Aper­ture. An essen­tial prop­er­ty of all lens­es is that chang­ing the aperture’s diam­e­ter when adjust­ing expo­sure also affects the depth of field. Increas­ing the aper­ture diam­e­ter results in less depth of field and decreas­ing the aper­ture diam­e­ter results in more depth of field. Keep in mind that effects of dif­frac­tion still apply, and it may not be prac­ti­cal to use the small­est aper­ture diam­e­ter pos­si­ble in all sit­u­a­tions (see Reci­procity Law).

There’s no tru­ly objec­tive mea­sure for what qual­i­fies as an accept­able degree of sharp­ness con­cern­ing the depth of field. A pho­to­graph that looks ade­quate­ly sharp when enlarged to fit a 15-inch note­book dis­play may appear slight­ly unsharp when expand­ed to a 30-inch desk­top dis­play. A 24×36 inch print may look sharp from across the room, less sharp from a com­fort­able read­ing dis­tance, and down­right blur­ry from the tip of your nose.

Different types of lenses in the microscope can cause rays to travel in different directions depending on the angle of the incident or source rays.  Light rays going through the lens can cause the light to converge or diverge, depending on whether the lens is concave or convex.  Biconvex (converging) lenses are thickest at the center and biconcave (diverging) are thinnest at the center.  There are many varieties of lenses that can be utilized with an optic system.

Biconvexlens formula

For any giv­en cam­era, the fac­tors in deter­min­ing hyper­fo­cal dis­tance are the lens focal length and aper­ture size. Adjust­ments to the aper­ture will change the hyper­fo­cal dis­tance: a larg­er aper­ture diam­e­ter will pro­duce a hyper­fo­cal dis­tance that is far­ther out and a small­er aper­ture diam­e­ter will move the hyper­fo­cal dis­tance clos­er to the cam­era. Sim­i­lar­ly, a longer focal length will increase your hyper­fo­cal dis­tance while a short­er focal length will bring it clos­er. Since the hyper­fo­cal dis­tance describes the dis­tance to which your lens must be focused, sub­ject dis­tance isn’t a fac­tor.

In prac­tice, pho­tog­ra­phy is a two-dimen­sion­al medi­um that projects light onto a flat image sen­sor for record­ing. The posi­tion of the image sensor’s sur­face deter­mines the focal plane. When rays of light from a sub­ject point con­verge to a point on the focal plane, they’re con­sid­ered in focus. A sub­ject point that’s in focus is sit­u­at­ed along an imag­i­nary two-dimen­sion­al plane, known as the plane of focus, which rep­re­sents the the­o­ret­i­cal plane of crit­i­cal focus. [The plane of focus is par­al­lel to the image sen­sor and per­pen­dic­u­lar to the opti­cal axis.] Focus­ing the lens adjusts its dis­tance to the image sen­sor and shifts the plane of focus either toward or away from the cam­era in object space.

Light going through a double convex (biconvex) lens will converge at a focal point.  If a biconvex lens is near an object inside its focal point, a virtual upright image can be seen.   The lenses of the microscope’s eyepiece (closest to your eye) create a virtual image because your eye is within the focal point.  The eyepiece will only enlarge the image of the specimen.

The depth of field is com­mon­ly expressed using units of length. The sub­ject dis­tance is mea­sured from the focal plane of the cam­era (whose posi­tion is indi­cat­ed on top of your cam­era with the focal plane indi­ca­tor, ɸ) to the point in object space on which the lens is focused. The total depth of field is the entire range of accept­able focus. it’s mea­sured from the near lim­it of accept­able focus, which lies between the cam­era and sub­ject, and the far lim­it of accept­able focus, which lies between the sub­ject and infin­i­ty.

Biconvexlens uses

Sub­ject dis­tance. As the sub­ject (on which you’re focused) moves pro­gres­sive­ly clos­er to the cam­era, the depth of field decreas­es.

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Focal length. Lens focal length is a sig­nif­i­cant fac­tor in man­ag­ing the depth of field. Short focal length lens­es pro­duce greater depth of field, while long focal length lens­es pro­duce shal­low depth of field.

The hyper­fo­cal dis­tance is the clos­est focus dis­tance at which the depth of  field’s far lim­it of accept­able sharp­ness aligns with infin­i­ty. When a lens is focused to the hyper­fo­cal dis­tance, its near lim­it of accept­able sharp­ness will reside at half that dis­tance to the cam­era. If your lens has the depth of field scale, the sim­plest method for focus­ing to the hyper­fo­cal dis­tance is by rotat­ing the focus ring until the line cor­re­spond­ing to your f‑stop’s far lim­it of accept­able sharp­ness aligns with the infin­i­ty mark.

