Comprehensive reading From the History of Geometrical Optics

An optical image may be regarded as the apparent reproduction of an object by a lens or mirror system, employing light as a carrier. An entire image is generally produced simultaneously, as by the lens in a camera, but images may also be generated sequentially by point-by-point scanning, as in a television system or in the radio transmission of pictures across long distances in space. Nevertheless, the final detector of all images is the human eye, and, whatever means is used to transmit and control the light, the final image must either be produced simultaneously or scanned so rapidly that the observer's vision will give him the mental impression of a complete image, covering a finite field of view. For this to be effective the image must be repeated (as in motion pictures) or scanned (as in television) at least 40 times a second to eliminate flicker or any appearance of intermittence.

To the ancients, the processes of image formation were full of mystery. Indeed, for a long time there was a great discussion as to whether, in vision, something moved from the object to the eye or whether something reached out from the eye to the object. By the beginning of the 17th century, however, it was known that rays of light travelled in straight lines, and in 1604 Johannes Kepler, a German astronomer, published a book on optics in which he postulated that an extended object could be regarded as a multitude of separate points, each point emitting rays of light in all directions. Some of these rays would enter a lens, by which they would be bent around and made to converge to a point, the "image" of the object point, whence the rays originated. The lens of the eye was not different from other lenses, and it formed an image of external objects on the retina, producing the sensation of vision.

There are two main types of image to be considered: real and virtual. A real image is formed outside the system, where the emerging rays actually cross; such an image can be caught on a screen or a piece of film and is the kind of image formed by a slide projector or in a camera. A virtual image, on the other hand, is formed inside an instrument at the point where diverging rays would cross if they were extended backward into the instrument. Such an image is formed in a microscope or a telescope and can be seen by looking into the eyepiece.

Kepler's concept of an image as being formed by the crossing of rays was limited in that it took no account of possible unsharpness caused by aberrations, diffraction, or even defocusing. In 1957 the Italian physicist Vasco Ronchi went the other way and defined an image as any recognizable nonuniformity in the light distribution over a surface such as a screen or film; the sharper the image, the greater the degree of nonuniformity. Today, the concept of an image often departs from Kepler's idea that an extended object can be regarded as innumerable separate points of light, and it is sometimes more convenient to regard an image as being composed of overlapping patterns of varying frequencies and contrasts; hence, the quality of a lens can be expressed by a graph connecting the spatial frequency of a parallel line object with the contrast in the image. This concept is investigated fully under optics and information theory.

Optics had progressed rapidly by the early years of the 19th century. Lenses of moderately good quality were being made for telescopes and microscopes, and in 1841 the great mathematician Carl Friedrich Gauss published his classical book on geometrical optics. In it he expounded the concept of the focal length and cardinal points of a lens system and developed formulae for calculating the position and size of the image formed by a lens of given focal length. Between 1852 and 1856 Gauss's theory was extended to the calculation of the five principal aberrations of a lens, thus laying the foundation for the formal procedures of lens design that were used for the next 100 years. Since about 1960, however, lens design has been almost entirely computerized, and the old methods of designing lenses by hand on a desk calculator are rapidly disappearing.

By the end of the 19th century numerous other workers had entered the field of geometrical optics, notably an English physicist, Lord Rayleigh (John William Strutt), and a German physicist, Ernst Karl Abbe. It is impossible to list all their accomplishments here. Since 1940 there has been a great resurgence in optics on the basis of information and communication theory.