This version of the Vade Mecum has been altered from its original

form. All photographs and illustrations have been removed, keeping

its size to a minimum. Please note that while the Vade Mecum is
distributed free of charge, it is recommended that a donation be made
to a community cancer or health-care clinic of your choice.

M. Wilkinson and C. Glanfield

a
lens collector's
vade mecum*

Version 07/05/2001
Edition set in Ariel

c.4.3mB equivalent to c.670pp A4

*Vade mecum: Eng. a book or manual suitable for carrying about with
one for ready reference(1629): a casket set by Busch (1890's).
M. Wilkinson and C. Glanfield
A LENS COLLECTOR'S VADEMECUM

A MEMORIAL VOLUME PREPARED

IN MEMORY OF TWO LENS COLLECTORS AND THEIR ACHIEVEMENT.

2001

VADEMECUM: Eng., a book or manual suitable for ready reference (1629),

a casket set by Busch (1890's).
Copyright. All rights reserved
Draft Paper Edition February 1997, limited 50 copies; revisions on CD March 1999, also 2001.
"This is our attempt at writing part of the book that the late Matthew (Matt) Wilkinson
planned to do before his untimely death from cancer in November 1994. It has only been
possible by his legacy of the copious notes and records that he amassed during his later
years. It is from this basis, together with the enthusiasm and help of fellow collectors, that a
proposed book has become a reality.

IT HAS BEEN AGREED BY THE WILKINSON FAMILY AND MATT'S MANY FRIENDS
THAT THE PROCEEDS FROM THIS BOOK WILL BE DONATED TO THE HOSPICE
MOVEMENT- AS WOULD HAVE BEEN HIS WISH."

The above was written by Colin Glanfield for the first edition and is left unchanged. But it
perhaps deserves some explanation. Matt Wilkinson was a keen amateur photographer
(and banker) who collected lenses actively in his latter years. He was aided in this by
Colin Glanfield, and together they made a formidable team, as Colin was a long term
professional photographer with many years of experience in using and working with
lenses and cameras of all ages, and an especial interest in the use of older lenses. In
particular, Matt built up a formidable collection of documents, often derived from
purchases or from copies of Colin's and others collections, and it was intended by them
that these would form the basis of a book on collecting camera lenses. Others from the
local Kentish collecting group were also involved in what was to be partly a group effort.
Sadly this ambitious plan was ended by Matt's death and Colin shouldering the burden of
disposing of the lens collection. At this time, the compiler was allowed access to the
archive and began by listing the lenses mentioned in it, with the idea of it serving as the
Appendix to the more complete book. Colin helped with this project, as far as other work
and failing health allowed. And gradually to the initial bare list, there was added other
information as available. Colin sadly passed away in September 1999, but he did live to
see the results of his own contributions, and these will be a lasting memorial to him.

Thus the Vademecum is founded on Colin's and Matt's work but also owes something to
many others who have since helped to expand the original study. And gradually the
Vademecum list has become a document, less perhaps than a book, but with a separate
existence. It is stressed that it is not a commercial project, and it is hoped it will continue
in their memory and that any funds raised will go to charity, especially to a hospice or
cancer related fund. It was Colin's idea to supply it on disc, so that cost of production
could be kept small and that a invitation to give to charity should be made.

The original documents formed a wide ranging basis and have been expanded from
many sources including the help and information of those below, with a major emphasis
on relating the documents to lenses actually seen in commerce. Many of the books used
are listed in the Bibliography ar the end- they have been invaluable even though none
actually corresponded to the type of listing employed here.
Our sincere thanks are due to the following for their input, and also to those who have
asked not to be credited for personal reasons:
Mr M.Rees, London; Mr S. Ray,London; Mr D. Frydman,London; Mrs A Nicholson-Jones,
N. Wales; Mr B. Nicholson-Jones, N. Wales; Mr M. Glanfield, Kent; Mr T. Abrahamsson,
Canada; Mr T.C.Ackermann,Kent; Mr C. Davies, London; Mr U. Eilsberger, J. Schneider,
Germany; Mr D. Evans, UK; Mr R. Gilcreast, U.S.A.; Mr R. Halligan, Australia; Mr R.
Hicks, Kent; Mr K. Huhle, Rodenstock, Germany; Mr J. Jasek, U.S.A.; Mr J. Kemp-Smith,
Olympus, UK; Ms J. Kitchell, U.S.A.; Mr B. Petticrew, Minolta, UK; Mr K. Rademaker,
Germany; Mr K. Ruffell, Bronica, U.K.; Mr J. Rushton,S. Yorks; Mr H. Schrauf, Germany; Mr
E. Schwarzreich, U.S.A.; Mr R. Shell, U.S.A.; Mr A. Simpson, Leics,UK; Mr M. Simpson,
Yashica-Kyocera, UK; Mr L. Stejskal, Yashica-Kyocera,UK; Mr H. Takahashi, Bronica,
UK; Dr R. Watson, UK; Mr W. Wright, U.S.A.; Zone V1,U.S.A.; Mr H. Brochmann, Sweden,
Mr G. Cookman, UK, Mr G. Trewinnard, UK., Dr M Littlewood, Kent, Mr J. Maxwell,
London, M. P-H Pont, France, Mr W. Morley, Kent, Mr J.Kime, UK, Mr D. Baldwin, London,
and many others. The compiler was A.N.Wright, UK.

An especial help has been access to data from several important collections, and public
Museums have included:
Snibston Discovery Park, Ashby Rd, Coalville, LE76-3LN for their TTH collection.
Ariel Cinematographica Register for the Deutsches Filmmuseum, Frankfurt a. Main,
Germany. (Tel. 0 69 212 3369)
Some items especially early ones are so rare that information from museums will be the
best way to obtain the true stature of some makers, especially early ones.

Compilers Note and Disclaimer :

Please note that the lens diagrams are illustrative only, and while it is hoped they will prove useful in giving
general indication, are certainly not suited for a basis for making a working lens. It is normal for such
diagrams to be slightly altered in the drawing process.
The initial group of diagrams were issued with the original text in 1997 and used an alphanumeric code to
indicate the maker and type. Later two additions have been added, (a) on page 38b of some Russian layouts,
and (b) on pages 65-69 of a wide range of types from many makers. These last are coded App (for Appendix)
and texts after 09/02/1999 refer to them. It is expected that this system will continue as others are added in
future. The diagrams are at the back of Vademec 2 only and have not been copied into Vademec 3f. This
also applies to the pictures in Vademec 2
The present text is a working draft especially in the case of Vademec 3f, and certainly contains errors
and omissions and it is hoped to correct these progressively in future editions. [The wilingness to do this is
shown by the greatly increased length of Vademec 3f compared to Vademec 2.] The information is indicative
only, and should be treated with caution, checking elsewhere as far as possible. No liability can be accepted
for errors.

ABBREVIATIONS
Abbe Number A measure of the power a given type of glass has to separate light of different
colours. This is related to the dispersion of the glass.
Achromat A lens designed to focus two colours at the same point exactly.
Apochromat A lens designed to focus three colours at the same point exactly.
Am. Amateur as in Amateur Photographer Magazine.
B.J.A. British Journal (of Photography) Almanac
Brl. Barrel, as in barrel mount, where the glass is set in a rigid tube.
C mount Standard mount for 16mm lenses, 25.4mm dia., 17.52mm register.
Casket A lens set sold in a special container, the "casket" and therefore most lens sets where
a common barrel was used for different optics. (See also Satz and Trousse).
Cine Cinematography, normally used for 8, 9.5, or 16mm wide film work.
Convertible A lens of which part can be used alone, eg. as a long focus lens.
D mountStandard mount for 8mm cameras, 15.8mm dia., 12.29mm register.
Dialyt Originally two glasses mounted separately with an air-space, now often used for a
lens of type Q26 layout.
f Ratio of the focal length of a lens to the diameter, a measure of the speed.
Fan Fan mounting of several lenses splayed out to cover a wider field than one, used in
aerial survey work, for 180° or more coverage.
FIM Focusing iris mount, ie a lens sold with a focusing sleeve as part of the mount.
G.P. General purpose, ie a lens sold for most types of work and not a specialized one.
Gauss A designer's name from whom a common design is named, see Q16, Q18.
Iris A diaphragm to control the useful diameter of a lens, and thence the speed.
J.,Jnl. Journal as in British Journal of Photography.
M.A.R. Medium Angle Rectilinear.
Movie Normally used here for commercial 35mm cinema equipment.
M39x26 The standard thread used on screw thread Leica cameras.
M42x1 The standard thread used on many single lens reflexes eg Praktica, Pentax.
P.I.M. Plain Iris mount, ie a barrel with iris, cells and mounting thread.
R.I. Refractive Index, a measure of the power of glass etc. to bend light entering it.
RR Rapid rectilinear, from about 1866, a well corrected lens apart from
astigmatism, which was uncorrected. Hence WAR, MAR etc.
S/A Symmetrical Anastigmat.
Satz German equivalent for what was sold as casket in English.
S.I.M. Sunk iris mount, where the mounting thread was near the front of the barrel.
CdV etc. Sizes of old prints, here Carte de Visite, see text under C de V.
S.L.R. Single lens reflex.
TCI Totally closing iris (used in movie photography).
T.M. Trade mark.
T.N. Trade name.
T.P.I. Threads per inch.ie 25.4mm. Metric threads are normally expressed as fractions of a
mm per turn. Thus 26tpi is equivalent to 25.4/26=0.9769mm pitch.
trimet Trimetrogon literally, but used where three lenses are mounted as a fan.
Trousse French version of Casket
W.A.R. Wide angle rectilinear.
Wh Waterhouse, a type of stop to limit a lens diameter designed by Waterhouse.
Wh stops as above, normally metal plates with a hole to admit light.
WW World War, as WW1 1914-1918; WW2, 1939-1945.
1/4plate Quarter plate, obsolete UK size 3.25x4.25in.
1/2 plate Half plate, obsolete UK size 6.5x4.75in.
1/1plate Wholeplate, obsolete UK size 8.5x6.5in.
These sizes survive for paper, and cut film may be obtained from some sources.
35mm still Normally used for a format 24x36mm largely initiated for the Leica.
35mm Movie Normal format about 18x24mm, but note modifications do occur for sound and
widescreen work.
Structure Some lens designs are suggested merely as number of glasses and number of components,
ie cemented groups. Thus a Tessar would be 4g/3c when abbreviated. In other more complex types they are
suggested as components with the number of glasses and the iris also is shown as in 1+1+i+2 for the Tessar
Zei 020 or Q15. Sadly this gives no information about the curves but at least does suggest the complexity.

A Preliminary Note.
The Vademecum is basically a list of lens makers and their products, the former in alphabetic order, the latter
less well arranged, partly in chronological order and partly according to type or even finish as seems
appropriate. As the list evolved, information was added about the makers, and the products such as dates,
performance, coverage and focal lengths since readers said this was of interest. But there is one basic
question- what should a collector buy. The choice may be limited merely by the type of camera available
since most have individual mounts. Or by the formats available. But the Vademecum may help in a wider
sense for collectors or dealers when a sudden offer means a hunt to find out what a strange lens actually is.
(Just try getting information on a Goerz Photometon in a hurry for example!)
And slowly the idea grew for Matt Wilkinson and his friends that some lenses were important as Landmarks in
the overall development of lenses. The following is one attempt to make a list of such lenses- most collectors
will wish to make changes, adding some favourites, and removing others as beneath contempt- but there are
lenses here which would be in most collectors lists so it may do for a start. Note that it avoids some difficult
choices such as the first aspheric lens, as being hard to answer. The first antireflexion coated lenses were
probably Zeiss Sonnars but again it is hard to be definite here. And the first advanced multicoated lenses
may well be the Leitz Summilux f1.4 35mm but there are other possible candidates.
Undoubtedly a set of the Landmark lenses would be an interesting thing to see grouped together.

Lens Type Number Comment

Pinhole This is not a lens but it is the simplest way of forming an image and
often used in photography since there is even sharpness all over the
image.
Meniscus Lens Q1 This was the earliest type used, is relatively easy to find from the 19
Century and an important lens both from its history and to use today.
Aplanatic Q2 This was an improved type of meniscus exploited by Grubb and well
worth seeking out today though it is not too common.
Petzval Portrait Q3 The early fast, long lived Portrait lens beloved by Victorian
photographers but now hard to use.
Dallmeyer Version Q4 Dallmeyer redesigned the Petzval so it gave adjustable sharpness.
Orthoscop Voi 004 Petzval's first outdoors lens, well designed, low in distortion and
approaching a telephoto.
Rapid Rectilinear Q5 Steinheil and Dallmeyer's famous symmetrical lens, a still usable
Victorian favourite.
Wide Angle RectilinearQ6 The slower wide angle version, perhaps more usable today.
Busch Pantoscop Bu010 A forward looking extreme wide angle lens, corrected for
astigmatism.
Concentric Ros 019Arguably the first Anastigmat, but not too easy to use.
Anastigmat Q7, Q8 The first corrected for astigmatism and spherical aberration. A really
important change.
Unar Zei 043 An early non-symmetrical anastigmat.
Dagor Q9 The first symmetrical anastigmat, and a very long lived product.
Euryplan/Plasmat Q20 This was derived from the Dagor by air-spacing the iner glasses. The
result was improved correction and speed and the typical modern
professional lens.
OrthoProtar Q10 A design famous as a semiwide angle lens, used in the Holostigmat
and Angulon.
Kollinear Q11 Another famous symmetrical anastigmat, here from Voigtlaender.
Protar V11a Q12 Probably the best corrected lens of the period, and still a fine and
versatile lens.
Cooke Triplet Q13 A ground breaking lens for its quality and simplicity, later widely
copied.
Cooke Triplet Q14 Same
Uno Al 001 Perhaps a minor Landmark but interesting as a simplification of the
Triplet.
Tessar Q15 About the most famous design of all, especially for sharpness and
contrast.
Elmar Lei 005 The lens that showed that still photography on 35mm film was
possible.
Heliar Q19 A famous Triplet derivative from Voigtlaender.
BioTessar Zei 033 One of the fastest early triplet versions.
Dialyt Q26 This may be a triplet with the centre glass split in two: certainly it is a
design which produced some famously sharp lenses.
Ernostar-4 Q21 Another Triplet derivative with an extra glass for greater speed, a
lens which led to other advanced designs.
Ernostar-6 Q22 When this was designed, it set new standards in fast lenses, a
famous and scarce lens.
Sonnar f2.0 Zei 043 A unique fast lens of good contrast.
Sonnar f4 Q23 An innovative lens as it is sharp, compct and contrasty.
Biogon f2.7 Zei 038 A bulky but innovative wide angle lens, of high quality and interesting
history.
Telyt f4.5 Another long focus lens, with a short design for ease in
handling.
Gauss (4-Glass) Q16 A fine simple design, and one leading to many others,
especially wide angle and high speed lenses.
Gauss Wide Angle Q17 A wide angle Gauss.
Gauss High Speed Q18 A high speed version.
Septac Another with an extra glass cemented for better contrast at f1.5.
Ultron Voi 041 Here the front pair are uncemented.
Biometar And here simplified!
Gauss, Advanced Sc 007 An example where the design has an extra glass for greater
speed.
Telephoto Q24 Dallmeyer and then Busch developed these compact short lenses for
sport and wild life photography.
Retrofocus Q25 Angenieux applied this idea to still photography and the result was a
revolution in wide angle lenses.
Russar Rus 015The classic modern large format wide angle, bulky but with very even
sharpness and illumination.
Biogon Zei 100 The famous modern Zeiss wide angle lens.
Hologon Zei 107 An amazing super wide design with a very simple layout.
Mirror System Ask 001One of the earliest mirror systems, giving a very short, light system,
here from Askania in the 1930's.
Maksutov's MTO 500 Mak 001The mirror system that put them into common use.
Macro Lens This is really a mount for close-up work, but also may have a
specially designed lens. The very first may be a Russian Fed lens
from the 1930's.
Nikkor PC Nik 023 The first perspective correction lens for 35mm work. It required a
wider field lens and is a valuable idea but still not a common one.
Fisheye Nikkor Nik 019 Another idea from Nikon which was unique when it was introduced. It
is not the first fish lens but the first the collector can expect to find.
Canon f0.95 Ca 009 An advanced Gauss design which set a new speed standard for a
still lens when it was introduced.
Imagon Rod 010 A famous modern soft focus lens of meniscus design.
Front Cell Systems In the 1950's several makers designed systems where the front
components were exchanged to alter the focus: take a pick from
Zeiss, Schneider,Rodenstock and Canon!
Zoomar Voi 046 The first Zoom lens for still cameras, but followed by many!

Vademecum Picture Titles

Abbreviations: (l) = left, (r) = right, and (m) = middle; Nono = no obvious serial number seen.
The paper used as a background in these pictures has an unobtrusive repeat pattern of dark and pale lines
with a repeat distance of 2.25mm/cycle or 11 cycles per inch, and provides a consistent scale to the
pictures. These are scans at a moderate resolution, and owing to the number involved, they must be
accessed through a separate file on the disc as the work involved in making links would be excessive. The
code numbers are in two parts- the first 3 digits representing the original film number and the next 3 the frame
number. This is a flexible system which should allow later expansion.

Film 2 Disc 1576 Zeiss

Abney, Sir W. de Wivelslie ( -19/10/1920)
He was an important man in English photography as Captain in India at the transit of Venus, an official in the
Royal Engineers, Director of S. Kensington and author, eg of "Instruction in Photography" eds from
01/02/1878, with a still useful chapter on lenses pp109-143, and although not especially connected with
optics, can be a name to look for in old book lists. see notice of death in B.J.A. 1922, pp300-2.

Acu-Prefix used on some Caltar lenses.

Accura
USA brand name, noted on a macro lens, f3.5/25mm in Modern Photo 06/1980 p74. The fish f11/12mm was
noted in Modern 08/1980 p147 as "surprisingly good" but the later f5.6 version seems to be less liked, though
faster.

Adams, Charing Cross Road, London W C.

Adams was essentially a camera maker, from 1885 or 1890, and they were never lens makers. Thus lenses
with the name will be bought-in items engraved for sale in the business. A fair range of items has been
reported including RR, Petzval and enlarging lenses, and others such as WAR probably were made. That
examined has no serial number.
Adams "The Club" engraved Rapid Rectilinear 9x7. It is a sharp lens especially if closed down a bit and is in
brass finish. It was made in other (?several?) sizes as a smaller one has also been seen.
Fig023026* Adams 'The Club' about f8/12in for 9x7in.
A later lens seen was a Ross-Zeiss Protar V11a with Adams name added to the makers engraving.
Pinhole "lens" made in aluminium (B.J.A. 1905, 1928, p119, 1929, p123). This unit was graduated for the
series of holes as 1/16, 1/22, 1/32, 1/45, 1/64. In use the exposure for an f-number was calculated, and the
graduation used, but increased by the camera extension in inches squared. Thus on f22 and a meter reading
of "1/50sec at f22" for an 8in extension give 8x8x1/50=1.28sec.
Other lenses noted at auction were No38,223 in brass for 1/4plate (no details), and a French made Portrait for
a 8x8in sliding box wetplate.
It is worth noting that in 1925, this respected maker was suggesting:
(a) Ross Combinable f5.5, Xpres f4.5, Teleros f5.5; TTH Cooke f3.5, Aviar f4.5; Dallmeyer Pentac f2.9, Dallon
Tel f5.6 and f6.5.
(b) in 1932, he is was recommending the following lenses:
Ross Xpres f2.9; Xpres f3.5; Xpres f4.5; Ross Combinable f5.5; Ross Teleros f5.5 and f6.3 and Dallon f5.6, with
TTH Wide angle Series VIIB as a wide angle. There are changes here.
It is likely these were a considered choice taking quality and performance into account as well as price.
(B.J.A. 1932, p79).

Adams, Jason., Surbiton, Surrey.

A lens designer and repairer who developed techniques for the restoration of period lenses in the years after
the war (about 1950-1980). J. Greer describes him as "a very talented and a modest genius we all so sadly
miss". Lenses sent to his works were rebalsamed and repolished and coated (blue and later brown) without
significant loss in performance, and all at modest prices. He may have worked out how to adjust the spacings
to compensate for the repolishing.
After the closure of the firm in 1979, the B.J.P. said in an Editorial that there was no successor, and
emphasized the lack of training offered by Polytechnics in this field, the impossibility of finding teachers and
the lack of product support by many of the importers. (23/03/1979, p263; 24/08/1979, p801-2.) This is still true
today and the compiler knows of good lenses being destroyed in attempts to repolish where this would have
been routine in the 1970's.

Adox =Dr C Schleussner A.G., Frankfurt a. Main, Germany.

They are a German film maker, and had their own series of cameras, but it is not known if these were bought
in or made by Adox themselves. Some do seem to be bought in however. Most Adox cameras had bought-in
lenses such as Cassar, Radionar, but some had no-name lenses or in-house ones. Some are as follows:
Golf 63. This had a Adoxar f6.3/75mm lens in 1956.
There was also an Adoxar f3.5 on the Polo in 1960.
Golf IIa and other 35mm cameras had a Adoxan f2.8/45mm or an Adoxon of the same spacification.
Adoxar f3.5 45mm on Adox Polo (1956)
Adoxon f2.8 45mm on Adox Golf 1a, 1965 approximately.

AEG, Germany.
AEG made a notable fisheye lens patented in 1932. This was considered to be an improvement on Hill's lens
and was produced on a small scale. Kingslake (1963) shows an example taken with it.
Note German Pat 620,538/1932 to H. Schultz, Allgemeine Electrizitats Gesellschaft, Berlin using glasses G1
+2= 1.5400/59.6; G3= 1.6138/56.3; G4=1.6364/35.4; G5= 1.6074/56.7.

Aeronautical and General Instruments Ltd (AGI), Purley Way, Croydon, UK.
(It possibly also operated as Agilux Ltd.)
AGI purchased a small optical works called Hall Optical and continued the name on the 105mm lenses made
during WW2. These were fitted to the ARL Mk1 and 11 cameras, based on the Korelle, but with a front
extension to take a 105mm lens. Postwar this became the Agiflex and was given a better finish and
interchangable lenses on two successive sizes of bayonet mount. Later the range of miniature cameras was
developed as Agimatic, Agima and a rollfilm Agifold was sold. The most collectable are probably the Agiflex
items. Not all these lenses were coated and where they are coated, the coats can be only on some surfaces
or may be very soft when present. Remember they are quite early postwar items, and now long past the
expected useful life. In contrast, the mounts are very robust and the lens heads can be unscrewed from the
mount. One designers name seems to be Mr Bache or Back- there probably were relatively few in-house
designs after the Agiflex series ended.
"Unimar", Hall f4.5 4.2in (106.7mm) Q15 Non-interchangable.
See Amateur Photographer 10/1953 for the sale of ex-MoD ARL cameras by Paul Studios of Eastbourne. It is
likely that this is the camera shown with 2 Wrens by D.Rendell in B.J.P. 07/03/1980, p219.
Agilux f3.5 80mm Q15,4-glass
These are normally in the small bayonet for the original Agiflexes. It has been noted at No55,14x.
See Am.Photo 26/11/1947 for sale new of Agiflex. It was shown at the British Industries Fair June 1948. The
Agiflex was shown in B.J.A. 1948, p164, p425 advert. and 1949, p470 but with no mention of lenses other than
the f3.5/80mm standard one, but the next years advert shows both the standard and 16cm lenses.
Agilux f2.8 80mm Q15
These are (usually) the later type, and are often in the large bayonet, eg. at No55,05x, 55,08x and 58,03x?x .
They are well spoken off by users. They may be a design by Mr Bache, who we think was the AGI designer at
that time.
Agilux Telephoto f5.5 160mm Q24, 2+2 tele This was 'new' in MCM 4/1950 which may
explain why they have rather soft coatings. (Also see above note on B.J.A. advets, new n 1950).
f5.5 240mm same
f5.5 300mm same
Noted at Nos 100,11x, 101,05x, 100,07x, 101,20x for 16cm; 20,38x and 20,42x for 24cm, and 400,42x and
400,41x for 300mm. Thus it is possible the first 2 or 3 digits are the type of lens and the last are related to the
number made. They seem to have been made in both sizes of bayonet. A complete set for Agiflex II is
illustrated in B.J.A. 1954, p498 Advert.
Agilux f4.5 90mm Q14 for Agifold 1949-52 type This was noted in MCM Nov 1948,
B.J.A. 1949, p219. They were favourably impressed. The camera was shown in the B.J.A. 1949, p471 advert.
as well as the Agiflex.
Agilux f4.5 75mm This was used for the Agifold V (1956)
Agilux f2.8 45mm This was a Q14? or Q15? type for the Agimatic (1957) and
Agima (1961) at £19.38 complete. It was a 4 glass lens in the adverts.
Agilux Tele f5.5 85mm This was also for the Agimatic/Agima at £11.50 above.
Aetna Optics, USA.
Sevral items have been noted including:
Telephoto f7.5 400mm (1965)
Luminon f3.5 105mm Q15 type

Afiom, Pordenone, Italy.

Camera maker, eg. of Wega M39x26 mount camera, with lenses of unknown source.
Trixar f3.5 50mm
Trigon f3.5 50mm
Other lenses were fitted and some were common to Kristall and were from Berthiot

AFR. Paris.
They are known here from an
Anastigmat Symmetrique f6.3 135mm This is probably of Dagor layout, in brass case, at No29x.
Sine Sole Nihil f6.8 26cm This was noted as an anastigmat Symmetrique Series A with
iris. It just may be a Dagor type.
Fig 023024* AFR, Paris: Anastigmat Symmetrique f6.8/135mm No295.

AGA (Svenska AB Gasaccumulator), Sweden.

This major company has interests in 35mm sound projectors ("AGA Baltic"), and a very extreme, modern
(and costly) wide angle projector lens is known with their name on it. They may also have made military
ordinance in the past. Thus at least one 1950's book on p164 describes a 1500mm tele mounted horizontally
on a Saab S24c-SKa 10/150 jet recce aircraft. It carried no less than 7 cameras in all, with the Tele mounted
horizontally for horizon or chase recording.
The projector lens is thought to have been made in Sweden, but the firm assures a correspondent they have
no optical department today.

Age, effect of age on lenses.

A note in B.J.P. 05/03/1880, cited 07/03/1980 regards the effects as a deterioration in general, due to
'oxidation' or mildew, especially if kept in a damp place. Also noted was deterioration of the balsam, due to
yellowing- more serious then before colour sensitized materials were in use. Note that this was pre- Jena
glass and that the effect of self-coating was not noted, but rather was masked by the opposite effects.

Agfa, Frankfurt/Munich, Germany.

also 91, New Oxford St., London.
Agfa are major film makers and probably bought Rietzschel cameras in 1925 as a normal period
amalgamation to ensure a supply of cameras to use their films. Rietzschel were still independant in the 1926
book by Frerk but the change may have been planned at the time. In the UK these were mainly high quality
family cameras for a mass market, but in Europe it seems that Rietzschel continued with some of their
traditional business in professional equipment. Thus in B.J.A. 1926 p687 Agfa is advertising Rietzschel
cameras, and in B.J.A. 1928, p302 there is a notice of a Mentor for 1927 sale with an Agfa f4.5 lens.
Rietzschel is not a common trade name in the UK but is found and and probably was not much exported
here. In the B.J.A. 1927, p308, the Agfa plate and film cameras had a choice of Agfa f6.3 or f7.7 lenses but on
the Nitor with 2x extension, the choice was of Agfa Helostar (Agfa f6.3) or f4.5 from either firm.
Later, Agfa were a major player, and their cameras are much easier to find. One major feature was that the
cameras not only worked well within the design parameters, but also that the maker has continued to service
and supply spares long after others ceased to do so. This does increase their value and is a bigger advantage
than is often realized.
1930-1940 period
Apotar f4.5 105mm triplet Q14
A 1934 lens on a Speedex 6x9 was noted in B.J.A. 1935 p283, and on a Speedex Record in idem, 1937,
p269. They said of the lens "excellent definition" and the unit "it is a matter of wonder how it can be done for
the price".
Billinar f11 Periscope (App002)
Igestar f5.6 75mm on 6x6 Speedex Billy in 1933. Q13
f6.3 50-105mm Q13 An example seen was in an ACG 3-speed shutter, and
was actually 100mm focus. It is a triplet, with front cell focus, stops to f32, but no serial number. The 50mm
was used on the Agfa Karat in 1938 (B.J.A. 1938, p265) and was regarded as excellent.
f7.7 105mm Q13, App003. This was on the Billette in B.J.A. 1931,
p280. One of these is remembered with affection from the 1950's! It was really contrasty and centrally very
sharp, though the edges were less good.
f8.8 105mm Q13
Igetar f8.8 105mm? This version is clearly written on an Agfa Speedex in B.J.A. 1929,
p290: it may have been changed for euphony.
The slower triplets were based on the original type with a very small gap between glasses 1 and 2.There was
a transfer to the more symmetrical type as apertures increased eg. to f4.5 but the Trilinear was still markedly
unsymmetrical in the 1933 catalogue. These were well regarded in the 1950's.
Solinear f4.5 135mm Agfa Solinear in a dial set Compur (Size 1?) at Lens
No404,719/shutter No541,539, probably about 1925? It was fitted to the Isolar 408 folding black plate, and a
9x12cm Klapp camera. It may be that this was the first version of a name later shortened as Solinar for
convenience, but Solinar also seems to be an older Rietzschel name, although there is a chance it has been
shortened after the Solinar form was in use. In fact, two examples of this Solinear form were noted in 1999 so
it may be commoner than initially thought. It seems to be Q15 type.
Solinar f4.5 50-105mm Type varied as Q14, Q15, or reversed Q15. Typically Solinar
was a 4 glass lens and rather upmarket of the triplet type cameras. (App006) A 105mm example seen was on
a folding camera at No497,69x in a rimset Compur No2,367,29x
f3.9 75mm on 1933 Speedex Billy, VP Billy O.
f3.5 These are known from the 1933 catalogue but no applications are known.
There was a f3.5/5cm Solinar on the Agfa Karat in 1939 (B.J.A. 1939, p262) noted as giving excellent
definition.
Solinar f2.7 20-50mm reversed Q15, for cine.
Igenar f8.8 105mm Triplet, Q13 on Billy Clack. It can be an achromatic meniscus as in
App001.
Agnar f4.5 85-105mm Q14, App008.
f6.3 75mm in B.J.A. 1957, p261. where on Isola camera.
f6.3 55mm Q14
Agfa Anastigmat f4.5 105mm Q14
Trilinear f4.5 105mm Q13
f6.3 105mm Q13
This is or was a Rietzschel trade name and has been noted at about No167,83x but may have been continued
on Agfa cameras until the new trade names were developed. These apparently had a bigger air-gap between
glasses 1 and 2 than the Igestar, and perhaps used more costly glass. The f6.3 and f4.5 were options on the
Agfa Standard Focussing Roll-film in B.J.A. 1931, p299.
Helostar f6.3) Helostar is in the 1933 catalogue as a dialyt, probably in both apertures.
f4.5) Helostar was described as a high grade anastigmat and bitingly sharp and even
in illumination. It was fitted to Agfa Standard Plate/rollfilm for 6x9cm. The only example seen is marked
"Doppel Anastigmat" but the iris is f6.3 and the lens f4.5- it may have been exchanged into a new shutter.
Symmetar f1.5 12, 20, 50mm This was a 8, 16mm cine lens. The design was said to be 5
glass unsymmetrical. It seems to have been quite a major product. The B.J.A. noted a 20mm lens in 1932,
p329, as needing a special lens mount on the Agfa Movex 16mm camera, and had helical focusing, with a
lever control, to 2ft, with click in settings at 10ft and 4ft. The attraction understandably was to take film in
artificial and poor light.
Kine Anastigmat f2.8 12-20mm Q14 NB This was continued postwar, and seems to be
listed at least 1937-1950. It may have replaced the earlier f3.5 below.
f2.5 11mm about 1957.
f3.5 20-50mm Q14 This was noted about 1928-1930, in 20mm for 16mm
probably.
Movenar I f1.4 20mm about 1958 for 8mm use.
Tele-Cine anastigmat f3.5 80mm This was a 4-glass design, ?2+2 type.
Lucellar This was noted in 25, 50mm, and it may be a projection lens of about 1931-
1938.
Prolinear f1.5
Prolinear f1.9 135mm These seem to be continuations of the Rietzschel products, and are
4-glass lenses related to the Speedic layout. Some may have been portrait lenses, or used as such. Only one
focal length has been noted.
Linear Convertible f4.5 65-180mm This was a symmetrical portrait lens, separable so that the
elements can be used separately. The name suggests another carry-over item.
Ocellar f2.2 36-65mm This was a Petzval Type movie lens Q3 for 20°
Oppar f4.5 95mm Q15, App005.
TeleAnsatz This was made for use with a 105mm triplet, the front two elements being unscrewed
and replaced with a new unit to give an f7.5 or possibly f6.3, 210 or 200mm lens. It was used on Agfa 6x9
Standard rollfilm cameras only.
Tele Satz Anastigmat This was an anastigmat accessory front lens, possibly the same as the above, from
the 1930's.
----------------------------------------------------------------------------------------------------------------------------
Post-1945 items These will normally be coated and most are for 35mm use. Production seems to have
resumed quickly after the War, there being 1946 models.
Solinar f2.8 50mm The lens was not initially a Color Solinar but a coated Solinar, ?
otherwise as prewar. It was on the Karat 1V.
Solinar f2.8 39mm This was much later, about 1966 on the Optima 935 and is probably
really a Color version with the name shortened.
Solinar f3.5 50mm on Agfa Solinette 35mm in 1953.
Solinar f3.5 75mm on Super Isolette about 1954.
f4.5 105mm on Billy Record about 1954.
Agnar f6.3 63, 105mm on Billy (1945), Isola II, and on Record I 1950's, 75mm on Isola
about 1957. An Agnar 6.3 is listed on a Billy 1 in B.J.A. 1954, p211.
Agnar f4.5 105mm in Record I as above, 85mm on Isolette I , II, V from about 1951. the
B.J.A. 1955, p222 describes it as 'modest but performs well, excellent results'. For a notice of it coated and
front cell focusing, on Record 1, see B.J.A. 1954, 224.
Agnar f3.5 45mm on the Silette about 1957.
Color Agnar f2.8 45mm on Silette I from about 1962 on many Silette Rapid and Silette 35mm
cameras.
Solagon f2.0 50mm as Colour Solagon actually, on Super Silette. (About 1954)
Apotar f3.5 55mm This was on the Karat, and was a triplet, App004.
Apotar f3.5 45mm on Silette (B.J.A. 1954, p218), Silette L and Silette 35mm cameras.
This was a triplet design. The B.J.A. report (1955, p224) says: front cell focusing, iris to f16 and a 3 glass
anastigmat, in an excellent camera giving good results.
Apotar f4.5 85mm on Isolette 6x6 and Isolette II and III about 1950-1956. (eg B.J.A.
1955, p220;) where the Isolette I had an Agnar f4.5. An example No628,99x seen in an Compur Rapid shutter
No6,492,289 seemed to be a triplet.
Apotar f4.5 105mm on Agfa Record II about 1952.
Color Apotar f3.9 60mm on 4x4cm Isoly.(1960)
Color Apotar f2.8 42mm on Optima 500
Achromat f8.8 3in? on 6x6 Agfa Click
Meniscus f11 on 6x9cm Synchro Box and Clack. It was fitted to the Isoly in c.1960
Ocellar 11 f1.6 20-50mm This was a portrait lens for movie use, and a postwar Q3 type.
Color Agnar f2.8 45mm Triplet,Q14. This was noted on a 1963 Optima.
Color Agnar f9.5 27mm on Agfamatic 1008, 2008,
Color Agnar f11 26mm on Agfa 2008
Color Optar f11 31mm on Agfamatic 1008 with Tele accessory Color Optar f11/43mm
Color Agnatar f3.5 40mm This was on the Optima 335 about 1966. It has a 4 glass design.
Color Apotar f2.8 45mm Q14 From about 1957 on Silette series, also with Color Solinar
f2.8/45mm option.This was also a 3-glass triplet, but fitted to higher price cameras, such as the Optima II and
III where the Optima I had a Color Agnar version of the triplet. It was a long lived item.
Color Apotar f2.8 42mm This was on the Optima Sensor about 1966.
Color Apotar f2.8 35mm This was on the Optima Rapid about 1966.
Color-Apotar f2.8 30mm on Parat I about 1963.
Color Apotar f4.0 26mm on Agfamatic 4000, Traveller and 508 Pocket.
Color-Apotar f6.3 27mm on Agfamatic 901 E about 1964. This was a 3-glass Triplet.
Color Apotar f8.0 27mm on Agfamatic 901 SE about 1964.
Color Solitar f2.8 40mm This was a 4-glass lens on the Optima 1535 and 535 about 1966. It
was a major product at the time on several cameras.
Color Solinar f4.5 105mm Q15 Several reports say this can be used on formats a lot bigger
than the 6x9cm that 105mm normally covers, such as 9x12 or even 5x4in, but this has not been checked by
the compiler. (It may be valid for use in close up.)
Color Solinar f4.0 35mm Q15
Color Solinar f2.8 45mm on Selecta M about 1966.
Color Solinar f2,7 26mm on Agfamatic 5008, also coded S-2 on Agfamatic 6008 macro pocket.
These seem to be 4-glass designs.
Color Solinar f2.8 50mm Q15 This probably marks the introduction of new glass? or designs
and came about 1955, for the AmbiSilette, and later on the Super Silette. It was also the standard lens on
the Agfaflex below, and on the Selectaflex. These lenses all take 35.5mm filters with 37mm externals and
use the same hoods, filters, Proximeter close-up units. Performance is atleast good and may be excellent.
Color Solinar f2.8 45mm This was on the Optima 500S about 1963.
Color Ambion f4.0 35mm This was a 4-glass lens
Color Tilinear f4.0 90mm This was a 5-glass lens.
Colour Telinear f4 135mm A scarcer long lens for the Ambi-Silette II about 1957
Ambiflex this may be listed wrongly below as Selectaflex? The shutter was a Prontor Reflex one and the
lenses much as the AmbiSilette but with one extra:
Colour Solagon f2 55mm This may have been required to clear the mirror unit or to
give better focusing.
Agfaflex lenses also for Selectaflex.
For further information see Modern Photography 4/1960 p9.
Color Solinar This was noted at No448,964.
Color Ambion f3.4 35mm Q15
Color Telinear f3.4 90mm Tele, 1+1+2 type
Color Telinear f4.0 135mm Noted for Ambiflex- but these may be more interchangable than this
suggests.
Soligon f2.0 50mm 6-glass Gauss, Q15
Solagon f2.0 50mm 6-glass Gauss, Q15
Color Solagon DI f4.5 70mm (This seems an exception to a 6-glass Gauss design?)
(Both versions of the name seem to occur).
Color Solagon In fact, all Solagons may be coded as 'Color' as in App007.
Color Telinear f3.4 90mm
Color Telinear f4.0 90mm
Agfa Color Multicoated f2.8 38mm }These were for the Selectronic I, 2 about 1966, and
}were fitted to cameras from Japan and were new
Agfa Color Multicoatedf1.9 50mm } in coating and style, as well as
Agfa Color Multicoatedf1.4 50mm }faster in the next case at least.
Agomar f2.8 100-150mm Triplet, Q14
Colorstar Special f11 40mm This was fitted to the Agfamatic 55C, 108 about 1966.
f3.2 Triplet Q14
Tele Objective f3.5 80mm for 16mm cine.
Color Ambion f4.0 35mm Q15
Memar f4.5 on Agfa Memo "rapid film" camera.
Color Solinar f2.8 50mm Q15
Isitar f8.2 This was on Iso-Rapid about 1960.
Color Isomar f8.0 Triplet on Moto-Rapid about 1966.
Achromat f8.0 43mm on Rapid I-F
Movenar f1.4 20mm A 8mm cine lens from about 1958.
Movestar f1.9 12.5mm An 8mm lens from 1958-1963.
It is also listed as 13mm on a Movex 8 8mm camera.
Agfa-Geveart They made a series of copier units after the amalgamation under at least two trade name and
the lenses can be a mystery if separated from the units. The lenses noted were coded:
"Repromaster" on 135, 150, 210 f9.0 and 240mm f9.5 lenses, and it seems as an f4.5/80mm of 6g/4c Gauss
design. This has an engraved iris scale, the others merely have on stop marked, for setting up the unit
perhaps and may have used a lever with external visible scale.
Fig 007016 Agfa-Gevaert Repromaster lenses f9 in 150mm and 210mm.
"Super Intergon" on a series running up to c.300mm, as f5.6/105; f8.0/210; f9.0/305mm.
The Intergon series seem to be regarded as Schneider lenses, just as it was initially suspected the f9
Repromasters might be G-Clarons under a different name. But when two 150mm lenses (G-Claron and
Repromaster) were compared, the curves differed. Users have commented on the sharpness of the results
from Repromaster lenses, and this has been found to be true in practice both for camera use and in enlarging.
The aerial image also looked very sharp and perfect. But in purchasing it should be noted that the iris action
on Repromaster lenses is unusual (calibrated at f22 only but with click stops otherwise) and severely limits
the prices obtained. (It would be easy to mark other apertures as they are click stopped and there is space to
stick on labels. And note the rear thread and register will closely match 150mm camera lenses in Size 0
shutters. But also note the glass seems to be set in one continuous barrel and not in cells transferable to a
shutter as with G-Claron).
Actually, there was some sign of the maker when two other lenses came available to compare. The first was
a f9/150mm Helioprint- obviously a name related to print making work. The design of the glass seems the
same as the Repromaster from the reflexions on the glass surfaces, specification and external curves, which
are the same back and front and in each lens as if 'one tool made all of them'. Another point is that the
f8/150mm Ultragon has a very similar mount to the Repromaster, even thought the glass differs in aperture
and curves here. Now the Ultragon is marked Staeble Ultragon, and this may suggest that all these three
lenses were made by Staeble for Agfa or another in the case of Helioprint. See also Ekofisk below.

AICO, London.
Agents with catalogues including enlarger lenses under their own names, eg:
AICO enlarging f3.5 as 35, 50, 75mm, f4.5, 105mm.
In 04/1973, they sold two series for SLR cameras, with preset iris in 11 types and a very wide choice of
mount,- and auto in 5 types- these were a new series then, in Nikon, Minolta and Canon, and Pentax thread at
lower price.
Auto iris series:
Aicomatic f2.8 28mm
f2.8 35mm
f2.8 135mm
f3.5 200mm
f4.5 300mm
In 1968, they included an:f2.5/85mm; f3.5/135mm; f2.8/135mm; f3.5/200mm; and f5.6/300mm.
Aicoset preset iris lenses:
Aicoset f2.8 28mm
f3.5 35mm
f2.8 35mm
f1.8 85mm This was f1.9 in 1968.
f3.5 135mm
f2.8 135mm
f4.5 200mm
f3.5 200mm
f5.6 300mm
f5.6 400mm
f6.3 500mm
also converters for tele effect as 2x, 3x, 2-3x zoom.
Aires IndustriesLtd, Tokyo, Japan.
Coral f1.9 45mm 6g/4c Gauss.
Coral f2.8 45mm on Aires 35-IIIa
Coral f2.8 50mm.
Coral f1.5 45mm on 35-V
Coral f1.5 75mm on 35-V
Coral f3.5 100mm on 35-V
Coral f3.2 35mm on 35-V
Coral f3.5 75mm on 6x6 Automat TLR.
Rare in the UK, these seem to have been good lenses in the 1960's.

Aitchison, James, (1860-1911) see Dollond & Aitchison, Wray.

AKa, (Apparate und Kamerabau Gmbh), Friedrichshafen, Germany.

Aka normally fitted Schneider Xenar and Xenon and ISCO Westar etc lenses to assure good performance, but
the Arette-A of 1959 had an Arettar f2.8/45mm as a lower cost alternative to the ISCO. It was actually marked
ISCO Göttingen Isconar f2.8/45mm. They also used a Wilon f2.8-50mm on the Arette BW with a Telexon f5.6-
90mm tele lens. These were used on other bodies, as well as a Lineogon f3.5-35mm wide angle lens.

Alba, Milano, Italy.

Active about 1900-1915.
Aplanat f8.0 135mm RR?
Aplanat f6.0 135mm RR?
Doppel Anastigmats f5.6,f6.8No details
Albini Double Anastigmat f5.5 100mm Noted at No538x.

Albinar
This has been noted as a brand in use on SLR's in the USA, though the source is unknown. An example was
an 135mm for 35mm Canon SLR.

Aldis Bros, Sparkhill, Birmingham 28, UK.

Aldis Bros. was founded by H.L.Aldis and his brother in 1901, and initially depended largely on the Aldis Uno
Anastigmat with 3 glasses in two components. Normally the cemented pair is in front of the iris, and
represents a triplet with zero separation of the front two glasses. Some have been noted however, with the
cemented pair behind the iris and a single glass in front, such as a 7in f6.0 in a brass mount at No 23,54x.
Many merely are marked Aldis and Anastigmat- "Uno" engraving is something of an exception and may
suggest a late lens. Uno is a very nice contrasty sharp lens and fully usable today if used with care and was a
real bargain. It was extended by accessory lenses which in one case seems to have converted it to a triplet.
They seem to have sold well on Lizars cameras eg a No1 at No713x and a No2A f6.3 in 6.5in on Challenges,
as well as to Ensign and others.
However Aldis tended to go over to producing triplet and 4-glass types as the patents ran out and the
collector will find these the commonest types on sale now. Often these are ex-press and large SLR's and in
sunk mounts marked as Aldis-Butcher or Aldis-Ensign. However Uno did exist still in the 1920's on the
Ensign Tropical Carbine, and was available as late as B.J.A. 1932, p303 on the Ensign Carbine rollfilm where
it was the 'cheapest standard model at £6.50 (f4.5 Uno in 7-speed Mulchro). Uno was still on the 1933 Ensign
Speed Film Reflex in the advert. but by then seems to be near the end of the normal sales period. One factor
seems to be Ensign going over to fitting their own make of Ensars to their Carbines. (There is a rather
detailed study of the Ensign lenses under Ensign.)
While working for Dallmeyer's, Aldis stated 3 conditions a lens must meet for astigmatism to be corrected:
a/ the converging lenses must be of high and the diverging lenses of low refractive index glass.
b/ the converging and diverging components must be separated by a considerable interval.
c/ thick meniscus lenses must be used.
These were stated while he was designing the Stigmatics, and represent a very different mindset from those
stated by Steinheil for his symmetrical anastigmat, but perhaps these were only proposed for a symmetrical
anastigmat.
Aldis was rather aware that some patents overlapped his work before 1900, and resisted a claim by Zeiss that
the Tessar patents of 1902 had priority, and in fact the adverts. by Aldis recounted how the Court found in
Aldis' favour when the Aldis f4.5 appeared. (Undated Aldis leaflet, produced by Nebro). An unusual item was
the Photosurvey unit of 1910, which combined a compass, level and 90° mirror so that pictures could be
properly oriented. (B.J.A. 1910).
A major diversion in WW1 was a 1914 special sniper's rifle sight (Telescopic sight) followed by the Aldis
signalling lamp, made in large numbers in both world wars and introduced quickly in 1915 owing to jamming
of aircraft radio messages, and an air-gunners sight; and this led to a stoppage of production of camera
equipments at times. They did make some aerial survey lenses in 1917 for the RAF, like others finding the
glass available prevented the direct copying of the f4.8 20in AeroTessar type requested and making a triplet
type instead. The first compromise was in aperture, which was reduced to f5.6 owing to the non-availability of
larger glass slabs. Secondly, they used a triplet design, and claimed it fully equalled the German original.
Production was from early 1918. Later bigger glass slabs allowed the production of similar f4.0 20in and f6.0
36in lenses, the latter for 10x8in. These were long focus lenses used over narrow angles, and the curves are
very "shallow" and the corrections can be amazingly good as a result. (The Photographic Journal of R.P.S.,
04/1919, p122)
A former employee working there about 1939 described seeing Aldis signalling lights in production, along with
many projectors and epidiascopes, which were sold to Germany, though the sales were unprofitable, (?
possibly due to currency changes after a contract was agreed?). The company was then owned by a Mr
Cridland who had an American wife, and Mr John Aldis was still involved in the business. Later the business
was sold to Pullin Optical and later became part of the Rank Organization. At one time after WW2 the
products were made in a factory in Scotland. Neville Brown were the Agents, at least for the UK. An unusual
note mentioned was that damage to lens surfaces, apparently coated ones, resulted from rats' feet and the
surfaces then had to be repolished to be saleable.
After WW2, when Aldis were absorbed into the Rank Organization, they seem still to have been mainly
responsible for production of projectors for 35mm slides. Initially these were a very solid design but later the
Aldisette was made with fan cooling, but of lighter design and the f3.2 replaced by an f2.5 projection lens still
of triplet type: brighter (B.J.A. 1957, p191) but from experience, rather more prone to flare.
The Uno design was unique and probably not used elsewhere as it was obsolescent when the Patent
(BP.5170) ran out. It is considered a landmark of a small but significant type for its real economy in design.
Note also the Duo and Trio accessory lenses which really extended its work, now hard to find as a set.
Collecting experience is that nice Unos are not too easy to find, but when found are often in brass cases.
Many were in shutters from the earliest examples but these shutters were often cheaper types and are now in
poor order. Shuttered Aldis lenses often do not show serial numbers, especially in the 1920's. Serial numbers
seen range from No1761 on a 6in Uno-type "Aldis Lens" up to 177xxx on an 10in f8.0 triplet and are
discussed below.
Fig 023022* Aldis Anastigmats: 2 examples in brass.
Series 0 f3.0 It was made as:2 or 4.75-12in, in 1921 as 4.0, 5.25in for 3.5x2.5in, 7.0in for
4.25x3.25in, 8.0in for 5.5x3.5in, 8.75in, 10in for 6.5x4.75in, 10.5in, and 12in for 8.5x6.5in.
The actual foci varied a little- thus it was 10in in 1929, but 10.5in earlier. This may be a real change or partly
due to the pressure of space on the material in adverts.
This was to cover 60°, and it was a Triplet, ie a Q14 type Anastigmat Portrait lens. The adverts. suggest it
was issued after WW1 (it is not in the 1914 advert.) and sold as a Portrait lens in the longer sizes, with some
shorter ones for movie use. But it proved too big for 1/4plate (Press?) use and a smaller f3.4 version was
issued to sell in this outlet. The actual foci varied a bit over the years, and not all lists include eg. the 12in
version. Use 5.25 or 6in for 6x9cm. Thus it was made in: 4.75, 5.25, 6, 8, 10, 12in in a later list, where 12in
was for 1/1plate, and in 1929 the 5.25in was the smallest listed. Some of these may have adjustable softness
control and this is mentioned in the adverts. but is not listed in the prices shown. However the main adverts.
are of a sharp well corrected portrait lens.
f3.4 5.25, 7.0in This was a triplet, Q14 and it was suggested to use 7in for
1/4plate. It was mainly used on Slr's and for portrait work in the studio. Thus it was on a Ensign 3.5x2.5in
reflex in B.J.A. 1927, p356. It seems to have come in for the 1926 season. Thus it is probably there as an
Aldis-Butcher below at No153,41x on an Ensign.
f4.5 This aperture was noted on a No7 Ensign Tropical Carbine as a 4in lens.
f3.0 for movie. This was listed in 1921/5 as 0.9, 1.375, 2.0 and 3.0in. The latter was
also suitable for 2.25x1.75in, ie 16 on VP. It was for cine and macro work.
f3.1 as 2in (50mm) for movie at No109,28x on a Ensign 35mm camera after 1908
from the Patent date ie. 1908-1914? It was listed on a Ensign Daylight Loading 35mm movie in B.J.A. 1926,
p195 as a f3.1/2in lens in focusing mount. This was a reliable budget wooden movie camera of the day.
Long Focus Portrait f5.6, 20in; f4.0, 20in; f6.0, 36in. These were listed in 1921 for 10x8 and 18x16in and
were sufficiently unusual to be "prices on application". They just may be related to WW1 aerial lens designs.
f6.3 0.9-3.0in This was for cine and macro work, but the design is
unknown. Aldis mounted several lenses specially for macro work.
Series 1 f4.5 1.375-11.5in for 60° (Q15) for large format reflexes.
This was made initially in 5.25, 5.75, 6.75in, and later in 3.75-8-16in. It was suggested to use 6in for 5x4. By
1929, the series was:
3.75in 3.25x2.25in
4.25in 3.5x2.5in
4.625in 4.25x2.5in
5.5in 4.25x3.25in
5.75in 4.25x3.25in
6in 5x4in This was still 'new' in B.J.A. 1924, p611 and seems to have been added later for 5x4in
use.
6.75in 5.5x3.5in
8in 6.5x4.75in
These were portrait anastigmats in 1925, and 16in was added then.
9.5in 8x5in
11.5in 8.5x6.5in
16in 10x8in
A soft focus "diffusion" mount were fitted to some or all 8in, and 9.5-16in examples but not if a sunk mount
lens was needed. Here they are priced separately in 1924. The soft focus is operated by rotation of the front of
the lens barrel which moves the front glass away from the other two by up to 14mm in the case of an 8in lens:
and this results in a significant change in focal length which users can find disconcerting. For a 8in lens there
was a c.2in change (shortening) in focus. The image softens but is never as soft as some makes, and some
fine detail is still retained. In regular use it was probably much more acceptable than the casual user might
think. It was seen at No131,98x. (It is uncertain if this is the same as the lens listed below from 1916, but it
probably is.)
A non-soft focus example noted was (surprisingly) a 1.4in lens No11304x which was found in a dialset Compur
shutter.
It was used in dialset Compur shutter on the Butcher Watch Pocket Carbine for 2.25x3.25in in B.J.A. 1925,
p332.
Fig 023016* Aldis (l) f4.5/6.75in SIM; (mid) f4.5/11.5in black finish lens; and (r) f4.5/6in SIM lens
Fig 023018* Aldis Anastigmats f4.5 (r) 3in No170,624; and (l) 4in No159,024. (in brass)
(?) f5.6 for 85° (?)This was possibly a Uno type, or 2+2 type. It was pre-1914.
In 1916, the Series II was f5.6 with cemented pairs of glasses back and front, so there are 4 air-glass
surfaces. But the same coding was also used for the Uno type f6.0 lenses below, (while Series III was a
f7.7Uno series.)
Series 11 f6.0/f6.51.75, 2.5, 4.5, 5, 6.5, 7.25, 8.5in for which 80° coverage was claimed. This
was a classic UNO type design with 4 air/glass surfaces.(B.J.A. 1921. p661; 1925, p628) where the following
table occurred:
2in f6.5 1.5x1.5in
3in f6.5 2.31x1.75in
4in f6.5 2.25x3.25in
5in 3.25x3.25in
5.75in 4.25x3.25in
6.5in f6.3 5.5x3.5in
There is a feeling that two or more series are mixed up here!
It was suggested in another to use 5.25in for 1/4plate, 6.4in for 5x4. It was made from 1902, and it was used
on Houghton box cameras and still listed in 1910 (B.J.A. 1907 p863, where 6.4in was listed for postcard size
use.) It is one of these which was noted with a reversed layout having the doublet at the back instead of the
very thick front glass. It was later replaced by the triplet types. (ie. Al001 reversed). A f6/No2 of about 6in
focus and with the pair in front covered most of a 10x8in plate but there would be a need to stop down at the
edges: this suggests Aldis's claims for a wide coverage were well founded, as the user of a budget price lens
would expect to use it stopped down under extreme conditions of cover. The lens was No7,28x in a Koilos
shutter (Pat applied for) for Z, 1-1/300sec., at No7,56x (no shutter?) and No9,282 in a B&L Automat. One
opinion is that it is about the best Aldis for use today, as the aperture is moderate, and there is nice
sharpness and contrast.
Incidentally, the editorial in B.J.A. 1925, p197 notes that for the 8.5in f6 Aldis, the entrance node is some
1.5in in front of the iris, while the rear node is 1.07in in front of the iris
f6.8 This was a compact version of 8in in Koilos shutter. (B.J.A. 1911, p684)
f7.0 1.75-7.25in This was a Uno type, Fig A1 001 for up to 80°.
Fig 023012* Aldis Uno f6.3/4.25in in Ensign Carbine.
Fig 023014* Aldis Uno f7.7/11in No100,874 and Duo and Trio- (these do not fit this actual lens but seem
to be the correct period and type.)
Series 11a f6.3 6.4in This was for up to 80°, and was aimed at a premium quality market,
having 6 air/glass surfaces (ie it was not a Uno). Both II and IIa were available at the same time in the 1924
list so there must have been a difference and Series II seems definitely to be a Uno. By 1934 it was made in
4.5-14in, 6.4 being perhaps the first version. One source says "Heliar" (Q19) but it was more likely that IIa
was a well made triplet (Q14 or Q15) Also see B.J.A. 1907, pp961-2 where it says a modified Series 11 and
covered 1/2 plate though designed for postcard. It was initially sold in a Unicum shutter. In 1929, the series
was limited to 4 sizes in the advert.
7.5in 6.5x4.75in
10in 8.5x6.5in
12in 10x8in
14in 12x10in
Series IIa: The IIa was sold as an f6.3 lens in B.J.A. 1925, p624. However the note in B.J.A. 1931, p313 says
that this was introduced as a result of the needs of the Indian and Colonial markets for a low priced lens, and
it followed the design of the f6.3 with a pair at the front and a single behind- ie Uno, and it was introduced as
an f7.7/16.25in for 12x10in, at £9.50. The advert, on p507 shows it as the longest of the f6.3 series and much
cheaper than the 14in f6.3 which also covered 12x10in and cost £19.00- so the 16.25in seems to have lower
covering power and may be more different than at first sight. It was not listed in 1930.
Series 11a enlarging f6.3 These were made in 4.5-7.5in This was a recognized variant, and made when
special enlarging lenses were possibly less common.
Small brass finish Aldis lenses are fairly common and this may explain their history. They seem to be more
common in f4.5 Triplet form however.
Series 11 f6.3 These were made in 7.25, 10, 12, 14in. (B.J.A. 1907, p862) It was suggested to
use 12in for 10x8in.
Series 11 f6.5 These were made in 0.9, 1.4, 2.0, 3.0in. It was a Uno type for use as a macro
lens for photomicro work, and for cine use. Some of these were sold in a R.M.S. thread, and there may also
be an f3.0 version in this thread.
Series 111 f7.7 These were made in 4.25in for 3.25x3.25in, 4.75in for 4.25x3.25in, 5.5in for
3.25x4.25in, 6in for 4.75x3.75in, 6.75in for 5x4in, 7.25in, 7.5in for 6.5x4.75in, 9in for 8x5in, 11in for 8.5x6.5in
and it covered up to 80° angle. They were also of Uno type. It was suggested to use 6.25in for 5x4. (Al002). A
f7.7/6.75in No1a was noted on a Boot's 1/4plate field camera. These were listed in B.J.A. 1906, p281 and
Sanderson fitted them in 1906. (Also see B.P.5170, B.J.P. 13/8/1912, B.J.A. 1925, p628 where the foci differ
slightly). They were fitted to Boots 1/4plate cameras in the period 1905-1915. It was made from 1903. An
example made later may be an f7.7/7.5in lens No108,19x on a 1/2 plate wood+brass camera.
Here the rear glass was very thin and rather flat, and the front of infinite focus, to correct it. It is well corrected
for spherical aberrations, and both light and cheap to make and to sell. There may have been an f8 version in
some sizes, as a No2, f8 No14,21x was listed at auction on a Sanderson camera.
This type was apparently used on Ensign movie cameras, about 1914/1915 as Aldis and Aldis-Butcher
lenses.
The f7.7 was noted on the Reflex Carbine of W.Butcher in B.J.A. 1925, p332.
Series 111a f7.7 It was made in 5.25,6.25,8.11in. A new wide angle lens with 8 air/glass
surfaces available "new" in 1934. It may be a Gauss type (Q16) for 100° angle, and may be a new version of
the "Oxys" below.
Oxys This was a symmetrical anastigmat of 2+2 layout and may be a Gauss Q16 type. It was listed in
1910 in two series, differing in aperture as follows.
Oxys series 1 f4.5 This had two separate glasses back and front.
Oxys Series 11 f5.65 This was probably the same layout, for 85° angle.
NB Another source says it is an unsymmetrical cemented lens, ?doublet, and an improved form of the Uno,
made from 1908, and to cover 85°. But no example has been seen to comment on.
Plano Anastigmat f6.8 This is a Uno type lens, in 1/4plate, 5x4 and 1/2plate sizes.
This has been seen in shutter, without serial number.
There was an f6.8 used fairly late on in the B.J.A. 1931, p294 as an enlarger lens on a Zodel enlarger. It could
be a Plano: there was also an f4.5 option, possibly a Series 0.
Anastigmat f8.0 This was seen as a 10in lens, probably mainly for studio use. It was a triplet
type. It seems to be a late product.
Studio Lens f3.0 eg No2, 6in. These seem to be an improved Petzval type. (B.J.A.1907,
p861).
"F4.5" The Aldis f4.5 Anastigmat was launched in 1914 (B.J.A.1914, p738) as 5.25in, 5.75in and 6.75in for
postcard, and possibly others. In the 1916 advert., there is reference to a Aldis anastigmat patent for a lens of
f4.5 with 2 separate glasses in the front cell, and one cemented pair in the rear- it sounds like a Q15 design.
The f4.5 lenses are fairly common and are probably triplet replacements of the early Series 11. But at least
one large 11.5in f4.5 in a black brass mount seems to be a 4-glass Q15 type, at serial No 10461x. The 1916
advert. lists:
5.25in 4.25x3.25in recommended.
5.75in 4.25x3.25in recommended.
6.75in 5.5x3.5in recommended.
8.0in 6.5x4.75in recommended.
Aldis Butcher f4.5 These were sold for large format reflexes, and on the Ensign Carbibe etc.
and were triplets (Q14) in sunk iris mounts. Thus there was an f4.5/4.7 No138,48x in on a 4.5x2.5in Carbine
and a f4.5/6in No133,98x on a Ensign Popular Reflex, and this was a common product of the 1920's and
probably a major item to the makers. This was a normal fitting, eg in B.J.A. 1921,p 63, 1929, p289; 1931,
p303 where the options are Aldis-Butcher in f4.5 or f3.4 (below). A f4.5/10in Aldis was used by Mr S. Black
FRPS for a photograph of dancers in Miniature Camera World 04/1940, p202. He also makes the point that an
old landscape meniscus makes an excellent soft focus lens if the iris is removed and an accessory unit
clamped in front to allow larger apertures than the maker intended with the original assembly. These were
used in the studio.
Aldis Butcher f3.4 There was also an f3.4 Aldis-Butcher at No15341x on a Ensign Autospeed. A big
example was a f3.4/7in at No136,68x on a Fallowfield tailboard camera, possibly used for portrait work, and
another was noted at No136,680 on a 1/2plate field camera from Fallowfield's.
Aldis Butchers could also be fitted in shutters, as No141,532, a f4.5/4in in Dialset Compur No972,854 (1929-
1930 shutter) and have been noted on projectors, but there they may not be original fitments.
Aldis Ensign f4.5 These were the same type of product.
Interchangable front elements
Duo These were special interchangable front elements for Uno to double the focal length
of Uno. There were different types for Series II to form an f12 and with Series III to form a f16.5. Add in 5 sizes
of Duo and it is hard to get a set unless complete and original with a camera. The example seen was
engraved "Duo lens x4 for No4 S11 4260x" ie for Series II and needing 2x exposure increase, and was brass
finished with brass caps (nice thing to get with the Duo). It seemed to have 4 air-glass surfaces and one
cemented one. These were made from 1907 and still listed in B.J.A. 1921, p661 with details; 1924, p613.
Trio These are similar items for 1.5x increase, and work at f9 with Series II and f11 with
Series III . There here seem to be 2 separate glasses, ie 4 air/glass surfaces. These were made from 1908.
Trio is better for cameras with short or limited extensions. Fig Al003 may be the design of trio, the trio bit
being shaded. There seem to be two separate components, +,- and produce what looks very like a normal
triplet when in use. Duo and Trio seem to have been made only for Series 11 and 111 lenses. B.J.A.1906,
p877 suggests that the cemented pair in Duo when in use is in the middle of the lens. At least 10
components were listed differing from Series 11 and 111, and as these are rather scarce items compared with
Uno itself, this is a hard field to understand. They are collectable, as is the soft focus lens but in seeking Uno
itself, care is needed to obtain the real thing rather than the more common triplets- which are of less interest.
Today Aldis is not a expensive brand and probably not much studied, the sources here being mainly
advertisements in B.J.A.'s and an Aldis 1934 Catalogue.
Aero f5.6 20in possibly a WW1 product. It may be a large triplet type. See
introduction section above.
In an Aldis case, a 20in f6.3 5-glass lens has been noted from WW2 and has an EE serial prefix to the
number. Thus there may be two aero series.
Later Listings.
Looking through the adverts. in the B.J.A. volumes for the interwar years, it does seem as if the firm was
sending in the same advert. year after year. This is not actually true, but there was less change than before
after about 1929. There was also a decrease in the size of advert. to a modest one page, which will have
limited the range of items listed. Thus other products may well have been available from the factory.
The f4.5 was a major item, listed below, and the quoted angle of 60° suggests it was a continuation of the old,
as in 1914, type. The one unusual feature was that several could be supplied in a special soft focus mount,
and these included the 9.5in for 8x5 and the 11.5in for 1/1plate. Otherwise initially the products were the Uno
type Series 11,f6.0 and Series 111, f7.7. These were listed in the 1921-1926 adverts, and it is likely that the
Series 111 f7.7 went on unchanged to 1939. But while the suggested lens choices for formats were the same,
they no longer stated the f7.7 covered 80°. Thus the lens which was discontinued was the f6.0 Uno type
Series 11. It seems likely this was replaced in sales by a triplet type f6.3 and this may well have been a
cheaper lens to make and more in keeping with the ideas of the period. There were also a range of Duo and
Trio lenses in 1921-1926 for Series 11 and 111 lenses, and photomicrographic lenses in 1921 in:
f6.5, 2.0, 3.0in; f4.5, 1.375, 3.0in; f3.0, 1.375, 2.0, 3.0in.
Aldis were also active in projection lenses and this just may point to an important market between the wars,
and to their postwar work.
In 1926 they listed 2 series:
(1) Aldis Cine Projection in 6 foci, and not in the old Petval type. It was in the standard 1 43/64in barrel
(42.46mm) as 3.0, 3.25, 3.5, 3.75, 4.0 and 4.5in lenses. In 1926, these were probably for 35mm movie
coverage.
(2) High Speed Projection f4.0, in 6.0, 8.0, 10, 12, 14, 16, 18in foci. Thus this was the long focus series,
and probably was for still lantern work. (B.J.A. 1925, p630).
Later the range listed was:
Series 0 f3.0 This was in 6in for 3.5x2.5in; in 1/4plate, it was felt that a 7in f3.4 was better. These sizes were
sold for folding and reflex camera. In general however, Aldis say the f3 is too heavy for large sizes and not
practicable for any folder. (B.J.A. 1926, p611 advert.)
It was really a portrait anastigmat and made for studio use as:
4.75in for 2.25x2.25in; 6in for 2.5x3.5in; 8in for 5.5x3.5in; 10in for 6.5x4.75in; 12in for 8.5x6.5in.
There were some really big ones to order, such as:
f5.6/20in for 10x8in; f4.0/20in for 10x8in; f6/36in for 18x16in. (B.J.A. 1921, p657.)
It was also made in some very small sizes for macro and cine:
0.9in and 1.375in for Photomicro, 2in and 3in for cine. (These were well listed in 1921, B.J.A. p657.)
Series 0 f3.4 This was the more mobile size and was made as:
5.25in for 3.5x2.5in, 7.0in for 4.25x3.25in, 8.0in for 5.5x3.5in, 10in for 6.5x4.75in, 12in for 8.5x6.5in. where the
7.0in was suggested for 1/4plate. There was a 'new' f3.4 Aldis in B.J.A. 1927, p348. The change in coverage
shown in the adverts., eg B.J.A. 1932, p511, will relate to the different maximum apertures. This was almost
certainly a triplet and gave limited coverage from the figures. It is no longer listed after about 1935. It was
listed in PIM, as well as SIM and SFIM for the shorter f3.4 versions, and all were listed in a special diffusion
mount, which is interesting as shorter foci such as 5.25in, were unusual in soft focus lenses. It has not been
seen.
Series 1 f4.5 to cover 60°. They were made for cine and in 3.0in for 2.3x1.75in, 3.75 for 3.25x2.25in , 4.25in
for 3.5x2.5in, 4.625in for 4.25x2.25in, 5.5in for 4.25x3.25in , 5.75in 4.25x3.25in, 6.0in for 5x4in, 6.75in for
5.5x3.5in, 8.0in for 6.5x4.75in, 9.5in for 8x5in, 11.5in for 8.5x6.5in, and
(a) these were in iris PIM, sunk mount SFIM or
(b) in a special diffusion mount. The diffusion mount was made in:
9.5in for 8x5in; 11.5in for 8.5x6.5in.
(c) They were also listed in Compur shutters up to 8in in Compur 3. This was a series which survived till the
war came in 1939, with little change, and was probably the main quality product. It gave good coverage, 6.0in
being listed for 5x4, and was probably often a Q14 type but it was also listed as 4glass, 3component type.
The rather common Butcher and Ensign versions do seem to be triplets, from external sight. Note one on a
tropical Carbine at No138,50x. They were still on Carbines in B.J.A.1928, p334; 1933, p71, but few makers
were advertising them after that.
Series 11a f6.3 Wide Angle Lens This was more a wide field standard lens than a special wide angle, but
must often been useful in a tight corner. It was made in 4.5in for 3.5x2.5in (6.75in diameter); 5.25in for
4.25x3.25in (8.25in diameter); 6.25in for 5.5x3.5in (10in diameter) (B.J.A. 1921, p666; 1926, p611), 7.5in for
6.5x4.75in (12in diameter), 10in for 8.5x6.5in (16in diameter), 12in for 10x8in (19in diameter), 14in for 12x10in,
and f7.7 in 16.25in (listed 1934) and these also continued up to 1939. But the maximum field was quite big.
Thus the 6.5in could cover 10in (254mm) diameter compared with 160mm diagonal on a 5x4in plate and in
general the diameter of useful image is 1.6x the focus.
But it was a general purpose all-round work lens. This seems to have been triplet but this is uncertain: and it
may have been initially a Uno type and later made as a Gauss. It was always in PIM or SIM, and must have
been aimed at the professional large format market, and it was suggested to use 12in for 10x8in, the lenses
being tailored to 1/2, 1/1plate, 10x8 and 12x10in. This makes it more likely they were triplets, which could
have given excellent results here. It was on the Tropical and other Carbines in 1928, p334 etc. with the f7.7
below as the lower price version.
Series IIb F6 This was a rapid enlarging series, made in 4.5, 6.0, and f6.3/7.5in.
Series 111a f7.7 in 5.25in for 8.5x6.5in, 6.25in for 10x8in, 8.0in for 12x10in, 11in for 15x12in. This was a
wide angle anastigmat, and may have been a Gauss type.
It was suggested to use 6.25in for 10x8in and this would have been a partner for the Series 11a or Series 1. It
has not been seen and may be relatively scarce.
Series 111 f7.7 in 5.5in and 6.0in for 4.25x3.25in, 7.5in for 6.5x4.75in, 9.0in for 8x5in, 11in for 8.5x6.5in,
16.25in for 12x10in. Here 11in was suggested for 1/1plate. These were also in Compur shutters except for the
16.25in lens. These seem to be triplets but have been listed as Uno types- so it is still uncertain. Also the
same price was quoted for the 5.5 and 6.0in lenses almost as if this was a close-out.
And note also the f8.0 series above- it was not listed in the adverts. but the latest two numbers seen are both
10in f8 triplets. These just may be enlarging lenses for 1/1plate. It may be that a Aldis f7.7 No7 No31,10x on a
Thornton-Pickard 1/2 plate College is of this type.
Fig .023020* Aldis Anastigmats f8/10in Nos 177,676 (r) and 177,900 (l).
A Uno f7.7 Enlarging anastigmat was used on the Ensign Magnaprint enlarger in B.J.A. 1933, p283.
The prices were below Ross and others, especially for the Series 111a where a 16in was about half price, but
had a much more limited angle of cover, so the customer had to buy a relatively long lens for a given format.
But the difference was smaller when two 6in f4.5 lenses are compared, though Aldis was still the lower price.
------------------------------------------------------------------------------------------------------------------------------------
The 1939 advert listed:
Series 1 f4.5 in3.75in for 3.25x2.25in; 4.25in for 3.5x2.5in; 4.625in for 4.25x3.5in; 5.5in for 4.25x3.25in; 5.75in
for 4.25x3.25in; 6in for 5x4in; 6.75in for 5.5x3.5in; 8.0in for 6.5inx4.75in; 9.5in for 8x5in; 11.5in for 8.5x6.5in.
These were for speed and reflex work.
Series IIa f6.3 7.5in for 6.5x4.75in; 10in for 8.5x6.5in; 12in for 10x8in; 14in for 12x10in.These were for general
all-round work.
Series IIIa f7.7 5.25in for 8.5x6.5in; 6.25in for 10x8in; 8in for 12x10in; 11in for 15x12in. These were wide angle
anastigmats.
Series III f7.7 5.5 and 6in for 4.25x3.25in; 7.5in for 6.5x4.75in; 9in for 8.5in; 11in for 8.5x6.5in; 16.25in for
12x10in. These were for general all-round work.
------------------------------------------------------------------------------------------------------------------------------------
WW2
Optical ordinance certainly included signalling lamps but a anonymous 20in f6.3 aerial lens of the type
originated as the Ross Xpres 5-glass, has been reported with an EE 189,36x serial number in an original case
from Aldis, Sparkhill, Birmingham 28, made under Ref 14A/3418 ^ so they were very probably making aerial
lenses as part of their work.
Late Products
These include some cine lenses: and Aldis projector lenses which interestingly all seem to be of triplet type.
Aldis anastigmat f3.0 These were made in 1.4-2.0in for cine use.
Projection (triplets) f2.8, f3.5,f4.5 These were made in 4-18in, with f3.0 and f3.5 at 2in for movie
projection. A f2.8/4in Projection lens (with 2in and 6in) is mentioned in B.J.A. 1948, p178;1954, p198, 190.
35mm Slide Projection
Projection (35mm slides) f2.5 This was typically an 85mm lens. (Triplet type) (B.J.A. 1957, p91) In the
Aldis 303 in the B.J.A. 1959, p219, it was 'well known' described as 'brilliant and well corrected'.
Aldis Projection f3.2 This tended to be an earlier type in 4-8in (postwar), see B.J.A. 1951
p251 on a Aldis 250 projector. Also idem, 1949, p216.
The slide projection lenses are really common but seldom traded as of too low value today.
Chronology and Serial Numbers.
No listing of Aldis serial numbers is known. Some suggestions can be made, but they are from a collection
which favoured purchase of Uno types. The earliest seen was No176x, and they may have started at No1,001
or the like. Four numbers were then noted up to about No25,000 and seemed to be an 'old' group, possibly
pre-1914, partly from the shutters such as a Koilos. This group was all Uno type lenses. There is then a gap in
the numbers to about No100,000 and this just may be during WW1 for Ministry related items, with a new start
at No100,000 or so in 1919. (However Hasbroeck dates a stereo pair at No100,438/100,447 on a T-P half plate
camera as 1905. These may possibly have a special numbering at 100 as a stereo pair.) Now there are more
Butcher and Ensign lenses, and two datable items:
(1) a dial set Compur at No113,049 in dialset Compur Nr451,79x about 1921,
(2) a Aldis-Butcher f4.5/4in No 141,532 in D/S Compur No 972,854 about 1929-30. Another was noted on a
Tropical Carbine as f4.5/4.7in No138,50x- note that it has a serial number while a tropical Carbine with a Uno
does not!
These have a general a feeling of the 1920's in shutter and white-filled clear engraving. And the use of the Uno
design gives way to triplet or possibly Q15 designs. There seems to be a decrease in Butcher or Ensign
lenssales after (say!) 1930. The last noted are two separate 10in f8 triplets at No177,67x and 177,90x in black
PIM mounts. It is suggested these are 1930's large format professional lenses but none are in shutters. Again
it is uncertain, but it may be that camera lens production ended soon after them. None of these lenses shows
evidence of War Dept ownership, but the 20in f6.3 does and the EE may be code for Aldis manufacture, and
the serial number a late one in the usual series. During WW2, the BJA adverts were of Epidiascope and
professional enlargers, and the latter had an f6.0 (not f8) Aldis lens. This continued until 1950, and in 1951 the
advert. is by Nebro and includes the 'new' postwar 35mm projector and epivisor.
Fig. 1 Aldis
Exposure: Aldis f6.0 6in in Koilos shutter.
Back Row Ensign Tropical Carbine with f6.3/4.25in Uno
(Left to Right) Aldis Anastigmat f8.0/10in.
Aldis Anastigmat f4.5/6.75in
Aldis Anastigmat f4.5/11.5in
Mid Row Aldis Ensign f4.5/6in
Aldis Butcher f4.5/3in in Compur
Aldis Trio 2x in brass.
Aldis Butcher f4.5/5.5in in shutter
Aldis Anastigmat f4.5/4in in brass
Aldis Anastigmat f7.7/11in
Front Row Aldis Plano Anastigmat No 2 f6.8 in shutter
Aldis Duo x4 in brass
Aldis Anastigmat f5.65/6in lens in brass
Aldis Anastigmat f6.0/6in in brass
Aldis Anastigmat f4.5/3in in brass.
Picture in Vademec 2 at end

Alpa, Ballaigues, Switzerland.

Alpa were a leading SLR brand after WW2 and fitted lenses from Angenieux, Kern, Kinoptic, Den Oude,
Schneider, Kilfitt and Schacht. They allotted Alpa names to some their products, and this may still need some
clarification. The source of the Alos lens fitted to the Alpa Post seems not to be known, nor is it numbered.
An Alpa lens is the Alpa Mercure f3.5/24mm but the source is not known. Note that the valued early Alpa
reflex had a different bayonet so the lenses are distinctive. The double series made in both mounts seems to
be most likely to occur with Old Delft and Angenieux lenses.
Alpex
US brand from Interstate Photo Supply Corp, 168 Glen Cove Rd, Carle Place, N.Y. 11514, USA. It was noted
in Popular Photo 08/1973, p64-6. Six lenses were available.
f2.8 28mm
f2.8 35mm
f2.8 135mm
f3.5 200mm
f5.5 300mm
f6.3 400mm
They seem also to have sold in the UK as examples have been seen here.

Alsaphot, France.
This firm seems to have mainly used bought-in lenses but FBB refer to Alsaphot lenses such as an
Anastigmat f6.3/75mm on the Cady 1 and 2 (1952), and the Alsar f3.5/75mm on the D'Assas (1952). There
were also less ambitious cameras with anonymous lenses.

Aluminium
The metal aluminium really entered commercial knowledge when a block was shown at the Paris Fair in 1855.
But for some years more it was a relatively costly one and Victorian makers initially regarded it as a high
priced alternative- something which is usually not reflected in prices today! The attraction was the relative
lightness possible in aluminium mounted lenses and the apparent resistance to corrosion. In addition,
aluminium melts at 660°, well below brass, and should be easy to caste. Sadly, it is awkward to machine,
clinging or welding to the cutting tools, and in the long term, screwed mounts tend to jam due to slow
corrosion and dirt, and the softness of the metal makes it hard to free them. Threads also tend to wear, often
due to dirt acting as an abrasive and this is typically where cells are screwed into shutters. It does corrode,
especially in the presence of salt, even that in finger prints. The collector will also soon note that paint has
poor adhesion to aluminium due to the metal forming a smooth surface layer of oxide. It is likely that it took
time for users to learn the use of the corrosive primers now employed. It may be worth when repainting,
wetting and cleaning off the metal surface with the thinners (containing phosphoric acid) of a corrosive primer
before using normal paint if the primer seems too bulky. There may also have been variations in the purity of
the aluminium, which can be critical. This tends to mean that the older aluminium mounted lenses are
something to view with care before purchase. But basically they are select items if in nice order and may be a
bargain. Later products may use alloys with better properties but the normal metal used up to 1939 for the
better barrel mount lenses was brass. Then suddenly during the War the top German makers switched to
alloy probably due to a wartime directive to keep brass for munitions; and postwar aluminium has continued
as the main metal used. Advertising stressed the lightness of the product. One select alternative is to use
brass for one part of a focusing mount and alloy for the matching thread- this seems to wear much better than
alloy on alloy. It should be noted that a few lenses were mounted in alloys which are white but are probably
zinc based and these have not proved to be a sound long term choice as the metal has weakened and
warped so that it can be crushed in the hand. This also applies to a few wartime German items, probably
made from pot metal- ie remelted scrap of unknown composition where no better metal was available.

AMCO
UK source of a copy of the Leitz Vidom (About April 1948) It was advertized by Sands Hunter and Co Ltd
Strand London, WC2 in the B.J.A. 1948, p31advert., p188 note and was for Leica only- it gave a right way up
laterally inverted image, like the Vidom. The workmanship was of a good standard, they have mainly lasted
well and look nice, and there is a parallax adjusting foot. £13 + Tax in 1948. There was no indication of the
actual maker.

American Camera Co., 399, Edgware Rd, and 93, Oxford St. London.
It was noted that the lens on the Mk2 model Demon was an achromatic meniscus.
American Optical Co.
This seems to have been a brand developed for Scovill and Adams cameras, and later developed. They are
now well known for safety lenses. They were owners of Goerz (USA) at one period and some American
Dagors are referred to as AOC or AmCo to indicate this.
The M.C.M. for Aug 1955 refers to the Todd-AO process, where AO was American Optical, and the lenses for
this wide screen 70mm print process were designed by Brian O'Brien, VP, as follows:
128°, 9in dia., f2.0 "Bug Eye" lens; 64°, f2.2; 48°, f2.8; 37°, f2.0. These will be rare items made for commercial
filming.

Amitar
This seems to have been a Sterling-Howard trade name for USA.

Anamorphic Unit
Souto says the use of cylindrical lenses goes back to Fresnel in 1825, but photographically it was unused
until the 1930's. Anamorphic units can be prisms or lenses and are used to enlarge an image differently in 2
axes at 90°- a familiar use being for wide screen photography.
Then two uses were noted in France, and they may have been linked in some way.
(a) Chretien (q.v.) designed the Hypergonar (1929) for film use: it largely lay fallow until Twentieth Century
Fox made use of it for Cinemascope in 1952.
(b) Another early design was by M.M. de Gramont et R.Petit and was produced by M de Gramonts company
Optique et Precision de Levallois , 86, Rue Chaptal, Levallois-Perez, Seine, France. It was used to
accentuate a models height in fashion photography, and used 2 prisms mounted with their apexes opposite
and hinged about one end, opening the hinge leading to a drawing out of the image in an axis at right angles to
the hinge. The unit also had a front positive lens to limit the size of the prisms needed, but basically the unit
was a compact box mounted in front of the normal lens. We think OPL later made a 35mm camera (Foca).

Anastigmat The outer parts of the simple lenses are unsharp partly because vertical lines and horizontal
lines are focussed at different distances from the lens. (Correctly they are tangential and sagittal lines.) This
was seldom corrected in lenses up to 1890, largely as the limited range of glasses then available made it hard
to correct both spherical and astigmatic aberrations in the same lens, and designers and customers wanted a
sharp central image to focus on. Actually astigmatism is more serious in degrading an image than spherical
and some designers tried to correct it. Some early attempts may be:
Pantoscop by Busch. Probably a very valid claim.
Antiplanet by Steinheil. Another valid claim.
Piazzi Smyth Petzval with field flattener- an uncertain claim.
M. Mittenzwei of Zwickau seems to have tried with the new glasses in c.1887.
R.D.Gray of New York also.
E. Hartnack and A. Miethe of Berlin (a Pantoscope type design?) which is said to have failed due to the
choice of glass.
K.Fritsch of Vienna, in an Apochromat.
F R. von Voigtlaender of Brunswick but with no details available.(It was probably to be the Kollinear)
Commercially viable lenses were developed with the Concentric of Schroeder for Ross, 1888-1892.and
Anastigmats of Rudolph and Zeiss (1889-1890) and the Double Anastigmat of von Hoegh and Goerz (1892).
See also Steinheil, Beck, Dallmeyer and TTH for innovators.

P. Angenieux, t. a. Ets. Pierre Angenieux, 34, Bd. Haussmann, Paris 9e

Factory and offices: St. Heand, Loire, France.

Initially Rue Murger, Paris. This continued for mechanical parts, after St Heand opened.
USA agent:Bell and Howell, 1955.
UK agent: Evershed Power Optics Ltd, 35 Soho Sq.,London W1.
By 1980, the Agent seems to be Canada Television Equipments, 2, Dolland St., London SE11.
P.Angenieux (born 1907) trained at the Ecole Superieure d'Optique (1928-1930) and worked for Pathe and
Optis and ASIOM on movie lenses, before he established his own company in 1935 initially to make
professional movie lenses. Some other prewar items did include a f4.5/105mm for 6x9cm (very rare) and X1
lenses for the 1938 Richard Verascope. And lenses were made during WW2 for Alpa (Swiss) and French
makes such as Reyna Cross and later Orenac. Early postwar, they were the optical member of the ATOMS
group (Assoc. de Techniciens en Optique et Mecanique Scientifique), and some lenses went to Atoms
cameras, such as the Atoflex II and III about 1948. The numbers seem to be about No165,xxx on Model II
and No173,xxx on Model III. And Angenieux became the supplier of lenses to Kodak in France postwar,
[except for a small number early on of Berthiot lenses for 6x9.] Here the bodies of Retina (?) and Retinette
were from Germany, but the lenses were French. These are among the well known items postwar, when the
firm expanded from 85 employees to 370 in 1955 and 625 in 1963. They are on Bell & Howell 70DR camera
adverts in the 1960's (B.J.A. 1960, p52) along with TTH lenses. It may be that this reflects the changing
ownership of TTH.
Judging from FBB, they were important suppliers to camera makers from about 1948 on the Orenac 1 to about
1960, when the number of French camera products was much smaller, one of the last being the Calypso
camera in 1960. According to Pont, Angenieux had something like a monopoly of sales of M39x26 (Leica) and
Contax lenses early postwar as imports from Germany were banned. But on Alpa, Angenieux were in
competition with the world's best, and were a favoured choice. Later, there was more attention to SLR lenses
with auto mounts from the late 1950's. They were initially in chrome, later in black. [Incidentally, one feature
noted is the use of axial locking screws to retain part screwed together, where the screw runs to engage both
threads. This is a technique much less likely to come apart than the usual radial screw and has been also
met on Zeiss Contax lenses (look at the area inside the rear bayonet) but is rarer than it might be.]
Thus for most collectors, they were essentially a post-WW2 manufacturer of commercial cine and television
lenses, and with an important side line in miniature lenses of very high and innovative quality. They are
especially noted for the introduction of the inverted telephoto design to general still photography under the
trade name Retrofocus. These owed much to the design work of Angenieux himself. They were a listed
supplier for Leicaflex lenses and made original equipment for Alpa (in both mounts) and Rectaflex. Production
of still 24x36mm lenses seems to have ceased in Fall 1995. The lenses made for the Retinette for sale in
France are especially valued abroad by collectors. P. Angenieux was very unusual in being awarded a
"Oscar" in 1990 for his work as a lens maker, especially of zoom lenses. In TV, the 16-672mm zoom is
something of a world record. By 1980-1990 the firm was increasingly occupied with making special equipment
as part of the Essilor group, and ordinary camera lens production ceased. In 1993, they became part of the
French Thompson CSF group, and as part of Thompson-Armement-CSF where they make military and space
equipment, including 2500mm high resolution lenses for the "SPOT" satellites (2 per unit!) It seems that one
other factor was reticence in Japan over the specification of autofocus systems which made production of
zooms for modern SLRs difficult.
Angenieux was the subject of an article in Photographica, 89, 25, 1999 by P-H Pont, and he has been kind
enough to give a lot of help in this section.
Chronology
A major study of Angenieux products has been published by M. P-H. Pont of Photo-Saga in "Objectifs
Angenieux" a collection of articles originally published in the Angenieux housemagazine VU with some extra
information, and in "Chiffres Cles", and M. Pont has allowed the inclusion here of part of the serial number
data in his book, which covers the years 1936 to 1991. The numbering pre-1941 was up to No15,000, and
reached about 15,000 in 1942 and 25,000 in 1943 and postwar, numbers began again in 1945 at about No
50,000 . Then:
1946 65,000 1947 95,000
1948 120,000 1949 150,000
1950 175,000 1951 188,190
1952 205,144 1953 252,953
1954 333,942 1955 375,494
1956 422,225 1957 457,710
1958 489,029 1959 656,782
1960 772,739 1961 892,237
1962 983,620 1963 1,048,806
1964 1,089,651 1965 1,133,553
1966 1,165,206 1967 1,197,971
1968 1,218,594 1969 1,243,618
1970 1,276.691 1971 1,303,945
later, by 1980, 1,460,230
and by 1991, about 1,550,000
It is very noticeable that French industry was able to recover quickly from WW2 and the number made early
postwar explains the many lenses found on Rectaflex and Alpa cameras of the period before the German
industry was supplying in quantity.
On Angenieux, coating was an early postwar feature, in a specially designed facility.
Retrofocus This must be a Landmark.
Retrofocus R61 f3.5 24mm This covered 83°. see An001, An002. It was sold from 1962-1970. It
was noted at No647,41x and 674,41x for Alpa.
Note there seem to be two distinct layouts here.
also: f1.3 15mm for 16mm cine.
Reported for Exakta at Nr 718,67x, it seems to be less common. It was made from 1957
Retrofocus Type R62 f3.5 14.5mm at No1,132,70x This was noted for Arriflex, where the depth of the
mount may have required a different type. It was 'new' in the B.J.A. 1960, p160 as a extreme wide angle lens
for 35mm movie work. The mount has resemblance to the older 18.5mm f2.2 with a 1.5in dia. front glass, and
a long rear clearance. Definition was said to be "exquisite". It was coated and black finish.
Retrofocus RII f3.5 28mm This covered 75°. see An003, An004 It was made from 1953.
These initially had a preset iris, but were later auto-iris. Probably covered by USPat 2,696,758 (1954) It was
seen at Nr368,68x in plain iris mount for Exakta. Others were noted at 278,31x, 451,13x (Exakta), 456,71x
and 471,51x, and up to 1,253,502 for Alpa. It was a successful later product. It was sold from 1953. (see Fig
below with 35mm)
Retrofocus RII f2.8 28mm Prototypic for Exakta.
Retrofocus R1 f2.5 35mm for Leica,Alpa, etc. See An005 about 3/1950 63°
This was the lens which effectively moved the retrofocus design onto the user scene. It was 'new' at the Paris
show in March 1950 and this included fittings for reflexes, with the f1.8/90mm long lens. The idea was not so
novel as it was well known to movie users, but the application to still 35mm was new. And for the first time
SLR's could use lenses shorter than about 40mm with the mirror. For the Leica it set new standards of speed
and eveness in illumination. Performance was good compared with the opposition, and the eveness of
illumination was praised. Now it is a first class Landmark lens. Note that the front glass is of fairly low power
in these early inverted tele lenses and the back is a recognisable triplet (or Gauss design in other makes).
Subsequent designs are more complex and the idea less easy to see. Rather few Angenieux patents seem to
exist, perhaps supporting the idea that the special novelty was in the application. Early examples are coated
with plain iris mount, eg. at No46061x. Only two were noted at auction, which may be chance as it is
relatively easy to find. These were at No202,19x and 385,61x. Later No476,96x (Exakta) was noted. No
example in Leica fitting was noted. Dealers recognize two types as older and newer (plain and then preset iris)
and then there will be auto as well so there are basically 3 types of mount. Pont says it was made for Exakta,
Praktica, Rectaflex, Leica and Contax, but not all of these are known in the UK.
Fig 029017* Angenieux Retrofocus lenses f2.5/35mm No460,618 and f3.5/28mm No368,685 (Exakta fits).
Retrofocus R31 f1.8 6.5mm for 8mm cine
Retrofocus R21 f1.8 10mm for 16mm cine
Retrofocus R2 f2.2 18.5, 24mm for 35mm movie.The latter has been noted coded R2 for movie
35mm eg on Arriflex at No422,19x, 365,99x. This has a blue and mauve coating. (Sadly, the example seen
was incomplete lacking mount and iris.) It was noted as offered on an Newman-Sinclair Auto-Kine Model N
35mm movie in B.J.A. 1955, p201.
Fig 021023* Angenieux Retrofocus R2 f2.2/18.5mm No422,190: it is incomplete as it lacks the original
Arriflex mount.
Non-Retrofocus designs.
Alepar Z2 f2.9 50mm 45° This was designed and sold for the early Alpa (Pont dates it from
1942), also was used for the Wica, Orenac 1-III (1948-1950), Gamma III and Pontiac Lynx II in1944. An
account of an early Alpa in MCM Dec 1945 has one of these, with also a f1.8/50, and f2.8/85mm as well as
Berthiot f5.7/38mm (non-retrofocus) and f4.5/145mm lenses.
Early lenses for Alpa and Bolsey reflexes are roughly in the range No32,49x and 48,61x for Bolseyflex and
45,803-66,15x, 66,11x, 54,25x, to 72,692 at least for Alpa Reflex. This or a similar lens also is found on the
Rectaflex at 143,30x, 143,39x and 149,24x and on the Gamma at 146,32x and 164,87x. Thus it is associated
with some valuable early postwar reflexes, and was sold in parallel to the SI. It is a remarkable lens
considering the situation, described as having remarkable clarity and detail. No32,499 was sold at auction on
a camera originally dating from 1945.
Alitar f2.8 50mm This was sold for normal Alpa bayonet, and for reflex also.
S1= Alitar f1.8 25,50,100mm see Q18 This was a 6-glass Gauss for Rectaflex,
Alpa, Wica,cine. There was a series for cine. It seems not to have featured on the very earliest Rectaflex
cameras, but was supplied for review by MCM in 4/1950- and rated slightly soft at f1.8, but at f3.5 it matched
the best 4-glass triplets. It was noted on a number of Rectaflex cameras at Nos149,77x, 153,56x and to
159,85x approximately, and some owners suggest that it was the high grade choice on this model. The
example seen was No159,56x on body No27,594. It was for Alpa as Alitar S1 at 70,53x, No83,59x, (1948
camera) 89,69x and 191,47x.
S2 f1.8 28mm This was probably a new type Gauss design.
S21 f1.5 50mm This was a Q18 This seems to have been listed for the Exakta
among other cameras, and was the first lens of this speed to be offered on them. Pont points out that it was
unusual since it was a 6g/4c Gauss with increased rear clearance of 37.5mm so it could sell for SLR's when
no other maker had as fast a lens. It was used on Rectaflex and Alpa(?) but probably not Exakta owing to the
smaller bayonet.
M1 f0.95 25, 50mm This is the big one, but so far no details except that it is said to
cover 35mm. It was selected in the 25mm version by NASA for the 1964 Ranger flight against world
competition, and later extended for professional movie to 50mm. A 50mm example was noted and found to
lack an iris and had no focusing movement as well as very limited rear clearance. It seemed to be a typical Xray
recording lens and likely to be hard to reuse.
f1.4 25mm Also Q18, for use with cine.
S41 f1.4 25mm on 1955 Bell & Howell for 16mm.
f2.5 75mm
Alsetar f3.5 75mm See layout An006, for Alpa, triplet design. An example was noted at
No58,31x for Prisma. It must be an uncommon lens at least in this use. Pont points out that in its deep throw
EXTENSAN mount focussing to 45cm, it was essentially one of the first macro lenses for the naturalist. It was
a 3glass triplet, but performance will be good over the limited angle covered.
(?) f4.5 75mm There seems to be this lens as a ?prototype for the Atoflex prototype
camera.
There were two types of f2.5/90mm lens, and they are/were coded YI (Alportar) and YI2 (Alfitar)
respectively. It is not always apparent which is involved when the specification only is used. They will have
the layouts An 007 and An 008.
Y12 Alfitar f2.5 90mm 27°, for Alpa, also Leica in 1950. It was seen as a lenshead
at Nr387,788 with plain iris mount, possible from a movie lens mounting, since the register was too small for
mounting on normal SLR's. Five examples were noted at auction as parts of outfits, and show that it is
relatively common. These were at Nos 99,56x to 812,33x and were for both Alpa and Rectaflex. It seems as
abundant as the 135mm or more so. See layout An008, for Alpa Noted at No675,83x and 1,067,49x. It was
also for Rectaflex at No525,39x where it was also coded Y12.
Fig 029027* Angenieux Y12 f2.5/90mm No387,78x. Sadly, this has lost part of the mount, probably a cine
camera flange.
Alportar
f2.5 90mm Layouts An007,An008.
These are in general all roughly An007, [or Ernostar-4] type lenses.Two were noted at auction as Alfitar at
No1,067,49x, 1,227,91x for Alpa, 387,76x for Exakta.
P1 f1.9 (?) 90mm (Uncertain, f1.8 is the normal type).
f1.8 90mm This was a Q18 type, normal type. It was then a very fast lens of
5g/4c design initially sold before 1950 for SLR's such as Rectaflex and probably Alpa and Exakta. It was
noted for M39 at No192,80x.
f2.5 100mm This has been reported but no details are available.
P2 f2.5 135mm
Alcorar f3.5 35mm This is a non-retrofocus wide angle and is said to be a X1 in
Angenieux naming or Q15 type in the layouts.
Alogar Type Y2 f3.5 135mm An008 This was made for Alpa in both bayonet mounts. One seen in
the small Alpa mount was surprisingly slim, and almost plain black in finish. It was said to differ in optical
design from later lenses. At No55,78x, it seemed to be uncoated and was in a slender mount with focusing
but no distance scale- acceptable for an Exakta mount lens but suggests an improvised lens possibly
adapted or rebuilt from a movie lens? It probably is optically the same as the next item.
Y2 f3.5 135mm An008 This was seen at No224,10x in plain iris mount for Exakta.
Also it was seen at No164,06x as a short head of unknown origin, and with a very pale blue coating. Later
coats are more purple in colour, as on No324,377 which is a Rectaflex OBI. Pont quotes it as from 1949. It is
one of the easier to find today.
Fig 029019* Angenieux Y2 f3.5/135mm No224,103 and head No164,060.(Algular
f3.2 135mm Noted at No553,55x for Alpa. It is an Den Oude Delft product not Angenieux!)
Y2 Also noted as P21
f4.5 180mm This was noted on Exakta and Alpa; and the lenses noted were at
Nos 795,71x (A), 892,37x, 920,38x, 1,111,31x(A) and 1,111,37x (2x), 1,232,51x (A). It is certainly less
common. It is a 5g/4c design (1+2+1+1) and sold for some 20 years about 1952-1972. It is a short type of
design so the tube length is less than might be expected.
APO f2.3 180mm This a bigger lens, with 8g/6c design, and internal focussing and
noted in a black mount. It will be a scarce item.
Movie and special Lenses
anon? f3.5 25mm This was for the Simda camera, and replaced the Roussel 3-glass
lens of the same specification in c.1958. (P-H Pont, article on Simda). The Angenieux lens is generally
regarded as an improvement. It was noted on camera No2034 at auction.
Type M f0.95 25mm, 50mm This is an exotic 16mm and perhaps 35mm cine lens, which
uses an 8-glass, 6-component layout. (Modern Photo. 10/1955, MCM July 1955). One seen was in an
'unusual' mount, probably for a 35mm movie camera and was coded type M.
(?) f1.8 10mm This is also a 1955 lens and a retrofocus type. This may be noted as
No1,159,29x in a non-focussing mount for 16mm.
(?) f1.8 12.5mmQ21
(?) f1.8 35mm Q21
(?) f2.5 75mm 5-glass triplet
Single Focus Cine and Movie Lenses.
Lists from Evershed Power Optics (the UK agents) suggest this lens set was stable over quite a long period
in the late 1960's and 1970's, probably as Angenieux were concentrating on developments in zooms. A typical
list was as follows:
35mm Motion Picture Lenses.
Type R62 f3.5/T3.8 14.5mm covers dia.(mm) 27mm
Type R2 f2.2/T2.4 18.5mm 27mm
Type R2 f2.2/T2.4 24mm 31mm
Type S2 f1.8/T1.9 28mm 30mm
Type S2 f1.8/T1.9 32mm 31mm
Type S2 f1.8/T1.9 40mm 43mm
Type S2 f1.8/T1.9 50mm 43mm
Type M1 f0.95/T1.1 50mm 30mm
Type S3 f1.8/T2.0 75mm 43mm
Type f1.8 f2.0/T2.2 100mm 43mm.
16mm Lenses in C mount, etc.
Type R7 f1.8/T2.0 5.9mm 12.8mm
Type R21 f1.8/T2.0 10mm 13mm
Type 22 There seems also to be a 10mm of this type.
Type 41 f1.3/T1.5 15mm 15.8mm
Type M1 f0.95/T1.1 25mm 17.5mm
Type S41 f1.4/T1.5 25mm 19mm
(Type M1?) f0.95 50mm This was listed for Vidicon but ?not for cine.
Type S5 f1.5/T1.6 50mm 19mm
Type P3 f2.5/T2.7 (or f2.5?) 75mm 18mm
Type P2 f2.5/T2.7 100mm 19mm
Type P4 f2.7/? 150mm 17mm.
Lenses for Vidicon
R41 f1.3 16mm 15.8
S41 f1.4 25mm 19mm
M1 f0.95 25mm 17.5mm
S5 f1.5 50mm 19mm
M1 f0.95 50mm 30mm
P3 f2.5 75mm 18mm
P2 f2.5 100mm 19mm
P4 f2.7 150mm 17mm
Lenses for Plumbicon This is a 1in tube.
R62 f3.5 14.5mm 27mm
R2 f2.2 18.5mm 27mm
R2 f2.2 24mm 31mm
S2 f1.8 28mm 30mm
S2 f1.8 32mm 31mm
S2 f1.8 40mm 43.2mm
S1 f1.8 50mm 43.2mm
M1 f0.95 50mm 30mm
S3 f1.8 75mm 43.2mm
S3 f2 100mm 43.2mm
Zooms
The Evershed lists were used as a basis for this Table, which should be then compared with the other items
actually noted. It seems Angenieux were listing 6 types of zoom, for (a) 16mm and (b) 35mm movies, (c) for
Vidicon and (d) for Othicon and (e) for Plumbicon. By this period, (f) for 8mm was a declining activity.
Early on (say 1962), they made zooms in 4x and 10x with some for 6x zoom. All (at least the 4x) were
'mechanically compensated for image shift', using a front cell to focus, then a unit dragged to-and-fro to zoom
and another which moved slightly to trim up the corrections- with an imaging group next the camera. In 1962,
the 10x zoom was still 'new'and may have had some teething problems (eg in Nov 1963), possibly due to
problems in cutting the cams to control the lens movement, and Evershed were making a novelty in adding
powered controls and micro motors to the lenses. Evershed notes that there was a real need for critical focus
setting and Angenieux designed and supplied a collimator to allow their Agents to do this for customers, free
of charge, and later Evershed Power Optics sold the Richter (or other focus setter) which was of real value- it
suggests they felt that the cameras of the time were sometimes lacking in agreement between the reflex
register, and the actual film register; even if this was OK with the film stationary, it could vary with the film
running. The lenses were normally in black anodized finish and looked very smart. It is possible that the
lenses did have some components in common or even that lenses for 16mm and Vidicon were the same but
this is not evident from the leaflets- as might be expected.
16mm Zooms
Aperture/Speed Foci Makers Code Field (dia, mm)
f0.95 T1.1 16-44mm 2.8x16
f1.1 T1.3 16-44mm 2.8x16
f2.2 T2.5 17-68mm 4x17 12.8mm
?also with retro unit for 12.5-50mm
f2.2 17.5-70mm L4 for Arriflex
f1.6 T2.2 9.5-57mm 6x9.5
f2.2 T2.5 12.5-75mm 6x12.5 12.8mm
f2.2 9.5-52mm 6x9.5 for Arriflex.
f2.2 T2.8 9.5-95mm 10x9.5 12.8mm (1966,1977)
uses here included Arriflex.
f2.2 12.5-72mm 6x12.5 for Arriflex and Cameflex, 1973
f2.0 T2.3 12-120mm 10x12 12.8mm
f2.2 ? 12-120mm 10x12 12.8mm (1966)
f2.0-f2.8T2.3-3.2 10-150mm 15x10
f3.5-f4.8T4.2 12-240mm 20x12 (1966,1977)
35mm Zooms
f2.6 T2.8 20-120mm 6x20mm
f3.2 T3.9 25-250mm 10x25
f3.5 T4.3 35-140mm LA2 noted about 1962, 27mm dia.
f2.2 ? 35-140mm LB1 27mm dia, black anodized.
f3.5 T4.3 25-100mm LA5
f3.2 T3.9 25-250mm 10x25
? ? 25-150mm Noted 1963.
f2.6 24-240mm 10x24
Super 8
f1.9 8-64mm 8x8 7.2mm
?formats
f3.5 25-100mm 4x25 30mm field?
f3.2 25-250mm 10x25 27.2mm field?
Vidicon Format
f2.2 20-80mm 4x20B in 09/1968
f2.5 20-80mm 4x20A
f3.3 30x120mm 4x30B in 09/1968
f4.4 40-160mm in 09/1968
(This may be 4x20B with an extender unit?)
f2.5 15-90mm 6x15B
f2.8 15-150mm 10x15A in 09/1968 list
also 22-220, 30-300mm ? with extenders?
f4.5 15-300mm 20x15A 15.8mm dia field in C-mount.
f2.8 12-120mm 10x12B In reflex and plain mounts
There are actually 12 versions here, depending on mount, etc.
f3.2 25-250mm 10x25B There are indications this was used for both 35mm
movie and for Vidicon.
f3.8 35-350mm 10x35B
f2.2 17-68mm L2
f2.5 20-80mm L5
f1.5 15-150mm 10x15CMB
Orthicon
All these are for 43.5mm diameter.
f5.0 40-400mm 10x40
f3.8 28-280mm 10x28
f3.8 35-350mm 10x35
f4.0 55-1,000 18x55
Plumbicon Format
f3.5 28-112mm 4x28B for 22.2mm dia.
f2.6 22-132mm 6x22 T11
f2.8 18-180mm 10x18 T11/T21
f3.2 25-250mm 10x25 T11/T21
f2.2 14.5-145mm 10x14.5 E11
f2.5 18-180mm 10x18 L11/L31
f2.2 18-180mm 10x18 J11/J31
f2.2 18-180mm 10x18 K11/K31
f2/f7.5 18-675mm 15x18 E61
f2.4/f8.5 18-675mm 15x18 L61
f2 27.5-500mm 18x27.5 E11/E31
Zooms
The first was in c.1958 and the result of work by some 8 calculators.
(Initially f2.2 17-68mm for 16mm. Some 70,000 were made. At the same time zooms for
8mm cameras were made at some 4,000 per month. Later it was extended eg in 1961 to a 10x range, in 1976
to a 42x range and in 1995 to a 62x range.
f2.2 17.5-70mm This seems to be a distinct product.
[(?) f1.8/f2.5 90-135mm These two 90-135mm zooms are questioned by M. Pont
which suggests they have arisen from confusion or a misprint- It is best to assume there was never a 90-135
zoom.]
(?) f2.5/f3.5 90-135mm
(?) f2.5 12-50mm
(?) f2.5 20-80mm
(?) f4.8 12-240mm A special long range zoom.
K3 f1.4 9-36mm for 8mm on 1960 Ercsam.
K2 f1.8 7.5-35mm for 8mm on 1961 Beaulieu.
K1 f1.8 9-36 or 9-35mm This was for 8mm cine, eg 1960 Carena. This was seen at
No857,26x.
Fig 021 019 Angenieux Zoom f1.8 9-36mm No857,266 for 8mm use, type K1.
KI f1.9 9-36mm on 1960 Carena also for 8mm.
Type B f1.5 15-25mm on 1953 Emel 8mm. This is said to be a projection lens not a
camera lens.
Type 8x6.5B f1.8 6.5-52mm on 1963 Ercsam 8mm.(?)
f1.8/f2.590-135mm for still cameras(?)
f2.5/f3.590-135mm
Zoom f3.5 35-140mm This was for 35mm movie work, and was described as very
compact, (5in long x 2.25in dia.) with a lever to adjust the focus. It was for reflex cameras only as there was
no finder built-in, including: N-S, Arri, Cameflex, Newall etc. Cost: £ 275.
Zoom f2.2 17-68mm This was a first, as and early zoom specification for 16mm made
from 1958. It is still an item found quite often in sales. See also above. It was noted on a Beaulieu in Modern
Photo 02/1968 p124, "leaves little to be desired".
Zoom f2.8 45-90mm This was the first Leica approved Zoom and was issued for Leica R
in 1968. It was listed c.1970-1982, and late versions were in triple cam mounts. It used a
16glass/11component/3group design. It was noted at No1,307,550 for Leica reflex. There were also
Zooms (other) 35-70mm and 70-210mm Zooms Both these had close focus abilities. The 35-70mm
f2.5-f3.2 was noted for Nikon F at No1,479,78x, Leicaflex at No1,510,83x. This was a 1968 introduction.
[Zoom Prototype] f3.2 28-80mm This was never produced as the project shown at a 1988
show was replaced by the autofocus 28-70mm zoom.
Zoom f1.8 7.5-35mm This was for the Leicina and was noted on a 8SV 8mm camera at
No1,079,32x.
Zoom f2.2 12-120mm This was the major 16mm product being met on Eclair Beaulieu
and Bolex cameras, eg at No1,152,37x and 1,377,65x: No1,367,27x was noted on an Arriflex. One book
describes it as the usual item on late Bolex Pro cameras.
Zoom Type 20x12B f3.5 12-240 or 250mm This must have been a premium product with a long zoom
range and was mounted for Arriflex at No1,377,53x and otherwise at No1,377,65x.
Zoom T1.1 in Eclair, Cameflex and C mounts, T1.3 for Arriflex and CPR mounts This gives
16-44mm (new 31/08/1979 from Canda TV.
Afocal Adaptors converted the above to T1.6 or T1.3 for 12-34mm or 27-55mm but these did add weight at
2.8 and 3.2lb, though they do not reduce the aperture. The factors were 0.75x and 1.7x focus. They can also
be fitted to updated versions of the next:
Angenieux 10:1 and 15:1 Zooms These could be modified to give 9-91mm and 20-205mm or 7.5-112 and 17-
255mm. It is likely the 10x was the next item.
Angenieux Zoom f4/f5.6/8: 25-625mm This exceptional zoom range involves a decrease in aperture
but it is multicoated and seems to be internal focusing. It focuses to 1.3m, and the 25x zoom range is
impressive! The price was DM 39,500. (B.J.P. 26/12/1980, p1300). They also offered 2 new designs:
Zoom T3.2 5.5-20mm This was very wide for a ?35mm zoom It was specified for a
NASA flight at the time.
Zoom T2.0 9-108mm This was also a very high quality item. There were also Retro and
Tele attachments.
Zoom f3.2 25-250mm This was listed for Mitchell BNCR in 07/1976 at $7,305.
Zoom f2.6 20-120mm This was also listed for Mitchell BNCR in 07/1976 at $14,250.00
There were also many zooms for movie (eg Arriflex below), cine and tv. Some of these can be very
impressive such as a Type 10x14E Zoom covering 14-140mm at f1.6, which is 38cm long at infinity,
extending by 4cm when focused to 0.95m, with iris and zoom, which were/are probably operated via Bowden
cable from mangle wheels at the rear of the camera and a big lever (missing) for the focus puller. The register
is some 5cm from the rear and the use probably was for Orthicon, ie about movie format, as it seems to cover
about 18mm diameter. It takes 154mm front caps and bayonet type filters and shade. It must be a rare item
and originally truly costly, though the one seen was in rather used condition. Thus it can be said sharpness
was at least good but little can be said about contrast.
Fig 012032* Angenieux 10mm retrofocus for 16mm below a Zoom f1.6 14-140mm for TV at No1,397,027.
Fig 012034* Front glass of above 14-140mm zoom.
Zoom f2.5 17.5-70mm This was noted for Arriflex in B.J.P. 17/11/1978 where it was with a retro
attachment for 12.5-50mm as well.
Arriflex lenses c.1968
Three self blimped Arriflex lenses were introduced in May 1968 (Photographic Jnl., p153) the major feature
being the lens was locked to the camera but isolated from an outer case and in front there is a plain glass
disc as a sound barrier which is required to sound dampen that area. The lenses were:
f2.2 12.5-75mm
f2.2 9.5-95mm
f2.2 12-120mm
[A similar unit was from Zeiss at the same time and these outers give the Arri lenses a distinctive appearance
from then on, with control levers protruding for the zoom, focus and aperture controls.
There were at least 6 movie 35mm zoom lenses typically in f2.2-f3.6 and with zoom ranges of 1:4 or 1:10.
These will be modern designs.
P21 f4.5 180mm as Alitar for Alpa, about 1960.
Angenieux f2.8 45mm This was produced for the original Calypsophot. This was in 1960, and
other lenses including 28, 35 [from Berthiot], 85, and 135mm were planned, but may never have been
produced. (NB The camera became the Nikonos) It may be the same on the Tiranty ST280 (1960)
X1 f3.5 100mm This was for a Lumiere Lumirex 6x9 folder (1956) and see the
TeleRoy and Royer (1952) below for another use. These were imported into the UK by AICO of Sheen Lane,
London SW14 with coated Type XI lenses , but seem scarce. (B.J.A.. 1952, p242, 549 advert.). It was also
used on the rare Altessa as an 105mm in 1952. It seems to be a sign of prestige when a design had a
number in public.
-- f4.5 100mm This was also on the Lumirex in 1956.
-- f3.5 105mm This was on Royer cameras rather earlier, about 1948-1950-1952.
X1 f3.5 75mm This type was a 4 glass (probably Q15) used in quantity on Semflex
TLR's about 1951 to 1954 perhaps. (Note also the Z5 below) It was also used on the Rex reflex (1951) as an
alternative to a Berthiot.
X1 f3.5 40mm This version was a very early lens for the Richard Verascope, 4
element, ie. probably Q15 type.
X1 f3.5 35mm (This has been mentioned for Alpa but no details are available)
? f3.5 25mm This was used on the Simda Panorascope 16mm still stereo about
1955 or 1958.
U1 f4.5 105mm This was used for the Royer as a f4.5 and for the Teleroy 6x9as a
f3.5. These were 6x9cm folders (about 1948-1950) with Berthiot Flor f3.5 as an alternative. Also Altessa II and
IV (1952).
? f4.5 75mm This was used on the ATOMS Atoflex II and Aiglon (1951), and was
an early coated lens, at about No?165,xxx from the pictures. The design is not known here but the next
version was a 3-glass type. This may be the same lens and is on the Rex Reflex (1951) as the standard lens.
Later there was a 4-glass Angenieux X1 in its place. The camera lead to the later Royer Reflex with Angenieux
f4.5 and f3.5 [and Berthiot f4.5]lenses, but by then competition was severe from abroad.
? f3.5 75mm This replaced the above on the Atoflex III about 1949, and seems to
be at No 116,70 and 173,xxx. It is not known what the design of the ATOMS lenses was- they may not be UI
related.
Triplets
Z5 f2.8 75mm This was a 3 component used on Semflex TLR's. (Possibly a 3g
triplet?)
Z 2 f2.9 45mm This was made from about 1941 and was a triplet used on the Reyna
Cross 35mm camera. Also Pontiac Lynx II about 1944. Later it was used on the Orenac 35mm camera and for
Alpa. The total production of Reyna lenses was some 200,000 so it was a common item in that form. B. Vial
suggests it is a 3 glass ie. a triplet and the focal length was shortened to avoid the need for a collapsible lens
and the shutter linkage for it.
Angenieux for Kodak cameras in France.
for folding Kodak 6x9cm.
Angenieux f6.3 100mm Model 21 (1951)
Angenieux f4.5 100mm Model 36 (1952) Among others, these were used on the very last
6x9 folders, coded B31.
Angenieux f3.5 100mm
for folding Retinette
f4.5 50mm These were 3-glass designs.
f3.5 50mm same
M. Pont says he is not aware of Angenieux lenses on Retina cameras and this may be a misunderstanding
and Retinette will be the camera. There just also may be different usage of the camera names in different
markets. In contrast, Berthiot did sell some lenses for use on Retina cameras.
Alcor This trade name appeared in early Retina advertising for the Retina I, but seems never to have
actually sold.This is likely to have been prewar, when actually Schneider made all the Retina lenses.
for rigid Retinette
f3.5 50mm (1952) These were probably as for the above folding version.
f2.8 50mm (1952)
for Kodak Retinette/Pony
f4.5 50mm in 1951 for early Retinette
f3.5 50mm in 1954 for rigid type of Retinette.
f2.8 50mm on last rigid type IA Retinette
f3.5 45mm on Kodak Pony (1955-6) which was assembled in France up to 1960,
using camera parts from sub-contractors.
The total components for Kodak were some 350,000 units.
Angenieux f3.5 45mm These were for the Corvette for Tiranty who used a German body but
French lenses. Later the camera was upgraded with a faster lens:
Angenieux f2.8 45mm for Corvette (1958).
U) )
V) )Triplets
Heanar Meniscus lens on the 1956 Photax (France) camera.
Viseur 15mm This was a Projection lens
(?) f1.2 50mm This was also a Projection lens, probably of modified Petzval type,
and for 16mm use. These were seen at No117326x and 117346x from a semi-commercial 16mm projection
outfit with two projectors.
Fig 029025* Angenieux Projection Lenses f1.2/50mm.
Enlarging lenses These were made during WW2 as 50, 75, 88, 100, 135mm, They were triplets, Q14 except
for the 75mm which was a Q15. Later there was a Gauss design as an early postwar introduction, along with
projection lenses.
f4.0 48mm Gauss type
f3.5 35mm no data.(suspect?)
Zooms These were to be a major part of the business in later years.
This is a highly valued brand where the numbers made were often limited and now hard to find at least in the
UK (hence our limited knowledge!), and where prices can be high as a result. The knurling is often angular and
individual and makes the lenses recognisable at a distance. Later versions with auto iris mounts are scarcer
and higher in value especially for Alpa, where they were original equipment and there is less choice of lenses.
Fig. 2 Angenieux
Exposure: Krauss-Zeiss Tessar f6.3/112mm in brass case.
Back Row Angenieux S1 f1.9/50mm with Rectaflex
Angenieux Y2 f3.5/135mm for Rectaflex
Angenieux Y2 f3.5/135mm for Exakta
Angenieux R1 f3.5/28mm for Exakta.
Mid Row Angenieux Y2 f3.5/135mm lenshead.
Angenieux f2.5/90mm ? ex-cine.
Front Row Angenieux R1 f2.5/35mm for M42.
Angenieux R21 f1.8/10mm for C-mount.
Anon
Lenses in the Vademacum are listed under maker and trade name. There are also anonymous lenses which
defeat this system! Modern examples of anonymous lenses can be items sold by importers or shops with only
a limited run- so no real reputation is formed. There are also modern lenses made for non-photographic uses
with little engraving, often from photocopiers; and provisionally the Chinese naming system does seem to
differ again. But in the 19 Century, anonymous unengraved lenses were rather common, and suggested a
lower price item, often made from older type glass after the Jena glass came in, and therefore by small firms,
or of poorer performance or less well made.
But in the early days, such as 1854, even quite good lenses were rather often anonymous, as engraving was
then done by hand and less easy and no tradition had been established.
Fig 018037* An anonymous Petzval marked ''warranted to 1854'' on the edge of the inner glass.
Such items are desirable, but must now be recognized by the finish (often brown due to surface corrosion as
they were not effectively lacquered), round knurling, absence of Waterhouse or iris stops, and a tendency to
unusual design features in the caps and flanges derived from older, non-photographic traditions.
This can be an interim holding file until more information is found. Lenses such as these tend to be identified
later or dropped as they may be the result of a misprint. Thus the contents here do change with time.
Anon lenses (normally where the maker has not been found in a text) noted were:
Phaos This seems to be a Doppel Anastigmat of Dagor type made as eg f6.8/7in early in the 20C ie about
1910. The maker may be Schulze and Billerbeck but is uncertain.
Fig 032 016 Phaos Double Anastigmat f6.8/7in (No number or maker).
Rather similar lenses were the :
Fulmenar sold by Sichel,
Fig 007 021 Two anastigmats, probably branded, as (l) Sichel (UK) Fulmenar f6.8/6in and (r) Mejlink's
(Nederland) f6.3/180mm (Nono).
Blitz sold by City Sale Exchange
Fig 032 029 Anon Blitz Series III f6.8/8.5in ex City Sale, No number.
Univar f2.5, f3.5, 12.5mm for 8mm, also f3.5 37mm Tele (1960's B&J List.)
Kinar f2.3 50mm for 35mm movie on Mitchell.(Lens made in USA).
Super Cinephore f2.0 projection for 35mm Super Snaplite f2.0 movie projection lens.
Lumax Cine 16mm lens with front of triplet split to give a 4g/4c design at f1.9.
Cine Balowstar f1.3 Designers Back and Lowen, possibly Zoomar.
Balowstar f1.3/15mm an early retrofocus type postwar, for 16mm use.
Lykomar f4.5 28mm This may be a partner to the Lykemar f3.5/35mm but there is not enough detail to say.
USA source.
Rexo Pictorial f4.5 200mm No further details.
Solar f3.5 50mm.
Ultrastigmat f1.9 41mm
Ertel Anastigmat f3.1 50mm Ertel may be a maker, or the camera.
Milwaukee Portrait f4.0 400mm USA portrait lens.
Neo Trinast f3.6 330mm A portrait lens, possibly a USA brand.
Vidanar Noted as f4.5, f3.5, f2.9 lenses of 50mm on Balda cameras in 1934, 1936. (Probably Ludwig with the
Vidar?) eg in B.J.A. 1937, p285 on Westex Miniature.
Enoldar f4.5 On a Korelle 6x6 in Kerkmann, p166. this is also listed under Korelle but the actual maker
seems uncertain.
Acomar, f4.5/75mm listed by Kerkmann on Clarissa, 4.5x6cm in 1928. Also Tropen Rio by Orion Werk in
1926 as f4.5/135mm. The maker is unknown but may be Ruo Optik.
Mikutar 130mm fitted to the Mikut Colour camera, from 1936. (Kerkmann, p173)
Amoryl Anonymous lens f2.5/12.5mm for a Sommor 1958 8mm camera. (Is this Boyer? or Ruo? perhaps?)
Anamaphot Anonymous item in Ariel's list , Moeller system 1x5x for 16 and 32.
Azanon f4.0/14mm on sub-miniature Chadt M1 and M2 3-glass design.
(Azanon There was also a 14.3mm f3.8 Azanon noted on Acmel MX Super Miniature. Same as above?)
Auto Aragon Noted as a lens for Miranda SLR bayonet.
Admiral Noted as an Auto f1.8/135mm lens for Nikon F non-AI mount: a big fast lens.
Correktar Noted as an 120mm f6.8 Doppel Anastigmat Correktar on a 118 Postcard camera. It was used by
Ensign on one of their cameras.
Omicron Noted as f3.5/90mm on Omega 120 camera.
Seritar Noted as f3.5/75mm on a Franke Six TLR about 1951.
Echor Noted as an f3.5/75mm lens on an Echoflex TLR. (This may be an Asahi trade name.)
Verona Noted as an f3.5/6cm lens on a Vero 4x4 with nickel finish.
Extar RR Noted as a f7.7/135mm.
Alpo Noted as a f3.5/75mm on a Super Macy TLR.
Laudar Noted as a f4.5/105mm on a Nagel Vollenda.
Bellor Noted as a f3.5/100mm on a Super Kinax II described by B. Vial and others, It was a 4 glass lens and
very sharp, but the maker seems obscure. (Just visible in the pic is ?S.B.J., Paris which may be a clue).
Kinax normally used lenses from Berthiot and Boyer.
Luminor Noted as an f3.5/45mm on a Pax Jnr.
Doimer Noted as an f3.5/8cm on a Beautiflex Model II. This could be DOI (qv)
Mirage Noted as an f2.8/28mm for M42 screw.
Cinepanoramic Anomorphic 35mm projection lenses These were a pair made in France for 35mm use.
E. Polymar (or Polynar?) Noted as an enlarging lens f4.5/75mm.
Canter Noted as a f3.5/75mm on a Reflex Beauty I.
Eymik Noted as a f3.5/200mm telephoto for M42 with auto iris.
Neocon Noted as a f3.5/75mm lens on a Mamiyaflex Junior camera early postwar- possibly Mamiya's own
make.
Neocor Noted as f3.5 and f2.8 45mm lenses on Neoca S2 and Robin 35 respectively.
Neo Hespar Noted as a f3.5/75mm lens for Zenobiaflex.
Optor Noted on a Snappy Hit type camera as an f3.5/25mm lens, with the next.
Cherry Tele Lens f5.6/40mm for Snappy Hit camera above.
TeleOrinox f5.6/112mm for Orinox binocular camera.
Master Anastigmat Noted as an f3.5/80mm on a Sunscope 6x6 camera ex-Japan.
Trinastigmat Noted as f6.8/105mm on a Cocarette 209/2 for 6x9.
Toko lens Noted as an f3.5/4cm on a Minion 35B for 24x32mm (Made by Tokyo Kogaku early postwar).
Rexor f3.9/75mm lens on ATOMS Aiglon Reflex, scarce model.
Mundor f2.5/25mm used on the Mundus 16mm still camera about 1948. It just may be a normal 16mm lens.
Bilux f8/37.5mm on Idam Clic for 3x3cm, France early postwar.
Minor Anastigmats Noted in FBB on a Macris & Boucher Nil-Melior in 1913, for 45x107 stereo.
Plani-Achromatiques Noted on a M. Mendoza Portefeuillle Stereo in 1894.
Kengor reported as an f3.5/35mm lens but without details.
Kindar f3.5/35mm a rare USA lens for Exakta, made 1950's in perhaps a run of 150 lenses only.
Hyponar f4.0/35mm a rare USA lens for the Exakta, made in the 1960's in a batch of perhaps 100 lenses
only.
Patrinast No details.
M.K.Anastigmat noted on a Tougo Masumi Meika Ref 35mm TLR No7004 at auction.
S.Owla Lens 4.5cm focus pair on a stereo Hit camera at auction.
Venner Anastigmat f4.5/80mm No22,245 on a Clover-Six 120 rollfilm camera.
Aragon f2.8/35mm in 4 tab Miranda (?) bayonet, Made in Japan, light color anodized body, it seems to be a
5g/5c design. It seems to be above average, with solid helix and positive iris action.
Fontron Noted as a low cost lens f2.8/135mm for unknown SLR with rather fine pitch thread.
Luxar f3.5/50mm noted on a 127 rollfilm Nikette camera.
Kolex Lens f3.5/7.5cm on Okako Waltax I camera.
Pentaflex Color f2.8/50mm on ?Pentaflex SLR (Practica version?)
British Planastigmat f6.8/5.5in noted on a Sanderson 1/4plate Tropical (Houghton's Ltd)
Cy Tillon f1.0/50mm at No54, noted on a modified Leica body, posibly from Poland.
Chronoscope Lens for 1/1plate noted at auction.
Gem f3.5/25mm lens on a Gemflex I made in Japan, MIOJ.
Lomara Anastigmat f4.5/50mm on Lomaraskop Stereo (Camera by Kuehn, Berlin.)
Hope Anastigmat f3.5/25mm on 16mm Rubix Model II.
Sculptor M39 fit as f3.5/4cm on Strio Firenze Elettra II- maker ??
Dun Anastigmat f3.5/40mm This was in an Buick Model 1 shutter on an early postwar Japanese compact
camera, [a little like an Elge] made soon after 1945.
Nixon f3.5/45mm Coated front cell focus lens on a Ideal-Color-35 camera agented by J.J.Silber, Vernon
Place, London, W.C.1 in B.J.A. 1957, p173. It was of German make, and was a budget price item.
Kesar (or Kessar) The f4.5/3in lens was noted on a Gugo II camera in B.J.A. 1953, p271, coated, front cell
focus in 3-speed shutter, and just may be from Steiner of Bayreuth who supplied many Goldammer lenses,
but the name does not seem to be one of theirs.
Rocket tracking In B.J.A. 1951, p173, a 16in dia 40-80ft focus telescope was used for rocket tracking with a
35mm movie camera mounted on it. (Camera (U.S.A.) 01/1950, p152.
Luxor f2.9/38mm on Bolta Photavit 24x24mm in B.J.A. 1952, p202.
Kinn This was a f4.5 c.105mm lens on a Kinax I camera in B.J.A. 1949, p387 as a alternative to Angenieux.
Made by Kinn of Paris see Kinax.
Parastigmat f4.5/90mm This was a projector lens on the Diafant agented by Sands Hunter, maker unknown.
Omar f3.5/100mm This was the other Diafant option.
Ultranon A series of lenses made about 1979 on for the Ultracam 35mm camera, an important modern
design but the source of the lenses is not known.
Hyperion Soft Focus This was noted among other USA made items in a Sands & Hunter advert. (B.J.A.
1924, p185) and was an f4, convertible to 2 longer lenses with 2xcemented pairs, made in 7, 9, 12, 14, 18in. It
is probably a well known USA item.
Cunctator Noted in B.J.A. 1922 p619 as an option on a Verascope.
Natar Noted as an f4.5/6cm enlarging lens on a Naritar enlarger for up to 4x4cm imported from Belgium to
UK by Actina Ltd in 1940 (Min. Cam. World 02/1940, p135). There were also a 6x6cm model with a 75mm
lens and a 6x9cm with a 105mm lens (no details). They were on flat plate mounts, 2.25in dia. (Thus import
and production may have ceased rather suddenly.)
Orinox This was a combined binocular + 110 camera unit shown to E.S.Lothrop of Pop. Photo about 10/1977
p71 with a f5.6/112mm Tele-Orinox lens, f.p.s. at 1/125sec and 7x20 binocular.
Euktar This f4.5/45mm was noted on a Alfa (WFZO) camera in blue. (?Polish?)
Vemar noted as a f4/200mm lens used on a Nikon (Modern Photo 07/1971 p91.)
Force A f3.5/35mm in M39. Fig 012 007 Force f3.5/35mm No10,205 in M39.
Perfa f3.5/75mm noted on a Doris camera by Tokyo Seiki for 16/120 film, with NKS shutter.
Vikinar f6.3/48mm This was on a simple 35mm Fowell, a Spanish camera and may be a first Spanish lens for
the list.
Planatograph This was noted as a f8/4.25in (RR?) on a Rochester Pocket Premo from ?1904.

Ansco, USA
There are regular adverts. by Ansco in the 1920's (eg B.J.A. 1921, p646) which could include English lenses
by Wray f5.9, and TTH Cooke f6.5, and later they included in 1923, the Automatic, a motor driven rollfilm
camera with an f6.3 Ansco anastigmat, probably as 120mm as it was an 2.5x4.25in format. There is a hint
they had given up fitting English lenses however. The Ansco lenses noted were:
Ansco triplet anastigmat, f6.3, f4.5 on VP Speedex in 1921.
Ansco Anastigmat f7.5 This was in an Ilex shutter on the Ansco No 1 Junior series in B.J.A. 1926, p645.
There were also an Achromat version and an RR version at lower prices.
Cinemat (Ilex-Ansco) f3.5 30mm for Ansco Memo (1924-1936)
All the lenses on the Memo are said to be identical although rated at f4.5, f5.6, f6.3 as well as f3.5.
Ansco Automatic TLR reflex (1948) used an 83mm f3.5 Ansco Anastigmat (Taking) and an f3.2 View lens.

Antonio Gatto (Cav)., Italy

Makers of the Sonne 35mm noted with Adlenar f3.5/5cm at No203x. This is near an Elmar in appearance.

Anthony, E. and H.T., New York, USA.

This firm was one of those later merged as Ansco. They listed lenses by Bausch and Lomb in the 1891
catalogue as well as others of anonymous source. Some of their products are engraved only with E.A. rather
than the name in full.
Cone Lens It was made in 5 sizes, with rotating disc iris. (One of the limited number of references to "cone"
met in the older literature.) Two of these cones at Auction for use on 8x5in format were marked 'Anthony' and
were an achromats.
View Lens This was in short barrel mount, with iris and was offered in 6.5, 9, 10, 12, 15, 20in.
Hemispherical Lens. (This was noted as a No2 Hemispherique Rapid in triplex shutter at auction: it sounds
French and possibly ex-Darlot.)
E.A. Wide Angle
Portrait Lens This was a Petzval type made in 5 sizes, 4.75, 5, 6, 10in back focus, with iris.
These were sold with the intention of using them as portrait lenses, or with the front glasses only, as a
landscape meniscus when remounted at the rear.
Platyscope Rapid Rectilinear
Long Focus Platyscope
Aristoscope, Rapid Normal This was made in 6, 9, 11, 14, 16, 20, 24, 30, 34in. (It was suggested to use 16in
for 10x8in)
Aristoscope, Wide Angle This was made in 4, 5.25, 7, 8.5, 13, 15.5, 19in. (It was suggested to use 5.25in for
1/1plate).

Apek
"Apek" was a Trade name used by Wilfred Emery of 15, Anson Parade, Cricklewood, London NW on lenses
and other equipment in 1901, and these seem to have included RR and WAR in 1/2 plate and probably other
sizes. He stated he was a manufacturer of cameras, but says nothing about lenses which were probably
bought in.
APeM see Kershaw, etc. for Associated Photographic Manufacturers.
They did have APeM lenses on large format reflexes and an f6.3/6in APEM anastigmat was noted on a
Sanderson hand and stand at auction. There was also a APeM enlarging lens, probably in a choice of f4.5 and
f6.3 in B.J.A. p58advert. (Maker will be unknown.)

Aperture
Van Monckhoven in his book (p148) discusses the work of M. Leon Vidal of Marseilles who considered that
exposure depended on several factors.
(1) The intensity of the light on the subject.
(2) The sensitivity of the photographic emulsion.
(3) The reflecting power of the subject.
(4) The ratio of the diameter of the lens diaphragm to the focal length in use, ie D/F which is now called the 'f'
number. M. Vidal wrote it as a fraction, eg not f32 but f/32 but the use is clear and the ratio in fact may not
have been novel but its use seemingly was. M Vidal was happy to use number series such as f/40, f/30/ f/20,
f/10, f/8. Later, Dallmeyer was to adopt a series where the exposure doubled or halved between the chosen
values as being more useful and marked his lens stops in this way. What has complicated matters for the
collectors is the range of later ideas aimed at simplifying the subject. Tables of the competing systems are
given in many of the older books, but it can be hard to identify which is actually in use!

Archer,
Fluid lens This was designed in 1852, of two meniscus elements with the interior filled with liquid, giving a
deeply curved field. Aqueous acids were used as the fill and hindered the project(!), where modern solvents
might have made it less hazardous. He also worked with a Petzval lens with a centre fixed stop and exterior
front stop (Noton's type).

Archer and Sons, 41, Lord St. Liverpool, UK.

They were dealers over the period 1850-1920, and possible makers of cameras, but probably engraving their
name on bought-in lenses such as an f8.0 6.5in RR for '5/4plate' seen at No855 in black enamel. It is worth
noting however that they did give the lens a serial number- something too often left out on such items.
Fig 009008* Mr Archer of Liverpool's lens about f8/7in.

Arco, Tokyo, Japan.

These have been noted in adverts. in the USA and are not normally available in the UK.
They were noted for a f3.5/135mm Colinar lens, eg in M42 pre-set iris, possibly a vendors brand. There are
also adverts. for a f3.8/135mm version for M39x26 on sale in USA and one of these was seen in the UK at
No2890x in full chrome mount. It is a handsome lens, of roughly 135mm Q23 type, and uses push type
coupling. It fits and matches a Canon Vt nicely and seems a good item. Another may have been for Contax at
No28,93x.
There was a ARCO Colinar f2.8/50mm No151,76x on a Arco 35mm camera at auction.
Fig 012001* Arco, Tokyo: TeleColinar f3.8/135mm No28,904in M39.

Argus, Ann Arbor, Michigan, USA.

They were essentially camera makers using bought-in optics. These are likely to be mainly triplets, of Q14
layout.
IRC (Ilex) Anastigmat f4.5 50mm (One source says this was f6.3 in effective aperture).
f6.3 50mm (1935 onwards)
f2.9 50mm
Argus f6.3 47mm (1947)
Lumar f9.7 47mm (1947)
Anastigmat f4.0 50mm (1940)
Cintar f3.5 50mm (1938)
Cintar f2.8 50mm (1951, interchangeable lens on C4,C4R,3-glass triplet).
Cintagon f2.8 50mm (1956, on C44).
Cintagon f1.9 50mm (1958)
Cintar f3.5 44mm (on A4)
Cintagon f4.5 35mm
Cintagon f3.5 100mm
Cintagon is a more complex lens, probably a 6-glass Q18 type for the f1.9 and Q15 for the 4-glass f2.8. They
are rumoured to be of Enna manufacture. Other brand lenses were also made to fit the cameras. See a close
out advertisement in Modern Photo. Sept. 1961, p32, for Lithagon lenses brand new, as follows. (Lithagon is
an Enna trade name.)
Lithagon f4.5,35mm; f1.9,45mm; f3.5,135mm; Zoom finder.

Arndt and Loewengard,

(possibly also as Lutke and Arndt, about 1898).
Periplanat This was a periscopic doublet
Aplanat f8.0 165mm This was probably an RR

Arriflex (Arnold and Richter KG ), 8 Munchen 13, Western Germany.

They are instrument makers since 1917 and suppliers since 1925 of high quality 35mm, and later 16mm
movie cameras for professional use. The major development was the use by August Arnold (engineer) of a
reflex mirror coated onto a rotating shutter set at 45° to the lens axis: this gave through the lens viewfinding
while composing or while the motor was running film. This was a "must have" feature and the movie camera
business expanded. A modern set of lenses for 35mm use might be 30, 50, 75mm with 25 and 85mm also
used, but with care over the possible interference of the hoods. Later they made 16mm camera, and these
have the same mount with a register of 52mm as the 35mm, so that lenses are usable on both, though expert
advice is not to use 35mm lenses for 16mm, and 16mm lenses do not cover 35mm. For 16mm use, lenses
might be 17.5mm, 25mm, 75mm, with 12.5mm as a occasional wider angle and longer lenses as wished.
Lenses as wide as about 6mm have been made.
The deep register of these lenses means that many can be adapted to C-mount 16mm and even to still
cameras such as the M39x26 group, at least for testing. But these M39 adaptors are not a normal commercial
item, must be custom made, and often (only?) fit cameras lacking the rangefinder feeler and may require ones
with increased space between the shutter rollers. In fact, the Fed 4 may be a choice, as the rangefinder feeler
can be easily removed. Typically Tessar f2.0/16mm, Kinetal f1.8/17.5mm and Kinoptic f2.5/12.5mm can be
fitted but a Kinetal f2.8/75mm could not as the rear tube was too big for the 36.5mm internal diameter of the
thread adaptor. Equally it is fairly easy to adapt longer lenses to Arri but shorter ones need care to avoid a
collision with the mirror.
In the USA, Burke &James offered many makes of quality lenses in Arri mounts, including Rodenstock, Kern,
Berthiot, Angenieux f0.95, Berthiot Cinor, B&L Baltar, Carl Meyer Moviar, Kodak, Astro Pantachar, Zeiss
Biotar f1.5/75mm, Schneider Xenon f2.0/75mm, Zeiss Sonnar f2.0/80mm, etc. It is an interesting list even
though no more perhaps than their choice to remount in some cases. They confirm the mounts for 35 and
16mm are the same "in the longer focal lengths" ie they were affected by the problem of dropping short lenses
deeply into the mount.
An article in Photographic Jnl. May 1968, p153 describes the new Arriflex 16BL which is a self blimped SoF
camera in the classic series but with new lenses with an outer case to minimize transmission of sound, and
these were from Angenieux and Carl Zeiss. It was an important feature at the 1970 Photokina.
NB there is or was a Chinese camera closely based on the Arriflex but the lens mount is not known.

Artronic
Prototype(?) electronic shuttered camera, with Artron f2.8 35mm lens
also with Zoom lens, 90-190mm. No details available!

Asahi, Japan.
They are a major Japanese maker, especially of SLR's, and see also Pentax, Takumar below.
Takumar f3.5 75mm on the Suzuki Press camera, used in Seikosha shutter.
Echor f3.5 15mm on Europco-8 lighter/camera (1954)
Takumar f3.5 50mm on Asahiflex I and IIa at No 29,09x, 33,57x, 46,28x 48,11x,
and 57,31x: and No85,89x on a IIb Body No52,96x.
f1.8 55mm ''
f2.2 55mm ''
f2.4 58mm '' Noted at Nos 62,78x, 79,98x and 84,80x.
f1.9 83mm ''
f3.5 100,135mm "
f8.0 1000mm ''
f4.5 500mm ''
Mirror lens f4.0 800mm later item for Pentax 67.
Fish Takumar f11 18mm This is a whole frame type, noted for Pentax at No1,240,99x.

Asanuma, Japan.
They seem to be Japanese agents rather than makers, still active in M39 lenses in the 1990's.
King f2.8 35mm for M39x26.
Passinon f2.8 21mm same , 1997
Passinon f3.5 28mm same, 1997.
They were "Number One in Japan" and Japan's oldest and largest marketer of photo optics in the advert. in
Modern Photo 04/1979, p80 where they were describing the new Tokina compact zooms as Tokina f4.5 80-
200mm and Tokina f3.8 75-150mm.
Fig 011009* Asanuma King f2.8/35mm No2,841,097 wide angle M39.

Askania, Berlin, Germany.

Prewar the Askania works were in Czechoslovakia and in East Germany as well as in Bavaria, so that two
parts were lost to them postwar. They were primarily movie camera and equipment makers. The Askania Z
camera was a real success in the 1930's, but the users tended to be associated with the then current regime
and its propaganda, the Askania Z being used for K.Vass "The triumph of the Will" and L. Riefenstahl's
"Olympic 1936" films. Postwar rather few references were noted to a firm that seems to have continued as a
much more specialized one.
One sideline was a mirror system, especially for movie cameras. (See Lee in Progress in Physics, 1940,
p130). A diagram is given in B.J.A. 1935, p213, B.J. 09/03/1934 p140, with apparently two lenses and two
mirrors in the path (an expert said 'Cassegrain' type design). The effective focus was 5x the distance between
the mirrors. It covered a narrow angle of view of 10° at f3.5. Also noted was a 250/500mm f5.0 for 16 and
35mm cine. (Layout Ask001). An example is probably shown in the W. Heaton Blue Book for 1938 p201,
1939, p319 at £25. The B.J.A. 1936, p324 discusses a Siemens Model D 16mm camera with 3 lenses on a
quick change sliding mount and and the 200mm was an 200mm Askania Reflecting mirror, then well known to
35mm movie users and now for 16mm, and a "75mm lens". The mirror was of excellent definition, had colour
correction for infra red without refocussing, and length no more than a 50mm lens- today it still seems
extraordinarily compact as it is quite small in diameter and short compared with most mirrors. On screen on a
Bolex, the reflex image of a Hypomediar version was really crisp and contrast seemed good. Ariel's list
includes a f6.8/200mm for Siemens & Halske 16mm use dated 1938.
A related product seems to be the Hypomediar of Siemens, noted on a Siemens 16mm camera, at f6.8
200mm as No2,17x, but this was engraved from a different firm, Navigation of Berlin rather than Askania. It
seems likely that Navigation was part of Askania, as the Siemens mirror was "made by Askania Werk" in the
note in B.J.A. 1935, p325 and here both 8in (ie 200mm) and 3in mirror lenses are mentioned. A 600mm f4.5
telephoto lens probably of 2+2 design has also been reported as has a Schmidt system. One unusual feature
is that they have an iris for f6.8/f8.0/f11/f16 which modern mirror lens makers say is impossible to include: it
reduces the width of the visible ring of light seen from the image area, may be useful as a partly closing one
(f6.8-f16) for cine fade outs but also may have given rather unusual characteristics to the unit such as very
defined doughnuts from out of focus areas and a lowering of resolution. (It is possible that it was an item
developed for the 1936 Olympic games in Berlin but this is pure supposition.) The B.J.A. 1938, p305
describes the Askania products, and these are almost all cameras and mechanical accessories, the one
exception being long focus mirror lenses above .
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Askania were active after the War, and several long lenses including a 32in tele for Leica reflex housing, were
shown at Koln in 1954. (MCM 6/1954). A Schmidt mirror for astronomical use has been noted in an article by
Berndt Brinkmann at the Second International Workshop at Cambridge in 1999 with a 0.34m front plate and
0.50m mirror and c1m focal length used with a CCD. It may be an old optic.
Askania Kino f1.8 75mm for 35mm movie, noted in a postwar list.
Theodolite f4.5 24in for 35mm movie.
It has been reported that G.Maugg used an Askania Z camera and its 7 Askania lenses in filming "The
Olympic Summer" in 1993-4. The camera was from Askania Werke AG Berlin. NB. However an authority tells
us that as suggested above,Askania were not really lens makers, so these are likely to be commissioned
items.
Postwar, a detachable rangefinder for still cameras was sold as Askania : it had colour contrast winow
images, and covered 3.25ft (1m) to Infinity. (B.J.A. 1952, 205).

Aspheric Lenses
A simple lens can be modified to give an improved image by converting the spherical curves to elliptical ones,
and this seems to have a very old history as Quarz lenses from the Viking period have been shown to be
aspherics. (New Scientist, 7 Nov 1998). Figuring of lenses and components of lenses was moderately well
established in the industrial period, especially for telescope mirrors, but is referred to for several big
photographic systems and some high speed ones. One source on such lenses is R. Temple The Crystal Sun
Century, AD 2000, ISBN 0-7126-7888-3.

Astragon, USA
These seem to be lenses agented by Sterling Howard Corp, 236-A South Station, Yonkers, N.Y. 10705 USA
in the USA. during the 1950's, for SLR's. Astra and Tele-Astra were trade names of P. Piesker of Berlin who
may well have been the suppliers of (all?) these lenses.
A substantial series of Astranar lenses was in Popular Photo. 10/1973p213.
Astra f3.5, f2.8 35, 100, 135mm
TeleAstra f2.8, f3.5, f5.5 135-250mm
Astragon f5, f6.3 400-1000mm
f5.0 800mm (1959 adverts)
In 1973 in T mounts (all or some!):
Tele Astranar f8 600mm
TeleAstranar f6.3 400mm About the shortest available unit in this focus. It was well reviewed.
Tele Astranar f2.8 135mm
Tele Astranar f4.5 200mm
Tele Astranar f2.8 100mm
Astranar Fisheye Lens no details
Astragon Instant close up adjustabl;e front lens for close ups.
Automatic f2.8 28mm
Automatic f2.8 135mm
Automatic f3.5 200mm
Automatic f5.5 300mm
Fully Auto Zoom f3.8 100-200mm
There were also as large format lenses:
Astragon wide angle f6.8
Astragon f6.3 180, 250mm The advert. called this a "Commercial"
Astragon lens.
Apo-Astragon f9.0 459mm

Astro-Gesellschaft Bielicke and Co, Lahnstrasse 25-27, Berlin-Neukolln,Germany.

UK Agent: Cinepro, 1 New Burlington St., Regent St., London, W1.
Astro were largely makers of movie and TV lenses, with a range extending into miniature still formats. They
were especially strong on high speed and long focus lenses. The TV lenses were the new end of the range
postwar, the firm going back at least to 1925, when Frerk mentions the Tachar f1.8 designed by Bielicke.
P.K.Turner in M.C.World 10/1939 p797 suggests they were a new company since WW1, along with Schneider
(incorrectly) and Laack. Landmarks are the Identoscope reflex housing and the fast PanTachar lenses.
Astro lenses are uncommon at sales, and usually desirable items, but the mounts can be difficult to use on
still cameras. The mountings certainly included Exakta and Identoscop for Leica, but others were probably
made as needed. The long focus versions are hard to get. Many older lenses were coated postwar, and are
now so worn as to be of little use. The use of the Ernostar-4 layout can make them surprisingly light as well
as fast. W.F.Bielicke patented a 6-glass lens in German Pat. No 538 872/1930 and this may be one of the
types used: it is a triplet of 1+2+i+1+1+1 layout.
Movie Lenses
Kino This was a 6-glass Gauss design
Tachon f0.95 25-75mm This was an 8-glass Gauss used as a 52mm version on the
Minifex (1932) 16mm camera. One source says it was a triplet derivative type. (See Bielicke, USPat
1,839,011,1931. with an extra glass.) (Advert in B.J.A. 1937, p660) But Astrar and f1.8 Tachar lenses had
been used regularly also.(B.J.A. 1935, p287, 622 advert.) Thus in 1935 it was f3.5 anon in Vario shutter at
£4.80, f3.5 Astan in Compur at £8.85, and f1.8 Tachar in Compur £19.25. Incidentally, Dr Otto Croy in Foto
Magazine, c.11/1963 cited by Pop Photography 11/1963 p60 says it was the first still 0.95 lens. At that time
Mr Kaftanski worked in France, and had also designed Le Stylophot
Tachon f1.2 This was for 16mm
Anon f1.25 85mm This was noted in B.J.A. 1938, p257 but may not have been produced
due to the war. It is not in the 1939 list.
Astro-Kino f1.2 This was a cine version.
Tachar f1.5 This was a 6-glass Gauss,Q18
Tachar f1.8 same
Pictorial tachar f1.8 75mm This type at No505x was distinguished from the normal on an Eclair
camera from the 1928-1937 period at auction. It is not known how far it differs.
The B.J.A. 1937, p660 lists High Speed cine lenses in Tachon f0.95; Astro-Kino f1.2; Tachar f1.5; Pantachar
f1.8 and f2.3; Astrar f2.7 and Astan f3.5 all available simultaneously.
Gauss Tachar f2.0 eg 50mm 75mm 100mm all for C mount 16mm. Q18 type, App010.
(anon) f2.0 200mm This was noted in B.J.A. 1938, p257 but may not have been made.
PanTachar f1.8 25, 28, 50, 75, 150mm This was also on Minifex and made postwar.
A typical layout seems to be As001 though this is actually a f2.3 lens.
Tachar f2.3 75mm This may be a Pan-Tachar in fact.
PanTachar f2.3 40,50,75,125,150,200,250mm made pre- and postwar. It was patented in the
USA. One of thef2.3/150mm lenses seems to have been used by Merlyn Severn in Miniature Camera
Mag.03/1938 p201; 04/1938 p257 for zoo photography happily, and at the ballet during pauses but less
happily when the ballet was in action, and very usefully for a portrait job. It was obviously with the reflex unit
but the upside down image did cause concern and it was heavy.
Fig 009009* Astro f2.3/100mm No19,432.
Pan-Tachar, f2.7 This was noted as a 75mm, but this may be a confusion.
June 1925. This was a 4-glass unsymmetrical Ernostar-4 type, as f1.8. As001. It was
described as "sharp and portrait" in B.J.A., 1934, p271. The f2.3 is easier to find than the f1.8.
Astrar f2.7 27-150mm This was a 5-glass type, with ?6-air-glass surfaces, and was a
movie lens. A f2.7 83mm example has been noted in an advert. but it does seem to be one of the less
common types.
(anon) f2.7 400mm This was noted in B.J.A. 1938, p257 but may not have been
produced.
Ostar f3.5 5in (Possibly a misprint, B.J.A. 1937)
(anon) f3.5 800mm This was noted in B.J.A. 1938, p257.
Rosher Soft Focus f2.3 75,100mm This was made with 3 interchangable back lenses to allow control
of the softness. It is said to have one front glass and the rear ones are doublets.
Ms Joan Marsh (1913-2000;s.cs. All quiet on the Western Front (1930, Road to Zanzibar 1940's etc.) was the
daughter of Charles Rosher who emigrated to Hollywood in 1911 to become one of the leading movie
photographer, working for M.Pickford from 1917 on many films, also featuring Nancy Ann Rosher, now as D.
Rosher and later to adopt the J.M. name in the late 1920's. It is likely that the Rosher lens was designed with
C. Rosher's cooperation, possibly as M. Pickford required a more romantic image. (see obit. The Times, 30
Aug 2000)
Soft Focus f2.3 25-100mm This was a separate type to the above.The 100mm f2.3 has been
reported in Exakta-fit mount at No12,97x. This may be quite an old lens.
Identoscope reflex device This was normally supplied with 6in f2.3 Astro Portrait lens, or Ostar f3.5, or
Tele f5.0 16in lens. (B.J.A. 1934, p271). The B.J.A. saw it with an f2.3/150mm Astro in 1934, p271, and with
an 800mm lens at £300 and 22.5lb in B.J.A. 1935, p313. At first this seemed a laughable unit to someone
used to cameras of the period, but there was nothing laughable about the performance.
Transfocator This was an early zoom designed by Gramatzki in 1935 based on an afocal accessory lens
for movie lenses. It gives a modest amount of zoom by moving a positive between two negatives, or vice
versa. It was derived from Allen's patent of 1902 (USPat 1,839,011, also see Brit. Pat 449,434 of 1935). It
seems to be related to the Siemens Transfokator listed for cine in the W.Heaton Blue Book 1938, 201;1939,
p319 at £45.00, then an immense sum. Note it was an accessory lens, not a prime lens as a modern zoom
appears to be, though there is actually no indication of this in the advert. and it just may have been supplied
bundled with its own prime lens. (A version reported by Ariel is for 1.5-3.0cm on a 1933 Siemens & Halske
machine, but this just may be a projection version. Incidentally it may be a complete lens.) (App009). There is
a picture in B.J.A. 1939, p685 advert. where it seems to be used with the f2.3/50mm Pantachar for 36-72mm
with the aperture scale unaffected. It is a really big unit apparently controlled by a large handwheel between
the body and the front unit. There must be several versions as it was said to be in an improved form and
easier to use in the B.J.A. 1938 p257, which also suggested an 8mm unit was due but it is uncertain if it ever
was produced.
Astan f3.5 135mm (prewar) Triplet type. It was fitted among other uses, to the Lorenza
24x24mm camera from Lorenz, Berlin-Tempelhof, Germany.
Fern?= Fern Bild f5.0 100-800mm prewar range, eg. in 1933. Meniscus
Fern f5.0 300-1000mm postwar, eg in 1951 Meniscus
Fern f5.0 150mm for 16mm cine, postwar coated, meniscus.
Fern f10,f11 2000mm, probably meniscus.
Tachonar f1.0 16mm format, ?25mm? As002
Astan f3.0 noted on 1933 Lorenza camera
Astan f3.5 300mm reported for aerial use, reportedly on a MIG.
R.K. Cine f1.25 It was noted in 1933, and the code may be ?RK=Roentgen Kino ie X-Ray
recording lens? This and other extremely poor light subjects eg polar night, were suggested as suitable. It was
continued (B.J.A. 1935, p608).
Most lenses from 150mm up could be mounted on the Identoscope reflex housing, often shown for Leica
fitting. (B.J.A. 1934, p271) Most prewar designs were triplet derivatives, but the exact designs are not always
known. It was probably As001 is a basic type. This raises a question about the relation of Ernemann who
seem to have originated the Patent (B.P.186917/1921) and Astro who were the major user. Astro appears in
UK advertisements a little after the 1926 amalgamation of Ernemann and others to form Zeiss Ikon, and in
1938 is shown as Astro-Gesellschaft Bielicke and Co, while Belicke has been given as one of the holders of
Ernostar Patents B.P.186,917/1921;191,702/1922;193,376/1923;232,531/1924. Experience shows that these
are lenses still worth using and postwar production is coated.
Cine Lenses ie smaller format than 35mm.
These smaller format cine lenses seem to be a less important business prewar, as cine (eg 16mm) was less
used professionally than later. It is likely that some of the 35mm movie lenses were actually used for 16mm
on occasion.
Tacharette f1.5, f1.8 These may be sub-standard cine versions of the above types.
Television
This was still in infancy up to 1939, and could not be a major business, but rather the shape of things to
come.
Television Tachar f1.9 This was a special set from 40-240mm made for television.(B.J.A.
1938, p257).
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1939 Advert.
This has a whole page for the Transfocator, with listings of the Identoscope with f2.3/150mm, f2.3/200mm;
f3.5/125 and 135mm; f5.0/400, 500, 600, 640, 800mm long distance lenses and the f2.3/250mm.
Also Pantachar f1.8; f2.3. This list is possibly significant for omitting some items listed in B.J.A. 1938 p257 as
interesting novelties.
____________________________________________________________________________
Post WW2
A very few were sold for mounting on still cameras, such as the Reporter II.
Astan f2.9 37mm on Kolbow & Steinberg, Berlin, Reporter II about 1950. This was a
camera for 24x24mm.
Postwar production was updated and a late price guide (Jan 1977) is quoted below to show the range then
available. Another brochure seen was 3000 966 ie ?Sept 1966. It concentrates on movie lenses with some
offering also up to 6x6cm coverage. (Here a reader has commented that coverage is actually very generous.)
These were Astro-Gauss-Tachar f2, Astro-Tachar f1.8 and f2.3, Astro-Color-Astrar f2 Astro-Telastan f3.5,
Astro-Fernbildlinses f5, and Astro-Tachonar f1. Lenses came either with interchangeable rear mounts in the
Astro W system, and in general the customer could buy a lens in a plain barrel mount, or this fitted to a
focusing mount, or complete with the camera adaptors(s) of choice. There were also dedicated mounts for one
make, eg. Arriflex where the adapter and camera mount were made as one part. In 1966, some special lenses
were Astro-TV-Tachar, lenses for 8 and 16mm, and perhaps others. Thus the list was extended after 1966.
Gauss Tachar f2.0 25, 32, 40, 50, 75, 100, and ? later 250mm Q18 type
15, 20, 45, 55, 60, 65, 70, 80, 85mm if in cylinder fitting.
40, 75 in close-up mount.
In 1966 this was described as contrasty and brilliant for 16 and 35mm use, with good spherochromatic
correction and the exceptional thinness of the glass and the low curvatures prevent spurious reflections and
light loss. The short ones have wide angle properties and even the 25mm was rated to cover both 16 and
35mm movie formats, while the 75mm lens covered 24x36mm and the 100mm covered 6x6cm. The layout
was 6g/4c Gauss, ie 1+2+i+2+1.
AstroTachar f2.3 125, 150mm As001.
f1.8 150mm
The layout is 4g/4c triplet type, The above foci were listed in 1966 and later. By now it was recalculated from
the older Pantachar with new glass for large apertures and high contrast. The layout was 1+1+i+1+1 where the
glasses are +, -, + + in that order from the front. The smaller cover 24x36mm, the biggest covers 6x6cm.
Color Astrar f2.0 100, 150mm (1966)
This was a 6g/4c Gauss like the Tachar above but with a very thick front pair in G2 and G3, and was designed
primarily for 6x6cm but performs very well on smaller formats. Color is especially well corrected. In 1966,
smaller sizes of 25-125mm were in development, and may have replaced the Gauss Tachar above?
Kino f1.4 18mm This was noted for a Siemens & Halske camera about 1958 for 8mm.
Kino f1.6 50mm on an 1952 Siemens & Halske for 16mm.
Telastan f3.5 200, 300mm (Also noted as Telaston) It is Astan in the 1966 brochure.
f4.5 500mm
f10 2000mm
These and the sizes below are in the 1966 and later lists. This is a triplet design with the rear glass split as 1+
1+i+1+1 where G2 is negative. It was described as excellently corrected for colour and astigmatism. They
covered up to 6x6cm with up to 9x12cm for the 2000mm lens.
ApoTelastan f5.6 300, 450, 600mm
f11 2000
This was not noted in 1966.
FernBildLinsen f5.0 75, 100, 150, 200, 300, 400, 500, 640, 800mm An f6.3/400mm was
auctioned in a reflex housing at No 30,15x. This may shade into the next item.
f6.3 1000mm An f6.3/1000mm was auctioned at No52,89x on a Identoscope
reflex unit No53,34x for M39.
These were all in the 1966 list. The shorter were for 8mm and 16mm use, then for all sizes including 35mm
movie and the 640mm and up covered 6x6cm. They were suggested for use for movie making in preference to
the TelAstans as being excellently corrected, for sharpness and brilliance with little light loss in the two very
transparent glasses used in this cemented achromat.
There seems also to be a f4.5 Fernbild series, eg at 500mm f4.5.
The Fern lenses are thus all meniscus designs, as noted for a 150mm C-mount lens, made postwar and
coated at No 5176x, and No 5260x on a 300mm f5.0 for Exakta.
Tachonar f1.0 25, 35, 40, 50, 75mm in C-mount. (The 40mm was absent in 1966, added
later.) The 25mm was used on 16mm, (when it was noticeably faster than an f1.4) but also covered movie
formats, as did the larger sizes. But the rear clearance was very small, some 1/3 of the focus, so that the
Tachonar did not suit some cameras. The layout is a triplet with the front split into 3 glasses as 1+1+1+1+i+1
where G4 is negative. When stopped down, it could be used as a normal lens. It was also suggested for
industrial and CRT use, etc.
This was a sensational lens of super speed, for movie and small format use.
TV-Tachar f1.5 25, 35, 40, 50, 75mm
f1.8 100mm
f2.0 150mm
This series seems to be beginning in the 1966 brochure.
Telestigmar f3.5-f6.3 This was a kit to provide foci of 175, 225, 250, + 315mm from a common
front component and different rear cells. The result is exceptionally light where equipment has to be carried to
a site, and takes over nicely from many long zooms on a 16mm camera. It must be a late item, and is not in
the 1966 list. (Compare this with a unit Dr Weth offered after WW2 for SLR's).
These were listed with a extensive range of cases, filters and accesories, in a variety of fittings, especially for
TV, Arriflex, and 35mm use.
Astro were still included in a list of projection lens makers 01/1974, when they offered:
Astro Kino-Colour f1.4/50mm; f1.5/65mm; f1.6/75mm; f1.6/85mm; f1.8/100mm.
Chronology: It is not at present possible to comment usefully on this. A small group of old 'lenses' included
Nos 12,33x, 19,43x, and 20,97x. This suggests fairly low numbers are involved.

Arnoux & Cie

Grand Angulaire They were noted for a Wide Angle No 13,47x with wheel stops, which was apparently
originally sold by R.A.Goldman, Vienna.

J.J.Atkinson, 33, Manchester St., Liverpool, UK.

Atkinson certainly supplied lenses engraved with his name, but it is doubtful if he made them. Channing and
Dunn list him as a maker of cameras, through much of the period 1845-1900, but suggest he often was
making cameras for sale by others, as in a "Rayment's Patent Field camera, made by J.J.Atkinson".

J. Audouin, Paris.
This was a name at auction on a brass lens for 12x18cm on a wood and brass camera. It has since been
noted by Mr Morley on a Rapide Symmetrical.
Auto Tele Plus; a series of tele extenders from J.J.Silber, q.v.

Auzoux et Cie, France.

They are noted for a Grand Angulaire (Wide Angle) No C at Nr 13,47x with disk stops on a Goldman (Wien)
18x24cm camera. (This seems to be a repeat of the Arnoux data and needs to be clarified.)

Avenon
Noted for two wide angle lenses for M39 sold about 1997 as:
Avenon f3.5/28mm at about No93,16x.
Avenon f2.8/21mm at about No80,06x.
They were made in M39 but offered with M adaptors.
It is though they were of Japanese origin.

Avimo, Taunton, Somerset, UK.

Avimo was noted twice in B.J.A. 1949, p199, p231 for recording cameras. One had an Aviac f3.5/2in lens
used on 70mm film in close-up. It was a complex and advanced unit. The other was a 35mm single shot
camera with a f5.6/1.26in and was still quite costly at £55.00.
B & W (Walter Biermann and Johannes Weber), Berlin, Germany.
They started in Berlin in 1947 making high grade optical filters (color filters) and using Schott glass. They
made filters under contract to many (most?) of the leading German firms inc Leica, Hasselblad, Rollei, as
well as selling today (2000) under their own name. It is therefore interesting to compare the mounts of some
in-house filters and also non-official ones and this explains why they are often so alike. (see advert. Fieldgrass
and Gale, Am. Photo. 07/04/2001, p91.

Back, F.G.
Back (1902-1983) was responsible for a number of developments in early zoom lenses. For 16mm these were
available from 1946. His Zoomar Corp. dates from 1951. See especially Voigtlaender for the Zoomar lens.

Baker/Baker-Nunn, USA.
Specialist makers of high quality aerial survey cameras, initiated at Harvard in WW2 using K22 cameras.
Products included first a f5.0 40in lens, then f6.3 60in and f10 100in by 1947. These were thermostatted in use
for optimum performance. Later there was a f8.0 144in, for 28x28in in 1960, mirror optics for tracking such as
a f1.0 24in and a f4.0 64in. (The layout of the 40in is shown in Bak 001).
(See also Polaroid for a J.Baker and W.Plummer designed lens, possibly the same firm.)

Balbreck Aine' et Fils, France.

Balbreck were licencees for the Cooke triplet, from TTH of Leicester, along with Mssrs Voigtlaender of
Germany. Balbreck lenses do not seem to be common, but one has been mentioned as a f16 290mm RR on
a Guyard hand-and-stand camera. There was also a Balbreck option on Le Marsouin (Porpoise) stereo from
about 1900. We have noted a "Max Balbreck" on a monocular about 7.5x and it may be they were mainly
makers of glasses.
Judging from FBB they were active about 1890-1920, but often, perhaps always, were listed for RR lenses
even in 1920 on the 45x107mm stereo La Francia of Mackenstein. Often as here, they are fitted to Stereo
cameras (Jumelles). They do not seem to have made triplets in quantity (one is noted below)but there was a
Balbreck lens on a very early Lumiere 35mm Movie camera No130 of 200 initially made in 1895 noted at
auction: but by 1900, Cooke lenses from TTH were listed in France by Fournier on a Jumelle and in 1903 by
Gaumont on the Block Notes. Users included the Photo Album concealed camera (1890) and several
Mackenstein cameras about 1896-1904. A small stereo camera for 40x110mm is shown by Hasbroeck as
about 1920, with a pair of 'Rectiligne Balbreck' lenses but with no other engraving. Probably after 1914, the firm
was essentially in other fields.
One important item noted was a 'Objective Cooke / Brevete HD Taylor SCDG / Ser III 218mm 8.6in (also
13in.) Iris f6.5-f45.// Balbreck Aine et fils / Paris / No497'. This is an impressive brass lens in a Thornton-
Pickard shutter and seems to be in imperial thread.
Fig 022 004 Balbreck Cooke Series III Triplet f6.5/218mm No497 (with T-P roller blind shutter).
'Balbreck lenses' were noted as a f16 290mm rectilinear on a Guyard hand and stand. This was the first
Balbreck noted, surprisingly in view of the note that they were the licencees for the triplet in France. It is likely
that the firm was in fact Balbreck Aine et Fils and incompletely listed in the source seen.

Balda, Dresden, Germany

Primarily a camera maker, their lenses had trade names which reflected their own, as in Baldanar, even
though these lenses may have been bought in. Incidentally there was overlap in the Baltar trade name with a
Bausch & Lomb movie lens. Examples are:
Balda Primar f6.3 105mm This was on a 6x9cm camera about 1928.
Baldanar f3.5 50mm This was on a on a 1930's Baldina.
Zeconar f2.9 50mm This was on a 1930's Balda camera.
Rigonar f3.5 50mm and (f4.5/75mm) on a Mess Rigona, Rigona 35mm and Baldix.
Postwar
Baltar f2.9 75mm This was on a 6x6cm Baldix, and Super Baldax (1952, 1954, 1956).
Baltar f2.9 50mm This was used on the Baldinette and Rangefinder Baldinette about
1950.
Baltar f4.5 ?75mm on R/F Baldix 6x6cm.
Baldanar f3.5 50mm also on Baldinette. Here the cheapest option was Baldanar, then
Baltar and then Radionar f3.5 and f2.9. The Baldinette II used a Color-Isconar f2.8/45mm from ISCO.
Baldanar was also used as the entry level lens on the Baldina cameras in 1961, but seems to have phased
out to be replaced by ISCO lenses, such as Color Isconar and Color Westanar f2.8/45mm.
Color Baldanar f2.8 45mm on Baldessa 1a and 1b. Here Color Isconar was the low price option.
Baldar f9.0 72mm on 6x6 Baldixette, about 1960.
Baldanon f2.8 38mm on Balda C-35 - a late camera.
Baldanar f5.6 38mm as above on Balda C-35,
Baldanar f3.5 50mm noted as coated and on R/F Baldina (B.J.A. 1954, p189).
Rigonar f4.5 ?75mm for 6x6cm on Baldix 6x6 (1956) and
Rigonar f3.5 50mm? noted on Baldinette 35mm in 1954 (B.J.A. p526).
Baltar f4.5 ?75mm same, see B.J.A. 1956, p561 Advert.
[Ennagon from Enna, f3.5, f3.9 on Baldix.
The following are probably related items.

Max Baldaweg, Dresden, German.

Balda Werk, Dresden, Germany.

Among their 1930's lenses were a series probably bought in but of unknown make.
Vidanar f4.5 50mm on Picochic 3x4cm
Vidanar f3.5 50mm
Vidanar f2.9 50mm on 35mm Baldas about 1936, 1934. Also on 3x4cm Picochic.
Juwellar Anastigmat f6.3/105mm on Juwella rollfilm
Juwellar Anastigmat f4.5/105mm on Juwella, about mid-1930's.

Balham Optics, 6, Weir Rd., London SW12-0NA.

They are more correctly named Optical Instruments (Balham) Ltd. of Unit 39, Neville Court, Neville Road,
Croydon, Surrey CR0-2DS
They are repairers and makers of lenses, active currently.

Balsam
Where glass components are in contact, a sticky clear layer is used to join them- both to keep them aligned
and also to reduce light reflexion at the surfaces. The traditional material was from the gummy Canada
Balsam of Canadian tree Abies balsamea Miller, though other pines such as Oregon Balsam from Pseuda-
Tsuga trifolia are known but are less good. Crude balsam is a mixture and is first heated to 200°C, or to about
130°C in vacuum of 10mm Hg, to drive off light ends as turpentines, and the remainder called balsam, varies
in viscosity with how hard (time and temperature) it was heated. Purification and treatment is described in F.
Twyman, "Prism and Lens Making", p238. If the balsam is a soft one, the glasses were then balsamed
together by warming them by putting a droplet on one, and the mating lens placed on and pressed down with
a slight turning movement- pressing till the excess squeezes out and the edges of the glasses are lined up-
more stringent alignement ["centering"] will often be needed on a optical test rig. The pair of glasses is then
placed in an oven at 77°C for 60hours, and allowed to cool. This bakes light ends out of the balsam at the
edges but leaves the centre little changed so that after cooling the glasses stay aligned and together. A harder
balsam requires hotter glass before mating the glasses but the final treatment is shorter, say 2 hours at 40°C,
as there is no need to bake out the light ends. Slightly different techniques were used in UK, Germany and
other places, and factories also varied. Thus different makes have in the long term shown different amounts of
balsam failure and this probably corresponds to the hardness of the balsams used and the care taken in
annealing. [Thus this text notes elsewhere cases where one product goes yellow and fails partially while
others from the same maker stay in excellent condition. Traill Taylor attributes this to assembly into the cell
before the balsam has had time to harden, so it is affected by reaction with the brass cell wall]. However some
lenses had to be assembled using soft balsam since they were large, subject to temperature changes and
had glasses of differing thermal expansion. Typical examples were aerial lenses. One example is the Aero
Ektars, where the f2.5/12in (c.120mm dia.) seems to be very subject now to balsam bubbles. There may be
no complete answer to this situation.
An early case was the Ross-Collen lens, where castor oil was used as balsam- and probably renewed
regularly as it did not harden and leaked out.
An exception to the use of balsam was when in Germany surfaces were contacted direct and if clean and
accurate to 1/2 ring or better, when no balsam was needed. [It may not have been applied to photographic
equipment however.] This underlines German difficulties with balsam supplies in wartime, but synthetic
balsams were normally the answer and their chemists were adept at seeking such ersatz materials. In his
1952 Edition, Twyman mentions n-butyl methacrylate (H.T. Cement) as the one with suitable properties.
(idem, p242) Apparently the monomer is applied, or a siropy mix of monomer and polymer and the glasses
united and baked in an oven for eg. 16hours at 60°C when the are united by the clear new layer of plastic
formed. Such synthetic balsams are excellent as they are clearer and more consistent, but can have
problems. Thus while thickening, the material shrinks, and this can continue long term if the conversion was
not completed during the intial heating. and the additions of other substances such as UV absorbers to trap
UV light can exacerbate the situation. [This effect may be responsible for some of the balsam failures noted in
German optics in the late 1950's and 1960's.] Balsam failure was also a regular occurrence in cinema lenses
due to heat, and a top UK repairer made this repair work the basis of his business.
Traill Taylor suggests balsam is a diy job. Strip out the defective glasses, and place in tepid water in a pan on
a piece of wood to prevent damage, and heat till the balsam softens. Slide apart, and clean up the glass with
solvent (white spirit or aromatic hydrocarbon such as Hammerite thinners. When clean and dry, place the
concave side up and place a good sized drop of Balsam in the middle, totally free of bubles, and keep the lens
warm (not hot)while the othe surface is lowered onto it, and the balsam squeezed to the edge. Then wind a
long piece of string round and round the glasses, crossing and recrossing repeatedly to centre them, and
place in an oven till the balsam squeezed out is found to be hard. Cool, remove string and clean up before
remounting. (It might be worth practicing before use on a va,uable lens...)
The synthetic balsams make lens repair much slower and in some cases prevent it. In the old balsams, the
glasses were left to soak in petrol or toluene in a warm place, and eventually the balsam dissolved and the
glasses came apart. Repairers could not quote a time, but it often was months for quality items where the
glasses fitted well and the balsam was hard. Synthetics balsams do not always respond to this treatment and
if applied, the waiting time can be prolonged.
Apart from yellowing, Canada balsam apparently could lead to problems with fluorescence when exposed to
UV light. (B.J.A. 1939, p235.)

A.C.Banfield
He gave his name to a soft focus lens made by Dallmeyer (Q.V.) but also designed darkroom equipment for
Mssrs Allan (Dallan) and a camera (B.J.A. 1924, p281) using a massive Compound shutter to allow the
mounting of a wide series of fast lenses such as Xpres, Pentac, Staley-Wheeler and Dallon.

A. Banz, France.
FBB records a 'box' type detective camera with a Banz RR from 1892.

Barlow, P.
He initiated the use of negative lenses as magnifiers for telescopes. Later the same idea was applied to
telephoto lenses. (Proc. Roy. Soc.,1834).

Barnes Engineering, USA.

They made a synthetic fluoride lens for photography with ultraviolet light. (Modern Photo. 1/1970 p76).
It was a f3.3 60mm lens mounted on a 70mm Maurer camera.
Also noted; a mirror optic f2.3 290mm.
Barnet-Ensign, England.
Barnet were an English plate and film maker and Ensign was a trade name used for cameras in a complex
group of companies centered round Barnet, later Ross, and Houghton-Butcher. Ensign lenses were often
bought-in from (mainly) Ross, but are mainly listed under the "Ensign" entry.

Barr and Stroud, Anniesland, Glasgow, UK.

They were and are instrument makers eg. makers of binoculars eg. a 7x 50 cemented design for the Royal
Navy in WW2 and other optical instruments, but not so far as is known camera lenses.

Barre
Barre seems to be the maker of an old portrait or possibly landscape lens of f4/350mm, but no details were
given.

Bauer, Bosch Group, Robert Bosch Gmbh, 7 Stuttgart 60, Beim Inselkraftwerk 10,
Germany.
Bauer are/were makers of movie projectors and listed a Bauer f1.6/35-65mm Bauer Vario Zoom, but may not
have been the makers.

Bausch and Lomb, 272, Smith St, Rochester, N.Y.,USA.

UK Agents:A.E.Staley, 35, Aldermanbury, London EC.
We thank J. Jasek, Texas, USA for additional information here.
J.J.Bausch emigrated to America in 1849, after an optical apprenticeship and after an accident set up in
optics in the USA with the cash from a collection in sympathy. Initially he sold spectacles, using imported
frames but this failed and Lomb invested in the business which switched to manufacturing and became a
major maker. They were licensed in 1891 to produce binoculars to the new Zeiss design, as well as the new
range of Anastigmat lenses, and probably these were mainly sold in the USA. His son, E.Bausch (1854-1944)
was responsible for the extension into microscope and camera lenses from 1893 (Zeiss designs) and
E.Bausch designed the Plastigmat lens in 1900.
The following can be only a fraction of their total product range, as their lenses are not common in UK and
were not much advertised. Production began in 1878 with single achromatic lenses. Optical glass was
produced in-house from 1915 due to the cut-off of German supplies. Here William Bausch, Edwards brother,
was involved also.
A late prewar advert. lists B&L Tessar, Protar VIIa and F-set, and B&L wide angle Protar V.
Lenses were Balcoted by 1946-7, and used a new all-temperature cement. An advert. in the 1947 American
Annual padvert 29 shows some 11 structures all of Tessar type.
Listed 1890
Here the Clarke lenses seem to be absent, the lenses being before the advent of the new Zeiss Anastigmats
in the early 1890's, which were not noted in the 1890 list.
Extra Rapid Universal f6.0 4.375-22.75in. It was still listed in 1908.
RR Portrait Lens (Bau001) Two layouts have been seen, of which this is the more deeply curved one.
Rapid Universal f8.0 5.25-31.625in. It was an RR, probably as above. It was still listed in 1908. (Typically
Q5)
Universal f8.0 RR, probably the same as above.
B&L Telephoto Lenses: These were offered in 4 sizes, 3-8x, on a rack-and-pinion tube.
Listed 1891
Symmetrical Wide Angle lenses; These were a wide angle rectilinear, WAR (Bau002)
B&L Petzval lenses.
Rapid Universal (RR) from 1885 at least as follows;
f6.7, 5.25in; f7.0,6.25in, 8.5in; f7.5, 11.25in, 13in.
f8.4,16in; f8.8, 19.5in, f9.0, 23.75in, 30in.
These were with Waterhouse stops, and 11.25 or 13in was suggested for 10x8in. It was still in use on the
Long Focus Premo in1895-1900.
Victor: a RR, possibly branded for use on a camera of this name.
Rapid Convertible: an f8.0 RR on Houghton's Sanderson in 1906.
Alvan G. Clarke (Gauss) Lens. This design was an important novelty as the basis of all modern Gauss lens
designs, but is not common as it was a poor seller, and was not appreciated: and it barely reached Europe. It
covered 60° at full aperture or even 100° at small apertures and this was the real value. It was patented as US
Pat 399,499/1889. The review in Photo News 1/11/1889 says it will cover up to 100°, and that it has the best
overall image of any available, but does not specifically claim it is corrected for astigmatism. The catalogue
says since there was no cemented surfaces and the outer glasses were of 'the hardest glass', that it will
never degenerate or become slower, and be less liable to become scratched. It was sold in iris barrel or in
shutter by 1898 when the only version listed was the f8.0 (List 1 presumably). Later it was shown that
anastigmats were possible with the old glasses and it would be interesting to know how far the Clarke lens
was actually corrected for this. The layout shown (Bau003) is "typical" of the type.
List 1 f7.5 5, 6.125, 8.25, 11, 13.25, 16.125, 19.25, 23.375, 29.5in.
List 11 f12 3.75, 5, 6.125, 8.25, 11, 13.25in.
List 111 f35 3.75, 5, 6.125, 8.25, 11, 13.25in.
1898 List f8.0 5.125in for 1/4plate; 6.125in for 4x5; 8.25in for 5x8in; 11.125in for 1/1plate; 13.125in for
8x10in; 16in for 10x12in; 19.25in for 12x15in; 23.4in for 16x18in; and 30in for 20x22in..
For 10x8, the suggestion was 13.25in in List 1, 8.25in in List 11, and 6.125in in List 111. This shows that List
111 was a really wide angle design.
Listed in Early 1890's
Zeiss Anastigmats. These would be made under licence from Zeiss, where the dates of introduction are given.
All these lenses had rather similar layouts, but were designed for differing angles and speeds.
Deg. Series Aperture Focal lengths Layout Type
85 11 f6.3 3.375-23.25-35.5in 2+3 anastigmat
use 5.5in for 5x4
75 11a f8.0 4.375-17in Bau004 2+3 anastigmat
use 5.375in for 5x4
85 111 f7.2 3.81-23.25in Bau005 2+2 anastigmat
97 111a f9.0 3-32.5in. Bau006
2+2 anastigmat
use 4.75in for 5x4
100 1V f12.5 2.44-48.375in Bau007 2+2 anastigmat
use 3.875in for 5x4
110 V f18/16 3.75-37.31in (1925) Bau008 2+2 anastigmat
.
Of 3 versions of Series V noted, this layout seems to be the most convincing. The internal separations varied
in the drawings. While initially f18 max., the Series V was later listed in the 1920-1945 period alone as the
"Extreme angle Protar f16" but in a 1939 H&D list, it seems to be back to f18- a misprint perhaps. But an
f20 version for 7x5in has also been reported- it is probably an early lens as no focal length seems to be
engraved on it. At least in UK the Ross version was listed as f16 while still carrying the Zeiss name, and it
seems likely that the actual glass was the same, and the graduation was falling into line with local practice.
Larger sizes were initially listed for process and copying work.
The range of Protar lenses was decreased progressively, but in 1908 they still listed Series 11, f8; Series 1V,
f12.5; Series V, f18; as well as Series V11a (Below). This was a wide ranging list as it also offered Tessar
f6.3, and f4.5 (new) as well as F8.0 Extra Rapid Universal and f8.0 Rapid Universal RR's. Series 1V and V
were listed into the 1930's and Series V survived at least to 1938 and probably 1948 as a wide angle, when the
range of focal lengths made was more limited. Anastigmat was the original Zeiss trade name but in addition
the name Protar was added as Zeiss were able to ensure its use was limited to their own products only. B&L
continued to use Zeiss trade names at least to the 1930's unlike some others who must have ended the
licence agreement. A Korona 10x8in wide angle camera ("Sky Scraper" type) in B.J.A. 1927, p155 seems to
have an Series V wide angle probably from B&L. It was also sold and used with a Goerz Hypergon elsewhere.
(B.J.A. 1927, p305) It could use a 3in focus lens, on a 10x8in plate, or up to 6.5in extension. It has a 2.75in
rising movement, and cost £18 plus the lens.
Double Protar V11
Subsequently Zeiss issued the Double Protar with two components each of 4 glasses, and related to the
above anastigmats. Either single cells or pairs were usable, and the singles were sold separately as V11 and
the pairs as V11a Protars.
Protar Single Series V11 85° f12.5 a single 4-glass component
made in 7.25-39.5-63.5in
Protar Double Series V11a 80° f6.3, f7.0, f7.7 a pair of the above.
made in 4.125-23.5in
Double Protars are very desirable contrasty, well corrected lenses even today. They are fairly free from flare,
show little distortion and do not shift focus on stopping down. Single Protars are even less open to flare but do
shift focus slightly on stopping down, and the maximum aperture is rather low for convenience. The cells were
also offered as casket sets with several components to mix or match in the set. Example was 11.5, 14, 16.5,
19.25in cells in a set. Note that the apertures vary with the cell mix, hence the varying maximum apertures
given above for the double series. Caskets could be in shutter or barrel mounts, and are rather a select item,
although most Double Protars are available if looked for.
"F"-set: This was a Protar set in 1937 with 4 series V11 components and also a Series V lens to extend it to
real wide ange work, all items fitting the same flange.
Bausch & Lomb Protars are uncommon in the UK but a Protar VII 11 3/16 in (=284.1625mm) was noted at
No1,286,629 in a shutter. It carried Pat date 8 Jan. 1895 and was optically in fine condition, free from balsam
problems. The reflexions from the balsamed surfaces seemed slightly less than in a original Zeiss Protar VII
No63,722 of 285mm, and the internal curves were identical but the outer seemed to just differ. It may be the
glass supplies differed very slightly as these may be of different dates. It was not possible to use the B&L
version as the threads were distinctive, ie different!
An 1898 list (Note that by 1903, production was about 500,000).
Here the Zeiss lenses had been extended to include Unar and Planar and some other non-Zeiss items were
noted.
Unar This was probably made but has not been noted.
Portrait Unar f4.5 This was made in 10, 12, 14.75, and 18in. This was a special fast sharp portrait
lens, probably continued from a time when the Unar was an important item. The portrait label is not attached
to Unar by other makers, and it seems to have been offered with a softness control device which was unique.
It was suggested to use 14.75in for 10x8in.
Planar Series 1a f3.6-f5.0 (in longer focal lengths) to cover 72°. It was made as follows:
f3.6, 4.5in; f3.8, 5.0, 6.25in; f4.0, 10in; f4.2, 12in; f4.5, 14.5in, 16.75in; f5.0, 18.5,
24in. It was suggested to use 16.75in for 10x8in.
Other Lenses
Periscopic for No4 folding Kodak. This is potentially an older product, noted in 1893.
Planatograph f4.5 150mm no details here.
Planatograph f8.0 This was a 6.5in lens on a 5x4in Pony Premo.
Telenegative elements. Three types seem to have been offered, with one, two and probably 3 glasses.
a/ This was initially a 2-glass negative component in a sliding tube mount for a B&L lens in a Unicum shutter,
eg for 3.5x magnification for use on 5x4, 7x5, or 9x7in sizes. These had lenses of diameter 26mm, 34mm,
and 43mm respectively. This was noted in an 1898 list, where it is teamed with a Series V11a Protar unit. The
prime lens could be from 6.5in for 5x4 to 13.5in for 8x10in. With the 6.5in lens it gave overall 6.4-22.6in.
b/ A single glass rear negative has also been shown, agented by Staley in 1901 (B.J.A. 1901, p1510)
c/ During 1901 a more complex 3-8x unit to suit RR and Anastigmat lenses such as the Protar V11 was
introduced.
Universal Wide Angle Lens f16 This was listed as such in the 1898 catalogue, but the diagram suggests a
Series V Protar was involved, with different front and rear cells. This may be a printers transposition. It was
made in 3.5in, 5.25in, 6.5in, 8.0in, 10.5in, 14in, 17in and 22in and 8in covered 10x8in. It was rated for 80° but
could cover 100° when stopped down. This version was definitely not an anastigmat from the text and was
probably an RR.
Plastigmat f6.8(?) 5.25, 6.25, 7.5, 9.25, 11, 13, 15in This was an 8g/2c symmetrical anastigmat
introduced by B&L about 1900, and the reflexions in the one seen suggest it was a Dagor type design- ie one
of the reflexions is hard to see. It will have been initially made as the Dagor patents would still be effective in
1900.(Layout Bau009) Note that drawings of this vary in the centre gap width. Also that it differs from the
portrait lens below. It was recommended to use 6.25in for 5x4 and was fitted to the Premo Long Focus in
1902.
The example (No NY985511 in a Compound shutter) seen did not have focus engraved on it, but was about
135mm 'for 4.25x4.25in' and covered a much bigger field, such as 5x4 with 2in rising front in use. Performance
was rather like a Dagor, good at f6.8 and with some improvement on 1 or 2 stops down but a real wide field
and excellent contrast even in an uncoated lens. Condition was also excellent, without signs of balsam failure
or scratching. This seems a high quality product and still worth having. They can be very BIG as a 750mm f6.3
has been noted. It was listed as a portrait lens for 11x14in in barrel with iris.
Extra Rapid Universal Lens, Series D for f6.0 max. The section shows a typical RR with thin cemented
pairs of glasses back and front. It covered 70°. It was made in No0,4.375in for 6x9; No00, 6.375in for 5x4; No1
8.0in for 5x8in; No2 9.45in for 6.5x8.5in; No3 11.25in for 8x10in.; No4 14.25in for 10x12in; No5 17.5in for
12x15in; No6 22.75in for 16x20in.
Rapid Universal Lens f8.0 max. This was for 70° and was the standard product to 1896 and still a favourite.
(ie. the f6.0 above was ?new in 1896?) The f8 was made in 5.25, 6.75, 8.875, 11.75, 13.875, 17, 20.25, 24.75,
31.625in and 5in was suggested for 5x4. It was priced some 15% below the f6.
Universal Portrait f4.0 These seem to be a Petzval type made in:
No(1) 6.5, with front glass 2.75in dia. for 5x4in.
No(2) 8.5, with front glass 3.5in dia. for 5x8in.
No(3) 11.5, with front glass 4.16in dia. for 6.5x8.5in.
No(4) 13.5in with front glass 4.5in dia., for 8x10in.
The separation of the rear glasses was adjustable to control softness, and this may be most useful in close-up
as it increases the depth and eveness of definition.
"Edison" A brass and nickel projection Petzval type lens highlights the relation of Bausch & Lomb and the
Edison Manufacturing Co, for whom this is a No1 type lens. It is probably about 3.5-4.0in.
Fig 009 016 (l) Crown Optical, Projector lens; and (r) Bausch & Lomb Projector lens for Mr Edison.
Tessar This is from a 1911 list, some time after the f6.3 and f4.5 versions were new. B&L Tessars were used
on two early 35mm cameras, the Simplex of 1914 where one was listed as No1,894,37x, and the Tourist
Multiple about the same date which used an f3.5 eg at No1,862,55x.
Tessar 11b f6.3 9.75-19.44in Layout Bau010. A high quality general purpose lens. Other
lists give 3.5-23.25in and 4.6-12in, so the range probably varied.
f6.9 3.5in (Possibly a 'special' for a small shutter?)
Tessar 1c f4.5 3.625-19.44in. (Layout Bau011) It was suggested to use 5.5in for 5x4.
Fig 031 005 Bausch and Lomb Tessar IC f4.5/190mm ctd ex Burke & James Ill.
Tessar f3.5 32 to 75mm This was mainly for cine and 24x36mm use. It has been noted
on various 35mm cameras from 1914-1918. However H&D mentions these were made in 10 and 12in for aerial
use as below.
Apo-Process Tessar f10-f15 These will be in long foci.
Micro Tessar e.g. f4.5 48mm initially, later also 16,32,72mm were added.
This was designed for macro and low power microscope work. It was a long lived item into the 1930's.
Other Lenses
Process Apochromat f10 260-640mm This used a dialyt type design.
"4-glass Gauss Process" There seems to have been this as an alternative, possibly for wider angle
process work. The layout is Bau014.
Sigmar(noted1931) f4.0 16,19,22in. This was a triplet, not fully corrected and softish for
portraiture. It was suggested to use 16in for 10x8in.
Plastigmat Portrait(1925) f5.6 9,12,15,18in This gave softish focus all over, and it was said the visual effect
matched the photo effect. The design used 3glasses, as 2 components, ie 1+2. It seems at least two
Plastigmat types exist, and possibly more.Here use 18in for 10x8.
Plastigmat f5.6 9-18in This was a Petzval type, a possible reuse of an old T.N.
Raytar f2.3-f2.735-152mm Designer was W.B.Rayton, of B&L.
it includes: f2.3/100mm,
f2.3/75mm These were commercial movie (35mm) lenses, and some have been
adapted to use on 24x36mm eg. in M39 mounts. (Thus they were described in a LHSA issue and H.P.Rainer
seems to consider them factory products.)
Raytar f1.5 This was a triplet of 5 glasses as 1+1+3.
f2.5 Noted as a 50mm lens from an 1918 Akeley camera, but it may be a later
fitment.
Graf Bishop Doublet This is a puzzle. See B.J.A. 1924, p277; B.Pat.194608/1922).
(Ilex Portrait f5 and Ilex Photoplastic f4.5. These have been listed as B&L but the name suggests another
make.)
Wide angle f6.3/f6.867-88mm 4-glass Gauss for 88°.
Ansix f1.9 25mm This was a cine lens, but no details are available, but it was probably
a 6-glass Gauss.
Process Anastigmat Lens f10 13-25in. with 4-glass Gauss layout.
Super Cinephor f1.6 Gauss type projection lens, (A.E.Neumer, J.S.M.P.E., 52, p501,
1949). Also as Cinephor, in 6.5in.
Varium f4.0 no details.
Photo-Fluorographic f1.5 150mm This was probably to record X-ray traces onto film using larger sizes
for better details than the very small 16mm films. This tended to be early postwar?
(They seem to have supplied lenses for the Ansco Memo camera at Nos 15,26x and 28,21x from auction
records. These seem to have been made from 1927 for many years, and could have Wollensak, Ilex or B&L
lenses but the types are not noted.)
Anon Anastigmat f2.0 3in This was an odd lens used in an enlarger in Min. Camera World 01/1938
p110 probably for an unduly large format but it was noted for barrel distortion round the edge. The B&L was 'no
longer available in the UK' at that time. It was probably a movie lens.
Aerial Lenses
Metrogon f5.6/f6.36in, also a few at 3, 4,5.125, (prewar), 12in focus. 6in covers 9x9in., for
90/100°.(USPat 2031792). This is a deeply curved Gauss derived from Richter's D.R.Pat.636,167. It was made
in up to 1000 lenses per month for fitting to the K17 Aerial camera from 1939, including as a Trimet triple fan
mounted assembly for wide coverage. Fall-off in illumination can be a problem and exceeds the cos4 value and
some distortion is present. This last was the reason for the later 5-glass version below. [This was a Topogon
copy in most books. But remember they may well have been licensing them from Zeiss up to WW2.] It was
selling off in Modern Photo 11/1971, p147 at $14.95 (no iris) or $24.95 with iris. Government cost was said to
have been $900.
This is scarce in the UK but one seen was a 6in (152.5mm) f6.3 No MS1249 Spec 31281 to USPat 2,031,792.
This is a 4-glass lens in a alloy mount, and the optics just push into a center barrel with the iris- now lost.
Originally, there were probably bolts thru from the from bezel to the back to hold it in assembly, and there are
signs that the front cell was pushed into another assembly, possibly with the bolts starting in front of it.
Reassembly of this lens was not successful, possibly due to the centre barrel length being set wrongly (wrong
barrel perhaps?), and it focussed on a very curved field- it must be worth finding an original example to start
with.
Metrogon (11) This was a 5-glass version, rather like the Ross Survey, but reversed. It has less distortion,
and possibly more even illumination but is very rare as it was only coming into production as the war ended.
This is the USPat 2,325,275, with a split front glass. The designer was W.B.Rayton. (Bau015). It was
probably an f5.6 lens.
Aero One list says Aero f4, f4.5, f5, f6, f11; all in Plasmat layout+ AeroTessar in f6.0 24in. Compare this list
with the following lenses actually advertised including as clearances from Defense.
Altimar f4.0 8.25in (210mm) Aerial survey Probably Q20 type.
Kingslake in H&D refers to Aero lenses of Q20 type in:
f4.0 8.25in
f4.5 12in
f5.0 8.25in
f6.0 6in
AeroTessar f4.5 10,12in: This was probably a 1920's introduction. Some of these are said to
be 5-glass types rather like Gundlach or Ross lenses.(eg Gun003)
Aero Tessar f6.0 11,24in for 18x9in survey work. Surplus sales included these in Modern
Photo. 2/1960, p109, as well as a Kodak Ektar lens.
"Aero" This name probably refers to the above.
B&L Aerial f5.6 508mm (20in) This is said to be a tele with 4 uncemented glasses,
(Rayton and Hudson, USPat 2,390,387)
f8.0 40in The first was prewar. This seems to have been redesigned in 1940, and
then replaced by an f5.6 version, which is said to be 5-glass in one account.
B&L E.F. Anastigmat f2.0 75mm This was a probably a Movie lens or an early oscilloscope recording
lens. It was noted as a 6glass Gauss at No3,230,081 in uncoated form, ie pre-war. See below also.
B&L Baltar This was a prestige series of movie lenses noted on modern Mitchell cameras. They are still
sought after at good prices and do not often come on the old lens market unless damaged or in an unusual
mount.
Baltar This was a series of movie lenses.
f2.3 25, 30, 35, 40, 50, 75, 100mm One has been dated as 1946.The example
seen was NoZF569 in black mount and purple coated: it looks a very fine lens of normal 6g/4c Gauss design.
By 07/1976, these were listed by Mitchell as Super Baltars and made as:
T3.0 20mm Super Baltar
T2.3 25mm, 35mm, 50mm, 75mm, 100mm.
It may be that these are f2 lenses which are equivalent in T number to T2.3. The prices fell with increase in
focal length suggesting the shorter are elaborate retrofocus designs so that the 20mm cost $1,650.oo while
the 75mm cost only $835.oo.
Fig 031 023 Bausch & Lomb Baltar f2.3/40mm NoZF569. (Ctd)
f2.7 152mm
f2.0 50mm "Movie lens of 6glass/4component type"
(Do not confuse with the Balda lens of the same name.)
Microfile lens f5.6 65-100mm This was a Q15 type copying lens.
Animar: a family of lenses of varying type, for movie or cine.
a/ plasmat layout
b/ 6-glass Gauss layout
c/ retrofocus
d/ triplet f2.7/f2.812-25mm for cine. An f2.8/12.7mm was noted for a 1940-7 Revere for 8mm.
e/ Aviar f1.9 14-26mm An f1.9 26mm was noted for a 1950 Keystone 16mmcamera.
f/ Ernostar-4 type f3.5 75-100mm Q21 layout
(K. Pestrekov and J.D.Hayes, J.S.M.P.E. 54, p183, 1950.)
Telestigmat f5.6 400mm, There is no indication of the date here (Bau013)
Telestigmat f6.3 17in This was listed definitely as a Tele here.
Cinemascope lenses These were launched in the 1950's aprox. These were the anamorphic lenses for the
Cinemascope process and Bausch & Lomb designed and made them. Two types were used: in the first, the
anamorphic unit was mounted on a standard movie lens to squeeze the image. In the later forms, the whole
was designed as one single unit. They were made in 35, 40, 50, 75 to 152mm.
A table of US Navy lenses and cameras.
Camera Format Lens Specification
F1 5x7 f4.0 8.25in Altimar; f4.5, 10in; f5.6 20in.
F8 5x7 f4.5, 10in
K3,K3a,K3b 18x24cm f5.0 12in
F56 7x7 f8.0 40in
f5.6 20in
f4.0 8.5in
K17 9x9 f6.3 3in. Metrogon apparently. They may be paired for stereo
or actually for a 5x5camera. They do not cover 9x9.
f5.0 12in
f6.0 24in
K18 9x18 F6.0 24in
K19 9x9 f2.5 12in
K20 4x5 f4.8 6.375in
K21 5x7 f2.5 7in
K22 9x9 as K17
K24 5x5 f2.5 7in
f5.0 12in
f5.6 20in
K25 4x5 f4.8 6.375in
F52 We are told this was for a smaller size than 9x9 but do not know exactly what.
We are told B&L flourish today, partly as the source of Ray-Ban sunglasses. A more modern photo product
surely is a B&L Zoom 90-230mm f4.5 noted for Nikon F.
C.S.Baynton, New St, Birmingham
They are listed by Channing and Dunn as 'probably' camera makers though possibly just vendors. A Baynton
lens seen was an RR in a brass mount of about f8/10in with no serial number- and both the barrel and flange
are clearly marked 'Made in France' as well as 'Lightning' Regd. Lightning has been noted elsewhere and may
be a Baynton trade name. Brass with iris to f64. It looks to be a solid professional item.

F.C.Beach, USA
He was probably an American maker, seen as f4.5 16in., probably a studio lens.

Beaufort-Hewitt
This camera seems to have been designed by Beaufort and made by Hewitt to Patent Application 28,455/1921
as a 35mm camera for 23x31mm fitted with a Cooke f3.1 50mm lens. As such it is one of the few pre-Leica
35mm cameras. (Min Cam Mag. Sept 1949, p470) Prototypes only.

R. and J. Beck, 68 Cornhill, London EC3, later Watford, UK.

USA: agent Mr Walmsley.
Although they were founded in 1843 as Smith and Beck, Robert Beck being helped with funds by Lord Lister,
as a result of a complicated family relationship, the firm only really entered the photographic market much
later, in the 1880's and then it seems much of the output was sold in the USA. Thus a collection tends to have
rather fewer RR's then with other makes, perhaps 7% in one case. It is likely they used the new Jena glasses
in a series of RRs from 1890 (B.J.A. 1890, p495) though this is not definitely stated. Many of those found are
from the 1900-1910 period, and it is thought that some are concealed by being engraved by other names, such
as Thornton-Pickard. They were of good and consistent quality. They were also active in Stereo equipment, as
Smith, Beck and Beck making a handheld achromatic Stereoscope eg No249x and No1277. The company
making lenses was now R. and J. Beck, and they were able to obtain the right to manufacture anastigmats
from Steinheil, of Munich. Thus the RR period is replaced by two series of Orthostigmats and the Unofocal
marked Steinheil-Beck. One account has been that the hazards of patent law prevented Steinheil making full
use of his discoveries in Germany, and as a result he found a UK collaborator. The book "Photographic
Lenses" by C. Beck and H. Andrews went through a series of editions at least from 1903-1906, and reflects
the changing product range being made. It has interesting figures for the astigmatism curves for many
Victorian lens types, contrasting good and bad designs. It is likely that the differences were partly due to the
choice of good or bad was actually whether the maker used Jena glass in the design. For a f8 RR the
astigmatism really began at 5-10° of axis while a good RR increased this to 10-15°, which today does not
seem too impressive but actually doubled the good angle of correction.
Beck were pioneers in the use of iris diaphragms (1885) and in the 1920's introduced the preset iris 'Iristop'
with their f4.5 lens as used on reflex cameras, though with limited success. (B.J.A. 1922, p327; Brit Pat.
162,829 of 1920; B.J.P. 23/05/1980, p508).
"W.H.Walmsley & Co, Sole American agent" has been noted on lenses at auction, eg. a 5x4 RR No2,44x.
The business was acquired by J.J.Griffin and Sons in 1960.
1888
Autograph Wide Angle 100° 3-9in WAR (noted 1888-1890)
They were made in 1889 with a rotating stop plate as :
No1 5x4 3in
No2 6.5x4.75 4in
No3 8.5x6.5 5in
No4 12x10 7in
No5 15x12 9in.
Autograph Rectilinear 6-29in RR
This was a long lived product, still being listed in the Beck&Andrews books in the 1905 period.
No 1 4.25x3.25 5in
No2 5x4 7in
No3 8x5 8.75in
No4 8.5x6.5 11in
No5 10x8 13in
No6 12x10 16in
No7 13x10in 18in
No8 17x14 24in
No9 22x20 30in NB An iris was offered as extra here. Thus the No2 lens was £3.3 with
Waterhouse stop and c.£3.67 with iris.
Agents Sharp & Hitchmough were selling an Extra Rapid Rectilinear Lens for Portrait work in 4x the speed, ie
2 stops at f4, but there are no details. An early serial number was quoted as No343, but this may cover both
lens and camera- a wooden Detective. One imported by Mr Walmsley above, was for 5x4 and of 7in focus at
No244x on a Scovill Detective camera.
Stereo Lenses These were a regular product. A pair were noted at auction at No2,11x on a brass panel.
Iris There is a claim that Beck applied the iris diaphragm as early as 1885 in some sort of dead heat with
Lancaster. Lens No2,980 may be an example. The iris involved a prominent raised band round the middle of
the barrel of the f8.0/13in RR as the iris is fairly conventional, 8-bladed with slotted actuating ring, but the
setting ring is a flat disk actuating the iris by a axial pin since the slotted ring does not have the raised edge
for a tangential pin as later became the norm. The mount used several very thin bits of tube, one retaining the
setting ring, and has no mounting flange probably as it was used in a push in mount tube on the camera. It
seems to be fairly common and must have sold well. A cut showing it is still in the Beck and Andrews books
in the 1900's.
Primus Beck This was a Beck trade name, but the Primus lens seen did not carry the Beck name and lacked
any serial number.
Autograph Portrait Lens in 1889 was made in 4 sizes. Interestingly the back focus and format were given.
No1 not given
No2 7.5in focus 6in back focus CdV and Busts.
No3 9.75in focus 7.75in back focus CdV and Cabinets
No4 11.75in 9.5in back focus Cabinets
No5 14in 11.25in back focusPanel
Beck Portrait Lens f3.0-f6.0 6-24in Petzval type
This was "New" in 1906, in 8.5in Petzval layout.
Studio Lens f3.0 6in, etc. Petzval layout Bec001. Apparently the front
cell has two separate glasses, not cemented, for better correction than most Petzvals, apart from the
uncementing. It is a non-symmetrical doublet but much more nearly symmetrical than most Petzval type
designs, apart from the uncementing, and is nearer other types.
Beck Symmetrical Autograph Rectilinear It was made in 6-29in and was an RR.
Wide Angle View This was seen as a Cone type Meniscus lens of 10.5in with iris f16-f64 at No613x- a
really impressive item in brass.
The B.J.A. for 1890 p495 shows that Beck was aware of the new Jena glasses, and the reductions in
astigmatism possible using them. He says that 'previously they had some 12 types of glass, all rather similar
in quality and differing mainly in refractive index, but now the Jena factory were offering some 90 types of glass
......some with entirely novel qualities. There were several lines of improvement possible, the most important of
which is the elimination of astigmatism'.
1900
Some products from this period were:
Double Aplanat Casket Set f8.0 for 1/4,1/2plate, in 1914.
f9.0-f14 4 sets numbered 1 to 4.
These were made for 1/4, 1/2, 1/1 plate and for 5x4. They used single cells of 8-26in, and pairs, 4.75-13in.
Cells No0=8in, No1=10in, No2=12in,No 3=14in, No4=16in, No5=20in, No6=26in focus, and were still listed in
the Beck and Andrews books. The barrel was calibrated to allow easy reading of the correct aperture scales
and other sets were possible on request.
Convertible Double Aplanat f7.7in 6in for Thornton Pickard Ruby(1911). This was known
as a nice performer, with good contrast and overall sharpness and was in regular use into the 1940's without
any real reservations about a need to update. It is worth pointing out that 6in is rather 'long' for the format of
1/4plate which helped it, and that a set of wide angle cells has since been found to extend it as they fit into
the same shutter. See also Double Aplanat below.
Symmetrical Wide Angle Aplanat f11?
Extra Rapid Rectilinear f4.0 7.5 for CdeV and Busts, 9.75 for CdeV and
Cabinets, 11.75 for Cabinets, 14in for Panels. This old series was still illustrated with the old type iris in the
Beck and Andrews books.
Size of Portraits was 5x4in for CDV and Busts, 6.5x4.75in for CDV and Cabinets, 8.5x6.5in for Cabinets, and
10x8 for Panels. Use a 9.75 or 11.75in lens for cabinet size.
This was soft at full aperture, and in 1910 Beck suggested that the Isostigmar was better value. It is noticeable
that Beck went on selling a lot of RR lenses well into the new Century. This was due to a good reputation, and
the much lower price of the RR. Thus in 1910 they still listed 3 series in various grades and price, and a fourth
was discontinued.
Series 1 Biplanat f5.8 This was initially thought to be an RR but has been reported to have a 2+i+1
+1 layout rather like an Orthoskop- or Tessar, which it is not, as it is an earlier lens. In some lists, it was the
most expensive grade. Beck and Andrews in their book show astigmatism curves for RRs and other lenses
and the Biplanat f5.8 is included as one of these with astigmatism correction about the same as 'a good rapid
rectilinear f8' but for a f5.8, it was a good design. (edn 3, p160) But there is no indication of the layout. It is not
a well known lens but seems to be an early anastigmat, or a design moving that way. The example reported
was a f5.8/16in lens No28,245 covering a big field such as 12x10in or more.
Series 11 Portrait f6.0 5.5-17in (1905) This was an RR type portrait lens. An example noted was a
Ser II No7 of 14in No43,38x on a 1/1plate tailboard by Dallmeyer.
Series 111 This was discontinued.
Series 1V This was in a focusing mount.
Double Aplanat f 7.7/f8 5.5-14.5in(1910) This was an RR, in the medium price range but
cheaper than the Autograph below, and it was also listed as sets in a "casket". They were list as 5.0, 6.0, 7.0,
8.75, and 11in, and covered 50-60°, with little astigmatism up to 20-30°.
A small point but one of these from 1910 is a "Convertible Double Aplanat 6in f7.7 in Ilex shutter for a
1/4plate T-P Ruby Hand &Stand camera.
Symmetrical f8.0 5-18in, a good RR but a cheaper product. This may have been the basis of
lenses which seem to have sold under some Ensign and Thornton-Pickard labels. (Thus see the following note
* on buy backs.
Fig 023 036 Beck RR lenses (l) for Ensign f8/8in; (r) Beck f8/13in with an early version of the iris.
Rapid Symmetrical (?) f8.0 The addition to the above name may add little.
Wide Angle Symmetrical f16 3-5in This was a WAR at lower cost.(1910)
Wide Angle Aplanat f16 3 and 4in This was a WAR but a more expensive lens.(1910)
Beck sold pairs of eg. 4in cells to replace the 6in f7.7 pair of Aplanats used on a 1/4plate camera, for wide
angle use. Two sets of these have been noted. Both were in neat little flat cases in plum leather finish gold
blocked with Beck's name and the product in the case of the Symmetrical.They were for effectively the same
shutter fitting and diameter of glass, but differed slightly in optical design.
(a) Beck Symmetrical Wide Angle 1/4pl Aplanat with bulges of 76 thou (front) and 56 thou (rear) in 12.5mm.
(b) Beck W.A. Aplanat No6929x with bulges of 109 thou (front) and 78 thou (rear) in 12.5mm.
The more bulgy aplanat may use the older glass (lower R.I.), though this is contrary to the above suggestion.
Possibly the deeper curve was a better design but more costly to make. Sadly no instructions were available.
They were typically about 1905-1914? as they matched a 1910 Thornton-Pickard Ruby shutter, but note the
1914 advert. does not show any RR lenses but only anastigmats and does have a *notice that Beck would
take back in part exchange any of the following:
Symmetrical,
Beck Primus,
Thornton-Pickard Beck Symmetrical
allowing £1.5 against a Isostigmar or Neostigmar of the same size and this included B&Lomb shutterd lenses
with some small print. (Brit. Jnl. Alman. 1914, p157)
Autograph Series
a/ Rapid Rectilinear Series 11 f8.0 This was made in 4.25, 5.0, 6.0, 7.0, 8.75, 11, 13, 16in. It was
suggested to use 6in for 5x4 at f8, and it covers 1/2plate at f22. This was the general purpose lens of the
1890's if an anastigmat was too costly. Today they are slow sellers at not very good prices.
b/ Mid Angle Autograph f11.5 This was made in 3.0, 4.0, 5.0, 6.0, 7.0in. Here a 3in lens covered
5x4. This would be a good choice in a longer focus as a general purpose lens, say 6in for 5x4 as it would
allow movements and be light to carry.
c/ Wide Angle Rectilinear f16 This was made in 3.0, 4.0, 5.0, 6.0, 7.0in. A 3in would cover 5x4,
and a 6in would cover 10x8in. Thus it was little wider than a MAR but perhaps did the job at a slightly bigger
aperture. It incidentally cost rather more for the same focus.
d/ Autograph Narrow Angle View This was made in 8.5, 10.5, 12.5, 15, 18, 23in This was a meniscus and
it was suggested to use a 10.5in lens for 5x4, and 18in for 10x8in. It was not costly, at £3.5 for a 12.5in lens,
but this would have bought only an 8in RR so it was mainly a cheap means for larger formats.
e/ Autograph Wide Angle View This was made in 5, 6.5, 8.5, 10, 12in. This was also a meniscus but more
costly at £6.5 for a 12in lens, probably due to a deeper ground surface. Use 5in focus for 5x4 and 10in for
10x8in. This seems to be the normal Wide coverage of a meniscus of the period.
View Lens for Handcameras. This was made in 4.5, 5in. This was also a Meniscus These were identical
with those on the Beck Frena cameras.
By the 1890's, all major makers needed an anastigmat and Beck were well aware of this and the potential
from the information above, and seem to have solved the need partly by their own efforts and partly by the
licensing from Steinheil of two designs.
Orthostigmats
At least 4 and perhaps 5 series were made and there is a suggestion that two layouts were involved. The
designs were made under licence from Steinheil of Munich, perhaps due to patent restrictions in Germany
which did not apply in the UK. The arrangment was not very long lived, adverts. in 1912 no longer showing the
Beck version, though Steinheil were then selling several Orthostigmats and the Unofokal, so it may have been
to supply the brisk initial demand, or to gain access to the Empire under preference conditions. Sales seem to
have dated from 1896, and all were 3+3 type symmetrical anastigmats. One use was on the Beck Frena
camera using a 4.25in lens No12,94x, on 1/4plate. There is a suggestion that there was a redesign about
1900.
Collecting experience is that there are Orthostigmats to be found, but they are certainly not a very common
lens, being sandwiched between the RR's and more commercially successful lenses such as the Unofocal
and Isostigmars. Those seen are well made lenses in brass mounts and have been in good condition, due to
the use of hard weather resistant glass. The iris has been a conventional one, not a raised rim early type. At
least one was fitted to a Frena at No12,94x, although this just might be a later fit as McKeown's list says only
achromats or RR lenses were used on these.
1896 Orthostigmat f6.8 This was the first series from 1896, and was made in 8.25-14.25in, and 6in was
suggested for 5x4in. It was separable with cells of equal focus, but there was not much emphasis on this in
the adverts. This type was roughly Kollinear in layout. (Bec003).
1900 Series 1 f6.3/f6.8/f7-f8.0. This was made in 2.5-60cm and was apparently a slight redesign of the
original, the cells now being recommended as separable. A 6in lens was suggested for 5x4 but could cover
8.5x6.5in at small apertures.(f40) Both cells were of the same focus here. Beck's test results show a flat field
over 60-70° and little astigmatism out to this angle. It was listed for Sanderson (1906), B.J.A. 1901, p924. The
redesign seems to have made the middle glass in each cell thinner, especially at the edge, but there may be
artistic licence here. It was made in f6.3 for 2.5-18cm, then f6.8 for 21-28cm, and the f7-f8 for the longest 36-
60cm. A 19in (c 475mm) f8.0 has been noted.
Fig 024 002 Steinheil-Beck Orthostigmat Ser 1 f6.8/8.25in No10,094/Pat. 12,949.
1900 Series 11 f6.8/f7.7 This was made in 3.875-7.75in and the layout was as Bec004.This was
essentially the Series 1 packaged with unequal cells. Thus it is another Kollinear type but the drawing
suggests a redesign with thinner and flatter glasses. It was offered with unequal components, to offer three
foci. This is why the apertures vary, depending on whether equal (f6.8) or unequal ones (f7.7) are fitted. (See
Amateur Photo., 08/03/1901, p196). Normally the user thus got three foci, but it was also made in 4 sets,
below, each with a barrel, 3 cells, aperture ring, and hood, all in a leather case. One set had cells of 7, 8.5,
and 10in, and as pairs gave 4.5, 5.125, and 5.5in, and all covered 1/4plate, and most larger sizes. These must
be desirable items but scarce- few caskets of anastigmats do in fact turn up. A very wide range of foci could
be made but those sold were 3.875in, 4.125, 4.5, 5.125, 5.5, 5.9, 6.5, 7.125, 7.75, 8.125in, in f6.8/f7.7
apertures. Typically a 5.1in lens was adequate to cover 5x4 and covered 5x7 at f40.
Orthostigmat Sets. Set 1 for 6x9 and larger, with cells 6.0, 7.0, and 8.5in for 3.9in and longer.
Set 2 for 1/4plate, etc., with cells 7.0, 8.5, 10in for 4.5in and longer.
Set 3 for 5x4 with cells 8.5, 10, 12.5in, for 5.5in and longer.
Set 4 for 1/2plate with cells 10, 12.5, and 14.5in, for 6.5in and longer.
1900(?) Series 111 f10 This series was offered as a process lens and probably also as a general purpose
long focus lens. It was made in 30, 40, 50, 60, 75, 90cm and covered 60-70° and this was well corrected for
astigmatism out to the last 10°. A 30cm lens covered 20x16in for copying, 10.5x8.5in for groups, and 16x12in
at f56. The layout was again Kollinear in type.
1905? Series 1V f12 2.875-10in This was a wide angle version, still with a Kollinear type layout. It
was not in the third edition of Beck and Andrews, but is in the fifth, so it must be a later introduction. It was
made in 7.5, 8.8, 10.5, 13, 15, 17.5, 20, 23, 26cm, and 75mm covered 5x4, and 175mm covered 10x8in.
These figures were conservative and in fact a 75mm lens covered a 8in or 203mm circle sharply. It covered
100-110°.
Series C Special Wide Angle Orthostigmat
It is likely that these are the same lens as the above. Coverage is 100-110°.
"Series X" A different Orthostigmat is shown in Abney's book (1905 edition) as a Beck lens in a barrel with
thier name marked f6.8 but with a Dagor type (Q9) layout. At that time the Dagor patent was reaching the end
of its life and Beck may have planned to introduce a lens of this type when it was free to do so, and then
decided not to. It is not in the Beck and Andrews lists and may have been dropped as not attractive once the
German imports of low priced copies began to arrive.
Unofokal (Unofocal in English)
This was another Steinheil licensed lens and a successful product. It was a dialyt, with all the four glasses
of nearly equal power, the focus action being due to the separations of the glasses. It was sold in two series,
and many are in shutters, the Beck version being "new" in the 1905 B.J.A. (Bec006).
Series 1 f6.0 seen at No13,21x. An example noted for 1/2 plate was a 7.2in at
No13,617.
Series 11 f4.5 seen at No13,82x.
Fig 024 004 Beck-Steinheil Unofokal (l) f6/7.2in in shutter; (r)f4.5/7.65in No13,823 in brass barrel.
Both series are drawn in the diagrams, but are very alike in layout- probably owning one type is enough, and
usually the slower is to be preferred if the lens is to be used.
Microstigmar
These were noted at auction in 48mm No29x and 25mm No41x, and may be low power microscope lenses or
for macro work- which is much the same. No details were given.
Isostigmar These were made from from 1907 and seem all to have been introduced fairly quickly. The design
was an unusual one at the time and still is today so they are a much more interesting lens than many others
of the time. They were still made after WW1 into the 1920's, being last noted in 1922. This design was a
Gauss type lens with an extra negative glass in the centre to improve the corrections. In one case the extra is
in fact a negative doublet. The iris position may vary, and the design is said not to satisfy the Petzval condition
but work as all the components are rather thin.(Photo J. 1907, 47,p191; Photography, 9/11/1909, p381 for
Series 11 and 1V "new".) It was a three focus lens, as either the front or the rear could be used alone, and for
this the cells were used in front of the barrel. The typical example was the Series 11, which the 7.25in lens
converted to an 11in front and a 13in rear cell. Some care was required that the rear cell did not touch the iris
or shutter blades in use.
Series 0 f3.5 2in for 35mm movie, 3in for 2.5x2in, 4.75in for 3.5x2.5in, 6in for 4.25x3.25in
and 8.25in for 5.5x3.5in. This was made mainly for movie and reflexes, and the coverage was 60°. This may
be a later addition as it is not in a 1908 list. This range of focal lengths was the same in 1914 and 1922. It was
suggested to use 6in for 5x4in, and it was suggested as the prime lens for telephotography. It could be had in
barrel, focusing and sunk mounts. Beck classed it with the Series 1, f4.5 for many purposes.
Series 1 f4.5 3-12in This was also mainly for reflexes, and again covered 60°. It was made
in 3.0, 4.75, 6.0, 7.5, 8.25, 9.5, 12in; and 6in was again suggested for 5x4 and 12in for 10x8in. It was also
supplied in the same range of mounts except that the larger sizes were only in barrel mount. The Layout is
Bec007, and it was noted in 1908, but was not found after WW1.
Series 1a f6.4,f6.5 This was made as 9.5-19in. In detail, it was made as:
Whole lens Front cell Rear cell Format Format
at full aperture closed down.
9.5in 14.5in 17.75in 8.5x6.5in 10x8in
12in 18in 22.5in 10x8in 12x10in
17in 23.5in 36in 12x10in 15x12in
19in 29.5in 40in 15x12in 18x16in.
This was a longer focus version of Series 1, for 60-65° or possibly a lower price version. This was seen at
No1176x on a f6.5 17in lens. It was made in 9.5in, 12in, 17in, 19in. in 1914 and 1922. It was suggested to use
12in for 10x8 at f6.5, and it covers 12x10in stopped down a little. These were separable, eg the 12in giving
18in front and 22.5in from the rear cell. They were also suggested for copying. An example was a massive
17in lens in a black barrel at No 117,65x.
Series 11 f5.8 (and f6.3 for 6.75in)
It was made in 2.75-8.25in, as 2.75in for 2.5x1.5in, 4.25, 4.75in for 4.25x3.25in, 6.0in for 5x4in, 6.75in
5.5x3.5in, 7.25in for 6.5x4.75in, 8.25in for 7x5in in 1914 and 1922 where the formats are obtained. It was
designed to cover 70°. It was suggested to use 6in for 5x4 but it will cover 7x5in at moderate stops, and in
general the Isostigmars covered quite wide angles if used with care.
It was seen as a brass finish barrel mount lens at No114,88x. for a 6in lens. Others noted were a 4.75in lens
No116,50x on a 1/4plate Sanderson and a 7.2in No117,54x on a 1/4plate Press camera. Layout Bec008. It
was supplied in Aluminium mount, or Celverex shutter, or brass focussing mount or sunk mount. One example
seen was f5.8/6in No17,100 in Beck Celverex shutter for T,B,1/10-1/80sec- a bulky round unit to
accommodate a rotary blade system. This is NOT self capping but can be a reliable and very smooth
performer. Another was a f5.8/7.2in No17,88x which was in an alloy barrel in nice order but the filter rings had
the screw threads cut so that too little metal was left and they broke off- corrosion at the base of the thread
channel probably was the cause.
The Celverex seems to be a Beck product as it is marked R&J Beck, London and it was flourishing about
1914 from the B.J.A. advert. that year (page 157). It might then be had in 3 sizes as No 1 with 7/10in aperture;
No2 with 8.5/10in aperture and No3, with1.1in aperture.
Fig 023 034 Beck Isostigmar f5.8 lenses of 3 types.
Series 111 f7.7 This was made in 4.75-9.5in as 4.75, 6.0, 6.75, 7.25, 9.5in and it was
suggested to use 6in for 5x4 but it would cover 6.5x4.75in stopped down. The mounts as Series 11. This was
to cover up to 65°. (It seems a cheaper longer version and was not noted in postwar adverts, possibly as
replaced by triplet lenses.)
Series 1V f6.5/f6.3 It was made as 3.5-7.25in as:
3.5in for 3.5x2.5in or 5x4in stopped down.
4.75in for 4.25x3.25in , or 6.5x4.75in stopped down
6.0in for 5x4in or 8.5x6.5in stopped down,
7.25in for 6.5x4.75in or 10x8in stopped down in 1914 and 1922.
Thus it was made to cover 90° stopped down, and was also a fast wide angle useful at full aperture. Here 3
glasses were in front of the iris, Layout being Bec010. This lens gets less prominance in the lists but was
continued into the 1922 advert. One list says f6.3 but this seems to a policy change as it seems to have gone
from f6.5 in 1914 to the more usual f6.3 in 1922.
Fig 023 032 Beck Isostigmars f6.5/17in No117,654 and Beck 4.75in No117,558.
Series V f11 12-30in This was for 60°, and was a process lens. This decided the
maximum aperture made. It was made in 11.75, 17, 19, 24, 30in and 11.75in covered 15x12 for copying and
10x8in at infinity- ie it was a generally useful lens. One at auction was f7.7/7.2in at No110,60x on a 1/4plate
Sanderson, paired with a Beck wide angle aplanat.
It was noted in 1908, Layout Bec011.
Series V1 f5.6 9.5-17in. where it was made for 9.5in for 8.5x6.5in, 12in for 10x8in, 17in for
12x10in. The formats are given in the old style. Thus the 12in covered 10x8in, or C.de.V. and Cabinet. It gave
variable softness over 60°. It is described in one advert. as giving anything from perfect sharpness to perfect
fuzziness. Now to make Series V1 as a portrait lens with variable softness, the softness was controlled by
turning the front component with cords led back to the operator. This moved the front cell out by some 6mm,
but in the long term this could lead to severe wear on the mount and this is an item to check carefully on
purchase! (Layout Bec012). It was made at least from c.1908 (B.J.A. 1910, p654) until postwar (B.J.A. 1922,
p49). A brass finish lens was seen at No11376x.
Fig 023 028 Beck Variable Soft Focus Isostigmar f5.6/12in No113,763.
It is noted that the wider angle Isostigmars are more compact, and all can be rather flary with 10 air/glass
surfaces. All versions were separable, so that especially a 7in Series 11 of 7.25in gives 11 and 13in foci. The
separate cells needed to be stopped down for use alone: but the rear could be used in front of the barrel if
desired, eg. due to limited extension of the camera. The two cells differed in focus but were rather varied in
ratio. Of the samples seen, both are in poor condition , perhaps due to the glass being rather soft. Others
Isostigmars have been sound as in a Series 1V. Series 0, 1a, 11, 1V and V1 were still available in 1922.
They are reasonably common, but a complete set would be hard to assemble, especiallly perhaps the Series
0. The glass seems to be better in the slower types, but is worn in a Series 1a where it protrudes from the
mount at the rear, and in the Series V1.
Neostigmar
They seem to have still been fairly 'new' in the 1914 B.J.A. when at least 4 and perhaps 7 types were listed.
By 1921, these had shrunk to 3 or perhaps 4.
(a) These were variations on the triplet, normally with a two glass rear component, so that the focal length
could be varied by removing either of the glasses.Thus the Series 2 No 3 lens was normally 4.75in, but
converted to give 9.5 and 7.5in in 1914 when the rear or third glasses were removed.
(b) Others were normal 3-glass triplets, to give a single focal length, and these were coded "n" as V111N and
are more common today, but there may be confusion here: some adverts show "n" as the convertible version.
At least some have the negative glass much nearer the rear one than is normal, rather like Q13 reversed.
Later the convertible lenses seem to have been discontinued, and only the 3-glass types continued. The
convertible type is likely to be that of most interest to collectors, since it was an unusual means of obtaining a
convertible lens. By 1939, H&D lists only Neostigmar No 1,2,3, and all are reversed Q13 triplets.
Mutar This seems to be an early version of the Neostigmar, but there are few details. A f6/4.75in lens
No151,60x from about 1914 has been described on an Ensign Climax camera. It is in a dialset Compur
No476,911 which just may be a later item- it is about 1919 in date. The Mutar seems to be a 4 glass lens with
4 separate glasses in front of the iris and one behind. This 4.75in lens can be converted to 7.5in by removing
the third glass (unscrew from the rear of the front cell) and the front three glasses with the rear removed
provide a 9.25in lens. These versions are also said to be fully useful. [The effect must thus be near the overall
layout of the TTH Speedic but the Speedic will have particular design fearures as it was (?) patentable.] A part
of a Mutar Series 1 No2 has been seen at No192,12x and seems to be the front of a triplet- or just possibly a
dialyt.
Neostigmar A series of triplet designs.
Series 1 f4.5 It was made as:
5.0in for 3.5x2.5in, 6.0in for 4.25x3.25in, 7.0in for 5.5x3.5in, 8.25in for 6.5x4.75in in the 1920's. There does
not seem to be any indication that this was convertible in 1921, (but the early lenses may have been).
It is not listed in 1914, though there is a Series 11 so logically it was in abeyance through lack of advertising
space, possibly as the Mutar was closed out. Postwar it was offered with preset iris "Iristop" in 1921, in all the
foci for use on reflex cameras (1921, p55). It covered 60°. (Bec002). It seems to be a triplet and was available
in the 1920's. (B.J.A. 1920, p57) The 1921 edition shows lens No198,511 on p51.
Series 11 f6.0 It was made in 4.75, 6, 6.75, 7.25, 8.25in. for 70° ( Bec009) This was a 3-focus
4glass design. It was suggested to use 6in for 5x4 and it would cover 1/2plate at moderate stops. In 1922, the
range was 4.75, 6.0, 6.75, 8.25in, with the same angle. A 6in lens gave 11.75in f12 with the front cell and 9.5in
f9.0 with the rear cell. 11 and 111 were not made in the 1920's.
Fig 024 006 Neostigmars: (l) f4.5/6in SIM No213,633;
(r) Ser II f6/7in No150,591.
Series 111 f7.7 It was made in 4.75, 6, 8.25, 10.5in for 60- 65- 70°. Here a 6in was suggested for
5x4 and covered 6.5x4.75in stopped down. The 6in lens gave cells of 11.75in front at f15 and 9.5in from the
rear at f11.3.
The above are separable, 6in gives 11.75+9.5in for 5x4.
The N series are conventional triplets and are NON-SEPARABLE.
Series 11n f6.0 This was made as 4.75in for 4.25x3.25in, 6in for 5x4in, 6.75in for 5.5x3.5in, 7.25in (in
1914 only), 8.25in for 7x5in and covered 70°. The next plate size up was covered when stopped down. Thus it
was suggested to use 6.0in for 5x4 and this covered 5x7 stopped down. It was certainly a 3-glass triplet in
1920, Q14.
Series 111n f7.7 This was made in 4.75in for 4.25x3.25in, 6in for 5x4in, 6.75in for 5.5x3.5in, 8.25in for
6.5x4.75in, 10.5in for 8.5x6.5in, and covered 60/65°.
It was suggested to use 6in for 5x4 and 1/2plate as the series 11 but the longest covered 1/1plate or 10x8
stopped down. It seems a rather narrower angle design than Series 11N, but again seems to be illustrated by
the same diagram of a 3-glass triplet. (B.J.A. 1921, p56)
One hint as to the purpose of these is a Table of the charges for fitting Neostigmars to various types of Kodak
cameras, such as VPK, Carbine, Autographic and Folding Brownie. This was due to the high quality of the
Kodak cameras but also to the fact that these were often purchased with rather simple lenses.
Series V111n f7.7 This was made in 13in for 10x8in, 16in for 12x10in, 22in for 15x12in for 60° coverage,
and this was a 3-glass Triplet. (? is this the VIIIn sold by Ensign- it just could be.)
This was a a large format lens for 10x8,12x10 and 15x12in, listed in 1914 and 1922. It is now hard to see how
it differed from Series 111n except in marketing- it was more expensive but only in proportion to the longer foci
involved. Again it was not separable.
Neostigmar Anastigmat Cine f3.5 This was listed 1914 as 0.75, 1.0, 1.5, 2.0, 2.5, 3.0, 3.5in for cine and
movie. Postwar, these seem to have become just lenses for cinematography, in 1.6, 2.0, 3.0in and a wider
range of projection lenses from 2.0 to 6.0in.
Beck also supplied in 1914 a series of Movie projection lenses in 3, 4, 5in.
By 1921 these were in 2, 2.5, 3, 3.5, 4, 4.5, 5, 6in and others. (B.J.A. 1921, p57)
Also Lantern Projection Lenses (1914) as 6.0, 7.0, 9.0, 11in.
Symmetrical f8.0 5 and 6in for 1/4plate (4.25x3.25in), 8in and 9in for 6.5x4.75in,11in for 8.5x6.5in. It
seems still to be the RR and was still made in 1922. The 8 and 9in seem to both have used a 16in rear cell
and the 11in used a 20in rear cell and these could be used alone.
Bynar f4.9, 5.5in; f6.0, f6.3 for 1/4 and 1/2plate; f7.7, in 4-8.25in.
This may be a triplet as there is no sign of an extra reflexion but rather it seems to have a 1+
1+i+1 layout. It has been seen at No19008x for a f7.7, 8.25in lens, and No19007x for an f4.9/6in lens in
black+alloy mount. One point here is that the iris is marked from f5.8 and here is fully open- it seems the lens
is really an f5.8 not an f4.9. (There is no sign of it being convertible or having an extra scale.)
Fig 024 010 Beck Bynar f7.7/8.25in No190,084;
with (l) front cell of Mutar and
(r) Beck-Steinheil Tele Accessory.
Universal Telephoto Attachment
The Beck and Andrews adverts show three series, corresponding to it being supplied in 3 powers, and 4
sizes in 1914 and the details varied with the date, for example early units being all brass (eg No11,33x) or
magnalium at an extra cost, and later ones in black and brass, with scales to show the magnifications. Those
examined were of 3-glass design, perhaps to match Orthostigmats.
Series 1 Standard power, No1 for 4.0-5.5in; No1a or No11 for 5-6.5 and to 8.0in with No2; No11a for
8.0- 9.5in; No111 for 9.0-13in; and No1V for 13-15in. prime lenses.
Series 11 High Power No1 for 7.0-9.0in; No11 for 9.0-12in.
Series 111 Low power No 1 for 3.0-4.25in; No11 for 4.5-6.0in; No11a for 6.0-7.0in; No111 for 7.0-8.5in; No1V
for 8.5-11in.
Later they were sold with Isostigmars for choice, or without lens. No1 was for 1/4plate, No 2 for 5x4, No3
was for 1/2plate and No4 was for whole plate. This seems to have been constant from 1901-1914 at least. The
No2 was designed to accept lenses from 5.5-7.25in, but a wide range can often be used. Thus a No4 S.P.
was used with a 6in lens though it probably was designed for about 8in.
There was also a simpler 2glass series as follows:
Series 1V This was made in sizes 1 to 6 and suited lenses from 4in to 9in, but the specifications are rather
complex, due to the need to fit different shutters, especially B&L shutters.
Series V Multifex A 'new' simple 2-glass tele unit in Beck and Andrews about 1905, and combined a normal
lens in a shutter with an extra negative lens to screw on behind, so that some 3 set-ups were possible by
removing the front cell and /or fitting the tele to the rear.
Beck-Steinheil Telephoto Objective seen at No 1052x as a slim black tube with an adjustable length
carrying a negative lens, apparently to screw on to the back of a prime lens such as a 100mm f6.8- it is quite
a small thing. There were other German makers who fitted the tele unit inside the camera and it is in fact a
very sound but not always convenient way.
"Simple" Telephoto attachment, in 1914, to screw between the flange and lens, rather as the Series 1V
above.
Fig 023 030 Beck-Steinheil Telephoto Objective [here fitted with Ross Symmetrical 6in lens.]
In WW1, Beck were 'busy with munitions work', and in the 1916 B.J.A. (ie Fall 1915), they overprint their
advert. in red saying that the factories are entirely occupied so supply is limited and prices (mainly of
Isostigmar and Neostigmar with some movie and process lenses) are advanced by 10%. It is known they
made aerial lenses from the RPS lecture postwar.
------------------------------------------------------
Other Lenses
Bystigmar
This seems to be a scarce and little known lens. It was noted as Series 11 in the B.J.A. for 1921 p53 and
1922, p47, as a 4+4 symmetrical anastigmat giving 3 anastigmats in one since the two cells could be of
different focus. Thus it may have replaced the convertible Orthostigmat in a reborn form. Here a f6.0/6in lens
gives 9.5 and 12in foci and f11 as the single cells. Only an f6.0 type has been noted for the "Two" series.
Series 11 covered 60°, and a 5.5in was suggested for 5x4. Rather surprisingly, there is no suggestion of
casket sets here though they may have been made and not listed. The layout is Bec005, which is rather like
Q12, which is actually the Zeiss Protar V11a. [One point is that Ross were making a Combinable at the same
time, but were well connected with some leading camera makers who sold it. And the Bystigmar could be
only a little lower in price and was an f6 rather than f5.5 for the Ross. Thus a 9.5in Ross cells was £9.90 while
the 9.5in Beck was £8.75. (B.J.A. 1922, p47). This may explain the apparent rarity, as it hasnot been seen.
Series 1 There is no data on this. It just may be single cells of Series 11. These seem to have been made in
8in, 9.5, 12, 15, 19in, and No7b for 9.5in covered 1/2plate rather than the 1/1plate that a 9.5in pair would have
covered.
Series 11 f6.0 This was made in 4.5in for 3.5x2.5in, 5.0in for 4.25x3.25in, 5.5in for 5x4in, 6.0in
for 5.5x3.5in, 6.75in for 5.5x3.5in, 7.5in for 6.5x4.75in, 8.5in for 6.5x4.75in, 9.5in for 8.5x6.5in, 11in for
8.5x6.5in. But this does not highlight two points: firstly, the majority of these are based on two equal focus
cells to work as f6 and f11 separately; and also that the unequal ones may have a different maximum aperture,
and there is no sign of this in the adverts. Where there are unequal cells, the longer was probably fitted at the
rear.
Bystigmat(!) This may be a spelling error- no details available.
Hill Cloud Lens This is famous as the first fisheye lens to be sold. It is slow, and simple in design but
works very well. The sale period was 1923-1939 so it was quite long lived but then for a very minor market. The
Layout is Bec013. This was noted in the B.J.A. 1926, p244 where it is noted that the front negative lens
concentrates the 180° acceptance angle to about 90° before it meets a more normal 2 glass photographic lens
behind the iris. (R.Hill, Brit. Pat. 225,398, also Pat. No31,931/1923). It is a definite a Landmark. It covers
180° and this is confirmed by an excellent picture which is given in Hasbroeck's book, together with two
examples taken with it. These seem to be a very sharp and flare free. The lens bezel is engraved Patent
No31,931/23 and this just may be a camera patent number. Although it seems to have initially been used with
1/4plates, it actually covers a 2.5in diameter and at least one was used later with a 6x9cm Graphlex back. At
auction, it was described as in brass, f8.0 for 180°. Originally, with a Wratten A filter, the exposure of a well lit
sky did not exceed 1 sec.
Multifex Adjustable telephoto type projection lens for slide projectors. (also noted above)
Cine Lens f3.5 1.6, 2.0, and 3.0 in The formats were not given but must be 35mm movie at
that time.
Beck lenses were listed in the 1920's but later they seem to have concentrated on microscopes rather than
photo goods. Beck patented a form of preset iris in the 1920's for reflex cameras.(B.J.A. 1921, p55; Brit. Pat.,
162,829).
---------------------------------------------
Later products, post WW2 include:
Beck Anastigmat f6.3 for Purma 4x4 cameras. (B.J.A. 1947, p403; Modern Photo. 7/1965, p90) This
seems to be their last camera lens. The viewfinder on the Purma is plastic, but the lens is definitely glass
described as a 3-cell anastigmat which probably means a triplet. It was not expensive and a very good lens for
the money.
Enlarger Lenses f4.5 57, 83, 108mm.
These must be among their last photo products. Advertizing in B.J.A. stopped in the early 1920's and did not
restart. But in the 1940's, the Miscellaneous Trading Co of 135 High Holborn sold a Beck Enlarging lens
"newly" computed in f4.5 2.25, 3.25, 4.25in. as well as enlargers and other equipment. They were listed well
into WW2, and may include a f4.5/4.25in Beck Enlarging Anastigmat at No42,791 in a matt black mount with
click stops to f32. Note that this seems to be a new serial number series, and it looks as if the Company was
commissioning/bulk ordering lenses for their own stock. It seems to be a triplet with the iris after glass 1.
(B.J.A. 1941, p362, until 1951).
Fig 024 012 Beck enlarging anastigmat f4.5/4.25in No42,791. A late Beck item.
Apochromatic f10 8.25in This has been reported as a nice blue-purple coated lens at
No311,402. It is probably a process lens and may be a dialyt, ie 1+1+i+1+1. It suggests Beck went on
making specialist lenses at least into the 1950's after they withdrew from general sale of camera lenses and
this would be in line with their ability to make enlarging lenses. It has a rather unusual feature in that the
external surfaces to front and rear seem to be flat.
There seem to be no mentions of products in the MCM issues postwar while most firms were getting going
again. Beck were certainly major makers of microscopes postwar, including a Model 47 for standard
laboratory work. It is a nicely made item in full chrome and grey enamel. A late advert. by the Miscellaneous
Trading Co of High Holborn was in B.J.A. 1955, p597 for enlarging lenses as above. The firm was still at
Watford in 1994, as part of J.J.Griffin Ltd. (see below).
Chronology
No serial number information seems to be known. Many early lenses were given no engraved number though
the factory may well have counted them in as part of the series. Two early RR's with the distinctive iris ring are
known at No2,98x and 4,761 (in a Beck advert.) These are likely to be from the 1885-1895 period.
An Orthostigmat Series 1 is No10,09x, and looks to be about 1900 or just after. And Isostigmars are noted at
No113,6xx and up, especially at about No117,xxx and this may be about the 1907 launch period. Next two
Unofokals are at No13,28x and 13,21x and do seem to be pre-1914 from the brass finish and the Koilos
shutter on one. By 1921, the BJA advert shows Neostigmar No198,511, and actual lenses have been seen at
No150,59x and 190,08x which are among the later ones seen. A Mutar No151,609 said to be from 1914 may
be later from the number and Compur D/S shutter No476,911 which also seems to be a 1919 number.
It may be that production ran down in the region of No200,000, and that other products such as microscope
objectives were made to take the numbers up to the 311,40x on the process lens: but this is quite uncertain at
present.
Note that the last enlarging lenses are numbered in a new series.
The business was acquired by John J. Griffin and Sons Ltd in 1960.
Fig 7 Beck
Back Row Beck Portrait Variable Isostigmar f5.6/12in.
Steinheil-Beck Unofokal f4.5/7.6in in brass.
Steinheil-Unofokal f6.0/7.2in.
Beck Isostigmar f6.5/17in.
Beck RR for 1/4plate on T-P camera.
Mid Row Beck RR for 10x8in.
Beck RR for 1/4plate.
Beck Ensign Symmetrical Lens.
Beck Isostigmar f5.8/7.2in.
Front Row Steinheil-Beck Orthostigmat Ser 1 f8.0/8.25in.
Beck Neostigmar No5 Ser 11 f6.0.
Beck Bynar f7.7/8.25in.
Beck Enlarging f4.5/4.25in.
Beck Isostigmar f5.8/6.0in.

Beckers
Anastigmat f6.8 150mm This was noted on a St. Etienne Universal (1908).

W. Beier, Freital, Dresden, Germany.

They listed an Erisar f3.5/75mm lens on a 6x6 Beier Special in 1938, of unknown source.

Bell and Howell, Chicago, USA.

Bell & Howell Co.,Ltd. 13, Castle St, Oxford Circus, London W1.
Although they were primarily a USA firm with the Filmo cameras as prewar specialities, they also developed
an important UK connection with TTH as their in-house lens maker. Their 'Standard' 35mm camera really was
a Hollywood standard. One important growth point was the 16mm Filmo in 1923, and the 35mm Eymo was
something of a 35mm extension of the Filmo. They often used TTH lenses in the 1920's. This UK link is not
shown in the 1931 adverts, where the lenses are not named but in 1930 they do specify a f3.5 'THC' lens on
the Filmo 75 16mm, and the notice lists these as Taylor-Hobson in f3.5/1 and 2in; and f4.5/3 or 4in. There are
'Eymo' lenses on the 35mm camera.(B.J.A. 1930, p351, 355)
The later relation is not well understood, but prewar adverts show Filmo 16mm Type 141A cameras marked
'Made in USA' with lenses marked 'f1.9 Made in England', while postwar, the 16mm magazine B&H camera
was marked 'Made in England' as was the 8mm Viceroy. Thus there does seem to be some flexibility as to
where they manufactured cameras. Postwar, they would have found it difficult to import cameras from the USA
to UK [but might have been able to supply the UK by adapting a National Optical works to produce an
American design in the UK. But this is conjecture!]
Their lenses seem to be mainly for cine and movie use. Thus Super Comat lenses for 16mm seem to have
been made by both firms in USA and UK. An anonymous set is listed in 1938 for the Filmo 70 16mm camera
and may be from either source but the B.J.A. advert. says 'TTH f2.7':
f2.5, 15mm (fixed or focussing mounts); f2.7 1in (same); f1.5, 1in; f1.8, 1in; f3.5, 2in; f4.0, 3in; f4.5, 4in; f5.5,
6in; f4.5, 6in. The duplications of some foci may suggest two sources of lenses. (Listed: Heaton Blue Book,
1938). They and the trade name Eymax go back to the early days of movies as an Eymax 2in f4.5 Type V
was fitted to a wooden Prestwich 35mm movie camera at No190x.
Other items.
Telephoto lens WW2 f8.0 36in This was a 5-glass type, now scarce.
Comat and Super Comat were major products in 10 to 37.5mm for 8 and 16mm use in the late 1940's and
1950's. It is uncertain whether they were made by Bell & Howell or for them by TTH as the mounts look very
alike. There may be versions not listed here.
Super Comat f1.9 10, 12.5, 25, 37.5mm, and as 1.5in.
f1.9 20mm for 16mm This was being sold off in June 1965 at £4 each, as for
B&H240. It seems to have an extra catch on the side of the mount.
f2.3 10mm for 1955 8mm camera.
f2.5 15mm/0.7in in 1955.
Mytal f2.5 12.5mm on a 1935 Bell & Howell.
Telate Type V f3.5/50mm;f4.5/76.2. (3in) The latter has a 2+2 tele layout, and was seen at
No308,13x, probably pre- 1936 as it is in nickel plate.
Fig 020 036 Bell & Howell Telate f4.5/3in (76.2mm) No308,137.
Eymax f4.5 254mm ex-WD movie lens. These turn up rather often and seem to have
been a major item, possibly well after the War. Normally they are nicely coated and often in a movie camera
mount. One was seen at Serial No367,635. This probably one of the next series.
Fig 031 006 Ex MoD f4.5/254mm Telephotos by [(l) Wollensak Fastax Raptar D35980] and (r)Bell & Howell
Eymax No367,635 (both coated).
Eymax (for 35mm Eyemo Mitchell camera)
These were made in at least: f4.5/25mm, f4.5/50mm,f2.8/50mm, f4.5/150mm f4.5/250mm and ? others.
Eymax f4.5 6in One was noted adapted to M39 at Serial No 364,094.
Miltar f2.0 25mm secondhand in 1960, ?ex-Defense.
f3.5 150mm also.
Lumax This was an Ernostar-4 type.
This trade name may also have been used earlier for a 4+4 anastigmat.
Mirror System f10 1250mm This was a scarce item!
Varo Zoom A 1930's Bell & Howell/TTH product. This was a famous early Zoom.
Projection Lenses eg Super Proval and Excessalite. These were Petzval types, post WW2.
Filmovara f1.5 50mm (this may be a zoom with 1 focus mentioned only)
Filmovara f1.5 15-20mm zoom.
Widor Wide Angle Attachment
Extol, from B&H Germany (note the source!)
Ansix f2.5 25mm on a Filmo Speedster movie
f3.5 35mm for 8mm D mount.
Anon f1.3 This was noted in an advert. for a Filmo 70DA in B.J.A. 1934, p589, and may be
TTH but no maker is given. There was also a f1.5 on a 70E which could be a Kinic.

Bell International, Japan.

Prominar f3.5/23mm lens on a 16mm Bell Kamra combined radio and camera.

Bellieni, H., Nancy, France.

He seems to have been a camera maker, using Zeiss lenses about 1901 and also Goerz Dagors, where a
Series III was noted at f6.8/130mm No199,56x on a 9x12cm camera.

Bennet
This brand of RR was mentioned by a correspondent in B.J.P. 30/05/1919 cited in 01/06/1979 p534.
Berner, Hagen-in-Westphalia, Germany.
This firm seems to have been a maker active early in the 1900's.
Orthoscop Wide Angle f12.8 This was a wide angle lens.
Orthoskop This was a normal Angle lens. (Ber002)
Collar f5.8 This was a lens for groups and instantaneous work.
Satz Anastigmat Collar f5.8 This may be an 2+3 anastigmat type. (Ber001) ie a casket set.
Satz Anastigmat Series 1a f6.8This version is a 4+4 symmetrical anastigmat said to cover 95°. The design
might be related to the Dagor by splitting the centre glass in each cell so it should cover well. It probably
flourished about 1908.
Anastigmat Set (Casket)
Set No 1 for 9x12 with 3 components.
Set No 2 for 13x18 with 3 components.
Stereoscopic set 2 pairs of two lenses.
Helios Anastigmat f5.4 No 1 for 13x18
f5.4 No2 for 18x24
Satz Anastigmat Series 1Va f5.0.This was a faster lens for groups and general purpose work.
Satz Anastigmat Series 1a f6.8 This was a general purpose lens.
Satz Anastigmat Series C f7.7/f8.2. This was a general purpose lens.

Berthiot, also as Som Berthiot, (? also Lacour Berthiot 1925), Paris, France.
UK Agent in 1958 was Cinex Ltd., Bolex House, Burleigh Gardens, Southgate, London N14.
Lenses were in production early in the 1890's and were listed at least into the 1980's.
Judging from FBB, they were the most popular lens supplier in France, being listed on nearly 100 models of
camera, starting from the 1890's and continuing to the latest products listed from the 1960's. They are also
regularly noted in auction lists. Care is needed: some noted can be misleading, as the larger sizes are
professional lenses and can be retrofitted to professional cameras as can movie lenses, so that dating can be
a problem.
An extra problem, unresolved, is the description of lenses as C. Berthiot, Berthiot, Benoist Berthiot, Lacour-
Berthiot and SOM-Berthiot. Mr Brochmann suggests the company was founded by Benoist Berthiot which
seems reasonable. Some of these variations also may be due to space limitations for the engraver, and others
to changes in the names of those running the firm over some 60-70 years. All that can be added is that there
was a Lacour who made a Jumelle in 1896, with an Eurygraph Lacour lens and the name and lens became
part of the Berthiot saga, so there is likely to have been an amalgamation between 1896 and the listing of a
Berthiot Eurygraphe in 1897 or 1899, eg on a Siegrist 6.5x9cm. There were also Lacour-Berthiot Perigraphes
by 1910 and this description was still in use in B.J.A. 1925, p573. And Mr Brochmann tells of projection
lenses from the early days of the century engraved Benoist Berthiot.
An early lens may be an Extra Rapide No23,40x on a Mackenstein, and an Extra Rapide Eurygraphe No1 f7
No24,83x. It was probably an Aplanat or RR, as FBB class several early lenses as RR's. But the Eurygraphe
seems also to be an early name, and may have been a new-glass RR design. But it does seem to have been
continued in use for many years, as a Eurygraphe is on a colour camera of 1947- the name may well have
been reused once the RR-era was well in the past and Kingslake classes it as a symmetrical anastigmat,
though note it was made in up to f4.0 at least so another type of layout may exist. The new era brought in
anastigmats such as the Stellor, perhaps in the early 1920's, the Flor by 1911, and the Olor by about 1915. It
is impossible to say much at present about the layouts used, but it seems these did vary for lenses of the
same name and both Flor and Olor can be Q15 type designs. But they may also have used triplets in the
slower versions. There is a suggestion that they did not publicize their designs very much since they are
absent from one very extensive list (Kingslake, in Henney and Dudley) and are not in the early editions of Cox.
Olor
This was a long running trade name, for several series.
f5.7-f6.8Large format lens, Q15 but with a 3-glass rear cell. These were used on
aerial survey cameras in WW1 and the 1920's on, eg as f5.7/260mm for 13x18cm on cameras by Demaria-
Lapierre, Richard, and so on. A Olor No4 Series II f6.8/200mm No62,22x was noted on a Thornton-Pickard
reflex.
f6.0 135mm, Q15 probably.029 030 Berthiot Olor f6/135mm No105,243.
This may have been used on an Ensign camera- see Ensign.
f5.7 38mm for Kine Exacta, eg at Nr 296,29x. See also below for the Super Lynx
version Olor f5.7/38mm. A series IIa No6 f5.7/200mm was noted on a Tropical Klapp at auction. There is no
suggestion of a symmetrical Olor in Cox's Optics, so these may well be triplet types.
f4.7 85mm for stereo use.
Series 11a f5.7 170mm This may be an Olor but no name was given.
Perigraph This was another long used name. It was used by Press photographers on the Gaumont Press
cameras in 85 and 95mm, probably for 6x9 and 9x12 respectively, the last being coated. These were probably
Series I lenses. Cox 'Optics' says it is also a Dagor type design, like the Eurygraphe.
Series 1 f6.8 for 65°, Layout Br002.
Series 1? f6.8 for 72°, layout Br002
Series 11 f14 for 105°, Layout Br001.
The wider lens has thinner glasses and gap.
One example noteed was a f6.8/95mm Perigraph 'wide lens' with a standard f3.5/135mm Flor and long focus
f4.5/200mm Flor, all on a 9x12cm Gaumont Spido. This was and is a expensive outfit!
Angulor f6.3 28mm for M39x26 a post WW2 trade name.
Angulor f3.3 28mm for Foca (Layout Br004.) and Super Lynx. Later also for Calypsophot,
though production seems to be small or uncertain here.This has been reported for M39 in a alloy (and brass, it
is heavy) mount at Nr 1,074,20x, a fairly early postwar item
Eidoscop f4.5 This was a soft focus portrait lens. It was an older type. [The L'Eidoscop was
usually from Hermagis and this just may suggest an amalgamation perhaps? Or confusion?]
Projection lenses Mr Brochmann tells of a pair of these in brass which have been in continuous use in a
theatre in Sweden from the beginning of the Century- say 1910 or so- and still give a picture of quality
matching modern lenses so they have never been replaced, even though the projector was updated to an
Ernemann VIIb about 1950! These will be for 35mm stock and are probably Petzval type from the date.
Eurygraphie
Several variations of this name and lens seem to exist.
Eurygraphie This is a Triplet, possibly a 'late' item, and the name seems to have displaced the
next.
Eurygraphe f6.3 Symmetrical anastigmat, probably of 3+3 type. The example seen was very
impressive with 3 cells in a casket, and seemed to be of Q9 type though an extra reflexion might have been
present. It offered cells at 305, 390 and 575mm and pairs at 180, 205 and 240mm, ideal perhaps for 5x7 or
1/1plate. The iris was graduated in mm. It is inherently a very desirable item.
Eurygraphe There seems also to be an f6.8 series for stereo coded OG f6.8 Nos 29,73x (2x) and also a f6.0
as NoOC f6 Nos 31,07x (2x) where succeeding serial numbers are given. These last were both on Bazin &
Leroy stereo cameras. An f7 Eurygraphe Extra Rapid No1 was used on a Dr Hesekiel 9x12 reflex at No24,83x
but may have been an earlier type.
Eurygraphe f4.0 Possibly a Dagor type.This was listed for TP Imperial in 1/4-1/1 plate in
1913, and earlier in France, where the Dagor may not have been patented. This would explain it overlapping
the RR period.
Flor:
This was a trade name used for several series, often of Gauss type. Cox 'Optics' suggests it is of 6 or 7
glasses Gauss in the f2.8 and f1.5 Flors respectively, but that the slower f4.5 and f3.5 are triplets with 4 (Q15)
or 5 glasses (roughly Ros 036).
Series Ic f4.5 200mm at No218,40x. This will be one of a series but is noted as fitted to a
13x18cm Fiamma at auction.
f1.5 50mm for M39, Layout Ber005
f1.5 55mm This was an impressive looking lens on the Pontiac Lynx de Nuit for
3x4cm. The product was announced from Oct 1942, but deliveries were delayed to 1945, when it was coated.
f2.0 50mm Gauss, Q18 One application was to Exakta as a f2.0/50mm
standard lens, and also as f2.8/75mm for VP Exakta as below.
f2.8 50, (75)mm, It was used on the Lynx II from about 1944 and Vial suggests it
was a 6-glass Gauss ie.Q18. A later camera, Lynx III for 35mm film used interchangable lenses, and here the
Flor was accompanied by Olor f3.2 (?)and/or f3.5(?) 38mm (5 glass), Flor f1.5/55mm (7 glass) and
TeleBerthiot f2.5/75mm. The f2.8/50mm was a premium item on the Gallus Derlux also. An example
illustrated on an Ontobloc III was No965,00x. This lead to an unusual camera, the Fama, where the film was
covered by a mask while the lens+shutter were exchanged- it is not apparent how many lenses were made
but Flor f2.8/50mm NoK33,692 and f3.5/35mm J68,057 and a TeleOntor f4.5/90mm seem to be included in an
illustration. Since there was no rangefinder, others might be easy to adapt. Another use was the Savoy in
1956, where the whole lens and shutter exchanged on the front panel. The later Savoyflex used an f3.8/50mm
Berthiot in 1958, but this was a 3-glass lens, and used interchangable front auxiliary lenses, to give 35mm and
80mm when fitted, as well as a Macroflex close-up lens. A f2.8/50mm (?) was used on the Sem Orenac series
also.
f2.8 20mm This was on the Le Mundus Color at about serial NoQ35,93x, and
57,81x. Another is quoted as being 15mm not 20mm.
f2.8 75mm This was used on the Super Lynx II as a longer focus option.
f2.9 An f2.9 Berthiot was used on a Rex reflex, and may be of this type. There was
also a teleBerthiot f5.5/150mm as an exchange on a second panel.
f3.0/f3.5? 35mm for original Calypsophot. Production was small or uncertain.
f3.5 35, 40, 50, 100mm Q15, inc. early examples of the Reyna Cornu camera as
an alternative to the Boyer Saphir lens- later the idea was to go to a 45mm as it avoided the collapsible lens
tube but by then it seems an Angenieux lens was used.
A 35mm version was used on the Pontiac Lynx camera for 3x4cm from March 1942 on and later about 1944
on the Lynx II and about Mai 1950.
It was also used as a 40mm in pairs for Verascope eg on an F40 at No423,47x and 423,48x; and also as
f3.5/40mm for Kine Exakta. In Fig 027 019 there is a Berthiot Flor f3.5/100mm for Exakta which would have
matched the 40mm nicely.
A 50mm was used on the Lumiere Elax II 3x4cm. Vial suggests it is usually a 4-glass type as an f3.5. It could
be either front cell focus eg when in Compur shutter, or be focussed by movement of the whole lens.
The f3.5/50mm was a long lived product and probably much more common than the f2.8, etc. the f3.5/50mm
was used on the Norca A and B, the first French 35mm cameras perhaps. It was certainly an f3.5/35mm on
the Super Lynx II, below.
A coated 75mm version was used on the Semflex Otomatic B camera (1956, p189, B.J.A. 1952, p240). In
1952, it was matched by a bloomed (ie coated) f2.8 Berthiot view lens.
f3.5 35mm on Super Lynx II
f3.5 75mm This specification was listed on the Kinax Kinaflex which was
launched with a Berthiot f3.5/75mm which proved to have poor coverage, and was replaced later with a Flor
f3.5, which was an excellent lens. A series of Berthiot f3.5 lenses was also used on the Royflex cameras, with
70mm view lenses (see f4.5 below).
f3.9 75mm This version was used on the Scopaflex, and may be an aperture
limited version of the above.
f3.5 90mm This was the longest lens on the Super Lynx II about 1946. NB This
was a bayonet fit 24x36mm camera from Pontiac in Maroc. There was also a Flor f3.5/90mm on the Cornu
6x9 Ontoflex stereo camera from about 1940.
f3.5 40mm This focus was used on the Ontoscope stereo camera and on the
Summum Stereo of L. Leullier. The use of 40mm as a focal length on Flor f3.5 was the origin of the digits in
the name Verscope F40 from Jules Richard, made from about 1938 or 1940. It may have been planned to fit
them to Le Kinax 3D = the French version of the ISO Super Duplex but in fact only Iriars seem to have sold.
An unnamed f4.5 was used in B.J.A.1926, p766.
f3.5 105mm This specification was used on the BlocMetal 45 and 145, 6x9cm
cameras up to about 1950, and was a special 5-glass design. A few were used on the Altessa- a rare camera
for 6x9cm, with a f4.5/105mm as alternative. (This was intended to take interchangeable lenses and 75mm
and 190mm may have been conceived by Berthiot.)There was also a cheaper Berthiot Special This was
probably always a f4.5/105mm which may be the same as the next item. It was used on the TeleRoy as an
f3.5/105mm and an advert. shows No935,580.
f4.5 Q15 It was noted as a Series 1c at Nr 26062x on an Isograph collapsible
camera. There was an f4.5/105mm Berthiot on a Pontiac Bloc Metal BM41about 1941, and on a Gallus
CadyLux 6x9 about 1940-1941. It may represent a design forced on the maker due to WW2 glasss
restrictions. There was a f4.5/75mm Saphir on a Press camera from R. Vergue of Perreux, and Flor (?f4.5)was
a common fitting to the Gaumont Press cameras in 6x9 and 9x12. There was an f4.5/135mm No491,95x on
the uncommon Lubo 41 press (made about 1941 when some 20-30 were made). The trade name of the lenses
on the Royflex cameras is not known, but they included f3.5 lenses with 70mm view lenses. (This was
probably possible as the lenses were gear coupled as on the Foc.Brillant of Voigtlaender, but in threads of
different pitch. But it seems an extra complication!) The most select may be the f4.5/105mm on the Cyclope
noted at Nr 271,0xx. (Cyclope was from Alsaphot about 1950, some 1800 made: a later one from 1953 used a
f3.5/105mm Saphir but only some 200 of these were made.) P. Gates (Photographica 11/1999 Vol 90, p9)
points out that on the Ajax D of Alsaphot the 4g/3c Saphir was the expensive version compared with the 3
glass triplet Topaz used as an f3.5 in the faster model.
K-Berthiot Special f4.5 105mm This was noted on a Kinax III in B.J.A. 1952, p40advert, p258 text
but without further details. It was a advanced camera, probably with a superior quality lens with very smooth
front cell focus. see also B.J.A. 1949, p387 for the Kinax II with the same lens and the Kinax I with f4.5
Angenieux or Kinn lenses.
f4.5 75mm The Sem TLR series used f4.5 and f3.5 Berthiot lenses, with one
example of an f3.8 as well. The early ones were 3 glass designs.
A major item was the next.
TeleBerthiot f5.4/f3.9150mm This was used on the Semflex studio- essentially a portrait
camera, and this was adapted to long film lengths by P. Lachaize. A SEM at auction carried a TeleBerthiot
f3.9/150mm No1,141,26x view lens and a Berthiot TeleObjective f5.4/150mm taking lens. Another
Q43,1x/Q21,88x which seems a different system. This seems to be the camera in B.J.A. 1955, p227 at £88.6
+ £28.8. There also was a review in Amateur Photographer.
"Berthiot" f6.0 75mm This was a relatively simple lens on the very first ATOMS Aiglon TLR
It was probably a rather simple triplet.
Berthiot f6.3 f6.3 100?mm This was used on a few of the first Kodak 6x9cm cameras made
postwar: but it is an uncommon version.
Flor f4.5 75mm This was on a ATOMS Aiglons TLR and replaced the very first f6.0
version sold on it.
f5.7 Q15
Cinor:
This was another group of lenses, probably all of them for movie+cine. It does not occur on the still cameras in
FBB, which tends to confirm that it was reserved for Cine. The older examples seem to be Cinor and postwar
the letter code was added. Many without a letter code are f1.9 versions from the 1945-1955 period. They seem
to have been replaced by the Cinor B which was slightly later.
Cinor f0.95 25mm 8-glass Gauss
Cinor f1.4 25mm Layout Br008
f1.5 Br006 This was made as a 25mm for Universal 9.5mm film cameras about
1934. There was also a 12.5mm for a 1939 Emel 8mm camera.
Cinor-P f1.5/f1.620/25mm This was possibly a projection lens.(Bolex 1956) A Cinor projection
lens f1.5/50mm No314,76x was noted on a Bolex 16mm projector at auction.
Cinor Special f1.8 12.5mmThis was noted on a 1935 Ditmar 8mm (B.J.A. 1936, p292), when
telephoto lenses Tele 2 f2.9 and Tele2 f1.8 and Tele 3 f2.9 and a wide angle f2.9 were also offered (it is likely
the codings were the focus in inches but this is not stated: the numbers could also be magnifications.)
It was also later also for 9.5 and 16mm (eg in B.J.A. 1939, p608), and a 1953 Beaulieu. It was on a Christen
double run 8mm with fixed focus but interchangable mount in B.J.A. 1954, p199, and possibly also a
Pathescope PAT 9.5mm where a f3.5/50mm long lens was also supplied (idem, p233).
f1.8 10mm on 1960 SEM 8mm, 20mm on a 1946 Pathe 9.5mm, 25mm on 1950
16mm camera.
Cinor Wide Angle f1.9 6.0, 10mm for cine (Layout Br008,) on Bolex. (One list gives 6.5mm)
Cinor f1.9 10, 12.5, 20, 25, 51mm (This may be rather like Tay015 in layout). This
seems to have been a long lived specification from 1934-1953 at least, and occurs for 8, 9.5 and 16mm
cameras. It may have been mounted for 18x24mm Alpa in 1976. A f1.9/20mm was noted for a 1948 Ercsam
9.5mm camera, as was a 2in. Note there was also a Cinor Special of the same aperture, eg. f1.9/20mm
about 1946/1947 on Ercsam. It is not known how far this differed, but it may have differed in being coated. An
example was the Gevaert 8 Carena cine with f1.9/12.5mm Cinor B in B.J.A. 1955, p247. "Performs well, good
definition out to the edges, -- even illumination.
Cinor f1.9 12.5mm This was used on the Gevaert Double 8 cine camera, in 1959, and
was either in a fixed mount or focussing to 1ft. The latter had a depth of focus scale.
Cinor B f1.9 20, 23, 25, 35, 51mm, for 16, 9.5, 8mm use.
f2.3 20mm on a 1935 16mm camera.
f2.5 20mm noted on 1953 and 1960 8mm camera .
f2.5 12.5mm This was noted on a 'Salex Admira' camera [together with a
Dallmeyer f4/1.5in in B.J.A. 1939, p307- it seems to be a Czech Meopta body.
f2.8 20mm on a 1935 Ditmar It was still listed on a 16mm Ditmar in 1939 (B.J.A.
1939, p608).
Servo Cinor f1.8 12.5mm about 1958.
Cinor f3.5 100mm This is a long focus lens, possibly a triplet, for Ercsam, probably a
16mm camera with a small bayonet. It was seen at NoK48,70x.
Fig 021 027 SOM Berthiot Cinors f3.5/100mm and f4.5/150mm.
TeleCinor f4.5 150mm again for Ercsam. It was seen at No1,090,954. It seems to be a 2+2
telephoto. Here the mount was water damaged, showing how well the materials used had resisted the
corrosive attack: the iris was damaged but still operated but the other parts had merely been stained even
though the lens was filled with thick residues of mud.
Lythar Noted as a fast 16mm lens in C mount.
Hyper Cinor Extender 1.5x focus.
Zooms
The Pan Cinor zooms seem to have been introduced to the UK at least about 1957, as the notice in the
B.J.A. 1958, p247 seems to be of a 'new' series. It was the f2.4 17.5-70mm and an f3.4 25-100mm was also
available, both fro 16mm use.
PanCinor 70 Zoom f2.4 17.5-70mm This was noted on the 1958 Bolex in the reference above. It had
a standard C mount for most 16mm cameras as well as Bolex H16, with a 4in lever to control the zoom, and a
black reflex finder along the side of the camera. This is removable for packing and the rear of the lens was
separable for convenience in attaching. It uses 16 elements (=glasses?) which were coated, and all the unit
was regarded as being to a very high standard.
PanCinor f2.0 17-85mm This was seen for C mount in a long black enamel mount, well
used but still with good paint, which must be of very high quality. The focusing was eased by removing 3 grub
screws on the grip and removing the grip, and freeing up the multistart threads. It was adjusted to screw home
on a Bolex H16 by removing the rearmost locking ring and cutting a new location slot inside- an easy job if the
iris is really well protected from the cuttings!
Fig 027 015 Berthiot Zoom C mount, less servos, 20-100mm with focus locked at infinity for use for
surveillance.
Fig 027 017 Berthiot Pan Cinor f2 17-85mm in C-mount for 16mm cine, a well used item.
Pan Cinor f3.4 25-100mm noted at No AC10,82x for Bolex reflex.
Pan Cinor 40T f1.9 8-40mm for 1959 Bolex 8mm.
Pan Cinor 30 zoom f2.8 10-30mm for 8mm especially Bolex cameras, (B.J.A. 1959, 231) Note this
did not suit the BolexB8L due to interfering with the meter.
Pan Cinor f3.8 17-85mm at NoT55,92x on a H16 Reflex.
also f1.9 9-36mm in 1964.
TeleCinor f3.5 75mm This was noted on a 1947 camera for 16mm. Cox 'Optics' gives an
6g'4c design (1+2+1+2).
Tele Objective Berthiot f4.5 These are a 5glass 3+2 design rather like the Ross Telecentric.
"Berthiot " F3.5 35mm
Perigon Layout Br003
Stellor Series 1 f3.5 50mm Triplet noted for Debrie in 1921. This may be just one of a big series
as a 200mm f3.5 has been noted in a list. Fast Stellors are listed in Cox 'Optics' as triplets, eg. for portraiture
(and probably movie).
Stellor Series 11(?) f4.5 75mm in stereo pair c. 1924. These also can be triplets according to Cox,
'Optics'. f4.5 Stellors were noted at auction on a 45x107mm Jules Richard Verascope at Nos 72,839 and
72,853: and on an Ontoscope for 45x107mm.
Anastigmat Berthiot 1a f6.3 50mm Triplet
Anastigmat Berthiot f4.5 50mm Triplet
Anastigmat Berthiot f2.8 50mm Triplet. A lens of this specification at No963,12x was noted on a
Ballerio Photochrome Prototype camera.
Altor wide angle
Aquilor f6.2 125mm This was an aerial survey lens, and was possibly Topogon related,
Q17.
Orthar This was roughly a Q20 type, in the 1920's: do not confuse with Plaubel T.N.
Orthor f5.0 A series for 60°, the spelling is uncertain and may overlap the above. Q20.
Teleobjectif f4.5 145mm One use was for Exakta prewar.
Berthiot f5.5 150mm This also was for Exacta 35mm.
Projection Lenses Postwar these included an f1.3 35mm Petzval type.
Lytar f1.8/25mm This was supplied on the Bolex H16M in 1959. This was a Bolex 16mm
with C mount standard thread, but no turret, designed either for use with zooms such as the PanCinor 70 and
100 zooms, or possibly as a lower price model but one made without compromises as to quality. Thus Lytar
was probably in some way a starter lens or compact lens for customers who would later buy or use a big
zoom.
Lytar f2.5 12.5mm for Bolex C8S This was a fixed focus lens, in D mount, supplied as
a option to the Pan Cinor 30 zoom. (B.J.A. 1959, p184) It was not offered on the turret version of the camera,
where Kern Switar and Yvar lenses were listed, but would fit, which tends to suggest it was the 'portable'
alternative to the zoom.
Hyperchromatique (Dr Pollak) This was a portrait lens, soft due to under corrected chromatic aberrations,
being well corrected for sphericals. This is an unusual design and care will be needed in use as it may not
focus visually.
Rectaflex was first noted as supplied with Berthiot lenses in the Utrecht Trade Fair 4/1949 (MCM 12/1949) in
28-180mm, but the wide lens was NOT retrofocus but rather required the mirror to be locked up as was later
used for other brands with 19-21mm lenses. Lenses were Angulor 28mm f3.3, 6g/4c; Flor f2.8/50mm 6g/4c;
Flor f1.5/55mm 7g/5c; and TeleBerthiot f3.5/135mm; f4.5/145mm 4g/2c; f3.5/180mm 4g/3c.
Chronology
The following serial number information is from "Chiffres Cles" by P-H Pont , but sadly (so far?) there is no
known book on the firm. The serial numbers in the old series are all approximate only, but should be a useful
guide to age.
1900 25,000 1905 40,000 1910 60,000
1915 90,000 1920 120,000 1925 150,000
1930 190,000 1935 240,000 1940 350,000
(1941:Note Lubo Press lens above.)
1945 600,000 1950 1,000,000 1952 1,180,000
Then a new system using a prefix letter was introduced, and the code letters for the years were as follows,
though note that one year may have two or three letters, possibly due to a 6-monthly or other change in code.
1952 A,B 1953 B,C,D 1954 D,E,F
1955 F,G,H 1956 H,J,K 1957 K,L,M,N
1958 N,O,P 1959 P,Q 1960 Q,R
1961 R,S 1962-1965 S, then T 1965-1982 T
The system continued at least to 1985 as U.
A question so far open is the relation of Benoist-Berthiot to the well known Berthiot firm. Here is one example:
Objectif Benoist Berthiot f2.8 40mm This was made by Berthiot for the Monaco version of the Mecaflex,
under licence from H.Kilfitt, and we gather examples are engraved '40mm Kilfitt-Berthiot'. The Mecaflex
production was moved round Europe from Germany to Leictenstein to Sarre and finally to Monaco: it is not
obvious who made what! The camera was for 24x24 so the lens should not have been too hard to design but
seems to be a MacroKilar transplanted.

as Lacour-Berthiot:
Eurygraph f4.0 This was noted as a series for 1/4, 1/2 plate and 5x4 Thornton-Pickard reflexes
about 1913. No details of the design are known but it seems to be a 3+3 anastigmat.
Eurygraph Anast(igmat): Trousse This anastigmat casket is marked as indicated, Trousse = Set, Bundle in
Fr. and seems to use a 3+3 glass design. It was seen at Nr 32,12x as a barrel with 305, 390, and 575mm
cells for 13x18cm and up. Brass with iris in mm scale. Performance is really good and it seems like a high
quality item.
Fig 027 022 Lacour Berthiot Eurygraphe Casket set, for 180, 205, 240mm pairs made up with 305, 390m and
575mm cells
Perigraphe A wide angle symmetrical, certainly made as a Berthiot and possibly as a Lacour-Berthiot.
Nebular: no details
Graphor f6.0 This was used as an early movie lens on a 1909 Huet in Ariel's
index.

Beseler Photo Marketing Co Inc, 8, Fernwood Rd., Flatham Park, N.J. USA 07932.
This eminent maker of enlargers listed some enlarging lenses in Modern Photo 10/1978 p82 as:
Beseler Color Pro f2.8 50mm
f4.5 75mm
f5.6 105mm
f5.6 135mm
These were advertized as very high quality items especially in colour correction.

S.Beverley, 86, Church St, Blackpool, UK.

He seems to be a dealer with his own line in lenses in 1889. These were "The Modern Rapid Doublet"
probably an RR, in 3.1, 4.75, 7.5, 10.25, 12.5, 14.5, 19.5, 23in. He also sold a Rapid Rectilinear in 4.75in,
8.0in, and 10.375in, at a lower price, so the Modern may be a new glass lens. There was also Portrait
lenses, Single view lenses and Wide angle doublets.

Bickenbach and Co, Gmbh., Lichterfeld, Berlin, Germany.

They supplied Nikette cameras in the 1930's with Ideal f3.5 for 3x4cm and Maxar f3.5 50mm for 3x4cm as
lenses on the Fibi-Nickette II about 1932.

Biddle and Co., Manchester, UK.

They are noted for a lens marked Biddle, Manchester on a wood and brass 7x5 camera 'The Leviathan'.

Billcliff, Manchester.
One of his cameras was noted with a 'Morley, London' engraved lens on it: ie. Morley may have been a London
agent of his, but also not a lens maker.

Bilora, see Kurbi & Niggeloh, Germany.

Lenses included Biloxar, Trinar, Biloskop, mainly on rather budget cameras, with the Radix + Biloxar 38mm
f5.6 and 3.5 the more ambitious.

Binoca Co, Japan.

Binocular camera with Bicon f4.5/40mm lens. It is rare.

L.O.Bittner A.G., Muenchen, Germany.

This firm seems to have replaced Dr Brecht's company, and traded making fairly early aplanats and
anastigmats, perhaps before WW1.
Lob Aplanat This was f7.2 maximum aperture.
Lob may have been used on other older type lenses.
Oxyplast f6.8, f6.3, f5.4, f4.5 W.Frerk seems to have regarded these as good dialyts, ie 4g/4c designs.
Orthoklinar f4.8 Also a dialyt.

Blair, Dr., Scotland

He was a Scottish savant who seems to have first used the term Aplanatic in 1791 for his lenses of superior
construction. Later aplanatic has been used for lenses free from spherical aberrations, but not necessarily free
from chromatic ones. (see Traill Taylor).
Blitz
This was sold about 1908-1914 as the patents on the Dagor ran out, and is a "label" perhaps of the shop (eg.
City Sale and Exchange, of London) rather than a makers' name. Possible makers are Meyer or Schultz and
Billerbeck but there is no confirmation of this today. They seem to be nice lenses of general Q9 layout, for
example as an f6.8 8.25in No4 lens without serial number. Several have been seen and prices were
worthwhile- they are still useful lenses of their type.
Blitz f6.8 5.5-14in Layout Ci001 under City.
Blitz f4.8,f5.8 5-15in, these seem also to have the same type of layout, but have not been
seen.

Bogen Photo Corp., 100, So. Van Brunt St., POB 448, Englewood, N.J., 07631, USA.
They were noted for a series of enlarging lenses in Popular Photography, 04/1977, p8, as a medium wide
angle 6-glass Plasmat type (it looks fairly conventional in layout), f3.5/40mm for 35mm and a 8-glass f4/60mm
for 56x56mm with 8 glasses in 4 components with external negative glasses- a sort of 'Russar' type and very
sophisticated.

Bolex
Not normally a lens maker but a cine camera maker, they supplied at least one lens under their name, the
Bolex Hi-Fi lens, possibly for projection.

BOLCO=British Optical Lens Co, Ltd., Walsall, Staffs., UK.

They made the lens elements for the 50mm f3.5 Lumar for Corfield, to a design by Frederick Archenhold and
K. Corfield. They also had made the Bolco lens for the Woolworth's V.P. Twin, a plastic camera sold in 3 parts
at £0.025 per part, only as sets of parts, for the owner to assemble.

Bolsey Corporation of America.

Not lens makers, the name appears on a Bolsey-Steinheil lens from Steinheil of Munich.
A Finon f2.8/7.5mm lens may be a special for their cine camera.

Bolta Werk Gmbh., (Photovit), Nürnberg, Germany.

UK Agent AICO, 15, Sheen Lane, London SW14.
The Photovit was a compact 35mm camera for 24x24mm often with Schneider Xenar f3.5/37.5mm lenses, but
also Luxar f2.9, and Radionar f3.5 lenses. See Photavit in B.J.A. 1952, p202. It was also made for 828 film.
Two items may have their name, though the maker is uncertain.
Doppel Objective f7.7 40mm
Corygon f4.5 40mm on Boltavit (1936) for 25x25mm.( This was a Friedrich T.N.)

Booth, L.B.
Booth seems to have worked both as an independant designer and a contract designer but little seems to be
known about him. He designed the f2.9 Pentac for Dallmeyer (Brit Pat. 151,506) in 1919, and this was noted
as an f3.0 Triplet anastigmat (B.J.A. 1922, p321). The front (and rear) biconvex used crown glass, R.I. 1.6 or
1.61 and with low dispersion cemented to flint of not greater R.I., and a lower R.I. flint centre glass. He also
designed an f5.6/f6.8 telephoto lens (see Dallmeyer section) (Brit Pat 139,719 of 1919; 151,507 of 1920; see
B.J.A. 1921, p331, 1922, 324) and some of the MoD lenses sold off in the 1950's still carried the engraving
'Booth's' on uncoated samples.

The Boots Co, Photographic Dept, Stamford St, London, SE1, UK.
Boots sold and sell photographic equipment over a long period and are probably UK's biggest photofinishers in
house business. In 04/1973 they were offering Boots Edixa lenses as a package with Edixa 2MTL cameras, a
f1.8/50mm Cosina lens and Edixa f3.5/35mm; f3.5/135mm; f2.8/55mm; f4.5/200mm lenses. These may be
German make or agented from the Far East- there is no indication of the source.

Boucher, France.
His name occurs on a folding plate camera from 1905 made by Boucher and could well be bought-in as there
are no other references in FBB and none has been seen

Bourgini, Paris.
He was an early Parisian maker of lenses without Waterhouse stops, and of Petzval type. The lens seen has
no serial number.
Fig 027 028 Bourgini (Paris) Petzval an early lens, with no stops

Bourquien, France (?)

This lens makers name occurs in "Master Georgie" by B. Bainbridge, a novel about the Crimea war: it may be
fictional or derived from Bourgini above. (The fiction side is suggested since he also is said to have a 3in Ross
as a portrait lens which seems very short unless it refers to the diameter- and this was in line with practice at
the time).

R.H.Bow
He seems to have been the first to deduce the Cos 4 dependance of the illumination to the angle away from
the axis for lens images- it is mainly important for wide angle lenses. (B.J.A. 1925, 213; B. J. 06/04/1886,
p160)

Boyer, = Etablissement Boyer, 25, Bvde Arago, Paris 13me, France.

UK Agent Mssrs Actina, 15, Red Lion St., High Holborn, London W.C.1.
Many or most of this product range are named after jewels.There may be a relation with Berthiot or confusion
in a source. In 1929, they were Andre Levy, Succ. so there had been a change in ownership.
Saphir
This seems to be a major product over a long period. It was used on the J. Richards Verascopes for example.
(B.J.A. 1927, p557) The Saphir was featured in the adverts. as in B.J.A. 1926, 784; 1927, 760,
Saphir f3.5 15-170mm This was a Q15 type.
f3.5 105mm This was used on the last 200 Cyclope cameras, in place of the
slower f4.5.
f3.5 75mm (?) This was used on the Bioflex by Alsaphot where it replaced the
Exotic SAGEM Jaguar f2.9. It was matched with a f2.8/75mm Topaz as finder lens. It was used roughly from
1944-1947 on the uncommon Photoelec Cameraflex, after a prototype which used a Topaz.
f3.5 50mm It was used on the Derbyluxe (Gallus Derby) as an f3.5/50mm lens at
No247,44x, and on some Reyna Cornu and Ontobloc cameras. An Ontobloc illustration shows No251,019
about ?1945. They were also on Norca A and B, noted at (?) No264,285 and 288,291 in illustrations. Also as
f3.5/50mm at No258,04x on a Chor-Identar camera at auction.
Saphir f3.5 35mm This was noted on an SIAP Memox 24x24mm camera made for
Alsaphot where it replaced the original f4.5 Boyer saphir. There were also some with Topaz lenses.
Saphir f4.5 15-500mm This was a 4-glass Q15 lens, Layout Bo001, and was noted in
B.J.A. 1929, p321 who saw an 8.25in lens.
It was sold as 4.25in, 5.0in for 4.25x3.25in, 5.25in for 4.75x3.5in, 6.0in for 5.5x3.5in, 6.75in for 6.5x4.75in,
8.25in for 7.5x5in in the UK list, where the 8.25in was for 7.5x5in. There were large versions as in a
f4.5/300mm at No7845x on a tailboard 10x8in camera. This means they can be a feature at auctions of bigger
format cameras. Thus they are noted for a f4.5 135mm No102,11x on a Sigriste camera and a f4.5/110mm
No37,325.on a Giles & Faller Gilfa. A stereo Monobloc No185x by Jeannert et Cie, France, had two Saphirs
f4.5/75mm Nos 12,435+12,445. They do not trade often in the UK but two were seen following a visit to
France. They were a very solid and finely coated f4.5/300mm No536,78x in PIM made of brass + alloy; and a
f4.5/210mm No697,32x in a Compound III shutter. These are lenses with a high reputation among professional
but did not fetch high prices in the UK..
f4.5 105mm This was the lens on the Cyclope with f4.5/105mm when offered in
May 1950 MCM. It was used on most (c.1800) of the bodies, but replaced with an f3.5 for the last 200. There
must be some loss of light in this 2 mirror system but this has not been noted in the texts seen.The most
select may be the f4.5/105mm on the Cyclope noted at Nr 271,0xx. (Cyclope was from Alsaphot about 1950,
some 1,800 made: a later one from 1953 used a f3.5/105mm Saphir but only some 200 of these were made).
Saphir f6.3 40, 54-500mm This was a Q15 type lens, eg as 40mm Saphir on Multiphoto
camera in 1924, but mainly as a quality large format lens. UK sales of Saphir f4.5 was noted in B.J.A. 1929,
p321, when it was reviewed as "excellent"
Saphir B Enlarging f4.5 85-210mm Layout Q15
Saphir f2.8 50mm This can be Q15 or Q20 layout. A f2.8/50mm was a premium item on
the early versions of the Gallus Derlux but was probably listed up to about 1952.
Saphir f2.3 15-100mm This was a cine and 35mm still lens.
Saphir f1.9 15-100mm but noted as a 100mm for movie. Sales may have included a
100mm for Rectaflex in 1949 but it has not been confirmed.This was a 6-glass Gauss.
Saphir f1.4 15-100mmThis was a 6-glass Gauss cine and 24x36mm lens.
Saphir f1.0 It is said to be an advanced triplet type. It was available as 100mm for
24x36mm, 75mm for 18x24mm and 50mm for 16mm cine in the May 1950 MCM report.
Saphir Color f4.8 This was seen as a 150/265mm convertible lens in Compur. This has Q20
layout. This is a modern lens of fine quality. It was noted at No788,04x and 788,05x.
Saphir Apo f9.0 50, 300-1200mm This is for process work. This was quite an important item
postwar and turns up regularly in USA and UK dealers lists.
Saphir Apo f10 This was noted at 240mm, 450mm. It is probably a longer version of the
above f9 type, which may be f10 in the larger sizes, but has been seen as a f10/135mm coated lens at
No64043x.
Fig 027 013 Boyer lenses (l) ApoSaphir f9/150mm, Saphir Color f4.8/150mm/265mm and Topaz f4.5/105mm
SaphirAviation f4.5/f6.320-120cm for aerial survey work. Q15 type.
Virlot f4.5 105mm This was noted in a Gitzo shutter and may be a Saphir related item.
Topaz
These seem all to be triplets, in a lower price range.
Topaz f2.9 20-210mm Triplet, Q14
Topaz f2.8 45mm There was a Boyer lens on the Mecilux 24x36mm camera of
P.Lachaize of this specification and M.Vial suggests that it is a 3-glass Topaz. It was noted as an f2.8/45mm
at No 614,74x.
Topaz f3.5 20-180mm Triplet, Q14 A 75mm version of this was sold for the VP
Exakta in the 1930's.
Topaz f3.5 50mm This version of the above was used on eg. the Boumsell Auteuil 3x4
camera, as alternative to a FAP. It may also be the lens on the Le Bergy of Mecaoptic Photo
Topaz f4.5 75-135mm, This was a 3-glass Triplet for cheaper cameras. Thus it was fitted
to the bakelite Gallus in 1937 and later on the prototype of the Photolec Cameraflex just after the War. It was
also used as an enlarging lens, etc.
Topaz f6.3 eg 105mm with click stops, and as a 105mm for Gifca camera, 1922. It was
used on the Midelly box type camera.
In fact, Alsaphot seem to have used Topaz of f6.3, f4.5, f4.5, and f3.5 on Dauphin, Assas and Cady cameras.
These will be in 75mm approx, for 6x4.5cm. One list has focal lengths available of 58-210mm.
Other
Beryl f6.8 50-250mm This was made to cover 85°. It seems to be a convertible double
anastigmat.?Q9, 3+3 glass.
Opale f4.5 50-500mm This was for 56° and was a portrait lens with variable softness,
and it seems to be corrected for the Sodium D-line. It is not a Petzval or triplet. It may be the lens in the
advert. in B.J.A. 1929, p700 as made in 11.25, 14.25, 17.33in.
Perle f9.0 60-145mm This was an Aerial survey lens, to cover 115°, a 4-glass Gauss. It
may be a Q17 type.
Rubis f3.5-f4.5300-700mm A triplet type Portrait lens for 30°. Possibly softish. Compare
this with:
Portrait Anastigmat ? 300mm for 9.5x7.5in; 360mm for 10.5x 8.25in; 450mm for 13x10.5in.
This is shown in this form in the B.J.A. 1929, p700 but may actually be the lens above.
Brand-X, Caravelle, Yonkers, New York, USA.
Registered trade name of importers, mid-1965.
eg. Bellows lens, f3.5 135mm and extenders,etc.

Brass
Brass is a copper based alloy, normally with zinc as the main other component. At 80-90% copper, the result
is 'gilding metal' used for decoration only. Straight brasses are about 63-75% copper and can be subject to
stress corrosion and a slow attck with loss of zinc from the surface known as 'dezincification' with formation of
zinc oxide (weak) and a copper rich sponge of metal which is also weakened and copper coloured. This is
accelerated by salt eg near the sea and in sweat. It can be prevented if the alloy has some arsenic or other
inhibitor added, but this seems not to have been known in the 19Century from the corrosion of some mounts.
Finally, at lower copper contents of 50-63% the alloy is used for hot worked items such as extrusions and
stampings, and with some lead added, can be a free 'machining grade'. Other grades are 'Admiralty' , 'Naval'
and 'aluminium' brass, and the former contained some 1% tin while the latter has aluminium and arsenic
added but probably will not be a Victorian product. Then there are alloys sold as casting brasses, often rather
soft and with poor quality, bronze with 'copper + tin' , 'gun metal' with copper, tin and zinc and cupro-nickel
and true bronzes with small additions of aluminium to mainly copper, phosphorus added to copper + tin, or
manganese added to copper + zinc alloys. In fact the range is enormous and the actual compositions of
different makers will have varied with time or circumstances such as war. It is likely however that the normal
Victorian alloy was a rather basic one, especially for some cast items such as flanges.
Most (perhaps all) of the early lenses were made with brass bodies, the metal being chosen for reasonable
price, machineability, good appearance and resistance to corrosion. The basis was probably small brass
castings from a local firm, which could be turned to form the mounts for the glasses at the front and rear of a
brass tube formed by rolling out a tubular casting. The tube was often surprisingly thin- for lightness as well as
cheapness, remembering that in the 19C, items were carried much more than today. No seams from rolling up
flat sheet have been noted but this could be another option. Once machined, the brass was polished with a
definite grain often left, normally engraved with the makers name and given a protective layer of lacquer. This
involved a quick confident application to pre-warmed metal to get an even coat. Then the glass was mounted
and the product was complete. With time other operations involving fitting slots for stops or an iris were added,
and some companies featured other metals as trim, as in some Lancaster lenses- or seem to have used
specially colored lacquers. (Metals seem to have been plated by smearing with a mercury/metal amalgam and
then driving off the mercury by heat- Dangerous! Some small rings and components seem to have been done
this way.) Finally as the 19C gave way to the 20C, there was introduced the black enamel finish (sometimes
called Berlin Black) which on brass can be more long lasting than lacquer, but is often now scuffed badly.
Slowly, there was an increased use of electro-plating in the 20C, first as nickel plate and then from about
1935, of chrome plate, which could be harder and did not slowly discolor as nickel can. Good chrome plate on
brass is probably about as use-resistant as is needed, and the nickel was really very good. What can be
disastrous is electroplating of surfaces which are badly prepared or unsuitable as can happen when chrome is
coated without an underlayer of nickel (early post-1945 perhaps). Replating in nickel is just possible for the
amateur, (kits are offered to auto restorers) but chrome is less easy. Rare metal plating normally involves
highly toxic chemicals and is a specialist job- but lenses originally plated in gold or some such are extremely
rare.
Thus the collector with well used or corroded lenses is likely to be faced with either lacquered brass which has
blackened with time or paint which has chipped. One means with the blackening is to rub the lens down with
wirewool or fine wet-or-dry carbide paper. Or to use a polishing wheel such as a rag disk loaded with mild
abrasive. It is normally best dismantle the lens or at least to remove the lens cells and protect any fittings and
the edges of glasses with masking tape, etc. Sadly it must be said that this polishing can be rather too
energetic where the brass is thin or the engraving shallow and real care is needed. There is something to be
said therefore for using a corrosion-removing solution such as "Rustin's Rust Remover" which contains
phosphoric acid in some sort of solvent. (Note makers safety advice- this is acid!) It quickly dissolves the
black material, which probably has a high content of zinc oxide, and given some 15 min softens the lacquer
softens, so that methylated spirit and wirewool removes it easily. Retreatment may be needed, but will not be
as laborious. This gives less smoothing of the surface and typically leaves it covered with a soft thin layer of
copper, which needs to be polished off with a metal polish such as Brasso or Duraglit wadding- it comes off
easily as the removal off the zinc probably leaves an open textured copper layer, soft and easy to polish off.
Rustin suggest a water wash (or wipe with a wet rag?) after each stage. The polished metal can then be
relacquered. The lacquer on some lenses can be very hard to remove this way and it may be better to use
both paint stripper for the lacquer and Rustin's for the corrosion products. The paint stripper proved to be
dramatically quicker on an old Wray WAR where the barrel was cleaned slowly with Rustin's but immediately
with stripper followed by Rustin's.
Rustin also make a clear colourless lacquer which is easy to apply to a good finish and preserves the surface.
Later this is easily removed with Cellulose thinners unlike the original, but sadly it does not emulate the
original color. Some lacquer is essential to prevent fresh corrosion as repeated use of metal polish will lead to
loss of fine engraving and weaken the metal.
Lacquer is now hard to find. Ardenbrite Duralac used to be a stand-by but Tor Coatings have ceased to supply
it. Old receipts in Prof Draiper's "600 Ways of Making Money" for lacquer were:
Gold Lacquer: To a pint of strong alcohol add as much Gamboge as will give it a bright yellow colour, then
add 2oz of Seed Lac in a fine powder, and set in a warm place till dissolved.
Lacquer for Brass Rectified Spirits 1 pint, Tumeric, 1oz, Safron 1oz, Annatto, 1/4oz, Digest at a gentle heat
for several days and then strain the mixture through coarse linen, put the mixture in a bottle and add 3oz
Coarsely Pulverized Seed Lac. Place in a moderate heat and shake occasionally until dissolved.
These may not be useful today but suggests Shellac may be the base and a yellow colour added to taste!
Tried out today, shellac for French polish seemed rather too red, but mixed with button lac it was better. Note
that the application of lacquer to give an even coat is difficult, and traditionally a wide thin soft brush was used,
and the brass was warmed well before the application to aid evaporation. This skill is best acquired over a
lifetime. It may be easier to learn to apply the lacquer with an airbrush (small sprayer) again using heated
brass (Danger Fire Hazard. Take Care!), making a thin application and repeating perhaps 2 or 3 times.
Hasluck describes and illustrates a TTH employee using a lathe to rotate a barrel while applying
shellac+methylated spirit with a brush. The harder examples may have used boiled linseed oil wiped or mixed
with the application. This is slow drying (days or weeks) and its use just may correlate with the lacquers noted
above as needing paint stripper for removal.
Traill-Taylor makes a point that adding ammonia to shellac makes for a clear solution and layer- and that
collodion was also used as an lacquer. He also suggests celluloid in acetone or amyl alcohol as a lacquer.
This may explain some of the variations noted. He removes old lacquer with boiling water containing washing
soda or potash- which is said to act immediately! It seems rather drastic today. Or with a tuft of wool wet with
a mixture of alcohol in the cold. The use of ammonia also comes in as an addition to the application above.
He suggests blackening brass with copper/silver nitrates followed by heating and plunging into cold water. And
with copper carbonate and ammonia. But today commercial finishes will be preferred. Finally he discribes
glass etching with hydrofluoric acid- a very danderous practice.
The actual brass compositions will have varied as suggested above, sometimes in a casual fashion as the
caster remelted old scrap. Thus there are variations in hardness. Certainly remachining old optics can lead to
problems as the cutting quality of the metals varies. There is some sign that Zeiss played a major role in
standardizing the compositions in a search for improved quality.

Carl Braun, Nürnberg, Germany.

The firm was founded in 1906 as Karl Braun and became a limited partnership in 1915 as Karl Braun KG, to
make optical instruments but no cameras are known before 1939, or rather 1949, when Karl Braun Werke
Gmbh sold a box camera, the Imperial.
The Paxette cameras were their most famous product, sold from 1950. At the lower end of the price range,
they were solid items with caste alloy bodies now often rather dulled (? due to the use of zinc alloy? and a
matt finish to knobs?) with standard Prontor SVS, etc. shutters, normally reliable and often with a sort of
bridge or buttress to carry interchangable lenses in front before bayonet mounting to eg. Compurs was usual-
so they were innovative. The lens and maker range was very wide due possibly to a wish to ensure supply or
to competitive tendering by the firms. The thread closely matched the M39x26TPI used on the Leitz Leica but
the register was much deeper at 45mm compared with 28.8mm for the Leica. Extension tubes to mount
Paxette lenses to Leica were made in the 1950's by W.Heaton at al. and are now possible to make. They
were usually fitted bought-in lenses from Enna (Plastigon), Roeschlein, Steinheil (Cassar, Cassarit, Culminar,
Quinon), Staeble (Kata, Kataplast), ISCO (Isconar, Westanar), Enna (Plastigon), Wray (Architron, Lustrar),
Schneider (Xenar), Zeiss (Tessar) and others. However the maker is not always apparent now. An example of
unknown source is the Braun Color Ultralit f2.8/50 mm on the Braun Paxette Reflex. There were also Paxanar
achromats on Paxina 1 for 6x6cm, and Gotar f6.3 and f4.5 on the Norca 6x9cm folder. Thus lenses are listed
here even though Braun may well have bought them in. Camera production decreased later and rangefinder
production seems to have ended about 1963/4 and later the reflex ended with all camera production about
1970, when they began to concentrate on slide projectors, although they imported Konica and their own brand
cameras from the Far East for many years.
The product range was reviewed by I. Baxter, Photographica World, Autumn 2000, p21.
Achromat f7.7 on Paxina, just before the next item. (maker unknown).
Praxar f2.9 75mm on 1953 Gloria.
This was on the Braun Paxette and Gloria and Paxina for 6x6cm, but the lens maker is unknown. It was noted
in B.J.A. 1956, p537.
Plastigon f2.8 50mm This was an Enna 4g lens. It was used on the Paxette IA in May
1957.
f2.8 45mm This was used on the Super Colorette Ib.
Pointar f2.8 45mm on Paxette, new in MCM April 1953. Noted B.J.A.1954, p546 advert.,
1955, 271; 1956, p537. This was from Roeschlein of Kreuznach. Baxter says he has seen an advert. for a
Steinheil Pointar although this just could be a mistprint. And Pointars are also common without the
Roeschlein name but still from Kreuznach.
Pointikar f2.8 50mm This may have come from several sources- but equally the name
suggests Roeschlein as the Pointar above. It is thought to be a 4g/3c lens of improved performance, although
others says it was still a 3-glass lens. It does not carry a makers name possibly as if Braun wished to source
it from several makers .
Color Ennit f2.8 50mm ex Enna.
Braun Optik This was probably a simple meniscus, fitted to the 6x9cm box cameras "Imperial"
Gotar f6.3 105mm? on 6x9cm Norca about 1952? These were from Optical Werke
Gottingen, (just possibly related to ISCO of Gottingen?)
Gotar f4.5 ?105mm on Norca III about 1952? or a little earlier.
Luxon f2.0 50mm on Super Paxette IIb.
Telexor f3.8 135mm on Super Paxette 35
Color Ultralit This also seems to be sourced from several makers. One is certainly ISCO on a
Super III Automatic, No626,51x while a Braun Reflex Ultralit NoS910060 is anonymous but just possibly from
Staeble.
Cassarit f2.9 50mm Noted 1956 from Steinheil. The slightly longer focus and rare earth
glass combine to give an improved performance here, and stopped down it can give 10x8 prints of good quality
even in the corner.
Xenar f2.8 50mm noted 1956 from Schneider. This is a full quality item in a heavy
chromed brass mount and well above the 3 glass lenses in performance- and original price. For most purposes
it matches the Zeiss Tessar below as a top grade lens and finding differences would be a laboratory test job.
Tessar f2.8 50mm Noted 1956 from Zeiss (probably West Germany, it was an expensive
option). The example seen was No2,308,42x in an alloy mount with brass coupling track. This is a West Zeiss
Number (as from Jena this would be early 1940's.) It has a good single purple coating. This was the prestige
lens in the series and an expensive item when new. Today, they are distinctly uncommon even compared with
the Schneider Xenar which was also quite pricey. Thus it may be a good guide to the serial numbers Zeiss
was making that year. One point is the Tessar mount is larger than most others and may offer more shade to
the lens.
Tele-Ultralit f3.5 135mm on Automatic Super III
Katagon f2.8 50mm probably from Staeble, noted 1956.
Kata This was a Staeble lens, eg. f2.8/45mm, also f5.6/85mm Neoplast.
E-Luxon f2 50mm This is worth noting as a rare late Roeschlein lens for the Paxette.
Westron f3.5 35mm (1956)
Telexon f5.6 85mm (1956)
Tele Quinar f3.5 85mm from Syeinheil (1956)
Teletar f3.9 90mm (1956)
Telenar f5.6 135mm (1956)
Color Ennalyt f1.9 for Super Paxette III from Enna
Ultralyt f2.8 for Super Paxette III
Lithagon f3.5 35mm from Enna as above
TeleEnnalyt f3.5 135mm from Enna as above
Lineogon f3.5 35mm for Super Paxette Automatic
Choro f3.5 35mm as above
Trigon f2.8 50mm
Architron f3.5 35mm This was a Wray lens, ? as for the Wrayflex about June 1953. 4g/3c
design.
(Anon) f4.0 90mm This was also a Wray lens (Wrayflex Lustrar?) advertised by Nebro in
the Am. Photo 24/06/1953 and forcasting as a f3.5/35mm lens, probably the Architron above. This just may
explain the cause- if Nebro then found they could import lenses legally and more cheaply, they may have lost
interest in the Wray products which they had planned.
Tele Ennalyt? ? 200mm This lens seems to exist but be quite rare.
In use A small collection of these were used on a Paxette IIBL on a tripod with T-MAX film on a bright winter
day, each lens being used at f5.6 and f11 at 12m distance to a brick wall. The negatives were nice printable
quality, clean and contrasty and the best standard lens was the f2.8/50mm Xenar, which was in a chromed
brass mount while the others were mainly alloy with brass coupling flanges. After the Xenar, the Westar
f2.8/45mm seemed the next best standard lens, above the Cassarit f2.8/50mm and Kata f2.8/45mm where
the edge sharpness was rather less. In fact the edge of the Cassarit negatives benefited on closing well down.
Centrally, the Architron was sharp, but illumination and sharpness spread out as it was closed down at least
to f8, while the Lithagon, a retrofocus design, seemed to cover more easily. The Telon f5.6/85mm was fairly
sharp all over at f11 but was soft at f5.6- it may not have been exactly on focus. The f3.5/135mm Tele
Ennalyt was really decent at f5.6 and f11- and the image had good contrast and clarity. What was more
impressive was that the outfit was obviously a budget one when new and even more so today, but worked well
mechanically and optically within the range one would expect- full aperture for snapshots or emergencies and
closed down for bigger prints. (This was much better than feared.) Note that all the lenses were in the M39
mount but that the Westar, Architron, and Telon were not coupled and that the Westar and Kata did seem to
have some surfaces which were not coated- and in general that the cheaper lenses had more modest coatings
than the Xenar.
It is interesting to compare the front diameters and curves (as bulge in thou in 13mm approx.) for some of
these triplets.
bulge (thou) dia (mm)
Pointar Roeschlein 149 17
Pointar Roeschlein 148 17
Pointar Kreuznach 149 17
Pointikar 138 15
Cassarit Steinheil 50mm 148 19.2 @ No2,015,187
Cassarit Steinheil 50mm 148 18.2 @ No1,683,602
Westar ISCO 134 16
Kata Staeble 130 16
Kata Staeble 130 16
Ennagon Enna 152 16
One point is the Pointikar (compared with the Pointar) is different and less bulgy- possibly higher refractive
index glass, rare earthperhaps, and can use a smaller front diameter. This flatter front seems to be shared by
the Westar and the Kata but not the Ennagon, but note the curves do vary- these are individually designed
lenses even though they do have features in common. Where 2 alike are seen they are closely the same. And
note that the Roeschlein and Anonymous Pointars do seem to be the same lens. The Cassarits are 50mm
lenses and should be larger in diameter, as is found. The difference in diameter may be just significant but is
marginal. This study seems to dispose of any idea that many German 3-glass lenses of the period came from
a common source or even design. They seem to be the result of many competing designs and plants.

Dr Brecht, later L.O.Bittner A.G., Muenchen, Germany.

see L.O.Bittner.

Brewster, Edinburgh, Scotland, UK

Brewster constructed a 'double eyed camera' ie a stereo in 04/1844 as well as the better known viewer, and
showed it in Paris in 1850, when the idea was accepted and Dubosq began to manufacture equipment. It is
thought that Dancer was one of the early English users.

Brichaut, France.
His name occurs on a lens on a Brichaut L'Imperial camera from 1892, but may well be bought-in as none has
been seen and FBB mentions only the one Brichaut item.

British Journal Almanac

The first was issued in 01/01/1860 and was a plain sheet of paper (free with the magazine) for fixing to the
wall. It grew and in 1865 was a waist coat pocket size volume but still slim. In 1866, the page increased to the
'present size' (?near A5) and during the 1890's the thickness increased with advertising. This reflected the
increased market with dry plates. It became the major and most profitable advertising medium for the English
speaking world and the publishers had to set a limit of 40pp per firm and this continued to 1914, when 1496pp
were still required for the volume. (B.J.P. 05/11/1915, cited 07/11/1975 p1018). These volumes are now most
highly valued. It is now a major source of collector information and of many references in the Vademecum. It
should be noted that issues were a maximum in 1914 and shrank during the wars, especially WW2 and after
this it reexpanded but did not quite reach the same position again. Here prices are lower and supply better. It
was discontinued about 1962 and replaced by an Annual which does not have the same amount of advertising.

British Lenses.
As with France, the British makers were initially in a strong position to make products based on the new
invention- but the initial Callotype process did not have the same sales impact as the Daguerre process, and
there were fewer optical firms interested to develop lenses. Thus very early British lenses tend to be by Ross-
or from imports. The position improved as the wet plate process increased the market, and new firms such as
Dallmeyer and Grubb entered the market. Today, it seems to be difficult to say how many others were involved
but certainly by the end of the Century, one can point to Wray, Beck, Crouch and Perken Son and Rayment in
or near London, as well as Lancaster in Birmingham and Taylor, Taylor and Hobson in Leicester. Dallmeyer
was strikingly innovative, both in the 1860 period with the rapid rectilinear and triplet, and in the 1890's with the
telephotos; and Grubb produced novel ideas, though today they are hard to number. But the important point
was that in the 1890's the English were able to make the transfer to the new anastigmat era: TTH with a
strikingly simple triplet by Taylor of Cookes, and Dallmeyer by an Aldis design leading to the Stigmatics,
Carfac and Aldis's own Uno. And Ross were able to license Zeiss anastigmat designs as well as produce their
own Concentric. And Beck licensed two anastigmats from Steinheil, the Orthostigmat and the Unofokal, with
his own Isostigmar to follow. But they were all dependant on Schott for optical glasses and may have suffered
some problems due to remoteness. Certainly WW1 showed up this limitation, and lenses such as Aviar were
designed to avoid their use.
After WW1, the German industry suffered from a poor economy and postwar reparations, but they were able to
offer very low prices, such as could cripple competitors, and sales in the UK tended to be poor for British
makers- especially as there was a local recession to consider as well. Thus there was a story of firms leaving
the industry, as Beck seem to have done, or failing to develop new products: there was no prewar British
miniature of note for example. Equally, a trawl of camera fairs will show lenses of this period, sold to
professionals or keen amateurs. And it did lead first to an energetic industry in WW2 making very large
numbers of fairly simple lenses for a very effective aerial survey campaign. And after the war, to the beginning
of a new industry, curtailed when the imports of foreign cameras were allowed in the 1950-1960 period. Today,
it seems that too little time was given if the Government really intended a native popular industry, and too
much otherwise. Certainly, the best from that period are superb, such as the TTH Reid, Micronar, Adotal and
Movie lenses- and the worst are less good, with soft coating and muddy imaging. What is sad is that the
industry had to go from one extreme of over-demand to the other of decline, though actually what ended was
the purely photographic side rather than the industry as a whole.
High value items include the really early museum items, but especially portrait lenses such as Dallmeyer's
Bergheim and the top TTH portrait lenses with spectacles. But rather unusually, a special feature are the TTH
modern lenses, where TTH still exist to rebuild them as needed at a price: and Panchro II and Varotal are long
lived use items and valued in a way few other makes can be.
British Optical Lens Co, Ltd., Walsall, Staffs. UK.
They made the glass for the first Corfield Periflex lenses and helped with the designs. They are also noted for
the BOLCO lens on a VP twin camera for 3x4cm. Also see BOLCO above.

Broadhurst, Clarkson, and Fuller Co Ltd. 63, Farringdon Rd. London EC1M 3JB
Tel 0171 405 2156
The firm was founded by Mr Tulley in 1790 as an optical house eg making telescopes, and must be about the
oldest established such firm still active. When Tulley died, the chief optician bought the business and carried
on and was joined by Mr Clarkson and subsequently also Mr Broadhurst. They have been in Farringdon Road
at least since 1800 but the building had to be rebuilt after bombing by a Zeppelin in WW1. It is primarily a
telescope and spottingscope maker and supplier eg as the UK agent for Meade of USA, but the owner thinks
long focus triplets were made in past years, possibly for astronomical work. During WW2 eyepieces were
supplied made from plate glass windows broken in the blitz and the pieces picked up by the staff for reuse due
to the glass shortages.

Bronzavia S.A., Courbevoie, France.

The name is on a gun camera lens made by Bronzavia in 1948, f3.5/75mm noted by FBB.
Bronica- see Zenza under Z

Browning, John, Optician, 78 The Strand, London WC.

Browning seems to have not been a professional lens maker but a trader and camera maker who had lenses
engraved for his business. However he is mentioned as a maker of binoculars in the later years of the 19
Century. Orford mentions him as designer and lens maker, while writing about amateurs making lenses, so
he was probably able to make them on occasion. His name is on an Extra Rapid Rectilinear on a Le
Merveilleux by Lancaster for 1/4plate, probably of about 6in f7.7. A microscopy camera by him included an RR
with a Waterhouse slot.

Buckler, France.
There are two mentions in FBB of Buckler RR lenses from 1903 and 1905 but no further details of the lenses.

Burke and James, Inc, 321. So. Wabash Ave, Chicago 4, Ill, USA.
A famous American retailer who also ran a repair and occasional production department and who elsewhere is
noted to have initiated Caltar lenses and taken in the Goerz Berlin stock when Zeiss bought them over. They
seem to have had their own brands as 'Carl Meyer' for esp. cine lenses and 'Rembrandt' for Darlot-Petzval
portrait lenses. They are said to have taken over the Zeiss collection when the US government sold it. See
also Carl Meyer entry. B&J catalogues are still valued documents in the lens collector world as they contain
details of a remarkable range of optics both new and preowned. [So seek them if they are offered!]
Rembrandt Portrait Lenses Darlot exported "Genuine Imitation Dallmeyer" portrait lenses at the end of the
19C and this may have associated him with an adjustable softness Petzval layout. They "give a "soft-sharp"
quality so sought after in portraiture.... and minimize retouching,... Pinkham-Smith style... made like the
originals.- modified Darlot-Petzval formula."
Rembrandt Super Portrait f8.0 10in (254mm) in barrel with iris or in Alphax Synchro shutter.
f6.0 14in (356mm) in barrel with iris or in Alphax Synchro shutter.
f6.8 18in (457mm) in barrel with iris or in Alphax Synchro shutter.
B&J also sold a range of Quartz optics for transmission in the UV region to 2700° to visible light. They
included Carl Meyer Quartz Optics lenses as follows:
f6.0, 4in; f8.0, 3.5in; and f14, 6.5in.
Also unbranded probably single components as:
25mm focus x20mm dia.; 50mm focusx 20, 30, 40, 50mm dia. ;100mm focus x20, 30, 40, 50, 60, 70, 80mm
dia.; 150mm focus x same 20-80mm dias.; 135mm focus x 160mm dia.; 200mm focus x 20-90mm dia.;
300mm focus x 20-100mm dia.
Burleigh Brooks Inc, 44, Burlew Court, Hackensack, N.J. 07601, USA.
They are thought to be USA agents and importers, and were noted for two zoom enlarging lenses in B.J.P.
13/07/1979 as Apo Computer f4.5-f5.6 50-80mm and f4.5-f5.6 105-150mm in M39 screw thread as well as a
series of large format Computar lenses in f6.3 150, 180, 210mm of 4 glass 4 component design and enlarging
lenses from f2.8/25mm to f5.6/135mm.

Burr, Charles, 138, Wakefield St., East Ham, London.

Burr was listed as a maker of portrait lenses about 1900-1905 and advertised in the B.J.A. The firm were long
established as opticians, and their range was wider in the 1890's, probably then shrinking as new designs and
competition came.
A biggish Petzval has been seen, a No2 lens, about 9in. No 632x, working at about f4. Another portrait was a
No3 at No4622, of unknown size.
Fig 024 013 C. Burr Portrait Petzval No6322 No2 size.
A doublet lens (ie ?RR) on a 12x15in Lizars was No4,78x.
Wide angle This was noted as a 8in lens for 12x8in with wheel stops.

E. Burton, UK?.
He is known from an early brass lens, probably 1860's, and was probably the owner of a shop rather than a
maker.

Ludwig Bünger, Berlin-Schmargendorf, Germany.

Schmidt lists him as the source of a Pantoplan about 1908. This was an f6.0 design to D.R.P. 135,742 and
covered 90°. It seems to have been a Q20 version rather like the Euryplan, designed by airspacing the inner
glasses of the Dagor.

Busch, E. Rathenow, Germany.

Agent for UK Mr H.F.Purser, 33, Hatton Garden, London in 1898.
Lenses also marked ROJA or Rath Opt Ind Anst. for Rathenow Optical Industry Anstalt with a I like a "J" in
old script. This trade name began in about 12/8/1898 (Amateur Photo 12/08/1898, p644) but was found not to
be a success and later the firm reverted to Busch, but the date is not available here. It seems to be Emil
Busch in 1901 adverts. The change was after the sale of the Omnar since some at least of these carry the
ROJA engaving, about 1898 ('new') to 1902 and apparently to 1908. These have been given a code (R) where
known to occur.
The firm began in 1800, but was really refounded in 1845 by Mr E.Dunders, when he began 26 years of
direction especially for opthalmic work. One innovation was a more modern form of opthalmic lenses. They
also competed with Voigtlaender for large Portrait lenses, making a 7in dia example in about 1864, and a
10in shown in Paris in 1867. (This was later destroyed.) And Mr Busch (1820-1888) was a nephew of Edouard
Dunders and essentially redefined the business, which bore his name. His major designs included the
innovative Pantoscop anastigmat in1865. They were also known for binoculars in the 1890's.
The UK agent was Mr Purser of Hatton Garden, later of 35, Charles St., Hatton Garden, London EC. Some
USA sales may have been through TTH, in 1912 of Cylex and BisTelar lenses. Not all items have a serial
number- in fact none in the older lenses seen. Early items are marked Prussia and may be before or soon
after the unification of Germany. The treaty of unification was 18/01/1871, so that the engraving "Preussen"
suggests a fairly early lens- say pre 1875. (But they may have used the description long after). Rathenow is
some 60miles east of Berlin and likely to have been in the Russian zone postwar.
It was an innovative firm, contributing the Pantoscop, Bis telar and Nicola Perscheid as first class
collectables, the first two being major Landmarks. A problem can be that Busch often engraved details on
the flange rather than on the lens barrel, so loss of the flange leaves an anonymous lens. And working through
a collection, there seemed to be few serial numbers to form a guide to the age of a lens. It also seemed that
the older lenses were more blackened with age and corrosion than other makes- well, they are older than
some but early Pantoscop has quite thin metal parts and small ones may be suffering weakening of the brass.
This does not apply after about 1890-1900 and Omnar can be a heavy and formidable item.
Early Lenses
Vademecum set:
No 1 A classic casket set, B.J. Photo. 29/8/1899 to give foci 4.375-14in -30in, the 30in being with one cell in
place. The 4 cells are only single glass menisci and the sharpness is not high. But there were subsidiary
lenses to correct the visual error while focusing and color filters, at least on the next set.
No 2 with 7 cells for 4.375-17in, with up to 29.5 from a single cell.
A No 11 set seen is marked DRGM 110275/76. In barrel or with shutters. It is worth noting that the alloy
threads of the shutters can wear badly- this is something to check on purchase as it may not be a standard
type of shutter, and hard to replace.
Model E This was another, later type with cells based on achromats, so that pairs are RR's or nearly so: one
has been seen in decayed condition, but without detailed information as to the foci of the cells, etc. It was in a
dialset Compur shutter No447,48x, and probably from the early 1920's, but 20 years later than the No1 above.
It uses the same diameter threads for the cells and flange as the older and was also noted in a barrel version
as Model E, and here the threads matched accurately. This gives a very versatile pair, as the cells can give
either a set of meniscus lenses with or without achromaticity and also a pair of periscopic or pair of 'RR' cells.
The model E has 2 cells of each of 12, 16, 20in and the pairs are 6, 7, 8, 9, 10in, depending on the use of like
and unlike cells, the longer lens with the higher number always in front. Apertures are f7.6 max, and coverage
is from 1/4plate at 6in and f7.6 to 20x15in for the 20in cells at small aperture. Cells 1 + II (12 + 16in) give 7in
and cover 5x4in at f8 and 9x6in at small aperture. In use, this did seem to be happiest stopped down to f16 or
so, when it gave really sharp results. The use of different foci cells may have been the cause of this need to
stop down as the 6in pair (equal cells) seemed to give better results.)
Note that these do not seem to have serial numbers, just 'Busch Rathenow' and 'Aplanatsatz'.
Fig 016 010 Busch Aplanat set with Compur shutter.
Fig 016 012 Busch 'Vademecum' meniscus set in case.
Fig 016 014 Busch Aplanat set in barrel mount and case.
Lantern Lenses. This seems to be a casket set for projection.
Stereoskop Aplanat sets, with 2x6glasses. These were also in barrel or in Unicum shutters.
Triachromat This was a three glass single component meniscus dating from "new" in B.J.A. 1901, advert.
p439. It was probably about f11?
Biperiscop An early trade name for a Periscop version.
Portrait Objective f3.0, f4.0 Petzvals, Layout Bu003, with wider spacing of the rear glasses suggested.
(R) These were an early item often in large sizes as mentioned above.
Series 1 f4.0-f4.5 6.25-12.25in This is the sharpest.
Series 11 f3.5-f4.0 5.5-11in This is faster.
Series 111 f3.0-f3.5 5.125-9in. This covers a narrower angle.
Foci of this group were 6.25, 8.5, 9.5, 10.25, 12.25in typically.
Kinematograph projection lenses. These were mentioned as early as 1898.
Portrait Aplanat f6.0 These were made in 5, 7, 11, 14, 18in. Use 18in for 10x8 at f6, 14in at smaller
stops.
Rapid Symmetrical f8.0 This was noted on a Sanderson 1/2plate in 1906, and also on an anonymous
1/2plate.
Rapid Aplanat f8.0 This was made in 6, 8, 10, 13, 18, 24in.and has been noted as 150, 200, 300mm
and will be on plate cameras rather than later types. It covers 70-75° and it was suggested to use 10in for
1/1plate, while 8in covers 10x8in at small stops. (Bus 008) A German advert. lists 15cm for 65x100mm at f8,
9x12 at f12 and 13x18 fully stopped down. Then it was made as Series F in 150, 200 and 260cm.
Fig 022 034 Busch Rapid Aplanat No5 about 18in Nono. as found.
Fig 022 036 Busch Rapid Aplanat No5 about 18in Nono. Here as above, after cleaning and lacquering.
Fig 023 008 Busch Aplanat f8/18in after cleaning and reassembly.
Aplanat Casket: These were sets with 6 lenses, 3 sets. up to 8 foci, range 6-20in and probably overlap the
Vademecum sets above. The aperture varies with the cells in use. These were in plain barrel or with shutters.
(This is Model E, f8 in one list, 1908).
Set A 6-16in, SetB 4.75in-16in, Set C 6-20in.
Rapid or Portrait Aplanat f6.0 This was made in 5-18in (1909)
This may be the portrait above, f6, it covers 65°.
Rektiplanat f8.0 This was noted as an 140mm lens to cover 54°, and may be an RR?
Wide angle Aplanat f15 This was a WAR, "New" in 1899 to cover 90-95°, but 105° was possible.
It was made in 4.125, 6, 7.5, 9.5in, use 7.5in for 9x7in at f15, 6in at small stops. It was still listed in 1906
(B.J.A. 1906,p435) and 1911.
Fig 022 024 Busch Wide Angle Aplanat No2 f16 Ser C about 6in.
Wide Angle Aplanat f16 4.125-9.5in 90-95°, possibly an older or cheaper lens.(R)
This was Type C, seen as a No 2 lens.
Rapid Aplanat Type D f8.0 6-24in 75°, still listed in 1914. It was seen and used as a 10x8in lens and
this gave excellent results at small apertures. It is the sort of Aplanat which makes one wonder how small was
the advantage of the anastigmatically corrected lenses which replaced it. But remember it was used at small
aperture.
Detective Aplanat f6.0 This was made as: 4.7, 6.0, 7.5in. Longer versions were slower as f6.5, as
9.25in; f7.0, as 9.5in. Another list gives 105, 120, at f6.0, 180mm at f7.0, also 165mm (probably at f6.)
They covered 70-75°. The 120mm covered 8x11cm at f6, 9x12cm at f12 and 12x15cm stopped down.
Jena glass was used, with either mount A, PIM or mount B focusing. They were also supplied in shutters and
were available as stereo pairs, in 1901-1906 at least.
Fig 022 026 Busch Detective Aplanat No2 f6/5in.
Metaplanat f9.0 5.25, 8.25in This was a low price beginners lens.
= Periplanat (1+2 glass design, B.J.A. 1901, p434)
Periplanat was fitted to Busch stereo cameras for 9x12, and 5.25in was suggested for 1/4plate. Busch
claimed it covered 80°, but note the review in Amateur Photo. 29/8/1899 suggested 100-110° was possible,
and said it had a less curved field than Pantoscop. It was softish at full aperture but sharp on stopping down.
The design was unsymmetrical with 3 glasses and was unusual! It was sold for those who "do not desire very
critical and perfect definition." One was fitted to an Adams 1/2plate so it attracted better off customers as well:
it was an f9/225mm No2 No207,36x and was probably about 1910.
Schueler Objektive A low cost meniscus series mentioned by Frerk in 1926.
Pantoscop
This is a major lens but one scarcely known in many circles today.
Pantoscop f22 (No1)2.375in, No2) 3.5in, (No3) 5.5in, (No4) 7.25in, (No5) 9.625in, (No6)
14.5in, (No7), 21.625in. One dealers list gives No5 as 10in (approx.?) and No3 as 6in, which is compatible
with the above. The lens of 5.5in focus covers 11.75in dia., 9.25in for 16x20in; and 100-110°. (1901) Layout
Bus010(R)
Launched in 1865, the Pantoscop has a good case to be rated the first anastigmat. The optical design looks
like an RR but the correction was made for astigmatism in view of the wide angle rather than spherical
aberrations, and the trade off is actually much preferable. But it does mean a very slow lens. A small one has
a fixed aperture of f32 only, while a larger one has lost the Waterhouse plates. Early lenses are marked
Prussia and may be pre-unification (18/01/1871), although they may have used the description long after
unification. It is likely that it found some market as a normal angle lens as the larger versions are relatively
common. After all a 21in example covered a 46in diameter. This might be used for process work, but still
seems very large. (A large photograph taken by Doebbelin and Remele was shown at the 1865 Berlin
Exposition and may well be taken with one of these, as they were using a 36mm 'spherical' Busch lens.) Note
that it was developed later than the Globe and Dallmeyer's new Landscape but still was a very early lens. It
was reviewed next the Periscope of Steinheil, and was used at f37 9.25in focus on 16x20in and was noted as
much the sharper lens, and with almost flat field, freedom from distortion and from a centre flare spot- and
works at above f30.(P.Remele, Photo News, 9/3/1866). His notes relate to it satisfying criteria laid down by
J.H.Dallmeyer for a perfect landscape lens in Photographic Mittellungen Nr 15. They are soft and hard to focus
a full aperture but improve on stopping down. It may be useful today to use a heavy blue filter to avoid colour
softness. (See also Amateur Photo 12/08/1898). Some variations in the mounts ocurred, and a "new" series
was sold from 1905, and 1911. Here there were further improvments in the correction of astigmatism and field
curvature for up to 90°. It was then in 2.375, 3.5, 5.5, 7.25, 9.625, 14.5, and 21.625in. Conrady quotes von
Rohr as giving the glasses as: G1= 1.6079 (flint), G2= 1.5331 (extra light flint).
Fig 022 020 Busch Pantoscop about 7in f30.
Small examples seem to be in a characteristic mount where the optic is screwed into a large outer dish or
flare ring: but this is really a flange and it seems other small optics would interchange.
Fig 022 022 Busch (right) Pantoscop about f32/90mm in brass (left) Lux Artium periscopic, also about
90mm.
Thus another small lens has been noted which looks very like a 3.5in Pantoscope but is actually a 3in (75mm)
Periscopic lens, ie 1+1 glasses. Here the 3in example had lost the outer parts of the mount and just a lens
barrel was on offer: in some ways this makes it a more usable lens. This one lacked or had lost the drop-in
stop making it very soft and the inner was marked 'Lux Artium' (L., 'Light of a practical skill') suggesting the
softness was intended. It would be very easy to confuse the Lux with a Pantoscop on purchase. There is no
sign of a stop ever being fitted so it must have always been a very soft lens. The name is scratched on the
rear mount and just could be the user's but it seems more likely that the owner had a flange with the name on
it but was used to exchanging the lens with another eg. Pantoscop, and so marked the rear to tell which lens
was in use.
Lux Artium ?f11/16 Periscopic as above. It was noted as a 75mm lens. It covers a very wide field.
But is very soft unless stopped down well. It just might seem a cheap option to a Pantoscop but really was
never in the same ballpark.
Kinematascope f4.0 1.625-3.2in, 2 sizes at first, a taking lens for movie, Petzval type.
Cinematograph Projection 2, 3, 4, 5, and later 7.5in.
also later 3-5.375in,47mm dia., There was here a version with rack focusing.
Anastigmats and More Modern designs
Anastigmat f7.7 This was an early anastigmat made in 90, 130, 150, 190, 255, 330, 450,
550mm and a 150mm lens covered 11x15cm at f7.7, and up to 14x20cm closed right down, and the angle
covered was 80°. The rear cell could be used on its own after unscrewing the front.
Glaukar This seems to be used for a range of structures, possibly all triplets or derivatives. It is first noted
about 1913.
Glaukar f2.5 13mm only, This was a Triplet type for 8mm cine noted in focusing mount on
a 1936 Siemens camera (B.J.A. 1936, p289)and for Model C8 in the 1939 B.J.A. advert.
f2.7/f2.820mm again Triplets (16mm cine) An f2.8 was sold on a Siemens 16mm
camera in 1938 with simplified focussing, and was the low cost option. (B.J.A. 1939, p631) This tends to
suggest a simple triplet.
f2.8 This was on a Siemens 16mm Model A in B.J.A. 1936, p605advert. ?as a 1in.
lens.
f3.1 2.375, 3.125, 4.125, 5.125, 6, 7, 8.25in in 1914. (Bu001) or 60-400mm in
1939 (H&D).This was "new" in Amateur Photo 22/13/1913 pii, pi, B.J.A. 1914,pp143) which show a triplet for
cine, portrait and general use. Use 7in for 5x4, or 29cm for 13x18, so it was a narrow angle correction. The
layout is nearly a symmetrical one. An f3.1/75mm No260,63x was noted on a Vest Pocket Tropical Clarissa
at auction.
f3.5 20mm This was used about 1932 for 16mm work, and an f3.5 was still on a
Siemens 16mm Model B in 1936 (B.J.A. p605 advert.).
Glaukar f4.5 85-165mm, a large format Triplet.
Glaukar f5.0 420-600mm A large format portrait lens. It is not in the H&D list
for 1939.
Glaukar f6.3 90-150mm A large format version of the triplet.
Glaukar f2.0 85mm for movie and an example has been noted in a USA list as such. It
was also mounted for M39x26 (coupled). A post 1918 lens (not in Frerk's 1926 list), near sharp in the centre,
seemingly with a 1+2+1+1 layout. Rare, these are normally high priced items. Iris is to f5.0 only, so these do
seem to be portrait lenses. An example in M39x26 was seen at No322,72x while a plain one was No322,76x
in movie mount.
Fig 010 070 Busch Glaukar f2/8cm No322,727 in M39 mount.
Glyptar These seem to be 4-glass Q15 type lenses, and were made in 2 series by the late 1930's.
Glyptar f3.5 25-75mm
Glyptar f4.5 55-400mm
They were initially sold as Tiaranar.
Stigmar These were convertible anastigmats, and may have been still listed late in the 1930's.
Stigmar Series 1 f6.3 This is an air spaced symmetrical anastigmat of roughly Plasmat type, with
unequal focus components. It seems to be listed in 3 sizes for 9x12, 13x18, 18x24cm. (1908)(R) (Bu006) A
late example of about 325mm with a 525mm front cell has been noted on a military green air camera from the
1940's and this was given an early antireflexion coating. It covers 18x24cm very well.
Stigmar Series 11 f6.0(?) This seems to be another series, but no details are known.
(Layout Bu006) It seems to be a lens made in large professional sizes. Frerk refers to an f6 Stigmar, of
Euryplan air-spaced type, but it was then discontinued, as was the casket version, and he seems to regret
this.
Omnar This covers 80°. It was sold from 1902.
This is a classic normal Gauss 4-glass type (Bu005) with the relatively wide angle of cover that this type
usually has. In designing it, Busch said that they were avoiding heavy barium glass for ones with better
weather resistance and Frerk says they used the old glasses. Omnar is convertible, the rear cell being about
1.75x the focal length of the whole lens. Many are in shutters, but sadly one seen was painted over an
aluminium cell and shed the painted details as soon as it was handled in 1996.This was an early example and
seemed to have no trade name on it. The designer was K. Martin for Busch (B.Pat. 19,504/1901) Earlier
Gauss lenses included the Clarke lens and perhaps designs by Meyer. Before the Omnar trade name was
used in c1906, the design was sold as the Series 1, 11 and 111. Omnar could be made with old or new
glasses, and it is not important whether the refractive index of the flint or the crown is the higher.(E.Jahrbuch,
1902, p68) Normally the negative meniscus is the flint, the positive the crown. The f4.5 was initially sold for
portraiture. The single cells are useable alone but do show coma, which is balanced out in the whole doublet
lens. It was designed as a medium wide field lens, especially for press and reflex cameras.
Omnar Series 1 f4.5 (R) 3.5-5.1-10in. use 10in for 10x8. 5in for 5x4.
This series was "New" in 1906 lists and initially was as 5.125, 6, 7.5, 10in only.
Omnar Series 11 f5.5 (R) 3.5-17.75in, as series 111. Use 6in for 5x4, but this may not really
suggest much difference from the Series 1 lens. This was the general purpose lens in the set, and should
cover 75°. Thus a 7.5in has been noted on a 1/2plate camera. In use it was fair at f5.5, definitely better at f8
and f11, and some care was taken to minimize flare in the 8air-glass surface design. (Layout Bu005.)
Fig 022 028 Busch Series II (=Omnar) f5.5/7.5in with push-pull stop plate in shutter, all paint and 'engraving'
lost.
Fig 022 030 Busch Omnar Ser II f5.5/7.5in Nono.
Omnar Series 111 (1902) f7.7 3.5-21.75in This was not a fully symmetrical type by one comment.
It was made as 3.5, 5.125, 6, 7.5, 10, 13, 17.75in (Layout Bu004) This may be the first to appear after Martin
designed them, and the cells differ, possible in focus, or the lens is designed only to work as a whole. It
seems that a 6in Omnar of any series will suit 5x4 with free cover to use movements. It seems that Martin
considered more complex types with a compound inner glass from the patents.(B.J.A. 1906, p731, Ger Pats
241222, 241241, etc). Frerk refers to an f6.8 or f7.7 as a real wide angle lens, for 80° or more and suggests
19cm for 13x18cm or for 18x24cm stopped down. It may be slightly redesigned by then.
BisTelar
This was important as the first telephoto to be designed and made with fixed separation of the glasses,
allowing better corrections by the designer K.Martin in 1905. It was developed in successive designs and is a
fairly easy lens to find as it sold well.
Bistelar Series 1 f9.0 It was made in 7, 10, 12, (1911) 14in later. use 10in for 5x4. from 1905.(R)
Layout Bu007, gives 1.65x the image size expected for extension. (B.J.A. 1907, p869) It was sold from 1905,
and in two magnifications, ie ? as below. It is not in H&D's list in 1939, or Frerk's 1926 list.
Fig 022 032 Busch Bis-Telar f9/14in No 3 Pat 15732/05.
Telar This seems to be a separate series of long lenses. Kerkman lists a f9.0/600mm Telar on a Naturalists
camera for 9x12cm, and this just may be a special version of the Bis-Telar. A Series 11 No3 at No211,32x
was fitted to a 13x18cm Ernemann.
Bistelar Series 11 f7.0 It was made in 8,10.75, 12 (1911), 13.5 (1914) 16,22in from 1908.
Series 11 seems to be 2x magnification, and use 13.5in for 5x4. Frerk suggests 34cm for 10x15cm and 18cm
extension will be needed, and describes it as very useful. Layout Bu009. The layouts seem very alike and both
lenses sold at the same time, the second perhaps covering a smaller angle. (B.J.A. 1909, p697) The f7/22in
lens was the basis of the Telar reflex camera with 8.25in extension listed in B.J.A. 1914. A f7.0/340mm was
fitted to a Deckrouleau-Nettel and is shown in Kerkmann, p199. A slower f7.3 10.75in at No39,73x on a
Newman Sinclair reflex may be a lighter version.
Fig 031 036 E. Busch Rathenow BisTelar Ser II f7/8in No157,32/05
Fig 031 037 E.Busch BisTelar f7 repeat.
Bistelar Series 11a This was made in 24 and 40in only, and needed only 12in extension and gave much
higher magnification than the others. Thus it gave a really big image on cameras with limited extension.
Used today, the image from an f9 Bistelar seems soft at f9, but tidies up on closing down, though a small
aperture such as f22 was really needed for good results. It was well ahead of the accessory tele units tried,
and justified the success it certainly had. It is fairly easy to obtain today, and is often regarded as a soft focus
lens, which was not the original intention.
Leukar This name is found on a range especially about 1908-1914, and seems to be used normally as
Doppel Leukar, as on Lilliput, Neostar, Lynx and plate cameras.
Leukar f9.0 This was possibly a wide-angle Q9= Dagor type?
Double Leukar f6.8 2.5, 3.5, 5.125, 6, 7.5, 10, 13, 18in or 90-250mm Use 6in for 5x4. The layout
is Bu002. Frerk refers to this as close to the Dagor but with a harder type of glass less open to weathering,
and the design was Patented. He says use 19cm for 13x18cm, and it covers 21x27cm at f44, so it has the
good cover of the original. A 72mm version was used on a VP size Ridan stereo camera.
f7.7 330-450mm A slower longer version of the above.
Leukar f9.0 65-300mm This was rated as for 80° compared with 60° for the f6.8 and f7.7
versions so it must have been some sort of wider angle design. All of these were a Q9 Dagor type lens, and
seems to be a "New " model in the 1909 list. It gives a wider angle coverage than the Omnar at up to 90°. It
was made in PIM or SIM or focusing mounts, as well as shutters, and sold as a standard lens with the angle
as an extra benefit. It seems not to be common, but seems to have been listed over a long period till about
1939.
Kalar Convertible f6.3 This was a symmetrical anastigmat made in 105-135mm. Frerk classes it as a
4glass 4 component lens. It may be an Omnar version.
Pantoscop New Series (1905) f22 still. It was now made as 2.375-21.625in, use 5.5in for 9x7in
It covers a plate with a diagonal twice the focal length, ie 80mm covers 5x4 and the advert. stressed the
correction for field curvature, and astigmatism. By now it had rotating disc stops, and was for 100°. It was
noted to be apt to have a central flare spot.
Triachromat Triple Landscape: This was a Symmetrical Anastigmat, roughly a Dagor type. (B.J.A. 1901,
p439).
Perscheid Two items use the name. This can confuse and note that the Nicola is the valued one. The plain
version is not in the 1939 H&D list and may be older and/or shorter lived.
Perscheid f6.0 165mm seen. Not well known, it seems to be a triplet, designed for centre
sharpness, but with severe fall off in resolution away from the centre. This can be obtained by not correcting
for astigmatism perhaps. It is neglected as it is in the shadow of the better known Nicola Perscheid. It was
seen at No317,67x, marked also D.R.P.372,059.
Nicola Perscheid f6.0 6.5 (for 1/2plate) -23.5in ( f4.5) This was a studio portrait lens. It was
especially used as a f4.9 8.25in lens for 5x4. Nicola Perscheid was a well known Berlin professional, (Amateur
Photo 12/12/1928, p533). A 1935 list has f4.5, 8.25, 12, 14.5, 16.5, 19in. f5.5, 23.5in; for 12x10in. A Houghton
list of 1920 claims that it covers a rather wider angle than Busch says- so a rather smaller and cheaper lens
might be sold. They suggest f4.5, 8.25in for 1/4plate; 12in for 1/2plate; 14.5in for 7x5; 16.5in or 19in for 9x7;
23.5in for 12x10. So it is possible that there was an improved product. One noted was a 42cm f4.5 at
No343,30x and made under D.R.P. 372,059.
Movie Camera and Projector Lenses.
Kinematoscopes f4.0 for 52° for cine. It was made in 1.625 and 3.5in.
f3.1 55mm This was a late 1920's specification, on Bol cameras for 35mm and a
major product.
Cylex Anastigmats: These are in a TTH catalogue for 1912 with BisTelar.
Cylex Double Anastigmat f6.8 This was made in 5.0, 6.0, 7.5, 8.25, 10, 13, 18in. It was suggested to use
6in for 5x4, but this covers 1/1 plate at f64! It seems to be a separable Dagor type.
Cylex Convertible Double Anastigmat This was a three focus lens with unlike cells. Made in 4.25-12in.
Thus a 5.8in lens has cells of 11 and 9in.
Busch Vario Glaukar A notable early zoom for movie projection. It was made in the 1930's, and much used
at the climax of films. There was more effort in the movie business in those days to obtain zooms than is now
realized as it was mainly in the professional area, and some was kept under wraps. Kingslake shows one on a
Siemens camera. Other Busch zooms were:
Vario Glaukar f2.8 25-75mm or 25-80mm for 16mm work. Kingslake (History, p261) gives this
as 25-80mm so there maybe two versions. He credits the design to R.H.Naumann (1903-1985) who worked for
Busch until 1945, and then also worked for Voigtlaender at Braunschweig, teaching at the Technical Institute,
and writing "Optik fur Konstrukteure" (Optics for Designers", 1949) and then from 1954 at Rodenstock
(Munich) as head of Patent and Literary research until 1973. It has been noted on a 1938 Siemens & Halske
camera.
Vario NeoKino f2.0 70-140mm for projection work.
Polyneo Kino 80-130mm projection.
Models V,W Still projection lenses for slides.
Neostar Petzval type 16mm Projection lens.
Neokino Petzval type 35mm projection lens, 52.5 and 75mm. Noted on a 1924 Ernemann projector.
f1.6 50, 100mm from the 1920-1930 period for 35 and 16mm projection.
f2.0 50mm from an 1915 Ensign (projector).
Filmar f1.5, f1.8 20-65mm as movie copying lenses.
Anastigmat f3.5 75mm This seems to be a taking lens for 35mm.
Anastigmat f2.8 20mm Noted as a taking lens on a Siemens cine.
WW2 Equipment was coded cxn.
This suggests a major effort in movie lenses in the 1920-1939 period when fewer still lenses seem to have
been made. Another aspect was the 30cm square aerial cameras used with Zeiss Topogon 200mm f6.3
lenses. The cameras were marked "Hersteller Busch A.G.Rathenow" or "Hersteller cxn F.No38,66x". These
may have been a major effort late prewar, when Stigmar lenses such as a c.325mm were noted, but later the
civilian range may have been put aside. But it might not have helped relations when the Russian army moved
in and may explain why the company seems not to be active postwar.
Fig. 3 Busch
Exposure: Steinheil-Beck Unofokal f4.5/6in in d/s Compur.
Back Row Busch Aplanat
Busch Pantoscope 90mm.
Busch Pantoscope 203mm approx.
Busch Vademecum Casket.
Mid/Front Row Busch wide angle Aplanat.
Busch Omnar
Busch Detective Aplanat
Busch pre-Omnar lens.
Busch Bis-Telar

Busch, USA.
Prestar f4.5 103mm on a Busch 6x9cm Press.

Bushnell, USA.
Bushnell was the maker of a spotting telescope "Spacemaster" adapted to SLR's to give 750-3000mm f50
and of a Bushnell Televar which gives 350-650mm at f16 (about 7/1962).
Bushnell seem also to have sold zoom lenses as a 350-650mm Zoom for Exakta has been referred to.
They seem to have merged with Bausch & Lomb in 1992.
C-mount
Incidentally, it was not initially planned to cover cine and movie lenses in the Vademecum, but they are of
increasing interest today and do have some unique design features. As a result some are included. One
problem is that commercial 35mm lenses (referred to here as Movie) were made in limited numbers and are
hard to find now as they are typically used till worn out. So smaller formats, referred to as Cine, are probably
over represented. And the standardization of mounts means that lenses and cameras get matched up when
made many years apart so that a modern coated lens may be found on a very old 16mm camera: and of
course vice versa. In design, movie and cine lenses are normally expected to reach very high standards of
sharpness- typically above still lenses- but are often relatively long focus for the format so the angle corrected
is limited. As a result, remounting them even to 35mm still format use can be disappointing as the sharpness
may be limited to the centre. And optical designs used for such lenses can differ- note the large apertures
obtained from triplets and the 4-glass Tessar for example.
C mount is the standard 25.4mm x 32(?)TPI mount for 16mm cameras, and is used on a wide range of such
lenses, exceptions including lenses for some Movikons and Kodak cameras. There was good standardization
of the threads and register, but the lens barrels do vary and show a steady increase in diameter with time. The
older lenses can be used on an adaptors to M39x26 if one with a deeply sunk flange is made, but there is very
little space to spare between the shutter rollers and the rangefinder feeler must be removed. The normal Cmount
register is 17.5mm and the M39 is 28.8mm so a sink of 11.3mm is needed. The Leitz Hektor f1.4/25,
Schneider Xenon f1.5/25mm and the TTH f2.5/0.7in and f1.9/25mm are possibly useable but not the bigger
Kern Switars or Schneider's Xenon f1.9/16mm. The limitation is the internal diameter at the M39 thread, which
is about 36.8mm. As with the Arriflex lenses, a Fed 4 may be a suitable budget body. Incidentally it is not at
all common to use C-mount lenses for still photography.
CCTV (Closed Circuit TV) is probably the source of many C-mount lenses, often with the remains of
micromotor drives for the zoom and other controls which now are coming onto the old lens market. Some of
these are of very high quality but there have been comments that others are of rather limited design
performance where a shop buys a system on a price basis rather than looking for real sharpness, and this
does lead to problems in subsequent recognition. This is obvious from some clips shown on TV after crimes
are noted. The police have special units devoted to image enhancement. (M.Downing in B.J.P. 11/06/1997,
p18-19).

Cadot, France.
Cadot is listed in FBB as a camera maker with Cadot lenses- possibly bought-in, about 1904-1910. The
lenses included RR and Hemianastigmats.

Caltar Scientific Inc. 1590 Touhy Ave., Elk Grove, Ill.60007,USA.

We thank Mr Klaus Huhle of Rodenstock and Mr Ulrich Eilsberger of J.Schneider for unique additional
information here. Also Modern Photography 1/1977 and View Camera 1/1996 (L.Jones) p56. Modern could
distinguish three periods of Caltars. L. Jones explains their origin as an attempt to produce budget lens
supplies to complement the moderately priced Calumet View camera. They seem to have been developed in
the 1970's following the end of the Kodak Professional lens programme in 1964, and Mr Jones indicates their
origin as Burke and Jones, following discussions with Ilex (M.Kriner) and others. An initial layout considered
was the 4-glass Gauss, followed by a triplet series and a Plasmat one.
Thus initial production by Ilex was:
Series 1 4-glass triplet type Q15 f6.3 165, 215, 254, 305, 375mm. These used new optical glasses from
England, and updated designs, and were of high quality, only the 375mm being less than perfect. They were
supplied from April 1965. This was essentially the Ilex Paragon reborn and some were sold direct from Ilex as
Paragons. A Caltar 165mm in Seikosha was $85 in Modern Photo 11/1971, p38.
Series 1b 508mm This was needed for 10x8in, but was made later as a triplet of 3-glasses. It was
initially rather variable in quality, but later of excellent quality. It may be of limited angle of coverage, as this is
given as 35°. A 20in f7.0 has been noted secondhand in USA adverts.
Series 2 Wide Field Caltar for up to 103°. This was a 4-glass Gauss type, also updated in design. An
example in Modern Photo 11/1971 was 90mm in Seikosha MX shutter at $162.
Series 3 f4.8 215mm S-Caltar This was described as an excellent lens, of classic air-spaced Q20 type. There
was a market for this and Ilex aimed to fill it. However only one size was made and will be scarce as the next
item intervened. It was advertised in Modern Photo 11/1971 p38 at $169 in No3 Acme.
According to Modern, there was another intermediate product planned but not produced. Then Rodenstock
offered their product range to be supplied as a private label. To complicate matters, Ilex sold some lenses
direct as Paragons, and Burke and James sold lenses labelled as Acutar, Acuton, and Acugon; and later
Burleigh renamed them Acutessar, Acusymmetrigon and Acuveriwide, which continued up to the closure
of Burleigh Brooks in 1981, and of Ilex. The group from Rodenstock was as follows:
Caltar 11 (Compact lens) f6.3, 150mm, f6.8, 210mm Triplet type.
This may mirror the Geronar normally sold by Rodenstock., in 150, 210, 300mm.
Caltar 11 Symmetrical f5.6, 135, 150, 180, 210, 240, 300mm.
f6.8, 360mm
These may mirror the Sironar type
Caltar 11 Wide Angle f4.5, 65, 75, 90mm
f6.8, 75, 90, 115mm
These seem to mirror the Grandagon types.
For many years, Rodenstock offered two budget lenses in their own programme. Geronar, f6.3, 150mm, f6.8,
210mm and f9.0, 300mm; and Geronar-WA f8.0 90mm. There may be a relation between these and the
American programme, but it is not quite obvious.
An 20in Acuton has been noted in adverts.
The next series were from J. Schneider of Kreuznach and examination of the original drawings suggests
that they included lenses marked as follows:
Calumet Caltar Pro Series 6in (150mm) f5.6, mirroring the f5.6 Xenar series. (Q15)
Calumet Caltar-W 31/2in 90mm) f8.0 Multicoated, mirroring the Super Angulon type.
or Orbit W11 31/2in (90mm) multicoated.
Calumet Caltar S11 51/4in (135mm) f5.6 multicoated, mirroring the Symmar type.
or Orbit S11 51/4in (135mm) f5.6 Multicoated.
The latter was made in 210, 150, 240, 300, 360mm as Caltar, and 300mm as Orbit.
Orbit may have been used by another vendor, or as a second version considered by Calumet: it does
occur as a secondhand trade name.
All these items were originally very good value as savings were made in the selling costs. Some items noted
secondhand are:
Caltar f5.6 150,300mm
Caltar f8.0 90mm
Caltar 11 f8.0 90mm
Caltar 11n f6.8 90mm
Caltar 11 f5.6 240mm
Caltar 11 f6.8 360mm
These were in 1996 lists, and some are noted as Ilex-Calumet Wide Field Caltar.
[Computar Symmetrigon. Seen as a 5x4 lens, ex-Japan, this suggests still another supplier was involved in
this group of products, but it may never have passed through Caltar's hands.]

Cambinox/ J.D.Moller,Wedel, Hamburg, Germany.

Idemar f3.5 90mm
This was said to be built into a binocular/camera assembly, the Cambinox which offered a choice of three
lenses. Idemar also occurs as a cine lens, noted as an f3.5 135mm No 322,00x. It may be that they were
cine lens suppliers or considered entering this market. Certainly they are unusual lenses in the UK. (See also
Moller)

Cambron
Lenses with this trade name seem to be from Cambridge Camera Exchange Inc., 47 7th Ave., N.Y. 10011,
USA. They were noted for most SLR's in Popular Photo 04/1977, p209 as:
Cambron f3.8 85-205mm
Macro Cambron f3.8 85-205mm
Cambron f3.5 38-95mm
Cameras
Using old lenses can be a very important angle to collecting them: indeed the whole theme of the Vademecum
is that lenses of all dates and nearly all types are still usable. But there is some small print, and this may be
the cameras. Sadly, the older cameras are almost a barrier to using the old lenses as plate sizes have
changed, plates have been replaced by film and the very holders used for the old plates may be lost, worn or
just plain unsuitable. Thus the lens collector mainly interested in using the lenses may find it best to
concentrate on sound modern cameras and remount old lenses, at least temporarily. And a collection of
lenses alone is much more compact than one with an equal number of cameras, and has the advantage of
being much cheaper to assemble- though the salability may also be less easy to predict.
One problem is that the majority of really old lenses are for rather large formats, and the smaller examples
may sell at a premium. There are really at present 3 formats to consider:
10x8in This is the most flourishing big size. It will use many of the larger old lenses satisfactorily. Thus it is
worth finding a camera to handle up to 10x8in format film. It will be expensive, especially if a modern Gandolfi
or the like is chosen, but is very useful also in work with smaller lenses to see the area they cover. And a big
camera can be used with a reduction back- essentially a square of plywood with the back from a smaller
camera mounted over an aperture in the middle of it. On purchase, check that it really is for 10x8, (as 1/1plate
can be confused), and that it takes modern cut film holders- it is not sufficient to get some sort of old plate
holder with adaptors of doubtful register and poor light tightness. Sadly old woodwork on plate holders seems
more at risk than on cameras as they use a lot of thin boards, and the thin wood tends to crack more often.
And wood is not itself too good a choice if infra-red sensitive materials are involved. Wood is not a problem to
the same extent in the camera as it is thicker and less involved in light shielding- it is a matter of choice and
the wooden camera will probably be lighter and easier to handle than a big monorail will be.
5x4in This is the next size smaller to be still in normal use although 5x7in can be considered. A 5x4in camera
can be used for work with lenses originally sold for 5x7in, 1/2plate, 1/4plate and 9x12cm for example, though
some allowance will be required where a different format lens is in use. Thus a 1/4plate lens may have to be
pushed to cover 5x4in and a 210mm lens originally designed for 1/2plate may seem rather clumsy. A major
advantage is that this is or has been a major professional format, and many cameras and accessories are
available second hand, often quite cheaply. Choose from Linhof, Graphic, MPP (in the UK), Sinar, Deardorff
(USA), Wistar (Japan), Plaubel Peco, and many others. But note that many will have had professional use-
avoid one which seems hard used or worn or damaged. Spare parts for old ones can be hard to find though
Linhof can be an exception here. There can be wide variations in the movements available on them, and in the
lens extensions provided for; seek one with a triple extension if possible. Normally, bellows can be replaced if
worn, but this can be quite expensive. And there is at least one big division into (a) 5x4 cameras taking only
5x4 materials, and (b) ones with an International back allowing the ground glass to be temporarily removed
and replaced with a rollfilm back for 120 size(= 6x9cm) rollfilm. This is cheaper, quicker to use and allows 8
shots to be processed together- which is really valuable when several lenses are being compared or one lens
at several apertures. It is possible to find iris type mounts which will close to carry a wide range of lenses of
different sizes, but these may not hold the lens too securely or exactly square to the film. It is much better to
choose a model where the lens panels are really cheap or can be easily made at home so that a range can be
made either for each lens or for each size of shutter or the like. The other useful feature can be a focal plane or
other built-in shutter as many old lenses do not have shutters. Modern film is so fast that this can prevent the
use of otherwise nice lenses except indoors. Here the best choice might be a Anniversary Graphic with 4in
square panels (easy to make) and a relatively reliable shutter, but in the UK these are hard to find and often
have been converted to 9x12cm. The shutter should provide Time and 1/25 to 1/1000sec but it is essential to
check it is sound, light tight and not stiffened with age- or budget to replace a shutter with some 4 slots and a
real long length of material. A UK version might be the MPP MicroPress but here and with the later Speed
Graphic, the panels are not quite so easy to make in quantity.
120 Film It is likely this will be available for a long time as it is used in many professional cameras such as
Hasselblad, Mamiya, and Bronica. To a lens collector, it may be most useful in rollholders on larger cameras.
The problem is a certain lack of cameras in this size with focal plane shutters and facilities to easily mount
different lenses economically. Matt Wilkinson used a PractiSix camera to some extent, using a bellows unit,
and this was a sound unit if lenses were of suitable focus- not too short as they would not pull infinity and not
too long or only the centre would show up. An alternative could be a Baby Speed Graphic, though the aperture
on the front standard is rather small and panels a possible problem. Or a 6x9cm Linhof, but here there is no
focal plane shutter.
One choice from all this range is a 5x4in camera such as an MPP MkVII or Linhof Mk IV- they take 5x4, or
rollfilm with a rollfilm back, the 4in panels are fairly easy to make, and there is a lot of extension, quite
generous movements and a strong metal body. Only a focal plane shutter is missing.
35mm The large number and interest of 35mm format lenses means that they justify a camera or cameras of
their own size. Normally, this will be chosen by the mount in use- thus a Nikon collector will have Nikon
cameras to match lenses and so on. The slimmest body will often win if adaptors are in use and here the
rangefinder bodies such as Leica have a big advantage, as the register is only 28.8mm while most SLR's are
more like 40mm. But note that focussing can be a problem. It can be done with a exchange ground glass unit
such as the Leitz 'Vehig' or imitators, or with a sliding copier such as 'Fuldy', though here the register is
increased. There were reflex units made for Leica such as 'Ploot' but at a considerable increase in body
register. Really, the choice will depend on the lenses studied. One wild card is the Corfield Periflex with a
partial reflex unit and Leica thread and register, which makes a sound example a useful item.
Cameron, Julia Margaret: for lens use see Jamin/Darlot and Dallmeyer.

Canon Inc, 9-9 Ginza 5-Chome, Chuo-ku, Tokyo, Japan.

Canon made several series of lenses for different camera systems as 35mm designs developed. First they
were for a rangefinder series, and later for SLR cameras, where at least 5 vintages can be seen. In general
they have been a fertile source of new designs.
The very earliest go back to the 1930's, with the B.J.A. 1938, p696advert. listing a Nikkor f3.5 (5cm) lens.
There was also in 1938 a series of Hansa enlargers for Vest Pocket with f5.3 lens; for 6x9cm with f6.3 lens;
and 4.25x3.25in with f6.3 lens. The maker of these is not stated. By the 1939 advert. there was an f2 5cm
Nikkor. Coupling and lens mount was then quite individual, using a geared drive from the focus helix.
Serenar lenses for M39x26 Rangefinder cameras. These are normally in chrome mounts, and most are
coated, though a few of the earliest are not and this can be a feature to note. Also that a few early lenses are
not rangefinder coupled- this is notable with the 135mm which is among the earliest interchangeable lenses.
These were designed in 1944, and are very early for an interchangeable Japanese lens. And such items can
still be bought in UK at worthwhile prices in 1996. The Serenars replaced earlier Nikkor lenses.
f3.5 28mm
f2.5 28mm
f3.5 35mm It was noted at auction at No64,97x.
f3.2 35mm probably a Q18 Layout
F2.8 35mm Q18 layout
f3.5 50mm Q15 layout. Early examples are coded both by the mount and lens numbers. Thus one on a
Pop-Up finder Canon was mount No47x, and others No46,01x in mount No3,71x, No501,83x in mount 1,195,
lens No501,90x, and No501,47x in mount No1,66x. It seems the design changed slightly later when the rear
3-glasses were made larger, possible to avoid vignetting and this might be a useful change after coating was
fully in use.
f2.0 50mm
f1.9 50mm probably Q18 I. Matanle notes in Am Photo 09/09/2000 that cnnoisseurs recognize two
versions of this, the early ones being fairly poorly corrected ('alarming aberrations') while later in July 1950, the
Canon IIC was issued, and the f1.9 with it was of a much improved design- but the serial number of the change
is not known. The designer of the new version was Mr Hiroshi Ito, and the new type was normal by 1951 sales.
f1.8 50mm probably Q18 Matanle notes that this is a faster 6-glass Gauss Q18. In fact the curves are
quite distinct in the f1.8 with a deeper front curve and a much shallower rear external curve.
f1.5 50mm probably a triplet type.
f2.0 85mm
f1.9 85mm
f1.5 85mm this is a rare type, noted at No10,141.
f4.0 100mm
Fig 012 030 Canon Serenar f4/100mm, and Canon f3.5/100mm in M39.
f3.5 100mm
f4.0 135mm as Ca014
Fig 012 028 Canon versions of the 135mm lenses (l) 2x uncoupled lenses f4/135mm; f3.5/135mm;
f3.5/135mm in black.
f3.5 135mm
f4.0 200mm An example at auction was No10,62x.
f8.0 800mm.
Note that these were not exported initially and then not to the UK, so information here is scanty.
Fig 012 026 Canon Standard lenses for c.M39 (from the left) Nikkor f4.5/50mm; Serenar f3.5/50mm;
f1.9/50mm; f1.8/50mm; f1.5/50mm; f2.8/50mm; and behind f1.2/50mm and f0.95/50mm Video lens.
Canon lenses, for rangefinder. Here the lens name is Canon, and the mounts move to the black and
chrome style, and a more modern finish. There was a very detailed review in Brit. Jnl. Photo (ref not available)
which praised the lens line fairly late in production, but found that several lenses really had the maximum
aperture as a reserve and benefitted from stopping down for real sharpness.
f3.5 19mm Ca001 9 glass fo use deep sunk. These are scarce, especially in the UK due to import
restrictions when new. It was noted at auction at No10,096, and No10,507.
f3.5 25mm Ca002 5 glass
f3.5 28mm
f2.8 28mm Ca003 6 glass
f2.8 35mm
f2.0 35mm Ca004 6 glass
f1.5 35mm Ca005 8 glass
f3.5 50mm(?)
f2.8 50mm Q15
f1.8 50mm Ca006 6 glass
f1.5 50mm Probably Triplet type.
f1.4 50mm Ca007 6 glass
f1.2 50mm Ca008 7 glass This was noted on a Canon VT de Luxe in B.J.A. 1959, p247. It was mounted
in alloy with some brass for parts subject to wear, and was very well commented on.They also noted a similar
8-glass (?) f1.4 and a 6-glass f1.8, commenting that most users would find the f1.8 the best purchase.
Matanle comments that the weight and bulk are not justified in the light of the light of the performance at large
apertures- and this has been supported by a number of other reports. There were then 17 other lenses up to
an 800mm long lens.
f0.95 50mm Ca009 7 glass. This was bayonet mounted for Canon 7 only as the Canon Dream (though it
is not known how official this term was!), and was initially rangefinder coupled. It is one of the very fastest
lenses for still work, and at the time was real achievement. Today it must be said to be less sharp than some
but the speed is still very high in comparison with any made since. Matanle (loc cit) quotes one suggestion
that the Canon dream was like other dreams- 'hazy, ill-defined and not very memorable' but this ignores the
fact that the camera is fine with other lenses. But it is always in demand and a popular item at auctions so
several numbers are available: eg No10,006, 11,05x, 11,116, 12,879, 13,017, 13,081, 13,396, 13,50x, 13,560,
14,11x, 15,04x, 16,81x, 19,994, 21,570, 22,609, 23,881, 24,069, 24,248, 26,726, and 28,32x. Later examples
are marked as Canon TV Lens, as at No20,838 and 103,30x, and these are not coupled, but note the
numbers do overlap. Also: These last TV lenses do NOT fit Canon 7 unless the rear projecting tube is
shortened by about 1.5mm, but the bayonet is the same. Optically alike, the TV lens is often in nicer
condition, and may have a C-mount adapter as a bonus!
f1.9 85mm
f1.8 85mm Ca010 5 glass
f1.5 85mm
f3.5 100mm Ca011 5 glass
f2.0 100mm Ca012 6 glass
f3.5 135mm Ca014 4 glass
f2.5 135mm Ca013 6 glass M series
f3.5 200mm Ca015 7 glass M series One was noted at auction at No10,640.
f4.5 400mm Ca016 5 glass M series
f5.6 600mm )
f8.0 800mm ) Ca017 2 glass types. M series
f11 1000mm )
The last 6 items are in bayonet mount M for the reflex housing only.
Canonmatic lenses for the Canonflex camera. These are really collectors items, as the auto iris mechanism
is unique and they should be only used on these Canonflexes as they can cause later reflexes to jam, even
though the bayonets are compatible. As the production of the reflex began, Canon offered some intermediate
products to smooth the conversion to the new system. Some of the first lenses thus were preset, not auto iris,
as in a Canon R f3.5 135mm No 1186x, though such lenses were quickly in auto iris only. And some focusing
mounts were made to take the lens heads of rangefinder lenses such as the 85mm f1.9, though no example
was available to study.
f2.5 35mm probably Ca021
f1.8 50mm Ca022.
Note there seems to be a change in the curves early on, with a little change to the mount, the early type
showing index lines for the apertures, which were later omitted.
f1.2 58mm see Modern Photo., 7/1962.
f2.0 100mm probably Ca012
f3.5 135mm probably Ca014
f2.5 135mm probably Ca013
Fig 033 032 Canonflex lens set f2.5/35; f1.8/50mm, f2.0/100mm, f3.5/135mm, f2.5/135mm.
Fig 033 034 Canonflex lenses with stripes at iris setting.
Various long focus lenses shared the reflex box system on the rangefinder, and the later FL system. These
are scarce. There was also at least one zoom.
Canon FL series.
There are really two programmes here, the result of a substantial upgrade about 1966, with better controls and
auto iris system coming in. Sadly there can now be problems with the irises sticking on early lenses due to
migration of the grease in the helix. Later FL and FD lenses are free from this problem.
f3.5 19mm Ca018 Retrofocus type, essential for Pellix, and with better resolution and evenness of
illumination than the deep sunk type.
f3.5 19mm Ca001 Deep sunk, for use with mirror lift only! It was 'Due' in 10/1964.
Fig 033 006 Canon f3.5/19mm lenses (l) deep sunk and (r) retrofocus for 'mirror down' as FLR.
f3.5 28mm Ca019 A nice early retrofocus lens.
Fig 033 008 Canon f3.5/28mm No11,415.
f2.5 35mm Ca021 A launch item.
f3.5 35mm Ca020 A less costly item in a matt paint finish It sold well.
Fig 033 010 Canon FL 35mm f2.5 and f3.5 lenses.
f2.8 FLP38mm Ca024 Compact lens for Pellix only, now scarce.
f3.5 50mm Ca025 Macro lens, focus to 1:2 alone or 1:1 with tube, an important item to
collectors. Note the thick rear glass of this design compared to the 38mm above.
Fig 033 018 Canon FL f3.5/50mm macro lens.
f1.8 (1) 50mm Ca022 Optically fine but the iris can stick.
(11)50mm Ca023 Improved optically and mechanically, A/M ring for auto-manual selection.
Fig 033 015 Canon FL f1.8/50mm lenses of 2 types.
f1.4(1) 50mm Ca026
f1.4(11) 50mm Ca027 Again much improved
Fig 033 012 Canon Pellix with 2x Canon f1.4/50mm lenses.
f1.2 55mm This replaced the 58mm lens below, and had more rare earth glass.
f1.2 58mm Ca028
Fig 033 016 Canon FL 58mm and 55mm f1.2 lenses.
f1.8 85mm Ca010 Launch item.
Fig 033 026 Canon f1.8/85mm
f3.5 100mm Ca011 Launch item, a excellent lens. Later mounts have more internal baffles.
Fig 033 020 Canon FL f3.5/100mm of nearly the same type! (They differ inside the mount).
f3.5 135mm Ca014 Another lens in matt finish at a lower price.
f2.5 135mm as Ca013
Fig 033 023 Canon FL 135mm lenses as f2.5 (r) and f3.5(l).
f4.5 200mm The longest of the matt finish budget lenses. They were sound items and a good bargain but
today the rubber finger grips are now beginning to fail. The problem shows up as the rubber shrinks and
cracks.
f3.5 200mm Ca015 Launch item.
Fig 033 024 Canon 200mm lenses as f4.5 (l) and f3.5 (r).
f3.5Zoom 55-135mm Launch item
f5.6Zoom 100-200mm Matt finish budget type
Fig 033 028 Canon FL zooms f5.6/100-200mm and f3.5/55-135mm.
f5.0 85-300mm A scarce item and nice if rather bulky.
f4.0 300mm
f4.5 400mm probably Ca016
f8 500mm Mirror This was noted in Modern Photo 04/1979 p139 as a new candidate in the mirror
department.Very compact, easy to handle, excellent results.
f5.6 600mm )
f8.0 800mm ) Probably Ca017 These are rare and not seen.
f11 1000mm )
Speaking in Asahi Camera Mag. in c.1968 the designer, Mr Jiro Mukai of Canon said his 'company produced
both optical and mechanical correction systems (zooms lenses). The buyers prefer the mechanical since it is
cheaper but I would recommend that zooms be refocused at every different focal length.' Further discussion
indicated that high R.I. glasses then still tended to give a yellowish caste but were essential, and in fact newer
glasses were really needed for the correction of some colour aberrations. The prestige Canon FL zoom was:
Zoom f5.0 85-300mm This is bulky, heavy but a decent performer all the same. It is also quite a
collector target as a premium item. Note chrome cap and leather case.
Zoom f3.5 55-135mm This was an FL series zoom in full quality finish to match the 85-300mm but less
ambitious in range. Zoom is by a setting ring next the focus scale.
Zoom f5.6 100-200mm This is a push-pull action zoom and has a duller finish to the tube as if part of the
budget range.
Fig 033 028 Canon FL zooms f5.6/100-200mm and f3.5/55-135mm.
Canon for Mamiya Reflecta SLR.
f1.9 50mm This was noted at No10,459, 10,52x, 11,863, and 11,08x and was said to be part of a limited
production of some 600 items. It may be unique as an example of Canon making a lens for another camera
maker. The mount uses a Exakta flange but with a different auto iris and has no compatibility with other
cameras. Optics seem to be close to the Canon FL f1.8(1) lens, with the top aperture limited in use to f1.9.
There were two other lenses for the system, both from Mamiya.
Canon FD Series
These lenses had the same bayonet as the earlier FL series, but with full aperture metering. They set a very
high standard, and experts notice they match better for colour when used under studio conditions. About 1980
the series changed from a breech lock mechanism to a twist-on one, though the inner coupling part was in
fact static and applications were unchanged. (see B.J.P. 13/07/1979, p661) This certainly is easier to change
consistently. Dealers usually code the older type as BL in adverts., and are likely to down price them. The first
were 2.8/35mm;2.8/135mm; f4/200mm; f4/35-70mm. One group some collectors seek is the very first FD
issue which had filter threads finished in bright chrome- attractive but slated in reviews as possible causes of
flare, though it is doubtful if this would in fact be detectable. Probably most of the launch items were made in
this form, and they certainly included 35mm f2, f3.5, 50mm f1.8, and 135mm f3.5.
f5.6(fish) 7.5mm Circle image type, for stopped down metering only! Noted at No10,555, these are
rather desired today.
f2.8 (fish) 15mm full frame type.
f4.0 17mm
f2.8 20mm
f2.8 24mm
f1.4 24mm Review in Modern Photo.,3/1977 excellent.
f3.5 28mm
f2.0 35mm Two types were made here, the early one with a concave front surface.
Both are excellent but the first is more distinctive.
f3.5 35mm
f1.4 50mm These were the high quality standard lens on the FD series mount cameras. They also
found other users due to this quality. Thus Cinema Products used the Canon f1.4 as the prime lens with Todd
Anamorphots for wide screen use. The 50mm was the first, to be followed by 35mm and 24mm lenses. ( The
supplier was Cinema Products Corpn, 2037 Granville Ave., Los Angeles, Cal. 90025, USA. Quoted in B.J.P.
27/10/1978, p935.)
f1.8 50mm
f1.2 55mm
f1.2(AL) 55mm Review in Modern Photo 3/1977, they liked it!
f3.5(Macro) 50mm Optically a new type.
f1.8 85mm
f2.8 100mm
f2.5 135mm
f3.5 135mm
f4.0 200mm
f2.8 200mm
f5.6 300mm
Zoom f2.8-3.5 35-70mm in older FD fitting This was redesigned when the mount was modified.
Zoom f4 35-70mm in new FD fitting
The following are for stopped down metering only. (add f5.6 7.5mm above).
f2.8 Tilt +shift 35mm
f4.0 100mm bellows
f5.6 400mm
f4.5 400mm This was later (about B.J.P. 11/05/1979 p436) and was one of the first internal
focusing lenses [cited along with a Sigma and a Nikkor].
f5.6 600mm
f8.0 800mm
f11 1200mm
With fluorite glass, or crystal fluorite.
f2.8 300mm
f5.6 300mm This certainly used pure calcium fluorite in Modern Photo 07/1971 p87 when it was
reviewed, though not new- it was then some time since it was first seen but still a novel product as the
introduction was cautious. CaF2 was used for 2 of the 7 'glasses' due to its low R.I. with low partial dispersion
and Canon stated even one 'glass' was very valuable in a design. One useful property was its compactness-
more like a 200mm lens. It worked very well but they made a point that it was made to focus well beyond
infinity to allow for the problems of making consistent foci and it also varies in focus more than usual with
temperature.
f5.6 500mm
EOS Series Cameras
A series of lenses was needed and developed for the Autofocus EOS series of cameras. It must be stated
that there is no compatability here with the older mount and customers had to make a new start here. (The
small print is that converters were made by others using a weak negative lens to correct for the increase in
register.)
A group of new lenses was noted in B.J.P. 21/02/1996, p6 and they included:
f2.8L 400mm This was an EF series lens at £7,500 in an improved form with fluorite glass to join
the 2 UD elements.
f2.8 20-35mm Zoom
f2.8 17-35mm Zoom This was 'new' in the review and surpassed the above lens.
f2.0 135mm for indoor and portrait work.
f2.8 135mm This was an older, softer focus version.
There was also an extended range of macro lenses, eg 180mm macro working to 48cm.
f2.8 200mm This was updated as an L version.
Lenses for Canon EX AutoSLR with interchangeable front components:
f3.5 35mm Ca035
f1.8 50mm Ca032. This seems to be the same Gauss type as the FL lens.
f3.5 95mm Ca034
f3.5 125mm Ca033
These components change on a M39x26 thread. Performance closely matches ordinary lenses and Modern
Photo rated the 50 and 90mm lenses highly. The main problem in living with them can be the bulk of the long
one. And it is a rather limited system.
Some other items
f2.8 48mm for Canonex 3-glass in ?leaf shutter. Prototypic.
f2.8 40mm for Canon AF35F (1982) Ca029
f1.9 40mm for Canon AF35ML Ca030
f1.7 40mm for Canon G111 Ca031
Canon f2.0 26mm 5g/4c This was on the Canon 110ED which was reviewed in B.J.P.
26/12/1975 p1163 by T. Hughes. His results seem very good indeed.
Many TV and movie lenses, including TV Zoom f2.0 15-150mm.
f2.8 135mm Variable soft focus Review In Amateur Photo. 25/08/1990, p29.
Canon Zoom Lens for C8, f1.2/8.5-42.5mm on 1964 Canon Camera.
Canon Zoom C-8 f1.8 9.5-47.5mm on Canon 518 Single 8 movie, with 14 glass, 11 component. This was used
on all previous models of the 518 and was noted on April 1970. (This was a single 8 version of a normally
Super 8 camera.) "Lens performance was first class".
Canovision EX1Hi
Canon Zoom Lens f1.4/1.8 for 8.7-69.6mm (8x zoom) this was a 14g/12c lens for the EX1Hi 8mm Video
Recorder fl. 1991 on the new VL mount. This mount was jointly developed by Canon, Sony, Hitachi, and
Matsushita(Panasonic). It was the less ambitious of two for this camera, the other being as follows:
Canon Zoom Lens CL f1.4 for 8-120mm This was a 15g/12c zoom with extensive multicoating and high
performance. The layout has much in common with the above lens.
The EX1Hi was extended by the use of a Canon EOS lens adapter- these acted as 5.4x longer focus due to
the small format. And by an 5g/5c extender to double the focal length of any lens fitted, especially the above
zooms.
At least one Sony CCTV lens has been noted as made by Canon.
The Canon body codes were explained in Photographica Spring 1999, 88 p2 as a combination of factory cde
eg F for Fukushima, O for Oita, with year of manufacture coded by letter from A=1986 followed by the month
so that 03 is March followed by a factory batch code. An earlier series was from 1960 (=A) to 1985 (=Z), but
not all bodies seem to be stamped. The numbers here are in gloss black inside the supply cassette chamber.
The codes for the lenses were not discussed and note that the above is not the body serial number so that
this also is still not described.
Several sets of Canon lenses eg Super Canon lenses in BNCR mount were noted in a Panavision rental list
of 1992 and would be for 35mm movie use, as follows:
T1.5 as 18, 24mm; T1.3 as 35mm, 50mm, 85mm.
also: Canon High Speed (BNCR) T1.6/24mm; T1.4/35mm; T1.4/55mm; T1.4/85mm.
They also rented Canon long lenses in BNCR and other fittings in T1.8/200mm, T4.5/300mm,
T2.8/300/600mm; T2.8/400mm; T4.5/600mm; T5.6/800mm. In fact, Canon seem to be their option of choice for
really long lenses.
Millenium List
The Canon list in the Am Photo in October 2000 (but abbreviated details) was as follows:
f2.8 14mm 14g/10c
f2.8 15mm 8g/7c This is a fisheye type lens.
f2.8 17-35mm 15g/10c
f2.8 20mm 11g/9c
f3.5/f4.5 20-35mm 12g/11c
f4-f5.6 22-55mm 9g/9c
f2.8 24mm 10g/10c
f1.4 24mm 11g/9c
f3.5 24mm 11g/9c This is a shift type lens.
f3.5-f4.5 24-85mm 15g/12c
f1.8 28mm 10g/9c
f2.8 28mm 5g/5c
f2.8 28-70mm 16g/11c
f3.5-f5.6 28-80mm 10g/10c
f3.5-f5.6 28-80mm 10g/10c A silent version
f3.5-f4.5 28-105mm 15g/12c
f3.5-f5.6 28-135mm
f1.4 35mm
f2.0 35mm 7g/5c
f4-f5.6 35-80mm 8g/8c
f3.5-f5.6 35-350mm 21g/15mm
f2.8 45mm 10g/9c
f1.0 50mm 11g/9c
f1.4 50mm 7g/6c
f1.8 50mm 6g/5c
f2.5 50mm 9g/8c A macro lens.
f4.5-f5.6 55-200mm 13g/13c
f2.8 70-200mm 18g/15c
f4-f5.6 75-300mm 13g/9c This is made in normal, quiet and stabilized versions, the last being a
15g/10c possibly due to the stabilizer components.
f4.5-f5.6 80-200mm 10g/7c
f1.2 85mm 8g/7c
f1.8 85mm . 9g/7c
f2.8 90mm 6g/5c
f2.0 100mm 8g/6c
f2.8 100mm 19g/9c A macro for 1:1 use.
f4.5-f5.6 100-300mm 13g/10c
f5.6 100-300mm 15g/10c Two versions, in different mounts.
f2.8 135mm 7g/6c
f2.0 135mm 10g/8c
f3.5 180mm 14g/12c
f1.8 200mm 12g/10c
f2.8 200mm 9g/7c
f2.8 300mm 10g/8c
f4.0 300mm 15g/11c Image stabilized lens.
f2.8 400mm 11g/9c
f5.6 400mm 7g/6c
f4.0 500mm 8g/7c
f4.0 600mm 17g/13c
f4.0 600mm 9g/8c
f5.6 1200mm 13g/10c
The main impression is of the sheer complexity of the designs and the need to supply the same design in
different mounts for different uses.
Canon introduced a Multi-Layer Diffractive Optical Element in Sept 2000 (Am. Photo., 23/09/2000, p7) in a
new f4/400mm lens at Photokina- This uses concentric diffraction units for high transmission, lightness and
shorter optics. It was due on sale in AD2001.

