Building a digital camera sensor from a charge coupled device

Figure 1 - Schematic of Bayer filter overlain on a CCD (top) also showing how rede, blue, and green light is separated by the filter.  From the Wikicommons and in the public domain.

Figure 1 – Schematic of Bayer filter overlain on a CCD (top) also showing how rede, blue, and green light is separated by the filter. From the Wikicommons and in the public domain.

Now that we understand how a charge coupled device or CCD works and how it reads out, we are in a position to consider how exactly one goes about making a color digital camera sensor out of one.The first question is how does one make an intrinsically black and white sensitive sensor sensitive to color.  If you followed our discussion about autochromes and additive color, the answer is obvious.  You overlay the pixels with some kind of set of red, green, and blue filters.  Because everything needs to be electronically addressable and translatable from imaging device to display, say a computer screen, it’s better not to use a random distribution of filters, like in an autochrome, but rather an ordered one.  Figure 1 shows schematically such a filter system, referred to as a Bayer filter.

Figure 2 - Image acquired with a CCD chip through a Bayer filter.  From the Wikicommons and in the public domain.

Figure 2 – Image acquired with a CCD chip through a Bayer filter. From the Wikicommons and in the public domain.

Notice that we have twice as many green filters as we do red or blue filters.  The reason for this is that the human eye as twice as many green sensitive cells as it does red or blue sensitive ones.  Figure 2 shows an example of an image, where we have focussed in very closely so that we can see the individual filters of the Bayer filter.  You can do the same thing at home with  a digital TV or computer screen and a magnifying glass.  So far so good, but there’s a second very important question to consider – the question of how to make the sensor as sensitive as possible.  Even though the intrinsic quantum efficiency of a CCD can be remarkably high (as high as almost one electron per photon) several factors conspire against us.  There is dead space between pixels and off angle light isn’t going to make it to the photosensitive region.

If you look at Figure 3 you see a schematic of a cross section of a pixel that illustrates several aspects of camera sensor design.  Let’s walk through this.

  1.  is the incoming light.
  2.  is a lenslet that collects light to the pixel.  It can be shaped so that even light over dead zones makes it to the sensor pixel.
  3. is the Bayer filter element.
  4. is the transparent voltage gate.
  5. is the silicon dioxide insulator.
  6. is the n-doped silica layer
  7. is the p/n silica layer
  8. is the p-doped silica layer.
Figure 3 - Cross section of a pixel on a color digital camera CCD sensor.  From the Wikicommons and in the public domain.

Figure 3 – Cross section of a pixel on a color digital camera CCD sensor. From the Wikicommons and in the public domain.

The lenslets are very important elements.  Without them the device can become quite insensitive.  This is especially true as we push greedily for more and more pixels.  If you have a certain amount of light striking a pixel and then cut the pixel size in half, so that you have four pixels, where previously there was one, then each pixel gets only a quarter as much light.  The well depth similarly goes down.  So the bottom line is that you want as much signal as possible.  Signal compared to what?  Yes you guessed it.  Signal compared to noise!

More Secrets of Charge Coupled Devices

CCD_charge_transfer_animation

Figure 1 – Charge transfer in a CCD array. By Michael Schmid from the Wikicommons and under creative commons license.

The real secret of a charge coupled device is how it uses programmed voltages to shift the stored charge between pixels.  This is illustrated schematically in Figure 1.  Once the exposure is complete.  The device systematically shifts the charge from pixel to pixel until it reaches the readout point.  This is accomplished as shown in the animation by taking a pixels voltage to zero which allows it to transfer to the adjacent pixel held at a voltage V. The process, illustrated in Figure 2 is not unlike a “bucket brigade.”

Figure 2 - The march of the electrons in a CCD sensor. (c) DE Wolf 2013

Figure 2 – The march of the electrons in a CCD sensor. (c) DE Wolf 2013

By the way, I think that you can see the advantage of using a shutter on a CCD camera.  It protects the sensor from light while it is in the process of reading out.

At the output the accumulated charge acts as a voltage.  A device known as a analogue to digital converter (A/D) converts this voltage to a digital signal.  Significantly the signal is analogue up until this point, when it becomes digitized.

ChargeCoupled Array

Figure 3 – A CCD sensorarray. From NASA via the Wikicommons and in the public domain.

There’s a lot to talk about regarding CCDs.  However, let’s focus for now on two points, just to give a flavor.

  • As charge is transferred between pixels there’s a little slop over, just like spilling water in a bucket brigade.  As a result the readout process introduces a source of noise in the signal.  This means that the amount of charge transferred per pixel is variable because of the readout, in addition to all the other reasons that it can be variable.
  • The dynamic range of the device, that is the number of grey levels that it can be divided into is defined, not by the number of bits in the digitizer, but rather by the number of electrons.  We discussed many months ago the concept of  photon counting noise.  This is controlled by the number of electrons in the well, by the well depth.

