EA Eastern Optical, Brooklyn, New York, USA. Ebata - Lens

E.A.
This engraving was used by E. and H.T. Anthony, New York q.v.
It was noted on a No2 Hemispherique Rapide lens .
Eastern Optical, Brooklyn, New York, USA.
This may be related to Kollmorgen.
Anastigmat f6.3 520mm was listed in the USA secondhand. (1962).
Ebata
This was noted as a Trade Name on an Exakta fit f2.8/135mm pre-set lens, of unknown source.
A. Ebner and Co, Gmbh, Vaihingen, Stuttgart, Germany.
About 1934, Ebner made a series of folders for 6x9 and 4.5x6cm with bakelite bodies, using Meyer and Zeiss
lenses as the expensive ones, but the low cost versions had Ebner Anastigmat f6.3/75mm and f4.5/75mm
lenses.
Eclaire Cameflex, Paris, France.
Formed by Coutant and Mathot in the last Century, this company designed a compact novel 35mm camera
during WW2 and released it in 1947 with great success, and it sold well in the UK so that lenses with this
bayonet are among the more common 35mm items now on the "old" lens market. It is thought these have a
prominent rear stub with a 2 leaf bayonet with a slot cut in one leaf. These can include very desireable
Kinoptic and Angenieux items.
Eclipse
It is worth noting that total eclipses of the sun and other astronomical events bring out some amazing old
optics, especially as small apertures may be quite acceptable for some work but fast lenses are also needed
during totality. Thus the 1927 eclipse in the UK seems to have been recorded (B.A.A. 29 June 1927) with
f8/24in Beck Doublet and a 16in Dallmeyer tele by R.L.Waterfield; f4.5/27in Franklin-Adams lens and Aldis
f5.6/20in by a ship Fitzroy at sea; an f15/60in Abney lens on Ilford Zenith plates; f126/63ft (19.2meter) Cooke
Photo Visual on 12x12in plates; 2.5in dia. Ross lens on a Ross-Williamson Telephoto camera; Zeiss triplet
aircraft lens; lenses by Beck, Aldis, Dallmeyer RR and a f8.0/33in used by the N.P.L.and a Kodak cine
camera; Ross f4.0/16.5in Portrait (Petzval?) and Aldis 20in anon; and a TTH Series 0 used in the air at
11,700ft by Capt Barnard for the Daily Mail.
Edison
Lenses with this name are noted for movie projection elsewhere. But an Edison 9x12 Detective seems to have
had a lens engraved as an "Edison Extra Rapid Aplanat".
Ehira, Japan.
Enoi Anastigmat f3.5/75mm No2,68x on Ehira Chrome Six.
ELCAN -see E. Leitz Canada.
Elega, Japan.
Elegar
f3.5
45mm on 1952 Konax camera, a scarce 35mm Japanese camera.
Elektro Optik, Glucksburg, Germany.
Agent for UK Luminos, 45, Belsize Lane, Hampstead, London, NW3.
They were active about 1947-55 as camera makers with their own lens names, such as Elocar f4.5/36mm on
the 1947 Elca for 24x24mm; Elopan f2.5 and Elocar f4.5 on the Elca II. (B.J.A. 1953, p22). These were
unusually compact cameras, the Elca costing £15.72 + Tax £6.80.
Also :
Ucalux
f1.9
50mm for the Ucaflex 35mm
Ucapan
f2.5
36mm same.
Elge, France.
A lens noted on a 1911 Blocknotes was an Elge RR for VP size stereo.
Elicar
This brand was distributed in 1977 by Highgate-Dufay, 38 Jameestown Rd., London NW1-7EJ.
It included a Elicar zoom f3.8 75-205mm with 13glasses in 8 components. £90.
A 'new' programme was begun in 1979 with:
f2.8/28mm; f2.8/35mm; f2.8/135mm; f3.5/200mm; f4.5 80-200mm zoom. (B.J.P. 14/12/1979. p1205).
Elitar a series of lenses from Allied Impex, (10/1955) for cine, also Elitar Soligor which may suggest another
relation. They included Elitar f1.9/13mm for Mansfield about 1955, and an f2.5/25mm Cinepar for Mansfield
16mm about 1955.
Elgeet Optical Co., Rochester, NY, USA.
They seem to be best known for their cine lenses, especially the Golden Navitar with its sensational speed,
and aspheric rear glass. However they also made large format lenses and early examples of retrofocus lenses
for 16mm cine.
Elgeet
f2.5
7mm
]
Elgeet
f1.5
13mm ] These were among the really early amateur
retrofocus type lenses sold for 8 and 16mm, marketed by c.1950, eg on Auricon and 1954 on DeJur. There
may also be an f2.3/7mm version from 1956. Some 10 types of retrofocus lens were made for cine, in 6.513mm.
Elgeet
f1.9
7mm This was noted on 1952 Revere 8mm
f2.5
1in This was on a 1949 Keystone for 16mm. There was also a f2.5/12.5mm on 19501956 Keystone for 8mm.
f2.0
25mm
f1.9
75mm
Golden Navitarf1.2
12mm This was a 9-glass lens with field flattener (aspheric) Layout El001.
Projection Golden Navitar
f2.8
2in with PC.
Navitar
f1.9
13mm for 1954 DeJur 8mm
f1.9
12.5mm
Navitar
f1.8
10mm for Bolsey 8 (USA, 1948). This was a single 8 and very compact camera and
was also suggested for still use. It focused to 1ft with suggested settings for Landscape, Portrait etc. (Another
account says 1956 but this seems rather late.)
Navitar
f1.8
13mm for 1958 DeJur 8mm
Navitar: some 9 types were made in all, for cine in 25-76mm.
Cine Navitar this can be a retrofocus (as above) or a triplet type.
Elgeet;
this can also be a triplet.
Cinematar
Budget priced lenses in 10/1955 lists.
Oscillonavitar f1.9
76mm This was a 6g/4c Gauss for CRT recording cameras.
Super Navitar f0.95
120mm This was a 8-glass Gauss.
Synchronex lens f1.8 13mm This was integrated with an exposure meter for early auto exposure and could
be fitted to cameras lacking this feature to upgrade them.
Elgeet
These were long focus types, in 125-305mm
Elgeet anastigmat f4.5 This was noted as a 250mm lens.
Mini-Tel
f4.5
4in This was a triplet, in chrome p.i.m Exakta mount, and looks real posh quality if of
simple optical design. Dismantling however showed an iris of light construction, possibly prone to trouble.
Note Elgeet is seldom traded in the UK and not familiar here.
Elgy, France.
UK Agent: Claude Lyons Ltd, 180/182 Tottenham Court Rd., London W1, also Liverpool 3.
Lypar on miniature Elgy, see Lumiere, France. Q14. The Elgy cameras had a short fling while there was the
phoney war in 1939-1940 being imported to fill the gap in German supplies. The Min Cam World 10/1939 p839
advert. shows one with an unnumbered Lumiere Anastigmat 'Lypar' f3.5/4.2mm in 4 spd shutter.
Elop, Flensburg, Germany.
Emel, France.
Noted for cine camera, the Emel, fitted with an Emelon f1.9, 13mm lens (8/1957). The actual maker is not
known.
EMO
This is an currently obscure name quoted in 1974 as the maker of a Emo Emostar projection lens used by
Bauer.
Emostar f1.5/65mm; f1.6/75mm;
but no further information is available.
Emulsion Speed
Eder in 'History' gives a useful table of relative exposures up to 1900 on which this is closely based: it is
assumed that the lens aperture was kept constant. Note that he does not list the mixed halide change with
the Daguerrotype and stops at 1900.
1827
Asphalt engraving by Niepce
6 hours
1839
Daguerrotype with iodide only
30 mins
1841
Same with mixed halides
faster
1841
Talbotype with gallic acid development
3min
1851
Wet Collodion process
10secs
1864
Collodion emulsion with silver bromide
15sec
1878
Early dry plate gelatine AgBr emulsion 1-1/200sec
1900
Gelatine silver bromide
1/1000sec
Enlarging Lenses.
The earliest seem to be Petzval types developing with iris stops as a special item in the 1880's. For examples
see Grossar, and Hume, but there were others. The industry then developed specialized anastigmats, where
Beck and Wray seem to have been early makers for the MoD and then for civilian sales. It probably was easy
to buy a specialized one by the mid-1920's from several sources and they grew more common as miniature
work developed, possibly being a standard lens in a special mount as the Leitz Varob Elmar. However there
are advantages in having a lens designed for close-up work ie nearer 1:1 than most camera lenses. Probably
this was achieved at times with the normal glass but different spacings. And the designs grew more complex.
Thus prewar, a triplet Q14 or Tessar Q15 would be used. Postwar, there have been many uses of 6 glass
types such as Gauss Q18 and Plasmat Q20. A 2-part review by W.D.G. Cox in B.J.P. 20-27 July 1979
basically suggests that the 3 glass types such as the Wray Supar are poor, and that a 6 glass design is
really worthwhile. It is too long and detailed to precis adequately. The limitations show most at big
enlargements and at the corner of the image and use of a rather longer lens than usual mitigates the
problems. It must be added that in careful use today, a Wray Supar gave nice prints with good definition
without much difficulty.
Enna, Ennawerk, Dr Appelt Gmbh., Munich, Germany.
A well known and active lens maker, especially in the 1950-1970 period, making especially lenses for SLR
cameras and for the Corfield Periflex. In the UK they were distributed by Corfield, and also later by HighgateDufay, 38, Jamestown Rd, London about 1980. The earlier lenses and layouts are in the Corfield list and will
not be repeated. They seem to have sold in USA as Sandmar, and these are also listed under Sandmar.
Earlier items: about 1960.
These are usually the same as the Corfield set but some exceptions are likely. The f1.5/85mm is lacking from
the Corfield set of layouts, but given here.
Plasticon
f2.8
50mm This was on a Super Colorette. (Photokina 1956)
Ennagon
f3.5
75mm This was on Flexora in 1952.
Ennan
f4.5
Ennatar
f4.5
50mm This was fitted on Kodak's Retinette type 1/012.
Ennar
f4.5
75mm This was sold on the Flexo in 1948, also Flexora.
Ennar
f3.5
75mm This was sold on the Flexora 6x6, and Flexa.
Ennaron
f2.8
50mm
Ennaston
f1.9
45mm
Ennalyt
f1.5
85mm coded Enaston in one list.
This has an unusual Gauss design, of 6g/5c layout with split rear pair. (En003)
Ennalyt
f2.8
95mm Triplet,Q14,auto or preset.
This seems to be "New" in Dec 1959.
Ennit
f3.5
50mm This uses an unusual 4g/3c layout with a centre doublet. It was also
made as a f2.8/80mm lens on the Rollop 2.8 in 1956.
Ennalyt
f1.9
50mmThis was a 6g/4c Gauss.
Tele-Sandmar
f4.5
100mm
Sandmar: For close-out, see Modern Photo 4/1960, p120.
Kinaston
Ernostar layout.
Lithagon
f1.9 or f2.9 This was a 35mm inverted tele.
Lithagon
f4.0
24mm auto or preset. 7g/7c.
Ultra Lithagon
f3.5
28mm auto or preset
6g/6c En001.Photokina 1956.
This was noted as a novelty in MCM Jan 1957.
Lithagon
f3.5
35mm preset
4g/4c En002.
Ennalyt
f3.5
35mm This was noted in June 1967 with preset iris for M42 and Exakta,
black finish, and with interchangeable rear mounts. It and the 28mm were actually coded "New Ennalyt" in the
advert.
Ennalyt
f3.5
28mm As the above.
Enna Zoom
f4.0
85-250mm This was a 12 glass 9 component 1+2+1+2+1+1+2+1+1 design,
also in 06/1967
The same advert. had f4.0/24mm Lithagon, f2.8/36mm Lithagon, f2.8/135mm TeleEnnalyt, f4.5/240mm
TeleEnnalyt for Praktina The Zenith 3M series were the latter two + Ennalyts f3.5/35mm and f3.5/28mm. So
they were catering for some of the East German products with care. The same mgazine also listed Lumax
lenses in some of the same specifications and fits.
Lithagon
f2.8
35mm auto or preset. 6g/5c.
Super Lithagon
f1.9
35mm preset or auto
6g/5c
This seems to be new in Dec 1959.
TeleEnnalyt
f3.5
135mm ?also Dec1959? 5g/4c.
TeleEnnalyt
f2.8
135mm
5g/4c
TeleEnnalyt
f4.5
240mm 5g/4c 2+1+2 type. 1966 list.
Ennalit (?)
f4.5
400mm as 240mm,
5g/4c? 1966 list.
Tele Ennalyt
f4.5
400mm This was listed for Pentacon 6 mount in 1972, and then was 5 glass.
It may be related to the previous lens.
Ennalit(?)
f5.6
600mm ?5g type.
Ennagon
f3.5
75mm This was on a Flexora TLR (c1952), and Rollop I .
Color Ennit
f2.8
50mm on Goldeck, as 20mm on Mec, about 1959. The Mec 16 was noted in
B.J.A. 1959, p257, where it was said to do very acceptable work, (probably the small format was the writers
limitation).
f2.8
80mm This was on a Rollop about 1958. This was a 4-glass lens.
Haponar
f2.9
50mm, on Hapo 35 (c1955).
Haponar
f3.3
75mm ) on Hapo 66.
Haponar
f4.5
75mm )
Auto iris: At that time this may may still be manually wound, with auto release.
Sockel System
This socket system used a socket to fit to the camera, with the auto iris in it and then lens heads fitted
interchangeably into the socket, with little cost in making their irises. It worked, and a good range of foci were
made, but it was understandably limited to lenses of the one make. Focus action was also in the socket, and
the range of focusing travel was excellent for wide lenses, but seemed rather more limited for long ones. (See
Modern Photo. 8/1964, p88.) It was made to fit Alpa, M42, Exakta, Miranda, Yashica, Nikon F, but it seems
not Canon, Rectaflex or Wrayflex. The sockel released the camera internally or externally. The lenses were:
Lithagon
f4.0
24mm
Lithagon
f3.5
28mm
Lithagon
f2.8
35mm
Ennalyt
f1.9
50mm
TeleEnnalyt
f2.8
90mm
TeleEnnalyt
f2.8
135mm
TeleEnnalyt
f4.5
240mm
Performance pleased the reviewer, often very good or excellent, and these are now distinctive items.
Late items
MacroEnnalyt
f3.5
28mm This focusses to 0.2m.
MacroEnnalyt
f2.8
35mm
TeleEnnalyt
f2.8
135mm This focusses to 1.5m. (5 glass?)
TeleEnnalyt
f4.5
240mm (?4glass.)
TeleEnnalyt
f5.6
300mm
These late examples drew rather guarded reviews, as if it was now hard to make competitively priced items in
Germany due to costs having risen.
Sandmar.
This was a trade name for Enna lenses used in the USA. There was a close out listed in Modern Photo.
04/1960 of lenses in Exakta and M42 mounts only. This had:
f3.5, 28mm; f2.8, 35mm; f1.9, 35mm; f1.9, 50mm, f3.5, 135mm; and a 'Magic Mount' which may have been
an Auto iris unit but was not detailed. It may be the same as the Enna sockel mount.
Enolde These cameras were from F.Kochmann, Dresden and were later made as Korelle. The trade name
Enoldar or Enolde Anastigmat, usually as an f4.5 was used, eg on the Rollfilm in B.J.A. 1931, p276. They
will be before about 1932.
Ensign-See Barnet-Ensign-Ross postwar
Barnet-Ensign, Walthamstow, London E17, UK.
Previously Houghton-Butcher and merged as Houghton-Butcher-Ensign. Later again with Ross as BarnetEnsign-Ross.
A major source used here with permission has been a list of lenses made available by Mr A. E Richmond. It is
too long to reproduce in completion but has been reduced to a listing of the main types and some information
on serial numbers. One point is that so far it is not really established how far Ensign made their own lenses or
bought them in but Ensars and most of the simpler lenses are listed here as 'Ensign'. They may well have
been made in the factory at Walthamstow- which was a large one on a extensive site. Only the more select
versions seem to have been given serial numbers and these have been made anonymous here with a terminal
digit replaced with x. Obviously further studies will show numbers outside the ranges noted here. Unnumbered
types of lens are coded by 'NoNo' in some cases. Other lenses may have been bought in and sold under their
name.
Maker Lens
Ensign Achromat
Ensign All Distance
Ensign Anas. SerVIIn NoO
Aperture
f11
f7.7
Focus
in
Camera example
cm
Ensignette NoNo
All Distance Mod2
The Ensign noted at No174,03x.
Fig 009 024 Ensign Ser. I f5.8/4.75in No112,306 in Koilos shutter and Ser VIIn f7.7 Nono in anon shutter.
Ensign Anas. SerVIIn
f7.7
Regular 1/4pl
Ensign Anastigmat
f7.7
3.25in
Ensignette 2K Noted at No193,77x, 193,81x
Ensign Anast SerVIIn
f7.7
Falling Plate noted at No194,08x.
Ensign Anast SerVIIn
f7.7
Carbine at No176,97x.
Ensign Anastigmat
f6
Ensignette No1 NoNo
Ensign Anastig Ser1A No 0
f6.3
4.75in
Flat Back Ensign Noted at No112,57x.
Ensign Anastigmat
f6.3
3.2in
Ensignette No2 deluxe noted at No195,46x.
Ensign Anastigmat
f7.7
Folding Klito 1/4pl at No175,35x
Ensign Anastigmat
f8
Ensignette 2C deluxe NoNo
Ensign Anastigmat
f8.5
Folding Ensign 2.1/4b
Ensign Ensar
f3.5
7.5cm Autorange 220
Ensign Ensar
f3.5
7.5cm Commando (o) MoD at 107x-11,20x, (a) first version
at Nos110x-594x, (b) second version flat knob at 275x-859x, (c) final version at Nos 3363-10,38x. These
overlap and suggest a stock was held and drawn from at random or possibly as finished up for use.
Ensign Ensar
f4.5
10.0cm Autorange 20 at No128,71x, 131,58x.
Ensign Ensar
f4.5
7.5cm Autorange 220 Many are numbered, 187x to 795x
and 132,78x-134,85x. This seems a strange set with a real 'gap' as if there is a gap in the run.
Ensign Ensar
f4.5
4.75in Carbine No3
Ensign Ensar
f4.5
10cm Carbine No6 (NoNo)
Ensign Ensar
f4.5
10.5cm Ensign Ranger Spcl, at No34,94x and Autospeed at
No 128,11x.
Ensign Ensar
f4.5
10.5cm Ranger Special at Nos 34,88x-36,45x.
Ensign Ensar
f4.5
7.5cm Selfix 16-20
Ensign Ensar
f4.5
10cm Selfix 20
These are not numbered.
Ensign Ensar
f4.5
10.5cm Selfix 20
Ensign Ensar
f4.5
7.5cm Selfix 220 Numbered as 130,34x, most are 7.5mm
at Nos126,xxx-136,xxx but low numbers such as 178x and high numbers such as 2,236,91x are noted. This
seems to be a complex group.
