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A lens flare happens when light is scattered or flared in a lens system, often in response to a bright light, producing a sometimes undesirable artifact in the image. This happens through light scattered by the imaging mechanism itself, for example through internal reflection and forward scatter from material imperfections in the lens. Lenses with large numbers of elements such as zooms tend to have more lens flare, as they contain a relatively large number of interfaces at which internal scattering may occur. These mechanisms differ from the focused image generation mechanism, which depends on rays from the refraction of light from the subject itself.

There are two types of flare: visible artifacts and glare across the image. The glare makes the image look "washed out" by reducing contrast and color saturation (adding light to dark image regions, and adding white to saturated regions, reducing their saturation). Visible artifacts, usually in the shape of the aperture made by the iris diaphragm, are formed when light follows a pathway through the lens that contains one or more reflections from the lens surfaces.

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Flare is particularly caused by very bright light sources. Most commonly, this occurs when aiming toward the Sun (when the Sun is in frame or the lens is pointed sunward), and is reduced by using a lens hood or other shade. For good-quality optical systems, and for most images (which do not have a bright light shining into the lens), flare is a secondary effect that is widely distributed across the image and thus not visible, although it does reduce contrast.

The spatial distribution of the lens flare typically manifests as several starbursts, rings, or circles in a row across the image or view. Lens flare patterns typically spread widely across the scene and change location with the camera's movement relative to light sources, tracking with the light position and fading as the camera points away from the bright light until it causes no flare at all. The specific spatial distribution of the flare depends on the shape of the aperture of the image formation elements. For example, if the lens has a 6-bladed aperture, the flare may have a hexagonal pattern.

Such internal scattering is also present in the human eye, and manifests in an unwanted veiling glare most obvious when viewing very bright lights or highly reflective surfaces. In some situations, eyelashes can also create flare-like irregularities, although these are technically diffraction artifacts.

When a bright light source is shining on the lens but not in its field of view, lens flare appears as a haze that washes out the image and reduces contrast. This can be avoided by shading the lens using a lens hood. In a studio, a gobo or set of barn doors can be attached to the lighting to keep it from shining on the camera. Filters can be attached to the camera lens which will also minimise lens flare, which is especially useful for outdoor photographers.

When using an anamorphic lens, as is common in analog cinematography, lens flare can manifest itself as horizontal lines. This is most commonly seen in car headlights in a dark scene, and may be desired as part of the "film look".

A lens flare is often deliberately used to invoke a sense of drama. A lens flare is also useful when added to an artificial or modified image composition because it adds a sense of realism, implying that the image is an un-edited original photograph of a "real life" scene.

For both of these reasons (implying realism and/or drama) artificial lens flare is a common effect in various graphics editing programs, although its use can be a point of contention among professional graphic designers.[1] Lens flare was one of the first special effects developed for computer graphics because it can be imitated using relatively simple means. Basic flare-like effects, for instance in video games, can be obtained by drawing starburst, ring, and disc textures over the image and moving them as the location of the light source changes.[2] More sophisticated rendering techniques have been developed based on ray tracing[3] or photon mapping.[4]

Lens flare was typically avoided by Hollywood cinematographers, but when filming Easy Rider (1969), Harrison Arnold was forced to modify a camera car for his Arriflex, which resulted in numerous lens flares as he shot motorcycle footage against landscapes of the Southwestern United States.[5]

Director J. J. Abrams added numerous lens flares to his films Star Trek (2009) and Super 8 (2011) by aiming powerful off-camera light sources at the lens. He explained in an interview about Star Trek: "I wanted a visual system that felt unique. I know there are certain shots where even I watch and think, 'Oh that's ridiculous, that was too many.' But I love the idea that the future was so bright it couldn't be contained in the frame." Many complained of the frequent use; Abrams conceded it was "overdone, in some places."[6]

David Boyd, the director of photography of the sci-fi Firefly series, desired this style so much (harkening back to 1970s television), that he sent back cutting-edge lenses that reduced lens flare in exchange for cheaper ones.[7][verification needed]

The use of photographic filters can cause flare, particularly ghosts of bright lights (under central inversion).[8] This can be eliminated by not using a filter, and reduced by using higher-quality filters or narrower aperture.

