Sagem, France. Salex-Trading name of City Sale - Lens

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
Ezumar
Samocar
f2.8
f3.5
f2.8
50mm, this was on a Samoca rangefinder, 08/1957.
50mm on the same.
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 £5.75possibly 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
Ethos
Kritios
10 made'.
f2.8
f3.5
f2.0
8.5cm This was noted at No00,10x*
35mm, This was on a Safo (1947).
50mm This was probably on the Janua camera. It is really rare, one list saying ;only
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 19361950 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 180210mm. 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 camerasit 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
Optivaron
f1.4
7-70mm in B.J.P. 10/08/1979, p770.
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
Xenoplan
Variogon
Variogon
f0.95
f1.7
f1.8
f1.8
For 25mm tube
CCTV lens
f1.8
Cinegon
f1.8
Xenoplan
f1.9
Xenon
f0.95
Xenon
f2.0
Telexenar
f2.8
Telexenar
f4.0
Variogon
f2.0
Variogon
f4.0
17mm for 29°
17mm, in two mountings, plastic.
12.5-75mm
10-100mm
6.5mm
10mm:, f1.4, 16mm.
25mm in two mountings, plastic.
50mm
50mm
75, 100mm
150mm
18-90mm
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
30 000
40 000
50 000
100 000
200 000
300 000
400 000
500 000
600 000
700 000
800 000
900 000
1 000 000
1 200 000
1 400 000
1 600 000
1 800 000
2 000 000
2 200 000
Date
Dec1919
May 1920
Jan 1922
Jan 1925
June 1928
Feb 1929
Apr 1931
Jun 1932
Aug 1933
Oct 1934
Sep 1935
May 1936
Nov 1936
Dec 1937
Nov 1938
Sep 1939
Jun 1942
Sep 1948
Jul 1949
Serial
Date
Serial
Date
2 400 000
Oct 1950
13 200 000
Sep 1977
2 600 000
May 1951
13 400 000
Oct 1978
2 800 000
Nov 1951
13 600 000
Oct 1979
3 000 000
May 1952
13 800 000
Jan 1981
4 000 000
Oct 1954
14 000 000
Oct 1983
5 000 000
Feb 1957
14 100 000
Jan 1985
6 000 000
May 1959
14 200 000
Aug 1986
7 000 000
Feb 1961
14 300 000
Nov 1988
8 000 000
Mar 1963
14 400 000
Jan 1991
8 500 000
Feb 1964
14 460 000
Feb 1992
9 000 000
Feb 1965
14 480 000
Jan 1993
9 500 000
Sep 1965
14 500 000
Nov 1993
10 000 000
Jan 1967
14 510 000
Jan 1994
10 500 000
Oct 1967
15 520 000
May 1994
11 000 000
Nov 1968
14 540 000
Jan 1995
11 500 000
Jul 1970
14 560 000
Apr 1995
12 000 000
15/09/1972
14 590 000
Jan 1996
12 500 000
Mar 1974
14 600 000
Apr 1996
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.
Front Row
Schneider Xenar f4.5/150mm.
Schneider Super Angulon f8.0/65mm.
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
Portrait
about 1907
Special Anastigmat
Seneca Anastigmat
f16
f5.0
4.0-10.5in
6.0-14in.
f7.5
5.0-6.75in.
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
Deltar Anastigmat
It was suggested to use 15in for
Citar Anastigmat
It was suggested to use 13in for
Luxar Anastigmat
f3.8
f4.5
10x8in.
f6.3
10x8in.
f7.7
This was definitely a Petzval Portrait lens. (Q3)
5.75-15in It seems to be unsymmetrical.(Q15)
5.25-13in This was possible Q26 type.
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
Rapid Rectilinear
This seems to be an RR type?, possibly ex C&G listed for 1/4, 1/2, 1plate.
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
1929
1930
1931
1932
1933
1934
1935
1936
1937
1938
1939
1940
950,000
1,000,000 ?last Dialsets here?
1,150,000 Actual lenses from 1929-1930 noted at 2 million and up.
1,500,000
1,800,000
2,250,000
2,700,000
3,200,000 Actual production noted at 1935, 3 million.
3,750,000 Actual production 3.4 million for Compur.
4,250,000 Actual production noted at 3.55 million for Compur/5.25 million for Compur Rapid.
4,850,000 Actual production noted at 3.6 million for Compur/5.25-5.4 million for Rapid.
5,400,000 Actual production noted at 3.95 million for Compur/5.4 million for Compur Rapid.
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
No
00
0
Tube No
iris dia.
mm
15
22
Dia of inside
tube thread mm
19
27
Top Speed
sec.
1/300
1/250
Case dia. Thickness
Rear thread
mm
mm
to mount
Normal
44-45mm
Normal
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.
A
B
C
D
E
F
G
H
--------------------------------------------------------------------------------------------------------------------------------------------------MX/CR00
12.8
22.5
22.5
25.0
47.5
16.0
Compur 0
Compur1
24.0
29.0
29.5x0.5
40.0x0.75
29.5x0.5
36.0x0.75
32.5x0.5
39.0x0.75
20.0
20.0
58.0
75.0
20.0
25.0
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
(Electronic 5FS)
42.0
64.0
86.0x0.75
86.0x0.75
92.0x0.75
157.0
42.0
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
the long focus setting. It uses 18glasses
supplementary lens.
Sigma Zoom
f3.8/5.6
p15.
Sigma Zoom Apo
f5.6/6.3
vignetting.
28-300mm It is only 93mm long at 28mm, extending to 173mm at
in 14 components and has close focus using a 60cm close focus
28-200mm A favourable review was by Crawley in B.J.P. 23/07/1997,
170-500mm Apo This was also liked above but showed a trace of
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
f2.8-f4.0
f3.0-f5.6
f3.8-f5.6
f2.8-f4.0
f3.5-f5.6
f3.5-f5.6
f2.8
f2.8
f2.8
f4.0-f5.6
f4.0-f5.6
f4.5-f6.7
f2.8
f4.5-f5.6
f5.0-f6.3
f3.5
f2.8
f4.0
f5.6
f4.5
f8.0
f5.6
28-70mm
28-70mm
28-80mm
28-105mm
28-105mm
28-200mm
28-300mm
50mm
50-500mm
70-200mm
70-210mm
70-300mm
100-300mm
105mm
135-400mm
170-500mm
180mm
300mm
300mm
400mm
500mm
600mm
800mm
15g/12c
11g/8c
7g/7c
13g/12c
12g/11c
17g/14c
18g/16c
10g/9c A macro lens to 1:1
20g/16c
17g/14c
13g/9c
14g/10c
13g/10c
9g/9c
13g/11c
13g/11c
13g/10c
12g/10c
10g/7c
10g/7c Apochromatic and macro use
12g/9c
7g/4c Mirror system
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 4glass Gauss types and Frerk confirms this. The difference in aperture may be that the longer ones were f6.8for 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
Kata
f3.0-f3.9 A high class portrait lens. It may be a triplet.
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 6070° 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 5.060cm. 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 75260mm.
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
Culminar
f2.5
f2.8
12.5mm This was for the Steineck camera above (1948-9).
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.
Neodar no 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
1948)
f3.5 25mm lens on Steky subminiature on Golden Steky 10x14mm camera (Japan,
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 8892mm, 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 60150mm; 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 18901895, 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.