Ensign Ensar
f4.5
10.5cm Selfix 8-20
Ensign Ensar
f6.3
Cameo 1/4pl
Ensign Ensar
f6.3
10.5cm Carbine No3
Ensign Ensar
f6.3
12.5cm Carbine No10
Ensign Ensar
f6.3
10.5cm Carbine No3
Ensign Ensar
f6.3
10.5cm Ranger II (NoNo as above)
Ensign Ensar
f6.3
10.5cm Selfix 20 NoNo normally but No125,40x has
been noted.
Ensign Ensar
f6.3
7.5cm Selfix 220
Ensign Ensar
f7.7
10.5cm Selfix 20 NoNo
Ensign Ensar
f8.5
10.5cm Carbine No3 (NoNo)
Ensign Ensar Anas.
f4.5
Double Eight
Ensign Multar
f3.5
5.0cm Multex 0 noted at Nos 125,04x-140,08x.
Ensign Rectimat Symmetrical f4
Ensign 35A
Ensign Single Achromatic Men
Vest Pocket Ensign
Ensign Symmetrical
f8
Klito No 00/3A
Ensign Anastig
f6
Folding Klito
Ensign Anastigmat
f6
Ensignette No1
Ensign Meniscus
Midget 33
Ensign Ensar
f6
Ensignette No1
Most of these have been noted in other readings eg as:
Achromatic Meniscus on folding Ensigns.
Meniscus This was used in B.J.A. 1925, p327 on a Rollfilm Reflex with a simple shutter/mirror and the lens
was f8 to compose and f11 to expose- there was no focusing.
Rectimat Symmetrical (?RR)
Rapid RR on Klito hand cameras
Rapid Achromatic lens, on the same. (The "Rapid" may be a trade name or a hint to a different maker.)
[Note that many of the pre-WW1 cameras were in fact ICA products from Germany, and it seems that ICA
sourced their lenses from H.Meyer of Gorlitz and Steinheil of Munich. This will also correlate with the Zeiss
lenses noted next.]
They also fitted lenses by Zeiss (Tessar, Amatar, though this is not above):
Zeiss Tessar f3.8
10.5
Autorange 20 at No1,613,31x, 1,613,35x
Zeiss Tessar f4.5
10.5
Autorange 20 at No1,167,78x, Carbine No6 at 1,017,82x and No6 at
at No128,30x.
Zeiss Tessar f4.5
7.5
Autorange 220at No2,237,21x, 2,008,65x.
Zeiss Tessar f4.5
10.5
Carbine No7 at No1,745,23x, 2,382,08x on a Selfix 4-20
Zeiss Tessar f4.5
12.5
Carbine Tropical 12 at No711,06x.
Zeiss Tessar f4.5
7.5
Selfix 220
Zeiss Tessar f4.5
16.5
Special Reflexat No306,70x
Zeiss Tessar f6.3
9
Ensignette No2 Z deluxe noted at No189,35x.
Zeiss Tessar f4.5
10
Autorange 20
Zeiss Tessar f4.5
16.5
Pressman Reflex at No232,55x
Zeiss Tessar f4.5
Zeiss Triotar f6.3
13.5
Folding Klito at No195,27x.
The numbers show occasional use over a long period, due to wars, and limited by the higher cost of these
items. They are listed with numbers as these are the only lenses where secure makers dating tables are
available and fitted here.
Taylor, Taylor, Hobson (Cooke),
TTH
Aviar Ser II
f4.5
3.75in
Carbine No7
TTH
Cooke
f4.5
5.75in 5.75
Popular Reflex
TTH
Cooke
f5.8
Ensignette No1
TTH
Cooke
f6.3
Ensignette No2B deluxe noted at Nos 63,97x and 85,90x.
TTH
Cooke Anas
f6
Ensignette No2B
TTH
Cooke Ser IIIa f6.5
6.825in
Sanderson Jnr 1/4pl eg. at No43,65x.
TTH
Luxor
f7.7
Ensignette No2 TTH noted at No103,97x.
TTH
Luxor
f7.7
Vest Pocket 1J TTH noted at No100,98x.
Goerz:
Goerz Syntor
f6.8
Goerz Syntor
f6.8
Goerz Syntor
f8
and probably Dagor on eg Sanderson;
13cm Klimax
18cm Sanderson Regular 1/4pl eg at No145,48x.
12.5cm on Carbine at No218,33x.
Dallmeyer: as the Stigmatic:
Dallmeyer
Stigmatic Ser II
Sanderson Standard 1/4pl
Beck:
Beck
Beck
Beck
Beck?
Beck?
Cameo P/Card
Cameo
Popular Carbine
Watch Pocket Carbine No4
Cameo 1/4plate
Mutar
f6
Symmetrical
f8
Symmetrical
f8
Primus Rapid Aplanat f8
Symmetrical
f8
Berthiot:
Berthiot
Olor
f6.8
Ensignette No2 de luxe.
Aldis:
Aldis
Aldis
Aldis
Aldis
Aldis
Aldis
Aldis
Aldis
Aldis
Aldis
Aldis
Aldis
Aldis
Aldis
Aldis
Aldis
Aldis
Aldis
Achromat
Butcher
Butcher
Butcher
Butcher
Butcher
Plano
Plano
Plano
Uno
Uno
Uno
Uno
Uno
Uno
Uno
Uno
Uno
f6.3
f4.5
f4.5
f4.5
f6.3
f6.3
f6.5
f6.5
f6.8
f4.5
f4.5
f4.5
f4.5
f4.5
f6.3
f7.7
f7.7
f6.3
Ensignette No2 deluxe Noted at No61,27x and 78,92x on
6.25in
4.7in
6in
3.75in
3.25in
5.25
Carbine 3 1/4 A
Carbine Tropical 12
Special Reflex No149,21x.
Carbine No7
3A Folding
Carbine No12
Ensignette 2D deluxe
Ensignette No2D deluxe
Ensignette Noted at NoD43x
Autospeed
Carbine No6, Carbine Tropicals Nos 6, 7
Carbine Tropical 12
Carbine Tropical No6
Tropical reflex
Carbine 2 1/4B, No4 and Tropical No4
Carbine No10
Carbine No4
Carbine Tropical No4
4in
4in
4.7in
4in
4in
4.25in
5in
4.75in
4.25in
Clement et Gilmer, Paris:
C et G Panorthostigmat f7
Sanderson Tropical 5x4in
Houghton Butcher Manufacturing:
HBM Anon
f3.5
7.6
MoD Commando
HBM Peri(scopic?)
Greyhound
(Note this is really close to Ensign under a new name!)
Ross:
Ross
Ross
Ross
Ross
Ross
Ross
Ross
Homocentric
Rosstar
Rosstar
Rosstar
Xpres
Xpres
Xpres
f6.3
f4.5
f4.5
f4.5
f2.9
f3.5
f3.5
6in
10.5
10.5
7.5
5.3
7.5
7.5
Folding Klito at No83,73x.
Clubman
Ranger Special eg at Nos 34,88x-36,45x and then 39,06x.
Selfix 12-20 (NoNo)
Multex 0 and 1 noted at No139,11x (2x).
Ensign 16-20 Noted at 36,99x-42,12x +82,81x(2x)
Selfix 12-20 noted at Nos16,91x-41,46x, then 255,60x and
258,63x. This was fitted to other Selfixes at up to 256,85x which may explain the above gap. But eg on the
Selfix Model II there are low groups at No15,43x and 18,69x and many at 250,000 and up to 258,000 so it
seems bimodal as if two populations were in use. One Model IV has a lens N255,98x, possibly for a
replacement as New? but otherwise unusual.
Ross Xpres
f3.8
10.5
Autorange 8-20, some on Ranger II eg at Nos 15,92x,
16,18x. On the Selfix 8-20, the same lens was noted with a wide range of numbers: a low group at 304x,
376x, 407x, 440x, 565x, then a medium group at 1035x, 11,13x, 11,57x, 1200x, 12,50x, 12,14x, 12,59x,
13,55x, 15,28x. But most seem to be at Nos241,99x-265,41x. These are likely postwar Ross numbers as on
other products. The 8-20 Special has other numbers again, at Nos 223,xxx to 26,xxx and then 83,xxx-93,xxx.
These suggest another source for some Ross lenses as suggested under Ross, where some other serial
numbers are given..
Ross Xpres
f3.8
10.5
Selfix 8-20
Ross Xpres
f4.5
10.5
Autospeed
Ross Xpres
f4.5
10.5
Carbine No7
Sightroll:
SightrollOptical Norma f6.8
3.5in
Ensignette No2 deluxe
(See below for another mention of this product in the B.J.A.)
and some currently unidentified lenses rated as:
anonymous:
Anon Achr Meniscus f11
Ensignette No2
Anon Correctar
f4.5
12.0
Sanderson Standard 1/4pl at No107,69x.
Anon Lukos
f3.5
7.5
Autorange 220
Anon Lukos
f6.3
13.5
Folding Ensign Klito at No28x.
Anon Lukos Anastig.
10.5
Carbine No5
Anon Lukos Anastig. f3.9
10.5
Popular Ensign noted at No109,73x.
Anon Lumar
f6.3
4in
Popular 6x9 noted at No15,73x
Anon RR
f8
Ensignette RR
Anon Velos Anastig f7.7
Ensignette No2 V deluxe Noted at No61,72x.
Hofmeister
'Anon' Syrconar
f4.8
10.5
Autorange 20 at No71,07x. This will probably be the
Hofmeister lens though the makers name was not mentioned so it is included as anon.
-------------------------The following notes were asembled separately and can be an interesting if different angle on the subject.
Ensign Anastigmats
These seem to have come in 5 recognisable series:
Ensign Anastigmat Series 1 No 0
f5.8 about 5in focus. This is serial No 112,50x and a 4 glass / 4
component lens. This was a common design early in the 20C, and can be extremely good. It is in a Koilos
shutter.
Fig 009 024 Ensign Ser. I f5.8/4.75in No112,306 in Koilos shutter and Ser VIIn f7.7 Nono in anon shutter.
Series 11,111,no details at present.
Ensign Anastigmat Series 1V f4.5 eg on box reflex. It was noted in 1914 and there was also an f4.5 on a
Double Eight for 16 on 127 film in B.J.A. 1936, p74.
Ensign Anastigmat Series V f5.5 eg on the Box reflex.
Ensign Series VI no details
Ensign Anastigmat Series V11N
f7.7 The example seen was No17,88x in a Ensign Sector shutter 11/100sec, and this seems to be a triplet Q13 off an early camera, such as a1913 Klito or rollfilm as the above
list would indicate. This seems to be the easiest to find of the Series lenses. (However some series lenses
were noted elsewhere.) 'n' just could suggest an earlier VII with the 'n' as a new version or it might be the Beck
Neostigmar coding being kept even though the actual makers name is omitted.
Ensign Anastigmat (no series no.)
f6.0 eg on Ensignette+ rollfilms, also noted 1914.
It is these which may be bought in. Thus no Aldis lenses seem to be in the lists, though they were a major
supplier postwar.
Excellor
f4.5
135mm noted on a 1/4plate Ensign Klito Model 9 with a known
history from original sale in 1923. The owners say it gives excellent results but the structure is not known.
Achromat
f11
Midget lenses in f6.8, f6.0 and f7.7.
Ensign f6.5 and f4.5 on 1913 Ensign focal-plane camera.
Ensign f5.5, f6.0 on Sanderson cameras.
Ensign Symmetrical f8.0 (possibly by Beck?)
One feature is the Sanderson cameras which were a prestige series and would have often been sold with a
choice of lens or have the lenses exchanged on subsequent resale- as with a Tessar f4.5/135mm on a 1/4pl at
No1,004,62x (c1926) which is said to be later than the original body.
For much of the inter-war years, they could have found outside suppliers easily. However it does seem that
they designed the f3.5/75mm Ensar in house, and the Ensars just may mark a beginning to production, or
probably merely a new phase in a long term one. What has been said was that the later merger with Ross
was regarded as a personal tragedy by the Ensign designers. Certainly the formation of the Ensign Ltd
company in 1930 shows up with a change in style of advert. and the appearance of a new lens, the Ensar in
the 1932 or 1933 lists- and it may represent an extension into making a more complex lens line. It was first
noted as an f4.5 Ensar on an Ensign Carbine, and in 1935, this was sold on Midgets, Double-8, Selfix-8-on,
etc. By 1937, there was a full set:
Ensar Anastigmat
f7.7 This was on the Selfix and other cameras, and on Selfix was the cheap option.
Prices in 1937 were f7.7, £2.25; f6.3, £2.75; f4.5, £3.75 all in Trichro shutters. More expensive shutters were
available but really only for the f6.3 (Prontor) and f4.5 (Compur).
Ensar Anastigmat
f6.3
This was a 3 glass /3 component Triplet. This was on the Midget in 1936
(B.J.A. p57 advert.) and on the Ranger and Selfix 6x9cm where it was the middle price option.This was a
rather modest performer from the example seen. Shutters were Ensign make, usually marked Trikon. These
have no serial numbers.
Ensar Anastigmat
f4.5
This was a 4 glass/3 component, Q15 type. This type may go back to the
1930's as on a Selfix in B.J.A. 1936, p77advert. In a Selfix, this was a much better lens than the f6.3 option,
and was really sharp if stopped down a bit. Those seen may have been early postwar, as they were uncoated
but in Epsilon 1-1/150sec shutters while prewar the adverts say 3-speed. They have serial numbers, from
No350x-1233x in those seen. The f4.5 was fitted to all the more expensive versions, such as Autorange,
Selfix: and there was a further item for the new Multex I camera for VP film.
Ensar
f4.5
There was a 70mm version for the dial recording camera used to record
gunsight settings in gunnery trials, for 44 or 20 exposures on unbacked 120 film (2.25in sq) and is described
in D. Rendell, B.J.P. 16/05/1980, p473.
Magnar
f3.5 This was on the 1938 Selfix 220 No S/220/8 in Compur at £7.85 and Autorange
220 in Compur Rapid at £13.50- while the cheapest model 220 was about £3.25. (Heaton Blue Book, 1938). It
seems likely that this was a version of the next item, the Multar. But note that Ensign used the T.N. Multar
freely on enlarging lenses at the time.
Norma See Sightroll Optical Co of London for this f6.8/3.5in lens on an Ensignette- it was just possibly a
retrofit.
Ensar Anastigmat
f3.5 for Multex 1. This was in the advert. in B.J.A. 1937 p61 where it focused to 21in
and coupled to the rangefinder.
Thus production of the f3.5 Ensar may have been still coming on-stream or only in some foci.
The f3.5 Multar was also sold on the 6x6 Selfix 220 in 1938, and was still used as the low price version on the
Multex 11 that year. Min. Cam. World, 10/1937, p602. Such a Multar f3.5/50mm has been noted at
No140,36x, 140,38x, and 140,55x on Multex cameras, and another made it onto a Rectaflex at No125,12x,
probably with a novel adapter. Multex disappeared rather suddenly and the excess bodies, less lenses, were
sold off in 1942 (M.C.M. 1/1942, p45), with a note that the shutters might not be perfect, but repairable with
experimentation, which may suggest the problem. Also that the supply of lenses just may have dried up
suddenly. Lenses seen have been Multars, with adverts. noted of Xpres f1.9 and f2.9 but only one Zeiss lensed
version has been reported although a Sonnar version was originally listed for MkII (below) but the existence of
the Sonnar version has been heavily questioned. (An example has been noted at Sonnar No1,754,80x, and
another possible after-build has been spoken of.) An example with a 2in f1.9 Super Six from Dallmeyer may
have been made from one of the bodies sold off in 1942. The lenses listed in the MCW above were:
Multar f3.5/50mm; Ross Xpres f1.9 or f2.9 of 50mm; Zeiss Tessar f2.8/50mm or Zeiss Sonnar f2.0/50mm
And finally prewar, there was a new name,
Lukos
f3.5 on the Autorange 220 and Selfix 220, ie of about 75mm focus.
[It is just possible that the trade name Magnar was felt to infringe the Zeiss name and was changed.]
There were also enlarging versions:
Enlarging Ensar f6.3 This was noted on a Magnaprint enlarger in B.J.A. 1936, p293, where it was the same
price as the model with no lens but a M39 flange- a Dallmeyer f4.5 version was £2.30 extra. Thus the enlarging
Ensar was probably not a very elaborate design.
Enlarging Ensar f4.5
Enlarging Lens Magnar
f4.5 This was made in 1938 for 6x6cm on the V10 and 6x9cm on
the V11 enlargers, and was the premium item above the Ensar f6.3 option. (B.J.A. 1937, p281) Here the lower
price version was an Ensar f6.3. Magnar may be a renamed Ensar but is clearly listed also in the 1938
Wallace Heaton Blue Book.
______________________________________________________________________________
In summary, the B.J.A. 1939 advert lists:
Ensar f7.7, f6.3, f4.5; Multar f3.5; on Selfix 220 for 6x6cm with a Tessar f4.5 option.
Ensar f3.5 on Multex with Ross Xpres f2.9, f1.9 Zeiss Tessar f2.8 and Sonnar f2 options (The Sonnar may
never have appeared!).
Midget with 'all-distance' lens or Ensar f6.3.
MagnaPrint enlargers in at least 3 sizes and other variants, with Ensar f6.3, Magnar f4.5, or Dallmeyer f4.5
lenses.
Projectors ('Optiscope') and cine equipments.
------------------------------------------------------------------------------------------------------------------------------------War and Postwar Years
The firm switched to war production in 1941-2 and were involved in aerial gunsights, training cameras, and
shutters and parts for Williamson F24 and F46 aerial cameras. The sales office of Ensign was destroyed by
bombing on 24/25 Sept 1940, and Ensign subsequently was put into liquidation, the Ensign trade name and
products then trading from Houghton-Butcher Manufacturing Co Ltd. During the War at least some Fleet Air
Arm cameras were made up from Selfix 420's with a rigid cone body and a f4.5 Tessar (often a 120mm off a
larger format rollfilm) in a Compur for air use. There are reports of a Military camera for 12/20, coded as type
1124^1945 with an Anastigmat f3.5/76mm lens- it may be the Commando below or the recording camera
Rendell mentioned. And note the f4.5/70mm Ensar in Rendell account above.
---------------------------------------------------------------------------------------------------------------------------------Postwar
They advertised cameras in the 1946 B.J.A. p55, and these included the Autorange with Ensar f4.5 and f3.5,
the Selfix 6x9cm with a f4.5 Ensar and the Fulvue with an all-distance lens with a 2 position focusing mount
(probably a f11 or f10). And the Commando which had been supplied to the MoD and was essentially
continued for civilian sale. By B.J.A. 1948, p205 there was the Ranger with a Ensar f6.3/105mm lens, coated
rather thinly but with good contrast, and a 3-speed shutter, and still no serial numbers. These lenses have the
same external curves as the prewar f6.3 and still have no serial number.
A vital item was the Epsilon shutter, to complement the simpler Trikon. The Epsilon was noted by the B.J.A.
