Like a camera, your eye collects light from the scene you’re viewing and tries to form a real image of that scene on your retina. The eye’s front surface (its cornea) and its internal lens act together to bend all the light rays from some distant feature toward one another so that they illuminate one spot on your retina. Since each feature in the scene you’re viewing forms its own spot, your eye’s cornea and lens are forming a real image of the scene in front of you. If that image forms as intended, you see a sharp, clear rendition of the objects in front of you. But if your eye isn’t quite up to the task, the image may form either before or after your retina so that you see a blurred version of the scene.

The optical elements in your eye that are responsible for this image formation are the cornea and the lens. The cornea does most of the work of converging the light so that it focuses, while the lens provides the fine adjustment that allows that focus to occur on your retina.

If you’re farsighted, the two optical elements aren’t strong enough to form an image of nearby objects on your retina so you have trouble getting a clear view while reading. Your eye needs help, so you wear converging eyeglasses. Those eyeglasses boost the converging power of your eye itself and allow your eye to form sharp images of nearby objects on your retina.

If you’re nearsighted, the two optical elements are too strong and need to be weakened in order to form sharp images of distant objects on your retina. That’s why you wear diverging eyeglasses.

People are surprised when I tell them that they’re nearsighted or farsighted. They wonder how I know. My trick is simple: I look through their eyeglasses at distant objects. If those objects appear enlarged, the eyeglasses are converging (like magnifying glasses) and the wearer must be farsighted. If those objects appear shrunken, the eyeglasses are diverging (like the security peepholes in doors) and the wearer is nearsighted. Try it, you’ll find that it’s easy to figure out how other people see by looking through their glasses as they wear them.

The #2-pencil requirement is mostly historical. Because modern scantron systems can use all the sophistication of image sensors and computer image analysis, they can recognize marks made with a variety of materials and they can even pick out the strongest of several marks. If they choose to ignore marks made with materials other than pencil, it's because they're trying to be certain that they're recognizing only marks made intentionally by the user. Basically, these systems can "see" most of the details that you can see with your eyes and they judge the markings almost as well as a human would.

The first scantron systems, however, were far less capable. They read the pencil marks by shining light through the paper and into Lucite light guides that conveyed the transmitted light to phototubes. Whenever something blocked the light, the scantron system recorded a mark. The marks therefore had to be opaque in the range of light wavelengths that the phototubes sensed, which is mostly blue. Pencil marks were the obvious choice because the graphite in pencil lead is highly opaque across the visible light spectrum. Graphite molecules are tiny carbon sheets that are electrically conducting along the sheets. When you write on paper with a pencil, you deposit these tiny conducting sheets in layers onto the paper and the paper develops a black sheen. It's shiny because the conducting graphite reflects some of the light waves from its surface and it's black because it absorbs whatever light waves do manage to enter it.

A thick layer of graphite on paper is not only shiny black to reflected light, it's also opaque to transmitted light. That's just what the early scantron systems needed. Blue inks don't absorb blue light (that's why they appear blue!), so those early scantron systems couldn't sense the presence of marks made with blue ink. Even black inks weren't necessarily opaque enough in the visible for the scantron system to be confident that it "saw" a mark.

In contrast, modern scantron systems used reflected light to "see" marks, a change that allows scantron forms to be double-sided. They generally do recognize marks made with black ink or black toner from copiers and laser printers. I've pre-printed scantron forms with a laser printer and it works beautifully. But modern scantron systems ignore marks made in the color of the scantron form itself so as not to confuse imperfections in the form with marks by the user. For example, a blue scantron form marked with blue ink probably won't be read properly by a scantron system.

As for why only #2 pencils, that's a mechanical issue. Harder pencil leads generally don't produce opaque marks unless you press very hard. Since the early scantron machines needed opacity, they missed too many marks made with #3 or #4 pencils. And softer pencils tend to smudge. A scantron sheet filled out using a #1 pencil on a hot, humid day under stressful circumstances will be covered with spurious blotches and the early scantron machines confused those extra blotches with real marks.

