidentally. What's to "c'mon" about?
Maybe the fact that there are many artificial stars in that photo due to software adding new light sources which didn't really exist in postprocessing? I have no idea if this happens but it is the claim they were making, and would certainly be worthy of a "c'mon" if true.
Huh??
How exactly did you come to the conclusion they just added a bunch of fake stars? Am I missing something? Post processing is a normal part of astrophotography, even with a DSLR.
> Post processing is a normal part of astrophotography, even with a DSLR.
Yes as someone interested in low light photography I'm well aware of this and it's why I'd be quite curious to see any evidence (assuming it exists) of smartphones doing weird things to their low light photos.
Either way, given the content of those links, I don't think their comment makes much sense.
Uh, yeah, that’s standard process for astrophotography. Not at all a “c’mon” moment.
It’s still extremely impressive that a smartphone camera can do this. I say this as someone that does a good bit of astrophotography as a hobby.
Stars example: https://www.macrumors.com/2021/10/10/amazing-night-sky-photo...
Street light example: https://www.cnet.com/tech/mobile/iphone-13-pro-vs-12-pro-max...
I have the 12 and it multiplies any tiny source of light in dozens of fake lights.
The street light I;m referring too is much darker than this: a dark street with a string of lights. All the lights will get multiplied as fake lights.
- Not a software developer. Obviously.
https://www.pencilofrays.com/lens-design-forms/#mobile has a much more in depth discussion on the how and why if the lens system design (someone referenced this in a reply to the linked thread)
A Taiwanese factory northwest of Dhaka https://www.youngoptics.com/ makes the lion share of molds for plastic lenses worldwide.
YoungOptics used to make them for Sony too. I don't know if it's still the case today.
Today's iPhone optics astonish and impress me: A lens built with over a half-dozen aspherical elements. Coordinated imaging with multiple cameras. Wow!
Yep. And the same is true of modern "prime" lenses, which appear more like incredibly optimised non-zooming-zooms than the traditional prime recipes we are familiar with from textbooks.
A side note: thank you thank you thank you for The Cuckoo's Egg.
As a Brit I would ordinarily say that the reason I am a tech guy is the ZX Spectrum or the BBC Micro, but I am not sure my life would be the same in a much bigger way without your book.
At 15 or 16 in early 1990 I was sure I wasn't going to university; I was sure I didn't belong there. A friend of my mother's suggested your book to her as something I should read, and I received it as a birthday present.
Over time I have come to understand that this recommendation was extraordinarily shrewd. Not just about the tech aspect, or the internet community aspect, or the thrill of the chase aspect, but because it helped me understand that I was exactly the sort of person who should go to university.
When I am asked to recommend books it's yours I recommend, twinned with John Naughton's A Brief History Of The Future; they are like companion volumes for a particular kind of way to think and feel about technology. Douglas Hofstadter should be so lucky.