Capi, Nijmagen, Nederlands

Plasticca Soft Focus Lens f4.0 eg 400mm "finest and cheapest" Amateur Photo. 02/04/1924, Suppl.p9.
(This may be ex-Zweirzina, Dresden.?)

Casket Set
In the early days, enlarging negatives was impossible, or at least less easy than later, so that the
photographer was keen to set the camera at the optimum point and produce a direct picture to match the final
requirement. They must often have wished for a variable focus (zoom) lens and quite early makers and books
discussed the solution to the problem. The Victorian answer was to use one brass lens barrel with a number
(set or Satz in German) of different glasses to screw into it. These could be of different focus to suit different
angles- and since a large number might be involved, they were supplied in a fitted box ('casket') to carry the
outfit. The early ones might be built around a Petzval lens (see Derogy) but later faster processes/plates
encouraged the use of slow lenses and the softer focus image became fashionable. Thus the collector/user
can look for sets based on plain meniscus lenses (eg. Monokel, by Rodenstock) and periscopic pairs (Busch
Vademecum, Anachromatique, by Darlot) as well as RR and anastigmat cells. Most of these seem to be from
the early dry-plate years, eg 1880-1910, and probably sets with a few RR cells predominate, and do not
always have a makers name. Typically the owner was encouraged to use them as pairs for the shorter foci
and then use single cells as longer focus lenses. Later anastigmat sets gave a higher sharpness than the old
types allowed, and were used in rather the same way.
For the collector, they do have problems. The caskets were often made rather lightly and have not stood up
well to use, and the sheer complexity often means that parts are missing- or lenses have balsam failures.
(There is a suspicion that quality was not maintained in quite the same way if a series of six or eight RR cells
were supplied as if just two were sold.) And repair can be difficult or at least time consuming. Items have been
met from Darlot, Rodenstock, Busch, Hermagis, Suter, Bertiot and TTH but many other makes were available.
Most are based on a plain barrel, but shutters do occur- sadly these are often with badly worn barrels due to
frequent lens changes. Note that irises are a problem as the f value is different for each focal length and
instructions can be a real help here.
For use today, they are often of rather long focal length. Thus a typical set has a wide-angle RR pair of 6in,
and then provided cells of up to some 18in. It would thus be ideal for a 5x7in plate user, but only satisfies a
6x9cm user in longer foci- and then with rather soft lenses which will not be very useful! This is due to the
progressive decrease in plate sizes and little can be done about it. The compiler has noted one rather early
Darlot set which is more useful today as it offered a very wide range of foci from about 3in up, and this was
possibly as it was initially made to supply the need for cartes de visite in the 1870's, before most such sets
were made. One idea can be to provide a separate wide angle lens for the set, and this was originally done by
TTH with a purpose made WAR and later by Bausch & Lomb with a Series V Protar as the wide angle lens in
a Protar VII set. It could still be a nice idea today, but an adapter to match the flange threads of the casket
and Protar V will probably have to be made.
Another problem is that few have shutters. Here a mounting in front of a big shutter such as a Day or Luc
could be useful and might meet a long term use if the foci were useful. This is likely to be the choice if an RR
or other 1880's set is chosen especially if this is wanted for the softness of image of meniscus or periscopic
lenses. One advantage can be that these are relatively slow so that a big shutter may not be required. Later,
the anastigmat lenses do come in early shutters, though the majority were still sold in plain barrel mountings
for large professional cameras. However here the cost of the cells was higher and it is more common to find
just a shutter with perhaps 3 cells to fit, giving a choice of some 6 foci, but not always well spaced apart. Here
a limitation can be that Goerz were apparently unwilling to compromise with corrections of the Dagor, so that
the cells of this important early anastigmat lens are normally of the same focus. Thus the most versatile and
best sets tend to be based on Orthostigmat/Kollinear 3-glass or are of 4-glass designs such as the Zeiss
Protar VIIa. This can lead to problems today with balsam failures due to the complex designs used. But the
increasing use of standardized shutter threads can occasionally allow the assembly of cells from different
purchases to form one set. This has been noted for Protar Series VII cells in N&G shutters and for Dagors in a
few Compur sizes, but is usually limited to lenses of not very different original foci such as 135 and 150mm, or
100 and 125mm.
Thus there is a large element of luck in collecting casket sets for use, but also a real feeling of satisfaction
when a good set is found or assembled.
They were still in general use in the 1920's as indicated in B.J.P. 04/07/1980 p650, citing 09/07/1920, where
ones from 5 or 7.5 for wide angle to 12, 20 or even 30in are suggested but without saying whether he refers to
anastigmat sets or RR's.

Carena
This was a trade name noted in Amateur Photo 12/10/1977, p39 for an SLR with lenses:
Automatic Iris Lenses
f2.8 28mm
f2.8 35mm
f2.8 45mm with the camera Carena Micro RSD.
f2.8 55mm also on the Carena SRH 760 camera.
f2.8 135mm
f3.5 200mm
f4.5 85-210mm
Multicoated Lenses
f2.8 28mm
f2.8 35mm
f2.8 135mm
f3.5 200mm
f5.5 300mm
f3.8 85mm-210mm
CCTV see note under C-mount above.

C.de V.
In Victorian times, print sizes were named and these turn up in old adverts. many years later. Some are:
Carte de Visite or Visiting Card 3 1/2 x 2 5/16in (about 89 x 66mm)
Cabinet 5 5/8in x 4 1/16in (about 142 x 103mm)
Boudoir 8 x 5.25in (200x 131mm)
Panel 11.5 x 7in.

Celestron, USA
Mirror telescope sold with camera adaptors, as a catadioptric system. Adverts. in Modern Photo. 1/1977 show
f6.0 750mm and f10 1250mm systems, also a large type Celestron 5 with clock drive,and a Celestron 10 with
10in aperture and 3400mm focus. It is of Schmidt-Cassegrain type. They advertized regularly in Modern Photo,
an example is 06/1980, p70 of C14, C90 and C8 types.
One account was that they amalgamated with an Oriental firm in the 1990's.

Century Optics, North Hollywood, USA.

They are listed for a 3.5mm f1.8 Fish lens for movie(?) which just may overlap the Pacific Optics item. They
were noted in Heuel and Koshofer, B.J.P. 24/11/1978 p1033 for a StereoVision prism lens system for a 1969-
1970 3D system.
An old item seems to be a f3.5 of about 130mm, possibly for a 35mm or 16mm camera with a small 3-tab
bayonet c24mm ID. It is in a fine alloy mount but has very early pale blue engraving- and the mount has
absolutely no indication of the maker though the cap says 'Century' and seems original. Of its period, it seems
a fine but rather simple item but is now in serious need of cleaning!
They were later noted for Tele Athenar lenses for the Arriflex of f2.8/230mm to f6.8/1200mm with resolutions of
100l/mm in B.J.P. 17/11/1978 p999

Certo, Grosszschachwitz, Dresden, Germany.

Certo bought in lenses but at least one was called Certar an f6.3/105mm on a Certix A in c.1941 and there
was a f4.5/75mm on an SS Dolly. They are of unknown source.

Chadburn, Lord St., Liverpool,UK.

He advertised as a lens maker in 1858 but no details are available.

W.I.Chadwick, St. Mary's St. Manchester, UK.

Chadwick was a maker and designer and lecturer and apparently shopkeeper: but probably not a lens maker.
(Channing and Dunn note him as flourishing about 1885-1896.) He engraved his name and address on a brass
lens pair for stereo at Nos 4614/4615 and wide angles No4703/4704; and on a brass Taylor, Taylor and
Hobson lens No13,068.

Chalier
Chalier seems to be the maker of an f4.5 85mm lens for 24x36mm in an American list. There are no further
details but he may be the same maker as the next entry.

Challier de Rueil
He made a few lenses for the Celtaflex under the name Opticolor f3.5, but the normal items sold were Semflex
cameras with normal lenses.

Chance Bros. (Now part of Pilkington plc., St Helens, Lancs, UK.

Founded by R.L. and W. Chance in 18/05/1824, Chance made optical glass from 1848 after hiring
G.Bontemps from France, and were the sole UK makers. By 1914 they listed 26 types of glass, the range
being limited by Schott's dominating position in patents and sales, and especially on price. In WW1 Chance
initially produced glass for conventional products, such as binoculars, but in 1917 began the manufacture of
glasses for aerial lenses for the Air Board eg light barium crown, 2 light barium flints, 2 dense barium crowns,
and an extra light flint. Some 235,000 lb was produced in 1918, which was some 4 or 5x the prewar
production. In 1926, some 112 types were available and special furnaces and anti-corrosion materials were
devised. (W.H.S. Chance and W.M.Hampton, Proc. Optical Convention Aberdeen, 1926,p1)

Chevalier, C. France
Chevalier supplied a Wollaston type meniscus lens to M. Niepce (whose Father had used both condenser
lenses and a lens from an early Solar microscope previously). von Monckhoven (1867, p115) writes that the
very first images were with a plano-convex lens but the image with the plano to the subject was so curved that
even at f20 or f30 that it had limited use, and the lens did not work to visual focus. Niepce used a number of
Chevalier lenses (according to Eder, History p198.) including a pair in biconvex external form but without
success. He says Niepce then used an opera glass objective, plano side to the subject and at f15-f30. Later
only did he use the form with a concave surface. It is thought that some cross-fertilization with Ross and the
Wollaston concave meniscus design occurred then. Niepce, through Chevalier, was also in contact with M.
Daguerre during the development of the processes. Niepce and Chevalier were aware of the advantage of
stopping down the condensers and later pioneered the iris diaphragm (1816) and developed the Achromatic
Landscape lens (Ch001) as supplied on the official A. Giroux Camera of 1839, and engraved Giroux- the
number was very limited. It was of 15in focus, 3.5in aperture and was stopped down to 1in for use, ie. f15. The
stop was about 3in in front of the lens, for whole plate size approximately. Iris diaphragms were used- a very
early use!- and were shown in public by 1840. The glass was flint and crown. By 1841, there was a reversing
prism with a silvered hypoteneuse to correct for the mirror imaging. Chevalier also tried to design a Portrait
lens (not very successfully) and was using rotating disc stops in microscopes and camera lenses by 1841.
Photograph a' verres combine(PVC)
This was essentially an early casket set in which a single achromat might be used alone for landscape or in
combination with other achromats mounted behind it, to shorten the focal length and increase the speed for
portraits. This seems to date from about 1840, though it may not then have been used owing to limitations in
camera design. In design the lens approached the achromatized periscopic type. It offered apertures of up to
f5.6 or even f4.9 for portraits but lacked sharpness. A stop was available, in front of the glasses. It rather
unfairly won the Prize of the Societe D'Encouragement of Paris in 1841 where a Voigtlaender Petzval was in
competition. Performance of the PVC was later improved but was never excellent. It was made roughly from
1841-1859 and is scarce but desirable as a collectable. Hasbroeck shows an early example with three lens
cells which could be used independantly or combined, even as a triple. Fox Talbot seems to have been an
early user of the PVC.
He also showed the lens with a lateral reversing prism, to correct for the mirror image inherent in the Daguerre
process: the reflective surface was achieved by mercurization. [Other makers were offering mirrors for this
purpose.] Chevalier claimed that the Petzval was derived from his design- and the controversy made his design
better known than perhaps it deserves. [Certainly the bulk of the French makers went over to "Systeme
allmand" Petzval copies with no delay.] Chevalier had previously worked on a telescope objective where he
had replaced one lens with two to reduce the aberrations, in 1834. ("R" in B.J.A. 1900, p824, B.J.Photo.
23/06/1899). Layout Ch002/3. FBB lists a 'verres combinees' on an 1865 camera and a probable on an 1859
one. And several meniscus lenses as from 1840-1845. A Chevalier lens was still listed in the 1890's on a
"Papigny Stereo" camera as a Chevalier f6.5 100mm, and FBB lists 3 cameras with Chevalier lenses including
an RR in1902 and an anastigmat in 1905 from 1902-1905, but distinguishes the anastigmat as made by
F.L.Chevalier.
Chevalier is said by von Rohr (History and Theory) to have used zinc borate glass from Maes of Clichy about
1851. "Maes tried to replace the flint with zinc crown glass and replace the crown with
fluorine/silicon/aluminium hypothetic glass, the latter being made in only small quantities" This is one of the
very very few cases where new types of glass were actually tried in the period 1840-1880.

Chinaglia Domenico, Belluno, Italy

The UK agent was A.I.C.O., about 1950-1964.
Producer of M39x26 cameras with two proprietary lenses of unknown origin. The camera was called the
Kristal.
Kristal f3.5 50mm
Krinar f3.5 50mm

China
The classic book "Cameras of China" by St Denny,1989, shows that Chinese lenses are going to cause a
problem for lens collectors as they are not named or typed in the normal fashion to allow their inclusion here.
Some are as follows:
Red Flag f1.4 35mm
Dalai f3.5 50mm
Shanghai f3.5 50mm on Shanghai camera. A number of these have come up for auction but no lens
numbers are quoted.
Chang Chiang f2.8 50mm
Red Flag F1.4 50mm
Shanghai f3.5 50mm
Type 1 f3.5 90mm
Type 1 f4.0 90mm
Red Flag f2.0 90mm
Iston f5.6 200mm for large format.
Haiou-64 f2.0 58mm Seen at Nr SB-2,060,066, this seems to be the classic lens for the Seagull
SLR based on the Minolta. It is in a fairly heavy auto mount. It was fitted as a C.R.T. lens on a 35 DFAB CRT
camera at No213,57x, as a Haiou-64 540.
Fig 009 012 Haiou (China) Haiou f2/58mm NoSB-2060066 for Minolta type mount.
SZ f2.8/45mm No388,378 on Great Wall SZ-2 camera No1121
Great Wall f3.5/90mm No24,665 on Great Wall DF-2 camera No31,847.
Movie lenses noted at Photokina 1980 included a set for the S35-LB camera- still slightly prototypic. They
were 28, 40, 74mm all at f2.0, and reputed f2/16mm to f10/2000mm though these were not shown; as well as
f2.8 20-100mm and f3.2 18-180mm zooms. These used Arri(flex) 35-III mounts.

Chinon,
Two Chinon lenses were noted on a Chinon Slr in B.J.P. 29/06/1979, p614, as follows:
Chinon f1.4 55mm on the CE-Memotron It was noted to give first class results.
Chinon f1.7 55mm on the Chinon CM3 Also very good.
There was a hint that these were not from a traditional lens maker as the image quality was very good but not
quite of the type normally chosen by the normal makers, and suggesting the power of modern computers to
even up standards throughout the industry.

Chiyoda Kogako Seiko Co Ltd, Osaka, Japan

see Minolta

Chretien,H.
Chretien (1879-1956) was primarily an astronomer, with a general interest in optics, designing the Remay-
Chretien telescope and the anamorphic system used in wide screen processes.
Hypergonar 1929. This is an Anamorphic lens, essentially the beginning of the Cinemascope idea. (1952,
20C/Fox) (Chr001 It uses drum shaped surfaces, not spherical ones and only these are suggested in the
layout. A very impressive example was made for the Bolex H16 reflex. He also designed an early zoom
projection lens.(Brit. Pat. 440397/1934).
Chromtar,

Chronostar
These trade names seem to be related to Keystone and Wittnauer respectively.

Alvan G. Clarke.(1832-1897)
An American telescope designer who first tried the use of two Gauss doublets as a camera lens design.
(Photo.News 1/11/1889, p273). The result covered 100°. The lens was made by Bausch and Lomb under
USPat. 399,499 (see above). It was probably not fully corrected for astigmatism, so the Planar of Zeiss is
usually classed as the first Gauss anastigmat. His interest probably came from a search for better refractors
as his father, Alvan Clarke (1804-1887) made his business as an astronomical telescope maker from resolving
star pairs which previously had not been separated, and the firm was active in large size lenses up to 26in dia
and 40ft long in the 1870 unit for the US Naval Obsevatory. He later made a 36in refractor for the Lick in 1888
and a 40in for the Yerkes Observatory in 1895. These were still about the largest refracting telescopes in
1975.

Cimako
Agents 1972 Bush and Meissner, 275, West End Lane, London NW6.
These were a series of auto iris SLR lenses, for Pentax M42, with Nikon and Minolta fittings at extra cost.
They seem to have been new for the 1971 season and continued unchanged in 1972.
Cimako f3.5/25mm; Cimako f2.8/28mm; Cimako f2.8/35mm; Cimako f2.8/135mm; Cimako f3.5/200mm and a
Zoom converter for 2-3x focus.

City Sale and Exchange, 90, Fleet St., London,UK.

They were dealers and importers with their own Trade Names such as Salex. They seem to have imported the
Blitz lenses, possibly from Schulze and Billerbeck, but this is not definite though a Blitz lens was noted on a
City Sale & Exchange camera. An example seen is an Series 111 f6.8 8.25in lens of Dagor type (Ci001).
They also sold a f4.8 series as Series 1 in about 1910-1914.
Lenses sold under this trade name included several Kengott items about 1900.
There was a long list of Salex versions of a focal plane camera in B.J.A. 1927, p556; 1926, p553) and it is
possible that some of these or their lenses were from Koristka in Italy.
Salexon f4.5 or f3.5 was a later version on a Salexon Focal-Press camera for 1/4plate in B.J.A. 1930, p346.
Salexon f3.8 This was seen at No135,80x in a rimset Compur No2,418,82x and probably came off
a 6x9cm folder: it looks to be a triplet.
Texor f4.5, 7in This is labelled merely City Sale and Exchange, London, and this seems to be a solidly made
3 or possibly 4 glass triplet, but with a weak iris and was from an unknown source.This type of lens was listed
in City's advert. B.J.A. 1927, p553, fitted to a Thornton-Pickard reflex in 3.5x2.5in or 1/4plate sizes, where the
3.5x2.5in camera cost £7.87 with Texor f4.5; £9.87 with Zeiss Triotar f4.5; or £13.37 with an f2.9 Anticomar.
Texor was advertised as having 'great depth of focus and covering power' where the former suggests a degree
of softness.
Fig 009 022 City Sale and Exchange Texor f4.5/7in.
(Blitz) f6.8 This has been noted as an 8.25in lens as well as ?135mm on a City Sale camera, where the
owner said it seemed to be only a moderate performer- but it may well have suffered with time, eg. in the body
adjustment.
Euryscope f6.0 Layout Sal001. Here the engraved illustration in the B.J.A. advert. about 1900 shows
Kengott partly obliterated in the corner.
Koristka Salex These were triplet type large format lenses sold in the 1920's, and here they carry both firms
names, as on a f4.5/210mm at No98,92x and f4.5/5.4in at No99,60x. At auction, a Salex 12.5in (310mm) f4.5
was on a 10x8in Gandolfi camera.
Salex also sold off old stock of C.P.Goerz in 1917, probably due to the War.
Antoine Claudet (1797-1867)
He was in business with Mr Houghton as importers of French domestic glass when he learned of the Daguerre
process and was instructed by Daguerre himself and set up as the English licencee with the Adelaide Gallery
opposite St Martins in the Field, London. Initially the exposure could be 15min, but he reduced it some 100x
by adopting the use of chlorine+iodine mixture and noted the Voigtlaender Petzval lens on a visit to Paris, and
introduced it to London, with a further 10x gain in speed to give exposures of a few seconds. He made a 3D
gadget as a lens test subject ("The Focimeter"), and suggested (Compt. rend. Mai 20, 1844, XV111, p954)
the lenses ie Petzvals(?), were overcorrected for colour, focussing the blue light further from the plate than the
yellow. [This was also suggested by Townson; by Cundell; and Martin, the original tester.] This may have lead
to the redesign in 1840 by Lerebours qv. Later he commissioned a lens of Topaz and used it, one of the few
cases of a photo lens made of novel 'glass' before 1880.(MCM, Nov. 1961, p461). Topaz is a complex silicate,
Al2O[SiO4] cyanite, with sheets of Al[OH,F]3 interspersed between the silicate layers, but no further use
seems to have occurred.

Clement et Gilmer, 140 Faubourg St. Martin, Paris, France.

This was a well known French name in late 19C with an active export trade to UK, some lenses being
engraved by City Sale and Exchange as well. In fact, it has been suggested that they were essentially dealers
in lenses for export rather than makers.They do seem to be found on Fallowfield cameras fairly often, eg on an
anonymous 1/2plate and on a Billcliff camera. They were in brass at No103,86x. An attractive item is the
telephoto outfit "Panorthoscopic" with a brass barrel marked in magnifications, and a "Euryscope"
anastigmat, at Serial number No103,94x and also at No107,23x. These are moderately common. A problem is
to understand some of the structures, where triplet and RR are easy to recognize but the f6.3
Panorthostigmat seems obscure. Several lenses are marked Successors "A. Laverne" at No 102,66x, and
this may be an interim marking as older and newer looking lenses are just "Clement et Gilmer". (Laverne was
not listed in FBB as a maker).
But there is a question here. In FBB there is only one example of an C&G lens, and it is a achromat on a
popular camera in 1900. And there is a Panorthoscopique, and RR but on Clement et Faller cameras. The
reason is that the cameras may be C&F or C&G, but the lenses are listed merely as RR, meniscus, or in one
case anastigmat. Thus superficially they seem to be camera makers putting their name on bought-in lenses,
though the truth is impossible to determine at present. The suggestion above that they were specialist
exporters of French lenses does explain all these facts. It might explain any surprises in serial numbers
however.
Anon f8.0 c.10in RR
One of these in black paint lacked name and serial number.
Panorthoscopique f8.0 10in RR
Fig 029 003 Three RR lenses, 2 by Clement et Gilmer at NoNo and No103,86x and 1 by Sharp and
Hitchmough, ? from CetG as it is a 'Panorthoscopique'.
Fig 029 006 Clement et Gilmer 2 RR lenses in black paint
Anon f6 c.6in RR The iris is graduated seemingly in mm to 25mm max.
Rapid Euryscope f6.0 RR
Euryscope Anastigmat f8.0 c.8in
This seems to be an RR but perhaps one with reduced astigmatism. at No103,94x.
Rapid Symmetrical f8.0 This is an "aplanatic" and probably RR.
Eagle Combination Set (1892) For the report of this item, see Photography, 24/03/1892. It was made in 3
sizes, each with 4 or 6 lenses. These were for 1/2, 1plate and 10x8in., each giving 6 or 8 combinations of
lenses.
Panorthoscopique f6 Euryscope This was noted on a Tele accessory unit. This is a very impressive and
beautiful unit. But some units have a plainer anonymous lens at the front,
Fig 029 010 Clement et Gilmer Panorthoscopique in case and with Euryscope anastigmat (NoNo).
Panorthoscopique f8 which may have been the item sold if a lens was bought with the tele unit, or a cheaper
item wanted. The f8 is an RR and was noted at Nos 102,66x, 103,316 and 103,94x. It seems both prime lens
and extender can have the same number if they are the original matched pair.
Fig 029 007 Clement et Gilmer Panorthoscopique, a plainer version noted at No102,66x by Laverne.
Casket set 3 lenses only.
Stereo pair, this was made for a Griffiths camera, c. 1896.
Rapid Portrait Lens 6-16.5in use 14in for 10x8in. Probably a portrait RR
Portrait Lens: sold on a C&G enlarger sold by Mssrs City Photo Stores. It was complete with iris and
"canary" (ie yellow), filter.
Anastigmat f7.0 5-14in, use 5in for 5x4, noted 1901. This used Jena glass in its (unknown)
design. it was noted also as a NoIA f7 on a 1/2plate at auction.
Panorthostigmat No111 f7.0 This was stated as for 80° coverage. (1906) This was noted at auction on a
1/2plate by Mr Ashford of Birmingham at No107,23x.
f6.3 6in This shows three reflections back and front and these move in just
the same way, ie it seems to be an RR but perhaps with reduced astigmatism.
Panorthostigmat f6.3 180mm This seemed to be a later lens, but was engraved No14,58x, which is
a earlier number. It seems they went over to a normal design (Q15) when the patent position allowed, and
perhaps started a new number series.
Fig 029 012 Clement et Gilmer, 3 examples of the Panorthostigmat Ser III f6.3 inc. No14,580.
f4.5
Fig 029 014 Clement et Gilmer Panorthostigmat f4.5, no serial number.
Anastigmat f6.5 This was fitted as an enlarging lens to a semi-auto 1/4 or 1/2plate enlarger sold
by Hodgson, Piccadilly Circus London in B.J.A. 1924, p715.
Fig 47 Clement et Gilmer Lenses.
Exposure: Boyer ApoSaphir 210mm.
In box and back: Panorthoscopique + Euryscope Anastigmat.
Panorthoscopique No0.
Left RR's3x f8.0 at 12, 12, 8in respectively.
Front Right Panorthostigmats:
f6.3/180mm
f4.5/170mm.
f6.3/c.5in.
Ser 111 f6.3/c.5in. possibly Gauss type.

Coating
(a) Surface coating to reduce reflexions can be traced as an idea at least to 1892, when H.D.Taylor found that
old tarnished lenses transmitted light better than newly polished ones. His figures were 5% loss from two
tarnished surfaces compared with 11% from two new ones. He had some success with tarnish with sulphides
but could not get hard reproducible results. An unusual article by A. Harvey of Scunthorpe in School Science
Review Vol. 26, p36, 1944 suggests the chemical process was being widely used: this may account for the
number of stained old lenses noted and may suggest that natural blooming is less common than often
thought. He suggests it was used mainly on the outer surfaces and was carried out with several mineral acids
but especially nitric acid. He notes the silica atom network is not disturbed so that the surface remains as
hard as before. To avoid further leaching and harden it, the glass was heated to stabilize the surface. He finally
points out that this type of process occurs on all glass surfaces, and leads to minute crystals (of metal salt)
on the surface which normally can be polished off. Pitting occurs under extreme conditions as in the tropics.
(b) Bausch and Lomb seem to have followed it up during the 1914-18 war but also with little success.
(c) In 1936, Strong was working on vacuum deposition for making aluminium coated mirrors and realized that
the work of K. Blodgett with Langmuir at General Electric on soap film deposition could be developed using
vacuum coating with calcium fluoride. The soap film actually used stearic acid and barium stearate, a single
layer being built up in each cycle of a repeated dipping process from the monomolecular layer on the surface
of the tank. The required film was the result of some 44 to 46 dips and then the layer was dipped in benzene
to leach out the stearic acid to form a layer of lower refractive index, it falling from 1.5 to 1.23. Better films
were later produced from calcium arachidate of R.I.1.3 with transmissions approaching 100%. The key paper
seems to be Dr K.B.Blodgett, Phys. Rev. Vol 55, 15/02/1939, p391. Soap films were very soft.
This lead to considerable activity and the calcium fluoride process. Incidentally the film is of the order of
0.000,004in thickness or 4 millionths of an inch. Initially the calcium fluoride films were very soft (see Harvey's
article, in 1944 hard coating was unknown.) W.C.Miller was quoted by Harvey as producing hard films but by
an unknown process. Thus it is interesting that:
'The B.S.I.R.A. produced Brit Pats 538,272; 538,273; 538,274; 538,301 related to the deposition of fluorides of
Li, Mg, Ca, and Na as well as Cryolite and Na or K fluorosilicates, where the latter have very low indices of
refraction (c1.29). Ideally Blodgett showed the layer should have an R.I. about the geometric mean of the R.I.'s
of the two media, [normally air and glass.]
The B.S.I.R.A. procedure involved cleaning and polishing the glass, putting it in a vacuum chamber, at down to
0.001mm of Hg pressure, and evaporating the fluoride from an electrically heated basket till the glass takes on
a purplish colour, often after 1minute, noting that the layer thickness is important. This can reduce reflexion
from 7.5% to 0.4% at 5,400Ang. The successive application of different layers was envisaged and can be used
to isolate particular wavelengths. Successive layering with chromium (thin layer as a stick coat), Al2O3 at
W/4 and with quartz at just over W/4 gave a layer too hard to scratch with a finger nail, and about 0.6%
reflexion. Heating (=baking) the layer also made the film harder, and further improved the transmission, as did
treatment with stearic acid to improve waterproofing.' A surprising amount of this can be recognized in later
practice in lens making, and could be mirrored in reports eg. from Germany and USA.
In Germany work was carried out at Zeiss and Schott, who also used vacuum deposition. It may be under
recorded here. The original work was by Smakula in the early 1930's and is much better known than the USA
and other work. Coated lenses were in general use in Germany for strategic purposes during the WW2, but
not felt to be suitable then for sale to the public, owing to the softness of the coatings, and while multilayer
coatings were also being examined by Schott in the 1940's, these were still at the development stage.
Other prewar reports of coating cover some Goerz lenses sold by Burke and James in the 1930's, where the
coating technique is unknown. And a silica deposition method quoted by Leitz to the Military Intelligence
postwar and this was seemingly actually used eg. by Old Delft for some Minor lenses. Small in his book
suggests it was rather widely used in Germany then and in the early years after the war.
The same note in B.J.A. 1943 that covered the BSIRA results also covered a version by British Thompson
Houston Co (Brit Pat. 537,591 where the normal soda glass was given a very thin coat (say 5micron) of high
refractive index glass (eg a lead or barium glass) which can later be etched to about 0.1micron to reduce
reflexions from say 11% to about 2.5%. It is interesting, as this is nearly what happens in many old lenses
where a natural bloom forms, and suggests a decrease in flare of about 4x (ie to 25%) may occur in good
cases.
Later multi layer coats were developed. These date back to Schott in the mid-1940's but were then only
experimental. Later look for 2 or more layers, and the use of Magnesium fluorides and zirconium oxide. A
major commercial development was by OCLI and Pentax and is described under Pentax. This was about
1974. (see:Popular Photography, 04/1974, p78)
In 1889, Capt. Abney coated a meniscus with pyroxyline (collodion) dyed with turmeric and separately with
aurine and used this as a filter- with some benefit to the skies from the aurine, but no comment on
antireflexion was made. (BJA, 1889, p378).
It is thought one of the first major movies filmed with coated lenses was "Citizen Kane" photographed by G.
Toland in 1941. Today it it still classed as a technically advanced movie. And 'Gone with the Wind' was
exhibited using coated projection lenses at 20 theatres in USA and with one lens set in London.

L.F.Colas, France.
This was an early maker perhaps 1860-70 as he was a pupil of M. Lerebours (eleve) and the name was noted
on a Portrait Petzval. Part no 580 coded "Record Rapid RRS III". (One account was RR but in either case it is
an early lens.)

Colmont, France.
Colmont is listed in FBB as supplying the lenses on 4 cameras in the period 1880-1901, two of the examples
being RR's. One at auction was by Vivien et fils, Paris for 13x18cm in wood.

Comi, Italy.
A lens noted at auction on a Comi Luxia II camera covered in snakeskin was a Delmäk f2.9/27mm lens, at
No461,61x but the maker seems obscure.

Compass Camera Ltd, 57 Berners St, London W1.

The lens was a CCL3B, made by Kern of Aarau. It was a 4-glass design, Q15 type, mounted in the Compass,
a superb miniature body. The initial production seem to have given problems and been replaced, the new batch
being fine. As a result the first are extremely rare. (Min. Cam. World. 10/1937, p617advert., B.J.A. 1938, p255,
667 advert; 1939, p653 Advert,) The stops were a rotating disc at f3.5, 4.5, 6.3 and f16; there is a small hood
built-in round the lens.

Computar see Caltar for part of the story. also Shutterbug 10/1997
This was a series originated by Burleigh-Brooks as a budget range of 10 enlarging lenses-with a difference, as
they were able to be used with a matching range of 16 adaptor rings for copying or macro work including
bellows use and adaptors to shutters. After the demise of Burleigh, the line went through at least 4 other
agents, and then disappeared. The maker seems to be unknown.
f2.8 30mm covers full 35mm frame. (initially it was a 25mm, later increased to 30mm)

f2.8 50mm 6-glass.

f1.9 55mm The front glass is a floating element to control the image quality.
f3.5 65mm This is a very sharp lens
f4.5 80mm for up to 6x7.
f4.5 90mm for up to 6x9
f4.5 105mm especially for 6x9
f5.6 135mm 6-glass, and still in M39x26 thread.
f4.5-f5.650-80mm Zoom
f4.5-f5.6105-150mm Zoom
Correctly, these 'zooms' are variable focal length lenses and need refocusing after adjusting the focal length.
Some longer lenses were made also, eg. f9 305mm Computar, or perhaps there was a complete camera lens
range as well.

Concava S.A., Grenchen, Switzerland.

The first production seems to have been from Tessin- hence the name. The lens was a f2.8 25mm Tessinon,
and are a 4-glass Q15 of high quality, so this is the camera for the fastidious spy. It was used at Watergate.
(Review, Modern Photo. 5/1963,p85).

Cone Lenses
These were usually early meniscus lenses mounted in front of a cone shaped mount rather than the normal
barrel- for compactness and increased extension. They were made sporadically throughout the 19 Century.
One known example is the Policonigraph of M Dubosq of Paris.
Fig 14 Cone type Lenses.
Back Row 2x Anonymous Cone Lenses.
Front Row Beck Cone W/A View about 10.5in.
Wray Cone for 1/1plate.

Congo, Japan
The maker is Yamazaki which is listed separately, but since they are rare in UK, it is easier to use the trade
name. Commercial Congo was made as f4.5, f5.6 series, that seen being a large solid Q15 type lens. There
are also Congo enlarging lenses, seen as a Congo E, apparently an old but well made, uncoated triplet.

Conrady, Prof Alexander Eugen, 1866-1944.

He made notable contributions by designing the Watson Holostigmats (1905) and submarine periscopes, and
as Professor at Imperial College, founded a school of optical design in what till then had been a relatively
backward country, and his book "Applied Optics and Optical Design" is a classic, though sadly the second
volume including photographic lenses was to be finished posthumously by R. Kingslake, his son-in-law. The
B.J.A. 1934, p264 notes his part in a colour process worked by Aron Hamburger until his death then.
Contessa-Nettel
Contessa-Nettel was a German camera maker incorporated into Zeiss Ikon in 1926. Prior to this they used
trade names such as Nettar (a Triplet) and Sonnar which were used after the merger, but others were
discontinued. Those discontinued included:
Citonar, Teronar, Citoplast, Tessaplast from Dr Staeble, Conastigmat (a triplet) and Hellaplast. It is not
known if any of these were made in-house, but Frerk says H. Meyer Gorlitz and C.A. Steinheil of Munich
supplied Citonar, Conettar, Augonar and Teronar lenses.
Examples are:
Nettar Frerk refers to this as the f6.8 and very like the Novar- which may be an informed guess at identity! It is
probably always a triplet.
Conettar f6.8 This is mentioned by Frerk, and may be a German- sold version.
Citonar f6.3 75mm on Duchessa 4.5x6cm, and stereo, It was a Dialyt. It was also made as a f4.5
55mm on Steroco Stereo in 1924.
Citonar f4.5 Convertible This was noted as a convertible in B.J.A. 1925, p685 on a Duroll plate and film
camera where it was more expensive than the f6.3 Citonar but less than Sonnar or Tessar. Convertibles at f4.5
were unusual and this just may be a Dogmar but today there is no easy way to test this. The same unusual
feature has been noted in several other imported brands of that time and may suggest a common source.
Sonnar The Sonnar was fitted in B.J.A. 1925, p684 to the Cocarette rollfilm, the Duroll plate/film, Picolette VP
and the 'new' Tessco 3.5x2.5in plate. It was typically a medium price version, with the Zeiss Tessar above it in
price. Thus on the Duroll there were:
Citonar f6.3 £6.90-8.90 varying with the shutter.
Citonar f4.5 Convertible £10.00
Sonnar f4.5 £10.87
Tessar f6.3 £13.87
Tessar f4.5 £15.00
Sonnar was noted as an f4.5/135mm at No105,34x in a dialset Compur on a 1/4plate Sinclair Unar. Also as
No117,86x in dialset No857,714 as a separate lens. It seems to be Q15 type, 1+1+i+2. The example seen
seemed an attractive quality item, but is definitely not a Tessar. The front diameter is slightly smaller than a
f4.5/135mm Tessar, and the external curves differ. It was used on the Sonnar plate for 9x12cm and ?6x9cm,
and is post 1919 as the dialset Compur is marked Contessa-Nettel (They merged in 1919 and No857,xxx is a
late shutter to be used on a pre-Zeiss Ikon shutter, ie in production at the time of the merger in 1926.)
Dominar f4.5/5cm This was noted as No760,64x on a VP size Contessa-Nettel camera.
Nostar f6.8 Dialyt
Augonar f6.0 Dialyt
Teronar f5.4 Dialyt
Colorplast 60mm
Conastigmat f6.3 135mm
Fig 009 018 Contessa Nettel Conastigmat f6.3/135mm in Derval shutter; and Dollond Owl f4.5/4in in Compur.
Isoplast f5.8, f6.8 used about 1910 on Contessa cameras No32, 722, 23, 533. It was one of the lower price
options and was from Dr Steable.It was partnered by Tessaplast f5.5, Medioplast f7.5/f7.7 from the same
source.
Acro f11 This was a low price lens, probably a meniscus, on the Piccolette in 1925.
Piccar This was a low priced lens also on Piccolette, listed in B.J.A. 1924, p696, but above the Acro in price:
thus it may have been an RR. Prices with Acro, Piccar and Nettar f6.3 were resp. £1.75, £2.00, £3.25 while
with Tessar f4.5 it cost £12.00.

Conley, USA
This seems to be a trade name of Sears Roebuck about 1910. Items listed included:
Rapid Rectilinear f8.0 6.25-8.5in Q5
This gave 3 foci as the cells were of different foci.
Conley Anastigmat Series V f6.8 5-16.5in Symmetrical anastigmat of 4+4 glasses.
A 13in f6.8 Series V Conley Anastigmat has been noted in an advert.
Monarch Symmetrical Wide Angle f16 3.5-8in ?WAR
Conley Portrait f5.0 Petzval?
Series V11 Anastigmat f9.5 4.75-9.75in. Here it was suggested to use 6.88 for 10x8in
This seems to be a wide angle.
Conley Extra Rapid Portrait f3.8 Definitely a Petzval Portrait lens. (Q3)
Deltar Anastigmat f4.5 5.75-15in It seems to be unsymmetrical.(Q15)
It was suggested to use 15in for 10x8in.
Citar Anastigmat f6.3 5.25-13in possible Q26 type.
It was suggested to use 13in for 10x8in.
Luxar Anastigmat f7.7 5.25-13in

Cook and Perkins, London.

C&P were engineers, specializing in lens mounts often for Dallmeyer and became an associate of theirs. They
made a range of M39 adaptors for Contax lenses postwar:
(a) rigid; (b) focusing/cpld 5cm; (c) focusing/cpld all foci.
These were available about 1948. Note the 35mm Biogon was not usable in type c. These are now desired
collector items. They also made the mounts of Dallmeyer Dallac and Dalrac lenses and some others,
including the NOC f2 and ex-WD Panchros to a really high standard. These last look to be alloy mounts but
have a lot of brass parts fitted to minimize wear, and were much finer items than a casual glance might
suggest. They made a M39 copier and supplied a magnifier to match possibly sourced from Dallmeyer, in
B.J.A. 1951, p194.
The fate of the company was noted in Amateur Photographer 19/02/2000 p37, and the suggestion was that
they closed owing to the high value of the buildings' site making selling the site more valuable than continuing
production. Another factor in London was the high local costs of local taxes, rents, wages and rates which
drove many out of existence.

Cooke, T. and Son, York, UK.

(They also traded later as Cooke Troughton and Simms, and an important collection of papers are in the Univ
of York Library, Borthwick Institute.
Thomas Cooke (1807-1868) was a extremely well educated man although born into a very poor working class
home - his Father James was a shoemaker at Allerthorpe and Thomas was partly self educated, thinking to
emulate the famous Capt James Cook (1728-1779, no relation); but he became a teacher, clock maker and
telescope maker with his plant at 12, Coney St, York (1844) with his brother Barnard; and later at Buckingham
Works, Bishophill, York (1855). His interest was in telescopes but the clockwork drives required resulted in
the creation of a business in 'Turret Clocks'- those in church towers and the like. He had shops in York and in
London at 30, Southampton St, The Strand (1863-1869). Sadly, he accepted an order for a 25in refractor in
1862 from Mr R.S.Newhall, and the cost to make it far overran the estimate and the Newhall order effectively
bankrupted Cooke's firm, the telescope being finished in 1871. On Thomas death, he was succeeded by his
sons, Thomas and Frederick (1836-1898) and Mr Harold Dennis Taylor (1862-1943) was employed in the
optics side and became Optical Manager. His younger son Edward Wilfred Taylor (1891-1980) joined Cooke's
in 1908, and worked at Taylor Taylor and Hobson, Leicester, for a period about 1914, later writing book(s) on
optics. During World War 1, Cookes became part of Vickers and in 1920-1921 they tookover Troughton &
Simms, then trading as Cooke, Troughton & Simms. One legend at the York end of the relation was that the
use of the name 'Cooke' by TTH on lenses of designs other than the Triplet was a source of sadness and
trouble between the companies, though this is now a matter of history.
Frederick Cooke (1836-1898, above) retired in 1894 to be replaced by Alfred Taylor (1863-1940, again no
relation) and in 1895 they leased premises in Victoria St (as the Southampton St shop was given up in 1869)
and just may be listed there in the Vademecum under Taylor.
(The above is based on information kindly made available by Mr P.Wotton of Kent who refers also to a series
of articles by him in Clocks Magazine- concentrating on the horological aspects of the business. There is an
important Archive at the Borthwick Institute of Historical Research, York University, St Anthony's Hall,
Peasholme Green, University of York, YO1 7PW).
Mr Taylor, the designer of the Triplet, worked for Cooke and as they were not camera lens makers and under
some financial pressure, the design was licensed out to TTH and thence to Balbreck and Voigtlaender. Cooke
did produce some triplets as telescope objectives and some specialist lenses including an f2.0 Doublet
Petzval type for Mount Wilson observatory, which used a field flattener. One account above was that the firm
suffered financial problems due to budgeting problems- telescopes are rare but large items- and would have
been glad of the money the licence on the triplet would fetch. There are TTH lens illustrations eg. of a Series II
Triplet, among the Astronomical Instrument Catalogue items eg in 1908, and T. Cooke may have been agents
for Taylor, Taylor and Hobson Ltd in this respect- it would have been more economical than for them to set up
as camera lens makers.
For Cooke lenses, see Taylor, Taylor, and Hobson, TTH.

"Cooke Patent" Patent,126, Hoxton St., London UK.

This is the engraving on an early(?) 19C lens with old style engraving , no iris and two +,+ components at the
rear of a meniscus type barrel, but without further current information being available. It just could be an earlier
product from Cooke above but the location seems far distant and any connection unlikely. A Cooke lens for
5x5 was noted at auction on a wood and brass camera.

Corfield,K.G. /Periflex, Merridale St., Wolverhampton, England+ Ballymoney,N.I.

The major product here was the Periflex partial reflex with M39 mount. It was noted in B.J.A. 1956, p166 with
an f3.5/5cm Lumar. These Periflex lenses were partly sourced in the UK from British Optical Lens Co, Walsall
and partly from Enna of Germany. The notices in the B.J.A. show the Enna sources items coming through in
the late 1959's, eg in B.J.A. 1959, p175. Note that BOLCO (q.v.) were separately involved in camera lens
making but were not a major maker. The classic account of this is "Its by Corfield- It must be Good" by
J.E.Lewis.
The serial numbers at present do not make much pattern, but it seems that a 4 digit one is a sign of an early
lens.
BOLC items were :
Lumar f3.5 50mm Q14 type in leather and alloy mount. They used front cell
focusing, were 3 glass and stopped to f16. Performance was genuinely good and much more ambitious lenses
from other makers were often put to shame.
(a) The initial lenses were in aluminium finished mounts with gear cut finger grips, and have been seen at
No398x and 234x and
(b) these were replaced by a series in alloy with black leatherette bands, seen at No 7120 67 and 5170 18 on
Periflex I bodies. These do not have quite the same cachet and frankly the leatherette bands now need
sticking down again in many cases. But optically they are more likely to be coated though it is not known just
when this came in.
Mr Lewis shows Nos 2,245 (probably very early), and 4,179 (1954). They are of interest as the Pigskin
Periflexes are limited to some 75 (or 200) bodies only at the very beginning of production, and serial numbers
run from No2000. Thus Body No223x matches lens No230x, body No238x (black) matches No236x, and body
232x (black) matches lens No234x and 2647 matches 2751: but body No226x probably does not match a
Lumar-X lens No517x nor body No216x with lens No407x. By body No232x and 312x, the cover is black but
No305x is probably the original fitment for the latter.
Lumar-X f3.5 50mm This was a coated version of the above. A typical serial
number is No5180-0x. The B.J.A. notice (1956, p167) has a coated lens.
Apo-Lumar Enlarging f3.5 50mm same for enlarging. 3 glass design of high quality by
respacing the glasses of the Lumar-X for the flattest possible field in close up. Black and chrome mount,
shorter than the Leica register and with click stops, and 6-blade iris marked in exposure increase times to
16x. It seems not to be numbered. Price £6.38 + tax £4.45.
Lumar f4.0 100mm Q14,triplet. This was seen at No7121 42. Dealers note two
types of barrel here- the early long type and a later shorter type.
Note that the original BJA notice carries 2 other items. One is the ground glass focusing unit, with 28.8mm
register for all M39 lenses, and the other was a Travenar f2.8/85mm lens. This was from A.Schacht (Munchen)
and seems to be associated with the Periflex- which it would fit if in M39 mount. It also may have been an
uncoupled version as there is no mention of coupling. This raises the idea of Corfield considering other
German sources before agreeing with Enna to supply lenses for the Periflex.
Corfield Achromats 2, 31/4, 41/4in for enlarging.
Here the designer was Frederick Archenhold. The glass was from BOLC and the assembly was by Corfield's
into mounts made by them.
Fred. Archenhold was born in Berlin, Germany, in 1920 and educated privately owing to local ethnic prejudice,
but was so successful at it that he could argue maths. with Einstein, a family friend, who visited to play
chamber music. Fred was apprenticed to a German optical firm but after a hint, left Germany, and eventually
found a job with BOLC which were a subsidiary of E.Elliott, plastic moulders. He was interned as an alien in
1940-1, but ended the War as a Radar and periscope designer, and later became a director and optical
designer of BOLC. He was better known among astronomers and there is a fuller obituary in Brit. Astr.
Assocn. Jnl. 12/1999.
Enna items were:
RetroLumax f3.5 28mm 6g/6c, Co001 This was another recently introduced Lumax
in B.J.A. 1960 p264, which was actually introduced in 1959 (idem, 1959 p175) with the f3.5/135mm, and was
a reversed tele for M39 or Exakta mounts. It focused to 16in, with an easily closed down iris. Cost £33 + Tax
£5.35.
RetroLumax f3.5 35mm 4g/4c Co002
RetroLumax f2.8 35mm 6g/5c Co003
SuperRetroLumax f1.9 35mm 9g/8c This is a really scarce lens, Co004.
Lumax f2.8 45mm Q15, Co005 this was seen at No7140 32 and 8151 44 (on
an Interplan A body, a late camera. The B.J.A. 1958 p172 notes this as a 4-glass lanthanum design on a
Periflex III with close focus to 12in from film to subject. In 1958, the lenses available were the f3.5/50mm
Lumar-X; f4/100mm Lumar.
Lumax f3.5 45mm Q15 Co006
Lumax f1.9 45mm 6g Gauss, Co007 (see B.J.A. 1957, p235). It focuses infinity
to 9in lens to subject, in a smooth working lightweight mount, uses lanthanum glass, coated, and takes
42mm accessories and iris to f16.
Lumar f2.8 50mm Triplet, Q14
Lumax f2.8 50mm Q15
Lumax f2.4 50mm
Lumax f1.9 45mm Some of these are with Wray patent license No.575,076 on
lens No8,152 41. There was an inadvertent overlap in the designs.
SuperLumax f1.5 85mm B.J.A. 1960, p179. another scarce item. It was noted in
B.J.A. 1960 p179 as a coated 6-glass lens with Lanthanum glass and ideal speed for portraiture etc. Focus to
4ft. Cost £60 + tax £9.75.
TeleLumax f2.8 90mm This is a scarce item.
Lumax f3.5 95mm Triplet, Q14. for Corfield 66 SLR.
Lumar f2.8 95mm Co008, 3-glass triplet
Lumax f4.0 100mm Co009
Note there were 2 types here, with long and short barrels. Was this an optical change or just a mechanical
one? It was put on sale later than the camera, as it was noticed in B.J.A. 1957, p255, when it was a 3-glass
focusing to 4.5ft, and stopping to f22, at £20.00 + Tax £7.80.
TeleLumax f3.5 135mm 5g/4c Co010 This was 'additional' in B.J.A. 1959, p175,
and probably began to arrive that year. It is a short lens only 3.5in long, ie a tele, and focuses to 8ft.
TeleLumax f2.8 135mm Co011
TeleLumax f4.5 240mm 5g/3c Co012 Scarce
TeleLumax f4.5 400mm 5g/3c Co013 These are scarce and one was noted at
No2,473,26x. It was noted in B.J.A. 1960 p254, in M39 or Exakta mounts.It is coated and uses Lanthanum
glass focusses to 16ft and stops to f32. Cost £49.00 + Tax £7.95.
In addition, a single 150mm Lumar was made by BOLC for Corfield but no longer exists.
Early Enna lenses were assembled by Corfield's into their mounts but from 1961 the products were all German
assemblies, although the planning would still be done jointly. And sales were under the Corfield name. At this
time Enna were using rare earth glass in all their lenses and in general the list was an innovative one.
Some were also sold in M42 and Exacta mounts, as in June 1967:
28mm, f3.5;35mm f3.5; 50mm f2.8; 50mm f1.9; 95mm f2.8; 105mm f2.5 (06/1967); 135mm f3.5,f2.8; 240mm
f4.5; 300mm f5.5; 400mm f4.5. In 1966, there was a Series E for the f2.8/35mm lens.
The Corfield 66 was a reflex made in small numbers as the firm changed direction, and it was fitted with a
Corfield Lumax f3.5/95mm lens noted at Nos 2,212,12x, 2,212,16x, 2,212,403, 2,212,47x, 2,212,66x,
2,212,67x, 2,212,92x and 2,212,97x. It is worth noting how closely these are grouped.
Coronet, UK.
They were not expensive makers, but Mr Burnett reported they got at least some of their lenses from TTH
during the depression, as was mentioned during a visit in 1939. (They also supplied lenses for the Woolworth
V.P.Twin at the same time.) There was quite a range of Coronet cameras early postwar (B.J.A. 1949, p441)
mainly with f11, f10, f16 lenses, but the Coronet Cub for 28x40mm on Coronet 888 film (=Kodak 828) used an
f6.3 Anastigmat made in Leicester (though the maker is not named and just may be National Optical Co.) It
had stops to f32. There was a Coronet cine new in 1937 with a f3.9 lens on the 9.5mm film body. There was
also a matching projector with a lens (no data).

Cosina, Japan
The list in the Am Photographer Oct 2000 is as follows:
f3.5-f4.5 19-35mm 13g/11mm
f3.5-f5.6 28-80mm 8g/8c
f2.8-f3.8 28-105mm 15g/13c
f4.2-f6.5 28-210mm Aspherical 15g/13c
f4-f6.3 28-300mm 17g/15c
f4.5-f5.6 70-210mm 10g/7c
f2.8-f4.0 70-210mm 14g/11c
f4.5-f5.6 70-300mm 12g/9c
f3.5 100mm 5g/4c A macro lens
f5.6-f6.7 100-300mm 10g/8c
f4.5-f6.7 100-400mm 12g/9c

Cosmicar.
A brand name on CCTV/VTR lenses typically in C-mounts. Seen as 25mm f1.4 Macro Cosmicar and 8.5mm
f1.5 (?8-glass) Cosmicar. These are said to be by Pentax of Japan. The 8.5mm can be used on a camera
such as a Bolex H16 but it is sufficiently deep sunk to prevent the turret turning when fitted.

Cox, Arthur
His book 'Photographic Optics' from 1943 is the classic on lenses made after 1945- the early editions carried
information on some prewar items and the first seems to be based on articles in Miniature Camera magazine.
He worked for Bell & Howell, rising to Vice President by Modern Photo 04/1976, and updated the book
periodically, though the updating of the later editions were somewhat less full after 1966 than the early ones-
the review pointed this out rather plainly. The listing of lens sections was kept up more fully however. Thus a
set of different editions is of great use to the collector.

Crouch.H.
A maker active about 1890 at 66, Barbican, London EC and mentioned by Traill-Taylor. He probably offered the
normal mixture of RR and Petzval lenses of the 1880's and three items have been noted:
RR f8.0 This has been seen as a 8in No471x in a 1.5in fine thread mount, and noted as a
13in brass barrel lens.
WAR This was probably for 1/4 plate and other sizes.
Cone type Meniscus F11, iris to f64, finished in a rather antic brown colour, at No 442x.
Landscape lenses.
He seems to have retired from trading by 1901.
Fig 009 014 Mr Crouch's lenses (l) RR about f8/8in No4718 (r) Cone for Landscape meniscus

Cross, France
A French brand of the late 1940-50 period, eg. on SEM cameras. The first noted was a Cross f2.9/45mm on a
Reyna Cross camera for SEM in 1943/1944, and the same specification was used in 1950 on a Baby Orenac,
and on several SEM-Kim cameras (1946, 1947, 1948) while a f3.5/45mm was used in 1949 on a Baby Sem.
eg. Cross f2.9 45mm on Kim, and Baby-Sem about 1949. (It was later replaced by a
Berthiot 45mm f3.5/f2.8 option.)
Cross f3.5 45mm on SEM Kim.

Crown Optical Co. Rochester, USA.

Crown Portrait f5.0 10, 12, 14, 16, 18in Use 14in for 10x8in
This is fairly soft at f5.0, and was sold with a diffusion disc in the price.
Portrait Symmetrical f6.0 4.5, 6.25, 8, 9.5, 12, 14.25, 17, 19, and 23in.
This seems to be an RR perhaps.
There was also an anastigmat and an f8.0 RR series. We have also met a Marlux Series V Projection lens,
probably a Petzval type.
Fig 009 016 (l) Crown Optical, Projector lens; and (r) Bausch & Lomb Projector lens for Mr Edison.

Crystar, ex Mayfair Supplies, 166 West End Lane, London NW6.

Seen as a f3.5 135mm lens for SLR, it is part of a set with interflex mounts to sell with other Japanese lenses,
including a f3.5 200mm one.

Criterion,, USA
Mirror lens maker, active until about 1970, when they seem to have been absorbed by Bell and Howell.

Copernicus, Poland.
Mirror lens maker noted in the 1970's.

Cundell, G.S.
He was responsible for a very early (1844) lens with a stop between two single meniscus lenses.
(Philosophical Magazine Oct 1844, Traill Taylor 1892 p54). It was of interest as an early distortion free
symmetrical lens.
Dacora, Dacora Werk, Munchen, Germany.
Dignar f2.8 45mm It is a triplet, at least on the 1958 version.
Color Subitar f2.8 45mm on Dacora CC in the early 1960's.
Dignar F4.5 on Dacora Record, about 1954.
Dacora Anastigmat f6.3 75mm
There was also a f3.5 version.
Dacora Achromat This was the low price option on the Digna and Color-Digna.
Color Subitar f2.8 45mm This was fitted on many models in early 1960's. It may mark
the beginning of the use of rare earth glass? These lenses seem to have been fitted to all their cameras in the
1950's, and were commonly in UK shop windows at the time.
Later they seem to have used lenses from Rodenstock, such as Trinon Lanthan on the Super Dignette 500 SR
and also from ISCO.

Daguerre, France.
His choice of the achromatic meniscus was a major factor in the early success of photography.
During the development he was in contact with Chevalier regarding lenses, and after the launch, the main
concern of users was the long exposures needed, up to 15min or more. These were reduced by the use of
mixed halides, where Goddard (UK) and Claudet were involved, as well as probably workers in Austria. After
the process was published, Petzval was asked in Austria to design a faster lens and came up with the Portrait
lens, f3.7 in place of the former meniscus lenses at f11 or so. The combination of these improvements gave
some 1000x increase in speed. The announcement of the process was Jan 1839, detailed in August 1839 and
Goddard introduced bromine with the iodine in 1840. The process was replaced effectively by the wet plate
process in 1851-1854.
One of the original Giroux cameras with Daguerre's signature was in the Kodak collection at Harrow and came
from the French Cromer collection which left France in 1941 just ahead of the Occupation. Then Mr B.Coe
said there were 2 in France and 4 in the UK, 2 in Germany and one in the IMP/GEH collection and one in the
Smithsonian in Washington, DC. This will be a fair proportion of the surviving Giroux lenses.

J.H.Dallmeyer,19, Bloomsbury St to 1889.

The firm was originally established at 19, Bloomsbury St. WC and later at Denzil Works Neasden, London
NW.
He moved to 25, Newman St, London W about 1888 "as the old Establishment was too small".
About 1900, it was selling from 25, Newman St. and sales were later from:
Sales: 31, Mortimer St., London W1.
Church End Works,Dallmeyer Rd., High Rd. Willesden, London, NW10.
Also today as Watchams Electrooptics, Radlett Rd. Watford, Herts., UK.
USA: Medo Photo Supply Co 15 West 47 St, N.Y., USA.
Sales were concentrated on the Church End Works at the end of the War as noted in the MCM Dec 1945.
This was sold in the 1980's and the factory and surround (?telephone exchange?, courthouse?) flattened
about 1990, when a new road Dallmeyer Road was created, and the site was used for industrial development,
eg. of soft drinks factory and by Dent-o-Care Ltd., at 7, Cygnus Centre, Dalmeyer Road- suggesting Willesden
Council were economical over the "L". Dallmeyer is still active in 1997, but not in retail sales. The site of the
Williamson camera works was converted to a bus garage and the C&P works may also have changed.
J.H.Dallmeyer was born at Loxten, Westphalia, in 1830, and worked in Osnabruck with an optician until
moving to London in 1851, working for W.Hewitt who then joined Ross with his team.
J.H.Dallmeyer worked for A. Ross, then left him and later rejoined in a more senior post as adviser. Later he
married Ross's second daughter, Hannah, and continued with him to his death in 1859. He inherited as a
result one third of Ross's fortune, and his telescope making business, which he changed to photo lenses. He
did make photo-heliographs up to about 1873 as a side line. While he was with Ross, he may have been
responsible for the development of the Orthographic due to his German background, and he proved to be a
fine maker and also one of the most innovative designers. An early assistant was a Mr M.P.Tench (about
1867-1874) who left later to make cameras. The date of the Dallmeyer beginning will be about 1859-1860 and
is officially taken as 1860 in company publications. Thus he probably fitted Waterhouse stops to all his
lenses from the beginning. Much of the emphasis of the adverts. was certainly on better and faster portrait
lenses and large format field lenses such as the triple and meniscus and later RR. J.H.Dallmeyer died in 1883.
The business then was suffering from competition and imitation, some of it very blatant and a note in B.J.P.
12/03/1880, cited in 14/03/1980 refers to 'spurious vile imitations' and these fictitious lenses bear some
remblance to the real thing and even being engraved with the name are generally found to lack the serial
number which all genuine ones bear. However in B.J.P. 07/06/1878 cited 09/06/1978 p506 the lens was a
common French landscape engraved 'Dallmvers 3B 3880 AB Patent' which apart from the misspelling was
obviously not of Dallmeyer's quality but still might deceive the innocent.
But one solution was to initiate new products. Here his son T.R.Dallmeyer was also very effective, and
launched a novelty in the telephoto lenses which became a major feature of the sales for many years. They
also made quality anastigmats in the form of the Stigmatics, but these were rather less able to penetrate a
market by then well supplied by other makers.
JHD Period: Petzvals
1860 Quick Acting Portrait f4.0 5-16in 45° Layout Da002/Q3
This was a "Petzval with improved spherical correction."
Fig 024 016 Dallmeyer Portrait Petzval Lens No26,388 about 9in with Waterhouse stops.
Fig 024 017 Dallmeyer Petzval Portrait lens No11,950 nearer 6in with Waterhouse stops.
It is probably this lens which is described in detail in van Monckhoven's 1866 book, listing the glasses as
those in the Triple Meniscus below and giving the curves. This is slightly imprecise as there seem to be two
crowns in the triple and no indication that they are both used in the Portrait. In order of light meeting them,
the glasses are Crown, Flint, Flint, Crown. It worked at f4 maximum. The front cell used alone gave a sharp
brilliant axial image with a very curved field away from the centre. The rear cell is designed to extend the focal
legth of rays outside the axis to flatten the image, and to correct the spherical aberration of the front cell. The
first correction was difficult but it is the rear negative which is able to do this. The rear is then adjusted to
correct spherical aberration. The front cell is made smaller than the rear to even up the illumination and to
avoid increasing the diameter of the rear which in turn makes the spherical aberration correction more
difficult. This also prevented the further flattening of the image. He expects the image at full aperture f5 or f6
to extend only to some 33% of the focal length, but stopping down increases this to about half the focal
length at f11 and more at f20-f30. Distortion is small and should not be a problem. Van Monckhoven says the
front cell is considered for use reversed and at the rear as a meniscus- but does not have the ideal form (as
the rear is too flat) and can never be good.
1860 Quick Acting Stereo Landscape f8.0,f10 4.5-8.0in (5 sizes) Achromatic meniscus. These may
be like those auctioned at Nos32,803 and 32,804, which were meniscus lenses.
1860 New Stereoscopic Lens f4.0 4.5in Waterhouse stops for stereo c.3.5x4.5in or the front
cell could be used alone as a meniscus of 6in for one plate 4.5x7.5in. This seems to have been used on a
Hare Universal camera this way. They were probably Petzvals from the information.
Petzval Portrait Versions
1860-61 Extra Quick Acting Portrait f2.2 1.6, 3, 4.5, 6, 8in Da003
This is scarce at least, being made especially for portraits of children. The
greater speed meant a narrower angle was covered. It was fitted to "Mr Skaif's Pistol camera"(1858). Fast
early lenses were also used on the 12 lens/12camera outfit used by E. Muybridge for motion studies as noted
in a B.J.P. review (14.03/1980) of Muybridge's 'Complete Human and Animal Locomotion' Constable, London 3
vol 1980(?). The cameras were mainly used rather later (1870's?) and are mentioned as using Projection
lenses and as 1872 below.
1861 EQAP version f1.1 version for medallion camera
1866 Patent Portrait Petzval cf3.7 Here the rear glasses were reversed and the outer was
mounted so that it could be unscrewed for soft focus. It was a real novelty for the period. This is now one of
the half-easy ones to find and must have sold well for many years to be so common. Layout Da001. One note
says it was made in f3, f4 and f6 versions. The angle covered was given as 50-55°. It was often copied by other
makers. (Brit Pat 2502/1866;USPat. 65,729). This is one of the very early lens patents. (See B.J.Photo 13,
p606, 1866).
Fig 025 032 Dallmeyer Soft focus adjustment Petzvals (l) c.f4/9in 1A No100,065 and (r) c. f4/10in 2B
No53,284.
These early Petzvals often were quoted in terms of format or back focus, which are not useful now, rather than
focal length. (Some old formats are listed under Carte de Visite, qv.)
Fig 024 017 Dallmeyer Petzval Portrait lens No11,950 nearer 6in with Waterhouse stops.
Lake Price as probably a working professional devotes several pages to what he a regards as a very valuable
product. He streese that the lens has its spherical aberrations corrected when the rear glas is screwed home,
and that a small increase in the separation will produce positive spherical aberration for the whole system.
When home, it has all the good properties of the Petzval Portrait with perfect central correction of spherical
and chromatic aberration but with more perfectly corrected oblique rays so that the image is flatter and the
illumination more even. There was no distortion, no central flare spot and it worked at an equal speed to a
Petzval Portrait lens in a comparative trial. He also notes the increased depth of field ('penetrating power')
when set on 'soft' even though the sharpness is less intense.
One point is that Petzvals were recomputed about 1858 so that the visual and actinic foci coincided- this may
have been only one of several detailed redesigns of this lens as Lerebours also improved the colour
correction earlier. This redesign by Dallmeyer does seem to be an additional one. Some details are quoted by
van Monckhoven in his 1866 book as a result of correspondence with M.Dallmeyer, and cover the 3-glass
Triple meniscus (p121), Orthoscopic (p134), Petzval portrait (p137), and triplet (p142).
Stops Dallmeyer introduced the modern idea of stops with a exposure difference of 2x in 1860, the doubling
being much more convenient than the previously arbitrarily chosen apertures supplied, and thence laid a basis
for the modern f-number series. (A.T.Gill, MCM, April 1961).
Non-Petzval lenses
1861 Triple Achromat f10 5-50in for c.69°. Layout Da004 The inner surfaces of the
outer cells are slightly concave which shows a difference from the rather later Ross triplet which had these flat.
Patented 1860, the centre is a really flat field setting new standards, and it is non-distorting and was used for
early copying and "process" work. For details of a "special" one see the list of the Science Museum, London,
which includes the 72in f16 lens made to copy the Raphael cartoons. Another was described in Amateur
Photographer 23/10/1863, p507. In some ways it was replaced by the RR in 1866, but the triple stayed in use
and perhaps sale for many years (Am. Photo. 13/03/1886). Unlike others, the triple achromatic was nearly
symmetrical in layout, and the inner surfaces of the outer components were slightly concave. Note that to
early authors including Monckhoven it was the triplet- correctly but it is not really related to the later triplets
intellectually. This has been seen as Nos 454x (1862) and No764x (1864), the latter both in brass with slots
for Waterhouse stops. Lenses at auction were Nos 5294, 7236, 840x (here on a Rouch's 7x5 wood+brass
camera). It seems to have been Dallmeyer practice to engrave the lens number on the stop plates as well as
the lens to avoid mismatch, but rather few stop plates survive with lenses to show this.
Having said it is symmetrical, No740x (c.1863) is far from this, the front two cells being quite close together
while the rear is well separated. This just might suggest a redesign at some time and there are hints of this in
one old source, but the glasses in the Monckhoven drawing are clearly different.
The types of glass were the same as used in the 3-glass wide-angle meniscus below and were supplied by
Mssrs Chance of Birmingham.
Incidentally, there was an option to remove the centre component and just use the doublet- at about half the
focal length, increased potential speed but with very poor correction- it was not recommended to use it this
way. It covered a very flat field, wider than most lenses but not as wide as the 3-glass meniscus. It is
practically free from distortion but suffers from astigmatism. On the axis it is free from spherical aberration. At
f30, it covers a format with a long side equal to the focal length, and at larger apertures, the sharpness does
not suffer but the angle covered decreases. To Van Monckhoven it was the most indespensible of known
objectives and the use was therefore nearly universal. (Today it is a moderately easy lens to find though not
always in the size wanted!) Lake Price also regards it as most valuable for copying, architecture, with great
delicacy and refinement (ie sharpness?) and also ideal for out-door use, especially for recording clouds. He
notes that with the centre cell removed, the field is no longer flat but severely curved and the lens practically
useless.
Eder mentions one in use by W.Burger in Siberia with Count Wilczek in 09/1872. (History, p375).
[By then other "triplet" lenses had been made by Ross for Fox Talbot, by F.S. Archer, J.T.Goddard (1859) and
T.Sutton (1860) but these never came into general use as commercial products.]
1861 Group Lens f4.0, This was a faster version of the above, essentially using a larger
diameter central lens in the same type of triple as above. It was less successful, and soon discontinued, an
example having No 1181x of 1865. Incidentally, it was not noted by M. van Monckhoven in 1866-7 even though
he was working from correspondence with M.Dallmeyer. Only one has actually been seen compared with
several ordinary triplets.
Fig 024 022 Dallmeyer Group Lens about 12in No11,846 for ?10x8in.
According to E.J.King, the first documented camera in use in Japan was a Dallmeyer B3 camera used by
Hikoma Ueno with Horie in 1862. (It probably would have used a Petzval type lens, probably sized B3.)
1864 Rapid Landscape Lens f11 This was a 3-glass meniscus for 60° at f20; 85-90° at f30. It had
reduced distortion, flatter field and better colour correction.But it still was not recommended for architecture.
(Da005). The stop was nearer the glass, separated by the diameter of the lens only. It used: Front,
Crown, 1.521;Mid, Flint 1.581;Rear, Crown 1.514.
1865 Rapid Landscape Lens f15 Meniscus type, for 75-80°. Da016
1865 Quick Acting Lanscape f15 5.25-36in, 15 sizes. for 75°, a 3-glass meniscus which seems to
have existed in two versions.
In 1865, Dallmeyer introduced the Wide Angle Landscape (DA 005), probably among the above. It consisted of
a lens like a Grubb Aplanatic (Gru 001) but with the power of the crown glass biconvex lens divided between
two glasses, one in front of the flint as in the Grubb and the other behind it as in the normal meniscus. Thus
both were of lower power. It also protected the soft flint glass from wear.
Van Monckhoven says it gave perfect sharpness over 72° at f20, and at f30 covered up to 85-90°. Thus it was
most valuable for landscapes and the level of distortion was not here noticeable. It also allowed a gien plate
size to be covered with a lighter lens and a shorter extension. The glasses and curves reported to
M.Monkhoven by Dallmeyer himself were:
Flint glass 1581 ie ?1.581
Crown glass 1 1521 ie ?1.521
Crown glass 2 1514 ie ?1.514
Many years later it was redesigned by T.R.Dallmeyer using new glasses but the same layout.
1866 (Patent Portrait Lens: noted with reversed glasses in Photo News 21/12/1866 p604) Experience is
that older Dallmeyer lenses do not always have much information engraved on them, but "Patent" is a good
guide on these Petzvals. Also look for 4 marks on the rear bezel which are used to set the degree of softness.
It seems to cover about 50°, and in a lecture, Dallmeyer claimed that the change had cured the central flare
spot which was a problem in the original Petzval type. Conrady quotes von Rohr as using glasses Crown=
1.517 and Flint= 1.575 as for the Petzval lens. It was now made in 3 series as follows:
Quick Acting Portrait f3.0 This was noted as a lens on a Studio camera, series No 4b
Ordinary Rapidity Portrait f4.0
Portrait and Group f6.0
These changed little for many years, as shown by lenses at No11,95x (1865), and No26,38x (1877), the
coming of the iris being the next big change. The lecture by Dallmeyer is reported in Photo. News.
21/12/1866, p604. A note in B.J.P. 04/06/1920 cited 06/06/1980 p554 regards this as the first deliberately soft
focus lens and a controllable one at that. Thus it is far more important than at first seems and may have
seemed a very unusual device at the time. It was to sell for some 75 years and justified its purchase partly
from the really sharp image on sharp. Today it is one of the less costly soft focus lenses but note that the
softness adjustment was modified to a more convenient one in later years (see below). The thing to look for is
'Patent' on the Petzval mount, but note the faster Patzvals will probably not be available in this type. For a
generation of Portrait photographers this was just 'the Patent Portrait' without further name needed.
Traill Taylor noted in 1892 that the idea had lead to European opticians designing lenses with the rear glasses
cemented together.
Rapid Rectilinear
1866 Wide Angle Rectilinear f15 2-18in 11 foci, 100°, or nearly.
Later it was adjusted to f16 for convenience, Layout Da006.
These seem to have come just before the normal RR. They tend to be small slim brass lenses, and are rather
desireable and contrasty in use, but the margins can suffer severely from astigmatism. They often have disc
stops for convenience, as in Nos 26,45x (1870's) and 44,02x of 1888 in brass mount. These may have been
actually used as Portable RR's, ie slower RR lenses than the f8 series and lighter to carry. Traill Taylor says
'of flint and crown' with the denser glass on the outside. Normally, the front glass was made bigger and of
longer focus: but some were made strictly symmetrical.
Fig 024 020 Dallmeyer RR about f8/11in No39,738; WAR about 4in No44,022.
Writing in 1892, Traill Taylor gives the formula of a 8.5in WAR with a diameter of 2in as having radii:
R1=-5.253; R2=+1.46in; R3=-1.46in; R4=+4.306in; R5=-4.306in; R6=+2.2in. It was made of Mr Chance's
glasses and covered 10x8in closed down. He reports that it was useful even 'opened up' for portraiture as an
f8 lens, though probably designed as an f16 max.
In 1868, Lake Price notes the WAR, and that the flint (dense medium) is outside in both combinations, and
that they are both deep menisci, but says they are flint and crown and are of about the same focal length but
the front is of larger diameter than the rear. He knows it as having a revolving disc stop from f15, and covers
90-100° max. It was free from distortion and while not fully aplanatic (ie improved on close down) but does
cover a really large surface on close down. Price seems to have bought several almost from first sale and
notes the short ones are useful in including difficult wide expanses and that straigth lines are recorded as
such.
1866 Rapid Rectilinear f8.0 4-48in (14foci.) Q5
Dallmeyer often illustrated the structure of the WAR but seldom the RR. The layout shown may be authentic
(Da028) and seems to show a lens with rather thin glasses compared with the continental types, especially
Steinheil's. The RR was a lens for normal general use, covering a good angle and being symmetrical or nearly
so, with the result that it was free from distortion. Thus it displaced many of the early meniscus and triple
lenses but the meniscus continued on sale at lower prices and to customers who valued the freedom from
flare it gave. RR was not a cheap lens, at least until it was the low price version of later designs. It is said to
have used new flint glass from Chance, and the date of issue may have partly depended on this. Later lenses
were often of flint and crown. (eg Amateur Photo 03/04/1991, p243 which cites crown for the positive and flint
for the negative.) It caused some tension with Grubb who had used the meniscus base of half a RR and
patented it: and with Steinheil over priorities. The outcome was Steinheil was first by a short period but did not
manage to get Patent cover for it in the UK. Dallmeyer's patent was No2502 of 27/09/1866. The use of the
"Grubb" Patent meniscus layout went back to Ross in the Collen lens and in that sense the Aplanat and RR
were of equal novelty. In experience, early Dallmeyer RR lenses are not too common, that seen being at No
39,78x (1886) in brass with Waterhouse stops. In use it was an excellent performer. The English tradition was
to be to make the RR in f8 or f7.7, to cover a little more angle than the European Aplanat at f7.0 as there is a
trade off of aperture against angle in these designs. A further compromise was the Portable RR: some makers
offered this as a light version at about f11, with some increase in angle. A Dallmeyer lens may be of this type
but it is not listed as a version in the adverts.
Note A large 60in f10 version is or was in the Science Museum, London.
The RR was still suggested as a valuable lens stopped down in 1920 when the price of new lenses had
increased and workers were looking for cheaper alternatives. (B.J.P. 12/03/1920) But ominously the writer
says only good ones will do- the RR was made by many others and often these were of very poor quality.
Dallmeyer examples are not too easy to find but well worth looking for.
In 1872, Dallmeyer supplied the projection lenses for Mr E. Muybridge for the trotting horse study.
Fig 024 020 Dallmeyer RR about f8/11in No39,738; WAR about 4in No44,022.
Lake Price in 1868 had only just obtained an RR as it was 'recently constructed' so it seems to have gone on
sale noticeably later: he had several WARs. He describes it as for 60-70° max, and having smaller glasses
identical front and rear. It is aplanatic (ie can be used at full aperture) and at f8, is 4x the max speed of the
WAR: and twice the speed of the Dallmeyer Triplet and the Orthoscopic. Price had only used his for copying
but (due to its symmetry and design) was able there to speak most highly of its qualities, and say it was a
very remarkable instrument.
An 1875 Summary. This list is based on an advert. and is almost a summary of J.H.D.'s career.
C2 Extra Quick Acting Portrait for Children (EQAP) It was made as 4.5in, and later 6in.
In the 1890's this was f2.2, and as f1.0 to special order. Structure a version of the Petzval.
B1-4 Quick Acting Portrait 4.5, 4.75, 6.0in.
In the 1890's this was to become the B-series, at f3.16, f3.0 for 6-17in.
B Quick Acting Patent. 6.0, 8.0, 12in. This was the adjustable softness version.
A1-6 Ordinary Intensity (Patent) 6 sizes for 1/2plate to 20x16in In the 1890's this was f6.0, 10-30in.
D3-8 Rapid Portrait and Group in 6 sizes for 1/1plate to 25x20in. (Portrait RR?)
[Dallmeyer may just have been getting a special grade of glass for some lenses since Frydman and Wright,
B.J.P. 29/10/1987 p1281 noted that there was a measurable radiocount rate suggesting the presence of
Thorium in the glass, which may well have been a rather improved optical grade as a result. It just may have
originated in mid- Europe since such properties will not be normal in such glasses.]
In the 1890's the D-series was f6.0, 9-37in.
Stereo Petzval and RR lens pairs. The 1889 list gives these as:
(a) Patent Stereographic, 3.75in plain or with rack&pinion. This was probably a Petzval type as it was more
costly than the next item.
(b)Quick Acting Single Combination No1, 4.5in focus, No2 6in focus.
(c) Rectilinear Stereo Lenses in 2.0 and 2.5in.
NB This was an unusually varied list offered in 1889, as the restricted size of stereo cards meant that no great
range of foci was needed. Stereo pairs are moderately regular at auction and must have been an important
part of the sales. Two examples were at Nos 692x where one number seems to cover the pair, and a later pair
at No25,15x and 25,15x- ie sequential numbers.
Optical Lantern Lenses These in 1889 were offered in No1 in 1.5 and 1.75in dia, No2 in 1.75 and 2in dia.
RR view lens (Patent) in 6, 8.25, 11, 13, 16, 17.5, 19.5, 24, 30, 33in.
Wide Angle Rectilinear (Patent) in 4, 5.25, 7, 8.5, 13, 15.5, to 19in.
This was listed as use 6.5in for 10x8in, for 100°, f16 to focus and then stop down.
Wide Angle (Patent) 5.25, 7, 8.5, 10, 12, 15, 18, 22, 25in.
This list changed only slowly over many years, eg. in 1889 it was much the same with the addition of the:
(a)New Rapid Landscape, in 7 sizes 9-30in, and
(b) lantern lenses.
Some lenses had iris stops, apparently by 1875, at No24,06x.
1878 Rectilinear Portrait f3.0 in 6, 8in only, and probably a portrait RR.
1880 there may be a new Quick Acting Landscape here. Certainly a Landscape No32,123 for 10x8in was
noted at auction from this period.
Wide Angle Landscape f15 made in 5.25, 7, 8.5, 9, 10, 12, 15, 18, 22, 25in.
The usual published layout was Da016, but two versions of the 18in at least existed and the difference is now
obscure.
1884 Rapid Landscape f11 5-30in. in 9 foci. This is a 3-glass meniscus. There was a tendency to use
rather long lenses for the plate here and with many menisci, so that only a limited angle was used. Coverage
was 40°, or up to 60° if stopped down. They may be f8 to focus. By 1889 it was listed as:
No1, 9in for 1/2plate; No2, 12in for 1/1plate; No3,15in for 10x8in; No4, 18in for 12x10in; No5, 22in for 15x12in;
No6, 25in for 18x16in and No7, 30in for 22x20in.
1887 Rectilinear Landscape f14 8.5-32in in 7 foci for 60°. This was not an RR but a 1+2 glass layout and
rated by some users as the best of these lenses made with the old glasses only. It seems to be rather scarce
as the new glass lenses were soon to come in. It is suggested to use 13.5in for 10x8in, Da008, (B.J.A.1889,
p599). Traill Taylor descibes it as being like the old 3-glass meniscus Da 005 but with the rear crown glass
mounted separately the other side of the doublet, and reversed. It was designed quite separately from the
rather similar Goddard design, which had no public exposure.
It was seen in alloy mount with iris from 1890, with 1888 Patent claim, at No47,42x. The review says free from
distortion, as one of the crown elements of the Dallmeyer triple has been reversed, and acts as the positive
element, while the other two form a pair of little focusing power but act to correct the aberrations of the
positive. The editor (Traill-Taylor) seems to have been well aware of this in advance and may in fact have
helped the designer. A provisional patent was granted on 02/02/1888 for a 'new' Rectilinear Landscape lens,
and the 1889 BJA advert. lists 7 sizes.
No1, 8.5in for 1/2plate; No2, 11.5in for 1/1plate;
No3, 13.5in for 10x8; No4, 16.5in for 12x10in;
No5, 20in for 15x12in; No6, 25in for 18x16in;
No7, 32in for 22x20in.
Fig 024 025 Dallmeyer Rectilinear Landscape about f14/12in (No 2 Patent 1888) No47,420 (1890) in alloy.
1888 Rapid Rectilinear This was mainly as an f8.0 in the 1890's, in brass or the new aluminium mounts at
10% extra. It was also beginning to be sold as an f7.7 in the same foci. Layout still Da028, Q5.
It was made normally in 4, 5.25, 6.0, 8.25, 10, 11, 13, 16, 17, 19.5, 24, 30, 33in. Use 11in for 6.5x8.5in, 16in
for 10x8in. It was used for 60-80° depending on the stop. But the 1889 BJA gives:
4.0in for 1/4plate; 6.0in for 5x4; 8.25in for 8x5; 11in for 1/1plate; 13in for 10x8in; 16in for 12x10in; 17.5in for the
French size 13x11in; 19.5in for 15x12in; 24in for 18x16in; 30in for 22x20in; and 33in for 25x21in. This
suggests that it was a lens with really good covering power though not a true wide angle.
1888 Wide Angle Rectilinear f16 This was now made in 4-15.5in, for 90-100°, WAR.
It was used as a 4.625in for whole plate, and may have now used "new glass", Layout Da007.
In 1889 it was listed as:
No1AA, 4.0in for 7.25x4.5in; No1A, 5.25in for 1/1plate; No1, 7in for 12x10in; No2, 8.5in for 15x12in; No3 13in
for 18x16in; No4, 15.5in for 22x20in; and 19in for 25x21in. These formats are very large and show that it was a
real wide angle lens. The first two seem to be additions, made perhaps as the move to dry plates lead to a
move to smaller formats.
1889 Landscape Lens.no details.
An 1892 list included still :
Portrait lenses
Extra Rapid Portrait Lenses Type C 4.5, 6.0in Petzval type.
Quick Acting Portrait Lens Type B, also Petzval type in:
f3.0, 2.75, 3.5, 4.5, 6.0, 8.5, 11, 13.5in; f3.8,17in.
This was the lens Lan-Davis was to redesign with a slip ring mount, probably about 1910.(B.J.A. 1910,p666).
It is not known if this still moved the outer glass or the inner of the rear pair, but the latter seems more likely.
(see note below where one is dismantled.) The portrait lenses were given little space in the 1889 advert. as if
the market was saturated- or the product so well known that little advertising was needed, though both the
above were mentioned.
Rapid Rectilinear Portrait f4.0 made in 6 foci, 10-22in, also f4.8, 30in. In 1889 this was the "NEW" Rapid
Rectilinear portrait, and was sold as:
Ordinary Intensity Type (A) This is probably the f4.0 series.
No1A, 2.75in dia. for Cabinets,
No2A, 3.5in dia. for Cabinets,
No3A, 4in dia. for Cabinets up to 9x7in,
No4A 4.5in dia. for 10x8 and Imperial Portraits,
No5A 5in dia. for 15x12in,
No6A 6in dia. for 20x16in
Portrait and Group Type (D) in 6 foci, but note two smaller sizes are implied by the numbering.
No3D, 10.5in, 2.125in dia., for 10x8in.
No4D, 13in , 2.875in dia., for 12x10in;
No5D, 16in 3.25in dia., for 12x10in.,
No6D, 19.5in, 4in dia., for 15x12in;
No7D, 24in, 5in dia., for 22x20in;
No8D, 30in, 6in dia., for 22x20in.
These seem to be about f5 maximum.
T.R.Dallmeyer Period Thomas Rudolphus Dallmeyer was born in 1859, as his father was setting up in
business, and ran the firm to a large extent during the last years of JHD's life. He died rather young in 1906.
He was best known for his work on telephoto lenses. The business was a private limited company from 1892
and J. Ludovic, Earl of Crawford, was the Chairman for many years.
It is convenient to class this period as from about 1880. It resulted in a number of new lenses using the new
glasses and the telephoto versions established the company for the next 60 years or more. The basic patent
seems to be to TRD in 15/12/1890. Dallmeyer was only one of several trying to design telephoto lenses:
others were A. Dubosq in Paris and A. Miethe in Berlin (see Voigtlaender section). And Steinheil had actually
made such units for the Brussels Observatory and the Marine Dept. in Berlin. However Dallmeyer certainly
was the first to produce them in a commercially practical form. Also the Dallmeyer-Bergheim of 1895 was
both an innovative telephoto and one of the first "soft focus" lenses.
(The Barlow lens as a magnifier for telescopes was then well known, and lenses with negative rear cells
included the Orthoscopic of Voigtlaender and the Ross Orthographich derived from it. Van Monckhoven (1867,
p191, etc) stresses the value of a negative rear conponent in field flattening and correction of sphericals in the
Petzval Portrait, and uses a single rear negative in a condenser system. And see Piazzi-Smyth who used a
field flarrener behind a Petzval lens.)
1891 Practical Telephoto introduced. This date in a Dallmeyer leaflet may refer to the following:
1891 Adon clip-on front lens. (Patent 12/12/1889).
The first 3 items in the list are shown in the catalogue for 1891, but may not be new then. But Adon seems to
have been. Later an achromatic version was proposed. (see Marriage, p21). Another Dallmeyer account says
1892 sale.
1891 Simple telephoto Layout Da012. (The relation of some of these is obscure.)
1892 Tele Negative This was a negative lens to mount behind a normal lens to increase the focus. It was
sold in 12 focal lengths, (-1 to -12in ) to suit the f8.0 positive lenses, ie the RR's. Abney shows a drawing with
two rear lenses each of 4-glasses, and all apparently in use at once, but it is thought that these were
alternatives and only one was used at one time. This is supported by the sight of one of
-3in focus. It seems to have sold into the 1920's although the exact design and finish will vary. Layout Da013.
Fig 024 027 Dallmeyer Teleaccessory No5598 with Stigmatic f6/10in No58,407.
Fig 024 029 Dallmeyer Teleaccessory No5598 with Stigmatic f6/10in No58,407.as above, dismantled.
Dallmeyer-Bergheim Soft Focus Lens Design 1893, Sale 1896. f8.0 maximum.This lens was suggested by
J.H.Bergheim 'the well known artist' and designed by T.R.D. and was about the first intentionally designed
extra-soft focus lens, much softer than the Patent Petzval, and therefore must rate as a Landmark. It was a
telephoto design (Da009 and 010), and may show the thinking he had at that time. The components are of
equal power, with variable separation in most examples. Note that they can be very BIG, both in focal length
and in size. Thus No 3 is 4.5in dia.,14.5in long and weighs 7.5lb., and gives up to 55in focus. (Amateur Photo.
27/12/1895, p424; also 08/10/1895). The iris is in front of the glasses to avoid distortion. Some clue as to the
delay in sale is given in Amateur Photo. 18/10/1895, p261 where the use of a telephoto lens by Dr
P.H.Emerson in 1893 was noted. Bergheim made an attempt to design one himself and then got TRD involved,
and several prototypes were made, suggesting one without colour correction might be best. In fact the
softness is due to limited spherical correction as well as lack of colour correction. The name was kept when
the design was issued as a new model in 1914, with an aperture of f6.0 or f6.5. (Amateur Photo 11/03/1912,
p274). Noted at No56,45x, in brass.
No1 was initially f9.0, fixed at 20in focus, for cabinet work. By 1912 it was adjustable.
No1 later(?) was for 1/2plate, f6.5-f20 12.5-36in focus. (B.J.A. 1921, p798)
No2 for up to 12x15in f8.0-f12. 25-40in.
No 3 for 10x8in and larger. f9.0-f15 35-55in.
No ?, New series f6.0 11-36in at No 77,08x, in black alloy.
This list was available into the 1920's at least, and some into the 1930's. The published drawings seem to vary
and may indicate the redesign change, the Da009 perhaps being the early type. Incidentally Bergheim is
scarce, desirable and now expensive, but mainly a collector item.
The interest in soft focus partly resulted from the portraits of J.M.Cameron who used several lenses, including
we think a Dallmeyer RR and a Jamin lens. But an exhibition at the N.P.G. London in 02/2000 highlighted the
influence of David Wilkie Wynfield as her predecessor without giving any technical details of his equipment.
Actually there were plenty of period lenses capable of soft focus if used in a suitable (or unsuitable!) way.
It shifts focus and a note in B.J.P. 06/05/1921 suggests to focus on the eyes and then rack out until the
focus is on the ears will give the best result A note in the B.J.P. 13/06/1919 refers to the Bergheim as rather
too soft for most tastes when used in the smaller sizes, and prefers the Dallmeyer (Patent Portrait Petzval?)
or Cooke or the more recent models of Ross lenses though all are said to need some trial exposures for
experience.
Portrait Lenses.
During the first part of the 20th Century, Dallmeyer sold several series of soft focus lenses, and these are as
follows. Only the Patent Petzval Portrait (above) is easy to find.
Patent Portrait The classic version to about 1905(?) altered the softness by unscrewing the rear cell by
putting a hand up the camera. This was awkward and improved versions were needed as other soft focus
lenses came on the market. But note that an internal, rear control one at No100,065 is later than a barrel
control at No53,284 so the old version must have continued, perhaps as a low price alternative.
Patent Portrait By the 1900-1920's this was sold in a new form with front control from outside the camera,
due to a redesign by C. F. Lan Davies, the managing Director. In fact, the 1916 B.J.A. advert. describes it as
"C.F.Lan Davies Patent Mount". (Very sadly, Lan Davies enlisted in the Naval Air Service, and was lost at sea
from the Gallipoli campaign while seeking dental help. See "Telephotography".)
Two forms seem to exist.
(a) The earlier may be at No53,28x on a No2B lens, about 10in f4.0. This is in a blackened brass mount with
Waterhouse slot, and to control the softness the whole front of the lens is turned in a thread cut around the
rear cell, while it is supported on a cylindrical bearing in the mount. Thus turning the front barrel alters the
distance between the rear pair of glasses by the thread pitch of 1/36in (0.7055mm) per turn. The barrel is fitted
to the cells by a thread with locking screw, and if the screw if lost, then the action may merely alter the
separation between the front and rear cells, with little softening apparent. This part therefore needs to be
examined on purchase. The rear of the front barrel is engraved with 1-4 cuts to suggest the softness scale,
and marked "Unscrew for Softness" with a single turn presumeably suggested. Reassembly was easier if the
barrel was first pushed through the mount and then the reamost cell offered up and secured.
Fig 025 032 Dallmeyer Soft focus adjustment Petzvals (l) c.f4/9in 1A No100,065 and (r) c. f4/10in 2B
No53,284. The enamelled version is the old, the right hand the revised design.
(b) The other, ?later type was in full brass with a slip ring round the mount to control softness and iris. It is
not known just what element moved here, but it could again be the front glass of the rear pair. This type was
featured in the B.J.A. for 1910: and as follows.
Series A f4.0
1A = 10in for 5x4in; 1A'bis' 12in for Postcards; 2A 13.5in for Cabinets; 3A 16in for Cabinets and Promenades
to 8.5x6.5in; 4A 18in for 10x8in; 5A 22in for 15x12in; 6A for 30in for 20x16in. Our example is marked "1A" and
is an f4.0, so it fits a 10in for 5x4in but could be confusing. It is No10,06x, so is probably a late one, in black
enamelled alloy, and surprisingly light. Even so it lacks a slip ring, softness being controlled from inside the
camera by turning the rear ring. This does not seem to be a soft lens in the way some are, the screen image
remaining quite crisp although the negatives will certainly show a loss of sharpness. So this does not seem to
be one to choose for dramatically soft results.
Series B f3.0 This was made in 4.5in 0B for 'sticky-backs'; 1B 6in for Carte de Visite;
2B 8.25in for CdV Portraits; 3B 11in for Cabinet Portraits; 4B'bis' f3.8/13.5in for 8.5x6.5in, 4B f3.8 17in for
8.5x6.5in. The longer lenses are rather slower at f3.8 and there has been some duplication of the numbers-
hence the 'bis'.
Series C no data. It was absent in 1921, 1922 lists. (Probably an old design.)
Series D f5.6-f6. 2D 9in for 6.5x4.75in or 8x5in stopped down; 3D 12.5in for 8.5x6.5in;
3D'bis' 14.75in for 8.5x6.5in, 4D 17in for 10x8in; 5D 19in for 12x10in; 6D 24in for 15x12in; 7D 30.5in for
18x16in; 8D 37in for 22x20in or even 25x21in stopped down. All these seem to cover the next plate when
stopped down somewhat but only 2 cases are given here.
Series A,B,D only were listed in B.J.A.1921, p801; 1925, p782. C seems to have been less long lived.
Also the following other soft focus lenses:
Bergheim as above.
Banfield f6.0 18, 22, 26, 30, 36in, This was made in 5 sizes with all cells fitting the one 5.1in
flange mount, and were for 36°. It is softest at f6.0. The 36in seems to have been short lived. There are few
details of what seems to be a scarce lens. It is said to be flare free. (B.J.A. 1923, p326, B.J. 1922, p455). In
the report, Banfield used a 22in lens of 2.5in dia, but reported that f7 was the maximum he would use, and the
f8.5 was the fastest available on this.
Mr A.C.Banfield was responsible for the design of a dish heater and film pack tank made by Mssrs D.Allan of
Kingsland Rd to his designs and both were regarded as very good ideas. (B.J.A. 1928, p301) Thus he seems
to have been a designer as well as probably a photographer.
Dallmeyer f3.5-f4.6This was a simple achromat, in 1-12in. This may also be listed as a Soft Focus f3.5
in 9-15in in later years.
Soft Focus for Amateurs Another lens in f3.5 for 1in, f4.5 for 2-12in. It was achromatic, and focused visually
correctly. It sharpens up progressively on stopping down to f16, when it is sharp.
Mutac f4.5 6in for 3.25x4.25in, 9in for 6.5x4.75in. It was sold from1924 onwards, and was a 2
component convertible lens giving 3 foci per set. It was in black alloy mounts and sharpness was controlled by
stopping down.
No1 for 6in, and +12 front and +9in rear as singles.
No 2 for 9in, and +18(f) +13.5in(r) as singles. The components give 1.5x and 2x the focal lengths, and must
be used behind the iris.
It was noted in the B.J.A. 1925, p369, 780advert. as 'new' This seems to be available throughout the interwar
years, but it is hard to date. It is certainly scarce and highly valued, almost excessively so perhaps. An
example reported was described as very soft at f4.5- perhaps too soft for modern tastes- and very like a
Gundlach Hyperion but with better contrast. The separate cells were said to be like the whole lens in softness.
It seemed to be a 1+1 periscopic or achromatic? from the reflexions. [For instance, compare the Eidoscope of
Hermagis.] It is said that the visual and actinic foci coincide so no refocusing was needed which suggests it
was colour corrected.
Note:There certainly was a simple achromat among the options, working at f3.5-f4.5 in foci 1-12in. It is not
clear whether this is listed among the others here but there may actually be several above.
Portrait Anastigmat f3.5-f6.0 9-18in. The f3.5 has variable softness, while the f4.5-f6.0 are sharp.
This may be a triplet. The initial production date is uncertain but it was probably mainly sold in the interwar
years. It covers 35°. A picture in B.J.A. 1937, p635 shows one with a prominent control lever for the softness
at the front and an iris to f32. It is probably one version of the next item.
New Portrait Anastigmat from about 1933 ("New").
These were 3 series of lenses, for adjustable sharpness with a large control lever, (B.J.A. 1934, p270). These
were 4-element lenses.
Series 1 f6.0 10, 12, 13, 14, 15, 18in (A Kodak catalogue adds 13.5,16in) Use 18in for10x8.
Series 11 f4.5 10, 12, 16, 18in
Series111 f3.5 9, 10, 12, 15in This was an adjustable softness type.
The Kodak catalogue for 1933 also suggests older lenses of f3.0 and f4.0 were available.
Soft Focus 1923 type. At this time this was a two glass meniscus lens in 6, 9, 12in only. The visual and
actinic foci coincided so they were probably large achromats, and they were noted to go sharp at f16 which is
to be expected here.
6in for 4.25x3.25in 1/4plate. £5.00
9in for 6.5x4.75in £7.00
12in for 8.5x6.5in £9.00
They were in alloy mounts, finshed in black alloy.
Soft Focus f4.5 type. In 1933 this was made in 1, 2, 3.5, 6, 6, 9, 12, 18in. The smaller 4 sizes were added
after the launch, as then there were 4 only. (B.J.A. 1934, p270). Only 4 glasses were used, and it was sharp
at f16. Visual and actinic foci coincide. This just may coincide with Mutac.
Telephoto Lenses
The Busch Bis-telar introduced in 1905 changed the market quickly to fixed separation telephoto lenses and
Dallmeyer were very successful in entering and designing faster and improved versions. As a result they
became a major feature of the firm. These were first seen in the 1910-1914 period.
1910? Popular Series f6.0 9,10,12in These were designed to fit the same flanges as the f4.5 standard
lenses on 3.25x2.25in (10in); and 1/4plate (12in) cameras, which decided the speed and foci automatically.
There may have been two series with:
(a) the 1910 series as the first in 9, 10, 12in above;
(b) and another 'new' in B.J.A. 1929, p302 when it was offered as 10in for 3.5x2.5in and 12in for 1/4plates.
These were for 2x magnification on the cheaper sort of reflex camera. Prices were 'moderate', in 10in at £7.75
and 12in at £8.40.
They were still in production in B.J.A. 1934, p646 and today are a fairly easy lens to find lens still.
1912 Adon Telephoto f4.5 Note that this is a new product under the old name, later becoming the NEW
Large Adon f4.5 which was sold till the 1950's. This was a Lan-Davis design, and he really succeeded
T.R.Dallmeyer as designer. His Father, Mr I. Davis was to become Chairman in the 1920's. It was made in 6.0-
24in. It was very often made in 12in, this being the only one listed in eg B.J.A. 1921, p797 and 1922, p782.
This was due to this size covering 1/4plate, then in very common use, and suiting many cameras in size and
weight. Being large, it gets heavy in the bigger sizes.
New Large Adon1914 f4.5 6-24in. Designer Lan-Davis, 1914,( B.Pat 1185)
1914 Series VI, Dallon Telephoto f5.6 3-30in Layout Da014.
This was the first tele Anastigmat, designed by L.B.Booth.B.Pat. 139,719, 151,507 of 1920. In general the f5.6
series of telephotos is the better for use today, with better corrections. They are easy to find but often well
used and rather worn. One factor is that the alloy was finished in black paint and this scuffs rather badly. [For
an example of a period design, see Conrady who designs a telephoto lens using glasses from the 1926
Chance list, and chooses G1= 1.5194, 63.0 (Chance 7742); G2= 1.6041, 37.8 (Chance 1034); G3= 1.5149,
57.9 (Chance 1066); G4= 1.6041, 37.8 again. So 3 types are used and he notes that the designs was not fully
optimized, but that a very good lens could be found.]
Dallon was made as:
9in to suit: 2.5x3.5in
11in 4.25x3.25in
12in 4.25x3.25in
14in P.Card
17in 6.5x4.75in
Dallon f3.5 This was listed in 1930, B.J.A. p576 advert. (and just may be a f4.5?) The aperture is repeated in
the Dallmeyer ad on p748, so it seems correct.
9in to suit: 2.5x3.5in
12in 4.25x3.25in
Series 18 f6.5 These were a slower less common series of telephoto made to fit into blade
shutters. They were still available in B.J.A. 1930, p576. They seem to be scarcer than the above. With the f6.5
use:
9in to suit: 2.5x3.5in
2in 4.25x3.25in
Series 16a f7.7 This was a type for lighter uses, especially for the Gun Training Camera.
Series 17 f6.8 This was a version for reflex cameras.
The designed Lan-Davis died while on the Gallipoli campaign, see note in "Telephotography" by Carter.
A slightly retrospective but still contemporary account of telephoto lenses is in T.L.J. Bentley, B.J.A. 1930,
p199, [who uses TeleTessar, Teleros and Dallon among others.] He feels that the Continental makers did not
follow up the design of the Bis-Telar f9 as fast as might have been, especially in speed, but mentions the Ruo
f4.5 and the response in the UK to produce f3.5 teles for cine use. He covers most teles then available.
1914 Cinematograph f1.9 This was a really fast f1.9 lens made initially in 3in for movie work and noted in
B.J.A. 1914, p774. There was a long lived lens of this name and it may have stayed in production for years. It
may be a Petzval derivative at that period.
H.L.Aldis and T.R.Dallmeyer.
During the 1890's survival for a lens maker came to depend on the availability of a line of anastigmat designs
to rival those from Zeiss. Dallmeyer seems to have been fortunate that Aldis was able to design a series sold
as the Stigmatics, though officially he was employed as the company Secretary. T.R.Dallmeyer was to die
young in 1906, so the fact that Aldis left to found his own business may have been a serious loss, especially
as Lan-Davis was to die in the War. The Stigmatic design is related by Kingslake to the original anastigmats
of Zeiss by splitting and compounding: at an earlier date H.W.Lee related it to the triplet with the negative in
front of the two positive glasses and then this idea seems to have been general. Lummer merely says "new
means of correcting"(Patents Dallmeyer/Aldis, B.Pat. 16640/1895) The triplet version seems most likely in
view of Aldis' later designs, and Lee's relation to a company making triplets. Whatever, the result was a rather
complex (6glass for f3.5) one but Aldis was able later to simplify it in the f4, f6, and f7 versions, and all were
separable which must have helped sales by justifying the complexity. Note that the f4.0 version was
recommended for use with the tele-accessory for many years. They are now rather forgotten but were better
lenses in use than might be expected. And they were fast at a time when f6.8 was a common maximum
aperture. Note: Stigmatic means point in Greek. .(An early reference is Photo. Journal., 1896, 20, p117)
(Eder's comment was that of the early anastigmats, only the Cooke Triplet was designed outside Germany-
but he may not have considered the Stigmatics or the Dallon/Adon teles. The Stigmatics certainly seem an
original series. Incidentally the 4glass double Gauss seems another exception to the list as it was used by
Clarke initially.)
Stigmatic Series 0 f3.5 Layout Da017 from 1895. Da017 Greer notes that the first Stigmatics
were very novel when announced and very fast, and says they were scarce as replaced soon by the slower
Ser II. The Stigmatic was introduced to a meeting of the R.P.S. in 1896 by Dallmeyer himself, with the
designer, Mr Aldis, in attendance. It was still available in B.J.A. 1925, p782.
Stigmatic Series 1 f4.0 3.25-18in. from 1895 or 1892(?). Da018
This was illustrated as the front part of the tele accessory. It was made for many years but experience is that
it is not too common. The longest version were stopped by 1905 lists, when it was offered 6-12in only.
(Amateur Photo. 27/12/1895, p424) It was rated as for 60°, and for use as a sharp portrait type. The
converging lenses are all dense barium crown and the diverging are a light silicate crown. It covers about 60°.
An example noted at auction was No63,708.
Stigmatic Series 1a Listed 1903 f4.5 5, 6.5, 8in in `905.
This seems to have been a light lens in magnalium mount.Da021.
Dallmeyer f6 f6.0 This was noted as a 3.5in lens on a Dallmeyer Snapshot camera when new in
1929, an example at auction being No132,97x. The snapshot was noted in the B.J.A. 1929, p307;1932, p301.
It may be a Stigmatic but the price seems rather low for this at £8.4 for the de luxe model.
Stigmatic Series 11 f6.0 3.5-18in (11 foci) Da019 from 1897
It was also listed as 3.25, 4.0, 4.5, 5.3, 6.4, 7.6, 9.0, 10.7, 12.7, 15.1, 18in by Houghton's catalogue. They
suggested to use 4in or longer for 5x4. They emphasise the good angle covered for cameras with movements.
An example was noted as a Stigmatic f6/192mm No74,56x on a 1/2plate Sanderson and others at No69,58x
in a Volute shutter on a Sinclair Una and at No77,20x in a dialset Compur. A late version was noted on a Soho
Precision at No168,xxx in a Compur No3.00 million, form the middle 1930's, such as 1935. The choice may
have been for the convertibility of the Stigmatic since it was an old design by then.
These were separable for longer foci, (1.6 and 2x focus), were less costly and sold well so they are easier to
find today. For 5x4, use 6.4in, at f6.0, 4.0in at f16. In use these seem to be good flat field lenses, the image
gaining contrast at f8 and f11, but better than expected, and covering a really wide field. It could still be a use
lens. It was made into the 1920's and 1930's. When separated, the front is 2x and the rear 1.5x the focus of
the whole. It was rated for 70° at f6.0, and 75°-85° at f16. The f6.0 is the commonest of the Stigmatics today,
which suggests the sales were often as a professional lens of about 10in, and then it is followed by the Carfac,
which seems to have sold in smaller sizes probably to amateurs. The mount of the Stigmatic seems to have
been revised about 1900 so that it was easier to dismantle to use separate cells. (B.J.A. 1900, p891, for the
design story see: Photo. Jour. 1897, 21, p167).
Series II was still offered in the 1920's in many sizes, with stress on the convertible nature of the lens and the
great covering power. It was stressed that it was very well corrected for colour and that the front combination
was fully corrected for astigmatism. Sizes were:
Number Focus Format @f6 Format stopped down:
!AA 3.25in for 2.5x2in (1/4plate)
1A 4in for 3.25x2.25 (5x4in)
1 4.5in for 3.25x3.25in 6.5x4.75in
2 5.3in for 4.25x3.25in 8x5in
3 6.4in for 5x4in 8.5x6.5in
4 7.6in for 6.5x4.75in 10x8in
5 9in for 8x5in 12x10in
6 10.7in for 8.5x6.5in 15x12in
7 12.7in for 10x8in 15x15in
8 15.1in for 12x10in 18x16in
9 18in for 15x12in 22x20in.
Fig 024 024 Dallmeyer Stigmatic f6/12in No64,952.
Fig 024 036 Dallmeyer Ser. Stigmatic f6/27cm No88,734; and Carfac Ser III f6.3/8.25in No87,524.
Stigmatic Series 111, 111a f7.5 from 1899 Layout Da020 in 3-16in, etc. This was a design for a simpler
and still lower price lens, and it seems to have been revised several times in the 1890's as a Stigmatic at least
to 1901, an example being a Ser IIIa No1 No59,052 on a 1/4plate Detective camera.
Another was a Series IV f6.3 3.75in No81,632 on a Tropical Rollfilm, which may not have been able to use the
single cells. Another Series IV was a No2 f6.3/150mm No74,135. Some were quite big, such as a f6.3/8.25in
No87,28x. It was launched in the B.J.A. 1910 with 1+1+i+2 design and was convertible to give cells which did
not require much extra extension. It would compete with the Series II Stigmatic but was lower in price. It
eventually was renamed Carfac, but was still a separable lens.
Houghton lists it as a:
Series 1V Stigmatic, f6.3, Carfac in 3.0, 3.75, 4.75, 6.0, 7.0, 8.25, 10, 12.5, 14.5in. in black, use 6in for
5x4. "It will cover a plate 2 sizes larger at f16". A 1901 account says it covers 75° at f16. A 6.0in example
gave a 7.0in rear component and a 17in front one when used as a convertible lens. It was seen at No8181x.
Dallmeyer Special Stigmatic Noted as an 3in lens No59,61x on a Prestwich/Dallmeyer Movie camera,
probably from pre-1898. An 1897 model Prestwich had a Dallmeyer Special B lens, of 2in No57,006.
Stigmat The first Dallmeyer cine lens noted was a Stigmat f5.0/75mm used on an 1898 Prestwich 35mm
camera- it may actually be a Stigmatic or Stigmar.
Thus in summary Ser 1, f4.0; Series 11, f6.0; Series 111 f7.5 all listed in 1904
Series 111a, f7.5 ;Series 1V, f6.3 low cost Carfac as later additions.
The Stigmatics did much to support the sale of telephoto accessory units, and some of these from 1903 have
been noted;
Adon Adjustable telephoto lens This had a 2+2 layout, with adjustable separation by rack and removable
tube, and covered up to 15x12in. Performance was reasonable on the older colour blind emulsions, but
modern colour sensitive films may respond less well to it today, making it seem less good. As with others, a
heavy colour filter such as a Blue tricut might help. The positive lens was +4.5in focus, the normal negative
was -2.5in focus, but a high power -1in was also made as an alternative. It was usually used as a prime lens,
but also could be used as a front accessory lens. In the 1910 B.J.A. there is a note that it is now in
aluminium mount, and this continued in the 1920's as in B.J.A. 1922, p782 and is the usual type found at
sales today. It exchanges with the front cells of some Compur shutter lenses such as some 135m Tessars,
probably in Compur O shutters. Also there was now a sliding action in place of the black tube previously used
behind the front lens. And the power of the negative lens was slightly increased. It is illustrated at No73,490.
The focus was noted as very long at eg. 30in for a short extension of eg 4in with a No1A positive lens. It was
made up to 1939 (probably) and later versions have helical separation adjustment (B.J.A. 1927, p326).
Carter's book has tables of extension and apertures for the Adon. These are a fairly common, low cost item
today and must have been a really good selling product then.
024 032 Dallmeyer Adon No70,675 This is the 'classic' version in alloy with r+p adjust.
024 035 Dallmeyer Adon, a later version with helical adjustment. No 143,460.
Telephoto Camera This was made in 1903 and sold with No2a Patent portrait lens and -4in Tele negative
component, ie the next item:
Grandac Telephoto The above was essentially the lens sold as the Grandac f10/f11, for 1/4plate with No1
negative for f10/25in focus, and for No 2 for f11/1/2plate for 28in focus, examples being with a f4.0/10in Petzval
lens. They were still sold in the 1920's eg on a W.Heaton Naturalist's reflex camera.
---------------------------------------
It may be worth summarizing the products about 1901 from an original Dallmeyer Catalogue which says the
Adon telephoto was due in early 1902- ie catalogue Fall 1901? They were then at 25 Newman St, Oxford St.
London W. It lists:
Dallmeyer Stigmatic Series 1 in 4 sizes.
No format Focus Back Focus Price*
1 4.25x3.25 5.5in 4in £7.00 especially for CdeV
2 5x4in 6.75in 5.25in £12.00 same
3 6.5x4.75in 8.25in 5in £18.00 Especially for Cabinets.
4 8.5x6.5in 11in 8.25in £25.00 same
with Waterhouse stops, iris adds £0.5-1.5 depending on focus. There does not seem to be an option to have
an alloy mount here or below with the Series II.
Dallmeyer Stigmatic Series II in 11 sizes. 5glass/3 component 1+2+i+2 design.
No Format at f6 Format at f16 Focus Price
with iris
1AA 2.5x2 3.25in £4.00
1A 3.25x2.5 4.0 £4.25
1 3.25x3.25 6.5x4.75 4.5 £4.75
2 4.25x3.25 8x5 5.3 £5.75
3 5x4 8.5x6.5 6.4 £6.75
4 6.5x4.75 10x8 7.6 £8.15
5 8x5 12x10 9 £10.5
6 8.5x6.5 15x12 10.7 £13.5
7 10x8 15x15 12.7 £18.5
8 12x10 18x16 15.1 £24.5
9 15x12 22x20 18 £31.5
This was a wide angle closed down to f16, a fast normal lens for smaller forat and separable so the front gave
2x the focus and the rear 1.5x focus.
Stigmatic Series III New Rapid Lens
At f7.5, this was slower and not convertible but still covered an increased angle when stopped down. The text
refers to it as only 4 elements but shows a ?5glass lens. It is probably 1+1+i+2 with the rear of glass 2
shaded in. It was made in 9 sizes.
No Focus Format at f7.5 Format at F16 Price
in with iris.
1AA 3 2.5x2 4.25x2.25 £3.25
1A 4 3.5x2.5 5x4 £3.75
1 5 4.25x3.25 6.5x4.75 £3.9
2 6 5x4 7.5x5 £4.75
3 8.25 6.5x4.75 8.5x6.5 £5.75
4 9.5 8x5 10x8 £6.75
5 11 8.5x6.5 12x10 £8.4
6 @f8 13 10x8 15x12 £10.5
7 @f8 15.75 12x10 18x16 £14.00
Series II and III might be had as stereo pairs in the smaller sizes only. There does not seem to be an option
of alloy mount here.
Telephotographic Lenses These were rear telenegative type accessories with the Patent Portrait suggested
as the prime lens at front.
Series I High Power with the negative about 1/4 the focus of the Patent front lens.
No Focus Price inc. Patent Portrait Negative lens alone
No1 -1.6in negative £7.75 in brass, £9.25 in alloy £2.75 brass/3.25 alloy
No2 -1.8in £11.5 £13.4 £3.75 brass/£4.25 alloy
No3 -2.4in £18.9 £21.13 ££4.8 brass/£5.62 alloy
Series II Moderate Power with rear negative about half the focus of the Portrait front lens.
No Focus Price inc. Patent Portrait Negative Lens alone
No1 -2.5in negative £8.5 £10.00 3.5 brass/4.0 alloy
No2 -3.0 £11.25 £13.13 £3.5 brass/£4.13alloy
No3 -4in £4.25 brass/£5.0 alloy
It was possible to combine both the No1 and II series lenses for higher powers using an adjustable mount.
Series III Moderate Power These were also priced with an RR lens and could also use a Stigmatic in the
same mount. A wide range was made in 2.5, 3.0, 4.0, 5.0, 6.0, 7.0, 8.0, 10, and 12in focus. The focus of the
corresponding positive was not given- merely the diameter. The reason was that they were often custom fitted
to whatever lens was to be used and normally one of focus about 2x the negative was suggested.
Patent Portrait Lenses. These were then in 3 speeds as:
f3.16 Quick Acting Portrait Lenses Type B
No 1 6in focus 2in dia CdeVisite £7.00 Wh or £7.75 with iris.
No2 8.25in 2.75in dia also Cde Visite £12.75 Wh or £14 with iris.
No3 11.5in 3.5in dia Cabinet Portraits £19.00 Wh or £20.5 with iris
No4 17in 4.5in dia Cabinet standing portrait£38.00 Wh or £40.5 with iris
f4 Portrait Lenses Type A
No1 10in c.2.75 in dia. £12.5 Wh/ £13.75 with iris
No2 13.5in c.3.5in dia £17.00 Wh £18.5 with iris
No3 16in c.4in dia £26.00 Wh £27.5 with iris
No4 18in c.4.5in dia £36.5 Wh £38.5 with iris
No5 22 in c.5in dia in Rigid mount, non focusing £47.5 Wh or £49.5 with iris
No6 30in c.6in in Rigid mount as above £57.00 Wh or £59.5 with iris.
Note Nos 1, 2, 3 were adapted for Cabinets but No1 was not suggested if a longer one could be used. The
biggest sizes were in rigid mounts. 'c.'is used where the front and rear glasses differed in diameter. Wh
indicates a Waterhouse stop set was used in place of the iris which cost more.
F6 Portrait Group and View Lenses. Type D
No2 9in 6.5x4.75in portrait 8x5in view £6.75 Wh or £7.25 with iris
No3 12.5 8.5x6.5in portrait 10x8in view £9.00 Wh or £9.75 with iris
No4 17in 10x8in portrait 12x10in view £13.00 Wh or £14.25 with iris
No5 19in 12x10in portrait 15x12in view £16.62 Wh or £18.12 with iris
No6 24in 15x12in portrait 18x16in view £25.25 Wh or £26.75 with iris
No7 30.5in 18x16in portrait 22x20in view £45.75 Wh or £47.75 with iris
No8 37in 22x20in portrait 25x21in view £55.5 Wh or £58.00 with iris
Most of these were in rigid settings, the smallest No2 and 3 being focusing. No2 could be used for Cabinet
but No3 was preferrred.
f2.2 Extra Quick Acting Portrait
For experiments in colour photography and cinematography, details on application only- not given. (But see
the Cinematography lenses below).
Bergheim Artistic Portraiture Lens.
No 1 Cabinet and Boudoir £5 with Waterhouse stops, £6.25 with iris
No2 8.5x6.5 to 15x12in £8.5 '' £10.0 ''
No3 10x8in to life size £10.5 '' £12.00 ''
(This uses variable separation so the format varied)
Rapid Rectilinear Lenses
By 1901, these were obviously of less interest and the catalogue gives no text on them, merely a long list of
sizes and formats, but does discuss the Wide Angle Rectilinears in more detail as if these were a continuing
product with more interest.
No Format in Focus Prices £
View in rigid mount
Also in Alloy @ extra cost
1 4.25x3.25 4.0 3.5
2 5x4 6.0 4.25
3 6.5x4.75 8.25 5.25
4 8x5 10 6.00
5 8.5x6.5 11 6.6
6 10x8 13 8.5
7 12x10 16 10.5
8 13x11 17 11.5
9 15x12 19.5 14.25
10 18x16 24 19
11 22x20 30 25.75
12 25x21 33 31.50
Larger sizes to order only. Each lens can be used for the next plate size up if stopped down well. They were
suggested for group use for a size smaller than that shown. Alloy was normally available as were options of
Waterhouse or iris stops. Prices will have varied here.
Wide Angle Rectilinear These were in rigid tubes with disc stops or iris and the plate size shown may be
reduced by one size if very fine marginal detail is required. It covers 100° and the maximum aperture is f16,
but for the 100° a small stop is needed.
No Format at Focus in Price £ with
small stops disc stop.
1AA 7x5 4.o 4.25
1A 8.5x6.5 5.25 5.25
1B 10x8 6.25 6.26
1 12x10 7.0 7.25
2 15x12 8.5 10.00
3 18x16 13 13.25
4 22x20 15.5 19.00
5 24x21 19 28.5
Details included rotating disc stops (listed) or iris stops but apparently not alloy mounts.
Adon This New Telephoto lens was promised for the next year (1902) and was primarily for hand cameras
as it fitted in front of the lens and was to be in one size only for 1/4plate or 5x4in cameras. (But note it was to
be used quite differently!). It was actually illustrated on the back cover in the original alloy form. It was
stressed that the plate was not fully covered when it was used but rather that a circle rather more than the
width of the plate is covered. If the lens can be remoced and the Adon fitted on its own, then it will cover
completely and at about 3x the diameter. Price £3.50
Cinematograph Lenses
(a) For the taking of negatives
Special B lens f4/2in focus covers 1x3/4in (25x18mm approx.) with focusing flange.@£2.00
Same with iris @£2.3
Special B lens 3in focus @£3.75
Special Stigmatic f5/3in with iris @£3.75
Patent Stereo Lens f4/5in for 3.25x3.25 with rack + pinion focus @£4.50
same with iris @£5.00
Medallion Lens f2.2/1.5in for 3/4x3/4in or 18x18mm @£2.35
Miniature Lens f2.2/3in for 2x2in (51x51mm) @£5.5
Projection Lens
Special Lantern Lens f2.2/2in covers 1x3/4in (24x18mm) with rack+pinion focusing.@£3.75
NB.Some approximations have been made in converting old £sd to £p and inches to metric.
This listing does not cover the cameras which take up about 1/3 of the catalogue even though they were
probably items being agented from other makers. They would be a way of selling Dallmeyer lenses such as
Teles and Stigmatics especially unusual ones where the Naturalists camera was a novelty to carry the
telephoto lens, a 1/4plate camera having the 2B Portrait lens and a -4in negative in alloy, or a 1B lens and -
3in negative.
---------------------------------
New Series
T.R.Dallmeyer died in 1906, and Lan-Davis was probably the technical man under Lord Crawford as Company
Chairman. Collecting experience suggests that through the period the telephoto lens was important enough to
be the life blood of the company so these products will be listed with the Series numbers used, though these
are now rather obscure. Much of this derives from a leaflet "Why a telephoto" dating from 1935, Edn 5. Most or
all Dallmeyer fixed separation telephotos give a focal length of near 2x the normal for that extension. (see
B.J.A. 1928, p754) Some 15 foci were made by 1936, and applied actively to the new movie market. A patent
to L.B.Booth in 1919 may have signalled the new series, and some of the 36in Big Bertha lenses were
engraved "Booth's".
Still Cameras
Dallmeyer were involved with several still cameras in the 1920's, but these seem to have faded out and the
1934 B.J.A. p648 seems the last year they had a big exposure. They were the Snapshot with f6 4-glass lens,
Dual with f3.5 Dalmac, the Speed with the f2,9 Pentac, in VP, 6x9 and 1/4plate sizes, and the Pentac
rollfilm- one of the few with Pentac in blade shutter, here a dialset Compur. And there were large format
reflexes. These bodies were bought-in from Newman & Guardia and others, and perhaps sold also by the
makers with Dallmeyer lenses. And the Telephoto camera: see above.
In the 1920's Dallmeyer advertised Packard Ideal and Ilex shutters, and were probably agents for them. (B.J.A.
1921, 1922)
In 1924, Dallmeyer were listing Dallon in 4 apertures, f5.6, f6.5, f6.8 and f7.7; thus it seems correct to use the
one name for most of the 2+2 teles and just name Adon and New Large Adon separately. They emphasise it
is a true anastigmat, made of very clear thin glass for maximum speed and sharpness.
Series V1 f5.6 Dallon This was a fixed separation tele and the one best corrected for
distortion and astigmatism, and normally useable at full aperture. It was made in 4, 6in for 4.5x6cm, 9in for
3.5x2.5in, 10in for 4.25x3.25in, 11in for 4.25x3.25in, 12in for 5x4in, 14, 17in for 6.5x4.75in, 20in for 5x7in, 24in
for 8.5x6.5in, and 30in and finally to f8.0, 40in. It had 2x magnification and covered a fair angle, eg use 12in for
5x4. Series V1 replaced the older f6.0 New Large Adon and used a new glass (DBC) made for it by Chance. It
was mounted for M39x26 in 4in f5.6 and longer versions for reflex, etc. This is the easy one to find today.
A unique 60in f8.0 version was mentioned. (Min. Cam. Mag. 11/1938, p1039. It covered 10x8). Dallon was
used under this trade name on miniature cameras eg as the f5.6/6in Dallon Tele Anastigmat for Exakta (?) at
No 211,84x. This is in a rather nice rectilinear chromed brass mount.
Dallon was the favorite lens of Mr J.E.Saunders, the zoologist (B.J.A. 1932, p174) who used a 5x4in camera
with 11in, the 12in, and finally 17in versions. He mentions 45x35in enlargements.
Series V111 f6.5 This was a slower version of Dallon, continued for shutter mounting for folding
cameras, ans was possibly pre-war but noted from 1923 onwards. It was made in 6, 9, 10, 11, 12, 20, 24,
30in, where 10, 11, 12in were all suggested for 1/4plate. Examples in shutters are not easy to find today. It is
worth noting that it could be used on a fairly light camera such as the Etui as a result. (B.J.A. 1931,
p138advert.) It was a more important product than might be thought today and was commented on in the
Editorial in B.J.A. 1925, p197 as having in the 11in lens the nodes "crossed", with the entrance node 3.45in
and the exit node 5.55in in front of the iris.
A f6.7 lens of 10.5in noted at No237,18x may be a version of this or of the next. It lacks any iris, and may fit
the sleeve mount of the "Hythe Gun" camera- used for training purposes in WW1. These seem to have no
number and probably no details engraved in a visible position, as they are auctioned without these details. the
gun camera was thought well enough of to apparently need a Patent in No123,999 of 26/05/1917 quoted in
B.J.P. 11/05/1979 p454, 09/05/1919. (see also below.)
At least one 10in lens was mounted for a N&S shutter to exchange with a 5.3in f4.5 Serrac for bird work. The
lenses were issued with consecutive serial numbers at No107,55x and used the front threads only of the
shutter.
Series XV1 f7.7 This was for reflex and focal plane press cameras, and sold to match the older
BisTelar. It is noted from 1920 (B.J.A. 1921, p799; 1925, p777) as:
12in 304mm for up to 5x4in
17in 431mm for up to 6.5x4.75in
There were other sizes and Dallmeyer added a 60in version in 1933. A 12in f7.7 was used in the Hythe gun
camera for training. It was made in 12, 17, 40, 60in at least.
The gun camera has also said to have used an 11in RR lens and this would have been adequate. A probable
example used a RR 1in dia and 11in long ie about f11, in a large brass shutter. Production was said to be
6000 lenses. (see Jennings in Photo. Journal, R.P.S. 04/1919, p127). This one accepted 120 size film for
frames about 4.5x6cm. The shutter only gave bulb but may have been sticky. The use of an RR has been
confirmed by another owner of a Hythe camera, so the other telephoto lenses may actually have had other
uses. But sales of telephotos to the MoD do seem to have ocurred.
Fig 025 005 Dallmeyer f7.7/10in Dallon in tube without iris, possibly for the Hythe gun training camera.
Series XV11 f6.8 as 15in This was for reflex and focal plane press cameras. These gave 2.5x
magnifications ie 6in extension for a 15in lens on a 1/4plate camera, and they were made about 1923-1933 at
least. Thus it was noted as 'new' in B.J.A. 1926, p351 (but the 15in was in B.J.A. 1925, p777advert.). A 15in
needed only 6in back extension. H&D lists only 15in in 1939.
(Series XV11) f8.0 a slower version of the above (possibly also a Dallon) was used for a ship-toshore
survey camera, "The Williamson Hydrographic" which was fitted with a f8.0 27in lens. A f8/40in Dallon
Tele was noted in B.J.A. 1931, p220 used by Capt. C.J.P. Cave to photograph architectural details illuminated
by a signalling light.
Series XVIII f6.5 This was made for folding cameras especially where there were blade shutters
so that a smaller lens was easier to fit. It was listed in B.J.A. 1925, p777 as:
5.3in and 6in for 4.5x6cm VP; 9in for 3.5x2.5in; 10 and 10.5in for 4.25x3.25in; 11in for 4.25x3.25in; 12in for
5x4in, 14in for Post Card, 17in for 1/2plate, and 24in.
The later series numbers are a bit complex with an f8 series overlapping with the f7.7.in actuality.
Fig 025 005 Dallmeyer f7.7/10in Dallon in tube without iris, possibly for Hythe gun training camera.
New Large Adon f4.5 It was made in 6, 9, 10, 12, 14, 17, 20, 24in. This seems to be a
revised version of the prewar lens, and is usually rated as faster but not as well corrected as the f5.6 lenses
which were usually recommended for discriminating users. It may have been introduced first as an 12in lens.
Note interwar versions are not coated, and the makers name is engraved in cursive, which is a dating point for
many of these products.
New versions for plate use in B.J.A. 1928, p347 were the 9in for 3.5x2.5in and the 17in for 1/2plate, which
used extensions half the focus. They could be had in focusing mounts.
Fig 025 002 Dallmeyer New Large Adon f4.5/12in (l) ctd for Television No470,932; (r) ctd for 35mm use on
Kine Exakta No500,342, with mount tube for the latter at rear.
Dallon f3.5 series In 10 and 12in in 1927 (Westminster Photo advert.) This very fast
series seems to have been mainly used for movie lenses but initially was mounted for large format use. [The
first seem to have been part of a group of new fast lenses launched by several competing makers in the mid-
1920's and including f3.5 Teles from TTH and Wray as well.] The 12in was launched in B.J.A. 1927, p345 to
cover 1/4plate or 9x12cm, and was in a 2.25in screw flange. It was classed as 'big, but as surprisingly light for
the specification'. It was expensive which is why it now seems to be scarce and has not been seen; and the
f4.5 N.L.Adon probably was a better seller in comparison. This included a new item in 1928 of a f3.5/14in lens
for 5x4in with 7in back focus, at £45.00. Compare this with the f4.5/17in at £20.00 the same year.
New Large Adon f10 A slower version was made, probably about 1911.
Popular Fixed Separation f6.0 A good lower cost version. It seems to have been issued by 1911 as
a "New Large Adon" in 12 and 17in only, and later was made as f6.5, 9in for 6x9; f6.0, 10in, f6.0, 12in for
1/4plate. It was possible to fit these to shutters, leaving the shutter iris wide open and using the lens iris and
the magnification was 2x. It was normally sold to replace an f4.5 normal lens.
Adon Adjustable Tele was still made in 1936, some 43 years after the launch. Normally it had a 4.5in front
lens and -2.25in rear lens for 12-50in overall focus. It gave about 3x magnification, ie focus relative to
extension. The -1in alternative rear lens seems scarce, and gave about 4x magnifications. It was then sold
with a Luc shutter if requested.(T.B,1/25sec). In use, measure the film-to -flange distance and multiply by 2.5
to get the focal length in use. The maximum aperture is 1.2in or 30mm. Divide the focal length by the aperture
to get the f number, using the same units for both. Example: for 5x4, and a 7in extension, the focal length is
actually7x2.5= 18.5in.and the maximum aperture is 18.5/1.2 working in inches. Now calculate the exposure at
f15, say 1/60sec, and finally multiply this by the number on the iris scale used. These numbers are 1-8, and at
say No4, the exposure would be 1/15sec.( Or use a ttl meter!). They can be used with formats from below
6x9cm up to 15x12in, but do not cover a very wide angle.
Junior Adon for folding cameras.
In all, 4 types of Adon adjustable are noted:
Type 1 early with rack and pinion adjustment, the 'normal' type.
Type 11 with rack modified about 1909 ( as in B.J.A. 1910,p711).
Type 111 with a helical thread, often now stiff especially the pull out adjustment of the front.('new' in B.J.A.
1927, p326). A major advantage was freedom from backlash such as ocurred in the rack + pinion used before.
At camera extension 4in it gave 13.5in focus and at 20in extension, 50in focus.
Fig 024 032 Dallmeyer Adon No70,675 This is the 'classic' version in alloy with r+p adjust.
Fig 024 035 Dallmeyer Adon, a later version with helical adjustment. No 143,460.
"Junior" No details but it must be type 1V
NB Most seen are type 1 in light alloy+rack.
Grandac Telephoto Listed for many years with the f4.0 10in Patent Portrait lens.
No 1 -4in lens, 6in extension, f10/25in lens, up to f16/40in, and is designed especially for 1/4plate.
No2 -5in lens, 9in extension , f11/28in; up to f20/50in., mainly for 1/2plate.
The B.J.A. 1922, p787 says that the positive element is the same in both the No1 and 2 Grandac and works
at f4/10in, and the focus depends on both the extension and the negative lens in use. They are in alloy,
finished in black and have a rack+pinion mount.
These are not common, look very impressive and can work really well.
Dallmeyer Cine Lenses.
Dallmeyer's took a keen interest in the cine world and the shop in Mortimer St must have looked more like a
cine specialist than one now realizes. They were not just selling lenses but movie cameras, and were the UK
agent for the US maker Victor. (B.J.A. 1931, p324; 1934, p316) (But not in 1930?) And naturally, they sold
their lenses on the Victor bodies. There were also rewinders, Tripods, meters and all the accessories. In
B.J.A. 1928, p340 they summarize the wide range as from 1in to 24in and in apertures from f1.5. They then
covered 35mm and 16mm, with some 17 items for 16mm especially B&H Filmo, and 20 ultra rapid lenses and
22 telephoto lenses and almost as many projector lenses as well for 35mm.
The earliest noted was a f1.9 3in from a 1914 list- perhaps the fastest Petzval of the period though an f1.1
Petzval was made earlier. (It is not quite certain this f1.9 was actually a Petzval). A sample was noted at
No92,997 in a RPS historical article, and Dallmeyers dated it as "mid-1920's".(MCM Oct 1957). An advert. in
B.J.A. 1930, p749 lists f1.3, f1.5, f1.9, f2.9, f3.5, f4.5, and foci.
These were often telephotos in the longer version. Dallmeyer lenses were fitted on a range of cameras
including most UK makes and imported ones such as Victor (B.J.A. 1936, p317)
Shorter ones include the Triple Anastigmat and Triplar (Triplets) eg in 25, 50 and 75mm f2.9 (B.J.A. 1936
p315) on Ensign Simplex Pockette 16mm, as well as a:
Dallmeyer f0.99 In B.J.A. 1930, p352 this set a new limit, as a lens of 'gigantic aperture' for 16mm use in 1in
focus. It was in a focusing mount, with built-in hood, and the writer felt it was about as fast as could be
achieved- probably correctly. £20. There is no suggestion of the structure- it might possibly be an 8-glass
Gauss which would have just been historically possible by then.(?)
Dallmeyer f1.9 This was noted in B.J.A. 1927, p320 and was being mounted for the Bell & Howell Eymo. It
was then a well established product (ie. not the Super Six) being on the Filmo 16mm in 1926 and the Baby
Pathe (B.J.A. 1926, p336). It was also noted in B.J.A. 1930, p536. There may well be a change in optical
design at some time as the 6-glass Gauss may have replaced the unknown older design. Is this the first
Super Six in 1927 or 1930 or when? It was for 16mm, ie ?1in. and a set was available next year in 2-6in foci.
(B.J.A. 1931, p327).
Night photography was just beginning in B.J.A. 1931, p213 with work noted by F.Judge with a f1.9 (anon) and
by A.C.Banfield with a f2.9 Dallmeyer- which was too slow. A f1.8 was more successful (?Ernostar?)
Dallmeyer f1.3 There is a suggestion of this in B.J.A. 1930, p366 on a Victor but no actual name is given.
And there is an f1.3 in the advert. on p749.
Anastigmat f3.5 13-75mm This was made on Ensign and on Filmo, and there was an f3.5 for B&H
Filmo etc. It seems the Anastigmat was made in f3.5 as 13-75mm in all for 8 and 16mm cameras with
standard mounts in:
1.5in, f4.0; 3in, f3.5; 3in, f4.0; 3.75in, f3.3; 4.0in, f3.5; 4.0in, f4.5; 6in, f3.5, f4.5, f5.6; 10in f4.5, f5.6; 12in, f4.5,
f5.6; up to 40in f8.0.
Triplar The triplar seen was for 16mm, and about 1930 at No15733x. The 6in seems to have been popular for
16mm use. It may overlap with the f3.5 above and possibly the popular series.
Fig 025 014 Dallmeyer (l) Gauge projection No351,477; Triplar Anastigmat f2.9/2in No 157,330 in C-mount
barrel.
Popular telephoto It seems to first occur as a f4.0 3in tele for 16mm cine, including Kodak Model BB in 1934.
This may be another version of the f5.6 Dallon in miniature eg as a 3in f6.0 at No16613x. It was seen with a
1in f1.9 Dallmeyer (?Super Six) at No16440x in C-mounts. But there was an f4 Popular tele in 1.5in and 3in
for the Cine Kodak 8 in 1935, p335.
Triple Anastigmat f2.9 15mm to 3in This is probably the same f2.9 Triplar in 12-75mm in H&D, 1939.
But an f2.3/1in and f2.0 (2.9?)/2in have been noted. It was advertised as 'new' in B.J.A. 1934, p647, in the
'new' form of focusing mount.
Telephoto f2.9/3in This is in B.J.A. 1931, p327. It looks like a normal tele mount.
Cine f1.9 This is in the 1936 B.J.A. advert p665 as 13mm to 3in. It may be a Super Six by this date.
Speed Anastigmat f1.5, in 0.6-3.0inm in 6 foci, all for 16mm use.
(a) It was a 'new' speed lens of very large aperture and the aperture certainly goes back to 1928 (B.J.A. 1928,
p340) though this could be a different product.
(b) A little later this includes lenses in 20mm, 1in=25mm, 2in, 2.5in and 3in, from the early-1930's. (B.J.A.
1932, p649ad., 1934, p647, 1936, p665) Cox says this is not eg. a Septac layout but related to the Kino-
Plasmat. It seems a simple type and some may be related to the triplets and it was still available coated, ie
postwar. An impressive 3in has been seen at a sale, but it covered only 16mm. It was a sensational item and
must be a rare one. It was noted at No175,09x and 189,82x, both in 25mm size, for 16mm on Bolex and
Filmos.
(c) It seems to have sold over a long period as a coated example was seen and probably was early postwar. It
was said to be very well corrected and flat field.
There may just be another f1.5/50mm lens of the pre-war period. An example has been reported adapted to
coupled Leica mount at Serial No277,22x. However it may be a Speed Anastigmat remounted or a projection
lens- the latter is suggested as it was said to have a 'very coarse' mounting thread for the lenshead.
F2.4 Cine in medium long focus- This has been noted but the layout is not known.
Anon f3.5 These are a set of tiny lenses marked No14A/808, so are ex-MoD, and are thought to be about
24mm focus as they are in the group of products with a TTH f2.8/0.95in(24.2mm) lens described below, and
thought to be from 16mm film readers or enlargers. These were noted at Dallmeyer serial numbers 181,014;
185,238; 200,564; 201,028; 201,051. This suggests manufacture over a considerable period, late prewar or
early in the war; they are not coated and have no iris.
[The same product group contained two quite unengraved coated lenses which seem to be postwar 4glass
Q15 replacements, not quite so fast but more sophisticated in design. The maker here will remain a mystery!]
Cine Teles
Two announced in 1926 were f4/4in and f4.5/6in both for Filmo cameras.(B.J.A. 1926, p336). In 1936 these
were in several apertures and possibly designs;
f3.3/3.75in This was noted in B.J.A. 1930, p361. It was initially in a plate bayonet mount for Kodak Model B
and came with a finder mask. It was also made in longer foci as f3.5 3-6in;
f4, 1.5-4in This may be a New Large Adon with a slightly stretched aperture for a narrow angle.
f4.5 as 4-12in; and
f6 as 6-12in Dallon. These are among the commonest perhaps today. But there were also faster lenses.
Fig 021 034 Dallmeyer Cine lenses (r) f1.9/1in No164,405 Unctd; (mid) f4.5/3in No166,131 unctd; (l) f1.9/1in
375,539 ctd.
Of these longer telephoto lenses, it is possible they were selected or adjusted for best centre sharpness. A
17in f5.6 movie lens No145,61x proved to be a very fine performer on 35mm, but an f4.5 was less good,
needing to be closed to f8 for good contrast. Pictures in the press at the time showed Dallmeyer's long lenses
dwarfing the movie and Leica cameras to which they were attached. (See Am. Photo 16/02/1938 p169 for a
40in on a Leica).
Lenses for Magazine Cine Kodak These were noted in B.J.A. 1938, p304 in 2-12in, the f3.5/3in noted was
in black. They were in focusing mounts with stops to f32.
Projection Lenses included an:
f1.8 series for 0.75-4in focus, and these were noted in B.J.A. 1930, p365.
SuperLite series in 2-4in and a:
Max-Lite series in 2-4in.
Wide Angle projection for Kodak-8 projector with 75% bigger picture. (B.J.A. 1934, p323)
Large Format Teles
The official advice for these was to choose Dallon for lower pincushion distortion with architecture, and the
New Large Adon for modelling and portraiture, and Grandac was the preferred item for an adjustable
telephoto. Thus they were regarded as a complementary programme.
Q15 types
By 1912 or 1914, the patent on the Zeiss Tessar was maturing and Dallmeyer was free to launch lenses of
this type. There may be confusion over the layouts, since the first f4.5 Serrac from 1914 just may be a rename
of the Stigmatic or a triplet type. Certainly after 1918, most makers felt free to use the layout, and Dallmeyer
sold 3 series. Of these, the Serrac was the only name in a 1919 list (Amateur Photo.16/04/1919 p324). These
were long lived items, often still in good condition today, since only hard types of glass were used, and seem
to have been made into the 1970's. The main designer now seems to be L.B.Booth, but he may have also
worked for other firms.
Serrac Series XV f4.5 It was initially made as: 4.8, 5.3, 6.0, 6.5, 7, 8.25in.
The design was noted for a large rear glass, for more even illumination.
By B.J.A. 1925, p778, the foci had changed a bit;
3.0in for 4.5x6cm, 3.5in for 3.25x2.25in, 4.5in for 3.5x2.5in, 5.3in for 4.25x3.25in, 6.0in for 5x4in, 6.5in for
5.5x3.5in, 7.5in for 6.5x4.75in, 8.5in for 7x5in, 12in for 8.5x6.5in, 16in for 10x8in and finally 18in, and then 20in
for 12x10in. It was suggested to use 6in for 5x4 Layout Da023. They could be supplied in focusing mounts and
in Compur shutters. The long ones especially are noted performers even today. Q15 type. It was seen at
No84,74x on a 15cm (6in)/f4.5 in SIM and this rather worn specimen proved to be a very good performer under
poor lighting conditions. It had originally been bought for bird photography in the 1920's. More seem to be in
8in such as No311,227 though supplies are irregular and experience is that it is not always easy to find
especially in shutters.
One rare application was to the Williamson Pistol Aircraft camera (1930's) as an f4.5/5.3in No146,54x,
although it was merely marked Dallmeyer. It probably was often used on press cameras of which survival is
poor, explaining the relative scarcity. One was the V.N. Press described in B.J.A. 1933, p280. It was probably
also the f4.5 on the Dallmeyer rollfilm in B.J.A. 1928, p344. A note in the B.J.A. 1935 p269 mentions a f4.5/7in
on a 3-colour camera by Colour Photographs Ltd. Another unusual camera was the Duoflex 6x9cm reflex with
metal flap focal plane shutter, and f4.5 Dallmeyer, [as well as a 25in f6.3 Teleros.]
Perfac f6.3/f8 It was made as two series:
(a)f6.3 for 3.0in for 3.25x2.25in, 3.5in for 3.25x2.25in, 4.0in 3.5x2.5in, 4.9in for 1/4plate, 5.3in for 1/4plate,
6.0in for 5x4in, 6.5in for Postcard, 7.5in for 1/2plate, 8.5in for 7x5in, 10in for 1/1plate, and as (b)f8.0,12.25in for
10x8in, 14.5in for 12x10in, 18in for 15x12in and then to 30in. Again the suggestion is 6in for 5x4.
It was listed in B.J.A. 1921, p802; 1924, and 1925, p782advert. This list was unchanged into the late 1930's.
Shorter foci were aimed at folders such as the Carbine, ICA, Kodak, and the longer ones at field and stand
cameras. A modern notice is B.J.A. 1961, p216. It seems to be the least known of the three Q15 types even
though it may well be optically the best due to the limited aperture which makes the corrections easier and
limits flare.
Dalmac Series XX11 Dalmac f3.5 It was made as:
2, 3, 6, 7, 7.5, 9, 10, 12, 15in. It was suggested to use 7in for 5x4.
It was 'new' in 3-9in for VP to 1/2plate formats and even up to 15in at £50 were listed, in B.J.A. 1926, p340 and
the 2in was added later in about 1933. It was suggested to use a 5in lens for 1/4plate so coverage was good-
and allowed the use of a moderate amount of rising front. The layout was Q15, or Da022. In use, a Dalmac
covered a good angle (50°), and was probably more of an achievement than is now apparent. It is not common,
and most users seem to have bought Serrac of these three types. A normal use might be a 1/4plate press
camera with a f3.5/5in Dalmac at No131,36x. And there was a Dallmeyer f3.5/5in on a 3.5x2.5in Press Reflex
in B.J.A. 1927, p350, and it was also made in 1/4plate and 9x12cm. But most are smaller, often without the
Dalmac name which is often omitted in adverts, (as were Serrac and Perfac). Thus:
Dalmac was used on the Dallmeyer Dual camera, (1931). (A notice on issue was in Amateur Photo
24/06/1925, p642, also B.J.A. 1932, p273). Dalmac was offered for M39 as a f3.5/3in lens at No126,90x and
was tried out on a prototype camera made for 35mm and auctioned with a 35mm lens at No29605x, but the
history was not indicated. One point in collecting is that the engraving seems often just to be Dallmeyer
Anastigmat without Dalmac. This seems to explain a f3.5/3in lens No199,23x on a VP Exakta, and another on
a M39 camera at No126,90x. It incidentally is a valued alien in this mount. A bigger example was a 4.75in f3.5
noted at Nos145,32x and 149,96x in rimset Compurs on Ensign Tropicals for 6x9cm.
Press A f3.5/5in lens has been noted in SIM marked merely 'Press'. It seems to be a Q15 type, just possibly
before the Dalmac trade name was adopted- or possibly it was felt Press was better for the use intended.
Fig 025 010 Dallmeyer f3.5 lenses (l) Press 5in No142,138; (r) Dalmac 7.5in No597,155 ctd.
Pentac Series XIX
Pentac The Pentac was designed by L.B.Booth, after leaving Ch. Ch. College, Cambridge. This must have
been quite a sensation when it was issued in 1920, when there were few other lenses of this speed.
Remember the Ernostars and f2.8 Zeiss lenses were still to come as was the f2 Opic.(See Brit.Pat. 151506 ).
The series was noted in B.J.A. 1925, p366, in 13 foci from 1.5-12in and several mounts including focusing
ones. It was suggested to use one a little longer than normal, such as 6in for 1/4plate, though the BJA author
says this is not really needed as covering power is really very good, and that a 6in will really cover 5x4in.
(Incidentally, the MoD made use of this in fitting an 8in Pentac to a 5x5in aerial camera as Dallmeyer would
have only rated it for 5x4, a slightly smaller diagonal.) It still looks a major item, fast, covering a good angle
and reasonably sharp at full aperture: in fairness, the original review praises the very fine definition and flat
field. Today too many users only know 8in versions sold off ex-WD and too often these are below par due to
damage or to wartime pressure to supply regardless of perfection by sub-contractors.
A stage picture by C. P. Crowther F.R.P.S. with the Pentac at f2.9 on a Dallmeyer Speed camera is shown in
Photograms 1924 p31advert. The Speed was offered quickly and was on sale in 1923 for 1924 season.
One point in the B.J.A. is that Pentac was offered in a soft focus diffusion mount, in 6-12in sizes, where the
separations of the elements could be adjusted.
Pentac f2.9 1.0, 1.5in for 1x0.75in movie, 2.0in for movie,3.0, 2.5in for movie 4.0in for
3x2in, 4.25in for3.25x2.25in, 5.0in for 3.5x2.5in, 5.5in for 4.25x3.25in, 6in for 4.25x3.25in, 6.5in for 5x4in, 7,
8in for 5x4in, 10in for 6.5x4.75in, 12in. Q19, Layout Da029. (The foci did vary over the years, hence some
where the coverage is not given.)
Pentac was sold for some 10 years on cameras which carried Dallmeyers own name:
(a) on the Dallmeyer Speed camera, body by N&G, for VP and 6x9, from 03/1923 and 03/1924 respectively
(B.J.A. 1925, p356), and finally a 1/4plate version at £40 ( B.J.A. 1927, p336); The Speed camera seems to
have sold quite well and cost £25, £32 and £40 respectively in 1927, but the focal plane shutter could be a
problem to maintain. It does emphasise that the Pentac was then an expensive lens.
(b) on a Pentac 6x9cm rollfilm, (B.J.A. 1926, p350;1927, p331) where a 4.25in Pentac in a D/S Compur was
used; a 9in f6.5 Dallon could be fitted in place of the Pentac.
(c) also on VP size Baby Speed Reflex with 4in Pentac at £33.
(d) A group of f3.9/3in Pentacs in Gammax No2 shutters (1/10 to 1/100 +T,B) were remaindered in Min Cam
World 03/1938, p221 but their usual fitting is unknown- there may have been a cancelled project here. It is
possible that Matt Wilkinson owned one of these at No128,855 as the shutter is a distinctive one.
Fig 025 012 Dallmeyer Pentac f2.9 (rear) 8in ex-W.D. JHD (1) No 263,944; (right) 4in, No452,498; (front) 1.5in
No100,441.
These products seem to be run down in the 1930's however.
The small Pentacs were cine and possibly projection lenses. Thus a f2.9 Pentac was on a de Vry 35mm
movie camera in the B.J.A. 1929, p333, with a choice of 27 other Dallmeyer lenses. There was a matching de
Vry projector with a Dallmeyer f1.8 projection lens. This may be the first year Dallmeyer were agents for Victor
and also de Vry, a less long lived agency perhaps. Victor had previously advertised from the USA with a
(Wollensak) Velostigmat f3.5 as standard among some 5 makers.
Examples on VP Speed cameras are Pentac f2.9/3in No104,014 on body NoD188, 105,697 on body D435,
10709x on body DS135, others being 110,09x, 113,502 on D105, and 108,28x:
and 6x9cm cameras are 4.25in f2.9 No11149x on DS348 and 107,337, 109,435, 109,710 on body NoDS258,
and 111,50x, and No116,840 also for 6x9.
A larger camera for 9x12 was auctioned with a 5.5in at No127,46x, and another was No123,40x.
Gauss Type Lenses.
Following the launch of the OPIC, TTH were said to have licensed the Patent widely. Thus it is likely that
Dallmeyer were one of the licencees, but it is likely that they made their own detailed design as Opic and
Super Six lenses of the same focus have different curves, and seem different in philosophy. The Super Six
seems to have been issued from about 1930 (it was 'new' in B.J.A. 1933, p302) and became a workhorse lens
for taking, recording, and projecting where a fast lens was wanted. It is shown roughly as in Da024. [A
comparison of Opic and Super Six 4in lenses suggested they were fairly alike in performance at full aperture,
and also matched the Pentac f2.9, all being fully useable at full aperture. But note the Gauss design is much
heavier and can be more open to flare.]
Super Six f1.9 This was made as 1, 1.25, 1.5, -3.0in, in 8 sizes for cine including 8mm, and all
these will cover 24x18mm movie frames. There were then 6 foci up to f2.0 8in for larger formats. These lenses
do work well at the full aperture of f1.9. The shorter sizes in 1-2.5in were also specially available for back
projection.
There was a special mount to allow the use of the 2in lens on the Leica camera with the standard "O" flange.
Thus it was made for M39x26 in both coupled and non-coupled forms. It was noted at Nos 148,35x and
156,82x. There are few mentions in the magazines but Min Cam. World 09/1938 p537 has an article by N.
Barrie on making a fitted case- and the Leica has 9cm Elmar, 135mm Hektor- and a 5cm Super Six!
It was also for Exakta below (B.J.A. 1935, p293) where a 3in lens is fitted to a V.P. model, as well as a
f5.6/6in Dallon. It is likely that one of these was the f1.9/1in lens on the Thornton-Pickard prototype cine
camera shown in Nov 1927 or so. It covered 50-60°. In 1934, it was noted that the large (rear?) glass meant
that they could only fit the VP Exakta, Leica and 3.5x2.5in reflexes. [This limitation did not apply so much to
the Pentac.]
Fig 025 016 Dallmeyer Super Six f1.9 (rear l) 5in No553,101; (r)3in No250,070 with a long thread mount;
(front mid) 2.5in No441,573, white ? for movie; (l) 1.5 No562,219 in in smooth barrel ? for projection;
and 2in No521,070 with gear cut drive for focus- ? for TV.
(Septac f1.5 20, 25, 51, 76mm for cine.)
This item may be incorrect and refer to the f1.5 anastigmat. It is likely that Septac lenses are really wartime
introductions: see below.
Wide Angle. f6.5/f11 It was made as: 60-228mm/2.375-9.0in. This was a 4-glass Gauss type Q16.
for up to 100° at f11. These were 'new' in the advert. in B.J.A. 1930, p312, 1932, p647, and had the following
covering power:
3.25in 82.55mm for 1/4plate or 5.5x3.5in £5.25
4.25in 107.95mm 7x5in £6.00
5.25in 133.35mm 8.5x6.5in
6.25in 158.75mm 10x8in
7.875in 200.03 12x10in
9in 228.6mm 15x12in £9.75.
These were important products in the 1930's as wide angle lenses, the 80mm/3.25in for 1/4plate being quite
a common lens today. They were designed to be used stopped down to f11 or better f22, and the f6.5 max.
was really to compose, then check focus at f11 but they were designed not to change focus. They were
carefully corrected for astigmatism, colour and spherical and should give good definition. These sold well and
are quite common, especially perhaps small versions of 1/4 plate cameras. They were apt to be flary until
coated postwar. Many of those sold coated have the antireflection coat splashed over the mount as well as the
glass suggesting stock was returned for this to be done. Most commercially valuable today may be the
2.375in (60mm) for the VP Exakta, reported at No165,756 and 34031x.
Enlarging Lenses
Uncoated (prewar?) Dallmeyer enlarging lenses are fairly common, and were of excellent quality for the period,
some having click stops eg on a 7in at NoUU283,763, which is possibly a wartime ex MoD lens. Those seen
all used a Q15 4-glass layout.They were made in 2.0-8.5in. Note that this series were in f4.0 in 3-8.5in in
1934, but later f4.5 and f5.6, possibly in the larger sizes. They were sharp quality lenses in very substantial
mounts. H&D quotes them as being made in f4.5 and 2-8.5in, (but some f5.6 examples have been seen in
longer sizes.)
Enlarging f4.0 This was 'new' in B.J.A. 1929, p303, and made in 6in for 1/4plate, 7in for postcard, and
8.5in for 1/2plate, at prices of £7.63 to £12.50. They were said to be corrected for colour, coma and
astigmatism. The iris was calibrated in terms of exposure factors and it could be supplied with a hinged
orange colour filter as part of the mount.This was still present in 1934 (B.J.A. p646) in 3-8.5in, and the Popular
f4.5 series was just beginning.
Enlarging f4.0 The series was extended to shorter foci of 3, 4, 5in in 1933.
Serrac f4.5 This was suggested for enlarging when using the new mercury vapour lights. There was a
£1.05 modification to fit it for the purpose. The change may have been 'click' stops or a change in separation of
the glasses- it is not specified. (One deduction was that the f4.0 enlarging lens differed from Serrac in some
basic way.)
In 1936 they seem to have had hinged filters attached to the front cell, ? red for composing but these were not
seen yet. Such filters can be easily broken off! The lenses were all specially designed for the purpose of
enlarging. (B.J.A. 1934, p646, 1936, p288). They were fitted on the Kodak Professional and finisher enlargers
(idem, ibid, p274, 282).
In 1934-1936, there was a 'new series' of Popular lenses, also f4.5, in 3in -7in to sell at a lower price- possibly
with simpler iris as they are still in solid brass mounts but none seen had a clicking iris.
Miniature Lenses. Dallmeyer developed lenses for most of the prewar miniature cameras which used
interchangeable lenses, including Leica, Exakta and Reflex Korelle. There were some limits due to patent
rights so that not all the products which might have been made were legally possible.Thus for M39x26, they
supplied a range of lenses for the Ploot reflex housing, but few lenses in rangefinder coupled mounts. The
exceptions were some 50mm f1.9 Super Six lenses, a Dalmac noted above, and some where the mount had a
uncoupled feeler ring to read out the distance which was then transferred manually to the focus setting .These
patent problems may have been less serious with the reflexes, but the bayonets may still have been under
some control by the makers.
Dallon for Ploot housing. f5.6, 6.0, 10, 12, 14, 17, 20, 24in; also f8.0 40in.
For Leica, they offered the 6in and 9in f5.6 in 1936 (B.J.A. p298) to extend the range as a 12in was already
available then. The ultimate was an f5.6/40in on a Ploot+Leica in Min. Cam. World, 03/1938, p216 where the
lens was £75 and the mount additionally £40.
Dallon in non-coupled mount for Leica, f5.6, 4.0in. One of these at auction was No141,38x.
Fig 011 023 Dallmeyer Dallons for M39. f5.6/4in at Nos 144,923, 284,77x for body 65,76x; adapted
f5.6/150mm.
Dallon for Korelle and Kine Exakta This was a f5.6/6in lens in matt chrome mount in B.J.A. noted on 1938,
p271 for Kine Exakta;1939, p278 for Korelle and Exakta). The earlier note says with a pull out lens hood,
which seems absent in the next years model, so there may have been a 'rethink' here.
Dallon f5.6 22.5cm Noted to fit Primareflex (B.J.A. 1939, p614advert.)
New Large Adon f4.5 9, 12, 14, 17, 20, 24in. Of these 6, 9, 12in were in unique mounts with rangefinder
feeler.
Pentac for M39 This was noted at auction as f2.9/3in No 130,71x. They are surprisingly compact items.
The above telephotos were also mounted for the reflexes, especially the Kine Exakta.
Pentac, 2in f2.9, mounted for Exakta.
Super Six f1.9/2in This was noted for 35mm Exakta at No296,18x at auction.
Super Six For M39 at Nos148,35x (uncpld), 156,82x (cpld).
The telephotos were also mounted for Vest Pocket Exakta, plus 2.375mm wide angle eg noted at No165,756,
Super Six f1.9 83mm, Dalmac f3.5 3in, Serrac f4.5 and probably f2.9 Pentac. Most of these are very scarce
items.
For Korelle, 6in and over telephotos: also Dalmac f3.5, 3in; Pentac, 3.0, 4.5, 5.5in Dallon f5.6,6in.
Camera Obscura A very distinctive Dallmeyer lens was reported from a naturalists camera, which used a
lens marked "Dallmeyer Camera Obscura Anastigmat 30in f8 No216,xxx" which reputedly was sourced from a
camera obscura built down on the South coast: it just may have had to be dismantled during WW2 as a
possible danger for war secrets. The number is a late prewar one (Probably!) though few lenses at that number
area have been met.
________________________________________________________________________________
The 1939 B.J.A. advert (p708-10) lists: (extra items from 1937 advert in italics)
Super Six f1.9, as 2in, 83mm, 3in. (It was also as 1-6in in 1937).
Pentac f2.9 in 1-12in
Dalmac f3.5 2-15in
Serrac f4.5 3-18in
Perfac f6.3 3-30in
Stigmatic f6 4-15.1in (An interesting survivor!)
Wide Angle Anastigmat f6.5 focus with f11 expose.(2.375-9in)
Portrait lenses f3B Patent Portrait 6-17in
f4A Patent Portrait 10-30in
f6 D Patent Portrait 9-37in
f3.5 Portrait Anastigmat 9-15in
f4.5 and f6 Portrait Anastigmats in 10-18in
Soft Focus f4.5 Mutac convertible type 6 and 9in
f4.5 series, 1-12in
Dallmeyer Banfield Astigmat 18-30in
Dallmeyer-Bergheim, 12.5-55in
Telephoto Lenses New Large Adon f4.5 9-24in
Dallon TeleAnastigmat from 4-40in inc 6in for VP Exakta or Korelle.
Dallon f6.5 3-24in
Dallon f7.7 12-40in
Popular f6.0 10-12in
Popular f6.5 9in.
Adon multiple focus
Grandac Adjustable focus f10.
Telenegative units -1=-6ins focus.
Enlarging lenses in 11 foci. f4.5, 2-8.5in
f4.5 Popular 2-8.5in
Movie, Cine
Projection lenses for 35mm
Optical Sound Reproduction system.Type A, Type B type C for 9.5, 16, 35mm.
Projection lenses f1.8 for 8. 9.5, 16mm use.
Rear Projection in 1.5-2.25in, Super Six version in 1-2.25in
Rear Projection in Series XII 2.5-7in, Series XIV 3-7in, and Super-Lite 4.75-7in.
Max lite 2-4in
Superlite 2-4in
f3.3/3.75in; f3.5, 3-6in
f4 1.5-4in
f4.5 4-12in
f6 6-12in
Popular Tele f4 for most 8mm cameras.
f1.5 Speed lens. 15mm to 3in (75mm)
f1.9 Cine 13mm to 3in
f2.9 Triple Anastigmat 15mm-3in.
Telephoto Lenses f3.5 and f4.5 for Cine Kodak Special
Popular Tele f4/3in for most substandard cine cameras.
Comparing the 1938 and 1939 adverts there was a change in progress to more chromed finish and there do
seem to be fewer large format items in the 1939 advert.
In addition Dallmeyer were agenting equipment by Victor, Thalhammer, Sixtus, Craig and probably others at
the 31 Mortimer St London W1 shop.
_________________________________________________________________________________
World War 11
Dallmeyer designs used seem to have been the 8in f2.9 Pentac and the 20 and 36in Telephotos, essentially
versions of the Dallon, but perhaps tuned for the purpose. Most were uncoated, but the later 36in lenses were
coated and in lightweight mounts, which reduced them to a mere 14lb. Other products are likely to have been
made, such as enlarging lenses. Dallmeyer WW2 lenses can turn up with 'JHD' stamped on them in white
paint but no other makers name and the serial numbers are often begun with UU or VV if original Dallmeyer.
Mr H.W.Lee was involved in the design at one stage, possibly as a consultant after he left Pullin Optical Co.
Pentac f2.9 8in for 5x5in. These were made by many firms and only Dallmeyer engraved their name, or
stamped it in paint. Examples with the name stamped on are Nrs 263,94x and 249,33x, without any prefix
letters, but with A.^M. 14A/7080, and later Nr 406,44x (where the mount is missing) which does not quite
agree with the above conclusions. (One has been seen marked prominently NoCo for the maker National
Optical of Leicester.)
No Name f5.6 14in. Collectors tend to class these as a Serrac version, but this is uncertain.
Telephoto f6.3 20in Probably often these are Dallon related, for 5x5in.
Telephoto BIG Bertha 36in f6.3 These were common at postwar MoD sales as Williamson F52 9x9 in
cameras were sold off, and many were reused, adapted for cricket cameras, and for natural history
photography. Long term the astronomy field values them most. The image sharpens a lot at f10, and colour
correction improves. Originally they were used with a heavy yellow filter so colour correction could be relaxed
a bit in the design. Some were marked "Booths" and a collection shows a good deal of variation in engraving
and finish. Known serial numbers include VV 193,045 14A/2443: No 181,865 14A/2443 and VV 425,990
14A2442, which unusually has balsam faults. Back focus is reported as 18.75in from the mount, or 23.75in
from the flange which has 6 bolt holes at 6.8in pitch. This may suggest two different A.M. contracts with the
2443 numbers from Dallmeyer, the latter after introduction of a 2 letter "maker code": and another less
experienced maker as 2442, possibly NoCo, and the use of the year (19)42 as the initial digits. But this is an
area which has not been seriously studied.
Late WW2 and Korean war items include a range of coated Super Six lenses and the postwar Rareac, a rare
earth version of the Gauss, also coated Septacs.
Septac f1.5 20, 25, 51, 76mm for cine.
Of these , 51mm was also mounted for oscillograph and perhaps still work. It was covered by Pat 553,844 and
this is typically engraved on the outside of the front ring. (Note B.Pat No544,694 was granted in 1941approx,
No 575,075 in 1944 approx.) This suggests the Septac was patented early in the war. (This can be checked,
as these dates are from the US equivalents of B.Pats.)
It covers 48°, and 51mm is nice for 18x24mm, but struggles slightly to cover 24x36mm unless closed down a
bit. It is relatively free from flare as there were only 8 air/glass surfaces (an extra glass is used, but cemented
in component 2) compared with 10 on the competing Gauss types. It occurs in M39x26 thread but those seen
had a deeper register, and did not have a protruding coupling flange; and were probably off the Langham-
Thompson Oscillograph camera. They were used for recording by the MoD but the camera is not known.
Alternatively they may be ex-movie. It has been mounted (transplanted to Contax), one at auction being
No265,06x, and this may be easier to use short head lenses this way than converting them to M39 as no
focusing mount is needed. Coated versions were made but are scarce. Several mounts seem to have been
involved. (The leaflet is all about applications in technical recording, not general or movie work.) It was noted at
Nos 369,17x and 470,48x, both uncoated, and one also has the number 178 on the mount, possibly the
number of the M39 camera it matched.
Fig 011 026 Dallmeyer Septac f1.5/50mm in M39 No156,824; lens head No369,176.
A minor item was the f3.5/50mm anastigmat on the Williamson G45 gun camera for recording in training and
service. It was a sound but cheap narrow angle lens made in thousands. It was fine for 16mm but postwar
dealers tried to sell it for 35mm use and it was not suited to this. It was uncoated and had no iris, but some
may have had a (Waterhouse?) stop at f6.3 as indicated by D. Rendell in a later article (Sales see MCM June
1946, Rendell, B.J.P. 08/02/1980, p124). An earlier version was the G42B shown in Conyers Nesbit 'Eyes of
the RAF' on p105, and it is likely also to have had the same lens, but this is not stated there or in the B.J.A.
notice in 1938, p302, which does mention a graticule with etched rings and a 30hr clock to be also recorded
on the film. The older camera had some Bakelite body parts. It entered production as the Hurricane and
Spitfire came into service. Losses were severe in the Battle of Britain and the G45 was brought in to replace it
with some new features- all metal body, and loading from both side and top in quick change metal 25ft
magazines. Postwar the G45 was sold off at (from memory!) £2.50, often after fitting a hand wind lever.
Few new items were issued to the public in the war years, adverts. typically being formal one to keep the
name before the public. Looking at that for 1942 (B.J.A. 1942, p361) it is noted that movie/cine lenses were at
least half the interest, with the still lenses having a substantial number of tele lenses. This probably explains
why some still lenses such a Perfac are fairly hard to find.
1945 and after.
The following is taken from an early postwar, but undated list, plus adverts. and B.J.A. mentions. Among the
most interesting to collectors is a small range of M39x26 lenses from Dallmeyer and Cooke and Perkins, who
made their mounts and worked closely with them- thus some of C&P's mounts for ex-WD lenses such as the
3in f2 Speed Panchro look like a dress rehearsal for the ones made later for the Dallac. Coating came late in
the war or just after it, and was indicated by Dc for Dallcoated engraved on the mount. Some existing product
seems to have been withdrawn for coating, from the coat visible on the mounts in some cases. At least for the
wide angle Gauss, the coat seems to have begun at a serial number of about 340-350,000, a later break being
at between 616,69x and 635,80x when focal lengths were marked in mm in place of the old inch marking,
which is inconvenient for small wide angle lenses. But a few lenses are anomalous. Thus a Dallmeyer
Projection 14in No544,989 was uncoated even though it was marked Dc. Postwar lenses have the name in
capitals, not the old cursive of prewar.
Rareac for 55° f1.9 It was made in 20, 25, 38, 51, 80, 102mm, eg as 4in for Vinten F95.
These are normally coated, use heavy glass, and are often warm in color. Layout Da025 but this may be a
generic Gauss drawing. This was an updated Super Six but both were still produced for many years. It seems
uncertain if Rareac ever reached the open market but leaflets did. It was noted at No 575,12x, on a 4in lens.
Fig 025 021 Dallmeyer Rareac f1.9/4in with iris missing.
Septac
It has been difficult to date the introduction of Septac, but one clue may be the Patent Number (below) and
another is the number which are not coated, as Dallmeyer began coating late in the war or soon after it. A f1.5
Coated Anastigmat is noticed in the B.J.A. 1946, p180, and seems to be to a design patented in the war-
which would fit. It has 7 components (=glasses?) and covers 47° and it has proved its worth in fluorography
and is rated to cover the full 24x36mm format. It was then in standard iris mount only, ie barrel and probably
only as an f1.5/2in This was featured in a note in the B.J.A. 1962, p484-37, and was then in 51mm (2in) for 48°
only, for recording on up to 24x36mm (nb, in close up) and fluorography and radiography, and could be had in
a flange, or plain 42.5mm tube, without iris, or a micrometer focussing mount was available. These will be
'late' coated lenses. They carry the Patent number 553,844 on the side and were often illustrated early
postwar (B.J.A. 1947, p428.)
Dalrac f4.5 This was made only as a 135mm lens, of Q15 layout. As a visitor to Dallmeyer,
it was found that this was a Serrac with the spacing of the glasses slightly changed to get best centre
sharpness. It was said to have special attention to the colour correction. The mount was by Cook & Perkin,
and varied slightly in finish and direction of rotation to focus. Most are in M39x26, but some are for M42 or
Exakta. (Am. Photo. 03/05/1950, p319, MCM Jan 1950). All were coated. It sold well and is usually available
today if looked for. These were marketed for Leica, but some were used on Reid and we think were checked
and matched by Reid as shown by their engraving. It was noted at No346,16x-516,25x- over a considerable
period. The M39 version was noted in B.J.A. 1950, p242 when it was stressed that the moderate aperture and
angular field allowed a very high degree of correction especially of astigmatism for colour work and anodized
focusing threads, and coated optics; also B.J.A. 1957, p202; 1958; the Exakta version in idem, 1959, p229.
By the 1957 notice, the lens head was made removable to fit the Leitz focusing mount and reflex unit. Cost
then was £29.75 + Tax £11.60 The price is also given for Type B (in a short head focusing mount) at £24.35
etc and for a fixed mount version for use on a bellows + reflex assembly at £16.00. or £24.35 + Tax £7.93
(B.J.A. 1955, p177) [Modern experience has shown some care is needed with the coupling, possibly with
lenses fiddled since manufacture. As mentioned above, it was a lens which Reid occasionally tested, adjusted
and added their name to.]
Dallac f2.0 This was made only as 85mm for Leica, about Da024, but this is like a Super
Six but not officially the same. All of these are coated. These were listed for many years, and were officially
for Leica though they would fit Reid,etc. (new in MCM 6/1948, 5/1949, Amateur Photo 1949, p312). Initially it
was only sold for export, and this may explain why it was still 'new' in B.J.A. 1950, p202, where it is stressed
the focussing threads are anodized to prevent wear, the mounts are individually calibrated, and the lenses
coated and excellent. This initial type had a black band next the screw flange, and took 51mm filters. It was
noted at No339,25x-494,62x, also 544,72x, 544,74x. It sold reasonably well and can usually be found if
needed.
Super Six f1.9 1, 1.25, 1.5, 1.75, 2.0, 2.25, 2.5, 3.0, 3.25, 4.0, 5.0, 6.0in, f2.0, 8.0in.
Layout Da024 still.
This was applied to many uses in recording , technical and movie work, and mounts can make them hard to
reuse. Some have no iris being for projection. It was said at Dallmeyers that they were still made in the 1970's
to the original design. Using a uncoated 4in and a coated 5in lens the value of coating is quite apparent, the
image being much more contrasty and clear. Also, on stopping down the 5in seemed to hold focus much
better than the older 4in which seemed to need to be refocused, but this is said with caution as both were old
lenses in used condition. The 4in at No303,64x came off a large focusing mount, possibly for 70mm or for
early TV, [with a f2.8/80mm Cooke as the other lens of the pair.] It seemed possible to use it on 6x9cm but
the 5in tried would be much more comfortable to use, with a margin of excess coverage outside the frame in
use. Large examples of Super Six are not too uncommon, though their original use is obscure- possibly for
CRT work or television. The f1.9/5in specification has been seen several times, and at No553,10x a coated
lens, found as a PIM lens, was reused on a Press camera, covering 6x9cm easily and probably 1/4plate but
not 5x4in. The image seemed very good, contrasty and really sharp all over the screen. And the amount of
light gathered is very impressive. It is in a light weight mount and less heavy than would be expected. It must
have been a really valuable lens for some jobs.
Super Six was still in production late in the London period.(1980) to meet at least one customers specific
orders.
The most valued are 50mm versions in M39x26 thread. Prewar examples are:
(Fig 011 027 Dallmeyer Super Six f1.9/2in =50mm, (r) Nos 156,824 (cpld), (l)148,352 (uncpld),
Postwar numbers reported have included those below. They are desirable, especially the few made in
interrupted thread for Witness for which they were original equipment. These last are really scarce but serial
numbers noted were No381,69x, 383,47x, 437,66x and 439,13x, 443,459 (on a Witness). The camera was
noted in MCM, Jan 1953. Super Six was also mounted for Exakta 35mm as described in B.J.A. 1957, p190,
where it was in a polished white mount, lightweight and focused to 30in, with stops to f22. It takes External
36mm filters. By March 1950 Dallmeyer were selling the 3 lenses: f1.9/50, f2.0/85mm and f4.5/135mm in
coated form. A 1in in C mount was noted in B.J.A. 1956, p259.
f1,9 2in (51mm) This was mounted for Kine Exakta in B.J.A. 1951, p212.
Fig 025 016 Dallmeyer Super Six f1.9 (rear l) 5in No553,101; (r)3in No250,070 with a long thread mount;
(front mid) 2.5in No441,573, white ? for movie; (l) 1.5 No562,219 in in smooth barrel ? for projection;
and 2in No521,070 with gear cut drive for focus- ? for TV. Most of these will be postwar versions.
Others noted were 3in lenses at Nos 366,37x and 380,92x.
Pentac f2.9 This was available postwar as 3, 4, 5, 6, 8, 10in, and was mounted for Exakta in
75mm(3in) and 101mm (4in) f2.9. These last are scarce items.
Dalmac Q15 type f3.5 This was listed postwar as 2.0, 3.0, 6.0, 7.0, 7.5, 9.0, 10, 12, 15in. 14 sizes
made. It was suggested to use 7in for 5x4. It covered 50°. This was probably the prewar type now coated.
The 2in was seen at No469,36x (Dallcoated, iris to f16, but this was not in some lists. It was in a alloy adapter
with roughly Leica thread and register.
Dalmac was available into the late London period, eg at No597,15x and probably was used in two special
version as follows:
(a) Portrait f3.5 10in This was made in 9,10, 12 and 14in and all are 4 element
anastigmats- they could be supplied in a special mount which allowed a variable amount of diffusion to be
introduced, the amount being controlled by rotation of the front cell. It was fully sharp in the normal position,
and the mount was finished in matt chrome and black and the lens was very heavy from experience. The cost
was £29.5 for 9in to £75 for 14in, or including the extra, at £34.5 to £83 in the diffusion mount. This is a scarce
and select item, coated and with a versatile performance.
(b) Advocate Lens f4.5 35mm The optics are the same as the f3.5 below, and this
suggests that it was Dalmac related, noting the good angle covered by the Dalmac in original form. It was
'new' in May 1949 when the MCM saw it for review, and in the B.J.A. 1950, p78 advert. p246 review. The lens
then was coated, and 'the perfection of the Dallmeyer lens allows of adequate enlargement from --less than the
whole frame for portraits'. It was still sold in 1953, (B.J.A. p88 Advert.) but the same B.J.A. noted the new f3.5
version on p198. It was seen at No370,22x.
(c) Advocate Lens f3.5 35mm The lens was as above, but with the iris freed to open to
f3.5. At f3.5 the vignetting is noticable in colour work, and f4.5 or f5.6 is better. This optic was sadly not used
in M39 or other mounts. Advocate is a camera with a definite following, and a lens noted was No465,20x, and
389,08x.
Serrac as prewar,ctd. f4.5 These have been noted postwar in 2-18in. in 18 foci but by 1962 they was 'in a
full range from 2-8in' including Compur shuttered models. An especial claim was that the rear glass was about
the same diameter as the front giving more even illumination and that while flare was kept to a minimum, there
was a generous coverage for use of rising fronts, eg on MPP and Gandolfi cameras. It was suggested to use
6in for 5x4, and 5.5in cost £36.00. A f4.5/7in in a Compur EX/CII/5 was noted in B.J.A. 1956, p217.at
No471,581. The iris closed to f22, or less, and Dallcoated.
These can be excellent! Layout 023. It was noted at No445,69x as a coated lens. They were noted on the
Gandolfi Berthillon identification cameras for 5.5x3.25in with a sliding back, using a Serrac f4.5/7.5in,
No343,886.
Perfac as prewar f6.3 This was made in 3, then 6-30in. in 11 foci, where it was suggested to use 6in for
5x4. (B.J.A. 1961, p216). The notice showed No471,584 in a Compound shutter and noted the high
corrections and fine resolution obtained. It was then in 7.5 - 30in focus, and the 12in reported on was £66.75
tax free.
Wide Angle as prewar f6.5/f11. It was made in 60-228mm or 2.375-9in. These are limited by coma to use at
f11 or less, but f6.5 is there to compose. Now they were supplied with coating for better contrast, from about
No340-350,000 and up. The later version has the focus in mm at No635,80x.
Fig 025 026 Dallmeyer wide angle lenses f6.3 (rear) 178mm No670,890 ex-instrument use; also
5.25in No616,692 and 135mm No635,801; and front 3.25in No385,552 and (r) 4.25in No174,479.
An unusual version is a f6.3/178mm coated lens in a plain barrel mount, the iris being uncalibrated and
controlled by a wide band on the mount with 2 slots for a control. These seem to be from some type of copier
at No670,86x and at least 2 have been seen. They are impressive items.
Dallon f5.6
(a) It was made in 6, 9, 10, 12, 14, 17, 20, 24, 40in.in one list, 4-30in in another list. It was suggested to
chose 12in for 5x4,
(b) It was also made as an f6.5 for 24,30in, and f8 for 40 and 60in
A very select version was the f5.6/508mm series for the Hasselblad, where one at auction was No487,99x,
engraved "Manufactured by Cook and Perkins Ltd London, for Victor Hasselblad AB, Sweden" It was a normal
listed item and some 12 were bought for the Swedish Navy.
The f5.6/6in Dallon was featured in B.J.A. 1956, p227 in white alloy finish, and 1960 p185, and focused to 9ft,
on a rectilinear mount, and it was Dallcoated, and fitted 35mm and 6x6cm cameras, such as M39, M42,
Exakta, Rectaflex, and Alpa as well as Agiflex (B.J.A. 1951, p195), which was reviewed. Cost £22.75 + Tax
£3.65. The 17in was in B.J.A. 1958 p214 at £74.00 + Tax £28.85 and had a black mount with a tripod bush
was 12.5in long with a 3in dia lens hood, and stops to f45, and was here fitted for Kine Exakta. Experience
has been enough to suggest that the Dallon was probably the wiser choice than the next item unless the extra
speed was essential, as it usually had higher contrast and often sharpness.
New Large Adon f4.5 It was made in 6, 9, 10, 12, 14, 17, 20, 24in but not all were in all lists. The
catalogue covers mounts for most of the European reflexes of the time, including Exakta, Korelle, Praktica,
Praktisix, Alpa, etc. but not the Japanese ones. (B.J.A. 1957, p195). It noted the short mount, smooth easy
focusing and dull black mount, and that it stopped to f32, but the 9in described did not have a tripod bush
while the 12in does. Postwar these were Dallcoated, but the external curves where checked are the same on
prewar and postwar f4.5 12in lenses. These were Nos. 122,91x, and 500,34x, which was later coated and
mounted for 35mm Exacta. Another is No470,932 which is marked 'Television' but otherwise seems to match
the 35mm type.
Enlarging Lenses
These were a major postwar market and at least two or three series are noted.
(a) The originals were probably continued from prewar, but coated and probably in alloy mounts. They seem to
be:
f4.5 This was made as 2.0, 2.4, 3.0, 3.25, 4.0, 5.3, 6.0, 7.0in. These seem to be Q15 type. A B.J.A. note
(1946, p175) says 19 foci were made. Some at No477,47x have the iris behind glass 1, but normally it is
behind glass 2, Three types existed:
In 1946, there were 12 items in the highly corrected f4.5 type of premium quality.
In 1946, there were also 7 in the 'Popular' series, to provide a really good lens at a reasonable price. Thus not
all are marked 'popular', and these will include uncoated lenses of both types. A 7in f5.6 of fine quality was
noted at UU283,76x, suggesting a wartime lens. A coated 3.25in f4.5 was noted in B.J.A. 1951, p203 at £8.00
+ Tax £3.47. It had click stops and was added to the previous set which had a 3in which was felt too short for
6x6cm.
In 1946, the f3.5/2in was "Now there has been added" so it was a new item. There was no mention of coating
then.
(b) There seems to be a redesign in the late 1950's. A 'new' standard type is described in B.J.A. 1957, p192,
where a 5.5in to cover 9x12in in a black mount is described. It is a new design of 4 glass type, coated and
with iris scaled in factors. It used a 1.75in flange and cost £12.25 + Tax £4.78. The mounts of the 'big' versions
may differ from the smaller, and the optical similarities may be masked by this.
(c) De Luxe or "Quality Enlarging" f3.5, 2in, f4.5, 2-10in. These were later lenses with brown coating
and self illuminating scales, and are of high quality. Last sales may have been a close out at Thoroughbred
Cameras in 1980, at Serial No 718,66x. These were a Q15 type with iris after glass 1, and there seems to be
an 'entirely new' series beginning in 1958 with the 5cm version in 1.25in flange (noted in the B.J.A. 1959,
p268.) The advert. p608 however suggests the older series were still available in up to 10in focus, with click
stops.
The 1962 B.J.A. p484-38 stresses these were then all of them de luxe and 4 glass design,with iris blades of
thin brass, and with click stops, and some had illuminated iris scales. The 7in was suggested for 6.5x4.75in
at £24.5.
Technical lenses. These are taken to include recording lenses and oscillograph lenses. Since there were
three or four apertures, it adds up to quite a comprehensive programme. It was probably more important
commercially than one might think now to judge from the number of ex-MoD lenses noted.
High resolution Microfile lens. 2.0in focus. possibly wartime? That noted was a postwar, coated
lens. The B.J.A. 1952, p195;1961 p217 notices cover an f8 lens, in 2in (1952) or 1 and 2in in 1962, for 8:1 to
18:1 magnification or reduction, at a fixed f8- there is no iris so exposures were by altering time or lighting.
Prices £22.75 in 1in; £25.2 in 2in. (Tax free.) There was a ordinary screw mount and flange. It was noted that it
could have other uses as a macro lens when reversed for larger formats, even 1/4plate at 3in from the subject.
A Dallmeyer microfilm lens was used on a Williamson-Kodak camera in B.J.A. 1949, p224.
Underwater Lens f3.5 38mm This was reported as used in the Institute of Oceanic Studies camera,
(IOS, Wormley, Surrey, UK) designed by Prof C.G. Wynne to operate with 35mm film thru a plate glass
window of RI1.343 for 450-650nm spectral range to 200m depth and flash- there is no shutter for the sake of
reliability. (A.L.Rice and E.P.Collins, B.J.P. 09/05/1980, p449)
Instrument Recording
Oscillograph f3.5 76mm lens in Prontor Press shutter, No640,84x., ?Q15.
Oscillograph f2.8 76mm lens in Prontor Press, No577,755, 582,010, also a Q15 type. This has
a front cell mounted as the positive threaded into the negative and thence to the shutter- and the first can
come unscrewed leaving the second as a 'hard-to-remove' item. These are well coated.
Instrument Recording f1.9 51mm This is not a Super Six, but possibly a version of the Rareac, and
was noted at No709,61x for Shackman camera.
Fig 025 024 Dallmeyer recording lenses in shutters.(r) f2.8/3in in Prontor Press No582,010;
(l) Oscillograph f1.9/51mm No726,263 in Copal.
Dallmeyer Recording f1.6 80mm in Wollensak shutter, no details.
Oscillac f1.0 2in (50mm) This may be the trade name for CRT copying but there is little
information here. It was for 4:1 ratio.
Cine/TV Lenses
These tended to be for specialist applications after the initial post war boom. The Focal Press Guide to the
Bolex cameras lists some 29 types in all, though not all were made at the same time. Incidentally, they seem
to have been in white finish to the late 1950's and then gone over to black. The black may be a new anodized
finish. A long Tele such as an 6in f3.5 Cine Tele is shown in white in B.J.A. 1955, pp 174, 625adv.
Speed Anastigmat, f1.5/f1.312, 15, 20, 25, 50, 75mm The 25mm (1in) version was noted in B.J.A. 1952,
p208 in C-mount, alloy with chrome plate finish, and gave a crisp image but at that time both coated and
uncoated lenses were offered and the lens seen was not coated. Uncoated £16.00, coated £17.75, both plus
tax, eg £6.94 and £7.13.
Triple Anastigmat f2.9 15, 20, 25, 50, 75mm The 15mm version was noted as a wide angle for
16mm covering 46° in B.J.A. 1957, p178, where it was Dallcoated and in fixed focus mount. Price £12.25 +
Tax £4.75. It seems to be 'new' in B.J.A. 1933, p287 as f2.9 in 1,2,3,4in versions for cine.
The Triple Anastigmat f2.9/3in for 16mm was noted in light alloy as a coated lens in B.J.A. 1953, p223.
Cinematograph f1.9 25, 50, 75mm This may be a very old type of lens as the launch of a
Dallmeyer Cinematograph f1.9 3in lens was noted in B.J.A. 1914. Thus it is likely to be a Petzval type which
will have been updated over the years, coated and given a 'Litewate' mount. There was still a 1in f1.9 in B.J.A.
1958, p222, and a 2in f1.9 Cine lens in the 1961 B.J.A. p176, and 3in f1.9 in 1960 p207: (and this was
probably not a Super Six), in C and D mounts, in black and silver finish and the hood acts also as a filter
retainer ring. The writer notes the high reputation of Dallmeyer in the cine lens field at the time.
Cine f1.9 13mm This was in D mount in polished alloy, focusing from infinity to 1ft and
with iris to f16 in B.J.A. 1956, p169. It may not be in the same series as those above. A lens of this
specification was used on the Miller 8mm cine (B.J.A. 1949, p215, 401 advert.) and on the Dekko 8mm Model
110 (B.J.A. 1948, p163) where it was in chrome trim and provided excellent definition. It was a focusing
anastigmat.
Super Six f1.9 25mm
VIDIAC A 25mm f1.9 Super Six was mounted and coded this way, probably for TV use.
Sixtac f1.9 25mm
Popular f4.0 75mm It was coated, 'lightwate' alloy mount and a versatile fast long lens
(B.J.A. 1954, p232.)
Popular Long Focus f4.0 1.5in (38mm) This was noted in B.J.A. 1957, p229. It was in a black D mount
in brass, with focusing movement to 2.5ft, but the writer mentioned that the focus scale was not as boldly
machined as he might like. Cost was £9.65 + Tax £3.75. A 3in Popular was 'new' in 1933.
Cine Long Focus f1.9 75mm This may be the fast product to compare with the next:
Triple Anastigmat f2.9 3in for 16mm in light alloy coated in B.J.A. 1953, p223.
Telephoto f3.5 75, 100, 150mm One of these was noted at No326,22x on a Bolex. It was
featured in the B.J.A. note in 1955, p174;1962, p484-38. It was in C and D mounts, white finish in 1955, black
finish in 1962 and with click stops, at £18.90 + tax+3.38 in 1962. In 1955, the 6in was £25.25 + £8.20. Note C
mount was 1in dia, 32 TPI, 0.69in register. D mount was 5/8in dia, 32 TPI, 0.484in register.
Telephoto f4.5 100, 150, 225, 250, 300mm This was featured as a Cine Tele in B.J.A. 1960,
p227; 1962, p484-39, and was a bigger, faster version of the next item, but not for Leica then. It had a tripod
bush and cost £67.00 + £11.95 tax. The 1960 writer was obviously very impressed with it, and for the 300mm
(12in) the hood at 8in long was a major part as the lens and mount were a mere 9.25in on their part. Cost £57
+ £9.25.
Telephoto f5.6 225, 250, 300mm. This was described as a Dallon in the B.J.A. 1953, p221,
1962, p484-38, and was for a wide range of cine cameras, as well as the Leica Ploot reflex unit. Surely the
longest normally was the f8.0/40in mounted for Leica Ploot reflex unit noted in B.J.A. 1955, p200. It was
supplied in a wooden case, and dismantled into two parts for transit, and was coated and had an iris which
closed to f45. Price was £210.00 + £68.25 tax.
f5.6 6in for Reflex Korelle in white mount, and coated at £18.75 + Tax £8.1.
Wide Angle Anastigmat f2.5 6.5mm This was in a neat black fixed focus mount with D fitting for
8mm cameras, noted in B.J.A. 1958, p222, for 53° but the optical design is unknown and it may be a
retrofocus design but this is not certain.
Inverted Tele f2.5 28mm This was an inverted tele with 5 glasses, and was for 35mm movie
with a rear clearance of some 25mm (or 1.25in) and was sold in a rigid barrel mount with stops to f16, but a
focusing mount could also be obtained. (B.J.A. 1958, p268). An example seen actually was 25mm f2.5 and
may be a further version, at No543,35x. It again seemed to be a commercial movie lens.
Fig 025 027 Dallmeyer Retrofocus w/a f2.5/25mm No543,358.
Inverted Tele f1.3 12mm Retrofocus type, for cine only, later tv. 67° coverage. Layout Da027.
Inverted tele f3.5 12.5mm This was noted on a Vinten 16mm scientific camera listed in B.J.A.
1960, 187 and seems to be an earlier version. The other lenses were TTH ones, so it may have been before
TTH released their retrofocus types.
Cine Teles (and above) f3.5 3.0, 4.0, 6.0in.
Orthiac, Vidiac and Teleog . These are series of TV lenses, available pre-1960.
Octac This was a fast and well corrected lens for Oscilloscope recording. It was noted as a
?100mm f1.5, ?8-glass Gauss and a 80mm f1.5 lens marked 1:1 has also been seen at No693,12x, blue
coated and showing the 2x 7 reflexions required for a lens with 4 glasses back and front with two cemented
surfaces.
Fig 025 019 Dallmeyer Octac Oscillograph recording lens f1.5/80mm No693,129.
Ultrac f0.98 25mm for use with 16mm or TV, 8-glass Gauss, Da026
Octac and Ultrac may be related. Noted at No561,76x. In use it proved to be extremely fast and it was hard to
find a suitable subject but the image of this example was not up to the standard of other 16mm lenses. This
may merely say that it needs greater care in use than was possible in this trial.
Projection Lenses
Maxlite Projection f1.5/f1.81-4in (or f1.6, 2 - 4in in 0.5in steps) ?Petzval. Some are not coated, ie it was
a long lived product. This and the Maxlite were noticed in B.J.A. 1955, p190 as 4in; 1961, p177. It seems to
have been a fast but narrower angle lens than the Super Six. It was made in B mount, 1.156in dia, 8TPI. for
B&H 16mm projectors.
Film strip Projection
These seem to be a newish product now issued in B.J.A. 1946, p175, where lenses of 1-6in were offered for
24x36mm and smaller. Apertures of up to f1.9 were included.
Projection f3.5 2in (51mm) This was in a plain tube mount 42.5mm dia. for when a large
picture is needed in a small hall. Coated, it gave a brilliant and evenly illuminated picture. (B.J.A. 1955, p194)
Dallmeyer f3.5 4in This was noted on a Johnson Autoscope noted in B.J.A. 1948, p161.
Super Six for some uses. Cine Super Six was made in 1-1.75in in 0.25in steps, in cases where a high
magnification is needed with only a short throw. A need for a longer throw would have indicated a Maxlite as
the recommended product.
Fig 025 016 Dallmeyer Super Six f1.9 (rear l) 5in No553,101; (r)3in No250,070 with a long thread mount;
(front mid) 2.5in No441,573, white ? for movie; (l) 1.5 No562,219 in in smooth barrel ? for projection;
and 2in No521,070 with gear cut drive for focus- ? for TV.
Super Lite Projection f1.8-f2.72-7in, Petzval type.
Series X11 Projection seen as a 6.5in of uncertain age.
Projection Series X1V It seems to be a Triplet. The figure may show an example which unusually is
uncoated even though it has the Dc mark which normally indicate a lens was coated.
Fig 025 023 Dallmeyer 'Dc' Projection 14in No544,989- this is not coated but has the Dc mark.
Also Projection Mk11 and Projection f1.65 lenses.
Profile Projection seen as 1.5in, ?non-photographic use.
Gauge Projection seen as a c.3in lens.
Fig 025 014 Dallmeyer (l) Gauge projection lens, No351,477; on left.
Dallmeyer were also trade suppliers of Flanges in 1-4.5in sizes, including M39, C and D mounts, and in RPS
threads in 0.25in intervals up to 6.5in then in 0.5in sets. They also supplied irises, focusing mounts, studio
shutters, and lens accessories.
When visited in the late 1970's, Dallmeyer were switching from making retail lenses to subcontracting for the
industry, where their size and on-line computer facilities were valuable. Later they moved out of London, to a
lower cost base in the country and are still active in the 1990's. However it has not been possible to make
contact with them at the turn of the Century. The arkiv is at the Cricklewood Public Library and Records office
and is being worked on as a feature of the Millenium to make it possible for it to be accessible to the public.
Chronology
The company had excellent records and some serial data was transcribed by Mr Falchenberg and published in
Photographica No17, May 1981. This is in part the source of the following table in shortened form, and part
was from a visit in 1980.
1860, begin: 1865, No 9,000; 1870, No18,000; 1875, No24,000; 1880, No29,000;
1885, No38,000;1890, No47,000;1895, No55,000;1900, No62,000. In addition, it seems that No107,55x is mid-
1920's (No121,xxx was about 1927) and a Dalmac No147,14x is in a rimset Compur No2,421,56x of about
1934,and that coating began early post-1945 at No 340,000 approx.
Fig 9 Dallmeyer Brass Lenses
Exposure: Busch Perscheid f32
Back Row Dallmeyer Petzval Lens
Dallmeyer Teleaccessory with Stigmatic Ser 11
Dallmeyer Petzval Lens.
Dallmeyer Group Triple Lens.
Front Row Dallmeyer Rectilinear Landscape
Dallmeyer RR
Dallmeyer WAR
Dallmeyer ADON Tele
Dallmeyer Triple Achromatic
Fig 10 Dallmeyer for 35mm inc. M39x26.
Exposure: Dallmeyer RR 6in.
Back Row Dallmeyer New Large Adon f4.5/12in for Exakta.
Middle Row Dallmeyer Super Six f1.9/50mm (1930's).
Dallmeyer Super Six f1.9/50mm.on Reid 3.
Dallmeyer Dallon f5.6/4in for M39x26.
Dallmeyer Dallac Lens Head f2.0/85mm.
Dallmeyer Dallac f2.0/85mm (2x)
Dallmeyer Dalrac f4.5/135mm in M42 (M42 Filters).
Dallmeyer Dalrac f4.5/135mm in M39x26 (M36 filters)
Front Row Dallmeyer Septac f1.5/50mm adapted to Contax.
Dallmeyer Septac f1.5/50mm in M39x26.
Dallmeyer Dalrac f4.5/135mm in M42 (M42 Filters).
Dallmeyer Dalrac f4.5/135mm in M39x26 (M36 filters)
Fig 11 Dallmeyer: Some Postwar Lenses.
Exposure: Super Six f1.9/4in.
Back Row Dallmeyer Octac Oscillo f1.5/80mm
Dallmeyer W/A f6.3/178mm.
Dallmeyer Super Six
Dallmeyer Ultrac Cine f0.98/1in.
Dallmeyer Rareac f1.9/4in.
Front Row Dallmeyer Oscilloscope f1.9/2in.
Dallmeyer Oscilloscope f3.5/76mm
Dallmeyer W/A f6.5/3.25in.
Dallmeyer Speed 16mm cine f1.9/1in.
Dallmeyer Super Six f1.9/2in.
Fig 12 Dallmeyer c.1900-1940.
Back Row Dallmeyer Patent Petzval
Dallmeyer New Large Adon f4.5/12in.
Dallmeyer Pentac f2.9/8in ex-MoD.
Dallmeyer Pentac f2.9/5in ex-MoD.
Dallmeyer Super Six f1.9/4in.
Middle Row Dallmeyer Tele Anastigmat f6.7/10in.
Dallmeyer Carfac f6.3/8.25in ex-Aero use(?)
Dallmeyer Gauge Projection Lens.
Dallmeyer Pentac f2.9/3in.
Dallmeyer Triple f2.9/2in Cine.
Dallmeyer Projection Super Six f1.9/1.5in
Dallmeyer Adjustable Adon New Type.
Front Row Dallmeyer Stigmatic f6.0/12in.
Dallmeyer Stigmatic f6.0/27cm
Dallmeyer Focussing Mount Carfac.
Dallmeyer Dalmac f3.5/3in.
Dallmeyer Pentac f2.9/1.5in for projection.
Dallmeyer W/A f6.5/5.25in.
Dallmeyer Dalmac f3.5/7.25in.

DAN Camera Works, Japan.

Eria Anastigmat f3.5/40mm No3173 This was noted on a Dan 35 camera for 24x24mm.

J.B.Dancer (1812-1887) A self taught Daguerrotypist who taught his friends in Manchester and started the
local interest as well as working as an optician and instrument maker. He used Lerebours et Secretan lenses
on at least one stereo camera. He proposed rotating disk stops in Brit. Pat. No2064 on 05/09/1856. (Book see
B.J. P. 26/10/1979, p1027, it was then published by M.Hallett, 134 Henwick Rd, Worcester, WR-5PB).

A.Darlot, (Opticien), Paris, France.

Jamin was at 14, Rue Chapon, Paris. Darlot probably began work here.
Certainly he was later at 125, Boulevarde Voltaire, Paris.
In USA, he seems to have sold on the E. & H.T. Anthony Normandie, Phantom view at No62x for 5x8in, and
other cameras. Also on a Gennert N.Y. 10x8in camera. They have also been noted marked "B.F. & Co" on an
early Daguerre type lens.
The company was founded by J. Th. Jamin in 1822- ie it was pre-photographic, and was purchased by Darlot
(1828-1895), a former employee, in 1855-1860, with the lenses carrying both names in c.1860-1861.
Production was mainly of Petzval lenses but also included RR's, described as having 3 swing-out stops fitted.
Another feature was the "cone centralisateur" which was a Jamin design of the mount, with a prominent
cone behind the Petzval lens. Kingslake says that when Darlot succeeded in 1860, the lenses had both
names for one year. An example at auction says:
"Jamin et Darlot, Btes SGDG, R. Chapon 14, Paris."
This is likely to be the form for one year. More often the engraving is:
"Darlot, Anciennement Monsieur Jamin"
as below, to indicate formerly Mr Jamin.
Darlot established himself as a well known 19-Century lens maker whose products now include highly valued
ones.Thus in 1865, he seems to have made a new casket set using one barrel and several components for a
selection of foci at the suggestion of Mr Johnson, and at least one "Universal" set was based on a Petzval
barrel and RR components to screw into it in its place.(B.J.Photo. 17/08/1888, No1476). He probably also
made the Jamin-Darlot lens on a W. Morley camera in the 1860's. The Darlot Trousse was noted with respect
as 'the earliest form of the lens casket' with adjustable stop position by sliding the position, depending on
whether it is used as a doublet or a single meniscus. The doublet was 'free from deformation and a very wide
angle'. But it was noted to be heavy and a rotating stop would be more convenient.
He seems to have been succeeded by 1901 by L.Turillon, 121, Rue Gravel, Lavallois, (works) and 99 Rue
Lafayette, Paris (shop). An anastigmat symmetrique at No189x was by Turillon which just may suggest a new
series of numbers. Some late lenses were in aluminium, as was one for a Shew Xit camera, where the body
was in alloy and wood.
Meniscus An early lens seen was a meniscus of some 16in with washer stops (about f22, f32), engraved:
Darlot, Sr OPTn Bte SGDG and ANCne Mon Jamin (No) 25951,
ie a 1860 approx lens, and the barrel here was fitted with dual end screws threads to mount the lens at either
end of the barrel for "Paysages" ie views and "Portraits" which seems to be unusual. This might suggest an
interest in soft focus portraits by 1860 but it is more likely a Petzval which has lost the rear pair (used for
portraits only) and therefore appears to be a meniscus only.
Fig 018 034 Darlot lens reversible for 'Paysages' (views) and 'Portraits' (Portraits)
Triple: This type is recognised by collectors on the Continent. It seems to be an achromatised periscopic
with variable separation using a sliding tube with a locking knob to extend the front cell, as well as a normal
rack and pinion focus. There does not seem to be much change in the back focus due to the adjustment (say
12mm) but moving the front could offer 3 options to use as 'in', 'extended' and 'out' as a meniscus lens. The
cells have unlike screw threads so that there seems no likelyhood they were both used, even though this
would give an extra focal length.
In 1889, he listed in the BJA "Lenses of every description" including "The Universal Lens" several lenses
in one, replacing the ordinary landscape lenses, "New Rapid Hemispherical" lenses, recommended by Prof
Stebbing, as well as cameras and accessories.
By 1899, the Rochester Optical Co. was listing a fair range of lenses from Darlot, as follows;
Wide Angle Hemispherical 90° f? 3.5-8.75in (1899), 3.0-8.0in (1890) This may be a Globe? or
Kingslake suggests it is an RR.
Rapid Hemispherical for 60-75°. 5.5-14in (1890), to 21in (1888). This may be near the above and an example
was noted on a Hermagis 14x19cm camera from about 1875 at No14,02x.
Darlot Portrait lens 1870 onwards, 1888 lists 4.5, 7, 10.5, 15in foci.
At least one smallish Darlot Petzval when dismantled for cleaning showed the name "Darlot" written in ink on
the edge of the rear glass- but sadly no date.
Fig 018 036 Darlot Small Petzval lens
A Darlot Portrait lens is in the Kodak Museum and is about f4/18in focus with 5.25in dia. rear glass and is
dated as about 1855.
Quick Acting Lenses list 5.5, 8.5, 11.5in.
These last two were probably Petzval types.
Anon F2 This fast lens was noted in B.J.A. 1933, p199, as it was then adapted to make a night
camera, being about a f2/2.75in, though this just may be the back focus of a still very fast lens but of longer
focus. It was adapted by Mr J.H.Cleet, and described in B.J. 01/04/1932, p195-7. (?It does not seem to be a
hoax.)
Gem lenses, sold in caskets. as sets of 4 cells.
Single View This was a meniscus lens, 5-20in.
"Imitation Dallmeyer Stereoscope lens" The front component is usable as a 6in Landscape lens on its
own. It was probably a Petzval. If genuine Dallmeyer, it should have reversed rear glasses, as Q4.
Casket Sets (various) One version was from 1865 (B.J.P. No 1476, of 17/08/1888). This may have been at the
suggestion of Mr J.R.Johnson, who was his English agent at the time.
Fig 016 006 Darlot Casket set based on achromatic cells to form RR lenses.
Magic Lantern Lenses No date can be given- they may well have been fairly normal Petzvals. They were a
matched pair for dissolving action.
1885 list has:
Universal= Casket set as Petzval in mount with 6 achromatic cells to exchange.
This gives foci 5.5-17.75in, singly or 2-9in in pairs. These screw into a Petzval tube, as above.
Petzval type Portrait lens. eg. 6in f4.0 7in f3.7. These were sold in the UK by "B.F. and Co", possibly A.
and B. Franks of Manchester(?) Petzvals have also been noted on earlier cameras such as a 1870's wetplate
camera and a 1905 "Phototicket" which used an f4.5 95mm lens.
Objectif d'Artiste eg f11 8.0in in brass. This can be a very impressive soft focus outfit with extra cells and a
large barrel with an iris but it is logical to discuss this under the instigators Pulligny et Puyo rather than as a
Darlot lens.
Fig 016 002 Objective d'Artiste Pulligny et Pujo (Darlot) casket set.
Fig 016 004 Detail of engraving on Objectif d'Artiste
Darlot RR fitted to some of Shew's Xit cameras. Q5 type.
These RR's were stil available in 1911 on Blocknotes.
A Darlot lens No55,75x on a 10x8in (?) camera was probably an RR made in the 1890's(?). It seems to be a
late lens.
1894 Achromatic f11, 130mm, for Cyclograph.
"Darlot Paris" lens was used at No16,02x on an 1897 model Tourtin camera.
1889 Planigraph f9.0, 210mm on Photosport (Dubroni)
Hasbroeck illustrates a Damoizeau Cyclograph datable from 1896 with a Darlot f7.5/11cm lens but does not
give much information about it.
Foyer Planigraphe f9/81mm noted as a pair at No 2817+2818 on a L. LeRoy, Paris Stereo for 13x16cm
1906 Darlot lenses noted fitted to Le Roy Stereo f9.0, c.80mm.
1901New Anastigmat lenses, f9.0 if dissymmetric, ie 3 foci.
f7 if symmetric.
This will be the type of lens noted as by Turillon at No189x for a 9x12cm format.
1911 Symmetrical Anastigmat f7.5, on Blocknotes, in VP size.
Universal Lens- no details.
Hemispheric Lens: probably the same as the Hemispherical above.
Daroth Ltd, Bolton, Lancashire.
D.A.Roth and R.Sternberg designed a camera to be known as the Ilford Witness, and intended the lenses to
include their own Daron f2.9 50mm lens. Very few Darons were made, essentially for the prototype bodies.
The normal lens for the camera was the Dallmeyer Super Six described above.

Davidson, Castle Hill, Edinburgh, Scotland.

An early and innovative maker of Symmetrical Achromatic lenses, from about 1841. These were a plano-
convex crown cemented to a plano-concave flint and were of good quality, but too slow for the market of the
time, eg for portraiture,and were not a success, so they will be rare. They included a casket set, for 6.5, 14,
21in (B.J.A. 1900, p826) with the layout Dav001. "In 1841 he used a pair of single landscape lenses mounted
like a modern RR", but it is likely these were not the same type of achromat. These lenses were probably
used by Hill and Adamson though this is not certain. Traill Taylor says his son continued to make them at
least up to about 25 years later ie 1866.

DDA Optics.
These were listed by Whitby of 254 Victoria Rd. Aldershot, etc., UK. But they may not have been exclusive to
them. The list in 04/1969 was:
Auto: f2.8/28mm; f2.8/25mm; f2.8/35mm; f2.8/135mm; f3.9/200mm. They were in a mix of M42 and Nikon fits.
Preset: f3.5/28mm; f2.8/35mm; f1.9/85mm; f3.5/135mm; f2.8/135mm; f4.5/200mm; f4.5/300mm; f6.3/400mm;
f5.9/400mm.

Debrie, France
It is worth noting the lenses for the Debrie Sept compact 35mm movie and still camera. They include Roussel
Stylors where f3.5/50mm lenses have been noted at Nos 38,46x and 43,19x.

A.Dehors, France.
1887 This was a commercially made Pinhole Device. = Le Stenope'-Photographique with 0.3, 0.38, 0.5mm
holes.
1895 There was also a Meniscus(=Spectacle ) lens set for soft focus work.

Delmonta, Montanus, Solingen.

Pluscanar f3.5 75mm on Delmonta TLR (1954): also on Plascaflex.

Demaria-Lapierre, 169-171, Quai de Valmy, Paris, France.

A long established firm, founded in 1848, and later said to be "combining old world experience with new world
efficiency", but only occasionally selling in England. Thus the products are not well known in England. The
firm seems to be Demaria Freres up to about 1900, then Demaria-Lapierre and advertised as such in B.J.A.
1922, p748 offering Condendensers, Lenses, Lanterns Cameras and film cameras. Their later folders tended to
use rather shorter foci than usual such as 90mm for 6x9cm. There was a short period in the late 1940's when
they were imported to the UK and the compiler remembers a 16-on '20 camera with a Manar lens-
impressively compact in the way it folded up. Some products noted were:
Older types
Rectilinear f8.0 55mm on DMR stereo, 1908. The oldest noted is in 1895, on a 12 lens multiple
camera. There then are several RR lenses listed on cameras in FBB from 1900-1908 with one in 1925. In
some cases the RR's seem to be sold to other camera makers such as Naudin, suggesting that Demaria
were both camera and lens makers. Thus it was an important product. In some cases anastigmats were
offered as alternatives.
Fig 029 032 Demaria-Lapierre Paris RR (No serial No).
Hektor Rectilinear, on Caleb plate, 9x12cm, probably f7.7, 1920's.
Rektor RR's used in 1925 on a Jumelle stereo camera.
Sagittar An old type of lens of 4 separate glasses noticed in B.J.A. 1900, p1394. This source also lists RR,
WAR, Periscopic and Meniscus lenses. A Rectiliniaire Extra Rapide in a TBI shutter has been seen. The
name was to be reused later.
Sigmar f6.3 This was noted on a 6x9cm plate camera.
Sumar This was a lens on a 1914 Ferrotype camera.
Kelar An early anastigmat in 1904, as follows:
Kelar f6.8 This was described at auction as Series XII, No50, f6.8, No1753x. It may be the
same as the next:
Anastigmat f6.8 A 180mm version was noted at No1554x on a 13x18cm wood+brass camera.
More modern lenses include:
Manar f3.5 75 mm(or possibly 80mm) on Dehel or Telka 1 folders, for 16-on, 1949-1959, it was
probably Q14?. It was used by 1942 on a Dehel 16on camera. They were imported as 16-on and possibly
other sizes for a short period about 1948 by R.G.Lewis and an example (focus in feet!) may have been seen
with a f3.5/75mm Manar. It was uncoated and in an ACG 1-1/250sec + B shutter, it proved to be a much
better performer than feared- useful at f3.5, and really sharp stopped down, and with little sign of flare under
normal outdoor conditions- it did flare up shooting into a sunny window but this was a severe test. The bellows
were in poor order and may be of ersatz material due to war, and could be a cause of closure problems. One
point is the front diameter seems to be about 19mm while a f3.5/75mm lens requires 21.4mm but this is a
small point. (Thus it may actually be a slower or shorter focus lens than specified.)
Anon f6.3 75mm made in 1941 for 16on Dehel.
Manar f3.5 90mm This specification was used on the 6x9cm cameras from 1941 and suffered
some problems, due to spherical aberration and the cameras used a curved film track suggesting a lack of
flatness of the image. A batch of these was imported into the UK about 1949, as one of the first 'new' cameras
to appear.
f2.5 90mm Vial suggests this was considered but not made.
Manar f4.5 90, 110mm This is described as a 3-glass lens in B. Vial's book. It was used on
6x9cm cameras, probably as a 90mm lens, but a f4.5/110mm lens was used on the Telka XX, the last type.
Sagittar This as f3.5/95mm on Telka 6x9 MkIII. It was a premium grade lens of 4 glasses,
about 1948.
Sagittar f3.5 70mm This was a 4-glass made in about 1,000 items for the Telka Sport
about 1957-60.
Kelar f6.8 This was described at auction as Series XII, No50, f6.8, No17,53x.

De Mornay Budd, 475, Grand Concourse, New York 51, USA.

They made or sold accessories, including flash units, drying cabinets, and at least one De Mornay-Budd
Special f3.5/50mm lens in a focusing accessory for Leica. (Amer. Annual. Photo. 1947, Adv 18).

Den Oude: see Old Delft.

Fig 010 064 Den Oude Delft, (front) 2x Minor f3.5/35mm eg at No493,30x, 501,00x and (rear) Delfar f4.5/9cm
No494,52x all in M39 mounts.
Fig 010 066 Den Oude Fototel f5.6/45cm No493,602 for M39.
Fig 027 033 Den Oude Delft Rayxar f0.75/65mm and Electronar f1.0/68mm (Made in Holland).

Derogy, Eugene, Paris, France.

NB Some lenses are engraved "Paris and France" as if he had two establishments (shops) eg at lens
No45,18x. In the late 1850's, a lens on a Waite camera was just "Paris".
1858 He is best known for a Petzval variant with bayonet joints, which allow the focus to be changed by
inserting one or other of a pair of + or - low power lenses. Add in the use of the front glasses for landscape
work, and a lot of focal lengths are possible. It was made in at least 3 sizes, and the layout Der001, may have
varied as one known to us has a separated (ie not cemented) pair of front glases rather like most Petzval rear
pairs. They are rather unusual and scarce items, but do turn up though they sadly are seldom complete, often
missing even one main glass and several of the centre glasses. They seem not to be numbered, No12,849
appearing on several, as it is the B.Pat No. A late example was fitted with rotating disc stops. (There is also
an enormous Petzval by Derogy of some 10in dia. in the George Eastman collection. )
Fig 018 030 Derogy multiple focus with adjustable centre No13849 complete.
Fig 018 032 Derogy multiple adjustable,as above, dismantled.
FBB list Derogy items from a triplet (? as above) on a Tailboard 13x18cm camera of 1860 until about 1905.
But note that Derogy also made or sold cameras, and some may have had other makers lenses, as a 1895
9x12cm which at least now has a Berthiot lens.
Wide angle This was listed for 13x18cm on a 1885 Gilles Freres camera, and was probably a WAR?
Achromat This was listed on an 1888 13x18cm camera.
Orthoperiscopic, for plastic camera Versak. This is shown in M.Auer, p149 (1897). An example was
auctioned as a 9x12cm lens but without details which may suggest there was little engraving on it apart from
the type. It was also on the 9x12cm Detective Cyclos in 1897 (FBB).
Aplanat=RR f8.0 ( ie a double aplanat, noted coded No2.) FBB lists several RR lenses from
1888 to 1903, but without giving trade names or specifications so they were probably f8 lenses.
Secklar f6.8 This was an 72mm Anastigmat fitted as pairs on a Derogy Stereo camera in
1905
Luciclar f6.3 This is an anastigmat noted, in FBB on an stereo camera in 1910.

Desmoulins, France.
FBB list an RR from Desmoulins on a 9x12cm in 1895, but none has been seen.

Diana
This lens is on the modern (late 1990's) Diana camera for 4x4 approx. on 120 film which is noted as a well
made rigid camera at a very reasonable price, which has achieved note due to the lens which fans say has
almost the quality they look for in a soft focus, and as a result the price of Dianas can be relatively high. The
image is described as soft and coverage limited on the examples reported. But note: the date may be earlier
as it was first noted in Modern Photo 04/1979 p61 when Mr M.Schwartz sent an example for examination.
Cost was $1.75 for an all-plastic contraption from Athens, Georgia, USA . But the project seems to have been
"coming to a close" then

Diax Camera, Ulm, Germany.

Their cameras were normally fitted with lenses from Rodenstock and ISCO or Schneider but one early model,
the Diax IIa had a Diaxar as a low cost alternative to the f2.0/50mm Xenon.

Dieterich, USA(?)
Detrar f3.7, This was a variable focus which varied it rapidly for increased depth of field, See Electronics, 15,
44, (1942/3), also USPat. 2,025,731.

Dietzler, Wien, Austria.

c.1850 Dialyt= Orthoscop, Petzval's second original design of 1840. See also Petzval for the story. Essentially
there are both:
(a)Orthoscops of a revised design (1854-1856) produced from about 1856 -1865, and
(b)Petzval Portraits from about 1860, where the first 100 were supervised by Petzval himself. He had offered
a 6in Portrait by 1856.
Of the Orthoscop, a comment was "A lens of the future".(Traill Taylor, 1892) The business was poorly run
later, and declined, closing soon after 1862, and Dietzler died in poverty in 21/10/1872.

Ditmar Cine camera makers, but it is not known if they made lenses. A series of f1.8/12.5, 25mm,
f2.5/12.5mm and f2.8 or f2.9/20mm lenses were used. about 1935 onwards.

Dixons, 88 Oxford St, London, W1, etc., UK.

Dixons are a major UK retailer, with many branches and bespoke special items under trade names such as
Prinxflex and Galaxy. Thus a f3.5/135mm Prinzflex Auto tele (5 glasses) or Galaxy will often have been part of
a package offered at a special rate as on April 1970 with a Zenith or Prinzflex camera, though the standard
lens was a f1.7 Reflectar.
A. April 1969 list includes:
Prinzflex Automatic Lenses: f2.8/28mm; f2.8/35mm; f3.5/135mm; f2.8/135mm; f3.5/200mm.
B. April 1969 list includes:
Prinz Galaxy Preset Lenses:
f3.5/135mm; f2.8/135mm; f4.5/200mm; f5.6/300mm; f6.3/400mm; also f3.5/35mm. In 1965, the 35mm was a
5g/5c retrofocus lens, and the 135mm was a 2+1+1 triplet type.

Djian
Designer in 1936 of a very high speed lens, with aspheric surfaces.(B.Pat. 489381.)

Docter. See entry under Zeiss, Jena, also.

Fig003 025 Docter Optic Tessar f4.5/105mm No1540 and ApoGerminar w/a f8/150mm No1043.

Dodin He designed a optical rangefinder using wedge prisms and it sold on the Alsaphot Co's Alsaflex in
May 1950, and was probably then 'new'. Also Dodin designed the optically interesting "Cyclope" camera. (For
the focusing device see B.J.A. 1951, p182-3. Fr. Patent No628, 953 of 09/08/1943 to Lucien J.A.E. Dodin of 1
Place Charles Le Roux, Nantes, France; B.J. 1950, p357.) Versions were developed for 35mm SLR's world
wide.

D.O.Instruments.
This was noted as the name on large format, enlarging and movie camera lenses, and may be related to
Navitar,Inc., 200,Commerce Drive, Rochester, N.Y. 14623. [See also Gundlach Optical and its conversion to
Dynamic Optics.] The item seen was a :
D.O.I. lens, f6.3 210mm, for Toyo monorail.
for which they may be agents.

Dollond, John (1706-1761)

Dollnd & Aitchison from 1889

The family were Huguenots, coming to England in 1687 as silk workers. The optical business began in
21/04/1750 when at 21, Peter Dollond set up in Vine St near Hatton Garden as an optician, making
spectacles at first- a poor business. He therefore aimed more at navigational and astronomical instruments.
This was successful and in some 2 years later, his Father John Dollond gave up silk weaving and joined him.
Soon they moved to the Strand at the sign of the Golden Spectacles and Sea Quadrant. It was about this time
that they began to make achromatic field lenses for telescopes. They got credited with the invention of the
achromatic lens pair in 1757, but see Hall, C.M. also. But the Dollonds did improve the design and the son
Peter (1730-1820) invented a triple lens with a convex each side of a central concave. John was appointed
optician to King George III in the year of his death, 1761, which still continues today. These telescopes were
so good the UK Navy called telescopes 'Dollonds' as slang, and the Duke of Wellington claimed they gave him
an advantage over his enemies. Peter retired in 1817 due to poor sight, and the business was run by his
nephew George Dollond I, and next by his nephew and apprentice Gorge Dollond II and then George's son
William, running it to 1871after which it traded as Dollond & Co but fell into difficulties. James Aitchison (1869-
1911) was a Scotsman and fine optical designer and set up on his own in 1889 aiming to improve methods of
sight testing, then very haphazard. He was followed by his son Irvine (then 23 years old) in 1911,who
instigated the merger with Dollonds in 1927 and the joint firm moved into photography, selling still cameras
and accessories, some of their own make. Some under their own name used the famous 'Owl' trade mark.
See note under Wray also where they helped found a purchase. One 'Owl' camera lens has been noted,
possibly a bought-in item. There are likely to be others. The photographic side continued until 1962, when the
firm was taken over by Television Wales and West Ltd, after Irvine's son died young in a motorbike accident.
But the photographic side was phased out fairly soon in favour of other optical business. (Source firms
Anniversary Special Brochure, AD2000, etc.)
Dollond Owl f4.5 about 4in, probably a Q15 type. (NB The Owl was the trade mark of Dollond & Aitchison.)
Fig 009 018 Contessa Nettel Conastigmat f6.3/135mm in Derval shutter; and Dollond Owl f4.5/4in in Compur.
By 04/1972-3, they were selling their own series of preset iris SLR lenses and some in M42 with auto iris.
Preset lenses
Dollond f2.8 28mm The 28 and 35mm were not in a June 1967 list.
Dollond f3.5 35mm
Dollond f3.5 135mm
Dollond f4.5 200mm
Dollond f5.6 300mm
Dollond f6.3 400mm The 300 and 400mm were also listed as available for Visoflex 11 and 111
Dollond f6.3 500mm
In 1971, they were a little different:
f3.5/135; f4.5/200mm; f5.5/300mm; f6.3/400mm: so they were all long lenses then. There was also a
f8/500mm in 1969. Most mounts were listed.
Auto iris for M42 only (in 1969, these were Nikon, Canon, Minolta and M42).
Dollond f2.8 28mm
Dollond f2.8 35mm
Dollond f2.8 135mm
Dollond f3.5 200mm for Canon and Minolta only in 1969.
Dollond f3.9 200mm for Nikon.(1969)
In 1971, they were auto iris as follows:
f2.8/35mm; f2.8/135mm; f3.9/200mm.

Dralowid, Berlin, Germany.

This is the name on an 8mm cine projector in B.J.A. 1954, p204 and may be used on the lens, a f1.4. There
was a Reporter 8mm camera with a Minox Wetzlar Dralonar f2.5/12.5mm but no details are available. (see
also Minox section.)

Draper, Dr J.W. He was responsible for one of the first symmetrical doublet lenses in 1839, of two double
convex 4in dia lenses to give 8in focus, in a tube with a diaphragm 3.5in in front.

Drepy, France.
The name was derived from Andre Pierrat He seems to have made most of the parts for his cameras and
may well be a lens maker. They were sold as Drestars. Production seems to be from 1942 as 6x9cm
cameras. The Drestar seems to be a 1+1+2 Q15 type.
Pierrat anastigmat
initially f4.5 105mm (1945) on Drepy Model 1
Drestar f4.5 105mm in 1946.
Drestar f4.5 85mm on T85 for 6x9 or 6x6 with masks, this was a solid bodied camera.
Drestar f3.5 80mm on Le Drepy T85 as option.
f3.5 100mm (or 105mm, 1952) also on 6x9 folders, as option to Drestyl and Boyer Topaz
f6.3 lenses.
Drestar f3.5 75 or 80mm on the Le Dreflex 6x6 in the 1950's. The view lens was a Drestyl f3.5 and
while they will both be one focal length there is some doubt as to f=75 or 80mm for both.
Drestyl f6.3 This seems to be a cheaper 3 glass lens.
Drestyl f4.5 105mm as above. This was coated in 1950.
Drestar This has a Q15 type design.

Drucker, A. and Co, Chicago, USA.

Polaris f2.0 50mm on Ranger 16 on 127.
Polaris f2.8 50mm on Ranger 16 on 127.
The lenses change on a thread near M39x26.
Druoptar, Prague, Czechoslavakia.
Druoptar f6.3 75mm
Druoptar f4.5 50mm )
Druoptar f3.5 50mm ) on Vega 11, and 111.
Their brass finish lenses go back to 1910 at least.

Dubosq, Paris.
An early maker of a cone lens called a Policonigraph, auctioned as example No14.

Dubroni = M. A. Bourdin, 236, Rue de Rivoli, Paris, france.

Anagram of Bourdin, who made a quick process wet-plate outfit,but the lenses were bought in and usually of
Petzval type. In 1864, three format sizes were made: 4cm round, 5.5x5.5cm and 9cm oval. There were also
10x10cm. Dubroni seems to have continued in business into the 1880's as FBB lists some Dubroni achromats
on folding cameras for 9x12 and 13x18cm from 1888. The lenses may vary in complexity, as one at auction
had no number but provision for portraits and views (Paysages) with apparently a separate meniscus lens for
the latter, and another seems to have the same.
The cameras could be quite small, as one to give a 1.5in dia. negative was described in MCM 1/1947 with a
small brass lens in a rack focus movement. Note the lens (possibly Petzval type) was also used to view the
development of the image. A pair was on sale in London in AD2000.

Ducati, Milan, Italy.

This was a general instrument and engineering company whose Ducati camera was a most interesting item,
with some 8 lenses of 19-120mm for use on 18x24mm. It was an early postwar product noted in MCM Oct
1947 and is now a desirable auction item.The lenses included :
Vitor f3.5 on Sogno camera (1938)
Vitor f2.8 35mm This was noted at No33,06x. An example on a Ducati was body No278x, lens
33,25x.
Vitor f3.5 35mm This is the usual Ducati specification. It was noted at numbers: Body/lens;
02096/03598; 304x/824x; 364x/844x; 400x/861x; 625x/3052x; 634x/30,61x, 07442/31089;
6345/3061;.--/32,112;
(Anon) f3.5 35mm on Ducati (1947)
" f4.0 24mm ""
" f5.6 120mm ""
Etar f3.5 35mm on Simplex (1950). It was noted at body number No17,22x, but seems to be
unnumbered itself.
Argon f4.0 25mm (Experimental lens, 1950).
Lator f2.8 60mm This was noted at No00,832.

Dupluich,H., Opticien, France.

He obtains several entries in FBB, and must have been both a camera maker or agent as well as a lens
maker, since other brands seem to have carried his lenses such as Dumont in 1903. The lenses included
anastigmats but the names are not given apart from the Verax.
RR This was mentioned on a Ferrotype camera in 1900.
Triplet This seems to be by Dupluich but used on a Dumont L'Indiscret in 1903.
Verax Anastigmat, of 3+3 anastigmat layout. In 1901, 1903 it was used on a Dupluich Myosotis camera for
6x9 or 9x12cm. It was also used by Milhau in 1901.
Teleobjective, in focusing mount, (Telenegative accessory type). This was noted as a large alloy mounted
telenegative in a London shop in the late 1990's.
Dissymetrique Lucidior An early 35mm movie lens about 1904, and noted on a 1906 Breviare. It is not
known how it relates to the next item but it may be series I.
Lucidor Series II f3.8/54mm This was on an early (c.1904) movie camera, at No390x. But it was also used
for still work.
Orthoplatiscope f16.5 This just may be a wide angle based on the Zeiss anastigmat after the patent had
ended.
Fig 029 033 Dupluich Orthoplatiscope f16.5/110mm No2830.

Durst S.A., Bozen, Italy.

Durst made some cameras after the war, and the lenses have Durst related names, and are of unknown
source. Later they concentrated on high quality enlargers, and sold Neonon enlarging lenses to match. It
seems these were bought in, and it is said that many came from Pentax.
Ducar f11,f8.0 50mm on Duca 24x36mm (c. 1946)
(?) f3.5 for Automatica, 1950's.
Color Duplor f2.2 80mm on Durst 66 in June 1958, at £8.6 This was a focussing lens, coated and with
2 apertures, ie fairly simple.
Neonon f2.8, 50mm; f5.6, 80, 105mm. Users say "Excellent".

Dynalens This is a image stabilization component consisting of two optical flats with a liquid layer between,
which can be converted to a prism by tilting one of the flats, so bending the light to compensate for a

deflection. It is made by Dynalens Corporation.

E.A.
This engraving was used by E. and H.T. Anthony, New York q.v.
It was noted on a No2 Hemispherique Rapide lens .

Eastern Optical, Brooklyn, New York, USA.

This may be related to Kollmorgen.
Anastigmat f6.3 520mm was listed in the USA secondhand. (1962).

Ebata
This was noted as a Trade Name on an Exakta fit f2.8/135mm pre-set lens, of unknown source.

A. Ebner and Co, Gmbh, Vaihingen, Stuttgart, Germany.

About 1934, Ebner made a series of folders for 6x9 and 4.5x6cm with bakelite bodies, using Meyer and Zeiss
lenses as the expensive ones, but the low cost versions had Ebner Anastigmat f6.3/75mm and f4.5/75mm
lenses.

Eclaire Cameflex, Paris, France.

Formed by Coutant and Mathot in the last Century, this company designed a compact novel 35mm camera
during WW2 and released it in 1947 with great success, and it sold well in the UK so that lenses with this
bayonet are among the more common 35mm items now on the "old" lens market. It is thought these have a
prominent rear stub with a 2 leaf bayonet with a slot cut in one leaf. These can include very desireable
Kinoptic and Angenieux items.

Eclipse
It is worth noting that total eclipses of the sun and other astronomical events bring out some amazing old
optics, especially as small apertures may be quite acceptable for some work but fast lenses are also needed
during totality. Thus the 1927 eclipse in the UK seems to have been recorded (B.A.A. 29 June 1927) with
f8/24in Beck Doublet and a 16in Dallmeyer tele by R.L.Waterfield; f4.5/27in Franklin-Adams lens and Aldis
f5.6/20in by a ship Fitzroy at sea; an f15/60in Abney lens on Ilford Zenith plates; f126/63ft (19.2meter) Cooke
Photo Visual on 12x12in plates; 2.5in dia. Ross lens on a Ross-Williamson Telephoto camera; Zeiss triplet
aircraft lens; lenses by Beck, Aldis, Dallmeyer RR and a f8.0/33in used by the N.P.L.and a Kodak cine
camera; Ross f4.0/16.5in Portrait (Petzval?) and Aldis 20in anon; and a TTH Series 0 used in the air at
11,700ft by Capt Barnard for the Daily Mail.

Edison
Lenses with this name are noted for movie projection elsewhere. But an Edison 9x12 Detective seems to have
had a lens engraved as an "Edison Extra Rapid Aplanat".

Ehira, Japan.
Enoi Anastigmat f3.5/75mm No2,68x on Ehira Chrome Six.

ELCAN-see E. Leitz Canada.

Elega, Japan.
Elegar f3.5 45mm on 1952 Konax camera, a scarce 35mm Japanese camera.
Elektro Optik, Glucksburg, Germany.
Agent for UK Luminos, 45, Belsize Lane, Hampstead, London, NW3.
They were active about 1947-55 as camera makers with their own lens names, such as Elocar f4.5/36mm on
the 1947 Elca for 24x24mm; Elopan f2.5 and Elocar f4.5 on the Elca II. (B.J.A. 1953, p22). These were
unusually compact cameras, the Elca costing £15.72 + Tax £6.80.
Also :
Ucalux f1.9 50mm for the Ucaflex 35mm
Ucapan f2.5 36mm same.

Elge, France.
A lens noted on a 1911 Blocknotes was an Elge RR for VP size stereo.

Elicar
This brand was distributed in 1977 by Highgate-Dufay, 38 Jameestown Rd., London NW1-7EJ.
It included a Elicar zoom f3.8 75-205mm with 13glasses in 8 components. £90.
A 'new' programme was begun in 1979 with:
f2.8/28mm; f2.8/35mm; f2.8/135mm; f3.5/200mm; f4.5 80-200mm zoom. (B.J.P. 14/12/1979. p1205).

Elitar a series of lenses from Allied Impex, (10/1955) for cine, also Elitar Soligor which may suggest another
relation. They included Elitar f1.9/13mm for Mansfield about 1955, and an f2.5/25mm Cinepar for Mansfield
16mm about 1955.

Elgeet Optical Co., Rochester, NY, USA.

They seem to be best known for their cine lenses, especially the Golden Navitar with its sensational speed,
and aspheric rear glass. However they also made large format lenses and early examples of retrofocus lenses
for 16mm cine.
Elgeet f2.5 7mm ]
Elgeet f1.5 13mm ] These were among the really early amateur
retrofocus type lenses sold for 8 and 16mm, marketed by c.1950, eg on Auricon and 1954 on DeJur. There
may also be an f2.3/7mm version from 1956. Some 10 types of retrofocus lens were made for cine, in 6.5-
13mm.
Elgeet f1.9 7mm This was noted on 1952 Revere 8mm
f2.5 1in This was on a 1949 Keystone for 16mm. There was also a f2.5/12.5mm on 1950-
1956 Keystone for 8mm.
f2.0 25mm
f1.9 75mm
Golden Navitarf1.2 12mm This was a 9-glass lens with field flattener (aspheric) Layout El001.
Projection Golden Navitar f2.8 2in with PC.
Navitar f1.9 13mm for 1954 DeJur 8mm
f1.9 12.5mm
Navitar f1.8 10mm for Bolsey 8 (USA, 1948). This was a single 8 and very compact camera and
was also suggested for still use. It focused to 1ft with suggested settings for Landscape, Portrait etc. (Another
account says 1956 but this seems rather late.)
Navitar f1.8 13mm for 1958 DeJur 8mm
Navitar: some 9 types were made in all, for cine in 25-76mm.
Cine Navitar this can be a retrofocus (as above) or a triplet type.
Elgeet; this can also be a triplet.
Cinematar Budget priced lenses in 10/1955 lists.
Oscillonavitar f1.9 76mm This was a 6g/4c Gauss for CRT recording cameras.
Super Navitar f0.95 120mm This was a 8-glass Gauss.
Synchronex lens f1.8 13mm This was integrated with an exposure meter for early auto exposure and could
be fitted to cameras lacking this feature to upgrade them.
Elgeet These were long focus types, in 125-305mm
Elgeet anastigmat f4.5 This was noted as a 250mm lens.
Mini-Tel f4.5 4in This was a triplet, in chrome p.i.m Exakta mount, and looks real posh quality if of
simple optical design. Dismantling however showed an iris of light construction, possibly prone to trouble.
Note Elgeet is seldom traded in the UK and not familiar here.

Elgy, France.
UK Agent: Claude Lyons Ltd, 180/182 Tottenham Court Rd., London W1, also Liverpool 3.
Lypar on miniature Elgy, see Lumiere, France. Q14. The Elgy cameras had a short fling while there was the
phoney war in 1939-1940 being imported to fill the gap in German supplies. The Min Cam World 10/1939 p839
advert. shows one with an unnumbered Lumiere Anastigmat 'Lypar' f3.5/4.2mm in 4 spd shutter.

Elop, Flensburg, Germany.

Emel, France.
Noted for cine camera, the Emel, fitted with an Emelon f1.9, 13mm lens (8/1957). The actual maker is not
known.

EMO
This is an currently obscure name quoted in 1974 as the maker of a Emo Emostar projection lens used by
Bauer.
Emostar f1.5/65mm; f1.6/75mm;
but no further information is available.

Emulsion Speed
Eder in 'History' gives a useful table of relative exposures up to 1900 on which this is closely based: it is
assumed that the lens aperture was kept constant. Note that he does not list the mixed halide change with
the Daguerrotype and stops at 1900.
1827 Asphalt engraving by Niepce 6 hours
1839 Daguerrotype with iodide only 30 mins
1841 Same with mixed halides faster
1841 Talbotype with gallic acid development 3min
1851 Wet Collodion process 10secs
1864 Collodion emulsion with silver bromide 15sec
1878 Early dry plate gelatine AgBr emulsion 1-1/200sec
1900 Gelatine silver bromide 1/1000sec

Enlarging Lenses.
The earliest seem to be Petzval types developing with iris stops as a special item in the 1880's. For examples
see Grossar, and Hume, but there were others. The industry then developed specialized anastigmats, where
Beck and Wray seem to have been early makers for the MoD and then for civilian sales. It probably was easy
to buy a specialized one by the mid-1920's from several sources and they grew more common as miniature
work developed, possibly being a standard lens in a special mount as the Leitz Varob Elmar. However there
are advantages in having a lens designed for close-up work ie nearer 1:1 than most camera lenses. Probably
this was achieved at times with the normal glass but different spacings. And the designs grew more complex.
Thus prewar, a triplet Q14 or Tessar Q15 would be used. Postwar, there have been many uses of 6 glass
types such as Gauss Q18 and Plasmat Q20. A 2-part review by W.D.G. Cox in B.J.P. 20-27 July 1979
basically suggests that the 3 glass types such as the Wray Supar are poor, and that a 6 glass design is
really worthwhile. It is too long and detailed to precis adequately. The limitations show most at big
enlargements and at the corner of the image and use of a rather longer lens than usual mitigates the
problems. It must be added that in careful use today, a Wray Supar gave nice prints with good definition
without much difficulty.
Enna, Ennawerk, Dr Appelt Gmbh., Munich, Germany.
A well known and active lens maker, especially in the 1950-1970 period, making especially lenses for SLR
cameras and for the Corfield Periflex. In the UK they were distributed by Corfield, and also later by Highgate-
Dufay, 38, Jamestown Rd, London about 1980. The earlier lenses and layouts are in the Corfield list and will
not be repeated. They seem to have sold in USA as Sandmar, and these are also listed under Sandmar.
Earlier items: about 1960.
These are usually the same as the Corfield set but some exceptions are likely. The f1.5/85mm is lacking from
the Corfield set of layouts, but given here.
Plasticon f2.8 50mm This was on a Super Colorette. (Photokina 1956)
Ennagon f3.5 75mm This was on Flexora in 1952.
Ennan f4.5
Ennatar f4.5 50mm This was fitted on Kodak's Retinette type 1/012.
Ennar f4.5 75mm This was sold on the Flexo in 1948, also Flexora.
Ennar f3.5 75mm This was sold on the Flexora 6x6, and Flexa.
Ennaron f2.8 50mm
Ennaston f1.9 45mm
Ennalyt f1.5 85mm coded Enaston in one list.
This has an unusual Gauss design, of 6g/5c layout with split rear pair. (En003)
Ennalyt f2.8 95mm Triplet,Q14,auto or preset.
This seems to be "New" in Dec 1959.
Ennit f3.5 50mm This uses an unusual 4g/3c layout with a centre doublet. It was also
made as a f2.8/80mm lens on the Rollop 2.8 in 1956.
Ennalyt f1.9 50mmThis was a 6g/4c Gauss.
Tele-Sandmar f4.5 100mm
Sandmar: For close-out, see Modern Photo 4/1960, p120.
Kinaston Ernostar layout.
Lithagon f1.9 or f2.9 This was a 35mm inverted tele.
Lithagon f4.0 24mm auto or preset. 7g/7c.
Ultra Lithagon f3.5 28mm auto or preset 6g/6c En001.Photokina 1956.
This was noted as a novelty in MCM Jan 1957.
Lithagon f3.5 35mm preset 4g/4c En002.
Ennalyt f3.5 35mm This was noted in June 1967 with preset iris for M42 and Exakta,
black finish, and with interchangeable rear mounts. It and the 28mm were actually coded "New Ennalyt" in the
advert.
Ennalyt f3.5 28mm As the above.
Enna Zoom f4.0 85-250mm This was a 12 glass 9 component 1+2+1+2+1+1+2+1+1 design,
also in 06/1967
The same advert. had f4.0/24mm Lithagon, f2.8/36mm Lithagon, f2.8/135mm TeleEnnalyt, f4.5/240mm
TeleEnnalyt for Praktina The Zenith 3M series were the latter two + Ennalyts f3.5/35mm and f3.5/28mm. So
they were catering for some of the East German products with care. The same mgazine also listed Lumax
lenses in some of the same specifications and fits.
Lithagon f2.8 35mm auto or preset. 6g/5c.
Super Lithagon f1.9 35mm preset or auto 6g/5c
This seems to be new in Dec 1959.
TeleEnnalyt f3.5 135mm ?also Dec1959? 5g/4c.
TeleEnnalyt f2.8 135mm 5g/4c
TeleEnnalyt f4.5 240mm 5g/4c 2+1+2 type. 1966 list.
Ennalit (?) f4.5 400mm as 240mm, 5g/4c? 1966 list.
Tele Ennalyt f4.5 400mm This was listed for Pentacon 6 mount in 1972, and then was 5 glass.
It may be related to the previous lens.
Ennalit(?) f5.6 600mm ?5g type.
Ennagon f3.5 75mm This was on a Flexora TLR (c1952), and Rollop I .
Color Ennit f2.8 50mm on Goldeck, as 20mm on Mec, about 1959. The Mec 16 was noted in
B.J.A. 1959, p257, where it was said to do very acceptable work, (probably the small format was the writers
limitation).
f2.8 80mm This was on a Rollop about 1958. This was a 4-glass lens.
Haponar f2.9 50mm, on Hapo 35 (c1955).
Haponar f3.3 75mm ) on Hapo 66.
Haponar f4.5 75mm )
Auto iris: At that time this may may still be manually wound, with auto release.
Sockel System
This socket system used a socket to fit to the camera, with the auto iris in it and then lens heads fitted
interchangeably into the socket, with little cost in making their irises. It worked, and a good range of foci were
made, but it was understandably limited to lenses of the one make. Focus action was also in the socket, and
the range of focusing travel was excellent for wide lenses, but seemed rather more limited for long ones. (See
Modern Photo. 8/1964, p88.) It was made to fit Alpa, M42, Exakta, Miranda, Yashica, Nikon F, but it seems
not Canon, Rectaflex or Wrayflex. The sockel released the camera internally or externally. The lenses were:
Lithagon f4.0 24mm
Lithagon f3.5 28mm
Lithagon f2.8 35mm
Ennalyt f1.9 50mm
TeleEnnalyt f2.8 90mm
TeleEnnalyt f2.8 135mm
TeleEnnalyt f4.5 240mm
Performance pleased the reviewer, often very good or excellent, and these are now distinctive items.
Late items
MacroEnnalyt f3.5 28mm This focusses to 0.2m.
MacroEnnalyt f2.8 35mm
TeleEnnalyt f2.8 135mm This focusses to 1.5m. (5 glass?)
TeleEnnalyt f4.5 240mm (?4glass.)
TeleEnnalyt f5.6 300mm
These late examples drew rather guarded reviews, as if it was now hard to make competitively priced items in
Germany due to costs having risen.
Sandmar.
This was a trade name for Enna lenses used in the USA. There was a close out listed in Modern Photo.
04/1960 of lenses in Exakta and M42 mounts only. This had:
f3.5, 28mm; f2.8, 35mm; f1.9, 35mm; f1.9, 50mm, f3.5, 135mm; and a 'Magic Mount' which may have been
an Auto iris unit but was not detailed. It may be the same as the Enna sockel mount.

Enolde These cameras were from F.Kochmann, Dresden and were later made as Korelle. The trade name
Enoldar or Enolde Anastigmat, usually as an f4.5 was used, eg on the Rollfilm in B.J.A. 1931, p276. They
will be before about 1932.

Ensign-See Barnet-Ensign-Ross postwar

Barnet-Ensign, Walthamstow, London E17, UK.
Previously Houghton-Butcher and merged as Houghton-Butcher-Ensign. Later again with Ross as Barnet-
Ensign-Ross.
A major source used here with permission has been a list of lenses made available by Mr A. E Richmond. It is
too long to reproduce in completion but has been reduced to a listing of the main types and some information
on serial numbers. One point is that so far it is not really established how far Ensign made their own lenses or
bought them in but Ensars and most of the simpler lenses are listed here as 'Ensign'. They may well have
been made in the factory at Walthamstow- which was a large one on a extensive site. Only the more select
versions seem to have been given serial numbers and these have been made anonymous here with a terminal
digit replaced with x. Obviously further studies will show numbers outside the ranges noted here. Unnumbered
types of lens are coded by 'NoNo' in some cases. Other lenses may have been bought in and sold under their
name.
Maker Lens Aperture Focus Camera example
in cm
Ensign Achromat f11 Ensignette NoNo
Ensign All Distance All Distance Mod2
Ensign Anas. SerVIIn NoO f7.7 The Ensign noted at No174,03x.
Fig 009 024 Ensign Ser. I f5.8/4.75in No112,306 in Koilos shutter and Ser VIIn f7.7 Nono in anon shutter.
Ensign Anas. SerVIIn f7.7 Regular 1/4pl
Ensign Anastigmat f7.7 3.25in Ensignette 2K Noted at No193,77x, 193,81x
Ensign Anast SerVIIn f7.7 Falling Plate noted at No194,08x.
Ensign Anast SerVIIn f7.7 Carbine at No176,97x.
Ensign Anastigmat f6 Ensignette No1 NoNo
Ensign Anastig Ser1A No 0 f6.3 4.75in Flat Back Ensign Noted at No112,57x.
Ensign Anastigmat f6.3 3.2in Ensignette No2 deluxe noted at No195,46x.
Ensign Anastigmat f7.7 Folding Klito 1/4pl at No175,35x
Ensign Anastigmat f8 Ensignette 2C deluxe NoNo
Ensign Anastigmat f8.5 Folding Ensign 2.1/4b
Ensign Ensar f3.5 7.5cm Autorange 220
Ensign Ensar f3.5 7.5cm Commando (o) MoD at 107x-11,20x, (a) first version
at Nos110x-594x, (b) second version flat knob at 275x-859x, (c) final version at Nos 3363-10,38x. These
overlap and suggest a stock was held and drawn from at random or possibly as finished up for use.
Ensign Ensar f4.5 10.0cm Autorange 20 at No128,71x, 131,58x.
Ensign Ensar f4.5 7.5cm Autorange 220 Many are numbered, 187x to 795x
and 132,78x-134,85x. This seems a strange set with a real 'gap' as if there is a gap in the run.
Ensign Ensar f4.5 4.75in Carbine No3
Ensign Ensar f4.5 10cm Carbine No6 (NoNo)
Ensign Ensar f4.5 10.5cm Ensign Ranger Spcl, at No34,94x and Autospeed at
No 128,11x.
Ensign Ensar f4.5 10.5cm Ranger Special at Nos 34,88x-36,45x.
Ensign Ensar f4.5 7.5cm Selfix 16-20
Ensign Ensar f4.5 10cm Selfix 20
These are not numbered.
Ensign Ensar f4.5 10.5cm Selfix 20
Ensign Ensar f4.5 7.5cm Selfix 220 Numbered as 130,34x, most are 7.5mm
at Nos126,xxx-136,xxx but low numbers such as 178x and high numbers such as 2,236,91x are noted. This
seems to be a complex group.
Ensign Ensar f4.5 10.5cm Selfix 8-20
Ensign Ensar f6.3 Cameo 1/4pl
Ensign Ensar f6.3 10.5cm Carbine No3
Ensign Ensar f6.3 12.5cm Carbine No10
Ensign Ensar f6.3 10.5cm Carbine No3
Ensign Ensar f6.3 10.5cm Ranger II (NoNo as above)
Ensign Ensar f6.3 10.5cm Selfix 20 NoNo normally but No125,40x has
been noted.
Ensign Ensar f6.3 7.5cm Selfix 220
Ensign Ensar f7.7 10.5cm Selfix 20 NoNo
Ensign Ensar f8.5 10.5cm Carbine No3 (NoNo)
Ensign Ensar Anas. f4.5 Double Eight
Ensign Multar f3.5 5.0cm Multex 0 noted at Nos 125,04x-140,08x.
Ensign Rectimat Symmetrical f4 Ensign 35A
Ensign Single Achromatic Men Vest Pocket Ensign
Ensign Symmetrical f8 Klito No 00/3A
Ensign Anastig f6 Folding Klito
Ensign Anastigmat f6 Ensignette No1
Ensign Meniscus Midget 33
Ensign Ensar f6 Ensignette No1
Most of these have been noted in other readings eg as:
Achromatic Meniscus on folding Ensigns.
Meniscus This was used in B.J.A. 1925, p327 on a Rollfilm Reflex with a simple shutter/mirror and the lens
was f8 to compose and f11 to expose- there was no focusing.
Rectimat Symmetrical (?RR)
Rapid RR on Klito hand cameras
Rapid Achromatic lens, on the same. (The "Rapid" may be a trade name or a hint to a different maker.)
[Note that many of the pre-WW1 cameras were in fact ICA products from Germany, and it seems that ICA
sourced their lenses from H.Meyer of Gorlitz and Steinheil of Munich. This will also correlate with the Zeiss
lenses noted next.]
They also fitted lenses by Zeiss (Tessar, Amatar, though this is not above):
Zeiss Tessar f3.8 10.5 Autorange 20 at No1,613,31x, 1,613,35x
Zeiss Tessar f4.5 10.5 Autorange 20 at No1,167,78x, Carbine No6 at 1,017,82x and No6 at
at No128,30x.
Zeiss Tessar f4.5 7.5 Autorange 220at No2,237,21x, 2,008,65x.
Zeiss Tessar f4.5 10.5 Carbine No7 at No1,745,23x, 2,382,08x on a Selfix 4-20
Zeiss Tessar f4.5 12.5 Carbine Tropical 12 at No711,06x.
Zeiss Tessar f4.5 7.5 Selfix 220
Zeiss Tessar f4.5 16.5 Special Reflexat No306,70x
Zeiss Tessar f6.3 9 Ensignette No2 Z deluxe noted at No189,35x.
Zeiss Tessar f4.5 10 Autorange 20
Zeiss Tessar f4.5 16.5 Pressman Reflex at No232,55x
Zeiss Tessar f4.5
Zeiss Triotar f6.3 13.5 Folding Klito at No195,27x.
The numbers show occasional use over a long period, due to wars, and limited by the higher cost of these
items. They are listed with numbers as these are the only lenses where secure makers dating tables are
available and fitted here.
Taylor, Taylor, Hobson (Cooke),
TTH Aviar Ser II f4.5 3.75in Carbine No7
TTH Cooke f4.5 5.75in 5.75 Popular Reflex
TTH Cooke f5.8 Ensignette No1
TTH Cooke f6.3 Ensignette No2B deluxe noted at Nos 63,97x and 85,90x.
TTH Cooke Anas f6 Ensignette No2B
TTH Cooke Ser IIIa f6.5 6.825in Sanderson Jnr 1/4pl eg. at No43,65x.
TTH Luxor f7.7 Ensignette No2 TTH noted at No103,97x.
TTH Luxor f7.7 Vest Pocket 1J TTH noted at No100,98x.
Goerz:
Goerz Syntor f6.8 13cm Klimax
Goerz Syntor f6.8 18cm Sanderson Regular 1/4pl eg at No145,48x.
Goerz Syntor f8 12.5cm on Carbine at No218,33x.
and probably Dagor on eg Sanderson;
Dallmeyer: as the Stigmatic:
Dallmeyer Stigmatic Ser II Sanderson Standard 1/4pl
Beck:
Beck Mutar f6 Cameo P/Card
Beck Symmetrical f8 Cameo
Beck Symmetrical f8 Popular Carbine
Beck? Primus Rapid Aplanat f8 Watch Pocket Carbine No4
Beck? Symmetrical f8 Cameo 1/4plate
Berthiot:
Berthiot Olor f6.8 Ensignette No2 deluxe Noted at No61,27x and 78,92x on
Ensignette No2 de luxe.
Aldis:
Aldis Achromat f6.3 6.25in Carbine 3 1/4 A
Aldis Butcher f4.5 4.7in Carbine Tropical 12
Aldis Butcher f4.5 6in Special Reflex No149,21x.
Aldis Butcher f4.5 3.75in Carbine No7
Aldis Butcher f6.3 3.25in 3A Folding
Aldis Butcher f6.3 5.25 Carbine No12
Aldis Plano f6.5 Ensignette 2D deluxe
Aldis Plano f6.5 Ensignette No2D deluxe
Aldis Plano f6.8 Ensignette Noted at NoD43x
Aldis Uno f4.5 4in Autospeed
Aldis Uno f4.5 4in Carbine No6, Carbine Tropicals Nos 6, 7
Aldis Uno f4.5 4.7in Carbine Tropical 12
Aldis Uno f4.5 4in Carbine Tropical No6
Aldis Uno f4.5 4in Tropical reflex
Aldis Uno f6.3 4.25in Carbine 2 1/4B, No4 and Tropical No4
Aldis Uno f7.7 5in Carbine No10
Aldis Uno f7.7 4.75in Carbine No4
Aldis Uno f6.3 4.25in Carbine Tropical No4
Clement et Gilmer, Paris:
C et G Panorthostigmat f7 Sanderson Tropical 5x4in
Houghton Butcher Manufacturing:
HBM Anon f3.5 7.6 MoD Commando
HBM Peri(scopic?) Greyhound
(Note this is really close to Ensign under a new name!)
Ross:
Ross Homocentric f6.3 6in Folding Klito at No83,73x.
Ross Rosstar f4.5 10.5 Clubman
Ross Rosstar f4.5 10.5 Ranger Special eg at Nos 34,88x-36,45x and then 39,06x.
Ross Rosstar f4.5 7.5 Selfix 12-20 (NoNo)
Ross Xpres f2.9 5.3 Multex 0 and 1 noted at No139,11x (2x).
Ross Xpres f3.5 7.5 Ensign 16-20 Noted at 36,99x-42,12x +82,81x(2x)
Ross Xpres f3.5 7.5 Selfix 12-20 noted at Nos16,91x-41,46x, then 255,60x and
258,63x. This was fitted to other Selfixes at up to 256,85x which may explain the above gap. But eg on the
Selfix Model II there are low groups at No15,43x and 18,69x and many at 250,000 and up to 258,000 so it
seems bimodal as if two populations were in use. One Model IV has a lens N255,98x, possibly for a
replacement as New? but otherwise unusual.
Ross Xpres f3.8 10.5 Autorange 8-20, some on Ranger II eg at Nos 15,92x,
16,18x. On the Selfix 8-20, the same lens was noted with a wide range of numbers: a low group at 304x,
376x, 407x, 440x, 565x, then a medium group at 1035x, 11,13x, 11,57x, 1200x, 12,50x, 12,14x, 12,59x,
13,55x, 15,28x. But most seem to be at Nos241,99x-265,41x. These are likely postwar Ross numbers as on
other products. The 8-20 Special has other numbers again, at Nos 223,xxx to 26,xxx and then 83,xxx-93,xxx.
These suggest another source for some Ross lenses as suggested under Ross, where some other serial
numbers are given..
Ross Xpres f3.8 10.5 Selfix 8-20
Ross Xpres f4.5 10.5 Autospeed
Ross Xpres f4.5 10.5 Carbine No7
Sightroll:
SightrollOptical Norma f6.8 3.5in Ensignette No2 deluxe
(See below for another mention of this product in the B.J.A.)
and some currently unidentified lenses rated as:
anonymous:
Anon Achr Meniscus f11 Ensignette No2
Anon Correctar f4.5 12.0 Sanderson Standard 1/4pl at No107,69x.
Anon Lukos f3.5 7.5 Autorange 220
Anon Lukos f6.3 13.5 Folding Ensign Klito at No28x.
Anon Lukos Anastig. 10.5 Carbine No5
Anon Lukos Anastig. f3.9 10.5 Popular Ensign noted at No109,73x.
Anon Lumar f6.3 4in Popular 6x9 noted at No15,73x
Anon RR f8 Ensignette RR
Anon Velos Anastig f7.7 Ensignette No2 V deluxe Noted at No61,72x.
Hofmeister
'Anon' Syrconar f4.8 10.5 Autorange 20 at No71,07x. This will probably be the
Hofmeister lens though the makers name was not mentioned so it is included as anon.
--------------------------
The following notes were asembled separately and can be an interesting if different angle on the subject.
Ensign Anastigmats
These seem to have come in 5 recognisable series:
Ensign Anastigmat Series 1 No 0 f5.8 about 5in focus. This is serial No 112,50x and a 4 glass / 4
component lens. This was a common design early in the 20C, and can be extremely good. It is in a Koilos
shutter.
Fig 009 024 Ensign Ser. I f5.8/4.75in No112,306 in Koilos shutter and Ser VIIn f7.7 Nono in anon shutter.
Series 11,111,no details at present.
Ensign Anastigmat Series 1V f4.5 eg on box reflex. It was noted in 1914 and there was also an f4.5 on a
Double Eight for 16 on 127 film in B.J.A. 1936, p74.
Ensign Anastigmat Series V f5.5 eg on the Box reflex.
Ensign Series VI no details
Ensign Anastigmat Series V11N f7.7 The example seen was No17,88x in a Ensign Sector shutter 1-
1/100sec, and this seems to be a triplet Q13 off an early camera, such as a1913 Klito or rollfilm as the above
list would indicate. This seems to be the easiest to find of the Series lenses. (However some series lenses
were noted elsewhere.) 'n' just could suggest an earlier VII with the 'n' as a new version or it might be the Beck
Neostigmar coding being kept even though the actual makers name is omitted.
Ensign Anastigmat (no series no.) f6.0 eg on Ensignette+ rollfilms, also noted 1914.
It is these which may be bought in. Thus no Aldis lenses seem to be in the lists, though they were a major
supplier postwar.
Excellor f4.5 135mm noted on a 1/4plate Ensign Klito Model 9 with a known
history from original sale in 1923. The owners say it gives excellent results but the structure is not known.
Achromat f11
Midget lenses in f6.8, f6.0 and f7.7.
Ensign f6.5 and f4.5 on 1913 Ensign focal-plane camera.
Ensign f5.5, f6.0 on Sanderson cameras.
Ensign Symmetrical f8.0 (possibly by Beck?)
One feature is the Sanderson cameras which were a prestige series and would have often been sold with a
choice of lens or have the lenses exchanged on subsequent resale- as with a Tessar f4.5/135mm on a 1/4pl at
No1,004,62x (c1926) which is said to be later than the original body.
For much of the inter-war years, they could have found outside suppliers easily. However it does seem that
they designed the f3.5/75mm Ensar in house, and the Ensars just may mark a beginning to production, or
probably merely a new phase in a long term one. What has been said was that the later merger with Ross
was regarded as a personal tragedy by the Ensign designers. Certainly the formation of the Ensign Ltd
company in 1930 shows up with a change in style of advert. and the appearance of a new lens, the Ensar in
the 1932 or 1933 lists- and it may represent an extension into making a more complex lens line. It was first
noted as an f4.5 Ensar on an Ensign Carbine, and in 1935, this was sold on Midgets, Double-8, Selfix-8-on,
etc. By 1937, there was a full set:
Ensar Anastigmat f7.7 This was on the Selfix and other cameras, and on Selfix was the cheap option.
Prices in 1937 were f7.7, £2.25; f6.3, £2.75; f4.5, £3.75 all in Trichro shutters. More expensive shutters were
available but really only for the f6.3 (Prontor) and f4.5 (Compur).
Ensar Anastigmat f6.3 This was a 3 glass /3 component Triplet. This was on the Midget in 1936
(B.J.A. p57 advert.) and on the Ranger and Selfix 6x9cm where it was the middle price option.This was a
rather modest performer from the example seen. Shutters were Ensign make, usually marked Trikon. These
have no serial numbers.
Ensar Anastigmat f4.5 This was a 4 glass/3 component, Q15 type. This type may go back to the
1930's as on a Selfix in B.J.A. 1936, p77advert. In a Selfix, this was a much better lens than the f6.3 option,
and was really sharp if stopped down a bit. Those seen may have been early postwar, as they were uncoated
but in Epsilon 1-1/150sec shutters while prewar the adverts say 3-speed. They have serial numbers, from
No350x-1233x in those seen. The f4.5 was fitted to all the more expensive versions, such as Autorange,
Selfix: and there was a further item for the new Multex I camera for VP film.
Ensar f4.5 There was a 70mm version for the dial recording camera used to record
gunsight settings in gunnery trials, for 44 or 20 exposures on unbacked 120 film (2.25in sq) and is described
in D. Rendell, B.J.P. 16/05/1980, p473.
Magnar f3.5 This was on the 1938 Selfix 220 No S/220/8 in Compur at £7.85 and Autorange
220 in Compur Rapid at £13.50- while the cheapest model 220 was about £3.25. (Heaton Blue Book, 1938). It
seems likely that this was a version of the next item, the Multar. But note that Ensign used the T.N. Multar
freely on enlarging lenses at the time.
Norma See Sightroll Optical Co of London for this f6.8/3.5in lens on an Ensignette- it was just possibly a
retrofit.
Ensar Anastigmat f3.5 for Multex 1. This was in the advert. in B.J.A. 1937 p61 where it focused to 21in
and coupled to the rangefinder.
Thus production of the f3.5 Ensar may have been still coming on-stream or only in some foci.
The f3.5 Multar was also sold on the 6x6 Selfix 220 in 1938, and was still used as the low price version on the
Multex 11 that year. Min. Cam. World, 10/1937, p602. Such a Multar f3.5/50mm has been noted at
No140,36x, 140,38x, and 140,55x on Multex cameras, and another made it onto a Rectaflex at No125,12x,
probably with a novel adapter. Multex disappeared rather suddenly and the excess bodies, less lenses, were
sold off in 1942 (M.C.M. 1/1942, p45), with a note that the shutters might not be perfect, but repairable with
experimentation, which may suggest the problem. Also that the supply of lenses just may have dried up
suddenly. Lenses seen have been Multars, with adverts. noted of Xpres f1.9 and f2.9 but only one Zeiss lensed
version has been reported although a Sonnar version was originally listed for MkII (below) but the existence of
the Sonnar version has been heavily questioned. (An example has been noted at Sonnar No1,754,80x, and
another possible after-build has been spoken of.) An example with a 2in f1.9 Super Six from Dallmeyer may
have been made from one of the bodies sold off in 1942. The lenses listed in the MCW above were:
Multar f3.5/50mm; Ross Xpres f1.9 or f2.9 of 50mm; Zeiss Tessar f2.8/50mm or Zeiss Sonnar f2.0/50mm
And finally prewar, there was a new name,
Lukos f3.5 on the Autorange 220 and Selfix 220, ie of about 75mm focus.
[It is just possible that the trade name Magnar was felt to infringe the Zeiss name and was changed.]
There were also enlarging versions:
Enlarging Ensar f6.3 This was noted on a Magnaprint enlarger in B.J.A. 1936, p293, where it was the same
price as the model with no lens but a M39 flange- a Dallmeyer f4.5 version was £2.30 extra. Thus the enlarging
Ensar was probably not a very elaborate design.
Enlarging Ensar f4.5
Enlarging Lens Magnar f4.5 This was made in 1938 for 6x6cm on the V10 and 6x9cm on
the V11 enlargers, and was the premium item above the Ensar f6.3 option. (B.J.A. 1937, p281) Here the lower
price version was an Ensar f6.3. Magnar may be a renamed Ensar but is clearly listed also in the 1938
Wallace Heaton Blue Book.
______________________________________________________________________________
In summary, the B.J.A. 1939 advert lists:
Ensar f7.7, f6.3, f4.5; Multar f3.5; on Selfix 220 for 6x6cm with a Tessar f4.5 option.
Ensar f3.5 on Multex with Ross Xpres f2.9, f1.9 Zeiss Tessar f2.8 and Sonnar f2 options (The Sonnar may
never have appeared!).
Midget with 'all-distance' lens or Ensar f6.3.
MagnaPrint enlargers in at least 3 sizes and other variants, with Ensar f6.3, Magnar f4.5, or Dallmeyer f4.5
lenses.
Projectors ('Optiscope') and cine equipments.
------------------------------------------------------------------------------------------------------------------------------------
War and Postwar Years
The firm switched to war production in 1941-2 and were involved in aerial gunsights, training cameras, and
shutters and parts for Williamson F24 and F46 aerial cameras. The sales office of Ensign was destroyed by
bombing on 24/25 Sept 1940, and Ensign subsequently was put into liquidation, the Ensign trade name and
products then trading from Houghton-Butcher Manufacturing Co Ltd. During the War at least some Fleet Air
Arm cameras were made up from Selfix 420's with a rigid cone body and a f4.5 Tessar (often a 120mm off a
larger format rollfilm) in a Compur for air use. There are reports of a Military camera for 12/20, coded as type
1124^1945 with an Anastigmat f3.5/76mm lens- it may be the Commando below or the recording camera
Rendell mentioned. And note the f4.5/70mm Ensar in Rendell account above.
---------------------------------------------------------------------------------------------------------------------------------
Postwar
They advertised cameras in the 1946 B.J.A. p55, and these included the Autorange with Ensar f4.5 and f3.5,
the Selfix 6x9cm with a f4.5 Ensar and the Fulvue with an all-distance lens with a 2 position focusing mount
(probably a f11 or f10). And the Commando which had been supplied to the MoD and was essentially
continued for civilian sale. By B.J.A. 1948, p205 there was the Ranger with a Ensar f6.3/105mm lens, coated
rather thinly but with good contrast, and a 3-speed shutter, and still no serial numbers. These lenses have the
same external curves as the prewar f6.3 and still have no serial number.
A vital item was the Epsilon shutter, to complement the simpler Trikon. The Epsilon was noted by the B.J.A.
1946, p179 and came in two sizes, No00 and No02. It had speeds from 1 to 1/200sec and the B.J.A. found it
accurate and consistent. [The only other comparable UK shutter of the period was the Talykron, a high quality
but scarce unit from TTH who may not have sold it except to Kershaw.] The Epsilon seems to have varied in
quality and became something of a problem to users. Today it is unpopular with repairers.
By 1947, business involved the Commando with f3.5 Ensar for 6x6cm, the simpler Autorange with f3.5 Ensar
for 6x6cm, and Selfix with f4.5 Ensar for 6x9cm.
Note that post war the new Ensign Autorange 220 was sold with an Ensar f4.5/75mm in Epsilon shutter from
Oct 1950, while the later Selfix 16-20 Model I was with Ensar f4.5 (B.J.A. 1951, p248) and Model 11 was with
Ross Xpres f3.5/75mm lens (idem).
For 6x9cm there was a f6.3/105mm Ensar on the Ranger II camera in B.J.A. 1950, p220 with front cell focus
in Trikon shutter- "simple but sound". It extended the f6.3 and f4.5 Ensars. Early coatings can seem very pale
today, but contrast was usually quite good. Sharpness and coverage was less advanced in the f6.3 lenses (3
glass triplets), though the f4.5 4-glass could be a good performer. In fact the 1949 British Industries Fair saw a
"new" Ensign Commando, restyled, with 75mm f3.5 Ensar and it could be a fine camera, but the examples
reviewed by the Amateur Photographer were 'fragile' and the sales never took off. There was also a much
better 'new' Ensign 8-20 Selfix with f3.8/105mm Ross Xpres.
An Ensign "Standard" enlarger was sold with a f4.5/105mm Ensar enlarging lens.
A valuable source is A. Richmond in Photographica (Summer 1998, No85, p11-18) who dates the
"Commando" from Patent B.P.521,606 of 27/05/1940 with production from 1944-5 for Armed Forces only
(small production) with the really new f3.5/75mm Ensar designed by 1943. This was a faster lens than Ensign
had previously made, and good examples were of professional quality. Later the camera was on general sale
from c.1946 but performance seems to have varied either due to lens variations or to the camera assembly. He
indicates the name 'Ensar" dated from 1933. His comment is that the Selfix and Autorange series with Ross
lenses were excellent and restored the lines reputation.
Ensignor We think that many years later the Trade Name was aquired by another party and used for a new
series of products, imported from the Orient, but few details are available here.

Envoy= Photo Developments, Leonard Rd., Handsworth, Birmingham 19,UK.

Envoy were better known for enlargers, but made the Envoy wide angle camera for 6x9 plate or rollfilm, and the
64mm f6.5 used was a wide angle 4-glass Gauss, from TTH of Leicester, as seen at No381,60x, with the
makers name engraved on the mount. The lens is set in an Epsilon (4 or 8 speed), or Compur XM blade
shutter, and this may cause some vignetting- Thus the original reviews suggest the performance was usable
at f16, better at f22 and best at f32. It is a desirable if minor item, and can be fairly expensive as a complete
camera. It was advertised in B.J.A. 1950 p507 with 4 speed shutter to cover 82°.

H. Ernemann A. G., Dresden, Germany.

(Note that the projectors were referred to as Krupp-Ernemann in 1926, but the cameras were not, so there
may have been a joint production arrangement with Krupp for movie equipment where many larger castings
were required.)
Ernemann was founded by H. Ernemann, (born 1850, died 1927 or 1928) and the camera firm ran from 1888,
and made fairly conventional cameras but no lenses until 1910, using bought-in items till then. It may in fact
have found movie equipment more profitable at times and it made these from 1903, and made a commercial
Imperator projector from 1909. Thus there will be ex-movie lenses to consider, apparently from as early as a
60mm anastigmat from 1904. These are familiar to those who deal in collectible movie lenses, and are
considered the second most frequent brand to be found today, after Zeiss Tessar and ahead of Ruo.
Considering the range of cameras made, there was a surprising number of trade names of lenses and looking
at the adverts. it does seem that a degree of simplification could have been made. And of course the Zeiss
Ikon merger achieved it. Thus just the one model 'Focal plane camera' was made in 4 sizes, of which 3 were in
leather or Tropical style, and were mainly offered with 4 lenses on each version, say 28 in all.(B.J.A. 1926,
p679).
In the 1920's, an important series of lens designs and patents began to emerge, using (i) the triplet layout
with the front glass split to reduce the spherical aberrations in a 4-glass layout, and (ii) vitally, the space
between glasses 2 and 3 was filled with a low refractive index glass. The first led to the Ernostar lenses of
4,5,and 6 glasses by compounding, and the latter to the Sonnars. Now in the middle of these developments,
Zeiss were to arrange the merger of 4 firms including Ernemann A.G. into Zeiss Ikon, and essentially the
Ernostars are Ernemann designs and the Sonnars are Zeiss. It is likely that these designs were largely the
work of Bertele (1900-1985), who went on to design for Zeiss for many years. The original patents for the 4-
glass type about 1922 seem to have others involved, and the 4-glass idea was not new (see Ultrastigmat and
to some extent Speedic). (But we are told Klughardt was his co-worker and now an under-appreciated man.
Frerk gives him equal credit in 1926.) It is not known how far apparently related lenses made in Germany by
Astro as the Pantachar, and apparently by Goerz as the Photometon and by Rietzschel as the Prolinear were
made under this patent but it is notable that the use was limited to Astro after the merger to form Zeiss Ikon. It
is certain that the Ernostar led on to the Sonnars, but too often it is the 6-glass versions which the books
discuss (here coded as Ernostar-6). The simpler 4-glass (Ernostar-4) and 5-glass (Ernostar-5) are relatively
disregarded by collectors. The 4-glass were patented as B. Pat. 237,212, see Ern003), the 5-glass as B.Pat
237,861 and the 6-glass as B.Pats 191,702 and 237,529. Bertele claimed (U.S.Pat. 1,708,863) that the triple
component used in the latter was important to the design and could be relocated elsewhere in the lens without
losing the advantage, and some of these look forward to the Sonnar designs. Ernostars were fine lenses and
the Sonnar design displaced them mainly owing to its fewer air-glass surfaces and perhaps new glass types.
The layout seems to have been revived by at least one maker many years later in coated form, perhaps owing
to patent needs. (Note that Bertele was responsible for several important later designs for Zeiss, to 1942,
Steinheil to 1945, and then for Wild of Switzerland especially until he retired in 1956 and worked
independantly as a designer.
Older types.
Kollineograph This was an early lens, and may be a different spelling of the next.
Collineograph f7.7 Ser III for 13x18cm, this was a brass finish lens with black enamel cell
edges of about 8in from France, where the softer C may be more normal. The owner suggests it is an RR and
examination confirms this. NB It is engraved as "HE" iris scaled f7.7, then f9, 12, 18, to f71. The iris was
jammed on the example seen and proved to be a disc shaped sub-assembly pushed into the barrel and not
very well located. It had turned as the leaves got stiff and dirty, slightly distorting the thin brass barrel and
jamming the control ring. The answer was to dismantle the whole and clean it, refixing the disc with a touch of
shellac on reassembly. But it does seem rather unsophisticated by modern standards.
Unette f12.5 This was probably about 50mm? and this achromat was used in the
Unette box camera (B.J.A. 1926, p333;1927, 700) for 35mm standard film ie possibly sprocketted, and took
24 pictures 22x33mm.
Symmetrical Double Lens f11 This was used on the Heag III in 1926 in 6x9 and 1/4plate. (B.J.A. 1926,
678). It may be the same as the next item:
Doppel f11 on Simplex (1920's) This dated at least from 1902 and was often the low
cost option on cameras such as Heag 0, 00, 1, 11 of the period.
Detective Aplanat f8.0 on Bob 1 and 11 folding cameras (1913). These were often the
second cheapest option (above the f11 Doppel) from 1902 onwards on the Heag series. They were continued
for some time as one had a serial No83,79x on an 8cm lens.
Detective Aplanat f6.8 80, 135mm on 1913 folding Bob 1 and 11.
Fig 018 024 Ernemann early lenses (l) Detectiv f6.8/15cm No406,969; (r) Vilar f6.8/135mm No80,977 and
(mid) Ernon f3.5/10cm No182,935 on Heag VII.
Anastigmats
Anastigmat This was a 3+2 anastigmat type, about 1908.
Kinostigmat f3.0 This was noted on a 1904 Ernemann for 17.5mm filming. It was also
noted at auction on a 17.5mm Kino I camera from about 1903, which was about the first amateur cine camera.
Anastigmat Rectar f6.8 This was made in 140mm for a 10x15cm plate camera about 1910,
but the source is uncertain.
Ernemann f3.0 5.25in This was on a 3.5x2.5in folding reflex in B.J.A. 1926, p306,
but no trade name was given- it may be an Ernon version.
Ernon f3.5 50, 75, 110, 120mm, This was noted on the Ernoflex in VP, 6x9 and
1/4plate sizes (B.J.A. 1927, p595) It was probably a post 1918 item, and was continued to 1926 at least on
the small Stereo Simplex and Ernoflex cameras. Frerk says it was the most costly of the Q15 types, and
highly rated, covering 56° at full aperture. Later it was used on the Bobette 11. The 50mm version was used on
several 35mm movie cameras, about 1904 for 15.5mm and then 1910-1916 for 35mm. An example was
No32,85x on a U.S.Cinematograph No52x.
The Bobette II was continued in 1927-8 (B.J.A. 1928, p312) with a choice of lenses. They were f4.5 Ernoplast
at xx01637.63; f3.5 Ernon at £10 and f2 Ernostar at £14.
Ernon was probably always cheaper and easier to use than the Ernostar and sold better, as more are found at
auction. An f3.5 (?Ernon)/1,375in was listed on the Kinette ?35mm camera at £27 while with f2 Ernostar, it
cost £34. They include 5cm lenses on movie cameras such as No330x on a wooden Ernemann 35mm
camera, and No79,17x on a later one. One No79,17x was on a projector. Larger ones were normally on still
cameras, such as a f3.5/75mm No109,58x on a VP Klapp, a 12cm at No108,08x, and several 135mm lenses
were noted for 9x12cm at 91,18x, 112,95 (2x), and 158,24x. The biggest were in 165mm No186,90x), 180mm
at No154,65x and 210mm at No160,56x.
For most purposes, the Ernon was the f3.5 and the Ernotar the f4.5 but there were exceptions.
Ernon f4.5 180mm This was noted in a dealers list. It was on an Ernemann
tropical focal plane in B.J.A. 1926, p310 in 4 sizes for 6x9cm, 1/4plate 10x15cm and 1/2plate. There was also
a f4/3in on a Simplex Ernoflex in B.J.A. 1926, p335.
Ernon f3.5 135mm This was mounted for 35mm movie also.
Ernon Doppel Anastigmat f6.8 This can be a Dagor type according to Frerk. Tentatively this was
the most often sold or at least listed, on Ernemann cameras from about 1902, and up to 1914, was more used
than the faster types. It was noted for Heag 1, 111, V1 etc.
Doppel anastigmat f6.0 135mm This was noted at No25,12x on a 9x12cm Klapp.
Ernastigmat f6.8 75mm This was offered on a HEAG V.
Erid f8.0 60mm It seems an old type still fitted on a StereoSimplex in 1920.
Later a 40mm was used on the Bobette.(1924) eg and a 105mm on a rollfilm box in 1918.
Triple Anastigmat f6.8 100mm for Simplex Ernoflex (1926)
Special (A version of the above?)f6.8 165mm
Ernoplast f4.5 on Bobette 1 (1925) and Bobette II.(B.J.A. 1928, p312, 675advert.,
ex-Zeiss Ikon), Rolf II rollfilm, Bob III and IV 6x9cm rollfilms and Heag III plate (B.J.A. 1926, p678). This seems
to be the lower priced version of their 4g/3c Q15. A 65mm version was used for a 1908 35mm movie camera.
There may be two types as it was noted as an f3.5/65mm No221,37x on a 35mm camera. At auction, noted
as No208,45x f4.5/5cm on Bobette II. A Simplex Reflex No1,273,84x had a f4.5/75mm at No105,05x.
Ernotar f4.5 on Klapp This was a higher priced version in Q15, ie above Ernoplast
but below Ernon. It was noted as a 15cm on a HEAG 9x12cm at No90,62x, and was listed for this in B.J.A.
1926, p678, in Model C only. In 1925, it was in several sizes.
Here prices were: £6.65 with Vilar f6.8; £9.85 with Ernotar f4.5; £11.92 with Ernon f3.5 and £11.30 with Zeiss
Tessar f4.5.
It was probably a more important product than now thought as it was fairly common at auction on 6x9cm
Klapps eg at No96,74x.
Doppel f11 on Simplex (1920's) This dated at least from 1902 and was often the low
cost option on cameras such as Heag 0, 00, 1, 11 of the period.
Vilar f6.8 on HEAG 11 (1920's), Bob V 1920. This has been described as
excellent in a 1998 report, and said to be 5 glass: but a 4-glass seems more like. (Shutterbug, 1998) Frerk
says it is a 4-glass dialyt type. It was one of the cheaper versions on the Heag 11, below Ernar and Ernon. It
was noted as an 135mm lens at No82,89x on a 9x12cm Tropical. It was used in B.J.A. 1926, p676 etc. on
Bob V rollfilm in several sizes such as VP, 2.25x2.25, 2.5x3.5in and 4.25x2.5in. (B.J.A. 1925, p698 on Bob V
abd Heag VII,etc).
Ernar f6.8 on HEAG 11 It was another 4-glass dialyt. This ran through the
period 1902 onwards and was the next in price above the Doppel and Detective or near this. A NoI f6.8/135mm
was noted at No63,03x on a 1/4plate Watson camera.
Doppel Anastigmat f5.5 and f6.8 It was made for 6x9, 9x12, 8.5x17, 9x18cm. Frerk refers to a
Doppel which was a 4-glass dialyt. It was fitted to the Klapp camera in f5.5 or f6.8 about 1919.
Projection Anastigmat f3.1 This was seen as a 19.5cm lens in a brass barrel, and seems to be a triplet.
Ernostar series
Ernostar f2.0 35mm for movie, ?50mm for Bobette, 100mm for 6x4.5cm (Er001,
Er002). This was the first Ernostar to be issued (B.J.A. 1925, p333) and was for the VP cameras, and
probably also used on a movie fitting. The ratio of the front glass diameter to the rear differs in the drawings
found and this just may represent versions for narrow and wider angles. The ratios in the drawings are 1.17:1
and 1.60:1 while a measured example is 1.45. It would be reasonable to use a smaller rear glass for 35mm
movie and one example seems to be of this type, at No15062x- or it may just be artistic licence. A normal
Ermanox example was No150,50x on body No1,185,046 [The patent seems to be USPat 1,708,863 of
09/04/1929 which emphasizes the value of the triple component in making lenses up to f1.5, giving 4 types
with varying arrangements where the f2 made seems to be Fig 1.] Frerk dates the launch as Spring 1925, but
it was in time for the B.J.A. 1925, p333, 695 advert. of the Ernox camera;and the Ernostar came just after the
Ruo f2. He says Ernemann were well known for movie lenses then and indicates that higher speeds had been
available earlier with them. "It covered 41° and was amazingly sharp and well corrected."
A f2/35mm example for movie was No166,90x.
The Ermanox gained much from the use in the early days by a small number of advanced news men.
Users These included Stefan Lorant (1901- ) who used one in 1925 for pictures in Morgenpost and Berliner
Zeitung am Mittag and went on to produce Lilliput in the UK. (M.Hallett, B.J.P. 21/02/1996) It was some 2
years later that Erich Salomon adopted the camera and perhaps became the greatest exponent using it to
picture many of the important political events of the period, though sadly he was to die with his wife at
Auschwitz in 1944 (B.J.P. 19/12/1980, p1280).
Some serial nos 150,54x, 150,73x, 150,54x, 150,53x, 150,52x. This was about as common at auction as the
f1.8, with 5 all one focus as against 8 at f1.8 in 4 sizes.
The f2 was still on sale on the Bobette in the Zeiss Ikon advert. in B.J.A. 1928, p675, and experience of
handling one was very impressive- this was a solid, precise camera far ahead of many contemporaries and
well able to justify an f2. Sadly there was no opportunity to use it. But it was withdrawn in 1929, with the only
Ernemann survivor being the Ermanox in VP and 2.5x3.5in sizes.
Ernostar f2.0 35, 52mm noted for movie use about 1923-1932, and 1932.
respectively.
Ernostar f1.8 50, 85,105mm (on Ermanox, Ernoflex), 125mm, 165mm later. This
was used in 3.375in (85.7mm) for 4.5x6cm where the f2.0 was used as a 4in (101.6mm) lens suggesting that
the f1.8 covered a wider field. There is a slight feeling that the f2 is the sharper but over a narrower angle. The
f1.8 was also made later in 125mm, and possibly as a 165mm version. The shorter may be for movie: it seems
to be a f2 for the Bobette above. According to Frerk this f1.8 was a "Bertele only" design. More examples of
these Ernostars were noted from auctions.
Body Number Lens specn. Lens number
1,254,26x f1.8/85mm 1,342,22x
1,253,91x f1.8/85mm 1,273,08x
1,052,11x 9x12 f1.8/165mm 1,669,98x
-V.P. f1.8/85mm 1,676,96x
99,919 VP f1.8/105mm 917,07x
VP f1.8/85mm 1,676,0x
L6991x 6x9 f1.8/12.5 225,05x NB This is a Zeiss Ikon lens, hence new
number series?
1,254,05x f1.8/85mm 1,672,5x
1,184,98x f2.0/100mm 150,35x
9x12cm f1.8/165mm ---(sold at auction)
VP f1.8/85mm 1,342,22x.
VP 1,185,01x f2.0/100mm 150,52x
In B.J.A. 1927, p596, 3 sizes were noted: VP, £34.1; 3.5x2.5in £57.00; and 9x1cm or 1/4plate, £84.70.
The f2.0 did overlap the f1.8 in sales as in B.J.A. 1926, p680 there is a listing for Ermanox with both f1.8 and
f2 lenses as follows:
2 5/16in x 1 3/4in (58.9mm x 44.45mm) with f1.8/3.375in = 85.73mm Ernostar £28.75.
4.5x6.0cm with f2/4in (101.6mm) Ernostar £28.00.
6.5x9cm = 3.5x2.5in with f1.8/5in = 127mm Ernostar £42.00.
If nothing else it underlines the use of the f2 over a narrower angle, using 101.6mm compared with 85.7mm.
Fig 018 026 Ernemann Ernostars (l) f1.8/125mm No224,992, (mid) f1.8/85mm No167,136 remounted to M39;
(r) f2/100mm No150,620, (r)
Ernostar f1.3 This was noted on a Bobette II in B.J.A. 1927, p700 as an option- it may well be
a misprint or just possibly a plan for something which never came to pass.
Ernostar f1.9 This was noted as a 50mm lens for 35mm movie use, about 1929. Again it
suggests Bertele had faster designs planned which were never to be sold as the Sonnars came into
production from Zeiss. (But there is just a chance they were related to later Astro designs?)
Ernostar f2.7 This was made in 75mm, for 4.5x6cm in 1924 on the press camera, and later
extended to 2.5x3.5, 9x12cm=1/4plate and 10x15cm =5.5x3.5in.Here the options in 6x9cm were: Ernotar f4.5
£19.25; Tessar f4.5,£21.00; Ernon f3.5, £21.00; Ernostar f2.7,£24.00.
This a 5-glass version of the design with 2 cemented surfaces, and "also amazingly good". It was also in other
sizes such as 11cm for 6x9, and is a really attractive lens even today. It has been as an 11cm lens at
No185,12x on a 6x9 Klapp and as an f2.7/15cm lens at No169,630. It is certainly a scarce lens and attracts
less attention than the big ones and so may be harder to find. The 11cm version above suffers badly from a
balsam fault but this is not common among Ernostars. This seems to be the least common Ernostar in
aperture judging from buying experience and auction notes. It was noted on two Klapps, at No 186,59x,
170,56x and as above. Originally it was probably mainly sold on the 'Focal Plane' camera on all version (B.J.A.
1926, p337, 679advert.).
Fig 018 028 Ernemann Ernostar f2.7/11cm No185,129 from 6x9 press.
Ernostar f4.5 180mm (for Ernoflex) (This item seems unusual and more
information is really needed.)
When Zeiss Ikon was formed, the Carl Zeiss company gained in having a steady captive market for the Zeiss
lenses, but few of the firms taken into the amalgamation contributed much in optical designs. The exception
was Ernemann and access to the patents of this group may have been a more important factor than is often
realized in pursuading Zeiss to sponsor the combine. The prospect of not having access to the 4-glass
Ernostar may have been serious, but the idea of the Sonnar series may have already been born in B. Patent
237,529, USPat 1,708,863) even though it was not to appear until the Contax camera (1932.)
Ernopynar f3.5/35mm This was noted on a 1925 Ernemann camera for 35mm movie
use.
Kinostigmat This was an early movie lens, noted on a 17.5mm Kino I camera from about 1903.
Chronology
No chronology has been noted but the store of numbers of Ernostars is worth noting above and is an on-going
collection.
Fig. 4 Ernemann
Exposure: Ross Concentric 6in f32.
Left to Right Ernemann Ernostar f2.0/100mm
Ernemann Ernon f3.5/105mm on Heag V11
Ernemann Ernostar f1.8/85mm adapted M39.
Ernemann Doppel Anastigmat f6.0/90mm on 6x9cm Press
Ernemann Ernostar f1.8/125mm

Erkos
Selar f6.3 105-165mm Convertible symmetrical anastigmat
Selar f4.5 same.

Erno, Wetzlar, Germany.

Noted for a Erno Askinar f1.5/50mm lens on a 1951 Bauer 16mm camera.

Ertel
Noted as an Ertel Anastigmat f3.1, 50mm No details.
Also Ertoplan f3.1/50mm eg at No22,74x noted from the Ertel works about 1923 for 35mm movie. They also
used a Busch Glaukar f3.1/50mm which may suggest the origin of the former lens.

Eskophot
This was probably a trade name found on Ultragon Process lenses, thought to be German, such as f9/305mm,
f8.0/210mm and f8.0/150mm. These seem excellent lenses but the iris may be difficult to live with if reused as
there was no scale on those seen. (see also Staeble who are engraved as the makers on another Ultragon).
(Compare Repromaster and Helioprint lenses also.)
Eta, Prague, Czechoslovakia.
Etar II f3.5 50mm on Etaretta (1950's)
Etar III f3.5 50mm Marked ETA, Praha on camera Nr39,756. (Cyclope, Nr15-16,
1994). It may be that II and III are merely codes. Another Etar III was on body No55,97x.

Eumig, Austria.
Eumig were mainly a maker of cine cameras, but one still camera carried lenses with a maker related name,
the Eumar.
Eumar f5.6 80mm on 6x6 Eumigetta (1950's).
Eumar f4.0 80mm
Cine Lenses included:
Eumig f1.8 10-40mm on 1961 Eumig 8mm.
" f1.8 8-25mm on 1963 Eumig 8mm.
Eumig Zoom f1.8 9-18mm. about 1963 for 8mm.
Eugon f2.7 12.5mm about 1955-1958.
Eugon f2.8 12.5mm about 1954.
Eumigar f1.9 25mm about 1956, for 16mm use. It was noted at No474,22x.
Eumigon f1.8 12.5mm about 1959 for 8mm use.
Eumigon f1.9 12.5mm about 1963 for 8mm use. This was noted in B.J.A. 1959, p203 on a
Eumig C3 R 8mm cine with swing in Eumakro 2x long focus and an 0.5x Eumakro wide angle. The lenses
were on a lift-up turret, and when swung in, the appropriate finder optic was put in place at the same time.
Eupronar f1.4 20mm about 1957 for 8mm use.
Eumicron ]
Eumicronar ] These are all lenses for 8mm use.
Eumigon ]
They also supplied a series of Eumacro lenses, possibly for video.

Exakta Camera Corp, Bronxville, N.Y. USA.

USA agents for Exakta, and suppliers of specialities such as the following:
Extanar f2.8 This was a 50mm macro lens in deep throw mount to 1:1 possibly from Schacht,
Ulm, Germany but this is not certain.

Extender Several optical layouts are given, as these seem often to be obscure items with agents name
rather than makers. (Ex001, Ex002, Ex003, Ex004, Ex005) In general, performance varies, but is most likely
to be good with long lenses working over a narrow angle, with moderate apertures and with extenders
designed by the maker of the lens (where the designs of the two optics can be chosen to match.) Here it can
be satisfying and reveal detail hard to see without the extra magnification. Experience with some extenders
and a high quality 400mm lens did not suggest that there was as much correlation of performance with the
price of the extender as might be expected- here the best seemed to have been the cheapest originally. But
clean condition and advanced or multicoating are worth looking for. At least one very early single coated one
was really quite poor and discarded as 'historic interest only.'

F. Falliez, Paris, France.

Noted for an Objectif Cinema "Siamar" f2.5, 135mm: one of a set of projection lenses. The design seems to
be the traditional Petzval (f)2+ (r)1+1 Probably early 20C. Here the spelling is from the original box.
Fig 029 015 Falliez, Paris, objective Siamor for projecting (one of a set of 3 sizes).

Faller, E. Paris.
(This may duplicate the above and be a misspelling).
He is represented by a Rapid Rectilinear, No1 of c. 1900.
Fairfield This was a trade name of T.T.Hora (which see), of 346 York Rd, Wandsworth, London SW, UK
It was used on a mahogany and brass camera of 1899, and on lens such as :
Fairfield Anastigmat f6.8 This was a 4+4 symmetrical design, for 82°. It was made in 4.75, 6.0,
7.0, 8.25, 9.5, 12, 14.5in. It was probably a commissioned lens bought-in.

Fairchild Corp, USA

They are noted here for a Fairchild f2.0 used by NASA on a Maurer camera noted in B.J.P. 10/04/1981, p374.
Fairchild-Curtis was the coding on a f2.8/6in (150mm) Stellat lens noted adapted for Rolleiflex 66 in a list in
April 2001.

Fallowfield, Lambeth, London to 1891.

from 1891, at 146, Charing Cross Rd, London W UK.
Fallowfield were and probably are dealers, who engraved their name on lenses, fitted to cameras sold also
under their name. They seem to be good examples of the period, and are fairly common as they were very
successful over the period 1890-1910, though seemingly later less active in this field. Note the address if
engraved as it can be a useful dating indication. Many of those met are Petzval type Portrait lenses.
In 1889, they listed Ross's Portable Symmetrical lenses in Nos 1,2,3,4,5,6,7,8,9,10 and 3-15in. and Ross's
Rapid Symmetrical Lenses in 4.5, 6.0(for 5x4in), 7.5, 8.5, 11.o, 12, 13, 16, 20 and 24in.
They also listed "Unrivalled Portrait Lenses" as No1, for CdV, No2 for Cabinet and No3 for Whole Plate.
A faster series was the Quick Acting Portrait Lens, as 1B (2in dia.); 2B (2.75in dia.; and 3B (3.5in dia.) These
may be Dallmeyer lenses or labelled to be rather like them.
Also Fallowfield's "Improved Rapid Doublets" in 5.5in for 5x4, 7.5in for 7.25x4.5, 9.0in for 8.5x6.5in, 15in for
10x8in, and 16in for 12x10in. One noted was just a plain Rapid doublet at No137x from the Lambeth address,
so pre-1891.
"Optimus" Lenses These probably were bought in, eg from Perkin Son and Rayment, as Euryscope Double
(RR?) f6.0 as for 5x4, 5x7, 9x7 and 10x8in sizes, and RR f8.0 in 9sizes from 5x4 to 18x16in. There were also
Portable Symmetrical f16 and f4.0 Portrait Lenses as well as Rapid Landscape f11 for 5x4, 7x5, 9x7 and
12x10in..
This is essentially a 1900 list.
Fallowfield Portrait f2.2, This was made in 4.5in, 4.75in, 6.0in, f2.76, 9in; f3.0, 12in; f3.4, 12in.
This was a high speed Petzval type. This is probably uncommon.
PetzvalA more ordinary f3.7 Petzval has been seen at No175x,also in brass finish. These do seem to turn up
rather often.
Fig 009 026 Fallowfield Petzval for enlarging No1275. about 6in No1.
RR f8.0 9 sizes, Q5 This was sold on the Facile and other products in the
1880's.
WAR 3-11.25in, Q6. This was for up to 90°.
RR "guaranteed achromatic" f8.0 This was made in 4 sizes and 3 cheaper versions, Waterhouse stops.
Q5
RR with iris stops. This was made in 5 sizes,Q5
RR Extra Special Euryscope f6.0 This was made in 3 sizes Q5
Meniscus f11 sold on Facile (1880's)
and in 1910;
Fallowfield Facile Anastigmat:
Series 1 f6.8 ?Q9 This was made in 5, 6, 7, 8.25, 9.5in.
Series 11 f4.8 ?Q9 same sizes as above.
Fallowfield mentions that as the patents have run out on anastigmats, the price can come down. (B.J.A. 1910,
p956). These were probably Dagor layout, and may be in the same group as Blitz and other anonymous
imports. Thus compare the specifications with City Sales list of Blitz lenses.
Fallowfield were noted in Amateur Photo 28/12/1977 when they lost the Konishiroku agency due to the
formation of a makers UK company, but kept the agency for Sakura film products.
F.A.P. (Fabrique d'Appareils Photographiques), Suresnes, France.
They were the first French 35mm camera maker, from about 1938. They tended to use bought-in lenses from
Berthiot and Boyer as well as lenses made under the FAP name. Thus the Norca came with a Boyer f3.5 and
the Norca B (1945) came with f3.5 lenses by Berthiot, Boyer or FAP; and the Norca C offered FAP or Boyer,
the latter apparently at No288,291. Finally, the early postwar Norca Pin-up was only with a FAP lens. They did
sell lenses as well, as the Boumsell Auteuil was offered with a FAP f3.5/50mm as a fancier version.

Färber, Germany?
He is noted for a Dr Faerber Aplanat in an Eastman Kodak Automatic shutter and it seemed initially to be a
f7.5/c.135mm (18mm dia.) RR, but is actually much shorter in focus and a good deal faster- an old iris scaling
perhaps. It and the shutter are in brass finish.

Farrand, USA.
They seem to be makers of specialist optics for aerial and other users in America. They are not found in UK.
Super Farron f0.87 76mm covers 40mm dia on 35mm still and movie film at up to
40lines per mm over 30°. Price $4500 in 8/1957. Other versions were for up to 6in.
Aero Farron f2.8 12in
Farron This was made in up to 20in.
The structures are well shown in Cox, "Photographic Optics" as S36 andS37, and it seems A.W.Tronnier had
some part in the designs.

Fed, USSR
The information on these lenses is listed under Russia as most of the items came from the old USSR, and it
is hard in the West to know where items were actually made.

Federal, USA
We have seen an uncoated lens , Federal 3.5in f4.5 No 127x in a small panel. They are known as enlarger
makers and this may be such a lens. It seemed to be a 4g/4c design.
Fig 031 015 Federal Anastigmat f4.5/3.5in No1275 (?enlarging use).

Feinmess, Dresden, Germany.

The name means 'Fine Measuring' in German, and they are/were makers of precision measuring equipment of
various types. These will include lenses to read scales and magnify surface details, so a camera lens would
be a possible extension. But this seems to be really photographically a one product company who adapted
what was initially a large format lens to sales on 35mm, especially on the Exakta 35mm. It tended to be a low
price item.
Bonotar f4.5 105mm on Belfoca 11 camera, and later as a long lens on Exakta
and apparently for M39x26. It was seen as a blue coated triplet at No16,85x, (engraved on the barrel). It has
been reported with serial numbers from 06,68x-14,98x-16,85x (above). No09,292 and 16,85x carry a 1 in a
triangle on the barrel, to indicate quality, and this was only used after 1951. In general it was seen in older
issues of Modern Photography from the 1950-1955 period. The barrel seems well made and free from play
even in an old and well used example.

Felgner, Germany.
Felgner Punktar f2.8 35mm for 24x24mm Infra (1954) ex-Wetzlar, for 24x24mm.

Ferrania, Italy.
They seem to have imported the Ferrania Astor camera for 6x6cm on 120 film, with a f4.5/75mm lens from
Galileo qv. (B.J.A. 1954, p196)
FEX, France.
An important French maker of lower price cameras, with a few anastigmats noted. These included Color
Fexars f5.6 and f4.5 of about 100mm on the 6x9cm and f4.5 on the 6x6 cameras about 1952. There were also
Fexar Special optics on the cheaper items also about 1952. A more interesting item may just be the lenses
on the 35mm Weber Fex which were f2.8 and f3.5 Ikar lenses from Ugo Lantz of Tourret-Narrat, France, but
few details are available.

Fibre Optics see an early patent by J.L.Baird, in 1928. It is cited as a first by C.J.C. Kirk in B.J.P.
08/09/1978 p773 where he discribes current fibre optic gastroscopy.

Filmtechnik Schweitzer AG, Steinenweg 22, CH 4431, Lampenberg, Schweiz.

They seem to be the origin of the Aspheron negative front lens (see also Angenieux, TTH) and supplied it for
several lens makes. (B.J.P. 26/12/1980, p1302).

Filotecnica, Italy.
(Anon) f3.5 50mm for Rectaflex.

Finetta, Germany.
In the UK this was a low cost 1950's brand, with interchangeable lenses as the big feature.
Finar f6.3 43mm Triplet (1948)
Finetar f2.8 45mm Triplet (1950) This was said to have incurably low contrast,
but be sharper on close down in the review in MCM June 1953. They did not seem to like it for use!
f4.5 70? or 78mm MCM preferred this! and the next one!
MCM referred to an f4.0, ?45mm as better than the f2.8.
f4.5 35mm
There were plans for longer lenses such as f4.5/180mm and f6.3/240mm for the Finetter 99 but these seem
unknown.
Finetar f6.3 105mm Triplet (1952)
Finon f2.8 45mm Q15
Achromat Finar f5.6 43mm Meniscus.
Color Finar f6.3 70mm

Fitz, USA.
He was a designer and maker who produced a version of the Globe lens with plane cemented interfaces in
place of the original curves.

Foca (Optique et Precision Levallois), Levallois, Paris, France.

They were advanced engineers in several fields, and produced a Camera Gun as early as 1923, with a
Precioptic f5.0/170mm. They may also have been involved with an anamorphic unit listed alsewhere. Later
they developed what they are best known for: the Foca 35mm and Focaflex SLR. The Foca was produced
quickly after the War and had an innovative viewfinder rangefinder system (B.J.A. 1949, p165). The first were
available at least by early 1946 (P-F-11 model) and a new model for 1947 was speeded to 1/1000 sec and had
a coated f1.9 lens. (S= screw mount, B= bayonet).
for Foca rangefinder:
Foca f3.5 50mm (1945-6) Some were fixed lens, and others even in 1945 were
interchangeable.
Foca f3.5 35mm (1946-7) This was noted at Nos 70,32x and 73,18x for
Universel.
Oplar f3.5 35mm with 50 and 90mm due soon in May 1948.S+B
Oplar f3.5 35mm (1947-53) This seems a more common lens than usual as it
seems to be made fixed mount as well as screw (1947-1960) and bayonet (1949, 1955). Noted at 70,67x.
Oplar f3.5 50mm (as Foca 50mm, 1947-1958) B only
Oplar f2.8 50mm S+B See below also. It was made by 1951 or 1955.
Oplex f3.5 35mm This was a larger front glass design, 1953-62.
Oplarex f1.9 50mm 6-glass, Summitar style mount. It was an early product in
the range, being forcaste by 1947 and shown in Paris in May 1948. It has been noted at No10,007 on a 2 Star
camera, No11,44x, and another at No12,52x. Users describe it as really very satisfactory without being up to
the very best modern Gauss designs. It was made in S+B by 1949. Then the other lenses were 'soon'. By
June 1949, there was a range f6.3/28mm; f3.5/35mm; f1.9/50mm; f3.5/90mm; f4.5/135mm. On the whole the
series was of professional quality for the period.
Oplar f4.5 28mm (Foc001). This was noted at No11,91x for Universel
S+B
Oplar f6.3 28mm.This was noted at No10,19x and 10,520. S+B
Oplar f3.5 35mm with 50 and 90mm due soon in May 1948.S+B
Oplar f6.3 28mm.This was noted at No10,19x. S+B
Oplar f3.5 90mm this was noted at Nos 10,418, 11,32x and 15,67x for
Universel.S+B
Oplar f4.5 135mm This was noted at Nos 11,186, 19,03x and 20,36x for
Universel, and was made in S+B.
Oplar f2.8 50mm (Foc002). It has also been described as 4-glass Q15 type,
so it is just possible 2 types exist. It has been noted at No76,63x.
Oplar f4.5 35mm
Miroplar f4.5 500mm
Miroplar (later) f6.3 500mm see Den Oude, Delft.
Miroplar f6.3 200mm
Items over 135mm are for reflex housing. Not all items were made in both the original screw mount and the
later bayonet. The screw thread is not M39x26 according to reports.
A letter from France adds several interesting items here:
Microfoca reflex housing with choice of lenses including:
Teleoplar 200mm; Macroplar 200mm; Macroplar 105mm and a special very high definition Macroplar
50mm lens. There was also a 'curious' Macrorep lenshead giving 2 foci of 50 and 105mm depending how it
was mounted.
for Focaflex:
This used a small set of interchangable lenses:
Oplar Color f2.8 50mm for Focaflex. 35mm SLR. Foca Sport II 1957.
This was also referred to as Color Oplar- they seem to be the same! It was earlier than the Neoplex and may
use older glasses.
Oplex Color f2.8 45mm on Foca Sport II in 1962.
Neoplex f2.8 50mm on Foca Sport II in 1962, this was a 4 glass type.
Retroplex f4.0 35mm
Teleoplex f4.0 90mm
Super TeleOplex ? 150mm
Other
Neoplar f2.8 45mm for Focasport. From about 1954 on. It was a novelty at the
Paris Photo Fair and noted in MCM July 1955. Also on Focamatic box type camera.
Neoplar f3.5 45mmThis was used on the earliest cameras. It may be a 3-glass
and there were certainly two lenses offered, the other being the above f2.8.)
Neoplex f2.8 45mm This was on the Focasport Series IIf with a rangefinder, and
on some Focaflex cameras. It was certainly a 4-glass and an improvement on the Neoplar. It may represent
the use of rare earth glass in place of old glasses.
MacroPlar f4.5 105mm for macro work.
Autoplar f4.5 50mm for enlarging.
Oplar f3.5 75mm Prototypic on a Focasix 6x6. Sadly this seems to be an
abandoned foray into larger format designs. Prototypic.
Focal Length
With Victorian lenses, the focal length was seldom marked on the barrel and they often wished to measure it.
(a) A spurious way was to set the lens to copy a subject at exactly 1:1 and divide the distance subject-image
by 4 for the result. Why? The optical thichness of the lens was ignored.
(b) A better way was due to Sir T. Grubb who fitted the lens to a camera and marked the ground glass screen
with 2 vertical lines about 25mm long. The camera was placed on a table eg at a window, on a sheet of paper,
and a prominent object eg a chimney or flag pole selected at infinity. The camera was turned first left and then
right in turn to align the object with the two lines, and each time a line was drawn along some part of the side
of the camera. Finally, these were joined with a line equal in length to the separation of the pencilled line to
form an equilateral triangle at the top of a capital A. The height of the triangle is then the focal length.

K.Foitzik, Trier, Germany.

Karl Foitzik seems to have mainly used Steiner, Bayreuth, lenses but named the Foinar (Trier) f7.7/75mm and
Foicar f3.5/75mm lenses for 6x6, and the Foinar f2.8/45mm for 35mm after his firm.

Force Otherwise anonymous f3.5/35mm lens for M39.

Fig 012 007 Force f3.5/35mm No10,205 in M39.

FOS= Optical Instruments Factory Fos, Aleksander Ginsberg & Co, Warsaw, Poland.
The company was founded in 1899 and ran until 1915 making high quality optics including Fos Planastigmat
or possibly Aplanastigmat (see Hermagis for example) lenses exported to many countries. They were fitted
to Kodak cameras in the USA, but may not have been factory fits but later conversions. One lens reported in
Cyclope Nr 20-21 1995 was labelled Phos Varsovie Aplanat No2 f8/240mm.( See also index.)
This is one of many brands where very little is known in the UK and where more information would be
welcome!

Fotochrome
The Petri company made a folded lightpath camera for 55x80mm using a Fotocolor lens about 1965 noted at
serial No250,58x.

C.F.Foth and Co, Berlin, Germany.

Gallus, France.
Foth was a German company which seems to have been adopted as a product by Gallus (qv) in France.
Thus Gallus produced cameras in B.J.A. 1924, p679, using lenses from Hermagis f4.5, Roussel Stylor f4.5,
Dogmar by Goerz-Fourniez, and Berthiot Stellor f4.5 and f4.0 as well as Tessars f4.5 by Krauss and Zeiss
Iena as well as Gallus lenses. Foth initially produced the Foth Derby and other cameras from Berlin, with
Foth lenses. By 1938, these were quite advanced in the model II, with Tessar f3.5 or f2.8 5cm lenses and a
f5.6/4in Dallon long focus. Production later was moved to France. The camera may have failed to develop due
to the move and political factors. (B.J.A. 1938, p287).
In B.J.A. 1924, p679 there are Gallus lenses as follows:
Gallus f6.3 on Stereo camera model 100 for 6x13cm
Gallus f6.3 on Gallus folder in 3.5x2.5 and 1/4plate.
They made an 'Aerophot' aerial camera with Roussel Stylor f4.5/10in lens, as well 19.5in Stylor f5.7 and
Hermagis Aplanastigmat f6.8. It was in several sizes and worked automatically.
These are mainly lenses for the 127 camera and Fothflex, but the source is not known. Note that one version
seems to have given 24x36mm on 127 rollfilm; this may have been a prototype but explains why Schneider
were considering a 50mm f2 Xenon for the Foth. It is quite likely the Foth lenses, which were 3 glass types,
were made in-house. The company moved from Germany to France late in the 1930's (say 1938/9) and just
may have been a Swiss managed one. Thus the lenses were then sourced from a new maker, often Boyer.
Production by Gallus continued and it became a totally French concern, the camera evolving into a polished
alloy one, called the Derby Luxe or Derlux for short. It continued after WW2 to about 1952.
Foth f3.5 50mm)
Foth f2.5 50mm)
These 3-glass triplets are both on Foth Derby. The f2.5 has been cited as a 5-glass design but has not been
examined: it was fitted to the rangefinder version Foth Derby II. Serial numbers noted were: 36,35x, 42,08x.
The f2.5 version with stops to f18, was noted in B.J.A. 1935, p320.
Foth f3.5 75mm, This was noted on Foth Flex 6x6 (1935), Ontoflex c1939,
Fothflex (1934-1938). There was also a f2.5 version on the Foth Flex about 1935. (B.J.A. 1937, p272).
Foth f2.5
Doppel Anastigmat f4.5 105mm on Foth Derby folder for 6x9, c.1930.
In France, essentially for Derlux.
Gallix f3.5 50mm A triplet of unknown origin, with real central sharpness but fall
off at the edges. Noted at No20,29x on a Derlux 127 camera. This was noted in B.J.A. 1949, p211 in helical
focus mount.
Bought-in Lenses included:
Boyer Saphir This was a 4-glass version from Boyer and a premium lens.
Berthiot Flor This was a 6-glass type from Berthiot and a premium item.

J. Fouinet, France(?)
This was a name quoted as on a brass lens. Compare with the next maker. It just may be a misreading.

Fournier, France.
There is a lens on a Gallus Ariston camera for 9x12 or 10x15cm listed in B.J.A. 1924, p681 which is listed as
Goerz-Fournier Dogmar f4.5 in 150mm and 180mm. It may be Fournier was the importer but it may also be
that they were licensed to make Goerz lenses in France due to import controls.

H. Fraas, London.
His name was engraved on a pair of brass stereo lenses on a mohogany panel on a camera from about 1899.

Francais, 3,Rue de Chatelet 3, Paris, France.

Eder notes he was an early maker of (casket) Aplanat sets. An unspecified lens at No13,70x was noted in an
auction list. He also made a very early TLR with an E. Francais lens No14,11x. FBB lists 2 items, one an RR
and both dated 1894. His lenses sold on London Stereo Co cameras, eg on the 1/4plate "Artist's Hand
Reflex" TLR about 1886 at lens No15,35x, but he does seem to be a camera maker rather than a lens maker
from the limited information available. A Francais lens also was noted on an Anthony 5x7 camera at auction.
Rapid Rectilinear f8? 7-17in., agented by Starkweather, USA in 1890.
An example was the 150mm f7.0 lens on the Cosmopolite (c1887) The first one in FBB was on a camera for
13x18cm by Francais with a disc iris. The other was on a Jumelle and could also be RR's.
Casket Set of 6 glasses + tube in case. (1883) The set gave rectilinear lenses of 5.1-15.8in + wide angle
+portrait.

Frank, Charles, Saltmarket, Glasgow, Scotland.

He was not a instrument makerbut a secondhand dealer whose shop in the Saltmarket was like a diamond
mine for any old camera enthusiast after WW2, with Compur Leica, Round Window Exakta and Contax I's
normal and an amazing range of other items. This was just the tip of an iceberg, as the firm mainly was selling
ex-MoD watches, binoculars, telescopes and other items possibly from other addresses in the area- there
were certainly a number of rather similar shops round that part of town. Personally, he was forming the most
important collection of instruments- which sadly was dispersed by auction after his death (it is thought after
being offered to the Nation) but the catalogs do exist:
Buchanan g. et al. 'Tools of Science The Frank Collection of Scientific Instruments Catalogue Guide to the 100
of the most important Instruments' Special Exhibition 1973, Glasgow Art Gallery, paper, 5pp; also by Nuttall,
R.H. 'Introduction to the Scottish Instruments in the Frank Collection' 4pp; Nuttall, R.H., 'Early Scientific
Instruments' 60pp; Nuttall, R.H., Introduction to the Telescopes' 5pp. As is obvious these are quite short but
form some sort of record. In this contex, they are essentially pre-photographic and a source for the industry
before the coming of the camera. We think the firm survives under new management, selling binoculars and
telescopes from the East of England.

Franka Camera Werke, Bayreuth, Germany.

also as W. Hischmann.
Many of the lenses on the early cameras, from about 1910 were merely listed by type eg. achromat or rapid
aplanat, while makers lenses were named as Goerz or Zeiss. One problem is "Double Anastigmat" f4.5 Zeiss-
though this is probably an imprecise reference to the Tessar. Later in WW1 they developed a series of
Periscop Periplan 135mm, Eraplan f7.7, Velostigmat f6.8, and Velonar f6.8 and f5.5, and Veloplan f6.8
lenses. These were used on the Franka Nr 105, 115, 200, and 125- all folding black metal plate cameras.
They were probably all from one maker, under an agreement to rename.
Later, there may have been a new Franka firm- anyway the policy changed and they fitted proprietary lenses
such as the f3.5 Frankar to some cameras, here the Solida Junior, and Solida I and II about 1955. The Junior
had an f3.5/75mm Frankar lens (B.J.A. 1954, p195) in a Vario shutter, with front cell focusing. Also there were
Frankar f6.3, f5.6, and f4.5 as well on the various Solida 6x6 and Bonafix 6x9cm models, in the late 1950's.

Fraunhofer, J. (1787-1826)
Photographic and other lenses require pieces of glass which are of constant quality all through- and these
were available in 1840 only as a result of several factors. An instrument works was set up at Munich by G.
Reichenbach, (1772-1826) and J. Liebherr (1767-1840), the latter being an instrument mechanic and
watchmaker. But a optical works requires an optician, J. Niggl and finance from J. Utzschneider (1760-1840)
and a Swiss worker was hired , P.L.Guinand(1748-1824) to make glass at Benediktbeuern nr Munich, using a
new process in which the glass was stirred in the melt to obtain even mixing. A fireclay stirrer was used.
Initially the results were poor, until in 1806 Fraunhofer, an orphan boy of 19 years, was appointed and rapidly
introduced new production and optical test methods for lenses and then in 1809, proceeded to improve the
glass production by increasing the pot size to allow better mixing and annealing. He made about 1x200kg
melt per month. He was able to make an 18cm dia.objective glass by 1812, and by 1814, Guinand had retired,
leaving Fraunhofer as joint director. He was also working on optical theory, eg selecting spectral lines, glass
characterization, lens design and diffraction gratings of up to 3200 lines per in. Sadly Fraunhofer was to die
relatively young but his work did survive him. Thus it is thought that Guinand was later involved in glassworks
in Switzerland and France, and that it was from these that M. Bontemps travelled to England to work for
Chance Bros.(q.v.). Some workers moved from Munich to Vienna at about the time Voigtlaender began to
produce Petzval lenses. And note that in those days lens making was to some extent related to places where
glass was available.
Some of the ideas of making other glasses were old: thus one of the early French lens makers tried a novel
glass but it failed commercially. And Goethe writing in 1833 (Cotta edition) refers to Le Baude using novel
glass and being awarded a prize in France in 1773, and Dufourgerais making a colour corrected pair of prisms
in the same period, and Clairaut using pierres de stras which probably had extra lead content. There are old
decorative glasses with unusual mineral contents. And finally, Dallmeyer used some glass in the 1880's with a
measurable content of thorium daughters- possibly suggesting lead from a mine with a radioactive content. R.
Blair used liquids to make achromatic and even apochromatic prism and perhaps lens units. (Amateur Photo.
28/06/1901). Any of these might have started a "new glass" industry but it is likely that one main problem was
lack of chemical supply and knowledge.

French Lenses
Given the important position of French innovators in developing photography, it is not surprising that they gave
the French opticians a fine start in making and selling lenses in France and abroad, and early lenses do occur
in England quite regularly, normally Petzvals by Lerebours, Bourgini, Darlot, or their derivatives such as the
Derogy set. But they seemed to lose momentum when the RR type was invented by Steinheil and by
Dallmeyer in 1866, and v. Monckhoven notes they were a little slow to adopt the Waterhouse stops. And given
the eminence of the French glass industry, they failed to develop new glasses in more than experimental
amounts during the 19C. Thus the momentum seems to have been lost, but sales to England did continue
especially perhaps as house brands, or for extra lenses. It is likely that for us in the UK today there is the
usual problem of lenses sold in the trade, and the final vendors name being added for sale, so that the real
maker is unknown- and that the actual trade was much greater than it seems.
A further loss was the anastigmats being designed in Germany, and later England, but with little innovation in
France noted. An early position may have been obtained by Lacour-Berthiot however. Thus the licencing of the
Zeiss anastigmats to Krauss of Paris was important and they made a fair number of Anastigmat, Protar,
Planar, Unar, and especially Tessar lenses, at least to the end of WW1 and probably into the 1920's. But
oddly Balbreck failed to develop the triplet license as Voigtlaender did in Germany. Surprisingly, the high value
items today may now be the soft focus lenses such as Pulligny et Pujo designed and Darlot made, about the
turn of the Century. Business was difficult through the interwar years, due to the low exchange value of the
German currency and to postwar reparations. Krauss did design a Quatryl perhaps to replace the Tessar, but
in general few lenses and cameras were innovated, except perhaps in cine. Infact, cine seems to have been a
much more important market than now realized and may have kept many companies in business.
One point is that reading books on collecting cameras leads to a neglect of some aspects of lenses. The big
professional lenses are under represented as these cameras were often built to order and never advertised,
and wide angles and teles do not appear on new camera sales. Thus the miniature cameras with f4.5/75mm
lenses will be exhaustively listed but a L'Eidoscope or Eurygraphie will not be mentioned. Thus the French
makers were probably more occupied in the inter-war period than might be imagined from the lists compiled
from books of cameras. There was certainly some activity in aerial lenses. And incidentally, always there is
the problem of who actually made what, or did they just buy it in and engrave their name on it. Or even order it
ready engraved. (It is a different country, but only those familiar with the field know that the highly respected
MPP Micronar was made for them by Taylor, Taylor and Hobson of Leicester.)
But surprisingly the WW2 and the years after it did result in a fresh flowering and new designs both of lenses
and cameras, until imports again destroyed them. It is true that a wider range was made in France than in the
UK, and they must be a really interesting field to collect. It is also hard to study these items and French
lenses in general in the UK. Few lens catalogues or adverts. were available, and lenses were hard to find in
the UK and not always of types important in France perhaps. Thus it is a pleasure to refer collectors to the
books by Pont on Angenieux, by Vial on the cameras 1940-1960 and a monumental book by Francesch,
Bovis and Boucher on "Les Appareils Photographiques Francais" abbreviated in the text as FBB. But it must
be stressed that these are not books on optics as is that by Andreani.

C.Friedrich, Werkstette fur Prazisions Optik, C. Friedrich, Muenchen, Germany.

They have been noted for Coronar lenses on cameras, and probably on enlargers. A series of cameras from
C.A. Mueller, Strengenberg, Germany were listed in B.J.A. 1927, p770advert. with Coronar lenses for 6x9cm
approx in f6.3, f4.8, f4.5 and there was a program of Coronar f4.5 lenses as separate items.
The Coronar f4.5
This was a recent introduction in 1926 according to Frerk, and was a Q15 type design and suitable for many
cameras, and well regarded. It seems to have become a major product, below. It was noted in the B.J.A. as
6in for 5x4in; 6.5in for 4x6in; 7in for 4.75x6.5in; 7.75in for 4.75x6.5in; 8.25in for 4.75x6.5in; 9.5in for 6.5x8.5in;
12in for 6.5x8.5in and 14in for 8x10in.
Coronar f4.5 50-360mm 4-glass Gauss. Q16. A 135mm was noted at auction on a
Sanderson 1/4plate.
Fig 009 020 Friedrich Coronar f4.5/135mm No352,216 in barrel.
Coronar f6.8 This was a triplet and a less expensive lens.
Corygon f2.8 45mm on Ruthine camera.
Corygon f2.9-f6.325-180mm Triplet, Q14.
Coronar f6.3 75-400mm 4-glass Gauss. Q16
Akmar f6.8 75-300mm 70-90°, Dagor type, (Q9) separable.
Axinon f3.5 35-180mm Q15
Axinon f4.5 35-180mm Q15
Other trade names are Biochron f2.0, and Coronav f4.5 which latter was probably a dialyt, in 50-360mm.

Augustin Fresnel (1788-1827)

A European contributor requires his inclusion as the source of the idea of disecting a lens to reduce the weight
and volume as a flat plate or area with channels cut to replace the deep lens and give a similar focal length.
These were applied in a light house at Cordouan at the mouth of the Gironde, France, in 1823 after display in
Paris at the Arc de Triomphe. He also defined light as a wave motion and his mathematical treatment was the
basis of Petzval's lens design in 1838-9.

Fritsch, (formerly Prokesch), Wien V1, Gumpendorfer Strasse 31, Austria.

Fritsch were the local licencees for Zeiss in Austria after the issue of the Anastigmat, but the arrangement
seems to have been fairly low key or short-lived as few items are known. There is also a suggestion of an
agreement with Steinheil, from the use of the name "Gruppen Antiplanet." Several of these items are from a
1908 list, and seem to reflect an older product list, and have no Zeiss related items.
Portrait Aplanat A f4.5 This was a Portrait RR
Aplanat B1 f5.5 This was for groups and general work.
Gruppen Antiplanet f6.0 This may have been to a design from Steinheil.
Aplanat C f8.0 This was a general purpose lens.
Aplanat D This was a wide angle lens.

Fujica, Fuji Photo Film Co Ltd., 2, Chome, Ginza Nishi, Chuo-ku, Tokyo, Japan.
USA agent in 1980: DO Industries.
Fuji make both a series of large format lenses and also lenses for their 35mm cameras. In 1958, it was the
largest photographic manufacturer in the Orient, with main plants situated under Mount Fuji. It is thought the
large format lenses are sold mainly in Japan and USA, and are scarce in the UK, though an importer is
usually available.
Large format
In 1958, the lenses listed in the B.J.A. p606, were:
Fujinar f4.5 180, 210, 250, 300mm This was for field or studio cameras.
Fujinon f1.2 50mm for 35mm cameras.
also wide angle f2.0 35mm "
also telephoto f2.0 100mm "
Cine Fujinon f2.0 25, 30, 35, 40, 50, 75, 100mm
Later lists give:
Fujinon sf and sfs f5.6 180, 250, 420mm These were 3-glass triplets. These are soft focus lenses
and are supplied with tea strainer discs to control softness. They give 58° cover, and the recommendation is to
use 250mm for 10x8in.
Fujinon SWDS f5.6 65, 75, 90mm Super wide angle, for 105°. 8g/6c.
Fujinon SWS This was the series in 1980 and may be the same as below. It was then in 65, 75,
90, 105, 120mm for 100°.
Fujinon SWD Super wide angle
f5.6 65, 75, 90mm 8glass/6component design.
Fujinon NSWS f8.0 90, 105, 125mm, 6g/6c. Super wide angle for 100°.
Fujinon NWS,WS f5.6/f6.3 105-360mm This was a standard lens of Plasmat type design, with 64-80°
coverage. Use 210mm for 10x8in. This seems to be in the 1980 list to cover 71-76°. It used a 6g/6c design.
Fujinon W f5.6 210mm This may be an older coding. Modern Photo 06/1980 p83 rated it as
very good indeed and a fair match for the Symmar S.
Fujinon LS f5.6 210mm Q15 This was a standard lens (59° cover) for 5x7.
Fujinon TS f8.0 300, 400; f12 600mm This was a telephoto of 5 separate glasses. It was as
'new EBC Fujinon-TS in B.J.P. 11/04/1980 p341 in 400 and 600mm as an 5 g/5c design for 5x4in.
Fujinon AS f9.0 180, 240mm 70°, This is an apo corrected "super achromat". It was 'new' in
B.J.P. 11/04/1980 p341 and was then in 180, 240, 300, 360mm f9 and used a 6g/4c design. It was suggested
to use 240mm for 10x8 with this Plasmat type lens.
Fujinon EX Enlarging f4.5 75, 90mm )
f5.6 135mm ) Plasmat type.
f2.8 50mm for 35mm work.
Fujinon f3.5 100mm on the Fujica GL690.
Fujica G690 BL about May 1972.
f8 0 65mm 6 glass
f5.6 150mm 5 glass
f5.6 180mm 5 glass
The GA645 Pro series was noted in B.J.P. 16/10/1996 as a new wide angle format camera:
f4.0 60mm on G6x45 7g/5c design EBC coated
f4.0 45mm on G6x45 Wide also 7g/5c design (same?) and EBC coating.
35mm lenses: rangefinder and SLR
Fujinon f1.2 50mm (Fuj001) This was the main feature of the B.J.A. advert 1956,
p611.
Fujinon f1.8 50mm (a) 1957 for M39.
Fujinon f2.8 50mm
Fujinon f2.0 35mm pre-1957.
Fujinon f2.0 100mm
Fujinon F2.8 45mm
Fujinon f4.0 85mm
Fujinon f2.0 35mm
a list in 05/1972 for Fujica ST 701 included
f3.5 28mm
f2.8 35mm
f1.8 standard lens
f2.8 100mm
f3.5 135mm
f4.5 200mm
In B.J.P. 09/11/1979, p1081, L.A.Mannheim reviewed the new Fujica AX-5 with a new 14 lens series in XFujinon
bayonet mount for full aperture metering, and these were DM lenses except for 2, f2.2/55mm XFujinon
(a lower price option) and the 400mm X-Fujinon-T tele. Mannheim regarded them as rather prosaic in
specification, eg a f3.5/28mm wide lens and a 29-47mm zoom, but this may have supported the performance.
The new mount allowed older screw lenses with a X-D adaptor.
for Fujicarex 11 leaf shutter SLR.
Fuji f1.9 50mm
Fuji f2.8 80mm
Fuji f4.0 35mm (See Modern Photo 3/1964, p86).
SF Fujinon f4.0 85mm Layout Fuj002.
The trade name "Fujita" was used for a set of M42 lenses such as a f4.5/135mm lens with manual iris. This
suggests they were fairly early in the SLR development.
An innovative set was for the Fujita 66, about 1961.
Fujita f3.5 52mm This was noted at No774x and FT 785x. When it appeared, it was
about the first retrofocus lens for a larger format than 35mm and offered very acceptable sharpness with a little
distortion. In the long term users have been less kind and say it is less than sharp but this may vary with the
users example- that seen seemed a sharp lens. It has a good back clearance and is in a black and chrome
mount with a preset iris and focussses to 2ft.
Fujita f3.5 80mm This was noted at NoFT 83,90x.
Fujita f4.0 150mm This was noted at FT 19,01x.
In 09/1978, Fuji launched a new 5g/4c Gauss type lens with a very deeply curved G2 as a f1.6/55mm for their
SLR. (Sherman, Modern Photo pp21, 111).
The GX617 reviewed in B.J.P. 08/01/1997 by J. Bethell used Fuji f5.6/90mm; f5.6/105mm; f6.8/180mm;
f6.8/300mm lenses on interchangable cones. It is or was an expensive unit.
Cine use:
Fujinon f1.8 11.5mm This was noted about 1956 for 8mm use. This specification was still
in use in 1966 for the Fujica P1 for Single-8.
Zoom f1.6 9.5-25mm This was on the next Single 8, the Z-1.
A Millenium list for the Fuji GS680 includes:
f5.6 50mm 12g/9c
f5.6 65mm 10g/9c
f5.6 80mm 8g/8c
f4.0 100mm 8g/8c
f3.2 115mm 8g/6c
f5.6 125mm 6g/5c
f5.6 125mm 6g/5c
f5.6 135mm 6g/6c
f4.5 150mm 6g/4c
f5.6 180mm 6g/6c
f3.2 180mm 7g/5c
f8.0 190mm 3g/3c soft focus design
f5.6 210mm 5g/5c
f5.6 250mm 5g/4c
f6.3 300mm 5g/5c
f8.0 500mm no data

Furnell, Thomas, UK,(1883).

He designed, but did not make, a lens set. (see B.J.A. 1900, p829, layout Fur 001)

Futura, Kamera Werk, Freiburg, Germany.

Maker of the individual Futura 35mm camera for interchangable lenses which were fitted in a large Compur
shutter. The lenses seem to have come from F. Kuhnert in the early 1950's (say 1950-1953) and were unique
to the Futura. The leaf shutter was a generous size to allow the faster lenses used, but even so the longer
sizes were limited, there being no 135mm so far as is known, though one source refers to a 100mm
viewfinder. (see B.J.A. 1954, p209, advert p595). Most of the lenses as well as the camera are illustrated in
the advert.
Ampligon f4.5 35mm It was noted at No10,055.
Elor f2.8 50mm Q15 type. This was the lens on the camera the B.J.A. noted above
and the camera there cost £48.00 + Tax £15.60.
Evar f2.0 50mm (Fut001)
Futar f3.5 45mm Triplet, Q14.
TeleElor f5.6 90mm) The layouts are as Fut003. A 90mm was noted at NoT520x.
TeleFutar f3.8 75mm)
Elar This seems to be a Q15 type
Frilon f1.5 50, 70mm Fut002 A 50mm was noted at
No40,00x.

'Gallo-Fox'
This may be a trade name, but is the only indication of make on an anamorphic lens engraved:
Gallo-Fox Anamorphic 16C No36,127 Lens made in Japan. It is in a focusing mount but is an accessory
lens so that the unit needs to be fitted to a prime lens. The squeeze is fixed, ? about 1:1.5 ratio. There is no
lateral offset so it will be toroidal in design.

Gallus, Courbevoie/Paris, France.

They were an older firm listed by FBB as the source of anastigmats on Jumelles made in 1925. Many lenses
were bought-in and sold under the makers name. Thus Gallus produced cameras in B.J.A. 1924, p679, using
lenses from Hermagis f4.5, Roussel Stylor f4.5, Dogmar by Goerz-Fourniez, and Berthiot Stellor f4.5 and f4.0
as well as Tessars f4.5 by Krauss and Zeiss Jena as well as Gallus lenses. In fact they say the "Ariston" can
be fitted with 'any other lens'. But there were also lenses listed as 'Gallus Paris.'
Gallus Anastigmat f7.5 75mm on Jumelle 1925.
Gallus Anastigmat f6.3 75mm same
Gallus Anastigmat f6.8 70mm on 6x13cm plate. 1925.
Gallus Anastigmat f4.5 72mm on 6x13cm plate. 1925.
Hermos Lens f4.5 105mm This was on a Cady Lux 6x9cm folder in 1942- possibly an extension
of the above designs.
Later (about 1937?), they took over production of the Foth Derby camera (also see Foth), perhaps due to the
owner having left Germany under the Nazi era. Thus the camera and lenses aquired new French names and
equivalents.
Gallix lenses These were for the Foth Derby replacement, the DerLuxe for 3x4cm in 1947 and may
be bought in items. The initial cameras had Foth lenses f3.5/50mm and these were in some sense Foth items
wherever they were made.
Gallix f3.5 50mm on Derluxe, probably Q14, serial numbers about No847x and 12,93x
on Derluxe No484x. This was the French version of the Foth Derby as it originally was. (For an account see F.
Hens, Photographica UK, 87, p33.)
Gallix also on rollfilm cameras, again probably triplets.

Gallos, France
This does seem to be another make, not a misprint, as they supplied lenses for two cameras, a Korsten
stereo and a Jarret Stereo in 1902-1904, but there are no details here.

Galileo, (Officine Galileo), Milan, Italy.

The UK agent for the Gami 16 was Hudes Merchandising Co Ltd 52, Gloucester Place, London, W1.
This seems to be the trade name replacing Koristka, qv.
The earliest use of the Galileo name seems to be pre-war, on Koristka items, and the name seems to have
been adopted for all the products after WW2. They supplied numerous items for other camera makers, such
as Condors and Ferrania's make and were exported fairly regularly to the UK in the 1950's, and are seen from
time to time at sales. They also made their own GaMi16 as a premium product.
Monog ?Meniscus lens on Elioflex.
Reflar Viewing lens on Summa report.
Reflars occur as f4.0/105mm and f3.5/65mm on this scarce camera.
Aerostigmat f3.5 135mm on OMI (Roma) APR87 aerial camera. This was an early use of the
trade name Galileo, in the 1920's, and one item was mentioned at Serial No 258,86x, possibly on a 70mm
camera.
Another at auction was No258,86x on camera No87-0157.
Aerostigmat f5.0 178mm (1935)
Aerostigmat f4.5 210mm on OMI (Roma) AGR61 Universale.
"Univeral" f4.5 300mm This was noted as a Universal, this is likely to be for the above
camera, and perhaps really an Aerostigmat.
Terog f4.0 40mm on Ferrania Condoretta (1951) in Aplon shutter
Terog f4.5 75mm on Astor (1952) at £22.55 + Tax £7.33. It was imported in the
Ferrania Astor camera and used an Prontor SVS shutter. (B.J.A. 1954, p196).
Esamitar f1.9 25mm This was sold with a Tele Accessory 4x f4.0 max. on GaMi 16 (1953)
for 12x17mm format. It was a highly rated design, with close-up lenses as well. It was noted in MCM Sept
1955 as ex-Officine Galileo, Milan. It does not seem to have a serial number, although the tele unit does, eg
No42,82x, 42,85x.
Esaog f2.0 50mm on Condor 11 and Rectaflex. One list gives Esiog, at No29,27x on a
Condor II at No214,44x. Also noted 22,96x on body 307,49x.
Esaog was later renamed as Etar or Esar. An f2.0/52mm was mounted to Rectaflex at No000,14x.
Tesog f2.0 50mm (This may be an error in view of the next item.)
Tesog f3.5 50mm This was noted at No10,04x at auction on a Gamma No10,04x.
Eptamitar f2.0 50mm on Effebi M39 mount on Condor (1947), and Gamma.
This was another another prestige item.
Elionar f3.5 50mm Koristka
Eliog f3.5 50mm eg on Condor Junior 35mm and Condor I at No16,99x on Condor I
body No13,04x, and 045,754 on body No36,69x. Some other Condor 1 data is body/lens nos: No998x/14,24x;
---/22,63x; 15,19x/23,70x; 24,64x/41,84x; --/46,60x; 37,81x/45,50x; --/55/82x. Most are in Iscus (or Iscus
Rapid?) shutters but the last is in an Aplon.
[Delta Condor f2.8 45mm No15,50x in Rectus shutter This was a single example Condor by
Delter at body No10,30x. This lens just may not be Galileo.]
Eliog f2.8 50mm at No55,87x on a Condor 1 (1947) body No52,93x.
Galileo f3.5 50mm
Ogmar f4.0 90mm This was noted in a1952 list. They have been noted at Nos 95,63x on
a Gamma, 219,10x aand 219,21x.
Kor Victor f3.5 on Gamma
Adlenar f3.5 50mm (?) on Sonne. It was also on the F.A.F. camera(s) which are
prototypically rare (2-3 made only), eg at No2,11x.
Esacine f1.8 75mm projector lens
Rectar f2.8 50mm (Possibly special for Rectaflex)

Gamma, Budapest, Hungary.

They were noted for the lens for the Duflex and this was a 4glass/3 component f3.5/50mm first called Artar
and then Gammar in a bayonet mount with focusing scale to 40cm and preselect auto stop down iris. It is not
known if the design changed with the change of name. Known serial numbers are L 1,490,67x and L
1,490,85x, both of which are Gammar lenses.
Gamma, Roma, Italy. This was a camera and lens firm making the Victor Gamma body, fitted with an
Eptamitar f2.0/50mm lens at No228,33x. Also noted at auction with a f3.5 50mm Trixar, unnumbered.

Gandolfi, L., 752, Old Kent Rd., London SE: now Andover, Hants.,UK.
This camera maker listed a few items with their cameras, such as a telephotographic lens in a 1901 advert.,
but had no lens production facilities.

Derek Gardner, UK
This set of lenses would be bought in for sale in the D. Gardner shops and was first noted on an f3.5/200mm
with auto iris for M42. They flourished about 04/1973 when some 6 were listed all with auto iris for Nikon,
Minolta, Pentax only. They were described as "a new range".
f2.8 28mm
f2.8 35mm
f2.8 100mm
f2.8 135mm
f3.5 200mm
f4.5 300mm

Gasc et Charconnet, Paris.

They introduced Harrison's Globe lens to France as "Lentiforme de l'oeil" and they supplied details to
M.van Monckhoven for his book (p125). Many of their other productions were Petzval lenses. Lenses have
been noted with both Laverne and Gasc et Charconnet engraved on them.
The glasses in the Globe were crown ?1.53 and flint ?1.60, and Monckhoven notes that as the light is always
nearly normal to the air-glass surfaces there is a high correction of both distortion and astigmatism- it may in
fact be the first true anastigmat. But it suffers from spherical aberration severely and for sharp work needs to
be stopped to at least f36 and possibly f72- below this it sufferes from diffraction. It covers at least 75° and a
10cm lens covered 14x12cm format. It was freer from distortion than the Ross (Actinic) Doublet and increased
speed at a given aperture- and compared with the Periscopic it was colour corrected. It also tends to give dark
foregrounds in prints- (probably due to flare) and lacks brilliancy

Gaumont, France.
They were responsible for the Stereostigmats f10 on a Gaumont Photoplastic Stereo in 1931 for 6x13cm
plates.

Giroux, France
It is formally noted that Giroux engraved his name on the lenses for the Giroux cameras.
Glass, optical
Sources noted of optical glass and media include the following:
Silica, a useful low dispersion material.
Heraeus Gmbh. Hanau, Germany.
General Electric, USA.
Hanovia Chemical.
Glass Optical. see also Fraunhofer.
Bausch and Lomb, USA.
Benediktbeuren, see Fraunhofer, this was the exceptional optical glass works near Munich, which declined
after Fraunhofer's death.
Chance Bros/ Pilkington Glass, Widnes, UK.
Corning Glass, Corning, USA.
Harshaw Chemical, Cleveland, Ohio, USA.
Hayward Scientific Glass, Whittier, Cal., USA.
C.P.Goerz, Sendlingen, Berlin. (to about 1926)
Kodak, Rochester, USA.
National Bureau of Standards, USA (Development program).
Ohara, Japan.
Parra-Mantois, Paris, France.
Pittsburg Plate Glass, Pittsburg, USA.
Schott Mainz and Jena., Germany.
Waldstein, Vienna.(1840 -1858) under Jacob Waldstein (1810-1876). It closed as unprofitable. See
Voigtlaender section as well.
A collector has a real interest in the types of glass since some are harder and more resistant than others.
This is the reason for including data for the glasses used where it can be found as this may in time explain
why some lenses are far harder to get today in good order than others. All collectors will have a personal list of
lenses which seem always to turn up in scratched or worn condition but four might be:
50mm f2.5 Hektor, 50mm f2.0 Summar, 50mm f2.8 Xenar-S (1936-1940), 50mm f2.0 Xenon (1936-1940).
Others might be Primoplan, Biotar, etc. The front glasses of these do seem to be in the same group of
glasses though not identical. In general, the problem of wear and scratches is relatively small before 1886, as
the glasses were harder and very fungus resistant, and later damage decreases after 1960 as coatings and
possible anti-fungal treatments came in. Modern coats are harder than glass!
Victorian designers basically had only two types of glass- flint and crown, and very little freedom to make
corrections as a result. Thus van Monckhoven (1867) quotes Chance in England as supplying:
Crown Glass No1 R.I. 1.50 Dispersive power 0.039
Crown Glass No 2 1.52 0.04
Light Flint Glass No 1 1.57 0.0473
Heavy Flint Glass No2 1.64 0.055
Very Heavy Flint Glass No 3 1.64 0.059
Little other variation existed. Traill Taylor refers to some types going brown in light- possibly due to silver or
manganese present. Manganese was sometimes added to oxidize Iron(2) to Iron(3) as the brown colour
formed was less serious. He quotes a Mr T. Gaffield of Boston talking at the British Assoc. at Brighton in 1872
as showing discoloured samples. The problem included window glass from the roofs of studios. There were
novel glasses in the Victorian period which were tried and rejected due to discolouration and deterioration-
they were a high density one in particular. (see also the account of van Monckhoven's book under M).
The real revolution was the new Jena glasses from Schott & Genossen which were announced in the 1880's, a
real catalogue being available in 1886. By 1888 Schroeder and Stuart of Ross, Ltd London had patented the
Concentric anastigmat, and most firms had developed new RR's with faster apertues, etc.
We have heard of microscope objectives being made from natural jewels and crystals for their exotic optical
properties but this was seldom applied to photographic lenses as they needed to be bigger and perhaps lower
cost. But note that M. A. Claudet commissioned one from natural Topaz late in his life. Traill Taylor suggests
others were made and enough to be a known quantity, normally rather soft focus, as suggested by Sir D.
Brewster. The softness was due to undercorrected aberrations. Synthetic Sapphire samples are very pure
Al2O3 and lenses were in production in the 1980's, eg by Melles and Griot of Irvine, Cal. 92714, USA. It is
exceptionally hard and with useful transmission properties, from 150nm to 6microns but is hard to polish and
work: it is not known to have been applied in photography. (NB It is birefringent. Refractive Index about 1.77.)
Other optical materials are Pyrex, a low thermal expansion borosilicate glass, (sadly often less homogeneous
than glass and best for mirrors and optical flats), Silicon, (with a high refractive index and durability) and
Zerodur, a partially crystalline glass-ceramic with zero thermal expansion valuable for mirrors but not clear
enough for lens making.
Some of the older glasses with Thorium were deleted from lists many years ago (say 1960's?) and so were the
uses of Cerium with a content of radio impurities.
In B.J.P. 13/10/1978 the editor suggests that some sort of plateau in optical design was then present.
Postwar, there had been a period of rapid development in the 1960's as the computer allowed more rapid
searches for new designs. This lead to new lens design staff who were able to use them and while there were
breakthroughs, there was a tendency for designs to converge as all designers reached the same conclusions
in the end. But there was a possible progress due to new glass- but rather few laboratories researched this in
comparison. But in Photokina 1978, Schott announced two new features. One was multi layer coating so good
that absorbtion in the glass was now the main loss, especially in fast lenses such as f1.4 where much glass
was used. Thus they were improving the transmission and whiteness of glasses and making high R.I.
Lanthanum glass which was free from Thorium. Schott also announced a low dispersion glass, FK54 RI
1.435/disp 90.3. Such low dispersion glasses were not absolutely new: fluorite had been used but was hard to
make and too soft, and had poor temperature properties due to expansion, etc. And Nikon previously had had
a fluorite type glass used in their ED range of lenses. But it is likely that the Schott glass lead to much bigger
industry changes eg in Apo large format types as the price may have been such as to make them easier to
apply. [See ApoSymmar and others.]
By 1997, Canon as part of a environmental policy was avoiding the use of glass containing lead, initially in the
EF 75-300mm f4/5.6 USM lens, and this may develop as a concept in other plants and designs. (Noted by A.
Fuad-Luke in B.J.P.02/07/1997, p24)
The development of optical glasses by Schott and others was summarized by H.Morian, Schott ( in B.J.P.
04/01/1980 p6 ) with glass maps of R.I. v. Abbe number for glasses to 1975 and also the major Schott types
of glass, with R.I. up to about 1.96. One point made was that Schott did make small batches of rare earth and
Thorium containing glasses during WW2 but had problems with attack on the ceramic pots used for the melt
and only made them postwar (1949-1950) in quantity when platinum crucibles came into use. Subsequently,
the La glasses have played a major part, as he instanced in Planar and Distagon designs as well as others.
Up to 1976 Schott had patent cover on their FK glasses of low R.I. and high Abbe number, but this expired
and later 'ED' glasses appeared from the Far East. This must have been a valuable lecture here in shortened
form. (see also Zeiss)

Gaumont-Kalee: provisionally treated as part of the Rank Organization. See TTH.

Gauss, C.F. 1817.

A German mathematician who developed an air-spaced telescope objective with an air-gap like a negative
component between the glasses. (Layout Ga 001) It was little used as such but the basis of many later
designs. (Q16,Q17) Conrady notes that some distortion will be present in this type and suggest G1= 1.5733,
and G2= 1.5184(external glass) when paired. See also Clarke.

G. Gennert, New York, USA.

The firm sold Montauk cameras, possible bought in items, or with bought in lenses. One item noted was a
Heklar lens, possibly from Germany.

Gerlach, (Camera-Werk A. Gerlach) Wuppertal- Barmen, Germany.

They made several cameras early postwar about 1955-1956 as Ideal colour and Trixette. They often used the
name Nixon or Nixonar on the lenses, which were probably bought-in items, though there is little information
on this. They do not seem to have traded in the UK under these names.
Nixon f3.5 45mm on Ideal colour 35mm.
Nixonar f3.5 50, possibly also 45mm same.
Supra Anastigmat f5.6 75mm, This was a 6x6cm camera.
German Lenses.
As a collector, one comes slowly to realize that the German lens industry was later to develop than the
English and French, and that it was partly triggered off by Steinheil and Busch- and partly by the move of the
Austrian Voigtlaender firm to Brunswick. But it owed a major debt to one group- the Carl Zeiss organization,
who developed new glasses at their associated Schott glass works, to make the anastigmats possible in the
1890's, and to Deckel who made quality shutters in reliable supply. There were others involved such as Seidel
who made optical design a German speciality for a generation, and designers such as Rudolph, Bertele,
Tronnier, Merte and others, but rather it was also the sheer bulk of the industry which evolved, and the size of
the Zeiss Ikon firm which could exist from the union of several fims of camera makers. This had the effect of a
road roller in many markets, and foreign competitors felt what the toad feels when run over.
In WW1, cameras for film were in use, eg on the Rumpler CVII, a fast high flying 2-seater, and the policy was
kept in mind for WW2. Note that postwar, in the background was an airforce which seems never to have fully
disarmed under the Versailles treaty and continued to train photographic reconnaissance staff in Russia at
Lipetsk from 1925, as well as in Germany at Wivupal from 1927. These activities provided a basis for the
growth of the Luftwaffe officially from 24/02/1932 and money was from then available to develop eg radios,
cameras and weapons. Lufthansa conducted 'route proving flights' from 1935, including over the UK, as a
means to aerial surveys. There are indications of limits on the supply of alloys, including brass, even before
WW2. A useful source on the German airforce over this period is E.R.Hooton 'Phoenix Triumphant'
Brockhampton Press, ISBN 1 86019 964 X published 1994 but photography has little part in it.
It is worth noting that during WW2 the Nazi government seems to have appropriated some German trade
names, so that a Heinkel factory in name had no real connexion with the Ernst Heinkel organization- this just
could apply also in optics for example to the Busch plant.
After WW2, the industry had to rebuild itself, and while the products could be excellent, the market had
changed. Germany still has a leading position in large format lenses and in lens design. But the unique
preeminence of lenses such as the old Sonnars is not matched today. Thus it is interesting that Germany
provides high value items for the collector both older in style such as the Hypergon wide angle, Meyer
Plasmats and Nicola Perscheid portrait lenses, and miniature lenses such as the Olympia Sonnar, Hologon
and Leitz Thambar, Hektors and Xenon. These are only a few among many and it is likely that fashions will
throw up new ones with time.
Sadly, one problem is repair and maintainance. The leading lenses can be hard to work on, and modern
balsams slow to dissolve. Thus the work is difficult, and work in Germany is extremely costly. Only Zeiss with
the Hasselblad lenses seems to have set aside repair material to replace worn external components at a
reasonable price, although after the war, Leitz seems to have offered the same service for the 50mm Elmar.
This must be a factor in deciding the value of some modern lenses when found in used condition.

G.G.S., Japan.
They were noted for the Luckyflex, 35mm TLR with Solar f3.3/50mm lens.

Giorno
This was an Italian lens on the Pliflex camera.

Glanz
Glanz has been noted as the name on a monocular and camera adaptors from Kanto Optical, Japan, for use
as a variable long focus and close-up device for SLR's. (noted 05/1964). They are well described in the Silber
Catalogue for 1966-7. There were 4 uses for a monocular and adaptor:
(a) as a wide angle telescope for 7x;
(b) as a 7x telephoto converter for an existing camera requiring only an extra adaptor ring;
(c) as a variable power 400-1000mm used with the special Glanz extension tubes which were a low cost
separate purchase; and
(d) as a variable telephoto lens for 350-1000mm with the teleshot adaptor. This was an elaborately engraved
adjustable unit with optical adjustment.
Naturally quite a range of camera adaptors were made to link the units up. On purchase it may be wise to try
and check that all the parts are there and get advice on how it works....
It was seen as a monocular Micro T-M Mark II 7x40 9.5° No204,63x which is fairly conventional but the front
glass focusses to 2.1m.
(Fig 022 013 Glanz Teleshot monocular on M42 Pentacon body.)
It unscrews from the focussing mount, or the eyepiece can stay on the mount. Possibly it is best as the
monocular version. The eyepiece is an unusually big one in diameter and probably is better corrected than
many- the field lens seems to be an achromat. There are separate helical focusing adjustments for the field
lens, eyepiece and 'macro' tube and on a camera, the image seemed of good quality but naturally not very
bright (f9-f16 apparently).

Glass
The older English glass was noted to be resistant to chemical attack, and found to contain boron (borate?) in
B.J.P. 22/02/1918, cited in 24/02/1978 p176. The glass was window glass of 1845 make.

Globus, New York, USA.

Globuscope f3.5/25mm on Globuscope panoramic camera.

Goddard
He was an innovative 19 century designer, respected by Traill Taylor who would have known him..
Portrait meniscus. This was a biconvex lens, with radii in the ratio of 1: 6, with the flatter outside the
camera, and with the iris well forward of the glass, for use over narrow angles. (see Traill-Taylor p43)
Non-distorting Periscopic (1859) It used a 2+1 layout.
Double Periscopic (1/1859) Traill Raylor knew these though they never went into production (?) It was
externally a double convex lens, but the layout was of a zero power doublet at the front with then a deep crown
rear meniscus. The stop was in front of the whole glassware. (ie i+2+1)
Goddards Triple Lens= Landscape Lens (1865) fitted for f22, f27, f40. 4-glass, (Layout God001). Traill Taylor
distinguishes between several types roughly God 001 but some with sets of casket type single achromatic
lenses to fit in front. He was a fluent designer in the Victorian tradition and left many types in his workshop at
his death with eg. plano concave in place of biconcave glasses in G3. G3+G4 were of zero power and served
to correct G1/2.
Combination Landscape. A set of achromatic meniscus lenses to screw into the front of the Triple Lens.

C.P.Goerz A.G, Berlin -Friedenau, Germany.

