LIGHT IS A THRID FORM OF THAT ENERGY

How it Works by Archibald Williams is part of the HackerNoon Books Series. You can jump to any chapter in this book . OPTICS. here Chapter XII. OPTICS. Lenses—The image cast by a convex lens—Focus—Relative position of object and lens—Correction of lenses for colour—Spherical aberration—Distortion of image—The human eye—The use of spectacles—The blind spot. LIGHT is a third form of that energy of which we have already treated two manifestations—heat and electricity. The distinguishing characteristic of ether light-waves is their extreme rapidity of vibration, which has been calculated to range from 700 billion movements per second for violet rays to 400 billion for red rays. If a beam of white light be passed through a prism it is resolved into the seven visible colours of the spectrum—violet, indigo, blue, green, yellow, orange, and red—in this order. The human eye is most sensitive to the yellow-red rays, a photographic plate to the green-violet rays. All bodies fall into one of two classes—(1) —that is, those which are a of light, such as the sun, a candle flame, or a red-hot coal; and (2) , which become visible only by virtue of light which they receive from other bodies and reflect to our eyes. Luminous source non-luminous THE PROPAGATION OF LIGHT. Light naturally travels in a straight line. It is deflected only when it passes from one transparent medium into another—for example, from air to water—and the mediums are of different densities. We may regard the surface of a visible object as made up of countless points, from each of which a diverging pencil of rays is sent off through the ether. LENSES. If a beam of light encounters a transparent glass body with non-parallel sides, the rays are deflected. The direction they take depends on the shape of the body, but it may be laid down as a rule that they are bent toward the thicker part of the glass. The common burning-glass is well known to us. We hold it up facing the sun to concentrate all the heat rays that fall upon it into one intensely brilliant spot, which speedily ignites any inflammable substance on which it may fall (Fig. 103). We may imagine that one ray passes from the centre of the sun through the centre of the glass. This is undeflected; but all the others are bent towards it, as they pass through the thinner parts of the lens. It should be noted here that , as we call it, is accompanied by heat. A burning-glass is used to concentrate the rays, not the rays, which, though they are collected too, have no igniting effect. sunlight heat light In photography we use a lens to concentrate light rays only. Such heat rays as may pass through the lens with them are not wanted, and as they have no practical effect are not taken any notice of. To be of real value, a lens must be quite symmetrical—that is, the curve from the centre to the circumference must be the same in all directions. There are six forms of simple lenses, as given in Fig. 104. Nos. 1 and 2 have one flat and one spherical surface. Nos. 3, 4, 5, 6 have two spherical surfaces. When a lens is thicker at the middle than at the sides it is called a lens; when thinner, a lens. The names of the various shapes are as follows:—No. 1, plano-convex; No. 2, plano-concave; No. 3, double convex; No. 4, double concave; No. 5, meniscus; No. 6, concavo-convex. The thick-centre lenses, as we may term them (Nos. 1, 3, 5), a pencil of rays passing through them; while the thin-centre lenses (Nos. 2, 4, 6) the rays ( ). convex concave concentrate scatter see Fig. 105 THE CAMERA. We said above that light is propagated in straight lines. To prove this is easy. Get a piece of cardboard and prick a hole in it. Set this up some distance away from a candle flame, and hold behind it a piece of tissue paper. You will at once perceive a faint, upside-down image of the flame on the tissue. Why is this? Turn for a moment to Fig. 106, which shows a "pinhole" camera in section. At the rear is a ground-glass screen, b, to catch the image. Suppose that a is the lowest point of the flame. A pencil of rays diverging from it strikes the front of the camera, which stops them all except the one which passes through the hole and makes a tiny luminous spot on b, the centre of the screen, though a is below the axis of the camera. Similarly the tip of the flame (above the axis) would be represented by a dot on the screen below its centre. And so on for all the millions of points of the flame. If we were to enlarge the hole we should get a brighter image, but it would have less sharp outlines, because a number of rays from every point of the candle would reach the screen and be jumbled up with the rays of neighbouring pencils. Now, though a good, sharp photograph may be taken through a pinhole, the time required is so long that photography of this sort has little practical value. What we want is a large hole for the light to enter the camera by, and yet to secure a distinct image. If we place a lens in the hole we can fulfil our wish. Fig. 107 shows a lens in position, gathering