Modern scantron machines can easily recognize the faint marks made by #3 or #4 pencils and they can usually tell a deliberate mark from a #1 pencil smudge or even an imperfectly erased mark. They can also detect black ink and, when appropriate, blue ink. So the days of "be sure to use a #2 pencil" are pretty much over. The instruction lingers on nonetheless.

One final note: I had long suspected that the first scanning systems were electrical rather than optical, but I couldn't locate references. To my delight, Martin Brown informed me that there were scanning systems that identified pencil marks by looking for their electrical conductivity. Electrical feelers at each end of the markable area made contact with that area and could detect pencil via its ability to conduct electric current. To ensure enough conductivity, those forms had to be filled out with special pencils having high conductivity leads. Mr. Brown has such an IBM Electrographic pencil in his collection. This electrographic and mark sense technology was apparently developed in the 1930s and was in wide use through the 1960s.

I'll assume that by "bigger lens" you mean one that is larger in diameter and that therefore collects all the light passing through a larger surface area. While a larger-diameter lens can project a brighter image onto the image sensor or film than a smaller-diameter lens, that's not the whole story. Producing a better photo or video involves more than just brightness.

Lenses are often characterized by their f-numbers, where f-number is the ratio of effective focal length to effective lens diameter. Focal length is the distance between the lens and the real image it forms of a distant object. For example, if a particular converging lens projects a real image of the moon onto a piece of paper placed 200 millimeters (200 mm) from the lens, then that lens has a focal length of 200 mm. And if the lens is 50 mm in diameter, it has an f-number of 4 because 200 mm divided by 50 mm is 4.

Based on purely geometrical arguments, it's easy to show that lenses with equal f-numbers project images of equal brightness onto their image sensors and the smaller the f-number, the brighter the image. Whether a lens is a wide-angle or telephoto, if it has an f-number of 4, then its effective focal length is four times the effective diameter of its light gathering lens. Since telephoto lenses have long focal lengths, they need large effective diameters to obtain small f-numbers.

But notice that I referred always to "effective diameter" and "effective focal length" when defining f-number. That's because there are many modern lenses that are so complicated internally that simply dividing the lens diameter by the distance between the lens and image sensor won't tell you much. Many of these lenses have zoom features that allow them to vary their effective focal lengths over wide ranges and these lenses often discard light in order to improve image quality and avoid dramatic changes in image brightness while zooming.

You might wonder why a lens would ever choose to discard light. There are at least two reasons for doing so. First, there is the issue of image quality. The smaller the f-number of a lens, the more precise its optics must be in order to form a sharp image. Low f-number lenses are bringing together light rays from a wide range of angles and getting all of those rays to overlap perfectly on the image sensor is no small feat. Making a high-performance lens with an f-number less than 2 is a challenge and making one with an f-number of less than 1.2 is extremely difficult. There are specialized lenses with f-numbers below 1, but I've never seen a camera lens with an f-number below 1.2.

Secondly, there is the issue of depth-of-focus. The smaller the f-number, the smaller the depth of focus. Again, this is a geometry issue: a low-f-number lens is bringing together light rays from a wide range of angles and those rays only meet at one point before separating again. Since objects at different distances in front of the lens form images at different distances behind the lens, it's impossible to capture sharp images of both objects at once on a single image sensor. With a high-f-number lens, this fact isn't a problem because the light rays from a particular object are rather close together even when the object's image forms before or after the image sensor. But with a low-f-number lens, the light rays from a particular object come together acceptably only at one particular distance from the lens. If the image sensor isn't at that distance, then the object will appear all blurry. If a zoom lens didn't work to keep its f-number relatively constant while zooming from telephoto to wide angle, its f-number would decrease during that zoom and its depth-of-focus would shrink. To avoid that phenomenon, the lens strategically discards light so as to keep its f-number essentially constant during zooming.

