Airplane Photography. Herbert Eugene Ives
Considerations.—The design and selection of lenses for aerial photography present on the whole no problems not already encountered in photography of the more familiar sort. Indeed, the lens problem in the airplane camera is in some particulars more simple than in the ground camera. For instance, there is no demand for depth of focus—all objects photographed are well beyond the usually assumed “infinity focus” of 2000 times the lens diameter. Such strictly scientific problems of design as pertain to aerial photographic lenses are ones of degree rather than of kind. Larger aperture, greater covering power, smaller distortion, more exquisite definition—these always will be in demand, and each progressive improvement will be reflected in advances in the art of aerial photography. But many lens designs perfected before the war were admirably suited, without any change at all, for aerial cameras.
Of the utmost seriousness, however, with the Allies, was the problem of securing lenses of the desired types in sufficient numbers. The manufacture of the many varieties of optical glass essential to modern photographic lenses was almost exclusively a German industry, which had to be learned and inaugurated in Allied countries since 1914. In consequence of this entirely practical problem of quantity production without the glasses for which lens formulæ were at hand, some new lens designs were produced. Whether any of these possess merits which will lead them to be preferred over pre-war designs, when the latter can again be manufactured, remains to be seen.
While the glass problem was still unsolved, aerial cameras had to be equipped with whatever lenses could be secured by requisition from pre-war importation and manufacture, and later, with lenses designed to utilize those glasses whose manufacture had been mastered in the allied countries. It is important that the historical aspect of this matter be well understood by the student of aerial photographic methods, for the use of these odd-lot lenses reacted on the whole design of aerial cameras and on the methods of aerial photography, particularly in England and the United States. Almost without exception the available lenses were of short focus, considered from the aerial photographic standpoint; that is, they lay between eight and twelve inches. This set a limit to the size of the airplane camera, quite irrespective of the demands made by the nature of the photographic problem. Lenses of these focal lengths produced images which, for the usual heights of flying, were generally considered too small, and which were, therefore, almost always subsequently enlarged. Such was the English practice, which was followed in the training of aerial photographers in America, where exactly similar conditions held at the start with respect to available lenses. French glass and lens manufacturers did succeed in supplying lenses of longer focus (50 centimeters), in numbers sufficient for their own service, although never with any certainty for their allies. The French, therefore, almost from the start, built their cameras with lenses of long focus, and made contact prints from their negatives.
Practices adopted under pressure of an emergency to meet temporary practical limitations often come to dominate the whole situation. This is particularly true of aerial photography in the British and American services. The small apparatus built around the stop-gap short focus lenses fixed the plane designer's idea of an airplane camera, and the space it should occupy. This was directly reflected in the designs of the English planes, and the American planes copied after them. Meanwhile the American photographic service in France associated itself with the French service, adopting its methods and apparatus, and using French planes whose designs were not being followed in American construction. The task of harmonizing the photographic practice as taught in America, following English lines, with French practice as followed in the theater of war, and of adapting planes built on English designs so that they could carry French apparatus, was a formidable one, not likely to be soon forgotten by any who had a part in it.
Photographic Lens Characteristics.—Whole volumes have been written on the photographic lens, and on the optical science utilized and indeed brought into being by its problems. Such works should be consulted by those who intend to make a serious study of the design of lenses for aerial use. No more can be attempted, no more indeed is relevant here, than an outline review of the chief characteristics and errors of photographic lenses, considering them with special reference to aerial needs.
The modern photographic lens is, broadly speaking, a development of the simple convex or converging lens. Its function is the same: to form a real image of objects placed before it. But the difference in performance between the simple lens and the modern photographic objective is enormous. The simple lens forms a clear image only close to its axis, for light of a single color, and as long as its aperture is kept quite small as compared to the distance at which the image is formed. The photographic lens, on the other hand, is called upon to produce a clear image with light of a wide range of spectral composition, sharply defined over a flat surface of large area, and it must do this with an aperture that is large in comparison with the focal length, whereby the amount of light falling on the image surface shall be a maximum. This ideal is approximated to a really extraordinary degree by the scientific combination and arrangement of lens elements made from special kinds of glass in the best photographic lenses of the anastigmat type. The result is of necessity a set of compromises, whereby the outstanding errors are reduced to a size judged permissible in view of the work the lens is to do. These errors or aberrations are briefly reviewed below, in order that the reader may readily grasp the terms in which the performance and tolerances in aerial lenses are described.
Fig. 12.—Diagrammatic representation of spherical aberration.
Spherical Aberration and Coma.—Suppose we focus on a screen, by means of a simple convex lens the image of a distant point of light. Suppose for simplicity that this image is located on the axis of the lens and that light of only one color is used, such as yellow. It will be found that the smallest image that can be obtained is not a point, but a small disc. This is due to the fact that the rays of light passing through the outer portions of the lens are bent more than those passing through the lens in the region near the center. This effect is shown in Fig. 12 by the usual mode of representing it graphically. Here the figures 1, 2, 3, 4, represent distances from the axis of the lens, and the letters A1, A2, A3, A4, the points of convergence of the rays from 1, 2, 3, 4, etc. These distances projected upward on to the produced lens points form a curve which shows at a glance the extent and direction of the error due to each part of the lens. This information is of value where the lens is fitted with an adjustable diafram. With some types of correction sharper definition may be obtained by reducing the aperture. With others, however, diaframing impairs definition, by destroying the balance between under and over correction which averages to make a good image. In aerial lenses it is not customary to use diaframs, as all the light possible is desired. Consequently the reduction of spherical aberration must be accomplished by proper choice of lens elements and their arrangement.
Off the axis of the lens the image of a point source takes on an irregular shape, due to oblique spherical aberration or coma.
Chromatic Aberration.—Because of the inherent properties of the glass of which it is made, a simple collective lens does not behave in the same way with respect to light of different colors. If one attempts, with such a lens, to focus upon a screen the image of a distant white light, it will be found that the blue rays will not focus at the same point as the red rays, but will come together nearer the lens. Modern photographic lenses are compounded of two or more kinds of glass in such a way as to largely eliminate this defect, the presence of which is detrimental to good definition. Such lenses are called achromatic, and the property of a lens by virtue of which this defect is eliminated is called its chromatic correction.
Chromatic correction is never perfect, but two colors of the spectrum can be brought to a focus in the same plane, and to a certain extent the departure of other colors from this plane can be controlled. Off the axis of the lens outstanding chromatic aberration results in a difference in the size of images of different colors, known as lateral chromatism.
Like spherical aberration, chromatic aberration is a contributing factor to the size of the image of a point source, which determines the defining power of a lens. It is, however, an error whose effect is to some extent dependent on the kind of sensitive plate used. Two lenses may