One form of flare is specific to digital cameras. With the sun shining on an unprotected lens, a group of small rainbows appears. This artifact is formed by internal diffraction on the image sensor, which acts like a diffraction grating. Unlike true lens flare, this artifact is not visible in the eyepiece of a digital SLR camera, making it more difficult to avoid.

Just curious if the endless cries for a lens flare tool have actually been heard and acted upon. I've been waiting soooooooooooooo long for this essential feature, but all we get are worthless makeshift brushes.

Yes thankyou for the links. What Affinity Photo really needs is a fully customizable lens flare tool like Photoshop has. Wonderfully powerful, and extremely easy to use and customize. Brushes are a work-around at best, as they only offer one fixed solution per brush, and customizing them is not at all a fun task to undertake.

You have done everything you can to dance around putting in a real lens flare tool, which is what is desperately needed. I know brushes are there, but they are a totally sad and desperately inadequate answer to not adding in a much needed customizable lens flare tool.

I just did a full switch over to Affinity Photo from Adobe Photoshop. For the most part I am much happier using Affinity Photo. But the lack of lens flares does suck. Photoshop had them and that was great when they were needed, but for the most part I really don't need them in most of my work so I won't cry about it. Still it would be nice to have them back. Fortunately there is one solution to this that I think is acceptable. Gimp. Gimp has the lens flare filter native to it. Affinity Photo and Gimp are both able to read and export psd files perfectly fine, so it shouldn't be too hard to do most of your work in Affinity Photo, then save it as a PSD file, and reopen it in Gimp just to do the lens flare or use some of the other features of Gimp, then resave it again as a PSD and switch back to Affinity Photo. It's not the most convenient way to work, but it's effective. What's more is Gimp is free, so it's not like you're having to fork out more money for yet another art program.

The above image exhibits tell-tale signs of flare in the upper right caused by a bright sun just outside the image frame. These take the form of polygonal bright regions (usually 5-8 sides), in addition to bright streaks and an overall reduction in contrast (see below). The polygonal shapes vary in size and can actually become so large that they occupy a significant fraction of the image. Look for flare near very bright objects, although its effects can also be seen far away from the actual source (or even throughout the image).

All but the simplest cameras contain lenses which are actually comprised of several "lens elements." Lens flare is caused by non-image light which does not pass (refract) directly along its intended path, but instead reflects internally on lens elements any number of times (back and forth) before finally reaching the film or digital sensor.

Lens elements often contain some type of anti-reflective coating which aims to minimize flare, however no multi-element lens eliminates it entirely. Light sources will still reflect a small fraction of their light, and this reflected light becomes visible as flare in regions where it becomes comparable in intensity to the refracted light (created by the actual image). Flare which appears as polygonal shapes is caused by light which reflects off the inside edges of the lens aperture (diaphragm), shown above.

Although flare is technically caused by internal reflections, this often requires very intense light sources in order to become significant (relative to refracted light). Flare-inducing light sources may include the sun, artificial lighting and even a full moon. Even if the photo itself contains no intense light sources, stray light may still enter the lens if it hits the front element. Ordinarily light which is outside the angle of view does not contribute to the final image, but if this light reflects it may travel an unintended path and reach the film/sensor. In the visual example with flowers, the sun was not actually in the frame itself, but yet it still caused significant lens flare.

A good lens hood can nearly eliminate flare caused by stray light from outside the angle of view. Ensure that this hood has a completely non-reflective inner surface, such as felt, and that there are no regions which have rubbed off. Although using a lens hood may appear to be a simple solution, in reality most lens hoods do not extend far enough to block all stray light. This is particularly problematic when using 35 mm lenses on a digital SLR camera with a "crop factor," because these lens hoods were made for the greater angle of view. In addition, hoods for zoom lenses can only be designed to block all stray light at the widest focal length. 2351a5e196