In summary, larger diameter lenses tend to be better at producing photographic and video images, but that assumes that they are high-quality and that they can shrink their effective diameters in ways that allow them to imitate high-quality lenses of smaller diameters when necessary. But flexible characteristics always come at some cost of image quality and the very best lenses are specialized to their tasks. Zoom lenses can't be quite as good as fixed focal length lenses and a large-diameter lens imitating a small-diameter lens by throwing away some light can't be quite as good as a true small-diameter lens.

As for my sources, one of the most satisfying aspects of physics is that you don't always need sources. Most of the imaging issues I've just discussed are associated with simple geometric optics, a subject that is part of the basic toolbox of an optical physicist (which I am). You can, however, look this stuff up in any book on geometrical optics.

The simple answer to your question is yes, you can do it. But you'll encounter two significant problems with trying to turn your ordinary TV into a projection system. First, the lens you'll need to do the projection will be extremely large and expensive. Second, the image you'll see will be flipped horizontally and vertically. You'll have to hang upside-down from your porch railing, which will make drinking a beer rather difficult.

About the lens: in principle, all you need is one convex lens. A giant magnifying glass will do. But it has a couple of constraints. Because your television screen is pretty large, the lens diameter must also be pretty large. If it is significantly smaller than the TV screen, it won't project enough light onto your wall. And to control the size of the image it projects on the wall, you'll need to pick just the right focal length (curvature) of the lens. You'll be projecting a real image on the wall, a pattern of light that exactly matches the pattern of light appearing on the TV screen. The size and location of that real image depends on the lens's focal length and on its distance from the TV screen. You'll have to get these right or you'll see only a blur. Unfortunately, single lenses tend to have color problems and edge distortions. Projection lenses need to be multi-element carefully designed systems. Getting a good quality, large lens with the right focal length is going to cost you.

The other big problem is more humorous. Real images are flipped horizontally and vertically relative to the light source from which they originate. Unless you turn your TV set upside-down, your wall image will be inverted. And, without a mirror, you can't solve the left-right reversal problem. All the writing will appear backward. Projection television systems flip their screen image to start with so that the projected image has the right orientation. Unless you want to rewire your TV set, that's not going to happen for you. Good luck.

What a neat observation! Digital cameras based on CCD imaging chips are sensitive to infrared light. Even though you can't see the infrared light streaming out of the remote control when you push its buttons, the camera's chip can. This behavior is typical of semiconductor light sensors such as photodiodes and phototransistors: they often detect near infrared light even better than visible light. In fact, a semiconductor infrared sensor is exactly what your television set uses to collect instructions from the remote control.

The color filters that the camera employs to obtain color information misbehave when they're dealing with infrared light and so the camera is fooled into thinking that it's viewing white light. That's why your camera shows a white spot where the remote's infrared source is located.

I just tried taking some pictures through infrared filters, glass plates that block visible light completely, and my digital camera worked just fine. The images were as sharp and clear as usual, although the colors were odd. I had to use incandescent illumination because fluorescent light doesn't contain enough infrared. It would be easy to take pictures in complete darkness if you just illuminated a scene with bright infrared sources. No doubt there are "spy" cameras that do exactly that.

Just as most good camera lenses have more than one optical element inside them, so your eye has more than one optical element inside it. The outside surface of your eye is curved and actually acts as a lens itself. Without this surface lens, your eye can't bring the light passing through it to a focus on your retina. The component in your eye that is called "the lens" is actually the fine adjustment rather than the whole optical system.

When you put your eye in water, the eye's curved outer surface stops acting as a lens. That's because light travels at roughly the same speed in water as it does in your eye and that light no longer bends as it enters your eye. Everything looks blurry because the light doesn't focus on your retina anymore. But by inserting an air space between your eye and a flat plate of glass or plastic, you recover the bending at your eye's surface and everything appears sharp again.

