In the ever-evolving world of photography, two types of lenses have consistently captured the imagination of enthusiasts and professionals alike: macro and telephoto lenses. These two lens categories cater to distinct yet equally fascinating aspects of photography, allowing photographers to delve into the intricate details of tiny subjects or capture distant scenes with astonishing clarity.

Distortion is the most easily recognized aberration as it deforms the image as whole. It arises from the unequal magnification of the peripheral part of a lens (or a mirror) from that of its central part. In “barrel distortion,” image magnification decreases with distance from the optical axis. In “pincushion distortion,” image magnification increases with the distance from the optical axis.

However, it's important to note that longer macro lenses tend to be heavier, posing challenges for extended handheld usage, particularly in low-light conditions. If you're pursuing advanced insect photography or prioritizing top-tier image quality and are comfortable with the associated weight and cost, these lenses are a worthy consideration.

An optical aberration is a departure of the performance of an optical system from the predictions of paraxial optics. In the existence of an optical aberration, light from one point of an object does not converge into (or does not diverge from) a single point after transmission through the system. Optical aberrations fall into two classes: monochromatic and chromatic.

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Macro lenses can be categorized based on their focal lengths into three groups: short-range(35-60mm), mid-range (90-105mm), and long (150-200mm).

The optimization of the image correction of gratings can be calculated for a better image quality on the optical axis of the instrument (monochromator layout) or on a focal plane (spectrograph layout). In the last case, the optimization enlarges the focal plane, the grating of the spectrograph works in fixed position and the wavelength range selection is achieved by sliding the detector in the focal plane of the instrument. The correction is excellent in both cases.

No, telephoto and macro lenses are not the same. They serve different purposes and have distinct characteristics that cater to specific types of photography. Telephoto lenses are used to capture distant subjects with magnification, while macro lenses are used to capture extreme close-ups of small subjects.

Usually, telephoto lenses have a relatively far minimum focusing distance. This means that they aren't suitable for capturing subjects up close, and they're generally not ideal for macro photography. Additionally, telephoto lenses typically offer lower magnification capabilities compared to macro lenses.

A telephoto lens is designed to bring subjects closer in appearance than their actual distance. These lenses are generally categorized into two primary groups: medium telephoto (around 70 mm to 200 mm) and super telephoto (300 mm or greater).

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In many zoom lenses, the barrel elongates while rotating, although some lenses maintain a consistent barrel length even during changes in focal length.

Some aberration affects the images due to off axis rays. The image of a spot looks like several cylinders not centered, like an image of a “comet”, where its name comes from.

In order to limit the number of reflections onto optics, concave gratings are often used as single element in VUV spectrometers.

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Chromatic aberration is a type of distortion in which the lens fails to focus all colors on the same convergence point, due to the dispersion of the lens (different refractive index of the lens for different wavelengths of light).

The spectroscopic images can be improved by using toroidal gratings. A toroidal grating is a form of an elliptic paraboloid with different vertical and horizontal focal distances. It reduces the stretching and the curvature of astigmatism.

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A VLS grating is one whose grooves, when projected onto the tangent plane, form a set of straight parallel lines whose spacing varies from groove to groove. Varying the groove spacing across the surface of the grating moves the tangential focal curve, while keeping the grooves straight and parallel keeps the sagittal focal curve fixed. It corrects for spherical aberration associated with conventional spherical gratings. The VLS technique can also be applied on toroidal grating for an optimum correction.

Most of the time, VUV monochromators are preferred when equipped with master gratings. But unfortunately, such gratings are extremely expensive and have a long delivery time.

Monochromatic aberrations are caused by the geometry of the lens and occur both when light is reflected and when it is refracted. Monochromatic aberrations include spherical aberration, coma, astigmatism, and field curvature and image distortion.

Short macro lenses are often employed for casual macro photography excursions or as versatile lenses that can be switched to macro mode when required. They offer convenient storage, effortless portability, and generally cost less. Their compact size also makes them simpler to hold by hand.

Longer macro lenses consistently deliver remarkable image quality. They also excel in providing the most generous working distance, a crucial aspect of insect photography.

The design of VUV instruments suffers from the constraints of VUV optical materials. Transmission through bulk materials is limited to λ < 105 nm, the short wavelength transmission is limited of LiF or λ < 115 nm for MgF2. Reflective configuration is used in a VUV optical layout. However, reflectance from metal surfaces also decreases at short wavelengths. Several coating materials are introduced to increase reflectivity, such as Al, Os, Pt, Au, Rh and Ir. Above 120 nm, the main broadband reflector for VUV wavelengths is Al with MgF2 coating, having a normal incidence reflectivity of up to 90% under certain conditions. Os, Pt, Au, and Ir have a reflectance of about 60% from 5-200 nm in grazing configuration.

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Choosing between a macro and a telephoto lens depends on your photography goals and the subjects you plan to capture. To help you make an informed decision, let's explore when each type of lens is most suitable.

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Besides macro and telephoto lenses, photographers often rely on zoom and wide-angle lenses to suit different scenarios and creative preferences. Let's explore some other lens categories and their distinct characteristics.

A true macro lens achieves a 1:1 magnification ratio, signifying that the subject appears at life-size on the camera's sensor. It produces a genuine-to-life image of the subject. Additionally, certain macro lenses can push magnification even further, reaching ratios like 2:1 or even as high as 5:1. However, such advanced magnifications are typically found in professional-grade lenses with premium pricing.