(Note Goerz spelled his name on lenses with an E, not an umlaut.
One of the old established (from 1886) German makers, responsible for several Landmark lenses such as the
Dagor, Hypergon and possibly the Syntor/Dogmar group. Goerz were able to make the transition from high
quality RR's such as the Lynkeiskop series to anastigmats due to accepting von Hoegh's offer of the Dagor
design, and he went on to design the air-spaced Celor and the Hypergon. Judging from how common these
Dagors are on the secondhand market, the sales were enormous, but many are now well worn and few are of
very large size, though big Dogmars for aerial use are known. By the 1920's the firm was less innovative and
Goerz died in about 1923, and the firm became part of Zeiss Ikon. The initial amalgamation was of ICA, Goerz,
Ernemann, and Contessa-Nettel in 1925 and then with Zeiss to form Zeiss Ikon on 15/09/1926. Goerz last
advertised separately in B.J.A. 1926, p737, the next year it being as part of the Zeiss Ikon advert on p699.
Note that Carl Zeiss was still a independant company, probably holding shares in Zeiss Ikon as an associate.
One result was that the Goerz optical glass plant at Sendlingen was converted to other products, so that lens
makers had to convert to using Schott glasses, often of rather different specifications. And production of most
of the Goerz lenses ceased, only a few Dagor wide angle lenses, Hypergons (rare) and Frontars being
continued. A notable product was the Hypar portrait lens. The highest lens serial number seen was No751,84x
on a Photometon lens, and this may be near the end of Goerz production. The lens stock on amalgamation
was sold off to an American dealer and for some 30 years, new Goerz lenses were available from his "lens
bank", some apparently being coated before sale by some early process. The USA and Austrian branches of
the Goerz firm were not included in the amalgamation, and continued in production using the Goerz name.
Incidentally, the late adverts.(B.J.A. 1925, p707 for example) show a range of products including film, plates,
cameras, lenses. Add in optical glass and the firm was clearly diversifying.
Carl Paul Goerz (1856-1930) himself was of humble origin, and worked initially for E.Busch at Rathenow, and
later other places before setting up in Berlin. He made photo apparatus from 1888, and collaborated with
Anschutz from 1890, initially making standard products like RR and meniscus lenses. These were designed
by C.Moser (1858-1892) who joined Goerz in 1885, and designed the Paraplanat (1888)and Lynkeiskop
(1890). Moser died soon after in 1892, and Goerz was open to a visit by Emil von Hoegh who described his
new double anastigmat and it was made, approved and a patent obtained. (No74437, 20/12/1892 or 1893). The
patent ran out in 1909, according to Frerk. Initially it was f7.7, but Eder says Von Hoegh later increased it to
f6.8. 30,000 were made by 1896, and patents covered all countries except France- an error due to an import of
an early Goerz sample. Goerz disputed the priority of the Orthostigmat and Kollinear lenses in Germany but
Steinheil was able to get rights on the other layout for the Orthostigmat, after a long dispute, and Voigtlaender
joined with him as they had already made all the preparations for the product when Steinheil filed his patent- ie
they might have invalidated it? So Steinheil and Voigtlaender shared it.
Goerz made prismatic binoculars from about 1899, under the trade name Trieder.
Pre-anastigmat types from 1886.
Triplet Landscape This was a lens rather after that of Dallmeyer.
Lynkeioskop f6.5 Extra Rapid RR, Q5, for 70° In 1908, this was the suggestion
still for outdoor groups and instantaneous work. The f7.7 below was the general purpose suggestion, where a
slower lens would suffice. It used Jena glass in the design.
The above could be Series A or B.
Lynkeioskop f6.3 Series C RR, Q5
This was seen as a substantial brass lens at No32,65x.
Extra Rapid Lynkeioskop f6.3/f6.5 ?also Series C RR, Q5 Goe015. One coded series C NoI was
noted at No22,57x on a boxform tropical Anschutz. These were fitted to the original Ottomar Anschutz
cameras from 1889 as No2 of that date has a Series C No1 serial No 14,344. Another of these lenses noted
was a series C No1 Serial No10,47x, and a third at No1, serial No24,16x was to a 9x12cm Hesekiel reflex.
Later the Anschutz cameras fitted Dagors and Dogmars as with a f4.5/180mm No349,99x, as the extra speed
was valuable.
Fig 025 034 Goerz Lynkeiskop lenses (l) Rapid Wide Angle c11in No67,822 No6; (r) Extra Rapid c.11in
No32,658.
Rapid Lynkeioskop f7.7 Series D RR, Q5 for 62°.
Rapid wide angle
Lynkeioskop f7.7 Series E This was an RR, Q5, for 82°
This was the longest lived product, still being listed in the 1920's. It was made in 60, 90, 120,150, 180, 210,
240mm This was seen as a substantial brass lens, No6/210mm at No678,22x. It was noted also as 75mm
lenses on a Photo Stereo Binocle. (Fig above).
Wide Angle Lynkeiskop f15 This was a true wide angle lens. One was noted at auction as a
Series 0 No22,62x probably about 1890 on a Mader Invincibel camera.
Rapid Paraplanat= f7.5 This was an RR, Q5 This was also in the 1908 list and may have
differed in price as the Lynkeiskop was a premium grade item. It used Jena glass. The same lens may also
list as the "Paraplanat"? It may have had a series code not noted here.
Dogar f6.3 300mm This was noted as a 300mm lens on a Linhof panel. It is an RR and is is
brass so fairly early, but there are no further details.
There may be some duplication in this list. These early Goerz lenses are impressive products to handle, and
not too common in the UK. Series numbers of anastigmats seen run from about No30,000 and up, so the old
types cannot be very numerous. These first lenses were all or mostly designed by C. Moser, who died in
1892.
Anastigmat Period.
One problem here is the numbering of the Series. The RR's series seem to have had a letter code and the
anastigmats were to have a number code. Here the future Dagor was certainly Series III and the slow version,
Series IV. The Celor was Series I and the Doppel Series II: but there are reports of Series OO from a reliable
source and there should there fore also be a Series O to find. Did Goerz use one series for an aperture, [as
Zeiss did] or for a type of design. But possibly this is too early to worry about such questions. First look at
the facts! Well, the series I does cover several of the same type of design. And the Series III seems to cover
both the f7.7 and f6.8 Dagors and the redesign So it seems the Series is design related here. So Series O
might just be Hypergon and then the thing is logical. But what is Series OO f6 with stops to f128.
Double Anastigmat Series 111 Dagor
This was the most important product for some years and today is probably still the most traded. It is worth
noting however that it comes in a number of ways and each has its value- and price.
Original Double Anastigmat f7.7 This was made in 3.5-35in, and was made from 1892. Later it was made
as 1.625-4.74-16.5in. The Layout is Dagor Q9, or Goe001. It was suggested to use 18cm for 13x18 at f6.8 but
it would cover 21x27cm closed down, and in general it covers 70-90°, and the f7.7 series was continued after
1900 in longer focus versions when the shorter versions were redesigned to work at f6.8- though there may
have been some redesign optically.
These were also made under license by Ross in London, the brass lenses being marked 'Goerz patent'. These
seem all to be f7.7 versions. Later the Series 111 was renamed Dagor and when the patent ran out, was
exploited by many firms. The initial design was by E. von Hoegh (1865-1915) who worked for Goerz 1892-
1902, and Series 111 was Patented (German Pat. 74,437/1892 or 1993; Brit.Pat. 23,378/1892). It was
covered in all countries except France where the prior import of one lens prevented cover. The patent
describes a lens of f7.7 for 70°, or in a slower version, for up to 90°. The angle covered really rates it as a wide
angle (see W.Rice in B.J.A. 1900,p763) and 10x8 users can use 12in as a normal lens and 7in(180mm) as a
wide angle at f32.
The early lenses seem to be individual. Thus one seen at No82,57x was in a rather simple brass FIM and was
marked only 111/120m/m, without any 'Series', and has no f7.7 aperture, but rather is 3/5 and then 1 to 16, no
f. Another is graduated from 6 to 384 at No18,475, DRP74,437.
[Eder says v. Hoegh approached Goerz with only sketches for lens designs on paper and a promise that he
would do the calculations in a few weeks. The first Doppel was made for Nov. 1892, and the German Patent
was 20/12/1892, granted 05/05/1893, and v. Hoegh worked there till 1903, designing the Type B/Celor and
Hypergon. He was not a very fit man.]
There is some evidence that the Series 111 was first planned as a slower lens of wider field (see above), and
such a lens indeed was launched as a process lens, Series 1V. Goerz did not try to stretch the design to
faster lenses than f6.8 as others did, and this is probably due to these only giving good correction over narrow
angles. Series 111 was desirable both for the sharpness over wide angles and for the freedom from flare of the
simple design. It was probably better corrected than was possible with the 4-glass design Zeiss were using for
their original "Anastigmat" series and the patent noted that it was separable, allowing the owner to use the
components as long focus lenses at small apertures, though Goerz suggests at f16, and this still seems wise
today.
If one cell is in use, place it in the rear and expect about 1.73x the focus of the pair. The single cells are not
fully corrected, hence the need to stop down, especially if they are in use on a larger plate. Normally with
Dagor the two cells are the same focal length,and the range of shutter threads and thicknesses makes it hard
to make up "cocktail" lenses from two different pairs. It can be done with some of the 'Compound and Compur
0 mounted' Dagors, eg 100, 120, 125 and 150mm pairs, and the results look perfectly acceptable when closed
down a bit- especially at f16. At full aperture, the sharpness falls off away from the centre in a way quite unlike
a correctly mounted pair and the problem is not just a curved field. But this is rather the same effect as the
single cells deliver. (Competitors were able to sell non-identical pairs but they are scarce. The one seen was
an f6.5 for 6.5in, 10.5in and 12.5in, in a Koilos shutter of about 1910 with original iris scales for the 3 foci,
which suggests it was a commercial item even if a rather anonymous one. It performed rather like a real Dagor
made from a mixture of foci- ie nicely but best if stopped down. This may explain why such products were
scarce.)
The complete Dagor lens does suffer from some uncorrected spherical aberration and therefore tends to shift
focus on stopping down- something best controlled by composing at f6.8, but focusing at about f12 rather than
f8. The single cells do suffer from coma. It was developed in several ways. Production was some 30,000 by
1895. (Eder seems to suggest 30,000 in 1896 alone.) Conrady warns that the complete elimination of
distortion is not possible with this layout and suggests glasses were G1= 1.51497, G2= 1.56804, G3=
1.61310 (external when paired) but it is difficult to see which version he is planning. [Note that these differ from
what he lists for the Zeiss Series V1a).]
Fig 025 035 Goerz Doppel Anastigmat Series III (Dagor) early f7.7 (l) 180mm No18,475; (m) 210mm
No34,149; (r) 120mm No82,370.
Series 111 1900 f6.8 40, 60, 75, 90, 100, 120, 135, 150, 165, 180, 210, 240, 270mm in
1922. Longer sizes were made, eg 300mm in 1910. The increase in aperture was due to the use of new glass
in 1900, but the faster lenses were not made in all focal legths. The new version was still for 70-90° angle.
Thus 90mm will just about cover 5x4; and 180mm will cover 10x8in easily- and 168mm will but with rather thin
corners. But 75mm will definitely not cover 5x4in, and 180mm was traditionally the shortest on 10x8in in
professional practice. The new glass seems to be hard and wears well, but many are now yellow due to the
balsam colouring, and some cases of balsam failure have been seen. These lenses will be from 1900 to 1904,
when Goerz began to name their lenses. These still seem to be scarce in the UK. An example is No12926x in
a brass barrel, marked with D.R.P. 74,437, as a Series 111, No6 for 300mm.
Fig 025 037 Goerz Doppel Anast. Series III (Dagor) lenses (l) f6.8/210mm No101,701; f6.8/300mm
No129,262.
DAGOR Series 111 f6.8 40-900mm at least. It covered 70-90° in the B.J.A. 1925, p714 advert.These
are the type which is common but still desirable as sharp use lenses, usually in moderate foci, up to about
210mm, and often in early shutters- which can be a source of difficulty. Typically these in order of date are in
(a) Compound, (b) dialset Compur and finally (c) a few perhaps in rimset Compur, though many of these will be
swapped from older dialsets- not always desirable since threads can wear or be forced, and adaptors may not
be truly aligned! (DAGOR = Doppel Anastigmat Goerz).
The 1924/1925 adverts. lists it as:
At full aperture:
3.5in for 3.5x3.5in, 4in for 4.25x3.25in, 5in and 5.25in for 3.25x4.25in, 6in for 5x4in, 6.5in for 6x4in, 7in for
6.5x4.75in, 8.25in for 8x5in, 9.5in for 8.5x6.5in, 10.75in for 9x7in, 12in for 300mm, 14in for 12x10in.(B.J.A.
1925, p714)
These can be covered stopped down:
5in (125mm) for 6.5x4.75in; 5.30in (130mm) for 7x5in; 6in (150mm) for 8x5in; 6.5in (165mm) for 8.5x6.5in; 7in
(180mm) for 9x7in; 8.25in (210mm) for 10x8in; 9.5in (240mm) 12x10in 12in (300mm) for 18x16in; and 14in
(360mm) for 22x18in. All these coverages are stopped down, and the foci are nominal.
The design was reexamined and updated in 1908 by Zschokke who recomputed it with higher refractive index
glass in the centre elements, for improved astigmatism correction. (Brit.Pat. 13,902/1908). There is no obvious
sign on the lens to show this so it is hard to use as a buying feature but the shutter type (q.v.) might be a
guide- seek a Compound with a cable release socket or a Compur shutter. The lens was mounted in PIM,
SIM, and SFIM (focusing) mounts.
Zschokke noted that the marginal illumination of an f6.8 anastigmat, probably a Dagor, can actually exceed a
f6.3 aplanat. This is due to a combination of cos 4 theta attenuation, and cut off due to the mount, and the
latter is less in the Dagor. (B.J.A. 1925, p213-4).
The shortest noted was a 12.5mm f6.8 No558,57x on a Gennert movie camera at auction. This suggests that
other unusual foci may be found.
Tentatively Series 111 type lenses get less common after about serial number 300,000 but continue on larger
format cameras for architectural work (as with a f6.8/300mm at No368,69x)- which were not big sellars- and in
smaller sizes where they could double up as wide angles. But such late examples are not too easy to find and
are often in well worn condition. Many of the smaller lenses were mounted sunk into Tenax and other cameras
and are not really easy to adapt for use as wide angles on other cameras. One useful source is the Goerz
Tenax folders, and the VP size uses a 75mm f6.8 seen in dialset Compur at No484,33x. Transferred to a field
camera these cover 6x9cm but only part of 5x4in- about 3.25x4.25in for example.
It is interesting to look some of the prices of Goerz lenses. Here are some from lens lists and some where
they are fitted to cameras. There seems a big premium for the Dogmar f4.5 and to a less extent the Dagor.
Take the Manofoc Tenax in 1925, in 3.5x2.5in and 4.25x3.25in:
Lens used Format Format Lens alone
3.5x2.5in 4.25x3.25in
Dogmar f4.5 £14.50 £20.00 £9.00
Dagor f6.8 £13.62 £18.25 £8.00
Dogmar f6.3 £12.75 £17.00 £6.25
Tenastigmat f6.3 £9.75
Kalostigmat f6.8 £7.87
An interesting fitting was to a Luzo 6x9cm as an f6.8/125mm at No158,01x.
Alexander Keighley was a famous user of a 'Unique' 1/4plate Goerz camera fitted with a Dagor lens.
Fig 026 001 Goerz Dagors f6.8 (l) Nos 354,808; (m) 344,361; (r) 210mm No271,782.
Fig 026 023 Goerz Dagor f6.8/180mm No82,080 in early brass shutter TBI type.
Fig 026 024 Goerz Dagor f6.8 in early Compound and Compur shutters.
Series 1V f11 12-47in (30-120cm) It covers 75-90° , ie rather more than Series III.
Layout Goe014. These were process and copying lenses and seem scarce as they have not been seen. They
are said to have been designed for close up and not be fully flat field at infinity, but useful as wide angles in
spite of this. One list showed them as Series 1V f16, 30-120mm and a wide angle lens: and this may be still
another version, or merely suggest to use f16 to expose. It seems to have been available till the closure.
Wide Angle Dagor f9.0 This was a later lens and was listed in 1924 in 75mm for 4.25x3.25in,
100mm for 6.5x4.75in, 125mm for 8.5x6.5in, 150mm for 9x7in, 180mm for 10x8in, 210mm for 12x10in, 240mm
for 15x12in all for stopped down use (Goe014) This lens can cover at least 100°, and 150mm is actually useful
on 10x8in when stopped right down. (There is a patent for an f9 wide angle anastigmat of this type to Goerz
(Brit Pat. 209,093 of 1922), using a low R.I. meniscus with a high R.I. flint for the biconcave and baryta flint for
the external biconvex lens. The design was aimed at reducing astigmatism at wide angles.) It seems to be the
precursor of some of the USA Golden Dagors, from the Goerz USA company. It was 'new' in the Photograms
1924 advert. ie was a 1923 introduction, and may have been a 1920's reinvention of the f11 above. The usual
version found in the UK is the 125mm, probably sold for 1/1plate, and seen at No597,53x, where 2 lenses of
nearly the same number are known, probably from the same shipment. The 125mm covers 1/1plate but is very
tight on 10x8in unless indoors, when the bellows are a bit extended and then it may just cover. Later versions
are in rimset Compur shutters and made by Zeiss- Dagor f9 was one of the few Goerz lenses Zeiss continued
after the amalgamation. The old stock of Dagors f6.8 were sold off to Burke and James and overhung the
market for many years, being referred to in USA as Berlin-Dagors to distinguish them from the USA products.
Measurements suggest the external curves of the f9 wide angle are slightly deeper than the f6.8 but these are
not really strikingly different. What is different is that the outer diameter of the f9 is some 10% bigger than the
f6.8 equivalent- and the inner glass diameter is reduced to near 25% less than the f6.8
This will improve edge illumination and the limit on the aperture will improve the sharpness and contrast to
some extent. What must be about the last f9.0 Dagors seem not to have been marked as "Wide Angle" and
were noted from Zeiss Jena at No2,802,51x in stereo pairs, possibly for air survey use in the WW2 as this
seems to be a 1942 serial number. They are not coated, and in non-iris barrel mount.
Fig 026 022 Goerz Berlin Wide Angle Dagor (l) f9/125mm No597,535; (mid) Zeiss Goerz Dagor f9/15cm
No2,214,787 in Compur; Carl Zeiss Dagor f9/21cm No2,802,518.
The Dagor design could be improved by air-spacing the inner two glasses, and Goerz/von Hoegh were
patenting these by B.J.A. 1900, p864. This lead to faster lenses but with more flare.
Hypergon
Hypergon (1900) f22 to view/f32 to expose. It was made in 2.375, 3.0, 3.5, 4.75, 6.0in (Goe012)
A unique ultra-wide angle lens, with two deeply curved glasses only. It covers up to 140°, but with severe falloff
in illumination due to the cos-4 dependance. In order to even up this, a centre compensator was fitted, the
disc being blown round with compressed air or touched round with a feather during long exposures. The idea
may derive from de la Crouce's device (T.R.Dallmeyer, Photo. Jnl. 29/03/1898). The suggestion was 1unit
exposure without the disc plus 5 units with it. Use 3in for 18x24 or 10x8in, and 6in for 20x24. So small
examples are far more useful! It is one of the most illustrated and collectable lenses and a certain Landmark.
It is free from astigmatism and aberrations from spherical and colour aberrations are not serious exposing at
f32, but the results today, while good, lack the bite of modern lenses. It may be best on colour blind film. The
aberrations correct mutually on stopping down so it does not need to be refocussed. Single cells of Hypergon
have been illustrated but were probably not used.
Fig 031 029 Goerz Berlin Hypergon f32/150mm No109,511.
Hypergon Improved (1911) There seems to be a period when the spinner was omitted, and the lens was
said to be "improved". It is now uncertain how significant this was, as the spinner was back in a 1920's
catalogue. Now it was "use 3in for 1/2plate", and it was still made as 60, 75, 90, 120, 150, 200mm (B.J.A.
1912, p713). The change may have been a marketing one as a B.J.A. 1912, p713/4 note says it is now being
sold for 110° where it would be easier to use. One of these probably was noted at auction as a 6cm Series X
No550,54x, and still had a spinner at this late date . It was still said to be for up to 140° in Photograms 1924.
Hypergon was said to be supplied later as from Zeiss, but these are very uncommon. Conrady quotes
Gleichen as using glass= 1.5105, a borosilicate crown.
A real point can be how to mount it. It came up in the old days, with the skyscraper cameras from Korona,
and the wide angle flat cameras from Kodak. There is a note in B.J.A. 1925, p245, on the removal of the whole
front panel of a 1/1plate camera so that a replacement with the Hypergon fitted can go in: the reason being
partly the small register and also the big aperture needed.
Other Symmetrical Anastigmats
Doppel Anastigmat (Layout Goe010)
Series 11a f5.5/f5.6 This was a 5+5 glass anastigmat, with single components fully corrected for use at
f11.It dated 1895 or 1897, and sold from 1897, and it was patented by von Hoegh as Brit. Pat. 2854/1899. It
was usually sold as the Satz (ie Set) Anastigmat, as the Dagor was not sold this way (Lummer, p77). It does
seem overcomplex but the design was defended by Goerz and von Hoegh as good as the positive glasses
were set into the hollows in the negatives, helping the centering, which must otherwise have been a production
problem. This is a scarce lens in the UK, probably due to its original price. By 1901 it was no longer
advertised.
Series II This was the same as Series II but with two cells of the same focus, working at f5.5.
The glasses are (from the front outer glass) 1.61; 1.54; 1.52; 1.61; 1.51. The correction procedure is
discussed by Lummer- basically the surfaces are used one by one for the different aberrations.
Pantar Anastigmat f6.3 86-276mm 4+4 glass lens. This was designed by Urban in 1903-4,
introduced in 1903, and is as seen in 1908 lists. The individual cell are fully usable at f12.5, and 3-focus sets
at about f8 max.(actually f6.3, f6.8, f7.2, f7.7) were available. (Layout Goe003). Cells were 150-480mm and
Pairs were typically sold as 86, 94, 104, 106, 118, 134, 153, 165, 172, 188, 205, 207, 223, 236, 241, 257,
276mm. Use 6in for5x4. Only 3 thread sizes were used to help interchangability, but this was likely to be
before shutters were much used. It was better corrected for coma than Dagor. It was said to cover 80-85° and
20.7cm was used for 13x18cm plates but covered 18x24cm closed down. Optically, the main advantage was
that the single cells were much better corrected and more usable than with the Dagor. An example at auction
was 9.5in on an Anschutz camera at No216,87x.
Pantar Satz eg 4 cell sets, No1 for 9x12, No11 for 5x4, No111 for 13x18, No1V for 18x24cm. It seems to be
introduced in 1904 under Patent German Pat 171,369/1904, Brit. Pat. 13904/1897 from a 1910 advert.
W. Zschokke designed the Pantar, along with the Alethar, Dogmar and Artar, working at Goerz from 1902 to
1920.
Note the trade name Pantar was revived many years later by Zeiss for another lens.
Dialyts
These have two separate glasses back and front as in Goe021, the air-gap between the glasses functioning as
one of the elements. The idea for this layout may derive from Taylor whose triplet could be a parent if the
centre negative was split in the middle- or from a symmetrical 3+3 design by making the centre glasses of unit
refractive index, ie air The latter was certainly the idea considered at the time. A factor was the rather shallow
curves used, and the angle was then astigmatically corrected for some 60-66°. Von Hoegh certainly
developed the Goerz versions Celor and Syntor and his designs were the basis of a major sales product as
they could be made faster than the Dagor, and used less glass! Most lenses of this type are not separable,
but Goerz were able to develop one type, the Dogmar, which was separable and was a fine and popular lens.
But the extra air-glass surface resulted in a greater flare level than in a Tessar, and the designs were dropped
when Zeiss Ikon was formed. Process versions were continued by Goerz USA at least as the Artar, and other
makers often used the general layout for high performance lenses. Goerz seems to have called them the "B"
series. Initially in 1898 they were merely series numbered, but were named from 1904, initially as Celor and
Syntor. The prices on a Goerz Ango press camera were for 5x4in, camera alone: 103Mk, camera with Dagor;
284Mk:camera with Celor; 284Mk:camera with Syntor; 229Mk: and camera with Pantar; 349Mk. This gave
Goerz a range of prices with quality lenses but note how high the prices of the Dagor f6.8 were in comparison
with the Syntor f6.8.
Series 1b Celor This was a lens where the maximum aperture varied with the focus of the lens in the same
series. Thus it can be found in f3.5 (for movie perhaps?) down to f5.5 in the longer sizes.
f4.5 60mm (Goe021) for 60-70° angle. This aperture seems to have been offered
later as 6-48cm, so that the f4.5 was the well known speed and was referred to in Frerk's book, but was then
out of production in 1926, though possibly sold under camera makers labels. Coma could limit sharpness
here.
f4.0 This aperture was noted on an Anschutz Plate, B.J.A. 1905.
f3.5 There are no details here but it may have been for movie use.
f4.8 90-180mm, use 5 or 6in for 5x4. These seem to be one of the more common
types, from old 1/2 plate cameras, in SFIM. It is rather too easy to buy these in mistake for Dagor as the
engraving is small and very hard to read on old and dusty lenses. They were Series 1B Celor at No261,46x.
One was noted on a 10x14cm Anschutz camera as a f4.8/168mm at No253,94x
Fig 026 007 Goerz Celors f4.8 (l) 180mm No333,440 in brass barrel; (mid) 180mm No 261,469 in SIM;(r)
150mm No199,110 in SFIM.
f5.0 210-270mm
f5.5 300-480mm
Here the lens is really the same, the different foci being made at different maximum apertures. These seem to
be the lenses suggested for Portraiture in f4.5- f5.5 in 1908. The slower f6.3 Celor and Syntor were the
suggestion for Groups and general work outdoors.
Apertures varied, in 1911 they were f4.5,2.375; f4.8,3.5-7in; f5.0,8.5-10.75; f5.5,12-19in.
Series 1c Celor f6.3 9-27cm.(?) for 70°. This was especially for hand cameras.
It seems that Celor was initially issued as f10 also(?). These are rather surprising in view of the Syntor below
but may have had a marketing value.
Fig 026 004 Goerz Series 1C 180mm No137,445.
Series 1d Syntor f6.8 4.75-12in Layout Goe004. for 68-70°. It was made from 1903, sizes
being 5.0, 5.25, 6.0, 6.5, 7.0, 8.25in. in 1911.
It was listed in B.J.A. 1905, p934, and still listed in 1924. Use 6in for 5x4.
Syntor was the lower cost but perhaps the finer lens apart from the aperture and still seems to be in Frerk's
1926 list. Goerz supplied several lenses very like Syntor under other names and this may have been
relabelling for the sake of the product. see Fig 026 025 Goerz Syntor 1D f6.8/125mm No184,845 in Koilos
shutter.
Syntor f6.3 This was listed as 135mm for Taro-Tenax 9x12cm in about 1921. It may be a
short lived way to a lower price or to match some competitors lens.
Fig 026 005 Goerz Syntor Series 1D (l) brass 150mm No195,710; (r) Black 125mm No234,439.
Other Lenses.
Kalostigmat f6.8 eg 130mm dialyt type (Goe016)
Fig 026 026 Goerz Kalostigmat f6.8/125mm No510,558 in dial set Compur.
Kalosat f6.8 125mm may be same lens, new spelling. Seen at No572,40x.
Tenastigmat f6.3 Dialyt like Goe004.
Fig 026 027 Goerz Tenastigmat f6.3/165mm No510,558 in Compound.
Tenastigmat f6.8 100,125mm, new in c1913 on Taro Tenax, 1/4 plate and 4x6 cameras. Also
on Roll Tengor (Goe022) and on 1920's folders such as Glunz and Goerz.
Tenaxiar f6.8 Dialyt low cost version.
Some of the above were replaced by the Dogmar as it was separable.
Dogmar
Dogmar A new dialyt series was announced in Photography 26/05/1914, working at f4.5 in the shorter foci.
Since it was very late prewar, most examples will be postwar. Adverts. stressed it was a very highly corrected
lens, but the major sales feature was that it was separable, the front cell giving 2x focus, and the rear one 1.5x
focus. It was said to be free from ghosting, and the f4.5 was initially made in up to wholeplate size, the longer
sizes being in f5.5. It covers 55° or 54° at full aperture, and 60° at smaller apertures. It was suggested to use
21cm for 13x18cm plate. The f5.5 covered a slightly larger angle (54-60°) and a slower version at f6.3 covered
a bit more again (60-65°). However it was not primarily sold for its angle of cover, and the slower version was
short lived, being replaced by the Tenastigmats, etc.
The designer was W. Zschokke, and it was covered under Patent 258,494 and sold from 1914. It is sharper
than Celor, and shows better edge detail than the Q15 type designs. [Zschokke then left Goerz after the
association as Zeiss Ikon, and designed rather similar lenses for Kern, possible perhaps due to the take over
by Zeiss Ikon and the absence of this lens type in the Zeiss lists.]
Dogmar f4.5 60, 75mm for 2.375x2in, 90mm for 2.75x2.375in, 100mm for 2.5x3.5in,
125mm for 4.25x3.25in, 125mm for 4.25x3.25in, 135mm for 4.25x3.25in, 150mm for 4.75x3.5in, 165mm for
5x4in, 180mm for 6x4in, 195mm for 6.5x4.75in, 210mm for 7x5in, 240, 270, 300mm. Use 165mm for 5x4.,
14in for 10x8. (Goe005,009. Q26 type). Separable, 3 focus. It covers 55° and there is no suggestion of
improved cover when closed down. The other foci of the single cells were not detailed in adverts. (eg B.J.A.
1925, p739)
Fig 026 010 Goerz Dogmar f4.5/15cm No557,152.
f4.8 in 5in in 1912-1913. This was not noted in 1925.
Dogmar f5.5 300, 360, 420, 480mm This was the same series as the above.
These were new in Photography, 26/05/1914. It is not in Frerk's 1926 list as such, nor in the 1925 advert.
Dogmar f6.3 75, 90, 100, 125mm for 3.25x4.25in, 135mm for 4.75x3.5in, 150mm for
5x4in, 165mm for 6x4in, 180mm for 6.5x4.75in, and 210mm for 13x18cm.(Goe018) This was the slower
Dogmar in 1926, and covers 56°, or 65° closed down. The 100mm lens separates to give 163mm and 196mm.
An example was a f6.3/135mm lensNo411,76x in a dial set Compur No37800x (1919?)
A comparison with the preis data above for the Syntor and Celor on an Ango can be extended to the postwar
9x12cm Ango- no 5x4 was then listed in 1921, nor was there a "camera alone option". Prices were Ango
9x12cm with Dagor; 227Mk: camera with Dogmar, f4.5; 228Mk and camera with Dogmar f6.3; 230Mk. [The
logic of the last is not easy to understand, as normally the faster lens uses more material and needs to cost
more.] It was listed in the B.J.A. 1924, p739.
In use, an f6.3/135mm example was a very attractive lens, being really sharp but seeming to have an attractive
image quality. It did show increased flare but not enough to provide problems in normal use for B+W film and
the 135mm lens allowed considerable shift used close up on 6x9cm. One point was that the lens used was in
a dialset Compur which worked very smoothly, and the glass had formed a very fine natural blue self coating
which will have helped the contrast. (Old examples of Kallostigmat had not formed this type of coating, but
this may be chance.) Another was that it seemed very dim to focus on the ground glass screen- this was
probably due to the limited aperture as well as the effect of flare, but it did seem noticable.
Dogmar f3.5 It was used on the f3.5 Tenax in VP and Ango-Anschutz camera in 1/4plate
in 1926 (B.J.A. 1926, p321 The f3.5 was seen as a 150mm lens at No631,xxx on a Press camera, this is a
late type for such use and the image on a ground glass screen looked crisp and clear- a good design for the
period.
A large Dogmar was on sale at Photographica 1988, probably an aerial survey lens, possibly from WW1.
Hypar This was the Goerz triplet and was made for portrait and general work in large sizes and for movie as
the Kino Hypar. The Kino versions are not especially sought after but the big portrait lenses are highly prized.
It was made as:
f3.5 in 12in for 6x4in; and 14in for 8x6in.
f4.5 in 14-24in This was a triplet, new in 1914 (B.J.A.) with a high degree of transparency due
to the thin glasses. It used very durable glasses. It was free from internal reflexions, and from astigmatism up
to 35° for f3.5, and 45° for f4.5 lenses. The B.J.A. described them as sharp over the angle used for Portraiture,
but with a certain quality which distinguishes them from the biting sharpness of the ordinary anastigmat.
Fig 026 013 Goerz Kino-Hypar f3/3,5cm No625,543.
A useful classification for the layouts of Goerz lenses was as Symmetrics and non-symmetrics, as follows:
Symmetrics (No of glasses in brackets):
Dagor (6), Syntor (4), Tenastigmat (4), Kalostigmat (4), Hypergon (2), Artar (4).
Non-Symmetrics: Dogmar (4), Tenaxiar (3), Trilentar (3), Telegor (4).
Dogmar, Artar, Dagor, Hypar, Celor and Syntor were all available in the 1922 catalogue. Some lenses were for
Goerz cameras only, including Syntor f6.3, f6.8, Kalostigmat f6.8, Tenastigmat f6.3, f6.8, Axiar f7.7 (a triplet)
Trilentar f6.8 and Frontar.
Mollar These were front lenses =Vorsatz for close-up or to vary the focal length.
Telephoto Accessory.
This was noted in a 1911 list in 3 sizes for 1/4plate with 5in lens, 1/2plate with 7 or 8.5in lens and 5x4 with 6in
lens. It was made to take Dagor, Syntor or Celor lenses to match, the flange and focus varying but the
accessory taking any design of lens, provided the focal length was suitable. An illustration shows one on a
Ango in 1906 fitted with a Dagor. It was omitted by the 1922 catalogue, but another series was made as Type
V11b, which had a rack mechanism moving the rear glass back towards the film, relative to the flange. The
example seen was for a 50mm thread lens, possibly an 8.5in Dogmar, and was finished in black and scaled
for 3-8 (magnifications?).
Fig 026 016 Goerz Tele Accessory VIIb.
See also Telegor telephoto lens.
Telestar- f4.5 150-330mm Telephoto type.
WW1
Kerkmann illustrates several WW1 and related cameras with Dagor 270mm, Lynkeiscope f7/480mm, Hypar
f3.5/300mm, and a naturalist camera with a f7.0/600mm lens. Also a balloon camera with a 300mm lens and
aircraft cameras with f4.5/210mm Celor, f4.4/180 Hypar and f3.5/300mm Hypar lenses. Big Hypars were
obviously in general use other than for portrait work. Goerz supplied two successive bomb sights, the Goerz-
Vizier 219 and the Lotfernrohr (Lotfe) 219. Responsibility for the supply of these designs will probably have
passed to Carl Zeiss in the amalgamation.
Mainly post 1918.
A patent in the B.J.A. 1922, p323 covers a new triplet type (Brit Pat 158,902 of 1920).
Other lenses
Gotar Process f6.8-f10 8-24in This was a dialyt type and was noted as a f8/480mm lens.
Alethar ProcessSeries V f11 300-1200mm in 1911. It covers 70-85°. It was noted in 1903-1911 at least. It
used a costly 1+3+3+1 layout, Goe006, to get high colour and spherical correction. Artar replaced as less
costly. It is a rare item as a result. Both Artar and Alethar were designed by Zschokke. (E. Jb.1904, p165).
Artar Process This was a dialyt type process lens, listed 1914, with apo colour correction. The
outer glasses are noticably close together in the drawings. Layout Goe007. It was made as: f9.0, 300,
360mm; f9.5, 420mm; f11, 480, 600, 750mm; f12.5, 900,1200mm. H&D quotes up to f16/70in. max. It was
not in a 1914 list,and there was also a version at f16 apparently. Listed 1924.
Quartz Anastigmat f6.3-f15 for UV work. This works as a well corrected anastigmat over 40°, and was
made in 120mm, f6.3;240mm f7.7. It is a dialyt and 240mm is for use on 24x30cm (about 10x8in).
Pantoplan A symmetrical anastigmat, no details available.
Aerotar A symmetrical anastigmat, possibly an air-spaced Dagor. It may be related to the next item.
Geodar f7.7 for photogrammetry. It seems to be a new version of the Dagor, distortion free to
70°. It was made in 120, 150, 180, 210, 240, 300, 360mm; and 300mm was used for 10x12in at f7.7. Goe020.
(Geotar: possibly another spelling of the above?)
Rectagon 1922 lists show this as a 4-glass Gauss
Axiar f7.7 Q13, this was a triplet for cine.
Projection Axiar f3.2 Q3, This was a Petzval type projection lens.
Movie and Cine Lenses
Cinegor f1.2,f1.525mm These were Cine lenses and as Projection lenses.
f2.0-f2.550-100mm "
Projection Hypar f3.5 40-210mm This was a triplet, Q14.
Kino Hypar f3.5 35, 40, 42, 50, 75, 100mm These were Q14 triplets in the initial lists of 1914.
An f3.5/3in has been noted on a Badgley 35mm movie and as a f3.0/55mm at No568,62x on a Darling 35mm
in wood, at auction, so it can be quite early in movie history.
Kino Hypar Later versions were in: f2.7-f3.0 35, 40, 42, 50, 55, 75, 100mm.These were also Q14 triplets.
The KinoHypar was for commercial movie work, and is thought to be designed as a sharp lens. The examples
seen were Nos 520,86x and 625,54x, both fairly late before the amalgamation. It is reasonably common and
was often in f3.0/55mm on cameras from the 1900-1920 period, but is little sought after today. It is not known
when production began but it would probably be after the 1895 Patents ran out, say in 1910, unless TTH and
Voigtlaender sub-licenced it to Goerz.
Trilentar f6.8 Q13, this was an unsymmetrical triplet.
Frontar f9.0 This was an achromatic (crown + flint) meniscus in the 1920's, used on box
and low price cameras. (Goe017) The trade name lived on after the amalgamation for box camera lenses for
many years, at least to the 1950's. But it seems likely that the achromat was replaced by a single glass
meniscus. For collectors, the noted example is the Frontar on the VP Baby box of f9.0 45mm. The trade
name Goerz also seems to have continued on these for many years after the amalgamation.
f11 This version was on the box Tengor in 1931 (B.J.A. p285). It may be a single
glass design.
Hann lens f9 11cm This was noted on a Goerz folding rollfilm from about 1925, but there is
no further detail.
Hypar This was the prewar lens continued and probably in new uses.
Hypar Portrait f3.5 300, 360mm Q14 type, for 35-45°. This was a triplet with three equally
spaced glasses with the iris after G2, and are of softish focus. It covers 35° and a 36cm is used for 13x18cm
plates. These sizes were for CDV and Cabinet; Cabinet or Boudoir respectively.
f4.5 360, 420, 480, 600mm. (Layout Goe008) This was like the f3.5 in layout but
covered 45°. This was made in Cabinet or Boudoir; Boudoir; Imperial; and Imperial and Larger.
This lens was once used by Nicola Perscheid of Berlin, and the "poor correction" leading to softness may
be due to uncorrected astigmatism. The longer versions are rated at 45°, the shorter at 35°. It is suggested to
use 420mm for 10x8in. It seems to have been made from about 1913, and softness is controlled by stopping
down. Houghton's catalogue for 1914, p372.) It does turn up in USA lists but is far from common.
Kino Hypar- see above.
Tenaxiar f6.8 This was a triplet or possibly also dialyt, made in moderate sizes for folders.
Telgor f6.3 240, 300, 360, 420mm This was a 2+2 telephoto. Issued in 1922, this was
the Goerz answer to the TeleTessar, and much less common owing to the short time it was on the market. It
used two cemented and two uncemented glass pairs, and was a fully anastigmatically corrected lens. Frerk
says the 24cm was for movie use, and the 30cm for 9x12, 36cm for 10x15cm.
Telegor (same item?) f6.3 240mm for 18x24mm, 300mm for 9x12cm, 360mm for 4x6in and 16.5in
(410mm ) for 5x7in. This has an unusual design with a concave rear surface.(Goe011, Goe013, App011). Note
that Frerk refers to it as a Telegor, and shows one on a Nettel Press, as a black tube fitted to the front plate;
and it has this spelling in the advert. in Photgrams 1924.
Telestar: no information.
Choroscop This was an older type meniscus lens according to Frerk.
Photometon f2.0 3in It was said to be used on Photometon self portrait booths.
This was seen in a "general" everset shutter and was probably Ernostar-4 layout.
Fig 026 012 Goerz Photometon f2/3in No751,811.
The Goerz optical department seems to have continued and made some lenses for Zeiss Ikon, probably
Frontar, Novar and projection lenses but the design department seems to have had only R. Richter as a
survivor, continuing designing for Zeiss. And the glass production and other facilities were turned over to other
uses.
Zeiss Ikon Werk Berlin Zehlendorf was coded dpw for items produced in WW2.
As a collector, the brass items seem to be of great interest owing to their excellent appearance and heavy
construction: Goerz was surely reasonable in challenging von Hoegh as to whether he could improve the
Lynkeioskops. Also Dagor and Hypergon are surely Landmarks. But the later black items often suffer from
loss of paint and worn shutters- but if in good condition, they are among the most usable of the old lenses,
especially the Dagors. Sadly it is rather hard to find these in short (<100mm) and really big (>240mm) foci and
it can be really hard to read the fine engraving on many Goerz lenses. The highest serial number yet seen was
about No751,xxx on the Photometon, and it was "made in Germany". A number of Dagor f6.8 lenses and a
Kallostigmat f6.8/125mm were noted in dialset Compur shutters, at serial numbers around 600,000-674,000
and these are numbers from seem to be about 1925. The Goerz serial numbers do vary, as if lens stock was
taken from store and fitted to shutters for sale.
Goerz/Compur numbers are: No365,099/660,361; 422/604,640; 550,298/674,xxx (obscured);
572,405/604,640.
Chronology
No chronology has been noted in the books seen. One problem is that many of the lenses are too early to use
the Compur shutter chronology. It just might run a bit like this:
1886 Kingslake gives this as the start of production of lenses to Moser's designs. (These were the RR series
called Lynkeiskop). The serial numbers from about N10,47x on early Anschutz cameras may be a guide to
about 1889.
1890 von Hoegh visits and the Series III later called Dagor starts production. (It seems likely that the products
were numbered in one series- this was how Voigtlaender did it and was natural where the anastigmat was not
licensed in and the record of numbers was not needed separately.) A Series III at No34,14x and a Lynkeiskop
at No32,65x and an Rapid Weitwinkel Lynkeiskop at 67,82x suggest intermingling and continued RR
production.
1895 Goerz say 30,000 Dagors were made by then, a rate of some 6,000 per year. This might suggest that
the number of Lynkeiskops made by 1890 would be only perhaps 3,000 per year or 12,000. If numbering
started at No1,000 this would give 13,000 in 1890 perhaps. It is reasonable to expect production to increase
with the Dagor in strong demand, and no doubt this did happen.
1897 Satz anastigmat on sale.
1899 The new design was the Type B, here later to be the Syntor and Celor.The lowest Type B number seen
is No137,45x, and it must be between the 1899 launch and the next event. Perhaps they began at about
No100,000.
1900 A Double Anastigmat was noted in a brass shutter which may be about 1902 at Serial number 82,09x. It
certainly looks an early shuttered item with a front bezel too narrow for easy engraving.
c.1900 The f6.8 Series III, as well as the Hypergon, were introduced.
1903 Alethar introduced
1904 Artar introduced, also Pantar.
1904 The use of trade names was adopted, such as DAGOR, Celor, Syntor. The lowest trade name lens seen
was 195,71x on a Syntor 1D; the highest "no name" was No153,76x on a Type B: but this is a date which
could be further refined. So lets guess 1904 is 170,000 for the present.
1906 A Syntor No184,845 has been noted in a Koilos marked "Patent angemeldet" = applied for. This is
surely an early Koilos, whose production began in c.1906.
1907 Pantoplan introduced.
1908 It is thought that the Dagor was redesigned with new glass by Zschokke and still as an f6.8 about this
year. This should be at about or just below No250,000 apparently.
1909 The Compound shutter was made with a radial adjustment for the TBI setting lever (ie 'vertical' movement)
and No 252,76x was mounted in one.
1909-1911 The Compound used a tangential ie horizontal adjustment but was operated by a pneumatic barrel,
and this was noted at No261,24x, say 1910.
1910 The Dagor production may have totalled 300,000 by now, but this seems high in view of the serial
numbers noted.
1911 Dagor No271,66x was put in a Compound here, while a Compur would be expected after about 1914. But
there is some suggestion that the Compur was introduced progressively, with some delays initially, probably
merely as demand outran supply.
1911 Dagor No323,98x is in a Compound with a Bowden cable release socket, introduced in 1911. Again a
Compur would be expected a little later.
1916 Dogmar introduced.
1914-1918 Kingslake suggests Goerz were heavily committed to the production of optics for the war in 1914-
1918, and such items should be findable. There do seem to be binoculars for example.
1921 The Sendlingen plant opens.
1923 The first Compur shutter dated lens is a Dagor No422,72x in a 1923 Compur No606,640.
1925-6 Several lenses were noted in shutters at No630-660,000 from this period, the lenses being 550,-
572,000 approx. as above.
1926 End of normal production of Goerz lenses. But note there was major production of Novars and other
Zeiss Ikon lenses somewhere, and that the Photometon may be an odd case where a Goerz lens was
"made" later, possibly for sale in the USA as it is marked "Made in Germany" and is in an Ilex shutter. But
remember the trade name "Goerz" was used on Frontars for many years.
Fig 19 Goerz Lenses in Brass finish.
Includes: Goerz Extra Rapid Lynkeioskop
Goerz Wide Angle Lynkeioskop
Goerz Doppel Anastigmat f6.8 at No c.74k.
Goerz Doppel Anasigmat f7.7 at No c.74k.
Goerz Doppel Anastigmat f6.8 at No c.74k.
Goerz Doppel Anastigmat DAGOR f6.8 at No c.344k.
Goerz Celor f4.8 at No c.333k.
Fig 20 Black Finish DAGORs
Exposure: Goerz Dagor f6.8/120mm
Back Row In Compound Shutter.
In sunk mount
W/A in Compur by Zeiss-Goerz.
Front Row In Compound.
In Compur (10cm).
W/A f9.0 by Goerz.
W/A Dagor by Zeiss Jena No2802xxx.
Fig 21 Other Goerz (Berlin) Lenses.
Exposure: Ross Xpres f4.5/5in
Back Row Goerz TeleAccessory Type B NoV11b
Goerz Celor f4.8/150mm in sunk mount.
Goerz Dogmar f4.5/150mm
Goerz Photometon f2.0/3in (76mm)
Front Row Goerz Doppel Anastigmat Type B f6.3/180mm
Goerz Syntor f6.8/125mm.
Goerz Tenastigmat f6.3/165mm.
Goerz Kallostigmat f6.8/125mm.
Goerz Syntor
Goerz Hypar f3.0/35mm

C.P.Goerz, Vienna, Austria.

This was one of the Goerz companies started early in the Dagor years, but apparently photographically
inactive until it appears as the source of a famous lens, the Helgor. Some WW2 production was coded bpd.
Helgor f2.0 25mm on Goerz Minicord.
This was noted in MCM 3/1952. Auction examples have included No731x on body No7216, so the numbers
may run in parallel. In fact some may not be separately numbered or the body and lens numbers may be the
same.
An early number No143x was in black and supplied to Russia in 1951.Otherwise body/lens numbers noted
were:110x/110x; 1040x/10,47x; 143x/143x; --/423x; 731x/721x; 741x/--; --/15,00x/--; 15,27x/16,03x;
15,88x/15,52x; 16,19x/15/96x, 1603x/---.

C.P.Goerz, American Optical Co., Doughty Blvde, Inwood, Long Island, N.Y. USA.
In 1947, it was from 317 East 34th St New York, 16, USA (office and factory)
The USA company was founded in 1899 after the success of the Dagor was apparent at the Chicago show. In
the early 20C it ceased production, and was a sales agent for Goerz/Berlin and later again became an
independant American company with its own series of lenses. There is a slight feeling that after the Goerz
Berlin business lost its independance, the USA firm considered expanding in the UK. Thus there are adverts.
and notices in the B.J.A. 1930, pp347, 743advert. indicating the designs still available from the USA as it was
an independant company. These included Dagor f6.8, Dogmar f4.5, Cine-Hypar f2.7, with process lenses Artar
f9-f15 and Gotar f8. (Interestingly, the Goerz Frontar f11 was still advertised the next year on the Zeiss Ikon
Tengor, B.J.A. 1931, p285)
The company is said to have changed hands repeatedly, perhaps 7 times, including a period in American
Optical, and met competition from Berlin lenses held by Burke and James for many years. (L. Jones, View
Camera, 1/1996, p56). The Goerz company operated at several sites, including Long Island and Rochester,
and sometimes used bought-in optics or subcontracted the whole production. Some "Golden" Dagors are said
to merely be lenses quickly finished up in lacquer rather than paint. The last production seems to have been in
the 1960's, receivers then selling the assets to J. Schneider, who therefore own some interesting trade names
in the USA. They or Kern are said to have made some late lenses. In spite of all these stories, the Goerz/USA
lenses are highly rated, valued and sought after.
Dagor f6.8-f7.710 foci 1.5-12in, 2 more later. Q9.(noted 1937)
It was designed and used as a general purpose lens, later coated.
One distinct group in dealers adverts. is the AmO or AOC version from the American Optical period, which is
often noted as such. This seems to be an older version, probably pre-war uncoated and pre-gold.
Gold is an emotive term in Dagors, and at least 3 types are noted: Gold dot, Gold Ring and Golden.
Golden Dagor f6.8 It was made as 40, 60, 150, 210, 240, 270, 300mm and covered up to 87° in the
1960's form. Thus an 150mm sold for 5x4 was used on 5x7 and might cover 10x8 in emergency at small
aperture- much as the older Berlin version would! It certainly should be coated by then. It was noted at
No781,xxx in a 9/1955 advert. (Modern. Photo. 1960) These were coated in the 1950's, as "Gold Band"
(Layout Gus002, App012). These were available in Modern Photo 08/1978, p34 for use with Wistar 10x8in.
Super Dagor f8.0 3.625, 4.375, 6.0, 6.5, in in 1940-50 period This was a wide angle for 100°.
Another source says 70°, but this may be too modest or at full aperture. Production ended, possibly in the
1970's.
Note the f8 Dagor is relatively common in USA lists and is sometimes featured as a wide-angle Dagor as in
3.625in (90mm approx.) and some only are Golden Dagors as well.
(Wide Angle) ?Same lens sold also as Wide angle Dagor.(1947)
Gold Dot Dagor F6.8 6in, 8.25in and other foci.1963 onwards. A later product, possibly after a
change in company ownership.
Super Dagor- We have been told of a f5.6 version using an air-spaced Plasmat type.
Aerotar f6.8 150mm This was an aerial survey lens and was noted in a B&J list.
Cine Paror An early (1930's) anamorphic system.
Dogmar f4.5/f5.510 foci made in 1930's.(Advert noted 1938)
This was sold as a fast lens for news, sport and as a convertible lens.
C-Dogmar f4.5 150mm version for cine, C-mount.
Artar f9.5-f16 4in and up, Dialyt, Apo correction.
There may also be a wide angle Gauss type.
Artar Apochromat f9.0 as above, there may be an improved version. Thus there are "Goerz Optical Co
Inc" noted at 19in f11 No821,320" and "C.P.Goerz American Optical Co Apochromat Artar 30in f12.5 at
No798,824" in auction lists: both will be fine lenses but there is just a hint that the makers name has been
modified. In one list, it was made in 15 foci, 4-70in, 4 and 6in being for colour work, with 35mm movie where it
would be ideal if the speed was sufficient.
Red Dot Artar f9.0 It was made in the 1960 period as 4.0, 6.0, 8.25, 9.5, 10.75, 12, 14, 16.5,
19, 24, 30, 35, 42, 47.5,70in. This seems to be a late version, apo, coated and a common and desired
process lens for 46° in USA and rare outside it. This type of design holds its corrections well in general use.
Red Dot commands a real premium over the plain Apochromat, of some 25% extra or more. (App013)
Trigor A long focus process lens of high repute (or price) for 80°(?) eg 9.5in f6.8
in one advert. It seems to be a modern lens.
Tricolour Enlarging Layout may be Gus001.
Gotar f6.8, f8.0, f8.8, f10 for black and white, not colour, Q26, Dialyt.
It seems this was originally "Rotar" and renamed. It was sold for b+w process, commercial photography,
copying and enlarging, ie was a general purpose lens, but slower than most.
Hilgor f5.8 180mm This seems to be a process lens?, possibly 5-glass Gauss or triplet.
It is interesting to compare the trade name with the Austrian Helgor.
Fig 026 019 Goerz USA Hilgor f5.6/180mm No834,969.
Hypar f2.7/f3.0in 15-100mm for cine, movie. (noted 1947)
Hypar f3.5 This version was listed in 1924 for large format use.
Apogor f2.3 This was noted as 50, 75mm, etc(?) This was a high performance movie lens.
Tentatively it is a triplet type with 4g/3c in front of the iris and a cemented pair behind- approaching some
Ernostars perhaps. The example seen was a f2.3/3in coated, at No770,48x from the C.P.Goerz Am.Opt. Co. It
was covered by US Pat. 2,260,368. It was noted 1947.
Fig 026 017 Goerz USA Apogor f2.3/3in No770,480.
Apogar This spelling was noted for a series of lenses suplied on the Cameraflex. This camera
was rather like an Arriflex camera, and was made in USA during WW2 in small numbers, but discontinued
after it.
Super Dagor f8.0 35, 50, 75mm, coated movie lens, about 1951, for 16, and 35mm.
This was a "New" 6-glass type. In 1947, it was sold as a wide angle lens, with greatly extended coverage.
Rectagon f6.3, 3in,posibly also f9.5 102mm It was listed in Modern Photo 9/1964, p26 ex-
Defense, and in B&J's list about the same time but is less common than the Metrogon. It is a classic Gauss,
rather like the Topogon. It was used in WW2 as a wide angle aerial survey lens., for 90°, Gus003. This can be
used at full aperture.
A 1947 list was Dagor f6.8, Super Dagor f8.0, Dogmar f4.5, Artar f9-16, Gotar f6.8, f8.0, f10, Hypar f2.7, f3.0,
Apogor f2.3 movie. These lenses are scarce in the UK and only occasionally trade, often at high prices.
Goerz-Robinson f9.0 12in No details, but this may be a process lens in a Robinson
camera fitting.

Gorizont, USSR.
OO-28pi f2.8 28mm on Gorizont panoramic camera, covering 120x45degrees.

Gotz, J.R., 215, Shaftesbury Ave. London, UK.

They were UK agents for Suter of Basel, at the turn of the Century, and not necessarily lens makers.
Channing and Dunn say he was active about 1885-1895, and especially about 1891 onwards with Suter's
lenses- which agrees with some Suter lenses noted secondhand today.

Graf Optical Co., Chacago, Ill.,USA.

This company was purchased by International Radio Corp., in 1938, apparently to make the Perfex lenses.
Graf seems to have been both a designer and a producer, and there may be confusion of different people here.
Graf Anastigmat f7.7 40mm on QRS camera, (1930)
Achromat f7.7 50mm
Graf Super Anastigmat f4.5 13in This seems to be roughly an Aviar type, and is a big studio lens in an
aluminium mount. It was seen at No4,61x, uncoated, in black and alloy, and was covered by (US?) Pat
No981,412. Note that this is related in design to the C. Graf soft focus below, but is itself a sharp lens giving
a nice detailed but rounded image. Just possibly the difference is in the lens mount which here lacks the long
thread needed to allow a softness adjustment. The front cell here is rather longer in focus than the rear, so it is
not really symmetyrical. It seems unlikely that the lens was separable as the single cells do not seem to
come to a fully sharp focus when used alone.
Fig 009 028 Graf Anastigmat f4.5/13in;
Fig 030 031 Graf Super Anastigmat f4.5/13in No4615 Pat No981,412. (Chicago Ill.)
Graf-Bishop Doublet
Soft focus for 14 and 17in. This was a dialyt under corrected for spherical, for use as a soft
focus lens. (B.J.A. 1924, p277; Brit. Pat. 194,608/1922, see B.J. 27/04/1923). There is another in Brit Pat.
198,569 of 1922 for a wide aperture dialyt lens with a fixed rear doublet and a movable front doublet, so that
the separation of the 2 front glasses can be varied. It used as glass: crown for the outer positives and flint for
the inner negatives. Apertures of up to f1.9 in short foci and f3.5-f4.5 were planned. (B.J.A. 1925, p242)
Graf Variable Anastigmat f3.8 5.5, 6.5, 7.5, 8.5, 11, 14, 16, 18in. Layout Gra001 (This is probably the lens
in B.J.A. 1924, p276). The softness is controlled by unscrewing the front glass which gives a very soft lens
working at f4.5 due to the longer focus in use then. It may be the production lens of the above soft focus
patent.
Projection Lens eg as 2in.
Graf Super Anastigmat f8.0 475mm This seems to be a dialyt design for general purpose
photography.
Graf Anastigmat f6.3 310mm for 10x8in.
see also Perfex camera lens.
Graf Economy f3.5 35mm This was a D-mount 16mm cine lens.
Ariel lists several, such as f3.5/20mm, f5.6/20mm and f3.5/32mm, all on DeVry 16mm cameras.
Graf Perfex f3.5 5cm This has no number apparently and was noted fitted to a Corfield
Interplan A body at auction. It probably had been transferred there from a Perfex camera.

Graphic, Rochester, New York USA.

Graphic were large format camera makers, founded as Folmer and Schwing in 1890 and using bought in
lenses, including Cooke, Kodak Bausch and Lomb and others. Later these were often Wollensak Raptars
rebadged as Optars, and some late lenses were from Rodenstock for the 35mm camera. (McBroom in View
Camera says for the 5x4 cameras the Optar lenses were all Wollensak but notes a f4.5/150mm Xenar, from
Schneider) and the last were f4.5/135mm Optars from Rodenstock in Graphlex 1000 shutters. Many cameras
were fitted with 127 and 135mm lenses for press use and these were not intended for use with movements,
the 165mm being sold for this use. The typical wide angle was the 90mm, wider lenses being rare and nonstandard.
Longer lenses were offered but do seem to have had less use. Press photographers are very
resourceful and it is impressive what was done with the limited range of lenses often carried. Later a few small
cameras were made, or imported.
As Folmer & Schwing, the firm was old enough to use Graphic RR lenses on the 5x4in Cycle Graphic, but
without any sign of the source.
Large Format
Optar f4.3 135mm
Optar f4.5 127, 135, 162, 165, 210mm Q15 type.
Optar f4.7 135mm The aperture may well be limited by the shutter, ie a f4.5
lens mounted in a shutter. Noted at No908,96x.
Optar f6.8 Q15 This was a much scarcer lens.
Optar f7.5 202mm, this was possibly a dialyt.
TeleOptar f5.6 eg 202mm ex Wollensak Telephoto lens. 2+2 type
This has also been noted as 250mm (10in) and 380mm (15in)
Teleoptar f6.5 270mm on 1967 Graphics a 2+2 tele.
Raptar Wide angle f6.5 90mm
Optar f6.8 90mm also as Graphlex wide angle Optar, eg at No907,176N which was
with a f4.7/135mm No908,963: thus N may indicate a redesign.
Graphlar f4.5 101mm Triplet
Trioptar f4.5 165mm
Trioptar f4.5 103mm This was for 6x9cm. It was noted on a 6x9cm Graphlex along with a
Kodak Ektar f4.5/101mm RC173x of 1951.
Also Heligon f2.8/80; Tessar f3.5/100mm; and others.
for Photorecord 35mm recording camera.
Photorecord f6.3 75mm in a Wollensak Alphax shutter. This seems to be a 4g/4c type, ?
dialyt? These seem to occur in UK from dismantling old assemblies, possibly ex-MoD.
Fig 031 017 Graphlex Photorecord f6.3/75mm in Alphax heavy duty shutter.
for Graphic XL
Super Angulon (Schneider) f8.0 47mm
Grandagon (Rodenstock) f5.6 58mm
Planar (Zeiss) f2.8 80mm
Heligon (Rodenstock) f2.8 95mm, also 80mm for 7x6cm especially.
Ysarex (Rodenstock) f3.5 95mm
Tessar (Zeiss) f2.8 100mm
Sonnar (Zeiss) f4.8 180mm
for 35mm cameras.
Graflar f3.5, f2.8 50mm from Rodenstock, for Graphic 35mm (1955-1958)
Prominar f3.5, f2.8, f2.0 on Century 35A, Century 2.8/35 and 35N, 35NE
Graftar f4.5, f3.5 50mm for 35mm use.

Greenpoint Optical Co, USA.

They supplied a pair of achromatic lenses with Waterhouse stops on a E. & H.T. Anthony 10x8in stereo
wood+brass camera .

Greens, 161, Kensington High St, London,W8.

In June 1965 they were selling the Steinheil 100mm f3.5 Cassarit and other Green's lenses for SLR's, such as:
200mm ?f4.5 and 135mm ?f3.5 as well as Green's extension tubes, teleconverters, a 4x Tamron optical
extender device, and tele and wide angle auxiliary lenses.

Grenier-Natkin, France.
He designed a prototype TLR with a Color-Planyl f3.5/75mm lens in 1954, but note that the commercial
cameras (Grenaflex) used lenses from SOM-Berthiot f4.5/75 and f3.5/75mm.

J.J.Griffin and Sons Ltd., 22, Garrick St, London.

They were and are dealers in scientific equipment and may have made cameras at East Molesley Works, but
it is doubtful if they made lenses until R and J Beck became part of the business in 1960, long after they
stopped making camera lenses. (But see a late coated Apo by Beck- it may represent a new aspect of their
production.) They did offer "Planiscope" supplementary lenses for RR and meniscus camera lenses for
close-up work in 1901. They were as "Wide Angle", "Copying", "Portrait", and "Telephoto" but the foci were
not specified.

Grimmel
They were noted for a Grimmel f3.5/50mm eg at No31,71x on a Gelto D-III for 127 film.

Grubb, T., later Sir H., Dublin and later St Albans, UK.
Agent in UK was: Wratten and Wainwright, 38, Great Queen St., London WC. and previously: W.Watson,
London. (noted 1886)
T.Grubb (1800-1878) was a "design and build" instrument maker, apparently beginning with billiard tables but
best known for his machinery for printing banknotes for the Bank of Ireland, and for astronomical telescopes.
He certainly made a series of camera lenses for many years, possibly to provide continuity of work for the staff
as the other jobs were large but spasmodic. His optical design was innovative, his first big lenses being a 15in
reflector telescope for Armagh Observatory, (1835) and finishing a Cauchoix 13.3in object glass, and
proposing a big achromat objective with the glasses separated by half the tube length to save on the size of
the rear flint glass. His Melbourne telescope however was somewhat of a disappointment. His son H. Grubb
(later Sir Howard Grubb, 1844-1931) worked with him, doing much of the travelling by the late 1860's. (He died
in the same year as Mr C. Parsons the head of Ross, Ltd. This may just have a bearing on the later formation
of Sir Howard Grubb, Parsons and Co.; for this date, see B.J.A. 1932, p332)
T.Grubb designed and patented the Grubb Aplanat, a new better form of achromatic meniscus, even though it
was near one component of the Ross-Collen lens (where Ross had envisaged its use separately as a
meniscus), and Grubb was 'disappointed' when Dallmeyer was able to patent the RR as he stated he had
used the design and that it was well known, the cells being like his aplanat. Their telescopes were refractors
up to about the 1880's but then Howard Grubb (1844-1931) turned to building reflectors and a 71cm refractor
of 1893 for Greenwich may be about his last). The last photgraphic lens seen was No520x from Howard Grubb
Dublin and is very finely finished in a lighter design with a perfect golden laquer and seems a different era to
the T. Grubb period. In general, Grubb lenses seem to have been used a lot, and several have become very
dark due to corrosion of the brass. They clean up well, but sadly, the surface of the brass is left pitted.
Later the firm moved to St Albans, England in 1918. Another move seems to have been to Newcastle, and a
1.9m Radcliffe telescope at the Sutherland Observatory South Africa, was probably made there by them in
1938.(Fin Times, 02/09/2000). As Sir Howard Grubb Parsons and Co they survived as premium grade
spectrometer makers into the 1960's at least, but it must be some time since they made camera lenses. (It
may be coincidence, but Lord Rosse who built a famous telescope in Ireland had a family name of William
Parsons so there may be a connection.)
Chronology
Early lenses are engraved 'Grubb', but by No 5,14x they are 'Howard Grubb'. Waterhouse slots only appear at
about No2,2xx and then not on all lenses, meniscus lenses lacking them at Nos262x and 272x but it was on
Petzvals later eg. at No3,66x. Some (early?) lenses have both a number, probably showing the "size" and a
letter possibly corresponding to the series or design. Thus "A" may be Petzval, "B" a symmetrical Patent
lens, "C" a Patent Doublet and "E" a Patent Meniscus: but B is also on a 10in meniscus so it may be more
complex. It was a long term code as Petzvals are A3 at Nos 118x and 366x. The patent meniscus may be a
Landmark. Hasbroeck dates an f8/8in Patent No2,603 as 1862- this is fairly definite as it is on the very first of
a camera patented that year. Another has been noted at No289x, so there were probably a number of sales
about then, but note the Patent may have been applied both to the meniscus and to the doublet types.
Doublet, this was rather as the Ross-Collen type, but an original design. This has probably not been seen by
us. It is mentioned in Traill Taylor, but probably was replaced by versions nearer the RR..
.
Grubb Aplanatic Meniscus (Single) This was sold from 1854 or 08/10/1857, and was sold for 40 years.
Gru001. B.Pat. 2,574/1857, also ?1968/1857.( B.J.A. 1886, p80) It was made in 3.75, 4.5, 6.0, 7.0, 8.0, 9.0,
10, 12, 15, 18in, use 8in for 5x4, 12in for 10x8. It was seen at No52x (6in?), 262x (7in?) and 2,72x (10in?), and
all are without Waterhouse slots, but use drop in washer stops, so these are likely to be early after the patent.
But note that Waterhouse slots are fitted on Nos222x and 118x, so the Landscape may have continued with
washers long after the Waterhouse slots came in for other items. The lenses are said to be of crown in front of
flint. In Gru 001 the two external curves seem about the same, but actually the concave is very slightly curved
and the positive notably stronger, but unlike Q2, neither is flat.
The mounts do vary: the 6in is in a focusing mount and may be from a stereo pair where such a focus would
be useful and this would explain the presence of two stop washers, both 7.5mm (f20) as if from a pair of
lenses where the f31's were kept in the other lens. And the 7in mount is rather like the 10in but does not have
the pull out extension tube.
Focus Glass Dia. Ratio Iris to glass Ratio
6in (150mm) 28mm 0.19 25.5mm 0.17
7in (175mm) 36mm 0.21 30.5mm 0.17
10in 61mm 0.24 35 to 58mm 0.13-0.22
The 25.4mm (10in) lens, No272x fitted a 74mmx1.1mm pitch flange, and illuminated about 1.0-1.1x the focal
length, so outside 260mm the image was notably dim. There was quite sharp fall-off as the iris is well in front
of the glass and the rim of the cell cuts off the light quite neatly. There is noticable pin-cushion distortion on
archtectural subjects but it is not serious on scenery. The image is sharp and really aggressively contrasty
and free from flare. The maximum aperture seems to be f14, and the stops then are at 1/16in intervals to give
f19.5, f23, f26, and f31 and at f31 the sharpness really covers the whole image area. (This suggests the sizes
were the drills on the workers bench set!) It is quite easy to focus at f14 and expose at f23 or f31 without
adjusting the focus- actually f31 was used. One point is that the stop is on a pull-out front unit extending by
23mm, and locking closed when slightly turned, which is possibly for compactness in transporting it, but it
might be possible to use the lens for a wider angle without pulling it out. Thus when the pull-out was only 1/3
of the normal (say 8mm), the lens seemed to illuminate the whole of 10x8in and corner sharpness seemed
useful at f31. The ratio of iris to glass of 0.22 when fully extended suggests this is greater than for the other
lenses and tends to support the idea that the extension could be used part way out, as 254 x 0.17mm would
be 43mm.
Fig 023 001 Grubb, Dublin Three meniscus lenses Nos 588 Pat., 2627 Pat E, 2729 B. Note the right one
focuses and the middle one has a pullout front to adjust the glass-stop distance, for about 1/1plate or 10x8in.
Stereo pair. The meniscus of 4.5in above was suggested for stereo and a pair may be used on a Mawson
camera
Single Aplanatic lenses- these may have been revised later.
Of the Aplanatic, V. Monckhoven says they give less distortion, are faster, less bulky, and have a wider angle
of coverage. The Waterhouse or rotating disc stop was standard in UK by 1866, but took longer to gain
acceptance in France. His translator adds that the Aplanatic was "old" when Grubb patented it and that Ross
had used it as early as 1842. A B.J.A. advert. for 1886 pxxxi lists them as:
5x4, 6in; 6.5x4.75in, 7in; 8x5in, 8in; 8.5x6.5in, 9in; 10x8, 10in; 12x10, 12in; 15x12in, 15in.
Aplanatic Doublet (Pair of aplanatics) eg 8.0in f8 seen. These were near an RR eg at No514x and 520x but
the latter seems faster, and it is uncertain how far they overlapped the RR. Bolas says they are as good as
the RR (p78) and that the chief credit for the RR really was Grubb's. In 1886 the list was:
1/4 plate, 4.5in; 5x4, 6in; 6.5x4.75in, 7.5in; 8x5, 8.5in; 1/1plate, 11in; 10x8in, 13in; 12x10in, 16in; 15x12in,
20in.
One of the above was also engraved by W.Morley, Upper St London as No1007x. It has a unusual design
feature, (common to bothof these Aplanatic Doublets) that the rear glasses seem to be permanently mounted
at the back of the barrel, rather than as is usual, mounted in a threaded ring. Thus for cleaning, the front is
unscrewed normally and the rear cleaned from inside.
Fig 023 003 Grubb Doublets (rear) Nos 2227, (l) 5148, (r)3465, and 5204, where 3465 seems a very fast
design- ie it will differ and may be a achromatic periscopic.
Petzval seen as eg f4.0, 10in approx. coded Grubb Dublin at No1,18x and No3,66x both with a slot for a stop,
so the Waterhouse idea came in before No1,18x. There is some roughness in the fit of the earlier of these
slots, and it just may be a retrofit feature. Compare the Serial Number with those for the other lenses specially
No262x. It seems that they went on with the washer type stop on the meniscus lenses after the Waterhouse
was introduced for the more costly Petzvals.
Fig 023 005 Grubb Petzval Lenses (l) a corroded one after cleaning (r) an initially better example as found.
Grubb Patent This seems to be an achromatised periscopic type, at No346x. A use may have been on the
Phantoscop of 1862.
A collection of Grubb lenses at auction was not itemized as to design, but included Nos 2,91x, 546, 2,45x,
1,85x, 2,72x with one unnumbered lens.
Achromatic Condenser Traill Taylor mentions an advanced 7 glass condenser probably for optical lanterns ie
slide projectors, of 1+1+2+2+1 design. It was T. Grubb period.
Fig 15 Grubb
Exposure: Dallmeyer RR
Back Row Grubb Petzval Lens with Waterhouse slot.
Grubb Patent Doublet
Grubb Aplanatic Doublet
Grubb Petzval Lens
Front Row Grubb Patent Meniscus E
Grubb Patent B
Grubb Aplanatic Doublet
Grubb Patent Meniscus.
(in focusing mount.)

Grun's Liquid lens.

A Dr Grun claimed a major increase in speed for the Petzval by filling the gap between the rear glasses with
liquid: there would be some due to the decreased number of air-glass surfaces, but this would be only 10% or
so, while the good doctor made big claims. These have been heavily questioned in print. (Photo. Miniature,
April 1901- Mar 1902, pp432, 433, 434, 435, 436; New Photographer, 25/07/1927, p406, The Jnl, 1990, p6). A
lens seen is engraved "Gruns Anastigmat" even though it is a normal RR as far as can be seen, so the good
doctor may have suffered even more damage to his repute than the above articles.
Liquid Lens: see also Archer and Goethe Blair, who used liquid elements in lenses (Bolas, p95, Am. Photo.,
28/06/1901, on an Apo lens by Blair, 1749). The idea of a liquid coupling recurred. (M.J.Gunn, 1936, Brit. Pat.
468227, W.E. Williams, 1937, Brit. Pat, 490381). Significantly, the use of liquid lens elements is now known
to be needed for really fast lenses of above f0.5, and when even f0.3 may be attainable.(Kaprelian,
J.S.M.P.E.,53, p86, 1949).

Guitton, France.
The name occurs in FBB on a RR for a Grieshaber 13x18cm camera in 1900.

Gundlach-Manhattan Optical Company, Rochester, N.Y., USA.

The company was founded in 1884 as the Gundlach Optical Co and bought the Manhattan Optical Co in 1902.
The catalogue is actually Korona cameras by 1920, and they also made binoculars and microscopes. Later it
traded as the Seebold Invisible Camera Co from 1928 and then reverted to Gundlach Manufacturing Co in
1935, and continued to trade to 1972. It was then purchased by D. Goldstein and traded as Dynamic Optics
Co and finally as D.O.Industries. A major feature could be the Ultrastigmat as far as lens collectors are
concerned. The owners were Mssrs Turner and Reich, E. Gundlach designing the T-R lens below. The
company seems to have specialized to some extent in portrait lenses, several types being made over long
periods. Few dates are available here as they did not sell much in the UK.
about 1890.
Gundlach Equal Diffusion Portrait f4.0 2 component, convertible soft focus.
Rapid Rectigraph f8.0 6.25-26in. Use 13in for 10x8in. Noted 1890-1910 at least. This may
be an RR with improved colour correction. In 1890, the range was 5.5-17in. (Gun002)
Convertible Orthoscope No details, this was on a Manhattan Wizard Special No93 and may be some sort of
RR.
about 1895, 1907-1910
Turner-Reich Symmetrical Anastigmat a symmetrical 5+5 glass lens.
There seem to have been two designs, as the first (Series I) was not too successful, though both were 5+5
glass designs.
(a) This was made from 1895, but had poor sales. It was made to Brit. Pat. 9528/1895, 14 May '95. A few
examples have been reported in the UK so it must have sold or been imported on old cameras, but was not a
major item.
It seems that a lens seen at No80,076 as an f7.5 10.5in with cells 24in front and 18in rear at f15 and f22 max
respectively was of this 'Series I' type. It was possible to compare it with a Series II No4 of the size below with
an f6.8 max aperture, which has the same specification of foci. The glass diameters seem to be about the
same, and the external curves match very well- but the internal curves differ, the Series II being just deeper.
The Series II is in a bigger shutter, with more generous cells 53.3mm OD on larger threads, compared to
44.2mm OD on the Series I, with the engraved names round the front bezel of the Series II rather than on the
side of the barrels as on the early lens. The Series II seemed to give a rather crisper central image and the
edge was also sharper, though this could depend on the well used examples seen
(b) It was redesigned in 1906, to work at f6.8, and this was then apparently commercially successful. The
later type still has the same Patent date of 14 May 1895 clearly engraved (the engraving is small and not too
legible on the Series I lens barrel.) These are marked Series 11 and this became a leading brand in the USA,
but with modest sales outside it where it is scarce. If the first type was poor it may explain the questions
posed in some books about the value of 5+5 glass designs. Normally the charge is that it was hard to truly
centre all these elements to a high enough standard. Actually after seeing a Series I, there is a feeling that it
was the f7.5 aperture which was increased to f6.8 to form the Series II, and the change was made in order to
compete with other symmetrical anastigmats of the period.
Gundlach stressed the individual adjustment of each lens, and the uniformity of the correction and illumination
all over the field. They also classed it as both a general lens, a convertible (the individual cells being highly
corrected) and when needed, a wide angle. This was used to justify the high manufacturing cost of the lens
even though the final price was said to be lower than competing makes. Incidentally, the shutter calibrations
include a separate W.A. scale with a series of numbers from 1 to 6 or so. As a convertible the cells on that
tried could be removed to use either, and the results were at least useful stopped down, even though it was
fitted at the front as the threads were jammed.
Today it can look rather different. At least one verbal report said it to needed to be refocused at each aperture
at which it was used. (Gun001) (This comment is supported by a letter from E. Weston to A. Adams quoted in
Adams Autobiography, p204 about Westons 12-21-28in T-R lens, and Adams suggested to replace it with a
Zeiss Protar No6 (Series V11a) for 6 and 19in. To be fair the complaint here was limited to the 21in cell in
extreme close up with the camera (?10x8in?) at near full extension). In usethe pair gave sharp negatives on
10x8in films though examination with a glass did not show the ultimate in fine detail. And single cells of 28
and 21in gave good results closed down, but again these lacked the gritty fine detail of a 24.5in Protar VII
used for comparison. There was some sign of a change in focus on stopping down, supporting the advice
reported to refocus at the aperture in use. What is probably true is that it is a sound lens but one which was
over complex and hard to make as a result, so that lenses may have varied more than with simpler types.
Examples seen today are apt to have balsam separation at the edges and be yellow in color. This was
noticeable in the images. They are heavy due to the thick glass and this seems to mean stopping down is
useful to limit vignetting. The layout (Gun001) can be compared with the Watson Holostigmat (Wat 004) and in
imagination, the Gundlach design could be reached by splitting the outer two glasses of each cell in the
Watson and then refining the design. (It is not to suggest that this actually was the design route!) Now the
Watson has an excellent wide field of image and the external negative glasses of the Gundlach lens may
confer the same advantage. Certainly a 12in lens allowed the full movements of a 10x8 Gandolfi camera to be
used. Gundlach suggested 12in for 10x8 and 6.25in for 5x4 but these must have been chosen to allow
considerable movement as was then expected. Sharpness was better than expected in the samples tried in
view of the balsam problems. What is surprising is that it stayed in production nominally at least till after
WW2 (ie for some 55 years!) but the USA is a more truly conservative country than foreigners often realize. In
buying look for clear glasses, freedom from balsam problems- and the Ser 11 mark!
Series 1 no details.The original patent has not been seen.
Series 11 f6.8 5in [8+12in], 6.25in [11+14in], 7.5in [12+18in],
8.5in [14+20in], 10.5in [18+24in], 12in [21+28in], 15in [24+36in]. The foci of the
individual cells are given in brackets. Here the components differ in focus, and either can be used but the
longer is better placed in front at infinity. Unusually all the convertibles here are marked as f6.8 max. with one
exception below. There may be variants: thus one noted has an aperture of f7.0 as 12in and this may be where
the different cell foci can lead to a slower lens. An example was No83,12x in an Autex shutter. It is said in
H&D to cover 57° but this probably is conservative. It seems to have been used on a F&S Cirkut 5x7 camera
as a Series II No2 No118,63x.
The Turner-Reich was seldom listed in the UK, but it was listed in an advert. for the Korona Panoramic camera
for 5x12, 7x17 and 8x20in with Radar 110° extreme wide angle lenses in B.J.A. 1927, p779, and in B.J.A.
1926, p803 there are listings of the camera with the Turner-Reich f6.8 (for use?), Radar f4.5, Hyperion Diffusion
Portrait f4, the Radar f5.6 Telephoto and the Pancratic Telephoto lens- and the Ultrastigmat f1.9 for cine
cameras.
f7.5 15in (1920?)
Fig 030 032 Turner-Reich Series II (l) 10in +18 +24in and (r) 12in +21+28in set.
Series 111 In the Series 111 both the components are of equal focus, and about 2x the focus of the pair.
f6.8 6in -26in
In 1920, it was limited to 14, 17, 21in It was listed as a parallel product to the above Series 11. It was
suggested to use 12in for 10x8in, 14in for 12x10in.
There were also 3 and 4 lens cell casket sets of Series II. The makers stressed that to add one extra cell
added 3 new foci and was good value. Two gave a total of 10 foci in all, though some will have been rather
alike. Thus a set might be made from single cells of 14, 18, 24, 28in working at f12.5, and offer these plus
pairs of 14+18=8in; 14+24=9.5in; 14+28=10.5in; 18+24=10.5in; 18+28in=11.5in; 24+28in=13in working at f6.8
max. All the cells had to be the same shutter fitting of course.
A convertible 12in lens seems to have 19.7in f12 and 25in f16 cells.
Process Anastigmat Series V f9.0 14, 18, 24, 30in These were for process and general work, and were
suggested for use in longer foci above 15in. They had the same type of design as the T-R lenses above apart
from the lower speed. The 14in was suggested for 10x12in and the prices were appreciably lower at $93.75 for
14in compared to $133 for a Series111 in 14in.
Portrait Lenses.
Achromatic Meniscus f6.0 5.25, 7.5, 10, 13.5, 15, 16.25 or 16.5, 18in, the first 4 sizes being absent in
some lists. It is suggested to use 15in for 10x8in. This may be the oldest of the portrait line.
Portrait f5.0 9, 12, 15, 20in Petzval type, Q3 probably. Use 15in for 10x8in.
This is the "Series A Gundlach Portrait Lens"
Portrait f4.0 7.5, 9, 12, 14, 18in. , also f6.0, 24in.
This also seems to be a Petzval, "Series B Gundlach Portrait lens", use 14in for 10x8. The Petzvals are
said to be improved designs, but without detailing the change. They are not adjustable so are probably not of
Q4 type.
Hyperion Diffusion
Portrait f4.0 7, 9, 12, 14, 18in Here use 14in for 10x8. ?Q5
This is separable, and a 12in lens gives components of 19 and 33in focus, at f6.3 and f11 respectively. It is
colour corrected so the softness must be due to uncorrected spherical aberrations. It is sharp at about f6.3 or
smaller. This might suggest a portrait RR type of lens.
Other types.
Pancratic Telephoto 6in 3-8x (ie gives 18-48in overall). This was a variable focus type of complete
tele, with 6 different positives.
Rapid Convertible f8.0 6.25-26in (Layout Gun005)
Process Anastigmat f9.0 14, 18, 24, 30in
Extreme Wide Angle Series X
f18 3-10in This covers 90° on baseline, it was suggested to use 5.375in for
10x8.
Wide Angle Symmetrical f16 4-8in It was suggested to use 8in for 10x8.
Radar This was essentially a Q15, but with a 3-glass rear component. This was made in big studio sizes.
(Gun06)
Radar wide angle f16 This was noted as a 7.5in wide angle.
Verastigmat 4+4 This was a symmetrical Anastigmat.
Ultrastigmat (1916 ) f1.9 40, 50, 75mm for 35mm movie. The layout is roughly Ernostar-4, but is more
compact and anti-dates it. The Brit. Pat. covers 2 types with different separations to the glasses 1 and 2,
working at f2, and also considers a cemented pair for glass 4.(Brit. Pat. 187,082/1921 to C.C. Minor and
H.A.de Vry). This claims coverage of 80° if a doublet is used at the rear, and may be the first use of the layout
and a Landmark (Layout Gun004). The two front lenses are high refractive index crown with low dispersion
and the third is dense flint of high R.I. and high dispersion, and the fourth is a crown of relatively low
dispersion. They note there is a telephoto effect so the lens is 'short'.
about 1920.
Turner-Reich Series 11 and 111 are still listed
Anastigmat Series V f9.0 14-30in. These were for process work as well as commercial photography.
These are also described as "Turner-Reich" lenses and may be the same product noted above continued to
the same design.
Gundlach Anastigmatsf6.3 5.25-12in
Gundlach Portrait Series A
f5.0 9, 12, 15in This was a Petzval with new type glass, and the aperture was
limited to give better performance as well. It was a moderate price lens.
Meniscus Portrait f6.0 13, 13,5, 15, 16.5, 18in It seems little changed from the above. They
give a soft rendering with even distribution of the diffudion, and have a flat field. They were partly directed at
amateur users.
Rapid Rectigraphic RRf8.0 It was made in 6.25, 7.5, 8.5, 10.5, 12, 16, 18.5, 22, 26in, as before. It was
suggested to use 6.25in for 5x4. It was said to be very flat field and to have been used as a process lens at
least till the anastigmats came out.
RR f8.0 It was made in 6.25, 7.5, 8.5, 10.5, 12, 16, 18.5, 22, 26in.This was a lower
price lens, and was said also to be of high quality. It was suggested to use 6.25in for 5x4.
Perigraphic Convertible f6.8 also f5.6 These two apertures were for 6-16in, for 56°, so there may be
two types. They offered a lens at moderate cost but one which benefitted from a bit of stopping down, at least
to f8 and even to f16. H&D suggests it is a convertible of 3+3 glass design.
Emil Wide Angle Lenses These were sold as cells, 4-8in.These would screw into the customers own
shutter, and would cover 4x5, 5x7, 1/1plate and 10x8in respectively.
Wide Angle Series X f18 These were made in 3.375, 4.625, 5.375, 6.5, 7.5, 9.0, 11in, and 5.375in covered
10x8in, 3.375in covered 5x7in. They were probably a version based on the Protar V. They covered about 80°.
Wide Angle Symmetrical f16. This was made in 4.0, 5.5, 6.5, 8.0in. It was suggested to use 8in for
10x8in, 4in for 5x4. This will be a WAR.
Anastigmat Series 1V f6.3 5.0, 5.25, 6.5, 7.5, 8.5, 10.5, 12in and then to16in. 6.5in was suggested for
5x4, 12in for 10x8in. This was now a dialyt type and a simpler type of design. They were less expensive and
had good covering power.
Pancratic Telephoto It was formed of a 6in f12 positive cell, and a -3in negative cell and gave overall foci of
18-48in with bellows extensions of 8-23in. It seems to have normally been sold in a Victus blade shutter,
scaled directly in f numbers, and covered from 1/4 plate up to 10x8in, depending on the focus.
Gundlach Projection Lenses These were made for movie and slide projection but details were not given in
full.
Later, about 1940.
Gundlach Double
Anastigmat f6.8 This was a Dagor type.
Gundlach Convertible f6.3 This was rather after the Protar V11 type.
Korona Convertible f6.3 This was an air-spaced Plasmat type.
Radar f4.5 3.5-18in. These have a 3-glass rear cell.(Gun003/Gun006.) These can be big
studio lenses such as 12in. for 10x8in. in one list.
[Radiar This spelling may be an alternative for the above or for a similar aerial lens.]
Radar Process f9.0 Dialyt type.
Radar Telephoto f5.5
Radar Wide Angle f6.3, 4-glass Gauss.
Turner-Reich f7.7, 5+5 glass as before.
Hyperion Portrait f4.0 7-18in, for 52°.
Projection (No trade Name?)
We think an early example seen was a Petzval, with cells usable for Landscape work.
Haiou, China.
This seems to be one of the few Chinese lenses with a name to classify;
Haiou f2.0 58mm on Seagull, a copy of the Minolta.

Ibn-el-Haitam,
The list does not normally include pre-photographic lens data but one reader insisted el-Haitam must be
included as the first known man to calculate mathematically the design and behaviour of light in a lens. He
lived about year1000 ie 1000 years ago by current reckoning.

Halina, UK.
Agents and importers of photographic equipment with their name on it.
Haking Industries of Hong Kong are or were one of the biggest camera makers and Halina was the brand
name. In 1978, the B.J.P. 07/07/1978 p587 says most were low price 110 cameras for sale as Halina and
under many other names. Also the Halina 700B for 35mm with f2.8/40mm lens and 110 Halina with f5.6/24mm
were noted.
Halina f3.5 80mm on Halina TLR (c.1952)
Halina Anastigmat f2.8 40mm in 04/1972 on a Halina 500 pocket size 35mm.
Halina Anastigmat f3.5 45mm on Halina 35X.
Fig 022 018 Halina Anastigmat f3.5/45mm on Halina camera.
There is some sort of tradition that the glasses for some Hong Kong cameras were ground in Wales by
Chance and sent to Hong Kong to be assembled. But this is certainly not proven.

Hall, subsidiary of A.G.I., Croydon, UK.

Unimar f4.5 105mm on A.R.L.Mk11. (1945 approx.)
Hall were lens makers before they amalgamated with A.G.I. but there seems to be no trace of their former
products now.

Hall, Chester Moor, (1703-1771)

Hall discovered the way to correct colour in lenses by combining flint with high colour dispersion with crown
glass with lower dispersion to get a achromatic pair. Sadly in 1733 he delegated the making of the two
glasses to 2 different makers for secrecy- who then both delegated the jobs to George Bass, who realized
they had a common curve and the reason. Hall got his 65mm dia. 50cm lens pair, but the secret went on to
Dollond (1706-1761) who made a lens but with better spherical correction, and patented the design. Thus for
many years Hall's work was forgotten.

Hall, as Photo Hall, Paris.

Photo Hall Anastigmats were listed on a Caillon Bioscope Stereo in 1912, and on a reflex in 1914. It may be
that these were bought-in for a shop to sell.

Hama, UK.
They supplied two portrait lenses for SLR's in T2 mounts.
Portragon f4.0 100mm This seems to be identical with the Spiratone f4.0 100mm in Tmount
for most SLR's normally sold in USA. It was a popular and interesting lens, but the absence of an iris
meant there was no way of controlling the sharpness and depth of field. Focus 0.9m to infinity.
Soft Focus f2.0 100mm no details.

Hamaphot, Monheim, Germany.

They made a series of Hexi cameras, and therefore used the trade name Hexar on the lenses. They came as
mainly f11/75mm lenses but other types were made eg f8/6.5cm but these may have not been Hexars.
Hanimex, UK and Australia.
It was named from HAnnes IMport EXport.
It seems this firm was founded by a German Jack Hannes, who went to to Sydney, Australia and worked to a
motto "Little fish are sweet" while later running a low profile concern with an office in Regent St London, and
selling lenses for various cameras by 1969. They supplied several series of lenses for SLR's including a
300mm f4.0 which owners respected and liked. They may have derived something from Makinon, but that is
conjecture. A review in Camera 35 April/May 1969 p44 lists f2.8, 28mm; f2.8, 35mm; f2.8,135mm; f3.5,
135mm; f3.5, 200mm; f4.5, 200mm; at the time these were 'new' in M42 mounts only but other mounts were
due. By Amateur Photo. 24/06/1989, they were "a complete range" and the review covers 4 zooms and a
500mm mirror.
A May 1967 list has both auto and non-auto (preset) lenses:
Automatic Iris:
Hanimex Auto f2.8 28mm 7 glass Pentax, Minolta, Nikon, Canon mounts.
Hanimex Auto f2.8 35mm 6 glass same
Hanimex Auto f2.8 135mm 5 glass same The design of this specification may have changed as
a 07 June 1967 advert. by R.G.Lewis (Am Photo p21) shows a section of a 2+2+1+1+1 ie 7glass/5component
lens. This seems to have given really good performance.
Hanimex Auto f3.5 135mm 4 glass Pentax, Minolta, Nikon.
Hanimex Auto f4.5 200mm 4 glass Pentax, Minolta, Nikon, Canon mounts.
NB These were in fixed mounts.
Non-Auto Lenses:
Hanorama f5.6 7mm Wide angle, this may be a fish but it is not listed as such.
Hanimex f3.0 28mm 7 glass Interchangeable, most mounts.
Hanimex f2.8 28mm in 1969 list.
Hanimex f2.8 35mm 6 glass same.
Hanimex f3.5 35mm 5 glass same. Sold with hood.
Hanimex f4.0 100mm 3 glass Pentax and Exakta only.
Hanimex f2.8 105mm 4 glass Interchangeable, most mounts.
Hanimex f2.8 135mm 5 glass same, most mounts.
Hanimex f3.5 135mm 4 glass same, most mounts.
Hanimex f3.5 180mm 4 glass same, most mounts.
Hanimex f4.5 200mm 4 glass same, most mounts.
Hanimex f5.5 300mm 4 glass same, most mounts.
Hanimex f6.3 400mm 3 glass same, most mounts.
Hanimex f8.0 600mm 3 glass same, most mounts.
Mirror f8 500mm
Mirror f11 750mm (This is a very unusual focal length.)
Hanimex Zoom f4.0 90-230mm
Mounts listed included: Thread mounts (These will be M42) for Pentax, Pentacon, Praktica, Edixa, Contax S,
Yashica, Miranda (This just may be M39), and M39 for Leica and Zenith with different registers(!)
Bayonet mounts for Exakta, Topcon, Nikon, Canon, Minolta, Miranda, Yashica, Singlex, Argus, Petriflex,
Olympus PenF 1/2 frame.
Hanimar f2.8 35mm This was auto iris for M42 and seems to be still another series.

Martin Hanke & Co, Monheim/Schwaben, Germany.

Tricomat f6.3 65mm A 3 glass lens on a Hexi 6x6.

Hanovia, Newark, New Jersey, USA.

Kalosat f4.5, f5.6, f6.5.
These were simple meniscus lenses made of fused silica, known as spectral diffusion lenses. (Brit. Pat.
177,720/1921) They were soft focus, but the low dispersion of silica means that negligible separation of the
visual and photographic foci occurs of 0.5% compared with 2.5% for normal glass lenses. The designer was Dr
H. D. Power, and he reported on a lens of f4.0 4.5in focus and says it works to focus. (B.J.A, 1923, p304, also
B. J. Photo., 1922, p281; B.J.A. 1921, p329). Kilmer reported on a f4.5 4.5in lens in Camera Craft Nov. 1919,
Photo Era 04/1920, and another source says that two series were made: Series 1, f4.5: Series 11, f6.3.

Hare, UK.
Hare was a leading camera maker, but an early 7.5x5in Stereo carried lenses marked "City Rapid
Landscape" at No164x (2x) and these may be meniscus type.

Harrison and Schnitzer, New York, USA.

Successor R.Morrison, 1864.
Harrison was a Daguerrotypist with a knowledge of optics and he started in the late 1840's to make lenses in
the USA, and cameras which were cheaper than imports and were of good quality. Thus he was probably the
first photographic lens maker outside Europe, and was a very early one in any sense. During the 1850's, all
sales were through Scovill's. Then there was a merger with Anthony's works. And Harrison's Globe lens was
an international success, and the firm was sold to Nelson Wright, when Harrison became the optical
supervisor. Incidentally the name Globe was valid as the outside surfaces were all on the surface of one
sphere. It gave a new low in distortion, but had severe spherical aberration and could only be used stopped
well down (f36-f72). The outer glass was crown n'H= 1.53, the inner flint n'H= 1.60, each pair being achromatic.
The angle covered was 75°. Use 10cm for 12x14cm plates. Notice that this was actually slower than any
meniscus lens sold. Also Kingslake quotes lens production as 8,800 ordinary lenses and 307 Globes by May
1863, and sadly Harrison died in 1864. After this Morrison (1836-1888) ran the works and simplified the Globe
design.
Meniscus: like half a Globe. This has been illustrated but is thought not likely to have been used alone. (Traill-
Taylor, p45) Layout Har001.
Globe Lens (1860) for 80°, for use at f30 or less. Patent 17 of 27/06/1862, with J.Schnitzer. This lens was in
production for a long time, the small aperture covering up the limitations in the design. It threw a central flare
spot in the original form, but this could be removed by decreasing the separations of the glasses slightly.
(Har002). This may be a Landmark. For details, see Van Monckhoven, p128 and also entry under Gasc
above. It has a good claim to be the very first anastigmat due to the design where thelight enters and leaves at
right angles to the glass surfaces.
Flick Iris This type of iris has both pins near together and outboard of the glass, so a small movement of the
control ring closes them down; accurate work is needed to make it but it is now the norm on all auto SLR
lenses. Harrison invented it, and used it even on very large Petzval lenses. It must be a landmark of a nonoptical
type! A very substantial example was noted at auction at No11,083 soon after 1858 perhaps as it had a
flick iris.
Orthoscopic: These were a copy of the Petzval Orthoscop and had iris diaphragms in the centre of the lens.
After Morrison took part:
Morrison's Wide Angle A simplified Globe lens. It has 2+1 glasses, and was apparently designed by
Wenham (1857) (Layout Har003)
Morrison's Rapid Doublet. This approaches a dialyt in layout.
In 1860, the firm introduced the use of the rotating disc stop plate on the Globe lens.
The firms history is actually more complex, as the beginning was by Lewis in 1851, then as Harrison about
1853, then as Palmer and Longkind in 1857, and as Harrison and Harrison and then as above. These early
names are thought not to have made photographic lenses.

Hartnack, Potsdam, Germany.

He was a microscope maker who was involved in the design of an early anastigmat lens. It seems the design
was by A.Miethe and that Hartnack made it, but the use of phosphate glass exposed to the air was found to
lead to excessive weathering and the design was abandoned. The layout was said to be rather like the
Concentric of Schroeder for Ross, and this may explain the delay in issuing the Concentric which was
attributed to testing for weather resistance of the glass. It may be that Schott were the final arbiters in some of
these decisions.

Hartnett, L.J.
As Director of Ordnance in Australia he sought production of gunsights there and it led to the involvment of
Philip and Eric Waterworth and F.D. Cruickshank in optical production. (See P.Smith, Trader, c.1999). This
seems to have lead to at least one M39 lens at the war end. (see also Waterworth).

Harukawa, Japan.
They seem to be the makers of the Septon Pen camera for 16mm film, and it used a Septon f2.8/20mm lens,
noted at No1414x.
NB Note also the Voigtlaender Septon lens for Bessamatic.

Havlicek, F. J.
He designed a simplified fisheye lens of f5.0 for 150-160°, probably about 1930. (See also H. Schultz, Z. fur
Techn. Physik., 1932, 13,487-491).

Hayden: American maker of early Petzval portrait lenses on a fairly small scale.

V. Hasselblad Aktiebolag, Box 220, S-401 23 Goeteborg, Sweden

Hasselblad Uk Ltd, York House, Empire Way, Wembley, Middlesex, HA9-0QQ
Hasselblad are not lens makers but are important makers of aerial and 6x6 cameras, for which lenses were
bespoken from Kodak, Dallmeyer, and especially Carl Zeiss (Oberkochen). Today a wider range of suppliers
included Schneider and Rodenstock. An initial lens list was noted on launch as Kodak coated Ektars 55-
254mm. (MCM Dec 1948). The firm was connected with photography as dealers since 1887, when it was a
department in a larger business, F.W.Hasselblad and Co. It grew to independance as Hasselblads
Photografiska AB in 1908 and was the general agent for Kodak in Sweden till 1966.
The camera making side of the firm was founded in 1940 by Victor Hasselblad (1906?-1978) a keen amateur
photographer, who had trained at ICA/Zeiss Ikon and Kodak, initially to make aerial cameras for the Swedish
government. Hasselblad was a keen bird photographer, and the idea of the SLR started about 1943. It seems
the Williamson cameras were ones in the background of some of the concept. The 1600F was launched in
1948. Its successor went to the moon in 1969. In 1977, due to his age and lack of a successor, it became
part of Safveans AB, thought to be in the Wallenberg Industrial group, Incentive concern, and in turn in 1996 to
UBS Capital, who were formed by UBS of Nederlands (50%), CINVen of UK (40%) and Hasselblad's own
management (10%). By then they were increasingly involved in digital imaging and data transmission.
At least one lens was sold under the Hasselblad name: it was a 60-120mm for the 2000 series. (B.J.P.
15/01/1999, p13).
The cameras at least have a serial number with 2 letters preceeding the number and these indicate the year of
production from the code:
VHPICTURES= 1234567890 so that a VE prefix indicates 1979 manufacture.
There are a number of books etc on these cameras. These mention the lenses but are not specialised lens
books. Look for:
The Hasselblad System by R.Shell, Hove 1991 ISBN 0906447771
The Hasselblad Manual by E. Wildi, Focal press, 1980, 1982. ISBN 0-240-51186-7
Hasselblad published short specialized booklets of high quality on some subjects, eg 'Black and White
Photography' by Ansel Adams but none has been noted specially on lenses though there is one on
'Telephotography' (20pp) and on 'Copying Techniques" (20pp).
A very detailed long review is by R.G.Taylor, B.J.P. 08/12/1978, p1062 extending over some 5 issues.
Apart from the official lenses by Zeiss, Kodak and Dallmeyer, a number of unofficial mountings were made for
the Hasselblad 1600 and 1000F cameras, the most common being the f2.5/7in Kodal Ektar in a fine Cook and
Perkins mount made in the late 1940's, and Pop Photo. 11/1963 adds f2.8/180mm Jena Sonnar, Astro 150mm
in f1.8 and f2.3 from Ercona, New York, f2.7/150mm Carl Meyer from Burke & James Inc of Chicago, and also
the f2.9/200mm Videostigmat.

Wallace Heaton, Bond St, London, UK.

They are or were leading UK retailers, with their own brand names such as Zodel and Zodellar (which also
see), and these were used over a long period.
Old lenses included a page of Zodellar lenses in f3.5, f4.5, f6.8, f12.5 (a wide angle) in a whole page advert.
in B.J.A. 1927, 609 and some of these just may be from Koristka of Italy. However, the B.J.A. 1925 p364 says
"from a German optical firm" for the f4.5 that year. They were each in several mounts ie standard iris, sunk,
focusing or Compur shutter, so it does seem they had a major maker behind them, probably on the Continent.
There were:
(a) f3.5 for 2, 3in for V.P., 4, 4.75in for 3.5x2.5in, 5.25, 6in for 1/4plate, 6.5, 8.5, 9.5, 11.75in where 6.5in was
for 5x4in. It was noted in B.J.A. 1926, p332.
(b) f4.5 This was German-sourced in 1924-5 and there is no hint of it being convertible, but rather it gave a
good angle of coverage such as 10x8in with an f4.5/8.25in lens.(B.J.A. 1925, p364, 640advert.). It and the f3.5
could be used as soft focus lenses by unscrewing the front cells by up to one complete turn. They were
claimed to be flare resistant and very sharp. The list was:
f4.5 for 4.25, 4.75, 5.75, 6.0, 6.5, 7.25, 8.5, 9.5in where 6in was for 5x4in. For a use on a stereo camera there
was a pair of convertible f4.5/3.25in Zodellar lenses in Stereo Compur, see B.J.A. 1926, p347. (There were few
convertible f4.5 designs, but the Goerz Dogmar was a possible example. But the 1925 advert may explain it:
there were accessory lenses sold for wide and long focus which may have allowed it to be classed as
convertible.)
Fig 008 046 Wallace Heaton Zodellar f4.5/16.5cm in fim.
(c) f6.8 Convertible for 90° for 3.5, 4.25, 5.375, 6.0, 7.0in where 5.375 was for 5x4in.
f12.5 wide angle for 110° for 3.5in, 5.125in, 6.125in, 7.25in where 6.125in covers 10x8in.
(d) Zodellar f4.8 for 3.5x2.5in in 1928 and a Convertible anastigmat, for the plate camera Zodel de luxe in
6x9cm in B.J.A. 1930, p593, and a pair of Zodellar anastigmats, f4.5/8cm No487,11x (2x) on a Ihagee/Zodel
Stereo camera for 13x16cm.
(e) There was an f3.8/4.25in Zodellar on a Zodel 6x9cm plate in B.J.A. 1932, p312, 548advert. It was an
attractive camera, especially in the Tropical version, and the lens allowed the use of the rise and cross
movements.
(f) That year there were f2.9 Zodellar (above), f4.5 Zodellar on a rollfilm and a stereo and a square back plate
camera, and probably a f6.3 Zodellar on a Zodel Junior plate. Some products were not named: there was an
unnamed f6.3 in 1928 for example.
Modern products
One modern product was a Zodellar f3.5/135mm with auto iris for M42 but it will be part of a series.
The series for the 1972 season was as follows:
Zodel Automatic Lenses: f4.0/24mm; f3.5/28mm; f3.5/135mm; f4.5/240mm; f5.6/300mm.
These were M42 "threaded West German lenses, ... light and sturdy with critical definition and fine colour
correction".
In April 1969, there was a macro head for use on a bellows, at £13.50.

Helioprint
This is the only name on a symmetrical design f9/150mm lens of some type of copier or plate maker. The iris
here is fully engraved and the lens looks rather like a Repromaster one but the iris makes it more useful
photographically. Performance is really good in contrast and sharpness. (see also Repromaster and Ekofisk
for rather similar products.)

Societe Helios, France.

They offered an f6.3 Heliostigmat on a 9x12 cm camera in 1905: It does not seem to be the Voigtlaender lens
of this name.

Hermagis, 29, Rue de Louvre, Paris, France.

Agent in 1925, etc. Anglo-French Photography Co, 46, New Kent Rd, London SE1.
This may be a very old established firm as a M. Hermagis was involved in solar light enlargers when von
Monckhoven wrote his book in 1866 and a separable Hermagis lens seems to have been offered in 1860.
Many of the early lenses were Petzval Portrait lenses of conventional type. A 6in dia. Portrait lens was
probably offered by about 1860, and an 8in was listed by Kramer in Vienna in March 1865, and in a Hermagis
list by 1867. An Hermagis camera for 14x19cm of about 1875 had a Darlot No3 Hemisphere Rapide No14,027
so they may have bought in some types.There were also RR types by the 1880's and anastigmats by 1902
and possibly by 1898. They seem to have made or sold cameras as well as making lenses. (There is an
impression that the firm was later associated with SOM-Berthiot later, but this is uncertain, and Hermagis
lenses were listed up to about 1935.) Many lenses listed secondhand are only quoted as Hermagis without
the TN, possibly owing to the long makers surname.
Portrait Series 1 f3.4-f4.2 This was made in 25cm for 1/4plate; 31cm for 10x15cm; 35cm for
1/2plate; 39cm for 1/1plate; 45cm for 12x10in; 60cm for 16x12cm; 80cm for 20x16in These may be Petzvals.
The two longest seem to have been to special order only. (B.J.A. 1924, p677advert.)
Portrait Series 11 f2.7-f4.2 This was made in 25cm for 1/4plate; 28.5cm for 1/4plate; 31cm
for 10x15cm (in two speeds with 8.6 and 9.5cm dia front glasses); 39cm for 1/2plate. (also 1924 advert.)
Rapid Rectliniar There are no details but this was listed for 13x18cm in 1886, and
9x12cm in 1893. There was an f7 lens on a folder in 1899.
L'Eidoscop f4.0, f5.0 7.5in/190mm for 1/4plate or 9x12cm; 11in/275mm for 1/2plate or
13x18cm; 15in/375mm for 1/1plate or 18x24cm; 19in/480mm for 12x10in, 25.5in/635mm for 16x18in. This
seems normally to be a brass finish lens, for studio work, but has been seen in black enamel. The cells show
two bright and probably one faint reflexion, so are probably a version of the RR (but with imperfect spherical
correction, probably over-corrected so that the outer rays are focused further from the lens than those from the
centre?). They seem to be heavier than some others, and very deep front-to-back. It was not a normal item on
the UK market, but was noted in an advert. from the Anglo-French Co, 46, New Kent Rd, London SE1 in
B.J.A.1925, p678 in detail; 1926, p750 where it was a item in a list:
"Famous Portrait Lenses and Eidoscope Soft Focus Lens. Anastigmats. Special set of 7 different foci.
Cinema Lenses, etc."
The cinema lenses were f3.5 (1925) and the Anastigmats f6.3 and f4.5. (B.J.A. 1925, p734.)
This suggests L'Eidoscope was then well enough known for the name to be mentioned without needing
explanation.
They have been noted as:
NoI f4.5 at No17547x There has also been a report of a 150mm f4.7 lens, No138,92x, probably of this
type. The No1 was found as lens elements only, possibly from a dial-set Compur shutter, though there were a
series of cell to shutter adaptor rings also in the sale but for unknown fittings. It was black enamelled round
the cells and edges and in a small case. In use it illuminated 5x4in easily, and was really sharp stopped right
down. The lens is quite soft at f4.7, with a halo round highlights of about 1.5-2.0mm dia., which decreases at
f5.6 and is almost absent at f8, so only some 40% of the full aperture light is in the focused spot. The area of
sharp definition spreads out with further close down. This part of the picture is not really normal 'soft focus' but
more just 'not sharp' and seems to need f32 to really clear. Closed down, it is a fiercely clear and contrasty
image, and on this basis cannot be easily separated from more modern lenses on a roll of negatives.
Personally, it is best focused at f8 and then opened up: if it is focused at f4.7, the point of focus is
indeterminate as the focus moves through quite a wide range, and may need closing to near f32 for real
sharpness- and the position of best focus is less certain.
No2 f5.0 unnumbered on a 24x30cm tailboard camera at auction.
These were colour corrected, and resembled a Portrait RR.
Fig 027 012 Hermagis L'Eidoscope f4.7/150mm
L'eidoscop was the lens used by J.Ortiz-Echague (1886-). (see F.I.Jordan, Amer. Ann. Photography, 1950, p7-
29. He used a f5.0/26cm symmetrical Eidoscope on a 13x18cm camera, apparently only, from 1925-1935 for
portraits of common people, published in his first book, followed later by a 9x12cm reflex with a variety of
lenses for work on the villages of Spain. If it is normally classed as soft-focus (see the advert. in B.J.A. 1924,
p678), much of Echague's work shows quite a fine resolution of detail as might be expected if well stopped
down in the fierce Spanish sun.
Two mountings exist with Waterhouse and iris stops. We are told that the mounting of the glasses varies and
some are harder to dismantle than others. In use, an example showed a substantial light patch about
highlights, but also had a core of quite fine detail. Thus it is a flexible tool and the aperture may allow a great
deal of control of the sharpnes and contrast.
Eidoscop f5.0 75mm This was noted on a 1919 Prevost 35mm camera.
f5 No2 size noted at No55,18x.
Teleidoscop A variable focal length combination. Also a soft focus lens.
Casket Set A set with 6 brass bound lenses in a fitted wooden box was noted at auction.
Aplanastigmat These were symmetrical anastigmats, 3+3 type and possibly Dagor or Kollinear types. They
were used as early as 1900, and were on the VP Blocknotes in the f6.8 version in 1911. They were still a
major item in the B.J.A. 1924 p675, in two speeds. Aplanastigmat was noted at auction as a 140mm
No35,174 on a Velocigraph No39 which may date as early 1890's. FBB note it as with an Hermagis RR in
1891, which suggests there are several optical designs under one name.
f6.3 This was made as:
3in/75mm for 2.25x2.25in; 3.375in/85mm for 2.5x2.25in; 4.375in/110mm for 3.5x2.5in; 5.5in/136mm for
4.75x3.5in at full aperture. The coverage was at least 1 size bigger when stopped down, as then it covered 72°
at f10 and 90°at f14. Thus 110mm then covered 3.5x2.5 at f6.3, 6x4.5in at f10 and 6.5x4.75in at f14. It was
sold as 75-135mm when coded 'Aplanastigmat Phos' on Blocknotes. [This suggests a Dagor type design?] It
was probably the short focal length version of the next item.
f6.8 The f6.8 covered the same angles at the same apertures when
stopped down and seems to be the long focus version of the same lens. It was made as:
6.66in/160mm for 6.5x4in; 6.75in/170mm for 6.25x4.75in; 8.3in/210mm for 7x5in; 10.75in/270mm for 8.25x6in;
12.5in/310mm for 12x10in; 14.5in/360mm for 13x12in; 18in/450mm for 16x12in. As before, these are at full
aperture and the angle increased by about 1 size at f10 and f14. In another list it was made as: 160-450mm
This is not a "Phos." It was suggested to use 170mm for 1/2plate.
These were supplied in one list as sets with 4 components to give 43/4-16in for No7, 61/2-201/2 for No6, 8-24in for
No5a. By 1924 they were as 4 cells per set, normally with 2 alike and two other foci for other focal lengths.
Thus
No7 used 2x No7, plus one each of No 8 and 9 for foci 4.75in to 16in.
No6 used 2x No6, plus one each of No7 and 8 for foci 6.5 to 20.5in .
No5a used 2xNo5a, plus one each of No6 and 7 for foci 8 to 24in.
ie the cells were numbered up to 9 or so with the number increasing with decreasing focal length, and No7=
16in, No6=20.5in, and No5a= 24in. Or so it seems!
Aplanastigmat is a name ocurring elsewhere and may have been reused?
(Compare Aleksander Ginsberg's FOS company listed under 005efg= FOS.)
Dellor Anastigmat This was a 4 glass type. At least some of these were 4-glass Gauss type as in the
Series D.
Hermir f6.8 41/2, 51/2in. These were a moderate priced anastigmat, in shutters for
rollfilm cameras. They were sold only in shutters in B.J.A. 1924, p675 where wholesale enquiries were wanted-
they were not priced as a result.
Magir) These were triplets, 3-glass type. Major has been noted as an f4.5/22mm on a XYZ in 1935.
Major)
Hellor Q15 type. It was listed as an f4.5 on a 4x4cm camera based on the German Karmaflex in 1937.
Soft Focus This was noted as 1908 manufacture, and was rather like the Puyo lens.
Hermagis Anastigmat f4.5 This was listed as 45mm for 1.5x1.5in; 55mm for 2x2in; 75mm for
2.375x2.375in; 85mm for 2.5x2.375in; 110mm for 2/5x3.5in; 140mm for 1/4plate; 170mm for 6x4in; 210mm for
7x5in; 270mm for 8.25x6in; 310mm for 10x7in. A 200mm f4.5 was noted in a B&J list in the 1960's. Also
noted was a Hermagis f4.5/40mm on Furet (c. 1923). The f4.5 was intended for allow use in Press and
snapshot work in dull weather, and was said to be "used by all the well known photographers in France" and
be available in blade shutters. It was not convertible.
Hermagis Lynx f3.5 These were early movie lenses with the advantage of speed nd said
to be brilliant and with high definition. They were made in:
1.375in, 2in, 3in and 4in in the B.J.A. 1924, p676.
They were noted as the 45mm on 'Cent Vues', an early still 35mm camera, and these were noted at Nos
122,53x and 147,65x. Another may have had a f3.5/40mm Anastigmat at No161,46x.
These were also noted in 20, 25, 70mm. F3.5 lenses for 17.5, 16, 9.5mm cine use from 1926-1930 mainly on
Pathe cameras. Thus the Cine-Nizo had an f3.5 in 1931 (B.J.A. 1931, p594 advert.)
Dellynx f3.5 75mm This was reported as two examples, and these were
surprisingly said to be with negative front glasses which may be due to being incomplete possibly as when the
front two glasses of a triplet being unscrewed and the second is left- and which was marked with an oldish iris
scale ie. f3.5, f4.5, f7 etc.
Hellynx f2.9 105mm, noted in rimset Compur at N°276,86x. This is a triplet with a
degree of softness, even on closing down. (It is a case where a 10 year search has not yet revealed the
camera it came off.)
Lynx Q15 This was originally for movie use in 1.375-4in. But f4.5 and f3.5
Lynx were listed on the Mollier Cent Vues in 1924-6, and a f4.5 on the Furet in 1930. An example on Cents
Vues No64x was a f3.5/40mm No116,19x and a later was No264,78x..
Perlynx f1.9 This was for cine, Layout Her001.
f2.5 20mm for 8mm on 1934, 1939 Emel cameras, also for 9.5mm Pathe
eg at No262,51x.
Luxar f2.2 This was a 75mm lens on a 1928 Bol for 35mm use, possibly in
projection.
Objective Cinema This was noted as a 160mm lens in an rack and pinion mount, ie it was
probably an early projection lens.

Herzberger,M.
Designer of very high speed lenses, such as an f0.8 Gauss with a long rear component. He was also the
designer of Super Achromat lenses (Applied Optics, 2, p553, 6/1963, (Hez001, Hez002). He graduated from
Berlin in 1922, was in charge of lens computing at E.Leitz, then at Zeiss, Jena 1928, and joined Kodak in
1935. (Modern Photo 11/1964,p52).

Dr Hans Hensoldt, Wetzlar, Germany.

They seem to be best known for binoculars, but made some camera lenses and may have had an agreement
with ISO, of Milan. One account is that production was by ISO and Hensoldt lent their name as designers.
Iriar f2.8 50mm Noted at No0125x.
Arion f1.9 50mm on Hensoldt Reporter (1953)
Iriar f3.5 12.5cm No110x A long lens in a screw fit mount for the Reporter.
Proto f1.8 55mm in M39x26 Scarce, and an unusual specification, compared
with the 55mm f1.8 Luminar from Royal of Frankfurt- is there some relation here? It seems not to be coupled.
One account is that they were responsible for the production of many Novar lenses postwar. This was
probably related to their being members of the Zeiss organization.

Hensoldt, M. and Son, Wetzlar, Germany.

These items were pre-1908. It seems that the firm of Moritz Hensoldt (1821-1903) was absorbed into Zeiss in
1928. It had made binoculars with a innovative and distinctive type of roof-ridge prism from 1897 rather like the
prism in a modern(?) SLR.
Walkar f6.3 Symmetrical Anastigmat, 4+4 layout, Hen001. This was a
general purpose lens for groups and instaneous pictures outdoors.
Euryscop Series 11 f7.0 RR
Wide Angle Series 111 f15 This was possibly a WAR.
Products for WW2 were coded bek from the Hensoldt Werk fur Optik und Mechanik, Herborn and bmj from M.
Hensoldt & Sohne Wetzlar.

Heyde, Gustave.
In 1905 the UK agent was Staley and they carried "actinometers and optical appliances". They also seem to
have specialized in projection lenses.
These products were pre-1908 developments.
Rapid Apochromat Series 1 f7.5. ] These were general purpose outdoors lenses.
Rapid Apochromat Series 11 f6.8 ].
Wide Angle Apochromat f9.0. This was for wide angle use.
Alethar Process Lens f9.0
Alethar Process lens Type V f11.
Double Anastigmat Type 1V f11 (This seems to be a Dagor type layout).
A more modern item is:
Isotar f3.5 135mm seen as lens No11x.
Fig 008 057 Heyde, Dresden Isotar f3.5/135mm No1114 in barrel mount.
Hilger, Adam, 98, St Pancras Way, London, NW1.
Hilger, later Hilger and Watts, and now Hilger Analytical Instruments, of Ramsgate Rd, Margate, Kent, UK.
They became a member of the Rank Organization, and have been mainly a maker of scientific instruments
and spectrometers, but were the associates of Wray Optical for a short period. Some of their optics must have
been used for photorecording, even if only of spectra. A lens noted was marked "Double Profile 1.5in" and may
have been from a WW2 engineering test unit. They are also said to have made some scientific and industrial
cameras, possible with their own lenses. They were the publishers of F. Twyman's classic "Prism and Lens
Making", published 1943, 1952. etc.

Hill, Robert.
Hill designed the famous Hill Cloud fisheye camera lens, (Brit.Pat. 225,398/1923) made by Beck for 180°
which used 21/2x31/2in plates. It had stops from f8-f32, and gave a 62mm dia. image circle. It was sold to 1939,
and must be a Landmark as the first fish! (see J.Naylor, New England Photo History, Spring 1990, p4). This
is one of the really rare items. (Layout Bec013)

Hirlemann & Moreau, France.

They seem to have offered a de luxe camera in 1924 with a Novac f4.5/140mm lens for 9x12cm.

W. Hirschmann, Bayreuth, Germany.

Frankar Anastigmat f3.5, f4.5, f5.6/75mm on Solida I and 6x6 .

Hitchmough: see Sharp & Hitchmough of 101, Dale St., Liverpool.

Fig 029 003 Three RR lenses, 2 by Clement et Gilmer and by Sharp and Hitchmough, ? from CetG as it is a
'Panorthoscopique'.

Hockins
Desideratum Lens noted on a tailboard wooden camera at auction. Hockins was a camera maker at 38,
Duke St, Manchester Square, London in the 1860's, and later, and is listed in Channing & Dunn, p51, but
without details of any lenses. It will probably be bought in and engraved with the firms name.

Hoffman, Dresden, Germany.

This is the name on a 19C lens with Waterhouse stops, but there is no more data here. A No1 Universal
Aplanat has been noted in one list.

Hofmeister, Jena, Germany.

Frerk comments favourably on these excellent lenses which come from the same place as the famous Zeiss
lenses and says they are not too much different. He may have wondered if they were a marketing exercise.
One small point is that such an exercise is easier if the new 'name' has the same number of letters as the
master firm. (Hofmeister is an archaic German word for a steward or private tutor.) Hofmeister lenses were
used on the Norica Minor and Trumpf cameras by Conrad A. Müller of Strengenberg, nr Nürnberg, Germany
about 1931. Here it was the low cost option, and fitted to 6x9, 9x12 and 10x15in cameras in f6.3, f5.4, in
Varios and f4.8, in Ilex or Gammax shutters. [It was not fitted to other cameras in the same price range and
date, and may have therefore been a limited contract supply. They were also using lenses from Steinheil,
Friedrich, Schneider and Rodenstock but apparently not Zeiss from the adverts. noted.]
Xenostar f6.3 105mm A triplet in a Vario shutter, probably off a 1920's
folding camera.
Fig 008 059 Hofmeister Xenostar f6.3/135mm No62,605 in Vario and (r) ICA Novar f6.8/135mm
Xenostar f6.8 This is in Frerk's acount, and then a Dialyt.
Syrkonar f6.8 This was a dialyt in Frerk's list
Syrkonar f5.4 Same.
Syrconar f4.5 This was noted at No115,35x as a 75mm in a rimset Compur 1-
1/300sec from about 1933. This is a Q26 Double Anastigmat, a 4g/4c type, and covers a reasonable angle as
if for up to 6x9cm but not more- like the Xenostar it seems to be a well made item with the air-spaces
accessible for cleaning. Syrconar has been noted among the lenses used on Ensign cameras.
Fig 016 030 Hofmeister Syrconar Doppel Anastigmat f4.5/75mm No115,350 in 1933 Compur.
Syrconar f4.8 105mm This was reported on a Ensign Autorange 20 in a Gammax
shutter. It may well be a f4.5 limited to f4.8 by the shutter.
Xylonar f4.5 A really good faster lens.

Hokuto
They are noted for a Hokuto Polytel f1.9/3in in C-mount for 16mm cine.

Holborn
Trading name of Houghton's, UK, about 1906.

Holmes Booth: early USA maker of Petzval Portrait lenses.

The firm seems to have been Holmes, Booth, and Haydens of New York at least on a Petzval No87x of about
6in and on one of No4,46x. The former has no provision for stops, the latter takes Waterhouse stops, so is
likely to be after 1858, with the former before that date.

Honeywell, USA.
Repronar f3.5/35mm, noted at No283x on a Repronar camera No269x, see B.J.Photography about 1961.

Honor, Japan.
They used a series of names for lenses on the cameras from the Dai-Ichi works, related to Zenobia and Mejiro
optical. Looking at the account in Pont et Princelle's book, they seem to have used lenses from Konishiroku
as Hexar and Hexanon and later Honor and Hexanon, the name Honor being attached to a f2.0 or f1.9 50mm
lens as alternative fitment to a f1.9/50mm Hexanon, which suggests that the name was applied to honour the
name on the body.

Hopkins, Prof Harold H.

also from Storz Endoscopy America Inc., 650 S. San Vicente Blvd., Los Angeles, Ca 990048.
While he was at Reading University (Pop. Photo. 04/1976, p52) Hopkins invented the rod lens to increase
contrast in endoscopy. It predated fibre optics(?) but had the same effect of reducing the number of air/surface
reflections in the transmission of the image. (Brit Pat. 954,629; USPat 3,257,902)

Hora, 346 York Rd, Wandsworth, London SW.

They were photographic traders and possibly camera makers but the lenses were imported, possibly from
Schultze and Billerbeck. The main one noted was in the B.J.A. 1911, p1112.
Monoplanar Series 111 f6.8 120, 150, 180, 240, 300, 360mm (Hor001)
For 10x8 use 300mm normally, but 180mm will cover at small stops. (Typical of a Dagor type lens!)
Fairfield This was a trade name of T.T.Hora, and it was used earlier on a mahogany and brass camera of
1899, and on lens such as :
Fairfield Anastigmat f6.8 This was a 4+4 symmetrical design, for 82°. It was made in 4.75, 6.0,
7.0, 8.25, 9.5, 12, 14.5in. It was probably a commissioned lens bought-in.

Horne & Thornthwaite, Newgate St, London.

They were eminent early camera makers, who are regarded as genuinely lens makers noted for telescopes
and other instruments- this in contrast with shops who bought in lenses from an other sources and added their
own name. See Channing and Dunn on the firms history, where they show the dates can be inferred from the
address given. Thus a lens from Newgate probably suggests an early lens, before 1874, as later they were at
Holborn Viaduct and then the Strand. It may be possible in time to relate the serial numbers to the addresses.
Another example listed was No3,42x, from 121-123 Newgate St, on an c.10in c.f4.0 lens with Waterhouse
stops. They were still at 121-123 Newgate when they sold No603x and the barrel still has no slot for a stop.
This seems to be an unusually fine item- very well finished and with very finely worked threads, but these are
entirely individual and none are interchangable even though the front and rear threads are of about the same
diameter: this also applied to the rack mounting which needed to be reassembled in one sense to fit. In
summary, it was classed as a rather desirable item.
Hasbroeck mentions 3 Horne & Thornthwaite lenses, including a landscape (meniscus?) at No2,950 and a
portrait (Petzval?) at No3085, as about 1858. A Caloscopic lens for 10x12in No95 was at auction on a Kinnear
type camera. A very early lens was marked 'Horne, Thornethwaite and Wood, No1329' and was sold probably
for Daguerrotypy by Bland & Young before 1858. Another Petzval (number not known) was said to have a
remarkably long narrow barrel for the specification.

Horseman, Japan.
We thank Mr D. Evans for additional information on this topic.
Horseman are makers of larger format cameras for 6x9 and 5x4in with a proprietary lens range. All lenses are
coded Horseman, and are from Tokio Kogaku for whom Horseman is a leading brand.
f3.5 105mm This was a standard lens for 6x9cm coded PS as for Professional Standard.
f4.5 105mm This was a "Super" lens, for 6x9cm and for 5x4in on extension, ie it would cover the larger
format as well.
f5.6 62mm 1970, this covered 70°, for Horseman, and was a Convertible lens.
f5.6 65mm This was a 'Normal' wide angle lens for 6x9cm, coded PW Compact.
f7.0 65mm This was a 'Super Wide' for 6x9cm, coded Super Horseman.
f5.6 75mm This was a 'Professional' Wide Angle.
f5.6 90mm This was a "New" Super for 6x9cm.
f5.6 120mm This was a 'Super' probably for up to 5x4in.
f5.6 150mm This was a 'Super' for 5x4in and 6x9cm, coded 'Super' Horseman.
f5.6 180mm This was a normal tele lens for 6x9cm only, coded PT.
f3.5 42mm Microcopy and macro lens for 6x9cm
Thus it seems there were lenses with normal coverage for 6x9cm in this list and also some 5x4in lenses
coded 'Super' for use on both formats.

Hovey's Special
This name was reported as on a brass RR lens of some f8/14in with a wide angle of coverage. It is probably an
English shop's name but so far has not been identified.

Hoya, Japan
Intraphoto Ltd, 89, Park St., Slough, Berkshire, UK, Slough 37779.
They are major Japanese glass and accessory suppliers, and have offered lenses as a medium price set
under their name about 1970, and may have been the source of others. This is supported by V.Blackman in an
article in Amateur Photo 04/10/1978 who classes them as one of the biggest makers of optical glass and
likely to make not just their own lenses but be a source of lenses for others. These included a zoom f3.8/70-
210mm, whose specification he felt was familiar. (Use "find" now to discover Vivitar had such a zoom- though
a coincidence over specification is no proof. But the whole programme seems to have the same specifications.
Well now.....)
Hoya f2.9 28mm.
Hoya f2.8 28mm
Hoya f3.5 28mm Hoy001.
Hoya f2.8 35mm Hoy002
Hoya f2.8 135mm Hoy003
Hoya f3.5 200mm Hoy004.
also 3 zoom macro lenses in 1978. f3.5 25-42mm; 11g/11c; f3.5 35-105mm, 13g/11c; f3.8 70-210mm 14g/12c.
(14/04/1978, p311) They were newly HMC multicoated from B.J.P. 10/03/1978 pXXIV. In B.J.P. 25/04/1980
p392 there was a new non-macro zoom f4.0 28-85mm of 16glass 10component design stopping down to f16 at
c.£150.
A later a list has f2.8, 24mm, 8g/8c; f2.8, 28mm, 7g/7c; f2.8, 35mm 6g/5c; f2.8, 135mm, 5g/4c;
f3.5, 200mm, 5g/4c; f5.6, 300mm, 6g/3c; f5.6, 400mm, 8g/5c. There were also 7 zoom lenses. Sadly the lists
are not dated.

Huet, France.
These are from an advert. in B.J.A. 1921, p706; 1922, p637. It was issued by C.M.Gibson, 15, Charles St,
Hatton Garden, London EC1 as wholesaler but this seems to be limited to 1921-22 or about this period.
Series A f3.5 50mm for 18x24mm, 7.5cm for up to 3x3cm. This was for cine.
Series B f4.5 12cm for 8x9cm, 13.5cm for 8x11cm, 15cm for 9x12cm, 18cm for 12x16cm,
21cm for 13x18cm. This had a layout as Dagor, Q9, and the others may have also been of this type.
Series C f6.0 9cm for 6x8cm, 12cm for 8x10cm, 13.5cm for 9x12cm, 15cm for 10x13cm,
18cm for 12x16cm, 21cm for 13x18cm.
Series D f6.5 This was a Universal Double Anastigmat for General work, Groups, Views
and Architecture. It was made in 9cm for 6.5x9cm; 12cm for 9x12cm; 13.5cm for 9x12cm, 15cm for 10x15cm,
18cm for 13x18cm, 21cm for 16x21cm.
There was an f5 Huet lens on a EPT stereo for 45x107mm in 1920. The same may be on a Polygraphe'
stereo in B.J.A. 1921, p759 from MM Tiranty, 103, Rue La Fayette, Paris, France. [This just might be a
pointer to the source of the Transpar lenses they also sold.]
There may have been some WW2 items coded lww.

Jabez Hughes, 379, Oxford St., London.

A brass lens noted at No410x on a 5x5in wood and brass camera for wet or dry work, and probably sold 1860-
1870, with the vendors name on it.

Hume, Wm. 14, Lothian Rd., later 8, Beccleuch Place, Edinburgh,UK.

They were instrument makers, especially active in enlargers, selling lenses engraved with his name but
probably bought-in for sale, though the source is not known. About 1901, he used the Trade Name
"Cantilever" on much of his equipment, but not it seems engraving it on the lenses. These are likely to be of
UK make since the threads are RPS standard but this is not absolute proof as the European makers did
sometimes fall into line here. For a sample advert. see B.J.A. 1910, p1202. The example seen was in brass,
about 1.5in dia., marked "enlarging objective 5in" and was of Petzval type, with a slot for stops. This reflects
that much of his trade was in enlargers, but this was not all of it since a brass lens engraved "Standard
Series Rapid Rectilinear 8x6 Wm. Hume Optician Edinburgh" has been seen with Waterhouse slot and
seems to be a camera lens. It has no Serial Number He was still active in 1914, with a long list of secondhand
items on p1378 of the BJA, including a "best RR for 1/1plate" at £1.0 and a line in new anastigmats:
Barystigmat f7.7 in 4.75in for 1/4plate, 6in, 7.75in, 10.75in, and these were also good for enlarging. Their
maker is unknown.
Fig 008 055 Scottish Lenses engraved by (rear) Hume (l) RR for 8x6in with Wh stops and (r) a Petzval for
enlarging [and (front) a Lizars' Challenge RR f8/5in.]
We think his death was noted in the B.J.A. about 1924.

Hummel, M.F., Hatton Garden, London,EC.

see B.J.A. 1911, p1244.
Biplan Anastigmat f6.8 Made in 90-300mm, these seem to be a label range, and may just be the source of
many of the sets the shops were selling at the time.
They also supplied movie lenses, slide projectors and projection lenses, etc.

Huth, B., Dresden, Germany.

Huth Universal Aplanat f8.0 for 13x18cm. (1900)
This may be the same as:
"Universal Rapid Aplanat Series E for 13x18"cm, engraved "Gebruder Huth, Fabrik. photogr. Apparate,
Dresden" noted at auction in the UK.

Hüttig, R., A.G. Dresden, Germany.

The firm was later absorbed into I.C.A., and were camera makers, probably naming bought-in lenses. Some of
their trade names were so valued that they were continued by Zeiss or Zeiss Ikon after the amalgamation, as
in Novar. This can only be a beginning to this list.
Early items.
Periscop f9.0 A 135mm was used in 1900 on a 9x12 standard plate camera.
Baldour Extra Rapid Aplanat f8.0 A 125mm version was used in 1906 on the 9x12cm Lloyd. It was
noted on a Stereolette 45x107mm camera as f8/65mm lenses at Nos 138,77x (2x) and this was actually just
an ICA camera.
Helios Extra Rapid Aplanat f8.0 125mm on Ideal plate camera. (1908), Juwel LLoyd etc.
Lloyd Double anastigmat f8.0 This was the next up in price from Helios, by some 35%, on a Ideal,
and a shorter lens was used as 90mm cf 105 for Helios. (1906). They were in sizes for 6x9, 9x12 and
13x18cm.
Novar Double anastigmat f6.0 This was a 110mm for 6x9 and used in various sizes like the others.
Extra Rapid Anastigmat f8.0 130mm on Jumel (1905)
as part of I.C.A.
Hekla f6.8 ICA 001 It was noted as a f6.8/65mm lens at Nos 335,08x and
335,12x, and as a f6.8/60mm lens on a Polyskop 45x107mm at Nos 176,47x and 204,06x. Note that both
these pairs have numbers well separated as if a lot were going through the factory.
Huttar
Helios f8.0 130mm on Corrida 9x12cm.
Litonar f6.8 135mm on Halloh 1/4plate camera (A double anastigmat on
sale in 1914-1926).
Dominar f4.5 135mm on Icar 9x12cm.
Novar f6.8 135mm on 1919 Icarette. They were also noted on a Stereo Klapp
1906 model, as f6.0/135mm at Nos 60,36x and 60,36x. (sequential numbers!).
The birth of a famous name!
Heklar f6.8 135mm (Does this differ from Hekla!) (LayoutICA.001)
The structures and differences of these are now hard to see. Some may be merely labels on lenses to match
a camera model.

Hyatt, H.A., 410,N.Broadway, St. Louis, Mo.,USA.

Hyatt's New Special Portrait Lens f5.0 6.5, 8.5, 11.5in.
They seem to be dealers offering a new line, and were quite early dealers in photgraphic goods.

I.C.A. A.G., Germany

They can be regarded as an initial stage in the mergers which finally resulted in Zeiss Ikon, being formed from
Huttig and other companies in 1909. Thus they used lens names derived from these source, but probably
mainly relied on bought in lenses. See Hekla and Dominar above. A drawing for the Hekla was published
(ICA001). There was a proprietary ICA Periscop in foci 15-65cm, probably a casket set. B&J listed a f6.8
Hekla and an ICA Orix f4.5 165mm has also been noted. It was unusual as it was drilled near the iris for
locations for a peg which probably was used for a preset iris. In 1926, Frerk listed most of these but not
Helios.
Helios Rapid aplanat f8 This was still used on ICA Juwel and Volta models. It was noted on an VP
Atom as f8/9cm at No226,87x.
Novar f6.8 This was seen as a f6.8/135mm lens in ACG shutter at No674,90x, which is a
triplet. This is typical, as these were normally a good quality triplet used in cameras and the Miraphot
enlarger. Examples were: BeBe VP camera with f6.8/7.5cm N574,74x: Plascop Stereo with f6.8/6cm,
No716,20x+716,20x: 543,96x+543,96x.
Fig 008 059 ICA Novar f6.8/135mm and [Hofmeister Xenostar f6.3/135mm No62,605 in Vario.]
Novar f4.5 135mm Noted on a 9x12cm tropical HEAG XI with a Novar f4.5/135mm
No690,20x in a dialset Compur.
Hekla f6.8 A well corrected dialyt type. It covered 60° at f6.8. It was used on the square
back cameras, in the early 1920's, where it may have been the cheapest version.
Maximar f6.8 This seems to be the most expensive in-house lens, above the Hekla and Novar.
A 12cm was used for 6x9cm, here and on many of the ICA cameras.
Maximar f5.4
Dominar f4.5 A good choice for an Q15 lens.
The above 4 lenses are in the order of increasing price (probably!) with the Zeiss Tessar models f6.3 and f4.5
at higher prices. This probably indicates some sort of indication of quality of materials and stringency of
rejection rate for the suppliers.
f3.5 This was not for still use. An example was noted for movie as an f3.5/40mm
Dominar on a 1921 I.C.A. 35mm movie camera.
Litonar f6.8 It covered 58° at f6.8.
Delta Vorsatz lenses These were ICA close-up and meniscus attachment lenses.
Periscop Alpha f11 on ICA Volta, where 12cm was used for 6x9cm, but when a Novar was used, it
was 105mm.
Perhaps showing the special relation coming with Zeiss there are two which may be related to it:
Carl Zeiss Icar f6.3 This was a bought in lens but obviously a trend setter as Zeiss would not
normally make a lens named for another company. Here 12cm was used for 6.5x11cm.
Zeiss Amatar f6.8 The Amatar was used on the ICA Nixe for 9x12cm etc., as a 15cm len, and as
pairs on the Stereo Reicka as 2x135mm for 10x15cm. Also stereo Palmos and Panorama/Stereo Rekord.
(1918) By then Amatar was seldom used and a rather special item.
U-Boot Special Camera. This had a f10/45cm lens, probably a Zeiss Magnar. There will be other uses of
bought-in proprietary lenses.

Ichizuky Optical Industry Co. Ltd., Tokyo, Japan.

Kinotar f1.4 13mm, this was a cine lens.
Kinotar f1.4 This was made in 38 and 75mm and was a Petzval type design, possibly for
projection.
Kinotar f1.4 25mm, this was a 6g/4c Gauss, and was made for cine.
Kinotar f1.9 This was for 8mm use.

Ihagee Kamera Werk, Dresden, Germany.

Garner & Jones, Ltd., Polebrook House, Golden Sq, London W1, UK.
It is unlikely that Ihagee ever made a lens, but bought in those sold under the Ihagee anastigmat and Exaktar
names. They certainly seem to have made part or all of the mounts at least for the Kine Exakta, which seem
to be common to different brands of lens. The source was probably Meyer and Schulze and Billerbeck, though
there is no real proof of this. One hint is that brochures tended to bulk them with the Meyer Trioplan in referring
to the structures- but this is not final proof. The older lenses were triplets, and tend not to be inspiring
performers from some accounts. Ihagee Anastigmats f6.8, f6.3 f4.5 (an unsymmetrical anastigmat (ie Q15?)
are offered on Newgold and Photoklapp and Ultrix Duplex in B.J.A 1930, p727. The only Ihagee labelled lenses
listed in Frerk's rather inclusive list for 1926 are the Verax Vorsatz linsen.
Periscopic Doppel f11 This was fitted on Victor plate camera, as the low cost option.
Luxar f7.7 135mm on PhotoKlapp Derby (1924)
RR f8 This was on a 3.25x2.25in Ultrix Popular in B.J.A. 1927, p648;1928, p358. It
also came with an f6.3 below.
Ihagee Anastigmats.
Anastigmat f4.5 105mm on 6x9 Pioneer Automat, Duplex, Press Camera, Photoklapp Victor,
etc. This was on the Weeny Ultrix in Pronto or Compur in 1932 (B.J.A. 1932, p625 advert.) and Autolette for
1933 (B.J.A. 1933, p597advert.) And Auto Ultrix in B.J.A. 1931, p297. Unsymmetrical, it may be a Q15 type.
Anastigmat (Triplex in 1927,1928) f6.3 This was again in several sizes for 6x9, 9x12, 10x15cm etc. An
example was the Ihagee Auto Ultrix in 1927,1928, 1931, and Autolette of 1933.(B.J.A. 1927, p648; 1933,
p284, 597 advert). Another example was a f6.3/135mm No278,42x on a 2020 AutoPhotoklapp for 9x12cm. It is
suspected that this was a triplet and it could be a really good lens at this specification.
Anastigmat f6.8 The Victor and possibly other cameras had this version, even when the f6.3
was an option, so it was an alternative. It was slightly less expensive, and normally on the smaller sizes at
least in 1930.
Triplex Anastigmat f4.5 105mm This was used on the New Gold in a gilt dial Compur.
Doppel f6.8/f4.5This seems to have been a Meyer Veraplan, roughly Q26 in design. In some
lists it was actually described as 'Doppel Anastigmat Veraplan f4.5' as on the 2 shutter Duplex in 1939. It cost
appreciably more than the Ihagee anastigmats.
In the older days, the expensive options could be lens makers named lenses such as Meyer Trioplan
f3.5,Meyer Veraplan f6.8 and f4.5, Meyer Primotar f3.5, Schneider Xenar f4.5, Zeiss Tessar f4.5, f3.5, Zeiss
Biotar f2 (on Parvola) and Rudolph/Meyer Plasmat f4.5, f2.7 and f1.5 (on Nacht ). One question is that Ihagee
described the triplets as Ihagee or Meyer in f7.7, f6.8, f6.3, f4.5, f3.5, but without saying just who made what-
or how they were labelled. Possibly both makers supplied in the same apertures so that there would be no
easy way to distinguish them. Early cameras could have a Goerz Dagor (Tropen Neugold, 1923) or Eurynar or
Plaubel Anticomar.
Verax Vorsatz front lenses available about 1926, listed in Frerk's book.
Exaktar
This was the Ihagee name for their own lenses on the Exakta SLR's.
For VP Exakta f3.5 70mm
f3.5 75mm Noted at No 751,67x, 112,55x, 809,15x
f4.5 75mm
For Kine Exakta f3.5 54mm about 1936. Noted at No751,95x.
These Exaktar numbers do not seem quite logical, unless the "750-809,000" three are from one maker (Meyer
for example) and the 112,xxx is from another. This is more than 'just possible'.
For 6x6 Exakta (1939) f3.5 85mm(?)
For Exakta Twin TL f1.8 50mm (1969). A brand new lens, likely to be Gauss 6 glass.

Ilex Optical Co. Rochester 5, New York, USA.

Ilex did not often advertise in the UK but were noted in B.J.A. 1924, p765 with a advert. for their shutters and
Paragon f4.5 lenses. They were noted in a 1947 Annual listing an f4.5 Paragon, with other lenses,shutters,
and optical instruments. At this time the No3 Acme synchro shutter had a characteristic 4 position lever on
the side at 10 o'clock.
This was a long established firm, which got a new lease of life when M. Kriner of Ilex and Burke and James
about 1960 agreed to issue a series of large format lenses simultaneously as Ilex Paragon and Caltar, the
latter for direct sale through B&J. These were newly redesigned, high quality coated lenses, and seem to have
sold well. Later the arrangement ended, and Caltars were sourced from Germany. See Caltar, the source
suggesting the firm is no longer active.
Ilex Paragon or Caltar f6.3 165, 215, 254, 305, 375mm
Wide Field Paragon f4.8 210mm for 103° This was an air spaced Plasmat type, almost unique as the
series was closed off at this point.
Older Lenses.
Portrait Lenses.
One book listed these as f3.5-f5.0 for 6.5-21in. In fact they seem to have made a number of different types but
these may now be hard to list.
Portrait f3.8 10-16in Petzval type, with variable softness.
It was made in 10, 13, 16in, and use 16in for 10x8in.
Portrait f3.5 10-16in Structure not known, possibly also Petzval.
It was made in 10, 13, 16in, and use 16in for 10x8in.
Photoplastic Portrait f4.5 Made in 4.5, 6.0, 6.5, 8.5, 10.5, 13, 16, 21in. These vary from very soft to
quite sharp. The design might be Portrait RR but is not known, though it was said to give "Rectilinear
definition". The control was obtained by the use of 3 separate rear components, fitted in turn in the shorter
lenses: or by unscrewing the front component in the 16 and 21in lenses. The first two sizes are for movie use.
Photoplastic Portrait f4.0 4.5-21in for 45°. There may be confusion with the above lens.
Portrait f5.0 6.5, 7.75, 10.5, 12.75, 15.5, (16), 21.5in This may be a simpler, lower cost
item, such as a meniscus.
Ilex Seminat f4.5 175mm Structure unknown.
Paragon (Series S) f4.5 8.5in and many others.Eg 1.25, 3.5-20in.This was a staple, a big Q15 type,
for news and studio work. An example seen at No46,85x was in an Ilex Acme shutter, and coded Series S . It
was sharp but better stopped down a little. Uncoated but in a flash synchronized shutter, it was probably late
1930's. In the 1950's there were coated versions, and one source says these were based on the Kodak
anastigmats of the 1940's.
Fig 030 034 Ilex Paragon f4.5/8.5in No46,855 in No4 Acme shutter.
Portronic Paragon f4.5 63/8in (161.9mm) This was seen as a coated lens in barrel iris mount at
No2,429.
Fig 031 012 Ilex Portronic f4.5/6.375in No2426 ctd for Coleman Engn Co. It was made "Especially for
Coleman Engr. Co Inc by Ilex Optical Co Rochester". It seems to be a sharp Q15 lens, not really a specialist
portrait lens. (Several are known to have changed hands in the hope they would be less sharp than they
proved to be...)
Paragon f3.5 35mm, paired on Stereo Realist Q15 layout in 10/1946.
Wide angle f16 5.25-12.75in for about 80°
Accugon Wide Angle f8.0 90mm
Acutar f6.3 165, 190mm. This was a general purpose lens.
Ilex-Ansco Cinemat f6.3 40mm on Memo (1927)
Paragon Cinemat f3.5 2.0, 3.0in. An f3.5/25mm was noted for 16mm Keystone and others from the
1930's, and seems to have been a popular fitment. It may be that not all were rated as Paragons.
Univar f4.5, f5.6 This may have been a special for Universal Camera in the 1930's.
Ilex f6.3 35mm This was also on Memo (c.1927)
Anastigmat Series D f7.5 3.5-12in This is possibly a 4-glass Gauss for about 60°.
Cinemat f1.5 25, 30, 50mm This was a cine lens.
Telephoto f2.9 100mm for 35mm movie.
Telephoto f3.5 150mm for 35mm movie.
Teletar f3.5 50mm for C-mount 16mm cine.
Super Cinemat f2.6 35-75mm
Ilextigmat f6.3 3.5-23.5in This seems to be an earlier convertible symmmetrical lens(?)
Note also the Caltar series.

Iloca, Iloca Werk/Wilhelm Witt, Hamburg, Germany.

UK Agent Photax, 70 Charlotte St, London W1, UK.
Iloca made a series of rigid 35mm cameras popular in the 1950's though the UK only imported the lower price
versions due to Government restriction so that the lenses fitted had to be unambitious ones, often with modest
edge resolution unless stopped down somewhat. Some were bought in, such as Steinheil's Cassarit, a 'new
glass' triplet, and Rodenstock's Ysarex f2.8/45mm and Heligon f2.0; and others were under Iloca related
names.
Ilitar f3.5 45mm in pairs on the Iloca Ia, IIa (1953), stereo, (1950- 1953), and Iloca 35.
B.J.A. 1954, p177 and as next item.)
Ilitar f2.9 45mm on Iloca (1950), a triplet of Q14 type. (see advert. B.J.A. 1953, p476).
Ilitar f2.8 45mm on Quick II about 1951.
Super Ilitar f2.8 50mm Q15. This was a 4-glass version to replace the Ilitar 3-glass for better
performance at probably a higher price.
The Super Illitar and Cassarit were novel when MCM noted them in Feb 1955, and were thought a very
interesting novelty. (see ISCO below) The Cassarit was a much improved 3-glass lens.
For the Rapid series of cameras, Iloca chose lenses from Steinheil and Rodenstock, including a Heligon f2 on
the top cameras. Eventually, Iloca became part of Agfa in 1960. (Partly based on I. Baxter, PCC GB Tailboard
October AD 2000.

INA
This was a trade name for a series of SLR lenses including at least one very fast one described as Rolmax
Ina.
In 1967 sales were through Bush & Meissner of London W1 and were preset in T-mounts.
f3.5/35mm; f2.8/35mm; f2.8/105mm; f3.5/135mm; f2.8/135mm; f3.5/180mm; f4.5/200mm; f5.5/350mm;
f8.0/500mm; f8.0/800mm; f5.6/100-200mm Zoom. Then the BIG feature was the f1.5/135mm High Speed lens.
Ultra High Speed f1.5 135mm This was a very big lens sold in June 1967 at £170 approx. with
preset iris.
The UK sales in 1972 were through Camera Arts Group, 24, St Ann's Rd Harrow, Middx, UK. in 1972.
Auto iris for Pentax (M42?) only.
Ina f2.8 135mm
Ina f3.5 200mm
Preset iris in 1972.
Ina f3.5 35mm
Ina f3.5 135mm
Ina f4.5 200mm.

Societe INDO, Lyon, France.

FBB lists several cameras such as the Supedex M35 of 1981 and the Weber Fex of 1960 with lenses
including ones by Ugo-Lantz and Fexars in 1960.
Color Fexar f4.5/ This was on a Fex 4.5 (1960)
Fexar Optic f4.5 This was on a Elite II (1960)
Ugo-Lantz Rectar f3.5 50mm (1961)
Ugo-Lantz Ikar f2.8/50mm also 1961.
Ugo-Lantz lenses were also used on cameras for 126 film in the 1978-1980 period.
This is a entry where more information is needed as the above really only whets the appetite. Especially- who
was Ugo Lanz?

Indra Camera, Frankfurt, Germany.

Zeyer Anastigmat f3.8 50mm on Inflex 4x4 (1950).

Iris Diaphragm
A B.J.A. note in the 1891 edition mentions that J.N.Niepce had an iris fitted to one of the very earliest
cameras made. The idea lay fallow for generations as lenses were little stopped down at first, but note
Harrison's contribution, and work by Beck, who used it from 1880 (Encyc. Brit., 1928) or 1885 (Beck and
Andrews Ed 6 p90) , Wray (see B.J.A. 1889, p598) and Lancaster, which made it come into general use in
the 1890's. Note Ross soon fitted click stops to some lenses and Wray and ICA seem to have tried preset
versions. And late prewar Zeiss developed what became the Jena preset iris and a model for others. Also note
Schneider's cable- operated one early postwar which may have triggered off the Auto iris at least in Germany.

ISO, Milan, Italy.

We thank Dr Rex Watson for additional information here.
Iriar f3.5 50mm also f3.5, 35mm in pairs on ISO Duplex, and Lux which was noted in
MCM Nov 1955. It was also on the Hensoldt Reporter body No6,22x as a f2.8/5cm at No30x. also on a 35mm
Bilux, noted at No03,32x.
Some numbers for the ISO Duplex at auction were:
Body Lens 1 Lens 2
-- 0029x both
3,99x 753x 754x
2,22x 3,15x 3,22x
-- 430x 459x
297x 459x 430x
-- 596x 705x
-- 638x 644x
417x 791x 756x
-- 562x 565x
464x 965x 836x
-- 1621x 16,07x
Iriar f3.5 125mm.see also Hensoldt here.
Iriar f2.8 50mm posible also as Arion.
Luxar f3.5 50mm collapsible on ISO/Henso (M39x26)
Trixar f3.5 50mm on Bilux
Arion f1.9 50mm on Reporter.
Iperang f6.3 25mm in pairs on ISA Duplex (1950) and on Lux. These do not seem to be
numbered. It is likely they were the lower cost option.
Aglar f2.5 50mm on Lux, (?also as Argon)
Aglar f2.5 80mm or as Argon.
"Proto" f1.8 55mm an uncoupled prototype.
Jadar f3.5 50mm Elmar look-a-like in M39x26. It was noted at No65x on a Standard at
No10,76x.

Iston, China.
Iston f4.5 Sold in UK as 210mm in Copal 111 shutter, during 1995.
An Iston camera for 5x4 was sold with a Navitar f5.6/150mm in a Copal.

ISCO, Gottingen, Germany.

A well known subsidiary of J.Schneider of Kreuznach, but perhaps able to pursue a rather freer production
pattern. Contemporary tests suggested the lenses compared well with Schneider's own, but that the mounts
were less costly. (Modern Photo. 7/1963, p55). Large format lenses were offered at times, but most items
were lenses for SLR's. The earliest known was a WW2 aerial camera lens, engraved as Schneider/Gottingen
(but there may have been prewar lenses either under Schneider's name or for sale to camera makers under
their names.) There were some cine lenses. (There is also just a vague feeling that they may have made some
of the 58mm Sonnars for the X-ray program but this is certainly not definite.)
Xenon f2.0 125mm for Handkamera; see Schneider section. This was a coated lens at
Serial No 48,046, though the coat could have been applied later. The serial number seems to be not a normal
Schneider one but one for the Goettingen plant.
Isconar f6.8 90mm on 4.5x6cm Espi plate about 1910, ie. one of Schneider's oldest
products, but with the Isc name already.
Isconar f4.5 105, 135mm on K.W. Patent Etui for 6x9 and 9x12cm in 1924, 1934. Here it
was a relatively expensive version above the Trioplan f6.3 and f4.5 but below the Tessar version. It was
described as a Doppel Anastigmat.
Super Illitar f2.8 50mm for Iloca Rapid in early 1955.
Color Gotar f2.8/45mm on Orgacolor, also Regula Sprinty.(1949) Gotar was an old process lens
name, and ISCO may have purchased the T.N. Another report says "improved colour correction."
Cine lenses.
Super Kiptar f1.7-f1.8 45-105mm for cine. This was a 6-glass Gauss. It was noted as an
f2.0/85mm lens from a 1949 Frieseker & Hoepfner.
Kiptagon cine Gauss or Ernostar-4 types.
Duotar f1.5 20mm ?for cine use.
More recent SLR etc. lenses
Westrogon f4.0 24mm A large and very impressive lens in an excellent mount, and possibly
the widest for SLR when it was made, but it does not seem as sharp as later lenses of the same angle. It was
seen at No687,28x. (Isc001)
Westron f4.0 28mm Layout Isc002.
Westron f3.5 35mm Layout Q15
Westron f2.8 35mm Layout Isc003.
Isconar f2.8 43mm Triplet
Color Westanar f2.8 45mm on Arette (c1957).
Color Isconar f2.8 45mm on Champion 11 camera.
Westragon f2.0 50mm (Isc004)
Westagon Auto f2.0 50mm 6-glass Gauss, c.1955, and noted 5/1960. This was "new" then in
auto iris for Exakta, Isc005.
Westromat f1.9 50mm 6g/4c Gauss. This was used on the Edixa Prismat about 1960.
Color Westromat f1.9 50mm This was noted on the Regula Reflex in 1966 and may be the same
as the above, but the advert. lists them separately.
Westrocolor f1.9 50mm New in 4/1960. (Q18)
Iscotar f2.8 50mm This was a triplet and was used on the Akarex, etc about 1954. It
was noted at No352,03x.
Iscolor f2.8 50mm This was used on the Edixa Reflex II/a about 1960.
Westanar f2.8 50mm This was a reversed Q15
Westarit f2.5 12.5mm for Zimmerman 8mm camera.
Westar f2.8 45mm Noted on the Arette 1A 35mm camera coated and colour corrected
and with definition 'could not be faulted' in B.J.A. 1957, p151.
Westar f2.8 50mm Triplet, Q14.
Westar f3.5 75mm Triplet, Q14.
Westar f2.9 75mm This was noted on a Baldix 6x6cm camera in B.J.A. 1953, p202, who
noted the unusual speed for the format.
Isconar f4.5 85mm This was noted on a Diax camera.
Isconar f4.0/f4.5100mm These were triplets for Exakta. and Exa, Layout Isc006 in 1957.
TeleWestanar f3.5 135mm Layout Isc007
TeleIscaron f2.8 135mm new in 4/1960 Layout Isc008.
Isconar f3.5 135mm Triplet.
Iscoplan f1.9 13mm This was on a 1958 camera for 8mm.
Iscovaron f1.8 9-30mm This was on a 1961 8mm Bauer camera.
TeleWestanar f4.0 180mm Layout Isc010.
TeleIscaron f2.8 180mm This was new in 4/1960 (layout Isc009.)
Modern Photo tested this in 4/1960 when it was new, and thought it good [but not good as the Zeiss Sonnar
of the same specification.]
Reflexogon 35mm This was probably made for Exakta for sale by Herbert Koehler of Bad
Kissingen and for Reflex Phot-Kino-Optik Gmbh about 1968, and they seem to have later merged into Beroflex
(H. Mandermann) in 1969.
Iscorama This was noted as an M42 mounted f2.8/50mm lens for anamorphic work. The system was
announced in Popular Photo 02.1968 p13 as a front accessory with 5 spherical and 4 cylindrical optical
elements with the anamophic part in front of a prime lens, on a rotating mount to give stretch vertically or
normally horizontally. There is about 50% squeeze. The front lens can be transferred to a projector lens
separately. Available 1968.
ISCO OPTIC Star/ISCO OPTIC ULTRA Star HD Anamorphic 2x
These seem to be a series of anamophic projection lenses made for commercial movie
projection in the 1990's as:
Widescreen Format 1:1.85 Focus 55mm
Widescreen Format 1:1.66 Focus 60mm
Cinemascope Format Focus 85mm
These were expensive, (Stars DM 1,300 and Cinemascope DM 3,250 approx) and then made to special order.
Iscomats
During Dec 1961, ISCO launched a series of lenses with a top mounted selenium exposure meter which
swapped between them, as did Schneider in the same fittings. These were called Iscomats, and the launch
list was f2.8, 35mm; f1.9,50mm; f3.5,135mm. The meter was not coupled, and the items are now scarce.
Kipronar f2.1/115mm, f2.0/110mm, f2.0/85mm, f1.6/50mm, f1.6/20mm These were
made over a long period, about 1933-1953 perhaps.
The firm is or was still active and in 1981 was making projection lenses for 8 and 16mm cine, anamorphic
units, and 4 and 6 glass Kiptar and Cinelux projection lenses for 16 and 35mm use, as well as Cinelux
Xenon f1.6 high speed lenses in 45-135mm and wide and long focus converters, and Cinelux AV and Projar
lenses for still use.

Italian Makers
An important source of information on Italian photoproducts is "Made in Italy: Italian Cameras" by M.
Antonetto and M. Malavolti, Foto Camera, Milano, 200pp, 1983. This source allowed the list of items from the
major makers (Koristka, Murer, Galileo) to be extended and corrected, and added a large number of other
items. Some are listed here, as the makers are not well known outside Italy. Most of these lenses were built
into cameras, and few will be traded separately.
Ballerio, Milano Perseo f3.5 50mm on Perseo (M39x26.
Capelli, Milano Duplar f4.0 on 127 box camera.(1925)
Closter, Roma Mizar f4.5 50mm on Closter 35mm camera. (1950).
Aries f3.5 50mm on Closter 11b (1952), Princessa. It is in a Closter
shutter.
Zeltar f6.3 50mm
Zemen f2.8 50mm
Achromat f8.0 50, 56mm on Sport.
Lambron f7.0 50mm Achromat on C60.
Comi, Roma Frontal f8.0 Periscop on Fotonesa.
Eliot (London) Lens on Bardelli Camera (1890). (Eliot is not a known London maker.
He may have been the agent supplying the lens?)
FAF, Venezia. Elinar f4.5 50mm on Acies 11 (1947)
Gamma, Roma Actom f6.3 50mm on Atlas.
This is said to be imported from Munchen, Germany.
Stigmar f3.5 on Perle.
GNM, Milano Duotar f11 45mm
Trixar f3.5 50mm on Kristal 11s
Grilli, Roma Falco, f6.5 60mm on Ammer-Grilli cameras.
GPM, Roma Frontal f8.0 Periscop on Fotonesa.
Ganzini Hemi-Anastigmat
f7.5 on Alba (1912)
LePage and Co Lepages Lens ?RR about 1890.
Ligny Apoquartz 240mm on Resti camera, (1900).
Luzzi, Bologna Luzzi's RR. (c. 1880)
OMI, Roma Lunar f6.3 50mm on Rollina (1950)
Omiterna f3.5 50mm on Sunshine(1947)
PEB, Torino Tennar f6.3 105mm on Tennar folder for 6x9, c1940
Photoalpha Perkeus f6.3 on Ikorette (1945)
Korrect f8.8 50mm on Loret (1945)
SCAT, Roma Aplanatic f3.5 25mm on SCAT camera (1950)
SEDE (Kelvin),
Roma Achromat f8.0 50mm on Minor (1960)
SIRIO, Firenze Sculptor f5.6 40mm on Elettra 11 (1946)
Semitelar f8.0 50mm on Elettra (1945).
Torrani, Milano Taurus Achromat
f11/16 (1905, 1907

Itek, USA
They are a maker of Aero-space lenses and mirrors. There was a Metritek 305mm f6.0 lens for 73° on the
Large Format Camera for 80 ll/mm on Kodal 3414 film, on 9x18in format. The lens was related to the Russar
and Biogon types, and is of 8g/5c with doubled external negative glasses at the rear and a single at the front.
(H.J.P.Arnold in B.J.P. 27/04/1979, p404).

Jamin, Paris, France.

Kingslake gives several addressses which can help in dating: 71, Rue St Martin to 1850, then at No127 R. St
Martin, and from 1856 at 14 Rue Chapon. He retired in 1860 so all his lenses will rate as quite early ones: and
Alphonse Darlot, his employee, took over and for 1 year, ie 1860-1861? the lenses carry both names. (Eg on a
meniscus with ANCne Mon Jamin) though FBB seem to attribute this to a year or so earlier, ie 1858. (It is
possible that 'Jamin-Darlot' is the 1858 engraving and that 'Ancne Jamin' continued longer).
Jamin was the maker of a Petzval type lens used by Mrs Cameron: it was 12in on a 9x11in plate and it gave
gave imperfect coverage on her format. About 1864, the Jamin's qualities were to lead to interest in soft focus
lenses which J.H .Dallmeyer was ultimately to answer with his adjustable Patent Petzval. Jamin was also the
maker of a rival convertible lens to Chevalier's "Photograph a Verres Combinee" in the "Cone Centralisateur."
(Mrs Cameron also used a 30in Dallmeyer RR on 15x12in). Jamin also supplied an f3.0 Petzval of c7.5in with
a 1dioptre positive in the centre of the tube which could be removed to increase the focal length from 7.5 to
9.5in. (A Darlot lens of this type has been mentioned above.)
The Kodak Museum has a Jamin Paris c.1860 Portrait lens with Waterhouse stops, about f4/21in focus with
5in dia lenses.
A large lens, probably a Petzval of his at No231x was sold at auction- it had a stubby black cone at the rear
end.
FBB list a good series of cameras with RR lenses by Darlot from the 1880-1900 period and these were
probably the basis of the business then. They also list a achromat for 1893, and a 'Hemispherique'= Globe in
1885. The only trade name noted was a 'Planigraph on cameras about 1888.
Jamin lenses do seem to be scarce today, and good examples are hard to find. Darlot lenses are much more
common and often have both names: and this seems to show that the production must have increased
considerably in his time.

Jaeger, USA
They were a maker of achromatic doublets in large sizes especially, both for civilian and for military use. They
are said to have suffered damage to their factory by fire and production was run down in the 1980's but this is
not confirmed.

Japan
The optical industry is poorly understood in the West, and the following will be a poor account. Some idea of
the origin is given under Nikon, where the rise of a 'military supported' optical industry was noted. This was a
kind of seed-corn to development. There were other companies but statistics for 1913 (quoted in B.J.P.
19/12/1980 p1286from 1920) showed 'Japan is unable to manufacture lenses'. This must be one of the errors
of all time. But at that time Japan did not in significant amounts. This changed in the interwar years, eg with
Nikon supplying lenses to Canon and ? for technical and process work, and with Yamazaki (?), Olympus and
Minolta beginning work. It is true of Japan that industry can be very fragments with small firms cooperating to
do different stages of manufacture so that the giant firms obvious in the West were not needed. This probably
allowed the surprisingly fast production of a number of cameras including Leica-copies during and after WW2,
as industry switched back from munitions to peace time products.
Later a group of major companies developed and were later to set up their own companies as distributors
abroad. But in parallel there was a vaste production of other brands known as 'own-brand', 'shop lenses', aliens
or anons. These varied in quality and price but typically were good value especially in the long focal lengths-
there was criticism of many wide angles and mention of problems with the focusing helices but then they were
cheap and sold in large numbers and still flood dealers Tables at Fairs! Among them were M39 lenses and
many have proved to be really well made. Some have been noted but listing all the names is hard. One point
seems to be that a large number came from one source- a firm called Nitto Optical which is scarcely known in
the West, though it in turn seems to have swapped or sub-contracted product so that the actual maker is hard
to determine. This can also be true of major manufacturers lenses where excess demand would be met by
subcontracting- no bad thing as the quality would be assured by both parties. It also perhaps allowed some
lower price to be included in otherwise very expensive lens programmes. At the other extreme, Makinon
lenses seem to have come from one maker, Makina who designed, made and named them all themselves.
A note in Am. Photo 14/10/2000 shows the large production of APS cameras and lenses in 1999 was not
maintained in 2000, falling by some 73%, though the lens makers probably switched to making lenses for
digital cameras instead.

Japanese Air Force

Japanese aerial lenses in WW2 included 70, 140, 250, 500, 700, 1000mm (2 types), and 2000mm lenses,
also 3.9, 7.8, 10 and 20in. The 2000mm may be the longest to have been used in that war, as the USAAF
used up to 60in, and the RAF only up to 40in. These were partly related to the operating heights expected to
be used.
Jarrett, Paris, France.
FBB mention several cameras with Jarret lenses from the period 1899-1903, but with little detail, one being
merely an achromat in 1903.
Jarrett Lens f5.6 55mm on Periphot (Lumiere Patent, 01/03/190

R. Jeffrey and Son, Cheltenham, UK.

They were noted in the photographic trade from 1854 and are still in business today. Early lenses were at
auction with pill box stops, showing they were before the introduction of the Waterhouse stop in 1858.

Jehane, France.
There is one mention in FBB of a Dona anastigmat on a Jehane camera for 6.5x9cm in 1924.

Jerome, UK
A UK photographic firm marketing a special film and studio package, and using lenses made for it and
engraved for example as " 6in f4.5 No41 Jerome Ltd." The actual lens maker is not known.
Fig 008 065 Jerome Ltd f4.5/6in No41 in black barrel.

Johnson, London, UK.

This name was engraved on a lens sold at auction on a tailboard camera- he is not a known maker of cameras
or lenses and it may be the shop that sold the camera.

Jos-Pe, Hamburg 1, Germany.

Jos-Pe supplied a now collectible colour camera in the 1930's, and the lens on it is a special f3.0, and this
seems actually to be for 9x12cm a 21cm f3.0 Cassar from Steinheil, Munich, possibly being specially
selected or ordered as it was not usually made in that focus. Other lens sizes were needed for eg. 4.5x6cm.

Juplen, USA.
This was a brand name in use in 1963, and the review (Modern Photo. 07/1963) suggests that it was or a line
derived from more than one actual maker. The importer was Kine Kamera, Broadway, New York, USA.
Kaftanski, F., Germany.
He was the maker of the Minifex (1932) with f3.5 25mm Meyer Trioplan or f0.95 Astro lenses. A Trioplan was
noted at No570,105 as a front cell focusing lens with stops to f8 only. He also made or used Sida and Helur
3-glass lenses, of unknown make.

Kaginon.
These were a range of enlarging lenses sold by J.J.Silber of Northburgh St, London EC1 in 1966-1972, etc.
They do not seem to have changed over the above period, and all were 3 glass (triplets) designs, with click
stops to f22. They were finished in white with a stripey finish to the setting ring. The focal lengths were as
follows:
f3.5/50mm for 24x36mm; f3.5/ 75mm for 6x6; f4.5/ 90mm for 6x7; f4.5/105mm for 6x9.

Kalimar Inc, Japan.

We thank R.Gilcreast, USA, for additional information here.
Some of the 35mm SLR lenses at least were from P. Piesker, of Berlin as shown by a f3.5/135mm lens for
Exakta.
M39x26 lenses
f3.5 40, 100, 135mm.
f2.0 85mm.
f2.8 100mm.
f5.5 180, 240mm.
Front accessory lenses These were made in wide angle and long focus, and sold with adaptors to mount on
the customer's camera. Performance can be useful if they are properly matched to the taking lens.
Monocular A close-focus device, for use as a 7x40 monocular, sold with a camera adaptor. It
focused to 2.1m.
For rollfilm cameras
Kalimar f8.0 on 1966 Kaliflex.
Kaligar f8.0 60mm on Kalimar 44 for 4x4 (1960).
35mm use
In 1955 the following Kalimars were from an unknown German source, the USA agent being Arel Inc., St.
Louis, Missouri, USA.
f2.0, 85mm; f3.5, 100mm; f2.8, 100mm; f3.5, 135mm; f5.5, 180mm; f5.5, 250mm; f3.5, 40mm.
These were all for SLR cameras. These just might be the Piesker series.
Lenses for Kalimar 6x6 Reflex.
The reflex body was by Fujita Optical Industries, exports being as the Kalimar Reflex (1956-1969). But these
may be compared with the Fujita lenses listed under Fujita.
Kaligar f3.5 52mm This had a preset iris, and was one of the very earliest retrofocus lenses for
medium format, and a definite milestone if not a landmark. It is said to be quite sharp but not be fully
rectilinear and was a unique wide lens at its time. (Modern Photo. Sept. 1957 p111). It was noted at
NoFT30,81x
Kaligar f3.5 80mm Preset, this is described in the Modern note. Kaligar f2.8
80mm Preset, This was a later lens.It was noted at Nos FT 83,56x and FT 87,02x.
Kaligar f4.0 150mm This was a 5-glass telephoto type, and was also a launch item. It was noted
at NoFT 18,73x.
Kalimar for 35mm SLR's.
Kalimar f2.8 28mm 7g (1972)
Kalimar f2.8 35mm 6 glass (1972)
Terionon f3.5 45mm on Kalimar A camera, in 1955.
Taikor f2.8 45mm on Kalimar B3 camera- this was a different type of product.
Kalimar f1.7 50mm
Kalimar f2.0 55mm (on Kalimar SR200).
Kalimar f3.5 135mm
Kalimar f2.8 135mm 5 glass (1972)
Kalimar f3.5 200mm 5 glass (1972)
Kalimar f2.0 240mm
Kalimar f5.6 300mm
Kalimar f5.0 300mm 5 glass (1972)
Kalimar f8.0 500mm with matched 2x extender.
Zooms: also 9 zooms from 28-70mm to 80-200mm.
Zoom f3.8 70-215mm Noted at Chicago Show in c.1971.
Kalimar f8.0 500mm T-mount mirror.
A later group seems to be:
Kalimar f2.8 25mm Auto
Kalimar f2.8 35mm Auto.
Kalimar f2.8 135mm Auto.
Kalimar f3.5 200mm Auto
Kalimar f5.5 300mm Auto.
Kalimar f6.3 400mm Auto
also listed were 500 and 1000mm MTO mirrors, and these were presumably from Russia.

Kalos CameraBau, Karlsruhe, Germany.

They are noted for a Mikro- Anastigmat f4.5/120mm on a Kalos 9x12cm camera.

Kaprelian, E.J. (1913-1997)

American lens designer whose designs included an f0.6 Petzval derivative (US Pat. 2,424,827/1947, B.J.A.
1949, p171) while head of the Squier Signal Laboratory. (The B.J. author adds this is near to the f0.5 which is
said to be the ultimate due to correction barriers for coma). It was developed by the US Army Signals Corps
and was made as 54 and 33mm, the latter for 16mm cine. It is related to the older R-Biotar by having an extra
glass- and more speed. (See JSMPE, 53, p86,1949: This is an excellent study of high speed lenses, with
some 20 examples of designs of which some 6 had been commercially sold at that date.) Kaprelian also wrote
on the famous Zeiss collection, and its fate after removal to the USA (Kaprelian, J. Opt. Soc. Amer., 37 466-
471, (6/1947), also Photographica USA.)

Kengott, P. Paris, France.

The name seems to be visible on some advertising engravings of lenses sold under other trade names in the
UK, and they may have been one of the sources of "label" lenses around the turn of the Century. There is only
one mention of Kengott in FBB, when they supplied a pair of RR's on a stereo camera in 1906: so they were
not major camera suppliers in France under their own name, but could have been active suppliers of unnamed
lenses rather as in these exports. [It may actually be spelled Kenngott.]
RR These were supplied in 1906 on a stereo camera Le Prismac for 12x4x4.5cm exposures on
Kodak 121 film.
Medio f6.8 135mm This was seen in a shutter, without a makers name on the lens. It seems to
be by Kengott, and probably uses the original "anastigmat" layout, probably being made after the patents ran
out about 1905. The reflections do seem to rule out other types. It is in too poor order to be very informative.
Fig 008 061 Kengott Medio Anastigmat f6.8/135mm.
Medio f7.7 Another version of it was noted at auction as an f7.7 in a Koilos shutter on a Lizars
Challenge 1/2plate camera.
Simili f7.7 This was also on a 1/2plate. It was noted as an anastigmat.
Anon f7.0 This was on a Ganzini camera. (Italy, 1906).
Euryscope f6.0 This was supplied to City Sale and Exchange, possibly with other products.

W.Kengott, Eugenstrasse 4, Stuttgart, Germany.

They stocked a wide range of cameras, and one lens name is unfamiliar- Vidar, f2.9 and f4.5/?5cm on a
Vinco 3x4 in 1934. Other items included Vidanar lenses as on Balda cameras.
Kenlock
Agent or supplier was R.J.Farley, 67, Mill Lane, London NW6.
These were an independant brand noted in May 1972 as long lenses for most SLR cameras.
Auto Kenlock f5.6 300mm £47.5
Auto Kenlick f6.3 400mm £57.25

Kern, Aarau, Switzerland.

In 1926, from Photographic Supplies Co, 41, Charterhouse Chambers, London EC1.
In 1927, from Kern and Co, Ltd 2, Langham Place, Regent St, London W1.
Later: UK from Cinex Ltd, 65, Chancery Lane, London WC2, UK.
They are a distinguished Swiss instrument maker, supplying lenses for their own cameras, the Bijou, rollfilm
and Kern Stereo. These were often merely called Kern Anastigmats.(B.J.A. 1924, p726) Initial production was
from 1918, and this list really should be in 3 parts. Kingslake says Walther Zchokke (1870-1951) founded the
optical department here in 1920 and worked until 1925, when he left to work as an optician ie prescribing
spectacles, and Frerk confirms this, and says the Kern lenses were rather after the fashion of the Dogmars
[which Zeiss were discontinuing]. These Kern f4.5 and f6.3 lenses were in production by 1926 when his book
came out.
Original Lenses Series.
Apo-Repro f6.6 Dialyt, Q26.
Special Objective f7.7 105mm also f7.8, 185mm as aero lens.
ApoRepro f9.0 300mm Listed by B&J in the 1960's, this may be the short focus
speed of the next item.
Apo-Repro f10 Dialyt,Q26.
Kern Portrait f4.5 180-360mm Triplet, Q14.
Kern Anastigmat f6.3 85-480mm Q26 type for large format use.
Kern Anastigmat f4.5 105mm (4.25in) This was on the Bijou small plate camera typically for
6x9cm, (3.5x2.5in); and also for 1/4plate with 4.75in lens;in B.J.A. 1924, p727;1926, p753advert.; 1927, p727;
1928, p719advert.
One was noted at auction as an f4.5/105mm Anastigmat at No108x and also No114x on a Bijou plate at
Body No14x, also No178x in a dialset Compur on body No110x. These suggest either limited production or
early cameras- or both! A bigger version was a f4.5/150mm No318x on a Bijou 9x12cm. In 1925 (B.J.A. 1925,
p728advert.) and 1927 there were also rollfilm Simplo 2x3in and Rollka 3.25x2.25in cameras- lenses not
stated.
Kern Anastigmat f3.5 100, 150mm, also 35mm on Bijou 6x9, 9x12 (1925) This was a dialyt, Q26,
later Q15.
Kern Anastigmat f3.5 35mm This was on a Kern Stereo SS (1930) Q15.
Kern Anastigmat f3.5 35mm This was the lens on the Compass camera, originally for miniature
plates, c. 35mm.(1938) See advert. in B.J.A. 1939, p651, probably Q15. It was coded CCL 3B Anastigmat.
The first version was 'poor' and was withdrawn and used as 'hard core', and replaced ie. Compass 1 is very
rare, and Compass in general is scarce.
Kernon f3.5, 35, 100, 150mm This may be the Compass lens in origin. Q15 type.
f4.5 80-150mm for about 65° and also a Q15 type.
f3.5 35mm this was used on the Kern Stereo camera in 1920, and later in the
1930's on the Super Stereo.
Cine Taking Lenses = Kino Objective: f1.8 in 30-75mm; f2.5, 25-75mm; f3.5, 25, 35mm; f4.5, 18-36mm.
These are Q21 and triplet type designs.
35mm Still Lenses A few types of lens were made for Alpa reflex cameras.
Switar=
PhotoSwitar f1.8 50mm This was a complex 7-glass Triplet derivative. Ker001. It was normally
in silver, as in B.J.A. 1958 p230 when it was reported as 'remarkably fine' and reputed to resolve 200l/mm at
full aperture, Lens No972,113 was shown in black finish in an advert, in May 1964. "It focussed to 0.33 life
size.... Then Alpa had 24 superb lenses... from European makers, from 24-5000mm focal length". It had 7
components.
Macro-Switar f1.8 50mm This was the same lens in a deep throw mount.
Macro Switar f1.9 50mm This was a new design, giving improved sharpness, 1970.
Cine Lenses
Kern provided lenses for the Bolex 8, 9.5 and 16mm cameras as the main supplier. It is not obvious when this
arrangement began but late prewar, the American Annual listed Bolex H16 with Leitz Hektor Rapid f1.4/25mm
and Meyer Primoplan f1.5/25mm lenses, in an advert. from American Bolex, Inc., 155 East 44th St., N.Y., and
in the UK a Dallmeyer f1.5 was listed only by W. Heaton in 1938 and 1939. And a Cinex/Paillard advert. in
B.J.A. 1939, p623 lists only Dallmeyer, Meyer and Leitz lenses.This suggests they were not fully established
suppliers as was to be later. The Kino Objective group above may have been aimed at commercial movie
users rather than 16mm users.
For Paillard Bolex, they were in several mounts, as:
(a) normal D mount for 8mm, then (b) H8RX for 8mm reflex, with C-mount thread but 1.5-2.0mm different
(deeper?) register, (c) normal C mount for 16mm, then (d) in normal C-mount for 16mm H16 Reflex, but the
lenses up to 50mm were new computations and fit all H16 cameras, and (e) bayonet mount lenses for late
H16 reflex cameras, where normal C-mount lenses can fit if an adaptor is used. Some of these variations are
engraved on the thread mounts, which sometime can be changed if the grub screws are removed and the end
unscrewed using a two point tool. There was a preference for advanced triplet designs, and Lotmar is a
designers name at least for the famous f1.4 Switar. In general Switars were the premium lenses with Pizars
and then Yvars as lower cost items.
Yvar These were normally a 3-glass triplet, often with a very thick centre glass as in Ker010. It was made in
12.5-150mm at least postwar, and was the normal lens where a narrow angle was covered. It should be sharp
and contrasty. A very distinctive triplet of this type is shown in USPat. 2,736,234 to H. Schlumpf and this may
just be related. But some Macro-Yvars for H16 reflex are very light and seem to have 8 reflexions suggesting a
4 glass design, such as Q26 was also used. This can be close to Q14 if the centre glass is designed very
thick and then "the middle sliced out" of the layout.
An early example may be:
Kern Anastigmat f2.5 25mm on a 1929 Bolex 16mm.
Kino Objective f1.8 30-75mm these may be 35mm movie lenses Q21 type, Ernostar-4.
Kino Objective f2.5 25-75mm Triplets
Kino Objective f4.5 25-75mm Triplets Q14.
8mm use, D mount.
The Bolex L-8 cine was new in B.J.A. 1947, p177, and had a Yvar f2.8/12.5mm lens. It was sold in parallel to
the bigger H-8 camera (which was essentially a version of the H-16), and took the same lenses as the H-8.
A selection of lenses is shown in Fig 026 028 on an 8mm Bolex with Kern Yvar f2.5/25mm; Switar f1.5/12mm
and Switar f1.8/36mm.
Pizar f1.9 5.5mm This is a non-focusing lens, with scale for nearest point in focus from
20in at f1.9 to 3in at f22. The design seems to be a moderate retrofocus one. This was seen at No 690,59x on
a Bolex 8mm camera. It may be one of the less easy to find.
Switar f1.8 5.5mm 8-glass
Switar f1.5 12.5mm 8-glass
Switar f0.9 13mm 8-glass This was seen on a 1962 Bolex. It was noted in the
B.J.A. 1960, p200, of 10 glass construction, and owing to the aperture, Paillard required to match it to the
individual camera on sale. It was D-mount for 8mm cameras, and the mount closely followed other Kern
lenses. The iris was just in front of the rear glass, and independant tests were quoted to show that
performance was well up to others in the series. Cost was £60.00 + £9.75.
Pizar f2.0 12.5mm 8-glass
Pizar f1.9 12.5mm
Yvar f1.9 13mm 3-glass This is a very common, compact lens for the Bolex
8mm and was seen in a focusing mount at No881,96x. It focuses to about 9in and iris is to f22..
Yvar f2.5 12.5mm 3-glass This was also sold as a fixed focus lens at lower
cost.
Yvar Filtin f2.8 12.5mm 3-glass This was with a mount with 4 filters in a revolving
mount.
Some of the apertures of 12.5mm Yvars seem uncertain, several in the range f1.8- f2.8 being listed.
Yvar f2.5 25mm 3-glass
Yvar f2.8 36mm 3-glass
Switar AR f1.8 36mm
Macro-Yvar f2.8 100mm 3-glass, this was a late lens in H8 Reflex mount.
Vario Switar f1.3 12.5-28mm about 1964 for Bolex H8
Vario Switar f1.9 8-36mm about 1964 for Bolex H8
Kinotel This has been listed as Kern-Paillard f2.5/1.5in but may be described wrongly.
16mm, C mount.
Note that while most of these lenses are in C mount, some do not suit the Bolex reflex, and Rx lenses are
needed here, and that there was a late bayonet mount series for reflex which do not fit C mount cameras,
unless a C mount is adapted to bayonet. The reflex was 'new' in B.J.A. 1958, p534, and was probably a late
introduction, since it is not mentioned in the text. One point is that the Pizar seems to be a little scarce and
less easy to find. Most owners seem to have chosen the Switar if possible.
A selection of lenses is shown in Fig 026 029 Kern lenses on Bolex 16mm: Switar f1.4/25mm; f1.525mm;
f1.8/16mm; and Fig 026 030 Kern lenses for 16mm reflex: (left to right, l) Macro-Yvar f2.8/100mm,
f3.3/150mm; Macro-Switar f1.1/26mm and (r) f1.9/75mm.
Switar f1.6 10mm(B)= bayonet Ker003, This was a retrofocus type. This may be the
"Wide Angle Switar" shown in App014.
Switar f1.8 16mm 6-glass (Ker004)
Yvar f2.8 16mm 3-glass (Ker005) It was seen at No380,09x.
(anon) f1.6 20mm this was at auction at No197,27x, but no further details are available.
This may a projection lens. (1936)
Switar f1.4 25mm 6-glass (Ker002, App015). It was seen at No324,89x. It was an early
one in the series, appearing in the advert. in B.J.A. 1949, p523 where the high correction for spherical
aberrations was stressed as well as for colour. It was in a new mount with a compass scale, automatically
indicating the depth of focus. In the B.J.A. 1947 p157 the writer calls it one of a new series. These were
particularly recommended, and the Switar was then coated, in a well made mount with standard thread and
matched with a f2.8/15mm Yvar and f2.5/3in Yvar. It is still one of the prestige 16mm lenses.
Switar f1.5 25mm 6-glass This was a lower cost option. Seen at No333,42x.
Genevar f1.9 1in = 25mm This was listed in the B.J.A. 1952, p179, at £15 below the
f1.5/1in Switar, so it was a budget priced lens, and seems not to have survived long- it has not been seen.
(Note: This just may not be a Kern lens at all- the maker was not given.)
Macro Switar f1.1 26mm(B)
Pizar f1.5 25mm
Pizar f1.9 26mm 5-glass This again was a lower cost option, (Ker006.)
Switar f1.4 50mm 6-glass Designer Lotmar.
Switar f1.8 50mm Layout Ker007
Pizar f1.4 50mm Layout Ker008
Switar f1.9 75mm(B) Layout Ker009, App016
Yvar f2.8 75mm 3-glass Layout Ker010
Yvar f2.5? 75mm This seems to be a slightly faster alternative.
Yvar f3.3 100mm 3-glass Layout Ker011
Yvar f2.8 100mm 3-glass, these were in mounts for H16 series as well as H8 series
cameras. Note that the registers do differ so the correct type is needed! It may be possible to convert one to
the other by remachining.
Yvar f4.0 150mm 3-glass Layout 012
Macro Yvar f3.3 150mm(B) 3-glass.
The lenses for the H8 reflex are coded Rx and are C-mount size, but different register, ie unique and do not fit
older cameras. (B) denotes lenses in Bayonet mount for late 16mm cameras. Adaptors are made to take Cmount
lenses to bayonet H16 reflex cameras, but special lenses are needed for the focal lengths up to 50mm
used on reflex cameras. This is an area where care is needed on purchase. Thus there are:
Switar Rx f1.6 5.5mm
Switar Rx f1.3 12.5mm
Switar Rx f1.4 36mm for a review of Rx lenses , see Modern Photo 04/1963, p78.
These later lenses can be too bulky to use with others on the turrets of early cameras, and have a slip ring
rear screw flange to allow fitting without rotation of the lens. Serial numbers of Rx lenses seen were in the No
1.0-1.1 million region. In general Switars are the most sought after C-mount lenses at present but some care
is needed to ensure compatability of camera and lens parts. This does seem to include critical focuser units
for example.
Zooms
Vario-Switar f1.9 16-100mm This was noted at No1,109,19x.
Vario-Switar f2.5 18-86mm This was noted on H16 Reflexes at No 1,068,01x.
Vario Switar f2.0 12.5-100mm This was shown with a new wide angle aspheron attachment for
6.5mm up and 72° without distortion. It is normally a macro zoom and the aspheron is used with the zoom in
the macro position. (B.J.P. 17/11/1978, p999).
There was a new series of Kern lenses in B.J.P. 21/09/1979, p912, but they were not detailed but merely
noted as 'multicoated'.
Projection Lenses.
Kern made a full series of projection lenses for the Paillard Bolex projectors, and the most sought-after may
be one of the last:
Kern f1.1 12mm focus This is fast, wide angle and was fitted to the 'exotic-but-hard-to-sell-dueto-
cost' late projector for 2 formats with autochanger for up to 10 films.
Aspheron Kern/Paillard/Bolex International were certainly the Agents for this wide angle item (B.J.P.
26/12/1980, p1301). It is highly divergent (-12.5D) and with a strongly positive external aspheric surface, both
multicoated and when mounted in front of a camera lens, which is set for close up, and forms the image. An
example is the 110mm Kern Switar. Other Aspherons were noted for Eumig Super 8 etc. and the one for the
110mm Switar seemed to be adaptable to a Zeiss lens set for 35mm use. The Aspheron was largely plastic
which then caused some interest. There was also a big version for the TTH f3.1/20-100mm Cooke Varotal
where it works at all foci, but as a 12-60mm lens.
Kern T1.8 10mm Kern lens This was used on the NASA Maurer camera in 1981
Kern T1.0 18mm This was the other used (with a Fairchild f2/5mm) (B.J.P. 10/04/1981,
p374).
Fig 8 Kern
Exposure: Schneider Xenar f4.5/150mm
Back Row Kern MacroYvar f2.8/100mm
Kern MacroYvar f3.3/150mm
Front Row Kern MacroSwitar f1.9/75mm
Kern MacroSwitar f1.1/26mm.
On Camera: Kern Switar f1.8/16mm
Kern Switar f1.4/25mm
Kern Switar f1.5/25mm.

Kershaw,UK.
Also known as Amalgamated Photographic ManufacturersLtd., London from 1921, and later as Soho Ltd.
Kershaw often used TTH lenses and eventually amalgamated in the Rank Organization. Kershaw was
responsible for the manufacture and polishing of CinemasScope lenses (Jan. 1954). After the closure of the
site, it was found to be contaminated with radioactive waste, dating from lumenizing dials in WW2 and was
decontaminated before sale. (April 1987). Binoculars were an important item (B.J.A. 1936, p46advert.) and
included low power opera glasses and 8x models. They made the Army No 2 binocular in WW2 with TTH and
Watson of London. They put their own name on some lenses, of which these are known.
Kershaw Anastigmat f7.7 This aperture was noted on several Kershaw/APeM cameras in B.J.A. 1924,
p56advert. such as the VP, the Altrex, Beltrex, and Celtrex. This was above the meniscus and RR models in
price.
Kershaw Anastigmat f4.5 4in This was on a Raven folder.
Kershaw Anastigmat f6.3 This was fitted to a 'Soho' Altrex 6x9cm camera in 1932 (B.J.A. 1932,
p36advert.) There were also APeM anastigmats on some Kershaw large format Focal Plane and rollfilm
cameras in 1924, and it will be hard to say who made them or how they differed from the Kershaw lenses.
British Etar f4.5 This was noted as an 80mm/f4.5 in Velio shutter on the 450. (Amateur Photo.
20/06/1956, p594)
"Otar" f6.3 This just may be a misspelling of Etar, but it was used on a 6x6 camera,
Kershaw 630 of 1954.
Annar f8.0/6cm This was on a Soho collapsible 127 camera, No220x.
Kershaw Soft Focus f4.5, 9in. f5.6, 10.5in, f6.0, 12in.
These had an achromatic meniscus in an aluminium mount. The iris was rather prominent in front of the lens.
An example seen at No33x, f4.5/9in was very like a Spencer Portland No209x f5.6/11.5in- allowing for the
differnt foci, the styling of the mounts was so close as to make the lenses apparently from the same source.
(When it is considered how little room there was for design differences in what was a simple achromat, it may
be that one maker was a source for several brands, greatly to the satisfaction of all concerned, especially the
customers!)
"Apem" Cooke These were typically Cooke lenses with an APEM label. They were usually Triplets. This was
a common fitment to large format reflexes.
Projection Lenses
Super-T f2.8 This was a slide projector lens. There was a "Standard 4in f2.8" on the Model 250
projector in B.J.A. 1953, p36 advert. It was hard coated.
Super B f1.8/f2.8 This was for movie projection.
Super C f2.2 This was for movie projection.
Late on, a major effort was on Rank-TTH copier lenses and TTH engraving machines.

Kestrel A programme of SLR lenses sold in the UK, seen as a f2.8 35mm No600,086 Kestrel MC. This
seems to be a medium price item, in a FD mount.
Kiev- lenses for and from Kiev are listed under Russia.
Fig 18 Russian Lenses for Kiev.
Back Row Jupiter f2.0/50mm + Kiev 111
f1.8/53mm + Kiev 111
Jupiter f2.0/85mm.
Jupiter f4.0/135mm.
Front Row Jupiter f2.8/35mm
Orion f6.0/28mm
Jupiter f1.5/50mm
Russar f5.6/20mm
Industar N-61.
Fed f3.5/50mm Macro.
Fed f6.3/100mm.
Fed f3.5/50mm.

Kilfitt, H., Munich, Germany;also Kilfitt Kamerabau, Anstalt-Vaduz.

Kilfitt was a gifted designer, described as very jolly, pleasant and especially imaginative, developing a flow of
new ideas and a gifted constructor, who was involved in the design of the Robot and later the Mecaflex and
Fujita/Kowa 6 in Japan, as well as confidential military equipments. He may have dealt in lenses, choosing
optics of high quality and designing special mounts, often with much longer focus travel than was then normal.
Thus the Macro Kilars were a favourite of nature photographers at the beginning of the 35mm SLR era,
especially on Rectaflex, Alpa and Exakta. The 90mm was the preferred item as the distance from the mount
to the subject becomes inconveniently small with the 4cm at 1:1, so lighting is difficult. It is of interest that J.
Adams offered "no repair" to the inside of the rear component of a 90mm as it was aspheric, then a very rare
feature.
Kilfitt also offered very long lenses especially for sports photography, often of meniscus design for lightness
and high contrast. The serial numbers tend to be in two blocks of digits, and the first may indicate the product
type. In the UK the first note in MCM was May 1950 of short head lenses for a reflex housing some 2mm
thicker than the Leitz "Ploot" called the "Repriscope" with f3.5/6in; f5.6/12in and f5.6/24in lens heads. The
Repriscope had M39 rear mount but bayonet or screw front mounts were at choice. M.J.Small describes
these and refers to 3 types of mounting. These were by M39 screw, as KI series; as a flange ring mating
system, as AN series and finally using a locking ring as the WE series. These are not too familiar in the UK
as these do not seem to be common here, or less so than the competing Novoflex series. Kilfitt was
described as the West German 'manufacturer' in 06/1963 adverts. and users mentioned were A. and M. Denis,
natural history photographers.
Macro Lenses
Kilar f3.5 40mm This non-macro version was for the Metz SLR at No222.216x. It may
be the same lens head as the next item.
Macro Kilar f3.5 40mm This is the early type, supplied for Mecaflex , Alpa. and Rectaflex. It
is probably less common and less desired, seen at No 209-3885 for Rectaflex, 211-314x for Exakta and
No209-790x elsewhere; and engraved "Made in Leichtenstein" on rear of optic ie. Vaduz as on the lenscap.
Type E for 1:2 focus. The serial number may indicate the fitting which involves screw fitted rear flanges. The
serial number is on the front lenscap and is rather easily exchanged! It must have had quite a big production
as it is found fairly often today. Supply dates from 1952 in both single and double helix, (ie to 1:1) at least in
Sweden at single 297crowns, double 392crowns and then was for Exakta, Edixa Reflex (=M42) and to special
order for Alpa, but Rectaflex was not mentioned. (Then 10crowns = £1). (For Mecaflex, the lenses seem to be
'40mm Kilfitt-Berthiot', ie made by Berthiot to a Kilfitt design perhaps.)
Macro Kilar Model E f2.8 40mm A rather faster version, Q15 type, again in a deep throw mount, with
good performance, improving on stopping down. (See Amateur Photo. 17/06/1964, p912; Modern Photo.
09/1964, p12) Kil001. It was supplied to fit all types of camera including movie and cine, especially Arriflexes.
the price was £75 in 1966.
Macro Zoomatar f2.8 40mm This seems to be the USA version of the above.
[Berthiot It seems the MacroKilar (or a replacement ) was also made by Benoist Berthiot for the Mecaflex,
possibly under licence.]
Macro Kilar Model D This was the same optic in a double throw helix to focus to 1:1. It was a more costly
lens then and now.
Macro Kilar f3.5 90mm A Q15 type in a long throw mount to 1:1.
Macro Kilar f2.8 90mm Noted 1968, at No219-0414, this seems to be a new optic in the
same philosophy of mount. Perhaps it was also supplied as the next item? There is some implication it was
optimized for 1:6 ratio. As with the 40mm, this was listed with adaptors for most cameras, including cine,
movie and with Arriflex adaptor it cost £67.90 in 07/1965.
Super Macro Kilar f2.8 90mm This was noted 1969, Q15, Kil002.
Kilars f3.5 150mm)
f3.8 135mm) noted with Macro Kilar 90mm. Some of these were noted as "for
Leica" eg at No206-422x, but they may be short heads with M39 threads.
Kilfitt seems to have sold in USA through the Zoomar Corp. and items sold there may have both names (as
Kilfitt/Zoomar) or may be renamed as the next item.
Macro Zoomatar f2.8 40mm This seems to be the USA version of the above.
Macro Zoomatar f4.0 50-125mm A 17-glass zoom lens. See below for one from Munich.
Kilars and TeleKilars seem to be basic Kilars in some adverts., possibly as they were long lens heads
without special lens mounts which were sold as an extra item. A listing in USA of Basic Kilars for M39,
Exakta etc. was as follows:
f3.5, 90mm;f3.8, 150mm; f3.5,150mm f5.6, 300mm; f5.6, 400mm; These were made in W. Germany. A short
and early example may be the f4.5/105mm TeleKilar for Kilfitt's own Mecaflex about 1953.
Zoomatar f1.3 75mm It is 6glass, and was probably made in USA and here listed in
Europe, for cine.
Zoomatar f1.3 180mm This was again from Zoomar Inc.
Macro Zoomatar f2.8 90mm This had a double focusing helix for focussing to about 1:2, and was
seen at No301-02x. This may be a movie version, as the back focus was very limited when purchased. It
seems to be a 90mm MacroKilar in a new garb for USA, and a very nice item. It seems to correspond with one
in D.W.Samuelson, "Motion Picture Camera and Lighting Equipment", Focal Press, p61, 1997. This may
explain the acute flare as found- as the mount needed a movie adaptor to shield some shiny finish in the
version found which lacked the adaptor. When new, these are or were a very costly item, so it was worth
salvaging and was refitted with an adaptor for 24x36mm use.
Sport Fern Kilar f4.0 400mm Meniscus, 2-glass
Sport Fern Kilar f5.6 500mm 4-glass
Sport Fern Kilar f5.6 600mm Meniscus, 2-glass.
The 400 + 600mm could be had with a common lens barrel and focussing and iris and used with a common 2x
converter for 400, 600, 400, and 1200mm foci. (D.W.Samuelson "Motion Picture, Camera, and Lighting
Equipment", Focal Press, 1997.
TeleKilar f5.6 and f4.0 eg as 150mm tele type Layout Q24.
TeleKilar f5.6 300mm for Alpa (Layout 003), etc. An example seen at Nr 208-6712 seems
to be a 2+i+2 tele, coated and in a focussing mount for M39/Ploot reflex housing. It is coated, now rather
worn, and marked with 3 colour engraving as if for apo correction perhaps. It focusses to 3meters. A nice one
was auctioned, at No274-11x, also 208-646x (here in a reflex housing), 250-073x for Contarex, and another at
No208-514x, and 208-151x. Some have different types of numbers such as No2,080,14x. Where they are for a
interesting SLR or M39, they hold their price well, but the condition, especially of the coating, needs to be
checked as these can be old Press items with severe wear.
Fern Kilar f5.6 400mm
Kilar Achromat f5.6 300mm on a reflex housing. This seems to be an older version of the Basic
Kilar, 2-glass meniscus.
Reflectar f8.0 1000mm mirror unit from Zoomar (?)
Reflectar listed as 2000, 2540, to 3810mm at f25.
Pan Tele Kilar f4.0 300mm 4-glass 2+2 tele type.
This is a standard optic, probably a "Tele Kilar", impressively well made, and in a "Pan" focusing mount with
both rack focus with quick action lever, and helical focus with >2 turns to give overall 1:2 ratio. This gives
exceptional quick focusing and is still fully acceptable. A rather special item, it was seen at No271-04x. It was
noted in MCM3/1959, as well as a Sport Fern Kilar in reflex housing for Leica. A rather select Pan-Tele Kilar,
at No250-065x and 250-073x, was for Contarex and was auctioned in London. Note that both groups of digits
changed in these lenses and the f5.6/300mm above so the first was not just a product designation for the lens.
These take standard 2in sq. gelatine filters. By June, they also saw the telephoto lenses for 35mm and cine at
300, 400, and 600mm (at f4/f5.6) and Makro Kilars f2.8/40mm to 2 and 4in near focus and the f2.8/90mm for
35mm and 6x6 formats. The f2.8/90mm was sold for Alpa by 1/1958.
This lens covers 6x6, but the f5.6 TeleKilar type may really be for 35mm only.
Mk XB1 f2.5 15-150mm cine lens, 15 glass zoom.
Kilar f1.4 65mm 6g/4c possibly another movie lens.
Kilfitt-Zoomar, Muenich, Germany.
Macro Zoomar f4.0 50-125mm for Exakta Varex. Reported at No276-050x.
Multi-Kilar This is thought to be an extender, but no details are available. Noted at No267-017x.
Fig 31 Kilfitt Lenses.
Exposure: Wray f6.8/8.25in.
Back Kilfitt Pan Tele Kilar f4.0/300mm.
Right Kilfitt MacroZoomatar f2.8/90mm.
Front Kilfitt Macro Kilar Ef3.5/40mm.
Fig 32 Kilfitt and Novoflex Lenses
Kilfitt Pan Tele Kilar f4.0/300mm.
Novoflex f4.5/300mm in pistol grip.

R. Kingslake (1903- )
He trained under Prof Conrady and later moved to the USA to work to the University of Rochester and in 1937
became the Head of lens design for Eastman Kodak. Thus he will have been responsible for the strategically
important WW2 lenses as well as the new generation Ektars with the new glasses. He was a prolific writer on
lenses and their design, and with Mrs H.G. Conrady Kingslake, edited the last volume of Prof. Conrady's
'Applied Optics and Optical Design' and also was responsible for instrument design such as the lens testing
equipment based on the Twyman (1912) interferometer. (Modern Photo 02/1968, p20) This gained new
importance when the lasers gave better illumination and Itek Corporation developed commercial instruments
based on it. And Kingslake's 'History of the Photographic Lens' must be the classic on the subject.

Kinn (Kinax), Paris, France

They are noted for just 2 items but these may be a small part of the output.
Bellor a Q15 type.
Kior This was a 10cm lens, coated and front cell focus to 6ft, on the Kinax Cadet, a fairly budget priced
camera for 6x9cm from Kinax listed in B.J.A. 1951, p213. See also B.J.A. 1949, p186. There was a Kinn
anastigmat f4.5/105mm on the Kinax II (?) which was noted in B.J.A. 1948, p197.

Kinoptic, 41, Rue de Tlemcen, Paris, France.

USA Agent: K. Heitz, POB 427, Woodside, New York 11377, USA.
Dixons Technical in UK in 1970.
Kinoptic was founded in 1932 by G. Grosset and G. Perthuis, and developed steadily till 1940. The original
factory was destroyed in 1942, but the company was refounded at Rue de Tlemcen and remained there till
1992, when it moved out of Paris. It now employs some 70 workers. Products are warranted uniquely for "life
plus reincarnation" and advanced colour correction has always been a feature. There have been almost no
lenses for still cameras, the only item in FBB being a f3/90mm Kinoptik lens on a rare 61.7mm film camera
Perfo 608 Mecila in 1952, probably normally a movie lens.This makes their products something of a challenge
for collectors. It is increased by the use of some rather exotic Kinoptic lenses on the Alpa cameras, probably
initially intended for the 24x18mm versions which were quite an important part of the output. A letter in Am.
Photo 12/02/2000 p21 mentions a 'brass' finish lens so the earliest lenses may be in that finish.
One feature of early post-WW2 developments was the use of digital computers by Edgar Hugues (optician),
Andre Marechal (Professeur at L'Institute d'Optique), and Pierre Givaudon (Polytechnique Engineer) which
resulted in optical designs made at the Institute and then put into production by Kinoptik. This was one of the
very early (earliest?) computer designs. And just may have lead to their early production of advanced items
such as Tegea.
a/ Prewar Items.
Apochromats for 18x24movie: f2.0 25, 28, 35, 40, 50, 75, 100mm; f2.5, 150mm. A f2.0/50mm on a 1930
Debrie may be an early lens retrofitted.
An Eclair Cameflex at auction was equipped with a complete set as follows:
f2/40mm, No2448x; f2/35mm, No3416x; f2/50mm, 1170x; f2/100mm, No948x.
A Morigraf Paris movie camera had:
f2/25mm, 516x; f2/50mm 496x; f2/75mm 506x; f2.5/150mm 495x.
This suggests the use of complete sets to match colour, etc.
b/ Postwar Items
For 16mm: f1.5 in 9.0, 12.5, 18mm.
Long lenses for all formats; f2.8, 210mm; f3.5, 300mm; f5.6, 500mm.
Stigmar Microfile lenses: 5 types in 40-75mm.
Aerial Photography: f1.8, 75mm.
Radiology Lenses: f6.0, 400mm; f6.3, 500mm.
Apochromats for Alpa: f2.0, 100mm; f2.5, 150mm (Kin001,002).
Peri Apollar: f4.0, 25mm a 360° Panoramic lens.
Image Intensifier Lenses: f1.3, 35, 50; f0.7, 60mm (Lynxar); f1.1, 75mm; f1.3, 100mm.
Extreme Wide Angles: 197° for 16mm film, f1.9 for 1.9mm focus.
110° for Super 16mm film, f1.8, for 5.7mm focus.
108° for 35mm movie film, f1.9 for 9.8 mm focus.
Extreme Telephoto; f8.0, 1000mm
Macro Apochromats for focus to 1:1: f2.0, 50, 75, 100mm, f2.5, 150mm.
For 35mm still SLR's: f2.8, 210mm; f3.5, 300mm, f5.6, 500mm, f8.0, 1000.
Recent additions have been : f1.8N 9.8mm for Super 35mm film.
f1.5N 9.0mm for Super 16mm film.
These are extreme quality low production items, and both scarce and sought after.
The above list was based on a list from Mssrs K.Heitz and is definitive, and for which thanks are due.
A price list from Mssrs J.A.Sinclair in 06/65 was as follows:
f1.8 18.5mm £68 Apochromat
f2.0 35mm £43 ,,
f2.0 40mm £43.50 ,,
f2.0 50mm £47.50 ,,
f2.0 75mm £54.50 ,,
f2.0 100mm £76.50 ,,
f2.5 150mm £90.00 ,,
f3.5 300mm £98.50 Special Cine
f5.6 500mm £98.50. Special Cine
These prices were without the camera mounts, in 'neutral' barrel mount. The Tegea was also listed as 108°
and 197° but not priced.
-------------------------------------------
The following is based on adverts and leaflets, to cross check the availability of the items. It may be of interest
to compare! One point may be that the same product may be named in rather different ways.
Erax; f1.9 32mm cine lens , 6g/4c Gauss.
(anon) f1.9, 1.9mm for Alpa, this may be a rarity, and for cine format?
Actually this seems to cover 8.7mm dia., for 8 or 16mm cine and only gives a centre patch on the Alpa.
It was "new" in Modern Photo, Sept 1961, p14.
Tegea, for Alpa f1.8, 9.8mm? or is it 1.98mm more like, covers a 27mm circle, and is NOT a fisheye, 110°,
9g/6c. It may be that the 197° is on movie as maximum angle covered, and the 108° is on 16mm cine. The
makers drawing gives 'Champ objet =197°' et "Champ image=8.7mm'. It is notable that it has a maximum
diameter of 105mm and a back focus of only 9.2mm.
see Camera 35, 04/05/1967. It ? gives full coverage of 18x24mm, and is described as "Excellent", especially
stopped down. (Layout Kin005) It must be noted that Alpa was sold both for 24x36 and 18x24mm and lenses
were worth supplying for both formats. Dr S. Bell noted one on a Bolex 16mm camera. (see below). ?In fact
there may be confusion of 2 different types here in 1.98 and 9.8mm sizes? See extreme wide angles above.
The drawing is certainly 'Super Tegea f1.9/1.98mm'
Apochromat f1.8 18mm, This was also a movie lens but one covering most but not all of 24x36mm.
Apochromat f2 35mm This was seen at No1108x, mounted for Cameflex.
Apochromat f2.0 75mm This was seen as a black finished lens in barrel at No507x removed from a big
movie mount. It is uncoated with stops to f16 and a red dot on the iris scale at about f3.5. It seemed to be
uncoated and was regarded with extreme respect by an experienced movie photographer.
Apochromat f2.0 100mm for Alpa. (Kin002)
Mecilar N f3.0 90mm This was used on the Paul Lachaize Perfo 608 Mecila camera about 1952 at
No274,17x (?) in the illustration. This used long lengths of 61.7mm film and variable formats up to 6x8cm. It is
one of the few uses of a fixed Kinoptic lens on a still camera.
"Foyer" f2.0 25mm This was noted at No3,37x on a Newman Sinclair 35mm movie camera.
Apochromat f2.8 150mm for Alpa. (Kin001)
Apochromat f1.5 9mm 80° (Kin003)
Alpa also used a Macro Apochromat of f2.0, 50, 75, 100mm; f2.8, 150mm.
Apochromar f2/40mm has been noted dismantled from movie equipment.
Kinoptic f2.8 210mm; This is a lens which is especially sought after.
f3.5, 300mm These were noted for Alpa as well as movie use. A movie example is No 22,005,
supplied to the MoD about 1956 for shot recording, and used on a Cameflex camera. It is marked "Special
Cine", and '317.3mm focus'.
Also: f5.6, 500mm,
f8, 1000mm
Aquilareg 260mm, Q15 type(?)
Apochromat This was a 6-glass retrofocus type for Alpa, Erax. 6-glass Gauss.
Fulgior. same. Dr S. Bell mentions one of these as a 6 glass asymmetric double Gauss mounted for Alpa
and this just might mean the name was used on the longer f2 Gauss lenses as well as the 50mm below.(Am
Photo 12/02/2000 p21).
Fulgior f1.3 50mm This was seen as a black finish barrel optic with a near 38.5mm thread at
No12,746, 10,875, 10,876. It seems to be a 6-glass Gauss with fine sharpness over 18x24mm approx- ie a
movie lens. The central curves are very deep. It is purple coated but may be early enough not to have all
surfaces coated. A complete example was in a bulky, black focusing mount for ?Cameflex which is hard to
adapt to eg. M39 or Arriflex. It was actually refitted successfully to fit M39x26 for reuse.
Fig 027 005 Kinoptic Fulgiors f1.3/50mm (a) lens head No10,875 and (b) a complete lens in barrel No10,876.
Several examples of these lenses had suffered mold due to very poor storage conditions. Another point is that
the iris must work easily: if stiff, the blades, which are of fairly soft steel, will bend and the ends pop from the
rings. It is fairly easy to unscrew the optic with the shade from the focusing mount, then remove the iris control
pin and unscrew the lens barrel forwards from the shade assembly, then unscrew the lens cells fron and back
and wash the iris with light petrol to degrease it. Otherwise the whole will need to be dismantled completely,
and the blades straightened: and in bad cases the iris may be beyond economic repair. Considering the
storage conditions, they had actually survived very well due to the initial fine quality of the materials.
Lynxar f0.7 60mm This was for X-ray recording. (Vidicon) Kin004.
Grand Angle Special f2.5 12.5mm for Arriflex at No43,29x, 49,97x. These vary in the colour of the
coatings and may indicate the use of a new coating process in the early 1960's. This does raise one point
noted from buyers that they seek lenses of similar age as they say this is needed for accurate colour
matching. But then this can be said of many makes as some of the best of the early postwar optical glasses
were off-white, often being warm in shade.
It is interesting that a fair number of the lenses in the definitive list actually were found in the random search
for the lower set.
Chronology
A very useful table of serial numbers year-by-year is given by P-H Pont in his booklet "Chiffres Cles" for the
years 1953-1993, and this is a shortened version since these lenses are not often seen in the UK and the
number produced is relatively limited, which underlines that this is a really prestigious, desireable make. The
number given is the last for the year.
1952 13,000 1955 20,000 1960 35,000 1965 49,000
1970 64,000 1975 84,551 1980 98,515
Lenses made at serial numbers above 40,000 seem to be especially sought after, possibly due to improved
coating. In about 1962 this will not be multicoating in the modern sense but at that time improved coatings
were coming into use.

Kirn Engineering, Glasgow, UK.

Kirn made prototypes of lenses for a still camera to use 16mm film. There was no commercial production of
this. There was a Kirn optical finder for 35mm use, using a series of white on black frames for 5.0, 8.5, 9, 10,
10.5, 13.5cm seen in one eye while the other viewed the scene direct, also for 75mm on 6x6cm negatives. It
was noted about March 1951 at £4.30. (see B.J.A. 1953, p232) and it may have been agented by Corfield or
the project adopted by them.

Kirsch Instrument Co, 54 Merrion St, Leeds LS2 8JH, UK.

They sold a viewfinder for camera lenses to use them as a telescope called the 'Teleskope,' made in the UK,
giving 2x alone or 25x with a 135mm on the front. Later it was sold with a lens as part of the package.

Koch, France
FBB note a Koch lens on a Korsten camera in 1899.

Kodak= Eastman Kodak Co., Rochester, NY, USA

Kodak Ltd., Kingsway, London, WC2.
Initially a film maker, Kodak expanded quickly into supplying a wide range of products, including lenses.
These were often bought in items though this seems not always to have been shown on the lens. Quality was
uniformly high, in line with the product and it is likely that these are really an underated line.
It is worth noting that Kodak were innovative in introducing Kodachrome film in 1935 for movie use and for still
use in 1937, and later in 1941 Minicolor and Kotavarchrome, and Kodacolor in 1942. These were high
resolution color processes and demanding on lens quality in a way some of the earlier colour processes were
not. As a result Kodak will have been interested in improving the quality of lenses they supplied in this
respect. Major items are the Commercial Ektars, AeroEktars, Ektar for the Medalist (etc) and the f7.7
Anastigmat series, which was continued until well postwar. Here the second and third are certainly in the
Landmark class for reasons below. In comparison, it is worth pointing out that some of the early cameras
were of very high quality but came with RR lenses and there seems to have been a trade in Europe in
replacing these with early anastigmats by TTH, Voigtlaender and others. This certainly complicates the field.
And that later many Kodak lenses can be dated from the letter code in the serial number. The clue is the word
:
C A M E R O S I T Y, which represents the following last two digits in the year as:
1, 2, 3, 4, 5, 6,7, 8, 9, 0 so that ER represents (19)45.
About 1940, WW2 supply problems lead Kodak to introduce a professional lens series, often with new glass
and hard coated from about 1942. Up to about 1930, they were said to have agented Bausch and Lomb
lenses, and this may have continued after that. Ektar was normally the Trade name on the top range of
lenses, but did not represent a particular design. But the early Kodak Anastigmats were excellent without
being called this. The most valued are probably the Commercial Ektars, large format studio lenses, which are
still recognized as 'use' items even though often not coated, and the Ektra lenses. The Commercial Ektars
seem to be made in f6.3, of Q15 type. In the UK the modern large format lenses only trade occasionally and in
general this list wil be only a beginning.
Designers included C.W.Frederick, (1870-1942, retired 1938). It is not at present clear which lenses he was
responsible for, but he certainly fostered Kodak's interest in the new glasses developed by Morey (Herzberger,
Appl. Optics, 2, p554 1963) and Kodak issued many lenses in the period 1914-1938 when he was in charge.
R.Kingslake who succeeded Frederick as Head of the Dept. Kingslake is known as a fluent author (see
Bibliography). He was a trained designer under Conrady at Imperial Coll. London, and joined Kodak in 1937
after holding teaching posts at University of Rochester, and was the head of Dept. after Frederic retired, and
therefore responsible for the WW2 effort on new-glass lenses among other fields, as well as new designs for
the 16mm movie camera and Ektra. Kingslake names the following as co-workers of Frederick.
F.E.Ross
G.W.Moffitt
G.S.Dey.
Max Zwillinger.
F.E.Altman (1893-1964, joined Kodak 1916) His designs included aerial lenses in both World Wars, and a 4-
glass designs.
W.E.Schade, (1889-1973) worked at Kodak 1932-1958.
Kodak UK Ltd
An advert. in the 1931 BJA p21 indicates that up to 1914, most of the UK cameras were fitted with imported
lenses, but that from 1930, large numbers of lenses were produced in the Harrow, Middlesex factory, using
English optical glass. Thus it is likely that professional lenses such as the 203mm Ektar were made at
Harrow, though to a well established design.
Behind all this activity, Kodak did purchase wide angle Zeiss Protar f18 lenses for the Kodak wide angle
'pancake' cameras- almost flat wooden cameras for architectural work. Some noted are:
1/2plate, f18/85mm, Protar 54,76x Later, they seem to have used a wide angle Dagor as:
1/2plate, f9/100mm, Dagor No2,062,89x.
1/1plate f18/85mm Protar No1,154,75x; and 1,125,76x.
Early Items
Rapid Rectilinear f7.7 typically, on many early cameras, often ex-Bausch & Lomb.
A most important example is the string pull Kodak of 1888-9, which used a f9/57mm rapid rectilinear.
Hasbroeck illustrates a good example and says that of the 5,200 made only a few survive due to the film being
discontinued. (Note they were returned to Kodak for reloading and may have been scrapped by them, or the
lenses and other parts reused .)
Kodak were still fitting RR lenses in the late 1920's as on the VP and Junior Autographic Kodaks and
Brownies but this will be rather the end of the line for the design. It was not the performance which was at fault
but the cost, as the RR was not cheap to make, and the triplet design really offered more for less cost.A
typical early item might be:Fig 030 025 RR in Kodak TBI shutter.
B&L/Kodak Anastigmat f6.3 no details.
Kodak Anastigmat f6.3 and f7.7 These were the replacements for the RR and were on most models by the mid
or late 1920's at £1 or so extra. (B.J.A. 1927, p324, 328, 344). The specification was used on enlargers in
B.J.A. 1925, p35advert. on the manual focus units, as well as the f4.5 on the Autofocus; but later the f4.5
seems to predominate, at least in the adverts.
Meniscus Lenses on simple cameras of all types, especially box cameras. These are of several types as
follows.
A. With the meniscus mounted with the hollow facing outwards. This is optically the best but does not stop
dust reaching the shutter, and does not sell well as the customer cannot see the lens.
B. Subsequently the meniscus was reversed and mounted with the hollow facing inwards, doubtless with a
redesign. This was more satisfactory in most ways and was the norm from the 1920's.
C. Initially an achromatic meniscus was used for better colour correction, but the advantage of this was slight,
and not noted by the customer. Later single glasses were therefore used. They did have an advantage, as the
design of the achromat actually could upset the spherical correction of the plain meniscus. But with the
introduction of more colour sensitive films or with colour film, the use of single meniscus lenses must have
become less desirable.
Kodak Anastigmat This group is the classic dialyt lens used on Kodaks early in the 20Century. It was
famous for the sharpness of the negatives, and seems to have survived as a speciality product into the 1950's.
It is a dialyt type.
Series 1 f8.0 initially in 1914.
Seies 11 f7.7 from 1915, eg in 170, 203mm.
It was used on the Pony Premo and well into the 1920's. The example seen and used was No152,42x in
Kodak ball bearing shutter, patents to 1913. The design may vary, but a VPK with f7.7 in B.J.A. 1925, p368
will probably be the classic type.
Fig 030 007 Kodak Anastigmat f7.7/170mm No152,423 in ball bearing shutter.
(It is not obvious just how the f7.7 Anastigmat evolved into the later f7.7 Ektar, or if it was really a policy of
renaming as well as updating. There is room for confusion here.)
Hawkeye (Eastman) f6.0 508mm
f4.5 500mm This looks to be an older professional series well before the
Commercial Ektar but in the same market slot. Listed by B&J.
Kodak Diffusion discs and Portrait (close-up) lenses were noted in B.J.A. 1925, p343. They were available in
quite large sizes such as 2.375in which suggests professional use.
Kodak Ektar f7.7 Dialyt The practice was to use 78mm for VP; 108mm for 120mm; 130mm for
116; 152mm for 2C; 170mm for 3A; and 203mm for up to 5x7in.
There was good performing front cell focusing on the three shortest lenses and in general these lenses were
so good that it was many years before a better Kodak lens could appear. (see Ed Romney, Camera Shopper,
May/June 1989, p27) They were convertible and excellent in close-up, and are still valued today. (Sadly
customers in popular sizes began to look for faster lenses in the late 1920's and the sharpness inevitably
suffered as the speeds rose, even though new designs were used).
Late examples were sold in the UK coated and in Kodamatic (prewar) or Epsilon (1940's?) or Prontor shutters
on the 5x7 Clinical (B.J.A. 1934, p37) and 1/2plate Specialist cameras. (Post WW2 see: B.J.A. 1951, p222;
1960, pAd 11) These are not all numbered, possibly when made in the UK, but one was NoEO44x (1946) on a
5x4 Graphic.
Ektar Wide Field f6.3 This was a 4-glass Gauss rated as excellent for up to 70° (Layout Kod001). It
was made in 80, 100, 135mm, 190mm, usually in Kodak Supermatic shutters, and in larger sizes at least to
250mm so it was a range for all large formats. It was a lens designed to be used stopped down well. The later
examples are certainly factory coated, perhaps all were.
Commercial Ektar f6.3 This was made in 8.5, 12, 14in It was "Excellent", and is believed to be a Q15
type for 60°, and this includes dealers handling it. In B.J.P. 20/02/1976, p150 Mr Cole Weston remembered
that Kodak sent his Father, Edward Weston a 14in Ektar about 1947 since it was colour corrected and this
helped the son to move into colour work. It just could be one of these. Edward Weston gave up negative work
in 1948. In line with this, at least some are factory coated and these command a premium price.
Wide Angle Camera This camera was a special offered after the idea came to Mr David Charles and the
Kodak Company (B.J.A. 1932, p149). It was a very slim, flat camera taking a 8.5x6.5in plate but only a 3.5in
(88.9mm) lens, probably an f18 Protar V from Carl Zeiss, for 110°. It was set so that no focusing was needed,
all being sharp from 4ft. It could therefore go into a corner or against a wall.There is no finder, the field included
being found by looking at the lens from the subject through a mask positioned in front of the lens to outline it.
It seems likely that many of the 80 and 89mm Protars found originated from such cameras or the like, the
camera now being in a derelict state. (See also B.J.A. 1928, p234 where a rather similar idea is produced by
Mr J.N.Pearce.)
Special Ektar f6.3 1500mm This was for 9x18in, and this was probably an aerial lens in an ex-
Defense sale.
Kodak Ektar f4.5 This was a general purpose professional large format lens.An example might
be:
Fig 030 027 Kodak Anastigmat f4.5/7.25in lens No334,968 'made by Eastman Kodak, Rochester'.
Kodak Ektar f4.7 This was made in 127mm for 31/4x41/4in, or 5x4 without movements, or
152mm as standard for 5x4 (no 135mm was made). These have been rated as the best and most consistent
USA lenses for 5x4.
Kodak Anastigmat Special f4.5 Many of these were made, especially in 101mm, and were probably of Q15
type. There is incidentally an interesting patent to Kodak Pathe, France for a Q15 type lens with the internal
curve in the rear component reversed (French Pat 838,237/1938) but it is not known how far it was used.
(Enlarging Version) f4.5 Some big sizes of the Anastigmat must have been made as they were used on
the Kodak Auto-Focus enlarger which was for up to 7x5in in a large vertical model and to 5x4i in a smaller
one. It was used over a long period, eg in B.J.A.1928, p41, and into the 1930's.
This may be as Fig 031 025 Kodak Projection f4.5/75mm (NoNo).
(Enlarging Version) f6.3 this was noted in B.J.A. 1927, p41 and seems to be the version used before the
f4.5 above and may be related to the next item.
Kodak Anastigmat f6.9 This aperture was an option to the f7.7 Anastigmat on the VP Autographic in
B.J.A. 1922, p26.
K.S.Anastigmat f6.3, f4.5 These were noted on Six-20 and Six-16 Kodaks in 4.25x2.5in in B.J.A.
1935 p23, and may be a version of the 'Special'.
Kodak Anastigmat Special f3.5 These were normally Q15 type. These seem to have been as 50mm for
35mm use (while the f4.5 below was a 51mm).
Kodak Anastigmat
This description could and did cover a wide range of normally excellent products, but it is not very helpful
today in listing them. Thus in B.J.A. 1931, p27 Kodak advertise a Kodak with f6.3, f5.6, f4.5 Kodak
anastigmats, but they may have been revised in later models.
f4.5 This was noted on a Graflex camera in the B.J.A. 1924, p29advert., one of the
rather few times they were listed in the UK.
f4.5 50mm on Kodak 35, Bantam (?), Vigilant, Monitor. In fact, the Kodak 35 was
advertizes in the UK in B.J.A. 1941, p16 with f3.5, f4.5, f5.6 lenses, and this just may have lead on to the
production of recording cameras below. It is uncertain where they were produced.
f4.5 47mm This may actually be the normal or only one for the Bantam Special.
f6.3 There was a f6.3 version also. For example, a f6.3/72mm Anastigmat was
used on a Graphlex Finger Print camera Type PH-503/PF Order No11,902.
Anastigmat (Kodak) f5.6 50mm in 3-speed Kodex shutter. This was the economy version on the
Kodak 35.It was about 1938-1946, but was then discontinued when the range was revised. It would be this as
one option on the 'Kodak 35' in Min Cam World 06/1939 with f4.5 and f3.5 as higher price options. It was the
f4.5 seen and 'definition was excellent, compares with much more expensive instruments'.
Kodak Ektar f2.0/f1.9 in 45/47/50mm This seems to be a group of newly designed high quality
lenses possibly some using the new glasses. There seem to be a range of foci here, not very far apart but
possibly significantly. The oldest may be the one for the Bantam Special. Others in the group include the
lenses for the Kardon (47mm) and Ektra (50mm). The increase to f1.9 may offer an indication of the use of
new glass.
(a) Bantam Special, etc. This was ?6-glass Gauss and covered the 28x40mm format of the Bantam film-
something of an achievement then. The camera was noted in B.J.A. 1939, p257
(b)The Kardon version was later applied to the Kardon camera, an M39x26 clone, where two versions are
recognized: (a) some were civilian, and (b) others were for military use and these differ. (Or was it? The Kardon
had a 47mm f2 when introduced in Feb 1947 (MCM Feb 1947 p126, and this was noted at auction at
NoEO20,49x (1946), EO 20,36x. )
(c) The Ektra f2/50mm This was a later lens and most likely to have the new glasses. There will also be
progressive introduction of coating to these lenses.
The basic Kodak Gauss Ektar f2.0 dates from 1936, so the Bantam lenses do not all have letter codes for the
year. Also they may have been made from classic glasses rather than the new heavy ones used on the Ektra,
but it is another research topic just when the glass types came into use.
Ektar f2/45mm for Bantam Special The 45mm Bantams were Body, No144x, Ektar, No115x; Body 415x,
Ektar No450x, body No565x, Ektar No713x; Body, No872x, Ektar No9622; body No1727x, Ektar No1722x;
body 19,77x, Ektar 17,98x; body No2517x, Ektar, EE60x (1944).
Other Ektar Nos noted are No803x, 933x, 13,15x, 16,84x.
The last EE 1944 is late wartime. (If there is a disagreement here over focal length of 47 v. 45 etc., it is
probably that the author meant that all the f2 Ektars of this time were closely related by the use of new
designs or glasses or coating, even though they did vary in exact focal length.)
Reomar f4.5 50mm on Retinette I Type 012 (bought-in?)
Reomar f3.5 This was in Compur Rapid for Retinette 1a Types 030, 035. Maker unknown.
Reomar f2.8 45mm on Retinette type 035, 037, 044 in Compur Rapid, Prontor 250S,
Pronto LK shutters. The makers were Rodenstock, Schneider and ?others.
Ennatar f4.5 50mm on Retinette Type 012, ex-Enna?
Kodak Ektar f3.5 This was a black finish cine lens from the 1930's. An early postwar version
was on a Retina camera at NoEO 769x. (1946). It does seem some were sent to France to restart Retina
production and this could be one of these.
Kodak Ektar f1.9 Also in black.
Note that they may be listed as Cine Kodak as well as Ektar at this time.
Aviation f4.5-f6.0 These were made in 24-46in for aerial survey work. These are Q15 type but
the date of introduction is not known. There seem to be foci here not used in WW2 and these may be civilian
lenses from the 1930's.
Kodak Aerial f8.0 36in This has been reported as one of the lenses used on 9x9in WW2
cameras.
Kodak f4.5 254mm No011x. this may be the same as the above, and was fitted as a
'Eastman Kodak Co Hawkeye Aerial lens' on a Aero Camera NoA11.
Kodar f7.9 This was an important product on folders in the 1920's and priced between
the achromat and anastigmat, and where there was an RR on the Autographic Junior there was no Kodar-and
vice versa! Thus it was a budget but probably really competent lens. Most models offered it as an option in
B.J.A. 1926, p22advert., etc. 111mm for No1 pocket Kodak for 3.25x2.25in so it was probably of limited
coverage. It still was sold in 4 sizes in B.J.A. 1931, p26. and was also used on a X-ray reduction camera
advertised in B.J.A. 1933, p26. But probably was phased out at about that time.
Bimat f11}
Twindar f11}
This type of lens was patented by D.L.Wood for Kodak, USPat., No1,954,340, 1933). It was a periscop (the
adverts. said 'doublet' ) but with the front glass split in two to allow front cell focusing so that 3 glasses in all
were used. It was noted in B.J.A. 1935, p22. on the Six-20 and Six-16 Junior Kodaks.
WW2 recording Camera Lenses
A series of lenses on Kodak 35's for instrument recording:
Kodak Anastigmat f4.5 47mm Special on Mk 1 A.S.R.
Kodak Anastigmat f5.6 50mm Special on Mk11 A.S.R.
Kodak Anastigmat f2.0 1.5in (38.1mm) on F60 camera, no shutter was fitted as it was for cathode
ray tube recording.
Kodak Anastigmat f2.0 26mm on F65 camera This was mounted at the rear of a Kodak No 1
Supermatic shutter, set at about infinity but with a heavy glass filter in the front of the shutter to exclude dust
and this was probably replaced by a close up lens of choice for recording. Seen at No ER190, (about 1945),
and probably a Q18 type lens. Conyers Nesbit in his book lists a Dallmeyer version (Nov 1944) for recording
Radar H2S screens, and this is the USA version for H2X screen recording, the camera being swung into line
with the screen on a pivot. Even in 1945, it was NOT coated.
Fig 030 020 Kodak Anastigmat f2/25mm in Kodak 35mm camera.
Fig 030 023 Kodak Anastigmat f2/25mm in Kodak 35mm camera. (from back).
M.B. f5.0 1in These were fitted to the "Match Box" spy camera for information
gathering in WW2 and distributed in 1944-1945. They covered about 45° and could stop to f11. Fixed focus,
they covered from 8ft to Inf. The design was by J.L.Boon, J. Stoiber, and H. Hood of Kodak but they will have
been mainly camera designers. (B.J.A. 1948, p154; International Photography, 04/1947).
"Anastigmat" ? 4in This was used in a Dakar shutter for a "Identification Camera" for taking
up to 1,000 passport pictures per day. It consisted of a substantial box body housing two film rolls for 35mm
film, 100ft load = 800 exposure ?24x36mm, with a lens and shutter in the front. It could also be used for X-Ray
recording. (B.J.A. 1942, p185).
Cine Lenses
Kodak developed a large business in cine cameras in the 1920's and 1930's especially due to having
introduced 16mm film. And naturally there were lenses to match them, though other firms also offered lenses
to fit. One feature was the Kodak f1.9 which was a low cost fast lens of good performance, and it was suitable
for the lenticular Kodacolor process which initially was a major growth point. Today it is difficult to establish
contact with the detail of this period as the lenses were often listed as just Kodak or Anastigmat but this is an
attempt.
16mm Film
Kodak launched 16mm film as a complete novelty to the Royal Soc. of Arts on 03/10/1923 when the film,
cameras and projectors were first shown in England by Dr C.E.K.Mees on a 12ft screen, and including film
shot at the lecture. It offered a real reduction in cost as the film was half width and the format was small at
10x7.5mm= 40 images per ft. But also the film was reversal, a process developed by Mr Capstaff at Kodak, so
that no print was needed- and unexpectedly, grain was much smaller, and it seems to have been the first
safety film based on Cellulose acetate rather than the unstable and highly inflammable nitrate used in 35mm
stock. The result was for Kodak a major new market, and for other makers, a challenge. The Kodak camera at
launch was the Cine-Kodak with f3.5 anastigmat for a 25° angle at £30 + £5, and the Kodascope projector at
£40 matched it. A new cine Kodak followed almost immediately with an f6.5 lens at £18.90
[It must be added that the 9.5mm Pathe Baby cine with f3.5 and the Bell & Howell Filmo with f3.5/25mm
Cooke TTH lens at £54 were also discussed in the same B.J.A. article. These were important in setting the
start point for a mass of cine lenses made for the new market. At the same time there were budget 35mm
cameras such as the Ensign with f3.1/2in Aldis-Butcher, the Debrie Sept with f3.5/2in Stylor, the ICA Kinamo
with Dominar f3.5 or f3.5/1.625in Tessar, the Kinette with Ernemann f3.5 or f2 Ernostar, the Bol with f3.5 Bol
Solar.]
Kodak f6.5 This was the budget option on the Model B 16mm Kodak in B.J.A.
1930,p32advert. The faster options were the next two lenses.
Kodak Anastigmat f3.5 This was noted as a fixed focus lens on a Cine Kodak 8-20 for 8mm film.(B.J.A.
1936, p23) It was to be replaced largely by the f1.9 as more saleable and probably little more costly to
produce. Both were in the 1936 advert.
Cine Ektar f1.9 25mm One account is that this was a Q21 Ernostar-4 type. or Kod002. But
Kingslake refers to a Kodak f1.9 in 1in from 1923 as being a Petzval derivative with 4 glasses/2 cell design,
but with all the glasses separated. It was normally in a focusing mount. This was certainly the best known
Kodak design, and 'made' the Kodak cine cameras as it offered an economic way into a faster lens. It was not
in the very first 16mm programme, but was in B.J.A. 1927, 27; 1928, p26advert.and note p328, on the Model
A and Model B with f6.5 and f3.5 as less expensive options.. Thus in B.J.A. 1934, p23 it was 'now an f1.9
anastigmat is available' for 8mm.
Long focus f4.5 On Cine Kodak in 1932.
Cine Ektar f2.0 63mm This was designed by W.Schade and van Grafeiland
Fluoro Ektar This was a high speed lens for fluorography (J.S.M.P.E. 52, 509, (1949),
USPat. 2,481,688, Brit Pat.620,634.) It had a 7g/4c design based on triplet, 1+2 +1+ 3.The example in a B&J
list is a f1.5 50mm lens.
Lenses for 8mm
In 1932 Kodak launched 8mm double run filming, and new shorter lenses were needed. These were:
Kodak Anastigmat f3.5, stops to f16. Used on Model 20.
same f2.7 Used on Model 25.
Then for the next model, there were the interchangable lenses,
Kodak Anastigmat f1.9 12.5mm or possibly ?25mm as above. (It was 'new' in B.J.A. 1934, p318, and
probably a 12.5mm from the context. The 'great speed' was noted as a major feature.
same f4.5 1.5in (c.37mm)
Lenses for Cine-Kodak Special including Petzval types made under Frederick and Altman/ Kodak USPat.
No1,620,337, and later W. Schade/Kodak USPat 2,500,046. Many are 4-glass as shown in Kod007, others
are 5 glass/4 component as in Schade's USPat. 2,158,201, 2,430,587. Some were probably also used on
other Kodak cines of the period. The "Special" was noted in the B.J.A. 1934, p325 and seems to have been
new and very impressive then. It really could claim to show what 16mm could be capable of, and pave the way
to its commercial use. The starred lenses are in the 1934 list, but it did change a bit over the years.
Ektar* f2.7 15mm
Ektar* f1.9 25mm (Kod007)
Ektar* f3.5 2in (51mm)
Ektar f2.7 63mm
Ektar* f4.5 3in (76mm)
Ektar f2.7 102mm
Ektar* f4.5 4.5in (115mm)
Ektar* f4.5 152mm
The (probably) complete set of 8 lenses are shown in the Heaton Blue Book 1938 p127, with the separate
adaptors and viewfinder glasses- there are some here such as the 2 and 4.5in which are absent from other
lists and may be early options later dropped. There is a picture in B.J.A. 1939 p30 of a Magazine Cine Kodak
(ie not special) with a very large set of lenses- and these seem to be in 'lens adaptors' so that it could accept
the lenses of a Special.
Postwar (These are Lumenized ie coated, and in lighter weight mounts, probably part alloy.)
Kodak Cine f2.5 15mm
Kodak Cine f1.9 25mm
Cine Ektar f1.4 25mm This is a 7g/4c Gauss rather as in AeroEktar (Kod003) See
Kingslake, J.S.M.P.E. 52, 509, (1949) It was an impressive design, and was continued as the Cine Ektar II
into the 1950's eg as NoRS58x, about 1956 on a Kodak K100 16mm Turret camera. It is uncertain if the II
suggests a redesign or merely an upgrade eg of the coating which is an impressive one on this lens. It
focusses to 12in from the film.
Fig 021 025 Kodak f1.4/25mm Cine Ektar Ser II NoRS581 on Kodak 16mm K100 [with also 2 Wollensak
Rochester lenses, f3.5/2in and f2.7/17mm and finder optics (not matched to lenses!)]
Fig 030 028 Kodak Cine Ektar f2/65mm for 16mm use.
Cine Ektar f1.6 40mm
Kodak Cine f1.9 50mm
Cine Ektar f2.0 63mm
Cine Ektar f2.7 102mm
Cine Ektar f4.0 152mm
In a post war leaflet HE-1145/ 10-48-CH-AX these last four were sold as short head lenses with separate
adaptors to fit direct to Cine Kodak Special 11, or with adaptors Type P or F for Special (1) for lenses of 25,
40, 50, 63mm (P) and 50, 63, 102, 152mm (F), Cine Kodak Magazine 16, Type M, Cine Kodak Model K,
Types R and J; Older Bell and Howell Filmo and Victor models, Types R and J, (1in, 32 TPI); Type C mount
(1inx32TPI); Cine Kodak Magazine 8, Type M for 40 and 63mm only; and D-mount cameras (5/8in, 32TPI).
These were quite an important achievement for the time. The picture in the 1939 B.J.A. suggests that this was
not a novel idea postwar but rather a prewar one continued. Hesitantly, there were two or three types of
adaptors prewar.Not all are numbered,eg a 15mm f2.7 is a 'noNo', and a f2.0 65mm is NoRM286x, suggesting
1953 and with a postwar leaflet, above.
(Equally, others sold lenses for the Special, Burke and James selling lenses by Schneider, Carl Meyer, Bell
and Howell, Steinheil and Bausch & Lomb. These were probably some of them remounted by the B&J
workshop.)
Early postwar Cine Lenses.
Cine Kodak Ektanon f2.7 13mm about 1950, 8mm It was noted as a fixed focus 13mm lens on a Cine-
Kodak Eight-55 camera, noted in B.J.A. 1951, p218. It was lumenized and covered from 3.5ft to infinity at f11.
Iris diaphragm to f16.
f1.9 13mm about 1949-56. A lens of this specification was noted on the Brownie
8mm in 1959-1960 (B.J.A. 1960, p230) where it was used with a front turret of auxiliary lenses. This gave the
user a choice of 9mm wide, 13mm standard and 24mm long focus. The apertures were set by a plastic wheel
in the rear lens with 1/2stops down to f16.The turret was also a plastic unit, and the finder used Perspex
lenses. In the use of plastics, it was something of a trendsetter. £30 + 4.9 tax.
f1.6 50mm about 1947 ? for projection of 16mm.
Cine Ektar f1.9 25mm for 16mm on 1948 Kodak. This was noted as NoRC55x (1951).
f2.5 15mm about 1955.
TeleEktar The specification is not known but it is likely to be a cine lens eg. for Cine Kodak Special.
(App027)
Some other postwar Lenses
Anastar f3.5 80mm 4-separate glass type (Kod006) or it can be a triplet (Q14)
Anastar f6.3 On 6-20 cameras about 1953. (B.J.A. 1953, p8)
Anastar f4.5 The Anastars were on Kodak 6-20 cameras about 1953.
Anaston Most of these are triplets.
Anaston f6.3 105mm This example was noted on a Kodak Junior II camera in Dakon 2
speed shutter with front cell focus, in B.J.A. 1953, p8 advert., 1955, p219. The camera was 'well made and
attractive' but there is no mention of coated surfaces.
Anaston f3.5 38mm for Kodak Stereo, in pairs. (MCM Sept 1954)
Ektanar f2.8 44mm Triplet
Ektanar f2.8 50mm Triplet Q14
Ektanon Enlarging f4.5 7.25in This was noted as a black barrel lens with click stops made in Great
Britain early postwar (?) and with nice coated glasses. It seems to be a 4g/3c design Q15 type and was
probably a top quality professional item.
Ektanon f2.8 125mm
Ektar f3.5 These were made in 44mm, 50mm for Ektra, 78mm on Chevron 6x6 (1953)
and only some 2000 were made of the latter.
A major innovation in lens making came in the early 1940's with new heavy element and rare earth glasses
based on the work of G.W.Morey U.S.Pat 2206081; L.W.Eberlin and P.E. de Paolis, USPat. 2241249, 1941.
This was the beginning of a revolution as the new glasses gave designers new freedom in highly corrected
dsigns. (see R.Kingslake and P.F.De Paolis, Nature, 163, p412, 1949). For the use see G.H.Aklin, J.Opt.
Soc. Amer., 38, p841,1948. Initially the use of Thorium made the glass slightly radioactive, but this ended as
rare earth elements such as Lanthanum replaced it postwar, and a wide range of non-radioactive glasses were
designed, many in Germany by E.Leitz workers, and at Schott. N.Lipton tells how samples of these were sent
to Japan, but no sales resulted, but instead rare earth glasses were made in the Orient.(B.J.P.
31/07/1987,p875). Some of these do show some radioactivity to be present. Inherently these glasses were
higher in refractive index, so that flatter surfaces could be used, leading to less spherical aberration and
astigmatism to be corrected in the other parts of the lens.
Lenses for Ektra (1940, see Modern. Photo. 06/1962)
A famous product range, all fluoride coated, with new glass. Kodak lenses of this period are of especial
interest as very good and showing what could be achieved with the new glass and coating but without
computers to help in the design. They are able to show that hand calculation could be excellent.
These are scarce in Europe but do trade in USA.
Ektar f3.3 35mm Heliar type Q19 This was noted at NoEY118x (1940)
Ektar f1.9 50mm 6g/4c Gauss, Q18. This was noted at NoEY55x (1940) on body No461x, also
EC79x on body 428x, probably RM82x.
Ektar f3.5 50mm This was noted at NoEY47x (1940) on body No155x.
Ektar f3.5 90mm This was noted at Nos EC61x and EC26x (1941), EY31x.
Ektar f3.8 135mm This was noted at NoEY25x (1940). Oddly one at auction was engraved
'Television Ektanon' but was also an f3.8/135mm at NoRY 154. It may both indicate a late use for the Ektra
lens and a possible exchange.
Ektar f4.5 153mm This was noted at NoEY20x (1940).
Ektar f4.5 254mm This is legendary and sadly probably prototypic.
Kardon f1.9 47mm It is thought that only one lens was made for this body, and dealers
distinguish between the civilian and military versions.(see also above)
Ektar Large format
These took the advantages of the new technology to the larger format field, a major type being the 100mm f3.5
Ektar for Medalist, noted at NoEc 598, EE4584 (1944), Er1895 (1945) and seen at NoER244x (1945?).
Arguably they are Landmark lenses as a result. (Kod005) A lens of this Heliar layout was patented by
F.E.Altman for Kodak (B.Pat 547,691/1941; U.S.Pat,2,279,384, Fr Pat, 889,380). It was one of many patents
on the updates of old lens designs using new glass, and these included Q15 types patented by Herzberger
and Hoadley (U.S.Pat 2308007). The last Medallist cameras seem to have been sold with Astra lenses
possibly as a close out when the Ektars were no longer available. (Modern Photo., 2/1960)
Ektar In general by the mid-1950's, it seems that Kodak was selling Ektar as the premium lens, but only the
f3.5/f3.7 was 5-glass, the norm being a 4-glass Q15 type, presumably with rare earth glass which would allow
the same high performance to be obtained.
Ektar f3.5 100mm for Medallist. This was a very fine lens, sharp and contrasty.(Q19, Kod 005) It
has been noted at EY43x (1940) on Medalist I, EE416x (1944); and on Medalist II ER244x (1945) body
No31,98x and EO370x on 31,99x and ER549x on 41,46x.
Fig 030 008 Kodak Ektar f3.5/100mm NoER2446 in Medallist II
Fig 030 010 Kodak Ektar f3.5/100mm NoER2446 in Medallist II
Ektar f3.7 105mm (or 107mm?) for 6x9 Graphic, essentially the same Q19 type but longer for
more cover, eg for movements, and iris limited by the shutter size to f3.7. It was made in 1941-1955, and it
was also used in the Fluorolite enlarger when used for copying. The back focus needed at infinity is 87.5mm.
It matches the 100mm in quality. It was noted at an EY No (1940) and at NoEC219x (1941) and ES186x
(1947). a 105mm/f4.7 was noted at RA305, which just may be a misprint.
Ektar f4.5 101mm This was in a Synchro 800 shutter for use on medium size cameras.The
back focus needed at infinity is 90mm. This has been noted at NoEC334x and EC441x (1941) and ER93x
(1945), and RM230x (1953) in a Kodak Synchro shutter on Graphic 6x9. Thus it may have run in parallel rather
than replaced the 105mm above.
Ektar f4.7 127mm This was especially for 3.25x4.25in and 5x4in where it was fitted to Crown
Graphics. It had a back focus which needed 113mm. (App024) It has been noted at Nos EC953x, EC119x
(1941); EE450x (1944), Et71x (1949)and RI47x, RI246x (1958) on a 5x4 Speed Graphics.
Ektar f4.5 152mm This was especially for 5x4in. Back focus needed 135.2mm. (App024) It was
noted at NoES121x (1947).
Ektar f4.5 6.325in This was noted for Graphlex at NoEM32-398K.
Ektar f3.5 13.5in This was a big aerial survey lens made prewar in the 1930's and replaced in
WW2 with a new design. This is not one of the well known ex-Defense lenses, possibly owing to the amount
of materials used for the aperture. One advert. mentions "no iris" so it was probably designed for use only
under adverse lighting conditions.
Ektar f3.5 44mm This was on a Kodak Signet camera in Kodak Synchro 300 shutter. An f3.5
64mm Ektar is shown in App022)
Ektar f3.5 78mm This was on a Kodak Chevron camera in Kodak Synchro Rapid 800 shutter.
(App023)
Ektar f4.5 7.5in (190.5mm) This was in barrel mount or shutters for large format cameras, such
as (?) 5x7in
Ektar f7.7 8in (203.2mm) for 5x7 in the UK. This was often in a Flash Supermatic shutter. A
version in Epsilon was noted in B.J.A. 1951, p222 giving speeds from 1-1/150sec, B, T. [It has been
suggested that Kodak used a special version of the Epsilon, possibly incorporating their own parts for superior
reliability. This is a lens which has a really excellent reputation among discerning users, but sadly the Epsilon
can be a long term weaknes. Hence the value of the Prontor version. It should be possible to exchange cells
into a Prontor if needed.] This was noted on a Kodak Specialist 3 camera in Prontor SVS in a Kodak advert. in
B.J.A. 1960, pAdvert.11 and this is the desired version in the UK as the Prontor is the best shutter fitting. The
Specialist camera also seems to have been a long established product (compare B.J.A. 1941, p16 where a
rather similar camera is offered as the View) but the Ektar seems to be a postwar item as the older cameras
were sold without a lens or shutter.
Fig 030 012 Koak Ektar f7.7/203mm in Prontor SVS shutter.
Ektar f4.5 12in (304.8mm) (?) for 10x8in format.
Commercial Ektar f6.3 This was made in 8.5in (215.9mm), 10in (254mm), 12in (304.8mm), and 14in
(355.6mm). The design was not given but it is thought that it is an f6.3 version of the 4-glass Ektar type Q15. It
is still highly valued and sought after. Sadly these are not too easy to find in the UK and command high prices
even today.
Wide Field Ektar f6.3 This was made in 80, 100, 135, 190, 250mm, for 75° at f6.3, 80° at f11 and
further close down may be usefull for extra sharpness. It was a 4-glass Gauss type introduced probably after
the War with new glass and computation.
Enlarging Ektar 2, 3, 4in These seem to be 5-glass versions of the Ektar. (App026)
Enlarging Ektanon This seems to have given good but lower performance and cost in 2, 3, 4in sizes for
amateur use. The Ektar series were on the Kodak Precision enlarger- while the series were on the Specialist
enlarger. (B.J.A. advert 1953, p10)
Enlarging Ektanon These were professional lenses in 5.375in (136.5mm) up to 10in (254mm). These
seem to be slower, with the 254mm at f8.0 max., but of high professional quality.
Kodak were representatives ie. agents for Ross of London for the years up to the war and just after, at least
for New Zealand and Australia. The advert. changes little over the years and may in fact have been listing
items no longer in production. A typical example is in B.J.A. 1943, p365. This is the sort of pressure which will
have lead to alternative sourcing of supplies as supplies from London would have been uncertain during the
war.
Cine Ektar f1.9 This was a 16mm lens of quality using a triplet with a split front design.
Projection Ektanon in f3.5/5in and f4.0/7.5in. These were simpler than the next item.
Projection Ektar in f2.3, 5.0 and 7.5in This was a 5-element lenses, 6 air/glass surfaces.
Ektanon f3.9 50mm This was for Kodak Bantam RF camera, in Flash 300 shutter. This
was a 3-glass triplet. (App021)
Anaston This was usually a 3-glass triplet.
Anaston f3.5 35mm for Kodak Stereo camera. (App020) is an f3.5 of uknown focus.
Anaston f4.5 51mm on Kodak Pony in Flash 200. 3-glass triplet.(App018)
Anaston f6.3 on Kodak Tourist 3-glass. App019 shows a f6.3/105mm version.
Kodar f8.0 72mm A triplet on the Duaflex 1V camera, and far above the usual f8 fitting.
(App017)
Kodet This was a fixed focus lens on the lowest price Duaflex and Tourist cameras.
Microfile Ektars
Again with Q19 layout and new glass. (The designer was Altman for Kodak).
f8.0 18mm
f3.3 35mm
f4.5 50mm
f8.0 63mm (General layout Kod005)
Kardon Ektar f2.0 47mm 6g/4c Gauss, in M39x26 mount. It was made from 1945, probably for a fairly
short time.
Portrait Lens. f4.5/f4.8 in barrel mount, but these were also sold in Ilex No 5 shutters, and the full aperture
is then not always available. This was a late lens, made coated in the 1940's, for portrait and advertising work.
They are colour corrected, and the softness decreases as they are stopped down, till at f22 they are nearly
sharp. Made in f4.5,12in; f4.8, 12in; f4.5, 16in, which is for 10x8in. The 12in (305mm) may be the most
common.
Portrait Ektar- this may be the same lens.
WW2 aerial Lenses.
Kodak seem to have played a major part in providing equipment for aerial survey work. The lenses used the
new technology with excellent results- and the sharper lenses meant that less of the hazardous low level
photo-reconnaisance was needed. Equally it must be said that the new cameras were not too reliable at first,
and that damaged coating and balsam failure is now common on the American lenses. One cause of balsam
damage in aerial lenses is the rapid warming and cooling of the glasses, coupled with differential expansion of
the glass- rather as heating destroys balsamed projection lenses. It means the balsam for these big aerial
lenses was often left very soft to accommodate the relative movement which also can lead to bubble formation.
Actually users say this usually does not affect the performance noticably.
Aero-Ektar f2.5 made in 7in (177.9mm) for 5x5 from 1942-1944 approx.,and 12in (305mm) for 9x9 approx.
Layout Kod003. Glasses 5+6 seem to be thoriated. The 7in was made in enormous numbers, and is quite
common at Fairs, and is a really sharp lens, but rather heavy and bulky. The new glass gives it a brown colour
and it shoots as about f3.0 max. Original lenses have the name, filter and cap mounted on a front ring, easily
removed by loosening a locking screw, and the whole lens was on a stubby cone: the complete item is much
scarcer as they were usually remounted for 35mm or 56x56mm use, the latter being more successful. The
name ring was usually removed for this and this may seem a pity now. The back focus is good, but too small
for most 6x9cm reflexes at infinity.
Coating is better on the later yellow dot lenses, (said to be coated by Kodak themselves) usually from the EE
series from 1944, or later, and these can be worth looking out for. It is essential to check the iris on purchase
as these are now often stiff, and can pop when turned- this can be terminal as aero lenses are very hard to
dismantle, since the threads are often locked to stand up to vibration in flight. They were originally on Fairchild
K24 cameras and never on the Williamson F24. The 7in has been noted at EM11,23x, EE6444. One point in
reading Conyers Nesbits book is that these did not apparently cause much stir at the time- there is no
comment that they were sharper, or more contrasty. Actually much of the USA equipment came late in the
War and made less difference than might be expected. (This is not to denigrate US influence- in battle in 1943
and 1944, they were a determining factor. But the postwar sales gave a false impression of the cameras, as
the RAF sold off many outdated units in poor or worn out condition.)
Fig 030 014 Kodak AeroEktar f2.5/7in NoEE17,332
Fig 030 016 Kodak AeroEktar f2.7/7in NoEE6444 remounted by C&P for reflex use.
The 12in is much scarcer, and too heavy to be easy to use except perhaps for astronomical photography.
Often these now have balsam bubbles, and most have no iris, since they were designed for after-raid records
on fast b+w film, often with a short length of colour film spliced in.
CARE! The 12in has a VERY POWERFUL BLADE SHUTTER and this has real guillotine action- do not get
fingers near it while even possibly in action!This Aero Ektar was another of F. Aklin's designs. (USPat
2,252,681/2;2,262,985; 2,336,207;2,343,627; Brit Pat. 548,252/1940.) There have been reports of cheaper
experimental lenses with part or whole plastic lenses.
Aero Ektar f2.5 6in. This seems to be a rare version, only known in USA where it does turn up in dealers
lists-and not used in Europe.
Aerostigmat f4.5, 10in; f4.8, 6.375in; f5.0, 12in. These were a rather compact lens, probably a prewar
version of Q15 type, though the example seen was a 12in (305mm) f5.0 EA367 (1942) and seemed to be a 3-
glass triplet. It was not coated. It was in a very substantial flat pancake like mount and had no iris. It was ex-
Kodak, Rochester, USA..
Fig 030 018 Kodak Aerostigmat f5/12in (305mm) NoEA367.
AeroEktar f1.5 8in This was a big heavy lens, of complex Triplet type, long on the "Secret" list. Few
were made, and as it was rumoured to be 'not too sharp' at full aperture, so it was not really much faster than
the f2.5 in actual use by the time it was stopped down. It may be related to the FluoroEktars below.
Aero Ektar f6.0 24in This was for the Fairchild F18 18x9cm camera. This was a late camera and was
rare in the UK, and this is an excellent lens. There was a B&L lens with the same specification.
Telephoto f8.0 36in These coated lenses by Kodak [and Bell & Howell] were being sold off in
Amateur Photo 28/12/1977 advert p95 at £65, weight about 26lb, original cost over £400.
Kodak Aerial f6.3 48in This was advertised postwar in ex-defense sales.
Kodak Aerial f9.0 60in Again these are rare and we have no details.
Some anonymous "surplus" lenses noted in postwar adverts were:
f4.5 6.375in on K20, possible aerostigmat above. (sale: Modern Photo 11/1971, p147) at
$64.50. There were also electrically operated K25 cameras, Aero Ektars $79.5, and F56 cameras with B&L
f5.6/20in lenses.
Kodak f5.6 12in This was on the K-17C camera for 9x9in selling at $369.50 in 1971.
f5.6 15in on F8.
Ektar f4.5 101mm in Kodak 800 shutter.
f4.5 12in in Ilex shutter.
Kodak Anastigmat f4.5 101mm Early postwar (1949) examples seem to be Q15 and were a fitting for
6x9 Graphics of the period. They are well coated, high quality lenses. They were probably replaced by the
f4.5 Ektar series with rather similar designs. It is the f3.7 which has the 5-glass design.
Wide Field f6.3 80-250mm
Commercial Ektar f6.3 8.5-14in
Postwar a long series of lenses was used on the 35mm Kodaks. Thus the Kodak 35 got a :
Anastigmat f5.6/50mm in 1938 at the start. This was extended in a later model to
Anastigmat f4.5/50mm And later an:
Anastigmat f.3.5/50mm. These were scattered on WW2 dated cameras and these included some for the
military, above. This was also fitted to the rangefinder 35 from about 1940. This ran on till the last were coated
as Kodak Anastigmat Special lens.
Anastar f3.5/50mm This was essentially the last, coated version renamed about 1951.
The next model was the Signet, from 1951-1958 with a new :
Ektar f3.5/44mm lens which was rated sharp and contrasty and far in advance of the above. Overall
performance at f8 was especially fine. It was also supplied to the Army Signal Corps in black or olive drab.
Later cameras were fitted with Ektanar and Ektanon lenses which were sound performers but without the
ultimate quality of the Ektar. Lower price cameras were the Pony series with Anaston and Anastar lenses
Fluoro Ektar (see W. Schade, U.S.P. 239,756, B.Pat., 595,961)
f1.5 This was a Triplet derivative for radiography.This is shown in App028.
f0.75 This was for x-ray fluoroscopy, ie much the same thing, at $3300.
Ektars for Combat Graphic.
Ektar f4.5 63mm=2.5in.
Ektar f2.8 102mm=4.0in. This was noted at NoRM111x and RM38x (1953).
Ektar f4.0 204mm=8.0in. This was noted at NoRM 52x (19530).
Ektar for Hasselblad 100F/1600F.
Ektar f2.8 80mm
Ektar f3.5 135mm One list gives also a 105mm but this may be a misprint or a different
product remounted.
Kodak professional lens production seems to have ceased about 1964. After WW2 the lenses were antireflection
coated, described as "Lumenized" eg in B.J.A. 1953 p8 advert.
Ektar f3.5 78mm This really good Q15 type (ctd.)was used on the Kodak Chevron in 1953 for
6x6cm on 620 and 828 slide film. The Ektar was in a Synchro-Rapid shutter to 1/800sec attained by a
continuously rotating double ended blade set. (see Schneider, J., Modern Photo 06/1978, pp54, 60.
Note that Kodak seem to have made a lot of studies of a 115 film process for a 35mm film for 28x36mm
format: it was to be perforated with 4 elongated perforations on one side only which would imply a pull-andrelax
type feed- preferable to the normal 35mm which is left under tension while being exposed and is
therefore less flat. With then modern f1.2 lenses, the sharpness was said to depend more on film flatness than
on lens design.
Plastic Lenses were introduced for taking on the Pocket Instamatic in 1972 and the performance matched the
f2.7 glass Ektar on the more costly versions. In fact plastic was used for finder lenses on Kodak cameras
from 1952, and for taking lenses on lower cost cameras from 1957. But these will be single component
lenses, not the triplets of the Instamatics.
Ektar (?) f1.9 25mm This was probably a triplet with a big rear additional plastic field
flattener and the third optic was aspheric on the front side. (Modern Photo 09/1978, p21;10/1978. p33) It used
110 cartridge film. It must have then been quite an achievment to make the molds to produce these lenses.
There must be a long series of slide projection lenses possibly with the 5in lens for the "Kodaslide" projector
as an early one and leading on to many on later units. (B.J.A. 1949, p220)
The Kodak disc cameras were issued at PMA /Las Vegas in 1982, and used an aspherical f2.8/12.5mm lens.
Others may have been available. Sales were moderate and the product is now historic.
Chronology Note the code word CAMEROSITY based serial numbers used .

E. Koehler, Wetzlar, Germany.

Antracar f3.5 35mm ? on Lucida

Kohno, Japan.

from Steriflex 3D, 125, Parkway, Regents Park, London NW1 7PS

Stellux, Wonderview Optical Industries, UK.

A 300mm f16/f90 Kohno lens was used on a Steriflex camera for lenticular stereo effect pictures where the
aperture moves over the interocular distance during the exposure. It gives a 10x8in print of high quality with
exposure of 1,2,4,8sec as options. Other lenses are 400mm and 150mm macro. The camera was electrically
powered and weighed 26.5lb. Quality was impressive.

A.M.Koken, Japan.
Noted for a f6.3 400mm 'Non Achromat' listed for Novoflex It is actually likely to be an achromat surely?

V. Kola, Modrany and Prague, Czechoslovakia.

Rekolar f6.3 75mm on Box Kolex
Rekolar f4.5 75mm on VP plate. This was noted at No209,50x.

Kol This name is found on postwar Japanese cameras, especially early Canon, Nicca, as in Kol Xebec f2.0
50mm and Sun Xebec. A K.O.L. Special f3.5/75mm lens No66,20x was used on a Mamiya Six camera.

Kollmorgen Optical Co., USA.

USA maker noted for a Process lens f9.0 415mm in a B&J catalogue.
They have also been noted as makers of a pair of Curvulon D-150 brass 70mm projection lenses.

Komura (Sankyo Kohkei), Japan.

Later in 1975 as Komura Lens Manufacturing Ltd, 17-3, Kasuga 2-chome, Bunkyo-Ku, Tokyo, Japan.
This brand was sold in the UK in the 1960-1970 period, in M39x26 and rather later SLR mounts. It often offered
rather high speed designs in mounts of excellent appearance. They are relatively heavy and have brass
focusing helices. Note how relatively near the serial numbers are. Review Camera 35, Dec 1966, p48 for a
mixed set of M39 and SLR lenses.) There were also a few Contax fit lenses such as the f3.5/135mm listed
below.
[The B.J.P. 08/05/1981 p464 mentions the insolvency of Komura in 1980 and the probability that a binocular
maker would adopt the plant.]
There seem to be a parallel set of large format lenses as Commercial Komuras as a:
Commercial Komura f6.3/210mm No210,55x was noted fitted to a Hasselblad 500C at auction.
35mm Lenses for M39
W-Komura f3.5 28mm 6g/4c symmetrical, probably Gauss c.1964-69. Seen at No2,930,56x;
2,930,60x; 2,930,64x. This has a black mount with a touch of chrome.
Komura f2.8 28mm 6g/4c symmetrical c.1968.
W-Komura f3.5 35mm 6-glass symmetrical c.1963 This was seen in black, at Nos 2,860,04x,
2,820,64x. This seems to be a ?Gauss type.
Komura f2.8 35mm 6g/4c Gauss c.1963-1968. Black, seen at No2,842,13x
W-Komura f1.8 36mm 6g/4c Gauss Q18
Fig 011 019 Komura Lenses in M39: f1.8/35mm; f2.8/35mm; f3.5/135mm; f2.8/135mm.
Komura f1.8 80mm c. 1965.
Komura f3.5 80mm c.1961-1968.
Komura f1.4 85mm 7g/5c Gauss
Komura f1.8 90mm noted in 1963, possibly an error for the 80mm lens.
Komura f3.5 105mm 3-glass triplet c. 1965-1968.
Komura f2.8 105mm`5-glass 1968.
Komura f2.5 105mm For Exakta at No3,350,19x, 4 separate glasses, ? Q21.
also some are 5g/4c eg for Leica.
Komura f2.0 105mm 5g/4c c. 1963-1968.
Komura f3.5 135mm 5g/4c c.1961-1966. This was seen at No2,236,33x, in black (M39x26).
There were also a series for Contax bayonet. The example seen at No423109x seemed to be disappointing as
the bayonet did not fit Kiev and seemed not to couple correctly to a Contax IIa. However it is among the very
small group of aliens made for the Contax so it has a rarity interest. It is not known how many other sizes
were made if any. Some 135mm lenses for SLR are 3 glass triplets.
Komura f3.5 135mm One of these at No3,233,039 was a preset lens for M42 and was partly
dismantled as the inside had got very dirty. It seemed to be a 2+i+1+1 design, hard coated and the rear
glasses were easy to remove with a span tool after the head was unscrewed from the focussing barrel. The
helix seemed to be brass/alloy, a good combination, and was still really tight.
Komura f2.8 135mm 5g/4c c.1961-1968. This was seen at Nos 2,235,23x and 2,241,78x,
2,215,37x for M39x26, with finder. These are in black enamelled brass with alloy and some bright finish.
Fig 011 019 Komura Lenses in M39: f3.5/135mm; f2.8/135mm, f1.8/35mm; f2.8/35mm.
Komura f4.5 200mm 4g/3c Rangefinder coupled- a famous lens as the longest coupled!
There was a special viewfinder and rangefinder magnifier to go with it.
Komura lenses for reflex housing and SLR's was made in longer sizes such as:
f3.5,200mm; f3.5, 300mm; f6.3, 400mm; f7.0, 500mm; f8.0, 800mm; in c.1961-1968.
Some of these match Viso 111. These are in a shortened tube and adaptable to most SLR's. One seen was a
500mm f7.0, at Nr 1,238,83x, as a short head, which had been removed from the focusing unit. It is a 2+i+2
tele, covering a fairly large field. Sharpness was really good and 6x9cm was covered.
An impressive but undated unit had a focussing mount with scales for 300, 400, 500mm lenses which were
supplied to fit the front interchangably. It was relatively bulky and may have been for 6x6cm as well as 35mm
use. The lens head at Komuranon f7/500mm No501001x resembles the f7/500mm above, but the unit looks
later in date and the front curve is flatter.
A 1964 list has:
New f1.4 85mm 7g/5c
f2.0 105mm. 5g/4c
New f2.3 135mm 5g/4c
New f2.0 135mm 5g/4c
The above seem to need a different Unidaptor mount typeU3.
There were 18 lenses from f3.5, 28mm to f8.0 800mm, all for SLR's and these included the following:
28mm f3.5 8g/5c Retrofocus
35mm f2.5 7g/5c Retrofocus
36mm f1.8 in 1963
85mm f1.4 in 1963
100mm f1.8 5g/4c
105mm f3.5 3g/3c
105mm f2.5 5g/4c
105mm f2.0 in 1963
135mm f3.5 5g/4c
135mm f2.8 5g/4c
135mm f2.3 5 element = glass? in 1965, 1963
135mm f2.0 5 element = glass? in 1965, 1963
200mm f3.5 4g/3c
200mm f4.5 5g/4c
300mm f5.0 4g/3c
400mm f6.3 4g/4c
500mm f7.0 4g/4c
800mm f8.0 2 element = glass? in 1965.
Komura lenses for Bronica
Auto Komura f4.5 45mm
Auto Komura f3.5 50mm
Komura f2.8 100mm
Komura f3.5 135mm
Auto Komura f3.5 150mm
Auto Komura f4.0 200mm
Komura f3.5 300mm
Komura f5.0 300mm Preset
Komura f6.3 400mm Preset
Komura f8.0 500mm
Komura f7.0 500mm
Komura Large Format Lenses
"Komura Fish" A large format fish lens has been mentioned at say 30mm but no details are known. It will be
scarce or rare.
Komura f6.8 47mm This was 8 glass in 1972 for 95° in Copal MXV shutter.
Komura f5.6 75mm "Super Wide"
Komura f5.6 90mm
Komura f6.3 90mm "Super Wide"
Komura f2.8 152mm in Copal No3.
Hexanon f4.5 180mm This seems to be a large format lens under the Hexanon name.These were of
6-glass design
Komura f6.3 210mm in Copal No1.
Komura f5.0 300mm.
Komuranon f8.0 400mm
Enlarging Lenses:
Komuranon-E f3.5, 50mm; f5.6, 75, 105, 135, 150mm.
Extenders (Kom001, Kom002)
Telemore Extender 2x for most SLR's in two types.
Extender 2x for Hasselblad, Bromica for 6x6.
Extender 2x for Mamiya 67 and for Pentax6x7.
Extender type 95-11-7MC for Leica M.
Most Telemore converters were 4 glass in the 1975 manual but for 35mm SLR there were both 4 and 5 glass
versions. The 4 glass was coded Telemore 95 while the 5 glass was not.

Konishiroku Photo Ind. Co Ltd., Tokyo, Japan.

UK Agent Northgate (Cameras) Ltd, 77, Copthall Ave., London E.C.2.
Later J. Fallowfield to 28/12/1977.
Then Konishiroku UK, at 51, High St., Feltham Middlesex.
European office was : Hamburg, W. Germany.
USA: Agent: Konica Camera, 76, West Chelten Ave., Philadelphia, 44Pa, USA.
also P.O. 1060, Woodside, N.Y. 11377 (1976).
The advert. in B.J.A. 1958, p599 says "since the establishment ---in 1876, we have been introducing constant
improvments in cameras, sensitizers and techniques, and commenced camera production in 1882--.Since
then, we have established an Optical -- Department--." They were then selling the Konica III with Hexanon
f2/48mm lens.
Optor f3.5 25mm for 14x14mm format this will be on the Snappy camera and has also
been spelled Optar, and there was a Snappy Telelens f5.6/40mm to match it.
Konica
Hexanon f2.0 50mm
Hexanon f2.0 48mm B.J.A. 1958, p599 as above.
Hexanon f1.9 50mm
Hexar (?) f3.5 50mm The maker is uncertain but probably Konishiroku related and it was
fitted as a Q15 type lens on a Chiyoca (1951-2); Melcon(1955). It was also fitted to a Konica 1 in a MCM note
1/1953.
Hexanon f2.8 50mm on Konica, "gave a good account of itself" in MCM 1/1953, 9/1953.
Hexar f4.5 50mm, This was noted at No14,22x as a M.I.O.J. item.
Hexar f4.5? 75mm (A Hexar of unstated source was fitted to a gun camera in WW2.
Hexanon f1.2 50mm (Kon001)
Hexanon f1.2 58mm for SLR.
Hexanon f1.2 60mm 8-glass, this is a sought after lens.
Hexanon f3.5 50mm Q15 type
Hexanon f1.8 50mm 6g/5c.Gauss
Hexanon f1.8 48mm 6g/5c Gauss.
Hexanon f2.0 48mm 6g/5c Gauss.
Hexanon is a respected Trade Name, not a number, and it seems not all are of 6-glass design.
Hexanon f4.0 38mm This was a fixed focus lens on the Konica C35EF-P March 1977.
List for M39x26.
Hexanon f1.9 50mm
Hexanon f1.9 60mm
Hexar f3.5 50mm 1951, collapsible.
Hexar f3.5 50mm 1952-1953, rigid.
Hexanon f3.5 50mm collapsible.
Konica Auto
Hexanon f1.9 47mm (1964) on Auto S (Kon002)
Hexanon f1.8 45mm (1965) on Auto S2.
for Koni Omega for 6x7cm
The origin was an Alfred Simmon/Louis Weissglass Omega camera from 1953-58 with fixed lens, which was
retrod when Simmon joined Berkey Inc in 1962 as Berkey had Japan production facilities. Result was the
Konishiroku built Koni-Omega with interchangeable lenses.
This was tested in Modern Photo 02/1968 p74 with f5.6/60mm and f3.5/90mm lenses at Nos 3,802,897 and
3,763,358 respectively. The review seems to like the lenses especially stopped down a bit, but actually
comments little on them.
Hexanon Wide f5.6 60mm On launch this was a f5.6/58mm.
Hexanon f3.5 90mm
Hexanon f3.5 135mm
TeleHexanon f4.5 180mm
It was new in Popular Photography, 04/1974, p102. They noted care was needed to avoid damage to the rear
coupling pins, and especially in quickly changing the lenses from their protective cases. The 80mm (?90?) and
135mm lenses were noted give excellent results and worked fast.
for Konica Reflex, about 1965.
Hexanon f2.8 35mm
Hexanon f1.8 52mm
Hexanon f1.4 52mm
Hexanon f2.8 100mm
Hexanon f3.5 135mm
Hexanon f3.5 200mm
Hexanon f4.5 400mm
Hexanon f8.0 800mm.
Konica Evidence Camera
Hexar f2.8 45mm (Feb. 1963)
Konishiroku Lenses for Konica AutoReflex, AutoReflex T,A,W.
These are pre-1972, for 35mm and perhaps 6x6 cameras.
Konica f2.8 15mm Full frame Fisheye 10g/7c, 1980.
Konica f4.0 21mm seen in Camera 35, 12/1967.
Hexanon f4.0 21mm Auto
Hexanon AR f3.5 28mm Auto
Hexanon ARP f3.5 28mm Preset
HexanonAR f2.8 35mm Auto
Hexanon ARP f2.8 35mm Preset.
Hexanon AR f1.8 52mm
Hexanon AR f1.2 57mm Auto
Hexanon AR f1.4 57mm Auto
Hexanon AR f1.8 85mm Auto
Hexanon AR f2.8 100mm Auto
Hexanon AR f3.5 135mm Auto
Hexanon ARP f3.2 135mm Preset also in f3.5 version(?)
Hexanon AR f3.5 200mm Auto
Hexanon ARP f3.5 200mm Preset.
Hexanon ARP f5.6 200mm
Hexanon AR f4.5 300mm Auto
Hexanon AR f6.3 300mm Auto
Hexanon AR f4.5 400mm Manual iris.
Hexanon f8.0 800mm Manual iris.
Hexanon Macro f3.5 55mm Auto
Hexanon ARM f8.0 1000mm mirror system, uses filters.
Hexanon VFL f2.8 35-100mm Auto Zoom.
Hexanon f3.5 47-100mm Auto Zoom
Hexanon f4.0 58-400mm Manual zoom.
Hexanon f3.5 80-200mm Auto.
Hexanon UC Auto f4.0 80-200mm This was noted in Pop Photo 04/1976 for Konica N-T3 etc.
Hexanon f4.5 70-230mm Zoom
Mr Tadashi Kasahara of Konica said in a interview in Asahi Camera mag. in c.1968 that optical correction
zooms were being made with little shift in focus, but seemed to admit that good even correction all through the
zoom range was still quite hard to obtain. And coating then tended to give a moderate contrast and yellow
caste.
Konica Hexar
Launched in 1999, this is a costly (£1,300) rangefinder camera with a bayonet mount [compatible with Leica
M] and its own range of lenses. It was launched with f2.8/28mm, f2.8/90mm and f2.0/50mm M-Hexanon
lenses (Am. Photo 22/01/2000 p23), and they were described as 'very sharp, flare free and with well controlled
aberrations' but not with the indefinable image quality of some lenses in this fitting.
Hexanon M f2.8 28mm
Hexanon M f2.8 90mm
Hexanon M f2.0 50mm
Konitor- a possible Konishiroku lens.

Korelle/Franz Kochmann, Dresden A16, Germany.

They were essentially camera makers, and may never have made a lens, but gave the name to the Enoldar
f4.5 on the Korelle 6x6 and the Enolde f6.3 on the Enolde V about 1918 .

Kristall, Italy.
This Italian camera was sold with a series of lenses, probably bought in. These included Kristal Krinar, (which
may be unnumbered), Trixar, Vistor, Tesog (Galileo) Tetragon (Steinheil). These do seem to be associated
with Kristall but may be agents fitments as the thread was M39x26 and they could have exchanged lenses or
bought supplies on the market. (This can also apply to other like situations.)
Koristka, Milan, Italy.
Koristka was (or are!) a (or the) leading Italian lens maker in the 1890's, who was licenced by Zeiss to make
the new Anastigmats for them. These are not common but do turn up fairly steadily. The company also made
microscopes (see B.J.A. 1925, p577) and other optics. After WW2 production seems to have been as Galileo,
which seems to occur in the 1930's first as a trade name. Some Koristka exports were made in the 1920's,
and in the UK the City Sale and Exchange Ltd. seems to have been a major outlet, selling as Koristka Salex
(B.J.A. 1924, p565). The lenses seen were Triplets, and seem well made, high quality items.
The major collectible today is probably the Ars portrait lens.
(a) stage 1 the information is:
Little Ars Portrait lens f6.0
Large Ars Portrait lens f7.0
Both are uncorrected meniscus lenses with a front stop.
(b) stage 2;
Lens elements are interchangeable on the same mount. (Amateur Photo. 25/07/1923, B.J.A. 1924, p567).
Diameters of the glasses were:
Little Ars: 40mm, 6-9in focus.
A later list shows: f2.2, 90mm for 6.5x9cm; f3.7, 150mm for 5x4; f4.2, 168mm for P.C.; f4.5, 180mm for
1/2plate. (City Sale and Exchange, advert., B.J.A. 1923, p593)
By 1924 this was: f3.7/6in for 1/4plate; f4.2/6.375in for P.C.; f4.5/7in for 6x4in; f5/8in for 6.5x4.75in; f5.6/9in for
7x5in. Note that the 40mm common diameter of these lenses acts as a corset to limit the apertures! This
applies in each series.
Medium Ars: 70mm, 10-22in focus. This was for 1/2 and 1/1plate.
Medium Ars
By 1924, this was: f3.6/10in for 7x5in; f4.3/12in for 7.5x5in; f5/14in for 8x6in; f5.7/16in for 8.5x6.5in; f6.4/18in
for 9.5x7in; f7.0/20in for 10x8in; f7.8/22in for 12x10in.
Large Ars: 120mm,16-24in focus.
By 1924, this was: f3.3/17in for 8.5x6.5in; f3.7/18in for 9.5x7in; f4.1/20in for 10x8in; f4.5/22in for 12x10in;
f5/24in for 15x12in.
This data for a and b may not be self consistent as it comes from sources of different date and the product
may have been modified. One reason to suggest this is the presence of the 'medium' lens only in the later
advert.
Other
Zeiss Anastigmat f12.5 62mm noted on a very small format magazine(?) box camera.
Protar V11a noted as a 337mm f9.0 lens in brass. This is an example of the Zeiss relationship.
Tessar f3.5 50mm for 1918 Zollinger 35mm movie camera.
Tessar f4.5 45mm for 1918 FACT camera.
Koristka f5.5 on Murer Mite camera. This type may be the same as a f5.5 seen with 4
separate glasses, possibly a dialyt. It is an older lens than the others below and has no serial number.
Koristka Salex f4.5 4-glass Symmetrical (B.J.A. 1923, p593, 1924, p565). Not all of these are
symmetricals. Thus a lens seen is a triplet or ?Q15 as an 5.66in f4.5 (Q15) in a dialset Compur at lens
No99,603/ Compur No744,616 about 1926. Another version seen twice was a 210mm f4.5 Triplet No98,91x
and No98,92x (Layout Q14 or Q15) type, a nice solid item in a black brass but optically simpler than the
above would suggest. Thus two types may have been made. It was listed as: 5.25, 6.0, 7.0, 8.25, 10in foci.
Use 6in for 5x4. Equally other Salex lenses may have originated elsewhere! The 210mm had an iris stuck up
with old grease which was freed with solvent after freeing the lens cells.
Fig 009 029 Koristka f4.5/210mm (2x) at rear inc No98,922 and (anon) Salex f5.7/108mm at front.
Koristka Salex enlarging lenses: eg f6.0 (Amateur Photo., 29/10/1924, p429).
Victor f3.5 50mm for Gamma 1 (Bayonet mount, 1947) at lens No536x on body
No00241, and Gamma II at No85,03x on body No10,80x, also on Janua and St Giorgio. Otherwise given as
55mm, collapsible, at No75,47x, 75,6xx and 75,48x, 75,65x, and 75,37x on Gamma.
Median f6.3 on Ganzini Nixe.
Aether f3.5 45mm on FACT Autocinephot (1918, =Sept prototype) This was developed
by Tartara in Italy and the idea transferred to DeBrie of France when the lens used was the Berthiot Stylor
f3.5/50mm, so the original Aether will be rare.
Meridian f6.8 on Murer ML (1918)
Equator f5.5 This aperture was noted as a f5.5/240mm at No4,61x on a Fiamma tailboard
camera at auction.
f6.3 63mm on Stereo (1918), also as a 5cm at No91,89x on Argus No19x.
f7.7 210mm
f3.5 50mm on Argus
Aerostigmat f4.5 210mm, 300mm, eg on OMI AL 30 aerial camera, (1935).
Tecnar f3.5 50mm on Herman (1950) at No204x, a late product?
Proximar Teleobjective, eg in f6.0, 18in .
Teleaccessory, made in Models A and B.

Kowa Optical Industries Ltd., Tokyo, Japan.

An early item may be the Kowa anastigmat f4.5 on the Peace III for 14x14mm.
Prominar f3.5 45mm Triplet, Q14
Prominar f2.8 48mm Triplet, Q14.
Prominar f1.8 45mm 6g/4c Gauss Q18
Prominar f1.9 50mm 6g/4c Gauss Q18
Prominar f2.0 45mm 6g/4c Gauss Q18
Prominar f3.5 75mm Q15
Lens Programme for Kowa 6 and 66 rollfilm SLR.
All lenses with auto iris.
Kowa f4.5 19mm Fish eye, very rare. 14 glass focus to 40cm It was a sensation at the
Chicago show in Modern Photo 07/1971 at $2,600 in a leaf shutter- the case and mounting bracket were
included free.
Kowa f4.5 35mm. 10 glass focus to 40cm, 98°, 95mm filter.
Kowa f3.5 35mm rare.
Kowa f4.0 40mm 9 glass, focus to 40cm, 95mm filters.
Kowa f3.5 55mm 5 glass, focus to 50cm,77mm filters
Kowa f2.8 85mm This was reviewed on the Super 66 in Pop Photo 04/1976 p91 and
was obviously a good quality lens in a alloy/brass mount, the sharpness improving somewhat on stop down as
did the contrast away from the centre.
Kowa f5.6 110mm Macro lens. 5 glass, focus to 80cm, 67mm filters.
Kowa f3.5 150mm. 6 glass, focus to 1.5meters, 77mm filters.
Kowa f4.5 200mm. 6 glass, focus to 4 meter, 67mm filters.
Kowa f5.6 250mm
Kowa f8.0 500mm very rare. 7 glass, focus to 8 meter, 95mm filters.
All these items were in the launch prospectus, but it is not known if all were actually issued.
On fixed lens 35mm cameras.
Prominar f2.0 50mm 6g/4c Gauss for Kowa E (1963), Q18.
Kowa f2.8 48mm Triplet, Q14, in leaf shutter for Kowa H (1963).
Kowa f1.9 50mm about 1967 onward on Kowa SET/SETR.
Kowa f1.8 50mm same
Kowa f3.2 28mm on Kowa SW wide angle camera, fixed lens.
Kowa f4.0 19mm on Kowa 190 a specialist item.
Interchangable Lenses on Kowa SER, SETR (1965-1970 period).
Kowa f3.5 28mm
Kowa f2.8 35mm
Kowa f3.5 100mm
Kowa f4.0 135mm
Kowa f4.0 200mm
Kowa-Graphic f9.0 270mm This seems to be a large format lens.
Kowa enlarging lenses
These were noted in B.J.P. 15/02/1980 p147 as:
f2.8 50mm
f4.5 65mm
f4.5 105mm
f5.6 135mm
They were all of 6g construction with click stops and M39x26 thread and other foci were expected to extend
the range.
Kowa were one of the lens suppliers carried by Mitchell for the BNCR system in 07/1976 lists, as follows:
Cine Prominar T3.5 15mm
Cine Prominar T2.6 20mm
Cine Prominar T2.3 25mm
Cine Prominar T2.3 32mm
Cine Prominar T2.3 40mm
Cine Prominar T2.3 50mm
Cine Prominar T2.3 75mm
Cine Prominar T2.6 100mm.
These were the less expensive series on Mitchell but still cost from $1,120 (15mm) to $605 (100mm).

E. Krauss, Paris, France.

Krauss were noted as the licencees for Zeiss Anastigmats for France, so that a larger range of these were
probably made than is apparent here. They seem to have sold a bigger proportion of anastigmats than others,
often on Jumelle cameras from about 1896 and were a major French maker judging from the entries in FBB
and the regular appearance of items at auction. For structures, see the Zeiss or B&L sections. One small
point is that they continued to make anastigmats at a time when the trade name 'Protar' was in use and
applied it to their products.
They were taken over by Anciens Etablissements Barbier-Benard et Turenne, Paris in 1934 but Quatryl
lenses by Krauss were listed in 1935 and a Spido Press was offered in B.J.A. 1938 p618 with Tessar Zeiss
Krauss f4.5, so they were still available then and 1934 is not a cut off useful for dating equipment without
reserve. They made the EKA 35mm camera for non-sprocketted 35mm film in the 1920-1930 period, esp. 1925
from a leaflet. This was fitted with a f4.5/50mm Zeiss/Krauss Tessar lens, and is now a scarce and valued
item.
Zeiss licensed designs
Anastigmat Series 11a f8.0 (B.J.A. 1901). These may be represented by two f8.0 lenses, an 110mm at
No5,98x and a 205mm at No7,59x in Decaux shutter at a London auction. f8 was offered:
(a) on a Stereo Box in 1894:
(b) on a Carpentier Jumelle in 1895, etc. eg. an f8/110mm No337x, 13,86x and 22,94x, and on a Joux stereo
in 1896.
Fig 014 006 Krauss Zeiss Protar Ser IIa f8/110mm No34,143 in alloy in front of the set of Ross lenses
Fig 014 008 Zeiss-Krauss Protar Ser V f18/11cm No156,296- ie 'Protar' was used by this licensee.
Anastigmat Series f12.5 98mm One of these at No777x was fitted as a replacement to a Photosphere
and may indicate what was original. Another case No169x for 9x12cm, the Photosphere used a Krauss-Zeiss
Protar f8/124mm No42,35x. This is information which is not evident in many pictures of them.
Anastigmat Series 111a f9.0 same. They were noted in 1900 as 75mm lenses on a Boulade Stereo Alpine
for 6x13cm.
Protar Anastigmat Series 11
f6.3 50mm no iris, in rack mount A
This may be off a microscope or macro outfit. It is probably not typical of the programme sold. But f6.3
Protars were sold, eg at No32,99x for a 133mm lens on a Gaumont Jumelle No192x.
Fig 027 008 Zeiss-Krauss Anastigmat 50mm no iris
Series V f18 This was seen as a 110mm at No156,29x in brass. It looks nice!
Series VII f12.5/6.3his was noted as a single cell ie at f12.5/c.360mm at No406x in its individual
brass mount and without any stops, as if it was one of a pair, originally f6.3/210mm but provided with its own
panel for long focus use.
Unar f4.5, f5.0 These were offered in B.J.A. 1901, p1514. a 45mm version was used on an
early 1918 FACT movie camera. They were listed for a small plate in 1903 as alternate to Protar or Tessar.
f4.7 145mm This is the example seen, at No42,44x in a sfim.
Planar f3.8 This was noted at No44,55x, as a 160mm on a Sigriste camera. In fact it seems
to have been a favourite with this make in f3.6 for 6x9cm and f3.8 probably for 9x12cm, due to the need for
speed on this focal plane camera, and the fine correction especially at smaller apertures. Thus a f3.6/110mm
No28,92x was noted on an 6x9cm from about 1899.
f3.6 This was noted as a 120mm at Nos 46,71x and 46,71x on a Stereo camera.
Tessar f6.3 112, 135, 145, 150, 210, 500mm and others. These were seen at serial No's
87,79x-111,02x. These are fairly common in the UK, often in quite large sizes such as 500mm f6.3. A 54mm
f6.3 was (retro?)-fitted to an approx.1895 Lumiere movie camera. But they were listed new by 1902 as
f6.3/84mm and later as f6.3/90mm, and were an option on the 1903 Block Notes. Some could be very heavy
as the 500mm version. Krauss did make some very big lenses, a f5.0/610mm No28,10x being seen at
auction, but of unknown type.
A f6.3/145mm Tessar No55,16xwas fitted to a Takyr No1044 thought to be about 1903.
A pair of f6.3/84mm Tessars were fitted on the StereoSpido stereo camera at serial numbers 130,66x and
130,66x.
Fig 027 010 Zeiss-Krauss Tessar lenses f4.5/210mm and f6.3/112mm (shutter) and 150mm (brass barrel)
Fig 027 032 Zeiss-Krauss Tessar f6.3/50cm No111,011 This is a very solid heavy lens and just may be an
aerial lens.
Tessars were offered by Krauss after WW1 [unlike eg. in the UK where Ross renamed their lenses.]
Tessar f6.3 72mm This size was used at No52,36x on a 4.5x6cm Block-Notes.
Tessar f4.5 50mm on EKA. (1924) and as a 58mm on a 1909 Lumiere movie camera.
Krauss were offering f4.5 Tessar as an 85mm lens by 1906 on the Stereo Spido, and it was an important
product up to the 1914 war, eg on the Homeos below, also postwar eg in B.J.A. 1925, p576). 55mm lenses
were offered on the Cornu L'Aeroscop in1922.
Tessar f4.5 4cm for 18x35mm on a revolver camera. (1921) One was noted at auction at
No134,20x on a revolver camera.
f4.5 28mm for Homeos It was noted as a pair at No149,61x on Homeos No31x.
This was an early 35mm still camera from 1914-1920 period and other lenses were from Optis (no details) and
Zeiss (probably).
Tessar f3.5 50mm This was a common fitting on French movie cameras from about 1900
until the 1930's. It was an option on the EKA in 1924.
f3.5 35mm This was noted on an Eclair 35mm movie camera about 1924.
f3.5 20mm This seems to be common on early Pathes from the 1930's. It may be
the same used on a disguised camera by Gaumont for 16mm still photography noted at auction.
Tessar f2.7 5cm No154,50x. This was fitted to a Debrie 35mm movie camera.
Apo-Tessar f10 640mm This was noted in an old B&J list.
Krauss Tessars have a very high reputation today on the used lens market, for sharpness and especially
contrast, and are really sought after items.
Doppel Protar These were offered singly and in pairs.
Non-Zeiss Lenses
Quatryl f2.7 40mm This was as a movie lens retrofitted(?) on a 1900 Prestwich camera,
and eg on Jumelle Sigrist, and is a Q15 type. New applications may have been from the 1930's in place of the
Tessar, as it has been noted as a f4.5/105mm then and as a f3.5/165mm lens on a Krauss Manorex aerial
camera in 1933. Other aerial lenses noted were just classed as Krauss 'anastigmats' on an 1933 aerial survey
camera.
Trianar f6.3 80mm on Gaumont Stereo, Triplet, Q14? It replaced some of the Tessar
applications, eg on Stereo Spido.
f3.0 25mm on Pathe 16/9.5 cameras about 1933-1935. It was noted at
NoRO104x, on a Pathe 16mm hand camera.
f3.5 20mm This was fitted at No253,54x to a Pathe 9.5mm cine.
Roller Anastigmat f4.5 80mm This was noted in a dialset Compur shutter.
Kalloptal f7.7, This was a separable anastigmat for 85°, layout 4-glass Gauss.
see advert. in B.J.A. 1901.
Krauss Rexyl f1.8 25mm for 16mm cine.

G.A.Krauss, Stuttgart, Germany.

also as Krauss and Pfann for the Polyscop. They were camera makers, probably using bought-in lenses for
the Peggy etc. where a Zeiss Tessar f2.8/5cm was noted at No1,336,99x. There were a set of Krauss
Anastigmats f6.8, f6.3, f5.5, f4.5 on the Krauss Rollette in B.J.A.1928, p717; 1930, p712 advert.) where the
advert was almost unchanged in 1927-1930. In 1925, 1926, there was only a f6.3 Rollar on the Rollette.

Dr Krugener, Germany.
They were noted for a Simplex anastigmat f7.7/60mm used as a pair on a 45x107mm Plastoscop.
this may be the same as:

Krugener, Bockheim/Frankfurt M, Germany.

This was an older maker later absorbed in ICA.
Extra rapid Aplanat f9.0/13cm on Delta in 1904.
f8.0/12cm as alternative to the above.
Rapid Periscop f12 on Delta Periscop (1904)
Delta Periscop on Delta camera (1900).
Euryscop anastigmat no details, on 1905 Delta.

K.S., Japan.
Verona Anastigmat f3.5/60mm at No077x on a 127 rollfilm Vero 4 camera.

KW=Kamera Werkstetten, Dresden, Germany.

They were essentially camera makers and these are likely to be bought in items. The source is not known.
However they did use a Steinheil Actinar f4.5 on the rollfilm reflex in 1937. (B.J.A. 1937, p115advert.) The best
camera was probably the Patent Etui and it came with up market lenses such as Tessar, Eurynar, and others.
Anon f6.3 This was the anastigmat used on the Pilot 6 roll film reflex for 6x6cm in
1937.
The camera also offered f4.5 and f3.5 alternatives- these were not named, but probably KW anastigmats as in
1936.
Ennatar f4.5 105mm on box camera.
KW anastigmat f4.5 75mm on Pilot reflex. (1936)
Pilotar f2.9 75mm on Pilot Super (1938)
anon f2, f3.5, f4.5 This was the aperture choice in the 1937 B.J.A. for the 3x4cm Miniature
rollfilm reflex.
"Wetzlar Wastar" f2.8 50mm on Rival Reflex. (1955).

W.D.Kuhn, Berlin, Germany.

Lomar (or Lomara?) anastigmat f4.5/6cm, in pairs on Lomaraskop stereo 1933. The source of these is
unknown.

Kurt Kuhn, Wetzlar, Germany.

The Reka camera for 35mm used Kuhn Rekagon f2.8/50mm and Rekatar f2.8/50mm and these may have
been made with the camera, but the earlier Reka IIS used a Reka-Kata f3.5/38mm which sounds as if it was
bought in. There was also a Flexameter with a Rekatar f2.8/50mm lens, a sort of clip-on reflex finder.

Kuhnert, Fritz, Freiburg, Germany.

He was a lens and camera maker, best known perhaps for the lenses for the Futura, a rigid bodied 35mm
camera with interchangeable lenses from Futura of Freiburg. That seen was an Elor, f2.8 5cm No30,82x,
coated. The Elor was also used as a f2.8/40mm lens on the EFKA 24x24mm camera which Kuhnert supplied
under his name, where it was noted at No10,69x on body 10,58x.
Fig 008 063 Kuhnert, Freiburg, Elor f2.8/5cm No30828.

Kurbi & Niggeloh, Germany.

UK Agent Actina, London, UK.
They made a series of low cost cameras with lenses such as Trinar f2.8/45mm on Bella, Biloskop f8 on
Bellalux, and Biloxar f5.6 and f3.5 at 38mm on the 24x24mm Radix- a common import into the UK in the
1950's, through Actina of London. The Radix was probably the most ambitious and adverts spoke of it allowing
good 12x10in enlargments. (B.J.A. 1953, p43)

Kyoei, Optical Co,Ltd., Japan.

The trade name seems to be Acall, making lenses for M39x26 as follows:
W-Acall f3.5 35mm
W-Acall f2.8 35mm
Acall f3.5 80mm
Acall f2.8 105mm
Acall f3.5 105mm
Super Acall f3.5 135mm This was seen in black and chrome mounts at No 71,59x, 91,24x
and 92,01x. These use alloy-on-brass focus movements, and seem a very solid item. It is probably a Q23 type
from the reflexions. These seem to be relatively common.
Fig 011 033 Kyoei Optical Co Ltd Super-Acall f3.5/135mm No92,012 in M39.
Acall f4.0 250mm (Contrary to one report, this is not rangefinder coupled)
J.L.,Paris, France.
This is the initial on the following lens. Further products are not known, nor is the makers name- at least in the
UK.. Telec is relatively common in spite of this.
Telec f4.5 90mm This is a very compact moderate price 2+2 telephoto lens in a
characteristic white metal mount apparently available in M42, Exacta and probably Paxette and at least one
other. The example seen was No3,38x, and was for M39.5 or M40 thread and about 41mm register, and is for
an unknown camera, but not Leica or Wrayflex.
Fig 030 002 J.L.Telec f4.5/90mm No3387. (Fit unknown!)

Julius Laack Soehne, Curlandstrasse 60, Rathenow, Germany.

A note in B.J.A. 1934, p309 says they were then completing their 50 year, so the foundation seems to be
1884. Thus they were an old established maker, initially with a series of Aplanat type lenses but seemingly
unknown in the UK as one author says they were a new firm after WW1- and later they became a major
interwar maker, with long lines of lenses in advertisements in the 1930's, though they are not very common in
the UK. This may merely indicate their marketing policy or be due to chance. But it does seem strange to
have such a big programme with so little product seen. One possibility was that a major expansion was taking
place in the 1930's and never fully saw the light of day due to the war. This was true of other makers, and it
would be a matter of chance whether a firm survived and reestablished itself postwar, seemingly in the Eastern
zone. (Rathenow is about 70km west of Berlin.)
Rather more of their lenses appear at auction, suggesting a real interest in cameras such as the 6x6
Bayerflex, Schalie-Collee 16mm cine and Phoenix cameras which were among users.
Major adverts were in the B.J.A. 1938, p704 for the enlarging lenses Texon f4.5 and f3.5 and the Anastigmat
Definon f4.5 and f6.3, and in 1939 p692 for the Dialytar, Pololyt, Texon and Definon. (Incidentally, it was
Definar lenses noted in other sources. And Texon may be noted under another supplier in the UK).
The firm was still active in 1941, but does not seem to have reemerged fully after the war as there was only
one noted use, or else it did not sell in the UK. One possibility was that a major expansion was taking place
in the 1930's and never fully saw the light of day due to the war and damage to the plant. Postwar lenses
seem to be very few but a Tegonar has been noted. Also the postwar regime combined plants in several cases
and Laack may have disappeared as a result of such a combination.
Early Types
Atelier Schnell arbeiter A Petzval type lens. They incorrectly described this as an 'Anastigmat" which it
was not (see Frerk), but it may have been a redesign to reduce astigmatism.
Polynar This name was used on RR design lenses as follows.
Doppel Polynar f4.5-f6.3 This would seem to be a portrait series from the speed.
Polynar f6.8 This was given as the normal aperture- possibly a detective aplanat. It
was noted on a Rollfilm Knirps as a f6.8/42mm lens.
Polyplan- Frerk gives this as f7.2 and a half aplanat or half anastigmat.
Persor Aplanat In 1926, Frerk lists an f11 Persor.
Extra Rapid Aplanat This was made in f7.7 12in, and confirms with other products that the company must
date back into the early 1900's, or before.
Wide Angle Aplanat f18
Dispar
Pre-1919.
Pololyt f3.5 75mm 3-glass eg in pairs on Beyerflex 2x75mm
Pololyt Anastigmat 3.9 135mm This was noted at No122,32x on a Certotrop 9x12cm camera
No1086x.
Pololyt f4.5 3cm This was used on the Kohnlein Wiko Standard in c.1935.
Pololyt f4.5 50mm on Maniga
Pololyt f4.5 135mm on Tropical 9x12.There also has been a report of a f4.5/135mm
Anastigmat Polyot (sic?) Nr128,67x) on a Ihagee, so Laack may have had an outlet there. Their lenses were
also reported on an Ihagee Kleinbild Projector.
Cine pololyt f2.0 25mm The date of this is uncertain, but is possibly 1930's.
Cine f2.0, f2.3 This was made in 15-85mm and was a Petzval type cine lens.
Dialytar
This seems to be a group of lenses, of varying aperture and design. As with the next group, Dialytar was
expanded in range in 1934-5.
Dialytar Series T This was a series available by 1926 with Q15 layout in f4.5, f3.5,and f6.3 and were
well known. This was a case where Frerk did not have (get) a catalog from the firm for some reason.
Dialytar T=SeriesT f2.7 This was a Q15 type noted in 1934, the "T" perhaps getting rather near in
suggesting the design. It was seen as a 3in f3.5 C-mount lens at No265,37x in black and chrome finish. It was
made in 15- 165mm.
f3.5 20-300mm. Q15. A f3.5/50mm was listed for the K.W. Praktiflex in 1940. It
may also be the f3.5/25mm lens on a Schalie-Collee 16mm cine camera. The lenses on the Bayerflex do not
seem to be coded 'T' but are f3.5/75mm, noted at View 255,45x Take 255,44x; View 255,51x and Take
255,52x. (This looks like a small production run!).
Fig 021 035 Laack Cine Lenses (r) T-Dialytar f3.5/3in No265,372 for 16mm.(front) Polyxentar f1.3/12.5mm
No272,458 for 8mm;
A B.J.A, 1936 p318 note describes an f3.5 'telephoto' of 4 separate components, ie a doppel?, focusing from
infinity to 4ft, for 9.5 or 16mm with a deep hood, at only £6.30- a very modest price then.
f4.5 25-400mm This was another Q15 type. An 12cm example was noted at
No65,83x on a 9x12cm Phoenix camera and a f4.5/165mm at No55,85x was on a Merkel Minerva hand &
stand camera.
f6.3 75-400mm This was another large format Q15 type. Some may also be
dialyts, see below, but the date of the changeover is not known. A Dialytar-T f6.3/105mm pair Nos 81,64x+
8166x was noted at auction on a 9x12cm Stereo Hand & Stand camera.
Dialytar f3.5 78mm, for cine (B.J.A. 1936, p318). Again this is Q15 type.
DialytarSeries P f3.5 300-360mm This was a triplet ie. Q14, of large size for large formats. This
will be a Portrait lens and this would explain the code letter.
Dialytar f4.5 eg 135, 300mm This was a 4-glass. Some of these are Q15 type. (B.J.A.
1934, p625) but as the name suggests, they replaced an earlier series of dialyt design made in 7.5-36cm, and
this is confirmed by Frerk's list for 1926, when dialyts of f4.5 to f6.8 were available and were useful if low cost
items. Certainly Q15 seems to be typical of the UK imports seen, as in a 25cm f4.5 studio lens at No
269,27x. Equally a dialyt type is referred to in H&D. Probably they kept the name when the design changed.
The f4.5/135mm No133,34x in dial set Compur, was noted on a Phoenix at auction.
Doppel Anastigmat Dialytar
f6.8 135mm This seems to be a dialyt type from inspection. It was seen at
No34,80x in a Vario shutter. NB Double Anastigmat was also used for a much faster lens such as a
f3.5/180mm in a B&J list.
Dialytar (Wide ) f6.3 3-8in 4-Gauss type medium wide angle, noted 1940. It was an old product
listed in 1926 already.
Dialytar Wide Angle f8.7 150mm, also 75-250mm to cover up to 100°.
This Dialytar group may have been made in the range f3.6-f6.3 and some may be separable anastigmats, but
it is likely not all were in this design field. The separable versions were to be used at small apertures.
Polyxentar
The Polyxentars seem to have been mainly symmetrical lenses and some were fast ones, for movie use.
Frerk in Photofreund 1936, p89 notes there was a new series of lenses on sale, especially fast small ones at
f1.3, f1.5, and f2.0. This may represent their new Patent. Note that Laa001 is an unusual layout. The aperture
and use of this lens is not known here but may have been used in several types. There was a German Pat.
No665,520/1934 for a Gauss type lens with a 1+1+1+i+1+2 layout where the front is an uncemented version of
the normal type and the rear has a conventional solid inner glass and the outer is covered with a rather thin
negative glass. It looks an innovative type for 1934 but a little tentative in the layout. (App030) They introduced
a new series in 1937 for 8mm filming, and this included the f1.3/12,5mm Polyxentar, and the f2.8/12.5 Pololyt,
the former in particular impressing the B.J.A. with its excellent definition.(B.J.A. 1937, p301).
Polyxentar f6.8 150mm 3+3 glass This was a symmetrical anastigmat 18-36cm in one list.
Frerk says it was a conventional Dagor type. It covered 70-90°. Use 18.5cm for 13x18cm.
Polyxentar f4.5 75-300mm This was a convertible anastigmat.
It seems more likely that these used the structure Laa 001 than the f1.3 but this is a guess. The only lens
seen is so small that the structure is hard to see.
Polyxentar f1.3-f2.0These were fast lenses probably for movie use over narrow angles. The
example seen was marked as a Cine Polyxentar, f1.3 12.5mm at No272,45x. for 8mm cine but with a
17.5mm thread. It may be a Q18 Gauss type.
See Fig 021 035 Laack Cine Lenses (front) Polyxentar f1.3/12.5mm No272,458 for 8mm; (r) T-Dialytar
f3.5/3in No265,372 for 16mm.
A German patent was applied for. One is shown as a 6 glass symmetrical, rather like a Dynar with the centre
glass split in two- or a dialyt with the outside glasses made as pairs. There may be several types. See the
Patent claim above also. Many of the smaller ones were used on Cine Nizo cameras.
Repropolyxentar f9.0 135-360mm This was a process lens.
Late products. These are mainly listed in the B.J.A. in the 1930's, eg in 1937, p656. It also notes a series of
asymmetrical triplet (ie ?Q15?) designs at f2.7-f4.5 as longer focus lenses. The advertisement in 1934, p625
shows a Dialytar Series T section of Q15 type, and states that more than 500,000 lenses had been made by
that date: a definite hint as to serial numbers!. They offered lenses of f1.6, f2.0, f2.7, f2.9, f3.5, f3.9, f4.5, f6.3,
f7.7, f8.7, f9.0. as the f1.3 came later. (B.J.A. 1937) This does not really fit with the serial number of the f1.3
above however. (It could suggest production of lenses without numbers or under another trade name.)
Polyxentar f1.3 12.5, 20, 25mm This was noted in the 1937 B.J.A. as mentioned above.
Pololyt This was a lower price series than some of the above, and seems to have been suggested for amateur
use.
Pololyt f2.9 20-75mm These were cine lenses.
f3.5 35mm This was on Altix 24x24 c.1940. It was also made in 20-165mm.
f3.9 This was in the 1939 advert, but without details eg of use. It may be an f3.5
slowed down by a shutter.
f4.5 75-360mm There was an 30mm version on the Wiko Standard from K.
Köhnlein, of Nürnberg, for 14x18mm on 16mm film in 1939.
Anon f4.5 75mm This may be a Pololyt at No177,45x on a K.W.Pilot reflex.
f6.3 75-360mm
This was a long series of triplet type lenses made in f2.9 for cine, f3.5, f4.5, f6.3 for larger sizes.
Pololyt as f2.8, f3.5, f4.5 was still in production as WW2 was beginning.
Ragolyt f4.5 60mm on Karmaflex.
Regulyt f4.5/ f6.3 105mm This is also Triplet. It seems possible that confusion exists
here as these seem very much alike in name. It was noted on a Matthias 6x9cm folder about 1936.
Cine Lenses f1.3 12.5, 20, 25mm. Some of these will overlap the Polyxentars above. Ariel
notes a f1.3/12.5mm in his list on a 1937 Nizo.
(Texon? f2.7 12.5, 20, 25mm. Ariel has two f2.7 lenses in his index as Texon and
Anastigmat- so they maybe the same product. A Texon f2.7/25mm No195,53x was noted in an auction list
on a Schalie Collee 16mm camera. Or is Texon an Astro design?)
Anons (for these, see B.J.A. 1937, p656)
f2.8 12.5, 20, 25mm
f1.9 25mm.
f2.7 12.5, 20, 25, 51mm. The first 3 were in the 1937 advert.
f3.5 76mm.
f4.5 102mm. (B.J.A. 1937, p656)
Teleanastigmat f6.3 100-270mm for 30-35° angle.
Enlarging Lenses f3.5, f4.5, f6.3 These were rather down market items made in up to 12 or 13.5cm
sizes. The f4.5 and f3.5 were used on the Actina Vertex enlargers in Min Cam World 12/1937 p43.
Texon f3.5/f4.5 25-210mm These were enlarging lenses also, and these were 4-glass
types.
(Anon) f3.5/f6.325-135mm There are no details of these.
These items are in different adverts. and may duplicate and overlap.
Projection lenses Kino I 1-9cm This was a Petzval type lens.
Kino II f1.6, f2.0, f2.3 in 1.5-8.5cm Another Petzval type.
Projection Anastigmat f2.8-f3.025, 50mm This is a triplet type layout.
Definar f4.5 25-135mm These were triplet type lenses.
Definar f6.3 25-135mm These were also Triplet type lenses.
Heleston f1.6/f1.8/f2.3 These were made in 3.5 and 4.5cm especially. This seems to be a new
series of projection lenses in the 1937 B.J.A. and versions for 8mm were expected soon.
Vorsatz lenses for close-up, etc.
Post WW2
Laack Tegonar f3.5 35mm on a Neidig (Plankstadt) Perlux camera, about 1950.

Lachenal,
They were noted as the maker of an f3.5 60mm lens for Dubroni (Bourdin) c. 1865. It was probably of Petzval
type.

Lacour, France.
Lacour was noted in FBB as a camera maker (Jumelle Lacour, Monoculaire Lacour) in 1896 and 1902 and the
former has a Eurygraphe Lacour in 1896.

Lacour-Berthiot, Paris, France.

The firm was active under this name before about 1910, and still appears in B.J.A. 1922, p619. It seems to
have later become merely Berthiot and then SOM-Berthiot, q.v.
Anastigmats f6.3 on a Verascope in 1922
Anastigmats f4.5 on a Verascope in 1922
Eurygraph f4.0 This was noted as a series for 1/4, 1/2 plate and 5x4 Thornton-Pickard reflexes
about 1913. No details of the design are known but it seems to be a 3+3 anastigmat.
Eurygraph Anast(igmat): Trousse This anastigmat casket is marked as indicated, Trousse = Set, Bundle in
Fr. and seems to use a 3+3 glass design. It was seen at Nr 32,12x as a barrel with 305, 390, and 575mm
cells for 13x18cm and up. Brass with iris in mm scale. Performance is really good and it seems like a high
quality item.
Perigraphe A wide angle symmetrical, certainly made as a Berthiot and possibly as a Lacour-Berthiot.
Nebular: no details
Graphor f6.0 This was used as an early movie lens on a 1909 Huet in Ariel's index

Lake Price- he is entered under Price, Lake.

C. Chadt (Lanak), Westphalia, Germany.

This camera had very limited production using a 3 glass lens from Asanuma, adapted by Docter Optic for the
Lanak camera.

Lancaster and Son, Birmingham, England.

The firm was founded by J. Lancaster who was a spectacle maker also selling instruments such as
telescopes and microscopes. The photographic side was begun by his son, W.J.Lancaster (1845-1926) about
1872. (C. Munro, Photographica, 77, 16, 1996; G. Brown, B.J.A. 1930, p182). It was a feature of the firm's
methods that the cameras were made in a myriad of small workshops round the town, each worker
contributing small parts which were his own speciality and then passing the item on to the next worker in
another house. This procedure would have needed modification to produce quality lenses but may have been
applied to the metal work and the engraving and iris parts. The results were low price and relatively affordable
cameras which helped develop a new market. Certainly a very large number must have been made as these
are among the commoner and cheaper Victorian lenses found in the UK. They seem to have introduced the
iris to the general market as a result of a Patent of 19/03/1886 although the general idea was not new- and
was soon adopted by others, notably Wray and Beck. The iris graduations can be individual on early items,
such as a series marked 10, 20, 30, 40, 50, with the f on the moving ring, and there is often another scale
showing the relative time as 1, 2, 4, 8, 16x in separate positions. Other markings can show the iris settings
for wide angle work (f18 or less). About 1/3 of the items seen however have rotating disc stops, cut in a plate
of unusually thick brass and these seem to have little information on them- no maximum f-number even,-
though always the makers name and sometimes the format as "1/2plate W.A." on a brass meniscus lens.
The engraving is distinctive with a flat bottomed channel and a big difference between the wide descenders
and narrow risers as with a fine spring pen in m.s.
[Note that in a lecture about 1978, Mr Gandolfi explained that Birmingham merchants travelled the English
camera makers with catalogues of brass components for camera making (catches, racks, straps etc.) as was
shown in Lancaster's adverts. (eg in BJA 1889, p260) and they may well have listed standard lens parts, such
as iris blades, barrels and so on. But this is conjecture.]
Lancaster lenses seem seldom to have serial numbers, and the mounting threads do not seem to match the
usual English types, ie. were individual. Tentatively the threads used were often a 37mm (1.4375in), 42.5mm
(1.66in) and 53.5mm (2.0938in) all with the same pitch. (These are diameters read off lenses and not definitive
values!) What is useful is that many small ones are interchangable on the 37mm thread flange. The firm
continued well into the interwar years, but seems to have lost momentum from about 1900 or a little after, so
the later items are hard to find. Some Lancaster items noted were:
Early Lenses.
Meniscus Lenses, in brass seen as f11and f10 10in lenses and f10 6in, and all are in brass. These were
made over a long period and in general are quite common. The engraving can be J. Lancaster and Sons/
Patents. Birm.m. (for Patentees Birmingham). They usually only stop down via f20 to f30, without other
numbering though the iris scale is engraved with lines index lines between these. A second scale round the
front shows the relative exposure as Time 1 to 8.
Landscape Lenses Essentially the same product, these were listed as such in 1901, in two styles:
(a) Plain mount No374 in the catalogue. This was a normal type. These were sold in 5, 9, 12, 16, 20 and 24in,
the 16in being suggested for 10x8in.
(b) In rack and pinion mount as type No375. These seem to have differed only in the mount, as the sizes are
the same and no foci are given.(1889) This seems to be less common as all the examples seen were in plain
mount. Optically these seem to be of the Telescope objective type, (Q1) not aplanatics.
Fig 018 016 Lancaster Landscape meniscus lenses (l) for 1/2plate(?) and for 1/1plate and (r) one with iris
diaphragm at mid front.
Wide Angle Meniscus: This is No377 in some lists, and has been seen as a 3.5-4.0in lens for 1/4plate. These
do not cover 5x4 but are a very useful lens if a meniscus is wanted for trial as the coverage is at least good.
The 1889 list gives them in 4, 6.5, 8.5, 10, 12in, and suggests 10in for 10x8 (compared with 16in above!)
Instantaneous Lenses No378 These were a new form and had an iris with stop and speed engraved on it-
still a novelty in 1889. The were probably sold with a shutter as 5, 8.25, 11, 14, 17, 21in with 14in suggested
for 10x8in.
Portrait Lenses No379 For Cartes, ie CdV with Waterhouse stops.
No380 For Cabinet size, as above.
Rapid Portrait Lenses- First Quality Very Rapid with Waterhouse stops. These were made in 4 sizes and
the lens cap seems to have held the stop plates.
No381 for CdV
No382 for Cabinet
No383 for full plate
No384 for 12x10in.
Rectigraph Patent f10 a semi wide angle RR
Wide angle Rectigraph This was seen for 1/2 size, and probably others. This seems to be one of the 'new'
ones in 1889,as follows:No 376 Wide Angle Rectigraph Patent. These were sold with iris as follows:
3.25in for 1/4plate; 5in for 1/2plate; 6.5in for 1/1plate; 8in for 10x8in; 9in for 12x10in; 11in for 12x15in.
Patent Rectigraph This seems to be a fairly normal RR of about f7-f8 maximum aperture. It was noted as a
stereo pair of 1/4 plate size lenses, with iris scaled from f7-f40 as well as in relative exposure 1-32. The
sharpness was not very impressive at f7 but improved to be nice closed down. At least one on a Le
Merveilleux 1/4plate was engraved with both Lancaster's name and "Browning" who was probably the vendor.
It was probably the same as No376 below.
These can look quite impressive when the metals are used in contrasting colours as red brass and yellow or
aluminium barrel with a red brass control ring. (It is assumed both are brasses but this is not certain.) This is
far in advance of many makers of the period. Today they can command a premium from sales for the
appearance.
Rapid Rectigraph No 376 This was a 'new' lens in 1889, was perfectly symmetrical, and was offered with
either Waterhouse or iris stops at the same price. It was for general work, in the following sizes:
5in (1.125in dia) for 1/4 plate; 8.5in, (1.375in dia), for 1/2plate; 11.5in (1.75in dia) for 1/1plate; 14in (2.125in
dia) for 10x8in; 18in (2.37in dia) for 12x10in; and 24in (2.625in) for 15x12in.
Fig 018 018 Lancaster Rectigraphic Lenses as Stereo Pair and WAR Rectigraph. (all with iris)
Lancaster's 'The Casket' The cells here are in the Combination Rectigraphic series, ie would make up to
be a set of RR lenses of different foci. (B.J.A. 1907). They go back at least to 1889, as No376C when they
offered 3 foci in each. Thus the 1/4plate was 4.25 with both cells, and had 5 and 9in as single cells.
(Probably!) It was made for 1/4; 1/2; 1/1; 10x8 and 12x10in.
Rapid Portable No376P in 1889, this was a Portrait lens, with Patent diaphragms.
Telephoto An accessory type telephoto unit, listed in 1910 in 3 sizes, with rack and pinion focusing.
Very Rapid Cabinet D-Patent This has been seen as a Petzval f3.5 about 8in focus, in a big brass iris
mount at No38x. There is no softness control and the layout seems to be normal Petzval type.
Fig 018 011 Lancaster Very Rapid Cabinet B Pat. (Petzval Type?) No382 (probably a catalog no.)
Fig 018 022 Lancaster Petzval. f5 max.
Anastigmat Rectigraph Series: noted in 1910-1911.
Series 1 f6.8 5,7in sizes.
The source of this is unknown, but it may be of Dagor type layout.
Series 11 This seems to be a 2+4 glass type and be separable.
Series 111 No details.
Series 1V f5.3 43/4, 51/4, 6.0, 7.0, 81/4, 91/2in
Series V f4.5 51/4, 6.0, 7.0, 81/4, 91/2in
It is likely this is a series which were bought-in from continental makers as few UK makers had such an item
in their lists. It does not seem to be common, as by then the firm was less active.
A 1910 list can be a useful summary.
Landscape Meniscus No374 in 5.5, 9, 12, 16, 20, 24in Use 5.5in for 1/4plate.
Superior Type No 375, in the same foci.
Narrow Angle Meniscus No376 in 8, 12, 18, 21, 24in. Use 8in for 1/4plate
A premium version of this had a silver iris control ring. This probably has been seen but the 'silver' was now
very faded and seems to have been a thin layer.
Wide Angle Meniscus No377 in 4, 61/2, 81/2, 10, 12in Use 4.0in for 1/4plate.
Rectigraph
This was the Lancaster trade name for rapid rectilinears, and the lenses are quite common, especially the
wide angles, which must have sold well.
Rectigraph This was an RR of the 'highest quality' No 376 and was probably f7.0, being made in 51/2, 81/2,
111/2, 14, 18, 24, Q5
Extra Rapid Rectigraph No376 This was an f6.0 for 1/4, 1/2, whole plate sizes.
It was also made as a premium price product in aluminium as No376AL for lightness.
Wide Angle Rectigraph WAR type Q6, this was made in 3.5, 5.0, 6.0, 8.0, 10, 13, 17in.
This is a separable lens, the components being also for use alone.
The wide angle probably worked at f14 maximum aperture. A typical one is engraved 1/4W.A. Rectigraph. The
more normal Rectigraph seems to be near f10 maximum aperture, and is scaled to use as a 'W.A.' at f18 or
less, the W.A. then being engraved next the iris scale as if it were then intended as a portable RR as well.
The 1/4plate W.A. has very restrictive inner anti-flare baffles to limit also the angle covered, so that the outer
most parts of the glass are in fact not used. This now seems a strange arrangement but may have
represented commonization of parts as a lot of the barrels seem to be the same in both sizes.
Combination Rectigraph No 376C This was made in 6 sizes, including a case eg. for 1/4plate with 31/4, 5,
9in focus.
Casket Combination No 376CC of 6 foci from a set of 3 cells as in 1905.
eg 6, 11, 18in cells for 1/4plate to give 4.0, 5.5, 7in when in pairs.
10, 18, 22in cells for 1/2plate to give 6.75, 8.5, 10in when in pairs.
14, 22, 28in cells for 1plate to give 9.0, 10.5, 12.5in when in pairs.
Rectilinear f8.0. A typical RR of Q5 type, sold in two grades A and B for 1/4, 1/2, 1 plate.
Portrait No 381A and B A was 'To give excellent definition'. This was made in 4 sizes.
B was 'To give superb definition' and was also in 4 sizes.
A small sized Petzval lens was seen and may be of this type. It seems to work at about f5.0 6.5in and is
fitted with an iris. It might have covered 6x9cm approx.
Patent Instantaneous: This was a meniscus lens, made in 5.5, 8.5, 11, 14, 17in.
Sadly the catalogue numbers quoted above are not engraved on the lenses and it is not easy to relate the
items seen to the lists, especially as they are not engraved with a serial number. Comparing a collection
shows that well standardized products were being made with even details of the engraving being placed in the
same point in different items.
Fig 6 Lancaster
Exposure: Watson Holos 8.25in at f22.
Back Row Lancaster Meniscus for 1/1plate
Lancaster Stereo Rectigraphic Pair.
Lancaster Petzval type Portrait for 1/4plate
Front Row Lancaster 1/4plate W/A
Lancaster Rectigraph RR
Lancaster W/A Rectigraph
Lancaster 1/2plate Meniscus
Lancaster W/A Meniscus.

Auguste Lapierre
An important maker of 19Century magick lanterns, and possibly related to Demaria-Lapierre.

LASL, (Los Alamos Laboratories), New Mexico, USA.

The laboratory initiated computer designed lens layouts in the 1960's, where the computer was not working
from a known layout but essentially from scratch: and it is interesting that the results do not seem to follow
those chosen by the normal human choice of design. (Applied Optics, 5, p1019, 1966)

A. Laverne, Paris, France.

The name is used in an advert. in BJA 1889, p846, and then included Panorthoscopic, Wide angle
Symmetrical, Triple Achromatic Wide Angle lens, Panoramic Lens where the No2 will cover from 1/2plate up
to 15x12in, and Quick Acting Portrait Lenses of special English flint and crown glass. This explains partly why
the name is found on the engraving of a Objective Panorthoscopique No102,66x and this seems to say
they were successors to Clement et Gilmer but later serial number lenses (eg No 103,94x) revert to C et G
engraving. It may be that the firm was bought back or that the new owners reverted to the better known trade
name. The Laverne lens seems to be a cheaper and less fancy item than the C et G one, but from the same
basic design. The name was also noted on one with Gasc et Charconnet. A Rapid Rectilinear No101,61x has
been noted at auction. This may be in keeping with the idea that CetG was a exporter or dealer, rather than a
maker of their lenses, which would explain apparent questions over the variety of actual makers names.
Also a lens apparently like a Berthiot Perigraphe has been noted.
In 1889, Sharp & Hitchmough in Liverpool were selling Laverne "American Star" lenses in 1/4, 1/2, 1/1 and
10x8in but with no extra details. (BJA, 1889,p750)
A WAR f10/80mm approx has been seen in brass with a rotating disc stop plate and seems a very fine small
item. The disc clicks neatly when a stop is in place and the f-numbers are clearly engraved.

Leach, Germany.
Polynar Anastigmat noted pre-1919. It just may be a Laack Polynar.

Leather
This material affects lens collectors less than camera collectors, as few lenses are leather trimmed but it is
worth noting that cases etc. are sensitive to long term deterioration due to drying out and bacterial action. It is
best kept fairly dry to slow the latter, and treated with a good dressing. J. Schneider suggests Lexol or Kiwi or
Propert's polishes, or British Museum leather dressing. The latter has: Lanolin 7oz; Beeswax 0.5oz; Cedar
wood oil 1oz; and hexane 11oz. (NB Hexane is highly inflammable!) Dissolve beeswax in warm hexane, add
the oil and warmed lanolin and mix well. Shake well before using. (J. Schneider, Modern Photography,
09/1973, p53; British Museum Quarterly, No 2, 1927, pp77-78). Note:Synthetics can react differently from the
real thing. Some care is needed if lenses are stored with some leather as it can contain corrosive materials if
ill cured. One conclusion is that small leather lens cases and outfit cases can be of mixed value. They can
contribute to the sort of damp stagant atmosphere loved by lens funguses, and acid components in the
leather can accelerate corrosion.
Lebrun et Maes, France.
Noted by Eder for an enormous Portrait lens reported in 1855 with a 10in dia. glass. It was used on wet plate
Collodionized glass, 60x80cm, at a 4in dia. stop. The glasses were 10.625in dia.
There is also a note that Maes of Clichy was involved with "new" glass well before Schott was developing it.

Leech Optics, Rochester, UK. The distributors were Hummel Optical Co, 67, Hatton Garden, London
EC1N 8LB, UK.
The firm was active after WW2 in making photographic lenses especially fairly low price lenses for enlarging
and small run items. Thus a Petzval type projection lens Series 1, 3in has been met. An example may be the
2in Leech lens seen on a Viking projector. In 04/1973, they were offering filters and close-up lenses.
It seems they were also subcontractors since a correspondent who visited the factory in the 1950's
remembers seeing lens retainer rings being fitted with "Ross" as the trade name, as if for Selfix or other
cameras.

Leidolf, Feinmechanischen Fabric Leidolf, Wetzlar, Germany.

Agent in USA: Royal Photo Distributors, New York, USA.
Agent UK Corfield, Merridale St, Wolverhampton, UK.
We thank Mr R. Halligan (Australia) and Dr R.Watson (UK) for additional information here.
Many of these name-related lenses are for Leidolf's cameras such as the Lordomat. Lordon lenses were also
used on the Revue 35SL etc. where they are attributed to Will of Wetzlar. These are f2.8/45mm lenses for
24x36mm. It was noted in B.J.A. 1960 p166, with 50 (2x), 35, 135mm Schacht lenses.
Lordonar f2.8 50mm about 1953 Q15 type. This was used on the Lordomat and was noted
at No106,18x, 34,19x. The BJA notes this is a 4 element(=glass) lens.
Lordon f2.8 50mm This was a triplet type, Q14. See Lordox camera in B.J.A. 1953,
p235.
Lordon f1.9 50mm This was a 6glass/4component Gauss, Q18, made about 1956-1960.
It was fitted to the Lordomat SE.
"Triplet" f3.8 50mm This was on the Leidox, about 1949, Q14 type.
Triplon f2.8 50mm These were about 1950, and used on Lordox II.
also for Unimark Photo Inc, Unimatic 606 (1960)
Telordon f4.0 135mm (10/1955 is date noted)
[Travenar] f4 135mm
[Travenar] f4.0 90mm
[Travenar] f3.5 35mm
Telordon f5.6 90mm
Lordon f3.8 50mm This may be the triplet above.
The last seem to be a programme for the Lordomat, and the Lordomat Special was supplied with bought-in
lenses from Schacht of Ulm, which would explain the Travenars, which are a typical Schacht trade name.

G. Leitmeyr, (Die Optical Anstalt von Leitmeyr), Munich, Germany.

These have been noted in USA lists, in Frerk's list for 1926, and are otherwise unknown. They do not trade in
the UK as far as is known and probably had no agent here, and Frerk describes them as "unbekannt" which
may merely mean he has no catalog but might just suggest they were a label for another make. The USA
adverts. are mainly of wide angle lenses but this may not really be a fair picture of the output. The only
example handled was a 135mm Satyr which was not numbered, but the front was well coated, the rear
uncoated, in a ACG Vario chrome finish shutter. It could well be early postwar as few would worry to get a f6.3
triplet coated by a repairer.
Leitmeyr f6.8 65, 90, 108, 120mm This was noted as a 90mm in a Prontor shutter and as
a lens in a plain barrel. The 108mm was said to cover 7x5in, so it is a really wide angle design.
'Leitmeyr' f6.8 65mm This was in a Prontor, and was mounted for Graphic. This may be the
same or a later product. Leitmeyr wide angles come up fairly regularly in USA lists of old lenses, and one was
noted at auction in a Prontor SVS shutter.
Satyr was listed in Frerk in 1926 and was a dialyt probably Q26.
Sytyr f3.5 240mm This was listed for 5x7in.
Satyr f3.2 Ariel lists a 50mm version for 35mm.
Sytyr f4.5 165, 210, 300mm The 210mm was for 5x7in, the 300mm for 10x8in. It was
noted on a Uni 9x12cm, the cheapest small plate from Photo-Porst, Nürnberg, Germany in 1935. It was
between the Eurynar f6.5 and Trinar f4.5 in price- ie not a very cheap item. A f4.5/165mm has been noted in a
dialset Compur at auction, as has a f4.5/210mm No359x, here on a Meagher camera. It is then described as a
'Double Anastigmat'
Sytyr f6.3 135, 240, 250mm for 7x9in ie 1/1plate. A 135mm f6.3 has been also noted in
a dealers list- it seems a low priced lens, possibly a triplet. See above, where one proved to be a part coated
triplet
Sytar f5.4
Sytar f4.8

E. Leitz, Wetzlar, Germany

also at Midland, Ontario, Canada from 1955.

E. Leitz was established initially as a microscope maker, and only offered camera equipment many years
later. This may have begun from the need to supply equipment for photography through microscopes, and for
low magnification work separately from them. Thus they seem to have developed a limited programme of high
quality lenses from about the early 1900's. These were regarded in the trade as normal photo lenses rather
than specialized items for macro or like use. In the 1920's they expanded into making enlargers, and selling
lenses, notably on Nagel cameras, so that they were well placed to develop a programme for the 35mm
camera which they introduced in about 1924. This relied on a precisely made body and sharp lenses to allow
substantial enlargement, the limiting factor being the film then available. One reason may also be that for
microscope photography, the small format would record all the detail available without the longer exposures
needed for a larger but less well illuminated negative. They would be well aware of the "empty magnification"
feature this can involve.
Early Lenses
Summar f4.5 24, 35, 42, 64, 80, 100, 120mm This may be a 6-glass Gauss
type, (Frerk's comment) or an air-spaced Dagor type? (Lei001). This was shown in an early pamphlet and it is
unclear how long it was sold. They show 8-air-glass reflexions with little sign of extra reflexions, which rules
out extra spacing or even cemented surfaces. However it does seem that by the 1920's there was a new type.
Thus it is thought that the design changed to a 4g/4c dialyt of equal performance in later years. These lenses
do not seem to be numbered, and may be continued later than first thought in brass finish, as some are in
M39x26 adaptors suggesting a post-Leica date, but a black finish 120mm example has also been seen. It was
recommended to use 120mm on 9x12cm, 64mm on 6x6cm. In 1908 they were listed as Portrait lenses, with
the f5 as a lens for groups and general outdoor work. The smaller examples such as a 64mm were listed as
f4.0 in a B&J list. Several f4.5 lenses have been seen. The iris graduations are unusual, the f4.5/120mm being
graduated from 2 (about f4.7) to 96 (about f32), the 80mm stopping merely to '24', about f16. Early examples
are in lacquered brass, later in black enamel. A 120mm lens was used on a 6x9cm camera and gave
attractive negatives of good quality but fairly low contrast.
Fig 015 034 Leitz Summar lenses (l + r) Summar f4.5/120mm and (mid) Summar f4.5/80mm.
Summar Series 11 f5.0 95, 115, 135, 150, 180mm (Layout Lei002) This seems to be a less
common series from the few examples seen. It was also made as:
Summar Series 11 also f6.0 150, 180, 210, 240, 270, 300mm (Layout Lei003) and this was the
version Frerk knew. It was suggested to use 135mm for 9x12cm. (B.J.A. 1909, p696, 697).These are
convertible to work as long focus lenses. The only example seen was a f6/135mm and was in a shutter, and
no serial number could be seen. (The front cell was rather lightly engraved and the paint was badly worn.) It
seemed to be a 4g/4c design, possibly a dialyt. The reflexion pattern was like the f4.5 in having 8 bright
reflexions, but here two were very close together at all times on the 135mm lens seen.
Periplan f7.7 90, 120, 150, 180, 210, 240mm (Layout Lei004) This can be seen
as a version of the Q7 anastigmat. Use 120mm for 9x12cm.
For all these, use a 7in lens for 1/2plate. The covering power of Periplan was nearly as big as the Summar,
and it was a good deal cheaper at £3.oo compared to £4.5o for the Summar. (B.J.A. above."We can strongly
recommend the "Periplan" to anyone requiring a cheap f8 lens.")(Anon): see B.J.A. 1900, p865 for a 3+1 type
lens eg as a 240mm f8.0. Production of this seems not to be known.
Writing in 1926, Frerk says these were discontinued, but high quality items and useful secondhand. He does
not "know" of the Elmar though the new Leica camera just got into the book, probably at the proof stage.
Milar f4.5 25-100mm This was essentially a macro lens, using the Triplet layout. It
was a very long lived product, still being produced well after 1945 for macro work. The layout is near Q13 with
the front two glasses near together. The f4.5 50mm version was used on at least one Leica prototype. Note
that Leitz also made or used triplets for cine use under the trade name "Dygon" both before and after WW2.
Fig 015 030 Leitz Milar f4.5/50mm. This seems to be a fairly modern lens with a red dot to match the 'M'
series lenses.
Dygon f2.8, f3.5 20mm. This was a postwar lens, noted on Leicina 8S, also Leicina
Vario. Most of them seem to be f2.0 as two Dygons f2/15mm and f2/9mm No1,794,33x on a Leicina and a
posibly 'special' Leicina had a complete set of f2/9mm No1,858,86x; f2/6.25mm No1,939,68x; f2/36mm
No1,981,16x and f2/15mm (incomplete).
Variogon Many Leicinas carry these and they are thought to be derived from Schneider. One Leicina 8S had
Dygons 9 and 15mm. Angenieux Zooms such as Type K2 7.5-35mm at No1,079,32x are also used.
Aplanat There have been rumours of an Aplanat, =RR, possibly of projection origin. No details are available
at present. Several other German firms used this layout for projection lenses until about 1920 or even slightly
later.
"Studio" In the 1960's, B&J listed a single old Leitz f3.5 150mm lens in a Studio shutter: this seems to be an
unknown lens otherwise.
Subsequently the Programme was dominated by the Leica camera. It is a very impressive experience to use
an early Leica with modern film and see just how good the older lenses were. For choice this would be an
Elmar on a fixed lens camera- or an early screw lens body with several Elmar lenses. Venturing outside the
Elmar series prewar is a more mixed user experience and it is suggested that for users some caution is
worthwhile before paying the larger costs of some of the other old lenses which are valued as collectors items
rather than for use. Postwar the Leica lenses rapidly reached and indeed set a consistently high standard and
can be recommended without the same reserve.
35mm lenses
The first and most famous of the original lenses for it was the 50mm f3.5 as follows. It was designed by
M.Berek (1886-1949) who worked for Leitz from 1912, and while primarily a microscopist, designed the original
lens line.
Elmar
The layout of this famous lens was roughly Q15 but the initial patent covers a lens with a front glass designed
so that the fundemental rays cut the axis near the front lens. (D.R.P. 343,086/1920). This led to a preferred iris
position nearer the front than usual, and it is between glasses 1 and 2 in most Elmar 50mm lenses, and to a
less curved interface in the rear element. The detailed design seems never to have been fully realized
commercially, as it featured a movable second glass to allow for correction of astigmatism in close-up, and
perhaps since the external glasses were of rather soft DBC. The next development was a 5-glass type, which
would not have fallen within the patents of the Q15 type and which may have eased the glass requirements.
Finally a glass from the Sendlingen plant of Goerz allowed the design of a Q15 type lens of f3.5 aperture
covering the whole of the 24x36mm frame. This was a new standard in 1925, and may have used features
from the above patent. It has been suggested that when Zeiss produced the f3.5 Tessar, the patent position
was sufficiently balanced for the firms to act independantly but without complaining if there was a possible
overlap.
The Elmar designer was Dr Berek, and the lens had to be heavily modified about 1929 as the Sendlingen plant
was then converted to produce other products and all optical supplies were taken from Schott. (The change
followed the unification of Zeiss Ikon in 1926.) As a result, the new type has a visibly flatter front curve, and
came into use about the time when the Leica Standard was introduced. Note that the iris position was kept in
the same place in the new model, except when these are mounted in blade shutters for the small number sold
in Compurs essentially for the Leica, Vollenda and Pupille cameras. These show the impressive covering
power of the Elmar since in the rollfilm versions it is covering 3x4cm and still works well.
Many years later, Leitz were to redesign it again with "new rare earth" glass and show the change as the new
red scale version. It is worth noting that the 'old' Q15 type did involve some compromise in the colour
correction, less serious in the days of ortho films than it was to become later. This lead to the use of the
Hektor type of layout to replace the 135mm Elmar lens, and the choice of a (rare) 50mm Varob-Hektor version
for enlarging colour material. But the Elmar was the mainstay of the Leica for many years in its various forms,
especially the 50mm lens, and still is a fine lens to use in any form.
Incidentally, the '50mm' covers a range of foci shown by number codes on the early lenses but typically they
were about 51-52mm focus. It is likely that one factor was that this was easier to use to get good overall
sharpness on 24x36mm as wide field designs at f3.5 were then hard to design. But Barnack's experience
using movie lenses with imperfect cover on the bigger format will have helped to push the choice this way.
Note thart a movie photographer would expect to use about a 3 or 4in lens on this format. G. Crawley in
B.J.P. 24/01/1996 p23 mentions another point. That microscope lenses were in inches (=25.4mm) and Leitz
will have tended to design Milar and similar lenses microscope lenses made to this focus, ie of 50.8mm. It is
also true that makers do allow themselves some leeway in the choice of foci around the engraved value,
though here Leitz always would measure and record the true value and tell the customer if needed, and later
were to engrave the last 2 digits on the barrel.
Essentially Elmars
Leica Anastigmat f3.5 50mm Some of these are 5-glass versions and are so rare that they are
seldom examined to see if they really are of this type. What is certain is that the number is very small and
that they are very inaccessible to the normal lens collector.
Elmax f3.5 50mm Essentially these seem to be optically the very first set of 4-glass
Elmars, but it is still not certain when the change over ocurred. The change of name does not necessarily
coincide. (Layout Lei012, 5-glass; Lei005, 4-glass)
Elmar f3.5 50mm This was a Q15 type lens, and the uniquely sharp lens which made
the Leica reputation for sharpness. It can be used on up to 3x4cm, and as an enlarging lens 'Varob' and Leitz
considered it for projection work, both as camera lenses fitted in the 1930's to slide projectors, and sold
postwar in custom fitting for the job. (Layout Lei005, 006)
Elmar f3.5 35mm Layout Lei011 This is a very compact and useful semi-wide angle
lens, rather less sharp perhaps than the 50mm version and with more fall off in image quality in the outer parts
of the field on 35mm. But the value outweighed any shortcomings.
Elmar f4.5 35mm A prototype which was illustrated, listed but never sold.
Elmar f2.8 35mm (This was a prototype for 1/2frame use and not a commercial item.)
Elmar f4.0 90mm Lei010 This was the first medium focus lens for 35mm still
photography, and has always been a favourite. The focal length is one which suits the design very well and it
was not challenged till it could be replaced with a rare earth design in the 1950's. Some early lenses are in a
much more bulky and heavy mount commonized with the longer lenses and and these are described as 'fat'
while soon the same lens was offered in a slimmer and lighter tube and this proved to be the long lived
product.
Elmar f6.3 105mm The Berg or Mountain Elmar was designed as a light item for
travellers and climbers- hence the name. It needs care in use as it is slower and there is more danger of
camera shake- hence the slight question that has been raised over its sharpness. (Lei009)
Elmar f4.5 135mm A longer lens in full weight mount. The earliest were not coupled to
the Leica rangefinder- this also is true of some other Elmars- and the mounts do vary in detail. It should be a
sharp lens but the focus is long enough to begin to show up design limitations in the Q15 type. Prof. Berek
therefore designed a new lens called the Hektor to overcome this limitation and it is the preferred item
especially for colour work. The longer Elmars may actually be derived from designs for large format lenses for
6x9 (105mm) and 9x12 (135mm) and have been reported on Nagel cameras. (Lei008).
It is not quite clear what other Elmar lenses were made as Leitz enlargers of the period were fitted with
anonymous lenses such as VOORT f4.0/95mm and these may include other focal lengths in this design area.
One example was an enlarger for 4x6VP format with a lens of some 7.5cm. Incidentally Leitz provided for the
longer lens heads to be removed for close-up work on copiers, etc. and they were and are very useful for this.
Hektor- An improved Elmar
During the early 1930's the programme of Elmars was extended by a series of more ambitious lenses with
extra glasses, especially in the centre of the Triplet. Leitz were to use these in one form or another for many
years, the last being as projector lenses long after WW2. It must be stressed these were designed both for
greater speed, but also sometimes for wider angles or greater sharpness and that this is a design where Leitz
were successful but few other designers have chosen to follow. In all cases they can be related to the triplet
by compounding one or more components. This avoids extra air-glass surfaces but at the cost of rather
limited design freedom.
(a) The centre glass was the only one doubled in the 135mm f4.5 Hektor, which replaced the 135mm f4.5
Elmar. The Hektor is generally regarded as an improvement, especially for the colour correction, and without
any penalty. (Lei024)
(b) Both outer glasses were compounded in the 28mm f6.3 Hektor. Again this was a real success, offering a
nice compact real wide angle lens of good sharpness and even illumination. [Most users would rate it ahead of
the comparable Zeiss 28mm f8.0 Tessar of the same period. (Lei020)]
(c) The other two Hektors have all the three glasses compounded and are more controversial lenses. At small
apertures they are extremely well corrected, especially for colour. But at large apertures the contrast falls off
quite noticably due to the apertures of f2.5 for the 50mm lens (Lei021)and f1.9 for the 73mm one.(Lei022)
They can do good work at full aperture, but really are best only under contrasty conditions where the under
corrected spherical aberrations do not reduce the image contrast too much. This is really the sort of lens
where the older workers carefully advised giving a minimum exposure, although they may not have always
understood why this was essential. The Hektor may have been patented under USPat 1,939,098 of
12/12/1933 which uses glasses G1= 1.624/58.2; G2+5= 1.603/38.0; G3= 1.665/35.7; G4= 1.581/40.8; G6=
1.656/51.4. But Merte quotes a version with G1+6= 1.6190; G2= 1.6100; G3= 1.6750; G4= 1.5890; G5=
1.5290. Mr Cook (Photo Jnl Oct 1949 shows curves for the 73mm Hektor's correction. The field is fairly flat
with quite a lot of astigmatism at up to 2% of the focal length at 17° and the spherical aberration is rather
heavy, and continues to quite small apertures, giving a perceptible fringe round details. He comments that
this type of correction can give detail under contrasty lighting conditions but falls down badly in low contrast
subjects- (which is why soft focus lenses are used in portraiture!) A Hektor was occasionally used other than
on a Leica: it has been noted on a Mentor Dreivier at No150,691, and a few were used for color enlarging as
Varob Hektors f6.3- iris opening being limited to f6.3.
There is also another "Hektor"patent which may cover the Hektor Rapids for cine, under USPat
1,899,934/07/03/1933 for lenses of f2.0 and f1.3 with the front glasses separated. A Hektor Rapid was noted at
auction at No220,071 (about 1935) on a 16mm Bolex, and another was a 2.7cm f1.4 No417,151 (1937).
Another 'fast' lens seems to be covered in USPat 2,164,028 but it is hard to say if it was put into production
[although it is near the Schneider Kino Xenon f1.5 and just may have resulted in an exchange of rights for f1.5
designs.] It seems to be a narrow angle design for about 30°. It used G1= 1.603/61; G2= 1.670/47; G3=
1.689/31; G4= 1.501/57; G5= 1.670/47; G6= 1.673/32. Merte also notes a 5-glass 2+2+1 version in German
Pat. 526,308/1930.
(d) Postwar the f2.5 Hektor series continued the design but were fully successful in this role of projection
lenses as they were now coated, and the light from a projector is mainly concentrated in the centre of the lens
in any case. Basically different characteristics are needed in these two uses. And it should be mentioned that
the 125mm f2.5 Hektor was mounted as a short-head lens for portraiture and is now a sought after item
offering just a little softness at full aperture. Sadly it is not easy to reuse ex-projector lenses in this way as
portrait lenses normally, as they lack an iris and the mount would require substantial re-engineering.
(e) Finally the famous Thambar f2.2 90mm portrait lens (Lei023) is really one of this group of lenses, with a
layout parallel to the 135mm Hektor, but with a much greater aperture and the softness is proportionately
greater. This can be controlled either by stopping down, when it becomes really sharp at f9 or so, or by fitting
a centre spot filter over the lens, which opaque centre cuts out all the sharply imaged light and gives an
image without any core of fine detail inside the halo of light. This 'spot' is an essential feature to check on
purchase, and its use must not be overdone as excessive stop down then result in a negative with a diffuse
black spot in the centre! The Thambar iris is double scaled to indicate the limit of safe stop down. This is a
famous and unique lens but one which owners say takes a little getting used to like many soft focus lenses.
A number of these Hektors are scarce and costly, the Thambar especially so.
Hektor f6.3 28mm 5-glass Lei020 (B.J.A. 1937 below)
Hektor f2.5 50mm 6-glass Lei021
Hektor f1.9 73mm 6-glass Lei022
Hektor f4.5 135mm 4-glass Lei024
Hektor f2.5 125mm 4-glass Portrait lens for Viso use.
Thambar f2.2 90mm 4-glass Portrait lens Lei023 (B.J.A. 1936, p268)
Varob Hektor f6.3 50mm 6-glass for colour enlarging, iris limited to f6.3 max.
Summar and Gauss Types.
The issue of the TTH Opic in the 1920's must have made Leitz look again at the design of the Summar lenses
they had been supplying for many years. In the 1930's it resulted in the design of a new 50mm f2.0 Summar
for the Leica. This is essentially a conventional period Gauss design but with exquisite central sharpness
even at full aperture. Sadly the fall off is fairly marked away from the centre unless it is stopped down, when it
becomes a sound lens all over, but with the contrast penalty of the 8 air-glass surfaces present. Users were
also aware of an appreciable fall off in illumination, the corner being some 1.5 or 2 stops below the centre at
full aperture- again correcting itself on stopping down. In spite of these comments, the Summar sold well and
is a common lens. It is suspected that this lead Prof. Berek to now consider more costly types which might
have been rejected in the original design, and extra pressure was exerted by the launch of colour materials
such as Agfacolor and Kodachrome.
One result was the f2.0 Summitar with a compounded front glass of much greater size which was issued late
in the 1930's. The second was the f1.5 50mm Xenon which was developed to meet the competition from fast
lenses on other cameras. It had double exterior rear positive glasses to reduce the power and allow the extra
aperture and centre sharpness was again good but with appreciable fall off away from the centre. Thus there
was room for improvement and this came postwar with the application of coating and later the redesign of
both lenses with new glass and techniques as the Summicron and Summarit and later Summilux. An
important article is by D. Kossel, Leica Photografie, 1978/1 p21, who stresses the need for Thorium-free glass
as Leitz were keen to avoid the radioactive glasses then widely used in the industry.
The Gauss type lenses can be summarized as follows:
Summar f2.0 50mm (normally actually 52mm) Q18 Lei025.
These were initially sold in a rigid mount, but the lens was really too heavy for it and the focus threads often
wear badly. Also it was bulky compared to the other lenses of the period. Very soon it was remounted in a
innovative collapsible mount and this is the typical item found. Rigid examples are scarce and high value:
collapsible ones are low price by Leitz standards. Initially a fine lens centrally at least, sadly Summar is now
often well below standard in performance and 4 reasons can be offered and should be considered on purchase.
(1) Wear on the mount. Although rigid versions suffer most, they all can, as these were a valued and heavily
used items. Repair is difficult though it might be possible to replate and lap in the threads: but heavy grade
grease can often help to make worn mounts acceptable.
(2) The front glass is very soft and exposed and often badly scratched: these were repolished in the past and
poor work may have damaged the curve. Alternatively they may not be correctly set for focus.
(3) The iris of Summar is unique as the blades are sprung to a curve and move over a spherical track so that
the plain of the iris moves forward as it is closed down. These need to be lubricated and can sputter grease
onto the glass surfaces inside, so that the front cell needs to be removed for cleaning. It may not be reset
correctly.
(4) Severe general wear.
A test of some 10 used examples in trade showed only 2 were in really top form due to damage such as the
above.
Summitar f2.0 50mm (Lei032) This is a 7-glass Gauss and the front glass is much bigger to give
more even illumination. This required higher correction of the outer parts of the lens, and the extra glass was
needed here. It was launched prewar in uncoated form, and continued postwar coated. It is thus a sort of
bridge between the Summar and Summicron: it was definitely an improvement in its day but probably lacked
the "no compromise" central correction of Summar in favour of the overall balance. The field is slightly
concave, and the astigmatism curves separate at about 20° of axis, but this is said to be good for a 2in lens
on 24x36: There is good correction of spherical aberrations, at about 0.25% of focal length compared with
0.5% for the f2 Sonnar. (Cook, in Photographic Journal, 10/1949, p222). Cook notes that his 6-glass (Amotal?)
is flatter field, but may have not noted that the film in some older Leicas does lie in a dish form in the gate,
and the advantage may lie with the Summitar's concave field. The design probably was constrained by the
decision not to use an extra pair of air-glass surfaces as in the Summicron. Postwar with coating this was
less of a problem, but contrast may be one factor in the Summitars performance. [It is worth reading USPat 2
171 640 of 05/09/1939 (and Brit Pat 480,643 of 1938) which refers to the problems of "spotting" of the high
refractive index glasses used at the front of 6-glass Gauss designs and claims a 4 glass type with a hard front
cover glass and no increase in the number of air-glass surfaces. This may explain some of the design criteria.
The glasses used wereG1=1.5647/55.8; G2= 1.6727/32.2; G3=1.6259/35.6; G4= 1.5955/39.2; G5+6=
1.6204/60.3. A separate feature is the simple inner component at glass G3 which echoes the contemporary
design of the Zeiss Biometar. The Summitar seems to be covered under German Pat. 685,572 of 1936 which
uses glass as follows:G1=1.5338/55.4; G2= 1.6727/32.2;G3=1.6700/47.2; G4=1.6645/35.9; G5= 1.5673/42.8;
G6= 1.6204/60.3; G7= 1.6074/56.7.]
Summitar* A really scarce version produced during the development of the Summicron and really in that
class. It is said that they were eventually slightly modified for higher micro contrast and the new rare earth
glasses applied for general sale as the next item.
Summicron f2.0 50mm A 7-glass design with the front two air-spaced, and related to the Summitar by
this. A key factor was the availability of LaK9 glass (R.I. 1.6940) for the 1953 launch type. Later an even more
advanced glass of R.I. 1.7479 was used for the 1969 version. Finally there was a return to the 6-glass type for
the sake of its simplicity and contrast. Layouts Lei033, 034 may represent different stages in the 7-glass
series, and Lei035 shows the 6-glass type. For many years these were the lenses used as standards for
comparison in magazine tests of new lenses by all makers as about the best available. But note Modern
Photo 10/1978 p93 rated the new 6 glass as superior and with better contrast, but the older had the better
ultimate resolution.
In Modern 10/1978, p183 they tried to find lenses exceeding 100l/mm, and eventually selected cameras and
film and lenses: the highest values they achieved then were:
Summicron f2/50mm at 105l/mm [and Nikkor f1.8/50mm with Canon, Minolta Pentax and Minolta all over
100l/mm: the macro lenses did not do quite as well, with S-Planar f2.8/60mm at 96mm, Micro Nikkor and
Minolta f3.5/55mm at 92, and Vivitar f2.8/55mm and Olympus f3.5/55mm at 90mm. It may be truest to say
how little separated the top lenses and how far the results were controlled by film and contrast rather than
actual aerial resolution.]
Summicron f2.0 35mm This was made in 2 major designs.
type 1 8-glass This is also a Gauss type but with 2 extra concave glasses in the centre to help correct the
outer curves.
type 2 6-glass This was a later type, with simplicity improving contrast and costs and also a Gauss.
Summicron f2.0 90mm A famous fast long lens for news and portraiture, and sharp. It seems odd
that there was never a similar Summar which would have been ideal for that design.
Xenon f1.5 50mm 7-glass Gauss Lei044 (B.J.A. 1938, p286) This is a Gauss with the rear
positive split to reduce the spherical aberrations- which adds 2 extra air-glass surfaces and makes Xenon a
difficult lens to use in uncoated form as it probably always was originally. This is shown by the enormous
difference which the coated postwar Summarit shows, even though the design looks similar. Early postwar Mr
C.S.Weaver interviewed Mr Dumur of Leitz about the Xenon and was told that some 2,000 were made only.
On patenting, it was found to overlap a J.Schneider design and hence good relations lead to the use of a
Schneider name. He made no mention of the fact that prewar examples also carried a TTH patent number,
although this was dropped understandably when the war began.(F.I.A.T. Report No 781, 18/03/1946). Glasses
used were: 1,2,5,6,7 R.I. 1.6202, v 60.4; 3 R.I. 1.6727, v 32.2; 4 R.I. 1.5481, v 45.9.
Summarit f1.5 50mm Lei038. Essentially a postwar coated Xenon, but probably with a slightly new
design.
Summarex f1.5 85mm A fast late prewar lens, now scarce. Lei037-it is an unusual design with
divided rear glass and modified third component. It is said not to be perfectly sharp at full aperture. It seems to
be covered under Brit Pat 481,710/1938.
Summilux f1.4 50mm Here glass of up to R.I. 1.8153 was used in the front glass and in the second
version the second component was also air-spaced. (Lei039, Lei040, Lei041).
Summilux f1.4 35mm This was a very fast wide angle Gauss design for news work in particular.
Again it shows the use of an extra glass in the centre of the design.
Noctilux f1.0 50mm There seems to have been a design limit on the 'Xenon' layout in the period up
to 1970, since in designing this super speed type Leitz used glass of r.i. 1.9005 in glass 2, although glass 1 is
of 1.6808. Coated these glasses seem to have been trouble free but it may be that there was some reason for
putting the highest R.I. glass in No2 position. (Lei042)(Pop Photo 02/1976 p80). It was produced in Midland,
Ontario. It gave very high contrast, low flare, and designed by Mandler. One point noted was that Mag. fluoride
(R.I. 1.38) was almost a perfect coat for the high R.I. glass so the transmission was at least 92%. One point
was that it stopped down very satisfactorily and thus was better than the f1.2.
Noctilux f1.2 50mm This was the costly 6g 2x aspheric version in 1966, which seems to
be replaced about 1976.
Telyt f4.5 200mm , 400mm This long lens was made for the Ploot reflex housing and as a
200mm dates from the mid-1930's. (B.J.A. 1936, p268) It is a 5-glass 4-component type and far from the
normal 2+2 type of tele. Inspite of this the lens is reasonably free from flare, and is sharp. It may have been a
factor in starting the modern trend in 'short' lenses and is therefore something of a Landmark. It was
simplified in the 1950's to a 4-glass design. Of these the 200mm (App029) is reasonable common, and in both
plain and coated forms, but the 400mm is a really scarce item.
Focotar The prewar Varob-Elmar lens was replaced with a new programme of enlarger lenses. The standard
was the Focotar f4.5 50mm on the 35mm Focomat 1. Dismantling a well used example showed a 4-
component lens, with external positives outside one double concave glass, (a "dogs bone" shape) and a
concavo-convex ("banana shape") which might suggest an advanced version of a Q21 type design.
A f4.5/9.5cm Focotar at No1421650* , coated but probably fairly old (say 1950's) seems to be a Q15 4g/3c
like the Elmar and others. (There is a detailed Table of Leitz serial numbers and dates in G. Rogliatti 'Leica
and Leicaflex Lenses" which would suggest 1957 here.
Later Focotar. It seems the design may have changed.
For the Focomat 11 the two lenses were the Focotar f4.5 60mm and for 6x9cm negatives, the V-Elmar f4.5
100mm lens. These were high quality modern lenses but the structures do not seem to have been published:
they may well be Q15 types. However the latest series are known to be different and were in fact J. Schneider
Componon-S f5.6 100mm lenses supplied in Leica livery and were very fine lenses. (This was discovered by
Dr Gwilym Hughes, and it is hoped he will be able to extend the study in future).
Slight variations in focal length did occur and were handled by numbered coding the lenses and coupling
cams as follows:
Number 0 1 2 3 4 5
60.0 61.0 61.2 61.3 61.4 61.5 etc for 60mm nominal lenses.
100.0 101.0 101.2 101.3 101.4 101.5 etc for 100mm nominal lenses.
A late 1960's list is as follows Note that Leitz went over to bayonet mount lenses for the M series cameras,
and many in this list are essentially for bayonet only. This is a subject the reader is referred to specialist
books on the Leica System which describe which are scarce for screw and which scarce for bayonet mount
and which rarities therefore can command a premium price.
Super Angulon f4.0 21mm The initial version of the next lens.
Super Angulon f3.4 21mm A deep sunk lens with external negative elements for more
even resolution and illumination.
Elmarit f2.8 28mm
Summaron f3.5 35mm 6-glass Gauss
Summaron f2.8 35mm 6-glass Gauss
Summicron f2.0 35mm 8- and then 6-glass Gauss.
Summilux f1.4 35mm 7-glass Gauss
Elmar f2.8 50mm Lei007.
Summicron f2.0 50mm 7-glass Gauss
Summilux f1.4 50mm
Noctilux f1.2 50mm aspheric 6-glass
Elmar f3.5 65mm Q15
Tele Elmarit f2.8 90mm 5-glass 5-component
Elmarit f2.8 90mm 5-glass, 5-component
Summicron f2.0 90mm 6-glass 5-component This was noted in \Modern Photo 06/1978
p125 with some other lense such as f4/135mm TeleElmar, f1.4/35mm and f2/50mm Summicron. The review
was favorable and in particular the corner results were very high.
TeleElmar f4.0 135mm 5-glass 3-component
Elmarit f2.8 135mm 5-glass 4-component
Telyt f4.0 200mm 4-glass 4-component
Telyt f4.0 280mm 4-glass 4-component
Telyt f5.6 400mm 2-glass meniscus
Telyt f5.6 560mm 2-glass meniscus
Hologon f8.0 15mm A few of this select Zeiss lens were offered for Mbayonet.(
about 1975)
Leica CL This compact Leica was supplied with its own set of M-bayonet lenses, though the normal ones can
fit. There are slight differences in the coupling design and transfers need a little care. The differences on the
Leica/Minolta 40mm are discussed in detail and can include the length of the cam, (longer on versions sold as
Leitz) and filter threads, Minolta lenses being to J.I.S. standards (Popular Photo 04/1974, p63)
Summicron-C f2.0 40mm 6- glass Gauss (Lei036) A note in Modern Photo 06/1978 says there
is "No flare problem" with this optic, contrary to a report in a consumer magazine. By then Leica CL was
discontinued.
Elmarit-C f2.8 40mm Prototypic only!
Elmar-C f4.0 90mm 4-glass 4-component
Terminology by now was to indicate the maximum aperture of the lens by the name regardless of the
structure. Thus Summicron is used on f2.0 lenses and Summilux on f1.4 lenses of varying types of design.
Leica 110 This used a Summicron f2/26mm lens, unnumbered, but only some 3 were completed.
Leicaflex The Leicaflex required a new series of lenses to clear the mirror and these were given the
designation 'R' to distinguish them from the M-series with rangefinder coupling. These were excellent lenses
but the situation became complex due to the need to add extra cams to couple the exposure meters and in
general the area is a specialist one since lenses were updated from one specification to another also. The
following is an early 1970's list.
Fisheye Elmarit-R f2.8 16mm 11 glass, for SL2 only. (about 1980).
Super Angulon-R f3.4 21mm ("Excellent" in Camera 35, 12/1967).
Super Angulon-R f4.0 21mm 10 glass
Elmarit-R f2.8 24mm 9-glass, floating element.
Elmarit-R f2.8 28mm 8-glass
Summicron-R f2.0 35mm 9-glass
Elmarit-R f2.8 35mm 7-glass
Summicron-R f2.0 50mm 6-glass
Summilux-R f1.4 50mm 7-glass
Macro Elmarit f2.8 60mm 6-glass
Summicron-R f2.0 90mm 5-glass
Elmarit-R f2.8 90mm 5-glass
Macro Elmar f4.0 100mm 4-glass
Elmarit-R f2.8 135mm 5-glass
Elmarit-R f2.8 180mm 5-glass
Telyt-R f4.0 250mm 6-glass
Telyt f5.6 400mm
Telyt-R f6.8 400mm 2-glass
Telyt-R f5.6 560mm
Telyt-R f6.8 560mm 2-glass
Telyt-S f6.3 800mm
Vario Elmar f4.5 80-200mm 14 glass.
also Minolta RF Rokkor f8.0 800mm
also Telyt lenses converted from the M-programme, and other lenses for close-up work using the adaptor
No16863.
The collector will also find a wide and impressive range of other lenses such as Elmaron and Hektor
projector lenses, cine lenses for the Leicina cine camera, and bought-in items such as the Schneider PA
Curtagon mounted for the Leicaflex- but without meter coupling. This latter is a costly item, and holds its value
well as there are no problems over coupling cams!
Elmaron f2.8 35, 45, 50, 85, 120, 150, f3.6, 200, f4.0, 250mm for
Pradovit Color and Pradovit Color 110 (45mm) (1970's)
Colorplan f2.5 90mm
Hektor f2.8 250, 300mm for Prado Universal.
Hektor f2.5 200mm
Also Epis for Episcope as f3.6, 325mm and f3.5, f4.0 400mm, Scriptar f4.0 300 and 340mm for overhead
projector Diascriptor 4.
Leicina Vario f1.9 8-64mm lens is fixed in body, not removable.
Macro Cinegon f1.8 10mm 7-glass retrofocus lens for Leicina Special Super-8 M-bayonet
camera. Popular Photo 10/1973, p85. It had an iris from f1.8-f22 and then closing completely for dissolves. It
focused to 1.5in to cover 27x36mm.
Optivaron f1.8 6-66mm zoom This is for the same camera as the above. This also focussed
close to 1.25in to cover 1x1.5in.
Movie Lenses
A Panavision rental list for 1992 shows a new aspect of Leitz with a long list of Panavision Primo Leitz optics,
listed for PV mount. These are (or were) T1.9/10mm; T1.9/14.5mm; T1.9/17.5mm; T1.9/21mm; T1.9/27mm;
T1.9/35mm; T1.9/40mm; T1.9/50mm; T1.9/75mm; T1.9/100mm; T1.9/150mm; T2.8/210mm.
There were also Leitz Macro lenses as T2.8/19mm; T4/21mm; T2.8/24mm; T2/35mm; T1.4/50mm;
T2.8/60mm; T2.8/80mm; T2/90mm; T2.8/100mm; T2.8/135mm; T2.8/180mm.
A Zoom was a Leitz T2.3 17.5-75mm Panavision Primo. This was then the most expensive Zoom rental item
at 519 per week.
LEICA
The firm went through several reorganizations and traded as Leica rather than Leitz. Products have included
mainstream SLR and R/F cameras and several smaller items. Thus about 1991 they issued a Leica Mini with
a Elmar f3.5 lens. This was extended in B.J.P. 10/07/1996 p6 with a Leica Mini 3 with a Summar f3.2/35mm
lens. Both lenses have a 4g/3c design.
Users.
With other makes, some attempt has been made to list well known users- especially where they are rare. This
is not possible with the Leica as they are so numerous. Essentially, these were the standard miniature for
many years. But some names are:
J.A.Cash He was slightly controversial but his picture library covered so many scenes and travel subjects so
neatly that his was the ikon for many places for a generation- and all with a Leica or perhaps a succession of
them See Obituary by J.Clement, B.J.P. 21/07/1978, also correspondence, eg T.H.Jones idem, 08/09/1978,
etc)
Dr P Wolff
Dr Roman Vishniac He recorded the life and plight of Jewish communities with a Leica in the years before
WW2 with the foresight that they were to be destroyed. (B.J.P. 07/12/1979 p1183)
Alfred Eisenstedt
Baron His ballet outfit was Leica IIIb/SCNOO with 35+50+90mm and very successful it was.
ELCAN=E.Leitz, Canada, at Midland Canada.
This was a new postwar plant (from 1955) favoured by NATO as more distant from political problems in
Europe. Midland is about 90m north of Toronto and visits were discourage for years as many products were on
the secret list. It began as a modest 8,000sq ft plant, and was 65,000sq ft. in 1976, with 280 workers. Lenses
were made here for Leica cameras, but the trade name ELCAN seems to have been reserved for military
items. Later the M4-2 was made there. These lenses included very fast surveillance lenses such as the f1.4
Elcans, and and some f1.5 lens of triplet type and especially an f1/90mm for M leica mount. But a major effort
was in lenses for 70mm film cameras such as the Vinten F95, which used Leitz lenses. (The alternative UK
camera maker, AGI/Williamson, therefore used Zeiss, for strategic reasons although the Zeiss Biogon 38mm
f4.5 seems to have been used on both.) The ELCAN lenses seen in the UK for Vinten have RPS threads,
especially the 44mm w/a and f2.0/3in which screw straight into a 2.5in flange and the 44mm is usable on
Press cameras since the thread is well forward on the mount giving a deep sunk effect.These were for the
early F95 with a thicker shutter and have more rear clearance. Later the shutter was made thinner with extra
rollers, and then the Biogon and 1.5in ELCAN were available. These are excellent but can be hard to find on
the ex-WD market and are harder to reuse owing to the limited rear clearance. This limits the prices which
can be obtained second hand and these are normally less costly than might be expected. (Note that these
lenses often are found in a more bulky fitting with 3.5in flange thread, wrapped round the 2.5in flange lenshead.
Modern Photo 07/1978 p58 reported W.Mandler, then Head of design at Leitz Canada as lecturing at
Haverford in 1975 about the value of making the 6-glass Gauss very symmetrical and with G2 +3 and 4+5
identical as a means to reduce costs. This could be achieved with very little loss in performance if high R.I.
glasses are used. The reported also referred to 5-glass f2 lenses without naming any. This may be reflected in
the rather symmetrical looking ELCAN lenses and have been related to their design with limited back focus.
Elcan f2.0 3in This was seen as No 060-152x, with advanced coating in black mounting
with gear teeth on iris ring for auto exposure control. This was a standard lens, but with moderate rear
clearance.
Elcan f2.0 50mm This was noted at No275-0256 and 276-051x about 1972, on a M-type Leitz
KE7A body. A sample seen in the UK was No109-0849, which seems to be a rather symmetrical 6glass
4component Gauss in a black barrel mount with click stops to f16. The rear clearance is moderate, and the
mount bulky, so it was not in M39 but the design might be used on M39 with careful mounting. Thus it may be
the same as the other items here. Optically, it looks likely to be impressive.
Elcan f2.8 11/2in A very complex design, probably rather after the Super Angulon series.
Again this has little rear clearance.
Elcan f2.8 13/4in (44.45mm). This was an earlier version with more rear clearance. It was noted
at No088-0244, 088-0182 as a double retro wide angle. It has a useful but still limited rear clearance. It covers
6x7 very well, is sharp and contrasty but does not cover the whole of 6x9 format. It is a really desirable item
and the one which is easy to reuse.
Elcan f2.0 6in There seem to be two types of this.
Elcan f4.8 12in This was a telephoto type.
Elcan f2.8 150mm This was an aerial lens but no details are available. One report says No138-
154x with linear iris scale in bronze finish to f22 on 8-blade iris in anodized alloy mount.
Elcan f4.0 450mm Again no details are available here.
ELCAN f1.0 90mm This was noted at No164-0008 as ex-Navy Property and was focused at 20m,
also for KE7A. It was noted in A.E.Starkweather, Watertown (N.Y.) Daily News cited in Popular Photo,
02/1968, p50 and then 7 had been made.
Summar, Radiographic f0.85/75mm This was a prewar lens, for recording X-ray mass checks. The structure
seems to be unknown.
Some modern references.
Summicron-M f2 35mm aspheric Well corrected, it was said to improve at f5.6 and replaced the
previous f2/35mm. The aspheric element helped to keep the corrections in close-up to 70cm. Black or chrome
(£1055/1144 resp.)
Elmarit-M f2.8 24mm This was new in B.J.P. 23/10/1996 p6 with aspheric component in a 7g design
with 1 glass with partial anomalous dispersion and 2 of high r.i. glass £1,648 in UK.
(anon) f1.0 90mm for M mount. This was noted in N.Goldberg, Pop Photo 08/1976, p127; also
06/1975).
Chronology
An extended table of serial numbers and dates of production is given in G. Rogliatti, 'Leica and Leicaflex
Lenses 1978', etc.

Lejeune and Perken

They were noted for a Optimus RR lens for 10x8in marked 'Manufactured by Lejeune and Perken for
M.W.Dunscombe, Bristol' Later as Perken, Son and Rayment. Channing and Dunn mention a lens engraved
as above but for J.T.Chapman, Manchester, so they probably supplied lenses engraved with the Vendor (or
Users) name on request.

F. Lemardeley, France
FBB lists an objective Lemardeley f7.7/135mm on a Hanau La Handy in 1900.

Lens Use
Some idea of the lenses in use by important exhibitors can be obtained from lists of their work, eg in the
American annual of Photography. Details of the equipments used are given in most cases allowing good
statistical analysis. It would be a major effort to follow them in detail over a Century and more, but some notes
may be of use. It should be noted that change was slow, partly as exhibitors often printed from old negatives
or showed old prints, and were very loath to give up using equipment which gave successful results.
The Petzval was certainly the dominant lens in portraiture up to the 1880's, and well after in the older studios.
But by then Voigtlaender and others were trying to wean portraitists over to the nearly as fast Portrait RR. And
for outdoor work the RR seems to have been the major item, with the Landscape meniscus well behind. One
reason was that the RR could be divided to give a long lens when needed and as a complete lens gave a
brighter and crisper image to focus. Thus a analysis in 1890 would probably be a mix of Petzvals indoors and
RR's outdoors.
The sheer number of anastigmats noted as made in the years 1890-1910 must have lead to a big change in
lens use but no statistically useful record has been noted so far. It is thought that Dagor and Anastigmat-
Protar would be major contributors but in the new Century the Tessar would have rapidly gained a position due
to its speed and contrast. And note that technical qualities then may have been less valued than aesthetic
ones.
1939
A late pre-WW2 statistic can be obtained from the American Annual 1939, where 94 pictures are detailed.
Some 50% were taken with Tessar lenses of one type or another made by Zeiss or the licensees. This
includes Rolleiflex and other brands where the presence of a Tessar can be assumed, and is an overpowering
frequency. The next were Zeiss Sonnars (grouped) at 8% and Kodak Anastigmats (grouped) at 5% followed by
Leitz Summars, Schneider Xenars, Plaubel Anticomars and Voigtlaender Heliars all at 4%, and Zeiss Triotars,
Dallmeyer Unspecified, Rodenstock Eurynar, TTH Cooke Series II + IV Aldis lenses, B&L Anastigmats, and
Leitz Elmars at 2.5%. Other lenses used included Hektor f2.5, Petzval, Dogmar, Cassar, Protar, Dagor and
TTH Cooke Series XV, at about 1% each. There were one use (1%) each of a Pinkham-Smith and a Verito soft
focus lens, but this really disposes of any idea that the pictorialists of that era used either all Dagors or all soft
focus lenses. They lived in a Tessar period, and there was really little use of "interesting" odd lenses.
1947/1950
The number of pictures with lens details is c.58 per year, and these years were bulked to give a bigger
population. Tessar was still the outstanding favourite, with 52% in 1947 and 36% in 1950- possibly a
significant change. The impression was that the majority were now on Rollei and (less so) Super Ikonta and
Ikoflex. And the number of other types was correspondingly large: 16 types in 1947 and 21 in 1950, and 27 in
all (due to repeats). There was a significant increase in Kodak lenses eg. on Medallist, Ektra and others, to
12% overall. Probably postwar shortages were one factor, but it was nice to see pictures taken with Leitz
Thambar, Ludwig Victar and a Berthiot lens (all 1-3% frequency) as well as a Biogon, Helomar as well as
Heliar (1% and 6% respectively) and a Perscheid once (!%). There were fewer with Leitz Summars (!%) but
several with Elmars (3%) and Wollensak (3%) was a 'new' name though they were not on Leica. Dagor was
still there (3%) as were Dogmar and Omnar- it seems that in some cases one worker went on using negatives
from the same lens for many years, hence the persistence of some types! The oldest was probably a Ross
Cabinet, probably a Petzval.This was an International list, and it was interesting that few English lenses (and
none were new) penetrated to it- 3% Cooke, Aldis 1%, the one old Ross and no Wray, or Dallmeyer.

Lens Setting
A new problem emerged as lenses were focused by scale or rangefinder- especially the latter as expensive
optics were involved and big enlargements were expected. This was that the image of a lens is not formed
perfectly at one distance from the lens but rather finding the best image is a compromise. This is due to
spherical and colour aberrations bringing rays to focus at different distances from the lens and these will vary
with the part of the lens involved- ie with the aperture in use and also with the colour of the light so different
colours. What is important here is that the camera/lens maker will know the best compromise to use. It is
likely that this will be for the lens at full aperture and any shift in focus on close down will be covered up by
increased depth of focus. But the really fussy owner could well find that a modified setting was best if the
camera was normally used eg. stopped down. This is a discussion mainly relating so far to lenses made
before WW2 or at least 1960. As better corrections came in the uncertainty decreased, and will be minimal
with slow highly corrected lenses such as some macro lenses. But with this the lens makers began to be
more aware of film flatness as the limiting factor. This is more serious perhaps in rollfilm where the backing
paper can lead to problems- but tension in the 35mm film can also lead to rippling effects, and in all cases film
stored in a camera can take up a permanent bend leading to an unsharp area- something TLRs are said to
suffer from due to the sharp bend over the lower roller before exposure in most models (other than the Minolta
Autocord). In medium format work, there is some advantage in using 70mm film as here there is no backing
paper and a sprocket counter feed. And in having side tension or vacuum backs for cut film pieces.
But there has been some consideration by makers to minimizing this problems, by choosing lens designs
which were less sensitive to the actual setting in the camera- but also slightly less sharp. This was noted in
an article in Pop. Photo 09/1977 p22 and it is not certain how far it was implemented but is certainly a factor
whenever lenses are exchanged from one camera to another.
On another related subject, it may explain why some lenses are less at home when transplanted to a new
body than might be expected. The very early Leicas for example seem to often hold the film in a slightly
concave shape which suits the image plane of many 1930's lenses very well. These lenses may suffer if
transplanted to a more modern flatter-film body such as a Leica M camera. And the photographers who fitted
Contax RF lenses designed for a flatter-film to an M39 body may not have made as good a use of them as
expected.

Leotax Camera Co,Tokyo, Japan.

They are a Japanese maker of 35mm rangefinder cameras, probably using bought-in lenses from Fujita, and
normally ex-Tokyo Optical Co., under T.N. such as Letana f3.5,50mm
Simlar f3.5 50mm ex Tokyo
Simlar f1.5 50mm (?Gauss type) ex Tokyo.
Topcor f3.5 50mm ex Tokyo
Topcor S f2.0 50mm (?Gauss type) ex Tokyo. Noted at No210,69x.
Leonon f2.0 50mm as Topcor but in black One was noted at No232,91x, another at No210,97x..
Topcor f1.8 50mm (?Gauss type)
Hexar f3.5 50mm Noted at No210,97x, this was a Kokishiroku lens.
Wester f3.5 75mm Noted at No15,50x, this just may be a different makers lens fitted to Leotax.
Here on a Semi Leotax 120 rollfilm camera.