The only source of common light source that presents any real danger to a child with a magnifying glass is the sun. If you let sunlight pass through an ordinary magnifying glass, the convex lens of the magnifier will cause the rays of sunlight to converge and they will form a real image of the sun a short distance after the magnifying glass. This focused image will appear as a small, circular light spot of enormous brilliance when you let it fall onto a sheet of white paper. It's truly an image--it's round because the sun is round and it has all the spatial features that the sun does. If the image weren't so bright and the sun had visible marks on its surface, you'd see those marks nicely in the real image.

The problem with this real image of the sun is simply that it's dazzlingly bright and that it delivers lots of thermal power in a small area. The real image is there in space, whether or not you put any object into that space. If you put paper or some other flammable substance in this focused region, it may catch on fire. Putting your skin in the focus would also be a bad idea. And if you put your eye there, you're in serious trouble.

So my suggestion with first graders is to stay in the shade when you're working with magnifying glasses. As soon as you go out in direct sunlight, that brilliant real image will begin hovering in space just beyond the magnifying glass, waiting for someone to put something into it. And many first graders just can't resist the opportunity to do just that.

A projector is essentially a camera that's operating backward. When you take a picture of a tree, all of the light striking the camera lens from a particular leaf is bent together to one small spot on the film. Overall, light from each leaf is bent together to a corresponding spot on the film and a pattern of light that looks just like the tree--a real image of the tree--forms on the surface of the film. The film records this pattern of light through photochemical processes, and subsequent development causes the film to display this captured light pattern forever. Because of the nature of the bending process, the real image that forms on the film is upside-down and backward. Because it forms so near the camera lens, it's also much smaller than the tree itself.

A projector just reverses this process. Now light starts out from an illuminated piece of developed film--such as a slide containing an image of a tree. Now the projector lens bends all of the light striking it from a particular leaf spot on the slide together to one small spot on a distant projection screen. Again, light from each leaf on the slide is bent together to a corresponding spot on the screen and a pattern of light that looks just like the slide--a real image of the slide--forms on the surface of the projection screen. As before, this image is upside-down and backwards, which is why you must be careful how you orient a slide in a projector, lest you produce an inverted image on the screen.

When rays of light from a distant object reach the camera's lens, those rays are spreading apart or "diverging." You can understand this by following the rays of light from one spot on the object, say the tip of a person's nose. The rays of light reflected from the nose spread outward in all directions and only a small portion of them passes into the camera's lens. These light rays are diverging from one another as they travel.

The camera's lens is a converging lens, meaning that it bends the paths of these light rays so that they diverge less after passing through it. In fact, the lens bends the rays so much that they begin to come together or "converge" after the lens and all the rays of light from the person's nose merge to a single point in space somewhere beyond the lens. Exactly how far from the lens the rays come together depends on the structure of the lens and on the distance between it and the person's nose. When you focus the lens, you're moving the lens so that the rays come together at just the right place to illuminate a single spot on a piece of photographic film. When the distance between the lens and film is just right, all the light from each point on the person comes together at a corresponding point on the film. The lens is then forming a real image of the person on the film and the film records this pattern of light to make a photograph.

In a single lens reflex camera, light passing through the lens doesn't always fall on the film. Most of the time, this light is redirected by a mirror that follows the lens so that the real image forms on a special glass sheet near the top of the camera. When you look through the viewfinder of the camera, you are actually using a magnifying glass to inspecting this real image, making the camera effectively a telescope. You (or the camera, if it is automatic) then focus the lens to form a sharp real image on the glass sheet before taking the picture. Since this glass sheet is the same optical distance from the lens as the film is, focusing on the glass is equivalent to focusing on the film. When you take the picture, the redirecting mirror quickly flips out of the way and a shutter opens to allow light from the lens to fall directly onto the camera's photographic film. For a brief moment, light from the person passes through the lens and onto the film, forming a real image that is permanently recorded on the film. Then the shutter closes and the mirror swings back to its normal position.