up a number of rays from a point, a, and focussing them on a point, b. If the lens has 1,000 times the area of the pinhole, it will pass 1,000 times as many rays, and the image of a will be impressed on a sensitized photographic plate 1,000 times more quickly. above THE IMAGE CAST BY A CONVEX LENS. Fig. 108 shows diagrammatically how a convex lens forms an image. From a and b, the extremities of the object, a simple ray is considered to pass through the centre of the lens. This is not deflected at all. Two other rays from the same points strike the lens above and below the centre respectively. These are bent inwards and meet the central rays, or come to a focus with them at A1 and B1. In reality a countless number of rays would be transmitted from every point of the object and collected to form the image. FOCUS. We must now take special notice of that word heard so often in photographic talk—"focus." What is meant by the focus or focal length of a lens? Well, it merely signifies the distance between the optical centre of the lens and the plane in which the image is formed. We must here digress a moment to draw attention to the three simple diagrams of Fig. 109. The object, o, in each case is assumed to be to the right of the lens. In the topmost diagram the object is so far away from the lens that all rays coming from a single point in it are practically parallel. These converge to a focus at f. If the distance between f and the centre of the lens is six inches, we say that the lens has a six-inch focal length. The focal length of a lens is judged by the distance between lens and image when the object is far away. To avoid confusion, this focal length is known as the focus, and is denoted by the symbol . In the middle diagram the object is quite near the lens, which has to deal with rays striking its nearer surface at an acuter angle than before (reckoning from the centre). As the lens can only deflect their path to a fixed degree, they will not, after passing the lens, come together until they have reached a point, f1, further from the lens than f. The nearer we approach o to the lens, the further away on the other side is the focal point, until a distance equal to that of f from the lens is reached, when the rays emerge from the glass in a parallel pencil. The rays now come to a focus no longer, and there can be no image. If o be brought nearer than the focal distance, the rays would after passing through the lens. principal f diverge RELATIVE POSITIONS OF OBJECT AND IMAGE. From what has been said above we deduce two main conclusions—(1.) The nearer an object is brought to the lens, the further away from the lens will the image be. (2.) If the object approaches within the principal focal distance of the lens, no image will be cast by the lens. To make this plainer we append a diagram (Fig. 110), which shows five positions of an object and the relative positions of the image (in dotted lines). First, we note that the line a b, or a b1, denotes the principal focal length of the lens, and a c, or a c1, denotes twice the focal length. We will take the positions in order:— Object further away than 2 . Inverted image than object, at distance somewhat exceeding . Position I. f smaller f Object at distance = 2 . Inverted image at distance = 2 , and of size equal to that of object. Position II. f f Object nearer than 2 . Inverted image further away than 2 ; than the object. Position III f f larger Object at distance = . As rays are parallel after passing the lens image is cast. Position IV. f no Object at distance less than . No real image—that is, one that can be caught on a focussing screen—is now given by the lens, but a magnified, erect, image exists on the same side of the lens as the object. Position V. f virtual We shall refer to images at greater length presently. It is hoped that any reader who practises photography will now understand why it is necessary to rack his camera out beyond the ordinary focal distance when taking objects at close quarters. From Fig. 110 he may gather one practically useful hint—namely, that to copy a diagram, etc., full size, both it and the plate must be exactly 2 from the optical centre of the lens. And it follows from this that the further he can rack his camera out beyond 2 the greater will be the possible enlargement of the original. virtual f f CORRECTION OF LENSES FOR COLOUR. We have referred to the separation of the spectrum colours of white light by a prism. Now, a lens is one form of prism, and therefore sorts out the colours. In Fig. 111 we assume that two parallel red rays and two parallel violet rays from a distant object pass through a lens. A lens has most bending effect on violet rays and least on red, and the other colours of the spectrum are intermediately influenced. For the sake of simplicity we have taken the two extremes only. You observe that the point r, in which the red rays meet, is much further from the lens than is v, the meeting-point of the violet rays. A photographer very seldom has to take a subject in which there