Lerebours et Secretan, Paris, France.

Lerebours (1807-1873) first worked with Gaudin, and then set up as a manufacurer at Place Pont Neuf, and
then associated with Secretan in a studio at Rue de L'Est 23, (1845), a major achievement being the
improved achromatism of the Petzval lens in 1840. (see Rohr, Theorie, etc.) Secretan was an officer in the
Engineers Corps and joined Lerebours for the purpose of manufacturing the lenses.
They were one of the major early lens makers and the products are fairly easy to find in the UK when their age
is considered. They are becoming recognised as one of the desirable brands, so competition for their lenses
may increase. Incidentally, this suggests that they did a brisk export trade to the UK and that the products
were of good value in terms of performance and price.
Their earliest lenses probably included meniscus type lenses rather like the Chevalier products, and they
often fitted a rotating disk stop even quite early on, possibly by 1845, and Lothrop dates one as 1841 for an
80mm focus lens stopped to f4.0, f8.0, f24. The disk was fitted well in front of the lens, and some remained in
use for a very long time, Mr S. Blackett, F.R.P.S. using one into the period 1924-1952. FBB also list two from
1841 on a Gaudin camera for 7.2cm dia and on a Lerebours camera for 7x8cm.
Lerebours learned of the problems with the colour correction of the Petzval design noted by Townson, and by
Claudet, who operated in London and Paris, early on. The difficulty was that correction of the colours to a
visual focus did not coincide with the actinic or photographic focus. He designed Petzval Portrait Lenses
with improved colour correction in 1840. Finely made, they were seen at No6,40x for a 3in dia and No10,90x
for a 2in dia., both of which have Waterhouse type slots. On both these the engraved name is upside down
when the slot is at the top of the barrel and this just may suggest the slot was cut later than the engraving ie.
a retrofit. These Petzvals are the Lerebours lenses most often traded in the UK. These have been noted as
single lenses and as stereo pairs. Both have flare rings, and brass front caps. Both are in full brass finish,
probably originally with lacquer which has been removed from one of them. A lens at auction at No5,769 for
9x12cm wet plate may have also been of this type. Another was also probably No3,80x in a mount with a rack
& pinion focus.
Fig 027 002 Lerebours et Secretan a Paris, engraving detail lens No10,190.
Fig 027 004 Lerebours et Secretan, Paris Petzval Portrait, No10,190.
Stereo Lens Pair A pair of 4.5in lenses were used on a Dancer Stereo camera, and have prominent
wheel stop plates on the front for f9, f12, f14, f18, f28. (MCM 7/1957) (This set of apertures is interesting in
view of Mr Dallmeyer's standardization of a 2x factor about 1860). Such lenses have been seen in trade today.
Later they made at least one version of variable focus lens rather like the 'Photograph a Verres Combinee'.
Today they are probably a notable collectable but so far their lenses do not seem to be very usable.
(Note their pupil M. L.F.Colas also).
No chronology can be suggested but No11,88x was on an T.Ottewille wet plate of 1854-1863 period.
Incidentally among the lenses given by the Fox Talbot estate (Miss M. Talbot) to the R.P.S. in 1921 were
lenses by both Giroux and Lerebours on Daguerrotype cameras.

Levi and Co, Farringdon Rd., London EC.

This was a complex group of companies making cameras and acting as wholesale opticians- but not so far
noted as a source of camera lenses as such.

Levy-Roth
The Minnigraph 35mm at No286 was fitted with a f3.0 lens No185x of unknown source. (Note that McKeown
dates these as c.1915 and as using movie lenses and lists a Minnigraph f3.5/54mm (anon) and an f3.0/? as
options, so a wide choice was available.)
Lichtenkneckar, Hasselt, Belgium.
These are reported to us as makers of mirror systems such as f3.5 500mm; f4.0 760mm; f3.4 1000mm. They
are also specialist makers of long focus lenses.

Ed. Liesegang, Dusseldorf, Germany.

An old firm, founded in 1854, and well known for their Rajah enlargers. A few of their lenses occur on the
collector market in the UK but there is little information on the firm. It was an old one and may have been
related to several Liesegang relations who authored books referred to in Eder's study, often on projection
related topics.
Leukoskop This was a much older lens, of RR type, Q5.
Tachyskop This was essentially the same as the above.
'Petzval' The date of this lens is unknown but it may be 'old' although the serial number 15,266 seems from
the anastigmat era. It is f4.5/130mm and has the unusual quality that the rear glasses are larger than the
front. It may be a projection lens which might explain this.
Parastigmat S11 f4.5 135mm This was seen at No17,67x. It seems to be a nice uncoated dialyt lens(Q26)
in a very solid black and nickel mount, with a click iris.
Peplostar Q14 This is a triplet, and a much lower price item with a simple sliding stop plate. This will
be an enlarger lens.

W.A.Lyon Co of Toronto Ltd, Toronto, Canada.

They are noted for a Imperial 3a lens of 14in f4.0 with iris to f256. It is probably a Portrait RR bought in by the
company.
Lightning
This name was noted on a rather worn brass lens which may be a meniscus or an RR which has lost one
cell. It has a characteristic bronze coloured finish to the barrel suggesting the original lacquer was rather thinly
applied.

Linhof= Nikolaus Karpf KG, Praezisions Camera Werk, Munchen 25, Germany.
Linhof are camera makers not lens makers but many large format German lenses from the 1945 period
onwards carry their name as well as the makers since they were tested and sold with Linhof cameras. This
assured their quality and it is thought to have allowed Linhof to set new standards in the field.
They have given their name to a few lenses bought in and fitted to their cameras, one being the:
Technikar f3.5 95mm on the Linhof 220 (issued in 1966), which was noted at No5,358,63x, 5,896,77x,
5,897,28x. This was officially described as a Rodenstock lens, of 4g/3c Q15 type.
and the:
Technikon lenses bought in from leading German makers.
Technikon f2.8 95mm No4,760,62x noted on a Technika Press No808x (This seems to be an an
anomalous body number, and may be 80.8xx.)
A cine lens seems to be the Helan f3.0/40mm and Colan f4.5/30mm from the early 1920's mentioned by
Ariel's in his Index.

Lizars,J., Buchanan Street, Glasgow UK.

Lizars were working opticians and instrument makers who at least in 1906 (B.J.A.) offered several own brand
lenses and this could be of their own make but were more likely bought in and engraved with their name. Their
products are often known as 'Lizards' with affection. In the 1950's their shop was a good size upstairs photo
section with the opthalmic business downstairs. And there were often secondhand items in a roadside case to
look at- interesting ones as it was then a long established business. There was also a good shop in Edinburgh
with a wider stock range.
The items advertised in 1906 were:
(a) Kram Convertible lens. f8.0 51/2, 61/2, 9in. It was suggested to use 61/2in for 5x4.
This was an RR of Q5 type, and the cells were of 1.5 and 2.25x the focus of the whole. These were still on
sale in the B.J.A. 1916, so they would seem to be either UK or France in origin. In price, Kram was above the
Beck Neostigmar f7.7, and below the Aldis f6, and would seem a bargain, possibly from a French maker.
(b)Kram Wide Angle It was made in 3 sizes for 1/4 and 1/2 plates and for 5x4. Type Q6.
(c) An RR marked 'Challenge' of f7.0 and about 5in was probably bought in but sold by Lizars. In fact
Challenge may be the camera brand, and this was a Lizars trade name.
Fig 008 055 Scottish Lenses engraved by (front) a Lizars' Challenge RR f8/5in and
(rear) Hume (l) RR for 8x6in with Wh stops and (r) a Petzval for enlarging.

Andrew J. Lloyd, 323, Washington St., Boston, USA.

They were dealers active in the 1890's mainly selling Bausch and Lomb lenses but apparently putting their
own name to some other items.
Extra Rapid Rectilinear f6.0 6.5-22in
Lloyd Special Rapid Rectilinear f8.0 6.0-31in. This was noted at auction with a 1894 date
stamped on it or the Rochester View camera fitted with it.
Lloyd Special Wide angle 3.5-22in
Achromatic Meniscus 5.125-13in
'Andrew J. LLoyd and Co, Lloyd Special Extra Rapid Rectilinear' was noted on a Rochester View Camera.

Loman, Amsterdam, Nederland.

This firm seems to be related to Loman and Co., Old Broad St, London about 1890-1895.
Aplanat f8.0 140mm c.1900.
This is said to be 'rare' and sought after in the Nederlands. The example seen had no number and was
apparently in a nickel finished mount with a black ring at the front, and Waterhouse stops, and was a 140mm
f8.0 but different from that above. Was there only one focus made?

London Stereoscopic Co Ltd., Regent St, London.

They were one of the major importers and dealers of the late Victorian era, and not confined to stereo cameras
by any means. They often added their own name to the items they sold and it is hard to say who made them
now: their standard of equipment was high and normally the items are well worth having today. In 1889 and
1901 they used the trade name "Black Band" (here abbreviated as BB) on much of the equipment they sold
including lenses, as follows:
BB Euryscope f6.3 This was made as: 4.75, 6.0, 8.25, 9.0, 10.5, 12.25, 16, 20in.
In 1889, this was f6, and f6.3 in 1901.
BB RR f8.0 This was made as: 5.0, 6.0, 7.5, 9.0, 10.25, 13.75, 15.8, 21.75, 25.5in in
1889, 1901.
BB RR Wide Angle f11 This was made as: 2.75, 4.3, 6.0, 6.25, 7.0, 8.0, 10,25, 13.75in
This was listed 1889 and 1901.
BB Mid Angle Rectilinear This "Will serve almost any purpose". It may be a portable except in name.
BB Portable Symmetrical f16 This was made as:3.0, 4.0, 5.0, 6.0, 8.0, 9.0, 12, 15in. in 1901.
BB Rapid Landscape in conical mounts in 1889.
BB Single Landscape f8 This was made as: 5.0, 5.5, 8.25, 10.5, 14, 18in. in 1910
BB Extra Rapid Portrait f3 This was made as: 4.75, 6.75, 10.25in.in 1901.
BB Portrait Lenses f4.0 This was made as: 4.5, 6.5, 8.0in.in 1901.
The "Black Band" is a prominent feature round the front of the barrel on a lens for an Army and Navy 1/2
plate camera. One was noted at No17,14x with an 'odd' knob on the side of the barrel- possibly an iriis control.
But there is no such knob on the iris of 'Black Band' No17966, an RR for 7x5. It does have a very prominent
raised iris for f8 to f64. It just could be from Beck.
Fig 022 006 London Stereo Coy Black band RR for 7x5in No17,966.
Black Band "Twin Carlton" No20,16x This was noted on a Twin Carlton 1/4plate camera at auction.
They also sold Planastigmat lenses such as an f6.8/4.75in lens in Koilos shutter for 1/4plate.

Lousy Lenses
Photographers have been fascinated by the lenses most users tended to dislike, but it is hard to find a
definitive list. And probably legally dangerous to publish one! But suggestions do contain a rather high
proportion of the faster triplet type lenses, with several owners suggesting L- V- and M-, and lenses on
postwar 35mm cameras with D- and I- lenses, as well as similar lenses. All these and many cheaper 35mm
American lenses have something in common- a rather fast aperture for the design. [And it should be added,
most were fully acceptable to the original owners, so it is hard to say they were defective in any real sense.]
In fact the doubts have come when they are exposed to uses and standards which the maker never
envisaged when they were made, and which the original sale did not intend. It as if the buyer of a secondhand
family saloon then complained when it did not cross moorlands like a 4 wheel drive or corner like a racing car.
In this way, the f1.9 Primoplan is cheaper and less sharp at the corners than the other f2 lenses for the
Exakta- but it is doubtful if it was a disappointment to the original owner. Some extreme speed lenses now
seem poor- such as the f1.5 Xenon and f1.9 Prolinear, but were much admired when new. One curious
example is the f2.8 Tessar, liked in 50mm form but much less so in the 80mm version- unless for the
Hasselblad where it was admired! And perhaps the 85mm Triotar for Contax, which was a cheaper lens than
the rest of the series and may have suffered in comparison.
But rather than try to list them and perpetuate prejudices, a suggestion is for the collector/user to try lenses
before purchase and make up his own mind from real experience. This showed that a Ludwig Victar f4.5 could
be extremely sharp (and excellent shots from a f2.9 version have been seen), as was a Contax Triotar! Many
of the others are still untried but a 3-glass 50mm f2.9 Cassarit gave very nice 10x8 prints when stopped down.
Often it is the setting of the lens for focus which is to blame in folding cameras with floppy fronts and cheap
assembly work. In this case one idea is to transfer the lens and shutter to a plate camera such as a Linhof
where it can be focused on the ground glass screen. However at least one English 3-glass f6.3 was poor on
the original camera- and still mediocre whatever else was tried! And note that this class might contain many
cheap other-brand Japanese wide angle lenses and older Zooms. Antique lenses to distrust are Victorian
brass ones with no makers name, often of cheap glass poorly mounted- the quality of the threads can be a
warning here. And remember there are acute national prejudices which do show up, especially when
discussing French lenses with Englishmen, and English lenses with Germans. But this says more about
history and photographers than it does about lenses! So this is really a situation where the advice is "to try
before you buy, with a warning that you may find much better lenses than you expect."

Fritz L. Lucht, Berlin, Germany.

This was a prewar maker of a Nikette camera fitted with a Luxar f3.5/50mm lens for 16 on 127 film. The maker
is not given. (Modern Photo 07/1978, p74).

Ludwig, Lausa, later absorbed into: Weixdorf bei Dresden, Germany.

Hummel in his book says the firm was founded in 1924 by Ernst Ludwig (1897-1975) by buying a small works
owned by Karl Ulrich which had been founded in 1919 at Zeiss-Abbe Strasse, Lausa-bei-Dresden with some
35 workers. Initially anonymous lenses were made for the trade, and the address may have lead collectors to
think the lens was a Lausa. (This village was later absorbed into Weixdorf, hence the apparent move!) This
changed in 1932, when Victar lenses were fitted to some Korelles 6x9 and 6x6 cameras.
Victar f6.3 105mm for 6x9cm.
Victar f4.5 105mm same
Victar f3.5 75mm on 6x6cm.
Victar f4.5 75mm same
Ludwig lenses seem all to be triplets in the lower price range, but at least the original ones were good
performers and nice to use. Like many in the German industry they extended their 3-glass designs to faster
versions at apertures of up to f2.9 and these can never be as good, but were probably well liked by their
original purchasers who wanted a fast lens, perhaps to take colour transparencies on holidays and could use
the slow films then available with greater ease as a result. It was in 1932 that lenses for the 3x4 and 4x6.5cm
sizes called Vidar were launched.
Vidar eg f4.5 60mm on Karmaflex (1937), Korelle 3x4 as 50 and 75mm (Triplet.) On the
Korelle it was the low price option. It was also on the Kenngott (Stuttgart) Vinci cameras.
Vidar f3.5 25mm on a MiniFex.
Victar f3.5 25mm This was used on a Mini-fex from Fotofex (Berlin) in 1936
By 1936 Hummel states the workforce was about 70 and a wider range was possible to make. Thus Ihagee
lists Anastigmats separately as Ihagee (?ex Ludwig?) and Anastigmat Trioplan (ie ex Meyer) and the Czech
camera makers of the Bellar suggest another- and then you might speculate on Dresden lenses such as
Certar, Enoldar and Weltar, with the Pilotar as a proven case- some are marked Luwig.
Victar f2.9 This had front cell focusing and was the second option on the Beierflex in
Min. Cam. World 08/1939, p689, above an f3.5 Victar but below the price of an f3.5 Radionar and others.
Enoldar f2.9 75mm This was noted on a Korelle P for V.P. size and carries the Ludwig
name.
Bellar f3.9 75mm on Kamerad 1 (1936)
E. Ludwig "Lausa" This may be confusion with the address on an early lens, not a lens name at all. But we
have seen what seems to be "Lausa Doppel" on a mount.
Victar f4.5 105mm in Prontor 11 1-1/150sec, for a folder.
This was seen at No506,34x. Experience shows this is a perfectly sound lens on Poleroid. It was originally
used on the Beirax 6x9cm, and others. On 5x4 today, the contrast seemed low but the sharpness was
excellent when stopped down. This is important as later faster Victars have been much less well noted in
published reviews where versions to f2.9 were seen.
Victar f4.5 60 (or 80?)mm on Stereo Altiscop (1937)
Pilotar f4.5 75mm supplied on Pilot 6x6 reflex Seen at No449,92x. They are engraved
as Ludwig make.
A collection of Ludwig lenses for Exakta shows Victars up to a serial number of about Nr620,000 when the
production changes suddenly to Meritar, from about No755,000, definitely after the War, and possibly due to
changes in the glasses. But a correspondent notes that the front curvature on Victar and Meritar of the same
specification is the same or nearly so- so it may just be a change of name. Pre-war Victars were for both VP
Exakta in f2.9 75mm and 35mm Kine Exakta in 50mm f2.9, while postwar they seem only to be in 50mm
often for Exakta.
Postwar
It is likely that as Lausa is some 7 miles from Dresden it escaped much of the blitz, but the name changed as
it was included in Weixdorf. Production seems to have restarted quickly as a Meritar f2.9 or f3.5/ 50mm was
offered for the Altissa "O" at the 1945 Leipzig Fair, and f3.5/75mm Meritars were listed for Weltax cameras in
1946 and on the Reflecta TLR in 1948, and as a f2.9/50mm Victar on the Mimosa camera in 1948. The last
may be for Baldina cameras in 1948. Postwar, the Ludwig family kept control of the business, perhaps due to
popularity with the employees or just due to the small size of the firm. The state took a 16% interest in 1959.
Later in 1972, it was converted to a VEB with the employees in control.
Pelar f2.9 50mm on 35mm camera, 1947.
Peronar f2.9 50mm on Exakta 35mm, this seems to be a scarce version made fairly early
in the Meritar production. It is not known how it differed, but one suggestion is that it was for sales in USA or
possibly South Africa. The example seen was No865,37x in white alloy for Exa, and was V coated. It has very
noticable diamond knurling on 3 rings, and 5-bladed manual iris. Thus the mount was very distinct from the
Meritar but measuring the external curves shows they are the same.
Fig 029 023 Ludwig Peronar f2.8/50mm No865,378, and Meritar f2.8/50mm No1,581,938.
Meritar f4.5 105mm? It was fitted on 6x9cm Belfoca, about 1956, as alternative to the
Feinmess Bonotar f4.5.
Meritar f2.9 50mm This was a low cost Triplet often supplied on Exa and Exakta
cameras. Two types of mount exist for the Meritar, the early is all white, and the later is with black enamel
filling to the reliefs. It was also fitted to Prakticas till the early 1960's. Meritar continued on Beier and Certo
cameras, often sold in East European markets though some sales to the West ocurred. Total production has
been suggested as 840,000 or more. As pointed out above, the surface curves are the same as the Peronar
but the examples seen were in quite different mounts. The trade name is thought to have needed change in
some countries, and Meritar seems to be unknown in the USA as a result.
Meritar f2.8 45mm on Beroquick KB 135 about 1960??
Meritar f3.5 75mm on Altuca for 6x6cm from Altissa, Dresden about 1949, also Weltax
6x6 in1954..and Weltaflex, about 1954.
(Rectan also was used on Weltaflex, maker unknown)
Altissa also used a Periscop f8 for 6x6, source unknown.
Meritar f3.5 50mm on Feca for 24x36mm about 1955.
Auxanar f4.5 6cm This was an enlarging lens for 35mm and is of uncertain date.
After 1972, further amalgamations occurred. These were
1973, Weixdorf absorbed Optischer Betrieb Angermann, Lieberstadt.
1975, Weixdorf absorbed VEB Seilwerk Dresden; BT Langebruck (formerly Fa Jurgens
1975, Weixdorf absobed VEB Optica Dresden (formerly Geissler)
1977, Weixdorf absorbed VEB Feingeratebau (formerly W. Mautner
Then in 1980, the whole was absorbed into Kombinat VEB Pentacon Dresden and then into Kombinat VEB
Carl Zeiss Jena in 1985. Finally the whole was thrown into Pentacon Dresden in 1990, and then liquidated.
One comment may be that some of these firms would have been more viable in the new world in their original
state than after amalgamation and absorbtion. But that is hindsight.
An anonymous list in the archive quotes Ludwig serial numbers as 1935, c400,00; 1939, c.600,000; and
postwar: 1951, c.800,000; 1954, 1.1m; 1957, 1.4m; 1960, 2.0m. This would make the Peronar about 1952
which is reasonable.

Lueen and Co., Phila., USA.

This name was noted on a 4x5 Pantagraph RR lens on a Blair Lucidograph with 1884/7 pats. It will probably
be the vendors name.

Lumiere and Co, Lyons, France.

Lumiere are or were primarily emulsion makers supplying lenses on cameras to complete their line, but they
also had a camera plant at Joinville-le-Pont, formerly of Jougla. They seem to have been especially active
from about 1936. They continued in camera and film production during the WW2 though with some difficulty as
the film plant at Lyons-Montplaisir was in the zone libre and the camera plant was in the zone-occupee. It is
unknown whether they made or assembled lenses or just bought-in lenses to use under their own names-
these were the cheap option where Berthiot lenses were a choice. Some of these cameras such as the Elgy's
took individual sizes and are hard to use now. For details see B. Vial's book.
Stereo 6x13.
Lumiere made a stereo camera called the Sterelux from about 1920 onwards, the last being finished up about
1946. These were fitted with pairs of Lumiere Spector f4.5/80mm lenses so the vendor was plain even if
they were bought-in.
For folders 6.5x11cm.
Topaz (Boyer) f4.5 125mm This was a three glass triplet. The Lumiere 6.5x11cm may be prewar
parts finished up postwar.
For folders 6x9cm
Lumix This camera had a meniscus lens.
Fidor f6.3 105mm This was on a Ludax folder.
Spector f4.5 105mm This was the premium lens of the set.
For 6x6
Spector f4.5 80mm This was used on the Lumiflex and Lumireflex. The finder lens is an
f3.5/80mm lens.
(Berthiot Flor f3.5 75mm on Lumiclub)
Spector f4.5 80mm This was the low cost version on LumiClub. It was made about 1951.
For 16 on
Berthiot Flor f3.5/5cm was used on the Elax II for 3x4cm on 6x4,5 films in this pull-out front camera for rollfilm.
Coated, these are about 1946, and were a high quality premium item.
Elgy film
The Elgys took 8 exposures 24x36mm on unsprocketted paper backed film and can give excellent results in
careful hands.
Lypar f3.5 40mm on Elgy (1937-1948) This was the normal lens and probably was a 3
glass triplet. It can be really good. There are reports of both 50mm versions on early models, and 40mm
definitely present on updated postwar versions- as well as the 45mm below.
Lypar f3.5 45mm This was used on the Elgy Club in the last bodies. It may have been
changed to conform with the other 35mm cameras then in production.
35mm Film
Postwar, aout 1948, a series of 35mm cameras was sold, with new lenses.
Lypar f3.5 50mm This was on the first Optax in 1948, and may be one of the Lypars
used on the Elgys.
Altar f3.5 40mm This name is only for the Optax, from soon after 1949. It may be
mainly individual in name rather than design. It was earlier used onthe Elgy I in 1949.
Lypar f3.5 45mm This was used on a late 35mm camera, Le Starter in 1955, in an
everset shutter- a low cost starter camera.
Other lenses noted:
Fidor f6.3 105mm This was on Lumirex 6x9cm(1946) but was used as early as 1934
on the Dialux 6x9cm folders.
Spector f4.5 105mm This was on Lumirex 6x9cm
Spector f4.5 80mm This was on Sterelux (1920-1935) stereo for 6x13 on 116 film. It was
later on the Lumiflex and Lumireflex in 1950/1951, and on the Lumiere 6x6cm (1954).
f4.5 105mm This was on Ludax 6x9cm in 4 speed shutter
Nacor f6.3 105mm This was on Sinox 6x9. This was a 1931 lens on a Nada 6x9cm.

Lumika, Japan.
A moderately common early postwar Japanese lens is the TriLausar and there is a suggestion in one book
that the source was a firm called Lumika. Anyway there is a:
TriLausar f3.5 45mm on a Lumika 35.

Luttke and Arndt, Hamburg, Germany.

see also I.C.A.?
Luttke Periscop
Luttke Periplanat
Aplanat f8.0 165mm This lens was noted as dated about 1898.

Lykemar
This was a rather anonymous USA lens coded Wide Angle Lykemar f3.5 35mm in chrome mount with snail
r/f cam, ie one shaped to allow for the smaller extension needed for a 35mm lens compared to 50mm. It is
numbered EO51x and this might suggest it was a Kodak-style dated lens (from 1946), possible prototypic for
Kardan. It is in an M39x26 mount, and coated, probably Q15 type layout. A possibly related Lykomar has
also been noted: see an item under Anon.
Fig 011 003 Lykemar Wide-angle f3.5/35mm NoEO516. (M39)

Mackenstein, Paris.
Known for the Stereo camera and also for a small number of monocameras. It is noted for a Mackenstein
Series 6 f6.0/135mm on a 9x12cm camera and this just may be a Krauss lens under renaming.

H.Mader, Ismy, Wurtemburg.

A Mader Invincibel Aplanat has been noted on an Invincibel camera, (c.1889) where the lens is not
certainly of Mader's own make. (Note UK Patent of 05/01/1888 to Mader and Oertal).

Macro-Skope
The UK agent was Kirsch Instruments, 54, Merrion St, Leeds, LS2-8JH
This was a multi purpose device for up to 800mm as a tele and for extreme close-up. It included a viewfinder
for use as a telescope, and all at £28 inc post and insurance.

Maksutov, USSR.
Maksutov was the designer of one of the first good catadioptric systems (Brit. Pat., 1944). They reached the
West after the war, especially from about 1963. They were made in several styles and mounts over the years
and there perhaps were also variations in the nominal foci of the smaller size. The initial product was for
M39x26 thread to suit Russian Fed equipment (and later with Zenith register), and this version was awarded a
"Grand Prix Bruxelles" when exhibited there in 1958. Later it was the combination of good quality, moderate
price, and the growth of the SLR which made them have such an impact on the long lens market. They are an
undoubted Landmark as a result.They were originally in a nice plywood case with a set of filter and the
Bruxelles marking, and this should be the most collectable and not unduly costly. Note that there is no iris as
with most "cats" and that the neutral density filter can be valuable as a result. Out of focus areas tend to
show up as doughnuts due to the centre stop by the second mirror, and the unit is about f10 rather than the
marked f8.0 due to the same factor. They sold well in the USA from 1/1964 and it seems that the importer
there was instrumental in getting supplies with standard SLR mounts available- too many are found with the
Zenith thread and register or with one-off adaptors. (See Prof. Wynne in Prog. in Phys, 19, p321, 1956; also
Maksutov, in J. Opt. Soc. Amer. 34, p270, 1944).
MTO 500 f8.0 Mak001; Basic Cat Mak002.
MTO 1000 f10 same Makers Code "MC MTO-11CA"
The 1000mm is less common but was and is also still normally available. It is sufficiently long to be rather
hard to use well. Even in 1987 it was still "for Zenith type cameras."

Makina Optical, Tokyo, Japan.

The UK agent for these was Polysales Photographic, Ltd, Polysales House, Meadrow, Godalming, Surrey,
UK; Tel 04 868 7998. (1980). They seem to be appointed in 1980 (B.J.P. 07/03/1980 p215). An important
source here is Makinon Lens Photography by Stephen Bayley, Dorkstar Ltd, Harley St, London W1 1983
98pp. It states that the Makina Optical Company Ltd was first established in 03/1967 to design and
manufacture interchangeable lenses for 35mm SLR cameras, and initially made these for independant
suppliers and for camera makers. Then in 1974, they extended into selling lenses under their own name as
the Makina Trading Company and by 1983 employed some 400 persons at 9 locations in Japan and exported
to some 55 countries with a wholly owned subsidiary in the USA. The company was organised as 5
departments, viz. Research and Development; Production; Quality Control; Marketing; and shipping.
In the UK they sold:
f2.8/24mm, 9g/7c;
f2.8/28mm, 8g/7c;
f2.8/135mm, 5g/5c;
?also as a 4g/4c in the 1983 book
f3.3/200mm 5g/4c; not in the 1983 list
f4, 300mm, 5g/5c;
this is ?replaced by a 8g/6c f5.6 mirror in 1983
f8/500mm mirror of 8g/6c in 1983 list
f11/1000 mirror 7g/6c in 1983 list
24-80mm 9g/8c (1983)
f3.5 28-80mm, 14g/12c; or 14g/14c in 1983
f3.5/28-105mm 14g in 1983
f3.5/35-70mm 8g/8c in 1983
f3.5/35-105mm 15g/4c? in 1983
f4.5 80-200mm 13g/9c.
75-150mm 14g/10c in 1983.
Camera mounts supported included Olympus, Canon (FD?), Minolta, Nikon, Pentax K mount, M42 screw,
Fujica, Konica, Contax/Yashica, Rollei, etc.
Note that the list did change from 1980 to 1983 though the book just may have items not sold. There was a
supporting range of teleconverters, slide copier, extension tubes, etc which may suggest Makina were also a
trade supplier of these in the 1970's. But this may have been an awkward time to expand as auto focus
cameras were to emerge and these were not friendly to independant lens makers.
This seems to be in use as a brand name in Modern Photo 08/1980 p121 for a lens series from Cost Plus,
3855, W.Oakto, Skokie, Ill 60076, USA for lenses:
f2.8/24mm; f2.8/28mm; f2.8.135mm; f3.3/200mm; f6.3/400mm; f3.5 35-105mm; f3.8 75-150mm; f3.5 28-
80mm; f3.5 80-200mm; the last two were macro focus designs. [Any relation with the Plaubel Makina is
obscure.]
A f8/500mm mirror lens was noted in B.J.P. 13/03/1981 p281 which had the unusual close focus ability of 1:4
image scale at closest.
Malik,
This was a prototype lens listed, especially for Exakta, (1963) and these include a Zoomalik 35-75mm f2.8. In
France, FBB list the prototype Zoom on the Malik SLR protype in 1960 and this may suggest a product
planned to parallel the Zoomar and not continued.

Mamiya Camera Co Ltd., Tokyo, Japan.

Agent for UK Rank Audio Visual, POBox 70, Great West Rd, Brentford, Middlesex.
See B.J.P. 21/09/1979 where it indicates that Mamiya were jointly owned by Bell & Howell and J. Osawa up
to about 1979 when Osawa took complete control.
Mamiya have long supplied lenses to match cameras, especially in the medium format sizes. One major
success was the twin lens reflex for interchangeable lenses which was a real novelty in this field. They have
also made 35mm SLR's and the Mamiya Press camera. Thus this is only a first approach to the product
range.
For TLR Mamiya Sekor lenses in pairs on panels.
f4.5 55mm this was noted in a 1975 list (B.J.P. 26/12/1975)
f3.5 65mm retrofocus type. (Modern Photo., 7/1965, p85)
f2.8 80mm
f3.5 105mm
f4.5 135mm
f4.5 180mm
f6.3 250mm This was noted in the 1975 list which also had all the others above.
For a contemporary review, see Modern Photo. 2/1963. The review was favourable but not startling.
Performance in actual use seems to be better than the review suggests. This was a favoured professional
system with long term popularity. The actual details of the finish did change somewhat over the years but
most items are fully interchangable. Some updates were available from the Agents, Rank Audio Visual such
as automatic click stops to the older lenses. (B.J.P. 14/04/1978, p311)
RB67 This was the big reflex camera. The lens list in 12/1975 was already:
Sekor f4.5 50mm
f4.5 65mm
f3.8 90mm
f3.8 127mm
f4.5 180mm
f4.5 250mm
35mm SLR's
Mamiya Auto SLR (1/1963.) This may be related to the next item also although the mounts may differ.
It was offered with;
Terragon f3.5 35mm
Mamiya Auto f2.8 35mm
Mamiya Auto f2.8 135mm
ColigonPS f2.8 135mm
Quinar PS f4.5 200mm from Steinheil.
Piesker PS f5.5 400mm
Some of these have nothing to do with Mamiya, but were packaged by the vendor.
Mamiya Reflecta (c.1963) This camera had an Exacta bayonet but with the auto iris mechanism working
differently and this prevents any compatibility with original Auto Exakta lenses. Note the standard lens was a
Canon f1.9 50mm.
Mamiya f2.8 35mm
Mamiya f3.5 135mm
Mamiya Press lenses
f6.3 65mm
f3.5 90mm
f3.5 100mm This was a later and 'much to be preferred' lens.
f5.6 150mm.
Soft focus There was a reputed soft focus f4.0 lens for medium format but no details are available.
J.Bethell in B.J.P. 11/06/1997 p21 refers to a f6.3/50mm lens of a Press as a very useful item after transfer to
a Sinar panel for use on 6x9cm.
Other
Mamiya f3.5 14mm full frame fisheye 10g/7c (c.1980)
Mamiya f4.0 24mm 180° fisheye for Mamiya 645 (1980)
Mamiya f4.5 37mm 180° full frame fisheye (c.1980)
Mamiya f1.7 58mm in M42 mount for Mamiya-Sekor camera type PB/CWP (7/1965)
A new Mamiya ZE system camera was reviewed by L.A.Mannheim in B.J.P. 29/02/1980 p192 with a bayonet
mount but able to use older lenses from the Mamiya NC series. The new series were:
f3.5 28mm 5g/5c
f1.7 50mm 6g/5c
f2.0 50mm 6g/4c
f3.5 50mm 5g/4c
f3.5 135mm 4g/4c
f4 200mm 5g/5c
f3.8 80-200mm 14g/10c.
Mamiya 7II Dual Format
This is a rigid rangefinder camera with interchangeable lenses for 6x7 normally with 35mm adapter. Lenses
are:
Mamiya f4.5 43mm
f4.0 50mm
also 65, 80, 150mm at f4 or f4.5. (Popular Photo 11/1999 p4).
Millenium Lists for Mamiya were:
Mamiya MYA series:
f2.8 45mm 9g/7c
f2.8 55mm 7g/6c
f2.8 80mm 6g/5c
f3.5 150mm 5g/5c
f4.0 210mm 7g/5c
f4.5 300mm 8g/8c
MYM series for Mamiya G45 AF
f4.0 24mm 10g/8c fisheye
f3.5 35mm 9g/7c
f2.8 45mm 9g/7c
f4.0 50mm 10g/8c shift lens
f2.8 55mm 8g/6c
f2.8 55mm 8g/6c in leaf shutter
f4.5 55-110mm 11g/10c
f2.8 80mm 6g/5c
f1.9 80mm 7g/6c
f4.0 80mm 6g/4c Macro lens
f4.0 105-210mm 13g/11c
f4.0 120mm 9g/8c
f3.5 150mm 5g/5c
f2.8 150mm 6g/4c
f3.8 150mm 5g/5c
f2.8 200mm 7g/5c Apo colour correction
f4.0 210mm 5g/4c
f5.6 300mm 6g/5c
f2.8 300mm 9g/8c Apo colour correction
f5.6 500mm 6g/5c
f4.5 500mm 11g/9c Apo colour correction
MRB series for Mamiya RB67:
f4.5 50mm 11g/8c
f4.0 65mm 9g/8c
f4.5 75mm 11g/9c shift design
f3.5 90mm 8g/7c
f5.2 100-200mm 14g/12c
f3.5 127mm 6g/4c
f4.5 140mm 6g/4c macro
f4.0 150mm 5g/3c soft focus type
f4.5 180mm 4g/3c
f4.5 210mm 7g/5c
f4.5 250mm 5g/5c
f4.5 250mm 7g/5c APO colour correction
f5.6 350mm 7g/6c APO colour correction
f8.0 500mm 6g/6c
f6.0 500mm 7g/7c
MRZ series for the Mamiya RZ:
f4.5 37mm 9g/6c
f4.5 50mm 11g/9c
f4.5 50mm 15g/11c
f4.0 65mm 9g/8c
f4.5 75mm 11g/9c shift lens
f4.5 75mm 11g/9c
f3.5 90mm 6g/6c
f5.2 100-200mm 14g/12c
f2.8 110mm 6g/5c
f4.5 140mm 6g/4c
f3.5 150mm 6g/4c
f4.0 180mm 6g/4c
f4.5 180mm 4g/3c
f4.5 180mm 4g.3c
f4.5 210mm 7g/5c
f4.5 250mm 5g/4c
f4.5 250mm 7g/5c APO colour correction
f5.6 350mm 7g/6c
f6.0 500mm 7g/7c

Manhattan Optical Co., New York, USA.,

The Manhattan Optical Co merged with Gundlach Optical Co in 1902. Their products do not trade regularly in
the UK. A No2 Daisy lens for 5x4 with wheel stops was noted at auction.

Societe Manufrance, France.

They seem to be associated with Sito-Royer, to make a 6x9cm folder in 1953, with a Luminor f4.5/105mm
lens.

Marep
This was a series of T mount lenses for SLR cameras which was sold by R.F.Hunter, Celfix Ho, 51 Gray's Inn
Rd, London WC1 in and after June 1967. They were all in T-mounts, and seem only to have been with preset
iris.
f2.8/35mm; f3.5/135mm; f4.5/200mm; f5.6/300mm; f6.3/400mm; f8.0/500mm.

Marion and Co, Ltd, 22, Soho Square, London, UK.

Marion were camera dealers from about 1850, and became one of the key players in the APEM business,
hence the SOHO reflex. But it is unlikely they ever made lenses, rather acting as selling agents for other
makers. The name Marion has been noted on these, and their actual manufacturing capacity for cameras may
have been slight also. They were sole agents for UK and the Colonies for Voigtlaender of Braunschweig in
1889. A distinctive early Meniscus lens of some 12in focus with washer type stops has been reported, an
example of a 1850's type item. In a later list they seem to be mainly advertising RRs (Q5) in the 1880's and
the one seen was a f8.0 7in lens in the old 1.5in fine thread mount. It was in a unusual brownish, nonlacquered
finish and had 2 other points to note.
(1) The barrel was normal but the end mounts for the glasses were made integrally with the flare ring at the
front and integral with the mounting thread to the flange at the rear- nice but not the usual design.
(2) The flange has no screw holes to fix to a panel- suggesting that this was the camera maker or customers'
job to drill to suit his camera. Was this a normal 19C convention?
See Fig 007 025 Marion RR c.f8/7in in 1.5in fine screw flange with no holes drilled; [also a Shew RR in early
shutter.]
They were noted in B.J.P. 24/05/1878 cited 24/05/1918 p466 for introducing a pneumatic shutter release for
studio work, apparently from a UK source.
There was probably a complete series of lenses of the period. Thus in 1889, they listed (BJA p872):
The "Soho Rapid Lens" in sizes for 1/4plate; 5x4; 1/2plate; 1/1plate; 10x8in; 12x10in; 15x12in.
Marions Rectilinear Form of Lenses with nickle mounts. At that time they had been on sale for 10 years, ie
1878-1888 (but perhaps not always with nickel?) and were for 1/4plate, 1/2plate, 1/1plate and 10x8in. These
may be old glass lenses while the above are new Jena glass.
Wide Angle Rectilinear Form. These were sold in 1889 to cover 1/4, 1/2, 1/1 plate and 10x8 12x10 and
15x12in plates.
Portrait Lenses.
These were sold in 1889 as Marion's Excelsior, for CdV and Cabinet; Marion's Extra rapid Cabinet, and
Marion's 1x1plate or Quick Cabinet.
In 1895 they listed 2 series of RRs as follows:
(a) United Rectilinear Series: This was a double combination of good quality for 1/4, 1/2, 1 plate;
(b) Marion's Soho series for 1/4, 1/2, 1 plate; also 10x8, 12x10, 15x12in. This was the 'recommended' series
but at nearly 3x the price of the cheaper one.
(c) Marion sold a miniature in 1898 for 3.25x2.375in with a unknown lens to suit.
(d) Marion's metal miniature, a smaller camera, with lenses to suit.
Marion is a desirable 'name' on a lens but mainly for the camera association.

Martyn's Stores
They seem to be the source of a lens engraved "Plutar Extra Rapid f8 The Douglas. Martyn's Stores". It is
probably a vendors label.

Marum
This was a trade name noted on TV accessory lenses.

George Mason and Co, Glasgow, UK.

This seems to be a shop carrying a range of bought in lenses and they may have engraved their name on
them. About 1900, they included French Portrait lenses (Petzval?), Euryscop (Jena glass), RR and WAR, and
their own brands of snapshot lenses. These latter may be meniscus or RR. No example has been seen with
this name on it.

Matsushita Electronic see Panasonic as a trade name

They introduced a video camera noted in B.J.P. 16/05/1980 p479. Lens was a Fujinon 6x zoom.

Mattey, (Etablissements A. Mattey), Paris, France.

They were noted in B.J.A. 1951, p120 for a prismatic beam splitter called the ,Stereofocal'.

F. Matthias, Dresden, Germany.

Matthias made a series of 6x9cm folders mostly with normal lenses of the period 1934, but with two unnamed
Anastigmats, f6.3 and f4.5, of unknown source.
Maugey aine, Paris
He is listed in a Kodak Museum list as making a Petzval f5/5in lens about 1850. No other products have been
noted.

Mayfair Photographic Suppliers, 166 West End Lane, London NW 6.

Mayfair were agents in the 1960's (?) for Komura Soligor and Sun and supplied their own Crystar line as:
f3.5, 35mm; f2.8, 35mm; f4.0, 200mm; also Chelico, f2.8, 135mm; f3.5, 200mm. Another line may be the
Mayfair Sankor f3.5/135mm lens with preset iris for Exakta. These were all preset lenses.

William McIntosh, Ltd., Change Alley, Sheffield, UK.

This business seems to have been previously (from 1839), been associated with Watsons and Wallace
Heaton, and was sold to Mr McIntosh who had been their manager for 14 years. This may be how he came to
give his own name to a series of Wilmac lenses used on cameras he probably imported, possibly through the
normal channels, but with his own labels. [This might be rather as Heatons also did.] Thus in 1928, he sold a
normal range of cameras especially cine, but also the Wilmac de Luxe folding plate for 3.5x2.5in with a
f4.5/4.25 Wilmac lens at £7.35, and a Wilmac Junior for 2.5x3.5in and 1/4plate, with an f6.8 Wilmac from
£2.50 as well as Wilmac enlargers, tripods and so on. These cameras seem to be fairly normal small black
plate cameras, but the thick body walls suggest they were still built of wood. (B.J.A. 1928, 636, 1929, p632).
[Note there was a separate company Sheffield Photo Co. at Norfolk Row, then 40 yrs established and with a
series of Norfolk cameras which possibly proved a longer lived series.

J. C. McKechnie, Optician, 81a Castle St, Edinburgh, UK.

This was noted on a wide angle f4.5 5in No29,004 on a 1/4plate camera, but without further details.

Meade Instrument Corp, Irvine, Cal., USA. Tel +1 949 451 1450, or Uk try Broadhurst Clarkson
and
Fuller 020-7405-7211.
also 1675 Toronto Way, Costa Mesa, Calif 92626, USA.
They are a maker of mirror and refractive systems, including an Apo refractor of f9.0, in 900 and 1600mm, and
also of Schmidt mirror systems, including an f3.0. A very impressive product range was still available in 1998.
There was a 1,000mm Cat in Modern Photo 06/1980, p27 at $285 ppd. In Ad2001 there was an 8in reflector
LX-2000 at L2549, with cheaper items from a Meade 230 at L130 and prices ranged up to at least L17,000.

Meijlink, Nederlands.
This seems to be a Dutch product but it is not known if Meijlink was a maker or agent. It is a rather solid,
brass cased triplet, of f6.3 and about 200mm focus.
Fig 007 021 Two anastigmats, probably branded by the vendors, as (l) a Sichel (UK) Fulmenar f6.8/6in and (r)
a Mejlink's anastigmat (Nederland) f6.3/180mm (Nono).

Mentor (Golz and Breutmann), Berlin and Dresden, Germany.

They were noted makers of large SLR cameras and noted for only two lens points.
(a) One is that they were the users of the Rietzschel f1.9 Prolinear in two versions of their Mentor Reflex,
and the prices may be of interest- at least for their relative cost. In 6x9cm format (the smallest!) these were
with Tessar f4.5, 600RM; with Triotar f3.5, 645RM; with Tessar f3.5, 675RM; with Tessar f2.7, 750RM; with
Prolinear f1.9, 960RM. In addition, a TeleTessar f6.3 added 205RM. Since the Prolinear was a 4-glass lens (as
a Tessar was) it obviously commanded a premium price, but there may also have been a premium on glass
blanks big enough to make it! Incidentally the Prolinear normally protruded from the front in the Nachtreflex
model, but a 1926 advert. shows one with a Granny-annexe on the front to surround and secure the lens, and
this was an option presumeably.
Also for the following;
(b) Mentor Spezial Optik on the Mentorette as an f3.5/75mm about 1935. This camera was a scarce 6x6cm
TLR.

Meniscus
The very earliest lenses were just single components: very soon Chevalier found that the Wollaston (1812)
type with a concave towards the subject was best and that the stop should be well forward of the lens. This
could be improved by using an achromat- two lenses cemented together to bring at least 2 colours to focus at
one point. Kingslake notes that the optical gain was dubious: however a user might say that the real point
was the gain to the photographer in focusing which was more positive with a colour corrected lens where the
visual and photographic focus points now coincided. Such a lens was usually made like a telescope objective
as in Layout Q1, but almost from the beginning a second type, Q2 was available and may be better but more
costly to make and in practice is rare. A third was proposed as a telescope objective by Gauss, as in Q16
(right half only) but never used in photography. The first two were staples in the Victorian era, probably made
from Crown glass, 1.5407 and Flint glass 1.6225, and later Q1 continued on a myriad of cheap box cameras,
often just as a single glass, prefocused in the factory so the the achromat added little. The term "new
achromat" may be used to describe Q2 but better is used for a new glass design, after the sale of the Jena
glasses, and Conrady suggests then to use G1= 1.6118 (Chance 4873) and G2= 1.5472 (Chance 458) though
other choices must be available. And in modern times, achromats were often used as very long focus lenses
for miniature cameras, for the sake of lightness and simplicity, since they covered small angles very well.
Such simple lenses are a compromise in design, often limited to f11 or so soft as to qualify as soft focus
portrait lenses where they were used up to f4 in some cases. But they do show distortion and all the optical
aberrations, and the development of photography needed better lenses. One route was to set pairs of
meniscus lenses about a centre stop- which almost automatically corrected for coma and distortion, as well
as colour if they were achromats. Such pairs cover the Periscop of Steinheil and the Aplanat/RR (Q5) of
Steinheil and Dallmeyer respectively, and some of the Portrait lenses, such as the Nicola Perscheid. Thus
these can today be used temporarily as a source of meniscus cells by removing the front cell and the 4-glass
Gauss might provide an example of the Gauss type. Such symmetrical doublet lenses were further developed
with 3 glasses in each cell (Q9, Q10 , Q11 and these were the earliest symmetrical anastigmats. Again these
can provide single cells with some degree of improved astigmatism correction, but only over a limited angle
as they were not designed for wide angle use alone. The simple construction means there is very little flare
from a meniscus lens, and stopped down perhaps to f22 the results are very good if the angle covered is not
too big. Often the originals used a 6in lens to just cover 5x4 or a 5in if it was rated as a wide angle meniscus
which had the iris nearer to the glass to allow a wider field before the mount cut off the light. Some of the later
complex types from Wide angle RR and symmetrical anastigmats do cover a really wide field and this is worth
checking before use. The Gauss lenses were not usually intended to be used as single cells and this use may
be "unfair".
Van Monckhoven says the English meniscus lenses usually had a glass of diameter 20% of the focus, and
covered a diagonal 66% of the focus while the French version was respectively 14% and 50%. (P120). The
radius of the concave side was about 33-50% of the focal length, the diameter being 16% of the focal length
but the working aperture was only f16, f30 or less. He notes that in 1867 (publication!) the Grubb Aplanat was
"new" and to be preferred. He notes that in the usual French form the concave face of the flint was to the
subject, with the crown glass nearer the ground glass screen, and a larger size glass requires a greater
distance from lens to stop and this can only be corrected by making the concave surface deeper which in turn
introduces more distortion. The "Grubb" form has the crown glass toward the subject and the flint making the
divergent glass nearer the ground glass (p118). He says the advantage obtained was a very flat focal plain,
wider cover, reduced spherical aberration and thence greater speed and (incorrectly? that other English and
American makers were then often using it. (Collecting experience seems to be of the cheaper old type with
few of the 'Grubb' type.) He then describes the improved 3-glass type from Dallmeyer where a flint glass is
sandwiched between two crowns to combine the advantages of both type.
Lake Price refers only to the original achromat landscape, and comments on the image quality as less
vigourous than the Petzval Portrait but giving much more 'depth of focus' and prefers the Triplet or the
Orthoscopic for 'rotundity of architectural form' and 'finish and delicacy' but says it works better into green
foliage and landscape owing to it having 'only two reflexive surfaces', so he recognises the low flare quality of
the simple lens. The Dallmeyer 3-glass S.C.Landscape is noted as having the diaphragm stop nearer the
glass than the usual meniscus and covering some 90° and can be used at larger stops than the usual
meniscus as the 3 glasses including 2 kinds of crown glass give better correction especially for colour. Both
are more prone to distortion than the Orthoscopic' however.
Traill Taylor lists and discusses the Grubb Aplanatic, Dallmeyer 3- glass, the American Globe and what
seems to be half a WAR (Da 016) with the edges ground flat to save glass, etc.(p43, etc). Later he mentions
the valueof adjusting the depth from the stop to the glass, as an increase in this can improve the edge
sharpness. One case is the use of single cells of RR lenses which are normally much too near the stop if
used alone. He mentions a extension ring placed between mount and cell of 0.75in thickness for a 1.625in dia.
lens.
Meniscus lenses were often used as soft focus lenses eg. in portraiture and actually still are to some extent.
A original article was by S. Black in British Journal 14/08/1924, pp486-7, B.J.A. 1926, p231. He says to open
one of the old meniscus lenses up to f5.6 for diffused portraits with more glitter or shimmer than normal
techniques. He prefers lenses with a convex set towards the plate and a rather long focal length for the plate.
For even illumination, the glass must still be large compared to the stop.
Traill Taylor refers to the great depth of focus of the uncorrected single glass meniscus and to the possibility of
having a sliding mount to correct for the difference between visual and photographic focus. One method
proposed by Mr R.H.Bow of Edinburgh was to add a very weak extra lens while focusing and then remove it to
expose. This is what Busch did in some of the Vademecum sets. The correction was judged to need a 2%
reduction in focus. Example Lens focus 50in, subsidiary needed 245in. (p30)

Meopta, Prerov, Czechoslavakia/Czech Republic.

UK Agent W.F.Dormer, of Hendon.
A major maker of optical equipments, important for enlargers today, but supplying other instruments at least
in the past. Their trade name Belar is one to look for on many of these. One source also lists Benar but this
may be a printers error.
Benar 5.5-21cm This was listed in the B.J.A. 1938, p699 (Advert.) 1939, 671. This was an enlarger
lens of unsymmetrical construction, and interchanged on a round panel. The firm then advertised as
Ceskoslovenska Zbrojovka A.S., Opitikotechna, Brno, Czechoslavakia, and Meopta seems to be a later trade
name.
Belar f3.5 75mm
Belar f3.5 80mm This was on the Flexaret. This is a Q15 4-glass lens listed in 1949 on a
Flexaret 66
Belar f6.3 210mm This is a coated PIM large format lens with a plain iris (no clicks) to f45, and
seems to be a Q15 type design.
Mirar f3.5 75mm This was fitted to Photina reflex c 1954.
Mirar f3.5 20mm It was noted on a Mikroma II camera but may not be numbered. It is 1950-
1960's period. (See MCM July 1958). There was also a Mikroma 1 so the lens was not new then.
Mirar f3.5 25mm Note that this focal length was noted for Mirars on StereoMikroma cameras at
No9,42x/947x and 496x/496x.
Mirar f4.5 80mm This was on a Milono folding bed camera.
Mirar f3.5 20mm on Stereo 35.
Stereo Mikroma f3.5 These were 25mm Mirars at Nos436x and 430x on a Stereo Mikroma.
Opema 35mm Camera
A major collector interest is the Opema camera, which is rated as a 'Leica lookalike' but has a smaller thread
size at 38mm and smaller register, and a skirt round the edge of the lens flange.Therefore it has really no
possible compatibility with Leica items in either direction. It is just possible to get the smaller thread to
engage in M39 however especially if a little thread tape is wrapped round the lens threads, and the lens can
then focus at infinity if the lens is pushed in 1mm on the collapsible tube, possibly after wrapping tape round
the tube to set the amount of movement. Or in close up using a ground glass screen. Opema takes a nominal
format of 24x32mm and the lenses are rather shorter focus for that reason as on some of the other cameras
for this size. It was a novelty when noted in MCM 6/1951, with f3.5/45mm lens. It is worth noting that few
Opema exchange lenses were offered at the auctions where most of these cameras were sold- long and wide
angle lenses seem to be really scarce.
Largor f6.8 30mm this was noted at No110,12x and 110,18x.
Belar f3.5 45mm This was in a collapsible mount. It seems to be a Q15, 4-glass type, with a
fine coating in several colours, seen at Nos 497x (2x) (one on body No350x), 43,64x, 45,30x, 45,42x, 45,52x
and 046,89x; and then 105,70x and 439,90x, with the iris after glass 2. There seems to be a discontinuity in
the numbering here, and the lens No105,70x was at auction in an outfit with 30 and 135mm lenses of near the
same serial number, as if the 45mm lenses had been brought into line with the general production.
Fig 012 025 Meopta Belar f3.5/45mm No046,898 on Opema 32x24mm for M38.
Belar f2.8 45mm This seems to be equally or more common at auction (compared to the f3.5)
and was noted at No 53,94x, 851,79x, 1,051,80x (2x), 1051,98x, 1,056,30x.
Fig 007 023 Meopta Belar enlarging f4.5/75mm Nos 326,603 and 306,232; and Cine 8mm with 2x Openar
f1.9 12.5mm No2698 and 25mm No2310, with geared focus.
Opemar f2.0 45mm This was noted at No106,29x on body 037,47x.
TeleMirar f4.5 90mm
TeleMirar f4.5 135mm This was noted at Nos 108,49x, 108,565 and 108,95x. It is a slim lens head
at the end of a finely chromed barrel, using push-rod type coupling. The head seems slim for the barrel. The
reflexions suggest a3g triplet with 1+1+i+1 layout but the head is fixed in the barrel and the rear reflexions are
hard to see.
Telex f6.0 180mm
There were matching view finders and other accessories. Suplies of the usual items in the Czech Republic
seem to be fair, with a TeleMirar available in a shop window in Praha. (10/2000) Repairers say 'no spares
available' for Opema.
Cine lenses, for Admirar 8mm camera, etc.
The C8IIa seen had two lenses on a turret, with the focussing gear coupled so that either could set both. The
lenses were:
Openar f1.9/12.5mmNo2,69x and f1.9/25mm long focus, No2,31x. The apertures were set separately.
Fig 007 023 Meopta Belar enlarging f4.5/75mm Nos 326,603 and 306,232; and Cine 8mm with 2x Openar
f1.9 12.5mm No2698 and 25mm No2310, with geared focus.
Polar Ariel lists this as a f1.6/25mm lens: it may be for projection.
Largor f1.8 12.5mm for Meopta about 1963, ie. possibly a little later.

Mergenthaler Lenses of this name are probably off a Linocomp phototypestting unit and are not normal
photographic items. The influx of new printing machines including Mergenthaler is mentioned in B.J.P. 24/08/
1979, p822.
Fig 007 034 Mergenthaler lens, ? ex LinoComp photo typesetter NoA 1907.

Metra
B&J lists several Metra lenses, apparently for process work.
Scienar f11 600mm
Apochromat Scienar f11 480, 600mm

Carl Meyer
This was a trade name devised by George Drucker about 1927 and used by his firm on a series of lenses
offered by Burke and James. Thus there was a set sold about 1961-1966 from a maker unknown, but
described as "Made in the USA", custom built and top performance. They were listed secondhand as follows:
f2.7, 150mm; f4.5, 250, 300mm; f5.6, 360, 380mm; for a range of SLR fittings.
Carl Meyer f4.5 105mm Reprostigmat advertised in Compur MX shutter.
A 1960's list has:
35mm Movie
Moviar: f2.3 25, 35, 40, 50 60, 75, 100 125mm
f2.0 50mm
f2.7 150mm,
f4.5 150, 210, 250, 300mm;
f5.6 500mm
Videostigmat f2.9 200mm
f4.5 300mm
f5.6 350, 400mm
"Gauss" f5.6 210mm This just may be a wide angle large format lens.
16mm
Videox f1.5 12.5mm
Moviar Speed f1.9 16mm
or Speed f1.5 25, 60, 75, 140mm, also f2.9 100mm, f2.0, 125mm.
Moviar f2.3 25, 35, 40, 50, 75, 100, 125mm
Speed f2.0 50, 60, 125mm, also f3.0, 300mm.
Speed f0.95 25mm
Videostigmat f4.5 150mm
f2.9 200mm
Speed f1.0 37.5mm
Speed f0.85 150mm in special sleeve.
Speed f2.5 175mm, 319mm.
Speed f2.8 or f3.0 at 300mm.
Speed f2.8 105mm
Speed f1.1 90mm
Recording: Reprostigmats.These are for special data recording and copy work
Reprostigmat f1.4 90mm
f3.5 12.5, 20, 35, 40, 50, 60, 75, 80, 85, 90mm
Reprostigmat f4.5 72mm, 105, 150mm.
Reprostigmat f8.0 25, 150mm.
Reprostigmat f9.0 50, 75, 180, 210, 240, mm
Reprostigmat f6.8 300mm
Apochromat f6.8 `270mm this may be the same series. A process lens.
Telephoto f5.6/f4.5250, 300, 360, 380, 400, 420, 500, 600mm
Triplet f5.0 700mm.
Series "D" f3.5 180mm
"Precision" f8.5 135mm
Convertible f6.5 190mm
Chromox f3.5 180mm a Portrait lens for 5x7 for colour workers.
Pictorial f4.5 250mm.

F.F.Meyer, Blasewitz/Dresden, Germany.

Ferdinand Franz Meyer was listed by Frerk for several lenses including RR's so it was probably quite an old
firm.
B&J list two lenses as by F.Meyer.
Lysiostar f8.0 450mm for 10x8in.
Lysiostar f7.8 450mm for 10x8in.
A guess is that these are older, RR type lenses.
Lysioscope f7.2 This was an RR type in Frerk's list.
Lysioskope f7.7 same
Lysiostigmat f6.8 This was a Dagor type symmetrical lens.
Lysiostigmat f5.8-f6.8 This version was a Gauss "rather like the Simon Tetranar."

Hugo Meyer and Co, Gorlitz, Germany.

UK Agents included (1906) O. Sichel, London.
The firm was founded in the 1880's by Hugo Meyer and by 1896 was described as the Optical and Mechanical
Institute in Loebauer Str, Goerlitz. Initial production was of Aplanats, ie. RR's and this was expanded to
include the f7.7 Aristostigmat quite soon. Later came the f6.8 Aristostigmat and by 1901 this was extended to
the f5.5 Aristostigmat. The firm moved to a new building at 22, Biesnitzer Str., and began to produce the 3-
focus Aristostigmat sets. In 1904 they introduced the Atelier Schnell Arbeiter Portrait lens (Studio Rapid
Worker), a Petzval portrait lens. These older lenses are in brass finish and are fairly common in the UK as
Sichel seems to have been an active import agency and the lenses were competitively priced. They sell at
normal prices for the period today. Some of the larger professional anastigmats are impressive if possibly not
very original in design.
Meyer joined Schulze and Billerbeck-( Frerk says Ubernehmen= took over) in 1914 and continued some
products such as the Euryplan. Between the wars they made several items of especial interest to collectors,
and these require attention. Several come from the relation with Dr Rudolph, and others from attempts to
supply the new miniature camera market that was growing up. Meyer also made or possibly just sold!- some
cameras, though this seems to have been a subsidiary part of the business. The machining and design of the
mounts of classic Meyer lenses can be especially impressive in view of their date.
After WW2 the firm was a favoured maker under the Communist regime but found it hard to maintain the same
standards of finish and material, and the programme became a budget priced one, largely supplying the
Exakta and Pentacon SLR market and the products were eventually sold as Pentacon, though in some cases
they seem to have been Meyer designs continued with little optical change. Most of these sold well and are
not costly on the secondhand market, but some of the longer ones actually have risen in value as the supply
has ceased and their real quality has become more apparent. Examples are the f4.0 300mm Pentacon and
the 400mm f5.6 TeleMegor. Incidentally, they are said to have supplied some rangefinders for MkIII Linhof
cameras as well as Kalart- these just may have been USA fitments early postwar. (Popular Photography,
11/1999, p127.
Early Lenses from c.1896.
Landscape Aplanat f15 5.5, 8.25,11in in 1908 This was a low cost lens, and almost certainly
a meniscus. It was still available in the 1920's.
Aristoplan f7.2 2.375-22in RR, Q5, to cover 80°. This trade name was continued to
describe a triplet, and it is worth checking which is seen. In 1908 this was as 3.375, 3.5, 4.75, 5.25, 6.0, 6.75,
7.75, 8.25, 9.5, 10.625, 12.5, 18, 22in focus. Aristoplan used Jena glass, the Aristoskop (below) probably did
not.
Aristoplan Sets as above, with up to 5 cells in double sets. RR,Q5.
Rapid Wide Angle 31/2-12.625in This was for up to 100°. See Sichel's advert. in B.J.A.
1906, p1139. It does not quote the aperture.
Rapid Wide Angle Aristoskop f15 3.5-12.625in to cover 100° This may be just the same as the above
wide angle.
Aristoplanat f8.0 no data.
Aristoplanat f7.7 4.125-17.75in in 1911, this was a Q5 type, an RR. This may be a
naming of an older product to meet then fashion, but the change in aperture suggests a redesign. (There is a
later lens Aristoplan- it is a Triplet so Care!)
In 1908, this was as 4.125, 5.375, 6.0, 6.5, 7.5, 8.25, 10.625, 12.625, 17.75in and 70° angle was covered.
Aristoskop=
Rapid Group Aristoskop f5.5 43/4, 51/2, 61/4, 7.125, 81/4, 91/2, 103/4, 12, 14, 18, 22, 24in.
These give less coverage at about 60° and 14in is suggested for 10x8in. It was available at least to 1930. It
was also sold as casket sets with up to 6 cells for 9x12, 13x18, 18x24cm. It was suggested for taking groups
and instantaneous work outdoors. It was also supplied as a casket set with 6 lenses in 3 sizes, for 1/4, 1/2
and 10x8in approximately. Frerk lists it as the Series B
Rapid Wide Angle Aristoskop f15 3.5-12.625in to cover 100° This is a true wide angle RR type, in 3.5,
5.125, 6.0, 6.75, 8.25, 9.5, 10.625, 12.625in. A 5.125in lens covers 5x7in.
(Anon): A simple periscop lens was sold as a set, with 4 lenses but seems not to have had a trade name.
It may have been the Universal Casket set in the 1908 list in Model 1, 4.75-8.0in as pairs, and Model 2, for
5.0-14in as pairs, both working with 1/4plate upwards.
Tele-Negative Assembly This was sold in 4 sizes of negative focal length and format.
No 1 for 3.625in prime lens, No2 for 4.75-6.0 prime lenses, No3 for 6.0 or 7.0in prime lenses and No 4 for 7.0-
9.5in primes.
Atelier Schnell Arbeiter=Rapid Studio Lens=
(Studio Rapid Worker) f3.0 7.0, 8.25, 10.75, 12.25, 14.125, 16in This was a Petzval, Q3 type,
Layout Mey001. This has been seen as a large brass barrel lens: Later it was in a plain black barrel mount.
None of these early lenses seems to be common on the UK secondhand market. None has been noted in the
metal, so no information can be given as to serial numbers. The next group have been easier to find.
Anastigmats
Meyer did not initiate one of the now classic anastigmat designs and only offered anastigmats later than
others, but at least from 1898. They seem to have favoured symmetrical types for many years. It seems that
Aristostigmat was used as a trade name for several types of design. See German Pat. 125,560). One reason
may have been problems over patent rights which may have limited access to some designs, such as Q9
before about 1905. Initially it seems to have just been referred to as the "Double" and may only be named
from 1905. It was continued for many years after WW1. A designer at that time was Dr Servus.
Double Anastigmat f7.7 2.375-19in in 1898, when it seems to be 'new'. Q9 type.
f6.8 1.625-30in in 1901, when the aperture was increased.
The actual range was 1.625, 2.375, 3.5, 4.75, 5.25, 6.0, 6.5, 7.0, 8.25, 9.5, 10.75, 12, 14.25, 16.5, 19, 24,
30in. 5.25in covers 5x4 normally and 8.5x6.5in when closed down. In 1926, longer lenses over 30cm were at
f7.7. It can cover 85° and there was an f4.5 version at one time. The designer was Dr Servus, "now dead" in
1926. a f7.7/14.5in example seen was No382,66x in brass.
It was still made in 1936, (B.J.A. p567) in 1.625in, etc. and then 6.5in for 6.5x4.75in; 8.5in for 8.5x6.5in;
10.75in for 10.75x8.5in; 12in for 12x10in; 14in for 14x12in; 16.5in for 16x12in; 19in for 17,5x 16in; 24in for
24x20in; and 30in for 28x22in. Being a Dagor type design, it would have been a viable lens to sell to
professional large format users into the 1950's, and certainly until WW2. The advert. stresses it was free from
flare.
Fig 032 010 Meyer Double Anastigmat f7.7 14.25in No382,662 in black enamel (worn)
Double Anastigmat f4.5 Here use 18cm for 13x18 or up to 18x24cm if closed down.
After WW1
When supplies returned to the UK after WW1, the lenses offered in the B.J.A. advert. in 1924 were:
Aristostigmat f4, f5.5, f6.8
Wide angle Aristostigmat f9
Euryplan Series II f6
Double Anastigmat Silesar f6.8
Aristoplan f7.2
Aristoplanat f7.7
Telephoto Lenses (Not specified)
Meyer Portrait Trioplan f3.2, f3.8
Schnell Arbeiter f3.0
Group Aristoscope f5.5
Trioplan f3 for movie.
Double Plasmat f4
Plasmat f2 for movie was "ready shortly".
Aristostigmat
Aristostigmat became one of the most valued Meyer trade names, normally used for 4-glass Gauss lenses
with good covering power. But note that the layout did vary though it is usually safe to expect a 4-glass
Gauss design in later years. The classic 4-g Gauss Aristostigmat was designed by Kollmorgen, while he was
with S&B and was covered under D.R.P.125,560 and the original Gauss version is said to date from 1901 as
an f5.5 for a moderate angle of cover. [A later lens was the Busch Omnar of H.Kollmorgen (Frerk)].
Double Aristostigmat This seems to be the same lens as the Double Anastigmat above, later when Trade
names were in use. These lenses were Q9 or more like Q16 type, possibly made under licence or after the
patents expired. They have been seen as an f7.7 14.25in lens in a painted brass mount at No382,66x, which
is a very impressive lens: white, sharp, and covering a good angle. The internal glass may be soft as it
seems to have sweated over the years and on purchase needed a lot of cleaning. (Mey002) Later items are in
black barrels.
a. Anastigmat Sets These were as Sets 1, 11, 111 for 9x12, 13x18, 18x24cm. and had 4-components in
them. Some were sold as Aristostigmat sets, but by the 1920's they were simply 'Double Anastigmat' sets.
(Mey002) f6.8 6.5, 8.5, 10.75, 12, 14, 16.5, 19, 24, 30in.
b. Aristostigmat Casket Sets: By 1903 there was also a series of 4-glass component anastigmats sold as
Aristostigmats, as 3 sets, for 9x12, 13x18, 18x24in. These had 4 components in each and were sold for 1/4,
1/2, and 1plate and for 10x8in. Since the names seem to overlap it really would be necessary to examine
lenses of this type individually for type. In 1908 there was also a Universal Anastigmat Set as No 1 with 4
cells and No2 with 7 cells.
Aristostigmat f5.4-f6.0 These were made in apertures varying with the focus, and may be dialyt
type designs. It was made as f5.4, 2.625-6.5in; f5.5, 7.0-9.5in; f5.7, 10.75-12in; f6.0, 14.5, 16.5, 19in. All the
double anastigmats were separable and the f6.8 covered 90°; f5.4, 85°; and the f4.2, 80°. Another list says
70° perhaps at full aperture. Later the f4.5, f5.5 and f6.3 were listed as separate products. (see below) It was
another Q9 type to parallel the f6.8 above. Again the 5.25in covers 5x4 but only 7x5 at small apertures. (1908
approx.) See above: initially from 1901 as an f5.5 for use of 18cm on 13x18cm or 16x21cm stopped down. The
early ones were usable stopped down as single cells and then the front was an f12.5 and the rear an f10, so
they were not very different in focus. App036 is the layout of an f5.5 for 70°.
Double Aristostigmat f4.0 (?f4.6?) This was a Dr Servus design mentioned by Frerk and covering 70° and
the speed made it something of an achievement, as it was well corrected as well. It was suggested to use
21cm for 13x18cm at f4.0. (There just may be a misprint of f4.0 in place of f4.6 here.)
Double Aristostigmat f4.2/f4.61.625-14.125in Mey003, roughly Dagor type. There also seems to be a 4-
glass Gauss version which may be more usual. Here a 6in lens is needed for 5x4 and this covers only 7x5
closed down.
Wide Angle Aristostigmat
This trade name was used for many years and probably represents a series of related designs, all of them
Gauss 4-glass and all wide angles but varying in aperture and angle covered as the years went by.
Wide Angle Aristostigmat f6.0 In 1909, this was a Gauss design. It was also made as an f6.3. It was rated
for 105° with stops to f36. It is a slight puzzle why it seems to have been replaced first by an f9 version, and
much later by an f6,3- possibly the f9 gave better correction initially and then new glass and design allowed a
return to near the original aperture.
Wide Angle Aristostigmat f9.0 3.125-10.75in A Gauss design, Mey018. It covers 100°; and it is suggested
to use 7.0in for 10x8in. This was quite an old design being 'new' in B.J.A. 1926, p315 in 3.125-10.75in , where
4.75in was used for 7x5in and 5.25in for 8.5x6.5in, and gave really wide coverage, possibly wider than the
f6.3. It was seen at Nos 209,58x, 226,66x, 484,17x, 484,17x, 484,73x, so it was made over a long period
from perhaps 1925 to 1950 (below). (in line with this, it was not noted in a 1914 BJA advert.) It must have
been used on many cameras, but one example noted at auction was a f9/80mm lens on a 1/4plate
Sanderson. These coverages are from B.J.A. 1935, p576 (and longest ones 1928, p667) and it must have
been being phased out in favour of the f6.3 version about 1935. Applications were:
3.5in 4.75x3.5in at full aperture.
4in 6x4in
4.75in 7x5in
5.25in 8.5x6.5in
6.25in 9x7in
7in 10x8in
7.875in 12x10in
9.5in 12x10in
10.75in 15x12in.
Most are in barrel mounts as for indoors this was no great problem with slow plates in the 1920's. One noted
was No377,72x in a very early dialset Compur at No381401, from about 1918.
Fig 032 006 Meyer Aristostigmats f9 3.1in No377,72x and 135mm No2,266,66x both in brass
Fig 032 024 Meyer Aristostigmat f9/9.5in No484,176. (A really big format lens where it may have sold to allow
the use of movements on a big plate camera).
Aristostigmat f6.3 2.5, 3.25, 4.0, 4.75, 5.25, 6.25, 7.0, to 19in. It was suggested to use 7.0in
for 10x8in. A Gauss dialyt design, Mey018, 019, under D.R.P. 125,560 to cover 100°
This was noted for 1937 (B.J.A. 1934, p294; 1936, p299) for 3.125-10.25in, when it was initially 'new' and
replacing the f9 at the same price as the f9, possibly the new lens being made as new glass was available
and competitors lenses were faster so that an upgrade was needed. Even so the 1935 B.J.A. still carried a full
page advert. of the f9 Wide Angle, with the f6.3 in small print at the bottom as "only in standard mount" and
not in shutters- prices same as f9 standard mount." The f9 was then in choice of barrel, or Vario, Ibsor or
Compur shutters.
The 1936 lens was also a 4-glass Gauss design for up to 105°, said to be excellently corrected for sphericals
and colour, and may have been an update of an older 1920's lens known for its good correction of astigmatism
to Frerk in 1926, and which was almost symmetrical. The first series were not in Compur shutters. A feature of
the 1936 lens at least was that it was often in Compur rather than in PIM as a more compact lens which was
sold in cells threaded for Compur shutters and could be screwed in in place of the normal lens. It was seen at
No877,168, and the screen image seemed to match a f9 version well but an owner says the f6.3 is not as
wide field. Also as a f6.3/4in lens No901,60x in a barrel mount.Perhaps a lens to focus at f6.3 and use at f11
or f16, which is normal for the layout. Layout was Mey019. It is possible that both f6.3 normal and wide lenses
existed and have not been distinguished here, but App035 is a true wide angle layout.
The f9 version is the usual item found labelled as the Wide Angle Aristostigmat, and it is too easy in
collecting to get only these rather than a selection. The f9 was the only type listed by H&D in 1939 for
example. Thus they must have sold well to advanced users with a 1/2plate camera (usually) fitted with a
standard English lens and now buying a new wider one. It has been seen from No 208,58x on a brass finish
120mm lens. These are a fairly common type, though some are later at serial numbers such as No485,xxx
and up to about 500,000. The gap may represent poorer sales in and after WW1. It was listed into the later
1930's, to 1935 at least. And see postwar also. The range in about 1908 was 3.125, 4.0, 4.75, 5.25, 6.25, 7.
7.875, 9.5, 10.75in. (German Pat. 125 560.)
Fig 032 026 Meyer Aristostigmat f6.3/8cm No877,168 with bright finish iris ring.
Aristostigmat f7.0 This was noted as a 240mm (about 9.5in) No166,69x lens and may be
the f6.3 in a slower version in longer focus versions. It was on a 1/2plate camera at auction.
Helioplan f4.5 This was made as 2.25in for 24x36mm up to 10in focus for 1/1plate. The
formats covered were 2.25 for 35mm or 3x4cm; 3in for 6x6cm; 3.5in for 6x6cm; 4.25in for 6x9cm; 4.75in for
9x12cm; 5.25in for 9x12cm; 6in for 6x4in; 6.5in for 6x4in; 7in for 7x5in; 8.25in for 7x5in; 10in for 8.5x6.5in.
(B.J.A. 1936, p568, etc).
It was seen as 7 and 8.25in lenses in brass, at serial numbers about No295-305,000 so they probably sold
best for large format work. These seem to be Dialyt types for large format work. They will overlap some of the
above, possible replacing the Dagor-types. They do not seem to cover a very wide angle. It may be a S&B
trade name (below). They may have been renamed or replaced by the following: (Mey010). A fast Q26 dialyt
type, it covers about 65°-75°. See also entry below. They were fitted to Meyer's own cameras in 1931, an
example being the rollfilm 4x6.5 and 5x8cm, and the plate camera for 6x9, 9x12 and 10x15cm. It was more
expensive than the Trioplan but less than the Euryplan and Plasmat options. One example Nr484,58x was
f4.5/4.25in on a Mentor 6x9 reflex.
Fig 032 008 Meyer Helioplan f4.5 7in No295,70x and 8.5in No306,17x for enlarging, etc, in brass.
Helioplan f6.8 This was noted at No252,43x as a 135mm on an Orionwerke Tropical
camera for 9x12cm.
Aristostigmat f4.5 This was also a 4-glass Gauss design (Mey020, App040) and H&D
quotes these as 1.5-20in, for up to 75°.
Aristostigmat f6.3 2.5, 3.25, 4.0, 4.75, 5.25, 6.25, 7.0, to 19in. It was suggested to use
7.0in for 10x8in. This was a Gauss design, Mey018, Mey019, to cover 90-100° It was noted for 1937 when it
was probably 'new' and replacing the f9, possibly as new glass was available and competitors lenses were
faster. It is also a 4-glass Gauss design, and was often in Compur or PIM as a more compact lens. It was
seen at No877,168, and the screen image seemed to match a f9 verion well. Perhaps a lens to focus at f6.3
and use at f11 or f16, which is normal for the layout. Layout was Mey019.
Silesar: This seems to have been an early 3+3 anastigmat. It may be a scarce type as it has not been seen.
The relation of all these seems complex now but may partly reflect redesigns possibly to make separable
Gauss types. By the 1920's the range was mainly Gauss 4-glass types under the Aristostigmat name, with a
few Dagor types continuing. The dating of the 4+4 type is obscure, apart from the 1903 advert.
Newer Anastigmats
Trioplan This was a triplet type lens and was 'new' in the Amateur Photo. 16/03/1914. (Q13, Mey012).
It was made for cine and portraiture in the larger sizes. Coverage was 40° or up to 65° stopped down.This was
a long lived Meyer trade name. [There was a tradition alive in Germany that Roeschlein was one of the
designers involved and he then moved to J. Schneider efore setting up on his own.]
Trioplan f6.3 35mm This was used on the Amourette, at No358,45x, for
24x30mm, although it may really be a cine design. It is a scarce camera from about 1926.
Trioplan f4.5 for rollfilm and Klapp cameras, also in longer foci, for portraiture. It may
not always be named, eg as in B.J.A. 1928, p331 where it is just Meyer f4.5 but Trioplan is likely.
Trioplan (cine) f3.0 This was also a portrait lens in larger sizes, and sold on some
reflexes. Two were noted at auction as 75mm lenses on VP size Clarissa Tropical cameras at No 11,18x,
11,68x, and 13,35x.
Portrait Trioplan f3.0-f3.8 These were made in 10.25in for 7x5in, 12in for 8.5x6.5in, 14in for
8.5x6.5in, 16.5in for 10x8in and 19in for 10x8in. In the B.J.A. 1934 p567 these are listed as Portrait Trioplan,
but they were a sharp lens and were actually also used as a fast lens on many press and reflex cameras as
was then normal.
These were big lenses to fit into a shutter, but were offered with a 'silent' before lens shutter for short
exposures- probably one of the TBI shutters made to fit in front for studio work.Thus the f3 was used for
several years in Meyer or Roth Super Speed Press and Reflex cameras (B.J.A. 1926, p348;1928, p659
advert., 1929, p319). This was an London made camera with a Meyer Trioplan lens and was actually often
sold with English lenses. Thus an early 1926 4.5x6cm model might be had with :
f3 Trioplan, £32; f4.5 Xpres,£25.75; Dallmeyer Pentac, £33.50; Plasmat f4, £32. Different sizes were made for:
4.75in for 2.5x3.5in
6in for 1/4plate or 9x12cm
7in for 3.5x5.5in
8.25in for 6.5x4.75in
Roth also was considering a camera with 3 lenses on a turret on the front panel for quick changing eg 6, 10,
13in but it possibly never was produced.
Most Trioplans are later items, as budget lenses on folders and as slower large format lenses. These will be
listed below.
Nettar (Meyer, Gorlitz) f6.8 75mm No209,90x This was noted on a Contessa-Nettel V.P. Klapp
at auction, and will indicate where some at least of the Nettars originated although there just could be another
firm in Gorlitz.
Aristoplan f7.7 This was a triplet for budget large format fitment. (Mey011, App031)
Meyer Euryplans were listed as f6.0 (two focus) where one was noted as Series VI 7.75in for 5x7in, and as
f6.3 as a 3-focus type.
Euryplan Sets These were listed for 9x12cm and 10x15cm and as 3 or 4 cell sets in each size.
Optical Institute Schulze and Billerbeck approached Meyer with a view to a merger or amalgamation about
this time- possible 1914-1920. This resulted in a programme with S&B lens names mixed with Meyer's older
ones. Thus we have seen a Euryplan Satz at No326,38x marked Meyer Gorlitz, and the Helioplan name
was also one used by them. And one list has Euryplan f4.5, and f6.0 (2.0-24in) to cover up to 85°. Since S&B
were the holders of the rights to E. Arbeit's air-spaced dagor designs this may have been an important factor
in allowing the combination of Rudolph's ideas, Arbeit's patents and Meyer's production to produce the
Plasmat series, and hence several valuable collectibles. The S&B items are covered in the list elsewhere but
continued for some time. From 1923, the factory was at Goerlitz Fichtenstrasse 2.
The new Meyer items for the 1920's list will included:
Plasmat
This important new trade name seems to be first mentioned for a 4-glass 3-component Plasmat "of increased
depth of field" (Brit. Pat. 161,091/1920; Brit. Jnl., 1921, p342-3) which seems to be an 'anastigmat' with an airgap
(Layout Mey005, patent to P.Rudolph) ie it was not really a Meyer item then. It was claimed to have
increased depth of field, which can only be due to a degree of softness to the area in focus. Zschokke
suggested that this was due to residual colour aberration. (Photo. Ind. 1921, pp257-259). It does not seem to
have been sold in the UK but probably was in Germany provoking Zschokke's comment, but no normal
Plasmat seems to be of this type. It has been said that Rudolph first approached his old firm of Zeiss to make
the Plasmat design and that some were actually made and sold, but that the arrangement was shortlived.
Meyer's account was that he approached them soon after WW1 with the usual Plasmat design. It is noted
that he had patented it (DRP 310,615, c.09/07/1919) and that it was sold as Rudolph's Plasmat design from
1922. The brochure claims that the main feature was the new correction as 'spheroachromats' ie all colours
were equally corrected for spherical aberrations rather than just one. The lenses appear to be engraved with
his name and a special catalogue seems to have been used to offer them to the public. One possibility is that
he retained the patents rights and licensed them to Meyer and that this was a relation that Zeiss had not
wished to adopt. It is known that Plasmats were also made by Suter of Basle under the same trade name and
also with Dr Rudolph's name on them, so the license to Meyer must initially been shared. Incidentally, it
seems true that all Plasmats were Rudolph designs. The Plasmat products were noted in B.J.A. 1939 p264.
Plasmats are easier to understand if they are listed first as single components, which can then be combined
as symmetrical lenses. Frerk in 1926 notes that it was a big heavy lens and required a suitable camera- and
discusses it at length. Plasmat was often sold with the Universal Silar camera, and it was sometimes listed
as the Plasmat camera. This seems to have had a relation with the 1920's Linhof of Munich, with parts in
common, though McKeown in his Guide credits them to Perka of Munich. In the advert. in the B.J.A. 1934
p569 the lenses are Plasmat f4, f4.5 and Euryplan f6, and Aristostigmat f4.5, so they were not just Plasmat
carriers.
Silar* was listed then in 4.5x6cm, 6.5x9cm, 9x12cm, 10x15cm, and 13x18cm, with inch conversions. Prices
in 9x12cm with 6in lenses were: Plasmat f4, £35.00; Plasmat f4.5, £34.50; Euryplan f6, £28.50, Aristostigmat
f4.5, £31.00.
*The trade name Silesar possibly may to relate to the camera name Silar though this is conjecture.
Plasmat single components
Series A These were f8.0 maximum aperture. In pairs they gave an overall f4.0 lens.
Series B These were f11 maximum aperture. In pairs they gave an overall f5.5 lens.
They were sold either singly or in pairs, or in sets with several cells. Normally pairs were of different focus so
that three foci were obtainable. A further version was obtained by combining one cell from each series,
normally with the Series B cell in front and a shorter Series A cell as the back cell. Thus a 12.6in f11 front
and an 8.6in back gives a combination of 6.0in f4.5 covering 1/4plate. The cells were also sold as sets of 3
different foci for different formats, so that a wide range of products were listed:
f4.0 Plasmats (Layout Mey004, App037 is f4.0) Patent Nr 310615, 9/12/1919.
Pairs of Series A to give 2.1, 3.0, 3.5, 4.25, 4.75, 5.25, 6.0, 6.5, 7.0, 7.8, 8.2, 9.5, 12, 14.2, 16.5, 19in
It was suggested to use 14in for 10x8 at f4.0, or 8.2in closed well down.
Sets of A components were sold with 3 foci to allow 6 different useful foci by combining them or singly, at f4.8
max. aperture.
Set 1 10.6, 8.75, 6.0 in singles, giving 4.4, 5.0, 5.7in pairs, for 1/4plate.
Set 11 12.6, 10.6, 8.75in singles, giving 6.0, 6.5, 7.0in pairs, for 1/2plate.
Set 111 13.5, 12.0, 9.6in singles, giving 6.5, 7.0, 7.5in pairs, for 7x5in.
Set 1V 12.6, 16.0, 19.75in singles, giving 8.7, 9.8, 10.6in pairs for 9.5x7in.
One application was to the Bermpohl color camera as a f4.0/21cm No960,70x for 9x12cm: also as a
f4.0/30cm No583,442 for 13x18cm. Another of 7.75in was fitted to a T-P Reflex at No292,22x. A 'special'
feature was the 'Silar' camera for 3.5x2.5in, 9x12cm, 10x15cm, and 13x18cm sizes, which was a square field
camera rather like an older 'Linhof' model and using Linhof type components. It had a good range of front
movements and would suit the Plasmat f4.0 well, and Meyer sold it in 1937 with these lenses. Aristostigmats
were also used.
f5.5 Plasmats
Pairs of Series B to give the same as above plus 10.6, 7.2, 2.4in but less 7.0, 7.8in.
It was suggested to use 12in for 10x8 at f5.5, 8.2in closed well down.
The f5.5 sets were rather shorter focus than for the f4.0 sets, and set 4 was 12.6 +16.1+20.5 cells to give 8.2,
9.5, 10.6in pairs, for 9.5x7in plates. These were smaller and more suitable to mount in shutters and on folding
cameras.
A rare version of the Plasmat was offered for Leica, to give 3 foci with different tubes. One is described in
B.J.A. 1930, p335, 637 (Advert + picture) for:
Set I; 3.5in whole at f4.5, 4.75in rear cell at f8, and 6in front cell at f6.5, where the single cells provided the
longer foci, and the whole was the 3.5in lens. price was £28.00.
Set 2; 2.5in whole at f4.5, 3.5in rear cell at f8, 4.75in front cell at f6.5 £22.00.
There was a fine focusing mount and tubes to give the correct extensions. They could also be used on 16mm
cine cameras.(Idem, ibid, p353) Such sets were normally for VP cameras, as the 4.5x6cm Silar.
The f4.5 Plasmat sets were sold in 3.1-12.5in in 25 versions in all.
These were sharp even by modern professional standards, but the difference from the Euryplans may have
been as much speed as performance. The Catalogue seen "Meyer Plasmat Lenses", stamped 18/06/1930
does not list the f2.0, f2.7 or f1.0 versions.
Rapid Plasmat f1.0 This design was said to be unfinished at the time of Dr Rudolph's death in 1935,
and no example has been noted, but Kaprelian shows a design for a Rudolph f1.0 lens so good progress must
have been made. (USPat. 1,833,593/1931)
Kino Plasmat
This was a sensational lens when it was issued, but Meyer may well have had the same problem as others in
finding a suitable camera to sell it on. Hence the efforts by Roth to mount on some smaller Press and reflex
cameras and on the Leica. There certainly was a full page advert of Plasmat f1.5 for Leica and Contax in
B.J.A. 1935, p563 with a set of Makro Plasmat, Kino Plasmat, Trioplan and TeleMegor lenses to suit. The
mounts then had a good deal of plating but did not have the prominent knurling of some later types.
KinoPlasmat f1.5 1.375-3.5in or 15-50mm in 1937. In 1930 it was made as 0.375, 0.75, 0.875
(1929),1.0, 1.375, 1.625, 2.0, 3.0, 3.5, where 3.5in was for 1.6x2.4in format.
The short ones will be cine only, and date from about 1928 (B.J.A. 1928, p328, 1929, p337). The longer sold
initially as small still lenses as well as for movie, and are among the sought-after M39 lenses. Meyer would
convert the customers Motocamera to take their f2.8 Trioplan or probably KinoPlasmat (B.J.A. 1933, p561-2).
The 1in was a 'special Kodacolor' version in 1933, and the 15mm was a special wide angle version for 16mm
(?) and B&H Filmo. Pictures of several mountings are in B.J.A. 1932, p580). [The lenticular Kodacolor process
is now forgotten but was a big incentive to fast lenses in the 1920-1935 period roughly, as a fast lens was
needed for the ?3 colour screen to work it.]
Later 12.5mm was added in 1938 for 8mm cine (B.J.A. 1939, p308), and a 15mm was noted in one list, with
the barrel marked 'Doctor Rudolph Hugo Meyer New York.' The UK launch of the Kino Plasmat may be about
1927.
4.0 and 5.0cm were sold for the Leica camera for 24x36mm. (A late example in M39x26 is No503,28x,
apparently in a coupled mount.) This was a 1924 design, but not all sizes were made for some time. (B.J.A.
1930, p645) The versions as 5cm and 75mm in coupled mount for Leica and Contax were noted in B.J.A.
1935, p296, with an f4.5/108mm (4.25in) Plasmat and f2.8/108mm ?Plasmat (Possibly a Trioplan?) and
TeleMegor f5.6 in 6, 7, and 10in. The f2.8 has been seen (See Trioplan) but the TeleMegors are 'uncertain', as
are all the Contax fit lenses.
Fig 011 035 Meyer KinoPlasmat f1.5/50mm No503,289; KinoPlasmat f2.7/50mm No582,739; Trioplan
f4.5/105mm No653,877.
A rare version was for the Primar focal camera, as 3.5in f1.5 Plasmat but as the camera used 6x9cm,
coverage must have been marginal. (Layout Mey008 B.J.A. 1927, p343, ad.691, 1931, p604) It was also
noted on a V.P.Exakta at auction. A f1.5/9cm No500,11x was noted at auction at Christies in the 1990's on a
Ernemann HEAG XI Press camera. Roth seems to have bought-in cameras and mounted lenses on them, the
cameras probably coming from several sources over the years. The BJA author seems to have liked it, saying
the brilliant image of the crispest quality, while admitting it fell away towards the corners. It was claimed to
show unusually great depth of field when stopped down.
The UK agent, A.O.Roth applied them to several cameras, including Leitz Leica, and a Roth Mentor Speed
Special Reflex for VP was noted at auction with a f1.5/3.5in No432,84x. A f1.5/9cm version Nr501,959 was
noted on a Special 6x9 camera, and Nr502,74x was on a Ihagee reflex in VP size. The possibility of larger
versions such as 135mm has been mentioned.
It was a world record aperture when it was launched.The f1.5 Plasmat can be regarded as developed from the
spherically corrected doublet type such as the Nicola Perscheid, but it must be added that the image quality
of this lens is really distinctive, negatives from it being easily distinguished on a roll from a mixed set of
lenses. But not really for their sharpness! See Brit. Pat. 401,630 for another version with compounded inner
elements.
It was also sold as a projector lens in 8 foci from 0.625-3.5in for cine and movie theatre use.
It was noted that the Ariel list has 12.5, 16, 20, 25, and ?6mm f1.5 Kino Plasmats. (The 6mm version may
just be a misprint for 16mm, but note the 0.375in above).
[Meyer mounted a small series of lenses including the 1.5 Kino Plasmat for M39 Leica use in the 1930's but
the project was shortlived, and Meyer moved over to selling lenses for the miniature reflexes coming into use
such as the Exakta and Primareflex. There may well also have been a discussion with Leitz over the Patent
position as the original patents for the Leica covered coupling very thoroughly. The Meyer lenses were coupled
but with some detailed diferences. Look for Kino Plasmat, Macro Plasmat and Trioplans in medium focus.
The mounts are distinctive and really high quality. Some are chrome, the early ones nickel. These aliens are
now rare and sought after items by Leica enthusiasts as the very first of the flood of non-Wetzlar lenses for
the cameras. Though note also Dallmeyer and Fed may have some position in this priority in such marketing
although the Roth fittings for the Leica A probably were a true first.].
Plasmat f1.8 noted in 6.5in for 9x12cm. It may be a slowed down version of another type.
Plasmat f2.0 for Lunar camera (1925) Layout of this is Mey007, and it is a 1922 design. It seems to be
made in 20-120mm, and may have sold mainly for cine. It probably is the same as:
Kino Plasmat f2.0 0.875-5.0in It was made essentially for cine use.(B.J.A. 1926, p722 Advert., 1929,
p337) (Layout Mey007) A 75mm f2 was noted in a B&J list, and a 3.5in was sold by Roth on a VP Speed
camera in B.J.A. 1925, p331, 749advert., 1926, p720. This was little more than a box with an enormous lens
on the front and he may have been a little in advance of supplies in offering it as the advert. also says "f2 for
Cinema work, ready shortly". Possibly the focusing mounts held up the movie versions. In 1926, Frerk says it
was really only for movie, and the 1929 reference is to a lens for Pathe Motocamera. But it was extended to
still formats in the smaller sizes, but he illustrates one on a Clarissa Night camera. Probably the f2 was
overshadowed by the f1.5 KinoPlasmat [and the f2 Ernostar] and certainly the f2 seems to be rarer, and the
f1.5 is itself not an easy lens to find.
Miniature Plasmat f2.7 (1927) a mixed symmetrical design-1/2 Gauss, 1/2 Plasmat. The relation of this to the
Makro Plasmat is a little unclear- they may be the same, but layout App039 for an f2.7 Miniature Plasmat
differs from the next item, (which is App038.).
Makro Plasmatf2.7
This was made in several foci including 35 and 50mm for Leica and 4.25in which was normally large format
but has been reported for M39, and it is also a mixed symmetrical. These seem to be rather uncommon.
Reflections are in line with the published structure but the contrast is surprisingly good considering the
complexity. (Layout Mey006) It is likely that the lenses differ in the intended use.
The first noted was a f2.7/5cm at No580,35x for movie.
It was used on the Krauss Peggy probably in 50mm in 1932 for 1933 (B.J.A. 1933, p261). Here it was the fast
option at £29.75, compared to the f3.5 Tessar version at £22.00. Another user was Curt Bentzin on the
Primarette 6.5x4cm on 127 film camera with a f2.7/3in MakroPlasmat in Compur shutter. Here the vendor
noted it was 'rare' meaning the lens.
1in focus, for 16mm film 1x1in format closed down;
1.375mm 35mm movie 1.375x1.375in
2in 1.55x1.55in 2x2.25in
3in 1.75x2.5in 3.5x2.5in
4in 2.5x3.5in 3.5x4.75in
4.75in 3.5x3.5in 4x6in
5.25in 3.5x4.75in 4.75x6.375in
6in 4x5.25in 5x7in
7.25in 4x6in 6.375x8.25in
8.25in 5x7in 8.25x9.75in
10in 8x8in 9.75x12in
12in 11.75x11.75in 12x14.5in
50mm The 50mm M39 Leica version was shortlived at No580,72x, 581,95x, 582,73x, and is now scarce. The
front bezel is recognisable by two raised studs fitted to give a grip in setting the iris.
42,5mm also for M39?
35mm One has been noted in 35mm, for M39 in slip ring coupling with a flat cam, at No582,43x. It seems to
be the really rare one of a scarce group, as it was the last to be added.
105mm There were a few 105mm ones for Primareflex, eg in 1937. Two of these were reported at No780,67x
and 964,04x for Primaflex and 785,79x for Exakta 6x6. An earlier example was at Nr584,30x but the use was
not noted. It has been reported for Leica in a M39 coupled mount to complete the set 35, 50 105mm but is a
really scarce item.
The most famous application was probably the Roland camera from Plasmat Gmbh/Dr Winkler/ Rudolph and
Co of Berlin. These seem to be a 6-glass 5 component design and differ from the 5 component types in detail
and they just may be made by Rudolph or Roland elsewhere. One was noted at No1734. (App038 is the
layout of a f2.7 MakroPlasmat). It was also used on the Planovista.
Makro-Plasmatf2.9 This was made in 1.0, 1.375, 2.0, 3.0, 4.0, 4.75, 5.25, 6.0, 7.25, 8.25, 10, 12in.
For 4.5x6cm, use 2in; for 3.5x2.5in use 3in and for 9x12cm use 4.75in, for 5x4, use 6.0in at f2.9, 4.8in at
small apertures. This was 'new' in the B.J.A. 1928, p350 and in the 1930 catalogue, and was said to cover a
surprisingly wide angle of over 75° and was in fact also referred to as the 'Wide Angle' Plasmat. This is
confusing as the 1928 account says it is 'a lens of a somewhat narrow angle' and a 6in lens is needed to just
cover a 1/4plate. The B.J.A. also mentions the use of a rather complex design as justified by the wish to use
truly colourless and hard wearing glass in the design. Note that it was advertised opposite the f2.7 so both
were in simultaneous production or at least sale. It was expensive and may therefore have sold in limited
numbers. One possibility is that three actual designs were in use
(a) the f2.9 Makro of 1928.
(b) the wide angle of a little later.
(c) the distinct f2.7 again of a little later.
They all seem to have rather similar designs (Mey 009) and came out in a rather short period. This is the only
one in H&D in 1939.
Process Plasmat f8.0 14, 18, 26, 34in, in the 1930 catalogue.The 14in covers 10.2x7.8in at full
aperture, 12x9.5in closed down.
Process Plasmat f9.0 14-34in This was possibly an older or different lens. It was 'new' in the B.J.A.
1926, p315. It does not seem to be well known.
Other items:
Megoflex Reflex Focuser: This is not a lens but a focus aid which couples the camera lens to a top unit and
results in a small TLR. These were for Leica, Contax and Peggy. A rather similar unit was made by an
unknown firm for the Zeiss Biotar f1.4, probably for movie use and just may be from the same sub-contractor.
(B.J.A. 1933, p273)
Enlarging Lenses
Anon An f3.5 enlarging lens in 2 sizes was noted on a Praxidos enlargers for up to 4x4cm and 6x6cm from
agents Thorsch of London.(B.J.A. 1933, p264)
Helioplan f4.5 2.25, 3.0, 3.5, 4.25, 4.75, 5.25, 6.0, 6.5, 7.0, 8.5, 10in. These were sold for
enlarging, and this seems to explain some of the brass f4.5 Helioplan lenses but it may be a new use for an
old product. Helioplan 75mm lenses at Nos 247,09x and 323,97x were sold on VP Clarissa cameras. Meyer
seem to be a little unusual in offering a specialist enlarging lens at that time. Layout Mey010. Noted at c. No
295-305,xxx. Frerk knows these in 1926 as Dialyt type lenses.
Veraplan f4.5/f6.8This was noted as a 120 and 135mm lens, and it later seems to be the taking
version of the above. The f4.5 seems the better known and was noted as a 15cm No351,26x on a Ihagee
Klapp reflex for 9x12cm. Frerk says in 1926 that it was a 4glass dialyt, and a f4.5/135mm lens No403,50x in
dialset Compur shutter No67,25x does seem to be a dialyt. It has a very fine natural purple coating on the
front surface and was cleaned with care. Access to the air-spaces would involve unscrewing the retainer rings
and these were not attempted. The design may vary as note H&D quotes it as a 6 element double
anastigmat, ie ? Plasmat type? in 1939.
Fig 032 022 Meyer Veraplan f4.5/135mm No403,50x on panel.
Projection Lenses
Plasmat Wide Angle Projection f1.5 20mm This was noted in the advert. in B.J.A. 1933, p562. It gave a
40% larger picture than the normal projection lens.
Kinon This was originally a pre-1919 projection lens made in 1.625-7.0in. It seems to have been replaced by
two items:
Kinon Superior f1.5 or f1.6 This was a later type cine projection lens. ?also f1.8/50mm about 1935.
(B.J.A. 1929, p337;1933, p562) It seems to have been made in 1.375in to 7in sizes with various barrel sizes
for different projectors.
Kinon Superior f3.5 3.5-29cm This was a cine projection lens. It seems to be that offered at
auction on a 3-format Bolex projector at No100,818.
Several types of projection lens are listed by Ariel, including many Kinon Superiors, and f4.5/3in and
f1.9/30mm for Cinephon.
Omin A slide projection lens, for still pictures. It was made in 12-80cm focus.
Epidon(e) This was a projection lens for episcope projectors. Two spellings were noted, and the B.J.A.
1929, p337 prefers the shorter, noting the lens in two grades, where:
The Series A, the cheaper, and is excellent for schools in foci of 12-24in.
The Series B is better corrected for scientific work, and came in 5 foci over the same range.
Trioplan and other Triplets
Meyer made a large number of triplets, mainly under the trade name Trioplan, the last being after WW2. These
were used for movie and portrait work initially, but were increasingly sold for still use, and the apertures
increased as well. The performance of the faster versions can be rather mundane as a result, but this is true of
most popular makers of the period. It is an opportunity to compare the layouts drawn for 4 types of triplet
(App031-034) from the same maker and period and see how they vary with speed- and in fact, they seem
rather alike to an untutored eye.
Atistoplan f7.7 This was described as a high performance triplet. (Mey011)
Trioplan f6.3 Triplet. ?Q14. 2-14in Trioplan for 65° (App032)
f4.5 Mey012 It was a triplet, made in 3.0-14in to cover 65° (App033)
These were possibly a large format lens for groups and landscapes, as the lens in the picture:
Fig 032 027 Meyer Trioplan f4.5/105mm No705,738 front cell focusing in shutter
which seems to be from a 6x9cm folder. But some 105mm versions were offered for Leica in 1935, at about
No653,87x. The number is small possibly as a result of discussions about patent individuality with Leitz.
Trioplan f3.5 75mm (3in) This was noted at No559,72x on a Primarette 1.625x2.5in at
auction. Otherwise f3.5 seems a rather unusual aperture for Trioplan.
Trioplan f3.0 This was still for cine in the 1920's,eg 1924 as Mey013 but by 1926 Frerk
seems to discuss it as a well designed large format lens, to cover some 65° albeit with some plasticity of
image. Another list says "to Expose or project." (App034) It was used on the Roth Super Speed Press
camera (B.J.A. 1928, p661) as:
4.75in for 2.5x3.5in
6in for 3.25x4.25in or 9x12cm.
7in for 3.5x5.5in
8.25in or 4.75x6.5in
Fig 032 018 Meyer Trioplan f3.0/6in No425,73x in sfim.
TeleTrioplan f3 These were made in: 1.375, 2.0, 3in These were for 16 and 9.5mm cine and
just may be Trioplans mounted as long focus lenses, not true teles.
Trioplan f3.8 same These were made in: 10.25, 12, 14, 16.25in, use 16.25in for 10x8in.
This is probably mainly used as a portrait lens slower than the f3.0 below. It was used on the Roth Super
Speed Press in 1933 (B.J.A. 1933, p271).
Trioplan f2.9 same. This is possibly rather fast for a still lens. But note the even faster
f2.8 was sold on several prestige cameras as shown below.
Trioplan f2.8 These were noted as: 10, 15, 20mm, and 100, 120mm This was an important
version. These were remembered from C-mount lenses for a Siemens und Halske 16mm cine camera of about
1939. Probably it was one of these at No979,819 which was seen remounted to Exakta, probably about 1946.
Ariel lists many types of Trioplan, mainly in f2.8 as10, 15, 20mm for small formats, but in f3.0 and f3.5 in 17-
50mm but has not seen the longer types remembered up to 3, or 4in. The 10mm version was used on the
Warsawie Ring camera as f2.8/10mm: this is a modern item though it just may reuse older glasses from cine
cameras.
A f2.8/100mm at No722,45x, 767,65x, 853,70x, and No1,100,09x was noted for Primareflex. These were in a
very compact focusing mount.
Portrait Trioplan f3.0 3.0-19in for portraiture, an old lens continued well into the 1930's as in 1937.
(B.J.A. 1937, p563) It covers 40° and for portraiture the foci of interest were 10.25, 12, 14, 16.5, 19in. It was
seen as a 6in f3.0 at No425,73x, possibly about 1925-1928 in a focusing iris mount. The screen image
seemed a perfectly useable fast lens.
Trioplan f2.5 for 8mm cine. (B.J.A. 1939, p309). This aperture actually goes back to
Frerk's 1926 list, and was one of the really fast lenses then, and may have antedated the Plasmats or been
Meyer's own design to complement them. It was in the 8mm standard mount so it would fit most cameras.
Primotar
This was Meyer's 4glass Q15 series and sold above the Trioplans in price. It was noted pre-war on RoBoT and
Primareflex as a quality item. But curiously does not seem to be a very common lens in small sizes, possibly
due to the extra price.
Primotar f4.5
Primotar f3.5
These are Q15 lenses or Mey023, 024. They were good performers and note the 30mm f3.5 for Robot, noted
at No692,31x on RoBoT No16,99x, and No631,83x on RoBoT No3,96x. The f3.5 had a smaller angle of
coverage and was mainly for miniature work. It was noted on the rollfilm 'Megor' camera in 1932 in B.J.A. 1932
p571 as:
Megor with f4.5 Trioplan £5.50 in Compur; with f3.5 Primotar, £6.75; with f2.7 MakroPlasmat, £10.50.
An impressive example of the f3.5 18cm was seen at No977,06x and may have begun life mounted for
Primaflex and is in a very solid focussing mount. A 135mm f3.5 No887,74x was certainly for Primaflex.
Others at No844,07x and 976,46x. The lens head unscrews from the barrel. The version for Kine Exakta was
5.4cm f3.5 reported at No803,65x. A 85mm version may have been a 'special' for the Primaflex.
Fig 032 020 Meyer Primotar f3.5/180mm No947,06x (unctd) ? ex-Primaflex use.
Primagon f4.5 35mm The name was used postwar for a budget retrofocus type as used on the Altix
to match the Telefogar.
Telefogar f3.5 90mm A budget long focus for Altix. It was also in Exakta bayonet. It may be a
postwar item misplaced.
Primoplan
The design of this 5-glass lens must have been a real achievement at the time, and perforce involved some
compromises with corrections, especially at the corners though it was said to have excellent definition over
40°. Thus it was probably more suited to cine than some other uses but sold well as a fast budget lens for
35mm still cameras. One point is looking back through the old magazines is that it was actually a really
expensive one when issued first- the Reflex Korelle Model 2A cost with f2.8 Tessar £25.75 and with f1.9
Primoplan £47.50, nearly doubling the cost even though the f2.8 Tessar was a premium lens itself. (B.J.A.
1939, p527). It seems to have been first sold in f1.5/25mm for cine and f1.9/80mm for VP Exakta.
Primoplan f1.5 25mm, 50mm This lens was for cine use only. 5-glass Mey021. (B.J.A. 1936,
p316) It was only listed as 1in by 1938. (B.J.A. 1938, p568)
Primoplan f1.9 This was made as: 30, 50, 58, 75, 80, 100mm and apparently 180mm. Mey022. This
5-glass design is controversial,and the problem seems to be that while the centre sharpness is good, the
edge and corner is less nice. It was noted for Exakta at No810,72x. This may have suited the original
purchasers, but has disappointed secondhand buyers.
In 1934-1935 it was supplied for VP Exakta, example serial numbers being Nr699,26x, and 792,66x. The
postwar lens seems to have the same exterior curves but an alloy version of the mount. Merte includes
details from D.R.G.M. No 1,387,593/ 1936 with glasses: G1=1.6570/51.1; G2= 1.6480/33.8; G3=
1.6230/57.1; G4= 1.6870/31.3; G5= 1.6210/53.2. The longer 58mm was needed to clear the mirror of a SLR
such as the Exakta (Brochman, Exakta Times, 31, p17, 1998). The rear node of this type is well forward, eg at
the same distance from the film as the focal length, and inside the positive glass in front of the iris.
The 75mm version for Exakta 35mm may therefore have actually been a better product, but is now quite
scarce although it has been seen in a full chrome mount with manual iris from this period. Heavy but compact
considering the specification. It must be a rather nice thing to find.
The 100mm was for Primareflex, and seems to have come only in 1938 or 1939- it is not in the 1937 adverts,
though an f2.8/105mm Trioplan was sold.
[Exaktar It is uncertain who made what Ihagee lenses but a VP Exakta was at auction with both Exaktar
f3.5/75mm No657,46x and Primoplan f1.9/8cm at No657,46x: the numbers are just near enough to be worthy
of note.]
TeleMegor
This was the Meyer telephoto lens series, often for big format but later increasingly for miniature work. It was
usually in barrel mount but could be in shutters. The series was revised in 1939, the changes being partly to
the mounts, with wider knurled finger grips, and partly optical. This was due to moving the iris to help give
even illumination and so that the definition would improve more as the lens is stopped down. (B.J.A. 1939,
p264). This is an important example of a maker discussing the effect of the iris position on the performance of
the lens. A small number of f4.0 lenses were made but typically it was an f5.5 series.
TeleMegor f5.5} 150-400mm This was a telephoto of 2+2 glasses. The shorter lenses were for cine or
35mm use. Longer examples of the f5.5 were in shutters or barrel mounts for big format. It was suggested to
use 12in for 5x4in, and an 'old' layout is shown in Mey016. Coverage was given in the B.J.A. 1935, p578 as:
7.125in 3.5x2.5in
10in 9x12cm or 3.25x4.25in
12in 10x15cm
16in 13x18cm
Fig 032 033 Meyer TeleMegors f5.5/150mm complete and lens head and 250mm complete. These are
uncoated and either prewar or very early postwar lenses.
TeleMegor f4.0} 3.0, 4.0, 6.0, 9.0in, for cine. In 1932, it was 3, 4, 6, 8.25, 12in. (B.J.A. 1932, p578)
These were probably also 2+2 tele design. In 1938, the 6in of a set was going to be an f5.5.
f5.5 The cine series was said to be optically and mechanically improved in B.J.A. 1939,
p308 when it was seen with two other new Meyer cine lenses.
Euryplan
Euryplans were an old S&B product and still on sale in 1935 in apertures of f4.5-f7.5. Frerk seems to say the
initial version was a 6g Gauss [rather like a Zeiss Planar] but that a change in available glasses made for a
redesign. It seems that the amalgamation (Take over) resulted in initially a joint sales plan, and may have
taken some years to complete, especially in a recession when stock was moving slowly. The Meyer
catalogue listed them and the example seen was a Meyer engraved item at No326,38x, and it seems that
they kept this line running in parallel to the Rudolph lenses which sold at a premium price.
Euryplan f6.0/f6.3/f6.8 This was all one series with varying apertures and was an air-spaced Plasmat-
Dagor type. This was the only one listed by Frerk in 1926. The others were older types. It covered 90° with
good coverage, and was sharp and well corrected for sphericals and colour and the cells are fully corrected for
use at f11.This was one of the best corrected lenses of the period. It probably had its own clientele as smaller
and less costly than the Plasmat. Thus an 8.25in Plasmat cost in f4.0, £19.20; 8.25in Euryplan, £12.25.
Euryplan was also made in larger sizes, to 24in than Plasmat (where sizes were to 9.5in. max.). [One of the
examples seen seen had had plenty of hard professional use and was once someones favorite lens. But the
lens cells are alloy and were rather soft and became damaged in use.] It was also as a Casket set, below.
7in 12.375in 7x5in at f6 9.5x7in stopped down
8.5in 14.375in 8.5x6.5in at f6.3 10.75x8.5in
9.5in 16.5in 9.5x7in at f6.3 12x9in
10.75in 18.625in 9.9x8.5in at f6.5 14x12in
12in 20.5in 10.25x9.5in at f6.5 16x12in
14in 25in 12x10.25in at f6.5 17x13in
16.5in 29in 14x12in at f6.5 20x16in
19in 33.25in 17x13in at f6.8 22x17in
24in 41.25in 22x16in at f6.8 28x24in
Euryplan Sets These were offered by Meyer in 1930 in several sizes for 1/4plate, 5x4, 1/2plate and 10x8in,
with 3 or 4 components in the set. The one seen is probably one of these and is marked Satz V1, with cells of
262 and 366mm only- the others may be mislaid. They were probably for f6.3 if the same components were
used or f7.0 if they were different, and offered 105-300mm. That seen gave about 180mm. In use it was sharp
and contrasty, and seemed to offer everything the buyer of a Plasmat might want except the extra speed. The
cells were in a Compound 111 and both shutter and lens had the threads modified to interrupted thread for a
quick change. This is a really nice item to use, with a touch of interest but the iris is in mm of diameter and
really needs the original tables to interpret the stops for the different combinations.
Euryplan Older version.
These may have been sold by Meyer but were essentially S&B lenses.
Euryplan f5.6 Am. Photo. 22, 25/01/1907 shows a 6-glass Gauss. [This will be an old S&B
version.]
Euryplan f4.5, f5.6, f6.8 These were in various series. (Gauss also)
Fig 032 012 Schulze and Billerbeck Euryplan f4.5/8.25in Ser I No203x, sold by Staley and Co.
Euryplan f7.5 This also seems to be an older series.
Optimat f1.5 20mm,this was for cine or perhaps projection. Possibly a 4-glass Ernostar type but
the layout is unknown. Ariel's list has an example for 16mm on a 1938 Siemens & Halske camera.
Siemax f1.5 20mm A slightly earlier 16mm lens also for S&H. It was noted at No 758,18x and
758,51x on Siemens cameras. (It seems to be a 1920's lens?: but the B.J.A. advert in 1939 lists a Siemax
Meyer f1.5 for 16mm on the Model B)
Megon f2.0 A lens issued during WW2 for the Primareflex camera, so it is likely to be a 10cm Gauss
6-glass type. One noted at auction was f2.0/10cm Nr910,196 on a Primareflex with a TeleMegor f5.5/30cm
Nr927,66x. It probably was made only in small numbers due to the war. (Photofreund 1941.)
Apo Megor f6.3 32cm This was noted as a (probably) process lens at No995,94x which will be late
prewar, which may explain why it seems little known in the UK.
One question must be when they stopped being S&B and when they began to be Meyer. Certainly some of
these are engraved Meyer, while others may not be.
By 1936 Meyer could claim some 40 years of production, of some 100 types in 380 foci, and 1,500,000
lenses. But note that the serial numbers were actually about No700,000. Thus they may have also counted in
S&B production in another series. Another factory was built and in use for 1939. And the sheer quality of
some of the old items is very impressive. They produced high quality collectibles in the Plasmat series, and
in the M39x26 fit lenses though many of the others are now rather overlooked. One reason will be explained in
the next section.
Meyer Lenses for M39
These were about the rarest and now most valued of the prewar lens series and seem to have been made in 2
or 3 groups.
(a) The earliest were mounted or at least advocated by A.O.Roth of 85, Ringstead Rd, Catford, London SE6,
in the 1920's for Leica A bodies adapted to take KinoPlasmat, at least by removal of the normal lenses. These
were made in very small numbers and are very rare.
(b) Later, they probably sold in uncoupled form for the standard Leica body.
(c) But about 1933 Meyer offered a set of lenses in coupled form, possibly made before the patents on the
Leica coupling were published, and these were sold for only a very short period. As a result they are also
scarce. The series included 35mm f2.7 MakroPlasmat, 50mm f2.7 and 105mm MakroPlasmat and 50mm and
75mm f1.5 KinoPlasmat as well as a series of Trioplans, eg 4.25in f f4.5, and possibly an f2.8/100mm. Some
longer TeleMegor lenses were also made but the latter may be after mounted by customers. A lens shown in
the American Annual 1939 seems to be a f2.8/100mm in M39 coupled mount- possibly an old block reused?
Optically the MakroPlasmats may be the most critically corrected but Trioplan can be a surprisingly good
lens. Small also illustrates a 4cm f4.5 uncoupled "Doppel" (it just might be a version of the Aristostigmat? for
Exakta), and an uncoupled 58mm f1.9 Primoplan. The uncoupled lenses probably would not have infringed the
same coupling patents and the M39x26TPI mount was in use by other makers before the Leica was produced.
A.O.Roth went on to agent other products until WW2 and then made accessories for 35mm cameras, such as
versions of the Fuldy copier and filter holders and shades for Elmar and Summitar during WW2, and these are
often sprayed in RAF blue grey colour suggesting they were initially sold to the MoD and released postwar.
85, Ringstead Rd. has been described as a tall town house, with the family flat at the top, the office below it
and a workshop in the basement, but accounts tell of outside workers bringing in parts for the business as a
result of outwork. But attempts to add meat to these bare bones have not been rewarding.
Cine Lenses
For 16mm, there was a series of KinoPlasmat f1.5, Primoplan f1.5 in 25mm, MakroPlasmat f2.7, Trioplan f2.8
in 1936 in 15, 20, 25, 50, 75, 100mm; and TeleMegor f4 and f5.5 to 150mm lenses in standard mounts by the
late 1930's. The KinoPlasmat set is the most looked for today.
A new series for 8mm cameras was launched in 1938 (B.J.A. p308) as f1.5/12.5mm KinoPlasmat, f2.5
Trioplan, and Kinon Superior f1.6 projection in 1.375, 1.625, 2, 2.5, 3in and for wide angle, W/A Plasmat
f1.5/0.75in.
World War 11: Items for the war were coded: ccx.
_________________________________________________________________________________
The Meyer list in the B.J.A. 1939, p568 was a long one, and A.O.Roth of Catford (who was still the Agent)
must have invested a lot of money in it. It ran to 8 pages and listed some 10 types of product, as follows:
Kino Plasmat f1.5 12.5*, 15, 20, 25, 35*, 42, 50mm with special mounts and applications for 8mm camera
(first 4) and larger cameras (rest). (* these were later versions absent in a 1936 list.)
TeleMegor f4.0 in 3, 4, 6in, f5.5 6in. These were for various cine cameras.
Trioplan f2.8 in 15, 20, 25, 36, 50, 75, 100mm again for cine cameras such as Siemens and other.
Kinon Superior Projection lens in f1.6 in 1.375, 1.625, 2, 2.5, 3, 4in also for 8mm 20mm and 18mm.
Interchangeable Miniature Lenses for Kine Exakta, VP Exakta, Korelle, Primarflex:
35mm:Wide angle Anastigmat f4.5 40mm, Primoplan, f1.9 58mm, Trioplan f2.8 4.25in; f4.5 4.75in; TeleMegor
f5.5 6, 7.1, 10in
VP Exakta: Wide Angle Anastigmat f6.8, 2.25in; Primoplan f1.9 80mm, TeleMegor f5.5 6, 7.1, 10in.
Reflex Korelle Primoplan f1.9, 4in; MakroPlasmat f2.7, 4.25in; TeleMegor f5.5, 7.1, 12in.
Primareflex: Trioplan f2.8, 4in; MakroPlasmat, f2.7, 4.25in; Primotar, f3.5, 5.25, 7.1in; TeleMegor, f5.5, 12,
16in.
Double Anastigmat 'Commercial': 1.625, to 6.5, 8.5, 10.75, 12, 14, 16.5, 19, 24, 30in This was a
professional large format lens, at £10,63 for a 6in. The shorter sizes were abbreviated.
Wide Angle Aristostigmat f6.3 for 105°: 3.125in for4.75x3.75in £6.75; 4in for 6x4in £7.2; 4.75in for 7x5in
£7.50; 5.25in for 8.5x6.5in £8.25; 6.25in for 9x7in £9.75; 7in for 10x8in £12.00. (Gauss design)
Helioplan Enlarging: 2.25 for 35mm or 3x4cm; 3in for 6x6cm; 3.5in for 6x6cm; 4.25in for 6x9cm; 4.75in for
9x12cm; 5.25in for 9c12cm; 6in for 6x4in; 6.5in for 6x4in; 7in for 7x5in; 8.25in for 7x5in; 10in for 8.5x6.5in.
Double Plasmat f4.0: 3.5in (6in) 6x9cm; 4.25in (6.75in) 6x9cm; 4.75in (7.87in) 4.25x3.25in; 5.25in (8.75in)
4.4x3.3in; 6in (9.8in) 4.4x3.3in; 6.5in (10.6in) 5.5x4in; 7in (12in) 6x4in. Here the second focus is the single cell
of the convertible. Also 3 focus mix and f5.5 Plasmats available.
Trioplan Portrait Anastigmat f3-f3.8 in 6-19in.
______________________________________________________________________________
Post WW2
After WW2 Gorlitz came under Communist control in the Eastern sector of Germany, and shortage of
materials and lower selling prices meant that the products were more in alloy with a plainer finish and looked
as if they were intended to offer a budget alternative to the Zeiss/Jena products. When a long list of Meyer
lenses is considered, there seems to be a sharp change to aluminium at No991,xxx (brass)-1,072,3xx
(aluminium). This was probably during WW2, perhaps in 1942. (See Zeiss Jena section to compare.) It is true
however that they kept up a standard of performance and there was a continuity of designs, although these
were not always of premium quality. Thus Meyer went on with the manufacture of the Primoplan even though
most firms were making Gauss f2 lenses of better corner sharpness. One problem for all the makers in East
Germany may have been in obtaining the latest optical glass for newer types of lens. Newly made lenses with
coating were marked with a red V and this was applied to some large format lenses such as a f5.5/400mm
TeleMegor and to f6.3 100mm Aristostigmats, a late batch of which were sold off by Sterling-Howard in USA
in 02/1960 as discontinued.
More typical postwa items were:
Lydith f3.5 30mm a budget wide angle for 24x36 of 5-glass in 1964, and rather nice for the price,
which was modest. Seen at No3,595,00x in black finish.
Fig 032 031 Meyer Wide Angles for SLR's Primagon f4.5/35mm No1,866,71x and Lydith f3.5/30mm No
3,595,005.
Primagon f4.5 35mm A low price 4-glass retrofocus, noted 1957 at $59.50. It was seen in white
metal at No1,866,71x. with preset iris.
Trioplan f2.9,f3.550mm These were early postwar 3-glass eg on Practica in 1960 (Mey014) the
f2.8/50mm was used on the Altix N with interchangeable Primagon f4.5/35mm and Telefogar f3.5/90mm
lenses. It was illustrated on the Altix at Nr1,206,812 and Nr 1,109,57x on a Mimosa in 1951.
Trioplan f2.8 100, 120mm as prewar. Q14 type triplet.
Postwar these were noted in 100mm for Exa at $59.50 but were a less common product than formerly. It was
seen at No3,176,15x in white metal with preset iris for Exakta.
Fig 032 038 Meyer Trioplan f2.8/100mm No3,176,153.
Telefogar f3.5 90mm see on Altix above.
Trioplan f3.5 30mm on Penti 11 1/2 frame. This is late 1950's.
Domiplan f3.5 30mm also on Penti I about 1959.
Trioplan f3.5 75mm on Weltaflex about 1954.
(Rectan f3.5 75mm This was an alternative to the above Trioplan but the maker is unknown- was
it also Meyer?)
Primotar f3.5 50mm This was noted in July 1961 for Exakta at £80 complete on Exakta VXIIa, or
£14 below the f2.8/50mm Tessar package. At this time the Exakta came into UK through the Corfield
organization and a Tele-Lumax was in the advert as well. A f3.5/50mm No2,043,22x was sold on a Contax F
SLR No403,95x.
Primotar f2.8 50mm This was noted on a Pentacon F at lens No2,194,47x.
Primotar f3.5 135, 180mm 4-glass Mey025, Mey024. The 135mm seems to be the most common
in black with a preset iris for Exakta, at No2,831,66x, 3,280,31x from the 1950-60 period. It sold best in the
135mm size, and the lenshead usually unscrews from the barrel and can be used for larger formats such as
6x9 and probably 5x4in as it is a wider field lens than 35mm.
Fig 033 001 Meyer Primotar f3.5/135mm lenses Nos 3,280,310 and 3,363,907.
Domiplan f2.8 50mm Mey015. These are probably a redesign of the Trioplan and offer decent
performance, especially if stopped down a bit, and are in auto iris mounts for Exakta and M42. They were
made from about 1962,and noted in black at No2,733,72x, on Exa 11a. It was made only in 50mm. Later
types are numbered at the back of the barrel eg at No4,354,18x on a Exa 11b.
Domigor f4.0 135mm for Pentina.
Primoplan f1.9 58mm noted postwar at No1,132,32x in preset iris, white metal mount. This is much
lighter than prewar but the external curves match. Used in 1998, it was a modest performer with loss of
sharpness at the edge but fine for family use, and better than it is often said to be.
Optik Primo=OP This was a Marketing name for Primoplan in USA while Meyer was under Communist
control of production.
Domiron f2.0 50mm This was a Gauss type to replace the Primoplan. This came in 1960 in auto
iris in a rather striking white mount.
TeleMegor f5.5 105, 150, 180, 250, 300, 400mm This was a long lived product, from the early 1930's
for Exakta at least and continued to the postwar black paint era at least. Prewar lenses are normally nickel
plated brass, eg No861,06x. Early postwar they are in white metal and early ones are still not coated eg at
No1,292,56x, where the V is white filled. Later they were in black finish and coated at No1,292,56x, but by
then the V is totally omitted. A lateish 400mm version was noted at No2,919,43x and 2,919,53x is the same.
These have a triangle with a 1 inside as a quality control mark. (This is normal on all lenses of that period).
These are nice items and the long ones are rising in price at present. The shorter are easy to find. A typical
layout is Mey017.
Fig 032 035 Meyer TeleMegors f5.5 150mm, 240mm and 400mm (postwar ctd).
TeleMegor f5.5/250mm for M39 Leica A small batch including Nos1,001,804, and 1,001,884 was mounted for
the Leica 1f (engraved 3 crowns) for use by the Swedish Navy in 1955 using a Leitz 200mm finder. They seem
to have been uncoupled and blind focussed or more likely always used at infinity.
The lens programme was updated in 1963 approx with a new series of Orest- lenses in black but still with
preset iris. It is likely that these were continued as the Pentacon series without further change except that
they were then multiple coated. The highest Meyer serial noted was about 7.6million, with Pentacons from
8.6million, though Domiplan lenses continued after the launch of the Pentacons- ie. it seems to have been a
progressive changeover.
These were a well balanced set in matching design and the 300mm has been well liked.
Orestegon f2.8 29mm (Mey028)
Oreston f1.8 50mm This was with multi coating on some, though No7,589,16x seems still to be a
good single layer coat. It was noted in 04/1972 adverts. as (probably) No4,938,46x
Orestor f2.8 100mm
Orestor f2.8 135mm This was seen at Nos 4,050,97x and 5,575,59x in black with white high
spots, and Q1 marking for quality control. A Pentacon f2.8/135mm No5,688,55x was noted at auction
engraved 'Handmade Bohemia in Czechoslavakia' which may give a hint.
Fig 033 004 Meyer f2.8/135mm Orestor No4,050,976.
Orestegor f4.0 200mm
Orestegor f4.0 300mm Mey031
Orestegor f5.6 500mmMey 032.
The lenses renamed as Pentacon seem to have been:
Lydith, as f3.5 30mm; Oreston f1.8 50mm; Orestor f2.8 135mm; Orestegor f4.0 200mm; Orestegor f4.0
300mm and Orestegor f5.6 500mm.
They also probably formed the Prakticar series and these seem to be well liked, especially the 20mm f2.8
which is well spoken off. This is a list of Prakticars from 04/04/1973:
Prakticar f2.8 24mm
f2.8 28mm
f2.5 35mm
f2.8 135mm
f3.5 200mm
All these were available then in auto iris or auto with Electric coupling for the LLC Praktica, at a slight
increase in price(about 12%).
A note in Modern Photo 04/1976 p40 says Pentacon lenses would then begin to be supplied with multicoated
lenses as with the Pentacon f1.8/50mm on the Praktica VLC 2
For Meister Korelle ex VEB, Dresden
These are fairly early postwar, about 1950/1951 or 2.
Primotar f3.5 85mm
Primotar f3.5 180mm
(Tessar) f3.5 9cm from Zeiss.
For Praktisix and Pentacon Six:
Telemegor f4.5 300mm This seems an unusual aperture and may be an error.
Orestegor f5.6 500mm and possibly some other focal lengths- see CZJ E. German list. Accounts
have mentioned lenses of up to 1,000mm from Meyer/Pentacon.
From the collector point of view, the most desired Meyer lenses are probably the M39x26 lenses, the
Plasmats-Makro and -Kino and certainly the big format Plasmat lenses, especially the sets. The Euryplan
can be an interesting substitute, and the wide angle Aristostigmat in shorter foci is a still nice item to use.
Chronology
An anonymous serial number/date list has been published for part of their production run.
An Aristostigmat N37772x seems to date from about 1918 from the shutter number. Then for the collector the
important points may be:
1930, 500,000; 1935, 675,000; 1949, 1 000,000; 1095, 1,200,000; 1955, 1,600,000; 1957, 2,000,000;1960,
3,000,000.
An advert. in American Annual 1939 shows Primoplan No798, 894 on an Exakta.
A more detailed list by M.P-H. Pont in "Chiffres Cles" covers the same years, but in more detail but also
indicates the pre-war numbers are approximate. His are a little different and in part are also given to compare:
1930 500,000 1934 700,000
1938 900,000 1939 1,000,000
Sadly few are met in Compur shutters,( and one of these had an anomalous number of A065,967 on a
Trioplan f2.9/75mm at No870,510). Thus the Euryplan NoVI No326,38x in Dialset Compur ?size 2,
No782,283 (about 1926-7?) is of real interest, especially as this has an interrupted thread mount and mm iris
so it is unlikely to have been exchanged.
Another noted was No37772x in a d/s Compur from about 1918.
Note the above comment that the change to alloy mounts may be 1941-2 at about 991,000 to 1,071,000 and
this is roughly compatible.
Postwar production restarted at No1,068,113.
1951 1,200,000 1954 1,500,000 1957 2,000,000 1960 2,500,000
1965 3,500,000 1971 5,000,000
Mr Brochmann asked Herr Peter Olbricht the Master of Engineering at Meyer about the numbers and was told:
"No written evidence (ie records?) exists today, I can only tell you that up to numbers slightly over 10,000,000
the numbering was consecutive and independent of lens type. Thereafter different lens types were allocated
specific number blocks, mostly with 7-digit numbers, but one will also find 5- and 6- digit numbers on certain
lenses, those specimens having been repaired at the factory where a defective original front ring has been
replaced. Still later, there were also 4-digit numbers and these were codes for the production year and month.
It is impossible to date a lens by looking at its number alone. Thus a Nr300,000 could be either on a
Domiplan 2.8/50 from about 1960 or on a Pentacon f1.8/50 from about 1985 or a Pentacon electric
f4.0/200mm (incidentally made in Romania!) from about the same latter year. One could also find lenses of
the same sort with adjacent numbers that are from quite different years, eg a Pentacon electric auto
f1.8/50mm with a number around 5,600,000 could either have been made in 1972 or in 1984." One deduction
is that Meyer were drawing lens supplies from a number of sources in the Comecon area with Romania and
Bohemia mentioned and others possibly existing: this makes the use of the less specific Trade Name
'Pentacon' more understandable.
Fig 35 Meyer Lenses (Larger Sizes).
Exposure: Zeiss Planar f3.5/135mm.
Back Row Meyer Primotar f3.5/180mm.
Meyer Helioplan f4.5/8.25in.
Meyer Double Anastigmat f7.7/14.25in.
Middle Row Meyer Euryplan Satz NoV1.
Meyer Helioplan f4.5/7in.
Meyer Trioplan f3.0/6in.
Meyer Trioplan f4.5/180mm.
Front Row Meyer W/A Arististigmat f6.3/80mm
Meyer W/A Aristostigmat f9.0/3.25in.
Meyer Aristostigmat f9.0/9.25in.
Fig 36 Schultze and Billerbeck.
Left Euryplan f6.0/8.25in.
Right Aeroplan f5.6/10.25in.
Front Meyer Euryplan Satz.
Fig 37 Meyer Lenses in M39x26.
Exposure: Wray 8.25in
Meyer MakroPlasmat f2.7/5cm.
Meyer Trioplan f4.5/105mm.
Meyer KinoPlasmat f1.5/5cm.
Fig 38 Meyer Lenses for SLR's.
Exposure: Docter ApoGerminar 150mm.
Back row Meyer TeleMegor f5.5/180mm.
Meyer TeleMegor f5.5/250mm.
Meyer Primotar f3.5/135mm
Middle Row Meyer TeleMegor f5.5/150mm older type.
Meyer TeleMegor f5.5/150mm newer type.
Meyer Lydith f3.5/30mm.
Meyer Trioplan f2.8/100mm.
Meyer Orestor f2.8/135mm.
Front Row Meyer Primagon f4.5/35mm

Micro Precision Products, Kingston-on-Thames, UK.

MPP normally used bought-in lenses on large format 5x4in cameras especially from Schneider: and Ross
Xpres lenses on the TLR Microcord, but the latest, Microflex, used 77.5mm f3.5 MPP Micronars which were
made for MPP by TTH of Leicester. This was seen at No 14,79x, in Prontor SVS. They are exceptional lenses
of Q15 type. They are slightly but significantly different from the Ross in detailed design. They were noted in
B.J.A. 1960, p214 but this may be after the product had been discontinued as it was rather shortlived.
In the 5x4 size, two Wray lenses were dedicated to the S92 Microtechnical sold to the MoD. They were:
(a) 184mm f4.5 Lustrar (Q15), and the
(b) 89mm f6.3 Wideangle Wray (Q17), although they were probably also on general sale, and Wray's
publicity states that the
(c) 135mm f4.8 Lustrar was designed for the Microtechnical for Press use. (This suggests it was designed
before the sale of the MPP Micropress about 1951, as this would be the obvious mounting for a Press lens.)
The 135mm is not a very common lens.

Dr Adolf Miethe ( 1860 -05/05/1927, aged 66)

The B.J.A. 1928 p361 credits him as one of the inventors of the telephoto lens as well as of isocyanine colour
sensitization. He was head of the Charlottenburg Tech. School and an editor of several journals. Eder gives a
1.5p biographical note, saying he worked with Hartnack in 1891, and then with Schulze and Bartels at
Rathenow and then became the scientific director of Voigtlaender in Brunswick. He introduced a teleobjective
some months after Dallmeyer and Dubosq and in 1899 went to Berlin-Charlottenberg as replacement to Vogel.
Later he worked with Goerz and Bermpohl on a three colour system. He wrote several books on photographic
optics.

Mikut, Oskar, Dresden, Germany.

Mikut made a tricolor camera about 1937, using a Mikutar f3.5/130mm lens and Hasbroeck illustrates this at
No43,691in Rimset Compur No3,366,297. It was rather compact using 3 4x4cm negatives on one plate. The
actual lens maker seems to be unknown but this camera was optically complex and Mikut just may have
been an optical worker.

Milikin and Lawley

This was noted on a brass lens with rotating stops marked "Made in France' and it is likely they were
Victorian photographic dealers, and Channing and Dunn list them (M&L) as represented by a Stereo camera
with Ross Symmetrical lenses with their name and address at 67/68 Chandos St, Strand, London WC. It
tends to suggest they were a shop engraving or labelling bought-in equipment and not makers of equipment.

Military Optical Ordinance

This is the US term for the mass of lenses and other optics used in a modern combat. Much is not relevent to
this list- binoculars, head-up displays and fly-by-wire stuff for example. But it does parallel the firms making
camera lenses. As far as possible, the older camera lenses are listed under the makers, and some related
items as well. Interest in the lenses can be sporadic. Thus much of it is very large and heavy aerial lenses,
and here astronomers can find valuable optics which are otherwise unaffordable. And modern forces have
used conventional cameras extensively- UK sales include Hasselblad spares in quantity which sell on the
normal market. But after WW2 especially, a lot was looked at to see if it could be remounted for civilian use,
both for miniature cameras and for larger formats. Success was mixed, but excellent mounts of the f2.5/7in
Aero-Ektar for Hasselblad 1000F were made by Cook & Perkins for example. Also seek the Schneider f2.0/5in
Xenon in remounts for 6x6cm. But really the largest part was too big and heavy to reuse easily.
A frequent question is the mounting of ex-WD lenses for 5x4in cameras such as Graphic, MPP and Linhof,
and this section originated as a reply to one. But sadly the first point must be that there are real problems
and limitations. Basically, they present two problems in civilian reuse. One is the size and weight of most air
survey lenses. The other is that they seldom have shutters, and if so, they are probably powered electrically
off a 24V supply, which is uncommon in civilian use. This is sad, as most represent outstanding quality and
performance in their field.
A careful survey of sales of old equipment at sales in the 1990's has shown up few WW1 items. One
'probable' is the Ross f4.5/6in Mill Hill Tessar Patent, a nice Tessar lens in an iris mount, but with no shutter
and rather heavy for its focus. It is thought they are ex- WD but they do not have government markings. They
could still be useful on a 5x4in 'Press camera, but are seldom in good condition. The other was a Ross AIRO
f4.5/10in which is certainly ex-WD, but here the problem is that it never had an iris, always apparently being
used at full aperture. At least it was cheap. Traditionally, WW1 was the birth of the TTH Aviar f4.5 but so far
this does not seem to turn up today. On the other side of the trench, Zeiss were supplying a series of triplets
as "black barrels" in 30cm and up for survey work. These were remarkably light and are classics for
astronomy work as the centration and correction is extremely fine- sadly they do not turn up very often but
they can be cheap as there is almost no engraving to allow recognition. There is some indication that the first
of these were made under licence from TTH well before the War. There were also designs for a telephoto lens
but it may not have been put into production. One general point is that many WW1 lenses were used from
balloons rather than from aeroplanes, though both were used. Incidentally, in 1918 the postwar sales of
military equipment were resented by the makers as likely to deprive them of normal sales and disturb the
market. Little did they know what would occur in 1945 when the amounts sold off were to be very much bigger
and against a market severely controlled by the postwar austerity programme.
The interwar years have thrown up interesting items, but they are mainly ones such as f18 Series V Protar
which are ordinary civilian lenses, possibly with some adaption for a special use. Two nice items were f2.0/4in
TTH OPIC lenses from about 1930, but their original use is now obscure. They are fine lenses and still
possibly usable on a 'Press camera, but note- again no shutters and they are big enough to seem fairly
heavy.
In WW2, the UK used two series of cameras for aerial survey. The 5x5in approx. used a 3in f5.6 Ross Wide
angle survey, the famous f4/5in Wide Angle Xpres, a f2.9/8in Dallmeyer Pentac and 20in/f6.3 Tele by Ross or
Dallmeyer. Of these, the 3in would be very desirable, but is really rare, and designed to be used in a camera
with a glass pressure plate which may mean that it is not flat field in an ordinary camera. Certainly a 6in was
best at f16 for 10x8in. The f4/5in was a special version, and a quality lens, but is now seldom in really good
order, and notoriously was designed for use at infinity. Having said all this, it is one of the more usable and
worth trying if cheap but note: there is no shutter, so it is best for a camera with a focal plane shutter. The
f2.9/8in is a 'possible' as it was often used on big reflexes postwar: it is less heavy than might be expected
and has quite a big rear focus. Sadly, it is usually not coated, like most of the items so far, and again, it often
has had a hard life, so they are notoriously variable in quality. (One suggestion is that this was due to
extensive sub-contracting during WW2 and lowered standards as the civilian Pentac can be a pretty good
lens.) The 20in lenses seen were heavy at 2.5Kg (5lb), and have a 74mm rear protrusion, and take a 3.5in
flange.
A postwar 5x5in aerial camera used very nice Ross f4.5/6in lenses, coated and of high quality in an enormous
bladed shutter, but sadly these used an oversize rear cell with the same thread size as the front cell, and as a
result they cannot be transplanted to a Compur 1 shutter.
This 5x5in format in the USAAF lead to the famous Kodak AeroEktar f2.5/7in, which probably represented a
new stage in lens development with coating and new era glass- and also weight since it uses heavy element
glass in two components. It certainly was mounted for many cameras as an ex-WD lens, but fared best on
6x6cm such as Hasselblad as it was only marginally sharp enough on 35mm and the back focus was rather
limited for use 6x9cm reflexes, which often worked only for portraits (very sharp and contrasty) when it was
fitted. Now this heavy glass is coloured and the lenses work at about f3.1 so the size and weight seems no
longer to be worth it. (There is a rare f2.5/6in but it seems to be found only in USA.)
The Big Size was near 9x9in, so the lenses can be used on 10x8in. The wide angle was the Ross f5.6/6in,
which looks like a glass ball, and is mounted in a massive rather flat brass mount, sometimes with part of a
shutter in place. As above, it can be disappointing transplanted to civilian use. It is related to the f6.3/20cm
Zeiss Topogon which also occurs occasionally from German survey planes, which failed to return, and to the
Bausch & Lomb Metrogon. (In fact the Topogon was so impressive that several other makers also made
versions.) There are also comments these are not quite free from distortion and do show fall off in illumination
at the edges. A scarce lens was the AeroEktar f2.5/12in which was mounted with a blade shutter with a real
guillotine action- it is a genuine hazard to the fingers and sadly many of these have 'failed' with balsam faults.
This format also used 20in lenses, but more as standard lenses. There are big Kodak Anastigmats, uncoated
and in a bulky mount, and Ross Xpres f6.3/20in lenses in two series, one a Tessar type with 3-glasses in the
rear cell, and the other a version of the Wide angle Xpres, ie a Plasmat related design. The former is
extremely heavy but good. The latter is rated as excellent by astronomers, but has very soft coating internally
and is rather scarce. And the Big Betha, the Dallmeyer f6.3/36in tele, which was made and labelled by many
makers. It tends to be excellent stopped down to about f10, but has been accused of limited colour correction,
as it was originally often used with heavy yellow filters for improved contrast. At 14lb, it needs a substantial
box as a mount, and it is big as expected. The weight is given for the late, coated, 'lightweight' version
incidentally. Here there are big variations in sharpness from one lens to another, depending perhaps on the
makers' care or on the number of crash landings it has experienced- it is a product where lenses do show real
accident damage. This was also especially noted with the monster f4.0/36in Wray, which was made in
moderate numbers, often without an iris for use at full aperture. This is a item where two men may be needed
to carry it. Early postwar, Wray made a set of f4.5/12in, f5.6/24in and f6.3/36in lenses of reversed Tessar
type, and these are superb coated lenses but again are really too big physically for most cameras.
A problem with big aerial lenses is the balsaming, as temperature changes are inevitable and tend to lead to
failure. The balsam was often deliberately left soft and in the long term the soft layer allows bubbles to form.
Another endemic problem for aerial lenses is vibration, and the makers would take great care to lock the
lenses in position to withstand it. This makes them especially hard to dismantle for repair, and even
experienced firms have a high failure rate in such work.
In Germany, the firm of Fritz Voelk of Berlin made a real novelty. It was a 'Handkammer' (though also used
fitted to the plane) which seems to have used 70mm film and a set of Schneider lenses including a Xenon
f2.0/125mm (5in) and probably less often a 20cm Xenar and 30cm f5.6 TeleXenar. Only the f2 seems to be
regularly reported, perhaps as dismantling lead to the long lenses being anonymous today. The f2 was later
sought after for 6x6cm and was sold for this eg on Hasselblad, in the postwar years. It was often coated and
could still be interesting on a 'Press especially with a 6x9 rollfilm back. Sadly, Mr Volk's factory in Berlin
disappeared in the bombing and little is known of the camera. But it may have lead to the postwar
concentration on smaller formats including 70mm film. There was also a Hasselblad Handcamera for the
Swedish airforce- it just might be related to other designs.
Most of the later lenses noted in the UK are from 3 sources based on 70mm cameras.
(1) The simplest is the Komlosy 70mm camera (? APF5/8960), used for recording fishery protection work.
This often involved off Russian trawlers in the North sea and the controls are designed for gloved hands. The
lens is a coated Xpres f3.5/75mm in a Compur Rapid and gives excellent quality results. It is near the MPP
Microcord lens in size but different in detail.
(2) AGI of Croydon produced the long lived Agiflite based on a Williamson design, using TTH f2.0/4in and
f1.8/4in lenses with a TTH f4.0/12in (300mm) long lens. The 4in lenses can be fitted to plate cameras, but lack
a shutter and really are better on 6x6cm. Sadly, many of the f1.8 version were sold off only after they were
sand blasted by use over the desert and are little value today. And the 12in is very bulky and heavy and has
limited rear focus, so although it is a premium product, it is hard to adapt to anything, so that prices can be
trivial at sales. There may be other AGI fit lenses as they mentioned fitting Carl Zeiss (Oberkochen) lenses
when the subject was raised in discussion.
(3)The other major UK source of aerial cameras was Vinten who produced the F95, again for 70mm film. They
used ELCAN lenses from Leitz Canada especially in 1.5, 1.75 and 3in sizes. The later F95's were modified in
design so that the shutter ran nearer the film, hence the two wide angle specifications, and a warning to the
reader: these are deep sunk lenses with little clearance between film and rear component. But it did prove
possible to use the 1.75in ELCAN on a 5x4in Press camera as it has a deep sunk mount and runs back of the
panel rather as the Zeiss f4.5/21mm Biogon sunk into the Contarex or Contax body. This sadly does not apply
to the 1.5 or 3in lenses which look nice but are really hard to bring into use.
This has been the writers experience with many lenses from this group. So far only three have actually taken
many pictures after purchase ex-MoD. The best was the next.
This exception was the Zeiss f4.5/38mm Biogon, which was used by both AGI and Vinten and is really the
same glass as the Hasselblad Super Wide lens but in very different mounts. AGI used a version as pairs at
considerable expense in an enormous double, bladed shutter on a stereo camera shooting 6x6cm frames side
by side on 5in film, and these cells can be remounted in a Compur 1, but only with real difficulty and skill.
Otherwise they will be 'hard to use'. Vinten used the same lens but in a rigid barrel mount and this can be
used- but there is no shutter and little rear clearance. One was successfully mounted on a Linhof backplate by
fitting a plate across the front and a focusing movement, and has proved a nice unit for wide angle close-up
work as it is small, sharp, contrasty, and covers 6x7cm in close-up if not at infinity, or gives a panorama
across the middle of 6x9cm.
Personally, of the many of these lenses owned, the f4.5/38mm Biogon has proved to be the only regularly
used one. But then it is exceptional even in this company. The 1.75in ELCAN might join it however. And a
f6.3/36 was used on a 1/4plate T-P reflex for bird work in the 1970's- it was mounted on a box and board with
the camera sliding on the end of the board to focus. Otherwise, it might be a case of going back to the
earliest, such as the Tessar Patent Mill Hill as these were nearer the civilian norm. This is a real pity, as
many of these lenses are of extremely high quality and very attractive specification, perhaps especially the
TTH 300mm tele, which was a real disappointment as it is known to cover 5x4in. Repeatedly the problem has
been weight plus size. Possibly some day a rigid flat camera with a focal plane shutter will be assembled to
put some of them to use. Here a Graphic, Linhof or MPP focal plane shutter unit with a rigid plate just in front
of it might suit some of the F95 lenses. Otherwise, it may be that the real customer for these lenses should
be an amateur astronomer, for whom the absence of a focus action is unimportant, and where no shutter is
needed, and just think: compared with many telescopes, even a f4.0/36in Wray is a lightweight. There is
another factor. Supplies of good civilian secondhand lenses are more available today than ever, and the flow
of ex-MoD items are tending to dry up. It may be that the ex-MoD items will move more into the collector orbit
and cease to be attractive for use.
Other ex-MoD items noted in England have been movie lenses from Sinclair and Cameflex cameras, and
many recording lenses from CRT units by Dallmeyer and Wray, and modern CCTV lenses from security
cameras- which are rather shortlived things! And note the f3.5/50mm Dallmeyer lenses from the G45 camera.
Much less is found from abroad for obvious reasons, though the USAAF left items from WW2.

Miller Cine Co Ltd, 106, Barton St., Gloucester, UK.

These cine cameras were made from 1933 (B.J.A. 1943, p333Advert.) and seem to have normally used
Dallmeyer lenses (B.J.A. 1941, p201). Prewar, they could come with f3.5 'Anon', £7.75; f2.5 TTH £8.63; f1.9
Dallmeyer, £11.87; f1.5 Dallmeyer £15.50; or f1.9 Ross lenses £12.60. (Prices for camera + lens.
They still supplied the Miller 8mm cine camera in the 1950's with interchangeable f2.5 fixed focus or
f1.9/13mm uncoated focusing Dallmeyer lenses, but no other details are available. (B.J.A. 1949, p215;1951,
p41, etc.)

Milwaukee
Milwaukee Portrait f4.0 400mm for 11x14in. This may be a vendors label used in the USA. The lens was
noted in an old B&J list.

Minerva.
This was really a camera name, carrying a Metharis f4.5/135mm anastigmat in a dialset Compur shutter.

Minicord, (C.P.Goerz) Vienna, Austria.

Helgor f2.0 This was made by C.P.Goerz for their camera.

Minolta, Osaka, Japan.

Initially Chiyoda Kogaku Seiko KK of Osaka, Japan.
Agents Japanese Cameras, Ltd, 50 Piccadilly, Tunstall, Stoke-on Trent, UK.
F. Barrett and Co, Ltd, 34 St Anne's Lane, Dublin.
We thank Mr B.Petticrew of Minolta UK for additional information here.
Minolta are long established makers of optics and cameras, and unusually make their own glass. Only the
very first cameras, made under the founder Mr K.Tashima, used imported German lens/shutter units, and
these were on cameras made from 1932 initially with eg. Schneider Xenar lenses in Compur shutters (Am.
Photo. Advert. 19/04/1972) and there was a rapid introduction of their own lenses and other components in the
1930's. Another point is that in 1975, Minolta revealed that to them multiple layer coating was nothing new as
they had been using Multi Achromatic Coating (MAC) since the 1960's to control colour balance of their
lenses and felt that it was not really new. (Am. Photo. 07/05/1975 Advert. p165).
Early Lens Names were:
Nifca (Nippon Foto Camera) This was also a camera, and could be fitted with a Xenar f4.5/7.9cm, probably on
a VP size at body No1370.
Wekar
Helostar
Promar
Coronar There was a Friedrich Coronar and this may be bought in. A f4.5/75mm was used on a Semi Minolta
for 16-on.
Actiplan
Minolta eg f4.5 on an aerial camera, 1939 on.
Rokkor f3.5 35mm on Konan 16 Automat sub-miniature. Also this spec. on the Minolta 16 in 1961 (B.J.A.
p201).
The above lenses were built into cameras and are not likely to trade separately. Much more accessible and
attractive as lenses to a collector are those designed early postwar, especially for the Minolta 35 with
M39x26 thread. These were early postwar and initially had a 32x24mm format, so that there was a tendency
for the focal lengths to be a little shorter than for 36x24mm. These are lenses with a very favoured reputation
of the sort makers must value highly. They were named as:
Super Rokkor in all focal lengths.
Fig 012 020 Minolta 35 with TeleRokkor f4/135mm No1,200,182; Super Rokkor f2.8/45mm No4997 in M39.
Those noted have been:
f2.8 45mm from 1947 This was a superb period lens. (Said to be a Heliar type layout). It has been noted
at various serial numbers from No2,43x, 4,847, 4911, 499x, 9281, 9456, 12,205, 12,29x, 1,404,282, 1,500,83x
and 1,502,14x reflecting a long successful production life. There is an obvious discontinuity in the serial
number run here probably due to a new system coming into use.
f2.0 50mm about 1952, This was excellent and mainly on model 11. Modern Photo 09/1978, p19 quotes it
as 7 glass 9oz weight in brass mount, 10bladed iris, and high quality of centration and correction, though
some colour error was reported. It was an impressive item.
f1.8 50mm about 1958, And this was again a very impressive lens. Gauss type.
f3.5 35mm These are now rather hard to find.
f2.8 85mm
f3.8 100mm
f5.6 110mm TeleRokkor This was noted at No23,82x.
f4.5 135mm
f4.0 135mm These were coded TeleRokkor in fact and are an f4.0. It is a very nice item in a heavy brass
mount. It uses two thread coupling [rather as the Leitz Elmar 9cm f4.0], not the push-rod type usual in 135mm
lenses.
These lenses tend to include later lenses from fixed lens cameras:
f1.8 50mm M-bayonet, for Sky camera, ultra rare prototype lens.
f2.8 35mm, on Minolta Autowide (1958), in fixed mount (Min001)
f2.8 45mm (4g/3c) on Uniomat (1960), Minolta A3, (B.J.A. 1960, 590), A5 (1966), ER.
f2.0 45mm (6g/5c) on Himatic (1960), Minolta V2, (1960).
f1.8 45mm on Himatic 7S (1974)
f8.0 34mm on Himatic F (1974).
f1.7 40mm on Himatic E.
Rokkor f3.5/75mm on Autocord in 1961 4-glass design. (B.J.A. 1961, 220)
However the major items are likely to be from the SLR programmes as they have evolved over the years.
These date from about 1958. In the name the letter code indicates the structure, the number of components
being indicated by the first letter using a latin numbering, as U=1; D=2;T=3; Q=4; P=6. Similarly the second
letter indicates the number of glasses, as:A=1; B=2; C=3,etc. This system continued into the 1970's but is
now long discontinued. Early lenses can show the iris sticking that ocurred with so many of the first SLR
lenses from Japan, and this is due to lubricant moving from the focusing helix to the iris blades, and the only
answer is to clean the blades. Sadly the result is only temporary unless the focus helix is also relubricated
with a grade of grease which is without volatiles in it. This was a common problem with Japanese lenses until
about 1965 when the grade of lubricant may have been changed but may also be why so many went over to
plastic lens mounts with relief.
SLR Lenses
The Minolta SR 1 was noted in the B.J.A. 1961 p211 (Beautifully designed, desirable, looks and feels
precision, etc.) with f2/55mm Rokkor and the advert. p578 also lists the SR 3 with f1.8/55mm and accessory
lenses AutoRokkor f2.8/35mm, f2.8/135mm and f5.6/600mm, etc the last being non-auto iris.
Standard Lenses
f1.8 55mm Rokkor PF 1958 onwards, on SR.
f2.0 55mm Rokkor PF 6g/5c, on the same.
f1.9 55mm Rokkor on SRT 100 USA, 1973.
f1.8 55mm Auto Rokkor on SR7V c. 1963-1967 (Min002).
f1.4 58mm Rokkor PF 6g/5c on 1962 cameras. There may be two types.
f1.4 50mm Rokkor PF 7g/6c? 1974, with rubber grip.
This was also as PG, ie two types seem to exist.(1974)
f1.7 55mm Rokkor PF 6g/5c about 1966, on SR101.
f1.7 50mm Rokkor PF 6g/5c, new about 1973, 1977.
f2.0 45mm Rokkor This may be really a budget standard lens.
f2.8 45mm This was a scarce compact lens, 1970.
f3.5 50mm Macro 6glass, 1960.
f2.0 53mm This was apparently for SR1, c. 1966.
f1.2 58mm Rokkor This was new in about 1969-1977, 7g/5c, Users say 'Good but a little pushed
at full aperture' but this would be true of all makes then.
f1.2 50mm MD This was rated as "Excellent."
f2.0 50mm Rokkor PF This was a superb lens, liked by all users, for SRT100 (1974)
Wide Angle Lenses
f4.0 7.5mm This was a fisheye for round image circle, about 1977. 12g/8c.
f2.8 16mm Apparently coded OK, this was a full frame fish lens, 11g/8c, and a nice item
about 1974.
f4.0 17mm This was an extreme wide angle, 11g/9c. It was reviewed in Modern Photo
10/1978 p132 at No2,016,158 with other Minolta equipments and was rated with a high proportion of
"excellents" by their then standards.
f9.5 18mm Coded UW in one list. This was an early fisheye lens, about 1967. 7g/5c.
f4.0 21mm Coded QH, this was a deep sunk wide angle Russar type lens of 8g/4c from
about 1963. On purchase, make sure the external finder is available as well as the lens caps and note that for
use it must have a camera with mirror lock-up.
f4.5 21mm This was a retrofocus type.
There may also be a 21mm f4.0 QH version, review in Camera 35 12/1967.
f2.8 21mm Coded Nl about 1970-1977. 12g/9c.
f2.8 20mm This was sold from about 1977, as a replacement.
f2.0 24mm
f3.5 24mm This was coded SI from about 1970 10g/9c.
There seems to be a new version about 1977 of 9g/7c, both being in the 1977 lists.
f2.0 28mm This was a 1977 lens, of 10g/9c.
f2.5 28mm SI MC-W-ROKKOR (1972-1974 ), 9g/7c.
It was also made coded HF in 1966 and this may be a different type.
f2.8 28mm This was noted in 1977. 7g/7c type
f3.5 28mm SG type, 1968-1977 at least. 7g/7c.
f1.8 35mm HH type, 1974-1977 at least, 8g/6c.
f2.8 35mm HG type, 1960's, probably about 1963-1976. 7g/6c.
There was a new type by 1977 of 9g/7c.
f4.0 35mm QE type about 1960-1963. 5g/4c.
Long Focus Lenses
f1.7 85mm PF about 1971-1975 6g/5c This is a lens with slightly mixed comments, but
note Matanle (below) obviously values his highly.
f2.0 85mm
f3.5 100mm This was coded QE, and was a nice compact lens and a favourite. 5g/4c.
About 1960-70 period.
f3.5 100mm This was a macro lens, noted 1971 5glass.
f2.0 100mm PF This was a heavy element glass type, and a scarce lens. 6g/5c.
There was also a 7glass version seems to have been made in 1960.
f2.5 100mm Coded PF noted 1977 6g/5c. Matanle (Below) notes that this specification is
one of the hard ones to get as an MC but the MD version is usually there if you hunt for it.
f2.5 100mm eg MC TeleRokkor 1974, a nice compact lens. 6g/5c.
f4.0 100mm Coded TC, with manual iris, obsolescent in 1968. 3g/3c.
f3.5 135mm Coded QD, a long lived item. (1963-1977?) 4g/4c.
f2.8 135mm Coded PG, a nice long lived item. 6g/5c, Min003.
f2.8 135mm Coded PF note there are 2 different codes here, so 2 types.
f2.8 135mm Bellows lenshead.
f4.0 135mm Coded TC, 3-glass, manual iris, 1960-1971? 3g/3c.
f2.0 135mm
f3.5 200mm CodedQF, nice lens, but a big thing to use. 6g/4c.
f5.0 200mm Coded QE. 5g/4c.
f4.5 200mm Coded PF, about 1969-1974. 5g/5c.
f2.8 200mm 1980's.
f4.0 250mm TeleRokkor 1960.
f5.6 250mm Mirror type system. Note that this was an unusual focal length for a
mirror!
f3.5 300mm Coded HE seen in 1972 list.
f4.5 300mm Coded HF.
f4.5 300mm Coded QD There seem to be two designs here for the same
specification.
f5.6 300mm Coded PE during the 1970's. 5g/5c.
Coded QD in the 1960 list. 4g/5c.
f5.6 400mm This was the first of the very costly long lenses. 7g/6c.
f5.6 600mm Coded TD, manual iris. 1960-1970's period. 4g/3c.
f6.3 600mm This was a 1977 item with 9g/8c.
Mirrors and Special Items.
f5.6 250mm This was a mirror type system. Note that this was an unusual focal length for
a mirror! This is why the same item is repeated here!
f8.0 500mm Mirror system.
f8.0 800mm Mirror at Photokina 1970, also for Leica in 1977.
f6.3 800mm Telyt-S eg for X-M. A symbol of the firms' cooperation.
f6.3 1000mm Mirror system. (Noted in 1974)
f11 1600mm Mirror system (Noted in the 1970's)
Special Fast Long Lenses from the 1980's
f1.4 85mm
f2.8 300mm
f4.0 600mm
For an early Minolta advert. see B.Jnl 08/02/1963, p115.
Minolta were an early leader in coatings, with strong coloured reflexions due to multiple coats, and these
allowed them to control the colour balance of their lenses. Rokkor-X was a branding for the USA market, while
the lenses for Europe were just Rokkor. This was to allow the agents to see if their warranties applied. Other
codes were MC for meter coupled from1966-1974, and MD from 1977. These dates are only approximate!
The f1.7/50mm MD Rokkor was reviewed by T. Hughes in B.J.P. 22/09/1978 p817 who noted that the design
was much as the predecessors but the mount was lighter and with more plastic parts- and Modern Photo
below noted the iris blades were lighter for a particular reason. These dates are only approximate! It 'performed
well in use--general high standard'.
Matanle in Am. Photo 14/10/2000 p23-29 indicates how well Minolta lenses (etc.) have continued to work,
reporting continued use of cameras such as SR1s and SRT101 and their lenses. He notes the multicoated
versions of the MC lenses with rubber grips have higher contrast, and says all the MD lenses tried were
excellent. He does have reservations about contrast with the early f1.4/58mm MC Rokkor and f4.5/200mm
MC Rokkor and prefers the image of the f2.8/135mm MC ('magnificent') to the earlier f3.5/135mm MC Rokkor.
Celtic Lenses
These were a budget series, sold mainly in the USA and uncommon in the UK. Some six lenses were sold in
this series, including: f3.5, 28mm; f2.8, 35mm; f3.5, 135mm; f2.8, 135mm; etc. (see Popular Photo 04/1977,
p138 advert.) which lists f2.8/28mm, f2.8/35mm; f3.5/135mm; f2.8/135mm; f4.5/200mm; f3.5/50mm.
Vectis
This APS camera used a new lens series and mount not compatible with the old one. Thus there is no
overhang of old items and all the new ones are very small and light to handle. They had to be tested on color
negative film but as for as this allowed, the results were very good indeed, although very slight barrel
distortion, etc. was noted. The series of lenses for the Vectis S SLR for the APS system was reviewed by G.
Crawley in B.J.P. 02/10/1996, p22 as follows:
V22-80mm f4-f5.6 Zoom
V28-56mm f4-5.6 Zoom This is the normal lens sold on the cameras. The 28mm on APS roughly corresponds
to 35mm on 24x36mm format, so it feels like a 35-70mm zoom normally.
V56-170mm f4.5-5.6
V80-240mm f4.5-5.66 Apo
V50 f3.5 Macro
The Vectis S-100 was claimed to be the smallest APS SlR in B.J.P. 04/06/1997, p6 and came with f4.5-
f6.3/25-150mm or f4-f5.6/28-56mm zooms. A new Minolta V f8/400mm was also noted.
Enlarging Lenses
The quality of these was often praised, especially as the price was modest. One particular example was the
f4.5 50mm lens. Note there was a division of types for USA and UK, the UK versions being less elaborate.
Focus for UK for USA
30mm f4.5 f2.8
50mm f4.5 f2.8
75mm f4.5 -
80mm - f2.8
105mm f4.5 -
Zooms-A full series of zoom lenses has been offered since about 1960. The big Minolta zoom ?100-500mm
was discussed in Modern Photo 06/1978, p107 [with others by Nikon, Canon f4.5 85-300mm; Fujinon, f4.5 54-
270mm; Sigma f6 120-300mm; Soligor f5 100-300mm].
Bellows and Macro Lenses.
f4.0 MC/QF 100mm 3g/3c 1977, This seems to be an older type.
f3.5 100mm 5g/4c 1974-1977.
f3.5 50mm 6g/4c 1974-1977.
f1.9 12.5mm 4g/4c This is a Leitz Photar.
f2.5 25mm 6g/4c Same source.
There was some confusion commented on in Modern 05/1978 p101 about the then 'new' Minolta MD lenses
on the XD-11 camera. The MC lenses were said to work but the new type had thinner iris blades to give a
more accurate stop down action, so that the camera could check the exposure stopped down just before
opening the shutter. It was officially said that continued use of MC lenses was OK if the exposure action was
checked and proved correct.
New Lenses
Three new lenses were noted in B.J.P. 31/08/1979 p829, as:
MD Rokkor f2.0 85mm This has a 6 glass 5 components design and is smaller and lighter than
before, closer focusing too.
MD Rokkor f2.8 200mm This has a 5g/5c design with a 'special' glass.
MD Rokkor f5.6 250mm This is a mirror little larger than a f1.2/50mm Rokkor and very small and
compact.
Specials
Tilt and Shift lens.
Curved field lens for special subjects.
Minolta Rokkor SR f2.8 85mm (Layout Min004)
Minolta Rokkor f3.5/75mm 4g/3c for Autocord TLR.
This was famous, one reason being that the camera used a downward film track which did not kink the film
and so it lay flatter than in most TLR cameras, and since the lens was really good the results were a winner.
Minolta CL A compact camera, with its own lenses in M-type Bayonet mounts.
Rokkor 40mm f2.0 and 90mm f4.0
Astro Rokkor Some 126 of these were used in the Planetarium described in Modern Photo 06/1978
p52advert.
Millenium List This is from the Am. Photographer Oct 2000.Trade name were not given but are assumed to be
Rokkor.
f2.8 16mm 11g/8c
f3.5 17-35mm 15g/12c
f2.8 20mm 10g/9c
f3.5-f4.5 20-35mm 13g/11c
f2.8 24mm 8g/8c
f3.5-f4.5 24-85mm 14g/12c
f2.0 28mm 9g/9c
f2.8 28mm 5g/5c
f2.8 28-70mm 16g/11c
f3.5-f5.6 28-80mm 10g/10c
f3.5-f4.5 28-105mm 13g/10c
f1.4 35mm 10g/8c
f2.0 35mm 7g/6c
f4.0-f5.6 35-80mm 8g/8c
f1.4 50mm 7g/6c
f1.7 50mm 6g/5c
f3.5 5g/5c 5g/5c
f2.8 50mm 7g/6c
f4.5-f5.6 70-210mm 10g/10c
f4.5-f5.6 75-300mm 13g/10c
f2.8 80-200mm 16g/13c
f1.4 85mm 7g/6c
f2.8 100mm 7g/7c Soft focus portrait lens
f2.8 100mm 8g/8c Macro lens to 1:1
f4.5-f5.6 100-300mm 11g/10c
f4.5-f6.7 100-400mm 14g/11c
f2.8 135mm 8g/6c
f4.0 200mm 13g/8c
f2.8 300mm 11g/9c
f4.0 300mm 9g/7c
f4.5 400mm 9g/7c
f8.0 500mm mirror
f4.0 600mm 10g/9c
f1.7-f2.8 macro-zoom for range 3x-1x with 7g/5c design.

Mirage
This was noted as a f2.8 28mm lens for M42, and it was probably a vendors label.

Minox, Mssrs V.E.F. Riga, Latvia; later Wetzlar, Germany.

The camera was noted by 'W.B.' in Miniature Camare world 07/1938, p431 some months before actual sales
here and hailed for its compactness and ease in operation. The lens was said to give the sharpness of a
50mm lens at f12- probably more like the depth of field. Development was said to have taken some 4 years.
Minostigmat f3.5 15mm This was the lens on the original Riga cameras. It was a 3-glass triplet
Complan f3.5 This was on the postwar Wetzlar model., 4-glass Q15 type.
Minox f3.5 15mm on Minox BL.
No iris is fitted to these as diffraction tends to reduce sharpness in small lenses when closed down.
Experience is that the lens on the BL seemed to be a great improvement on the older type. Complan used a
field flattener to improve performance. (Min001). Some early models used a curved film track.
Fig 026 035 Minox cameras with f3.5/15mm Complan and f3.5/15mm Minox lenses.
Ariel's list quotes Minox as the source of several examples of at least one cine lens, a :
Dralotar f2.8 12.5 and 25mm for 8mm Dralowid in 1938. This seems to be a little known side to the
production and just may have been more important factor in Minox history than is now realized.
By B.J.P. 03/01/1996, p5 the relation with Leica was so close that Leica were responsible for unveiling the
new model Minox G series GTX, with the Minoxar f2.8/35mm lens, iris to f16, focus to 70cm.
Minoxar f2.8 35mm This was noted on a modern Minox 35 GT-E camera.

Miranda
This trade name is best known for the Miranda SLR cameras, but was used also on lenses as on a Miranda
Supreme f2.8/105mm lens for Miranda T SLR. I.Matanle (Am Photo 12/08/2000) states Miranda never made
their own lenses. The USA importer was Allied Impex Corpn. and also owned Soligor and in 1963 bought
Miranda and understanably Soligor was to supply the Miranda lenses. Matanle lists 5 ranges of the lenses as
follows:
(1) The first used a 44mm screw mount- this was never officially imported to the UK and is therefore scarce
there.
(2)External Auto lenses with the housing to fit over the front release button. It is known in 28mm; 35mm;
f1.9/50mm; f1.5/58mm; f3.5/135mm; f2.8/135mm. These were for D series cameras.
(3) The normal type found is with internal release in f2.8/28mm to 135mm. These were fro F and G series
cameras.
(4) These used a meter coupling at 4 o'clock to couple with the Miranda Sensorex meter.
(5) Finally, lenses clearly marked EE were for the Automex and Sensorex models.
The brand was still active in Popular Photo 11/1971, p43 with many lenses and other items. Lenses then
were:
Auto Miranda f1.8 50mm
f1.4 same?
Two late macro lenses were really notable, the Macron f2.8/52mm and Macron f3.5/55mm. These were listed
well into the 1970's and were first class and extended to 1:1 ratio. The other outstanding lens was the
f1.8/50mm which was noted as well up to the best standards from Germany.

Misuzu Optical Industry, Japan.

Altanon f2.0 50mm This was a rigid lens for M39x26.

Mitakon
This was an independant lens range for SLRs from Photax, of Eastbourne, UK.
f2.5, 24mm (9g/7c); f2.8, 28mm, (7g/7c); f2.8, 135mm (5g/4c); f3.5, 200mm (5g/4c); f5.3, 300mm (7g/6c);
f5.6, 400mm (7g/7c); These are quite late items, with multi-coating and quite complex designs. They were well
ahead of the old budget series so many firms offered.

Mitchell Camera Corp. PO Box 279, 11630 Tuxford St., Sun Valley, California 91352,
USA.
The makers of the esteemed Mitchell 35mm BNCR reflex cameras for 35mm movie in 07/1976 offered lenses
by B&L Baltar, Kowa Prominar Angenieux and TTH as well as their own Mitchell Hi-Speed lens series as
follows:
Mitchell Hi-Speed T1.8 28mm
Mitchell Hi-Speed T1.3 35mm
Mitchell Hi-Speed T1.1 55mm
Mitchell Hi-Speed T1.7 85mm
Then the set of 4 lenses listed at $7,975.oo.

Moeller, J.D., Hamburg, Germany.

The actual name on the lens seems to be Moller-Wedel, and it seems they are well known for binoculars.
They produced a camera mounted with a pair of binoculars called the Cambinox, and it had 3 lenses
interchangable made for it. It seems they are 16mm format lenses but with a different mount and deeper
register, and were used on 16mm film for 10x14mm format approx. These are scarce as is the camera, which
is a regular if select auction item. Lenses are in white alloy finish. On the 135mm seen, the lens mount is
fitted with 4 bolts and an adaptor to C-mount and this addition conceals a small 3-tab bayonet mount of
unknown type. This may be for the Cambinox and it may be that this lens has been made over to Bolex H8
Reflex or some other camera. The few serial numbers noted are over a quite limited range suggesting a small
production, although more data is really needed here. Most users seem to have chosen the 90mm option,
although one outfit with two lenses- 35 and 90mm was noted.
Idemar f3.5 35mm A 4-glass design. This was noted at No 325,16x.
Idemar f3.5 90mm A 6-glass design. This was noted at No321,26x, 322,21x, 322,61x, 323,23x,
323,70x, 32490x, 32456x.
Idemar f3.5 135mm This was seen at No322,00x, in white. It seems to be a 5g/3c design, and
this agrees with the advert. of a 5-glass lens.
Fig 021 018 Moller-Wedel Idemar f3.5/135mm No322,005 in C-mount.
Idemar f3.5 180mm. A 5-glass design. So far no example has been noted here.
Moller
'Moller' were the makers of anamorphic accessory lenses, eg listed by Bauer for the P6 studio projector in
1974. They may be the J.D.Moeller firm above but this is uncertain.

Molteni, Paris, France.

RR described as Molteni is listed by FBB in a Chambre a main for 1886. One noted at auction was in brass
No12,08x on a Molteni Detective engraved A. Molteni, Paris.

van Monckhoven, Dr Desire C.E. (1834-1882)

Eder gives a 2 page biographical note on him, and mentions his , Photographische Optik' published in Vienna
(1866) and in 1867 in English. This is one of the hard to get classics for lens collectors. But it was only one
aspect of a life involving solar cameras (for enlarging) paper and emulsion making, as well as devising a
studio with improved lighting. As his is such an early book it is worth noting some points about it. One point is
that it mentions the Periscopic and the Harrison Globe and Ross Actinic Doublet but not the Steinheil Aplanat
or the Rectilinear. Historically this is interesting as it is easy to forget just in which order lenses came into
use. Monckhoven is well aware of the effect of surface reflections on degrading the image and lowering the
image intensity, quoting the example of Bouguer who found that six sheets of glass caused a loss of 70% of
the light at its 12 air-glass surfaces.
He also lists lens aberrations rather clearly including astigmatism (p102) and the advantages of symmetry in
avoiding distortion. (p99, etc) He does discuss the minimization of astigmatism by stopping down- and in lens
design by making the spherical surfaces such that the immergent and emergent light rays are nearly normal
to the surface of the glass- hence the almost spherical form of old wide angle lenses. Thus he praises the
Globe and the Periscopic lenses as being symmetricals but one conclusion is that there are no fast wideangle
lenses.(p113).
He was well aware of the limitations of the glasses available, but seems satisfied with them- listing some then
available materials:
Diamond RI 2.47-2.75
Flint Glass 1.57-1.60
Rock Crystal 1.547
Crown Glass (St Gobain)1.5
Ice 1.31
Water @0°C 1.333
Water @20°C 1.332
Vacum 0.000 (?should be 1.00?)
He gives the compositions of the Flint and crown glasses from two leading makers, as follows:
Material Maker Bontemps Maker Guinand
Wt % Wt %*
Flints Glasses
White Silicaceous Sand 261 43.5 225 44.0
Red Oxide of Lead 261 43.5 225 44.0
Potash (First Quality) 60 10 52 10.2
Borax 18 3 4 0.78
Nitre - 3 0.58
Manganese - 1 0.20
Arsenious Acid - 1 0.20
Waste from previous meltings - 89
Total 600 (100) 511 + 89= 600
Crown Glasses
White Silicaceous Sand 360 60 400 66.5
Carbonate of Potash - 160 26.6
Carbonate of Soda 150 25 -
Carbonate of Lime 84 14 -
Borax - 20 3.32
Red Oxide of Lead - 20 3.32
Peroxide of Manganese - 1 0.17
Arsenic 6 1 -
Waste Neither maker adds any here!
Total 600 (100) 601 (99.9)
Thus M Guinand was using a more complex feed mix and also had access to a supply of waste to remelt-
perhaps since there was production of glassware on his site leading to waste material. It is usually liked by
melters as it helps the new material to melt down. If one neglects it as recycled product, the %* values are
obtained. One point is that the more complex mix may have melted lower and over a wider softening range
making for easier working. And he notes that M. Bontemps has observed that crown glass is less likely to
exfoliate (ie ?be leached or ?devitrify) under the influence of damp if a small but not excessive amount of
borax with carbonate of soda is added. But it is M. Guinand who uses it! Incidentally, both seem to work in
parts in 600 in weighing in feed, but note there one would expect loss in weight in the melting.
Monckhoven also refers to problems with very heavy flint and very refractive kinds of crown glasses. These
he notes were made by Faraday, Dutirou and several others- but he notes these were used in telescopes but
were of little use in photographic optics although he notes the occasional use of heavy flint, but says its
yellow colour is objectionable for photographic use ( as it would be for colour blind emulsions!) The crown
glass was said to tend to reddish or greenish colour. (p37) He is aware if the concept of 3 colour correction- ie
apo-correction but says it is then not feasible (p34-5) and repeats the experience that heavy flint is too yellow
coloured for use. (Much of the colour could be due to traces of iron, then present in the materials used or
leached from the containers used in melting and really is an indiation of the underdeveloped state of the
chemical industry then. The later success of Schott may reflect improvements or a greater ability to purify
chemicals as part of the process).
Monckhovendescribes lens prodction in some detail and incidentally mentions the use of additional glasses
outside the blank to be polished added merely to avoid uneven polishing of the edges. This shows how the
idea of polishing many lenses on one polisher would grow up- and note he wrote in 1866 or so. He also
mentions the mounting of the glasses as normally being locked in the outer ring by a screw in second ring-
but in some cases makers were going over to fixing the glasses in permanently by pressing the edge of the
brass over to retain them unless the glass was raised to free them- a process translated as being 'set'.
Incidentally the translation is good but retains some of the original feel and also has footnotes reflecting a
deep knowledge of English lens lore, eg on Mr Grubb's doublet and the triplet (p101) from the translater (who
adds triplets by Mr F. Scott Archer in 1853, Mr Chevalier for Mr P.W.Fry, Mr Sutton, Mr Goddard, Mr
Dallmeyer, and Mr Ross who calculated the design anew . The publication followed close on Mr Lake Price's
book, with a good chapter on lenses and which did include the Rectilinear lens, and just may have been
hurried as a result. Van Monckhoven refers to the following lenses in detail and discusses how they were
corrected:
Aplanatics, corrected for full aperture use.
(1) The double Lens of M.Petzval (ie the Portrait)
(2) The Orthoscopic lens of M. Petzval.
Non-Aplanatics, which are sharp only when closed down.
(3) The ordinary single lens, ie meniscus but possibly achromatized.
(4) The single objective (of three lenses) of M.Dallmeyer
(5) The doublet of M.Ross (ie the actinic doublet.)
(6) The Globe lens of Harrison and Schnitzer.
(7)The panoramic lens of Mr Sutton.
(*) The doublet of M. Steinheil (ie the Periscopic.)
Note he does not include the Aplanat or Rectilinear, not the Orthographic, not the Ross Triplet among others.
In some cases, the actual design details are quoted from correspondence with Mr J.H.Dallmeyer, but the book
covers have Ross advertisments (and they were agents for his enlarging apparatus), and van Monckhoven is
known to have discussed lenses with Mr Steinheil.
Much of the book (Part II) is on enlarging apparatus where he uses a biconvex condenser with a prominent
separate negative some distance (= the diameter of the positive) behind the positive- in effect a telephoto
though the design is to limit spherical aberrations. It was derived from the Petzval portrait but not
achromatised. Such apparatus was then in its infancy.
Mono Werk (R.Chaste), Magdeburg, Germany.
Mono Doppel Anastigmat f6.3 136mm
Cosmos Anastigmat
These are likely to be in a 1908 list. They are not noted in the adverts. given in Kerkmann's book. Note a
Mono Kosmos was listed on a Sport Camera from B. Sommer, of Dresden in 1906. (Kerkmann, p236)

Montanus =Potthof (Montanus) Camerabau, Solingen, Germany.

These lenses were fitted to Montana and Delmonta cameras in the early 1950's.
Plascanar f3.5 75mm This was on the Plascaflex.
Deltanon f3.5 45mm. This may be spelled Deltamon actually on the adverts.

Montauk Camera Co. (G. Gennert), 24 East 13 St., New York, USA.
They agented other lenses, including Tessar, Dagor, Heliar early this Century, but did list lenses which seem
to be of their own brand.
Gray's Extreme Angle Stigmatic for 90-95°
f11 4.5, 5.375, 6.5in This seems to be a Portable RR. It was suggested to use 5.375in
for 10x8in (at small apertures?).
Eoscope f5.0 6-14in Portrait lens, probably a Petzval.
Sylvar Series 111
f6.8 5-17.5in It was suggested to use 12in for 10x8in. This was a symmetrical
anastigmat, of 3+3 glasses, and possibly a Dagor version.
see also reference to Gennert above.

Morley and Cooper, 70, Upper St., London N.

Morley were well advertised in B.J.A. 1889, p136 as new and secondhand dealers. They were agents for
Dallmeyer, Ross, and their own lenses. Thus they listed Rapid Rectilinear, New Cabinet, and Wide Angle
Rectilinear lenses. Several lenses with their name have been seen and it must have been a successful
business.
Morley's Rapid Rectilinear Lens in1888 was supplied as f7.5 in:
No 1 5x4 1in dia. 5in back focus. about 7.5in focal length,
No2 7.5x5 1.25in 7.5in about 9.3in
No3 8x5 1.375in 8.5in about 10.3in
No4 8.5x6.5 1.5 11in about 11.25in
No5 10x8 2.0 14in about 15in.
No6 12x10 2.25 17in about 17in.
No7 15x12 2.5 20in about 18.75in.
No8 18x16 3.0 24in about 22.5in.
It seems likely they were about f7.5 and the real focal length can therefore be calculated and are given in
column 5 (italic). This might suggest a continental origin as the UK makers made to f7.7 mostly. He did not
then specify the sizes of the other lenses.
Morley engraved his name and a serial number as the engraving on a Rapid Doublet ie. Periscopic lens of
some 10in No8,08x for 1/2plate. Another lens was numbered 760x for 10x8in format. Mr Morley was a camera
maker from the earliest times, and this is likely to be made for him and supplied engraved with his name.
They were still active in 1901, when they listed several good but slightly old fashioned lenses for the time.
Rapid Rectilinear f8.0 This was made as 5.5, 8.0, 11, 13.5, 17.5, 21.5, 26in It was suggested to use
13.5in for 10x8in. These were sold with iris or Waterhouse stops. These may or may not be the same range
as the above.
Fine Quality Portrait f4.0 This was probably a Petzval, sold in 4 sizes.
Extra Rapid Cabinet f3.0 It seems 2 series were sold.
Continental WAR Here there is evidence that the lens was imported, but the specification has not been
noted.
Morrison see Harrison also.
It seems he patented a version of Harrison's lens with only 3glasses in two components, and Kingslake notes
he sold a series of lenses as Wide Angle View, Quick Working Triplet, Rapid Doublet, Group Lens. These
were unusual types, but not better in use than rivals, and failed to make much impact. Certainly his lenses
are little seen in the UK.
Wide Angle Patent 1872, for 100°, sold by Scovill in 1890. This was made in 1.75-22in, use 3.5in for 5x4,
8in for 10x8in. (see Scovill Catalogue 1889, 'How to take Photographs'). His lens was of 2+ i +1 design, the
front being a achromatis pair and the rea a single crown glass meniscus. The front was not really overcorrected
for colour, the use of the crown glass single rear gave good results.
Casket Set in 5 foci (Photographic Times, VolX1V p277 (1889)
Wide Angle View Lens, for 100°, Pat. 21 May 1872 This was made in 1.75, 2.25, 3.0, 3.5, 4.25, 5.25, 6.5,
8.0, 10.5, 14, 17, 22in. Use 8in for 10x8in.
Rapid Doublet This had 4 separate glasses with 2 plano-convex lenses externally and 2 double concave
lenses inside. It had the advantage that it could be made of ordinary flint and crown- but the flare level was
increased. Traill Taylor thought it compared well with European RR lenses. It covered a rather narrow angle.
RR B&J listed an old f8.0 250mm Morrison lens in a barrel mount with Waterhouse stops.

Mosler There are no details about this f2.8/35mm lens, an early retrofocus for Exakta. It may be a dealers
trade name.

Mounts
Lenses in the old days were usually fitted to cameras by way of screw threads and flanges, and were slow to
change- few cameras had easily changed panels. Many complaints were made about ill-fitting threads, or lack
of standardization, and the time wasted in removing lenses to 'wash-leather' them- ie clean and polish
especially when going from the cold to warm rooms. (See W.H.Harrison BJA 1889, 542) Bayonet change
mounts were known but many did not trust them as insecure, though a Mr Addenbrooke 'had a reliable
system', and others could have. (Addenbrook, Lecture to RPS, 1887-8). Mr Harrison also asked why
aluminium or aluminium bronze or ebonite could not be used to lighten lenses. In this context, see notes on
RPS standard threads, eg under Dallmeyer. Also the experience with a Marion lens (qv) without screw holes
in the flange, as if the customer or camera maker was left to put these in whereever was convenient. This
might explain some of the rather rough holes noted on old flanges.

Muller, K. Memmingen, Germany. See Novoflex.

He was the maker of a "reproflex" reflex unit for the M39 cameras sold with f4.5/135 Culminar or Xenar
lenses and these must have been in short head mounts.(Photokina, 1950; MCM 6/1950)

Muller and Wetzig, Dresden-A, Germany.

The firm was founded in 1899. By 1936, the B.J.A. p277 describes them as perhaps the makers of the largest
range of enlargers in the world. They are known here initially for a single lens. It is an obviously high quality
item, and may just be an enlarging or reprographics lens. The name certainly seems to be misleading today
as it would not normally be a "Doppel" layout. It is probably interwar in period. They were advertisers in the
B.J.A. of enlargers in 1936 p615advert. The products then included:
Enlargers with lenses
Filmarex III No113 for up to 6.5x9cm included a "Double Anastigmat" f4.5/105mm,
Filmarus O No110 for up to 6x6cm including a "Double Anastigmat" f4.5/9cm.
It could also have an f6.3 lens, as in B.J.A. 1936, p277.
Filarus I No101 for up to 4x4cm which had a "Double Anastigmat" f4.5/5cm.
Lenses
Phonix Doppel Anastigmat f4.5 210mm It seems to be a Q15 design in a solid brass mount. At
least one other has been seen recently.
Fig 007 032 Muller & Wetzig Phoenix Doppel Anastigmat f4.5/21cm.
Doppel Anastigmat f4.5 135mm An older lens, possibly a symmetrical such as "Dagor" or
"Plasmat" type. This is a very good lens in a brass mount and has been used a good deal which suggests the
owner liked it!

Munch Gmbh, Ludwigsberg, Germany.

Ennar f3.5/75mm This was on a Rixa 6x6 camera and may be an Ennawerk lens bought-in.

Munchener Optische Anstalt (MOJA), Munich, Germany.

Helimar lens. This is pre-1919, but no information is available.

Soc. Mundus, France.

They used a Mundor f2.5/25mm on a double run 8mm film still camera for 10x15mm the Mundus 16 in 1950.

Murer and Duroni, Milan, Italy.

Camera and possibly lens maker in Italy, active about 1900-1925.
Rapide Aplanat f8.0 65 or 70mm for stereo cameras.
Doppio Anastigmat f6.5 102mm This may be the same as the next item:
Murer Anastigmat f6.3, f6.5, f7.0, f8.0 in 100-128mm
Doppio Anastigmat f4.5 210mm This was noted at No301,52x on a Postcard Reflex by Murer of Italy.
Murer were the makers of a Murer Salex for City Sale and Exchange, London and may have made the
f4.5/108mm lens fitted to it.
Murer Anastigmat f3.9 120mm on Murer Reflex (1912).

Musashino Koki Co Ltd, Japan.

We think they made the Rittreck reflex and the Luminant lenses to match it. It was noted at No21,02x on a
Luminant f4.5/21cm lens. A Rittreck IIa carried a Luminant f3.5/105 No60,94x and a f5.6/300mm No30,25x.

Mycro Japan.
UK Agent Japanese Cameras, Stoke-on-Trent, UK
Mycro made a subminiature about 1961, with an:
Una f4.5 20mm non-focusing lens. For an advert. see B.J.A. 1961, p536.
Nagel Werk (Dr A. Nagel), Stuttgart, Germany.
Dr Nagel was a brilliant camera executive at Contessa-Nettel, who moved into and then out of Zeiss Ikon to
found his own firm in Stuttgart, designing and making the first camera in his kitchen at home, and later selling
the products through R.F.Hunter in the UK in 1928-1929. (B.J.A. 1929, p294). After a few years, he sold the
company to Kodak for the German eg. Retina programme. He bought in lenses for the top models such as the
Pupille and Vollenda from Schneider and Leitz, but the plainer models were fitted with Nagel Anastigmats.
Some had Dallmeyer lenses in 1929. A Laudar lens is not a recognised T.N. but may also be bought in.
Laudar f4.5 105, 120, 135mm It was fitted to several folders as one of the lower cost
options, but where the Nagel anastigmat was also offered, the Laudar was the more expensive, as on the
Anca 6x9cm, at Anastigmat, 71; and Laudar, 82RM in Ibsors. It was also 6.5x11cm on the Librette, and for
9x12cm on the Fornidar and on both sizes 6x9 and 9x12 of Recomar in 1931. An example of the f4.5/135mm
was No339,94x in a rimset Compur on a 9x12 Tropical. For Vollenda 3x2in see B.J.A. 1930, p307, 664advert.,
with f6.3 and f4.5 Nagel lenses.
Nagel Anastigmat f4.5, f6.3, f6.8
The f6.8/4.25in(?) was noted on the No65 for 3.25x2.25in rollfilm.
The f4.5/105mm(?) was also on the No74 for 3.25x2.25in rollfilm, and on the No18 plate camera for 3.5x2.5in.
50mm f4.5 Later it was used as a 50mm f4.5 on the 3x4cm Ranca (B.J.A. 1932, p288).
Most are the 105mm on 6x9 folders. That seen was No250,58x, and seems to be a triplet. A serial number as
big as this may be the lens makers, or include a models number or source code. It seems to be biggish serial
number for a not-very-long- lived maker. Later of course, Nagel became part of Kodak in 1931, and the
housebrand
then was the Kodak Anastigmat f8.8, f7.7, f6.3, f4.5/105mm on the Junior 6x9 folder;and so on.

Namias, Prof.
Esculine lens A soft focus lens for portraiture made in the 1920's. The camera fitted with it was by Ganzini,
Namias and Co, Milano, Italy. An R. Namias is mentioned in Eder, p366 as working on colour materials in
1909.

Narciss (USSR)
Subminiature SLR camera fitted with one of the following lenses:
(a) Mir-5 f2.8 28mm: (b) MIR-6 f2.0 28mm: (c) Vega f2.8 35mm.

National Optical Co., Leicester, UK.(NOCO)

This firm was a daughter factory for TTH of Leicester during the WW2 when there was a need to split
production capacity as a precaution against destruction. There was also an advantage in moving some
production away from London which was much more open to air attack, and where plants included Ross,
Wray and Dallmeyer in the area. As indicated under TTH there is a slight feeling that it was getting into
operation in the late 1930's, with low value products, and a Pathex cine lens may support this. It continued for
a short time postwar as shown by the Trinol, f2/5cm NOC and a f3.5/50mm cine lens, and then was run down
as no longer needed. (During the War TTH grew from 2 factories to no less than 9 with up to 1450 employees.
Postwar shrinkage was a problem as it needed to be done sympathetically and not all the personnel had old
occupations to return to.) The nature of the war products is not well studied but at least some aerial lenses
such as the f2.9/8in are engraved with the NOC or NOCO mark, and this may in fact represent many where no
engraving was used- most ex-WD lenses lack a makers name. A tentative guess is that some of their lenses
were coded UU- [see Dallmeyer, Big Bertha.] An AVIAR type f5.6/14in was noted at serial no TT285,27x
which may be by TTH themselves- so that NOC lenses were distinguished this way.
Pathex Anastigmat f2.5-f14, for Pathescope 'E' to Pat. No. 438,605, which seems on examination to be a
Triplet. This is an uncoated lens, interchangeable, and looks to be 1936 or so, in line with B.J.A. 1937, p291
which notes a Pathescope Model H with such a lens. Others have been noted since. They were listed in W.
Heaton's Blue Book for 1938, 1939 but without saying who made the Pathex. Ariel's list has several, mainly
on postwar cameras, but possibly older lenses. But it is possible that National went on supplying the Pathex
sales, perhaps as follows:
Pathex 1in
Anastigmat f2.5 12.5mm
Known WW2 lenses
Anastigmat ? 1.5in (c.38mm) In WW2 these were used on the G.O.C. Recorder camera for 16mm
film and after the War were reused by C.L.Thomson as at f8 they covered 23x25mm in a specially built stereo
camera. (B.J.A. 1957, p147, B.J. 02/11/1956, p554). [The G.O.C. may be related to the G45 with its
Dallmeyer lenses.]
(Pentac) f2.9 8in This was engraved NOC but not Pentac which was a Dallmeyer T.N.
Trinol f3.5 105mm This was a triplet (TRIplet National Optical Ltd) carrying TTH patent details
which was sold to Stewartry of Glasgow to mount for cameras such as M39x26 and Exakta. It may well have
been originally a wartime lens design, possible for a 6x6cm dial recording camera, and is of good but not
outstanding performance. Early versions at Nos 034,94x, 035,04x, 35,05x, 035,32x, 035,62x are not coated,
later ones have a hard coating at Nos 035,49x and 035,78x- note that there is overlap, possible due to parts
being in hand when coating started. [It was definitely aimed at Leica sales as the Reid was only demonstrated
in 1947, and no bodies sold for some time by when Trinol sales were a thing of the past.] Lenses for Exakta
tend to be late in production, which seems to have stopped rather suddenly. Lensheads carry Pat. No. Brit.
566,698 and Canadian 435,629/1946. Some lensheads were later sold separately about 1956, and No036,50x
was noted on a Novoflex bellows for Wrayflex. One problem is that these serial numbers do not seem to fit
with either the prewar uncoated or the postwar coated cine lenses- ie a separate series was used. (see the f2
below and the f3.5/50mm cine.)
Fig 012 017 Stewartry lenses: (l) Definex (Ross) f3.5/89mm (Contax), (r) Definex for M39; and (m)
f3.5/105mm Trinol for M39.
National Optical f2.0 50mm 6-glass Gauss.
This was sold generally for coupled M39x26, and is remembered from about 1955: the low price made many
end up on Periflex cameras where no coupling was needed. The external surface curves match those of the
TTH Amotal f2.0 lens made for the Bell and Howell Photon and the rear one differs significantly from the Reid
f2.0 lens, which is a slightly later design, and looks rather alike. However the Reid lens is in a Reid mount,
while the NOC has a focusing mount marked C&P. It seems that the NOC is well preferable to Amotals
remounted for M39x26 as these are an earlier coating and the alloy mounts are less long lived, often with worn
focus threads today. One seen was No354,19x. The original price was not one where a maker would launch a
product but rather a special opportunity- which it certainly was! The lenses were covered by Brit Pats
No3,77,537,4,61,304,507184, 566,698 and Can. Pat. 435,629/1946. In comparison the Reid lens carries also
Brit Pat 587,090 and US Pat. 1,955,591 and 2,117,252.
011 029 TTH Ltd (l) Amotal f2/50mm No300,544; (m) Reid lens f2/50mm 328,829; (r) NOC f2/50mm
No354,196. All coupled for M39.
The f2 NOC is not a common lens while the Trinol is usually available if looked for. The Pathex probably will
be found as an unconsidered trifle on the Pathe camera, while the ex-WD lenses are hard to discuss as few
are fully engraved.
Projection f1.5 4in
(Anon) f3.5 50mm This was noted for 8mm cine at No478,56x coated and in a white
postwar mount. It seems nicely made but a fairly simple design.
Fig 020 027 TTH lenses on Bell&Howell 8mm cameras, (left ) Ivotal f1.4/0.5in; Serital f1.5/1in; Serital
f1.9/1.5in: (right body) Ivotal f1.4/0.5in; Pelotal f1.75/0.25in; Serital f1.9/1.5in: (Mid Front) NOC f3.5/2in
No478,563.
It is worth comparing this serial number with TTH cine lenses of rather the same sort of period, as with a
Serital at No473,29x. They may just be in the same series and suggest:
It may be that part of the NOC facilities in fact was taken up postwar to make some of the cine lenses for
Bell&Howell cameras but this is a complete surmise, as is the idea that the TTH Talykron shutter and some
of the Bell & Howell UK cine cameras were made in facilities continued from the war: and that ultimately
these proved uneconomic and were discontinued.

Navigation, Berlin, Germany.

Their name was engraved on a prewar mirror lens for Siemens und Halske 16mm cine use. They may in fact
be the makers of several of these early mirror lenses, which were then sold under licence, (although they may
have made them under a design+build agreement.) Thus there is a feeling they were related to Askania or part
of it, as it seems to be that Askania were officially the maker.
Fig 006 027 Navigation (Berlin) Hypomediar f6.5/200mm for C-mount cine.

Up. Nehring, New York, USA.

They are noted for a "Extreme Wide Angle" lens for 6.5x8.5in with iris f16-f256, probably a W.A.R. It does
seem to have unusually flat external curves, and the glasses are placed quite close together.
Fig 031 027 Up Nehring, New York, Wide angle Rectilinear about 6-7in.

R. Neidig Kamerawerk, Plankstadt, Germany.

Perlux-Elan f2.8 45mm This was on a Perlux II 35mm camera.

Newman and Guardia, Rathbone Place, Oxford St., London.

In 1911, the camera makers Newman and Guardia listed a 'Special Telephoto Attachment' to fit behind the
prime lens (fixed type) and also a teleaccessory type tele.

New Achromat This is a slightly ambiguous term as it seems to have been used both of the Grubb
Aplanat and more generally for an achromat made with the 'new' Jena glass after about 1886. These were
significantly improved. It is not a feature engraved on lenses in our experience, so it will not help in
recognition.

H. Newton and Co, 5 South John St., Liverpool, England.

later in 1930, they may be the same firm as Newton and Co, 72, Wigmore St, London W1.
They are noted in the B.J.A. 1889, p44 for offering lenses, most likely agented, under the name
'Orthopanactinic" and these had a name 'Newton and Co, Liverpool' engraved on them. These were an RR in
brass barrel, with Waterhouse slot, and were made in 6 sizes:
3.5in, for 1/4plate; 6in for 1/4 and 5x4; 7.5in, for 1/2plate approx.; 11in for 1/1plate; 13in for 9x7 and 10x8; 16in
for 12x10in. He suggests a smaller format for Groups than for views.
In B.J.A. 1930, p311, there is a lantern with a 3in Wigmore lens, as by then Newton were at Wigmore St. and
this seems to be a business long continued. Thus they were introducing a new addition in B.J.A. 1943, p173
with f3.8/16in (epi lens) and f4.5/8in (dia lens) lenses on an Epidiascope- these were the sort of unit sold to
Universities and schools at the time.

Nicca Camera Co Ltd., Tokyo. Japan.

They are a camera maker apparently using bought-in lenses, especially Nikkor lenses. The most attractive
Nicca-related purchase is probably the Nikon f2.0 50mm Nikkor-HC in a deep throw mount to focus to 0.5m.
Example seen was No 645,62x.

Nicnon, Japan.
Nicnon f3.5 65mm on a camera/binocular assembly. (Another source says f3.5/165mm
but this may be in error.)

Nicola Perscheid see Busch.

Niepce The Focal Encyclopedia says the lenses used by this pioneer no longer exist, but that the lenses he
preferred were Wollaston type, with a concave front, bought from Chevalier in 1828, since they gave a better
all-round sharpness than others. Niepce pere was said to have used a lens from a solar microscope for some
of his work. Eder gives more details.
Nipolen, UK.
It is likely they were a UK importers brand name c.1961 for a series of SLR lenses. These included the
following:
f3.5, 35mm; f3.5, 135mm; f3.5, 200mm; f4.5, 250mm; f2.8, 135mm; f2.8, 35mm.

Nippon Kogaku, Nippon Corporation, Fuji Building, 2-3,3 Chome, Marunouchi,

Chiyoda-

Ku, Tokyo 100, Japan.

UK Agent: Rank Audio Visual, Ltd. The agency ended in c.31 Oct 1979 when Nikon set up their own UK
agency.
Nikon are arguably the leading Japanese camera brand, or at least one of those which would be in any short
list. This is as much for the range and longevity of the equipment as for any other single feature. The history of
the company was mentioned when it reached 60 years in 1977 (Amateur Photo 12/10/1977, pp77, 100, and it
was formed in 1917 by the amalgamation of 3 small companies, one dating from 1881. The company was
mainly involved in military production (binoculars, gunsights, periscopes, etc) and developed very precise,
reliable ideas in design quality. Nikon as a camera name was developed in 1932 but were on large format
aerial and guntraining cameras. Domestic cameras were limited to 3 years prewar, and lenses in f3.5 and f2.0
were made for 35mm as 75 and 105mm, as well as those for the Canon. By 1947, Nikon had tested 4
prototype cameras for civilian use, and chose to sell a 35mm one. This was the Nikon Model 1, was a great
success, and the rest is history. But one reason is this solidity factor. Thus it is true that more of their
products are used regularly and traded again and again for what is now many years in a way few others will
allow.
Their camera lenses might be classified as:
(a) Early lenses for 35mm Canon cameras and other items above.
(b) A continuation of this programme for Nikon rangefinder cameras in bayonet mount. Something of the story
of Nikon's contacts with Zeiss was published when the Nikon prototype was auctioned at Christies. It had a
50mm f1.4 Nikkor at No50,050,121 (May 1950 date). It may also be reflected in a pair of Nikon Novar
binoculars auctioned at No5,730,96x with MIOJ (Made in occupied Japan) marking.
(c) Screw mount lenses for general sale, eg on Nicca M39x26 cameras.
(d) Lenses designed for Nikon SLR original.
(e) Later SLR lenses with auto exposure indexing.
(f) Medium format lenses for Bronica 6x6 reflex.
(g) Large format lenses.
(h) Specials, such as process, copying, macro and micro lenses and for micro circuit production.
Some recent achievements were the issue of aspherics with the plastic aspheric supported on another glass
(Am. Photo. 20/07/1991) and the production of an impressive range of fisheye lenses by the 1980's, much
greater in range than other makes as follows:
f2.8 6mm fisheye circle type 12g/9c 220° 1980 Noted at No628,03x.
f5.6 6mm fisheye circle type 9g/6c 220° 1980
f5.6 7.5mm fisheye circle type ('New' in Camera 35 12/1967) This was noted at No750,61x.
f2.8 8mm fisheye circle type 10g/8c 180° 1980
f8.0 8mm fisheye circle type This is the original type for use with viewfinder.
f5.6 10mm fisheye circle type 9g/6c 180° 1980
f2.8 16mm fisheye full frame type 8g/5c 170° 1980
(f3.5 15mm This is a normal rectilinear lens!) Am. Photo. 15/12/1990.
(f4.0 21mm This is a rectilinear lens!) Camera 35, 12/1967.
Nikon is probably the oldest Japanese optical house, being formed by the amalgamation of three small firms in
1917. The first camera lenses were made from 1932, and optical glass was made from 1923. Before the war,
Nikon made lenses for Canon as well as large format and process lenses, it is said to cover the range 50-
700mm, and including at least one 105mm f4.5 of Q15 layout. Items from this period are not readily available
in the UK as exports were near nil prewar. Postwar it initially supplied lenses to Canon, but the firms wanted
to act independently, and the arrangement ceased, roughly as the first rangefinder Nikon was sold from 1947.
Later this was replaced by an SLR series in the Nikon F from 1959. This reflex has developed an amazing
range of lenses as the above group of 'fish' items shows, largely due to the facts that this was a professional
camera, and users were prepared to buy or rent unusual and specialized lenses such as extreme long focus,
high aperture or wide angle which other makers found were hard to sell. An example of the need to rent was at
the embassy seige in London where some dozen rented long lenses were in use- most of which were probably
Nikon.(B.J.P. 16/05/1980 p466). Another factor has been that Nikon have retained one bayonet mount
throughout the SLR production for all this time so that the older items are basically usable on modern
cameras- and vice versa. If you add in a very high quality and long life, these items are still commercially
valuable while rivals are curiousities, history or collectors items. This list only covers the early years since
there are excellent texts by Rotoloni on the Rangefinder products and by Comon and Evans on the reflex
equipment. One point is that while the bayonet has remained the same, there have grown up a number of
compatibility limitations over the years, and an increasingly complex series of exposure couplings, so that a
good book or advice from an expert or dealer is well worthwhile. In general the reflex lenses are not adapted to
the rangefinder cameras, even though adaptors should be possible, possibly due to the work involved in
making the bayonet mounts needed.
(0) Prewar Large Format Lenses No data available.
(1) Lenses for Canon 35mm Cameras.
Some of these are very rare and the mounts can vary. It is a specialized topic for Canon enthusiasts.
Nikkor f3.5 50mm Q15, Ni004.
This is the easiest of the group to find as the lens probably continued after 1947 with little change on the
Nicca cameras, and indeed for the Nikon rangefinders. Seen at No 7,051,46x as a lens for a Nicca camera, it
is contrasty and has the all-over sharpness of a nicely designed lens. It is still fully usable. A black finish one
was noted at auxtion at No487 on a Hansa Pop-Up.
Nikkor f4.5 50mm Q15
This is similar but has been described as even sharper. It is said to have been aimed at the copier and
technical user and this seems likely. It is not a common lens and few have reached Europe. It was seen at
No50,22x on a Canon NS (1940-2) and 50,43x in a collapsible mount for Canon: this is not fully compatible
with M39x26 screw and only fits some such cameras where the thread is slightly easier. It was largely a
WW2 product.
Nikkor f2.8 50mm Listed but no experience has been had of this.
Nikkor f2.0 50mm This is roughly a Sonnar type but not optically identical since the curves do
differ, and it gives a more compact image off the centre with better micro contrast though the ultimate
resolution may be actually less high. It is very nice in use and the characteristics favoured press work for
reproduction and won many friends as a result in the period of the Korean war. (Nik008)
It is often found in M39 and typically it is in a rigid mount, often with focussing to about 0.5m after a detente at
1m, and was sold on Nicca cameras in quite large numbers. Some early ones are in a collapsible mount for
Chiyotax, etc. and look much like typical collapsible M39 lenses. One statement is that they were made in a
batch of numbers 60,98x to 609,15x, but this may refer to a particular type. They have been noted for Nicca
as Nikkor H.C at:
609x(?xx), 622,57x, 623,40x on Tower, 625,53x, 630,29x, 633,79x, 634,67x, 638,51x, 658,65x, 718,43x,
721,39x, 738,49x.
At least it suggests users liked and bought them in quantity!
Fig 011 012 Nikon Nikkors f3.5/35mm No428,333; f2/50mm No645,621; f3.5/135mm No260,209 in M39.
Regno Nikkor f2.0 50mm Rare, said to be a 5-glass triplet type.
Nikkor f3.5 35mm a unique item, possible looking to the future.
It is true that several of the 50mm f4.5 lenses have turned up in the UK at sales, but this will be a very hard
area to collect in, and the Far East may be a better area to search for these early lenses.
(2) Nikon Rangefinder Lenses
This group are also rather hard to find in Europe owing to controls on imports at the time when they were in
production, but they are now filtering in as the collector market develops. Essentially the same optics were
mounted for the Nikon rangefinder with its Contax type bayonet as for the Nicca and M39x26 mount cameras.
These screw mounts were now standardized and the lenses were sold more widely and can be found in most
countries. The 50mm f2.0 was the normal lens found on the Nicca camera, and all these items carry the
Nikkor name. Adverts. in Modern Photo (12/1959) suggest that at that time the rangefinder inventory was
being run down. It is worth noting that slight differences in the rangefinder coupling mean that longer focus
lenses were for Nikon or Contax and were slightly different in detail. This is most often seen on 135mm lenses
where a 'C' indicates for Contax fit. An interesting list for UK distribution is in B.J.A. 1960, Advert. 595. Here
some 19 R/F S type lenses are listed and only 6 + 1 Zoom for reflex.
f4.0 21mm 8g/4c A deep sunk lens of the new superwide type (Nik001)
f4.0 25mm 4g/4c A deeply curved Gauss type 'new' in 10/1955 (Nik002)
f3.5 28mm 6g/4c A 'Plasmat' type wide angle. (Nik003)
f3.5 35mm 4g/3c Q15 (Nik004)
f2.5 35mm 6g/4c A Gauss type wide angle (Nik005)
f1.8 35mm 7g/5c Probably usually called a Gauss derivative but interesting! (Nik006)
f3.5 35mm This was a very rare lens for stereo.
f3.5 50mm This is probably a Q15, normally in M39x26.
f3.5 50mm 5g/4c Gauss type, for macro and copying (Nik007).
f2.0 50mm 6g/3c A 6glass/3component triplet type (Nik008)
These couple to 3.5ft, but focus through a detente to 18in which is a nice touch!
f1.5 50mm (Probably a triplet derivative type as Nik010)
f1.4 50mm 7g/3c This had a triplet derivative type layout. as in Nik009.
f1.1 50mm 9g/6c An elaborate Gauss derivative (Nik011) The design must have been partly
fixed by the small size of the bayonet mount in use and this was initially mounted to fit inside it. Later it was
remounted to fit on the outer bayonet but was optically unchanged. This was a much better fitting in view of
the weight of the lens. It was optically a very desirable item. It was noted at auction for external bayonet at
No141,28x and 141,53x and for internal at No119,65x and 120,55x.
f2.0 85mm 5g/3c Triplet derivative type (Nik012)
f1.5 85mm 7g/3c Triplet derivative type
f4.0 105mm 3g/3c Triplet type. (Nik013)
f2.5 105mm 5g/3c Triplet derivative. (Nik014)
f4.0 bellows 135mm 4g/3c Q15
f4.0 135mm 4g/3c This was an early and rare item.
f3.5 135mm 4g/3c Triplet derivative. (Nik015)
f2.5 180mm 6g/4c Gauss type Nik016.
f4.0 250mm 4g/3c Triplet derivative. (Nik017); 'new' in 09/1955 for reflex housing.
f4.5 350mm 3g/3c This was a triplet, and was still a leader in 1968 (Nik018)
f5.0 500mm 3g/3c Triplet
f6.3 1000mm This was a Mirror system.
Basically these were products in bayonet fit, but most or all might be had in M39x26 thread. The longer ones
were given a C when the coupling was specially adjusted for the Contax. (Normally this applies to the 135mm
lenses, eg on No253,54x,) One only was supplied in Exakta fit, the f3.5 135mm, possibly because an agent
asked for them. It was not a major design change, only a new mount at the back of the normal lens tube, but
it may suggest the beginning of an interest in things reflex! Numbers noted have ranged from 256,xxx to
263,xxx at least. These cover a bigger range of numbers than might be expected unless the metal was made
as a small batch but the lenses assembled as needed over some period perhaps.
(3) Nikon SLR Bayonet Lenses.
The initial lens programme for the SLR was made up of new wide and standard lenses together with long
lenses drawn from the rangefinder programme. These were well known and proven designs and saved the cost
and work of developing new ones for what at first may have seemed a rather uncertain new product. At the
time the design of retrofocus lenses was still 'new' and those obtained are a real achievement. The following
seem to be the original launch list. The widest requires a camera with mirror lock-up which was then normal
for a 21mm lens.
f4.0 21mm 8g/5c This was a deepsunk 'Russar' type design with two external negative
elements. (Nik020) This is essentially the R/F lens in a new mount and needs a separate viewfinder. And it
requires a camera with mirror lift such as the Nikon F, which is fortunately a very long lived one.
Such lenses could live a stressful life as a story in B.J.P. 28/03/1980, p292 where a tennis star, Anne Jones
was asked to drive tennis balls at one and hit it square on first time (Mr Ian Bradshaw talking to J. Clements)
and when the pieces went back to the office, he found another had been written off doing a waterskiing picture.
(An attempt in 2000 AD to rebuild one with a incomplete mount underlined how compact the mount was, and
what care must have gone into the design. The rear glass is rather large and cannot rotate in the camera, so it
is cut off top and bottom and the bayonet must have turned round the static lens.) Users say it has the
reputation of being one of the best of the deep sunk ultrawide lenses. It just may have influenced the Nikon F
design as many other 35mm cameras would not accommodate so large a rear glass.
f3.5 28mm 6g/6c retrofocus, (Nik021).
f2.8 35mm 7g/6c retrofocus, (Nik022).
One user noted the compactness of these wide angle designs. But in buying look carefully for marks on the
glass- the front glass is rather exposed and in professional use can get badly rubbed. In general, Nikon lenses
stand up to tremendous amounts of use, but in buying care must be taken to avoid ones which are frankly
worn out.
f2.0 50mm 7g/5c This is a Gauss type lens and a real novelty, chosen perhaps for a greater rear
clearance than the triplet types gave, and perhaps indicating the greater design possibilities now available
(Nik025) The 7-glass type was replaced by a 6-glass version about 1964-1965, for better sharpness and
contrast.
f1.4 58mm 7g/6c This was a Gauss derivative, and was a new lens also. (Nik024).
f2.5 105mm 5g/3c Triplet derivative (Nik026)
f4.0 105mm 3g/3c Triplet (Nik027) see Modern Photo. 04/1960.
f3.5 135mm 4g/3c Triplet derivative ((Nik028)
f2.5 180mm 6g/4c Gauss (Nik030).
f4.0 250mm 4g/3c Triplet derivative (Nik031)
f4.5 350mm 3g/3c Triplet (Nik033) This used a cable operated iris. (Modern Photo. 04/1960)
f5.0 500mm 3g/3c Triplet (Nik032)
f6.3 1000mm Mirror (Nik034)
The first new lenses added were then:
f8.0 8mm 8g/5c This was a revolutionary fisheye! (Nik019) This was described as excellent in
Modern Photo. 01/1963 but it is bulky and requires an SLR with mirror lift, and an external finder. So it is not
for Nikkormat nor can it be used with some Photomic heads. Slight changes in the finder were made. It was
seen at No88,14x, 88,21x and No 88,68x, with built-in filter set. It needs the special deep front and rear caps
badly! For regular use, buy a later type of lens with use of the reflex movement but the f8 was the first, is the
collectors item and needs no advert. It is a Landmark lens.
f3.5-PC 35mm This was another first, with the first commercial perspective control lens for 35mm
use. It allowed up to 11mm offset of the lens and the direction could be set for any angle by turning the mount.
Small movements could be made with little stop down, but the full movement did need care and f32 for best
results. (Seen at No107,85x). The later f2.8 is a better users lens and more common, but without the stunning
originality. Another Landmark
[For completeness, it must be said that C.L.Thomson described 'Rising Front Adapters' for both Leica and
Contax in the 1950's, (B.J. 28/12/1956, p676; 19/07/1957, p420; B.J.A. 1957, p149; 1958, p148. He obtained
10mm of shift with the Tessar 50mm and 9mm with the Elmar 50mm, the lens barrels being used without the
external mounts and used at f5.6 or less for the Tessar. It is not known whether these studies were known in
Japan or Germany].
f1.4 50mm 7g/5c A new fast lens to replace the old 58mm
f1.2 55mm Another new speed lens, designed to go in front of the mirror.
f3.5 55mm 5g/3c Macro lens, of Gauss type. (Modern Photo 01/1963) When seen at
No604,53x, this example had been carefully adapted for some different macro job marked 'KOM#1' in
16/11/1970, which shows it was understandably a prized close-up lens. It just may have been used on a
Kodak Komstar Microimage processor. A later series of Komstars is noted in B.J.P. 02/03/1979, p203.
f1.8/28mm This was an Ultra Micro Nikkor at No295,78x auctioned and designed for M=1/10C ie 10
magnifications optimized.
f4.0 135mm Bellows lens
f4.0 200mm Telephoto 4g/4c (Nik029).
f5.6 200mm This was the "Medical", ie a long macro lens. It was used with a series of close-up
lenses and a fitted flash ring.
f5.0 500mm Mirror
f6.3 1000mm Mirror, listed by 08/1964.
f6.3 1000mmThis was a lens type system, based on a triplet type.
also: Zooms f4.0/f4.5 85-250mm;
f9.5/10.5 200-600mm;
f3.5 43-86mm. Keppler mentions the 43-86mm as not too sharp but so convenient that he
travelled with it for many years. (Modern Photo 06/1980, p73).
f4.5 50-300mm This was discussed at length in Modern Photo 06/1978, p103, illustrations
showing very impressive shots with what was then a very extreme optic.
Initially there was a useful letter code on the lenses to show the number of glasses. It seems to have ended
by about 1965: D=2; T-three; P=five; H=six; S=seven; O=eight.
(4) Lenses from about 1963-1974
This group ends when the auto index lenses began to be supplied. This seems a convenient break point in
mount design. But note indexes were retrofitted to lenses later.
f5.6 15mm 110° retrofocus
f4.0 18mm retrofocus
f2.8 24mm 84° retrofocus This was greeted with enthusiasm in Am Photo 29/04/1970 p42 as
definition "is excellent, distortion minimal," - the only question being whether the new focal length would catch
on.
f2.0 28mm 74° retrofocus
f2.8 28mm 74° retrofocus
f1.4 35mm
f2.0 35mm
f1.4 50mm The 1980 version was reviewed by Crawley in B.J.P. 19/12/1980 p1269 and felt to be a fine
modern lens. He gives MTF curves at f1.4 and f4 (p1277) and felt then the f2 had just the edge in contrast and
field flatness.
f1.8 85mm
f2.0 200mm This IFED Nikkor was noted in Amateur Photo 12/10/1977 p104 when the new Nikon
F2 was sold and the company was 60 years old.
f2.8 135mm
f2.8 180mm
f2.0 200mm
f2.8 300mm This seems new in 07/1971 at the Chicago show.
f4.5 300mm This was reviewed in Modern Photo 10/1978 p134 with the f5.6/400mm and got a
very high proportion of "excellents".
f4.5 400mm
f5.6 600mm
f8.0 800mm
f11 1200mm
also special applications lenses:
Fisheyes see above.
f3.5 28mm perspective control
f1.2 Noct 58mm
f2.8 45mm Guide Number for flash.
- 43-86mm Zoom The first zooms were less good than might now be expected and that on the Nikkorex was
one example. Keppler (Modern Photo 02/1968, p14) says he is let down by his 43-86mm too often, and it
seems to be a Nikon F version- noting pincushion distortion, flare, lack of crispness. This was then a feature
and was rectified in future optics, but it a historical point to note. The Nikon designers were repesented by Mr
Wakimoto at a then discussion with Asahi Camera Mag. and he said 'Distortions make us shrink from
designing zooms covering wide angle to tele positions.' [He also commented on the weight of the Zeiss f2.8
40-120mm zoom'.]
AutoFocus f4.5AF 80mm This was a bayonet mounted lens for the Nikon F etc, It was a 15glass optic
in a bulky mount with six C cell batteries to drive the unit. It was prototypic in Modern Photo 07/1971 p46 at
Chicago Expo and the final item was to be lighter and smaller.
Zooms A new set were noted by G. Crawley in B.J.P. 24/01/1996, p22 as follows:
f4.0-f5.6 35-80mm
f4.5-f5.6 80-200mm with 10g/8c design
One point was that they had polycarbonate flanges and it was pointed out that severe heat might be
prejudicial as might use with roughened camera flanges or impact damage - but on the whole they seemed
useful and light.
A substantial set of articles by G. Crawley in B.J.P. 24/10/1975 reviews the new Nikkor multiply coated
lenses, beginning with a short account of multiple coating. The special effects for the George Lucas movie
'Star Wars' were filmed by R. Edlund and J. Dykstra with a set of Nikkor lenses on a VistaVision camera
(double frame) using Nikkors lenses in 15, 18, 20, 24, 35, 43-86, 5-, 55, 85, 105, 200mm and a f2.8/4in
ReproNikkor on the printer. (Advert Modern Photo 04/1978, p45).
(5) Large Format Lenses, lenses on fixed lens cameras, cine, process etc.
The public is less aware of these and here the list will probably be fragmentary at present.
Nikkor SW series for large format:
f4.0, 65mm; f4.5, 75, 90mm 7g/4c types, for 105°.
f8.0 90, 120, 150mm for 105°.
Nikkor W for large format:
f5.6 100?,105, 135, 150, 180, 210, 240, 300mm. 6g/4c 70°
The series seems to have been revised or new in Kramer's article in Modern Photo 08/1980, p54. The high
sharpness was attributed to new glasses, and coverage was 60° nominally. He considers them as well ahead
of older lenses such as the Voigtlaender Heliar, and discusses the Symmar-S, Sironar (N?) and Fuji lenses as
closely alike Q20 designs. He rates the Nikkors as giving a hard wiry image, compared with the Symmars,
but slightly less contrasty than the Sironar, and all these brands seem to have been closely matched in
competition then. The prices then were competitive as well.
Ortho Nikkor f6.8 250mm (no details)
Nikkor-AM f5.6 120mm Special Macro apo-lens of 8g/4c layout.
Nikkor-M f9.0 Q15 type, also perhaps Q26. It was seen as 450 and 610mm lenses. These are Apo-Process
lenses of very high quality, and also are useful on large format at infinity, eg the 610mm for 10x8in. In the
1970's for example, studios used to hire them for large format photography of new car models where
absolutely impeccable sharpness combined with fine contrast was required.
These have become much better known as a result of many reprographics works going over to scanners, and
selling off process lenses, so that in particular the Apo Nikkor f9/610mm has become better known. It has
been noted at Nos650,48x and 630,558.
Fig 023 010 Nikon Apo-Nikkor f9/610mm No630,558 process lens.
Nikkor-T Telephoto designs of 5, 6, 7glass layouts, the rear components being in common, and
interchangeable between the 360 and 500mm and the 600 and 800mm versions. This saves on cost and
weight in transit. They are made in:
f6.3, 270mm; f8.0, 360mm; f11, 500mm; f9.0, 600mm; f12, 800mm.
Enlarging Lenses A 1968 advert. listed in M39 mount:
f2.8,50mm; f5.6,80mm; f5.6, 105mm; f5.6,135mm; These are all six glass with click stops.
Nikkor-Q f2.5 50mm fixed lens on Nikkorex 1961, see Modern Photo 09/1961 p76. "Excellent" It was matched
with Nikkorex tele and wide accessory lenses.
Zoom for Nikkorex, fixed lens to camera. This was an early zoom, ?43-86mm..
UV Auto lens, f4.0 55mm.
Bronica lenses from Dec 1961.
Auto Nikkor P, f2.8, 75mm standard lens: f3.5, 50mm Wide angle: (Nik035) f4.0 135mm long focus. By May
1966, there were 5 lenses from 50-400mm for what was then the Bronica S2.
Nikonos lenses, eg Nikkor UW f2.5 35mm. Makina 67 lens Nikkor f2.8 80mm.
There was a new f2.8/15mm UW lens at the 1971
CRT recording f1.2 55mm CRT Nikkor, 8g/6c lens, 1+1+2 i 2+1+1; layout for 5:1 reduction.
Xero-Nikkor f2.0 135mm 8g/5c lens, 1+2+2 i 2+1 layout, for 1.5-2.5x.
Movie
An undated Panavision rental list includes a set of Nikon lenses in BNCR mount, as:
T2.8/24mm; T2/28mm; T1.4/35mm; T1.2/50mm; T1.8/85mm.
A Millenium list may be that in the Amateur Photographer for Oct 2000 as follows:
f2.8 14mm 14g/12c
f2.8 16mm 8g/5c This is a fisheye lens
f2.8 17-35mm 13g/10c
f2.8 18mm 13g/10c
f3.5-f4.5 18-35mm 11g/8c
f2.8 20mm 12g/9c
f2.8 24mm 9g/9c
f3.3-f4.5 24-50mm 9g/9c
f3.5-f5.6 24-120mm 15g/11c
f2.8 28mm 5g/5c
f1.4 28mm 11g/8c
f2.8 28-70mm 15g/11c
f3.5-f5.6 28-80mm 7g/7c
f3.5-f4.5 28-105mm 16g/12c
f3.5-f5.6 28-200mm 16g/13c
f2.0 35mm 6g/5c
f2.8 35-70mm 15g/12c
f4.0-f5.6 35-80mm 8g/7c
f1.4 50mm 7g/7c
f1.8 50mm 6g/5c
f2.8 60mm 8g/7c A macro lens
f2.8 70-180mm 8g/7c
f4.5-f5.6 70-300mm 13g/9c
f2.8 80-200mm 18g/14c
f2.8 80-200mm 16g/11c
f4.5-f5.6 80-400mm 17g/11c
f1.4 85mm 9g/8c
f1.8 85mm 6g/6c
f2.0 105mm 6g/6ca defocusing system
f2.8 105mm 9g/8c A macro lens
f2.0 135mm 7g/6c
f2.8 180mm 8g/6c
f4.0 200mm 13g/8c
f4.0 300mm 8g/6c
f2.8 300mm 8g/7c
f2.8 400mm 10g/7c
f4.0 500mm 11g/9c
f4.0 600mm 10g/7c

Nimslo, USA.
This 3D camera used 4x Quadra lenses.

Nishida Optical Co, Tokyo, Japan.

Westar Anastigmat f3.5 75mm for 4.5x6cm.
Wescon f3.5 75mm for 6x6.

Nitsche, (Optical Fabrik Gebruder Nitsche), Rathenow, Germany.

We thank Mr H.Schrauf for additional information here on Rathenow. This firm seems to be initially Nitsche
and Gunther Optical Works, from 1866. Later it dealt as Rathenauer Optical Works (ROW) from
Dunckerstrasse 4/5, a building sadly demolished by the old regime in 1981. These lenses are anastigmats
from before 1919.
Dollomar f4.5
Prognar f6.8 This may have been a symmetrical anastigmat such as Q9 and is mentioned also in
Frerk's book. Both these were mentioned as discontinued during the war, and no new products were listed, so
it seems likely that the firm ceased production in WW1.

Nitto,= ?Nitto Seiko=?Nitto Optical Co., Tokyo, Japan.

One account of Japanese lenses said that Nitto were actually the source of a major part of the Japanese
brand name lens supplies of the 1960-1985 period. It also described the subcontracting and product swapping
that was the basis of much of the product- effective given the nature of Japanese society.
Eleger=?Elega f3.5 45mm
Kominar f3.5 75mm This was noted on a Walzflex TLR.
Kominar f1.9 48mm
Kominar SF f1.9 48mm
NOCO see National Optical Co, UK.
So far this label has only been noted on f2.9 8in Pentac type lenses.

Nominar, Japan. USA

Agent Florman and Babb, New York, USA.
Nominar f0.95 25mm A 9-glass speed lens for 16mm cine (Mod. Photo 10/1955, p96)

Noris, Germany.
Noted for a Plankar f1.5/20mm projection lens.

Norisan, Nürnberg, Germany.

Norisan made a simple small camera for 25x25mm with a Nori Optik f11/37mm or f8/35mm lens about 1934-
1938, the specification altering slightly with the years.

Norita, Japan.
The Norita rollfilm reflex was made in the 1970's, ending its production life in 1977. It was an impressive
camera with a big lens but the performance was 'less than Stellar' in some reviews: it probably does better on
the collectors market today, as it is at least uncommon in the UK, and came in several labels, eg. Graphlex
Norita etc. It was made by Rittreck.
f2.0 80mm Noritar, also as Rittron.
f3.5 75mm, possibly a later item.
f1.4 135mm Noritar.

Norse Trading Co (London) Ltd, 37, Rathbone St., London W1.

They offered in the B.J.A. 1938, p674 a close-up accessory with parallax correction for Rollei etc., based on a
original Zeiss Punktal close up lens in 2 strengths: 40-20in, and 20-13in ie 1 and 2 dioptres. But Punktal is
not a well known Zeiss trade name, and leaves a question open. It is possible that they were actually from
Zeiss Ikon A.G.

Novoflex Fotogeraetebau, (Karl Muller), D-894, Memmingen, Germany.

The business was founded by a shop owner and photographer in 1948. (see M.J.Miller. Photographica World
Vol 90, p24, 11/1999.), the Novoflex name being registered in 1950.
The UK agent was initially Pullin Optical Co Ltd, Phoenix Works, Grear West Rd, Brentford, Middx UK., later
J.J.Silber of 11 Northburgh St, London EC1 in 1966. This seems to end by 1970.
They were specialists in long focus lenses, often in quick focus mounts. The reflex housing was noted by the
1951 Photokina (MCM July 1951, p413), the bellows in B.J.A. 1953, p259 proably with a Schneider Xenar, and
the pistol grip by June 1958 when high price lenses were still 'new' in the UK as the controls lifted. Note that
unique bayonets and screw fits were used on the lenses with the former noted on the lens head of a 400mm
f5.6 and the latter on a f5.6/300mm. The initial series seems to be Noflexar in f4.5/240mm; f5.6/300mm;
f5.6/400mm; f9.0/640mm, the f5.6/400mm being advertized in B.J.A. 1954, p490. M.J.Small refers to an initial
series with a 100mm register, but the pistol grip lenses use nearer 240mm, varying slightly with the
specification.
One unique feature is that it seems Novoflex initiated a bayonet mount for Exakta of 43mm compared with the
usual 38mm aperture to allow use of long lenses without the vignetting to which the original Exakta was
prone. It is very scarce as other SLR cameras came into use and the adaption did not become common.
Typically, a Novoflex lens today is in a Nikon mount and well used, sadly. But they are coming on the market
as the pistol grips are not popular with the authorities, especially at important state and political occasions.
M.J.Small gives the lens sources as formerly Steinheil for the thread mount versions, and later Staeble for the
bayonet mount lenses. Experience has thrown up a f5.6/300mm Noflexar in a 48mm thread and a f5.6/400mm
Noflexar with a bayonet about 48mm core, 53mm over leaves, and a f5.6/500mm Tele Noflexar in a 69mm
core/73mm over leaf bayonet, and all were in pistol grips for Nikon reflex. These are probably all 'early' lenses
from the condition, which was 'well used'.
(a) Pistol Mount Lenses (Jan 1970)
Noflexar f5.6 280, 400mm Noted at NoP45,79x.
Noflexar f9.0 640mm Noted at No66,62x.
MacroNoflexar f3.5 35mm 4g/4c 63° angle, (Nov001) @£ 39.97 approx.
This had a special push-pull mount for close up to 1:2 as well as normal focussing, and was a mildly
retrofocus type of design. For Macro work Modern Photo. 01/1965 said 'excellent'. There was a M49x0.75mm
thread reversing ring to mount on bellows, etc. and it was sold for M42 as COWEIT and Exakta as EXWEIT
and Nikon as NIKWEIT.
Noflexar f3.5 105mm Leino-A 3-glass type. @ £30.85
Noflexar f4.5 135mm Leino-135-A 4-glass type.@ £34.41.
These were quite expensive for the period.
(b) Follow Focus Lenses (1964) They probably had been available from about 1958, as the UK controls
lifted, but earlier in Germany. Early UK adverts. give no hint as to the designs.
These next seem to be the first set sold, probably from the early 1950's.
f4.5 240mm These were a meniscus type and included a lens listed as a Noflexar f4.5/240mm at
No244,10x which may be of this type. In June 1958, the price was £85.2. This was a really early type, often for
R/F cameras with reflex housing.
f5.6 300mm This may have initially been a meniscus type, but the example seen is a triplet so
two versions may have been sold. It cost £87.8 in June 1958.
f5.6 400mm This was rated as 'Very good' in Modern Photo 06/1962. also 08/1964. It still is today!
The example seen was an achromatic meniscus with the iris behind the glasses. It is a quite long lens as
there is no tele shortening of the tube length. Incidentally the actual pistol grips are rather standard, but the
tubes and fittings vary with the lenses. It cost £102.16 in June 1958. In use on B+W it gave really nice results
near a modern 400mm Japanese makers lens, and the Novoflex was much lighter than another competitor. It
is still worth using, as is the f5.6/500mm.
f9.0 640mm Meniscus type. This was £142.7 in June 1958.
The next group are shorter lenses for bellows mounting, with a Pigriff at the camera end.
f3.5 135mm Noflexar
f4.5 135mm Noflexar
f4.5 150mm Schneider Xenar
f4.5 240mm Noflexar
These were for medium format as well, mounted on a pistol type focusing grip.
f5.6 240mm f5.6 Noflexar.
f5.6 500mm Tele Noflexar This has been seen at No 50,04x, in a short head with a massive
bayonet mount at the rear, it seems to be 4-glass, and may be a special form of Petzval or Orthoscop with
the rear glasses well separated, and with little positive power. (Compare the much older Portrait Antiplanet of
Steinheil.) It seems to have sold with a focussing mount to fit round the rear of the lens, to take the massive
lens head on a bayonet mount, and a rather long slim tube to connect this to the camera. It does not have
enough rear clearance to use a pistol focusing mount. (Noted Jan 1959, MCM). It was adpted to fit on a Canon
bellows R and gave really good results, especially at about f7.
It is now rather hard to match up focussing mounts to lensheads as several adaptors are needed: initially it
was possible and outfits with one focus unit and several heads were sold as with one with f5.6/280mm and
f5.6/400mm for one focus unit. Thus they are much more valuable if correctly matched. These are often items
which have had a lot of hard use and need to be looked at carefully on purchase as the coating is now old and
can wear even though mechanically they are long lived.
the next series simplified the adaptors and mounts as they were based on the Pigrif-B. They also seem to
have been used on the later Type D mounts. The nesting tube is a built-in extension tube at the back.
f5.6 280mm Noflexar
f5.6 400mm Noflexar
f5.6 400mm Noflexar-T This was a Triplet type.
f8.0 600mm Noflexar.
The following was built up from adverts. over the years.Thus there may be repetitions.
(d) A 1974 list. Note that the 640mm is now absent.
Noflexar f8.0 600mm
Noflexar f4.0 105mm
also lenses listed as Bellows Noflexar, and Auto Noflexar.
AutoNoflexar f4.5 135mm
Noflexar f4.0 200mm
Noflexar f5.6 240, 280mm
Noflexar f5.6 400mm A f5.6/400mm NrP12,53x listed as a Fern Objective may be of this
type.
Noflexar f9.0 640mm
Katagon f4.5 60mm.
There was also a "Special Balflex" macro lens.
It is not certain how much Novoflex manufactured lenses and how many were bought in, but Katagon seems
like a bought in item, and Novoflex certainly agented a series of lenses by J.Schneider such as Xenar 135,
150, 180mm lenses, and a 240mm TeleArton, and probably a f5.6/360mm TeleXenar. Novoflex were agents for
Staeble about 1961 (Advert, Modern Photo. 09/1961) and they may have been the source of the 'Nesting
Teles' listed as:
f4.5, 240mm, f5.6, 280, 300, 400mm; f9.0, 640mm.
They also seem to have listed Steinheil's Culminar lens. In addition agents may have supplied lenses locally,
as with the Pullin list.
The firm is still active in 1999, listing Leitz lenses as well as Novoflex ones, eg as Leitz Telyt 400mm and
560mm, Novoflex 400mm, 600mm, with some items made for and badged by Leitz. These have unique
bayonets. A less ambitious lens was the f3.8/200mm Noflexar with matched 1.5x converter for f5.6/300mm of
1982. There was also a Tamron Zoom f3.8-f5.4 60-300mm follow focus lens. and a budget priced f6.3/400mm
from Japan.

Noris Projection/E. Plank K G

This was a major German maker of projectors from about 1866 for 114 years but closed in 1980. They were
major customers for projection lenses rather (probably) makers. (B.J.P. 09/05/1980, p439).

Obergassner K.G., Munich, Germany.

Color Gotar lens on Oga camera.

Oigee, Berlin-Schoneberg, Germany.

They were an optical maker noted for binoculars, but no camera lenses were noted.
WW2 production was coded dzl.

J. Oehler, Wetzlar, Germany.

They supplied an Infra 35mm camera for 24x24mm with a Felgner Punktar f2.8/35mm apparently of their own
make.

Ohnoya Shoten Ltd.

They sold Rolmax Ina lenses in the UK through Bush & Meissner and see Rolmax for details.

OIP, France.
O.I.P.= Societe Belge d'Optique et d'Instruments de Precision, Ghent, Belgium.
It seems that this is a Francophone maker, but there just may be two separate firms with the same initials.
The Ghent works was active about 1939, the following being listed in H&D, and two examples have been
reported.
Labor f3.5 50mm This was fitted on a Cinescopie 35mm (1929), also as 45-440mm lenses for
portrait work with variable softness for 40°.
Labor f4.5 This was for the same range as the f3.5 for 40°.
Major f4.5 135, 150mm; Triplets for 60°
Major f6.3 90-150mm. Triplets, for 58°
Miror f4.5 50-210mm Q15 type for 58°.
FBB note an O.I.P. wide angle RR f8.0/300mm on a Bertillon Identity camera from 1895.
Okada Optical and Industrial Co., Japan.
Kolt anastigmat f4.5 on the 'MIOJ' 16mm Kolt camera.

Olbia, = Societe Fotokin, Paris, France.

They produced a Olbia f4.5/75mm on an Olbia II in 1948. Normally the Olbia TLR cameras had Roussel
lenses.

Old Delft (Oude Delft), Delft, Holland.

The firm was founded about 1946, and made rapid progress, so they were able to mount an impressive show
at the 52 Utrecht Fair in May 1949 with the new Fototel mirror lens, Minor 35mm and Orion enlarger lenses.
The founder was A.Bouwers (1893-1972) and the mirror system will be always regarded as a major
achievement. His book "Achievements in Optics" published by Elsevier was mentioned in the B.J.A. 1949
p163. Today a real feature is the early lenses for Alpa Reflex, where they come on cameras now valued and in
demand. Bouwers also helped design the Technirama system based on 3-strip Technicolor, but the lenses
used here were bought-in from Leitz (Summicron f2/50mm), Cooke (TTH 75 and 100mm Panchros) and a
Canon 135mm. Also Old Delft came to specialize in high speed lenses for mass X-Ray work and for aerial
photography.
Minor f3.5 35mm These are fairly uncommon, and are interesting as some have early coatings
with silica deposit, trade name 'Delfine'. (This was mentioned in a MCM account of the Utrecht Fair.
(S.W.Bowler, 4/1949, p231) M.J.Small adds as M39 lenses a f3.5/40mm Minor and an f3.2/135mm Algular,
but these just may be for SLR.
Fig 010 064 Den Oude Delft, (front) 2x Minor f3.5/35mm eg at No493,30x, 501,00x and (rear) Delfar f4.5/9cm
No494,52x all in M39 mounts.
Minor f4.5 35mm This is rare, and is probably a prototype.
(Anon) 'Fast" 50mm This was a reputed type, no details available.
Delfar f4.5 90mm It seems to be small 2+2 telephoto.
Delfar f4.5 135mm (reputed)
Fototel f5.6 450mm (1949)
Fototel f5.0 400mm(1952)
Fototel f6.3 500mm (1961) (Old004)
Fig 010 066 Den Oude Fototel f5.6/45cm No493,602 for M39.
Reflex System f7.0 450mm (1979) This was listed for M39x26, and some were also for Alpa.
Reflex f13.5 2000mm
(Anon) f4.0 This was a mirror system for satellite tracking.
Orion Enlarging f4.5 Several sizes, Utrecht, 1949. A 106mm has been noted in a dealers list.
Alfinar f3.5 38mm Triplet (2 bayonet types made) Alfinar has also been listed as a f3.5/35mm
lens, for Alpa at Nos 252,23x; 252,42x, 48652x, and 1,503,36x.
Alfinar f3.5 38mm This was a triplet with 2glass centre component.
These can also be Q15 type lenses eg for Alpa as in Old001.
Alfinon f2.8 50mm Q15 type, Old002. This was noted at auction at No152,04x and 152,25x.
Alefar f4.5 180mm 2+1+1, this was a Tele design with separate rear glasses(Old003) This was
used on the Alpa reflex and noted at auction at No352,02x and 504,03x.
Algular f3.2 135mm This was for Alpa Reflex, and was noted at auction at No553,17x and
556,30x.
Deltamar f2.7 52mm This is an impressive lens from a NATO camera, part number 6760-17-028-
5511 at Serial number F05277. The original camera and format are unknown but it may be for 70mm film.
Delca TD50R f6.3 500mm ] These are later versions of the Fototel
also f8.0, f7.0 1000mm ]
also f14, 2000mm ]
All these were made for Alpa at one period.
There were versions of the Fototel by Wollensak, and a French version by S.O.Levallois.
Miroplar f6.3 500mm
For studies of mirror lenses see Bouwers USPats 2,492,461/1941, 1949, 2,420,349. The classic book is
A.Bouwers, "Selected Papers" North Holland , 1974, 626pp; also"Achievements in Optics" a celebratory
volume.
Rayxar for X-ray recording, made in f0.75, 50, 65, 150mm; f0.85, 50mm; f1.0, 50mm. These are very fast and
impressive lenses, but are fairly common, are without iris, and have limited back focus. Thus they are hard to
reuse. Seen at No H08,01x, for a 65mm f0.75, a very impressive hunk of glass. Electronarf1.0 68mm for
tube 4.2 (possibly in dia for a reduction.) Part No 1,33C,000 Serial No lost. This seems to be another very fast
oscilloscope recording lens probably later than the Rayxar, and is in a rather fancy alloy mount with some 40
prominent machined slots on the barrel wall (possible to supply cooling?). It also has very little rear clearance
at infinity, and no iris. There may be larger f1.0 versions than 50mm as a c.3in dia was seen at Photographica
1999.
The prices obtained for very high speed lenses such as these on the collector market can be very low, as
they are bulky, heavy, lack an iris and the small rear clearance makes them hard to reuse. There have been
exceptions where such lenses are mounted for cine, and the Rayxar has been adapted to M39 for use closeup.
Fig 027 033 Den Oude Delft Rayxar f0.75/65mm and Electronar f1.0/68mm (Made in Holland).
Fig 34 Den Oude Delft.
Exposure: Schneider f2.8/150mm Xenotar.
Left Rayxar f 0.75 65mm
Back Delfar 9cm.(M39x26 TPI)
Front Minor f3.5/35mm 2x. (M39x26 TPI)
Right Fototel (with adapters for Leica.)

Olympic Cameras, Asahi Bussan Goshi Kaisha, P.O.Box 494, Central Tokyo, Japan.

No1 8 Chome, Nishiginza, Kyobashi, Tokyo, Japan.

Olympic offered several models in the B.J.A. 1937, p668, 1938, p694 mainly with Ukas lenses of unknown
type but some other items were mentioned.
Ukas f3.5/50mm on 35mm in the Super Olympic 35mm and Mod C for 16-on, and Ukas f4.5 probably
always in 75mm eg on Regal camera for VP size or 16-on '20 film.
Olynar f6.5 This was on a 16 on VP camera. (1937)
Enlarging lenses (1937) f8 50mm
f5.6 and f4.5 75mm

Olympus Kogaku, Tokyo, Japan.

Agents for USA: Ponder and Best, c 1972.
Agents for Australia : H.Levinson Pty, c.1972.
Agents UK Pullin Optical, to 1964, then D.Williams, then Olympus Optical UK
We are grateful for further information to the following:
R.Halligan, Australia.
E.Schwarzreich and J.Kitchell, USA.
R.Kemp-Smith, Olympus UK.
Olympus was founded in 1919 as Takachilo (after the holy mountain of the Goddess of the Sun) and initially
produced microscopes. They made cameras from 1936, an example being the "Semi-Olympus" bellows
cameras fitted with the Zuiko (Blissful Light) lens. This was developed as the Olympus Six (1940) and
adopted the Greek mountain Olympus in place of Takachilo in 1945.
Initially these lenses were 4-glass types (Q15) but in Wartime they went over to a 5-glass versions. Early
postwar both 4 and 5-glass lenses were made, at a time of serious supply problems. One example on a MIOJ
body seems to be a 3-glass triplet. More complex 6-glass lenses are reported on the TLR Olympus Flex of
1950, in the 75mm f2.8 Zuiko lens.
Later Olympus made a long series of 1/2 frame 35mm cameras, with built-in lenses of 30, 32, 35mm and
these established a reputation as high quality lenses. They are normally Gauss related designs. The lenses
are coded F-Zuiko, the letter suggesting the number of glasses. For the lens collector, the prime aim may be
the 1/2frame reflex and its lenses as these are fully interchangable and are really desirable items in a format
where interchangable lenses are limited to them. These are not easy to find now in the UK as this camera was
made in 1963-1972 and many of the more advanced types were sold mainly in Japan, and not in the UK.
Half-frame declined in importance due to problems in getting the transparencies mounted, and general lack of
cooperation by processors, so that Olympus went over to a set of whole frame cameras, for 24x36mm. The
first of these was a rather short lived M42 mount camera but then the company launched the very innovative
compact and successful Olympus OM-1. Here the lenses were also kept relatively small and must have set
new problems for the designers. This is reflected in the Patent literature of the period. There was also a
parallel series of fixed lens cameras again for 24x36mm.
(1) Fixed lens on Rollfilm Cameras.
Zuiko f4.5 75mm on Semi Olympus (1936) 4-glass Q15.
These can be in either (a) a Compur shutter or (b) a Kolso shutter.
Zuiko f3.5 75mm (as above)
Zuiko f4.5 and f3.5 on Olympus Six (1940) Now 5-glass.
Some of these are coded S-Zuiko in c.1944. These may be Heliar types, Q19 but the difference seems to be
in the front component.
Zuiko f2.8 75mm on Olympus Chrome (1954) and TLR reflex. This is a 6g/4c type.
(2) Fixed Lens (35mm Cameras) for Half-Frame Cameras 18x24mm.
D-Zuiko f3.5 28mm on Pen 1/2frame (1959) Q15
D-Zuiko f2.8 30mm on Pen S (1960) Q15
D-Zuiko f3.5 30mm on Pen S (1965) Q15
F-Zuiko f1.9 32mm on Pen D(1962) Gauss 6g/4c One correspondent waxes poetic about this
model as reliable and a good performer and this is typical. There is a body number but no lens serial number.
F-Zuiko f1.7 32mm on Pen D3 (1964) Gauss
Zuiko f2.8 25mm on Pen W (1964)
F-Zuiko f2.0 35mm on PenEM (1965) Gauss?
f2.8 25mm on Pen W (1964-1965)
(3) Fixed Lenses On Wholeframe Cameras.
Olympus made some L39 lenses as the following:
Zuiko f2.8/4cm in coupled mount for M39.
Zuiko f3.5 40mm on Olympus 35 1948 onwards.
These whole frame lenses (not all M39) were often marked F.C. probably to show they were fully coated. They
may have continued as D-Zuiko.
D-Zuiko f3.5 35mm on Olympus Wide (1955 onwards)
H?-Zuiko f2.0 35mm
E-Zuiko f2.8 45mm on Olympus 35-S11 (1957)
Zuiko f1.8 42mm on Olympus Auto (1958)
G-Zuiko f1.9 35mm on Olympus S1.9 (1956)
f2.8 35mm on Olympus XA (Oly004)
f2.8 35mm on Olympus SR (Oly006)
H-Zuiko f2.0 35mm (Oly005)
(4) Pen F Lenses.
All lenses are coded Zuiko plus W for Wide T for long focus and with a code for the number of glasses. They
have both normal aperture engraving and also a second set of numbers for use with their exposure meters.
These allow for the actual transmission of the lens. One technical comment was that it was easier to design
really sharp lenses in this format, a 70mm f2.0 being still really sharp while a 120mm would be less good. This
may be less true today than then, but does speak truth about many faster older lenses in general. All lenses
fit all models PenF, PenFT and PenFV and it is said that some 20 types were offered, of which some 17 are
noted here.
G-Zuiko Auto-W f3.5 20mm 7-glass.
E-Zuiko Auto W, f4.0 25mm 5g/5c.
f2.8 25mm 7 glass (1972)
f2.8 38mm This is possible but not confirmed, See Camera 35 (12/1969)
E-Zuiko S f3.5 38mm Macro lens
H-Zuiko S f1.2 42mm 8g/6c
f1.5 60mm 7 glass
f2.0 70mm 6 glass
f3.5 100mm 5 glass
F-Zuiko Auto T f4.0 150mm 5g/4c.
f5.0 250mm 5 glass
E-Zuiko T Preset lens, f6.3 400mm 5g/4c
Zooms f3.5 50-90mm L Auto Oly003.
f5.0 100-200mm Preset.
The normal UK items sold were the f3.5 Zoom, 100mm f3.5, 20mm wide lens, and of course the 38mm f1.8.
None of the others is regularly seen.
Launch items are coded L and were liked in Modern Photo May/June 1964, Camera 35, 12/1969.
(5) Other Period Items
Olympus Wide Angle f2.8 40mm for M39x26 (1951)
OH-Zuiko f2.0 35mm (08/1957) on Olympus Wide-S: this seems to be an 8glass /6c Gauss design
using front and back negative elements to improve the corrections.
D-Zuiko f2.5 43mm on Olympus Electro Eye (1963)
(6) Olympus Ace (1958-1960) Their first with interchangeable lenses.
E-Zuiko f2.8 45mm
Zuiko f2.8 35mm
Zuiko f5.6 80mm
(7) Olympus FTL (1969-1971)
A basically conventional SLR of the period, with a series of lenses to match. It takes M42 lenses and gives
c.24x36mm.
f3.5 28mm
f2.8 35mm
f1.4 50mm
f1.8 50mm
f3.5 100 and/or 135mm
f4.0 200mm
(8) Lenses for OMI
Fisheye
f2.8 8mm 11g/7c
f3.5 16mm 11g/8c
Super Wide
f3.5 18mm 11g/9c
f2.0 21mm 11g/9c
f3.5 21mm 7g/7c
f2.0 24mm 10g/8c
f2.8 24mm 8g/7c
Wide
f2.0 28mm 9g/8c
f3.5 28mm 7g/7c
f2.0 35mm 8g/7c
f2.8 35mm 7g/7c
f2.8 35mm 8g/7c
f3.5 35mm shift lens
Standard
f1.2 55mm 7g/6c (App042)
f1.4 50mm 7g/6c (App041)
f1.8 50mm 6g/5c
f3.5 50mm 5g/4c
Long Lenses
f2.0 85mm 6g/4c (App043)
f2.8 100mm 5g/5c (App044)
f2.8 135mm 5g/5c (App046)
f3.5 135mm 5g/4c (App045)
f2.8 180mm 5g/5c
f4.0 200mm 5g/4c
f5.0 200mm 6g/5c
f4.5 300mm 6g/4c
f6.3 400mm 5g/5c
f6.5 600mm 6g/4c
f11 1000mm 5g/5c
Macro Lenses
f3.5, 20mm; f3.5, 38mm; f4.0, 80mm.
Also 3 Zooms.
These designs do not seem to be abnormal but were chosen well to avoid the use of very large apertures in
long lenses and tended to limit the size of them by the use of "short" designs. The appearance was
particularly neat and attractive at a time when many makers were producing rather large products. The
background may be in the patents and see USPat 3,832,027/1975 to J. Nakagawa/Olympus for compact
small diameter inverted tele designs, and K. Harada USPat 3,864,027/1975 on compact telephoto lenses.
A more complete list for 1979-1980 has been contributed by Mr H. Brochmann of Sweden as follows:
Wide angle and Fisheye Lenses.
Zuiko Auto Fisheye f2.8 8mm 11g/7c
Zuiko Auto Fisheye f3.5 16mm 11g/8c
Zuiko Auto-W f3.5 18mm 11g/9c
Zuiko Auto-W f2.0 21mm 11g/9c
Zuiko Auto-W f3.5 21mm 7g/7c
Zuiko Auto-W f2.0 24mm 10g/8c
Zuiko Auto-W f2.8 24mm 8g/7c
Zuiko Auto-W f2.0 28mm 9g/8c
Zuiko Auto-W f2.8 28mm 6g/6c
Zuiko Auto-W f2.0 35mm 8g/7c
Zuiko Auto-W f2.8 35mm 7g/5c
Standard Lenses
Zuiko Auto-S f1.2 55mm 7g/6c An interesting layout, rather as the f1.4 below.
Zuiko Auto S f1.4 50mm 7g/6c An interesting layout with 4 glasses behind the iris.
Zuiko Auto-S f1.8 50mm 6g/5c A Gauss with the front 3 all separated.
Tele Lenses Most of these are short designs to limit their size.
Zuiko Auto-T f2.0 85mm This is not a normal Gauss but a unsymmetrical design.
Zuiko Auto-T f2.8 100mm 5g/5c
Zuiko Auto-T f2.8 135mm 5g/5c
Zuiko Auto-T f3.5 135mm 5g/4c
Zuiko Auto-T f2.8 180mm 5g/5c
Zuiko Auto-T f4.0 200mm 5g/4c
Zuiko Auto-T f4.5 300mm 6g/4c
Zuiko Auto-T f6.3 400mm 5g/5c
Zuiko Auto-T f6.5 600mm 6g/4c
Zuiko Auto-T f11 1000mm 5g/5c
Special lenses:
Zuiko Shift f2.8 35mm 8g/7c
Zuiko Auto Macro f3.5 50mm 5g/4c This is a Gauss type, with floating elements.
Zuiko Auto-Macro MB f4.5 135mm 5g/4c This seems to be a short head for bellows use.
Zuiko Auto-Macro MB f4.0 80mm 6g/4c This seems to be a Gauss design.
Zuiko Macro MB lens head f3.5 20mm 4g/3c Q15 type.
Zuiko Macro MB f3.5 38mm 5g/4c This seems to be a Gauss type.
MB normally indicates a short head for bellows or like use.
There were also 4 Zoom lenses in f3.6, 35-70mm; f4.0 35-70mm; f4.0, 75-150mm; f5.0, 85-250mm.
More recent lenses include the following:
f2.0/100mm, 7g/6c; f2.0/250mm, 12g/9c; f2.8/350mm, 9g/7c; f8.0/500mm, 5g/2c; f3.5/24mm shift (the world's
first super wide shift); f2.0/40mm, 6g/6c; and at least 4 new zooms. These were products from the early-mid
1980's.

Okaya Optical Co, Tokyo, Japan.

Highkor f2.8 40mm
Highkor f1.9 40mm
OMFA (Optisches Mechanisches Fabrik Gmbh.), Munich, Germany.
Frerk lists several of their lenses in 1926, and some seem to be older products from a long established firm.
Auromar This was a Petzval Portrait lens.
Correktor f6.5 This seems to be a Q9, Dagor version, and a good one.
Correktor f4.5 It is suggested that 18cm f6.5 covers 13x18cm, but the f4.5 needs a 21cm for this.
There may also have been an f5.4 version.

Omnitar, USA.
This seems to be an American brand name for a range of imported lenses, for SLR's.
f2.5, 125mm; f2.8, 135mm; f3.5, 200, 300mm; f4.5, 250, 400, 1000mm; f5.0, 300, 400, 500, 600, 800mm; f5.5,
400mm; f6.3, 1000mm; f8.0, 2000mm.
Some of these are very big lenses and it would be interesting to know more!

Opcon Associates of Canada, Ltd., Toronto, Canada.

This was noted by N. Goldberg in Pop Photo 08.1976, p127 as a computer/design group with Ellis Betensky
as President, and Ian Powell as one of the associates. They do design work for many well known lens
companies including Vivitar, for the Series 1 lenses.

Omniterna, Italy.
This entry is to note for a rare camera with 3 lenses working through 3 filters onto 10x12mm for 3 on a
24x36mm frame. There were no details on the lenses.

Opitechna, Prague, Czechoslovakia.

Later perhaps they became Meopta, postwar.
Mirar
Spekta f2.9 70mm for Spektaretta, a beam splitter camera for 3-colour exposures on 35mm film.

Optique de Levallois see Foca.

WW2 items were coded : lwx.

Optis, Paris, France.

The first Optis lens noted was an anastigmat f6.3/100mm in a Wollensak shutter, on a Celtic Press 9x12cm in
1902, but it is possibly a retrofit. Otherwise FBB mentions lenses from the 1922-1930 period. One has a
feeling they were more active in movie lenses than still.
They supplied the f3.5 50mm lens for the Debrie Sept, noted at No8,69x on Sept 11,14x.
also for Homeos Stereo, eg the f4.5 28mm lens.
Ariel also lists an Optis lens f3.5/50mm (Bourdereau, for 35mm) from the early 1920's.
Optis f3/60mm on Enofilm (1930). This was one of 3 interchangable lenses on a camera with a rotating disc
shutter for 25x32mm- possibly cine related.
Optis Anastigmat f4.5/75mm for 6x13cm (1922).
A larger format lens may be a Series IIB Anastigmat noted as f6.3/100mm at No9,86x in a Betax shutter.

Orbit,
This is noted in USA lists and seems to exist as an imported brand name on large format lenses. See also
Caltar where some of the story is given. Some Orbit material is from J. Schneider as the drawings were held
by them together with Caltar items.
Orbit This was listed as 13.75 and 14.76in (375mm) lenses in Ilex shutters without more details.

Orinox
A f5.6/112mm Orinox on a binocular camera is in the anon list.
Optomax
A correspondent speaks enthusiastically of an f8.0 500mm mirror, as sharp and well corrected. The trade
name was used on a series of SLR lenses imported into the UK by J.J.Silber in the 1965-1975 period and two
catalogues will have some of the items as follows:
1966-7. These seem to be preset lenses with interchangeable adaptors. All are coded Optomax so the names
are not repeated.
Column 1 Column 2
(1966) (1971)
F2.8 28mm. 28mm
f3.5 35mm 35mm
f2.8 135mm 135mm
f3.5 - 135mm
f4.5 200mm. 200mm
f8.0 500mm -
f8.0 600mm -
f8.0 800mm -
f5.6 100-200mm Zoom. -
also automatic lenses for Praktica, Pentax, Canon (for which Silber were agents).
f2.8 28mm 7 glass for 75°. -
f2.8 35mm with interchangeable adaptors.
f2.8 135mm with interchangeable adaptors.
f2.8 - 135mm M42 fixed mount auto.
f3.5 200mm M42 fixed mount auto.
f3.5 200mm with interchangeable adaptors.
.By 1971-2, the cheaper range was in T-mounts, in a wide range and was for those listed above in col 2. It
was noted that the really long versions were no longer listed, and that the range of auto lenses was increased.
This was typical of the market of the period. The range seems not to have included Zooms in 1971 and Silber
was carrying two other makes of extender so there were none of these. It is probable that Optomax was
unique to Silber but this is not certain.

Orford, H. Author of "Lenswork For Amateurs" and a craftsman with Mssrs Ross, London. He writes of
making the prototype Concentric for Mr Schroeder while with Ross.

Orion Werk, Hannover, Germany.

Compare Friedrich of Munchen 25, who made Corygon lenses in the 1930's.
F. Corygon Anastigmat f6.3 85mm from the early 1920's. This was a triplet.
Orion Special Aplanat also early 1920's.
The latter type of products was a little old fashioned by then and suggests a long established firm. Note
Corygon is also a trade name used elsewhere.

J.Ortiz-Echague
This important Spanish worker used L'Eidoscope, and probably Protar lenses on a Photo Esphere. See Amer.
Ann. Photography 1950, p11, etc. also 'My Life as a Photographer' Gordon Fraser Gallery Ltd, Fitzroy Rd,
London NW1. ISBN 0 86092 016 X (B.J.P. 26/10/1979, p1027)

Orthoscopic The name indicates correctly seeing or correctly drawing, and was first used for Petzval's
alternative design, and other makers related lenses. Traill Taylor notes the name was reused many years later
for examples of the RR, where it was actually well chosen, and cites 'an American optician' as using it. But
there were others.

Osawa, Japan.
This name has been met on a f2.8/28mm lens for Pentax K, but may be more familiar on tripods and
accessories such as the Osawa Balanced head for movie cameras. Actually, they are major makers owning
50% of the Mamiya Company with Bell & Howell up to about 1980 and then buying the remainder from Bell &
Howell to become sole owners. (B.J.P. 21/09/1979, p38)
A feature advert. in B.J.P. 10/08/1979 lists Osawa Tominon enlarging lenses in 7 types with a quote of an
MTF comparison with other leading brands from Practical Photography 02/1979 to show how well they
matched or exceeded them.All were in M39, and two were wide angle designs. (They just might match the
Bogen lenses?) The Japanese maker was said to also make lenses for the Japanese Contax SLR. (Guess
who this was. See also Tomioka.)
f2.8 50mm Tominon EL
f4.5 75mm Tominon EL
f5.6 90mm Tominon EL
f5.6 105mm Tominon EL
f5.6 135mm Tominon EL for 5x4in cover.
f3.5 40mm Wide Angle 6 glass 43mm back focus in place of a normal 50mm lens.
f4 60mm Wide Angle 8 glass ?for 6x6cm. The iris is in smooth but definite click stops to f22. And yes, it
is in M39 thread. The example seen was in a nice matt black mount at No20,08x, and with advanced coating
but probably not actually multicoated. It looked an attractive lens. Tentatively it is a 6-glass 4component
Gauss but rather deep from back to front. In use on a bellows for close-up on 35mm the results were
excellent- sharp and contrasty, suggesting a high quality lens.

Otag, Wien, Austria.

UK Agent A. Gask and Co, 60 Conduit St, London W1.(B.J.A. 1928, 1929 only). See MCM Jan 1951)
Double Miniscope f6.3/f11.6 35mm This was the lens was fitted to the Amourette camera for 37.5x31mm on
unsprocketted 35mm film.
Pacific Optical Corp, USA.
They are noted for one known item which seems to have been a very innovative one. A reference to it has been
seen in an old USA magazine suggesting it was really very early for a fish lens.
Perifoto cine lens, fish type, f1.5/3.5mm (0.1364in) for 165°coverage, for 16mm cine. Seen at No 34x, Model
730A, this has a large (4.5in dia, 4.5in deep) black barrel, which in this case seems to have lost the iris and
filters with a big front negative lens well in front of a tiny rear system. It has only limited back focus, and was
probably suitable for 16mm but not for larger cameras.
Fig 031 008 Pacific Optical Corp, 165° Fish No730A-344.

Palar
These were SLR lenses listed in May 1968-May1972 for Japanese Cameras, 50 Piccadilly, Tunstall, Stoke-on
Trent, UK.
Palar preset: f3.5/25mm; f3.5/35mm; f2.8/35mm; f2.8/105mm; f3.5/135mm; f2.8,135mm; f4.5/200mm;
f5.5/350mm; f8.0/500mm; f8.0/600mm; f8.0, 800mm; f5.6, 100-200mm.
Enlarging lenses (1968) Palar f2.8/40mm; f3.5/50mm; f3.5/75mm; f4-f4.5/105mm.
Fully auto iris for M42 only: f2.8/28mm; f2.8/35mm; f2.8/135mm; f3.5/135mm; f3.5/200mm; f5.0/300mm.

PAM, USA?
They were the makers of a moderately common M39 lens the Britar f4.5/105mm early postwar in alloy mount,
now often stained.
Fig 011 017 PAM Britar f4.5/105mm in M39.
.

Panagor
The agent in 05/1972 was R.J.Farley, Ltd., 67 Mill Lane, London NW6.
They are noted for an Auto Macro Converter, essentially an extension tube with a variable power optic for
close-up mounted inside it. The leaflet has no other name on it. (USPat 4,030,113, W.Germany, Pat
2,545,950)
A advert. in May 1972 lists:
Panagor f4.0 21mm retrofocus superwide for SLR's
Panagor f2.5 28mm same 8glass/6 component design A 04/1971 advert. shows lens
number 30,252 on a 28mm lens.
Panagor f2.8 135mm
Panagor f3.5 200mm This was a 5 glass/ 4 component design.
Panagor Zoom 85-205mm
These were all fully auto iris, and in most fittings but bayonet mounts were at extra cost. There were extension
tubes and a 2x tele converter to extend the range. By 04/1973 they were Super Panagor and there were two
28mm versions, f2.5 for Canon, Minolta, Pentax, and f2.8 for Canon FTb type ie FD type iris.

Panavision Inc, Los Angeles, Cal., USA.

Agent for UK Samuelson Film Service.
This is a trade name of a anamorphic wide screen process and lead to lenses such as 70mm Panavision
anamorphic attachment lenses for 1.25x (stretch?) normally in pairs. The cameras and lenses are rented,
never sold: the cameras normally use 35mm film.
In B.J.P. 19/10/1979, p1019 some lenses were listed:
Ultra Speed Panavision T1.0 50mm
Super Speed T1.1 55mm
Super Speed T1.5 150mm
Anamorphic T1.1 50mm
The new 'Golden Panaflex' was introduced in 1980 (B.J.P. 26/09/1980 p944) with a new series of Golden
Panatar ultra speed lenses comprising:
T2.2/28mm; T1.4/35mm; T1.4/40mm; T1.1/50mm; T1.6/75mm; T1.6/100mm; T1.6/150mm. These all had a
front anamorphotic squeeze element, or 'flat' without the front unit. These was also a new T1.9 20-125mm
Ultrazoom in flat or with a rear anamorphot unit for T2.8/40-250mm.
A UK rental list (£) for 1992 has a set of Panavision Primo lenses all T1.9 as 17.5mm, 21mm, 35mm, 40mm
or 50mm, 75mm. Rental was 585 per week.
There was also an Ultra Speed set as T1.3 at 24mm, 35mm, 40mm, T1.0 at 50mm and T1.6 at 75mm. Rental
was 435 per week.
There was a 'Standard' lens set as T2.8 at 24mm, 32mm; T2.0 at 40mm, 50mm, 75mm.
This was along with a very wide selection of other lenses by all the leading makers including Zeiss, Leitz,
Canon, Angenieux, TTH Cooke, Bausch & Lomb and Kinoptic- and others.

Panomar
This was a trade name used by St James Photographic, College Cresc., London, NW3 5DN for a fish eye lens
for 145° f8.0/12mm It was available in most mounts and reduced from over £50 to £28.

Panon, Japan.
Lux lens f2.8/26mm used on Panon Widelux 77 camera, noted at No 46,45x, 466,92x and 472,30x- these
seem far apart. There is a report at auction of a Panon f3.5/5cm also being fitted to some cameras. These are
the Panon Wide Angle camera, and can include Hexar and Hexanon lenses.
(These may well be by Konica.)

Panorax Optical Industry Co., Tokyo, Japan.

They made a 360° panoramic camera, Panorax-Z1, which used a Panolar f3.5/40mm lens, which was noted
at auction at No435.

Papillon & LaPerriere, France.

They are listed by FBB as making a field camera in 1899 with a Papillon anastigmat or RR. It may be a
bought-in lens.

PasOptik, Japan.
Agent P.Sheen, POB 120, Stroud Glos. GL6-8YP, UK.
Two lenses for M39x26 mount were listed in the late 1990's and reviewed favourably by R. Hicks in B.J.P.
06/11/1996 p23 as follows:
f2.8 21mm actually 20.98mm focus. 8g/6component design, probably a 'Russar' type layout as it is
symmetrical and deep sunk to within 10mm of the film plane. Some multicoating, some single.
f3.5 28mm actually 27.96m focus. This is a tiny lens, of 6g/4c design, also part multicoated.
Hicks felt they were quite in keeping with the high quality of the cameras and prices were well below the
camera makers lenses and a good bargain. Note that few M39 lenses had then been marketed for many years
except from Russia- or for enlarging.

Pathe, France.
An early wooden Pathe had a 75mm=3in lens merely marked "Cinematographes Pathe, Paris".

Pax
Various fixed lenses were fitted but little information is available here. An example is:
Luminor f3.5 45mm Triplet type.

Paxette- see Braun, Nurnberg, Germany.

Paxoramic- The name occurs on a lens used on a Lunar Orbiter 1966-1967. It was a f5.6/610mm lens and
the maker is unknown here.
Pearson and Denham, 5 New Station St, Leeds, UK.
They were noted in the 1889 BJA p168 as selling Rapid Rectilinears in 4 sizes as well as other agented items.
5.5in, for 5x4in; 8in for 1/2plate; 9in for 8x5in; 10.5in for 1/1plate.

Pelepar
Trade name on a f3.5 0.5in Pelepar tele lens for 8mm use listed in Am Photo 06/06/1962 p11 at £3.95.

Penrose, as in Hunter-Penrose., Baker St., London.

They were active from the 1890's and some of their lenses can be engraved, typically Penrose, and some are
also marked with the lens maker, eg. Wray.

Pentax, or Asahi Optical Co Ltd., CPO 895, Tokyo, Japan.

Three lens mounts are involved for 35mm SLR cameras: Asahiflex screw, Pentax M42 screw, and Pentax
bayonet. Adaptors from screw to bayonet were made. Some restrictions existed with different maker's M42
screw lenses due to the position and length of the auto iris pin and care is needed in fitting unknown lenses to
cameras. Takumars are desirable and generally have held their price very well but were originally very
successful products so that many types are in reasonable supply. Thus they sell on quality rather than
scarcity. In dating them, note the iris type. Some of the very earliest were plain iris, but essentially they
developed as auto spring wound, the fully auto, (Super) and then SMC (Super Multi Coated). There is a
measure of compatibility with autofocus cameras. (E) has been added where the lens can be noted as an
early one in the programme.
Pentax created a major stir with the launch of multicoating about 04/1974, [Popular Photography noting it on
p79. They discuss the use of layers of magnesium fluoride (MgF2) of different thicknesses to optimize
transmission at different frequencies and the use of several layers to improve on the use of a single layer as
was initially done. This period was responsible for Canon's 'Spectra Coating', Konica's 'Color Dynamic
Coating' and Minolta's 'Achromatic Coating' as well as the many brightly colored coats on other-brand lenses.]
But Optical Coatings Laboratory Inc. (OCLI) of USA with Balzers of Germany went further than others though
the result was initially used non-photographically as 'High Efficiency Antireflection Coating' or 'HEA'. The
patent here used 6 layers of MgF2 and Zirconium Oxide ZrO2 deposited alternately beginning with Zr (next
glass?) and ending with MgF2 as the top (outer?) layer. The layers require accurate instrumental control during
deposition but some tuning of thicknesses is possible to correct minor deviations and match different types of
glass. They tried to sell the idea to some camera lens makers but initially failed: Pentax adopted it and
modified the coats to work without giving the yellow color shift HEA did, as a new process 'PhotoHEA' and
began to use it on the f1.4/50mm for the new Spotmatic II in Jan 1971. This involved 7 layers. One point is that
the layers in coatings can include optically inactive ones for adhesion eg to glass, for barrier and for outer
protection. Thus Pentaxes' 7 layers is important but it is wrong to just count layers as a guide to quality.
Others did count up to 11 layers but the basis of this figure could mislead. One point: Pentax were the
initiators of Super Multi Coating as a Commercial event, but were not the first to use an advanced multiple
coating. Here look for Nikon f1.2/55mm, Leitz Summilux f1.4/35mm, Zeiss microscope lenses, Rollei filters,
and others, back to Schott and Gen. in the 1940's. Another point is that MgF2 gives its best as a single coat
with high refractive index glass- it is less effective with lower R.I. glasses as the RI match is less good. Now
the German industry used more high R.I. glass than the Japanese and had less need of multilayer coats. This
is a complex subject where reference to the original articles is rewarding.
's' is added to indicate if the lens seems to have been made with multicoating. Not all of a given design may
be so coated however. The number in the last column is the number of elements ie.glasses in the design.
Asahiflex (This dates from the early 1950's)
Takumar f3.5 50mm
Takumar f2.4 50mm
Pentax M42.
Macro Takumar f4.0 50mm 4,s These were described as 'excellent' in Modern Photo., 07/1965.
There were also reviews of the 35mm f2.0 and 85mm f1.9.
Autotakumar f2.2 55mm(E)
Takumar f2.0 50mm
Autotakumar f1.8 55mm 6,s
Supertakumar f1.4 50mm 7,s or 8-glass to 07/1965. See ModernPhoto. p82.
Supertakumar f2.0 55mm 6,s
Wide Angle lenses.
Fisheye Takumar f4.0 17mm 11,s (180°) This was a full frame fisheye.
Fisheye f11 18mm as above 4 glass(?)
Supertakumar f4.5 20mm 11,s
Supertakumar f3.5 24mm 9,s
Supertakumar f3.5 28mm 7,s
Supertakumar f2.0 35mm 8,s
Autotakumar f2.3 35mm (E) 6, There was a possibly redesigned in c.1965
Supertakumar f3.5 35mm 5,s
Long Focus Lenses
Zoom f4.5 70-150mm 14.
Quartztakumarf3.5 85mm This was a rare lens with a 4 element design.
Autotakumar f1.8 85mm (E) 5
SMC Takumar f1.8 85mm 6,s
Supertakumar f1.9 85mm 5, This was also as an 83mm in some lists.
This suggests there may be two types (Layout Pen003)
Zoom f4.5 85-210mm 11,s
Bellowstakumar f4.0 100mm 5,s Layout Pen005)
Takumar= f2.8 105mm as preset and auto (Layout Pen004)
Supertakumar f2.8 105mm 5,s (same optic)
SMCTakumar f2.8 120mm (Scarce) 5,s
Takumar=
Supertakumar f3.5 135mm 5,s same optic, Pen006.
Supertakumar f3.5 135mm 4, New optic.
Supertakumar f2.5 135mm 5,s
Supertakumar f4.0 150mm 5,s
Supertakumar f4.0 200mm 5,s
Takumar f5.6 200mm 5 (Layout Pen007)
Teletakumar f5.6 200mm same lens (Modrn Photo 07/1964, p82).
Takumar f3.5 200mm 4 (Pen008)
Teletakumar f6.3 300mm 5 (Pen009)
Takumar f4.0 300mm 5 (Pen010)
Supertakumar f4.0 300mm Redesigned version.
Teletakumar f5.6 400mm 5,s
Takumar f4.5 500mm 4,s (Pen011)
Takumar f5.0 500mm Manual, 1964.
Teletakumar f8.0 1000mm 5,s
UA-Takumar f4.5 85mm 5,s ] These last two use low dispersion glass
UA-Takumar f5.6 300mm 5,s ]
K-Mount Lenses.
These are all super multi coated and it is thought they are all called 'Pentax'. There was a review of the Pentax
M camera and lenses by T. Hughes in B.J.P. 03/02/1978, p98. The new bayonet was patented as other firms
had to licence its use- eg by Cosina and Topcon (B.J.P. 09/03/1979, p233). What was perhaps important was
that such licences were granted so that the mount was in some measure in general use.
Fisheye f4.0 17mm 11g/7c* g=glasses, c=components.
Wide angle lenses
f3.5 15mm 13g/12c
f3.5 18mm 12g/11c
f4.0 20mm 8g/8c
f2.8 24mm 9g/8c
f2.0 28mm 9g/8c
f2.8 28mm 7g/7c
f3.5 28mm 6g/6c
f2.8 30mm 7g/7c
f2.0 35mm 7g/7c
f2.8 35mm 6g/6c
Standard Lenses
f2.8 40mm 5g/5c
f1.2 50mm 7g/6c
f1.4 50mm 7g/6c to replace an 8g type.
f1.7 50mm 6g/5c
f2.0 50mm 5g/5c
Long Lenses
f2.0 85mm 5g/4c
f2.8 100mm 5g/5c
f2.8 120mm 5g/5c
f2.5 135mm 6g/6c
f3.5 135mm 5g/5c
f3.5 150mm 5g/5c
f2.5 200mm 6g/6c
f4.0 200mm 6g/5c
UltraLong Lenses
f4.0 300mm 7g/5c One of these was noted at No1,988,53x with the flange made
over rather permanently to bayonet. It was a substantial but very smooth focusing lens.
f5.6 400mm 5g/5c
f4.5 500mm 4g/4c
f8.0 1000mm 5g/5c
Mirror Systems
f11 1000mm
f13.5 2000mm
also:
8 zooms
Shift Lens f3.5 28mm 12g/11c
Macro Lens f4.0 50mm 4g/3c
Macro Lens f4.0 100mm 5g/3c
Bellows Macro f4.0 100mm 5g/3c
*Figures in the last column are the number of g=glasses, c=components.
Pentax Auto 110
Wide f2.8 18mm This seems to be in two types, "Pan focus" or plain.
Standard Lens f2.8 24mm
Tele f2.8 50mm
"Tele" ? 70mm
Zoom f2.8 20-40mm
This was noted but not yet reviewed in Modern Photo 10/1978 p75 with 18, 24, 50mm lenses. "Tiny, jewel like,
sparkling portraits".
Lenses for Pentax 67
All seem to be coded Takumar initially.
Standard f2.4 105mm 6 glass
Fisheye f4.5 35mm full frame type, 11 glass (Am. Photo. 15/12/1990)
f4.0 45mm (1982)
f3.5 55mm 8-glass.
f4.5 75mm 5-glass
Perspective control 75mm
Leaf shutter mount 90mm
Normal Version 90mm
f2.4 105mm
Macro f4.0 135mm 5-glass This was noted in Popular Photo 08/1973, p66 and was
probably 'new' then.
f2.8 150mm 5-glass
165mm
f4.0 200mm 4-glass
f4.0 300mm 5-glass
f4.0 400mm 5-glass
500mm
Takumar f4.0 600mm 6-glass
Takumar f4.0 800mm 6-glass
1000mm
Reflex Takumar f7.0 1000mm 7-glass
Soft Focus f3.5 120mm
It is 'soft' at f3.5-f5.6, sharp at f11 or less.
By B.J.P. 18/09/1996 p43 the lenses were: f4.5/35mm; f4/45mm; f4/55mm; f4.5/75mm; f4.5/75mm shift;
f2.8/90mm; f2.4/105mm; f3.5/120mm soft focus; f4/135mm macro; f2.8/165mm; f4/165mm in leaf shutter;
f4/200mm; f4.300mm; f4/400mm EDIF; f5.6/500mm; f4/600mm; f4/800mm; f6.7/800mm EDIF and f8/1,000mm
mirror.
Pentax see Asahi also.
Two modern soft focus lenses issued in 1990 were as follows:
SMC Pentax Soft f2.2 85mm This was an achromat 2g/1c. Seen at No1,006,70x This has stops to f5.6
only, and is noted to have a sharp centre and sharpen up all over quickly on stop down. It has a fairly long
focus travel- but is basically a rather simple product with manual iris. It is multicoated and should be very
contrasty at small apertures but less so as the lens is opened up due to the softness limiting contrast in
details.
f2.8 85mm Here again the softness is under iris control, and the lens is sharp at f5.6
(See Am.Photo., 25/08/1990)
There was also a later unique short focus for macro and close-up:
FA Soft f2.8 28mm 5g/5c design for manual as well as autofocus cameras. (B.J.P. 12/03/1997,
p6).
SMC Pentax FA f5.6 400mm ED IF This was a major new item in B.J.P. 11/06/1997 p6 with low dispersion
glass, and internal focus.
Fish f4.0 17mm This was a Pentax Full frame fisheye 11g/7c. It covers 180° (Date 1980).
[See also Durst Neonon, Cosmicar.]
A Millenium list seems to be in Am. Photographer Oct 2000 as follows:
f3.5-f4.5 17-28mm 9g/7c
f2.8 20mm 10g/9c
f4.0 20-35mm 10g/8c
f2.0 24mm 11g/9c
f2.8 28mm 5g/5c
f2.8 28mm 5g/5c This is a soft focus lens
f4.0 28-70mm 9g/7c
f2.8 28-70mm 14g/11c
f4.0-f5.6 28-105mm 13g/11c
f3.8-f5.6 28-200mm 16g/14c
f4.0-f5.6 35-80mm 7g/6c
f2.0 35mm 6g/5c
f1.9 43mm 7g/6c
f1.4 50mm 7g/6c
f1.7 50mm 6g/5c
f2.8 50mm 8g/7c This is a macro to 1:1 ratio
f4.0-f5.6 70-200mm 10g/8c
f2.8 80-200mm 16g/13c
f4.7-f5.6 80-200mm 11g/7c
f4.5-f5.6 80-320mm 13g/10c
f1.4 85mm 8g/7c With internal focusing
f2.8 85mm 5g/4c soft focus lens
f2.8 100mm 9g/8c
f3.5 100mm 5g/4c A macro lens to 1:2 ratio
f4.7-f5.8 100-300mm 14g/11c
f2.8 135mm 8g/7c
f2.8 200mm 9g/8c
f5.6 250-600mm 18g/16c
f4.5 300mm 9g/7c
f2.8 300mm 10g/7c
f5.6 400mm 9g/8c
f4.0 600mm 9g/7c
for the Pentax 645N:
f2.8 45mm 9g/8c
f4.5 45-85mm 11g/9c
f2.8 75mm 6g/5c
f4.5 80-160mm 11g/10c
f4.0 120mm 9g/7c Macro lens
f2.8 150mm 7g/7c
f4.0 200mm 6g/5c
f4.0 300mm 8g/8c ED
f5.6 400mm 7g/6c ED
for Pentax 67:
f4.5 35mm fisheye 11g/7c
f4.0 45mm 9g/8c
f4.0 55mm 8g/7c
f4.5 55-100mm 11g/9c
f4.5 75mm 5g/4c
f2.8 90mm 7g/5c
f4.0 100mm 6g/4c macro lens
f2.4 105mm 6g/5c
f3.5 120mm 4g/3c
f4.0 135mm 5g/3c Macro lens
f2.8 165mm 6g/5c
f4.0 165mm 5g/4c in leaf shutter
f4.0 200mm 5g/4c
f4.0 300mm 9g/9c with ED glass
f4.0 300mm 5g/5c
f4.0 400mm 9g/9c ED
f5.6 500mm 4g/4c
f4.0 600mm 6g/5c coded Takumar
f4.0 800mm 6g/6c coded Takumar
f6.7 800mm 9g/8c ED
f8.0 1000mm 6g/4c Takumar

Perfex see Camera Corp. of USA

Perken Son and Rayment, 99 Hatton Garden, Holborn Viaduct, London.

In 1889, a specialist agent seems to be G.S.Martin of Birkbeck Institution, nr Chancery Lane.
The firm was initially Lejeune and Perken but the lenses seen have all been engraved Perken Son and
Rayment and this was the trading name in the 1880-1900 period. These are quite common in the UK and
often very attractively finished and engraved but seem to be optically quite conventional. Their adverts. state
they are makers and there are accounts of the factory to confirm it. It is likely that they were also trade
suppliers, and these may not have had their name on them. Thus we have seen an Optimus lens without the
maker's name. They were still flourishing in 1900 but were Perken Son and Co by 1914. Incidentally they were
one of the firms which adopted the Voigtlaender trade name Euryscope for their own products. It probably was
used on RR lenses with Jena glass and they may have been the source of some of the quite numerous
adverts for Euryscopes in the UK. At least if they were lens makers, it is no longer necessary to assume they
were all imported. At least one may have gone out to France to be fitted to a French 9x12 camera. Those
seen do not have serial numbers but all have irises and are marked with the intended format.
(see also Lejeune and Perken)
Optimus Rapid Euryscope f6.0 This was listed by 1889 and was presumeably an RR. It
used "special optical glass", possible ex-Jena? It was made in 5.5in for 5x4, 6x5, 8.75in for 7x5, 8x5, 12in for
9x7, 14in for 10x8, 12x10in, ie, 5.5-18in. It was "a most useful lens" according to Traill-Taylor of the Brit. J.
Photography. This may also be the "Portrait RR" f6.0 in 12 and 13in focus found later as it was classed as a
Portrait lens in the small print in 1889.
Fig 008 037 Perken Son and Rayment: (l) Rapid Euryscope for 9x7in and (r) an alloy 'Portable Symmetrical'
for 10x8in, and (front) a small WAR .
RR Euryscope f7.7 This was made in 9 sizes for 5x4in up to 18x16in, and was seen as
a 6in focus.
Eurygraphe f8.0 This may be the same as the above( Per002).
Optimus Wide Angle Euryscope f9.5 This seems a compromise design, and may be only part way to a
wide angle. It was made in 3.25in for 5x4, 4.75in for 5x7, 6in for 9x7, 7in for 10x8, 9in for 15x12 and 12in for
18x16, with some extra in 1900, eg for 6x5. It may be part way to a "portable" RR as the small print shows but
see also below. It was used by Mr Frith among others.
Optimus RR f8.0 5.5 to 25in. The 1906 advert. says it was then 'improved'.
It was made in 5.5in for 5x4,6.75in for 6x5, 8.8in for 5x7, 12in for 7x9, 14in for 10x8, 18in for 12x10, 20in for
15x12, 25in for 16x18in sizes. (Layout Per002)
Fig 031 031 Perken Son and Rayment f8/7in RR in brass with Waterhouse stop set. This may not be the
exact product in the list but it is a RR!
Optimus Wide Angle Symmetrical f16 3.25 to 16in. Layout Per 001)
It was made in 5x4, 5x7, 7x9, 10x8, 12x10, 15x12, 16x18in sizes.
Optimus Portable Symmetrical f16 max. These seem to cover a moderate angle (eg 10in for 10x8) and
represent another product to sell as a lighter RR at least in the larger sizes, and the one seen is in an alloy
mount for lightness. A smaller one is in a brass mount and looks like a WAR.
Fig 008 037 Perken Son and Rayment: (r) an alloy 'Portable Symmetrical' for 10x8in. (above).
Optimus Quick Acting Portrait f4.0 This was made in 1B, 4.5in for CDV; 2B 5.75in for Cabinet; and 3B 9.0in
for Grand Cabinet, the last name suggesting these may just be from a French source. Note that in 1889 only
1B, 2B and 3B were listed but larger sizes were to order.
Portrait Lenses (non-Optimus1) of good quality were also listed in 1889, to cover 1/4, 1/2, 1/1plate, 10x8 and
12x10in. The foci were not given, and again larger sizes were available.
Detective f6.0 for 5x4 (1900)
Wide Angle RR eg 3.0in focus.
Fig 008 037 Perken Son and Rayment: (front) a small WAR . (see above)
Grossar enlarging lens f5.75 RR type (B.J.A. 1905, p912). It was made in 5 sizes. ( Layout Per004)
It was 'new' in 1901, 7.0, 10.5, 15in and came with an orange glass (=filter) for adjustment. It was suitable for
camera use as well.
Optimus Multifocal Projection This was a lens supplied with extra negative lens behind (1906) and rackand-
pinion focusing. (B.J.A. 1906, pp158, 929). It was sold by the Service Co. and the normal lens was 6in
focus, but the 'Tele' converted it to give 8-12in and could be fitted when needed. There was also a "flash"
shutter and coloured glass filters for greater display.
Optimus Rapid Landscape This worked at f11 in 5x4 ,7x5,9x7,10x8and 12x10in, 5 sizes. in 1889 and 1901.
Movie Projection Lenses.
It may be that the background of the firm favoured a Continental approach or merely that they found trade
names with a mild foreign flavour helped sales. Certainly Grossar might reflect German and Grand French
influence.

Perkin Elmer, USA.

American maker of advanced optics, including spectrometers and perhaps reprographic equipment. They
produced some aerospace items and at least one well known item, the "Solid Cat" mirror lens.
Solid Cat. Mirror system is a "cat", where the whole unit is solid glass, so that the length is still further
reduced in line with the refractive index of the medium. The result is amazingly compact, a 680mm f12 being
little bigger than some standard lenses. Another advantage is lack of change of focus with change in
temperature. The bulk of the glass makes it heavy, and the sample seen is cracked, which may suggest a
problem with thermal stability or merely that the life of a surveillance lens is a risky one. (The example seen
was found in an American junk tray for a few dollars.) Even so the image is sharp and contrasty. It seems that
other specifications were made. The idea seems to have been passed to Vivitar for commercilization and the
Perkin Elmer examples are probably the rare ones and something of a collector item. In the UK it was the
Vivitar which sold but even then probably mainly to the government.
Fig 031 010 Perkin Elmar Compact Telephoto (Solid Cat) f12/650mm.
Fig 015 036 Perkin-Elmer Mirror f8/680mm on Pentacon M42 body with early postwar Biotar f2/58mm
No5,628,526 APD.
These are other lenses noted over the years.
Telephoto f8.0 36in These were sold off ex-Defense, (in 1959), at $130 compared with Dallmeyer items at
$90 which suggests a later coated design.
Aerial Survey (Aspheric) f4.0 72in (Petzval type lens) with image motion compensation. It was said to
resolve 3in subjects from 50,000ft (Modern Photo. 03/1964, p16) (Layout Pek001)
PPE UK? see as a lens of source of unknown, it is probably a Gauss type lens.

Perseo, Italy.
Perseo lens f3.550mm on Perseo camera (1950's) An alternative option was a Heligon f2.0.

Personal Protection Products, UK.

They made a camera buried in a electronic wristwatch, using a f2.8/5.63mm lens- one of the smallest in the
list in size.

Petri, Japan.
Photo Supplies Ltd London to April 1979.
Fincamera SA, PO Box 7663, Freeport Bldg, 1117 ZK Schiphol C, Amsterdam, Nederlands Tel 020-173937.
Most lenses were for the Petriflex SLR, from the 1960's. Import of Petri ceased in 01/04/1979.
Auto f1.8 55mm 6-glass Gauss. This is an important lens as the Petri is now sought-after for
its striking appearance. It was noted at auction at No71,96x and 128,32x.
Auto f2.0 55mm This was a 6-glass Gauss, and was noted on the Petriflex V and VI. It was
sometimes highlighted as the "Colour Corrected" lens when on the Model V.
Auto f3.5 135mm
Auto f3.5 28mm This was 'new' at Chicago show 1971 for the FT EE
f3.5 135mm lightweight version also at Chicago.
f5.0 300mm This also at Chicago in 1971.
Lenses with preset iris listed in the UK included:
f2.8, 35mm and 135mm; f3.5, 200mm; f4.5, 200mm; f4.0, 300mm; f5.5, 300mm; f6,3, 400mm;
Also due were other 200, 300, and 1000mm lenses, some perhaps in Auto mounts.
Petri also made the lens for the Fotochrome Inc camera.
A 1972 camera the Computor 35 used a Petri f2.8/40mm lens (4 element, coated).

Petzval, J.M. (1807- 1891)

He seems to have been a somewhat shy and secretive man, living a retiring life. By 1839, he was a "young
professor of mathematics". After the publication of the Daguerre process in 07/01/1839, A. von Ettingshausen
returned to Vienna and talked to Petzval. Probably on Stampfer's (Director of the Polytechnic) suggestion, he
initially approached W. Fr. Voigtlander for information on the glasses (R.I. and dispersion) available which may
have not been published information as the new Waldstein glass plant was still in its infancy, and this lead to
a rather informal relationship, and later Voigtlaender made a sample of the Portrait lens (by May 1840) and A.
Martin (1812-1882) tested it. (Martin was assistant to Prof J.P.Neumann of the Physics Dept at the
Polytechnicum, Vienna.) His test pictures survived at least to 1864. Three lenses were infact produced- a
landscape front pair and two rear groups, which added to the first gave lenses now known as the Portrait and
the Orthoscop.
Of these the famous one is the Portrait lens and the less well known the Orthoscop (Pe 001, Pet002). See
also Voigtlaender and Dietzler. Petzval calculated the lenses with the help of assistants, including Mr
Riesinger, and by 1840 reached a Portrait lens design with 4 fairly thin glasses so that these lenses are not
quite as heavy as they look. But they are often large to mount. His design did not correct for astigmatism and
the field is far from flat. One limitation was certainly the types of glass available in 1840. van Monckhoven
gives these as (from the front):
Biconvex- crown ; cemented negative- flint: divergent negative - flint; back, crown; and lists only 5 types of
glass as currently in use (Refractive index and dispersive power as shown in brackets:
Crown No 1: 1.50/ 0.039; Crown No 1.52/0.04: Light flint No 1, 1.57/0.0473; Heavy flint No 2, 1.64/0.055; Very
heavy flint,No 3, 1.64/0.059. Eder gives details of both in his main book on lenses.
Those above are actually Chance types, but the range was small from all makers.
[The Petzval was often described as "Improved" in later adverts. but without detailing how it was modified. One
basic change was to colour correction, by Lerebours and probably later by Dallmeyer and others. Another
redesign was for variable softness, especially due to Dallmeyer, and Dallmeyer also developed faster versions
for narrow angles, apparently by increasing the separations of the groups, and others followed (Extra Quick
Acting" etc), or used the design for enlarging lenses: and Waterhouse and iris stops were fitted. The market
thus was rather complex and a needed review was by Mr F.A. Velasco in the B.J.A. 1889, p568 who
considered there were:
(a) Portrait Lenses at about f4, useful for their speed in Portraiture and in enlarging, but with disadvantages.
(b) Cabinet and Carte de Visite (CdV) lenses which give a more even definition over the field, work at f4.0 and
are better adapted for enlarging and projection.
(c)The "D" or Universal series at about f6, which are intermediate between the portrait and f8 view lenses.
These seem to be Portrait RR lenses as he goes on to consider View lenses at f8.0 as unsuitable for
portraiture (?as too slow) and best for outdoor use, copying and projection.]
Typically the Portrait worked at f4.0. (or a little faster) but only over a small angle, and there were difficulties
over focusing initially as the visual focus was not optimum for photography. It is fairly free from distortion if the
stop is central, about 1/3 of the gap behind the front lens, but can be severe if the stop is moved externally as
did happen in Victorian times. Contrast should be good but users did complain of flare and ghosting at times.
In fact Traill Taylor says it 'seems the worst to work with a diaphragm' and working with a bright lamp on the
lens axis, notes at least 14 images of the bright flame at various distances from the lens!
An anonymous letter to the B.J.A. about 1900 stated that the original plan that Petzval had conceived was to
sell a lens set, (a) with one barrel, and a landscape meniscus normally at the front of it, but able to be placed
at the rear for landscape work. Two separate rear elements were to be made (c) for Portraiture, as was done
and (b) a second for outdoor work which eventually appeared as the Orthoscop, but Voigtlaender was never
prepared to make the whole set as one, perhaps due to the restricted focus travel of the original all-metal
cameras. It is known that Petzval felt substantially unhappy over the whole affair, especially as the designs
were not patented, and it is likely that his was a greater achievment than is often realized. (Layouts Pet001,
Pet002). [This account was straight out of Eder's book from the look of it.]
At the request of the Government, Petzval redesigned the Orthoscop in 1854-6 for landscape, architectural and
reprographic use with the new wet plate process, and with Dietzler, obtained the protection of an Austrian
license for the design. van Monckhoven describes the correction as a front meniscus followed by an
achromatised rear negative lens with appropriate radii and position to correct the field curvature of the front
lens- and in fact the Orthoscop as an entire system has (for 1866!) a very flat field. (see Monckhoven, p95 in
1866 translation) van Monckhoven says the maximum aperture was about f8, and it is usable at that but the
angle covered is limited to half the focal length. The diaphragm is of two imbricated brass plates allowing it to
be stopped down to f30 by when the sharp image has increased to be equal to the focal length. The image is
brilliant as it is a faster lens than the Globe or other non-aplanatic lenses. (It is this type of performance which
made the (slight) distortion present such a pity.) Petzval made the first himself. He then got Dietzler to make
them over the period of roughly 1857-1866. He also agreed with Dietzler to make the Portrait lens, supervising
the first 100 made which were excellent. Later Dietzler allowed the business to fall away in poor quality and
uncertain prices, and ceased to trade soon after 1862, dying in poverty in 21/10/1872. Petzval made his own
monorail camera for lens test purposes with the Orthoscop by 1857.
Petzval was skilled in lens making and while he had no further contact with Voigtlaender, he continued to
design lenses. He sold several "one-man" lenses privately and in 1843 made improved field glasses and
microscopes, and in 1846 a new fast lens for projection. There is a suggestion that Voigtlaender also adopted
the field-glass design. And in 1846, he designed a new camera lens, working at f2.0 with two cemented
triplets: it was in the Voigtlaender collection at Brunswick but was not produced. (Eder, also Rohr, Theorie
und Geschichte, 1899) and there was another type in 1870, fast, sharp but not achromatic. There was also a
symmetrical f6.3 lens of two air-spaced doublets designed in 1872, where only Voigtlaender's notes survive.
Harting said it was suitable for movie use, so it was probably a narrow angle design. According to Eder it was
known to Zinke-Sommer that faster Petzval type lenses were possible but Voigtlaender resisted the idea for a
long time.
The lens (With Waterhouse stop) with Petzval's dates was the subject of a Republik Oesterreich S250 stamp
? in 1992. It was the only lens noted in a photographic stamp collection discussed by Pop Photo 04/1976 p89.
Some period French Petzval type lenses are shown below.
Fig 48. Brass Period French Lenses.
Exposure: C&G Euryscope Anastigmat.
Bourgoni Paris Petzval type.
Derogy Paris Adjustable
Derogy Paris Again.
Lerebours & Secretan Paris. Petzval.
Darlot Paris Petzval.

Piazzi-Smyth, Prof. C. (1819-1900)

He was astronomer Royal for Scotland and designed a new version of the Petzval portrait lens with a field
flattener near the film plane- which Bolas suggests was also helpful in controlling astigmatism. (Pia001). It
was a specialist high speed lens but was produced successfully by Swift of Tottenham as a projection lens.
Some books dismiss it with 'jokey' references to pictures of the inside of the pyramids, (correctly), but it may
have begun a trend, and modern lenses such as those of Lee and W. Schade (J.S.M.P.E. 54, 337, 1950) can
be regarded as descendants. He regularly wrote in the BJA's.
The editorial in B.J.A. 1932, p146 says it was a 1x1in format with 1.75in focus lens, and reproduces a section
drawing from B.J.A. 1866, showing how the wet plate emulsion was coated and later developed. Dr J. Nicol
exhibited the camera and very big enlargements from it at Edinburgh later. The rear field flattener was actually
the front of the glass cell which contained the sensitive plate. Mr G. Brown obviously felt it rated with many
modern miniatures as their ancestor and equal. And a note in the B.J.P. 07/11/1879, cited 09/11/1979, p1098,
confirms the esteem with which this little camera with 1x1in plates was viewed in Victorian times for making
fine 8.5x6.5in prints indistinguishable from contact prints.
There was a Piazzi-Smyth camera in the Kodak collection at Harrow in 1980 (B.J.P. 26/09/1980).

Andre Pierrat, France.

The series of Drepy rollfilm cameras used Drestar lenses and are listed under Drepy.

Philips, Holland.
They were noted for a folded TV projection lens in 6.0 and 12.0in about 1955.
Also a 100mm f1.5 lens with no iris, probably for CRT recording.

Phoba A.G., Basle, Switzerland.

They are noted for a Titus f5/13.5cm lens No58x in a dial Compur on a 9x12cm Tropiques camera. It is of
unknown source.
This company was noted as the maker of a anastigmat ,Titar' f4.5/13.5cm No15,69x in a black + brass mount
probably from the 1920's? It seems to be a triplet 1+1+i+1 or Q14.

Phoenix Corporation of America, 112 Mott St., Oceanside, NY 11572, USA.

They were note in Popular Photo 11/1999 with a very impressive line up of lenses including zooms and prime
lenses. These were Phoenix and Samyang brands. Examples were 19-35mm zoom, f2.8 28-105mm zoom,
28-300mm zoom or even 100-4000mm zoom. This is a growing family.

Photographic Artist, Charterhouse Square, London, UK.

This was a cooperative dealing in lenses along with other equipment from about 1877 to 1889 at least. (B.J.A.
1887, p12, 1889, p220) They certainly sold lenses but none have been seen so they may be anonymous or
with the lens makers engravings. "Our true view lenses can now be supplied on receipt of order..." They did
also supply Aldis and probably other makes, a case where they engraved their name on an Aldis lens being
noted at auction.
Single View Meniscus.
True View Meniscus.These were supplied in 1/4, 1/2, 1/1 plate, 10x8, 12x10in, 15x12in, 20x15in sizes.
Portrait Lenses (Petzval type) with rack and pinion and diaphragm, these were supplied in:
No 1, CDV ; No 2, Cabinet; No 3, 8.5x6.5in.
Wide Angle Doublet Lens for 90°.This was supplied in 1/4, 1/2, 1/1, 12x10in.
In 1889, the only items listed were the:
"True View" RR in 7 sizes:
4.75in for up to 5x4in, 7.5in for 1/2plate; 10.25in for 1/1plate; 13.75in for 10x8in; 15.25in for 12x10in; 21in for
15x12in; 25in for 20x15in. They were f8 and used Waterhouse stops, but an iris was available at a slight
increase in price.
Rapid Rectilinear Portrait at f6.0
4.75in for 5x4; 8.25in for 5x7in; 10.5in for 9x7in and 12.25in for 11x9in.

Photopia, Newcastle, Staffs., UK.

Importers and agents for many items, including Alpax lenses from Japan noted about 1974. These were a
more expensive series with auto iris:
f2.8, 28, 35, 135mm; f3.5, 200mm; f5.5, 300mm; f6.3, 400mm.
They also supplied a lower price set with M42 screw fitting under the Polar name also in 1974:
f3.5, 35mm, 135mm; f2.8, 135mm with Auto iris. M42
f2.8, 35mm, 135mm; f3.5, 200mm, Auto, de Luxe finish. M42

Paul Piesker, Berlin, Germany.

This brand is scarce/unknown in the UK and seems to have lacked an importer, but rather specialized in sales
in Germany and USA. It was regularly listed in the USA in the 1960's. A possible explanation was that they
were a source of agents label lenses in the UK. One noted in the UK seems to be a prewar lens for a Bentzin
Primareflex so they were apparently active pre-WW2 and this is in keeping with one report which added they
were a relatively small firm. Other notes have allowed more of the production to be collected here. Lenses
were often listed without a makers name and it has been difficult to recognize some of the products eg Voss
and Votar, so the products were listed in several places in Vademec 2 as a result. Initially Piesker was noted
for a TelePicon, f5.5, 180-250mm and other long lenses. (Modern Photo 08/1964, p57). In fact the range
seems to have been a quite extensive one. [The presence of 'Astra' names* here may be in error or suggest a
link with Astro also of Berlin.]
Piconar f4.5 40mm same fitting
*Astra f3.5 100mm
*Tele-Astra f5.5 250mm
Picon f2.0 85mm
Picon f3.5 100mm
Picon f3.5 135mm
Tele-Picon f5.5 250mm
Tele-Picon f5.5 180mm
Votar f3.5 135mm
Voss f3.5 135mm This was used as a bellows lens for M39 (Leica type) cameras.
Tele-Votar f5.5 250mm
Votar f2.8 100mm
Voss f5.5 400mm
Tele-Voss no data
Kalimar f3.5 135mm
M.J.Small shows an advert. with the f2.8/100mm Voss; f3.5/135mm Votar and f55/180mm TeleVotar all
uncoupled and a f4.0/250mm for Viso use. Also f4.5/400 and f3.5/400mm, but although these were said to
adapt to Leica, the means is not specified, but probably was also Viso.
Pignons S.A., Ballaigues, Switzerland.
They are makers of the Alpa cameras, using bought in lenses from many top makers, and listed there. One
"unknown" source lens is the Bol f2.8 50mm used on the Post camera, as the maker has not put a name on
it.

M.Pillischer, New Bond St., London.

A brass lens was noted at auction on a wet or dry plate camera 7.5x7.5in, engraved for M.Pillischer, London.
Mr Pillischer was well known in the 1890's for his microscopes and offered several models then. Thus he could
well have made the lens although he does not seem to be a normal photographic supplier.

Pinkham-Smith- see Smith.

Noted for :
Synthetic f5.6 250mm for 5x7
Portraitf5.6 300mm for 6x9.

Pinhole- see Adams, Watkins.

The use of a pinhole as an image forming device was typically an 1890's interest, but has been an intermittent
interest ever since emulsions were fast enough to record the dim images formed. There have been few
commercial suppliers bar those above. Most books give the subject some mention with practical hints on
making them, outlining the design criteria.The sharpness falls off if the hole is too big, and (due to diffraction) if
it is too small, and there is a broad optimum at 1xL1/2/120, where L is the hole-to-film distance in inches. Thus
for 9in extension use 3/120= 1/40in or about 0.6mm. The edges of the hole must be clean and sharp for good
results. Lummer deduces the Petzval portrait lens was about 1800x faster and 180x sharper. (see Abney,
Instruction in Photography, p106; Camera Club J. May,1890) An excellent modern article is G.L.Wakefield in
B.J.Photo. 31/08/1977, p86+24/06/1977, p87. Laser cut holes are now available in the USA from Calumet for
35mm cameras as well as large format.
A pinhole camera to photograph the lining of the human stomach was invented by F.G.Back et al., B.J.A.
1932, p151 giving 8 stereo pictures at f60-f100 (1/800-1/500in dia. in platinum sheet) on 0.25x0.5in film. The
patient had to take in the batteries and flash source as well. The Gevaert film was enlarged to normal
45x107mm pairs for interpretation.
The subject had new interest in 1999 when a total eclipse of the sun was due in Europe and it was agreed
that an image projected by a 2mm pinhole in a card sheet onto a white card at some 50cm was not just safe
but the only safe way for the public to watch it. Filters, stops etc. all have dangers, and direct observation can
result in eye damage and even blindness.
The term now has another use for the tiny lenses used in surveillance eg where a lens is used to snoop
through a drilling in a wall. A C-mount 9mm example is noted in B.J.P. 17/11/1978 from I.Weinberger,
Foerrlibuck strasse, 110, CH-8005, Zurich with 17 elements in 5 groups and a clear aperture of 3mm giving f4-
f11 with a smaller version also for Vidicon tubes.

A. & J.Pipon, France.

They sold a "The Canny" camera in 1913 with RR's by A. & J. Pipon, possibly bought-in.

Plagniol, France.
He is reported to have made a Portrait lens 12in dia. which was used by W. Thompson and Bingham for life
size portraits on wet plates 80cm high, in 1855. (Eder).

Plasmat Gmbh, Berlin, Germany.

Dr Winkler designed a special camera, the Roland, for the f2.7 Plasmat, and it was made in succession by
Plasmat Gmbh, Kleinbild Plasmat Gesellschaft, Dr Winkler and Co Berlin; and finally Rudolph and Co Berlin.
While the cameras vary in detail, (the early ones have a optical exposure meter), all have the f2.7/70mm
Plasmat for 4.5x6cm. This leaves a question open as to who made the lenses, which do seem to have been in
production by Meyer at the time but not necessarily in this size.
Plastic Lenses
The first plastic lenses were probably made from Perspex ex ICI, UK when a piece was rescued from a waste
tip and formed into a lens by Mr A. Kingston (1891-1974) in 1933/1934, the product being about f32/ 12in. A
patent was filed in 02/1934 and the first application was as the finder lens of the Purma Special 4x4 camera-
not the taking lens which was a glass Beck triplet.(see Amateur Photo. 12/04/1972, also J. Fenton, The
Journal of the RPS, 11/12 /1982, p4,5.) It lead to opthalmic lenses, and the Kingston cameras for 127 and 120
sizes as well as the Purma finder.
Use of plastic was well established by the time of the f1.9 lenses on the Ektramax 110 cameras, but
B.Sherman in Modern Photo 09/1978, p21 notes that A.Cox had tried and discarded plastic wel before due to
a haze round the core of the image point. [This may have related to limited homogeneity in the plastic, ie
variations in R.I.] By 1978, Kodak seem to have made more homogeneous plastics and also made them in
smaller components, limiting the problem.

Plaubel and Co, (Optima Gmbh.), Frankfurt/am/Main, Germany.

In 1928-32, the maker and supplier was Wauckosin & Co., Frankfort on Main, Germany.
Later, some cameras were marked Schrader.
Plaubel publicity material says they were founded by Hugo Schrader (1873- 1939) about 1902, initially as a
distributor, but produced a camera under his own name in 1910 though it is possible it used some parts from
Linhof- the rack seem characteristic. No UK agent was appointed until about 1932-3. A complication is that
the early adverts. were from "the Maker" Wauckosin and Co of Frankfort, who also sold a Warranette folder
with Meyer lenses. (B.J.A. 1928, p352), but it is thought they were actually agents. An advert. in B.J.A. 1935,
p580 says they (Plaubel) were 30 years old then, ie officially founded in 1904-5 perhaps. H. Schrader was
succeeded by his son, Goetz Schrader (1907- ?), who worked in the firm from 1931, and finally sold to Doi
Group, the Japanese agents, in 1975. Later Plaubel cameras do not have Plaubel lenses from about 1960, and
it may be the lens aspect ends about then.
Plaubel seem to be best known for press cameras with pull-out fronts called Makina and Stereo Makina from
1912 but they also made plate cameras at least from 1910 with a Peco 3.5x2.5in plate in 1928, fitted with an
f3.2 Anticomar at £10.00 or a 1/4plate with f2.9 Anticomar at £15.00 (B.J.A. 1928, p527). This was a City Sale
and Exchange advert. and some product swapping is just imaginable here. And much later, there were Peco
monorail cameras, some of the latter being quite unusually neat and compact. There were some aerial
cameras also, after WW2. Thus they were not restricted to making lenses for the Press cameras, though
these certainly were a large part of their known optical output. Experience has shown up a handful of lenses at
least for 9x12cm Pecos as above, and also including Anticomars mounted on eg. a Thornton-Pickard 1/4 plate
and German 9x12cm cameras.
The Makina press was initially used with an f3.2, f3.0 or later f2.9 Anticomar, and these first were probably 3-
glass triplets. The optical equipment was progressively upgraded first with a 4-glass version of the f2.9
Anticomar and then adaption about 1935 (B.J.A. 1935, p306) on the Makina II so the front and rear
components of this were both removed to fit similar components of wide and long focus lenses. Here the key
factor was the design of the w/a and tele lenses needed. But this way of changing lenses was tedious and
Plaubel went over in 1936 to mounting all the glasses in front of the shutter- any optical compromise over this
principle being overwhelmed by the increased convenience. But it did mean they always had to fit a really big
Compur and this often limited the top shutter speed available until large Compur Rapids were available. It did
mean that the front now pulled out less by about 16mm to bring the 100mm to focus on intinity. And several
lens designs had also to be revised in 1935. In the 1939 issue of American Annual of Photography, several
pictorial workers had used Anticomar lenses with success- ie it sold outside the Press users. After his death,
the work of Fr Frank Browne has proved of major interest, with pictures taken in France in WW1 and on the
Titanic on its last voyage from Cherbourg to Cobh and published in Fr Browne's England by Wolfhound Press,
review B.J.P. 11/12/1996 and he was a long term Makina user.
Postwar at least they made large format cameras including a Peco monorail for 9x12 and 5x4 (from 1952,
MCM, April 1953, Sept 1955 in the UK) and later a series of Peco Universal and Supra monorails with round
rails, and interchangable backs for up to 13x18cm (5x7in), updated as Model II in 1956-8, and Model III in
1960, now up to 10x8in, and Profia for up to 10x8in in 1966-8; and made a wide angle Veriwide and
SuperWide in 1960 with Schneider Super Angulon lenses. They considered a rigid sports camera and a 16mm
Makinette (in 1958), but the next really relevent item was the Makiflex in 1961, sold with a Schneider Xenotar
lens. This was related to the Pecoflex of the same time, and was listed with Schneider Xenar 150, Xenotar,
TeleArton, and TeleXenar lenses as well as ZI/V Apo Lanthar lenses. The classic Makina continued to 1960 as
the Makina IIIR with Plaubel Antocomars but Herr Schrader then felt that the product had reached the end of
the line. This may represent the end of the well known Plaubel lens line at least as such. However after the
sale of the business to Doi, they designed a new Makina 67 with Nikkor lenses to produce a camera which
was an exceptional performer and which was still very compact unit
.
Dates:
No54,49x and 54,49x were noted on a StereoMakina about 1926.
No 84,00x was noted on a f2.7 Anticomar on a Makinette leaflet 1931 or later.
No70,43x was noted on a leaflet for a 'improved Makina 6x9cm' from 1932.
No94,32x was noted on a leaflet for the Rangefinder Makina, made from 1933.
No94,26x was noted on a leaflet for a Rollop II (R/F) made from 1935.
No97,291 is a f2.8 Anticomar on a Rollop II, in Compur 0 No3,645,10x c.1938.
No97,915 is a w/a Orthar 75mm in Compur 1 No3,187,66x c.1936 This suggests Cpr 1 was
then in the same number series but about 1 year later in making than Cpr 0.
No 102,000 is about 1948-1948, as shown by the Makina IIS below.
No119,000 is about 1952 from the Makina III below.
Early Lenses.
Planatograph, This was an unknown lens on Premo, c, 1902.
Periscop f11 This was a 2-glass lens noted in 1914.
Peco Rapid Aplanat f7.0 ?RR, Q5.
Orthar
Lux Orthar Orthar was a long running trade name usually for symmetrical designs, being used later for a
wide angle Gauss lens on the Makina camera. Many were 4-separate glass designs, possibly a Gauss or
Dialyt. It seems to occur under several versions of the names as follows, and these are partly owing to
translation perhaps. Frerk refers to their good corrections and the use of an unusual order of glass refractive
indices.
(1)Doppel Orthar Portrait f4.5 Frerk quotes an f4.5 as covering 13x18cm with an 18cm lens or 75°.
(2)Dux Orthar This is also an f4.5 and may be the same lens. Dux and Lux look like a printers error.
(3)Lux Orthar This was a 4-separate glass design, possibly a Gauss or Dialyt.
Doppel Orthar f5.4/f6.0This may be the same lens. Frerk list a f5.4 Orthar as covering 80°
Heli Orthar f6.3 or f5.2 Layout Pla001. The rear drawn is three glasses and Frerk says the
design in 1926 was legally protected, ie probably subject to a patent action. The rear cell was usable on its
own, and so can the front, so three foci are available. The complete lens was well corrected and compared
with other lenses such as Q15. It was classed as a wise amateur purchase but was deleted by 1926. The f6.3
covered 90° so a 18cm was used with 13x18cm, and the cells separately gave also 41cm (front) and 33cm
rear. It seems to be a rare lens, at least in the UK.
Doppel Orthar f6.0,f6.8Q9, Pla002. The f6.0 was used in 1920 on the early Makina, and was then
the slower version to the f3.0 or f4.2 Anticomars.
The same name is used for a f6.0 60mm for Makina Stereo (c.1926) and is listed by Frerk as a Dagor Q9 type
lens. He suggests 18cm for 13x18cm, which will also cover 18x24cm at f25. The greater speed was due to a
new choice of glass.
Anastigmat f6.8 This was a general purpose lens.
Triple Orthar f5.2 or f5.5 in the longer foci. Frerk says this keeps all the good properties of the
Dagor design.This may be the basis of the next item, or:
Satz Orthar as lens sets. f6.0 This may be the strictly symmetrical version of the f6.3 below, since in these
lenses the aperture varies with the cells in use. Thus there may be also an f6.3 and an f6.8, and an 18cm
offers 2x34cm cells or 34cm front and 40cm rear cells, but the aperture is slowed to f6.8 when the longer rear
cell is fittes.
Satz Orthar Casket Sets f6.3, f6.8 in sets A, B, C for 9x12, 13x18, 18x24cm. Each has 3 cells. The Satz
Orthar was a 4+4 glass symmetrical anastigmat, rather like the Suter design. It was sold as single lens pairs,
and as Casket sets, hence the Satz. It had good corrections and seems to have been a personal favourite of
Frerk. It is suggested to use 18cm for 13x18, but at f25, this will actually cover 18x24cm. or 90°.
TelePeconar
TelePeconar f9.0 an adjustable tele (rather after the Dallmeyer Adon or Telinear of Rietzschel?)
which at 3x gives 390-1440mm, the aperture presumably varying with the focus. The trade name seems to
have been reused in the 1930's. One seen was described as "the compact type in a dial set Compur", and this
may have been a 1920's version.
Tele-Peconar f5 This was one type in 1926. It was noted for 9x12cm in a sales list.
Anastigmat-Tele-Peconar f3.0-f4.5 This seems to have had variable magnification. It confirms collector
experience the these do vary in type.
Wide Angle Orthar f16.5 Anastigmat type, Q7?
Wide Angle Orthar f6.8 73 or 75mm 4-glass Gauss for 6x9 Makina, etc. in various applications, it
can cover 100°. It was seen at No97,29x, in rimset Compur shutter and will have sold as a separate lens not
for Makina in this case. This was already made in 1926, and seems to be close to the next lens.
Pekostigmat (or Pecostigmat in English) f6.8 This was a 4-glass Gauss It is also in Frerk's 1926 list.
Plaubel Anastigmat This seems to be the same as the above f6.8 types.
Makinar/Anticomar
The Anticomar is so closely associated with the Makina press camera that these are taken together.
Makinar f4.2, f4.4, f4.5, f4.8 This may be Q9 type, mentioned in Frerk's book. It covers 78-88°
and the 18cm covers 13x18cm or 18x24cm closed down. The lenses actually were 6cm, f4.2; 7.5, 9.0cm,
f4.4' 12-18cm f4.5; and longer, f4.8. It may reemerge as the f4.2 Anticomar at least in market position.
f6.3 (This is listed in H&D but no further details are available.
Anticomar This was made in several maximum apertures, with f4.2 listed as the large format lens and for
6x9cm as possibly the select version on the Makina. It was already offered in 1926, but f2.7 f2.8, f3.0, f4.5
and f6.3 were also made. Anticomar was a 3glass triplet type in some early designs, but was normally a
4glass Q15. The f4.2 covers 13x18cm with a 21cm lens, which covers 13x21cm at f12.5.
A late list was in B.J.A. 1954, p597:
Anticomar f4.2 150mm
Anticomar f4.2 210mm
Anticomar f4.2 300mm and these were listed with the 'Peco' monorail in 9x12cm or 5x4in sizes.
The f2.9 was produced later than 1925, but still in the mid-1920's. It was noted as used on a Curt Benzin
Reflex in B.J.A. 1928, p305 as f2.9 for 3.5x2.5in but this was unusual. The f4.5 was a Q15 type as layout
App047 shows.
Anticomar f3.2 This was noted in an old list as a 10cm lens on a 9x12cm camera at No5482x. It
was listed in B.J.A. 1925, p564 on the Makina and must be the earliest version of the f2.9. (If noted later, it
could be a misprint for f4.2.)
Anticomar f3.0 This was on the VP 4.5x6cm Makina in 1925 (advert B.J.A. p564) and must be one of the
earliest versions.
Lenses for Makina Press Camera.
The Makina goes back at least to 1912 in 4.5x6cm, and early lenses in the UK are the Anticomar f3.0 on the
VP and f3.2 on the 6x9cm version both in the B.J.A. 1925, p564advert. It is likely these were both 3 glass
lenses.
The early adverts place as much emphasis on the VP as the 6x9cm model and it was a matter of time to see
which was the success. (B.J.A. 1926, p554 City Sale advert., p790 Waukosin advert. as WARA Plaubel
Makina) and the B.J.A. p353 says the definition and covering power at full aperture are fully up to modern
standards and the freedom from ghost images is a real merit.
These were naturally uncoated prewar. Prewar there were three series, first where they were essentially a
fixed lens camera, then secondly, where both front and rear cells had to be removed to change lenses and
then thirdly from about 1938, they were a single unit in front of the shutter. This came in on the Makina II or IIS
(B.J.A. 1938, p260) and meant a redesign of the Anticomar 10cm (at least of the mount) and the sale of a
f4.8/19cm Tele-Makinar S in place of the older Tele-Makinar f4.8/21cm. They are still not coated at No102,23x
for a Orthar on Makina IIS in 1948-9 but the Anticomar No109,91x seems to be an early coated lens. A more
modern coating is in use on a f4.2 Anticomar at No119,23x and Orthar at No121,90x, which were sold on a
late type III body about 1952-3. The later lens uses normal f-numbers, as f5.6, f8 etc while the earlier used the
continental series f4.5, f6 etc and is also less easy to read.
Note that these postwar lenses have external male filter threads 45x0.5mm and use many 42mm filter holders
reversed. Also that the types with the lens changing in front of the shutter use a 3-start thread, which may be
a factor limiting non-Plaubel lenses being used (none are noted). Users say it is best to regard lenses as
matched to bodies and not to exchange them freely, though the lenses tried seemed to register correctly as if
they were of standard register for each focus. However one f2.9 (ex-IIS) Anticomar refused to enter the mount
of the other Type III camera, although all the lenses fitted the other. (The infinity catch plates on the top of the
front panel are said to be exchangable, but again with care.) No TeleMakinar was available to examine.
The special series were:
Anticomar
Anticomar f3.0 This was for the Makina cameras in 1920, (B.J.A. 1925, 564advert.) and
seems to have gone over to f2.9 during the 1920's. Thus it was noted on a Baby Makina as f3/7.5cm No45,496
and 47,80x.
Anticomar f3.2 This was the version offered in B.J.A. 1925, p564 for 6x9cm and was probably a
triplet. It has not been seen.
Anticomar f2.9 100mm for 6x9 on the press camera. (Layout Pla003)
(a) The earliest lens seen seems to be a 3-glass triplet. Certainly no faint reflexion was noted from the rear
component (and it was noted from the later examples of the lenses.) This was at No. 68,53x, and was a
reasonable but not very striking performer, but may be about the earliest of the 3-glass f2.9 lenses. The fitting
of an f2.9 in this shutter seems to have required a larger thread of 34.5mm dia, x0.65mm pitch but there are
only a few turns of this thread in the front of the Compur, which is actually almost a conical thread. Further in,
the thread shrinks to about 32mm dia. This can make fitting new lenses 'interesting', but a 9in Dallmeyer
Dallon was installed as an alternative lens and covered the frame very adequately. It probably was an easier
operation than cutting the 3 start thread of the later models. It was set to focus at Infinity at the same setting
as the Anticomar but the lens will have to be actually focused on the screen.
Fig 007 005 Plaubel Anticomar f2.9/10cm No 68,530 in Dialset Compur on Makina I. also replica (Dallmeyer)
tele.
(b) It is certain that they upgraded very early to a visibly 4-glass Q15 type, as in Pla003 and this was probably
from 1932 on the new model Makina with rimset Compur and is the type normally seen. Normally these early
types have two glasses in front of the iris, and the rest of the glass behind.
Fig 007 011 Plaubel lenses not on Makina: Anticomar f2.9/125mm and Orthar f6.3/73mm in dialset Compur.
(c) After 1936, all the glass is in front of the shutter, and the lens is easier to change as it all unscrews from
the front as one item. To allow this, the front panel pulls out less far than in the old type, by a difference of
about 16mm. This involved a redesign of some of the lens line, and this seems to have included the Anticomar
(B.J.A. 1938, p260). However it probably most affected the Tele lens, which was shortened from 210mm to
190mm and was now rated as the TeleMakinar-S. (One list gives a focal length range of 75-180mm for the
Anticomar as a 4-glass Q15, but only the 100mm was for Makina.)
007 007 Plaubel Anticomars (l) f4.2 and (r) f2.9/100mm and (front) wide angle Orthars for Makina II and III.
The Anticomar and to some extent the other lenses were the subject of some controversy in the old days.
They sold well, and those seen resolved a lot of detail but with a rather high flare level. In the old days authors
said "Not sharp" (See note in Modern Photo. 10/1964, p64) and this is partly born out by limited personal
experience. But they must have suited users in the old days and were successful with exhibitors (see above)
and the explanation may be that press work at least the negative was not enlarged much and the coarse
screens then used destroyed any fine detail, so that the lenses were in fact all that the users needed. It must
be added that a very decent 10x12in print was possible from a negative taken at f2.9 with the 125mm lens
below. And use of the 2 cameras available gave very useful negative quality. Really the situation seems that
they were good lenses but not for some types of work, and lacked the ultimate detail of the best but normally
slower lenses. One question must be: why so fast a lens? since the Makina used Compur shutters with rather
modest top speeds so that the f2.9 would have often merely been speed in reserve. One answer was that
Plaubel supplied a focal plane shutter for high speed use as a clip on accessory. It is rare and this suggests
that few users felt the need for it.
Anticomar f2.9 100mm,( 125, 150, 165, 180mm) Seen at No51,36x for a 165mm, this is a
Q15 type, and is still a rather flary lens. Was it off a 9x12cm Makina or another type of camera such as a
Peco plate.? Well, no 9x12cm Makina has been noted but other Plaubel cameras were made.Probably no! As
above, Plaubel lenses sold or were mounted for other makes and they seem to have made other sizes, rather
than just the Makinas for which they are so well known. A f3.2/100mm No542,82x was mounted for 9x12cm
and a T-P 1/4 plate got a 150mm one. An 18cm f2.9 Anticomar has been noted for Primarflex but may be an
old lens remounted. (MCM Oct 1946). The H&D list says it was in 75-180mm but without further application
details, but note two above.
It has been noted as f2.9/100mm at No112,69x on a Makina, and on Makina III (late 1940's) as No115,33x,
and IIIR at Nos 101,69x and119,31x.
(a) There are references to the very first as a 3-glass design, and other makes at the time make the use of an
f3.0 triplet for Press use quite normal.
(b) There seems to have been a change to a 4-glass Q15 design about 1931-2, while still on the Makina I. This
should have lead to a real improvement in performance but was given little publicity and is now rather forgotten.
(c) The range was given interchangeable lenses by exchange of front and rear cells before 1935. This is
indicated in B.J.A. 1935 p306 on the Makina II although updates of Makina I to II ocurred and this may or may
not have involved attention to the lenses. This is said from the literature: an early Makina with a 3-glass f2.9
has provision for a wide angle lens, but the distance scale is not calibrated and it does seem to be a update or
conversion.
(d) Later in 1936, the Makina IIS was altered to take complete lenses in front of the shutter, with a decrease in
the register, and this involved lens changes, especially to the TeleMakinar but probably also to the Anticomar.
Tentatively one factor regarding sharpness may be that the Makina does not really have a normal tripod
mount. Plaubel sold an excellent base plate which was clamped on using the two 1/4in screw sockets and
was provided with a central tripod socket, but it is rather scarce. A replica plate was made and the
f4.2/100mm used on a tripod under careful conditions. The sharpness was excellent. It was then used
handheld but still mounted on the plate and the results were nearly as sharp. But after removing the plate,
there was a definite decrease. It may be that the lenses often suffered from slight tolerances in the mounting
and rigidity of the bodies, especially when well used. This would be most acute with the big f2.9 lens.
Anticomar f2.8 This was listed for the older VP size Bebe Makina as a 75mm lens (eg at
No55,16x) and on the Rollop, but not in larger sizes. (B.J.A. 1928, p353). An example on Rollop was
Anticomar f2.8/7.5cm No97,91x (in nickel Rimset Compur No3,187,664, c.1936) and 99,22x. The carefull
examination of the rear cell shows two bright reflexions only. It was a scruffy, worn and neglected camera, and
not a fair one to test: but it turned in really good negatives used as a 'holiday snapshot' at f8 or less- the
aperture limited by the top shutter speed in bright sunlight and it was clear that the lens would be a really
useful one at least in this way. The adverts. stress the 4-lens design they now used. (B.J.A. 1936, pp 273,
623advert., 1937, p647advert.).
Fig 007 010 Plaubel Anticomar f2.8/7.5cm No 97,915 on Rollop.
Anticomar f2.7 5cm lens on the 3x4cm Makinette VP camera, lens noted at No85,47x. This
was from about 1931. The Makinette was noted in B.J.A. 1933, p275; 1934, p271. These are rather scarce
and desired, especially with the Supracomar (below).
Anticomar f3.5 70mm on 6x4.5 Optima folder (1934). This is not listed late
pre-WW2.
Anticomar f4.2 100, 150, 165, 300mm The 300mm covers 10x8in. These foci were
noted in a B&J list in 1954, p597 Advert.
f4.2 100mm for 6x9cm. This was the version for the customer for a Makina
seeking a sharper lens than the f2.9, but sadly is a much scarcer lens. It is not mentioned in the B.J.A. 1938,
p661, 1939, p668 adverts. which are detailed ones and it may be a postwar lens and the one forcaste below.
(There have also been reports of an f4.5, eg a 30cm in H&D but the lens has not been seen.) Thus a very
sharp version for reproduction and other work was promised in Photofreund 1941, p101, so there may have
been an new version coming and stopped by the WW2 and finally appeared as the f4.2. The f4.2 has been
noted on Makina III at No117,54x, and No117,45x, 119,23x on body SH51/117x, and (unspecified)at
No116,77x. (Incidentally these cannot be dated from the Compur number as it seems to be buried inside the
front panel in the Makinas seen). There is a hint here that later Makinas tend more often to have the f4.2 as
film speeds had risen by then and the f2.9 was less needed. The rangefinders couple only to the 10cm lenses-
other lenses need the scale to be read and transferred manually.
Anticomar f3.5 100mm on Aerial camera (1955) eg at No121,28x.
Anticomar f2.8 75mm on Baby Makinette, and Rollop.(about 1935).
Antocomar f2.9 90mm on Stereo Makina.
Anticomar f3.9 60mm on Stereo Makina.
Antocomar f2.8 75mm on Plaubel Rollop.
Anticomar f2.7 50mm on 3x4cm Makinette Q15 type, about 1927.
Neocomar f1.8 No details, this was possibly for cine.(See H&D)
Wide Angle Orthar
Rapid Wide Angle Orthar f6.8 73mm for 6x9cm (Layout Pla004)
This was a wide angle Gauss type. It was the normal Makina wide angle for many years, and was noted at
Nos 117,72x, 117,81x, 116,86x. A non-Makina example was No97,29x in rimset Compur Nr3,645,10x about
1936. No102,23x was on a Makina IIs from 1948-9 and was uncoated and No121,90x was on a Makina III
from about 1952-3, and was coated. On purchase, look for the optic to correct the viewfinder for the wide
angle! Of two examples seen, one seemed sharper than the other: the difference might be due to errors in
mounting but it may well be worth seeking a late coated example and carefully checking the focus adjustment
here.
The curves seem to be the same externally back and front, so it is highly symmetrical, and they also seemed
to be the same in prewar and postwar lenses, not surprisingly. On a 5x4in camera, a pre-war example covered
about 9x12cm, so it has uses not applied in the 6x9cm Makina, but it clipped the corners of a 5x4in format,
though only by a few mms. Users like it, eg for architecture, and regard it as really sharp.
SupraComar f2.0 45m (or 50mm?) on 3x4, 6x4.5 Makinettes, this was and is a scarce and
desired lens. It was noted as a 45mm at No84,008(?), and 91,94x. It seems to be a 6g/4c Gauss, see B.J.A.
1934, pp 271, 584 for the launch.
Long Focus TeleMakinar
The normal focus tele was 19cm (about 7.5in) judged from auction catalogues. This 19cm f4.8 was noted at
117,63x, 118,98x, and 116,89x. These were all on Makina III or IIIR cameras. It seems the Makina IIS where
all the optics were in front of the shutter needed a new lens and the only tele listed became the 19cm f4.8.
A much older example was f6.3/21cm No97,29x in an early rimset Compur shutter. The adverts. suggest this
was fitted to the Makina 1 and II up to 1938, when both back and front cells were changed to fit a tele. And
before that, there was an f5.4/21cm TeleMakinar in the B.J.A. 1937, p646. It may have been very shortlived as
it was not in the 1936 advert. and ended when the new model Makina III came in. So it was probably made for
one year only, and for Makina II only!
The tele fitted to a Makina needs to have a rather small rear glass and nest into the shutter- and have the
correct register. Thus it is not easy to find other makes to fit in place of the real thing! In fact, the Plaubel
designer had to meet a fairly tight specification of rear glass size and back focus as well as designing a sharp
lens. It seems to be the least easy to find of the group of Makina lenses and was not actually seen. Makina III
has the field of the Tele marked on the finder glass. [Incidentally, there do not seem to be non-Plaubel lenses
to fit Makina mentioned in the old adverts.]
TeleMakinar f6.3 210mm This was for 6x9cm on Makina 11 (B.J.A. 1934, p584)
It was made in 15-250mm
TeleMakinar f5.4 210mm in 1937 advert.
TeleMakinar S f4.8 190mm This was new in 1938 in the 'new' Makina 11s
mount. (Layout Pla005) It may be that the -S was only used for a short time until the product was
established.
TeleMakinar-S: it has also been noted as the f6.3/19cm.
TeleMakinar f5.4 500mm This shows the extent of the Plaubel range, apart from the
6x9 camera. It will certainly not fit the Makina!
Supracomar f2.5 80mm for Makiflex, mid 1950's.
Note that the Makina III (6x9cm) instructions list Anticomar f2.9/10cm, f4.2/10cm; Tele-Makinar f4.8/19cm and
Rapid wide angle Orthar f6.8/7.3cm only.
Close up lenses were T1.5 for down to 65cm (2ft 2in) with the 10cm, lens DIN for down to 45cm (16.25in) and
lens R0.1 for small object natural size ie. 1:1.
Makina 67.
This was a modern Makina with modern lenses ?in Photokina 08/1976 made with quality about which there
can be no question. It was made after the link with DOI ('newly aquired' in Modern Photo, 04/1976 p46; B.J.P.
08/05/1981 p474). The original idea seems to have included lenses by Schneider as well as Nikon. Thus there
was a Proshift 69 with f5.6/47mm Schneider Super Angulon.
Nikkor f4.5 55mm 6g/4c on what was an interchangeable lens camera.
Nikkor f2.8 80mm This was rated as 'Excellent', and was in Copal shutter.

S. Plossl, (1794-1868), Vienna, Austria.

Simon Plossl was a well known optician in Vienna, and Eder says he made a "great number" of meniscus
lenses rather along the lines of the Chevalier type in the earliest years. They were appreciably faster, with
improved radii of curvature. He had trained with Voigtlaender, from 1812-1823, when he set up on his own. It
was in 1839 that he made the first Wollaston-Chevalier type lens from a German speaking country. He
pioneered achromatic microscope objectives.
Polaroid, Cambridge, USA.
The process goes back at least to 1948 or before when Land demonstrated a 10x8in prototype to the Press
and promised popular products to come. By Feb 1949 finished cameras were available, for 1/4plate. (MCM
Feb 1949 p114) Most of the lenses fitted to Polaroid cameras seem to be triplets giving fine performance in
line with the product. (Pol002)and others could be meniscus lenses (Pol001) due to the high speed of the
films. The lens enthusiast however has long noted that the Pathfinder 110/120 cameras, now obsolete, were
fitted with very desirable lenses of Q15 type and these have often been cannibalized as the cameras went out
of use. These are modern coated items and those noted have been:
On 110 Wollensak f4.5 127mm
On 110A Rodenstock Ysarex f4.7 127mm
On 120 YashicaYashinon f4.7 127mm
- Tominon (?) no details.
The Yashinon at least is in a Seikosha shutter marked 'Pathfinder Land Camera' to make recognition easy. It
was seen at No10,302,63x
Another due-to-be-famous item is the triplet with a adjustable centre 'glass' made of a large disk which rotates
to adjust the focus, the periphery offering different powers to focus.
A large Polaroid unit was used to record the Raphael Transfiguration in the Vatican. It used a 600mm lens at
1.2m ie at about 1:1 on 50x60cm as 16 sections. Also for the whole painting, a f20/2000 lens designed by J.
Baker and W Plummer was used- 38cm long, 20cm dia and over 23kg weight. (L.A.Mannheim, B.J.P.
02/05/1980, p432-3). Polaroid have obtained a number of optical patents and these include a compact
telephoto lens of 4g/2c design (B.J.P. 21/03/1980)

(Poland)
A Polish lens was used on an WFZO Alfa-2 camera, as Emitar f4.5/45mm at lens No1135x.

Polaris
The agent or supplier in 1973 seems to be St James Photo Press, 24, Northways Cresc, Swiss Cottage,
London NW3-5DN
The trade name has been noted on a series of Polaris Zooms, and they may have been introducers of these
at budget prices. They were sold by May 1964, for a 90-190mm lens, but the specification was not given in
detail.
Polaris f7.0/95-205mm for M42.
Polaris Autozoom f4.5 70-230mm
Polaris autozoom f5.8 90-190mm
Polaris Autozoom f3.5 45-135mm
By 04/1973, they had a Polaris f1.7/85mm lens in fully auto mount for most cameras, compact and focussing
to 3ft, and of 6 glass/5 component design, ie a Gauss with G2 and G3 airspaced. G5 is rather thick.

Pontiac, French Morocco.

See advert. in Photographic J. 3/1951, pxiii, where a Pontiac Baby Lynx has this description, but the lens is
a Berthiot Flor f3.5/50mm.
Societe Pontiac fitted Pontiac f4.5/102 and f4.5/105mm lenses to the (102mm) Bloc Metal folder in 1941,
and the Bakelite in 1939 and the 105mm to the Pontiac Special Model 3 in 1941.

Ponting, H.G.
He was an important photographer and traveller with a fine lens outfit eg. in Japan, and went on Scott's
Antartic Expedition. He developed an optical distorting camera noted in B.J.A. 1935, p215.

Porro, I. (1801-1875) He used a telephoto combination as early as 1857 (or 1869?) to photograph the
eclipse of the sun and for terrestrial use and this may have been the first use of a tele unit. (Frerk quotes Borie
et Tourmire but others have given the information). An artillery officer with an interest in instruments and
surveying, he devised two or more types of prism to erect an image which were important later in telescopes,
and binoculars, and the ridge prism idea is in the modern SLR prism.

Porst (= Photo Porst), Germany.

It is thought they are major dealers with own label brands, and they used the T.N. 'Hapo' for some products,
and the lenses were then 'Haponars', etc.
Haponar f3.5 on Hapo 6x6cm probably made by Balda.
Haponar f2.9 50mm on 35mm Hapo 35.
Haponar f4.5 50mm on Hapomatic in 1965.

Porta, Giovanni Baptista della

He was an early optical pioneer, long pre-photographic, whose work made the Camera Obscura better known
(1558). (E.S.Lothrop, Pop. Photo. 01/1976 p39.) van Monckhoven notes a camera obscura with a planoconvex
lens of crown glass working at f20-f30 with a severely curved field.

Portland Soft Focus Lens

This was designed in the USA by W.H.Kunz and was sold from 1912. For a description of the use of it see
Amateur Photo. 04/01/1913., B.J.A. 1914, pp1064, 742. It is a large diameter landscape achromat with iris
well in front and closing from f4.5 (6in) or f5.6 (other sizes) and down to f16. Thus it is a dual use item either
as a soft portrait lens or a sharp landscape lens. It is recommended to use 6.0in for 5x4in., 11.5in for 10x8in.
It is well corrected for colour by 1920's standards. It was listed in 1920 by J.A.Sinclair as follows:
Portland f4.5 6in
Portland f5.6 9.0, 11.5, 15, 18in.

PPE, UK
This may stand for Pilkinton PE Ltd who were makers of advanced designs for defense purposes.(B.J.P.
05/10/1979 p965).
PPE Ltd were the source of a very solid f6.8/272mm lens No100,06x, possible from a reprographic unit. It has
an iris f6.8-f32, possible a 4-glass Gauss type? Another was a similar f6.8/210mm at No1342 purple coated
and also 4g/4c design.
Fig 007 030 PPE f6.8/272mm Process lens(?).

Praotar
This was a small series of long lenses for SLR cameras sold by Dollond & Newcombe of 41 Old Bond St
London W1 in June 1967.
Praotar f6.9 300mm 2 element design, 8° angle Preset iris?
Praotar f8.0 400mm 2 element design, 6° angle Preset iris?

Prazmowski, France?
An RR by Prazmowski is mentioned on a LeBlond camera for 1892 in FBB.

Premier Optical Co., London, UK.

Lambor Tele This was an adjustable tele, scaled 2, 4, 6, 8 and adjustable much like the Adon. It has a
38.8mm thread, and seems to be a budget item.
Fig 008 066 Lambor Tele by the Premier Optical Co.

Premo Camera Co., Rochester, USA.

(a sub-division of Rochester Optical Co.)
1898 Victor RR
Single Achromat
Victor Wide Angle (WAR?)
They were also agents for many well known makes.
Pre-Photographic Lenses
At present, one source of press comment has been the idea that some of the classic artist drew their work
initially with the aid of lenses or pin hole devices. It was first floated out as a suggestion for one of the classic
Flemish artists but David Hockney has extended the idea to a wide range of artists (The Times, 08/02/2000,
p19) including Caravaggio, who tended to work in a 'cellar,' Velazquez, Vermeer and others. Admitted
problems are the lack of evidence in their own and others' writings, and the absence of the actual lenses which
should have been valued items. Equally later drawing equipments such as Camera Lucida are well known and
are valued auction items in several forms.
There are well documented studies of spectacles as they do show in portraits from an early date and the
reader is referred to specialized texts. Such technology might well have led to long focus lenses of about
0.5D= 500mm suitable for use in drawings, as above.
A long and exhaustive account of pre-historic optics is in R. Temple, 'The Crystal Sun' Century London, ISBN
0 7126 7888 3, published AD2,000 pp 3-41 and Appendix 2 pp455-482. This is one of the first general listings
of lenses from early sites. What is surprising is that a technology which seems to have been well established
in several places to make eye correction lenses, burning glasses and cauterization glasses should have died
out so completely. But it does seem that polished optics disappeared for many centuries in early Christian
times.

Press Lenses
The large format press cameras of the period 1900-1950 approximately were initially fitted with conventional
lenses such as 4-glass Gauss and Dagor types, but quite quickly the f4.5 Tessar or its imitators became the
lens of choice for most users. It was contrasty, sharp and ideal in most ways. But the plates then in use were
very slow, and there was increasing pressure for news pictures of sporting and social occasions where the
light was really poor.
The result was the development of a group of big fast lenses, where some 38-65mm was the diameter of the
front glass. This includes a f2.9/4in or 5in lens such as a Dallmeyer Pentac, and the biggest, which may be
the f1.9/135mm Rietzschel Prolinear. Others included Carl Zeiss Tessar f3.5 and Tessar f2.7, Zeiss BioTessar
f2.8, f2.0 TTH Opic, f2.5 TTH Speedic, f1.8 Ernemann Ernostar and possibly the f1.5 Meyer KinoPlasmat,
though it was usually in shorter foci. All these must have produced real problems of weight and bulk, and been
very hard to focus due to the small depth of field- and been a worry for the camera maker as the register and
focusing scale were subject to unusual demands for accuracy.
In a modern comparison, these lenses were sharper, at least in the centre, than expected, all giving at least a
10x12in print of good quality, though the edge was not examined and was often known to be much less good.
Few or none would match a good f4.5 of the period even in the centre. Thus they were not really a good choice
to adapt to a smaller format camera, though a number such as the Ernostar were so adapted in later years. In
particular, the image quality of the Prolinear seen is "unusual", and almost like a soft focus lens, the image
having a crisp core with a halo round it. It did print surprisingly well however and like all these lenses some
care is needed over exposure level and in printing. None of these is really common, and it must be said that
some were far from new so that the performance may have been below par.
Typically the better equipped men had a wide angle lens as well, often a 80 or 90mm 4-glass Gauss type and
perhaps a medium telephoto, but it is though that the general level of equipment would seem very simple to
modern workers. It was only on special occasions such as Coronations or big race meetings that elaborate
stands with long lenses were created.

Price, Lake.
His book (published 1868) was one of the oldest noted in M. Wilkinson's collection, and is a general one on
photography with a very useful chapter on lenses.(pp c.27-55). It is less technical than van Monckhoven's and
shorter, but covers the ordinary achromatic meniscus, Dallmeyer's Triple Meniscus (as the New Single
Combination Landscape Lens), The Ross Collen Portrait lens, The Petzval Portrait, and the Dallmeyer (Patent)
Adjustable softness version, the Petzval Orthoscopic, the Dallmeyer Triplet, the Ross Actinic Doublet, the
Dallmeyer Wide Angle Rectilinear and Rapid Rectilinear- but not (I think!) the Globe, Goddard's triplet, the
Sutton lens or the Grubb meniscus. Thus he is writing about two years after van Monckhoven (published 1866
in Vienna) and the Rectilinear has already obsoleted some, but also he is concentrating on major sales items.
Thus it is significant he devotes over 2 pages to the Voigtlaender Orthoscopic lens (now hard to find) and the
Ross version and notes its compactness (as a mild tele), speed and freedom from a flare ('hot') spot but also
that it requires some form of shade such as a hat of hatbox held in front of the lens.

Prinz
This was a UK dealers Trade Name and was noted on a Prinz Galaxy f3.5/135mm with preset iris for M42.

Prior, France
A Prior Verax anastigmat is mentioned by FBB in a Felter camera from 1901.

Projection Optics, Rochester, USA.

Super Hilux f2.0 3.75in (?)
Hilux f1.8 3.00in

Prokesch, Vienna, Austria. See Fritsch.

Promaster Lenses
This seems to be a brand from Photographic Research Organization Inc, 901, Fairfield, CT 06430, USA noted
in Modern Photo 08/1978, p49. They were then listing:
f2.8/28mm wide angle 8g/7c; f2.8/135mm Telephoto 4g/4c; f3.3/200mm Telephoto 5g/4c; Zooms f3.5 28-
80mm; f3.5 35-105mm; f3.8 75-150mm; f3.8 85-210mm as 'Compact' zooms.

Prominar Inc., Importers of Kowa to USA (1965) They were the source of their own brand lenses Prominar.

Promura.
This series was noted in May 1972 listed by S. Wilding, Camera House, Pudsey, Yorks, UK. The lenses were
auto iris for M42 only in the list. The UK agent was R.F.Hunter Ltd. of Wellingborough, Northants., NN8-2RG.
In May 1972 there were 7 preset lenses and 9 fully auto iris lenses. The auto lenses were more complex in
design.
Automatic Lenses.
f2.8/28mm with 8 glass This was seen as a rather heavy but extremely solid auto lens in M42 with automanual
selector lever. The mount is still free from play (AD 2000) and the coating a good single coat is
unmarked. Thus it may be well ahead of some others in the field at that time.
f2.8/35mm with 6 glass
f2.8/135mm with 5 glass
f3.5/200mm with 5 glass
f5.0/300mm
f3.5/ 300mm with 5 glass ? 1972
f5.5/400mm with 6 glass
f6.3/500mm with 6 glass
f7.0/600mm with 6 glass
f4.0/70-220mm Zoom.
There was also a preset series in 1972 with rather simpler structure. They were:
f2.8/28mm; 6 glass; f3.5/35mm 5 glass; f3.5/135mm, 3 glass; f4.5/200mm, 4 or 3 glass; f5.6/300mm, 4 glass;
f6.3/400mm; f2.8 (?)/500mm, 4 glass.

Proskar Optical Co Ltd.

Projection lenses for many formats.

Dr Pruemm und Genossen, Braunschweig, Germany.

This make has been noted only in Frerk's book in 1926, and no products have been seen.
Pinakar f4.5 A high quality lens probably of Q15 type.
This makes it surprising that it has not been seen elsewhere.

Puech, France.
A Puech RR lens is listed by FBB on a Garcin camera in 1890.

Carl Pulfrich (1858-1928)

He was a collaborator of E.Abbe at Zeiss working on refractometers previously at Bonn. For Zeiss he was
responsible for rangefinders, stereocomparators, and after E. von Orel the steroautograph for making contour
maps from aerial pictures.

Pulligny et Puyo, France.

They specialized in "Objectif's d'Artiste" or soft focus lenses. It is not clear just how many different designs
were sold, or how far this was a commercial item. S&B seem to list at least 3 versions, and Darlot also made
it. Some were certainly sold with these names attached and articles were written suggesting the lenses. The
book is "Les Objectifs d'Artiste" by Pulligny et Puyo, Paris, 1906. The lenses seem to have been made by
Hermagis, and Turillon et Morin in addition to the above.
Fig 016 002 Objective d'Artiste Pulligny et Pujo (Darlot) casket set.
Fig 016 004 Detail of engraving on Objectif d'Artiste
Anachromatic from the 1890's, an uncorrected meniscus with iris in front of the concave or flat surface. It was
used as a rather long focus, narrow angle lens, at f5.0-f8.0 and seems to have been rather like the Struss
pictorial and Koristka Little Ars. (In fact there is limited freedom to vary an achromatic meniscus!). Some were
sold as caskets, with up to 4 components (B.J.A. 1907, p705) and the references therein for an excellent
discussion of the use. Also note "Baigneuse" (a nude) by Ct C. Puyo, B.J.A. 1928. The ideas for the lens go
back to the 1890's as listed in the 1907 B.J.A.
Adjustable Landscape This was made in France by L.Turillon, 99 Rue LaFayette, Paris from 1897.
(Successor to A.Darlot) in some 3 sizes. Size 1, for 13x18cm; Size 11, for 18x24cm, Size 3 for 24x30cm.
(Quelques Beaux Appareils, 1900)
"Objectif d'Artiste Formule Anachromatique L.de Pulligny et C. Puyo" One of several designs.
One source lists several lenses as:(a) a plano-convex crown with convex side forward and used at f8 or even
f5;(2) a simple thin concavo-convex with the concave side forward at f10 (3) a symmetrical system of two
concavo-convex lenses with the concave side inwards at f10 or even f5; ((4) adjustable landscape lens, formed
of a front (+)plano-convex lens, with a plano-concave of equal (-)focal length behind it at about 10cm
separation, but with the separation variable so that when they are in contact the focal length is infinite. The
casket outfit seen at Darlot serial number 35,82x is one barrel and 4 single glass cells (all concavo-convex) so
that several of these systems (but not (a)), could be envisaged from the one outfit though since there are no
instructions, this can only be guessed at. [These do seem to be specialized forms of well-known designs such
as the Chevalier and Wollaston meniscus lense, the Steinheil Periscop and the Bergheim, but the value is in
the fine tuning of the design for the required amount of softness]. In fact, the image seems to be adjustable
from soft or very soft to quite sharp, but being uncorrected for colour, it is never bitingly sharp.

Pullin Optical Co, High Wycombe and London, UK.

They were originally Measuring Instruments Pullin (MIP) but began to produce enlargers about 1946 (B.J.A.
1947, M.C.M. 12/1946, p31) and made projector lenses to fit, as well as photographic rangefinders, exposure
meters, and acted as Linhof agents. Mr H.W. Lee was with them for a period postwar. They later became part
of the Rank Organization in 1964, and as Pullin were agents for Nikon, Rank took this on, arranging servicing
and so on.
The most common Pullin item for collectors is a Pulnar f2.8 100mm (c.4in) slide projector lens, often ex-WD.
It has M39x26 thread but no iris or focus scale. It was seen at No47,20x. It was an early postwar product,
(MCM Dec 1946, B.J.A. 1950, p475advert.) The Pulnar was listed in 1955 as made in f2.8, 50, 100, 150mm.
There is a notice of the Pullin 35mm slide projector in B.J.A. 1947, p188, and the lenses were f2.8 in 8 foci
from 2in to 6in. They gave excellent definition and clarity. One of these has been reported in alloy and black
finish at Projection Pulnar f2.8/F=2" (50mm) No F104x.
Fig 007 027 Pullin Pulnar Projection f2.8/100mm No47,207 in M39 screw.
There was quite a range of Pulkino projection lenses for Bell & Howell and like projectors:
Pulkino f1.7 25, 37.5mm (1.5 and 2in)for cine projection.
Pulkino f1.6 51, 62.5, 75mm (2, 2.5 and 3in) for cine projection.
For Debrie there was the f1.7/1.5in; and 2.0, 2.5, 3.0, 4.0in as f1.6;
They made at least one f2.0 50mm lens in M39 mount, and this may be an unfinished prototype for a lens for
the Reid or like camera. It just may reflect the fact that H.W.Lee was working for them for some time just
postwar. Pullin were able to coat lenses early postwar and in fact took in older lenses from eg R.G.Lewis for
coating at £0.50 per surface, ie about £2.00 per lens. This suggest that only interior surfaces were being
coated.
Pultan f4.5 5.5in (139.7mm) This was used on the Dawe Press camera (scarce) when it
was mounted in a synchro Compur shutter. (B.J.A. 1952, p489 at lens No1484) There was a f4.5 135mm
Pultran (or Pultan?) shorthead for Novoflex bellows also, which will be the same in barrel mount. An advert. in
M.C.M. 1952, p498 lists a 5.5in (c.140mm) for the Dawe Press camera, with a 1+1+i+2 layout ie Q15?.The
front was crown and flint and the rear specially selected glasses for good overall sharpness. Another Novoflex
list from Pullin Optical Co Ltd as agents included a Wraypul f4.5/135mm Wray-Pullin Anastigmat at £13.1 +
£4.26 Tax. Thus here they were certainly selling a Wray sourced lens in the same product position as the
Pultran.

P.Z.O. =Polskie Zaklady Optyczne, Poland.

Reported for a simple f11 lens with Waterhouse stops on a Korona camera from the mid-1930's. see Cyclope,
Nr 26-27 1996).

Quantum, USA.
A specialist producer of long lenses in America. They are noted in the 1970's as supplying f15, 1500mm; f20,
3000mm lenses.

Questar, Box S700, New Hope, Pa. 18938, USA.

L. Braymer was President in 1964 and seems to have been the leading light behind the enterprise. They are
makers of very compact high performance telescopes, also sold for camera use as cats. with the necessary
adaptors and other modifications. Here they typically work as a f15 1300mm system. Others were 3.5in dia.
and 1600mm, 8in overall length (03/1970); and 1400mm (1964). This was a high quality item, and handles like
a jewel and was ideal for surveillance and wild life photography. The focus action is by moving the mirror, and
mirrors of quartz or Pyrex were used (1965). The choice of alloy and the precision of assembly mean that
purchase secondhand must be very dependant on condition, especially as ex- surveillance items may have
had a hard life.
They also made larger mirrors for specialist use., eg 7in and 12in diameter.
The camera item seems to have been launched in 1957 as the 'new field' model. This photo model focussed
more easily by movement of the adaptor and was rated 'optically excellent' (Modern Photo 08/1964, p54). A
Questar claim was that the relatively small diameter mirror cut through heat haze better than a large one
would (Modern Photo 09/1965) (Layout Que001). But the larger mirror may be better for 6x6.
A black tube type photo model is shown in Modern Photo06/1978, p12 with 4 elements, 700mm,
f8max.,88.9mm aperture focus to 10ft, 3°25' acceptance.
They are said to still be in production in 1998.
Radix, (Bilora), Germany
The maker was Kürbi & Niggeloh, Radevormwald, Germany. The Biloxar anastigmat may be bought in but has
their name. It was sold in the UK in large numbers in the 1950's on the Radix camera for 24x24mm in at least
two apertures. Other lenses were Radionar f3.5.
Biloxar f5.6 38mm
Biloxar f3.5 38mm (1951).

Rank Audiovisual/Rank Photographic Ltd.

The Rank organization were agents for several Japanese brands into the 1970's. These included Nikon,
Pentax, Mamiya, beginning with the take over of Pullin Optical, who were the Nikon agents in 1964 with Neville
Brown, its subsidiary. With Sankyo cine cameras this made Rank the biggest importer of photographic goods
in the UK. The name occurs on lenses listed as Rank/Taylor, Taylor and Hobson Ltd listed under TTH below.
Fig 021 008 Rank/TTH Sopelem f1.3/15mm CCTV lens. (Made in France).

Rapid Rectilinear= Rapid Aplanat.

This was the standard 19 Century lens when the greater speed of the Petzval Portrait was not needed. For the
origin, see Dallmeyer and Steinheil, and the almost complete coincidence of their discoveries. Both seem to
have used various types of flint glass exclusively, but books often refer to the use of crown+flint- surely not
always in error, though Traill Taylor says it is impossible to produce with ordinary flint and crown. Unusually
dense crown is acceptable however. But there are some points to note. Firstly, the Steinheil seems to be
drawn with rather thicker glasses and secondly it seems to be often an f7.0 rather than the f7.7 of the
Dallmeyer. Also that the choice available today is quite wide. (1) Originally, they were issued as a wide angle
RR at f16 maximum aperture, and extended (2) to a normal angle lens at f7.7. But two other types were sold.
(3) The portrait RR was slowly extended from about f5.0 to f4.0 and provided a lens nearly as fast as the
Petzval but with more even sharpness over the image. And the weight of the f7.7 in the larger sizes forced
makers to consider an answer, and the result was (4) the Portable RR working at about f11, which was the
answer for many outdoor workers. Often, the cells were of slightly different focus though there was an opinion
then that ones of equal focus were preferable. Lastly (5) there were also sets of cells sold as casket sets, to
offer a range of focal lengths. (6) Another type was the Detective Aplanat, typically at about f6.
The original RR's were poorly corrected for astigmatism, though the designs certainly improved with time.
However the sale of Jena glass from about 1886 allowed the introduction of new designs with better
corrections, while the old glasses were still used on cheaper, often anonymous lenses. Thus the above 6
types can be imagined as doubled since most of them could be in old glass or use new. Most of these will be
in brass finish, though later types are in shutters and may be in black enamel. And finally there was a
tendency for the German and other optical companies to continue the RR or Aplanat for projection well after
they had ceased to use it for taking lenses. This has produced some exotica as the existence of a real Zeiss
Aplanat is otherwise unlikely, but note that these were designed for use over a narrower angle rather than for in
camera use.
The RR is actually a really viable lens today provided it is not pushed too hard- use small apertures, and not
the full angle illuminated,- and it was made well into the 20Century, though sales after 1920 must have
dwindled to a trickle. It is noticeable that both American Annuals of Photography for 1939 and 1947 have
articles on users of RR's:
One was William H. Jackson (1843- 1937?) who pioneered photography over the West of USA and lived well
into the modern period, and made still impressive pictures on formats up to 20x24in, on wet plate before
enlarging was normal. (1868-1880). The camera was transported on a mule, and there is a shot of his
horsedrawn darkroom on wheels also. Lenses included Ross Symmetricals, Portable Symmetricals, and a
(Voigtlaender?) Euryscope- he preferred the Ross lenses, but this may be due to the focal length available as
he notes using a single cell as a long lens, eg at f50 for 3 or 4 min exposure, also f32 and even f16 with the
Portable Symmetrical.(Annual 1939, p216).
A later user was F. J. Mortimer (1874-1944) who made many of his well known negatives as a young man
working on the beach or small boats off the South of England (Southsea) and used them for many years while
the respected Assistant Editor of the Amateur Photographer, The Photographic News and editor of the
Amateur Photographer (1908-1944) and influential in the R.P.S., untill killed by a flying bomb in 1944. He used
a camera fitted inside an outer box to keep off spray, with RR and a focal plane shutter, often at f16, the
choice being to limit the cost of what was really nearly a disposable camera.
Note also Eidoscop used by J. O. Echague.(1950 Edition).
The RR was available on new cameras as late as 1926 or probably even 1930. Some late users were the
O.Sichel camera in B.J.A. 1926, p312 and the Kodak folders of the same dates. It was still a fully viable
design, but not too cheap to make; in fact, probably the cost was little less than a triplet of the same speed
and the term Anastigmat was valuable. So the RR came to the end of the road. A Kodak Series III of this date
(B.J.A. 1926, p317) seems only to have an anastigmat, with a very sharp image -- right to the edge.
Today, RR prices tend to be low or scrap, except for the Portrait lenses or where there is a definite connexion
with some particular camera. The anonymous versions are nearly valueless and often of makeshift quality.
One feature is the very large number engraved apparently with the names of the shops which originally sold
them in the 19C, so that the number of names here can be very large. These are themselves a fascinating
aspect if a minor one.

Rathenauer- see E. Busch, Rathenow, about 1900.

We thank R. Watson (UK) and H. Schrauf (Germany) for additional information on Rathenau and its
companies. Information would still be useful on the dates during which Busch traded as ROIA rather than as
Busch as this could be a good way of dating lenses about 1900.

Rau, Wetzlar, Germany.

They are noted for one lens only: there may be others.
Optar f2.8 20mm (c.1955) for Fotal 8x12mm.
(The trade name is much better known in the Graphic connotation.)

Ravilious, J. (1939-1999)
In 1996, he published a book 'A Corner of England' pub Devon Books, (Tel 01884 243242) based on negatives
shot with old uncoated lenses and tended to prefer these, both as Elmars in 35mm and Tessars in large
formats. Also 'The heart of the Country' and 'An English Eye'. (See 'Country Life' by P.Hamilton in B.J.P.
30/10/1996 p20) Sadly, he did not detail which lenses were used in 'Corner', merely saying he used Leica
rangefinder cameras often with 35mm lenses, especially the earlier uncoated ones. His books are a fine
example of what can be done with them today on modern materials.

Raynox, brand name agented by Photopia, Newcastle, Staffs, UK about 1974.

The lenses were listed for Pentax M42 and Minolta only as follows.
f3.5, 25mm; f2.8, 28mm; f2.8, 35mm; f2.8, 135mm; f3.5, 200mm; f4.0 Zoom, 90-210mm.

Record Keeping
There are very real advantages in keeping good records of a collection. At the least, these can help with an
insurance claim in the event of a loss by theft or fire, but actually much more is possible in recording the
development of a collection and the prices paid or thought to apply. And in time this can develop real historical
value. Many of the serial numbers in the Vademecum have been made available from collectors lists of items.
Normally the record might contain for each item:
Date of aquisition
Original maker
Trade name of lens design
Serial number
Maximum aperture (and minimum perhaps)
Focal length
Weight (perhaps)
Finish such as brass or enamel or chrome
Any short note such as "fits Korelle"
Purchase price (and present value if known!)
Note that the price of a lens is less well defined than the price of a camera, which can be fairly indeterminate
itself. Thus there is a less active market in lenses with fewer items and less publicity than with cameras,
where there are well regarded price guides to form a basis for a deal. In general, prices are often lowest
between private individuals and increase in order for purchases from Fairs, from Auctions and finally from
dealers. But note that a dealer may offer a worthwhile warranty and have to pay taxes on his sale where the
others are able to avoid this.
Prices also can vary quite unpredictably when an item may suddenly become fashionable and the limited
supply means the price quickly rises. This has occurred recently with older movie lenses and before that with
Voigtlaender ApoLanthar lenses, and some soft focus lenses. But long term the fact is that prices have tended
to rise on most items due to the limited number of lenses available and the increasing numbers of collectors.
Examples from one collection (now dispersed), which looked for non-Leitz lenses in M39x26TPI for the Leica
showed:
1985? Den Oude Minor No493,30x f3.5/35mm £25
1975 Carl Zeiss Biotar No?? f1.4/50mm £70
1983 National Optical No354,19x f2/50mm £89
1977 Taylor, Hobson Speed Panchro f2/75 ?? £40
1980 Ross, London Xtralux f4.5/135mm £25
There is no doubt that today such as list is best kept on a computer in one of the database or spreadsheet
programmes. These are able to store large amounts of data compactly, even though the print-out can be
clumsy. And the record can be also kept on floppy or compact disc as a copy in a secure place, which would
be wise for a keen collector. It is very desirable that the programme should allow machine searching under
"Find" or similar for forgotten items, and "Sort" to allow the arrangement of items in the different columns in
different heirarchies (orders) for different purposes- such as put in order of date, or alphabetically or even in
increasing price. They can also be used to print out a card index if this is wanted.

Reflex Foto-Kino-Optik, Munich, Germany.

This was a firm formed by an important amalgamation, probably of agents and dealers to form Beroflex (H.
Mandermann) in 1969, and the lenses originated from Germany, (35mm) and the Far East (probably Japan).
They were as follows:
Reflexogon f3.5 28mm 6 glass
Reflexogon f3.5 35mm 4 glass
Reflexagar f5.6 300mm 3 glass
Reflexagar f6.3 400mm 3 glass
Reflexagar f8.0 500mm 3 glass
Tele-Reflexagar f3.5 135mm 4 glass
Tele-Reflexagar f2.8 135mm 4 glass
Tele-Reflexagar f5.6 300mm 4 glass
Tele-Reflexagar f5.6 400mm 4 glass
Tele-Reflexagar f6.3 500mm 4 glass
Auto-Tele-Reflexanar f3.5 200mm Auto iris. 6 glass

Reichert, Wien V111, Bennogasse, 24-26, Austria.

They were an important camera lens maker earlier this century, but seem later to have concentrated more on
microscopes from laboratory experience with hot- and cold-stage microscopes in the 1960's. They possibly
stopped photographic lens production during WW1 and never restarted after it. Their lenses are scarce in the
UK as a result.
Combinar This seems to be the main symmetrical anastigmat and was made in several types. A typical
layout may be that in Rei 010 from a 1908 list. But some do also seem to be of Q9 type. The spelling can also
be Kombinar or with a "C" as here.
Neu Combinar f4.5 This is a portrait lens with a 3+3 symmetrical layout.
Neu Combinar f6.8 This seems to have a 4+4 layout.
Neu Combinar
Wide Angle f6.8 This was made in 6.0-30cm.This wide version was noted in 180mm for 100°
and was of Q9 type. Thus there do seem to be two types here, and this was the only wide angle listed in
1908. It may be complicated by the ending of Patent cover on the Q9 at about this time.
Combinar f6.3 This was a 4+4 symmetrical anastigmat, and sold as a lens for general use.
It was made in 9-24cm. It was this that Frerk mainly featured in 1926, and the other versions may have been
closed off by then. The f6.3 was covered under D.R.P. 153,525 and Oest. P. 14,154. The 4+4 design was fully
separable, the cells working at f12, so they seem to both be the same focus.
Combinar Series 11 f12.5 There is no information here- it may be a single cell of the f6.3 pair or a wide
angle lens.
Combinar Casket set f6.3 This was sold for 9x12, also f6.8, for 13x18, 18x24cm sizes. One list in
1908 gives these caskets as all having 3 cells, as Alpha, for 9x12; Beta for 13x18, Gamma, for 13x18, Delta
for 18x24cm.
Polar f4.0 This was made in 3.0-10cm in a pre-1908 list, but there may also be another
version as it has been shown as an air-spaced Q9 type layout. The example seen at No249x was a 50mm
f4.0 in brass, and it was probably a low power microscope lens. Frerk seems to say a 6glass Gauss design
here.
Fig 031 032 C.Reichert, Wien Polar f4.0 as 50mm and 75mm lenses.
Solar f6.8 This was a 4-glass air-spaced design, and a lens for general use. It was
made in 12-21cm. Frerk comments on the similarity to the Goerz Syntor, which might just suggest a licence
arrangment between the firms.
Apo-Solar (No details)
Some WW2 items were apparently coded: pvf.

Reid and Sigrist.

The Reid camera was made by Reid, who at the B.I.Fair May 1947 showed a prototype Leica 111b copy, later
sold as the Reid with a TTH f2 Reid lens- see TTH. There were some delays before production began, and
this lowered the overall sales potential.

F.S.Reitlinger, Paris.
This name was noted on a brass daguerrotype period lens with a brass pivoting cover and no provision for
stops. (NB It just might be a later projector lens.....but these can be hard to date.)

Repromaster c/o Agfa Kamerawerk, Tegernseer Landstr. 161; 81,539 Munchen, Germany.
Lenses engraved with this name have come on the used lens market with the increased use of scanning
techniques, and seem to be from Agfa Repromaster copying units. They are said to be very high quality
process lenses, but the glasses are set in a barrel mount and are not transferable to shutters. The design
seems to be air-spaced type Q20 and the iris scales may be missing or incomplete, but there is a click-in
setting and the rear flange sizes seem to be Compur sizes. They seems to have been mounted on a rotating
plate to carry 2 lenses.
Repromaster f9.0 150, 210mm. also in USA at least f9.5, 240mm.
Repromaster f4.5 80mm Tentatively, this seems to be a 6g/4c gauss design.