While a pinhole will project the image of a scene on a piece of film, it doesn't collect very much light. That's why a pinhole camera requires very long exposures. A better camera makes use of a converging lens. If you hold a magnifying glass several inches away from a white sheet of paper, you will see that it forms a real image of anything on the other side of it--particularly bright things such as light bulbs or well-lighted windows. A typical camera uses a converging lens that's not unlike a magnifying glass to form an image of this sort. You could use a magnifying glass to build a camera, but I'd suggest that you start with a camera and rebuild it yourself. Go to a company that processes film and see if they will give you any used disposable cameras. These cameras are of essentially no value to them and they either discard them or recycle them. If you ask around, you should find a photo shop that will give you a couple. You can then disassemble them. You'll find a very nice lens, a shutter system, a film advance mechanism, and so on. You can use a toothpick or small screwdriver to turn the exposure dial backward so that the camera behaves as though it still has film left. You can then "advance the (non-existent) film" by turning the film sensing gears in the back of the camera with your fingers until the shutter cocks. Finally, you can press the shutter release and watch the shutter open the lens to light. Disposable cameras are great because if you break something in your experimenting, you can just throw away your mistake.

An overhead projector uses a converging lens and a mirror to project a real image of your transparency onto a screen. A lamp brightly illuminates the transparency and a special surface under the transparency (actually a Fresnel lens) directs the light from the transparency through the projector's main lens. This lens bends the light rays in such a way that all of the rays spreading outward from one point on the transparency bend back together and merge to one point on the screen. For example, if you make a green dot on the transparency, light rays spread outward from that green dot and some of them pass through the main lens. The lens bends these rays back together so that they form a single green dot on the screen. There is a single point on the screen for the light rays from each point on the transparency.

The pattern of light that forms on the screen is called a real image because it looks just like the original object--in this case the transparency--and it's real, meaning that you can touch it with your hand. Real images are usually upside-down and backward, but the overhead projector uses its mirror to flip the image over so that it appears right side up. Because of this vertical flip, the side-to-side reversal is a good thing--the right side of the transparency becomes the left side of the screen image (as viewed by the same person) and the screen image is readable.

A picture camera uses a lens to form a real image of a distant scene on the surface of a sheet of film. The lens bends rays of light so that all the light from a certain spot on the scene that passes through the lens comes together to a single point on the film. You can see this real image formation process with a magnifying glass. Just go into a darkened room with one window on a sunny day and hold the magnifying glass a few inches away from the wall opposite the window. You should see an inverted image of the window and the scene outside it projected on the wall. If you don't move the lens toward or away from the wall until that image forms. Everything else about a camera is just helping that lens form its image on the film in a controlled fashion. The camera's shutter limits the amount of time that light has to form this image. The focus controls make sure that light from the object you are interested in forms a sharp image on the film and doesn't appear blurry.

Your brain merges the images it obtains from your two eyes so that you "see" a composite image that is essentially a sum of what both eyes see. When you close one eye so that only the other eye is providing an image to your brain, any object that blocks your view chops a piece out of the distant scene. No light from that portion of the scene reaches your open eye, so you can't see that portion of the scene. But when you have both eyes open, the image observed by one eye can compensate for any missing pieces in the image observed by the other eye. Since the barrier you are looking through chops out a different piece of the distant scene for each of your two eyes, the composite image that your brain assembles from these two individual images will include the whole scene.

The speed of the development process is determined by the diffusion of molecules within the developing film and by the rates at which they react with one another. Both processes, diffusion and chemical reactions are temperature sensitive. If blowing on or waving the film manages to increase its temperature, then diffusion and reactions will both speed up and the development time will decrease.

There are several different systems for autofocusing. I think that the three most popular systems are optical contrast, rangefinder overlap, and acoustic distancing. The optical contrast scheme places a sophisticated light sensitive surface in the focal plane of the camera's lens. This sensor recognizes when sharp focus is achieved by looking for the moment of maximum contrast in the image. When the lens is out of focus, the image is fuzzy and has little contrast. But when the lens is focused properly, the image is sharp and the sensor detects the strong spatial variations in darkness and brightness. The camera automatically scans the focus of its lens until it detects maximum image contrast.