1946, p179 and came in two sizes, No00 and No02. It had speeds from 1 to 1/200sec and the B.J.A. found it
accurate and consistent. [The only other comparable UK shutter of the period was the Talykron, a high quality
but scarce unit from TTH who may not have sold it except to Kershaw.] The Epsilon seems to have varied in
quality and became something of a problem to users. Today it is unpopular with repairers.
By 1947, business involved the Commando with f3.5 Ensar for 6x6cm, the simpler Autorange with f3.5 Ensar
for 6x6cm, and Selfix with f4.5 Ensar for 6x9cm.
Note that post war the new Ensign Autorange 220 was sold with an Ensar f4.5/75mm in Epsilon shutter from
Oct 1950, while the later Selfix 16-20 Model I was with Ensar f4.5 (B.J.A. 1951, p248) and Model 11 was with
Ross Xpres f3.5/75mm lens (idem).
For 6x9cm there was a f6.3/105mm Ensar on the Ranger II camera in B.J.A. 1950, p220 with front cell focus
in Trikon shutter- "simple but sound". It extended the f6.3 and f4.5 Ensars. Early coatings can seem very pale
today, but contrast was usually quite good. Sharpness and coverage was less advanced in the f6.3 lenses (3
glass triplets), though the f4.5 4-glass could be a good performer. In fact the 1949 British Industries Fair saw a
"new" Ensign Commando, restyled, with 75mm f3.5 Ensar and it could be a fine camera, but the examples
reviewed by the Amateur Photographer were 'fragile' and the sales never took off. There was also a much
better 'new' Ensign 8-20 Selfix with f3.8/105mm Ross Xpres.
An Ensign "Standard" enlarger was sold with a f4.5/105mm Ensar enlarging lens.
A valuable source is A. Richmond in Photographica (Summer 1998, No85, p11-18) who dates the
"Commando" from Patent B.P.521,606 of 27/05/1940 with production from 1944-5 for Armed Forces only
(small production) with the really new f3.5/75mm Ensar designed by 1943. This was a faster lens than Ensign
had previously made, and good examples were of professional quality. Later the camera was on general sale
from c.1946 but performance seems to have varied either due to lens variations or to the camera assembly. He
indicates the name 'Ensar" dated from 1933. His comment is that the Selfix and Autorange series with Ross
lenses were excellent and restored the lines reputation.
Ensignor We think that many years later the Trade Name was aquired by another party and used for a new
series of products, imported from the Orient, but few details are available here.
Envoy= Photo Developments, Leonard Rd., Handsworth, Birmingham 19,UK.
Envoy were better known for enlargers, but made the Envoy wide angle camera for 6x9 plate or rollfilm, and the
64mm f6.5 used was a wide angle 4-glass Gauss, from TTH of Leicester, as seen at No381,60x, with the
makers name engraved on the mount. The lens is set in an Epsilon (4 or 8 speed), or Compur XM blade
shutter, and this may cause some vignetting- Thus the original reviews suggest the performance was usable
at f16, better at f22 and best at f32. It is a desirable if minor item, and can be fairly expensive as a complete
camera. It was advertised in B.J.A. 1950 p507 with 4 speed shutter to cover 82°.
H. Ernemann A. G., Dresden, Germany.
(Note that the projectors were referred to as Krupp-Ernemann in 1926, but the cameras were not, so there
may have been a joint production arrangement with Krupp for movie equipment where many larger castings
were required.)
Ernemann was founded by H. Ernemann, (born 1850, died 1927 or 1928) and the camera firm ran from 1888,
and made fairly conventional cameras but no lenses until 1910, using bought-in items till then. It may in fact
have found movie equipment more profitable at times and it made these from 1903, and made a commercial
Imperator projector from 1909. Thus there will be ex-movie lenses to consider, apparently from as early as a
60mm anastigmat from 1904. These are familiar to those who deal in collectible movie lenses, and are
considered the second most frequent brand to be found today, after Zeiss Tessar and ahead of Ruo.
Considering the range of cameras made, there was a surprising number of trade names of lenses and looking
at the adverts. it does seem that a degree of simplification could have been made. And of course the Zeiss
Ikon merger achieved it. Thus just the one model 'Focal plane camera' was made in 4 sizes, of which 3 were in
leather or Tropical style, and were mainly offered with 4 lenses on each version, say 28 in all.(B.J.A. 1926,
p679).
In the 1920's, an important series of lens designs and patents began to emerge, using (i) the triplet layout
with the front glass split to reduce the spherical aberrations in a 4-glass layout, and (ii) vitally, the space
between glasses 2 and 3 was filled with a low refractive index glass. The first led to the Ernostar lenses of
4,5,and 6 glasses by compounding, and the latter to the Sonnars. Now in the middle of these developments,
Zeiss were to arrange the merger of 4 firms including Ernemann A.G. into Zeiss Ikon, and essentially the
Ernostars are Ernemann designs and the Sonnars are Zeiss. It is likely that these designs were largely the
work of Bertele (1900-1985), who went on to design for Zeiss for many years. The original patents for the 4glass type about 1922 seem to have others involved, and the 4-glass idea was not new (see Ultrastigmat and
to some extent Speedic). (But we are told Klughardt was his co-worker and now an under-appreciated man.
Frerk gives him equal credit in 1926.) It is not known how far apparently related lenses made in Germany by
Astro as the Pantachar, and apparently by Goerz as the Photometon and by Rietzschel as the Prolinear were
made under this patent but it is notable that the use was limited to Astro after the merger to form Zeiss Ikon. It
is certain that the Ernostar led on to the Sonnars, but too often it is the 6-glass versions which the books
discuss (here coded as Ernostar-6). The simpler 4-glass (Ernostar-4) and 5-glass (Ernostar-5) are relatively
disregarded by collectors. The 4-glass were patented as B. Pat. 237,212, see Ern003), the 5-glass as B.Pat
237,861 and the 6-glass as B.Pats 191,702 and 237,529. Bertele claimed (U.S.Pat. 1,708,863) that the triple
component used in the latter was important to the design and could be relocated elsewhere in the lens without
losing the advantage, and some of these look forward to the Sonnar designs. Ernostars were fine lenses and
the Sonnar design displaced them mainly owing to its fewer air-glass surfaces and perhaps new glass types.
The layout seems to have been revived by at least one maker many years later in coated form, perhaps owing
to patent needs. (Note that Bertele was responsible for several important later designs for Zeiss, to 1942,
Steinheil to 1945, and then for Wild of Switzerland especially until he retired in 1956 and worked
independantly as a designer.
Older types.
Kollineograph
This was an early lens, and may be a different spelling of the next.
Collineograph
f7.7 Ser III for 13x18cm, this was a brass finish lens with black enamel cell
edges of about 8in from France, where the softer C may be more normal. The owner suggests it is an RR and
examination confirms this. NB It is engraved as "HE" iris scaled f7.7, then f9, 12, 18, to f71. The iris was
jammed on the example seen and proved to be a disc shaped sub-assembly pushed into the barrel and not
very well located. It had turned as the leaves got stiff and dirty, slightly distorting the thin brass barrel and
jamming the control ring. The answer was to dismantle the whole and clean it, refixing the disc with a touch of
shellac on reassembly. But it does seem rather unsophisticated by modern standards.
Unette
f12.5 This was probably about 50mm? and this achromat was used in the
Unette box camera (B.J.A. 1926, p333;1927, 700) for 35mm standard film ie possibly sprocketted, and took
24 pictures 22x33mm.
Symmetrical Double Lens
f11 This was used on the Heag III in 1926 in 6x9 and 1/4plate. (B.J.A. 1926,
678). It may be the same as the next item:
Doppel
f11 on Simplex (1920's) This dated at least from 1902 and was often the low
cost option on cameras such as Heag 0, 00, 1, 11 of the period.
Detective Aplanat
f8.0
on Bob 1 and 11 folding cameras (1913). These were often the
second cheapest option (above the f11 Doppel) from 1902 onwards on the Heag series. They were continued
for some time as one had a serial No83,79x on an 8cm lens.
Detective Aplanat
f6.8
80, 135mm on 1913 folding Bob 1 and 11.
Fig 018 024 Ernemann early lenses (l) Detectiv f6.8/15cm No406,969; (r) Vilar f6.8/135mm No80,977 and
(mid) Ernon f3.5/10cm No182,935 on Heag VII.
Anastigmats
Anastigmat
This was a 3+2 anastigmat type, about 1908.
Kinostigmat
f3.0
This was noted on a 1904 Ernemann for 17.5mm filming. It was also
noted at auction on a 17.5mm Kino I camera from about 1903, which was about the first amateur cine camera.
Anastigmat Rectar
f6.8
This was made in 140mm for a 10x15cm plate camera about 1910,
but the source is uncertain.
Ernemann
f3.0
5.25in This was on a 3.5x2.5in folding reflex in B.J.A. 1926, p306,
but no trade name was given- it may be an Ernon version.
Ernon
f3.5
50, 75, 110, 120mm, This was noted on the Ernoflex in VP, 6x9 and
1/4plate sizes (B.J.A. 1927, p595) It was probably a post 1918 item, and was continued to 1926 at least on
the small Stereo Simplex and Ernoflex cameras. Frerk says it was the most costly of the Q15 types, and
highly rated, covering 56° at full aperture. Later it was used on the Bobette 11. The 50mm version was used on
several 35mm movie cameras, about 1904 for 15.5mm and then 1910-1916 for 35mm. An example was
No32,85x on a U.S.Cinematograph No52x.
The Bobette II was continued in 1927-8 (B.J.A. 1928, p312) with a choice of lenses. They were f4.5 Ernoplast
at xx01637.63; f3.5 Ernon at £10 and f2 Ernostar at £14.
Ernon was probably always cheaper and easier to use than the Ernostar and sold better, as more are found at
auction. An f3.5 (?Ernon)/1,375in was listed on the Kinette ?35mm camera at £27 while with f2 Ernostar, it
cost £34. They include 5cm lenses on movie cameras such as No330x on a wooden Ernemann 35mm
camera, and No79,17x on a later one. One No79,17x was on a projector. Larger ones were normally on still
cameras, such as a f3.5/75mm No109,58x on a VP Klapp, a 12cm at No108,08x, and several 135mm lenses
were noted for 9x12cm at 91,18x, 112,95 (2x), and 158,24x. The biggest were in 165mm No186,90x), 180mm
at No154,65x and 210mm at No160,56x.
For most purposes, the Ernon was the f3.5 and the Ernotar the f4.5 but there were exceptions.
Ernon
f4.5
180mm This was noted in a dealers list. It was on an Ernemann
tropical focal plane in B.J.A. 1926, p310 in 4 sizes for 6x9cm, 1/4plate 10x15cm and 1/2plate. There was also
a f4/3in on a Simplex Ernoflex in B.J.A. 1926, p335.
Ernon
f3.5
135mm This was mounted for 35mm movie also.
Ernon Doppel Anastigmat
f6.8
This can be a Dagor type according to Frerk. Tentatively this was
the most often sold or at least listed, on Ernemann cameras from about 1902, and up to 1914, was more used
than the faster types. It was noted for Heag 1, 111, V1 etc.
Doppel anastigmat
f6.0
135mm This was noted at No25,12x on a 9x12cm Klapp.
Ernastigmat
f6.8
75mm This was offered on a HEAG V.
Erid
f8.0
60mm It seems an old type still fitted on a StereoSimplex in 1920.
Later a 40mm was used on the Bobette.(1924) eg and a 105mm on a rollfilm box in 1918.
Triple Anastigmat
f6.8
100mm for Simplex Ernoflex (1926)
Special (A version of the above?)f6.8
165mm
Ernoplast
f4.5
on Bobette 1 (1925) and Bobette II.(B.J.A. 1928, p312, 675advert.,
ex-Zeiss Ikon), Rolf II rollfilm, Bob III and IV 6x9cm rollfilms and Heag III plate (B.J.A. 1926, p678). This seems
to be the lower priced version of their 4g/3c Q15. A 65mm version was used for a 1908 35mm movie camera.
There may be two types as it was noted as an f3.5/65mm No221,37x on a 35mm camera. At auction, noted
as No208,45x f4.5/5cm on Bobette II. A Simplex Reflex No1,273,84x had a f4.5/75mm at No105,05x.
Ernotar
f4.5
on Klapp This was a higher priced version in Q15, ie above Ernoplast
but below Ernon. It was noted as a 15cm on a HEAG 9x12cm at No90,62x, and was listed for this in B.J.A.
1926, p678, in Model C only. In 1925, it was in several sizes.
Here prices were: £6.65 with Vilar f6.8; £9.85 with Ernotar f4.5; £11.92 with Ernon f3.5 and £11.30 with Zeiss
Tessar f4.5.
It was probably a more important product than now thought as it was fairly common at auction on 6x9cm
Klapps eg at No96,74x.
Doppel
f11 on Simplex (1920's) This dated at least from 1902 and was often the low
cost option on cameras such as Heag 0, 00, 1, 11 of the period.
Vilar
f6.8
on HEAG 11 (1920's), Bob V 1920. This has been described as
excellent in a 1998 report, and said to be 5 glass: but a 4-glass seems more like. (Shutterbug, 1998) Frerk
says it is a 4-glass dialyt type. It was one of the cheaper versions on the Heag 11, below Ernar and Ernon. It
was noted as an 135mm lens at No82,89x on a 9x12cm Tropical. It was used in B.J.A. 1926, p676 etc. on
Bob V rollfilm in several sizes such as VP, 2.25x2.25, 2.5x3.5in and 4.25x2.5in. (B.J.A. 1925, p698 on Bob V
abd Heag VII,etc).
Ernar
f6.8
on HEAG 11 It was another 4-glass dialyt. This ran through the
period 1902 onwards and was the next in price above the Doppel and Detective or near this. A NoI f6.8/135mm
was noted at No63,03x on a 1/4plate Watson camera.
Doppel Anastigmat
f5.5 and f6.8 It was made for 6x9, 9x12, 8.5x17, 9x18cm. Frerk refers to a
Doppel which was a 4-glass dialyt. It was fitted to the Klapp camera in f5.5 or f6.8 about 1919.
Projection Anastigmat f3.1 This was seen as a 19.5cm lens in a brass barrel, and seems to be a triplet.
Ernostar series
Ernostar
f2.0 35mm for movie, ?50mm for Bobette, 100mm for 6x4.5cm (Er001,
Er002). This was the first Ernostar to be issued (B.J.A. 1925, p333) and was for the VP cameras, and
probably also used on a movie fitting. The ratio of the front glass diameter to the rear differs in the drawings
found and this just may represent versions for narrow and wider angles. The ratios in the drawings are 1.17:1
and 1.60:1 while a measured example is 1.45. It would be reasonable to use a smaller rear glass for 35mm
movie and one example seems to be of this type, at No15062x- or it may just be artistic licence. A normal
Ermanox example was No150,50x on body No1,185,046 [The patent seems to be USPat 1,708,863 of
09/04/1929 which emphasizes the value of the triple component in making lenses up to f1.5, giving 4 types
with varying arrangements where the f2 made seems to be Fig 1.] Frerk dates the launch as Spring 1925, but
it was in time for the B.J.A. 1925, p333, 695 advert. of the Ernox camera;and the Ernostar came just after the
Ruo f2. He says Ernemann were well known for movie lenses then and indicates that higher speeds had been
available earlier with them. "It covered 41° and was amazingly sharp and well corrected."
A f2/35mm example for movie was No166,90x.
The Ermanox gained much from the use in the early days by a small number of advanced news men.
Users These included Stefan Lorant (1901- ) who used one in 1925 for pictures in Morgenpost and Berliner
Zeitung am Mittag and went on to produce Lilliput in the UK. (M.Hallett, B.J.P. 21/02/1996) It was some 2
years later that Erich Salomon adopted the camera and perhaps became the greatest exponent using it to
picture many of the important political events of the period, though sadly he was to die with his wife at
Auschwitz in 1944 (B.J.P. 19/12/1980, p1280).
Some serial nos 150,54x, 150,73x, 150,54x, 150,53x, 150,52x. This was about as common at auction as the
f1.8, with 5 all one focus as against 8 at f1.8 in 4 sizes.
The f2 was still on sale on the Bobette in the Zeiss Ikon advert. in B.J.A. 1928, p675, and experience of
handling one was very impressive- this was a solid, precise camera far ahead of many contemporaries and
well able to justify an f2. Sadly there was no opportunity to use it. But it was withdrawn in 1929, with the only
Ernemann survivor being the Ermanox in VP and 2.5x3.5in sizes.
Ernostar
f2.0
35, 52mm noted for movie use about 1923-1932, and 1932.
respectively.
Ernostar
f1.8
50, 85,105mm (on Ermanox, Ernoflex), 125mm, 165mm later. This
was used in 3.375in (85.7mm) for 4.5x6cm where the f2.0 was used as a 4in (101.6mm) lens suggesting that
the f1.8 covered a wider field. There is a slight feeling that the f2 is the sharper but over a narrower angle. The
f1.8 was also made later in 125mm, and possibly as a 165mm version. The shorter may be for movie: it seems
to be a f2 for the Bobette above. According to Frerk this f1.8 was a "Bertele only" design. More examples of
these Ernostars were noted from auctions.
Body Number
1,254,26x
1,253,91x
1,052,11x 9x12
-V.P.
99,919 VP
VP
L6991x 6x9
Lens specn.
Lens number
f1.8/85mm
1,342,22x
f1.8/85mm
1,273,08x
f1.8/165mm
1,669,98x
f1.8/85mm
1,676,96x
f1.8/105mm
917,07x
f1.8/85mm
1,676,0x
f1.8/12.5
225,05x NB This is a Zeiss Ikon lens, hence new
number series?
1,254,05x
f1.8/85mm
1,672,5x
1,184,98x
f2.0/100mm
150,35x
9x12cm
f1.8/165mm
---(sold at auction)
VP
f1.8/85mm
1,342,22x.
VP 1,185,01x
f2.0/100mm
150,52x
In B.J.A. 1927, p596, 3 sizes were noted: VP, £34.1; 3.5x2.5in £57.00; and 9x1cm or 1/4plate, £84.70.
The f2.0 did overlap the f1.8 in sales as in B.J.A. 1926, p680 there is a listing for Ermanox with both f1.8 and
f2 lenses as follows:
2 5/16in x 1 3/4in (58.9mm x 44.45mm) with f1.8/3.375in = 85.73mm Ernostar £28.75.
4.5x6.0cm
with f2/4in (101.6mm) Ernostar £28.00.
6.5x9cm = 3.5x2.5in
with f1.8/5in = 127mm Ernostar £42.00.
If nothing else it underlines the use of the f2 over a narrower angle, using 101.6mm compared with 85.7mm.
Fig 018 026 Ernemann Ernostars (l) f1.8/125mm No224,992, (mid) f1.8/85mm No167,136 remounted to M39;
(r) f2/100mm No150,620, (r)
Ernostar
f1.3 This was noted on a Bobette II in B.J.A. 1927, p700 as an option- it may well be
a misprint or just possibly a plan for something which never came to pass.