Research and Development Ltd.

Zoomar A for 17-53mm or 35-106mm This was a cine lens
Zoomar B for 17-53mm This was a cine lens.
These seem to be notable early zooms from the pre-1950 period. See also sections on Kilfitt and
Voigtlaender.

Revere, USA
Cine camera maker, using Revar f2.8/12.7mm lenses about 1951.

Rex, France.
This maker of 6x9cm folders, used a Rex-Luxia lens, probably about f8/100mm, on a 6x9cm Rex folder in
1930.
Richmond
Lens brand carried by Talbot & Eamer of Blackburn in a 1901 advert. but without further details.
Richmond RR lens for 1/4 plate Miral box camera.

Richter Cine Equipment, Essex, New York, USA.

They are makers of 'Reflex Auto Collimator' units to check the focus of lenses in situ on cameras, especially
movie and cine cameras, where the focus can be checked while film is running. The unit projects the image of
a test pattern (illuminated with a 110V or 220V light) with a collimator lens set to form an image at infinity:
when this passes through the camera lens, it is focused on the film if it is correctly set for infinity. The image
on the film is now viewed through the collimator lens using a part silvered mirror and eyepiece. It was also
used for still cameras such as Leica, Exacta etc. But a major feature was that field sets were sold for
cameras such as Mitchell, Eymo, Arriflex, C-mount and D-mount so that photographers could check all was
well in the field. Price was some $500 in 01/1976.

A. Hch. Rietzschel Gmbh., Aberlestrasse 18, Munich, Germany.

This was an old firm, dating from 1896, and making or supplying cameras as well as lenses. It seems to have
traded steadily until in the 1920's it was absorbed into the Agfa company who initially sold their products as
'Rietzschel' (B.J.A. 1926, p349) with Rietzschel f6.8 and f7.5 lenses. It is thought that the trade names were
valued and kept in use, and were slowly transferred to updated products, but continued for many years, and
that the large format lenses were sold on the continent of Europe while Agfa concentrated on developing new
markets outside it. Rietzschel do not seem to have themselves sold in the UK as the lenses are scarce here
and little known.
Older Type Designs
Periscop ]
Rapid Aplanat ] These were options on the 'Tip' rollfilm in 1903.
Extra Rapid Aplanat f8.0 ]
Rietzschel Anastigmat f8/14cm, or f9.0/21cm
This was the low price option in 1903, the 14cm covering 5x4 and the 21cm 13x18cm.
Rektilinear This seems to be an early product but no details are available.
Rapid Aplanat f8.0 This was made in 6.0-12in. 3-glass.
This layout, Rie002, is unusual as it uses only 3 glasses, for a 'simplified RR'. It may be the same as the lens
above on the Tip.
Rectigraphique f8.0 This may merely be the French trade name for the above.
Extra Rapid Aplanat f7.7 6-24in This was designed to cover 70°, this was a rather normal RR (Rie001).
It may be the same as on the Tip above.
Portrait Lenses
Portrait f3.8 4.75-16.5in Triplet type (Layout Rie009)
Portrait f3.2 6.0-16.5in Petzval type portrait lens.
Linear
Linear This was the first Rietzschel symmetrical anastigmat, with an expensive 4+4 design, and later the 3+3
Apotar was added, possibly as patents became available. Apotar may have been noted as an f6.3/90mm lens
at No91,11x in a dialset Compur on a 9x12cm camera, ie a moderate wide angle lens. The units of 4 glasses
seem to be made up of pairs with a flat interface which may have helped the production.
Many of the names have the LINEAR letter group in them, not just this particular group.
Linear Type A f4.5 or f4.8 1.675-16.5inThis was a 4+4 symmetrical anastigmat shown in
Layout 006 and was used on the Cosmo Clack Stereo in 1903 in 2x65mm. This also was used in 12cm on the
Clack 1 in 1905, and 12cm was suggested for 5x4in and was suggested to use 10.75in for 10x8. It was the
most expensive version, and performs well today over moderate angles at f4.8 and the good image then
spreads out as it is stopped down till it has really good cover at small apertures. (Rie006)
Fig 007 018 Rietzschel Linear Series A f4.8/135mm No118,406.
In use, an f4.5/9cm example No 117,38x in a dialset Compur (of about 1924-5) illuminated 5x4 and the 6x9
area was well resolved, the sharp area spreading out on closing down and at f16 it was a very decent semiwide
angle lens as a 9cm covers 5x4in with movements, with really good contrast and sharpness, which
makes the design worthwhile as it does have that touch of speed in the centre. It does not show a "Type"
code on it. The layout (Rie006) can be regarded as a Q11 with one glass split to allow more correction, but it
is unwise to carry the analogy too far. It was covered by D.R.P. 118,466.
No1a is a 135mm lens. Stops were f4.8, f6.3, f7.7, f11, f15.5, f22, f31. This one was in S.I.M. probably for a
big S.L.R.One use was portraiture. The balsam in the Series 1a was badly damaged at G2/G3 in both cells
and it was noted that the glasses were mounted with a metal jacket (alloy) round the full depth of the glass
and this was spun over at the back to retain the glass- and also in the middle to form a sort of waist- this waist
may have been unwise as it seems to have tended to force the glasses apart long term leading to balsam
failure and was/is very hard to rectify! The glasses at this point do seem to be truly flat surfaces as in Rie006.
One point that Frerk makes is that it can be regarded as two cemented doublets with a common flat surface,
which helped alignment when the lens was asembled. [This is worth noting as 4+4 lenses are often said to
suffer poor centration, and in fact the makers often had a trick to help minimize the problem.]
Linear Type B f5.5 or f6.0 1.625-24in. Layout as the f4.5. This was a general purpose lens. It
was fitted as an f5.8 on the Clack 1 in 1903, where 12cm covered 5x4in.
Linear Type C f6.3 or f7.0 1.625-35.5in Layout as the f4.5. (App048 is a Series C)
With Type B or C use 9.5in or longer for 10x8.
Linear ?Type C f6.8 1.625-8.25in-32in.(D.R.Pat 118466/1898) One list gives it as f6.8 in
60-240mm, then f7.0, 270-900mm. It was made for 60, 90, 120, 150, 180, 210, 240, 270, 300, 360, 480, 600,
750, 900mm. A 120mm lens covered 9x12 at f7.0, 12x15cm at f16, and 13x18cm at f42. This was used on the
Clack 1 for up to 5x4in in 1903. It may be the first version, later made in faster types? For 5x4in use 5.25in, for
10x8in use 10.5in or longer. Linear was also sold as casket sets. These had 4 cells each and were for 9x12,
13x18 in each size, the apertures being as the prime lenses.
In 1903, the lenses were typically Rietzschel Anastigmat f8 or f9, then Baryt f7.5, then Linear C, B, and A in
increasing speed and price, with no lenses bought-in from other makers. These covered quite good angles, as
12cm was used for 5x4, 18cm for 13x18cm, etc.
Linear Type D f6.8 This was noted 1910 and by then the Type C was f6.3, so the D may be the one
queried above. Here use 135mm for 5x4in, as with all Linears.
Doppel Anastigmat f6.8, f6.3 This was listed but is probably another description of the above.
ReproLinear
Process Lens f11 This was an early type of Process anastigmat. Made in 30-120cm.
Apolinear This seems to be the apo version of the last.(Rie007).
Apotar
This was a later T.N. than Linear, being noted in 1910 adverts. It was to be a long lived trade name but it was
used for lenses of different designs.
Apotar f6.3 2.375-8.25in This version was a symmetrical anastigmat of 3+3
type, (Rie005) Q11, and roughly the same was made as the next item. Be carefull in purchase if you seek a
symmetrical anastigmat, as the Trade Name was later reused for a Q15 type, and that is different though also
good!
Apotar f6.8 9.5-24in This was a 6-glass symmetrical anastigmat, roughly Q11
type. It gives some 70-80° coverage. It seems not to be far from the above type, and from the next. It was used
in 1910 on the Marine-Clack.
Doppel Apotar f6.3 120mm for stereo.
Baryt Anastigmat f7.5 and f7.7 for 9x12 and 13x18cm.This was listed in 1908 as with 4 cells in
9x12 and 13x18cm. A 12cm f7.5 in Unicum shutter was used on the Clack 1 for 9x12 and 5x4in about 1903.
Baryt Anastigmat f6.8 This was a general purpose lens. Baryt must reflect the use of barium loaded
glass, and this seems to be an early item.
Clack Anastigmat as sets in shutter, a Landscape double anastigmat. It was listed also as a casket with 4
cells plus shutter in f8.0 for 13x18cm. The prime lens was made in 2 versions:
f8.0 and f11 8.5-12in.
Dialyt f4.5 3.5-16.5in (Layout Rie008) This is a 4-glass Gauss type,
the 'dialyt' referring to the airspaced design.
Dialyt f6.8 3.5-16.5in Again 4 separate glasses, covers 70-80°.
Sextar f6.8 135mm etc.This was noted on a Linhof stereo (Layout Rie004) and
fitted to a Heli-Clack plate camera in 1920- so it may be a later design.
Tele Objective -1.3 to -3.5in focus, a 2-glass type.
Telinear An adjustable tele rather like the Adon but with a more restricted range of foci, and a much
better item from the collectors viewpoint. At least 2 sizes were made, for 45-108cm in the longer case.
Kerkmann shows one on a Kosmo Clack Stereo 45x107mm from 1918. Here the Tele is fitted to one shutter
only for display?
Fig 007 013 Rietzschel (l) Telinear lens with Prolinear f1.9/135mm and (r) Trilinear lenses.
Apostigmat Wide Angle f15 100-110° Layout Rie003, this was roughly an anastigmat type.
Trilinear f6.3, f4.5 This was seen as a 105mm f6.3 triplet in a dialset Compur shutter at
No167,83x. It seems these were the product supplied for folders.
Trilinear f7.5 Noted in 75mm at No159,61x on a small Clack ?6x9cm?
Fig 007 013 Rietzschel (r) Trilinear (m) Prolinear f1.9/135mm and (l) Telinear lenses. (above)
Prolinear f1.9 135mm for Mentor 6x9 reflexes. This has been seen at No165,15x,
and this Mentor No44,37x carries the lens protruding as in the advert. in B.J.A. 1927, p615, while a well known
ilustration shows one in sunk housing- so there was a detailed redesign of the Mentor reflex. The illustration in
Frerk's book suggests this is really a box to surround the lens to protect it. In 1927, Prolinear was credited to
Rietzschel rather than Agfa. Other examples were No170,15x on Mentor No44,76x and 162,59x on Mentor
44,38x.
The Prolinear seen has 4 separate glasses, with the iris in the middle and is very compact from back to front.
It is really nearest the Speedic type of layout (App049) with the rear glass of a triplet divided and replaced by
two positives. The iris is between glasses 2 and 3. This raises the interesting idea that this and the Astro
lenses could have been licensed from different patent holders, though it is not known if TTH were involved. It
seems to be a reasonably contrasty and sharp lens, at least suitable for news work in bad weather at full
aperture but not suitable for extreme enlargement- perhaps rather in the same class as the Kino-Plasmat. It
must be a really scarce lens. [When a 135mm lens was focussed at f22, and opened up, the image remained
compact in the centre up to about f2.8, and then formed a halo of up to 3mm dia. from the outermost zone:
when this was isolated using a centre spot to remove light of f2.5 or less, the best focus was some 1.9mm
nearer the lens, pointing to some 1.5% under correction of spherical aberrations in this area. Away from the
centre, there seemed to be appreciable astigmatism, and it seems impressive how well it performs in the light
of this.]
Fig 007 013 Rietzschel Prolinear f1.9/ with (r) Trilinear and (l) Telinear lenses. (above)
Solinar f4.5 105, 120mm The 120mm was noted on Clack Luxus, in 1910. This was
another long lived trade name. Another was noted as an f4.5/105mm No170,23x in a dialset Compur on a
Luxus Clack 6x9cm
Obviously Rietzschel is not well known in the UK but the serial number of the f4.5 above at No117,38x (1924?)
seems likely to be a 'late' one. Equally note the early 1920's Agfa Solinear f4.5/135mm above at No404,719.
This may suggest a new start at 400,000 or some such about 1926-7 as the companies joined together.
Fig 30 Rietzschel Lenses.
Back Left Rietzschel Prolinear f1.9/135mm on Mentor Sport.
Front Rietzschel Linear f4.5/90mm.
Right Rietzschel TriLinear f6.3/105mm.
Back Right Rietzschel Telinear No0 for 30-60cm.

Riken Optical Co Ltd, Tokyo, Japan.

Hasbroeck illustrates a Steky IIIB with a f3.5/25mm Stekinar and f5.6/40mm Stecky-Tele as one of the earliest
Japanese sub-miniature cameras (c.1948, c.1950): the lenses do not seem to have serial numbers.
Ricoh f3.5 80mm
Riken f3.5 6cm or ?8cm on a Ricoh Super 44, or Ricohmatic 44 for 127 film
respectively. This may be the same as the above, but the dealer noted the maker rather than the T.N.
Ricomat f3.5 45mm
Rikenon f2.8 45mm
Rikenon f3.5 80mm
Rikenon f1.9 45mm
Rikinon f1.4 55mm This was made for the Singlex SLR with Nikon type
bayonet. (see Modern Photo. 07/1964)
Ricoh preset lenses to match.
Kominar f2.8 4cm This was listed on a Ricoh Auto 35V.
XR Ricoh Lenses for Ricoh SLR K-10 Feb. 1981 list.
Rikenon f2.8 28mm
Rikenon f2.8 35mm
Rikenon f1.4 50mm
Rikenon f1.7 50mm
Rikenon f2.0 50mm 6g/5c type.
Rikenon f2.8 135mm
Rikenon f4.0 200mm
Rikenon Zoom f3.5 70-150mm
It is likely they make or made lenses for photocopiers, as a cell marked 240mm Ricoh has been seen. It was
probably of Plasmat type, and used with a mirror behind it to produce a complete doublet in practice.
Ricoh GR f2.8 28mm This was fitted to the GR1 camera, and also in M39 mount- it has a
unique layout with concave entry face and a large rear convex surface. It gave D. Glenn very impressive results
in Amateur Photo 05/02/2000 p21 on the compact Autofocus body. Camera c.£400 or £800 lens alone for
M39.

Riley Bros, Bradford, UK.

Channing and Dunn mention Riley Bros as a source of cameras but apparently as fairly minor camera makers.
Hasbroeck lists a Hare camera about 1890 with a "Riley Bros" lens- but they may have been dealers in
cameras, possibly as well as makers, but may have engraved bought-in lenses with their name. None has
actually been seen.

Rittreck, see Optika, also Norita, Warner.

It seems that all these came from Musashino Koki Co Ltd, 472 Shinjo Kawasaki City, Kanegawa Ken,
Japan. Now known as Wista and a maker of large format cameras and rollfilm backs.
Rittron f2.0 80mm for 6x6 Norita, etc. Noted at No680,46x.
for Rittreck Reflex:
Wide Angle Luminon f3.5 90mm
Wide Angle Luminant f4.5 92mm (57° on 6x9cm) There is possibly also a 95mm also and the
92 may well be a misprint but is in the makers catalogue as this. Note that on a reflex, the widest fitted may
depend on the sweep of the mirror and therefore be an unusual focus.
Luminon f3.5 105mm (50° on 6x9cm) This was noted at No64,177.
Luminant Long Focus f4.5 180mm (31° on 6x9cm)
Luminant Tele f5.6 200mm
Luminant Long Focus f4.5 210mm (27° on 6x9cm) An example was noted at No21,02x.
Luminant Tele f5.6 300mm (19° on 6x9cm)
Luminant Tele f5.6 400mm (14° on 6x9cm)
The mounts were described as 'screw-in type on a lens board.'

Robinson and Sons.

This was noted on unnamed 1/2plate cameras- it may well be an RR bought in by a shop and engraved before
resale. They are well described in Channing & Dunn's book as a shop at 172, Regent St London from about
1871- 1899. They will have bought in lenses and engraved them with their name.

Rochester Optical Co, 39-49, South St., Rochester, New York, USA.
The company was formed from W. H. Walker (1883), and F.M.Cossitt and W.F.Carlton,
and continued by Carlton. It merged with Rochester Camera of Poco series fame, and with Monroe Camera
and Ray camera to form Western camera, and with E. and H.T.Anthony to form the Rochester Optical and
Camera Co. and this was amalgamated into Kodak in 1903. The following will be only a fraction of their
products, which are uncommon in the UK. They were agents for lenses by Bausch and Lomb, Voigtlaender,
Beck, Suter, Ross and Darlot.
1899 Single Achromat 6-13in Achromatic doublet.
Symmetrical= Excelsior 6.5-20in RR (Q5)
Rapid Rectilinear on Premo c. 1894.
Excelsior Wide Angle
=Wide Angle Symmetrical 3.5-8in WAR. (Q6)
1890 Single View Lens 6.0-13in] These items noted as agented by
Excelsior RR 7.0-13in] Starkweather and Williams, Providence, RI.
1898 in Premo catalogue.
Rochester Anastigmat f7.5 6.0-16.25in A separable symmetrical anastigmat.
Zeiss Series V f18
also lenses by Bausch and Lomb (Plastigmat, etc) and Goerz (Series 111)
Royal Anastigmat: a symmetrical anastigmat of 4+4 glasses, air spaced.
1901 Telephoto or possibly a 3-focus anastigmat lens noted on a Premo, 1901-1904 period.
Source: Catalogues for 1895, 1898 (2),1901.

G. Rodenstock, P.O. Box 140440, W-8000, Munich 5, Germany.

UK Agent 1925: Mr F.G. Phillips, 12, Charterhouse St, Holborn Circus, London EC1.
UK agent postwar: Photo-Science, 168, Wandsworth Bridge Rd, Fulham, London, SW6.
De Vere Ltd, Thayers Farm Rd, Beckenham, Kent. (noted 2/1968)
Odessey Sales, Kent. (Current)
We thank Mr. K.Huhle of Rodenstock for additional information here. Rodenstock are mentioned in P. Marsh
Financial Times 15/04/2000 as a fine example of the German Mittelstand- family firms with real independance
and a down to earth approach. Rodenstock are a major German maker of lenses, especially opthalmic ones
with sales of DM1bn in 1999 and with a history going back to 1877 when they were founded by the ancestor of
the present chairman, Herr Randolf Rodenstock. In the article, he is quoted as saying the firm changes top
management roughly every 30 years, as an example of consistency despite the external changes that
surround them, such as 2 world wars, inflations and now the internet. One point is that camera lenses seem
to be just one aspect of the work which will aid stability. Much of the business is in spectacles, frames, opera
glasses and opthalmalogical instruments. In 1968, there were 3 factories with a workforce of 4,000 people.
They also supplied cameras, though it is not certain if they made or dealt in them. In the UK their lenses have
been rather overlooked for many years, which makes historic items such as Imagonal, Pantogonal or
Heligonal rather hard to find. Currently the position is different with Rodenstock playing a major market role
and also active in ophthalmic products. But there has been no real history of the firm noted. Initially there was
no data on how the serial numbers have run as a basis for this section.
A legendary figure in the UK was Mr Len (Carl) Sutton (1922-1996) who was for many years the Rodenstock
Dept. at De Vere and then with J. Boyce at Odessey Sales. He initially trained with Carl Zeiss, and this was
the source of his nickname. (B.J.P. 08/01/1996)
Chronology
Subsequently, M. P-H Pont in "Chiffres Clef" has suggested a list of serial numbers and dates, but
indicates that this is approximate. The following is a slightly shortened version and the reader is referred to
his book for the whole.
1910 50,000 1920 200,000 1930 400,000
1935 700,000 1940 950,000 1945 2,000,000
1952 2,500,000 1957 4,000,000 1961 5,000,000
1966 6,000,000 1971 7,000,000 1974 9,000,000
The series reaches about 11.2million in 1993.
Experience can add two lenses: a Trinar at No737,51x in a Compur 3.3million at about 1935, and a Perigon
No 2,369,41x in a Compur No7,833,90x of about 1951, in confirmation.
One point is that sales in the UK must have fluctuated- there is no adverts in the 1914 BJA except from
W.J.Lafbury, 305, N 5th St Ave, Chicago, USA and there may have only been intermittent UK sale. Lafbury in
1914 was only listing Eurynar in f6.8, f5.4, f4.5. After WW1, they returned by 1924 with Eurynar in 3 series
as f6.8, f5.4, f4.5 and f3.8, Eikonar f5.4, f6.3 and wide angle Euikonar f12; Extra Rapid Portrait f3.5;
Eustigmat, a universal anastigmat f7.5;Extra rapid aplanat f7.7; wide angle aplanat f12 and Apochromat
Eikonar for process and 3-colour work.
Early Lenses
Aplanoscop }
Aplanar } These seem to be pre-1908 RR's.
Rektiaplanat }
Extra Rapid Aplanat f7.7 This was still on the Rollfilm and plate cameras in 1925.
Aplanats=RR's
Writing in 1926, Frerk lists 4 types of Rodenstock aplanat as follows:
(a) Extra Rapid Aplanatf7.7 This may be the same as the item above and the next item:
Rapid Aplanat f7.7 (same) It seems to have been made for many years, probably after
1918 even, along with the next item.
(b) Wide Angle Aplanat 111f12
(c) Rectiaplanat f8.0 It has been noted as a 32cm lens at No87,04x. Also 210mm and 480mm
has also been seen in lists. It may be a 'new' glass RR to go with the Rapid above, but also one continued for
a long time.
Rapid Aplanoscop f7.5 ( see above!) This he mentions as the Aplanoscop Satz, ie set.
Portrait Lenses
Portrait Moment Objective f3.5 Petzval Portrait Lens This was available in 1908, and was the
Portrait suggestion, along with the Eurygonal and Heligonal.
Lumar This was an early Gauss type lens, made by 1908, Q16 type.
Heligonal f5.2 This was an early use of the trade name on an anastigmat type lens, Layout Rod001.
There is a risk of confusion here as the name was reused later for a symmetrical anastigmat. It was
discontinued by 1926. The lens Frerk refers to was probably Rod 006, App058, a lens of type 2+4 design for
70-90°. Frerk liked it and notes that the rear cell can be used as a well corrected f12 on its own. It is also
illustrated in Kerkmann, p229.
Helogonal This is probably a misspelling of the above, as it seems to be a f5.2 of 2+4 glass layout, Rod006,
and it may be partly a portrait lens but also for general use over 70-90°.
Apoheligonal This was probably a process lens based on the same type of design.
Pantogonal anastigmat f18, 80-750mm, or later 3.375, 5.0, 6.5in to cover 120-130°. This has a 1+2 layout as
in Rod002. This seems to be the same simple design as the wide angle Pantogonal below in 1906. (This
spelling is probably correct rather than Pantagonal.) The coverage was excellent at 10x8 with a 125mm lens
but sharpness was said to be very limited ie. it was soft, in the example reported, but then it was an old lens
and could be imperfect. The problem may be partly the use of film with a wider colour sensitivity than the lens
was designed for.
It was seen at Nr41,22x, on a brass finished 12.5cm lens, with stops f18 to f72. A unique feature is the graded
green-yellow centre filter, "Enixantos" which now seems fairly pale, but for ordinary film may have been quite
vicious in strength. It was used to even up the exposure, and was made from two cemented lenses of zero
overall power but the positive is colored and acts as the graded element. (B.J.A. 1906-1907). It has been
reported as being quite effective on a modern Angulon lens.
Fig 016 033 Rodenstock Pantogonal No2 c125mm No41,220 in brass with density gradient yellow filter.
Eurygonal f3.8 It was made in 1/4, 1/2, 1/1plate sizes and was an anastigmat with a layout rather
like a Kollinear ( Layout Rod005, Rod007, Q11) but was unusually fast. The latter design seems to be partly
uncemented. At least one of the early anastigmats was sold as a casket.
Caskets and Sets
Eikonar Casket Set Symmetrical Anastigmats, 3+3 type 110-180mm. An early example reported in Sweden
was a f5.4/24cm at Nr110,01x, in a mahogany tailboard camera. See below for an f6.8 series: there may be
parallel production of two 3+3 symmetrical anastigmats at two apertures.
Mollar f6.3, this seems to be a non-achromatic meniscus lens for portraits and an old product.
Monokel Casket Set, eg Satz 11 in brass barrel with 10 simple lenses, to use one at a time. A Monokel
objektive Satz II No500,68x was noted at auction. This may be an unusual serial number for this type of
product. The serial number is on the barrel as the glasses are not mounted; and slip into the rear of the barrel
when a retainer ring is removed rather as filters might except that a much longer thread is used. The glasses
are numbered with a diamond from 25 to 70 and this may be the cm focus. The longest is thinner and may be
a different type of glass. Since there is no color correction, this will be softish, and have a focus error from
visual to photographic. It may be possible to combine 2 glasses but this was not tried.
Fig 016 008 Rodenstock 'Monokel' casket set with barrel, casket and flange.
Universal Lens Set.
An American advert. carried a 30cm f6.8 Doppel Anastigmat but without more identification. A f5.4 Doppel
Anastigmat has also been seen at auction at No900x on a 6x9cm Rodenstock reflex.
Imagonal f6.0/f6.8 as 60-1500mm This has a 3-glass front cell and a single thick rear lens, the layout
in Rod003. But note the discrepancy below. Imagonal was made in 3-sizes, for 1/4, 1/2, 1/1 plate use.
Coverage was 60-80°. It was available as a casket in 1906 with 8 combinations plus filters, (Yellow, etc.).
(Coblitz, German Patent, No177,266, 1908, 1904). Imagonal was also available as a package containing
Imagonal+ Portrait lens+ 3 landscape lenses in a casket. This may explain some of the uncertainty about it.
Thus Schmidt (1908) shows Imagonal as a single front lens and a triple rear, and Frerk describes this
type,and shows the 'Satz: type 3' below as a distinct product."Here the single cells are not well corrected for
separate use. The lens is not in fact up to the makers usual standard of correction". The casket was made in
No 1 f6.8 for 13x18 and No2 f6.8 for 18x24cm. The Satz was covered under D.R.P. 231,074 and here there is
a point as it seems to be triple front and single rear. Both had 5 cells and could give up to 8 foci. Thus there
may be:
(1) Satz Imagonal
(2) Imagonal Type 2, also as a soft focus lens. This may be due to uncorrected spherical aberrations.
(3) Imagonal Type 3. This probably rated as a 'Satz' and was seen at No5,53x and is different as it has a 3-
or possibly 4-glass front and interchangable doublet rear glasses, the front not being normally useful alone.
The four rear glasses give overall foci of about 127, 150, 180 and 270mm, with quite a wide angle of cover, but
sharp only when well closed down. Fig 016 015 Rodenstock Imagonal casket set. It seems not be the same
as the one in Kingslake's book, but nearer to the Heligonal he mentions. It may be that the rear exchange
design was the early version, and that user pressure resulted in a redesign with the more convenient front
change system. The diagram is for the latter type but the other seems to have the same layout reversed such
as Schmidt describes. The designer was A. Neuman, and he adopted the Rudolph procedure of using
anastigmatic flattening of a spherically corrected system.(B.J.A. 1906, p729). The front looks to be like part of
a Q9 lens, and the excess aberrations left in are corrected by the rear. (Photo Korres. 11/1904, p503) (Layout
Rod004).
Thus this is an interesting item but one to get details of before purchase since there does seem to be some
uncertainty present.
Portrait Moment lens f3.5 } These may in fact be the same lens but Portrait Moment is what Frerk also
uses as a German description and may be the preferred. And see above.
Studio Rapid f3.5 } They were made in 140-480mm.
Bistigmat This has been reported (eg at No25,25x for 13x18cm) on an Adler, Wien camera at
auction,as a desirable item with a simple shutter and focus correction for taking. Thus it is probably not colour
corrected and likely to be a Periscop type. It is said to be f13. Frerk says merely for box and magazine
cameras- which would not suggest a very fancy item, but the early versions may be more select.
Wide Angle Bistigmat C (no details)
Hemi-Anastigmat f7.2 For up to 80° coverage, this is a 4-glass lens near Q5 in design (App057), ie
posibly a well made RR. But Frerk says it has a non-achromatised rear pair, so it will be less corrected than
an RR. See also Kerkmann p229. An example was noted at No3,30x on an Albini VP plate. A Rodenstock
Hemi Anastigmat was noted as f7.5 No3236 onan Alba VP size camera.
Aplastigmat This seems to be an early anastigmat.
Triplexstigmat Again this seems to be an early type of anastigmat.
Tele-Projection Lens f3.5 This was adjustable for 6.0-23in focus, noted 1906-7.
Terogonal Anastigmat f6.8 (This may be a Q9 type). It seems to have been listed for many years into
the interwar period.
Eurynar This was a major product, 50,000 being sold between 1909-1914. It was a replacement for the
Imagonal, in f5.4 and f6.8 and usually 18cm was used for an 13x18cm plate. The product was revised for 1924,
with new optics and mounting, and the next two may have started then. The structure in the 1925 B.J.A. is a
dialyt, but the designs may have varied. There is no mention of their being convertible, but the Table lists f3.8,
f4.0 and f4.5 as if they were one set of Series IV lenses which differed only in aperture. There was no f3.5 in
1925.
(o) f3.5, 75-150mm (App055)
(a)Series IV in f3.8, f4.0, f4.5, Normally in 50-300mm. (Layout App054, pp055).
These were made in 1925 in 2.5-10cm as f3.8 and the shorter were for cine and movie, but the 10cm was for
3.275x3.125in. (B.J.A. 1925, 344, 360, 744advert, )
The next group were f4.0 in 12cm for 2.75x3.5in, and 13.5cm for 3.25x4.25in, (Layout App054, App055).
Finally the longer lenses were as f4.5. These were 15cm for 3.5x4.5in, 16.5 for 6x4in, 18cm for 6.5x4.75in,
21cm for 7x5in, 24cm for 8.5x6.5in, 30cm for 9x7in, 36cm for 9x7in, 42cm for 10x8in, 48cm for 12x10in and
60cm for 15x12in. Note that App055 was drawn to cover both the f3.5 and f4.5 versions. It has also been seen
as a 360mm lens in brass at No100,12x. These can be quite big lenses as with the 36cm f4.5, but are still
relatively quite light in weight. The iris is after G2, and a more normal f4.5/135mm at No283,54x was on a
Tropical 9x12cm plate.
Fig 016 020 Rodenstock Eurynar f4.5/36cm No100,128.
The f4.5 was fitted to the Rodenstock Astra in 4.25x3.25in in B.J.A. 1925, p344.
(b) f5.4, there is no data.
Kerkmann shows an advert. for the f6.5, f4.5 and f3.5 illustrated with a dialyt and all are listed as separable,
the front cell giving 1.75, 1.95 and 1.75x increase in focus, and the f6.5 is strictly symmetrical, but the others
have shorter focus rear cells (1.57x, 1.6x. respectively).
(b'2) f6.0 This was noted as a 21cm on a W.Chelius formerly Wunsche, camera at auction and may be a
slowed up version of the 21cm.
(c)f6.5, 105-480mm This aperture was fitted to the Rodenstock Rio rollfilm camera in B.J.A. 1925, p344.
(d) f6.8. Examples noted have been 240mm, and 475mm for 14x17in. It was a Doppel Anastigmat in 1918
when fitted to the Enolde plate from Korelle.
Thus this is was made in 5 speeds and these variations may partly be due to the focal lengths (B.J.A. 1911,
p1260). They seem often to be 3-glass type Q16, but this seems to be a case where two or three layouts
may have been used under the same trade name. Thus a Gauss (Rod009) may have been used for a wider
angle version and a dialyt (Rod008) sold for narrower angle lenses. It has been noted as an f6.8 180mm lens.
It was continued into the interwar years as Series 1, f6.8 (Gauss); Series 111, f5.4; Series 1V, f4.5, and f3.8.
The f4.5 was said to cover 55° and have a dialyt layout. In use it was nice, especially if closed down a little. It
was made as 180, 210, 240, 300mm. (Series 11 is not known here.)
ApoProcess Eurynar A slower version for process work.
Some rather later notes of these are:
Eurygon f4.5 300, 360, 420mm This was a plastic graduation portrait lens, using a triplet
design. H&D gives 210-600mm, and confirms it is a triplet. Frerk confirms it is a triplet, and mentions small
sizes for movie and macro work, possibly the f3.5 version, and large ones for general use. Coverage increases
from 48° to 60° or to 70° as it is stopped down. It is suggested to use 21cm for 13x18cm.
Eurynar f3.5+f4.5 It was made in 180, 210, 240, 300mm to cover 55° but perhaps not all in
both apertures. It was a dialyt, and the separate components were usable for 2x and 1.6x focal length. There
was also a f3.8 in the B.J.A. 1939 p534 advert, probably an f3.5 with aperture limited by the shutter size.
(Eurymar This spelling occurs several times- it may not just be a misprint. It has been noted as a f4.5/135mm
No293,58x).
Eurygon f4.5 21-60cm, This was a Triplet for 48-60° coverage depending on aperture.
(App059)
After WW1, the list in B.J.A. 1924, p743 was:
Eurynar Series 1, f6.8; Series III f5.4; Series IV f3.8 and f4.5;
Eikonar Series II, f5.4; Series III f6.3, Series IV f12 Wide Angle.
Extra Rapid Portrait f3.5
Universal Anastigmat Eustigmat f7.5
Extra Rapid Aplanat f7.7
Wide Angle Aplanat f12
Apochomatic Eikonar for process and 3 colour work.
Later Lenses.
Trinar This seems to be a later type of lens drawn as Rod012 and a typical triplet. It was noted on cameras
from the interwar years and was made in:
f6.8 This was the only version in Frerk's 1926 book. He describes it as a good low
priced triplet and one which came in shutters. It was normally sold with a camera.
f5.8/f6.3 This was made as 75-300mm.
f4.9 100mm version on Cito Klapp (1930) (Rod012)
f4.5, f3.9, f3.8 These versions are noted on Clarovid, and Welta Trio, The f3.9/105mm
was No666,68x. It was also available as 50-300mm.
f3.5 This was noted as an 75mm on a Beier Precisa, typically mid 1930's. The serial
number was Nr 737,51x in rimset Compur 3,3 million c.1935. (obscured number)
Fig 016 018 Rodenstock Trinar f3.5/75mm in Compur shutter on Beier Praecisa.
f3.8 This was noted in 1939 advert below.
f3.9 This was noted in B.J.A. 1936, p294 on a Clarovid II 6x9cm rollfilm, it will
probably be an f4.5, aperture limited.
f2.9 and f3.9 These were noted on the Citonette (1933) and were made as 50-105mm.
The f2.9 was also on the Ysette for 16 on '20 film in 1939 (B.J.A. p275, 534 advert.) with an f4.5 as a slower
option.
Trinar was a major item on Rodenstock's own line in cameras, in f4.5 and f3.9, on Clarovid in 1938; as f4.5 and
f2.9 on Ysella for 4x6.5cm in 1931and Ysette for 6x6 in 1938; and on Citonette, Gero and Rofina. But these do
not seem common in the UK, and here the Trinar is not too well known. Normally the next version up was an
Ysar in f4.5 and f3.9 but many did not offer this.
Ronar: This was to be a famous trade name but the first use may be in the 1920's. It is possible that it was
then used on lenses of several types rather as Heligonal was.
Imagon f5.8 This was made as 170-480mm (B.J.A. 1938, p261) where all might be had in
barrel or in shutters. The range of foci available has varied over the years. It is a softish portrait lens, with
control of softness by the iris and by the use of 'tea-strainer' diaphragms to admit varying amounts of light
from the outer zones of the lens to add more softness in a very controlled fashion as they can be closed off
selectively. Older examples carry the name of Mr Heinrich Kuhn-Birgit as initiator, but the lens was said to be
designed by Dr Staeble the 'head of our photodesign' team in 1931. This suggests that the former was a
photographer who decided the type of softness he required aesthetically but this is a guess. The lens was to
become a very long lived product, being still in production today and is the softfocus lens usually regarded as
that by which others are judged. By the 1930's the focal lengths were 200, 250, 300, 360mm. A modern layout
is shown in Rod010 with the 'tea strainer' on the left. The shortest example noted was a 120mm listed in 1938
for a Beierflex camera. There was a special 'Imagon' camera for 9x12cm with focal plane shutter in 1930,
shown with tea strainer filter. So it may be older, and available from 1928 or so. This camera looks rather like
a Linhof Square Back Technika camera, which developed a bendy back in the Model II, and also a focal plane
shutter in another one. [This type of camera also seems to occur as the Silar from Meyer and the Soho
Precision camera- but never with the bendy back!] Rodenstock only listed it with the Imagon, as a special
camera. It was suggested to choose 6x9cm, 170mm Imagon; 9x12cm, 20cm Imagon; 10x15cm, 25cm
Imagon; and 15x18cm, 35cm Imagon. These are a fast, long lens and are usually in Compound 3 shutters, so
that dating by the shutter number seems harder, but a lens Nr5,255,57x of about 1962-3 was in shutter
No807,129. The smaller sizes are less known but an f4.5/120mm No3,137,66x has been noted in an article on
Exaktas.
Fig 017 001 Rodenstock Imagon f(H)5.8/250mm No5,255,578 with iris units and hood. This is a modern
coated lens.
In modern times, the short foci might have sold on 6x6cm cameras but were not available though a 200mm
Imagon was mounted by Piccadilly Photo Centre eg Hasselblad where a Copal 3 shutter was used. (B.J.P.
13/03/1981, p281). The price was £221.60 in plain iris mount for SLRs with focal plane shutters; and £389.10
in Copal 3, and there was additionally an adaptor charge of £134 +£39 to join the lens to the camera.
Perigon f12 90-750mm This seems to be a 2+2 "anastigmat" type for up 90° to 110°. It
was seen as a postwar f12/90mm lens at Nr 2,369,41x, coated 'A' in a Compur Rapid shutter. The reflexions
from the cemented surfaces seem very pale, as if the R.I. differences were small. (App056). It was used on
6x9cm and gave excellent results stopped down a bit. It would still be a useful lens.
028 Rodenstock Perigon f12/90mm No2,369,419 in Compur Rapid.
Periscop f11 This was on the Fibituro (1934). It will probably be a low price lens.
Ysar
This was a long running Q15 type lens of high quality. Prewar it was fitted to the more costly models where
the Trinar was the simpler version. But like the Trinar it is not too common in the UK. The choice is well
illustrated in B.J.A. 1938, p671 where the Clarovid II, Citiklapp and Ysette all are offered with either and the
Ysar is about £1.5-2.5 more expensive or say 12%.
Ysar f3.5 50-105mm
f3.9 This was listed in B.J.A. 1939, p534 but the camera was not stated.
f4.5 50-480mm (Rod011) This may well be initially a 1920's product,
and became an important one.
Robra Anastigmat f3.5 75mm This was on a Robra camera for 3x4cm (1934).
Zeconar f4.5 70mm for 4x6cm BAFO camera.
f2.9 50mm on Balda, but the maker was not indicated. (1930's).
Eikonar Lenses. There seem to have been a group of products here at different apertures and possibly with
different designs. The trade name seems to have been allowed to lapse, possibly in the early 1930's, as they
were not noticed in the adverts, even though some of the products may have been continued under new
names, possibly in modified forms.
Eikonar Series 11 f5.4 This was listed in 1925.
Eikonar Series 111 f6.3 This was listed in 1925. An f6.8 Eikonar was sold as a set for 2 or 3 foci, with
accessories, possibly filters. H&D gives 11-18cm as the range of foci. It seems to be new in 1913-1914, and
offered in f6.3 up to 37cm and then f6.8 to 51cm and then f7.5 to 60cm. Frerk suggest 18cm for a 13x18cm
plate, or 12cm at f9 for 10x15cm. Single cells are used at f12.5. It covers 70-90°, the latter stopped down.
Eikonar f4.5 for 60-80° These were discontinued by 1926. (The f4.5 may be the Series 1
missing from the list.)
f5.4 for 70-90° same.
Eikonar Series 1V f12 90-200mm This seems to be a symmetrical anastigmat 3 + 3 glass probably
of Q11 (Kollinear) type from the reflexions. It is a real wide angle, the 15cm illuminating 10x8in and covering
1/1plate sharply and probably 10x8in if it is stopped down. (This was confirmed by a professional user who
had applied the lens on 10x8in and spoke well of the results.) It was seen as an f12.5/15cm lens at No148,66x
made perhaps about 1914 as it uses old stop markings from f12.5 to f50. Here the mount is heavy and really
impressively solid- but finished in very dull matt and gloss black. This Eikonar may have been a predecessor
of the Perigon, but of different design.
Frerk notes that Rodenstock lenses were good value as the price was not too high and the quality really good
and this seems an excellent example. It was listed in B.J.A. 1925, p744.
Fig 016 022 Rodenstock Eikonar wide angle f12/15cm No148,665.
Eikonar Apo Process f9.0-f11 240-900mm This was a process lens to cover 52°.
Extra Rapid Portrait This will be the old f3.5 Petzval lens still in use many years later.
Eustigmat f7.5 A universal anastigmat. The example seen was actually an f7.2.10.5cm in a tiny
black mount with no stops, uncoated at Nr163,30x and probably in the region of 1930, but the original use is
unclear. It seems to be a 4g/4c dialyt, roughly Q26.The product was on sale in 1925 and 1926, as the budget
lens (above the Aplanat f7.7) on rollfilm and plate cameras such as the 'Astra'. The more expensive options
were Eurynars in various apertures.
Fig 016 022 Rodenstock Eustigmat f7.2/10.5cm (no iris fitted here.) and Eikonar wide angle f12/15cm
No148,665.(above)
"Photolet" this French camera used a f8/31mm Rodenstock lens in 1935.
Projection Lenses.
see also TeleProjection lens above.
Motar Petzval type.
Kinemar Petzval type.
Splendon Petzval type.
WW2: Production seems to have been coded: eso.
The plant was visited just after the war by the B.I.O.S. team, to meet Herr Mayenrieder. At this time, it was
supplying Zeiss Ikon and Kodak owing to lens shortages, due to the Russian occupation of Jena and
Schneider being in the French zone. The plant was on half time due to power shortages, but was described as
good but quite normal. Production included rangefinders for Super Ikontas. It seemed a less well equipped and
older plant than others at the time.
Post 1945 Production.
Most postwar items are hard coated, and this is shown by an 'A' filled with red paint. On the amateur market
the major product was probably the Heligon Gauss type, sold for many applications, and the centre piece of
their range on the Retina cameras. But there was always a large format programme listed, though the
magazines tended to give it less space. It probably included some older items such as the next seems to be.
Perigon f12 This was made in 90, 110, 130mm for large format. This covered 85-95°, and
was sold coated at least to 1955. It was roughly anastigmat type Q7 and it was suggested to use 90mm for
9x12cm. A nice coated example was seen at No2,369,41x in a Compur shutter.
Heligaron TR f1.6 6.5mm for Niezoldi & Kramer, and Bauer, about 1960. Several occur in the
Ariel list, so it was probably a major product in the late 1950's on Nizo projectors (or?cameras.)
Heligaron f2.5 12.5mm This was for 8mm use.
Heligon
This has always been a Gauss design, normally for fast lenses of about f2.0. Some versions noted have been
as follows:
Heligon f1.9 40mm 6g Gauss
f1.9 50mm for SLR's 6g gauss.
f2.0 50mm same The Heligon was the general name for postwar Gauss lenses
and was probably updated and adjusted as needed for various uses. It was always a very highly respected
type. An early Rodenstock f2/50mm for the Italian Perseo may be one of the earlier postwar uses in
1949/1950. A few Heligons were mounted for M39 also, and see the wide angle 35mm below.
f2.0 22mm on Mec-16B subminiature. This was noted at No4,550,12x
Heligon Wide Angle f2.8 35mm These are 6g/4c lenses in a coupled M39x26 mount. They were listed
in 1955 and were seen at No2,459,63x as a very desirable compact item.
Fig 012 009 Rodenstock Heligon f2.8/35mm No2,489,639 in M39.
Heligon f2.8 90mm (or possibly 80mm?) for Linhof Technika 6x9.
Heligon f3.2 90mm (or 80mm?)
Heligon f2.8 80mm for Graphic 23 (1967) Here the 80mm focus seems definite.
Heligon f2.8 95mm for Graphic XL (1967).
These lenses were listed in 80 and 95mm in the 2/1968 list for 56x72mm and 65x90mm respectively in
Compur 0 (for 80mm)and Compur 1 (for 95mm) shutters. These were 6g/4c Gauss design lenses.
XR-Heligon f1.1 75mm This is an impressive lens, probably from a mass X-ray unit. It has
some 12air-glass surfaces, and is very fast. But the back focus is very small, there is no iris, and no focus
movement so it is hard to regard it as a use item. It was seen at No6,000,32x. (The design may not be related
to the Gauss).
Fig 016 023 Rodenstock XR-Heligon f1.1/75mm No6,000,322.
XR-Heligon f1.5 100mm. This may be a slower version of the same, or a longer one for bigger
formats, noted at Nr8,820,43x, and also has a short rear clearance at infinity. It was used on a Siemens
Exporator 35 X-Ray unit ex Siemens Elema AB.
Heligon for Retina This was a series of lenses sold with interchangeable front elements for wide and long
focus. It was sold in parallel to a set from J.Schneider but the sets are quite distinct, and are not intermixable.
The Heligon set is said to be the scarcer as it was produced in smaller numbers and only issued in
some countries, and this did not include USA. Finally there is only one prime lens, the f2.0 Heligon [while
Schneider offered a slower f2.8 Xenon as an alternative to an f2]. The layouts are shown in Rod018, Rod019,
Rod020, but are not to scale as the front lenses are relatively big and dwarf the front cell of the Heligon when it
is removed. This was one basic problem for users and limited the progress of the system, and today a user
needs to find the requisite caps and storage holders if the system is to be used safely.
Heligon f2.0 50mm 6g/4c This was a Gauss standard lens. Rod018. One was noted at
No3,995,80x.
Wide Angle C f4.0 35mm Here only the front cell changes. Rod019 It was noted at
No4,066,82x.
Wide Angle C f5.6 35mm This was a slower and ?older version of the above.
Long Heligon L f4.0 80mm Again here the front component only changes Rod020 It was noted
at No4,471,34x.
Ysar A high quality Q15 type lens, made in many formats postwar. (Also it may be spelled as Isar?)
Ysar f3.5 50mm (Rod011) or Q15.
Ysar f4.5 75, 85, 105, 135, 150, 165, 180mm. In 1955, it was listed in up to 420mm,
to cover 55°. It does not seem to be easy to find in the UK.
Ysaron f4.5 This was a Q15 type enlarging lens, seen as a 210mm (no serial number on
it!) and an 75mm in a Polaroid Prontor shutter at No5,669,12x. (App052) The f4.5/150mm with stops to f45 at
£19.07 and the f4.5/75mm at £11.55 + 2.1 tax as well as a 50mm lens were noted in B.J.A. 1962, p484-40.
Fig 016 025 Rodenstock Apographagon f11/240mm No10,519,645 and Ysaron f4.5/210mm (Nono).
Fig 016 031 Rodenstock Ysaron f4.5/75mm No5,669,120 in Prontor Polaroid shutter.
Trinar: a series of triplet type lenses.
Trinar f2.9 50, 75mm (Layout Rod012)
Trinar f3.5 45, 75, 105mm (same layout). See B.J.A. 1938 p290 for an example on a
6x9cm Citonette. There was also an f3.8 version on the Clarovid 6x9cm, probably due to the shutter limiting
the aperture. (idem, p671)
Trinar f4.5 75, 105mm (same layout). The f4.5 was used on the Citoklapp in 1938
(idem, p671). The Ysette used a choice of f4.5 or f3.5 Trinars in the same program.
Trinar f5.6 45mm This was noted on a Bella 35 camera from Actina, 10, Dane St,
London, noted in B.J.A. 1959, p213.
Trinar f6.3
In all cases the use of a 75mm lens was suggested for 6x6cm, the coverage being 50-55°. It was listed about
1955.
Trinarex Triplet listed in 1955. This just may be a 'new' glass version of the Trinar.
Trinar Projection Lens f2.8-f3.6 50-100mm
Reomar f3.5 45mm for Kodak Retinette. This was a very successful camera from the
1950's, and was fitted with Reomars from both Rodenstock and Schneider, so the trade name may in fact be a
Kodak one. The lenses had the same specification. However it is not known if they were optically identical.
(Rod016). (There was also a f4.5, maker unknown.)
Technicon f2.8 This is specifically mentioned as a Rodenstock lens in Pop Photo 11/1963
p163 for Linhof [along with f2.8 Planar and Xenotar lenses by Zeiss and Schneider.]
Sironar
Sironar f5.6 In 2/1968, it was made in 100mm for 6.5x9cm; 135mm for 9x12cm; 150mm for
9x12cm or 5x4in(?); 180mm for 13x18cm; 210mm for 13x18cm and 240mm for 18x24cm and other sizes such
as 300mm and 360mm were 'in preparation'. They cover 60° at f5.6 or 70° when slightly stopped down. The
front cell can be used on its own as a slightly soft focus lens or somewhat stopped down as a sharp long
focus of 3x the focus.
This was normally made in large format foci, such as 150 and 210mm which are those usually seen. It
was a standard large format lens for studio and architecture, and was made to an air-spaced Dagor design
(roughly Q20) and is optically excellent. The front mount is or can be very large and impressive, the 150mm
lens taking c.70mm external filters. The coating at No8,723,58x is also very impressive making for a premium
quality item. (Sadly a number sold in the UK including the last example, seem to have suffered from a faulty
supply of balsam, and have separated. One report has been that this actually did not affect the performance
seriously as with the example seen and the lens was regularly used in spite of it: but it must reduce the value
of the lens considerably. A repairer says that rebalsaming here is not normally possible. In addition, the
Compur electronic in the last example had failed, and only offered Time and probably 1/500sec. Thus they are
an item to purchase only with care if for use.)
Sironar-N f5.6 This was made in 100, 135, 150, 180, 210, 240, 300, 360, 480mm at least.
This probably is a redesign with new glass, and seems to be an excellent lens. It was among Rodenstock
lenses featured in Modern Photo 06/1980 p10advert. for 100-360mm and 72°, with multi-coating and improved
color correction. Other items then were:
Grandagon f4.5 in 65, 75, 90mm; Imagon, ApoRonar and Geronar f6.8/210mm.
A recent trend seems to have been to make rather specific designs for ultimate performance in them. Such
items (See Hicks in B.J.P. 02/10/1996 p15) were the:
Apo-Sironar Digital f5.6/90mm for 76° ideally designed for current digital formats and to give high
sharpness in them.
Apo-Sirionar D f5.6/120mm for duplicating work with 5x4in subjects.
Apo-Macro-Sironars for 1: tp 2:1 on 5x4in.
Grandagon
This is a well established series of extreme wide angle lenses. The f5.6 series were already on sale in 2/1968
and covered 90° at f5.6 and 100° stopped down even slightly. This series used 8 glasses in 5 components and
was slightly unsymmetrical.
Grandagon f4.5 65, 75, 90mm This is a new type wide angle with large external glasses, for
excellent results. It is a little more compact than some others and therefore desirable. (App050)
Grandagon f5.6 58mm for Graphic XL (1967) This is an 8-glass design.
Grandagon f5.6 80mm for 9x12cm. This covers a diameter of 160mm at f5.6; and 168mm at
f22.
Grandagon f6.8 75, 90, 115, 155, 200mm A favorite lens, not as fast or as large as the
others, but covering a really wide angle and with really good performance. It will be lower in price and easier to
use on some cameras as it is smaller.
Modern Grandagons are coded Grandagon-N and have advanced coatings and designs, and were seen at
No10,895,31x and 11,092,28x.
ApoGrandagon f4.5 45mm This was noted on a Horseman SW612 in a review by Hicks
in B.J.A. 01/05/1996, p18. There was a value in stopping down for even illumination even f11 or f16 being
worthwhile though only a cos3 dependance was thought to be present.
Apo-Ronar and Process Lenses
Apo-Ronar f9.0 150mm for 6x9cm, 240mm for 10x15cm, 300mm for 13x18cm, 360mm for
18x24cm, 480mm for 24x30cm, 600mm for 30x36cm It has a dialyt design of 4 separate glasses.
f16 1000, 1200mm. These were not noted in the 8/1968 list used for the items
above.
ApoRonar can be an excellent purchase for use on a large format camera such as 5x4in as the design, while
essentially for process and macro work, it was one which works well at longer distances up to infinity. Thus
the f9 versions were offered more widely in shutters as well as barrel mounts, than the f16 was, since the f9
was likely to attract general purpose users. It is specifically suggested for use at infinity. There seem to be
several generations of this lens, as it has been a long term item, but it is not known if there were differences
apart from eg. coatings. It was seen at No 5,181,33x, 6,281,70x and 6,290,85x (in Copal shutter). (App053).
One point is that the 150mm version sold better relatively than many process lenses and is common enough
to be worth looking for.
Fig 016 035 Rodenstock Apo-Ronar lenses (l) 2x f9/150mm No6,281,707 in barrel, and No6,290,854 in
shutter; and (r) f9/300mm No5,181,338 in barrel.
Today it is still attractive as barrel versions can be adapted to use with shutters due to their small size and are
light and contrast in use. But note that the barrel versions do get heavy in the larger sizes due to the mounts
used.
Apo-Ronar-S f9.0 This was noted in Grossbild Tech. 2/1966 as a 2+1+i+1+2 version of the
normal dialyt probably for the extra correction of colour. It has not been seen and seems rare.
ApoGraphagon f11 This seems to be a process lens using the Q20 layout and was seen as a
240mm lens at No10,519,645, a fairly late number. It seems to be a late example of single coating, and
probably covers a rather wider angle than the Apo Ronar.
Fig 016 025 Rodenstock Apographagon f11/240mm No10,519,645 and Ysaron f4.5/210mm (Nono).
ApoGerogon This was listed in USA as a f9/300mm lens, probably a process. Several have been
reported and it may be a more important product than this entry suggest, but process lenses are often under
reported. For general use, ApoGerogon is a sought after large format lens.
Vario-ApoRonar f16 for 50x60cm subjects and a constant subject to film distance this
could give from 1:5 to 5:1 size ratios. It used a 12 glass 10component design and weighed some 100Kg being
driven by servo motors. (B.J.P. 06/10/1978, p865)
Geronar f6.3 150, 210, 300mm This is a triplet type, for lower cost and still high
performance especially stopped down. Thus it can be an excellent way into a modern lens.
Wide Angle Geronar f8.0 90mm only. A 4-glass Gauss type wide angle. This is a pair to the Geronar
above.
Culmigon f4.5 35mm Q20 Plasmat type
I R Lens. for infra red work f1.9 57mm made by 1969, and described by E.Glatzel in 1969.
Enlarging Lenses
Ysaron This was the budget postwar enlarging lens, coated and designed for high contrast. It was made in a
series of amateur and rollfilm sizes.
Fig 016 025 Rodenstock Apographagon f11/240mm No10,519,645 and Ysaron f4.5/210mm (Nono). above
It was also used on camera.
Rodagon This was the top quality Rodenstock enlarging lens post war. It is thought this is a Q20 6-glass
design, made in a wide choice of focal lengths, but no list is available. In B.J.P. 06/10/1978, p865 a new
series of Rodagon lenses was announced as recomputed and in new mounts. They were f2.8/50mm;
f4/60mm and f4/80mm and f5.6/105 and f5.6/135mm. There were also redesigned optics in 'old' mount f5.6
150, 180, 210, 240 and 300mm lenses and an f6.8/360mm lens. These were optimized for 1:1 to 1:10x and
are best stopped down about 1 or 2 stops.
By 1982, the line included an ApoRodagon f2.8 50 and 80mm for 2x-20x enlargment, and a Rodagon-P
and Rogonar-S-P for the reprographic trade. The ApoRodagon f2.8/50mm was a 6g/4c symmetrical design
(ie Gauss?) like the Rodagon but is apo corrected over 400-700nm and for big enlargments. It was 'new' in
adverts from Odessey Sales in The Photographer 05/1996, p9 as 50, 80, 105, 150mm and the advert. shows
an unusual 7glass lens apparently with the centre of a Gauss filled with glass. There were then a series of Apo
Ronar, Apo Sironar and Apo Grandagon lenses and Copal Press shutters were a new introduction.
There was also a:
Rodagon-UV f4.0 60mm for microfilm work with UV sensitive materials.
Rogonar
Rogonar S This replaced the Ysaron series and was a Q15 4g/3c design, and was available in f2.8/50mm,
f4.5 as 60, 75, 90, 105, 135, 150mm. Up to 105mm they were in new style mounts like the Rodagons and
were optimized for 4-8x magnification closed down 2 stops.
Rogonar There was a down market Rogonar f2.8/50mm 3 glass triplet rather like the old Trinar. It was still
made in 1978.
Rogonar-SC f2.8/50mm
f4/75mm The SC had a special feature of a slot in the barrel for extra optical
elements from the Rodenstock Creative Print set. These include soft focus, non-uniform units, contrast
variation, a cylindrical lens, and polycontrast filters. There was also a colour analyser. (B.J.P. 10/10/1980
p1019)
Eurygon Wide Angle enlarging This was introduced at Photokina 1977(?) and extended in 1978 and was
made as: f4.0/40 initially, f4.0/80mm in 1978. (B.J.P. 06/10/1978, p865)
Cine Lenses.
Euron f2.8 38mm cine triplet, ? a long focus for 16mm. Q14 type
f2.8 35mm This was noted as a long focus lens for Nizo in the 1950's.
f2.5 37.5mm1961 Nizo 8mm
f2.5 12.5mm This was on a 1953 Bauer
Euron f3.5 75mm This was a cine triplet, ? a long focus for 16mm. (about 1955)
Euron f2.5 12.5 This was noted about 1953 on Bauer 8mm cameras.
Erinar This was a triplet listed in 1955, Q14 type.
Epitritar f3.5-f5.0300-650mm This was a Projection Triplet type.Possibly still and cine.
Splendon f3.5-f10.5 200-600mm This was also a Projection Triplet, possibly for still
slides.
Splendar f2.5-f4.0100-250mm Projection Triplet
Kinemar Projection f1.3, f1.6 18, 22mm These were cine projection lenses. Q21.
Ronar cine f1.9 10, 12.5mm This was a Q21 type, and probably a taking lens design
about 1950. It seems to be very common especially as an 12.5mm for 8mm. Noted on Nizo Exposomat 8mm.
(B.J.A. 1960, p242, 1958, p271.)
Heligon f1.5 This focusing lens was the expensive version on the Nizo
Exposomat in 1960 (B.J.A. 1960, p242)
Ronar, Cine f1.8 13mm This was noted about 1960 on 8mm Bauer
Sironar f2.2 10mm, This was used as a 10mm lens late in the years pre-1939.
Yronar f3.5 135mm This was for 24x36mm and was a specialized form of dialyt (Rod017)
for SLR's. The example seen at No4,240,40x, had a manual iris with a preset ring set by a button on a red
scale. The lenshead had been fitted to a M42 adaptor, probably for use on a bellows.
Ronagon This was a front lens for 8mm cine to give 0.5x focal length.
Ysarex: A series of Q15 type lenses.
The 2/1968 suggests this was not just a new design with new Lanthanum glasses, but really a new product. It
covers 55°
Ysarex f2.8 50mm Q15 These seem to have an unusually large front glass and are an
unusual design, and were used on the Kodak Retina Reflex as well as for general sale. Two layouts are
Rod014 for the Retina lens, and Rod013 for general one. There do not seem to be significant differences.
Ysarex f3.5 95mm for Graphic XL (1967 list) Q15
Ysarex f4.5 150mm for Graphic XL (1967 list) Q15.
Ysarex f4.5 105mm for 6.5x9cm, 127mm, 135mm for 9x12cm, 150mm for 9x12cm,
180mm for 10x15cm, 210mm for 13x18cm. (The 127mm was not in the 2/1968 list with the other sizes.) The
image diameters covered at f22 are respectively 138, 173, 184, 212, 261mm. This was made for large format
cameras, and a special case was a f4.7 127mm version for Polaroid Pathfinder 110A (MCM 3/1960): this is a
special case as the Pathfinder has fallen out of use and the Ysarex can often be obtained cheaply. It was for
1/4plate but should cover 5x4 as the image circle is about 230mm- very large for a lens of this type and the
useful image at f4.7 seems to extend over 160mm or more. (Rod015) shows that it no longer has the oversize
front glass of the miniature version. Experience is that apart from the Polaroid version, the Ysarex is not too
common in the UK but is an attractive item when found.
Eurygon- An old name reused for a modern retrofocus series.
Eurygon f4.0 35mm 5g retrofocus Rod021, Rod022.
Eurygon f2.8 30mm 7g retrofocus, Rod023.
Eurygon Portrait
Anastigmat f4.5 300, 360, 420mm. It was still made in 1955 lists.
See also enlarging version above.
Telephoto Lenses.
Typically these were sold under the trade name Rotelar. (App051)
Rotelar f4.0 100mm 5-glass telephoto Rod025.
Rotelar f4.5 135mm Rod026.
Rotelar f4.0 85mm Rod024.
Rotelar f5.6 270mm for Graphic XL.
The 2/1968 list shows:
Rotelar f4.5 180mm for 6.5x9cm It covers 120mm dia at f4.5 and 130mm at f22.
f5.6 270mm for 9x12cm It covers 155mm dia at f5.6 and 165mm at f22 so it will
be useful on 5x4in, especially stopped down a little.
Both seem to be 2+1+i+1+1 designs, ie 5g/4c, in Compur 0 and 1 shutters respectively
Graflar for Graphic 35(?)f2.8 50mm
Graflar f4.5 85mm Triplet.
Soft Focus
Imagon f4.5/f5.8120, 200, 250, 300mm (and even 480mm) achromat, Rod010.
In 1938 it was in 17-48cm and all could be had in shutters or in barrel mounts. (B.J.A. 1938, p261) It was one
of the classic soft focus lenses before the war.
This soft focus portrait lens was continued postwar and up to the present, but the range of foci has shrunk,
being 200, 250, 300mm in shutters for 9x12 to 13x18cm, then 360-480mm for 1/1plate to 10x12in in a 1955
list. The above is a more modern list. It covers about 40°. Normally it was sold in shutters for large format
cameras, but has also been supplied in tube mounts for medium format cameras. Here a 200mm was fitted for
use on 6x6. Today the old 120mm is (sadly) discontinued. Imagon gives real detail overall, with extra softness
added on top in a controlled way. An ND filter is supplied to allow larger apertures to be used. Note H&D
knows it before 1939 as f5.8 only, in 170-480mm. In use, the grids allow light through the centre to form a
sharp image core, especially from the smaller centre one. The outer holes are controlled by rotating the
mount, and feed varying amounts of unfocussed light as streaks into the area outside the core- obviously if a
star point of light is focussed, unobtrusively in actual practice. It may be that the real wining factor is the
degree of control it allows. A modern example seen was a 250mm f5.8 No5,255,57x in a Cpnd 3.
Fig 017 001 Rodenstock Imagon f(H)5.8/250mm No5,255,578 with iris units and hood.
There are many references to the use of Imagon but several seem to be from about 1960 as if it was
relaunched then. See Jack Carter in Ind. Commercial. Photo. 10/1963 ICP Test Reports No36; Joseph Foldes,
'Introducing the Imagon' from Rodenstock, V 116/0460/IV/10 S ie ?04/1960. Carter especially describes the 3
stop plates. These have a central hole at f7.7, f9.5 or f11.5 respectively, surrounded by outer holes which can
be covered partially or totally to give effective apertures of 5.8, 7.7 and 9.5, where the additional light will be
less focussed and soften the image.
Rodagon-UV see above.
Chronology- In this case the known chronology is at the beginning of the section.
Fig 29. Rodenstock Lenses.
Exposure: Cooke Portrait 8in Lens.
Back Row Rodenstock Trinar f3.5/75mm ex Precisa
Rodenstock ApoRonar f9.0/300mm
Rodenstock ApoGraphagon f11/300mm.
Rodenstock Grandagon f6.8/90mm.
Middle Row Rodenstock Uni-Imagonal
Rodenstock Imagon 250mm
Rodenstock ApoRonar f9.0/150mm in shutter.
Rodenstock Grandagon N f6.8/75mm.

Roeschlein, Kreuznach, Germany.

There is a suggestion in I. Baxter, Photographica World, Autumn 2000 p30 that Roeschlein had been a
'J.Schneider Kreuznach' designer who had also worked prewar with Meyer of Gorlitz on the Trioplan series,
then ?moved to J.Schneider and then set up on his own account in Kreuznach to make lenses in the years
after 1945. The firm seems to have closed after his death during the 1950's.
The products known are mainly fairly modest ones, but this may be due to import restrictions in the UK after
the war as they also included a f2/50mm lens.
Luxar f2.0 38mm on Photavit (1950) ((This just may be the next item and a
printer's error.)
Luxar f2.9 38mm for 1x1in on Photavit, noted by MCM 1/1952.
Telenar f3.8 90mm for Paxette.
Telenar f5.6 135mm for Paxette.
Pointar f2.8 45mm for Navax, and Paxette. It was noted on Navax No47x at lens
No153,00x (twice), and at Nos73x/145,54x. But the typical use was on Paxette where some are coded
Roeschlein and all are Kreuznach- some just lacking the name. They just may be posthumous.
Cymat f7.7 It was fitted on Luxette 4x4, 1954.
[Rotelar f4.0/75mm This has been listed for Paxette Electromatic as by Roeschlin, but seems to be a
Rodenstock T.N.]
E-Luxon f2 50mm This was noted as a rarity on a late Paxette at Serial number 107200-
it is seemingly an unlisted lens.

ROJA=ROIA
The old letter face makes the ROIA look like a J to an English reader, and it stands for Rathenow Optical
Industry Institution or some such, and was an alternate name for E. Busch of Rathenow. [Notice there also
was a MOJA in Munich.]. The firm also helpfully added 'vormals Busch' and vice versa when the name
changed. It was in use about 1885-1905 but the exact dates are not yet known to us. The lenses are listed
under Busch.

Rokuoh-Shah, Tokyo, Japan.

They were makers of the Hexar f3.5/75mm lens on the GSK/99 aerial camera described in MCM Feb 1947.
Also the Series 1 Hexar as f4.5/18cm No2343 on a Japanese Klapp camera.

Rokunar
US importers brand name for a 1960's series of SLR lenses. It was well received in Modern Photo.
08/1968,p77: 08/1962. It just might overlap the Tamron programme.

Rolmax
These lenses were made by Ohnoya Shoten, Ltd., Yasuda Building, 2-2, Kamidori, Shibuya-ku, Tokyo, Japan.
The UK agents were Busch and Meissner, 91, Marylebone High St, London.
Retrofocus wide angle f3.5 35mm preset iris
Retrofocus f2.8 35mm in June 1963, a 5 element design.
Telephoto f3.5 135mm same
A 180mm was mentioned in 06/1963.
Telephoto f8.0 500mm click stops iris.
They were in black finish and engraved Rolmax with Ohnoya's name. See also Rolmax Ina for a fast long focus
lens.

Romain Talbot, Fraunhoferstr.14, Berlin-Charlottenburg, Germany.

They were an old established (1855) photographic firm and sold cameras as Errtee and Talbot, and these
could have lenses such as Talbotar Anastigmat f4.5 as on the Errtee W.H. camera- a folder from the 1930's.
There was an Romain Talbot Lampro f4.5/135mm brass lens on a 1/4plate Lancaster at auction.

Ross, 3, North Side, Clapham Common, London

The manufactory was at Wigmore Street up to 1878, and then moved to Brook Street to more extensive
premises. (BJA 1879). Sales were at 164, New Bond St, London. The firm was founded by Andrew Ross
(1798-1859) in 1830 after serving an apprenticeship in optical instrument making. Thus he was in a position to
be involved in photographic lenses from the beginning, and made one of the first big ones in the country, for Mr
H. Collen. It was successful in the sense it was used and was fast, but had a very curved field, and the
Petzval type was much better and displaced it. Thus the earliest Ross lenses accessible today are landscape
meniscus and Petzval lenses. This period engraving can be recognised as the was "A.Rofs" has the first S as
a long sweeping one. This persisted at least to No4,60x which has been seen. His son T. R. Ross was also
interested in designing camera lenses, but it was to be the son-in-law, J.H.Dallmeyer who made the biggest
impact, and this was after he had left the firm. Thus there may be a tendency for Ross lenses to be scarce
from the period 1866 when the RR came from Dallmeyer's design, and the 1880's when the Patents were run
out and the new dry plates were making photography a booming business to be in. It might be possible to
divide the periods rather like this:
Engraved A. Ross 1840-1859 (Death) Period.
T.R.Ross (1860-1870) (Death) period.
J. Stuart as manager of Ross and Co. period to 1890 or later into the 1920 period?
Anastigmat (Zeiss) Period 1890-1914 perhaps.
Independant Designs from about 1905. Ross Ltd was a limited company from 1897.
Take over by C. Parsons 1922, (who also took over Grubb in 1925)
and by Barnet-Ensign in 1949. Technically, British Photographic Industries Ltd. acquired the Ross company,
and then held both parts.
It later became a part of the Rank Organization but has not been active as a maker for many years now, and
the name is applied today to imported goods.
A.Ross period. 1840-1859.
Collecting experience is that at this time Ross had a dominant position as the UK maker, with Grubb of Dublin
being the only onshore competitor and probably mainly from 1857, and possibly Wray from 1855. From about
1860, Dallmeyer offered very strong and spirited competition, and Ross never had quite the same position
again. There must have been other opticians active such as Shepherd, but the main opposition was from the
Continent, with lenses coming in from Voigtlaender and from a group of Paris makers such as Chevalier and
Lerebours and the mysterious Bourgoni partly to fill the unsatisfied need.
Doublet for Mr Collen, 1841. (Layout Ros001) A unique lens of two unlike achromats well separated, and
working at f4.0. (B.J.Phot. 1864, p329). This is a famous lens, and is well known not to be flat field, the
Callotype negative being sandwiched between two curved glass plates to widen the area focused. It was also
used as a Landscape lens with the front cell removed. The balsam in the cemented surfaces was actually
castor oil. (B.J.A. 1900, p824). It is interesting to compare this with the Petzval lens set and with the Grubb
aplanatic. Note the general similarity of the rear cell to the Grubb lens and it will be obvious why Mr Ross was
'surprised' that a Patent was granted on the aplanatic design. The use of unlike achromats recurs in the Ross
Actinic doublet in the 1860's, the Dallmeyer Patent Petzval c1860, and for that matter in the Zeiss
anastigmats of the 1890's, though the glasses used there mean these last are absolutely distinctive and new.
Lake Price knew it and pictures taken with it and thought these to be interesting and possessing considerable
intrinsic excellence. It used a crown glass front with unequal curves, cemented to a plano-concave flint and at
the rear, a plano convex crown cemented to a convexo-concave flint. The lenses were 3.5in dia. with 8in back
focus (cf above, a 14in lens).
Single Landscape Lens This was made in at least 9.0-30in, at about f16-f20.An example seen was
engraved "A.Ross London No271x" and was in a tube mount with a rack and pinion focusing movement, now
lost. In use it is sharp and well corrected for colour at about f20, the 20in being for up to 12x15in. The very first
Stereo cameras (eg 1850's) seem often to have been a single camera mounted on a slide so that successive
pictures might be had, and at least one of these used a Ross 4.5in lens of 1.25in dia. and max. aperture f11,
with a pill-box insert for f13 and a washer stop for f18. (S.Bowler, MCM 7/1957) Hasbroeck shows a Dallmeyer
camera with two Ross meniscus lenses at Serial Nos 5814, 5815, and dates it from c.1862. Lenses at auction
at Nos 448x, 476x and 866x do not have Waterhouse stops, and may use push-pull focusing though a
rack+pinion was fitted to No450x, so it can be an early feature.
Fig 013 006 Example of early Rofs engraving .
Fig 013 008 Early Rofs meniscus lens, about 4.5in barrel dia., No2714.
Triplet Lens A very early triplet was made for Mr W.H.Fox Talbot in 1841.
Cone Lens Here the achromatic meniscus was mounted at the back of a short cone to make a smaller item
to carry. This was probably related to the Callotype period when the low resolution of the process meant large
cameras were used, but it was a type of mount used occasionally by other makers at least to the 1890's.
There may have been some loss in contrast as the cone had to be very well blacked to avoid light reflexion
inside it. It may have been used with some shade in front of the lens to avoid this. These are usually dated as
about 1850-1855. Hasbroeck shows one at No307x and dates it as 1850. Survival of these big cameras seems
to have been poor owing to the small number and the popularity of the Daguerre process. Most of the early
cone lenses seen have no engraved maker and are unlikely to be Ross, but rather imitations but it is uncertain
who first made the design.
Stereo Meniscus Pairs. These are normal meniscus lenses of about f16 A 4.5in focus pair was seen at
No3,27x and 3,33x, only one of the pair being engraved, and they were used with a simple shutter slide in
brass engraved "Ross London". Another pair at auction were Nos 833x and 827x. Others have been illustrated
from the Manchester region with a rotating figure of 8 shutter for a camera by Dancer, et al. They were made in
4.5 and 6.0in at least. These do not have stops but merely a front plate which could be unscrewed fitted with
pairs of screws possibly for swinging lens covers. Incidentally cleaning the brass surface revealed very tough
(or thick) lacquer on the front lens shade barrels, but a much thinner layer elsewhere. Very thin metal was
used on these barrels and the ability to screw cut these is very impressive. The flanges are the same 1.5in
fine as became so common in the later part of the Century- ie the thread was a really long lived item. In use
on a 5x4 Press camera, one of these covered most of 5x4, but the 6x9cm image was really the best part, and
this was much better than might be expected- really contrasty, and very sharp in the centre- though less so at
the edge. The fall-off could be minimized if a compromise focus was adopted and then only the corner was
noticeably soft. The main fault was some barrel type distortion, and this was not noticed unless straight lines
such as brickwork were in the picture. Use of a green-yellow filter was worthwhile, ie it did not upset the colour
correction.
Fig 013 015 Ross Meniscus Stereo Lenses with early shutter, at Nos 8,278 and 8,338.
Portrait Lens: Ross were making to the Petzval type design quite early, as is shown by No1,42x of 6in dia.,
No180x which is smaller for CdeV, and Nos 2,67x and 2,79x, of about 10in f3.7. No274x may be another: a
'large brass lens'. The latter has a stop to about f5.0 outside the front cell to increase sharpness etc. in
portraiture.These were not usable with the rear cell for landscape as the threads of the cells differed, nor has
another stop survived. They are likely to be before 1858 when Waterhouse proposed his stop system. No 267x
was made over to the Waterhouse system and the barrel reengraved, probably by Ross in antiquity as there is
evidence that there was engraving lost and replaced when a new slot was cut. No2,79x is original with a pushin
front stop.* The cells are interchangeable front for front and rear for rear between these lenses, and the
flanges are the same: but the older is in a plain brownish finish and the later in laquered brass finish though
this may be due to the lacquer being removed from the older.There is still no slot for a stop on No4,42x. The
mounts on these old lenses have fairly thin walled barrels,and these can suffer from denting and rough use:
certainly the cells do not unscrew as easily as those on some makes. One point is the very long units used:
the 180x lens was marked for CdeV (quite a small format) but used about 8in extension at infinity.
Lake Price says the Ross lenses were recomputed 'latterly' in his 1868 book, ie about 1860? to flatten the
field and 'shorten the length of focus.' The latter increased the speed so probably involved increasing the
separation of the front and rear groups. In general, Price classes Portrait lenses as of 3 types:
(a) greatest rapidity, 3.25in dia, 6in focus-- say f2 today.
(b) general use, 3.25in dia, 10in focus-- say f3.0 today This was the 'best compromise'. (In fact the three
examples seen have been of this type and size!
(c) slower and longer focus, about 3in dia, 15in focus-- say f5 today. Useful for copying and groups.
It is under these that Price claims he first proposed a drop in stop as later popularized by Mr Waterhouse.
(*Mr Greer in an article mentions that a Ross f3.8 Petzval was converted to Waterhouse stops by a dealer in
Upper St, Islington,- but he may merely have sent it back to Ross for the work.
Early brass lenses often have the rack-and-pinion mounted on top of the barrel for convenience. But the
introduction of the Waterhouse stops meant this part was used for them and the engraving was lost with the
big cutout needed for them in the outer barrel. Then the rack tended to move to the bottom as it was best
placed so the load on it was symmetrical. The outcome was that the brass previously engraved was now often
the area cutout for the stops and the side was engraved newly. But in the case of the Rofs, the sweeping serif
of the A just overlapped the metal left behind by the cutout, showing what was done.)
Fig 013 002 Ross Petzvals 3.5in front glasses, Nos 2621 +2797 plus a dish type stop plate for one.
Fig 013 004 Ross Another later Ross Petzval. (same size) No18,364 No3a
Compound Stereo = ]
Stereographic Lens f4.0 These were essentially pairs of Petzval lenses matched for stereo work, and
seem to have been sold with little optical change through the 1840-1900 period. In valuing these, note they
may well be the very first stereo lenses offered, as Brewster seems to have dealt with Ross.
Orthographic This seems to be a redesign of the Petzval Orthoscop lens sold by Voigtlaender. The example
seen seems to be about f14/16in for up to 10x8in, and the mount may differ from the Voigtlaender lens. The
layouts are Ros004 and Voi 004 and do seem individual. One possibility is that Dallmeyer was responsible for
the introduction, remembering his German background, so it may actually rank as the first of his introductions.
In use it is a sound lens, producing a rather larger image than expected for the extension and no distortion
was noted in use.[ Distortion was one of the original criticisms of the Orthoscop and Orthographic, but
probably by rather demanding architectural and the first reprographic users as it is really quite good in this
respect.
It was introduced in 1859, and was probably short lived as the RR would have made it seem out-moded.
However Orthographic was a well liked lens and may have continued to sell at least until Ross was able to sell
RR's. It was seen at No6,81x, in brass with a Waterhouse slot, and reported at No735x in the same but with a
rack+pinion focusing mount. It was a short lens, approaching a tele,and this was considered useful in some
situations. A good description is in Lake Price's book where he does not distinguish between the Voigtlaender
and Ross versions but says he took 3 of each on a journeys to Italy.
Fig 013 019 Ross Orthographic cf13/12in No6814.
Actinic Triplets. These were actually introduced by T.R.Ross in 1861 after A.Ross's death, and seem to have
almost coincided with the Dallmeyer design. The Ross lens was made in 10 sizes from 7.0-34in (1/2plate to
24x30in) and worked at f16 or less. It was less symmetrical than the Dallmeyer and seems to be less
common. (There seems in Kingslake's account to have been an earlier triplet lens for Fox-Talbot in 1841, and
there were other triplets of the period by G. Shadbolt and F. Scott Archer. Some of these may shade into the
French attempts to make adjustable focal length lenses by inserting negatives in the centre- interesting but
not really optimized designs in themselves.)
Wide Angle Triplet- no information but it may be a thinner and slower version of this.
Ross had a commanding position in the optical business, and Hasluck credits him with 3 innovations. (a) The
use of a hollow fronted (Wollaston) meniscus lens: (b) making a distortion free lens from two planoconvex
lenses, essentially what was to come as the Periscop and (c) from T.R.Ross the use of meniscus lenses in a
periscop, looking forward to the RR. But it is often hard to see where an idea originates.
T.R.Ross Period
Actinic Doublets from 1864. These seem to be an attempt by T.R.Ross to develop the "Collen" lens layout,
for general use, and note that this antedated the Periscopic and RR so possibly it was a bigger acheivement
than is now realized. They seem to have used deeper curves, and smaller separation than the Collen one, and
were made in two series with different inter-glass spaces. They were described as early examples of
balsamed lenses by Ross- though the Petzvals he made must have had some balsaming. The components
could be used alone. (By 1857, Grubb had patented the aplanatic and there may have been a bit of
gamesmanship here). The two types were essentially Ros005 (early) and Ros006 (late), and they were made
in three angles so that in principle a large number of versions can exist.
(1) Wide Angle for 85-95°. f16 This was the LA series. It was for use at f16. One of these No1 type was seen
at no13,84x and is marked both 'Actinic Doublet' and L.A. 8.5x6.5, and seems to be about 5.5 or 6in focus. It
has both a tiny swinging shutter plate inside and a large hinged front shutter cover. On a 10x8in camera, the
image extended to the corners but with severe fall-off. But it could be stopped to about f96 and seemed to
improve markedly on closing down so that whole plate would be well covered.
(2) Ordinary Angle for 60-75°. f14 This was the OA series. It was for use at f14.
One type 2 of these seen at No12,48x was a lens for 7.5x4.5in of some 9in f16, and it seemed to illuminate
some 60-70°, but with considerable fall off. It was probably an OA type, and interestingly had a small push-pull
shutter built-in.
Van Monckhoven mentions this shutter and says the lens is better corrected than the Globe, and gives the
maximum speed as f15, with stops to f45. 'It gives images of remarkable sharpness--great depth of field-- rank
with the best non-aplanatic objectives.' He comments on the need to stop it down (f32-for 70 or 80°) and on the
'remarkable sharpness' that can be obtained, and the suitability for architectural subjects (ie lack of distortion)
but seems only to know the LA series for 80°. (He was writing in say 1865 for 1866 publication and details
may have been hard to obtain abroad. He does not have details of the glass or curves as he does of Dallmeyer
lenses of the period even though his book in the UK has Ross advertizing at the front cover.)
Lake Price does not notice the redesign in 1868 but notes the cells are about equal focus and each about
twice as long as the combination; but does not actually suggest their separate use. He is still impressed with
these as wide angle lenses in narrow street or alpine passes. He quotes them as covering 95°, 74°, and 50° in
keeping with the other authors, and mentions one made for the Belgian Government of 8in dia., 48in focus, for
plates 50x42in, the smallest being 1in dia and 4in focus.
Fig 013 017 Ross Actinic Doublet for 7.5x4.5in No12,489 with 'shutter'.
(3) Small Angle for 40-50°. f8.0 This was the SA series. It was for use at about f8 or less, and a 14in
covered 1/1plate. No example of this has been seen.
Single components were usable with care. The Actinic Doublets would become less saleable after the issue
of the Aplanat and RR from 1866, and may be a way of pin-pointing Ross's serial numbers as No13000 in
about 1865(?). But note that Hasbroeck describes a prestige outfit made in the 1870's as having SA and OA
doublets at Nos 17,00x, 18,10x and 18,02x so they may have continued in sale till the Patent on the RR was
matured and Ross was able to supply his version. An actinic doublet at auction was No13,26x but without
further detail. Note that the major features optically are the use of very unlike components with one balancing
the corrections of the other- [compare Steinheil's Antiplanets, and Rudolph's Anastigmats]. And that these
were separable, as was the Collen lens, providing a pair of Meniscus lenses- compare the Grubb Aplanatics.
The A.O. and L.A. above are fitted with rotating disk stop plates, the disk turning between two plates fitted
inside the barrel. The Actinic Doublets are not easy to find today and this may reflect the few Serial numbers
noted for this period.
Some other early lenses for which no dates are available and little information, are as follows:
Globe Lens A number of these were made to the Harrison (USA) design under licence.
Wilsonian Lens 6in focus
Hand Camera lenses 3.0, 4.0, 5.0, 6.0in. These seem to be later items, but no details are available.
Compound Stereo Lenses- probably Petzvals as before?
Symmetrical This seems to be the Ross version of the RR. It is not at present easy to say when manufacture
began. (One account was that the Ross design was based on the Steinheil lenses and this may have started
a Ross tradition of having German designers working for them.) There has been a suggestion that it may be
1874-1875 when in the Stuart period that the Symmetrical appeared, possibly after an agreement between the
firms over the RR Patent rights, or more likely 1880 as the Dallmeyer Rapid Rectilinear patent ran out.
Certainly experience suggests a limited supply of Ross serial numbers from 10-40,000 were used on camera
lenses, and possibly some of them may have gone on unrelated products in this period. Equally the advert in
the 1879 BJA is that of a large scale maker. The Symmetrical was certainly made in very large numbers later
in the century, was well known and liked, but now seems scarce at lower serial numbers. (Traill Taylor says
the Portable Symmetrical of Ross and Co was based on the Steinheil Aplanat and wide angle aplanat,
which might explain how it escaped the Dallmeyer patent situation.)
Symmetrical A symmetrical at No21,849 seems to be about 250mm with 15mm opening, ie a portable at f16,
even though of RR type. It is in brass with a disc for the stops. Incidentally, there is evidence that Symmetrical
No7/9in No23,79x was made before 1874, as this was the date of M.Claudet's death.
Universal Rapid Symmetrical f5.675 (!) This may be the same as the Extra Rapid Symmetrical RR below,
and just a slight change in the engraving? It was noted for 10x8in at No47,31x, which may be 1885-1890
period as the Rouch camera was one with a patent feature from May 1885.
Symmetrical Stereo Lenses in 3.0, 4.0, 5.0, 6.0in. A pair at auction seem to be 6in No4 at Nos 25,28x and
31,79x.
Fig 013 027 Ross Symmetricals f8 approx. for 10x8in plate (No42,440 at rear) and 4 for 1/4plate or 5x4in,
where 2 are wide angle versions at f16.
Fig 013 029 Ross Extra Rapid Symmetrical No51,778 for 10x8in showing the engraving.
Universal Lenses f6.0 These were made in 8.5, 10.75, 13.5, 16.5, 20, 24, 30in. The relation of this series to
the f5.675 ones above may merely be engraving; or period. Later they were just 'Symmetrical'. A 'Universal' at
auction was a No1 No45,40x for 1/2plate with Waterhouse stops.
Other lenses such as Petzval and meniscus were also in production.
One subsidiary interest in Symmetricals is the stops. Small ones use a rotating disc, and this may show as a
screw-mounted unit with a fine spring to give the click at the apertures when the front lens cell is unscrewed.
But about half have a second plate inside the barrel covering the spring and plate so they are hard to service.
This extra plate seems either to be screwed in very tight or with glue (Shellac?) in the threads and is now hard
to remove. The choice is not one of date or price but today seems to be at random, possibly due to the
assembler or Agent. Larger lenses such as a 6in Symmetrical use Waterhouse stops. Initially the aperture
discs are numbered for holes 1-5, but at Serial Number about 43-47,000 they are marked in F numbers, eg
f16-f64. Finally of course they went over to iris diaphragms. These were first noted at No52,04x on a
Concentric, but this may be a special or delux item such as an anastigmat, as some later lenses were made
with discs.
Other products of about this period are binoculars, which may have been another reason for the parallel
interest with Zeiss later on, and these just may have the serial numbers so scarce on lenses.
A snapshot might be the B.J.A. 1878 advert. pxi which lists as follows:
Portable Symmetrical Lenses for Views and Architecture, which give a flat field and exquisite definition,
interchanging in one flange. They were supplied in 3.0, 4.0, 5.0, 6.0, 7.0, 8.0, 9.0, 10, 12, 15in. where 5in was
intended for 5x4. Larger sizes were available to special order. see note above that it was based on the
Steinheil design for the aplanat, of different types of flint glass with rather thick glasses compared with the RR.
Rapid Symmetrical Lenses for Portrait Views, Interiors, Copying. These were possibly the most useful in
existence. They were supplied in 4.5in for stereo 4x3in; and in 6.0, 7.5, 8.5, 11, 13, 16, 20, 24, 30in, where
7.5in was suggested for 5x4in. Larger sizes to special order.
Universal Lenses for Portraits and Groups, in Studio, Interiors, Views etc. These were made in a back focus
of the following: 7.5in (2.0in), 10.75in (2.25in), 13.5in (2.75in), 16.5in (3.25in), 20in (4.0in), 24in (5.0in), 30in
(6.0in) where the diameter in inches is in parenthesis, and corresponding to about an f6.0*, possibly a Portrait
RR, since they were "flat field". They covered 40-50° and 13.5in was suggested for 10x8in. (*It is likely that
internal baffles would actually limit the useful aperture to about f8.)
Portrait Lenses for Vignettes, Half-Length, or Sitting Figures. These were detailed as "Improved Portrait
Lenses" and supplied in 10, 12, 15, 20, 24in, where the 15in was suggested for 10x8.
Quick Acting Carte-de-Visite Lenses Invaluable for the production of Standing or Sitting Figures with full
Aperture. They were made in 4.5, 4.75, 6.0in, all for CdV format, the 6in being suggested where the studio
exceeds 20ft long.
Extra Rapid Carte-de-Visite Lenses for Children. "Work in half the time". These were made only in 4.5,
(2.5in dia.) and 6.0in. (3.25in dia). [A 6in of 3.25in dia. seems to be about f1.85 but possibly more likely f2 as
about 2x the speed of a normal f3.7 Petzval. The 6in was £25 compared with the QA 6in at £11.5 which may
explain their rarity.
Rapid Cabinet Lenses for all the sharpness and good qualities of the Portrait Lenses but a flatter field and
better marginal Definition. These were made in 6.0, 8.0, 10in apparently all for Cabinet size pictures, the
longest being preferred if the Studio exceeds 20ft long. Again these may be Portrait RR lenses.
Stereographic Lenses for Street Views with moving Figures. These could be had in accurately matched
Pairs.
Also Portrait and Landscape cameras, and apparatus of every description.
Ross were 'agents for Dr D. van Monckhoven's Photographic enlarging apparatus' on the inner front of the 1867
English edition.
At that time a secondhand dealer in London, Mr W.Lawley and Son of Farringdon St offers secondhand lenses
by the following firms,
Ross; Dallmeyer; Voigtlaender; Steinheil; Grubb; Jamin; Lerebours; Shepherd,
and this was an interesting window on what was available at the time and how they might be arranged in
order.
J. Stuart Period.
Stuart seems to have been a manager rather than a designer (B.J.A. 1927, p363), (although Monckhoven p167
mentions he 'adopted' a solar camera without a reflector for enlarging in 1863) and was supported by opticians,
many of whom were from Germany, underlining the better progress there in optical design at that period. Thus
names such as H.L.H.Schroeder (Concentric), F.G.Kollmorgen, W.F.Bielicke and J.W.Hasselkus were part of
the scene. (Hasselkus was a long term employee, the others seem to have used Ross's as a stepping stone
to other jobs, eg. in USA. But the foreign influence may have dampened some local employees enthusiasm.)
This must have meant that when the new glasses and anastigmats were developed Ross had an example in
the Concentric, and also access to Zeiss who had designed them and may have initially lacked production
capacity, so welcomed partners to manufacture under license. H.L.H Schroeder was invited to join Ross in
1882, and worked there till 1894, which would cover the introduction of Jena glasses in the older RR-based
products, and the Concentric, as well as the first of the Anastigmats from Zeiss. This bridge is important since
the fate of a company who lacked an anastigmat by 1895 was decline. The initial products were not too
different but will be listed as more details are available.
Incidentally although the concept of the f number was much older, it is only in the later 1870's or 1880's that
lenses seem to be advertised with this information reliably present. Hence the gaps above.
Rapid Symmetrical This is said to have been introduced in 1874.
It was made in: f8.0 4.5-6.0-16.0-30in (Foci may vary with time.)
One list gives 3.0, 4.5, 6.0 for 5x4in, 7.5, 8.5, 9.0, 10.5,11,12, 13, 14 for 10x8in, 16, 18, 20, 24, 30, 34in.
Rather more foci were in 1889 than later. The layout is shown as RR, Ros012, Ros013. It was suggested to
use 6 or 7in for 5x4in. This may be the standard product but is not very common most being rather small
lenses in 1.5in fine threads for 1/4 and 1/2 plate. An example No42,44x for 10x8 is probably from the redesign
type below. The lens flange here is 24TPI but 65mm (2.6in) dia. which seems an anomalous choice.
This may have been redesigned in 1890 approx. as then it was again listed as 'new' and this may be a sign of
the use of Jena glass beginning. At that time the foci listed were :
3.0, 4.0, 5.0, 6.0, 7.0, 8.0, 9.0, 10, 12, 15, 18, 21in.
Examples: a f8/6in No59,67x was noted on a Lizars 5x4, and a 9in No7 size No23,79x was on a wet/dry plate
from the 1867-1874 period..
Stops were No0, f8; No1,f11.3; No2, f16; No3, f22.6; No4, f32; No5, f45.2; No6, f64.
Portable Symmetrical f16 (RR, Layout Ros017)
It was made in 3, 4, 5, 6, 7, 8, 9, 10, 12, 15, 18, 21in. The 8in covered 8.5x6.5in at full aperture and 10x8in
when closed down. The first 10, up to 15in, all fit the same flange, and Nos 1-8 (10in) used rotating disc stops.
This is to ease use in travelling, etc.
This is again a product dating from 1874, and again was probably updated in the 1890's. The portable was
made in 3.0-21in,( normally 5-10in) and is not a unique type of product to Ross (eg TTH made an MAR in the
same market slot.) but perhaps one they developed, as it is a semi-wide lens, rather than a WAR, but
designed for lightness and portability to compete with the f8.0, and perhaps for better contrast from the smaller
glasses. Whatever the idea, it was really popular in some applications, and today is a nice item and many of
the small Ross lenses in the 1.5in fine screw thread mounts are apparently of this type.
This 1.5in size used a rather standard thread and barrel diameter, and this was carried on into the anastigmat
period so the products look rather alike. But note that the barrel length was varied as required and that care is
needed as the cell threads are often the same but should not be exchanged into barrels with a different length.
Symmetricals do not seem to be common in iris mounts, these being mainly or always for anastigmats, where
the change again affected the barrel length.
Alloy A symmetrical 6in No51,98x was made in alloy for an Shew Eclipse which was made from about 1885.
A note in B.J.P. 19/09/1879 cited 21/09/1979 lists a good outfit as Camera, 3lbs; Dark Slide, 1lb; Changing
Box, 5lb; Lens, 1/4lb; Focusing Cloth, 1/4lb; and Set of Camera Legs and Stand, 2lb; total for 12 exposures
11.5lb. It is worth noting the sensitivity to weight in carrying a changing bag rather than 12 plate holders, and
the relative lightness of the lens. This was the sort of customer the Portable sold to. (Format is not mentioned
but probably was 1/1plate.)
Universal Lenses These were noted in 1889, and were in large sizes as if a faster f6 series. They were made
in 8.5in for 1/1plate, 10.75in for 10x8in, 13.5in for 12x10in, 16.5in for 15x12in and 20in for 18x16in. They were
between the Portrait and Rapid Symmetricals in properties.
Extra Rapid Symmetrical f5.6 This was made in 4.5, 6.0, 7.5, 9.0, 10.5, 12, 14, 16, 18, 20, 24, 30in. It was
not a wide angle design but it was still suggested to use 6.0 or 7.5in for 5x4in, and the layout is shown in
Ros014. For most, it will rate as a 'Portrait' lens. It was seen at No5177x, as a lens for 12x10in with iris f5.6 to
f64. It is a really substantial brass item, but the focal length is not shown on it. It was about 16in and 2.5in dia.
Aplanatic f5.6 This seems to be a new listing term for the above about 1900, and may be an attempt to
make one lens to sell in place of the f5.6 and f8.0 versions. It was replaced in turn by the Homocentric in
c.1903 (B.J.A. 1903).
Wide Angle Symmetrical f16. It was made in 3.0, 4.0, 5.0, 6.0, 7.0, 8.0, 9.0, 12, 14, 16in In use this is a
typical wide angle rectilinear, with a very wide coverage for 90° or more and 3.0in was suggested for 5x4in. It
was described as free from distortion and flare. But some of the diagrams do seem to be different. (Ros015,
Ros016). It was introduced with the others in 1874-5, but again was 'new' in the 1890, probably with new
glass. These are really relatively common, often coming in the 1.5in fine thread standard in the 1890's. Serial
numbers tend to be in the range 40-50,000 and the normal one is the 4in which would be an easy lens to use
on 1/4plate cameras. Lummer confirms their sharpness at small stops, but used today it must be
remembered that they are not anastigmats and care is needed, especially in avoiding important fine detail at
the corners of the image.
After the redesign in 1890, the Symmetricals were available in some 46 versions in the 4 forms. The new
Schott glass was also used in the following lenses at this period. This must have made Ross a major
customer for the Zeiss/Schott firms, and may also help to explain the licensing of the Anastigmat designs to
them. These were seen at Serial Nos 53-54,000.
Wide Angle Single Landscape f16 This was made in 5.0, 6.5, 8.0, 10, 12, 15, 18in., and covered some
70°. This was a 3-glass meniscus rather like the Dallmeyer lens, and was said to be useful at f16, the
maximum aperture. It did show some distortion, and care was needed with architectural subjects- put them in
the middle of the image! In this case wide angle was 5.0in for 5x4. It used Jena glass. Today it does not seem
to be easy to find.
Stereo View Lenses in 1889 were in 4.5in and 1.25in dia., plain and with Rack and Pinion. They were also in
6in and as a Wilsonian Single lens 6inx 1.5in dia. There were also Compound Lenses for Portrait and Groups
with and without rack and pinion.
Petzval Portrait Lenses At least two series were offered- and probably three if the Carte-de-Visite is to be
included. These were still to be listed in 1936, in:
No 1 f3.5 8.25in focus, 2.75in front dia. for cabinet pictures.
No 2 f3.5 10in focus, 3.25in dia.
No 3 f3.5 12in focus, 3.5in dia. still for cabinet size.
No 3a f3.5 16in focus, 4in dia. for Promenade and cabinet pictures.
In 1889 they were in 6.0, 8.0, 10in. and these were then No1, No2, No3 respectively.
Most adverts. say larger sizes to order.
The Portrait f3.5 had the traditional design. It was made in 7 foci, from 8.25- 16in (Ros009)
Improved Portrait in 1889 was as 10in for 1/2plate, 12in for 1/1plate, 15in for 10x8, 20in for 15x12, and 24in
for 18x16. It just may have been a Portrait RR but seems to be a Petzval.
Rapid Cabinet It was made in 3 sizes, 6.0, 8.0, 10in This was claimed to be flat field, and may be a revised
design with Jena glass to correct better. The section does not seem to be very different (Ros010).
Carte de Visite This may be a faster Petzval design, and were made only in small sizes at 4.5, 4.75, 6.0in
focus. They were said to differ and give a flatter field.(1889)
Meniscus lenses were probably still made: an Adams 1/4plate carried one at No77,50x.
NB In 1889 Ross were listing Petzval type lenses of 3 types. CdV, in 4.4, 4.75, 6.0in; Rapid Cabinet in 6, 8,
10in and Improved Portrait Lenses in 10, 12, 15, 20, 24in, so the list is rather confused!
In ending this section it must be stressed that late in the Century Ross obviously were doing a massive
business in small Symmetricals, typically the Portable and Wide angle. A range of English lenses of that
period all were made to fit one flange size and this could serve for 1/4 and 1/2plate lenses and these were the
popular sizes of the period. These are an interesting user-collector area today as they are convenient in size
and also often work very well- and are small to carry and only one panel is needed to use a boxfull! A set can
contain lenses by Ross, Wray, Dallmeyer, Swift and even Zeiss, and will overlap from the RR period into
meniscus lenses and also into anastigmats such as the Protars 1-7 and Goerz Anastigmats from the Ross
series below.
A nice Ross feature can be a clicking iris so that the lens can be set without looking at the scales- something
others might have well copied considering the invisible engraving so often used on the older lenses and
especially from Germany. These have been noted on Anastigmats, Protar V11a and others. And even a Zeiss
Tessar has been found in this fitting.
It is now hard to realize how fast technology was developing. Beck (q.v.) had introduced the iris about 1880
and Schott brought in the new glasses in 1886 and the anastigmats were designed about 1888 onwards, so
the firm must have had to look at the entire product line almost every 5 years over this period- and this was
something which continued as Rudolph/Zeiss introduced new designs steadily through the 1890s with news
also from Goerz and possibly others. To a group of workers used to continuity in making Petzvals, RRs and
meniscus lenses for 30years or so, it must have been a real change.
The coming of the Anastigmats: Zeiss.
Ross must have been an obvious firm for Zeiss to agree license arrangements for the new anastigmats as they
were launched. Thus Ross actually had an anastigmat design of their own, were major makers with capacity
to manufacture and a proven customer record with Schott, and had German employees to speak the
language. And what is little known is that Dr Schroeder had pre-empted the triplet design which was the first
Abbe and Rudolph tried. (Traill Taylor, p180).
Triplets These were designed by Dr Schroeder rather like Zei 001 but with 2, 3, or even 4 glasses in the
centre component. It is unlikely that these were ever made commercially however.
What is more surprising is that they also made lenses under license for Goerz- essentially the f7.7 Dagor- and
another type without an originators name. It is quite possible that these licences covered not just UK but the
countries of the then Empire. But this was rather what was happening in the industry as the new revolution
began. It gave Ross a very strong position in the industry up to 1905 and probably lasted to 1914. Incidentally,
the engraving on the mounts is now getting to be more informative but may need a glass to read it!
As Zeiss Licencees.
The series seems to have covered most of the Zeiss anastigmats as they appeared in the 1890's and serial
numbers are indicated for those seen. The serial numbers are 'odd' and probably are a new series for the job,
but it is not possible yet to say if they are one series for each type of design, or for the whole lot. But they are
a source of low numbers for collectors who are interested in such things. This was the second period when
Ross had a dominating UK position, though not to quite the same extent as in the 1840's. Again it was to
disappear, as patents ended and the war destroyed so much. (Incidentally they had an agent in 1901 in
Belgium/Holland, MM. de Behr et Waefelaer, of Rue Terre Neuve 70, Bruxelles, but there is no indication what
products they sold.)
Zeiss 1890 types.
Series 111 f7.2 2+2 glasses.This was seen as a 98mm lens at No70x and at No48x for a 315mm.
This is a normal angle coverage lens, roughly to replace an RR. The lenses seen are good performers, sharp
and contrasty. But where 315mm examples were compared the Ross lens was less flat field than the
corresponding Zeiss lens. The difference might be noticed in use at f16 or greater. Also the external curves
differed. Initially it was thought that Ross did a detailed redesign to suit English glasses, or probably the Zeiss
lens is an improved design. The latter proved to be correct, as is described under Zeiss, and No48x matched
the curves of an early Zeiss Anastigmat Ser III but not a late one. Ross seem to have listed Series III at least
to 1896, and then the 111a replaced it.
Fig 014 010 This is a set of f7.2/315mm Anastigmats by (l) Zeiss No1511; Ross No482; and Zeiss No19,515
( the last lens differs!).
Series 1V f12.5 2+2 glasses (Ros022) This was a rapid wide angle lens rather in the same product
position as the old portable RR had been, and of course was an improvement on it. A Ross lens was seen at
No83x for a 260mm. It is a compact lens to carry, but is said to have been a rather short lived product,
replaced by Series 111a.
Series V f18/f16 2+2 glasses,( Ros023 ) In 1901 it was made in 86, 112, 141, 182, 212, 265, 315mm
for 100° and then 460, 632, 947, 1310, 1660mm for reproduction work over 85°.
This was an excellent wide angle lens and was made for many years, probably from 1890 till 1950. It covered
110°, was free from flare and the only problem was the small aperture, which makes focusing hard indoors. It
is the lens where experts advise you to carry one or more torches to place at important positions in eg. a
church and to focus on these, (removing them before the exposure of course.) It was initially made at f18 as
seen at Nos 5x, 30x and 20x for 112mm lenses, and then Zeiss allowed lenses for the UK market to be made
at f16 and this change was made as early as 1896 while the adverts still carried the Zeiss co-name. This was
seen at No14,11x and later numbers. One advert. shows Series V with a 3-glass rear component, but this is
likely to be in error. Some are marked in the Uniform series of stops, and this is a sign of an early lens, and
this is true for all the series.
Zeiss1891 types
(Series 1) f4.5 2+3 glasses This has not been seen and may be rare or not made by Ross. It
would be replaced by the Planar Series 1a in 1897.
(Series 11) f6.3 2+3 glasses (This covers 85- 90° when stopped down. This was a fast lens for the
time since performance at f6.3 was good, but it has not actually been seen from Ross. (It may be that the
Goerz lens was sold instead of it.) And then an example No101x was noted at auction as an f6.3/85mm on a
Sinclair tail board camera. So it actually was made and was listed in 1896-1898 however but may be the
scarce one today.
Series 111a f9.0 2+2 glasses. Ross is said to have made this from 1891. It is a useful semi-wide
angle lens, covering 97°, layout Ros021. The design was intended to be a moderate price wide field lens, with
good contrast, and a process lens in the longer foci. It has been seen as a small brass lens at 120mm f9.0
No2,06x and a 196mm version at No2195 which was in brass for the 1.5in fine thread mount.
Zeiss 1893 type.
Series 11a f8.0 2+3 glasses (Layout Ros020) This essentially was a replacement for the Series 11
and has been seen at No183x, 2,00x, 3,21x and 8,05x (which has click stops). It was noted from 1896-1900
at least.
Tentatively Series 1V was deleted about 1891 when 111a was sold, and Series 11, 111,and 111a were on sale
to about 1901, while the f16 version of Series V survived for many years. In fact one 86mm f16 example in
brass is numbered No229,485 which should be from the mid-1940's and this is in line with the fact that it was
still listed at that time.
About 1900 the anastigmat foci sold were as follows:
Series 11a f8.0 110, 136, 167, 205, 244, 295, 350, 433mm, covers 75°
It was suggested to use 5.25in for 5x4in. It was noted in lists for 1896-1900, and then ceases. It was noted as
a 220mm f8.0 lens with iris at No1269.
Fig 014 002 Ross-Zeiss Anastigmats (l) Ser III f7.2/315mm No482; (m) IIa No2007; (r) IIa, f8/220mm
No1269.
A lens seen was a "f8 272mm (10.75in) Anastigmat W A (=wide angle) No805x", so it was sold as a wide
angle. This lens covered 10x8in on a Gandolfi camera with full use of the rising front, and seemed to give a
sharp bright image, but may not have been fully flat field at f8- though fine stopped down to say f16. This
illustrates one question- that of relating the specification to the Series Number as these are not engraved on
the lenses.
Series 111a f9.0 120, 150,172, 196, 230, 272, 317, 407, 505 600, 690, 820mm. Covers 97°
It was suggested to use 6.75in for 5x4. It was noted for 1898-1902.
Fig 014 005 Ross-Zeiss Anastigmats (l)Series IV f12.5/98mm No703; Ser IV f12.5/260mm No837; (m) Ser
IIIa f9/120mm No2069, Ser IIa f8/120mm No5216; Ser V f18/141mm, No53.
Series V small f18/16 (75),86, 112, 141, 182, 212, 165, 315mm , covers 108°. It was noted in 1899 and
onwards at least. The maximum aperture varies. It was suggested to use 112mm for 5x4, but this seems
rather conservative and 86mm or even 75mm will cover.
Fig 014 001 Protar Series V by Zeiss f18/112mm No18,932; Series V by Ross f18/112mm No301; f16,
No14,118; 141mm No123,416; 86mm No229,485 on the right.
V large f16 460, 632, 947, 1310, 1660mm, for 90°. These large versions were sold for process
work, which may be why the angle claimed as covered is lower. They do exist, and a 1310mm version was
recently noted at serial No 6000 approx. In the absence of the 'process explanation', it would seem to be
absurd! Incidentally, the mounting thread here was machined of square as on the TTH lenses. This market will
have been lost to other process lenses in the new century, and by 1905, the Series V was only made in 3-16in
(c.76-408mm). A note in the 1914 B.J.A. describes lenses from 3.25 to 12.25in at f16, for 90-100°, eg 5.5in
covers 1/2plate at f16 and 1/1plate at small apertures eg f64.
It must be remembered that the number of designs coming into production was large and unprecedented for
the firm and must have complicated production. Little can be said about the serial numbers except that they
certainly are a new series, since No53 suggests a new start from scratch for the 1890 designs. All the 3 digit
numbers are for lenses issued in 1890, which might suggest one series to cover all types. But this may not be
compatible with a No2,00x for a design first sold in 1893, since it would suggest that only 2,000 Zeiss
Anastigmat design lenses were sold in 1890+1891- this is possible but it seems rather low in view of the ease
of finding them. But then note that the highest number found (apart from Series V) was only No 3,21x, and it is
likely that the highest made is not more than say twice this figure, which would suggest a production of some
400 per year in the decade- or more like a peak of perhaps 1000 per year. So a figure of 1000 per year for the
first year may seem in line. The advert. in Photo. News 07/08/1896 shows Anastigmats 11a, 111a, and V
only, with the new Protar V11a and Goerz Series 111 (f7.7)and 1V (f11) and Concentric.
Note that the specifications are a close match for the older series of RR, Portrait RR and WAR, with the
Portable equivalent to Series 1V. The fact is that Ross and others did continue to sell RR's as less expensive
lenses, but the trend was to the modern type, and sales of RR's were falling.
See also the Zeiss section on the number of Anastigmats made by 1900 approx, and note that Ross seems
to have been one of the active licensees.
Concentric
This was arguably the first anastigmat, since the Patent was Brit Pat.5,194/1888, but it did not go on sale
until 1892. Traill Taylor in 1892 writes as if Schroeder & Stuart designed it. The delay was to check that the
glass did not weather too badly. This delay may have been due to Ross's caution, but it equally may have
been due to Schott controlling the supplies, and wanting to avoid a new product spoiling a reputation The
delay was noted in the original reports of 1892 as 4 years. It is known that Dr Miethe (working with Hartnack)
had designed a rather similar lens using phosphate glass- and then dropped the idea owing to damage to
exposed surfaces. Ross may not have known this about a rival's lens, but Schott would be likely to know and
could control supplies and recommendations. All the glasses in the Concentric and some Zeiss Anastigmats
had at least one exposed surface, even if it was an internal one. This may have been a concealed advantage
to the Goerz Series 111 as one glass was completely sealed in the middle of each cell and could have been
made with a less weather resistant glass.
Concentric f16-f32 3.0-18in in 1900. It was made in 3.0, 4.0, 5.0, 6.0, 7.0, 8.0, 9.0, 10, 12, 15, 18in. in an
earlier list. It was suggested to use 5in for 5x4, when it then covers a 8in circle.(Roughly 75°). It has been
illustrated as a single meniscus lens, but is really always used as a pair. (Ros018, Ros019). The half lens
may be illustrated to show that the surfaces are truly concentric- hence the name. It would be of negative
power if it were not for the plano-convex outer of high R.I. glass (1.59-1.61)and low dispersion- cemented to an
inner plano-concave of lower R.I. (1.50-1.53) and equal or higher dispersion.
Originally f16 was suggested for pictorial work, but today it may seem best to use f16 for composing, focus at
f22 and shoot at f32. It then works really well and is a really nice flat field lens to use- but it seems odd that
smaller apertures were not provided on many lenses. The 18in seems to have been f32 max. and had disc
stops to f126. The design was by H.Schroeder, and the prototype was made by Orford. It used a low index flint
and a high index crown. Astigmatism was corrected at about 30° and lessened elsewhere. It was very flat field
and was best at f16 or less- preferably f32.
The original reports were very enthusiastic (Am. Photo 29/04/1892, p34, Photo News, 29/04/1892, p280; also
01/07/1892) and the latter enthuses over the fine soft image at f13(!) and suggests f20 for perfect coverage. It
does seem that initial supplies were very close in date to the Zeiss lenses which may not have been actually
issued till somewhat after the dates above. Concentric was a rather shortlived product however, and must have
been obsolescent by 1900, but the same was true for some of the anastigmats. A major factor must have
been competition from better new designs which replaced them. The Concentrics have typical Ross serial
numbers as expected, and have been noted at about Nos 47,900-52,500 as if the product had a good sale over
a limited period. The early ones used a disk stop plate with a 16.5mm space between the cells of a 6in lens:
later they used an iris with a barrel 22.5mm long. There is an obvious danger of cells being wrongly assembled
here as the threads on both are the same (c.35mm dia.) if an owner has both types.
Fig 013 034 Ross Concentrics (at front) 6in No52,044; 6in No47,971;(l) 15in No 51,766; (r) 18in No 47,680
(part).
Zeiss Double Protar as Convertible Anastigmat The next design issued from Zeiss in 1895 was a versatile
4+4 symmetrical anastigmat, the Series V11/V11a. In this each half was a complete anastigmat so that
single cells were perfectly corrected, only their low speed (f12.5) limiting their use. It was also possible to sell
pairs with cells of different focus, so that the user had a choice of three foci. The singles were sold as Series
V11, the pairs as Series V11a. They seem to have been issued from 1896 (Photo News, 07/08/1896.) Ross
seem to have listed them from 1896 to about 1900.
Series V11 f12.5 made in 4.0-39.0in (100-1000mm) in 1900, to cover 85°.
Series V11a f6.3 made in 61-595mm and 4.125in covered 5x4. These were f6.3-f8 varying with the cells used
in the pair.
Sets were sold, especially Set C for 1/2plate, Set D for wholeplate, and others to order. These are not
common in the original package, but can sometimes be made up from different lens sets. These have been
seen at No10,20x, 3,87x, 12,93x and 4,01x and may be marked Zeiss Anastigmat or Zeiss Convertible.
Fig 015 006 Ross Zeiss Protar VIIa in Compur f6.3/c.6in, cells 2x14in.
Planar
This was a Zeiss lens from 1896 or 1897, and it was derived from the Gauss lens. It is not common in Ross
guise, two being met at No5,84x and 10,74x. It was made in apertures which varied partly with the focus rather
than just in different series each all of the same aperture. In 1902 the range was 20-840mm in 19 foci.
f4.5 20-100mm 5 foci
f3.6 40, 60, 83, 110mm
f3.8 130, 160mm (Lummer quotes f3.8-f6.0 for 62-72° in 1900.)
f4.0 205, 250mm
f4.2 300mm
f4.5 370, 423mm
f5.0 470, 610mm
f6.0 840mm.
Planar was just separable if used at really small apertures. In use it can seem flary, and benefits from
stopping down. This is the ancestor of modern Planars and all 6glass Gauss lenses, but also distinct from
them. It was noted in lists 1898 (Series 1A) to 1902.
Fig 015 023 Ross-Zeiss Planar f4/250mm No5842.
Unar
This was a Zeiss/Rudolph introduction in 1899, Ross selling it from 1900. It is moderately common and easy
to find, partly since it is now forgotten and a poor seller today. It has been met at serial Nos 8,000-12,000, eg.
as a f5.0 305mm lens. It was a highly corrected lens and very desirable except that the 4 separate glasses do
lead to a higher flare level. (Ros026). It was noted in lists 1901-2 but this may not be all.
f4.5 112, 136mm
f5.0 155, 210, 255, 305mm. An f5/305mm was noted at No8,84x on a Watson 10x8
No491x. This will be a Zeiss-Ross serial number.
f5.3 375mm
f5.6 460mm
f6.3 136, 145, 155, 180, 210mm It is suggested to use 155mm for 5x4in.
This suggests that in some way the f6.3 was a different product for general use, and sold in a range of its own.
It was probably aimed at folding cameras and shutter mounting. The 305mm (12in) is a fairly common version,
probably originally made for 1/1plate or 10x8. It was seen at No 11,89x and 8,84x.
Fig 013 033 Ross-Zeiss Unars (l)f4.5/136mm No10,748 and (r) f5/305mm No11,897.
In 1900, Ross introduced their prismatic binoculars, which apparently were not a product made under
license: perhaps the Patent had expired. These were used in the UK Army 1900-1914 and later, when other
makers became involved as well. In fact, they were probably adopted partly as a standard and others required
to copy them!
Tessar.
This was a very successful new lens from Zeiss/Rudolph in 1902, and was certainly added to the Ross list
soon after. It was sold in 1908-1914 in 4 series.
Tessar Series 2b f6.3 This was made in 75, 84, 112, 136, 150, 180, 210, 255, 305mm. These were and
are the connoisseurs version of a very fine, sharp lens, with less flare than many due to the 6 air-glass
surfaces. It was often in shutters as it was a fairly small lens to mount.
Tessar Series 1c f4.5 This was made in 75, 112, 135, 150, 165, 180, 210, 250, 300, 370, 400, 500mm.
This was a rather later type, about 1907 or 1910. It should be sharp and a fine lens to use, but not quite the
image of the f6.3. It became the classic professional Press lens however. One was seen as a 112mm f4.5 at
No1428x It is marked Zeiss as well as Ross, and is in a black alloy mount. A useful lens may be No81,96x
f4.5/7.1in where the camera on a London Stereo is marked "GPR from RPR 1911"
Fig 013 025 Ross Zeiss Tessar f4.5/112mm (4.5in) No14,281. (This may be a 'high number' in the license
series.)
Tessar Series 1c f3.5 This was made in 50, 75, 210, 250, 300mm, the first two being offered also in
focusing mounts, indicating their real use was as movie lenses, where they were a really important product.
This was a rather narrower angle of cover design, 35° being quoted. The long lenses were for sharp portraiture,
where the angle covered was about that of the Petzval, but the field was much better corrected and flatter.
They were also used for Press work in poor light.
Note that N&G fitted original Zeiss lenses up to 1911 but then began to fit Ross-Zeiss Tessars in their place.
No reason for the change is known.
Apo-Tessar Series V111 for 3-colour work.
Ross Tessars may not be too common as only one has been seen in this study. What are seen are lenses
engraved 'Tessar Patent' 6in f4.5 Ross Mill Hill at Serial Numbers about 81,61x-82,94x, + 89,522 in a tight
group of numbers. These have a long mounting thread suggesting aerial camera lenses and an iris with forward
pointing control pins for a deep sunk lens, and the serial numbers suggest they were made in the middle of
WW1. The last was still in a brass plate some 2.5x2.5in and 2.5mm thick drilled for screws to retain it- a very
substantial mounting indeed.They are thought to be from early aerial cameras, possibly in damaged or
obsolete cameras which were withdrawn, and had been lenses made in a wartime shadow factory. (see also
Carl Zeiss London section below.)
Fig 015 011 Ross Mill Hill Tessars f4.5/6in in various mounts.
R. Conyers Nesbit "Eyes of the RAF" p11 cites Ross Pan-Ros cameras for 5x4in with 6in lenses as used in
the RFC in c.1913, and these could be the fitment. But note civilian versions of the Pan Ros camera were only
offered with Homocentric f6.8, f6.3, f5.6 and f4.5. It may be a 'special' for the RFC but at the time they were
not really very interested in aerial photography. There was little difference in price, at £6.5 each. There are
other references to the use of 6in Ross lenses in the Navy, etc.
Goerz
Ross also made a large number of Double Anastigmat lenses engraved 'Goerz' and these seem to represent
a license arrangement with Goerz to parallel that with Zeiss but for just the Series 111 later to be called
DAGOR. They are attractive items, often still white and in good order, but are mainly of the older f7.7 series.
They are a good way to obtain this design in the UK as the Goerz f7.7 is scarce here, and it was really the
later f6.8 which was the first imported in quantity from Goerz. Again the Ross series has different low serial
numbers, and these could be intermingled with the Zeiss numbers as far as can be seen. It was listed c.1896-
1902.
Series 111 f7.7 Goerz It was made in 3.5-35in (Ros028) in barrel mounts It has been seen at 5in, No456x,
6in No71x, 297x, and No108x It covered about 70° or 80° at smaller stops, and the lenses seen would have
originally been used on 1/4 and 1/2plate cameras. Sizes 5.0, 6.0 and 7.0in were also made in focusing
mounts. Some are f8.0, such as the early No71x but a 7in was f7.7 at No224x. These were probably made
before the DAGOR trade name was applied and really should not be called this. Others were seen at Nos
122x, 1427, 285x. One had been used on a Perken Son and Rayment enlarger.
Series 111 f6.8 Goerz One of these was noted at No6,92x, but they are a minority. This was in a light alloy
mount.
By 1901, the shorter foci were f6.8 up to 12in, then f7.7 in the longer ones. It was made in 4.0, 5.0, 6.0, 7.0,
8.25, 9.5, 10.5, 12, 14, 16.5, 19, 24, 30, 35in.
Fig 014 017 Goerz-Patent Ross f6.8/12in No6920 in alloy.
Series 1V f11 Goerz This was a much less common product, sold normally as a process lens. The small
aperture made it cover a wide angle and it was also sold for this, up to 75-90°in 1896. It is the ancestor of the
wide angle Dagor perhaps but the section seems just like a smaller Series 111 at this stage. No example has
been seen, while a number of Series 111 f7.7 lenses have been seen. Series IV was made in 12, 14, 19, 24,
30, 35, 47in. and this does not suggest it was aimed at the wide angle market as the foci are too long.
Production of 'Goerz' lenses seems to have ceased about 1902-1905, and they were replaced by a new lens of
the same type of optical layout. This would be compatible with the Goerz patents reaching the end of their
lives and Ross being free to make the design without keeping up a license. It is possible that Ross were able
to make the change rather before the actual end to give them priority with their new product before the design
was open to general copying. This resulted in the Compound Homocentric f6.8 below. A comparison of
240mm Ross and Goerz lenses shows that they can differ, the external curves of the Compound Homocentric
being different from a Goerz lens in the examples checked.
Anon
The Symmetric Anastigmat f6.5/f8.0 This was a symmetrical anastigmat dating from about 1900, when it
was 'new' and it carries no other makers name or patent details. It was made in f6.5 in smaller sizes and f8.0
in larger ones, and in foci 4.0-24in in 1900. Lummer confirms they were not patented so he could not quote the
design. In fact an inspection of the reflection pattern suggests they are versions of the layout used in the
Kollinear of Voigtlaender and some Orthostigmats of Steinheil-Beck but no business relation seems to have
been established. (When the lens is slowly tilted, the two bright reflexions of a torch go one way and the two
dim ones go the other. With the Dagor and Orthoprotar there tends to be one stationary dim spot and only one
moving one.) These were seen as brass lenses at No60,57x for an f8.0 7.25in lens.
(a)Symmetric Anastigmat F8.0 with f7.5 available for 80° coverage. It was claimed that f7.5 was fully usable.
It was made in 4.0, 5.0, 5.5, 6.0, 7.5, 9.0, 11, 13, 15, 18, 21, 24in. A 5.5in was noted at No59,02x.
Fig 014 015 Ross Symmetric Anastigmat f8/7.25in No60,574.
Symmetric Anastigmat F5.6 for 70°. It was made in 5.0, 5.5, 6.0, 7.5, 9.0, 11, 13in. This seems to be a
faster version of the above, made in 5.0-24in. It was seen as a f5.6/12in lens at No57,83x and f5.6/6.0in at
No59,00x., f8/6in at No58,71x on a Lizars 1/4plate. These are in brass. Note that these seem to be normal
Ross numbers, not ones under a licence scheme.
Hand Camera Anastigmats f8.0 These were a more compact version, and especially suitable for shutter
mounting though also sold in barrel mounts. They were made in 4.0, 5.0, 5.5, 6.0, 7.5in only.
There may be confusion over names here. Symmetric seems to be the Kollinear type, and Symmetrical
may be on some of the RR and Goerz type lenses. These are lenses to buy with care if the layout is of
interest.
Other items:
Lens flanges. Ross seems to have been the first to develop standard flanges for the industry- even if it was
fortuitous! He made flanges in 1.5 and 2.0in using a rather fine 28TPI(?) thread, perhaps due to the labour of
cutting a deeper one and the increased weight of brass needed. But there was poor standardization, at least
among others in the industry, and the RPS and other users decided a better standardized 24TPI thread in
accurate inch sizes would be preferred. This was in the 1890's and is discussed under threads,
The result was that by 1905, Ross were selling these in 16 Numbers and Sizes as follows:
No 0, Size 1.625in; 1, 1.5in; 2, 1.75in; 3, 2.0in; 4, 2.25in; 5, 2.5in; 6, 2.75in; 7, 3.0in; 8, 3.25in; 9, 3.5in; 10,
3.75in, 11, 4.0in; 12, 4.25in, 13, 4.5in; 14, 4.0in; 15, 5.0in; 16, 5.5in. There were few 1/8in gaps or dimensions
at that time. These seem to have come later to obtain more handy lenses for fitting to some cameras, and can
now be a real problem in matching lenses to flanges for this maker.
Adaptors were from any smaller to any larger size.
Leather Cap sizes were:
1.625, 1.75, 2.125, 2.45, 2.8, 3.0, 3.375, 3.55, 3.875, 4.375, 4.875, 5.0, 5.625, 6.125, 7.0, 7.5in approx.
New Products
The designers working for Ross now are noted to include Hasselkus and Richmond.
Homocentric from 1902.
Ross seem to have begun to introduce proprietary anastigmats from 1900. The Aplanatic f5.6 seems to have
been the first, made to a 4-glass Gauss design , and 'improved' in 1901 and 1902, and then replaced or
renamed the Homocentric in 1902. There is a Brit. Pat No20,349/1900 which may cover this. The name
Homocentric however covers a number of different lenses. In 1905, the B.J.A. p917 reviews the lenses as 3
series at f8.0, f6.3 and f5.6, and comments that it will not stop below f16. Test results showed longitudinal
errors at 0.5% of focal length for the f8.0; 2% for the f6.3 and 4% for the f5.6. (This is a very unusual type of
comment at that time. It may explain why the f6.3 was the longest lived, being still made into the late 1940's
or 1950's.) The designer was Richmond and the f4.5 was issued later in 1912 (B.J.A. 1912,p712, p1914) again
with a 4-glass layout, as was the f5.6 and f6.3 (Photography 13/07/1909). The inner glasses were rather thick
and this may have helped the design. It is a lens best liked in the slower versions, and covers a good angle,
but is rather prone to flare in uncoated examples. All these seem to be 4-glass Gauss types, the f8.0 being
the choice for hand cameras with blade shutters. For a note see Photography, 13/07/1909. Homocentric has
the advantage of covering a good angle and of being free from focus shift on stopping down, and was regarded
as well corrected. All the Gauss type lenses were separable.
There is at least one other type- the Compound Homocentric.This is a version using the Dagor type layout
(see above). It now seems odd that so many series were sold: but actually one was a renaming of the Dagor
type at f6.8; or some may be for shutter mounting as the f6.3 seems to be.
Fig 014 012 Ross Compound Homocentric f6.8/9.5in No129,831. (This is not under Goerz license.)
Homocentric f4.5 It was made in 4.5-18in, with stops to f22. Use 6.125in for 5x4. It seems to be 'new'
in B.J.A. 1912, p712, and was separable, the front and rear giving 2x and 1.5x the focal length. (Layout
Ros030). It was also coded 'E.R.' (E.R =Extra Rapid?) Homocentric on the Panros and TLR cameras (B.J.A.
1914, p60). It seems to be the short lived version.
Cine Homocentric f3.1 2.0, 3.0in focus for movie use, in focusing mount. The narrow angle covered will have
helped the design here.
Cine Homocentric f4.8 3.0in as above.
Homocentric f5.6 It was made in 3.0-24in, especially 12in for 10x8 or up to 12x10in, 15in for 12x10 or up to
15x12in, 18in for 13x11 or up to 18x16in, 21in for 15x12 or up to 22x18in, 24in for 18x16in or up to 25x22in,
where the second size is for medium stops only. (Layout Ros031) It was also coded as Series 11 or B, and
was partly replaced by the f4.5, but continued well into the 1930's. It was listed on the Williamson Automatic
Enlarger as f5.6/8.5in for up to 9.5in wide film or 1/1plate.
Homocentric f6.3 It was made in 2.75, 3.5, 4.0, 5.0, 6.0, 7.0, 8.5, 10, 12in. and was available in shutters
such as Koilos and Compur. A 6 or 5in lens was suggested for 5x4. The drawing shows a lens with thicker
inner glasses and this may have helped the corrections, and been easier to use on the slower design.
(Ros032). In use it was a sharp lens, but seemed to have a high flare level. It was found as a f6.3/6.5in
No69280 in a Compound shutter No371,939. It was seen at No128,36x in Rimset Compur No712,95x of
c.1925-6 which had been fitted to a c.1936 Linhof Technika II; and No108,86x in dialset Compur, and as a
coated barrel mount lens at No223,64x from the later 1940's. This was also referred to as Series 111.
Incidentally this shows it was fairly common. It was a popular lens as it covered a wider angle (see 1939 list
for coverage) and was continued for a long time, being coated postwar. It was also sold in blade shutters such
as the Compound and later the Compur during the 1930's so a Linhof user could buy a shuttered Homocentric
but not we think a similar Xpres. Adding in that a 5in would cover 5x4in or more when stopped down, it was
probably a better choice though the flare level was higher due to the extra air-glass surface. Certainly the lens
used on the 9x12cm Linhof ST2 gave a sharp image but was high in flare even though it seemed to be in very
nice order. A coated one would be much preferable for use. The B.J.A. 1928, p8advert. gives:
5in for 4.25x3.25 at f6.3 5x4 at medium stops.
5.5in for 4.75x3.5in 6x5in
6in for 5x4in 6.5x4.75in
6.5in for 5.5x3.5in 7x5in
7in for 6.5x4.75in 8.5x6.5in
8.5in for 7.5x5in 8.5x6.5in
10in for 8.5x6.5in 10x8in
12in for 10x8in 12x10in
15in for 12x10in 15x12in
While the full aperture coverage is interesting, the original customer probably was interested in using camera
movements and as a professional, would probably stop down so the last column for use at say f11 was
probably the important one and shows it to be a good lens for most technical and architectural uses.
Fig 014 018 Ross Homocentric f6.3/10in No223,649 coated; and 'Homo' f6.3/8.25in No74,214 ctd in unusual
finish.
Homocentric f6.8 H&D lists this speed in 4g Gauss in 4-12in, as well as the f6.3 and the Compound
Homocentric. It was still listed on the Adams Vesta in B.J.A. 1927, p105advert. and the Sinclair Una in B.J.A.
1934, p465 in 6x9cm, 1/4plate, 5x4in, 10x15cm and 7x5in, and must have still been available in a range of
sizes. But this 1934 one seems to be the last advert. noted with it and it just may have been old stock.
Compound Homocentric f6.8 It was made in 2.75, 3.5, 4.25, 5.0, 5.5, 6.0, 7.0, 8.5, 10, 12, 14in. and a 8.5in
covered 10x8in. It was introduced between 1905-1910, and was seen in brass mount at No129,83x, probably
from the 1920's. It is related to the Dagor, but the curves are not identical in lenses of the same specification
and similar date. It was described as especially suitable for architecture and should be lower in flare than the
Gauss types. The layout Ros029 seems slightly flatter than the original and the claimed angle of cover may be
rather less. These were coded as Series 1V in some adverts. The Compound was used as a pair of 5in f6.8
No7072x (2x) on a Marion Stereo 3.5x5.5in NoM215x.
Homocentric f8.0 There do seem to be some of these made to the old Goerz layout, rather as f7.7 Dagors.
They were described as Series D or V and made in5.0-24in with 6.0in suggested for 5x4in.
Homocentric f8.0 Series V1 This was made in 7 or 12-24in, with stops to f64, and was essentially a process
lens. Use 12in for 10x8in. It may have been developed as a general purpose lens, and in a later list the single
cells were usable separately. This makes one wonder if it was a Dagor Q9 or a Gauss, but none has been
seen to study. It was still available in 1935, (B.J.A. p6advert.) and was in larger sizes as if intended for
1/2plate stand cameras. Coverage at f8 and stopped down was as follows:
7in 6.5x4.75in at f8 8.5x6.5in stopped down, 1/2plate at f8.
8.5in 7.5x5in 10x8in
10in 8.5x6.5in 12x10in
12in 10x8in 15x12in
15in 12x10in 18x16in
18in 13x11in 22x18in
21in 15x12in 25x22in
24in 18x16in 30x24in
Homo This may be just an abbreviation. An f6.3 Homo was listed on a Xit and there is a suggestion that it
was sold as components, with like components giving an f5.5 lens and unlike an f6.3, and singles being
usable at f11. It may have been a 1930's development but a 'Cine Homo' was listed in 1914 for projection. It
seems to be a 4-glass Gauss, and was made in 3.0, 4.0, 5.0in. Finally a coated f6.3 8.5in HOMO No74,21x
was seen and seems to be a camera lens in a barrel mount with a chrome iris scale to f64 which looks to be
late 1940's rather than 1914! The exact focal length is engraved as 216mm.
Ross Convertible This was the replacement for the Protar V11a and was the subject of a Ross patent (Brit.
Pat. 29,636, 29,639 of 1913-4). Some convertibles still carry the Zeiss name. It has a similar layout to the
V11. The announcement was in (?Amateur Photographer?) 16/06/1913, p574 with the Telecentric when a 7in
f7.0 lens convertible to 11.5 and 14in was seen. It is said to be a Hasselkus design and it was made in 1914
in the following sizes:
(1) Single Lenses f12.5 which were made in 7.25-39in (or 7-36in in another list) and 14in was used on
10x8in. In 1912 the range was 7-21in.
(2) Doublets f6.3 which were made in 4.125-23.5in and 12-13in was suggested for 10x8in. In 1912 the
range was 4-11in. The maximum aperture varied if the cells were different, from the f6.3 to f7.0 or f8.0. Thus
one option for 10x8 was a f8.0 pair of 12.75in, with cells of 27.5 and 19.25in if used separately. The product
range may still have been complicated by the old Symmetric Anastigmat as one list has lenses of f5.5
aperture, and certainly the range after 1920 was based on the Ross Combinable f5.5 sold in the same way as
single cells at f11 and doubles at f5.5-f6.3. The design of these is not illustrated.
A Convertible with 9in No939x and 14in No903x was noted on a Sanderson camera: these do seem to be
anomalous serial numbers.
One point may be some confusion between Convert- and Combin-able, especially due to the variations in
maximum aperture. It is the Convertible f6.3 max listed in the 1914 advert. and by the 1916 advert. it has
been replaced by the Combinable f5.5. The feeling is that the general type of lens was the same and they
had increased the aperture. But Combinable was made in 7-21in cells rather than the 7.25-38in of the
Convertible and was listed initially in sizes for up to 9x7in only. It was sold as sets of 3 cells for 1/1plate and
for:
4.25x3.25in with 8in, 9.5in, 10.25in cells to give 5.25in, 5.5in, 5.75in pairs:
or with 4 cells in the set for:
6.5x4.75in with 10.25, 11.25, 12.5in, 14.5in cells to give 6.25, 6.5, 6.75, 7.0, 7.25, 7.75in pairs.
Fig 015 025 Ross Convertible 2x23.5in =13.25in with interchangable iris scales to suit.
Fig 015 027 Ross Convertible dismantled to change scales, etc.
Combinable f5.5 This was a convertible symmetrical lens, possibly Kollinear type. It was made in 4-21in. It
was f5.5 when the cells were the same focus and from f5.7 to f6.3 when different cells were paired, in a list of
about 1932. (This certainly complicates any list!) The example seen was an f5.9 giving 5.5in, or f11 and 8.0
and 9.5in as separate cells. The lower speed will relate to the unequal foci present. It seemed to be a 4+4
glass lens, roughly Q12. These are not easy to find and are fine lenses. Looking though auction lists, they are
usually on nice cameras, such as Adams and Sinclair, and probably sold to a leisured well-off clientele. Here
sales went on through the 1920's (eg B.J.A. 1928, p104advert.) as:
4 +7in for 6.5x9cm; (this may be 4in from 2x7in cells as below).
5.5 +9.5in for 4.25x3.25in (1/4plate; (this may be 5.5in from 2x 9.5in cells as below)
and 6.5 + 10.25in for 5.5x3.5in. (This may be 6.0in from 2x10.25in cells for f5.5 as below.)
The 1932 list begins with single components at f11:
7in for 5x4in; 8in for 6.5x4.75in; 9.5in for 7.5x5in; 10.25in for 8x5in; 11.25in for 8.5x6.5in; 12.5in for 9x7in;
14.5in for 10x8in, 17in; 21in; 28in; 36in; and these were listed with covering power at f11. This suggests they
covered a little less than the pairs. Some 26 pairs were offered from 7 + 7in for 4in for 6x9cm at f5.5, to 36 +
36in for 21in for 13x12in at f5.5, as well as sets for 1/4plate, 1/2plate and 1/1plate but these were supplied on
request. Some useful pairs today might be those for 5x4in:
10.25 + 9.5in to give 5.75in at f5.7
11.25in + 9.5in to give 6in at f5.9
10.25 + 10.25in to give 6in at f5.5
and for 10x8in:
28in + 21in to give 14in at f6.3
28in + 28in to give 16.5in at f5.5
They were noted at 8in No 88,55x, 88,56x, 106,86x, 9.5in No94,22x, 11.25in at No86,53x, No103,34x and a
pair a No108,461. They were often quoted as f11- the speed of a cell used alone. They seem to be post-WW1.
The 1924 advert. shows No75,4xx(?), which fits as the early end of the above numbers. Incidentally, there is a
2-tab bayonet used for the front cells on some N+G shutters which can be worth using even today and it is
standard between different units. A separable lens of larger aperture was described in B.Pat. No 29,636 of
1913 by J. Stuart and J. W. Hasselkus and this may be the basis of the faster Combinable. It was regularly
advertizes into the 1920's (B.J.A. 1925, p6) but was probably available well after this. Thus Combinable was
still apparently available late pre-WW2, as on the Sinclair Traveller Una in B.J.A. 1937, p449 and in wartime
adverts. from Kodak (ANZ) and probably was the sort of specialized product given little advertising but available
if asked for, as the f16 wide angle was.
A list for 1925 (B.J.A. p6advert.) was as follows:
Single Components working at f11 were supplied as:
7in for 5x4in; 8in for 6.5x4.75in; 9.5in for 7.5x5in; 10.25in for 8x5in; 11.25in for 8.5x6.5in; 12.5in for 9x7in;
14.5in for 10x8in; 17in for 12x10in; 21in for 13x11in; 28in for 15x12in; 36in for 20x16in.
Pairs were sold in f5.5, f5.7, f5.9, f6.0, f6.2, f6.3, f6.4 and ? other maximum apertures as cells of different foci
were combined and 22 examples were offered and others are known. Suffice it to quote those for 5x4in as the
most likely to be used today.
Front lens Rear lens Pair max aperture covers
10.25in 9.5in 5.75in f5.7 5x4in
11.25in 9.5in 6in f5.9 5x4in
10.25in 10.25in 6in f5.5 5x4in
This shows the fastest to be the symmetrical pair, but here only two foci were available, so really the slower
unsymmetrical would be better. The cells in the Table are never very widely different in focus but one does list
as 17in front, 12.5in rear, for an 8.5in pair at f6.3 and this would make an interesting set for 8x5in and if a
10.25in cells was added, it would give pairs at 6.5in, and 8.5in, as well as 10.25, 12.5 and 17in from the single
cells. (The 17 + 10.25in is not quoted as a pair but should be usable also.)
Cinematograph Lenses.
In 1910, Ross offered a f4.8/3in movie lens to cover 4.25in, and this was a Homocentric which would also be
usable on a 6x9cm camera. (B.J.A. 1910) There is a hint that the f3.5 Ross-Zeiss Tessar was also used. The
1916 BJA mentions a series of movie lenses at f3.5 and f4.5, and a series of f3.0 projection lenses. The
Sinclair N.S. Standard movie camera was advertised as being used by Mr H.G.Ponting on Scott's antarctic
expedition, in ?1910 and much later on the Everest Expedition by Capt J. Noel in ? the 1920's and a picture
shows it in use with a ?17in Ross or ?Dallmeyer lens fitted with braces to improve rigidity. (The engraving
suggests Dallmeyer but only a 17in TeleRos at £30 is actually listed. Both probably probable might be had by
choice.) It is noted that while most TeleRos lenses were f5.5, the longest in 13 and 17in were also offered in
f6.3 at a lower price- it is not now obvious if these had the same extension or were higher magnification
lenses.
Telephoto Lenses Accessory Type.
The first items were accessory lenses in 6 strengths. A Ross Telephoto attachment with a Homocentric
(especially f6.3) was shown in B.J.A. 1910, using a 7in Homocentric and 3 and 2.25in negatives, among
others, the range being -1.125 to -5in.
The Do-Do was a tele negative lens, associated with Capt. Owen Wheeler, of Weybridge, and may occur in
several forms. Thus it was noted as for 4-13 magnifications,with a double rear glass and variable extension,
rack focusing and to use the customers own front lens. But an example seen was NoIc and not variable:it was
for fixed magnification with a f5.6/5in Homocentric No73,095 of about 1914. There was some sign that a
second rear element could be fitted as well but was now missing. It was scaled f34.5-f90.
Fig 017 032 Ross 'The Do-Do' tele accessory. Capt Owen Wheeler with Homocentric f5.6/5in No73,095.
This was probably available after WW1 but was discontinued by the list seen from about 1932.
Fixed Separation Types
Telecentric
Fixed separation telephoto lenses seem to have begun with the Telecentric. The layout used 5-glasses
(Ros033) and it was made in two magnifications and apertures, as well as in shutters and focusing mounts.
(Am. Photo. 18/03/1912; 16/06/1913). Eder and Frerk both relate the design to Bielicke's work or say he
designed it. When it was first sold (1912), it was the fastest tele available, and so costly in Germany that no
one could afford it. Telecentric was the lens suggested in B.J.P. 25/06/1920, cited 27/06/1980 p622). It
continued after WW1 in 1921 and 1922 (B.J.A. 1922, p9) and then was replaced by the Teleros.
Telecentric f5.4 It was made in 9.0in for 3.5x2.5in, 11in for 4.25x3.25in, 12in for 5x4in, 13in for 5.5x3.5in,
17in for 6.5x4.75in. This was seen as a 13in f5.4 at No98,10x in a barrel mount.
Telecentric f6.8 It was made in 9.0in for 3.5x2.5in, 11in for 4.25x3.25in, 12in for 5x4in, 13in for 5.5x3.5in, and
17in for 6.5x4.75in. use 12in for 5x4. It was sold by 1912 (Amateur Photo. 16/06/1913, p574) and was as f5.4
and f6.8 in 1913.
The adverts. in B.J.A. 1914, 1921 and 1922 give the same formats and back focus for both Telecentrics. Thus
the f6.8 becomes merely a cheap version of the f5.4 as the 12in costs £18 in f5.4 and £13.2 in f6.8. [This
seems an anomaly as some reports say that the f6.8 was a 3x magnification lens- hence the slower aperture.
The problem may come from the replacement which was a 3x Teleros.] It probably was made for longer as the
3x Teleros came only in 1926, and there was a "Special Offer" of Telecentrics in B.J.A. 1927, p615 in 9in for
3.5x2.5in and 11in for 1/4plate.
Examples noted were:
f5.4/13in, as a bulky lens, No98,101, for ?2.5in thread and ?5x4in.
f6.8/11in, No74,22x, with stops to f32. The smaller looks a very attractive item, in glossy black paint.
Fig 015 004 Ross Telecentrics (l) f5.4/13in No 96,101 and (r) f6.8/11in No74,223.
Teleros This was a postwar introduction about 1922.
Other lense s. Ross continued to supply wide angle rectilinears up to about 1914, as well as:
Portrait lens probably of Petzval design: but the line was essentially a more modern one than many other
makers.
Cabinet and Portrait lenses These were made in 8.25, 10, 12, 16in and longer to order and seem to be just
one product range. They were adjustable softness by unscrewing the rear cell. They were probably Petzval
type.
"Anastigmat" In the B.J.A. 1916, p432, there is an account of a patent by J. Stuart and J. W. Hasselkus
B.P29,637, B.J. 27/11/1914 p874, of a new large aperture anastigmat with1+1+i+3 layout the latter 3 glasses
being of low medium and high refraction in that order. This was probably the initial Xpres 5-glass lens and
must be related to the next item.
World War 1
A comparison of the adverts. in the 1914 and 1916 B.J.A. volumes suggests that the main difference was the
replacment of the Tessar by the Xpres, in keeping with the feeling of the time. Xpres was the first item in the
advert. and was described as 'perfectly new', and was accompanied by the new Combinable, Homocentric
f5.6, f6.3, f6.8 and f8.0 as well as a Process Homocentric, also at f8. Thus the f4.5 Xpres had replaced the f4.5
Homocentric as well as the Tessar. Other lenses continued were the f16 Wide Angle, and the f16 Symmetrical
(RR type) as well as the Telecentric in f5.4 and f6.8, cine Xpres lenses in f3.5 (2in, 3in), and f4.5 (?4.75, 5.5,
6in). And the Xpres was applied to the cameras listed: the PanRos now had a 6in f4.5 Xpres on the 5x4in
version, which may agree with the RFC cameras. By 1915 (for 1916) some firms were deleting their adverts.
and Beck for example overprinted theirs with "Our factory is ....entirely occupied with Munitions.." Ross would
be in like case, and mainly selling off ready made stock.
Initial sales to the Flying Corps were of 8.25 and 10in f4.5 lenses of Q15 type, referred to as Xpres lenses
postwar. Hasbroeck illustrates a Type A camera modified to Type C with a f4.5/10.25in Xpres probably from
1915. However over the narrow angle of 36° a better AIRO design was possible and these were produced in
large numbers ('Thousands') with a reduction in the astigmatic aberrations from 0.5 to 0.25mm in the
intermediate part of the plate. Later an f6.0 AIRO of dialyt design came in owing to glass supply problems,
made using light flint and DBC only (Hasselkus, Photo J. 4/1919, p121), and Ross made a 10in f4.5 AIRO in
barrel but without iris at No82,49x. (This seems to be a Q14 or Q15 type lens and is ex-WD and marked "Low
Temp. Laboratory"). A 10in f4.5 No143,61x was a feature on an impressive T-P Aero camera type A to C
conversion at auction, and this was certainly a very early WW1 unit and seems little used though possible a
later lens could be fitted. A near contemporary account gives the structure Ros 036 for the AIRO lens.
Incidentally the true AIRO has a serial number just above the Mill Hill lenses as if it was from the same series.
Fig 014 029 Ross Airo f4.5/10in No82,499 with no iris.
This may only be part of the story, as a moderately common lens is the "Mill Hill Tessar Patent". These
have been noted in sunk mount with a distinctive iris with two forward pointing control pins, at No81,61x (2
examples) with a short 3 turn mounting thread, and with a long (11mm) mounting thread at No 82,65x, 82,85x
(W^D, 82,94x, 82,94x again, and 83,01x. The difference in the thread length relates to the flange which is flat
in the later ones, but gives 13mm protrusion as an small extension tube in the two early ones, and one of
these only carries an engraved number No15,66x on the iris control ring. (The latter might be an Army part
number or possibly camera number. It also may be a indication of the actual focal length, as 15,66x could be
15.66cm or 6.17in. This would be useful in a survey lens.) These are a Q15 type layout, though the reflexion in
the rear is very faint- possibly due to a low r.i. difference. They are thought to be WW1 aerial lenses for low
level work, probably made in a shadow factory in 1915-1916 for the PanRos camera before the more developed
products were available. (A 6in lens was used on the 5x4in LB camera eg. in 1918, and it is a possible
fitment: there was also the WA version of the LB for 8.5x6.5in but the Xpres would not cover this angle.) A
conjecture is that this might be the Bittacy Hill establishment- see Carl Zeiss, London.
Squ. Ldr. F.C.V. Laws, lists the WW1 aero lenses as:
Wide Angle type, for 1/1plate, 8.0 or 10.0in
B-type camera, with 20-47in lenses, for oblique work.
P-type metal camera, with 10in lenses.
A later lens is Ross Xpres f4.5/10in (254mm) at No14,361x which was auctioned on an aerial camera No192
made by Thornton-Pickard, and this may be from the 1920's. (F.C.V.Laws, in "Photography as a Scientific
Implement", Blackie, London, 1924.) See also Pan-Ros camera.
General: Ross Aero, Ross Express (sic!), and Cooke Aviar in 4.0, 6.0, 8.0, 10.0, 14.0, 20in, normally of f4.5
max. aperture.
The war began with a few Press cameras, and the first purpose built type was the A-type with 8in lens,
followed by the B-type (lens not specified) and then the LB camera, with interchangable cones to allow lenses
to be exchanged, using 4, 6, 8, 10.5, and 20in lenses on 5x4. (There is a reference in the B.J.P. to a Munro Ptype
camera with 8.5 and 10.5in lenses- they did make plate coating machines.(B.J.P. 18/05/1979;
27/04/1979, p394) Later a BM type camera with 18x24cm plates was used. No real use of film was made and
while it was tried, plates in auto changers were normal. (One point seems to be that the usual idea that the
AVIAR predominated is not supported.) Note that we think Laws went on to help manage the Williamson aerial
camera company between the wars as well as continue his involvement with RAF developments. The B.J.P.
02/05/1919 states that photographic personnel were 250 officers and 3,000 other ranks by the end of 1918,
with equipment to match. This was a problem for the labour market to absorb postwar.
In the B.J.P. 12/04/1918 there was a note that Ross had purchased the business of Carl Zeiss at 13/14 Great
Castle St., W1, London and were now conducting their own retail business there.
The Ross company had been under the Chairmanship of Mr John Stuart c1837-28/04/1926) for many years.
He joined Ross in 1870, under Mr Thomas Ross (son of Andrew Ross, founder) who died and later Mr Stuart
married the widow. He spent much of the rest of his life working to develop the firm, especially during WW1
when the works were rebuilt under Government control, and he was awarded a C.B.E. for his efforts. Mr Stuart
was also the Proprietor of the "British Journal of Photography" until his death. Another death was of Mr
H.G.Heyburn in 1924 (?), who had spent 51years with Mssrs Ross. (B.J.A. 1925, p232).
After WW1
WW1 caused real hardship and shortages in the UK and other places, as well as the suffering due to loss of
life. Initially there was an embargo on purchase of German cameras as "trading with the enemy" (B.J.P.
18/04/1919 cited in idem, 20/04/1979 p384) and Lt Col Moore-Brabazon raised the question in the house for a
reply by Mr Churchill, asking that returning troops be searched and cameras removed. And only in 1922, Ross
says then they 'now have full stocks' as if they have had to refuse or delay orders till then, (which seems the
case in 1921) and 'the quality of the workmanship has considerably improved since the termination of the
War' as if there had been problems.
The early postwar programme was Xpres f4.5, Combinable f5.5, Telecentric f5.4 and f6.3, Homocentric f6.3
and f6.8, projector lenses and Movie lenses in Xpres f4.5 4.75, 5.5 and 6in and f3.5 2in and 3in.
One point is that adverts. after WW1 no longer show the layout of the lenses so there are more uncertainties
about them.
Teleros
Telecentric was replaced by the TeleRos in about 1923 and this was designed by Richmond (Brit. Pat.
188,621 of 1922, B.J. 16/02/1923; B.J.A. 1924, pp4advert., 279) possibly with work by Hasselkus as well
(Layout Ros034). Initially this was only in 2x mags. and f5.5 aperture in 1924, but was later issued also as a
3x tele at f6.3.(B.J.A. 1926, p339). The change from Telecentric to Teleros may have been partly to use new
glass in a better corrected lens but the new lens had the triplet at the rear, made as a positive surrounded by
2 negatives, and this made it lighter, smaller, easier to fit to cameras and shutters, and also probably saved
on the cost of the glass, which was smaller in diameter in the rear cell. (Teleros was 'new' when noted in the
Amateur Photo. 15/11/1922 p3.) The rear cell could be supplied threaded to fit in a leaf shutter, in place of the
usual lens, or supplied in a shutter.
The front was DBC positive and dense flint as the negative; the rear the same DBC for the outers, with a new
glass in the centre of low refraction and high dispersion. The foci are 112.7mm and -102.8mm for a 280mm
f5.5 lens.
TeleRos f5.5 (1924 list) 9.0, 11, 12, 13, 17in. "Two Power" Later (1928) it was in 6.25-40in/f8 in 1940, 9-22in
in 1935. There were also some small versions for cine and a 4in "Tilica" for Leica.(B.J.A. 1932, p297) Teleros
seems to be 'new' in Am. Photo. 15/11/1922 p434 as a 9in f5.5. It was noted to be free from pincushion
distortion. Incidentally there seem to be two versions with the same back focus and speed in the 17in Teleros
lenses. It is likely the usual large format type has a 48.5mm dia rear glass, seen at No197,889; but another at
No112,658 while otherwise identical, had a smaller rear glass at 41mm dia., and just may have been for movie
or a smaller still format.
A B.J.A. 1928, p7advert. gives:
6.25in for 2.3x1.75in
9in for 3.5x2.5in
11in for 4.25x3.25in
12in for 5x4in
13in for 5.5x3.5in
17in for 6.5x4.75in
Fig 015 001 Ross Teleros f5.5/17in lenses (r) Nos 197,889 (big rear glass) and (l) No112,658 (small).
22in for 8.5x6.5in
40in f8 for 8.5x6.5in.
Of these, 6.5in in size 00, 9in in size 0s, 11in in size 1s,12in in size 1s,13in in size 2 4/1 and 17in in size 3
6/1 might be had in Compur, or earlier in Lukos or Acme shutters, or in focusing mounts. It is noticed that the
big 40in was in f8 max. aperture.
In c.1932, they offered 4in, 6.25in, 9in, 11in, 12in and 13in in focusing mounts. The 4in was probably for movie
but also sold for Leica.
Teleros was used for movie work- a f5.5/240mm No108,55x was on an Eclair 35mm from the 1928-1937
period.
Teleros 4in f5.5 for Leica. This was a 1930's item in M39 normally, and in a collapsible mount, with E42 or
E39mm filter sizes, at Serial No's 127,86x-128,02x at least. (B.J.A. 1932, p297).
Fig 012 014 Ross lenses in M39 (r, rear) Teleros f5.5/4in (2x) in E36 and E42, with Xtralux (l)f3.5/9cm
No198,71x; (rear) f4.5/135mm No235,40x; (front) f2/5cm No199,19x collapsible, also a rigid lenshead, of the
f2/50mm.
TeleRos f6.3 initially 13, 17in, later in 9.0, 13, 17, 25in.(B.J.A. 1926, p339) This was a three times tele, but
slower. The 13in was needed to cover 3.5x2.5in and would also 1/4plate though the corners would not then be
fully sharp. It is a fairly big lens and the 13in has a register of about 5.5in at infinity so it could be fitted to
many cameras. It was listed in Compur or Compound shutters in all sizes.
Some special teles existed such as a f8.0 40in version for a Ross Sport camera using a 2x version for 1/2plate
coverage. An f6.3/25in was used on the Duoflex camera (B.J.A. 1932, p310), and a f6.3/17in was mounted
with struts on a NewmanSinclair movie camera.(B.J.A. 1933, p301).
9in for 2.5x1.75in
13in for 3.5x2.5in
17in for 4.25x3.25in
25in for 6.5x4.75in
Teleros f8.0 There were also f8.0 40in and later? in 50in and 60in Teleros lenses in a batch of Gandolfi
Cricket Cameras. It is likely these were developed for aerial use (where they would be excellent!) and were a
small batch made post-1945 for civilian use- thus there may have been MoD examples as well but these have
not been seen.
XPRES
After WW1, the Q15 type design was given a new name, the Xpres but this trade name was also used for
lenses of other layouts and it is easy to be confused about the structure involved. The 5g/3c design does not
seem to predominate however. One point is clear- if it was made in WW1 it is likely to have Tessar Patent,
AIRO or no name engraved on it though Laws refers to some as Xpress. And a writer in MCM July 1953
describes a TLR fitted with an Xpres f4.5 4.75in lens as supplied 40 years ago, which agrees with the B.J.A.
advert. in 1916, but due to the War, few may have been produced for general sale. Manthos dates one of his
N&G cameras with Ross Xpres as 1914, at No 76,015, but this does not quite agree with a 1911 date for
No81,967 above. It may just be best to note that N&G were fitting Xpres lenses from Lens No76,000 and that
the data suggest 1918 cameras have lens Nos about 86,000. He notes a rather steady production up to about
No141,507 in 1940- which should be a late end for uncoated civilian lenses. In 1925, only the f4.5 was
advertised in the B.J.A. p6 advert. The different types of Xpres made seem to be:
Xpres f8.0 136mm This version is shown by Hasbroeck on a Williamson Pistol Aircraft camera from about
1930 and may be a slower and therefore lighter version for handheld use in the air at £19.5 without focusing.
(B.J.A. 1931, p663) It was also sold for ground use at £25, with a focusing movement to the lens and the
review on p284 refers to it as having a f4.5/5in lens- an alternative no doubt. It has been noted at auction with
Ross f4.5/135mm No130,62x and 133,40x lenses.
Xpres f6.3 Aerial E.M.I. (Extra marginal illumination.) This was a bulky aerial 5-glass 1+1+i+3 type, normally
made in 20in, and probably 1930's in concept. The front glass is relatively big to even up illumination.These do
not seem to be coated. Note there was also a Wide Angle Plasmat type of this specification but 6-glass
design and this is often coated and a very excellent lens.
Xpres f4.5 This was typically made in 3.0, 4.75, 5.5, 6.0, 6.5, 7.0, 7.25, 8.5, 10, 12, 16.5, 21in.in the 1920's.
Q15 design. It was the major product from the Xpres series and is quite easy to find today. The 6in was
suggested for 5x4 and the 3.0, 4.75, 5.5 6.0, 6.5, and 7.0in were in helical focusing mounts if required.
Coverages were:
75mm 2.3x1.75in,
90mm 3.25x2.25in,
105mm 6x9cm?
112mm 3.5x2.5in
120mm 3.5x2.5in
127mm 4x3in
136mm 4.25x3.25in 1/4plate
140mm same
152mm 5x4in
165mm 5.5x3.5in
184mm 6.5x4.75in
215mm 7x5in
254mm 8x5in
305mm 8.5x6.5in
360mm absent in 1928 list.
420mm 10x8in
533mm 12x10in
A Butcher's Cine camera (B.J.A. 1924, p54) was offered with f4.5/4in, also with 2in and 3in f3.5 lenses.
The f4.5 Xpres was similar to the Tessar previously produced but seems not to be identical to it, the external
curves being different in ratio. Thus it must rank with the many me-too lenses then introduced. They were a
quality item, covered a good angle, were popular with professionals and are still fully usable today. The f4.5
were continued post-WW2 in coated form and these were very slightly changed, the rear curves being flatter.
Again, a good lens made better. The examples seen were No88,71x (8.5in) and 136,88x a 12in in brass finish.
This was a popular lens in various fittings. [For a rather disparaging opinion expressed in Germany by
R.S.Clay in 1923, see Eder "Xpress is a poor Zeiss Tessar." but note he cannot even spell it correctly. This
will be the old lens.]
Fig 014 027 Ross Xpres f4.5/8.25in ctd. in (l) barrel at No207,260; (m) sunk; (r) sunk iris mount at
No202,292. Centre lens is prewar at No89,710 and differs slightly in curves.
It seems always to be in a barrel mount, as none seen are in shutters. ["They do not admit of between lens
shutters." in the 1931 advert.] This must have limited sales to studio and focal plane camera users, so that
postwar a camera such as the MPP needed the f4.5 wide Angle Xpres in its Epsilon. But this was only a 5in
lens and rather 'short' for 5x4in users and Ross must have lost sales through not having a f4.5/150mm on the
shelf to sell. There does seem to have been a scarce f4.8 or f4.9 5.5in Xpres but it has never been seen.
(B.J.A. 1952, p217, Dawe camera with f4.9) Nor could the customer look at the f6.3 Homocentric or the
Process lens as shuttered options from the advert. in the B.J.A. 1952, p70. This was a pity, since the Ross
lenses had hard coating and could give fine image quality. It may be that supplies of Compur 1 were still
limited.
Xpres f3.8 105mm This was a late version (1950's and on?) and was the lens on the Selfix 820 cameras
postwar. It is a high quality Q15 lens, always coated but in Epsilon shutters which can give problems. The
serial numbers can be anomalous here, as shown by the following No. 242,06x, 262,81x, 5,047, 10,28x, and
where it could be checked, the later body number was on the low number lens.
Fig 015 014 Ross f3.8/105mm Xpres on Selfix for 6x9cm.
Xpres f3.5 It was made in 1.5, 2.0, 3.0, 3.5, 4.0, 4.375, 5.375, 6.0, 6.5, 7.25, 10in., use 6.5in for 5x4. This
was an advanced product for the date.
(a) A movie version was available in 1921 but in general the f3.5 came later. It may well be that the movie
version was a 4-glass Q15 design and the 5-glass was needed for the general use of the aperture. The movie
version was noted as an f3.5/2in lens on 'Darling' movie cameras in B.J.A. 1921, p607.
(b) Anyway, the f3.5 was noted as 'new' in B.J.A. 1926, p304 when 7 foci were announced for 4in for VP up to
10in for 1/2plate, and was used on the Newman-Sinclair auto-cine in 1927 as1.5 or 2in Xpres lenses. In B.J.A.
1927, p341 they confirm the bright definition and absence of flare and say it covers nearly as big an angle as
the f4.5. The shorter foci were for movie use. It was probably Q15 but H&D is definite that 5-glass examples
existed (roughly Ros036). It was listed in 4in on the Bijou 6x4.5cm and 6x9 and up to 10x15 cm on Standard
reflexes. An example auctioned was No10792x on a van Neck SLR camera rather like a Korelle.
1.5in 38mm 1x0.75in movie
2in 50mm 1x0.75in movie
3in 75mm 1.25x1in
3.5in 90mm 2.5x1.75in
4.0 100mm 2.5x1.75in
4.375in 112mm 3.5x2.5in
5.375in 136mm 4.25x3.25in (1/4pl)
6in 152mm 4.25x3.25in (1/4pl)
6.5in 165mm 4.25x3.25in
7.25in 165mm 5x4in
10in 254mm 6.5x4.75mm
Xpres f2.9 This was made in 1.0, 2.0, 2.5, 3.0, 5.375, 6.5, 8.5, 10in where 6.5in was used for 5x4. (Ros036).
It was noticed in the B.J.A. 1927, p14advert; 1928, p336, as the latest in the Xpres series and a supplement to
the previous years f3.5 Xpres. The Almanac speaks of very high correction, brilliant image, critical all-over
definitionand absence of flare and ghosting, and notes that stopping down allows a considerable increase in
covering power. The first may have been on N&G reflexes in 1927.
The Ross Xpres f3.5 and f2.9 were listed for the Multex, and it is thought that these were 5-glass types. The
f2.9's were listed on the same reflexes as the f3.5 above in 1932 approx, ie Ensign Special Reflex. It was seen
at No 836x, in 1/4plate with 6.5in (165mm) f2.9 No111,12x in black sunk brass mount. Another noted was
No116,20x on a N&G reflex FR61x. Also at No110,92x as a 144mm lens. This has a 2 separate component
front end like a Q15, but the single rear component gives at least two pale reflexions, so it is probably a 3
glass component like Ros036. The front glass of No111,12x is 60.5mm dia., and 165mm f2.9 requires
56.93mm so that there is a degree of oversize to minimize vignetting in a quite deep lens (say 63mm back-
tofront).
Central sharpness was very respectable at f2.9. These are a really scarce lens and one of which it was
hard to find an example to examine. One was sold on a RoBoT camera at f2.9/35mm No139,10x which may
be an original fitment of a movie designed lens. But note that a 1950's f2.9/25mm movie lens proved to be a
Q15 type.
One more definite conclusion is that these fast Ross lenses are fairly uncommon- less so than might be
expected as they are well represented in the textbooks of the period! And in fact the 1928 B.J.A. does say
something to that effect, that Ross had not striven to maintain a position as pioneers.
1in 25mm 16x12mm
2in 50mm 1x0.75in
2.5in 62mm 1x0.75in
3in 75mm 2.6x1.75in= V.P.K.
5.6in 144mm up to 4.25x3.25in (1/4pl.)
6.5in 165mm up to 5x4in
8.5in 215mm up to 6.5x4.75in
10in 254mm 6.5x4.75in.
Fig 015 007 Ross Xpres f2.9/144mm No110,923 and f2.9/6.5in No111,222.
Xpres f2.75 This unknown lens is an oddity, just possibly a prototype or small batch special product, noted
as a 3.5in lens in a black barrel mount but without an iris.It seems to use the 1+1+i+3 layout of the f2.9 Xpres
and may be regarded as a narrow angle version of this, just possibly for some movie use.
Fig 022 012 Ross Xpres f2.75/3.5in (no iris) No116,086.
Xpres f1.9 This was made only in small sizes to begin with: and even a 1942 list quotes only 1.0in for
16x12mm, 1.5in for 1x0.75in, 2.0in for 1x0.75in, 3.0in for 2.625x1.75in, so they were for 16mm and 35mm
movie (B.J.A. 1931, p4). But bigger versions were seemingly made but not listed. It was absent in the 1920's
and introduced in the B.J.A. 1930, p357, p4 Advert. and was described then as a movie lens, not a still one. In
fact the 1.5in covers 24x36mm quite well if closed down a little even though it was designed for 18x24. It
seems to be a Gauss Q18 type.
1.0in 25mm 16x12mm ie 16mm?
1.5in 38mm 1x0.75in (25x18mm = movie)
2.0in 50mm 1x0.75in (25x18mm = movie)
3.0in 75mm 2.62x1.75in=V.P.K.
Ross obtained a Brit Pat. No323,138 of 1929 for a 6-glass Gauss design which may represent the Xpres f1.9.
It used G1+2+5+6= 1.6122/58.6; G3+4 1.6534/33.9 and seems to be very symmetrical in layout with the
cemented surfaces hollow to the centre. [It may also have involved a license from TTH to make it.]
Ariel's list in Frankfurt has one of these- an f1.9/25mm for 16mm Ensign about 1939, as well as an f3.5/4in for
a 1942 Newman&Sinclair 35mm camera. There is also a "Special Lens" made for a 1899 Burt Acres camera-
(it may be a Petzval or a retrofit perhaps.) A f1.9/2in at No20182x was noted on a NS movie camera. A bigger
version was an f1.9/5in N193,91x on a 35mm movie camera, where it was paired with a 4in f3.5 Xpres
No195,49x- but these are fairly late numbers from about 1945 surely.
Adverts in the 1930's say Mr R.J.Flaherty of "Man of Aran" was a user of the Sinclair Auto Kine cameras, and
thence probably of the Ross lenses.
Later about 1932, the 'Cinematograph' series was:
In f1.9, as 25mm/1in for 16x12mm; 38mm/1.5in for 1in x 3/4in ie movie; 50mm/2in for movie; 75mm/3in for
2.625x1.75in.
Fig 015 016 Ross Cine lens f1.9/1in (25.4mm) No135,936 in C-mount.
In f2.9, as 25mm for 16x12mm; 50mm for movie; 62mm for movie; 75mm for 2.6x1.75in; 144mm for up to
4.24x2.25in; 165mm/6.5in for up to 5x4in; 215mm for up to 6.5x4.75in; and 254mm for up to 6.4x4.75in. Thus
the one list covers cine as well as large format, even though heade 'Cinematograph".
Fig 021 032 Ross Cine lenses f2.9/1in Xpres No201,706 ctd. and f1.9/1in No135, 93x Uncoated.
Fig 031 035 Ross, London Gauss Movie lens, Xpres f1.9/1.5in No136,882. (not ctd.)
In f3.5: as 38mm and 50mm for movie; 75mm for up to 24x36mm; 90mm for up to 2.5x1.75in; 100mm for up
to 2.5x1.75in; 112mm for up to 2.5x3.5in; 136mm for up to 4.25x3.25in; and 152mm for up to 4.25x3.25in.
In f4.5; as 4.75in; 5.5in; 6in.
It does seem that they were offering to mount for movie any of the bigger lenses in the list, so they were
probably selected but not special designs.
The main problem for a lens collector is probably in finding the f2.9 for the 5-glass layout. The others are
probably 4-glass (f4.5, certainly, and f3.5 often though some were 5-glass) and 6-glass in the f1.9. The other
difficult one may be the 20in f6.3 Aerial Xpres, which does seem to have a 5-glass design, and an enormous
front glass to even up the illumination. It is therefore too heavy to be easy to reuse- or even to collect! (There
can be confusion here as there is also a 6-glass Plasmat type 20in f6.3 for aerial use, but this is often or
always coated.)
Process Lenses
Ross must have begun by offering Anastigmats and then probably ApoTessars, but their own Ross process
lens programme seems to begin with the f8.0 Homocentric in 12-24in above. Then after the war, they began to
sell Process Xpres lenses in two series, plain and Apo, as follows:
Process Xpres f9.0 13in; f10, 16, 18, 21, 25in; f16, 30, 35, 42, 48in This was an early 1920's lens, being
'new' in B.J.A. 1926, p329. these were designed for critical work where colour was not involved. The above
were the normal lenses offered. But note that it was f8 in 13, 16, 20in, then f9 in 25in and f12.5 in 30in in the
B.J.A. 1924, p9; 1925, p351 and may have been modified in the run up to production as the f9.
Coverage at 1:1 ratio was listed about 1932 as: 13in, 24x32cm at 1:1; 16in, 30x38cm; 18in, 33x46cm; 21in,
40x50cm; 25in, 46x64cm, 30in, 50x75cm, 36in, 60x90cm, 42in, 75x100cm, 48in, 80x120cm.
The f8 was to cover the same format, so using 13in for 10x8in, 16in, 20, 25, 34in ie much as issued next year.
Apo Process Xpres f9.0, 13in; f10- 25in; f16, 30- 48in. This would tend to replace the above.
The f10 16in Apo seen at No112,38x seems to be a Q15 or more likely a version with a 3-glass rear
component. The earlier 13in f10 No 63,16x is more complex with 5 reflexions front and back, and one of these
is faint in each case. This might suggest a Q20 design (below), but this is conjecture. The Apo was seldom
advertised in the B.J.A. but was listed in a catalogue about 1932 when the Wide Angle Xpres was still quite a
new product. It was some 20% more expensive.
Coverage was listed as the same as the non-apo version above.
And consider the next group.
Wide Angle Xpres.
About 1928 a new Xpres lens was issued, perhaps primarily designed for aerial survey work but available to all.
It was the Wide Angle Xpres, roughly of Q20 type but not separable. It was a very high quality lens but a heavy
one. (see B.J.A. 1929, p358, p9advert.'new'). The B.J.A. noted the advantage of an f4 lens as a wide angle for
focusing. And the 80° coverage and freedom from distortion were praised.
It was sold in 7-14in at first, later as:
4.0, 5.0, 6.0, 7.0in for 7x7 or 8x5in, 8.25in for 9x7in, 10in for 10x8in,
12in for 12x10in, 14in for 15x12in, 20in for 22x18in,
It had an aperture of f4.0, and covered 80°.
The designers were Hasselkus and Richmond( Brit. Pat, 295,519) Layout Ros035. It was an important lens for
the air force, being used as a 5in for 5x5 and later as a 20in of very high quality and this may have decided the
original choice of foci made. Some 8.25in f4 wide angles were used on the P39 Torpedo Training camera (D.
Rendell, B.J.P. 08/02/1980, p124) But in civilian life, the weight of these lenses will have told against them for
civilian use except in the shorter foci. Thus apart from ex-MoD items, those seen were a civilian 4.0in f4.0 at
No9,82x (!), a 6in lens at No194,49x, and a 8.25in at No120,24x. The 4in seems to be off a press type
camera, with a focusing helix, but the serial number is anomalous. The 8.25in is a typical air-camera lens,
with a very long mounting thread at the back, but probably civilian. Others of this size were used at No136,93x
on a 'process' camera, and 131,52x on a 13x18cm Tropical made by Haager of Prague- although this may not
be the original fitting! The 6in is thus the only "normal' one. There may also be a civilian 5in f4 at No 142,76x.
(It is engraved Ross London and E.M.I. and seems to be a civilian iris to f16, and lacks any MoD engraving. A
typical war item is No150,59x and carries a Air Ministry AM engraving and Ref No 14A/843, iris only to f11,
also No 162,97x but here it is Ref No 14A/1101.
Fig 014 022 Ross Wide Angle Xpres f4/8.25in No120,248; also f4/4in No9823(!).
There were in fact four series of these W/A Xpres lenses and one way to look at them is the ratio of front glass
diameter to focus, which might be expected to be fairly constant in a set of lenses despite any changes in
focus. This is in fact true as the 'normal' lenses are made closely to the required diameter for an f4.0 lens at
4.06, 4.02, 4.01 apparent f number. The f4.5 is also the normal diameter at f4.53, so there is no excess to
improve edge illumination or avoid vignetting. But the f4/5in lens for the MoD is apparently an f3.1 lens, as the
front glass is some 28% oversize and actually bigger than a normal 6in. It covers an enormous field really well,
most of 1/1plate in fact. Thus there are:
(1) the normal f4.0 from 1928 onwards;
Fig 013 021 Ross Wide Angle Xpres f4/5in No142,766 for MoD compared with a normal Wide Angle Xpres
f4/6in No194,947. The MoD type is relatively a much bigger diameter glass.
(2) the 'special' MoD version of 5in f4.0 with well oversize outer glasses, (as above) and
(3) a shrunk f4.5 version for sale postwar in leaf shutters.
Fig 014 024 Ross Wide Angle Xpres f4.5/5in No 2050 in Epsilon shutter.
(4) note also the 20in f6.3 aerial to replace the 5-glass Xpres above.
(5) f5.5 version below.
The MoD version can be an interesting lens as it is a high quality one for 5x5, but it is often now in poor
condition due to damage to the balsam, etc. It is bulky and heavy and stops only to f11 or f16 (where the f16
may not be engraved). It was discussed in MCM April 1946 as ex-WD sales progressed, and the EMI was
translated as "Extra Marginal Illumination" and were a special design for improved edge illumination and
sharpness, but Ross stated that this was at the expense of other qualities and that the lens was unsuitable for
work other than at infinity; or for general photography. (There may have been concern that it would spoil
postwar sales of the f4.5 series.) It has been seen at Nos141,313, 142,76x, 146,48x, and 146,145 and
marked Ross, London Patent 5in Wide Angle Xpres f4 (E.M.I.) where EMI may be extra marginal illumination.
These normally are marked 'Ref. 14A/843', the MoD code number.
Fig 013 012 Ross Wide Angle Xpres f4/5in No142,768 for 5x4in, contrasted with above Survey f5.6 for
9x9in for size- and weight.
An anonymous example was NoVV179,953, which seems rather near in number as if VV might be a Ross
indicator. Both are also marked REF.No.14A/843^ and the stops are f4 to f11. The iris control originally used a
bent plate bolted onto the lug on the iris and coming forward at 45° until about 1.5in forward of the front of the
lens, to give control in a sunk mount(?). The flange is integral with the barrel. [The VV code for Ross is also
marked on a f6.3/20in Tele where it is Ross London on the bezel with No114x, but VV114x on the outside of
the barrel. Sales of F24 bodies with Ross f4/5in [or Dallmeyer f2.9/8in] at £85 were still in progress in
28/12/1977 (Am.Photo. Advert p95, by Harringay Photo. and these were complete and working. Options were
20in and f4.5/14in lenses at £39 and £35. Many accessories were offered.)
Postwar, the f4/5in was often tried as an enlarging lens and was usable though this was as far as possible
from the original use planned at infinity.
The 5in f4.5 in Compur or Epsilon leaf shutters also seems to be commonly damaged by balsam failure at the
edges- it normally performs quite well in spite of it. This was probably an attempt to shrink the lens to fit a
commercial shutter, and only the Epsilon was available in the UK, in size 0. The f4.5 5in has been noted at
No48,69x, 1,99x (2 of these!), and No2,034, all being coated and postwar. These latter are anomalous serial
numbers and may be a new series. A 16cm f5.5 wide angle No9,698 specified type sold at Christies for £130
in 09/05/1991 and may be in this group.
Aerial Survey (Ball Shaped) f5.5 It was made in 3.25in, 4.0in for 5x5in plate, 4.5in, 5.0in for 7x7in plate,and

6.0in for 9x9in plate. An additional version was 6.3in* (160mm) f5.5 No9,69x (sic), noted at auction. These
were listed well into WW2 as these foci (B.J.A. 1942, p6). Only the 6in is common, as it was sold off postwar
in large numbers, and some of these were coated. It is a 5-glass design, and was mounted in a heavy brass or
stainless steel mount (see advert.) and made individually, with the glasses held by springs. They were planned
to be certificated by the NPL for resolution and distortion, and were matched to the thickness of the glass
pressure plate in front of the film if this is used on the camera. In practice the ex-MoD lenses stop only to f16,
and used today seem to require to be stopped down, possibly since civilian cameras do not have a glass plate
in front of the film. A few were sold with part of the original shutter in place- this is useful if it is intended to use
them today. The short foci are especially useful but really scarce. (Layout Ros037) The angle covered was
given as up to 96°. It may be that the adjustment for the glass plate was obtained by altering the separation of
the glasses. (This type of lens was seen at No 82,314, on a coated lens marked Ross London.). (Designers
Hasselkus and Richmond 1936, Brit. Pat. 472191, 656,011, 1940). Note that the late version of the B&L
Metrogon seems to have shared the pattern, but with the design reversed.
At least one 3.25in f5.5 with a yellow filter, was used to build a 'Cloud' camera.

Note the unusual 6.3in lens above*, with the unusual serial number.It may be a misprint for one such as the
No82,31x above with the last digit omitted, but even so it seems a rather low number.
Another version noted was a f5.5/130mm version marked "Rectifying for enlarging" which may be the enlarging
version of the above- it was in a similar heavy brass mount.
Fig 013 011 Ross Wide Angle Survey (Tennis Ball type) f5.6/6in No82,314 with iris to f16, plain shutter.
The British Navy also used cameras and an account is in D.Rendell, B.J.P. 11/01/1080, p26, and he mentions
a mixed batch of civilian cameras including 1/4pl Soho reflex with f4.5 Ross Xpres, a 1/2pl versions also, a
Sanderson 1/2pl and even a Contax. He also mentions an F24 with a f6.3/20in (telephoto?) used for shot
recording. [The camera was on ship at 90° to line of fire on target and recorded 'over' or 'under' and recorded
the ship firing with a small 90° prism. Color was brought in when 2 ships were firing, the shells giving coloured
smoke. A dial recording camera was also used. There were also 'low-angle marking' cameras- massive beasts
with f4.5/6in Ross lenses to cover 8x2.75in- (this format suggests a wide angle Xpres f4 and that the f4.5 has
been quoted in place of f4.0?)]
Manthos (above) notes a Xpres at No141,507 as on a 1940 camera. This will be about the end of prewar
production. He has produced a Table of dates for lenses and also for Sibyls, which makes the assumption that
production was constant for Ross lenses during the period 1914-1940. If you take his data for 1918 at 86,136
to 1940 at No141,507, this might be 55,371 lenses in 22 years, or some 2,700 per year. It does seem
surprisingly modest! But remember there do seem to be 'anomalous' numbers on some of the Ross lenses
which will increase the number sold.
Other older types continued:
Wide angle f16 This was the 'old' anastigmat continued, and now made in 7 sizes as follows:
86mm for 4.25x3.25in or 5x4in at f32;
112mm for 5x4 or 6.5x4.75in at f32;
140mm for 6.5x4.75in or 8.5x6.5in at f32
184mm for 8.5x6.5in or 10x8in at f32,
210mm for 10x8in or 12x10in at f32,
265mm for 12x10in or 13x11in at f32,
315mm for 13x11in or 15x12in at f32.
Ross note that the smaller sizes cover 100°, but the larger only 90°.
Ross Portrait Lenses In c.1932, these were made as a version of the Petzval in two types:
(1) Cabinet Lenses. These worked at f3.5 and offered a wide range of softness by unscrewing the outer (?
rear?) cell of the lens but otherwise offered a very fine sharpness for studio work. They were made in 3 sizes,
as:
8.25in focus, 2.75in dia., for Cabinet pictures at 12ft in small studios.
10in focus, 3.25in dia., for ?Cabinet pictures.
12in focus, 3.5in dia, the preferred size for Cabinet Portraits at some 18ft from camera to subject.
(2) Portrait Lens This was only as a 16in focus lens, 4in clear dia., for Promenade Portraits and Cabinets in
long studios.
Other Lenses in the inter war period.
Xpres as above at f5.5/f6.3.
Teleros, as above.
Astaros f11 on Ensign Fulvue Synchroflash, this was certainly made postwar at about 1950, but possible also
prewar.
Projection Triplet eg in 8in.
Projector Lenses The 'New" Ross projector lens set was in the B.J.A. 1921, p13;1922, p13 and made in
outer tube diameters of 52,6 and 42.6mm as follows:
115mm f2.5 f3.1
127mm f2.8 f3.45
130mm f2.87 f3.54
133mm f2.9 f3.62
140mm f3.1 f3.8
145mm f3.2 f3.9
152mm f3.36 f4.14
Epidiascope Ross made a very impressive epidiascope to show 3.25in sq slides (dia) and paper drawings
(epi) with 10.5in lens for slides and 17in lens for drawings; the latter being an anstigmat and probably a big
fast triplet. This sort of equipment was costly, eg. £35.50 and used by schools and colleges. (B.J.A. 1932,
p286)
It may be worth summarizing the 1939 advert. as the end of the prewar period. In B.J.A. 1939, p3 they offered:
Xpres f1.9:
1.0in 25mm 16x12mm ie 16mm?
1.5in 38mm 1x0.75in (25x18mm = movie)
2.0in 50mm 1x0.75in (25x18mm = movie)
3.0in 75mm 2.62x1.75in=V.P.K.
Xpres f2.9
1in 25mm 16x12mm
2in 50mm 1x0.75in
2.5in 62mm 1x0.75in
3in 75mm 2.6x1.75in= V.P.K.
5.6in 144mm up to 4.25x3.25in (1/4pl.)
6.5in 165mm up to 5x4in
8.5in 215mm up to 6.5x4.75in
10in 254mm 6.5x4.75in.
Xpres f3.5
1.5in 38mm 1x0.75in movie
2in 50mm 1x0.75in movie
3in 75mm 1.25x1in
3.5in 90mm 2.5x1.75in
4.0 100mm 2.5x1.75in
4.375in 112mm 3.5x2.5in
5.375in 136mm 4.25x3.25in (1/4pl)
6in 152mm 4.25x3.25in (1/4pl)
6.5in 165mm 4.25x3.25in
7.25in 165mm 5x4in
10in 254mm 6.5x4.75mm
Xpres f4.5
75mm, 90mm, 105mm, 112mm, 120mm, 127mm, 136mm, 140mm, 152mm, 165mm, 184mm, 215mm,
254mm, 305mm, 360mm, 420mm, 533mm.
Typical coverages were: use 90mm for 3.25x2.25in (6x9cm); 6in for 5x4in; 8.5in for 5x7in; 14in for 10x8in.
Wide Angle Xpres f4.0 in 4in for up to 5x4; 5in for up to 5x4; 6in for 1/2plate; 7in for up to 8x5in; 8.25in for
9x7in;10in for up to 10x8in, 12in for 12x10in; 14in for 15x12in; 20in for 22x18in.
Teleros f5.5 2x power, 6.25in for 2.25x1.75in; 9in for 6x9cm; 11in for 1/4plate; 12in for 5x4in; 13in for
5.5x3.5in; 17in for 6.5x4.75in; 22in for 1/1plate and 40in f8 for 1/1plate =8.5x6.5in.
Also in focusing mounts: 4in, for Leica; 6.25in, 9in; 11in; 12in; 13in.
also for shutter fitting: 6.25, 9, 11, 12, 13, 17in.
Teleros f6.3 3x power in 9in for 2.5x1.75in; 13in for 6x9cm; 17in for 3.25x4.25in; 25in for 6.5x4.75in. These
could also be had in Compur or Compound shutters.
Homocentric f6.3 (Here 2 formats were given, only the larger for stopped down use is quoted here. 5in for
5x4in; 5.5in for 6x5in; 6in for 6.5x4.75in; 6.5in for 7x5in; 7in for 7.5x5in; 8.5in for 8.5x6.5in; 10in for 10x8in;
12in for 12x10in; 15in for 15x12in.
Homocentric f8.0 7in for 8.5x6.5in; 8.5in for 10x8in; 10in for 12x10in; 12in for 15x12in; 15in for 18x16in; 18in
for 22x18in; 21in for 25x22in and 24in for 30x24in, again for stoped down use, as above.
Process Xpres f9, 13in for 13x9in; f10, 16in for 15x12in, also 18, 21, 25,and f16, 30, 36, 42, 48in, where
format is for 1:1 at full aperture.
Note The Combinable was not in this advert. but Kodak Australia listed it and also Apo and plain versions of
the Process lens. (B.J.A. 1939, p703). And movie lenses may have been left out: thus Newman-Sinclair were
listing Xpres f1.9 in 1in, 2in; Xpres f3.5 in 4in and Teleros in f5.5 9in. (p301) and many were listed in the
advert. p485, as:
Xpres f1.9 1.5, 2, 3in; f3.5 'Special' Xpres 1.5in; f3.5 Xpres 2, 3, 4, 6in; f4.5Xpres 6in; Teleros f5.5 6.25, 9,
11, 13, 17in.
________________________________________________________________________________
World War 11 Lenses.
Advertising of civilian lenses continued at least into 1942 (B.J.A. 1941, p6; 1942, p3; 1943, p3), but it is
uncertain how far stocks were really available to meet orders. Thus in 1942 they offered Xpres as f1.9; f2.9;
f3.5 and f4.5: Wide Angle Xpres as f4.0; Teleros as 2x and 3x as well as the wide angle survey f5.5 and the
Process Xpres f9/f10. It is likely they were partly running down prewar stocks to get cash in and were actually
very busy on wartime items such as the wide angle survey lenses in f4.0/5in and f5.5/6in, which were quite
common at postwar sales. It is probable that movie lenses remained in production as Newman Sinclair offered
a set of Ross lenses on the NS Auto Kine Camera including f1.9/2in Xpres, f1.9/1in Xpres; f3.5/4in Xpres and
f5.5/9in Teleros. "There is now some difficulty in obtaining lenses for other purposes than Service and
Government requirements, and while at present we hold reasonable stocks, in future it may be necessary to
substitute lenses other than those listed."
These Ross aerial lenses were important in the war, but also postwar have become a feature of the collector
market as they were sold off and have remained in some sort of use. They are often heavy and bulky,
especially as Ross seem to have used brass more extensively than others. Production was shared by several
firms, so Ross designs will occur made by NOC and others, and quality may have varied under war conditions.
Thus they may be best listed under the size of Williamson camera to which they were fitted. The binoculars
included the 7x50 Stepnite from 1930 with cemented prisms and bridge to the eyepieces for high contrast, and
many of these were used in the Army.
Ross lenses seem to be coded VV prefix- see 5in f4 Wide Angle.
F24 for 5x5in
These were often mounted obliquely in pairs on Spitfire or Mosquito aircraft, with a F52 camera mounted
vertically. Lenses used were:
Ross Survey 4.0in f5.5 This is a rare and desirable lens (Ros037)
Ross wide Angle Xpres f4.0 5in (Ros035) These are quite common, but are often in poor order, heavy,
limited iris. Thus they make a low price now. It is seldom or never coated.
Telephoto f6.3 20in for 5x5 These were a heavy lens of 2+2 design, and may match the Dallmeyer series
rather than the Teleros. They are not common. They are marked O.R. and Ross London, at No1,140.
(anomalous!) and A^M VV1140.
For F52 7x8.25in (Essentially a 9x9in format).
Ross Xpres f6.3 20in This was a 5-glass 3-component type with a very large front glass to avoid vignetting,
(Ros036, Ros035) It is too heavy to be attractive to reuse today, but one user describes it as 'excellent.'
Ross Wide Angle Xpres f5.5 6in above.
Ross Wide Angle Xpres f6.3 20in These are the late replacement for the 5-glass type above and are a
Plasmat type Ros035, and are coated. They are excellent and sought after by astronomy workers, but the
coat can be very soft, and balsam failure has been noted.
Ross f4.0 8.25in This was probably from inter-war use.
Ross Apochromat f15 60in This was probably used as a collimator lens in the forces. Scarce.
Mirror Lens, This was probably postwar, of Maksutov type, at f6.8, 60in. Scarce.
Ross-Williamson Survey f5.0 6in This was an enormous wide angle with a 9x9in glass pressure plate and
may be made to the Wild Aviogon design, but in an unusually big size. Impressive but hard to use. It is hard
coated, and uses thorium glasses. It is a really scarce item.
UK Aerial Cameras.
See R. Conyers Nesbit and Laws for details. This is not really a listing of cameras, but the aerial cameras are
rather obscure and also so closely linked to the lenses that most of them will be listed here:
A-Type Thornton-Pickard box type, 5x4in, with 8.5in Tessar lens.This was in use from March 1915.
B-Type Thornton-Pickard for 8.5x6.5in with longer lenses.
WA Type a version of the above with shorter lenses.
C-Type This was the same size as the A Type, with semi auto plate changer, from Summer 1915.
E-Type This was made of metal, and was used from 1916, when it replaced the C-Type.
Eyemo by Bell & Howell, this 16mm cine was used to record the H2S CRT image continuously, possibly
uniquely.
F8 This was designed by Laws and Stringer in 1919, and used 7x7in format, but at £200 was too costly and
only 30 were made. It was taught in RAF schools to Sept 1938 at least. Later it was used in India and Burma
in 1942. Lenses fitted were 7, 10, 14 and 20in, and may be commonized to F24.
F24 This was the 5x5in budget version of the F8, from 1925, and continued well into WW2 with lenses of 5, 8,
14 and 20in. There may also be a 48in lens. (Wray or Ross). The 5in was noted prewar in 1939. Some were
manually operated with a sight.
F49 This was a post- 1945 aerial survey camera.
F52 This was from Jan 1942, for 8.5x7in, and used the same mechanism as the F24, but a bigger 9in film and
lenses up to 40in Again it was a Stringer and Laws design.
F89 This was a postwar type. (1950's)
F95 This was the Vinten 70mm camera, with TTH and ELCAN lenses, + 38mm Biogons on the later models.
F96
F97This was a two lens camera for short continuous exposures of two alternating films.
F117 This was a hand held camera. (F117B used a f4.5/6in Xpres, ctd, and this will be the one noted below. It
was selling off in 12/1977.
F126 A vertical camera, replaced the F95 in some 1970's applications.
F135 It was in use in the 1970's, especially for night work.
G28 This was a Gun training camera based on the Vickers K gun for 2.25in sq. negs. (1940?)
G42B This was a 16mm/25ft lengths gun training camera, also used for battle recording, it was replaced in
c.1942 with the simpler G45.
G45 This was a compact WW2 16mm recording camera with Dallmeyer f3.5/50mm lens, no iris.
Hycon-BUSA camera, late 1950's used on U-2A Lockheed, for a panoramic strip. High resolution lenses
unspecified.
Hythe Mk III was used for training at least to the 1930's.
*Kodak 35 Kodak Bantam: these were fitted Nov 1944 with Dallmeyer 1in lenses, or Kodak f2.0/26mm lenses
to record H2S (UK) or H2X (USA) screens. Number of USA types is unknown. The USA was certainly a Kodak
35-"Use Kodak 135 film" label in back.
*K-17 From about 1943, this was the main USA camera of the WW2.
*K-19 This was a night camera, especially about 1944? ( ***The last 3 will be USA origin items.)
*K 20 This was a WW2 day reconnaissance 5x4in camera with c.f4.5?/6.375in lens
L-Type From 1917, it was driven by a 'windmill' and fitted anywhere on the plane.
LB-Type This was essentially a L-Type camera with longer lenses to 20in, and was designed by Laws and
Brabazon. It continued in use to the 1930's being recoded P7.
Leica It was occasionally used as a recording camera, eg. by S. Cotton, and for H2S recording.
PanRos This was a pre WW1 and early WW1, 5x4in, 6in ?Mill Hill Ross lens.
P was a post 1918 code for a plate camera, as opposed to F for film.
P7 This was previously LB type.
P14 This was a was a development of the A-Type. It was metal, used a 10in lens.
P18 These cameras resembled the P14, with 6, 8, 10in lenses.
System 111B This a modern camera (1990's)
Watson Air Camera The very first RFC commissioned camera, 1913.
WA-Type see B-Type above.
Zeiss RMK This is a modern sophisticated survey cameras as RMK 15/23 and RMK 30/23, lenses not listed.
"100in Type" This was an American spy plane lens. (fl. c. 1954)
Post-1945.
The agents for New Zealand and Australia were Kodak and they listed a number of items which seem not to
have been sold in the UK. Thus the 1945 advert. promises Xpres in f1.9, f2.9, f3.5, and f4.5; Wide Angle Xpres
f4 for 80°; Combinable f5.5 and f6.3; Teleros in f5.5 and f6.3; Homocentric f6.3; and Process and
Apochromatic Xpres f9. "Apparently extra" items are in bold. (Another possibility is that the advert was carried
on unchanged from the early 1940's and in the war years was never revised.)
There was an active programme early postwar, both of professional and amateur equipment, and this was
detailed in the adverts in the B.J.A. for say 1945, where there were considerable lists of equipment, mainly for
future production. And in the 1946 advert. this is definitely the postwar programme and is to be of hard coated
lenses. But this initial enthusiasm tailed off in the postwar period of shortages and government controls: and
later in the 1950's, as foreign lenses were imported, and the last big advert. noted in the B.J.A. was in 1955,
p66 et seq., the next year only cameras and one enlarging lens being shown. The adverts were as Ross Ltd
up to about 1948, and later the firm amalgamated with Barnet-Ensign as the lens making part of Barnet-
Ensign-Ross and the adverts. showed less and less product independantly offered for the market.There was
certainly a marked shift to concentrating on defense orders and a few special orders such as the Microcord
lenses. The difficulty may have been one of price and possibly sheer fatigue after a second war.
An early peacetime list (May 1946) is as follows:
Xpres f4.5 3.5-14in for 58° Coated. (The actual foci were 89, 111, 137, 140,
152, 184, 216, 254, 305, 356mm) This was the first item to be sold coated and those seen have a hard long
lived coat. (B.J.A. 1947, p3) Note above that the extenal curves show the design seemed to be slightly new
also. It has been seen as 6in f4.5 at No 202,31x and also at No9,80x- an example of "anomalous" numbering.
Sizes and coverage were:
89mm 3.5in for 3.25x2.25in (56.25x 82.5mm or actual size of 6x9cm).£11.90
111mm 4.375in for 6x9cm £13.27
137mm 5.375in 3.25x4.25in £14.24
140mm 5.5in 3.25x4.25in £14.36
152mm 6in 5x4in £16.10
184mm 7.25in 6.5x4.75in £20.95
216mm 8.5in 7x5in £27.60
254mm 10in 8.5x6.5in £38.00
305mm 12in 10x8in £55.50
356mm 14in 12x10in. £76.00 all + Tax 21.66%
The 6 and 8.5in lenses are quite common in coated form and usually in good order as the coating was hard:
they still are useful to large format users as they are sharp and of good contrast.
Wide Angle Xpres f4.0 4.0, 5.0, 6.0, 8.25,10in for 70°.
In more detail this is :
102mm 4in 4.25x3.25in at full aperture.
127mm 5in 5x4in
152mm 6in 6.5x4.75in
210mm 8.25in 9x7in
254mm 10in 10x8in
No mention yet of the f4.5 version. It was corrected to focus Infrared as visual focus, and needed no focus
correction for this. The example in the B.J.A. 1946 p189 notice was hard coated externally but probably soft
coated internally.
Xpres f2.9 5.625in (143mm) for 3.5x2.5in, 6.5in (165mm) for 5x4in, covering
only for 50°, also perhaps 5.125in. This was a surprising survivor and one tends to think it may have been
made up from old parts in stock. Although the advert. refers to the lenses as coated in the headline there is no
specific mention of this for the f2.9 and it and the Teleros may not have been. Price was £27.60 and 31.00 +
Tax at 21.66% respectively.
Wide Angle f16 3.25-12.25in for 100° This was the "old" Anastigmat Protar type. It
was listed at least to 1951, B.J.A. p68.
Teleros f5.5, f6.3 6.0-40in for 28, and 25° respectively.
f5.5 This was made in 6.25in for 35mm still or movie, 9.0in for 3.5x2.5in
(6x9cm), 11in, 12in for 4.25x3.25in, 13in, 17in for 6.5x4.75in, 40in for 8.5x6.5in (40in as f8.0). This was a two
magnification lens for a larger angle of coverage.
f6.3 This was made as 13in for 3.5x2.5in and 17in for 4.25x3.25in only. It
was three power=magnifications. Teleros was advertized as above in 1947 (B.J.A. p4) but has not been noted
later. Other products were listed as coated then but the Teleros was probably still not coated although a late
Tilica f5.5/4in may be a factory coated item.
The B.J.A. advert. may have lacked space for other items. Ross certainly made and later listed the following:
Homocentric f6.3 7.0in for 4.75x6.5in; 8.5in for 5x7.5in, 10in for 6.5x8.5in, 12in for
8x10in, 15in for 60°. It was as 7.0-12in in a 1955 list and it is thought it was very like the prewar lens in
design. The B.J.A. 1950, p36 advert. indicates that the Homocentric was classed with the wide angle f16 in
some sense; but not really as a wide angle. It was suggested for copying.
also:
Apoprocess f10 9.5,13in
It shows where coating was first applied to the Xpres, though the more complex wide angle might have
benefitted more. The wide angle Xpres returned to the small front glass style. A patent for long focus Xpres
and process lenses is to Hasselkus and Richmond Brit. Pat. 592,144. See also below.
Fig 013 022 Ross ApoProcess Xpres lenses f10/13in and f10/16in No112,383. Note screw over cap in brass.
Aerial Survey f5.5 6in This was listed on the Williamson O.S.C. Mk1 camera postwar in B.J.A.
1946, p168;1947, p350. It will be the WW2 lens continued and coated, in a fully revised new camera.
New Lenses after WW2
Ross was very active in the first years, when there was a severe shortage of equipment, but by the 1950's the
Government was allowing the import of increasing amounts of foreign cameras, and the market saturated, so
that like all the UK makers, they retreated into specialist areas such as process lenses and Defence orders.
Ross held a large displenishment sale of old stock in the later 1950's as shown by adverts. in Am. Photo.
about 1957 and this still included uncoated lenses from new stock or samples, albeit often in singles. The
following is an attempt to list new items introduced in this postwar period.
Ross f3.5 50mm for M39x26, a really rare item, and possibly an attempt to enter the
Reid or Witness accessory business. It just may be one of the Xtralux series but has not been seen.
Ross f3.5 3.25in coated anastigmat with iris to f96. This was used on the Dyce
laboratory camera in B.J.A. 1950, p187 but is difficult to place: it may be a movie lens transplanted or a war
design.
Xtralux
This programme of 3 lenses for M39 cameras seems to have evolved about 1949-50 to judge from adverts in
the B.J.A. where it is absent in 1949 (p60) and present in 1950 (on p37). Note that the 1950 advert. would be
produced in late 1949 but delays in supply were then common and could be long. It should be noted that the
Definex was by then a piece of history, even though there is some evidence that the Xtralux 90mm was much
the same design and can have lower serial numbers- it suggests that the delays were in making the focusing
mounts or in materials, which may be the same thing. When they came the long lenses were quite impressive
but also quite heavy- especially the 135mm lens. The 50mm is much rarer and not all seem to be for the M39
normal mount. Possibly it was less needed or seemed expensive or the brown glass was considered to be a
problem. The long lenses did not have this feature.
Xtralux f2.0 50mm in M39x26. A 6-glass Gauss using new glasses for a M39x26 lens, it
does actually exist in two (or three) forms, though both/all are scarce. Normally it is a collapsible chrome
plated lens, [rather like a Summitar in shape] but an apparently rigid example has been seen and was listed
as a version in 1950, p37. Some of these lack an iris, and it is suggested they are for CRT recording. Possibly
the "new" brownish glass colour hindered sales. It was seen at No199,09x and 199,15x. It was 'new' at the
British Industries Fair 1948 (MCM 6/1948) and advertised (sold?) about July 1949 and 1951-5 (See MCM Nov
1951, B.J.A. 1951, p68ad., noted 1950 p237 for a picture of all 3 lenses) but sales of the 5cm must have been
slow. Review MCM Aug 1949. "For the optical performance --we have nothing but praise"/ "exceptionally fine
definition".The price of the 50mm was £53 in 1949 (collapsible) or £40 non-collapsible.. Note that in B.J.A.
1951, and 1954, p70 these are all grouped together as if they were classed as one set of products, even
though later owners tend to think of the foci as rather more individual. For a picture, see B.J.A. 1953, p70.
Xtralux f3.5 90mm This was usually or always for M39x26. It was a medium long
Q15 type lens, and it was as well liked as the 50mm, and cost £40.12. It was noted at No198,71x
and205,42x. It was noted in B.J.A. 1950, p237, as conveniently slim, coated, using E36 filters, and 'an
efficient general purpose long focus lens.'
Fig 012 014 Ross lenses in M39: Xtralux (l) f3.5/9cm No198,71x; (rear) f4.5/135mm No235,40x; (front) f2/5cm
No199,19x collapsible, also rigid lenshead, (r, rear) Teleros f5.5/4in (2x) in E36 and E42.
Definex f3.5 90mm This was normally for Contax fit, mounted by Stewartry in
Scotland. (See Stewaerty. It was related to the G.B.Montgomery Manufacturing Co, and the mounts were
mainly made by Mr W. Connolly see Anderson in Photographica World, 1990's). This seems to be the same
optic as the Xtralux as the external curves seem to be the same, but in focal lengths varying around 90mm
(roughly 88-92mm), and this may have complicated the coupling of the lenses. It was seen at No 201,44x,
201,50x, 205,33x, 212,23x, 212,69x, 213,00x while an Xtralux was at No198,71x. Also the Xtralux seems to
have sold later than the Definex, even though the Xtralux numbers are or can be lower- suggesting that the
mounting took longer. All Xtralux were mounted in London it seems. All are hard coated and optically of good
quality.
Fig 012 017 Stewartry lenses: (l) Definex (Ross) f3.5/89mm (Contax), (r) Definex for M39; and (m)
f3.5/105mm Trinol for M39.
Xtralux f4.5 135mm for M39x26 also. This was the last of the set. None is
common, but they are getting scarce as M39 lenses are collected. A few were made in M42 apparently unless
one listed was converted from M39 for use on an SLR. It was noted at No235,40x, 235,52x in M39.
Lenses for Rollfilm Cameras
There was a big programme of lenses for Ensign cameras, and a few for other makes.
Xpres lenses (for Selfix cameras, from the Barnet-Ensign-Ross business). Here the best known is the Q15
type 105mm f3.8 on the Selfix 820. It was 'new' in MCM Dec 1949. It is a lens well worth transfer to a 6x9
plate camera, and just may be the basis of the Xtralux below, or related to it.
Xpres f3.8 105mm for 8/20 Selfix. (Also offered with a f4.5 Ensar.) Note
anomalous numbers- here they just could be from Ensign manufacture?) thus some including two offered at
auction were Nos242,06x, 261,23x, 262,91x, 262,81x (normal numbers) and 504x, 651x, 10,28x, 13,22x
(anomalous numbers). Where it could be checked, the later body number was on the low anomalous number
lens. The front and rear curves are the same on both types. The cameras do not seem to differ and normally
sell at the same values. A very late Selfix Autorange 820 was noted in B.J.A. 1956, p213 and still had the
same f3.8 Xpres.
Xpres f3.5 77.5mm for Microcord TLR from MPP a Q15 type.
Mr Dell of MPP told of going to Ross to order this lens and insisting that a new design was required rather
than a lens made to a tired yellowed old drawing taken from a bottom drawer. The result in contemporary test
bettered the German equivalent in the centre and was equal outside it in outer field areas. He said that they
did not always reach their best in use due to errors in matching the 3-glass view lenses to the Xpres. This was
one factor improved in the later Microflex model. Microcord Xpres lenses were seen at No20,48x, 67,19x, and
87,87x, 78,57x. It was advertized as a separate item, and the Microcord was noted in B.J.A. 1953, p219 with
"The definition is excellent". (see also MPP and TTH for the Microflex.)
Xpres f2.8 8cm This was noted on a prototype TLR with no serial number. It seems that
production was abandoned: it may have been a victim of the 1958 relaxation of imports.
Xpres f3.5/75mm This was used on the Selfix AutoRange 16-20 camera (B.J.A. 1953, p196,
p212, Selfix 12-20 Special camera noted in B.J.A. 1955, p180). Users seem to regard the Xpres as good and
the Epsilon could be the problem. The definition was said to be good and maintained out to the edge. It seems
to have been offered as a separate item in B.J.A. 1954, p69.
Xpres f3.5 This was made as a 75mm lens for the Komlosy 70mm camera. This is an
excellent performer, and may be still another design- incidentally the curves show that it certainly is not the
same as the Microcord lens: It was seen at No82,77x, in a leaf shutter such as a Compur Rapid, in body
No19x. It is not a common camera and the lens may be a rare one. The cameras were selling off ex-WD in
April 1970 at £32 each complete.
Xpres f3.8 105mm A quite early postwar item, it was used on the Selfix 820 camera, which
sold well and is quite common. The quality was well maintained and this is a worthwhile lens to refit to other
cameras if the shutter is sound- this was the Epsilon. All were coated, though the coats were early ones. The
original reviews were favourable (B.J.A. 1950, p207). This Xpres was listed as a separate item in B.J.A. 1954,
p69. The Selfix was in production with the late uncoupled r/f in B.J.A. 1954, p189 with this lens.
Xpres f4.5 This was redesigned at some stage from the prewar lens, and sold quite well
especially in 6 and 8in, and the coatings are hard and the definition really good- the big professional Ross
Xpres had a fine reputation. A late list in B.J.A. 1955 p70 has:
152mm 6in 5x4in
184mm 7.25in 4.75x6.5in
216mm 8.5in 5x7in
254mm 10in 6.5x8.5in
305mm 12in 10x8in
356mm 14in 10x12in
Xpres f4.5 150mm This was made for a F117B NATO 5x5in camera, and this is a late
coated lens of high quality, but it cannot be transferred to a normal Cpr 1 shutter since both cells are the
same size thread. The cameras were used regularly over the sea and are now seldom free from corrosion.
They were being sold off by Harringay Photo in Am Photo 28/12/1977 p95advert. at £125 complete.
Wide Angle Xpres f4.0 4in for 5x4; 5in for 5x4in; 6in for 4.75x6.5in; 8.25in for 7x9in; 10in for 10x8in
lenses were offered in B.J.A. 1954, p69.
The f4/4in was noted on a VN Press camera for 9x12cm as a compact semi-wide lens. Here it was fitted in a
SynchroCompur No1 shutter, surely from the early 1950's, but the W/A Xpres was still uncoated and at
No197,90x seems to be 'old' stock. It just may have been an 'old' treasured lens refitted to a new
camera/shutter but this is unlikely as it was used in a top news agency. More likely Ross had a stock and
sold them off as needed irrespective of number. Other examples noted are in sunk focusing iris mounts (inf to
2ft) with the cells in threads very near those of a Compur 1 but not exactly the same. Other serial numbers
were 232,28x and 982x- an anomalous one! These are all in nice order optically with no sign of balsam
failure.The mounting thread is 1.75inx24TPI, or actually be a Compur shutter itself.
Wide Angle Xpres f4.5 127mm (5in) This was a moderately common, originally expensive lens sold
for 9x12cm and 5x4in press use, usually in a Epsilon shutter, and can be a blisteringly sharp lens. (B.J.A.
1952, p244). It then covered 1/2plate 'well to the corners' but with vignetting unless stopped down to f8 or less.
The B.J.A. saw an uncoated lens, but all commercial sales were to be coated and appear to have been. But
sadly there have been a number noted with peripheral balsam yellowing and "crystallization", and this affects
the price and means that great care is needed on purchase. Serial numbers can also be unusual, eg. No205x
which suggests (with the balsam problem) that they in some way fell outside normal Ross manufacture. This
and the Epsilon shutters tends to limit prices. The focal length was probably decided by the lack of a bigger
UK shutter, eg. to take a 150mm f4.5. Thus Ross will have first designed a smaller Wide Angle Xpres to fit
the Epsilon, and found that a 5in was well able to cover 5x4in, and that Pressmen liked the increased depth of
field it gave, and note that 9x12cm was in fact often used by them. So it was a compromise favouring aperture.
But for other workers, the focus was rather short and it is now apparent that postwar there was going to be a
move towards a slower f5.6/150mm in 5x4in. It seems that Ross was moving out of the general market by the
time this occurred, and also by the time Compur shutters were in easy supply in the UK. The 5in was still
advertized in B.J.A. 1954, p68.
An enthusiastic civilian user was Mr J.C.Cox (B.J.A. 1949, p142), who used and liked many English wide
angle lenses but preferred the f4 for the brightness of the image when focussing and composing. A f4.0/6in
was used in the photofinish camera for the 1948 Olympiad (idem, ibid, p159).
Xpres f4.9 5.5in (about 140mm) As suggested above this, seems to be a move to a
slower, Compur mounted Xpres version. It was noted as lens No19,51x in Compur No7,864,08x (about 1951-2)
and the lens serial number is anomalous and near some early Microcord Xpres lenses. It was the normal
fitment to VN Press cameras, at least after WW2 until about 1960 [when they began to list 135mm f4.7
Xenars.]
Homocentric f6.3 7in for 4.75x6.5in; 8.5in for 5x7.5in; 10in for 6.5x8.5in; 12in for 8x10in. These
were still available in B.J.A. 1954, p69, and they could be supplied in Compur or Compound shutters by
arrangement.
Telephoto Ross made a new 50in Ross Tele lens for the Coronation, and its use on a Soho reflex is
described with pix in MCM July 1953.
Process Lenses: These were continued probably as the Apo version but recomputed as they were described
as a new series in B.J.A. 1953 p69, and sold in:
f10 9.5in for 5x7in at 1/2life., 13in for 10x8in at 1/2life; 18in for 11x14in at 1/2life;
21in for 13x16in at 1/2life; 25in,all with prisms.(A Ros035 version has been seen)
f12.5 30, 36, 48in.
The process lenses and prisms are noted in B.J.A. 1954, p187. The 9in seen had stops to f90, and were said
to be reliable for sharpness and colour correction, and prices were from £38.00.
Resolux enlarging lenses
These were a new and successful product in the sense they seem to be postwar, and have not been noted in
prewar lists: they are not in the 1945 advert. but are in the 1946 one, even though supplies will probably have
been a trickle at first.
5cm for 24x36mm £7.87 + Tax in 1946 (B.J.A, 1945, p4advert., 1946, p5advert., 1946, p185)
f4.0, 90mm for 6x6cm; 110mm for 6x9cm. to come in 1946.
They sold well from the number now seen such as a 90mm f4.0 Resolux No226,790 in a chrome barrel M39
mount. In the B.J.A. 1947, p4;1950, p37 they were all in chrome barrels and are coated. Initially the B.J.A.
note suggests that only the outside was hard coated, the inside being soft. It was said they certainly gave
better definition and highlights in enlarging than a camera lens would. They were still all there in B.J.A. 1954,
p70 and on p71 there is an advert. for an enlarger with an f4.5 lens for 6x9cm- possibly a branded item? They
were a fairly expensive item for the time: 5cm £9.00; 9cm, £10.92; 11cm, £12.37, all with Tax extra at 21.66%
in the UK.
Rosstar
Rosstar f4.5 105mm? This was noted on the Clubman 6x9cm folder in 1955. The
105 and 75mm Rosstar lenses were listed in Epsilon shutters in B.J.A. 1954, p69.
Rosstar f4.5 75mm This was normally as the lens on Selfix 16-20 cameras for 16-
on, in an Epsilon shutter. It was coated and from the 1950's. (B.J.A. 1953, p212;1955, p68)
Rosstar f4.5 5cm This was seen as an enlarging lens at No 11,04x and 11,70x,
probably a triplet. The serial number is anomalous.
Fig 015 010 Ross Rosstar Enlarging Ctd f4.5/5cm.
Ross Gauge Projection This lens was sold for engineering examination of projected images against outline
standard drawings. It was sold in 2.25, for 1in field diameter; 4.5in for 2in field; 9in for 3in field. It was noted in
B.J.A. 1954, p194 and these were expensive lenses with the 2.25in at £35.50 and perhaps must be thought of
a specialist process lenses with low distortion but higher speed than usual for a process lens. Matching
condensers were also listed.
Chronology and Serial Numbers
It is obvious from the above that many Ross serial numbers fit into a series from a low initial figure of perhaps
100 or 1000 as a beginning in 1840 to a final value of perhaps 250 000 in the 1950's, but that there are
'anomalies'. Thus a lens with Waterhouse stops at No1,47x seemed to be an RR, but the serial number
seems very low for the date suggested from the product. So there may have been a new start. There are many
good reasons why a maker sets up a new number start, including new management, a new plant, boredom or
new technology. And makers may use the 'number' to indicate instead the date or the camera for which it is
intended. Thus the lenses Ross seems not to have numbered in series are of real interest, but at present are
something of a problem to explain.
Possibly the simplest is the series (1 or more!) used for the lenses made from Zeiss and Goerz designs.
These are kept separate from normal Ross designs, and it may just have been to help all the parties know
how many were made and to be paid for, or may be related to warranty questions. It is not yet possible to say
whether each firm (Goerz and Zeiss) had an individual series however.
But there does seem to be a new set started late on of truly Ross designs. For example see the 5in f4.5 W/A
Xpres, and 105mm f3.8 and 6in f4.5 Xpres numbers above. It may be relevent to note here that a
correspondent remembers seeing Ross retainer rings being fitted to lenses in production by Leech, the
opticians of Rochester in Kent, and they may have been an important subcontractor possibly with their own
serial number series. And this just may relate to other lens numbers from Mill Hill or elsewhere. An important
study of Newman & Guardia cameras by A. D. Manthos in Photographica World 62, p13, 1992 can be used to
derive a chronology in parallel to this. It is well worth comparing.
To make a guess, perhaps the real list ran a bit like this:
100? 1840
3,000 c.1850? This is a Cone lens dated in Hasbroeck's book, date approximate.
4,760+8660 These still use washer stops, ie pre-1859.
There are two Orthographics at about 7,000 listed above and this was a short lived
lenses made from about 1859, and do have Waterhouse slots. (Possible retrofit?)
6,500? 1860 (There just may be a new start here?) Hasbroeck shows a stereo pair at
No5814/5 and dates them as c.1862, but this just may a year or so early.
12,500 say1870
20,000 1875 Hasbroeck dates a camera as c.1875 with lenses about Nos17,000-20,800
Here production will have accelerated considerably with new processes in use. Thus
Hasbroeck dates a No11 Symmetrical as c.1880 at No44,430. There was evidence
that Symmetrical No23,79x was at or pre-1874. There is a Rouch camera in the list
from about 1885-1890 with No47,31x.
50,000 1890-1895 here also Anastigmats, 0-15000 approx.(1890-1910 perhaps?)
A London Stereo Co camera with Ross No81,96x was marked as 1911, so the dates
may be earlier than suggested.
76,000 1914 Note that the Combinable seems to start here at No57,000 approx.
81,967 This Ross-Zeiss Tessar seems to be gifted in 1911 (see above).
86,000 1918 here a set of Mill Hill lenses in series.
95,000 1921 Note No9,45x was found in a dialset Compur of c.1925. Ross lenses in
Compurs are not too rare at this point, as used on some Ensigns.
100,000 1924
105,000 1925 Note No108,86x was found in a dialset Compur of c.1927 but the number was rather
obscured and subject to some doubt.
110,000 1927
115,000 1930
120,000 1931
125,000 1933 Note that Homocentric f6.3/7in No128,36x was found in Rimset Compur No2?
No653,999, from about 1933.
140,000 1939 approximately.
200,000 1947 perhaps, also some outsiders for Selfixes. Thus the Stewartry Definexes are No212-
213,000 typically from 1946-7.
250,000 1960 approximately.
It will be interesting to see how these guesses can be improved.
It seems that Ross were absorbed into Avimo in 1975 and effectively lost their separate existence then after
some 145 years production. The trade name has since been applied apparently to imported binoculars of
oriental origin.
Fig 33 Anastigmat Lenses by Zeiss and Zeiss-Ross.
Exposure: Q9 type lens of unknown make 6in overall, with 10.5in rear cell.
Back Row 433mm f8.0 Zeiss; 272mm f8.0 W/A Zeiss ; 315mm f7.2 Zeiss; 315mm f7.2 Zeiss +
caps and Wh stops, No151x; 315mm f7.2 Zeiss-Ross.
Middle Row 140mm f18 Zeiss + box; 120mm f9 Zeiss-Ross; 120mm f8.0 Zeiss-Ross110mm f8.0
Zeiss in alloy; 98mm f12 Zeiss-Ross; 141mm f16 Zeiss-Ross; 170mm f6.3 Zeiss.
Front Row 112mm f18 Zeiss with disc stops; 212mm f18 Zeiss with mm iris scale; 112mm f18
Zeiss with no iris, ex-MoD; 110mm f18 Zeiss mm iris scale; 85mm f18 Zeiss, mm iris;
141mm f18 Zeiss Ross with disc iris; 112mm f16 Zeiss-Ross; 86mm f16 Ross
(No22948x).

Rothschild, D.A.
He was the initiator of the Ilford Witness, and a small number (Prototypic?) of Daron lenses were made for it.
Daron f2.9 50mm, This lens had an M39x26 thread but with an interrupted thread so it could
bayonet into the camera threads which were also interrupted, and had an unusual depth of focus scale. It has
been noted twice at serial numbers about No94x. One of these is illustrated in the review in MCM April 1951.
Central resolution was better than 70llpmm.

W. Rouch & Co, 180, Strand and 43, Norfolk St., London.
They were camera makers, but there is no sign that they did more than deal in lenses, possibly adding their
name on them.
Extra Rapid Portrait Lens: These were made for CDV in 4.75in, and in 6.5in, and up to 1/1plate and 10x8in.
Instantaneous Double Aplanatic f7.0 3.125, 5.0, 7.5, 8.5, 10.5, 13.75, 15.5, 19in.
Instantaneous Doublet This may be the same as the next item. It was noted as a 5x4in lens No686x on a
1/4plate Eureka Detective.
Fig 007 038 Rouch and Co. RR Instantaneous Doublet for 5x4in No7153.
Doublet Noted as No715x for 5x4, 822x and 824x on Eureka cameras. The first of these is a
conventional RR in a brass barrel with slot for Wh stops, and fits a 1.5in fine thread mount. Note that a lens at
auction at No712x was on a camera with a wet-plate option, ie pre-1880?
Wide Angle Doublet This was noted at No818x for 5x4in and may be an WAR.
These are all quite small serial numbers and suggest they may be uncommon.

Roussel, 3, Blvd R. Lenoir, Paris X1, France.

UK agent Photax (London) Ltd, 70 Charlotte St, London W1, UK.
They are a long established firm, with entries in FBB from a lens on a Jumelle in 1897 and an
Antispektroscopique in 1898. Their lenses were listed on Sinnox in 1903, and the Antispektroscopique was on
the Roussel Stella Jumelle in 1898, and the Stella Stereo in 1902.
Their lenses have sold intermittently in the UK and their enlarging lenses were listed in a 1955 guide to the
market. They were advertised by Photax in MCM 12/1950 and one of these was seen and proved to be a well
made triplet, coated and with click stops. But a much wider range was made in France. This will be a fairly
incomplete list.
Probably Older Types.
Symmetrical
Anastigmat f6.8 135mm This was noted on a on St Etienne Universal camera.
Antispektroskopique This was a symmetrical anastigmat. It was used as a f7.7/120 or 130mm on early
stereo cameras (1898, 1902) and on the Sylphe in1907. Early uses were on Roussel's own Rex Montis (1899,
9x12cm), etc.
Trylor
Trylor f4.5 50, 75, 85, 105, 135mm
The 75mm in particular was a 3-glass triplet, and can be traced back to 1912 as pairs of f6.3/85mm lenses on
a Gaumont Jumelle. It was a very popular fitting to French cameras after WW2. It was used from about 1947-
1955 on Olbia Eikon-Omega TLR, Aiglon reflex. (Most used achromats.) It was also noted as a lower cost
option on a Pontiac Bloc Metal 45 about 1946, and on a Press Atlas box from R. Vergue of Perreux. The
serial numbers seem to be abbreviated to 4 digits eg Nr1246 in some illustrations and some seem
unnumbered.Thus on a rigid bodied 6x6, the serial was Nr260,328 in the illustration. An 85mm version was
used on the long paper roll Le Maton camera for 24x30mm in 1930.
As an enlarging lens, it was noted in B.J.A. 1951, p242 at £3.92 + Tax £1.70. The mount was praised and
the definition was 'excellent' even at full aperture. Then it was as f4.5 in 50, 75, 105, 135mm all coated, click
stop and 'specially computed' so they will have been adjusted for use in enlarging.(idem ibid, p469 advert.)
Fig 030 004 Roussel Trylor f4.5/105mm No322,835.
Trylor f6.3 100mm (1955), 54-270mm prewar.
Trylor f3.9 50mm This was used on a simplified Pontiac Baby Lynx about 1950 on, for Central
Photo, and is scarce. Note f3.9 is found on some other French lenses postwar and they just may be of this
type.
Trylor f3.5 f3.5 (1955)
Eletar f3.5 75mm This was the best and rarest Roussel lens on the Press cameras.
f4.5 It was also used for the specification of an enlarging lens in the Photax advert. above
in f4.5 (50, 75, 105, 135mm) and f6.3 (85, 105mm) where it was listed with a Kynor f3.5/50mm.
Roussel lens f3.5 27mm for Stylophot
Microcolor f3.5 25mm on SIMDA Panorascope stereo for 16mm film, in lens pairs. An article by P-H
Pont has pointed out that this is actually more complex. The first cameras had 3-glass lenses from Roussel in
1956 but these were upgraded with a P.Angenieux f3.5/25mm lens in 1958, and these coincide with the grey
covering. The Roussel lenses seem to be unnumbered.
Stellor
Stellor f5.7 This was noted on an aerial camera by Gallus in 1927.
Stylor f3.5 35-300mm Q15 type, for general use. A Stylor f3.5/51mm was used on the Debrie
Sept when noted by the B.J.A. 1926, p196. (This was a short run 35mm movie and still camera.
It was noted as an f3.5/50mm lens eg No42,58x, on the Debrie Sept in 1922 onwards, and has been noted at
Nos38,46x 38,95x, 8,83x, 39,80x, 42,58x, 42,72x, and 43,19x.
Stylor f4.5 50-400mm a Q15 type.
Stylor f5.7 75-200mm Q15 type.
Stylor f6.3 50-500mm, Q15 type. A 270mm version was noted on a tail board camera at
No43654x. (This may be the Series 3G f6.3/85mm No37,57x (2x) fitted to a Gaumont stereo camera.) A pair
were used at f6.3/85mm Nos 29,31x on a E. Caillon 6x13cm Le Bioscope Stereo noted at auction.
Stylor f3.5 35-300mm noted as 50mm, Q15 for Debrie Sept, eg at No40,24x. An f3.5/50mm
Stylor was used on a wooden Debrie 35mm Interview camera.
Orthostylor f4.5 210mm This was noted at No43,66x as the lens on a Lorillon Tropical 13x18cm
camera.
Xyzor f7.0 22mm on XYZ subminiature.
Kynor
Kynor f3.5 20-100mm This was for 35mm movie and was a 3-glass Triplet It has been noted as a
f3.5/75mm lens in a B&J list and No65,97x was on a 9.5mm Pathe.
Kynor f3.5 90mm This was on the Ontoflex 3.25x2.25in rollfilm reflex, being in a heavy helical
thread mount, driven by a side knob. This seems a rather wide angle and may have needed a special design.
Now see Orthokynor below. There just could be confusion here.
Orthoskynor f3.5 90mm Noted at No229,52x on an Ontoflex TLR (1939, etc) with a viewing lens by
Berthiot, Ontor f3.5 No315,98x. The OrthKynor was an alternative to the Berthiot Flor on the Ontoflex, the
surprising thing being that both French lenses were 90mm while when Zeiss Tessars were fitted, some at
least were 105mm and others were 90mm as is a f4.5 shown in Vial's book.
NB The need for the prefix Ortho on these two is not apparent now. cf Orthostylor.
Kinor This was possibly an ?alternative spelling of the above, on a f3.5/50mm lens probably about 1921.
Kior This seems to be a Roussel lens on a Kinax (1947)
Kylux Possibly a series of projector lenses made over a long period 1920-1952, as f1.5/17mm,
f2.5/20mm for 8mm, and f3.5/? for 9.5mm.
TeleMicrocolor f3.5 50mm This was used on the Mundus Color 16mm still camera.(1954) There was also
a f2.5/25mm interchangable lens.
"Special" f3.5 25mm on a Simda Panorascope for 11.7x20mm (1955). (See also Microcolour
above.)

Robert Widmer, (ROWI), Neuberg/Donau, W. Germany.

The agent for UK was Photo-Science, 168, Wandsworth Bridge Rd, Fulham, London S.W.6, UK.
Rowi supplied a range of flash guns, camera clamps, slide holders and an enlarger, and this used a Wilon
coated f4.5/2in lens of unknown source- presumably made for Rowi by Will of Wetzlar. (B.J.A. 1959, advert.
p59). These do turn up today as separate items.

Royal Optik, Frankfurt a. Maine, Germany.

An unknown maker, with just one lens known.
Luminar f1.8 55mm It seems to be early postwar, with a slight increase in focus to allow
the increased aperture. It is a scarce lens for M39x26, Leica coupled and was seen at No20,11x. It may well
be that production began at No20,001. Note that the USA agent for Leidolf is 'Royal' and this might just be a
pointer.
Fig 010 072 Royal Luminar f1.8/55mm No20,113 for M39.

G. Rudenberg, Jun., Hannover, Germany.

This name was noted on a single specimen of a f6.3/165mm Geroplan Doppel Anastigmat, which seems to be
a Dagor type design. The shutter is a dialset tangential Compound No136,389, and possibly it seems to be
about 1910. Later a f6.3/65mm Beroplan was noted in a list, so they may have made more types of lens than
is apparent here.

Ruo Optik, Optical Werke Rudersdorf-Berlin, Germany

also Simon and Co, Berne, Switzerland.

There is confusion here, and the firm may have moved or one may be the agent of the other. The items will be
listed follows. For a guess, the Berne address seems a newer one. The abbreviation seems to be RUO for
Rudersdorf Optik and the name Stefan Jasienski may also to be associated. They are little known in the UK
probably as they were major and specialist movie lens makers over the period when they were most active,
and the products are highly rated on the Continent of Europe. One opinion is that they are third in frequency
among collectible movie lenses, after Zeiss and Ernemann.
Iricentor f6.8 18cm This seems to be a Dagor type anastigmat, in a black brass mount,
marked with the Berlin address. Frerk says this was a really good design and the mount was also very good.
Fig 008 040 Optical Works Rudersdorf- Berlin Iricentor f6.8/18cm No 11,169 in barrel.
Ruo Anastigmat Acomar f4.5 15, 18cm noted. This was a fast anastigmat for camera and for enlarging,
and a 15cm lens is used for a 9x12cm plate, or 13x18cm closed down.
Tular f6.8 This was a triplet, of good quality and low price and one of the first triplets to be
introduced.
Hekistar f3.5 A portrait triplet based on the Cooke design, but also used as an outdoor lens,
with 15cm for 9x12cm. A 210mm was noted in a B&J list. This typically was a large format lens and Frerk
illustrates it on a Nettel Press, probably 9x12cm. But this would more likely be 165 or 150mm.
Ruo Anastigmat f2.0 This was about the first of the f2 lenses, and one of the super speed lenses
Frerk discusses from the 1920's. It seems to have been a triplet derivative. The first user was Engineer Vehl in
Berlin, with Stefan Jasienski in Berne soon after. Ariel lists two f2/42mm lenses on 1920's cameras, including
an Askania, and one ? on a projector. There was also an f3.5/50mm and an f2.5/50mm also from the 1920's.
Ruo Vorsatz Linsen A series of front lenses for close-up, etc.
Ruo Tele Anastigmat f7.5 This was covered by D.R.P.316,246, and was a full anastigmat. The designer
was Hugo Hahn (to 1924), and it seems to have used a Cooke triplet type with a 2 glass rear element, with
lenses made for f7.5, f6.3 and finally f4.5 (1925).
Ruo Tele f4.5 This may be the later version of the above, with 5 glasses, and is listed in Frerk
in 1926. It was mentioned in T.L.J. Bentley, B.J.A. 1930, p199, as the first of the faster Continental tele lenses
placed on the market in 1925.(App060)
and from Berne,listed in 1909(?):
Objective f1.5 a lens with a complex structure.
Caleinar f1.5 50mm This was described as also complex. The 50mm was fitted to an 1917
Ernemann in the Ariel list. One of these had a f1.5/5cm No23,65x. A Ruo Caleinar f1.5/4cm No2150x to
D.R.P.461083 was noted on a very rare 1/2 frame 35mm at auction.
Ruo Anastigmat f3.5 60mm on Sico camera (Rudersdorf Anastigmat)
Ruo Kino f2.5 75mm This was in a mount for Eyemo Mitchell in a 1960 2nd hand list. A
f2.5/2in Ruo was mentioned in B.J.A. 1930, p239.where a multi-portrait system was based by A. Jaschke on
movie equipment. Slow film, f6.8 aperture and a 10x8in negative as an interneg. are used, and a sharp lens!
Acomar f4.5 18cm This is described as a Rudersdorp Acomar Ruo anastigmat, this
seems to relate 3 entries.

Rudersdorp (f) A.G.

It may be this is related to the above, ie an f for a p. It is noted for the SICO anastigmat f3.5/6cm noted at
No677x on a 35mm Sico camera, No5x from Simon, Switzerland.

Russia
The layouts of some Russian lenses are shown on page 37b of the diagrams. It is only an initial attempt to
list a large and important field.
Although Russian lenses have sold well in the UK for many years, the structure of the industry is not well
understood, and therefore they will be listed as far as they are known under one source as if Russia was the
maker- not unfair since at that time the economy of the USSR was run in a very centralized style as if it was
all one firm. There are several other general points. One is the relative absence of large format cameras there.
A few 6x9 Super Ikonta copies, the Moskva, with Industar lenses, aerial survey lenses, and presumably
process lenses are about the lot, though one 300mm Q15 type has been seen. There was little advertizing
industry as known in the West, and very big blow-ups were used for placards and slogans, from small
originals.
Thus the early establishment of the FED factory making an M39x26 type camera is more important than it
might be elsewhere. It is often assumed in print that these lenses are all interchangable with Leica, but this is
not so- many have threads which fit Fed and Zorki cameras, but are very tight on Leicas- possibly due to the
establishment of standards in USSR from a worn camera, or a gradual shift to a fitting that was convenient to
them but not a match for the original. Thus any attempt to mix brands must be with caution, and with the
recognition that they, as it were, speak different languages. Later there was a Kiev industry developed around
a camera which was based on the 1936 Contax camera. Here the same thing occurred, as the mounts of the
Kiev lenses can be rotationally loose on the original camera. The society was also one where the development
of new consumer products had less emphasis than in the West, so that a product remained current for long
periods if it was felt to be sound. Thus a 1950 Kiev and a 1979 one can be very little different.
Finally they seem to have taken over the prewar Zeiss Contax lens programme with very little optical change
though the mounts were different, and made it for many years. This initially showed excellent taste, but they
used the designs long after they were obsolete in the West due to modern Gauss and other designs. And they
commonized these between different models in production in a way that would not be done in the West.
According to W. Frerk (MCM 1959, p78) photographic optics in the USSR was nil up to 1917, but after the
new state was created there was a State Optical Institute under Prof D.S. Wollosov and Dr E.G. Jachontov
and this cooperated with the Mechanical Works at Krasnagorsk for the production of miniature lenses. (A
correspondent says lenses were in production here from 1942 and that a major interest is tailor-made lenses
for the Russian space industry- as well as the movie camera. Also Zenith Zorki Horizon Narciss cameras were
from here.) An older firm seems to have been GOMZ (Gosudarstvennyi Optiko-Mechanicheskii Zavod of
Leningrad. (This is said to be from about 1925-1928 and evolved into the producer of Industar lenses and the
biggest lens producer in Russia.) This source says these made the bulk of Russian lenses, perhaps all of
them, except that Kiev may have made the Kiev [Contax type] lenses. Which again raises the question who
ground the glass for them- Jena perhaps?
Another factor was the formation of the FED lenses and cameras from 1932/1934 and it is not known how the
lenses were designed- but they are said to have been produced at Kharkov with the bodies. Production of FED
lenses stopped understandably in 1939 or so and recommenced postwar with FED f3.5/50mm lenses in
collapsible mounts. But by the Fed 2b they were beginning to use rigid 'new design' lenses. Later the
Krasnagorsk factory was to produce the Krasnagorsk movie camera and the Zorki M39 camera. Jupiter
lenses for Kiev were certainly available by the early 1950's but there were minor differences in codes and
finishes, and early lenses can often be recognized by the red-filled "pi" sign indicating coating. The Arsenal
works was the Kiev plant and produced Kiev (Contax type) cameras from 1947 as Kiev 2 and from 1949 as
Kiev 3, a later break being the introduction of sync. as the "a" models in 1956. Later the front rim was slightly
modified (1970's?) and finally the Kiev 5 introduced with a major glass front to the top panel. As with many
makers, the names of designers are scant, but one is Prof. Radionov, who designed the f2.8/32mm Minitar on
the Lomo, a camera which has developed a following in the West.
An account of the Russian scene is given in M.J.Small's book, especially as it relates to M39 and 35mm
lenses.
In another note, Small notes that Rubin is a very important lens maker , previously known as Optical glass
Works at Lytkarino, near Moscow, or Stekla, and a KMZ off-shoot, making eg MTO mirrors and speciality
lenses for Russia. The logo is a circle/triangle. Items can be co-produced at KMZ and Lytkarino and have the
Krasnagorsk label.
Prewar for Fed (Named as Fed) Note Fed was initially VOOMP= Pioneer for 1933-4, a scarce version.
These carried the VOOMP version of the FED lens, for some 300 bodies- no lens data noted.
f4.5 28mm scarce. One of these was engraved as 'Hektor f4.5/28mm lens'.
f3.5 50mm collapsible, Q15 type. The first version seems to be called VOOMP for 50 cameras,
and was noted at No14-6 at auction.
f3.5 50mm This was a deep throw macro mount to 1:2 ratio. These were solid brass mounts of
real quality, but the optics seem less successful.
f2.0 50mm This was a Gauss type, and is not common, Q18 type.
f6.3 100mm These were in a rigid brass mount, and were probably tele Q24 type.
Fig 012 015 Fed lenses in M39. (l) f6.3/105mm No38,260; f3.5/50mm No7647; (r) f3.5/50mm close focus.
Of these the 50mm f3.5 is the only one easy to find in the West, but others are coming in as relations ease.
One series of real collector interest is the lenses engraved as if they were German originals, but this is a
specialist area to collect. These are one of the first real "fake" lenses.
A 1955 list still has the 28mm f4.5, 50mm f2 and 100mm f6.3, as well as a 50mm f6.3 Copying lens. (Aperture
limited?)
Sport Reflex This dates from about 1935/6 and was sold with 2 lenses to judge from auction lists- the usual
was Industar-10 f3.5/50mm, noted at No628x: also noted are Jupiter-10 f3.5/50mm at 638x but these may
not be too different.
Post WW2
The main feature was the introduction of the "Jena Type" lenses, and these seem initially to be for Zorki in a
1955 list. They included the 7-glass f1.5/50mm, 28mm f6.0 Orion but also for Leningrad a f2.5 35mm URAN
lens and an f2.8 80mm Industar. Normally the Industar was a 4-glass Q15, and the 35mm may be to the
original "Zeiss Biogon patent". Most of them were in production by the 1950's and especially by 1959 when a
rather complete set of structures was announced. That year, the USSR had a major show at the Brussels
World Exhibition, with Zorki, Fed, Kiev, Leningrad (motor drive with M39 mount), Zenith, Cometa (semi-auto
exposure) and Yunost on show.
f5.6 20mm Russar MR-2 This is an extreme wide angle lens with matching finder for M39. It
seems to be to the original Russar design, and is the smallest of a series where the larger ones are used for
large format aerial survey work. (See Russinov's original Patent Brit Pat. 640,232/1950). Russar is a sound
lens but that seen was best stopped down a bit to even up exposure and sharpness. It was seen at No 05,710
in a black finish mount. (Rus016)
f6.0 28mm Orion-15 This was rather after the Topogon of Zeiss in design, a Gauss with deep
curves. It is now a relatively scarce lens. It was seen at No 6,201,12x in white still coded -15 in 1975.
(Rus001), also No640.66x and 650,12x. M39 owners have made use of it as a budget 28mm for screw
cameras.
f4.5 28mm These can be labelled as (fake) "Hektor" This has been noted as a 'funny' for Fed.
f2.8 35mm Jupiter-12 at least to 1975. This is a rather common type, based on the 1936 Biogon.
Chrome or black. It was seen at No7,503,26x in black, 5,905,67x in white. (Rus002)
f3.8 38mm Jupiter-81.These are on the Stereo Fed.
f3.5 50mm Industar This replaced the prewar Fed lens, and is common. Q15 type.
An Industar-10 f3.5/50mmhas been noted at No15,64x.
f2.8 50mm Industar. This is a new rare earth glass version with much improved performance.
(Rus003) This drawing is a generalized one for the Industar-26, f2.8/50mm; Industar-22, f3.5/50mm and
Industar-50, f3.5/50mm. The difference of the -22 and -50 is not known but may be in the use of new glass or
in the mount. Later Industars for Fed are N-61, f2.8/53mm and may be further revised.
f2.8 55mm Industar 61LD This seems also to be a Fed lens. It was noted on a Fed 5B at
No9,162,41x.
f2.0 50mm Jupiter-8/8M These lenses were seen on M39 screw, and as Jupiter-8M when on
Kiev, in 1963, 1975. This is a common lens, based on the Sonnar. These were made in chrome or black finish,
when the number may be on the side of the barrel and here it does not seem to begin with digits suggesting
the date- the Kiev lenses do seem to, eg. at No 7,468,32x on body 7,410,53x. but the M39 ones include one
seen at No0,223,64x in black, 7,418,73x in chrome. (Rus004). Others may have the date, as with
No5,942,769, which is a 1:2 F=5cm in a rigid white barrel, with unuasually a protruding finger knob at the side
for focusing. Alderson in Photographica gives 1957 as the date for the conversion from the Jupiter 8 to the
Jupiter 8M which was used at least on Kiev bodies until replaced by the Helios 103 about 1980. (The
additional coding M may show improved coating as the external curves of 8 and 8M lenses seem to be the
same or not measurably different.)
Note that at least one camera, the TSVVS used original Zeiss Jena f2 Sonnars, eg at No3,060,22x.
f2.0 50mm Jupiter- 17 This seems to be a rarer version, (Rus005) possibly related to a prewar
development lenses at Jena (Zei 072, 074) but with changes.
f1.5 50mm Jupiter-3 This is much scarcer, based on the old Sonnar, and may have gone out of
production as film speeds were raised. Seen in chrome at No510,66x.(Rus006) This has a red filled "pi" sign,
to show it is coated (a 1950's touch?) and is heavy, possibly due to the use of brass. This was normally for
Kiev but also rarely for M39.
f2.8 53mm I-61 This was a black Q15 type lens with rare earth glass. Seen at No8,823,97x
(Rus003)
f1.8 Helios-103 53mm black Gauss type design. A replacement for the Sonnar types. This was
seen at No8,384,58x with a neutral coat color.
f1.5 85mm Helios-40 chrome This is probably not for Fed, only for SLR's. Gauss type lens. It was
seen at No 633,05x in white. (Rus014)
f2.0 85mm Jupiter-9 These were made in chrome or black, near the old 85mm Sonnar in design.
This was officially a portrait lens. (Rus007). It was still -8- in 1974-1976.
f4.0 135mm Jupiter-11 white alloy or possibly chrome, near the old Sonnar in design. (Rus008) It
is a really common version. All those seen were coded -11 and the coating was very strongly purple in the
1950-1970 period but later is almost neutral in 1976 on No7,603,28x. It was officially a long focus lens.
f2.8 180mm Jupiter 6 This was noted with M39 thread but Zenith SLR register, and may be the
Russian equivalent of the Zeiss Jena Olympia Sonnar. It was noted in a white mount, and as a quite old lens,
seemingly without the type of serial number coded for the year, as it was too short. It is a really unusual item
in the West although it may have been made in quantity in the USSR.
f4.5 300mm Tair-3 A triplet for Zenith and also used in the Photosniper outfit. Some lists say it is
4 glass but that seen seems to be an unusual 3-glass design (triplet? or telephoto?) and possibly unique to
the Russian series, and it was used for many years. (Rus009) It takes a 72mm filter. It was seen as
"No720939 TAIR-3 4.5/300A" and seems to show 3 reflexions in front of the iris and only two behind, so the
drawing may avoid showing the cemented surface at the front, ie it is in a sense a UNO type lens?
f8.0 500mm MTO500 mirror system. (Rus010) ] The mounts do vary and the optics also
f10 1000mm MTO1000 mirror system. (Rus011)] may change with time.
MTO reached USA through the Spira organization in 01/1964. It was well received, though Modern Photo said
adequate rather than excellent (08/1965). The imports had T-mounts, and other changes to suit the West. It
was not fittable to Nikon Photomic and there were some compatibility limitations. In the UK it was often used
with the matching Zenith SLR with its M39 screw thread. Note the centre spot slows it down, and it really
works at about f10. (Amateur Photo. 04/12/1963.) In modern Photo 07/1971 p63 there is a note that mirrors
can be knocked out of alignment and a reader seems to have bought a defective one secondhand. Others have
had this experience so it is one to test before paying. One in the UK even had a complete double image. But it
should be added that this is probably due to damage well after sale on what are often now quite old items.
Some of the cements used to fix mirrors are known to lose grip with time.
Periscope An impressive military periscope (enamelled in khaki) with a matching Zorki 4 of 1956 was sold in
London in c.1997. The periscope gave 6x and 30x vision and the unit may well reflect German designs of
WW2 and explain some of the ex-services cameras with special adaptors or locating cutouts noted.
The lenses which matched the Contax series have external curves which are very close to the originals-
probably nearer than a separate redesign would give. Zeiss personel were taken to Kiev to get the plant
running and there is a possibility that Jena were involved in making glass for them. The mounts are
distinctively Russian in origin. They were initially in white, probably alloy varnished, and later matt black.
Performance can be really good and they are a cheap way to get some feel of what the originals could do, but
remember these are coated and now much newer. Early coats were in fact pretty soft, and can now be well
abraded, but later ones are much harder.
Chronology
The lens serial number have long been thought to incorporate the year in the first two digits. Some examples
from the quality control certificates supplied with lenses support this idea. Thus:
Lens Serial No Date of Cert.
MTO500 No65,66x 30/09/1965
MTO1000 No870,39x 23/04/1987
Jupiter-11 No7603,28x --/09/1976
Jupiter-12 No7601,80x --/04/1976
Jupiter-12 No7503,268 --/05/1975
same No7606,73x --/04/1976.
These certificates and the black plastic keepers are a desirable additional item on purchase.
The Horizont panoramic camera used a OF or OP/28P lens, noted at Nos 135x, 280x, 471x, 518x, 633x,
648x, 835x, 849x, 975x, 91063x.
The FT-2 panoramic used an f5/5cm Jupiter-50.
The Narciss SLR for 16mm film used an Industar f2.8/35mm, noted at No085x, or a Bera-M-1f2.8/35mm at
No482x and No532x.
A Jupiter f5.6/50mm No906x was noted on a document copier unit from the 1950's.
An early list for the Zenith SLR was as follows:
Mir-1 f2.8 37mm This was a retrofocus lens with essentially a Biometar-type rear with a
negative in front.(Rus012) This may again show postwar Jena design influence.
Industar-50 f3.5 50mm, Q15.
Helios-50 f2.0 50mm This seems to have existed but been extended as the next. The
50mm may have been for rangefinder only. (Rus013)
Helios-44 f2.0 58mm, Q18.
Jupiter-9 f2.0 85mm Triplet derivative.f1.5/85mm
Helios-40 chrome f1.5 85mm This is not for Fed, only for SLR's, especially the M39 mount Zenith. It
has been adapted however in the West to Nikon and other cameras. It is a Gauss type lens. (Rus014) This
was seen at No 633,05x in white. It is very heavy for the mount and can be stiff as a result, and can be
awkward as the finger grip on the focus has to be quite narrow due to the optic.
Jupiter-11 f4.0 135mm same
Telemar f5.6 200mm 4-glass type, scarce, and not seen.
Tair-3 f4.5 300mm, Triplet, Q14. Seen at No 720,93x, black for
Zenith. Gost 5.317-69
Zenitar f2.8 16mm for Pentax K mount, late type.
Rubin-1 ZOOM f2.8 37-80mm for Zenith 4/5/6 cameras. This looks very much like a Zoomar as
used on the Bessamatic, the layout is close to the flat front Zoomar, and the Zoomar will actually fit in place of
the Rubin on the Zenith, as the bayonet is the same. The Rubin zooms by rotation of a control ring so the old
push-pull tuba effect is lost. Rubin is said to be optically best at 37m, less good at 80mm, the opposite of the
Zoomar. See also Voigtlaender.
The older leaflet (about 1959) quotes resolutions at full aperture in microns as follows (centre, then edge):
28mm f6;45/18: 35mm f2.8; 34/12: 50mm f3.5; type -22,32/20; type -50; 38/22, 50mm f2.0 (both); 30/14:
50mm f1.5; 30/14: 85mm f1.5;32/16: 85mm f2.0; 30/18: 135mm f4.0; 34/19: 300mm f4.5; 36/30: Mto 500,
35/20. Also Mir-1; 45/23;Helios-44; 35/14.
It also refers to MP-2 Super Wide Angle lens f5.6/20mm a Merkuri f2.0/50mm and Gekios-40 f1.5/85mm,
without detailing them. Gekios is likely to be Helios-40, and the Merkuri either a Gauss type or the unusual
Jupiter-17. A Russar MR-2 at f5.6/20mm became standard later, as above.
A modern lens is the Belomo f2.8/17mm (Peleng Fish eye Lens) for M42, etc.
By 2000 there were new trade names. The agent was now the Widescreen Centre, 48 Dorset St, London
W1h-3FH. A review was in Am Photo 08 and 11 01/2000.
Peleng or Pelling f3.5 8mm for the Zenith 122B SLR This is from Belarus in M42 or for Nikon fit. It
was rated as excelent in the centre and good outside it like all of the type.
Arsat f2.0 50mm in Nikon type mount only. It was rated as an amazing bargain on Kiev
19MSLR at £25
Yashma f2.8 300mm This was made in the Ukraine, and proved to be a very good lens
especially at a price far below the opposition.
MTO mirror f10 1000mm This was continued into 2000 and seems very little changed from
examples of the 1980's. It is known to be 'individual' in performance and the one seen by the Am. Photo in
15/01/2000 p39 may not have been one of the best ones. Even so it was rated as really satisfying.
Folders.
There were a range of folding rollfilms sold as Moscow with eg. N-24 (Industar?) f3.5/105mm lenses noted at
No036,22x.
Monorail
A modern monorail Pakypc (Rakurs?) has been noted with Bera-24 f4.0/210mm No102x; Bera-23
f3.5/150mm NoN045x; Mnp-41 f5.6/90mm No91004x. A Vega f6.8/250mm has been noted in a sale list.
Cine Lenses.
Type 10-24 f1.9 12.5mm on 1960-3 cameras, Krasnagorsk.
Type T-40 f2.8 10mm on 1962 Lomo
Smena f4.0 40mm T43 lens
Smena f4.5 40mm T22 lens
Minitar 1 f2.8 32mm This is the lens on the Lomo LC-A camera and is a nice wide angle, with a
turn of speed now uncommon in cheap compact cameras. The message on the Internet says "designed by
Prof. Radionov".
Meteor Zoom 5-1 f1.9 17-69mm about 1976. This is a 16mm filming lens It was noted on Krasnagorsk-3
reflex 16mm in B.J.P. 10/08/1979 p770 at £444 + VAT inc camera.
Meteor-8M f1.8 9-38mm on 1973 Krasnagorsk 8mm.
Meteor-3 f2.4 9-36mm A lens of this specification was noted in 06/1967 in a Quartz ZM camera.
The matching projector was a:
Luch projector with a f1.5 15/25mm zoom.
Industar-50 f3.5 50mm ex-Arsenal Works.
T-51 f2.8 10mm for 1969 Leningrad Lomo-8mm
Vega-7 f2.0 20mm on 1965 Krasnagorsk.
OMO 18mm V O Mashpriborintorg 8mm
(Anon) f2.8 35mm for Narciss miniature SLR.
for Vera f3.5 25mm ex Kiev.
Lomo f1.8 50mm for Almaz 103 SLR.
Zenitar f2.8 16mm This is in Pentax K mount for a new generation of Zenith cameras.
A list for 6x6cm Kiev 88 in Sept 1994 is:
Zodiak Fish f3.5 30mm A fish eye design, this lens can cover 83mm dia. if on 5x4in and could
be useful on large format for some 180°. (R.Hicks, B.J.P. 19/11/1997, p28.)
Mir f3.5 45mm rectilinear retrofocus.
Mir f3.5 65mm This is 6-glass in a 1972 list for Zenith 80.
Vega f2.8 120mm
Kalenar f2.8 150mm
Telear f5.6 250mm
Jupiter f3.5 250mm
For the Kiev 60, they were Volna-3 and Industar 29, both f2.8/80mm, f3.5/30mm.
For Moskva, f4.5 11cm Industar-22, 4-glass, (MCM Sept 1955, p348.)
For TLR's
Komsomolyets f6.3 80mm, 3-glass triplet, MCM 9/1955.
Lubitel, f4.5 75mm, 3glass (same source).
For Rakurs-672 6x9 monorail (listed 1997)
f3.5 90mm
f3.5 150mm
f4.5 210mm
Large Format Some large format lenses were made, such as a f4.5/300mm Q15 type made at No59,114 ie
in 1959 in a substantial brass mount. It may have been used for big groups and formal portraits, copying etc. It
is said to be sharp and seems a fine lens.
Fig 022 002 Russian (prism make= Krasnagorsk?) f4.5/300mm Industar 37 ctd. No59,114.
There will be aerial lenses. One noted was an f2.5/100mm, possibly coded JFAN 27 or the like, in cyrillic.
Fig 18 Russian Lenses for Kiev.
Back Row Jupiter f2.0/50mm + Kiev 111
f1.8/53mm + Kiev 111
Jupiter f2.0/85mm.
Jupiter f4.0/135mm.
Front Row Jupiter f2.8/35mm
Orion f6.0/28mm
Jupiter f1.5/50mm
Russar f5.6/20mm
Industar N-61.
Fed f3.5/50mm Macro.
Fed f6.3/100mm.
Fed f3.5/50mm.

Russinov, Russia.
He was an important Russian designer who separated the external negative glasses in wide angle lenses and
later applied the Slussareff principle to them to even up the illumination from them. Fall-off can improve from
about cos 4 to cos3 theta. See Russar (Fr Pat. 93561x).
Merte gives a drawing for this lens with nearly flat external surfaces and a relatively larger front diameter
(roughly Rus015): this seems realistic but may differ from others seen. The glasses were G1 +8= 1.5100; G2+
7= 1.7172; G3+6= 1.5399; G4= 1.5480; G5= 1.5484(?). Merte refers to and illustrates the earlier lens as the
"Liar 6" of 1933 by Russinov and Kosyrev, for 100° at f5.4 which was later redesigned by Russinov as the
"Russar-16" for 60mm f12 to cover 126°. This is likely to be Rus016.
Sagem, France.
Hexar f2.0 50mm This is the lens for the Sagem camera and is a very rare M39x26 item. It has
also been noted as listed on a Pontiac Super Lynx as a f2.0/50mm about 1946.
This is not the same as the Japanese lens of the same name.
Jaguar f2.9 75mm 4 glass (1954) This was matched with a SAGEM Guepar f2.8/75mm view lens
on the Bioflex I but sales of this exotic were slow and a Boyer Saphir was fitted later- Jaguar was classed as a
fine lens of top quality.

Salex-Trading name of City Sale and Exchange, London, which see.

Salmoiraghi, Milano, Italy.

=La Filotecnica, Ing A. Salmoiraghi=GGS.
This seems to be a long lived firm with a very innovative founder, but a small production.
For items made pre-1919. see Am. Photo. 16/04/1919.
Arthur Anastigmat
Sirius Anastigmat
It was founded in the 1860's or earlier and was essentially a technical school developed into a production unit.
Hence the name 'Scuola Officine Filotecnica'. Ing. A. Salmoiraghi was a major mover in the conversion.
(a) Porro had developed some impressive early lenses in the period to 1863. Eder refers to Professor Porro`s
work on photogeodesy from 1855.
(b) A major spin-off was interest in aerial cameras in the WW1 period.
(c) Development seems to have lead to some of the Galileo products, hence possibly the name 'Officine
Galileo', but these are listed as Galileo.
(a) Porro Period.
1847 Analittico lens, with 3 elements.
1847 Objectif Double Special
1852 Stenolittico, a lens with + front and -rear elements.
1854 Triple Achromat, this was supplied to Russia.
This was well ahead in date to the commercial triplets from Ross and Dallmeyer in UK but its corrections are
not known.
1856 Panoramic Quadrangulare, for 125°. Use was made of a waxed paper negative, but the unit was
complex and little used.
1863 Further developments. Porro's work really needs a separate study. Few items were actually made in
quantity. One point is that many of the classic prism designs were due to a `Porro` and this may be the same.
(b) Angelo Salmoiraghi Company.
'Anaberrante' lenses 1924
Phoebus on Argo camera,1924.
Syrius f6.0 on Argo 1924 camera, an anastigmat type lens.
Syrius f6.5 on Ganzini Nixe
Orion f4.5 anastigmat.
Lyra f4.5 anachromatic (Portrait lens perhaps?)
Arthur f7.5 Anastigmat
Phos f7.5 Semi Anastigmat
Regulus f10, This was an anastigmat with wide angle and Telephoto accessory.
Venus on Nova 11 folder (1930)
Alcyon f4.5 on Nova folder (1930)
(c) Post WW2
Lens on Rectaflex Junior, f4.5 50mm (1950).

Samcine
It is thought this is the trade name of Samuelson Cine hire, and that they originated some specials under the
name Samcine. One was a T5.2 18-100mm zoom for 35mm movie which was then the widest made and also
small and light.(B.J.P. 19/10/1979 p1019)

Samigon, Japan.
SLR lens brand name reviewed in Modern Photo 06/1961, p82. It had as a novel feature extra scales marked
for use with a tele-extender. It was listed as:f2.8, 35mm; f2.8, 135mm; f3.5, 200mm; f4.5, 200mm; f5.5,
300mm; f6.3, 400mm; f8.0, 500mm.

Samoca, Japan.
Ezumar f2.8 50mm, this was on a Samoca rangefinder, 08/1957.
Ezumar f3.5 50mm on the same.
Samocar f2.8 50mm on LE=11, c. 1960, 24x36mm format.

Sandmar, see Enna.

This was a trade name for Enna lenses used in the USA. There was a close out listed in Modern Photo.
04/1960 of lenses in Exakta and M42 mounts only. This had:
f3.5, 28mm; f2.8, 35mm; f1.9, 35mm; f1.9, 50mm, f3.5, 135mm; and a 'Magic Mount' which may have been
an Auto iris unit but was not detailed. It may be the same as the Enna sockel mount.

Sands & Hunter, 20, Cranbourn St, London WC (Founded 1874, by the adverts.)
They were dealers and carried several series of lenses of unknown origin, including in the 1890's and one of
these was a set of long-focus lenses in a Cone shaped mount, to increase the camera extension. These are
called Rapid and may be meniscus lenses or portable RR's, ie lower aperture as shown by the diameters
varying from f8 down to f9 or so.
Rapid Long Focus Lenses These were made in 14in, 2in dia.; 16in, 2in dia.; 18in, 2in dia.; 20in, 2.2in dia.;
22in, 2.2in dia; and 24in, 2.2in dia.
Rapid Rectilinear These were made in 4.75in for 1/4plate; 7.5in for 1/2plate; 8.5in for 8x5in, 10.5in for
1/1plate; 13.75in for 10x8in, 15.75 for 12x10in.
Wide Angle Rectilinear These were made in 2.75in for 5x4; 4.25in for 1/2plate; 6.25in for 1/1plate; 8.0in for
12x10in; 10.5in for 15x12in.
In the 1920's they were carrying their own plate camera, often with Zeiss lenses but the 1926 advert. carries a
budget version with a unique(?):
Sansunter Convertible f6.8/5.25in lens for 1/4plate at £4.75 while the Zeiss version was f6.5 at £5.75-
possibly a Triotar.
Late prewar they imported a Diafant Model O and I projector ?from Germany with f4.5/90mm Parastigmat and
f3.5/100mm Omar projection lenses respectively, but the source is not known.
In 06/1967, they were supplying lenses to fit M42 and Exakta, Minolta, Miranda, Canon, Nikon and Zenith.
They were f3.5/35mm; f3.5/135mm; f4.5/200mm; f2.8/135mm. Reviews were genuinely enthusiastic.
In 1970, the list was f2.5/28mm; f2.8/35mm; f3.5/135mm; f2.8/135mm; f4.5/200mm; f4.5/200mm; f3.5/200mm.
Thus there was a degree of contraction after 1970 or so.
It is or was a long lived firm and still had its own series of SLR lenses in 1972, as:
High Resolution Auto iris for M42, Nikon, Exakta (etc?) f2.8/135mm 5 glass; f3.5/200mm, 5 glass. In 1972,
they also had an f2.8/35mm preset lens.
However they failed to survive in the modern world and the shop was closed before a note in B.J.P.
03/02/1978, p92.

San Giorgio, Genoa, Italy.

Essegi f3.5 50mm, this was a Q15 type, fitted on Janua (1951), (a Leica lookalike) and seen at
lens No350,19x/ body 450,72x; No350,88x (2x)/eg. body No45031x, and lens No350,39x and body
No450,20x. (This was a bayonet mount camera, not M39x26. It was also mounted on Safo (1947, mount
unknown)
Esagon f2.8 8.5cm This was noted at No00,10x*
Ethos f3.5 35mm, This was on a Safo (1947).
Kritios f2.0 50mm This was probably on the Janua camera. It is really rare, one list saying ;only
10 made'.

Sankor, Japan.
In May 1964, Vines of Ruislip, were selling two Sankors, with a set of Soligors in addition.
Sankor Crystar f2.8 35mm This was a retrofocus for all SLR's.
Sankor Crystar f3.5 135mm This was a longer lens to match.
Sankor f4.0 200mm again, from Mayfair this time.
[Mayfair are more likely to be the importers, and listed all 3 lenses then, again with Soligors as if they came
together in some way.]

Sankyo, Japan.
This was noted in Ariel's list for a Prono f1.8/8.5-26mm Zoom, about 1962. Blackman (Amateur Photo
04/10/1978 reports seeing production there of lenses for independant label suppliers, as well as world known
camera brands. To photographers the name is mainly on cine cameras, but note they made the Komura
brand.

Armin Sauer, Reutlingen, Germany.

Ariochromat f8 A fixed lens on a Ariosa Giselle 66 camera.

Sawyer, Portland, Oregon, USA.

A firm specializing in stereo equipment, and using paired lenses of about 20-25mm for their cameras.
Viewmaster Stereo Lenses f3.5 25mm These were paired on Personal camera.
also later they fitted f2.8 20mm, These were on a Mark 11 camera. Here the lenses
were from Rodenstock.

SAS Gmbh, Vlotho-Weser, Germany.

Siagon f9.0 80mm on Sassex 6x6 camera.

A. Schacht, Ulm, Donau, Germany.

Schacht was initially at Munchen, and moved to Ulm in the late 1950's or 1960's. [Note the personnel
interviewed at Steinheil's works by the B.I.O.S. team. They met a Dr Schacht there.] At least the Ulm lenses
carry the place name, and an Albinar is engraved from Muenchen. Schacht were an important maker of lenses
for 35mm cameras, especially SLR cameras postwar whose products were rather solidly mounted in brass
focusing tubes. They also made lenses in M39, mainly perhaps earlier for USA, and these are known in the
UK only from one late agency. Most were for M42 and Exakta SLR's. Initially production seems to be in white
metal (alloy) finish but went over to black with white raised parts. The trade names mainly began 'Trave'. It is
quite appropriate that Leitz in the UK sold some of their lenses in coupled M39x26 mount for Leica after the
official Leitz programme had ended. This was about 10/1955. Most or all the lenses are coded 'R' and this
may indicate antireflexion treatment (rather than for Reflex, or other code). Production in Germany seems to
have ceased about 1970, but a few lenses for Exakta were made with Trave names in the 1970's, and these
seem to have been made in the Far East. It is suspected that the Alpagon has an interesting story but this is
not yet available to be included.
Alpagon f3.5 35mm for Alpa. This is an interesting retrofocus design with few air-glass
surfaces, in a 6-glass 3-component design for high contrast (Layout Sch002). It may be a design developed in
the early days of coating. It was offered in UK in June 1958 for Alpa.
M-Travenar f2.8 50mm This was in a mount focusing to 1:1. A lens of this type was listed in
May 1964 but the aperture was not given. It was noted at No174,34x.
Super Travegon f2.8 35mm This was a retrofocus lens of 7-glass layout. Also as just Travegon
plain, or as Edixa Trevegon if in M42 for the Edixa reflex.
Travegon f3.5 35mm 6-glass, This was one of the favourites of the set. It was seen in a
black and alloy mount at No226,51x for M42 and No139,24x for Exakta VX. Coded 'R'. It may be near Alpagon
in design.
Super Travenar f2.8 28mm 7glass 6component.
Super Travenar f2.8 35mm Layout Sch001, 6g/5c. (Compare ALPAGON above)
Travelon f1.8 50mm This was a Gauss type standard lens.
Travenar f2.8 50mm Q15 type, Layout Sch003.
Travegar f3.5 50mm
Travenar f2.8 85mm This type includes some in M39x26 thread, Layout Sch004. Initially
these were in white finish in MCM Sept 1961, and were part of a set of f2.8/50mm;f2.8/90mm; f3.5, 135mm. a
f2.8/85mm was noted at No33,12x.
(Telexon) f3.5, f5.6 58, 90mm These were bundled as Schacht by one dealer's advert.
but are probably confused with Dr Staeble lenses.
Travenar f2.8 90mm Q15 layout. It was seen in a black and alloy mount at No359,76x,
coded 'R'.
Altelar f2.8 90mm (Layout Sch005) This was noted at No97,44x
Travegar f3.5 100mm Triplet.
Travenar f3.5 135mm An example M39 mounted, with a 4-glass design,was seen at No
360,91x, in a brass and alloy black mount. The lens is coded 'R'. Also at No352,03x, (not M39). It was noted
in black + silver in B.J.A. 1962, p484-40, for most SLR cameras, inc Exakta, M42, Praktina, but not
apparently eg Alpa, with auto iris and was part of a set of lenses introduced to the UK in July 1961. Price was
£27.5 + tax £4.9.
Travenar f4.5 135mm This was also an M39-mounted lens, and a Q15 design.
Travenon f4.0 135mm This was listed in July 1961 but may be a misprint for a f4.5.
Travenon f4.5 135mm It was seen with a Q15 layout, with removable lenshead, coded 'R'
at No239,82x and this mount was in part white metal, part chromed brass.
Super Travenar f2.8 135mm 4glass/4 component type.
Tele Travenar f3.5 135mm This was noted as a Travenar in black Auto APD mount for Exakta
at No260,23x.
Super Travelon f4.0 200mm This was supplied with extender 2x for Exakta Varex at No357,08x
in black finish.
Super Travenar f4.5 300mm 4glass/4component type.
Zooms
Super Travenar f3.5 75-205mm
Travegar f3.5 75-105mm
The products from the Far East seem to have been black finish lenses in Exacta fit. Those seen were fairly big
long focus lenses of 200-300mm but this is from memory.
Exakta Real Lenses were made for this camera and were noted as f3.5/135mm Travenar and f4.0/200mm
TeleTravelon.
Lenses for M39x26 Leica were:
A small group of Schacht lenses was agented in the UK by Leitz themselves as the production of screw
mount lenses ran down. They were all in black. Small shows some other versions which must have been sold
in USA at other times, and these include other specifications. These are left in light face type.
Travegon f3.5 35mm
Travenar f2.8 50mm This was not in the set agented by Leitz UK. This was probably a
Q15.
Travenar-R f2.8 85mm Again not is the set.
Travegon f2.8 90mm (This just may be a Travenar, or also as Travenar.)
S-Travenar f2.8 135mm
Travenon f4.5 135mm
Albinar f4.5 135mm This lens is mentioned in M.J.Small's book; the name is uncommon
in the UK and may be a USA importers one. The design is said to differ from the Travenon. One point is that
the Albinar was from Schacht at Munchen rather than Ulm, and was coated and in white finish at No21,360.
Travenar f3.5 135mm Lens head detaches for Viso use. (Some versions only)
Serial numbers here were about 360-390,000 and they were favourably noted in Modern Photo. 01/1970, p98.

Schaeberle, John Martin, (1853-1924)

He used a 5in dia lens in a 12meter tube for photography of the sun in Chile in 16/04/1893 and showed the
corona was a real phenomenon. It was some sort of longest lens in use then surely. The maker is not
recorded.

A. Schaeffner, Paris, France.

This firm was noted for a brass lens of f11and 5in with iris so it was likely to be from the 1890's(?).

Schaer
Schaer was noted for a f10 1350mm lens for a Telephot Vega in 1901.

T. Scheimpflug, (07/10/1865-22/08/1911) ,Vienna, Austria.

This Austrian Naval officer was the originator of the geometric/mathematical treatments of the relation of image
plain, depth of field and camera movements, developing rectification methods and studying aerial
photogrammetry. He was well aware that the novelty was really in the rigorousness of his teatment of
something photographers had done empirically before. His name was then used casually as Scheimpflug rule
in English.`

Schmidt, B.
He was the designer of the very high speed mirror systems often used in astro work, etc., with aspheric entry
glasses. (Zentztg. Opt. Mech. 52, p79). It was made from about 1932. A later account is by P.C.Hodges,
Amer. J. Roentgenology, 59, 122-131, (1948). His work was certainly a basis on which others built.

Schmitz and Thienemann, Dresden, Germany.

Rexar lens, f4.5 75mm No80,65x on Uniflex VP size SLR. They were noted for just this one item so far.

J.Schneider, Kreuznach/Rheinland, Germany.

associated with ISCO, Goettingen, Germany.
Prewar: R.F.Hunter, 51, Gray's Inn Rd., London WC1, UK. from about 1931.
Postwar, G. Elliott, Worcester Ho, Vintners Place, London, EC4V-2HH, London, UK and later London Rd,
Westerham, Kent, TN16-1DR. The Elliot Agency was transferred to Johnsons Photopia in the late 1990's and
the number became 01782 753300.
In USA, Schneider Corpn of USA., 185, Willis Ave., Mineola, NY 11501, USA. (in 1978)
The firm was founded by J.Schneider and his son J.A.Schneider in the last years before WW1 and was to
make camera lenses only, rather than be a general optical maker. Thus it would be expected that few or no
old designs such as Aplanats would be made. In fact an Extra Rapid Aplanat has been noted but seems to be
an atypical and unusual item. Schneider may have been caught up in the war effort in WW1 since by Dec
1919 the serial number was 30,000. The famous trade names Symmar, Xenar, Componar and Isconar date
from those early days. The business seems to have been a substantial and efficient one and flourished. A
separate works was built at Goettingen for ISCO and opened in 1940. Total production reached 1,000,000 in
1936 and 2,000,000 in 1940. It seems that including ISCO, 20,000,000 were made by 1974. Throughout
Schneider has a tradition of active design, well known lenses being regularly updated as new glasses or
techniques made improvements possible. And it has licensed designs out to others rather than bringing in
designs. It is noted for example that there was an important patent on Gauss lenses for Schneider by
A.W.Tronnier who was their head designer between the wars, as a basis for the Xenon, and others for the
Angulon, Symmar and Xenar. [Later Tronnier also worked for Carl Zeiss and it seems for Voigtlaender]. Much
later, Schneider seems to have purchased the USA rights to the Goerz and perhaps Meyer trade names,
since the Wisner Co have been able to sell Plasmat sets there based on Schneider designs, and the 1981 list
includes an Artar process lens. There is a tradition that Roeschlein was another interwar designer before
setting up on his own.
Early Lenses from the 1920's
It is likely that it took a little time for Schneider to set up a UK agent. Times were difficult and the result is that
their lenses from the 1920's are uncommon in the UK. This persists through the interwar years as far as
professional lenses are concerned: most of those found will have come in on other firm's cameras such as
Exakta, Retina and so on.
Petzval Portrait Lens Frerk suggests that they made a few.
Extra Rapid Aplanat: No details here- seen as a black finish barrel mounted lens, but sadly in need of
repair. It may be a Rubiar.
Fig 005 021 Schneider lenses: front (l) Dasykar, and (r) Rapid Aplanat and rear 3 prewar Xenars (f4.5 as (l)
210 and (m)165mm and (r) 75mm at rear.
Rubiar f7.7 This was made in 75, 105, 125, 135, 165, 195, 300, 420, 540mm and it was suggested
to use 200mm for 18x24cm at full aperture. It covered up to 90° possibly stopped down. Frerk lists it as a
"Universal Aplanat Rubiar" which shows it is an RR type. The example seen (at No26550, pre Dec 1919) was
an "Extra Rapid Aplanat" Rubiar f7.7/165mm in a simple TBI Singlo shutter such as might have fitted a low
cost folder or plate and may be a result partly of wartime or early postwar conditions. It probably was a better,
more valuable lens than the shutter.
Anastigmats
Claron Frerk mentions a Doppel Anastigmat Claron with regret since it was then (1926) not in production. It
was made under D.R.P. 250,731 and gave process quality stopped down, and covered 65° at f6 and 85° at
small apertures. Thus an 18cm lens covered 18x24cm,and the single cells were excellent used alone. The
design was barium light flint with heavy crown glass, and extra light flint for the inners. As a Casket set with
unequal cells it worked at f6.5 max. and was made under D.R.G.M. 50,257, where the design showed the
aperture in use directly.
Klaron This was an optional German spelling of Claron, though Frerk spells it as above.
Dasykar f12.5 It was made in 60, 90, 130, 155, 180, 220, 255, 320, 440mm Layout Q7.
It covered 90-110° and dated from the earliest production items. Use 180mm for 18x24cm at full aperture,
130mm at small stops. It was for Architecture, Interiors, Panoramas, and photogrammetry and seems to have
sold quite well for a small new firm. The example seen was a small lens in a black finished brass barrel mount
at No234,76x (c. Sept 1928) and showed the required (unlike) 2 bright and 1 faint reflexions front and rear.
Dasykar would be replaced by the Angulon in 1930 approx. It should still be really usable today however. The
barrel has a 32mm thread on the rear, to match a Compur 0 flange and the cells have the same thread as a
dial set Compur, but the barrel is near 12mm deep while a d/s Compur was nearer 18mm, so there is no real
compatibility with the normal Compur, but a wide one might be adapted. In use it gave good contrasty results,
with improvement on close down- it might be regarded as f12 to compose and f16 or f22 to shoot, but actually
f12 might give very attractive results on some subjects. In comparison the Angulon was to offer more speed
and easier focusing.
Fig 005 021 Schneider lenses: front (l) Dasykar, and (r) Rapid Aplanat and rear 3 prewar Xenars (f4.5 as (l)
210 and (m)165mm and (r) 75mm at rear. (above)
[It was placed side by side with a Ross-Zeiss f12.5/98mm Anastigmat which had very small glasses in
comparison: 7.5mm dia for Anastigmat compared with the Dasykar's 12mm. In both these the front cell is of
almost infinite focal length and did not throw a visible image, the rear being of about the overall focal length of
the combination. The Rodenstock Perigon f12/90mm at No2,369,41x ctd was superficially like the Dasykar,
but differed in that the front cell seemed to have measurable power, casting an image at about 5x the focus of
the rear. The internal glasses were also really much smaller than the Dasykar ones. Thus here are 3 lenses of
much the same apparent layout, but with real individuality. It shows the value of having several types to
compare.]
Isconar f4.5 This was a Dialyt type design, and ideal for enlarging. So it is really a small process type
lens. It was also spelled Iskonar for Germany. (See Iscaron below also a dialyt, Sc011). It has been noted as
a f4.5/135mm on an unnamed 9x12cm- ie probably a lower price camera brought in for a shop to sell? The
customer may have been surprised how good the lens was!
Isconar f6.8 This was a slower version of the above. Frerk says both are Gauss type dialyts. An
example f6.8/12cm No52,68x was noted on a Tropical Minerva.
Doppel Anastigmat f4.5 This may have been the same lens in an earlier form, seen as a 10cm on a folder
probably from the 1920's.
Apocomponar Probably a process lens, also as ApoKomponar.
Symmar
Symmar f4.5 This was a faster version of the Symmar sold in 1926 in Frerk's list, but probably rare.
Frerk mentions 70-75° coverage and nearly 80° closed down.
Symmar f6.8 This was made in 60-480mm for early production, and was a Q9 type, Sc013. Thus it
had good coverage for a professional lens. Use 18cm for 13x18cm but it will cover 18x24 closed down. It
covers 80° or 100° closed down. H.Klarman (Appl Optics 13, 708 4/1974) dates Symmar from 1920, and it
may originally have been a strictly symmetrical lens as most Dagors were, ie rear and front cells of identical
focus. But Merte (1943) refers to a Patent DRP 579,788/1930 for a "gestorter" lens, ie one with apparently
imperfect symmetry designed by Tronnier for Schneider and this may be a new type for the 1930's. It may well
have been convertible to give cells of different focus as unsymmetrical.
These older f6.8 types are scarce in the UK and no prewar lens has been noted. It is likely however that there
was little change up to c.1950. The example seen was a f6.8/240mm lens No2,944,55x from early 1952,
coated and in shutter. It had cells of f13/465 and f12/375, ie it was a true 3 focus lens. It must have been sold
for use of all 3 foci as the iris is calibrated with 3 scales. [This is unlike the Dagor series which seem always
to have used equal focus cells back and front and may suggest that Tronnier had made a real improvement to
the Dagor, possibly by the use of new higher refractive glass to reduce spherical or other aberrations.]
Later Klarman gives 1952 as the initiation of the air-spaced Plasmat type at f5.6, and comments on the
improvements due to coating which allowed this. Again this new type was convertible. The early types showed
fairly marked spherical and astigmatism softening, which were much reduced in the Plasmat layout, but there
seems to be some curvature of field left. Later the Symmar-S gave up the convertible feature but showed still
greater correction and a much flatter field, and this was further improved in the Apo-Symmar but one opinion is
that the Symmar-S marked the point where further improvement was less obvious than before. Klarman gives
resolution curves with central resolution figures in micrometres of approximately: 1920/f6.8, 18; 1952/f5.6, 16;
and 1972/f5.6 S, 11. This is a real improvement on an initially fine lens.
Fig 005 038 Schneider Symmar: (l) older f6.8 type; and f5.6 convertible in 210mm No9,968,401(rear), 150mm
(right) and 135mm No8,961,776 (front). The (l) lens is postwar but probably of the prewar type.
Xenar
Xenar f4.5 This famous trade name goes back to the early days of Schneider, and was mainly
used for a Q15 type lens where a 21cm was used for 13x18cm. or 12cm for Stereo work. (Grossbild Technik
1/1955, p49 suggests it was made for 35 years before then, ie issued in 1920). Incidentally, Schneider
regarded it as developed from the Taylor type, ie Cooke lens, possibly to avoid mentioning a rivals T.N. but it
may also suggest a mental approach for the design in 1920.
Fig 005 021 Schneider lenses: front (l) Dasykar, and (r) Rapid Aplanat and (rear) 3 prewar Xenars (f4.5 as (l)
210 and (m)165mm and (r) 75mm at rear. (above)
Among early applications for the Xenar was as an enlarging lens on the Zodel self-focusing enlarger as a
f4.5/5.5in lens for use on 3.5x2.5 and 1/4plate- though 2 lens sizes may have been involved.(B.J.A. 1927,
p322-3). Schneider do not seem to have advertised in the UK at the time.
Xenar f5.5 This is listed in Frerk's book, in an advert. inside the front cover.
Xenar f3.5 There may have been a f3.5 Q15 type lens in short foci for movie work, but the well
known f3.5 was the next item. The small version for Handkameras was called Type D in 1926, and this was
noted as engraved on a prewar F3.5 Xenar for about 150mm. But note Sc005 which is a reversed Q15 type
layout. This would explain the 'new' f3.5 Xenar of conventional Q15 layout announced in 1935 below. But note
the next item.
Xenar Type D f3.5 There seems to have been an uncemented 3-glass Xenar for Portrait work, of
excellent quality and able to stand comparison with the 4-glass. This type was for small cameras only.
Fig 005 022 Schneider F3.5/50mm Xenars on (l) Retina, for (m) Retina, and on (r) Dollina.
Xenar f2.9 This is a bit obscure, but seems to have been sold about 1930 onwards and may have a
5-glass design but the layout has not been noted. It was not noted in the list Frerk gives for 1926. A Xenar f2.9
was sold on a 6x9cm Speed Zodel plate at £12.60 in 1931 (B.J.A. pp311, 556advert.) while an f3.5 version of
the model cost £11.55. This suggests the f2.9 was not a very much more costly design as £1 had to cover the
larger glass plus the extra possible component.
Fig 005 024 Schneider's faster Xenars f2.9/50mm on Balda, and later f2.8/50mm No1,071,76x on Retina.
Xenon
Xenon f1.8 The design, as layout App061, by Tronnier must have been very quickly put into
production, after the Patent (DBP. 439,556 of 30/04/1925) as this lens for movie only (Frerk, also B.J.A. 1930
advert.) was on sale by 1926, and was then the second fastest available- after the f1.5 KinoPlasmat, (as the
f1.8 Ernostar only went into the book at the proof stage.) Note that it antedated the Zeiss Biotar f1.4 but was
slower. Frerk says the Xenon was already being looked for by still users, and the 75mm was fitted to a 6x9cm
plate. There was a factory drawing for a 10.5cm f1.8 version in 19/02/1926. A 'early type' of f2 Xenon from 1930
has also been reported but no details are available. There may have been a problem finding suitable small
cameras to use it. Thus as late as 04/05/1932, there was a proposed fitment in a drawing for a Foth Derby VP
camera, which were planned to be 24x36mm initially.
Isogon This was a wide angle lens. (Postwar it is a 4-separate glass type.)
Jakonar f4.5 135mm on Patent Etui, c.1934.
Projection Double
Anastigmat f4.5, etc. It was made in 175, 250, 325, 400mm in a black mount with rack and pinion focus.
It was a 4-glass Gauss design.(Q16) f4.5, 175mm; f6.3, 250mm; f7.7, 325mm; f9.0, 400mm.
ISCO Vorsatz Lenses The trade name ISCO was in use in 1926 for this purpose.
Radionar
Radionar f4.5 13.5cm This was noted in a Dial set Compur 1 No668,812 suggesting the 1920's, at
lens No286,52x, and may push the origin of Radionar back to 1928 or earlier. In use, it gave really nice results
outdoors on a sunny day at f8 or less, and obviously was capable of professional use when new. Contrast on
these negatives was really nice, and not easily distinguished on B+W from a postwar coated Xenar. It was a
very pleasant surprise.
Mainly a 1930's list.
The original lenses above are essentially to well established designs, but there was a progressive updating
with new Gauss designs and Angulon wide angle lenses in the 1930's based on Tronnier patents. There
seems also to be use of air-spaced types from a Tronnier Patent in the S-Xenar. (Doubtless the Symmar and
Xenar continued as a basis for large format sales.) Tronnier and Schneider were awarded a German Pat
No581,472/1929 for such a Q15 Xenar lens using glasses G1+G2=1.5410, G3= 1.5220 and G4= 1.6140/58.2
in the third example of some 5 shown. A later patent is USPat 2,084,714/1937 using glasses G1+4=
1.6202/60.0; G2= 1.5785/42.3; G3= 1.5315/49.1. (There is a short note on Xenar in B.J.A. 1939, p261.)
Xenar
Xenar This was a Q15 type made in a variety of apertures for all sizes of camera. It was and is a high quality
lens, especially used in large format cameras.
Xenar f5.5 This was made in 45, 75, 90, 105, 120, 135, 150, 165, 180, 195 to 300mm. It covered
60° and was Q15 type. The f5.5 type has not been seen and may be scarce.
Xenar f4.5 This was made in 50, 55, 65, 70, 75, 90, 105, 120, 135, 150, 180, 195, 210, 240,
270, 300, 360, 420, 480mm. It covered 60° and the layout is Sc006. This was a major seller in many foci, and
is one of the easier to find. A large format example was a 165mm No186,59x in a dialset Compur from about
1927, and this was excellent closed down a little as a professional would in serious use. In particular it
covered a good wide field. This type was continued postwar, probably with a redesign.
Xenar f4.0 75mm This version was possibly designed to fit a Compur 00 shutter.
Xenar f3.8 70, 75, 105, 135mm The f3.8/135mm was used on the Kodak Recomar 33. It seems
likely that some of these were f3.5 lenses slowed down by the shutter size. This will produce a lens with a
superior full aperture performance but lower maximum speed- quite a nice idea! See f4.7/135mm postwar.
[This was stated as the origin pf the f3.8 Tessar by Zeiss.]
Xenar f3.5 35, 50, 70, 75, 105, 120, 135, 150-300mm. This covers 55° (Sc005) and seems to be
sold from 1934 (B.J.A. 1935, p303) for 35mm at No 676,6xx, and some of these may be coded 'Retina f3.5'.
This may suggest that some f3.5 lenses for the Nagel Pupille were of the older type, as they come from 1932
or so: Hasbroeck shows a Pupille with a Xenar No419,264, which will be about 1931.
They were often fitted to the top end of 35mm cameras of the 1930's such as a Retina at f3.5/50mm
No1,418,528 in Compur 1/300 No 3,973,041. (A useful number for Compur dating.) An early example was
No670,281 in the early Retina advert. in B.J.A. 1935, p24, p285). They were on general sale, eg at No678,978
(idem, ibid, p303, 628advert.) and on test showed excellent definition and illumination, actually over a larger
field than 24x36mm. Thus they were used on Zecaflex as f3.5/75mm No1,054,59x about 1936.
Xenar f2.8 The conventional Q15 design comes as early as 1930 in the Companies literature,
(Sc021) but may have been in small sizes for cine, movie and perhaps RoBoT and a well known Exakta book
seems to show one from 1933 at No556,55x. (Aguila and Rouah). It was noted on a Balda 6x6 camera at
No944,846 (late 1936?) in Compur 1-250 No3,294,175 (about 1935?) but for once the lens serial number was
on the bezel of the rear cell- possibly due to the use of a front cell focusing mechanism. Most Schneider
lenses are numbered conveniently on the front.
Xenar f2.9 This was made in 1.375, 2.0, 3.0, 4.125in., to cover 60°. This was in a 1934 list and
this lens was probably partly replaced next year by the S-Xenar, but the 4-glass was continued in some foci. It
is actually not too common for a German firm to make a 4-glass f2.9, as it was usual to stretch to f2.8, and
leave the f2.9 to 3-glass designs. So Schneider were doing a premium product here. It may have been a new
lens which had to find a market initially as it was used in 1932 on a Sheffield Challey 6x9cm plate at £11.75
which was not really a main stream camera.(B.J.A. 1932, 296) Later the price on a Balda 35mm in 1934 was
the same as a f4.5 Tessar and was the second most costly offered. It was noted as Xenar f2.9/7.5cm
No498,83x (early 1932?) on a VP Korelle P camera from Kochmann, Dresden, and as a f2.9/50mm on a
Baldinette (part chromed) at No1,145,106 (Mid 1937) in Compur No3,590,284. This seems on examination to
be a Q15 1+1+i+2 design from the reflexions, but the advert. in B.J.A. 1937 p664 refers to Xenar as 4 or 5
glass (and this is likely to be the 5-glass if any was).
Aero-Xenar f4.5 This was made in 250, 300, 500mm and was a Q19 layout (Sc012), for 48°. It was
used on the Fairchild K8 camera in the 1930's.
S-Xenar f2.8 50mm especially, but made in 1.375-4.125in. (B.J.A. 1936, p266) Sc004). It covered
60°. A f2.8/8.0cm was issued 'new' in the 1941 Photofreunde, in a special mount for reflex cameras.This was a
5-glass Triplet, with a split front glass. The designer was A.W.Tronnier, Brit. Pat. 1936, 476,349, 476,348?,
USPats, 2,105,799, 2,076,686, 2,106,077). Really this was a fine design ahead of its time. User experience is
"not noticeably flary and really sharp for its time in the work done. Easy to use by 1950's standards." This for
an uncoated lens. Some f2.8 Xenars were 4-glass and this is likely to include the 1.375in. The above patents
also include other split front lenses which seem to have been developed less quickly, though the split f2.0
Xenon was listed. The S-Xenar was an official term, but was not engraved on the rim, just Xenar. They can
scratch easily as if the front glass was a soft type. Thus it is one to purchase but with care.
Fig 005 006 Schneider Xenar f2.8/50mm on Kine Exakta 35mm and Dollina No1,037,28x; and as a
f2.8/75mm lens.
It may be that as a prominent designer, Tronnier had some information as to progress in antireflexion coating
and was getting designs lined up to take advantage of it. Thus the postwar Ultron uses an air-spaced design
rather as these 1936 types might forsee. (This was a prestige design to rank with the Xenon and it may be
that the Xenon trade name was applied to it at times, such as the lenses fitted to the prewar Retina
cameras.)
The code S-Xenar was used (B.J.A., 1936, p266) but the lens was not normally distinguished in this way, so
it is not a way to recognise it. Rather one must count the 6 bright reflexions in front of the iris. It covered 60°.
(Some seem to have been fitted postwar at Serial No1,298,7xx to French Ontobloc III cameras in 1949. They
are Retina Xenon's and may represent overrun prewar stock lenses.)
The 5cm was probably the major version, and it was seen at No1,072,32x on Exakta mounting in a badly
scratched and abraded example and Nrs 1,086,64x and 1,037,28x (the latter on a much nicer condition Certo
Dollina) and this may be early in the production of both items. A late prewar Dollina version was No1,196,86x
in a Compur Rapid No5,668,xxx. Note also the 8cm version for the 6x6 Exakta, reported at No1,742,96x.
S-Xenar f2.8 75mm This seems to be the same type, here for a 6x6cm SLR such as the
Korrelle at No1,004,37x, uncoated in chrome mount.
Xenon
This was normally a Gauss type of 6 or 7 glasses and note that some have all the three front glasses
separately mounted, with no cemented surfaces. But 'Xenon' seems also to have been used for some premium
triplet designs, perhaps for some markets only. As above, it was made under a Tronnier patent to Schneider.
(D.R.P. 439,556, 13/01/1927, application 30/04/1925) shown as a f4.0 3-glass group. A version with the front
glasses separate was shown in USPat. 2,106,077 but it does have other different features. In 1930, they listed
Xenon f1.8 and f2 in the advert. B.J.A. 1930, p731) and it was really still a cine lens for Victor and Bell &
Howell cameras especially. Thus it seems the other versions were still to come.
Xenon f1.3 This was one of the fastest lenses of the day, and used a split rear glass in the
Gauss to get there. The layout was used for the Leitz Xenon f1.5, and Leitz said there was independant
development and an agreement to share. There was also some involvement with TTH for a patent on this type
of layout and peacetime lenses carry the TTH patent number. It was a very innovative layout, and has become
a common one for modern f1.4 lenses. Schneider seem to have made it in 25mm only. There was an
alternative 8-glass design patent but the use of this is not known. (D.R.Pat. 565,566, 02/09/1930), to
Schneider and Tronnier. It covered 27°.
Xenon f1.2 This was an 9-glass design covered in D.R.P. 565,566 of 02/09/1930, with the extra
glasses at the rear in a 5component design. See also German Pat. No 565,566/1930. It may never have been
made.
Xenon f1.5 25, 50mm for 16 and 35mm film respectively. This can be a more normal 6-glass
Gauss in cine lenses where seen and is shown in Sc007, Sc057 but there is an interesting triplet related
version Sc050 which seems to be an important product and often was that made. It needs careful inspection
to see the type present. (Compare Sc050 with an advanced triplet such as Zei 046 and imagine replacing the
glass 3 with air in it.) Some of the movie lenses in 50mm seem to have been remounted somewhere for M39,
for example at No1,834,20x (1942). But interest also applies to the f2.0 series. It covers 33°. There is a patent
for a possible version of this with an extra rear glass in USPat. No. 2,106,077/1936. Ariel notes it from 1936-
1950 at least.
Xenon f1.4 This was a much later postwar 25mm version used on Arriflex, possibly a redesign with
new glass to give the increased speed. Curiously it was not listed in the 1955 UK advert. when a series of f1.9,
f2, f2.3 Xenons were offered.
Xenon f1.5 'close focus' A number of these were supplied in special mounts to focus at 15-80cm
focus in 1939-40 at about No 1,728,04x in drab finish probably as instrument recording items for the German
forces. They are probably triplet types like that above. It is not known when production began. Ariel notes an
"80cm" Xenon which will be one of these on an 1943 Siemens & Halske 16mm camera.
Xenon f1.8 There are no details here, but it may be a movie lens and the early 1920's lens originally
sold. It covered 58°. A Schneider manuscript dated 19/2/1926 describes a 10.5mm version, apparently with
normal 6g/4c Gauss design to the D.R.Pat.
Xenon f1.9 16mm This was for a Siemens 16mm camera, 1938 list. It was still a specification in
B.J.A. 1955, p42 for 16mm Arriflex much later.
Xenon f2.0 It was made in 20, 25, 30, 35,(for 16mm cine) 45, 50(for 35mm movie) , 60 (for
Siemens movie), 75, 80mm (Layout Sc008) and covered 58° It seems to have been covered by D.R.Pat.
439,556, and was noted in the B.J.A. 1930, p731. The 50 and 80mm versions were noted in B.J.A. 1937,
p267. The earliest Xenon series included both Triplet and Gauss type lenses, but later all were Gauss. A
prewar Ihagee catalogue shows a Xenon f2.0 with an air-spaced front layout rather as Voi 041 but it is sofar
uncertain if these were sold. They were covered by U.S.Pat No 2,106,077, 07/05/1936. An Exakta mounted
example was No 1,404,68x, and a 45mm in Compur 00 was No 56954. They were listed in the 1938 catalogue
in 5cm for 24x36mm and 8cm for 6x4cm, and covered 39.7 and 65.0mm at small stops respectively. One is
illustrated at No1,188,889, which either indicated a prototype or is a number invented for the advert. Schneider
drew mounts for this airspaced type in M39x26 (XN-20-162 by Ringer, 29/11/1938) and for large format with a
f2.0 125mm lens (128XN, 31/07/1936) but these may have remained "Spezial" ie. one-off? as marked on the
drawings (but see f2/125mm below). Versions for the Foth Derby and M39 Leica mounts are in Schneider files
from 04/05/1932 (above) and 31/07/1936 respectively, and one was offered in 45mm f2.0 on the K.W. Pilot for
3x4cm in 1931-4, [along with the Zeiss Biotar]. An f2.0/25mm Xenon was offered for Arriflex 16mm in 1955
(B.J.A. p42)
The design of the Xenon was a major feature for Schneider, and was celebrated 50 years later. It gave them an
entry into the new fast Gauss designs from Tronnier's patent No DRP 439,556 of 30/04/1925. This was for a
single cell at f4.0/f4.5 and used glasses of n1=1.5814, v1=31.24; n2=1.6106, v2=46.33; n3=1.6230, v3=45.55,
to cover 50°. Schneider made a long succession of such 6g/4c lenses but the designs were regularly
upgraded as new glass was available, and this was every 10 years postwar, at least. But some variations do
exist. These are the 7- and 8-glass versions made for f1.3, (DRP 565,566), the 7-glass f1.5 and the air-spaced
f2.0 (USPat 2,106,077) offered in the 1938 catalogue. These seem all to be Tronnier designs.
There was much more use of air-spaced layouts in the 1938 list than realized and these were probably the
norm for Kine Exakta f2.0 Xenons in the 1930's, and should have given improved corrections at the cost of
increased flare. The examples seen today included one very worn one and the front glass may be a very soft
type.
Fig 006 016 Schneider Xenon f2.0/50mm for Kine Exakta (1930's).
The same has been noted for the 50mm f2.8 Xenar. The mounts for Kine Exakta may have been made by
Ihagee and the optic then fitted. They can be engraved S2.8 and S2 respectively on the mount of the Xenar
and Xenon.
One application was the Nagel Pupille, where it was noted as f2.0/45mm at No396,63x (early 1931?)
Xenon f2.0 was used by the Luftwaffe in various forms.
Xenon f2 One noted was a non-focusing black mounted 85mm f2.0 lens, in M39x26 and was probably an
aerial lens. The best known was the next item.
Xenon f2.0 125mm This certainly was an aerial lens, from WW2, originally for Handkammer HK 12.5/7x9
or Rb 12.5/7x9 mounted camera. This was from the firm of Fritz Voelk of Berlin which was destroyed by
bombing in WW2 and seems now forgotten. The lens came on the market postwar in fair numbers and was
mounted for miniature cameras. Thus Bennett of 25 Oxford St, London was offering them in June 1958 at
£69.87 in focussing mounts for most cameras or £75.87 for Hasselblad. Some were coated, but not on all
surfaces on that seen, and this may be repairers work as the latest number seen was not coated. Those
seen were engraved as made by Schneider (not ISCO), Goettingen, though the serial numbers are anomalous
at No48,04x, 44,92x, 51,81x and 57,283 (uncoated) suggesting that a new series of numbers was being
started there. The iris only closes to f11. It is a foreward looking lens, sharp and contrasty and covering nearly
6x9 but not 5x4. It seems that Tronnier helped develop the camera and lens for Luftwaffe use, in cooperation
for Fritz Volk of Berlin, the original design being 27/04/1937 as data sheet RaG 6, and 31/07/1936 as drawing
128XN. There seem to have been two types considered, differing with split and cemented glasses 2 and 3 but
the design seen was cemented. Postwar Tronnier worked for Voigtlaender and Carl Zeiss and Farrand, but
perhaps no longer with Schneider. (For another possible lens for this camera, see the TeleXenar 300mm
above.)
Fig 005 019 Schneider f2/125mm Xenon No4804x for HK 70 and f5.5/300mm TeleXenar possibly for the
same but adapted to 35mm SLR.
There were also AeroXenon lenses of f2.0, 300 and 400mm by some accounts but these have not been
seen.The original leaflet refers to longer lenses up to 300mm for the HK camera and it is just possible these
were also f2 Xenons. It is thus interesting an f2/300mm Xenon was available for movie use postwar (8/1968
list.)
Xenon f2.3 50mm for 16 and 35mm movie use. A Siemens & Halske 16mm camera with a 3 lens
sliding mount at auction carried 3 Schneider lenses, all Xenons, viz. f1.9/16mm, N1,218,63x; f1.5/25mm,
No1,683,06x; and f2.3/50mm No1,298,02x. Thus compactness may have been the reason for the f2.3. Also
used were TeleXenars f3.8/75mm at No1,772,02x and f3.8/100mm at No1,769,03x. Two f2.3 Xenons were
offered for Arriflex in 1955 (B.J.A. p42).
Xenon f2.8 50mm for Retina. This looks to be the same lens as the S-Xenar for Exakta from the
reflexions and external curves. Thus it is a case where a triplet derivative was used for a Xenon design, and it
was seen at No 1,071,76x, while an Exakta S-Xenar was No1,072,32x- numbers really close together since
Schneider were then making nearly 200,000 numbers per year. Perhaps Kodak merely liked the prestige of
having Xenon on their cameras.
Fig 005 026 Schneider Xenon f2.8/50mm Gauss design on Retina.
Xenon f2.0 5cm, 8cm. These sizes seem only to have come late from a notice in B.J.A. 1937,
p267. Possibly they were redesigns or new mounts as this is surprising otherwise. They covered 55°.
Retina
The information is that all the prewar lenses for the Retina cameras came from J.Schneider, but were often
relabelled as Kodak Anastigmat or Ektar in line with company policy. There may have been second thoughts
here as there are reports of Angenieux Alcor and Ennatar lenses as well as a Pupillar of unknown (?
Schneider?) origin, but the overall picture is plain. The specifications are rather like this:
Kodak Anastigmat f6.3
Kodak Anastigmat f4.5
'Ennatar' f4.5
Xenar f4.5
Schneider Reomar f4.5
Kodak Anastigmat f3.5
Kodak Anastigmat Ektar f3.5
Kodak Ektar f3.5
Kodak Pupillar f3.5
Xenar f3.5
Retina-Xenar f3.5
Schneider Reomar f3.5
Zeiss Tessar f3.5 on Retina I postwar.
Schneider Retina Xenon f2.8
Early lenses were marked 5cm, later they were 50mm.
OrthoAngulon f4.5 This may be an early anastigmat designed to compete as a convertible with the
Plasmat and Protar V11 and the layout seems slightly like a Plasmat with extra glasses. It is undoubtedly a
very rare lens and has not been seen and just may be prototypic. Layout roughly Sc035.
Angulon
Angulon f6.8 This was made in 3.5in for 1/4plate, 4.75in for 5x4in, 6.5in for 1/1plate, 8.25in for
10x8in (Amateur Photo, 18/11/1931, Layout Sc014) and covers up to 105/125°. The advert. in 1930 does not
include it so this was a 1931 introduction for the UK at least. It was initially in barrel mounts, (B.J.A. 1932,
p275) and was extended to sale in Compur shutters in B.J.A. 1934, p283, when it was described as
'excellent', and distinctive as the front and rear components can be used as lenses of 2x and 1.5x the focal
length.The original suggestion was to use 4.75in for 5x4 at f6.8, and for 8.5x6.5in when closed to f22, which
suggests it was then thought of more as a f6.8 use lens than later.
The BJA saw a 6.5in lens and said it was remarkable for even illumination,and (probably) fully usable at f6.8 for
105°, so that it covered a 1/1plate for professional use: but improving in illumination and coverage on close
down so that 6.5in then covered 12x10in. The front cell covers 10x8in as does the rear, but are "pleasingly
soft" and best for groups or landscapes- (this was probably solvable on close down!) In 1930, it was an
outstanding lens, with oversize outer glasses and good contrast from the simple design, and was certainly
well ahead of the Dasykar, but curiously it seems initially to have sold poorly in the UK and is scarce here in
prewar examples. This may be due to intense wear and tear, as professional lenses do wear out. Prewar the
Angulon was partly marketed then as a normal focus lens with wide angle benefits as a side line and the wide
angle feature was less stressed till it was re-marketed postwar, when it was sold primarily as a wide angle
lens.
The example seen was No889,88x in a rimset Compur 1-1/250sec No3,326,10x about 1936, and looks just
like a postwar version except that it is not coated.
Postwar it was to be improved by coating and may have been a slight redesigned as new glass was used. The
external curves on a 9cm are just measurably flatter on a postwar lens than on the prewar one above, although
at casual sight the two series seem to be the same. Postwar it was mainly sold as a wide angle lens, eg as a
3.5in wide angle for 5x4 cameras, usable with little or no close down. But the claimed angle of cover
decreased as users demanded performance at full aperture rather than were satisfied to work closed down.
Thus Angulon will certainly cover 105° at f22, and will illuminate 125° but with less sharpness- but it can be
useful if the corners of a negative do not need to have detail as in skies or shadow areas.
Another Schneider list gives:
Usual Angulon Max. Size Using one cell only
Size focus of plate Front cell Rear cell
in mm in mm mm.
5x4 90 6.5x4.75 185 @f14max. 140 @f12max.
7x5 120 8.5x6.5 250 185
10x8 165 12x10 345 260
12x10 210 15x12 430 330
(See brochure 1-3000 X.30 F.H.Kv. ie Oct 1930).
The Patent seems to be DRP 579,788/1930 using G1+6= 1.6035/38.0; G2+5= 1.5715/50.8; G3+4=
1.4631/64.9.
Grossbild Technik 1/1955 suggests it was launched in 1933 and covered 85° at f6.8 and 98° at f22.
Fig 005 034 Schneider Angulon f6.8/90mm No4,258,399 in Synchro Compur P. This is a postwar example!
Radionar
Radionar was a three glass design made in a series of apertures for lower price cameras, and usually for
amateur use. These were important products commercially and the longer ones were valuable professional
lenses. But again the UK market seems to have been sold rather few of them. They may have been covered
by Tronnier's patent USPat 1,987,878/1935; DRP 501,068 of 30/06/1930 on an f4.5). This used glasses of G1=
1.6739/51.3; G2= 1.6481/35.4; G3= 1.6515/56.3. The earliest noted is an f4.5 above from 1928 and the series
may then have developed faster versions as its success was noted.
Radionar f2.9 50 for 3x4 cmm, 75mm for 6x6cm 3-glass Triplet. It covers 56°.
Radionar f3.5 50 for 3x4cm, 75mm for 6x6cm 3-glass Triplet. 53°
This was noted on a 4x3cm rollfilm camera.
Radionar f3.8 70, 75mm, this was iris limited for Compur 00 on VP.
Radionar f4.5 50 for 3x4cm, 70, 75 (1938) for 6x6, 90, 105 (1938) for 6.5x9cm, 120 (1938) for
6.5x11cm 135mm for 9x12cm 3-glass Triplet (Sc001) 60°
Radionar f6.3 75-300mm 3-glass Triplet (Sc002) 56°
Isconar f4.5 for 60°
Accessory Lenses.
Curtar lens for shortening focal length. This was made in 0.8x and 0.7x the prime focal length.
Longar lens to increase the focal length. This was made in 1.35x, 1.7x 1.9x the prime focal length.
These were made prewar for use as attachments for plate cameras (not rollfilm) as their use needed extensive
refocusing of the camera. They were designed to match Xenar, Radionar, Isconar, mainly in foci of 180-
210mm. These are not easy to find today, and must not be confused with quite different lenses for Retina
cameras made postwar.
Soft Focus attachments for portraiture with Xenars: these increased the focal length by 1.35x, 1.7x and 1.9x
but seem to have been a different product from the Longars above, and were listed separately.
Telephoto Lenses.
These were made under the name TeleXenar, but the layout has little to do with the Xenar. (See Sc015 for
example). This is a normal 2+2 tele layout. They were a useful product and sold well for plate and the new
miniature cameras, such as the Exakta. They were offered in f3.8, f4.5 and f5.5 for still use and especially
f3.8/4in for cine in B.J.A. 1930, p731advert., but there seems to have been no UK agent then and R.F.Hunter
of Doughty St was responsible for the 1931 advert.
TeleXenar f5.5 This was for 40° and was made in 180, 240, 270, 300, 360mm Sc015. An unusual
application was to the folding rollfilm SS Dolly in 1938 where it was fitted in place of the usual 75mm. And of
course, the tele had to be removed before the camera could be closed!
Large versions could be for large format but they are also seen for 6x6cm as a late prewar example
f5.5/300mm No1,460,68x which was probably initially for Primaflex or possibly VP Exakta. It is in a focusing
mount finished in chrome and silver grey paint (rather than plating) and just may have been coated during the
war. In fact, one possibility is that it was a long lens for the Handkamera to match the 125mm f2.0 Xenon. This
is supported by the iris which is only graduated f5.5, f8 and f11, which is surprising for any other than an aerial
lens- the f2 Xenon also goes only to f11.
Fig 005 019 Schneider f2/125mm Xenon No4804x for HK 70 and f5.5/300mm TeleXenar possibly for the
same but adapted to 35mm SLR. (above)
TeleXenar f4.5 This was for 32° and was made in 75-300mm, especially 130-240mm Sc010.
TeleXenar f4.5 There was a 150mm for 16mm cine.
TeleXenar f3.8 This was to cover 30° and was made in 38mm, (in preparation, 1938), 75, 100mm for
16 and 35mm movie, 2+2+1 design Sc009.
Cine Lenses
Kinoplan f3.0/ f3.5 This was noted on a Nizo 16mm camera in B.J.A. 1929, p357. It was also in
12.5mm in 1938 for 8mm cine Q15 Sc003. This suggests it was a high quality triplet but this is conjecture. An
f3.0/25mm Kinoplan No1,420,883 and 1,420,92x (late 1938) was used on the Sola camera for 13x18mm at
No96x. (Min. Cam. World 06/1938, p378) where a Xenon f2 was also promised. The Sola was said to be the
preferred camera of some Nazi surveillance work.
f3.5/25mm for 16mm on a 1928 Nizo 16mm.
f2.7/12.5mm in 1938 for 8mm. Ariel notes several on cameras from 1935-1951 from Eumig
and Bauer.
Xenar f2.8 10mm on Bolsey 8mm (1963)
Xenar f2.8 38mm for 8mm on Bolex cameras.
Xenar, Tele f3.8 75mm same, in 1930's to 1950's.
Enlarging Lenses:
These seem to be limited to the 3-glass Componar design, a good one of the type. It was designed to give the
best possible corrections 'under enlarging conditions'.
Componar f3.5 2.0, 3.0in (?-5.25in) (B.J.A. 1938, p264)
Componar f4.5 2.0-4.0-5.25in.
These could include a focusing mount or a mounting flange.
It is likely that only some foci were listed in the UK, eg. as shorter f3.5 and longer f4.5 versions.
RoBoT
Lenses for Robot. This was a special programme and on purchase check the screw flange size as two sizes
were used.
Xenar f2.8 37.5mm 1936 This was a 4-glass version in the lens seen at No2,065,87x.
Xenon f2.0 40mm 1939? 6-glass type.
TeleXenar f5.5 50mm 1936?
TeleXenar f3.8 75mm 1939
TeleXenar f4.0 100mm 1939
TeleXenar f4.5 150mm 1939
TeleXenar f4.5 240mm 1939.
These dates will be a bit approximate.
_______________________________________________________________________________
The B.J.A. 1939 advert. included:
Xenar, f2.8 as 50mm, 75mm; f3.5 as 50, 75, 105mm; Xenar f4.5 as 50, 75, 105, 165, 210, 240, 270, 300,
360mm.
Radionar f2.9 as 50 and 75mm; f3.5 as 50 and 75mm.also f4.5 not specified.
Xenon f1.5 50mm, f2.0, 50mm; f2.3, 50mm; f2.0, 80mm.
Long focus lenses as Xenar f4.5, as 105 and 135mm, TeleXenar f5.5 as 150, 180, 240, 300, 360mm mainly for
Korelle and Exakta.
Angulon f6.8 as 90, 120, 165, 210mm as a large format wide angle and convertible lens.
Componar f3.5 as 50, 75mm; f4.5 as 50, 75, 105, 120, 135mm.
Symmar f6.8 as 2.375- 14.25in 80° for large format use. (1938 advert.)
____________________________________________________________________________
WW2 production was coded: dkl.
Some wartime products do exist. Note the f2/125mm Xenons and probably TeleXenar for Handkamera
above.There were also a number of 50mm f1.5 Xenon lenses (Layout ? Sc050) in secondhand trade which just
may be an early postwar factory release- they seem to be movie 6-glass Xenon type, coated, and in M39
mount, but the coupling seems to be only approximate. It is more like that they are ex-forces and some one
remounted them. The serial numbers are near those of the 25mm f1.5 Xenons which turn up in mounts
focusing close-up only (14-80cm range), uncoated at No1,728,03x-1,794,69x- the hoods are sprayed in
Luftwaffe grey, and they were actually produced in 1942.
Fig 006 025 Schneider lenses for 16mm Paillard Bolex with Gauss 16mm and Triplet 25mm f1.5 Xenons and
75mm TeleXenar plus two near focus f1.5/25mm Xenons (eg Nos 1,728,038 + 1,728,999) in close- focus
mounts possibly for recording use.
Also note some f4.5/135mm Xenars were made in M39 at Nos 1,757,68x and 1,801,98x (June 1942). The
latter is coated, but no red "V" and not to normal finish. There were also 85mm f2 Xenons in rigid black
mounts.
Fig 006 020 Schneider Xenar f4.5/35mm No2,351,xxx in fim of unknown source. (Possibly ex-M39 mount?).
Also see next para.
Postwar
It is convenient to divide pre and post-war lenses here. Technically this was also a point where things
changed- new glasses came in, anti-reflexion coating and a little later computers for design. So it is a new
generation in any case. Early postwar items were probably partly old designs coated, and the new ones would
be introduced progressively. Certainly an early list had Xenar, Xenon, TeleXenar, and Angulon as well as
Radionar and others. Coating was usually indicated by a red-filled V but this was missing on No 1,701,20x
(which seems to be only coated on the front glass) and 1,766,98x, and the coats seem to have been "hard"
from the beginning- scratched Schneider lenses do occur but are less common than other makers. The trade
name was Duroptan. But there must have been problems in getting some supplies, since the catalogue
suggests using one Compur shutter shared for several lenses and outlines which lenses could be exchanged
this way.
Very early postwar, Zeiss Ikon had supply problems in getting lenses for the Stuttgart factory from Jena, and
for a short time, Schneider helped them with supplies of Xenar lenses eg. for Super Ikontas and an example of
this is a f3.5/75mm Xenar No1,913,34x and 1,945,88x(about 1947). This was noted in the BIOS report early
postwar. It must have been a little earlier that Xenars in Compurs were used on the French Ontobloc cameras-
it seems there was a time when the production was "not available" to German makers while Kreuznach was in
the French occupied zone.
The same problem applied to Franke and Heidecke (Rollei) and from Oct 1945, Xenar f3.5/75mm lenses were
used on Rolleiflexes.
Schneider were quick to introduce new items, such as an auto iris in 1950, retrofocus cine lenses, air-spaced
Plasmat type Symmars and front cell lens sets for the Retina cameras- and others! And the designs were
regularly updated, every 10 years perhaps, from an article by H. Klarmann (Applied Optics, 13, 707, 04/1974.)
Incidentally the difference between f1.9 and f2 is a small one and Klarmann seems to class them together
from the design viewpoint. There is a sign that the first improvments were to spherical correction, and only
later to astigmatism, possibly as the former made focusing at full aperture less easy.
A 1950's list is rather as follows:
Xenon
Xenon f1.5 50mm for 24x36mm cameras (1950) The layout is not given here, but there is
reference to a 7-glass version. Otherwise the layouts are 6-glass in the lens seen which may have been
originally designed for movie use. These are very impressive lenses and the compiler remembers one in a
Bond St shop from those days with jealousy for the eventual owner. But it is a little uncertain whether the
mount was really rangefinder coupled.
Xenon f1.5 50mm for 24x36mm This is an uncertain item, possibly the Movie version above. But
it was listed, see below! This item is based on an f1.5/50mm Xenon which was shown at Photokina 1950
(MCM June 1950) with a preset iris worked by twin cable releases giving FAPD action- a real novelty then.
Xenon f1.9 40, 50mm (1959 type, Sc028, 1966 type, Sc029. These seem alike. But in the 1954
list the 40mm for 24x24 is specifically drawn as 6g/5c, rather than 6g/4c as the rest are. The mounts seem to
have been chrome to 1960, then black. A version to carry a lightmeter was made in an 04/1961 list.
Xenon f2.0 50, 80, 125mm (Sc033) A few were made for M39x26 thread cameras and are now
well valued items in this field. (An example was No3,219,53x ((1953?) noted on a Kristall in M39.) The 125mm
was deleted by 1954. Postwar Xenon on still cameras was nearly always a cemented lens, ie 1+2+2+1
Gauss, the exception being some fast cine lenses where the prewar split front layout persisted. The f2.0 was
noted in 1950, but in 1951 there were both f1.9 and f2.0 versions, and after about 1954 the f2.0 was
discontinued so far as can be seen. This has been seen for Rectaflex at No3,099,55x and 3,504,11x and
Leica and probably for Exakta and ?M42.
The f2.0 Xenon for Retina was a different design, of similar performance (see Retina section below). And by the
1960's, the J. Schneider group were supplying Xenons and also ISCO f2 Westagon, f1.9 Westromat, and f1.9
Westrocolor lenses. A contemporary review says the performance was not very different but that the
Schneider versions had more elaborate mounts. A 1954 catalogue seems to list Xenon for SLR as plain iris
(without comment), with autopreset iris and finally with fully auto iris.
Xenon f2.8 50mm This is a 6-glass Gauss, Sc060, Sc061 and a smaller version of the f2.0 lens,
so it uses the same front lenses as the f2.0. It is of very generous size, nearly as big as the f2 in fact and
excellent, and the rear end is identical to the f2.0. It is sought after which is why this Retina model has a high
value today.
Xenon for large format. It is possible that this was considered when the Xenotar was developed, as a
Schneider-related article in Grossbild Technik uses a 6-glass Gauss to illustrate a camera with movements
exceeding those of the lens in use- but whatever, it was a 5-glass Gauss Xenotar which was always sold as
far as is known.
Curtagon
Curtagon f2.8 35mm by 07/1959. Sc025
Compare this structure with Sc054 which is later.
Curtagon f4.0 35mm Sc026. It is uncertain whether the front is balsamed or not in Sc055 or free as
in Sc026. So far the lenses have not been seen to clarify this.
Curtagon f4.0 28mm Layout Sc027.
Fig 006 004 Schneider Curtagons (l) f2.8/35mm No9,973,207 for Real; (m) f4.0/28mm No7,174,803 in M42
and (r) f2.8/35mm No11,887,226 in M42 electric mount.
Xenar
Xenar f2.8 38, 45, 50, 75, 80, 105mm Sc021. (38mm was for RoBoT Royal 24, MCM 2/5/1954).
A report in the Hausmitteilung Vol 3, p80) for 1951 is by Gunther Klemt, the designer, and describes the
performance of the f3.5 and f2.8 Xenars, (and Xenon f2) the centre resolution not being too different but the f2.8
seems to have been less easy to correct off-axis, and has a rather tangled astigmatism curve. There are
structures with the performance curves, and these are 4-glass Q15 and 6g/4c designs respectively. They
seem to have been designed for about 50° coverage. In general the sharpness decreased with increased
aperture at that time. Other chapters covered lenses for the RoBoT and the development of modern anastigmat
lenses, both also by Klemt.
One application of the 50mm was to the 24x30mm Wenka camera (B.J.A. 1953, p224) where it was coupled
to the r/f + v/f unit. Here the 2-blade shutter was well behind the lens and moved almost like a focal plane
shutter.
Xenar f3.5 50, 75, 105, 135, 150, 180, 210, 240mm It is still a 4-glass Q15 lens. One version to
note is the f3.5 75mm for Alpa, eg at No3,881,44x, 4,655,80x and 4,655,83x.
It was used as a f3.5/75mm lens on the Rolleicord cameras, eg Model II about 1950, at first as a alternative
to the Zeiss Triotar, but later, Xenar was the only lens fitted. It was also fitted to the period Rolleiflex
Automat as a alternative to the Tessar. The Triotar had been the only lens previously, but as a 3 glass triplet,
was meeting competition from budget TLR cameras by other makers than Rollei and the 4 glass Xenar was
probably needed to compete.
The f3.5/105mm was often fitted to Linhof 6x9cm cameras, especially Technika III where use as a press
camera was planned. It may have been the longest sold as it was still in the 8/1968 list when it was the only
large format f3.5 Xenar.
Fig 005 010 Schneider lens set for Linhof 6x9 as Xenar f3.5/105mm, Angulon f6.8/65mm and TeleXenar
f5.5/180mm.
TeleXenar f3.5/90mm This was a Alpa lens sold at the same time as the above, eg at No3,004,86x.
Xenar f4.5 105-480mm (Sc020) This covers 62°.
The foci made were 105mm for 6.5x9cm; 135mm for 9x12cm, 150mm for 9x12cm or 5x4in, 180mm for
10x15cm, 210mm for 13x18cm, 240mm for 13x18cm, 300mm for 18x24cm, 360mm for 24x30cm, 420mm for
24x30cm, 480mm for 30x40cm in April 1960 and August 1968. By then the 127mm had been discontinued.
Experience with large formar Xenars for 5x4 use suggests that they were very well built to survive professional
use. Thus the filter threads act as a very effective sort of crumple zone when dropped. Note The actual mount
round the glass is very strong and resists damage very well. These lenses seem bot to have offered a new
level of sharpness and to keep it even when superficially damaged. Performance seemedvery consistent in
several samples seen. But it must be stressed that lenses with damaged filter threads are difficult to clean
internally as the front glass is retained by the engraved ring which runs on the filter thread and damage to this
may make it difficult to open the lens. These considerations also apply to Symmar lenses of the same period.
f4.5/35mm for possibly Akarelle, in focussing mount, coated seen at No2,351,36x.
The foci made were 105mm for 65x90mm, (127mm for 90x120mm),135mm for up to 5x4in, 150mm for 5x4in,
165mm probably for 5x4in but not in the 04/1960 UK list, 180mm for 4x6in, 210mm for 5x7in, 240mm for
5x7in, 300mm for 8x10in, 360mm for 8x10in, 420mm for 11x14in, 480mm (no size quoted here). The 3 largest
sizes were not offered in shutters. This large format Xenar was a great success and a far more important
product than prewar. There may have been less competition in large format products, and certainly Schneider
managed to supply a large part of the demand. Thus at least in the UK, the major seller on 9x12cm and 5x4in
cameras seems to have been Schneider with Xenar (or Symmar) lenses of high quality. The 135mm was also
sold as a short head bellows lens, eg on Novoflex.
Fig 005 036 Schneider Xenars for 5x4in (l) f4.7/135mm; (m) f4.7/127mm; (r) f4.5/150mm.
There seems to have been a period in the 1950's when the 150mm was being developed and 5x4in formats
were supplied with 180 or 135mm lenses, about 1950-1953. The 135mm only allowed 6 or 5mm of
decentration with 5x4in formats and in comparison the 150mm was much more useful here.
Xenar f4.7 135mm This was the normal lens on Press cameras for 9x12cm and 5x4in postwar
as it offered rather more depth of field and was cheaper since the shutter was the Compur O size (smaller and
lower cost than the Size 1) but this limited the aperture to f4.7 though the glass seems to be the same as an
older f4.5/135mm lens. (see Fig above)
Xenar f4.5 135mm this was also in the same list for IV 60 ie April 1960? side by side with the
f4.7 but in Compur I but it has not been seen probably due to the increased cost in the UK and the use of
135mm mainly by Press workers on 5x4in. The list does not give the decentration of either of these 2 Xenars
but they are both quoted as 62° coverage like all the Xenars f4.5 series.
Fig 005 016 Schneider Xenars in bigger sizes for 35mm: (l) f4.5/135 in M42 mount and (r) f3.5/135mm for
Exakta. (note also for M39).
Xenar f4.7 127mm The was the "Press Xenar" and was noted on a Linhof Standard Press for
9x12cm at No2,264,28x. It might cover 5x4 but with little extra for movements and was probably the 9x12cm
version of the 135mm f4.7. Thus it was in the same class as the 135mm lens, but for 9x12cm. Curiously it is
in the April 1960 list with the format size and decentration allowed, when it covered 5x4in but probably without
allowing movements (the image diameter is 161mm) but not in the other part of the list- as if the 135mm f4.7
was then beginning to replace it for the UK market at least. (see Fig above).
Radionar
Radionar f2.9/2.8 50mm for 24x36mm, 80mm for 60x60mm. This was a Triplet, rather scarcer than
before the war.
(a) It was fitted eg as an 80mm on Solida 111, where it was classed as "rather soft at full aperture, acceptable
in good light."(MCM, 6/1954) and in B.J.A. 1955, p182 where it was liked especially at f5.6 or less when
adequate 15x15in prints could be made,
(b) and as a 50mm on a Super Baldina 35mm in B.J.A. 1956, p185 where it was 'high resolution and good
coverage' on a camera well above the average for the time.) Where the Radionar model was listed as well as
one with a Baldanar f2.8 or f3.5, it was the Radionar which commanded the premium price.
Fig 005 003 Schneider Radionars f4.5/105mm No3,868,11x on Balda and f2.8/50mm No4,354,212 on Baldina.
Radionar f3.5 38mm for 24x24mm, 50mm for 24x36mm, 80mm for 60x60mm, and 105mm for
60x90mm It was a Triplet, Sc031.
Radionar f4.5 50mm for 24x36mm, 75mm for 60x60mm, 105mm for 60x90mm, and 135mm for
90x120mm It was a Triplet as before the war, and the external curves seem to be the same as before the war
on a f4.5/105mm lens (compared at Nr3,868,11x/coated and No1,060,24x/uncoated on Balda Baldalux
postwar and Balda Pontina prewar, and these are also quite closely related cameras but with improved finder,
interlock and folding mechanism.) The postwar lens will have benefitted from the coating and will have been a
novel product to sell for this reason. A 6x9cm Baldalux camera was noted in B.J.A. 1953, p205 with a coated
f4.5/105mm Radionar, and this will suggest a date for many UK samples as few would have come in before
then and 6x9cm sales were to decline soon after tis date. Another user was the Bonafix and Rolfix cameras,
for 6x9cm noted in B.J.A. 1952, p194. (Fig above)
An example of the Baldalux, from c.1953 was used and the f4.5/105mm Radionar gave a very nice set of
negatives, with really good central sharpness and this spread out to the edge on closing down. It was nicely
coated and contrast was really good. It must have been an excellent choice for a family camera in the 1950's
but later proved would have been expensive to run especially for colour and the camera seems to have been
little used. A more stringent user would have said it was sharp but not critically so and big enlargements
would have shown its limitations. But it was one of the leaders in its field and day.
Radionar f8.0 125mm, mounted as a set of 4 on a Sinar panel for 4-shot work eg. portraits and
Passports. These fit in front of the Sinar shutter. At this low aperture it should be critically sharp for
professional use.
Cycloptic Lenses f1.8 40, 50mm There is no information on these except that D.Hacman and G. Klemt
designed them on the Cycloptic principle and described them in Hausmittelungen Vol 3, p42.
It was then important to sell lens sets eg for RoBoT and Diax and another set was for the Akarette with 45mm
f3.5 Xenar and f3.8/75mm TeleXenar mentioned in MCM Dec 1949.
Fig 006 018 Schneider and ISCO lenses for the Diax: Xenagon f3.5/35mm No3,663,824; TeleXenar
f3.5/90mm No4,281,192, TeleXenar f4.0/135mm No4,721,691; ISCO Isconar f3.5/50mm No397,316.
Bertram 6x9cm.
Schneider supplied the lens set for the Bertram Press camera about 1952, as follows:
Angulon f6.8 65mm
Xenar f3.5 75mm
Xenar f3.5 105mm
TeleXenar f4.5 180mm
These would be standard items of the day though the 180mm is faster than was really normal. (see Schneider,
J. in Modern Photo 04/1978, p25, 162)
Movie Lenses Postwar.
Note that postwar many movie cameras used turrets for quick change of lenses and in 8 and 16mm cameras
the flat turret placed limits on the diameter and length of lenses if a set were to be fitted at the same time.
Hence the choice of tele lenses and the restrictions on aperture of the 50mm lenses. Many of the 35mm
movie cameras used angled turrets so the lenses splayed out and removed the restriction. The Cinegon was a
major novelty and seems always to be an Ernostar-4 with a 2+2 afocal adaptor type front to give the retrofocus
effect- actually this gave a very advanced 8 glass system.
A 1950 list has:
for 8mm film.
KinoXenon f1.5 13*, 25mm (*13mm was deleted in one 1951 list, but present in 1954!)
Xenoplan f1.9 13mm Ariel lists these on pre and post-war cameras as f1.9 and f1.8 over the years
1936-1958. It was noted initially in Schneider lists and seems to have been an important product. An example
was noted by the B.J.A. 1957 p222 on a Bauer 88B double eight cine, and it was a fixed focus lens with iris to
f16, the iris being coupled to the meter.
Xenoplan f2.2 10mm
f1.9 13mm about 1951
Kinoplan f2.7 12.5mm Triplets, cf prewar. One was noted on a Bauer 88 cine as f2.7/12.5mm in
non-standard bayonet mount, 1/4turn action, 'which gives excellent pictures'. (B.J.A. 1955, p213)
Xenar f2.8 38, 45mm
Cinegon f1.9 6.5mm This was "New" for 1951.
Cinegon f1.8 5.5mm
A special feature was the Curtar 0.5x and Eutelon R tele converters used for 8mm, eg on Nizo cameras.
Kiptar f1.6 20mm This was probably a 8mm projector lens from about 1953. It was noted on a
Nizo Lucia in B.J.A. 1953, p248.
for 16mm film.
KinoXenon f1.5 20*, 25mm (*20mm deleted by 1951, 1954) This has been noted at least to
No6,430,827(1960) as a ctd. lens in the traditional mount but was later replaced by a f1.4 version below.
Fig 006 025 Schneider lenses for 16mm Paillard Bolex with Gauss 16mm and Triplet 25mm f1.5 Xenons and
75mm TeleXenar plus two near focus f1.5/25mm Xenons (eg Nos 1,728,038 + 1,728,999) in close- focus
mounts possibly for recording use.
KinoXenon f1.9 16mm
KinoXenon f2.3 50mm
An interesting advert. for Arriflex lists Xenon f1.9/16mm; f2.0/25mm; f2.3/50mm; and f2.3/75mm. One
restriction may be the size of larger f2 lenses which other turrets might not accept, hence the use of f2.3.
(B.J.A. 1955, p42). A f1.4/25mm Kino Xenon was used on the Arriflex, see below.
TeleXenar f3.8 75, 100mm
TeleXenar f4.5 150mm
Cinegon f1.9 11.5mm This was a new design for 1951!
Cinegon f2.0 16mm Ariel lists this on a 1952 Arriflex.
Kiptar f1.6 50mm This was probably a projection lens from about 1953.
for 35mm movie.
KinoXenon f2.0 28, 35, 40, 50, 75, 100, 125mm. These were 6g/4c designs with one possible case of
a 6g/5c at f1.3, which is not detailed in the 1951 catalogue.
Cinegon f2.0 20mm This was a new item for 1951(Listed by 07/1952). It was a 8g/6c retrofocus
design. This makes it a really innovative retrofocus design.
Enlarging Lenses.
Postwar more elaborate enlarging lenses became normal, due to the greater sharpness demanded and the
colour corrections needed for colour printing. As a result Schneider developed 3 series of enlarging lenses.
The first was the only one in a 1951 list. The other two were added by about 1960. The series were initially
coated and in chrome finish mounts (eg at No9,987,20x), then about 1965-1970, in black mounts with a bold
white dot at the indicator mark (eg at No 13,379,86x), and later with a lever to control the stops.
Componar This was Componar I for f3.5 and Componar II for f4.5 in the 1951 list.
Componar I f3.5 50mm for 24x36mm, 75mm for 60x60mm.
Componar II f4.5 40mm for 24x24mm , 60mm for 24x36mm, 90mm for 60x60mm, 110mm for
60x90mm, 135mm for 90x120mm, 165mm for 90x120mm, 210mm for 130x180mm, 300mm for 180x240mm.
also: II f4.5 50mm, (24x36), 75mm (60x60), 105mm (6x9), 135mm (9x12) in another list.By
8/1968, this was 50, 75, 105mm only.
This was a 3-glass triplet, much as prewar. It gives good results under normal conditions, but is not ideal for
big enlargments from 35mm film. It may have been revised as some lists later (in 1951)say Componar 11, and
very enthusiastic accounts are given of this- or possibly Componar C.
Componar C f3.5 for 50mm, f4.0 for 75mm, f4.5 for 105mm in black in 1979.
Comparon
Comparon f4.5 50mm for 24x36mm format, 75mm for 60x60mm, 105mm for 65x90mm, 135mm for
90x120mm format, 150mm for 90x120mm format, 210mm for 130x180mm format, 300mm for 180x240mm
format in 1979. This is a Q15 type and a perfectly sound lens, though the Componon below was the premium
option and suggested for large size prints.
By 8/1968, the Comparon was made as f4 in 50mm and 75mm only, the other sizes being f4.5. The 50, 75,
150mm lenses were in M39 thread mounts, the others being (probably) in flanges with Compur shutter size
threads.
Componon
Componon f4.0 28, 35,50mm only This is a Gauss 5-glass type (rather like a Xenotar). Another list
gives 50, 80, 105mm but these were not sold in UK it seems and there just may be confusion with the f4.5
Comparons. The 28 and 35mm lenses were for 18x24mm movie format and the 50mm for 24x36mm.
Componon f5.6 80mm and longer foci, including 150, 360 etc.
60mm for 4x4cm; 105mm for 6.5c9cm; 135mm for 9x12cm; 150mm for 9x12cm and ?5x4in; 180mm for
13x18cm; 210mm for 13x18cm; 240mm for 18x24cm; 300mm for 24x30cm and ?10x8in; 360mm for 30x40cm.
This is a Q20 type lens, essentially a Symmar designed for close up. In fact measuring the curves suggests it
is different in the spacing rather than in the curves of the glass. It became the desired prestige enlarging lens
postwar. An example at No7,780,15x on f5.6/150mm was engraved Durst Componon to show it was adopted
by this major enlarger maker.They are also useful as a taking lens close-up.
There was a 'new Componon' in Modern Photo 07/1971 p26advert., and this may be the beginning of the 'S'
series below. It was said (Graph shown) to be just exceeded at 2:1 to 6:1 by the Comparon and especially
GClaron
(where the Componon could easily be closed down) and comes into its own at 6:1 up to 10:1 or more
ie the Componon was especially for big enlargements, say 24x36mm to 8x10in and up- and for color.
Interestingly the graph shows the R-Claron (Repro Claron?) as optimum at 1:1 to 1:4, the G-Claron as
extending its optimum further from 1:1 to 1:6 and Componar slowly falling in quality all the way from 1:1 up to
1:10. Componon and Comparon (4glass) match well from 1:1 to 1:6 where the quality of the Componar begins
to fall off and the Componon rises to optimum. But this is not in any case a dramatic change- rather a slow
one which could often be masked by close down. What is interesting is that Schneider include the G-Claron f9
pari passu with the enlarging lenses as it was truly a process lens: G-Claron can now be found secondhand,
and is very useful as a 'very budget' enlarging lens- or for camera work where 50mm fits Cpt O and 210 and
240mm fit Cpr I.
Fig 006 012 Schneider Componon f5.6/150mm No9,987,209; f4.0/50mm No 9,780,403; and Comparon
f4.5/105mm No8,931,569.
Componon-S f5.6 80, 100, 135, 150, 180, 210, 240, 300, 360mm. Seen at No 13,379,86x.
f2.8 50mm A modern and improved version of the Componon, to match the modern
Symmar-S, etc. it was still in the 1981 list. (see note above.)
Componon W.A.f4.0 40mm for 24x36mm
f5.6 60, 80mm for 56x56 and 65x90mm.
A wide angle enlarging lens. The design of 6-glasses approaches the Super Angulon, with large external
negative glasses and greater size.
Betavaron f4.5/f5.6 Zoom enlarging lens about 50-125mm, offering say 3 to 10 mags without moving the
head. (About 1979 a rather larger item in black.)
A B.J.P. note in 13.07.1979 refers to the Schneider Beta Varigon enlarging lenses as unique till then: this
might be a misprint or an older type.
Other
Angulon
Angulon f6.8 65mm, for 6x9cm; 90mm, for 9x12cm or 5x4; 120mm for 13x18cm, 165mm for
18x24cm, and 210mm for 24x30cm. These were now an important sales item as a wide angle lens, and the
90mm is especially common for use with 5x4in, allowing some movements, but they tended not to be used
over as extreme wide angles as before- being recommended perhaps for 95°. And there was little mention that
they were convertible as always. Incidentally the longer versions are sought after today as offering really wide
coverage such as 120mm and longer on 5x4in, and command good prices. Angulon was not in a 8/1968 list,
although it was in 1960 lists so it was probably phased out in the mid-1960's.
Fig 005 034 Schneider Angulon f6.8/90mm No4,258,399 in Synchro Compur P.
Experience has shown some Angulon 90mm lenses suffer balsam faults in the front cell. They do not always
affect the performance seriously but do affact the value. This may be partly due to the effect of light on
hardening the balsam, but it is worth noting that the front glass is spun into the bezel but the other 2 glasses
are merely held to it by the balsam as glue and do not have a supporting metal jacket. In a sense this can
help as it is easy to rebalsam if there is access to a collimating unit to ensure the rebalsaming is correct.
TeleXenar
TeleXenar f3.5 135mmThis seems to exist in a number of designs. Some are as Sc036 of
03/05/1959. But there is Sc051 for Alpa and Sc044 in 1966 lists. and Sc053 for a later Alpa list. These are not
seriously different, but it does suggest the value of studying a new lens. They may be related to G.Klemt,
USPat. 2,906,173. The example seen was No5,369,26x c.1957 for M39x26 and seems to be Sc038.
Examples are uncoated at No 1,579,06x, coated at No 1,766,98x, (wartime) and coated with red V at
No2,738,74x. Note the coated uncoupled Xenar 135mm for M39 below at No1 801 983 also without a red 'V'.
TeleXenar f3.5 90mm A triplet 4-glass type.
TeleXenar f3.8 75, 100, for 35mm.
TeleXenar f4.5 150mm for 6x6cm (pre-1951?), 180mm for 60x90mm, 240mm for 90x120mm. This
seems to be a fairly early postwar type noted in 1951 in 2 sizes but not in 1960.
TeleXenar f5.5 150, 180, 200, 240, 270, 300, 360mm A 2+2 telephoto type. (Layout Sc016) Here
use 180mm for 6x9cm, 240mm and 270mm for 9x12cm, 300mm for 5x4 or 6x4in, and 360mm for 13x18cm,
though 240 and 270mm were often in fact used with satisfaction on 5x4in. (They will be designs primarily for
9x12cm.) But note that later Schneider were to offer TeleArtons in the 240 and 270mm sizes.
Fig 005 012 Schneider TeleXenars for 35mm use as 15cm, 18cm (2x), 24cm, 36cm (2x at back).
Fig 005 014 Schneider TeleXenar (l) f5.5/36cm for 35mm use; (r) f5.5/36cm for 5x4in use.
Tele-Xenar f5.5 360, 500mm These are listed in the 8/1968 list for 13x18cm and 18x24cm respectively.
The 500mm was in an No5 or V/12 shutter.
Tele-Xenar f8.0 1,000mm
Tele-Xenar f10 1,000mm These very long TeleXenars were listed in the 8/1968 list but must be very
uncommon. They were both for 18x24cm nominally, and like the 500mm above, covered 312mm dia. at f16.
TeleArton
TeleArton is found with several optical layouts, but they all tend to be more complex eg. 5 glass, than
TeleXenar and were a premium product.
Tele-Arton f4.0 180mm This was listed in 8/1968 but seems to be a scarce, specialized item
possibly mainly for Linhof cameras. It covered 6.5x9cm or 110mm dia at f16.
Tele Arton f5.5 180, 240, 270, 360mm This was a new big format lens at Photokina Aug 1956, with
nearly 2x the resolution and a very flat field. This was the original type with the big rear component, and a long
term favourite. Some small print is as follows.
(i) The 360mm version seems to be uncommon as long TeleXenars seem to have usually been sold. (ii) The
240mm occurs in two types: (a) for 6.5x9cm, to cover a diameter of 130mm at f16 and (b) a 9x12cm version,
to cover 152mm at f16. (This will cover 5x4 cut-film but without allowing movements.)
(iii) A 500m has been reported and may be for 5x7in Linhof Technika, but there are no details of what must be
a rare lens except that it was in an enormous Size 5 shutter.
(iiii) Note the later redesign of the 270mm lens.
Fig 006 014 Schneider TeleArton f5.5/270mm (l) No4,241,670 of older original type, and (r) newer type with
more front projection.
Symmar
Symmar f6.8 Up to about 1955.
This was made 135mm for 90x120mm, 180mm for 130x180mm, 210 for 130x180mm, 240mm for 180x240mm,
300mm for 240x300mm, 360mm for 300x400mm. Early postwar, this was still the old Q9 design, Sc013 and
was still listed in 07/1952, and Grossbild Technik 1/1955 p49 says it was discontinued in 1954. It was seen as
a nice coated lens at No2,944,55x (probably early 1952) in a 240mm version set in a dialset Compur, offering
375mm from the rear cell on its own. The coverage was now given as 65/80° and it was a good lens still but
the coming of coating meant that the air-spaced Plasmat design was a better choice. (Sc019).
Symmar f5.6 In 8/1968
This was made as:
80mm for 56x72mm (scarce today!), 100mm for 6,5x9cm, 135mm for 9x12cm or 5x4in; 150mm for 9x12 cm or
5x4in; 180mm for 13x18cm; 210mm for 13x18cm; 240mm for 18x14cm; 300mm for 24x30cm; 360mm for
30x40cm. Coverage at f16 and infinity is: 110mm, 143mm, 190mm, 210mm, 255mm, 297mm, 336mm,
402mm, 500mm respectively.
The new design used high refractive glasses and covered 65° at full aperture and 70° when stopped
down to c.f22 and was still an almost symmetrical design, so it was convertible to 1.75x the focus.(Grossbild
Technik, 1/1955, p49). H.Klarman (Applied Optics 13/4 p707, 1974) showed that data for the old and new
Symmar favoured the new substantially, especially in reduced spherical aberration and therefore improved
microcontrast. The changeover may not have been immediate at all foci, 135, 150, 180, 210, 240mm being the
first born sizes. For the record, the Symmar was used as a convertible lens with the front cell removed, when
the green iris scale applied, the 150mm f5.6 then giving 265mm f12. The front cell of the 150mm cannot be
fitted to the rear in this case as the Compur 1 shutter threads differ (40mm and 36mm), but in general in other
foci this would provide a way to use the front cell as a intermediate long lens by mounting it at the rear. It does
not seem to give as sharp an image when used in front of the shutter alone, and the iris scales would not
apply.
The filter thread at the front is cut in fairly thin brass and can act as a crumple zone on slight impact
and the glass is fitted in a rather solid brass ring- but dismantling for cleaning is hard if the filter ring is
imperfect as the retainer ring comes out on the filter thread. And note both front and rear cells have internal
airspaces
which eventually will need cleaning.
Then again in 1972, there was a change to a new non-separable design now known as the
Symmar-S, and this again provided an increase in fine image contrast. Here the advantage seems to have
been partly further reduction in astigmatism. Few users actually used the separable feature so it was a small
loss in practice. Still later the colour correction was further improved in the ApoSymmar of 1990 approx. using
low dispersion glass in the design. One impression was that the big jump in quality was with the Symmar S
and that the value of the ApoSymmar was there but is not as obvious an improvement at least in black-andwhite.
This saga shows the type of continued redesign that Schneider makes to maintain its position in the
market as leaders in professional lenses. These changes can cause problems for users of older cameras,
since the modern designer expects the lenses to be used on monorail cameras rather than the folding camera
such as the Graphic. There is pressure to reduce vignetting by using large front glasses, and the bulk of these
glasses can now be too big to allow closure of the older camera with the lens in place as used to be possible.
Thus there may be a real interest in continuing to use the older lenses.
One user says that effects in shooting into the light are possible with multicoated Symmar lenses
which are impossible to achieve with older lenses- these lenses have an overall design to make best use of
modern coatings and the results are really good.
Fig 005 038 Schneider Symmar: (l) older f6.8 type; and f5.6 convertible in 210mm No9,968,401(rear), 150mm
(right) and 135mm No8,961,776 (front).
Schneider Lenses for 35mm.
for SLR.
Isogon f4.5 40mm Sc032 1950, this has been seen at No 3,400,21x (1952 approx.) for Exakta
and is a 4-glass lens and an attractive little thing. (also as Isocon below?)
Xenoplan f1.9 Sc022. This was probably a cine lens.
M39
Xenogon f2.8 35mm Sc024 This is a very advanced wide angle Gauss, with well oversize outside
glasses to avoid vignetting. It was seen at No3,075,21x, about 1952 and also at No5,261,58x. It was one of a
small programme of M39x26 lenses produced at this time.
Fig 010 058 Schneider Xenogon f2.8/35mm No3,075,21x in M39 mount.
Xenagon f2.8 35mm This has also been listed- but just may be a Xenogon and misspelled.
Xenon f2.0 50mm It is mentioned here as another in M39 mount and sometimes now seen on
Leica.
Xenon f1.5 50mm This was sold postwar, coated and in M39 but the history is obscure- it just
could be a movielens remounted and one feature is that the rangefinder coupling seems to be rather vague (to
put it mildly!) But it is a very impressive lens. The design seems to be triplet, like the f1.5/25mm cine lenses.
Fig 010 061 Schneider Xenon (6-glass) f1.5/5cm No1,834,206 for M39.
Xenar f4.5 135mm This was seen at No1,801,98x made in June 1942 in M39 flange and register,
but without rangefinder coupling. It has an early coating but has no red triangle to show it. This was actually
another long lived product being produced postwar, in the 1950's to match the two above. M.J.Small notes this
set of 3 lenses. But it must be said that they seem to have been in sporadic production only. The f2 was
specified for some postwar M39 non-Leitz cameras, all rather short lived as it proved.
Fig 010 062 Schneider TeleXenar f3.5/135mm No5,369,264 coupled mounted, and Xenar f4.5/135mm
No1,801,983 uncoupled both in M39.
Other
Xenagon f3.5 30mm for 24x24, 35mm for 24x36mm. This was the budget wide angle for rangefinder
cameras and is a Q15 type. (Sc023). It was sold for Diax and probably Robot. It was noted at No 3,663,86x,
(1953) and they do not seem to be very common. It was also seen at No 3,494,43x, 3,663,82x 3,973,1xx and
6,923,66x, as a really well finished lens. There was also a 30mm version for RoBoT Vollautomat Star II at
No3,494,45x. An example is shown in an Akarelle advert. in B.J.A. 1954, p489. But see also M39 above.
"Schneider" f5.0 600mm This has been listed but no information about it was given. It may be like the
very long TeleArton noted below.
An interesting list for Diax was given in 1957 as follows, noting the ISCO items sold with Schneider ones. The
package seems to have been a Schneider initiated one. They are in chrome or alloy and black mounts. Note
that Diax seems to have used two types of mount (Diax, Diax B) with a slight redesign and these do need to
match correctly.
Westron f3.5 35mm. Seen at No 3,663,86x.
Xenagon f3.5 35mm Seen at No 3,494,43x,
Xenar f2.8 50mm
Xenon f2.0 50mm
Isconar f4.5 85mm
Isocon f4.5 40mm This was noted as a wide lens for Ucaflex, MCM Aug 1952. This may relate to
the Isogon? a known lens for Exakta. The Uvaflex also used a 50mm f1.9 Ucalux lens which may also be a
Schneider, and 105 and 150mm Xenars.
TeleXenar f3.5 90mm This was seen at No 4,281,19x
TeleXenar f4.0 135mm. This was seen at No4,721,69x
Super Angulon
Super Angulonf8.0 47- 210mm inc. 65, 75, 90, 121mm.
It was suggested to use 47mm for 2.25x3.25in; 65mm for 6.5x9cm or ?4x5in; 75mm for up to 5x4in; 90mm for
5x4in or up to ?5x7in; 121mm for 13x18cm or up to ?8x10in; 165mm for 11x14in and 210mm for 300x400mm
or 10x8in.
These were a new race of wide angle lenses with big negative elements well separated from the centre by
airgaps,
and designed to offer the advantages of the Russinow and Slussareff ideas in what were normally large
format lenses. They were traced from 1960 or just earlier, (they were "new" in MCM Aug 1956 at Photokina
and featured as "new" in Grossbild Technik in Spring 1957) and may have been timed for the expiry of the
Russar patents. [At this time some of the Zeiss Biogons were on sale but possibly not the 53 or ?75mm
versions.] The initial series worked at f8.0, and was made in 47, 65, 90, 121, 165, 210mm and in 1968, 75mm,
and was a very attractive lens as it was reasonably light, not too bulky and had good contrast and sharpness
well ahead of the older types. And the illumination was more even. (Layout Sc030) It did not immediately
displace the older Angulon owing to its greater price and size, but it was superior in all other ways. It covered
100° at full aperture, and 90mm was able to use some 38-43mm decentration on 5x4. There were minor
problems with the early 90mm lenses as they were in Compur 00 shutters, and these were not really strong
enough for the lens weight and with use over years, some casings have broken. And these small shutters are
not too easy to use as there is no T setting. Thus the early lenses fairly sell at a discount today, and it is
better to find one in a Compur 0 for use. Later the design was extended to an 8-glass f5.6 version. These are a
long term product, especially in the larger sizes. One unresolved question is the 120/121mm Super Angulon,
where the 121mm has been reported as extremely sharp but shading at the edge of 10x8 while the 120mm
covers fully- but was described by one user as "less bitingly sharp"- (though this just may be that example of
the lens). It seems that there was a real redesign here. The catalogues merely suggest 165mm for 10x8 so
there is no cause for complaint, and give the coverage circle as 120mm Angulon, 200mm; 121mm S/Angulon,
286mm and much later 120mm S/Angulon 288mm. So there is a change.
Fig 006 009 Schneider Super Angulons (l) f8.0/90mm and (r) f8.0/65mm No13,464,96x in Copal 0 shutter with
(front) Angulon f6.8/90 to compare.
The same Grossbild Technik 1/1957 also listed three special lenses for Linhof 6x9 cameras as the
f4.0 53mm Super Angulon, this was an 8glass in 5 components and slightly unsymmetrical in a Compur 0
shutter; and this was still in a 8/1968 list to cover 56x72mm format or 115mm dia at f22;
f2.8 105mm Xenotar which was a 5glass 4 component lens in Compur 1 shutter and the
f4.0 180mm Tele-Arton. which was a 6 glass 3 component design in Compur 1 shutter.
A 1960's list is as follows:
TeleXenar f3.5 135mm for Alpa, and others.
Angulon f6.8 65, 90, 120, 165, 210mm 'Unchanged"
Super Angulonf8.0 47, 65, 90, 121, 165, 210mm. The 65mm can here cover 5x4.
Dasykar f6.8 One list has this seemingly old lens, but its supply is doubtful in this period.
Radiogon f2.8
Radiogon f4.0
Radionar f2.9-f4.5 It was probably a declining product by then.
Symmar f6.8 It may still be listed in some foci, from old stock.
Symmar f5.6 80,100, ?105, 135, 150, 180, 210, 240, 300, 360mm (Sc019) Use 135mm and longer
for 5x4, the 150mm allows some 35/41mm shift on 5x4.
TeleArton
Now a new telephoto name appears, and this is always a 5-glass type as far as can be seen, but the design
can vary. It is in general an improvement on the good TeleXenar. One reason for the varying design seems to
be the size of the rear glass in some lenses, (240/270mm) where a small version was made for 6x9 as the
cameras would not accommodate the 5x4 one. Additionally even the 270mm for 5x4 has gone through some 3
designs. The first has a long rear projection, eg at No424167x ,(c.1954), then there is one with more
projection at the front including three glasses there, 2 balsamed at No8,947,40x , 1964: and finally one with 3
glasses in front, all separately mounted from the 1990's. (This seems to have allowed the use of a smaller size
shutter for the 270mm, down from No2 to No1.) Others may have been made such as a 500mm f5.5 reported
on a Hulcher sequence camera. It seems that the TeleXenar was often a 2+3 design lens in the early 1950's
and that in late 1954 Schneider decided that the 5-glass types needed a separate name and used TeleArton
for this type. The initial examples were the 180 and 240mm lenses, probably for 6x9 and 9x12 respectively.
(Grossbild Technik 1/1955, p50). Incidentally the note mentions that pressed part shaped glasses were by
then in general use, to save cost and grinding time, and finished with the Schneider developed 'Duroptan'
coating process.
TeleArton f4.0 This was for 35mm camera use.
TeleArton f5.5 180mm for 2.25x3.25in; 240mm for 2.25x3.25in or 4x5in, 270mm for 4x5in. These
were for large formats 6x9cm, 5x4, and 5x7in, but not for larger in the 04/1960 list.
TeleXenar f2.8 100mm 4-glass, for cine use.
TeleXenar f2.8 75mm 5-glass for cine.
TeleXenar f3.5 in 75, 90, (Sc037) and 135mm (Sc039)
TeleXenar f4.5 In the 1960's this seems to have been made in fewer foci, but included 200mm.
(Layout Sc039) It probably was not a large format lens, or is not listed with them in 04/1960. Earlier, about
1951, it was as 180mm in Compur 1 for 6x9cm; 240mm in Compur II/5/2 for 9x12cm.
TeleXenar f5.5 Typical foci were still 180mm for 6x9cm, 240mm for 9x12cm, (270mm for 9x12cm),
300mm for 100x150mm; 360mm for 13x18cm and 500mm but by 04/1960 they were being replaced by the
TeleArton in up to 270mm.
Thus the most familiar TeleXenar for 5x4 may be the 360mm which was the 'big' lens for 5x4 or 5x7in, in Cpr
111 shutter. Some care is needed in purchase.
(a) Old Compound 111 shutters can be hard to repair and tend to lower the value of old lenses in them.
(b) This 360mm was in fact made in at least two versions, the 5x4 version having different curves from another
with a much smaller rear glass which was intended for 35mm use, eg in a barrel mount with M39x26 thread on
a bellows, or a long black tube mount with preset iris for M42 etc. or for movie work. It was seen at No
4,986,70xin M39 mount and 6,339,50x for M42, (which both had the same front curve) and will only cover
about 6x7cm max. It is quite normal with Schneider incidentally for the lens cells to be threaded to fit either a
Compur of suitable size or one of the Schneider barrel mounts such as were sold for enlarging lenses. Thus
the possibility of M39 lenses is quite large, including many process and large format lenses. They need not be
regarded as 'exotic' items.
(c) Still another 360mm TeleXenar was mounted in the long black tube version for SLR's, and this may be
optically the same as the M39 one.
Fig 005 014 Schneider TeleXenar (l) f5.5/36cm for 35mm use; (r) f5.5/36cm for 5x4in use.
Fig 005 016 Schneider Xenars for 35mm: (l) f4.5/135 in M42 mount and (r) f3.5/135mm for Exakta.
The f5.5/500mm is scarce but was noted at No10,695,24x (late 1967) in a Compound shutter.
Xenar
Xenar f2.8 Early postwar, these were made in: 38mm for 24x24mm; 45mm for 24x36mm; 50mm for
24x36mm; 80mm for 60x60mm; 105mm for 60x90mm. But note the 105mm was an f2.9 lens in a Compur 1
shutter, and is quite scarce in the UK.
These were 4-glass type Q15 lenses postwar, using 'new' glasses for good performance. In the UK one low
price version can now be found for Paxette, at about No473- 4,750,000 (1956) and there is a suggestion of over
ordering by the importer and Xenars in excess here. The Paxette incidentally had M39x26 thread but a deeper
register than normal.
Xenar f3.5 105mm only, for 6x9cm. Earlier the coverages were:
50mm for 24x36mm; 75mm for 60x60mm; 105mm for 60x90mm; 135mm for 90x120mm; 150mm for
90x120mm; 180mm for 100x150mm; 210mm for 130x180mm; 240mm for 130x180mm and 300mm.
Xenar f4.5 This was made in: 105mm for 2.25x3.25in, 135mm for 4x5in, 150mm for 4x5in, 180mm
for 4x5in, 210mm for 5x7in, 240mm for 5x7in, 300mm for 8x10in, 360mm for 8x10in, 420mm for 11x14in,
480mm for 300x400mm.
But the major seller was probably the 150mm version as a standard lens for 5x4, with moderate movements
and good sharpness and contrast at a reasonable price. It was a very good choice as a standard lens. Today
there is one point: old lenses can get dirty between the front two glasses and the access involves unscrewing
the front engraved ring, which can be difficult, and really needs a special tool. Such tools can be made from
steel strip and the job is a 'possible' one. It is also rather hard to convince oneself that it really has been
reassembled as well as before! But Xenar has only one of these air-spaces in the front (Sc006) while the more
complex Symmar has two- one front and one in the rear.(Sc019) The 150mm Xenar allows some 18/22mm of
decentration when used on 5x4.
Xenar f4.7 127mm for 9x12cm, 135mm for 5x4in.
(a) The 127mm seems to have been relatively shortlived, being absent by 04/1960.
(b) This was made much longer, certainly through the 1960's. The curves on a 135mm f4.7 suggest that it is
an f4.5 with the aperture limited to f4.7 by the hole in the shutter, a Compur 0 size. This does not affect the
performance otherwise and saves on initial cost due to the smaller shutter, making the f4.7 something of a
bargain. But it was often used on Press cameras, and many have had a rougher life with more use than the
150mm lenses have suffered, and the f4.7's command a lowered price today. It was noted above at
Nr2,264,28x as 127mm and was a normal fit to 5x4 Press cameras in the 1950-1960 period.
Reomar f3.5 45mm fitted to Kodak Retinette only. Q14 type. There may also be f2.8 and f4.5
versions, but these are much less common in the UK by a big margin. It may be that the trade name Reomar
was a Kodak one, since it is found with both Schneider and Rodenstock engraving, There may be others as
well. It was a common shop item in the mid-1950's period.
Reomar f2.8 45mm This was listed for the Retina SI and SII in the early 1960's.
Reomar f2.8 38mm This was made later for fitting to Instamatics.
Reomar f6.6 41mm This was also on Instamatics.
Reomar f11 This was also on some Instamatics.
Reomar f5.6 25mm on Instamatics. This was a 3-lens design like most Reomars. The f11 may be
less complex.
Reomar f4.5 45mm This was on early Retinette Type 012, 017 about 1950.
Xenagon f2.8 35mm note spelling, continued.
Xenogon f2.8 35mm probably continued.
Xenon f2.0 50mm etc. Normally a 6g/4c Gauss still.
Xenon f2.0 40mm for Robot. This is said to be 6g/5c, ie. air-spaced Gauss.
Xenon f2.8 for Retina.
Xenon f1.5 13mm ].
Xenon f1.4 25mm ] These seem to be the triplet type and an f1.4 was seen at No 9,050,24x on
Arri mount. The example of the f1.4/50mm seen was in a rigid iris mount at Nr2,967,29x and the rear cell was
too big to allow adaption eg to M39 so it would be very hard to reuse what must originally have been some sort
of technical lens eg. for CRT recording. [The reflexions of the 50mm lens are rather reminiscent of a f1.5
Sonnar type design, although in other ways it is most distinct.]
It was in the 04/1961 list that the meter mounted lenses were first noted. These were matched to the Iscomats
of ISCO and used one meter mounted in turn on any lens in use. It was an f1.9 50mm Xenon that Schneider
provided.
One feature is the lenses for the Exakta Real, a scarce version, and these noted have included Xenon
f1.9/50mm, Curtagon f2.8/35mm; Curtagon f4.0/28mm; Xenar f2.8/50mm and TeleXenar f3.5/135mm. They
may actually be easier to get than the cameras, as production seems to have overrun and the cameras
production life left lenses over with some importers.
An important list of Kodak origin compiled by Mr David Gibson covers postwar lenses and is intersposed here
for convenience. Here there were lenses from non-Schneider sources [here in parenthesis], probably as the
demand outran the capacity of Schneider to produce them.
These are normally all 50mm lenses.
Retina-Xenar f2.8
Retina-Xenon f2.0
Retina-Xenon f2.8
Retina-Xenon C f2.8
Kodak Ektar f2.8
[Retina-Heligon C f2.8 Rodenstock on IIc Retina]
[Retina Ysarex f2.8 on Retina Reflex S Reflex II and IIS]
[Angenieux lens f2.8]
Retina-Xenon f2.0 on Retina II, IIa
Retina-Xenon C f2.0 on Retina IIIc, IIIC, Reflex
[Retina-Heligon f2.0 on Retina II,IIa]
[Retina-Heligon f2.0 on Retina IIIc, IIIC, Reflex]
Retina-Xenon f1.9 on Retina IIIS, Reflex S, Reflex III, Reflex IV
47mm Lens
Kodak Ektar f2/47mm
Some 45mm lenses made included:
Kodak Anastigmat f4.5 on Retinette
Schneider Reomar f3.5 on Retinette and Retinette I
Kodak Angenieux Anastigmat f3.5 on Retinette F
Schneider Retina-Xenar f2.8 on Retina IBS, IF, IIF, IIS, Automatic II and III cameras.
Schneider Xenar f2.8 on Retinette IIB
Schneider Retina Reomar f2.8 on Retina Automatic I camera
Schneider Reomar f2.8 on Retina SI, S2, Retinette IA, II, IIA, IIB
{Rodenstock Reomar f2.8 on Retinette IB camera.]
One point is that the individuality of the designs may not be indicated by the engraving: makers may change
the glass without changing the engraving and a change in engraving may not signal a new optical design!
There are restrictions on the lenses for the Retina IIIS camera. Lenses must have a slot in the rear mounting
plate for the rangefinder coupling and use of non-slot lenses may damage the r/f linkage.
Suitable lenses for the IIIS included lenses coded Kodak Retina in the following types:
Xenar f2.8/50mm
Xenon f1.9/50mm
Curtagon f4/28mm
Curtagon f2.8/35mm
Tele-Arton f4/85mm
Tele-Arton f4/135mm
The lens programme for the Retina Reflex was less novel than for the folding Retinas, as whole lenses were
used, and some were as follows:
Retina- Xenar f2.8/50mm;
Xenar Lens f2.8/45mm,
Retina- Xenon, f2.0/50mm? or probably always f1.9/50mm;
Xenon Lens f1/9/50mm,
Retina- Curtagon f4.0/28mm (some may be just Curtagon lens f4/28mm;
Retina- Curtagon f2.8/35mm (some may be just Curtagon lens f2.8/35mm;
Retina TeleArton f4.0/ 85mm;
Tele-Arton lens, f4/90mm,
Retina TeleXenar f4.0/135mm; some may be just Tele-Xenar f4/135mm,
Retina TeleXenar f4.8/200mm, some may be just Tele-Xenar f4.8/200mm..
16mm Lenses for Bolex Reflex etc. and some for Arriflex .
A very complete series were usually made, and were described by W. Albrecht in the Hausmitteilungen 1954,
6, p131, 136. An early feature was the retrofocus Cinegon listed in 1951 for the first time, when this type of
design was a novelty for general sale.These seem to have included Arriflex and C-mount as well as screw
threads 32x0.5mm and 41x0.6mm. The Arriflex and some other movie cameras have quite deep mounts and
this may affect the design of mounts if not lenses, and must have helped to make the Cinegons worth
designing. Thus Arriflex uses the same mount for 16 and 35mm movie cameras, of 41mm barrel and 52mm
register. (A Cine Xenon of advanced Gauss design is shown in App062 but the exact use of this type is not
known. The f1.4 Xenon seems to be a triplet derivative rather like the older f1.5 lenses.)
Cinegon f1.8 10mm
Cine-Xenon f2.0 16mm This has been noted on a 1956 Bolex H16.
Cine-Xenon f1.4 25mm for cine. The f1.4 was also made in 50mm, but the example seen was
in a non-focusing rigid mount and may have been for TV rather as the Xenotar was, or as an oscilloscope lens.
It is in a very simple PIM. It was noted at No6,966,64x and N0 9,050,24x.
Fig 006 010 Xenon f1.4/50mm No2,967,296 in barrel mount possibly ex-X-Ray or movie work.
Cine-Xenon f2.0 50mm
Cine-Tele-Xenar f2.8 75mm (?as Cine Tele XR and Macro Tele XR also, noted 8/1968 list). It is
thought these were the same optic in different mounts and finishes.
Cine-Tele-Xenar f2.8 100mm also as Cine Tele XR
Cine-Tele Xenar f4.0 150mm also as Cine Tele XR above.
Xenon f0.95 25mm This is said to be an 8 glass/7 component design, in a 1+1+1+1+i+2
+1+1 layout. (i indicates the iris position). This is a more modern type for video, as is the next item.
Xenon f0.95 50mm This is said also to be 8 glass but an 6 component and a 1+1+1+i+2
+1+1 layout.
Xenon f2.0 300mm This was noted in the 8/1968 list for 16mm use with stops to f16 and
must be one of the larger versions made as it will be over 150mm (=6in) in diameter!
Variogon Zooms
Variogon f1.8 8-48mm on Leitz 8mm 1960 camera.
Variogon f1.8 8-48mm This was quite a common type on Bolex, etc. in the 1960's.
Variogon f1.8 7-56mm This 1:8 zoom was noted on a Bauer C2B and C2A Super 8 movie in
Popular Photo, 02/1960, p29advert.
Variogon f1.4 7-56mm This was on a Nizo 2056 Super 8 Sound camera in Modern Photo 04/1978
p90.
Variogon f1.8 7.5-37.5mm This version was for the Agfa Movex reflex, and the prime lens at the
back was separable from the Zoom unit in front, which could be removed and replaced with a 13mm macro
unit which focused down to 7.5in.
Variogon f1.8 9-30mm This seems to be early 1960's for 8mm on Nizo, etc.
Variogon f1.8 12.5-75mm for Polavision camera (B.J.P. 24/10/1980, p1060). This had a C-mount
and options were 10, 25, 50mm single lenses probably Xenons.
Variogon f2.8 10-40mm This was on an Nizo camera about 1960, ie an older version.
Variogon f2.0 16-80mm This has been described as something of a standard on late Bolex Pro
16mm cameras. It was noted in a 8/1968 list for 16mm use.
Variogon f2.4 20-100mm for 16mm in a 8/1968 list.
Variogon f2.0 10-100mm noted in 8/1968 list for 16mm use.
Variogon Zoom f1.8 10-100mm This was seen at No13,216,90x with servos to drive functions and
a long back focus to suit eg. Arriflex. (The list actually says this is for CCTV but it is ideal to remount for Arri).
Fig 006 006 Schneider Variogon f1.8 10-100mm for CCTV or cine (fitted for Arriflex here).
A 1981 list has Variogon f2.0 12-120mm, Macro Variogon f1.4 7-80mm, and others zooms for 8 and 16mm
cameras.
The above list is not complete: an Arriflex at auction carried Xenon f1.4/25mm, No8,678,15x; Cine Xenon
f2.0/50mm No7,033,08x and a Cinegon f1.8/10mm No9,032,55x. these are all early or mid 1960's numbers.
[MacroCinegon has also been noted on a Leicina Special at No2,496,00x but this just may be a Leitz serial
number.]
Vario Morphot Reprolens This may be a wide screen printer lens.
Zenzanon Variogon f5.6 125-250mm This seems to be the first before the 70-140mm below, being in
B.J.P. 07/12/1979 p1179. It had macro focus and fitted the 4.5x6cm ETR cameras, and used 17g/14c design.
The agent was AICO of Faraday Road, London Road Estate, Newbury, Berks.
Zenzanon Variogon f4.5 70-140mm This was noted in B.J.P. 07/03/1980, p233. It was the third of the
Zooms for the Bronica, adding to the 2 below:
Variogon ? 125-250mm
Variogon ? 200-500mm
Variogon CF f5.6 140-280mm for Hasselblad (AD2000) 6x6cm at £4153.63.
Beaulieu
Lenses included an"
Optivaron f1.4 7-70mm in B.J.P. 10/08/1979, p770.
Optivaron f1.4 6-70mm This was on a Beaulieu 6008S in B.J.P. 31/08/1979, p843.
TV and CCTV lenses
The first TV lenses were in the 1954 list as Xenon f2.0 28, 35, 50, 75, 100mm; Xenotar, f2.8 150mm; TeleXenar
f4.5, 150mm; TeleXenar f5.5, 200, 360mm, when the 200mm was still being prepared. As noted above, a
50mm f1.4 rigid mount Xenon has also been noted, made about 1952 at No2,967,29x. But it was a growing
market especially for zooms, and one they were careful to supply. It was later that Schneider made a range of
zooms such as 5:1, 10:1, 15:1, 30:1, as well as extreme wide angle lenses. These are now coming onto the
secondhand market, and can sometimes be used on 16mm as they are often in C-mount. The fastest is the
f0.95 50mm Xenon, above, made in two 8-glass designs, one for 25mm for 28° horizontal angle, and the other
for 50° for 14.6°.
for 16.8mm tube.
Xenoplan f1.7 8mm for 57°
Xenon f0.95 17mm for 29°
Xenoplan f1.7 17mm, in two mountings, plastic.
Variogon f1.8 12.5-75mm
Variogon f1.8 10-100mm
For 25mm tube
CCTV lens f1.8 6.5mm
Cinegon f1.8 10mm:, f1.4, 16mm.
Xenoplan f1.9 25mm in two mountings, plastic.
Xenon f0.95 50mm
Xenon f2.0 50mm
Telexenar f2.8 75, 100mm
Telexenar f4.0 150mm
Variogon f2.0 18-90mm
Variogon f4.0 36-180mm
Color-TV-Variogon T2.1 18-200mm This was a prestige lens mentioned by Morian, B.J.P. 04/01/1980, p9
with 8 glasses of the 22 present in 16 components made from La glass with R.I. above 1.62, and some 16
different types of glass were used. Later Schneider developed a 30:1 zoom with 31 lenses (=components?).
These were probably among the first lenses Schneider multicoated.
Retina Lens System.
The folding Retinas used front cell interchanged lens cells to obtain different focal lengths, in wide and long
focus. The lenses involved were the Xenon Prime lenses of 50mm in the first case. The interchangeable cells
were fairly big and could not be left on the camera when closed, and the system was good but rather limited. It
did not include a 1:1 Macro lens as at least one rival did [Zeiss ProTessar]. It is important to check on
purchase that cells are all Schneider, as the similar Rodenstock lenses are not mixable. The designer seems
to have been Gunter Klemt, see Hausmitteilungen 1954, 6, p118. At this time the Xenon gave high sharpness
over about 40° with increasing astigmatism outside this. The centre sharpness is similar for the Curtar and
Longar versions, but the Curtar extends the image with some compromise to 60°, while the Longar is best over
some 25°. (USPat., 2,824,493, (Longar), 2,824,494 (f2), 2,831,396 (f2)). They were for Photokina 1954.
Xenon f2.0 50mm This was the standard lens, (Sc060) and is very nearly the same as the f2.8
version in Sc061 where half of each type is drawn to compare. The rear components are identical, but the front
of the f2.0 is slightly wider, as shown by the f2.0 arrows in the lower part of the figure, which shows that the
f2.0 would extend further out. But it does seem as if the f2.8 customer got a bargain! Noted at No4,850,92x.
Xenon f2.0 48mm This lens is given in Kingslake's book, and may represent the initial design
intention of Kodak or Schneider. It has not been seen.
Xenon f2.8 50mm as above, this is a cut down f2.0, with the rear end the same. (Sc061)
A very desirable lens.
Curtar Xenon f5.6 35mm This is small and attractive. (Layout Sc063) but it does not fit the later Retina
Reflex camera!
Curtar Xenon f4.0 35mm This is the new version, about 08/1957. Bigger, and faster. Noted at
No5,085,72x.
Longar Xenon f4.0 76mm This was again listed in Kingslake's book. It has not been seen.
Longar Xenon f4.0 80mm This was still 'recent' in 1957 (Layout Sc062) Noted at No5,196,19x
Note also Reomar f2,8 45mm for Retinette
and Reomar f3.5 45mm for Retinette (here see MCM Sept 1955) in Compur Rapid.
Xenotar
This was a 5-glass Gauss design, typically as in Sc034 and was or is an extremely high quality fast lens. It
has 2 single glasses in the rear and was made for a number of quite big formats up to 5x4in. A Schneider
sponsored article in Grossbild Tech. 1/1955 refers to the general concavity and deep curves of the surfaces
towards the diaphragm being a tremendous help in keeping low the angles of incidence of the light and
therefore the oblique aberrations of higher order could be kept to a minimum. These are big sharp lenses and
need very accurate focusing if they are to realize the full quality of the lens, and on cameras with cut film this
is not always obtained due to flexing of the film. Sc084 actually shows the drawing for a f2.8 80mm lens.
They were a lens used on the Rolleiflex models in f3.5 and f2.8 (B.J.A. 1954, p170), and some 6-glass
versions seem to have been made also. They do not cover a very wide angle so the 150mm is not suitable for
the use of movements on 5x4. It was new on Rollei in April 1953 and noted in MCM 5/1954. [This was about 1
year before the Zeiss Planar].
Xenotar f2.8 It was made in 80mm for 56x72mm =2.25x2.25in, 100mm for 65x90mm =
2.25x3.25in, possibly 135mm for 4x5in, and 150mm for90x120mm and 4x5in. When using the 150mm for
5x4in there is some freedom to use movements.
Fig 005 004 Schneider Xenotars f2.8/80mm No3,808,004 on Rollei 6x6, as ex-MoD at No5,003,56x and Linhof
5x4in as f2.8/150mm at No9,937,887.
Some Xenotar 80mm lenses were sold to NATO in shutters, possibly for recording cameras. It was seen at
Nos 497571x (Rollei), 993788x on Linhof. It was used on Rolleis from April 1953. The 2.8E Rollei with f2.8
Xenotar [and Planar] was noted in B.J.A. 1957, p239. Another source of separate lenses can be Rolleis which
have suffered body damage and are written off as a result but where the lens can be salvaged and reshuttered.
Xenotar f5.6 This was used for the Lunar Orbiter in 1967 on 70mm film. Rather than a new
design, it was possibly an iris limited f2.8 80mm.
Xenotar f3.5 75mm This seems to be for Rolleiflex and is not listed in the 1960 catalogue.
It was used from about October 1956, when the 3.5E was launched with choice of Planar or Xenotar.
Incidentally, reviews have consistently stated the two were closely matched in performance. (see B.J.A. 1957,
p240) and note the f3.5 Xenotar seems to have been fitted on non-exposure meter 3.5 Rolleis.
Xenotar f3.5 135mm This was listed in 8/1968 for 9x12cm use in Compur 1 shutter.
Xenotar f4.0 100mm This was listed in 8/1968 in Compur 0 shutter for 56x72mm.
Sold on Leitz Cameras.
This is an interesting group of Schneider lenses. It shades from the Super Angulons made by Leitz but with a
Schneider trade name on them, to lenses made for Leitz cameras, in Kreuznach. The latter seem to include:
Macro Cinegon f1.8 10mm for Leicina Special
Optivaron Zoom 6-66mm for Leicina Special.This had an M-type bayonet and register.
Variogon f2.8 45-100mm for Leicaflex.
TeleVariogon Zoom f4.0 80-240mm for Leicaflex.
PA Curtagon f4.0 35mm This is a unique shift lens, which was sold with interchangeable rear
mounts, one of which was Leicaflex. It was expensive as a high quality design, and most of those advertized
are for Leicaflex, and these command a premium due to the mount. This related to a special engraving on the
front 'for Leica'. But it is a desirable item in any mount! The lens head rotates to give some 7mm shift in any
direction, but it is wise to meter before decentering the lens. Seen at No12,865,86x in black finish mount for
M42. It has been noted at auction at No10,829,77x for Alpa; and for Leicaflex at No12,452,17x and
12,499,37x; and at No10,829,77x and No11,480,35x for Contarex. Since Schneider offered interchangeable
mounts for it, and may still do so, the difference in cost may be due to lack of initiative by owners. It was
listed in Am.Photo. 03/05/1972 and may have been new then. Mounts available actually included Canonflex,
Edixa (M42) Minolta, Miranda, Nikon, Pentacon, Praktina and Topcon, and others.
Fig 033 031 Schneider PA Curtagon f4.0/35mm in M42; adapted to Canon via an M42 screw fit.
For a review of some Schneider lenses including the 35mm f2.8, 28mm f4 and 8-48mm Variogon, see Modern
Photo 05/1963. For a discussion of Schneider inverted tele designs see W. E. Woeltche, Applied Optics, 7,
343, 1968. He discusses a series of patented designs but it is hard to relate these designs to actual products.
Schneider seem to have been very innovative in this field and may have been making such lenses for cine well
before their launch on the still camera market.
Postwar Robot Lenses. (These are from a 1962 list).
Lens Aperture Focus 24x24mm size 24x36mm size
Xenar f2.8 38mm Yes (Yes)
Xenar f2.8 45mm Yes Yes
Xenon f1.9/f2.0? 40mm Yes Yes
Xenagon f3.5 30mm Yes No
Xenogon f2.8 35mm No Yes
TeleXenar f3.8 75mm Yes Yes
TeleXenar f4.0 150mm Yes Yes
TeleXenar f4.0 135mm Yes Yes
TeleXenar f5.5 200mm Yes Yes
TeleXenar f5.0 300mm No Yes
TeleXenar f5.5 360mm No Yes.
TeleArton f4.0 90mm No Yes.
All lenses could be fitted to 24x24, but some 24x24 intended lenses gave incomplete cover on 24x36. No
indicates not normally used, Yes a suitable fitment.
Later Lenses: 1966 period.
In 1967, Schneider began to use multilayer coatings as needed. One of the first was the new TV Variogon
Zoom with 44 air/glass surfaces to allow f2.1 20-600mm operation. There was no special publicity as it was
policy to steadily upgrade products as new possibilities ocurred. This was true of the f2.0 Xenon where it was
policy to upgrade the design every 10 years or so to improve performance and data shows a steady
improvement in 1950, 1960 and 1970 designs. There was no publicity to avoid upsetting the market but the
advances were very real and some are noted as they have occurred- see Xenon and Symmar for examples. (H.
Klarman, Applied Optics, 13, 707-710, 1974). The SLR programme then was something like this:
Curtagon f4.0 28mm (Sc027) Seen at No7,174,80x, M42 fit in black.
Curtagon f2.8 35mm (Sc025) (Camera 35, 04/05/1967 on Alpa). It was seen at No
997,320x for Exakta Real.
There seem to be two versions of the 35mm, some drawings showing something, possibly an extra pair of
glasses behind the front one. So far it is not known if this was a real version, (it may be an artifact of a printing
process) and whether an early or late one. Otherwise the lens seems little different from the early one in
02/1961 above. It will probably now be in a new black auto mount. A late example at No11,867,22x is marked
"Electric" probably for the Praktica Electric camera.
Xenon f1.9 50mm
TeleXenar f3.5 135mm (Sc044)
TeleXenar f5.5 200mm (Sc045)
TeleXenar f5.5 360mm
Variogon Zoom f2.8 45-100mm
TeleVariogon Zoom f4.0 80-240mm.
In large format lenses the big novelty was the f5.6 Super Angulon, with two more glasses, but also more size
and weight. It is ideal for monorails, but too large for some field cameras. The set was then:
Super Angulon f8.0 90, 120, 165, 210mm, ?the smaller versions at 47, 65mm being closed out.
Super Angulon f5.6 47mm for 6.5x9cm, 65mm for 6.5x9cm, 75mm for 9x12cm, 90mm for
13x18mm and was with with 8-glass design. It is in the 8/1968 list. Actual coverage at f22 is 123mm, 170mm,
198mm, 235mm expressed as image diameter in mm.
Super Angulon f4.0 53mm A rare version for small cameras such as Linhof 6x9 and
aero. The design may be related to the Leitz Super Angulon lenses made for the Leica.
Process Lenses
A full series of process lenses was offered postwar, but it can be difficult to see which were made at what
time. The three basic designs were the 4-glass Gauss, 6-glass Symmar and dialyt 4-glass.
Repro-Claron This seems to be the older, major product using new types of glass postwar. It covers a
smaller angle than the later G-Claron, which was in preparation in the larger sizes in the 8/1968 list. Thus at
1:1 the 210mm lenses cover 356mm dia for the Repro-Claron and up to 561mm for the Grafic-Claron stopped
down. This would allow a process worker to handle a much bigger subject with a limited bench length on the
copier- a real saving!
Repro Claron f9.0 135mm for 229mm*, 210mm for 356mm, 305mm for 515mm, 355mm for
604mm, 420mm for 713mm, 485mm for 819mm, 610mm for 1035mm, and possibly others. (*The coverage in
mm is the image circle at 1:1. This was a Dialyt type process lens, Q26 type with new glass. This is a classic
design and works well from infinity down to close-up. It was certainly made in the 1960-1970 period using new
glass and is probably a new version of an old design, the data here being from an 8/68 list. It has been seen at
No9,257,80x (1965) and No12,628,83x (1974). A special process mount was available for 210mm and longer
lenses to take Waterhouse stops. And all sizes were available in shutters, eg 305mm in Compur 1.
Fig 005 033 Schneider ReproClaron f9/210mm No9,257,80x in Compur shutter and C-Claron f5.6/135mm in
barrel.
ReproClaron f8.0 55m This was noted in a sales list as in iris mount. It is the smallest size
listed in the 8/1968 list. It covered 94mm dia. at 1:1. Both the small f8 lenses could be had in Compur 00
shutters. The f8 series were listed for close-up on 35mm cameras. The example seen was at No12,286,72x in
black barrel mount with iris to f32, and was probably a copying lens. It is a small but very attractive item.
Repro-Claron f8.0 135mm This probably matched the 55 lens above. It covered 229mm dia. at
1:1.
C-Claron f5.6 135mm This is probably a simpler product, and was seen in a black barrel
mount without iris, and with no serial number, and was possibly for industrial use. (It just may be based on the
Repro Claron design.) (see Fig under G-Claron).
G-Claron Process f9.0 150mm for 332/382mm, 210mm for 452/561mm, 240mm for 237/515mm,
270mm for 580/720mm, 305mm for 662/823mm, 355mm. (The coverage is the diameter at 1:1 at f9 and f22
resp.) This was roughly a Symmar type air-spaced design. These can be excellent for general use, and some
can be transferred from barrel to shutter mounts, eg Compur 1 for 210mm lenses at No 12,628,83z and
12,977,63x and a Size O shutter for a f9/150mm at 12,937,69x (black finish) mount, although they were not
listed in shutters in 8/1968.. In the 1990's, many process lenses have come on the market at reasonable
prices, and the G-Claron has established a reputation as a very nice buy secondhand- sharp, very contrasty,
free from distortion but with a nice image quality. One point is that it covers a good angle but not as much as
a Symmar even though they share something in layout. The 355mm was 'in preparation' in 8/1968 list.
Fig 005 029 Schneider G-Clarons f9 150mm, 355mm, 210mm at rear, C-Claron at front.
Grafik-Claron This seems to be the original German term, hence G-Claron.
[It was interesting to know how these related to other process lenses such as the Agfa Repromaster f9
lenses. Actually the external curves differed on examples of f9/150mm lenses from both series, and the
coating also differed. This proves nothing as they may just be made at different times, but there is a feeling
that the makers differ...]
G-Claron W.A. f11 210, 240, 270mm A more wide angle lens for process work where the bench
length was limited and large subjects needed to be copied. They are very impressive lenses but also very
bulky with large, deeply curved outer glasses and these are apt to get scratched easily as they actually can
go outside the shelter of the mounts in some cases, especially at the rear. Thus they should be checked on
purchase there. These were seen at Nos 12,821,62x and 13,261,66x. These share thread sizes with Cpr 111
shutters but unlike the smaller G-Clarons, they do not transfer correctly to shutters although they have been
seen mounted in shutters such as Copal III.
Fig 005 031 Schneider 240mm Clarons (l) wide angle f11 and (r) normal G-Claron f9.
Apo Artar f11 480, f14 1205mm These were noted in the 1981 list, with the two Claron
types.
Variomorphot f22 480mm nominally. This was a Graphic Arts lens allowing the operator to
reduce or increase the height of the frame in continuous degrees by up to 8% of the original. It covered 43°
and used 12glasses in 8 components- some being prisms.
Other Label Lenses J. Schneider has been prepared to supply Symmar lenses for sale under other names
such as Caltar (Calumet) and Sinaron (Sinar) though doubtless a substantial order was needed. It may be that
this applied to other items, such as Reprographic lenses, but there is no information to prove this in the case
of, for example, the Repromaster series reported elsewhere.
Some modern lenses have included ones sold under the Caltar label, and apparently Technikons for Linhof
such as the:
Technikon f2.8 100mm for Technika 70.
Technikon f5.6 58mm for Technika 70.
and large format lenses, such as:
Symmar-S f5.6 100, 135, 150, 180, 210, 240, 300, 360mm where 135mm and longer covered
5x4. This was an up-grade of the old Symmar and is not separable, as this feature was seldom used and the
design of the lens as a whole allowed an improved correction. The result was a lens with really improved
micro-contrast especially for colour. It was a real gain and was still in the 2/1981 list. An interesting item was
an f9.4/480mm Symmar-S at No13,924,319. It may be that the Copal shutter used limited the max. aperture.
[An interesting aspect of a review of a Nagaoka 5x4 camera by R.G. Taylor (B.J.P. 03/03/1978, p191)
compares the 150mm lenses used with it. The Symmar S and a Nikkor W had the highest contrast and
provided the best overall results, with the Symmar S having the edge over the Nikkor at f5.6, but levelling out at
f8 and f11, and this showed up in the resolution of fine detail.An older convertible Symmar f5.6 was lower in
contrast but proved better than a Boyer Saphir-Color at f11 or wider apertures. The real surprise was the
Protar VIIa which was above the Boyer in performance and near the Symmar at larger apertures apart from its
contrast which was lower. His conclusion was that the Symmar S and Nikkor did have significant advantages.]
High Definition Lenses
This list appeared with a Bauer P6 Twin Projector in 01/1974 and has ISCO and Schneider items.
ISCO Super Kiptar as f2.0/16mm; f1.4/25mm; F2.0/35mm; F1.9/45mm; f2.0/50mm; f2.0/55mm; f2.0/60mm.
Schneider Xenon f2.0/40mm. This was £100 compared to £87 for the faster f1.9/45mm Kiptar.
The standard projection lenses were:
ISCO Kiparon f1.4/25mm; f1.3/35mm; f1.3/50mm; as well as other makes.
Xenon f1.4/25mm;
Modern Lenses.
In 1982, Schneider's programme changed considerably, the enlarging lenses Componon S and Componon
W/A being withdrawn and replaced in 07/1982 by a new series with preset aperture levers, including
Componar-C and Componon-S-P. There is a complete programme of lenses for the large format user, and
these are the sort of basis any professional needs. There has been still further improvement of the Symmar as
the ApoSymmar, using low dispersion glass and the series is sold with multicoating to give a very high
contrast level indeed. It is doubtful if these are landmarks, but they are an extremely good set of lenses to
use.
Apo Symmar for 72° f5.6 It is made in 100, 120, 135, 150, 180, 210, 240, 300mm
f6.8 360mm
f8.4/f9.4480mm
Super Symmar HM 80° f5.6 120, 150, 210, with even more correction and even more angle
covered.
XL Super Symmar 110, 150mm for up to 105° at f22, with one aspheric surface. (Noted B.J.P.
02/10/1996, p15 at Photokina 1996
Super Angulon f5.6 47, 65, 75 90mm 8-glass continued.
Super Angulon XL120° f5.6 47, 58, 72, 90mm XL lenses were in use on the Cambo wide system in
B.J.P. 23/10/1996, p7.
Super Angulon f8.0 90, 120, 165, 210mm
Xenar f5.6 150mm also 210mm f6.1. The introduction date is uncertain but 3 new
Xenars were introduced in a J.Schneider advert. in Modern Photo 09/1978 in 150, 210, 300mm and these just
may be them.
ApoTeleXenar HM f5.6 400mm A 5-glass design.
f12 800mm
TeleArton f5.6 250mm A 5-glass design
G-Claron for 64° f9.0 150, 210, 240, 270, 305, 355mm especially for 1:5 to 5:1
ratio.
MakroSymmar HM f5.6 80, 120, 180mm This is a macro lens for 1:4 to 4:1 optimum.
M-Componon f4.0 28, 50, 80mm This is essentially a macro lens in a barrel mount.
Super Angulon PCS for Hasselblad, 55mm focus.
PC Super Angulon f2.8 28mm This was noted by J. Bethell in B.J.P. 17/04/1996, p16 mounted for
Leica R from 1988, and in 1996 for other SLR cameras. (Nikon, Canon, Pentax) It uses a 12g/10c design, and
is not in the same design group as the big format Super Angulons but seems to be a more normal retrofocus
design. It allows 11mm shift off axis. and the front 4 glasses float for close up use. It uses a manual iris so
swapping mounts is fairly straight forward. Price was £1327, more or less in line with quoted prices for other
28mm PC lenses at the time.
Variogon Zoom for Hasselblad, 140-280mm.
Dagor MC This was noted at auction as a 14in /355mm f8.0 lens No14,143,69x in use on a Deardorf camera.
It would suggest Schneider purchased the trade names of Goerz USA perhaps. It does not seem to have been
sold in the UK. See also ApoArtar above.
Varioplan Zoom 38-145mm zoom, this was used on a Samsung slim zoom camera it had
11g/8c design, and was of professional standard. (B.J.P. 23/10/1996, p7)
Three 'new' lenses introduced in 2001AD were:
ApoTeleXenar f5.6 400mm A high quality new tele with a revolutionary new coating, at
c.£1,488
Super Symmar XL Aspheric f5.6 210mm This gives an amazing 500mm image circle at f22 for certain
sorts of panoramic work., at about £3,708.
Super Symmar XL Aspheric. f4.5 80mm For 212mm image circle, this is more compact than the
Super Angulon and is sharper. £1,694.
Chronology
Schneider have been exceptionally helpful in disclosing information on the serial number and dates of their
lenses and several sets of numbers have appeared, of which this is the most complete seen. It is in the public
domain.
Serial Date Serial Date Serial Date
30 000 Dec1919 2 400 000 Oct 1950 13 200 000 Sep 1977
40 000 May 1920 2 600 000 May 1951 13 400 000 Oct 1978
50 000 Jan 1922 2 800 000 Nov 1951 13 600 000 Oct 1979
100 000 Jan 1925 3 000 000 May 1952 13 800 000 Jan 1981
200 000 June 1928 4 000 000 Oct 1954 14 000 000 Oct 1983
300 000 Feb 1929 5 000 000 Feb 1957 14 100 000 Jan 1985
400 000 Apr 1931 6 000 000 May 1959 14 200 000 Aug 1986
500 000 Jun 1932 7 000 000 Feb 1961 14 300 000 Nov 1988
600 000 Aug 1933 8 000 000 Mar 1963 14 400 000 Jan 1991
700 000 Oct 1934 8 500 000 Feb 1964 14 460 000 Feb 1992
800 000 Sep 1935 9 000 000 Feb 1965 14 480 000 Jan 1993
900 000 May 1936 9 500 000 Sep 1965 14 500 000 Nov 1993
1 000 000 Nov 1936 10 000 000 Jan 1967 14 510 000 Jan 1994
1 200 000 Dec 1937 10 500 000 Oct 1967 15 520 000 May 1994
1 400 000 Nov 1938 11 000 000 Nov 1968 14 540 000 Jan 1995
1 600 000 Sep 1939 11 500 000 Jul 1970 14 560 000 Apr 1995
1 800 000 Jun 1942 12 000 000 15/09/1972 14 590 000 Jan 1996
2 000 000 Sep 1948 12 500 000 Mar 1974 14 600 000 Apr 1996
2 200 000 Jul 1949 13 000 000 Dec 1976 14 620 000 Nov 1996
Fig 39 J. Schneider Lenses.
Exposure: Xenar 150mm.
Back Row Schneider Xenar f3.5/50mm for Dollina.
Schneider Xenar f4.5/135mm M39x26.
Schneider Xenon f2.0/125mm ex Handkamera.
Schneider Xenon f2.8/50mm on Retina 11.
Middle Row Schneider Xenar f4.5/210mm
Front Row Schneider Xenar f3.5/50mm (early specimen).
Schneider Xenar-S f2.8/50mm for Exakta.
Schneider Xenon f2.0/50mm for Exakta.
Schneider Xenar f4.5/165mm in Compound shutter.
Schneider Xenon f1.5 25mm for C-mount, close focus.
Schneider TeleXenar f3.8/75mm, C-mount.
Fig 40 J.Schneider Process and Enlarging Lenses.
Exposure: Schneider Symmar 150mm f5.6
Back Row Schneider W/A G-Claron f11 210 and 240mm.
Mid Row Schneider G-Claron f9.0 210mm
Schneider Componon f6.5/150mm
Front Row Schneider ReproClaron f9.0 210mm
C-Claron f5.6/135mm
Schneider Componon (Black finish) f5.6/80mm
Fig 41 J.Schneider; Lens set for Diax.
Exposure: ReproClaron 210mm f9.0.
Schneider Isconar f3.5/50mm.
Schneider Xenagon f3.5/35mm.
Schneider TeleXenar f3.5/90mm.
Schneider TeleXenar f4.0/135mm.
Fig 42 J.Schneider; Postwar Large Format Lenses.
Exposure: ReproClaron 210mm.
Back Row Schneider TeleArton f5.5/270mm (Old Type)
Schneider TeleArton f5.5/270mm (Newer Type)
Schneider TeleXenar f5.6/360mm
Schneider Super Angulon f8.0/90mm.
Middle Row Schneider Angulon f6.8/90mm.
Schneider Symmar f5.6/150mm.
Schneider Xenar f4.5/150mm.
Schneider Super Angulon f8.0/65mm.
Front Row Schneider Angulon f6.8/65mm.
Schneider Angulon f6.8/120mm in barrel.
Schneider Xenar f4.7/127mm.
Schneider Xenar f4.7/135mm.
Scotland, UK.
A rare pamphlet from the Frank Collection list some of the older Scottish instrument makers:
George Brown, 1700 onwards? made a calculating machine.
James Short, supplied telescopes in the 1730's from studies at Edinburgh University, the mirrors being
somewhat new in design. He moved to London in 1738, selling in Edinburgh and London. Unusually, he
numbered his instruments.
James Crichton, ?Glasgow University.
James White, Sauchiehall St Glasgow, supplied surveying and other instruments. Later with Ld Kelvin. This
developed as Kelvin, Bottomley and Baird
Alexander Mabon, supplied dials for mining equipments, and possibly clocks.
Edwards, dealt from a shop in Sauchiehall St.
Gardner and Co, a long established dealers in Glasgow.
Lizars- noted for the manufacture of cameras and the only Scottish microscopes. They numbered their
instruments.
Nautical Instruments were an important feature, makers including:
MacGregor and Co.
Alexander Dobbie from 1841, agents for Barraud, and makers to the Admiralty. They may have closed after
an explosion at their Tradestown Grain Mill works in 1870.
Whyte Thomson and Co, also makers to the Admiralty.
David Carlaw, of Carlaw Engineering, made a microscope as a sideline?
Thomas Morton, Kilmarnock Telescope maker.
John Miller, back of the Fountainwell, Edinburgh, who also worked in London with George Adams.
Alexander Adie, nephew and partner to Miller. Later as Adie and Son, 1834,and Adie and Wedderburn 1881.
This was one of the great firms, comparable with W&S Jones or Cary in London.
William Blackie (Edinburgh) supplied lenses to Andrew Pritchard of London in the 1830's.
Berry and MacKay of Leith, naval instruments.
Lowden, Dundee. He made a stereoscope for Mr David Brewster and at least one early camera.
Ramage, Aberdeen.
Veitch, Jedburgh.
There are important omissions from this list- no Davidson, no Hume, but Lizars does come in as does Baird.
And just a hint at where Brewster got his stuff made. The relation with London was a real one, trading being by
sea and important eg. in the book and printed material trade. There
(SEM, France.
Some of the Berthiot lenses for the TeleBerthiot camera may be labelled just SEM.)