The rangefinder overlap system observes the scene in front of the camera through two auxiliary lenses that are separated by a few inches. It uses mirrors to overlap the images from these two lenses and can determine the distance to the objects in the picture by the angles of the mirrors. The camera uses this distance measurement to set the focus of its main lens.

The acoustic distancing system bounces sound waves from the objects in front of the camera to determine how far away they are. The camera then adjusts its main lens for that distance. While this acoustic scheme has the advantage of working even in complete darkness, it's confused by clear surfaces--if you take a picture through a window, it will focus on the window. The optical schemes will focus on the objects rather than the window, but they will only work when there is light coming from the objects. That's why many autofocus cameras that use optical autofocus schemes have built in lights to illuminate the objects during the autofocusing process.

The surfaces of most lenses are shaped like the surfaces of spheres. Such "spherical" lenses can be characterized by a single distance: the focal length. For converging lenses, those with convex or outward-bulging surfaces, light from a distant object such as the sun will converge together after passing through the lens and will form an image of the object at a distance of the focal length from the center of the lens. You can find this "real" image by holding a sheet of white paper beyond the lens and looking for a clear pattern of light corresponding to the object. If the object is closer to the lens, the image will form a bit farther from the lens. The relationship between the distance to the object (the object distance or OD), the focal length of the lens (F), and the distance to the image (the image distance or OD) is given by a simple formula: 1/F = 1/OD + 1/ID.

This lens formula works for diverging lenses, too, but those lenses have negative focal lengths and produce their images on the object side of the lens. You can only view these "virtual" images by looking at them through the lens itself.

The easiest way of determining a lens's focal length is by measuring the distance between the lens and the real image it forms of a distant object. However, you can measure the curvatures of the lens's surfaces and calculate its focal length. Special gauges exist that touch the lens at several points, usually a circle and a central point, and determine how curved its surface is.

Photographic film chemically records information about the light that it has absorbed. Normally, this light was projected on it by a lens and formed a clear, sharp pattern of the scene in front of the camera. However, if light strikes the film uniformly, the information recorded on the film will have nothing to do with an image. The entire sheet of film will record intense exposure to light and will have no structure on its chemical record.

When light from the flash illuminates people's eyes, that light focuses onto small spots on their retinas. Most of the light is absorbed, by a small amount of red light reflects. Because the lens focused light from the flash onto a particular spot on the retina, the returning light is focused directly back toward the flash. The camera records this returning red light and eyes appear bright red. To reduce the effect, some flashes emit an early pulse of light. People's pupils shrink in response to this light and allow less light to go into and out of their eyes. Professional photographers often mount their flashes a foot or more from the lens so that the back-reflected red light that returns toward the flash misses the lens.

The retinas of your eyes appear reddish when you look at them with white light. The red eye problem occurs because light from the flash passes through the lens of your eye, strikes the retina (which allows you to see the flash), and reflects back toward the camera. This reflection is mostly red light and it is directed very strongly back toward the camera. The camera captures this red reflection very effectively and so eyes appear red. The double flash is meant to get the irises of your eyes to contract (as they do whenever your eyes are exposed to bright light or you are startled or excited). The first flash causes your irises to contract so that less light from the second flash can pass into and out of your eyes. Unfortunately, this trick doesn't work all that well.

The different speeds of film have to do with how light sensitive the film emulsion is. A portion of the surface of a high-speed film will register exposure to light when only a few particles of light (photons) reach it. In contrast, a low speed film requires more photons per square millimeter to undergo the chemical changes of exposure.

While high speed film can take pictures with less light than low speed film, there is a trade-off. High-speed films are grainier and have less resolution than low speed films. Thus photographs that you would like to enlarge should be taken with relatively slow film.