Ernostar
f1.9 This was noted as a 50mm lens for 35mm movie use, about 1929. Again it
suggests Bertele had faster designs planned which were never to be sold as the Sonnars came into
production from Zeiss. (But there is just a chance they were related to later Astro designs?)
Ernostar
f2.7 This was made in 75mm, for 4.5x6cm in 1924 on the press camera, and later
extended to 2.5x3.5, 9x12cm=1/4plate and 10x15cm =5.5x3.5in.Here the options in 6x9cm were: Ernotar f4.5
£19.25; Tessar f4.5,£21.00; Ernon f3.5, £21.00; Ernostar f2.7,£24.00.
This a 5-glass version of the design with 2 cemented surfaces, and "also amazingly good". It was also in other
sizes such as 11cm for 6x9, and is a really attractive lens even today. It has been as an 11cm lens at
No185,12x on a 6x9 Klapp and as an f2.7/15cm lens at No169,630. It is certainly a scarce lens and attracts
less attention than the big ones and so may be harder to find. The 11cm version above suffers badly from a
balsam fault but this is not common among Ernostars. This seems to be the least common Ernostar in
aperture judging from buying experience and auction notes. It was noted on two Klapps, at No 186,59x,
170,56x and as above. Originally it was probably mainly sold on the 'Focal Plane' camera on all version (B.J.A.
1926, p337, 679advert.).
Fig 018 028 Ernemann Ernostar f2.7/11cm No185,129 from 6x9 press.
Ernostar
information is really needed.)
f4.5
180mm (for Ernoflex) (This item seems unusual and more
When Zeiss Ikon was formed, the Carl Zeiss company gained in having a steady captive market for the Zeiss
lenses, but few of the firms taken into the amalgamation contributed much in optical designs. The exception
was Ernemann and access to the patents of this group may have been a more important factor than is often
realized in pursuading Zeiss to sponsor the combine. The prospect of not having access to the 4-glass
Ernostar may have been serious, but the idea of the Sonnar series may have already been born in B. Patent
237,529, USPat 1,708,863) even though it was not to appear until the Contax camera (1932.)
Ernopynar
f3.5/35mm This was noted on a 1925 Ernemann camera for 35mm movie
use.
Kinostigmat This was an early movie lens, noted on a 17.5mm Kino I camera from about 1903.
Chronology
No chronology has been noted but the store of numbers of Ernostars is worth noting above and is an on-going
collection.
Fig. 4 Ernemann
Exposure: Ross Concentric 6in f32.
Left to Right
Ernemann Ernostar f2.0/100mm
Ernemann Ernon f3.5/105mm on Heag V11
Ernemann Ernostar f1.8/85mm adapted M39.
Ernemann Doppel Anastigmat f6.0/90mm on 6x9cm Press
Ernemann Ernostar f1.8/125mm
Erkos
Selar
Selar
f6.3
f4.5
105-165mm Convertible symmetrical anastigmat
same.
Erno, Wetzlar, Germany.
Noted for a Erno Askinar f1.5/50mm lens on a 1951 Bauer 16mm camera.
Ertel
Noted as an Ertel Anastigmat f3.1, 50mm No details.
Also Ertoplan f3.1/50mm eg at No22,74x noted from the Ertel works about 1923 for 35mm movie. They also
used a Busch Glaukar f3.1/50mm which may suggest the origin of the former lens.
Eskophot
This was probably a trade name found on Ultragon Process lenses, thought to be German, such as f9/305mm,
f8.0/210mm and f8.0/150mm. These seem excellent lenses but the iris may be difficult to live with if reused as
there was no scale on those seen. (see also Staeble who are engraved as the makers on another Ultragon).
(Compare Repromaster and Helioprint lenses also.)
Eta, Prague, Czechoslovakia.
Etar II
f3.5
50mm on Etaretta (1950's)
Etar III
f3.5
50mm Marked ETA, Praha on camera Nr39,756. (Cyclope, Nr15-16,
1994). It may be that II and III are merely codes. Another Etar III was on body No55,97x.
Eumig, Austria.
Eumig were mainly a maker of cine cameras, but one still camera carried lenses with a maker related name,
the Eumar.
Eumar
f5.6
80mm on 6x6 Eumigetta (1950's).
Eumar
f4.0
80mm
Cine Lenses included:
Eumig
f1.8
10-40mm on 1961 Eumig 8mm.
"
f1.8
8-25mm on 1963 Eumig 8mm.
Eumig Zoom
f1.8
9-18mm. about 1963 for 8mm.
Eugon
f2.7
12.5mm about 1955-1958.
Eugon
f2.8
12.5mm about 1954.
Eumigar
f1.9
25mm about 1956, for 16mm use. It was noted at No474,22x.
Eumigon
f1.8
12.5mm about 1959 for 8mm use.
Eumigon
f1.9
12.5mm about 1963 for 8mm use. This was noted in B.J.A. 1959, p203 on a
Eumig C3 R 8mm cine with swing in Eumakro 2x long focus and an 0.5x Eumakro wide angle. The lenses
were on a lift-up turret, and when swung in, the appropriate finder optic was put in place at the same time.
Eupronar
f1.4
20mm about 1957 for 8mm use.
Eumicron
]
Eumicronar
] These are all lenses for 8mm use.
Eumigon
]
They also supplied a series of Eumacro lenses, possibly for video.
Exakta Camera Corp, Bronxville, N.Y. USA.
USA agents for Exakta, and suppliers of specialities such as the following:
Extanar
f2.8 This was a 50mm macro lens in deep throw mount to 1:1 possibly from Schacht,
Ulm, Germany but this is not certain.
Extender Several optical layouts are given, as these seem often to be obscure items with agents name
rather than makers. (Ex001, Ex002, Ex003, Ex004, Ex005) In general, performance varies, but is most likely
to be good with long lenses working over a narrow angle, with moderate apertures and with extenders
designed by the maker of the lens (where the designs of the two optics can be chosen to match.) Here it can
be satisfying and reveal detail hard to see without the extra magnification. Experience with some extenders
and a high quality 400mm lens did not suggest that there was as much correlation of performance with the
price of the extender as might be expected- here the best seemed to have been the cheapest originally. But
clean condition and advanced or multicoating are worth looking for. At least one very early single coated one
was really quite poor and discarded as 'historic interest only.'
F. Falliez, Paris, France.
Noted for an Objectif Cinema "Siamar" f2.5, 135mm: one of a set of projection lenses. The design seems to
be the traditional Petzval (f)2+ (r)1+1 Probably early 20C. Here the spelling is from the original box.
Fig 029 015 Falliez, Paris, objective Siamor for projecting (one of a set of 3 sizes).
Faller, E. Paris.
(This may duplicate the above and be a misspelling).
He is represented by a Rapid Rectilinear, No1 of c. 1900.
Fairfield This was a trade name of T.T.Hora (which see), of 346 York Rd, Wandsworth, London SW, UK
It was used on a mahogany and brass camera of 1899, and on lens such as :
Fairfield Anastigmat
f6.8 This was a 4+4 symmetrical design, for 82°. It was made in 4.75, 6.0,
7.0, 8.25, 9.5, 12, 14.5in. It was probably a commissioned lens bought-in.
Fairchild Corp, USA
They are noted here for a Fairchild f2.0 used by NASA on a Maurer camera noted in B.J.P. 10/04/1981, p374.
Fairchild-Curtis was the coding on a f2.8/6in (150mm) Stellat lens noted adapted for Rolleiflex 66 in a list in
April 2001.
Fallowfield, Lambeth, London to 1891.
from 1891, at 146, Charing Cross Rd, London W UK.
Fallowfield were and probably are dealers, who engraved their name on lenses, fitted to cameras sold also
under their name. They seem to be good examples of the period, and are fairly common as they were very
successful over the period 1890-1910, though seemingly later less active in this field. Note the address if
engraved as it can be a useful dating indication. Many of those met are Petzval type Portrait lenses.
In 1889, they listed Ross's Portable Symmetrical lenses in Nos 1,2,3,4,5,6,7,8,9,10 and 3-15in. and Ross's
Rapid Symmetrical Lenses in 4.5, 6.0(for 5x4in), 7.5, 8.5, 11.o, 12, 13, 16, 20 and 24in.
They also listed "Unrivalled Portrait Lenses" as No1, for CdV, No2 for Cabinet and No3 for Whole Plate.
A faster series was the Quick Acting Portrait Lens, as 1B (2in dia.); 2B (2.75in dia.; and 3B (3.5in dia.) These
may be Dallmeyer lenses or labelled to be rather like them.
Also Fallowfield's "Improved Rapid Doublets" in 5.5in for 5x4, 7.5in for 7.25x4.5, 9.0in for 8.5x6.5in, 15in for
10x8in, and 16in for 12x10in. One noted was just a plain Rapid doublet at No137x from the Lambeth address,
so pre-1891.
"Optimus" Lenses These probably were bought in, eg from Perkin Son and Rayment, as Euryscope Double
(RR?) f6.0 as for 5x4, 5x7, 9x7 and 10x8in sizes, and RR f8.0 in 9sizes from 5x4 to 18x16in. There were also
Portable Symmetrical f16 and f4.0 Portrait Lenses as well as Rapid Landscape f11 for 5x4, 7x5, 9x7 and
12x10in..
This is essentially a 1900 list.
Fallowfield Portrait
f2.2, This was made in 4.5in, 4.75in, 6.0in, f2.76, 9in; f3.0, 12in; f3.4, 12in.
This was a high speed Petzval type. This is probably uncommon.
Petzval A more ordinary f3.7 Petzval has been seen at No175x,also in brass finish. These do seem to turn up
rather often.
Fig 009 026 Fallowfield Petzval for enlarging No1275. about 6in No1.
RR
f8.0
9 sizes, Q5 This was sold on the Facile and other products in the
1880's.
WAR
3-11.25in, Q6. This was for up to 90°.
RR "guaranteed achromatic"
f8.0 This was made in 4 sizes and 3 cheaper versions, Waterhouse stops.
Q5
RR with iris stops.
This was made in 5 sizes,Q5
RR Extra Special Euryscope f6.0 This was made in 3 sizes Q5
Meniscus
f11 sold on Facile (1880's)
and in 1910;
Fallowfield Facile Anastigmat:
Series 1
f6.8
?Q9 This was made in 5, 6, 7, 8.25, 9.5in.
Series 11
f4.8
?Q9 same sizes as above.
Fallowfield mentions that as the patents have run out on anastigmats, the price can come down. (B.J.A. 1910,
p956). These were probably Dagor layout, and may be in the same group as Blitz and other anonymous
imports. Thus compare the specifications with City Sales list of Blitz lenses.
Fallowfield were noted in Amateur Photo 28/12/1977 when they lost the Konishiroku agency due to the
formation of a makers UK company, but kept the agency for Sakura film products.
F.A.P. (Fabrique d'Appareils Photographiques), Suresnes, France.
They were the first French 35mm camera maker, from about 1938. They tended to use bought-in lenses from
Berthiot and Boyer as well as lenses made under the FAP name. Thus the Norca came with a Boyer f3.5 and
the Norca B (1945) came with f3.5 lenses by Berthiot, Boyer or FAP; and the Norca C offered FAP or Boyer,
the latter apparently at No288,291. Finally, the early postwar Norca Pin-up was only with a FAP lens. They did
sell lenses as well, as the Boumsell Auteuil was offered with a FAP f3.5/50mm as a fancier version.
Färber, Germany?
He is noted for a Dr Faerber Aplanat in an Eastman Kodak Automatic shutter and it seemed initially to be a
f7.5/c.135mm (18mm dia.) RR, but is actually much shorter in focus and a good deal faster- an old iris scaling
perhaps. It and the shutter are in brass finish.
Farrand, USA.
They seem to be makers of specialist optics for aerial and other users in America. They are not found in UK.
Super Farron
f0.87
76mm covers 40mm dia on 35mm still and movie film at up to
40lines per mm over 30°. Price $4500 in 8/1957. Other versions were for up to 6in.
Aero Farron
f2.8
12in
Farron
This was made in up to 20in.
The structures are well shown in Cox, "Photographic Optics" as S36 andS37, and it seems A.W.Tronnier had
some part in the designs.
Fed, USSR
The information on these lenses is listed under Russia as most of the items came from the old USSR, and it
is hard in the West to know where items were actually made.
Federal, USA
We have seen an uncoated lens , Federal 3.5in f4.5 No 127x in a small panel. They are known as enlarger
makers and this may be such a lens. It seemed to be a 4g/4c design.
Fig 031 015 Federal Anastigmat f4.5/3.5in No1275 (?enlarging use).
Feinmess, Dresden, Germany.
The name means 'Fine Measuring' in German, and they are/were makers of precision measuring equipment of
various types. These will include lenses to read scales and magnify surface details, so a camera lens would
be a possible extension. But this seems to be really photographically a one product company who adapted
what was initially a large format lens to sales on 35mm, especially on the Exakta 35mm. It tended to be a low
price item.
Bonotar
f4.5
105mm on Belfoca 11 camera, and later as a long lens on Exakta
and apparently for M39x26. It was seen as a blue coated triplet at No16,85x, (engraved on the barrel). It has
been reported with serial numbers from 06,68x-14,98x-16,85x (above). No09,292 and 16,85x carry a 1 in a
triangle on the barrel, to indicate quality, and this was only used after 1951. In general it was seen in older
issues of Modern Photography from the 1950-1955 period. The barrel seems well made and free from play
even in an old and well used example.
Felgner, Germany.
Felgner Punktar
f2.8
35mm for 24x24mm Infra (1954) ex-Wetzlar, for 24x24mm.
Ferrania, Italy.
They seem to have imported the Ferrania Astor camera for 6x6cm on 120 film, with a f4.5/75mm lens from
Galileo qv. (B.J.A. 1954, p196)
FEX, France.
An important French maker of lower price cameras, with a few anastigmats noted. These included Color
Fexars f5.6 and f4.5 of about 100mm on the 6x9cm and f4.5 on the 6x6 cameras about 1952. There were also
Fexar Special optics on the cheaper items also about 1952. A more interesting item may just be the lenses
on the 35mm Weber Fex which were f2.8 and f3.5 Ikar lenses from Ugo Lantz of Tourret-Narrat, France, but
few details are available.
Fibre Optics see an early patent by J.L.Baird, in 1928. It is cited as a first by C.J.C. Kirk in B.J.P.
08/09/1978 p773 where he discribes current fibre optic gastroscopy.
Filmtechnik Schweitzer AG, Steinenweg 22, CH 4431, Lampenberg, Schweiz.
They seem to be the origin of the Aspheron negative front lens (see also Angenieux, TTH) and supplied it for
several lens makes. (B.J.P. 26/12/1980, p1302).
Filotecnica, Italy.
(Anon)
f3.5
50mm for Rectaflex.
Finetta, Germany.
In the UK this was a low cost 1950's brand, with interchangeable lenses as the big feature.
Finar
f6.3
43mm Triplet (1948)
Finetar
f2.8
45mm Triplet (1950) This was said to have incurably low contrast,
but be sharper on close down in the review in MCM June 1953. They did not seem to like it for use!
f4.5
70? or 78mm MCM preferred this! and the next one!
MCM referred to an f4.0, ?45mm as better than the f2.8.
f4.5
35mm
There were plans for longer lenses such as f4.5/180mm and f6.3/240mm for the Finetter 99 but these seem
unknown.
Finetar
f6.3
105mm Triplet (1952)
Finon
f2.8
45mm
Q15
Achromat Finar
f5.6
43mm Meniscus.
Color Finar
f6.3
70mm
Fitz, USA.
He was a designer and maker who produced a version of the Globe lens with plane cemented interfaces in
place of the original curves.
Foca (Optique et Precision Levallois), Levallois, Paris, France.
They were advanced engineers in several fields, and produced a Camera Gun as early as 1923, with a
Precioptic f5.0/170mm. They may also have been involved with an anamorphic unit listed alsewhere. Later
they developed what they are best known for: the Foca 35mm and Focaflex SLR. The Foca was produced
quickly after the War and had an innovative viewfinder rangefinder system (B.J.A. 1949, p165). The first were
available at least by early 1946 (P-F-11 model) and a new model for 1947 was speeded to 1/1000 sec and had
a coated f1.9 lens. (S= screw mount, B= bayonet).
for Foca rangefinder:
Foca
f3.5
50mm (1945-6) Some were fixed lens, and others even in 1945 were
interchangeable.
Foca
f3.5
35mm (1946-7) This was noted at Nos 70,32x and 73,18x for
Universel.
Oplar
f3.5
35mm with 50 and 90mm due soon in May 1948.S+B
Oplar
f3.5
35mm (1947-53) This seems a more common lens than usual as it
seems to be made fixed mount as well as screw (1947-1960) and bayonet (1949, 1955). Noted at 70,67x.
Oplar
f3.5
50mm (as Foca 50mm, 1947-1958) B only
Oplar
f2.8
50mm S+B See below also. It was made by 1951 or 1955.
Oplex
f3.5
35mm This was a larger front glass design, 1953-62.
Oplarex
f1.9
50mm 6-glass, Summitar style mount. It was an early product in
the range, being forcaste by 1947 and shown in Paris in May 1948. It has been noted at No10,007 on a 2 Star
camera, No11,44x, and another at No12,52x. Users describe it as really very satisfactory without being up to
the very best modern Gauss designs. It was made in S+B by 1949. Then the other lenses were 'soon'. By
June 1949, there was a range f6.3/28mm; f3.5/35mm; f1.9/50mm; f3.5/90mm; f4.5/135mm. On the whole the
series was of professional quality for the period.
Oplar
f4.5
28mm (Foc001). This was noted at No11,91x for Universel
S+B
Oplar
f6.3
28mm.This was noted at No10,19x and 10,520. S+B
Oplar
f3.5
35mm with 50 and 90mm due soon in May 1948.S+B
Oplar
f6.3
28mm.This was noted at No10,19x. S+B
Oplar
f3.5
90mm this was noted at Nos 10,418, 11,32x and 15,67x for
Universel.S+B
Oplar
f4.5
135mm This was noted at Nos 11,186, 19,03x and 20,36x for
Universel, and was made in S+B.
Oplar
f2.8
50mm (Foc002). It has also been described as 4-glass Q15 type,
so it is just possible 2 types exist. It has been noted at No76,63x.
Oplar
f4.5
35mm
Miroplar
f4.5
500mm
Miroplar (later)
f6.3
500mm see Den Oude, Delft.
Miroplar
f6.3
200mm
Items over 135mm are for reflex housing. Not all items were made in both the original screw mount and the
later bayonet. The screw thread is not M39x26 according to reports.
A letter from France adds several interesting items here:
Microfoca reflex housing with choice of lenses including:
Teleoplar 200mm; Macroplar 200mm; Macroplar 105mm and a special very high definition Macroplar
50mm lens. There was also a 'curious' Macrorep lenshead giving 2 foci of 50 and 105mm depending how it
was mounted.
for Focaflex:
This used a small set of interchangable lenses:
Oplar Color
f2.8
50mm for Focaflex. 35mm SLR. Foca Sport II 1957.