Seneca Cameras, Fort Dearborn Watch and Clock, 37, S. Wabash Ave., Chicago, Ill.,
USA.
It is not certain how far they made or even named the lenses they sold: this information is from catalogues in
the 1900's and the products do not trade in the UK so it is difficult to verify this.
about 1906:
Meniscus
Achromatic Meniscus
Rapid Rectilinear f8.0 5.0-18.5in.
Triple Convertible
Wide Angle f16 4.0-10.5in
Portrait f5.0 6.0-14in.
about 1907
Special Anastigmat f7.5 5.0-6.75in.
Seneca Anastigmat f6.8 5.0-16.5in.
f6.3 5.25-12in.
Seneca Convertible Lens f8.0 5.0-12.5in These were sold as pairs of cells. They were also sold as casket
sets, eg. 20 + 28.5in as a pair gave 12.5in suitable for 10x8in.

Septon Camera Works, Japan.

Septon f2.8/20mm noted at No14,11x, on a Septon pen camera. Production was very limited here.
Sesnon SMC lenses
These were noted in an adverts by Walwins of 45 Southgate St.,Gloucester, GL1 1TX They were a series of 4
auto iris SLR lenses in M42, and in Nikon, Minolta and Cannon (sic) mounts.
f2.8 28mm
f2.8 35mm
f2.8 135mm
f3.5 200mm.

Seton-Rochwite, USA.
This has been noted by Exakta enthusiasts for a Stereo unit for these cameras, but there is no more
information.

Sets, as in Casket sets- see Casket.

Shepherd and Co , 97, Farringdon St, London.

He was a leading English maker of Petzval type Portrait lenses and other period types about 1870. He figures
in the "Lawley of Farringdon St" list of secondhand lenses available in the 1879 BJA and just may be related.
It was noted that Channing and Dunn regard him as "a manufacturer of lenses" but also a "Wholesale optical
and photographic warehouse" in about 1858-1867. With Lawley's advert. this tends to convince that he was a
maker, but he is not one featuring in the optical books- ie not innovative in design. (No examples of his
products have been seen.)

Schull
Known for a Luxar lens.

Schulze, Gebruder Schulze, Potsdam, Germany.

Kerkmann shows an undated advert for the Euryplan to D.R.P. 135,742 and it was made in f6.0 and f7.5. It
was already a 6g/4c design as later.
This name occurs separately to Schulze and Billerbeck, below, eg. in the Amateur Photo. 22/01/1905 which
shows a Q18 type lens agented by Staley, calculated by E. Arbeit. See also 25/01/1907. They also used the
trade name Euryplan (Amateur Photo. 21/09/1909, p243), and note that Staley seem to be Schulze and
Billerbeck agents in 1914. Thus it seems that Schulze acquired a partner at this time and moved to a new
site.

Schulze and Billerbeck, Gorlitz, Germany.

U.K. Agent: W. Ziegler, 14, Oliver Grove, S. Norwood, London SE (1913).
also Staley and Staley-Wheeler, 19, Thavies Inn, Holborn Circus, London EC.(1907)
The agency seems to revert to Staley under WW1 conditions, as they have the advert. in B.J.A. 1916. as
Staley and Co and later as Staley, Shew and Co. Here the main source is a Catalogue, undated, and press
adverts.
Schulze seems to have been founded at Potsdam, and moved to Gorlitz, possibly when it amalgamated with
Billerbeck as a partner. Thus it seems a natural progression that the firm later approached Meyer with a view
to joining it. Major products seem to have been the Euryplan and Aeroplan lenses and it is suspected that
they were the source of a number of the anonymous lenses sold under shop labels in the UK market in the
period up to 1914. And that it was partly from their Euryplan patents that the Plasmat was born. Frerk says
they were taken over (=Ubernehmen) in 1914.
Extra Rapid Aplanat f8.0 (An RR for general use. See also Sphaeriscop.)
Sphaeriscop f7.2 A pre-1908 RR series for general use. It was made in 3.5, 4.75, 5.25, 6.0,
7.75, 9.5, 10.75, 12in in 1913. It covered 80° and 5.125in was for 5x4.
Sphaeriscop Set ie casket, here with 4 or 5 cells for 13x18 and 18x24cm sizes. (1908).
Aeroplan
Several Series exist here. It was introduced in Amateur Photo. Nov. 1910. It seems then to be a cemented Q9
layout at this stage, though it may be partly air-spaced: the drawing is not too clear on this. (These may be
the same as the Blitz series below.)
Aeroplan Series 11 seen is an air-spaced design Scu007 as an 10.5in f5.6 No5 for 10x8in.
One list gives it as f6.0, in 2.375, 3.5, 4.125, 5.25, 6.0, 6.5, 7.0, 8.25, 9.5, 10.5, 12, 14.25, 16.5, 19, 23.5in
and it covered 90° so that 5.25in was suggested for 5x4. The advantage of the air-spacing was said to be that
the separate cells were usable at full aperture for the same plate sizes.
Fig 008 033 Schulze & Billerbeck Aeroplan Ser II(?) f5.6/10.7in
Series 111 This was an air-spaced version for 82° and was a slower version of the air-spaced Series 11.
Series 11 covered rather more at 90° but they must have sold for very similar uses.
Series 11 was made in 3.5, 4.75, 5.25, 6.0, 7.0, 8.25, 9.5, 10.75, 12, 14.5, 16.5, 19.5, 24in.
Series 111 was made in the same foci bar 19 for 19.5in and both suggested 5.125in for 5x4in.
Aeroplan Series 1V f6.5, "Nulli Secundus" This had 4-air-glass surfaces, ie Q9. and made in 4.75, 5.25, 6.0,
7.0, 8.25, 9.5in where 5.125in covered 5x4in at full aperture and 7x5in closed down.(Scu002, Scu003, Scu004,
and Series 111, ?Scu005)
Aeroplan Series V f6.5 for up to 90° this was a Q9 type made in 2.375, 3.5, 4.75, 5.25, 6.0, 6.5, 7.0, 8.25,
9.5, 10.5, 12, 14.25, 16.5, 19, 23.5in. It was suggested to use 5.25in for 5x4in.
Aeroplan Series Va f4.8 It was made as 2.375-24.5in and was seen is a cemented Q9, Scu010 as a
7in lens at f4.8. No6900x. (Am. Photo. 09/06/1913)
Fig 032 014 Schulze and Billerbeck Aeroplan Ser Va f4.8/7in No69,00x.
One list gives Series Va as f4.5 and a Q9 type with 4 surfaces only. It was made in 2.375, 3.5, 4.75, 5.25,
6.0, 6.5, 7.0, 8.25, 9.5, 10.5, 12, 14.5, 16.5, 19, 23.5in. It covered 90° and a 5.125in was suggested for 5x4in
and would cover 7x5 at small stops. (B.J.A. 1911, p691/2) The Amateur Photo 08/11/1910, p464 seems to
bulk the f4.5 and f4.8 together as one product at varying apertures.
Aeroplan Wide Angle f15 This was made in 3.5, 4.75, 6.0, 8.0, 9.5, 10.5, 12.5in. It covered 105° and
was convertible for use as a Lanscape lens, ie was probably an WAR.
Series 1 (not seen) f6.8 Layout Sc002. This may be the same as the next item.
Phaos Anastigmat f6.8 4.375-15in.Q9 The agents said they were able to "supply as the patents
have run out". (Layout Sta002). Seen as No265 ex Staley, London on a f6.8 7in brass lens for 5x7. It was
made in 4.75, 5.25, 6.0, 7.0, 8.25, 9.5, 10.625, 12, 15in. It was suggested to use 5.125in for 5x4in at full
aperture and 5x7in stopped down. This does seem to be an S&B lens and started the idea that some of the
other 'Orphan' lenses were theirs.
Planastigmat f6.8 This was a 4+4 symmetrical anastigmat, with 4 air-glass surfaces ie all
cemented in each cell. It was a premium quality lens. It was supplied in 4.75, 5.25, 6.0, 7.0, 8.25, 9.5, 10.75,
12, 14.5, 16.5, 19in, and 5.125in covered 5x4in at full aperture and 5x7in stopped down. The single cells were
fully usable at 2x focal length.
Blitz Anastigmat
This may have been made for City Sale and Exchange, about 1914. (It seems to be ex-S.&B. but this is not
stated.)
Series 1 f4.8 5.0-15in Longer versions are f5.0 or f5.8.
Series 11 f6.0 2.375-23.5in for 90° coverage. This is a Q20 air-spaced design and a very
early example. The layout shows a cemented lens in Scu003. The angle covered may be a bit ambitious.
Series 111 f6.8 5.0-14in Q9 As seen, it is engraved only as 'City Sale and Exchange' Series
111 No4 on a f6.8 8.25in lens. It is not numbered.
Series V f6.5/ f7.2 2.375-23.5in for 90° another 3+3 Q9 type. Use 5.25in for 5x4in.
Series Va f4.5 2.375-23.5in Longer foci were as f4.8, f5.0, f5.5
This last was a separable Q9 type and seems to be close to the Aeroplan Series 1 above in the longer foci.
(See Brit. Jnl. 1911, p691: Amateur Photo. 09/06/1913, p554).
Series V1
Wide Angle f15 3.5-12.5in Use 4.75in for 7x5in, 6.25in for 10x8in.
Helioplan Wide angle f6.8 4.75-14.5in to cover 100° This was a Q9 type. Here use 5.25in or longer for
5x4in, Scu001. This was to be a long lived Trade name. Photography,04/02/1913 p98 noted the Helioplan as a
Q9 type, in 4.75-14.5in. for up to 80°, (so a 5.25in would surely cover more than 5x4in.).
Portrait Lenses
Portrait Lens f3.0
Planastigmat Portrait f3.0 7.0, (CDV)8.25 (CDV), 10.625 (Cabinet), 12.25 (Cabinet), 14.5 (Boudoirs),
15.75in (Boudoir). This is probably the same as the last lens, and is a Petzval type.
Portrait Lens f3.5 300mm This was noted in a B&J list, and this may be the same series in a
large size.
Portrait Objective Ser 1V f2.3
Spharostigmat f7.2/f6.83.5-12in A symmetrical 2+2 lens, ie an RR? It was a low cost option sold
also in Ibsor shutter, and it was suggested to use 5.25in or longer for 5x4 (Layout Scu006, Photography,
04/02/1913.)
Pantoplan This seems to be a pre-1908 name, possibly for Euryplan It was available in casket sets.
as: Series 11 f5.6 and 111 f6.8 mentioned without details, probably versions of the above
Aeroplan or Euryplan lenses.
Planastigmat f6.8 4.75-19in This was a Symmetrical anastigmat with 4+4 glasses. (It is likely
that this was the lens Sharp and Hitchmough and Sichel were advertizing below.)
Magor: 2 series made f6.8 2.375-9.5in in 1910 approx., a 4-glass Gauss.
f4.5 same. With these, use 5.25in or longer for 5x4in.
Pulligny and Puyo
It is worth noting that they seem to be joint licensees with M.Darlot of Paris for some of these. But it is
uncertain if both made all of these types. Such licenses for a country were more usual then owing to poorer
transport facilities than were later available.
Anachromatic Portrait Series 1 f5.0 12 for 7x5in, 16in for 9x7in. This was supplied in either
Grade A glass(Crown Glass) with iris; or
Grade B (Crown St Gobain glass) with Waterhouse stops.
Anachromatic Portrait Series 11 f5.0 12/13 for 7x5in; 15/16 for 9x7in; 22 for 12x10in; 27.125in for 16x12in.
Here all have Waterhouse stops.
Non-Achromatic Pulligny et Puyo lenses for Landscape and Artistic studio and portraiture in a special
mounting with a rack-and-pinion to regulate the separation of the lenses for the correction of the chemical and
visual foci. These had two iris stops- the front controlled exposure and sharpness and the rear controlled the
area covered. No1, for 7x5in, 12-20.5in focus. No2, for 9x7, 16-27.5in, No3, for 12x10in, 20.5-36in.
Landscape Lens, in 3 sizes, 12, 16, 20.5in where it was suggested to use f20 or f30.
Telephoto Lens
Telephoto Staley-Wheeler This was an adjustable telephoto to match Aeroplan or Euryplan of 7.0in focus,
with a choice of 3 negative lenses, mainly of 2-glasses. These were made to order in one list.
Pancratic Telephoto for 5-magnifications.This was a complete lens, with variable separation and seems to
use a 6in positive lens sold with a -3in rear negative for 6in extension, and covers 1/4plate, or larger at 3x or 5x
magnifications or more. The positive lens is a 'single' and the cells were made to fit B&L Automat shutters in
1910. Other shutter adaptors were included i the price of £3.15
Euryplan Lenses
Here again the designs seem to vary and may overlap the above: and it is possible this is due to changes with
time or market. But Eury- tends to be faster than Aero-plan and has more air-spaced designs. See Scu007 for
Q20 types at f5.6 and f6.3 and App063 for a f6.0/f7.5 layout,- and Scu008 and Scu009 for Q18 types. The
designer was E. Arbeit in 1903 and Apo colour corrections are claimed for some at least. These are innovative
designs, especially as Scu007 became the layout of choice for Plasmat and modern professional lenses. The
layout was somewhat prone to flare and reflexions until coating was used, and Arbeit may have chosen to go
where others had not, but deserves credit for his innovation. The numbering of the series seems complex,
possibly due to changes in the lists with country or year. In 1908 it was Series 1, f4.5; Series 11, f5.6; Series
111, f6.8; Series 1V, f6.5. (And no Aeroplan in the list.) A problem factor is that the positives were outside in
the Series 1, and inside in the Series 11 and 111. Most can be converted to give 2x focal length by using a
single cell. Euryplan was reported as 'new' in (Photographic News, 25/01/1907, p75) when it was a 1+2 i 2+1
layout rather like a Planar and was sold in 3 series f4.5 for up to 80°, f5.6 for 90°, f6.8 for 82° and these were
convertible to well corrected components. They were said to be something of a bargain at the modest cost.
F4.5 in 3.5-12in, others in 3.5-24in. The patent was No135,742 to Herr Arbeit of Wetzlar, 21/02/1901.
Euryplan Series 1 f6.8. ] These were general purpose lenses in 1908.
Euryplan Series 11 f6.0 ]
Euryplan Sets Type 11 and 111 6-lenses each, for 9x12; 13x18cm. This was an air-spaced 3+3
anastigmat. There were probably several sets at different times in f6.0 and f6.8 for 9x12 and 13x18cm, with 4
or 6 cells. See Photography, 21/09/1909, p243 S6 where the Euryplan shown is a 2+1 i 2+ layout ie Plasmat
type, Series 11 f5.6 and there was a f4.5 of similar design, while the f6.8 was still a Q9 cemented lens. It used
only 2 types of Jena glass, one for all positives, the other for both negatives.
Euryplan Series 111 f4.5 A portrait lens.
Portrait Objective Series 1V f2.3. Also see above.
Another list instead gives the following, which suggests the numbering at least changed.
Euryplan Series 1 f4.5 9.0-32cm for 80° and as a portrait lens. Mainly Q20 type (Scu009) But there
was also an f4.0 version without series numbering, Layout Scu010. So the f4.0 may be an earlier lens?
(Euryplan was seen at No2037 engraved Staley, as an f4.5 8.25in lens in brass, with Scu009 layout.)
Fig 032 012 Schulze and Billerbeck Euryplan f4.5/8.25in Ser I No203x, sold by Staley and Co.
Euryplan Series 11 f5.6 or f6.0 in longer sizes. Made as 6.0-60cm to cover 90° Q20 type.
This is shown as Scu008 for an f5.6 lens.
Euryplan Series 111 This seems to be made in f6.8, f7.5, or f7.7 in 6.0-60cm for 82° as a Q20 type.
Incidentally they do not seem to have offered a Wide angle lens up to 1908.
EuryplanSeries 1V f6.5
Velos Series 1V f4.5 but there is little information on this.
Euryplan Series 11 and 111 were reissued as f5.6 and f6.8 in Scu007 in foci 3.5-24in.
The f4.8 lens with the Q9 design should be interesting to try as it should have the contrast so often lacking in
old lenses and enough speed to be interesting. But it is said that increase in speed with this type usually is
coupled with a narrow angle of cover. And air is cheaper than glass, so air-spaced designs tended to increase.
S&B lenses do not seem to be easy to find in the UK and are often in poor order as the glass is set in alloy
mounts in the brass barrels, and the alloy is very soft- and the engraving can be hard to read. Many seem to
lack serial numbers, or have them engraved on the outer face of the cell where they are often worn. But they
tend not to be costly as the firm is relatively unknown. One view is that the Scu005, Scu007 type is the most
collectable and interesting.

E. Schwarzenburg, Konigsberg, Germany.

They are noted for an f8.0/8in RR with iris and roller blind shutter, probably from the 1880-1900 period.

Scientific Lens Co., 24, E 21 St, New York, USA.

For an account, see B.J.A. 1905, as the lenses change focus during exposure to give increased depth of field.
This was patented as Patent 02/02/1904; 12/04/1904; 31/05/1904; 18/10/1904. (?USPats.) This has been a
recurring theme and see Dieterich for a later application.
Ocular f5.0 This lens can be used with and without focus change.
Stigmar f6.2 A high grade anastigmat of 4+4 symmetric layout. This was made in 7.25, 12, 17in.
Retinar f7.7 This was an RR for use with and without focus change.
Cosmos Wide angle This was noted as an 6in lens, with rotating aperture plate ('wheel stops') but there is
no further data. (A conjecture is WAR.)

Scoville Manufacturing Co., USA.

Morrison Wide Angle, this was a casket set c. 1889, in 5 focal lengths. (See Photogr. Times, Vol 14, p277.)
Waterbury Lens Noted at No188x, this seems to be a Landscape meniscus with rotating disc stops from f11.

Sekonic, Japan.
They were noted in Ariel's list for two Resonar lenses for 8mm cameras:
Resonar f1.8/13mm
Resonar f1.8/10-30mm

Sears Roebuck and Co., Chicago, USA.

A 1916 catalogue shows several lenses with trade names of theirs. They seem to include Citar f6.3; Deltar
f4.5; Monarch wide angle f16; Conley f5.0; Conley f3.8 Portrait; and Luxar f7.7, a dialyt type. The index may
suggest the sources of some of these as the makers were not given. Thus a separate item was:
Conley, USA about 1910
Rapid Rectilinear f8.0 6.25-8.5in Q5
This gave 3 foci as the cells were of different foci.
Conley Anastigmat Series V f6.8 5-16.5in Symmetrical anastigmat of 4+4 glasses.
A 13in f6.8 Series V Conley Anastigmat has been noted in an advert..
Monarch Symmetrical Wide Angle f16 3.5-8in ?WAR
Conley Portrait f5.0 Petzval?
Series V11 Anastigmat f9.5 4.75-9.75in. Here it was suggested to use 6.88 for 10x8in
This seems to be a wide angle.
Conley Extra Rapid Portrait f3.8 This was definitely a Petzval Portrait lens. (Q3)
Deltar Anastigmat f4.5 5.75-15in It seems to be unsymmetrical.(Q15)
It was suggested to use 15in for 10x8in.
Citar Anastigmat f6.3 5.25-13in This was possible Q26 type.
It was suggested to use 13in for 10x8in.
Luxar Anastigmat f7.7 5.25-13in

SECAM, France.
The SECAM Color lens was used on the Stereophot in 1956, eg f6.3/27mm: cf. Roussel's f3.5/27mm in 1957.

L.Senez, Paris, France.

Louis Senez was an early 19Century maker, and is respected and well priced in France rather as Lerebours is
but seems not to have developed an export busines and is largely unknown in the UK. Lenses included a
Double Portrait Lens (it is probably a Petzval type) and other products. Few details are available. An auction
list described a Senez engraved lens on a sliding box camera probably from before 1858 for 13x16cm using a
rack+pinion above the barrel suggesting the absence of a Waterhouse slot.

Serial Numbers
Most lenses carry a serial number engraved by the maker. This was for record keeping and would allow the
identification of the lens if there was a problem, so that the employee assembling it could be identified
perhaps, and to see if the warranty still applied. There could also be a need to identify the batches of glass or
metal used in manufacture. Note there is at least one early lens with the warranty expiry date hand written on
the side of the glass- but this is unusual. But many early lenses do lack serial numbers. This can be a sign of
a very early one- but more often is a warning of something that was originally too cheap to be much concerned
over.
When numbering began, makers often started not at one but at 100 or 1000, partly as the earliest numbers
were actually on prototypes or since the spacing of the txt could be set up for a run more easily if the digits
were all the same length. Systems ran in close production order in many works, the Voigtlaender 'Gravierungs
Register' showing a very systematic orderly use of the numbers, usually the lenses being numbered one-byone
initially and later in small groups of like items. this does not apply so fully in this Century. Voigtlaender
went over to noting the numbers of big runs of common lenses such as Voigtar and Skopar as large scale
production developed, and Meyer after WW2 seem to have later been content with a numbering system with
duplications as product came in from outside. All makers have to accommodate for occasional duplications
and errors: one way is to add an additional letter such as 'a' or an extra digit. Modern use has been made of
the year as a prefix (see Russia) and seemingly of a code number for the product type followed by a serial
number series for that product alone. Other systems have used a letter to denote the year as with some
Kodak and Berthiot lenses.
Extensive data on serial numbers has been added to the text. Sadly there are few makers where the original
tables relating number to year are known. But often lenses were made in quite small batches and if the
number of one is known, the others will be quite near it. And when a lens/camera is made in a small run in an
identifiable year, then it can be a way of dating that serial number, and extended approximately to other items
of like number. The catalogues of the Christies' Catalogues have given a very valuable collection of numbers,
often of the most valuable lenses, and have been used as a source especially the catalogues over the period
1988-1999: not all were incorporated since some brands such as Leitz, Nikon and Canon have been the
subject of comprehensive studies elsewhere.
(also see Shutters section for a powerful chronology tool).
Shanghai This was noted as an f3.5/5cm lens and this is thought likely to represent a maker rather than
just a trade name.

Sharp and Hitchmough, 101, Dale St, Liverpool, UK.

They were dealers with what may be their own lines as they do not quote the makers. In 1889, they sold
Aplanatic Doublets, "Aptus" RR, WAR, Euryscope and RR and MAR and Aptus Landscape and Rapid View
meniscus as well as ptus Extra Rapid Portrait lenses. They were early agents for TTH, Beck and Laverne as
well as Ross, Dallmeyer, Wray and Swift. (Thus an auction item was a Ross No2 w/a Symmetrical No4
No53,46x) on a curiously modern Detective camera. Aptus seems to be S&H's brand name. Later the
products included Planastigmats, which might be ex-S&B but are described as London made which raises a
question. An interesting advert. is that in the B.J.A. 1900, p1308. They have been noted as importers of the
Clement et Gilmer Panorthoscopique.
The Panorthoscopique has a very fancy S&H engraving, which may reflect the new staus of this under the
1875 regulations. (see Swift).
Euryscope f8.0 RR see Sha001.
Aptus Snapshot Meniscus, View and Portrait lenses.
Aptus Rapid Landscape Lens. This was a plano convex achromatic combination, ie a meniscus, with an f8.0
maximum aperture. It was made in 6.0 (for 5x4), 8.75, 10.5, 14in (for 10x8in), 18in (for 12x10in), and had a
cone shaped mount. This may have been needed to give the extra extension needed for some cameras with
these rather longer lenses.
Aptus Rapid View Lenses (1889) This series had disc stops, were from London and were in 5.0, 7.5, and
10.5in for 1/4, 1/2 and 1/1plate, while the 5in also covered 5x4.
Aplanatic Doublets RR's
These were listed in 1889 in 5.5, 8.25, 12.25, 15.75 and 19.75in, where 15.75 was for 10x8 and 5.5 for 1/4 or
5x4in. They could be had with Waterhouse or iris stops in 1889 and older lenses could be retrofitted with an
iris.
Fig 029 003 Three RR lenses, 2 by Clement et Gilmer at NoNo and No103,86x and 1 by Sharp and
Hitchmough, ? from CetG as it is a 'Panorthoscopique'.
Aptus Quick Acting Portrait Lenses in:
A Series Special, Best Ordinary (sic!) as f4.0 in 4.5in for 1/4plate, 6.5in for 1/2plate, 8in for 3/4plate, and
10in for 1/1plate. These do seem rather shorter than was often used and 3/4 plate was an unusual size!
(B) Extra Rapid f3.0 4.25, 4.75in (covers 1/4plate) for CdV, 6.25in (covers 7x5in) for Cabinet and CdV, 7.75in
(covers 8x6in) for the same, 10.75in (covers 9x7in) for Cabinet.
Rapid Rectilinear
Aptus RR with iris, London made. These were made in 4.75, 7.5, 8.5, 10.25, 12.5, 14.5, 19.5in, where the
12.5in was suggested for 10x8, the 4.75in for 5x4. This was a more expensive lens than the Aplanatic above.
Euryscop f6.0 Portrait These used a special optical glass (Jena?) to allow the f6 speed in 1889, and were for
portrait and groups especially. They were made in 4.75 for 5x4in, 8.25in for 7x5in; 10.5in for 9x7in and 12.25in
for 10x8in.
Aptus WAR Wide Angle Doublets.In 1889, these did not have a quoted speed. They had disc stops, and
were made in 2.75in for 1/4plate, 4.3, 6.25, 7.0 for 10x8in and 8in for 12x10in. Later two types were
distinguished, and these were for f16 and f11 (This was the better type). These last may be anonymous
bought-in items or with the vendor's name on them and were in a later list
Aptus Mid-Angle Rectilinear. In 1889, this was a most popular series "between a normal RR and WAR for
outdoor work." It was made in 4.0in for 1/4plate and 5x4in, 6.25in for 1/2 plate, 7.5in for 1/1plate, 10.5in for
10x8in and 12in for 12x10in.
Anastigmats
Planastigmat f6.8 This was a 4+4 type symmetrical anastigmat, Layout Sh 002, cf Sichel 001.
Planastigmat f6.8, 5.5in; f5.8, 6in; f7.7, 9in; f8.0, 11in.
These were in Jena glass but made in London, and were 3+3 symmetricals anastigmats.
It was made in 4.75, 5.25, 7.0, 9.5in These were a 4+4 glass symmetrical anastigmat, as Sha002. It covered
82°.
Telephotographic Unit "MPRO" sold in 1/4, 1/2 and 1plate sizes. This teleaccessory was sold by several
firms and confirms that they were acting as agents, and note that "MPRO" is not a makers name but part of
the engraving of the scales. This may be Clement et Gilmer in this case.
Special RR's
Euryscope Anastigmat f6.0 This seems to be an RR type?, possibly ex C&G listed for 1/4, 1/2, 1plate.
Rapid Rectilinear f8.0 4.75-12.25in (1901).

Sheffield Photo Co Ltd, Norfolk Row, Sheffield, UK

They seem to be a shop listing bought-in cameras as "Norfolk" brand and fitting lenses under their own name
Zeranar. By 1936, these were "firmly established" and at least two lens series were made.
'Lukos critical f4.5' f4.5 on a Norfolk camera in the B.J.A. 1928, p534. Lukos seems to be the
lens name.
Zeranar f3.5 4.5in on 2.25x3.25in plates at £7.35 in Compur. The f3.5 was on the
Plate Norfolk in 1938. The prices varied a little from year to year.
Zeranar f2.9 Probably the same focus, at £9.47 in Compur with d.a. It was on the
6x9cm plate Norfolk in 1938 at £10.50. It was noted B.J.A.1935, p304 who mention the camera had needed a
3mm depression in the baseboard to be added since the body was launched in 1934, to allow this lens to be
fitted and the body to close over it.
Zeranar f3.8 105mm? This was in a Compur delay action shutter (a nice feature!)
on a 6x9cm rollfilm Norfolk or the plate version at £6.93 and £8.4. (This may be the f3.5 with the aperture
limited by the shutter which seems smaller due to the camera design (self erecting front). It was noted in
B.J.A. 1938, p274, 512 advert.) An alternative was a Steinheil Cassar f2.9 in Compur Rapid at £8.40.

Shew, James. F. Newman St, London.

Channing and Dunn discuss the history of the company, but do not suggest they were lens makers.
(a) An RR lens marked Shew (No) 3366 will therefore be a bought-in item. It has a disc stop plate and a spring
closing shutter (Patent) and the engraving is under the long control spring of this as if an afterthought. It also
says A. D. Paris with the A on its side- possibly Darlot. It does not use a standard flange, but about 36mm dia
fine.
(b) A Wide Angle Doublet 6in ? for 1/2plate? is No8,470 but has not suggestion of the maker- it has an
English 24TPI thread and is probably soon after say 1890 as it came with an Olde English fine thread adaptor
as if sold for an older camera with a 2in old mount. It seems a nice example with disc stops plate.
Items marked 'Shew' noted in auction lists include a C de V lens No813x, a lens on a 1/4plate Eclipse at
No410x with integral shutter, a pair of 355mm Protar VIIa cells, and a Dallmeyer No2 Stigmatic II No58,51x on
a Xit.

Shutters
a Leaf or Blade type.
There was a lot of activity in making shutters as early as 1880 (see B.J.P. 19/03/1880, cited 21/03/1980,
p280) but these could be strange devices and were seldom accurate or made in large numbers. Electrical
operation was also envisaged (B.J.P. 25 June 1880, cited 27/06/1980 p622). What is more significant is the
appearance of standardized shutters made on a large scale. These appeared progressively at the turn of the
century, with Gauthier and Deckel from 1904-5. This is not a text about shutters, so this section is rather
perfunctory. It is better to read M.Pont's 'Chiffres Cles' which carries lists of types, as does B. Coe's
'Cameras, from Daguerre to Instant Pictures'. In fact, shutters do date back to as early as the 1850's (see
Ross Actinic Doublet), and the early types often used a simple falling plate mechanism, later replaced by
rubber bands or the like, eg by Meagher in the 1860's. By the 1880's, exposures as short as 1/60sec were
involved, and the collector will find increasing numbers in the next few years. Often they were made to clip on
another makers lens, a major product being the roller blind shutters from Thornton Pickard and others. But the
product was to change in 1887, when T.R.Dallmeyer and F.Beauchamp patented a bladed shutter with the
blades pivoted at the corner, and Voigtlaender followed with another design in 1890. A number of these in the
late 1890's combine the shutter action with that of the iris by opening to a controlled degree- mechanically
difficult at that time. What is more significant is the appearance of standardized shutters made on a large
scale. These appeared progressively at the turn of the century, with Gauthier and Deckel from 1904-5.More
important was the launch of the Unicum shutter in 1897, the Automat self setting in 1901 and the Volute
shutter from Bausch & Lomb in 1902, in brass case, and from 1905, also in aluminium. The Americans made
good use of large scale production ideas and made these popular
In Europe, the leading brand was the F.Deckel, Munich shutter called the Compound or Compur. These are
normally marked with a serial number and the shutters were widely used on premium grade lenses. Thus if the
dates and serial number data of the shutters was known, many lenses might be dated approximately from the
shutter type or number. More somply, some dating can be from the type of shutter, as follows.
The Compound was the initial very successful type with an air-damped movement, but a mechanical control
was used for small shutters from 1912 as the Compur, while the Compound was continued for many years
(1955?) in large sizes
Compound shutter
The first type used a pneumatic delay-barrel across the top of the shutter to control the slow speeds.
(a) Initially it could be set for T, B, I, (1) on a lever below the lens, moving radially (ie up+ down) below the
lens.
(b)This type was replaced by one with the lever moving tangentially (ie sideways) in 1909, and this is a much
more common type.
(c) By 1911, there was a new screw fitting for a wire release, and this is the normal type, but usually in larger
sizes where the Compound was continued for many years (1955?), but are now obsolete and can be hard to
fix and worse often to adjust. (Do NOT oil the pneumatic barrel! On winding, wait long enough for the piston to
fill with air, as impatience leads to too short exposures!)
Compur Shutter.
In small sizes, Compound was extended by a mechanically timed shutter, the Compur from 1912. It used
features under licence from the Ilex shutter of R.Klein and T. Brueck formerly of B&L where they designed the
Volute, and the Ilex was from 1911 in the USA. Initially it used a dial to set the speeds called the "Dial Set",
much as the Compound had, and this continued after WW1 up to about 1928. This next version set the
speeds on a setting rim round the whole shutter, so it is called the "Rimset", and this derived from a
Wollensak, USA, design of 1918. The early rimsets from 1928 should be finished in nickel plate, but this is
not always easy to distinguish from the later chrome: but a distinctive feature can be a fancy 'square'
pattern ground into the bright work before plating. The rimset was more compact, quicker to use and very
popular. A fancy version was the Compur S which offered a delay action as well. Both had 3 blades, and
offered a top speed of some 1/250 or 1/300sec. But in 1934-5, a new type the "Compur-Rapid" with 5 blades,
was introduced to give a higher top speed, normally of 1/400 or 1/500sec. and this sold in parallel to the
Compur until WW2. They were normally in smaller sizes such as Size 00 and 0. There were a few others,
such as a prototype to 1/600sec but it seems likely that the high spring tension required, and the vibration it
generated, made Deckel decide to limit the top speed to 1/500 sec. (Sadly ours has no number and no
threads for lens cells so it is a true prototype, marked Nagel Compur Rapid.) Flash synchronized Synchro
Compur shutters came in after WW2 at about 1951-3, and production of the normal 3-bladed Compur was
phased out. It was replaced in the market by the Prontor SVS and related shutters from the Zeiss
Prontorwerk and eventually about 1970, Zeiss aquired the Compur business and consolidated it with Prontor,
so that production of shutters under the Compur name could later be run down. The 1950's also produced the
Synchro Compur P with blade arrester for focussing as there was no Time action. Finally there was a new
version with a wide finger grip setting ring for the 1970 period. And there were Compur designs for reflexes
and with bayonet mounts, as on the Vitessa T and Bessamatic.
The above shows that a shutter type can be dated to a limited period by the specification and appearance.
There was probably always some small print. Camera makers could have "special" versions made with
different trim such as makers name or finish, and fittings for a body release and so on. These had special
factory designations and could have had blocks of serial numbers allotted to them in advance. Thus they could
have confused the relation of serial numbers to dates, if in a different series, depending on the rate at which
they were sold. Early on this may have included the actual threads for the lens cells, as with a Zeiss Amatar,
where experience suggests there is little chance of exchanging a broken shutter for a better one. (Note below
that several versions of Compurs of the same nominal size existed, but with few details at present available.)
Later the lens makers were certainly required to adapt to a standard shutter fitting, and the cells could be
exchanged between shutters, which can now lead to old cells in later shutters- and vice versa. It is also worth
looking for adaptions of old cells with extra metal added or machined away, in order to keep a treasured lens
in use. Incidentally lens makers do seem to have disliked this need to conform as if to a straight jacket, and
kept to their own designs when making cells for barrel mounts, as these very seldom fit blade shutters- the
exception can be J. Schneider who often used the same threads in barrel and shutter mounts, and featured
this in some early postwar brochures. Thus the optics of a 150mm f9 G-Claron can exchange between a
shutter and a process or enlarging lens barrel. But do check that the thickness of the barrel and shutter
match! Small wide angle lenses are especially fussy when being transferred over spacing. One barrier to this
is that postwar Deckel shutters have a machined barrel at the outer end of the thread, and accommodate a
raised ring on the cell, which improves the centering but prevents these lenses screwing home correctly in
prewar shutters. Thus it is unusual to find post-1950 lenses fitted in older shutters, since this would require a
mechanic to have turned off about 3 threads inside the barrel rear and front to allow fitting the lens cells.
The other major European series is the Kenngott shutters sold initially under the Koilos name, with friction
timing on a leather disc in 1905, and later a pneumatic barrel from 1907. Essentially, the range developed as
the Gauthier shutters from Calmbach as Koilos, Ibso, Singlo, Pronto, Acro, Ibsor and Prontor, and
absorbed by Zeiss Ikon in late pre-1939. They also supplied sub-contract shutters for camera makers such as
Voigtlaender Embezet and the timer for the slow speeds on Model III Leica cameras.
This means that the dating of many European lenses is potentially possible if the dates of the serial numbers
of eg. Compur type shutters is known and can be related to the serial numbers of some examples of their
lenses. Fortunately, the dating of J.Schneider lenses has been reliably rcorded and published (C Glanfield and
A. Wright, Photographica, c. 1987) and many of their lenses are in Compur shutters. Lens tables are also
available for Zeiss/Jena up to 1942, and for Voigtlaender over part of the period in question. An initial study
showed that there was reasonable agreement for dating of shutters from these makers. A chronology by P-H.
Pont in 'Chiffres Clef' can therefore be checked and shown to be usually reliable for small sizes of shutter,
but as M.Pont suggests, not without exceptions and not for big ones. It is certainly worth quoting with his
permission and has been used elsewhere in the Vademecum. It is stressed the numbers are approximate.
Incidentally a second column shows his data after some further consideration for the Vademecum and note
the rapid series seem to be in a new group at higher serial numbers..
1904 Compound introduced
1904-1909 1904-1909 'Vertical lever' Compound
1911 1911- 'Tangential lever + cable release' socket
1912 Compur introduced as dial set. 1912 About No214,000 here.
1914 250,000 Compound continues in larger sizes.
1920 450,000
1922 500,000
1925 600,000
1926 750,000
1927 850,000 Rimset Compur "new". There seems to be a gap in numbers at 1 million and up.
1928 950,000
1929 1,000,000 ?last Dialsets here?
1930 1,150,000 Actual lenses from 1929-1930 noted at 2 million and up.
1931 1,500,000
1932 1,800,000
1933 2,250,000
1934 2,700,000
1935 3,200,000 Actual production noted at 1935, 3 million.
1936 3,750,000 Actual production 3.4 million for Compur.
1937 4,250,000 Actual production noted at 3.55 million for Compur/5.25 million for Compur Rapid.
1938 4,850,000 Actual production noted at 3.6 million for Compur/5.25-5.4 million for Rapid.
1939 5,400,000 Actual production noted at 3.95 million for Compur/5.4 million for Compur Rapid.
1940 It seems the highest reaches about 5.5 million for Compur Rapid in 1940.
Actual highest noted sofar are 3.95 million for Compur and 5.40 million for Rapid.
1947 6,000,000
1948 6,200,000
1949 6,500,000
1950 7,000,000
1951 7,700,000
1952 8,500,000
The dating of Deckel shutters from their serial numbers will need to tentative. Partly this will be due to
exchanges of old cells into new shutters, and also to lags between lens and shutter manufacturing dates. But
in practice, the data does show some relation and it can be backed up by looking at the design of the shutter
which varied with date.
At about 1952, the shutter design changed and the numbers were often recorded internally inside the 'works'.
Some shutters with numbers are fitted to later lenses to about 1960, such as Schneider Symmars
f5.6/105mm for 6x9 Linhofs, probably due to product being reserved and finished up later for these special
products. Note that "larger lenses" seems to include Compur No1 for eg. Xenar f4.5/150mm where a novel A
prefix to the number is used, and that the big Compound shutters are in a separate series at about Nos
700,000-780,000. Some other apparent anomalies occur eg. in Voigtlaender Ultrons where Compur Rapids
with early 1940's numbers seem to occur on occasion. It must be remembered that delays in delivery from the
maker to the user, and in the user fitting and selling a shutter could occur, even without considering parts with
numbers waiting in the factory to be completed. So it is a subject to approach with caution and some tact.
It is not known yet how the first Compounds were numbered. But probably they were numbered from a low
start of perhaps No1,000, and reached about 220,000 by 1912. Equally in 1912, it seems likely that Compur
numbers followed on from Compound ones: these Compound numbers have been seen up to at least
No214,20x (roughly a 1908 lens) and No153,18x (with a 1913 lens). So one can guess that they were made
together for a short time at about No200,000 about 1910 and this is born out by the B.J.A. advert quoted
below. After WW1, the small Compounds disappear, and there is a fair fit between Voigtlaender, Zeiss and
Schneider lens dates and the shutters they are in, though there are certainly exceptions and the fit is less
good than when only a single maker is involved as with date and Voigtlaender lenses. Good fits included a
Kollinear No166,57x (1921) in a dialset No337,266 of about 1918 and several Skopars at Nos 395,35x to
623,972 (1930) in dialsets up to No540,378 of 1928.But the exceptions are interesting: thus several Heliars at
No 359,81x (1928), 520,91x and 540,39x are in shutters supposedly made later, apparently at 1935
(No3,106,8xx), 1933(No2,125,573) and 1924 (No523,938). It is likely that different sizes or types of shutter
were used and it highlights one finding: There does seem to be a real scarcity of shutter numbers from 1 to 2
million. This may be due to a new start at 2 million being adopted for the new Rimset shutter.
These do seem to begin at about this number.
Equally the numbers noted for Compur shutters do no seem to run as late as 1939 when dated on this table
as might be expected, but bunch in the early 1930's. It is thought that this is also not a mystery but rather
that the original Table shows Compur Rapid shutter in the later 1930's often at 5 million and up, and that the
Compurs are in a series running up to about 4 million in 1939. This was supported by a few Schneider lenses
with dates in this region. And it is true that the Compur Rapid was very successful in replacing the Compur
which is now rather scarce in that period. But few shutters were noted actually in the 4 to 5 million range.
(Certainly Schneider lenses of known 1937 date can be found in Compur at No 3.4million and in Compur Rapid
at No 5.3 million.) But this is very tentative, but it seems that the Rapid numbers made a new start at about 5
million.
It is worth remembering the relatively short period involved from say 1936 to 1939: different runs for different
makers and some stocks held in a period of depression could explain a lot of the apparent surprises. It is
perhaps as if one must view the serial numbers not as a smooth curve but more as a set of curves parallel
and overlapping rather like the tiles on a roof perhaps.
Dimensions of Shutters.
The thread sizes were standardized over a long period, and postwar, the Japanese makers, especially Copal
used the same standards so that lens cells can normally be exchanged freely. But few lens makers used
these same threads when the cells were for their own lens barrels. Thus a 6in f4.5 will not usually exchange
from a barrel mount to a Compur 0 shutter or vice versa. (One exception is Schneider, above).
Compound
In the 1914 B.J.A. p13, Staley were advertising the Compound not the Compur yet- in 7 or 8 versions, plus
stereo versions of Nos 0, 1, 2. The normal versions were as follows:
Shutter No Iris aperture Tube dia. Speeds to Outer dia of case
max. mm sec. mm
00 in preparation then.
0 21mm 26mm Speeds to 1/250sec
1 24mm 30mm Speeds to 1/200sec
1A 24mm 35mm Speeds to 1/200sec
2 35mm 40mm Speeds to 1/150sec 75mm ?
2A 35mm 44mm Speeds to 1/150sec 75mm ?
3 41mm 55mm Speeds to 1/100sec 87mm
This No3 may have cells on 55.5x0.75mm threads and screws into a 60mm flange. It seems to vary in thickness from 37 to
51.8mm, possibly due to its manufacture over a very long period- some of the shutters seen are much more modern.
4 50mm 63mm Speeds to 1/100sec (106 later)
later a bigger version No5 was addeed but No 4 and No5 are quite unusual:
5 Speeds to 1/50sec. (125.5 later)
The A versions may be for lenses with bulky rear glasses or wide angles. The Compound had 3 blades in the
small sizes, and from 4 to 6 in the larger sizes. It is shown in 1914 with a Bowden cable socket and tangential
TBI selector. What is obvious is that the Compur is not offered here and must have taken some time to reach
full production. The range of tube diameters is now confusing and this results in few lenses being exchangable
today. There is a long lived version with a 87mm outer dia to the case which survived until late on and is
usually sold as a Compound 3 or more correctly III 7 with speeds to 1/100 sec.
Compur
This reached the B.J.A. in 1926, p744 in an advert by Peeling and van Neck Ltd., the delay being due to WW1
and postwar delays in covering German equipment. It is then described as having had 12 years development,
ie from 1913 or so. The Compur was available in 9 versions as follows:
Shutter Tube No iris dia. Dia of inside Top Speed Case dia. Thickness Rear thread
No mm tube thread mm sec. mm mm to mount
00 Normal 15 19 1/300 44-45mm
0 Normal 22 27 1/250 55-58mm 20mm 32.5 and 34mm
but 29mm also noted.
Size 0 is a case where the thickness of the shutter can vary,eg. as 17.6, 18.0mm, on Compur, compared to18.4 to 28.3mm on
Compounds. Cell threads are typically 27.5mm dia on Compur but were noted as 25 and 27.5mm on Compounds. These may relate
to the version used. (below)
0 Wide 22 28 1/250 same?
0 1 22 25 1/250 same?
1 Normal 27 30 1/200 68mm 20mm 39mm
Cells of size 1 were on 35.5mm threads originally and this allowed conversion to the rimset size I.
1a 3 27 35 1/150 same?
2 4 30 40 1/150 78-81mm *20mm 44mm
Thickness has been noted to vary, as 24.5, 25, 25, 33.5, and 35mm, possibly sometimes due to modifications to accept wide
lenses post 1945. 35mm seems the original value. Cells mounted on 43.5mm threads are noted prewar and 45.5mm postwar.
2 5 35 45 1/150
3 6 35 49 1/150 90-95mm c.33mm
This may seem complex today, but actually may have involved one set of mechanical parts for each size
together with a choice of castings or just castings with thick enough walls to allow the different machinings of
the inner and outer threads.
In addition, the Compound was still sold as follows:
Shutter Tube No iris dia Dia of inside Top Speed
No mm tube thread mm sec.
3 8 40 45 1/100
4 9 52 61 1/75
4 10/1 52 67 1/75
4 11 52 72 1/75
5 12 64 82 1/50
It is worth comparing these as the Compurs are not exact replacements for the Compounds, the No3 being 35 or 40mm dia.
and note that the older shutter was listed with a tube dia. rather than a thread diameter. As with the initial Compur offering, the rimset
was not listed in the 1929 advert. but just the Compur in sizes 00 to 3 (B.J.A. 1929, p644). It was the next year that P&vN were to
offer the rimset version (1930, p624) in 3 sizes. The rimset with the engraved patterning is well shown in B.J.A. 1932, p617. It was
launched with the S version with self timer (=delay action) and it seems that only the S was available in sizes 0 and 1.
Shutter Iris aperture Dia of casing Top Speed
No mm mm sec
00 No d/a 17 44 1/300
0 with d/a22 57 1/250
1 with d/a29 68 1/200
For size 1, cells were on 40mm front and 36mm rear threads, with 20mm shutter thickness. Adaptors to take the older dial-set cells
were used and may have decided the thread sizes chosen.
The Compur Rapid version came in in 1935 and was listed on cameras for the 1936 season, and seems to have been made initially
in sizes 00 and 0, using 5 blades but it is not documented as a product- it may have been offered to German makers first. It
probably used the same thread sizes as the normal Compurs.
A postwar Table is as follows, and would apply to most shutters of the 1950-1990 period.
Dimensions in millimetres unless stated.
ABCDEFGH
--------------------------------------------------------------------------------------------------------------------------------------------------
MX/CR00 12.8 22.5 22.5 25.0 47.5 16.0
Compur 0 24.0 29.5x0.5 29.5x0.5 32.5x0.5 20.0 58.0 25.0
Compur1 29.0 40.0x0.75 36.0x0.75 39.0x0.75 20.0 75.0 20.0
Compur 2 (II 5/2) 45.5 45.5 50 * 80.5 25
Compur 2 (II 6/2) 49.5? 49.5? 56? 25
Flanges seem to be usually used here. The 6/2 was used on the 180mm Xenar f4.5 and seems to be a more spacious version of
the casing with the normal size II mechanism inside it.
Compur 3 40.0 58.0x0.75 58.0x0.75 62.0x0.75 87.0 95.0 32.0
Compound 3 87.0
Compound 4 106.0
Compound 5 12/2 125.5
5 42.0 86.0x0.75 86.0x0.75 92.0x0.75 157.0 42.0
(Electronic 5FS) 64.0
A= Type of shutter Note that manufacture of the Compur 00 and Compur 2 sizes was discontinued during the
period, probably about the late 1960's. Size 4 and 5 are quite unusual in ordinary trade.
B= Max Iris dia.
C= Internal dia. for front cell mounting.
D= Internal dia. for rear cell mounting.
E= External dia. of rear male thread thru panel.
F= External dia of raised rim on locking flange,
which is hole size on thin panels.
G= Overall dia. of shutter housing. (This does vary.)
H= Overall thickness of shutter. Later electronic shutters can vary- eg. size 1 can be 20mm.
All suit panels from 1.5mm thickness up to 3mm for size 1, 4mm for size 0 and 5mm for size 3.
Thicker panels require local reduction of the back to suit.
The Synchro Compur with Light Value scale was a novelty in B.J.A. 1956, p257. The LVS was a F. Deckel
innovation, but the manufacture of the old type was to continue as an alternative.
Gauthier.
The Gauthier Prontor series were mentioned in B.J.A. 1953, p236 where commonization between different
models of Vario, Pronto, Prontor and Prontor SV was stressed, and all were 5 blade units with the same
positioning of controls and levers- with minor exceptions on the SV, and could therefore be installed as options
by camera makers. The Vario was now a wound up shutter not an everset as prewar. [Although it was not
stated, it is likely that this was also made with the same threads and thickness as Compur shutters so that
lens makers now had only one fitting to consider.]
This is an area where the Vademecum can act as an Interactive book to collect more data of lens numbers
and dates; and improve general knowledge, especially on makers where small Compur mounted lenses are
uncommon. It is still likely that used with care, this can be a unique way to date makers such as Aldis, Beck
and others where there is no obvious chronology and styles changed slowly with the years.

SFOM = Societe Francais d'Optique Mecanique.

About 1949, they made a series of sub-miniature cameras called Sfomax for 16mm film with Sfomar

f3.5/30mm lenses- these used a 6-glass layout which may be a Gauss? or possibly advanced triplet? They
gave remarkable sharpness. This is a rare camera.

Sichel, Bunhill Row, London, UK.

They were long established importing agents and there seems to be no suggestion that they made lenses.
They were agents for Meyer and Schulze and Billerbeck at this period. They may also have been agents for
FOS from Poland, eg of Planastigmats, so this trade name may have been shared.
Anastigmats
Planastigmat f6.8 4.25-19in for 100°, Sic001 1904-1906 period. This has not been seen.
Fulmenar this was sold in two series in 1906.
Series 1 f6.8 3.5-9.5in focus, for 90° It was a 3+3 anastigmat, probably Q9, and like
Phaos. It has been seen as a nicely made brass finish lens at f6.8/300mm and should be a high quality
1/1plate or 10x8in lens.
Series 11 f5.5 3.5-9.5in focus, for 90° This is possibly the same type?
The example seen is a f6.8 6.0in lens No86,01x and does seem to be a Q9 from the reflexions. It is in a black
brass and alloy sunk mount, and is engraved Sichel and Co, London EC .
Portrait
Studio Lens f3.0 7.0-15.75in. This was probably a Petzval.
Sico (Optische Werke Rudersdorf A.G. SICO), Germany.
Sico This was a anastigmat on an early 35mm camera, about 1932. It used 32x40mm and a f3.5/6cm No597x
lens in dialset Compur on body No25x has been noted at auction.
Sico f3.5 60mm
See Rudersdorf and Simon

Sida Kamerawerk, Berlin, Germany.

This was a small camera with a 35mm f8.0 Sida Optik lens. It was made about 1939.

Siemens.
They were probably never lens makers but sold lenses on their movie cameras and they can therefore be
credited to them. An example is the Transfokator listed by Heaton in the 1938 Blue Book, which was probably
the Astro item. It was referred to as Siemens in movie circles however. The Askania mirror lenses seem also
to be associated.

Sightroll Optical Co., London.

This was noted as the makers name on a Norma lens, f6.8/3.5in (c.80mm) fitted to an Ensignette on sale in
Bievres, France in 1999. It may be a special, ie for export or an imported lens fitted by Sightroll for resale to
upgrade an Ensignette normally supplied with a simple lens. (see also Ensign section)

Sigma, Japan.
They were and are a major independant Japanese maker of lenses, not attached to a camera maker and
therefore supplying in most popular mounts. They are a long term feature of the market, and may well have
been a source of branded lenses in the past, but as makers went over to cameras with auto exposure and
then auto focus coupling, the manufacture of independant lenses has become more specialized, and the sale
of brand lenses has decreased markedly so that it seems the independants make to sell under their own
names. Sigma have been innovative in making Apo long lenses and in moulded glass and plastic aspherics,
eg in a f1.8 28mm lens. Users note and value particularly some of the long lenses such as f4.0, 500 and
600mm; f8.0 600mm and f13.51000mm mirror, and some interesting macro lenses. There is also a f2.8 16mm
Fisheye lens. Two rather select macro lenses were :
Sigma f2.8 55mm Layout Sig001
Sigma f2.8 100mm Layout Sig002.
A 1972 advert gives the following:
Sigma f3.5 18mm This was a rectilinear retrofocus type, 12glass 10 component design,
focus to 8in, fully auto iris.
Sigma f2.8 100mm This was in deep throw mount.
Sigma f2.8 135mm This focused to 1:3 ratio.
Sigma f1.8 135mm At the time, this was the world's fastest at this focus.
Sigma f2.8 200mm Another close-focus lens with focus to 1:3 ratio.
Sigma f4.0 200mm This was given most space in the advert. due to its close focus
ability (to cover 3x4.5in) and small size.
Sigma Mirror Ultratel f8 500mm This was in May 1972, and was later replaced by a 600mm version.
They were available in most SLR fittings such as Canon, Nikon, Exakt, Mamiya, Miranda, Leicaflex, Petri,
Yashica, M42.
Sigma Apo Macro f5.6 400mm It was initially shown in white finish but was in zen for the review in
B.J.P. 23/07/1997. It works to 1:3 and was initially in Canon-fit from 21/05/1997 (B.J.P. p6). The design was
shown in B.J.P. 16/07/1997, p25 where G. Crawley reviewed it with the 28-200mm and 170-500mm zooms.
Sigma Hyperzoom f3.5/f6.3 28-300mm It is only 93mm long at 28mm, extending to 173mm at
the long focus setting. It uses 18glasses in 14 components and has close focus using a 60cm close focus
supplementary lens.
Sigma Zoom f3.8/5.6 28-200mm A favourable review was by Crawley in B.J.P. 23/07/1997,
p15.
Sigma Zoom Apo f5.6/6.3 170-500mm Apo This was also liked above but showed a trace of
vignetting.
Sigma SA-5 Camera This was a bayonet fit SLR for 35mm reviewed by G. Crawley in B.J.P. 11/06/1997, p22
and came then with:
Sigma zoom f3.8/5.6 28-200mm
f2.8-f4 27-70mm
f4.0-f6.7 100-300mm This was said then to be exceptionally compact with
13g/10c design and focussed to 2m B.J.P. 26/03/1997, p9 where it was for Canon, Nikon etc and with manual
focus for other mounts.
Sigma Apo Macro HSM f4.0 300mm This replaced the original 300mm of 1994 in
B.J.P. 23/07/1997 p6 and was autofocus, Zen finish and gave a 1:3 macro.
A Millenium list is in the Am. Photographer Oct 2000 as follows:
f4.0 8mm 10g/6c
f2.8 14mm 14g/10c
f2.8 15mm 7g/6c
f2.8-f4.0 17-35mm 15g/14c
f2.8 24mm 8g/7c
f3.5/f5.6 24-70mm 11g/8c
f1.8 28mm 9g/8c
f2.8 28-70mm 15g/12c
f2.8-f4.0 28-70mm 11g/8c
f3.0-f5.6 28-80mm 7g/7c
f3.8-f5.6 28-105mm 13g/12c
f2.8-f4.0 28-105mm 12g/11c
f3.5-f5.6 28-200mm 17g/14c
f3.5-f5.6 28-300mm 18g/16c
f2.8 50mm 10g/9c A macro lens to 1:1
f2.8 50-500mm 20g/16c
f2.8 70-200mm 17g/14c
f4.0-f5.6 70-210mm 13g/9c
f4.0-f5.6 70-300mm 14g/10c
f4.5-f6.7 100-300mm 13g/10c
f2.8 105mm 9g/9c
f4.5-f5.6 135-400mm 13g/11c
f5.0-f6.3 170-500mm 13g/11c
f3.5 180mm 13g/10c
f2.8 300mm 12g/10c
f4.0 300mm 10g/7c
f5.6 400mm 10g/7c Apochromatic and macro use
f4.5 500mm 12g/9c
f8.0 600mm 7g/4c Mirror system
f5.6 800mm 13g/10c Apochromatic

Silber, J.J., 11 Northburgh St, London EC 1.

Silber were agents for Canon, Optomax, Novoflex, and probably their own brands, such as Optomax. One was
the Tele Extender series sold as Auto Tele Plus. These were 4 glass and were sold in 1971-2 as 2x and 3x,
and had auto linkages, to suit a very wide range of SLR cameras. Also Ambassador extension tybes, in 15
and 25mm lengths, for Canon.

Silvering Mirrors, etc.

This is usually done today by vacuum deposition eg of aluminium metal, rather as lens surfaces are coated,
but using metal in place of fluoride. But in the past, chemical methods were used, mainly up to 1939. There is
an account of some of the methods and chemistry used in B.J.A. 1921, p338-339. [Care is needed! Old
methods may not be safe to modern standards! This may not be a current recommendation!]
Simlar, Scotland.
This is a f6.3 87mm lens, marked "Made in Scotland" and not necessarily a photographic item as there is no
iris. But the maker is obscure. Several examples have been seen.
Fig 008 035 Simlar, Scotland (non-photographic lens?). about f6.3/8.7cm

Simmon, Long Island City, USA.

They fitted a ?unique Wollensak Omicron f3.5 lens to their 6x7cm (2.25x2.75in) camera. (see account in
J.Schneider Modern photo 05/1978, p20 etc.) where it is described on the Omega 120 of 1954. The camera
was designed by Alfred Simmon, possibly with a US Government contract in view. The Simmons had
experience with Voigtlaender before going to USA. This was not a sales success and the lens will be scarce.
Later it developed into the Rapid Omega and Koni Omega. The lens was a '4-element Tessar type' made by
Wollensak but tested also by Simmon, and Simmon set a high quality standard with an extra rejection rate
when they tested them.
It is thought they also sold Omegaron enlarging lenses to go with the very successful Omega enlargers.

Simon, Oscar, Dresden A-21, Glasewaldstrasse 26-28, Germany.

(H&D gives this firm as G. Simon in a 1939 list. But this just may be a new firm.
UK agent T.Hora, Wandsworth, London SW.
They were established near Potsdam in 1876 but were at Dresden by 1901. They advertise as manufacturers
in 1901, via Hora and are listed by Frerk in 1926 but may not have been active then. They supplied
symmetrical anastigmats in various apertures and speeds. These must be rare in the UK as none have been
seen and this is based on a Continental list about 1908, plus some UK adverts.
Octanar f6.3 Layout Sim001: this is a 4+4 design, for general use.
Tetranar f4.5 Layout Sim002. This was especially for portrait work.
Tetranar f6.0, f6.8 This was probably a slower version of the above f4.5 lens. These seem to be 4-
glass Gauss types and Frerk confirms this. The difference in aperture may be that the longer ones were f6.8-
for example, a 300mm lens noted was of this type and speed. It was for general use especially for groups
outdoors. They seem to have been discontinued however, probably by 1925.
Casket Set a Objective Sets No 2, and No 3 for 13x18 and 18x24cm respectively.
b Large Universal Set of 7 components.
c Small Universal Set of 4 components.
d Anastigmat Set of 4 or 5 components for 13x18 and 18x24cm (B.J.A.
1900, p1204;1901, p420, still listed 1908).
Simon Anastigmat f7.2 with Jena glass. (B.J.A. 1900, pp 920, 1204 advert.) for up to 90° where 12.5in
covers 12x10in, with some 4in movement available. It was made in 4.75, 5.25, 5.75, 7.75, 9.5, 12.5, 15.75,
19in. The cells are the same focus and there is no suggestion of using them separately. But they did supply
casket sets in 1901, with 4 single anastigmatic cells plus barrel in a leather case. These certainly envisaged
use of the single cells as a special light screen was supplied for when they were in use. One set covered
1/4plate up to 15x12 by using 4 cells in various pairings and the 4 single cells for up to 10 foci. The example
seen was a symmetrical anastigmat 3+3 type, and probably a Dagor version. It certainly covered a wide field,
marked f7.2 No3 about 8in focus, at No5,52x in a heavy brass mount.
Fig 007 036 Simon Dresden Tetranar f7.2/No3 No5528 in brass.
Aplanat This will be a rapid rectilinear type and suggests that they were a long established maker.
Series A
Series B
Series C f6.5 (This is likely to be for portrait or snapshot work.)
Kronar f3.8 Frerk lists this as a "Halbachromat" so it was only partly colour corrected. It was
a portrait lens, used with a light yellow filter to improve the colour errors. There was no iris.
Kronar f4.0 A 300mm example was noted at No15,85x on a 18x24cm camera.
Kronarette f4.5/25cm This was for Amateur use, and was in a shutter for 9x12cm or 10x15cm.
Wide angle Ser. E f12/f15. This was a true wide angle in modern terms.
Wide Angle Ser F "This was for process work"
Rapid Gruppen Apochromate 2B f5.5
Rapid Wide Angle Aplanat f7.5 This was a general purpose lens for a wide field but not a true wide angle
lens.
Rapid Paraplanat f7.5 This was a general purpose lens in 1908.
Lysostigmat
Leukanastigmat.
See also Rudersdorf for a possible overlap in trade names such as Octanar and Paraplanat so the following
are listed here:
Hexanar This was a 3+3 symmetrical anastigmat.
Tetrastigmat
Rudersdorf f3.5 50mm for SICO camera.
Monoplan This was a Simona Monoplan f3.5/52mm lens on a Duvollet box camera made in 1897. It may be
Simon or Simona make.

Simona: see above.

Sinaron/Sinar
This was a lens series made for Sinar for their cameras, from Schneider, which includes Symmar and Super
Angulon types, but are specially mounted for Sinar cameras.

Sinclair, London.
This long established dealership had ceased in 1977 as noted in B.J.P. 03/02/1978, p92.

Sirio, Firenze, Italy

They are noted for a Sculptor f5.6 4cm with no number on an Elettra II No48.
Also noted was a Sirio Sculptor f4.5/4cm on an Elettra II at No308x.

Skybolt
This name was noted on a monocular tele conversion for SLR in July 1961 from Bristol Camera, High St
Bristol, UK. It was to be extended with other items. It is likely that Skybolt was a binocular trade name.

T. Slater, 136, Euston Rd London NW, UK.

He seems to be a dealer, and is unknown to Channing and Dunn, though they do have a W.F.Slater of
Camberwell. T. Slater was noted at auction for a brass bound lens with Waterhouse stops, and another
described as with pillbox stops and push-pull focusing, so it is an early (probably pre-1858) item.

Sonnagon
This seems to be a American trade name for lenses sold in T2 mounts such as an f2.8/35mm with preset iris.

Small.
The name was noted on a English RR described as a "Small's Rectoplanat Lens" about 6in f8 in brass iris
mount and it is probably a dealers name as no maker is known.
Fig 008 042 Small's Rectoplanat lens (a nice RR about f8/6in).

Smedley, Blackburn, UK.

About 1905, Smedley were agents for lenses by Perken Son and Rayment, and also carried their own brand
f6.0 RR, f8.0 RR and f16 WAR, and also Aldis lenses. A Smedley 10x8in lens, No30x was noted at auction on
a 10x12in camera to McKellen's Patent. Channing and Dunn know them from 1898 to 1906, and while they
may have made cameras and engraved their name on lenses, there is no evidence they made lenses.

Smith, George, 26, Colebrook Row, London N

He used the T.N. Sciopticon, which became well known, and offered mainly projectors, with lenses: and in
1889, a Sciopticon camera for 1/4plate only, and a lens casket for 6.5-12.5in using 5 single cells to form 4
rectilinears, with a bayonet mount for easy interchange. (BJA., 1889, p808).

Smith = Pinkham- Smith, USA.

Suppliers of several types of portrait lens, normally soft focus.
Smith Series 1 f6.0 This was designed by W.G.Wolfe of P.S.Co. for F.Holland-Day and
others. It is a single achromatic or semi-achromatic lens. In use, it is essential not to adjust the focus from
the visual setting before the exposure.
Smith Series 11 f6.0 This was a semi achromatic doublet ie only part corrected for
colour.
Smith Visual Quality f4.5 This lens was suggested by J.W.Gillies. It may be a doublet
or periscopic?
Smith 'Synthetic' Lens f5.0 This was made in 7.0, 8.0, 9.0, 12, 14, 16in. It was a single
combination, and very soft: it was suggested by J.W.Newton, and named by F.Vail.
Wolfe Artistic Lens This was a diffusion attachment of two or more glasses of different dispersion
cemented together. The iris controls sharpness
.

Snorkel
This term was noted in D.W Samuelson, "Motion Picture Camera and Lighting" Focal Press, 1997 ISBN 0-
240-51016-X for a lens system for use in an inaccessible point where there is no space for a complete camera
but a lens system cam be pushed in. The maker is not given.

Soft focus lenses: a selection is in:

Fig 17 Some Soft Focus Lenses
Exposure: TTH Butal lens.
Back Row Minolta VariSoft f2.8/85mm
Fujinon SF f4.0/85mm
Leitz Thambar f2.2/90mm
Pentax f2.2/85mm
Portragon f4.0/100mm.
Middle Far Left TTH f4.5/10.5in
Middle Far Right Dallmeyer Petzval Variant
Front Row TTH Ser 11
Busch Perscheid f6.0/165mm
Beck Isostigmar 12in.
Aldis f4.5/8in.
Traill Taylor claims to have developed something new in April 1864 when he demonstrated to the Photographic
Society of Scotland a sharp lens which could be adjusted to be soft by sliding a projecting button moving in a
slot and controlling one of the cells so that the image was generally soft all over. It may have lead to the
Dallmeyer Patent Portrait lens launched soon after.
Other early methods included placing a group of gas jets in the area in front of the camera (used in New York);
and trembling the camera stand; or by M. Claudet, of moving the focus in-and-out a trifle during the exposure.
There was also the use of simple meniscus lenses, usually achromatic; and of RR lenses with the centre stop
bored out to give a bigger aperture.
It is worth noting that formerly soft focus lenses were much used not just in portraiture (as is now thought) but
in publicity and advertising. Thus the Hollywood studios used TTH soft focus lenses for most stills before the
last war (see the TTH adverts of the period) and an article by E.S.Atkinson (B.J.P. 20/03/1981, p300) stresses
the part Baron A. de Meyer played in American advertising from about 1914 using soft lenses. By 1934,
Meyer's techniques were old fashioned and others began to replace him.

Soho Ltd, Soho Square, London W1, UK.

Soho were associated with Kershaw and many of the lenses on their budget cameras were Kershaw ones as
on the Soho folding camera of 1931 where the Celtrex had a Kershaw option. Lower price options had a S.A.
(Soho Anastigmat?) lens or a Soho Annar f7.9 as the lowest cost model.

Soligor, Japan.
Soligor were one of the major independant Japanese lens brands sold in the UK in the early days of the SLR
boom, in the 1960's. The name also appeared as Miranda-Soligor on the Miranda SLR (see also Miranda
entry). Initially they seem to have sold lenses in M39x26 but this was before the import of lenses was freed
and they are relatively uncommon in the UK. Their long lenses were very good and are remembered with
affection by users. They also seem to have been one of the initiators of the quick-change T-mount system for
adapting lenses to different cameras at the point of sale, so that the shop did not have to carry as wide a
range as otherwise- and the customer could remount the lens later if the camera system was replaced with a
new one. This was a great convenience and still can be a valuable source of mounts for fitting up old lenses for
study. In 1974 the system was well developed and included:Minolta, Canon SLR, Konica KS, AR, KR, Petri,
Olympus Pen F, Leicaflex, Leica M39, Pentax M42, Exakta (Dresden), Nikon, Miranda, Zenith, Praktina,
Yashica Pentamatic, Icarex, Argus, Contarex, C-mount movie, Alpa. (No Wrayflex, Rectaflex, or Contax R/F).
It was the most comprehensive at the time for cameras in use. T-mount is a very deep register and will fit most
35mm but not 6x6 cameras, and not Arriflex.
An early programme for M39x26 was as follows:
Soligor 28mm Layout Sol001
Soligor f2.8 35mm Layout Sol002.
Soligor f3.5 35mm eg at No131xx, possibly a Q15 type. Another is said to be No1283K, also in
black+chrome mount.
Soligor f3.5 105mm
Soligor f4.0 105mm eg at No H33,93x, 34,xxx, this seems to be the most common in the UK. It
seems usually to bein black with a silver ring.
Soligor f3.5 135mm
Fig 011 007 Soligors for M39: f4/105mm NoH34144 (2x) and Soligor f3.5/35mm No1319K.
Some noted later lenses were:
Soligor f3.8 21mm 9glass design, retrofocus, for SLR's.
Soligor f3.5 35mm This was noted as 'new' in May 1964 and from the famous Miranda factory.
Soligor f8.0 450mm as above.
Soligor f2.8 105mm as above.
Soligor f1.5 135mm
Soligor f1.8 135mm for T-mounts.
Soligor f2.0 135mm fixed mount lens: a good performer, and one sought after for amateur
astronomy for the optical quality and speed.
A 1967 list from Mayfair Photographic listed lenses as Auto:
f3.5, 35mm for M42; f1.4, 50mm for M42; f2.8, 25mm; f6.3, 400mm; f4.5, 90-230mm Zoom for Minolta, Pentax,
Canon, and Nikon. By 1972, there were f2.8/28mm; f2.8/53mm; f2.8/135mm; f3.5/200mm in auto iris mounts
for M42.
Also preset Interflex lenses:
f2.8, 25mm; f1.5, 85mm; f1.8, 85mm; f1.5, 135mm; f1.8, 135mm; f4.5, 90-230mm with a wide range of
Converter mounts. Other presets noted were f2.8, 28mm; f3.5, 35mm; f2.8, 35mm; f2.8, 105mm; f3.5, 135mm;
f2.8, 135mm; f3.5, 180mm; f4.5, 250mm; f8.0, 450mm, 600mm, 800mm. There was also a f4.5/200mm,
f5.5/300mm; f6.3/400 in May 1972, but the term Interflex was then discontinued.
Also enlarging lenses f3.5, 50mm; f3.5, 75mm; f4.5, 90mm; f4.5, 105mm; f4.5, 135mm.
Several programmes were running in 1974 and can be listed as follows. It does seem that the structures
varied between the series, depending on the quality of design required for the different markets.
Focal length Aperture AutoMiranda Auto T4 series T2 series
17mm f4.0 10g/10c
21mm f3.8 9g/8c 9g/?
25mm f2.8 8g/6c
28mm f2.8 8g/6c 7g/? 7g/?
35mm f2.8 6g/5c 5g/? 6g/?(Sol002)
105mm f2.8 6g/3c 5g/? 5g/?(Sol003)
135mm f3.5 4g/3c 4g/? 4g/?(Sol004)
135mm f2.8 5g/5c 5g/? 5g/?
180mm f3.5 4g/4c
200mm f3.5 5g/4c 5g/?
200mm f4.0 (Sol005).
200mm f4.5 4g/?
250mm f4.5 4g/? 4g/?
300mm f5.5/f5.6 5g/? 4g/?
350mm f5.6 (Sol005)
400mm f6.3 3g/?
450mm f8.0 4g/?
500mm f8.0 mirror
600mm f8.0 2g/?
800mm f8.0 2g (Sol006)
Zooms f4.5 90-230mm; f5.6, 180-400mm in T2 mount.
Zooms f4.5 90-230mm; f4.5 75-260mm; f3.5 55-135mm in auto.
55mm f3.5 macro lens?
135mm f3.5 bellows lenshead. 4g/3c.
The long lenses especially were liked.
Zoom Mirror f8/500mm-f12/800mm This was noted as an impressive item of unknown date and the zoom
involves moving the front glass and possibly also the mirror with it forwards in the lens mount. It seems to be a
unique feature.
There was also a lens set for the Miranda Sensorex EE (1974) in 25, 28, 35, 105, 135mm, with designs and
apertures which seem to be drawn from the above Sensorex lenses but with new designs for the 25 and
105mm lenses.
There were some lenses made for 6x6 reflexes, including the Soligor 6x6 and possibly Fujita and Kalimar
reflexes, as follows:
Standard f3.5 80mm
Standard f2.8 80mm
Wide angle f4.0 52mm
Tele f4.0 135mm
A Millenium list in the Am Photographer Oct 2000 is as follows:
f3.5-f4.5 19-35mm 13g/11c
f3.5-f5.6 28-80mm 8g/8c
f2.8-f3.8 28-105mm 15g/13c
f4.2-f6.5 28-210mm 15g/13c Internal focusing and aspherical design.
f4.0-f6.3 28-300mm 17g/15c
f4.5-f5.6 70-210mm 10g/7c
f2.8-f4.0 70-210mm 14g/11c
f4.5-f5.6 70-300mm 10g/8c
f3.5 100mm 5g/4c macro design to 1:2 ratio
f5.6-f6.7 100-300mm 10g/8c
f4.5-f6.7 100-400mm 12g/9c
It might be of interest to compare the specifications given here with the Millenium list for Cosina.

Solitel This was noted on a f3.5/135mm Solitel lens for Miranda and just may may be a Soligor trade name.
(April 1968)

SOM- see Berthiot

Fig 021 027 SOM Berthiot Cinors f3.5/100mm and f4.5/150mm.

Sony, Japan.
This will be a CCTV lens but it is in C-mount and fully usable on 16mm but it is bulkier than the old cine
lenses and needs a mount without obstructions on it.
Fig 021 021 Sony TV lens.

Spencer Land Co., USA.

Agent for UK was J.A.Sinclair, London.
Portland f4.5, f6.0 This was a simple achromat, designed in 1912 (Photographic News, 04/01/1913 or
?1915, p3). An example on sale in 1998 was a 18in f5.6; F5.6 380 and 450mm examples have also been
noted in a B&J list. Advert. see J.A.Sinclair, B.J.A. 1916, p745, also 1925, p551. In 1916, it was as:
f4.5, 6in for 5x4in; 9in for 8.5x6.5in;
f5.6, 11.5in for 10x8in; 15in for 14x11in; 18in for 17x14in.
In 1925, it was just f5.6 as 6in for 5x4in; 9in for 8.5x6.5in; 11.5in for 10x8in; 15in for 14x11in and 18in for
17x14in.
It was described as sharp on close down, rendering a subject with softness without loss of detail at larger
apertures. It subdues detail rather than destroying it. Sinclair says "have had some lenses put into a special
aluminium mount and lacquered in black." and this seems to be how it was finished in 1925. An example seen
was in fact marked with Sinclair's name and was black. The vendor described it as soft unless closed down.
And it did seem to be a simple achromat. The picture shows a barrel with a large iris f5.6-f32 at the front and
the glass at the rear. The B.J.P. 13/06/1919 thought it apt to give too much diffusion to be pleasing to most
people in small sizes, classing it with Bergheim in this case.

Spiratone, USA.
See also on Spira imports of MTO500 mirror ex-USSR, etc.
Spiratone f3.5 135mm for M39x26.
Portragon f4 100mm This was a soft focus lens, fixed aperture, for 'modern SLR's' which
"recreates the primitive optics" of early days.(Popular Photo 04/1977, p191advert.)
Spiratone f1.8 135mm This featured in Modern Photo 08/1980 p162 as a pleasant monster, with
surprisingly good performance.
Spiratone f3.5 18mm This was made by Sigma, in 1971 according to Keppler in Modern Photo
06/1980, p73, who knew its problems but valued it highly in spite of them. There was a later better lens but he
kept with the old one as he used this size little.

Spitzer.
Lens in 1904 Walhalla camera quoted as with:
(a) Landscape
(b) Special Aplanat
(c) Achromat= Landscape?
(d) Polyplan f7.2.
The source of these is not given.

Sopelem, France.
A series of lenses for Bolex was made in France by SOPELEM and sold in UK by Rank/Taylor Hobson and
some seem to be in C-mount but for CCTV/Video as there is no scaleing for the iris and no focus. They were
initially listed as:
Monital f1.9, 10mm; f1.3, 15mm; f1.8, 25mm; f1.4, 25mm; f1.9, 35mm; f2.0, 50mm; f2.5, 75mm; f3.5,
100mm; f4.5, 145mm about 1970.
The 15mm seen at T80,83x is a very impressive item, and very heavy for the size, as there is a deep
retrofocus system.

Spectros, Made in Switzerland.

They are noted for an Alorar f3.5/50mm No452,07x on Alpa Reflex No4 at No31,17x.

Squire, London
This was noted on a substantial 3in (dia?) Portrait lens at No55,74x on sale S.H. in London 1999. It probably
was the vendors name in the 1880's or some such time. (But Channing and Dunn list Squire as an early lens
and camera maker, and a lens maker at that, being active from about 1855 and noted up to 1868. It is
possible that a sight of the above lens would show it to be a good deal older than the note suggests.)

Staley, Staley-Wheeler.
Staley was an active agent for several makes of American (B&L) French (RR) and German (Meyer and S&B,
and Steinheil) lenses as well as Suter, Krauss and Heyde items and it is not always easy to see who made
which lens. They certainly imported Euryplan and Aeroplan lenses from Schulze and Billerbeck, and this
was also probably the source of the Staley Planastigmat f6.8 (Sta001) and Phaos f6.8 (Sta002) and probably
an anonymous f6.8 anastigmat in 1900, quoted as for 82° for 4.75-19in, and sold by Sharp and also by Sichel,
another importer. Thus the agency may have moved or not been a sole one. They listed some Euryscop f6.0
RR lenses which were probably from France, eg by Clement et Gilmer, and these seem to be fairly common
so it was probably a really active agency. This may also be the source of unspecified 'Telephoto' lenses
listed, as the C.et G. Panorthoscopic Tele is found with Euryscop prime lenses. Some are engraved Staley
or with both firms. They may have had their own serial numbers also. Some more individual items were also
listed:
Staley-Wheeler Telephoto: this may be an accessory type tele unit sold with matching prime lens. It was
known for the very high magnification it could achieve as it was sold with several negative lenses for some 5x,
and if these were used at the same time up to 30x magnifications were possible. It was sold about 1910 with
S&B Euryplan lenses and was made by them but may be a unique Staley sales product.
Anastigmats
Nulli Secundus f6.5 Listed in 4.75-15in in 1905, and this may be a renamed Euryplan Series 1V f6.5 or
perhaps another lens to be replaced by it.
Planastigmat (about 1902) as an f6.8-f7.7 lens in 5.0, 5.5, 6.0, 7.5, 9.0, 11in, use 6in for 5x4. It was
described as "London made".(Sta001)
Telephoto
Pancratic Telephoto This was listed in the B.J.A. 1910, p652, with 3x magnification from a 6in prime lens
and a -3in negative.
Portrait Lenses
Portrait Lens f4.0 This was probably a Petzval type.
Enlarging LensThis was certainly a Petzval, and was probably in a rack and pinion mount. Such lenses are
fairly common, with RPS 24TPI threads, but lack any makers name and Staley may be the source of many of
them.
Portrait RR f5.6 Layout Sta003.

Stanley, London Bridge, London, UK.

Channing and Dunn describe a instrument maker with wide interest and abilities, so he could have made
lenses but it seems likely he dealt in ready made ones. A brass lens for 1/1plate No87,15x is known with the
above engraving. (NB Do not confuse with Staley, a well known importer, above.)

State
This was the name, ? maker, on a f3.5/50mm lens on a Leotax Special DII.

Steable= Dr Staeble Werk, Munich, Germany.

It has been noted in the 1950's as Dr Staeble, Friedl & Co.
They were a long established firm, whose product range changed a good deal after the second world war, as
they went over to make 35mm lenses for cameras such as the Paxette. These are easy to find in the UK and
should not be expensive, but the older lenses do not seem to have been imported much and are not easy to
find.
Some older Lenses.
Doppel Anastigmat These were sold as sets.
Portrait Lenses f3.2, This was probably of Petzval type.
Tachyplast Frerk mentions this as a Petzval type.
see also Medioplast below.
These will include later designs:
Aeroplast
Choroplast
This was made in several series as follows:
Series 1 f3.9 4.75, 6.0, 7.25, 8.5, 10in It seems to be a 4-glass Gauss type.
Series - f4.5 For the f3.9 and f4.5, Frerk suggests 25cm for 13x18cm or 24x30cm closed
down.
Series 11 f5.5 4.25, 5.5, 6.5, 8.0, 10.75in.
Series 111 f6.3 3.5, 4.75, 6.0, 7.25, 9.5in. For the f5.5 and f6.8 series, Frerk suggests
19.5cm for 13x18cm plate or 18x24cm closed down. Series 111 is said to be separable, but not absolutely
symmetrical, and all these are said to be 4-glass Gauss type lenses (B.J.A. 1910, p1157) (Layout Sta001) It
was also sold as Satz- ie sets with an extra cell.
Other
Kataplast f3.0-f3.9 A high class portrait lens. It may be a triplet.
Kata
Lineoplast Wide Angle This was made in 2.5, 3.5, 5.25, 7.25in. It was a 4-glass (2+2) anastigmat type at
f12.5 to cover 100° (Layout Sta002). Frerk refers to a Lineoplast as a 2+1 design.
Monoplast= Universal f7.7 This was made in 4.5, 6.0, 7.5, 8.75, 12in. and was another 2+2 design, and
Frerk in 1926 lists it as an RR. It may have been discontinued by then.
Monoplast This also seems to be a WAR.(Layout Sta003) = (Lyout Stae 003)
Extra Rapid Aplanat Frerk also mentions this in 1926.
Polyplast f5.9 This was made in 4.25, 5.5, 6.5, 7.75, 10.5in. It was a 4+2 glass separable
anastigmat (App065) with Apo correction claimed. The longer foci were for process work and when separated,
the rear cell was used for 2x focal length (Sta004) and was said to be really well corrected. The single cells
work at f12.5. Frerk says it covered 80° and was a real wide angle lens. Some may be f6.3 maximum
aperture.
Polyplast Sets, as above but the cells changed in bayonet mounts and it was quite a complex range with 5
sets for 6x9 to 1/1plate, and it was sold also in shutters and in plain screw barrels. (Layout Sta004) There was
a 4glass rear cell and 4x2glass front cells, and the rear was always in place. This gives 5 foci as the rear was
usable alone, and apertures were f6.3, f7.7, f9.0 with the shortest at f16 as a wide angle. Kingslake dates it
from 1929, but the one seen seems an older item.
The example seen was (probably) incomplete with just the standard rear 3glass in the barrel with a 2glass
wide angle f16 front cell in position engraved 'Polyplast Satz Kombi 1 1:16 f =150mm Patent'. The mounting is
unusual as the front fits with 2 bayonet pins going inward from an outer cover ring, to lock in channels in the
barrel. The barrel is marked 'Kombi V f =32cm' so it was probably intended to be used separately. The
arrangement covers the iris scale on the barrel (f16-f64) with one for the wide angle (f16-32) provided the outer
is fitted correctly.
In use the pair behaved as an adequate wide angle, just about covering 10x8in, though the image improved on
close down, so it might be f16 to focus and f22 to shoot. Since the barrel is engraved with iris markings for the
use of the rear alone, this was also tried, but at full aperture the image was soft and flarey. It did improve on
close down and would be fully usable at small apertures such as f64. The corrections were probably more
acceptable early in the Century than today and the mount looks like one intended to stand up to regular
professional use. Kingslake says that 'it is hard to see the virtue of this arrangement' which seems fair as 6
glasses would make a better wide angle Dagor than this lens, but it may not take into account the taste for
which it catered. (Since the front is 2 glasses, the rear must be overcorrected, say for astigmatism to balance
the limitations of the front.) Incidentally, this type of mount may not align the glasses axially as strictly as it
might, and the lens seen suffered somewhat from balsam failure in the front cell, which is serious here as at
high angles the de-balsamed areas are totally internally reflecting and therefore opaque.
Protoplast f6.3 This was a symmetrical anastigmat of 3+3 layout, with up to 80° angle covered, and it
was suggested to use 19.5cm for 13x18cm. It was discontinued by 1926 as the specification was too costly
with 6 glasses and cheaper designs would replace it. It seems to have been Dagor type.
Medioplast 'Anastigmat' This was a f7.7 or f7.5 lens, made as a 110, 130mm, 140mm lens where 6x9cm
used 110mm, described as a Universal Aplanat on the bezel. One fitting was to the Contessa No32, 533 and
722 cameras about 1908-1910.
Isoplast f5.8 This was used on Contessa cameras No23, 32, 533, 722 about 1910.
Tessaplast f5.5 This was used on Contessa cameras as above about 1910. The example seen is a 1+1
+i+1+1dialyt in a Koilos shutter off a 6x9plate, f5.5/4.75in.and looks to be a nice item.
Of the last 3 types, the prices increased in the order Medio, then Isoplast and then Tessaplast. Options such
as Goerz Celor and Zeiss Tessar were considerably more costly. The next lens may well be another of the
same group.
Hellaplast f4.5/f4.8 This was noted on a Contessa about ?1910 and a 120mm was used for a
12x16.5cm Panoramic camera. Also noted as a f4.5/75mm lens in Compound shutter on a VP Tropical.
Aeroplast f6.8/f9.0 This was a doppel anastigmat and was used as an 50cm and 80cm on a balloon
camera called Atlanta made by Contessa in c.1911.
Aeroplast f4.5 This was used similarly as an 38cm lens.
Tachyplast This is a Petzval in Frerk's 1926 list.
Megaplast This was a tele lens. These were all offered in the B.J.A. 1910, p1157. They do not seem to
have advertised regularly in the UK.
Neoplast f6.0 This has a 3+3 design, of 6g/2c and was often sold in a shutter. It needs a modest
extension as it was a 2.25x magnification, which was one of the attractions. The Neoplast just may have also
been used on a tele lens, App064, or the drawing may be displaced.
Neoplast Sets These were sold to retrofit to Compur shutters.
Ultraplast f9.0 600mm This was noted in a B&J list.
------------------------------------------------------------
Modern Lenses
It is worth comparing the old and new to see how the trade names were updated postwar.
Kata f2.8 45mm on Paxette 1. Many were imported to the UK about 1951 as imports began to
lift and this model was allowed in as low enough in cost to escape the controls remaining. It was normally the
low cost option to lenses such as Cassarit, Cassar, Xenar and f2.8 Tessar, and Roeschlein Luxon f2.0 and
Steinheil Quinon f2.0; though it is unlikely all these were offered on any one body! Many of these were
unobtainable in the UK due to restrictions on imports.
[Plastigon f2.8 50mm This may be a Staeble lens but the maker was not stated in B.J.A. 1958,
p240.) It seems to be like an old Staeble name.]
Kataplast f2.8 45mm This was on the Paxette 1a and Regula II 35mm about 1951(B.J.A. 1952,
p214)
Katagon f2.8 50mm This was on the Paxette IL about 1958.
Colour Ultralit f2.8 50mm on Paxette 11BL, c. 1960.
A list of budget priced lenses for Paxette and Leica were as follows. Note that both cameras used M39x26
threads, but the Paxette had a much deeper register (by about 15.2mm) and that not all lenses were made in
both fittings. It is possible to make uncoupled adapter tubes to take Paxette lenses to Leica 28.8mm register,
but not the reverse. It is suggested that a collector of lenses for either, but especially for the 28.8mm register
should carry a ground glass focus checker such as the Leitz 'Vehig' to confirm the fit and register. This can
save other confusions from other makers also. There are a myriad of screw fittings, often from quite forgotten
uses.
Lineoxon f3.5 35mm both
Super Choro f3.5 35mm 28.8mm only
Super Choro f3.5 38mm both
Lineogon f3.5 35mm 28.8mm only
Trigon f2.8 50mm both
Tetragon f2.8 50mm 28.8mm only This was noted at No726,17x on a Kristal.
Telenon f5.6 85mm both
(Telon This f5.6/85mm may be the same as the above or a misprint.)
Telexon f5.6 85mm for Paxette.
Telexon f5.6 90mm 28.8mm only
Telexon f4.0 135mm both(?)
Telexon f3.8 135mm both(?) M.J.Small lists it as certain for M39.
Fig 012 003 Staeble (l) Choro f3.5/38mm; Super Choro f3.5/38mm; Super Choro f3.5/35mm (white finish).
(all in M39).
Fig 012 005 Staeble (l)Lineogon f3.5/35mm; (m)Telexon f5.6/90mm; (r)Trigon f2.8/50mm, all in M39
Many of these were finished in white alloy and looked very smart but if used carelessly, the finish has been
damaged and the appearance can now be poor. This is something to check on purchase with many such
postwar lenses. M.J.Small suggests they were made in low volume, but this is not quite UK experience- they
are there if looked for and work quite well for low cost lenses.
Stellagon f2.8 85mm A projection lens.
Some modern copying process lenses of high quality have been reported at 150 and 210mm f9 and may
represent a new aspect of the business.

Jena Steglitz
This was a f4.5/15.5cm lens no 814x on a 9x12cm Tropical camera- the origin is certainly obscure! But
Steglitz may just be a makers name.

Steineck Made at Tutzing, Lake Starberg, Germany.

Steineck f2.5 12.5mm This was a Steinheil lens (made about 1948-1949) on a Steineck wrist watch camera.
See also Concava/Tessina. A Steineck was described in MCM March 1949 with f2.5 lens. The general
account is that it was from Steinheil. The Steineck was a very small format camera, and the Tessina was
designed for a bigger format to allow improved quality, approaching normal 35mm- the format actually was
about 40% of 35mm, but the lens and camera were of high quality.

Steinheil, Munich, Germany.

UK agent in 1872 was Murray and Heath, 69, Jermyn Sr, London SW
Agents for USA were Ponder and Best in 1964.
Early Items.
"The Steinheil business was founded in 1826 by Karl August von Steinheil, who was to be "maker of the first
4-element f3.5 and of the first German made camera"." Well that is one formal account. Eder says that Karl
August Steinheil was an eminent physicist specializing in the then new telegraphy. His son Hugo Adolph
Steinheil was born 12/04/1832, (died 1893 ) and began work as a telegraphist in Vienna but the family moved
back to Munich in 11/1852 and took up optics as his Father had been charged with preserving the optical
reputation Bavaria had had under the late Fraunhofer. He helped found the Optical Institute opened in 05/1855.
A key factor was that K.A.Steinheil was able to persuade Prof. von Seidel in 1864 to develop new
mathematical techniques for lens design with spherical surfaces. H.A. Steinheil used them to design the
Periscop, patented in 1865 and the Aplanat in 1866. Adolph purchased the works in 1866 with his brother
Edward as businessman. One early feature was the near simultaneous design of the f7 Aplanat by Steinheil
and the RR by Dallmeyer. Steinheil was a early user in 1856 of the silvering process developed by von Liebig
(1803-1873) in 1856. Adolph Steinheil helped Eder in writing "Die Photographischen Objective" 1884 and was
a friend to E. Abbe of Zeiss, and showed him how he designed photographic lenses with large apertures. Dr A.
Steinheil died in 04/11/1893 and his son Dr Rudolph Steinheil assumed control of the business and developed
the Antiplanet and Unofokal. It is not known which Steinheil designed the Steinheil Achromat, (which has a
low index symmetrical biconvex crown cemented between two identical high index meniscus flint glass
elements to give a lens with good corrections at near 1:1 and wider field then than the usual 2 glass achromat
and these then are reversible.) The first German Tele lens was designed by Dr A. Miethe and von Steinheil
and a version was offered for sale (possibly by both Steinheil and Voigtlaender). As Dr R. Steinheil had no
male issue, the firm later became a stock company owned by the 5 daughters and a son-in-law, the engineer
L. Franz.
Note that in English he is usually abbreviated to 'Steinheil', and van Monckhoven or his translater uses 'A.de
Steinheil' in part.
Portrait The lens described above was presumably a Petzval, which he was free to make as it had not been
protected by patents. Layout Ste001 seems to be an early example. No radical new design was needed here.
Periscop f13.5 for up to 100 or 110°. This had a simple 1+1 layout Ste002 of 2 flint lenses for wide angle
coverage and freedom from distortion, but without full correction, especially of colour, the sharpness is limited.
This was noted by early users and commented on in reviews (B.J.A. 1872, p60). The lens seems to have been
made with some variation in the separation of the glasses as indicated in Ste002 and Ste003, the closer
version being chosen when a wider angle coverage was wanted, and the larger separation for more general
use. It should be a contrasty lens, with sharpness at small apertures, but it does need to be focused with
care, as the visual and photographic image lie at different focal distances. The reporter used No 7 and No 6
lenses in his review, ( Photo. News 09/03/ 1866) and this points out that they are often slightly different in
focus. (Frankly he preferred the results from the Pantoscop which was also reviewed.) Users may also use
one cell alone as a longer meniscus lens, and this would offer a choice. Lummer in particular draws the
glasses close together and comments that the Periscop was better than the Globe lens as it was really free
from distortion, and had a flat field, and he adds that in use the camera should be refocused by 1/40 of the
focal length nearer the film after focusing visually and before exposure. It is best used at f40-f70 and there is
some astigmatism but the major defect is the lack of colour correction and spherical aberrations. At the time it
was the widest lens used at some 100°. Periscop production seems to have expanded in the 1890's to offer a
distortion free soft lens, but they are not common items. In use today the main problem is to focus such a soft
image consistently let alone then refocusing! van Monckhoven states it was of two crown glass components.
(He quotes RI No = 1.5233, Nv= 1.5360) based on a letter from the inventor during the preparation of the book.
It covers 100° (the widest then!) with a rigorously flat field, and is free from distortion. A Table in van
Monckhoven's book gives focal lengths and coverage, probably as cm diameter of the image.
No1 74mm 12.2cm
No2 89mm 17.6cm
No3 144mm 27.0cm
No4 176mm 35.2cm
No5 352mm 56.8cm
No6 587mm 81.2cm
No7 406mm 81.2cm
The last may be merely the largest plate size envisaged. He considered it would not sell, due to the low
speed, the need to refocus each time, and the absence of astigmatism correction. This section (p132)reads
as if he was writing in reply suggesting the design of a colour corrected and improved version- which is said to
have been the Aplanat and wide angle Aplanat..
But another source says the glass of the lenses sold was 2x flint glasses.
It seems to have been awarded a bronze medal for a Landscape lens in Paris 1867 Exposition. It was later
Series V in their lists. Hasbroeck shows a small Murray and Heath camera for 3x4in plates with a f8/3.5in
Periscop lens (with a plug in stop to give about f16)- not a very big angle for a lens of this type but it was on a
rising front panel.
Aplanat
Aplanat f7.0 for 60°. This was one of the classic RR lenses from 1866. It is superior to the Periscop
as it is well colour corrected, and therefore focuses correctly. The European drawings for RR lenses seem to
show versions with thicker glasses than the English, and this was noted eg. by Traill Taylor (1892), but this
may not be significant. (Ste004). They are not very common in the UK as here the Dallmeyer was probably the
natural purchase. Also Steinheil engraved his product name and details on the flange- and loss of the flange
will often have left an anonymous lens. An example has been at No 10,43x, No 8 about 6in and flange coded
"Aplanat 11 Lin".
A key timing was the dispatch of an early example to von Monckhoven in Belgium on 26/07/1866 while he was
writing his book. This proved the German claim as to their introduction date. The Patent date was 14/01/1867
in Bavaria. The initial type was f7 for 60° and was for landscapes, architecture and groups in the open- a
general purpose outdoor lens in fact. But it passed unnoticed at the Paris Show of 1867, where he was
awarded a prize for a wide angle, presumably the Periscopic.
The Patent Aplanatic Doublet was sold by Murray and Heath in B.J.A. 1872.
One list shows the Aplanats were made in three speeds:
(a) Ordinary, f6.0 or f7.0, to cover 60°.
(b) Landscape, f12-f15, to cover 80° (Eder) or 90° This was noted later at least to be convertible. By 1908 it
was listed as a casket set with 4 cells. These seem to be a version introduced in 1881 and then a novelty.
Eder descibes them as 'the best of the period.'
(There may have been an upgraded design here from the reading of Eder's text.)
Aplanatic Sets ie barrels with several aplanat cells as (b) above.
(c) Wide Angle Landscape, f20-f25, to cover 104°.
This should be compared with the following.
Wide Angle Aplanat Series V f20. Some of these also had very thick glasses as in Ste005.
Wide Angle Process Lenses These were initially for the Military Geographic Institute in Vienna, in 1868, and
may have been essentially improved aplanats. It is likely that they were continued as slower versions for
copying and process work. Eg. see next item.
Portable Symmetrical This may approach the wide angle in design but offered the user a smaller and lighter
lens to carry, and while many makers supplied them, it may be Steinheil who began the idea. (Note that Traill
Taylor sold Portably Symmetricals based on the Steinheil designs.)
The Steinheil Aplanat is very similar to the RR that Dallmeyer designed and there was some heat evolved until
it was found that both had reached their designs separately, with Steinheil some weeks in advance. (Patent
01/01/1867) Typically it was an f7 lens to cover 60°. The optician L. von Seidel seems to have played a part in
making the design possible, as did von Monckhoven who was sent one of the first lenses made. The need for
it may have been obvious once the short comings of the Periscop were seen.
The Aplanat seems to have two identical components but this was not always true, and in some cases the
separation of the components could be varied.(Abney, p119). This could increase the angle covered. Normally
the maximum aperture was f7.0. It was followed by patents for portrait Aplanats in 1874, group aplanats in
1879, and in 1881 for Antiplanats. Much of the original design data is in the Eder Handbuch for 1884, Vol 1.
The Aplanat used heavy and light flint glass while Dallmeyer used flint crown covered with flint glass outside.
Jena glass was used in the Universal Aplanat from 1886. Dallmeyer's patent was 27/09/1866 and won the
Patent priority--and sales!- in the UK but Steinheil had published his idea in 1865, and had intellectual priority.
[Another competitor was T.Grubb who was using his Patent meniscus design early on but the date when he
began to use pairs of them seems rather obscure.] These were a rather stable design until the Jena glasses
were introduced in 1886 and new versions were possible with better corrections. [Thus Voigtlaender introduced
in 1886 an f6 lens called the Euryscop, and this progressively replaced production by Voigtlaender of Petzval
portrait lenses. And other makers followed them.] Steinheil must have faced competition such as this from
many makers. It is likely he upgraded his designs but also seems to have looked for a better layout. Later
Steinheil was to work on the Antiplanets and these were one of the early attempts to make lenses with
improved astigmatism correction in the days before the new glasses were available. They were possibly not a
complete success but they did represent some progress. (B.J.A. 1905, p883).
Aplanat Series 111 f7.0, f8.0 in longer foci. (Ste004)
New Glass Aplanat These were from Serial No16,147 in 1886. They may be the same as the
next item.
Universal Aplanat Series 111a f6.0, but f7.0 in longer foci. (Jena glass, 1886).
Landscape Aplanat Series 1V f12/f14. This may be a version of the Portable?
Wide Angle Aplanat Series V f20 (Layout Ste005)
Wide Angle Aplanat Series V1f20 This was for process work.
Steinheil's Aplanatic Doublet f7.0 (as above) Designers credited were von Monckhoven and Steinheil. For
an early advert. see B.J.A. 1872, cover.
Pictorial f9.0 480mm for 11x14in listed in a B&J list. PIM.
Group Aplanat * This was a late design in 1879 as Steinheil was becoming interested in the
value of thick components in lens design. It may stand as an entry to the next group of designs.
"Six Lens Reproduction Aplanat " Eder mentions this as the true pre-cursor of the Goerz-Von Hoegh Dagor
design. No others details available.
Some of the above may well overlap or repeat themselves!
*Eder states Steinheil worked extensively on thick lens designs and in 1874 produced a Portrait Aplanat and
in 1879, Group Aplanats.
Antiplanet These were a complex group of lenses and came late before the coming of the new glasses so
that they may have been displaced before they had really established their value. None is common in the UK
and they are not well known. Steinheil seems to have had the valid idea that making the components
individually badly corrected, some of them thick and very unequal in correction which would allow one to
correct the other and a very thick glass has been said to help this. This was a sound approach to the
correction of astigmatism and he did obtain a partial correction, but probably needed the new glasses for real
success. His were 2+2 designs, very unsymmetrical and with a very thick rear element, (Ste006) so that they
are heavy. About 1881, it is said that he did have some success but the effect was only over a limited angle.
Outside this the image deteriorates badly. The lens seen was an f6.2 and it must have been an uncomfortable
lens to live with in regular use. One comment was that they really are good over only 28°. The layout is
Ste006. It has not been posible to see many to compare the types as they are rather scarce in the UK.
Gruppen Antiplanet Series 1 (1879) f6.2 This is a bulky lens with a big rear component. (Ste007) These
were rated to cover 70°.The example seen was No31,43x and seems to be actually about f7.0 7.0in and best
for 1/4 or perhaps 5x4in plate. Another at No13,30x seems to be about f6/20in with a 78mm front glass
(Gruppen Antiplanet 78mm is engraved on the flange). When actually seen, it is big but not impossibly so and
a very impressive item. An c.f8/8in at No21,464, a lens has no Antiplanet engraving, lost on the flange
perhaps, but does seem to be of this type. These are not too common in the UK. (One author seems to record
these as Group Aplanats.)
Gruppen Anastigmat This has been noted in a list as a 25cm at No35,23x on a 10x13cm but may in fact be
an Antiplanet.
Group Antiplanets ((1881) f5.0 These again were rated for 70°.
Group Antiplanet Series 11 (1881) f6.5 This is rather similar but with a 3-glass rear component.
(Ste010). Abney quotes a series 11 f6.5 and also a Series 11a at f6.5, as well as the f6.2 version. It was still
the favoured lens with the Rapid Antiplanet for groups in 1908.
Fig 006 030 Steinheil Group Antiplanets; 4 examples where the large one is No. 13,30x about 3in dia,
c.f7/20in, and the front left is No31,433, about f7/7in.
Rapid Antiplanet f6.3 This is a 1893 design by Rudolph Steinheil (Ste008).
Improved Group Antiplanet This may be another name for the 1881 lens (Ste010) above. It may be specific
to a version with a 3-glass rear component of crown glass between two flint glasses with a heavy barium crown
in the front element instead of flint.
Portrait Aplanat (sale ? 1875, Patent 1874)
f3.2 Two forms were made, in 1874 and 1875 but both are scarce as they
were replaced by the next item.
Portrait Antiplanet (1881) f3.8 or f4 This lens is actually an 'improved' Petzval with a 2+1+1 layout.
Designer was Dr A. Steinheil. The gap between glasses 3 and 4 seems to be increased here. (Ste009) It does
not seem to be common in the UK, though a large example was offered at Photographica 1998. It seems to be
a better defined product than the previous ones. Conrady quotes von Rohr as using Crown= 1.5147, Flint=
1.5750. It may actually have been extended as an idea in some of the fast "short" lenses used in the 1920's
and even in post-WW2 lenses where a "Rasset-type" has been suggested.
Adolph Steinheil later lost his sight partially and died in 04/11/1893 and the anastigmats are the work of his
son Dr Rudolph Steinheil though the firms interest in anastigmat design could be traced back though A.
Steinheil's work for 20 years by then. It had also been influential in books and discussions eg with Dr Rudolph
of Zeiss and Dr Eder himself.
Anastigmats
Obj.(ectif) Anastigmatique. This was a small lens probably sold in France and found there at No47,55x,
about f8.0, 4in with 2+3 design and it may be a Q8 derivative or a Rapid Antiplanet made after the anastigmat
was the desired lens.
Anastigmat f16 1200mm This was noted in a B&J list. It may be a process lens.
N.B. An impressive Steinheil design from 1901 in Brit. Pat. 21,211 seems to forshadow the Russar type of
layout.
Orthostigmats These are symmetrical anastigmats, with 3+3 glasses, and came in two distinct types. The
first (from 1896) was designed by Rudolph Steinheil and Dr Karl Strehl (who together also designed the
Unofokal later) and had a layout rather in common with the Voigtlaender Kollinear (Q11) and indeed Steinheil
had patent priority (D.R.P.Nr 88,505) in the invention as Voigtlaender were ready to make it but had not got so
far in patenting. Steinheil had missed priority over the "Dagor" type layout by a few weeks, but fought a battle
to establish a right to the alternative Orthostigmat layout- only to find Voigtlaender were all ready to make the
identical layout. Rather than fight another Patent battle, where Voigtlaender might have merely said it was well
known to them and so invalidated any chance of a patent, they agreed to share the patent cover. This may be
one reason Steinheil were happy to license to Beck as a way to maximize returns. [See note under Goerz,
based on Eder's account.]
Steinheil put forward the thesis that for anastigmatic correction, an objective should have the separating
surface between two media concave towards the medium of higher refraction (as in a new achromat) and for
spherical correction, the separating surface should be convex towards the medium of higher refraction so that
a fully corrected component requires at least 3 glasses, and only certain layout patterns are possible. In fact 4
patterns were noted, which became known in books as (1) the Dagor, (2) the Orthostigmat or Kollinear (3) the
Holostigmat or Ortho Protar and (4) a version which was never used.
If 4 glasses (rather than 3) are used, far more permutations are possible, but inevitably the cost is higher and
only some showed a worthwhile benefit. Thus the Zeiss Series V11 Protar showed a better correction of coma
as a result of its complexity as well as the versatility of being able to use single cells or sets with different cell
foci. But other 4 + 4 designs may merely have been ways of obtaining Patent exemption over a period when
the Q9 design was still protected.
These seem to have been the major product throughout, but later another of roughly Q9 type was added
working at f6.3 and the older type was developed as the convertible Orthostigmat at f6.8/f7.7. The drawings
suggest a lens with cells of different focus and it is thought some of both types were regarded as convertible.
With other variants the list got to be quite complex. The typical layout is Ste012. (see also Beck). Inevitably,
the Beck made versions are those usually found in the UK, but are noted often to be in well used condition.
Orthostigmat Series 1 f6.8 This was a symmetrical anastigmat with the "Kollinear" type of layout, designed
in 1892, and sold from 1896. It was seen as a 24cm f6.8 lens in brass from Steinheil-Beck at No10,09x, which
seems to cover 1/1plate well. (Ste012) In general, Frerk suggests the use of 18cm for 13x18cm. It covers 60-
70° or up to 85° closed well down.
Convertible Orthostigmat Series 11 f6.8/f7.7 This was made in 3.875-7.75in, the components work at
f12.4 and f14. It was sold as a 'convertible' from 1900 and was again a Kollinear type, as in Ste013.
Caskets were sold probably based on the last type for (a) 9x12cm and (b) for 18x24cm. These had 3 cells
each.
There were other lenses in the list such as Landscape and wide angle sets.
Orthostigmat (1896?) f6.3 made in 3.125-7.125cm,
f6.8 made in 8.25-14.25cm
This version was Layout Ste014, Q9, and was not regarded as convertible. Thus both versions had a place in
the market. This may have been sold as Series 1 after the early type was 'converted'.
Another list gives Orthostigmats as follows:
Series A f6.0 This was as sets of cells or for single lens work. Another list in 1900 gives it as
f6.8, and Ste015.
Series B f6.8 This was for universal work, and gave up to 85° cover, and was made in 5.0-
60cm. It was a Q11 type.
It was made in 54, 75, 90, 105, 120, 150, 180, 210, 240, 280, 360, 480, 600mm, and 120mm covered 9x12cm
at f6.8 and 13x18cm stopped down.
Series C There is no information on this: it may have been incorporated into Series D where
two types are apparent.
Series D f8.0, f10 This was a Kollinear type, with f8.0 only in early lists (1908), while later it
was listed as the next item:
Type D f10 This is for process work and to cover 80° and made in 300-900mm.
Type E f12 for 100°, This was essentially a wide angle Kollinear, made in 75-
260mm.
Type F f9.0-f12 This was made in 360-900mm and was an apo-process version for 3-colour
work.
Type 11 f10, This is possibly a version of type D above.
Series 11 This was a process version, probably the same as Type 11, shown in Layout
Ste016.
Apochromat Orthostigmat: at f9.0 this may be referring to Type F above.
A later list also quotes a similar range, again with two type "D" items. But the list may have varied over the
years and by the 1920's the lenses offered were:
Orthostigmat B f6.8 for 85° in 5.0-60cm.
Orthostigmat D f8.0 for 80° in 6.0-25cm.
Orthostigmat D f10 for 80° in 30-90cm for process and other uses.
Orthostigmat E f12 for 100° in 7.0-25cm.
Orthostigmat F f9.0 for 75° in 36-90cm This was an Apo-colour corrected lens.
Quinon-S This may be an old convertible but see also below.
Unofocal This was the "new" anastigmat in the 1906 adverts. and it was a good one. It was a dialyt, but one
with all the glasses of about the same focus- more interesting perhaps was that the inner glasses become
more close together than was usual in this type. It was made to work at f 4.5 (App067) or f6.0 (App066). The
general type is Layout Ste017. It is obvious the two speeds are very much alike in design. The simpler design
of the Unofokal may have had economic attractions after the complexity of the Orthostigmats. It was designed
by Dr R. Steinheil (with Dr Strehl) in 1903. (Ph. Journ. 1904, 44, p177). It seems that both spellings with K and
C were used, but C is normal even in Germany.
Series 1 f4.5 This was made in 11-50cm, and covered 60° and 5 or 6in was suggested for
5x4in and covered 11x15cm closed down. Actual foci listed were 110, 135, 150, 195, 240, 300, 400, 500mm,
and these were so well liked that they were in use for many years. They should be brilliant and contrasty and
give even illumination and have especially good colour correction. In fact, until recently, one example, a
f4.5/150mm No 298,65x in a Compur was in regular professional use. Another Unofocal seen was a 12cm f4.5
in dial Compur at No 180,10x, and a f4.5/135mm No193,45x was noted at auction on a 9x12cm Tropical. It
was sold partly as a portrait lens where it would have been a really sharp type. It was suggested to use 24cm
for 13x18cm, or 16x21cm closed down. [During 1998, an American dealer was selling a lens set with two sets
of 12in f4.5 glasses, one a sharp Unofocal and the other described as non-astigmatic, but it is not known if
both were Unofokals or if the pairing was of factory origin.] The angle covered varied slightly if it was in a
shutter, which affected the mounting of the glasses and decreased the angle.
f5.4 This was a 18cm lens on a 1/2plate and may be regarded as a slowed down
Series 1 to save weight.
Series 11 f6.0 This was made in 6.0-30cm and 11.5cm or longer could be used with 5x4, as
Series 11 covered rather more at 70°. This is rather wider than Series 1, but basically it is the same dialyt
design. It was sold from 1901 and may therefore be the older type. It was also made by Beck in UK and
these may be easier to find here. It was on sale well into the 1920's. It was suggested to use 18cm for
13x18cm, or 16x21cm closed down. There was a casket set for 9x12cm, using one barrel with cells 16, 22,
26cm to give foci of 10.5, 12.0, 13.5cm at f6.6, f7.2, f6.7 or 3 single cells.
f8.0 This was an f8/135mm No169,551 and may be regarded as a slowed down
Series 11. It seems to have no special designation.
Biplanat (1903) f5.8 This was made in 4.5-16in to cover 46°.
Triplar f3.8 This was a fast lens for portrait work, with a reversed Q15 design. It is a scarce
type in the UK.
Teleobjective A very impressive picture in Kerkmann's book is taken with a Steinheil Tele unit on a Nettel
camera, and these were for 6x9, 9x12, 13x18 (2 types), and the subject is a Zeppelin airship in 1908.
Inter-War Items. These included the following:
Actinar f4.5 50mm eg on 4x6.5cm Dolly. This was a 3-glass triplet.
Cassar f2.5, f2.8, f2.9, f3.5, f4.5, f4.8 These are 3-glass triplet types, (Ste020) and are very
common lenses on interwar cameras for snapshot and family use. Big versions are quite impressive with solid
brass mounts, and these can have a focusing movement in the case of a f3.6 15cm lens for large format SLR.
This looks like a sharp 9x12cm lens. The fastest f2.5 was for cine. Interesting versions can be for V.P.
Exakta. These were reported at Serial no's 268,24x and 278,40x. Cassar was already available in f3.5-f5.0 in
Frerk's 1926 list, and was used as a portrait lens in the longer foci. A late prewar example was No373,31x in a
Compur No3,852,xxx. A f3.5/4.75in Cassar was used on the Heaton Zodel Press and Super Reflex camera for
3.5x2.5in (etc.) in B.J.A. 1925, p350, 362.
Fig 006 032 Steinheil Cassar f3.6/15cm in SFIM No 146,338, with Objectiv Anastigmatique cf9/5.5in
No47,551 in black finished FIM.
f2.9 This was noted as a 75mm lens on a Super Sports Dolly at No351,300 in a
rimset shutter.
Fig 007 003 Steinheil Cassar f2.9/7.5cm No 384,911 on S/S Dolly
(Cine) Cassar f2.9 This f2.9 was noted on a Nizo 9.5mm Model K in B.J.A. 1934, p320, as a
25mm lens. It may be the 9.5 and 16mm versions stayed in f2.9 while f2.5 was used on 8mm cameras.
f3.5 Noted on a Seischab Esco camera at No168,57x.
Cassar f3.0 This was used on the Jos-Pe camera, in several sizes, including 18 and 21cm for
9x12cm. A longer lens was needed to clear the beam splitters on this colour camera. (Period 1925-1935
approx.)
Enlarging Lens An f4.5 Steinheil enlarging lens was noted in B.J.A. 1935, p314 on a Exakt Vertical
Enlarger from R.F. Hunter, but the actual design is not indicated.
Selenar f2.5 Frerk mentions this in 1926 as a very fast unsymmetrical 5glass 3component
lens used only in small and movie formats.
Triplar f3.8,f4.5A Q15 type lens (Ste018) for large format. It was suggested to use 30cm for
13x18cm and here the idea was as a Portrait lens.
This f3.8 Triplarversion covered only 40° or 50° closed down. It was introduced to the UK in 1911 and again in
1930. (See Note in B.J.A. 1931, p287, 694advert.)
The f4.5 Triplar had quite good covering power (probably over 80°) and was designed to allow the use of
movements. It was made as 4.125in for 3.5x2.5in, and 5.125in for 4.25x3.25in. Here there may be two rather
different products offered under one trade name, the f3.8 as a portrait and narrow angle and the f4.5 for more
general use. The name was continued after WW2, eg on a scarce lens for the Contax camera, for f4.5 135mm
(Seen as No516,26x) where it is a Q15, and this may have been due to shortages which limited the range of
designs available.
Triplar f2.8 This was probably a cine lens.
Triplet Anastigmat f3.5-f5.0This covered 50° and was probably aimed at Portrait use. It was suggested
to use 21cm for 13x18cm with the fastest f3.5 lenses.
Spezial Objektive A lens listed by Frerk but without details.
Quinar f1.8 1.0in
f2.0 2.0, 3.0in
This was a new name and one due to become famous in Steinheil products. Initially it was used on a cine lens
for normal or long focus probably soon after 1926 and was a 5-glass triplet 2+i+1+2 [a little like a Dynar.] in
the drawing seen, though the design may have varied. (See B.J.A. 1931, p287, p694 Advert.) Thus compare
the next lens.
Quinar f2.5 105mm for JosPe colour camera with beam splitter. (1925 on.)
Cine lens Steinheil f1.5 25mm for 16mm C mount, no details.
Front Vorsatz lenses for close-ups, etc.
----------------------------------------
WW2 items were coded bmt or esu.
The plant was visited after the war by the B.I.O.S. team, who were able to see Herren Schacht and Tate, and
the works was said to have employed some 2,000 persons prewar, and had 800 at that time. The plant had
c.1,000 spindles with 10 per worker, and men and women were employed. There were remains of optical
sights from the War and work was or had been in progress on aerial cameras. It was described as very well
equipped for large scale production. Lens blooming was by the silica deposition proces (Waterglass), and a
Schott method by spraying through heat was mentioned but not in use. Use was also of a vacuum bell method
as was to eventually become normal, but with an internal turret to allow different materials to be vapourized in
turn- including Copper and aluminium, suggesting it was possibly used for mirroring. At the time of the visit,
lenses were being made only to prewar designs. Some "spherical lenses" were noted- and these may actually
have been asphericals as a special machine 'would be needed to produce them'- it was not in evidence.
Post WW2 items.
These items are normally engraved 'VL' filled in yellow, and this indicates they are coated- not that they fit
M39x26! Thus VL is engraved on the Contax fit Triplar above and on a Casca lens at No506,75x. At this time
Steinheil developed a 35mm Casca camera (Noted in MCM July 1948) with Culminar f2.8/50mm lens, and
some of the 35mm lenses may have been a spin off from that programme, and continued after Casca
production had stopped. (Casca is a rare camera as are the lenses for it.)
See also Steineck above for Steinheil f2.5/12.5mm lens.
Casca Lenses
Culminar f2.8 5cm This was engraved 'VL' on the front- ie this engraving is not an indication
of M39 mounting. An illustration shows No10,250 and examples noted were Nos 578,59x and 509,76x. This
suggests a new numbering start postwar, and the M39 lenses seen were appreciably higher numbers.
Orthostigmat f4.5 3.5cm It was noted for Casca at No572,39x and this was also sold for M39
below (eg at No617,60x).
Culminar f2.8 8.5cm This also was sold for Casca at No 572,39x and later for M39, eg at
No617,21x.
Tele Objective Culminar f4.5 13.5cm This also was sold for Casca at No 561,74x and later for M39. NB
Culminar is a long focus lens but not technically a Teleobjective as it is 'long'.
Some lenses were used on 16mm cine cameras, eg. Cassar f3.5/75mm and Culminon f1.5/75mm as well as
a f2.8/135mm Quinar but it is uncertain how far they were 35mm lenses remounted.
A series were mounted for M39 cameras.
Quinon f2.0 50mm1960 at £36.73.
Culminar f2.8 85mm This is fairly common in UK for M39x26 (Ste028).It was seen at Nr59729x and
noted at No960,78x. A note in Modern Photo 02/1968 p45 describes it as 'softish',... and 'a very second
grade... optic'. They note it would be useful for portraits and that the Steinheil Quin... series were first grade.
Culminar f4.5 135mm This was seen at Nr1,283,85x, 673,26x, 1,380,70x for M39. (Ste 030) This
was listed 1960 at £31.20.
Culminar f2.8 35mm This was seen in M39 at Nr 597,46x, with MIGUSZ and at Nr617,50x with MIG
engraving. (Made in Germany US Zone=MIGUSZ.) Others are Nos 676,58x and 596,51x. It is interesting to
compare the serial numbers with Casca items above. The Steinheil lenses in M39 are relatively common in the
UK and relatively easy to find, but trade fairly slowly as use items. It does seem that they originated with the
Casca programme.
To these M.J.Small adds f2.0/50mm Quinon, f2.8/100mm Cassar f4.5/135mm Triplar and Culminar and
f4.5/200mm Tele-Quinar. These have not been seen in the UK and may well be earlier items sold in the USA
only.
Other
Steinheil f2.5 12.5mm This was for the Steineck camera above (1948-9).
Culminar f2.8 50mm It should be a Q15 but is a rarer lens in the UK.
Culminar f4.5 50mm
Culmigon f4.5 35mm This was for Exakta, with manual iris, ie. it was made quite early postwar
before retrofocus types were made. It had a manual iris. There is a suggestion that a retrofocus version was
also made later.
Culminar f2.8 135mm
Triplar f4.5 135mm for Contax (as above) It is in an early postwar alloy mount and seems to be
scarce.
Neodarno details on this.
Cassar
Cassar f3.5 This was used on stereo cameras as a f3.5/35mm lens and on the Adox 300 camera with
interchangable backs, where it was the low cost option on a camera with rather a high manufacturing cost,
and was noted there at No1,689,95x. Examples on stereo cameras at auction are 1,423,73x/1,427,19x;
1,268,28x/1,268,21x; 1,031,45x/1,032,03x. The change to the Cassar seems to have been at about 1,4
million. The serial numbers of the lenses in a pair can be fairly well separated as if chosen off a very active
production line when one lens waited until a good match was found. But one pair No 1,267,75x/1,039,51x are
so far apart that they may be due to a repair being needed, with a subsequent replacment of one lens.
Cassar f2.8 This was a classic triplet (Ste020) sold in large numbers in low cost cameras,
especially for 35mm colour slides. It was a continuation of a prewar product but it is not known if it was
redesigned for postwar sale but this is likely as new glasses would help the performance. It was later replaced
with the Cassarit series which did use new glass and a much more generous front glass, (Ste022), thicker and
some 20-21mm across for the f2.8/50mm lens (requires 17.86mm) for more even illumination and improved
corrections. Many of these reached the UK, and a few were on MPP/Iloca 35mm cameras at Serial Numbers
1,744,71x- 1,745,90x- a really rare camera if not otherwise unusual. Results are contrasty but all-over
sharpness is obtained at smaller apertures only. Incidentally, there do seem to be very many permutations of
such name extensions, and some may be due to printers errors!
Cassar f2.8 45mm on Braun Paxette 11 in MCM Aug 1956.
Cassar f3.5, f4.5, f5.6 @ 75mm These three versions were all offered on the Adox Golf about 1953, (B.J.A.
1953, p27) and show how a series of products were based on it. All were coated and in Gauthier shutters.
Cassar-S f2.8 45mm This was on the Super Colorette (MCM Photokina Report, 1956) and Edixa
Reflex about 1958.
Cassoron f3.5 40mm This was new in MCM 2/1956 Triplet type.
Auto Cassaron f2.8 50mm This was for Edixa Kadett about 1963.
Cassarit f2.8 50mm This was new and the 'hit' of the year when noted in MCM 2/1955-56, whose
writer was rather obviously relieved to find a 3-glass lens of improved quality to praise.
Cassarit f2.8 35mm These were noted at No1 268,23x and 1,496,43x on Wirgin Edixa Stereo and
Iloca Stereo. (Iloca noted in MCM Aug 1956). It is surprising to find a 'pair' with numbers so far apart. Others
noted were Nos 1,743,71x/1,743,52x; 1,432,12x/1,432,58x, Nos 1,440,68x/1,440,69x. Note that the Cassar
seems to have been replaced by the Cassarit at about No1,430,000.
Makro-Cassarit f3.5 This was a bellows lens. The focus was not mentioned.
Cassarit f3.5 100mm This was mounted for most M42 SLR cameras as a medium long lens, in
June 1965. The finish was black and chrome.
Cassitar f2.8 This was on Iloca Stereo Rapid in MCM 1/1957. An example was probably noted at
Nos 1,440.68x and 1,440,69x on a Iloca Stereo.
Redufocus Attachment This reduced 35mm pairs to 25mm focus to act as a wide-angle lens on stereo
cameras. (MCM 1/1957). It was illustrated at Nr 1,102,830 on a stereo camera about 1955. An example at
auction used lenses Nos 1,641,31x and 1,641,45x.
Cassar for Cine
Ariel's list has a number of Cassar f2.8 and a f2.7 Cassar in 12.5 and 18/20mm for 8mm cameras before and
after WW2. The series seems to have ended about 1960 with a Cassarit f2.8/36mm on an 8mm Nizo. More
costly items may have been a Culminon f1.9/13mm and a Quinon f1.9/9-25mm Zoom on 1962 Carena 8mm's.
Cassar f3.5 36mm for 8mm cine It was described as modest speed but high resolving power in
B.J.A. 1960, p194.Anodized alloy mount, with front cell focusing, to 1.75ft, and stops to f22. Price £5.70 + Tax
£0.93.
Cassarit f2.8 36mm for Bolex H8 etc. this cost £14.07* compared with the Cassar at £6.65
Quinon f1.5 25mm for 16mm cameras, at £33.20*
KinoRedufocus12.5mm This is a wide angle auxiliary, and suits the Quinon above. Cost £19.20.*
Large Format Lenses.
These seem to be very scarce in the UK, and probably were sold in USA soon after the war, as well as in
mainland Europe.
Culminar f4.5 135mm in Synchro Compur shutter, for 9x12cm use, cost £22.55*.
Culminon f1.9 13mm This was listed on a Nizo Exposomat 8 camera noted by the B.J.A. 1958,
p271, but a different makers lens was actually supplied- it may just have not been sold.
Culminon f4.0 150mm for 9x12cm, ie. a large format lens inc 9x12cm, £17.96.*
Culminon f4.0 210mm for 13x18cm. Cost £24.90. or £62.92 *in Compound III shutter. These items
are in B.J.A. 1960, p advert. 560.
These are essentially all Q15, though there was a use of the reversed version in some lenses. The large format
versions do not seem to have sold in the UK, probably due to their being available before imports were freed.
Orthostigmat
Orthostigmat f4.5 It was made in 35mm, and as 75, 150mm for larger size formats. This was revived with a
slight change in structure, from Q9 to the air-spaced version, Q20 or Ste021. This was coupled with antireflexion
coating for better contrast, though to be fair some of the coats are very light in colour, and may just
be silica deposits. The 35mm version especially has a reputation among users of being very sharp and this
35mm version was usually for M39x26, and was marked "Made in Germany, US Zone" (MIGUSZ) and is
moderately common in the UK from lenses brought back by returning soldiers. (Such engraving is much less
common than the 'MIOJ' equivalent in Japan.)
Fig 006 034 Steinheil lenses in M39 etc. 2x Orthostigmat f4.5/35mm No617,505/MIG;
No 597,462/MIGUSZ; Culminar VL f2.8/85mm No597,292; Culminar f4.5/135mm No546,388; Triplar for
Contax fit f4.5/135mm VL No516,268.
On the other hand, the large format version has not been seen. It was a lens which deserved a greater
success.
Orthostigmat f6.8 240mm This gives 100° cover as a large format lens on 10x8 and may be a version
slowed down to fit a shutter.
Quinon
Quinon This is a QUIN- and this was a sign of a premium grade lens and while the structure varied, the
performance was always designed to be high. Initially Quinon was a triplet cine lens, but later it had a period
using a Triplet design Ste026. These must be early postwar, and probably were short lived. Most Quinons are
6-glass Gauss types. A typical one may be a f1.9 55mm No1,479,19x, in white metal with a preset auto iris
for M42, and a very fine coated surface finish. This was a typical quality product. (Ste025).
Quinon f2.0 45mm on Paxette 11 with a f3.5/85mm Quinar in MCM Aug 1956.
Quinon f2.0 50mm Gauss. This seems not to be in Auto, but only for M39, ie Leica etc., at
£36.73.
Quinon f1.9 55mm as above, probably a later lens.(This was 'new' in MCM 2/1956) in FAPD
mount.
Quinon-S f5.6 210mm convertible to f12/310mm. This may be a modern Plasmat type lens,
and related to the Orthostigmats they were making, but for large format.
Oscillo-S-Quinon
f1.9 75mm in rigid barrel mount, coated. This is probably a close focus version of a Gauss
design and would be a fast lens for recording oscillograph traces.
SLR Lenses
An advert. in B.J.A. 1960 p560 lists auto and normal and long lenses separately, as this was a time when the
auto was just coming in. Prices are from there. There were also some M39 and cine items which have been
listed above.
AutoQuinar f2.8 135mm for Exakta. Cost £87.56.
AutoQuinar f3.5 100mm for Exakta. Cost £41.25
AutoQuinaron f2.8 35mm This was a retrofocus design of 7glass/5 components Ste024.
Note the Gauss type rear design.
AutoQuinon f1.9 55mm This was for Exakta and Edixa, ie M42.
Cassar f4.5 105mm This was for Exakta, Praktica bellows ext.
AutoTeleQuinar f3.5 135mm for Exakta. Cost £47.48.
TeleQuinar f3.5 135mm (Ste033) This may be the same as the Auto Tele Quinar seen at
No1,947,870 in white auto mount for Exakta. The mounting has failed on this auto example where the
auto iris mechanism seems a complex one.
Culminar f4.5 135mm for Exakta and for M42, ?etc? also with adaptor rings to use on bellows,
Exakta lens, £25.02, bellows type:17.47.at
Quinar f3.5 85, 100mm (Ste031) (Noted in Modern Photo. 07/1964)
Quinar f2.8 135mm and 200mm (Ste032) (Noted 1966)
Quinar f4.5 200mm (Ste034)
TeleQuinar lenses were listed separately from the long focus lenses as teles in the advert., and were:
TeleQuinar f4.5 200mm (noted 1966)
TeleQuinar f4.5 300mm (Ste035)
MacroQuinaron This is a late set of lenses with close focus mounts.
f2.8 35mm
f1.9 55mm
f2.8 100mm Gauss type (Ste027) A very desired item.
f2.8 135mm
A late product series was for Exaktas, as Tele-Exaktar, eg f3.5, 135mm in black finish and were about 1963 at
No2 258,xxx (M.L.Scott, Exakta Times, 31, p13, 1998)
One point was that there is a account that Zeiss were offered the Munich factory after the war by the US
authorities and instead chose Oberkochen as a less stressful place to work (country versus town) than
Munich- but it just may be that the Zeiss influence rubbed off in the Orthostigmat (cf. Orthometar), Triplar and
triplet Quinon (cf. f2.0 Sonnar), as a sort of 'thank you' for help in finding a new home- and help to get a
damaged plant restarted. So this is an interesting field to collectors.
An anonymous list of dates and serial numbers has been published. For the collector user the following
suggested serial numbers were suggested as of use;
1930, 50 000; 1935, 300 000; 1940, 500 000; 1950, 650 000; 1955, 1 000 000; 1960, 2 000 000, 1963, 2 260
000. The early anastigmat at No47,55x might suggest 1905 or so for 50,000 as it seems an early use of the
design and tends to suggest that the above is perhaps too low in the early years.Since the Antiplanet
mentioned above and apparently from the 1880's was No31,43x, there may have been a new start with a new
number series, just possibly about 1920?In any case, this shows that the production was relatively small
compared with some other makes and explains why the products are therefore less easy to find. It might
support the idea that the licensing of the Orthostigmat and Unofokal to Beck was due partly to lack of
capacity to meet demand.
Later a serial number table has been published by M. P-H Pont in "Chiffres Cles" and is given here in a
slightly shortened form:
1931,100,000; 1935, 300,000; 1939, 480,000;
1950,700,000; 1955,1,500,000; 1957,2,000,000; 1967,2,400,000
Later the trade name was applied to products from the Far East, and a Steinheil retrofocus of this type has
been seen.
Fig 28 Steinheil Lenses.
Exposure: Beck Neostigmar f4.5/6in.
Back Row Steinheil Cassar f2.9/75mm on Super Sport.
Steinheil Triplar f4.5/135mm
Steinheil Culminar f4.5/135mm 2x for E36 and E42.
Steinheil Culminar f2.8/85mm
Front Row Steinheil Aplanat f8.0/8in.
Steinheil Group Antiplanet c.6in.
Steinheil Unofokal in Compur f4.5/12cm.
Steinheil Orthostigmat f4.5/35mm. (2 types)
Steinheil Quinon M42 mount, f1.9/55mm.
Steiner Optik, Bayreuth, Germany.
The firm's binocular brochure in 1998 states it was founded by Karl Steiner in 1947, and that he was a local
man born in Augsburg and brought up in Bindlach. There is a suggestion that the initial production was from
Bindlach but most items were from Bayreuth. Initially they made prisms, optical lenses and began to make
optical components, and by 1953, the firm had 50 employees. During the 1950's, the firm extended into
binoculars, and special lenses as well as cameras, but Karl Steiner then decided to concentrate on
binoculars, and these have been the long term product success of the company, and they have made prompt
use of modern plastic composites in their construction. From 1973, the company has been run by Karl
Steiner's son, Carl Steiner, and specializes as above, often adding an extra such as a compass or electronics
to the basic instrument.
Photographically, there seem to have been at least 4 products.
Steinar f3.5 45mm This was a triplet type. It was the base model on the Steinette in 1949. It may
be the same as the lens on the Felinette listed as f3.5/45mm in B.J.A. 1961 p553.
Steinar f3.5 50mm This was noted on a Kristal camera at auction.
Steinar f2.8 45mm? This was on a Steinette A, about 1949.
Steinar f7.7, f8.0 This was on a Goldeck V and VI. Note that Goldammer Goldeck cameras seem to
have been a major outlet.
Steiner f4.5 for 6x6cm on Goldeck.
Steinar f3.5 75mm This was noted on a Navax 6.5x4cm VP camera. Also on Goldeck.
Steinar f2.9 75mm This was on a Panta camera, which was "better at f5.6 and then a high
standard for the price" (MCM, 9/1953). It was also noted on a Gugo Knips 6x6 about 1955 and a Nordina IIIP
for 6x6 in June 1958, at £12.90 complete, and a Paxina 29 in B.J.A. 1954, p182.
Steinaron This had 4-separate glasses.
There also is said to be a Steinette camera possibly with Steiner lenses.
The trade name seems to be most familiar on 1950's items. In the UK, some items were differently labelled by
Hunter as the Hunter 35, noted with f3.5/45mm Steiner Bayreuth lens.

Steky
Stekinar f3.5 25mm lens on Steky subminiature on Golden Steky 10x14mm camera (Japan,
1948)

Le Stenope
The pinhole=Stenope was perhaps developed in France as a camera product more than in the UK where it
was a accessory and not often sold. Pinholes are listed by FBB from one in 1865 for 1/2plate wet-plate. They
also list two from 1890 and one in stereo.

Stewartry, Glasgow, Scotland.

Also as G.B.Montgomery Manufacturing Co.
Stewartry were not lens makers but rather were a small company making focusing mounts for Trinol (NOC)
and Definex (Ross) lenses about 1947, as well as a few accessories. See J. Anderson, Photografica, 1996.,
See also MCM June 1947, on the PPI enlarger, July 1947, and for a favourable review of the Trinol (TTH/NOC)
and Definex (Ross) lenses.) Trinol is illustrated in B.J.A. 1948, p459advert. for Leica. The Trinol was probably
always always mounted for Leica and was seen at Nos 034799, 034,949, 035,23x, 035,490, 035,041, 035,629
and 035,785. These are initially uncoated, and then very nicely coated, the serial numbers of coated and
uncoated lenses overlapping presumeably due to mixing in the plant. The focus action is the reverse of normal
M39 lenses. The Definex was usually mounted for Contax, as at Nos 212,690 and 213,006, but some were
mounted for Leica as at No212,509. The Definex lens heads varied slightly in focal length from about 88-
92mm, rather than all being 90mm, and it was difficult for Stewartry to fully allow for this when mounted for
Contax, as it could then couple exactly at one focus only but would be a trifle out at the other extreme. It is
interesting to contrast these numbers with the Ross Xtralux, for Leica, noted as f3.5/9cm at No198,71x and
f4.5/135mm at No235,407. The 9cm is very close to the Definex in external curves.
The machinist was Mr Connolly. Mr Montgomery had difficulties and later worked in other fields but the
company he founded survived for many years doing non-photographic work.
Storage
At some time, the lens collector will find that the collection has outgrown the original container, whether this
was a drawer, shoe box or carton. It is certainly worth giving a moments thought to the storage of a collection,
and this is the time when it can be forced on you.
As some guide to the conditions needed, it is thought that makers try to store lenses and equipment in
conditions which are relatively cool, dry, clean, dark and secure. There are good reasons for this.
(a) Undue warmth will tend to make lubricants spread or dry up, so that auto iris mechanisms stick or jam.
And long term, warmth contributes to finishes going brittle and peeling off, and to rubber and plastic
components changing to brittle shrunken versions. And the containers themselves may suffer.
(b) Dry conditions are even more essential since at high humidity there will be problems with moulds, and
rusting of iron springs and iris pins. The collector may like to keep high value items in a cabinet with a
controlled humidity to avoid this problem. This is likely to be a metal or possibly plastic cabinet with closefitting
doors and pans of desiccant at the bottom to absorb moisture. But note that this requires regular
attention to change the desiccant (normally silica gel) with freshly heated material and reconditioning the old
in an oven. Use color indicating gel which is blue when active and goes pink when wet, and needing to be
reheated to drive off the retained moisture.
(c) Light may be a cause of damage. This could occur to the balsam cementing components together, or to
plastics as above. It will be a slow change but the older balsams were products of pine trees and the resin
goes yellow slowly in light and also goes hard eventually leading to separation of the glasses.
(d) Some protection against dust is useful- it means the lenses need less frequent cleaning and the shutters
do not get dust in them and jam up.
Actually, over much of the world, ordinary domestic conditions suit fairly well. It is probably the owners in the
humid tropical parts where the difficulties will occur most. In most places, all that is needed is to keep the
lenses well ventilated and avoid closed containers. Here the ordinary aluminium camera case with its
polyurethane foam lining can be the most unfortunate choice possible, since there is no ventilation and the
foam holds moisture and is itself prone to breakdown to a damp sticky mess. They are the opposite of what is
needed. The older lenses also often were sold with leather cases which today can be a source of abrasion and
corrosion due to the leather rotting- they are usually something to avoid. Rather look for a more open layout
with plenty of area so that lenses do not have to be stacked on top of each other, which causes rubbing on the
surfaces and can lead to parts which are poorly ventilated.
Some discussion with others has shown ways which are in use. The following probably increase in cost in the
order given, but not necessarily in quality.
(a) The cheapest system seen is to get fruit trays from a supermarket chosing a standard type such as the
28x39mm size used for tomatoes. These are stronger than the larger sizes and usually in 'as new' condition.
They take most lenses except perhaps the largest studio ones and can be safely stacked about 4 or 5 high.
They can be given a coating of paint with an aerosol or brush, but if so must be left to dry off very thoroughly
before use. (The paint can prolong their life and improve the appearance but the residues from paints can have
serious effects eg. on paint layers and shutters.)
(b) A more expensive but nicer solution is to buy metal cabinets from an office equipment supplier. These are
made with shallow drawers 50 or 75mm deep to hold papers. The shallower hold most small shuttered lenses
very well and the deeper will hold the larger sizes. Other lenses do fit but it is the protection afforded to
shutters that is particularly worthwhile. But it is essential to check that the cracks or gaps in the cabinet do
provide adequate ventilation.
(c) The ideal might be a wooden cabinet with drawers custom made to suit the collection. This would be
splendid but note the collection might change and require changes to the cabinet. So a flexible design might
be best. And very great care and some patience is needed to ensure the paint dries off completely before
lenses are placed in it. This can be most serious if timber preservatives have been used as these can contain
corrosive chemicals. Months or even years are needed for these to fully disperse.
As a collection grows, there is a real need for labelling of the containers, eg drawers, and of the actual items
especially where the makers engraving is small or hard to read. And it does lead to another point. It might be
best to keep the lenses in cloth bags or wrap them in acid-free paper to keep off dust. But in practice, the
polythene bag seems to be the easiest to use. It is transparent, cheap, light and flexible. But it must never be
sealed as it will then lead to ideal mould conditions in the closed bag. The bags must be left open and not
stacked or packed too tightly for ventilation to suffer. And there seems to be no difficulty in labelling the bags
with a felt pen. Bags are now made from the smaller sizes of bubble pack and are very useful but sadly will
proabably take up too much space for them to be widely used. But bubble is an excellent material eg for lining
trays provided it does not prevent ventilation.
Curiously, security may be less of a problem with lenses than cameras or some other items, as lenses are
not as easy to sell and are therefore less attractive to thieves. But precautions are still needed. It is best not
to display items, eg in glass fronted cases. And it would be wise to discuss the general question of security
with insurers and police at an early stage if there are items of high value. But one simple choice is to collect
lenses of interest but avoid ones where the value is so high as to cause concern.

Struss, K.
Sold by Fredk. W. Keasbey, Box 303, Morristown, N.J.,USA.
Struss Pictorial lens f4.0
This was a simple meniscus lens. Some information was given in Photominiature No184, and some
biographical information in Modern Photo. 02/1977 p61. Struss was the camera man for "Ben Hur" in
Hollywood, and developed the lens when still quite a young man. The initial design seems to have been glass.
Later versions in 1922 were made of 'natural' fused quartz, and were said to work at f5.6. One barrel could take
a number of lenses interchangeably, or later there were up to 4 barrels for 2.0, 2.5, 3.0, 3.5in and elements for
5.0-21in focus. It was described as 'very soft but with firm delineation and sharpens up on closing down'. It was
suggested to use 18in for 5x4in. (B.J.A. 1921, p782).

Sugaya Optical Co., Japan.

Minimax f2.0 32mm on Minimax Pocket 110EE This was noted in B.J.P. 07/07/1978 p578
as a prototype SLR at lens number 521158.
Hope f3.5 25mm on Rubix 16 (1949)

Sunagor, Japan.
Uk Agents: Trans-World Trading, 1, Service Rd, Northways, Swiss Cottage, London, NW3-5DS.
A new f5.6/400mm Auto lens was issued in 1980 (B.J.P. 08/02/1980, p138 with 5g/5c design for most SLR's.
There was also an f4/70-180mm zoom (B.J.P. 10/04/1981, p371).

Sun Optical Co Ltd., Ichikawa-shi, Chiba-ken, Japan.

It has also been noted under the names Sophia and Sola.
One favourite lens was the Sun or Sola 90mm for M39x26 mount, which was a 1950's item. Later the name
appeared on other lenses including Zooms which were the big market success. They were agented in the UK
by Pentax of Eastbourne, and Phago Photographic Wembley, Middlesex in 1972.
Sun f2.0 5cm This was noted at No72,71x.
Sun f3.5 75mm for M39x26.
Sun 85mm (no details)
Sun f4.0 90mm for M39x26 It was made 1950-1955, and initially was in white metal finish, and
was then in black finish. It was not a cheap item but a good if fairly plain one, eg. at No80,43x and 80,66x.
Some of the lenses seem to be called Sola.
Fig 011 005 Sun Sola f4.0/9cm No80,668. (M39)
Sun f3.8 135mm This was a short head lens for reflex housing. (1954)
Sun 85-210mm This was one of the first independant Zooms for SLR
TeleColinar f3.5 135mm. This was noted in M39, apparently with no number?
By Amateur Photo 12/10/1977 p178advert. the list was f4 70-210mm; f3.8 70-210mm; f3.5 60-135mm; f4 60-
150mm; f4 80-240mm; f3.5 24-40mm macro and f3.5 38-90mm macro.
A programme in the UK seems to have been sourced from 3 different series, as (1) f2.8, 135mm; f3.5, 200mm;
and (2) f2.8, 35mm, f5.5, 300mm; and (3) finally f2.8 28mm. The reviewer seems to have been most impressed
with the long lenses.
In 1972, Phago Photographic listed a series of Sun YS auto lenses for SLR's as follows:
f2.8 24mm 10glass
f2.8 28mm 7 glass
f2.8 35mm 6 glass
f2.8 135mm 4 glass
f3.9 200mm 4 glass
f5.5 300mm 3 glass
f3.5 60-135mm Zoom 13 glass.
f4.5 85-210mm 13 glass with auto iris in most camera fittings. (04/1972) £65 UK price.
f5.6 180-410mm This had 11g/7c design, and took 77mm filters. Preset iris.

F.M.Sutcliffe of Whitby
He probably normally used RR lenses but was noted in R.Aspin's B.J.P. 29/05/1981 p549 article to have used
an f4 Petzval outdoors for exposures of 1sec or less on 18x15 (in) and also worked in poor light such as mist
and fog. He went over to dry plate in 1880 but with some regrets as it was uncertain in speed and had less
latitude.

E. Suter, Feierabend Strasse 32, Basel, Switzerland.

UK Agents: J.R.Gotz, 19, Buckingham St. Strand, London. (1880's-1890's)
Staley, Thavies Inn, Holborn, London EC. (1900 and on?)
Suter seem to have been most active about 1890-1900, as McKeown refers to camera models from 1890-
1895, and Oldtimer has 1889 and 1901 listings. FBB mention two items in 1894 and 1895, one an RR. B. Coe
mentions a Suter Focal Plane camera from 1903, and E. Lothrop refers to a catalogue of 1900. There was an
active agent in Mr Gotz in BJA 1889. But few later products are known. One cause may have been as follows.
Suter were Zeiss licensees for anastigmats in the 1890's but it seems to have been a fairly short lived
arrangement, ended by 1900, and few such lenses have been seen: in fact two Series IV f12.5 eg at 112mm
No44,47x are the only ones. It is a semi-wide field lens and probably is a faithful version of the Zeiss Series IV.
In fact the few lenses seen have seemed earlier, being an RR and a meniscus from the 1890's. If they did not
succeed in finding an anastigmat to produce on their own account, they may have concentrated on other
types of product. A Swiss source suggests they were a meticulous firm with very high standards but too small
and not well enough capitalized to compete with the big German firms. One interesting fact is that two Suter
Rudolph Plasmat lenses from the inter-war period were reported from a Switzerland fair, showing the firm were
still active in the 1920's, and probably the Plasmat lisencees for Switzerland and possibly elsewhere in parallel
to Meyer.
In 1889, there were 3 rapid series, probably all RR versions.
Extra Rapid Aplanatic f6.3, for indoor and outdoor use.
Rapid Outdoor, f8.0 This had great flatness of field and covering power. (ie a normal RR)
Universal Lens, f5.6? U.S.2, This was the most Rapid of any of the portable lenses. (ie It may have been a
Portrait RR but also designed for general use.)
(Anon) Aperture f12, for 90° This was a medium wide angle lens with great depth of field and freedom from
flare. (ie a Portable RR)
Aplanatic Lens RR made in 6.75-14.25in about 1890.
Landscape Lens No2 size seen as a meniscus of about 10in focus No9,12x and it seems a normal
achromat with a rather deep curve. In 1888 this was listed as f16, 6.75-22in. In 1889, there were 1 series of
these.
Fig 027 036 Suter Basle Landscape meniscus, c.10in or 11in No9133.
Portrait Lenses
In 1889 there were two series of these, and these were probably a long lasting feature as listed below.
By 1891, the then UK agent, J.R.Gotz said that more than 10,000 had been sold since their introduction a few
years ago. He showed a very neat "Multum in Parvo" casket set in Birmingham in 23/07/1888. It had three
rapid doublets to give 6 foci (6.5-18in).
Casket Set for 13x18cm, eg giving 6.5-18in focus, with RR type cells. (B.J.Photo. 17/08/1888). Eder also
mentions them as a source of Aplanat sets.
About 1900 the list still had non-anastigmat type lenses:
Rapid Aplanat f5.0 for 60°.
Rapid Aplanat f6.0 for 60° 5.25-36in.
Aplanat Type B f8.0 This was seen as a No 3 lens of about 10in focus, U.S. stops at
No2040x.
Aplanat Casket sets These were made for 13x18cm with 5 cells but no details of the type are
available: it was probably based on the f8.0 series. Also see above.
Wide Angle Aplanat f12
Rapid Portrait Lens f3.2 6.75-14in This was probably a Petzval.
Rapid Portrait Lens f3.75 This was probably also Petzval.
Anastigmat type lenses:
Universal Double Anastigmat
This was made in several series as lenses such as f5.0, f6.3 and f7.2 with 4+4 glasses and as casket sets:
Series 1 f6.8/f7.2/f7.7/f8 This type was made in 2.125-36in from about 1900, with 4+4
glasses in a symmetrical pair. The layout is in Sut001, and it covered some 80° and the design can be seen
as a version of the Dagor with 1 extra rather thin glass in each cell. Users in fact seem to think it is a Dagor
from the appearance.
The example seen certainly covered a wide angle, and had two reflexions very near together as the thin
parallel sided glass would give. It was in an old Wollensak shutter, and had slight balsam failure, and was a
175mm No2 Series 1, No24,98x, made under Swiss Pat. No21,872, and was in a brass mount. This type
covered up to 80° as it was the slimmest design perhaps of the 3 series. It was suggested to use 18.5cm for
13x18cm.
An f7.2 was a 175mm lens at No26,22x in Compur 815,86x (c1926). This shutter was defective and
comparison shows that Suter may have chosen to use his own mounting threads as it has not been possible
to transfer the cells to other Compurs of the period.
Another noted was an f6.8/62mm at No30,51x and a third was fitted to a Sinclair Una 1/4plate.
One marked '270mm ?US 4' ie f8 seemed extremely squat and small and covered a very wide angle, even to a
24in circle on 18x16in format and seemed to be a good performer. This just may suggest the f7.7 was
modified as a wide angle f8 series.
There may be an earlier series as a f7.7/175mm Series I in a barrel has also been noted as well as an
f8/270mm in a shutter. This would have been a likely product to compete with the early f7.7 Series III Goerz
(Dagor).
An f8/270mm lens was No20,88x in barrel mount.
Extra Rapid Series 11 f6.3 This was an extra Rapid version of Universal. Also 4+4 design, and
covers 70°. It was suggested to use 18.5cm for 13x18.
Series 111 f5.0/f5.61.55-8.75in (Sut002) Here the elements seem considerably thicker
than in the Series 1 but the design is basically the same. Frerk says these are very well corrected lenses. It
covers 60°. It was suggested to use 17.5cm for 13x18cm. These seem not to have been still available in 1926.
"Universal Rapid" Series 111a f5.6 1.55-16.25in
Anastigmat Casket Sets f6.8/f7.23-lens sets, Series 1 for 1/2 and 1plate sizes.
Universal Wide Angle f18 for 110° It was made in 3.375-10.5in. This may be the longest continued
of the lenses made under the Zeiss licence.
Stellar Anastigmat This was noted in 1919. A big example at f5/360mm has been noted in barrel
mount.
Telephoto Attachment (adjustable type) This was made in 3 versions of different focal length for 5x6, 7x9
and 10x11in approx.
Plasmat
The next item may come as quite a surprise to those who only know the famous Plasmats as Meyer lenses,
which is the better known series. But several Suter examples have been seen at sales in Switzerland and that
area, and there must have been a substantial production of them.
Plasmat f4 The example noted was for 7in+12in as single cells and was in a barrel to
give an f4 combination, with the names Suter and Rudolph Plasmat gold-filled. It was an impressive and
valuable item. Unless it was made during WW1, it must be after 1920 when Rudolph began to license the
Plasmats. (And this just could be an explanation.) It was No45,59x in Compur 885,60x.
f5.5/f5.6 These were 135mm pairs, with a 230mm rear cells at just about the
same serial number as the above and was mounted in a dialset Compur. Lenses were Nos 45,27x and 45,22x
in dialset Compur shutter No678,65x and 454,67x respectively from about 1925 and 1921 and 1929 perhaps.
(The rear cell seemed oversize in the second example and the unit may have been exchanged from a different
shutter: it was adjusted to screw home by reducing the diameter of the innermost section of the barrel of the
lens mount by about 0.2mm. This suggests it was not in the original shutter).
Only the front cell seems to be numbered.
Fig 029 002 Rudolph-Suter Plasmat f5.5/135mm No45,22x.
T. Sutton, Jersey, UK.
In 1858/1860, Sutton designed the 'Symmetrical Triplet' with a 2+1+2 layout. It is earlier than the Dallmeyer
one, and v. Monckhoven traces the idea of a triplet from Scott Archer (1853) through Chevalier and Derogy to
Sutton and then to Goddard of Isleworth and finally to Dallmeyer. But the Dallmeyer is a much better product,
being flat field and sharp. [It may be significant that v. Monckhoven knew the Ross lens but did not include it in
his discussion. Incidentally the idea of making panoramic pictures on Daguerrotype plates v. Monckhoven
regards as not new, the plates being exposed as a succession of strips. He calls it 'as old as photography.' ]
Sutton worked with R.H.Bow on distortion. He lectured to the Historic Society of Lancashire and Cheshire on
photographic lenses on 20/11/1862, and in the Brit. Jnl. Photgraphy 01/12/1862 described further studies on
optics of photography, and covered a "curious lens for taking panoramic views" and showed one of these
lenses made by Mr Ross. He also discounts panorama with a rotating Daguerrotype camera owing to the
extreme slowness not just of the emulsion but of the need for successive exposure of the strips of sensitive
surface. He also said it was impossible to get the concave plates wanted, hence the curved ones used and
the 50° limit on the vertical angle, and that only curved plates avoided the distortion normally found on flat
pictures. He in general regarded wider angles as valuable commercially as the usual ones were too limited.
[The paper was actually read by Mr Forest who showed negatives taken by a pupil after only a few months
practice in photography.]
1859 Sutton's Panoramic f12, achromatic, with a deeply curved field, to cover up to 120-125°. (Patent
1859) (but only 30° vertically). Traill Taylor used one many years later after flexible film was available and
found it covered 125° on film. The layout is Sut001. It is achromatic if light flint glass RI=1.57 is used and the
radii of the inner curves are roughly half of those of the outer glasses. It has a butterfly diaphragm and uses
distilled water as a fill liquid. It was made by F. Cox and later by T. Ross (B. J. Photo., 01/12/1862,
Photography, 28/08/1909 also Photographic Collector, No3, Oct 1976, by Clyde Tilson, ed. Ed Minnis,
Victoria, Australia). Note that the outer glasses are negative lenses and that the focusing is done by the
sphere of water. Originally the print was on albumenized paper. The glass plates were permanently curved,
and were coated as needed and normally washed off after use to be reused.
One sold at Christies in 24/01/1974 and another (glass only) in 1997. Earlier, Mr P. Garner noted that once
one had done well at auction, at £11,000 complete, some 3 cameras turned up in quick succession and then
he saw no more and suspected these were all available. "Incredibly rare." (B.J.P. 24/10/1975, p961)
Later Thomas Sutton was to patent the SLR in August 1861 and suggest the idea to Ross and Dallmeyer but
they made few cameras to his design.(Lothrop, Pop Photo 01/1976 p39 for a history of the SLR).

Swift and Son, 81, Tottenham Court Rd, London, UK.

Their lenses have a tiny engraving of the bird, a unique feature, to show the family name, as well as the usual
details. (If in good order the lenses look very attractive and the engraving is a real extra attraction but can lead
to an undue increase in price even today! This seems to be the only example of such a mark on UK camera
lenses of the period. However Sharp &Hitchmough, Laverne, Derogy and others did use very fancy engraving
which shades into the same thing. Registration of Trademarks was possible in the UK from 1875 (Fin Times
17/06/2000 p5) and it is possible other makers registered their names or engraving styles but this is
uncertain.) They may have been more involved in microscope making than photography. Most of the lenses
seem to be brass finish from the 1885-1895 period. No anastigmats have been noted and this may have been
why the production ended. The B.J.A. 1891 notes they were using Jena glass in the Detective Paragon in
the 1891 edition. This was a f4 lens for narrow angle use. In 1889 they were selling Portrait lenses as
Improved, Rapid Cabinet, Quick Acting C.D.D. and Extra Rapid CdV, Universal Paragon, Wide angle
Landscape, Portable Paragon, Rapid Paragon and Wide Angle Paragon lenses. The Paragons were probably
all forms of RR, the Landscape a meniscus, and the Portraits, Petzval types. But the terminology may vary
with the year.
Paragons
Universal Paragon These were listed in 1889 as for Portraits, Groups and Panel Studies, and may have
been an f6 version of the RR. They were made in back focus values of 8.5in for 1/1plate; 10.75in for 10x8in;
13.25in for 12x10in; 16.5in for 15x12in; 20in for 18x16in; 24in for 22x18in; 30in for 25x21in, and 36in for
28x24in. At auction, one of these was listed as a "Universal Paragon No1 for 10x8 at No508x" and this may
be the one Hasbroeck illustrates as an f5.65 13in Universal Paragon No1 at No5081 on a Watson 8x9in
camera for dry plates about 1900-1910.
Paragon f7.7 These were seen as a 7in RR engraved with aperture "f4" from an old series.
In the 1889 BJA, this was as 6in for 5x4, 7.5in for 6x5, 8.5in for 8x5, 10.5in for 1/1plate, 14in for 10x8in. Other
sizes were made but not stocked by the Agent. One at auction was a No2, No3,08x. One is marked " Rapid
Rectlinear 8x5 Paragon at No350x and the is a 'Patent' marking, possibly for the iris which gives f8-f64. This is
not a raised band type so the patent may be for a flatter design. It came in a pastboard box with a black plush
cover.
Fig 022 007 Swift RR: note the engraving and box.
Rapid Paragon These were made in 1889 for Landscape, architecture, and copying. They were made in
4.5in, 6.0in, for 5x4; 7.5in for 6x5in; 9.0in for 8x5in; 11in for 1/1plate; 12in for 9x7; 14in for 10x8; 16in for
12x10in; 18in for 13x11in; 20in for 15x12in; 24in for 18x16in; 30in for 22x18in, 34in for 25x22in; and 38in for
28x24in.
Wide Angle Paragon These were made in 1889 as 100° lenses in 4.0in for 7.25x4.5in; 5.25in for 1/1plate;
7in for 12x10in; 8.5in for 15x12in; 13in for 18x16in; 15.5in for 22x20in, and 19in for 25x21in.
Portable Paragon f16 6in approx. in brass with disc stops. This was another user of the Portable
classification. In 1889 these were as 3in for 3x3, 4in for 4x4, 5in for 5x4, 6in for 7.5x4.5in; 8in for 1/1plate; 9in
for 9x7in, 10in for 10x8in; 12, 15, 18, 21in for 18x16in.
Detective Paragon f4.0 This was the aperture in the list and it used Jena glass in the design. (B.J.
1891, absent in 1889). It was noted at auction on a 1/4plate Sanderson as a 5.5in lens at No543x.
Meniscus lens f8.0 (?) 5.25in Series II This was seen at No505x which seems to be a lens with a
wider angle of view than expected and has the iris rather near the glass. It was probably f8.0 to compose, f16
or less for use, especially as a meniscus usually pays a price for being used over rather too wide an angle. It
has a very deeply cut iris control ring- more like gear cut than knurling. There were at least two series of
meniscus lenses, since some are described as Series 11 as is the one above. It may be a wide angle version,
while a narrow angle version was Series 1. In 1889 they were just the f8 type. They were then made in 5.25in
for 5x4, 7.0in for 7.5x5; 8.5in for 1/1plate; 10in for 10x8in; 12in for 12x10in; 15in for 15x12in, 18in for 18x16in;
22in for 22x20in; and 25in for 25x21in.
Fig 007 020 Swift Landscape meniscus about 7in f11 No5054 and a small wide angle rectilinear.
Portrait Lenses In 1889, these were made in 4 types and all were probably basically Petzvals.
Improved No1 for 6.5x4.75in
No2 for whole plate.
No3 for 10x8in.
No4 for 18x16in.
Rapid Cabinet No1 for Cabinets at 14ft distance.
No2 for 18ft.
No3 for 20ft.
Quick Acting C.D.D. No1 for 14ft distance.
No2 for 16ft.
No3 for 19ft.
Extra rapid C.d.V. (invaluable for photgraphing children. No 1 4.5in focus, No2 6.0in focus.
Piazzi-Smyth Petzval: A fast lens with a field flattener in the film plain. It was made as a projection lens. See
also Piazzi-Smyth.

Swinden, Liverpool, UK.

Channing and Dunn list a firm Swinden & Earp, later Swinden of Crosshall St. as a maker of wood and brass
camera, and a lens at auction engraved Swinden will be for a Monarch Detective, one of them. But there is no
evidence that they made lenses.

Sylvar This is a trade name by an unknown maker.

Taika, Japan.
Super Cinconar f3.4 200mm: It seems this was the same as the TeleRokunar (Modern Photo. 01/1964).
Super Harigon f1.2 58mm for Exakta, in black finish, brown coated, reported at No111,08x approx., and
made to fit on the outer bayonet of the Varex Exakta camera.
Taisei Kogaku: The makers name on the Tamron lens below.
They are noted for the following also:
Taikor f3.5 45mm
Terionon f3.5 45mm on Super Westomat 35a.

Taiyokoki Co Ltd, Japan.

They are noted for a Lausar f3.5/2.5cm on a Viscawide ST-D camera.

Talbot, Fox.
His initial cameras were surprisingly small and it is said that he used a 2in microscope lens of unknown
source on some of them.

Talbot, Walter, Berlin, Germany.

The lens on these "Invisible" cameras was an f5.5 Anastigmat of anonymous source. The camera was made
in small numbers for many years roughly WW1 to mid interwar, so the lenses might have come from many
makers of movie lenses.

Romaine-Talbot q.v.

Tamron Co Ltd, or Taisei Kogaku, Tamron Bdg, 17-11 Takinogawa 7-chome, Kita-ku,

Tokyo, Japan. At this time the cable addresss was Tamrontaisei Tokyo.
Surprisingly, no catalogue was available here, and this entry will be completed in the next edition. One
important feature was the adaptamatic series with a unique adapter range for most SLR's. Also the use early
on of matched extenders in the twin and converto Tamrons. These really are Landmarks, though perhaps
modest ones, and were the sort of real novelties which deserve to be looked for.
Tamron stated they produced all their lenses themselves. (Blackman, Amateur Photo 04/10/1978 p116)
Early Lenses: Extenders
Converto Tamron with extender. Tamron seem to have started these extenders with the f2.8/f5.6 135/225mm
which was rated as "outstanding" by Modern Photo (04/1963, 05/1964) shown as Tam 001, where the shaded
part is the removable extender section. It is not too common in the UK as it was early in the period when
foreign imports were freed, and from experience few retain their extenders as they were a unit screwed behind
the prime lens with the camera adapter then screwed on the rear. Thus users stored the lens as the 135 with
the rear M42 or Minolta etc. adaptor fitted and the extender was a rather featureless black tube with 1:5.5
225mm engraved on it but the purpose was obscure. Two of those seen were in M42 screw mount. (The mount
seems to be a normal T-mount but with a c41mm fine thread inserted where the keeper ring is normally
present on purchase and this is normally a reject item. Thus the shop could sell any T-mount by fitting it over
the adaptor thread in the lens as supplied and the T-mount then could be ignored by the user until the camera
was changed.) The lens seems to be all air spaced, at S. The converter seems to be 3g/2c and this one has
gathered quite a lot of dust internally. The adaptor protrudes in front of the extender by some 7mm and is well
forward of the camera flange. The lenses seen in UK were Nos 374,27x, and 375,77x in M42 and No371,85x in
Minolta. It was sold in the UK as the Twin-Tele f2.8 135-225mm and listed by Hanimex in May 1964 at £29.97
approx. Fitted to a Canon, the image seemed to be really sharp and contrasty, but the f5.5 makes it rather
slow except in good light.
Fig 008 053 Tamron 2x Converto Tamron f2.8/135mm at No375,772 and Twin Tele Tamron f4.5/135mm
dismantled.
Twin-Tele The early examples are marked as Twin Tele instead of Converto Tamron but seem to be the same
lens with the same front curve.
Twin Tamron with extender. This was a smaller item at f4.5/f7.7for 135/225mm in a case with the multiplier.
It may have sold better in the UK at a lower price but is slower and here the adaptor certainly went between
the mount and the camera flange making it slower to use. But the unique thread and case to keep it in means
that the components are more often kept together for sale today. It was seen at No 51,56x. This was also
listed in May 1964 and curiously was almost the same price at £19.95 even though it was slower, and had a
slightly more limited focussing range to 6ft. The attraction may have been lightness for outdoor use. (see Fig
above)
Tamron Nestar f6.9 400mm This was a collapsible 4 glass lens with adaptors for most makes, at a
modest price. (May 1966). A correspondent to Modern Photo 02/1968 p45 was told the Nestar was no longer
imported but rather a plain version of the identical optic, due to diaphragm problems with the Nestar- which
Modern said they had not noted.
Tamron f6.9 400mm as above, plain.
Tamron f7.5 400mm This was also listed May 1966, and was a plainer non-collapsible
lens focussing to 28ft.
Tamron Auxiliary telephoto 4x for fixed lens 35mm cameras or possible for 6x6. This was seen at No
58,69x and was a slim black and silver tube about 6in (150mm) long. These seem to have sold with an adaptor
for the lens in use, often now lost or hard to identify. The lens seen had a c.33mm thread and needed to be
some 15mm forward of the bayonet of the TLR. Sharpness looked to be useful and the screen was illuminated
except perhaps for the very corners. It was not used so it was hard to see if it was used by focusing on the
finder screen with the accessory in place on the taking lens but this seem to be true. The image with it on the
finder screen is inverted. The front section focusses to 2.5m.
Fig 008 051 Tamron Auxiliary 4x extender for ?6x6 TLR.
A March 1968 review in Camera 35 covered Adaptamatic lenses with interchangable bayonets for automatic
action, then 'new'.These were made to suit Pentax, and M42, Nikon, Minolta, Canon and Miranda at least and
were made in:
f4.0, 21mm (1972); f2.8, 28mm;f2.8, 35mm;f2.8, 135mm;f3.5, f3.5,200mm (1972); 200mm; f5.6, 300mm. On
the whole the review was favourable, especially in view of the prices. In 1972, the list extended to include the
above and a f2.8/135mm; f4.0, 70-220mm Zoom. In 1973, there was a f3.5/24mm, f4.5/200mm, and zooms of
85-205; 80-250mm as well. There were more eg at Chicago show in Modern Photo 07/1971 p47 as f1.8/35mm;
f3.5/24mm; f2.5/105mm; f4.5/200mm; and f3.5/35-100mm zoom.
A later list covers Adaptall lenses where there is auto exposure coupling, and it is essential to use the
correct 'speed' of adaptor, ie all f2.5 lenses use an f2.5 ring and all f3.8's use an f3.8 ring, etc. Some were
coded SP for super performance. At this time the prime lenses were:
f3.5 17mm 104° 12g/10c
f4.5 21mm in 05/1972
f2.5 24mm 84° 10g/9c
f2.5 28mm 75° 7g/7c
f2.8 28mm in 05/1972
r2.8 35mm in 05/1972
f2.5 90mm 27° 8g/6c
f2.5 105mm This was in 05/1972, and was very compact and had 4 'elements'.
f2.8 135mm in 05/1972
f3.5 135mm in 05/1972
f2.5 135mm 18° 4g/4c
f3.5 200mm 12° 5g/5c
f5.6 300mm 8° 6g/5c
f5.6 350mm 7.3° 7g/4c
f8.0 500mm 5° 7g/4c
There was a steady decrease in the single focus lenes later as the zooms replaced them and one list has:
f3.5/17mm 12g/10c
f2.5/24mm 10g/9c
f2.5/28mm 7g/7c
f2.5/90mm 8g/6c
f2.5/135mm 4g/4c
f3.5/200mm 5g/5c
f5.6/300mm flat field tele-macro to 1.4m focus. 6g/5c design.
f5.6/350mm 7g/4c mirror
f8/500mm 7g/4c mirror
and 2x extender of 6 glass in 5 components.
also Zooms in:
24-48mm at f3.5-3.8, 10g/9c,
28-50mm at f3.5-4.5, 9g/9c,
35-70mm at f3.5-4.5, 7g/7c,
35-80mm at f2.8-3.8,9g/8c,
70-150mm at f3.5, 13g/10c,
70-210mm at f3.5-f4, 16g/15c,
80-210mm at f3.8-f4, 13g/10c,
75-250mm at f3.8-f4.5, 13g/10c,
70-350mm at f4.5, 15g/13c,
200-500mm at f6.9, 14g/8c,
also 70-220; 80-250; and 200-500mm in 1971.
In May 1972, there were f2.8/28mm f2.8/135mm and f3.5/200mm with auto iris.
Later Lenses This is only a small part of the list.
f4.5 21mm "new", budget specification in 11/1968.
f2.5 105mm in Adaptomatic mount.
f5.6 350mm mirror.
f8.0 500mm mirror. A Tel-Macro was reviewed favourably as a specialist tool in B.J.P. 13/07/1979 p663. It
focusses to 1:3 ratio.
Aspherics came in August 1992, with a review of a f2.8 35-105mm zoom with one plastic element supportedon-
glass aspheric element and a note in Am. Photo. that this was almost a dead heat for Nikon, Sigma and
Tamron and that this might suggest a common origin for the aspheric elements. It maintained the f2.8 aperture
while zooming but gave severe pincushion distortion at 105mm, a reverse of the usual.
The B.J.P. 29/09/1978 listed the new SP lenses. There were 8 of these:
Zoom f2.8 70-150mm
f5.6 300mm
f3.5 17mm super wide
f2.8 135mm
Zoom f3.5 70-210mm
f8.0 500 mirror The design of this was unusual and allowed close focus to 1.7m ie 1:3
ratio, due to a novel design.
f2.5 90mm macro
SP 90mm f2.8 This is a manual set lens for up to 1:1 macro use, with a 9 blade iris to give the best out-offocus
image in portraiture. It has BBAR coating. The comment on the iris is a significant one. It was noted in
B.J.P. 09/10/1996, p6.
Zoom AF 28-105mm This was a new item expected in B.J.P. 09/07/1997, p6 having been at Photokina. It has
4 hybrid aspheric elements and 3 with low dispersion glass as well as internal focusing. Price: £799.95.
Zoom CF Macro f2.8/f3.835-80mm This was noted in B.J.P. 04/07/1980, p629. It has 9g/8g
design, and uses a 2group zooming configuration for improved astigmatism control.
A Millenium list for Tamron given in the Amateur Photographer Oct 2000 was as follows:
f2.8 14mm 14g/12c
f2.7-f3.5 20-40mm 15g/12c
f3.3-f5.6 24-70mm 8g/7c
f3.5-f5.6 28-80mm 7g/7c
f3.5-f5.6 28-105mm 15g/12c
f2.8 28-105mm 15g/13c
f3.8-f5.6 28-200mm 16g/14c
f3.5-f6.3 28-300mm 15g/14c
f2.8 70-210mm 17g/13c
f4.0-f5.6 70-300mm 13g/9c
f4.5-f5.6 80-210mm 9g/8c
f2.8 90mm 10g/9c Macro lens to 1:1
f5.0-f6.3 100-300mm 12g/9c
f5.6 200-400mm 13g/11c
f2.8 300mm 10g/7c
Note many of these zooms have a macro function but the dedicated macro lens is the only one listed as
such for 1:1 use.
Tanaka Kogaku, Japan.
They seem to have been most active in the 1950's as the cameras and lenses are mainly in M39x26. They are
very attractively finished items and must have sold well but are not common in the UK as most were sold
before imports to the UK were easy. Some late ones were in bayonet mounts. It is thought they were
proprietary in the sense the Tanaka were maintaining their product line by commissioning items.
Tanar f2.8 35mm
Tanar f3.5 50mm
Tanar f2.8 50mm This was noted on a Tanaka IVS body at No77,65x as Tanar No59,36x, also
on 77,55x at No59,69x.
Tanar f2.0 50mm This may be the easiest to find in UK as it was sold on Tanack bodies but can
be transferred to other M39 bodies. They were seen at No22,58x, 24,96x, 24,97x. It seems to be a 6-glass
triplet type with rather compact glasses.
Tanar f1.9 50mm This was noted at No192,70x.
Tanar f1.8 50mm This was noted at No192,70x.
Tanar f1.5 50mm This is scarcer than the other versions. It was noted on the V3.
Tanar f1.5 45mm(?)
Tanar f3.5 135mm This seems to be another lens which it is possible to find in the UK in black
and chrome at Serial No 14,50x, 15,74x, No15,55x, No15,03x, and 16,65:.and look for a case, finder and hood
to match. They seem to be a 4-glass triplet type Q23. One point- these were also for Nikon or Contax mount
and coupled. One dealer commented that he had had problems with one of these probably due to coupling
difficulties, but no details were available.

Taron, Japan.
This is known here for the lens on a fixed lens camera, the Taron Marquis which had a favourable review in
Modern Photo 04/1963 p77.

Taylor's Patent, Hoxton, London, UK.

This is the engraving on a early 19C lens with old style engraving , no iris and two +,+ components at the rear
of a meniscus type barrel, but without further current information being available.

Taylor, A.and G, 78, Q. Victoria St, London, UK.

This name was engraved on a brass RR 10in f8 (?) for Waterhouse stops, probably early 1890's, but probably
represents a dealer rather than a maker.
Fig 008 044 Several branded lenses with the camera maker or shops' names(l to r) Taylor, Thornton Pickard.,
Tomkinson, and (r) Underwood, all about f8 RR types.

Taylor, Taylor and Hobson, Ltd., Leicester, England. They were at Slate St., Leicester to
1900, then Stoughton St from about 1900- the 1990's..
Currently: CookeOpticsLimited, Cooke Close, Thurmaston, Leics. LE4-8PT Tel 0116 264 0700
"Always get Nature on your side", W. Taylor, (1865-1937)
TTH, as it is usually abbreviated, was founded by the brothers T.S and W. Taylor in Victorian times, with an
exceptionally rigorous attitude to precision. The former was the optician, the latter an engineer, and Mr
Hobson the business man, and salesman.The initial products were conventional RR, Landscape and Globe
lenses but of really high quality. (Am. Photo. 29/04/1887, 27/03/1891) But the products were noted as
"budget" in price, and in 1889 they seem almost as interested in selling spirit levels as lenses. This was due
to the brothers interest in engineering from an early age and T.S.Taylor had trained as an apprentice with R.
and J. Beck in London and W.T. trained as an electrical engineer. In 1886 they (or Mr W. Taylor himself)
began production at Slate St with capital of some £300 and were later joined in 1888 by Mr W.S.Hobson who
was responsible for sales. Although the lenses were up-to-date in finish and with iris stops, profits were
initially minimal to 1893, and there was a period when the firm was only marginally profitable, and the staff
quite small. However they did develop a surprisingly modern actinometer in 1887 calibrated with a standard
candle- it seems well ahead of the time.
They initially used the then standard mounting threads such as 1.5in fine as on lens No182 (a triplet) but must
have been dissatisfied with the sloppy standards of the period, as reflected in press comments about threads
such as in B.J.P. 20/02/1880, cited 22/02/1980, and played an important part in discussions on the
standardization of lens threads in the 1890 period. They also developed novel thread cutting and engraving
machines, and these were to be the basis of an important part of the business by 1891. The works then
included a foundry, smith's shop, fitting shop, etc. and in 1900 many parts were illustrated in Hasluck's book.
This included inspection equipment also.
Mr D. Taylor was no relation and employed as optical ma at T. Cooke and Sons of York and when he
developed a novel Triplet lens (which Cooke did not wish to commercialize themselves although they did make
some as telescope objectives), they licensed the designs to TTH who then produced them for the UK and
Empire and sub-licensed them to Voigtlaender (Germany) and Balbreck Aine et Fils (France) though the exact
terms are not known. A number were made by Voigtlaender but the Balbreck production is not known here
although one lens has been noted with in+metric focal length. TTH opened a branch in New York in 1902
under a third brother R.J.Taylor and they seem to have sold Leicester products with perhaps some from other
sources.
TTH devisd and patented a form of thread for flanges in which the end of the thread was neatly squared off to
avoid jamming, cross threading and make for easy engagement, and this is a very characteristic feature
allowing the recognition today of their old equipment when the engraving is absent. They stated that when it
was launched that some 20,000 older TTH lenses could be updated with this feature which may suggest their
production up to that date. (Am Photo 02/09/1892, p160).
The codes RR=Rapid Rectilinear, RV= Rapid View, WAV= Wide Angle View and MAR= Medium Angle
Rectilinear appear in their lists and at least some are engraved, eg. MAR; and they may have established
them in use. Production initially could not have been large and the brass RR series has real scarcity in this
field. Later the Triplets were produced in large numbers but the range was big and some are a real prize for the
collector and user, such as the Portrait lenses. A further aspect was the movie lenses produced after the
development of the OPIC and these are many of them still high value items in use and not often seen in the
still collector and user area as they are sought after for the movie world.
W. Taylor sold the interest to Bell & Howell about 1930, and this lasted till 1946 when it was sold to the Rank
Group. Biographical notes are in B.J.A. 1938, p195 on William Taylor (-02/1937, aet. sua 71 years) stressing
his part in thread standardization: and Thomas S Taylor ( -14/03/1938 aet. sua 75) where they stress his
contribution in WW1, and his start in business 52 years before (1879?).
An important part of their production history is conserved at the Snibston Park, Leicester, UK. Today, we think
the firm has two separate aspects, as TTH on the repair and maintainance of the Cooke lenses in use; and
Cooke Optics for the design and production of new lenses. This is unique and shows the esteem with which
Cooke lenses are held.
Special features can be the use of the portrait lenses by well known workers noted under them. Another
feature in adverts. was the use on the Shackleton expedition in 1914-1917 by Mr Hurley, who is credited in the
account of the expedition. [He took them under difficult conditions and preserved the plates with great
tenacity.] B.J.A. 1922, p737. They were also used in Sept 1921.
Early Items mainly in brass, include from Slate St:
Rapid Rectilinears
Rapid Rectilinear (RR) with iris diaphragm f8.0 to cover 40-50°.
It was offered in 1/4, 1/2, 1/1 plate sizes and was seen at No 1,28x with Waterhouse stops.
Sharp & Hitchmough in 1889 listed it as 5.0in for 1/4plate, 7.0in for 1/2plate, 9.0in for 8x5in, 11in for 1/1plate,
13in for 10x8in, 16in for 12x10in, 18in for 15x12, 24in for 18x16in, and 30in for 22x20in. and suggested 13in for
10x8, and show lens serial No730 in the engraving. They were made with either Waterhouse stops or iris as
an extra, and the iris had a black band enamelled in the control ring. The iris design has not been examined
but at No580x it uses a raised band very like the Beck design of the period.
Serial numbers noted include: No 580x, 11,37x.
Some seem to be engraved "Landscape Lens".
Fig 019 002 TTH RR's (l) 7in for 1/2pl with stops at No1287; (r) 9.2in for 8x5in No5800 with iris.
Rapid View and Portrait This was noted in 1885 approx. and revived or continued to 1911 at least, at about
f11.3 or ?f7.5 and in 1911 was made as 10.5, 12, 15, 18in, where 10.5in was suggested for 5x4in. It was
designed to cover about 40° angle.
Medium Angle Rectilinear MAR This has been seen as a squat lens, rather like a WAR but with more
glass and engraved MAR at No11,38x, 6.27in for 8x5. There is no aperture marking but is likely to be f11 max.
(?)
Wide Angle Rectilinear (WAR) with Waterhouse and disk stops. It covers 75-80° and was made in 1/4, 1/2,
1/1 plate, 10x8 and 10x12in sizes. Three examples seen were No3,65x a 4.02in for 1/2plate, No1,615x with
an iris for 5.3in focus on 1/1plate, and an early one with disk stops. Surprisingly the 1887 note in the Amateur
Photo. says f8.0 maximum aperture, but it may actually be less, such as f11 or f16.
Fig 019 005 TTH WAR lenses (l) 4in for 1/2plate No3656; (l) 5.3in No16,158 for 1/1plate.
Extra Rapid Rectilinear f5.6 12in This was reported to be engraved 'Cabinet' and will be a Portrait
and general purpose lens, probably an uncommon series. It leads onto the next item.
Rapid Rectilinear RR f5.0 A version was used of this at the Crystal Palace in 1890. Here it was for
projection but it may have been a portrait design transferred to a new use.
Meniscus Lenses
Rapid View Meniscus (RVM) This was made with an at f16 (F8 or 11 to focus) to cover 40°. It was made in
1/4, 1/2, 1/1plate, 10x8 and 10x12in.
Wide Angle View It was made in 1/4, 1/2, 1/1plate and 12x10in only.
Portrait
Rapid Portrait This was quoted as f8.0, it may be an RR rather than a Petzval.
Portrait and Group Lenses in 5.0, 8.0, 12, 17in etc.
Casket Lenses
These were noted as Series 111 in Amateur Photo. 27/03/1891. These were based on RR lenses and barrel
but differed from other makers in often being a complete RR plus other complete lenses such as an WAR or
RV rather than a package to fit one barrel. The common feature was the flange so that all items were usable
on one flange.
Caskets of RR and RV lenses were supplied for use with 1/4, 1/2, 1/1plate sizes of RR and WAR in the same
sizes.
Caskets of RR, WAR and RV in the same sizes.
A casket set has been met with one barrel and glasses but with an extension ring to convert it from WAR to
RR perhaps, but it may have not been complete. These were continued in 1898 as an RR with a triplet Series
111 packaged as a casket. Possibly a WAR was the RR used. An unspecified casket was sold at No398x on
an Underwood of Birmingham 1/2plate camera.
Stereo Sets: These were pairs of 3in lenses in WAR, 4in in MAR, 5 or 7in in RR, and 6in or 8in in RV.
Projection Lenses These were initially in Rapid ie RR at f5.0.
(Sources mainly from Amateur Photo 27/03/1891; B.J.Alm. 1889, plus lenses seen.)
Detective and fixed focus camera lenses at f5.6, eg No1, 4in. (See B.J.A. 1889, advert. and p600 note), this
was a rather special deeply curved lens (globular form) to cover a larger angle than normal at f5.6, (though it
may well have needed to be closed down to succeed here). S&H offered them in 4.0, 5.0, 6.0in and TTH said
1/4plate was the best size for all Detective cameras and all these lenses.
Hand camera Lenses These were in 4, 5, 6in and were designed to mount in shutters.
Wide Angle By 1887 this includes a f11.3 version, which may be a MAR
Wide Angle GLOBE lens This was f5.6 to view, f8.0 to focus, and probably was further closed down to use?
It was noted in B.J.A. 1889.
Cooke Achromatic Portrait f7.5 from 1885-1912 at least. This was advertised in 4 sizes to suit:
10.5in,for 5x4in; 12in for 5x8in, 15in for 6.5x8.5in; 18in for 10x8in.
It was "used by Alfred Steiglitz, Clarence White and others."
It was in the RR period that the firm influenced and progressively adopted the new RPS flanges in sizes 1.25,
1.5, 1.75, 2, 2.25, 2.5, 2.75, 3, 3.5, 4, 5in. TTH devised and patented the use of a screw thread with the end
cut off square for easy engagement and this is a good recognition point where a lens has lost its engraved
identity.(Am Photo. 02/09/1892; Photo News 02/05/1890 p841). It was also used with the 'old size' threads.
The initial serial number series seen on RR's ran up to No16,158 at least, here seen on a WAR and judging
from a comment when lens threads were under discussion, about No20,000 in 1890. The low numbers such
as No198 seen on some of the anastigmats therefore suggest a new start in numbering, and this may be
connected with license agreements with the designers firm here.
Today, these early brass finish lenses can present problems for collectors. The lacquer seems to be an
unusually tough one but where it is scratched, quite heavy deposits of oxide can build up and be hard to
remove. And the engraving is often surrounded by this stuff, so legibility can be poor. Perhaps this is due to
engraving after the lacquer has been applied and dried, with micro-fracture of the lacquer leading to oxidation.
A complete clean off of the lacquer is also less easy and more messy than with lesser brands and paint
stripper may be the answer. And the very high precision of the parts can make them hard to dismantle when
corroded. Sadly this must be borne in mind when buying brass finish lenses, even though when in good order
they should be premium items. Another problem is with early triplets, as listed below, where the centre glass
seems to be permanently fitted to the barrel, perhaps to meet stringent alignment standards. This centre glass
cannot be cleaned completely if either external cell is stuck in. Finally, the use of black enamel on some parts
such as iris rings can prove a problem if lacquer and corrosion need to be attacked- it is resistant to some
solvents, but only up to a point, when it finally softens and marks. These may be reasons leading to the fact
that these old TTH lenses do not seem to fetch the sort of price which one might expect to pay, but rather sell
at bargain levels.
A New Era
The agreement with Cooke's to produce the Triplet must have given a real new impetus to the firm and lead to
expansion of production. It was a hard lens to make in that the centre glass required very accurate centering-
some early items have 3 special screws for this purpose. (This was not noted on lens No125 however, but this
may be a small one of 6.3in and not have them. One possibility is that these 3 screws are internal on this
small lens and only seen if the front cell is removed.) But it was inherently simpler than the symmetrical
anastigmats and should have been profitable to sell. Certainly it was a brilliantly simple design. (Tay001). In
the original, the glass was crown in the outers and light flint in the inner, and the focal length of the inner was
nearly equal to the total of the foci of the outers, so that the separation gave the power. TTH developed several
series in cooperation with Cooke. These lead to a more symmetrical design in later types (Tay003) and a new
patent about 1895 covered lenses of up to f3.5- then very fast. These were to sell in parallel with the slower
original which could be made with reasonably economical types of glass, including by one account with 'old'
glasses. (Brit. Pat. 15107/1895; 22607/1893). There seems to have been a new start with serial numbers, as a
6.3in Series 111 is No125.
In fact TTH made them as 6 series of lenses as follows:
Series 1 f3.1 for cine
Series 11 f4.5
Series 111 f6.5
Series 1V f5.6
Series V f8/f10
Series V1 f5.6
Series V11 f6.5 and it extended up to Series XV eventually.
It is very unusual for a maker to base a complete programme with so many products for so many years on one
type of layout, and to use it to cover so many types of use. This does emphasize the unique position of the
triplet. But today it does lead to problems in distinguishing the many different types.
Long term, users have shown some preference for Series V for fine sharp work and high values for Series 11
as a portrait lens. This was offered with variable softness due to altering the separations of the glasses, often
unscrewing the rear cell. Altering the front cell position was found to give very effective front cell focusing and
this feature was introduced in 1902 or just earlier (PhotoMiniature, 1902, p285) The series underwent some
detailed changes shown by Series coded 'a' after the number but was basically in use to the end of still lens
production well after WW2. (Later a unique new design was slipped in as Series 0.) H.D.Taylor (1862-1943)
described the design of the triplet in Trans. Opt. Soc. 1923, p143, a very unusual paper, and discussed an f2.0
cine lens also. Apparently the original idea was an f8.0 Triplet of 6g/3c with each component separately
achromatized, but as the design proceeded he found this was not needed and reduced the glasses to 3
singles. The final 3 glass type used:
Glasses 1+3, Crowns, R.I.= 1.61, v= 58.8, Glass 2, Light Flint,R.I.= 1.604, v=38.0.
The powers of glasses 1+3 is nearly equal to glass 2 to flatten the field and correct astigmatism.
It seems that Taylor did envisage splitting the centre glass to produce a dialyt type lens but this was much
less attractive to the licencees and seems not to have been developed by the original licencees during the life
of the patents. (There does seem to be a design study in Brit Pat. 24,391/1906, see Brit Jnl. 1907, p705; also
12/10/1906) Later about 1916, A. Warmisham (1891-1962) used the design for the Aviar for aerial work in
WW1. He had joined from Manchester University in 1912 and designed the Aviar in about 1916 to work at
8.25in f4.5 and match or exceed the competing Tessar 1c of Zeiss: the lens also had to use only glass
available in the UK during the conflict and the result was said to actually be an improvement in sharpness,
though perhaps not in contrast. (W.B.Appleton, Photographic Journal, 04/1919, p114). Mr Twyman showed
that the result can be improved by figuring (p120) and progressively longer lenses were made later, including
an f6.0 10.5in and up to a 36in Tele, and also 4in Primoplane wide angle lenses. Mr Warmisham was to work
for TTH until retiral in 1955. By the end of WW1 the number of employees had grown to 250. The presence of
a Tele is of interest as TTH in New York seem to have agented teles made by Voigtlaender (1901), possibly in
exchange for triplet licence fees, and by Busch (later) but had no Leicester product to sell up to 1914. [It may
have been partly nationalistic pride, but C.G.Hetherington (B.J.P. 26/09/1919 cited 28/09/1979 p948) stated
that comparison with captured Zeiss and Goerz lenses showed the RAF lenses to be superior.]
An interesting report in Brit. Journal 1900, p847, covers Taylor's designs for interchangeable rear cells for
Triplets Series 111a and 111b and Series V to change the focal length. Eventually there were 100% extension
lenses sold for Series 11, 111, 1V, and Series V (B.J.A. 1911, p716; Photo. Jour. 1895, 19 p64). There were
also versions of the lenses in sunk focusing mounts from 1906, and these lenses were in black paint. ((B.J.A.
1906, p905).
Incidentally names such as Aviar and Pressic seem to have begun as telegram abbreviations or catalogue
codes and some only have passed into general use. They are given in capitals and many are not engraved on
the lenses (Aviar being an exception!). Serial numbers on early triplets can be very low, eg. No198 on a f6.5
Series 111 and it seems a new start was made in numbering them. [Conrady designs a triplet in the 1920's as
an example using the glasses: G1=G3= Chance DBC 1565, 1.6105, 46.76; G2= Chance 360, DF 360 1.6225,
28.19. These may be some suggestion of then current choices!]
Other Lens Types
An important point is that while there was major emphasis on the lenses in the "series", this was not the
whole product range. It has been difficult to assign some of the others, such as the TTH Luxor or f3.9
Butcher. They have normally been fitted in here as if they were a version of a series lens, perhaps with the
maximum aperture limited by a shutter or focusing mount. This is not ideal but may be the best possible so
far. There is a compilation table at the end of the list of Series.
There was a new patent by H.W.Lee and TTH for a improved Triplet in Brit. Pat. 155,640 of 1919 with two
examples: the one in the B.J.A. seems fairly symmetrical with fairly pronounced external curves to rear and
front.
LENS SERIES
Series 0 This was a 1920's series, and is discussed below.
Series 1 It does seem that two quite different types of lens are involved here, made at quite different times.
Initially this was a 3-focus symmetrical anastigmat of 3+3 design. This f6.5 lens converted from an 8in to
give a 14in front and a 20in rear cell. (See Amateur Photo. 19/03/1909, p222) We have seen an early process
lens which seemed to be of this type, but working at f16 max. It lacks any useful engraving as to type or use.
Series 1 later was used for the Kinic f3.1 made over a long period in 1.625-3in for movie work and as a large
portrait lens, and this is a much more typical product. Again it seems to be made as two versions.
(a) Movie Some of these seem to become coded rather as f3.1 'Special Lens' probably to indicate a narrow
angle design for movie. They were listed in B.J.A. 1921, p556 as:
1.625in for movie
2in for movie
2.25in for movie
3in for movie
3.5in for movie
4in for 6x4.5cm
5in for 2.25x2.25in
This type was seen at No30,751x for an 3.5in/89mm "Special" and on an unnumbered 'Cinema Lens' 2.25in
f3.1 to Pat No 155,640. Also f3.1/3in Series 1 No119,98x on a 35mm Williamson Paragon camera (about
1923) with a 2in version also. A late example was an f3.5/1in on a RCA Victor at No198,00x. There were also
f3.1 Cooke lenses on Lancaster enlargers, eg for 3x4cm in Models No 1 and 2 (B.J.A. 1932, p62) though Aviar
was used on the bigger sizes.
Cooke Cinematographh may be a guide to an early lens: two were noted as f3.5/2in No74,51xand f3.5/3in
No74,53x on a wooden Butcher's Empire 35mm camera with a Prestwich movement at auction.
At this time there were two movie series at f3.5 and f3.1.
(anon) Not in a Series apparently, there was an early f2.5 or f2.3 lens made as a 47mm and fitted at Nos
173,37x (f2.5, to a Newman & Sinclair) and (f2.3) 199,12x and 199,09x to an Akeley movie camera early on. It
just may be a Petzval type lens. There do seem to be 2 series of f2.5. as an f2.5/40mm Panchro was noted on
a 35mm Eclair and is thought to be a Gauss design. It is less easy to say whether a Cooke f2.5/15mm for
16mm is in the same design group.There was also a f2.5 camera anastigmat on a Midas camera-projector,
and this type of product may have become the preserve of the National Optical Co.in later years.
(b) Portrait Series 1 These were noted in B.J.A. 1921 p557 in 3 foci as a fast big lens. Softness seems to be
controlled by turning the front of the mount. It did not have spectacles at that time as these seem to have
come in in the early 1920's, say before 1925..
8.25in for 4.25x3.25in
10.5in for 7x5in
12.5in for 6.5x4.75in
These are much more typical of the big triplet portrait lenses of the period, but must be hard to distinguish
from other Series lenses such as PRESSIC below. The point may be that the Series I was not corrected over
as wide an angle.
Cine Projection Lenses These can be in different apertures f1.8-f3.1 but are probably Petzval types rather
than Series 1. Typically they are 3.5-6.0in focus, and in 2.1in barrel mounts. With 4 air-glass surfaces.
Series 11 Cooke Anastigmat f4.5 These were triplets, normally made in f4.5 and later in f3.5, and are portrait
lenses in the larger sizes. The foci were: 4.0, 5.0, 6.0, 7.0, 8.0, 10.5, 13, 14.5, 16in. The layout is as shown in
Tay003, Tay004. There may be slight changes in the designs here as the diagrams seen do seem to vary. It
was at first sold as a portrait lens, and the B.J.A. 1921, 557; 1925, p665 shows it as this:
10.5in focus 270mm for 8x5in format.
12.75in 325mm 9x7in
15in 380mm 10x8in
18in 460mm 12x10in
but it also developed into a first-choice standard lens for reflex and press cameras, a 1912 list showing it as a
triplet. It was suggested to use 13in for 10x8in, 6.5in for 5x4in. For portraits, it gave adjustable sharpness by
moving the rear glass and was sharpest with this 3 turns out. (B.J.A. 1900, p893), and this is engraved on the
rear cell at the example seen, No19,20x in brass. Shorter examples do not have the soft feature, eg at
No34,89x, for a 6.5in f4.5 lens in brass. It is a sharp lens then, and not very soft even screwed home.
Early in the Century, exchange rear cells were made. These were revised in 1910 (see B.J.A.) and replaced
the front glass of the lens instead of the back as in the other series. Series 11 (and Series 1V) was noted in
B.J.A. 1906 and there was an impressive set of test data by Mr S.D.Chalmers of the Northampton Institute
especially for field flatness.
It was also in 1910 that TTH began the supply of lenses in sunk mounts for reflex and hand cameras, and
these initially were 5, 5.5, 6, 8, 10.5in, in Series II, III, IV and V.
Fig 019 008 TTH Series II f4.5/6.5in No34,999 in brass with iris.
TTH must have supplied a very large number of f4.5 triplet type lenses on cameras by Thornton-Pickard (such
as the f4.5/5.75in seen at No58,685 and 82,39x, the latter on a Victory reflex for 6x9cm), and Houghton-
Butcher etc. and it is common to find these as f4.5 lenses marked with these makers names as well as TTH
such as a "7in f4.5 TTH/T-P Cooke No148,89x", "5in f4.5 Cooke Apem No91,53x", Cooke Luxor f4.5, "Cooke-
Butcher 5in f6.8 No 88,41x"- a slower lens in a shutter. Normally these were Press and Reflex camera lenses,
and will not be listed as extensively as they tend merely to reflect the camera makers buying the normal TTH
product.
Fig 019 022 TTH Series II f4.5/7in and Cooke Apem f4.5/5in No91,530.
Fig 020 005 TTH Cooke Luxor f4.5/5.75in No61,865.(Front cell is alloy and has shed paint!)
Fig 020 018 TTH Cooke Butcher f6.8/5in No88,416 in Lukos III shutter.
A Cooke Luxor f6.8 No105,98x was noted on a Sanderson camera. It was probably a version of this which
was a f3.96in version No119,58x which was noted on a 1/4plate Salex Tropical Reflex. It was also used for
movie, eg on a 1923 Williamson Paragon. The f4.5/4.25in Luxor on the Dollond Owl No 2 in B.J.A. 1931 p286
may be a late example: at £2.97 it was a remarkable value and suggests the pressure on price that the
recession was producing.
Series 11a f3.5 version PRESSIC for press work, this was a fast one. In 1916 it was specially for
(a) movie in the shorter foci and for portraiture in the longer. By 1921 the f3.1/series 1 seems to have partly
replaced this, and it seems to be as:
(b) for hand and press photography and
(c) for portraiture with ? adjustable softness by turning the front cell.
It was made in 3.5in for 2.5x1.7in, 4in for 2.25x3.25in, 5.0in for 6.5x9cm, 6.25in for 4.25x3.25in, 7.5in for
5.5x3.5in, and was available by 1921 (eg B.J.A. 1921, 556, 1926, p650). Later it was made in 4.15-7.5in by
1947. It was seen at No122,54x uncoated.
Fig 019 024 TTH Series IIA f3.5/7.5in No122,546.
It has been noted coded as Cooke-Marion Anastigmat Series IIa f3.5/7.5in No123,06x and as f3.5/127mm
No83,45x on a 1/4plate Soho reflex. (The code may be used partly to indicate aperture but also triplet design
as Series II was now normally the 4-glass AVIAR).
Series ?? There was a scarce ? f3.9 TTH Cooke lens on a T-P Special Model in B.J.A. 1928, p159, and this
may be a special version of the Series IIa, though it is hard to say today.
Series 11 f4.5 AVIAR This series switched to the Aviar 4-glass dialyt type after WW1 and became famous for
its sharpness. Typically it was offered in 6.0, 7.0, 8.25, 11, 12.5, 13.5in as well as big aero versions such as
the famous 14in f5.6. Late civilian examples were sold coated and are something to look out for. It was
suggested to use 6.5in for 5x4.( Layout Tay005.)
One account was that a captured German Tessar was shown to the British opticians with a command "Copy
it!" and this met with refusal, as suitable glass was not available, due to pre-war reliance on imports from
Schott of Germany. So Warmisham and TTH came up with a new design with easier glass needs, and got the
contract. A major feature was reduction in coma leading to better edge sharpness (Brit. Pat. 113,590/1918;
312,536/1929 to Warmisham and TTH). Examples were seen uncoated at No71,82x*, 80,28x, and 185,46x*;
and coated at No 309,13x. But no convincing WW1 AVIAR lens has actually been seen by us. (The first of
those seen, a 10.5in lens, has more small bubbles in the glass than really seems reasonable- suggesting the
production of the glass was still 'new' and had teething problems.So it could be a wartime lens, but there is no
real indication of this. It has a quite deep integral flare ring to control the access of stray light.) Postwar
adverts. said "designed for the British Government" (B.J.A. 1932, p54).
Aviart was often used on Press cameras where the medium speed was accepted and has been noted as a
"Sibyl Aviar" at No106,62x when a Series II was on a N&G camera. It was in fact a regular feature on N&G
cameras after the War eg B.J.A. 1925, p18advert., in place of the Tessars used previously.
(*The external curves on these two* seem to be the same seen here.)
Fig 019 018 TTH Aviars f4.5/10.5in No71,824; and f4.5/8.5in No185,461.
Since the Series 11 Triplet was also in production eg in B.J.A. 1921 pp556-557, the use of AVIAR as a code
was needed to prevent confusion. AVIAR continued to the last TTH advert. noted in B.J.A. 1955 p494 as
follows:
3.75in focus 95mm for 3.25x2.25in format
4.25in 108mm 3.5x2,5in (This and 95mm are in B.J.A. 1925, p664)
5.25in 133mm 4.25x3.25in (in B.J.A. 1931, p532)
6in 152mm 5x4in 1.75 in flange
7in 178mm 6x4in 1.75in
8.25in 210mm 6.5x4.75in 2.25in
10in 254mm same 2.75in
12.5in 320mm 9x7in 3.5in
13.5in 342mm 10x8in 3.5in
The recommended coverage seems unchanged from 1931 to the 1950's.
Aviar was also used on movie cameras. Thus a N&S 35mm camera used a f4.5/4.5in No184,02x. Looking at
modern reproductions of WW1 aerial pictures seems to show fine detail in the centre of the frames, but
considerable fall-off at the corners. Later prints are much better all-over. At the time, Arthur Warmisham was a
new young designer at TTH and made a special study of coma correction as a result of which he chose to
split the centre glass of the triplet and use the 4-glass Aviar type-layout- although it was not new then, the
design of this f4.5 was a real achievement.
Aviar was used postwar as a copy/process lens in a de Vere Recorder camera with a 12.5in Aviar for 10x8 or
even 12x10in noted in B.J.A. 1953 p206, and in an Eves Colour camera in B.J.A. 1952, p508. This would be a
coated lens. It had been used for enlarging prewar eg in a Sickle vertical enlarger for up to1/2plate (B.J.A.
1931, p55) where mercury vapour lamps were used, a Wray being otherwise offered. (There may have been a
difference in colour corrections?) and also on a Overton for up to 1/1plate in B.J.A. 1927, p748- these actually
seem to be different names for the same enlarger series.
Series 11b f4.5 PORTRELLIC This was made in 10.5, 12.75, 15, 18, 20in, usually in brass and usually had
prominent "spectacles" bolted on as a handle for the softness control. This moved the whole front group
forward from the rear cell and a 10.5in lens moves some 6.8mm max. compared with the move rearwards of
the earlier rear cell type of some 3 turns or 2mm for a 8in lens. There is a sharpness scale from sharp to 4,
'soft focus' and a very boldly engraved iris scale from f4.5-f16. An impressive and valued lens. Use 15in for
10x8in. The focus movement depends on the inner barrel moving forward guided by a bolt in a channel, and
with time this can get very stiff and needs skilled attention to relube it. This is especially true if it is left set on
"Soft" and it may be wiser to leave the lens on sharp as the barrel can then be treated with easing fluid if
needed. The example seen was very sharp on the "sharp" setting, and did not soften up very much on the
"soft" setting. So it is not one to choose for dramatically soft results, but is a really valuable item in its way. It
was noted at f4.5/12.75in No211,22x.
Fig 019 015 TTH Soft Focus lenses (r) Series II old type 8in, No19,206 and (l) later spectacles type 10.5in
No125,444.
The early versions of Series II and Series VI did not have spectacles up to and in 1916 (Fig above), but rather
in Series II the front of the mount was turned, and in Series VI a set of cords and pulleys was used. Series II
was a favourite especially in Hollywood, and as Series IIE was the last TTH portrait lens to survive, being
advertized in a B.J.A. in 1955, p496. In comparison the IID and VIA were advertized in 1951 but have not been
noted later (idem, 1951, p466).
10.5in focus 270mm 8x5in 12x20cm format 2.75in flange
10.75in 325mm 9x7in 17.5x23cm 3.5in
12.75in 325mm 9x7in 17.5x23cm 3.5in (This was in 1931, not postwar.)
15in 380mm 10x8in 20x25.5cm 4.5in
18 460mm 12x10in 24x30cm 5in
20in 508mm 15x12in30x38cm 5in
It was then emphasized that it was suited to colour work as well as B+W. For IID, IIE, and VIA, the formats
can be increased to the next bigger size in the studio at say 10ft working distance even when working at full
aperture: (ie the formats are suggestions for good drawing not for optical reasons.)
(a) Prewar, the TTH adverts in B.J.A. 1938, p42 and 1939 p50 are of Movie stars or stills and show the f4.5
'Spectacles' Portronic with credits to 'Pitchfords' and Houston Rogers, and a still which may be taken with a
Speedic in the 1938 advert. One account is of a studio exposing hundreds of 10x8in plates during a session
with a major star in order to obtain one ideal picture!
(b) Also for many years, Mr Marcus Adams was a user of the TTH soft focus lenses and many examples of
his work are in B.J.A. issues over a long period, eg. see 1949, 147. His toy littered studio was illustrated in
Miniature Camera Magazine 12/1946 p7 and this shows that two cameras with big lenses (say 5in dia.) were
in use in a substantial wooden cabinet pointing out through gaps in the front. One was a longer lens for large
heads, the other shorter for full-lengths. An efficient lady assistant was on hand to change slides. The
elaborate backgrounds of skies and landscapes were painted in afterwards.
Series 11c Portrellic This still was made in 10.5, 12.75, 15in and later in 18in (1924). It had no soft focus
adjustment and may be the same optic as the last but in a rigid mount.
Series IIa f3.6/11d f3.5
Portric went throughat least 2 phases.
Series IIa in 1931 was an f3.6 Portrait lens with spectacles, made in
10.5in focus 270mm for 7x5in format
12.5in 320mm 8.5x6.5in
15in 380mm 10x8in
Portric IId f3.5 This was a late version for studio use. In 1947, 11d was PORTRIC f3.5 (and 11e was
PORTRELLIC) so the code words may have been changed as well. In 1951, Portric was listed as f3.5:
10.5in focus 270mm 7x5in format
12.5in 320mm 8.5x6.5in
15in 380mm 10x8in
Series 11e f4.5This was a later version for studio use, also with variable softness. It was made in 10.5in for
8x5in; 12.75in for 9x7in; 15in for 10x8in; 18in for 12x10in; 20in for 15x12in at f4.5 and may be hard to tell from
the spectacles version above. It was noted as a f4.5/10.5in at No246,36x. (see above and B.J.A. 1955, p496)
as the last portrait lens listed.
Series VIA f5.6 Portronic This was the third of the portrait lenses in the B.J.A. 1951 p466 advert. and was
made in:
13in focus 330mm for 9x7in format
15.5in 393mm 10x8in
18in 460mm 12x10in
Series 11a PORTRIC f3.5 Triplet This was made in 9.5, 10.5, 12.5, 15in and later added 5.0, 7.5, 8.0in, and
the use of 15in for 10x8 and 6in for 5x4 was suggested. Only later examples have spectacles, and there were
detailed changes in the controls from a ring to cable operation and then to the 'spectacles' which became the
recognition feature. It was noted in B.J.A. 1910 p676 as being only moderately soft and then was only in 12in,
adding 5, 6, and 7in by 1914. The example seen was No 122,54x in black painted sunk alloy mount and was
not fitted with spectacles.
The short versions of Series IIa, up to 8in were for press and reflex use and were not so fitted. In 1935, the 11a
was in 10.5, 12.75 15, 18, 20in and the 15in was for 10x8in use. Some tiny f3.5 triplets were made for cine,
such as a C-mount 16mm f3.5 without focusing at No155,64x. An f3.5/2in at No79,31x for a E.F.Moy (London)
35mm movie camera may be a version of this.
Series 111 f6.5 as above This Triplet was one of the first issued and a most successful product, using the
Tay001 layout. It was offered in 2.5, 3.0, 4.25, 5.0, 6.0, 7.5, 8.25in in the B.J.A. 1900. Use 6 or 6.375in for
5x4. It was available with front cell focusing in sizes up to 6.0in by 1901 (Photominiature 1902, p284), and
was listed by N&G in a focusing mount for 4.25-8.25in and with front cell focus- ie it was aimed at serious
users, not just the snapshot brigade. In USA it was supplied via Kodak as Series 111 in 4.25, 5.0, 5.5, 6.0,
7.5, 8.25in in 1911. In 1913 it was a common fitting to top cameras.
Fig 019 006 TTH early Cooke Series III f6.5 lenses in brass. (r,rear) 6in for 5x4, No8312; (r,front 4.95in for
1/4plate No182; (l,front) 4.4in No16,861 with front cell focus; and (L, rear) 7.8in for 1/2plate in shutters.
Fig 019 013 TTH Primoplane f6.5 in alloy 8in ( rear); and in brass (l) 6in Ser IIIa No81,476 and (r) 7in
No33,978.(The distinction of IIIa is not obvious today.)
In No 10,422 the middle lens is still mounted separately in the barrel and Abney notes there were 3 screws to
specially centre this component since a triplet is very sensitive to errors in this. The screws seem to be
sealed with some sort of black sealant but in other cases are more visible. It is best not to adjust or touch
them and to clean the glass surfaces from each end of the barrel.
In this version the front two glasses are very close together and the focus is very sensitive to changes in the
separation. The front cell focus was applied to Series 111 and V. The Patent was to W.Taylor 31/03/1900.
Early examples used a pin-in-slot action, not the later screw thread. Retrofit was offered to previous
customers. This shows that it is a version to look for in a shutter- these are relatively common in contrast to
many other types where a shuttered version is a rarity with old lenses. Examples of up to 8in certainly can be
found easily. It has been seen at No 103,75x in dial set Compur, No 12,58x in Compound. Longer versions
seem to have been made in slower versions to suit shutters. This included 3.5in for Compur 00 but normally
lenses in shutters are longer focus, such as 6.875 in., 7.5in., 8.25in. and longer. In these Series III lenses,
use 5.0in for 1/4plate. One example at No11,32x is in a alloy barrel for 6.2in focus for 5x4in and here the front
cell seems to focus on a thread- with a very smooth and positive action. It just may be for N&G use.
For interest see J.A.Hodges who unscrews the front element of a 5.5in lens to obtain a 4.5in for wider angle
work. (Am.Photo. 20/09/1901). He had an alternative rear element for a focal length increase of +50% when
his 5.5in lens became 8.5in. Thus the series III could really develop as a casket set!
The editorial in B.J.A. 1925, p197 notes that the nodes of the 8.5in Series III both lie nearly 0.75in in front of
the iris.
Cooke Series 3 was the normal TTH lens on pre-war Newman & Guardia cameras, up to serial number about
No19,500 (Manthos, Photographica Sept 1992, p17) and there was one at No30,676 but postwar the use was
of Aviar from about No122,676, suggesting a jump to a new level of serial number after the War.
For sale of the focusing version see B.J.A. 1908, Photographic J. 1895, 19, p64. In 1908, the fitments to
Kodak cameras were :
No 3 lens for No 3 Kodak.
No 4 lens for No 3a Kodak.
No 6 lens for No4a Kodak. An early example may be No16,88x in brass, on a 4.4in lens.
Cooke f6.8 Essentially this seems to be a slowed down Series 111, but it was also sold as a Cooke Butcher
for Houghtons and in 1913, a Cooke Luxor probably also for Houghton: [Note:the f4.5 Luxor was the low price
lens f4.5 lens on the Ensign de luxe reflex in 1916, being £16.25 while the f4.5 Cooke was £19 and the Serrac
and Xpres were also more.] It was also the basis probably of the Cooke Primus on the Butcher Cameo and
Carbine in th 1916 B.J.A. where it was the most expensive choice of Rapid Symmetrical, Aldis Uno and
Primus. On the Carbine, it was above these in price but below the TTH Series III, Ross Homo III and Dallmeyer
II. The f6.8 seems to be reasonably common. It was seen at Nos 88,41x and 103,75x.
There was a TTH-Kodak f6.8 in B.J.A. 1925, p21 on a Autograph Kodak in 3 sizes.
There was also a f4.5 Luxor in 4.25 and 5.75in at least as above. (4.25in in B.J.A. 1931, p286).
Note two Luxor wide angle lenses at f16, and 7.5 and 9in (for 10x8in) were in a B&J list so Luxor may have
been a brand name eg. for USA. But it does seem to be a lower price item though still a good one.
Series III Process Lens This was seen as a substantial f6.8 brass lens (say 12in focus) at a rather early
serial number (?44,xxx)- but not extremely early. It is conjectured that the fine corrections of the Series III
made it worth using as a process lens until the Series V was established- and possibly after this as a lower
cost option. Typically a 'process lens' is used in close up and it is possible the Series III was adjusted for this
purpose.
Series 111b AVIARICA f6.0 This was essentially a version of the AVIAR slowed down to f6 and sold in 8.5,
10.5in; f6.3, 5.25, 6.0, 6.625in, and later in 1955 in 8.5, 10.5, 12.5, 15in only. It would be a desirable slower
lens but seems to be scarce. Some may be engraved "Copying" and adjusted for close-up, eg 5x on a f6/8.5in
lens at No511,042, which is a beautifully coated lens marked ' Series IIIB 5x Copying'. It was still in the list
advertized in B.J.A. 1955, p494 and has been seen in a coated (non-copying) example at No583,84x and
583,65x. It was possibly coming into its own in a new era when slower lenses were more looked for than
previously, and today is a lens well worth seeking. Some data from the 1955 advert. is;
8.5in 216mm 6.5x4.75in 1.75in flange
10.5in 270mm 8.5x6.5in 2.25in
12.5in 320mm 10x8in 3in
15in 380mm 12x10in 3.5in
"The crisp overall definition of Aviar lenses makes them prized amongst professional and amateur
photographers as the finest anastigmats ever produced in any country, and they are eminently suitable either
for monochrome or for the production of colour transparencies". Well that was true in 1955, and they are still
very good today.
Fig 019 027 Series IIIB Aviar f6/270mm NoNo583,659. This is a late example of this famous lens, ctd.
In B.J.A. 1930, p568;1931, p532 there were three versions, and later a single version of an f6.3 Aviarica at:
5.25in 133mm 4.25x3.25in 11x8cm
6in 152mm 4.825x2.825in 12.5x7.5cm
6.625in 168mm 5x4in 12x9cm
but in 1931, only the 6.625in (168mm) for 5x4in was listed, possibly for some special use, not specified- it is
not quoted as in a shutter for example, but will fit a 1.75in flange which may have been an attraction. Note that
the f6.3 was in small sizes and did not overlap with the f6 which was the larger foci series.
After WW2 it seems to have been a greater success than the f4.5, several f6 lenses being seen coated and it
is still a desired professional lens due to the fine corrections and better contrast in the coated form. But it
must be added that these do have older type single coating and use 8 air-glass surfaces so there is no
immunity to flare and one user did say he had had some failures for this reason.
Series 1V MEDIC f5.6 This was another triplet which was available with an alternative longer focus rear
element to exchange for longer focus work. It offered a medium speed sharp lens initially for 5.0-18in, and was
listed in B.J.A. 1921, p557 as:
5in 4.25x3.25in
6in 5x4in
8in 6.5x4.75in
9.5in 8x5in
and as:
10.5 8.5x6.5in This actually was an f6 Aviar in the list and began a new series!
But the range seems to have shrunk to a few longer sizes eg. 13, 15.5, 18in by the 1920's. It probably was
being replaced by the Aviar f6. At least some of these use the very unsymmetrical layout as Tay001. One was
seen at No 92,89x and here the iris was behind glass 2. It seems to be f5.6. Another was noted at No18,07x
on a Talbot & Eamer Miral reflex.
In 1931, this Series IVB was a f5.6 sold as 13in, 330mm for 9x7in ie 1/1plate for commercial photography and
home portraiture. In B.J.A. 1924 p658 it was as:
f5.6 13in 9x7in
f5.6 15.5in 10x8in
f5.6 18in 12x10in
Fig 019 020 TTH Series IV f5.6/18in No92,896 in alloy mount.
Series V DENIC f8 This was a very sharp lens for professional, technical and process work and was made in
5.0-7.5-36in, and is still very sought after for use. It is a good lens for taking large groups and architecture and
anywhere a slow lens is acceptable. It works well close up. (Layout 002). A large example at auction was
No12,78x for 10x12in. A big 18in was No44,008, and another was a 16.3in No726x. A smaller 6.18in was
noted at No4108 for 5x4; No874x for 1/2plate; 11in at No116,07x for 1/1plate, 13.5in at No17,96x for 10x8in;
one list gives:
f8.0 11, 13, 16, 18in. (Some 13in were made at f11max or f12 max.).
f10 25in
f16 30, 36in.
Another list in B.J.A. 1924, p658 gives:
f8 9in 8x5in
f8 11in 8.5x6.5in
f8 13in 10x8in
f10 16in 10x8in
f10 18in 12x10in
f10 21in 15x12in
f10 25in 17x13in
The above serial numbers suggest that it sold especially well early on [when the alternatives were probably the
f7.7 Goerz Dagor and the Zeiss Anastigmats], and that later the attention switched to faster f4.5 and f5.6
lenses as easier to focus on the screen. It would have been especially attractive for large groups and
architecture for example. Most examples are rather too long focus for convenient use today- ie for 10x8 where
5x4 would be more useful now.
Thus it overlapped Series 1 in application (Layout Tay002) It may have been a true process lens initially but
was replaced by another about 1907, and this may have been a dialyt or a symmetrical anastigmat- or both
are possible. (A symmetrical process has been seen and may be a Series 1.)
Fig 019 016 TTH Process lens f16, symmetrical design.
Today Series V is a comparatively compact, sharp and contrasty lens, remembering most or all will be
uncoated: and it probably is not a lens to have coated for this reason. (At least one seen had been repolished
and coated badly and had been virtually destroyed as a result.)
Fig 019 011 TTH Series V (rear) 18in No4882; 16in No7261; (front) 13in for 10x8in No2198; and 12in for
1/1plate eg No126,966. All are mainly in brass finish.
Series Va This is noted in B.J.A. 1922, p738advert. but may be the normal f8 and the f10 listed the Vb. There
the Series V/Va are listed twice as commercial lenses in f8, f10 and again as process lenses in f8 and f16.
Series Vb This was another process lens made in f8.0, f10, f16 and also sold for general view and studio use.
It was seen as a brass lens 11in Series Vb at No126,96x, with iris and Waterhouse slot.
f8. 8, 9.0, 11, 13in. Use 13in for 10x8.
f10 16, 18, 21, 25in.
f16 30, 36, 42, 48in.
In the 1920's, the range listed was f8.0, 9in to f10, 25in.
Sunk Mount Lenses. These were available in 1914 as follows:
Series 11a, 5-8in
Series 11, 5-8in.
Series 111, 5-9.5in.
Series 1V, f5.6.
Series V, f8.0
Extension Lenses These were the longer focus rear glasses and were available for Series 11, 1V and V but
not for Series 111. These gave 50% increase in focus ie. 6in became 9in. It was noted that they were not
always suitable if the prime lens was a "long" one as the extension lens needed extra extension on the
camera and this might not be available. They were available in Series 11 by 1900. These do not seem to be
common today, often being 'lost' as equipment changes hands. Exposure needs to be increased by a factor of
2x, so f11 behaves as f16. One seen for Series 11 was No E24,254 to indicate the use, with equivalent focus
16.3in. In general, two sizes were noted (no data for Series 11):
Size 1V for 5, 6, 8, 9.5, 11, 13in lenses, and Size V for 7.5, 9, 11, 13, 16, 18in normal lenses.
Series V1 PORTRONIC f5.6 This was made in 13, 16, 18in initially, and 15.5 and 22in were added later in
1926, still at f5.6. In 1931 it was:
13in focus 330mm for 9x7in format
15.5in 393mm for 10x8in
18in 460mm for 12x10in
It was a portrait lens with adjustable sharpness and the sharpness was initially controlled by cords lead back
to the operator, but by the 1920's these were replaced by a large "spectacles" type control lever. Some early
examples in 1907 used a third system, the softness being controlled by rotating the front glass. (This lens
must be near Series 1V in optical design and the difference is not easy to see today! but note the distinction
that here the front lens was moved for softness control, while in series 111 and 1V it was the rear.)
One user was G.Hurrell, Esq, who did a self portrait with his f5.6/18in Series VI.
Expo/Ticka In 1908, a version of this miniature used a Cooke f5.6/30mm lens on the rarest and best ever
version- but the series was not specified. Examples at auction included No20,63x 2064x, 21,53x.
Series V1a f5.6 This was made in 13, 15.5, 18in and was a late 'Studio' lens, where it was suggested to use
15.5in for 10x8in.
Series V11 This was always a wide angle lens, but two types of design are used here and are distinguished
by the suffix a or b. The a suffix may be absent on early examples of Primoplane before the second type was
developed.
Serries V11 / V11a PRIMOPLANE f6.5 Typically this was made in 3.0, 4.0, 5.0, 6.0, 7.0, 8.0in and 7in was
suggested for 10x8in. Initially these were also a triplet design and were perfectly usable at quite large
apertures- one of the few applications of the triplet design to a wide angle lens. There is a suggestion that f8-
f16 was intended and that even f6.5 was considered for emergency use.
Fig 019 013 TTH Primoplane f6.5 in alloy 8in ( rear); and in brass (l) 6in Ser IIIa No81,476 and (r) 7in
No33,978.
The original note stressed there were two different products here-
Series V11 was a mid-angle lens where the 7in is used for 1/1 plate.
The Series V11a in contrast was for 90° and the 6in covers 1/1 and 10x8in.
These triplets may also have been less flary than the Gauss design normally used. They seem to have been
sold at least from 1909 when it was offered as a 5in lens, and was listed at least to 1912 (Am.Photo.
29/03/1910, p321, B.J.A. 1911, p683) when it was "now issued" ie possibly new. It seems to be relatively
common, being seen at No33,97x (in brass), 54,18x, 90,92x, and No182,96x in black paint. Series VII would
be regarded as medium wide by some standards, (Tay021) and was partly replaced by a further design
illustrated by lens No125,08x which has the new design. It therefore seems that the old version continued as
an alternative, Series V11a, when the new Gauss one came out since serial numbers do overlap- but this is
not certain. It was certainly VIIa that was listed in B.J.A. 1922, p738 with no mention of a VIIb.
The triplet design is not usually applied to wide angle lenses and these are therefore quite unusual. They are
perfectly usable today but rather a high proportion of those seen have been scratched, possibly badly- this
may be due to the rough conditions professional 'spare' lenses encounter but just may suggest that the
external glasses are softer than other TTH triplets. Add in the very hard TTH lacquer work on the brass which
can make them hard to tidy up and they are a lens to buy with a little caution!
Series V11b EISTAL f6.5/f11 This was the 'new' Gauss version to overtake the V11 and was f6.5 to focus and
f16 or less to shoot. It seems to have been introduced early in the 1920's, certainly by 1924. It was made
typically in 63-222mm in 1935, and the shortest was for 6x9cm as on the 'Envoy' camera post WW2 (see
B.J.A. 1951, p487 advert.), and this size could have actually been added later than 1935 or been in
intermittent supply- it is there in B.J.A. 1928, p606 for example. Series VIIb covers 90°at f16 and 100° at f32
and these apertures were suggested for use over these angles. A lens No12,49x at 4.5in was used on
1/2plate. Normally 6.25in was used for 10x8 and 135mm for 1/1plate. Some were coded ANGLIC, probably in
later lists, and it was made coated after WW2 and into the 1950's. It was seen at No 125,08x uncoated
4.18in, and Nos 310,39x in 5.25in; and 382,41x and 459,60x in 4.25in, these being coated lenses. These are
fairly common coated ('a hard durable coating') as they were wanted postwar by professionals, and sold well:
many are front mounted in Compur shutters, but this may be by repairers, rather than by TTH themselves as
there is no mention of this in the advert. (see also Envoy). Results with these today can still be excellent if in
good condition as they are sharp and contrasty. They may be the best of the Gauss lenses of this general
type. It still featured in the last advert. noted in B.J.A. 1955, p495 as follows:
2.5in 63mm 4.25x3.25in at f16.
This was offered for many years prewar but were not always listed postwar. It was used on the Envoy wide
angle camera however. (B.J.A. 1926, p650). One point may be that purchase tax was levied on amateur
products which were sizes up to and including 6x9cm, and this part of the market was therefore unduly
expensive since it was a heavy tax burden for a product to carry.
3.25in focus 82mm for 5x4in at f16 1.25in flange
4.25in 108mm 7x5in 1.25in
5.25in 133mm 8.5x6.5in 1.25in
6.25in 158mm 10x8in 1.5in
8in 203mm 12x10in 1.75in
8.75in 222mmm 14x11in 2.25in This was in 1931, not in 1929 or postwar.
Note that the lens was rated for these formats when used at f16, for 90°, at f32 it covers 100°. The coverages
seem the same in 1929 as in 1955.
Fig 019 032 TTH Series VIIB f6.5/5.25in coated lens No310,399 fitted to Compur shutter- probably an older
shutter reused postwar.
They were the standard wide angle on Adams cameras (B.J.A. 1932, p79.)
"Wide Angle" A version working at f7.0 max. was considered in 5in focus in 06/1936 and is in the collection
at Snibston, but it was not passed for production. This may have been a V11b replacement or a version of it.
Series V111 TELIC f5.6 This was made in 216-508mm and was an anastigmatic telephoto of 2+2 layout. It
seems to have been made from just before or just after WW1 and continued after WW2 as the last ones were
coated. They seem to be listed in B.J.A. 1924, p658 without any special claim to newness. It must in fact
shade into some of the long lenses used for movie work. In large format, use 12.5in for 5x4:
8.5in 216mm 6.5x9cm
11in 280mm 4.25x3.25in
12.5in 320mm 5x4in
15in 380mm 7x5in
20in 508mm 8.5x6.5in
Some were made at f5.8 to fit shutters, eg at No71,49x for an f5.8 11in lens. It is sharp and still fully usable.
An example in plain mount with no iris has also been seen but the original use is not known. TTH seem to
have used Booth's Patents for a tele with separated front glasses (Brit.Pat. 3,096/1914 and 151,507/1920) and
others such as Lee's 198,958 with a three glass rear cell and Lee's Brit. Pat. 132,067.
Some ex-MoD 36in 'Big Bertha' teles were engraved "Booth's" and this may suggest their origin but he may
have worked for others, such as Dallmeyer, as well. A possible aspheric version was dated Feb. 1937 and this
may underline the difficulty in the design of good tele lenses and the advantage in figuring them slightly.
Postwar users said TELIC had more depth of field and less bite than the best German lenses such as
TeleXenar and additionally was not sold mounted in a shutter as the Schneiders were: thus it sold but at a
lower price and the characteristics had their own followers. (Advert. Photographic Journal 3/1951 p.viii shows a
2+2 tele.) Such a modern example may be a f5.6/15in No385,23x.
Series VIII was specifically sold for movie on a N&S 35mm camera as an f5.6/8.5in No174,96x. It is also likely
to be close to some Telekinics in design.
Tele lenses were offered for the Korelle when it came out: eg Cooke f5.6/6in (B.J.A. 1938, p527;
T.L.J.Bentley, B.J.A. 1930, p209).
Fig 019 035 TTH Telephoto lenses f5.6/11in in shutter and (l) no shutter, no iris possibly for MoD use.
Fig 020 003 TTH Telephoto Series VIII f5.5/15in No123,037, a nice postwar coated example.
Telephoto Lenses.
A number of telephoto and other lenses were made or designed which probably did not really fall under the
above type. Some will be noted here.
Non-distorting Tele Tay009, a design by Lee in Pat 222,709/1924. (Tay009)
Split front tele Another Lee design in Brit Pat 222,709/1924 for up to f3.3.
Cooke Tele 152mm f5.6 issued for Reflex Korelle (B.J.A. 1938, p253). This was a special mount but probably
a normal TELIC lens head.
56in Tele: A unique long lens was based on existing lenses of shorter focal length in order to suit the only
glasses available at such short notice (ie??it was assembled from existing components) for newsreel work at
the Coronation of King George V1 (B.J.A. 1938, p299) The result had a flat field over the narrow angle involved,
had slightly over corrected spherical aberration and complete freedom from zones, and a back focus of 28in
and weighed 33.5lb.
Other lenses for the Coronation were a f1.3/4in 'Special' and a f1.65/8in with very limited back focus of 0.85in
for the 8in: this just might suggest an advanced Pertzval type such as could also be used for fluorography.
(The Coronation from memory was on a wet days so these preparations may have been needed, but they were
probably actually used to record the indoor part of the ceremont.)
Telar This seems not to be a TTH product but was sold by TTH New York early in the 20th Century as agents
for Busch of Rathenow and was a Bis-Telar of 1.75x magnification. They sold on Graphlex cameras. They will
be best stopped down eg to f16. At the time this was 'new' and the leading brand and TTH would want to
complete their product range until their own design came out. It was listed as :
f7.0 8.0, 10.75in f7.5 13.5in, f7.7 13.5in f9.0 10.75in.
f9.0 7.0, 10, 12, 14in in 1914.
f7.0 8.0, 10.75, 13.5, 16, 22in in 1914.
Telekinic These go back to before the Bell & Howell link-up was formalized as they are in the B.J.A. 1929,
p362 as from TTH and B&H are on the next page with TTH lenses eg 20mm/f3.5 standard (?Cinar?) on a Filmo
75. Telekinic was featured on p362 as:
Lens C 4in f4.5
6in f5.5
?3.75in f3.3
An ex-MoD movie lens at No28817x was a f4.5/6in TeleKinic used remounted to a Kine Exakta and this was a
contrasty lens, and extremely sharp in the centre, over about 18mm square, but requiring to be stopped down
to really cover 24x36mm sharply. It would have been excellent for its original purpose. A later black lenshead
at No31608x is ELC- ie coated, and the coat is a generous brown-purple color, noyt the initial pale blue.
Series V111b ELTIC? This was a fast version of the above Series V111 telephoto, of 2x magnification, and
was to work on large format at f3.5 and the design used an extra front glass. It seems to be a 1926
introduction (B.J.A. 1927, p315). It was made only in:
203mm for 3.5x2.5in and
270mm for 4.25x3.25in (B.J.A. 1929, p566)
and was not listed in 1924; ie it was late 1920's in sale. It seems to have survived into the 1947 list as COTAL
made under patent No 222,709 as above, but is a distinctly scarce lens. The 1927 BJA report thought it much
better than many ordinary anastigmats of f3.5 or f4.5 and said it had a liberal covering power. But use for
architecture might show up some distortion.One reason for the scarcity may be that the some early batches
were mounted in a light alloy which has not stood the test of time and seems to have swollen and distorted so
that the glasses are no longer held in properly and the threads jam (see note below). This was seen at
No134,43x on a 10.5in lens. Since it is an interesting design, this is a sad conclusion and also applies to
some other TTH lenses from the 1920's where they were in light mounts for eg reflex or Press cameras due to
the size and weight of the optics.
T.L.J.Bentley, B.J.A. 1930, p209 refers to it as Eltic and dates it from soon after the 1925 launch of the Ruo
f4.5 lens, and to match the f3.5 Dallmeyer.
Series 1X Process This seems to have been made in two versions and the first was not apochromatic, while
the second was apo and replaced it, perhaps over a period about 1930 when the first seems to have stopped
being listed. It is thought that both were dialyt type rather like the Aviar but slower and that these replaced an
early-20C symmetrical anastigmat and a triplet, but the details here are rather obscure as adverts for process
lenses were not too regular. Series 1X was not in a 1912 list.
Non-Apo Version. f8.0 9, 11, 13in; f10, 16, 18, 21, 25in; f16, 30, 36in.
Apo Version. f10, 13, 16, 18, 21, 25in; f16, 30, 36, 42, 48in.
An item in the TTH collection is described as a Lens Set, Process, 1935, and may be some type of casket, or
just a dismounted set of cells.
Series X SPEEDIC f2.5 This was made in 5.25in for 6.5x9cm, 6.375in for 4.25x3.25in (=1/4plate), 7.75in for
5x4in and 9.25in. (Tay 015) This suggests a lens with slightly limited coverage compared to some designs,
but remember this was designed for use a full aperture.
5.25in 133mm 6.5x9cm
6.375 162mm 4.25x3.25 =1/4plate
7.75in 197mm 5x4in
9.25in 235mm 6.5x4.75in
Another list says made in 35-235mm so there were shorter versions, probably for movie. For a large format
lens in the 1920's, this was thought really fast and in fact was the first f2.5 to appear when it was issued
(B.J.A. 1927, p593advert.;1932, p54) and was not too heavy and fully usable at full aperture, though a little
softer than closed down. Thus it could be fitted to most reflexes. It was a very strong competitor for the f2.7
Tessar for example. It was designed by Lee (Brit Pat. 224,425) and was essentially a triplet with the rear
glass split to improve the correction. Like the Series V111b above it is one to seek in good order owing to
metal failure* of some samples of casting metal. (see note below) This can be due to a limited number in a
defective batch, as No 149,45x is damaged while Nos 119,68x, 122,42x and 202,96x are in nice order. (For
other related triplet derivatives see Brit Pats 299,983/1928 and 320,795/1929.) Incidentally, No122,42x was a
f2.5/5.25in on a T-P Special Reflex as advertized by the Westminster Photographic Exchange in B.J.A. 1927,
p593. It was used in all sizes 3.5x2.5in and 1/4plate and on the Special Ruby, Junior Special Ruby and Ruby
de Luxe.(B.J.A. 1925, p51 etc.) Here the prices with Pentac f2.9 and Cooke series X were equal.
Fig 019 025 TTH Series X f2.5: (r) 6.75in No20,296; (rear) failure due to defective alloy* with loose optics;
(r) 5.5in No.119,682.
Incidentally a computer study carried out many years later showed that if 4 pieces of glass are to be used for
a lens, the best choice inherently is to have one negative in the centre with 3 positives outside, as in the
Speedic type: but this ignores the effect of flare and probably in the 1920's the Zeiss Tessar type of
cemented design could show real value in comparison.
Casting metal is attractive as a partly ready shaped source of die cast parts, with less subseqent loss of
metal on the lathe. Alloys can be zinc with aluminium, magnesium, copper, tin and/or lead added. These can
be relatively low melting and flowed well, which aided casting. One serious problem was that the presence of
lead, tin or cadmium can lead to inter-crystalline corrosion and serious weakening of the alloy. High purity
zinc is therefore required to make the alloys. Thus the maker of the alloy is responsible for the quality of the
product to a far greater extent than is usual in industry. The problem occurs periodically, possibly here with
the introduction of new technology, or in time of war when the composition could not be controlled, as with
some Zeiss Ikon items below. It was endemic prewar with castings made for German industry, such as
35mm printers, printers such as the "Eldia" and enlarger "Focomat", and has been reported in early Rolleiflex
body castings. Postwar, the industry went over to aluminium alloys with higher melting points so that they
were less easy to cast but which did not have these problems. These latter can show surface corrosion but
not the totally destructive breakdown of the zinc based types.
"Infrared" This marking has been reported on one f2.5 but the type of design is not known.
Series X1 f3.5 This was advertised on a Thornton Pickard Junior reflex in B.J.A. 1926, p554 and was an
expensive lens at £5.25 more than the version of the camera with the Cooke f4.5.This has been seen as a
triplet in a sunk mount for Reflex use at No 168,58x on a T-P 1/4plate reflex, and No171,56x, 6.25in, and this
has the iris after glass 1 which is in keeping. It was covered by Patent 155,640, but the difference from Series
11a is not obvious now.
Fig 019 030 TTH Series XI f3.5/6.25in No171,566. This is in sunk mount.
Series X11- no data here: by this date the Series coding was being partly replaced by trade names which
may have obscured the old system.
Series X111 CORIC This was made in f2.9 127 and 162mm but the structure seems to be unknown and it is
one of the less common types,and just may be a slower version of Speedic. It was noted on a Ensign 1/4plate
reflex as a f2.9/5in at No161,10x, and on a T-P Junior reflex at No156,98x. It was listed in B.J.A. 1931, p567
as:
5in 127mm 3.5x2.5in 6.5x9cm
6.375in 162mm 4.25x3.25in 8x11cm
Series X1V Cooke f6.3 Anastigmat This was made in 13, 16.5, 21in and was a triplet with improved colour
correction for critical work especially portraiture and groups, with panchromatic films, and was still noted in a
01/1947 list. Perhaps it is best described as between a process lens and a portrait lens. It was one of the later
in the series, only coming into production in the 1930's as it was 'new' in the B.J.A. 1933, p281. It was
especially for group and studio work. It is not a common lens but may have lead on to others such as the f9
copying. An example was made and is in the collection at Sibston for f6.3 13in for infra-red work, but this may
be a prototype only. Originally a 13in lens cost £17.00.
Series XV Cooke Convertible f6.8 It has only been noted in 12.25in with components of 19 and 26.5in. This
is a symmetrical anastigmat with 4+4 glasses but with an air-space in the middle of each component and
these can give ghost images if used under adverse conditions. (Layout Tay026) Coated it would be excellent
and one of the ultimate lenses. It was designed by Lee in 1931, Brit. Pat. 376,064, 376,044 (?) of 1932 and
was still 'new' in 1933 (B.J.A. 1934, p289). It used glasses G1+8= 1.5472/45.8; G2+7= 1.5186/60.3; G3+6=
1.6437/48.3; G4+5= 1.5290/51.6. [But note another source gave f6.3, 13, 16.5 and 21in foci so perhaps
several sizes were made.] (Some related Patents may also be No224,425 to Lee for an f4.5 lens; also Pat
260,801/1925 and 376,044/1932). An advert in American Annual 1939 lists the 12.25/19/26.5in set at $226.75
in barrel and $230.00 in Ilex shutter shown with 3 iris scales. The lens set was for 10x8in normally, but for
copying at 10ft or less covered 11x14in at f16 or less, and the 19in and 26.5in cells covered 11x14in at f32.
When used separately, the cells both should be used behind the iris diaphragm.
For a longer description, see B.J.A. 1934, p289 where the comment is that TTH had hitherto made nonseparable
lenses, and used supplementaries to alter the focal length. In this case, they were making a lens
where the components were fully useable separately. The whole lens gave exceedingly fine definition over the
suggested plate size, but they noted the example was inevitably quite large. It gave f6.8/12.25in complete for
10x8in, or the cells were f12.5 at 19in and f16 at 26.5in, and coverage increased substantially in close up or
when closed down. The price was £25 which now seems very modest.
Series XV1 This has been noted as a Profile Projection Lens of 3.54in (89.9mm) ie. not really photographic.
Planital f12.5 This was an apo process lens, for 16-20in.
A list in the B.J.A. 1934, p60 advert., 1935, p58advert., includes Series VIIB w/a, X, IIA, II AVIAR, IIIB,
VIII, IX, VB, IID, IIE, VIA, XIV, XV convertible. It was unchanged from 1933 except for the addition of the new
Series XV.
Some lenses which may not fit the usual series.
Some of these are discussed above and are repeated here as a group.
f3.1 'Special Lens'.
? f3.9 TTH Cooke lens.
Cine Projection Lenses These can be in different apertures f1.8-f3.1 but are probably Petzval types.
Luxor wide angle.
Cooke Luxor f4.5
Luxor f6.8 ? This was noted on Ensign rollfilm cameras in 1922 (B.J.A. 1922, p650). It now seems odd they
offered both Cooke Luxor f6.8 and Cooke Anastigmat f6.5 on the same models but in fact the f6.5 was
appreciably more expensive and may have needed a bigger shutter.
Luxor f7.7 This was noted on a Ensign roll film reflex- not an expensive camera at £4.20 especially as an
achromat model was offered at f11 for £1.92. It just may result from the next item:
Triplet Patent for f7.7 in B.J.A. 1922, p324, Brit Pat. 157,037 of 1920. This is a very unsymmetrical triplet of
cheaper construction and equal quality.
Kodak-TTH f6.8 Anastigmat. Noted in B.J.A. 1925, p21. It just may be the same as the f6.8 Luxor.
f3.9 TTH Cooke. This type was used on the City Sale Salex reflex in B.J.A. 1925, p357, 565advert., and
1/4plate, on p369.
Cooke Butcher for Houghtons.
Tele Series VIII at f5.8 to fit shutters.
TeleSeries VIII example in plain mount with no iris.
" Infrared".
There is a patent to H.W. Lee and Kapella (Brit Pat 209,371 of 1924) for an apo and f4.5 Triplet derivative with
a compounded front collective system, well in front of the negative and rear positive glasses.
There is a patent to A.Warmisham and Kapella for a convertible tele and wide angle made from a simple lens
and a attachment of equal but opposite aberration so it can provide a tele or wide angle from the combination.
(Brit.Pat. 198,592 of 1922, B.J.A. 1924, p280) It may not have been used as such.
The Movie Relation
TTH had made an impact on the market in movie lenses early on, as shown by the f3.1 Cinema series; but
after the first world war. This was to develop in two ways. Initially, there may have been interest in the f3.1
Cinema and Aviar f4.5. The f3.1 seems to have been important early postwar as it is not mentioned in the 1916
B.J.A. but appears on many cameras postwar. But in 1920-1, H.W.Lee designed a radical new lens, the TTH
OPIC. It was a 6-glass Gauss design, and a development of that used by Zeiss in the Planar at up to f3.5, but
Lee found that by making the lens slightly unsymmetrical and using crown glass with a refractive index higher
than the flints, he could raise the aperture to at least f2.0- something of a new record at the time. (It used DBC
of R.I. at least 1.6 for glasses 1,2,5,6 and has a requirement for an R.I. difference of at least 0.03 between the
inner glasses. Brit Pat 157,040 of20/01/1921; see B.J.A. 1922, p323) (Layout Tay022)
Smethurst in Photographica World, 73, p36, 6/1995 says it was initially as an f2.3 but increased to f2 at the
request of the Soc. Mot. Pic. Engineers, for use as a movie lens. This is reversing the usual order.
From then on, the main interest at TTH may be in Gauss related designs and movie lenses, but there was still
a parallel business in triplet, process and telephoto lenses and really the interwar years require a separate
movie section. It is hard to describe many of the movie lenses as they were used till they wore out- and are
now not available to study!
The OPIC in the long term it has proved to be the parent of all the modern fast Gauss lenses which play such
an important part in modern systems- though equally the original Gauss and Zeiss Planar are sources. [Fast
Gauss designs were also devised in the 1920's by Merte for Zeiss as the Biotar f1.4 and for Schneider, as the
Xenon by Tronnier, but TTH certainly are usually said to have had some sort of Master Patent for a time and it
certainly had a major influence on their business.]
Initially it may have proved a new question for TTH- how to make use of the design which is heavy in longer
foci- to put it mildly. Some were sold mounted in a special camera made by Thornton-Pickard for the purpose-
and now very scarce indeed. One was auctioned at Christies with an f2/3in No123,71x on a T-P Speed
camera. And Lord Northcliffe bespoke some quite large lenses to mount in stand cameras for instantaneous
pictures of London theatre performances- these were a feature of The Times for many years. C. O'Gorman
cited by L.S.Shaw, B.J.P. 19/12/1980 p1281 says that initially a German Zeppelin f2/60in was used from the
dress circle with a 5x4 or 1/2plate reflex- with some success. O'Gorman suggests someone called Bloch from
TTH designed an improved item- he says the lens but it is likely Bloch was instrumental in getting the Lee
design made and applied. Some of this was also recalled in Dirk Bogarde's autobiography as his Father was
Mr Ulric van den Bogaerde, who was the chief photographer involved. (This must be in a later part of D.B's.
account of the family, "Snakes and Ladders", Chatto and Windus, 1978, as it seems not to be in the other two
volumes, pub. 1977, 1983). Mr Greer stated that the 8in OPIC was made and reserved for Lord Northcliffe's
company and none other was supplied. And the MoD bought some, typically 4.25in lenses, probably for aerial
photography in the 1930's. But sales were sluggish, (to the extent that a 6in seems to have taken root as a
paper weight in the TTH design department according to an anecdote from Prof. Wynne.) Incidentally Mr Shaw
(B.J.P. 06/04/1979) who worked for 'The Times' makes no mention of this aspect in his account.
But one major factor in success was the importance of smaller sizes where the weight was less of a problem
and the new 35mm miniature cameras were ideal mounts. Thus it has been suggested TTH were able to
licence the design widely in the 1930 period, though the actual firms are now hard to recognise. The other
major factor was the introduction of sound pictures in 1928. Previously, arc lighting was used in movie studios,
but these were too noisy for use with sound stages, and tungsten was substituted- but with less intense light.
Thus there was a new demand for fast and sharp lenses and TTH were able to supply it. Postwar prejudice in
Hollywood may have prevented the sale of the f1.4 Biotar, ostensibly due to distortion in Smethurst's account,
and there is an account of TTH being approached in 1925 to make OPIC lenses instead. Another in house
account was that Wilfred Taylor made a sales trip to Hollywood and identified a demand. (In fact both versions
could be true.) The trade name Panchro was applied to this series and it is said that the products were used
for nearly all the classic movies of the period 1930-1950 and more. The 1935 advert carries a statement from
the Director of Photography of MGM studios the "All our productions are made with TTH Cooke lenses and at
least 50% are made with Speed Panchros.---- this studio is practically 100% Cooke equipped." (The
illustration was a still of "The Barretts of Wimpole Street" with Norma Shearer, F. March and C. Laughton.)
These lenses were not identified by the old Series numbers and now trade on a movie user/collector market,
are valued and can be hard to find. Most carry the Panchro trade name, but often with some modifier such as
"Deep Field" or "Double Speed" to indicate the type.
Some guide can be the numerous patents TTH filed in the period. There are several later patents including one
with the inner components split into 3 glasses. (W.Lee, Brit. Pat 298,769/1928). Also No427,008/1935 where
the lens is rather less symmetrical especially as to the cemented curves. This may represent a Panchro
version. Glasses are G1=1.6100/53.3; G2=1.6150/56.1; G3=1.6134/36.9; G4=1.6469/33.7; G5=
1.6437/48.3;G6=1.6234/56.3. Also No461 304/1936 which seems similar. Brit Pat. No 470,522/1937 by A.
Warmisham for TTH uses additional crescent shaped inner glasses facing the iris and Merte in his book
strikingly places this design next the Summarex which has one such glass in a rather later patent, Brit Pat
481,710/1938.
By 1932 for the 1933 B.J.A. p573, Bell & Howell could write that TTH Cooke lenses were supplied as standard
on their Filmo apparatus--- and had earned the premier place in professional and amateur cinematography.
The advert. included an electrically driven Eymo 35mm camera and Eymo C as well as 16mm Filmo 70 and
70-D cameras.
Series 0 Cooke Anastigmat OPIC f2.0 It was made in one list as 1.375, 2, 3, 4.25, 5.25in by 1924 and 5.5in
in 1931, and covers about 50°. A 6in has been mentioned, and a 210mm (8.25in) f2.0 is shown by Kerkmann,
p97, and must be a later fitment to the camera- if the designation is correct which is likely. In fact, an f2/8.5in
lens has since been reported, and is coated though this may not be original, and is described as 'heavy'. It
was made at No114,73x and was to Pat. 157,040. Coverage was (1929, 1931 adverts):
1.375in focus 35mm Movie 18x24mm format
2.0 50mm 1.625x1.125in 40x30mm
3.0 76mm 2.5x1.75in 6x4.5cm
4.25in 108mm 2.5x3.5in 6.5x9cm
5.5 140mm 4.25x3.25in 9x12cm
They were not in the Cooke TTH advert for 1924 (B.J.A. 1924, p658,etc.) but were in the Kodak (Australasia)
Ltd advert. on p756, so the launch must have been very near the BJA press date.
These were a 'new' introduction in B.J.A. 1925, p361, and described as the same optical quality as the TTH
f4.5. Their great size caused more comment, relating the flange diameter at 2.25in of the 3in lens to the
45x60mm format that was covered. It was even then available in 5 foci, 1.375-5.25inThe f2/2in Cooke was
noted on a Newman Sinclair camera in B.J.A. 1929, p529advert. This was a real bargain as only £7.50 above
the price of the same camera with a Ross f3.5.
The 4.25in (108mm) was for 6.5x9cm and the 5.5in for 4.25x3.25in in 1931, both at full aperture. The examples
noted have been 2in at No119,79x in a rigid no-iris mount, and 4.25in at No 204,01x ex-MoD, here with iris to
f32.
Fig 021 004 TTH Cooke Series 0 f2/2in lens No119,790 in plain mount- no iris. This may be of interest as
being pre-Panchro in design although this would not normally be a desired feature!
Fig 020 009 TTH Series 0 f2/4in No204,015 mounted on a 4in square panel.
Also note the T-P camera above at No123,71x. It was advertized in the B.J.A. 1926, p47 for 4.5x6cm plates.
It was on the Baby Soho in 1927 (B.J.A. p360, advert. p43) This suggests the MoD lenses were rather later.
These are still fully usable lenses at full aperture and well ahead of others of the period- but the number of
airglass
surfaces can lead to flare and lower contrast in non-coated original lenses. The front and rear external
surfaces in the 4.25in seem to be effectively the same- but are slightly unequal in the 50mm lens. The series 0
is not too common as if for movie use, it was updated fairly soon after sales took off and became the Panchro.
The following are thought to be lineal descendants of the type.
Incidentally, Lee left TTH in 1936 to work with Scophony and it is not quite clear when the lenses ceased to be
his designs. Successors will have included Cook, Wynne, and others, with Warmisham.
Cooke Speed Panchro f2.0 This was seen as a 50mm lens at No 214,13x, and this has different external
curves from the 50mm OPIC, but the curves are still nearly equal. This is in agreement with OPIC being to
Pat. 157,040 and Panchro to Pat. 300,006. This example has an iris but no real mount for a camera. Others at
auction were No175,70x f2/2in., 310,68x, and 315,86x. There are certainly lenses listed as Panchro as f2/1in
283,80x; f2.5/40mm at No223,54x and ELC Panchro as f2.0/28mm No303,04x and f2.0/35mm No303,27x.
Others included Cooke Speed Panchro f2 seen as 50mm at No 303,40x, 303,44x and 308,06x, and f2/25mm
at No283,80x. This is wartime or early postwar with ELC coating- which can now be rather worn as it is fairly
soft. While all these three have different external curves, it is the ELC type which has the most obvious
changes in the pattern of a reflected light bulb, suggesting a major redesign here perhaps in the 1940's. It is
thought this type was used in other sizes such as 35mm. Smethurst says this was also a Lee design. By
30324x the coat was a dark purple-brown colour and hard. It will be well ahead of the early coated examples at
about N0200,000 and even No284,157. Thus there was rapid improvements at this time. There may have been
variants as No263,19x seems to have the later coat on some surfaces only.
There were other foci. Thus there was an f2.8/28mm No249,58x on a 35mm Eclair with a series O f2
No175,70x and a Panchro f2.5/40mm No233,54x. A f2/35mm lens in barrel with 1.25in flange covers about
30mm circle with a brilliant contrasty image and could easily be mounted for M39 use on 1/2frame- the
register would just allow it.
Fig 021 002 TTH Cooke Speed Panchro f2/2in No214,130; f2/75mm No284,157; Deep Field Panchro
f2.5/100mm No288,452. These are in wartime black finish with locking wires to prevent the cells loosening.
All or most will be uncoated and not much saught after today, unlike the Panchro II or III series.
Fig 021 006 TTH Cooke f2/50mm ELC Speed Panchro No308,060. This will be an early example of a coated
lens.
Cooke f1.8/25mm. Ariel lists this on an 1931 Bell & Howell 16mm camera and others of the period, so there
were faster (?) Gauss lenses in small sizes. There was also a f2.8/28mm Speed Panchro at No249,58x and
a f2.8/2in (anon) at No283,11x.
Cooke Speed Panchro f2.0 75mm These were available ex-MoD in moderate numbers after the WW2 as
wartime movie cameras were sold off, and are usually in black finish marked 'War Finish' . They were noted
with the same front surface curve at Nos 284,15x (uncoated); 284,77x (coated pale blue) and 311,36x (with
ELC coating). One user said "Very sharp but low contrast" but they typically have had a hard life! A number of
the ELC type were remounted for M39x26 by Cook and Perkin after the war, and are very desired lenses. But
it is misleading that the only part of the original barrel to show is black and says 'War Finish' as the final
appearance is a mount of white metal and is of course almost completely postwar! Coating was introduced by
TTH from 1944, at least for the Deep Field Panchro.
Fig 011 021 Taylor, Taylor and Hobson, Ltd., Speed Panchro f2/75mm (l) anon mount, No311,369; (r) C&P
mount, lens No284,770. Both are M39. also Fig above.
Cooke Deep Field Panchro f2.5 100mm/4in Again seen as ex-Mod lenses at No 282,99x and 288,45x +
288,70x, from Sinclair cameras. It was redesigned about 1944 as coating was being introduced.These seem
to be very early coated lenses (pre-ELC) and have the same front curves. Again some of these were mounted
for M39x26. This is a sharp design, and the name is slightly obscure to non-movie users. It was so desired
that when the Panchro series was retrod as Panchro 11, possibly in 04/1959, this was one lens continuing
unchanged. It was the image quality of these lenses which was so important, and especially the transfer from
sharp to unsharp zones, and the quality of the out-of-focus image.
020 026 TTH lenses fitted to Arriflex: Deep Field Panchro here retro-fitted for Arriflex, f2.5/4in No282,999 and
Kinetals T2.8 75mm No668,034 and T1.9 17.5mm No686,658. Also Fig above.
Cooke Deep Field Panchro f2.5(?) 152mm There are reports of a longer 152mm version also being made but
not continued in the new series.
Panchrotal 100mm f2.3 or perhaps also f2.5 This was seen as a substantial lens in a chrome mount,
coated and relatively short. Thus it is conjectured that it is a triplet derivative and this is the difference from the
above. They sold at the same price secondhand in 1960. An American list gives a Panchrotal f2.8/100mm
lens and this was noted in a Foton advert. but this could be a misreading of f2.3. They were primarily for 35mm
movie and were a rare lens for B&H Foton but the example seen had a 16mm C mount adaptor at the back.
This use reflects the smaller rear glass which allows it to serve cameras with restricted front apertures. It is
one of the very highly esteemed lenses. The date may be late pre-Panchro II in which case this one had been
refurbished very well.
TTH Cinema f2.5 35, 47mm for 35mm movie. It was listed as 35 and 47mm on the Bell& Howell Eymo
35mm movie in B.J.A. 1930, p364, so it seems to be an older series before the Panchros came into the
unique position they later had. The Eymo also had a f4.5/6in on the triple turret- which was well received as
turrets seem to have still been a novelty.This has been noted twice, once at No127,12x on a 35mm Eymo.
(This is also mentioned under Series I)
A listing of Panchro and Panchro 11 sizes in 1959 was then as follows:
Focus Panchro Panchro 11
18mm - f1.7 (9g/7c)
25mm f2.0 (6g/4c) f1.8 (9g/7c)
28mm f2.0 (6g/4c) -
32mm f2.0 (6g/4c) f2.0 (7g/5c)
35mm f2.0 (6g/4c) -
40mm f2.0 (6g/4c) f2.0 (7g/5c)
50mm f2.0 (6g/4c) f2.0 (7g/5c)
75mm f2.0 (6g/4c) f2.0 (6g/4c)
Panchro was designed for the Motion Picture Sound Format of 16.03x22.04mm while the Panchro 11 series
covered the larger Motion Picture Silent Format of 18.37x24.89mm. The above Panchro series are probably all
the classic OPIC layout, and are still sought after, and the designs are likely to be the work of a team with Lee
and Warmisham in it. It seems to have been recomputed regularly, as the ELC version differs from the
uncoated Panchro 50mm. But today the Panchro 11s are the most valued set. The redesign seems to have
been the work of Mr G.H.Cook and a group which had access to a modern computer, type Elliott 402 High
Speed with paper tape feed and magnetic drum storage for up to 4000 instructions. This and the availability of
high quality coating lead to a choice of more varied designs. At the time of the redesign to Series 11, the
lenses were offered for Eclair 35 Cameflex, for Arriflex and for Newall and Mitchell. Even later, a new legendary
set of Panchro III lenses was produced. It seems that the Trade Name Panchro was used on 35mm movie
lenses and the Kinic name was used on 16mm lenses but this is an inference from those seen.
Longer lenses noted include the TelePanchro and Series 11 Telepanchro lenses, dating from the
development of anastigmat telephoto lenses in 1920 and the optical designs have varied with time and focus.
Typically these were of 6.0, 8.0, 12.5, 16, 22in. Older examples seen have been 2+2 designs eg at No288,17x
in War Finish for 6in f4.5 but for the Series 11 lenses these were 5g/4c except for the 22in which was 4g/4c.
These do not seem to have been redesigned at the same time as the Panchro 11's were issued.
TelePanchros
f2.8 6in 5g/4c
f4.0 8in 5g/4c
f4.0 12.5in 5g/4c
f4.0 16in 5g/4c
f5.6 22in 4/4
Contrast these with the slower f4.5 Telekinic and f5.6 Cooke telephoto noted in 150mm, and
310mm/500mm respectively.
Other faster or special lenses were made, often now difficult to understand.
Cooke Varo This was a pioneering zoom lens, and is thought to be prewar, but few details are available. It will
be for 18x24mm movie.
Technicolor
This was one of the early colour processes for commercial movies, and dominated the market for years before
and after WW2. Some of these processes are discussed in B.J.A. 1925, p309-323, with Technicolor one of
the last mentioned. The process described possibly never was used, but suggests some of the bipack
technology they had developed for a successful process. When it came, TTH supplied the lenses in 25, 35,
40, 50, 70, 100 and 140mm. Initially, a two film bipack system "Two Color" was used and later a third film was
added for "Three Colour" was added after 1932. Bipack needed special lenses in 25 and 35mm, and this was
reinforced with the 3 colour which had a splitter prism in front of the film to supply the third film. These special
lenses will have been the retrofocus TTH lenses. There was a need to refocus older lenses not marked S.L. by
0.0045in if used on normal film as the bipack placed the image zone behind one film layer, of this effective
thickness. It is thought these items seldom come on the market. It is thought they were not merely rare but
kept as the property of the Technicolor Corporation and rented out as needed.
Inverted Tele f2.0 35mm for Technicolor 3-strip cameras, this was developed by H.W.Lee in 1931 using a 6-
glass OPIC type behind a uncemented negative front pair to give increased back focus to clear the beam
splitter of the camera. (Tay023). Merte draws a version with the front glasses un-cemented (Brit Pat. 355,452)
The glass used was G1= 1.6510/33.7;G2=1.6135/59.4; G3=1.5730/57.3; G4= 1.6135/59.4; G5= 1.6120/38.0;
G6= 1.5790/40.4; G7= 1.6235/56.3; G8= 1.5730/57.3. This design was unique then and was not in
competition till after WW2. Possibly the size of the front glasses involved was off- putting, as was the small
demand for lenses for 24x36 SLR's.[P.C. Smethurst says it was Warmisham who designed it but this may be
an understandable memory lapse in an old man who was never able to check his draft. He also says it was a
50mm lens, with a front component a foot square and some 15in in front of the lens. One factor seems to have
been that Lee was rather deaf so discussion was difficult, and Warmisham was also a bit short of speech.
Smethurst pays tribute to the speed with which Warmisham could solve a new design problem if needed. Lee
left TTH in 1937 to work with Scophony-Baird, where he was later in charge of Gordon Cook. One patent he
worked on there was on a Photogrammetric camera lighter and more resistant to temperature changes than
the usual types. Brit Pat 603,085 of 09/06/1948 in B.J.A. 1950, p180.)]
"Technicolor lenses" This process used only TTH lenses in a 1936 advert.(B.J.A. p55)
Panfo f2.8 medium long focus for 35mm movie but little is known of the structure.
Super Speed Panchro f1.3 Several lenses occur in this group. Lee designed an OPIC with a split rear glass
in USPat 2,619,895/1935; Brit Pat 373,950/1932; 397,281 (Tay006). This parallels a Schneider Xenon f1.3
design and the patent number was engraved on some Leitz f1.5 50mm Xenon and Summarit lenses. TTH
production of these lenses seems to be small, and they are very sought after. Some Super Speed Panchros
at least have a quite different 1+2 i 1+3 design (Tay025)and may be triplet derivatives.
Special Speed Panchro f1.3 60mm for movie. This is also a scarce trade name.
TTH f1.3 25mm This was for 16mm Cine on Bell and Howell Filmo 70 and was also reported for cine at £10.5.
No details were given of the design (B.J.A. 1933, p297) apart from the stress on the very big aperture. It was
said to cover in a very satisfactory manner and be hard to beat for use in bad light. In 1933, it was for sale on
Bell & Howell cameras, and was matched by a f1.65 projection lens and a new wide angle projection lens.
For a bigger f1.3 see B.J.A. 1938, p299 where a lens of this type may have been used at the Coronation as
f1.3/4in, together with an f1.65/8in.
"8-glass type" Here the front and back glasses of the OPIC were both split, to give a 1+1+2+2+1+1 layout
and this was used in up to f0.95 by some makers. See Brit Pat. 298,769/1927. Actual use of this layout by
TTH is uncertain- it will be a highly flary design.
"6-glass Aspheric" This was a Lee design in USPat 2,100,291/1937, Brit Pat. 477,448. It gave a f1.0 lens of
higher contrast as the air-glass surfaces were fewer. Thus it would compete in this respect with the advanced
triplets from German designers. Glasses were G1+4+7= 1.6130/59.7; G2+3+5+6= 1.5290/51.6.
"Triplet" This was a fast lens in this design group and is included by Merte as a derivative or version of the
Zeiss lens. It was covered in Brit Pat 419,552 of 1934, with a 1+1+2+1 layout. It seems to be a fairly narrow
angle cine lens. See also Brit Pat No477,324 for a 4-glass lens which may be for movie or possibly for
projection use.
Zoom An 11-glass Zoom from 28-100mm was shown in Brit Pat No398,307/1933 for movie use. It essentially
used an OPIC type lens with moving groups of lenses in the front and rear to make the zoom. (?App068)
Radiography f1.5 50mm This is a solid black mounted lens with no iris, but a focus adjustment to the
mount. It was seen at No321,45x, when it was (probably) not coated.
Radiographic f0.80 This was a Petzval derivative.( A.Cox and H.W.Martin J. Sci. Insts, 22, 5, 1945.)
This may also appear as a f0.8 Cine in wartime production for mass X-ray work. There was a fast lens
patented in Brit Pat No 342,889 in 1931.
Gauss wide angle of 5-glasses see Brit Pat 407,156/1934. This may be a 'special' one-off?
Astronomy lens f2.0 Here a much older Petzval type with a corrector plate was used. (H.D.Taylor, Brit Pat
127,058/1917). It was probably a one-off. (Tay024) The interest may be the use of the corrector plate.
Baird System TV lenses. These were rare and costly items used for this early system, and included 8-glass
6in f1.5 Projection lenses and also a 10in f1.6 lens. A 5in f1.5 seen may be from this set. It is said these were
considered for the WW2 aerial lenses for night work, but rejected as too costly and hard to make in the
number needed. The RAF chose its lenses in a very practical "down-to-earth" manner. (It seems the designer
was Lee and it may have led to the fact that both Lee and G. Cook worked later for Scophony-Baird).
Prewar Cine and Movie Lenses.
By 1931, there must have been much activity in Bell & Howell and TTH in providing cine lenses for Filmo
16mm and Eymo 35mm cameras. (B.J.A. 1931, p322) Foci were as 20mm to 6in in 16mm and 1.375-11in in
movie, with apertures of f1.5 and f1.8 or slower, with interchangeability as a major feature. (However the TTH
advert. is of still lenses, and Bell & Howell largely describe the cameras.)
Ariel's list gives some sort of a cross section here. It included:
Kinic f3.5/20, 23/25mm and 50mm lenses for 16mm and 35mm use on a number of cameras, and also a
faster series in f2.8/25mm, f2.7/25mm and f2.5/23 and 47mm. A very early f3.0/50mm was on a 1914
Williamson 35mm camera. There was also another series in f1.9 and also f1.5 and f1.4 post-WW2. These
probably included Gauss and Kinic type designs.
Fig 020 034 TTH Kinic (r) f1.8/1in No151,639; (l) f1.4/1in ctd No251,409.
This is well coated so production must have continued well after the War probably as a premium grade 16mm
lens for semi-professional use.
There was also a:
Cooke Anastigmat (TeleKinic?) f4.5/150mm probably by 1930, as noted with the f2.6 in B.J.A. 1930, p364.
However they are all actually named as "Cooke" as well as sometimes Kinic or Panchro which complicates
things today.
Cinematograph f3.5/50mm This was noted on a Moy of 1909. This group are probably versions of the Series
1 above, as is the f3.1 listed next.
Ariel has the Cooke Special Cinematograph as f3.1 in 50mm on an 1912 Williamson 35mm camera and
the f3.1 seems to have been used in several ways. The f3.1 was used in 1924 on the Salex Kinex 35mm
camera, and on the Butcher's Paragon Cine camera where there were f3.1 in 2in, 3in and a f4.5/4in which may
have been a tele. The prices with the 3 Cooke lenses was £10 above that with a comparable set from Ross at
f3.5. [The illustration shows the turret with 3 lenses in black in cylindrical focus tubes with a prominent lever
protruding but it does not say if these are TTH or Ross.]
The f3.1 seems to have sold well on early movie cameras: it was noted at auction as a f3.1/2in on a 35mm
Eymo at No127,12x and on an Ernemann, and as a f3.5/1in No198,00x on a RCA Victor Sound from about
1935 for newsreel work. Not all may be named: a f3.1/2in at No82,65x was on a wooden Williamson
Kinematograph and a f3.5/20mm was on an Bell& Howell FILMO Model 75. But they may be retrofits here- the
f3.1 was not mentioned in a 1916 BJA note (p545).
Fig 020 032 TTH (r) Cinema f3.1 lens 2.25in No108,974: (l) f3.1 Special 89mm No307,510.
This requires a more extensive listing and some trade names are:
Cinar
One named series was Cinar used on 16mm lenses for Ensign (and other?) in the 1930's as f1.5/1in;
f2.8/25mm and f3.5/25mm. (B.J.A. 1935, p86) This seems to be a Trade Name rather than a optical design
code, so it will cover lenses made to different layouts. An f2.6 Cinar was used on the Ensign Super-Cinecam
as the standard in B.J.A. 1931, 318) with an f1.5 as a faster option.
Fig 021 030 TTH Leicester Cinar f3.5 Pat 155,640.
In fact several types were noted as follows:
Cinar f2.6 This was used on the Ensign Autokinecam in 1933 (B.J.A. 1933, p74) and was noted
in a secondhand list in B.J.A. 1936, p501 in 16mm mount.
f1.5 This may be the same as the f1.5 on B&H cameras 16mm Filmo 70DA and Model
121 in B.J.A. 1937, p570advert., when "fastest on any amateur movie camera" was the claim. There was also
an f1.5 Cooke lens on a Bell & Howell Filmo 70D in B.J.A. 1934, p315.
f3.5 1in for Ensign
anon f2.4 12.5mm This was in B.J.A. 1936 p579 on a B&H Filmo Straight 8 8mm camera, with
'mattes' (masks?) for 2 other lenses as follow next.
f2.7 1in (25.4mm) TTH
f2.8 1in on Ensign Kinecam 6 (B.J.A.1935, p86, 1937, p68)
f3.5 11.5in (38mm) TTH
Projection lensf1.8 An early f1.8 was on the Zolograph projector for W. Heaton in B.J.A. 1927, p361.
f2.8 This projection lens was on a Kinex de Lux projector from City Sale in B.J.A. 1926, p352-
it was probably aimed at amateur 35mm use.
f1.6 1in (25.4mm) for Filmo 8 projector.
Datal
A unique lens was two Datal f1.9/1in on Victor 16mm cameras. However the point of this name 'Datal' is not
obvious. Names may have been used in response to customers needs.
A Bell&Howell advert in American Annual 1939, pAdv8/9 mentions a TTH Cooke f2.7 lens on Filmo 70D and
Filmo 121 16mm cameras. It may be a very fast Cooke Triplet.
The relation with Bell & Howell showed in TTH f2.5 and f3.5/12.5mm lenses for the 8mm Filmo 134-E and 134-
G models. (B.J.A. 1938, p307)
Prewar movie projection lenses
Maximum Projection f2.9 eg 5.5in =140mm Petzval?
Ultimum Projection f1.9 eg. 4.25in Petzval. (See also B.J.A. 1933, p297).
Super Cinephore f2 Gauss type projection.
Late prewar, in 1939, Mr Ray Burnett told of visiting TTH and being told of production of cine and f6.3 lenses
for Coronet and lenses for Woolworth for the V.P. Twin to keep the factory going, so bad was business. But it
is just possible that TTH were doing this to train up staff for National Optical, which seems to have been
making some Pathex lenses prewar- so getting prepared for orders expected from the Ministry. Or National
may just have been a way of making lower price lenses without using the TTH name on them. But this is
conjecture. There is no indication in Mr Conyers Nesbit's book that the MoD were ordering much photo
equipment at this time but there may have been some sort of assurance given in private.
An odd uncoated lens pair is the following:
Anon f2.8 0.95in (24.3mm approx.) These are merely marked Taylor-Hobson in gold fill
on the tiny front ring, and are uncoated and have no iris. They were seen at serial numbers 268,794 and
269,136 and have no MoD engraving but were seen along with some Dallmeyer lenses engraved 'Ref
14A/808' etc. Their original use is obscure but just might have been from film examining equipment for footage
from G45 cameras, or possibly for enlarging microfilmed document transmission such as was employed for air
transit from the Far East during WW2.
Fig 021 014 TTH f2.8/0.95in No268,794 and (r) similar Dallmeyer f3.5 No201,051. These may have been
dismantled from 16mm film readers. They are not coated.
Fig 021 012 TTH f2/1.5in ctd ex-MoD lens, possibly film reader type. This seems a more elaborate type of
lens and might be from a printer.
It is thought likely that H.W.Lee left TTH late prewar, possibly as there was insufficient work for two designers
of the seniority of himself and Mr Warmisham. He seems to have later worked for Scophony-Baird, possibly
being succeeded there by Mr Cook, and then for Pullin Optical and independantly as a Consultant designer,
for Dallmeyer and possibly others.
Other TTH designers of the period included A. Cox, who wrote a series of article on lenses in Min. Cam. Mag.
03-06/1940 p233etc, p440 which seem to have developed into his book on Photographic Optics (Focal Press),
and who later went to Bell & Howell, USA; Charles Wynne, who later went to Wray and took the chair of
optical design at Imperial College about 1959; and Harold H Hopkins who went to Watsons and worked on
zoom lenses. Other designers of the period were Mr Peter Merigold, who joined from Northern Scientific, of
Bolton; W.S.S.Blaschke from Cooke, Troughton and Simms of York, Kenneth Coleman and Michael
Wreathall, the last two being more senior men.
_______________________________________________________________________________
We do not have a real list of products available in 1939- but it is probable that most of the Series lenses for
large format were represented in some form, from the early postwar list. There were also many movie lenses,
and the cine lens production was larger and more important than might be expected from secondhand items
today- due to the small survival of many of them. In fact, most of the 8mm cameras made and sold in the UK
offered TTH lenses as did the 16mm units. And the NOC status is still obscure.
________________________________________________________________________________
WW2 War Finish Era
Many of these lenses went through a war finish period in black paint with little trim. Some were coated from
1942,3 or 4 during this period, and they were used among other things for newsreel footage of the Normandie
landings. Radiographic lenses were important and among the first coated. (B.J.A. 1943) By the end of the
War, the payroll was up 1450 persons, with some 50% female, and not 2 but 9 factories. This probably
includes the subsidiary National Optical, and suggests that a major part of the UK aerial lens production was
in fact from TTH and its subsidiaries. Such lenses were also supplied to the USAAF though few details are
available here. Postwar shrinkage in size was a problem. Recognizable TTH product were limited as most
wartime products had no makers name. But it is likely that they used serial numbers with TT initials as this
has been noted on two 14in f5.6 AVIAR lenses of the period.(see Fig below) (Compare UU or VV for
Dallmeyer, EE probably for Aldis and NoCo for National Optical. There were exceptions as when a Dallmeyer
was paint stamped but escaped with only a serial number- but no letters, and a Ross 5in f4.0 had a full Ross
makers name engraved. But it and a 20in Ross may have been prewar manufactures. A variation was O.R or
ROL in paint stamp for Ross Optics London or some such. (There is a hint that before the war Ross were the
main RAF suppliers). Certainly TTH adverts in 1945 showed an Aviar superimposed on a wartime aerial picture
to emphasise why they had been unable to supply lenses during the war.
It is likely that the major design work now fell on Mr Cook, with Mr Warmisham (1891-1962) as the senior
man, who was to retire after the War. TTH recruited very able young ladies as co-workers, from local schools,
and Miss Hilda and Miss Dorothy Weaver were among those helping Mr Cook and Mr Merigold in the work
(with an Elliot 402 Computer) on the Panchro redesign. (We thank Mr J. Maxwell of Imperial College and
Cooke Optics Ltd for information here.)
f5.6 20in Aviar This was a excellent, standard lens, uncoated, especially when used at about f7.0.
f5.6 14in Aviar for 5x5 format. These were common but are now hard to find.
Fig 020 020 TTH Aviar f5.6/14in NoTT285,276. Here the owner has stripped off the paint to make the brass
show.
Fig 020 022 TTH Aviar f5.6/14in No TT285,405 in original black finish. Note MoD 14A^3254 mark.
There were also said to be shorter versions. One contract number was 14A^2271 on lens TT284,474.
f4.5 20in Some big triplets were also used. The maker was unknown.
Aerial Reconnaisance f2.5 8in This may have been a competitor for the Pentac contract.
Profile Projection- This was possibly a new line in war work.
An interesting point is that Dr Cox quotes the design of a Q15 lens apparently of f4.5 for his 1943 Edition of
"Optics" using G1= 1.6072, G2= 1.5760, G3= 1.5265, G4= 1.6238. It may well be that this was an actual
product, though production may not have taken place.
Post War Products
An important collection of postwar TTH lenses was presented to the Snibston Discovery Park, Leicestershire,
and we thank Dr Brian Newman of Cooke Optics for telling of this source of information.
These will normally be coated as TTH had a coating plant from 1944. After the war, they continued many of
the prewar large format Series lenses after the war, but there was an increased interest in cine lenses to suit
their associate Bell and Howell in the USA and to meet UK Government needs for foreign exchange. A 1947
list has these products, but lacks the foci for the lenses and these are added as available from a 1955 list. The
last advert. in a B.J.A. was in the 1955 issue, rather as it was for Ross, and it had then been virtually
unchanged for some years: and this may relate either to an increase in advertising rates or to declining trading
making for specialization, here in movie and cine lenses and probably process lenses and defense items.
Trade Name Aperture (1947 list) Foci.(1955 list)
Opic f2.0 50, 76mm.
Series X f2.5 162, 197mm.
Series 11a f3.5 127, 158, 190mm.
Series 11 f4.5 Aviar 152, 178, 210, 254, 320, 342mm.
Series 111b f6.0 Aviar 216, 270, 320, 380mm. Note this is now coded AVIAR rather than
Aviarica as before.
Series V11b f6.5,Anglic 82, 108, 133, 158, 203mm.Seen at No 382,41x, 384,49x and these
are both coated. Coating makes a real difference here, and note the 108mm covers 5x7 easily, sharply. But
also that the advert. in B.J.A. 1948 p27 specifies focus at f6.5, and close down without need to refocus. Use
at f11 or less seems to be expected. At that time, it and the 2 AVIAR lenses seem to have been the most
advertized items. None of these was in a shutter: Some vignetting can limit the angle covered if the Series VIIb
lens is in the front of a blade shutter. An example was the above No382,41x in a Compur 2 No822,747 which
is probably about 1953.
Series V111 f5.5 Telephoto 216, 280, 320, 380, 508mm. It was seen at No 123,307, when it was
coated, and a 15in. (It was in 8.5-20in in a Photogr. Journal Advert March 1951, pviii, and of 2+2 design.
Series X1V f6.3 330, 420mm.
Series 11d f3.5.
Series 11e f4.5. 270, 325, 380, 460, 508mm. For details see above.
Series V1a f5.6
Series XV f5.6 also f6.8 in 1955 list as 312, 483, 673mm.
Talykron shutter Here it was "trade only supplied", as used for 80mm f2.8 Adotal (Tay 007) on the Kershaw
Peregrine 111and other Kershaw cameras such as the Curlew III with the Roytal below. This was a quality
reliable shutter and one to welcome today when offered. It may represent another attempt to keep a wartime
factory, possibly a mechanical one, in production but this is a complete guess. It was reviewed in MCM Jan
1946. (T,B,1-1/500sec, with a 1ms opening time.) It seems to have been made or planned in 4 different sizes.
It was only sold to the trade.
Wide Angle The Series V11b appeared as an 64mm lens on the Envoy wide angle camera for 6x9cm, and
was noted at No 381,55x on Envoy No 330x; and 381,27x and 381,60x, coated. These are in Epsilon shutters,
and cut off by the shutter may make stopping down especially needed. They were a well liked product. (B.J.A.
1951, p487).
Miniature Anastigmats
Rollfilm Lenses
A series of lenses seems to have planned under this name but they are not really familiar now. They were
listed in f2.8 (Adotal?, Tay007), f3.5, f4.0, f4.5 (Roytal?) for 75-135mm the last in Q15 layouts, and may have
been an offer the camera makers did not take up as fully as hoped, though the identity of some can be
guessed at. One fairly certain user was Kershaw, who launched their "Bird" series of cameras soon after the
War, eg in B.J.A. 1948, p23 with the Peregrine group. A trade list, ie not for sale to the public, was as follows:
f4.5 60mm
f2.8 80mm )
f4.5 135mm ) These three are mentioned in B.J.A. 1947 p183 as aimed at a postwar 6x6cm f6.3
254mm ) camera, such as a reflex with interchangeable lenses, but it seems only the
f2.8/80mm ever appeared, as the Adotal.
f2.0 50mm
f2.8 75mm
f4.0 100mm
Some of these may be for 6x6cm but others may be for full frame 35mm. Some may be spun off from the next
item, and these are lenses actually noted as sold.
Roytal f3.8/80mm It was made in 80mm (scarce?) and:
f3.8/105mm, it was a coated 4-glass Q15 lens in Talykron shutter for the Kershaw Curlew 111 in
Aug 1959. It is very sharp and contrasty in the centre, experience being that the edge seemed less good. This
comment was from an example transferred from a damaged Curlew to a 6x9cm Linhof camera which did seem
less useful than had been hoped. (The cheaper Curlew 11 made do with a Kershaw Critak f4.5/105mm lens).
In June 1947 MCM noted the prototype Curlews as:
No 1 with f6.3 lens;
No11 with f4.5 lens; and
No111 with a TTH f3.5 (for f3.8) lens. Examples seen or noted were at No336,35x on body 3/996x and
No335,91x on body No3/757x, also No335,58x, 335,51x, 336,21x and 335,56x.
Roytal f3.5/80mm The 80mm Roytal was noted on the Peregrine II at lenses No335,23x and 340,24x, in
Talykron shutters. It was still forcaste, but without a name in B.J.A. 1948, p23.
Adotal f2.8 80mm (Tay007) This was one of the top 6x6cm format lenses of the time, but sadly is rare as the
only outlet seems to have been the scarce Peregrine III. It was seen with a dark purple coating at No344,46x
on body No 4/25002. Others at auction were Adotal No344,46x on body No4/25,84x, 351,12x, 355,50x on
4/26,26x and Adotal No356,17x. (In June 1947 MCM, the Peregrine III was promised in May 1948 with an f2.9
lens- to appear as the f2.8 Adotal. The same speed is given in B.J.A. 1948 p23 so the f2.9 was not just a
random printers error.)
The base model Peregrine had a Kershaw f4.5 lens in a Kershaw shutter but it is not certain if Kershaw made
it.
A Cooke Anastigmat f2.8/80mm at No 384,416 shows a very similar reflexion pattern and external curves to
Adotal and may be the same lens in an industrial setting, possibly for TV.
35mm Lenses
Some still 35mm lenses were produced related to the Bell & Howell Foton camera and to the Reid.
Amotal f2.0 50mm This was TTH's first lens for 24x36mm and is an item of major interest. It seems to
have occurred in at least 3 and probably 4 versions as follows.
(a) This was designed as the standard lens for the Foton. These were ELC coated, and this was a fine lens
but the buyers did not respond to the T-speed engraving used. A Foton mounted example is No300,768. Next
there was a series with both T and F stops, described as 'a jungle of numbers,' an early number being
No297,28x. Thus the range can overlap real Foton numbers. Late examples are just in normal f-stops. No
300,54x was a late one and was remounted in Italy for M39x26 in a very soft alloy mount. The optic was made
on 27/09/1947. Some 16,000 Fotons were said to have been made before production stopped suddenly. (The
camera price was very high at $700, later $500, so that sales were limited apart from any question of the iris
engraving.)
This seems to have left a supply of Amotals in the production line and lead to some 3 variants. First, Peerless
in New York arranged for the USA excess supply to be remounted in Italy (some only are engraved 'Made in
Italy')and sold off for M39x26TPI ie Leica. Thus it is a lens most easily found in USA. This mount occurs in two
or more like three versions recognized by enthusiasts, but with the lens heads which seem to be the same
type, with f2 engraving not T stops.
(b) At Nos298,89x and 299,02x, the knurling on the focus and rear threads is square form and interrupted by
bold milled-in spaces for about 50% of the area. Screw heads at the lens flange suggest they are the limiter to
the focus travel. No298,96x is probably also this type.
(c) Later at No300,54x the knurling is plain linear type to closely match the knurling on the lenshead. The
early type has a prominent screw head axially in the camera facing flange while the later one limits the focus
travel with an additional screwed-in ring with a raised rim behind the focus threads.
Fig 011 029 TTH Ltd (l) Amotal f2/50mm No300,544; (m) Reid lens f2/50mm 328,829; (r) NOC f2/50mm
No354,196. All coupled for M39.
Fig 011 031 TTH Ltd (l) Amotal f2/50mm No300,544; (m) Reid lens f2/50mm 328,829; (r) NOC f2/50mm
No354,196. All coupled for M39.
The only other lens noted as offered on Foton was the rare 100mm f2.8 (T=3.0) Panchrotal, eg at No364,74x,
essentially a triplet derivative competitor to the deep field Panchro, though others such as an 28mm f2.0 may
have been planned. (There is such a Double Speed Panchro lens listed in Cox's 'Optics' edition March 1956,
p211 ref IT18.) The prototype may be No 298,69x at Snibston. The Foton was 'new' in MCM Dec 1948. Note
there were a Amatol series of 35mm lenses at one period. Other Foton lenses are very hard to find: a group at
auction was as follows: Amotal f2/50mm above, No300,768, also 301,41x; TeleKinic f5.6/8.5in, No382,55x and
Deep Field Panchro f2.5/100mm, No282,97x. This just might suggest the Panchrotal above was a retrofit.
A correspondent says the lenses issued for Foton were:
Amotal f2.50mm
TTH Cooke Panchrotal f2.5/100mm (4in)
TTH Cooke TeleKinic f5.6/216mm (8.5in)
TTH Cooke Telekinic f5.6/320mm (12.5in)
(d)NOC f2.0 50mm same.
The external curves on the National Optical Co.f2.0 were effectively the same as the Amotal, and not as the
Reid. Mr Cook confirmed that the Reid lens was a slight redesign and these changes seem to be to the rear
surface. A comparison with other TTH f2.0 50mm Panchros etc. shows that these are also quite different in
the front curves- the quality was the same but the product was different! But note the NOC does not carry the
Amotal name. The mount is at least partly by Cook & Perkins.
Reid f2.0 50mm in M39x26. This was rated very highly indeed as a 35mm full format lens. It may
be the preferred lens in E36 front. The last were sold off by A.W.Young as late as 1971 and still fetched £36
(Am. Photo. 25/10/1970). Slight changes were made to the barrel during the production life,
(a) the early ones being highly polished ie. shiny and tended to show scratches due to the push-pull action of
the collapsible mount running through a velvet lining, and this was seen at No328,82x,
(b) and the finish was later changed to matt chrome, seen at No330,25x.
These Reids are now very sought after. The Reid lens cap is distinctive and should accompany it.
An early account of the Reid was in MCM May 1951, but it was first shown in 1947 at the BIF.(MCM May
1947 p294. There seems to just be a chance that the early lenses were actually Amotals, before the Reid lens
was designed, since the dates of Foton and Reid introductions seem to overlap and this seems to be Mr
Burnett's impression. The Reid seems to have the same front curves as Amotal but a slightly different rear
curve and the designer, Mr Cook, said that there was a slight redesign. Mr G.H.Cook was a senior TTH
designer then, and in a lecture to the R.P.S. (Photogr. Journal. Oct 1949, p223) described a 6g/4c Gauss
(Amotal?) and said the corrections exceeded the Summitar, with a rather flatter field and comparable spherical
and astigmatic corrections. But it was achieved using 6 glasses instead of 7. It probably also nearly matched
the f2 Sonnar for field flatness and astigmatic correction and was rather better for spherical correction. The
Kodak f1.9 Ektar was said to be rather like the Summitar in performance analysis.
Reid lenses are engraved with Patents: Brit Pat. 377,537; 461,304; 507,184; 587,090; US Pat.1,955,591,
2,117,252.
Some Reid lens numbers noted, many of them at auction, have been:
Body No Lens No
- 328,24x
P108x 328,68x
P108x 328,75x
P114x 328,82x
P124x 328,42x
P141x 328,82x Shiny barrel
P1452 329,04x
- 329,64x
P154x 330,09x
P159x 329,69x
P164x 328,83x
329,33x
P187x 329,48x
P187x 330,44x
P196x 330,46x
P205x 330,21x
- 330,24x
- 330,25x Matt barrel
P208x 330,41x
P233x 329,20x
P241x 329,30x
P258x 329,12x
- 329,39x
- 329,65x
P262x 330,59x
P266x 32968x
P270x 329,08x
P271x 329,16x
P293x 329,28x
- 329,29x
P318x 328,64x
P320x 328,59x
- 328,40x
P325x 329,58x
P347x 330,13x
A tray of 24 Reid lenses was auctioned in the maker's compartmented box in 1988, and the account refers to
the original Am.Photo. reviews of 23/05/1951p500-1 +512; and 23/06/1971 p34-5. Serial numbers were:
330,511 330,516 330,524 330,525
330,538 330,531 330,534 330,537
330,563 330,544 330,557 330,558
330,627 330,574 330,594 330,605
330,658 330,633 330,641 330,653
330,717 330,659 330,691 330,710.
In considering this list, note that they are very easy to exchange from one body to another, and are here
arranged under order of body number.
Postwar Cook and Perkins mounted some ex-MoD 35mm movie lenses such as the f2.0/3in Panchro and
f2.5/4in Deep Field Panchro in coupled M39x26 mounts and these are very sought after items. Those seen
were later coated versions, not the very first types. The Reid f2.0 was the only lens dedicated to the Reid,
though prototypes of others may exist. [Reid was able to test and if necessary adjust some lenses such as
Dalrac and Dallac for the Reid and these can be engraved 'Reid' as can Xtralux lenses from Ross. An
exception is that Wray made adaptors for some 35mm f3.5 Lustrars from Wrayflex to Reid for use in the Navy.
These are very scarce as most of the tubes were scrapped after disposal from the MoD, and seem to be at No
330,51x-330,71x.]
Pre-production lens prototypes for the Reid are reported to have included from TTH two types:
f3.5 50mm, 6 made.
f2.9 50mm, "a few".
Undoubtedly other makes hoped to benefit from sales to Reid owners, but in fact it was not a big market due
to limited civilian sales of Reids.
Process lenses were a very successful product as coating must have made many firms reequip postwar with
modern optics. In addition, there was a real need for the ultimate in lens quality here. TTH did also produce
some patents though it is not known how valuable these were in fact. Thus No603,519 of 17/06/1948 to TTH
and Arthur Warmisham (B.J.A. 1950, p178) describes a reversing prism using a roof prism in one version of
the patent.
Some process lenses were:
Apotal f9, f10 There were many sizes, including 300, 450mm. They are thought to all be postwar ie
after 1945. This seems to be a Q15 type, seen at No632,83x, and fairly common and these are well liked
today for large format use. Several professional 10x8in users seen in fact have them. These are heavy but not
as excessively so as some process lenses can be. It was made as f9-f16 in one list, for 9.5-35in. An example
on a 10x8 Gandolfi was f9/18in No599,29x. Another was f9,14in, 623,55x, and also was brown coated. A
slightly later 30cm (12in) f9 at No632,83x seems a little different. It is marked in cm rather than inches and
has a very dark purple coating and the glass seems to be white while the older lenses are slightly brown in
colour.
In use the 12 and 14in versions were mounted (2.25inx24TPI threads) in a No4 Acme shutter using a thin ring
to adapt the 2.25in (57mm) thread to the shutter's original 59.4mm/58.7mm/40TPI and in use they covered
very well both for illumination and sharpness and they have common mounting threads front and rear so that
they can be reversed. The central image is especially impressive: sharp and contrasty.
Fig 019 033 TTH Apotal Process lenses. (l) f9/30cm (12in) No632,838: and f9/14in No623,552 in
characteristic mounts. These are relatively modern coated lenses.
Apo Panchro Process: noted as a f16, 36in lens. No details.
Butal f8.0 This seems a more complex 5-glass design, perhaps as Q19, Heliar, seen as a 9.75in
lens at at No655,34x. Note this is from Rank Taylor Hobson, a later trade name, while the Apotal is just Taylor
Hobson. It also is marked for Hunter-Penrose-Littlejohn, the makers of the process equipment it was to be
used with.
Fig 020 011 Rank/TTH Butal f8/9.75in (247.65mm) No655,343.
Planital f9.0 This was noted as a 21in lens, probably another process type.
Copying f9.0 This was seen as f9.0 lenses at 6in, 12in. It seems to be a 4-glass Q15 type, brown
coated and giving very high quality, and is also a useful compact lens so can be used on many big format
cameras. It does not seem to be in shutters. In fact it may be near an Apotal perhaps being a less elaborately
mounted version of it. It was seen at No 570,77x, (brown coated) and 598,01x in 6in with iris to f90.
The 6in seems an attractive item and can be low priced. Some are ex-machines of Photostat Ltd, and seem
dusty, as if ex-storage. The rear cell came out easily, but the front seemed to be sealed in with some
adhesive in the threads and required quite a strong torque to free it. The mid glass then unscrewed from the
back of the front cell, easily. The iris control ring runs in a grease track (AeroShell?) but is fitted by a bayonet
and freed when two grub screws are removed.
Fig 020 016 TTH Copying f9/6in ex Photostat Ltd.
Cooke copying f6.3 This was noted in 7in.
Series Vb This may be an older type. This may be an older Series lens surviving or mixed with later
lenses, as there was a Series Vb version in f8 etc., and it is listed above.
Xerographic This was seen as a f4.5 8.25in coated triplet from RTH-Xerox Corporation, and was probably a
photocopier lens. It was also noted in 9.5in. It was in a barrel mount, with an iris for a rather limited range of
stops.
Rolls-Royce Camera (1956) This was a camera 46ft long, 8ft square, with a lens not detailed but by TTH.
Postwar Aerial Lenses.
Some important lenses were for the Vinten F95 and Agiflite 70mm cameras.
Anastigmat f2.0 4in for 6x6cm on 70mm film. This is a high quality lens for an early version of the A.G.I.
F95 aerial camera seen at No568,13x. These were 1955-1968 period and already selling off on F95 cameras in
Am. Photo 28/12/1977 p95 advert. at £75 complete or f4.5/12in lens £35. They were coated, and are now
rather scarce.
f2.8 4in also, said to be as f2 but with the iris limited to f2.8. This is said to be "Rare"
according to those who know. It has not been seen.
Anastigmat f1.8 4in This may be the preferred lens if both are available. The mount looks the same but
the barrel is bigger in front. The color will be rather warm in tone from the example seen, No638,78x.
(14A/6635). The example seen had been sand-blasted with dust while in use- something to look for in
purchasing as it seems to be not uncommon in use of aerial lenses. This is a case where repair is known to
be difficult as the assembly is very tightly put together.
Telephoto f4.0 12in This was the matching long lens for the Agiflite camera. It is also very desirable
lens, but the rear clearance is rather limited for mounting to civilian 6x6cm or large format cameras, which
limits resale values. It was seen at Nos 612,23x and 621,30x (14A/4271 MOD PHOT C/147). It is of extremely
high quality for 6x6cm and nearly covers 5x4in. It was said to be made 1955-1975.
Fig 020 024 TTH lenses for Vinten F95 (rear) f4/12in 2x; (front l) f1.8/4in and (front r) f2/4in.
Anon f4.0 36in This was for aerial survey by night. It is rare.
Anon f8.0 48in This was an aerial survey lens, also rare. Example noted was actually marked
as 46.53in for calibration purposes.
Mr Cook was a senior designer at TTH during and after the War and produced a number of interesting designs,
including a telephoto lens of f2.5 which had a concave external rear curve. (Brit. Pat. 552,024/ 1941;
565,411/1943). Postwar all the glasses of a lens like the "Lee distortionless tele" were separated for what
seems a very highly corrected tele f4.0 design. (Brit Pat 697,336/1951). In 1952, Cook tried a Gauss layout
with two negative glasses each side of the central iris in a complex design, possibly for aerial survey work.
(f3.5, 46° angle.) He also suggested a fully air-spaced symmetrical lens for up to 50-70°. (Brit. Pat. 690402-5).
At this time Mr R.E.Reason was a senior in surface measurement and Mr H.W.Martin was in the optical
department. This period also saw the firm return to UK management by the Rank Organization, as part of their
consolidation of the UK film and production industry.
Enlarging Lenses.
The Ental series were one of the leading postwar types, widely used in the UK. They seem to be forcaste but
not yet named in a note in B.J.A. 1947, p181 where f3.5/50mm, and f4.5/80 and 108mm are mentioned as
due. Two series were noted, as Ental and Ental 11, and sales certainly go back to the 1950's or earlier.
These are fine lenses but ones to buy with care as darkroom use can often lead to damage by damp (fungus)
and scratches. This is a case where a number of old lenses have been rejected for these reasons before a
good one was found. They often use heavy element glass and can be warm toned. Ental 11 may be from
11/1960 to judge from a sales leaflet.
Ental f3.5 50mm for 24x36mm format
f4.5 80mm for 60x60mm, and 108, 127mm for larger formats.
Ental f3.5 50mm
f4.0 3.25 (80mm) Q15 type (Note the 1955 advert gives f4.5 here.)
f4.5 108mm Q15 type. This was for 65x90mm
f4.5 5in (127mm) for 80x110mm
f4.5 152, 190, 210, 266mm Q19 type, 5-glass. These may be f6.3 in longer sizes.
Ental 11 was made in f3.5, 50mm; f4.0, 82.5mm; f4.5, 108, 152mm; f5.6, 190, 210, 266, 317mm;
Fig 020 013 TTH Ental II f4/3.25in No588,835 enlarging lens.
Fig 020 014 TTH Ental II f4/3.25in No588,835 enlarging lens, here with original box.
Recording Lenses, etc. These include lenses for data recording and microfilming.
Datal f1.9 made in 1.0, 1.5in. These were also noted above.
Microtal f4.0 20mm probably for microfilming documents.
Protal f1.8 20, 50mm said to be a mixed symmetrical.
{Note also a possibly earlier lens in this group:
Anon f2.8 0.95in (24.3mm approx.) These are merely marked Taylor-Hobson in gold fill
on the tiny front ring, and are uncoated and have no iris. They were seen at serial numbers 268,794 and
269,136 and have no MoD engraving but were seen along with some Dallmeyer lenses engraved 'Ref
14A/808' etc. Their original date and use is now obscure but just might have been from film examining
equipment for footage from G45 cameras, or possibly for enlarging microfilmed document transmission such
as was employed for air transit from the Far East during WW2.}
Radiography
Fast sharp lenses reduce radiation exposure and benefit the patient. There was a major X-ray programme in
WW2 to limit the spread of TB, especially among troops and workers who were inevitable in close proximity
with each other and a serious risk of contagion resulted. There is a suggestion that TTH saw this as a new
oppotunity for the fast lenses they could design, as a report in the B.J.A. says the fastest lenses previously in
use were f1.5 (?Septac?) and f1.9 (Super Six) and coating was now available to increase the apparent speeds.
It may be noted that the reporter headed the account from TTH Ltd, 137, The Broadway, Mill Hill, London
NW7, which is within walking distance of the Bittacy Hill site which seems to be a continuing one. This office
might be used for sales if Bittacy Hill was also involved in secret war work.
Thus the note of the TTH radiographic lenses in B.J.A. 1943, p166 describes several types including:
(a) larger sizes such as f1.5/6in for 70mm film; used at 6:1 or 8:1 reduction, these gave clearance from the
lens to film of 4in or more. They are in 3.5in/12TPI flanges. A smaller f1.5/5in covered the same format.
(b) For smaller 24x18mm formats, there was an f1.0/2.25in lens for use at 16:1 reduction on 18x24mm, eg of
chest X-Rays, and here the film-lens clearance is 0.82in, and the flange was 1.75inx24TPI.
(c) On 16mm cine film, there was an f0.8/2in lens, focusing from 3ft to 6.5ft, and are in a 1.53in (M42?)x42TPI
flange.
These were all colour corrected to make the visual and actinic foci coincide- note the fluor screens were often
blue or green.(ibid, idem, p167) At the time the 1943 B.J.A. went press, all these were available coated, so
that the f1.5 matched an untreated f1.2, the f1.0 matched an untreated f0.75 and the f0.8 matched an
untreated f0.6 lens. (These will be used on subjects with moderate contrast so the comparison will be a useful
one here). Here is a later list, rather longer list from a dealers sale.
Radiographic f1.5 2in These have been noted in a dealers list.
f0.8 2.0, 2.25in in focusing mounts.
f1.0 2.25in.
f1.4 8in This in particular is a very large and impressive- and rare lens made of heavy
exotic glass! Only 25 were made in 1952, and Watson was one customer. It was a 7glass 5component Gauss
with a split front element. (Tay008) [see also the lenses used at the Coronation, B.J.A. 1938, p299 and
above.)
There is a suggestion in a list from Snibston that some of these high speed designs may have had WW2 uses
as cine lenses. This could be for after-raid verification.
A 1962 Burke and James catalogue lists new stock of:
Aviar 8.25in f4.5; Cooke Process 16 and 25 in f10 and 30, 36, 63in f16; and f5.6 Cooke Telephoto in 11, 12.5,
15, 20in; Cooke Series X f2.5 in 6.375, 7.75 and 9.25in; Convertible Series XV f6.8 as 12.5in combined and 19
and 26.5in cells; Wide Angle Series V11B Cooke in 3.5 and 8in; Radiographic f1.4 in 3.5 and 5.0in and Cooke
Series Vb Process in f8.0 13in; and f10 in 16, 18, 21, 25in. This is an interesting list as supplies were
probably running down then and this may have been continuing stock- ie not replaceable from the factory
though this is not stated anywhere.
Postwar Cine Lenses.
These were made in large numbers and can often be found now on old Bell and Howell movie cameras for now
obsolete sizes such as 8mm. Prices can be very low here. This may only be a small part of the whole
programe. These do not carry the revered Kinic and Panchro names and may be a successful attempt to find
a new and more popular market. One suggestion was that Bell & Howell/TTH kept part of the "War-developed"
factory capacity in use this way. Also note that some Bell & Howell cine cameras were "made in England"
and the same procedure may have been adopted here with a mechanical production line.
A major effort was in the redesign of the Panchro lenses for 35mm movie and this was associated with
Gordon Henry Cook (1916-1997) who joined the company in 1948 from Scophony-Baird after training with
Ross under George Richmond and J.W.Hasselkus, and at Imperial College, London probably nominally under
B.K.Johnson and L.C.Martin although Cook by then had some 10 years design experience, and working at
Ross to 1946 on optical ordinance in WW2. Cook was one of the leading designers- intuitive, perceptive and a
perfectionist and his Panchro II series set a new standard which is still used as a yardstick for lenses in the
1990's. He was also to initiate a new series of zooms where the sharpness was diffraction controlled at all
foci- then more than a novelty. As head of the design department, Cook will have overseen all the postwar TTH
and Rank/TTH designs up to his retirement in 1981. He was awarded an Oscar award for his work in 1989, a
very unusual feature.
Cine Lenses 1957 List
8mm Cine
The absence of 8mm film means that these trade at very low prices- essentially as orphans.
Pelotal f1.75 6.5mm 8-glass Retrofocus (Tay011)
Taytal f1.7 12.5mm4-glass (Tay012)
Ivotal f1.4 12.5mm Seen at No543,47x, This was engraved USP. 2,298,853.
Serital f1.9 25mm 4-glass (Tay012) This was seen at No473,29x, BPat. 587,090. This as a Cmount
lens sold with a D-mount adaptor. This added about 8mm length.
Serital f1.9 38mm 2+2 glass (Tay014) This was seen at Nos 521,10x, 552,49x. Another one of
these was seen with two threads at the mount as if it could be fitted to either 16 or 8mm cameras.
Telekinic f3.5 50mm 3-glass triplet (Tay013)
Kinetal f1.8 12.5mm
Many of these can be found a low prices on cameras such as the Bell & Howell Model 605T 'Viceroy' turret
cine camera, which are often sold with 3 such TTH lenses as 12, 25 and 38mm, or less often 6.5mm Pelotal,
which probably was a later addition as it is not in the B.J.A. 1951 p225 note of the camera. In buying these
cameras it should be noted that this 8mm film is discontinued, and that correctly the finder optics must match
the lens.
Mytal f2.5 12.5mm This was noted in 1951 but may have been discontinued by 1957 when the
Pelotal extended the list. Mytal was the low cost version, at £6.00 alone or £47.50 + £21.1 tax with camera. It
seems to have been the lens on the Bell & Howell 8mm Sportster Model 605 when it was launched in B.J.A.
1950, p218 and this closely followed a USA series but was made in the U.K. with "excellent mechanical and
optical properties". It then had a patented interchangeable wedge mounting, and cost £37.50 + Tax £16.25. [It
just may be possible that while the lenses came from one bit of NOC the bodies were made in another ex-
NOC factory but this is pure conjecture.]
(anon) f1.4 2in (51mm) This was the expensive listing in the 1951 B.J.A. above.
Fig 020 027 TTH lenses on Bell&Howell 8mm cameras, (left ) Ivotal f1.4/0.5in; Serital f1.5/1in; Serital
f1.9/1.5in: (right body) Ivotal f1.4/0.5in; Pelotal f1.75/0.25in; Serital f1.9/1.5in: (Mid Front), NOC f3.5/2in
No478,563.
16mm Cine
These are more valued for use as 16mm film is still in production and some TV equipments use or have used
C-mount lenses.
Taytal f2.5 0.7in Not all of these lenses are named, thus at No 484,58x, it is anonymous.
(Tay015)
Serital f1.9 25mm (Tay016) See note above. This may also be near the Super Comat.
Super Comat f1.9 25mm These were 'Made in USA' by Bell & Howell but some seem also to be by
TTH. They were coated, in focussing mount and had click stops. It seems some TTH versions are without
trade name, at No45,754x but do carry patent Brit. Pat. No 587,090. The design envisaged a filter glass
dropped into the front of the mount and retained by a screw ring. A typical fitting would be to the (common)
magazine load Bell & Howell Model 603 16mm cine: this used Kodak cassettes and service is now doubtful
even though 16mm film is available.
Ivotal f1.4 25mm 6-glass Gauss (Tay017) This is a chunky item, marked Cooke Ivotal at
No529,84x, and well ahead of the Super Comat which was the budget alternative. But note that it is bigger,
and may overflow some turret space. There are no patents citations on the mount. It was seen on a Bell &
Howell Autoload 16mm camera, NoT24,502.
Telekinic f2.0 50mm (Tay018)
Telekinic f2.8 2.8in Triplet (Tay019)
Telekinic f4.0 100mm (Tay020)
Telekinic f4.5 150mm Tele 2+2, This was seen at No405,48x, and 417,68x, Brit Pat 198,958,
441,507, 587,090.USPat 2,053,231. A number seen vary in weight as alloy replaced brass: and some are very
light indeed as at No405,48x- no bad thing if they are to hang on the turret of a 16mm Bolex.
Fig 020 029 TTH Cooke Telekinic f4.5/6in (l) black War finish, uncoated; (mid) No405,480 AP8686; (r)
No417,684 also ex-MoD.
Other.
These are a mixed collection, listed as noted, often from earlier lists.
Kinic f1.5 1in =25mm Seen at No251,40x, blue coated, this seems to be a 16mm lens from the
early postwar era. Here the designer was Warmisham, and as a f1.5 lens, it is a Petzval derivative of 1+2+i+1
+1 layout. (App069)
Cooke f1.5 90mm This may be a Kinic but no name was given.
Kinic f2.8, 50mm; f2,5, 75mm These were in one 1960 2nd hand list.
Telekinic f3.3 noted in B.J.A. 1929, p362.
Kinamette This was made in 1.5in, and it seems a lower price lens at No95,097.
Mytal f2.5 0.7in This was for 16mm cine, and was a 3 glass Triplet in one list.
Ivotal f1.4 2in, This was a design with 4-separate glasses.
f1.4 50-75mm 35mm movie.
f1.8 70mm for 24x36mm- no details of this!
Ivotal f2.5 18mm for cine (18mm=0.7in?)
Kinetal This was an "inverted tele design." But see also the Kinetal range below.
Super Comat as above by TTH and Bell&Howell, eg on B&H Type 604 magazine cine.
Protal f1.8 20, 50mm 6-glass mixed triplet (Tay010)
Taytal
Telequinic
Octal There are no details here, but there was a very high quality 8-glass lens for film copying from one
gauge to another in the 1950's. This may be it. The design was essentially 6g/4c Gauss but the outer glasses
were both compounded as doublets.
Mirotal f1.4 12.5mm
Ivotal f1.8 20-50mm for 35mm movie.
Amatol These were noted for Eyemo Mitchell 35mm cameras, as f2.0/50mm etc.
Cooke Panfo: Structure of these is not known. This was a high quality item but in older lists. Probably f2.8, in
2 and 3in for 35mm movie.
'TTH Tele' f5.6 8in This may be a movie lens, but the interesting point is that it has no normal serial
number but "Des. 2702133 Oct 1949 Property of TTH" on it. Compare the projection lens above: it seems TTH
were partly hiring lenses possibly built-in on equipments.
Cooke Varo This was an early pioneering zoom lens. It is a major item in interest. Smethurst dates it as
1931 and Kingslake says Warmisham was responsible for the Patent. It may be the lens shown in App068.
But a zoom remained an unusual item until after the war. Then G. Cook developed high quality zooms, and
others included a 16mm 2-20in item by 1946, with others later.
Cooke Varotal/Varokinetal or VarioKinetal
This is a leading zoom lens with resolution of 100 line pairs per mm on axis and usually actually giving at least
70 pairs in the corner of the picture- ie it was something special! And this was throughout the zoom range. It
also had close focus to 0.33m and covered up to 58°, and the f2.8 had a high 80% transmission to shoot at T=
3.1. The zoom was internal, the front glass staying in the same place so matt boxes, filters etc stayed in the
same place. And is rugged, withstanding shocks, or cradles hung on the lens. And the mechanics depend on
rolling action rather than sliding so that they are free from wear. This is all a precis from the brochure but it
underlines what has become a classic movie use item. It is something treasured, used and repaired if
damaged and any have a value as a result. And finally, the brochure shows illustrations taken with one
mounted on a 35mm still (SLR?) camera. Only the price limited sales. In fact, Varotal was sold by the then
Rank Precision Industries, Taylor Hobson Optics, of Staughton St., in several forms. Incidentally, by
brochures 1001-1/381.3M.CMS(Varotal) and 1003-1/381 5M CMS(Varokinetal) which may be March 1981, the
coating was 'Varomag' for especially flare free shooting, even direct into the sun. By then, the 16mm version
was the Varokinetal but note the f1.3 Varotal was also offered.
There is a very high degree of after sales service, with a substantial maintenance manual MP 200-72,
something very unusual among lenses. The one seen covered several types.
(i) For 35mm movie, the basic zoom was front zoom unit type K100/5740 for 5:1 ratio, with rear lens unit
K100/5750 for Academy Frame format 22.05x16.03mm and f2.8=T3.1/20-100mm focus. Others covered were
A100/5760; A100/5761; A100/5762; A100/5763 but it is unclear just how these differed.
(ii) There was another for the Silent Frame, 24.9x18.4mm f3.2=T3.5/22-110mm. The back focus was 87.5mm.
(iii) For 16mm the unit was K100/5740 with rear lens K100/5810 for f1.3=T1.5/9.5-47.5mm on a 10.2x7.4mm
format. The back focus here was 66.00mm.
When the manual was issued, patent cover in UK and USA included:
UK: 1,167,373; 1,261,119; 1,214,341
USA pending
France: 1,560,457.
Lens cleaning was suggested to be by removing abrasive dust with air- draught, or hair brushing only, followed
by wiping with a clean lint free cloth just moist with isopropyl alchohol or distilled methylated spirit followed by
polishing with a clean cloth till free from smears.Later it suggests methyl or ethyl alcohol with 15% added
distilled water as the fluid. These units were and are fully serviced by TTH or their associates.
35mm Sound Frame for 20-100mm, 70-16° diagonal angle, T=3.1-22, 80% transmission, overall length
370mm from image plane, focus inf. to 0.7m, 3.5Kg weight, covers 27.2mm on the diagonal, works down to
4in (98mm) wide field at closest/longest focus.
By the '381' leaflet, it was f2.8 (T3.1) 20-100mm and covered an image diameter of 27.2mm. It weighed 4Kg. It
was then a sealed unit with internal focusing. It was 'new' on the Arriflex 35II in B.J.P. 27/10/1978, p935.
The Varotal listed for Mitchell BNCR in 07/1976 was T3.1 20-120mm at $10,750.oo but may be a version of the
above.
Super Cine Varotal f2.8 25-250mm This was a 10:1 zoom lens, which held focus throughout the range and
worked at T=3.1, for 27.2mm image diameter for 35mm Academy format. Weight 8.15Kg, the increase
reflecting the increased zoom range. (B.J.P. 19/10/1979 p1018)
35mm silent frame for 22-110mm same angles, but T=3.5-22.
These used a 18glass/11component front unit to provide the zoom action, mounted in front of a 5glass/3
component rear fixed unit, and were supplied to fit Arriflex 35IIC and 35BL and Mitchell BNCR and S-35R
cameras as standard, with other fittings made order.
Prices were for metric or imperial scales, with or without filter and included one camera adaptor + support
bracket, manual operation levers and case. £2,000 in Sept 1972. Separate adaptors were £35-50 (Arri-
Mitchell).
16mm version. This was promised with the 35mm version and was to be the fastest 16mm lens in the world
shooting at f1.3 (T=f1.5) with the same quality as the 35mm version. When it came, it was for 9.5-47.5mm (70-
16° diagonal) and again 80% transmission. It was 350mm overall length, 145mm front dia. focused to 0.33m
from the lens front, and weighed 3.5Kg and was listed to fit Eclair NPR and ACL (Cameflex) Arriflex 16BL,
16ST and 16M with others made to order. It is clearly from the weight not something to casually hang on the
front of any old C-mount camera as amateur cameras do not take this weight!.
There was reference to an T2.5 in 9-50mm in B.J.P. 19/10/1979, p1018.
A leaflet on the 35mm and 16mm versions No1001-1/381.CMS lists a Cooke Varotal for 16mm use. This is
likely to be in March 1981 also and here the specification differs again. It was illustrated on an Arriflex with a
lens support in use. These had been previewed in B.J.P. 12/09/1980, p892.
By the 1/381 leaflet above it was Cooke Varokinetal as below. It was a sealed unit with internal focusing.
Later the weight is given as 1Kg in the 03/1981 leaflet from Rank Taylor Hobson, 36, Guthlaxton St, Leicester,
LE2-0SP, UK. At this stage, the foci were:
Type Varokinetal Varokinetal Cooke Varotal
Format 16mm Super 16mm 16mm?
Focus 9-50mm 10.4-52mm 9.5-47.5mm
Aperture f2.2 f2.5 f1.3 (T1.5) to f16 (T16)
Angle 60° 60° 70°
Max Image field 14.35mm 14.35mm 12.7mm
The 16mm was supplied as a complete unit at £2,000: or alternatively a conversion kit was available for the
zoom section to be used on both 35mm and 16mm alternatively. This seems to indicate a seemingly unique
feature that the zoom section was an interchangable unit to fit in front of a prime lens. This was priced at
£400 and probably included adaptors and a new prime lens for the rear section but this is not detailed in the
list.
The B.J.P. 26/12/1080 p1302 mentions a f1.9/25-250mm or 50-500mm anamorphic lens for Technovision,
based on the TV lens and adjusted to cover 35mm format. The TTH were showing a f2.8 20-60mm Cooke
Varo Panchro which they claimed was optically their best yet.
Projection Lenses.
In a note on postwar TTH lenses in B.J.A. 1947, p181, the author gives priority to the f3.5/4in for slide
projection. This may suggest the much greater emphasis then than might now be expected, due to the needs
of education and government. Also that the prewar ATAL series were being extended by enlarging the barrel to
embrace apertures of up to f1.4 and f1.65.
Projection f1.65 This was made in 2.0, 2.5, 3.0in brown coated, for 16 or 35mm projection. (Petzval?). It
was seen at No355,01x brown coated, and 309,18x uncoated. These were in threaded barrel.
Apermax This was noted as f2.0, 5in; f1.9, 4.5in.
Aperful f1.9 5.25in This was a projection lens.
Unifit f1.8 3in This was another projection lens.
Unifit This was seen as a 3.75in f2.1 lens uncoated in plain 52mm barrel at No240,53x
Maximum
Ultimum f1.9 4.25mm in 52mm barrel, this was seen at No289,60x, uncoated. It has been noted in
a list for 06/1938.
Cooke Projectionf1.8 4in This was a Gauss type, apparently for 70mm film. Another is just "Projection" 5in
f2 and also a Gauss 6-glass type, and also marked "Property of Taylor, Taylor, and Hobson, Leicester" but
without a serial number, which may suggest it was on rented equipment, now dismantled. These were high
quality items optically, and probably not movie but inspection equipment lenses.
Fig 020 007 TTH Projection f2/5in Gauss type 'Property of TTH Ltd' Ctd.
TTH Projection f1.5 5in This was a very compact lens from front to back, coated, with rather
pronounced positive curves at back and front noted at No281,77x and it just might be TV related. Thus it could
be a small version of the Scophony-Baird lenses above, and "compact" due to loss of the rear glasses.
Super-Proval f1.65 2in This projection lens was noted on a G.B.-Bell & Howell Model 621 Sound
Projector in B.J.A. 1952, p213. It could be easily exchanged with other lenses.
Fig 021 010 A selection of TTH projection lenses f1.65 2,2.5,3in on left; f2 95, 108mm on right.
Supertal f1.6 2in.
Back Projection f1.8 1.5in.
Catadioptric f0.76 42mm (use is ?)
Afocal adaptor 2x wide angle in 12/1946, possible a prototype.
Antiflare Lens f6.0 6.5in with 30° and very deep hood.
Cine lens f0.8 2in This was possibly for wartime use or Radiography.
Anon 58mm f2.8 This was noted in the Snibston holding.
Anon 100mm f2.0 This just may be the prototype for the lens on the Vinten F95.
Cooke Speed Panchros
A postwar advert for f2 Speed Panchros is by Bell & Howell of 17, Hanover Sq, London W1 in B.J.A. 1947,
p355. It is mainly of prestige interest, but shows a 100mm lens No204,834.
See List above under Panchro for the old and new lists when the Panchro 11 series were launched for
35mm work. Also see the report in the J.Soc.Mot.Pic.and TV 64, p155 (March 1956). Incidentally it does
seem that a small number of aspherics were made both in the old and new series, but one source says
especially in the new although this seems uncertain.
It is worth noting that Rank Precision Industries were UK agents for Arriflex cameras, and naturally
concentrated on them to some extent. But the adverts such as (B.J.A., 1962, advert. p20) did list other
makes, selling lenses for Arris by Angenieux and Berthiot as well as their own TTH Cooke lenses in 16 and
35mm. The 1962 advert. shows some TTH Cooke lens sections but without detailing which is which, but one
8g/7c retrofocus is probably the wide angle Cooke, ?f2.0/18mm.
The demand for Panchros meant that they crossed borders and iron curtains where other items could not.
Thus H.M.R.Souto "The Technique of the Motion Picture Camera" 1982, ISBN 0-240-51123-9 mentions them
as used on the ARK-1A cameras used in the Czech studios at Barrandov and Gotwaldov. This is a modern
studio camera from a State concern.
An older 35mm list (B.J.A. 1955, p42; 1956, p49) has:
18mm f1.7 Cooke Speed Panchro T2
35mm f2.0 Cooke Speed Panchro T2.3
50 and 75mm f2.0 T2.3 Cooke Speed Panchro f2.0
100mm T2.8 f2.5 Cooke Deep Field
and a series of Cooke TeleKinics from 6in to 20in.
A Panavision rental list of unknown date has two sets of Cooke lenses in BNCR mount as follows:
Super Cookes T2.2 as 18mm, 25mm, T2.3 as 32mm, 40mm, 50mm, 75mm, T2.8 as 100mm.
Super Cooke Macro Lenses in BNCR mount as:
T2.2/18mm; T2.2/25mm; T2.3/32mm; T2.3/75mm; T2.8/100mm.
They also listed Cooke Tele Panchro as f4.5/200mm, 300mm.
Panchro III This series seems to be scarce and has only been noted from one set of lenses sold in France. It
is conjectured that they represent still a new generation of Panchros with the latest in coating and mount
technology. Since the Cooke Zooms were well established by then, sales may have been lower than
otherwise.
Kinetal for 16mm in 1950's.
This was the professional 16mm programme.
f1.85 9mm 9g/7c
f1.8 12.5mmsame
f1.8 17.5mmsame This was noted for Arriflex at No688,85x.
f1.8 25mm 6g/4c This was noted for Arriflex at No567,40x.
f1.8 37.5mmsame
f1.8 50mm same This was noted for Arriflex at No636,35x.
f2.6 75mm 5g/4c This was noted for Arriflex at No668,03x.
f2.6 100mm same
f3.8 150mm same
Two Kinetals probably sold about 1965 had Nos 688,65x and 668,03x. B.Pat. 862,416, USPat. 2,942,539 on
17.5 and 75mm lenses (Both on both). These were in Arriflex mount and were a premium product.
Fig 020 026 TTH lenses fitted to Arriflex: Kinetals T2.8 75mm No668,034 and T1.9 17.5mm No686,658; and
Deep Field Panchro retro-fitted for Arriflex, f2.5/4in No282,999.
Vidital
These were made for the Vidicon TV tube size and were for a 16mm diagonal, format 12.5x12mm and were
scaled in cm in place of inches on the Ortal lens series. In Vidital use, the image lies within the glass tube at
a depth of some 0.093mm thickness of glass and the Viditals were designed to take this into account. (Paper
to J.S.M.T.E. 1958, Los Angeles). Otherwise they are rather a match for still 16mm lenses. The designs also
had something in common.
f1.7 20mm
f1.4 30mm
f1.4 50mm
f1.4 80mm
A Vidital seen as 5cm T1.5 is in a deep black barrel, with 8 blade iris at No569,84x and the glass here is quite
brown as it was used for black + white only.
Ortal
These were for Image Orthicon tube TV. UK system of 1.60in. for 405lines and 490elements per line. These
run very parallel to the Panchros in layout and are impressive lenses with iris but no focus movement as the
tube was moved to focus.
f2.0 28mm
f2.8 35mm
f2.0 50mm
f2.0 75mm
f2.8 127mm
f4.0 203mm
f4.0 318mm
f4.0 406mm
f5.6 559mm
Note that TV lenses were designed for maximum image definition at low resolution, rather for maximum fine
detail resolution and to transfer them to eg. the movie world, may not be kind or wise. Ortals seem to be for
black and white work, and the glass can be brown in colour.
Telecine Lens for film to TV conversion f3.0 5.5in (Date and details unknown. One broadcaster was said to
use an 28mm Ortal for this.)
Landmarks
There are certainly important Landmark lenses here. Thus the Triplet and OPIC are very important lenses and
less certainly the fast Gauss designs such as the f1.3, and very likely the inverted Tele are a Landmark, but
the latter two are really hard to find. And certainly the Panchro IIs and Varotals B are major items. It is a
curiously unknown brand to many today, and can trade as a bargain. It was noted that an expert user of high
grade optics in the 1960's gave as a considered opinion when asked to list the world's leading lens makers
that they included Zeiss and TTH, and after that he stopped for a moment to think which to add next.
In buying old TTH lenses, it is wise to be cautious as the very high precision of manufacture can lead to
problems in dismantling and perhaps with fungus. Also note that some of the finest glasses postwar were
brownish in colour and may not be wanted for modern use with colour materials.
Rank/TTH
TV lens f0.96 45mm focus.
Image Orthicon (no date) These were lenses to match the Ortal series.
Monital These were a series from Sopelem (France) initially for Bolex and C-mount but later versions were for
TV and a 15mm f1.3 has no iris scale and no focus action as a result. It is a very impressive lens all the
same. Also seen as a black Monital 17-85mm f1.8 Zoom in C-mount for CCTV with servos.
Fig 021 008 Rank/TTH Sopelem f1.3/15mm CCTV lens. (Made in France).
TTH were part of the Rank Organization at the time when Cinemascope was introduced and Gaumont -Kalee
were involved with them in the production of suitable lenses at the Kershaw works. This is also mentioned
under Wray/Rank Organization.
Cinemascope Lenses Series S f1.9 5.5in
Kalee (Kershaw) f2.2 4.5in.
Modern Items
The current program is from CookeOptics, Thurmaston, Leicester LE4 8PT
A list from Regional Film & Video 07/2000 Vol 4/7 p13 has a set of the new CookeOptics lenses as:
S4 range 14, 18, 25, 32, 40, 50, 75 and 100m.
Chronology
No major study of the numbers and dates of TTH lenses seems to be available, but it is being studied as part
of the Vademecum project. Note the above comment that the RR series seems to have been replaced with
new low numbers at the start of the Anastigmat era. An important date seems to be from a Series II
f4.5/4.25in No117,62x in a dial set Compur No658,876 of 1926-7. In general few TTH lenses seem to be
available in Compurs. A later date to note is that for the beginning of coating in 1942 or 1943, probably for
radiographic, movie and defence lenses with a very light blue ELC coat. (NOC still supplied some uncoated
Trinols early postwar, and then switched to an advanced browner coat, say in 1947. Also note the serial
numbers of Adotals and Amotals in the 1940's, and later Reid lenses.
Incidentally, lenses occasionally are found engraved with "Property of Taylor, Taylor & Hobson, Ltd, England"
as if they were rented in the case of a f2/5in projection lens. A T5.6/8in Telephoto marked "Des. 270.213.x Oct
1949" is more likely to be some sort of prototype eg of a revised Series VIII, especially as there was an iris but
the scale was not engraved.
A rather imaginative Table of chronology might be:
1886 onwards, RR lenses from possibly No100- at least No16,858 and more likely to 20,000 or so by a
statement in 1892. (See 'threads' below.)
1895 say No100 for Cooke lenses: ie. a new series was begun.
1900 possibly No5,000
1914 possible No19,500 on a late prewar N&G Sibyl
(or up to 30,000)
There just may be a break here, possibly for war items in a different field rather than photography.
1918 possibly No71,000 on an AVIAR with bubbly ie early glass.
No92,xxx is on a Medic showing the number series continues.
1926-7 probably No117,xxx in a Compur No658,876.
mid-1920's show early Speedics and Opics at Nos 119,7xx and 120,xxx.
1939 This may be about 250,000
No284,xxx is not coated, but late for this.
1942-3 Coating begins (see Radiographic)
1944 No303,xxx This is an early ELC coated Panchro and TTH coated from 1943?, ie perhaps at about No
290,00 or 300,000 and up.
1947 Adotal at No344,xxx, Roytal at No335,xxx and Amotal at No 298,69x (publicity picture) and 300,xxx
1950 Reid lenses from about 328,xxx.
1965 Kinetal possibly about No688,03x from other lenses on turret.
Few secondhand lenses above No650,000 were noted as yet being available on the secondhand market.
Taylor, Taylor and Hobson is now active in making lenses, but as Cooke Optics, Ltd, following a management
buyout in 1998, and has moved a few miles out of Leicester to a more peaceful village environment. They
featured in BBC's Business Lunch program in 16/11/2000 with MD Mr David Stevens, polisher Mr R.
Prendergast and assembler Mr Broadhurst, the program stressing the long experience of many employees but
also their keeness to recruit a new generation. Learning polishing was said to be up to 6 years experience
while other jobs might take 2 to learn. It was a bright clean new work place but they emphasized that much of
the machinery was irreplaceable old items from the interwar years. They stressed the Hollywood award and
the credits to many of their lenses in well known films. One famous user was Mr F. Hurley (Australia) on the
Sir E. Shackleton expedition (1914), with its famous pictures of the Endurance frozen in the ice.
TTH have extensive archives, but due to the move, these are not at present accessible. As indicated above, an
important part of the output is represented in the collection at the Snibston Discovery Park in the safe keeping
of the County authority
Fig 22 TTH Process Lenses
Exposure: Uncoated TTH Aviar Lens f6.0/8.25in Ser 111B
Back Row TTH Butal f8.0/9.75in.
TTH Apotal f9.0/300mm
TTH Series V f8.0/16.3in.
Front Row TTH Ental Enlarging f4.0/3.25in.
TTH Copying f9.0/6in.
TTH Anon f11(?)/18in.
Fig 23 TTH Large Format Lenses.
Exposure: Kodak f7.7 203mm Ektar.
Back Row TTH Ser 1V f5.6/18in.
TTH Ser X f2.5/6.375in (162mm)
TTH Cooke Telephoto 11in.
TTH Cooke Tele (no iris on this)
TTH Cooke Tele f5.6/15in Ctd.
Middle Row TTH Aviar f4.5/210mm Ctd.
TTH Ser X1 f3.5/6.25in in sunk mount.
TTH OPIC f2.0/4.25in.
Front Row TTH Ser 11a f3.5/7.5in.
TTH Cooke Luxor f4.5/5.75in.
TTH Cooke f4.5/4.25in in shutter.
TTH Cooke W/A 133mm in shuttter.
TTH Cooke W/A in barrel 108mm f6.5.
TTH Primoplane f11/8in.
Fig 24 TTH Lenses ex-MoD.
Left TTH Gauss f1.8/4.0in. ex F95.
Back TTH Telephoto f4.0/12in.ex F95.
Right TTH f5.6/14in (?Aviar?)
Front TTH Gauss f2.0/4.0in. ex F95.
Fig 25 TTH Cine Lenses
Exposure: f2.0 4in OPIC
Back Row TTH Serital f1.9/1.5in. D mount on Bell&Howell cine.
TTH Ivotal f1.4/0.5in. D mount "
TTH Serital f1.9/1in. D mount. "
Rank/Sopelem Monital f1.3/15mm. C mount
TTH TeleKinic f4.5/6in. C mount.
Middle Row TTH Projection f1.65/2in
TTH Cooke Panchro f2.0/2in.
TTH Speed Panchro ELC f2.0/2in.
TTH Speed Panchro f2.0/3in.
TTH Deep Field Panchro f2.5/100mm.
Front Row TTH Kinic f1.5/1in.
TTH Kinic f1.8/1in.
TTH Anon f1.8/1in (Super Comat type?)
TTH Telate f4.5/76mm.
TTH Anon f2.5/0.7in.
TTH Special Cine f3.1/3.5in.(Head only)
TTH Special Cine f3.1/2.25in. (Head only)
TTH Cooke Speed Panchro f2.0/50mm
TTH Cooke Anastigmat Series 0 f2.0/50mm.
Fig 26. TTH Lenses in Brass Finish.
Exposure: Cooke Primoplane (a rather worn example.)
Back Row TTH Series V f8.0/18in.
TTH Series V f8.0(f16) 13in.
TTH Series Vb f8.0/11in.
TTH Series V f8.0/18in.
Middle Row TTH RR f8.0/7in.
TTH Cooke Anastigmat f4.5/6.5in.
TTH Series 111 Cooke 5in.
TTH Series 111 Cooke 7.8in in shutter.
Front Row TTH WAR for 1/1plate.
TTH WAR for 1/2 plate.
TTH Series 111 4.4in Triplet with front cell focusing.
TTH Series 111 6in.
TTH Primoplane Series 111a f6.5/7.0in.
Fig 27 TTH Rank TV Ortal Lenses
Exposure: Wray 8.25in lens.
Ortals are shown as 28mm, 2in, 3in,
5in, 8in and the carry case for 2-8in lenses.

Technovision
They carried a revitalized VistaVision camera for double frame 35mm (ie Leica frame) and for the forthcoming
Star Wars production were likely to use: 20, 25, 50, 85 and 135mm lenses. They also carried Zeiss lenses
20mm f1.4 again with integral anamorphot mounted by Technovision with a BNCR mount. Other lenses treated
this way were 35mm, 40mm, 50mm, 85mm and 135mm T1.4 and a 270mm T3.0 lenses. Put this way
suggests they were all from Zeiss but this is not certain from the report in B.J.P. 27/10/1978, p936.

Tena
This trade name or maker has been noted several times, and just may be a misprint for Jena but the items do
not really seem to be those expected. Thus it does seem to be a real maker or brand.

Teraoka Seiko-sho Co. Ltd., Tokyo, Japan.

They were a small company making spring equipment such as scales and motor driven cameras and used
Plover lenses on the Auto Terra cameras.
Plover f1.9/45mm This was a 6-glass lens.
Plover f2.8/45mm This was a 5-glass lens.
They also used a Zunow f1.8/45mm lens interspersed through production and this just might suggest the
source of what seems to be a bought-in Plover lens. Date was late 1950's, UK sales being noted 1959-1961
and these were quite costly items.

Tercon
This was a brand name listed by Regency Cameras, Ltd of 275 West End La., London NW6 in May 1966.
Tercon f3.5 35mm This seems to be a 5 glass design.
Tercon f3.5 135mm
In fact more emphasis was placed on converters where Tercon 2x and 3x and Vario TeleExtenders were
offered. All options had a wide range of camera mounts available.

Tewe, Berlin, West Germany.

Tewe seem to have specialized in really big lenses at a time when fewer makers had these in their lists. They
also made movie lenses, but again these seem to have been long ones. The results were reported to be
excellent and such big lenses are a real test of quality as they are relatively simple optically but need to be
very well made using high quality glass blanks. Two series are noted:
Telagon f3.5-f5.0 300-500mm Petzval type (Tew001)
The design changed about 1970, as a lens tested in that year was said to be a meniscus- if the comment was
correct, and there may have been confusion with the next type.
Telon f5.0 400-800mm A user for astronomy mentions that a 600mm lens was
"superb" and says "look for an aluminium carry-case."
Telon f6.3-f8.8-f10 1000-2000mm Some or all of these are meniscus lenses for lightness and
high contrast.
Tewe also made a series of zoom finders for 35mm and 5x4 under the name "Polyfocus" over a long period.
The 35mm one may have been 'new' when advertised in MCM July 1951, p460. These are nice items of their
type, and the 5x4 version was sold in the UK by MPP for their cameras. There are some variations in the
exact design.

TeleAthenar, Telesar. These are USA trade names of lenses which did not trade under these names in
the UK.They were in active use in the period 1961-1966. Telesar was used on lenses of 35-150mm.

Telescopic Sights, Binoculars etc.

In times of war, optical ordinance demands mean optical makers have to switch, partly to aerial survey lenses
but numerically far more to binoculars, telescopic rifle sights, spotting scopes, eg of 36x, periscopes and night
vision units, to name just a few. For example note Voigtlaender's Skopar sight and a Beck rifle sight. Gilbert
mentions the general shortage of both sights and men skilled to use them in the UK in 1914. These are not
the subject here, but those interested in sights might look at:
'Stalk and Kill, the sniper Experience' by Adrian Gilbert, Sidgwick & Jackson, 1997, ISBN 0-283-06284-3. It
does not list sights in detail but has appreciable lists of references and lists some detailed texts which should
give details. Few will cover German equipment from the titles however.
Binoculars have their own literature and there are several illustrated books here. Periscopes are probably less
accessible. Most WW1 trench books do illustrate the often simple trench periscopes used however, which
often owed more to carpenters than any more detailed work. However periscopic binoculars do turn up on the
collector market and probably are discussed in books about binoculars.

TeleVue Optics, 100, Route 59, Suffern, N.Y., USA.

This was founded in 1977 in Spring Valley, NY by Al Nagler ((1935- ) who had formerly been with Farrand
Optical working on Lunar Landing simulator optics and trained in optics at City College, NY., and initially Tele
Vue specialized in Ploessl eyepieces and later in original high price eyepiece designs. They also make
refractor telescopes with apertures up to f4.0/5in (dia.) with accessories. (D. Levy, Sky and Telescope,
06/1999). Another account says their products included a f5.5 550mm Genisis lens which was said to be a 4-
glass dialyt with fluorite. They were supplying a select 2.8in Pronto refractor telescope in AD2001 at L847 and
the TeleVue 102 4in refractor at L3,400 and very active.

Tessina: see Concava, Grenchen, Schweiz.

They were makers of the Tessina camera with a Q15 type lens probably sourced outside. This was the
subminiature
for the quality conscious spy, and was used at Watergate although the negsatives were so good
that many seeing the prints thought them to be from 24x36mm negs.
Fig 026 034 Tessina with Tessinon f2.8/25mm lens.

Thomas, R.W., 10 Pall Mall, London SW.

He seems to have been a plate maker and general dealer, carrying a line in lenses in the BJA 1889, p623 et
seq.
Rectilinear or Symmetrical lens, works at f8.0 in 1/4, 1/2, 1/1plate and 10x8in.
Portrait Lens with rack and Waterhouse stops, works at f4.0 for 1/4, 1/2, 1/1plates.
Landscape Lens, in cone shaped mount, for views, etc. works at f8.0, in 1/4, 1/2, 1/1plate.
This was one of the rather few 'cone' lenses noted in adverts.

Thornton-Pickard, Altrincham, England.

Thornton-Pickard were makers of wooden cameras- field, Press and reflex-, and especially rollerblind shutters
which sold as separate items. These shutters are one of the few English items regularly found on cameras
abroad, so it is possible these will be seen in Europe. For example, a Balbreck triplet was found fitted to one.
This gave Thornton-Pickard a close interest in lenses and lens fitting and for many years they listed lenses
with their cameras and shutters, and in some cases these bore their name. It is unlikely they ever made
anything of this sort however. They may have been of English (or possibly French) source as supplies seem to
have been available in 1915 for the 1916 B.J.A. to carry Pantoplanat and Rectoplanat lenses, when German
lenses would not have been available due to the War. The shutters still trade separately or with lenses but now
often need new blinds and other repairs. They could be fitted either in front or behind the lens, and matched
the wooden cameras of the period as they were mahogany cased. Dates are roughly 1890/1930, though the
firm was in business to about 1940.
For the last years, see D. Rendell, B.J.P. 18/07/1980, p679 where the firm was carried on by Mr W.G.Biddle,
Co.Secy. who provided a repair service from an upper room in his mill where stocks of spare parts were kept in
the upper repair room and he did this till his death in the 1950's, when a local firm took it over with a former
employee as the repairer working from home. There is a book on T-P and several articles in the B.J.P.
Some lenses noted aboout 1900-1906 are:
Rapid Rectilinear f8.0 5.5, 9.0, 9.5, 11, 13.5in (TPI 001) These were sold with an iris in
1900-1906 at least and were good all-round lenses and 5.5in was suggested for 5x4. They were supplied in
two grades, Ruby was the higher priced one and Amber was the lower cost one. There is no mention of Jena
glass being used in the design and one at auction on a 1/4plate Amber camera seems to have been
unnumbered. This may seem complex but it is possible that the two grades were sourced from different
makers at different prices.
Fig 008 044 Several branded lenses with the camera maker or shops' names(l to r) Taylor,
Thornton-Pickard, Tomkinson, and (r) Underwood, all about f8 RR types.
"Crown" RR This grade was noted as a stereo pair at Nos 202/203.
Telephoto Attachment: this was made for the RR above and was the MPRO type. It was also sold by other
firms and confirms that Thornton Pickard were acting as agents in the sale of lenses. Actually these
engravings were only part shown in the engravings, the whole being as follows:
R.O. Extension of camera required
M.P. The number of times the object photographed is enlarged with the above extension.
Eq,F. Equivalent focus of lens required to give the same enlargment without the Telephoto attachment.
S.C. Size of plate covered. It was supplied in 1/4, 1/2, 1/1 plate sizes.
Ruby Convertible Lens This was "with Jena glass and iris". It was supplied in 1900 as TPI002 type so it
was probably another RR. The aperture of f6 might suggest a European maker perhaps.
f6.0, 5in; f6.5, 6.5in; f7.0, 7in; f8.0, 8in; f8.5, 10.5in, 13.5in, f9.0, 18.5in.
Wide Angle Rectilinear to match the RR above.
f11, 4.0, 5.5, 7.0, 9.0, 11in in 1900. It was suggested to use 4in for 5x4in. in 1906. One was noted at No890x
on a 1/2plate T-P wood and brass Ruby field.
Stereo Lenses Three types were made in the period above. Again these were in different grades, Amber,
Ruby and Ruby Convertible as above. An 'Amber' has been noted at auction as No12x on a 1/2plate
camera. See also Crown above.
Other brands were TTH Cooke f6.5, Zeiss-Ross Convertible Series V11a.
A later list suggests that Beck were major suppliers and some lenses were actually marked TP-Beck. Little
change in the list was noted from 1900-1905, and often the customer was offered a package of a camera such
as a Ruby Hand & Stand with a TP-Beck lens ready fitted. (Personal recollection, from Mr C.G.Crump). Later
the lenses were in shutters with Beck as the only name but the package tended to still be the one purchased,
and memory was that it was a good one to the buyer.
Panoptic It was noted in 1905 list.
Rectoplanat This was noted in 1912 on a 1913 Imperial Plate camera. One in brass has been noted at
auction.
Anastigmats and later products
Ruby Anastigmat Series 11, This was now an f4.5 and in 5.375, 6.0, 7.125, 8.25, 9.5in focus. It was
suggested to use 6in for 5x4. The foci chosen suggest a European maker in metric sizes and a complex
conversion to inches for sale.
Ruby Anastigmat Series 111 f6.5 Here use 6in for 1/4plate and 5x4.
Ruby Anastigmat f6.8 in 1910. This was now in 5.0, 6.0, 7.5, 8.0, 9.5, 10in. (TPI 003)
Pantoplanat f8.0 RR type Here it was suggested to use 5.5in for 5x4. The example seen was a typical RR
and seemed to be by Beck. Another was a 8 or 9in f8 RR type lens. Neither had a serial number.
Gun Camera This was used in training in WW1 and after; and seems to have used a Dallmeyer lens,
probably a longish RR but a f8.0 12in Tele has also been reported. It is illustrated in Conyers Nesbit's book,
page 45, but without detail as to the lens.
T-P made many aerial cameras in WW1 such as the A type (from March 1915) with a Zeiss Tessar lens,
and seemingly the later C type. These were brass-bound wood, coned, with Mackenzie-Wishart plate
backs.The next in the series was metal and possibly a different maker.
A special item was the Ruby Speed Reflex with the f2.0 Cooke OPIC lens- a truly rare item, which is
described under TTH above. (1920's).
Thornton-Pickard/Beck Symmetrical This was noted on a T-P tailboard at auction.

Threads, Lens mounting.

There was some sort of informal agreement on threads in Victorian times, many coming in a 1.5inx28TPI
thread, and also a 2in one- but with serious problems of standardization so that fit is not to be relied on. (This
was probably due to Dallmeyer and Wray adopting a older Ross thread.) And many other threads were used,
eg. by Lancaster and Swift who had different standard sizes. By B.J. Photo. 25/05/1888 p331, there was a
demand for a Committee to look into a better and more standardized thread. The Photo News reports a
meeting on standards in 02/05/1890 p341, and says diameters of 1.5, 2.0, 2.5, 3.0in and 24 threads per in,
and then in 1in steps with 12 threads per inch, with the supply of adaptors to take smaller lenses into bigger
mounts were considered. The meeting included Mssrs Taylor, Beck, Swift, Dallmeyer, and others. By the next
meeting on 27/06/1890 p501, some 200 copies (an interesting figure!) of a circular with the suggestions had
been sent out to opticians in London and some 10 or 12 responded at a meeting. One point was that A.Ross's
smallest size was widely used and was about 1.5in (and the next 2in) and Mr Dallmeyer offered to find out the
exact specification (diameter, thread and pitch) for it, as some 100-120,000 lenses had been made in that size
by then. (Dallmeyer was a major international figure, and his figure of c.110,000 is a considered and useful
one, but will represent a considered estimate of the small lens market, ignoring Petzvals and other large
lenses.) The next meeting reported in 27/06/1890 p502, when Mr Dallmeyer announced that Mr Ross's 1.5in
was actually 1.513in and his 2in was actually 1.98in. Thus they were not really 1.5 or 2in as claimed. Add in
that other houses had no access to the originals, and relied on fitting their lenses to flanges purchased from
Ross's and that these were not of hardened metal and wore while in use, and the cause of the general lack of
interchangeability was obvious. After discussion, the meeting agreed to keep to inch sizes, in 1.0, 1.25, 1.5
and then by 0.25in increments to 2in and by 0.5in to 4in, and chose a 55° thread angle for ease of getting
Whitworth tools, and a rounded top to avoid binding if the thread were bruised, and finally chose a pitch of 24
TPI up to 3in, and above that 12 TPI with a series of adaptors from one to bigger sizes. (The 24TPI thread
would involve a deeper thread cut, now more acceptable as power machinery would probably be in use, as
were thicker barrel walls to accept it.) Notably it was Mr W. Taylor who discussed the gauges to maintain the
required standards subsequently. Essentially this confirmed and extended the existing RPS standards, which
were for 1.5, 2.0, 2.5, 3.0, 3.5, 4.0, 5.0in and had already been in use by Newton and Co, Reynolds and Co,
Suter, TTH and the London Stereoscopic Co. This is an interesting list as it suggests TTH were trend setters,
and it includes 2 names, Newton and Reynolds now largely forgotten, and a foreign make. (See also Amateur
Photo 29/12/1893, 05/01/1894) In the latter TTH say they prefer to cut the threads with a rather sharper bottom
than Whitworth so that contact with the other thread is only on the sloping thread wall and has less risk of
jamming, and bruising has less effect. They also initiated the use of a square cut end to the thread to engage
easily, and took in older lenses to retrofit this end. They mention some 20,000 TTH lenses as possibly
needing this change- this may be their production to that date. (also Amateur Photo 02/09/1892, p160).
In Europe, threads persisted as a different, partly metric series without so much standardization, except that
the Deckel/Compur shutters forced a standard in some respect on their cells and flanges, but makers were
slow to adopt them otherwise. The Leica used a metric diameter, 39mm but apparently a Whitworth form and
pitch of 26 TPI perhaps due to tooling supplies. Many European firms were using machine tools made in the
UK and used a mixture of metric diameters. and inch pitches as a result. Thus in remaking flanges, it is worth
considering the use of Imperial Whitworth tools even when the actual diameters are metric. This ceases to be
true later on- thus the later M42x 1mm was a truly metric thread and there will be others. Filter mounts are
normally in metric sizes and bayonets tend to be based on metric dimensions with corrections to allow
clearance to fit and turn.
Thumier and Wittenberg
A "Conar" doppel anastigmat of f4.5 135mm has been reported as of their make.