Yes, your eye is exactly like a camera, except that the real image forms on your light sensitive retina rather than on a sheet of film. The lens bends light to a focus on the retina. If you are nearsighted and can only see nearby objects clearly, then your lens is too strong and bends light too much. Light from a distant object focuses before reaching your retina. If you are farsighted and can only see distant objects clearly, then your lens is too weak and bends light too little. Light from a nearby object doesn't reach a focus by the time it strikes your retina. It would focus beyond your retina, if it could continue on through space.

Modern cameras use a variety of techniques to find the distance to objects. Some cameras bounce sound off of the objects and time how long it takes for the echo to return. Others observe the central portion of the image (presumably the object) from two vantage points simultaneous and then adjust the angles at which those two observations are made until the images overlap. This rangefinder technique is the one you use to sense distance with your eyes. You view the object through each eye and adjust the angles of view until the two images overlap (in your brain). At that point, you can tell how far away the object is by how crossed or uncrossed your eyes are. A rangefinder camera has two small viewing windows and lenses to look at the object, just as you have two eyes to look at the object. Finally, some cameras don't really measure the distance to the object but instead adjust the lens until it forms the sharpest possible image. A sharp image has the highest possible contrast while an out-of-focus image will have relatively low contrast. The cameras adjust the lens until the light striking a sensor exhibits maximal contrast (brightest bright spots and darkest dark spots).

There are many parts to this question, so I'll deal with only two: how the camera forms an image of the scene in front of the camera on its imaging chip and how the camera obtains a video signal from that imaging chip. The first part involves a converging lens--one that bends rays of light toward one another. As the light from a particular spot in the scene passes through the camera's lens, the lens slows the light down. Because the lens' surfaces are curved, this slowing process causes the light rays to bend so that they tip toward one another. These rays continue toward one another after they leave the lens and they all meet at a single point on the surface of the camera's imaging chip. That point on the chip thus receives all the light from only one spot in the scene. Likewise, every point on the imaging chip receives light from one and only one spot in the scene. The lens is forming what is called a "real image"--a pattern of light in space (or on a surface) that is an exact copy of the scene from which the light originated. You can form a real image of a scene on a sheet of paper with the help of a simple magnifying glass. The actual camera lens often contains a number of individual glass or plastic elements, which allow it to bend all colors of light evenly and to adjust the size and brightness of the real image that it forms on the imaging chip.

The second part of this question revolves around the imaging chip. In this chip, known as a "charge-coupled device," the arriving light particles or "photons" causes electric charge to be transferred into a narrow channel of semiconductor--that is a material that can conduct electricity in a controllable manner. Each photon contains a tiny amount of energy and this energy is enough to move the electric charge into the channel. The imaging chip has row after row of these light-sensitive channels so that the pattern of light striking the chip creates a pattern of charge in its channels. To obtain a video image from these channels, the camera uses an electronic technique to shift the charge through the channels. The camera thus reads the electric charge point-by-point, row-by-row until it has examined the pattern of charge (and thus the pattern of light) on the whole imaging chip. This reading process is just what is needed to build a video signal, since a television also builds its image point-by-point, row-by-row. To obtain a color image, the imaging chip is covered with a tiny pattern of colored filters so that each point on its surface is only sensitive to a certain primary color of light: either red, green, or blue. This sort of color sensitivity mimics that of our own eyes--our retinas respond only to red, green, or blue light, but we see mixtures of those three colors as a much richer collection of colors.

The size of your pupil does not depend on the distance to an object. It depends only on how bright the scene in front of you is. But the size of your pupil does affect your ability to focus. When it is relatively dark and your pupil is wide open, the whole lens of your eye is involved in light gathering. Focusing becomes very critical and you have very little depth of focus. Moreover, if your lens isn't perfect, you will see things as blurry. But when it is bright out and your pupil is small, you are only using the center portion of your lens and everything is in focus. That's why it is harder to focus at night than during the day. When you squint, you are artificially shrinking the effective diameter of the lens in your eye and increasing your depth of focus. Unfortunately, you are also reducing the amount of light that reaches your eye. If you look through a pinhole in a sheet of paper, you will find everything in focus, although it will appear very dim.