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This LED is designed to be reflow soldered to a PCB.. .. Full Hd 1080p Movies Blu-ray Hindi Dangallens design zemax examplesThis LED uses a silicone resin for the lens and internal pre-coating resin; the silicone resin is soft.

In modern lens design, we go one step further, where once the raytracing results prove satisfactory, calculate the spot diagram and the optical transfer function (OTF) to get usable numbers for the evaluation of the lens system, and move to prototyping the lens.

In the modern era, the computational power of computers has become extremely high, and with that, lens design has changed. It is possible to calculate complex results in a very short amount of time, so the technical aspects have improved tremendously.

Facing this reality, I think there are two things that need to be accomplished so that lens design can become a study worth applying. One, the lens designer must be able to systemize their process on why and how a particular lens was designed that way. And two, since lens design requires many difficult design decisions, there is a great benefit in knowing the theory to the process. There are a lot of documents on lens design but very few with the scope of presenting the theory with the usefulness in mind.

There are two ways to make this journey feasible.1. Use a tool to systematically check the performance of the optical system to the performance goal, such as geometrical optics.2. Use some method to structure the lens design process so that it can be followed, and the process is built on top of it, like aberration theory.

The grand scheme of the history of lens design follows this trend. But I think that in the modern computing era, the advancements have become so large that the very beginnings of the methods are either lost, not applicable, or too primitive at first glance for people to adopt.

Optical lens design requires the complicated balancing of several aberrations between several surfaces, so understanding the optical system is extremely important. Also, by using Gaussian optics and raytracing through a spreadsheet, I want to evaluate as many optical systems I can by looking at real-world lens designs as references.

Learning high-end lens design starts with mastering low-end lens design. But applying textbook material without the optical design software is difficult. On the other hand, just diving into learning the software can cause a disconnect in the optics theory and the lens design process. I see it all the time. You get really good at using the software, without learning the underlying theory.

I realize that most of you reading this has a concept of lens power, but I want to take the time here to point out that thinking in terms of curvature is really useful in lens design, especially when dealing with aberrations and tolerances. However, at the same time, in a diagram it is much easier to visualize a lens when it is written in radius rather than curvature, due to its much familiar units. Oh the irony!

The six examples above are single lenses, but we use them throughout our lens design process, deciding which lens to use when, in each situation. The conceptual knowledge of principal planes for each lens type is important when setting up our optical system.

Here, I want to simplify these aberrations into spherical aberration, coma, and chromatic aberration so that an aplanatic lens design is possible. We want to look at simple lenses to look at the effects of these parameters a little more closely in a relatively isolated setting.

Even in 3rd order aberration theory, taking the lens thicknesses to zero is thin lens 3rd order aberration theory in lens design. And the simplest regression of this format is making the stop on the lens surface.

However, the objective (pun intended) for optimizing the telescope objective lens design is not to correct the above three aberrations, but it is to balance them to certain criteria. This is an important concept throughout optical lens design with aberrations, the goal is most often not to completely correct all the aberrations in the system, but to keep certain aberrations at designated values. This technique can be seen in many lens designs, most notably the zoom lens design, where each group is kept at a certain aberration to balance with the rest of the system.

If we use cemented lenses intelligently, we can control the higher order aberrations. This is a common practice in many lens designs. At the same time, using cemented lenses is not trivial to express, and also not quantifiable in an equation or a theorem. This choosing of cemented lenses is the very reason why lens design itself is as difficult as it is, but a good lens design cannot be achieved without proper knowledge of this subject. The irony.

Therefore, my feeling is that going through the classical method of telescope objective design is a perfect way to see the history of lens design unfold in front of us. The system is simple enough to concentrate on the aberrations, while being complicate enough to learn deeply.

The giants of lens design did extensive research on this topic, but there is still no definitive answer, which makes lens design all that more difficult, and to me, all that more attractive. Testing multiple glass types with each other and comparing our answers with the research of the giants can help us immensely with our craft.

We got deep into the process of lens design with the telescope objective, while looking at the key aberrations. This already gives us a leg up on what to look for in the lens system overall, and the effects of each surface going forward.

The revolutionary lens that Petzval designed, which is immortalized as the Petzval lens, ironically does not satisfy the Petzval condition. In fact, it is a very good example of a lens that does not satisfy the Petzval condition. But imperfect optics is not always a bad thing, and this lens was sought out for portraiture. It has recently been revived in the form of the Lomography New Petzval 85 Art Lens, which I think is very interesting as a lens designer.

1) WavelengthFor photographic lens design, the d line and the g line are enough for a rough design. For a triplet, three wavelengths are sufficient. For telephoto lenses and large focal length range zoom lenses however, four wavelengths d, g, F, C are needed. Some cases use five wavelengths, including IR.

2) On-axis raysFor a rough design, the marginal rays and the paraxial rays are sufficient. The next step in the rough design utilizes the marginal rays and the 1/sqrt(2) of the marginal ray, or about 70% of the aperture. Although we will not go deep into this, for modern faster F-number lenses like F1.0 and F0.95, the larger aperture causes higher orders of spherical aberration, so looking at the 50% field and 90% of the aperture is good practice.

Just like that, we can now qualitatively and conceptually dissect the lens and figure out the expected performance without opening any software. This prevents blindly optimizing a non-winning design concept, by tackling lens design without knowledge and just the software.

The triplet at its simplest form does not take thick lenses into account, and can be designed with thin lenses. This allows for lens bending that is sufficiently correct, and the lack of cemented surfaces make the triplet a very good tool for learning lens design.

One more thing, optimization using a computer is almost a brute force approach, while thinking about the 3rd order aberrations and the thin lens equations is a more artisanal approach, looking through the system properties and figuring out the uniqueness of our design.

Looking at the cross sectional diagram and the ray diagram, using our pattern recognition and intuition as human beings can be a very powerful lens design process. Optimization with a computer is also powerful, but in a different way.

Glass. The biggest choice in lens design. Even for a relatively simple lens like the telescope objective, we needed to choose the glass carefully. For a triplet, with just one more lens, it becomes critical.

The Petzval sum:If we can make the Petzval sum small we can design a lens that has a larger field of view, but since each lens power increases, it is difficult to design a large aperture lens. The amount of aperture we can afford depends on the index of refraction of the glass. A high index glass allows for larger aperture, because the spherical aberrations are smaller due to the larger radius of curvature with respect to the lens power. On the other hand, a large aperture lens has shallower depth of field, so the field curvature (and hence the Petzval sum) must be small. If the field of view is small, the Petzval sum can be large, and larger apertures are possible.

From the symmetry of the system, the lateral chromatic aberration, and the distortion (we will assume is good enough for now due to the symmetry, and is corrected enough at this point to be able to go forward with the lens design.

In this case the only thing we can do is to go back to Step 2 and rethink the target aberrations we set earlier, or go back to Step I and perhaps choose better (read: expensive) glass and start over. Some lens designers like to start over often, while others like to iterate with trial and error at an intermediary step, and both approaches are correct and incorrect. Both the skill of being able to leave a lens design behind and the skill of persisting with a lens design are needed.

I want to make two comparisons of our lens design with the classic Taylor triplet from 1893 (GB 22,607). The first is a comparison of the 3rd order aberrations with our spreadsheet, and the second is a comparison with Zemax.

A library of lens designs is helpful for the optical engineer. Tasks that can benefit from such a library include choosing a starting point for a new design, finding benchmarks for an existing design, and assessing design targets. 2ff7e9595c