This was also referred to as Color Oplar- they seem to be the same! It was earlier than the Neoplex and may
use older glasses.
Oplex Color
f2.8
45mm on Foca Sport II in 1962.
Neoplex
f2.8
50mm on Foca Sport II in 1962, this was a 4 glass type.
Retroplex
f4.0
35mm
Teleoplex
f4.0
90mm
Super TeleOplex
?
150mm
Other
Neoplar
f2.8
45mm for Focasport. From about 1954 on. It was a novelty at the
Paris Photo Fair and noted in MCM July 1955. Also on Focamatic box type camera.
Neoplar
f3.5
45mmThis was used on the earliest cameras. It may be a 3-glass
and there were certainly two lenses offered, the other being the above f2.8.)
Neoplex
f2.8
45mm This was on the Focasport Series IIf with a rangefinder, and
on some Focaflex cameras. It was certainly a 4-glass and an improvement on the Neoplar. It may represent
the use of rare earth glass in place of old glasses.
MacroPlar
f4.5
105mm for macro work.
Autoplar
f4.5
50mm for enlarging.
Oplar
f3.5
75mm Prototypic on a Focasix 6x6. Sadly this seems to be an
abandoned foray into larger format designs. Prototypic.
Focal Length
With Victorian lenses, the focal length was seldom marked on the barrel and they often wished to measure it.
(a) A spurious way was to set the lens to copy a subject at exactly 1:1 and divide the distance subject-image
by 4 for the result. Why? The optical thichness of the lens was ignored.
(b) A better way was due to Sir T. Grubb who fitted the lens to a camera and marked the ground glass screen
with 2 vertical lines about 25mm long. The camera was placed on a table eg at a window, on a sheet of paper,
and a prominent object eg a chimney or flag pole selected at infinity. The camera was turned first left and then
right in turn to align the object with the two lines, and each time a line was drawn along some part of the side
of the camera. Finally, these were joined with a line equal in length to the separation of the pencilled line to
form an equilateral triangle at the top of a capital
A. The height of the triangle is then the focal length.
K.Foitzik, Trier, Germany.
Karl Foitzik seems to have mainly used Steiner, Bayreuth, lenses but named the Foinar (Trier) f7.7/75mm and
Foicar f3.5/75mm lenses for 6x6, and the Foinar f2.8/45mm for 35mm after his firm.
Force Otherwise anonymous f3.5/35mm lens for M39.
Fig 012 007 Force f3.5/35mm No10,205 in M39.
FOS= Optical Instruments Factory Fos, Aleksander Ginsberg & Co, Warsaw, Poland.
The company was founded in 1899 and ran until 1915 making high quality optics including Fos Planastigmat
or possibly Aplanastigmat (see Hermagis for example) lenses exported to many countries. They were fitted
to Kodak cameras in the USA, but may not have been factory fits but later conversions. One lens reported in
Cyclope Nr 20-21 1995 was labelled Phos Varsovie Aplanat No2 f8/240mm.( See also index.)
This is one of many brands where very little is known in the UK and where more information would be
welcome!
Fotochrome
The Petri company made a folded lightpath camera for 55x80mm using a Fotocolor lens about 1965 noted at
serial No250,58x.
C.F.Foth and Co, Berlin, Germany.
Gallus, France.
Foth was a German company which seems to have been adopted as a product by Gallus (qv) in France.
Thus Gallus produced cameras in B.J.A. 1924, p679, using lenses from Hermagis f4.5, Roussel Stylor f4.5,
Dogmar by Goerz-Fourniez, and Berthiot Stellor f4.5 and f4.0 as well as Tessars f4.5 by Krauss and Zeiss
Iena as well as Gallus lenses. Foth initially produced the Foth Derby and other cameras from Berlin, with
Foth lenses. By 1938, these were quite advanced in the model II, with Tessar f3.5 or f2.8 5cm lenses and a
f5.6/4in Dallon long focus. Production later was moved to France. The camera may have failed to develop due
to the move and political factors. (B.J.A. 1938, p287).
In B.J.A. 1924, p679 there are Gallus lenses as follows:
Gallus f6.3 on Stereo camera model 100 for 6x13cm
Gallus f6.3 on Gallus folder in 3.5x2.5 and 1/4plate.
They made an 'Aerophot' aerial camera with Roussel Stylor f4.5/10in lens, as well 19.5in Stylor f5.7 and
Hermagis Aplanastigmat f6.8. It was in several sizes and worked automatically.
These are mainly lenses for the 127 camera and Fothflex, but the source is not known. Note that one version
seems to have given 24x36mm on 127 rollfilm; this may have been a prototype but explains why Schneider
were considering a 50mm f2 Xenon for the Foth. It is quite likely the Foth lenses, which were 3 glass types,
were made in-house. The company moved from Germany to France late in the 1930's (say 1938/9) and just
may have been a Swiss managed one. Thus the lenses were then sourced from a new maker, often Boyer.
Production by Gallus continued and it became a totally French concern, the camera evolving into a polished
alloy one, called the Derby Luxe or Derlux for short. It continued after WW2 to about 1952.
Foth
f3.5
50mm)
Foth
f2.5
50mm)
These 3-glass triplets are both on Foth Derby. The f2.5 has been cited as a 5-glass design but has not been
examined: it was fitted to the rangefinder version Foth Derby II. Serial numbers noted were: 36,35x, 42,08x.
The f2.5 version with stops to f18, was noted in B.J.A. 1935, p320.
Foth
f3.5
75mm, This was noted on Foth Flex 6x6 (1935), Ontoflex c1939,
Fothflex (1934-1938). There was also a f2.5 version on the Foth Flex about 1935. (B.J.A. 1937, p272).
Foth
f2.5
Doppel Anastigmat
f4.5
105mm on Foth Derby folder for 6x9, c.1930.
In France, essentially for Derlux.
Gallix
f3.5
50mm A triplet of unknown origin, with real central sharpness but fall
off at the edges. Noted at No20,29x on a Derlux 127 camera. This was noted in B.J.A. 1949, p211 in helical
focus mount.
Bought-in Lenses included:
Boyer Saphir This was a 4-glass version from Boyer and a premium lens.
Berthiot Flor This was a 6-glass type from Berthiot and a premium item.
J. Fouinet, France(?)
This was a name quoted as on a brass lens. Compare with the next maker. It just may be a misreading.
Fournier, France.
There is a lens on a Gallus Ariston camera for 9x12 or 10x15cm listed in B.J.A. 1924, p681 which is listed as
Goerz-Fournier Dogmar f4.5 in 150mm and 180mm. It may be Fournier was the importer but it may also be
that they were licensed to make Goerz lenses in France due to import controls.
H. Fraas, London.
His name was engraved on a pair of brass stereo lenses on a mohogany panel on a camera from about 1899.
Francais, 3,Rue de Chatelet 3, Paris, France.
Eder notes he was an early maker of (casket) Aplanat sets. An unspecified lens at No13,70x was noted in an
auction list. He also made a very early TLR with an E. Francais lens No14,11x. FBB lists 2 items, one an RR
and both dated 1894. His lenses sold on London Stereo Co cameras, eg on the 1/4plate "Artist's Hand
Reflex" TLR about 1886 at lens No15,35x, but he does seem to be a camera maker rather than a lens maker
from the limited information available. A Francais lens also was noted on an Anthony 5x7 camera at auction.
Rapid Rectilinear
f8?
7-17in., agented by Starkweather, USA in 1890.
An example was the 150mm f7.0 lens on the Cosmopolite (c1887) The first one in FBB was on a camera for
13x18cm by Francais with a disc iris. The other was on a Jumelle and could also be RR's.
Casket Set of 6 glasses + tube in case. (1883) The set gave rectilinear lenses of 5.1-15.8in + wide angle
+portrait.
Frank, Charles, Saltmarket, Glasgow, Scotland.
He was not a instrument makerbut a secondhand dealer whose shop in the Saltmarket was like a diamond
mine for any old camera enthusiast after WW2, with Compur Leica, Round Window Exakta and Contax I's
normal and an amazing range of other items. This was just the tip of an iceberg, as the firm mainly was selling
ex-MoD watches, binoculars, telescopes and other items possibly from other addresses in the area- there
were certainly a number of rather similar shops round that part of town. Personally, he was forming the most
important collection of instruments- which sadly was dispersed by auction after his death (it is thought after
being offered to the Nation) but the catalogs do exist:
Buchanan g. et al. 'Tools of Science The Frank Collection of Scientific Instruments Catalogue Guide to the 100
of the most important Instruments' Special Exhibition 1973, Glasgow Art Gallery, paper, 5pp; also by Nuttall,
R.H. 'Introduction to the Scottish Instruments in the Frank Collection' 4pp; Nuttall, R.H., 'Early Scientific
Instruments' 60pp; Nuttall, R.H., Introduction to the Telescopes' 5pp. As is obvious these are quite short but
form some sort of record. In this contex, they are essentially pre-photographic and a source for the industry
before the coming of the camera. We think the firm survives under new management, selling binoculars and
telescopes from the East of England.
Franka Camera Werke, Bayreuth, Germany.
also as W. Hischmann.
Many of the lenses on the early cameras, from about 1910 were merely listed by type eg. achromat or rapid
aplanat, while makers lenses were named as Goerz or Zeiss. One problem is "Double Anastigmat" f4.5 Zeissthough this is probably an imprecise reference to the Tessar. Later in WW1 they developed a series of
Periscop Periplan 135mm, Eraplan f7.7, Velostigmat f6.8, and Velonar f6.8 and f5.5, and Veloplan f6.8
lenses. These were used on the Franka Nr 105, 115, 200, and 125- all folding black metal plate cameras.
They were probably all from one maker, under an agreement to rename.
Later, there may have been a new Franka firm- anyway the policy changed and they fitted proprietary lenses
such as the f3.5 Frankar to some cameras, here the Solida Junior, and Solida I and II about 1955. The Junior
had an f3.5/75mm Frankar lens (B.J.A. 1954, p195) in a Vario shutter, with front cell focusing. Also there were
Frankar f6.3, f5.6, and f4.5 as well on the various Solida 6x6 and Bonafix 6x9cm models, in the late 1950's.
Fraunhofer, J. (1787-1826)
Photographic and other lenses require pieces of glass which are of constant quality all through- and these
were available in 1840 only as a result of several factors. An instrument works was set up at Munich by G.
Reichenbach, (1772-1826) and J. Liebherr (1767-1840), the latter being an instrument mechanic and
watchmaker. But a optical works requires an optician, J. Niggl and finance from J. Utzschneider (1760-1840)
and a Swiss worker was hired , P.L.Guinand(1748-1824) to make glass at Benediktbeuern nr Munich, using a
new process in which the glass was stirred in the melt to obtain even mixing. A fireclay stirrer was used.
Initially the results were poor, until in 1806 Fraunhofer, an orphan boy of 19 years, was appointed and rapidly
introduced new production and optical test methods for lenses and then in 1809, proceeded to improve the
glass production by increasing the pot size to allow better mixing and annealing. He made about 1x200kg
melt per month. He was able to make an 18cm dia.objective glass by 1812, and by 1814, Guinand had retired,
leaving Fraunhofer as joint director. He was also working on optical theory, eg selecting spectral lines, glass
characterization, lens design and diffraction gratings of up to 3200 lines per in. Sadly Fraunhofer was to die
relatively young but his work did survive him. Thus it is thought that Guinand was later involved in glassworks
in Switzerland and France, and that it was from these that M. Bontemps travelled to England to work for
Chance Bros.(q.v.). Some workers moved from Munich to Vienna at about the time Voigtlaender began to
produce Petzval lenses. And note that in those days lens making was to some extent related to places where
glass was available.
Some of the ideas of making other glasses were old: thus one of the early French lens makers tried a novel
glass but it failed commercially. And Goethe writing in 1833 (Cotta edition) refers to Le Baude using novel
glass and being awarded a prize in France in 1773, and Dufourgerais making a colour corrected pair of prisms
in the same period, and Clairaut using pierres de stras which probably had extra lead content. There are old
decorative glasses with unusual mineral contents. And finally, Dallmeyer used some glass in the 1880's with a
measurable content of thorium daughters- possibly suggesting lead from a mine with a radioactive content. R.
Blair used liquids to make achromatic and even apochromatic prism and perhaps lens units. (Amateur Photo.
28/06/1901). Any of these might have started a "new glass" industry but it is likely that one main problem was
lack of chemical supply and knowledge.
French Lenses
Given the important position of French innovators in developing photography, it is not surprising that they gave
the French opticians a fine start in making and selling lenses in France and abroad, and early lenses do occur
in England quite regularly, normally Petzvals by Lerebours, Bourgini, Darlot, or their derivatives such as the
Derogy set. But they seemed to lose momentum when the RR type was invented by Steinheil and by
Dallmeyer in 1866, and v. Monckhoven notes they were a little slow to adopt the Waterhouse stops. And given
the eminence of the French glass industry, they failed to develop new glasses in more than experimental
amounts during the 19C. Thus the momentum seems to have been lost, but sales to England did continue
especially perhaps as house brands, or for extra lenses. It is likely that for us in the UK today there is the
usual problem of lenses sold in the trade, and the final vendors name being added for sale, so that the real
maker is unknown- and that the actual trade was much greater than it seems.
A further loss was the anastigmats being designed in Germany, and later England, but with little innovation in
France noted. An early position may have been obtained by Lacour-Berthiot however. Thus the licencing of the
Zeiss anastigmats to Krauss of Paris was important and they made a fair number of Anastigmat, Protar,
Planar, Unar, and especially Tessar lenses, at least to the end of WW1 and probably into the 1920's. But
oddly Balbreck failed to develop the triplet license as Voigtlaender did in Germany. Surprisingly, the high value
items today may now be the soft focus lenses such as Pulligny et Pujo designed and Darlot made, about the
turn of the Century. Business was difficult through the interwar years, due to the low exchange value of the
German currency and to postwar reparations. Krauss did design a Quatryl perhaps to replace the Tessar, but
in general few lenses and cameras were innovated, except perhaps in cine. Infact, cine seems to have been a
much more important market than now realized and may have kept many companies in business.
One point is that reading books on collecting cameras leads to a neglect of some aspects of lenses. The big
professional lenses are under represented as these cameras were often built to order and never advertised,
and wide angles and teles do not appear on new camera sales. Thus the miniature cameras with f4.5/75mm
lenses will be exhaustively listed but a L'Eidoscope or Eurygraphie will not be mentioned. Thus the French
makers were probably more occupied in the inter-war period than might be imagined from the lists compiled
from books of cameras. There was certainly some activity in aerial lenses. And incidentally, always there is
the problem of who actually made what, or did they just buy it in and engrave their name on it. Or even order it
ready engraved. (It is a different country, but only those familiar with the field know that the highly respected
MPP Micronar was made for them by Taylor, Taylor and Hobson of Leicester.)
But surprisingly the WW2 and the years after it did result in a fresh flowering and new designs both of lenses
and cameras, until imports again destroyed them. It is true that a wider range was made in France than in the
UK, and they must be a really interesting field to collect. It is also hard to study these items and French
lenses in general in the UK. Few lens catalogues or adverts. were available, and lenses were hard to find in
the UK and not always of types important in France perhaps. Thus it is a pleasure to refer collectors to the
books by Pont on Angenieux, by Vial on the cameras 1940-1960 and a monumental book by Francesch,
Bovis and Boucher on "Les Appareils Photographiques Francais" abbreviated in the text as FBB. But it must
be stressed that these are not books on optics as is that by Andreani.
C.Friedrich, Werkstette fur Prazisions Optik, C. Friedrich, Muenchen, Germany.
They have been noted for Coronar lenses on cameras, and probably on enlargers. A series of cameras from
C.A. Mueller, Strengenberg, Germany were listed in B.J.A. 1927, p770advert. with Coronar lenses for 6x9cm
approx in f6.3, f4.8, f4.5 and there was a program of Coronar f4.5 lenses as separate items.
The Coronar f4.5
This was a recent introduction in 1926 according to Frerk, and was a Q15 type design and suitable for many
cameras, and well regarded. It seems to have become a major product, below. It was noted in the B.J.A. as
6in for 5x4in; 6.5in for 4x6in; 7in for 4.75x6.5in; 7.75in for 4.75x6.5in; 8.25in for 4.75x6.5in; 9.5in for 6.5x8.5in;
12in for 6.5x8.5in and 14in for 8x10in.
Coronar
f4.5
50-360mm 4-glass Gauss. Q16. A 135mm was noted at auction on a
Sanderson 1/4plate.
Fig 009 020 Friedrich Coronar f4.5/135mm No352,216 in barrel.
Coronar
f6.8 This was a triplet and a less expensive lens.
Corygon
f2.8
45mm on Ruthine camera.
Corygon
f2.9-f6.325-180mm Triplet, Q14.
Coronar
f6.3
75-400mm 4-glass Gauss. Q16
Akmar
f6.8
75-300mm 70-90°, Dagor type, (Q9) separable.
Axinon
f3.5
35-180mm Q15
Axinon
f4.5
35-180mm Q15
Other trade names are Biochron f2.0, and Coronav f4.5 which latter was probably a dialyt, in 50-360mm.
Augustin Fresnel (1788-1827)
A European contributor requires his inclusion as the source of the idea of disecting a lens to reduce the weight
and volume as a flat plate or area with channels cut to replace the deep lens and give a similar focal length.
These were applied in a light house at Cordouan at the mouth of the Gironde, France, in 1823 after display in
Paris at the Arc de Triomphe. He also defined light as a wave motion and his mathematical treatment was the
basis of Petzval's lens design in 1838-9.
Fritsch, (formerly Prokesch), Wien V1, Gumpendorfer Strasse 31, Austria.
Fritsch were the local licencees for Zeiss in Austria after the issue of the Anastigmat, but the arrangement
seems to have been fairly low key or short-lived as few items are known. There is also a suggestion of an
agreement with Steinheil, from the use of the name "Gruppen Antiplanet." Several of these items are from a
1908 list, and seem to reflect an older product list, and have no Zeiss related items.
Portrait Aplanat A
f4.5 This was a Portrait RR
Aplanat B1
f5.5 This was for groups and general work.
Gruppen Antiplanet f6.0 This may have been to a design from Steinheil.
Aplanat C
f8.0 This was a general purpose lens.
Aplanat D
This was a wide angle lens.
Fujica, Fuji Photo Film Co Ltd., 2, Chome, Ginza Nishi, Chuo-ku, Tokyo, Japan.
USA agent in 1980: DO Industries.
Fuji make both a series of large format lenses and also lenses for their 35mm cameras. In 1958, it was the
largest photographic manufacturer in the Orient, with main plants situated under Mount Fuji. It is thought the
large format lenses are sold mainly in Japan and USA, and are scarce in the UK, though an importer is
usually available.
Large format
In 1958, the lenses listed in the
Fujinar
f4.5
Fujinon
f1.2
also wide angle
f2.0
also telephoto
f2.0
Cine Fujinon
f2.0
B.J.A. p606, were:
180, 210, 250, 300mm This was for field or studio cameras.