are not objects of several different colours, and it is obvious that if he used a simple lens like that in Fig. 111 and got his red objects in good focus, the blue and green portions of his picture would necessarily be more or less out of focus. This defect can fortunately be corrected by the method shown in Fig. 112. A lens is needed, made up of a glass convex element, b, and a concave element, a, of glass. For the sake of illustration the two parts are shown separated; in practice they would be cemented together, forming one optical body, thicker in the centre than at the edges—a meniscus lens in fact, since a is not so concave as b is convex. Now, it was discovered by a Mr. Hall many years ago that if white light passed through two similar prisms, one of flint glass the other of crown glass, the former had the greater effect in separating the spectrum colours—that is, violet rays were bent aside more suddenly compared with the red rays than happened with the crown-glass prism. Look at Fig. 112. The red rays passing through the flint glass are but little deflected, while the violet rays turn suddenly outwards. This is just what is wanted, for it counteracts the unequal inward refraction by b, and both sets of rays come to a focus in the same plane. Such a lens is called , or colourless. If you hold a common reading-glass some distance away from large print you will see that the letters are edged with coloured bands, proving that the lens is not achromatic. A properly corrected photographic lens would not show these pretty edgings. Colour correction is necessary also for lenses used in telescopes and microscopes. compound crown flint achromatic SPHERICAL ABERRATION. A lens which has been corrected for colour is still imperfect. If rays pass through all parts of it, those which strike it near the edge will be refracted more than those near the centre, and a blurred focus results. This is termed . You will be able to understand the reason from Figs. 113 and 114. Two rays, a, are parallel to the axis and enter the lens near the centre (Fig. 113). These meet in one plane. Two other rays, b, strike the lens very obliquely near the edge, and on that account are both turned sharply upwards, coming to a focus in a plane nearer the lens than a. If this happened in a camera the results would be very bad. Either a or b would be out of focus. The trouble is minimized by placing in front of the lens a plate with a central circular opening in it (denoted by the thick, dark line in Fig. 114). The rays b of Fig. 113 are stopped by this plate, which is therefore called a . But other rays from the same point pass through the hole. These, however, strike the lens much more squarely above the centre, and are not unduly refracted, so that they are brought to a focus in the same plane as rays a. spherical aberration stop DISTORTION OF IMAGE. The lens we have been considering is a single meniscus, such as is used in landscape photography, mounted with the convex side turned towards the inside of the camera, and having the stop in front of it. If you possess a lens of this sort, try the following experiment with it. Draw a large square on a sheet of white paper and focus it on the screen. The sides instead of being straight bow outwards: this is called distortion. Now turn the lens mount round so that the lens is outwards and the stop inwards. The sides of the square will appear to bow towards the centre: this is distortion. For a long time opticians were unable to find a remedy. Then Mr. George S. Cundell suggested that meniscus lenses should be used in combination, one on either side of the stop, as in Fig 115. Each produces distortion, but it is counteracted by the opposite distortion of the other, and a square is represented as a square. Lenses of this kind are called , or straight-line producing. barrel pin-cushion two rectilinear We have now reviewed the three chief defects of a lens—chromatic aberration, spherical aberration, and distortion—and have seen how they may be remedied. So we will now pass on to the most perfect of cameras, THE HUMAN EYE. The eye (Fig. 116) is nearly spherical in form, and is surrounded outside, except in front, by a hard, horny coat called the (s). In front is the (a), which bulges outwards, and acts as a transparent window to admit light to the lens of the eye (c). Inside the sclerotica, and next to it, comes the coat; and inside that again is the , or curved focussing screen of the eye, which may best be described as a network of fibres ramifying from the optic nerve, which carries sight sensations to the brain. The hollow of the ball is full of a jelly-like substance called the ; and the cavity between the lens and the cornea is full of water. sclerotica cornea choroid retina vitreous humour We have already seen that, in focussing, the distance between lens and image depends on the distance between object and lens. Now, the retina cannot be pushed nearer to or pulled further away from its lens, like the focussing screen of a camera. How, then, is the eye able to focus