Light Science: Physics and the Visual Arts

479 Pages·1999·20.579 MB·English

by  Thomas D. Rossing, Christopher J Chiaverina

UNDERGRADUATE TEXTS IN CONTEMPORARY PHYSICS
Editors
Robert S. Averback
Robert C. Hilborn
David Peak
Thomas Rossing
Cindy Schwarz
Springer Science+Business Media, LLC
UNDERGRADUATE TEXTS IN CONTEMPORARY PHYSICS
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Edition
Rossing and Chiaverina, Light Science: Physics and the Visual
Arts
LIGHT
SCIENCE
Physics and the
Visual Arts
Thomas D. Rossing
Christopher J. Chiaverina
With 225 Illustrations
Thomas D. Rossing Christopher J. Chiaverina
Department of Physics Science Department
Northern Illinois University New Trier High School
De Kalb, IL 60115 Winnetka, IL 60093
USA USA
Series Editors
Robert S. Averback Thomas D. Rossing
Department of Materials Science Department of Physics
University of Illinois Northern Illinois University
Urbana, IL 61801 De Kalb, IL 60115
USA USA
Robert C. Hilborn Cindy Schwarz
Department of Physics Department of Physics and Astronomy
Amherst College Vassar College
Amherst, MA 01002 Poughkeepsie, NY 12601
USA USA
David Peak COVER PHOTOGRAPH: “Evolution of a Splash” by
Department of Physics Loren M. Winters. A drop falling into a pool formed
Utah State University by the previous drop is illuminated by four photoflash
Logan, UT 84322 guns of different colors triggered at 3-millisecond
USA intervals (see Plate 10.3).
Library of Congress Cataloging-in-Publication Data
Rossing, Thomas D., 1929–
Light science : physics and the visual arts / Thomas D. Rossing,
Christopher J. Chiaverina.
p. cm.—(Undergraduate texts in contemporary physics)
Includes bibliographical references and index.
ISBN 978-1-4419-3169-6 ISBN 978-0-387-21698-0 (eBook)
DOI 10.1007/978-0-387-21698-0
1. Light. 2. Color. I. Chiaverina, Christopher. II. Title.
III. Series.
QC358.R68 1999
535—dc21 99-18390
Printed on acid-free paper.
© 1999Springer Science+Business Media New York
Originally published by Springer-Verlag New York, Inc. 1999
All rights reserved. This work may not be translated or copied in whole or in part without the written
permission of the publisher (Springer Science+Business Media, LLC ),
except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with
any form of information storage and retrieval, electronic adaptation, computer software, or by similar
or dissimilar methodology now known or hereafter developed is forbidden.
The use of general descriptive names, trade names, trademarks, etc., in this publication, even if the for-
mer are not especially identified, is not to be taken as a sign that such names, as understood by the
Trade Marks and Merchandise Marks Act, may accordingly be used freely by anyone.
9 8 7 6 5 4 3 2 1
To our parents, who nurtured a love of nature, light, and beauty, and the
curiosity to observe and experiment; to our wives, Dolores and Bobbi, who endured
temporary widowhood; and to our students and colleagues, who provided us with
feedback throughout the project.
By stylizing the title of this book, artist Scott Kim has created a
title that reads the same upside down. Such words or phrases are
called “ambigrams.” More ambigrams appear on page 302.
Preface
The title of this book, Light Science, can take on several meanings. First, it
is intended to be an introduction to the science of light, especially intended
for students in the visual arts and for readers with an interest in art. Sec-
ond, it means that the book emphasizes the phenomena of light rather than
the mathematical theories of light (the opposite of “heavy science,” in other
words). Third, it suggests a light-hearted approach to science, which the
authors have tried to follow. The study of science, after all, is supposed to
be fun.
Occasionally we discuss phenomena or theories of light in greater depth
than usual (“middle-weight science,” you might say). These sections are
enclosed in boxes, and some readers (or instructors) may choose to skip
them. If some sections are a little more difficult for you to understand than
others, skip them at first reading and come back to them; they may seem
easier at second reading.
The close relationship between science and the arts has always been a
special interest of both authors. Visual art depends on light to communi-
cate with its intended audience, and an understanding of light and color by
both the artist and the viewer will (hopefully) enhance this communication
and may improve the quality of the art itself. We would like to hope that
this is a course that Monet and Renoir would have enjoyed, just as we en-
joy their exquisite paintings.
This material in this book was originally designed for an introductory
course in physics for students having an interest in the visual arts. We have
used it in both high school and university classes. It demands no previous
training or experience in physics or mathematics beyond that of high school
algebra. When used in its entirety, it is appropriate for a one-semester col-
vii
viii
PREFACE
lege course. Many chapters are “stand-alone” chapters, and can be used as
supplemental material for courses in physics, art, or psychology.
We are great believers in hands-on learning. In each chapter we suggest
simple experiments for the reader to do with simple equipment at home or
which can be demonstrated in class. Laboratory experiments are in Ap-
pendix J. We hope that most readers will do these experiments, whether
or not a scheduled laboratory is part of the course.
Each chapter includes the following: summary, references, glossary, re-
view questions, questions for thought and discussion, exercises, and exper-
iments for home, laboratory, and classroom demonstration.
The authors wish to thank Sandra Whipple and Jill O’Leske for their
help with the artwork.
Thomas D. Rossing
Christopher J. Chiaverina
Contents
Preface vii
1 Our World of Light and Color 1
1.1 Rainbows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
1.2 Blue Skies and Red Sunsets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
1.3 Why Clouds Are White . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
1.4 The Color of Water . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
1.5 Green Leaves of Summer, Crimson Leaves of Autumn . . . . . . . . . 7
1.6 What Is Color? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
1.7 Mixing Colors by Addition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
1.8 Mixing Colors by Subtraction . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
1.9 Color in Art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
1.10 Shadows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
1.11 Pinhole Camera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
1.12 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
2 The Mystery of Light 23
2.1 The Nature of Light: Particles or Waves? . . . . . . . . . . . . . . . . . . 23
2.2 Waves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
2.3 Progressive Waves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
2.4 Impulsive Waves: Reflection . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
2.5 Superposition and Interference . . . . . . . . . . . . . . . . . . . . . . . . . . 29
2.6 Standing Waves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
2.7 Electromagnetic Waves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
2.8 Speed of Light . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
2.9 The Particle Nature of Light: Observing Photons . . . . . . . . . . . . 34
2.10 Wave Propagation in Two and Three Dimensions . . . . . . . . . . . . 35
ix