You can also see that I am very focused on sources of noises.  This is what it’s all about.  If you want to know how sensitive of CCD is, or if you want to discuss proper exposure, or dynamic range, or ISO you’ve got to worry about what physicists and engineers call the signal-to-noise ratio.

But for now, we are getting ahead of ourselves.  And I’d like finally to show you a typical CCD sensor array, which is shown in Figure 3.

 

Secrets of Charge Coupled Devices (CCD)

Figure 1 - Schematic of the structure of a pixel element of a CCD array (c) DE Wolf 2013

Figure 1 – Schematic of the structure of a pixel element of a CCD array (c) DE Wolf 2013

In our last technical blog we discussed how semiconductor junctions can be used to create electrical signal.  This is a good start, and you can certainly imagine that if you made a two dimensional array of such photodiodes you would have an imaging devices.  There is one problem however.  The device that we described pumps out electricity at some rate.  While this rate can be adjusted, it gets hard to integrate signal for large amounts of time like we do with photographic film.  For this purpose the charge coupled device, the CCD, comes to our rescue.

There are a lot of fascinating and important points to consider about CCDs.  The first is how do they store your image until you have achieved sufficient exposure to read it out.  Take a look at Figure 1, which shows schematically the structure of a single pixel element of a CCD array.on.   First of all, notice that we have a gate, basically a metal electrode.  For starters it is held at a positive voltage.  Next we have a layer of silicon dioxide.  Yes sand!  And that’s an insulator that does not carry electrons.  It acts like a barrier that keeps the electrons away from the gate.  Then we have a thin layer (called an epitaxal layer)  of n-type silicon.  This is the photosensitive region, where electrons are easily stripped off by light.  The epitaxal layer sits on a layer of p-type silicon.  A negative voltage is applied to the back side of the p-type silcon layer.

What about the photoelectrons?  They can’t go to the gate.  They won’t go to the negative electrode on the back side.  So they start to fill up the holes in the p-type silcon layer below the gate.  The longer the device is exposed to light the more electrons are created and bound up by holes until there are no more holes available.  You can think of the holes as forming a well that collects electrons, and then the maximum number of electrons that the well can hold is the well capacity.

We seem to have just what the doctor order.  It is a device which stores charge proportionally to the light exposure. as a function of exposure.  It is effectively an electronic film.  You can certainly see how you can build up an array of these pixel.  So really the big question that remains is how to read it out.  That is the subject of our next technical blog.

 

Tone-on-Tone 1

ToneonTone1

Figure 1 – “Tone-on-tone 1, Bridal Gown.” (c) DE Wolf 2013.

Mall walking again on a Sunday morning.  Our local mall has a spring fashion show where they feature the dress designs of local students.  This morning I was struck by two fantastically stunning bridal dresses by Lasell College student, Amelia LoBrutto.  So while I’m talking about photography here and tone-on-tone photography in particular, while I’m talking about what is commonly called “derivative art,”  I think that it is important to give credit to this very talented young artist.

Tone-on-tone intrigues me.  It intrigues me because it violates the first rule of my photographic work flow, which is to adjust the levels so as to set the lowest level black and the highest level white.  If you do that with tone-on-tone you wind up with something way too contrasty.  And in the case with whites, in particular, you wind up with something totally the opposite of the  beautifully soft gradations that attracted you to the subject in the first place.

So I think that there is a lot to be learned from doing and experiencing tone-on-tone photography.  As a result, I’ve labelled today’s blog “Tone-on-tone 1,” since it is my intent to revisit the subject. And it is my intent also to study it a bit in terms of what dynamic range creates a pleasing tone-on-tone.

This morning however, all I had with me was my IPhone 4S.  I have this running dialog in my head that the IPhone is the modern “view camera,” and that I am carrying it high into the Sierras or into the steamier sections of New Orleans  Of course, it is the antithesis of that.  I find it very difficult to hold the camera steady and I have to concentrate really hard to successfully frame the subject.  Still I got two pictures this morning that I found acceptable examples of the tone-on-tone genre.

The signal is all in the upper half of the camera’s dynamic range.  I debated a long time, trying out various approaches, and finally settled on the original color, adjusting both the color balance and the gamma subtlety to create what I hope is a beautiful ivory color.  The camera will intrinsically set the whole image to a washed out neutral grey.  I also did just a  bit of dodging to enhance some of the highlights.  The results are shown in Figures 1 & 2.