sharply objects at distances varying from a foot to many miles? As a preliminary to the answer we must observe that the more convex a lens is, the shorter is its focus. We will suppose that we have a box camera with a lens of six-inch focus fixed rigidly in the position necessary for obtaining a sharp image of distant objects. It so happens that we want to take with it a portrait of a person only a few feet from the lens. If it were a bellows camera, we should rack out the back or front. But we cannot do this here. So we place in front of our lens a second convex lens which shortens its principal focus; so that the box has been racked out sufficiently. in effect Nature, however, employs a much more perfect method than this. The eye lens is plastic, like a piece of india-rubber. Its edges are attached to ligaments (l l), which pull outwards and tend to flatten the curve of its surfaces. The normal focus is for distant objects. When we read a book the eye adapts itself to the work. The ligaments relax and the lens decreases in diameter while thickening at the centre, until its curvature is such as to focus all rays from the book sharply on the retina. If we suddenly look through the window at something outside, the ligaments pull on the lens envelope and flatten the curves. This wonderful lens is achromatic, and free from spherical aberration and distortion of image. Nor must we forget that it is aided by an automatic "stop," the , the central hole of which is named the . We say that a person has black, blue, or gray eyes according to the colour of the iris. Like the lens, the iris adapts itself to all conditions, contracting when the light is strong, and opening when the light is weak, so that as uniform an amount of light as conditions allow may be admitted to the eye. Most modern camera lenses are fitted with adjustable stops which can be made larger or smaller by twisting a ring on the mount, and are named "iris" stops. The image of anything seen is thrown on the retina upside down, and the brain reverses the position again, so that we get a correct impression of things. iris pupil THE USE OF SPECTACLES. The reader will now be able to understand without much trouble the function of a pair of spectacles. A great many people of all ages suffer from short-sight. For one reason or another the distance between lens and retina becomes too great for a person to distinguish distant objects clearly. The lens, as shown in Fig 117 , is too convex—has its minimum focus too short—and the rays meet and cross before they reach the retina, causing general confusion of outline. This defect is simply remedied by placing in front of the eye (Fig. 117 ) a lens, to disperse the rays somewhat before they enter the eye, so that they come to a focus on the retina. If a person's sight is thus corrected for distant objects, he can still see near objects quite plainly, as the lens will accommodate its convexity for them. The scientific term for short-sight is . Long-sight, or , signifies that the eyeball is too short or the lens too flat. Fig. 118 represents the normal condition of a long-sighted eye. When looking at a distant object the eye thickens slightly and brings the focus forward into the retina. But its thickening power in such an eye is very limited, and consequently the rays from a near object focus behind the retina. It is therefore necessary for a long-sighted person to use spectacles for reading the newspaper. As seen in Fig. 118 , the spectacle lens concentrates the rays before they enter the eye, and so does part of the eye's work for it. a b concave myopia hypermetropia a convex b Returning for a moment to the diagram of the eye (Fig. 116), we notice a black patch on the retina near the optic nerve. This is the "yellow spot." Vision is most distinct when the image of the object looked at is formed on this part of the retina. The "blind spot" is that point at which the optic nerve enters the retina, being so called from the fact that it is quite insensitive to light. The finding of the blind spot is an interesting little experiment. On a card make a large and a small spot three inches apart, the one an eighth, the other half an inch in diameter. Bring the card near the face so that an eye is exactly opposite to each spot, and close the eye opposite to the smaller. Now direct the other eye to this spot and you will find, if the card be moved backwards and forwards, that at a certain distance the large spot, though many times larger than its fellow, has completely vanished, because the rays from it enter the open eye obliquely and fall on the "blind spot." About HackerNoon Book Series: We bring you the most important technical, scientific, and insightful public domain books. This book is part of the public domain. Archibald Williams (2009). How it Works. Urbana, Illinois: Project Gutenberg. Retrieved https://www.gutenberg.org/cache/epub/28553/pg28553-images.html This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at , located at . www.gutenberg.org https://www.gutenberg.org/policy/license.html