Chromatic aberration — where it appears
Named by 5 essays across one field — each of them below, with the objects they name alongside it.
Two glasses that cancel a derivative
A single lens focuses blue light closer than red, and the difference ruins the image. Cementing a second lens of another glass behind it fixes the fault at two wavelengths and at no others, because the condition sets a slope to zero rather than a value.
The lens that is a set of rings
A lens focuses by delaying the light at its centre until every path takes the same time. A zone plate does the opposite: it changes nothing about the light that gets through, and paints out the light that would have arrived out of step. Half the aperture is thrown away and the axis gets brighter, which sounds like a contradiction and is the whole idea.
The colour fringe no aperture can close
A lens bends blue light more than red, and that one fact produces two different faults. One puts the blue focus nearer the lens than the red, and closing the aperture shrinks it. The other puts the blue image of an off-axis point nearer the centre of the frame than the red one, and closing the aperture does nothing at all, because it is carried by the one ray every aperture keeps. It is why photographs have coloured fringes in their corners and not in their middles, and why a lens designer who cannot remove it with glass can sometimes remove it with symmetry, or with a distance.
The lens with its glass taken out
Snell's law turns a ray at a surface by an angle set by the slope of the surface where the ray crosses, and the glass behind the surface does not enter it. So a lens can be sliced into rings, the glass between the slopes thrown away, and the rays will not notice. Fresnel did it for lighthouses in 1822. The waves notice — every step cuts a few hundred wavelengths out of them — unless the steps are made exactly one wavelength deep, and then the lens becomes something else: a diffractive element whose colours run backwards, and which can cancel a glass lens's colour with a twentieth of its power.
The delay a flat lens has no room for
A glass lens is thick in the middle for a reason that is easy to miss. To focus light of every colour at one point, a lens must do more than bend each colour by the right amount: it must make every part of a light wave arrive at the focus at the same moment, and the light passing the edge has further to go. The glass in the middle is what holds the central light back to wait for it. A lens made flat — a kinoform, a metasurface a micrometre thick — has nowhere to keep that delay. The geometry of the focus sets how much delay is needed, the thickness sets how much is available, and between them they cap how large an achromatic flat lens can be: tens of micrometres, not centimetres.
Named alongside it
The objects these essays reach for when they reach for this one.
DispersionAbbe numberFocal lengthKinoformAchromatic lensAmplitude modulationApertureAperture stopChief rayDepth of focusDiffractionDiffraction grating