Figure 2 - "Tone-on-tone 2, Bridal Gown." (c) DE Wolf 2013

Figure 2 – “Tone-on-tone 2, Bridal Gown.” (c) DE Wolf 2013

Cultural Democratization – The George Eastman House joins Google Art Project

We learn from PetaPixel that the world’s oldest photography museum, The George Eastman House in Rochester, New York has joined the Google Art Project.  Pictures from the Eastman House on the Google Art Project may be found at this link.

Google Art Project is an online platform which gives the visitor access to high-resolution images of artworks from the projects partner museums.  Google launched the project in February of 2011.  Beyond high resolution images the project offers Google Earth style walk-throughs of the physical museums and a single image chosen to be captured as a gigapixel image.  The Art Project promotes Google’s view that we are in a period of cultural democratization.  The control of knowledge and its dissemination is no longer controlled by a small elite.

At this point it is, perhaps, interesting to consider the works initially chosen by the Eastman House as representative of the history of photography.  We see many of the same faces that we have discussed previously in this blog.  This includes: Julia Margaret Cameron, Oscar Reijlander, Edward S. Curtis, and, Dorothea Lange.  Visiting the Eastman House in this way is exciting and I look forward to other major photography collections coming online in this way

Semiconductor light detectors

Figure 1 - schematic of the p-n junction of an LED.  Top shows distribution of electrons and holes in the two regions. Bottom shows the conductance and valence bands. From the Wikicommons by S-kei and in the public domain under creative common license.

Figure 1 – schematic of the p-n junction of an LED. Top shows distribution of electrons and holes in the two regions. Bottom shows the conductance and valence bands. From the Wikicommons by S-kei and in the public domain under creative common license.

We have previously discussed how a p-n junction can be used to produce a light emitting diode (LED) and how an array of LEDs can be used to create a digital display.  I redisplay Figure 1 from that blog to remind you.  So lets recall a few critical points.  First, the n-type semiconductor is rich in electrons.  Second, the p-type semiconductor is deficient in electrons, that is is rich in holes.  Second the application of a voltage across the diode (p side positive, n side negative) causes a current to flow and drives electrons from the n-type semiconductor to the junction, where they combine with holes; thus falling out of the conduction band into the valence band.  When they do this, they emit light.  Hence, we have a light emitting diode.

Now the whole process can, in fact, be reversed.  Physicists have a really cool expression.  They say that “the system is invariant under reversal of time.”  Whoa! Time reversal. Shades of H. G. Wells.  Actually this whole question of time reversal in physics is rather fun.  In our everyday world time is an arrow.  It moves from the past to the present and then on to the future – in inexorably.   But the equations of physics they don’t care they can go either way.

Figure 2 - Examples of discrete photodiode light detectors.  From the Wikicommons and in the public domain under GNU licsense

Figure 2 – Examples of discrete photodiode light detectors. From the Wikicommons and in the public domain under GNU licsense

And for our little p-n junction this means that if we can apply a current (aka electricity) and create light we can apply light and get electricity.  So if you have a p-n junction and shine light on it (at the correct wavelength), electrons get lifted from the valence band to the conductance band.  What happens next depends on whether you have a battery hooked up to it.  If you don’t then the electrons build up at the junction creating an electric field or a voltage.  The size of the voltage depends upon the amount of light.  This is the so-called photovoltaic mode.  On the other hand if you attach a battery in the opposite to that shown in Figure 1 (meaning that the plus side is attached to the n-type material and the minus side to the p-type material, referred to as reverse bias) then the as electrons rise to the conductance band they are swept to the positive battery terminal, a current is created.

The reason that the battery needs to be set up reverse bias or backwards to that shown in Figure 1 has to do with our desire to run the system in reverse time.  If running electrons one way causes light, we expect that light will cause the electrons to run the other way.

So we can use a p-n junction to create light, a light emitting diode.  And we can use a p-n junction to create either a voltage or a current.  The latter means that we can use a p-n junction to measure light.  Some example of discrete (stand alone) photodiodes are shown in Figure 2. These devices are at the heart (eyes?) of how many light meters on cameras work.  And we are one step further to understanding how a digital camera’s detector array works.

 

 

Cal Whipple, George Strock, and the Buna Beach Photograph

The issue of photographs of horrific stories is not a new one. Addison Beecher Colvin Whipple (1918-2013) has passed away. During World War II, Mr. Whipple worked for Time-Life Publishing at the Pentagon. His job was to get photographs cleared by the military for assignments and then to get the images that they returned passed the military censors. In 1943, Whipple, then 25, found himself embroiled in a major controversy. Life magazine wanted to publish a photograph by George Strock of three dead American marines after the amphibious assault on Buna Beach in New Guinea.