Biconvexlens is converging or diverging

Crit­i­cal focus may only be achieved at pre­cise­ly one plane of focus. All sub­ject points that align with this plane will also be in sharp focus (assum­ing your lens does­n’t exhib­it cur­va­ture of field); any devi­a­tion from this plane results in pro­gres­sive defo­cus­ing since the light rays no longer con­verge at the focal plane. Nev­er­the­less, in prac­tice, there’s an area just ahead of and behind the plane of focus that will be ren­dered as accept­ably sharp in the pho­to­graph because the devi­a­tions from absolute con­ver­gence are too small to notice. The depth of field describes the total region sur­round­ing the plane of focus in which objects are ren­dered as accept­ably sharp accord­ing to the sub­jec­tive stan­dards estab­lished for a par­tic­u­lar pho­to­graph.

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The focal length or focal distance is the distance between the center of a converging thin lens and the point at which parallel rays of incident light converge; or the distance between the center of a diverging lens and the point from which parallel rays of light appear to diverge. The point at which it intersects the focal plane is called the "focal point." The distance from the lens to the image is called the "optical element-image distance."

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Some lens­es have a depth of field scale print­ed direct­ly on their bar­rels or under a trans­par­ent plas­tic win­dow. The depth of field scale con­sists of sev­er­al pairs of num­bers on either side of the dis­tance index, with each pair rep­re­sent­ing an f‑stop of cor­re­spond­ing val­ue. When the aper­ture is set to one of the f‑stops indi­cat­ed on the scale, the range on the dis­tance scale that lies between this pair is con­sid­ered the depth of field. The f‑stop lines on the far side of the focus index rep­re­sent the far lim­its of accept­able focus and the lines on the near side of the focus index rep­re­sent the near lim­its of accept­able focus.

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It’s impor­tant to under­stand that the depth of field is a the­o­ret­i­cal cal­cu­la­tion that does­n’t take into account lens aber­ra­tions, light dif­frac­tion, and post-cap­ture manip­u­la­tions such as sharp­en­ing and crop­ping.

The objective (lens closest to the specimen) focuses on the specimen outside the focal point creating a real image.  This image from the objective actually increases the detail or resolving power of that specimen.  Resolution of the microscope is what allows the human eye to see detail they cannot see with the naked eye.  It allows the viewer to enter the microworld.  The higher the objective lens the better the resolution.  The eyepiece does not contribute anything new to the image; it simply spreads out the details.  This is referred to as empty magnification. This is why eyepieces are always less than 20 times magnification.

In pho­tog­ra­phy, space ahead of a lens is known as object space, while space behind is called the image space. In the­o­ry, rays of light from any point in object space should con­verge, or focus, at some point behind the lens. As the dis­tance between the lens and sub­ject changes, the dis­tance behind the lens at which the sub­ject is focused also changes. A sub­ject far­ther from the cam­era will focus clos­er behind the lens than a near­by sub­ject. [This is why macro lens­es are capa­ble of such a long exten­sion: to bring very close objects into focus.]

Biconvex lensesfor VR

Light from any point in object space emerges from the rear ele­ment of a lens as a cone. When a sub­ject point is in focus, the apex of its light cone coin­cides with the focal plane, which forms an image point in the pho­to­graph. If the sub­ject point does­n’t come into per­fect focus on the image sen­sor, it cre­ates a small blurred cir­cle called a cir­cle of con­fu­sion. The three fac­tors that con­trol the depth of field—the aper­ture, focal length, and sub­ject distance—do so by vary­ing the size of the blur cir­cles. The diam­e­ter of the cir­cle of con­fu­sion with the res­o­lu­tion of the image sen­sor is used to cal­cu­late the depth of field.

Difference between convex andbiconvexlens

Pho­tog­ra­phers exploit the depth of field all of the time to achieve effects such as deep or shal­low focus. Deep focus pho­tog­ra­phy relies on a con­sid­er­able depth of field to achieve accept­able sharp­ness in the fore­ground, mid­dle-ground, and back­ground of the pic­ture. This effect is often asso­ci­at­ed with land­scape pho­tog­ra­phy (where much of the image appears in sharp focus) and some forms of street pho­tog­ra­phy. Shal­low focus pho­tog­ra­phy fea­tures a nar­row or small depth of field, which is char­ac­ter­ized by a sharply focused sub­ject and an out of focus, or blurred, back­ground and fore­ground. This tech­nique is fre­quent­ly used by por­trait photographers—especially those work­ing on loca­tion as opposed to in studio—because it visu­al­ly sep­a­rates the sub­ject from the scene. Bokeh describes the aes­thet­ic qual­i­ty and char­ac­ter of how lens­es ren­der the out of focus ele­ments in a pic­ture.

Biconvexlens wikipedia

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