Imaging — the series · Illustrated Physics

A converging lens making a real image. An object 2.44 focal lengths from a thin converging lens. The image sits where the construction rays cross, at 1.69 focal lengths, magnified -0.69×.

What a lens is doing, and why three rays are enough

A lens bends every ray that reaches it. The construction uses three, because three are all that can be drawn without calculation — and any three that meet prove all the rest do.

part 1 · optics

A sphere does not have a focus. Parallel rays reflected off a spherical mirror. Rays striking further from the axis cross it nearer the mirror, so there is no single point where all of them meet — the blur is spherical aberration, and a perfect sphere has it inherently.

The mirror that cannot focus, and the shape that can

A perfect sphere does not bring parallel light to a point. The blur is not a manufacturing defect — it is what the shape does, and the shape is used anyway, for a reason worth knowing.

part 2 · optics

What arrives in the back focal plane. A grating of pitch 1.2 µm illuminated at 550 nm, and the spectrum that appears in the objective's back focal plane. Each spatial frequency in the object leaves at its own angle, sinθ = mλ/d, and the bar heights are the Fourier coefficients of the object's transmittance. The aperture admits everything inside sinθ = 0.65, which here is orders -1, 0, 1 — 2 of them carrying information about the pitch. Orders outside it are drawn faint and are simply lost: they never reach the image plane, and no amount of magnification afterwards recovers them. This is where a microscope's resolution is decided — not at the image, not by the eyepiece, but by which of these bars the front of the objective is wide enough to catch.

The image that is a diffraction pattern twice

A lens does not project an object onto a screen. It takes the object's spatial frequencies apart, spreading them across its own back focal plane at an angle each, and then puts them back together — so an image is the object's spectrum, filtered by whatever the aperture admits, transformed back. With only the zeroth order through, the image is a uniform grey with no information in it at all.

part 3 · optics

Abbe's ratio, measured on the traced rays. The quantity h divided by the sine of the angle at which the ray converges on the focus, in units of the paraxial focal length, against how far up the aperture the ray entered. Abbe's sine condition says that a system already free of spherical aberration images a small region round the axis faithfully only if this ratio is the same for every ray. A horizontal line means the condition is met. The parabola departs by 12.96 per cent across the aperture; The sphere departs by 7.18 per cent across the aperture. The paraboloid is the interesting case, because it is exactly stigmatic on axis — every ray from infinity crosses at one point, which is the definition of the shape — and it still fails this test. Perfection at one point buys nothing at the next one along. What the departure predicts is coma, a blur that grows linearly with the distance off axis and quadratically with the aperture, and the offaxis figure measures exactly that blur on the same surfaces. The condition is not a design rule invented for telescopes: it follows from requiring that the same optical path length join object and image for every route, and any instrument that images a field rather than a point has to meet it.

The condition a lens must meet

A paraboloid brings every parallel ray to exactly one point. Move the source a fifth of a degree off axis and the image is a fan rather than a point, and the reason is a condition Abbe wrote down that has nothing to do with the axis — perfection at one point buys nothing at the next one along.

part 4 · optics

Image distance against object distance. Image distance in focal lengths against object distance in focal lengths. At exactly one focal length the image runs off to infinity; inside it the image distance goes negative, which means virtual.

The focus that is a slab, not a plane

A lens images one plane and no other, which would make every photograph and every micrograph almost entirely out of focus. What rescues them is a tolerance — and there are two of them, one from rays and one from waves, which give different answers and stop being interchangeable exactly where microscopes work.

part 5 · optics

The bowl a lens actually focuses onto. Where a lens of 50 mm focal length brings each part of a flat scene to a focus, against distance from the centre of the field, out to 21.6 mm — the corner of a 35 mm frame. The surface of best focus is a sphere of radius 76 mm curving towards the lens, and the corner of the frame sits 3.13 mm in front of the plane the centre is focused on. The shaded band is the depth of focus at f/8, which is 0.070 mm — 45 times smaller than the sag it has to cover. The curvature is not an error in the lens. It is what Σ1/nf comes to for this stack, and it depends on the powers and the glasses and on nothing else: bending the surfaces, moving the stop or stopping down changes every other aberration and leaves this one exactly where it was.

The flat scene that comes back curved

A lens does not image a plane onto a plane. It images it onto a bowl, and the curvature of that bowl is fixed by the powers and the glasses alone — not by the shapes of the surfaces, not by where the stop is, and not by stopping down. Everything a designer usually plays with leaves it exactly where it was.

part 6 · optics