Military censors refused Life’s request to publish the photo. Their policy was that no pictures of American soldiers killed in combat were allowed. And this view was amplified when it was realized on close examination that one of the marines lying face down in the sand was being consumed by maggots.  Whipple appealed the decision through the Pentagon. Whipple and Life believed that American’s needed a healthy dose of understanding of what the war was about, what the grim realities of it were.

Finally in September 1943 the decision went to the White House. President Roosevelt, the War Department, and the Director of the Office of War Information, Elmer Davis, decided “that the American people ought to be able to see their own boys as they fall in battle; to come directly and without words into the presence of their own dead.”

It is a controversy that we have seen again during the Iraq and Afghanistan wars.  Sadly seeing the horrible meaning of war appears to offer no deterrent. Like Strock’s photograph the words of Wilfred Owen (1893-1918), killed in “The War to End All Wars” forever go unheeded.

“My friend, you would not tell with such high zest 
To children ardent for some desperate glory, 
The old Lie; Dulce et Decorum est 
Pro patria mori.”

Color abuse or don’t show me anymore of your damn flower pictures

On the subject of hackneyed and over wrought, I’d like to express my opinion about the over use of color.  In my view color is too often used in a vain attempt to compensate for mediocre subject and composition.  I have seen far too many flower pictures.  Isn’t this beautiful?  Not really, please wake me up when it’s over.  Nature’s done a wonderful job of creating a beautiful flower, your photography, not so much.

And it’s an important point that color is so dominant to our sight that nature has used it in creating flowers.  So it’s a pretty easy way to go if all you want to do is create the illusion of dramatic photographs.  Sit back please, analyze what is your subject?  What is the composition of your image?

To me, photography is first and foremost about form and composition.  Then if you want to throw in a bit of color that works for me.  Don’t over power me.  Certainly some pictures work best in color.  Sometimes one of the coolest things that you can do is take a color picture, which is just so subtle, just a touch of hue beyond black and white.

I am definitely a black and white kind of guy.  I choose my subjects, usually for form and composition.  The first thing that I do in my workflow is discard the color information.  I then create the image and finally, a bit resentful of the added megabytes in the color plane, I often then return to RGB color; so that I can digitally tone the photograph.  Almost always I tone sepia, trying to catch the pleasure of the selenium toning that I used to do in my analogue days. I find that sometimes this toning adds just the right amount of ump to the image.  Maybe that’s a cop out. I worry about that  Maybe I tone too much.  Maybe my sepias cross the line to the muddy.

And do I need to emphasize again that this is my personal view of photography?  I can share it with you.  But you have to set your own rules, and if all you want to do is run around the garden taking snap shots – well wake me up when it’s over.

Sad, horrific, and hackneyed subject matter in photography

A couple of weeks back, I was admiring Italian photographer, Marina Rosso‘s  touching photoessay about her grandparents “Licia and Ryan,” who have been married for fifty-seven years.  Nice work, I thought (and still think), but then I made the mistake of reading some reader comments on PetaPixel.  Photographing one’s grandparents  “a little suspect.” And I gues, in a sense, that it is.  I mean you pretty much know how this story is going to play out.  And this got me thinking about choosing what might be termed “easy topics.”  By easy topics I mean, topics or subjects, where you pretty much know the story is going to turn out and where the emotions that you are likely to elicit in your audience are pretty much predictable and guaranteed.

Then I came upon “The Scar Project,” which I discussed yesterday.  I mean who is not going to feel for these people?  Right?  And yes indeed, I have seen other pictures like these before.  So is there anything wrong with photographing such “easy topics?”  There are two obvious answers.  First, these are not “easy topic.” The photographer, if (s)he is a living breathing human being, as interpreter has to be even more devastated by the subject matter than the viewer.  Second, commonality of theme does not make a theme off limits.  It just makes it harder to succeed, because your audience expects not only excellent images, but also something more – a new twist or perspective.  The ante is up.  And besides who has the right to tell an artist what (s)he can photograph?

We have to consider war and devastation images in this context.  The photojournalist needs to communicate.  The images of American Civil War dead rotting in a field have retained their significance and ability to move despite the reams of subsequent images from every war and genocide in the intervening years.  The fundamental statement about humanity, it resilience and endurance, remains.  And I keep coming back to two images that we have discussed before: Eddie Adams’ “Brigadier General Nguyen Ngoc Loan Executing the Viet Cong Guerilla, Bay Lop, 1968;” and Nick Ut’s “Children Fleeing South Vietnamese Air Force Napalm Attack on the Village of Trang Bang, 1972,”   Both of these images played significant roles in reversing American public opinion about the Vietnam War.  Such is the power of image.