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Sky

Photo Commentary #27: Starbursts and Fraunhofer Diffraction 1024 683 varunvisuals

Photo Commentary #27: Starbursts and Fraunhofer Diffraction
Starbursts in Nightime Urban Scene

This gorgeous photo taken by Xerwyn Flores serves as a great example of starbursts in an urban environment. Notice that the lights further back in the photo (and thus less in focus) have weaker starbursts.

One of the most common characteristics you will notice in urban photographs is a lighting phenomenon colloquially known as “starbursts”. This, of course, is in reference to the the star like appearances of lights within an image due to the outward direction of their rays. However, the true explanation of this effect is a little bit more complicated – here goes nothing!

Before I explain the effect in the world of photography, we have to first take a slight detour through the world of physics. The “starburst” effect you notice in many photographs is due to a concept known as the Fraunhofer Diffraction. Fraunhofer Diffraction refers to the phenomenon by which light waves behave when travelling from an infinite distance through a slit or narrow opening. The reason we use infinite as the ideal distance is because it theoretically results in straight parallel light rays which cumulatively create what is known as a plane wave.

Fig 1.) Think of the plane waves as a 3D picture of the "incoming waves" in fig 4. A billion parallel incoming waves theoretically create a "plane". The arrow would point to the slit and screen.
Fig 1.) Think of the plane waves as a 3D picture of the “incoming waves” in fig 4. A billion parallel incoming waves theoretically create a “plane”. The arrow would point to the slit and screen.

In summary:

1.) Infinite distance between light source and slit produces parallel waves.
2.) Parallel waves cumulatively form a plane wave.
3.) All the individual parallel waves within the plane wave enter the slit or aperture at the same phase

Phase Changes and Velocity Measurement. Fig 2.) Phase refers to a point on the light's wavelength
Fig 2.) Phase refers to a point on the light’s wavelength

4.) Fraunhofer Diffraction occurs and light rays meet at a common point (light is focused)

Fig 3.) Light rays diffract and meet at a common point, creating a focused image
Fig 3.) Light rays diffract and meet at a common point, creating a focused image


5.) If light is focused, we can then assume an infinite distance to the light source

Fig 4.) A 2D depiction of parallel light waves entering a slit to create Fraunhofer diffraction. The first figure is a 3D view of the same incoming waves.
Fig 4.) A 2D depiction of parallel light waves entering a slit to create Fraunhofer diffraction. The first figure is a 3D view of the same incoming waves.

When the incoming light wave passes through the slit or opening, some of the rays diffract or bend according to several variables including: size of the hole, shape of the hole, and the distance between the screen, slit, and light source.

Now back to photography. In the beautiful image of the city skyline, we will take a look at the first street lamp on the top right corner – this will be the source of our light. The diaphragm or aperture of the camera lens will be the “slit”, and the light sensor of the camera will be the “screen” (or in other words, the “photo” we see). Let’s start with the light source.

The light source has an impact on the diffraction produced due to its distance from our camera lens as well as its other properties such as wavelength (color) and intensity. We can assume the distance from the lamp to our camera is infinity. Reason being, the street light is in focus. If you look at lights in the background or in the buildings, they have reduced focus, hence less diffraction and weaker starbursts occur.

The aperture of the camera is the slit in the diagram. The narrower the slit or aperture, the more diffraction occurs, and thus, the greater the diffraction. In other words, f/16 would create MORE diffraction than f/11. However, things don’t end there. Another aspect of the aperture is its actual shape – this is where the magic happens.

Fig 5.) As the blades of the camera's shutter increases in number, the more circular the aperture's opening becomes and less diffraction occurs
Fig 5.) As the blades of the camera’s shutter increases in number, the more circular the aperture’s opening becomes and less diffraction occurs

Camera apertures are not perfectly circular. Rather, they are comprised of numerous blades to form various shapes, depending on the number of blades. The more circular the hole, the less the diffraction. This also means, the more the blades in your camera’s aperture, the less diffraction you will see. The shape of your camera’s aperture is also the reason the starbursts get their shape. Fun fact – if your camera has an even number of aperture blades, that will be the number of points in the starbursts you create. If it has an odd number of blades however, the starburst will have twice as many tips. In the main photo, I counted an average of 14 rays in the starburst. This could mean one of two things – the camera has an aperture with either 7 blades, or 14 blades.