50mm for 35mm cameras.
35mm
"
100mm
"
25, 30, 35, 40, 50, 75, 100mm
Later lists give:
Fujinon sf and sfs
f5.6
180, 250, 420mm These were 3-glass triplets. These are soft focus lenses
and are supplied with tea strainer discs to control softness. They give 58° cover, and the recommendation is to
use 250mm for 10x8in.
Fujinon SWDS
f5.6
65, 75, 90mm Super wide angle, for 105°. 8g/6c.
Fujinon SWS
This was the series in 1980 and may be the same as below. It was then in 65, 75,
90, 105, 120mm for 100°.
Fujinon SWD Super wide angle
f5.6
65, 75, 90mm 8glass/6component design.
Fujinon NSWS
f8.0
90, 105, 125mm, 6g/6c. Super wide angle for 100°.
Fujinon NWS,WS
f5.6/f6.3 105-360mm This was a standard lens of Plasmat type design, with 64-80°
coverage. Use 210mm for 10x8in. This seems to be in the 1980 list to cover 71-76°. It used a 6g/6c design.
Fujinon W
f5.6
210mm This may be an older coding. Modern Photo 06/1980 p83 rated it as
very good indeed and a fair match for the Symmar S.
Fujinon LS
f5.6
210mm Q15 This was a standard lens (59° cover) for 5x7.
Fujinon TS
f8.0
300, 400; f12 600mm This was a telephoto of 5 separate glasses. It was as
'new EBC Fujinon-TS in B.J.P. 11/04/1980 p341 in 400 and 600mm as an 5 g/5c design for 5x4in.
Fujinon AS
f9.0
180, 240mm 70°, This is an apo corrected "super achromat". It was 'new' in
B.J.P. 11/04/1980 p341 and was then in 180, 240, 300, 360mm f9 and used a 6g/4c design. It was suggested
to use 240mm for 10x8 with this Plasmat type lens.
Fujinon EX Enlarging f4.5
75, 90mm )
f5.6
135mm ) Plasmat type.
f2.8
50mm for 35mm work.
Fujinon
f3.5
100mm on the Fujica GL690.
Fujica G690 BL about May 1972.
f8 0
65mm 6 glass
f5.6
150mm 5 glass
f5.6
180mm 5 glass
The GA645 Pro series was noted in B.J.P. 16/10/1996 as a new wide angle format camera:
f4.0
60mm on G6x45 7g/5c design EBC coated
f4.0
45mm on G6x45 Wide also 7g/5c design (same?) and EBC coating.
35mm lenses: rangefinder and SLR
Fujinon
f1.2
p611.
Fujinon
f1.8
Fujinon
f2.8
Fujinon
f2.0
Fujinon
f2.0
Fujinon
F2.8
Fujinon
f4.0
Fujinon
f2.0
50mm (Fuj001) This was the main feature of the B.J.A. advert 1956,
50mm (a) 1957 for M39.
50mm
35mm pre-1957.
100mm
45mm
85mm
35mm
a list in 05/1972 for Fujica ST 701 included
f3.5
28mm
f2.8
35mm
f1.8 standard lens
f2.8
100mm
f3.5
135mm
f4.5
200mm
In B.J.P. 09/11/1979, p1081, L.A.Mannheim reviewed the new Fujica AX-5 with a new 14 lens series in XFujinon bayonet mount for full aperture metering, and these were DM lenses except for 2, f2.2/55mm XFujinon (a lower price option) and the 400mm X-Fujinon-T tele. Mannheim regarded them as rather prosaic in
specification, eg a f3.5/28mm wide lens and a 29-47mm zoom, but this may have supported the performance.
The new mount allowed older screw lenses with a X-D adaptor.
for Fujicarex 11 leaf shutter SLR.
Fuji
f1.9
50mm
Fuji
f2.8
80mm
Fuji
f4.0
35mm (See Modern Photo 3/1964, p86).
SF Fujinon
f4.0
85mm Layout Fuj002.
The trade name "Fujita" was used for a set of M42 lenses such as a f4.5/135mm lens with manual iris. This
suggests they were fairly early in the SLR development.
An innovative set was for the Fujita 66, about 1961.
Fujita
f3.5
52mm This was noted at No774x and FT 785x. When it appeared, it was
about the first retrofocus lens for a larger format than 35mm and offered very acceptable sharpness with a little
distortion. In the long term users have been less kind and say it is less than sharp but this may vary with the
users example- that seen seemed a sharp lens. It has a good back clearance and is in a black and chrome
mount with a preset iris and focussses to 2ft.
Fujita
f3.5
80mm This was noted at NoFT 83,90x.
Fujita
f4.0
150mm This was noted at FT 19,01x.
In 09/1978, Fuji launched a new 5g/4c Gauss type lens with a very deeply curved G2 as a f1.6/55mm for their
SLR. (Sherman, Modern Photo pp21, 111).
The GX617 reviewed in B.J.P. 08/01/1997 by J. Bethell used Fuji f5.6/90mm; f5.6/105mm; f6.8/180mm;
f6.8/300mm lenses on interchangable cones. It is or was an expensive unit.
Cine use:
Fujinon
f1.8
11.5mm This was noted about 1956 for 8mm use. This specification was still
in use in 1966 for the Fujica P1 for Single-8.
Zoom
f1.6
9.5-25mm This was on the next Single 8, the Z-1.
A Millenium list for the Fuji GS680 includes:
f5.6
50mm
12g/9c
f5.6
65mm
10g/9c
f5.6
80mm
8g/8c
f4.0
100mm
8g/8c
f3.2
115mm
8g/6c
f5.6
125mm
6g/5c
f5.6
125mm
6g/5c
f5.6
135mm
6g/6c
f4.5
150mm
6g/4c
f5.6
180mm
6g/6c
f3.2
180mm
7g/5c
f8.0
190mm
3g/3c soft focus design
f5.6
210mm
5g/5c
f5.6
250mm
5g/4c
f6.3
300mm
5g/5c
f8.0
500mm
no data
Furnell, Thomas, UK,(1883).
He designed, but did not make, a lens set. (see B.J.A. 1900, p829, layout Fur 001)
Futura, Kamera Werk, Freiburg, Germany.
Maker of the individual Futura 35mm camera for interchangable lenses which were fitted in a large Compur
shutter. The lenses seem to have come from F. Kuhnert in the early 1950's (say 1950-1953) and were unique
to the Futura. The leaf shutter was a generous size to allow the faster lenses used, but even so the longer
sizes were limited, there being no 135mm so far as is known, though one source refers to a 100mm
viewfinder. (see B.J.A. 1954, p209, advert p595). Most of the lenses as well as the camera are illustrated in
the advert.
Ampligon
f4.5
35mm It was noted at No10,055.
Elor
f2.8
50mm Q15 type. This was the lens on the camera the B.J.A. noted above
and the camera there cost £48.00 + Tax £15.60.
Evar
f2.0
50mm (Fut001)
Futar
f3.5
45mm Triplet, Q14.
TeleElor
f5.6
90mm) The layouts are as Fut003. A 90mm was noted at NoT520x.
TeleFutar
f3.8
75mm)
Elar
This seems to be a Q15 type
Frilon
f1.5
50, 70mm Fut002 A 50mm was noted at
No40,00x.
'Gallo-Fox'
This may be a trade name, but is the only indication of make on an anamorphic lens engraved:
Gallo-Fox Anamorphic 16C No36,127 Lens made in Japan. It is in a focusing mount but is an accessory
lens so that the unit needs to be fitted to a prime lens. The squeeze is fixed, ? about 1:1.5 ratio. There is no
lateral offset so it will be toroidal in design.
Gallus, Courbevoie/Paris, France.
They were an older firm listed by FBB as the source of anastigmats on Jumelles made in 1925. Many lenses
were bought-in and sold under the makers name. Thus Gallus produced cameras in B.J.A. 1924, p679, using
lenses from Hermagis f4.5, Roussel Stylor f4.5, Dogmar by Goerz-Fourniez, and Berthiot Stellor f4.5 and f4.0
as well as Tessars f4.5 by Krauss and Zeiss Jena as well as Gallus lenses. In fact they say the "Ariston" can
be fitted with 'any other lens'. But there were also lenses listed as 'Gallus Paris.'
Gallus Anastigmat
f7.5
75mm on Jumelle 1925.
Gallus Anastigmat
f6.3
75mm same
Gallus Anastigmat
f6.8
70mm on 6x13cm plate. 1925.
Gallus Anastigmat
f4.5
72mm on 6x13cm plate. 1925.
Hermos Lens
f4.5
105mm This was on a Cady Lux 6x9cm folder in 1942- possibly an extension
of the above designs.
Later (about 1937?), they took over production of the Foth Derby camera (also see Foth), perhaps due to the
owner having left Germany under the Nazi era. Thus the camera and lenses aquired new French names and
equivalents.
Gallix lenses
These were for the Foth Derby replacement, the DerLuxe for 3x4cm in 1947 and may
be bought in items. The initial cameras had Foth lenses f3.5/50mm and these were in some sense Foth items
wherever they were made.
Gallix
f3.5
50mm on Derluxe, probably Q14, serial numbers about No847x and 12,93x
on Derluxe No484x. This was the French version of the Foth Derby as it originally was. (For an account see F.
Hens, Photographica UK, 87, p33.)
Gallix also on rollfilm cameras, again probably triplets.
Gallos, France
This does seem to be another make, not a misprint, as they supplied lenses for two cameras, a Korsten
stereo and a Jarret Stereo in 1902-1904, but there are no details here.
Galileo, (Officine Galileo), Milan, Italy.
The UK agent for the Gami 16 was Hudes Merchandising Co Ltd 52, Gloucester Place, London, W1.
This seems to be the trade name replacing Koristka, qv.
The earliest use of the Galileo name seems to be pre-war, on Koristka items, and the name seems to have
been adopted for all the products after WW2. They supplied numerous items for other camera makers, such
as Condors and Ferrania's make and were exported fairly regularly to the UK in the 1950's, and are seen from
time to time at sales. They also made their own GaMi16 as a premium product.
Monog
?Meniscus lens on Elioflex.
Reflar
Viewing lens on Summa report.
Reflars occur as f4.0/105mm and f3.5/65mm on this scarce camera.
Aerostigmat
f3.5
135mm on OMI (Roma) APR87 aerial camera. This was an early use of the
trade name Galileo, in the 1920's, and one item was mentioned at Serial No 258,86x, possibly on a 70mm
camera.
Another at auction was No258,86x on camera No87-0157.
Aerostigmat
f5.0
178mm (1935)
Aerostigmat
f4.5
210mm on OMI (Roma) AGR61 Universale.
"Univeral"
f4.5
300mm This was noted as a Universal, this is likely to be for the above
camera, and perhaps really an Aerostigmat.
Terog
f4.0
40mm on Ferrania Condoretta (1951) in Aplon shutter
Terog
f4.5
75mm on Astor (1952) at £22.55 + Tax £7.33. It was imported in the
Ferrania Astor camera and used an Prontor SVS shutter. (B.J.A. 1954, p196).
Esamitar
f1.9
25mm This was sold with a Tele Accessory 4x f4.0 max. on GaMi 16 (1953)
for 12x17mm format. It was a highly rated design, with close-up lenses as well. It was noted in MCM Sept
1955 as ex-Officine Galileo, Milan. It does not seem to have a serial number, although the tele unit does, eg
No42,82x, 42,85x.
Esaog
f2.0
50mm on Condor 11 and Rectaflex. One list gives Esiog, at No29,27x on a
Condor II at No214,44x. Also noted 22,96x on body 307,49x.
Esaog was later renamed as Etar or Esar. An f2.0/52mm was mounted to Rectaflex at No000,14x.
Tesog
f2.0
50mm (This may be an error in view of the next item.)
Tesog
f3.5
50mm This was noted at No10,04x at auction on a Gamma No10,04x.
Eptamitar
f2.0
50mm on Effebi M39 mount on Condor (1947), and Gamma.
This was another another prestige item.
Elionar
f3.5
50mm Koristka
Eliog
f3.5
50mm eg on Condor Junior 35mm and Condor I at No16,99x on Condor I
body No13,04x, and 045,754 on body No36,69x. Some other Condor 1 data is body/lens nos: No998x/14,24x;
---/22,63x; 15,19x/23,70x; 24,64x/41,84x; --/46,60x; 37,81x/45,50x; --/55/82x. Most are in Iscus (or Iscus
Rapid?) shutters but the last is in an Aplon.
[Delta Condor
f2.8
45mm No15,50x in Rectus shutter This was a single example Condor by
Delter at body No10,30x. This lens just may not be Galileo.]
Eliog
f2.8
50mm at No55,87x on a Condor 1 (1947) body No52,93x.
Galileo
f3.5
50mm
Ogmar
f4.0
90mm This was noted in a1952 list. They have been noted at Nos 95,63x on
a Gamma, 219,10x aand 219,21x.
Kor Victor
f3.5
on Gamma
Adlenar
f3.5
50mm (?) on Sonne. It was also on the F.A.F. camera(s) which are
prototypically rare (2-3 made only), eg at No2,11x.
Esacine
f1.8
75mm projector lens
Rectar
f2.8
50mm (Possibly special for Rectaflex)
Gamma, Budapest, Hungary.
They were noted for the lens for the Duflex and this was a 4glass/3 component f3.5/50mm first called Artar
and then Gammar in a bayonet mount with focusing scale to 40cm and preselect auto stop down iris. It is not
known if the design changed with the change of name. Known serial numbers are L 1,490,67x and L
1,490,85x, both of which are Gammar lenses.
Gamma, Roma, Italy. This was a camera and lens firm making the Victor Gamma body, fitted with an
Eptamitar f2.0/50mm lens at No228,33x. Also noted at auction with a f3.5 50mm Trixar, unnumbered.
Gandolfi, L., 752, Old Kent Rd., London SE: now Andover, Hants.,UK.
This camera maker listed a few items with their cameras, such as a telephotographic lens in a 1901 advert.,
but had no lens production facilities.
Derek Gardner, UK
This set of lenses would be bought in for sale in the D. Gardner shops and was first noted on an f3.5/200mm
with auto iris for M42. They flourished about 04/1973 when some 6 were listed all with auto iris for Nikon,
Minolta, Pentax only. They were described as "a new range".
f2.8
28mm
f2.8
35mm
f2.8
100mm
f2.8
135mm
f3.5
200mm
f4.5
300mm
Gasc et Charconnet, Paris.
They introduced Harrison's Globe lens to France as "Lentiforme de l'oeil" and they supplied details to
M.van Monckhoven for his book (p125). Many of their other productions were Petzval lenses. Lenses have
been noted with both Laverne and Gasc et Charconnet engraved on them.
The glasses in the Globe were crown ?1.53 and flint ?1.60, and Monckhoven notes that as the light is always
nearly normal to the air-glass surfaces there is a high correction of both distortion and astigmatism- it may in
fact be the first true anastigmat. But it suffers from spherical aberration severely and for sharp work needs to
be stopped to at least f36 and possibly f72- below this it sufferes from diffraction. It covers at least 75° and a
10cm lens covered 14x12cm format. It was freer from distortion than the Ross (Actinic) Doublet and increased
speed at a given aperture- and compared with the Periscopic it was colour corrected. It also tends to give dark
foregrounds in prints- (probably due to flare) and lacks brilliancy
Gaumont, France.
They were responsible for the Stereostigmats f10 on a Gaumont Photoplastic Stereo in 1931 for 6x13cm
plates.
Giroux, France
It is formally noted that Giroux engraved his name on the lenses for the Giroux cameras.
Glass, optical
Sources noted of optical glass and media include the following:
Silica, a useful low dispersion material.
Heraeus Gmbh. Hanau, Germany.
General Electric, USA.
Hanovia Chemical.
Glass Optical. see also Fraunhofer.
Bausch and Lomb, USA.
Benediktbeuren, see Fraunhofer, this was the exceptional optical glass works near Munich, which declined
after Fraunhofer's death.
Chance Bros/ Pilkington Glass, Widnes, UK.
Corning Glass, Corning, USA.
Harshaw Chemical, Cleveland, Ohio, USA.
Hayward Scientific Glass, Whittier, Cal., USA.
C.P.Goerz, Sendlingen, Berlin. (to about 1926)
Kodak, Rochester, USA.
National Bureau of Standards, USA (Development program).
Ohara, Japan.
Parra-Mantois, Paris, France.
Pittsburg Plate Glass, Pittsburg, USA.
Schott Mainz and Jena., Germany.
Waldstein, Vienna.(1840 -1858) under Jacob Waldstein (1810-1876). It closed as unprofitable. See
Voigtlaender section as well.
A collector has a real interest in the types of glass since some are harder and more resistant than others.
This is the reason for including data for the glasses used where it can be found as this may in time explain
why some lenses are far harder to get today in good order than others. All collectors will have a personal list of
lenses which seem always to turn up in scratched or worn condition but four might be:
50mm f2.5 Hektor, 50mm f2.0 Summar, 50mm f2.8 Xenar-S (1936-1940), 50mm f2.0 Xenon (1936-1940).
Others might be Primoplan, Biotar, etc. The front glasses of these do seem to be in the same group of
glasses though not identical. In general, the problem of wear and scratches is relatively small before 1886, as
the glasses were harder and very fungus resistant, and later damage decreases after 1960 as coatings and
possible anti-fungal treatments came in. Modern coats are harder than glass!
Victorian designers basically had only two types of glass- flint and crown, and very little freedom to make
corrections as a result. Thus van Monckhoven (1867) quotes Chance in England as supplying:
Crown Glass No1
R.I. 1.50
Dispersive power
0.039
Crown Glass No 2
1.52
0.04
Light Flint Glass No 1
1.57
0.0473
Heavy Flint Glass No2
1.64
0.055
Very Heavy Flint Glass No 3
1.64
0.059
Little other variation existed. Traill Taylor refers to some types going brown in light- possibly due to silver or
manganese present. Manganese was sometimes added to oxidize Iron(2) to Iron(3) as the brown colour
formed was less serious. He quotes a Mr T. Gaffield of Boston talking at the British Assoc. at Brighton in 1872
as showing discoloured samples. The problem included window glass from the roofs of studios. There were
novel glasses in the Victorian period which were tried and rejected due to discolouration and deteriorationthey were a high density one in particular. (see also the account of van Monckhoven's book under M).
The real revolution was the new Jena glasses from Schott & Genossen which were announced in the 1880's, a
real catalogue being available in 1886. By 1888 Schroeder and Stuart of Ross, Ltd London had patented the
Concentric anastigmat, and most firms had developed new RR's with faster apertues, etc.
We have heard of microscope objectives being made from natural jewels and crystals for their exotic optical
properties but this was seldom applied to photographic lenses as they needed to be bigger and perhaps lower
cost. But note that M. A. Claudet commissioned one from natural Topaz late in his life. Traill Taylor suggests
others were made and enough to be a known quantity, normally rather soft focus, as suggested by Sir D.