Tiranty, 103, Rue Lafayette, Paris, France.

They were long term members of the photographic world, and Transpar lenses were made or sold by them
about 1921-1922 in B.J.A. adverts. (B.J.A.1921, 755; 1922, p756 advert.) These are interesting as they are
Q15 type but with the cemented doublet at the front. They have not been seen. They also sold Huet lenses on
a stereo camera. Later by 1954, they seem to have become Societe Kafta. No details are available but the
later Transpars were:
Transpar f4.5/105mm on a 6x9cm Transpar folder (1953) There must have been other foci surely. The
cameras were offered at 3 prices mounted in Copper, Fr2070, Nickel Fr2160, Silver Fr2520. These are for the
body finish and it is not known if the lenses varied as well, but copper was used on some French lenses.
Transpar f6.3 (no details) This and the f4.5 were fitted to the Tiranty Verograph stereo as options to
Tessar and Stylor.
Transpar This was noted as an f4.5/80mm on a Banco by Kaftax, Kaftanski's postwar rollfilm camera for
6x9cm made in France.

Toko Photo Co, Japan.

They were makers of a 16mm camera mounted on a binocular pair- which was made under the names
Cyclops and Teleca, both with Telesigmar f4.5/3.5in lenses. Some serial number are lens Nos are 11,48x
(2x); 11,94x, 12,90x; 12,97x, 19,71x, 19,74x and 20,16x.
Also Tone anastigmat f3.5/25mmon a Toko Tone 16mm camera.

Tokyo Optical Co = Tokyo Kogaku, Tokyo, Japan.

It seems that they were later amalgamated with Toshiba.
We thank Mr D. Evans of Yorkshire, UK, for additional information here. There is also a useful review of
Topcon by I.J.Matanle in Am. Photo. 14/04/2001.
Initially they made a limited range of Topcon lenses for M39x26, followed by SLR lenses for Topcon cameras-
still a very impressive range but hard to find. Other brands seem to have included Primo, Minion, Laurelflex,
Topcoflex, and Horseman (see Horseman).
Toko lens Noted as an f3.5/4cm on a Minion 35B for 24x32mm (Made by Tokyo Kogaku early postwar).
Simlar f3.5 75mm on Laurelflex
(A) M39x26 mount Lenses.
Topcor f2.8 35mm 1961-1965 approx.
Topcor f2.0 50mm same
Simlar f3.5 50mm 1950's These are found on Leotax and other M39 bodies and seem to be
unnumbered. A numbered one was No565,70x.
Simlar or Topcor f1.5 50mm This was noted on a Leotax No305,46x at lens No151,68x, and 152,04x.
No151,18x and 151,38x were Simlars.
Topcor f3.5 50mm This was as rigid or collapsible mount for Leotax. It was noted at No580,01x.
Topcor-S f2.0 5cm This was noted on Leotax. Noted at No220,00x.
Topcor f1.8 50mm
Topcor f2.8 50mm
Topcor f3.5 90mm
Topcor f3.5 135mm
(B) For Auto 100
See Modern Photo. 07/1965, p80. This was a leaf shutter camera, and not one with Exacta fitting. These
lenses are quite common and cheap but the RE is the series of serious interest and the UV ones can be
confused too easily. It is suggested to avoid these unless a camera is in the set as it is a unique fitting. The
number of glasses was in a May 1972 advert.
UV Topcor f4.0 28mm 6-glass
UV Topcor f3.5 35mm 6-glass
UV Topcor f2.0 53mm on Auto 100 in 1965. 6-glass.
UV Topcor f2.0 50mm (1968)
Hi Topcor f2.8 50mm on Topcon IC-1 (1974)
UV Topcor f4.0 100mm 5-glass
UV Topcor f4.0 135mm 5-glass These were in a black and chrome mount with big female bayonet.
UV Topcor f4.0 200mm 6-glass
The Modern Photo review was very favourable with many "excellent' ratings.
also f3.5, 35mm; f4.0, 100mm; f4.0, 135mm.
AM-Topcor f1.7 55mm These were now for Pentax K mount on 135 TTL SLR in 1979.
Topcon PR
This was an earlier (?) leaf shutter SLR with a f2.8 4 element High Definition lens, and auxiliary converter
lenses for f4/37mm and f4/95mm in June 1960.
(C) SLR Programme.
This seems to be for an early SLR set. [At that time the release linkage went to 9.30 o'clock and the lenses
were fairly compatible with Exakta- later they used an external trigger and became quite incompatible- it is
possible to use Exakta-fit preset lenses on Topcon with TTL metering but they really became separate
systems when the external trigger was introduced. Thus it is not really useful to an Exakta owner to obtain a
late Topcon as an update camera.]
Matanle above recognizes several periods of lens, (with possible carryover of optics into new type mounts).
(1) Auto Topcor type with external release, for c.3 years 1957-1960 incl. f1.8/58mm, f2.8/35mm, f2.8/100mm
f3.5/135mm, some being also in semi auto mounts. These included the f2.8/300mm.
(2) Internally coupled for the Topcon RII as F Auto Topcor to 1963.
(3) A really new RE Auto Topcor series came in in 1963 and sold to about 1970 for RESuper, RE-2 and Super
DM/D. These were in f4.0/20mm to f5.6/500mm. These were initially in full bright satin chrome, later in black
finish.
(4) The late Super DM used GN lens for guide number, and the standard lenses changed to 50mm. Matanle
quotes the f4/20mm, 25mm, f2.8/100mm and f5.6/200mm as lenses he has used and liked. This confirms the
compilers high regard for the series.
Topcor-S f1.8 58mm Price £53.6 in 06/1960
A-Topcor f1.4 58mm This is a particularly impressive looking lens. It has multicoloured coatings at
No1,126,93x though these may relate to the type of glass rather than the coating technology? Coded RE
Auto-Topcor
Macro Topcor f3.5 58mm This was noted a white finish lens with a black ring (grip?) for close up and
bellows use.
A-Topcor f2.0 50mm
A-Topcor f2.8 35mm Price £53.6 in 06/1960 The example seen was an RE Auto-Topcor at
No7,404,40x and this seemed to give an excellent image on screen. The front surface was slightly scratched
and this underlines that this series are not very deeply sunk and can be exposed to damage.
R-Topcor f3.5 90mm
A-Topcor f2.8 100mm Price £67 in 06/1960.This was seen as an RE Auto Topcor at No7,508,85x.
Coating matched the 135mm lens, but with more brown surfaces.
R-Topcor f2.8 135mm
R-Topcor f3.5 135mm The one seen has a extending 2-section hood at No7,609,85x in white and
black barrel. In camera, the image looked very fine. It seems to be a 1+2+i+ 1 design, in purple coating. It was
coded RE Auto-Topcor.
f2.0 135mm Listed June 1960 at £127.
R-Topcor f2.8 300mm This was about the first at this aperture for 300mm and must have been
exceptional when it was first sold. It is big, heavy and fitted in a too-small bayonet which could vignet, but later
was also offered in other mounts such as Canon, Minolta and Pentax where the mounts were larger and
vignetting less apparent- and may have resulted in other makers developing competing products too, so the
Topcor may have been a trendsetter for big fast lenses. (for a note, see Modern Photo. 02/1977). Price £301 in
06/1960.
A Topcon RE Super actually has RE Auto Topcor f1.4/5.8cm No1,126,933; RE GN Topcor f1.8/50mm
No15,802,927 in mainly black mount; RE Auto Topcor f2.8/35mm No7,404,40x; RE Auto Topcor f2.8/100mm
7,508,85x. The f1.8 seems to be a later design, where GN may be a flash guide number and this is suggested
also by an extra scale in GN numbers. Finger grips are black rubber with straigth knurling on the RE and
diamond on the RE GN. The rubber here seems to be lasting in good condition so far. These are lenses with
normally a striking black+white finish, many for 49mm screw fit or 51mm push-on hoods, filters, etc.
Fig 033 035 Topcon Super lenses RE Auto Topcor f1.4/58mm, f2.8/100mm; f2.8/35mm; RE GN f1.8/50mm.
Fig 033 038 Topcon Super Bayonets
By 1965 the list added:
f3.5 25mm f4.0 135mm (about 1963)
f3.5 35mm f5.6 200mm
f2.0 53mm f2.0 135mm
f4.0 100mm f4.0 200mm
xxx 500mm f5.6 500mm
(D) See note on the lack of compatibility with Exakta above.
Auto Topcor f1.8 58mm This specification was seen as a lens well later than the RE Auto lenses
above, as a RE GN Topcor in black with a thin white edge only at No15,802,92x. The grip is diamond marked
black rubber.
R-Topcor f2.8 50mm
R-Topcor f2.0 135mm
R-Topcor f3.5 135mm See above as RE Auto Topcor.
R-Topcor f2.8 300mm
Auto-Topcor f2.8 35mm See above as RE Auto Topcor.
Auto-Topcor f2.8 100mm
R-Topcor f3.5 90mm
(E) Other Tokyo Optical made several series of cameras from about 1938 and fixed lens cameras include the
following lenses:
Toko f3.5 60mm on Minion 4x4 (1938) and Minion 35 (1948).
Simlar f3.5 75mm on Laurelflex 6x6 (1951)
Topcor f3.5 75mm on Topcoflex (1957)
Topcor f2.0 44mm on Topcon 35-L (1957)
Topcor f2.8 60mm on Promo Jnr 4x4 (1958)
(F) The last series may be in Pentax bayonet as B.J.P. 23/03/1979 p269 mentions that Topcon were
launching such a camera with f1.7/55m AM Topcor lens. Other lenses were f2.8/28mm; f2.8/135mm;
f3.3/200mm; f3.5/4.3 35-100mm Zoom; f3.5/4.5 28-50mm Zoom. There had been doubts whether the bayonet
could be protected by a patent but this seems to have been obtained. (B.J.P. 09/03/1979 p233).

Tokina, Japan.
An advert. in 12/10/1977 listed:
f3.5 17mm
f2.8 28mm
f2.8 35mm
f2.8 135mm
f3.5 200mm
f5.5 300mm
f6.3 400mm
f3.5 35-105mm
f4.4 75-260mm
f3.5 100-300mm
f4.5 90-230mm
f3.5 70-210mm
f3.5 70-220mm.
These could be used on most Japanese makes of SLR at the time.
The other lists seen are late, from 1989-1990, and are much involved with a major series of Zooms. There were
three series, AT-X, AF, and SZ-X . Prime lenses in both lists are :
Tokina SL17 f3.5 17mm 11g/9c This was a rectilinear wide angle (See Amateur Photo
08/07/1989) It was a way into this wide field for many budget customers at the time, and was for 103°.
Tokina SL24 f2.8 24mm 7g/7c for 84°.
Tokina SL28 f2.8 28mm 5g/5c for 75°.
Tokina SL400 f5.6 400mm 8g/5c for 6°.
Tokina 500 f8.0 500mm Mirror
Doubler- a teleextender.
ATX lenses
A group of 35mm Tokina lenses was reviewed by G.Crawley in B.J.P. 04/12/1996, p14 and it was noted that
Tokina uses Hoya glass. He noted that other-brand makers now had to match the camera maker in precision
for auto lenses and that these were very good. They were felt to offer a high standard of optical desin and
production.For Tokina, a new era began in 1981 with the ATX lenses. He reviewed :
f2.6-70mm 28-70mm
f2.8 80-200mm
f4.5-5.6 80-400mm
Others not seen were:
f4 100-300mm
f3.5 17mm
f2.8 100mm
f2.8 300mm
f4 300mm
f5.6 400mm
Non-AF ATX lenses included:
f2.8 80-200mm
f5.6 150-500mm
f2.8 300mm
The SZ-X series had 5 zooms:
f3.5-6.3 28-200mm
f2.8 17mm
f2.8 28mm
f5.6 400mm
The 17 and 400mm were older designs without the gold ring which showed current designs. Other older AF
series lenses were:
f3.5-4.5 20-35mm
f2.8-4.5 28-70mm
f4-5.6 70-210mm
f4-5.6 75-300mm.
A Tokina Millenium list is as follows:
f3.5 17mm 11g/9c ATX Pro
f3.5-f4.5 19-35mm 13g/11c apo IF
f2.8 20-35mm 15g/11c aspherical design ATX Pro
f2.8 28-80mm 16g/11c ATX Pro IF
f3.5-f4.5 28-105mm 15g/11c IF
f2.8 80-200mm 17g/11c ATX Pro apochromatic
f4.5-f5.6 80-400mm 16g/10c ATX apochromatic
f2.8 100mm 11g/10c ATX Macro IF
f2.8 300mm 9g/7c ATX Pro
f3.5-f5.6 24-200mm AT-X zoom 15g/13c When issued in Oct 2000, this was a new extreme in
wide-to-long lenses as till then the norm was 28-200mm. This was the result of the use of aspherical surface
(s?) and Super-Low Dispersion glass.(K. Ruffell, of Introphoto, to Amateur Photo., 21 Oct 2000 p4)

Tower. This seems to be a trade name of Sears-Roebuck in USA. It was used on cameras as well as the
lenses attached to them and these noted were 1950-1969 items, especially 1961.
Tower f3.5 35mm
Tower f3.5 105mm
Tower f3.5 135mm

Tomioka, Japan.
It seems that Yashica amalgamated with them in 1969.
Tominon f1.8 50mm in M39x26 for Honor camera.
Tominon for Polaroid. (?127mm f4.5)
Lausar f2.8 45mm on Fodor 35mm camera, and Taron 35.
Lausar f3.5 85mm on Ehira Six
Yashinon f2.8 60mm (The relation to Yashica needs to be studied here.)
In 1979 Osawa carried a series of Tominon enlarging lenses, which seem both familiar and impressive. They
were coded Osawa Tominon EL. Sizes were:
f3.5/40mm w/a; f4/60mm w/a; f2.8/50mm; f4.5/75mm; f5.6/90mm; f5.6/105mm; f5.6/135mm. All were in M39
screw mounts. The sole UK distributer was Pelling & Cross, and it was noted that the maker was a subcontracter
for some of the Contax lenses. (B.J.P. 24/11/1978p1017). There is a similar but slightly longer note
under Osawa. That seen seemed a nice bargain at a modest price today.

Tomkinson, W.H., 81, Dale St., Liverpool, UK.

They were vendors or makers of a "Practical" magazine camera for 1/4plate and 5x4 in the 1890's and are
noted for 2 brass RR's, eg No 480, of about 6 for 1/4plate and 11in f8, ie not for 1/4plate. One is coded
"Practical" and this may be a Trade Name on all their equipment. The owners name was apparently Mr
H.Stevenson.
Fig 008 044 Several branded lenses with the camera maker or shops' names(l to r) Taylor, Thornton Pickard.,
Tomkinson, and (r) Underwood, all about f8 RR types.

Traill-Taylor.
He seems to have forseen the telephoto lens ("We long ago used one of the barrels of a 12 lens opera glass
but felt dissatisfied on account of the very small field covered.") and written about it in 1890 approx., and have
suggested modifying lenses to increase the range of foci by introducing a barrels modified to take low power
lenses in the middle. He was Editor of the B.J.P. for many influential years and his book on lenses has much
useful information.

Treatment after Purchase

Lenses are extremely difficult to repair!
This is something which one learns from experiences in buying and owning them, and is a factor which must
be considered on purchase: otherwise, the buyer will often be stuck long term with the defects in the lens at
the time of purchase. Thus there is a premium on care in purchase so that the buyer is not left with
unexpected faults which cannot be corrected. One aspect of this is cost- anything or nearly anything is
possible but at a price but sadly very few lenses are sufficiently valuable to make repair worthwhile. Or
alternatively it can be said that very often the vendor prices a lens so that after the repair bill, it will have cost
more than an example without faults. Thus there is normally an advantage in seeking the faultless lens.
This situation arises largely from the skill and experience needed to dismantle, rework and reassemble optical
parts. Few lenses are designed to make it easy to do this work, and few optical workers chose to do this type
of work. Now add in that lenses have changed substantially in their details over the last 160 years and the
repairer may be faced with successive lenses from quite different makers, dates and designs and the
problems become apparent. This section deals first with the things to look for in purchasing a secondhand
lens, and then at some of the work which can be done simply and safely at home- and finally at a few more
complex options. But it does not cover optical work on lens surfaces, which is thought to be a job for a
professional.
Examination on purchase
When a lens is seen for the first time, it is probably best to begin by trying to give it a quick look all-over
basically to decide if it is "as new" or "well used" and if so, how well it has been treated. Worn or chipped
paint will be a giveaway on many lenses as will be scuffing on alloy or lacquered brass. But some chrome
plated lenses have kept their looks remarkably well through generations of use and can be misleading in this
respect. This basic wear is difficult to correct as the lens would have to be dismantled and the old finish
stripped off before refinishing it, which makes it a complex and expensive job. The exception may be some
brass finish lenses where a lot can be done by cleaning and relacquering at home. (see Brass section). This
is the time to check for any dents or flats knocked on the mount. They may not affect the performance but on
the barrel they are hard to remove without leaving a trace or worse. The filter threads often show flats from
lenses being dropped. Makers probably design these to give on impact, acting as a sort of shock absorber or
'crumple zone', so that the rest of the lens may be undamaged- it often is- but the filter ring will need to be
pulled or knocked out. And note that it is seldom possible to do this perfectly, there is usually some rippling
of the finish afterwards and the screw thread inside is often hard to use. Two points are to always remove
filters on lenses while examining them as they are often fitted to cover such damage: and that in use a push
on filter can be a good answer to a damaged thread if the lens can be purchased at the right price. Equally
there can be damage to the mounting threads or bayonets at the body end of the mount. Thus it is wise to
carry a camera body of the right type if the purchase of a matching lens is expected. Faults can be wear and
crushed threads in screw mounts and wear and impact damage on bayonets.
Next try to check the mechanical actions of the iris and focusing movement. The focusing should be smooth
and without sloppiness. Often on old lenses, the grease has become hard and needs to be replaced. On
expensive miniature lenses this may well be a job for a professional repairer. But on simpler types such as
lenses on old Press cameras it is usually possible to soak the movement in dismantling fluid and after
cleaning, reassemble with fresh grease. Now check the iris. The blades should close easily, to give a neat
round or hexagonal spot when at the minimum aperture. Defects can be worn blades with shiny areas due to
friction, or ones which are bent or even missing which show up when closed down. These are serious faults as
new blades are seldom available to replace imperfect ones. In the old days, a repairer would shape a blade
from a broken lens and rivet in new pins as needed but it is hard to get this done today.
Now the real question is always the glass. It may have suffered in several ways: look for scratches (very
common!) or chips (less common) or defects in coatings where the coats has been stained or rubbed off- early
coats were very soft compared to modern ones. And dirt, which can range from specks of dust which are easy
to remove to a hard and adherent grey cloudiness. And especially for mould which can spread all over a lens
leaving a fine network etched into the surface of the glass, which has a drastic effect on contrast since so
much of the surface has been eroded. And finally for the haziness which too frequent polishing can give, as
the whole surface is rubbed till the original finish is destroyed. This is hard to distinguish from haziness due to
a film of dirt, but dirt can be removed but wear will need repolishing. The lens cells on big format lenses should
unscrew from the shutter or barrel, to allow access to the shutter for repair and for cleaning the inner lens
surfaces. It is a definite fault if these are stuck in as commonly has happened. This can suggest a damaged
or damp affected lens or just one which has not been opened for many years.
The more modern coated lenses present their own problems. Today the coatings are hard, often harder than
the glass to which they are applied. But in the early years the coats were very soft and could be easily
damaged, sometimes rubbing off with a duster. As a result they are often marked and this should be noted.
Such damage will show up in the beam of a torch and can make old coated lenses less desirable than clean
untreated ones. Incidentally, a few light marks called "sleeks" are probably forgivable, but in general marks on
coatings have the same effect as scratches on glass.
Another point is the presence of a mounting flange. Older lenses were originally attached to wooden panels
by screwing them into brass flanges fixed to the panel. The flange should be sold with the lens on old items as
there are an almost unlimited number of versions of them and it is harder to reuse a lens if the flange is
missing. There are some pointers here:
(a) Old English lenses up to about 1880 came in fairly fine threaded flanges but many were in 1.5 or 2.0in
flanges which were roughly standardized between Ross, Wray, Dallmeyer and Taylor, Taylor and Hobson
lenses as well as some others. Thus there is a fair prospect of a match here.
(b) After 1880, the English makers tended to use 24TPI threads in a rather wide range of sizes so the problem
is limited to finding the correct diameter but the thread is probably standard up to quite large sizes.
(c) Compur and Copal shutters use standard threads and flanges are available from the makers, though care
would be needed with older shutters and some old sizes here. Some other lenses have used the same
mounting threads but this is not very common.
(d) But there are many exceptions and here a new flange will have to be made with the trouble and expense
this involves.
(e) There are a wide range of modern fittings used in miniature cameras, where some are easy to match but
others are rapidly dropping into obscurity. The makers name on the lens may suggest the mount, but there
are pitfalls as with the Canon lens for the Reflecta which fits no other camera satisfactorily.
It is stressed that the fit should be checked. Dealers can be optimistic as to whether threads match and have
a tendency to screw lenses into flanges where the fit is surprisingly poor- half a turn and it jams suggests the
wrong pitch rather than the right flange! What is needed is a smooth action and several turns till it screws up
tight.
Waterhouse stop plates are another item to seek. If an old lens has a slot for these, there should either be a
set of stops or at the very least, one useful one, but these are usually missing today as they were often stored
separately or left behind on some ancient expedition. This also applies to the older washer type stops which
can be harder to replace.
Easy Homework.
Lenses from shops or private vendors may be clean and polished, but many old lenses are covered in the
grime of many years of neglect and careless storage. The first job may well be to clean the mounts with a
duster to remove as much of this as possible, working over some old newspaper in bad cases. It may be
useful to damp the duster with water or a little dismantling fluid to soften the dirt, but do not let water penetrate
inside the lens as it can be hard to get it out again. It may be wise to unscrew the lens cells next to give them
separate attention, noting how they will go on reassembly. Once the mount can be handled without spreading
dirt, the glass can receive attention. Here the intention is to clean it as gently as possible, but to obtain a
really clean surface as this does help prevent later problems with mould and abrasion.
(a) The mildest way for removing loose dust can be compressed air or a soft brush. A brush can be improvised
from paper towelling by rolling it up and tearing it in two to leave soft hairy ends. These pick up dust well and
can be renewed by retearing the paper. The idea is not to rub dust on the glass as many dust particles are
sharp and abrasive and scratch lenses easily. Never use a dirty paper or handkerchief as the dust embedded
in it will scratch.
(b) There is often grease on a lens, from finger prints and dandruff. It will come off with the paper towel, but
more easily if it is just damped with an organic solvent such as white spirit, lighter fuel, isopropanol or alcohol.
(DANGER! There is risk of fire- work safely in a well ventilated place, without naked lights. Do NOT smoke.)
Check that the solvent does not leave its own residue by letting a drop dry on a clean sheet of glass before
use. As little solvent is used as possible to avoid damage to paint work round the glass and on the mount.
Once the dirt is removed the glass can be polished with a soft cloth or clean tissue. Isopropanol may have a
good effect in killing moulds by desiccation as well as cleaning well. Some fluids for cleaning spectacles are
to be avoided as they contain silicone oils to prevent condenstion and leave an oily smear on lenses which is
hard to remove.
(c) There have been several uses of adherent (ie sticky) films to remove dirt. One type uses a solution which is
painted on the glass and allowed to dry before being pulled off to leave a brilliantly clean surface. It works
excellently but failed to remove some very hard deposits on old lenses and can require care round the edge of
a lens. Older ideas were to press wrapping or masking tape onto the glass and then pull both it and the dirt off
together- it normally works well but it would be worth checking ahead that no residue is left on the glass and
removing coarse particles before they can be pressed against the glass. It may be worth then using treatment
(b) above.
(d) There are old optics which remain grey and clouded after all these treatments. A desparate last resort
(apart from a trade repolishing!) just might be the following. The glass is smeared with metal polish such as
Brasso Duraglit and the polish allowed to dry without being rubbed. The polish is then wiped off very gently and
the glass only polished after all the polish has been removed. This can leave a bright clean surface where
other treatments have failed. It is thought that polishes contain special components to dissolve oxidized
metals and solvents to loosen waxes, and combined these can do an amazingly good job. Coated lenses have
been cleaned this way without removing the coating so it does not necessarily change the surface curve but
note that any serious rubbing or polishing will destroy the purity of the surface and destroy the lens- it is a
treatment of last resort. It is conjectured that on some uncoated lenses, the grey layer is partly metal salts
which have leached from the glass onto the surface and absorbed dirt, but which are chemically sufficiently
like metal corrosion products to be dissolved under these conditions. Lenses treated successfully this way
have included Meyer Doppel Anastigmats, Ross Xpres and a Beck Isostigmar. They are normally 'new' glass
lenses, as the Victorian glasses were much harder and resist wear and damp well- to the extent that moulds
on them often can be cleaned off completely, without leaving marks on the glass.
It will be necessary to unscrew the cells for access to the inner surfaces and it is wise to note carefully how it
was assembled as parts come out so they can go back in the same order. With some brass lenses the clue
may be that the rear cell is matt black on the outside while the front is brass of glass paint. In other cases
such as Voigtlaender Petzval lenses, the front and rear cells have different threads so that confusion is
impossible. And some of the old lenses have a small shade or flare ring machine integrally with the front cell
or screwing onto the outside of it, and then it is obvious. Many older RR and anastigmat lenses will require no
more, but more modern designs will often have air spaces within the cells which may need to be opened and
cleaned. An example is the Zeiss Tessar where removal of the front cell needs to be followed by unscrewing
the rear of the cell to get at the interior- which is normally quite straight forward. Other Q15 type designs can
use a different approach where the front engraved ring has to be unscrewed before the front glass can be
tipped out and the inside cleaned. This is rather more stressful for the owner, and care and a dustfree room is
really needed to ensure the glass goes back neatly in its socket for reassembly. It is about here that many
owners prefer to seek a repairer! With others, it is important to make sure the glasses go back in the correct
direction. It is rather easy to take the rear of a Petzval apart and forget which way round the glasses shoud sit.
One answer is to put a small bits of masking tape on the outside surfaces before dismantling. Another can be
to refer to the diagrams in this book on reassembly. It is worth noting that a definite proportion of lenses traded
are incorrectly assembled by previous owners fiddling with them, so that a lens which is hopelessly "soft" may
merely need to have the glasses turned round. Examples have been Dallmeyer Dallac, Beck Isostigmars and
one man who purchased a whole box of Leitz Projection Hektor lenses, where a user had tried to clean them
without learning how they should be reassembled. Here the new owner made repeated trials until he found the
correct order and rebuilt the collection successfully.
If a cell is stuck in there are ways of persuading it to come loose. The simplest may be to use a bit of rubber
sheet to get a better grip on the rim or to press the end against rubber lying on a matt surface. It is thought
the trade use a large rubber bung to press on the mount and glass but these have not been seen. Bigger
lenses may respond to the use of one or two strap wrenches of the type mechanics use to free oil filters on
car engines. Used on a 4in diameter lens, these can get a real grip. Do not use chain wrenches. The strap
wrench usually does little damage to the mount but a chain wrench can be seriously damaging. Using two
wrenches may be easier if there are two workers present. Less pleasantly as it seems rather vicious, Victorian
lenses may free up if the edge is tapped lightly with a rubber hammer or squeezed at various points- the rings
are often slightly oval and this can have a big effect. There are dismantling fluids such as WD40 which can
help, but note that they will probably have to penetrate across the threads and it will take time, probably some
days, for the fluid to do the job.
One idea can be to follow some makers who cut small sockets in the end of the cell to allow a tool to fit in and
twist cell free. Here it may be possible to use a table knife to twist the cell out, but if the glass bulges out, the
knife will have to be ground away to clear the glass. There are special tools called "spanners" made with
adjustable arms to grip such sockets and a collector may like to buy them. A cheaper answer is to buy steel
strip and cut and grind a suitable tool especially where the same size is needed frequently as with the rear
locking rings of Compur and other shutters where there are 2 or perhaps 4 sizes which are often used. One
collector had a set made out of steel rulers which had been cut up for the job. Once made they will last a
lifetime if used with care. If there are no sockets, it may be reasonable to cut them carefully working at
opposite sides of the lens. The use of a centering square will help here. Mark the positions for cutting, and
then place the lens on a wooden block and cut the slot at the rear before turning it through 180° to cut the
other side. (Cutting at the back seems to reduce the risk of the saw touching the glass- which will mark it
immediately!) The cut must not go deep and can later be widened with a Swiss file to take the tool. Usually a
cell will now come free and finally the cuts are given a touch of paint and are nearly invisible. But it may be
something to practice on an old lens initially! Locking rings are less easy to deal with but some have
responded to having 2 small holes drilled to accept pegs to grip the ring. Try to find places to drill where there
is no engraving and fill the holes after with black shoemakers wax or other fill.
The glasses of a lens are normally fitted rather permanently into the metal mounts for rigidity and accurate
alignment. This is a problem if they need to be repolished as this has to be done with the glass out of the
mount. In some cases the glass is held into the tube by a small amount of a hardened cement. In others, the
back of the mount was machined to form a very thin leaf edge which could be spun over the glass to hold it in
place. In others, both are used, and in all cases there will be a layer of paint covering the parts. It is thought
that a repairer often begins by removing the paint with stripper to see what is involved, and then removes the
metal spinning with a small file. After this the glass is forced out of the mount. It is this stage at which the
glass is at risk of breaking and it does seem that the owner is seldom invited to watch the process.
Experienced workers actually seldom damage the lens, but one Tessar is known where there is a substantial
chip broken off the edge, and it is known Mr J.Adams refused some lenses such as Leitz Elmar f3.5/35mm
where the rear glass was said to be "too brittle". Once the glass is out, it can be repolished by a skilled
worker fairly conventionally.

Trioptiscope
This was a special double lens for Mitchell cameras when used for stereo work. (H.J. Heuel and G.Koshofer,
B.J.P. 24/11/1978, p1033)
Tropel Co, Rochester, New York, USA.
They designed an all solid path lens system faster than f0.5 using a liquid coupling to the film, and also made
an f1.0 Wide field unit.

LTurillon, Successeurs to M.A.Darlot, 25, Bd Voltaire, Paris 125, France.

Fabrique, Bureau: 121, Rue Gravel, a Levallois, Seine.
Listed as above on a M.I.de Pulligny lens by Darlot, made by L.Turillon,in "Quelques beaux Appareils",
Brochard, Montreuil, 1900). In 1908, it was Turillon et Morin. UK Agent was Mr F. Shew, 88 Newman St,
London.
This is a 1900 list.
Anastigmat f9.0
Planigraph Dissymetric Anastigmat f7.5
Planigraph Symmetric
Soft Focus, rather like the Puyo lens. It seems they were actually makers for Pulligny et Puyo in two
accounts. No 1 for 13x18, No2 for 18x24, No3 for 24x30cm.
also Portrait, Landscape, Wide- Angle, Instantaneous, Rectilinear (RR, ) Rapid Hemispheric, Universal (a
casket set).

UCA, Flensburg, Germany.

They were related to ELOP who made the Elca camera, and UCA made the Ucaflex, with the Ucalux f1.9,
Ucalux V f1.5/50mm (noted at auction at No100,358 on Ucaflex 1,304) and Ucapan f2.5 lenses, and the
Ucapan was also used on the Ucanette camera about 1950. It was probably much the same lens as the
Elopan but sold from a new plant, as it is an unusual specification.

Unitel This T.N. is found on cine lenses probably from Universal, USA such as f3.8/37.5mm.

Universal Camera Corp., USA.

Tricor f2.7 50mm on Mercury 11, possibly from Wollensak. This was noted on Mercury II at
No60,56x and 144,91x.
Tricor f3.5 45mm This was in the same fitting for 18x24mm.
Universal f5.6 75mm This was an anastigmat on a 6x6cm TLR in the USA about 1950.
Hexar f2.0 35mm about 1947 on Mercury.
Tricor f3.5 35mm same.
Tricor f2.7 35mm same.

Underwood.
He was a maker and perhaps dealer in cameras from about 1885-1900. His adverts. show RR, WAR, and
meniscus lenses, but are not always very informative, as with the 1889 one. One actually seen was a RR of
about 9in f8.0 for 1/2plate. It had no serial number and was in brass. It is likely he bought-in his lens stock,
but note that Channing and Dunn regard him as a maker- they were in business as opticians otherwise, but it
is hard to tell. See also under TTH above.
Fig 008 044 Several branded lenses with the camera maker or shops' names(l to r) Taylor, Thornton Pickard.,
Tomkinson, and (r) Underwood , all about f8 RR types.

Unitor
This was a series of lenses for SLR's noted as a f2.8/28mm for Canon F.

Uyeda Camera Co., Japan.

Verona f3.5 60mm on Vero 4x4 folder.-
UCA, Flensburg, Germany.
They are mainly known as the source of the scarce Ucaflex, with at least 2 lenses.
Unalux f1.9, 5cm at No100,78x.
also reported with:
Elolux f1.9/50mm.

Vallantin, Op(ticie)n, Paris.

This was noted on a substantial (c.80mm front glass) Petzval lens also marked Mon Cle de N. B. Delahaye
where the latter may be the owner or vendor. It is fitted with Waterhouse stops, just possibly after sale, since
when bought the rack drive overlapped the engraving making it hard to read. The lacquer layer was very thin on
this item. It was not numbered.
Another was noted at auction on a 7.5x7.5in wet plate camera. This was engraved as No308x, "Vallantin
Opn., de 1840 a 1856, Ctre des ateliers de Mr. Lerebours, Paris."
He also made a pair of small brass meniscus stereo lenses at No2,231 on a 8x5in Ross camera noted at
auction.

Varimex, Poland
They were noted for an Emitar f4.5/45mm No18,49x on a blue Alfa 35mm camera.

Varioprox, Japan
This will be a trade name rather than a maker and was noted on a variable close-up lens No664017 (?April
1966?) probably using 2 lenses at varying separation to focus another to 1ft. Black finish with c.54mm thread
at the front.

V.E.F., Poland.
also see Minox for Valsts Electro-Techniska Fabrik, Riga, Latvia
The original lens was the:
Minostigmat f3.5/15mm on original stainless steel Minox. (One source says Minostigmatic).

C.C.Vevers, Leeds, Eng(lan)d.

This is the engraving on a brass RR. Channing and Dunn know them at several addresses from about 1887-
1900, all in the Leeds area but only as camera makers. This RR then seems to be linked with buying in
lenses for resale on the cameras, and it is certainly a 7.5in Rapid Rectilinear for 7x5in also marked 'Made In
France', one of the few branded lenses of the period to show the French origin. It seems a slightly downmarket
brass cased item from the 1880s in the old 2in flange, made of rather softer brass than some English
makers used and with little sign of laquer left and with the then old Waterhouse stops rather than an iris. But it
should be added that it had had a hard life so it is hard to judge the original quality.

Vieth, Solingen, Germany.

The Inflex camera for 127 used a Zeyer Anastigmat f3.8/50mm in about 1950.

Vines Cameras, UK.

They sold a set of agented lenses for SLR's such as a f3.5/135mm for M42.

Virlot, France.
He seems to have supplied RRs about 1905.

Vistavision.
This was the Paramount Studios wide screen process, using cameras from Mitchell Camera Corp. and lenses
of 21-152mm
Vivitar, USA.
Agent for the UK was D.Williams, 5-9 Glasshouse Yard, London, EC1A-4JP. (1973)
In 1980, Vivitar UK Ltd, Vivitar House, Nuffield Way, Abingdon, Oxon OX14-1RP. (O235 26600)
Vivitar seem to be an American initiated firm (said to have an agreement with NASA) with capital to develop
new lens designs with improved features, who later transferred production to Japan. The first Series 1 lenses
were of very high quality and have become a specialized collector interest. This is almost unique among lens
makers without a related camera brand at that period and customer interst seems to have developed during
the sales period and has been maintained since- it is not an overnight affair. One point is that they did
described their lenses as a 'hedge investment' something few other makers considered. "Quality lenses last a
long time .. give pleasure and possibly even profit". (advert. in Modern Photo 04/1979, p14.)
In an article in Amateur Photo 04/10/1978, Blackman says Vivitar did design their lenses but subcontracted
manufacture and controlled quality. There may be small print here. In B.J.P. 02/02/1979, p92 T.Hughes lists 3
categories of lens. Series 1 were top of the tree, designs by Vivitar themselves, with NASA support. Next,
there were lenses eg TX to fill in gaps in other makers programs such as macros. These shaded into bought-in
lenses which bear a strong resemblance to other commercial lenses since this is what they were- often in
medium to long sizes where the industry was strongest.
We think production was from about 1965. (See Camera 35, 06/1965, p49 'new') Launch items were f5.6,
300mm, 5g/4c: f3.5, 200mm, 4g/3c; f5.6, 200mm, 4g/3c; f2.8, 135mm, 4g/4c; f3.5, 135mm, 4g/3c. They were
really well received.
Initial items.
f1.9 This was a floating element design to focus close-up.
f2.5 90mm This was a macro lens with optical converter to 1:1.
Series 1 f1.9 28mm This was reviewed favourably in Modern Photo 04/1978 p124, and used a
floating element design.
Series 1 f2.3 135mm 6-glass The 6g/6c layout is a bit like the 200mm below.
Series 1 f3.0 200mm 6-glass The layout in Viv002 includes a field flattener. Users were very
impressed, especially with the performance at f3.0.
Series 1 f3.5 70-210mm SLR Magazine, Dec. 1973, Oct 1974, p67. "Caused a stir'.
Series 1 f2.8 35-85mm Varifocal zoom.
Series 1 f4.5 90-180mm Zoom. Macro Series 1 noted 04/1979. It was costly and eventually
discounted, possibly due to excess stocks in the UK. The prototype was demonstrated in 1976, it uses
18g/12c and was noted in B.J.P. 16/06/1978 p509 when 'new'.
Vivitar f2.8 90mm This was a 6-glass/4 component, Gauss type.
Vivitar f3.5 135mm This was a very compact lens.
Vivitar f2.8 135mm A lens to this specification was noted in T.Hughes, B.J.P. 02/02/1979 p92
who felt it benefitted from some stopping down as would usually occur in close-up work and then was a good
lens with unexceptional handling. In Modern Photo 07/1971 p43advert. it is an air-spaced 5g as 1+1+1+i+1+1
and its shortness and 20oz weight was stressed.
Vivitar f1.5 135mm Camera 35 August/Sept 1967, p57. This was originally for NASA, and was a
very unusual or unique lens. There were other very big fast lenses around that time but they may have been
rather later: They included Soligor, Rolmax Ina and of couse Nikon. But whether any had a common source is
doubtful.
Vivitar f5.6 200mm
High speed wide angles Modern Photo 04/1979 p140:
Vivitar f2 28mm
Vivitar f2 24mm
1970 items (Camera 35, 04/1970, p52, 02/1969, p48) They had a 5 year garantee in 1973. There were then a
total of 33 lenses in the product range.
f3.8 20mm Auto 1970, Preset 1969. Auto, focus to 6in.
(f3.8 21mm in a May 1972 list)
f2.5 28mm Auto 1970. Preset iris in 04/1973 This is f2.8 auto in a May 1973 list. In 1973,
it focussed to 12in.
f2.8 35mm Auto 1970, Preset 1969. Focus to 4.5ft.
f3.5 35mm Preset in 04/1973 also
f2.8 55mm This macro lens went to 1:1 without an extra tube and was a flat field design
with 5g/4c and was supplied for most 35mm SLR cameras.
f1.8 85mm Preset 04/1972
f2.8 105mm Auto in a May 1972 list
f2.8 135mm Auto 1970, Preset 1969. Focus to 4.5ft.
f3.5 135mm Auto 1970.Preset 04/1973
f3.5 200mm Auto 1970, Preset, 1969. Focus to 6ft.
f5.5 300mm Auto 1970?, Preset 1969.
f6.3 400mm Auto and preset 04/1973
f6.5 500mm in 04/1973 as well Preset only.
f8.0 800mm at £188 (1973)
Zoom f4.5 70-150mm Flat field type, macro. See Practical Photography, 01/1979 p77.
f3.5 55-135mm in 1972
f4.5 90-230mm
f4.5 75-260mm (04/1973 only) NB Zooms were auto iris only!)
The above were normally auto iris but by 04/1973 there were a Vivitar Auto T4 set as well as an T2 preset
series. These covered most of the above and others may have been available at times.
In Oct 1978, the program had fixed mount lenses as:
f2.8/24mm; f2.8/28mm; f2.8/35mm; f2.8/135mm; f3.5/200mm; f5.6/300mm with zooms f3.8/70-150mm;
f3.8/75-205mm; and f5.0/100-300mm. The Zoom f4.5 80-200mm was seen in an advert in Modern Photo
04/1980, p64 with12g/9c design. There was also a f2.5/28mm, f2.8/55 macro, f5.6/400mm, f3.5/35-105mm,
f3.8 85-205mm, in the advert. in Amateur Photo 12/10/1977. For the 70-150mm see advert. in Modern Photo
04/1977, p16. Later there was a f3.8 24-48mm which was the widest angle zoom for the period. (Modern Photo
06/1978, advert p4) with 10g/9c and quite compact. In 1979 there was a new f4 80-200mm Vivitar zoom
(B.J.P. 30/03/1979, p293)
Two enlarging lenses were noted in B.J.P. 28/12/1979 p1265, and these were Series 1 enlarging lenses
with floating elements in a 8-glass 6component f2.5/50mm lens and 6g/5c in a f4.0/80mm lens.
An earlier VHE series was made in f2.8/50; f3.5/50mm; f5.6/80mm; f5.6/100mm; f5.6/135mm; and
f5.6/150mm. They used rare earth glass Pop Photo 08/1977 p73 advert.
There were a number of new products at Photokina 1980 (B.J.P. 18/04/1980 p369) including 2 'continuous
macrofocussing zooms ie macro at all foci, as:
Vivitar f3.8 70-150mm CMF one touch
Vivitar f3.8 75-205mm CMF Zoom (See B.J.P. 13/06/1980 p559) The main feature was macro
focusing, in all foci not just at the shortest. One touch design, it used a 12g/8g layout. Thus it differed from the
lens seen by Hughes in B.J.P. 02/02/1979 p93 which was a 15g/10c design and rated as surprisingly sharp.
There was also a :
Vivitar f3.5 17mm wide angle.
There were also a series of TX lenses which used interchangable mounts so that a change of camera did not
mean changing lenses- just the mounts at £13.95 in bayonet or £7.65 in M42 screw. They were made 1977-
1978 in:
f2.8/24mm*; f2.8/28mm; f2.5/28mm*; f2.8/35mm*; f2.5/135mm*; f2.8/135mm; f3.5/200mm*; f5.6/300mm;
f5.6/400mm; f4.5 90-230mm; f5.0 100-300mm; and f3.5/35-105mm. Several* were reviewed in Modern Photo
04/1976 p118. They were not just T-4 retreads but new designs. The f5.6/300mm at No3,790,9393 seems to
be a very compact one from the review in Modern Photo 04/1980, p1320. It was well received.
It does seem likely that the optics were the same in both sets of mounts.
There were also outfit bags, 4 flash guns, a V1 Enlarger for up to 6x7cm with Vivitar f2.8/50mm; f3.5/50mm;
f5.6/80mm lenses.
Solid Cats
Perkin Elmer are said to have established the design concept, commercialized it, and then handed over the
project to Vivitar for production. These were solid glass at first, but were heavy and then the use of bulk plastic
was considered, but it seems these were scarcely or never sold. They seem to have been made as follows:
f8.0, 600mm; f8.0, 800mm?; f11 800mm. These may have the same mirror but differ in the other optics so that
the focus was changed. The 600mm was listed in the UK but at £581.63 +£13.50 for a mount in 10/1978.
Sales could have been slow as this was then a very high price! But they probably were bought by the police
and military for surveillance purposes, and secondhand examples have been reported since. The Vivitar version
has been described as more chunky and larger than the Perkin Elmer and both can be amazingly good. One
advantage is that they do not alter focus with changes in temperature as long lenses and normal mirrors do.
For the layout see Viv001.
Zooms
Vivitar f3.5 70-210mm This is an item remembered with affection by a correspondent. It cost
£213.75 in Oct 1978 with the hood £4.5 extra.
Vivitar f2.8 35-85mm This was noted in 10/1978 as Series 1 at £196.87.
Vivitar f3.8 24-48mm This was noted in 10/1978 as Series 1 at £213.75 for M42.
Vivitar f4.5 90-180mm
Vivitar TZ mount f3.8 70-150mm Noted in B.J.P. 29/09/1978, p837 as 'new' as a 12g/9c design.
Tele Extenders These were a item which sold very well and are now a common item in 2x.
A Millenium list in AD 2000 shows 11 items, all but one of which are zooms.
Series 1 AF f3.5/4.5 19-35mm 13g/11c
Series 1 AF f2.8/f3.8 28-105mm 15g/13c
Series 1 AF f4.2/f6.5 28-210mm 15g/13c inc aspheric
Series 1 AF f4.0/f6.3 28-300mm 17g/15mm
Series 1 AF f4/f5.6 70-300mm 12g/9c
Series 1 AF f4.5/f6.7 100-400mm 12g/9c
AF f3.5/f5.6 28-80mm 8g/8c
AF f3.5/f5.6 28-210mm 14g/12c
AF f4.5/f5.6 70-210mm 10g/7c
AF f5.6/f6.7 100-300mm 10g/8c
AF f3.5 100mm 5g/4c Macro lens

Voigtlaender and Son, London, UK.

Voigtlaender of Wien and Braunschweig, Germany, certainly had a London sales office for part of the 19
Century, and at least one lens survives and has been reported which is engraved "Voigtlander and
Son/London" at No785x (apparently about 1860?). It is a brass Petzval portrait lens, now incomplete. The
engraving differs in text from the normal "Voigtlaender und Sohn/ in Wien und Braunschweig", and also the
engraving letter forms are rather more upright with less elongated serifs and a deeper hollow in the initial serif.
It may be a forgery and with no relation to the Voigtlaender businesses; or it may have been a subcontract job
originating in the UK at a time when supplies from Germany were hard to obtain or when the exchange rate
made imports hard to sell. It follows Voigtlaender practice in using different threads at front and rear of the
barrel so that the front was not usable as a landscape lens.

The Voigtlaender and Son Optical Co. New York, USA.

This seems to be the USA branch agency selling equipment, but there do seem to be some interesting
features. Firstly, the serial numbers seem to occur in the "omitted" group at No55-61,000, which may actually
be one set aside for New York. They do seem to be original Braunschweig items, but the engraving seems
slightly different as in:
"No57,09x Telephoto Collinear No4 'The Voigtlaender and Son Opt. Co., New York"
"No62,43x No2 Voigtlaender Dynar 4 3/4inch in a Wollensak automatic shutter USPat. 765 006"

"No58,86x Heliar 4.5/141mm Voigtlaender & Son, New York.

but possibly the details have been slightly changed in transmission. (As usual, the last digit is deleted for
anonymity.)

Voigtländer A.G., Wien, Austria, later Braunschweig, (Brunswick), Germany.

UK agents noted included: Marion, 1889, of 22-3 Soho Square London.
F.G.Phillips, 44, Farringdon St., London, EC4 (1926)
Peeling and van Neck, 4/6 Holborn Circus, London EC1 (1931)
Voigtländer were important instrument makers to the court in Vienna well before the coming of photography,
the firm being founded in 1756 by Johann Christoph Voigtländer, and being well placed to make lenses for the
new process since the Court arranged the design of a special lens by Petzval at the suggestion of Prof von
Ettingshausen who had been present at the publication of the Daguerre process. The family had come from
the Hartz mountains in the mid-18C. J.C. Voigtländer (1732-1797) was succeeded by his son Johann Friedrich
(1779-1859). The firm seems to have been exclusively a mechanical one for many years until J.F.Voigtländer
in 1815, (and he may have been responsible for a Camera Lucida No225 with 12in column noted at auction.)
Eder notes Voigtländer senior (ie J.F.?) had learned to grind and polish lenses in England. (Wilhelm Friedrich
Voigtländer had his technical training from S. Stampfer (1792-1864) of the Polytechnical Institute, where the
director was J.J.Prechtl (1778-1854).) Then they seem to have extended into opthalmic lenses and were
granted an Imperial patent for opera glasses in 1823 as a result of inventing the binocular design, (possible
then or later with help from Petzval)- previously opera glasses had been merely small Galilean telescopes.
These binoculars seem to have been sold widely in the 19 Century and prismatic binoculars came later, about
1897. There was also the availability of optical glass from the Waldstein plant in Vienna, which secured key
employees from the declining Munich plant, now Fraunhofer was dead. In fact there seems to be a picture of
official backing from Government for the Technical school to support the industry in aquiring information on
lenses and glass from Benediktbeuren and on glass from Guinand to boost a new Viennese industry. Since
Petzval was also officially supported with pay as a Professor and labour in design it is not surprising that he
approached Voigtländer's firm (ie Johann Friedrich Voigtländer (1779-1859) and Peter Friederich von
Voigtländer (1812-1878), for information on the properties (Refractive index and dispersion) of the glasses
available- these would be needed as these were then not well known products on a free market. (There was a
note of Voigtlaender's death on 07/04/1878 in B.J.P. 17/05/1878, and he was mentioned for his making the
Petzval Portrait and Orthoscopic lenses).
Thus it was easy to understand their taking up photographic lens making. Once Petzval had made his design,
he showed it to Voigtländer and it was made, a cardboard camera constructed, probably hurriedly and an
amateur A. Martin (1812-1882) tried it out. It was then put into production quickly. This was officially fostered.
Over the years they made a large number of other designs and by the 1950's these numbered some 644 lens
types in some 32 layouts. Thus on the bases of history, quality and production they are one of the major lens
collector targets. Sadly the relation between Peter Wilhelm Friedrich Voigtländer and Petzval did not last,
being publicly sundered in 1857, and this may have been due to Voigtländer's failure to sell both of the designs
Petzval made, as well as the lowered profits from the lens due to the failure to patent it- for which Voigtländer
may not have been to blame. (There was a suggestion that Petzval was initially offered a business deal or
alliance and declined it. Certainly Voigtländer made a one-off payment later of some 2000florins and may not
have been able to patent it as the design was Petzval's. Equally Voigtlaender were used to being given
designs and help for free eg from Prechtl and Stampfer of the Polytechnical Institute. but there do seem to
have been purely personal problems as well.)
Certainly the "metal camera" initially sold was a success, some 600 reputedly being sold between May 1840
and 1842. Now in 1845, Voigtländer married Nanny Langenheim, widow of Zincke-Sommer, and his stepson,
Dr Hans Zincke-Sommer became the mathematician in charge of lens design effectively in place of Petzval,
though Zincke-Sommer also was holding an outside post eg. at the Carolo Wilhelmina Institute at
Braunschweig, then a newly founded Technical High School. His commercialized designs now seem to have
been fairly conventional: he probably was responsible with Friedrich Voigtländer for the RR and later Euryscop
lenses but he seems also to have designed a portrait lens which however was not sold, and predicted that the
Petzval type could be made much faster- as it was!There is a slight feeling that F. Voigtländer rejected good
ideas, but the company was to offer an f2.3 Patzval in c.1870 and later an all cemented version in 1878. F.
Voigtländer was also involved with Scheffler and Kaempfer on the Kollinear. Later designs may have been
bought-in or leased (Triplet), until the relation with Dr Hans Harting began. Dr Harting was Technical Director
by 1899, along with Dr Kaempher and must also be responsible for the initiation of the new range of metal
cameras then going into production of undoubted quality and interest. Later the firm was amalgamated with (1)
Schering and Kahlbaum in the 1920's as no Voigtländer family was available to succeed, and (2) after WW2
with Carl Zeiss (Oberkochen) in 1956 and from then the same freedom in independant design and commercial
action must have been lost.
Voigtländer were not glass makers and depended on outside supplies, first from normal glass makers, such
as P. L. Guinand at Les Brenets (then run by Widow Rosalie Guinand with Th. Daguet and A. Berthet) and
from J. Waldstein of Vienna, possibly from Benediktbeuren, and later of course from Schott and Genossen,
when they were able to make the Euryscop from the new glasses in the late 1880's. This became a trade
name which was so famous that others seem to have adopted it and Euryscops from several makers other
than Voigtländer are found and can confuse collectors.
Production was in Vienna (Wien) initially and 600 All-Metal cameras were made from Jan 1841- late 1842.
(Gernsheim says only 70 metal cameras were made in 1841.) It was still in production in 1846, as well as
several sliding box cameras of nut-wood (Walnut?) so that production reached lens No4,033 by 1852 and
No7,200 was produced in 28/05/1858, and in 1862, No10,000 was produced. The nutwood cameras may
complicate the body count however. A serious suggestion is that lens production switched to Brunswick at No
4,000 in 1849-1852. It was about then that the Waldstein glass plant was closed.
This section is based on the lens section of the Voigtlaender Verein's "Checklist of Voigtlaender Cameras
and Equipment" with thanks, and especial acknowledgment to their Secretary Dr C. Haupt for permission to
quote from his Table of Lens serial number dates, which extend the official ones in the Gravierungs Buchen.
The original Checklist was produced about 1975, and has been successively extended, especially after a very
valuable visit to Carl Zeiss, Oberkochen in 1977, to whom thanks are due. Since then almost uniquely, a
second listing of Voigtlaender lenses has appeared in Udo Afalter's excellently illustrated book, "Voigtlaender
Kameras und Objektive" publ. Lindemanns Verlag, 1998, ISBN 3-89506-137-9 so that a comparison is
possible of what seem to be independant studies. The information on the serial numbers has been extended
with data supplied to the Voigtlaender Verein by Mr J. Halfweg, with information on an intermediate period
partly from Verein experience and partly from dating using Compur shutter numbers to date lenses. This last
is obviously less definite than the other data, although there were some key figures in the original registers
held in Oberkochen.
Voigtländer SERIAL NUMBERS
This data is based on the "Objektiv Gravierungs Buchen" in the archive at Carl Zeiss Oberkochen, for 1885 to
1929. Some additional notes are included, and those in italics are from other sources of unknown validity.
Eder gives a useful list of the introduction dates of new big sizes in Voigtländer Petzvals. Note that while the
metal camera began with low serial numbers, the very early part of the engraved number series is uncertain
and the lenses sold separately may possibly not be in sequence with those sold fixed to the "metal camera".
The numbers subsequently are in one series with few exceptions, and initially represent lenses made as
singles or in very small groups of items, and were listed virtually day by day.
Year Lens serial no. Notes
05/1840 First Petzval Portrait produced. In the first lenses it was accepted
practice to unscrew the front cell, fit a stop and replace the cell (Eder). Later
loose or curtain stops were used.
184? 1796 Marked "Voigtländer & Sohn in Wien"
1849 A request was made to Braunschweig for permission to open a factory, and
purchase of a site, and permission granted in 02/09/1852. This was initiated
by P.W.Voigtländer. The management there was by his son, Friedrich
Voigtländer. The optical trade in Vienna began to shrink from then on.
1852/1853 Production of lenses at Braunschweig begins. It has been suggested that at
No 4,000 production switched to Braunschweig and ended at Vienna.
(1852) (4033)
1854 4 - 5000 From about 1852-62 they are engraved "aus Wien und Braunschweig"
1856 Introduction of the 5in dia. Portrait lens at 450 talers. (Dietzler, competitor,
offered a 6in version).
1859 All portrait lenses are now fitted with the Waterhouse type stops.(Eder)
1860 Introduction of two versions of a 6in portrait lens, differing as long and
short focal lengths.(14.3kg weight, 420 talers.)(Eder)
1861 Eder gives 22/02/1862 as the day of a special holiday to celebrate the
10,000th lens being produced, at Brunswick. Eder gives production as roughly 2,000 per year to then.
1862 10,000 Now "aus Braunschweig" but still mainly Petzvals.To here, they made some
10,000/22years=454 lenses in an average year. Actually the engraving
"Wien/ Braunswcheig" continued at least up to No30,46x, and it was the "und" which was omitted.
This was the occasion for P.W.Voigtländer being knighted.(Eder gives 1866)
1864 Introduction of an 8in dia. portrait lens in answer to a lens of 7in by Busch
of Rathenow. Anton Friedrich was manager of the Vienna branch and it was
sold (normal price 1,000 talers) to Ludwig Angerer, but used for display on a
Voigtländer stand in Berlin in 1865. It was Serial No16,000.
1868 Death of the head (?Friedrich?) of the old factory in Vienna, after 120 years
production. Production there ends.Note also the timing of the Waldstein glass plant history.
1876 Voigtlaender dies and Friedrich R. von Voigtlaender takes over.
1878 Sale of an improved Petzval design (Frerk). This may be the f2.3.
1884 27449 Portrait, landscape, Euryscope and Wide Angle
1885 30,000 Note that 29,000/45years= only some 645 lenses in an average year.
1886 31,000 Eder reports the first nameless Euryscop was brought to him in Vienna then.
1887 32,000 Now the major production was of the Euryscope
33,704 Marked "Voigtländer & Sohn Braunschweig" so Wien finally is
omitted at about Serial Number 30-33,000
1888 34,000 Also Daguerre (Petzval?) and Landscape, Jena glass introduced.
1889 36,000 Note that "Victorias" were separately numbered - ?Possibly these
were especially large items e.g. for 10x12in plates as some very large Pertvals have been reported.
One account mentions one at a serial number below 1,000 from Braunschweig rather than Vienna.
1890 38,000 - 39496 In the 1880's production seems to be about 1,750 lenses per year. B. Coe lists a
Voigtlaender 4-blade shutter from that year.
1891 40,000 Dr. Rudolph of Zeiss calculated the Anastigmat, and Voigtländer were
licencees for the new designs.
1892 41,911
1893 43,685 Collinear design patented
1894 45,431 Production now includes Collinear and Anastigmat
1895 46,454 (Anastigmat production will end here)
1896 47,771 There was now major Collinear production
1897 49,084
1898 54,168 New items were the TeleObjektiv and Cooke triplet
It was in 1898 that F.W.Voigtlaender concluded that as he had no direct successor (he had 4 daughters), he
must turn the sole-owner concern into a limited liability company under the name Voigtlaender & Sohn AG
with himself as Managing Director and Dr Kaempher and Dr Miethe as Directors. Dr Miethe left in 1899 to
work in Berlin, leaving Dr Hans Harting to lead the firm until he retired in 1909. He lead the firm to new
products such as microscopes, binoculars, and telescopes as well as rifle and gun sights.
1899 54,896 Collinear sort lens ("omitted 55-61,000") [Some of the omitted lenses in fact
occur in the Voigtländer Collection, so possibly this block was reserved for prototypes. But it does include
the Triple Anastigmat below and just could be used for these lenses made under license. Others seem to
occur from Voigtlaender New York as explained above.]
About 1900 the business became a limited company.
1900 65,691 Triple Anastigmat (Cooke ??) Heliar lens produced.
1901 68,193
1902 70,682
1903 72,638 Lenses now include the Heliar and Apo Collinear
1904 75,479 Lenses now include the Dynar By now the employees numbered some 300 workers
+35 seniors and sales staff.
1905 79,288 The manufacture of popular cameras was begun here.
1906 83,477 The firm now moved to Campestrasse to a new 4 storey building.
1907 88,057 (The list omits 90,000 - 95,000)
1908 97,999 100,000 is a Heliar. This was held in the museum at Brunswick for many
years, and was later offered for sale in the UK.
"Cameras" listed inc. Karpf, Kodak, Koilos, Delta, Compound, and Polyscop.
1909 101,649 Retirement of Dr Harting.
1910 105,778 Heliar/ Unicum also Radiar, Collinear, Stereo
1911 110,347
1912 113,569 Inc. Helomar
1913 118,634 - 125,975 (Numbers 122,001 - 123,000 were for America in 1913.
1914 126,001
1915 132,726 The firm now moved production to a new site and buildings at Braunschweig-
Gliesmarode, the offices staying at Campestrasse. The plant was very busy during the War and employees
increased to 1,000 + 150 office staff.
1916 137,682
1917 139,108
1918 142,853
1919 144,419
1920 154,426
1921 160,008 (It is interesting that No166,57x was fitted in a 1918 dialset Compur No337,26x.)
1922 172,136
1923 194,086 The employees had decreased to 600 + 100 by now and business
was very difficult, and the firms finances in a poor state.
1924 216,948
1925 227,929 f3.5 Heliar,Trinastigmat, Avus, Triare, Fokars, Vorsatz Linsen These were ssued
over the years 1923- Death of F.R. von Voigtlaender, aged 79. He had no male heir, and was the last of 4
generations of Voigtlaenders in the firm. Two sons predeceased him. He made a great reputation soon after
he took over with the launch of the more rapid Euryscope lenses and later the Kollinears. In 1925 he sold the
firm to Schering and in 1925 they ended all production of non-photographic items. By 01/01/1927, Schering
had obtained 99% of the shares, and they amalgamated the interests they had in Wubben (albums, of Berlin)
and Dresdener Trockenplattefabfrik Richard Jahr AG to produce Voigtlaender & Sohn AG. There was a
steady switch to mass production of all items to assist film sales with cheap cameras.
1926 248,505 Skopar, Voigtar, TeleDynar, Heliostigmat
1927 279,710
1928 365,562 Perkeo 6x9cm with Voigtar
1929 537,338 Photar (A Heliar No520,91x was noted in a Compur No475,01x of
1922.)
1930 Bessa camera produced.
1933 A Skopar No671174 was noted in a rimset Compur No2,125,57x, of 1933.
1934 Skopars Nos 803,22x and 815,37x were noted in rimset Compurs No2,538,55x and
2,565,42x. (c.1934)
1934 A Heliar No88047x was noted in a Rimset Compur No2,659,34x.
1935
A Heliar No1,026,69x was noted in a rimset Compur No3,038,80x (c.1935)
Voigtlaender formed a joint company with Gevaert of Antwerp to deal in their
products, especially films. This was to last to 1945.
1934 1,000,000 included. Note a Heliar No1,052,264 was noted in a Compur Rapid
No 5,107,90x, which should be a 1938 shutter number which suggests some lenses
were held in stock for a while.
There is evidence that there are missing numbers about here as the maker caught up with unnumbered
lenses made earlier. The gap is thought to be at about No1.15-2.03million, corresponding to some 900,000
lens numbers. It seems to be well established as a feature among Voigtlaender collectors.
1937 2,000,000 included
1939-1940 It seems that No2,500,000 was probably made about the beginning of WW2.
1942 A Heliar No2,718,53x was noted in a rimset Compur No3,038,80x
There seem to be missing numbers here, possibly used on Baby Bessa cameras or wartime productions, at
about 2,600,000. It is assumed that postwar production recommenced at about No2,700,000.
1945 2,700,000
1947 3,000,000 included. Collecting experience suggests that either No3,000,000 was made later, possibly
about 1949, or that old numbers were retained and made up then.
1949 Color Skopar produced.
1950 Ultron and Nokton produced. Ultrons are from about No3,16x,xxx for Prominent. Lenses from
June 1951 will be in SynchroCompur shutters. From 1952, most of these will lack serial numbers on the
outside of the shutters.
An Ultron No3,465,25x was noted on a Vitessa at shutter No7,524,xxx c1952, but another at
No3,311,24x was in a Compur Rapid with a much older number, nominally from 1940. There do seem to be
anomalies.
1951(Jun)3,220,000
1952(Jan)3,300,500
1953(Jan)3,461,400
1954(Jan)3,600,000
1955(Jan)3,731,000
1956(Jan)4,001,000 Lens No4,000,000 was a Nokton and the parts were made in late 1955, but the lens
was assembled and officially numbered in 06/01/1956 to celebrate the 200th year of the foundation of the firm
in Vienna.
1956 4,000,000 included. It was in 1956 that Schering sold their interest in Voigtlaender to
Carl Zeiss Oberkochen.
1957(Jan)4,303,000
1958(Jan)4,514,000 Bessamatic produced and in 1959, the Zoomar lens.
1959(Jan)4,802,000
1960(Jan)5,033,000
1960 5,000,000 included
1961(Jan)5,473,000
1962(Jan)5,900,000
1963(jan)6,219,000
1964(Jan)6,423,000
1965(Jan)6,664,222.
1971 9,999,999-10,000,150 These were a special batch of Heliar lenses made in Summer 1971.
Initially production was of very small batches or singles. This changed in the early 20th century and by 1927,
batches of 2,000 Skopars or Voigtars were normal - or 1,000 Stereflektoscops. This is one of the few
occasions when camera names occur in the lens register. Much of the data for the years 1945-1965 was
supplied to the V.V. by Mr J. Halfweg.
Petzval Portrait
Layout Q001. This layout is a generic, rather than original.
May 1840 Type This is often merely called the Petzval and is typically a rather bulky, long brass lens with an
aperture of f3.7 and made in a range of foci to match the then formats- focal lengths are seldom specified.
There were 4 glasses, the front two being an "old landscape meniscus" in design and usable as such.The rear
was far behind it and was air spaced. Each part was separately achromatised. It was ready in August 1840,
and listed for sale in 1841. It is likely that initially it was sold only on the "Metal Camera". The original lens is
or was* in the Austrian Labor Museum, Vienna, (Musem of Austrian Handicraft or Technological Museum) and
has a front glass 39mm dia. aperture 39mm and focal length of 150mm. The front is light crown and flint, the
rear is heavy crown and flint or "hard crown and flint". (Dr Eder, quoted from Photo. Correspondenz in
Photography, 22/06/1899, p424). It covered 30°.(The detailed designs are in Eder's Handbuch, 1893, Vol 1,
Part 2 p114; Photogr. Objektive, Ed 3 1911)) Petzval described the design in Bericht ueber die Ergibnisse
einiger dioptrischer Untersuchungen (Sept 1843) but the details were kept secret to Voigtländer and himself.
The prototype was on a pasteboard tube camera possibly made by Petzval so Martin could try out the lens-it
was later presented to the museum by v. Voigtländer himself. The lens was costly at 100 guilders. The public
were to learn of the lens in a lecture by Prof Ettingshausen to the Lower Austrian Trade Association at Vienna
in 02/11/1840 and 08/12/1840.
*It seems that the Voigtlaender collection was combined with the Kodak collection at Rochester, USA after
WW1 to help fund the Austrian Museum during a difficult period.
It was calculated, a rare thing in those days of trial and error, the design team involving Petzval and a team of
artillery students from the artillery school who were probably set to calculate Snell's law and follow rays
through candidate designs, with Petzval progressively modifying the layout until a good lens was found. (see
Tradition, 1, 4, 1962, p16). This suggests very official support for the work and Eder says Archduke Ludwig put
several soldiers trained in mathematics to work with Petzval and his assistant, Riesinger.
The lenses evolved with time. Initially they were said to be up to 4 zoll in diameter (4x2.61cm=10.44cm, as 1
zoll=2.61cm). The mounts were first plain, at No4,000 approx. and then fitted with a Waterhouse slot by
No8,000 approx. and presumably later with an iris. (The original design was not very well colour corrected, and
they seem to have been improved throughout the industry as a result of complaints by Townson (1840), Martin
(1840) and Claudet (1843) and it was to be Lerebours in Paris who first adjusted the correction so the
photographic and visual foci coincided. Doubtless Voigtländer will have followed this.) The examples seen do
not allow the front glass to be rear mounted for use as a meniscus lens (it is in a smaller thread) though it
would work well for this. In the UK Antoine Claudet was a licensee for the Daguerre process and early noted
the Petzval lens on a visit to Paris and imported them for the first time to the UK. He was a well known man
and this would have triggered off sales. It seems that a little later Voigtländer opened a Knightsbridge, London,
establishment in the 1850's (G. Hough, Photographica, 84, p11, 1998) and this may have helped UK
distribution. A brass lens No679x (about 1856) was accompanied with a rare item: the wooden box made for
it, and with Nos 488x for 8x8in and 21,51x some 19in tall, were noted in English auction lists.
Certainly these Petzvals are the most common early Voigtländer lenses in the UK. Finish was in superb
brass, laquered and with very smooth thread action to the cells, and excellent rack focus. They seem to be
mainly in larger sizes, eg. 52mm front glass, about 200mm and 79mm, about 300mm in focus. Voigtländer at
Braunschweig seem to have kept one of the originals in use in the museum mounted in a large blade shutter
and an example picture taken in Feb. 1939 is shown in M.C.M. 4/1939.p440. And use today of an 1852 lens in
1998 showed excellent centre sharpness even on pan film, with a progressive fall-off away from the centre, the
soft areas printing in a very attractive fashion. It was still capable of excellent work. It was 14x faster than
Daguerre's original, and centrally was very sharp by any standard, but had severe fall-off due especially to
curved field, and a rather longer lens than usual is needed for any format as a result. As the older Daguerre
and wet plate processes went out of use, some were redundant and there seems to have been a trend to use
them as "Magic Lantern" projection lenses for which they were ideal. Several have been found attached to
such Victorian projectors. A feature according to Eder was the progessive increase in size of Petzvals as
customers and makers tried to outdo each other. Eder's table is incorporated above.
*see also Orthoscop below. Conrady quotes von Rohr as using glasses Crown= 1.517, Flint= 1.575.
1840 f3.7 type
(a) This 1840 type will thus be the first.
There must be versions of it.
(b) Thus Lerebours and later others such as Dallmeyer, 'improved' the colour corrections and Voigtlaender will
have followed within a year or so.
(c) There certainly were lenses with Waterhouse stops soon after the suggestion was published, probably
by1859?
It would have met demands for extra speed, and there seems to be an attempt to obtain this.
(d) It is worth noting that the 6in diameter lens came in two differing foci, suggesting two different apertures
were involved in 1860.
Fig 004 001 Voigtlaender Petzval Portrait lenses (l) No430x and (r) No 799x.
There can be confusion. Thus a Petzval No15,70x was noted with an iris- the iris must be a retrofit as the
lens would have sold in c.1863 with a slot but not an iris. It was a 42cm f3.16 lens (ie 13.3cm across) and
must have been really costly and still highly valued some 20 years later when the adaptoin was made.
1870 f2.3 version, designed by H. Zincke-Sommer (V 003) A faster, but narrower angle version, especially to
photograph children. No details.
1878 Petzval Lens-Version with the rear glasses cemented for better contrast and less flare. This version was
less sharp as the spherical corrections were less good, and it may be some sort of a soft focus lens or for
projection. The design was by Voigtländer himself. Note that Zinke-Sommer may well have suggested such an
item earlier and found Voigtländer initially unresponsive. (Eder) It seems from Afalter's list that this may be the
same as the last and next items, as he noted only one as 'Portraet Objektiv Serie 1a f2.3'.
It may be this which was noted in the B.J.P. 27/07/1979 p728: idem, 25/07/1879 as Patent No4756 to G.
Nawrocki of Voigtlaender und Sohn for a new compound lens for Portraiture which avoided the faults of the
old lens of unequal focus components and divided rear cell, with a new design of greater speed, and lower
distortion. This was obtained by altering the proportions of the foci of the cells and especially the form of the
rear, so that these can now be cemented avoiding two reflective surfaces. But it leaves unanswered whether
Nawrocki was a Patent agent or a designer.
1885 There seems to be another improved Petzval this year but there are no details.
1888 "Petzval Portrait Lens Series 1a f2.3" Initially for 22° and by 1900, this covered 28° and was said to
be free from coma. It was later sold in 1900 as an early cinema lens, where the speed and sharpness were
needed and the narrow angle was no problem. Also it was used for portraits in poor light. But note the
'Projektos' below seems to be a slower lens.
Portrait Quick Worker f3.16 (based on the front diameter). This was made in 2.0, 2.5, 3.0, 3.5, 4.0in
and this will be a Petzval. [Afalter lists this as from 1877, in 174-395mm to cover 70°; it has not actually been
seen.]
1888 "Petzval Noted Portrait Lens Series 1". This was an f3.2 made in 6.5-14in (V 002) to cover 28° and
was a fast portrait and projection lens. This was still listed in 1908 along with the f2.3 Petzval. Afalter seems
to agree with the aperture, and series number, and knows it as a projection lens so it is likely that this type
was also sold under this trade name for projection. But the example seen may be a movie version, as Afalter
lists only 17, 21, 25, 31, and 40cm, which seem longer than the next lens which is certainly a projection lens
from the barrel.(It seems to be a reissue of the 1870 lens but any difference may have been lost in time.)
"Projektos" Petzval lens of about f3.2 and 12cm, No116,970 (c.1912) in a nickel barrel mount for 35mm movie
projection. It forms a brilliant but not too sharp image but may not be under correct test conditions, ie it was
forming an image from infinity. The trade name was not in the USA catalog though the lenses do seem to be
much the same.
Stereopticon Projecting Lenses These were noted in the 1915-1916 USA catalog, in 5 sizes, to work at f3.2
using Jena glass. They sound like f3.2 Petzvals but in a special mounting. They were also recommended for
enlarging and all were fitted with rack + Pinion focusing.
6.75in 2.125in dia 2.75x2.75in covered
8.25in 2.75in dia 3.5x3.5in covered
9.75in 3.25in dia. 4x4in covered
12.25in 3.75in dia. 4.75x4.75in covered
15.75in 4.25in dia 6x6in covered.
Victorias As suggested above, these may have been the largest size in Petzvals, with very big glasses and
mounts. Lenses of at least 8in dia. have been reported, but it is not known which sizes qualified. They are
certainly a rare item, made in small numbers.
Voigtländer made Petzval lenses at least to 1924, and probably later for studio use and as projector lenses
but one source suggests that the Portrait Euryscop was their favoured product from the 1880's onwards. One
continued use of Petzval lenses was as projection lenses for the new movie industry.
[1872 Spherically Corrected Doublet This was designed by H. Zincke-Sommer. This design was to be used
in principle for the Nicola Perscheid a generation or so later. It was intended by Zincke-Sommer for use as a
portrait lens, but was not produced perhaps due to a feeling that Petzval (and later portrait RR) lens sales
might suffer from the competition. There may then have been doubts as to the wisdom of making a soft focus
lens which it would have been to some extent. (THIS IS NOT A PETZVAL.)]
About 1872 Periscop (Steinheil) at Serial Number No17,83x This has been reported as engraved Voigtlaender
and also Steinheil Periscop, so it may well be made under license, and the date can only be approximate but
will be after 1865. No example has been noted in this study.
Telephotography The early teleaccessory units made use of Petzvals as the prime lens for the sake of their
high central sharpness and speed, and Marriage in his book (Telephotography, 1901, p14) describes a special
Voigtländer Petzval with the rear lens or component adjustable with a scale and pointer on the outside of the
barrel to set for a flatter field. It was used with Telenegative Series 11. Some Voigtländer Petzvals seem to
have the rear glasses reversed as in the Dallmeyer design.
Petzval Orthoscop Lens. f8.7 This can be regarded as the portrait layout taken to a further stage in the
design to give a rectilinear lens for outdoor use. It gives a flatter field and less distortion, and wider angle of
cover. It was initially refused by Voigtländer as too slow for the Daguerre process and later revived by Petzval
who persuaded another optician, Dietzler, to make it in a slightly revised form. Voigtländer then had to make it
as the Orthoscop and used a mount which allowed the front glass to be used as a landscape meniscus. The
Voigtländer type is said to be f8.7, but imitators such as the Ross Orthographic are slower at about f14 and
may be better lenses as a result. They are still fully usable, and this is an important design as the first
advanced outdoor lens in photography. When Voigtländer fitted stops, they were behind all the glasses, while
Ross placed them in the middle of the optics. (see Lake-Price, p48; Photo News, 1/4/1849, p38). Lake-Price
suggests the need to shade the lens, eg with a hat or a box, and used it as a lens for work large sizes such
as 18x14in when travelling, as it was a compact lens and easy to carry on a journey. He was aware of the
larger size image it produces relative to the camera extension. (Layout V 004 for Voigtländer, G 005 for the
Ross version.) Traill-Taylor also mentions this and was almost prophetic in suggesting the idea of the
telephoto lens!
(WARNING Not all lenses sold as Orthoskops were of this type- it seems to have been used as a name for
other designs by other makers.)
Landscape Meniscus
Voigtländer must have sold meniscus lenses as he discusses these in the interview in Photo News 1859, but
they have not been found in the UK in our experience. He does say that the front of the Orthoscop can be
used as such. But note the lens threads in the Petzvals do not facilitate this. And there seem to be no
examples of Voigtlaender meniscus lenses on the UK market, while several Petzval portraits have been noted-
so the meniscus will have been a minor part of the business. Incidentally, there have been reports of "apparent
meniscus lenses" where the front cell of a Petzval is missing. They usually are not too sharp, and will show 4
bright reflexions instead of two.
A note in B.J.A. quoted under Petzval suggests Voigtländer refused Petzval's main idea for a casket set
based on the Portrait plus Orthoscop with the front and barrel serving in both lenses. This could have been due
to the design of the metal camera preventing its use with such a set of products.
Wide Angle Landscape Meniscus. In 1888, a new version meniscus was offered, listed in the B.J.A. 1889
p599. It was made in 10 sizes to cover 5x4in to 26x22in at f15 and gave 76-90° coverage with less distortion. It
was well corrected for colour and spherically well enough corected for use at near full aperture for
instantaneous exposures. Thus 11.5in was for 12x10in. It was a meniscus type lens, and represented the use
of 'new' Jena glass allowing it to replace an older version with less covering power. A typical late 19C design is
in Q007. [Afalter seems to list this as the Single Landscape f15.5 Series IX, from 1888, for 80°( which is in
good agreement,) made as 144-711mm.]
Stereo Lenses A stereo lens pair Nos 23,835/30,384 was noted at auction- the numbers are far apart, and
may represent a replacement or additional purchase.
RR and Euryscop.
Voigtländer possibly could not have followed the new RR designs in 1866 with me-too products for patent
reasons. Their first RR's seem to carry no product name but may have been called Euryscop from the start
and Eder gives this as 1886. Collecting experience has thrown up examples at No21,93x (Series 11, late
1882?), 25,80x (about 1883) working at f7.0 max., and 30,45x(1885), all in brass with Waterhouse slots in the
first and last and an iris in No25,80x in now stiff condition. Two types were noted: two were f7.0 max, while the
other was about f6.0 and probably sold as a portrait version. There is some indication the RR series dated
from 1877, and that there was later confusion over this and the date of the beginning of the 'Euryscop series
with Jena glass' which cannot be before 1886. Eder says that the first new-glass Euryscop lenses were still
without a trade name but they probably were marked soon, judging from the B.J.A. Centenary note. What is
certain is that some of these older RR lenses are not engraved with Euryscop or any type name- all carry
"Voigtländer & Sohn/Wein/Braunschweig" together with a size number and serial number only. An interesting
point is that on No30,46x there are two Waterhouse slots at opposite sides, so that the stop plate could be a
long strip pulled progressively through the lens for different apertures. But this was probably a conversion by a
repairer: it is a very unusual arrangement. Most of these lenses use Waterhouse stops- an exception being
No25,80x, which has an iris carefully engraved from f7-f64, though now partly unusable. It may be this was
some sort of a retrofit though it looks to be very well done at the works. The B.J.P. 1977 mentioned the
Centenary of the type, calling it Euryscope, and saying they were a Zincke-Sommer design, and emphasising
the high quality of the results. They would not have Jena glass in 1877. Logically there should be a Wide
Angle version but this has not been seen. Eder says he saw the first f6 Voigtländer RR in 1886, and these
were only later named Euryscop. Later Eder says the aperture was later increased and Voigtländer largely
replaced the Petzval portrait sales with Portrait Euryscops, and attributes the design to Zincke-Sommer with
Voigtländer. A collection was given to the Graphische Lehr- und Versuchanstalt in Vienna.This would
correspond to Series 1,11 and 111 as Portrait, normal and Wide Angle respectively. [Here Afalter lists
Euryscop statistics for 1896, which are interesting as including Series 1, f4; Series III (apparently in 2
versions); both f4.5; Series IV, f6.3; Series IVa f7; Series V, f6.3; and Series VI,f7.7; giving foci and coverages
in each case.]
An interesting list in 1888 gives:
[Portrait RR] The early Euryscopes are harder to recognize as they are not marked Euryscope or Portrait and
this needs to be deduced. It is necessary to look for a Voigtlaender with the same 2 bright +1 faint reflexion
front and rear.
[Series I This was not noted as a Euryscop and it seems likely that the Series I was the Petzval Portrait
above. But note that the Portrait RR will have a development history, and that the lists seen are fairly late
ones. One hint is that ?an f5 approx was noted at No30,46x (1885) on a c.15in lens, size 5. This will be pre-
Jena glass, but note that the difference between f4.5 and f5 might not be noticed here.]
Fig 004 005 Voigtlaender RR lenses (not marked Euryscop) No21,93x and 30,46x.
Portrait Euryscop Series 11 f4.0 This was made in 7.66, 9.75, 11.5, 14, 17.5in where the use of 11.5in
was suggested for 10x8in. This will probably include Jena glass and be after about 1886, and have been noted
at auction at No31,63x (1886). One note says new in 1886, and most are f4.0, but the longer lenses are f5.0,
so this type may shade into the above.The slight doubt is that the normal RR portrait lenses seem to have
been f5 up to the introduction of Jena glass in 1886, and Voigtlaender would have had a Portrait Euryscop
before then.
[This may be the same lens as Afalter lists as Series I f4.0 for 70° in 202, 263, 309, 378, 470mm but the foci
seem rather different.]
Fig 004 007 Voigtlaender Euryscopes Nos 33,34x and 35,01x with WAR Nos36,20x and 67,93x.
[The previous version read here:
Portrait Euryscop f4.0 4.5-17in and f5.0 from 17in (see Photo News, 10/9/1886) This was "New in 1886"
Layout is V011. Actual sizes were:
No3, 2in dia, 7.66in focus, f4.0; No4, 2.5in, 9.75in focus f3.9; No5, 3in dia., 11.66in f3.9; No6, 3.5 in dia.,
14.5in focus, f4.14; No7, 4in dia., 17.66in focus, f4.4.
These above were probably in rack+pinion mounts as a separate list is in "rigid mounts" ie barrels. This list
is different and includes:
No1a, 1.5in, 6.5in focus; No2a, 1.75in dia. f4.3, 7.5in focus; No 3a, 2in dia, 8.4in focus f4.2; No4a, 2.5in,
10.8in focus f4.32; No5a, 3in dia, 13in focus f4.33; No6a, 3.5in dia, 15.5in focus f4.43; No7a, 4in dia., 19.5in
focus f4.9; No8a, 5in dia., 25in focus f5.0. (The f numbers have been calculated today and suggest that the
series differ. And also that the f numbers changed with focus, as was common in those days. One finding
then is that it is not sufficient to look just at the f number of the first in the series.)
Amateur Photo. 03/04/1891 refers to an f4.0 series of 10 sizes in 4.5-10in, and an f6.0 series in 9 sizes in
6.0-32in. "The recent increase in aperture is due to the use of Jena glass".]
Portrait Euryscop Series 111 f4.5 This was made in 6.5, 7.5, 8.66, 10.6, 13.0, 15.5, 19.5, 25in. It was
suggested to use 10.6in for 10x8in. This has a typical RR 2+2 design, rather as Voi 011. It was still listed in
the UK in 1908.
In the 1915-16 USA list it was as:
No2 8in 1.8in dia 3.25x4.25in covered
No3 8.25in 2.125in dia 4x5incovered
No4 11.25in 2.6in dia 5x8in covered
No5 14in 3.16in dia 6.5x8.5in covered
No6 16.25in 3.75in dia 8x10in covered.
This list quotes the angle covered as 40°, "about natural in portrait lenses".
[Here Afalter lists the same Series III but distinguishes 2 types:
(a) This was made 1886-1904, for 70° as a Portrait lens for a bigger angle of coverage in 163-658mm.
(b) The other was made 1904-1928 for 32° as a Portrait lens in 170-660mm.
At present this seem a puzzling overlap, especially the very big decrease in angle covered.]
Extra Rapid Euryscop Series 1V f6.0 This was made in 4.0, 6.5, 8.25, 10.0, 11.5, 14.33, 17.5,
21.33, 24.5, 32in. It was suggested to use 11.5in for 10x8in. [This is in quite good agreement with Afalter list
of a Series IV at f6.3, for 70° in 127-1070mm probably in 1896.] No example has yet been noted.
Euryscope Series 1Va f7.0 This was made for the photography of heads and busts but as it
has a comparatively flat field, it can also be used for groups and general purpose work. It was noted as 120-
660mm and has been seen as No67,93x (c.1900) a brass finish barrel mounted lens of c.14in (360mm?) with
iris. This proved to be a fine sharp lens centrally, with good contrast for an old and used item.
[This is in line with Afalter's data, but his suggested coverage of 40° seems modest.]
In the USA list in 1915-1916 Series IVa was listed for 50° as:
No2 10in focus 1.75in dia 5x7in covered
No3 11.5in 2.33in 6.5x8.5in
No4 14in 2.5in 8x10in
No5 17in 3.125in 11x14in
No6 20in 3.5in 14x17in
Euryscope Series V f6.3 [Afalter lists this as for a wider angle of 75° using the new Jena
glass, in 138-487mm, but it has not been noted among those seen in the UK, possibly due to confusion with
the Series IV above.]
Rapid Series (Series VI) f7.75 This was made in 6.0, 8.25, 10.75, 13, 16, 20, 24, 28, 32in. for
60-75° It was suggested to use 13in for 10x8in so it is a normal angle lens. [It seems to be the same as
Afalter's Euryscope Series VI with bigger Field at f7.7 where a 358mm would be used for 21x26cm. It was
made in 145-1080mm and covered 78°.]
There should be new-glass types in 1888, (see Eder) and the series do not quite agree with the above. In
England, an 1891 list has only two types, f4.0 and f6.0, and then Jena glass was a novelty to mention as
leading to faster lenses. These can be identified as the Series 1 Portrait and the Series IV f6.0/f6.3, and it is
possible that the other sizes were taking time to become available. (One suprising point is that Voigtlaender
are not in the B.J.A. 1889: there is a possibility that the introduction of the lenses with the new glasses was
less smooth than one might now think.
Wide Angle Euryscop Series VII This was listed as 4.5-7.5in in 1890 in the B.J.A., and 4.0-7.0in in 1895 by
the Rochester Optical Co. It covers 65-85° and was an "improved Euryscop" so it was not the first type. The
example seen was coded Series V11 (about f12) and was No86,20x (1906) and is in brass with a slot for a
Waterhouse stop. [This is in keeping with Afalter's listing of an f12.5 Series VII in 113-342mm in Germany.]
This is a small compact lens giving a contrasty sharp image, and may be more useful than the bigger lenses
today. The above example was No7 about 13in and probably covered 16x12in originally but was happily used
on a 10x8in camera. An unusual feature was that the barrel could rotate in the large brass mount to keep the
Waterhouse slot at the top under all conditions- a nice touch!
[One deduction from advertising is that Voigtlaender discontinued the wide angle Euryscope in favour of the
Kollinear much more quickly than other fims many of whom went on making WAR lenses for a long time.]
Old Euryscop lenses can show barrels much darkened by corrosion where the clear lacquer has failed to
protect the brass. Removal of this mess can lead to a fresh brass surface but careful work can show a brown
layer on the surface. This seems to be copper left as the zinc in the brass selectively is leached out by the
corrosion. The copper may seem to stain the barrel if relacquered, but at least keeps the original surface.
In 1925, Frerk still lists the Portrait Aplanat Euryscope Series 111 at f4.5 and the Euryscope Series 1Va at
f7.0 as still being available. But this may have been the run out of old lines.
Collecting experience has shown several small lenses of about 55mm such as No121,69x which was used on
a movie camera by Butcher for Alfred Darling of Hove. Another was sold as a 55mm Euryscope on a hand
cranked 35mm movie camera in London in the 1990's. Others were f6.3/55mm on a 29mm thread flange, at
Nos 124,86x and 115,64x; and just may also have been for macro photography. They do not show up in the
normal trade lists.
The trade name Euryscop was used by others, probably illegally, though the exact terms of a trade name in
those days are now obscure. It is thus not a reliable guide to a Voigtländer made item, as it was used by
Perken Son and Rayment, Talbot Eamer and Co., London Stereoscopic Co., "Aristos", Black Bank, and
Clement et Gilmer. Some of these were selling lenses from imports, eg. as agents of C&G, but Perken were
lens makers. This is going to be a complex field to untangle.
It will be about this time that Voigtlaender began the manufacture of a 4-bladed shutter, with mechanical
timing and dial set speeds. It is illustrated in B. Coe's "From Daguerre to instant picture" p205, but has not
been seen and may be rare. There was also a later Turbo shutter, at least as prototypes. [It was just possibly
overtaken by the Compur Rapid.].
In the 1890's Voigtlaender certainly had a branch in London, and it is likely that there was some sort of
representation right through the period from the first Knightsbridge office: UK was a profitable market and also
London was the best place to trade with much of the Brirish Empire. Reports of lenses with
Voigtlaender/London just may be the result of an attempt to take advantage of Imperial Preference which was
a period trade preference regulation in favour of UK goods entering the then Colonies.
Anastigmats
The design of the Anastigmat by Rudolph of Zeiss in 1890 ushered in a new era and any company unable to
offer one was doomed to long term decline. There are reports that Voigtländer designed an early anastigmat,
possibly like the Concentric, but did not offer it for sale due to the glasses being unstable. And that they were
near production of the Kollinear when Steinheil tried to patent his Orthostigmat- a lens with a basically similar
layout. Voigtländer at first were able to obtain a licence from Zeiss to make and sell Anastigmats to their
patents. (One of these anastigmats was auctioned at Christies in 02/1999 as part of a lot, but they are
basically scarce in the UK.) However this seems to have been a short lived arrangement ending in 1895, and
Voigtländer probably then were able to develop sales of the Collinear (or Kollinear in German), based as
above on one of the three main layouts of 3+3 symmetrical anastigmat. They were able to offer these from
1895. The designs were very near ones made for Steinheil for the Orthostigmat (above), and they may in fact
have involved patents jointly held. Some are actually said to carry the number of the Steinheil patent, (Brit.
Pat. 12949/1895; 18723/1896). These have not been seen or reported. [Eder says Voigtländer were all
prepared for making it at the time Steinheil filed for cover, and that they eventually agreed to share the
Patents, especially as Steinheil had already suffered a long battle with Goerz over the right to patent the
design. The relation with Zeiss may have partly depended on new staff and buildings being prepared at Jena to
allow Zeiss to make their own designs in quantity] The designers for Voigtländer were H. Scheffler and Dr D.
Kaemfer, D.R.P. 88,505 of 28/11/1893; Brit. Pat. 12,949 of 07/1895; quoted in Photo. Korres. 1894, p495).
For the UK sale see Photography 31/01/1895. It was introduced as f6.3, f7.7 and f9.0 versions.
Zeiss Anastigmats under license .
These are listed well by Afalter for the German market, but seem to be almost unknown in the UK, although
one was noted at auction and a Ser V f18/240mm has been noted from c.1891. This is probably because they
were not sold here as Ross was the licensee. Afalter says they were made in:
Series II f6.3 in 85-590mm 85°
Series IIa f8.0 in 110-433mm 75°
Series III f8.0 in 96-586mm 85°
Series IIIa f9.0 in 120-820mm 97°
Series IV f12.5 in 62-1228mm 100°/80°
Series V f18 in 86-1660mm 110°/90° (A 240mm example has been noted in the UK as above.It was
made to DRPat No56,109 of 1890, Voigtlaender No40,620 and is in brass. The actual engraving is:
Voigtlaender & Sohn/Braunschweig/No40620//D.R.P.56109/ Anastigmat V 1:18/No5
and had a clear aperture of about 12mm corresponding to a 240mm f18 lens. Stop holes were 32/16/8/4/2 ie
not in an f series. Both cells showed 2 bright and 1 faint reflexions.)
These are quite near the Ross data and 2 + 3 designs are shown for the first 4 series. Again the Series V has
2 quoted angles depending on size.
Series VII/VIIa f12.5/6.3 in cells of 183-1050mm.
By 1915, the USA catalog says "most of our lenses are of new constructions, based on the calculations of Dr
Harting, FRPS."
Incidentally, the Catalog contains a Confidential list of discounts, ie profit margins for their dealers. Those
carrying a regular stock (unspecified) of their supplies are recognized as dealers and entitled to a trade
discount of :
Lenses, cameras, shutters, prismatic binoculars, opera glasses and Projecting lenses 33.33%
Telephoto lenses and attachments, reversing prisms, and accessories such as cases, filters, flanges, caps
25%.
There was no charge to fit lens cells to a shutter, and lenses were available on 10 days trial and were then
returnable if not sold if in perfect condition. Cameras were not supplied on trial, but could be supplied to
dealers for customers to inspect with a view to purchase and were returnable within 3 days of receipt if unsold,
subject to the dealer paying all shipping costs. There was a liberal lens exchange policy for dealers carrying a
representative stock of items.
Finally, there was a further Profit Sharing Scheme from 01/01/1912, for dealers carrying a representative stock
and vigorously promoting it, and this lead to credit refunds of 5 to 12% of annual purchases of $300 and
upwards. This was on all Voigtlaender items, as follows:
$300 refund of 5% thereof.
$600 6% thereof
$1,000 8% thereof
$2,000 9% thereof
$3,000 10% thereof
$4,000 12% thereof.
[This seems to allow a mark-up of some $1300 on sale of $2700 of stock purchased, or 48% if there was a
turnover of $3000.]
There were some interesting items also. Thus:
Voigtlaender opera glasses were in 4 types then.
No100 was finished in black enamel and Morocco leather.
No200 was in aluminium, with black enamel and Morocco leather.
No900 is pearl mounted and the metal work is gold plated giving a most attractive appearance.
No950 and 951 are in aluminium and pearl mounted and supplied in silk lined plush bags.
In addition, the glasses varied in the number of 'Lignes', an obsolete measure of length, so the plainer types
were made in 4 sizes, the fancy in 2 sizes.
No Lignes Price$ No Lignes Price$ No Lignes Price$
100 13 8.25 200 13 9.75 900 13 15.00
950 13 15.00
101 15 8.75 201 15 10.50 901 15 16.00
951 15 16.00
102 17 9.75 202 17 11.25
103 19 10.75 203 19 12.25
Binoculars benefitted from some 160 years experience in the making of optical instruments. These were
prismatics, using two conventional prisms, rather after the Abbe/Zeiss patents which had expired by then and
were made in 3 magnifications and several objective diameters.
Magnification Dia. of Objective(mm) Angle of View°
6 21 7
6 24 7.5
6 25 8.5
6 30 9
6 36 8
6 42 7.8
8 21 7
8 30 7
12 30 4
Prices of binoculars were from $31 to $63, mainly depending on the diameter of the objectives.
Magnifiers These were round tubular units for use with cameras, and came in 2 types.
Series A This was a 3g/1c optic of flint and crown, using a (+)glass surrounded by two (-)glasses. It was made
a 6x, 8x, 12x power and was very large in diameter and flat field ('perfectly aplanatic'). Price was $7.50 in any
size.
Series B This was a less expensive unit, of two separate glasses for $3.00.
Cameras were from about $40 with a Radiar lens to $165 with a Stereo Alpine, and lenses were about $27 up
to $293 for a big Kollinear II. Thus a dealer might be averaging $60 per invoice and need to shift 5 or 10 items
to reach the profit-sharing and about 2 per week for the maximum rate. It is likely that only a dealers in a big
center would achieve this.
The Voigtlaender Anastigmats were initially the Kollinear- or spelling as Collinear for export markets.
Kollinear was made in several series, and there may be changes in the designs. Users say that the
performance is very good but that the colour correction can be less good than other types, and the faster
series may lack ultimate sharpness. Frerk writing in 1926, says the old versions were in f5.4 and f6.8, and that
the line was simplified in 1921 when R. Richter redesigned the Kollinear as an f6.3 in all sizes. Today, demand
for Kollinear seems to be increasing and prices are rising, perhaps as it is more flexible in use than Dagor, the
main 3+3 symmetrical competitor. The angle covered was good but not outstanding. The first list noted is from
a Rochester Optical catalogue for 1899.
{Note Do not confuse these with the Collineograph, of H. Ernemann qv.}
There were 3 main types of 3+3 symmetrical anastigmat. The most successful was the Goerz Dagor and the
next most important was the Voigtlaender Kollinear and Steinheil Orthostigmat, which are to products
basically of the same design group, and finally, the Watson Holostigmat was a third basic type, though Zeiss
had also used this layout. A fourth could be envisaged but never actually used commercially.
Kollinear f5.6 This was made in 3.5-7.875in
This may be Series 1, or the f6.3 series may have initially been a complete series. There may have been an
f7.7 series for up to 85° as suggested in Photography 31/01/1895. The iris was graduated in Stolze's system
which can complicate the apertures!
Kollinear Series 11 This seems to be the most common from experience, and today are usually available if
you look. They were general purpose lenses with an extra rapid classification but also highly corrected and
with the advantage of being convertible to a lens of twice the focus.Thus it is useful for landscapes, long focus
work, interiors and copying. Unusually, no angle of cover is given in the USA list but two formats for each
focus are listed. The Layout is Voi012 and in 1914 it was made as:
f5.4 2.375in for 1.5x1.5in; 2.75in for 1.75x2.5in; 3.5in for 3.25x3.25in; 4.75in for 3.25x4.25in; 5.5in for
4.25x4.75in; 6.0in for 4x5in; 7.0in for 4.5x6.5in; 8in for 6.5x8.5in; and also 9.0in, 12, 13.5, 15, 17.5, 20cm;
f6.3, 25cm for 5x8in; 31cm for 6.5x8.5in, 37cm for 8x10in, 44cm for 12x15in , 52cm, 60cm for 14x17in. It
covers about 80° in all sizes. The above formats are at full aperture, and are increased at medium stops. Thus
the 6in then covers not 5x4in but even 5x7in.
All sizes from No2 to No6 ie 4.75in to 12in inclusive were avaialable as cells to fit to shutters.
This may not have applied in other years but the lenses seen fit the scheme. It is normally classed as a fine
lens but the f5.4 seen has not been a very useful lens in experience, but this example may have been poor.
The f6.8 and f6.3 are much sharper and less flarey. It was also covered by DRP 88,505. [Afalter seems to have
the same series of apertures and foci in Germany in 1910, but notes it covers 60°. This may be at full
aperture.]
Kollinear Series 111 It was covered by D.R.P. 88,505. (Voi013) This seems to be scarcer, and may be
aimed at shutter mounting as it is smaller. It covers up to 90° stopped down. It was made in:
f6.8 7.0, 9.0, 10.5, 12.0, 13.5, 15, 18cm, where it was suggested to use 15cm for 5x4. But note the
lenses found are f6.3 and seem to be of this period.
004 011 Voigtlaender Kollinear f6.3 No162,88x and 2x W/A Kollinear at Nos 66,204 and 228,30x.
In the USA list it was as:
2.25in for 2.25x3.25in; 3.5in for 2.75x3.25in; 4.25in for 3x3.25in; 4.75in for 3.25x4.25in; 5.375in for
3.75x4.5in; 6in for 4x5in or 5x7in stopped down; 6.5in for 3.25x5.5in; 7.125in for 5x7 or 6x8in stopped down.
f7.7 20, 25, 31, 37, 44, 52, 58cm. Use 13.5cm for 5x4. It covers about 90°.
In the USA list it was as:
8in for 6x8in; 10in for 7x9in or 8x10in stopped down; 12in for 8x10in; 14.5in for 11x14in; 17.5in for
14x17in; 20.5in for 16x18in; 23in for 18x22in.
All sizes from 1A to 6 ie 4.25in to 12in inclusive were avaialable in cells to fit shutters.
A Collinear II No5 f7.7 ie 10in was noted at No49,11x.
[Afalter seems to have the same lens in Germany in 1910, but notes it covers 66°. Rather than underline a
difference in angle, one is probably with the iris fully open and the other stopped down.
He notes 3 Casket sets as follows: for 9x12cm, with 143, 209, 262mm cells for 97mm and up.
for 13x18cm, with 224, 262, 358mm cells for 138mm, etc.
for 18x24cm with 262, 358, 447, 538mm cells, 172mm, etc.
These were listed but have not been seen in the UK.]
Kollinear f6.3 This was the R. Richter redesign for the postwar market. It was not in the 1915-1916 USA
catalog.This was a fine universal lens, sharp and flare free and it was suggested to use 18cm for 13x18cm, but
it covers 80° so a 13.5cm covers 13x18cm very well. This will be the best today if available. These are in black
enamel finish where seen. They were made in many sizes listed in the Afalter Table from 70-520mm, but
rather few were in the UK adverts, as sales were difficult just after WW1 and later tended to concentrate on
cameras rather than lenses after about 1926. Thus the B.J.A. 1928 p642 and 1929 both have:
Collinear f6.3 A Universal Convertible Lens
4.125in £6.00
4.75in £6.40
5.25in £7.20
6.0in £7.75
8in £12.00
12in £25.2in
Big examples did come in after WW1 as is shown by a biggish f6.3/37cm for a 10x8in camera in a Kent
studio but this was actually probably a Series II from the date (1921). It may be easier to find a sample of
Richter's design on a small camera.
One question is when sales switched from say Collinear Series III f6.8/7.7 and Series II f5.4/6.3 to the one new
product with f6.3. Afalter suggests they were sold from 1928 to WW2, and this would make the f6.3 Collinears
actually seen from the 1920's the old type. This does not really fit with Kollinear 12cm f6.3 No166,573 (1921)
in a Dialset Compur Nr 337,260 (1918?) which rather suggests small sizes perhaps were introduced earlier or
the Kollinear was made in f6.3 for use in shutters, which is also possible. It is noted that Kingslake says
Richter joined Voigtlaender in 1914, and Goerz in 1923, which tends to support an early 1920's introduction for
his design. Frerk suggests 1921, and this agrees with the lens seen.
There is some sign from the drawings (Voi016, and Voi012) that the design of the Kollinear was altered,
possibly by Richter for the 1920's, and that the later ones have a thicker second glass and some cylindrical
wall at the edge. It is not known if this is a real difference however, but it is nearer the layout of the next
process lens.(Voi015) The f6.3 was made in f6.3 for up to 80° in shorter (to 20cm) foci, 70° in longer foci. It
was a general purpose professional lens. Early versions from 1900-1914 of Kollinear were in brass finish but in
the 1920's the f6.3 was in black enamel.
Fig 004 009 Voigtlaender Kollinear (l) f6.3 at Nos 54,85x (1899) and 46,370 (1895);(r) f5.4 at Nos 54,37x and
117,67x.
A typical advert. with cameras is in B.J.A. 1925, p746, where the three lenses on the Tourist are Radiar f6.8,
£8.40, Kollinear f6.3, £11.56, Heliar f4.5, £6.00. It was also on the Alpine. By the B.J.A. 1931, p590advert., the
range was only 5.25in in Compur, 6in in several barrel mount or in shutter, 8in and 12in (same).
Casket sets were sold based on these for use on 9x12, 13x18, 18x24cm, with 3 or 4 or even 5 components. A
casket set was still listed in 1924, but these do seem unknown in the UK. [Afalter lists Sets A,B,C,D,E for
different sizes with the f6.3 Collinear].
Weit Winkel Kollinear f12.5 In 1931, it was only in barrel mount, as 4.125, 4.75, 6.0, 7.125, 8.0, 10in.
(B.J.A. 1931, p590). This will be the Series IV as follows, the German style having continued into the UK
advert. (This was also seen in a list as f6.8/180mm, but it is likely to be the usual postwar Kollinear or a
misprint for the Series IV below.)
Kollinear Series 1V This was a wide angle version, normally at f12.5 max. (Voi014) It covered up to 100°
when stopped down and was made in: 10.5, 12, 15, 18, 20, 25, 32, 44, 58, 80, 100cm. Use 20cm for 10x8in.
In the 1915-1916 USA list, it is as:
4in for 4x5in or 4.25x6.25in closed down; 4.75in for 5x7in; 6in for 6x8in or 8.5x10.5in closed down; 7.125in for
8x10in; 8in for 9x11in; 10in for 11x14in.
It was covered by D.R.P. 88,505. (Peeling & van Neck, B.J.A. 1931, p590) Late examples are not marked with
a series. They were made till WW2 or nearly, as one is No2,283,30x, about 1938, in 15cm for 5x7in (or
bigger).
An earlier series was made as Kollinear 1V but at f11.3 max. and was seen at No66,20x from 1900. It is in
brass finish.
These seem to be moderately common in the UK in the sense that two have been noted or seen. The late one
is an especially fine lens in use, and may actually be more desirable today than the faster types which can
have lower contrast.
Kollinear f9.0/f8.0 Slower versions of the Kollinear were initially offered from 1895, for process work. The f9
was the original but Dr Harting mentioned the f8 in 1901 in the Photo. Journal 1901, 25, 323. These are at
least scarce in the UK. These may initially be non-apo lenses- the concept of an apo lens was probably
unusual up to 1900. [This comment is based on the Zeiss Catalog of that date, where the term is not used on
a 'new concept lens' which is offered at a considerably increased cost. qv.]
The non-apo is not listed in the 1915-1916 USA catalog.
ApoKollinear f9.0 Layout V 015 for 30-40°. This version was introduced in 1900 and may be still another
version to the ones above which are likely to be non-apo versions. The two may have sold in parallel for some
time. The apo was certainly an impressive lens with very thick glasses. The maximum aperture varied, from
f9.0 at 200mm to f12.5 at 1000mm.
In the USA catalog, it is listed as:
Focus Dia of glass Covers at f9-11 Covers at f16-64
12in focus 1.5in 8x10in 10x12in
17in 1.875in 10x12in 14x17in
20in 2.375in 12x16in 16x20in
24in 2.75in 16x20in 20x24in
The designer was Dr Harting F.R.P.S. (See Photo Jnl. 1901, 25, p323). It was again made under
D.R.P.88,505, (Voi015). {Afalter has the same lens and foci, but dates it from 1904-1928, which is in good
agreement.] It has not been actually noted in the UK but old process lenses are not too often seen. One
comment is that there was no hint that the ordinary user might find it a useful item. Thus sales were limited to
process workers. It was expensive, but not amazingly so: if the 12in lenses are compared, the Series II f6.3 is
$95, the Series III f7.7 is $90 and the Apo f9 is $97 and for colour sensitive material will be the sharpest.
As in the advertisements, Lummer shows the Kollinear with the interface swept back to a knife edge while in
the same book he shows the Orthostigmat glasses to have a cylindrical edge to them. He suggests that Beck
licensed from Voigtländer, which is possible even though the lenses carry Steinheil's name as well as Bck's,
but this shows how complex the situation had become. Early lenses were marked in the Stolze system, with
f3.1 as a basis so that f6.3 was marked as 3. This was still made this way in the 1920's. The above angles
covered are those given in the literature, but may be optimistic by modern standards, and in general the
Kollinear covers rather less angle than either the Dagor or the Holostigmat do. But it was good enough to sell
in the UK into the late 1920's and it and the wide angle version seems to have been made to 1940. Incidentally
the original patent by Kaempher seems to cover another 3+3 symmetrical layout, but this was never actually
used.
A note about Shutters!
The 1915-1916 USA list summarizes the then situation over shutter mounting. All sizes of Dynar and the
medium sizes of Collinear Series II and III were avaialble to fit in blade shutters, normally at a few dollars less.
The shutters used were Wollensak Autex, Wollensak Optimo, Deckel Compound or ? Compur and Acme.
Triplet
Voigtländer were a sub-licensee for the Cooke triplet patented in the UK as No22,607/1893, from TTH of
Leicester, and made these from the later 1890's (say 1898) as portrait, cine (Voi009) and projection lenses.
An early example seems to be 'f6.8/140mm Cooke Linse Triple Anastigmat H.D.Taylor Pat. Serial No 59,731
to D.R.P. 86,757' which was found in Switzerland in AD2001 as a lens in a focusing iris mount- composed of 3
bolts running in 3 slot in a barrel. The unit is very light and probably from a Klapp or just possibly a reflex. Iris
to f50. The number is in one of the missing group about 1899.
Frerk notes that Voigtländer were the first German maker, without further comment. This also explains how Dr
Harting was able to explore the designs of the Heliar and Dynar which are generally regarded as triplets with
extra glasses added. There is some space for humour here as the Taylor design was expressly chosen to
minimize the number of glasses and he began with 3 achromatic pairs and reduced them to three singles-
only for Dr Harting to revive two of them. (There have been reports of Voigtländer having a triplet design patent
to help their position as well as being licensed but this may merely be to the Harting types).
The Cooke patents would be valid protection into the new century, but may have become more widely licensed
as the years went on. Thus the Voigtländer triplets changed from being premium items in 1900 to being
mundane ones in the 1930's. They were on sale in the UK in 1914 as the Helomar but probably were sold here
after the Patents ran out in about 1908. [They have not been seen and sales in the UK may have been limited
in competition with the TTH originals.]
Portrait Anastigmat f4.5 This was for portrait, instantaneous photography and projection. A fast lens!
(Voi030) It was made by 1908 and perhaps 1900, and one of the older of the type. There was a big distance
from glass 1 to glass 2 here, and two heavy Barium flint positive glasses were used, and it gave excellent
correction and covered 48°. Use 24cm for 13x18cm, and it is also a fine projection lens. It was covered by
D.R.P. 86,757. [This will agree with Afalter's account of the Portrait lens in f4.5 in 80-600mm, which he dates
as 1904-1928 in Germany. But note that he finds the Portrait is very unsymmetrical where here it is the next
item which seems to be of this type. It may just be that the diagrams were exchanged in some publication.]
Triple Anastigmat f4.5 This trade name was used for a series of triplets made under DRPat 86,757 made for
many years as a portrait lens. Listed in 1908, manufacture may actually have begun earlier. (V029) since it is
probably the Cooke Series 3. It uses 2 barium crown positives and a light flint negative and the iris and shutter
are behind the 2nd glass. It is a superb general purpose lens and has no cemented surfaces. Use 18cm for
13x18cm, but it covers 16x21cm closed down. It was made in f6.8 to 15cm, and then f7.7 in larger sizes and
f9.0 up to 830mm. The layout was very unsymmetrical, and a lower price design, and may have been
continued as the Voigtar series. It was covered by D.R.P. 86,757.
Triple Anastigmat f6.8 This may be the earlier version, as noted above at No59,731 and later rather
overtaken by more saleable faster f4.5 lenses. Note D.R.P. 586,757 also coverd this.
Post WW1 this was known in f6.8 to 18cm, and then f7.7 to 83cm f9.0.
Triplet Projection Lens This was noted as Layout V 028 (B.J.A. 1914, p1130advert) This is a fairly
symmetrical triplet, rather like the Helomar in a black and brass barrel with rack and pinion focussing. It
seems to have been introduced to extend the sales of the Petzval type such as 'Projektos'.
Helomar
This was a very fast general purpose lens, noted in B.J.A. 1914 p1126, etc. The speed varied with the focus.
The trade name does not seem to be used in Germany as it does not appear in Afalter's list, and in general
several trade names of triplets may differ with country. [Afalter does list two Triplet lenses however.]
Helomar f3.2 This was offered as f3.2 in 4.75, 6in, then being the f3.5 below. It was mainly for
movie use and was used over a moderate angle- a warning when used for normal photography! (B.J.A. 1914). It
was a rather nearly symmetrical design.
Here the 1915-1916 USA list is informative, with:
In f3.2 max.
No0 1.375in M.P.Film ie Movie
No1 2in Movie
No2 2.5in Movie
No3 3in Movie
No4 3.5in Movie
No5 4in Movie
No6 4.75in 2.5x3.5in
No7 6in 3.25x4.25in
All the above could be had in focusing mount, eg for movie use as well as in iris mount.
The next are f3.5 max.
No8 7.125in 4x5in
No9 9.5in 5x7in
The last 2 items were in iris mount only and probably sold as large format lenses.
Helomar f3.5 This was made in 7.125, 9.5in (B.J.A. 1912, 788) Layout V027. At this stage it
was a rather narrow angle design for 40°. This suggests this has much in common with the Portrait
Anastigmat, and it may be a replacement. The trade name was not in use in 1926 when Frerk noticed it only
on old cameras. It was also reused in the rangefinder Bessa about 1936-1938, when it was the low cost option
(at 152RMark) to the Skopar (172RM)and Heliar (192RM) and here all were in Compur Rapid shutters so there
is a direct comparison of the lens cost.
[Brillantar f4.5 7.5cm This was a triplet on an early 6x6 TLR like a Brillant at No231,30x
reported in an anonymous shutter 25-100 TB but probably actually a Welta camera and NOT of Voigtlaender
make.]
Voigtar This was the standard budget priced triplet in the period c.1925-1940 and was fitted to very large
numbers of the cheaper Brillant and folding cameras. It was eventually made in f3.5, f4.5, f6.3, f7.7, f9.0.
(Layout V 031) and the layout may have varied from unsymmetrical to nearly symmetrical as the aperture
increased- these were not just all taken out of one box. It was fitted to Vag, Avus, Bessa, Brillant, Jubilar, and
most of the less exotic cameras of the period 1918-1939, but not to Superb, Prominent Rollfilm or Virtus for
example. Thus commercially it was a most important product. It covered a normal angle, a 90mm being fitted
for 5x8cm, and 105mm being fitted for 6x9 and 120mm fitted for 6.5x11cm. It may not have been made in
larger sizes as it was not an option for the 9x12 Bergheil for example.
The Voigtar was one of the features of the Perkeo 6x9cm in 1929 (B.J.A. 1929, p297) and of the 'new' Bessa
6x9cm with an f7.7 in 1930 and in 1931 with an f6.3/4.125in (B.J.A. 1931, p291). All these were and are good
performing cameras, especially the f6.3 due to the greater aperture making camera shake less serious. It was
a very good lens for what were fairly low cost cameras. Thus Voigtar made real friends and was extended to
other models- it was on the Rollfilm, Vag, and Avus in 1929, but not the Tourist or Stereoflectoscope in 1929.
And an early TLR Brillant used an f7.7 Voigtar, with 3 distance settings (B.J.A. 1933, p259). It would be one
with a metal body and was the beginning of a long line.
The faster ones such as f3.5 on the Bessa 66 may have been less sharp (from considerable user experience
in the 1950's) but the real problem there may have been shake, as the side release on the Bessa 66 was not
as ideal as it looked, with too many linkages for perfection and a tendency to add shake rather than avoid it!
Not all Voigtar lenses are numbered which may suggest a lack of pride in them- while Skopar and Heliar are
serial numbered but often on the rear of the mount- not too convenient when the customs wish to check the
numbers. One suggestion is that a Bessa with a Skopar or Heliar would be a wiser purchase.
In more modern times there was an f8.0/44mm Voigtar on the Bessy S which is said to be an achromat.
Radiar f6.8 This was the budget option on the Bergheil Tourist cameras in the 1914 B.J.A. and the 1915-1916
USA list. Initially this was thought to be another budget priced triplet. However this use suggests it was a 4
glass dialyt, and it was noted that it was convertible to give cells of 2x the focus. These need to be used at f22
for real sharpness. It was not available separately, only on the cameras.
Bergheil 3.25x4.25in Radiar f6.8 $40 ot $45 with spring back.
Bergheil3.25x5.5in Radiar f6.8 $48 or $53 with spring back.
It was the budget version, in the senses that the plain 3.25x4.25in camera cost $40 with Radiar, $55 with
Collinear III and $62.5 with Collinear II.
It was noted on a VP Bergheil in 1927, but used also on bigger sizes. Note that Frerk lists Radiar as a 4glass
dialyt, so the design may have changed. It was discontinued by the 1933 list, and only Heliars shown.
Voigtländer Anastigmat f6.3, f7.7, f9.0 This was essentially another Triplet from the Voigtar and Triplet
group, and may be an earlier name for them. It was listed in 1908.
Avuskop seen as an f7.5 135mm lens. This seems to be another triplet but note that Dr Kingslake lists an
Avus as a reversed Skopar type design with 4 glasses, ie a "rasset" type design. Frerk notices it as a good
low priced triplet.
Vaskar This was an f4.5 triplet made in 75, 80, 105mm (Layout V 032) for sale after WW2 and was coated
and possibly redesigned. It was used on budget priced TLR and folders such as the 6x6cm Perkeo noted in
B.J.A. 1953, p252. The definition was described as "good and the negatives ...more than adequately sharp".
Color Lanthar f2.8 50mm A budget type triplet, with rare earth glass, used on late 35mm cameras.
Lanthar f2.8 50mm This is thought to be the same.
Good performance was available from this type of design, especially as the name suggests new glass and a
redesign, and Q033 is a generic for a modern quality triplet. Note the thick glass and near symmetrical layout.
Lanthom f2.6 50mm This was seen at No4,626,245 (1958?) in a Prontor SVS shutter (iris f3.5 sic -
f16) and with front cell focusing from ?Inf to c.1.1m. It seemed to have 3 separate glasses in front of the iris
and 1 behind, and the lens is both deep (30mm) and also protrudes well (15mm) in front of the shutter. This
would suggest a Q21 type design. It illuminated 24x36mm well and central sharpness was very good though
some fall off at the edges seemed to occur. It was used mounted on a 11.5 tube to a Canon 7 camera. Only
one example is known and it just may be some type of prototype.
Heliar: This is really a group of lenses!!
The Heliar was an in-house anastigmat design and rather important to Voigtländer as a result. It was also fast
at a time when speeds were rising. It was first issued in 1900 to a design (Brit Pat No13,441/1902) by Dr Hans
Harting (1868-1951) applied for well before the Tessar was published. (Frerk says 'in the office of Dr H Harting,
the regierungsrat= administrative adviser- which is much the same.') It was "a brilliant anastigmatic objective
working at a full aperture of f4.5" in all sizes. Thus it was fast enough to compete with the Zeiss Planar and
Dallmeyer Stigmatic as well as the Cooke Triplets, and users noted that the image had a very attractive
quality though this is something which is hard to define. It rapidly became a favourite and old examples are
still sought after if in good order. Most are in brass, or brass with black enamel, but Eder mentions Voigtländer
used Magnalium (aluminium/magnesium alloy) for the barrels of some. The original was essentially a triplet
with a thin concave glass capping each of the outer surfaces. But unlike the original triplet, it could be made
more nearly symmetrical. (DRPat. 124,934/1900; USPat 716,035; BPat 22,962). Later designs departed from
the symmetrical rather more (DRPat 143,889, BPat 13,441/1902) and these are an improvement. It must be
noted that Voigtländer went on engraving the original patent number at least to 1914 so it is not a useful guide
in purchase of the original type of lens. Rather, the original may be very scarce or not produced as it was
overtaken by the later type. It seems that pictures of the late Emperor of Japan with a Heliar lens were so liked
that this was subsequently insisted on by him and this has left a legacy interest in this lens in the Orient. This
is separate from the demand for the related ApoLanthar which is looked for on purely optical grounds.
Note that H.Harting is quoted by R.Kingslake as the author of "Optics for Photographers", translated
F.R.Fraprie, American Photographic Publishing Co, Boston, 1918. (This has not been seen!) He had
previously worked for Zeiss, as Abbe's assistant, and left Voigtländer in 1908 to work in the German Patent
Office, and later for Zeiss again.
(a) Heliar f4.5 2.0-24in Use 16.5in for 10x8in On sale 1900-1902 onwards. Here coverage is only
about 50° and now seems good but more limited in use than some others. They were suggested for use on
reflex cameras and for press photography and have been noted on large format press cameras from several
makers. In the studio, they were esteemed as portrait lenses, which explains the very large sizes supplied.
The small ones were for movie (probably!), stereo (below) and in small hand cameras. Layout V017. This
layout shows the modified lens with curved surfaces at 3 and 6, not the first type. The modified type has been
seen at Nos 99,93x (1908) in brass and at No139,09x (1917) in black enamel. The negative glasses are light
flint and the positives the heaviest baryta crown. (Eder, Jahrb. 1903, p117). It was covered by D.R.P. 124,934
and 143,889. Heliar was listed in 1914 (B.J.A. p1126, 1915-1916 USA list) as follows:
1.375in for 1x1in in the USA (1915).
50mm for 2x1.25in; 62mm for 2x1.5in; 70mm for 2x1.5in; 85mm for 2x2in;
100mm for 2.75x2in; 125mm for 3.5x2.5in; 130mm for 4.25x3.25in;
150mm for 4.75x3.5in; 180mm for 5.5x4in; 210mm for 6x4in;
240mm for 7x5in; 300mm for 8.5x6.5in; 360mm for 9.5x7in;
420mm for 10.5x8.25in; 48in for 12x10in; 60in for 16x12in.
[These sizes are the same as Afalter quotes for German supplies, but the UK advert. says "Angle of view 50°
while he quotes 66°]
One outlet for small Heliars was the Stereo-'photoskop and 'flektoscop cameras, where Heliar pairs were noted
as follows:
'flektoscop: 804,82x/80870x view: 113,61x/--: 114,44x/--: 89,25x. 643,43x (view), 641,98x (take); (view)
380,06x, (take) 370,97x; (view) 182,21x, (take) 182,61x; (view) 538,93x (take) 496,36x.The Heliars always
seem to have sequential numbers.
'photoscop: 115,69x (2x);
Important applications included most of the early Voigtlaender cameras such as Vida, Heliar reflex, Tourist,
and Heliar plate camera, with later the Bergheil.
Fig 004 013 Voigtlaender Heliar f4.5 (l) 24cm No99,93x and (r) 42cm No139,098.
(b) Dynar f5.2, f6.0 4.75in for 3.25x4.25in, 5.5, 6.0, 7.125in Layout V018.
The 1915 USA list has 4.75in for 3.25x4.25in; 5.375in for 3.5x4.5in; 6in for 4x5in; 6.5in for 3.25x5.5in; 7.125in
for 5x7in; 8.25in for 6x8in; 10in for 6.5x8.5in; 12in for 10x8in.
The Dynar covers up to 60° and was sold from 1903, and into the 1920's as an f5.5. It was still listed in 1926.
It was a cheaper option to the Heliar as an 8.25in Dynar cost $47 in barrel and a 8.25in Heliar cost $68. But it
did have the real advantage that the glasses of all sizes of Dynar were available mounted to fit shutters.
After the introduction of the Zeiss Tessar in 1902, Harting would have realized the value of the positive curve in
the rear component of the Tessar's design and may have wished to follow it in a revised Heliar, and this was
the Dynar which was sold from about 1904. (DRPat 154,911, 124,934, 143,889,USPat 765,000/1903). The
Dynar seems also to be covered under the Heliar patents above (eg. D.R.P. 124,934). In fact the Dynar was
the better design version and it is surprising that Voigtländer continued to sell both but the Heliar had
developed a prestige and mystique, and in practice the Dynar was sold as a slower version, usually in shutters
on more modest cameras until the 1920's. This meant the customer had the choice in small sizes and seems
to have chosen Heliar, while sales of the large sizes lenses for the portrait and studio business was kept for
the Heliar. A late advert. for Dynar was on the Steofotoscope in B.J.A. 1925, p747 where Dynars was the only
option. Therefore it is not a very easy lens to find today and can often be overlooked when seen as it is often
rather modest in size and appearance. A personal opinion is that it is an easier lens to live with than early
Heliars as the angle covered is more normal. Both the examples seen were from 1904-1905 suggesting that
sales were initially good but flagged prewar as the Heliar reputation grew. An 18cm f6 Dynar illuminated 10x8
and the corner image at 15ft was probably useful at small apertures, so that the Dynar covered a wider angle
in emergencies than the original Heliar.
[Afalter quotes the same foci from Germany, as 12, 13, 15, 18cm, and says the angle covered was 63°.]
Fig 004 019 Voigtlaender Dynar f6 in (l)12cm No80,183(1905) and (r)18cm No78,51x (1904).
c) Oxyn f9.0, f15 in longer foci, It was made in 14-36in, and covered 30°.
The USA list has it as:
No1 14.25in f9 14x14in
No2 16.5in f9 16x16in
No3 20in f10 18.5x18.5in
No4 23.5in f10 22x22in
No5 31.5in f11 27.5x27.5in.
It was supplied with Waterhouse stops, in a set of 6 round ones and 5 with square openings. Note the USA
list seems to lack the very longest types.
This is an uncommon process lens, at least in the UK, and uses a Heliar type front element and a Dynar rear
one. It was made under DRPat 154,910, USPat 766,036/1903 to Layout V 019.
[Afalter quotes the same range of foci, giving formats covered.]
After WW1 the Dynar (V021) was short lived and the main product became the Heliar (V020) now with a
version of the old Dynar layout. A scarce lens was the Universal Heliar which kept the old Heliar layout but
added a movable centre glass to allow control over the softness. The normal Heliar was offered in two speeds.
It now covered a normal angle, such as 105mm for 6x9. It was an excellent lens and used on many of the
folders and TLR's as the premium item. Thus it is quite common in smaller sizes to about 135mm but less so
in longer sizes.
There was a patent to H. Deser of Voigtländer DRP 636,166/1933 for an improved Heliar type lens using an
Oxyn type layout to cover some 52° and glasses G1 +4= 1.6577/51.2; G2 + 3= 1.5813/40.8; G5=
1.6070/40.2, but it is not known if it was made commercialy. (see below under f2.8 Heliar).
(d) Heliar Two series were made at different speeds.
f4.5 105, 114, 120, 135, 150, 165, 180, 210, 240mm but larger sizes may have been
made. It was coded Series 1 in one list. On the Bergheil 6x9cm, there was an option of Heliar 105mm or
120mm, and of 135mm and 150mm for 9x12cm. This may have merely been a matter of taste! A select
version was on the Prominent roll film in 1934. (B.J.A. 1934, p299).
[Afaltar illustrates a Kartheliar 48cm 1:4.5 at No223,xxx from the late 1930's where Kart suggests it was used
for map making- it seems to mean card, map or chart rather than portrait in German.]
f3.5 105, 120, 135, 150, 165, 180, 210mm (Layout V 022) Coded Series 1
Now it was suggested to use for 9x12cm an f4.5/15cm but an f3.5/165cm lens, so using a focal length equal
to the diagonal should be the rule.
These Heliars will be updated designs, quite likely with R.Richter involved, and they were 'new' in B.J.A. 1925,
p359. They were initially launched as 3/4in (2cm) to 12in (30cm) and were to cover an angle of 45°. Thus 6.5in
was for 3.25x4.25in 1/4plates and 8.25in for 6x4in plates. These were big lenses but not very thick back to
front. And were described as exceedingly sharp and brilliant in their definition. [Afalter adds a 70mm version
and 240mm and 300mm, the latter being large studio lenses.]
Fig 004 017 Voigtlaender Heliar f3.5/21cm No241,80x with extended Teleansatz 24cm -126mm (NoNo).
Fig 004 025 Two Voigtlaender Heliar lenses in shutters (l)f4.5/135mm No359,81x) and (r) f3.5/105mm
No637,93x.
Experience of these Heliars has been very good- they are sharp and cover a good angle- say 114 or even
105mm for 5x4, and are free from ghost images. But contrast in uncoated lenses can seem low, compared to
others of similar complexity such as Q15 types. This has been noted in clean f3.5/105 and f4.5/105mm
examples, though a f3.5/75mm passed without comment. The difference was noticed especially when several
lenses were in use on one roll of film. It may be wise therefore to pay real attention to the lenshood and
perhaps curtail the exposure slightly when they are used other than under very favourable conditions. Having
said this, the negatives printed well and more easily than very contrasty ones from a multi-coated modern
lens. (So there is a moral somewhere!)
Later other focal lengths were added: certainly there was a 75mm for the Bessa 6x6cm and 6x4.5cm but an
80mm has also been noted in an advert. fitted to a 6x9cm Bergheil.
Heliar for Movie f4.5 52mm This lens was reported in movie mount, but few details are available.
There may have been a 70 or 75mm lens as well. [In fact, Afalter has a list of movie lenses in 35mm, 42mm,
50mm in f4.5 and 30mm, 35mm, 42mm, 50mm in f3.5. These were probably made in small numbers and do
not seem to have figured much in UK adverts. One only has been noted, as above.]
Heliar f4.5 A later list gives: 75, 105, 135, 150, 180, 210, 240, 300, 360, 420, 480mm. It
was then suggested to use 180mm for 5x4in but in fact 150mm was often used. These are fine lenses of
traditional type which is a way of saying they may have gone without change for many years.
Some examples noted are:
(a) Bergheil, with green leather: Heliar, f4.5/105mm No446,12x in dialset Compur;
No736,51x in rimset;
f4.5/120 No803,88x;
(b) A famous application was to the rollfilm Prominent at lens Nos 786,85x, 787,09x; 840,92x, 880,18x;
880,475, and 880,76x. These had the same external curves as others, eg at No540,29x so they were probably
not a special version.
(c) Virtus: f3.5/75mm No 905,57x;
There is a note in an advert. by Bennett of Oxford St, London W1 in Am. Photo. 04/06/1958 p31 that they had
the sale of discontinued f4.5/150mm Heliar lenses in Synchro Compur shutters at £22.50 in factory packing-
though they describe them as 5 element which seems incorrect. This is probably the time when Zeiss were
switching the factory over to new types of product.
(e) Universal Heliar f4.5 This was made (or listed!) in a range of foci from 333-450mm in 1932, and to
480mm in 1929. Actual foci were 300mm for 6.5x8.5in; 360mm for 7x9.5in; 420mm for 10x8in; 480mm for
10x12in in 1926. (B.J.A. 1927, p677) It had adjustable softness arranged on a prominent scale round the front
cell, to adjust the position of the centre glass. This was the original Heliar layout (B.J.A. 1926, p335, 705;
Advert. Layout V 023). It seems to have initially been as 9.5in for 8.5x5in and 11.75in for 8.25x6.25in. An
example noted was a f4.5/48cm No437,63x.
It was still listed well after WW2 from Zeiss Ikon-Voigtlaender. This is one of the high value portrait lenses,
probably especially so for modern coated examples in good condition though old ones are still sought after.
(f) About 1920, a small number of f4.5 Heliar lenses were made, apparently with a 4-glass Skopar layout.
This may have been before the name Skopar was developed and was seen at No 148,65x on a 120mm f4.5
lens. Several possible explanations have been considered such as a WW1 contract (as they are not engraved
Voigtländer), or that they were prototypes before the name Skopar was developed. Or even that they were a
bought-in item.
(g) After WW2 the Heliar was continued, perhaps without redesign in the larger sizes but coated and as the
f4.5 and f3.5 Color Heliar. The f4.5 has been seen in 150mm, 180mm and 210mm, and is said to be also in
240 and 300mm. There were also novel lenses with Heliar layout but new names, such as the ApoLanthar and
ApoSkopar.
Heliar f2.8 50mm, 105mm? This is shown as a dimensioned drawing in a Compur Rapid 00
shutter on p130 of Pritschow's book, and may have been planned for production about 1942 and never made it
due to the War. The layout seems to be conventional Dynar/Heliar type. There have also been adverts in USA
seeking a f2.8/105mm lens, and a f2.8 105mm Color Heliar was listed in a B&J list in the 1960's.
Heliar f2.8 This is shown as a patent drawing in Merte's article in Pritschow's book as a 1933
patent, to H. Deser of Voigtländer, and has an unsymmetrical "Oxyn" type layout.The aperture is not obvious
until compared with Cook's article in Photo Jnl. Oct 1949, p223 where an f2.8 5glass "Oxyn" type lens is
discussed. The average field position is quite flat, but there is quite a lot of astigmatism and the spherical
aberrations are undercorrected at larger apertures, by about 0.5% but the lens would be set to allow for this
and when closed to f8 the depth of field would cover the error up. But Voigtländer may have felt this was not
good enough and not made it, or just not had a suitable camera. The proposed glasses were G1=G4=
1.6577/51.4; G2=G3=1.5813/40.8; G5=1.6070/40.2. These do not seem very extreme types so the lens
probably could have been made.
Color Heliar f3.5 This seems to have been in 105mm only, to layout V 025, or App071. There is a
contemporary patent to A.W.Tronnier for a lens of this type in D.R.Pat 888,772,03/09/1953; USPat 2,645,156.
It was noted on Bessa II at No3,150,69x and 3,571,96x.
(h) ApoLanthar f4.5 105, 150, 210, 300mm (Layout V025)
This seems to be another Tronnier design, and used heavy element glass for excellent color correction. It has
a unique reputation for the period (about 1950?). Later examples, probably after 1956, are made with
nonradioactive
glass and may be preferred though they may not have the slightly warm tone of the originals. It is
also faster than many large format lenses which makes it useful in some applications. The rendering of out-
offocus
areas is also praised. In 1999, a professional opinion was 'wonderful colour fidelity' throughout the
normal format but there is actual colour fringing if you go too far off the well corrected centre image. Do Not
push this! Thus good samples continue to sell at high prices comparable to new lenses, often to users in
Japan.
Collecting experience shows many heavily used examples, scratched or with balsam faults, and these are
now hard to repair.
The most frequent lenses noted at auction are the rare examples mounted on Bessa II models, noted at Nos
3,670,69x, 3,602,97x, 3,602,97x- ie a close group of numbers. This does leave a question open: how a
radioactive lens came to be fitted to a folder, where the lens is close to the film when folded. One suggestion
is that the customer ordered this version, and it was fitted!
fig 004 015 Voigtlaender ApoLanthar f4.5 105mm No5,159,34x and (r) 210mm No4,688,207 in
Compound shutter.
Non-Bessa 105mm lenses were noted at Nos 4,444,43x5, 159,34x and 4,088,65x.
Larger 150mm lenses were noted at Nos 4,022,04x, 3,780,14x, 3,918,85x, 3,841,53x, 3,683,91x, 3,743,19x,
5,577,01x, 8,721,14x
and 210mm lenses at Nos 3,270,56x, 4,167,35x, and 4,688,20x
(i)Universal Heliar f4.5 300, 360, 420mm. This is the traditional adjustable softness lens continued postwar.
[Afalter suggests a 210mm was also made.] It was now listed in Compound shutters.
(j) ApoSkopar f8.0 75, 150mm
f9.0 210, 300, 450, 600mm.
Inspite of the name, this uses a 5-glass Heliar type layout V 026. and is Heliar related. Small examples are
very desirable camera lenses of high sharpness and contrast, and the 210 or 150 would be ideal on a 5x4in
camera. It has been seen in barrel mount with a removable front ring which discloses a thread for a prism as
used in process work. And in Compound III shutter which seems very big for a lens of this type. Both were
f9/210mm and there was nil compatability between them- different cell threads and shutter to flange threads
and so on. It was interesting then that the serial numbers (Nos 3,585,47x and 3,585,46x) were very close as if
they were imported as one batch but in different styles for different markets eg. as a process lens and as a
studio lenses in shutter. There was a small one for the Prominent.
Fig 004 033 Apo-Skopar lenses f9/210mm in barrel and (r) in Compound shutter.
Four Glass Triplets.
Voigtländer do not seem to have made a 4-glass triplet until after WW1 and probably even then only for the
1927 season. The patent cover on the Zeiss Tessar was effective over part of this period, perhaps until about
1920. Then the curious Heliar (type f) was produced, perhaps as a prototype.
Fig 004 027 Voigtlaender f4.5 Heliar (apparently a 4-glass type) and Projektos projection lens, fc.3 12cm
No116,970.
And once it came (to judge from the adverts.) in 1927, they always had a Skopar in their list. These were
really good lenses, especially the f4.5 versions, and were redesigned after WW2 when the Color Skopar was
introduced- here the curves are different from the old type. (See also ApoSkopar above.) The coverage seems
to be about 55° when given. (Skopar was an "old" trade name, being used pre-1914 for a rifle sight, which
probably was de-emphasised in postwar marketing.)
(Skopar f6.3 This must be an early and unusual type, possibly in large sizes. There are no details
of what may be just a misprint.)
Skopar f4.5 50, 55, 80?,83, 105, 114, 135, 150, 165, 180, 210, 240, 300mm. Some of these were
for formats now forgotten but then needing a lens to match for size. The 83mm was used for 5x8cm, 105mm
for 6x9cm, and the 120mm for 6.5x11cm. Skopar was not normally fitted to Bergheil, but was on premium
quality cameras such as the Superb and Virtus, as f4.5 and f3.5 in the last case. The f4.5 layout was V034. A
small version was on the Virtus 16-on camera (B.J.A. 1934, p302).
[Afalter does not detail the small versions, but adds a 36cm as the largest- possibly the UK importer did not
think sales would pay for the extra print as it would be a very big item to sell in every way!]
Skopar f3.5 55, 75, 105mm
These came later, apparently in 1932 for the 1933 season, when they are on the Perkeo 3x4cm as a 55mm
lens. (B.J.A. 1933, p588) Later they appeared on most of the rollfilm cameras, but do not seem to have been
made in big format sizes to rival the Heliar. The designer was H. Deser and these were standard lenses on
Bessa, Virtus and Superb cameras, etc. where 75mm was used for 4.5x6cm and 6x6cm formats, and these
were intermediate in price to the Voigtar and Heliar options. They were really good for most purposes. The
layout is shown in App072 for a Skopar f3.5. Typically for 55° coverage. Superb was noted in B.J.A. 1934,
p296, with Helomar view lens, and Perkeo in B.J.A. 1933, p273, 589advert. with a f4.5, or f3.5 for 3x4cm.
There was also a Heliar f3.5 option.
By the 1920's, the Collinear f6.3 was the cheapest option on Bergheil, the Heliar f4.5 being more costly.
Skopar, cine f2.7 12.5mm This design was made as a few, possibly only 2 lenses, for the Voigtlaender
8mm cine camera prototypes, eg at Nr 2,068,800, and one model was coded VAG/1938, which is just
possibly a date. They were auctioned at Christies' in Dec 1996. But note Ariel reports some of the lenses on
prewar Nizo cameras so they were probably was a commercial product then.
Color Skopar f3.5 50, 80, 105mm A 150mm was listed by B&J secondhand. (App070)
f2.8 50mm
f2.8 35mm for Vito C folder
The Color Skopar seems to have sold from about 1951, with layout V 035. It seems that the new type may
be covered by A.W.Tronnier's patents, USPat 2,573,511+2 of 30/10/1951; Fr Pat. 997,736/1949; and the use
of higher refractive index glass lead to reduced astigmatism and spherical aberration. The postwar f3.5 Skopar
was a very desirable item, sold at a very reasonable price at a time when too many German cameras imported
to UK were fitted with 3-glass lenses of big apertures and rather mundane sharpness. As a result the Vito B
won many friends for Voigtländer. The later f2.8 was also very good but did not have quite the same position.
ReproSkopar f3.5, f9.5 These were for process and enlarging work, and are of uncertain date.
Avus: Dr Kingslake refers to this as a reversed layout but no example is known here. [It also does not seem
to figure in the Afalter study.]
Other Lens Types.
Pre-WW1 Designs.
Zeiss Anastigmats from 1890-1895 approx. These were made as licencees and the arrangement was rather
short lived, perhaps merely while Zeiss were building production capacity to make them at Jena. They may
have been restricted to sale in Germany as they have not been met in the UK, except for one auctioned as a
part lot at Christies in 1999. Here note Eder's comment that sales of the Anastigmat in Germany were initially
slightly disappointing, and note that Afalter does list them.(Some are noted above.)
Tele-Negative Accessory These were a 3g/1c negative lens fitted to a tube with a rack and pinion focusing
movement and were made in some 6 sizes, coded Nos 1-6, for 3-4x linear magnifications. The example seen
was brass finished and optically is a 3-glass negative version of a Kollinear component. The B.J.A. 1928,
p361-2 says Dr Adolphe Miethe (c.1860-1927) designed some early telephoto units and U. Afalter
"Voigtlaender Kameras and Objective" p209, indicates these were the Voigtlaender teleaccessory units.
An example in brass was seen as No1 at No66,14x, from 1900, and probably matched a 120-135mm lens. It
was listed in 1914 as:
Nos 1, 2, 3, 4, 5, 6, but without further detail.
The 1915 USA list has 5 types:
Number Positive lens Negative Lens Acceptable Formats Extensions
+ lenses
No1 for 3.5in positive -1.25in 3-4in 3.25x4.25 to 3-11in
6.5x8.5in
No2 for 4.75in -1.25in 3.5-5.5in 3.25x4.25 to 5.5-16in
8x10in
No3 5.875in -2in 5.5-6.5in 3.25x4.25in to 7-20.5in
8x10in
No4 7in -2.625in 7-8.5in 4x5in to 9-26in
10x12in
No5 9.25 to 10in -3.75in 9.5-12in 4x5in to 12-32in
12x14in
The first two probably differ in the front threads for a lens mount as the optic is the same and this may explain
why 3 products are listed where other lists have only 4.
[In contrast, Afalter lists 4 sorts in -33, -51, -67 -97mm in 1910.]
Both of these sources illustrate a unit with the rear barrel and negative lens protruding behind the panel/flange.
But in the example seen at No66,14x, the rear cell is fixed at just behind the flange, inside most panels, and
the rack moves the prime lens forward relative to it. This may be an older type, or for smaller sizes only. It
would be more prone to vibration and less well balanced than the later type. It was supplied in a small leather
covered box.
Fig 004 023 Voigtlaender Tele accesories (l) in brass No66,140 and (r) in black enamel as -12cm No101,496.
Special Telephoto Attachment These were a similar negative with an adjustable or fixed separation. They
could be used on hand cameras with 2.5x magnification. These may be the series in black enamel finish. Two
sizes were noted in UK, 3 in USA:
(1) for 4.75in prime lenses. This may be the USA listed item for 3.25x4.25in. This seems to be the well known
unit.
(2) for 6in prime lenses. This may be the USA listed item for 4x5in.
(3)USA list also has a unit for 3.25x5.5in
Frerk notes the special value of the black Tele-Tubus which fitted inside the 'Alpine' camera, for its
convenience and balance in this fitting. It gave 2.5x increase in size. It is illustrated, eg. in Afalter's book on
p24, and is a much better unit than that above as it is now better balanced- but needs more camera
extension, and access to the interior (or a removable panel). It was seen at No101,49x (1909) as (for?) '12cm'
at -97mm (focus), while Afalter illustrate the same item as No99,485 (1909). They came in a round leather
covered case, marked "Voigtlaender" in gold.
Rigid Tube Types
Afalter also lists two rigid tube types: Tube A for 135mm and Tube B for 180mm. It was a big version of these
for 210mm which was noted after WW1 as follows.
There was also a very large version in the 1920's for lenses such as the f3.5/210mm Heliar at No241,80x
(1925?)(on the Heliar) and the unit is marked "TeleAnsatz 24cm, 126mm" with no serial number so it was
probably designed for a slightly longer lens and is -126mm focus. It differs since the unit is in front of the panel
and the Heliar is on a push-pull movement. This was probably used as a rough focusing device with the
cameras rack work used for fine focus. It is a really useable item especially if stopped down somewhat.
Post WW1 Designs.
A factory history says 1925 was "the start of large scale production"- this can only suggest a change in
methods and mass production techniques since Voigtländer were well established by then, to put it mildly. By
then W. Schade had left (he designed for Voigtländer late pre-war) but Richter may have been responsible for
the new designs.These seem rather numerous as if an active group had spent some years modernizing the
product line. Among the telephotos, the special Tele attachment seems to have continued. Thus the
"126mm" example above was seen matched to a Heliar f3.5 21cm lens at No 241,80x (1925) and in fact
proved to be a useful combination. But they are now unusual items. Like most makers, Voigtlaender was now
making fixed separation telephotos of greater speed.
Kino-TeleAnastigmat f4.5 eg for 23.4cm This was made in 145, 200, 234mm with Layout V 036, App077.
This can be seen as a reversed Skopar with some imagination! Or as a Petzval type with increased separation
of the glasses. It is probably the same as the next item. It was covered by D.R.P. 444,150, the same patent
as the f6.3 Tele-Dynar. It was noted about 1926, for movie use.
TeleDynar f4.5 This seems to be the same again under another name. (Layout V 008) But Frerk in
Germany distinguishes carefully this 4-glass 2+1+1 design from T/Dynar, and says it was issued in March
1925 in apertures f4.5 and f6.3, so Voigtländer were selling two f6.3 series. He confirms the f4.5 was primarily
for movie use, and a narrow angle lens, made in 14.5, 20, 23.4cm as above. It was covered by D.R.P.
444,150, at least in the f6.3 version.
TeleDynar f6.3 This was made in 140 for 6x9cm, 200 for 6x9cm, 250 or 255 for 9x12cm, 290 for
9x12cm, and 320mm for 10x15cm. Bellows extensions were respectively:100mm, 140mm, 180mm, 200mm,
225mm. In the B.J.A. 1926, p355, p705advert.;1927, p677, and 1931, these were 5.5, 7.875, 10, 11.375,
12.625in).
Both 4 and 5-glass versions may have existed. They were often made to exchange with the lens cells on
Bergheil or Avus cameras, and in fact the adverts list these cells only in all sizes (B.J.A, 1931, p590) (Layout
V 038) and this can make a purchase today an uncertain one as they can be hard to rematch to old Compur
or Compound shutters especially as they are often highly priced items on the collector market. One
contributor (M.Glanfield) points out that Dial and Rimset Compurs, and Ibsor shutters were involved as well as
Skopar and Heliar prime lenses, all tending to increase the range of fittings possible. The answer should be to
record the fitting with the Dynar but this is often absent, and even the original leather case is scarce.
This was a very compact lens, the 11.5in version having only 3in overall length. Often they used about the
same infinity setting as the prime lens they replaced, so they could be used on small plate cameras with
limited extension. It was also available separately in Compur shutters and these could be a wiser purchase
today. (B.J.A. 1926, p355). The f6.3 was a 2+1+2 design of 5 glasses and 3 components, and matched the
Dynar at least in number- and the design actually resembles Dynar to some extent. Frerk list it as 25.5 or
29cm for 9x12cm, and in 14, 20, 25.5, 29, 32cm. (D.R.P. 444,150)
Heliostigmat
This seems to be one lens product with slightly different descriptions for small and big versions.
Cine Heliostigmat = Kino Heliostigmat f2.5 in 35, 42, 50, 75, 100mm or 1.375, 1.625, 2.0, 3.0, 4.0in. The
layout here is very similar to V 037and it covers 35° only. It was noted in B.J.A. 1927, p334, 677advert., where
the author writes as if the large format version was familiar to him and welcomes these smaller versions of
large aperture and pleasing definition. They are not detailed in the adverts. which do treat the small as versions
of the large ones. Covering power was good and most or all could be used on movie 35mm film and the 4in
was suitable for miniature plates, ie. ?VP. This seems to be another "rasset" or reversed Skopar and was still
made in 1930. It may have been developed under H. Deser's German Patent No 444,150/1925 which gave two
examples, the second covering some 37°. It used glass G1=1.6143/56.4; G2+4= 1.6462/33.9; G3=
1.5835/41.9.
Heliostigmat f2.5 This was made in 21 and 33.5cm (8.25 and 13.25in) for portraiture on 1/4 and 1/2plate
respectively, as the Portrait Heliostigmat to cover 30°. (B.J.A. 1927, p331, 677advert.) It was described as
sharp, colour corrected and especially good for child photography. It may now seem forgotten, but in 1926,
was one of the fastest and earliest big lenses on the market- after the f2 Ruo and f2 Ernostar but much more
of an achievement than is now realized. Thus the range of foci will divide into short movie lenses and long
portrait lenses. The overall range seems to be:
f2.5 32-280 or 335mm [Note Afalter says 210 and 315mm in Germany]
This was also used as a projection lens. At least the projection version was made for a long period up to 1930
or later. Layout was V 037.
W.Z. Enlarging Lens f8 This was a soft focus lens of periscopic 2 glass layout (roughly Ste 002) supplied in
the 1920's @ £3.25 (a modest price), and listed by Frerk and others. It was made only in f8/7in(=18cm) and is
fairly small at 2.25in dia and 1.25in long. (B.J.A. 1926, p337, 706) Note that this use at the enlarging stage is
technically the wrong point to introduce softness and does raise a point. Possibly it was just that it was low
priced and sold. Thus an auction list has a 18cm W.Z. taking lens listed at No230,23x on a Miral Reflex
camera for 5.5x3.5in which itself looks older than this but it may be a retrofit of the above type of lens. And
this is in line with the entry in Afalter's book which shows it as a black finished lens with iris and easy to use
on a camera. This Miral was by Talbot & Eamer who Channing and Dunn date as flourishing 1884-1923, but
perhaps making Mirals mainly about 1900-1914. So there is a possibility that the W.Z. may have been initially
a camera lens and then continued for enlarging? or just swapped over? Well, Afalter also says it was for
enlarging- so that was what Voigtlaender intended.)
Two points do occur here.
One is why W.Z? The German seems to be Weichzeichner for soft focus, but the capitalization seems
unneeded. An option just might be that a local photographer Walter Zilly played a part in the development. See
photo credit in Frerk, 'Lichtbildkunde', Tafel (Fig) 2 p443 approx. to Walter Zilly-Braunschweig for pictures
taken with a 'Tele-Dynar f6.3'.
Secondly, it is a periscopic layout, and there is a hint that Voigtlaender made a few in cooperation with
Steinheil about 1870, and it seems possible that it existed as a continuing product but one supplied on
request rather than being advertised untill this new use was found.
Rectifier/Magnifier This was 'new' in B.J.A. 1927, p321 and had both a magnifier on a tube to examine the
ground glass screen but also a roof prism which could reverse the image locally either vertically or horizontally
by rotating it.
Projectos This series of Petzval projection lenses (2 + 1+1 type) was issued and noted in B.J.A. 1927, p307
and came in barrel diameters of 2.4375in (61.91mm); 2.0625in (52.38mm) and 1.625in (41.275mm), and in
each diameter there were more than a score of different focal lengths.Thus an appropriate lens can be chosen.
The smallest is standard size for cine projectors and ranged from 2-8in, all at £2.10
WW2
In WW2, items were marked ddx.
Brunswick was bombed in Jan 1944 and again in 13 August. The Voigtlaender plant will have suffered some
damage but seems to have survived as a working concern.
The plant was visited after the War by the B.I.O.S. team and they reported that the labour force was 1600
during the war, and 1300 after it, the persons visited being Herr Oehme, Managing Director, Herr Meixner,
Works Manager, Herr Nolte, Commercial Manager, and Prof Pahlitzsch, Technical. The general offices were at
Campestrasse, and the plant at Gliesmarode, a suburb. Some 700 polishing spindles were in use, and a first
class f3.5 4-glass anastigmat could be made with 30min labour time, (cost below 1 shilling English), and
could sell at 19.2Rms. At the time, the company said there were no patents of real value, and it was judged
that innovation had been aimed at the production methods rather than at novelty, though the company said
there were plans to make Contax-fit lenses, as 36mm/f3.5; 50mm, f3.5,f1.4; 75mm/ f3.5; 105mm/ f4.5;
200mm/f4.5, as well as a 8mm camera and projector. (This may have involved to some extent a diversion
operation! But prototypes of the 8mm cameras at least existed as mentioned above under "Skopar f2.7" and it
may have been a specialized cine product.) There had been an attempt to design a 35mm camera prewar,
using both Leica and Contax features, but this had been dropped. The works was described as well equipped,
and used diamond cutting wheels 'Diametal' from Dr W. Mueller and ground glasses to predetermined
thickness using one blank with a known thickness ground in as a marker per tool using iron oxide as abrasive.
There were no criticisms of quality as had been made by an earlier BIOS visit.
Other Post WW2 items.
Voigtländer was an independant firm in the Schering group to 1956, when it became part of Carl Zeiss and
later the Brunswick plant was used to source Zeiss photographic lenses. Later it was transferred to Zeiss
Ikon. Production ended with the transfer of lens making largely to the Orient. The payroll was given as 2,600
in 1957.
These postwar lenses will normally be antireflection coated. Voigtländer coatings were hard and the lenses are
usually still in good condition. But it is worth checking on purchase, especially on early or well used
equipment. ApoLanthar in particular seems to suffer, due to heavy use and possibly to its softer special glass.
Telomar f5.5 This was made in 100, 180, 240, 360, 450. It was a large format tele often in
Compur shutters. The layout was a 2+1+1+1 type. This is a sought after type and commands a premium to
other use lenses. The layout in App075 may be one version but has a cemented rear pair. This is the normal
product, sold for large format cameras and even it is comparatively scarce.
Telomar f5.5 for reflex housing, supplying 100-350mm focal lengths according to one list,
another source says it was made in f4.7, 150mm; f4.7 227mm. (Layout V 039) Perhaps two series existed
and included the next item.
Telomar f4.8 145mm This was made for 6x6cm as a Prototype only.
R-Nokton X-Ray Recording Lens A rare f1.5-f0.85 series for up to 150mm for recording X-Ray fluorescent
traces onto 70mm and other film which was near or in contact with the rear glass. A high speed lens of up to
f1.2 was revealed in A.W.Tronnier's USPat. 2,861,500 and may be one of this group. These do not seem to
have sold in the UK but have been seen in Germany. [Afalter illustrates one of the cameras.]
Ultragon This was a Voigtländer wide angle lens, made in several specifications. Coverage was for up to
90°. These are rare and very desirable use and collector items. It seems to be a Gauss with a front simplified
[rather as in the Unilite, Planar or Xenotar]. It does not seem to have sold in the UK possibly due to production
being mainly before imports were easy from Germany. Large format lenses tended to be deemphasized after
the formation of Zeiss Ikon-Voigtlaender in 1956 at about the time this might have sold.
f5.5 115mm for 9x12cm to cover 90°.
f4.5 60 and 80mm for 6x9cm and 9x12cm respectively. These were listed for the Linhof Super Technika
111 about 1950.
[The trade name Ultragon seems to have been used elsewhere for a process or technical lens.]
Postwar 35mm Lenses, etc.
Ultron
This was a new postwar series based on Gauss designs. By collating the patents and BIOS reports, it does
seem that A.W.Tronnier was responsible here. The result was typically a top class f2 lens, but there were
several products under the name.
Ultron f2.3 90mm A prototype designed for the TLR protype (Modern Photo. 02/1964). Sadly this
camera was not put into production.
Ultron f2.0 50mm Layout V 041 This was a novel air-spaced 6-glass Gauss type. The designer
was probably A.W.Tronnier (USPat 2,627,204+5/03/02/1953.) It was used on the Prominent, Vito 111, Vitessa
and was prototypic in Leica mount from about 1950 or 1949, ie. it is quite early postwar. The extra air- space
was no problem once coating had been developed, and the separate surfaces allowed more freedom to the
designer in correcting the lens- in fact something for nothing! It was a real trend setter and this air-space is
now regularly used by designers in advanced designs. (Note Tronnier had shown a preference for this type of
layout in 1936 or so for Schneider Xenon designs.) But note the details vary, even for Prominent mounted
lenses. At Nr3,163,824, the lens has a black surround to the front glas. An example for Prominent at
Nr3,265,xxx has the front glass surround in matt white metal, ("white face") and the same very bright blue
coating, and sliding retainer catch as the previous lens- this catch and coat colour are probably a good guide
to an 'early' Prominent lens. (MCM May 1950) as the pale blue coat and sliding catch seem to be "normal" on
early lenses but the lack surround is not: the very first do seem to have had a black surround, which went and
came back again! One comment is that serial number is not always a guide to the order of manufacture.
These took 47mm filters, and the next type added a piano key type retainer catch. Other external black paint
sections also were applied, eg at the front and rear of the mounts. Also later lenses in addition take 49mm
filters as well as 47mm.
Ultron f1.9 A prototype Vito 111 with this lens No6,299,87x was sold at auction in 1997. The
lens was not numbered.
Repro Ultron This was for close-up work on the Prominent.
Ergon f2.0 50mm? for Vito 111. This was a prototype for the Ultron/Vito combination.
Nokton
This was the ultra speed Gauss, in a version designed to give good back clearance. It really only exists as the
lens for the Prominent but note the small print.
Nokton f 1.5 50mm This was normally for Prominent, also occasionally for Leica and Contax. With
7-glasses, the type was probably related to USPat 2,646,721/1953; 2,662,447/1953. It was a Gauss in layout,
V042. This was standard on the Prominent and this type is fairly easy to find. Rare versions were sold in USA
(mainly) for M39 and won many friends as the best f1.5 available in the late 1950's. [Afalter mentions it was
also mounted for SLR's Exakta and M42.]
It was a fine design and still is. It was this Gauss design Zeiss chose for the Contax 1V prototypes probably
as a result both of its quality and compact rear glass. It has a rear clearance at infinity of about 33mm, so it
clears the M39 flange at 28.8mm. (But it must have been hard to fit to SLR cameras. The Exakta examined
would need about 37mm clearance to be quite free of the mirror, although it would be a little less in the centre
of the frame. It is possible the mirror was slightly cut to reduce the clearance needed, or the camera was used
only in close-up. But Nokton is not really a lens for the SLR.) This was seen for Prominent at Nr3,339,63x,
3,785,xxx, 4,001,85x and is a much more advanced product than the Ultron above. Coating is brown + violet
for example and the surround is black, and the catch is hinged. It was new on the Prominent at the May 1951
Photokina (MCM 5/1951). Nokton also was made in the white face version like the Ultron. A dating point is
that cameras after June 1951 were fitted with SynchroCompur shutters. (Before that they were Compur
Rapids.)
Note that early Prominent cameras did not have a fully standardized register and that care may be needed in
exchanging some early lenses.They were introduced to the public as a unnamed prototype at the Koln Fair in
1950 (MCM June 1950) with 50mm f1.5, f2.0, f3.5 lenses as well as a 24mm wide angle and a 100mm f5.5
Telomar. The report suggests the Telomar was a surprise, with the rear component behind the reflex and
interchangeable 150mm front cell but this may be a misunderstanding. Early Prominent lenses can be unsual
in coating colour (pale blue), type of lock to secure on the body and a Nokton with a stud in the top of the
mount has been reported- just possibly to position a close-up device. It is thought that it is the standard
lenses which have most of these unusual features. This may be the result of the exchange lenses having
been delayed by a year or so, few being produced before 1953. A possible cause would e shortages, eg of
new glasses or other materials or the need to finalize the designs, eg of the coupling. This probably means
that the Angenieux Retrofocus has a more real priority as an inverted tele than the dates of announcement
would suggest.
Fig 004 029 Voigtlaender Prominent outfit with Skoparon, Nokton f1.5 (2x), Ultron f2, and Dynaron.
Septon f2.0 50mm for Bessamatic, and Ultramatic. The layout (App076) seems to be an
extension of the Ultron with an extra glass to compound glass 3, and is a very desirable and sought after
Voigtlaender lens. However, several have been noted with balsam faults eg in No5,659,09x, so it is an item to
inspect with care on purchase. The problem seems to occur in front of the iris and may partly result from
exposure of the lenses to sunlight during display in dealers windows before sale. Septon is often found on
Ultramatics.
Fig 004 031 Bessamatic outfit with Skoparex, f2.8 Skopar X, Septon f2 and Dynarex.
(Anon) f0.95 60mm for an SLR prototype which was designed but never sold. The prototype was
shown in Modern. Photo. 02/1964.
Repro Skopar for Prominent for copying work.
Skoparon f3.5 35mm for Prominent. This is a 5-glass retrofocus design, and in 1951 among the first
for a 35mm still camera. The retrofocus design idea was known in movie circles from TTH use on Technicolor
cameras before WW2; and other retrofocus designs were in use, especially for sub-standard cine such as
16mm, examples being lenses from, it is thought, J.Schneider in the Cinegon and Angenieux in the
Retrofocus. But Angenieux and Voigtländer about dead-heated in their use for still 35mm and started a trend,
especially as Voigtländer had planted a definite marker with the 24mm Ultragon for 94° which was shown for
Prominent at Photokina in 1950, albeit as a prototype. (MCM, 6/1950, p349, S. Bowler). But see note above
on delays in the supply of Prominent fitting lenses.
Thus the Prominent lenses are f3.5/35mm Skoparon (common), f2.0/50mm Ultron (common), f1.5/50mm
Nokton (common), f3.5/50mm Color-Skopar (common), the ReproSkopar (rare?), f4.5/100mm Dynaron
(common), f5.5/100mm Telomar (rare), f4.5/150mm Super Dynaron (rare) and Ultragon f5.8/24mm
(prototypic). Tentatively, the most abundant is the f1.5 Nokton, a very desirable lens.
Color Skoparex f3.5 50mm This was a prototype lens, sold on Prominent at auction 1997.
Color Skoparex f2.3 40mm on VF 135 (1970's?)
Lanthar f5.6 24mm on Vitoret 110 EL.
Skoparex f3.4 35mm This was a 6-glass retrofocus design for Bessamatic. (Probably App073)
Skopagon f2.0 35mm This was a 9-glass retrofocus design for Bessamatic. (Probably App074)
Skoparet f3.5 35mm for Vitessa T.
Color Skopar f2.8 40mm for Vf 101 in 1974.
Ultragon f5.8 24mm A 5-glass strongly retrofocus design which was prototypic for use on the
Prominent with a Reflex Housing. It was never offered commercially and seems an "odd" item as a 24mm lens
did not really need a reflex unit to focus it. Was this not designed for the Voigtländer SLR for which an f0.95
and f1.2 were contemplated? Certainly it was not the same type of design as the large format Ultragons above.
Dynaron f4.5 100mm Telephoto for Prominent This may be from USPat 2,662,446/15/12/1953. [A
correspondent has said there is either an error in one of these long lens entries or an extra item but so far the
question has not been resolved.]
Super Dynaron f4.5 150mm This is added as possibly the missing item: it was probably seen an
uncoupled longer lens in the 1970's which then was a hard-to-sell item.
Telomar f5.5 100mm This was as prototype or at least very rare on the Prominent I reflex
unit. It normally seems to have a chrome surround to the glass, even at No3.6million, as if parts had remained
in stock here long after the white faced Ultron and Nokton were all made up, numbered, and sold. [Afalter also
notes a prototypic Telomar f5.5/180mm].
Dynaret f4.8 100mm This was for Vitessa T (Layout V 044).
Dynarex f3.4 90mm ] These are both 6-glass designs.
Dynaret f4.8 100mm]
Super Dynaret f4.0 135mm, also f4.5, 150mm, also f4.0, 200mm.
Super Dynaronas above or partly.
Zoomar f2.8 36-82mm Zoom. The designer was Dr Back see Modern Photo, 1975/7.
This was introduced in 1958 for the Bessamatic (Instructions 296/46 09-13 A / 459 Oe for Exakta fit suggests
April 1959 for this version) and some were sold for other cameras such as Alpa, Exakta M42 and Retina
Reflex. The latter type use a spring wound auto release system coupled to the camera by a flexible cable
which has two entry points for left (Exakta) and right release cameras and which may have required special
adjustment for depth of release action. The camera mount was retained at the back by 3 screws and looks to
be easy to change and was an extra in some lists. The bucket type case seen was ex-Perrin California and
the production may have been related to Zoomar Corp interests. These were listed by Heaton in the UK for
some years (1960-1963) but sales eg at Nr4,834,64x, must have been limited by the price (£160 approx.) Two
really different designs for this lens have been published in Cox, Kingslake and in Modern Photo. There is a
suggestion that the design was revised several times and the relative numbers are still unknown. Modern
Photo and Cox show lenses with a flat front surface and this is certainly the normal type in the makers 1959
leaflet (296/46 09-13A/459 Oe) and offered for sale today. Prof. Kingslake's drawing shows one with a convex
front and this has also been seen though it is rarer.
Fig 004 021 Voigtlaender Zoomars (l) for Exakta No4,834,49x and (r) Bessamatic f2.8 36-82mm No4,849,22x.
Zoomar is a notable feature, eg at auction, and serial numbers noted have been Nos4,871,05x, 4,849,22x;
4,849,22x, 4,912,67x, 4,912,30x, 4,933,97x, 4,934,41x, 4,985,12x, 4,985,63x and 6,820,47x; but it is not
known which if any are curved front.
The basic idea may go back to R. Richter of Zeiss in 1937. (Layouts: Flat front V 046; Convex, V 047). A
moving giant model was a feature of the stand at Photokina in Oct 1960.
The Russian Rubin-1 zoom is very like, and even fits the same bayonet. Mr Rees of the Voigtlaender Verein
allowed a comparison of the reflections in a Rubin and a real Zoomar, and they were very alike, even in number
and position, etc. but there did seem to be an extra faint one in front of the iris in the Rubin which may just be
a difference in the handling of a cemented surface as to coat or R.I. difference, as the drawing seems to be the
same layout as the flat front zoomar. The Rubin uses a helical movement for the zoom action.
Some of the background to the Zoomar design by Dr Back may be in J.S.M.P.E. 12/1946, p464 and B.J.A.
1948, p141, althought the printer has attributed it to 'Black'. He is describing zoom lenses with full
compensation with strictly linear displacements of the lens cells.
Lenses in M39
Voigtlaender produced its new designs ahead of the opposition after the War, and as a result at times was
arguably ahead of the major system camera makers. They offered quite a number of f1.5/50mm Nokton lenses
about 1950 in USA and probably gave the M39 market quite a surprise as these were probably the best lenses
of this speed then made. They also made a few prototypic f1.9 and f2/50mm lenses but may have never sold
comercially. And M.J.Small suggests they also made a f3.5/105mm lens, again possibly prototypic. (See also
Bessa series below!)
For Bessamatic and Ultramatic These will be German made lenses.
Ultragon f5.8 24mm Prototype, above.
Skoparex f3.4 35mm
Skopagon f2.0 40mm
Color Skopar f2.8 50mm This is actually a Color Skopar X, and this may indicate either the mounting or
still another redesign- or both!
Septon f2.0 50mm
Dynarex f3.4 90mm
Dynarex f3.8 100mm
Super Dynarexf4.0 135mm
Super Dynarexf4.0 200mm
Super Dynarexf5.6 350mm
Zoomar f2.8 36-82mm
Late items for Icarex SLR. This was a Zeiss Ikon-Voigtlaender product.
Color Pantar f2.8 50mm These were a 3-glass triplet type.
Ultron f1.8 50mm Early types had a concave front glass to improve corrections. It was a
version of the Gauss layout.
f1.8 50mm Later type are normal convex front and were a Gauss 6-glass.
Skoparex f3.4 35mm This was a retrofocus type lens.
Dynarex f3.4 90mm
Super Dynarexf4.0 135mm
Telomar f5.0 400mm This was a high quality 3-glass triplet.(Modern Photo 03/1963).
One suggestion is that a few Zoomar f2.8 36-82mm lenses were also offered initially.
The last ZI-V Icarex was the Icarex SL 706 which was marketed in France by a dealer as the Ifbaflex and
these had an Ifbaflex f1.8/50mm lens, presumably a ZI-V Planar or Ultron under another name, as the mount
seems to be very close to the German lens.
For VSL1 from Singapore
Color Skoparex f2.8 25mm
Color Skoparex f2.8 35mm
Ultron f1.8 50mm This probably should be Color Ultron. One list also quotes a f2.0/50mm
version.
Color Ultron f1.4 55mm for VSL 3.
Color Dynarex f2.5 85mm
Another list gives f2.8/85mm
Color Dynarex f4.0 135mm
Color Dynarex f4.0 200mm
Fish Eye f3.5 14mm This was a full frame type for 180° about 1980.
Movie and Cine
Voigtlaender lenses were used periodically although the company seems only once to have entered the
camera market, and actually never really developed a presence. Ariel's list has a very early Darling camera
with a Euryscope f7.7/38mm for 17.5mm from 1899/1900, as well as a projector with a f2.5/34mm lens,
probably a Petzval of the faster type. Several small Euryscopes have been noted in the UK, normally
f7.7/50mm for movie or possibly for macrophotography. Later from a 1908 Pathe, Ariel lists a Heliar f4.5/51mm
and then has two Scopar (sic) f2.7 12.5 and f2.8/50mm lenses on a 1936 Nizo 8mm camera. Ariel also refers
to a Voigtlaender prototype camera for 8mm dating from about 1945 with the f2.7 Skopar above and this may
be the one in the BIOS report.
Bessa-L and R for 35mm.
In 1998, a new Voigtlaender camera appeared (review: Amateur Photographer 01 May 1999) with a rigid
nonreflex
body with M39x28.8mm mount and register, supplied with two lenses and matching finders. The lenses
were also sold with bayonet adapters. It was extended in 2000 with a Bessa-R rangefinder version [which
about dead-heated with the launch of the Konica Hexar in bayonet mount]. Some of the background came out
in Amateur Photo 07/10/2000 p5 where it was noted that Mr Hirofumi Kobayashi President of Cosina designed
the first 15mm optic himself and then launched the programme built round it. By 10/2000 they began to offer
the lenses in other ways. Thus the f2.5/125mm 11g/9c macro ApoLanthar was to be for most of the older
manual 35mm SLRs
Heliar f5.6 12mm This was promised at £597 in Sept 2000. It was in black or chrome
and came with a matching finder. The review in Am. Photo 23/09/2000 said it was a rather special wideangle
to cover 110° horizontally and it is nearly rectilinear, with only minor distortion. There was said to be some
vignetting at above f9.2, with corner illumination down about 70%. (This actually seems slight given the angle
covered to the corner of 120° or 60° defined as the angle A° away from the axis- or the half angle covered.
Here cosA is 0.500 so cos2A is 0.25 and cos4A is 0.0625. It used to be thought a designer was doing well to
increase illumination to cos3A, here 0.125 or 12.5% while the Am Photo reports 30% is actually being
acheived here.
Heliar f4.5 15mm aspheric, sold at £264 with finder, in black or chrome. This is a deepsunk
lens with limited rear clearance, complex in design, and again startlingly good performance. It was one of
the early ones, in 1999.
Snapshot Skopar f4.0 25mm This is said to be a surprisingly simple retrofocus type with a
startlingly good performance. The example noted was in chrome but black was available by AD2000.
The next are in AD2000 (Am. Photo. 22/01/2000 p6)
Ultron f1.9 28mm This from 12/2000 was for L39 mount with 9g/7c inc asphericals.
Skopar f2.5 35mm This optic came in 2 versions of the mount, as a 'classic' in black or
chrome, at £220, or as a 'pancake' in black at £176.
Ultron f1.7 35mm This was in black or chrome in AD2000.
Nokton f1.5 50mm in black finish; later it was in black or chrome in AD2000
Color Heliar f2.5 75mm This was in black or chrome in AD2000 at £264.
ApoLanthar f3.5 90mm This was for M39 screw with 6g/5c from late AD2000. See review by
J.Harrison and S.Bell in Am. Photo 07/04/2001 p55 who note the fine machining and centering of an excellent
lens. It was amde in silver or black and had a 10 blade iris.
ApoLanthar Macro f2.5 125mm for use to 1:1 with manual SLRs.
These are clearly new designs with no Braunschweig connexion but maintaining a great tradition, and the
short foci mean there is no problem in focusing. The camera may be derived from a microscope or other
recording camera. The series has since been extended with longer lenses.
Lens Designers
Who designed lenses for Voigtländer? Such lists are hard to make, and will omit worthy candidates but this is
a first attempt, inspite of these limitations. More information on personnel would be welcome.
J. Petzval about 1840, designed: Portrait and Orthoscop
H. Zincke-Sommer, much of the 19C, especially on: Petzvals and Euryscops
Voigtländer: same.
[G. Nawrocki, 1879 on Petzval Patent]
H. Scheffler: Kollinear.
D. Kaempfer: Kollinear.
Dr Adolph Miethe, q.v. He is credited with the teleaccessory.
H. Harting: Heliar, Dynar, Oxyn.
W.E.Schade: about 1910-1914.
R.Richter: 1914-1923. Kollinear f6.3
Deser, about 1933: f2.8 Heliar?
A.W.Tronnier: post 1945? Ultron? Nokton?
R.H.Naumann: 1945-1954.
At the end of WW2, the BIOS team recorded the following personnel:
Herr Adolphe Oemer, Managing Director, (not listed initially).
Herr Stocker, Works Manager, later replaced by Herr Meixner.
Herr Nolte, Commercial Manager (later).
Prof Pahlitzsch, Chief Technician (=Technical Director?)
Dr. Zollner, Optical Department. (early postwar?)
Herr Baumgartner, Designer. (early postwar?)
Herr Fridolin Berthel worked in the computer design work at an early stage.
Landmark Voigtländer lenses must include the Petzval Portrait and Orthoscop, possibly the Euryscop and
Kollinear and some of the modern lenses are very desirable such as Nokton, Ultron, and ApoLanthar, and note
that the Skoparon is a dead heat for a "retrofocus first" for 35mm still photography.

Vrederborch Kamerawerk, Nordenham, Germany.

Nordinar Anastigmat f3.5/45mm on a Felicette L.

Vogel, Philadelphia, USA.

They have been noted for a 9in brass lens with Waterhouse stops. Also, a 'Vogel' portrait lens was noted at
auction on a J.Taylor, Sheffield 1/1plate camera.

Voyager Imaging System

The imaging system on the Voyager in B.J.P. 24/11/1978, p1022 is given as :
f3.5 200mm
f8.5 1500mm
No makers name was given.

Wachter, Friedenau, Berlin, Albestrasse 21, Germany.

These lenses will be pre-1908. He seems recently to have ceased production in Frerk's 1926 list.
Leukograph Series This may be an older RR series.
Leukograph Series 111 f6.5 This was a lens for groups and instantaneous photography.
Leukograph Series 111a f7.5 This was a lens for general use.
Triplan Series This seems to be an anastigmat series replacing the RR. Frerk lists Triplan f4.5 and f6.0 as
6-glass Gauss lenses like the old Planar.
Triplan Type A f4.5 This was a portrait lens.
Triplan Type B f6.0 This was a lens for groups and general use.
Triplan Type C f7.5 This was a lens for general use.
Triplan Satz A This was a casket set for general use with 4 lenses in 3 sizes for 9x12, 13x18, 18x24cm.
(Triplan was a symmetrical anastigmat with air-spaces, possibly Q20 type or similar.)
Wide Angle Anastigmat f12
Double Anastigmat

Waible
The name occurs in Eder's book as the maker of large Petzval Portrait lenses of 5in (1853) and 6in (1854)
diameter. At the time they were larger sizes than Voigtlaender was making. No further information is available,
but he just may have been a telescope maker more adjusted to polishing really large glasses.
Waldstein, Vienna, Ausria
The Waldstein family were opticians and set up a glass making plant in Vienna at Ottakring a suburb of
Vienna, and made flint and crown glass there up to 1858. Voigtlaender and others such as Plossl and Petzval
and Dietzler would be customers.

Wallace Heaton, Bond St, London, UK.

They were a leading retailer in the UK for generations, publishing a very useful "Blue Book" catalogue for many
years. They imported and sold lenses under their trade names Zodel and Zodellar, which are listed below
under 'Z'.

Walz, Japan.
Orikkor f2.8 45mm
Orikkor f1.9 45mm.
S.Kominar f1.9 4.8cm noted as a 7-element (=glass?) lens on a Envoy M-35 camera with coupled
R/F.

Waterbury, USA.
Waterbury lenses were noted at auctions:
(a) a lens No114,22x on a Scovill 1/1plate camera, and:
(b) a lens No109,30x on Scovill camera No19 for 5x8in. It may be a trade name of Scovill's.

Waterhouse, John, Halifax, England.

Waterhouse is a famous name for the drop-in stops used in Victorian lenses. The earliest lenses either had no
stops or a set of washers or cups with a hole in the bottom to push into the front of the lens. This was
inconvenient and the use of the drop-in Waterhouse stops grew rapidly after the letter he wrote proposing them
in the Photographic Society Jnl. 01/07/1858, as makers could easily adapt existing designs to this convenient
new device. But continental makers were slower to fall into line. Actually the idea was probably partly due to
Mr Lake Price who suggested the idea on p50 of the first edition of his book, but Mr Waterhouse simplified the
brasswork and made the idea a success. (See Ed 2 1868, p62). One source says "Dr Waterhouse". The
priority of Mr Price is confirmed by Traill Taylor writing in 1892: 'it ocurred to Mr Lake Price to slit the tube so
as to drop in a series of loose diaphragms between the lenses, ...but the invention was further simplified by Dr
Waterhouse.'

Waterhouse, Major General James. (24/06/1842-28/09/1922) There is confusion of the above

unknown genius with another famous photographer, James Waterhouse. These were not all the same man. Mr
Gill in the New England Journal of Photo History has researched the subject and says not to confuse John
Waterhouse with Colonel Waterhouse. The "military" Waterhouse was noted as: Capt. Waterhouse, he was a
determined genius who recorded the transit of Venus in India on wet plate in 1870 (Piazzi-Smyth, B.J.A. 1879,
p36) and was the only one to secure good pictures as other teams world wide used dry plate operated by
unskilled Army NCO's. As Major Waterhouse in 1875 he noted the effect of eosin on silver bromide
sensitization (B.J.P. 1875, p450, 1876, pp23,233, 304) He was head of the cartographic service at Calcutta.
President of the R.P.S. 1897. Later, Conrad Beck (1905) says Colonel Waterhouse; and finally as Major-
General Waterhouse he gave the Traill Taylor Memorial lecture in Nov. 1899. A late achievement was to write
the 1910 Encyclopedia Britannica article on lenses. [Eder devotes 1/2page to his life.]
In dating lenses it must be remembered that valuable older lenses were retro-fitted with the 'new' slot when the
idea was published, so that the presence of a slot does not prove that the lens was made after 1858- though
often the 'conversion' was done roughly enough to make it obvious and the collector then has to decide for
himself how far it has devalued what must be a really early lens. At least one Ross lens is mentioned here
where the conversion was to full makers standard and is now hard to detect. It is definite that makers needed
to relocate the engraving on the lens from the top to the side to allow for the big slot in the outer jacket- and
this also ended the practice of placing the rack on the top of the lens as some had done. But note that a lens
with a top rack just may be a projection lens, as these were made much later with a top rack. It may be a
dating point but only if there is other evidence, eg. of a stop system based on different washers.
It also seems that some owners later covered the slot by reassembling the barrel reversed in the outer tube,
possibly to avoid light leakage. The cut-out in the outer may reveal this but dismantling the lens or looking
inside the barrel may be wise if the price is a high one due to a claim of an early lens.
A second version was the rotating plate with a set of holes of differing sizes as apertures. The rotating plate is
probably the most useful today as they are very long lived units, while most Waterhouse stop plates are now
lost and need to be remade. But do check the disc rotates correctly as some are bent and jammed. Others
have a click-in spring for the positions- nice if it works but something to check also. Some can be hard to
access if damaged. This is something to consider on purchase! The rotating disc is usual on late Victorian
small wide angle lenses as the other systems were hard to make well for these.

Waterworth, Australia.
Centaur f3.5 50mm for a prototypic camera for M39x26 after WW2.
The name Waterworth has been noted among workers in the WW2 optical ordnance industry in Australia and
this may prove to be the source of this item. (see Hartnett)

Watkins Meter Co, Hereford, England

Watkins was well known for his actinometer type exposure meters. But he sold a Pinhole device with a
rotating disc of various size holes. Later an improved but more expensive type was issued in 1909. So there
seem to be 3 types, now all scarce:
Cheap type This was listed in 1906, with one hole.
Expensive type This was listed in 1906, with 5 holes on a rotating disc.
Improved type This was listed in 1909.
A version was still listed in B.J.A. 1922, p115 at £0.52.

Watkinson, Leeds, UK.

The name was noted on a 1/2plate RR on a wood and brass camera at auction.They were a camera maker of
the 1880's but do not seem likely to have made lenses but merely bought-in and engraved stock to sell with
cameras.

W. Watson and Sons, Ltd., 313, High Holborn, London WC1, UK.
Factory at 313, High Holborn and 9,10,11, Fulwoods Rents, Holborn, London WC
Established 1837, Opticians to Her Majesty's Government
Watson were eminent instrument makers, especially regarded for their microscopes, but they made very fine
wooden cameras at an earlier time (cameras at least from the 1860's) and lenses to go with them, but the
earliest seen had a Dallmeyer lens No214x, which may suggest a later start in lens making. The earliest
noted was a brass cabinet lens No65x on a Meagher 1/1plate camera. The lens production was of excellent
quality but not very large and the products are correspondingly desireable. They began by making RR and
other Victorian lenses and these were produced at the 313 High Holborn address. Also they seem to have
been English agents for Grubb at one time. At least by No1916 they were fitting iris diaphragms.
But their biggest photographic success was in anastigmats, with the Holostigmat/ Holos series designed for
them by Prof. Conrady (1866-1944) where he worked from 1902 until he became Professor of Optical Design
at Imperial College, London(1917-1931). This was early in the century and after that they seem to have only
made this lens in various forms. They also used the same name on some of the microscope lenses which
were their main product, but it is not known if these were related designs (it is thought they are not related in
fact). It must be said that some of the dates here are a problem and it is just possible that the name
Holostigmat was used on an earlier lens than the Conrady design. However it does seem that the Holos was
really a shortened form of Holostigmat, not a separate design. It is found on the wide angle versions seen,
possibly to allow the extra space needed for the engraving of "Wide Angle". This is apparent from the layout of
some advertisements. In his book, Prof. Conrady seems to suggest that the Holos antedates the Zeiss Series
V11.
The 1900 B.J.A. lists a series of RR period lenses, but these were gone by the 1905 list. It is guessed that
they had been in production for some time as Watson had been trading in cameras from about 1880, and had
made some 6,000 lenses by 1888. This is in line with the earliest seen being an RR with Waterhouse stops
and no serial number, followed by one with an iris and serial number- typical updating for the period. The
Holostigmats were still in their adverts. in 1936 (B.J.A. p63advert.) but this was near the end of their advertised
life, though they were on sale up to the war.
It is worth noting that Watson made in 1913 the first RFC aerial camera (for 5x4in, 6in lens, type not listed),
as noted by Conyers-Nesbit in "Eyes of the RAF" p11. It was used on the airship "Beta" but later destroyed in
a plane crash.
Listed 1889.
Portrait Lenses. These were sold in 3 sizes:
No545 No1 6in focus, 2.25in dia for Cabinet.
No546 No2 8in focus, 2.5in dia. for Cabinet
No547 No3 10i focus , 3in dia. for Cabinet.
They seem later to have been discontinued.
Also RR, WAR, Premier and w/a Landscape.
Wide Angle Single Landscape
This was listed in 1889, but not in 1900. It was made in 6.0, 8.0, 10, 12, 15, 18in, where 12in was used for
10x8in, and 6in for 5x4. The 6in could be paired for Stereo use.
Listed B.J.A. 1889, 1900,etc.
Watson's Rapid Rectilinear. f8.0 These were made in 5.0, 6.0, 8.5, 11, 13.5, 16, 20, 24, 30in.
(Layout Wat001). The foci listed changed slightly with the years. Thus they were also sold in 1889, but as 8.0,
10.5, 19.5, 22.5in but without some of the above.
It was suggested to use 13.5in for 10x8in, 6in for 5x4in. The 6in and 8in could be had paired for stereo work.
These lenses were sold in brass only in 1889, or later also in aluminium and had been made at least from
1889. Initially these had no serial number, and merely showed the format for which they were sold- eg.
6.5x4.75. This had no iris, merely a slot for stops. They were with iris and numbered at least from No1916 and
3,593 in the RR series and No2,83x in the WAR series below (-perhaps due to WAR numbers being separate
and building up more slowly.) A later version says for 6.5x4.75, RR, No4,41x. Although these seem to be the
same focus, the later lens seems to be more compact possibly due to the change over to Jena glass.
Fig 009 002 Watson RR 2x for half plate No4418, Nono, and a WAR No2767 for the same.
Watson's Premier Lens f5.6 in 1900, f6.0 in 1889 These were made in 6.0, 8.0, 11, 13, 16,
20in (1900) (Layout 002) This seems to be a portrait RR, though the advert. suggests it was sold for outdoor
use where a fast lens was wanted- ie a sort of Detective lens, but not called that. The 1889 advert does not
give the foci, merely the back focus (7.5-16in) which suggests they were then 8-20in. It was suggested to use
7.5in back focus (?8in focus) for 6.5x4.5in, so it had a normal angle of cover. It was noted at No420x on a
1/2plate T-P camera.
('portable') This is not a trade name but probably indicates the market slot where a Watson lens was sold. It
is a 10in lens No 11,11x, with wheel stop plate (unmarked for apertures) and about f24 only max. But the field
covered is limited to about 14in dia.
Watson's Wide Angle Rectilinear f16 This was made in back focus of 2.5(1889),3.0, 4.0, 5.5, 6.5,
8.5, 10, 14in for 5x4 up to 18x16in.(Layout 003). One with 15in back focus was listed in 1889 for 18x16in.
This was a wide angle RR. It was suggested to use 2.5in for 5x4in, 6.5in for 10x8in- a really wide lens. One of
these for 1/2 plate was seen at No 276x. Today, it gave 100° coverage. But note there will be fall off at the
edges! The 2.5in could be paired for stereo work.
Collecting experience has been that the f8.0 version is reasonably easy to find but the WAR is less common:
and that the lenses tend to be for 1/2plate size, possibly reflecting Watson's clientele, since it was often said
that "no gentleman used a smaller size than that!" Prices have not been high for items of that date.
Actinolux made in 20.75in and noted at No184x, this may be a Petzval type.
Holostigmat from 1901.
This is as good an initial date as seems to be possible at present. It certainly was 'new' in the Year Book then
at f6.1-f6.5 depending on the cells chosen. The Holostigmat name seems to cover lenses of varying aperture
and angle but all with the same basic layout. But it does seem a slightly complex group. Incidentally these
lenses cover a really wide angle and can be really contrasty as there are only 4 air-glass surfaces. This was a
feature that Conrady, the designer, was very well aware of. Incidentally Conrady (1866-1944) worked in
England from 1900. In his book, he quotes suitable glasses as G1= 1.47-1.50, G2= 1.57-1.58, and G3
(external glass)= 1.623 Ba or ordinary flint). The maximum apertures vary with the cells in use, and if these
are different, the lens is slower. Thus the f4.6 can be listed as an f4.5 in error? and as an f4.8 correctly if of
different foci. Another fact was that Watson were well aware of the effect of internal reflexions on light
transmission, and quote the following values in the 1914 BJA advert.
Single Meniscus 91% transmission.
True Doublet 83%
3 Separate Component lens 75%
4 Separate Component lens 68%
5 Separate Component lens 62%
(These will have air-glass surfaces of 2, 4, 6, 8, 10 respectively: there is probably no allowance here for loss in
the glass and on the balsamed surfaces.)
Watson argued then that the f6.1 Holostigmat behaved as an f5.8 triplet, f5.5 4 component or an f5.3 5
component lens-[ but this does not recognize the value of flare in reducing shadow exposure times!]
Holos Prototype f6.4 This was made in 6.4in focus. It covers 1/1plate and even
nearly 10x8in. This is the original item noted by Photography in 18/07/1901. It may in fact be a f6.1 lens with
unequal cells which reduce the aperture, but is a unusual aperture.
Holostigmat Convertible Series 1 f6.1 This was made in 4.-24in (20 types) and a few were made at
f6.0. The aperture fell normally to f6.5 if the components were different. It should be a crisp, contrasty lens and
one of these is fully usable today. The single components work at f11.5 or 11.3 and were made in 6.0- 34.5in
focus.(Layout Wat004). It normally covers about 65° or if stopped down up to 86-90°, a little more than the
Dagor is usually rated to cover, and noticeably more than most other symmetrical anastigmats. The single
cells cover 36-40° when used alone. Thus an 4.0 or 6in lens is quite easy to use on 5x4in. As suggested, the
cells can be of different focus, though the examples seen were the same back and front to get the maximum
aperture. One was seen in a focusing mount, No49x for a 5in lens, while an 8.5in was in a normal barrel at
No20x and a 7in was No155x. It was made in 4.0, 4.25, 4.5, 5.0, 5.5, 6.0, and longer foci. There are too many
combinations to list completely but some are as follows.
Some useful sizes for 5x4in work are:
Focus (in)
Pair Front cell Rear cell Aperture
4.0 7.25 6.0 f6.5
4.25 7.25 7.25 f6.1
4.5 8.5 7.25 f6.5
5.0 8.5 8.5 f6.1 This was a regular 5x4in lens.
5.5 10.25 8.5 f6.5 This was suggested for 5.5x4.5in.
6.0 10.25 10.25 f6.1 for up to 6x5in
6.5 12.25 10.25 f6.5 for up to 6.5x4.75
They do seem sometimes to have sold on other cameras, (one Series I was noted at auction on a Lancaster
1/2plate), but were typically on Watson's own cameras in wood and brass.
The 8.5in did not cover 10x8in but probably would cover 1/1plate, and proved to be sharp and very contrasty in
use outdoors: the front cell of 14.5in did cover 10x8in and was also good, even though it had to be used in the
front of the mount, which probably is the wrong position.
Fig 009 003 Watson Holostigmats f6.1 5in/8.5in No497 in focusing mount and f6.1/8.5in/14.5in No208in
barrel.
Holostigmat Series 1* f6.0 It was made in 4.0, 4.5, 5.5, 6.5, 8.5in in 1922.This version was added after
WW2 and has been given a star here to show it was somehow different. It is probably a Series 1 with the iris
just eased out for sales appeal, but it covered 70° and may be more novel than is now apparent. (eg B.J.A.,
1931, p81).
Holostigmat Convertible Series 1a f4.6 if 2 focus, f4.8 if 3 focus, ie. the cells are of different focus and
f8.5 as single cells. This was made in 4.625-10.5in for the pairs and 7.125-17in for the single cells. (actual
pairs were 4.6, 4.75, 5.1, 5.6, 6.1, 6.7, 7.5, 8.0, 8.75, 9.5, 10.5in.).
The most useful today may be the 5x4in versions as follows:
4.6 7.125 front cell 7.5 rear cell covers 1/4 plate.
4.75 8.5 7.125 "
5.125 8.5 8.5 "
5.6 10 8.5 covers 5x4in
6.125 10 10 "
6.75 12 10 "
The shorter are for 1/4plate but might cover 5x4in stopped down.
It was listed in 1907 (Amateur Photo 19/03/1907;11/01/1907, Photography 18/07/1901, p474.) and was
designed to cover 70°, 7.33in being suggested for 1/2plate and covering 1/1plate at small apertures. It was
one of the fastest lenses made with 4-air-glass surfaces. (Layout Wat005). It seems to be less common today
than the f6.1 version, and has not been seen but was noted at No106x at auction.
Holostigmat Series 11 f8.0 or f8.7 if of unequal focus, ie 3 focus type. This was made in 4.0-26.25in
and single cells were f15, and were made in 7.0-46.75in It seems to have been more shortlived than the
others as it was missing in the 1914 advert. and then a Series 1V was listed instead. It has not been seen. An
f8 version was new in Amateur Photo. 07/05/1903, p382. It was described as high contrast due to the few airglass
surfaces and covering a formidable angle, even at full aperture.
Casket sets & sets were listed, each of 3 components which allowed 6 focal lengths to be obtained, and with
the simple design, good results were available. They were seen 'new' in Amateur Photo. 07/05/1903 and one
account is that they were sold from 1903, or a year or so later until about 1936.
Telephoto Accessory There were 4 types which were available in or from 1905.
Microscope lenses were also made under the Holos name: their structures are not known. Such short lenses
may have been used on the Sayce-Watson 35mm copying camera in 1936 on. (B.J.A. 1936, p67.)
Holostigmat Series 111 f9.5 This process lens was made in 11.25, 13.25, 15.75, 18.75,
22.25, 26.5in. Single cells were made from 19.75-46.75in, and could be used separately.this underlines that it
was a highly corrected general purpose lens at a time when these were still also used for process work. It was
a 'new' process lens in the 1914 B.J.A., p975 Ad. and may have replaced the older Series 11. (Layout
Wat006)
11.25in pair 19.75in front cell 19.75in rear cell covers 10x8in
13.25in pair 23.5in 23.5in covers 12x10in
15.75in 28in 28in covers 15x12
22.5in covers 20x16in. (noted 1931)
It seems only to be sold with equal cells rear and front to minimize distortion perhaps.
Wide Angle Holos f11. This was made in 3.25, 3.5, 3.9, 4.2, 4.6, 5.0, 5.5, 6.0, 6.5, 7.0, 7.7, 9.2in in 1911
and 1914. The longest seems to be added only in 1911. It was noted from 1907, and made well into the 1920's
and probably 1930's. It was a formidable wide angle lens, covering up to 110° and the 3.5in will cover 1/2plate
easily and most of a 1/1plate with care. A 6.0in was suggested for 10x8in. It was about f8 maximum but
engraved at f11.3 to focus and perhaps use but is really for use at f16 or less. In use the image quality
(sharpness and illumination ) does fall off steadily in the outer field, but the area covered well at f16 is certainly
very big. It was seen at Nos 2,65x for a 3.9in and 2,39x for a 3.5in- Incidentally it was found that although
these are very alike, the cells were not exchangeable. It is fully convertible, to give a longer focus component
and some have unequal cells to give three foci, but those seen had cells which were alike back and front. This
may have been since symmetry helps avoid distortion, and may be why it was impossible to make a mix from
the two lenses above! The softness is due to spherical aberrations which disappear on closing down: this may
suggest Conrady wisely chose to concentrate on the correction of astigmatism instead as his book might
suggest. It may have sold better in the later years, since the lenses seen were all over the No2,000 figure (Nos
239x, 2,76x, and 265x) and the Series 1 lenses were low numbers, such as 208, and 497. (It is a guess that
all the anastigmats were in one number series and that a new series was started for the Holos series as the
RR was up to No4,41x. But an alternative possibility is that the f6.1 series was numbered from1,00 and the
wide angle from 2,000, or some such.)
One question is how it compares with the Angulon which has a similar layout but was a real success after
WW2 in coated form. The Angulon layout shows oversize outer glasses and these are some 17mm dia on the
90mm version, and help even up illumination and sharpness. Actually the Holos 3.5in (88.9mm) has even
bigger (19.2mm dia) external glasses, so the oversize itself is not the whole answer. It is more likely that the
new lens used new glass not available in 1907 or so. In use they have much in common such as wide
coverage, but the Angulon does seem the more modern lens.
Some useful sizes of wide angle Holos are:
3.25in (80mm) 5.6in front 5.6in rear covers 5x4in
3.5in 5.6in 5.6in covers 1/2plate
3.9in 6.75in 6.75in
4.2in 8.0in 6.75in
4.6in 8.0in 8.0in covers 1/1plate
6.0in 11.125in 9.5in covers 10x8in.
6.5in 11.1in 9.5in
7.0in 13.5in 11.1in covers 12x10in.
But note these are a useful if fairly slow lens over narrower angles so that a 6.0in unit is useful as a standard
lens on 5x4in with a lot of movement available.
Fig 009 005 Watson Wide angle Holostigmat f8/3.5in (89mm) No2399 and 3.75in No2954.
Kinora f3.5 This was made in 2.875in for movie and was a extreme version of the Holos type working over a
narrow angle. It was listed by 1910, (B.J.A. 1910, p696) It must be about the fastest of these 3+3 symmetrical
anastigmats and was in a rigid barrel with about 1in front projection. It has not been seen.
There may be other movie lenses: thus a f1.9/3in has been noted as a coated lens.
Other products.
Standard Portrait Lens f4.0 This was made in 7.5, 10, 12in and listed up to at least 1914. They were either
with rack-and-pinion or plain mount.
Testa f6.5 This was made in 4.0in for 3.5x2.5in, 5.2in for 4.25x3.25in, 6.25in for 5x4in; and was a lower price
lens, possibly a triplet. It covered 70° at f6.5 and was ideal for handcameras. Thus the 6.25in cost from £4.25
while the 6.5in f6 Holos cost from £12.00. It was said to cover up to 70° and be particularly suitable to hand
camera work. One point is that there was no suggestion in publicity that it was separable, which rules out the
symmetrical designs, and f6.5 was traditional for triplet lenses of quality which this would be. The illustration
shows a barrel lens of rather classic type as if the new was mounted in excess barrels of the Holos series-
unfairly perhaps! It might be had also in SIM and FIM and also as cells to fit to shutters. It has not been seen
and must be scarce. It was 'new' in the B.J.A. advert 1921, p549 but seldom or never readvertised in later
editions. One conjecture is that Watson were Defence contractors in WW1 and had put a triplet in production,
tried it postwar and found it added little to their sales and discontinued it. It may be of interest to compare the
price of the 6.25in at £4.5 with eg the Ross Homocentric f6.3, 6in @ £9 or the f6.3/6.5in Aldis at £4.8 or the
TTH f6.5/6.5in @£9.00. It was really cheap considering Watsons reputation!
---------------------------------------------------------------------------------------------------------------------------------
The B.J.A. advert. in 1939, p55 shows a substantial f6.1Holos in 14/24.5in focus and mentions the f9 Process
Holostigmat, f11 Wide angle for up to 110° and the f4.5/f4.6 and f6 for general work. Also 3 types of large
format camera and a Sayce-Watson 35mm copy camera with anonymous Watson f6.3 lens for laboratory and
copying work. The Testa is not apparently there.
--------------------------------------------------------------------------------------------------------------------------------
Testa Watson f4.5 This was seen as a MoD coated lens after WW2 possible from a special contract. This
must be an unusual item.
Watsons were noted in the B.J.A. 1946 p182 for producing a copying and film reader outfit. It used a 2in f3.5
lens of unknown source.
Movie and TV Lenses
High Speed Lenses An 'high speed' f1.9/3in coated lens must be from the same period and might be off
some type of recording unit. It is in all black mount at NoS 151x from 'Watson London'- a new series. It seems
to be a classic 6g/4c Gauss. Another rather like item then surfaced in AD2000 as a T=2.1 4in lens NoS195x
engraved 'Watson Barnet' and with a 'T' speed it will be a movie or TV lens. These are beautifully made items
with a fine purple coating- and show Watson in a brilliant new light.
They make the next item more understandable.
TV Zoom Watsons made one of the early TV Zoom lenses. [See the note under TTH that Mr Hopkins moved
to Watsons to work on zooms.] (see also the f1.9/3in above.)
Watson made binoculars in both World Wars, notably at the Barnet factory, eg. as "No2 Army", as the
"Mk1 6x20" and "Mk111 6x30". They were not noted in a 1868 list of microscope makers, but probably began
in the 1870's.
Mr C.H.Watson was the son of the founder, and entered the firm in 1883, dying in 1939. Watsons then
continued microscope production (and possibly cameras) until the business sold to Vickers postwar. This
may have happened suddenly, as the Watson advert. in B.J.A. 1947, p33 promises an "entirely new series of
[ photographic lenses] for all purposes and with a wide range of apertures". So far as is known, this never
materialized, nor did the process lenses also promised. It may be that the firm changed hands in the middle of
the development, and the new owners decided to concentrate on the microscope business rather than the
photographic.
Fig 5 Watson
Exposure: Zeiss-Ross f9.0/120mm Anastigmat
Back Row 2x Watson RR's for 1/2plate use.
Watson Holos Ser 1 f6.1/8.25in
Watson Holos Ser 1 f6.4/5in.
Front Row Watson W/A RR 1/2plate size to match.
Watson W/A Holos 3.5in
Watson W/A Holos 3.9in.

Wega, Italy.
Triplon f2.8 50mm

A.B. Fritz Weist & Co, Regeringsgatan 32, Stockholm, Sweden.

They were noted for an advert. in B.J.A. 1954, p591 for projectors and enlargers, with:
Projectors with lenses f2.5/80mm for 2x2in; f3.5/150mm for 60x60mm; and for 70x70mm.
Enlargers Uniprint 55 for 6x6cm and 6x9cm with f4.5/88mm lens, also 60mm lens for 35mm on the Type 36.
The brand name of the lenses is not stated.

Welta, Freital, Dresden, Germany.

Welta were camera makers but used their name in the Weltar Anastigmat f4.5/75mm, f6.3/90mm and
f9/105mm on Welta Rollfilm cameras for 6x9cm and 4.5x6cm. These were active about 1931-1935. A TLR has
been reported with a Brillantar f3.5/75mm lens- [something not to be confused with the Voigtlaender Brillant
TLR which used Voigtar, Skopar and Heliar lenses.]

Wenham, F.H., UK.

Wenham in 1857 made an early version of what became later the layout used by Morrison for a 3glass/2
component lens. Wenham's was not a wide angle design however. The front was a plano-convex of crown
glass and the rear an over-corrected achromatic pair. The principle may have been reinvented by R. Morrison.

Werner, Karl, Zuellichau, Germany

Frerk lists him as the source of the Pingoscop f8.8 meniscus lens for portraiture in 1926.

Westphalen Optics, 1435, N. Highland Drive, Hollywood, Cal. 90028, USA.

They advertised about 1970 a multifocal unit for use on an SLR as a macro or 3x extension lens, but the
advert. was not very explicit so that the principle was not easy to understand.

Westminster Photographic Ltd, 62, Piccadilly, London.

They were essentially dealers importing lenses and other items either under the makers name or under their
own trade names such as Eros. Only two types have been noted here but these were probably a series sold in
the shops.
Eros f3.5 It was made in 3-9.5in
Westminster f4.5 It had no other trade name and was made in:
5.25in for 3.25x2.25in; 6.5in for 5x4in; 7in for 10x15cm; 8.25in for 4.75x 6.5in; 10in for 6.5x8.5in. It was made
in black painted sunk mount or laquered brass barrel mount.
Eros f4.5 It was made in 4.125-9.5in It was noted in B.J.A. 1926, p319, 601. These were noted for
very bright and sharp definition and to be a good update for many other cameras. But these were basically
sold on price which was very moderate. Thus the 4.75in f3.5 was £5.75 and the f4.5 was £3.25 or £5.87 in
Compur shutter. Here the foci listed differ from the Westminster, so it does seem to be a different product.
Eros f12.5 It was made in 3.5-7.25in and was a wide angle for up to 110°. (B.J.A. 1924,
p593; 1926, p319). These were a very compact design.
Rectimat Symmetrical: probably an RR, noted about 1913.
A later series was as the Oxford folding plate, in 3.5x2.5in or 1/4plate. It had:
f6.3 Amar lenses, probably 105 and 135mm, in Vario shutters. These were low in price and covered the plates
well with satisfying definition. But note that in the advert. on p572, they are anonymous and f6.8 on the Oxford
at £2.37, and that the Westminster with the f4.5 Eros for 3.5x2.5in was also available at £10.50, [so the
Oxford was probably a bargain line?]
Eros Convertible f4.5 This was a very fast lens to be a convertible and just may have been a Goerz Dogmar
but this cannot now be checked. It was sold on the 3.25x2.25in CdeV plate/rollfilm at £8.75 in B.J.A. 1925,
p614.

Dr Weth, Berlin, Germany.

He was noted for a Telestigmar for SLR with a choice of mounts and foci, obtained with a focusing mount and
1 or 2 spacer tubes to give f3.5/175mm; f4.5/225mm; f5.0/250mm and f6.3/315mm probably by varying the
separation. It was listed in 1962 by W.Heaton at £91.55 and was useable on SLRs and cines. Look for 1 front
cell and two rear cells plus several tubes, etc.
The example seen was No2 397 (spaced like that). The basic unit is a meniscus f5/250mm lens giving good
centre sharpness but with some fall off at the edges of 24x36mm. The mount then lists it as being used with
P, a biconvex positive cell (+c220mm?) at the rear for f3.5/175mm, or N a negative cell plus a tube Z for
f6.3/315mm, optically probably the best version- or P+N for an f4.5/225mm lens of good quality. All bar the
first cover well or fairly well at f8, and the iris is scaled for each set up separately. But note the front cell needs
a substantial refocussing when the set up is changed and the unit is fiddly though the threads on the cells
prevent wrong assembly as they are 48mm front and 49mm rear. There is also a extension tube R possibly for
close-up use.
The unit may be the same as the one Astro later listed and was offered by Heaton's with a C-mount which
tends to support the idea that it was cine related. The Astro Fern was an f5 meniscus achromat, and this may
be the source of the Telestigmar lens, but the cells N and P differ slightly in colour of coating and both have
minor balsam faults suggesting they may be from a different source- ie Dr Weth bought in the cells and put
the outfit together. Adapted for Kine Exakta, a 3mm 40/49mm thread extension ring was used to fit it to the
body via the rear bayonet mount of an Ihagee extension tube set.

Wet Plate Process

This was developed by Scott Archer introduced in 1850-2 and equipment such as portable tents were well
available by 1853. It was free of patent or license restrictions. By 1856, the first "dry Plates" were available
from Dr Hill Norris of Birmingham, and in UK, W.H.Harrison (Brit J. Phot. 17/01/1868) reported the use of silver
halide in gelatine and W.H.Maddox (1816-1902) made successful plates in 1871 (idem, 08/09/1871): but most
would say the sale of gelatine dry plates was normal only by1878-80. The key features might be the ratio of
bromide and the ripening of the emulsion to increase sensitivity. (They were a fiasco when applied to recording
the transit of Venus in 1870. Piazzi-Smyth, BJA 1879). In April 1878, Wratten and Wainwright put plates on
the market in London and Mawdsley produced them in Liverpool the same year. By 1880, Paget plates and
others were selling readily. Thus "wet plate" lenses may be made during this period, up to about 1880, but the
term may be best restricted to 1850-1870 perhaps. The coming of the dry plate lead to a sales boom and the
dry plate lenses are relatively more common as more were made and a bigger proportion survived.
Sutcliffe at Whitby went over to dry plates in 1880 (R.Aspin, B.J.P. 29/05/1981 p550) and the B.J.P. says 'the
majority of workers have already adopted the gelatino-bromide process' in 22/10/18880, 24/10/1980, p1068) so
1880 is probably a 'late' date.

Capt Owen Wheeler, Strathmore, Princes Rd, Weighbridge, UK.

Wheeler advocated telephotos with high magnifications, to minimize vibrations, and in 1914 launched a tele
unit of 4-13x magnification for 5x4in or 1/2plate (B.J.A. 1921, p329) which he called the 'Turtle'. The positive
lens was f4.5/6.5in or 5 or 6in; and the negative of -6in focus for 14-22in, or effective focus was 20-65in. The
separation was made by screwing in extension rings between the cells in addition to the basic tube to extend
it, and in the B.J.A. note, they give with 6.5/-6in lenses:
Rings Focus Max Aperture Camera extension
A,B,C 14in f10 7.5in
A,B 15.5 f11 8.5in
B,C 17in f12.5 13in
A,C 20in f14 13in
A 22in f16 15.5in
It seems to have later sold through Mssrs Wray, who may have modified the positive focus from 6.5 to 5 or
6in. He wrote many books, both on the history of the Army and on photography. He died in 05/10/1932.
W.T.Whetter, Villers Rd, Stapleton Rd, Bristol, UK.
He was a dealer listing RR lenses in the 1889 B.J.A. p724, with movable hoods and diaphragms, in 1/4 5x4in;
1/2 and 1/1plate sizes. These have not been seen but may well be engraved with his name even though there
is no claim to be a maker in the advert.

Widelux, Japan.
Agent: Star Cameras Ltd, 2, Harrow Rd., Edgeware Road, London W2. (1960)
They are noted for the lens on the Widelux panoramic cameras. These use a rotating lens to sweep a wide
angle so the demands on the lens are not as extreme as might appear. This was a 35mm film based camera,
but larger versions seem to also be sold. (The regular 35mm film version was noted in: B.J.A. 1960, Advert,
p592).
Lux f2.8 26mm Q15 type, for 24x58mm in 1955. The results impressed Modern. Photo in
1977, p96.

Robert Widmer see Rowi.

Wild, Switzerland.
Wild lenses rarely come on the market as they are essentially aerial camera makers, building specialist
cameras in small numbers. One of their "Stereo Autograph" A5 machines was adopted (from the Aircraft
Operating Co, Wembley) by the RAF early in WW2 (1939) for interpretation of films since it gave an 8x
magnification. They use very sophisticated, high quality camera lenses and several have been special designs
for their use only. The most famous is the Aviogon, designed by L. Bertele and he also designed the Aviotar
for them. (Wild, Brit. Pat. 680,185, f5.0 for 90°, also Brit. Pat. 70,879, 1954-7, also Brit Pats. 719,162/1951-
1954; ). It is significant that the Aviogon is actually more complex in design than the related Biogon which he
later designed for Zeiss. It has not been possible to see any of these but an enormous 6in lens made by
Ross-Williamson seemed to be a Aviogon built under licence for the MoD, perhaps because Wild did not
make them in this focal length. (Layout Aviogon Wil001). (They are so heavy that they are really a two man lift-
a smaller one would be more useful in truth). It seems to have been sold from 1950. A later version was the
Super Aviogon from 1956.
Aviogon f5.0 100, 115, 152mm for 90°
Super Aviogon for 150° (1956)
There is a later "Aviogon" type patent by Bertele and K.W. Hilderbrand USPat. 4013,349/1977)
Aviotar f4.2 170mm on RC5 for 18x18cm.; 210mm on RC7 (15x15mm). It was covered by
USPat. 2,549,159/1951). This was a development of the 1936 Zeiss Biogon design, but was more complex.
Anon f5.6 44mm on KA-50A
Anon f5.6 88mm 0n RC10 It covers up to 120°.
Falconar f1.4 98mm This was a rare lens occasionally fitted to the Vinten F95 70mm camera. It
has been described as a 7-glass Gauss with advanced coatings.
Catadioptric Unit This was designed before 1937 under Brit. Pat. 476,147.
(Cartagon This may be a Wild lens, rated for 100° at f6.3 about 1950?)

Wilhelm Will, Wetzlar- Nauborn, Germany.

The firm was founded in 1923. It is best known in the UK as a supplier of projection lenses. Modern Photo
reviewed some of their enlarging lenses in 09/1968. But note that the pictures of the branded Revue 35 show it
used Lordon f2.8/45mm lenses marked 'Will, Wetzlar', as well as f2.8/50mm Lordonars of Leidolf, Wetzlar so
Will may be a source of more lenses than is appreciated.
Winostar This was a 3-glass triplet.
Rektagon f2.8 50mm, a Q15 type.
Maginon f3.5 150mm This was possibly a triplet type design.
They were also suppliers of enlarging lenses often as "Wilon" marked Will, Wetzlar. They appear as a trade
name on budget price enlarger lenses from Rowi, and projectors from EKA (B.J.A. 1957, 248) and are
probably from Will, Wetzlar. It does seem to be on German equipment, but also was fitted to Gnome
projectors in the 1950's. (B.J.A. 1958, 234). In 1956, it was on Rowi enlargers as a f4.5/50mm lens from Photo
Science.

Williams, London
This was noted on a brass finished lens for a 7x11in camera, but it is probably a shop engraving their name for
sale, not a maker.

Williamson, High Rd., Willesden, London NW10.

Williamson were the major UK maker of aerial cameras between the wars and in WW2, using lenses from
most of the UK makers (Wray, Ross, Dallmeyer, TTH and others) in 5x5in and 9x9in sizes of format. Thus
they are important as a customer for specialized lenses and their name appears on at least one- the Ross-
Williamson Wide Angle. (see Wild above).
One account is that they took over a former bus garage in WW1. Initially the cameras used plates, as the
RFC had in WW1 but the advantages of film were realized, and the Eagle Mk 1= F8 was in use by 1919 to a
design by F.C.V.Laws and H.B.Stringer for 7x7in film. But the use of plates did continue as shown in B.J.A.
1926 p245 where a P.F.camera is shown with a 10in f4.5 Aviar lens for 5x4in. (The RAF coded plate cameras
with P as the initial, and film cameras with F as the initial.) Patents for aerial cameras are noted in B.J.A.
1921. p350 by C.M.Williamson Nos 130,684 and 130,685 and articles by Birchall in B.J.Photo 28/11/1919;
16/07/1920. [There is a review in B.J.A. 1922 p333-336 of a number of studies related mainly to mapping.]
The Eagle MkI (=F8) was for 7x7in (and is well described in B.J.A. 1928, p242), the Eagle Mk2 was for 7x8.5in
and the next was a smaller and cheaper camera, apparently at the request of the MoD (?F8 in B.J.A. 1930,
p703). The Eagle MkIII was introduced in 1925/1932 for 5x5in on 150exp rolls, and was just hand holdable,
being about 15in tall and quite heavy, and the Mk IV was a metric version for countries using metric size
materials (B.J.A.1932, p276, 518 advert.; 1934, p276). When introduced, the MkIV used lenses in cones of
foci 8.25- 19.75in (or 210- 501.65mm) The MkIII could record the data eg height, number, time, between
exposures on a narrow band of film using a series of miniature Ross Xpres lenses to image the dials on the
film. (MoD cameras do not seem to have had this feature.) It then used 6in to 10.25in lenses. Prices ranged
from £95 hand operated through £125 mechanically operated to £232 with complete electrical operation, plus
lenses in all cases.
Later, in the war, they advertised the introduction of the 'new' Eagle F49 and Eagle MkIII cameras in B.J.A.
1943, p341. This must have been a busy time, with work contracted out.
The choice by the MoD of a 5x5in format would affect the lenses used and the performance obtained, and
seems to have been a deliberate one choosing a much larger amount of images even perhaps of lower
resolution.
Another aerial camera was a hand held "Pistol" camera for 3.25x2.25in (or in 5x4in as the P14), taking Ross
or Dallmeyer f4.5 lenses in front of the louvre shutter. Price £17.50. (B.J.A. 1932, p611advert. 1933, p267). By
1933, a choice of f4.5/5.3in Ross, 10in Dallmeyer or 13in Ross Teleros lenses was available.
Part of the F24 test room is shown in a memoire (D.Rendell, B.J.P. 08/02/1980, p121.)
With peace, business would decline and A.G.I. told us that they purchased the business (possibly in the
1950's?) and supported the products until the 1970's when the A.G.I. products had completely replaced them
in MoD use.
Williamson just may have initially been movie camera makers from a "Williamson" in Ariel's list and some
other references to Williamson movie cameras. This may have started an interest in making the G28, G42B
and G45 gun cine cameras- shown in B.J.A. 1938, p302 and 1945, p179 as a compact cine mounted on a
machine gun: they were used both in training and to record the fall of shot in actual combat, and are probably
the source of footage shown in programs about WW2 air battles.The lens used was often a f3.5/2in ex-
Dallmeyer but there is a reference also to a 3in f3.5 of unknown source (B.J.A. 1949, p182). It was certainly
easy to use, tough and not expensive and Conyers-Nesbit says the G45 replaced a more elaborate earlier
G42B model, and also illustrates a G28 on p106. (see also Dallmeyer section)
There were very early movie cameras by "Williamson" but this could be a different firm, and later there was a
microfilm camera agented by Kodak, fitted with a high resolution Dallmeyer lens.(B.J.A. 1949, p224) This just
could be related to wartime microfilming cameras which had been used to ensure document preservation and
transmission eg. from the Far East to the UK under difficult conditions. A postwar advert. shows an enlarger
for 9.5in film or 9x9in plates, a Williamson Eagle MkIX camera, an O.S.C. Mark I camera, a Cine Gun Camera
Type GXII; a microcopier for 100ft lengths of 35mm film; a Graber exposing, type printing and cutting machine;
and a Williamson processing machine for 1200 postcards per hour.
Wilca, Muenchen, Germany
The Wilca camera was a rare 16mm still camera, with Wilcalux Filtra f2.0/16mm lens in Prontor shutter,
about 1962.

R. Winkel, Gottingen, Germany This is a firm noted for binoculars, but not so far for camera lenses. WW2
production was coded eaw.

Wirgin Bros, Wiesbaden, Germany.

Gewironar f6.3 105mm on Wirgin 6x9cm rollfilm.
The trade name may be most important in the 1930-1940 period, but was also used after WW2 on the rollfilm
cameras. It is not known whether they were bought-in or not. But they often used bought in lenses such as
the Cassar or Cassarit lenses on the Edixa Stereo. Then the firm's publicity said it was 30 years old.
The same lens Wirgin Gewironar was on the Westex Four-Five rolfilm from Westminster Photographic, Lrd,
81, Strand London, WC2 in B.J.A. 1938, p279, the cheaper version having a Ludwig Victar f6.3. This just might
suggest the origin of the camera.

Wisner Company, USA.

1n the 1990's, Wisner initiated a casket set using Schneider lenses in sizes for 5x4in, 5x7in and 10x8in,
with f9.0 maximum aperture. These came in a smart casket, and a unique feature was a corrector plate set for
use when only one cell was fitted. This must be a future collectible.

Witt, (Iloca) Hamburg, Germany.

This was a common brand of budget camera selling in the UK in the 1950's with triplet lenses eg f2.9 Illitars,
owing to UK regulations preventing the import of more costly types. Illitar was a 3-glass triplet, but the Super
Illitar from about 1956 was a 4-glass design of improved performance. More ambitious versions were made for
other markets, and some models with Cassarit lenses were sold in the UK. These were well built and perform
well closed down a bit. There is a suggestion that Witt became part of Agfa later on. The early Ilocas had 6
digit serial numbers, but about March 1957 they were extended to 9 digits suddenly and it has been tentatively
suggested that the last 3 digits represent the date in month and year as 357 for March 1957.

Dr Wohler, Merzig-Sarre
Agent: AICO, 15, Sheen Lane, London, SW14, UK.
He was the supplier of the Favor 11 with Docar f2.8/45mm lens in 1947-1952, being coated in 1952 at least
and with a very convenient focusing lever. It has been noted at auction as Favor No19,50x with Docar
f2.8/45mm No9,74x, and also as Docar (f2.5?) No83x. Review: see B.J.A. 1952, p223. We think the firm later
concentrated on binoculars. (Min Cam Mag. Sept 1950, Advert. p533).

Wolcott, Alexander S., USA.

One of the earliest camera makers, known for a rather simple camera fitted with a mirror rather than a lens. It
was technically under developed and little used but was probably a fast item at the time. [But an alternative
account is by E.S.Lothrop in Popular Photography, 11/1971, p56, 68. He says the camera was developed,
sold in a larger size than the tiny original (It took 3/8in dia Daguerrotypes) and Wolcott even visited London,
Uk in 1841 to promote his booming production. But Wolcott died in 1844, and the product then ceased.]

Wollaston, England, UK.

Wollaston pioneered the use of a concavo-convex meniscus even before photography was invented. It was
mounted with the hollow towards the subject (W.H.Wollaston, "On a periscopic camera obscura and
microscope", Philosophical Magazine, 41, 124, 1813). (Layout Wol001) This may have been the start of a train
of thought among the early pioneers as Niepce purchased one from Chevalier, in 1828, and preferred it to the
previous lenses he had tried, and Ross may have known the design in making his meniscus achromats.
Wollensak Optical Co., Rochester, N.Y., USA.

Agents were:
Staley, Shew and Co., 88, Newman St, London, UK.
Demaria-Lapierre, 169, Quai de Valmy, Paris, France.
R. Konishi, 2 Nichome Tokio, Japan.
United Photo Stores Ltd, Montreal, etc., Canada.
The company was founded in 1899 by Andrew Wollensak, and at times seems almost more important as
shutter makers than as lens makers, and this was the original purpose, and which is reflected in the products
imported into the UK, where the lenses are relatively uncommon and where shutters may have been easier to
sell. Little in the way of catalogues and lists have been available and the following will be only a rather random
beginning to a list of their products.
They did advertise in B.J.A. 1921, p777, mentioning Velostigmats, Verito, and f3.8 Vitax and the Optimo
shutter, and offering lenses in 3.5-26in (88mm to 660mm): next year it was just Betax, Gammax, Deltax
shutters for Xact Xposure (sic).
Incidentally, in the USA it seems to be well known that Wollensak supplied all or most of the Graphlex Optars
on Graphic type cameras up to about 1965, and these were mainly either f4.5 Raptar or f6.8 wide angle
Raptar, normally with stops to f22 and fitted in Wollensak Rapax shutters. This was one class of lens which
did come to the UK on cameras for the Press after WW2. (Incidentally the Lend-Lease items were mainly
destroyed after the War and were not available to the public.) Wollensak became part of Revere Camera Co.
(MCM 9/1953) and the Fastax high speed movie camera for up to 8,000 or even 20,000fps was an interest.
They were used with Wollensak f2.0 lenses such as f2.0/35mm, 50mm f2 Fastax and 50mm f2 Raptar, (B.J.A.
1960, p241). Wollensak became part of Revere in 1953, and 3M Corp in 1960, and ceased trading in 1972.
Lenses were manufactured from 1902, and the Rochester Lens Co was incorporated in 1905. A BJA advert in
1916 listed Velostigmat, Verito, Vitax and Vesta. Arguably the most valued product are those for Leitz N.Y.
while it was sequestered, and possibly portrait lenses such as Verito. The Verito was the only USA lens
mentioned in Frerk's lens list in 1926- due to exchange rates, few foreign lenses were selling in Germany, but
he thought it worth a listing all the same.
One name from the past is Mr Dawes who spoke to the New England Photographers Association about the
darkening of lenses and suggested this was due to changes in the balsam- the B.J.P. 01/11/1918 cited
03/11/1978 p970 questioned this preferrring the idea the glass itself darkened. He also discussed the Patzval
lens and the bold 'standing out effect' it gives which he attributed to the curved field it had. Here the BJP author
also disagreed, and suggested it was due to the large apertures in use with the Petzval. In retrospect, it
seems that Mr Dawes had a good deal on his side of the argument. But his position in Wollensak is not
indicated.
About 1909
Velostigmat f4.5 Q15 type lens. This was the first sight of a long lived name.
Velostigmat f6.3 It was made in 5.0-16.5in also Q15 type, use 13in for 10x8in. There was an f6.3
Wollensak on a Chicago Super Reflex in 1913 which may be of this type.
Royal Anastigmat This was an air-spaced 4+4 symmetrical anastigmat rather as the later TTH Type XV
was to be. The designer was Gundlach, previously at the Rochester Optical and then Wollensak. It was
deleted by 1909.
Velostigmat f7.7 7in This was noted at No262,58x on a Cirkut panoramic camera made about
1931-3
Velostigmat Wide Angle f9.5 4.75-9.75in The structure of this is unknown but it may be a 2+2 anastigmat.
Portrait Lenses These were an important part of the production.
Vitax Portrait f3.8 10-13.5in, then 16, 20in. This was a Petzval type lens. It had softness
adjustment and the field was rather curved. It was listed in 1914. There were conversion lenses for 20in lens to
16in, about 4.125in dia.
Vesta Portrait f5.0 6.0, 7.0, 10, 11.5, 14in This was another Petzval, rather like Vitax, but
slower and without the softness adjustment. It could be used as a long lens for big heads by removing the rear
cell and fitting the front meniscus lens reversed at the back- this was not an uncommon feature, but not all
makes had the threads the same to allow it.
Royal Portrait This was deleted by 1908, and replaced by the Vitax above.
Portrait Lens f5.0 6.0- 14in This is an RR type lens.
Varisoft This was listed as a 12in lens but with no further data.
Multifocal Lens This was designed in 1928 by H. Beach with the front glass curve made aspherical to soften
the image.
Raptar Convertible This was a 4+4 symmetrical anastigmat, rather after the Type V11 Protar.
Vinco Anastigmat f6.8 eg 9.5in No 2,23x in an auto shutter. The example seen was a Q15 type
lens. It was listed in the Amateur Photo. 16/04/1919. In fact several have been seen in the UK but these were
all in poor order due to scratches on the glass- this may be due to their use on press cameras, or a soft front
glass type. It was apparently closed out soon after 1919.
Fig 031 019 Wollensak Vinco f6.8/9.5in No 22,356 in shutter, No68,094 in barrel.
Rapid Symmetrical f8.0 5-26in This seems to be an RR from the first days of the firm.
Rapid Rectilinear Series V1 f11 5.0-12.5in. This is an RR, use 12.5in for 10x8. It probably is a
'Portable' version to match the f8.0 above.
Versar f6.0 6.5-22.5in This may be a periscopic lens of 1+1 symmetrical design. The
separate glasses could also be used alone for a 'sharp' image at f11 or less.
Listed by 1909-1919 at least.
Wide Angle Series V11 f16 for 80° This seems to be part of the series noted above for the RR.
Wide Angle Series V111 f16 for 80°.
Extreme Wide Angle This was not dated, it was listed as a 150mm for 11x14in.
Post 1919.
Velostigmat was an older trade name used for many years but apparently phased out in the 1940's and
replaced by Raptar, as some of the M39x26 lenses were of each type. Velostigmat in one list was made as
f6.8, f7.7, f6.3, f4.5, in several designs including Dialyt, Q15, and Gauss. They are listed here rather as found.
Velostigmat Series 1 f6.3 3.5-16in This may well be as above, now noted with a Series number. Here it
was given as a symmetrical anastigmat 3+3 or 2+2+2+2 type, and it was suggested to use 12.5in for 10x8in.
Another list gives 51-306mm.
Velostigmat f6.3 This was about 43mm? (probably 40mm) in 3-speed everset shutter. It was
the lens in the Ansco Memo from 1927 for 18x24mm and was made to about 1932. A 'review' in MCM 08/1944
of a nice example was very favourable saying 'lens of excellent quality' and that the camera ceased production
due to the competition of cameras with the 24x36mm format. The "Memo" trade name was reused in 1939 on
a Karat size camera.
Velostigmat Series 11 f4.5 3.5-15.5in Longer types of 9.5, 12, 15.5in can have a diffusion device.This
was flat field and non-separable and was probably a Q15 type as above. It was suggested to use 12in for
10x8in. It was seen at No298,63x, not coated and probably from the late 1930's. Another list gives 50, then
90-306mm.
Velostigmat Series 111 f9.5 This was made in 4.3-9.0in.
Velostigmat Series 1V f6.3 for 60° in 3.5-12in.
Velostigmat Series V f7.5 3.5-13in This was an anastigmat and possibly a Triplet.
Cine Velostigmat f1.5, 25,50mm;
f1.9, 12mm;
f2.7, 12, 25mm;
f3.5, 12, 25mm; A 1in (25mm) was noted on a Victor Animatograph in B.J.A.
1928, p744, and an RCA Sound camera in a 1937 advert.
Cine Velostigmat f5 This was noted on a Ellison 35mm camera at No240,25x and may be an
earlier product.
Cine Telephoto's f3.5, f4.5 These were made in 1-6in.
Velostigmat for cine f2.8 35mm This was noted in a 3 tab bayonet, possibly ex-Defense.
Fig 031 021 Wollensak Velostigmat f2.8/35mm No276756 for movie use, camera unknown.
Telephoto f3.3 3in This was for a RCA Sound camera in 1937 (B.J.A. p671advert.)
Rapter Series 1a f6.8 These seem to be symmetrical, possibly Gauss type.
Raptar Series 11 This was a Q15 type lens.
Raptar f4.5 This was a Q15 type lens. It was noted as a f4.5/101mm at No559,84x on a
Rilex 6x9cm camera ex Riley Research No56x, c.1948. Raptar was used for some of the M39x26 90mm
lenses.
Raptar Series 111a f12.5 3.5-6.25in to cover 90°. This could be to the original Anastigmat type design.
The date is not known. It was noted as a 4.25in lens.
Raptar Series 1V f6.3
Velostigmat Series 1V f6.3 This was an anastigmat lens, which replaced the Vinco above.
Process Lenses Raptar Process This was a dialyt type This may be App078 which is a Wollensak process
lens, of unspecified type.
Apo Raptar f10 It was a 13in version which was noted.
Portrait Lenses
Veritar Portrait f6.0 10, 14in This has a 3-glass layout and the image is soft due to under
corrected spherical aberrations. Thus what you see is what you get- or nearly so. It does change focus away
from the lens as it is closed down, so there is little or no increase in depth of focus towards the camera. Thus
it may be best to focus on the nose or eyes. Some may be in Alphax shutters, and they were made long
enough for some to be in chrome finish. It was still current in 1960, in 1+2 design, and sharp at f11.
Verito (Soft Focus) f4.0 5.0-18in This seems to be a 1+2 type portrait lens, and free from distortion
due to a symmetrical design. The actual sizes made varied in speed: It was deleted by 1960. It is a very light
lens as the glasses are thin, and was seen as a 11.5in f4.0 in a very big Wollensak Studio shutter operate by
a cable release, and with no timing action, just bulb, and opening to a controllable degree to act as a stop, so
no iris was fitted. The image has much detail but is just softish, and seems to be well color corrected, but soft
due to sphericals. It seems to sharpen up on stop down and provision for f45 is available. When focused on a
small spot of light, the image was compact and "sharp" from f32 up to f11 (0.7mm dia. or less) and grew only
slightly larger at f8.0. Further opening gave a rapid increase in spot size, with diffuse edges- due to the ragged
edge the maker gave to the iris which is reproduced in the spot. Then finally the spot grows more on opening
to f4, but the lens mount gives a smooth outline now. This means that at f4 the light is 50% in this outer flare
patch of some 8.5mm dia., and another 25% in the 3.8mm dia patch formed at f5.6, with 12% in the smaller
1.2mm patch at f8, around the sharp core at f11 of 0.7mm or less. The outer zones will give some extra light
to the centre but it suggests that fine details will be recorded at 25% of the usual intensity, or less under
these conditions. It does not mean that the lens will require extra exposure, as in normal use, flare from
neighbouring spots will spill into the core of this one, and in fact as the instructions for other soft lenses say,
they may actually shoot faster than sharp lenses in use. The lens is quite deep and begins to vignette fairly
soon, and this affects the shape and light content of the flare patch, so it is best to use it for a fairly modest
format size for even image quality. The 11.5in is probably too short for 10x8in and might be happiest on 5x7in
perhaps, though the vignetting effect could please some users.
f6.0 5.0, 6.5in
f4.0 7.0, 7.25, 8.75, 9.0, 11.5, 14.5, 18in;
f5.0, 22.25in. Two sizes were suggested for enlarging, and some were usable as
the rear lens only at 1.8x the focal length. It was suggested to use 14.5in for 10x8in.
In 1926 there was a 'new' Verito Soft Focus and an unsymmetrical doublet. It was suggested to use 18in for
5x7in format. It had the same basic layout as Veritar.
Varium Portrait (1926) f3.5 This was made in 14, 16, 19in and it was suggested to use 16in for
10x8in.
Versar f6.0 6.5-22.5in
Voltas f8.0 5.0-26in includes 10.5in This was a convertible anastigmat.
Beach Multifocal lens Series 1A This was a soft lens of unknown layout.
Beach Multifocal lens Series B This was a sharp lens of unknown layout, these were made in 9.5, 12, 14,
16in. It is likely that these are designed by the F.C.Beach listed above and continuing in use.
Process Lens f8.0 10.25-30in These were f16 in the longer focus versions.
Wide Angle Raptar This was a 4-glass gauss type.
Graphic Wide Field f6.8 8.25in may be the same product. as above.
Omicron f3.5 90mm no details here. It was used on the Simmon 2.25x2.75in
camera in Rapax shutter. (?also on the Omega)
'Meyer Opticraft Objective' f2/2.4in This is a uncoated lens, probably prewar and possibly a 6g/4c Gauss in
a plain barrel, with no iris or focusing but the original use is unknown.
More Modern Lenses
Many of these are postwar and will be coated. Factory coating was shown by engraving a code "WC" on the
bezel and filling it with purple paint. The adverts in 1947 stressed the line was being improved with new
methods of manufacture, electronic testing and WOCOTED surfaces. There were new synchromatic Alphax
(everset) and Rapax (spring wound by lever) shutters.
Cine Raptar f1.5 25, 50mm This was a 6g/4c Gauss type design. It may be this noted at
No28,54x on a RoBoT Recorder camera 36MEF
Precision f1.8 25mm This was also a cine lens.
Raptar f2.3 This was for cine
Wide Angle Cine Raptar This was a retrofocus cine lens, and quite a modern type.
Extreme Angle f9.5 159mm, 6.25in for 10x8- This was perhaps an older lens, but this speed was
for 10x8 only in the 1960's.
Raptar Wide Angle f6.8 65, 90, 108mm This was listed with the above as if it was the normal faster
version. Use 90mm for 5x4.
Raptar f2.0 50mm, for Fastax camera. (B.J.A. 1960, p241)
Fastax f2.0 50mm Same This was on the front of the camera, while the Raptar was on
the door for the oscillograph trace. This camera exposed 100ft lengths at up to 8,000pps with double recording
of a picture and a oscillograph tube. It will run a film length in 0.5secs. at top speed.
Veritar f6.0 10, 14in as above.
Raptar (Cine) f2.7 12.5, 25mm.
Raptar f2.8 35mm
Telephoto Cine Raptarf4.0/f4.575-152mm
Telephoto Raptar f5.6 8.0, 10, 15in, (respectively need 5, 6.1, 9.6in extension.) It was available in
shutters with and without synchronization.
Cine Raptar A f3.5 2in (51mm) on a Detrola Model E may be an example though it is a still camera for 3x4.
Wide Angle Raptar
Oscilloraptar f1.9 75mm (3in) usually in an Alphax shutter. This is a high quality modern 6g/4c
Gauss type design, with modern coating and probably adapted for close-up working. They are very impressive,
moderately common in the UK from MoD sales but seem to be hard to reuse due to the bulk of the shutter, so
that they are really too big for some cameras, such as the 6x9cm Linhof for example.
Fig 030 036 Wollensak Oscillo-Raptar f1.9/3in (75mm) NoE14,200 in Pi-Alphax shutter.
Velostigmat f2.8 35mm This was a cine lens. One at No709x was noted on a DeVry 35mm
movie camera at auction.
Velostigmat f2.7 17mm This was noted for 16mm cine, noted (?about 1956) on a Kodak K100
turret.
Raptar Series 11 f4.5 101, 127, 135, 162, 190, 210, 241, 302mm. in barrel or
shutter mount.
Wollensak f4.5 83mm on 'Marvel-flex' by Seroco (Sears-Robuck,USA) This was a wartime
and early postwar TLR.
Raptar Series 11 f4.5 25, 50, 75, 90, 101, 135, 162, 127, 190, 210, 241, 302mm This was for use
as enlarging lenses. It is uncertain from the list how far these were optically different from the above camera
lenses but the mounts typically were click stopped barrels.
Lenses in M39x26 for E. Leitz New York.
During WW2, the Leitz firm was run by the US authorities, and during and just after the war, it commissioned
lens heads from Wollensak to fit to barrels made under their control. The serial numbers seen are quite close
together as if the numbers were limited. This still applied in the American Annual 1947 pAd. 30, and in April
1948 from a MCM account on p222. They also supplied an American-made Vidom finder. Several lenses and
foci were involved and included:
Wollensak Velostigmat f3.5 50mm This was noted at auction as No456,18x, 490,22x and 496,80x. A
lens of this specification was used on the Detrola Model E for 3x4cm.
Wollensak Velostigmat f2.8 50mm This was sold in a coupled, collapsible mount.
(Small mentions an f2.9 Velostigmat which may suggest an error above.)
Leica or f4.0 90mm
Wollensak Series 11 Velostigmat or Raptar
These were a 4-glass Q15 type as far as is known. Performance was very good. It was seen as a Ser II
Velostigmat at No480,70x and 495,87x Others noted were Nos 461,08x and 470,74x, 491,35x, 473,98x,
483,90x. Raptar was noted at No452,98x and may be less common.
Wollensak Velostigmat f4.5 127mm It was seen as a Ser II Velostigmat at No439,06x, 454,24x, 493,95x.
Also noted at No439,01x.
Fig 030 038 Wollensak Velostigmat f4.5/9.5in ctd. SerII.
Note that the Raptar and Raptar series II are the latest versions, from shortly before the close out, perhaps in
1951, but seem to be the ones noted occasionally in the UK often from sales by US servicemen.
Fig 010 069 Wollensak f4.5/90mm Velostigmat No480,703 and f4.5/127mm Velostigmat No493,495 in M39.
Other
Wollensak f4.5 254mm This was probably an ex-WD lens for movie work, rather like the Bell
& Howell Eymax.
Tricor This was on the Mercury 1 by Universal. This was a triplet from 1938-1942.
Hexar f2.0 35mm on Mercury 11.
Raptar f3.5 35mm for Clarus MS35.
Wollensak lenses for Bolsey and Perfex Cameras.
These are probably Raptar designs sold for the camera maker's use and carrying names agreed with the
customer. Not all these records have this name attached.
Anon f3.2 44mm for Bolsey C (1953)
Anon f4.5 44mm for Bolsey A (1953).
Velostigmat f3.5 50mm on Perfex.
Velostigmat f2.8 50mm on Perfex.
Wollensak f2.0 50mm on Perfex.
Cine Lenses
These were an important part of the production, especially as viewed from the number in the Ariel list and
encountered on old 16mm cameras, mainly being made for 8mm and 16mm cameras. The main trade names
were Cine Raptar and Velostigmat, where the Velostigmat seems to have been the older, premium item. Other
lenses were just given the two makers names- possibly due to lack of space on the mount for much engraving.
Many of these are from the Ariel index. Some Revere cine cameras imported by J. Hadland, Chipperfield,
Herts UK were listed in B.J.A. 1961, p547 and these included an f1.8 Wollensak Raptar Cine Zoom for 8mm, a
35mm slide projector with 5in lens, and a cine projector.
Cine Raptar This seems to have come in 3 series, as f3.5, f2.5 and f1.9 and was made up to about 1960. It
was noted as 9, 12.5, 13, 17, 25, 38, 76, 100mm (f4.5).
Cine Velostigmat This seems to have come in the same f1.9, f2.0, f2.5, f2.7, f2.8, f3.5, f5.0 aperture range,
and has been noted in 13-50mm.
Cine 8mm lenses
f1.5, 38mm; f1.9, 13mm; f1.8, 6.5, 9.0; f2.3, 6.5, 9.0; f2.5, 25, 38mm; f3.5, 38mm; f2.8, 38mm.
Cine Lenses for 16mm. The following are from many sources, including a Burke & James catalogue.
High Speed Cine Raptar f1.5 12.7, 25, 40, 51mm,
Cine Raptar f1.9 25, 51mm
Wide Angle Raptar f2.7, f2.5 17mm
Telephoto f3.5 51mm
Telephoto f2.5 51, 67, 75mm
Telephoto f4.0 75mm,
f4.5 101, 152mm.
Cine-Velostigmat f4.5 150mm.
Mirror Lenses These were made initially under licence from Den Oude Delft and sold under several trade
names as follows:
Fototel f6.3 500mm
Mirotel f8.0 1000, 2000mm
Versatel f5.6 40in These were used by the USA navy about 1964.
Versatel f11 80in same.
Mark V f6.0 18/4.5in for movie (USA) These used a motor driven focus on a
track.
Enlarging Lenses and Process Lenses.
Enlarging Velostigmat f3.5-f6.3 These were made in 2.0-8.5in.
ProRaptar Professional f4.0-f5.6 This was a enlarging lens of high quality of 6-glass Q20 type sold for
professional use.
Process Velostigmat f10 10.5-30in.
Apo Raptar f10 10.25, 13in This was noted as coated, and a modern lens type.
Process Amaton f8.0 This was noted as a 267mm lens, but with no further details. In the 1960's it
was quoted as f8 anastigmat at 210, 267, 380mm in barrel with iris, for process and copying.
Wray Ltd., (Mr M. Wray), Laurel House, North Hill, Highgate, London.
also at Hanover St, Peckham, London, from 1910 under Mr A.A. Smith and at:
Ashgrove Rd., Bromley, Kent, UK., from 1915 under Mr A.A.Smith.
The firm was thought by Mr A.W. Smith to have been founded about 1850 by a Mr Wray, a solicitor with an
interest in astronomy. (An advert. in B.J.A. 1954 says 'established in the same year as Fox-Talbot brought
photography into practical being'...) The 1850 date was quoted in Mr Smith's memoir and adverts. such as
B.J.A. 1924, p588;1936 p510, but seems not to be a historically proven date. One reason was that the firm's
initial products were quite possibly all non-photographic, possibly telescopes made in the coach house at
home, and later opthalmic glasses. The firm seems to have begun to make photographic lenses from about
1880 or a little before, but again this is not an exact date.
Early photographic products were said to include RR and portrait ie Petzval, lenses and Mr Wray helped to
pioneer the iris diaphragm and a 13in RR was found to keep a fully circular stop at all apertures from f8 to f64-
the circularity being a major criterion (See BJA 1889, p598) . They are mentioned in the B.J.A. 1891 as now
using the new Jena glass in a new series of lenses for hand cameras. These were of 4 to 6in focus, and the
6in was tried and found to cover 1/4plate excellently and as it was very compact, even up to 8.5x6.5in when
stopped down.
Later the Platystigmat, an early symmetrical anastigmat was launched soon after 1890, but was withdrawn
as the glass was found to be unstable, and a new version designed. Mr Wray died late in the 19C and two
ladies inherited the concern. Production was said to have slowly run down under a foreman as the owners
grew old and the firm was merely ticking over in 1908 when Mr Smith bought it. Thus it seems likely that
Victorian products from the 1880 designs will be easier to find than the next period and this is to some extent
true although Platystigmats do seem to occur fairly steadily, so that a collector should be able to find one. A
small cone shaped meniscus lens is an early type of item, at No71x.
Early Type Items. These will be made under Mr W. Wray.
Meniscus lenses These are probably early items but may have sold into the new century. There is a
suggestion that they date from 1886. All could be had in aluminium mount (as well as brass?) and with iris
stops by Amateur Photo. 30/10/1891.Two types of mount have been seen:
(a) Cone mount in brass finish for use with Waterhouse stops at No71x, about 10in focus for 1/1plate. This is
a very attractively finished item. Another at auction was No621.This suggests they tend to be early items.
(b) Barrel mount with iris. This is No143x and is a smaller, 8in perhaps, lens for 1/2plate and here there is
an iris from f8-f64. It was probably used only closed down. The iris suggests it is after 1890 approx. as Wray
were one of the leaders in introducing the iris about this time. The f8 version used Jena glass. Optically they
may be the much the same but the cone here is an attractive mounting. Both are in the 'old' fine mounting
threads and can be used in the same flange.
Fig 017 003 Wray Meniscus lenses in cone mount No716 and barrel No1435.
In 1889 they were as Wide Angle Landscape, and Narrow Angle Landscape, with no offer of a cone.
Wide Angle Landscape (1889) for 90° This was made as:
a,3.5in; b,4.625in; c, 6.0in; d,7.0in; e, 8.0in; f, 9.0in; g, 10in.
Narrow Angle Landscape Lenses; no angle was quoted here.
It was made in 7.5in for 5x4, 9.0in for 6.5x5in; 12in for 8.5x6.5in; 15in for 10x8in and 18in for 12x10in.
Casket Lenses
A 5x4in set had a barrel with iris and 3 cells of focus 5, 7.5, 10in (? as pairs) with a neat pocket 'cabinet' to
carry them. The iris was calibrated for each combination, eg f8-f64 for the 5in up to f16-f64 for the 10in. This
was a high quality item. (B.J.A. Almanac 1889 p62advert., p599 (noted), when it was a 'new' item; also 1890,
p53 (ad) account p599; Amateur Photo., 30/10/1891). It was not new then. The 1890 list had :
for 5x4in, with 5, 7.5, 10in focus.
for 6.5x5in, with 6.5, 9.0, 12in focus.
for 8.5x6.5in with 9.0, 12, 15in focus.
Single (Meniscus) Stereo Lenses These were noted as matched pairs in 1889 in 5in, and 1901 at f11.3 in
5.0, and 7.0in.
Other stereo pairs, (not all necessarily meniscus) noted were: 495x (2x)on a 5x7in Chadwick; 659x (2x); 835x
(2x); 869x (2x); 10,77x (2x) and 422x/279x. (These last may be due to a later purchase or repair, as the
numbers are so far apart?)
Rapid Rectilinear
Rapid Rectilinear Lenses f5.6 These were made in 1/4pl and 5x4in sizes, and are rated as Portrait
RR's. (Wra001). One has been noted at No 210x with Waterhouse stops, and at No10,09x, an f5.6/4.5in was
in brass with disk stop plate to f32.
Rapid Rectilinear f8.0 These were made for 5x6.5in to 22x18in sizes (8 sizes in all) and were
seen as a 10in (?) for 5x6.5in at No 2,15x with Waterhouse stops and as a 5in lens at No11,28x and 12,130,
and 5.5in No6,493 both with a rotating disc stop. Both seem to be f8 max. Both are "fine thread" mounting
screw threads. Others suggest it was a relatively major product, though no Wray of the period is very
common. The earliest noted at No189 on a RR for 6.5x5in already had an iris, but it may have been only on
expensive versions initially. It was still used on the N&G Nydia about 1900, and an example at auction was
Nydia No179 with RR no12,25x. There may well be two types of these.
(a) Thus the old could be of the old glasses up to 1891. And then:
(b) The B.J.A. for 1891 notes that the Wray f8.0 lens for hand cameras in 4-6in was now made using Jena
glass. A 6in lens of these covered 1/4 plate easily and was usable on up to 8.5x6.5in when closed down.
Fig 017 005 Wray RR lenses (l) for 1/2plate use and (r) in 9in for a larger format 1/1plate?
Fig 017 007 Wray Small RR lenses and WAR lenses for 1/4plate size.
It is now hard to tell which type an RR belongs to. One cleaned had a very hard and tenacious lacquer coat
which was very slow to remove and the brass seemed also to be a very good type. It needed a new stop plate
making and this was turned as a 44mm dia x 1mm thick brass disc with 5 apertures from f8 to f64 turning on a
6BA screw as pivot, and this proved surprisingly easy to do.
Some idea of the serial numbers can be found from the following note. "An N&G 1/4plate Detective was
presented by Mr Guardia to Mr Groves on his Wedding in 01/06.1896, and carried a Wray London
5.5in RR No8803 set in an N&G shutter." based on a sale at Christie's 14/03/1991. Other RR's were noted at
Nos 12,02x, (5in); 729x on a 4in; 788x on a 5.5in; 944x on a 1/4plate N&G, N01225x on a Nydia 1/4plate, and
lenses Nos 946x and 961x are considered dateable as c.1893 and c.1890 respectively. (NB c. means about.
The Grove item suggests these dates are actually too early, but this will need further study.)
Wide Angle Rectilinear f16 or possibly f11. These were met in two series, the older with a letter code
to show the size, from Size A at about 3in to C at about 5in., and at serial numbers up to No11,28x. Later
lenses seem to be given a focal length in inches, from 3 to 9in being noted. All those seen have rotating disc
stops and are in brass finish, and here Serial Nos run from at least No6,47x to 10,09x. An exceptional one
was No8,42x, for 2in (=51mm) and this used washer stops, the front cell being unscrewed to fit the stop after
focussing without it. This will be due to the very small size of the lens. These WARs are relatively common
and must have been a successful product up to about 1910. They seem easier to get than the RRs. Two have
been met marked in addition:
A.A.Pearson Leeds, about 3in (Coded A) No101x
A.A.Pearson Leeds, about 5in (Coded C) No97x. He was probably an agent and quite possibly they went
there in the same package in the 1880's.
Portrait Lenses Probably Petzval type but note the f5.6 RR above.
Special Lenses for handcameras.
Mr Caldwell's shutter, 1-1/400sec This was a 2-blade sector shaped affair for 2sec to 1/100sec and time. It
was noted in B.J.A. 1889, p63. It might be had with Mr Wray's lenses or with 'strange' lenses, when an extra
charge was made for fitting.
Re Iris, see Mr Smith of Wray in B.J.A. 1889, p598. He was then obviously a well known expert. This was
also noted in Amateur Photo. 30/10/1891, p321. The iris then was 'new' still. It does seem that the early serial
numbers run in series but this may not apply later when the firm changed hands.
Lantern Projection Lenses f3.0 These were made in 4.0, 5.0, 6.0, 9in in 1901.
Casket Lenses These were with sets of lenses of three sizes at least. These had an iris, 3 cells to fit one
mount and used Jena glass and this may suggest that Jena glass was also used in the RR lenses.
a 3.5, 5.0, 7.5, 10in for 5x4in. (B.J.A. 1889, p600; 1890, p53) Iris to f64.
b. 6.5, 9.0, 12in for 1/2plate, 1.75in dia. single lenses.
c. 9.0, 12, 15in for 1/1plate.
These are slightly unusual items for the UK but have not been seen.
Anastigmats
Wray developed and sold anastigmats from the late 1890's (see B.J.A. 1900) and these seem to have been an
f8.0 version of the layout used in the Kollinear (Layout Wra002, Wra003). No 9,61x and 11,88x (5in and 9in
cells) seem to be a two focus type separable lens, ie with equal focus cells back and front. Wray seem to
have had bad luck here in that the glass initially used proved to be unstable and the first Platystigmats
deteriorated badly due to weathering. Thus there was a redesign and the collector may find both versions. The
layout Wra002 (old type) and Wra003(new type) suggests there was little change but rather the same type of
design was respecified for a new glass- but it has not been possible to say if the curves changed. Probably
Schott of Jena issued a new harder glass to replace the old. The first sample seen was in excellent condition,
the next two had suffered severe balsam failure. This seems to be rather normal and another has two deep
scratches suggesting quite soft glass was used. (One report said the old glass "devitrified.") It covers quite a
good angle. A puzzle is one advert. saying "Real intensity f7, Nominal f8".
Another question must be the exact patent position, as the basic layout seems to be that covered for the
Steinheil Orthostigmat lenses, and shared with Voigtlaender, and used by Beck under license in the UK. (One
just possible idea is that while Steinheil licensed their patent rights to Beck, Voigtlaender did the same for
Wray, but without any apparent publicity. But this is pure conjecture...)
Platystigmat (New type) f8.0 (f7.5) It was made in 3.0-16in and use 4in or longer for 5x4 (B.J.A. 1901,
p32). It was given as covering 60° at f8.0, 90° at f32. New hard glass was used for a damp resistant design.
There does not seem to be any obvious means of telling if a lens is the second type, although most probably
are. Thus the condition must be carefully examined on purchase. They seem often to be in 5 or 5.5in for
1/4plate as:
5in No961x, 968x. Brass finish with disc stop plate.
5.5in No11,88x.
A stereo pair at auction were 5in at Nos11,31x and 11,31x (sequential numbers).
Fig 017 009 Wray Platystigmat lenses f8/5in focus No9616 and 11,886.
This is a forgotten lens and sells at modest prices, especially as the condition is often poor.
About 1910-1914 at Peckham
By 1908, Wray were nearly inactive and were sold to Mr Albert Arthur Smith who had been a former manager
at Ross but wanted to leave the shadow of Mr Stewart and Mr Hasselkus. (Note that a Mr Smith of Wray had
been a expert on the iris above in 1889 (when Mr A.A. Smith might have been about 35) and may just have left
to join Ross and then returned.) Mr Smith got support from Mr Aitchison, later of Dollond and Aitchison
(retailers) to set up on his own, initially to make prismatic binoculars and probably with an assured sale
through his firm, then just Aitchison. This change in ownership may well have coincided with the end of RR
and Platystigmat production, and the introduction of new replacements. Initially prismatic binoculars were the
major item made at Hanover St, Peckham, and in WW1 these were a major contract. Mr Aitchison had
invented a Patent Prism Binocular in 1903 (12x model) and it is likely that he was seeking a reliable maker. It
used a caste alloy body, large object lenses and an iris diaphragm to control flare. Dollond merged with
Aitchison in 1927 and traded as Dollond and Aitchison.
An early catalogue from the 'new' address listed prismatic binoculars and some lenses and a Lustrar enlarging
lens, 9.5in f6.3 was introduced for the RFC early in WW1 in about 1915. (The B.J.A. advert. 1955, p559
suggests "1/2 Century" before 1954, ie 1904, for the first Lustrar.) The designer was now Mr A.A.Smith and he
was active after 1918 for many years, retiring in 1940 at 76 years age. (Thus his dates will be about 1864- ).
His son, Arthur William Smith trained at Woolwich Polytechnic and entered the optical deptartment there with
Reason and Kingslake, and qualified B.Sc. in technical optics from London in 1925. In 1928, the directors
were I.G.Aitchison, A.A.Smith and A.W.Smith, with Miss Violet Smith (Sister) as Company accounts and
Secretary. The foreman of the machine shop was Mr Percy Douglas, whose brother, Arthur was in charge of
turning. Hand threading was used till about 1915, when a German screw cutting lathe was added.
Portrait Lenses
Studio Lenses f4.5 10, 12in in a 1922 list. This was made to a newly computed formula of the
modified Petzval type with iris stops and softness control. Both cover cabinet size.
Wray Diffused Image Objective These were soft focus lenses. They were highlighted as D.I.O. and the
drawing in the 1928 advert. seems to show lens f4 No19,839 in black enamel. f4.0
6.0, 8.0, 12, 15in These were a doublet.
Soft Focus f2.5 This was for professional use only.
Soft Focus f5.0 7.5, 10, 12in These were single lenses only.
Micro Projection Lens This was a tiny Petzval lens, for projection of small originals and for really big
enlargements. It was actually a 2in lens. (B.J.A. 1928, p344) [These small Petzval lenses do turn up even
today, and can be a source of surprise: this is an example of the possible origin.]
Lustrar
There is a Brit. Patent to Mr A.A.Smith for a 4-glass anastigmat normally with all the glasses mounted
separately which may be the basis of the Lustrar. (Brit. Pat. 133,459 of 1919). The name seems already to
have been in use from about 1904 to 1914, judging from adverts.(but see below), and covered a range of
products. Initially it seems to have been made as f4.5, f6.3, f8.0, f11.
f4.5 In 1921, this was made as:
3in for 2.5x1.75in; 4in for 3.5x2.5in, 5in for 4.25x3.25in, 5.5in for 4.5x3.5in, 6in for 5x4in;
6.5in for Postcard 5.5x3.5in,8in for 6.5x4.75in,9in for 7x5in,12in for 8.5x6.5in The one seen was f4.5/3in
No23,088 and this just may be a Q15 type with a cemented rear pair. It can be very difficult to see the
separate reflexions of some where the rear glasses are close together and have rather similar curves.
f6.3 3.5-12in. These cover 80° and are dialyts. (Wra006) It was made in 3.5in for
3x2in, 4.0in for 3.5x2.5in, 4.5in for 3.5x2.5in5.0in for 4.25x3.25in , 5.5in for 4.5x3.5in, 6.0in for 5x4in, 6.5in for
5.5x3.5in, 7.0in for 6.5x4.75in, 8in for 7x5in, 9.5in for 8.5x6.5in, 12in for 10x8in. Not all these foci were
available from the all lists but were in the 1921,p728 B.J.A.: later they rather varied with the year. A pair of 5in
were used on a Goerz Stereo 18x9cm at 16,43x (2x). (Possible replacements?) It was the conventional
general purpose lens. A f6.3/4in example was seen at No24,720 in brass, with iris to f22. It is obviously
unsymmetrical, but shows 4 bright reflexions back and front. Others were met as f6.3/4in at No24,76x: f6.3/5in
at No22,08x. But an "Anastigmat" not marked Lustrar f6.3/4in at No124,68x proved to be a triplet, probably for
projection as there was no iris and a simple focussing mount eg such as a film reader might use.
f5.9 This was seen in a sunk mount at No16,70x. This seems to be a Dialyt, ie a
4glass uncemented design.
f5.0 3.5in This was for cinematography. It was probably a clone of the f4.5 as
could the f5.9 be.
f8.0 3.5, 4, 5, 5.5, 6, 6.5, 8, 10,12in These are also dialyts. This was 'for general
work'. Coverage was as the f6.3 above.
These Lustrars are not separable in the usual sense: it is a fairly unsymmetrical design, rather like an Q15
which has been decemented in some drawings, and this type continued in some types for a long time, until it
changed to the usual Q15 and this may have been in the Lustrar 11, when some do seem to be Q15 type.
They are not series numbered and can only be detected by the 4 bright reflexions behind the iris. Probably
during the interwar period both types were in production. A front accessory lens was offered for the Lustrar, the
rear 2 glasses then staying in position and being used separately with it. It was normal for a 6in lens to be
suggested for 5x4in. The f5.9 version does seem to be very unsymmetrical. It is quite common to find small
Lustrar lenses in brass mounts from this period and these may have been sold as enlarging lenses. These are
often f4.5 and f6.3 lenses in 1.125in screw flanges at Nos about 24,000. So far the earliest noted was a
f6.3/5in at No16,46x (2x) on a Goerz Stereo. At this time most Wray lenses were of modest size and they do
not seem to have sold the big 'monsters' that other firms were listing and selling. Incidentally Dr Kingslake
dates the Lustrar from 1918. This just may be the beginning of sales, or of civilian sales or of some version of
it. The above list suggests an earlier date but this can be misleading in that it was the makers plan but this
may not have been realized. An apparent disagreement is often of this type.
Lustrar Process f10 and 11 12, 15, 18in This was a dialyt, use 12in for 10x8in.
Lustrar- see also below! It is hard to date these lenses and some will be from the inter-war years.
Fig 017 012 Wray Lustrar lenses f6.3 brass finish (front) 4in Nos 24,720, 24,767 and (rear right) 124,680 in
black sunk mount, and (rear left, in brass) 5in No22,086.
Fig 017 014 Wray Lustrars f4.5/3in No23,088 and f5.9/6in No16,708 in sunk mount .
Fig 017 015 Wray lenses Lustrar f3.2/6.25in No21,475 and ApoProcess f10/4in No94561.
Separable Anastigmats
Wray sold one or possibly two series of separable double anastigmats. They are scarce items now, made at
the end of the time when they were normal products and have not been seen, and do offer some problems
today. Thus one seems to be a 3 + 3 at f6.8 and the other a 4 + 4 type at f5.6. This seems rather complex for
the market and an attempt will be made to list what is known.
Universal Anastigmat f6.8 This was listed as 3.5in for 3x2in, 5.0in for 4.25x3.25in, 6.0in for 5x4in, 7.0in
for 6.5x4.75in, 9.0in for 8.5x6.5in, 12in for 10x8in and f7.7/14in for 12x10in. It covers 70° at f6.8, 90° at f16.
Some lists also have the next item but it was not in a 1910-1914 list. It seems to be a Q9 Dagor type lens
with cemented triple combinations.
f7.7 14in. This covers 90°, and 10in was suggested for 10x8in. 6in for 5x4.
This was a symmetrical anastigmat, Wra007 of 3+3 layout. It was noted in 1924. It may be the same as the
f6.8 but in the larger sizes.
The next item seems to be a separate series.
Casket Anastigmat f5.6/f6.3/f8 The maximum aperture does vary but f5.6 seems uncertain.
(a) Pairs It was made only in 4.25, 5.25, 6.75, 8in and 10in (1921). This was a 4+4 symmetrical anastigmat
rather like a double Protar in layout. (It is possible that the equal pairs were f5.6.)
(b) It was made and sold as single cells of 7.5in for 6.5x4.75in, 9.5in for 7.5x5in, 11.75in for 8.5x6.5in, 14in
for 10x8in, 18in for 12x10in, which was more limited than some makes.
Unlike pairs tend to be rather slower than f6.3- say f7-f8 only. There is a question here? This data is for a
casket anastigmat in 1921. But note there is certainly a (different?) casket anastigmat f5.6 below and the
1921 seems to be a f5.6 in some conditions, so the two may not be as distinct as might be thought. [One
solution may be that the normal lens was a pair of unequal focus working at f6.3 and that if it was equal focus,
it was f5.6, and that the single cells were at f11.3 or f12.5 depending on the size of the mount.]
Another advert. in B.J.A. 1924, 589; 1925, p599 gives it as made in:
5.375in pair at f6.3 2x9.5in cells to cover 1/4plate
6.75in pair at f6.3 2x11.75in to cover 8.5x6.5in (1/1plate)
A footnote says it was also made in other foci, and in single cells at f12.5: and in singles at f11.3 and as
doublets at f5.6- where the last comment seems rather obscure now but suggests a completely different set
was being made! It would be surprising if Wray had had to make two types of symmetrical anastigmat at this
time but the advantage could be that the 4+4 was better when used as single cells. (Wra004) .
Single cells (of the f6.3) were f12.5 and were made in 7.5, 9.5, 11.75, 14in. It is a scarce lens and probably
was too late for its market.
Casket Lens f5.6 version, f11.3 for the cells alone. This was noted or sold only in 1926, and a 3-
component set was available as required, eg. for 5x4 use 5.25pair or 9.5in single cell, or a casket of 7.5, 9.5,
and 12.75in cells. It seems to have sold only as a 'casket' and must be a scarce item.(Wra004). Is it really
different from the above?
Portrait Lens f3.4 7.5 for CDV, 10 for Cabinet, 12in for Cabinet sizes.This was a Petzval type
design. It had an iris and soft focus control.
Wide Angle Anastigmat f16 This was made in 4.0in for 5x4in, 5.0in for 6.5x4.75in, 6in for 7.5x5in, 7in
for 8.5x6.5in by 1926. It was still listed in the 1930s. It had a 2+2 (roughly Protar type) design.(B.J.A. 1921,
p721).
Telenegative Lens -1.5, -2.0, -3.0in
Cine projection lenses f2.0 2.0, 3.0in These were probably a Petzval type.
Lustrar Short Focus f5.0 3.5in This was noted in a 1926 list.
Turtle Variable Focus. f10, or less to f16. It was for 14, 15.5, 17, 20, 22in with extensions of 7in to 13in.
This was a telephoto associated (see above) with Capt Owen Wheeler (B.J.A. 1914; 1924, p589). It is worth
comparing the Wray specification with the one in the original design.
Diffused Image f4.0 6.0, 8.0in This was only made in 2 sizes now, in 1928, 1929, 1933. It seems
to be a survivor from earlier lists.
Lustrar Group.
In the interwar years, the Lustrar was made in many different speeds. Some are as follows.
Lustrar
f2.5 1in, 1.5in, 2.0in This will be a cine size, listed in the B.J.A. 1933.
f2.8 3.0, 5.25, 8.0in This was listed in the 1930s, eg in the B.J.A. 1929, p554 as
3, 5, 6.5, 8in focus and continued at least to the 1936 B.J.A. as 3 and 5.5in only. (Wra 005; cf Wra014 which
is a postwar version) It was designed for reflex, press and all fast work. It was not noted in the 1927 advert.
and may be a 1928 product.
f3.0 1.625, 3.0, 5.0, 6.5, 8.0in. (B.J.A. 1926, p327, 588advert.) Here it was with 4
separate glasses. In B.J.A. 1926, p327 it as said to have the usual 4 separate glasses, and cover 1x0.375in in
1.375in focus, and had been made already in quantity for aircraft instrument recording. Other sizes were
already in use then, including bigger ones for studio use and reflex cameras in all sizes up to 5x4in. They
were then classed as 'ultra rapid', and said to give brilliant and well defined images. (Ibid, 1927, p300).
f3.2 6.25in There was a 'new' f3.2 Lustrar for reflex cameras in two sizes in
(B.J.A. 1928, p552), for 3.5x2.5in and for 1/4plate. It was just 2x the speed of a f4.5.
f3.5 20, 25mm This was for cine
f4.5 3.0, 4.0, 5.0, 5.5, 6.0, 6.5, 8.0, 12in This was less wide field than the f6.3
below. It added some extra foci in the 1930s, and finally extended to 15in. It was also a 4-glass airspaced
design.
f5.9 eg 5in. This seems to be a less known (or less advertised) type, possibly as
it was sold in batches to camera makers but this is conjecture. Two have been noted and are in black mount
and one has forward protruding pins as if on a reflex or other sunk mount front camera. It was noted at
No17,50x which is a 1+1+i+1+1 design.
f6.3 9.5in This was for enlarging for the RFC, later 4in, then 5.0, 6.0in in the
1930s eg in the 1936 B.J.A. These were for general sale. There may also be a f6.3 with a 3- glass design.
Actually it was the Wray f4.5 which seems to occur most years on the Sichel Sickle enlargers, for 1/2plate
and even up to 12x10in sizes. (B.J.A. 1926, p59, etc.)
f8.0 This was for camera work, and was listed by Kodaks, Soho, N&G cameras.
A 10in f8 has been seen but did not carry the Lustrar name. (It seeemed to be a triplet.)
Fig 017 012 Wray Lustrar lenses f6.3 brass finish (front) 4in Nos 24,720, 24,767 and (rear right) 124,680 in
black sunk mount, and (rear left, in brass) 5in No22,086. (ab0ve)
Fig 017 014 Wray Lustrars f4.5/3in No23,088 and f5.9/6in No16,708 in sunk mount .(above)
Fig 017 015 Wray lenses Lustrar f3.2/6.25in No21,475 and ApoProcess f10/4in No94561. (above)
Process Lustrar f10 12in for 10x8in; 13in, 15in for 12x10in, 18in for 15x12in, 21in for 16x16in,
25in for 18x16in + prisms were listed in 1936. This was used on Hunter Penrose process cameras for many
years. It was a dialyt type. But it may have been an older product as f10 process lenses were available at
least by 1927 (B.J.A. 1927, p580).
f16 18in in 1933.
ApoProcess Lustrar f10? 15, 18, 25in These were listed in 1936, and were about £7.00 more than the
price of the plain version: £20.00 as against £13.00 for the plain type. This explains why both continued to sell
as many process workers were using color blind black+white film only, where Apo correction was less
needed. (see Fig 017 015 above). One was prized for professional use into the 1990's for use as a very sharp
but low contrast lens for copying transparencies with excess contrast. .
Studio Lens f4.5 This was noted in 10 and 12in. This may be a Petzval as a Petzval of this
aperture has been reported. It was available in the 1930's.
Plustrar Telephoto lenses
Plustrar Tele f6.3 9.0in for 3.5x2.5, 11in for 4.25x3.25in, 12.5in for 5x4in or 2.0-18in. (The
design may have changed over the years as a 9in was used for 5x4in postwar.) This trade name was used on
two series. It seems to have been 'new' in B.J.A. 1925, p598, where it was listed as above. It was said to offer
the advantages of the expensive teles on the market with a moderate price. [Thus a 9in Teleros was £9.5 while
a 9in Plustrar was £7.75.] Today, they are still very well spoken of as sharp and contrasty.
The f6.3 was in the B.J.A. 1928, p553advert., in 9,11,12.5in, with 2x magnifications over the standard lens at
the same extension. It was finished in black.
Plustrar Tele f4.5 6in, 9in, 12in in 1933.This was noted as Wra008 but the date is uncertain. It
just might be a misprint. It certainly is there a little later, but was not in eg. a 1926 list, which had an f5.0 2x
scale Cine Plustrar version. One list has 2-15in but it certainly is a scarce lens from experience in buying.
Cine Lenses
Cine Lustrar f1.5 25, 50mm This was for cine. Listed by 1936.
Lustrar f2.5 18-50mm This was also for cine. It was in 1, 1.5, 2in in 1936.
Prism Binoculars were still in production, a continuation of the WW1 type.
Telephoto lens for Pathe Baby Cine as f5.0 45mm eg Special Plustrar. This was noted in B.J.A. 1926, p334.
Telephoto Lens f4.5 2in (51mm) This was in a standard mount for 8mm inc. Miller and Dekko
cameras. (B.J.A. 1936, p322)
Telephoto Lenses f4.5 These were made in 3, 4, 6in in 1936, and were probably for 16mm in
contrast to the next item for 8mm.
Cine Plustrar Tele f4.3 This was in 2in only in 1936, and was a slower option to the f3.5 lens below
for Miller, Dekko and Ensign.
Cine Plustrar f3.5 2-4in This was for cine. The 3, 4in sizes were noted in 1936. The f3.5/2in was
noted in B.J.A. 1937, p289 for 16 and 9.5mm use, and was in a focusing mount.
Some 1930's Items.
None of these have been seen and they may be scarce.
Apo Process Lens This was made in f10, 15, 18, 25in and f16, 30, 36in. It was a dialyt design.
Cine Lustrar f2.5 1.0, 1.5, 2.0in.
Cine Lustrar f1.5 20mm, 1.0, 2.0in One of these was used in an assembly postwar for a
microscope (see B.J.A. 1949, p182.) They were used as f1.5/20mm on Pathe Moto-cameras as noted in
B.J.A. 1934, p324.
Cine Lustrar f4.5 2.0in (B.J.A. 1936) Another source gives this spec as a Plustrar.(B.J.A.
1936, p511.)
Cine Plustrar f3.5 2.0, 2.5, 3.0, 4.0in (B.J.A.1934, p324; 1937, p289 for 2in) A Plustrar noted at
f6.3/6in No24,71x may be one of these.
Supar Enlarging f3.5, 2, 3, 5in These were noted in the 1934 and 1936 B.J.A. Wray made a series
of Cinelargers at the same time for up to 2.5x1.625in, and the smaller of these will have been fitted to them.
Supar Enlarging f4.5 These were both made in 51-127mm.
Farvu
This trade name was used on both a lens and a matching camera. (B.J.A. 1931, 310, 520advert.). £18 in
1931.
Farvu Telephoto f10 f10 20in (500mm) This was a very long slim lens in a D/S Compur shutter, with
focusing by varying the separation of the cells on a helical in front of the shutter. It is an uncommon item
probably from the 1920's for the special all-metal Farvu camera for 2.25x3.25in (6x9cm) "specially designed
for distance work". One suggestion was a MoD item (see below) but it seems too slow for many purposes: it
was possibly made for travellers, as in the Himalyas where records of distant peaks were wanted and weight
was at a premium, and for sports use, where it would seem rather slow. (B.J.A. 1933, 507 advert.,1936, p511).
There is a quick change mount with an interrupted thread on the dial-set Compur to allow the lens to be
removed and stored in the metal body of the camera on another similar flange. It is scarce and said to be a
"good" performer if slow. The original cost was modest at £18.75. It was seen at No21,97x and focussed on a
nicely made helix to 25ft. [Compare with the Zeiss Magnar camera.]
Fig 017 034 Wray 'Farvu' f10/20in lens No21,978 Pattern 8348 (on cap).
Fig 017 035 Wray Farvu (dismantled) as above.
The Pattern number on the cap suggests it was used by the MoD initially.
Collector experience shows rather few lenses of this period in the 1930's- there was a recession and sales
were probably difficult. Examples seen were a process Lustrar at No94,56x, an anastigmat f6.3 at No124,68x,
and a Lustrar f3.2 6.25in in a sunk mount for large SLR at No21,47x - these are all in black finish with white
trim in contrast to the older style brass lenses before them.
-------------------------------------------------------------------------------------------------------------------------------
Late Prewar in 1939
The B.J.A. Advert. in 1939, p508-9 had the following items but stressed this was only a selection of what was
available. It may be of special interest as showing which sizes were the best sellers at the time. The 1938
advert was much the same.
Lustrar Series
f2.8, 3in and 5.25in
f4.5, 5in and 6in
f6.3, 5in and 6in.
Supar
This was a new series of 3 component lens, ie Triplet? economical but of the highest quality and fully
corrected and giving brilliant definition. Note that these seem to be on sale not purely as enlarging lenses but
are illustrated in sunk iris mount. for cameras.
f4.5 as 2in for 24x36mm approx., 3in for 2x1.75in; 5in for 2.5x3.5in
f3.5 as 2in for 24x36mm approx., 3in for 2x1.75in; 5in for 2.5x3.5in.
Process Lustrar and ApoProcess Lustrar
These were in 15in, 18in, 25in.
Cine Lenses
These were probably all for 16mm.
Lustrar f2.5 20mm; 25mm= 1in; 38mm = 1.5in; 51mm= 2in
Plustrar f3.5 2in; 3in; 4in.
Plustrar f4.5 2in; 3in; 4in; 6in.
Anastigmat f1.5 1in; 2in.
In 1938 there were also 2in Plustrar Teles in black finish in f4.3 and f3.5.
Binoculars, eg 10x35 FARVU in various sizes and prices.
Optical systems for sound These were a regular product in 16 and 35mm normally fitted with Cambridge
Oscillographs.
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In WW2
As before, Wray made numbers of :
binoculars, the whole RAF contract being theirs 1939-1942 and also:
Reflector gunsights, for which they shared the contract with Barr and Stroud of Glasgow.
Gun aligning Telescopic Sights
Film Reader Lens
Big Bertha f6.3 36in Telephoto lenses for the Williamson cameras,
Big Bertha f4.0 36in Lenses These seem to be a Gauss type, often with no iris and often with the shutter
built-in. Uncoated, at least at first, these are now hard to find. They are said not to be too sharp but better if
used at f5.6 or f6.3. One account says many of them were made in the 1950's and were coated but those
seen were older. They are obviously BIG and the example seen was being carried as the "front cell only" to
avoid undue strain on the owner. One sale was as late as 04/1973 at £35-40 depending if a F89 camera with
single speed was attached.
Wide Angle Lustrar There is an early postwar patent for what seems to be a wartime design.(B.J.A. 1946,
p189) The lens covered 72° and may have appeared later in simplified form as the Wray Wide Angle
anastigmat 89mm. (The B.J.A. 1945 p189 says it was redesigned to suit the RAF in the war.)
During the war, they developed the B.K.Universal plotter in cooperation with B.K.Johnson of Imperial College
(Prov Pat. 6428/43, B.J.A. 1945) which was a plastic square to allow a quick plot of a light beam through a
lens. It cost £1.87. Mr Johnson also cooperated in other designs.
Thus there was a B.K. Microfilm camera and reader designed by Mr Johnson and Mr E. Lancaster-Jones
(Science Library) advertised on B.J.A. reader: B.J.A. 1942, p168, p321advert.; 1943, p169; 1945, p327. The
reader used a Wray f3.5/0.9in projection lens, in the 1942 notice. [It is possible that this was the unit for
which tiny lenses by Dallmeyer and TTH are noted elsewhere.]They seem to have offered a Supar Triple
Anastigmat for 52° in f3.5 and f4.5, an example being a f4.5/4.25in lens. These probably are the enlarging
lenses below but may have been used for other purposes in the war.
There was considerable activity in transferring records to film in case of loss of the originals due to air raids.
Thus the Chatham and District Permanent Building Society (not very far away from Bromley) had copies made
of all its deeds and records and sent away to the Country for safe keeping. This was wise as Chatham was an
obvious target, and in fact incendiary bombs fell in the area and at least one hit the Building Societies main
office. (P.E.Firth, "A Safe Haven", Kent Reliance Building Society, 1998, p55). This would apply to many
other societies, banks, legal offices and the like.
After WW2.
Early after the War they made a wide range of lenses for MoD and civilian sales and it must have been a really
busy place to work. One account said that the firm was continuously profitable over this period even though
business could be difficult at times. These are mainly items seen in collections or listed in magazines of the
period. Designers names included Mr Michael Nunn and Mr David Day. Another major factor in the success
was the presence of Mr C.G.Wynne in the design field, as many of the layouts were really new and very
interesting. Mr Wynne was to transfer in 1959 to Imperial College London as Professor of Optical Design in the
Chair initiated for Prof Conrady many years before and was later succeeded there by Prof M.Kidger. His
department made early use of computers and explored in particular the Gauss design, showing many other
solutions were possible, some with rather small back focus. They also studied the process of optimizing a
lens design on computer- a major study for which he will be remembered. (Prof. Wynne died in Oct 1999
(Obituary, The Times, B.J.P. 17/11/1999 p6). He was born in 18/05/1911 and was educated at Wyggeston
School (Leicester) and Exeter College Oxford working for TTH up to 1943 and then joining Wray to work on
aerial reconnaissance lenses and later Wrayflex and fast recording lenses and was appointed as a technical
director of the company. Later he moved to Imperial College and worked on Astronomical designs including
work on the Mt Palomar telescope, and was a co-founder of IC Optical Systems.
A large advert. in the B.J.A. 1947, p334 shows lenses with Serial Nos from 33,020 up to No38,586 on a
portrait anastigmat, and includes Process Lustrar, Copying Supars, and Lustrars. An innovative product was
the Wrayflex with eyelevel mirror type viewing. (MCM June 1950, July 1951 p420) and later with a "high hat"
pentaprism. They also made a viewfinder Viooh copy available by March 1948 (B.J.A. 1949, p226, MCM
03/1948 p161) and ultimately a second version with the opaque masks replaced with red transparent masks
were made so that the area outside the field of the lens was also visible. (B.J.A. 1957, p235). In fact, quite a
part of the business was non-photo-optical as in 1949 they offered a "Pygmy" enlarger and a Wray-Shayler
electronic timer as well as binoculars. This makes it slightly strange that they did not normally offer M39
mounted lenses on the general market. (But note the 35mm Lustrar.) Illustrations of lens coating in the
"Blooming" plant at Bromley (ie Wray) are shown in H.White's article in the MCM July 1947, where a bell jar
some 15in dia and a substantial rack for the elements is shown in use by a young female employee. Thus
they were using vacuum coating quite early postwar if not before.
Professor Wynne (1911- Oct. 1999) was born in Leicester, and worked at TTH under Warmisham from 1935
until after WW2, designing lenses for aerial cameras. After the War, he was given a temporary commission
and carried out a survey of the German optical Industry, and transferred to Wray as chief designer. This was
a fertile period, with designs for the f0.71 and Unilites and a general update of designs for Lustrars, enlarging
lenses and especially the process lenses all coming from his department if not directly from him. He moved
to Imperial College about 1959, and developed procedures for using computers not just in lens design but
also in optimizing the results. His paper in 1961 on Gauss systems with Prof M. Kidger has become a classic
here. Later he worked independantly on designs often for astronomy and helped with an imaginative new
movie system.
Copying f1.9 100mm This has been seen and is illustrated at No35,202 in the 1947 B.J.A.
advert., but the design is not known. It was coated and probably for CRT recording, especially as the advert.
says CRT lenses up to f1. The B.J.A. 1946 p189 says these were in existence during the war, as a 10cm f1.8
and f1.0/2in. Thus perhaps these really should be in the section above. The design of the f1.0 includes
features of the 5-glass Gauss and this raises questions over the time when Wray began to use this type.
Copying f1.0 2in (51mm) This was a Gauss design with heavy element glass designed for
oscillograph recording at 4:1 ratio. The colour correction is therefore optimized in the blue/green region
associated with period cathode ray fluors. It is essentially a Unilite with two glasses behind the iris, but extra
glasses at the front. Thus it does suggest Wray were using the feature then. (See Brit Pat 604,883, USPat
2,487,750) An example at No120,075 is shown in B.J.A. 1954 p559 advert. and this just may be the launch,
but actually may be considerably later. It was used on Shackman and other CRT recording cameras, for RAE
(Farnborough) and Edgerton et al. Boston, USA. One camera was essentially a stripped out Ilford Advocate
body. This explains the variety of mounts- focusing and rigid. Noted at No 185,97x; 186,252, 196,81x;
228,58x; 242,64x, 242,66x;
Fig 017 027 Wray (front) Cathode ray recording f1.0/2in Nos 196,818 and 185,973. and Copying f1.8/10cm
No33,513(rear).
Copying f4.0 2in This was a slower lens with iris but no shutter perhaps for microfile use.
Cine Radiography f0.71 50, 64mm (B.J.A. 1962, p484) This was a 7-glass Petzval derivative and
covers 22°. (Wra017). It was used in the mass X-ray surveys for TB of the period. (USPat 2,487,750, Brit Pat.
575,076, 17,752/1950) Prof Wynne described the design in Jnl. Sci. Instr. 1951, 28, 172-3. and Reports on
Progress in Physics 19, 298, 1956. "It was fairly easy to design a system of lenses in contact, well corrected
for spherical aberration and coma and giving an angle of convergence in the medium of the last one
corresponding to (for example) f0.7." The design was said to resolve 80lines/mm on axis, over 40 lines/mm
over a 16mm frame and about 28 lines/mm over a 24mm diameter, with low distortion of 1.5% over a 18°
angle, and is a very unusual one at first sight. They are said to be fairly common but have not been seen,
perhaps because the equipment is still in store or was dismantled long ago. There is a picture of one in B.J.A.
1955, p591 Advert. "The most oustanding lens of the Century". It is a substantial black mounted lens with a
wide iris control ring in white, apparently to f20 and No84,360 though it just might be 64,360. A note in the
1951 B.J.A. p203 mentions the use of new rare earth glasses of high index and low dispersion, then in a
64mm lens.
Cine Radiography f1.4 100mm This seems to be related to the f0.71 in design by using the second
part of the system.
X-ray imaging with an image intensifier was obtained using both an f1.4 and an f0.71 set so that the f1.4
imaged the patient with a parallel beam of light to the f0.71 via a reflex mirror, and thence to a Videcon screen,
and the mirror allowed an Arriflex or other movie camera to sustitute for the visual examination of the image.
(B.J.A. 1962, p434-36). This must have been complex but then a very innovative principle.
Anamorphic Lens This was a prism type unit for 2:1 to 1.3:1 (B.J.A. 1956, p248). It is said that the
design was eventually passed on to Kershaw for production when Wray were a member of the Rank
Organization.
Under-sea TV lens This was designed for the British Admiralty. Iit was a cone shaped item, and may well be
a retrofocus design. It will have been used mainly to examine ships underneath and to search the sea bed, eg
for wrecks? (B.J.A. 1955).
Lustrar
This was still the standard product for many uses and was now coated, early ones being rather soft coated,
but quickly improving as the process was developed. Care is needed in dismantling as the internal coats were
left soft after the external were made quite hard. They are certainly still a mixture of 4-glass designs, with an
increasing use of Q15 layouts except in the f2.8 types. But typically the customer got a Q15 type from
purchase experience now.
Lustrar (Early Postwar)f4.5 This was made in 75, 90, 108, 127, 152, 184, 210, 308, 380mm. (5.375 -
15in in 1954 in iris barrel mounts or shutters.). The I27mm lens or longer covered 5x4in. It covered 70° (Layout
Wra005, Wra006). A provisional patent was No 11,020/1944 and there was a patent due to Wynne for a Q15
type with air- spacing at No577,763/1944 which may indicate the 'new' type. A advert. in B.J.A. 1946 p335
says it covers 70°.
By 1953, they were in Compur and Compound shutters, and classed as of the highest standard. The B.J.A.
1953 p195 mentioned: 184mm f4.5 in Compur II shutter with iris to f32 for 5x4in; and 210mm (8.25in) in a
Compound shutter, which also was with stops to f32, and for use with 5x7in. (Unlike the Series II process,
there is no new design here. The 210mm is illustrated in B.J.A. 1953, p575 advert. and is considerable less
common than the 184mm which was used by the MoD.)
It may be that the MPP MicroTechnical series cameras was intended to use them. The first MPP camera was
shown in B.J.A. 1949, p178 and carried a f4.5/7.25in Lustrar in barrel, and the 89mm Wide angle may also
have been intended for it.
-
Fig 017 029 Wray f4.5/184mm Lustrar No147,333 for 5x4in esp. MPP S92 camera.
Lustrar f4.5 This was made in 5.625, 6.0, 7.25, 8.25, 10, 12, 15in and was certainly a
redesigned Q15 type. One well known example was the 184mm below.
Lustrar Series 11 f4.5 184mm This was sold on the MPP S92 camera in Compur shutters about
1956 and was a Q15 or Wra014 type. The serial no 143,xxx is typical of what was a fairly close batch of
numbers for a special contract. Some 300-500 sets seems a possible number. Also N0147,33x. A small later
group was made at No240,74x for the same type of use, with red paint fill for the focus and aperture engraving
and they have been reported at up to 347,13x as barrel mounted lenses with no iris. Here the original use was
obscure. These were a well liked lens when new and allowed some movements on 5x4 though not as much as
might now be expected. (see Fig 017 029 above).
Thus it seems a postwar f4.5 Lustrar will normally be a Q15 type lens.
Fig 017 024 Wray Lustrars (coated) f4.5/254mm (10in) No176,324 and 6in No241170.
Lustrar f4.8 135mm This was a f4.5 Lustrar fitted in a Epsilon or other shutter which
limited the aperture of a 135mm lens to some f4.8 (B.J.A. 1951, p45, where it is 'redesignated' from a f4.5.)
The smaller shutter had an aperture of some 14.8mm but was much more economically priced and smaller to
fit.(see B.J.A. 1950/1951 in Epsilon) to some 5x4 cameras such as the MPP MicroPress for which it was an
intended fitment. An example was noted at No153,373, and may be ex-MoD Peckham-Wray although it was
noted fitted to an MPP MkVI of about 1952-1956. Another user was the Eves Colour camera. (B.J.A. 1952,
p215) It was also the normal lens on the scarce Peckham Wray camera, designed by Cyril Peckham of
Hawker-Siddeley Aircraft) along with a Plustrar f6.3/9in Tele at No 16487x (Brit. Jnl. Photo 13/03/1970, p269:
Photography 1955) but note that in the note in B.J.A. 1956, p233 it was an f4.5/135mm Lustrar in 8-speed
Epsilon and the f4.8 may be a later version. These Peckham-Wray cameras were sold off from the MoD eg on
24/10/1955. On the MPP MicroPress, it was noted at No115,40x. (see also below)
Wray-Pullin f4.5 135mm This was a short lenshead for bellows use, fitted to a Novoflex
bellows. It was probably commissioned when Pullin were Novoflex importers and needed lensheads to sell
with them, possibly before import restrictions were eased. (This is likely to be a Lustrar renamed?) [It may
have replaced the Pultan listed under Pullin which is thought to be made by Pullin.] It was noted at auction at
No146,27x.
Lustrar f2.8 It was listed in 50, 75, 100, 132, 165mm where 165mm was for 1/4plate. These
do have a 4g/4c layout as Wra015 but seem to be an unknown series except for the standard f2.8 Unilux lens
on the Wrayflex SLR camera. The other sizes may have been a marketing exercise and failed to find a buyer.
It was forcaste in the advert. in B.J.A. 1946, p335 but without details.
Unilux f2.8 50mm for Wrayflex, this was probably a Lustrar It was noted at Nos
20114x and 169,45x (on Body 239x) but is less common than the f2 Unilite on Wrayflexes. Lustrar
f3.5 35mm for Advocate, Wrayflex, RoBoT, q.v.
Lustrar f3.5 35mm A Advocate example was noted at No92,293 on a derelict Advocate-
the Advocate shutter is reliable but difficult to repair economically. It was noted that the lens was in a neat
focusing mount on a small flat metal disc and could be easily adapted to M39x26 by making a suitable tube,
but this never seems to have been done in the old days. One problem may have been that the focus mount
was made by the Advocate makers, K.I., and not available to Wray [or Dallmeyer] to make a cheap uncoupled
M39 lens. [This was a market in which Dallmeyer sold lenses but Wray do not seem to have been active in.]
Fig 011 038 Wray Wide angle Lustrar f3.5/35mm (l) No239,913 Pattern 162170, (r) Wrayflex version
No123,987 in replica tube.
Lustrar f4.0 90mm This was the normal long lens on Wrayflex.
Lustrar f4.0 135mm This was the long lens for Wrayflex and is less common than the
90mm in collecting experience
High Resolution Lustrar
These were intended to be a Q15 lens of very high sharpness due to the use of a limited maximum aperture.
They seem to have been offered in 3 series but without the Series always being marked on the product, as
follows:
Series 1 This has not been seen but may be an f8.0 lens, but without coating.
Series 11 f8.0 max. These were sold up to about 1959. The launch seems to be in B.J.A. 1951, p215
as an 200mm lens at £27.00, and they were a really sharp lens with high colour correction: but Series 11 is
not mentioned there, and in B.J.A.1954, p212 the series II is 'recomputed', and has a particularly high stability
with change in conjugates, ie it works well over a wide range of magnifications from camera work to enlarging,
the example noted being a 8in lens for 1/2plate. There is no criticism of the sharpness of the original, rather
the suggestion is that it was maintained and extended over a wider range. They seem to be externally hard
coated and a 8in lens has been seen at No 197,95x, with '8inH.R.' filled in red paint.They are Q15 or as in
Layout 010. Typically these have been heavily used and are often not in good order now. In use, they seem
dark to focus.
Fig 017 017 Wray High Resolution Lustrars Ser II f8/8in No197,957; f5.6/6in No346,366; and f5.6/10in
No274,214.
Series 111 f5.6/f8.0 These were made in 3.25, 6.0, 7.0, 8.0, 12in at least, and replaced the f8 series.
This type was suitable for a wide range of magnifications, and it was suggested to use 7.0in for 5x4in at
infinity. (B.J.A. 1959, p264), 8in (by 1960), 10in (B.J.A. 1960, 256) and the 12in was noted later in B.J.A.
1963, p149. The increased aperture makes for easier focusing and composing, but the best quality of the lens
is still at smaller apertures, and f8.0 or less is to be used for exposure. Careful colour correction was a good
feature. This was then a very high quality lens if used properly, especially in the studio, though some users
said the contrast was not up to the best international standards. It was good value and an excellent performer,
especially at the price eg. £42.50 in 1960 for the 10in f5.6, and evidently sold well. Today, it can also be used
for copying and as an enlarger lens. They have been noted as 6in lenses in barrel mounts at No346,37x
(twice!), 7in at No335,27x; 354,70x, and 10in at No274,21x: and a later one is in a Compur at No296,36x, with
red fill to the '8in H.R'. which is absent at No347,73x and on the 6in lenses. It was also noted at Nos 356,16x,
354,70x, 354,69x. They can still be a useful purchase for use on large format cameras if in good order. Sadly
the coating internally seems to be fairly soft and is easily marked in cleaning. They are not marked Series 111
although they could really qualify as this. One was noted on an ex-Police Berthillon Gandolfi camera No3/70,
as a H.R.Lustrar f5.6/7in No335,27x: and at 323,67x and 337,76x on other Gandolfi cameras. (see figure
above).
Process Lenses.
These sold world wide, both in the UK through Hunter-Penrose, and later on through Pictorial Machinery, and
in the USA through Robertson's Photomechanix and New Arc of Chicago. They were also used on some
copying machines such as those by Grant and Halco. Some sales were to the RAF in 6.0, 12, 18, 24, 36,
48in. These included designs where Wynne had been involved. At least 3 types seem to have been made in
this period.
Process Lustrar f10-f16 This was made in 13, 15, 18, 21, 25, 30, 36, 42, 48in and was a dialyt of
Wra011 layout. These are very sharp but often now of lower contrast, partly due to abrasions of the coatings.
These are not actually marked Series 1 but this is implied. There is a 21in f10 in the picture in the 1947 B.J.A.
advert. at No37,228.
Apo Process Lustrar f10 etc. These were made in 12, 15, 18, 21, 25, 30, 36, 42, 48in with prisms and
magnifiers. These are better colour corrected but the early type tried was still fairly low on contrast (B.J.A.
1948, p181) There was a new 4in f10 Process Lustrar in the B.J.A. 1948, p181, and this may be a late
addition to the 'old' series as there is no indication of Series II. It was specially computed for making
separation negatives from colour transparencies of sizes up to 36x24mm and was very highly corrected and
gave extremely high resolution.
Apo Process Lustrar Series 11 f10 This type was seen in 4.0in, 12in, 18in and 25in. These are still a dialyt
type but offer a higher performance and the coating is harder, and are much to be preferred for use. The dialyt
can be used from infinity to close up where it was intended to be used. They are seldom in shutters, but are
marked Series 11. The 12in has been seen several times. The B.J.A. 1953 p212 noted a 25in example as
entirely freshly computed and 'superlatively good' and well up to the 18 and 36in examples of the series. It was
really good even for 3 color work at f16- much wider open than usually used in this work. On a 15x12in plate,
the biggest colour error was in green, about 0.001in over a 15in dimension. There was no appreciable field
curvature and no curvilinear distortion was noted. [It is suggested that this was one of the lenses C.G.Wynne
redesigned].
"54°" Process Lens" f10. This was seen at No305,84x as a 16in f10 with a deeper front curved surface and
is really well oversize compared to a 18in Series 11. It is thought to be a Gauss design for use where the
copier was limited for bench length and needed to handle a large original such as 18x22in on a set up
designed for 12x15in normal max. size. It is must have been costly and is massive. So it is "Series 111" but
not called that.
Fig 027 030 Wray 54° wide angle process lens f10/16in.
Process f4.0 3in for graticule making.
Special Copying Lens: Two types of these seem to occur as eg. f4.0 at 3in and f8.0 at 19in.
Other
Lustrar f3.5 35mm This was a Q15 type design for the Wrayflex eg at No239,91x, as
elsewhere, and a few were sold also on late versions of the Ilford Advocate, an example being seen at No
9987x. They were also sold adapted to M39x26 for the Reid camera on a special contract to the MoD at about
serial number 123,99x (B.J.A. 1953, p211). This used a small extension tube engraved No162,170 or the like.
Some have also been reported at Nos 330,51x and 330,71x so there may be two or more batches, and one
was on a RoBoT Star which could well be another adapted version. These are now scarce as after sale at
auction most of the extension tubes (about 13mm long to convert Wrayflex fit to M39x26) were scrapped and
the lenses sold off as being for the Wrayflex and more saleable this way. (see also Wrayflex section).
Fig 011 038 Wray Wide angle Lustrar f3.5/35mm (l) No239,913 Pattern 162170, (r) Wrayflex version
No123,987 in replica tube.
Architron f3.5 35mm for Paxette 35mm These have M39x26 thread but the Paxette register
is much deeper and an extension tube is needed to fit to normal M39x26 R/F cameras. This is probably
another scarce version of the Wrayflex lens in disguise. It is also one of the very few cases where a UK maker
made lenses for an newly introduced imported 35mm camera other than M39x26
types. (It should be possible to date these from press adverts. in the Am. Photo. but copies are not available
to do this: probably about 1953? It was noted at No120,13x.)
(Lustrar?) f4.0 9cm This was listed for Paxette by Nebro in the Am.Photo. 24/06/1953
with a forcaste of the f3.5/35mm in the same advert. This will also be a Wrayflex lens and may suggest Nebro
considered a set of Wray lenses and then imported German ones, perhaps due to a change in the import
regulations.
Underwater A version of a Wray f3.5/35mm No300,31x was marked "corrected for underwater use' and used
on a RoBoT Vollautomat Star. It is not known if this involved more than readjusting the register.
Portrait Anastigmat f3.5 This was made postwar in 215mm (8.5in) for 6.5x4.75in; 308mm (12in) for
8.5x6.5in; 355mm (14in) for 10x8in, and is a scarce large format lens. They were coated and contrast should
be high. It was a quite expensive lens at £32 for 1/2plate; £51 for 1/1plate and £66 for 10x8in respectively. It is
likely to be a triplet design, and not a soft focus type so they could be used for groups and other studio work.
They were anastigmats giving good definition over a flat field, and classed as "highly satisfactory" in B.J.A.
1947, p178; 1949, p236. The example in the advert. in the B.J.A. 1947 advert. seems to show lens No38886,
although this may not be the complete number.
Apo Portrait This may be the same as the above. (B.J.A. 1949, p169)
Projection Lens f3.5 0.9in on Micro Film Reader BK (B.J.A. 1943, p169).
Supar Enlarging Lenses.
Wray sold Supar enlarging lenses prewar , "one of the most popular on the market." See B.J.A. 1941, p348.
These were 3-glass triplets, in f3.5 and f4.5, in barrel mounts with plain iris, but white surround to the front.
Purpose made enlarging lenses were a more common postwar sale as the trend to small cameras intensified
the demand for sharp lenses. Thus Wray offered two series of 3-glass triplets for this purpose. (Wra009) and
these were supplied coated from early postwar and had a clicking iris to set in the dark. The first seems to be
the 3.25in f4.5 Supar (ctd) for 6x6 in MCM April 1948, By idem, May 1949 it was described as very
satisfactory, and there was a wider range of sizes. They were one of the less expensive brands, and this must
be remembered in looking at them today. One used proved to work very well especially when stopped down a
little and used with black + white material as would have been the designers intention. It must be added that in
one comparison in the B.J.A. they showed up poorly against much more complex and costly modern lenses
with 6 glass designs. So the Supar needs to be used within its limitations.
The first mention is of two types about 1950:
Series f3.5 These were made in 2, 3, 4in and use 4in for 3.25x4.25in. The 2in seems to have come first
(B.J.A. 1950, p193) and then been extended to other sizes. The coating was well worthwhile and the colour
correction also very good- up to the best.
Series f4.5 These were made in 2, 3.25, 4.25, 5.5, 7in, use 4.25in for 3.25x4.25in. This set seems to
have developed faster than the f3.5's as 3 sizes are in the B.J.A. list.
These do seem also to have had uses as taking lenses, as a "Supar" seems to be fitted to a Shackman Auto
Camera Mk3 in B.J.A. 1953 p576 advert. and in fact a ?38mm Supar would cover 24x24mm very well and
would be corrected for close up use. (More costly faster lenses included the f1.0 Copying!)
Then the Supar trade name came in as:
Supar Enlarging Lens f3.5 50mm
Supar Enlarging Lens f4.5 135-380mm
Wray Enlarging f6.3 4in This seems to be a lower price product sold on a Wasp enlarger for
6x9cm (B.J.A. 1953, p226) which was said to give excellent prints. It added £3.15 + Tax £1.37, and did not
have an iris.
New series about 1957
In the B.J.A. 1957, p238, there is a notice of a 'new' 3-glass series coated, with click stops, in 2,3.25, 4.5in,
for 35mm, 6x6cm and 6x9cm respectively. All were f4.5 max. with stops then marked in factors of 2x up to
32x. Flanges were 1, 1.25 and 1.5in with adaptors to other inch sizes. The B.J.A. 1958 p194 mentions the use
of new rare earth glass in the design, at least for the f3.5/50mm Supar Series II.
Supar Series 11 f3.5 2in Cost £9.50 + £3.70.
Supar Series 11 f4.5 2, 3.25, 4.25, 6, 7in.
Series III These can be traced back to a f4.5/6in lens in B.J.A. 1955, p206, but may not have been in all foci
then. It was recomputed, so that it was optimized for the reproroduction ratios most used and will give
extremely good sharpness and colour correction for 5x4in negatives. It was in a black mount with bold white
iris ring to f32. These last were a rare earth glass design although this was not noted in 1955. Cost was
£15.50.
Supar 111 By 1955, these were Series 111 as follows:
f3.5 36, 50mm
f4.5 2, 3.25, 4.25in
The example noted in 1968 did not have a serial number on the front bezel.
Unilux f2.8 3in (76mm) This was an exotic enlarging lens for colour enlargers using high
speed electronic flash for full 2x2in coverage, noted in the B.J.A. 1959, p197. Cost was £30.00 in screw
flange.
Telephoto
The Plustrar trade name was maintained and two series were offered, perhaps intermittently.
Plustrar f4.5 This was made in 6.0, 9.0, 12, 15in, and 15in was suggested for 5x4in. This
was offered in 1946 as Layout Wra008, and was a 6g/2c design. It is distinctly uncommon, probably was only
made early postwar, and has not been seen. One was shown at No21,6xx in a advert. ( B.J.A. 1946 p335.)
Plustrar Tele f6.3 9.0, 11, 12.5in These were offered in 1946. This may be the same as the
lens on the Peckham Wray partial reflex camera, in 9in f6.3. It seems to have a 2+2 layout, with some quite
deep curves. Later it was listed in 6.0, 9.0, 11, 12.5, 15, 18in. Curiously, the advice was to use 12.5in for 5x4
while the 5x4 Peckham Wray actually used a 9in, which has been very well spoken of by one correspondent.
Sadly, many now have damaged internal coatings as these were very soft on the examples of these lenses
seen- they are so soft that cleaning is nearly impossible.
Unilite
This was a Gauss design with a difference, as Wynne noted that the Gauss 6-glass design could be simplified
if the rear pair of the 6-glass design is reduced to one thin glass and this gives a Gauss with a long back focus
such as is often desired for a SLR. The result was a high performance lens covering 50°.(B.J.A. 1958, 204;
Layout Wra016: Wynne in Progress in Physics, 19, 298, 1956). The field of the large format f4.5/135mm lens
could be especially flat as both the sagittal and tangential astigmatism curves had a double bend, with zero
deviations at 15° and 28° and little error in between. [The idea of the simplified Gauss was not totally new as
prewar Zeiss had patented but were forbidden to publish the design of the Biometar, and lost priority as a
result; and Leitz did patent a simplified version of a lens like a 'Summitar' with a single glass component,
though this is a fairly obscure patent]. Wynne also found the increased internal air-space 'helpful' in the
design. (Brit. Pats 575,075, 575,076). There is an extremely interesting early computer survey by M.J.Kidger
and C.G.Wynne in Applied Optics, 6, 553, 1967). Wray were to apply the idea in 3 series of lenses and
partially in a fourth.
Unilite f4.5 135mm This was a costly and high performance large format lens of
superlative quality. It is now scarce, and should be highly desirable but has not been seen. Possibly it was too
costly for the then market. The B.J.A, 1958 p204 classes it as 'special' with a field which is especially flat
since the aberrations are corrected not just at the centre and one point off-centre, but rather at the centre and
two points off centre, the curves going through a double bend. The errors between the points of agreement are
also very small. Thus the sharpness is limited by the emulsion and diffraction, rather than by the aberrations.
It was listed 1958- 1965 at least, and is in the B.J.A. advert. 1958, 558; 1961, p502. The layout is Wra016.
Unilite f2.0 This was made in 35, 50, 75, 108, 140mm where 140mm was for 1/4plate.
Only 35 and 50mm were sold by 1946. The big versions do not seem to be known today. They were covered
under Brit Pat 575,076, USPat 2,499,264. The best known use was on the Wrayflex as a sound 50mm lens.
It was an 5-glass Gauss, compare Wra016 above. The Wrayflex cost £93.5 with the f2, £79.5 with the now
rare f3.5/50mm Lustrar. (MCM July 1951).
Cine Unilite f1.9 This was made in 25, 35, 50, 70, 100mm and the smaller sizes are quite
common among ex-MoD sales. It covered a narrower angle of 50°. It was covered under USPat 2,487,749; Brit
Pat 575,075. The note in B.J.A. 1947, p183 says they were designed for professional movie use, with really
even illumination and sharpness all over the frame. Only the 2in was described in the note, though it was
clearly part of the set above.
Cine Unilite f2.0 This has been noted as an f2.0/35mm at No143,13x (2x) and raises the question
how many are f1.9 and f2 but this has not yet been clarified. The example seen was on a recording camera
based on the Ilford/Kennedy Instruments Advocate body with a mounting plate at the front. Thus it was used at
about 1:2 or some such.
(see also f3.5 copying below)
Aerial Wide Angle f5.6 This was designed as a 6in lens of ?Unilite type by Wynne as it seems to be
a Gauss with one inner component compounded in Brit. Pat. 689,916/1950.
Film Reader Lens f3.5 0.9in (B.J.A. 1943, p169).
Tricolour Lenses f2.0 35, 50, 75, 100mm These lenses were for the British Tricolor Camera for
British Tricolour Processes Ltd (B.J.A. 1947, p154, and the designer was Mr C.G.Wynne, then Chief Designer
for Wray. These were all Cine Unilite versions (?normally an f1.9 lens) but the shorter foci were "a very
specialized type of design for the clearance at the rear" ie they must have been retrofocus types with a Unilite
Gauss group at the rear? If so, they were very early examples of retrofocus lenses. They were patented under
the joint names of Wynne and Wray, and under the Unilite patents. All were coated. They were designed
integrally with the beamsplitter prism block to allow for its optics, and must have been a major achievement for
the time.
Variable Anamorphic Lens This was for standard 35mm movie for a horizontal stretch of 2:1 to 1.3:1 and
used prisms which are tilted relative to each other. It eliminated some aberrations of lens systems. It was sold
by Sound Equipment Ltd of 5, Great Newport St, London W1.
Wide Angle
Wide Angle Anastigmat f6.3 89mm (3.5in) for 5x4, 7in for 1/2plate. See Wra013 This is in the same
design group as the Zeiss Topogon, with very deep external curves and a thick walled Gauss layout. The
89mm version is a generous design. In use it covers 90° at f11 and 100° at f16 or less, or as the B.J.A. 1950
p212 found at f6.3 it covers a 1/4plate, (75°) almost perfectly, at f11 a 1/2plate with a little fall off and at f16 a
1/2plate is well covered. They said it would be ideal for a 5x4in camera, and:
(a) it was available in an Epsilon shutter, but:
(b) the illustration was of a lens in a barrel mount at No70,890 (advert. idem, p418) and these have been seen
but are the uncommon version.
[This coverage is a touch less than the Schneider Angulon and the contrast and corrections are probably a
touch less good. But for many purposes the lenses are a close match. Users did find that the Wray had a
lower contrast under difficult conditions and ultimately chose the Angulon as the more reliable. Today with
multicoating it might be a closer run thing.]
The 89mm is fairly common secondhand as they were sold with the MPP S92 outfits for MoD use (May
1956). These should logically have serial numbers around those on the 184mm Lustrar at No143,xxx, but in
fact the lenses seen are Nos 73,02x, 74,22x in Epsilon, 130,365 in an unknown shutter, and 174,95x in
Compur (ex-MoD with ^14A/4917 engraving) and 319,13x which seems to be anomalous for the first at least.
However they did sell to the civilian market also. (B.J.A. 1950, 212) and are normally in shutters. Note that the
original advert. B.J.A. 1950, p419 shows lens No70,890, which is a useful number on what was then a new
lens but comparison with Unilite numbers might suggest that the Wide angle was an older number, possibly
on a prototype held from a previous year or years. It was offered in both barrel and shutter mounts but the
barrel seems uncommon, and in 1951 it was 'designated to cover 1/2plate'. (B.J.A. 1951, p44) For a picture,
see adverts in B.J.A. 1952, p47;1953, p575.
Fig 017 019 Wray Wide angle lenses (front) f6.3/89mm No174,956 in Compur; (l)f6.3/7in No334,650; and (r)
f6.8/8in No335,367.
The 7in is less common and has only been seen at No334,65x in barrel mount. The 7in seems to be less
deeply curved than the 89mm, even allowing for the longer focus. It seems also to have been used on
photocopiers as one was seen (front cell only!) with a mirror behind it so that the one cell served as the
complete lens. This was not numbered. (see Fig above)
Aerial Survey f4.5 12in, f5.6, 24in, f6.3, 36in f8.0, 48in. In fact the range 6.0-48in was listed and
those detailed were seen ex-Williamson Manufacturing for aerial cameras. They are Brilliant sharp lenses
using a reversed Q15 design with the cemented pair in front. Even the 36in proved outstanding on 35mm SLR
cameras. These were coated lenses from the 1950-1960 period, with a serial number of No135,59x on a f5.6
24in example. Two f4.5/12.2in were reported at Nos 356,224and 356,51x, and seem to be the last numbers
noted so far. (But note that TTH/Rank finished up some Wray lenses as late as the 1970's.)
Fig 017 026 Wray Aerial lens f5.6/24in No135,599.
Copying
Several series of lenses were made for copying or possibly for CRT screen recording. These have been noted
as:
f1.8 4in for 2:1 reduction (B.J.A. 1946, p189) The design seem to be 'complex'. In
fact the lens seen is engraved "10cm Projection Lens f1.8 for magn. 1:2 Wray London No33,51x." and seems
to be of this type but possibly for a slightly different application. It seems to be a 2+2 layout.
Fig 017 027 Wray Copying f1.8/10cm No33,513(rear); (front) Cathode ray recording f1.0/2in Nos 196,818 and
185,973.
f3.5 7.5in (c190.5mm) for 2.4:1 This was seen coated at No184,69x and seems
to be a 1+2+i+1+1 design and may be a Unilite type lens. (cf Wra 016) It has very deep extenal curves which
tends to support this idea. It is not surprising when the other uses of the layout are considered but it must
have been a very exotic item when new. There is no indication of the original use but it just might be A4
(210x297mm) to 9x12cm which would give at 2.4:1 an image of 87.5x123.75mm. (The microcircuit lenses are
used at a much greater reduction!) It covers 5x4in fairly well at infinity but it is not a wide angle design. Looked
at on a ground glass screen it seems to be a useful lens at infinity, but perhaps at f4.5 rather than f3.5, with
good coverage of 5x4in, and might make an interesting portrait lens. Colour correction seemed good. The Brit
Pat engraved is No689,916 and is distinctly later than the Unilite patents above.
Fig 022 010 Wray Copying f3.5/7.5in No184,693.
f4.0 3.0, 5.0in. These were made for printed circuit reduction at 10:1 and 25:1 in
each size. This was the beginning of the business all makers have (or seek!) in reduction of master drawings
for printed circuits and more recently for chips and integrated units.
Prismscope This was an f18 aperture 20x or 30x 60mm field lens spotting telescope was sold
with camera fittings, and now very hard to find as they are seldom sold secondhand. It was fitted to take
Bolex, Exakta, Contaflex, Bessamatic, Leica Visoflex, Retina S and M39.) This was 'new' in MCM Sept 1960,
also Am Photo 12/07/1961, p117, giving 45in at f18. The B.J.A. 1961, p195 says "extremely satisfactory on
bright days, working as a 45cm lens" but they called for a much more rigid tripod mount than the flexible
springs holding it to the top.The price was £32.50 + adaptor £3.15 and tripod head £2.25.
Wide Angle Lustrar f6.3 210mm (This may be an error for the next item!)
Wray Wide Angle Copying f6.8/210mm Some or all are Series III. This is a late coated lens mentioned in
B.J.A. 1962, 484-39,and shown in the advert. on pp486-7 with H.R. Lustrars and Supars. It was not a
competitor for the Wray Wide Angle above but more a copying lens. It has symmetrical anastigmat, probably
a 3+3 glass Q9 layout and today is a useful medium wide large format lens and as a result- desirable! It
covers a diagonal of 23in (14x18in) at 1:1, has click stops, and is best stopped to f11 or less in use. (The note
does detail use at infinity but actually for 1/1plate.) Experience is that at infinity it is best to focus at f8.0 and
shoot at f11, f16 or less. It should then cover 10x8. It was seen at No333,83x, 348,73x and other examples
have been noted so it is moderately common. The cost was £44.00 then.
Fig 017 019 Wray Wide angle lenses (r) f6.8/8in No335,367 and (front) f6.3/89mm No174,956 in Compur; (l)
f6.3/7in No334,650.
Lenses for the Peckham Wray Aerial Camera This was a partial reflex camera for 5x4in, from the 1950's and
was sold to the MoD with the following lenses in a very large and noticable helical mount. It was not a long
lived camera, probably due to shutter problems, and the lenses were sold off long ago and are now dispersed
and only trade occasionally. There is a slight feeling that the lenses here were made ahead of the sales of the
camera, partly from the softness of the coatings on them.
Lustrar f4.8 135mm This was noted at No153,375 and probably 115,40x though this was
not necessarily from a Peckham Wray lens as the same lens was sold for MPP MicroPress. (see above under
Lustrar and in the B.J.A. 1950, 1951 p45).
Lustrar f4.5 135mm This is listed above and may be the original version.(B.J.A. 1956,
p247).
Plustrar f6.3 9in For details, see above.
Other lenses could be mounted if required. Note these Plustrars are very soft coated internally. This is said
after trying to clean a Plustrar and finding the coat just wiped off on the dustrar- sorry, duster!
Fig 017 021 Wray lenses for Peckham Wray Partial reflex camera. (rear) Plustrar f6.3/9in Nos164,877 +
167,434; (front) Lustrar f4.8/135mm No153,373 and focusing helix (l).
Lenses for the Wrayflex SLR. This was an early postwar SLR designed by Commander Stoddart R.N. and
realized by Harry and Werner Goebbels. It was sold from 1950, (MCM June 1950 at the British Industries Fair)
and used patents from 1947, prototypes being around for comment in the trade by June 1948, and it ceased
production about 1960. Initially the cost was £60 with f2, £54 with f3.5, both +tax at 66.6%. The camera and
lenses were noted in the 1951 B.J.A. p230, p250, p207, advert. p44.
Standard Lenses
Unilite f2.0 2in 5-glass Gauss as above. Pat 575,075/6.
Some Periflex lenses also used this Patent and paid a fee for it.
It was noted at No 86,10x; 94,54x on body 160x; 94,55x; 95,44x alone; 100,92x on body No250x; 107,47x
alone; 152,17x alone; 110,10x on body 336x; 116,10x; and No160,117 on body No298x; and No203,47x on
body No349x; and No203,40x on body No389x; and at No 92,72x, 116,59x, 100,92x, 149,55x on body
No276x, 160,11x, 160,11x, 160,11x, 172,52x alone; 111,25x, alone. A Wrayflex II body had No 223,68x on
MkII No432x, and 260,65x (no body no available). Thus there seems to have been quite a long production in
several batches.
For sample serial numbers, see Unilite above
Unilux f2.8 2in (The layout seems to be a f2.8 Lustrar). It was noted at No189,49x on
No411x, a late high top model and also at No 138,47x, 147,35x, 169,46x on body 239x, 182,27x, 186,13x,
and seems to have been issued with the Wrayflex MkIII in B.J.A. 1955, p198, where it was said to perform
'extremely well' with high definition and even illumination and was ideal for colour, 'an outstanding design'. It is
less easy to find than the f2.0.
Lustrar f3.5 50mm This may be a prototype and on early cameras only. It is not a normal
type.
Wide Angle
Wide Angle Lustrar f3.5 35mm A Q15 type as above. The illumination at the edge is lower than ideal
at full aperture, but improves on close down and at f5.6 it is a good lens.The original review praises the
excellent definition and colour correction (B.J.A. 1953, p211) which stresses the advantage of the Wrayflex
design in allowing such a short focus lens to be used- the reviewer was aware of the retrofocus principle but
regards the absence of this requirement as a benefit. It was coated and deeply sunk in the mount. It was
noted at No 105,716 and at 230,03x, 239,91x, 267,00x, 286,33x.
Long Focus Lenses
Lustrar f4.0 90mm This was the normal long lens on Wrayflex and was noted at
No86,83x and at Nos210,16x on body 418x, 149,86x (2x)on body 250x and 250x, 155,67x on body No389x,
No203,02x on body 187x, 207,26x on body 367x, and No149,49x and 218,02x on body 252x, 10,16x and
280,14x alone.For a introductory note of theis 'new' long focus see B.J.A. 1951, p207. The optical design was
said to be 'amply up to the demands made on it'.
Lustrar f4.0 135mm This was a patented design "like the 90mm" using rare earth glass.
(B.J.A. 1958, p187) It was the long lens for Wrayflex and is less common than the 90mm in collecting
experience, only 3 being noted to some 8 or 10 of the 90mm lenses. It was noted at auction at Nos192,30x;
194,69x; 211,91x on body No4,18x, 218,02x (no body) 280,14x; and 294,41x (here on body No398x). It was
noted in the B.J.A. 1958 p187 as being the same optical design as the 90° covering 16° in a light alloy mount
with a type of preset iris to f22, and focusing to 6ft. Cost £33.00 + ax £12.85. A note is in B.J.A. 1951, p250. It
was noted that it was coated and the cells were locked in position to prevent the owner interfering with the
inside of the lens, due to the softness of the coatings.
Projection and other Lenses
These seem to have been less important to Wray than to other firms, but several do occur in the list- for
examples see the Moth projector below. They may have been more important in the last part of the companies
career. Another earlier example was a f3.5/6in offered on the Johnson Autoscope Projector in B.J.A. 1948,
p161, as an alternative to a Dallmeyer 4in lens. It is also thought they were offered on the MPP projectors,
which probably mainly sold for Education and Health work and are now scarcely ever seen.
Ultimately Wray was amalgamated with Hilger of Margate in the hope of preserving it as a long term maker.
However Hilger were to become part of the Rank Organization and part of Rank Precision Instruments, while
Wray were made part of another group, Rank Industrial Division. This proved a difficult time for what had been
a very family-run firm and the absorbtion was less easy than hoped and seems to have ended with a decision
to close it, even though Wray had been continuously profitable in all the postwar years.
In the late years products included:
Wray Moth Projector for 35mm slides.
Projection f2.8 100mm These were used as a pair on the Duval Stereo Projector. They may
be the same as the Moth lenses.
Aerial Wide Angle This was related to the Wild Aviogon and designed by Wynne.
Muirhead Picture Telegraphing equipment: another Wynne design.
Projection lenses for engineering testing. This resulted on a small firm, Wray Developments with Prof C.G.
Wynne, Mr C. Edwards and Mr A.W.Smith as Directors being spun off. (MCM Oct 1949).
TV master grid plates.
Microcircuit Lenses: f4.0 3in for 1x1in 200 line per mm at 10:1 and 25:1 reduction. (Listed in
1965 adverts.)
f4.0 5in and 10in for 2x2in and 3x3in.
f2.8 3in at 500lines per mm.
Optical sighting equipment (head-up displays) for Elliott's.(1960's)
Tank Telescopes for Churchill tank, 1965.
IR binoculars (with Barr and Stroud and Plessey. 1965).
Apart from Prof. Wynne, designers included Mr D.G.Monk, later of Monk Optical Design, and Mr Day who was
the design leader at the end and continued with Mssrs Rank Xerox.
Chronology
No published chronology seems to have been attempted. But note:
1890 possibly about No1,000 from change from Wh to iris stops.
1895 possibly about 8,000
1896 Sale of RR No 8803 for Mr Groves wedding present.
1900 possibly about 11,000
1920 possibly about 15,000
1930 possibly about 20,000 from a f10 Farvu at No21,97x about 1930-1932. Also No19,839
on a D.O.Image lens.
1935 possibly 23,000
1940 possibly about 25,000?
1945 postwar production from about 30,000?
1946 Advert. shows lenses 33,000 to 38,000 but note next item:
1946 at about No 86,000 Unilite sold on Wrayflex, but note No70,890 on a new 89mm in
1950 B.J.A.
1950 possibly about 70,000
1952 possibly 100,000 here.
1955 at about No174 000 for the MPP Mk S92 MicroTechnical.
1965 possibly late numbers at up to 650,000?
Some Wray lenses were finished up by Rank/Taylor Hobson as late as the 1970's using parts in store from
production in Kent. The serial numbers here can be as high as No356,51x. Thus there seems to be a high
use/consumption of late numbers, if these were numbered and if they go up to No650,000 in say 1965. They
may be on projection lenses as a very large production was needed of these, but while they may have Wray
numbers, they may be sold under other names in the Rank Organization.
Fig 43 Wray Lenses in brass.
Exposure: Wray W/A 7in f6.3.
Back Row Wray Meniscus
Wray Cone Lens.
Wray 1/2plate RR f8
Left Side Wray Lustrars f5.8/6in; f6.3/5in; f4.5/3in.
Middle and Wray Platystigmat 2x5in for 1/4plate.
Front Wray WAR f16/4in and f16/9in.
Wray RR f8.0/5in and 3in.
Wray (Mr Pearson's of Leeds) RR
Fig 44 Wray Large Format Lenses.
Exposure: Wray W/A f6.3 7in lens.
Back Row Wray Lustrar f4.5/254mm Ctd.
Wray Plustrar f6.3/9in.
Wray Lustrar f3.2/6.25in.
Front Row Wray Lustrar W/A f6.3/89mm ex MPP S92. (Gauss type).
Wray W/A Lustrar f6.8/8.25in.
Wray Lustrar f6.3/7in. Gauss type.
Wray Lustrar Series 11 f4.5/7in.
at front Wray Anastigmat f6.3/4in.
Fig 45 Wray Process Lenses.
Exposure: Wray f4.5/184mm Lustrar.
Back Row Wray Projection f1.8/10cm.
Wray CRT f1.0/2in.
Wray W/A Process 16in for 54°.
Wray Apo Process Ser 11 18in.
Front Row Wray H.R. Lustrar f5.6/10in.
Wray H.R. Lustrar Ser 11 f8.0 8in.
Wray H.R. Lustrar f5.6/8in in Compur
WRay H.R.Lustrar f5.6/6in.
Wray ApoProcess Ser 11 f10/12in.
Fig 46 Wray on the MPP S92.
Exposure: Zeiss BioTessar 165mm f2.8 at f32.
Wray Lustrar f4.5/184mm on S92.
Wray Wide Angle Lustrar f6.3/89mm.

Wrench, Mssrs J. and Son, Opticians, No30, Gray's Inn Rd, London.
They may well be a lens supplier but were noted for a fatal explosion reported in B.J.P. 18/10/1878,
20/10/1978, p922). It shows the range of activities of opticians then, as they were making oxygen gas for
working magic lanterns.

J.W.Wright, 141, St. James St., Burnley, Lancs., UK.

Wright was an importer and dealer in photographic and other goods, and had a line in "finest rapid rectilinear
lenses" in the 1889 BJA, p108. These were in 4.75in for 1/4plate and 5x4; 7.5in for 1/2plate; 11in for 1/1plate
and 13.75in for 10x8in. These had Waterhouse stops.

Wunsche, Emil, Reick bei Dresden, Germany.

UK Agent was Hora and Co. (B.J.A. 1906, p423)
They were camera makers using bought-in lenses from Rodenstock, Voigtländer (including the Dynar),
Steinheil and Zeiss, but also using some where no maker was given, and these included:
Extra Rapid Aplanat f8.0 about 1904. It was noted as Series D as if earlier models had other versions.
Periscopic Aplanat No aperture given. This was the cheapest option on the Nixe in 1908.
Mars Anastigmat f7.0 c.6in. This was a doppel, possibly Q9. There was a Mars magazine box
camera which may be the source of the name. One at auction was in a Koilos shutter.
f6.8 on Nixe for 9x12cm in about 1905. It was a budget price anastigmat.
Antistigmat f6.8, f5.5 in c.1905, for 9x12cm. This was more costly than Mars and may be a well
known brand name, but so far the maker is not known.
Fairfield Anastigmat f6.8 It was made in 4.75, 6.0, 7.0, 8.25, 9.5, 12, 14.5in and it was suggested to
use 4.75 or 6in for 5x4. Fairfield was a Hora trade name.

W.Z.F.O., Poland.
WZF Euktar f4.5/45mm seen at No11,01x on a Alfa camera ex WZFO, Poland.

Yamato Koki Kogyo Co Ltd., Japan.

UK Importer was Japanese Cameras Ltd, 50 Piccadilly, Tunstall, Staffs, UK.
Luminor f2.8 45mm This was fitted to the Pal M4 in 1961 (B.J.A. 1961, 173).

Yamazaki Optical Co Ltd., Hino 1004-4 Hino City, Tokyo, 191, Japan. Tel 0425-83-
3380.(and
as K. Yamazaki).
We thank Mr R. Jeffery for obtaining the current information on the internet. It seems that they also sold in
USA as Osaka lenses.
Yamazaki were makers of large format lenses from about 1924 (or 1932). An oldish uncoated 250mm f4.5
Congo was very much in the traditional shape of the best European makers. It was a Q15 type lens and might
have been mistaken for a Ross Xpres of the same period- or for a number of other makes for that matter. It
was obviously not in original condition but performed well when stopped down a little.
Fig 008 049 Yamazaki Congo f4.5/25cm No32,994.
There was also an f6.3 version and a later Congo E enlarging lens. These are all uncoated and among the very
few uncoated Japanese lenses seen in the UK recently.
In recent times, Yamazaki has used the Congo name on all types noted, with a subsidiary name where
appropriate, as in "Congo lens Alto-W". A series were offered for fitting to new Copal shutters in 1963, when
they were new with up to a speed of 1/125sec and a pre-focus lever, and included the following lenses:
f4.5 180mm for 4.75x6.5in as Commercial Congo.
f4.5 210mm for 5x7in.
There was also a f5.6 series, Telephoto lenses, and wide angles. Congo was the brand name on those
mentioned. They are very seldom traded in the UK though there have usually been agents.
A 1998 list on the internet has:
Commercial Congo 4-glass 3 component Q15 type.
f3.5, 90mm; f4.5, 105, 150mm; f4.7, 135, 250mm; f6.3, 150, 210, 240, 250, 300mm; f6.8, 180, 360mm.
also f4.5 180mm.
Tele Congo 4 glass 2 component. 2+2 tele type
f8.0 300, 400mm: f9.5, 500mm.
Wide Angle Congo 4 glass 4 component Gauss type.
f6.3, 90, 120mm.
Soft Focus Congo 3 glass 3 component.Triplet Q13
f4.0 150, 200mm
Alto-W 6 glass in 4 or 5 components. In the 150mm the front 3 glasses are all separately mounted, not
balsamed; the rear are conventional 1+2 type.
f5.6, 150, 180, 210mm.

Yashica, Japan.
We thank Mr L. Stejskal and Mr M. Simpson (Yashica/Kyocera, UK.) for additional information here.
Earlier Items, from before the association with Carl Zeiss.
Yashimar f3.5 80mm This was fitted to a Yashica TLR sold as a Molforeflex in Sweden and
the camera name reflected the agent.
Yashikor lenses for TLR's.
Yashinon Lenses for TLR's.
Yashica Zoom f1.8 8-40mm for Yashica Zoom Reflex.
Heliotar f3.5 80mm This was noted at No245,73x on a TLR.
Yashinon f1.8 50mm in M39.
Fig 011 001 Yashica Yashinon f1.8/5cm No5,971,789 in M39 mount.
35mm SLR programme.
Yashinon f3.3 21mm This was a deep sunk lens for use with the mirror lifted only, so that
it is unsuitable for many modern SLR's. See Camera 35, 12/1967. It was still current in May 1972.
Auto Yashinon f3.3 20mm 11g/9c This is a retrofocus type. It was 'new' at Chicago show in
1971.
Auto Yashinon f2.8 24mm 9g/8c.
Auto Yashinon f2.8 28mm 8g/7c.
Auto Yashinon f2.8 35mm 7g/6c Results were largely classed as 'Excellent' in tests.
There may also be an 6g/5c version.
Auto Yashinon f2.0 50mm This was noted in 1965 lists, and was "really good".
Auto Yashinon f1.8 50mm This was noted in 1965 lists.
Auto Yashinon f1.9 50mm 6g/5c.
Auto Yashinon f1.7 50mm 6g/5c.
Auto Yashinon f1.4 50mm 7g/6c.
Auto Yashinon f1.2 55mm 7g/6c. Layout Yas001. This was 'new' at Chicago in 1971.
Macro Yashinon f2.8 60mm 5g/4c. This was also a 'new' item at Chicago in 1971.
Super Yashinon R f2.8 100mm (No details of structure)
Auto Yashinon f2.8 135mm 5g/4c
Auto Yashinon f4.0 200mm 5g/4c. Pre-set in 1965 list.
Auto Yashinon f5.6 300mm 5g/4c Pre-set in 1965 list.
Auto Yashinon f5.6 400mm 5g/5c.
Preset Yashinon f6.3 400mm Pre-set in 1965.
Mirror f8 500mm This was fascinatingly small at Chicago in Modern Photo 07/1971
p47. There was also a big one next:
Mirror f11 1000mm
Preset Yashinon f8.0 600mm 2g Layout Yas002.
Preset Yashinon f8.0 800mm 2g This was the same.
Zoom f5.8 90-180mm
Some of the longer lenses may not in fact be Auto. There is uncertainty in the source used, from about 1975.
The Yashica FR was reviewed in B.J.P. 24/02/1978, p159 as a companion to the Contax RTS, with alternative
lower cost lenses, which were reviewed in B.J.P. 28/04/1978, p360 "offer first class performance of
professional standard at reasonable cost." the Yashica lenses were just warmer than the Zeiss, and slightly
higher in contrast at full aperture as the Zeiss were sometimes faster and suffered at full aperture- level
apertures gave level results, and were fully competitive with other brands. In the review in Modern Photo
05/1978, p128 the f2,8/28mm, and f3.5/38-90mm were reviewed. 'Quality was very good' and the 28mm had
many 'excellents.'
Mirrors
Reflex Yashinon f8.0 500mm
Reflex Yashinon f11.0 1000mm
Economy Series
Auto Yashikor f2.8 28mm 7g/6c.
Auto Yashikor f2.8 35mm 6g/5c.
Auto Yashikor f2.8 135mm 4g/4c.
Auto Yashikor f3.5 200mm 6g/5c.
1980 Items for Contax.
Contax f2.8 16mm 8g/7c.
Fish eye, full frame, 1980 list.
Yashica f2.8 15mm 10g/7c.
The new Contax programme ran in parallel with a Yashica programme and shared the same bayonet. This
meant that the customer had a choice normally of a higher priced Zeiss lens or a less complex Yashica one.
The Zeiss version would be costed to reflect the design and often the more costly glass used and both were
normally made in Japan though Zeiss did make some of them in Germany, especially the costly wide angles.
Yashica ML lenses for Yashica/Contax bayonet
Yashica ML f2.8 15mm 10g/7c.
Yashica ML f3.5 21mm 12g/8c.
Yashica ML f2.8 24mm 9g/8c.
Yashica ML f2.8 28mm 8g/7c.
Yashica ML f2.8 35mm 7g/6c.
Yashica ML f1.7 50mm 6g/5c.
Yashica ML f1.4 50mm 7g/6c.
Yashica ML f1.2 55mm
Yashica Macro ML f4.0 55mm 4g/3c.
Yashica ML f2.8 135mm 5g/4c.
Yashica ML f4.0 200mm 5g/4c.
Yashica ML f5.6 300mm 5g/4c.
Yashica ML f5.6 400mm 5g/5c.
Yashica Reflex f8.0 500mm
Yashica Reflex f11 1000mm
Yashica Bellows f4.0 100mm 5g/3c.

Yashima Optical Co., Tokyo, Japan.