Fig 6.) In order to theoretically achieve any Fraunhofer Diffraction, the equation above must be less than one. However, to be seen, the equation must be much smaller than 1. W = aperture size L = Distance from light source to aperture λ = Wavelength of light
Fig 6.) In order to theoretically achieve any Fraunhofer Diffraction, the equation above must be less than one. However, to be seen, the equation must be much smaller than 1.
W = aperture size
L = Distance from light source to aperture
λ = Wavelength of light


So all in all – if you want an epic starburst, get a camera with 100 aperture blades, get a light source in focus, and make sure it is red in color (red has the longest wavelength)!

Oh and big thanks to Xerwyn Flores for taking this beautiful photo!

Photographer: Xerwyn Flores
https://www.eyeem.com/u/xeriez

Photo Commentary #20: Depth of Field 150 150 varunvisuals

Photo Commentary #20: Depth of Field
This gorgeous landscape serves as a perfect example of how depth of field can create such a captivating scene of...well...fields ;)
This gorgeous landscape serves as a perfect example of how depth of field can create such a captivating scene of…well…fields 😉
This beautiful photo was captured by Christian Heitz. Frankly, I think over-analyzing it would be a crime. However, fortunately for us, not much needs to be said (which is completely different than saying not much went on to capture the photo). In fact, the aesthetic of the photo can be attributed with only three words: depth of field.
 
In nearly all my posts, photos have a foreground, middle ground, and background. Of course, the subject matter that occupies each depth will vary from picture to picture, as well as the distance between each level of depth. In this case, the foreground is the field, middle ground is the rolling hills, and background is the peaks and sky.
 
Verbalizing the depth of field in the image brings up another point: the variations in terrain and color. The diverse geographical features, alternating colors (orange-green-orange), and matching color palette (orange sunset and orange fields), wrap the photo up perfectly.
 
If you remember, the photo from two posts ago demonstrated the same idea but in an urbanscape (rather than landscape) – an orange sunset complimented with orange street lights. This is a perfect example of photography techniques being applicable across a multitude of subject matters.
 
Any guesses as to where this was taken? 🙂
 
Photographer: Christian Heitz

Photo Commentary #17: Masking and Astrophotography Part II 683 1024 varunvisuals

Photo Commentary #17: Masking and Astrophotography Part II
This photo taken by Dominika Roseclay serves as a great example of one of the situations in which a photographer may have to rely on masking in order to display the “best of two worlds” – a well lighted urban scene as well as a clear starry night sky Note: it is just as possible to find small towns with no light pollution, thereby allowing for such an image to be taken without the use of any masking technique – I cannot say with certainty how the photo was truly captured. Just like any other photograph or piece of art, only the artist behind it knows the whole process of how it was made. I am only stating one method through which the photo COULD be made.
If you have been following along, you will know that my last commentary posed a question asking you to identify three different topics I had already spoken about, within that image.
 
Here is the answer: reflecting surfaces, astrophotography, and masking. One person had correctly commented on the underlying conundrum – how do you get to see clear stars above a highly light polluted area, such as a city (if you remember, astrophotography can only be performed in areas with little to no light pollution)? Well here’s the thing…you can’t. Not really that is (more on this in a bit). So how was it done?
 
The starry sky was likely photographed in an area with low light pollution using proper astrophotography techniques while the city was captured in another location. Using masking (once again, this is explained in an earlier post), the starry sky would replace the typical starless sky seen over city’s as night. The reflecting surface of the water added to that image as well.
 
This photo may also abide by similar techniques (excluding the water of course). However, it is definitely possible for such a photo to be taken in a location that does not require any masking. That is, a small town with enough light to make the structures as visible and eye-catching as a city, but not enough light to pollute or hide the starry sky above. Regardless of which avenue was taken, Dominika definitely nailed this shot!
 
Photo Commentary #16: Masking and Astrophotography Part I 1024 536 varunvisuals

Photo Commentary #16: Masking and Astrophotography Part I
Starry Night Sky Over City and Water

This photo serves as an example to of a time when it may be appropriate to use masking techniques – astrophotography in an urban setting.

This mesmerizing photo taken by Sanaan Mazhar encompasses three different topics that I had spoken about in three earlier posts. Can you guess which topics I am referring to?

And more importantly, rather than me explain the photo to you, how about we flip it around again – how do you think this image was taken? Let me know in the comments below!

Photographer: Sanaan Mazhar
https://www.instagram.com/piccinng/

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