Brewster. The softness was due to undercorrected aberrations. Synthetic Sapphire samples are very pure
Al2O3 and lenses were in production in the 1980's, eg by Melles and Griot of Irvine, Cal. 92714, USA. It is
exceptionally hard and with useful transmission properties, from 150nm to 6microns but is hard to polish and
work: it is not known to have been applied in photography. (NB It is birefringent. Refractive Index about 1.77.)
Other optical materials are Pyrex, a low thermal expansion borosilicate glass, (sadly often less homogeneous
than glass and best for mirrors and optical flats), Silicon, (with a high refractive index and durability) and
Zerodur, a partially crystalline glass-ceramic with zero thermal expansion valuable for mirrors but not clear
enough for lens making.
Some of the older glasses with Thorium were deleted from lists many years ago (say 1960's?) and so were the
uses of Cerium with a content of radio impurities.
In B.J.P. 13/10/1978 the editor suggests that some sort of plateau in optical design was then present.
Postwar, there had been a period of rapid development in the 1960's as the computer allowed more rapid
searches for new designs. This lead to new lens design staff who were able to use them and while there were
breakthroughs, there was a tendency for designs to converge as all designers reached the same conclusions
in the end. But there was a possible progress due to new glass- but rather few laboratories researched this in
comparison. But in Photokina 1978, Schott announced two new features. One was multi layer coating so good
that absorbtion in the glass was now the main loss, especially in fast lenses such as f1.4 where much glass
was used. Thus they were improving the transmission and whiteness of glasses and making high R.I.
Lanthanum glass which was free from Thorium. Schott also announced a low dispersion glass, FK54 RI
1.435/disp 90.3. Such low dispersion glasses were not absolutely new: fluorite had been used but was hard to
make and too soft, and had poor temperature properties due to expansion, etc. And Nikon previously had had
a fluorite type glass used in their ED range of lenses. But it is likely that the Schott glass lead to much bigger
industry changes eg in Apo large format types as the price may have been such as to make them easier to
apply. [See ApoSymmar and others.]
By 1997, Canon as part of a environmental policy was avoiding the use of glass containing lead, initially in the
EF 75-300mm f4/5.6 USM lens, and this may develop as a concept in other plants and designs. (Noted by A.
Fuad-Luke in B.J.P.02/07/1997, p24)
The development of optical glasses by Schott and others was summarized by H.Morian, Schott ( in B.J.P.
04/01/1980 p6 ) with glass maps of R.I. v. Abbe number for glasses to 1975 and also the major Schott types
of glass, with R.I. up to about 1.96. One point made was that Schott did make small batches of rare earth and
Thorium containing glasses during WW2 but had problems with attack on the ceramic pots used for the melt
and only made them postwar (1949-1950) in quantity when platinum crucibles came into use. Subsequently,
the La glasses have played a major part, as he instanced in Planar and Distagon designs as well as others.
Up to 1976 Schott had patent cover on their FK glasses of low R.I. and high Abbe number, but this expired
and later 'ED' glasses appeared from the Far East. This must have been a valuable lecture here in shortened
form. (see also Zeiss)
Gaumont-Kalee: provisionally treated as part of the Rank Organization. See TTH.
Gauss, C.F. 1817.
A German mathematician who developed an air-spaced telescope objective with an air-gap like a negative
component between the glasses. (Layout Ga 001) It was little used as such but the basis of many later
designs. (Q16,Q17) Conrady notes that some distortion will be present in this type and suggest G1= 1.5733,
and G2= 1.5184(external glass) when paired. See also Clarke.
G. Gennert, New York, USA.
The firm sold Montauk cameras, possible bought in items, or with bought in lenses. One item noted was a
Heklar lens, possibly from Germany.
Gerlach, (Camera-Werk A. Gerlach) Wuppertal- Barmen, Germany.
They made several cameras early postwar about 1955-1956 as Ideal colour and Trixette. They often used the
name Nixon or Nixonar on the lenses, which were probably bought-in items, though there is little information
on this. They do not seem to have traded in the UK under these names.
Nixon
f3.5
45mm on Ideal colour 35mm.
Nixonar
f3.5
50, possibly also 45mm same.
Supra Anastigmat
f5.6
75mm, This was a 6x6cm camera.
German Lenses.
As a collector, one comes slowly to realize that the German lens industry was later to develop than the
English and French, and that it was partly triggered off by Steinheil and Busch- and partly by the move of the
Austrian Voigtlaender firm to Brunswick. But it owed a major debt to one group- the Carl Zeiss organization,
who developed new glasses at their associated Schott glass works, to make the anastigmats possible in the
1890's, and to Deckel who made quality shutters in reliable supply. There were others involved such as Seidel
who made optical design a German speciality for a generation, and designers such as Rudolph, Bertele,
Tronnier, Merte and others, but rather it was also the sheer bulk of the industry which evolved, and the size of
the Zeiss Ikon firm which could exist from the union of several fims of camera makers. This had the effect of a
road roller in many markets, and foreign competitors felt what the toad feels when run over.
In WW1, cameras for film were in use, eg on the Rumpler CVII, a fast high flying 2-seater, and the policy was
kept in mind for WW2. Note that postwar, in the background was an airforce which seems never to have fully
disarmed under the Versailles treaty and continued to train photographic reconnaissance staff in Russia at
Lipetsk from 1925, as well as in Germany at Wivupal from 1927. These activities provided a basis for the
growth of the Luftwaffe officially from 24/02/1932 and money was from then available to develop eg radios,
cameras and weapons. Lufthansa conducted 'route proving flights' from 1935, including over the UK, as a
means to aerial surveys. There are indications of limits on the supply of alloys, including brass, even before
WW2. A useful source on the German airforce over this period is E.R.Hooton 'Phoenix Triumphant'
Brockhampton Press, ISBN 1 86019 964 X published 1994 but photography has little part in it.
It is worth noting that during WW2 the Nazi government seems to have appropriated some German trade
names, so that a Heinkel factory in name had no real connexion with the Ernst Heinkel organization- this just
could apply also in optics for example to the Busch plant.
After WW2, the industry had to rebuild itself, and while the products could be excellent, the market had
changed. Germany still has a leading position in large format lenses and in lens design. But the unique
preeminence of lenses such as the old Sonnars is not matched today. Thus it is interesting that Germany
provides high value items for the collector both older in style such as the Hypergon wide angle, Meyer
Plasmats and Nicola Perscheid portrait lenses, and miniature lenses such as the Olympia Sonnar, Hologon
and Leitz Thambar, Hektors and Xenon. These are only a few among many and it is likely that fashions will
throw up new ones with time.
Sadly, one problem is repair and maintainance. The leading lenses can be hard to work on, and modern
balsams slow to dissolve. Thus the work is difficult, and work in Germany is extremely costly. Only Zeiss with
the Hasselblad lenses seems to have set aside repair material to replace worn external components at a
reasonable price, although after the war, Leitz seems to have offered the same service for the 50mm Elmar.
This must be a factor in deciding the value of some modern lenses when found in used condition.
G.G.S., Japan.
They were noted for the Luckyflex, 35mm TLR with Solar f3.3/50mm lens.
Giorno
This was an Italian lens on the Pliflex camera.
Glanz
Glanz has been noted as the name on a monocular and camera adaptors from Kanto Optical, Japan, for use
as a variable long focus and close-up device for SLR's. (noted 05/1964). They are well described in the Silber
Catalogue for 1966-7. There were 4 uses for a monocular and adaptor:
(a) as a wide angle telescope for 7x;
(b) as a 7x telephoto converter for an existing camera requiring only an extra adaptor ring;
(c) as a variable power 400-1000mm used with the special Glanz extension tubes which were a low cost
separate purchase; and
(d) as a variable telephoto lens for 350-1000mm with the teleshot adaptor. This was an elaborately engraved
adjustable unit with optical adjustment.
Naturally quite a range of camera adaptors were made to link the units up. On purchase it may be wise to try
and check that all the parts are there and get advice on how it works....
It was seen as a monocular Micro T-M Mark II 7x40 9.5° No204,63x which is fairly conventional but the front
glass focusses to 2.1m.
(Fig 022 013 Glanz Teleshot monocular on M42 Pentacon body.)
It unscrews from the focussing mount, or the eyepiece can stay on the mount. Possibly it is best as the
monocular version. The eyepiece is an unusually big one in diameter and probably is better corrected than
many- the field lens seems to be an achromat. There are separate helical focusing adjustments for the field
lens, eyepiece and 'macro' tube and on a camera, the image seemed of good quality but naturally not very
bright (f9-f16 apparently).
Glass
The older English glass was noted to be resistant to chemical attack, and found to contain boron (borate?) in
B.J.P. 22/02/1918, cited in 24/02/1978 p176. The glass was window glass of 1845 make.
Globus, New York, USA.
Globuscope f3.5/25mm on Globuscope panoramic camera.
Goddard
He was an innovative 19 century designer, respected by Traill Taylor who would have known him..
Portrait meniscus. This was a biconvex lens, with radii in the ratio of 1: 6, with the flatter outside the
camera, and with the iris well forward of the glass, for use over narrow angles. (see Traill-Taylor p43)
Non-distorting Periscopic (1859) It used a 2+1 layout.
Double Periscopic (1/1859) Traill Raylor knew these though they never went into production (?) It was
externally a double convex lens, but the layout was of a zero power doublet at the front with then a deep crown
rear meniscus. The stop was in front of the whole glassware. (ie i+2+1)
Goddards Triple Lens= Landscape Lens (1865) fitted for f22, f27, f40. 4-glass, (Layout God001). Traill Taylor
distinguishes between several types roughly God 001 but some with sets of casket type single achromatic
lenses to fit in front. He was a fluent designer in the Victorian tradition and left many types in his workshop at
his death with eg. plano concave in place of biconcave glasses in G3. G3+G4 were of zero power and served
to correct G1/2.
Combination Landscape. A set of achromatic meniscus lenses to screw into the front of the Triple Lens.
C.P.Goerz A.G, Berlin -Friedenau, Germany.
(Note Goerz spelled his name on lenses with an E, not an umlaut.
One of the old established (from 1886) German makers, responsible for several Landmark lenses such as the
Dagor, Hypergon and possibly the Syntor/Dogmar group. Goerz were able to make the transition from high
quality RR's such as the Lynkeiskop series to anastigmats due to accepting von Hoegh's offer of the Dagor
design, and he went on to design the air-spaced Celor and the Hypergon. Judging from how common these
Dagors are on the secondhand market, the sales were enormous, but many are now well worn and few are of
very large size, though big Dogmars for aerial use are known. By the 1920's the firm was less innovative and
Goerz died in about 1923, and the firm became part of Zeiss Ikon. The initial amalgamation was of ICA, Goerz,
Ernemann, and Contessa-Nettel in 1925 and then with Zeiss to form Zeiss Ikon on 15/09/1926. Goerz last
advertised separately in B.J.A. 1926, p737, the next year it being as part of the Zeiss Ikon advert on p699.
Note that Carl Zeiss was still a independant company, probably holding shares in Zeiss Ikon as an associate.
One result was that the Goerz optical glass plant at Sendlingen was converted to other products, so that lens
makers had to convert to using Schott glasses, often of rather different specifications. And production of most
of the Goerz lenses ceased, only a few Dagor wide angle lenses, Hypergons (rare) and Frontars being
continued. A notable product was the Hypar portrait lens. The highest lens serial number seen was No751,84x
on a Photometon lens, and this may be near the end of Goerz production. The lens stock on amalgamation
was sold off to an American dealer and for some 30 years, new Goerz lenses were available from his "lens
bank", some apparently being coated before sale by some early process. The USA and Austrian branches of
the Goerz firm were not included in the amalgamation, and continued in production using the Goerz name.
Incidentally, the late adverts.(B.J.A. 1925, p707 for example) show a range of products including film, plates,
cameras, lenses. Add in optical glass and the firm was clearly diversifying.
Carl Paul Goerz (1856-1930) himself was of humble origin, and worked initially for E.Busch at Rathenow, and
later other places before setting up in Berlin. He made photo apparatus from 1888, and collaborated with
Anschutz from 1890, initially making standard products like RR and meniscus lenses. These were designed
by C.Moser (1858-1892) who joined Goerz in 1885, and designed the Paraplanat (1888)and Lynkeiskop
(1890). Moser died soon after in 1892, and Goerz was open to a visit by Emil von Hoegh who described his
new double anastigmat and it was made, approved and a patent obtained. (No74437, 20/12/1892 or 1893). The
patent ran out in 1909, according to Frerk. Initially it was f7.7, but Eder says Von Hoegh later increased it to
f6.8. 30,000 were made by 1896, and patents covered all countries except France- an error due to an import of
an early Goerz sample. Goerz disputed the priority of the Orthostigmat and Kollinear lenses in Germany but
Steinheil was able to get rights on the other layout for the Orthostigmat, after a long dispute, and Voigtlaender
joined with him as they had already made all the preparations for the product when Steinheil filed his patent- ie
they might have invalidated it? So Steinheil and Voigtlaender shared it.
Goerz made prismatic binoculars from about 1899, under the trade name Trieder.
Pre-anastigmat types from 1886.
Triplet Landscape This was a lens rather after that of Dallmeyer.
Lynkeioskop
f6.5
Extra Rapid
RR, Q5, for 70° In 1908, this was the suggestion
still for outdoor groups and instantaneous work. The f7.7 below was the general purpose suggestion, where a
slower lens would suffice. It used Jena glass in the design.
The above could be Series A or B.
Lynkeioskop
f6.3
Series C
RR, Q5
This was seen as a substantial brass lens at No32,65x.
Extra Rapid Lynkeioskop f6.3/f6.5 ?also Series C
RR, Q5 Goe015. One coded series C NoI was
noted at No22,57x on a boxform tropical Anschutz. These were fitted to the original Ottomar Anschutz
cameras from 1889 as No2 of that date has a Series C No1 serial No 14,344. Another of these lenses noted
was a series C No1 Serial No10,47x, and a third at No1, serial No24,16x was to a 9x12cm Hesekiel reflex.
Later the Anschutz cameras fitted Dagors and Dogmars as with a f4.5/180mm No349,99x, as the extra speed
was valuable.
Fig 025 034 Goerz Lynkeiskop lenses (l) Rapid Wide Angle c11in No67,822 No6; (r) Extra Rapid c.11in
No32,658.
Rapid Lynkeioskop
f7.7
Series D
RR, Q5 for 62°.
Rapid wide angle
Lynkeioskop f7.7
Series E This was an RR, Q5, for 82°
This was the longest lived product, still being listed in the 1920's. It was made in 60, 90, 120,150, 180, 210,
240mm This was seen as a substantial brass lens, No6/210mm at No678,22x. It was noted also as 75mm
lenses on a Photo Stereo Binocle. (Fig above).
Wide Angle Lynkeiskop
f15
This was a true wide angle lens. One was noted at auction as a
Series 0 No22,62x probably about 1890 on a Mader Invincibel camera.
Rapid Paraplanat=
f7.5 This was an RR, Q5 This was also in the 1908 list and may have
differed in price as the Lynkeiskop was a premium grade item. It used Jena glass. The same lens may also
list as the "Paraplanat"? It may have had a series code not noted here.
Dogar
f6.3
300mm This was noted as a 300mm lens on a Linhof panel. It is an RR and is is
brass so fairly early, but there are no further details.
There may be some duplication in this list. These early Goerz lenses are impressive products to handle, and
not too common in the UK. Series numbers of anastigmats seen run from about No30,000 and up, so the old
types cannot be very numerous. These first lenses were all or mostly designed by C. Moser, who died in
1892.
Anastigmat Period.
One problem here is the numbering of the Series. The RR's series seem to have had a letter code and the
anastigmats were to have a number code. Here the future Dagor was certainly Series III and the slow version,
Series IV. The Celor was Series I and the Doppel Series II: but there are reports of Series OO from a reliable
source and there should there fore also be a Series O to find. Did Goerz use one series for an aperture, [as
Zeiss did] or for a type of design. But possibly this is too early to worry about such questions. First look at
the facts! Well, the series I does cover several of the same type of design. And the Series III seems to cover
both the f7.7 and f6.8 Dagors and the redesign So it seems the Series is design related here. So Series O
might just be Hypergon and then the thing is logical. But what is Series OO f6 with stops to f128.
Double Anastigmat Series 111 Dagor
This was the most important product for some years and today is probably still the most traded. It is worth
noting however that it comes in a number of ways and each has its value- and price.
Original Double Anastigmat f7.7 This was made in 3.5-35in, and was made from 1892. Later it was made
as 1.625-4.74-16.5in. The Layout is Dagor Q9, or Goe001. It was suggested to use 18cm for 13x18 at f6.8 but
it would cover 21x27cm closed down, and in general it covers 70-90°, and the f7.7 series was continued after
1900 in longer focus versions when the shorter versions were redesigned to work at f6.8- though there may
have been some redesign optically.
These were also made under license by Ross in London, the brass lenses being marked 'Goerz patent'. These
seem all to be f7.7 versions. Later the Series 111 was renamed Dagor and when the patent ran out, was
exploited by many firms. The initial design was by E. von Hoegh (1865-1915) who worked for Goerz 18921902, and Series 111 was Patented (German Pat. 74,437/1892 or 1993; Brit.Pat. 23,378/1892). It was
covered in all countries except France where the prior import of one lens prevented cover. The patent
describes a lens of f7.7 for 70°, or in a slower version, for up to 90°. The angle covered really rates it as a wide
angle (see W.Rice in B.J.A. 1900,p763) and 10x8 users can use 12in as a normal lens and 7in(180mm) as a
wide angle at f32.
The early lenses seem to be individual. Thus one seen at No82,57x was in a rather simple brass FIM and was
marked only 111/120m/m, without any 'Series', and has no f7.7 aperture, but rather is 3/5 and then 1 to 16, no
f. Another is graduated from 6 to 384 at No18,475, DRP74,437.
[Eder says v. Hoegh approached Goerz with only sketches for lens designs on paper and a promise that he
would do the calculations in a few weeks. The first Doppel was made for Nov. 1892, and the German Patent
was 20/12/1892, granted 05/05/1893, and v. Hoegh worked there till 1903, designing the Type B/Celor and
Hypergon. He was not a very fit man.]
There is some evidence that the Series 111 was first planned as a slower lens of wider field (see above), and
such a lens indeed was launched as a process lens, Series 1V. Goerz did not try to stretch the design to
faster lenses than f6.8 as others did, and this is probably due to these only giving good correction over narrow
angles. Series 111 was desirable both for the sharpness over wide angles and for the freedom from flare of the
simple design. It was probably better corrected than was possible with the 4-glass design Zeiss were using for
their original "Anastigmat" series and the patent noted that it was separable, allowing the owner to use the
components as long focus lenses at small apertures, though Goerz suggests at f16, and this still seems wise
today.