Aberration leads to blurring of the image produced by an image-forming optical system. Makers of optical instruments need to correct optical systems to compensate for aberration.

In the end, the choice between a macro lens and a telephoto lens hinges on the specific narratives you wish to craft through your photography. These two lens categories, each with their distinct characteristics, offer pathways to creativity that cater to different subject matter and artistic intentions.

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The realization of a real VUV monograph has to be done without a toroidal grating. The Plane Grating Spectrograph (PGS) configuration is one of the best choices. The PGS layout operates with a toroid mirror and a plane grating working at a grazing angle. It also has the advantage of being more affordable grating as they have a plane design.

At normal incidence (zero order, λ3), the aberration is minimum and image is straight. But closer the images are from the grating, more stretched and curved are their images. This stretching can be severe, depends on the position of the image on the Rowland circle and hence of the observed wavelength. It results in both loss of signal and loss of resolution, especially in spectrograph mode when CCD detectors are used.

Macro lenses are purpose-built for capturing incredibly close-up and detailed photographs, often used to depict subjects like insects or flowers with intricate textures.

However, a significant limitation of short macro lenses is their reduced working distance. Additionally, under specific lighting conditions, your head or camera might cast unwanted shadows on the subject. Furthermore, shorter lenses tend to produce less appealing bokeh compared to longer focal lengths.

Macro and telephoto lenses are two distinct types of camera lenses that serve different purposes in photography. Macro lenses are crafted specifically for close-up photography, enabling them to focus far shorter distances than standard lenses. On the other hand, telephoto lenses are characterized by their longer focal lengths, which result in a narrower field of view and the appearance of magnification.

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Two basic types of spectrographs and monochromators are used in the VUV: normal incidence instruments a better design for 100-400 nm, and grazing incidence instruments for 2-100 nm.

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A wide-angle lens is a type of camera lens that has a shorter focal length than standard lenses, allowing it to capture a broader scene within the frame. This lens type is particularly useful for capturing expansive landscapes, architectural structures, and scenes where you want to emphasize space and depth.

Telephoto lenses come in both fixed focal length and variable focal length (zoom) versions. Fixed focal length lenses demand the photographer to maintain a specific distance from the subject, while zoom lenses permit altering this distance. Many zoom lenses also feature autofocus, automatically focusing on the subject. However, some lenses necessitate manual focusing by the photographer.

A macro lens is not typically designed for capturing distant subjects. Macro lenses are optimized for extreme close-up photography and excel at capturing subjects at a very close range with a high level of detail. They have a short minimum focusing distance and are capable of achieving a 1:1 magnification ratio or greater, which means they can capture subjects at their actual size on the camera sensor.

Mid-range macro lenses offer a greater working distance advantage over short ones. This distance allows for capturing macro shots without getting too close to subjects. They present an excellent choice for flower photography, particularly in the realm of abstract flower photography.

Many modern zoom lenses offer a feature called "macro mode" or "close-up mode," allowing you to focus on subjects closer to usual. While these modes can provide some level of magnification and are convenient for capturing a bit closer subjects, they might not provide the same level of magnification and detail as dedicated macro lenses.

S: Spot source (or slit of the instrument) λ3: Zero order position λ1, λ2: Dispersed wavelength positions λ1> λ2 i: incidence angle r: reflectance angle

A Rowland demonstrated that the dispersed spectrum of an illuminated point lying on a circle is focused on this circle, if the following setup is respected (see figure). A lot of VUV monochromators use this design.

This extended working distance opens up opportunities for creative macro techniques, such as capturing shots through out-of-focus flowers and adding an artistic touch to your compositions.

A zoom lens is a camera lens designed to alter the focal length and, consequently, the camera's angle of view. This characteristic permits you to magnify your subject (zoom in) or encompass a broader scene (zoom out) without requiring physical proximity adjustments. Zoom lenses encompass an assortment of focal lengths within a singular lens, rendering them adaptable instruments suitable for a diverse array of photography scenarios.

Spherically shaped lenses and mirrors share this problem. Parallel light rays that pass through the central region focus farther away than those that pass through the edges. The result is many focal points, which produces a blurry image.

Unfortunately, gratings suffer from the aberrations of concave mirrors and others due to their diffraction capabilities. Working in the Rowland conditions definitively limits the imaging quality of the instruments. The major aberration here is astigmatism. This aberration can be tolerated with a monochromator since only horizontal focusing is required to separate the wavelengths of spectrum.

In this article, we will delve into the fundamental differences between macro and telephoto lenses, exploring their unique features and applications. Let's start!

An optical system with astigmatism is one where rays that propagate in two perpendicular planes have different focal points.

However, while offering more working distance, mid-range lenses might not suffice in scenarios requiring even greater separation. For highly sensitive or delicate subjects, lenses with longer working distances, like the long macro lenses, could be more suitable.

One of the standout features of macro lenses is their notably shorter minimum focusing distance. This allows you to get exceptionally close to your subject from the start. Furthermore, macro lenses tend to offer a wider maximum aperture compared to telephoto lenses, which offer greater control over the depth of field. This, coupled with the 1:1 magnification, enables superior close-up shots of minuscule portions of your subject.

Understanding the advantages and disadvantages of both macro and telephoto lenses is crucial for choosing the appropriate lens for your specific photographic needs. Here's a comparison of the pros and cons of these two types of lenses.

A master grating is an original unit recorded as a unique piece. A master grating can be utilized as the “mother” of multiples copies, called replicas.