Yashimar f3.5 80mm Triplet
Yashikar f3.5 80mm Triplet

Carl Zeiss 32, Wagnergasse, Jena, Germany. ((1847)

also: 29/II Dorotheen strasse 29, Berlin, Germany. (1901)
and 29, Margaret St, Regent St, London W (1901)
The founder, Carl Zeiss (1816-1888) was born in Weimar, the son of a cabinet maker and ivory carver. He
graduated from school in 1834, qualified to be apprenticed to the Grand Dukes Instrument maker, Dr Koerner,
and attended academic courses as well as working as apprentice. Next he travelled from Jan. 1838 to Oct.
1845 to study in Stuttgart, Darmstadt, Vienna, and Berlin to broaden his experience. Back at home, he
studied chemistry and higher mathematics.
By May 1845, he felt well enough qualified to apply to the County Administration at Weimar for permission to
found "An establishment for the production of advanced mechanical devices", hoping for a relationship with the
University to advance designs. Money was tight with capital of 100 Thalers (possibly £100) only, but in Nov.
1846, he opened at 7, Neugasse. It remained a small business for years, as it took some 20 years for the
University relationship to be productive, and he often grew weary of the trial and error methods traditionally
used in the trade. Much of the production was of microscopes- often relatively simple ones by modern
standards, such as dissection viewers. Then in 1863, a young lecturer Ernst Abbe (1840-1905) joined the
University to teach physics and astronomy. Zeiss approached him in 1866 for cooperation in the design of
improved systems and this lead to new ideas, eg in the Abbe refractometer (1869), a comparator and a
spectrometer. Abbe felt that in lenses the need was for new types of glass with other dispersion properties-
not totally novel as others had used natural minerals for the purpose. But Abbe in 1882 induced a young glass
chemist Otto Schott (1851-1935, from Witten, Ruhr area) to Jena to help with developing new glass types
including Barium, Zinc, Phosphate and Borate: and by 1884, the Jenaer Glaswerke Schott und Genossen
was formed. The partners were actually Zeiss, Abbe, Otto Schott and his son, Dr Roderich Schott, and by
1886, they were able to offer a price list of some 46 glass types- and Zeiss issued his 10,000th microscope.
The glasses lead immediately to improved microscope lenses made to Abbe designs, and Zeiss expanded
from some 42 employees in 1876 to 300 in 1888, at the time of his death. His son did not continue in the firm,
and Abbe became the sole owner.
The new glasses were also used in improved versions of the classic photographic lenses, as in the
Euryscopes of Voigtlaender and the new Aplanats of Steinheil, and others in the industry thought there were
other uses possible. It does seem that Abbe discussed these with Steinheil who had made more progress in
correction of astigmatism than others, but did not really find the solution. And Abbe also replanned the firm he
now owned.
Especially for a University man, industrial conditions then seemed harsh, with a 14-17 hour day, 6 day week,
no vacations, and no health or old age security, and he felt they were unreasonable since much of the
success of a company was due to the employees: and they should share in the benefits. Abbe therefore
decided to convert the company into a foundation in 1889, as the basis of a continuing corporate structure, the
profits to be shared among the employees in more limited hours, paid leave and assistance with health and
pensions, as well as outside assistance to science. This was a recipe for success and the payroll grew
steadily to reach 2,300 employees by 1914, as new products such as spectrometers, prismatic binoculars,
telescopes, opthalmic lenses- and photographic equipment- came into the product list.
It was in the 1880's that Abbe became interested in the problems of photographic lenses and in 1888, he
persuaded the mathematical physicist Dr Paul Rudolph (1858-1935) to join him in their design. The new
glasses and the working environment proved very effective and in a few years, Rudolph really began the use of
most of the modern lens design types. However the very first attempt was at an Triplet Apochromat and was a
unsuccessful one. (These are therefore an almost prototypic lens, especially as two types existed. Eder
suggests they just existed commercially and one seems to have been auctioned in London at No44.)
Subsequently, Rudolph alone produced a series of some 5 or more 'anastigmat' designs using Barium flint and
light crown glasses. (Jahrbuch fur Photographie, 1891, p225, also 1893; Patent DRP 56,109 03/04/1890). And
then developed into several symmetrical anastigmats and lenses such as the Unar, Planar and Tessar by
1902, as well as early telephoto units.) This lead to Zeiss interests in making camera lenses, their mounts,
irises, shutters, and finally cameras, with the purchase of Zeiss Palmos in 1902 and the formation of I.C.A. in
1909. There must have been both elation at the success and sometimes problems in managing it. And Abbe
and Schott both combined to give the Jenaer Glas business to the foundation, apparently in 1919 in the case
of Schott.
Zeiss seem to have made binoculars in small numbers of non-prismatic types. But the design of prismatic
binoculars by Abbe in1893 gave higher powers than the older Galilean types ("almost useless in war") and
these were licensed by Bausch & Lomb, and widely sold by both firms- in the UK from 1896. The lack of these
was noted in South Africa by the British Army as the Boers seemed better supplied there than they were. By
1914, they had tried to catch up, and all armies used prismatics in original form or as copies.
The sheer physical expansion of buildings and employees meant construction and training, and these could
not occur overnight. Zeiss always paid real interest in training, via apprenticeships but these take time. Thus
they licensed others to make the new lens designs and Zeiss Anastigmats can be found made by them today-
look for Voigtlaender (Germany, to 1895), Suter ( Switzerland), Ross (UK), Fritsch v. Prokesch (Austria),
Koristka (Italy and Bausch and Lomb (USA). About half of the original anastigmats were made under license
up to 1900. These do not seem to have prevented Zeiss also supplying these markets as opportunity
occurred, as N&G used original Zeiss lenses and Mr W.Hume advertised them. (Brit.Jnl.Alman. 1896; N&G
advert. ibid, 1901, p147) The licensing may have been valuable to Zeiss in a way now forgotten- they were not
really photographers, and the licensees may have made valuable inputs on mount design and the types of
products wanted. These licenses were of variable life, partly as the companies designed their own competing
products but also as the first World War made business relations impossible. Remember, it was fought with
unique loss of life and ferocity, and left emotions which poisoned business for a generation or more. There
seem after the War to be cases of English firms boycotting purchases of German lenses, and of Hollywood
looking askance at the new f1.4 Biotar for this reason.
There must have been problems, none very serious, in such a rapid expansion. (a) Rudolph tried to introduce a
new iris calibration system, or perhaps two, which did not prove popular and was dropped. One version used
an iris calibrated in mm diameter- which really needs a set of Tables for use. It may have allowed a standard
mount to be supplied with various optics, as with a 'Projection Aplanat' mounted in one, where the value of the
iris seems slight. (b) The trade name "Anastigmat" came to be used by others, possibly since it was an 'old'
word in ordinary use and not defenceable. (c) The rate of design innovation may have puzzled customers, as
f4.5 lenses were introduced as the Anasigmat, Planar, Unar and finally Tessar within a limited period. (d) The
shutter making side seems to have lead to the Deckel/Compur works at Munich rather than in-house long-term
manufacture. (e) And there seems to have been an attempt to found a business in London in 1909 at Bittacy
Hill, for the manufacture or assembly of lenses, perhaps to come within "Imperial Preference" on sales of
Empire made goods- which must have ended with the outbreak of war. (f) There seems to have been a
problem, perhaps shortlived, with the French patents on some of the lenses as the 1901 Catalogue describes
the Planar, Unar and Protar VII as not being for trade sale in France. But overall, it was extremely successful.
While World War I must have made them busy with orders for binoculars, aerial lenses and gunsights,
perhaps using the new "Erfle" eyepiece (1917) by H.Erfle (1884-1923), peace brought the problems of the
depression. In 1926, Zeiss lead the amalgamation of the camera making firms Ernemann, Contessa-Nettel
and Goerz with I.C.A. to form Zeiss Ikon. This ended competition with Goerz over optical glass as the
Goerz/Sendlingen plant went over to other products, and gave access to the novel Ernostar lens designs- and
Carl Zeiss had a secure in-house market for lenses. Over a few years, the group, often as a result of designs
by Dr Heinz Kuppenbender, introduced new cameras such as the Ikonta, Super Ikonta, Ikoflex, Movikon, and
the 35mm series of Contax, Nettax, Tenax and Contaflex. Several new designers provided important new
types of lens- Merte from the 1920's with the Biotar, Richter with the Topogon, and Bertele with the Sonnars
are the best known, but this was a design team with unusual strength in numbers as well as ability.The
commercial results were impressive, as sales flourished even in the bitter years of the recession, and by 1939,
the payroll was 14,000 for Carl Zeiss + Schott and Zeiss Ikon was in addition. (By then, Zeiss had taken over
the shutter making firm of A.C.Gauthier of Prontorwerk/Calmbach though this was late in the 1930's and made
less impact prewar.)
Inevitably, the Zeiss group was involved in supplies in World War II, and a number of items are listed, some
specially designed such as night vision lenses. And Zeiss personnel seem to have had a role in the overall
management of the German optical industry at war. This was a double edged situation, as commercialization
of some innovations was delayed, including anti-reflexion coating and probably the Biometar lens design. Also
the idea of a 35mm reflex, possibly with some of the retrofocus lens designs, had to be put on ice for the
duration of the war. In fact, at the end of the war, the first troops into Jena were British, and found few
Germans at work in the plant, most of the personnel working being recruited from other countries during the
war. The British were soon replaced by US forces, who began the rehabilitation of the plant, but the Yalta
Conference made this area part of the Russian Zone. Before the Russians came, the US authorities moved
some 126 leading personnel (85 from Zeiss, 41 from Schott) and some hardware to the West. This included
the famous Zeiss lens collection as well as some plans, drawings and records. But the Russians blocked
further removals of machinery.
The Russians seem to have got the plant running in some sense, especially to make the "Contax lens"
programme, probably both in the original bayonet form and in M39 versions originating in the war, and then
suddenly moved the whole package to Russia. Machinery was moved out by knocking holes in the walls of the
plant and more personnel were given 2 hours to pack for the journey. (This was the origin of the lens
programmes for the Kiev and Fed for years.) All the remaining men at Jena could do was to fill in the holes in
the walls and try to work with machinery rejected for the moves. And then the East German Communist
Government nationalized the firm.
This was the beginning of 45 years of difficulty and separation. In Jena, conditions were difficult, with poor
access to scientific information, materials, currency and commercial decisions, with poor working conditions.
Equally, "Zeiss" was made a centre for much of the innovative technology of the East, being involved later with
computers and machine tools in fields far from their usual subjects. Much of this was commercially totally
non-viable by Western standards but needed by a regime unable to trade freely with the West. Thus it is
impressive that Jena did make quality photographic lenses over this period, and achieved world status as a
supplier eg of aerial cameras and process lenses. And to many, the words "Zeiss, Jena" retained some of the
old magic, even though standards were more variable and finishes less brilliant.This was especially true when
the West banned the sale of goods with certain of the revered trade names and abbreviations such as "CZJ
Bm" had to suffice. Business between Jena and the new Western Zeiss company did exist but was described
as "very difficult", and in the West a new trade name "Opton" was developed to distinguish the products,
especially when sold in the Comecon area.
In contrast, the Zeiss move to the West involved a fresh start on a new site. They were offered one at Munich,
probably the old Steinheil business, but chose Heidenheim where an old cigar factory was taken over, and
and Oberkochen, there was an old gunsight works. This was due to a preference for small country towns and
the more peaceful way of life there. They established satellite works at Aalen, Nattheim and Goettingen and
there is a impression relations with Steinheil may have continued for some time. They say many friends and
customers helped, even at a very difficult time. And slowly some of the old personnel caught up with the move.
Some came when the Russians allowed them to leave Kiev or wherever they had worked to on-stream the
plant after the move, others through the frontier from Jena till some 1,600 had come. In terms of quality of
design and manufacture, Zeiss Opton set the very highest standards, which has been shown by the long term
performance of the products. And novel designs were many- look at the lens programmes for Hasselblad,
Arriflex, Contarex, Contax and Linhof. There are many cases where a single outfit purchased such as a Linhof
with Biogon, Planar and Sonnar has by now given a lifetimes' service and still has a competitive performance
today. And as in 1890, they have licensed designs abroad for use on the Contax cameras made there, though
rather surprisingly they have not continued in supplying large format lenses for 5x4 and 10x8in use, even
though the Zeiss-Voigtlaender large format business was active and highly regarded.
By the 1970's, the Carl Zeiss Foundation employed 28,000 persons, having taken over the Voigtlaender
business as a way of expanding lens production and the shutter works of Deckel/Compur at Munich.
Subsequently, exchange rates made business very difficult, and contraction was needed, Voigtlaender being
sold and the Compur production moved to the Prontor works at Calmbach. But this is long after the cut-off
point of the Vademacum in 1960, a time when Zeiss was still actively expanding and with excellent prospects
for the future.
A very valuable article was by W. Woeltche the Head of the Mathematics Dept, Photo Optics Division in
B.J.P. 25/01/1980 p76, and it will be referred to a number of times, as Woeltche loc. cit. It seems to have
followed from a Conference for the Press at Oberkochen.
------------------
Two Tables of lens serial numbers and dates are at the end of the section. The more detailed seems to
originate with Mr G. Gilbert "Collecting Photographica" and has been quoted by Mr J. McKeown in his Price
Guide and by Mr P.-H. Pont in Chiffres Clef. The shorter was supplied to a friend by Zeiss in 1967. Both
versions end rather suddenly in 1942. After the war, Jena seem to have continued with the same series, at
about 3 million, while Oberkochen made a fresh start (at No1,000 or some such perhaps.) Thus a lens at
No1,000,000 might be about 1930 from Jena or 1950 from Oberkochen. It is usually possible to tell which from
the coating, mount and feel of the item. Examples of many serial numbers are quoted in the text.
Zeiss Landmark lenses are many: Anastigmat, Protar, Protar V11a, Planar, Tessar, Sonnars, Hologon,
Topogon, Biogon(s) are examples, and there are many other "possibles". The firm has been so fertile in
producing new designs that it is a "must" for collectors, and listing the products would be a major task, still
only superficially carried out here. However this may be a useful beginning.
Pre-1890 type designs Non-Anastigmats.
These are exceptionally rare, and will not be anastigmats. In fact, only one item has been noted during the
preparation of the text. A graphic account is in Eder's book of some of the earliest Zeiss lenses coming to him
for an opinion. The set did include a triple lens.
Apochromatic Triplet f6.3. This was not an anastigmat and seems to have had limited sales from 1888, or
possibly even not been sold normally. The designers were E.Abbe and P.Rudolph. The design showed
problems with correction of oblique rays and was abandoned. Two versions are said to have been tried:
(a) symmetrical and
(b) disymmetrical (Layout Zei001).
They may have sold as low power macro lenses for photomicrography. Thus one list gives an apochromat
microscope lens (1886) by Abbe and Rudolph.
It is significant that one of these seems to have been sent to Eder as " a triple lens f6.3 for 90degrees" in
30/05/1890 for examination: he (possibly loosely?) classes all of the set sent to him as "anastigmats". The
others were, slightly paraphrasing a partly unclear passage:
Anastigmat f6.3/85° a lens with a 2+3 layout, which may have been a Series 11?
Anastigmat f10 This was a double lens system for wide angle and process work. It was possibly a Series
1V?
Anastigmat for 110° This was a lens with a 2+2 layout, and was probably a Series V(?)
Thus the conclusion must be that some Triplets did escapefrom the factory and may still exist. One possibility
is that as suggested above, they enjoyed sales for some specialized uses. And there is a hint in Eder's text
that the lenses he saw were not quite those issued. Subsequently, it was noted that one Triplet Apochromat
Patent lens 310mm No44 with flange did sell at a Christies' auction so (a) they do exist and (b) the Zeiss
numbering begins at unity or very near it!
Note that Dr Schroeder of Ross may have anticipated this line of development with his own triplet as well as
Concentric, and one result may have been the licence to Ross of the Anastigmats developed later by Zeiss.
The next non-anastigmat is probably a more prosaic item and is likely to be later. It was possible to see a
"Aplanat fur Projection" f6.7 200mm. This was a Zeiss lens in a brass mount with an iris calibrated in mm
(28-3mm). It must be a rare lens and non-anastigmatic but may not be photographic. It was seen at Nr 1,02x,
DRP 84,996. The Patent No seems later than expected and the lens may be a 1892-5 period item. But it is
unusual as a non-anastigmat Zeiss lens and it is certainly not a normal photographic lens as the correction is
really sharp in the centre but only over a 10-15cm radius, and then falls off markedly. This would be a
reasonable performance for a projection lens but not really acceptable for normal camera work. It also raises
questions over the serial numbering sequence then in use- perhaps the projection lens was numbered in a
different series with a later start date.
Fig 002 033 Zeiss Projection Aplanat f6.7/20cm No1024.
There is also a reference to a RR by Zeiss on an 1889 Express Detective Stereo by Nadar as alternative to a
Steinheil RR lens. [It is more likely that Zeiss had agreed the contract in 1889 but could not tell Nadar just
what the new lens he was to get would be. So Nadar and the customer was happily surprised to actually get a
Series III anastigmat or some such.]
Anastigmats from 1890.
Zeiss quote some basic references in their catalogue, including German. Pats. No 56,109 of 03/04/1890 to
Zeiss; Brit. Pat.No 6,028 of 24/05/1890 to Rudolph, and the Brit Jnl. Photo. 1890, p443.
These certainly were the start in 1889 of the Anastigmat era in a real sense. While the external curves are
symmetrical, Rudolph designed them deliberately with the two halves unlike in the internal curves, to allow the
correction of the overall design even though the external curves were the same. Equally they were very much
in the contemporary mould in external appearance and specification so the customer could replace an f8 RR
with a Series 111 f7.2 anastigmat and get an f18 Series V to replace his f16 WAR without feeling that things
had changed superficially very much. There was also an f4.5 Series 1 to replace the Portrait RR and a Series
1V f12.5 to replace a MAR. Thus the Anastigmats must be viewed as a very well thought out product range to
displace the RR's, and they were issued over the years 1890-1893. Doubtless the licensees introduced
products slightly differently in time, and not all the versions may have been made by all of them, though Ross
and Bausch and Lomb certainly made a good range. The layouts of the different series show rather little
individuality, except that some have a three glass rear component and Eder says these are in the designs of
f9 or faster- though this is not actually quite in line with experience. They were listed in a price list by 1890
and a catalogue was issued in May 1891, with a supplement in 1893.
It is unlikely that Zeiss made any "unnumbered" lenses as some other makers did at the start of their
production runs. They were an experienced and meticulous maker and seem to have numbered and doubtless
recorded every possible item. But unnumbered lenses do occur. They are probably spurious items resulting
from the union of unrelated items where the missing parts were the ones with the number. One example seen
was a barrel with two Series VI type cells- with no number. This was probably a Zeiss barrel (from a Protar
VIIa) fitted with two cells from a Goerz/Ross Dagor type, where the cells are not engraved. Another was
superficially a perfect early Series III which proved to cover only 55° angle- here two unknown anastigmat cells
were probably fitted to a "too-long" barrel from another lens, which limited the angle covered. Incidentally, it is
likely that these resulted from screwing odd components together where-ever they fitted rather than from
fraudulent intentions but are worth noting.
Actually, it does not seem to be known how Zeiss numbered the earliest Anastigmat lenses- possibly starting
from No100 perhaps, but certainly No1,51x has been seen and is an Anastigmat and note the Triple
Apochromate which suggests they started from 1 or near it. Eder says they initially were not easy to sell in
Germany, but were popular abroad in England, Russia and France. This may now determine where they can
be found. Experience bears this out, with more French-made Krauss versions at auctions than German, due to
their use on Jumelles. Ross also made quite a lot but they seem to figure less at auction.
[The design of the anastigmat depended on using one cell to correct the other. There was opposite gradation
of the refractive indices in the two cells, the positive glass in one case having a higher and in the other a lower
refractive index. The front, which was used to correct spherical aberration, was made of the old glasses (a
crown positive and a highly refractive flint negative): and the rear for anastigmatic correction, was made of the
new glasses with a crown positive of high refraction glass and a flint negative of low refraction glass. (Eder
merely says Barita flint and light crown) The separate components are not useable alone. The rear
components are the strongly positive ones, the fronts being from about 2x greater focal length in the early f7.2
lenses through some 3x in the f6.3 to others where the front seems to be very long indeed, as in the f8, f9, f18
lenses. This ratio of front to back focus can be a very easy way to note redesigns, as the first and second f7.2
change from being a 2:1 ratio to being of almost zero power front type.Where a fifth glass was added it was to
correct higher order spherical aberrations and these were possibly the faster or older lenses. Two crowns of
high refraction with a central flint of very low refraction were used. (An example of the design process is given
in Kingslake's "Lens Design Fundementals", p276.]
Anastigmats 1890
Series III Anastigmat Protar f7.2 Layout 2 + 2 glasses* (Zei oo4) To cover about 75°?
This was made in 3.75-23in in 9 foci. One of the first group to be issued and today is one of the easier to find.
It should be an attractive lens, really sharp and contrasty and covering a good angle,but some of the early
ones do need to be stopped down a bit for critical use. In designing it, Rudolph was probably aiming to match
the Aplanat which had been the traditional lens of the day, and which provided f7 to focus, but where owners
would have expected to stop down to perhaps f16 for critical work, and here the Anastigmat would have shown
a real benefit. A 315mm lens covered 10x8in with at least 3in of decentration possible and the image was fully

usable at the extreme corner. But note* that by todays standards, there does seem to be some field curvature
on an early lens of 2+3 glasses, but a later one was very much flatter field, and there seems to be a real
difference here. The later seems to use a much revised design. Thus it may be wise for use to look for one
with just 2 glasses in the rear component. Another point is that these early examples if small do tend to be in
plain barrel mounts with disc stops and unusual stop markings which may need to be converted for use today.
Three examples noted were Nos 1,51x (early type), 5,793, and 19,51x, as well as lenses by Ross from
London. Thus it seems to be one of the easier ones to find.
Fig 014 010 Set of f7.2/315mm Anastigmats by (l) Zeiss No1511; Ross No482; and Zeiss No19,515 (the two
Zeiss lenses differ in external curvatures!).
Series IV Anastigmat Protar f12.5 Layout 2 + 2 (Zei 005) To cover 100°.
This was made in 2.5-48.5in in 10 focal lengths. It was one of the first group to be issued, with similar
attractive qualities of sharpness and contrast, and with a wider angle of cover. It was probably designed to
replace the portable RR's which had sold at f11 or f12 as a lighter alternative for landscape work, and this was
not as important a market slot as the f7.2, which replaced the normal Aplanat or RR. Thus it has been noted
in the UK as a Ross-made version at No703, but no original Zeiss lens has been seen, and it probably is
relatively uncommon. At the time, it may have been judged too slow so that Zeiss replaced it with later
Anastigmat lenses of f8 and f9, as being easier to sell when most work was focused on a ground glass
screen.
Series V Anastigmat Protar f18/f16 2+3 glasses (Layout Zei 006_ To cover up to 110°
These were made in focal lengths of 40, 62, 86, 112,141, 182, 212, 265, 315, 360, 390mm for use at up to
110° as a normal wide angle camera lens. It was also made in 460, 632, 947 and up to 1664mm for use as a
process lens, when it covered only 90°.(The difference in angle covered may be due to the mount.)
This became the classic wide angle. It is slow and dim to focus, but the image is crisp and contrasty, and the
lens is freer from ghosting and flare than than any of the other old lenses tested- and some modern ones! This
resulted in it being one of the longest lived lens designs, selling new from 1890 to about 1950, when supplied
by Bausch & Lomb. Initially, it was made under license by all the licensees- or most of them!- and in some
countries the maximum aperture seems to have been quietly adjusted to f16, while still under Zeiss
supervision. The difference was probably not significant. It was often supplied with rotating disc stops in the
smaller sizes, eg up to 182mm, as these were easier to make and more accurate, especially if a pair was
used for stereo work.
It was typically made in 15 sizes, and very large sizes could be made to special order. These were for process
use, and initially this would have been very welcome. But they are scarce today, and it is probably that they
were fairly short lived as other process lenses overtook them, even by 1900. By then, Zeiss for one were
offering the Planar in "differing focus and dimensions (ie apertures?) for reproductions".
Typical lenses seen today and the angles covered are as follows:
Focal length Covers at f18 Covers at f32 Diameter
mm cm cm mm
86 9x12 or 1/4plate 12x15 or 1/2plate 220
112 12x15cm or 1/2plate 13x18cm or 5x7in 280mm
141 13x18cm or 5x7in 16x21 or 1/1plate 360mm
180 8.5x6.5in
212 20x26 or 10x8in 24x30 or 9.5x11.75in 540
Actually, 86mm is the most useful today, and the shortest actually found often. It can be useful on 5x4in,
though any of this series can be a nice find. They are small and may need careful searching through a box of
lenses however. In the old days it was the famous wide angle lens and for example was used on the shallow
Kodak Wide Angle camera, where a f18/86mm Protar was fitted to 1/1plate (6.5x8.5in) cameras. This
underlines that it was seldom possible with ordinary cameras to use the whole image, but rather the best
illuminated centre was employed. On 5x4in, the 86mm covers generously, and a 62mm could almost be used.
One of these was noted with a mm iris and a focusing mount at No9779x, probably off a Kodak wide angle
camera. It mounted neatly on a MPP MicroTechnical and the focusing mount acted both to focus and to give a
trifle of useful extension like the cone mounts used on these cameras for w/a lenses. This could also be useful
on a Linhof Technika.
With time, the range of foci shrank, first with the process sizes going, though they were listed up to 37.5in in a
Kodak Catalogue for 1914. Normally, it was 1.5-15in. It is likely that the moderate cost of this small lens kept
it on sale in a few sizes. It was seldom in price lists, but in 1914, Ross was selling their type at f16/3.25in for
£3.2 when a 3in WAR was £3.00 and a 6in f4.5 Tessar in a Compound was £6.75 or a 6in/f4.5 Ross
Homocentric in a was £8.9 which makes it seem very good value if you actually had the £3,2 to spare, which
was then an appreciable sum. Thus a proportion are found on cameras where they do not seem to have been
used as wide angles, but rather as normal angle lenses for their pure quality, as when a 13x18cm camera
noted at auction was fitted with an f18/212mm Protar No27,80x.
References: DRPatent 56,109/1890; some have DRPatent 84,983 on the mount also.
also DRP 193,439, and Brit Pat. 6028/1890.
British Jnl. Photog. 1890, 443.
Zeiss Price List 1890, Catalogue 1890, p443.
DRP 84,996 This covered a compact focusing mount and iris diaphragm.
Fig 002 038 Zeiss Anastigmat Ser V f18/212mm, ie before the use of the T.N. Protar.
Fig 003 019 Zeiss Protar Anastigmat f18/86mm No97,795 (Note Protar name in use, cf. Fig002/038 above).
Anastigmats 1891
Series 1 Anastigmat Protar f4.5 51-416mm (9 f.l.) (Layout Zei 002) 2+3 A portrait lens.
No angle of coverage has been noted but it was probably appreciably narrower than for the other original
anstigmats. (Layout Zei002). It seems to be relatively uncommon, and may have found it hard to displace
Portrait RR's in sales due to a higher cost and the lack of a need for the same overall sharpness in this
market. It also was replaced by other lenses such as the Planar, Unar and Tessar, so it was probably only
sold for a few years, possibly 1891-1896. It certainly had gone by 1901 and the catalogue notes it was
replaced by other and better lenses. (This comment also applied then to the Series II, III,and IV anastigmats.)
Series 11 Anastigmat Protar f6.3. 54-590mm (12 f.l.) (Layout Zei 003) 2+3 To cover 80-85°
Like the others, this is a fine lens but the angle covered is noticeably less than some. A 170mm lens might
just cover 1/1 plate but certainly not 10x8. In comparison a Series V would cover in emergency and a 180mm
Dagor might. But the suggested 150mm for 1/4plate is very conservative and would give excellent results and
allow for some movement. (In fact, a 170mm lens covered most of a 10x8in, equivalent to 90°, but a very small
stop would be required at the corners. It would be good on 5x7in). The example seen was an original Zeiss
lens and it was noted that it was not marked with a Series number indicating that these lenses do need to be
recognised by the apertures. It was seen at Zeiss No 21,73x. It also was displaced by other lenses, probably
mainly by the Doppel Protars VIa and VIIa, though the Series IIa was the logical replacement.
This seems to be the least illustrated of the series, and may have been a compromise too near other makers
anastigmat lenses in speed for success. (Layout Zei003) This seems to have been the favourite Zeiss lens
and they backed it in comparison with the Dagor in a trial reported in the Photographic News 15/09/1893,
p586. It was carried out by Dr Miethe, Dr Neuhauss, and Dr Stolze and the angles they considered sharply
covered were :
Stop Dagor Anastigmat II
Goerz Ser111 Protar Zeiss
f7.7 39° 25.5°
f11 48° 38°
f22 above 65° 65°
This showed the Goerz Dagor Double Anastigmat won, but the Zeiss Protar anastigmat was certainly a fine
lens since these distinguished workers probably set really high standards of sharpness.
At least one of these Series II lenses seems to have been used in early movie photography as a f6.3/85mm is
in Mr Ariel's list as on a 1896 Darras.
Note During 1891 Rudolph designed a single landscape lens using a combination of 3 glasses. At f14.5 this
was anastigmatically corrected, flat field and free from spherical aberrations. It was not sold until the launch of
the Satz Anastigmat V1, an f7.7 which was made up of a pair of f14.5 components, essentially like the Dagor.
The centre glass had a refraction between those of the outers, and "had one converging and one diverging
surface". [Goerz secured a prior patent in 1892 and it became their Dagor.] It is possible that Abbe and
Rudolph were keen to keep the anastigmat as simple optically as the predecessors (ie 2+2 glasses as in the
RR) and were trying to avoid the use of more complex 6-glass designs.
Series IIIa Anastigmat Protar f9.0 2 + 2 glasses (Layout Zei 007) To cover 97°
This was made in: 75, 95, 120, 150, 172, 196, 230, 272, 317, 407, 505, 600, 690, 820mm where the first 4
were normally suplied with rotating stops as better adapted especially for matching exposure with a stereo
pair. Later the range shrank to 75-317mm in 1907.
The series IIIa was suggested for stereo and hand cameras, and had the typical advantages of giving crisp and
contrasty pictures and in addition was relarively small and light. It also could be sold as a useful wide angle
lens, although this does not seem to have been stressed as much as with the Series V. But it is made use of
in suggesting a 95mm lens for 6x9cm or a 120mm for 9x12cm. Today, it may seem rather near the Series II
and IIa in aperture, but Zeiss seem to have sold them in parallel for a period before deleting the Series IIa.
Thus Series IIIa was one of the last of the unsymmetrical Protars to be in production. One reason may be
price. It was probably inherently cheaper to make a 4 glass Series IIIa than a 5 glass Series IIa and in addition
the customer could choose a shorter focal length and reduce the cost still more. Thus for 1/4plate, a Series IIa
in 136mm with 5 glasses cost 95 Marks while a Series IIIa option would be 120mm at 65 Marks or a 150mm
at 75 Marks.
Incidentally, it was sold as "Reg'd No 41,715/1899" which may be a patent or register design. An example
was on a "Block Notes" body No141x VP size as f9/175mm No62,25x.
It seems to be one of the least easy to find today. No example has been seen so far although it has been
noted on Stereo cameras. It was fitted by Ernemann, Boulade, Huttig, and Palmos but in 1901, the f8 seems
to have been the preferred item.
Typical sizes useful today might be:
Focus Film size Film size Diameter of Image with stopped down
mm at f9 at f12.5 the lens stoppped down (mm)
95mm 8x8cm 8x10cm 190
120mm 8x10cm 9x12cm 240mm
150mm 9x12cm 12x15cm 300mm
Anastigmat 1893
Series IIa Anastigmat Protar f8.0 2 + 3 glasses (Layout Zei 008) To cover 75 or 80°
This was made in focal lengths of 90, 110, 136, 167, 205, 244, 295, 350, 433mm.
This was one of the last of the Anastigmats to be introduced, and the 3-glass rear component was used to
allow improved spherical correction with a critically flat field. In fact, it has the typical advantages of sharpness
and contrast with a really good angle covered. Customers would have compared this anastigmat with an RR,
and found real advantages in a lens of similar size and without too great an increase in cost compared with
either an RR or a Series V. But it must have always lived in the shadow of Symmetrical Anastigmats such as
the Series VI and similar lenses, where the main reason that the Series IIa sold was probably that it was
about half the price.
Today it does not seem to be easy to find, but does occur. Curiously, both those seen were 110mm, and this
may be due to its use on several Stereo cameras, where the moderate size, cost and weight resulted in their
use. One very attractive version noted was in an aluminium mount with a copper or bronze iris ring at
No34,14x, and a stereo camera by Billieni of Nancy is shown with lenses like these by FBB as Fig E'. This
option of an alloy mount was offered by Zeiss in 1901 for most if not all lenses, but no other example has been
seen of this type. Later alloy was used more freely for lens cells. The focal length used can be seen from this
Table, derived from the Zeiss one.
Focus Film size Film size Image
mm overed at covered at diameter
f8.0 f12.5 mm
110 6x8cm 9x12 170
136 9x12 12x15 210
167 12x15 13x18 260
Note on Collecting
From the collecting point of view, one problem is that these lenses are marked 'Anastigmat' and later as Protar
but do not have a 'series number'. Thus they do need to be individually recognized by their aperture. This may
be less easy than it seems at first sight. For one thing, there is a problem of confusion by the customer today
which may well have existed originally. (It is only too easy here to forget which types are needed and which
are already owned! ) Also they are often physically small and easy to overlook in a collection of lenses.
Originally they set a new standard of performance but rapidly faced stiff competition from the Goerz Dagor,
which was an f7.7 lens covering some 80° at the time. (While several specifications of Dagor existed, they
were nothing like as wide a range as the Anastigmat). And Rudolph quickly found new and better designs. As
a result the range of anastigmats contracted fairly quickly and by 1901 only 11a, 111a and V were listed
though 1 was still available to special order in 1905. 11a was deleted by 1910, leaving 111a (noted in 1911 on
the Blocknotes) and especially V as the longest to survive. Thus they will seem quite old items today.
This means that collecting a set is quite a challenge today. It is a great help that they were made under
licence. But not all may have been made by all the licencees, and certainly their focal length choices varied.
Series V was offered in an f16 version by the licensees with Zeiss cooperation during the license period since
the adverts. do refer to it as Zeiss, and this may have been a cosmetic change for countries used to that
aperture system. And Series V continued up into the 1950's, though no longer with signs of Zeiss participation
in the case of Ross. Bausch and Lomb used the Zeiss Trade names and may have continued as licensees.
Quite a high proportion of the early lenses will be from licensees. Remember that in 1901, 100,000 lenses had
been made, about 44,000 being the current Zeiss number. By then, Zeiss would be making an increasing
proportion, so that the first few would be above 56% from licensees, although this is apparently the overall
percentage.
In use, these are still really desireable, the simple structures making for high contrast and freedom from flare
and at small apertures they are fully sharp. There may have been support from camera makers, as their
designs may have been built round lenses of a traditional weight, size and price, so that a radically new
product could have caused real problems for them. On the other hand, Dr Kingslake says that the anastigmat
was regarded as "not as good as hoped" and that "in spite of several redesigns" the series was replaced.
There must be small print here, though redesigns are not mentioned in the 1901 Zeiss catalogue. One aspect
may be the later lenses with "a" suffix. But it seems a different example may be the Series 111 f7.2 315mm
lens. Mr Burford of Collectors Cameras allowed us to examine an early example before sale and Zeiss
No1,51x to DRP56,109 proved to differ in surface curves from a later example of the same specification, Zeiss
No19,51x which was also to DRP56,109 but additionally marked DRP 84,996. The reflexions in the rear
component also differed as did the ratio of the foci of the components as mentioned above. The later lens
seemed to be a 2 glass cell while the early one seemed to be 3 glass. An early Ross version Ross No48x
seemed identical to the early Zeiss lens and for most collectors, the licensees lenses are accepted as valid
versions of the originals, although the "real Zeiss" probably fetches a premium.
In 1926, Frerk mentions that two Protars were still available new in 1926, the Series V f18 and probably the
Series 111a at f9. He stresses the amount of movement available with the f9 and says it is not really replaced
by any other lens, and confirms the value of the Series V for wide-angle work. They were then 2+2 designs.
The Series 111a was suggested in 20cm for 13x18cm but was said to cover a 30cm dia. at small stops, or
90°. Incidentally the serial number No115x was early, but Zeiss probably did begin at 1 or near it from
consideration of the No44 on the Triplet Apochromat above.
The Trade Name Anastigmat was widely adopted by non-licensed makers even though Zeiss in 1901 noted
that it had previously been "seldom used". The lenses so labelled were not by Zeiss, used different designs
and in some cases could claim little comparison with the real thing. Since it was a pre-existing word, it would
be non-registrable as a Trade Name, and Zeiss had to adopt a new one, "Protar", in 1900 and successfully
defended this. Few original Zeiss anastigmats seem to actually carry this T.N. as a result of the date, which
was after some had ceased production, but Protar is still a correct way to refer to them. Protar was used on
the early symmetrical anastigmats as well which can now cause some confusion, but all the later types such
as Planar, Unar and Tessar were given registered unique names.
Fig 33 Anastigmat Lenses by Zeiss and Zeiss-Ross.
Exposure: Q9 type lens of unknown make 6in overall, with 10.5in rear cell.
Back Row 433mm f8.0 Zeiss; 272mm f8.0 W/A Zeiss ; 315mm f7.2 Zeiss; 315mm f7.2 Zeiss +
caps and Wh stops, No151x; 315mm f7.2 Zeiss-Ross.
Middle Row 140mm f18 Zeiss + box; 120mm f9 Zeiss-Ross; 120mm f8.0 Zeiss-Ross 110mm f8.0
Zeiss in alloy; 98mm f12 Zeiss-Ross; 141mm f16 Zeiss-Ross; 170mm f6.3 Zeiss.
Front Row 112mm f18 Zeiss with disc stops; 212mm f18 Zeiss with mm iris scale; 112mm f18
Zeiss with no iris,ex-MoD; 110mm f18 Zeiss mm iris scale; 85mm f18 Zeiss, mm iris;
141mm f18 Zeiss Ross with disc iris; 112mm f16 Zeiss-Ross; 86mm f16 Ross
(No22948x).
In a different field, Rudolph and Abbe studied the design of anamorphic lenses in 1897 using cylindrical
lenses.
Symmetrical Anastigmats
Although the external curves of the above lenses look symmetrical, the layout shows they are in fact
something like an old+new achromat combined and the inner curves are not symmetrical. In contrast, the
Goerz Dagor was strictly symmetrical with identical glasses and curves in both components and a very fine
lens. Zeiss offered symmetrical anastigmats early on and made several series. (Rudolph/Zeiss Brit Pat
4,692/1893, on the OrthoProtar). In fact, they seem to have made versions of all the main types of
Symmetrical Anastigmats, normally associated with the Dagor of Goerz (as Series V1), Kollinear of
Voigtlaender (1909 TypeV11) and Holos of Watson (as the Ortho Protar). This may suggest cross licensing or
that Zeiss's patenting of the Anastigmat gave them some rights to all types- which is possible. However Zeiss
seems to have decided that the Zeiss Series V11 Protar was the best: and that quite different types were the
way ahead as in fact was the case.
One suggestion is that Rudolph followed up the design of the Anastigmat with the design of a 3-glass
meniscus anastigmat working at f14.5 and that these were used in pairs to produce the Series V1 in 1893.
This would explain why when von Hoegh approached Zeiss with the idea of the Dagor, Zeiss were able to say
they were not interested, since in fact they already had designed the half lens; and why they were able to
Patent it in the UK. (Brit.Pat 4,692/1893). But the real priority seems to have been to v.Hoegh and Goerz for
the use of a symmetrical pair.
[Note According to Eder, the first application for a job by v. Hoegh lead to an offer of employment, but this was
cancelled after Bamberg, his former superviser, said he was not suitable as being weak in mathematics. He
did contact Zeiss again, fruitlessly, and then, when he still had only sketches of his ideas, he called on Goerz,
and promised to do the calculation of the real lens in a few weeks. The first Goerz Doppel Anastigmat was
ready in Nov 1892, and the patent application was 20/12/1892, granted 05/05/1893. This casts a rather
different light on his refusal by Zeiss, which is often described as rather blunter than it actually was.]
Two lenses which must be mentioned are the IV and VI and the OrthoProtar but both are still shrouded in
some mystery and these notes are very preliminary. One reason may be that they were not sold in the UK.
Convertible Protar Series 1V (sic) This was introduced in 1908, at f12.5 for 60° coverage for the single cells.
Pairs were at f6.3 or f7.0. It used new Jena glass, and may be one of the reports of the Ortho Protar- or
Amatar. It is not an 'original anastigmat' as it is separable, but may be a replacement or printers error for
Series V1. (It seems to be in the 1903 Encyclopedia Brit.) Conrady quotes Von Rohr as using G1= 1.52246,
G2= 1.56724, G3= 1.61120 external glass). A Protar IV was noted at auction at No101,37x on a Universal
Palmos No802x for 18x13cm. The front cell was 350mm, ie. about an 8in lens unit.
Satz Anastigmat Series V1 (Sold from 1893) f12.5 or f14.5 200-900mm (Layout Zei009)
One catalogue calls the Zeiss lens "Double Protar V1 (Single and double) in 150-700mm single at f12.5,
87-407mm, double,at f6.3, f7.0.The slower version will be for unlike cells to get 3 foci.
Satz anastigmat series V1a f7.7 115-519mm. .
V1 was a single component and V1a was a double component lens. Note that Zeiss in the
UK were selling mixed sets with different foci cells, and single components freely while Goerz tended only to
sell pairs of identical components in Dagors. Lummer says "sales from 1891" and that it was replaced by the
4+4 Protar V11a. It may be that Goerz agreed to short term production or that an error in Patent cover existed
(it did in France) and was rectified.
This was rather a short lived product and essentially a Goerz Dagor type Q9 lens, so there would have been a
patent overlap. Lummer in c.1897 discussesSeries VIA as a current product, but it is not in the 1901
catalogue however. Ross versions of Q9 type are common, but are marked 'Goerz', so they probably licensed
direct from Goerz, which may have been uncomfortable as they also made Zeiss lenses. It may be best
called 'Double Protar Series VI': Lummer fairly says 'Convertible Anastigmat Series VIa' and refers to the
single meniscus as derivable from the Series VII by simplification.
[Lummer gives the date of design of the Series VII as 1894. (Brit. Pat 19,509,1894; Brit. Jnl. Photog. 1894,
p829; Eder Jahrbuch der Photographie 1895, p283.) and says the middle two glasses in a VII can be replaced
by a single glass. (This at first produces a Orthoprotar/Holos type.) Or the order of the + and - glasses can be
reversed, (to produce the Series VI/Dagor type). This reads rather as if Lummer was making a synopsis of the
Patent and Dr von Rohr's account of it. Significantly, he says the "achromatic single objective" with flat field,
spherical and anastigmatic correction and of this type was constructed by Zeiss even before the single
objective, at the end of 1891 as Anastigmat-Satzlinse, Series VI . And quotes Brit. Pat. 4692/1893 as validly
covering the type. In comparison von Hoegh's Patent was No23,378/1892, D.R.P. 74,437; see Brit. Jnl.Photo.
1893, p485; or Photographische Mitteilungen Berlin, 1893. One conclusion is that just as Voigtlaender could
persuade Steinheil to share the Orthostigmat patent since they could demonstrate it was well known to them
when the patent was granted to Steinheil, Zeiss could have made problems over the granting of the Goerz
Series III patent and agreed to forego this if they had some use of the design. Note that Lummer's account
explains how they could arrive at both the OrthoProtar and Series VI in one intellectual move as it were.
Possibly the agreement was for Zeiss to market the Series VIa until the Protar VIIa was available for sale.
Lummer goes on to discuss the double anastigmat Series VIa with two cells. (Zei009) and says that there is
no problem in using different foci in the cells as they are each fully corrected. Thus 2 or 3 different cells can be
sold as a Satz Anastigmat for 3 or 5 foci. But a lot of this is guess work!]
The dating of this product is complicated since Zeiss returned to the layout later in a 1908 series called the
Amatar. And the Series V1 seems to have been re-listed after the issue of the Tessar f3.5, probably near to
the Amatar (below) but was not so named. The only possible example seen had no identifying engraving,
merely "Carl Zeiss Jena D.R.P." and an iris engraved in mm from 23-3mm, corresponding to f7.7/177mm.
Zeiss Amatar F6.8 3.5-8.25-10in.(1908)
(Designers Rudolph and Wandersleb,1906 D.R.Pat. 196,734), Layout Zei 010
This was designed to cover 85°. Dagor Q9 layout was used here again in the 1910 period in the Amatar but
only symmetrical pairs were used. It was an excellent lens but is not very common and is normally found on
small (6x9cm) plate cameras though ones seen were a 150mm at No124,75x and a 165mm f6.8 at Nr198,01x
(c.1912). However it was listed in focal lengths 3.5-8.25in in UK, with the suggestion "use 6in for 5x4, but
3.25in will cover at small stops". The 165mm above illuminated 10x8 when focused at 15ft but corner
sharpness was limited and the image here hard to focus as if suffering from astigmatism.
In fact the image matched a 168mm Dagor quite well, with a suggestion that the Amatar was slightly the
sharper in the centre at f6.8 but may have fallen off rather more towards the edge. However the front curves do
seem to differ and be slightly flatter in the Amatar. Later use of two 150mm lenses seemed to show
similarities rather than differences. A 10in version has been noted as for sale secondhand in a B&J list. The
use of single components was recommended, eg 6in gives 2x 10in cells. (Layout Zei010). For what it is worth,
the drawing suggests that Amatar was a rather slimmer design than Dagor but this may be the result of
artistic license. It may have been covered by Brit Pat. 26,317/1910 for a Q9 with improved astigmatism
correction due to the use of new glass types. The example seen at No198,01x was in Compound shutter- and
rather high priced in 1998 as these lenses always seem to be! It is a scarce and sought-after lens today! The
fitting of the cells to the shutter was an unusual size and may be one reserved for the product so the shutter is
an important part of the item to evaluate on purchase.
Frerk remembered it in 1926, though it was not made then, and quotes 21cm for 13x18cm. Here the individual
cells are 36cm.
Fig 003 015 Zeiss Amatar f6.8/165mm No198,010 in dialset Compur (defective).
Zeiss 'Amatar' f4.5 Series 1X This is a mystery, offered in Houghton's list in 1914 for the Ensign Box Reflex,
as a 6in for 1/4plate. (BJA, 1914, p339). It just may be a misprint eg. for a Triotar, although only the f6.3
seems to be officially available by then.
Protar Apochromat This was noted as an f6.3/142mm lens at No73,32x in brass, and may be an early
process version to be replaced by the ApoTessar and ApoPlanar.
Ortho Protar-This is also a rather obscure lens, possibly as it was not sold in the UK. It was
forseen in the original patent (Brit Pat 4,692/1893). It was probably f8.0 max.The layout was to be used later in
the Conrady-Watson Holos, and then in the Angulon by Tronnier (c.1930). Possibly it was the second Series
V1/V1a above. Conrady quotes Gleichen as giving the glasses for OrthoProtar as G1= 1.49833, G2= 1.58950,
G3= 1.62210 (external when paired). It was dated as a 1910 item, and the confusion may be due to two types
being concealed in one number. A double Protar was offered from 1894. Rudolph described a (last?) one in
1910, at f8.0. The use of an "Ortho Protar" layout seems to have been shortlived.
Probably all the 3+3 symmetrical anastigmat types were somewhat neglected by Zeiss due to the success of
the next lenses, but the simpler types must have been cheaper to make and led to pressure from
management to try to seek a version which was up to the Zeiss standards of correction. This might be
especially true as the complicated patent position ended. In contrast, a competitor (T.R.Dallmeyer) described
the Series V11a below as the best corrected lens issued up to 1900, which was more the type of product that
Zeiss would have wished to make. And there could be no question of the patent cover of the Sries VIIa.
Series VII/VIIa Anastigmat Protar Series (Double Protar) (1894) f6.3 To cover 70-85°
(Rudolph/Zeiss Brit. Pat. No 19,509/1894) (Layout Zei011, 012)
(a) Single Protar Series VII was made in: 100,135, 170, 183, 224, 285, 350, 412, 480, 590, 690, 782, 862,
1000mm. The 3 smallest lenses were at f11, and covered 75°, all the others were at f12.5 and covered 85°.
They were a meniscus of 4 cemented glasses, mounted concave towards the subject. It was suggested to
use 170mm for 9x12, though 135 or even 100mm would cover if needed. These have maximum diameters of
image of 260, 210, and 150mm respectively. The limitation suggested is probably due to the need to avoid
distortion as they suggest 285mm for use on 5.1x7in for use in architecture with results free from noticeable
distortion. Single Protar VII cells do show some shift of focus as they are stopped down, and care is needed:
but it is not as severe as some makes.
Single components should be mounted at the rear of the barrel for the field to be flat and if original will have a
neat screw-in ring at the front of the barrel to protect the unused threads which would normally have held the
other component. Check on purchase that these are genuinely original as too often a 'single Protar' is just a
case where one component has been lost, stolen or strayed.
Conrady quotes suitable glasses as having Nd in G1= 1.51743, G2= 1.61002, G3= 1.51156, G4= 1.58254
(external glass in a pair).
Coverages in 1929 were given as:
7in 18cm 6.5x4.75in plate
11.5in 29cm 8.5x6.5in
14in 35cm 10x8in
A Protar was dismantled by soaking in Xylene for about 14 days, and this showed two points. One that the
front (outer) glass was well oversize at 37mm dia compared with 34mm for the other glasses. The other was
that the inner has a chamfer ground on it but otherwise the 34mm diameters form a true cylinder without a
waist as on other makes.
(b) Double Protar Series VIIa was chosen from the above as pairs, or more cells with a common thread and
barrel.
These seem to be coverages for symmetrical Protar VIIa pairs at f6.3-7.7 given in 1929:
4in 7 + 7in cells 3.5x2.5in plate
5in 8.75 + 8.75in 4.25x3.25in
6.75in 11.5 + 11.5in 6.5x4.75in
9.5in 16 + 16.5in 8.5x6.75in
Series V11a f6.3,etc. 61-595mm (27 f.l.) normal form. (Layout Zei011) Use 13in. for 10x8in.
(c) Protar Sets Set Ao: for 1/4plate, 7.5,9.1,9.8in components (for 4.7in and up)
Set A: for 7x5, 9.8,11.8,13.8in components (for 6.2in and up)
Set B: for 9x7 19.7,16.9,13.8,11.8in components(for 7.3in and up)
Some sets had a Series V anastigmat as an extra for extreme wide angle work.
Colour filters could also be added.
For preference, lenses of roughly equal size were used for convenience in mounting, an example being a
Protar set C with cells of 224, 285, 350mm which combined gave 143, 156, 179mm double Protars. A
common choice for a simple 'double' was just 285+224mm giving 143mm. Zeiss offered at least 30 double
Protars by combining singles but two which are very common are the one above, used for 1/4plate and 5x7in.
Another was the set D used for 1/1plate. It used cells of 285, 350, 412, 480mm and combined these gave 179,
192, 216, 232, 254mm and a good choice of foci for a 1/1plate or 10x8in camera. Normally Protar VIIa covered
80° but the 3 smallest and the 3 largest sizes covered only 70°. The maximum aperture was f6.3 when two
like cells were in use, but fell to f7.0 or f7.7 when unlike cells were used. Thus some were mounted in shutters
or mounts with sets if stop scales; or iris scales calibrated in mm and a Table to read off the speeds. These
pairs were free from distortion, and also free from focus shift as they were stopped down.
The Series V11 is made of 4-glasses, and was effectively an original anastigmat (eg. Series 1V) compressed
into a single cemented component and still fully corrected-( which a single component of a Dagor is not.) But
Zeiss admitted to a trifle of distortion with the single Protar- the double is free of this. (The external curves of
the "original" are the same inside and out so that it is feasible to actually reverse one pair and cement them to
the others.) Thus Zeiss sold both single components, Series V11, and Double Protars Series V11a which
had a pair with two components. And they were free to sell pairs in which the components were different (as in
Zei012) so that the user got 3 foci from one pair as A+B, A,or B. This is the classic Protar and is implied if no
further detail is given. It continued as a minority product into the late 1930's at least on the Zeiss Ikon Juwel
plate camera, their most costly product. And it is still very good to use today. (Thus R.C.Taylor in B.J.A.
03/03/1978 says the sharpness compares well with a modern convertible Symmar though the contrast is
lower.) An early one seems to be No24,35x + 24,77x in a brass barrel. Note the cells were individually
numbered and the numbers will be near but not necessarily in sequence in original lenses.
Depending on the pairing of the cells, it could be f6.3, f7.0 or f7.7 maximum aperture. It was suggested to
chose 20.5cm for 13x18cm plates, with two 35cm cells. Unlike pairs are needed for 3-focus and these are
slower in aperture. Double Protars were made by most of the Licensees eg. Ross and B+L. They were and
should still be a highly valued item. Protars were made at least to 1940, at least by the ex-licencees. Rather
often, they seem to be found with two identical cells such as No406,19x where two successive serial numbers
are allotted to the pair of 22cm cells in a dialset Compur- but this is certainly not universal. An early brass
example seen has the iris marked in "mm" rather than f-stops. Later sets at about Nr 27822x and 24844x are
35cm+29cm to give a 7.5in approx pair for 5x7, and 29cm+22cm to give a 5.75in approx. pair for 9x12cm. The
range of versions may have been contracting by then (1920's) and these gave 3 well chosen foci.
In the UK N&G were active agents, many of their cameras having a 3 focus pair, such as 224/284mm and they
had a specialist mounting with the front cell screwed into a bayonet adapter to the front of their own shutter so
it could be easily removed and replaced: this was a standard, and it is now possible to build up a set of cells
to interchange. Prices today are often surprisingly modest for many Protar VII's as they are little understood
today, but in fact they are excellent lenses, sharp, contrasty and free from distortion. They give good covering
power, though this is rather less than the Dagor.
Fig 002 017 Zeiss Protar VIIa set for 10x8in, with 48cm 172,09x + 407,947, and 41cm 410,925.
Fig 002 037 Zeiss Protar Series VII 224mm and 285mm cells in bayonets for Newman-Sinclair shutter.
Fig 003 009 Zeiss Protar VIIa 35+29cm for 19.0cm Nos278,222+2,781,10x set refitted to Compur 2 shutter.
When purchasing the Series VIIA double Protar it is worth noting that it does lose out to Dagor slightly on
covering power, and slightly on contrast. But they should be extremely sharp, eg with Protar VII closed down
as far as f64 though there was a slight loss of sharpness at f128. And there can be a hint of change of focus
on stopping down, the sharpest point moving slightly nearer the camera though the sharp zone seems to
remain equally distributed beyond and in front of the point focused. (This was studied with a 24.5in Ross-Zeiss
Protar VII and could well be masked with a smaller lens. But it is something Mr A. Adams comments on.) And
it must have been a problem centering the 4 glasses to the accuracy required. Some problems with failure of
the balsaming have been encountered in these lenses, though perhaps these are few in view of their complex
design but this is certainly something to look for on purchasing. [Certainly there are fewer problems with them
than with some other 4+4 designs, where practically every sample seen has balsam flaws.] Another question
from experience has been old lens cells remounted in more modern shutters. Unless very well done this can
lead to problems with alignment of the axes and it would be wise to buy only on approval here. But this can
apply to other lenses as well.
At least one of these Protar VIIa sets was noted in a very elaborately engraved full brass shutter made by
Zeiss using a 9+14in pair, each of which was marked 'Zeiss patent' so they just may be Ross cells in a Zeiss
shutter. But it was certainly a case where a much higher price would be obtained.
A surprising note in Photography 15/6/1909 says the 4-glass Series V11 was to be replaced by a 3-glass
OrthoProtar type Protar at f12.5,single and f6.3 double, and as sets. It seems either to have been a
misunderstanding or there was a change of plan. The optical layout was shown which makes confusion less
likely, and possibly the intention was to use it for some applications only. (Layout Zei013, Zei014). The cause
was probably a search for a lower cost product.
(d) Protar Telepositive f3.0 use: This was an exotic fast f3.0 (or possibly also f4.0) version of the single
Protar, for use as a tele positive component, and it was corrected over a narrow angle only. It was not listed as
an actual Protar in the 1901 catalogue, although the layout is the same. It was made about 1900 as 135, 225,
and 375mm for use with Telephotographic tube mounts III, IV, V respectively.
135mm for: T/T mount III 27?, 45, 58mm focus (3.0x or 2.3x manification resp.)
225mm for T/T mount IV 75, 100mm focus (3.0x or 2.3x magnification respectively).
375mm for T/T mount V 125mm focus (no data)
Thus a 135 would go up to 405mm and a 225 to 675mm with the more powerful. Here the telenegative should
be mounted with the engraved side away from the positive lens. (It would be away from it with a Doppel
Anastigmat.)
These are shown in the 1901 Catalogue and also see Marriage's book. The Layout is Zei015;Zei016, where the
latter shows the components but without the spacing). It was noted at auction in a TeleTubus III below as a
f3/135mm positive No88,88x teamed with a -58mm negative, ie about 310mm overall. The Telepositive could
also be used as a rapid studio lens for small pictures, where the covering power was sufficient for portrait
heads. Thus a 225mm covered CdeV and a 375mm covered Cabinet- this suggest a fairly narrow angle. [It
may have given other designers ideas since there were several later lenses with some resemblance to the
Protar VII design but with greater aperture.]
Other Anastigmats
Rudolph seems to have then looked for other anastigmat designs, probably with a view to simpler ones as the
Protar VII must have been inherently costly to make. It was also inherently slow, in a world where lenses were
becoming faster. The Zeiss Anastigmat f4.5 Series I does not seem to have sold well and in England,
Dallmeyer was selling an f3.5 Stigmatic from 1895 and this would have begun to sell in the portrait lens
market. Thus a Zeiss of that speed would be welcome.
Planar Anastigmat Series 1a f3.6-f5.0 (Layout Zei 017, also Zei 018?) To cover 62-72°
References: D.R.P. 92,313 of 14/11/1896. On sale in Sweden from Nov. 1896.
The Planar was made in 18 or 19 foci from 20-610mm and the apertures varied with the focus as follows:
f4.5 20, 35, 40,50, 75, 100mm; also 370, 423mm
f3.6 40, 60, 83, 110mm.
f3.8 130, 160mm.
f4.0 400mm.
f5.0 470, 610mm.
The exact foci vary in the lists seen in different adverts.and 40 and 610mm seem to be the unusual ones. But
there seems a gap above from 160 to 370mm which may not be correct.
These might indicate a maximum size of weight and or glass blank. In the layout above, note that the lenses
seen correspond to Zei 017 with a concave surface to the inside of the outer glasses, not to Zei 018 with flat
inner surfaces, though this could be a revised design.
Planar was sold from August 1897, and used a 6 glass/4 component Gauss layout, the inner or outer
component being divided into two glasses of nearly equal refractive index but different dispersion- in practice it
was always the inner which was divided. The drawing shows G1, G2, G5, G6 as crowns, G3, G4 as flints
(Woeltche, loc cit.). The result was an objective with a critically flat field, good spherical corrections, and
excellent colour correction. It is slightly soft at full aperture, due to coma, but this is attractive for portraits and
clears up on stopping down, when it is really sharp and the contrast also increases. Although Planar is not
very far from symmetrical, it is not truly symmetrical and as a result the individual cells are not really useable
separately, although this is said to be just possible when stopped right down.
This meant it sold for action pictures, (eg on the Sigriste focal plane camera), movie work in the sizes up to
about 75mm, studio portraits at f4.5-f6.0, and groups, where it would be closed to about f8-f12.5, as well as
copying and process work. It was expensive, at nearly twice the price of a Series IIa Protar, and the amount of
glass makes it heavy in larger sizes. The angle covered is not restrictive, but seems limited after the Protar
series. And for the first time, Zeiss were making a lens with 8 air-glass surfaces rather than 2 or 4, and there
is the increased flare that can go with the increase. There was a tendency to ghosting near the image plane,
though this was not noted in use and may not be serious. And the overall contrast is less good, so that the
Zeiss catalogue suggests the use of a developer restrainer as possibly useful. This meant that the "old" Planar
slipped from the lists about 1914, and apparently later was sold only in small sizes as a microscope lens. It
was overtaken first by the Unar and then by the Tessar, lower cost designs of similar aperture, and even in
1901, Zeiss was suggesting Unar or Protar IIa to VIIa for interiors or landscapes and keeping Planar as a
special item for portraits, movies or where process quality was needed. In the longer term, it proved to be a
major basis for optical design, and its history is well described by Woeltche (Proc. Opt. Soc. Amer. 1980,
S.P.I.E. Vol 237, 31/05/1980).
All these were engraved "Planar" (a trade name for the first time?) so there should be no problem in
identification, but also note the engraving "Series 1a", as it replaced the old Series I.
Some data are:
Focus Plate size Plate size Image Diameter
mm at full aperture stopped down at small stops
100/f4.0 6x6cm 8.5x8.5cm (3.3x3.3in) 12.7cm
110/f3.6 6x9m 9x10cm 15.4cm
160 9x12cm (1/4plate) 12x17cm (1/2plate) 22cm
300 16x21cm (1/1plate) 21x26cm 10x8in 36cm
As indicated above, ghosting was not a problem in use, but a deep shade would be wise. As it was closed
down, sharpness became very good, and contrast improved markedly, so that negatives printed easily.
Possibly the most useful sizes are (from experience) 160mm, which suited 5x4in nicely, and 300mm for
10x8in, as the suggested 423mm size must be heavy and seems even harder to find. Planar is a valuable
item, and not an easy lens to find.
Fig 002 035 Zeiss Two early types: Planar f3.8/160mm No68,88x and Unar f4.7/145mm No66,55x.
Fig 003 017 Zeiss Planar f4.5/5cm No117,722 refitted to rimset Compur.
Apo Planar f6.3. This seems to have a reduced aperture of f10 in longer sizes, eg. 800mm. This lens was
listed in the general catalogue for 1901, and its existence was indicated with a warning of extra cost. But the
term APO was not used then- it was merely 'reduced secondary spectrum.' It was noted in 1903 for groups
and general work, also for 3-colour and astro photography. It can be confused with Series 1a, 2.8-12in focal
lengths but seems slower and was a distinct product. Woeltche quotes these as having a secondary
spectrum of less than 0.5% of the focal length, using KzF 2 Schott glass for the inner divergent glasses.
These original Apos were symmetrical lenses for work at 1:1. These have not been seen, are probably rare
and would be very nice to use as the slower aperture could make for higher contrast and the colour correction
will be exceptional for the date. The following are described as 'copying lenses' and have Planar type layout,
but may not be the apos mentioned in the footnote.
Copying Lenses
f7.0 470, 610mm. These were especially costly.
f9.0 433mm
f10 505, 600, 690mm
f25 460, 632, 947mm.
It may be partly that a new type of glass was coming into use and large pieces were still especially hard to
get.
Many years later, a new Apo Planar was designed for infinity use, and this was no longer symmetrical as a
result. This is typically a f4.0 300mm lens. There may also be a macro lens series for microscope use, in the
pre-1940 period.
Planar Type V111 f7.2 (or is this confusion?)
This was listed from 1900 (Am.Photo. 24/05/1900, p351) as Type V111, also in f10,16.4-51.4in, and was a
process lens. These may be the long focus lenses from the same series as the Apo lens above. The
designers were Rudolph and Wandersleb, in 1910 for what may be a new design.
Unar Anastigmat Series Ib f4.5-f5.6 (Layout Zei 019) To cover about 65° or up to 82°.
References: Reg. Design No41,716/1899: D.R.P. 134,408: Brit. Pat. 24,089/1899: USPat. 660,202: See
Rudolph in Photogra. Mitteilungen (Berlin) Nov. 1900.
It was made in:
f4.5 112, 136mm, Sizes 112, 136, 155mm were suggested for snapshot cameras.
f4.7 145mm (This was seen at No6655x so it may be 'late' for a Unar and it is not in the 1901 list: it is a
barrel mount iris lens in a helical focus mount, with iris. It is coded AIV2 and the iris is graduated in mm.
When fitted to a 10x8 camera, it seems probably to be a 1/4plate lens. One application was to the Zeiss
Palmos where a f4.7/145mm Unar was No58,59x of 1901 in black alloy mount. It can be dated as this camera
model was only made that one year marked 'Carl Zeiss'. This seems to be one of the more usual sizes, eg ?
for 9x12cm?
f5.0 155, 210, 255, 305mm. 210, 255, 305, 375, 460mm were suggested for portraits and groups.
f5.3 375mm
f5.6 460mm
It can be argued that the Unar was the first true unsymmetrical anastigmat: it is true the the original
Anastigmats were unsymmetrical as the internal curves differed, but in Unar there is very little symmetry left. It
is as if an original Anastigmat had been uncemented and the freedom used to alter the curves for a better
design, which may show how it was arrived at. Certainly, the Zeiss catalogue notes the importance of the airgaps
and that they are a + in front and a - behind the iris. The cells are not usable alone, but correct each
other as in the original anastigmat. The outer glasses are both Dense Barium Crown, R.I.=1.61, the inners
both Ordinary Light Flint, R.I.=1.57. Thus it is not convertible. This is an example of a lens where the DBC can
slowly weather to a remarkably fine coated surface, iridescent in violets and blues and still relatively hard and
optically sound. This is NOT something to have repolished. It was noted that this lens gave a clean contrasty
image to compare with modern ones when used outdoors with the sun behind the camera.
It was regarded as very well corrected, for colour and for spherical aberrations, and free from distortion. It
covered a much more useful angle than the Planar, although this seems to have required some stopping down
and still did not approach the original anastigmats. In use, the only problem may be flare from the 8 air/glass
surfaces, but this was not serious in the examples tried. One example seemed to have aquired a fine natural
coating which should help.
Unar was noted as new in Photography 24/05/1899, p351; 27/12/1900 p863; as an indication of the speed with
which business reacted even then, Ross were issuing details of the new foci to be offered in the December
issue (f4.5-f5.6, 4.5-18in). It may be that by then the glasses and mount were fairly standard and the lens was
easy to put into production.
Zeiss Unars were still a recent introduction in the 1901 catalogue, which shows one at No44,04x, which may
be about the first serial number. One seen at No16,xxx may be an anomaly possibly due to an engraving error
as No46,xxx would be more credible. It was noted as Zeiss Unar f4.5/36mm at No49,00x and 51,82x and as a
bigger lens from Ross. Original reviews confirmed the quality of the design, and noted that the field was
slightly forward at halfway out the frame, and then slightly backward at the edge, so that overall it was very
good. It was still in use in 1906 on the Premo reflex at f4.5, and a Portrait Unar (below) may have continued
after that.
Unar competed for sales with Planar, and several Protars, and while it sold well initially as an f4.5 for hand
cameras such as 1/4plate Press and reflexes, it was progressively replaced by the Tessar which was issued
as an f6.3 in 1902 and an f4.5 a little later. The Tessar had only 6 air-glass surfaces and was inherently safer
to use under difficult lighting conditions and may have been easier to make as well. Now the value of the Unar
disappeared, and it became a forgotten lens, so that today it can be found in scrap lens boxes at modest
prices, which do not reflect its lineage. It can be recognized by the Trade Name and by the Series Ib- due to it
coming after the Series 1a Planar. It is a much better item than this lack of interest suggests. As suggested,
f4.5/136mm seems to be the commonest size, and should cover not just 1/4plate but 5x4in stopped down a
bit. Larger examples do occur, especially from Ross, but are certainly not common.
Focus Covers at f4.5,etc Covers stopped down Max Diameter
mm cm cm mm
112 6x9cm 9x12cm 190
136 8x10cm 9x12cm and 1/4plate 210
305 16x21cm 18x24cm 480cm
Fig 002 035 Zeiss Two early types: Unar f4.7/145mm No66,55x and Planar f3.8/160mm No68,88x
Fig 029 035 Zeiss Krauss Unar f4.7/145mm No42,445.
Note that the rear glass of a 15cm has little protection from the mount and can scratch easily- check on
purchase.
Also that the two inner glasses are retained by screwed locking rings and can easily be removed for cleaning
on the example seen.
Portrait Unar
Some of the licensees, notably Bausch & Lomb, offered this as a special version but no details are available.
It is not known if this use was mirrored by Zeiss themselves.
Points from the 1901 Catalogue
1 In the 1901Catalogue, Zeiss state that they "use exclusively silicate glasses, whose permanency and
power of resisting external influences have been amply tested". They admitted to some bubbles in the glasses
as unavoidable however. The original Schott glasses had included phosphates and borates, but they seem to
have been rejected. Some firms used softer glasses for internal glasses, ie where they were cemented both
sides to harder glasses, but Zeiss seems to have felt these materials were to fugitive even there- or just not
needed them
.
2 Zeiss were then selling several of their own shutters. These included ones to patents D.R.P. 74,652 and
101,691.
Iris shutters. The dimensions were related to the standard mounts Zeiss were using.
A Automatic Iris shutter with a speed 1/40sec upwards, but not adjustable mechanically. It seems to have
been made in several sizes for repetitive exposures. This was made in 5 sizes, with diameter of openings 17,
27, 42, 53, 62mm.
B Adjustable iris shutters D.R.P. 101,691 This was a new design, more compact and speeds could be set
from 2sec to 1/150sec. It was in a brass case with a very attractive machined finish. This was made in 6
sizes, with diameter of opening 20, 28, 33, 42, 53, 62mm
C Detective Iris shutters These were for small hand camera, to give about 1/20 to 1/60sec. or longer on the
time setting. These were in 2 sizes, with diameters of opening 17 and 27mm.
D Linhof's Adjustable Leaf shutter This was placed in front of the lens, for up to 1/150sec which 'can be
regulated with ease and a fair degree of certainty of action.' In brass or aluminium, in 7 sizes to 70mm
aperture. Also Stereo.
3 Zeiss used a series of standard and special mounts. The standard was either a small barrel with a
revolving disc stop plate for smaller size lenses, eg Protar Series V, or in larger sizes, a barrel mount with iris.
These were made with the largest iris setting from 10mm. They went up in 21 sizes to a 110mm largest stop
setting. In some cases, the same iris size was mounted in two mounts of the same diameter but different
length, as with 28mm dia. in 41.8mm mount and 33mm and 23mm length. There were also two special
mounts, one Special mount A with a 'screw in slot' focussing movement, (a SFIM) in 4 sizes; and Special
mount B with no focussing (SIM) in 5 sizes. These were for smaller lens sizes only. There was also a
focussing mount that took Standard mount screw in lenses on a flange at the front end in 2 sizes.
4 Zeiss were faced with a novel problem when the Protar VIIa went on sale. The unit needed different iris
scales for the whole lens and for the single cells when they were in use- and if these were different, three
scales in all were needed. Extend this to a casket with 3 cells and some 7 possible foci, and the situation is
obviously complex. Their answer was to calibrate the iris in mm of aperture and supply a set of Tables for all
their lenses. There was also another point: on the scales, the calibration is given at points where the aperture
has changed by a factor of 2, or by one stop. Thus a lens graduated with lines at 3, 4, 6, 8, 12, 17, 24mm has
a difference of one stop between each number. They could then be related to the U.S. System of the R.P.S.,
and to Dr Rudolph's system.
Dr Rudolph's system took a lens of f50 as a base, and expressed the aperture as the relative rapidity
compared with f50. Thus a bigger aperture had a bigger number.
F Number 50 36 25 18 12.5 9 6.3 4.5 3.2
Relative Rapidity 1 2 4 8 16 32 64 128 256
It will be met on Zeiss lenses, but on the whole the "MM" engraving is more common. Actually, it is thoroughly
practical as the ratio of diameter to focal length Dmm/fmm is fairly easy to work out sufficiently accurately for
use while working. The mm scales are not confined to process lenses but probably did not go on small hand
cameras sold to the general public. NB Some Zeiss lenses also are in MM iris mounts graduated at 5mm
equal intervals- here doubling would not apply!
5 Zeiss gave a list in 1901 of camera makers regularly using their lenses:
H. Bellieni Fils, Nancy, 17, Place Carnot, France.
Paul Boucher, Paris, 39, Quai des Grands-Augustins.
L. & A. Boulade Freres, Lyon-Monplaisir, 4 Rue St. Gervais.
H. Ernemann, Aktiengesellschaft fuer Camera-fabrikation, Dresden, Schandauerstr 48.
L. Gaumont & Cie, Paris, 57, Rue Saint-Roch.
A. Gauthier, Paris, 31, Rue Pastourelle.
Rud. A. Goldmann, Vienna IV, Victorgasse 14.
Christian Harbers, Leipzig, Markt 6.
Fabrik. Huttig (vormals R. Huttig u. Sohn), Dresden, Schandauerstr. 76.
R. Lechner, Vienna I, Graben 31.
H. Mackenstein, Paris, 15, Rue des Carmes.
E. Mazo, Paris, 8, Boulevard Magenta.
E. B. Meyrowitz, 104, East 23rd Str., New York, USA.
Newman & Guardia, Ltd., 90-92 Shaftesbury Ave, London.
A.G. Camerawerk Palmos in Jena.
Photo-Hall, Paris, 5, Rue Scribe.
Jules Richard, Paris, 25, Rue Melingue.
A. Stegemann, Berlin S., Oranienstrasse 151.
These are well spread through Europe, especially in France.
Tessar
Tessar (1902) (Layout Zei020) (P.Rudolph and E.Wandersleb, for Zeiss, Brit Pat 13,061/1902, German Pat.
142,294, USPat 721,240)
A 1902 development by Rudolph, this became about the most famous lens ever designed, and really sets a
new era. It beat most rivals on sharpness and had only 6 a/g surfaces so it was more reliable from the flare
point of view than Unar or Planar. Zeiss stated it was derived from the Anastigmat and Unar designs and this
seems reasonable from the type of development Rudolph was making by working on these by separating and
bending. (Cynics said it was a Triplet with an extra glass but this ignores several facts).
It was cheaper than Protar V11a, less prone to flare than Unar, and a very desirable item. Zeiss defended the
design and the trade name Tessar carefully, and in 1932 stated their objections to the use of their name and
"Tessar type" and "Tessar construction" in advertisements. [However it did become one of the most widely
used layouts in the industry once the patents had run out. Hence the use here of the code Q15 for the many
other users of the layout.] The Zeiss objection was fair as the trade name was theirs and experience shows
that the careful design and production of the Tessar did put it ahead of its rivals. This was shown in a
comparison of a Tessar with "other" brand Q15 lenses.
An apparently 1915 list has Tessar in f2.7, f3.5, f4.5, f6.3, f9.0, f15, which has some surprises! (Later time
would add f1.9, f2.0, f2.8, f3.8, f4.9, f5.5, f6.5, f8.0, f10 and probably other maximum apertures!) The "f15" in
1915 may be a version of the ApoTessar. The launch versions in 1902 were the f6.3 and the Apo in f10-f15. It
was cheaper than the Protar f6.3 and gave better cover of fine sharp detail than the Unar. (Photo Miniature,
1903 based on a Zeiss announcement).
Tessar Series 11b (1902) f6.3 1.5-23.25 in. It is suggested to use 14in for 10x8, 6in for 5x4. It is marked
D.R.P.142,294.This was a most favoured lens and the one still used by connoiseurs! It covers 70° and is sharp
and contrasty. Note there was also an f8.0 Tessar on Verascope (1913): this may be a limited stop version
due to the shutter size? (Layout Zei020) The series numbering suggests it replaced Anastigmat Series 11 at
f6.3 in the lists. This f6.3 Tessar is the connoisseurs choice and usually available although the f4.5 is certainly
much more common. Thus the f6.3 needs to be consciously looked for, except perhaps in larger sizes, when
the f6.3 was popular as lighter and less expensive. An early one f6.3/150mm AIIoy at No98,35x was in a
focusing mount and was scaled in both mm of iris aperture from 21-3mm, and in the usual f numbers- this
double scaling is uncommon in our experience.
In 1914 it was made in 3.0, 3.5, 4.75, 5.25, 6.0, 6.5, 7.0, 8.25, 10, 12, 14, 19.25, and 23.25in, and 14in was
suggested for 10x8, 6in for 5x4.
Zeiss-Kodak f6.3 on 1909-1912 Premo- This may be another Series 1b fitting.
The date suggests this is a Tessar version as the Triotar was probably not in production but the next item
may be a 3-glass lens.
Zeiss-Kodak f6.5 56mm This was made by Krauss about 1913 at No53,26x to fit on a Le Mondaine VP
Strut camera No88, and is an unusual aperture, though it may merely be an f6.3 with a limit to it.
Tessar f5.5 This was noted as a 25cm lens with iris in mm to 48mm, an unusual type possibly for technical
work, at No296,00x, about 1917. They were probably made to fit a market, possibly decided by the size and
weight a camera maker could use. Thus they have been reported as an f5.5/165mm on a big folding Kodak
camera. Alternatively, the 25cm lens may be a war related product or one which just failed to find a market.
These are too unusual to be worth looking for, but rather it can be chance finding them.
Among other honours Dr Rudolph was awarded the 1905 Progress Medal of the R.P.S. (Account
of Researches, Brit.Jnl.Photo 30/12/1905, p1112)
Tessar Series 1c (1906) f4.5 1.5-20in. Here use 6in for 1/4plate. (Layout Zei 021)
There is a hint that the success of the Tessar came as a slight surprise and that the response took a little
time in preparing a faster version. Remember that Zeiss introduced the f4.5 Anastigmat, Planar and Unar in
succession over some 10 years and may have wanted more continuity at this aperture! The f4.5 Tessar was to
be a product which commercially put all of them in the shade. Compared with the f6.3 it was faster and more
successful, though connoisseurs say it just is not quite such a charismatic item! But it did replace both the
f4.5 Unar and the Planar. Hence the numbering as Series 1c.
The designer here was E.Wandersleb. (D.R.P. 142,294).The drawing (Layout Zei.021) shows two flat surfaces.
In our experience this is unusual. The rear of glass 1 is more usually concave, as is the inside of the rear pair.
But the latter was flat in an early Series 1c f3.5 which was dismantled. Thus Zei022 may be still another
variant. The great success of this product means it is one of the easy ones to find and it is still well worth
using for black+white work. There are coated examples which might be better for colour. It is normally quite
free from flare, but inevitably this tends to affect colour materials more than b+w where it is easy to correct for
changes in contrast.
In 1914, it was made as 3.0, 3.5, 4.75, 5.25, 6.0, 6.5, 7.0, 8.25, 10, 12, 14, 16, 20in and 16in was suggested
for 10x8, and 6in for 5x4in. There may be other sizes, as A. Adams mentions using an 8.5in Tessar in the
1920's. (Autobiography, p60). In view of the later use of interchangable front components, it seems the E.
Wanderslab envisaged this as early as 1908-9- but production does not seem to have ocurred.
The Tessar quickly became the prestige lens on the bulk of small cameras sold to the general public. This
was typically the f4.5 though the f6.3 was also a success. It must have had a major impact on camera design
as a result. This is due to the designers in each company having to accommodate the same shutter/lens
package and the same rear focus in all the models of the same format. And thence on lens designers whose
lenses for sale as alternate fitments now had to conform at least approximately to that of the Zeiss Tessar.
Also as the cameras converged, so the identity was lessened, and the possibility of a merger such as
occurred to form Zeiss Ikon was eased. But note that this only involved some 4 makers, and the design
convergence will have affected firms (such as Ensign in the UK) who were definitely independant.
An interesting focal length is the 55mm, found on stereo cameras for 45x107mm format, eg at No471,35x (2x).
Another point is that some f4.5/150mm Tessar lenses are in Compound or Compur shutters with oversize rear
mounting threads of 44x0.9mm, probably an A size, possibly to allow a bigger rear cell for more even
illumination. This is something to note in mounting them as the 44mm ring is now hard to find if missing.
An interesting example was marked "Flieger Truppe" at No29587x, possibly a WW1 air lens.
During 1999, a group of some 5 Tessars f6.3 and f4.5 were tried out on B+W film 6x9cm using a 1960's
coated lens for comparison. There was amazingly little difference between them in contrast for ordinary views
outside when shooting at f11 and 1/100sec, and using a lens hood also seemed to be unnecessary. But as
the camera was swung to look towards the sun, the difference began to show up, one conclusion being that
anything which kept the sunlight off the actual glass was almost equally efffective: so site the camera in
shade, even of a telephone pole or hold up a hand, book or newspaper to shade the actual lens. Zeiss seem to
have achieved a premium product here, and this may depend partly on the sharpness of the lens image and
partly on the careful blacking of the edges and related parts. There are also mentions in older books of the
unusual "black" polish Zeiss were able to obtain on the glasses- due to a very perfect surface finish and
perhaps an insistence on harder grades of glass. One tentative suggestion is that the choice of polishing
compound contributed something to not just the smoothness but to the finished surface layer, which could be
modified in refractive index and begin to approach a anti-reflection layer. This will affect (reduce) the reflexions
even if not of optimal thickness.
Fig 002 014 Zeiss Tessars: f3.5/150mm (below), and 2 versions of f4.5/150mm.
Tessar f4.9 9, 13cm This was noted at No627,77x It was also noted at f4.9/130mm in a dialset Compur.
This will probably be an aperture limited f4.5 , the first being on VP Kodak about 1926-7 only.
Tessar Series 1c (1906) f3.5 1.375-12in. use 2in for 18x24mm,10in for 1/4plate.
In 1914 it was made as 2.0, 3.0, 4.0, 8.25, 10, 12in, the shorter for movie as 24x18mm and up to 1.75in sq.
with 3in; and the bigger for 6x9 (8.25in), 5x4 (10in) and 6.5x4.75in (12in) respectively.
See Fig above!
The early Tessar f3.5 was a sharp narrow angle lens. It was sold for movie use as the KinoTessar and for
portrait work. It illuminated a fair angle but with severe fall off in sharpness outside the area intended for use.
Thus O.Barnack's early pictures with prototype Leicas fitted with a Kino Tessar 50mm are contrasty but only
sharp in the middle 24x24mm, and were not really a correct use of the lens. (Afterall, the camera was a
prototype!) However it was to be used commercially on several early 35mm still cameras. The designer was
again Wandersleb, and the f4.5 and f3.5 seem to have been launched together.
These lenses were costly, ranging up to £50 for a big Tessar which was a good years wages in those days.
This was seen as a 15cm Tessar at Nr 870,78x ( later 1920's). In collecting for use, it is worth noting that
there was a later redesign of the f3.5 Tessar by Merte and Wandersleb about 1926 (Brit.Pat 273,274) and it is
wise to check on purchase which type is offered. The redesign probably was sold from nearer Serial Number
1,000,000 than most early f3.5's and was probably little used on big size lenses such as a 15cm. It is also
likely that the early type or at least a narrow angle design was continued for movie use. These big f3.5
Tessars seem not to be an easy type to find. Frerk also refers to a 1921 patent D.R.P.142,294 but this just
may be a confusion with the 1902 Patent.
Zeiss were always trying to improve even good products, and patented a new Tessar version using harder
glass in 1917 (Brit Pat 146211/1917) and one with improved spherical correction (Brit Pat 146,213/1917,
USPat 1,479,195 also).
For movie, Ariel's list gives a number of f3.5/50mm Tessars but with quite a proportion from licencees,
especially Krauss, the only Zeiss Jena example being on a 1915 Universal. Others occur at Auction in the UK.
Thus an original Zeiss example at auction was f3.5/5cm No135,91x on a Prestwich 35mm movie camera
No183x. Another was No 509,784 on a wooden Ernemann 35mm movie camera, and again No386,37x on an
Ertel. (Some of these are later numbers and are ?retrofitted lenses.) It has been noted for movie in f3.5 in35,
40, 50, 75mm and as f4.5 in 120mm for 35mm movie.
ApoTessar Type V111 f10 (f15 in longer f.l.) (Rudolph and Wandersleb,1908)
It was made made in f9.0,12.6in, f10,18.1,25.2in, f12.5,46.1in, f15,71in.
This was an important process lens in its day. Today, they are still a nice and not too uncommon an item
which often comes in an attractive wooden box. They are still useful for large format close up work if not too
long focus. (The reservation must be that process lenses are designed for close-up and some workers do not
approve of using them at infinity). Actually the series V111 ApoTessar dated from 1903 at f10. (Photominiature
1903, p553) in 5f.l. Thus the 1908 may have been a new series, at least from 1910 in one list.
An earlier example at No208,45x is marked Apochromat Tessar while by No872,71x it is just ApoTessar
and this just might signal the change in the design.
Fig 003 007 Zeiss (l)Apochromat Tessar f10/46cm No208,45x and (r)ApoTessar f9/30cm No 872,71x with
case.
Tessar at times was used as a workhorse lens so 'Projection Tessars' and small 20mm Tessar for cine
projection (?) have been noted. But these are probably many years later in date.
Tele Accessories
Over this period Zeiss supplied telephoto units of several sorts, depending on date and purpose. Typically
these were for:
(a) Cameras of fixed extension, often for use with 5.375in f6.3 Tessar, also 6in f6.3, f4.5 Tessar.
(b) Cameras with variable extension, for use with 5.375, 6.0,7.0in f6.3, f4.5 Tessars, or 7.0in Protars.
(c) Stand cameras.
(d) Zeiss Tubular Tele Accessory ("Tele Tubus") (This may be the German discription.)
d was the version in the 1901 Catalogue, noted with a complex Zeiss shutter with auto stop down, in brass.
An impressive version No445 (-135mm ) was at auction in 1999. Some, probably all, use Zeiss own shutters,
rather than the later Deckel versions. An example at auction of a TeleTubus III used an f3.0/135mm
Anastigmat positive at No88,88x and a -58mmTelenegative No51,75x. In fact, there is a choice of 45, 58,
75mm Telenegatives here, and suggested positives from 179-216mm, the magnifications ranging from 2.6-3.0
mainly on 5x7in formats. TeleTubus IV used Telenegatives from 75, 100,125mm, matched with lenses from
337-433mm, for 3.0-3.5 magnifications on 1/1plate. Other combinations were possible. The uses envisaged
were landscape and architectural subjects.
a and b used 1.75 and 2.375in. negative lenses for 3x or 2.5x. The examples noted were made later, and
were telenegative -6cm, No661,03x (with a 6in f4.5 Tessar No344,54x) and No 483,89x (with a 165mm f6.3
Tessar No197,19x). These numbers suggest they were made over a considerable period from say 1905-1925
at least. There is no shutter, so they were probably accessories for Klapp cameras. But the screw threads of
the lens heads are smaller than those of the tele units, so additional panels were needed.There are additional
serial numbers on the barrels, of Nos351x and 386x but these do seem to be in a different series.
Fig 002 021 Zeiss Tele Accessories with -6cm lenses fitted Tessar f6.3/165mm and f4.5/150mm.
c used 2.375,3,or 4in lenses for 2.5 to 3x, for use with Tessar or Protar 6-12in.
These often came as a nice helical focussing black tube unit. In comparison, earlier units were in brass finish
and had a rack+pinion focus movement.
Magnar (Rudolph and Wandersleb,1906)
This was a "special teleobjective" f10 of fixed separation as a telephoto unit, eg. giving 18in focus with only 6in
extension, in focussing mount. It was not intended to use any separate parts.
An 80cm Magnar was noted at No116,52x and a special 9x12cm Magnar camera was made to suit it, taking
a "big" 32in. (80cm) focus Magnar. There was also a "small" f10 45cm Magnar, compared with the "Big"
80cm, 32in (812mm approx) f10. (The 45cm used only 15cm backfocus). Both are really for 9x12cm.
Kerkmann also illustrates a f10/800mm Magnar on p334, and a camera with f50/3000mm Magnar on p335.
Fig 002 008 Zeiss Tessar f4.5/21cm and Zeiss Magnar f10/45cm No123,77x.
They were made under D.R.P. No 227,112, Brit. Pat 19,580/1909*, and used a 2+3 layout (Layout Zei023,
B..J.A.1911, p504). The example used was at No 123,77x. The components front and rear are coded A and B
respectively. Magnar focusses by altering the separation of the elements, rather like some of the accessory
units. It was intended for balloon photography, portraiture and wild life work. The performance should be sharp
and contrasty, but on this example was rather disappointing, possibly because it was far from new. Sales in
the UK seem to have been from 1908.
A Magnar camera at auction used a f10/80cm Magnar No116,53x on a 9x12cm camera, the lens being in a
push-pull tube to compact for transit. It was thought to be about 1906-1910.
*Also see below on TeleTessar where there are two older patents.
Triotar f6.3 initially (Wandersleb,1912) (Layout Zei024)
In a sense, Zeiss were rather late to come to the triplet, since they had less need than others and it could not
be said to improve on their existing designs. But there is an Anastigmat noted at auction as 27.5in (690mm)
f2.5 No14,050 "marked TTH Patent on barrel". It is possible that this was somewhat scrambled in printing
(the serial number seems low), but it may suggest that early one (perhaps 1910) Zeiss were licensed to make
a few big triplets for balloon work, possibly a f5.5/690mm, where the lightness of the design was valued. And
when it was possible to do it 'patent free', they designed their own triplet, the Triotar. Thus the Triotar was
noted in 1913 on Klito 1/4plate, Postcard Cameo.
See also Zeiss-Kodak for a lens of unknown type f6.3 eg on VPK about 1913.
Distar This was noted as a telenegative accessory in1914. Woeltche , loc. cit. says the Proxar and Distar
date back in Zeiss production to the beginning of the Century, so 1914 may not be the earliest type.
(Plasmat: It is said that this Trade Name first appeared on a Zeiss lens prewar but Eder gives it as a 1920
design and merely says Zeiss were not sufficiently interested so Rudolph entrusted production to Hugo Meyer
of Goerlitz.)
Rudolph left Zeiss for a rest in 1910 due to health reasons, but was recalled at the outbreak of WW1 and
calculated a new teleobjective for taking photographs from balloons- this just may be related to the f6.3
TeleTessar though there the final design was due to Merte (Eder quotes v. Rohr in "Theorie und Geschichte
der Photographischen Objective" (1899) and several of Rudolph's own writings as basis. Wandersleb became
the head of the camera lens operation in Rudolph's place, and continued with Zeiss to 1957, with a break due
to the regime in 1938-1945.
A group of prototype lenses was auctioned in Dec 1996 and were apparently mainly of 1913 date. These were:
Zeiss f6.3/30cm, No249,350-V1913-XVIII ie the eighteenth of 1913.
Protar f12/19.6mm No233,394-V1913-VI
Zeiss V f3.1/7.5cm Nr208,473 V1913 in brass.
Triplet f8/25cm No335,876-V1920 Nr2 ie a revised version.
They are interesting items to note though it is hard to relate some of them to products marketed. The serial
numbers relate approximately to published lists.
WW1
Known products made in WW1 seem to be limited to a set of aerial triplets, some telephotos(?) and
Tessars for aerial survey work. These triplets may be the same as listed later and are still very desireable
items for astrophotography as the image is of very high quality. They are also surprisingly light, which can be
a real advantage. These are scarce but still do turn up at sales, one being found in 1993 at £25 for a 300mm
lens. Examples known of are:
120cm f7.0 Triplet (1918) for Air Corps (Fliegertruppe), also 70cm f5.0, 50cm f4.8.eg. Nr311,42x.(1918?)
210mm f4.5 Tessar, also 240mm; f4.8 20in Tessar. These may have been normal civilian type lenses.
Also Tele above.
It is worth noting that these were equally or more used on balloons than in aeroplanes, owing to the greater
weight carrying capacity and absence of engine vibrations of the balloon, and that there has been mention that
the triplets may have been figured- ie made slightly aspheric for improved sharpness.
Post WW1
Normal international trading took some time to be reestablished after the war and the first postwar products
may be little known in the UK. It is likely that they were a continuation of a very strong pre-war product range
of Tessar, Protar and similar lenses, since no great step forward in technology had come with the War effort.
Certainly this was true in Gemany where almost every camera seems to have had Tessar f4.5 as an option,
often the most expensive. [The exceptions are usually where the camera maker also is a lens maker and does
not sell a competitors lenses.] Thus for many years the Tessar became the lens against which all others were
compared and today the "Tessar model" carries a premium still on the collector market- for its quality if not for
the rarity of the lens, as so many were sold that the f4.5 Tessar is not in general rare though some versions
are. The one real limitation was on cameras where movements were to be used, and here Zeiss was to offer
Protar V11a, Amatar and Dagor f9 for many years, but sadly this type of use was declining and first the
Amatar and then finally the Dagor and Protar disappeared from sales, though they seem to have been made
up to about 1942 in the case of the f9 Dagor. Thus the absence may be more apparent due to lack of
advertising than real. Incidentally the f6.3 Tessar did continue on small plate cameras such as Donata and
Trona into the late 1920's, but it is possible that they had been made earlier, were old stock, and had been
held in store. It would probably be hard to find one in a Rimset Compur for example. One reason here is that
the 3-glass triplet such as the Triotar was now able to give high quality results and in small sizes the Tessar
showed less advantage. But it was still supplied for large format sizes.
Thus it seems useful to list postwar-items in order of re-appearance in UK lists or in Patents. This is not a
perfect chronology but gives some degree of order. Incidentally, Schott transferred his share in the glassworks
to the Carl Zeiss Stiftung in 1919 and retired completely from it, although he was to live until 1935.
Some items were used in Germany but not sold in the UK, perhaps from the chance that the camera was not
sold here. Thus the Amatar was used postwar as lenses for the Stereo-Nettel Deckrullo, and large format
Triotars were fitted to the non-stereo version.
Zeiss were also continuing an active research and design programme, and this is shown by the series of
lenses launched. There was a Brit. Patent for a microreduction lens No145,023/1918 rather like a microscope
objective used in reverse and for what seems to be a new Series VII Protar (Brit Pat 146,465/1919 at f5.0 for
pairs, anf f9.5 for cells. And there was a improved Tessar with new glass in Brit. Pat. 146,213/1917- apparently
granted during the war! More basic studies included work on novel substances, such as sodium and lithium
fluorides for their low R.I. and dispersions.
Sodium Fluoride 1.3257=nD 84.5= v
Lithium Fluoride 1.3915=nD 80.0=v.
(B.J.A. 1925, p243; Brit. Pat. 204,002 of 1922.) It may have been used sooner than one might think for
microscope objectives.
1924
Tessar Series 1c f3.5 35-300mm This was a classic Tessar type. But note that these were still a
narrow angle lens: it was suggested to use 250mm for 5x4in. (cf. the later version in 1929.) They have been
noted for movie as f3.5/75mm at No453,94x. Another 1924 number was carried on a f3.5/40mm lens in a
bayonet mount- also likely to be a movie lens. It was used on the ICA Kinamo in B.J.A. 1925, p367.
Focus Format
3.5cm 0.75x0.5in
4.0cm 1x0.75in = movie
5cm 1x0.75in
7.5cm 1.25x1.125in
10.5cm 2.5x3.5in These were in 'bold' in the 1929 advert. and were 'for hand cameras'.
12cm 4.25x2.5in They probably represent new design lenses.
13.5cm 4.25x3.25in In 1929, it was intended to extend these to f3.5/7cm and 8cm.
15cm 5x4in
16.5cm 5.5x3.5in
21cm 7x5in
25cm 5x4in This is a coverage to compare with the 15cm above.
30cm 6.5x4.75in
Note that suggested formats are partly a question of a suitable focal length and partly of the covering power of
the lens, and here there seem to be both 'old' narrow angle and 'new' wider correction Tessar f3.5 lenses.
The Tessar was the predominant lens on early collectible movie cameras, especially those of Continental
origin. This is an experts opinion, but requires qualifications. Firstly, not all are marked Kino-Tessar.
Secondly, they do not necessarily predominate in all ages or classes of camera, but rather that they do
basically turn up more often. [Other makes were Ernemann next, then Ruo as the third, who specialized in
movie lenses.]
Tessar Series 1c f4.5 40-400mm This was continued and was a major product, now far outclassing
the sales of the f6.3, which has effectively left the catalogues at least in the UK. However the Zeiss Optikers
Handbuch, esentially a guide for High St opticians, in 1927 discusses Proxar and Distar data for roughly equal
numbers of f4.5 and f6.3 Tessars, typically 2 for each size, as well as Triotars, so the f6.3 Tessars were
regarded as commercially valuable in Germany.
4cm 1.25x1.125in
5.5cm 1.75x1.75in
6.5cm 2x1.75in
7.5cm 2.375x1.75in
9.0cm 2.25x3.25in
10.5cm 3.25x2.5in
12cm 3.5x2.5in
13.5cm 4.25x3,25in
15cm 5x4in
16.5cm 5.5x3.5cm
18cm 6.5x4.75cm
21cm 7.5x5in
25cm 8x5in
30cm 8.5x6.5in
33cm*
36cm 9x7in
40cm 10x8in
50cm 12x10in.
*The 33cm was noted in a Zeiss advert. showing an aerial picture of New York taken by the Fairchild Corp.
(B.J.A. 1924, p689) It may be a WW1 specification.
The f4.5 Triotar was sold in the UK on the T-P Reflex in B.J.A. 1926, p310. It was a 1924 product and the lens
caused no comment so it was probably well known then.
Incidentally, a picture in B.J.P. 1979 p318 is said by L.S.Shaw to show newsmen in 1926 in Downing St with
press cameras, most of which were Minimum Palmos. Typical lenses were Tessar f4.5, f3.5 and f2.7. It
illustrates the high proportion of Tessar (and Palmos) in use by this group of leading newsmen.
Tele-Tessar f6.3 This was a 1+1+i+2 tele.
5in 120 The 5in may be listed rather later, and it was absent in 1924.
7in 18cm 3.5x2.5in
10in 25cm 9x12cm = 4.25x3.25in
12.75in 32cm 6.5x4.75in
16in 40cm 7.5x5in
It was launched in the UK in B.J.A. 1925, 352, as new and a form of the Tessar. It was launched in the above
foci, and was about 2x magnification. They were impressed with the definition and brightness of the image and
with the covering power.
The Patent for the TeleTessar seems to be Brit.Pat.145,548 of 1919, B.J.A. 1922, p325 for an f6.3 lens with
the front air-gap but there was also a Brit. Pat. 179,529 of 1921, but this was for a lens of f5.5 not f6.3.(B.J.A.
1924, p279). Thus for some reason the slower lens was sold rather than the faster- there just could be a
patent overlap of some type. It suffered slightly from pincushion distortion, then thought to be inherent in the
design. However this was an improvement on an older patents Brit Pat 13,061 of 1902 and 3,096 of 1914.
(These must cover Magnar presumably?)
This was not made initially in 120mm.The design has a very large rear glass.The layout (Zei025) is not really
Tessar related, (though the front pair are separated so there is a formal relation) but the image quality is. The
most common version in the UK seems to be the 32cm, probably originally for 5x4 and 1/4plate. It was initially
issued in 1921 in Germany, and designed by Merte. It covers 30-40° and was a new fastest for Germany, and
better corrected than Magnar. A 25cm is long enough for 9x12 and a 32cm is nice for 5x4. It needs extension
about half the focus, ie is 2x mags. It was noted in B.J.A. 1927, p318 on a Mentor reflex- a typical application.
It is an very individual design. (B.J.A.1922, p325: 1924, p279:Brit Pats 179,529/1921;145,548/1919). The very
early postwar patents may be compatible with the suggestion that this is the lens Rudolph was recalled to
design but Frerk says it was due to Merte. Perhaps both men were involved. One point is that it is a
4glass/3component design with G1+2 very close but not actually balsamed. This is not obvious from the
reflexions which are those of a cemented pair, but has been checked by dismantling No410,240. This may be
the origin of the Tessar in the name since the separation pattern is the same. If you compare the later Tele-
Tessar and Tele-Tessar-K with the smaller rear glasses, this suggests that K was for narrow angle Kino or
Klein = Miniature or Kupplung= Coupled for rangefinder, and in general the large rear glass of the early type
was a problem in fitting the lenses to some cameras. In fact the collector will find at least 3 series of these
teleTessars. First as above, then a small rear glass, large format version, and finally the K series. It seems
these were seen at No68,717x (1926) for a 'big' 32cm f6.3, followed by No 1,078,44x (1930) for a 25cm f6.3
'small' and No2,189,98x (1937) for a 180mm f6.3 Contax Tele-Tessar-K. Ratios of the rear diameters/foci are
0.16; 0.122; and 0.103 respectively, and will partly reflect the angle intended to be covered, and tend to justify
the K as a separate type.
The teleTessar was supplied for Bell & Howell cameras in B.J.A. 1927, p329 as an f6.3/5in lens to match a
f2.7/1in Tessar.
Fig 002 005 Zeiss TeleTessar f6.5/25cm and Tessar f5.5/25cm in barrel. Note the relative sizes.
Double Protar f6.3/f7.7
This was continued, probably unchanged.
4in of 2x7in cells 3.25x2.25in
5in of 2x8.75in cells 4.25x3.25in
6.75in of 2x11.5in cells 6.5x4.75in
9.5in of 2x16in cells 8.25x6.5in
Single Protar f12.5
18cm 6.5x4.75in
29cm 8.5x6.5in
35cm 10x8cm
There may be two survivors of the original anastigmats as follows:
Single Protar f9.0 97° This was probably the old Anastigmat 2+2, and was
listed in:
9.5cm 3.25x2.25in
12cm 4.25x3.25in
17cm 6.5x4.75in
Single Protar (Series V) f18 110° and so was this.
8.5cm 4.25x3.25in
11cm 6.5x4.75in
18cm 8.5x6.5in
By then an Akeley movie camera for 35mm film was fitted with Tessar f2.7/4cm No645,00x (c1925)and Tessar
Series Ic f4.5/15cm No368,87x (c.1920) which emphasises that there was a time lag in reintroduction.
1926
Tessar f2.7 It was made in 15-165mm in 11 foci in 1926.
It was noted as 2in =5cm for 1x0.75in movie; 3in or better 3.125in = 8cm for VP; 4in or 4.75in for 6x9cm;
5.75in for 1/4plate; 6.0in or 6.5in for 5x4in, 7in =18cm for 5.5x3.25in and 8.25in = 21cm for 6.5x4.75in.
This Tessar was for cine+press use. They were later made in 0.375in (9mm) to 8.5in in 15 sizes in 1929). The
coverage in B.J.A. 1926, p658 seems the same for the Tessar f2.7 as for the Triotar f3.5 and f3.0 and they are
all tabled up together. Where they are all available in the same focus as in 4in, the Tessar is substantially
more expensive: Tessar f2.7, £11.25; Tessar f3.5,£8.00; Tessar f4.5, £6.25;Triotar f3/f3.5, £5.50. This was a
new lens, from designer Merte, in 1925 and were noted as a new series in B.J.A. 1926, p324). (But note it
seems to be shown in a list thought to be from 1915, but possibly this was wrongly dated).
The smallest 6 sizes were made for movie or cine. (Eg B.J.A. 1927, p329 with a TeleTessar above.) The 8cm
was for VP, while the longer were for large formats up to 6.25in (158.75mm) for 9x12cm (1/4plate)- thus using
it on 5x4in is being rather unfairly demanding. The note suggests the optical performance equals the f4.5
Tessar but that real care is needed to acheive this due to the need for accurate focusing and emulsion
flatness.
It was seen as a 165mm at No 700,95x engraved BX2 (a plain iris mount) and 981,13x (engraved AX2) in a
sunk focusing iris mount (these differed in flange, cell threads and most dimensions but the glass curves were
the same), and an earlier version was f2.7/8cm No 764,98x on a Baby Deckrullo. (Such a camera was noted
in B.J.A. 1926, p356, p663advert.) A larger version was on the Miroflex in B.J.A. 1927, p302.
The f2.7 Tessar was noted at No666,43x as a 165mm on a Deckrullo, at No641,70x on a VP Baby Deckrullo
and at No765,89x as a 165mm on a Tropical Nettel Klapp and later on a Miroflex (no number) and f2.7/165mm
No785,40x on Miroflex M26,02x. A f2.7/5cm No645,45x was a movie lens on a wooden 35mm movie.
Commercially, the f2.7 was important from the number in the Ariel list, in 20 and 50mm, from the 1920's. It
was noted in the UK as f2.7/4cm No778,03x (c.1927), on a Kinamo and on a 16mm Movikon at about 2
million. Incidentally the 16mm Kinamo has also been seen with a f4.5/4cm Tessar at No474,27x. An early
8mm Kinamo had an f2.7/1.5cm Tessar at No867,88x.
Fig 003 003 Zeiss Tessar f2.7/165mm as (l) barrel and (r) sfim mounts.
Frerk lists it as about the 4th really fast lens issued in Germany, after the Ruo f2, the Ernostar f2 and
Heliostigmat f2.5, and shows one on a Mentor 6.5x9cm Press camera. It shows really fine central image
detail. Which is a way of saying that the image quality away from the centre is less good. This was
understandable at the time, and it was a really desireable news gathering item on a wet afternoon in the
1920's, when it competed with the Pentac and Speedic on large reflexes and press cameras. Today, it seems
to lack a crisp focus point but the centre records fine detail. But outside 6x9cm it is well soft. It is heavy and
very bulky and hard to mount to cameras such as MPP MicroTechnicals and even Linhofs, which have a much
bigger aperture in the front standard.The central image was good enough to allow it to continue as a cine lens
into the 1930's, but the design seemingly was revised for the Movikon 16mm as it seems there is a Patent for
a reversed Tessar f2.7 for 45°at that period.(USPat 1,826,362). This used glasses G1+4=1.62177/56.8; G2=
1.52547/52.8; G3=1.62559. The 1920's lens had a normal Tessar layout from examining an example, not the
reversed version shown in one period account, where the late type was probably seen. There is also a version
in Brit Pat 256,586/1925. (Layout Zei034).
Biotessar f2.8 This was designed by Merte and Wandersleb. It seems not to have been sold for some
years, or just not appeared in adverts. seen here. (Layout Zei033) The patent was Brit Pat 256,586, DRP
451,194, USPat1,697,670. In the patent three types of layout are considered for lenses of f3.5, f4.0 and f2.7
where the last probably was used in practice, although it was sold as an f2.8 lens. Glasses were G1=
1.6238/56.9; G2=1.5475/45.9; G3= 1.5829/40.5; G4= 1.6424/48.0; G5= 1.5399/47.4; G6= 1.6221/53.15.
Another set of fast triplet derivatives was disclosed in USPat No 1,580,751/1926 using a 5-glass design
essentially a Tessar with a thin positive inserted in the centre, for up to f1.9 with glasses G1= 1.59015/61.0;
G2= 1.64092/33.8; G3=1.51776/63.7; G4= 1.6220/53.1; G5= 1.60820/58.9. (Zei034) Examples noted were
f2.8/135mm at No 1,125,60x (1930) and f2.8/165mm at No882,68x (1928) and 950,10x (1930).
An example f2.8/135mm No1,125,51x (1930) seems to have been used in some type of instrument perhaps
rather than a camera. It was noted in B.J.A. 1931, 304, and then was only made in 135mm (5.25in) for 6x9cm
and 165mm (6.5in) for 9x12 or 3.25x4.25in. The BJA notes it overlaps the f2.7 Tessar, and that it marked a
real advance. The f2.7 was always regarded as a special purpose lens, with speed the real feature. But the
Biotessar is really quite sharp at f2.8 with better overall coverage than the f2.7, and at smaller apertures
matches the f3.5 and f4.5 Tessars, so that it is an excellent general purpose lens, with a Tessar related
structure and the same 6 air-glass surfaces. The only real problem was weight and size, especially in the
165mm version.
Fig 002 010 Zeiss BioTessar f2.8 in 165mm No950,10x and 135mm No1,125,51x/N60.
Fig 002 012 Two Zeiss 165mm lenses: f6.3 Tessar and f2.8 BioTessar. The extra weight of the fast lens
could be a problem under some conditions.
Triotar f3.0 15-210mm (B.J.A.1926, p320) This was the triplet design continued.
There were smaller versions, which were mainly for cine. In large sizes, it was suggested to use 6in for 5x4.
Coverages of small and large format examples were given as:
1.5cm cine, 16mm
2cm cine, 16mm
2.5cm cine, 16mm These coverages are tabulated for Triotar, f3.0 and f3.5
3.5cm movie and also apply to Tessar f2.7. They are given in (B.J.A.
1929, p610)
4.0cm movie
5cm movie = 35mm motion picture.
7.5cm 2.375x1.75in
8cm 2.375x1.75in
10cm 2.375x2.375in
12cm 3.5x2.375in These big Triotars seem scarce in the UK.
14.5cm 4.25x3.25in
15cm 5x4in
16.5cm 5x4in
18cm 5.5x3.25in
8.25cm 6.5x4.75in
Triotar f2.9 20mm, 25mm This was noted in Areil's list as a 25mm lens on a 1926 Geyer
camera. The 2cm version was noted at auction on a Pathe 9.5mm Motocamera. These small versions were
mainly for cine. (Also note that postwar there was a Triotar as an f2.8 on the Movikon 8mm camera.)
Triotar f3.5 15-210mm This was a portrait lens of triplet type, where it was suggested
to use 6in for 5x4. In fact, coverages were the same for f3.0 and f3.5 Triotars in the 1929 Table- just possibly
for convenience in making the Table!
It is uncertain if all these Triotars were made in both apertures of f2.9 and f3.0. It seems to have been sold in
Germany from late 1924, and are fast versions of the above.
The 'Optikers Handbuch' for 1927 lists Triotar as f6.3/135; f6.3/165mm; but not otherwise in discussing Distar
lenses. These must have been rated as important products in Germany at the time.
Distar This was a negative subsidiary lens to adapt prime lenses for long focus.
The amalgamation to produce Zeiss Ikon was to result in a number of interim products.
These are really best taken under the parent companies whose products they were. However at least one is
original Carl Zeiss as follows:
Icar f6.3 135, 163mm
This was made at Jena. It was seen as at No 349,06x for the 135mm lens in a Kodamatic shutter; and
No213,78x for the 163mm one in a D/S Compur No251,118, which seems to be earlier than the Zeiss Ikon
amalgamation. Thus ICAR may have been an older trade name. It seems to be a triplet. This is not a well
known item but others have been seen, and said to be "a sort of Triotar". This is probably a fair comment.
Other sizes may exist. (It has not been possible to compare the curves with a Triotar however to see if they
are the same.)
Fig 003 013 Zeiss Icar f6.3/135mm in Kodamatic shutter.
'Suevia' A Zeiss 'Suevia' f6.3/10.5cm lens has been noted in a dealers list and may be parallel to the
Icar or merely a case where the camera name 'Suevia' has been on the shutter and used in the advert.of the
lens- McKeown lists Suevia with Nostar f6.8, Contessa-Nettel Periscop f11 or ex-C-N with a Nettar
f6.3/105mm which could be the lens in question.
Triotar f6.3 This was noted on a Bedford plate and rollfilm in B.J.A. 1927, p310, from Mssrs
Sands and Hunter of Bedford St. It was a special in limited supply.
(Dagor) f6.8 This was listed about 1932 as a Zeiss lens. It also occurs branded as Zeiss
Goerz Dagor See also the later f9 version below.)
Tessar f4.9 9cm fpr VP Kodak 127, noted at No627,777, 689,03x. This was apparently sold in 1926-7 only.
1929
Tessar f3.5 105-210mm This was the new version designed by Merte and Wandersleb.
This is a new computation for general use with wider angle coverage. Thus it is now possible to use 150mm for
5x4in. (cf.above) and the 50mm on 24x36 was available for the Contax when it arrived. (USPat 1741947 for an
f3.5 for 55° coverage. (Brit Pat 273,274/1926) using glasses G1= 1.60717/59.5; G2= 1.57596/41.3; G3=
1.52648/51; G4= 1.62377/56.9 to cover 55° at f3.5. A German Pat used glasses G1= 1.6711/47.3; G2=
1.6200/36.3; G3= 1.5822/42.0; G4= 1.6711/47.3. This seems to be the same as Merte and Wandersleb's
USPat 1,849,681 of 1930/1932. A restriction was that glass of R.I. above 1.55 was required- and this was
probably not too demanding. It is a date to note: thus a f3.5/12cm No2,073,92x on a 6x9cm Deckrullo Klapp
should be a "new design" lens as the serial is after this date.
Some of the mounting details seem to have come through over the next year or so. Thus in B.J.A. 1931, p325
they are noting the f3.5/135mm Tessar in focussing mount.
Biotar f1.4 17, 20, 25,40,50mm,also a 70mm was due or reputed. It covers 42° (design
35-40°). 17, 20 and 25mm came later, the latter in some mountings such as Bell&Howell. (B.J.A. 1930,
p362). This was 'the latest introduction from --Carl Zeiss' in the B.J.A. 1929, p360. It was of 6-glass with 8 airglass
surfaces, and 35mm was needed for the 24x18mm of movie format, and 16.7mm for 16mm. This is an
angle of 42°. It was said to give excellent definition at f1.4, and maintains it on close down to f2, f3.5 and
smaller. It seems to have been introduced as 40mm (with 23mm clear back space) and 50mm for movie, and
25mm for 16mm, though 17 and 20mm were planned, and did in fact arrive.
Prices were 40mm £15.50; 50mm, £17.50; 25mm,£11.75.
There are references to 7 and 6-glass f1.4 Biotars in the Patent. It seems that the version sold was the 6-glass
from the examples seen. Those examined were at No 225,39x and 1,365,64x so this seems to be the norm. It
is given in Am. Photo. Facts and Figure 6th. Series, No 69 and in Hendley and Dudley, 1939) as 6-glass but
the 7-glass is shown in the Patent. So perhaps both layouts were used. It seems to be a 1927 design? (DRP
485,798 of 1927, Brit Pat. No 297,823, USPat 1,786,916/1930). (Layouts Zei026;Zei027). The glasses used
were G1+5+6=1.64238/48.0; G2= 1.62306/56.9; G3= 1.57566/41.2; G4= 1.67270/32.2.
It is difficult to appreciate just what an achievement an f1.4 of good quality was in those days, and the fact that
it was sold for movie has made it an overlooked design; it actually is far more important than is appreciated.
One 50mm example seen at No888,96x came in an assembly with a linked reflex unit rather like a Megoflex
TLR, and has a rear bayonet mount, possibly for a Siemens and Halske 35mm movie camera. Ariel's list
quotes f1.4 Biotars, for Siemens & Halske and Nizo cameras, but only in 20, 25mm for 16mm and 12.5mm for
8mm on a Nozo, and a f2.0/35mm probably about 1948 for 35mm Cinephon. Later some 50mm lenses were
remounted eg in the UK by C&P privately for M39x26, where they cover 24x36mm reasonably well. Zeiss
described it as really sharp at all apertures for movie, and especially free from vignetting at small apertures,
and Woeltche notes that the design made full use of the possibilities of the period. Experience is that they
were very good over about 24x24mm and the outer parts are well up to the standard of other high speed lenses
of the period, and improve quickly on close down. The angle covered could only be then extended by reducing
the maximum aperture, an f2 version covering 50°and the f2.0 Biotars were closely related designs. The air
contact surfaces in these lenses are kept nearly symmetrical but this lens has internal surfaces which are far
from symmetrical.
Note Some 50mm lenses have been found in a very heavy black enamel mount with M39 thread and these
just may be for M39 rangefinder use but may equally have been made for a movie camera with M39 thread.
They do trade expensively as Leica-fit items however. The serial numbers are early 1930's and they may well
have been an attempt to market the Biotar for Leica before the Leica patents were published. There are also
reports of later Zeiss lenses (not Biotars) in M39, but these seem to be very late 1930's or early 1940's items
made under "stress of war". Otherwise no use seems to be known for these f1.4 Biotars on still cameras, but
the B.J.A. 1939 p550 describes them as for "cine and miniature cameras" so something has perhaps been
missed.
Fig 010 045 Zeiss Biotar: Actual adaptions: (l) M39 mounted by C&P, London; original TLR mount; lens head
alone.
Biotar f2.0 (Both Biotars f2.0 and f1.4 were designed by Merte.)
(Layout Zei031), B.J.A.1930, p363:1931, p318)
(Sonnar: This was designed by L.Bertele) (DRP. 530843/1929:570983, a UK Pat was 350,323/aplication
08/1930, granted 11/06/1931) at this time but not sold yet. This patent actually describes a 4-glass lens at
f1.6/100mm rather like a f4/135mm was to be, and a 5-glass f2/100mm lens rather as a f2.8/180mm was to
be. They may really be showing the principle of the design. The glasses used were:
Lens 1 G1=1.6228 / 56.9: G2=1.5888 / 61.0; G3= 1.7174 / 29.5; G4=1.6261 / 39.1;
Lens 2 G1= G2= 1.6073 / 59.5; G3= 1.5101 /63.4; G4= 1.7224 / 29.5; G5= 1.6738 / 32.1.
In agreement with this, Woeltche (loc. cit.) regarded the Sonnar as 50 year old in 1979.
I.Parker quotes the design of the Sonnar as having taken Bertele and two others 3 years and it required a pile
of paper 0.9meters high and with 3,200 pages to calculate the design. It is possible however that this covered
several actual Sonnar products- ie the f1.5 may have been designed and then simplified to the f2 or vice versa.
(The name Sonnar had been in use on Contessa-Nettel cameras, who presumably had owned the Trade
Name. It seems then to have been a Q15 type lens, but it is uncertain who made it. It is not a Zeiss Tessar as
the curves differ.)
1930
Serial numbers reached 1 million about here.
Tessar f5.0 500, 700mm for aerial use, portraiture.
Triplet f4.8 500mm "
Triplet f5.0 700mm "
Triplet f7.0 1200mm This was listed in the USA and may be from this set.
The design of big triplet types seems to have been associated with August Sonnefeld, who worked on both
deformed triplets ie aspherics in USPat 1,616,765, and in USPat 1,825,828 used a split front glass to avoid
the need for scarce big discs of high R.I. glass and then could replace them with two of crown of low R.I. The
example uses G1+2= 1.5163/64.0; G3= 1.6129/37.0; G4= 1.5163/64.0 and gave very low distortion and the
example was a 2000mm f5 lens.
Wide Angle Dagor f9.0 150mm,etc.
This is the Goerz lens in a new label. By this period the covering power of the Dagor was still valuable and it
was mostly this slower, wider version that was sold, leaving the Protar to supply the declining market for
symmetrical anastigmats. They are engraved only Goerz- Dagor or Dagor and were seen at No2,214,78x
(1936) and No2,802,51x (about 1942), the latter being one of a stereo pair of Zeiss Dagors. (They were known
as stereo aerial survey lenses). It seems that the external curves of the Dagor and wide angle version are
much the same but the wide angle has bigger external glasses even though slower, and smaller internal ones
to fit it for wider angle use. Sales included the Kodak wide-angle camera, with Dagor f9/100mm being used for
1/2plate at No2,062,89x.
Fig 003 011 Zeiss Goerz Dagor f9/15cm No2,214,787 in rimset Compur. This lens is also shown under
Goerz for comparison with the early W/A Dagors.
Fig 026 022 Goerz Berlin Wide Angle Dagor (l) f9/125mm No597,535; (mid) Zeiss Goerz Dagor f9/15cm
No2,214,787 in Compur; (r) Carl Zeiss Dagor f9/21cm No2,802,518 from a stereo pair.
Hypergon f22 The old Goerz lens continued. One account was that it was discontinued when the
Topogon came in. But more likely it just faded away as sales fell off.
Distar: This was a weak negative lens to fit for focal length increase on plate cameras. (1.75x)
Proxar: This was a weak positive lens to shorten focal length (0.75x). Both these subsidiary lenses
were for use well stopped down!
About 1931, Zeiss Ikon was producing the 16mm Kinamo with Ernostar f1.9/50mm or Biotar f1.4/50mm
lenses, as well as probably a Tessar f2.7 option. There may have also been a separate 16mm Projector with
an f2 Zeiss Ikon Cine Projector lens, in 1.375 or 2in focus. (B.J.A. 1931, p580)This was soon replaced by the
Movikon 16mm with f1.4/25mm Sonnar or Tessar f2.7/20mm, apparently by 1931. Incidentally this seems to
make the f1.4 Sonnar the first Sonnar to be issued as the Contax was a 1932 product.
Alinar There were matching Kinox projectors with "Alinar" f1.4/50mm lenses.
Biotar f1.4 The 25mm version for Victor and other small cine cameras came in 1930-31 (B.J.A. 1931, p318).
The mount could be adjusted for any slight differences in register, and had iris scales and focused to 1.5ft. It
was said to be critically sharp at f1.4 and on close down as good as any other.
1931
Tessar f2.8 50, 60, 75, 80mm This was designed by Merte. It is fairly common and
usually really good but the original 80mm version for the 6x6cm Super Ikonta seems to be somehow different
and is less liked by users. As to frequency, see the Contax 1 lens lists below, where f2.8 was the commonest
lens.
[Tessar f2.8/Mentor In 1931, Mentor were listing an f2.8 Tessar versions of their plate and reflex for 6.5x9,
3.25x4.25 and 9x12cm. This is a problem product to assign as it is quite feasible but known only here.]
Orthometar f4.5 This was a Q20 type was patented by Merte USPat 1,792,917/1931 filed in 1927 as an
f4.5, 100mm lens for 65°. The glasses used were G1+2= 1.61087/55.8; G2+5= 1.53994/47.4; G3+4=
1.56064/61.1. The components were usable separately: but are not identical in the patent example. (Layout
Zei053). No foci were quoted but it was to be made in 35mm for the Contax/Contaflex, and in 210-250mm, the
last for aerial work. This is a really sharp lens, but tends to be low in contrast if uncoated due to the number of
air to glass surfaces.
Triotar A new Triplet patent was granted to Richter, for an f4.5 (USPat 1,892,162, Brit Pat No364,994/1932).
It used glasses G1=1.6227/56.9; G2=1.6128/37.0;G3= 1.6423/48.0. It was for lenses of f4.0-f5.0 max. to be
used on hand cameras.
Tessar f2.7 This was for cine, probably made under USPat 1,826,362/1931.
1932 It was at this time that the Contax camera was issued. The earliest Contax lenses are often
Tessars at No 1,250,xxx or thereby. It may be that they were produced ahead, and then Sonnars made. The
exchange lenses seem mainly to start rather later at about No1,400,000 and up.
R-Biotar f0.85 Designer Merte (Layout Zei028)
This was a Petzval derivative, USPat. 1,967,836/1932, D R P 607,631/1932. The glasses seem to have been
G1= 1.63753/56.1; G2= 1.75823/27.4; G3= 1.46449/65.8; G4= 1.62203/53.1; G5= 1.75823/27.4. The patent
claims an f0.9 aperture and a circle of 25mm at a 100mm focus.It was made as a 45mm lens to cover 16mm
film reasonably well. (E.K.Kaprelian, JSMPE,53, 86, 1949). It was replaced postwar with an 8-glass Gauss
type from Jena. It was also noted as 55mm, in 1935 when sold. It was seen as a 4.5cm f0.85 Nr 1,514,29x
made about 1934. The back focus is very limited so it would be hard to reuse for anything else. It is said to be
reasonable easy to find which fits with substantial sales in prewar TB campaigns. It was noted in B.J.A. 1934,
p279 as a lens of unparalleled rapidity. It seems not to have been a stock item but rather made to order at
£66.
Fig 002 027 Zeiss R-Biotar f0.85/4.5cm No1,514,29x (294-16,309(CD).
Fig 002 029 Zeiss R-Biotar f0.85/4.5cm No1,514,29x (294-16,309(CD).
Sonnar German Pat 530,843, 570,983/1929; Brit Pat 383,591. This was a unique lens for its
speed and freedom from flare; and this made it very usable. Some distortion was present but not normally
noticed. The f2 and f1.5 versions were famous. USPats were No 1,975,677/1932-1934 (f2 and f2.5) followed by
No1,998,704 covering f2.0 and f2.8 lenses and No1,975,678/1932-1934 (f1.5) . Glasses proposed were:
f2.5/50mm:G1=1.6228/56.0; G2=1.5647/55.8; G3=1.6398/34.6;
G4=1.7783/26.5;G5=1.5614/45.3;G6=1.6395/48.3
f2.0/48.7mm: G1=1.6185/60.5; G2= 1.6711/47.5; G3= 1.4645/65.5;
G4=1.6890/31.2; G5= 1.7174/29.5; G6= 1.6711/ 47.5;
G7= 1.4645/65.5.
f2.0/ G1= 1.6185/60.5; G2= 1.6711/47.3; G3=1.4645/65.7;
G4=1.6890/31.2; G5= 1.5647; G6= 1.6711/47.3.
f1.5/ G1=1.6375/56.1; G2= 1.6727/47.3; G3= 1.4675/65.7;
G4=1.6890/31.0; G5= 1.5481/45.9; G6= 1.6578/51.2;
G7= 1.5488/63.0.
The latter seems the most like the product sold but note that Merte quotes a wide range of Sonnar patents
and these are made with varying glasses so the situation is not so simple as might be supposed. And note
that there is no reason for patents to exactly correspond with the items finally made.
Mr Cook of TTH discussed the corrections of the f2 and f1.5 Sonnars in the Photographic Journal Oct 1949,
p223, and showed the f2 as having a very flat field, and little astigmatism (below 1%), but some spherical
aberration, under corrected in the zone about f4-f2.5 and then over corrected at f2, and this can be partly off
set by setting the lens slightly back of the focus in normal use, and perhaps refocusing at f5 or less. The f1.5
also has a good astigmatism correction, rather as the f2, but the field is not quite as flat, being slightly
forward. And the spherical correction is undercorrected at all apertures above f11, and the lens set to suit this-
which may explain why the older lenses were iris limited to f11 or bigger- though internal reflexions were also a
problem in uncoated lensesat small apertures.
Sizes were normally 50mm for 24x36mm, but a few were made eg. for movie as 32mm on Arriflex, and also for
RoBoT postwar.
Sonnar f4.0 135mm A compact long focus lens for the Contax, which was famed for its
sharpness as well as convenience in use. An early German Patent for Sonnars is No530,843/1929 and covers
lenses of 1+ 2 + i +1 and 1+ 3+ i +1 designs and these seem to have appeared as the f4 and later 18cm f2.8
Sonnars. Glasses used are: f4 example G1=1.6228/59.9; G2= 1.5888/61.0; G3= 1.7174/29.5; G4=
1.6261/39.1. The other example uses G1+2= 1.6073/59.5; G3= 1.5101/63.4; G4= 1.7224/29.5; G5=
1.6738/32.1. These were really innovative designs at the time.
Projectors Diabox slide projector ?for 3.25square?, with large lenses of 10-18in was noted in B.J.A. 1932,
p315.
Projector Adoro This was an Episcopic ie for opaque objects, and used a f4.4/12in lens idem, ibid, p316.
There was also for printed matter, a f4 anastigmat lens which was for better definition.
The Contax camera was launched in 1932, the early models mainly selling with Tessar lenses as the
formidable reputation of the Sonnars took a little time to establish. An early one (?f2.8) is noted on a Contax in
B.J.A. 1933, p263.
1933
Tessar f2.8 50, 60mm This now gave 50° coverage. It was to be an important Contax
lens, also sold on other cameras. A interesting early user was Krauss' Peggy with a f2.8/5cm at No1,336,99x.
The 6cm could be a formidable lens as used on the Rollei 4x4cm. It is probably one of these used
professionally by Cyril Arapoff (B.J.P. 28/1/1980, pp1192), from 1935, which was an unusual choice but it his
hands gave excellent results.
Kino Teletessar f4.0 This was a very rapid tele for cine.
Biotessar f2.8 135, 165mm for 6x9, 9x12cm. Press,etc.
This was now on sale as a very select large lens of decent performance even by modern standards. It was well
ahead of the f2.7 Tessar. It seems to have sold only on Zeiss Ikon Miroflex and Nettel Press cameras (and
Bentzin Primar reflex in 1932) though one seen seems to be out of an instrument off some type with a special
iris control ring. (Apparently BioTessar was also designed by Merte, see above, in 1925) (Layout Zei033).
Notice that the extra glasses do not involve extra air-glass surfaces so the contrast is still quite good. (Brit Pat
256,586/1925). The 135mm is a much more compact lens to handle and may be more desirable as a result.
At least one other advanced Tessar seems to have been studied. The examples seen at No 950,10x and
Nr112,551x/N60 (both c.1930) were just soft at f2.8, crispening up with f3.2 to f3.5, so it was about 1 stop
ahead of a f3.5 Tessar. It is not common. It must be remembered that Zeiss were making and selling large
format Tessar lenses very steadily through this period even though the miniature lenses may have been
"making the news!" The last Biotessars seem to have been made during the War as they are 'T' coated, the
example seen being a 135mm lens.
Tessar f2.8 This was still a novelty in B.J.A. 1933, p287, when it was as 5cm for 24x36mm (50°) and 6cm for
4x4cm. "excellent definition and brilliancy" was the verdict, and both these could be fitted into Compur
shutters. Both lenses cost £10.2 in Compur or the 5cm was £8.7 in standard mount.
[A question is that the same year, Mentor was offering f2.8 Tessar lenses on the Mentor Focal Plane, Mentor
de luxe Reflex, and New Standard Reflex in 5.25in for 6.5x9cm; 6.5in for 1/4plate and 9x12cm, but the nature
of these seems obscure- they might be BioTessars or f2.7 Tessars, but the "big" f2.8 seems an anomaly.
(see B.J.A. 1933, p580advert).]
It would be too easy in a lens list such as this to forget the preponderance of folders made at this time, often
with Tessar lenses where the f4.5 or f3.5 was probably the best choice. The faster f2.8 seems to have been
less happy in design and suffered perhaps from the flexibility inherent in a folding camera.
Fig 003 030 Zeiss Tessar f2.8/8cm on 6x6Super Ikonta and f3.5/75mm on 6x6cm Ikonta.
Fig 003 032 Zeiss Ikon Super Ikonta and Ikonta cameras with Zeiss Tessar lenses.
Sonnar f1.4 The Sonnar was made at this aperture for movie use only, possibly as
Zei036. This was used on the Zeiss Ikon Kinamo K.S.10 in 1932-3 (B.J.A. 1933, p295) and later on the
Movikon 16mm, and was probably a special narrow angle design by Bertele, in USPat 2,029,806/1936, for a 6-
glass lens for 16° angle. (B.J.A. 1935, p554). However it may have sold earlier. It was seen as a 25mm lens
at No 1,589,60x; 1,914,23x and 2,578,72x (Luftwaffe, T ctd), but is now hard to use as it is in Movikon bayonet
fitting. The glasses used were G1=1.6202/60.4; G2=1.6202/60.4; G3= 1.4655/65.7; G4= 1.7400/28.2; G5=
1.6429/47.6; G6= 1.6028/60.6. The design depended on a very thick rear glass above 0.33 of the focus in
thickness. The same patent covers a f1.5 version: both are narrow angle dsigns for 14-16°. The Kinamo was a
'new' camera in the 1933 notice as was the Sonnar, and there were two other Sonnars in interchangable
mounts.
Sonnar f4.0 3in for Kinamo above.
Sonnar f2.8 2in for Kinamo above.
Fig 015 019 Zeiss Movikon 16mm with Sonnars f1.4/25mm and f2.8/50mm with Luftwaffe engraving.
1934
Topogon f6.3 100mm and 55mm for phototheodolite TAL 100°
The designer was R. Richter (1886-1956).(Brit Pat 423,156/1933, USPat 2,031,792) The Layout is Zei029. It
apparently used nD=1.62 low dispersion outer glasses, and nD=1.72 higher dispersion inner glasses. There
are two versions in the patents, one being also shown with glass flats before and behind and changes to the
curves. The glasses quoted were:
Example 1 G1+4= 1.6201/60.4; G2+3= 1.7172/29.5
Example 2 G1+4= 1.6185/60.5; G2+3= 1.7261/29.0.
Another date for its launch was 1936. This was a very deeply curved Gauss type and set a trend in the use of
such lenses in aerial survey work. The delay may have been related to the challenge that its manufacture
presented. It has been described as very sharp but with more fall-off in illumination than was easy to handle.
The example seen did not have the optical flats mounted on the outside. It was an f6.3/200mm lens. (see
Zei035 with flats). Merte illustrates it with pictures taken with a Zeiss Reihenmesskammer RMKP 10 from
Zeiss Aerotopograph G.m.b.h. of Jena.
It was in 1934 that Dr Smakula first developed the vacuum coating anti-reflection process. This in-house
information would affect Zeiss lens design freedom thereon. It was not published as strategically valuable and
could not be commercialised then. But Zeiss designers would know that the future held a greater freedom from
pressure to limit air-glass surfaces.
Tessar f3.8 This was an aperture limited version for the Rolleiflex. There is a Tessar
f4.9/135mm below and Zeiss may have set a pattern here. [See postwar when Schneider, Wray and probably
Kodak all listed Xenars, Ektars and Lustrars in slowed-down aperture-limited forms.]
Projector Lens The Zeiss Ikon Kinox 16mm projector used an f1.4 lens, but no details of make or design are
avaialble. (B.J.A. 1935, p333).
1935
Dagor This is a late appearance of this Goerz lens and will probably be the wide angle version.
Sonnar f1.4 The Sonnar was listed in the adverts. this year for cine, but was a 1932 or
1933 introduction.
Sonnar f2.8 50mm same This was noted at No2,014,84x.
Sonnar f4.0 75mm same, This was the unusual f4.0/75mm for RoBot
Tessar f2.7 This was for cine on Movikon as 1.5 and 2.0cm (also 50mm f2.8)
This was probably covered by USPat 1,826,362/1931. It covered some 45°. It probably illuminated a normal
angle but would be designed for central sharpness. A longer 75mm f2.7 has been reported as mounted late
prewar for M39 mount.
Biotar f2.0 This was for cine and miniature eg. Exacta,Robot. (Layout Zei031) The Contax
4cm lens was a different item in detail, with bigger external glasses. The 8cm f2 version for VP Exakta will
date from about here, noted at No1,746,74x. The biggest seems to be 10cm for ?6x6 such as Primaflex, the
example noted being about 1940.
For Robot, eg at No2,440,24x; 2,442,63x; 2,513,01x; 2,514,365; These lenses were mainly on wartime
cameras, since there was a wartime long spring RoBoT which is valued and sells at auction, making the
numbers available.
Magnar f10 450mm This was an old survivor!
Quartz Anastigmat
f4.5 This was for UV work (is this the Kallosat?)
ApoPlanar
Triotar f3.8 on Rollei 6x6 (B.J.A.1936, p309). This was officially an f3.5, adapted to the
shutter size which limited the aperture.
Triotar f3.5 5cm This must have come in about then for Nettel 35mm.
Fig 003 028 Zeiss Nettel with f3.5/5cm Triotar and Contessa Nettel with Tessar f2.8/5cm.
Apotessar
R-Biotar f0.85mm This was launched for sale now, and it seems to be as 45-55mm.
One point is the extensive use of Tessar lenses for projection as ProjectionTessar or for 'special' purposes as
a black barrel f3.5/10.5cm Tessar with iris but no obvious camera use- it probably was sold for copying or
the like.
Sucher Objektiv f2.8 8cm This has been noted as a scrap item, and is the viewing lens off an
Ikoflex 3 or possibly a Contaflex TLR, and not a taking lens. It seems to be a triplet. But note that Pritschow
shows a bulky 1+2+1 design (App079) on p162 of his book, on a Contaflex TLR, so 2 types may occur.
Probably this was a case where the TLR had the best of everything regardless of price. One possibility is that
this was a new improved version for the 1940's. (Note there was also an f3.2 Sucher for a Rolleidoscop many
years earlier, probably Zeiss, and a series of Teronars for Ikoflexes.)
Fig 003 004 Zeiss Ikon Sucher anastigmat f2.8/8cm No1,657,xxx and Orikor about f10/70cm.
1936
Pleon Here the designer was Richter, and the lens was for up to 140° coverage.
[Olympia Sonnar f2.8 180mm There were rumours of a 4-glass version for rangefinder coupling and it
was illustrated in period drawings. The existence of this version has been questioned by owners of the lens
and is said to be based on an error in the English language version of one of the old Contax booklets. As a
result, it has crept into textbooks and magazines.]
Olympia Sonnar f2.8 180mm This was the normal 5-glass version with Flektoskop reflex unit. The
designer was Bertele. It is a brilliantly sharp and contrasty lens, giving bold but not unpleasant separation of
planes, but it is heavy and bulky. The design is further discussed below. Noted at Nos 2,275,08x, 2,275,07x;
an early one at No1.5million suggests the design was finalized in 1933 or 1934 as this is a 1934 number
officially. It may have not been produced then due to development problems over the reflex housing or possibly
the large glass blanks required. Or just that the Contax programme was very busy with other projects. No
particular patent is noted, but this could merely be that it lay within the general Sonnar patents such as the f2
with simplification. The same seems to apply to the f4/135mm for example. This version was noted in B.J.A.
1937, p251 with a sectioned drawing of the lens and coupled mount, but with the tripod screw on rop. It
confirms the use in the Olympic games and that it was to meet the need for a long lens with a fast top speed.
Merlyn Severn (Ballet photographer) tried one out in Min Cam World 11/1937 p647 in a box on a tripod and
concluded it was of excellent definition (and contrast) but hard to keep in focus at 60ft in the dark- she
suggests it is better for sport and natural history. (Note that she also used the Astro f2.3/15cm at about this
time.)
The initial examples were rangefinder coupled but this is not very convenient to use as the lens and shade are
big in comparison with the camera and rangefinder and the latter is partly masked by the hood: also the depth
of field is very limited in terms of the sensitivity of the rangefinder.
Fig 012 011 Zeiss Sonnar f2.8/180mm in rangefinder coupled mount. No1,503,71x.
Thus it was much more easily used when the reflex unit was available. Even so the 'Olympia' was heavy and
two special supports were available by 1939 (B.J.A. 1939, p287) one was a sling support with a light
aluminium frome, and the other a rifle butt support which is used as if a rifle.
Sonnar f2 5cm This was adapted to use a collapsible mount this year (B.J.A. 1937,
p260) and these were all (?) in chrome finish.
Sonnar f1.2 58mm This was reported as a 'unique' item found in 2000AD fitted to a small
and rather plain non-rangefinder 35mm body and the history is quite unknown. It may have been designed as
an alternative to the R-Biotar or for movie use in extreme low light. At the time it must have been one of the
fastest lenses available. The actual date is not available but it was not coated.
Biogon f2.8 35mm This was made under USPat 2,084,309/1937 granted to Bertele with a
1+3+2+1 layout. ( Zei038). The original was slightly simplified for sale and seems to have been sold with 6
glasses [rather as Rus002] as an f2.8, rather than the original idea which may have been for an f2.5 or f2.7
lens. It was the front triple which seems to have changed to a doublet. The original was described by Mr Cook
of TTH as "remarkable" in a 1949 article, with a flat field, good correction for astigmatism and also for spherical
aberration. The simpler type "is not capable of as good corrections" as seen there. Biogon was the premium
wide angle for the Contax, and occasionally the Contaflex. Some 35mm Biogons have been noted at No2.8m
which are T coated and as stereo pairs in a barrel mount with no iris- they may be part of a aerial survey
camera or viewer. [There were also Russian Jupiter 3.5cm f2.8 similarly mounted in the same dealers
stock.].The patent lists the glasses as follows:
G1,2,6=1.6716/47.2; G3= 1.4645/65.7; G4= 1.6890/31.0; G7= 1.5333/48.9.
It was noted in B.J.A. 1938 p267 for Contaflex TLR. They suggested care was needed to avoid marking the
protruding rear glass, though experience has been that owners managed to look after them quite well provided
they had the necessary deep cap- now a minor collectors item.
[In a lecture in 1980 to Zeiss Historica, USA, Hubert Nerwin the Zeiss designer, mentioned that Zeiss Jena
were planning a Contax Reflex with Contax shutter but added mirror and roof prism finder as early as 1936-7
and that development was held up from 1937 due to Government needs for War preparations. It is likely this
was reflected in thinking for retrofocus lenses such as Perimetar and Sphaerogon and in fast lenses such as
the 58mm f2 Biotar and 75mm f1.5 Biotar which appeared later. (Note the f1.5 was listed as early as 1940/1
for Exakta). The retrofocus types may not have been fully developed items in all cases. These were to have
focussing barrel mounts but keep the Contax outer bayonet. Fig 002 022 below)
In design terms, Biogon was a novelty in the shear thickness of glass used- perhaps it was the first lens
where the designer thought merely in terms of spaces and optical properties irrespective of the amount of
actual glass involved, while most were still thinking of thin discs expanded to a finite thickness for actual use!
(Biogon was to remain a very select lens for special uses but much later Woeltche loc. cit. refers to the layout
being reversed and used as the intellectual starting point for the design of the first Distagons. In fact, revews
have suggests an intellectual family tree of Triplet, leading through to the Sonnar f1.5 design, and that the
Biogon was a highly reshaped Sonnar: add that the Biogon lead to the Distagon and it seems ideas develop in
unpredictable ways.)
Tessar f2.8 3.25, 3.75in This was supplied for the RoBot 24x24mm camera, along with a Biotar
and Sonnar. An early RoBoT has a 3.25mm No2,027,79x. Later versions seem to have used the longer one.
During the war, this was used as a recording camera, including a Tessar f2.8/3.75 at No2,209,23x marked
"Luftwaffen Eigentum". A special long spring model was used.
Tessar f2.8 There is a note in B.J.A. 1936 p554 advert. of a new f2.8 Tessar in 5 and 6cm, under
recent patents, to cover 50°. It seems to be aimed at sales in Compur shutters, especially of 5 and 6cm in
sizes 00 and 00R without loss of aperture. There was certainly an increased use of f2.8 Tessar in blade
shutters late prewar, and there may just have been a redesign about then? There is an odd situation where
there was both f2.8 Tessar in 75mm and 80mm for 6x6cm, though possibly the 80mm replaced the 75mm
version.
Triotar f5.6 4.125in (105mm) for Nettax. This was a new Zeiss 35mm camera with Contax related
lens mounts, using Tessar 5cm standard lenses, the f8/28mm Tessar and this Triotar, each with a rangefinder
optic on the mount. It is rather scarce. (B.J.A. 1937, p274).
Twin Lens Contaflex This was introduced in 1936 (B.J.A. 1936, p266) using remounted versions of the Contax
5cm lenses with 35mm, 85mm and 135mm exchange lenses. They will probably be optically the same but in
different mounts, and are a very scarce item as the camera was an exceptionally costly one and sold only in
small numbers.
In movie, Zeiss developed a stereo slow motion cine system through Zeiss Ikon and the Physicalische-
Technische Reichsanstalt using twin strips of film and this was later used for military outfits for the Navy and
air-force, in some 100 outfits exposing some 100,000m of B+W film. There were other Zeiss stereo
processes including lenticular and postwar the processes were developed. It is conjectured and likely that
pairs of Carl Zeiss Biogon f2.8/35mm T lenses noted by the compiler were for this work and possibly for
projecting as they typically have no iris fitted though the mounts are slotted for the iris. Mounts are plain
screwfit, not for Contax bayonet. (H-J Heuel and G. Koshofer, transl. A.J.Dalladay, B.J.P. 20/10/1978 p919).
1937
Kipronar f1.9 90-200mm This was a projection lens. It was 'new' in B.J.A. 1937, p299, in
several foci, including 9 and 20cm. These were for standard size film ie ?35mm movie and were a Petzval
design of 2 components only for extra brilliance with a high correction for spherical and colour aberrations.
They are easy to dismantle for cleaning.
Ariel's list has an f1.9/165mm example on a 1934 Zeiss Ikon 35mm Projector. A projection lens was patented
to R.Richter as an f1.9, for up to 40° (USPat2,170,428/1939) and this lens may have been sold as the
Kipronar. It seems to be a 4-glass Ernostar design.
Herotar polarizer(=Bernotar)
Tessar f2.8 4cm These were for Tenax 2. Note that some of these at Nr 2,382,21x are in an alloy
flange, but brass optic mount. These can be a naval item, eg engraved "M17x" and are then without a focusing
adjustment.
Fig 003 026 Zeiss Triotar in Tenax I, and Tessar f2.8/4cm No2,382,21x/M179 on Tenax II
Teronar This was the view lens for the prewar TLR Ikoflex, and may be an Zeiss Ikon lens. It was noted as a
f3.5/75mm on Ikoflex II and as a f2.8/8cm on Ikoflex III. Thus a lateish prewar Ikoflex had Teronar view +
Tessar f3.5/75mm No2,023,31x; while an Ikoflex II had Teronar f2.8/8cm + Tessar 1,870,31x. Teronar View
was continued postwar. eg matched to a Tessar f3.5/75mm No1,237,56x in a Synchro Compur.
Punktal This was a close up lens and it was noted in a Optina unit from Norse Trading Co London, Ltd.
(B.J.A. 1938, p674). The exact status is unknown but it just may be a Zeiss Ikon item.
1939
An important new product range was initiated then for the Exakta 6x6. This came with a series of lenses by
Zeiss [and others,] especially:
Tessar f6.3 65mm
Tessar f2.8 8cm Reported at No2,528,18x.
Tessar f3.5 8cm
Biotar f2.0 10cm Reported at No2,464,52x Note that a few 105mm Biotars were mounted for
Leica probably for war work (see Small on M39 lenses.)
Triotar f4.0 135mm Reported at No2,557,83x and No2,557,84x
Tele Tessar f6.3 18cm Reported at No2,540,60x.
Tele Tessar f6.3 25cm Reported at No2,540,72x
The close grouping of the numbers is typical of products prepared for a launch which sadly never developed
fully. These items are thought to be commoner on the continent of Europe than in the UK as they were initially
sold at home.
Tessar f2.8 This was now in 50, 60, 75, 80mm.
Tessar f2.7 This was for movie only,15, 25, 35, 40, 50mm
Bernotar Polarizer. It is thought that a Trade name overlap resulted in a name change.
TeleMagnar for Rollei TLR 4x This was an accessory lens which gives 30cm on a 6x6, and 24cm on 4x4
Rollei. It was on sale in 1939-1940, and is therefore a very scarce accessory in UK but sold in USA. It
consists of a straight tube rather resembling a telescope optically. See also DUONAR. (Layout 032) The light
enters through the doublet. It is a 7 glass, 4 component system, with a maximum aperture of f9, and it stops
down to f16 or better f22. It seems to have an aspheric glass. An example seems to be No2,449,90x.
Biotar f2.0 58mm This seems to have been a very late pre-war introduction and just
appeared in brass mount at about No258,525x (1939), but soon went over to an alloy mount, eg at
No282,450x (1942).
Biotar f1.5 75mm This was probably actually issued only after WW2 was begun in
1940, as it is in Photofreund 1941 in fitting for Exakta. If it was initially intended for a Contax reflex, by then
the issue of this was receding and Zeiss perhaps chose to offer it for an existing camera.
[Sonnar f1.5 58mm This is an odd item often in a M39 mount and possible
actually engraved "Leica Sonnar" but not always engraved Zeiss as if it was mde for a special purpose such
as X-Ray recording. Thus the dating is exceptionally difficult here. See also below postwar.]
The Zeiss 1935 list is a good summary of what was on sale in Germany then, rather than what
was being sold abroad as above. It is much more extensive than the adverts. seen in the UK.
Biotar f1.4 20,25,40,50,70mm cine [The 50mm has been noted for 16mm D (or
C?) mount but may have been adapted, as it was for 24x36mm. Postwar an f1.8 Biotar of unknown date was
listed for 35mm use.]
Biotar f2.0 45,80mm The 80mm was important as the lens for the VP (Night)
Exakta at about No1,549,77x and up, and later as a 10cm for the 6x6 Exakta, at about No2,464,52x. The
4.5cm was used on the Pilot Reflex for 4x4, among others.
Tessar f2.7 15,25,35,40,50mm
Biotessar f2.8 135,165mm
KinoTessar f3.5 28,35,40,50,75mm This was for cine only, as the BioTessar or
Tessar replaced it for large format.
KinoTele-Tessar f4.0 75,100,150mm for cine
Tessar f2.8 50,60,75,80mm
Tessar f3.5 50-300mm (15 focal lengths) An f3.5/35mm was made for the Korelle
T and may have been a 'special' but it is more likely that this list ignores the shorter versions for cine and
movie use.
Tessar f3.8 75,105mm
Tessar f4.5 40-500mm The 4cm version is interesting as the wide lens for Kine
Exakta made till the retrofocus lenses came out. It was made in aluminium mount from about No2,658,89x
and these are sometimes unusual with Eigentum engraving or cut-outs on the mount to locate the lens on a
housing such as a periscope. The larger sizes were still standard on many professional cameras.
[Tessar f4.9 13cm Although it was not included in this Zeiss list, this was made
in a rimset Compur about then- it may be an f4.5 in an aperture limiting shutter. The f4.5/135mm Tessar was
normally in a rather bulky Cpr 1 shutter and Zeiss may have set a trend by fitting to a Cpr 0 even though it
slowed it up to suit a small camera.]
Tessar f5.0 500, 700mm This was for groups, portrait and aerial survey.
Tessar f6.3 75-600mm
Tessar f8.0 28mm for Contax, There was also a larger version for the VP Exakta.
Tele-Tessar f6.3 120-400mm
Dagor f6.8 180-300mm
Dagor f7.7 360mm
Protar f12.5 180-690mm
Protar (Double) f6.3/f7.7 105-400mm
Protar sets 3 sizes Bo 115mm and up 3 lenses
C 145mm and up 3 lenses
D 185mm and up 4 lenses
Process ApoTessar f9.0, 24, 30, 45, 60, 75, 90, 120, f15, 180cm.
Process ApoPlanar f7.5, 41cm, f9.0, 59cm, f10, 80, 105cm, f12.5, 130, 170cm. Here the 41cm covers at
least 10x8in.
Aerial Tessar f5.0 (see below)
Aerial Triplet f4.8,f5.0 This was made typically as 500 and 700mm, for aerial and portrait work.
Wide Angle Protar f18 80-270mm,also 40, 60, 85, 110, 140, 180, 210, 270mm on one list.
A 21cm was suggested for 10x8in (12.8in diagonal) but it could cover a diameter of 18.5in (470mm) at small
stops.
Tessar f8 28, 55mm
Dagor f9.0 75-240mm It was rated for up to 100°, but use at f18 was suggested. It was
suggested for architecture, interiors, and photogrammetry owing to the low distortion. (75, 100, 125, 150, 180,
210, 240mm listed.) The 150mm covered a diameter of 13in (330mm) at small stops.
Hypergon f22 60, 75, 120mm The 7.5cm covered 6x4 up to 18x16in. It seems to have
continued till the Topogon was available to replace it.
Quartz Anastigmat f4.5 120, 250mm This was the "plain" version. The fine resolution was limited to
5.25in diameter at infinity for the 25cm lens.
Quartz Anastigmat f4.5 120, 250mm This was the "color corrected" version.
TeleNegatives and Tubes.
Telikon Telephoto lens This was a very fine telephoto designed in the late 1930's for special uses eg
aerial survey work, with a very large rear glass. (Layout Zei030) It is almost like a f6.3 TeleTessar taken to an
extreme. Woeltche lists it as a 1940 design, and says it was the lens which showed that pincushion distortion
could be corrected in tele designs.
Another long list is in the American Annual 1939 page 6, and lists the Tessar f2.8, f3.5, f4.5, f6.3, Protar (as
Series 5?), Protar Series VII convertible, Dagor, ApoTessar, Sonnar, TeleTessar, Biogon, Biotar, BioTessar,
and Triotar (for Contax), some of which are interesting survivors.
____________________
A 1939 Advert may summarize the export situation then, though other items were certainly in production.
Tessar f4.5: 50, 75, 80, 85, 105, 115, 135, 150, 165, 180, 210, 250mm. Universal quality lens.
Tessar f3.5: 50, 75, 80, 105, 120, 135, 150, 165mmUniversal fast lens.
Biotessar: 135, 165mmExtra rapid especially for reflexes.
Tessar f2.8: 50, 60, 75, 80mm. Extra rapid ojective for miniature cameras.
Tessar f2.7: 15mm, 25mm; 35mm, 40mm, 50mm. Extra rapid, especially for cine cameras.
Biotar f2.0: 45mm, 80mm. Extra rapid objective for Miniature cameras.
Biotar f1.4 20, 25, 40, 50, 70mm Highest rapidity for cine and miniature cameras.
Proxar and Distar attachment lenses and Bernotar polarizing filters.
Punktal close up lens was noted in a Optina unit from Norse Trading Co London, Ltd. (B.J.A. 1938, p674)
An interesting cost comparison is for 50mm lenses in plain iris barrel mounts:
Tessar f4.5 :£4.75, Tessar f3.5;£5.00; Tessar f2.8 £6.50; Tessar f2.7,£9.80.
Biotar f2.0/45mm £10.35; Biotar f1.4 £24.35 The Sonnar on Contax was about £10. extra if f2.0, ie about
£15.00, and the f1.5 extra £25.25, ie about £30.00 in total.
_____________________
Rb aerial survey camera. This aerial camera of the 1930's for 30x30cm film used the following lenses.
Telikon 75cm f6.3 (oversize rear glass):
Tessar 50cm f5.0:(some marked infra-red Tessar) and
Topogon 20cm f8.0/f6.3.
All are very high quality items but weight was said to be a problem for the Me109's carrying them during the
war. The focal length was shown on film to 0.01mm. (Angles covered were 31°, 46°, 93° respectively). The falloff
in illumination for the Topogon was fairly large at the corners and exceeded the cos4theta value expected.
They are scarce in the UK, examples usually being from aircraft shot down in WW2. They are hard to reuse or
adapt, especially considering the 30cm sq format. However an aerial survey of Eastern UK was carried out
from the airship Graf Zeppelin 11 late prewar,- and it would have carried such cameras without any problems.
(Sun. Times, 31/01/1999, p4.6) It may have been seeking information on UK radar facilities as much as
aerosurvey work. But it may explain the original concept of what was a big camera for use in airships rather
than one designed for use in aeroplanes as they were forced to use them. But a later report suggests the
Luftwaffe did photograph much of the UK from some 10,000ft for preraid reconnaisance (The Times,
18/08/1999 p6).
The Telikon may be related to telephoto lenses disclosed in Merte's Brit Pat 493,650 of 1938 and USPat
2,171,274 of 29/08/1939 but these appear to be more complex and not actually sold. Example 1 is unusual as
there is a massive central triple component in a 5-glass design. Simpler 4-glass designs are covered in Italian
Pat. No382,977/1940 for what are essentially 2+2 teles with one or both pairs uncemented as in the Telikon.
(Zei071 but note Zei030 above)
Some items not listed here, as they were apparently not on the UK market, are the following:
Orthometar Aerial Survey f4.5? But note it was also made for the Contax camera as a 35mm lens. (see
above) (Zei053)
Note the reputed Plasmat pre-WW1- Orthometar was fairly well related.
Planar There have been reports of Planar lenses for aerial survey in WW2 but no details are available.
Topogon This aerial survey lens may not have been on general sale.
Mutac (There is no information here.)
Sonnar 58/60mm f1.5 This was probably a wartime lens, possibly for mass X-ray work. One reader
makes a point that it is normally coated- but that has not been so evident in UK samples and it may depend
on the mounting.
Zeiss 25cm f1.0? (See Zeiss collection below).
Hekla This was a 4-glass Gauss and an older lens.
Contax Zeiss Ikon issued a famous 35mm system camera, the Contax, in 1932. It had its own lens
programmme with items not sold generally. This programme was outstanding in quality, especially for the
period. One major feature was the Sonnar lenses Bertele designed for it. At a time when coating was not
available, these were unique in contrast and speed.
Contax 35mm program pre-1941
The initial lenses were finished in black enamel and nickel plate and are superb items if in nice order. The
serial numbers of Contax lenses start at about No1,254,xxx, or 1,274,xxx, probably with Tessars. The range
was updateded by chrome finish lenses when the Contax 11 and 111 were introduced about 1935-1936, and
these proved very hard wearing and kept their appearance better than any of the older enamelled lenses.
Originally Contax equipment was expensive and sales were smaller than for the opposition, and this continues
in the secondhand market today, where the common items can be slow to sell, but the unusual ones are at
very high premia- a rather complete outfit would now be an expensive thing to assemble. Some of the
equipment seems physically bigger and heavier, but for the original user, the quality was a real argument and
some items were actually rather compact, such as the 135mm Sonnar and 180mm Tele-Tessar. Incidentally,
there is no suggestion that users bought the 35mm Orthometar (which is compact) in preference to the 35mm
Biogon (which is larger) since the Orthometar is a rather scarce lens today, and the Biogon is desireable but
usually available. Note that these are bayonet mount lenses and really dedicated to Contax bodies only,
though a few other cameras can use them but with some small print as to coupling (Nikon) and mount
specification (Kiev), and a few adaptors to M39 were made by Cooke and Perkins in London and by Nikon in
Japan. These are often for 50mm lenses only, though some take all foci except perhaps the 35mm Biogon.
Mikrotar f1.6 10mm This is a rare macro lens (There were also others-see below.)
Perimetar f6.3 25mm This was prototypic only.
Tessar f8.0 28mm (Layout Zei037) This may not be the best design for a 28mm wide angle,
and it seems to suffer from a good deal of fall-off due to field curvature. But it was uniquely wide for 35mm
when it was launched. It sold fairly well and is usually findable today. It was seen at No2,267,55x.
Dagor f6.8 28mm This was reputedly listed, but was not made as the Tessar replaced it.
Herar 35mm There was a reputed prototype of this.
Orthometar f4.5 35mm This is a small version of the aerial survey lens. It was a slow light
alternative to the Biogon, launched with it quite late in the period. It is sharp but rather low in contrast due to
the 8 air-glass surfaces.(Layout Zei039) It seems to share the Biogon's mount in part. It can be hard to find
today. It was noted at Nos2,234,90x, 2,234,98x; 2,235,10x, 2,392,11x, and 2,612,98x
Biogon f2.5 35mm This was the patent version of simpler f2.8 lens below.It was prototypic
only. It is said to be superb and Mr Cook notes the good corrections in Photographic Jnl. 10/1949, p223, and
adds that the f2.8 below is not able to equal it. But it was too costly (Zei038) and just may have been more
bulky to fit into the Contax bayonet.
Biogon f2.8 35mm This was the version sold for Contax and also for the Contaflex TLR.
(Layouts Zei038, Rus002 approx.) B.J.A.1938, p266. The speed and performance of the Biogon was
something new in 1936 and it became a famous lens- although users said the thickness of the glass made it
work as a slower lens than the indicated aperture and it was rather heavy compared with a simpler layout.
The design of the Biogon was as a f1.5 Sonnar derivative (according to H.W.Lee), reshaped drastically for its
new role, the deep rear end being to allow correction of astigmatism and coma and with a glass lost in the f2.8
version here. (Brit Pat 350,739,459,739, USPat 2,084,309). The f2.8 is scarce as there is a fair demand, but
not really uncommon but usually available when needed. A typical uncoated lens was No2,392,84x.
It was coated from about No2,67x,xxx; and at 2,713,46x, where a pair with no iris* in barrel mounts was seen
T-coated, possibly as projection or stereo taking lenses. Here the brass mounts had a long focussing single
start thread with the bezel gear-cut for a focus control. The inner barrel had a iris slot though none was fitted-
ie it was probably a standard component modified for a special job. These may have surfaced postwar adapted
for Contax or M39 as several Biogons have been noted with inner bayonet fitting. Thus Small illustrates a M39
Biogon at Nr 2,712,924 as a wartime product: it just may be one of these remounted postwar.
Fig 002 022 Zeiss Biogon f2.8/35mm (l) for Contax R/f No2,392,84x; and 2 with no iris* No2,713,46x,etc; and
similar Russian Jupiter f2.8/35mm .
Biotar f2.0 40mm This Contax Biotar was a special design, not just the same lens
supplied for the RoBoT. It was given extra size outside glasses to minimize vignetting and was a novel product
when launched in aperture and speed and a decent performer; but failed to capture a big market share as it
was not really wide enough for a wide lens and less contrasty than Sonnar as a standard lens. (Layout Zei040)
It was a forward looking design at a time when most designers made the outer glasses of a Gauss a minimal
diameter to limit the fall-off in sharpness at the edge of the negative. Today it is one of the hard ones to find,
but is a really interesting item to lens collectors. Thus it can be an auction feature and was noted at
Nos1,454,068 as 4cm; 2,217,30x and 2,217,29x as 4.25cm as below.
Biotar f2.0 42.5mm This was the actual focal length of all these Biotars and was the
engraving used after about 1936. This is the rarer version since by then it was in competition with the Biogon
which was nearly as fast and wider.
Tessar f3.5 50mm This is a late design f3.5 Tessar for good overall performance
(Zei041) and is certainly a fine lens to match any other comparable lens on the market. It is one of the easy to
find lenses today in the original form, but the postwar rigid version is scarce. But note that it sold less well on
the Contax I than the f2.8 or f2 and may well be scarcer than thought owing to a relative lack of demand.
Tessar f2.8 50mm (Layout 042) The f2.8 50mm Tessar was a fully sound lens, and
approached the f3.5 in sharpness though it is probably true that the user paid a price in losing some fine
detail. It was probably the favourite lens on the Contax I but may have been displaced by the Sonnars on the
later models. It did not reappear postwar for Contax.
Sonnar f2.0 50mm (Layout 043 , USPat 1998704/1935) It is easy to forget that this was
revolutionary in those days in speed and performance, and it is still a sound performer. Initially for Contax I it
was in a rigid mount. But the normal form is a collapsible mounted lens in chrome for Contax II etc, and wear
can occur on this action so it is worth checking the condition on purchase.
Sonnar f1.5 50mm (Layout 044) This was the speed lens and a really useful one. Care is
needed to minimize flare and it was designed not to be stopped right down. It was reasonable sharp and flare
free when this was rare. The Zeiss Sonnar was never sold as an f1.4 for still work.( It was taken to this
aperture for cine over a narrow angle, and an improved version was patented in USPat 2,186,621/1940, but
here an extra glass was used to further minimize distortion, compared with the normal type in USPat
1,975,678/1934. There is a postwar f1.4 version in a patent, but it may sadly never have been produced.(Brit
Par 681,456/1949).) The f1.5 is nearly always in chrome and typically on Contax III bodies, and noticably
heavier than the others.
[In buying, it is worth checking the front surfaces of all 5cm Contax lenses carefully as the tongue of the
everready cases, especially on Contax 1 cameras, was apt to strike the glass and scratch it if not closed
carefully. Apart from this, they do seem to be made of more wear resistant glass than many of the period, but
some owners will scratch anything, so always check on purchase.]
Sonnar-R f1.5 50mm This was a wartime prototype
Sonnar f2.0 85mm This was an impressive news and portrait lens, and sharp. The black
and nickel version is quite a rare one and desireable if found. It was noted at No1,493,06x in nickel.
f2.0 85mm The 85mm may have been redesigned about 1936 with extra glass
(Layout Zei046). It was noted at No1,493,060 in nickel, No2,232,42x in chrome. The reflexions do not seem to
suggest this change and the external curves are either the same or nearly so. The postwar lenses from both
Jena and Opton do seem to have slightly flatter front curves.
There was also an IR version, made in the wartime
Triotar f4.0 85mm This was a Triplet, and a rather average item for a Contax fit lens! In
practice a group of 3 Triotars used at f5.6 all delivered very nice contrasty negatives with fine detail. The mount
is an excellent full quality item and all round it did supply a lower cost item to attract users to the system.
(Zei045) One unique feature was that it had no balsamed surface which might suffer if it was warmed in a
projector, and as a result it could have been a good option for use on the Contax bayonet on the Contabox
projector for 5x5cm slides. It was seen at Nos 1,447,93x (nickel) and 2,404,76x and 1,890,35x in chrome.
These all had the same front curve and it is likely that this was a design which was constant throughout the
prewar years. (The postwar Triotar looks very different, with a larger front glass (30mm dia) than the 22.5mm
used prewar. The front curve is little changed if at all.)
Note The lensheads of Contax lenses were not intended to be removed for use on copiers, and the register
was adjusted with very thin foil washers which tend to wrinkle when the lenshead is removed, preventing
accurate refitting. This makes cleaning the rear surface harder than it might be and prevented curve
measurements on them. When off, the rear cell should unscrew for cleaning, but access to the front air-space
seems hard in the Triotar, (and one of the above was really dusty lowering the contrast.)
Sonnar f4.0 135mm (Layout Zei047) This was unique in quality and compactness for the
time and the design was to be followed widely by others later. There was a slight optical design change
c.1936 for the chrome items, leading to a smaller rear glass set further forward in the mount. This seems to
have required a slight change in the front curve, which then stays the same in late prewar, war and postwar
lenses, and on early Contarex versions.
(a) Today this Sonnar is one of the easier to find, even in the black and nickel finish, which is usually hard to
find in the exchange lenses and note that these include quite early serial numbers as if they were part of the
original production plan. But the range of detailed finishes on the nickel version is quite wide, so that the
individual types can be scarce. They include changes to the very front of the lens where the early external
black paint at eg. No1,412,93x probably wore badly and was replaced first by a 9.5mm wide nickel band at eg.
No1,455,69x, and then by a narrow nickelled band eg. at No1,692,60x where only the 2.8mm wide edge of the
cell is plated. Type a does not take 40.5mm screw in filters on the nickelled versions but they do take 42.0mm
external accessories.
(b) The chrome lenses show little change over a longer period, but there were M39 versions during the war,
and coating was introduced. Postwar mounts are partly in light alloy but are still quite heavy due to the
amount of glass.
It was used on the Contabox A projector of 1933. It was in chrome at No2,072,10x. Among others, these
were to find military uses, and one noted was engraved "MF 1467" possibly for Marin flug wesen= fleet air arm
use.
[The 135mm was used in the Russian Jupiter series with essentially the same curves, and some of the first
postwar Japanese lenses seem to be based on the type using the early optical type.]
TeleTessar K f6.3 180mm This has a small rear element! (See above!) K could be for Klein,
Kupplung or Kino- anyway it was not for large format. (Layout Zei052). It is not fast, but quite compact for the
focal length. It is a sharp and contrasty lens but rather slow and this can lead to shake in use. The original
catalogues show a heavy line between glasses 1&2 which might be an air space as in the early types.
Examining a sample suggests that these are cemented as drawn here in the Contax version.
It was noted as:
(a) Nos 1,508,50x; and 1,631,10x in nickel finish, and
(b) No2,189,98x, 2,234,18x in chrome. On purchase, seek the matching finder and case, especially if a nickel
version lens. Later examples would be used with the multiple finder. One example at No2,189,98x has an
excellent coating and a red dot on the bezel between 18cm and Carl. This just may be a stage in the
introduction of coating but also could be a postsale addition. M.J.Small mentions such dots at the end of his
book.
Olympia Sonnar f2.8 180mm This big Sonnar was a sensation when it was released, at about the
time of the 1936 Olympic games, but note it was correctly Olympia not Olympic. The earliest noted was
No1,503,71x which should be a 1934 number from the list- it just could be a trial item. But these are scarce
and few serial numbers are available for study. All the prewar lenses were for Contax- at least officially- but
there were two mountings and it was such a desired lens that they were transplanted as available to other
cameras, remembering the cost was too high for most possible users to buy one.
(a) The first were in coupled mount for Contax, focussing to about 9ft/3m in 1/4 turn of the helix. The only
serial number noted was No1,503,71x above, although No1,874,92x may also be and 1,99x,xxx was certainly.
Finally, one was noted at No2,274,9xx. This suggests they were either fairly readily exchangeable from one
mount to another or that the two versions were made and sold as alternatives at the same time. These
coupled lenses are now very scarce, and then were bulky, really heavy and the rangefinder accuracy is only
just sufficient for their use. The mount had a substantial tripod ring round the middle, sometimes with a finder
shoe on top, possibly removed if the unit is adapted to SLR, and a rather slim rear extension with the usual
Contax mount on it. It must have required care to get the best results with the coupling, and as a result,
prices postwar were lower than for the reflex version below and when lenses were adapted to postwar reflexes
it was the rangefinder one which was selectively culled, making the supply still more limited.
(b) Later, the lens was mounted in a reflex housing, Flektoscop which allowed more accurate focusing, and
the pitch of the focus thread changed so that 3m requires about 1/2 turn of the helix. Incidentally, first use of
Flektoscop can be a surprise as the image is still inverted.This mounting continued into the war years, some
being in rather ersatz pot metal for the Flektoscop, though the lens remained 100% in quality, eg. at
No2,275,07x which seems to have a very early partial coating. Noted at Nos 2,275,07x (above) on Flektoscop
543/78-W25575), 2,275,08x, 2,404,11x, and 2,404,17x.
The reflexions in these two lenses, nominally 1934 and 1938 seems to be the same with 4 bright +2 faint
before the iris and 2 bright behind it, and the front curves seem to be identical, the rear surfaces being flat.
(The postwar version from Jena at No3,114,35x and 10,159,64x does seem to have a slightly flatter front
curve, possibly due to a new glass being available. Note that once changed, it seems to be constant as No
10,159,64x is a lens sold off discount when the programme was coming to an end in the later 1970's perhaps.
This is mentioned rather fully as there is a drawing error or artists lisence in some of the original brochures,
suggesting the rangefinder lenses are a simpler 4-glass 3-component design Zei 048, while actually all seem
to be Zei 049.
These must have represented a premium item in quality and price, and the serial numbers do suggest that
the production was unhurried, and possibly even delayed for example by the need for unusually large glass
blanks.
TeleTessar f8.0 300mm
Sonnar f4.0 300mm (Layout Zei051)
Fern f8.0 500mm It is thought that this is a meniscus design. Prewar examples noted
have been Nos 1,519,60x and 1,519,64x. It was also made at Jena postwar below.
The long Contax lenses are all very rare items and are costly to buy.
Serial Numbers of early Contax lenses.
The earliest Contax lenses noted were on Contax I bodies listed for auction at Christies, London, and were
f3.5 Tessars at Nrs 1.27-1.3million, followed by another group at 1.377-1.398million. The f2.8 Tessars seem to
begin at about Nr 1.3092 but most were at Nr 1.33-1.37million. The f2.0 Sonnars begin at about 1.407million,
followed by groups at 1.416, 1.548 and 1.605 and 1.658million. Finally, f1.5 Sonnars were noted from 1.39
and 1.459 and 1.548million. These will all be in nickel finish of course. The commonest on Contax 1 were the
f2.8 Tessar with 34 lenses noted, then the f2.0 Sonnar with 16 noted followed by the f3.5 with 14 noted, and
finally the f1.5 Sonnar at 5 noted. This will partly reflect the cost of the big Sonnar, but also the need to
educate the public to accept so fast a lens and possibly supply problems with the bigger blanks needed to
make it. The distribution are strongly skewed, with the Sonnars absent below 1.4million, in 1932. Thus Zeiss
seems to have prepared for Contax with a stock of Tessars, but waited to make Sonnars at or after the launch.
Incidentally, production seems very low in 1933, possibly reflecting production or sales problems with a very
complex and not too reliable camera. Or possibly there was more emphasis on exchange lenses by then
The above were matched with black and nickel exchange lenses but these are relatively scarce, only the
135mm f4 Sonnar with 3 examples at 1.42, 1.455 and 1.493million being at all common. Others noted are the
85mm f4 Triotar at Nr1.447, the 85mm f2 Sonnar at 1.493 and the 180mm f6.3 TeleTessar at Nr 1.63million.
The wide angles seem scarcer, only the 4cm f2.0 Biotar being seen at Nr1.454million. (It will be rated as
4.25cm in chrome.) Display dummy samples have numbers of all zeros, as Nr0,000,000.
For Contax, chrome lenses seem to begin at about 1.89million, but most are over 2.0million. Thus there may
be one or two chrome lenses in the Contax I fitted lenses above.There must have been a gradual change to
chrome finish as Twin Lens Contaflex lenses are all in chrome, and were made from 1.543million for a 50mm
f2.8 Tessar, and 1.548 or 1.549million for an f2.0/50mm Sonnar and up. Incidentally, for Contaflex, the Tessar
f2.8 is scarce, the f3.5 non-existent, and the commonest noted at 60% was the f1.5 Sonnar followed by the
f2.0 Sonnar at 33% out of a population of 15 lenses noted. Here exchange lenses are exceptionally scarce,
only 1x Triotar f4/85mm and 2x 135mm/f4.0 Sonnar being offered with this group of bodies, and this reflects
collecting experience. Some actual numbers are given below.
The production of the new Contax I cameras from 1932-1936 is an opportunity to look at the serial numbers of
the lenses sold on them. These were in nickel finish and few chrome lenses sell on Contax I cameras even
though the bayonet is the same. Thus Contax I lenses have been noted from Auction lists etc. as follows. The
serial numbers for the year are also indicated.
-------------------------------------------------------------------------------------------------------------------------------------------
Tessar f3.5 Tessar f2.8 Sonnar f2.0 Sonnar f1.5
1,270,972 (NB 1,239,699-1,365,582 are the 1931 numbers!)
1,271,672 pre Aug 1932
1,273,682
1,274,524
1,274,793
1,274,826
1,294,497
1,309,073
1,309,128
1,309,245
1,309,305
1,336,314
1,336,806
1,345,190
1,345,582
1,351,866
1,352,287
1,352,301
1,352,387
1,352,570
1,353,007
1,365,865 (NB 1,364,483-1,389,279 are the 1932 numbers!)
1,366,118
1,371.034
1,371,451
1,371,571
1,371,483
1,371,518
1,371,693
1,371,988
1,377,316
1,384,466
1,397,981
1,397,984
1,398,067 1,398,887
1,407,725
1,408,394
1,408,880
1,416,309
1,416,373
1,426,389
1,426,598
1,428,416
(NB 1,436,671-1,456,003 are the 1933 numbers!)
1,439,102
1,439,275
1,459,749
1,525,012 (NB 1,500,474-1,590,000 are the 1934 numbers!)
1,541,946
1,543,305
1,543,507
1,543,581
1,551,159
1,553,981
1,548,337
1,549,593
1,548,337
1,548,698
1,578,320
1,548,061
? 1,605,545
1,605,600
1,606,819
1,605,825
1,606,074
1,607,417
1,628,359
1,658,991 (1,615,764-1,752,303 is 1935 numbers !)
(1,615,764-1,752,303 are the 1935 numbers! but from here they will be chrome for CII!)
1,892,515
--------------------------------------------------------------------------------------------------------------------------------------------------
These are probably chrome 2,000,430
finish lenses transplanted to Contax I. 2,040,297
Tessar f3.5 Tessar f2.8 Sonnar f2.0 Sonnar f1.5
------------------------------------------------------------------------------------------------------------------------------------------------
Accounts surface of the prototypic lenses, especially wide angles, being made late prewar. These include
lenses such as Pleon, Herar, Perimetar, Sphaerogon, Topogon, Hypergon etc. Some accounts are of
prewar demonstrations, and others are the result of the dispersal of the Zeiss Lens Collection postwar in
America. (See below) One list gives:
Herar f2.8 35mm (Layout Zei063) Herar was a triplet with the front gap filled with low
refractive index glass to avoid flare. It required very high refractive index glass for the outer elements, and this
was easily tarnished, so Herar did not go into production. The glass seems to have been R.I. 1.672 in Mr Lee's
account. (D.R.Pat 652,882, Photogr. Ind. 1076, 1092). Merte quotes the glasses as:
Example 1, G1=1.6722/47.0; G2= 1.4930/66.0; G3=1.7214/29.3; G4= 1.7581/27.4; and
Example 2 as G1+5= 1.6722/47.0; G2= 1.4671/65.6; G3= 1.6162/36.7; G4= 1.5333/48.9.
Herar f3.5 35mm
Perimetar f6.3 21mm Here there was some distortion (Layout Zei059) which might be more
accepted today than prewar. This seems to be a Dagor with a negative version mounted in front of it. Some
versions show only the front 3 glasses of the Dagor.(Zeiss, Brit. Pat. 487,712/1936/1938, USPat
2,126,126/1938). cf Sphaerogon below. Perimetar was apparently actually produced in small numbers, in
Contax-fit and examples have been reported for sale in Germany, so it nearly made the market. For a simple
form of such a lens, see USPat 2,063,178. Merte illustrates both these and the front sections do vary slightly.
(Merte for Zeiss Ger. Pat. 487,712/1938)
Topogon f4.0 25mm This was a rectilinear lens and sale was postwar only.
Biometar f2.8 35mm 5-glass,This was a simplified Gauss with a "Biotar front,Topogon rear"
Layout Zei075) and the publication of the design was reputedly held up by the German authorities for strategic
reasons. Thus others were to make use of such designs as soon as Zeiss could.
Sphaerogon f8.0 19mm 140° (Zei055) This was essentially the rear of a Dagor behind an
enormous front negative glass. There is serious distortion. It was mounted experimentally for the Contax.
Pleon This was essentially a Topogon with a negative front glass for greater back focus and angle. There
is again some distortion. The angle covered was 142°. The designer was Richter. This was used in 1941, and
designed 1936. (Zei060) The distortion was partly corrected at the printing stage using an "anti-pleon" lens to
restore the rectilinear form.
Sonnar f1.4 Lenses of essentially Sonnar type and f1.4 aperture were obtained by Bertele
from adding an extra glass at the rear (Zeiss 1937, Brit Pat 506,321) or by using extra high R.I. glass (Brit Pat
681,456). This aperture was to be used later in the Orient, but the f1.4 Kino Sonnars are thought not to use it.
Further details of these special lenses are given under the Zeiss Lens collection section. This also includes
some lenses with aspheric surfaces. These resulted from studies in Zeiss of the production of such surfaces
and of their value eg. by Merte. See Kaprelian's article on the Zeiss Collection and its fate in USA. They
included f2.0 Tessar lenses.
Mikrotar The real point may be that the 10mm was for Contax, as Mikrotars were made for low power
microphotography, and may not be truly rare but merely seldom sold in the camera field. There were also
Mikrotars of f3.5/20mm and f4.5/30mm and postwar there were Mikrotar-type lenses such as the Jena M
f3.2/20mm and f4.5/45mm. One point is that these are provided with an iris showing they were intended for
photography. But an examination of the 1934 Zeiss Microscope Catalog shows the Contax Adaptor No12 85
90 and many objectives but no Mikrotars, even though many objectives are listed including low powered ones.
Later Mikrotar was used extensively with the Exakta [as were Leitz MicroSummars and MikroPolars from
Reichert.] After WW2 the Exakta was supplied with Mikrotarring 1 and Mikrotarring 2 as part of the standard
accessory range, since 2 types were needed to suit the extensive range. Georg Fiedler in 'Exakta Makro und
Mikrofotografie' (1953) lists the following Mikrotars:
Lens Focal length Rel. Aperture N.A. Repro. Ratio
Mikrotar 10mm 1:1.6 0.31. 10:1
Mikrotar 20mm 1:3.2 0.15 5:1
Mikrotar 30mm 1:4.5 0.11 3:1
There may be others not in that list.
M39 There have been mentions of prewar lenses from the Contax programme being shown late prewar in M39
fitting, but these may be unreliable and relate to the wartime production which certainly existed. There is an
additional point: that in the UK and France, the War began in late Summer 1939, while in the USA it began
with Pearl Harbor rather later. The M39 lenses noted are discussed as early postwar below- they are normally
coated.
Contaflex Twin Lens Reflex.
This costly camera used some of the same series of lenses as the Contax rangefinder cameras, in mounts
which were adapted for the new camera, as the focussing here was by an 8cm f2.8 view lens and the camera
lenses needed gearing to allow for the difference in foci. Basically these are chrome Contax mounts with a
bigger rear protrusion for the gearing. The optics were probably identical. This was a costly product range,
even compared with Contax III and all the lenses are scarce and some very scarce indeed. This probably
explains why the f3.5 Tessar was not included in the programme. Even the view lens of the Contaflex camera
is shown as an unusual (unique?) 4 glass design and not the same as most of the 8cm Sucher lenses which
are sold, but which probably are ex-Ikoflex III. The lenses were the same types as on the Contax and it may
be that Contaflex production drew lensheads as needed from the Contax supply as it was a much rarer
camera. Thus the view lens serial numbers may be an interesting guide to production and seem to be in
several groups of numbers as if made in batches: but there is today no very obvious relation between view and
taking lens numbers. This may be due merely to owners or shops exchanging units but could be due to
assemblers of TLR lenses being free to draw on Contax lens supplies as needed. They do seem to cover the
period 1935 to 1939 with the view lenses in the same number stream as the taking lenses.
The lenses used were:
Orthometar f4.5 35mm
Biogon f2.8 35mm
Tessar f2.8 50mm
Sonnar f2.0 50mm
Sonnar f1.5 50mm
Triotar f4.0 85mm
Sonnar f2.0 85mm
Sonnar f4.0 135mm
Some outfits noted at auction were quoted as View lens serial number/taking lens type/Serial number of
taking lens.
1,513,33x/1.5/2,393,97x; 1,656,708; f1.5, 2,395,107: 1,656,807; f2.0, 1,549,158:
1,657,07x/f2.0/1,548,99x; 1,657,085; f1.5; 1.629,068: 1.657,08x/1.5/1,629,06x;
1,657,13x/f2/1,659,51x; 1,657,458; f1.5; 1,660,360: 1,753,26x/f2.0/1,866,48x;
1,753,31x/f2.8/ 1,535,22x; 1,781,481; f1.5; 2,552,044: 1,657,506; f1.5; 1,754,187:
1,657,600/ f2.8/ 1,543,077; -- f1.5; 1,660,615;: 1,657,085; f1.5; 1,629,068:
1,657,276, f2.0; 1,548,756: 1,656,807; f2.0, 1,549,158: 1,723,87x/f1.5/1,909,68x.
1,835,84x/f2.0/2,232,33x. 1,753,01x;f2.0; 2,211,37x 1,724,35x;f2;1,730,78x
1,723,90x; f1.5; 1,753,88x 1,657,57x; f1.5; 1,660,33x; 1,656,57x; f1.5; 1,660,33x
1,656,81x; f2.8; 2,240,40x; 1,753,26x; f2; 1,866,48x; 1,835,95x; f2; 2,211,46x;
1,753,38x; f1.5; 2,036,74x; 1,657,57x, f1.5; 1,753,89x; 1,513,40x; f2.0; 1,548,79x;
1,753,01x; f2; 1,829,72x.
Exchange lenses are scarce: Triotar f4/85mm No1,505,50x.:Sonnar f4/135mm; 1,719,803, 1,829,72x;
Zeiss Movikon 1938 Programme.
This Movikon 16 was a prestige camera and the movie equivalent of the Contax and it is worth summarizing
the lenses made for it from the 1938 Heaton Blue Book. These were in a unique bayonet mount and this can
limit their use today. There was a new model due in 1939 for Kodak cassettes, the Movikon K16 at a lower
price- but less the rangefinder and simpler. The earlier model was the Zeiss Ikon Kinamo of 1933, and it had
interchangable lenses but it is not known if they were the same fiiting as the Movikon. [ There was also a
Movikon 8 8mm camera in 1939, with Sonnar f2 only.]They were:
Tessar f2.7/15mm; Tessar f2.7/20mm with focussing to 18in; Tessar f2.8/50mm;
Tessar f2.5 This was noted as a f2.5/75mm lens at No1,938,16x, and may be a movie lens as such speed is
easier on a narrow angle design: this has near M39 mounting thread and iris to f18 but not Totally Closing Iris,
and is in a non-focusing mount. Certainly very uncommon and possibly a misprint.
Sonnar f1.4/25mm; Sonnar f4.0/75mm; (Sonnar f2.8/51mm deleted) also Sonnar f2.0/1cm, noted at
No2,279,13x ? for 8mm and:
TeleTessar f6.3/180mm. This was noted in B.J.A. 1938, p298. £32.60, in quick focus mount using only 90°
turn to focus closest. This was then a very long lens for 16mm use. Some lists distinguished a KinoTele
Tessar version at f4 from the usual f6.3 lenses but without detailing it. (eg 1937).
Supplementary lenses were made in ranges 10-3ft, 3-2ft and 2-1.5ft for the 15mm Tessar and in 3-1.5ft, 20-
14in and 14-10in for the Sonnar 25mm f1.4.
There was also a Sonnar f2.0/10mm together with a f2.7/2cm Tessar long focus lens, for 8mm Movikon
about 1935-1940 introduced to the UK in 1936 (B.J.A. 1937, 296).
There was also a Sonnar (?) f2.0/32mm and 50mm for 35mm movie use .
Exakta
An important pre-war programme was for the Exakta series, in VP, 35mm and a few in 6x6. Special note may
be made of the pre-war 6x6 as it is scarce and comes up at auction with its f2.8 and f3.5 Tessar lenses. This
has been noted as follows: f2.8 as No2,429,53x and 2,254,253; f3.5 as No2,144,629. Few other lenses were
made.
In General
What is noticable is that the programme was due to several designers, who each contributed several items-
not one-off events. Thus Merte (1889-1948) was responsible for the Biotar, (with Wandersleb), the redesigned
Tessars, Orthometar, Sphaerogon and others. Richter (1886-1956) for the Topogon, Pleogon, Telikon and
probably the Kipronar, and Bertele (1900-1985) for the Sonnars,and Biogons. Merte's sad death meant he had
less impact postwar, but Richter went on to design the Topars, and Bertele the super wide Biogons and
probably a new 35mm f2.8 Biogon for Contax.
WW2 items:
From 1940, German hardware makers were allotted a randomly chosen identification code, from aaa to azz in
Nov 1940. Later 3 letter groups followed. Some of these have been published since the war and include:
ex Zeiss Militar Abteilung, coded blc.
ex Zeiss Ikon, Dresden, coded dpw.
ex Zeiss Ikon, Stuttgart, coded dpx.
ex Carl Zeiss, Jena, coded lmg, also rln.
ex Nedinsco Venlo Systeem-Carl Zeiss Jena, coded jux, probably from 09/1941.
ex OPW, a related company in Warsaw, coded eug.
Germany was sufficiently confident of victory that production of cameras did continue after Sept. 1940, if on a
reduced scale, and items were exported. Thus a set of Tessar f3.5/90mm lenses was supplied to G. Cornu in
France for the Ontoflex Model 2 TLR which was a 1940 model. Normally early wartime items were full quality,
as the intention was to preserve peacetime markets and help fund the effort. Later this policy was to change.
A major sign was as follows, and was probably the result of the need for brass in munitions.
Small in his book details German arrangements during the war, with civilian producton in Zeiss continuing
throughout the war, even in March 1945. British intelligence commented after the war that this was
accomplished with few German personnel remaining at the bench, staff mainly being trained incomers.
Rationalization had been taken to extremes under Dr H. Kuppenbender of Zeiss who ran a Precision and
critical Tools Committee from 1941, and allocated production among firms. Small suggests this explains the
marketing of Zeiss and Schneider lenses for Leica at this time. Certainly production of many other cameras
was run down in the war, as was Exakta, and probably Contax decreased sharply, so that this may have lead
to excess capacity with the lens makers. Leica production did continue, as did some Leica lenses.
Brass was replaced progressively by alloy. For lens mounts, this was aluminium, but for accessories such
as a reflex housing, very poor quality pot-metal from the remelting of scrap was used at times in the War when
no better could be obtained, eg. for the 18cm Sonnar above- here the lens is 100% prewar quality, and
probably was made then, but finished up under war conditions. A big collection of serial numbers on Exakta
lenses suggests that here aluminium came in between Nrs 2,659,10x (brass) and 2,658,89x (ali, f4.5/4cm
Tessar) and 2,666,79x (ali, f3.5/5cm Tessar) as all subsequent items are listed as ali- but it is likely that it
actually was less sharp change over than it seems, as a f2.0/50mm T-coated Sonnar at No2,709,70x seems
to be mainly brass, and an f1.5/50mm Sonnar at No2,854,44x seems to be a brass optic in an alloy shell.
Incidentally McKeown quotes Zeiss Serial number information from Collecting Photographica by G. Gilbert.
This would suggest about 1940 for the change to alloy at the beginning of WW2. Some special items
included:
Sonnar f1.5/50mm mounted for Tenax II for use as a X-Ray recording camera about 1942. There was also a
Tessar f4.5/40mm at close focus permanently for recording, on Tenax II, again from about 1942.
Anti-reflection coating of surfaces began early in the WW2 years, or even in 1938 according to M.J.Small,
and initially was with very thin coats giving a clear blue colour. Some of these were engraved with a statement
to this effect but this was not always done. Thus an 18cm f2.8 Sonnar seems to have this coat at Nr
2,275,07x but no other identification. Here the coat is only on some internal surfaces, possibly as it was very
soft. Another early one was No 2,578,72x, a "T" coated f1.4 Sonnar with Luftwaffe engraving as is
No2,687,21x, a T-coated Sonnar f2/50 (part alloy) for Contax.. This last is blue coated on all surfaces. When
the process became general after the war, the lenses were engraved T with a red fill to show it was original
factory work, and the above Luftwaffe lens may be an early case of this. This was later omitted, when coating
had become universally used, and later still T* engraved as multicoating came in. Oberkochen (W.German)
lenses were often engraved with their Trade Name OPTON as a sign of origin, though this was later omitted on
items for non-Comecon countries.
Lenses in M39 mounts
A number of this group of lenses were made in M39x26 mounts, either during the War or soon after the end of
it- or both!- and a nearly complete set has been seen one by one in adverts. over the years. For a vivid account
postwar see the Jena section. These are normally 'T' coated except for the f1.5/58mm Sonnars, which are
often not coated. These may be war productions in an unusual fitting as the serial numbers fit Gilbert's
chronology as about 1941-2-3: or postwar as part of reparations to the USSR or as a warm up for the
production of Kiev/Fed lenses. The latter seems evident from the similarity of the mounts to those made later
in the USSR but may merely be that older drawings were dragged out as needed for the Fed project. For what
it is worth, they may have been made for taking propaganda and tourist pictures during the various
occupations of the War, and this would explain the priority accorded to their production and also the severe
wear on many if they were used by news men. But it is also true that postwar they were initially a sought after
item for use and will have had a hard time postwar as well. One point is the absence of the Tessar lenses- for
some reason there seems to have been no call for them in this fitting.
The condition of these today is usually poor to bad as coatings were soft and the alloy mounts are now
stained, and they were typically as follows:
Tessar f8 28mm Small illustrates one of these in a compact, black finished mount. They are
certainly unusual.
Biogon f2.8 35mm seen at No2,843,45x.
Tessar f2.8 50mm This is one of the hard to find versions, looking very much like a M39 Elmar
from the description. This likeness may be why this specification was not made often in M39. Ian Parker, in
"Rollei TLR-The History" states Field Marshall Rommel used a Leica with a Tessar lens (aperture not stated)
fitted for choice.
Sonnar f2.0 50mm seen at No2,710,95x and 2,805,49x in collapsible alloy and No 2,709,39x,
2,709,70x, Nr 2,74x,xxx, 2,771,29x, 2,805,54x in rigid brass mounts. An MCM account of one of these says it
gave an excellent marginal performance, but the centre was down as the centring and mounting of the
components was not up to the usual prewar standard.
An extra series may be those for the Russian TCBBC camera, like a Fed with a Contax compatible inner
bayonet only. An f2 Sonnar was noted for one at No3,060,47x. But note this is Contax type mount. One idea
is that the serial numbers fall in two groups: one wartime to meet war and propaganda demand; and the other
early postwar under Russian demand. A plot of the numbers will then be bimodal.
Sonnar f1.5 50mm Rigid mount, but with varying amounts of brass, at No2,708,41x2,854,44x
and 2,858,03x, 2,859,20x, 2,866,62x. No2,866,62x was noted on a Leica IIIcK No391,24x from about 1943.
Sonnar f1.5 50/58mm in rigid alloy mount with snail cam at rear, No20,142,69x. (20million is an
entirely anomalous number due for production after the millenium! There will be a reason, not now apparent!)
The true focal length is about 58mm but the engraving is 50mm. An apparently earlier Zeiss Jena example was
at No1.89million, but as it was in an alloy M39 coupled mount, it does seem likely to be a later lens than the
number suggests.
Sonnar f1.5 5.8cm Another type is at Nos1,407,44x, 1,407,22x and 1,407,13x, and this is
anonymous and not Zeiss engraved or named- possibly an outside contract. The variant 60mm also occurred
with these. Performance of this type can be modest, suggesting they were made elsewhere possibly under
stress of war. Small suggests there were as many as 35 variants, which suggests they were made over a
period by more than one firm- or under difficult conditions where materials were varying. The care with which
one has the coupling ring worked to correct for the focus suggests quite controlled production was available.
[Small indicates some are marked "Leica Sonnar" but these have not been mentioned in the UK, where the
"typical" version seen seems to be an uncoated anonymous lens. Small also dates them from the serial
number as early 1930's but they may well be in a different number series and from the 1940's. A central
direktiv might provide for eg Schneider to make lenses to the Sonnar design, but not to use their name on
the product, so every one was happy- perhaps. Note that this would be a 1938 number for them, and that it
does not seem to be a Meyer number from the available data. Schneider opened a large new factory late
prewar which just may be the ISCO Goettingen plant where the f2/125mm Xenon was made.)
Biotar f1.5 75mm This has been mentioned but no details here or in Contax fit.
Sonnar f4.0 75mm This was noted in M39 cpled mount in alloy at No2,696,19x, and may be a
'special'.
Sonnar f2.0 85mm This is one of the scarcer ones but was noted at auction at No2,707,29x.
Triotar f4.0 85mm This was noted at No2.8m, this is not coupled.
Sonnar f4.0 135mm This was noted at No2,711,88x and 2,711,878, both in alloy. The latter
seems to have been a recent preowned export from Russia, so this would suggest these were postwar as
reparations.
A small collection of lenses in M39
M39 .
Fig 010 045 Zeiss Biotar: (l) M39 mounted by C&P, London; original TLR mount; lens head alone.
Fig 010 056 Zeiss Sonnar f4/135mm in M39. One is ex-Jena and the other is actually a Russian Jupiter fitted
with a genuine Zeiss front ring! (The difference in the coating is obvious.)
Zeiss Collection.
At the end of WW2, the occupying forces in Jena were first British; then American and the Americans moved
the most valued and mobile assets out of Jena as the Russians moved in. One item they commandeered was
the Zeiss lens collection. This was as part of a policy of denying the Russians the assets when the town was
to fall under their control. The lens collection was moved to the USA and extensively examined by
E.J.Kaprelian and others. It consisted of normal production items, competitors' lenses bought for comparison
and a unique assembly of Zeiss prototypes and research lenses. The prototypes are especially interesting
historically and those illustrated in the literature can be classed roughly as 6 types.
(a) Zeiss seems to have studied the design of aspheric Triplet and Tessar lenses systematically,
working the front and rear cemented surfaces in separate examples. These are shown in three Tessar f2.0
50mm lenses, Zei064 where the front is aspheric and Zei065 where the third glass is aspheric. Finally Zei066
has the inner surface of the rear glass worked and the space between it and the third glass filled with balsam
which set to form what really is an extra aspheric element- perhaps the first aspheric plastic element. There is
a Zeiss patent Brit Pat 459,739/1935 on aspherics to Merte.{This may have led to the postwar f2.0 Tessar for
16mm Arriflex (eg Nr 3,624,37x from Jena), though this is not certain (as Merte says a f2 Tessar is possible
without aspheric surfaces, and cheaper f1.9 Tessars were made for the 8mm Movikon postwar). It is a fine
lens at f2.0 which is something for a Tessar -type design.} Much older work seems to be by Sonnefeld in
USPat 1,616,765 where a triplet is "deformed" and the patent relates to thinning the edges of the rear glass
and states that previous work deformed the centre but that time is saved if the rear is worked as it can be
tested without having as laborious recentering of the glasses, 1 and 2 remaining in place. This just may relate
to the aerial triplets as they are of great focal length and aperture. A very simple "deformed" system is covered
by Merte's patent for Zeiss USPat No 2,063,178 of 08/12/1936.
(b) A second group seem to be earlier, and designed to minimize air-glass surfaces in three types with
6,4,4 air-glass surfaces. These are Zei061, an f1.5/70mm; Zei062, an f2.8/8cm; and the Herar, Zei063
f2.8/35mm. It is possible to see the aspheric Zei067 an f3.5/105mm as another in this group.
(c) The wide field lenses caused much interest at the time. They included the Sphaerygon, Zei055; Zei056
and f2.8/75mm and the almost spherical Zei057 and Zei058, an f6.8 16mm lens, and the Perimetar,
f6.2/100mm, and finally the Pleon in Zei060. Several of these were non-linear in image ie they approach
fisheye lenses. Separate special lenses were made to remove this effect in printing. (See Merte for Zeiss in
German Pat 672,393/1935 for a Sphaerogon with a single front glass.)
(d) Some lenses were of obvious strategic importance, such as the fast lenses Zei068 f1.0/25cm; Zei069
f1.0/9cm and Zei070 f1.5/40cm, which were made for night vision equipment in harbours and tanks (for Zei069)
where a baby version was used. There were also extreme long focus lenses such as Zei071, the Telikon in
f6.3/75cm form, and the Zei072 Fern lens for f25/300cm. for infra-red work. A Burke and James list in the
1960's still offered a f1.5/400mm and an f0.85/150mm which may have originated from this set. (Night vision
then involved an image converter where infra-red light was made visible to the operator. (It might allow the
detection of hot items such as exhausts or have an infra-red light to illuminate the subject?) (B.J.P.
05/10/1979, p964).
(e)The collection had two types which suggest a move to de-cement lenses,in view of
Smakula's success with coating. These are both Sonnar types in Zei073 for f1.4/5cm and Zei074 f1.5/5cm.
(f) Finally, the existence of the Biometar f2.8/35mm may have become known to the allies
at this stage. (Zei075). This was to become a more important design as a simplified Gauss than many of the
others.
The collection was initially looked after with great care, but interest declined with time and eventually it was
sold off through a Trader as secondhand equipment. Thus most of the items are floating around in the USA.
When the German government and Zeiss approached the USA for the return of the collection, it had been
dispersed. Little apart from Kaprelian's accounts (ref. see Kaprelian in file K) survive to show its glory although
some pictures were taken with some wide angle lenses and published at the time. These "unknown" designs
were an amazing achievement, especially as the published Contax lens programme was itself a real
achievement. A UK postwar report on Zeiss is Combined Intelligence Objective Sub-Committee, London,
HMSO Item 28, File No XXX111-51, Col A.W.Angus (25.05.1945). It includes accounts of production 1939-
1944, building work 1934-1944, organization, and relations with Japan.
Curiously, Zeiss cameras and lenses were in use also in the UK forces for news work. C. Dawson (B.J.P.
31/10/1980 records how newsmen covering the war were issued with Super Ikontas, which they disliked as too
short focal length and involving too much personal risk to get pictures- some 50% casualties resulted among
news men as a result. Movie filmers were better served with up to 6in teles on 35mm. The Super Ikontas had
been bought in from the public though there was a rumour that a consignment due to go to USA was captured
at sea.
________________________________________________________________________________

Post-WW2
World War 2 ended with Zeiss divided, with some of the personel to be incarcerated in Russia, and many of
the buildings and plant damaged, or moved to new sites. American forces moved some 126 of the key
personnel and equipment to the West and invited some workers (including W. Merte) to the USA as "Paper
Clip Scientists"- essentially a recuperative visit. And it seems that in the West, a site was first offered at
Munich on the old Steinheil plant, but Zeiss opted for a quieter place and settled nearer their Zeiss Ikon
Contessa camera (Stuttgart) and Prontor shutter (Calmbach) works, at Oberkochen where a small factory on a
congested valley site was free- it had made gunsights in the War. Production grew rapidly with satellite
factories in nearby villages. Further expansion came in 1956, when Schering sold their interest in Voigtlaender
to Zeiss and the Brunswick factory was able to take over the production of many camera lenses for Zeiss.
Binocular production also restarted, with novel products from 1954, and later it was consolidated at the
Hensoldt works at Wetzlar which was part of Zeiss from 1928.
To mark this fresh start postwar, they seem to have made a new beginning in serial numbers, perhaps at
No10,000 according to M.J.Small, so that they were making No42,23x when Jena were happily in the
No2,900,000 region. This can be confusing especially when two f2 Sonnars have serial numbers in the 1.5
million region and the older has been coated by a repairer- normally the clues are the Oberkochen trade name
OPTON which was used postwar only, and the presence of a red 'T' for coated- which indicates a war or
postwar factory coated lens. (The 'T' mark was used only to c1953 or 1957; but note the later 'T*' series.)
Incidentally OPTON was used for only a limited time in the West, but continued for exports to Comecon
countries at least to the 1980's. The firm was called Firma Zeiss-Opton until 01/10/1953, when it became
simply Carl Zeiss again. Add in that Jena lenses are more often in alloy mounts, and that both made slight
changes to the mounts and it is usually possible to reach a definite decision. In general the production must
have begun with easily made and sold types, initially with more lenses for folders such as Super Ikontas then
might be expected, but this camera was the Contessa factory speciality and they were possibly in a position
to begin production again more easily here. Some lenses were possibly bought in (including some Xenar f2.8
lenses for the 35mm Ikonta) but these seem to be very few and in the main Zeiss were able to supply lenses
as fast as cameras were made. There was a steady move to lenses for smaller cameras however, and apart
from Linhof, the largest preferred format seems to have become 6x6 on the Hasselblad. Thus initially there
were a fair number of Tessar and Triotar lenses for folders, but the main aim was the Contax programme,
followed by the new SLR cameras. Postwar the Contax was 'shrunk' with an outline to match competitors
cameras, and the interior was smaller. This meant one old lens was no longer usable, and some other designs
were retired as 'old'. To the user, the main restriction is that the pre-war Biogon 35mm f2.8 will NOT fit and a
new small version was designed- or possibly two were tried and a shrunk version of the old won. The Tessar
f8/28mm was discontinued (except possibly for a handful from Jena) and there was no routine replacement.
Business between the two parts of Zeiss did exist and it is a hotly debated question if Jena lenses or glasses
were among sales to Oberkochen to assemble into Contax mounts. Probably this will never be answerable.
Contax Lenses to Prewar Specification, continued.
Contax 11a was still 'new' in the Paris Show in 4/1950, to be followed by the 111a with meter about a year
later. The initial lens list was 50mm f1.5, f2.0, f3.5 but not f2.8; f2.0/85mm, f4.0/135mm f2.8/180mm and
f4.0/300mm: but the wide angles were still to come, as a new Biogon was needed and the old 28mm Tessar
was ended. No interim products seem to be offered before the new series came. They did offer Flektoskops for
the 180 and 3000mm lenses and the Universal finder.
Biogon f2.8 35mm Some were made at Jena, and were seen T-coated in M39 mounts, eg at
No2,843,45x, which may be wartime number but post war finish. A wartime or postwar Jena lens for Contax is
No2,672,88x (T coated) in brass mount. One at No3,317,84x must be a very late example.
Tessar f3.5 50mm ex Jena, collapsible,eg at No3,056,35x.
Tessar f3.5 50mm from Oberkochen, in rigid mount cf. Sonnar. This is very desirable but rather
hard to find.
Sonnar f2.0 50mm These have been seen from Jena, in collapsible mount. Note the comment
below about the TCBBC camera lenses.
Sonnar f2.0 50mm In rigid mount from both plants, eg Oberkochen at No1,256,02x and Jena at
No3,008,88x. A modern review is in Amateur Photo 15/09/1990.
Sonnar f1.5 50mm This was in a rigid mount from both plants. It is a nice lens in coated form
but is apparently the commonest of these postwar.
Sonnar f2.0 85mm These came from both plants in white alloy mounts, eg. No839,45x and
3,060,88x.
Sonnar f4.0 135mm There is a very slight change in the front curve of these compared with the
prewar lens, possibly due to new glass types. (Zei106) Noted at No 91,060; 1,346,12x (ex Oberkochen?) and
No 3,060,88x and 3,107,24x from Jena
Sonnar f2.8 180mm These have been noted at Nos 3,432,20x/1074x and 3,114,39x/1069x where
the last digits are the Flektoskop, and were ex-Jena. Also No3,132,77x alone.
Sonnar f4.0 300mm Noted at No3,945,06x ex-Jena. This was sold with an extra M42 adaptor.
(These postwar Jena Sonnars for 180 and 300mm are much more common for SLR mounts and
correspondingly less valuable. The SLR mounts seem to have many parts in common including the preset iris
initially, but diverge in later manufacture, probably after sales for Contax declined.)
Fern f8.0 500mm this was noted at auction ex-Jena at Nos 3,606,41x and 4,269,62x.
Novel Postwar Contax Items.
Luminar close up lenses. These were used with a screw-to-bayonet adapter ring. They were made in 63, 40,
25, 16mm and were available in the mid-1950's. These shorter lenses were superb, and reduced the long
extensions needed in macro photography with the normal 50mm Tessars as well as being ideally computed
for the work.
Biogon f4.5 21mm This was a totally new type of lens to the market, with big negative glasses
back and front. It was a simplified Aviogon (see Wild) and was a sensational novelty when new: it is still a very
nice lens to use and a valuable one. (Zei100) For the collector with a budget, the cheaper option may be the
more common version for Contarex! It was followed by other firms' deep sunk lenses but the Biogon is the only
one to have been made widely in other sizes to the same layout and to have stayed in production for so long.
So it is really unique.
It has been noted at auction at No1,420,48x; 1,420,52x, 1,421,99x; 1,548,09x; 1,548,48x and 1,136,06x
(Oberkochen).
Topogon f4.0 25mm This was also a sensation, as a mere 4-glass design for this specification. It is
rare as most or all were from Jena and the supply was intermittent at best. At 82-94°, the angle covered is
less than some other Topogons but the speed is greater. The story is reported by Barringer in Zeiss Historica
13/01/1991. It must be remembered that at that time the Topogon was a less well known lens than it became
later.
Biogon f2.8 35mm This was the new type from Oberkochen, with a small rear end for the "a"
series Contax. In fact, Bertele may have designed two lenses, one a small version of the prewar one, and the
other a more radically new one. (BPat. 696,925, USPat 2,622,480/1950) but it is not quite obvious how far
these actually differ. Woeltche shows in his Fig 12 two f2.8/35mm Biogons, where the second differs
essentially in a less thick rear glass- and may well be the postwar Contax lens. These 'new' Opton Biogons
are the most desired of the postwar 35mm lenses, though all are nice and none is too common. (Zei101,
Zei102) They were noted at Nos 1,045,12x (twice); 578,09x; 579,35x and 1,132,92x.
Fig 002 024 Zeiss Biogon f2.8 35mm for Contax (l) prewar at No 2,392,84x and (r) postwar at No1,132,92x.
Biometar f2.8 35mm This was ex Jena (Zei103) to fit the Contax 11a/111a series. It seems to be
based on a prewar design, not made commercially till then. It was noted at No3,234,15x, 3,234,18x.
Planar f3.5 35mm 5glass/4component. (Zei104). This is the first mention here of the 'new'
series of Planars, descended from the 1897 type and the Biotar. (See others below.) It was noted at No
1,346,12x; 1,589,21x, 1,590,23x, 1,988,25x.
Pinhole Lens This was an experimental item for test on the experimental VK21 model that might have
become the Contax 1V- and never was! (Wehran, B.J.P. 08/02/1974,p120).
Nokton f1.5 50mm This was prototypic for Contax 1V prototypes, ex Zeiss/Voigtlaender (See
Voigtlaender section)
Sonnar f1.4 50mm Bertele patented this type in modern glass but it did not go into production.
For the SLR, the Planar type was preferable as it had a better rear clearance for the mirror and the Gauss was
proving a better design field to develop. (Bertele, USPat. 2,600,610/1952, DRPat. 835,202/1949, BPat.
681,456/1952).
Biotar f1.5 75mm This was a very rare mounting of this lens, normally a Jena lens sold for
Exakta SLR. But note it was for Exakta in 1940, so a Contax version may well go back to then. There seem
also to be M39x26 mounted examples.
Triotar f4.0 85mm This is a redesign of the 'old' Triotar and a much advanced lens. Now ex
Oberkochen, with the front glass well sunk in the mount, coated and in light alloy mount. It was seen at
No145,240x. The front of the 'old' lens looks very flat in comparison and the front glass is only 22mm dia.,
while the postwar is 30.5mm dia. (85mm f4.0 requires 21.25mm minimum.)
Panflex Tessarf3.5 115mm This was ex-Oberkochen for reflex housing. This was an early postwar item
which replaced a wartime f4.5 135mm Tessar.
Stereotar C with paired f3.5/35mm lenses. A leaflet shows these as 3 glass triplets.The unit was noted at
auction as at Code C 810/01 ST 15,25x with the same prism no., also W2603x-543/70 with prism
NoW2617xNos . This does not seem to follow the same series numbering. A leaflet lists the Stereotar as Cat
No810; the finder as No420, the Proxar lenses as 925/50/30/20 for 50cm, 30cm and 20cm respectively; with
leather case 1243 and assorted stereo masks 1503.
Flektometer- This was an improved version of the old Flektoskop, used for the Sonnar f2.8/180; Sonnar
f4.0/300mm and Fern f8/500mm lenses. These are little known in the UK and are uncommon elsewhere. A
complete set was noted at auction at serial numbers Flektometer No30,204 and 180mm, No5,902,479;
300mm, 5,902,59x and 500mm, No6,822,94x. These are very high numbers, even for Jena, and suggest a late
set.
Some idea of the postwar design strategy of Carl Zeiss (Oberkochen) was disclosed in October 1979 in a
symposium for the photographic press. It lead to an editorial in B.J.P. 02/11/1979 p44, where the impact of the
computer was stressed, and the role of E. Glatzel in designing optimising programmes was disclosed, and by
then not merely the design and choice of the layout was by computer but also the calculation of the expected
MTF was possible so that the image quality could be predicted from the computer print-out. The next stage
was to use it to decide whether a further 'improvement' in design lead to an improvement in performance which
was actually detectable in use. This also allows decisions on the cost/efficiency aspect of a new design, and
in fact cost was becoming virtually a factor in the design equation. One point was that the computer could now
be forced to consider the production costs involved where very tight tolerances were called for or difficult to
produce components were needed in a process called 'Entspannung' or consideration or "relaxation of
tolerances." This lead to decisions on the limitations of 35mm and other films where flatness was imperfect
and could be the limitation on performance rather than the lens. Another feature coming to the fore in 1979
was 'internal-focusing'. This period was soon after the launch of lenses for the Contax reflex and Hasselblad
and is important background to them.
The development of optical glasses by Schott and others was summarized by H.Morian, Schott ( in B.J.P.
04/01/1980 p6 ) with glass maps of R.I. v. Abbe number for glasses to 1975 and also the major Schott types
of glass, with R.I. up to about 1.96. One point made was that Schott did make small batches of rare earth and
Thorium containing glasses during WW2 but had problems with attack on the ceramic pots used for the melt
and only made them postwar (1949-1950) in quantity when platinum crucibles came into use. Subsequently,
the Lanthanum glasses have played a major part, as he instanced in Planar and Distagon designs as well as
others. Up to 1976 Schott had patent cover on their FK glasses of low R.I. and high Abbe number, but this
expired and later 'ED' glasses appeared from the Far East.
Planar
The prospects of improved standard lenses from the Gauss designs was much greater than from the triplets,
and coating had minimized their main problem (flare) postwar. Thus it seems that Zeiss applied most of their
design expertise in the Planar field and Planar became a major product in the normal and medium long focus
lens area. Sonnar was to be used mainly in longer lenses. The story was well summarized by Woeltche in the
Pro Opt. Soc. Amer. SPIE Vol 237, 31/05/1980. Some points were made above (Biotar) but mention must be
made that he notes the sharp increase in glass cost with aperture for increasing aperture from f2.0 where
LaFN 2 (1.74/44.8) can be used to beyond f1.4 where LaSF 31 is needed (1.88/41.1). In spite of this, very fast
Planars were made especially for projection, including the f1.0 20mm for 8mm, with LaK 21 and SF6 glasses,
and the f1.2 40mm with LaK 7, LaFN 2, and SF 6 glasses. Little need was seen for aspherics, but a number of
designs were given an extra front component to allow image stabilization- essentially a type of "Front cell"
focusing but included to keep the corrections high rather than for focusing. This is often for movie and TV
lenses. This article can be recommended as a classic account. Innovation has been related to work by G.
Lange going into production about 1954.
Incidentally there was a lingering feeling by customers that at modest apertures and over a limited angle, the
Tessar still set a very strong challenge.(R.Schwalberg, 02/1976 p46) This does come up in discussions by
Linhof users who may have a choice of Tessar f3.5/105 and Planar f2.8/100mm lenses and for some uses with
older outfits the Tessar has the edge. [Note also the very high rating the TTH Micronar gets from MPP users
relative to all other TLR lenses including the German Gauss designs, even though it is a Tessar type lens.
Schwalberg included a f3.5 Tessar and another famous lens in his consideration and worked at c.f11.]
(Dr M. Kidger was very kind in supplying copies of the above articles in 1997).
Some other "special" postwar lenses.
These can include extreme wide angle lenses and non-retrofocus types.
Hologon This was an extreme wide angle for Contarex/Hologon Special (Zei107). It was made 1969-
1972. A prototype was auctioned at No4,851,33x (1972), as well as a normal model at 4,851,52x..
A few were supplied in a special mount to fit the Leica M series.
Pleogon This was a postwar aerial survey lens ex Oberkochen 1955, designed by Richter. (Layout
Zei108) It seems to be a f5.6 153mm design and is a rare large format lens.
Pleogon-S A redesign by Roos and Winser, f4.0 85mm for 23x23cm for up to 125°. It was a 9-glass
design with doubled outer glasses. There is said to be inevitable fall-off in illumination at the edges. It was to
be one of the ultimate designs in this direction and retrofocus lenses seem to be the preferred development
later. (Yet Hologon was redeveloped for Contax G1 as a f8/16mm lens eg. at No7,761,32x, and sells well.)
Planar A series of Planar lenses was designed for aerial reconnaissance over more moderate
angles, as f4.0, 150mm (5g/4c); f2.8, 152mm (5g/4c); f4.0, 304mm (6g/4c).
Kipronar Projection This seems to be a continuation of the prewar type.
Planar f2.8 for Rolleiflex, Note that several designs were used here and can change so there is
interest for the collector. (Zei170-172)
Planitar f4.5 180mm This was noted as a well sizes lens but very compact- it actually is
half of a symmetrical lens with an iris and mirror probably dismantled from a photocopier. It seems to be an
Orthometar type lens from the reflections. This design was used by others as it saved on cost but this may be
the leading example! It would be nice to assemble a pair as a working camera lens.
Super Ikonta
This was a premium product prewar and postwar and was sourced from the previous Contessa Nettel factory,
so production could restart more easily postwar than some other products. Some interim versions seem to
have been made but basically it was fitted with Zeiss Tessar lenses and by B.J.A. 1952 p218 it was the Type
532/16 for 6x6cm with f2.8/80mm Opton Tessar, coated but otherwise much as prewar. The smaller 16-on
Super Ikonta was also made with f3.5/75mm Tessar or occasionally Novar but in the UK these are much less
common: professionals in particular bought 6x6cm rather than 16-on cameras under licence. The same
applies to the 531/2 Super Ikonta for 6x9cm, where 105mm f3.5 and f4.5 Tessars were fitted, apparently
mostly from Jena as they are not Opton lenses.
Ikoflex
This Zeiss Ikon TLR was sold initially with Novar f3.5/75mm and Tessar f3.5/75mm lenses. These were Tcoated
lenses, but some of the Tessars were from Jena (ie not Opton!), and in the second model, from about
1949, the Zeiss Opton Tessar from Oberkochen accompanied the Novar T. These were initially in Zeiss's own
Prontor shutters, but they were upgraded to Compur Rapid in the early 1950's, as supplies were available.
With folders such as the Nettar, it may have been a more important product in bulk and implications for
Zeiss's recovery than may now be realized. A lateish version with Opton Tessar f3.5/75mm in SynchroCompur
1-1/250sec and Teronar viewfinder anastigmat were noted in B.J.A. 1954, p193 who said "fine camera". A
Ikoflex Ia with a f3.5/75mm Novar in Prontor SVS and also with a Teronar was noted on p201.
Novar Novar was made in several speeds for Nettar, Ikonette and Signal Nettar, Nettax 6x6, etc. postwar
and was the sort of product which helped the reestablishment of the companies.
Novar f6.3 75mm, 105mm
Novar f4.5 75mm, 105mm. A Nettar 517/16 was noted with a f4.5/75mm Novar in a Prontor SVS
in B.J.A. 1954, p230. For a Nettar II see B.J.A. 1952, p190. This was front cell focus to 4ft, in Pronto shutter.
Novar f3.5 45mm, 75mm, 105mm
Super Ikonta Some of the lenses for this camera were initially from Jena, owing to production problems in the
West, but after 1948 this trade ceased owing to difficulties, and Zeiss production was made up with Xenar
lenses from Schneider. This was common on early 531 4.5x6cm Super Ikontas, and other Ikontas, and results
in some collectibles. The Opton Tessars commanded a premium price when they came through and some
seem to be listed separately.
Contessa
This attractive early postwar 35mm was fitted with an f2.8/45mm Opton Tessar in Synchro Compur, and was
r/f coupled and used front cell focus. It was noted as a 'superior camera' and 'excellent' in B.J.A. 1953, p269.
(Fig 003 028 Zeiss Nettel with f3.5/5cm Triotar and Contessa Nettel with Tessar f2.8/5cm.)
Contaflex
Postwar this name was used for a 35mm SLR with a blade shutter and front cell interchangeable lenses. The
first type had a fixed lens and took an removable accessory front lens. This was not very versatile and in 1957
Zeiss designed a new version with interchangeable front lens cells so that only the rear 3 glasses of the
Tessar were fixed. This allowed a quite elaborate system to develop, and this included a 1:1 copy lens of very
high quality. The system seems to have developed a little later than the comparable systems for the Retina
from Schneider and Rodenstock and may have benefitted from this. However it seems that the idea may have
been begun in the 1930's by Italian Pat. 379,226 of 1940 for a triplet with exchanged front cell to go from 100
to 180mm designed by Merte for Zeiss. Incidentally, one would expect that all the Tessars would be exactly
the same as the same front cells seem to fit all lenses (after the Contaflex 1+ 2). But collectors seem to agree
the last f2.8 Tessars on the Contaflex Super B (c.1962 or probably 1970/1) were an improved design with new
glass and better corrections. Incidentally we are told these use ProTessars with a different mount. It seems
that the matching ProTessars were not compatible between the early and late types.
Tessar f2.8 45mm This was for Contaflex 1 and 2 with fixed lens as Zei109
Teleskop 1.7x auxiliary lens to fit in front of the whole lens. This must have an adaptor bracket
to fit to the Contaflex as it is heavy. These were noted at Nos Tessar 945,47x and Tele No1,612,92x.
Steritar A This was a stereo unit.
Contaflex 3 and 4
Tessar f2.8 50mm This was for Contaflex 3,4,Super (Layout Zei109)
ProTessar f4.0 35mm (Layout Zei110)
ProTessar f4.0 85mm (Layout Zei108b)
Contaflex Super BC This was a later camera in the series, with faster exchange lenses on apparently the
same Tessar prime lens. Actually it had a detailed redesign, and the overall corrections are said to be better.
(I.J.Matanle, Am. Photo 13/05/2000 p25) (The mix of old cells and new Tessar was not possible and new cells
were designed to fit a new Tessar.) These were sold from about 1971.
Tessar f2.8 50mm 47° (Layout Zei109)
ProTessar f3.2 35mm 63° (Layout Zei111)
ProTessar f3.2 85mm 29° (Layout Zei112)
ProTessar f4.0 115mm 21° (Layout Zei113)
ProTessar 1:1 reproduction scale f8.0 (30mm) (Zei114)
The 1:1 was outstanding and the others "distinctly better than adequate" in Modern Photo 04/1963; 08/1957.
Sadly their long term fate has not been so happy as the big glasses and deep curves can make them open to
balsam failure and they are commonly seen on dealers shelves in this condition. It is not wise to buy these
damaged cells with plans to use them though they may work better than one might expect. It may be wise to
avoid exposure of this series to strong light, heat and vibration, especially for those still in good condition.
Often it seems to be the front glasses of lenses exposed to sunlight that fail due to hardening and shrinkage of
the balsam.
Steritar B unit.
Proxars These were made in 1,2,3,5,10Dioptre.
Contapol This was a polarizer.
Contaflex S Tessar f2.8/50mm This was the last in the series, at Nos 5,059,75x; 5,272,66x.
Glass in Tessars.
Morian (loc. cit.) gives the glass used in two Tessar designs, nominally of 100mm each, and says the 'old' f3.5
was surpassed in both aperture and performance by the 'later' f2.8 version and shows curves for spherical
correction and field flatness. The glasses in the lenses mentioned were;
f3.5 SK16; SF16; LLF6 and SK16.
f2.8 LaKN9; SF16; BaSF5; LaFN3
Contaflex Alpha, Beta, Prima.
These were lower price cameras in the series and had a 45mm Pantar 3-glass triplet as the prime lens. This
required a different set of front cells from the above. These can now be hard to find. The same series was used
in the Contina III (B.J.A. 1958, p263) with also a Steritar D stereo unit. Here a viefinder was required both for
stereo and single frame.
Pantar f2.8 45mm Triplet (App080) Noted at No3,363,77x
ProPantar f4.0 30mm wide angle cell. (App082) Noted at No3,439,52x.
ProPantar f4.0 75mm long focus. (App081) Noted at No3,291,72x.
Steritar D stereo unit.
Large Format Lenses
Postwar the sales of large format equipment were smaller and Zeiss tended to be less involved in this unless it
was a special project such as aerial survey or photogrammetry. Thus the Zeiss/Voigtlaender list of large
format lenses was initially impressive but was allowed to dwindle or was rationalized: and the lenses supplied
for the Linhofs are rather uncommon. It may be true that this is a competitive market and one well served by
others but in some ways the trend was surprising.
For Linhof 6x9 Technika, Press, Press 70, Technika 70.
The programme of Biogon, Planar and 180mm Sonnar was a remarkable one for the period, and probably
started at near the Planar below Nr1.59million, as that is in a leather trimmed cone on Linhof Press body
Nr7,01x. Launch adverts, such as that in Grossbild Technik 1/1955 show Planar Nr1,344,205.It must be
stressed that the optical designs were then a breakthrough in speed and performance for 6x9 which makes
them highly desirable even today, and also that the mounts were very advanced, with complex and precise
focusing helices and coupling. But it seems that the actual lens barrels in some Press lenses such as the
180mm are integrated with the mount design and would be by no means easy to transfer to other panels
including Linhof 69. The Press is an exotic but one where items must be in fine order or they will be a repair
problem.
Fig 003 020 Zeiss lens set for Linhof Press: Biogon f4.5/53mm, Planar f2.8/100mm, Sonnar f4.8/180mm.
Tessar f4.5/f3.5100mm/105mm In USA some were coded S-Tessar, eg f4.5 75mm Tessar for 40°,
f3.5 105mm for 55°. The large format Tessar-S was also made in larger sizes.These were noted in a 1955
listing of W.German lenses. A lateish example of a 100mm Tessar on a Super Technika 70 is No 3,342,69x,
and is no longer 'T' marked, but seems to have the same curves as an early postwar Super Ikonta lens. The
contrast is very high in the late example- almost to a point of difficulty at times.
Fig 003 023 Zeiss Tessar f3.5/105mm on Linhof Technika 70.
Planar f2.8 100mm Optically this is better corrected than the Tessar with more even sharpness
at full aperture, but it lacks the Tessar's high contrast, and is a less agressive style of image. It was seen at
No1,593,12x, which is probably an early example, and No2,349,83x.
Planar f2.8 80mm for Graphic XL (58°)
Biogon f4.5 53mm This is an excellent and highly valued lens, and a 'big' version of the 21mm
Contax lens. Seen at No3,859,84x which was said to be one of the latest. It is not common and can be used
for panoramic shots on 5x4. Note that the 38mm version covers a diameter just more than 2x the focal length
so the 53mm should cover about 110mm dia. but actually it may be more. It gives very even illumination,
freedom from distortion, and high degree of contrast. When the 6x7 format was introduced, the 53mm seemed
just a bit too long and Zeiss offered a new type in Grossbild Technik, 2/1966, p109, as follows:
Biogon f4.5 45mm Here the image circle is given as 100mm and it is sharp all over so that at
least 95° and effectively 100° are usable on 6x7cm, and this seems to be the actual angle on the negative. In
general it looked much like a late 53mm Biogon, sold in a Compur shutter with a broad finger grip. It has not
been seen.
Sonnar f4.8 180mm Excellent. Seen at No3,509,38x, a late example.
Often these lenses are in Compur 11 size shutters where spares are now a problem and this must be
considered on purchase. Worn shutters will decrease the desireability a good deal. Many were also made
fitted for Graphic XL. There seems to be a minor industry remounting Compur 11 lenses in Size 111 shutters-
but note that really meticulous work is needed.
For Linhof 5x4
Planar f3.5 135mm This was for 65° coverage, and was a 5x4in lens roughly as Zei104 and a
very high quality lens with very low distortion, real sharpness and even illumination. Shutter size was probably
again Size 11 but some examples seen have a smaller Size 1 shutter, and give more restricted coverage so
that they only just cover 5x4 and were apparently designed as 6x9 lenses, eg at No5,061,49x, which was sold
secondhand as a lens for 6x9 use only. This is fine but worth noting if a 5x4 lens is wanted.
Biogon f4.5 75mm This is a very sought-after and prestigious lens. (Layout as Zei100)
Sonnar f5.6 250mm This is again a very highly valued lens.
Macro Lenses
Luminar f2.5 16mm These are macro lenses of very high quality.
f4.5 40mm
f6.3 100mm
Vario Luminar This was a special for epi-lens work with special illuminators- a scarce item?
It seems they were used on the Ultraphot made about 1960-1970.
Tessovar This was a Close up Zoom camera assembly for most SLR's and up to Polaroid size with a 1.6-6.4x
zoom magnifier and also supplementary lenses (Modern Photo. 02/1970, p132) which may have developed
with or into the Vario-Sonnar lenses.
Survey Lenses.
Topar AS f2.0 80mm This is a mystery lens, probably an aerial survey item, with an increased
back focus as it seems to be mildly retrofocus and it was apparently designed for 70mm film and probably
was mounted in a Trimet assembly. It was seen at No 117,84x, (ie fairly early postwar?), blue coated, and it
seems to be an 8g/7c design.
Fig 002 030 Zeiss Topar f2/80mm No117,844
Topar f5.6 300mm This is a more normal aerial survey lens of very high quality.
Topar-A f5.6 305mm for 23x23cm on the Reihenmesskamera RWK A 30/23. This was used on the
Columbia on 31/11/1983 for earth survey work of areas 189x189Km per exposure. Film lengths of 150m were
used.
Tessar-S f5.5 300mm These were in barrel mount, some with iris but some without. These seem to
have sold in the USA rather than the UK.
Rolleiflex TLR
The Tessar was the standard Rolleiflex lens for many years, first as the top of the line and later on the
Rolleiflex T, which became the super-budget version. The last were assembled in 1970 for the UK MoD but by
then Zeiss were unwilling to supply further lenses and production was made up of 3,500 Tessars from stock
and 2,500 Xenars from Schneider. (See Ian Parker) (Among many Rollei users, is included R. Avedon in the
USA).
Tessar f3.5 75mm for Rolleiflex.
Later they were extended in choice with Planar f2.8 and f3.5 [and Schneider Xenotar f2.8 and f3.5 lenses].
(Tessar) f3.5 77mm (This is quoted in B.J.A. 1960, p260 and is probably a misprint, but in
fairness, it needs to be noted as it is just possible that it either is the planned focal length, or the real one,
even though the official value is certainly 75mm on the mounts.)
Planar f2.8 75mm This was sold for Rollei 6x6 from 1954. Illustrations show it at about
Nr1,195,53x. This was about 1 year after the Biometar version.
Planar f3.5 75mm This was rather later again, in 1956.
Sonnar f4.0 135mm for TeleRollei. (about 1959-975) This was a important product made
for portraiture and wedding photography. It is a relatively easy item to obtain as a result. See B.J.A. 1960 p173
for a notice of the TeleRollei, covering 33° and focusing to 8.5ft. There was a matching Heidosmat of the same
specification.
Distagon f4.0 55mm These are really rare, being limited to some 3000 cameras. One noted was at
No3,506,43x and they were assembled as cameras over the years 1961-1967, though the lenses may have
been made over a shorter period.
Lenses for Hasselblad 6x6 Cameras.
(see also note under Hasselblad).
The initial Hasselblad list was from Kodak, but a Zeiss programme was established early on and has
continued, and one chronology gives:
From 1948 The earliest lenses: non-shuttered for 1600 (from 1948) and 1000F (from 1952). These included the
earliest Zeiss lenses such as the f4.0 250mm Sonnar. Production was 3627 bodies of 1600F, 10,400 of 1000F
and till then, 2,000 Super Wides.
From 1974 Later the production in 1974 was at 18,000 and this rate may be a steady figure in that period. By
1978, few 1000F cameras were still in use, due to the design and heavy use they received.
From 1957 Shuttered lenses for Compur models with Zeiss Lenses, from about 1957. (The SWC was from
1954)
From 1 May 1965, Hasselblad EL/M motorized version of body.
From 1973, T* coating as multicoating.
From 1974, listed a Super Achromat.
From 1976, listed a Zoom.
From 1978, listed 200FC and F lenses.
From 1982, CF lenses replaced C.
The Zeiss Hasselblad lenses hold their values very well, due to excellent, robust designs and production. By
one account, they were also used on Cinerama cameras, in the same fitting. [And a unique story is of a
photographer paying well for a scratched lens, and when challenged, he explained that Zeiss sold
replacements at a credible price so a repairer just unscrewed the bezel and tipped out the old, replaced with
new, the bezel fitted- and the lens was as new. Contacting the UK agent, Hasselblad UK (tel 0181.903.3435),
they said front and rear glasses of current design lenses were normally available as replacements and
suggested £80 for the rear of a f2.8/80mm Planar plus about 1 hour to fit. This is definitely economic for a lens
of this level of original price. But check glasses are available before buying a scratched lens!]
The Hasselblad has attracted several authors and the lenses are well described eg in E. Wildi, 'The
Hasselblad Manual', Focal Press, 1980, 1982, ISBN 0-240-51186-7, and R. Shell, The Hasselblad System,
Hove Photo Books, 1991, ISBN 0-906-44777-1 and the former shows some of the sections, while the latter
includes the 'F' series lenses.
In his 1980 article, Woeltche (loc. cit.) stresses the Gauss/Planar designs and the Sonnar types were both
fully useful and that with coating, the choice was no longer influenced by the number of air-glass surfaces.
Rather, the Planar was chosen for standard lenses for its long rear clearance to allow a mirror to function: and
the Sonnar was chosen for long focus lenses due to the short rear clearance which made for a more compact
lens. This applied equally to lenses for Contax and Arriflex cameras at the time. He illustrates the article with
many Zeiss lenses of the period. He mentions the use of aspheric surfaces in the design of Planar type lenses
but says they have not been spectacularly successful. Rather, the route lies with very high refractive index
glasses, which allow a flatter field. Thus he indicates Schott LaFN 2 glass is used in G2 and G5 and G6 of a
f1.4/50mm lens and G1, G2, G5, G6, G7 of a f1.7/50mm lens.
One major point Woeltche makes is in relating the original Distagons to the 1936 type Biogon- but reversed
back-to-front! This is striking when you look at them. Distagons were needed to give long rear clearances for
reflexes such as Hasselblad and Arriflex, and asymmetry was essential in the design.
He notes the correction of these asymmetrical lenses is less easy than symmetrical equivalents, as with the
40mm Distagon relative to the 38mm Biogon and suggests the use of aspheric surfaces could be useful here.
(Zeiss had obtained a Patent for their use as early as German Pat. No119,915 of 1899).
Woeltche stresses the problems in correcting the secondary colour spectrum in long lenses and the major
improvement in them from using 'special' glass, albeit at a cost 15-20x the normal for optical glass- it featured
in the f5.6/250mm Sonnar Superachromat introduced in 1972. He also noted the S-Planars for close-up and
forcaste that further developments were possible if the internal separations of the glasses could be made
adjustable.
An another unusual point is that in 1977, Hasselblad UK reported the number of Hasselblads sold as 1129
with 970 lenses. Presumably some bodies were as spares. The value was £1.34million of which 39% was
cameras, 29% lenses. This data is quoted as so rarely available. (B.J.P. 10/03/1978, p202). Quality control
was exacting, accounting for some 30%.of the cost.
[Initial List- "Kodak" lenses from the Hasselblad 1600/1000 period.]
[This is included only for completion here.
[Ektar (Kodak) f6.3 55mm This was a one-off prototype for a mirror lock-up camera not produced.
Ektar (Kodak) f2.8 80mm
Ektar (Kodak) f3.5 135mm
Ektar (Kodak) f5.6 254mm Prototype at EI 0002, ie a Two-off prototype.]
A 1952 List of the Zeiss lenses gives:
Tessar f2.8 80mm This was a well respected lens, though not up to the later Planar series. It was
well ahead of the old f2.8 Tessar used on the prewar Super Ikontas. It was unique in bright finish trim. This is
relatively common. It was noted at No1,418,30x. The example noted was a Tessar f2.8/80mm No832,53xand
834,51x.
Distagon f5.6 60mm For about 66°, this was issued in 1953/4, and then was the first retrofocus
lens for a 6x6 camera.(Layout Zei116). It was then a unique lens, but not actually a very wide one. Thus the
38mm Biogon was a very valued extra. Later the 50mm replaced the 60mm, about 1965,
Biogon f4.5 38mm For 90° diagonal. 8g/5c
(a) It was issued in 1954, partly in chrome.
It was in Synchro Compur shutter from 1959.
(b) It came in black from 1969.
(c) Later in T* coating.
The back focus is only about 20mm. Stops are to f22, focus to c.60cm with a very big depth of field stopped
down eg 26in to Inf at f22 at hyperfocal, from 12in at 60cm setting.
This was a super wide angle lens in the same group as the 21mm for the Contax (Zei100) but required a
special non-reflex body unique to it, the Hasselblad Super Wide. Then the Hasselblad had the 60mm Distagon
(for 65°) as the only wide angle lens and this was a revolutionary new one. Modern Photo. reviewed it as
excellent on a "new model" CF version in 02/1960, p92. It has been noted at Nos1,841,17x, 5,238,03x;
5,901,40x; 6,193,84x; 6,572,12x T*, 6,226,85x, A launch leaflet in Italy was 09/1988 and shows Biogon
Nr6,888,727, (?of the later all black model). Then the novelty was the body as the lens was available in
chrome from 1954. The compactness is a real advantage, especially close-up. Both versions have fine
antireflexion
coats but the later one is correctly a T* lens and Zeiss show a graph of the low level of distortion
obtained. This is zero at the centre and edge at 40mm from the axis, and the maximum is still only 0.30% at
25mm off axis, and is a smooth curve down to that, so at no point is it important. This accords with the
success of the lens in aerial survey and architectural work. It is generally accepted as outstandingly free from
flare and spurious reflexions and giving an extrememly even illumination. It is near symmetrical which may
explain its excellent performance in real close-up when the image area covered expands substantially- this
close-focus ability may be a help in comparison with some of the older Distagons which did not respond as
perfectly in close up. An example noted was No3,472,06x on body NoTIW 597x.
One account (Woeltche, loc. cit.) was that Zeiss checked the design later once computers had developed and
found that the old hand-calculated version could not be improved. But note that new Biogons with slightly
different designs and specifications have since appeared, eg for copying and the Contax G2. (See f2.8/21mm
Biogon for Contax G in B.J.P. 25/09/1996, p5).
In buying, note that 38mm Biogons were also fitted:
(a) in a single solid barrel mount to Vinten F95 70mm cameras- these are not dismountable to fit in shutters-
(b) and in special shutters to AGI stereo cameras, where the lenses were used in pairs, the shutters firing with
a time lapse. These were noted at No4,930,57x, 4,997,991, 4,998,089. There is little compatibility with civilian
lenses, though special adaptors have been made to No1 Copal or Synchro Compurs- this is a specialized job
requiring real skill for success. Brass rings are needed each side of the shutter to increase the thickness by
5mm in front and 9.6mm behind, to give an overall shutter thickness of 34.3mm (measured!) and these must
accommodate the fine 33.5mm threads on the cells by being belled out from the usual Size 1 threds. The
threads must be strictly coaxial, and a new thread needs to be cut on the front cell.
An 'AGI originated' lens when remounted, covered at f32 an image diameter of 84.7mm extremely well and
evenly, and this is equivalent to 66x56mm on a '6x9' rollfilm holder, and this increased to 87mm dia at larger
aperture, but the outer part was less evenly illuminated due to vignetting. Thus it can be a really sensational
lens on 56x72mm if it is used with a little care and a little sympathy at the corners- or cover a panoramic
frame across 83mm wide frame, and in extreme close-up this coverage increases markedly. An exposure
directly into the sun gave no sign of flare.
Sonnar f3.5 135mm (Layout Zei118) It was noted at No1,135,97x.
Sonnar f4.0 250mm This is a rare lens as reports said the coverage was slightly marginal and it
was replaced. An auction list says reputed UK imports were 8 lenses only. The one auctioned was
No589,93x.
Sonnar f5.6 250mm This replaced the above in 1954 (Layout Zei120).
Modern Photo 08/1965 p83, tested and rated as superb a group of six of these lenses with only the 500mm
(Zei133) falling as low as good/excellent. These were well ahead of rivals and were the part of the basis of the
Hasselblad's reputation.
New Series in Compur or Prontor shutters.
Fish Eye f3.5 30mm 8g/7c layout This was a full frame type, for 180°, 1972 date. (Layout Zei120)
Diagonal view is 180° and focusses down to c.29cm and is a really 'special effects' lens not in normal use. It
uses internal colour filters and one of these must always be fitted when in use. To fit, remove the front of the
mount. The fish drawing means there is no serious fall-off in illumination at the edges.
Distagon f4.0 40mm for 88° with10g/8c, from c.1965. Some of these have a detente at c.1m to
indicate that there is some decrease in performance at the corners at these very close distances (below 1m).
Care may then be needed. Its weight and cost and bulk all mean that the 38mm Biogon continues to offer a
useful choice.
Distagon new f4.0 40mm This was a new design with floating elements. (Layout Zei121) Setting the
amount of float involves an adjustment to a ring at the front of the lens before focusing normally. It is slightly
smaller and lighter than the first type, but optically improved.
Distagon f4.0 50mm This was a 7g/7c type from about 1960, Layout Zei122.
Distagon f4 50mm Again there is a new version, with a similar front element float adjustment.
9g/8c layout. It will be of improved performance.
Distagon f3.5 60mm This may be the same and was noted in Taylor's 1978 list as from c.1975, and
is distinct from the older f4/60mm in the section above. It has a 7g/7c design rather like the 50mm. It was
needed to fill the gap between the 80 and 50mm lenses.
Distagon f5.6 60mm This sold from about 1957, to replacement by the next type in 1975. It was
noted that Woeltcher of Zeiss compared the design of the early Distagons with that of the old 1936 Biogon,
(Zei038) but reversed so that the rear glass becomes the negative front lens.
Distagon f3.5 60mm (1975) Layout Zei123. This was the lens in the 1987 list.
Planar f2.8 80mm The initial version was a classic Gauss 6-glass design from 1957. It is shown
in Wildi, 'The Hasselblad Manual' as a 2+1+i+2+1 layout on a 500CM body (p33). It would then be replaced by
the 7glass design now used. Taylor notes one point that on early chrome items, this opens to f2.8 for focusing
only when set to f2.8, otherwise being held at 1/2 stop less. This is due to a design feature of the linkage, later
altered, apparently on all black lenses. One slight point is that the rear glass is fairly exposed on these and
needs to be checked on purchase for marks where it has been put down while changing lenses.
As to dates note: Tentatively, an early T* lens at No5,719,69x is a 7-glass type. Some example numbers are
1,244,89x; 2,573,48x, 5,657,34x, 5,876,99x, 5,890,30x, 6,272,80x, 6,124,39x, 6,273,82x, 5,265,98x T*;
5,738,61x T*; 6,272,80x T*; 6,298,78x T*6,302,22x T*;
Planar f2.8 80mm A 7-glass/5component version replaced it, as in Layout Zei124 but the date
is unknown here. Crawley discussed this in B.J.P. 31/07/1996 p20 concluding that the Planar with 7 g was
one of the leading lenses, just sharper at the corners than a Bronica lens and just lower in contrast, with
slightly less corner vignetting and just better flatness of image in close-up. It seemed likely that the extra
glass of the 7g layout allowed this slight improvement but caused the decrease in contrast. The Planar was
just cooler in colour that the Bronica lens- to match European taste perhaps. He concluded that there was a
difference in the image quality of out-of focus areas, with the Planar recording them with more depth of field.
A minor difference reported is that early lenses including the first T* lenses used 50mm glass/52mm bayonet
filters, but later these were changed to 60mm size. Either works well but the choice of other lenses might
decide which type suits best.
As to dates, note the following:
An advert in B.J.P. 14/03/1980 shows 6,127,128.
When reviewed in B.J.P. 03/07/1996 p11 the Planar fitted was No7,467,265.and in an advert No7,514,834 in
04/06/1997.
H. Sauer commented that the Hasselblad Planar was designed with longer rear clearance for the mirror, but
otherwise matched the Rollei lens.
Planar f3.5 100mm A 5g/4c design Layout Zei125. This is/was designed as a 'special' for
meticulous work, such as aerial, photogrammetry and architecture and is of 5 element (=glass?) design. The
field is very evenly illuminated and the sharpness can exceed even the 80mm Planar- but it is not especially
for close up work.
UV-Sonnar f4.3 105mm (Layout Zei127). The design here uses fluorite and quartz. 7'g'/7c. The
corrections include the visible spectrum, so that the lens can be focused in the usual way. It is used for aerial
mapping, science and criminology but is not really intended for normal use.
S-Planar f5.6 120mm about 1965 Layout Zei126 6g/4c. This is in a normal shuttered focusing
mount. It is said to have ultimate quality at about f11, but stops to f45. It is near symmetrical 6g/4c design. As
one of the 'S' series, it is designed for close up work, from infinity down to 1:1. It also is excellent with
extension tubes, etc, and in general rewards ultra meticulous work with extra fine grain films.
S-Planar f5.6 135mm, This was for bellows use, about 1965, Layout Zei128, 7g/5c. The issue of
this lens was accompanied by the new bellows with hexagonal section and other changes and these do not
stretch flat but keep the folds so that reflexions are trapped avoiding flare in the high quality image. It has a lot
in common with the above. It is lighter as in a short mount. Some lists give it a a 'C' for close-up lens.
Sonnar f4.0 150mm from 1957 onwards, 5g/3c. This is especially for portraiture. With the 50mm,
it is the major seller among the exchange lenses. It is in all-black finish by 1978. Basically, this is a long, fast
sharp workhorse in the Hasselblad system. It may be the second most purchased lens.
Sonnar f4.0 180mm, This seems to be new in the late 1980's as a 5g/?c design of very high
quality and especially even illumination. [It must not be confused with older f2.8/180mm version which
certainly could have flourished on focal plane Hasselblads.]
Sonnar f5.6 250mm from 1957, 4g/3c. (Layout Zei131) This changed from chrome finish to all
black and users felt this was a real improvement. It focusses to 8ft but can be used with extension tubes for
closer work, but is still classed as quite compact.
Sonnar Super Apochromat f5.6 250mm 6g/6c Layout Zei130 The correction included the infra-red
and it has a 6g design with one calcium fluoride element so that it has advantages over the normal 250mm
Sonnar. It was introduced by Zeiss in 1972. (Woeltche, loc. cit., H. Sauer, B.J.P. 27/02/1976, p166-9). It was
designed to overcome the colour correction problems which normally limit long fast lenses and is ideal for
aerial, technical and scientific photography but has one point to note- it can focus past infinity as there is no
stop stressing, the need to focus it on the ground glass screen.
It is not known which 250mm with a 80mm was used in a NASA flight in Columbia in 1981, but these were the
foci selected.(B.J.P. 10/04/1981, p372).
?anon There is a reputed 280mm lens but no details are available.
Tele-Tessar f5.6 350mm from 1972, 4g/4c, Layout Zei132. This came in 1972 to fill the gap from the
250mm to 500mm lenses. It is a 4 glass design and focuses to 16ft and is physically relatively short in size,
and its lightness is an advantage.
Tele-Tessar f8.0 500mm from 1957, 5g/3c. Layout Zei133. This is the longest normally fitted, and has
a tripod socket under the focus mount due to the weight ((75oz). It was noted at No3,338,63x. It was in allblack
finish by the mid-1970's but initially had a little chrome on the focusing and aperture rings. It is
especially chosen by nature photographers and news men. It scored as 'very good' or the like in some tests,
and seems to have been updated with a 'new' f8/500mm lens in the 1980's.
Tele-ApoTessar f8.0 500mm 5g/3c The new design uses low dispersion glass, as the limitations with the
old one were in the colour correction, which tends to be the difficulty in correcting long lenses with the older
glasses. It also uses internal focusing.
Zeiss Mutar 2x converter. This fits between the lens and camera and doubles the focus without seriously
changing the focus setting of the prime lens but it ground glass focusing is really needed. It seems to be an
item introduced in the 1980's. Use on the model 'C' seems uncertain- it may really be for 'F' cameras.
[Note that the programme also contained a:
Schneider Variogon Zoom f5.6 140-280mm, an example noted at No13,268,31x. This was still 'recent' in
Taylor's review in Jan 1979, also in Compur shutter and was the first official non-Zeiss lens for some 20 years.
It used 17g/14c design and focused to 8ft, when a macro mode is available to 43.5in.]
A leaflet, 'Gli Objettivi' from 04/1987 shows a very complete set at Serial Nos about 6.56-6.72 million approx.
with one the Planar f2.0/110mm at Nr 5,881,787. These are all T* lenses.
Macro Lenses. There are no details of these.
Close up lenses were being closed out in AD2000 in favour of the use of extension tubes.
Softars These soft focus accessory lenses are in 3 grades of diffusion, are of plastic and have tiny raised
convex areas scattered all over the surface 1.5-2mm dia., and a few thou mm thick and give a constant
softness independant of aperture. They were designed on the basis of the MTF of the lens in use and may be
stacked. All 3 are useful in B+W but in colour desaturation can seem excessive- but this is a matter of taste!
The Millenium list for Hasselblad was:
Distagon f3.5 35mm CFi
Distagon f4 40mm CFi
Distagon f4 50mm CFi
Distagon f2.8 50mm FE
Distagon f3.5 60mm CB
Zoom f4.8 60-120mm FE
Planar f2.8 80mm CB
Planar f3.5 100mm CFi
Planar f2 110mm FE
Makro-Planar f4 120mm CFi
[Variogon f5.6 140-280mm CF from Schneider]
Sonnar f4 150mm CFi
Sonnar f2.8 150mm FE for 2000F series
Tessar f4.8 160mm CB
Sonnar f4 180mm CFi
Sonnar f5.6 250mm CFi
Sonnar f5.6 250mm CFi coded Superachromat
TeleTessar f4 250mm FE
TeleSonnar f2.8 300mm FE Super Achromat
TeleSonnar f5.6 350mm CFE Super Achromat
TeleTessar f4 350mm FE
TeleTessar f8 500mm CF
All are coded T*, and the FE lenses are for the 2000F camera with focal plane shutter- and lack blade
shutters. Blade shutters will be Prontors. In addition, the f4.5/38mm Biogon was in production for the SWC
camera, as were lenses for the Arc and X-Pan cameras..
For Hasselblad 2000F from 1980. see Modern Photo 07/1980 p106 This review also covered lenses 50mm,
80mm, 110mm 150mm. It was 'new' in Popular Photo 10/1977, 108 'First Look' by M. Frank. There are also a
set of TCC lenses for the 205TCC camera with no shutters- distinguished by 4 contact pins on the mount and
2 blue lines next the left side of the aperture ring. The serial numbers are an interesting group. These were all
made for F and TCC. These have not been used but the books say that the Compur shutter lenses can also
be used on the focal plane camera and vice versa, as the bayonet is the same. But the F lenses can only be
useful in poor light conditions with the cameras normally using bladed lenses as then only the focal plane
curtain is available as a shutter.
Distagon f2.8 50mm 9 glass/8component The review lens was No5,901,232 and was
awarded substantially 'excellents'. It focuses to 1ft.
Planar F f2.8 80mm 7 glass The review lens was No5,873,117, 'excellent'. It was said to
be optically exactly the same as the 'C' lens above.
Planar F f2.0 110mm 7 glass/6component The review lens was No5,881,468.
Sonnar F f2.8 150mm 5 glass/4 component Seen as a T* at No6,063,66x in black.
[Sonnar f4.0 250mm 5 glass This is not in the 1987 list but the Tele-Tessar is.]
Tele-Tessar F f4.0 250mm 5 glass/5 component.
Tele-Tessar F f4.0 350mm (1984) 8 glass/6 component
Extender Mutar 2x (1984) 7 glass
(Schneider Variogon C was also available in f5.6, 140-280mm)
UV-Sonnar f4.3 105mm for the wavelength range 215-700.
[Schneider Variogon f5.6 140-280mm This is the 'F' version of the above Variogon.]
These new designs reflected the greater freedom the lens designer had when the blade shutter was no longer
present as a restriction. Thus Frank welcomes two faster lenses. For example, look for the faster 50mm and
110mm lenses as examples of what was now possible.
Note that an Alpa 12 camera was launched from 18/12/1996 which took CF lenses but with a slight
modification, which was reversible, but may cause the occurrence of some compatibility problems unless it is
forseen.
The following is a list for 1987 lenses, essentially Zeiss T* lenses.
Normal focus types.
Planar CF f2.8 80mm
Planar CF f3.5 100mm
Wide Angle
Distagon CF f3.5 30mm This was the first full frame 6x6 fish, 8g/7c, 180°, from 1980.
Distagon CF f4.0 40mm
Distagon f3.5 60mm, note two series above.
Biogon CF f4.5 38mm These are mounted in the Hasselblad 903SWC wide angle camera- a thin flat
body. Their existence was explained by the quality of the Biogon and the fact that the Biogon package is still
cheaper than the competition such as a 30mm Distagon. (J.Tarrant, B.J.P. 10/04/1996 p24). This is a valuable
article on the then 6x6 camera market.
Long Focus Lenses.
Sonnar CF f4.0 150mm
Sonnar CF f5.6 250mm
Sonnar CF f5.6 350mm
Sonnar CF f8.0 500mm Product revised in 1982.
Special Purpose Lenses.
UV-Sonnar CF f4.3 105mm (Quartz+fluorite, as above.)
S-Planar-C f5.6 120mm This was replaced by the MakroPlanar in 1982.
MakroPlanar CF f4.0 120mm This was from 1982.
Sonnar CF Super Achromat
f5.6 250mm
Biogon f5.6 60mm This was a special (unique?) lens for the Apollo II space flights. It may never
have been in civilian hands.
Contarex Programme from about 1960 onwards.
Contarex was the Zeiss Ikon flagship SLR It was a superbly made camera, but rather big and heavy by
modern standards. For a generation the quality of its lenses set the standard of performance for others to
match, and even today they are hard to equal. Thus Amateur Photo in 08/12/1990 p65 said "only the best
modern 50mm objectives can match the performance of the 50mm Contarex Planar". This is essentially a
1971 list when the programme was well matured. (See note on the prewar Contax reflex above for a possible
origin of the concept).
f3.5 15mm This seems to be a rarity, possibly better known in the USA than in the UK
and perhaps a late addition.
Distagon f4.0 18mm 100° 10g/9c Zei134. This was noted at No4,492,68x. It has been said to
have a rose coloured focussing screen to go with it as part of the package, but this is not clear at present.
Distagon ? 21mm no details available.
Biogon f4.5 21mm details below, it was used deep sunk with mirror lift. Noted at
No3,255,56x;3,255,58x; 3,256,36x; 3,448,30x3,448,60x. This was not listed in the 10/1971 list and was
probably discontinued by then. There was a general trend to stop fitting mirror lift to SLR's about then and it
may be later Contarex would not take it. But the ability to supply quality 18mm lenses by then may have just
made it redundant to the program- in quality it was not obsolete.
Distagon f2.8 25mm 82° 8g/7c Zei135
Distagon f2.5 28mm This is in some lists about 1969, but may be late and scarce. (ZeiXXX)
Distagon f2.0 35mm 63° 9g/8c Zei136
Users comment on the heaviness of this lens!
Distagon f4.0 35mm 63° 7g/4c Zei137. Noted at No2,626,44x, 3,596,51x.
This was an interesting design with few air/glass surfaces.
Planar f2.0 50mm 47° 6g/5c Zei139.
Amateur Photo retested this in 08/12/1990: it still matched the best! It is the normal Contarex lens and is
found on most bodies. Some serial numbers are listed below suggesting production began about No2.3million.
Fig 026 033 Zeiss Contarex (l) Biogon f4.5/21mm; Planar f2/50mm No2612264; Sonnar f4/135mm.
Tessar f2.8 50mm 47° 4g/3c Zei141.
S-Planar f4.0 50mm 47° 6g/4c Zei140.
This is a macro lens optimized for 1:2.8-1:13 scale. It was noted at No3,698,22x for Contarex but may have
been available elsewhere.
Planar f1.4 55mm 41° 7g/5c Zei138 Noted at No3,338,21x. It was 'new' and in 'silver'when
noted in B.J.A. 1962, p484-41, and was said to offer an extra stop in speed over the f2 with no loss in image
quality. It focussed to 45cm, from the film plain, with auto exposure compensation in close-up. The cost was
£93.2 + tax £16.67.
Zeiss Winkel f4.5 63mm This seems to mean technical business or workshop, and must be a bellows
lens for copying and special uses. It is not often listed.
Planar f1.4 85mm Noted at auction at No5,771,15x as only 400 units made.
Sonnar f2.0 85mm 29° 7g/3c Zei142. Noted at No2,623,91x
Tessar f3.5 115mm 21° 4g/3c Zei143.
This was a lens for use on a bellows unit. Note the unusual rear component layout. This is a known Tessar
version, but an unusual one. [Compare Kodak Pathe French Pat 838 237/1938 and Zei034 from the 1920's] It
is fair to say not all drawings show this feature, at least one showing a more conventional Tessar, so there just
may be a redesign here.
Sonnar f2.8 135mm 18° 4g/4c Zei144.
Sonnar f4.0 135mm 18° 4g/3c Zei145 Noted at No2,618,61x; 3,644,65x, 3,645,19x.
Sonnar f2.8 180mm 14° Zei146
It is thought that the original layout was a 5g/3c one rather as Zei 049, and that it was later redesigned as a
4g/4c version Zei 146 in 1971. It is not in the 1965 list, possibly as it was being redesigned at the time, but is
in the 10/1971.
Sonnar f4.0 250mm 10° 4g/4c as 1+1+1+i+1 Zei147. There seems to have been an earlier
design of 1+2+i+1 rather like the f4.0/135mm Sonnar. This seems to be in a 1969 list. (App084) Noted at
No3,464,26x.
Zeiss Monocular 8x30 to give 400mm when fitted over a 50mm lens. (App085)
Tele-Tessar f5.6 400mm 6° 4g/4c Zei148 Noted at No4,737,15x, 4,240,86x, .
Mirotar f4.5 500mm 5° Zei149
Note the double front glass- an expensive means to very high quality. Some at auction were Nos 3,513,31x;
3,513,26x; and these may be ex-Jena from the list.
Mirotar f5.6 1000mm 2.5° as above. Noted at No3,543,93x.
Vario-Sonnar f2.8 40-120mm 13glass/8component as 2+2+2+1+i+2+1+1+2. It was noted at
No4,240,86x, and in a 10/1971 list. [One comment by a Nikon designer Mr Wakimoto was that it 'seemed big
and heavy'. He said 'Better to carry 2 separate long lenses'. But that was an opposition opinion!]
Vario Sonnar T* f3.5 70-210mm This was noted at auction at No6,686,81x, but the format was not
noted, but seems most likely to be 35mm still.
Vario-Sonnar f4.0 85-250mm 15glass/10c as 2+2+2+1+2+2+i+1+1+1+1 Noted 10/1971.
A group of Contarex lenses was reviewed in Modern Photo 04/1963. It may prove that these are a sort of high
water mark or peak for 35mm lenses as more recently designers meet pressures for lightness and
compactness which are hard to refute, but tend to dilute the absolute aim of the designer for perfection.
Serial Numbers of f2.0 Planars/Contarex.
2,368,08x T87,28x
2,368,65x
2,368,96x
2,369,09x T8542x
2,372,82x
2,373,388
2,377,28x
2,614,42x T94,56x
2,615,09x
2,616,38x
2,617,34x Z17,57x
3,179,78x E13,20x
3,180,05x Z48,03x
3,180,99x Z180,99x
4,501,50x Supermatic type.
N-Mirotar This was a special unit coupled to photomultiplier tubes and was noted by N. Maude in B.J.P.
05/10/1979 p965, and seems to be a very fast 210mm unit, at ?f1.4 with a 2,500x multiplier and allows
exposures of 1/500sec in moonlight or 1/4sec on a dark night. It fits a Contax RTS SLR and couples with the
exposure system correctly.
Distagons
A paper by Woeltche refers to a set of Distagons of unknown applications:
f3.5, 15mm; f2.8, 16mm; a fish eye; f4.0, 18mm; f2.0, 28mm; f2.8, 35mm; f1.4, 35mm. Some of these can be
Contarex and others may just be for movie or 16mm use. (B.J.P. 01/02/1980, p94 etc. This is a major paper
by the Head of the Mathematics Dept., Carl Zeiss, Oberkochen and well worth seeking out!) He lists for
6x6cm: f4/40mm, f3.5/60mm, f4.0/50mm, f2.8/50mm.
He also refers to aspherical Distagons f1.2/18mm; f1.2/35mm; f1.2/25mm; f1.4/35mm. (see p95)
Contaflex 126. Noted in advert May 1968 when still "new".
Although 126 film is now of declining import, some fine cameras were made, about the best being this
Contaflex. The whole lens changed here, not just the front cell, and the lens programme was like a miniature
Contarex one. But they all used the same helical so that the focus range was limited with the longer lenses.
Distagon f2.8 32mm 64° 6g/6c Zei151. This was noted at (?) No4,388,7xx in an advert. in
Mai 1968. This may well be a launch item.
Color Pantar f2.8 45mm This will be 3 glass. This is not in some lists, eg for USA but was noted by J.
Schneider in Modern Photo 10/1978 p57 so it must have sold there.
Tessar f2.8 45mm 48° 4g/3c Zei152
Sonnar f2.8 85mm 27° 4g/4c Zei153
Tele-Tessar f4.0 135mm 17° 4g/4c Zei154
Tele-Tessar f4.0 200mm 12° 6g/5c Zei155.This was not in the May 1968 advert. so it will be
added later at least in the UK.
Icarex Lenses
Skoparex f3.4 35mm
Color Pantar f2.8 50mm
Ultron f1.8 50mm Some where in this product group is a rare version with a concave front glass,
soon replaced by one with the usual curve. There is also a version under Planar f1.8/50mm in a 3-tab bayonet
of unknown fit at No 5228534 single coated, with a essentially flat front glass surface.
Dynarex f3.4 90mm
Super Dynarexf4.0 135mm
Super Dynarexf4.0 200mm
Telomar f5.0 500mm
Luminars, Monocular, etc.
Arriflex Lenses
A series of lenses was made in Arriflex mount. These seem initially to have had many Jena lenses but the
programme then concentrated on Distagons and Planars from West Germany, and in turn, they were
reinforced with Vario-Sonnars, and often a film team would carry just a Vario-Sonnar and a wide angle.The
Tessar and Sonnar lenses seem to be in the initial programme, which later included many Planars.
Several were noted in Woltche's article as:
Tessar f2.0 25mm(from Jena) Noted at No 3,624,37x
Planar f1.3 50mm This was for 35mm movie with 1+2+i+2+1+1 layout. (Woeltche, loc. cit.)
Sonnar f1.5 50mm This was noted at No1,841,55x.
Distagon f2.0 8mm This was noted at No6,160,21x
Distagon f2.0 24mm This was noted at No5,456,42x.
Planar f2.0 50mm 6g/4c, 1+2+2+1 layout It was noted at No2,589,64x This was for 35mm
movie.
Planar f1.3 50mm 7g/5c, 1+2+2+1+1 layout.
Planar f2.0 85mm 6g/5c, 1+1+1+2+1 layout It was noted at No5,615,53x. Also for movie.
Planar f1.4 85mm 1+1+1+i+2+1 layout for 35mm movie.
Planar f2.0 100mm This was for 35mm movie.
Planar f1.4 85mm 6g/5c, 1+1+1+2+1 layout.
Planar f2.0 135mm 5g/5c, 1+1+1+i+1+1 layout.
Some image stabilized Planars for movie and TV include:
f1.2, 50mm (2 types); f1.2, 85mm, f1.2, 135mm, f0.95, 25 and 50mm.
Vario-Sonnar f2 12-120mm This was available for Arriflex in May 1968, when it was one of the lenses
introduced in self-blimped mount [along with Angenieux zooms]. This gave the lens a more bulky appearance
as the actual lens locked to the camera internally, and the outer was independantly mounted on a bigger
flange, and operated the controls using levers. The front glass was an essential part of the sound proofing. It is
likely this was only possible in the single mount cameras as the turret types would not take so big a mount.
Vario-Sonnar f2.8 10-100mm Noted at No4,734,58x, 5,752,86x; It was something of a standard on
Arriflex cameras, and was one of the lenses supplied for the silent Model BL, possibly after the 12-120mm
above.
Vario-Sonnar f1.9 7.5-30mm about 1963. It is likely this is one of the standard Arriflex versions.
Anamorphot 2x63 This is said to date from the 1950's, with 2:1 aspect ratio and 63mm clear diameter.
(Woeltche, loc. cit.)
Planar f0.7 50mm This is a Gauss/Planar with a field flattener at the rear. (Woeltche,
loc. cit.) The use is not known. It is a 1+2+i+2+1+1 layout. It is a special lens but not actually an S-Planar.
Wide Angle Attachment This converts the Planar f0.7/50mm to a 25mm lens for 35mm movie use.
(Woeltche, loc. cit.)
Panavision Lenses
An 1992 Panavision rental list shows several Zeiss items as lens sets available to rent with the cameras.
For Panavision
(1) Ultra Speed 'Z' Series Mk II Zeiss Optics in Panavision mechanics (ie mounts?)
T1.3 as 24mm, 29mm, T1.4 as 35mm, 50mm, 80mm. Rental 540 per week per set.
(2) Super Speed 'Z' Series MkII Zeiss Optics in Panavision mechanics.
T1.9 as 24mm, 29mm, 35mm, 50mm, 80mm. Rental 510 per week per set.
For Arriflex 35mm:
(3) Set of Super Zeiss BNCR/PL T1.3 as 18, 25, 35, 50, 85mm. Rental at 660 per week per set.
(4) Set of Zeiss High Speed (PL) T1.4 as 25mm, 35mm, 50mm, 85mm. Rental 414 per week per set.
These seem to be the same lenses in PL or Bayonet fit.
(5) Set of Zeiss Standard in BNCR/PL fit, T2.1/16mm; T2.1/24mm; T2.1/32mm; T2.1/40mm; T2.1/50mm;
T2.1/85mm; T2.1/100mm. Rental 690 per week per set.
(6) Special lenses included a 60mm Zeiss Macro; a 14mm T2 and 16mm Distagon T2.4 and T2.1; Planar T2.1
and T2.0 135mm lenses; T2.8/300mm, and Zeiss Xtal internal focusing T1.4 in 25mm, 35mm, 50mm, 85mm,
100mm; and T2.3 in 24mm, 32mm, 40mm, 50mm, 85mm, 100mm.
It may be that some of these repeat earlier items with anamorphic units fitted. Rentals were 270 and 210 per
week per lens.
Movikon
Postwar this was a compact horizontal held 8mm camera, with several lenses. It was noted in B.J.A. 1959,
p221, with a Triotar f2.8/10mm, with Proxars for close ups and Movitelar and Movigonar long and wide lenses.
There was also a wide screen anamorphic lens. There was no mention of the other prime lenses then.
Movigonar wide angle accessory lens, noted about 1954.
Movitelar long focus accessory lens, same
Movitar f1.9 10mm for 8mm This was noted on a Movikon 8 cine in B.J.A. 1954, p168 where it
was in a focussing mount to 8in, and gave good definition.
Triotar f2.8 10mm prime lens for Movinette simple version, 1959.
Tessar f1.9 10mm This was the premium lens on the 1961 Movikon 8B. Certainly the f1.9 is
uncommon in the UK, as it was expensive and the Triotar sold better.
Moviflex
Vario Sonnar f1.9 9-36mm about 1966 on GS-8 about 1966. Noted in Oct 1971 list. This is a complex
12g/9c, 2+1+1+2+1+1bs+1+1+2 system with a glass cemented to a beam splitter wedge in the centre, which
supplies light to the reflex.
Vario-Sonnar f2.8 6-60mm Moviflex GS 8 about 10/1971. This has a complex 16g/11c layout, 2+1+2+2
+1+2+!bs+1+3+1 with one cemented to the beam splitter bs.
Vario Sonnar f1.9 9-30mm on Moviflex ES-8. an earlier lens?
Vario-Sonnar f1.9 7.5-30mm for Moviflex Super about 1963.
Vario-Sonnar f1.9 12-30mm on Zeiss Ikon M 803
[Moviflex Variogon f1.9 7-80mm on Zeiss Ikon M811 about 1972, this may well be a Schneider derived item
for Zeiss Ikon]
Projection Lenses Kine.
P-Planar f1.2 18mm These were for Movilux DS 8 and ? S-8. It is a Gauss, but with simplified
second component and split rear- ie. 1+1+c+2+1+1 which is a very unusual design, just possibly selected to
avoid exposure of a cemented surface to heat.
P-Planar f1.2 25mm These are on Movilux S-8 (1967)
Vario-P-Sonnarf1.4 15-25mm This is also on Movilux DS-8 dual format Eight/Super Eight. These are
8g/6c as 2+2+1+1+1+1
Projection Lenses Still
P-Planar f2.5 90mm This was used on the Perkeo projector (35mm slide?) It is a 1+2+i+1+1 5g/4c
Gauss rather like some of the taking lenses. Well above the usual industry item.
Some Special Items.
Hologon f8.0 15mm 120° 3g/3c Zei107
This is a sharp ultra-wide lens which was a sensation when new. (H. Glatzel, H. Schulz, R. Ruth and
H.D.Schulz, USPat. 3,661,447, May 1972) The design apparently began as a f11 lens for 80° and developed
on the computer to an almost spherical lens of f8.0 covering 110° which seemed to be a favourable balance,
as it could be extended to as much as 120° at f5.6 but the fall-off in illumination would now be severe. The
limiting aberration is oblique spherical. The lens actually made is not absolutely symmetrical, and is a 15mm
f8.0. It is actually a 4 glass lens as the centre has to be made from two separate pieces and during assembly
these are cemented together as one. (Layout Zei107). As it is deep sunk in normal bodies, it needed a special
slim body and a special Hologon Contarex derivative was made. Examples were noted at lenses No4,814,44x,
5,098,87x. Later a few were made in Leica M bayonet (eg at No5,736,29x) and became a legendary
collector/user item. The centre glass is high R.I. Crown, the outers high R.I.Flints. The centre glass prevents
the fitting of an iris. (Computers can forget such a thing is needed apparently!).
Hologon is also used on the Contax G1 but is a slightly different design and focus. The first type was used
on Leica M and this later type has also been transplanted but the machining is said to be difficult and the rear
clearance of the lens in front of the shutter blinds is very limited. But it seems to have become a regular item
in the USA.
Biogon f4.5 The original wide Biogon was made in 21, 38, possibly 45mm, 53 and 75mm (for
35mm, 6x6, 6x9 and 5x4 respectively). It is thought these can all be represented closely by Zei100. As to the
angle covered, the 38mm version covers just less than 56x72 but covers 56x56mm very well. The 53mm is for
6x9, but is useful as a panoramic lens on 5x4 but again does not quite cover the corners. These are among
the exotica which are just about affordable- or perhaps not affordable!: one cheaper version can be the 38mm
which was sold for the F95 in a rigid barrel mount (No removable cells) and can be adapted for use if a very
thin camera is available, and perhaps using a front blade shutter. The version for the AGI stereo camera is not
as easy to use, as the components are not in a standard Compur thread, and adaption can be costly. It has
been seen at Nr 4,998,02x, coded "^b20374/401, E56E.F.L.mm , E56 F.F.D. 28.70mm." where ^ represents
the broad arrow of UK government property codes.
Other versions may include a f2.8 38 or 40mm designed by Bertele with 8glasses for microfilm work and a
45mm of which there is no data. There was a special version for NASA with a 8g/6c design to work with a
glass pressure plate. And there is a 7g/5c version which may be the 45mm. (See article by Woeltche).
Biogon Wide f5.6 60mm for photgrammetry for NASA? on the Hasselblad. It has been noted at
auction as f5.6/60mm No5,225,88x on Hasselblad with a 200 shot magazine.
Contax G1 and 2
See Biogon f2.8/21mm in B.J.P. 25/09/1996 p5
See Hologon above
See Planar f2.0/35mm in B.J.P. above.
Special Application Lenses
Zeiss (Oberkochen) supplies an impressive range of special lenses for copying and reproduction, listed in a
special applications catalogue. These do not trade on the normal market, but may appear as equipment
becomes obsolete and is replaced. (Listed in 1970's, Mikrostruktur-D 09/1972) "S" was used as a code to
indicate Special and they are not designed for use at infinity but rather in close-up. The structure of one is
shown (Zei157) to show the lengths the designer went to in order to optimize the lens.
S-Planar f1.6 14mm 9g/7c
S-Planar f4.0 195mm 9g/8c A correspondent writes: "This was a little gem, and was used
for the preparation of microcircuit chips by Monica and had a resolving power of some 1000pairs per mm, and
weighed 49.5lb and cost some 500,000Dmarks each."
S-Planar f1.6 25mm 9g/7c as 14mm lens. (Zei157)
S-Planar f2.8 100mm 6g/4c
S-Planar f4.0 100mm This was for Contax RTS bellows use for 1:1 to infinity. It covers
more than 24x36mm and allows up to 10mm lateral shift.
S-Planar f2.8 60mm This as also for Contax, for a long range of repro-ratios.
S-Planar f5.6 120mm for Hasselblad. This focusses to 0.95m, or nearer with extension
tubes.
S-Planar f5.6 135mm for Hasselblad. This was for use with bellows, to 1:1 ratio.
S-Planar f2.2 70mm 7g/5c
S-Planar f2.2 75mm 7g/5c
S-Planar f2.8 125mm 8g/6c
S-Planar f2.0 210mm 10g/8c (Made in 3 versions)
S-Planar f2.0 130mm
Planar f0.7 50mm This is a Gauss/Planar with a field flattener at the rear. (Woeltche,
loc. cit.) The use is not known. It is a 1+2+i+2+1+1 layout.
UV-Planar Again this has a field flattener. It is a 2+1+2+i+2+2+1+2 layout.
Micro Copying Lenses
S-Planar f4.0 32mm for unperforated 16mm film.
S-Biogon f5.6 40mm
S-Ortho Planarf4.0 50mm Glatzel showed that this 8-glass type combined the corrections of the
Orthometar and the double Gauss and gives a very high resolution of 120-150l/mm over the field at f5.6.
(Glatzel, 1969)
S-Planar f4.0 60mm This was for use with unperforated film 35mm.
S-Ortho Planar f4.0 60mm
S-Tessar f5.6 67mm
S-Planar f4.0 74mm for 1:1 over a 50-80mm dia. field.
S-Tessar f4.5 75mm
S-Tessar f5.6 89mm
S-Ortho Planarf5.6 105mm
The use of a field flattener near the film for Gauss lenses of up to f1.0 dates in Zeiss from about 1940. They
include a 120mm f1.0 for 63mm square, also a 55mm f0.85 for 24mm square. Later Tronnier designed a 75mm
f0.87 which was made as the Super Farron (German Pat. 1103616) and Glatzel redesigned the R-Biotar for
f0.70 in 50mm size. A field flattener was used here as well as in the UV-Planar f2.0/50mm.
Planar f0.7 50mm This was a 8glass/6component design made for NASA in 1966, and was used
for the candle scene in Kubrick's film "Barry Lyndon" among other uses.
[Modern image intensifiers have limited the sales of ultra-fast lenses somewhat since the good old days and
these are less likely to be found in future. Thus this will be a very select item in the future.]
S-Distagon A very special version was made for CERN for use in the bubble chamber to cover 106° with slight
distortion.
Surveying.
The Zeiss Planimat D2 Stereo plotter was described in B.J.P. 09/06/1978, p490 etc. This article describes the
Plotter rather than any individual lenses.
With Kyocera/Yashica of Japan.
UK Agents Photax, Eastbourne, Sussex, UK.
As costs of manufacturing in Germany increased, Zeiss became associated with Yashica of Japan to produce
the Contax SLR with styling by Porsche design for the RTS model. The lenses were to Zeiss designs, and
included a f1.7 50mm Planar, f2.8/85mm and f2.8/25mm where the latter were at least initially made in
Germany. The Contax 139 was reviewed in Popular Photo 08/1980 p115, while the earlier RTS was seen in an
03/1977. The lenses used an anodized alloy bayonet, and all metal construction (alluminum Brass aluminium
helix) with excellent blackening, but with more plastic in the 50mm barrel. These were obviously very fine
items. Serial numbers were then: Planar f1.7/50mm No6,255,597; Distagon f2.8/25mm No5,816,774 and
Sonnar f2.8/85mm No5,914,968.
PC Distagon f2.8 35mm It covers 63mm image circle and gives 10mm displacement 9g/9c
design with floating element to allow close up working to 0.3m. The basis is an 83° angle of coverage to allow
the displacement.(B.J.P. 11/04/1980 p341, B.J.P. 26/12/1980, p1291)
Vario-Sonnar f3.5 70-210mm This was the first Zeiss macro-zoom and had a 15g/12c design
and normal focus to 1.8m, or at 210mm to 0.3m. (B.J.P. as above.)
Planar f2 100mm 6g/5c design, focus to 1m for portraiture and action photography in
poor light. (B.J.P. as above).
Planar f1.2 55mm See B.J.P. 25/09/1996 p5 This has a floating element to maintain
image quality to 0.6m close-up.
Planar f1.4 50mm It is probably this lens mentioned by Morian (loc. cit.) as having all the
glasses of R.I. no less than 1.70-1.80. Glasses 1,2,5,6,7 are all Lanthanum glasses. It is shown as a 7g/6c
Gauss design with the 3 front glasses air-spaced.
Distagon f2.8 35mm This was noted by Morian as 6g/6c with Lanthanum glass in glasses
3, 5, 6.
Vario-Sonnar f3.5-f4.5 24-85mm This was noted in Oct 2000
Vario-Sonnar f4-f5.6 70-300mm This was noted in Oct 2000
Coded Contax AF (This is a new 4.5x6cm camera?)
Distagon f3.5 35mm 11g/8c Oct 2000
Distagon f2.8 45mm 9g/7c Oct 2000
Planar f2.8 80mm 6g/5c Oct 2000
ApoMakro f4.0 120mm 8g/5c Oct 2000
Sonnar f2.8 140mm 7g/5c Oct 2000
Sonnar f4.0 210mm 7g/4c Oct 2000
Contax 645 for rollfilm
This was reviewed as new in Popular Photo 11/1999 p118: Petersens Photographic 11/1999 p24:
Distagon f3.5 35mm
Distagon f2.8 45mm
Planar f2.0 80mm
Apo-MakroPlanar f4.0 120mm
Sonar f2.8 140mm
Sonnar f4.0 210mm
All are manual or auto focus except for the apo-Makro. The lenses are all designed in Germany and made in
Japan. They are individual designs to the camera, not identical with any other series, and about as good as
they can be. In particular, resolution did not improve on stop down- a very rare accolade.

Carl Zeiss Jena, under E. German control period.

At the end of WW2 Jena was successively under British, American and then long term Russian control. Thus
long term postwar production was under a Communist regime and initially the factory was plundered for
reparations and to set up production in the USSR of the Kiev camera, and lenses for the Fed. Personnel were
taken to the USSR to help in this work. An account in MCM is contemporary and vivid:
"As soon as the War was over, the Russians had the Jena works going full blast on war materials and the
lightweight f2.0 and f1.5 "T" Sonnars of which quite a number have somehow reached London. When the
Russian production experts had thus accumulated practical experience of the plants' operation, all work was
suddenly stopped and the key men and 500 workers were taken to Russia at two hours notice, being told that
their contracts with Zeiss did not specify any address. Machinery was then crated and taken out through the
walls. The workers left behind in the ruins are struggling with worn out obsolete equipment."
In Jena, production at the end of the war was almost at a standstill owing to lack of materials and workers. It
only slowly recovered in an atmosphere where demand was strong but production was difficult. Thus it is no
surprise that these items are easy to distinguish from prewar ones in quality and finish. However it is true that
this situation continued in some measure and Jena items tended to be in light alloy where brass might have
been used, and some ersatz materials were used. The remaining company was nationalized in 1946, and
incorporated as VEB Mechanik in 1948 just as the SLR Contax S was being launched. Jena also faced some
difficulties over the use of trade names regarded now as belonging to Oberkochen in West Germany. Thus an
f2.8/80mm Biometar for Exakta arrived labelled :
"Bm 1:2.8 f=80 6,911,707 Jena"
on an easily removable screw in bezel, which covered the real engraving which was:
"Biometar 2.8/80 7,195,15x Carl Zeiss Jena"
since it had originally been supplied to a country whose customs refused entry to East German Biometars. In
other cases the initials CZJ were used. It is thought that the shortages included certain sorts of glass and
access to modern computers and other technology, and that designs were limited by these factors. Prime
quality was shown by a Q enclosing a 1. Today collectors find extra interest in such items, but they do limit
the prices realized for the equipment. Lens name abbreviations were T for Tessar, B for Biotar and Bm for
Biometar. Typically these are on lenses from about 3.6million to 9.7m- a very long period and not useful for
dating. Incidentally, some have a red diamond in place of the usual red 'T'.
Postwar the Jena plant seems to have continued the serial number series used prewar, typical early post war
numbers seemingly being from about 2.9- 3 million. This is complicated by dating problems over some of the
lenses seen and a better figure would be valuable but published pictures show postwar Exaktas with
No3,006,xxx about 1948. Incidentally Exakta collectors find that there is no big break or gap in the numbers
used for lenses, so that if production of Exakta lenses fell to nil at any time, it must have been when overall
production was also low, perhaps at No2,830,xxx-3,004,xxx or so. Sales documents show lenses at
No3.5million were sold in early 1952, rising to 3.73 in late 1953 and 5.43million in early 1960. Close out
Exakta lenses sold in the late 1970's were at No9.57 and 9.86million on Flektogons and 10.1million on a
f2.8/180mm Sonnar for Praktisix and Exakta.
Some early postwar items were mainly for rangefinder and then SLR cameras. A major Contax outfit sold at
Christies was as follows: f2.8/35mm,2,713,48x; f2.0/5cm,2,710,23x; f1.5/50mm,2,725,46x; f2.0/85mm,
2,766,58x; f4.0/135mm,2,712,47x; f2.8/18cm, 3,132,77x; f4.0/30cm, 3,116,17x. these are wartime or early
postwar items.
Zeiss Ikon East Germany made the Contax S from about May 1949. (MCM, Utrecht Fair). These included the
M39 and Contax lenses referred to in the last section, such as Biogon f2.8/35mm; Sonnar f2.0, 50, 85mm;
Sonnar f1.5, 50mm, Sonnar, f4.0 135mm; and Sonnar f1.5, 58mm. Some of these may be products from
WW2 or ones finished up after the Peace. The designer of cameras postwar was not H. Nerwin, who moved to
the USA (to design the Combat Graphic etc.) but Mr Winzenburg, who designed an SLR, the Contax S, using
an M42 mount and horizontal moving cloth shutter for simplicity.
The red 'T' mark was used postwar on virtually all items, the exception being a few with red diamonds for
export, and lenses after about 1960, somewhat after Zeiss in West Germany gave up the use.
Incidentally there was a Teronar f3.5/75mm lens for Ikoflex, which could be a viewing lens of unknown period,
possibly ex-Jena or Zeiss Ikon (B.J.A. 1954, p193 as view lens).
SLR lens items included:
Flektogon f2.8 20mm This is a MC electric item, 1977, below.
Flektogon f4.0 20mm 10g/6c 1960-63 93° CZJ160.
This was a real novelty when new in 1968, but is by no means as sharp as expected today. A May 1966
advert. shows No6,622,148. It was seen at No9,574,45x, a very late example. It was mounted for Exakta and
M42 mainly but at least one has been seen with a mount for Nikon; this was a factory made mount- but the
adaption may have been made far from Jena in a Japanese factory (at No8,281,43x). (A locking ring is
removableand then the actual mount comes off so it could have been a user modification but a slightly brave
one.) Incidentally a review in Modern Photo 07/1971 p90 includes a 20mm Flektogon among the list of non-
Nikkor lenses readers used on Nikons.
At that time the programme was f4/20mm, f4/25mm, f2.8/35mm, f2/50mm Pancolar, f2.8/80mm, f4/135mm,
f2.8/180mm, f4/300mm.
Flektogon f4.0 25mm 7g/6c 1958-1960 This seems to be a less common lens.
Flektogon f2.8 28mm 1960
Flektogon f2.8 35mm This was in white finish when tested by Modern Photo 03/1965 p86.
The layouts CZJ158 (Early) and CZJ159 (Late) do suggest there may be a revision of the design here. It was
seen at No9,865,32x, probably a very late example. It was an original listing in June 1960 with the
80mm Biometar.
Flektogon f2.8 35mm 6g/5c 1952-1958.
Tessar f4.5 40mm This will be a very early postwar lens with manual iris, and was in M42, T
coated and chrome plated, made before the Flektogon freed up wide angle designs in CZJ.
Biotar f2.0 58mm 6g/4c This was the prestige lens on the SLR's postwar, and was made in a
succession of mounts from manual through preset to auto-preset. It was seen at No3,348,05x in black manual
iris mount (Exakta) but the first preset lenses came as early as No3,349,37x for M42. Later there were spring
wound auto diaphragms (FAPD) eg on No5,628,52x and finally fully auto diaphragms (APD) and most of these
were in white until black auto arrived.
It was noted at No4,736,90x on a motor driven Praktina FX.
Fig 029 021 Carl Zeiss Jena, Biotar f2.0/58mm No3,348,05x, black, plain iris.
Pancolar f2.0 50mm 6g/4c
Flexon f2.0 50mm 6g/4c
This was a replacement and an improvement on the old Biotar (Layout Biotar CZJ162; Pancolor CZJ163). This
new lens was called "Flexon" when made to fit Prakti cameras (eg Praktina IIa), and Pancolar for Exakta. It
becomes normal at about No6.61million, reported there and at No6.757, 6.775, 6.811millions, so it must have
been a major product.
Pancolar f1.8 50mm 6g/5c Note the rear 3 glasses are all air spaced here.The f2 version was
produced up to about No8.453million, when the f1.8 version went into production at about No8.53million.
Pancolar f1.8 80mm This was for Practica bayonet, M42 plain and M42 electric as MC, but not
Exakta, and flourished about 1979 as it was noted in Practical Photography 1979/2 and seen at
No10,884,10x. It was reviewed as having a trace of softness at f1.8 but being fully sharp closed down. It is a
much desired lens in Practica circles and not too common.
Tessar f3.5 50mm This was an early postwar item for Exakta in plain manual iris alloy mount.
These are a modern and extremely sharp optic and are a really welcome item. But it is worth noting they also
came in shutters, as with a Tcoated lens at No3,449,866 in Compur rapid 6,441,643, where the original use is
unknown.
Tessar f2.8 50mm There are reports of an update here with real reduction in aberrations using
new glass- the date is not known. It is not known just when this occurred. As with the Biotar, the f2.8 went
through several changes of mount, but continuing into the period of fully auto mounts, as at No6,757,08x and
8,351,96x. No8,152,6xx seems to be in 04/1972 adverts on a Praktica L
A special version was engraved "Ernst Abbe Jens T 1:2.8 50 Nr 3,805,12x" and filled in Gold color. Numbers
seem to be from the above (aluminium preset mount) to another group about 3,943,47x on a autopreset
version ie there just may be two groups with a break due to the type of mount. Reputedly 4,000 were made in
1955.
There are said to be differences between types of Tessar, eg on SLR and Pentina cameras. The Jenaer
Jahrbuch 1951 p55-56 seems to suggest a 25% reduction in aberrations due to postwar changes to new
glass.
Tessar f2.8 4cm This was used at No2,383,40x on a so-called "postwar" Tenax- but this may
actually be wartime still.Thus No2,382,21x was in a rigid non-speed marked uncoupled mount at NoM179 for
Marin. This indicates special Tenaxes were used in the war. [Others were used for X-ray recording but only
with modified wind levers, though there have been suggestions of cameras modified to take special lenses
such as the 0.85 R-Biotar, whose mounting seems little discussed.]
Biotar f1.5 75mm A very fast prestige lens for Exakta, actually from 1940 (above). It was made
postwar in two slightly different mounts which dealers class as "fat" and "thin", both with preset iris. It was
seen at No 6,404,28x. The lens was also mounted for Contax, but that is very rare indeed and may in fact be
wartime. Other Exakta examples have been reported at No3,169,77x and 3,235,37x in chromed brass and at
3,234,72x in aluminium. These are quite early in postwar production, especially for an exotic lens, and might
suggest that the product was one prepared for production prewar and easy to launch- as was the case.
Variations in the style of the alloy mounts do occur. In Modern Photo 07/1971 it was rated as a remarkable
lens and it was mentioned that it had been a professional use lens. But they did add-'if you get a good
sample'!
Thus there was a M39 fit Biotar f1.5/75mm made at No5,892,90x.
Pancolar f1.4 75mm for Praktica Super TL (Layout CZJ164) It may not have been possible to fit this
big lens to Exakta.
Biometar f2.8 80mm It was mounted for Pentacon 6 normally, but also for Exakta, and these may
be optically the same lens. It was seen at No7,195,15x in auto mount. Reports says that it was available for
Exakta in aluminium mount from about No3,583,86x, and was a long term product. The Rolleiflex models with
Biometar f2.8/80mm were made in 1952-1953, but the serial numbers are not known. No7,251,428 was used
in an advert. for Pentacon 6 in 06/1967.
(CZJ) f2.8 80mm This is listed under Bronica and just may be a Biometar or a development with
a 6-glass design.
Tessar f2.8 80mm This has been noted for postwar Exakta, eg. at No3,691,09x. It was the
standard 6x6 lens until the Biometar was sold.
Tessar f3.5 105mm This was sold postwar on the Primar Reflex (Curt Bentzin) or in USA as the
Astraflex II, which was a troublesome camera (Modern Photo 02/1968, p45) which probably limited production.
Biometar f2.8 120mm This was another 5-glass Gauss design, and it was also adopted for the
Pentacon 6 for 35mm use. Seen at No5,984,04x. in auto mount. It seems to have been sold later than the
80mm version.
Sonnar f4.0 135mm This was the prewar lens or very near it, but the mounts were for SLR and
varied from plain to auto. It was seen as a preset iris at No6,238,47x in white alloy mount. 4g/3c CZJ166.
Sonnar S f3.5 135mm This was sold as an EDC/MC lens for the Praktica LTL-3 about 12/10/1977
with an EDC Tessar, and f2.4/35mm Flektogon EDC/MC.
Triotar f4.0 135mm This was seen at No 5,564,69x in white alloy preset mount, but also in a
rather nice chrome plated brass mount for Exakta. This is a rather large long (but slim) lens in comparison to
the Sonnar, which seems very compact mounted for an SLR. In use, Triotar proved to give fine results- with
good contrast and sharpness and well better than might be feared. In fact, the length of the mount was the
main disadvantage in what was probably originally a slightly budget item.
Sonnar f2.8 180mm 5g/3c. Jena seems to have kept to the 5glass design, but there was some
adjustment to the design late on. It was seen at No3,114,35x in a black preset mount, and at 10,159,64x in an
auto mount for Pentacon 6 with auto adaptor for Exakta- a fairly late example. The surface curves of the late
lens do seem to differ slightly from the classic type, as do the reflexions. It was in auto mount for M42 and
Praktisix from 08/1963.
Sonnar f4.0 300mm 5g/3c This is not a common lens, but easier to find and afford than the
prewar or Western versions. It was in preset iris black mount for many years. Reported at No3,662,04x and
seen at No6,896,56x.There seems to be a late 1970's redesign of some of the long Sonnars, or of their
mounts, as some have nothing behind the iris but an optical flat. Most 180mm Sonnars have part of the optic
there, though the 300mm does not. (CZJ167)
Mirror Zeiss f4.0 500mm This was supplied from 1957. The layout of the 500 and 1000mm versions
was rather alike, and as Layout App086.
Mirror Zeiss f5.6 1000mm see leaflets Nr 54-317-1; W54-084-2). This was supplied from 1960. These
Jena mirrors were rather simpler than those from the West, with two front glasses but the outer is flat on the
inner side. And there are only 3 glasses at the camera end. Connoisseurs rate them very highly, and they
were more affordable. Both covered 6x6 as well as 35mm. They were designed by (or for?) Prof Grzimek, who
may have been a nature photographer- ie designed the physical handling with an optician?
Carl Zeiss Jena Electric lenses for electric diaphragm control were introduced in Amateur Photo. 21/09/1977
for the Praktica LLC, PLC2, VLC and VLC2 as f2.8 20mm Flektogon MC, f2.4 35mm Flektogon MC, and f3.5
135mm Zeiss Electric MC. The latter was a 4-element design.
Pentina SLR.
This took interchangeable lenses and 30, 50, 85, 135mm were available. The advert. shows a Jena "T"
f2.8/50mm Nr5,964,606 of about 1962. The 135 f4.0 was a Domigor (from Meyer?).
Taschen-Tenax
Tessar f3.5 37.5mm for 24x24mm. about 1950.
For Werra compact camera about 01/02/1969.
Flektogon f2.8 35mm 6g/5c
Tessar f2.8 50mm 4g/3c This was seen at Nr5,683,59x with a green body. Tessar was also
often sold under the mark "T" due to international pressure, eg. at Nr5,916,xxx, 6,523,xxx , 6,308,xxx about
1963.
Cardinar f4.0 100mm 5g/4c It may be that some changes in the mount were made as a Cardinar at
No5,706,06x seems just not to fit- it may be for a related camera perhaps.
Fig 003 037 CZJ Werra with Tessar f2.8/50mm No5,683,594 in Synchro Compur shutter, and Cardinar
f4/100mm.
DuonarA 2x Tele attachment for Rollei, about 1953 of Galilean type. It covers 43mm dia. only. This product
was not released and is said to be scarce or prototypic. Equally, a Duonar seems to be well known in the
USA but not in the UK as it was a 1950's item and seldom imported. Production has been quoted as about
2,000 2x Duonars and it was made in Jena and sold by Franke and Heidecke in the USA. It was a favoured
professional item and often is in well worn condition as a result.
Tessar f2.8 80mm for Praktisix SLR and a few were sold on Rollei cameras. This seems to have
been an old or prewar design and was not up to the standard expected. There seems to have been a close out
in Jan. 1964. The f2.8 Tessar had previously been a problem on the Rollei 2.8A in 1950-1951 when a batch
finished in Feb 1951 were sold with Tessars at No2,300,000-3,000,000, which are wartime or just postwar
numbers reputedly intended for Ikoflex III (or ?Super Ikonata 6x6 cameras which were never made). Some were
in shutters to 1/400sec which will support the older timing of production. Customers found these of poor
performance and the factory recalled them. Thus they became a real collectible through scarcity. A little later
Rollei supplied some cameras with Jena f2.8 80mm Biometars and these were much more succesful. [It is not
known what happened to the Tessar cameras, but they may have been rebuilt with Biometars and sold eg. in
E. Germany but this is a uncertain.]
Lenses for Praktisix and Pentacon Six Cameras.
This was a big SLR using 56x56 on rollfilm, and was supplied with a lens set mainly from Jena, with a few
items from Meyer (also shown here for completeness) in the longer sizes. Lenses had auto mounts up to
120mm, then were preset. It was noted in the B.J.A. 1959, p223 at £133.45 + £26,03 with f2.8/80mm lens and
then the range was 65mm to 400mm.
Flektogon f4.0 50mm 7g 1958/1969, auto mount.
Flektogon f2.8 65mm 6g 1950/1958
Tessar f2.8 80mm 4g as above. This was probably also used on the postwar Exakta SLR for
6x6 and has been noted at auction as body number/lens number: 600,230 + 3,512,732; 601,071 + 3,513,156;
601,28x + 3,513,5217x; 601,929 + 3,756,202: also lens number only: 3,512,52x; 3,514,364; 3,691,852,
Biometar f2.8 80mm 5g This was a very preferable lens.(CZJ165) See the note on the Exakta
version above. It was noted for Pentacon at No10,067,23x. For Rollei, this was from 1952 to replace the f2.8
Tessar.
[Primotar There may have been a Meyer Primotar f3.5 80mm as an option on some bodies, possibly for
Comecon countries.]
Biometar f2.8 120mm 5g The review in Modern Photo 09/1962 was very good to excellent in the
centre. It was also supplied mounted for the 35mm Exacta. An example mounted in a blade shutter, such as
Synchro Compur has been reported as a prototype, possibly made for testing before a Praktisix was available.
Sonnar (Jena-S) f2.8 180mm 5g
[Orestegor f4.0 300mm 5g/4c ] These are Meyer lenses and are in]
[Orestegor f5.6 500mm 4g ] preset iris mounts.]
Sonnar (Jena-S) f4.0 300mm 5g/3c Note that one list says 6-glass here.
Other Jena CZJ lenses noted are f5.6 500mm, f4.8 500mm, but these may be prototypes or confusion with
the Meyer programme.
Primar-reflex
The only lenses reported for this postwar are:
Tessar f3.5 105mm at No3,380,77x.
Tessar f3.5 165mm at No3,400,6xx. It is a scarce camera in the UK. Jena seems to have
serviced the Korelle also at about this time with an f2.8/8cm Tessar.
Other CZJ lenses to note are as follows:
BIOinterimar I.Matanle reported this in 2000AD as a f2/58mm lens from Jena, No390537. The number is a
real 'funny' and there may be a real number on a inner bezel covered by this name. But note Bm is the usual
version.
Hexar f2.0 This was the T.N. for the Biotar when the Contax S was marketed in USA as the
Hexacon camera.
Novar f4.5 110mm This was a Triplet, normally of Zeiss Ikon make.
Novonar f4.5 110mm This was the same type, possibly with new glass.
Novonar f3.5 50mm on Taxona 24x24mm, and for Werra I 24x36mm so it covered this format. It
was noted on one of the "green bodies".
Novicar f2.8 50mm This was on the Colora camera (1963). It was also reported on the Contina
from 1956. It was also a triplet.
Novicar f2.8 45mm on Contina 1a, IIa
Lucinar f2.8 45mm on Continette (1960)
These just may be Western products or ones supplied for West German cameras from the East zone.
During this postwar period Jena also built up a first class record for the production of aerial cameras, and
process lenses. The latter were noted in a leaflet "Reproduction Lenses" No 54/087/2 and were traded in the
West, but their prices were rather high for ordinary users to be able to buy.
Jena-M f3.5/20mm and f4.5/30mm These play the same role in macro photography as the West Zeiss
Mikrotars do.
Apo-Tessar f9.0 140-900mm (Layout CZJ168)
Apo-Tessar f11 1200mm
S-Tessar f6.3 1200mm
Apo-Germinar f9.0 140-900mm 6g/6c This was a symmetrical anastigmat.
Apo-Germinar f11 1200mm (see supplement Ag./010/3/002/61. V/10/13)
Layout CZJ169 The mounting threads were commonized in the above. It was a lens which London studios
rented for special occasions and it was regarded as rather special.
The Germinar name was continued by Docter Optic to about 1998- see Docter below.
Pinatar f4.0 125mm This was used on the Jenoptik MKF-6 cameras on the Salyut 6 space craft
to give about 1:2,800,000 scale of image recording from space.
Tessar f4.5 This was a standard large format lens, in sizes such as 210, 250, 300mm Those
seen were in plain iris barrel mounts, black finished and seem to have been a standard item made in fair
quantity and well thought of. Prices are now moderate for what are impressive items. There are some
apparently Russian large format lenses which look very much alike and may be related.
X-Ray Recording Lens
f0.85 for 32° angle, This was an 8-glass Gauss from the 1950's.
Topogon f5.6 60mm This has been reported in Synchro Compur shutter at Nr4,869,2xx and must
be a very scarce and attractive version.
Magnar for Rollei This was mentioned in May 1949, and this is likely to be a Jena product. It increased the
7.5m to 30cm on 6x6 and 6cm to 24cm on 4x4.
Video Lenses
These were made under the Tevidon name and are sometimes found, usually in C-mount, in the UK. The one
seen was unusually heavily constructed.
Tevidon f1.8 16mm at No 9,376,xxx, in C mount, coated.
Movie Lenses
Postwar movie lenses were made, eg for Mitchell and Arriflex cameras, and included the
f2 Tessar, which just may be aspheric (see below), and
Biotars, 25, 35 and 40mm f2.0 and f1.8 sold for 35mm use, and 12.5mm for 8mm. There were also Tessar
f2.8/75mm, f3.5/60mm, f3.5/100mm, f2.7/165mm and
Sonnar f1.5/60mm. Few details are available, and some of these may be old lenses, possibly remounted. A
5cm f1.5 was noted for Arriflex at No2,802,76x, as well as others in unspecified mounts.
Biotar f2.0 35mm This was a lens on the Arriflex 16mm list from G.B.-Kalee in the 1955, 1956
adverts. for the Arriflex, with a series of Schneider Xenons, and may have sold until the TTH Kinetals were in
stock: in 1956 they listed Panchros for Arriflex 35mm but no TTH for 16mm.
Biometar f2.8 80mm Noted for AK16 at No6,244,28x.
Sonnar f2.0 A 85mm was noted for Arriflex at No2,791,95x, and another where the number was
not seen.
Sonnar f4.0 135mm Noted for 16mm AK16 at No6,239,79x.
There is a hint in Merte's chapter that narrow angle f2.0 Tessars were possible however.
Tessar f2.0 16mm No3,624,37x Carl Zeiss Jena, in Arri mount. (T-coated). The example seen
had the normal 4 bright reflexions in front of the iris and 2 bright and 1 faint behind, so it probably had the
usual Tessar layout.
A single (?) 50mm f2.0 Tessar has been reported at NoV63-x and may be a planned large size version of this.
Triotar f2.8 10mm for VEB 8mm cine.
Flektogon f2.8 12.5mm This was listed on a VEB camera for 16mm about 1955.
[Pentovar 16 f2.8 15-60mm This was noted as a trade name below and this will be the 16mm version.
The examples seen had a unique bayonet mount probably for Pentaflex.
Pentovar f2.0 8-32mm This was the zoom on the East German Pentachar 8 8mm camera from
Pentacon. There may be other lenses with the same name.
Prokinar f1.4/17.5mm This was a VEB projection lens of about 1960.
Pentaflex 16mm camera
This was a Pentacon 16mm camera which an owner describes as of very fine quality and it was supplied with
premium quality lenses, probably including the Pentovar above. An outfit in London had the following lenses
fitted, all in a close serial number group.
Biotar f1.4 25mm This was at No6,357,73x
Biotar f1.4 50mm This was at No6,768,37x.
Flektogon f2.8 12.5mm This was at No6,718,55x.
Serial Numbering of Zeiss Lenses.
The size and importance of the company makes these both of prime interest and also of great complexity.
Several attempts have been made at listing the serial numbers and these do have to be considered in several
sections.
(a) Classic Zeiss Jena numbers.
It does seem that very low numbers do exist, and it is suggested that they begin at Jena at 1,000 in about
1890, unless information to the contrary is found. There may also be unnumbered lenses, possibly when they
are one of a stereo pair, though confusion with licencees lenses can occur. There seems then to be a gap to
1912. Two listings then exist, and run very much in parallel. One is by G. Gilbert, in "Collecting
Photographica" and is reproduced in the back of McKeown's "Price Guide". The other is given in "Chiffres
Cles" by P-H. Pont. As a collector, the main point is that they do tell the same story within the time span that
interests one. The following is a shortened version of the one in "Chiffres Clef" with some extra notes added
from experience here. It is tentative in places.
!890 Anastigmat production begins. this is partly licensed to others, including Voigtlaender for
Germany.The earliest Zeiss Anastigmat noted so far is No1,51x suggesting a possible No1000 start at Jena
for camera lenses: but note an aplanat for projection seems anomalous.
1895 Voigtlaender stops production of Zeiss designs, suggesting Zeiss had expanded production facilities
to make the lenses at Jena.
1900 c. 44,040 as Unar sales begin, production of anastigmats reaches 100,000, with about 44,000 by
Zeiss and 56,000 under license.
1902 Tessar f6.3 launched. This must have been one factor leading to a big expansion of demand and
production.
1908 91,711 + 103,3xx, 104,2xx noted on cameras burgled at N&G, London (Manthos article), but note
N&G may have lagged in fitting as cameras made in 1912 had lenses No133,73x- say a year in store or
transit.
Year Serial Numbers Number of
(begin + end) numbers used
1912 No173,418- 200,520 27,102
1913 No208,473-249,350 40,877 Carl Zeiss London here (see below)
1914 249,886-c252,739 2853
1915 c282,800-c284,500 1700
1916 c285,200-c288,100 2900
1917 289,087-298,157 9070
1918 298,215-322,748 24,533
1919 322,799-351,611 28,812
1920 375,194-419,823 44,629
1921 433,273-438,361 5088
1922 422,899-498,006 75,107
1923 561,270-578,297 17,027
1924 c631,500-578,297 17,000
1925 c631,500-c648,500 29,513
1926 666,790-703,198 36,408
1927 722,196-798,251 76,055
1928 c903,100-c908,150 5,050
1929 919,794-1,016,885 97,091 This is about the change over to rimset Compur shutters
1930 922,488-1,239,697 317,209
1931 1,239,699-1,365,582 125,883 First Contax lenses here.
1932 1,364,483-1,389,279 24,796
1933 1,436,671-1,456,003 19,332
1934 1,500,474-1,590,000 89,526
1935 1,615,764-1,752,303 136,539
1936 1,674,882-1,942,806 267,924 The switch to chrome finish begins at about 1.89 million.
1937 1,930,150-2,219,775 289,625
1938 2,267,991-2,527,984 259,993
1939 2,527,999-2,651,211 123,212
1940 2,652,000-c2,678,000 26,000
1941 2,678,326-2,790,346 112,020
1942 2,800,000- ?
1946 2.8m * The last numbers are from an obviously different source and are of unknown
1947 2.9m accuracy. It is an anonymous item. Thus they are distinguished by quoting as M
1948 3.0m for million.
1950 3.2m
1951 3.3m
1952 3.4m
1953 3.6m
1954 3.8m
1957 4.5m
1960 5.0m
Note the variation in the number per year. Now a plant of a successful company does not vary that much in
production rate unless there is diversion to other products, as is likely during a war (binoculars?, gunsights?)
numbered in another series. Or there is a cessation of materials or labour, which can also happen in war.
These will have affected things in say 1916 to 1918 but it does seem likely that the numbers used in 1913
are a "funny" and one feels they include some for 1914 as well. Also note that there are gaps between the
"Years lens" numbers, as for No252,739 in 1914 end and No282,800 for 1915 begin, where 30,061 numbers
are "missing." The tables admit that the WW1 data is approximate and this might explain the low figure
apparent for 1914. It seems likely that there was a carry over of numbers in some years from one year to the
next, due to numbers being booked for a contract or sale in advance- or some such mechanism. There is a
instinctive feeling that in 1912, the plant was actually normally making about 25,000-30,000 lenses. Now
going backwards, it is likely that production had built up slowly as labour was trained and plant designed and
built, and that a typical serial number for 1900 might be No40,000 (as suggested above), rather than
No75,000 which would be the mid-point from No1000 to say No151,000 in 1910.
After WW1, there is a rapid recovery of production, but again there are big fluctuations in the apparent yearly
numbers produced. There are also still gaps between the blocks of numbers attributed to years. It does
seem that production was set to rise steadily in the 1920's, even though there was a recession, and especially
after the formation of Zeiss Ikon with the related rationalizations and a "captive" market. Thus by 1930, there
do seem to be some 100,000 or more per year, and then in the 1930's, up to 250,000 or 300,000 numbers per
year used. This suggests a major expansion at Jena, or just possible the use of the redundant plants of
Goerz/Berlin and Ernemann/Dresden to support the production in some way. All this does also raise one
point: that any maker quickly finds that while brass and glass cost money, numbers are "free" and makers
often "waste" numbers when plans change or products are cancelled. Thus it is normal to find cases where
lenses were never made to match numbers reserved for them. One is left with a feeling that early Zeiss
lenses are rare and should be very desired items.
An authentic list Carl Zeiss supplied to a friend in 1967, with the same general result, was as follows:
150,000-200,000 around 1912
200,000-300,000 1912-1916
300,000-350,000 1916-1919
350,000-500,000 1919-1923
500,000-750,000 1923-1926
750,000-1,000,000 1926-1929
1,000,000-1,500,000 1929-1934
1,500,000-2,000,000 1934-1937
2,000,000-2,800,000 1937-1942
After WW2, Carl Zeiss at Oberkochen began a new series of numbers, probably at No1000 or 10,000 and as
indicated above, these were normally also marked Opton and coated. The Opton mark lasted for most
purposes until about 1953 at No1,100,000 but was used for many more years for items sold in the Comecon
countries- which will cause confusion if it is not realized. More data than this is in P-H Pont's "Chiffres Cles".
(b) CZJ =Carl Zeiss, Jena Postwar.
1945-1949 3.0-3.2 million. Initially these were calibrated with the focal length in centimeters.
1949-1952 3.2-3.47 million
1952-1955 347,000-4.0 million From here focal lengths were given in millimeters.
1955-1958 4.0-5.0 million
1958-1961 5.0-6.0 million
1961-1964 6.0-6.7 million
1964-1967 7.0-8.0 million
1967-1970 8.0-9.0 million
1970-1975 9.0-10.0 million.
(c) Carl Zeiss, Oberkochen, West Germany.
1946-1951 10,000-500,000 These will be engraved Zeiss Opton.
1951-1953 500,000-1,100,000 same
1953-1959 1,100,000-2,600,000 Now just Carl Zeiss except for Comecon sales.
1959-1961 2,600,000-3,000,000
1961-1965 3,000,000-4,000,000
1965-1969 4,000,000-5,000,000
1969-1971 5,000,000-6,000,000
1971-1975 6,000,000-7.300,000.
Dating of Zeiss lenses may be helped by one on a Paxette 2 at No1,616672 in an advert. in June 1958. It was
replaced by No1,617,53x in June 1960. Another f2.8/50mm Tessar No3,200,091 was shown in May 1964 on a
Contessa LK and may suggest dates. [Such dating is subject to problems and may merely show a minimum
number due to the use of old lenses or pictures.] There are also many items in the text where the date can be
inferred fairly exactly.

Carl Zeiss, Bittacy Hill, London.

See above for the registration of a company at Bittacy Hill. Lenses are known marked Carl Zeiss, London of
that date eg a Tessar f6.3/135mm in Compound shutter and marked Carl Zeiss, London No225,58x (=1913)
and a f4.5/150mm in barrel at No226,02x, and a binocular book refers to UK Government attempts to buy
Zeiss binoculars in WW1- which seems silly unless there was a UK plant. A theory is that a refusal, or
strategic sense, made the Government sequester the firm and get a UK maker to run it for the War effort.
There are known "Ross, Mill Hill, London 6in "Tessar Patent" lenses" thought to be from WW1 aerial and other
cameras, with anomalous serial numbers, and they may have come from the same plant after take over. Mill
Hill is some 16m NNW of London on the motorway M1 and Bittacy Hill is a road and area some 1m to the
East- arguably in Mill Hill. Postwar, there are accounts of an opthalmic glass works in the area.
[One eye-witness account was that there was a substantial Zeiss plant there into the 1970's, making lenses
but not for direct sale, so that the public were little aware of it- and it might well be opthalmic or binocular
lenses from the information, which needs confirmation!]
Note that this was a period when the Patents were running out on a number of Zeiss/Rudolph designs and the
license with Ross to make them was wearing thin. It may have been that the initial idea was to establish a
Zeiss plant inside the "British Empire" so that Imperial Preference could be enjoyed for the products, rather as
firms now seek a plant within the EEC.

Docter Lenses, Wetzlar and Jena, Germany.

Subsequent to reunification, in the early 1990's, the CZJ empire was managed by the Treuhand for the
government, and then Carl Zeiss were allowed to buy back at nominal cost the part of the business which was
felt to be truly Zeiss. There had been expansion into many areas such as machine tools and computers which
was probably felt to be of little relevance. It is thought that one area was aquired by the Wetzlar optical firm
Docter who are better known in UK for binoculars, and that it was the binocular production which they aquired,
but that they manufactured some high quality large format lenses with Zeiss agreement to use certain trade
names and designs. This production ended in 1997, and much of the stock was sold off in the UK by Mr Cad
of Croydon at a discount, and was of three main types:
"Tessar" Docter lenses either in Copal shutters or barrel mounts. These had a Tessar layout.
f4.5 50, 75, 105, 135, 180, 210, 250, 300mm in Copals.
f4.5 50, 75, 105, 135mm in barrels.
These were in Docter's own number series, eg No1,54x on a 105mm. (Fig below)
"Wide Angle Docter" These were a type with big external negative glasses, said to be 6g/4c.
f4.5 65mm was the only size noted. It seems to have been well liked if stopped
down a bit.
"Apo-Germinar" These were process lenses and two designs were used, 4 glass up to 450mm, and 6-glass
in 600-1000mm. It is likely that the Apo-Germinars were the same design as listed above by CZJ169 though
the 4-glass must differ.
"Wide Angle Apo-Germinar" These are a 'new' design as they used a pair of 3-glass inner components
(apparently mounted separately) surrounded by two negative glasses almost like a modern wide angle lens.
They in fact cover a quite wide angle (184mm dia. for the 150mm lens, 63° ) as well as offering a sharp and
evenly illuminated image. It is thought that the design may have been chosen to minimize distortion and to
even up illumination- it must have been an expensive one to use! These was seen at No1,04x on a 150mm
lens. It becomes rather heavy and bulky in the longer foci but 150mm is a favourite lens.
Fig 003 025 Docter Optic Tessar f4.5/105mm No1540 and ApoGerminar w/a f8/150mm No1043.
Apo-Germinar f9.0 240, 300, 360, 450mm.
Another list has 140, 180, 375mm as well.
f11, 600mm; f14.5, 750mm; f19.5, 1000mm
Wide Angle Apo-Germinar f8.0 150, 210, 240mm
These were high quality lenses, and may also offer an insight into late CZJ designs. We are told that the
programme is continuing with a soft focus lens, but no details are available.

Zeiss Ikon, Germany.

also as Zeiss Ikon-Voigtlaender about 1967
Some lenses were made by Zeiss Ikon in their factories after the amalgamation in 1926, especially in the early
years perhaps before rationalization took effect. The major year was probably 1928 as shown below, with
some items probably being older stock. (See B.J.A. 1927, p708;1928, p682) but the adverts. seem to be
restrained in the use of the old trade names. Progressively these were reduced to the budget types at the
lower price end of the programme, and the only real hanger-on in 1929 was the Dominar. Thus the Novar
name was continued and used for what is usually regarded as a Zeiss Ikon triplet and Triotar for the Carl
Zeiss Jena version of the same basic triplet type. The Novar did not always have a serial number although
some on early Ikontas were apparently numbered in the Zeiss series eg. at No1,301,07x, and did not carry the
name Zeiss. The Nettar was also a triplet.The box cameras continued to carry the Frontar name (but
apparently as Goerz and it tended to be f11 now) and the Spezial Anastigmat, the enlarging lens for the
Contax system, may be another. Zeiss Ikon also made projection lenses and several Orikor versions in the
200-700mm range have been seen at differing apertures, as well as a Diatar f2.5 100mm, a coated modern
lens. A 700mm Orikar was a triplet design. Interestingly, one is merely an "IKON ORIKAR f=35cm Nr
1,361,496" ie no Zeiss name but seemingly in a Zeiss number series- it is a nickel plate lens of the 1930's.
Postwar the lenses on the Contina and other more modest cameras were only always coated from 1952, and
many earlier ones if coated were treated by a repairer. Some lenses were sub-contracted and these probably
will not be marked with the Zeiss 'T' for transmission if coated. The red 'T'mark ended in 1957. One account is
that the postwar Novar production was partly from the Hensoldt plant.
Goerz, etc.
Achromat f11 This was on Piccolette, about 1930. This may be from another factory working in
parallel to eg.Goerz so a similar lens to Frontar is not so named. It seems the Box cameras carried Goerz
Frontars for many years. (See also:Tengor f11 Frontar, B.J.A. 1931, p285.) The older versions were f9,
possibly when film was slower, but also possibly being achromats. Others had Novar lenses which will be the
best performers.
Fig 003 034 Zeiss Ikon Baby Box with Novar and 16-on 120 film Ikonta with Novar and 16-on 127 with Tessar
f4.5/5cm lenses.
Periscop f11 This was on Suevia, soon after the formation. Also as an f11/90mm
onCicarette 5x7.5.
Frontar f8.0 or f9.0 as Goerz Frontar on the Ikonette in 1929 (B.J.A. p329), but normally it
was an f11 from the time of the formation of Zeiss Ikon.
Thus it was f11 on the 1928 Box Tengor but f9 on the Roll Tengor which was closed out that year.
Trinastigmat f6.8 This was noted on the Piccolette in 1928 for 2.5x1.625in, also on Cocarette
in 1928.
Periscopic f11 This was noted on the Cocarette 210 and 220 in 1928.
Tenastigmat f6.3 Noted on Roll Film Tenax in 1928.
Tenaxiar f6.8 Noted on the Roll Tengor II in 1928
Kalostigmat f6.8 Noted on the Roll Tengor in 1928.
Dogmar f4.5 Noted on Roll Film Tenax in 1928.
Dagor Noted on Roll Film Tenax, 1928.
Preminar f4.5 135mm on a Tessco 9x12cm , also on a Cocarette in B.J.A. 1928, p322.
Novar f6.3 }This was a common moderate price option, eg. onIkonta 6x9. It was also used
as an enlarging lens, eg. on the Miraphot for 6x9 or 9x12cm (B.J.A. 1930, p330). The Klein Miraphot had the
Special Anastigmat below.
Novar f4.5 }
Novar f4.8 This was noted on Ikonta 6x9 about 1933.
Novar f3.5 This was used on the 4.5x6cm Ikonta about 1934. It seems a common early
1930's fitment, in Compur or Compur Rapid shutters.
Dominar f4.5 This was noted on Ikonta 6x9cm eg. Typ 520/2 about 1931, but was replaced
fairly early in the 1930's by Tessar options. (The above used a f4.5/105mm for 6x11cm format so the Dominar
may have had a good wide field.)
Other Dominars on Zeiss Ikon/Zeiss cameras noted have been a f4.5/165mm at No1,316,27x on a 10x14cm
Tropica, and a f4.5/135mm No1,340,14x in a rimset Compur on a 9x12cm Tropen Adoro. There is a Donata
version for 6x9cm in B.J.A. 1931, p278 at £9.75 while the matching f4.5 Tessar version cost £11.15. Also on
Maximar in 1931. Tentatively, it seems not to be on the ICA derived cameras, such as Icarette and LLoyd, but
on the C-N types. These serial numbers seem to be Carl Zeiss numbers so the Dominar has more claim to be
a Zeiss lens than some.
Nettar f6.3 }
Nettar f4.5 }The Nettars were noted about 1936 on the Nettar folding cameras for 4.5x6cm,
6x6cm and 6x9cm, and these were essentially non-rangefinder folding cameras sold in parallel to the more
complex and expensive Ikontas. For the 6x9cm version see B.J.A. 1938, p289.
Nettar f3.5 This was the fastest version, on the Nettar f3.5 camera (B.J.A. 1936, p298).
Hekla This was really a pre-Zeiss Ikon lens carried over to sell on the plate cameras Volta,
Niklas, Orix, and Donata in 1927-8. It was probably replaced quite quickly, while Dominar did have a finite life
as a Zeiss Ikon lens.
Niklas This was noted as an I.C.A. projection lens in a bright plated (chrome) mount
apparently late 1930's.
Citonar f6.3 This was on a 6x9cm Contessa Duroll in B.J.A. 1927, p701.
Contessa Nettel
Sonnar The origin of the famous trade name was a nice Q15 type f4.5 in 105 and 135mm on a Sonnet plate
camera. This is not a Tessar under another name- the front diameter is smaller, and the external curves differ.
from Ernemann:
Ernon f3.5 110mm on Simplex-Ernoflex, and Heag V11. These were other carry-over
items.
Erid f8.0/100mm on Heag I. There was also an Ernastigmat f6.8/105mm.
Ernoplast f4.5 120mm, etc. on Heag II. Here 120mm was used for 6x9, 75mm for 4.5x6cm,
135mm for 9x12 and 165mm for 10x15cm.
Ernotar f4.5 75, 120mm, 135mm, 165mm as above, on Heag II
Ernar f6.3 75, 105, 135, 165mm on Heag II.
Ernastigmat f6.8 75, 105, 135, 135mm sizes.
Ernostar f2.0/42mm on Bobette II.
The prices were in the ascending order Ernastigmat, Ernar, Ernoplast, Ernotar, Tessar f6.3, Tessar f4.5. The f2
Ernostar-Bobette was more likely an official Zeiss Ikon product, made as a fill-in till the 35mm cameras were
made.
ICA (?)
Preminar f4.5 This was noted on the 1928 Icarettes and Maximar.
from Goerz (typically in a 1927 list):
Kalostigmat f6.8 Many of these are on carryover Tenax 6x9cm and Tengor 6x9cm cameras.
Tenastigmat f6.3
Syntor f6.3
Dogmar f6.3
Tenaxiar f6.8
Kalostigmat f6.8
achromat f12.5 This was an achromat on Plaskop stereo
Kinostar This seems to be best known as an 8mm projection lens listed as an f1.8 in 10 and 50mm, from the
interwar years. But it was an old trade name as Mr Brochmann tells of a Zeiss Kinostar Serie IV 10cm lens at
Serial Number 31,21x for 35mm work on an 'ERKO Maschinenbau Berlin N31 machine which is a very old
projector pensioned off in North Sweden. This will be about 1898 if it is numbered with the normal photographic
lenses.
Alinar f1.4 18mm probably for 8mm projection.
Alinar f1.4 50mm Projection lens in Kinox-N projector in 1931.
Alinar f2.5 100mm projection lens on Contax large projector. (1934)
Special Anastigmat This enlarging lens was used on the Klein Miraphot enlarger in Contax outer bayonet.
It is a triplet of 50mm about f6, but the aperture is not marked, nor is there an iris. It was seen at No1,341,99x,
which seems to be a Carl Zeiss number from about 1933 but the lens seen has no makers name.
Nostar f6.8 135mm on Taxo in 1927.
Protar V11a Note that this was sold on the square back Favorite and Tropica in 1927, but the product to
continue was the Juwel.
Epi-Anastigmat f4.0/300mm in 1930, on an Epidiascope.
f4.0/500mm, f4.0/600mm on other models.
Dia-Anastigmat f4.0/210mm These may be the same design but in rather shorter sizes for
slide projection. These lenses are from 1932 catalogues.
Orikar Projection lens It was noted as f2.8/8cm; f2.5/10cm; f3.2/15cm; on the Ikolux 250
2x2in slide projector in B.J.A. 1956, p161.
Epiotar This was noted as an f5/80cm lens, this is possibly a "dia" lens from an epidiascope
projection unit at lens No322,76x..
Diatar f2.5 105mm Projection Lens.
The realignment of the firms production in 1926 must have been quite complex, as new products were needed,
and current inventories needed to be sold off, and it was not acceptable to lay off workers wholesale while this
was done. Thus there are fascinating intermediate products to look for. Essentially, they seem to have
continued old products as an interim, with Zeiss Ikon insignia, but some stock was sold off, eg. lenses from
Goerz went to B&J in Chicago, USA. However care was needed, and taken, not to have items spoiling the
market for the new introductions to come. The new production was typified by the cleaner lines of the selferecting
cameras such as Ikonta, Netter and Tenax, and by the use of the new rimset Compur shutter, then
coming into use. Equally, new lenses such as the f2 Biotar and the Sonnars posed new problems of accurate
mounting as well as new possibilities.
Post WW2
The B.I.O.S team visiting Zeiss Ikon (Herr Reichter, in the absence of Dr. Eyth) after the war at Stuttgart(?)
noted the problems of work, cut off from the Dresden and Jena plants. Output was limited to Ikonta and Super
Ikonta cameras, using lenses and optics from Rodenstock. Later Schneider supplied when the French agreed
to release lenses. The main object was to restart production, even though more hand work than usual was
needed and some inferior materials were used- eg. cellulose paint in place of stove enemels. One problem
was that during the war production had been of gunsights and gyroscope motors, so that a major change in
equipment was involved. One report was that Hensoldt continued as a major lens source.
Talon f2.9 85mm
Talon f2.8 100mm
These are projection lenses for 35mm projector Perkeo ML, and others.
Talon f3.0 125mm
Talon f2.8 50mm for 18x24mm only.
Planar f2.5 90mm
Novicar, Novar, Pantar
These also included the Pantar satz lenses for Contina III. These were often for Contina.
These extra options were for the Perkeo-AF-Automat (1960's). see B.J.A. 1957, p263).
Novar f4.5 75mm This could be one of the high value ones, as it was fitted to the Zeiss
Super Ikonta 531/16 for 6x6cm, possibly as a low cost version for the UK, (B.J.A. 1955, p215) and this has
become a sought after folder. It had front cell focus, coupled R/F, and was said to 'produce excellent
negatives'.
Novar f4.5 45mm This was on the Contina I camera, coated and front cell focus, and
'performs exceedingly well, ---leaves nothing to be desired'. (B.J.A. 1955, p263). The B.J.A. 1955, p269 said
'phenomenal performance'. It was then still a novelty.
Novar f3.5 This was on the Contina Ia in B.J.A. 1956, p163. It had front cell focus and
was hard coated.
Novicar f2.8 This was on the Contina IIa in B.J.A. 1956, p163, and was an expansion of
the Model I range from the previous year where only the Novar was noted. This was now a rigid body camera.
Globar f2.5 85mm Projection lens on the Ikolux 150 projector for 2x2in slides.
Orikar f2.5 100mm also on Ikolux 150 (B.J.A. 1958, p188).
Frontar? f9 It is thought this was still named as Frontar but the reference seen does not
mention this. It had 3 apertures of f9, 11, 16 set by a lever below the lens, probably connected to 3 holes on a
swinging plate, and had focusing for Inf-8m, 8-2m and 2-1meters, all rather a reincarnation of the prewar
camera but with flash sync. and coated f9 lens (in place of the old f11) probably needed to handle colour film.
(B.J.A. 1952, p204). The features were very advanced for a box camera.

Zeiss-Rollei

Rollei
Items here should really be under Franke and Heidecke, or Zeiss. It is worth noting that the view lens on the
TLR was nominally a F&H product, although it is uncertain who actually made them or who matched up the 2
lenses. It probably was either F&H or the lens makers, as taking lenses from Zeiss and Schneider were
involved postwar.
Viewfinder Lenses
Sucher Triplet f3.2/55mm and f4.2/75mm These Carl Zeiss finder lenses were on the Stereo camers
Heidoscop in the 1920's and may suggest the source of the later finder lenses.
Zeiss Anastigmat f3.2/55mm and f4.2/75mm These were on later Rolleidoscops, about 1926-1940.
Heidoskop f3 This was on the early Rolleiflex with f4.5 Tessar in B.J.A. 1930, p338.
Heidoscope f3.1/75mm This was the original version with f4.5 Tessar. Some versions on the early
Rolleicord were not engraved with an aperture: it was probably about f3.2, as late prewar models actually had
an f3.2/75mm Heidoskp. This was replaced in the 1950's with engraving as f3.2/75mm Heidosmat and
possibly finally f3.5/75mm Heidosmat.
Heidoskop f2.8/60mm on 4x4cm Rolleiflex early 1930's
Heidoscop f2.8/75mm These were on Rolleiflex, normally having faster taking lenses as well.
During the WW2 and just after, some were not engraved and then an f3.1/75mm Heidoscop was used, and
later an f2.8/75mm or f2.8/80mm Heidosmat. These then became the standard finder lens on late Rolleiflexes.
One point is that larger lenses would be hard to accommodate on these camera so that there was a long time
when the finder lens was no faster than the taking one.
A combined programme was often used for the late specialized camera programme and it is not easy to see
exactly who actually made what items. It seems however that Zeiss did the designs and that Rollei made
many of the lenses with the exceptions perhaps of the early batches and especially difficult items. But this is
partly a guess.
In 1970, Rollei set up a company in Singapore with the help of German bankers, and the firm worked from 3
sites: Braunschweig with 1650 employees, Luneberg with 316 employees and Singapore with 5700
employees, but the major expansion in the Far East did not pay. The company became in turn part of the
British United Scientific Holdings PLC of London and in 1987 then the H. Mandermann group, along with
Schneider and Pentacon (1991). Major items included:
Lenses for Rolleiflex SL66
F-Distagon f3.5 30mm 8g/7c full frame fisheye.
Distagon HFT (a) f4.0 40mm 10g/9c 1968-1986 approx. 10 glass, 88°, filter VII.
(b) f4.0 40mm 11g/10c new version 1986 onwards.
Distagon HFT f4.0 50mm 7g/7c 7 glass, 75°, reverses for macro.
Distagon f3.5 60mm 7g/7c 1984-1993?
Distagon HFTS f4.0 80mm 5g/5c with bladed shutter. In May 1972 this was (Compur 1/30-
1/500sec, XM) 6 glass, 52°, filter VI but there may be confusion.
Planar HFT f2.8 80mm 7g/5c 7 glass, 75°, reversible for macro, filter VI.
Planar HFT f2.0 120mm 7g/5c
S-Planar HFT f5.6 120mm 6g/4c 6 glass, 52°, reversible, filters VI.
Sonnar HFTS f4.0 150mm 5g/3c 5 glass, 29°, filter VI. These could be in Compur shutters.
Sonnar HFT f5.6 250mm 4g/3c 5 glass, 18°, filter VI
Tele-Tessar (PS) f5.6 500mm 6g/5c or ?6g/3c? 6 glass, some are in fully auto iris though PS may
suggest not all are. 9°, bayonet VII.
Tele-Tessar (PS) f8.0 1000mm 4g/4c 6 glass in 1972 lists.
Mirotar f5.6 1000mm Mirror Listed 1972 with filters.
Luminar f2.5 16mm 5g/4c
Luminar f3.5 25mm 4g.3c
Luminar f4.5 40mm 3g/3c
Luminar f4.5 63mm 3g/3c
Luminar f6.3 100mm 3g/3c
PCS-Rolleigon f4.5 75mm 11g/9c A shift lens (1984-)
S indicates a bladed shutter is fitted. The first 10 items are in fully auto iris mounts.
Rolleiflex SL35 (April 1972 advert.)
This was a full frame 35mm SLR probably related to the older Voigtlaender-Zeiss Ikon Icarex, and with a series
of lenses from their designs. The lenses are rare in the UK as they were issued in the 1970's when there was
intenses competition from he Far East. Not all may have ever sold here. The normal lens was a 7 glass
f1.8/50mm Planar, though f1.8 Xenons have been reported as have f1.4 Planars. The advert. shows a
Distagon f2.8/28mm and probably f2.8/85mm Sonnar and f2.8/135mm Planar at Serial No 5,289,68x and a
f4.0/200mm Zeiss Tessar. The 06/1967 advert shows a Carl Zeiss Super Dynarex f4.0/135mm at No6,984,528
on an Icarex 35, so there may have been overlap with Brunswick named lenses. At that stage, there were
Tessar, Color Pantar, Dynarex, Skoparex lenses but the mounts are not described.This latter seems to differ
from the list in McKeown's guide (q.v.) which lists some 15 lenses available eg. in the USA.
Postwar for TLR's.
Most of these are Zeiss productions made and supplied to Rollei but are tabulated here for convenience.
Triotar f3.5 75mm This was for Rolleicord, 3-glass triplet.
Tessar f3.5 75mm OPTON from Oberkochen.
Tessar f3.5 75mm from Jena.
Tessar f2.8 80mm These were ex-Jena, now a scarce lens.
Biometar f2.8 80mm Again these were ex-Jena, and are another scarce lens.
Planar f3.5 75mm OPTON (Layout Zei170) This is really the classic version
of the Rollei lens.
Planar f3.5 75mm This is a 6-glass version, West German and a little obscure. (Layout
Zei172). In general the f3.5 lenses have the very highest reputation on the TLR's.
Planar f2.8 80mm OPTON, excellent, 5g/4c (Layout Zei171) An alternative 6glass Planar
layout is in Zei175, but it is not known where or if this was used. A "late" number Planar was No8,119,39x
when the last 100 or so Rolleis were assembled.
Sonnar f4.0 135mm OPTON for Tele Rollei
Distagon f4.0 35mm OPTON for Rollei wide angle. (This may be an error the item seen
was a 55mm lens.)
Distagon f4.0 55mm This was noted for the wide angle Rollei at No3,506,437. This was a
small production camera, unlike the TeleRollei which marched it. R.Clark notes the use of one as a sort of
snapshot camera at the 1976 University boatrace in B.J.P. 04/04/1980 p326.
Rollei Mutars, Bayonet front fit lenses, 1965.
Mutar 0.7 for Size 11 and 111 eg f3.5 Planar Noted at No3,566,09x
Mutar 1.5 for Size 11 and 111 as above. Noted at No3,843,37x.
Adaptors were made for these to be fitted to size 1 and 111 but note that size 1 may show severe vignetting.
Note also Magnar, a prewar auxiliary unit above.
For Some Other Cameras.
Tessar f2.8 25mm for Rollei 16 (1963)
Tessar f2.8 40mm for S126 (1968-1973)
ProTessar f3.2 28mm same
ProTessar f4.0 80mm
Sonnar f3.5 40mm for Rollei A26.
Tessar f2.8 23mm for Rollei 110 (1970's)
Tessar f3.5 40mm for Rollei 35, 35T.
Triotar f3.5 40mm for Rollei 35. also Rollei 35LED noted in B.J.P. 10/11/1978 p978 when
it was made by Rollei under license. It matched the original Zeiss lens used on the B35 and was said to give
moderate sharpness over a 25mm circle at f3.5, improving at f4 but the corners were really fuzzy until at f8
about a 37mm circle was sharp and f8-f11 was about optimum with some signs of falloff at f22. At no time did
the corners really come sharp. It was described as a good modern triplet, but they seem to have been felt the
angle demanded was just too big for the type of lens used.
Sonnar f2.8 40mm for Rollei 35, 35S. These are a 1+1+2+i+2 design (Modern Photo
06/1978, p43advert. Here at No2,400,404, when it was multi coated.
Most of these were marked "Made by Rollei under license" They were noted in B.J.P. 18/07/1975 by N.
Maude. He noted that the Tessar did not cover the 24x36mm format in a 40mm f2.8 form so that the design
had to be extended to a 5-glass one. There was a Zeiss Ikon f2.8/40mm Tessar but the performance was less
good down to f11. Here the f2.8 Sonnar is an excellent lens and exceeds the f3.5 Tessar showing edge
advantages at faster stops than f5.6 and the Rollei HFT coating showed real benefits.
Sonnar f2.3 40mm for Rollei XF35. (Late 1970's)
Rolleinon f2.8 38mm This was a Zeiss design.
In general note programmes for Rollei 35, S12000, 3003, Rollei Sl66, 6002 series.
Lenses for the 35mm Slr such as the SL 35M about 1976 included:
Distagon f2.8 16mm A fish eye lens.
Rolleinar f3.5 14mm
Distagon f4.0 18mm
Rolleinar f4.0 21mm
Distagon f2.8 25mm
Rolleinar f2.8 28mm
Distagon f2.8 35mm
Rolleinar f2.8 35mm
(Angulon f2.8 35mm from Schneider)
Planar f1.8 50mm
Planar f1.4 50mm
(Xenon f1.8 50mm from Schneider)
Rolleinar f1.4 55mm
Planar f1.4 85mm
Sonnar f2.8 85mm
Rolleinar f2.8 85mm
Macrotar f4.0 85mm
Rolleinar f2.8 105mm
Rolleinar f2.8 135mm
Sonnar f2.8 135mm
Tele-Tessar f4.0 135mm
(Tele-Xenar f3.5 135mm from Schneider.)
Rolleinar f3.5 200mm
Tele-Tessar f4.0 200mm.
TeleTessar f5.6 400mm
As to serial numbers on earlier Rollei cameras, see A. Evans "Collectors Guide to Rollei Cameras" from
Centennial Photo Service, Grantsburg Wisc 54840, USA ISBN 0-931838-06-1, 1986.
Rollei were absorbed into Samsung of Korea in the 1990's and when a last batch of TLR's was made the Zeiss
Planar number was about No8,119,39x.

Zenith, Ukraine (USSR)

This was a Russian SLR with initially a M39x26 thread but much deeper register of about 45.2mm rather than
28.8mm.The lenses are listed in the Russia section as some are common to other cameras.

Zenza Bronica, Japan.

The firm Bronica is initially a camera maker, founded by Mr Zenza initially to make consumer items. In 1959,
he issued the first camera and it was a sensation although not without problems initially. It initially used
Nikkor lenses and later own-brand Zenzanon lenses. The programme was a combination of the two series in
May 1972, with Nikkor f4/40 (10 glass); f2.8/50 (8 glass); f2.8/75 (5 glass); f3.5/105in Seiko shutter, f4.5/200
(4 glass) and f5.6/600mm (5 glass) and Zenzanon f2.8/100mm; f3.5/150mm and f4.5/300mm.
We are grateful to Mr Takahashi of Introphoto for information here. An interesting review is by G. Crawley in
B.J.P. 17/07/1996 p20. In a 1980 note, 67mm filters were used where possible, but not on 40 and 500mm
lenses.
Zenzanon lenses are listed here as follows:
Zenzanon PE
f3.5 35mm This was a fish for the SQ-Ai in B.J.P. 23/10/1996 p7 and it was accompanied a 30mm version
of a fish for the ETR-Si for 6x4.5.
Zenzanon
f4.0 40mm 9glass/7 component. This is a 11g/8c lens in 1980 (below) for 87° and focussing to 16in.
f2.8 50mm 8g/7c This was given as 10g/8c in B.J.P. 19/08/1980, p925 so a redesign may have occurred.
It covers 72° and focusses to 20in.
f2.8 75mm 5g/4c
f2.4 80mm 6g/5c This was a 'new' item in B.J.P. 20/02/1976, p147. It focussed to 70cm. The Nikkor was
continuing for the present.
f2.8 100mm 6g/4c
f3.5 105mm in 1996 In 1980 (above) this was mainly for macro.
f3.5 150mm 5g/4c By 1980, this was 5g/5c and especially for portraiture. It focused to 1.5m.
f3.5 200mm 5g/5c
f4.5 200mm This was a 5g/5c design noted in 1980, focussing to 2m.
f5.6 250mm in 1996 The design was basically like the 200/4.5 lens.
f4.5 300mm 6g/5c
f8.0 500mm in 1996 "This was a more elaborate 7g/6c design, and the longest then made for the camera."
f2.8 80mm (This was from 'Carl Zeiss Jena', and may have been a Biometar? but there is a hint that this
was a 6g design, and tests in Am. Photo 29/10/1978 and What Camera 02/1979 were very favourable,
[comparing it to the West Zeiss Oberkochen Planar], and while the Biometar was good this seems better.
There were also teleconverters etc in 1996.
Bronica VX This was a new camera noted in L.A.Mannheim's article in B.J.P. 26/09/1980 p950 $3 with
initially 3 lenses:
f2.8 28mm 8g/6c
f2.8 40mm 5g/4c
f4.5 85mm 4g/4c
Here the timing of the shutter is in the camera and the blades and stop control are in the lens. There is no iris
in the usual sense.
Before the Zenzanon series was available, the Bronica was Initially supplied with Nikkor lenses, but the
Zenzanon series succeeded them and a 1965 Nikkor programme was as follows:
f3.5, 50mm; f2.8, 75mm; f3.5, 135mm; f4.0, 200mm; f2.5, 180mm;
f4.0, 250mm; f4.5, 350mm; f5.0, 500mm.
A later list probably from the late 1980's has:
Zenzanon PS and PE lenses:
f4.0 PS, 40mm 11g/8c 87°
f4.0 PE 40mm 9g/8c (Practical Photo., 04/1992, p84)
f3.5 PS, 50mm 10g/8c 76°
F2.8 PE 50mm 9g/7c
f4.0 PS 65mm 9g/7c 62°
f2.8 PE 75mm 6g/5c
f2.8 PS 80mm 6g/5c 50°
f3.5 105mm Noted B.J.P. advert. 20/02/1981, pxxv
f4.0 Macro PS 110mm 6g/4c 40°
f4.0 PS 150mm 6g/4c 30°
f3.5 PE 150mm 6g/5c 30°
f4.5 PE 200mm (Amateur Photo., 23/05/1992, p53)
f5.6 PE 250mm
f8.0 PS 500mm 11g/10c 9°
f4.5 55mm 10g/8c This was coded Zenzanon Super Angulon*
f4.0Macro E, PE 100mm
Zooms Zenzanon Variogon* 75-150, 140-280, 70-140, 125-250mm.
*Lens mounts carry J. Schneider Kreuznach engraving.
Bronica ETR
This was reviewed in B.J.P. 02/04/1997, p23, with the lenses.
f3.5 30mm Fish full frame for near 180° 11g/8g and this was a sharp contrasty lens noted in B.J.P.
23/10/1996 p7.
f4.0 40mm 9g/7c tertrofocus type, with stops to f22, focus to 40cm.
f2.8 50mm PE This was a 8g/7c design giving a high quality image. Stops to f22, focus to 50cm.
f2.8 75mm In ?1978, this was a 5g/4c Gauss design 1+1+i+2+1 layout focus to 60cm. It means the next
entry may be wrong:
f2.8 75mm This was a 6g/5c design with faultless drawing and especially sharp at f5.6.
f4.0 150mm In one list this had a 6g/6c design with stops to f22 and focus to 150cm. Again this may
means the next is wrong.
f3.5 150mm PE This was a 6g/5c design also of high quality.
f5.6 250mm This was noted as a 6g/6c design with stops to f32 and focus to 350cm.
Bronica ETRSi
The first zoom for this was:
Zoom Zenzanon PE f4.8 100-220mm and was an aspheric with constant aperture. (Professional
Photographer 05/1997, p5)
Bronica GS-1 for 6x7cm.
A new PG 80mm f3.5 was added to the list in B.J.P. 27/11/1996 p8 of 8g/6c design, with a built in leaf shutter.
A Millenium List for Bronica is as follows:
(all lenses are named as Bronica)
for Bronica SQ:
f3.5 35mm Fish 11g/8c
f4.0 40mm 11g/8c
f3.5 50mm 10g/8c
f4.0 65mm 9g/7c
f2.8 80mm 6g/5c
f4.5 110mm Macro for 1:1 9g/8c
f4.0 135mm 6g/4c
f4.o 150mm 6g/4c
f4.5 180mm 9g/8c
f4.5 200mm 7g/5c
f5.6 250mm 7g/5c
f8.0 500mm 11g/10c
for Bronica GS1:
f4.5 50mm 11g/8c
f4.0 65mm 9g/7c
f3.5 80mm 8g/6c
f4.0 100mm 6g/4c
f4.0 110mm macro 6g/4c
f4.0 150mm 5g/5c
f4.5 200mm 6g/5c
f5.6 250mm 6g/5c
f8.0 500mm 11g/10c
for Bronica ETRSi:
f3.5 30mm Fisheye 11g/8c
f4.0 40mm 9g/8c
f4.0-5.6 45-90mm 11g/10c inc aspheric(s)
f2.8 50mm 9g/7c
f2.8 60mm 7g/7c
f2.8 75mm 6g/5c
f4.8 100-220mm 16g/13c
f4.5 105mm 9g/8c macro to 1:1
f4.0 135mm 6g/4c
f3.5 150mm 6g/5c
f4.5 180mm 9g/8c
f4.5 200mm 6g/5c
f5.6 250mm 6g/6c
f8.0 500mm 11g/10c

Zion, France.
He was a French lens maker, whose products do not seem to be known in the U.K. He supplied lenses for
cameras noted in FBB, from 1893 to about 1928, making anastigmats and sold or made cameras as well.
Thus there were Zion anasrigmats on a Simili Jumelle in 1893,1898 and on a Pocket Z stereo in 1928, but the
Zionscopes of 1912 offered a choice of Hermagis, Boyer, Berthiot, Roussel in place of the Zion lenses of 1905
and 1911, and Roussel Trylors were used in 1920. He also used Seckler Anastigmats on some Stereo
cameras about 1910. [It is possible that all these were in fact bought-in and only the Zion lenses were
renamed. There is no suggestion of sales except on a camera here.]

Zoomar Inc, USA.

We thank Mr R. Shell USA and Mr Zuchendorfer, Kilfitt, Germany for additional information here.
Zoomar was most active for a period in the 1950's and 1960's, possibly for about 10 years, and the leading
figure was Dr Back. There were cooperative programmes with Voigtlaender on the Zoomar and with Kilfitt, so
that a Macro Zoomatar f2.8/90mm No 301-02x seems to be a Macro Kilar 'in disguise'- or at least adjusted
for a new use. It seems to have been for cine, since the mount ran back too far for any normal SLR and has
been noted on Arriflex cameras, probably for 35mm movie. (There may be two different designs used here: the
one seen seems to be a Q15). Also a Pan Tele Kilar f4.0 300mm No 271-04x carries the dual emblems of
Kilfitt and Zoomar. Products included Zoomatars, mirror systems, interchangable lenses. These will be just a
fraction.
f1.3 180mm movie or TV lens with a narrow angle of view.
f1.3 (This was given as 7in. So it may be the same lens.)
f1.2 240mm for 56x56mm.
f5.0, f5.6 600mm These may both refer to the same meniscus lens with different stop
limits.
f5.6 500mm mirror. (Zoomar Reflectors were noted for movie as f5.6/500,(20in);f5.6/
620mm,(25in);f8/1000(40in), f15/2000(80in); f20/2500(100in),f25/ 3800mm(150in)
f8.0 1000mm mirror.
f14 2000mm mirror
These are photographic mirrors and were not designed for astronomy.
Reflectar Zoomar for f4.0/20in- f8.0/40in, and then f15/80in; f20/100in; f25/150in. These were obtained from one
basic system with a little conversion.
Some late examples were in T-mounts, and these included the macro version. Auction lists include Zoomar
Macro Kilar No243-2140 and Zoomar Makro Zoomar D f2.8/4cm No245-9573. These illustrate how closely
Zoomar and Kilfitt became related.

Zuiho Optical, Japan.

Honor f1.9 and f2.0 50mm lenses in black finish.A Honor f1.9/50 was noted at No61,59x.

Zunow, Japan.
They were specialist makers of innovative fast lenses during the rangefinder period in Japan and their products
are now highly respected, valued and sought after. Most of these would be available in M39x26 mounts.
Zunow f1.7 35mm (1956-1961)
Zunow f1.1 50mm (1956-1961) 9glass (Zun002) The source of these drawings was in
poor order and rather ambiguous and the drawings may be inexact.
Zunow f1.3 or f1.5 50mm (1957) (Zun001 or Zun003)
Zunow f2.0 100mm (1956-1961)
Zunow f1.9 50mm on early Miranda
Zunow f1.2 58mm on SLR Prototypic only? (Modern. Photo. 11/1962 p67)
Zunow f2.8 6cm This was mounted on a Prinz 44 TLR or Automat TLR for 127 film. It
was noted at Zunow Optical taking lens No60,37x, where the view lens was also a f2.8/6cm.
A note in the Amateur Photographer 01/01/2000 says Zunow later overreached itself in designing an SLR in
1958 and was forced to close about 1961. Modern Photo 04/1976 p79 says 'long out of business' and rates
the f1.1/50mm Zunow along with the contemporaneous Nikkor f1.1 as highly regarded- but says these are now
superseded by modern lenses.
BIBLIOGRAPHY
Although many books contain lists of lenses, these tend each to be a snapshot of a given period and none
covers the whole history in the sort of detail a collector might wish. A collector needs to know about the minor
products as well as the major ones and the most important developments. And the focal lengths and
mountings are valuable information. Thus this list has been very much influenced by the experiences of lens
collectors and purchasers. It is not and cannot be definitive in any way and must be used with caution. Initially
it was compiled from the documents in Matt's files: later other items and information have been added by
reading the older books and catalogues available. Items have also been added from the estates of the late J.
Adams (the eminent lens worker) and R. Burnet of Maidstone. And most of the books in the Bibliography have
played some part, mainly using sources published before about 1960. This date has been chosen as some
sort of cut-off point for the list as it is aimed at collectors rather than users of new equipment, due to the vaste
expansion in lens design which followed the increased computing power available after that date. Later items
are included, but on a much more selective or perhaps random basis. But then it is probably still too soon to
judge the long term interest of items as fresh as these.

Books seen have been:

D. van Monckhoven, "Photographic Optics", Robert Hardwicke, 192, Piccadilly, London, 1867. Translation
from the French 259+16pages.
Lake Price, "A Manual of Photographic Manipulation, etc", John Churchill, New Burlington Street, London,
1868, 304+V111pages
J. Traill Taylor, "The Optics of Photography and Photographic Lenses", Whittaker and Co, 2 White Hart St,
Paternoster Sq., London, 1892, 244+V111 pages.
H. Orford, "Lens Work for Amateurs", Whittaker and Co., 2 White Hart St., Paternoster Sq., London., 1894,
229+XV pages. (It may have gone through several editions up to No5 in 1957, judging from an advert seen.)
T. R. Dallmeyer, "Telephotography", Pitmans (?), 1899 This was the first edition followed by 3 (?) others as
follows:
C.F. Lan-Davis, "Telephotography", G. Routledge, London and Dutton, New York (1912), 127+X1 pages.
H. A. Carter, F.R.P.S., "Telephotography", Sir I. Pitman, London, 1936, 117+X111pages.
O. Lummer, "Contributions to Photographic Optics", translated and augmented by S.P.Thomson, Macmillan
and Co, London, 1900, 135+X1 pages, based on 3 x 1897 articles in Zeitschrift fur Instrumentenkunde. He
cites two base texts in German:
(a) Czapski, "Theory of Optical Instruments" and
(b) O. Lummer's article in Muller-Pouillet's "Physics" 1895.
C. Beck and H. Andrews, "Photographic Lenses" published by Beck, 68, Cornhill London EC, 1900 etc. The
editions vary, and especially an early to No 3,c. 1903 (Orthostigmats)and a late No7, c. 1910 (Neo- and Iso-
Stigmars) are useful.
E. Marriage, "Elementary Telephotography", Iliffe, London, 1901, 118+5pages.
Capt. O. Wheeler, "Modern Telephotography", Ross Optical Works, Clapham, London, 1910, 95 pages.
T. Bolas and G. E. Brown, "The Lens", The Photogram for Dawbarn and Ward Ltd, 6, Farringdon Ave, London,
1902. 176 pages.
Sir W. de W. Abney, "Instruction in Photography", Iliffe, London, 11 edition 1905, esp. 108-144 pages, of 676
pages.
P.N.Hasluck, "The book of Photography", Cassell and Co, London etc. 1905, 743 pages total.
- Schmidt, 1909.
A. Lockett, "Camera Lenses", H. Greenwood, London, 1925, 111+x pages. also reprinted as:
A. Lockett revised by H. W. Lee, Pitman and Greenwood, both of London, Second Edition 1937, 113+X pages.
The revision was fairly light but Lee's stamp is evident.
R. Kingslake "The Development of the Photographic Objective" in "Handbook of Photography" Eds K. Henney
and B. Dudley, McGraw-Hill/Whittlesey House, 1939. This has an outstanding list of makers and lenses as of
1938-1939 or before in the iterwar years, running to some 13pp of Tables, and only was available for use in late
in the study in 1998. Some points are especially indicated by a code "H&D" to indicate this source.
Eder, J.M. "History of Photography", also "Geschichte der Photographie", 1932, translation 1945 for Columbia
University Press, NY, USA. and 3 original German editions to 1905. The translation has a biographical note
about Herr Prof. Director Eder (b. 1855, ) and publications, including the yearbook "Jahrbuch fur
Photographie" from 1887 on.
C. B. Neblette, "Photography, Its Principles and Practice", Chapman/Hall, 865 pages, esp 90-123.
A. Cox, "The Technique of Definition" The Focal Press, London and New York, 1943, with editions and
revisions to 13 Edn 1966 at least. Especially the first, eleventh and sixteenth editions give almost a history of
the period.
R. Andreani, "L'objectif Photographique", Editions de Francia, Paris, 1958, 254 pages.
R. Kingslake, "Lenses in Photography", A.S. Barnes, New York, 278 pages, 1952 on, esp. Edition 11, 1963.
A. Cox, "A System of Optical Design", Focal Press, 1964, 661 pages.
F. Twyman, "Prism and Lens Making", Hilger Publications, 1943, 1952, etc. 629 pages.
C. B. Neblette, "Photographic Lens Manual", Morgan and Morgan, New York, 1960.
Newnes "Photographers Handbook" 1955,
A. E. Conrady, edited and compiled by R. Kingslake, "Applied Optics and Optical Design", Dover
Publications, New York, 840 pages, esp Vol 11 p777 onwards. Vol 11 includes a forward by H. Conrady-
Kingslake and a biographical note on Conrady. SBN 486-60612-0.
M. Pirenne, "Optics Painting and Photography", Cambridge U. Press, 1970.
A. M. Carlsson, "Getting the most from your Praktica Lenses", Adpress, 1977.
S. Ray, "The Photographic Lens", Focal press, 1979.
S. Ray, "Applied Photographic Optics" Focal Press, 1988.
R. Kingslake, "History of the Photographic Lens", Academic Press, 1989, 334 + X1 pages, ISBN 0-12-408640-
3.
N. Channing and M. Dunn, "British Camera Makers", Parkland Designs, 1996, 160 pages, ISBN 0-952430-0-8.
(This has an extensive listing of UK camera makers- and thence an indicator of subcontracted lenses.)
Index, of P. Ariel, for Deutsches Filmmuseum Frankfurt am Main, Schaumainkai 41, D-6000 Frankfurt am
Main 70, Germany.
W. Frerk, 1926.
W. Kerkmann, "Deutsche Kameras", (adverts.) Vol 1, 1900-1945; Vol 2, 1945-1986. Published 1987-1900.
P-H Pont, "Chiffres Cles/Benchmarks", ISBN No2-906840-06-8 of 1994, from Photo Saga, Flassy, F-58420
Neuilly, France tel 86 29 63 13 fax 86 29 05 07. This is a list of key points in dating equipment and included
dating tables for Deckel shutters, so in principle a serial number/date table for most makes can be developed.
P-H Pont, "Angenieux", (book), from address as above.
P-H. Pont et J-L Princelle, "300 Leica Copies" FotoSaga, 58420 Neuilly , France, ISBN2-906-840-03-3 1990.
M.J.Small, "Non-Leitz Leica Thread Lenses" Wittig, D-41836, Hueckelhoven, Germany, ISBN 3-903-359-47-2.,
1997.
Two books on WW2 and air surveillance are:
C. Babington-Smith, "Evidence in Camera", Chatto 1958.
R. Conyers- Nesbit, "Eyes of the RAF", pp335, Alan Sutton, 1996, ISBN 0-7509-1130-1

Two legendary hard-to-find books which have not been seen yet are:
Merte, Richter and von Rohr, "Das Photographischen Objective" in Vol 1 of Hay, Handbuch.
Flugge, "Das Photographischen Objective" in Vol 1 of Michel, "Die wissentschaftliche Photographie".

Some very useful reviews were made at intervals and three especially were:
W. Taylor and H.W.Lee, Proc. Phys. Soc., 47, p502, 1935.
H.W.Lee, Reports on the Progress in Physics, 7, p130, 1940.
C.G.Wynne, "New Lens Systems" in Reports on the Progress in Physics, 19, p298, 1956.

There are several very impressive books showing what many camera look like, and these can be very valuable
in showing how lenses were originally used. Some used in compiling the Vademecum are listed below. One
point is that Indexing does not always list the lenses so that some examples of cameras fitted have been
added to the Vademecum.
Vial, Bernard, "Histoire des Appareils Francais" Period 1940-1960, Edited by Maeght, ISBN 2-86941-156-1,
May 1991.
J.-P. Francesch, M. Bovis, and J. Boucher, Edited Maeght, "Les Appareils Photographiques francais",
Collection Photo-Cinema, 1993. (This has been coded as FBB in the text to save space.)
P-H. van Hasbroeck, "150 Classic Cameras" Sotheby's Publications, London, 1989, ISBN 0 85667 363 3.

Much use as sources was made of the adverts. and text of the British Journal of Photography Almanack's
(abbreviated to B.J.A.+year+ page) as available from 1900-1960. These are a unique long term history and
almost all issues after 1900 have been consulted in some degree. The references may save a lot of searching
through what are now rather delicate volumes with a high value. Note that Traill Taylor, one of the early editors,
had an especially deep interest in lenses and that lens related features were written in the issues for 1870,
1871, 1872, 1897 among other items. Also a run of Modern Photography from 1958- c.1980 was scanned as
was the English Miniature Camera Magazine. It is worth mentioning that B.J.A. up to about 1956 had a regular
list of books old and new worth reading including a section on 'Optics and Perspective' which is worth
considering.

It is hoped to make more use in future of data bases from museum catalogues and collections, and
permission has been obtained to use a unique source of data: this is the Auction Catalogues of Christie's of
South Kensington, London. (Christie's, 85 Old Brompton Rd, London, SW17-3LD (Tel 0171 581 7611), where
serial number data has accumulated for many rare lenses over the generation or so they have already
auctioned photographic equipment. Numbers from this source have the last digit coded as a c to indicate the
source.

However it is stressed that when possible the basis was original brochures and catalogues, either directly or in
reproduced form, and that the drawings of lens layouts mainly have been based on them, all being redrawn for
the sake of consistent style. These drawings are not exact, and are not suitable as a basis for lens making as
some distortion resulted from the redrawing and in general the originals were made for publicity and
recognition rather than to be exact for confidentiality reasons. This is also true of patents which are designed
to illustrate a principle but do not have to disclose a fully working design. Some 1300 such drawings were
made and a fair proportion were used. But even so, many lenses are only known to be of a generic type,and a
group of the most common of these types are given as Q lenses at the beginning of the text. These may not
be just like the lens in question, but should indicate the general type. Incidentally the list has been aimed at
the needs of the reasonably well informed collector or dealer, rather than the lens designer at one extreme or
the complete novice at the other.
Hint: Locate the makers name from the list -or the lens- and open the appropriate file, and then use "find" by
mousing the prismatic binoculars in the surtitles, and type in the lens name required. Unknown maker lenses
are under A= Anonymous.
A LIST OF LENS TRADE AND RELATED NAMES.
A
Acall Kyoei
Acall, Super Kyoei
Acall-W Kyoei
Accugon Caltar
Acuton Caltar
Acusymmetrigon Caltar
Acuveriwide Caltar
Accutar Ilex
Aciar, Projection Goerz
Actinar Steinheil
Actinic Doublet Ross
Actinic Triplet Ross
Actiplan Minolta
Actom Gamma (Italy)
Adlenar Galileo
Adon Dallmeyer
Adotal TTH
Adoxar Adox
Adoxon Adox
Aerial Survey Ross
Aero Bausch & Lomb
Aero Ektar Kodak
Aeroplan Schulze & Billerbeck
Aeroplast Staeble
Aerostigmat Galileo
Aerostigmat Koristka
Aerotar Goerz
AeroXenar Schneider
Aether Koristka
Agilux AGI
Aglar ISO, Italy
Agnar Agfa
Agomar Agfa
AIRO Ross
Akmar Friedrich
Alcorar Angenieux
Albini Alba
Alcyon Salmoiraghi
Alefar Angenieux
Alefar Old Delft
Alepar Angenieux
Alethar Goerz
Alethar Heyde(?)
Alfinar Old Delft
Alfinon Old Delft
Alfitar Angenieux
Algular Old Delft
Alitar Angenieux
Alogar Angenieux
Alos Alpa/Pignons S.A.
Alpax Photopia
Alpagon Schacht
Alportar Angenieux
Alsetar Angenieux
Altanon Misuzu
Altelar Schacht
Altimar Bausch & Lomb
Alto Yamazaki
Altor Wide Angle Berthiot
Alvyn G. Clarke Bausch & Lomb
Amatar Zeiss
Amber Thornton-Pickard
Amaton Wollensak
Ambion, Color Agfa
Amotal TTH
Ampligon Futura
Anaberrante Salmoiraghi
Anachromatique Pulligny et Pujo
Analiticco Salmoiraghi
Anastar Kodak
Anastigmat Zeiss
Anaston Kodak
ANGLIC TTH
Angulon Schneider
Angulon, Super Schneider
Angulon, Ortho Schneider
Angulor Berthiot
Animar Bausch & Lomb
Ansix Bausch & Lomb
Anticomar Plaubel
Antiplanet Fritsch
Antiplanet Steinheil
Antiplanet, Group Steinheil
Antiplanet, Portrait Steinheil
Antiplanet, Rapid Steinheil
Antispektroscopic Roussel
Apermax TTH
Aperful TTH
Apogor Goerz (USA)
Apotar Agfa
Apotar, Color Agfa
Aplanar Rodenstock
Aplanat Grubb
Aplanat Steinheil
Aplanat, Wide Angle Steinheil
Aplanat, Universal Steinheil
Aplanat, Landscape Steinheil
Aplanastigmat Hermagis
Aplanatic Grubb
Aplanoskop Rodenstock
Aplastigmat Rodenstock
Apoaxiar Goerz (USA)
Apochromat Kinoptic
Apocomponar Schneider
Apogerminar Zeiss/Jena
Apo Germinar Docter
ApoGerminar, Wide Angle Docter
Apoheligonal Rodenstock
Apogon Goerz
Apographagon Goerz
Apokollinear Voigtlaender
ApoLanthar Voigtlaender
Apolinear Rietzschel
Apoorthostigmat Steinheil
ApoPanchro TTH
Apoplanar Zeiss
Apopolyplast Staeble
Apoquarz Resti, Italy
Aporonar Rodenstock
Aposkopar Voigtlaender
Aposolar Reichert
Apostigmat Rietzschel
Apostigmat, Wide Angle Rietzschel
Apotal TTH
Apotar Rietzschel
Apotar Agfa
Apotar, Color Agfa
Apotar, Double Rietzschel
Apotessar Zeiss
Aptus Sharp & Hitchmough
Aquilar Kinoptic
Aquilor Berthiot
Architron Wray
Argon ISO, Italy
Argon Ducati
Argus Argus
Aries Italy
Arion ISO, Italy
Arion Hensoldt
Aristograph Meyer
Aristoplan Meyer
Aristoplanat Meyer
Aristoscope Anthony
Aristoskop Meyer
Aristostigmat Meyer
Ars, Large Koristka
Ars, Small Koristka
Artar Goerz (USA)
Artar Goerz
Artar, Red Dot Goerz (USA)
Artar, Apo Goerz, (USA)
Arthur Salmoiraghi
Artistic Smith
Artron Artronic
Astan Astro
Astaross Ross
Astra Astragon
Astrar Astro
Atelier Schnell Arbeiter Meyer
Autograph RR Beck
Autograph Wide Angle Beck
Aviar TTH
Aviarica TTH
Aviation Kodak
Aviogon Wild
Aviotar Wild
Avus Voigtlaender
Avuskop Voigtlaender
Axiar Goerz
Axinon Friederich

B
B- Zeiss (CZJ)
Bm- Zeiss (CZJ)
Balbreck Balbreck,Aine et Fils
Baldanar Balda
Baldour Huttig
Baltar Bausch & Lomb
Banfield Dallmeyer
Baryt Rietzschel
Beach Wollensak
Belar Meopta
Bellar Ludwig
Bellor Kinax
Benar Meopta
Bergheim Dallmeyer
Bernotar Zeiss
Beryl Boyer
"Big Bertha" Dallmeyer
BetaVaron Schneider
Billinar Agfa
Biloxar Radix
Bimat Kodak
Biogon Zeiss
Biometar= Bm Zeiss (CZJ)
Biotar Zeiss
Biotar-R Zeiss
Biotessar Zeiss
Biperiscop Busch
Biplan Hummel
Biplanat Steinheil
Biplanat Beck
Bis-Telar Busch
Bistigmat Rodenstock
Bistigmat, Wide Angle Rodenstock
Bistigmar Beck
Blitz Schulze & Billerbeck
Bol Alpa
Bonotar Feinmess
Brand X Brand X
Butal TTH
Bynar Beck
Bystigmar Beck

C
Caleinar Ruo
Caltar Calumet
Cardinar Zeiss (CZJ)
Carfac Dallmeyer
Cassar Steinheil
Cassarit Steinheil
Cassoron Steinheil
Cartagon Wild
CCL3B Compass (Kern)
Celor Goerz
Centaur Waterworth
Challenge Lizars
Chang Chiang China
Choro Staeble
Super Choro Staeble
Choroplast Staeble
Choroskop Goerz
Cinconar Taika
Cine Ektar Kodak
Cinematar Elgeet
Cine Navitar Elgeet
Cine Unilite Wray
Cinegon Schneider
Cinegon, Macro Schneider
Cinegon, Macro Leitz
Cine Xenon Schneider
Cinegor Goerz
Cinemascope Bausch & Lomb
Cinemat Ansco
Cinephore, Super Bausch & Lomb
Cinor Berthiot
Cinor, Pan Berthiot
Cinor, Tele Berthiot
Cinor, Wide angle Berthiot
Cintagon Argus
Cintar Argus
Citar Conley
Citonar Contessa-Nettel
Citoplast Contessa-Nettel
Clack Rietzschel
Clarke Bausch & Lomb
Claron Schneider
Claron Wide Angle Schneider
Claron, Repro Schneider
Claron, C Schneider
Claron, G Schneider
Club Adams
Coligon Mamiya
Colorplan Leitz
Collar Berner
Collinear Voigtlaender
Color Agnar Agfa
Color Ambion Agfa
Color Apotar Agfa
Color Astrar Astro
Color Heliar Voigtlaender
Color Lanthar Voigtlaender
Colorplast Contessa-Nettel
Color Skopar Voigtlaender
Color Solinar Agfa
Color Telinear Agfa
Colour Ultralit Staeble
Combinable Ross
Combinar Reichert
Comparon Schneider
Complan Minox
Componar Schneider
Componar, Apo Schneider
Componon Schneider
Componon, Wide Angle Schneider
Compound Homocentric Ross
Computar Burleigh Brooks
Conastigmat Contessa-Nettel
Conley Sears-Roebuck
Concentric Ross
Conar Thumier & Wittenberg
Cone Crouch
Cone Wray
Cone Ross
Congo Yamazaki
Contapol Zeiss
Convertible Ross
Converto-Tamron Tamron
Cooke TTH
Copying Lens Wray
Copying TTH
Cotal TTH
CRT (Cine Radiography) Wray
Coral Aires
CORIC TTH
Coronar Friederich
Coronar Minolta
Corygon Bolta Werk
Corygon Friederich
Corygon Orion
Cosmicar Anon, Japan
Cosmos Mono Werk
Culmigon Steinheil
Culminar Steinheil
Culminon Steinheil
Curtagon Schneider
Curtagon, P.A. Schneider
Curtar Schneider
Cymat Roeschlein
Cylex Busch

D
Dagor Goerz
Dagor Goerz (USA)
Dagor, Wide angle Goerz
Dagor, Wide angle Goerz (USA)
Dagor Zeiss
Dalai China
Dallac Dallmeyer
Dallon Dallmeyer
Dalmac Dallmeyer
Dalrac Dallmeyer
Daron Rothschild
Dasykar Schneider
Datal TTH
Deep Field Panchro TTH
Definex Ross
Definar Laack
Delca Old Delft
Delfar Old Delft
Delfinar Laack
Dellor Hermagis
Delta Krugener
Dettar Conley/Sears
Deltanon Montanus
Detrar Dieterich
Dialyt Rietzschel
Dialyt Dietzler
Dialyt Anastigmat Rietzschel
Dialytar Laack
Dialytar, Wide angle Laack
Diffused Image Wray
Dignar Dacora
Dimar Leitz
Dispar Laack
Distagon Zeiss
Distar Zeiss
Do-Do Ross
Docter Docter, also see CZJ
Dogmar Goerz
Dogmar (Cine) Goerz (USA)
Dollomar Nitsche
Dominar ICA
Dominar Huttig
Domiplan Meyer
Domiron Meyer
Double-Plasmat Meyer
Double Anastigmat Goerz
Double Anastigmat Suter
Doppel-Orthar Plaubel
Drestar Drepy
Druoptar Druoptar
Ducar Durst
Duo Aldis
Dux-Orthar Plaubel
Duonar Zeiss (CZJ)
Duotar ISCO
Duotar GNM, Italy
Duplar Capelli, Italy
Duplor-Color Durst
Dygon Dallmeyer
Dynar Voigtlaender
Dynaret Voigtlaender
Dyneret, Super Voigtlaender
Dynarex Voigtlaender
Dynarex, Color Voigtlaender
Dynaron Voigtlaender
Dynaron, Super Voigtlaender

E
E.F.Anastigmat Bausch & Lomb
Eagle Clement & Gilmer
Echor Asahi
Eidoscop Berthiot
Eidoscop Hermagis
Eikonar Rodenstock
Eistal TTH
Ektanar Kodak
Ektanon Kodak
Ektar Kodak
Ektar, Fluoro Kodak
Ektar, Microfile Kodak
Ektar, Wide Field Kodak
Elar Futura
Elcan Leitz
Elega Nitto
Elegar Elega
Eleger Nitto
Elinar FAF, Italy
Eliog Galileo
Elionar Galileo
Elitar Allied Impex
Elmar Leitz
Elmarit Leitz
Elmarit, Macro Leitz
Elmarit-R Leitz
Elmax Leitz
Elor Futura
Eltic TTH
Emelon Emel
Emil Gundlach
Ennagon Enna
Ennalyt Enna
Ennalyt, Macro Enna
Ennalyt, Tele Enna
Ennan Enna
Ennaron Enna
Ennaston Enna
Ennatar KW.
Ennit Enna
Ensar Barnet-Ensign
Ental TTH
Eoscop Montauk
Epidone Meyer
Epis Leitz
Epitritar Rodenstock
Eptamitar Galileo
Equator Koristka
Erax Kinoptic
Ergon Voigtlaender
Erid Ernemann
Erinar Rodenstock
Ernar Ernemann
Ernon Ernemann
Ernoplast Ernemann
Ernotar Ernemann
Ernostar Ernemann
Eros Westminster
Eryscop Hensoldt
Esamitar Galileo
Esaog Galileo
Esacine Galileo
Esculine Namias
Essegi San Giogio
Etar Eta
Etar Ducati
Ethos San Giorgio
Eumar Eumig
Euron Rodenstock
Eurygon Rodenstock
Eurygon, Portrait Rodenstock
Eurygonal Rodenstock
Eurygraph Perken
Eurygraph Berthiot
Eurygraphe Lacour-Berthiot
Eurygraphe Perken,Son & Rayment
Eurygraphie Berthiot
Eurynar Rodenstock
Euryplan Schulze & Billerbeck
Euryplan Meyer
Euryscop Hensoldt
Euryscop Perken
Euryscop Staley
Euryscop Voigtlaender
Euryscop Clement & Gilmer
Euryscop Kengott
Euryscop Sharp & Hitchmough
Euryscop Salex
Euryscop Anastigmat Anon
Eustigmat Rodenstock
Eurygon Portrait Rodenstock
Evar Futura
Exaktar Ihagee
Extenar Exakta Camera (USA)
Excelsior Rochester Optical
Excessalite Bell & Howell
Extol Bell & Howell
Eymax Bell & Howell
Ezumar Samoca

F
F/Distagon Zeiss
Facile Fallowfield
Fairfield Fallowfield
Fairfield Wunsche
Falco Grilli, Italy
Falconar Wild
Farron Farrand
Farvu Wray
Fed Russia.
Federal Federal
Fern Astro
Fern Zeiss
Fidor Lumiere
Filmar Busch
Filmovara Bell & Howell
Finar Finetta
Finettar Finetta
Finon Finetta
Fisheye (Hill) Beck
Fisheye Havlicek
Fisheye AEG
Flektogon Zeiss (CZJ)
Flor Berthiot
Flexon Zeiss (CZJ)
Foca Foca
Focotar Leitz
Follow Focus Novoflex
Fototel Old Delft
Fototel Wollensak
Frilon Futura
Frontal Grilli, Italy
Frontal Comi, Italy
Frontar Goerz
Frontar Zeiss Ikon
Fuji Fujica
Fujinon Fujica
Fulgior Kinoptic
Fulmenar Sichel (Meyer)
Futar Futura
Futar,Tele Futura

G
Galileo Galileo
Gallix Gallus
Gauss Tachar Astro
G-Claron Schneider
G-Claron wide angle Schneider
Gem Darlot
Genisis TeleView
Geodar Goerz
Geotar Goerz
Geronar Rodenstock
Geronar, Wide Angle Rodenstock
Gewironar Wirgin
Giorno Pliflex
Glaukar Busch
Globe Harrison
Globe TTH
Glyptar Busch
Golden Dagor Goerz (USA)
Golden Navitar Elgeet
Gotar Goerz (USA)
Gotar Goerz
Graf Bishop Bausch & Lomb
Graf Bishop Graf Optical
Graflar Graphic
Graflar Rodenstock
Graftar Graphic
Grandac Dallmeyer
Grandagon Rodenstock
Grossar Perken, Son & Rayment
Gruppen Antiplanet Steinheil
Gruppen Antiplanet Fritsch v. Prokesch

H
Haiou China
Haponar Enna
Hekla Zeiss/Zeiss Ikon
Hekla ICA
Hekla Huttig
Hekla ICA
Heklar Huttig
Heklar Gennert
Hektor Demaria-Lapierre
Hektor Leitz
Heleston Laack
Helgor Minicord
Helgor Goerz (Austria)
Hilgor Goerz, USA
Heliar Voigtlaender
Heliar, Color Voigtlaender
Heligaron Rodenstock
Heligon Rodenstock
Heligon, Wide Angle Rodenstock
Heligonal Rodenstock
Helimar Munchener O.I.A.
Helioplan, wide angle Schulze & Billerbeck
Helioplan Meyer
Helioplan Schulze & Billerbeck
Heli-Orthar Plaubel
Helios Russia
Helios Berner
Helios Huttig
Heliostigmat Voigtlaender
Heliostigmat, Cine Voigtlaender
Hellaplast Contessa-Nettel
Hellor Hermagis
Hellynx Hermagis
Helimar Munchenar O.J.A.
Heli Orthar Plaubel
Helomar Voigtlaender
Helostar Agfa
Helostar Minolta
Helur Kaftanski
HemiAnastigmat Ganzini, Italy
HemiAnastigmat Rodenstock
Hemispherical Darlot
Herar Zeiss
Hermir Hermagis
Herotar Zeiss
Hexanar Simon
Hexanon Konishiroku
Hexar Zeiss (CZJ)
Hexar Universal Camera Co
Hexar Sagem
Hexar Konishiroku
Hexar Wollensak
High Resolution Lustrar Wray
Highkor Okaya
Hilgor Goerz
Hill Cloud Beck
Hilux Projection Optics
Hologon Zeiss
Holos Watson
Holostigmat Watson
Holostigmat, Wide AngleWatson
Homo Ross
Homocentric Ross
Homocentric, CompoundRoss
Honor Zuiko
Horseman Horseman
Huttar ICA
Hypar Goerz
Hypar, Kino- Goerz
Hypar, Projection- Goerz
Hyperchromatique Berthiot
Hypergon Goerz
Hypergon Zeiss
Hypergonar Chretien
Hyperion Gundlach
Hypomediar Askania

I
I-61 Russia
Icar (Ikar) Zeiss
Idemar Cambinox
Identoscope Astro
Igestar Agfa
Igenar Agfa
Ikar Zeiss
Ilextigmat Ilex
Illitar Iloca
Imagon Rodenstock
Imagonal Rodenstock
"Imitation D" Darlot
Industar Russia
Inverted Tele TTH
Inverted Tele Dallmeyer
Invincibel Mader
Iperang ISO
IRC Argus
Iriar ISO
Iriar Hensoldt
Iricentor Ruo
Isar Rodenstock
Iscaron ISCO
Iscomat ISCO
Isconar ISCO
Iscotar ISCO
Iskonar Schneider
Isogon Schneider
Isostigmar Beck
Isotar Heyde
Iston China
Ivotal TTH

J
Jadar ISO
Jakonar Schneider
Jupiter Russia

K
Kalar Convertible Busch
Kalee Kershaw/TTH
Kalenar ?
Kaligar Kalimar
Kalimar Kalimar
Kalloptal Krauss
Kallostigmat Goerz
Kalosat Hanovia
Kata Staeble
Katagon Staeble
Katagon Novoflex
Kataplast Staeble
Kernon Kern
Kilar Kilfitt
Kilar, Macro Kilfitt
Kilar, Tele Kilfitt
Kinamette TTH
Kinetal TTH
Kinaston Enna
Kine Anastigmat Agfa
Kinemar Rodenstock
Kinematoscope Busch
King Asanuma
Kinic TTH
Kino Astro
Kino Plasmat Meyer
Kinon Meyer
Kinon Superior Meyer
Kinoplan Schneider
Kinoplast Meyer
Kinora Watson
Kinotar Ichizuky
KinoTeleTessar Zeiss
Kipronar Zeiss
Kiptagon ISCO
Kiptar, Super ISCO
Klaron Schneider
Kodar Kodak
Kollinear Voigtlaender
Kollineograph Ernemann
Kollmorgen Eastern Optical Co.
Kombinar Reichert
Kominar Nitto
Komponar Schneider
Konica Konishiroku
Kor Victor Galileo
Korona Convertible Gundlach
Korrect Photo Alpha
Kram Lizars
Krinar Chinaglia Domenico
Kristall Chinaglia Domenico
Kritios San Giorgio

L
Labor OIP
Lambor Premier Optical
Lambron Closter, Italy
Lampro Anon
Lanthar Voigtlaender
Largor Meopta
Laudar Nagel
Lausa Ludwig
Leicina Vario Leitz
Lentiforme de l'oeil Gasc & Charconnet
Leonon Leotax
Leukanastigmat Simon
Leuko-anastigmat Liesegang
Leukar Busch
Leukar, Doppel Busch
Leukograph Wachter
Leukoscop Liesegang
Lightning Lightning (?)
Linear Rietzschel
Linear Agfa
Linear, Apo- Rietzschel
Linear, Repro- Rietzschel
Linear, Tri- Rietzschel
Lineogon Staeble
Lineoplast Staeble
Lineoxon Staeble
Longar Schneider
Lithagon Enna
Lithagon, Ultra Enna
Lithagon, Super Enna
Lithagon, Tele Enna
Lithagon Enna
Litonar Huttig
Lloyd ICA
Longar Schneider
Lordon Leidolf
Lordonar Leidolf
Lucinar Zeiss (CZJ)
Lumar Rodenstock
Lumar Argus
Lumar Corfield
Lumax Corfield
Lumax Bell & Howell
Luminant Rittreck
Luminar Royal
Luminar Zeiss
Luminon Aetna Optics
Luminon Rittreck
Luminor Pax
Lunar OMI, Italy
Lustrar Wray
Lustrar, H.R. Wray
Lustrar 11 Wray
Lustrar, Process Wray
Lustrar, Wide Angle Wray
Lux Widelux
Lux Orthar (?) Plaubel
Luxar ISO
Luxar Conley
Luxar Ihagee
Luxar Roeschlin
Luxar Schull
Luzzi RR Luzzi, Italy
Lydith Meyer
Lykemar Anon (Lykemar)
Lynkeiskop Goerz
Lynkeiskop, wide angle Goerz
Lynkeiskop, Rapid Goerz
Lynx Hermagis
Lynx de Nuit Hermagis
Lynxar Kinoptic
Lypar Elgy/Lumiere
Lypar Lumiere
Lyra Salmoiraghi
Lysiostigmat=Tetranar Simon

M
Macro Kilar Kilfitt
Macro Plasmat Meyer
Macro Quinaron Steinheil
Macro Quinon Steinheil
Maginon Will
Magir Hermagis
Magnar Zeiss
Magnascopic TTH
Magor Schulze & Billerbeck
Major Hermagis
Makinar Plaubel
Mamiya Mamiya
Manar Demaria-Lapierre
Marum Anon (Marum)
Maximar ICA
Maximum TTH
Maxlite Dallmeyer
Median Koristka
Medic TTH
Medio Kengott
Megaplast Staeble
Megon Meyer
Meritar Ludwig
Metaplanat Busch
Metrogon Bausch & Lomb
Microfile Bausch & Lomb
Microfile Dallmeyer
Microfile Ektar Kodak
MicroMacro Sigma
Micronar TTH
Micronar MPP
Microtal TTH
Microtar Zeiss
MicroTessar Zeiss
Milar Leitz
Miniature Plasmat Meyer
Minimax Sugaya
Minitel Elgeet
Minor Old Delft
Minostigmat Minox
Minox Minox
Mirar Opitechna
Mirar Meopta
Mir-1 Russia
Mir-5, -6 Narciss,Russia.
Miroplar Foca
Mirotal TTH
Mirotar Zeiss
Mirotel Wollensak
Mirror Zeiss Zeiss (CZJ)
Mizar Closter, Italy
Moment Rodenstock
Monarch Conley
Monital TTH
Monokel Rodenstock
Monoplanar Hora
Monoplast Staeble
Montauk Gennert
Motar Rodenstock
MTO Russia
MTO Maksutov
Multar Barnet-Ensign
Multifex Beck
Multifocal Westphalen
Multifocal Wollensak
Multifocal Projection Perken
Multi Kilar Kilfitt
Mutac Dallmeyer
Mutac Zeiss
Mutar Zeiss
Mutar Beck
Mytal TTH

N
Nacor Lumiere
Navitar Elgeet
Navitar, Golden Elgeet
Navitar, Cine Elgeet
Navitar, Oscillo Elgeet
Navitar, Super Elgeet
Nebular Lacour-Berthiot
Neodar Steinheil
Neokino Busch
Neonon Durst/Asahi
Neoplar Foca
Neoplast Staeble
Neoplex Foca
Neostar Busch
Neostigmar Beck
Nettar Contessa-Nettel
Nettar Zeiss Ikon
Neucombinar Reichert
Neukombinar Reichert
New Large Adon Dallmeyer
New Verito Wollensak
Nicnon Nicnon
Nicola Perscheid Busch
Nifca Minolta
Nikkor Nikon
NOC National Optical Co./TTH
Noctilux Leitz
Noflexar Novoflex
Nokton Voigtlaender
Nominar Nominar
Noritar Norita
Nostar Contessa-Nettel
Novar Huttig
Novar Zeiss Ikon
Novar Zeiss (CZJ)
Novicar Zeiss (CZJ)
Novonar Zeiss (CZJ)
Nulli Secundus Staley

O
OO-28pi Gorizont, USSR
Objectif d'Artiste Darlot
Objectif D'Artiste Pulligny & Puyo
Ocellar Agfa
Ocellar 11 Agfa
Octac Dallmeyer
Octal TTH
Octanar Simon
Ocular Scientific Lens
Ogmar Galileo
Olor Berthiot
Olympia Sonnar Zeiss
Omicron Wollensak
Omin Meyer
Omiterna OMI, Italy
Omnar Busch
Opale Boyer
Opemar Meopta
Opic TTH
Oplar Foca
Oplar, Color Foca
Oplarex Foca
Oplex Foca
Oppar Agfa
Optar Graphic
Optar Rau
Optar, Tele- Graphic
Optik Primo Meyer
Optimat Meyer
Optimus Perken
Optivaron Schneider
Opton Zeiss
Orbit Caltar
Orbit Schneider
Orestegon Meyer
Orestegor Meyer
Orestor Meyer
Orikar Zeiss Ikon
Orikkor Walz
Orikor Petri
Orion Salmoiraghi
Orion Russia
Ortal TTH
Orthar Berthiot
Orthar, Dux Plaubel
Orthar, Lux Plaubel
Orthar, Heli Plaubel
Orthar, Doppel Plaubel
Orthar, wide angle Plaubel
Orthiac Dallmeyer
Orthoangulon Schneider
Orthographic Ross
Orthometar Zeiss
Orthoperiscopic Derogy
Orthoplanar Zeiss
Orthoprotar Zeiss
Orthor Berthiot
Orthoscop Berner
Orthoscop Voigtlaender
Orthoscop Dietzler
Orthoscop Petzval
Orthoscopic Harrison
Orthostigmat Steinheil
Orthostigmat Beck
Ostar Astro
Oxyn Voigtlaender
Oxys Aldis

P
P- Angenieux
Panchro TTH
Panchrotal TTH
Pancolor Zeiss(CZJ)
Pan Tachar Astro
Pancratic Gundlach
Pancratic Staley
Panfo TTH
Panoptic Thornton-Pickard
Panorthoscopique Laverne
Panorthoscopique Clement & Gilmer
Panorthostigmat Clement & Gilmer
Pantogonal Rodenstock
Pantagonal(?) Rodenstock
Pantar Goerz
Pantar Zeiss
Pantar, Color Zeiss
Pantar, Pro Zeiss
Pan Tele Kilar Kilfitt
Pantoplan Bunger
Pantoplan Schulze & Billerbeck
Pantoplanat Thornton-Pickard
Pantoplan= Euryplan? Goerz
Pantoscop Busch
Paragon Ilex
Paragon, wide-angle Ilex
Paraplanat Simon
Paraplanat Goerz
Parastigmat Liesegang
Paror, Cine Goerz
Passinon Asanuma
Patent Portrait Dallmeyer
Pathex National Optical
Paxoramic Paxoramic (?)
Peco RR Plaubel
Peconar Plaubel
Pekostigmat Plaubel
Pelar Ludwig
Pelotal TTH
Pentac Dallmeyer
Pentacon Meyer/Pentacon
Pentagonal Rodenstock
Peplostar Liesegang
Perfac Dallmeyer
Peri Apollar Kinoptic
Perifoto Pacific Optical
Perigon Berthiot
Perigon Rodenstock
Perigraphe Berthiot
Perigraphic Gundlach
Perimetar Zeiss
Periplan Leitz
Periplanat Arndt & Loewengard
Periplanat Busch
Periscop Rodenstock
Periscop Steinheil
Periscopic Bausch & Lomb
Perkeus Photo Alpha, Italy
Perle Boyer
Perlynx Hermagis
Perscheid Busch
Perseo Ballerio, Italy
Persor Aplanat Laack
Petri Petri
Petzval Portrait Voigtlaender
Phaos Schulze & Billerbeck
Phoebus Salmoiraghi
Phoenix Muller & Wetzig
Fos Fos, Warsaw
Phos Salmoiraghi
Photograph a Verres Com.Chevalier
Photometon Goerz
Photoplastic Ilex
Photorecord Graphic
Picon Piesker
Pilotar K.W.
Pinhole Watkins
Pinhole Adams
Pinhole Zeiss
Pinhole Dehors
Pizar Kern
Photar Voigtlaender
Planar Ross
Planar Krauss
Planar Zeiss
Planar, Apo Zeiss
Planar Bausch & Lomb
Planastigmat Sharp & Hitchmough
Planastigmat Schulze & Billerbeck
Planastigmat Sichel
Planatograph Plaubel
Planatograph Bausch & Lomb
Planigraph Darlot
Planigraph Turillon
Planital TTH
Plano Aldis
Plasconar Montanus
Plasmat, Doppel Meyer
Plasmat Meyer
Plasmat, Kino Meyer
Plasmat, Miniature Meyer
Plasmat, Process Meyer
Plasmat, Rapid Meyer
Plastica Capi
Plasticca Zweirzina
Plastigmat Bausch & Lomb
Plastigmat Portrait Bausch & Lomb
Platyscope Anthony
Pleogon Zeiss
Pleogon-S Zeiss
Pleon Zeiss
Pluscanar Delmonta
Plustrar Wray
Pointar Roeschlin
Pointikar Roeschlin
Polar Photopia
Polar Reichert
Polaris Drucker
Pollak, Dr. Berthiot
Pololyt Laack
Polynar Leach
Polynar Laack
Polyneokino Busch
Polyplan Spitzer
Polyplan Laack
Polyplast Staeble
Polyxentar Laack
Polyxentar, Repro Laack
Polyxentar, Cine Laack
Portable Ross
Portable Perken
Portland Spencer Land
Portragon Hama
Portrait Trioplan Meyer
Portrellic TTH
Portric TTH
Portronic TTH
Portrait Unar Bausch & Lomb
Pulkino Pullin
Pulnar Pullin
Praxar Braun
Pressic TTH
Primagon Meyer
Primar Balda
Primoplan Meyer
Primoplane TTH
Primotar Meyer
Primus Beck Beck
Prismscope Wray
Process Apochromat Bausch & Lomb
Process Tessar Bausch & Lomb
Prognar Nitsche
Projektos Voigtlaender
Prolinear Agfa
Prolinear Rietzschel
Promar Minolta
Prominar Kowa
Prominar Prominar Inc.
Prominar Graphic
ProPantar Zeiss
ProRaptar Wollensak
Protal TTH
Protar Zeiss
Protar, Doppel Zeiss
Protar Ross
Protar, Double Ross
Protar Bausch & Lomb
Protar, Double Bausch & Lomb
Protar Krauss
Pro-Tessar Zeiss
Proto ISO
Protoplast Staeble
Proval Bell & Howell
Proxar Koristka
Proxar Zeiss
Pulligny et Puyo Schulze & Billerbeck
Pulkino Pullin Optical
Punktar Felgner

Q
Quadrangulare Salmoiraghi
Quartz Zeiss
Quartz Hanovia
Quartz Anastigmat Goerz
Quatryl Krauss
Questar Questar
Quick Acting Dallmeyer
Quinar Steinheil
Quinar, Tele Steinheil
Quinar, Macro Steinheil
Quinon Steinheil
R
R- Angenieux
R-Biotar Zeiss
Radar, Tele Gundlach
Radar Gundlach
Radar, Process Gundlach
Radar, Wide angle Gundlach
Radiar Gundlach (?)
Radiar Voigtlaender
Radiogon Schneider
Radionar Schneider
Ragolyt Laack
Rapid Rectilinear Dallmeyer
Raptar Wollensak
Raptar, Wide angle Wollensak
Raptar, Cine Wollensak
Raptar, Process Wollensak
Raptar, Oscillo Wollensak
Rareac Dallmeyer
Raynox Photopia
Raytar Bausch & Lomb
Rayxar Old Delft
Rectagon Goerz
Rectagon Will
Rectar Galileo
Rekti-aplanat Rodenstock
Rekti-linear Rietzschel
Rectigraph Gundlach
Rectigraph Lancaster
Rectigraph, Combination Lancaster
Rectigraphique Rietzschel
Rektiplanat Busch
Rectimat Westminster Photo.
Rectoplanat Thornton-Pickard
Rektagon Will
Red Flag China
Reflectar Kilfitt
Regno Nikkor Nikon
Regulus Salmoiraghi
Regulyt Laack
Reid TTH
Rekolar Kolar & Modrany
Rektilinear Rietzschel
Rektiplanat Busch
Reomar Kodak
Reomar Schneider
Reomar Rodenstock
Reprolinear Rietzschel
Repromaster Agfa/Geveart
Repropolyxentar Laack
Reproskopar Voigtlaender
Resolux Ross
Retinar Kodak
Retinar Scientific Lens Co
Retrofocus Angenieux
Retrolumax Corfield
Retroplex Foca
Ricoh Riken Optical
Ricomat Riken Optical
Rikenon Riken Optical
Rikinon Riken Optical
R.K.Cine Astro
R-Nokton Voigtlaender
Robra Rodenstock
Rodagon Rodenstock
Rogonar-S-P Rodenstock
Rokkor Minolta
Rokkor, Tele Minolta
Rokkor, Super Minolta
Rolleigon Rollei/Zeiss
Rolleinon Rollei/Zeiss
Roller Anastigmat Krauss
Ronar Rodenstock
Ronar, Cine Rodenstock
Rosher Astro
Rosstar Ross
Rotelar Rodenstock
Royal Rochester Optical
Royal Wollensak
Royal, Portrait Wollensak
Roytal TTH
Rubiar Schneider
Rubis Boyer
Ruby Thornton Pickard
Rudersdorf Simon
Russar Russia
Russar Russinov
S
S- Angenieux
S- Zeiss (CZJ)
Sagittar Demaria-Lapierre
Salex City Sale/Exchange
Samocar Samoca
Sandmar Enna
Sandmar,Tele Enna
Saphir Boyer
Saphir, Apo Boyer
Saphir, Color Boyer
Satz Orthar Plaubel
Sculptor Sirio, Italy
Sekor Mamiya
Selar Erkos
Semitelar Sirio, Italy
Septac Dallmeyer
Septon Voigtlaender
Serenar Canon
Series 111 Goerz
Series V11 Zeiss
Serital TTH
Serrac Dallmeyer
Sextar Rietzschel
Shanghai China
Sico Sico
Sida Kaftanski
Sigma Sigma
Sigmar Demaria-Lapierre
Silesar Meyer
Simlar Leotax
Simlar Simlar,(Scotland)
Sinaron Schneider
Sinaron Sinar
Sirius Salmoiraghi
Sironar Rodenstock
Skopagon Voigtlaender
Skopar Voigtlaender
Skopar, Repro Voigtlaender
Skoparex, Color Voigtlaender
Skoparex Voigtlaender
Skoparon Voigtlaender
Sockel Enna
Sola Sun
Solagon Agfa
Solar Reichert
Solar, Apo Reichert
Solid Cat Vivitar
Solid Cat Perken-Elmer
Soligon Agfa
Soligor Soligor
Solinar Rietzschel
Solinar Agfa
Solinar, Color Agfa
Sonnar Zeiss
Sonnar Contessa-Nettel
Stellor Berthiot
Spacemaster Bushnell
Special Speed Panchro TTH
Spector Lumiere
Speed Anastigmat Dallmeyer
Speed Panchro TTH
Speedic TTH
Spekta Opitekna
Sphaeriscop Schulze & Billerbeck
Sphaerogon Zeiss
Spharostigmat Schulze & Billerbeck
S-Planar Zeiss
Splendar Rodenstock
Splendon Rodenstock
Sport Fern Kilar Kilfitt
Staley-Wheeler Schulze & Billerbeck
Steinar Steiner
Steinaron Steiner
Stekinar Steky
Stellar Suter
Stellor Berthiot
Stenolittico Salmoiraghi
Steritar Zeiss
Stigmar Microfile Kinoptic
Stigmar Gamma, Italy
Stigmar Scientific Lens Co
Stigmar Busch
Stigmatic Dallmeyer
Stigmatic Montauk
Struss Pictorial (Struss)
Stylor Roussel
Summar Leitz
Summarex Leitz
Summaron Leitz
Summarit Leitz
Summicron Leitz
Summicron-R Leitz
Summilux Leitz
Summitar Leitz
Summitar * Leitz
Sun Sun
Supar Wray
Supar 11 Wray
Superachromat Zeiss
Superachromat Herzberger
Super Angulon Schneider
Super Angulon Leitz
Super Choro Staeble
Super Cinconar Taika
Super Comat TTH/Bell & Howell
Super Dagor Goerz (USA)
Super Dynaret Voigtlaender
Super Dynaron Voigtlaender
Super Farron Farrand
Super Six Dallmeyer
Super Speed Panchro TTH
Super Lite Dallmeyer
Super Lumax Corfield
Supertal TTH
Supracomar Plaubel
Switar Kern
Switar, Macro Kern
Switar, Photo Kern
Sylvar Anon
Sylvar Montauk
Symmar Schneider
Symmar, Apo Schneider
Symmar, Macro Schneider
Symmar-S Schneider
Symmetric Ross
Symmetrical Ross
Synthetic Smith
Syntor Goerz
Syrius Salmoiraghi

T
T- Zeiss (CZJ)
Tachar Astro
Tachon Astro
Tachonar Astro
Tachyplast Staeble
Tachyskop Liesegang
Taikor Kalimar
Tair Russia
Takachilo Olympus
Takumar Pentax
Takumar, Auto Pentax
Takumar, Fisheye Pentax
Talumar, Macro Pentax
Takumar, Quartz Pentax
Takumar, Super Pentax
Takumar, Tele Pentax
Talykron TTH
Tamron Tamron
Tanar Tanaka
Taronar Taron
Taurus Torrani, Italy
Taytal TTH
Technikar Linhof
Technikon Schneider
Technikon Linhof
Tecnar Koristka
Tegea Kinoptic
Telagon Tewe
Telastan Astro
Telate Bell & Howell
Telear Russia (?)
Telearton Schneider
TeleAthenar Anon (USA)
Telec J.L. Paris
Telecentric Ross
Telecolinar Sun
Teledynar Voigtlaender
TeleElmarit Leitz
Teleelor Foca
Telefutar Futura
Telegor Goerz
Teleidoscop Hermagis
Teleiscaron ISCO
Telekilar Kilfitt
Telekinic TTH
Telelumax Corfield
Telemagnar Zeiss
Telemakinar Plaubel
Telemar Russia(?)
Telemegor Meyer
Telemirar Meopta
Telenar Roeschlin
Telenon Staeble
Teleog Dallmeyer
Teleoplex Foca
Telepanchro TTH
Telepekonar Plaubel
Telepicon Piesker
Telequinar Steinheil
Telequinic TTH
Teleros Ross
Telesar Anon (USA)
Telesandmar Enna
Telestar Goerz
Telestigmat Bausch & Lomb
Tele-Tessar Zeiss
Televar Bushnell
Telewestanar ISCO
Telex Meopta
Telexenar Schneider
Telexon Staeble
Telexon Schacht(?)
Telegor Goerz
Telgor Goerz
Telikon Zeiss
Telic TTH
Telinear Rietzschel
Telinear, Color Agfa
Telomar Voigtlaender
Telon Voigtlaender
Telordon Leidolf
Telyt Leitz
Tenastigmat Goerz
Tenaxiar Goerz
Tennar PEB, Italy
Terionon Kalimar
Tesog Galileo
Terog Galileo
Terogonal Rodenstock
Teronar Contessa-Nettel
Terragon Mamiya
Tessaplast Contessa-Nettel
Tessar Zeiss
Tessar-S Zeiss
Tessar, Apo Zeiss
Tessar Ross
Tessar Krauss
Tessar Bausch & Lomb
Tessinon Tessina
Tessovar Zeiss
Testa Watson
Tetragon Staeble
Tetranar Simon
Tetrastigmat Simon
Tevidon Zeiss (CZJ)
Texon Laack
Thambar Leitz
Toko Tokio Optical
Topcor Tokio Optical
Transpar Tiranty
Topogon Zeiss
Tower Sears-Roebuck
Trilentar Goerz
Trilinear Rietzschel
Trilinear Agfa
Trioplan Meyer
Trioplan, Portrait Meyer
TV-Tachar Astro
Tominon Tomioka
Topar Zeiss
Topaz Boyer
Topcor Tokyo Optical
Topogon Zeiss
Transfocator Astro
Transpar Tiranty
Travegar Schacht
Travegon Schacht
Travelon Schacht
Travenar Schacht
Travenon Schacht
Trianar Krauss
Tricor Wollensak
Tricor Universal Camera Co
Trigon Afiom
Trigor Goerz (USA)
Trilausar Lumika
Trilentar Goerz
Trilinear Agfa
Trilinear Rietzschel
Trinar Rodenstock
Trinarex Rodenstock
Trinol National Optical
Trio Aldis
Trioplan Meyer
Trioptar Graphic
Triotar Zeiss
Triplan Wachter
Triplar Dallmeyer
Triplar Steinheil
Triple Anastigmat Voigtlaender
Triplet TTH
Triplexstigmat Rodenstock
Triple Orthar Plaubel
Triplon Leidolf
Triplon Wega
Trixar Afiom
Trylor Roussel
Turner-Reich Gundlach
Turtle Wray
Twindar Kodak

U
Ultimum TTH
Ultrac Dallmeyer
Ultragon Voigtlaender
Ultralit Staeble
Ultralit, Color Staeble
Ultrastigmat Gundlach
Ultron Voigtlaender
Una Mycro
Unar Krauss
Unar Zeiss
Unar Ross
Unar Bausch & Lomb
Unifit TTH
Universal Heliar Voigtlaender
Unilite Wray
Unilite, Cine Wray
Unilux Wray
Unimar Hall/AGI
Universal Rodenstock
Universal Wray
Universal Bausch & Lomb
Universal Darlot
Universal Beck
Universal Heliar Voigtlaender
Uno Beck
Unofokal Beck
Unofokal Steinheil
UV-Sonnar Zeiss

V
Variable Graf
Vario Elmar Leitz
Vario Neokino Busch
Vario Glaukar Busch
Variogon Schneider
Vario Sonnar Zeiss
Variosoft Wollensak
Varium Wollensak
Varium Bausch & Lomb
Varo TTH
Varo Bell & Howell
Varob Leitz
Varob-Hektor Leitz
Varo-Zoom Bell & Howell
Vaskar Voigtlaender
Vastar K.W.
Vega Narciss
Vega Russia
Velos Schulze & Billerbeck
Velostigmat Wollensak
Venus Salmoiraghi
Veraplan Meyer
Verastigmat Gundlach
Verax Dupluich
Veritar Wollensak
Verito Wollensak
Verito, New Wollensak
Verona Uyeda Camera
Versar Wollensak
Versatel Wollensak
Vesta Wollensak
Victar Ludwig
Victor Bausch & Lomb
Victor Koristka
Victor, Kor Galileo
Victor, Wide angle Premo
Victor RR Premier Optical
Victoria Voigtlaender
Vidar Ludwig
Vidiac Dallmeyer
Vidital TTH
Viewmaster Sawyer
Vilar Ernemann
Vinco Wollensak
Visual Quality Smith
Viseur Angenieux
Vitax Wollensak
Vitor Ducati
Vivitar Vivitar
Voigtar Voigtlaender
Voltas Wollensak
Voss, Tele Voss/Piesker
Votar, Tele Voss/Piesker

W
Walkar Hensoldt
Wekar Minolta
Weltar Welta
Wescon Nishida
Westagon ISCO
Westanar ISCO
Westar Nishida
Westar ISCO
Westrocolor ISCO
Westrogon ISCO
Westromat ISCO
Westron ISCO
Wide Angle Xpres Ross
Widor Bell & Howell
Winostar Will
Wolfe Artistic Smith
WZ Enlarging Voigtlaender.

X
Xenagon Schneider
Xenar Schneider
Xenar, Aero Schneider
Xenogon Schneider
Xenon Schneider
Xenoplan Schneider
Xenostar Hofmeister
Xenotar Schneider
Xerographic TTH
Xpres Ross
Xpres, Apo Ross
Xpres, Process Ross
Xpres, Wide angle Ross
X-Ray Zeiss (CZJ
Xtralux Ross
Xyzor Roussel

Y
Y- Angenieux
Yashikar Yashima
Yashikor Yashima
Yashimar Yashima
Yashinon Yashica
Yronar Rodenstock
Ysar Rodenstock
Ysarex Rodenstock
Ysaron Rodenstock
Yvar Kern

Z
Zeconar Rodenstock
Zeconar Balda
Zeltar Closter, Italy
Zemen Closter, Italy
Zenzanon Bronica
Zeranar Sheffield Photo
Zeyer Indra
Zodel Wallace Heaton
Zodiak Russia
Zoomalik Malik
Zoomar Voigtlaender
Zoomar Research and Development
Zoomatar Kilfitt/Zoomar
Zuiko Olympus.

Compiler's Note: It has been a rare privilege to work on Matt Wilkinson's documents, and
hopefully this Vademecum has made a fair use of them. Inevitably coverage of total lens
production is still uneven since it reflects a collection which was still being formed. It is hoped that
the coverage can be improved in future editions, errors be corrected, and that more experience
will be gained in the use of the older lenses. The readers understanding is requested for the
present.
Incidentally it is the belief of the compiler that lens makers have consistently maintained a very
high standard in their production, far more so than in other comparable industries. It seems likely
that the majority of cases of so-called "bad lenses" are in fact due to attempts to use lenses in
ways for which they were not intended or designed. Where there seems to be criticism in the text,
it should be read with this comment in mind.
Lens Diagrams

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