If one cell is in use, place it in the rear and expect about 1.73x the focus of the pair. The single cells are not
fully corrected, hence the need to stop down, especially if they are in use on a larger plate. Normally with
Dagor the two cells are the same focal length,and the range of shutter threads and thicknesses makes it hard
to make up "cocktail" lenses from two different pairs. It can be done with some of the 'Compound and Compur
0 mounted' Dagors, eg 100, 120, 125 and 150mm pairs, and the results look perfectly acceptable when closed
down a bit- especially at f16. At full aperture, the sharpness falls off away from the centre in a way quite unlike
a correctly mounted pair and the problem is not just a curved field. But this is rather the same effect as the
single cells deliver. (Competitors were able to sell non-identical pairs but they are scarce. The one seen was
an f6.5 for 6.5in, 10.5in and 12.5in, in a Koilos shutter of about 1910 with original iris scales for the 3 foci,
which suggests it was a commercial item even if a rather anonymous one. It performed rather like a real Dagor
made from a mixture of foci- ie nicely but best if stopped down. This may explain why such products were
scarce.)
The complete Dagor lens does suffer from some uncorrected spherical aberration and therefore tends to shift
focus on stopping down- something best controlled by composing at f6.8, but focusing at about f12 rather than
f8. The single cells do suffer from coma. It was developed in several ways. Production was some 30,000 by
1895. (Eder seems to suggest 30,000 in 1896 alone.) Conrady warns that the complete elimination of
distortion is not possible with this layout and suggests glasses were G1= 1.51497, G2= 1.56804, G3=
1.61310 (external when paired) but it is difficult to see which version he is planning. [Note that these differ from
what he lists for the Zeiss Series V1a).]
Fig 025 035 Goerz Doppel Anastigmat Series III (Dagor) early f7.7 (l) 180mm No18,475; (m) 210mm
No34,149; (r) 120mm No82,370.
Series 111 1900
f6.8
40, 60, 75, 90, 100, 120, 135, 150, 165, 180, 210, 240, 270mm in
1922. Longer sizes were made, eg 300mm in 1910. The increase in aperture was due to the use of new glass
in 1900, but the faster lenses were not made in all focal legths. The new version was still for 70-90° angle.
Thus 90mm will just about cover 5x4; and 180mm will cover 10x8in easily- and 168mm will but with rather thin
corners. But 75mm will definitely not cover 5x4in, and 180mm was traditionally the shortest on 10x8in in
professional practice. The new glass seems to be hard and wears well, but many are now yellow due to the
balsam colouring, and some cases of balsam failure have been seen. These lenses will be from 1900 to 1904,
when Goerz began to name their lenses. These still seem to be scarce in the UK. An example is No12926x in
a brass barrel, marked with D.R.P. 74,437, as a Series 111, No6 for 300mm.
Fig 025 037 Goerz Doppel Anast. Series III (Dagor) lenses (l) f6.8/210mm No101,701; f6.8/300mm
No129,262.
DAGOR Series 111
f6.8
40-900mm at least. It covered 70-90° in the B.J.A. 1925, p714 advert.These
are the type which is common but still desirable as sharp use lenses, usually in moderate foci, up to about
210mm, and often in early shutters- which can be a source of difficulty. Typically these in order of date are in
(a) Compound, (b) dialset Compur and finally (c) a few perhaps in rimset Compur, though many of these will be
swapped from older dialsets- not always desirable since threads can wear or be forced, and adaptors may not
be truly aligned! (DAGOR = Doppel Anastigmat Goerz).
The 1924/1925 adverts. lists it as:
At full aperture:
3.5in for 3.5x3.5in, 4in for 4.25x3.25in, 5in and 5.25in for 3.25x4.25in, 6in for 5x4in, 6.5in for 6x4in, 7in for
6.5x4.75in, 8.25in for 8x5in, 9.5in for 8.5x6.5in, 10.75in for 9x7in, 12in for 300mm, 14in for 12x10in.(B.J.A.
1925, p714)
These can be covered stopped down:
5in (125mm) for 6.5x4.75in; 5.30in (130mm) for 7x5in; 6in (150mm) for 8x5in; 6.5in (165mm) for 8.5x6.5in; 7in
(180mm) for 9x7in; 8.25in (210mm) for 10x8in; 9.5in (240mm) 12x10in 12in (300mm) for 18x16in; and 14in
(360mm) for 22x18in. All these coverages are stopped down, and the foci are nominal.
The design was reexamined and updated in 1908 by Zschokke who recomputed it with higher refractive index
glass in the centre elements, for improved astigmatism correction. (Brit.Pat. 13,902/1908). There is no obvious
sign on the lens to show this so it is hard to use as a buying feature but the shutter type (q.v.) might be a
guide- seek a Compound with a cable release socket or a Compur shutter. The lens was mounted in PIM,
SIM, and SFIM (focusing) mounts.
Zschokke noted that the marginal illumination of an f6.8 anastigmat, probably a Dagor, can actually exceed a
f6.3 aplanat. This is due to a combination of cos 4 theta attenuation, and cut off due to the mount, and the
latter is less in the Dagor. (B.J.A. 1925, p213-4).
The shortest noted was a 12.5mm f6.8 No558,57x on a Gennert movie camera at auction. This suggests that
other unusual foci may be found.
Tentatively Series 111 type lenses get less common after about serial number 300,000 but continue on larger
format cameras for architectural work (as with a f6.8/300mm at No368,69x)- which were not big sellars- and in
smaller sizes where they could double up as wide angles. But such late examples are not too easy to find and
are often in well worn condition. Many of the smaller lenses were mounted sunk into Tenax and other cameras
and are not really easy to adapt for use as wide angles on other cameras. One useful source is the Goerz
Tenax folders, and the VP size uses a 75mm f6.8 seen in dialset Compur at No484,33x. Transferred to a field
camera these cover 6x9cm but only part of 5x4in- about 3.25x4.25in for example.
It is interesting to look some of the prices of Goerz lenses. Here are some from lens lists and some where
they are fitted to cameras. There seems a big premium for the Dogmar f4.5 and to a less extent the Dagor.
Take the Manofoc Tenax in 1925, in 3.5x2.5in and 4.25x3.25in:
Lens used
Dogmar f4.5
Dagor f6.8
Dogmar f6.3
Tenastigmat f6.3
Kalostigmat f6.8
Format
3.5x2.5in
£14.50
£13.62
£12.75
£9.75
£7.87
Format
4.25x3.25in
£20.00
£18.25
£17.00
Lens alone
£9.00
£8.00
£6.25
An interesting fitting was to a Luzo 6x9cm as an f6.8/125mm at No158,01x.
Alexander Keighley was a famous user of a 'Unique' 1/4plate Goerz camera fitted with a Dagor lens.
Fig 026 001 Goerz Dagors f6.8 (l) Nos 354,808; (m) 344,361; (r) 210mm No271,782.
Fig 026 023 Goerz Dagor f6.8/180mm No82,080 in early brass shutter TBI type.
Fig 026 024 Goerz Dagor f6.8 in early Compound and Compur shutters.
Series 1V
f11
12-47in (30-120cm) It covers 75-90° , ie rather more than Series III.
Layout Goe014. These were process and copying lenses and seem scarce as they have not been seen. They
are said to have been designed for close up and not be fully flat field at infinity, but useful as wide angles in
spite of this. One list showed them as Series 1V f16, 30-120mm and a wide angle lens: and this may be still
another version, or merely suggest to use f16 to expose. It seems to have been available till the closure.
Wide Angle Dagor
f9.0
This was a later lens and was listed in 1924 in 75mm for 4.25x3.25in,
100mm for 6.5x4.75in, 125mm for 8.5x6.5in, 150mm for 9x7in, 180mm for 10x8in, 210mm for 12x10in, 240mm
for 15x12in all for stopped down use (Goe014) This lens can cover at least 100°, and 150mm is actually useful
on 10x8in when stopped right down. (There is a patent for an f9 wide angle anastigmat of this type to Goerz
(Brit Pat. 209,093 of 1922), using a low R.I. meniscus with a high R.I. flint for the biconcave and baryta flint for
the external biconvex lens. The design was aimed at reducing astigmatism at wide angles.) It seems to be the
precursor of some of the USA Golden Dagors, from the Goerz USA company. It was 'new' in the Photograms
1924 advert. ie was a 1923 introduction, and may have been a 1920's reinvention of the f11 above. The usual
version found in the UK is the 125mm, probably sold for 1/1plate, and seen at No597,53x, where 2 lenses of
nearly the same number are known, probably from the same shipment. The 125mm covers 1/1plate but is very
tight on 10x8in unless indoors, when the bellows are a bit extended and then it may just cover. Later versions
are in rimset Compur shutters and made by Zeiss- Dagor f9 was one of the few Goerz lenses Zeiss continued
after the amalgamation. The old stock of Dagors f6.8 were sold off to Burke and James and overhung the
market for many years, being referred to in USA as Berlin-Dagors to distinguish them from the USA products.
Measurements suggest the external curves of the f9 wide angle are slightly deeper than the f6.8 but these are
not really strikingly different. What is different is that the outer diameter of the f9 is some 10% bigger than the
f6.8 equivalent- and the inner glass diameter is reduced to near 25% less than the f6.8
This will improve edge illumination and the limit on the aperture will improve the sharpness and contrast to
some extent. What must be about the last f9.0 Dagors seem not to have been marked as "Wide Angle" and
were noted from Zeiss Jena at No2,802,51x in stereo pairs, possibly for air survey use in the WW2 as this
seems to be a 1942 serial number. They are not coated, and in non-iris barrel mount.
Fig 026 022 Goerz Berlin Wide Angle Dagor (l) f9/125mm No597,535; (mid) Zeiss Goerz Dagor f9/15cm
No2,214,787 in Compur; Carl Zeiss Dagor f9/21cm No2,802,518.
The Dagor design could be improved by air-spacing the inner two glasses, and Goerz/von Hoegh were
patenting these by B.J.A. 1900, p864. This lead to faster lenses but with more flare.
Hypergon
Hypergon (1900)
f22 to view/f32 to expose. It was made in 2.375, 3.0, 3.5, 4.75, 6.0in (Goe012)
A unique ultra-wide angle lens, with two deeply curved glasses only. It covers up to 140°, but with severe falloff in illumination due to the cos-4 dependance. In order to even up this, a centre compensator was fitted, the
disc being blown round with compressed air or touched round with a feather during long exposures. The idea
may derive from de la Crouce's device (T.R.Dallmeyer, Photo. Jnl. 29/03/1898). The suggestion was 1unit
exposure without the disc plus 5 units with it. Use 3in for 18x24 or 10x8in, and 6in for 20x24. So small
examples are far more useful! It is one of the most illustrated and collectable lenses and a certain Landmark.
It is free from astigmatism and aberrations from spherical and colour aberrations are not serious exposing at
f32, but the results today, while good, lack the bite of modern lenses. It may be best on colour blind film. The
aberrations correct mutually on stopping down so it does not need to be refocussed. Single cells of Hypergon
have been illustrated but were probably not used.
Fig 031 029 Goerz Berlin Hypergon f32/150mm No109,511.
Hypergon Improved (1911) There seems to be a period when the spinner was omitted, and the lens was
said to be "improved". It is now uncertain how significant this was, as the spinner was back in a 1920's
catalogue. Now it was "use 3in for 1/2plate", and it was still made as 60, 75, 90, 120, 150, 200mm (B.J.A.
1912, p713). The change may have been a marketing one as a B.J.A. 1912, p713/4 note says it is now being
sold for 110° where it would be easier to use. One of these probably was noted at auction as a 6cm Series X
No550,54x, and still had a spinner at this late date . It was still said to be for up to 140° in Photograms 1924.
Hypergon was said to be supplied later as from Zeiss, but these are very uncommon. Conrady quotes
Gleichen as using glass= 1.5105, a borosilicate crown.
A real point can be how to mount it. It came up in the old days, with the skyscraper cameras from Korona,
and the wide angle flat cameras from Kodak. There is a note in B.J.A. 1925, p245, on the removal of the whole
front panel of a 1/1plate camera so that a replacement with the Hypergon fitted can go in: the reason being
partly the small register and also the big aperture needed.
Other Symmetrical Anastigmats
Doppel Anastigmat (Layout Goe010)
Series 11a
f5.5/f5.6 This was a 5+5 glass anastigmat, with single components fully corrected for use at
f11.It dated 1895 or 1897, and sold from 1897, and it was patented by von Hoegh as Brit. Pat. 2854/1899. It
was usually sold as the Satz (ie Set) Anastigmat, as the Dagor was not sold this way (Lummer, p77). It does
seem overcomplex but the design was defended by Goerz and von Hoegh as good as the positive glasses
were set into the hollows in the negatives, helping the centering, which must otherwise have been a production
problem. This is a scarce lens in the UK, probably due to its original price. By 1901 it was no longer
advertised.
Series II This was the same as Series II but with two cells of the same focus, working at f5.5.
The glasses are (from the front outer glass) 1.61; 1.54; 1.52; 1.61; 1.51. The correction procedure is
discussed by Lummer- basically the surfaces are used one by one for the different aberrations.
Pantar Anastigmat
f6.3
86-276mm 4+4 glass lens. This was designed by Urban in 1903-4,
introduced in 1903, and is as seen in 1908 lists. The individual cell are fully usable at f12.5, and 3-focus sets
at about f8 max.(actually f6.3, f6.8, f7.2, f7.7) were available. (Layout Goe003). Cells were 150-480mm and
Pairs were typically sold as 86, 94, 104, 106, 118, 134, 153, 165, 172, 188, 205, 207, 223, 236, 241, 257,
276mm. Use 6in for5x4. Only 3 thread sizes were used to help interchangability, but this was likely to be
before shutters were much used. It was better corrected for coma than Dagor. It was said to cover 80-85° and
20.7cm was used for 13x18cm plates but covered 18x24cm closed down. Optically, the main advantage was
that the single cells were much better corrected and more usable than with the Dagor. An example at auction
was 9.5in on an Anschutz camera at No216,87x.
Pantar Satz eg 4 cell sets, No1 for 9x12, No11 for 5x4, No111 for 13x18, No1V for 18x24cm. It seems to be
introduced in 1904 under Patent German Pat 171,369/1904, Brit. Pat. 13904/1897 from a 1910 advert.
W. Zschokke designed the Pantar, along with the Alethar, Dogmar and Artar, working at Goerz from 1902 to
1920.
Note the trade name Pantar was revived many years later by Zeiss for another lens.
Dialyts
These have two separate glasses back and front as in Goe021, the air-gap between the glasses functioning as
one of the elements. The idea for this layout may derive from Taylor whose triplet could be a parent if the
centre negative was split in the middle- or from a symmetrical 3+3 design by making the centre glasses of unit
refractive index, ie air The latter was certainly the idea considered at the time. A factor was the rather shallow
curves used, and the angle was then astigmatically corrected for some 60-66°. Von Hoegh certainly
developed the Goerz versions Celor and Syntor and his designs were the basis of a major sales product as
they could be made faster than the Dagor, and used less glass! Most lenses of this type are not separable,
but Goerz were able to develop one type, the Dogmar, which was separable and was a fine and popular lens.
But the extra air-glass surface resulted in a greater flare level than in a Tessar, and the designs were dropped
when Zeiss Ikon was formed. Process versions were continued by Goerz USA at least as the Artar, and other
makers often used the general layout for high performance lenses. Goerz seems to have called them the "B"
series. Initially in 1898 they were merely series numbered, but were named from 1904, initially as Celor and
Syntor. The prices on a Goerz Ango press camera were for 5x4in, camera alone: 103Mk, camera with Dagor;
284Mk:camera with Celor; 284Mk:camera with Syntor; 229Mk: and camera with Pantar; 349Mk. This gave
Goerz a range of prices with quality lenses but note how high the prices of the Dagor f6.8 were in comparison
with the Syntor f6.8.
Series 1b Celor This was a lens where the maximum aperture varied with the focus of the lens in the same
series. Thus it can be found in f3.5 (for movie perhaps?) down to f5.5 in the longer sizes.
f4.5
60mm (Goe021) for 60-70° angle. This aperture seems to have been offered
later as 6-48cm, so that the f4.5 was the well known speed and was referred to in Frerk's book, but was then
out of production in 1926, though possibly sold under camera makers labels. Coma could limit sharpness
here.
f4.0
This aperture was noted on an Anschutz Plate, B.J.A. 1905.
f3.5
There are no details here but it may have been for movie use.
f4.8
90-180mm, use 5 or 6in for 5x4. These seem to be one of the more common
types, from old 1/2 plate cameras, in SFIM. It is rather too easy to buy these in mistake for Dagor as the
engraving is small and very hard to read on old and dusty lenses. They were Series 1B Celor at No261,46x.
One was noted on a 10x14cm Anschutz camera as a f4.8/168mm at No253,94x
Fig 026 007 Goerz Celors f4.8 (l) 180mm No333,440 in brass barrel; (mid) 180mm No 261,469 in SIM;(r)
150mm No199,110 in SFIM.
f5.0
210-270mm
f5.5
300-480mm
Here the lens is really the same, the different foci being made at different maximum apertures. These seem to
be the lenses suggested for Portraiture in f4.5- f5.5 in 1908. The slower f6.3 Celor and Syntor were the
suggestion for Groups and general work outdoors.
Apertures varied, in 1911 they were f4.5,2.375; f4.8,3.5-7in; f5.0,8.5-10.75; f5.5,12-19in.
Series 1c Celor
f6.3
9-27cm.(?) for 70°. This was especially for hand cameras.
It seems that Celor was initially issued as f10 also(?). These are rather surprising in view of the Syntor below
but may have had a marketing value.
Fig 026 004 Goerz Series 1C 180mm No137,445.
Series 1d Syntor
f6.8
4.75-12in Layout Goe004. for 68-70°. It was made from 1903, sizes
being 5.0, 5.25, 6.0, 6.5, 7.0, 8.25in. in 1911.
It was listed in B.J.A. 1905, p934, and still listed in 1924. Use 6in for 5x4.
Syntor was the lower cost but perhaps the finer lens apart from the aperture and still seems to be in Frerk's
1926 list. Goerz supplied several lenses very like Syntor under other names and this may have been
relabelling for the sake of the product. see Fig 026 025 Goerz Syntor 1D f6.8/125mm No184,845 in Koilos
shutter.
Syntor
f6.3
This was listed as 135mm for Taro-Tenax 9x12cm in about 1921. It may be a
short lived way to a lower price or to match some competitors lens.
Fig 026 005 Goerz Syntor Series 1D (l) brass 150mm No195,710; (r) Black 125mm No234,439.
Other Lenses.
Kalostigmat
f6.8
eg 130mm dialyt type (Goe016)
Fig 026 026 Goerz Kalostigmat f6.8/125mm No510,558 in dial set Compur.
Kalosat
f6.8
125mm may be same lens, new spelling. Seen at No572,40x.
Tenastigmat
f6.3
Dialyt like Goe004.
Fig 026 027 Goerz Tenastigmat f6.3/165mm No510,558 in Compound.
Tenastigmat
f6.8
100,125mm, new in c1913 on Taro Tenax, 1/4 plate and 4x6 cameras. Also
on Roll Tengor (Goe022) and on 1920's folders such as Glunz and Goerz.
Tenaxiar
f6.8
Dialyt low cost version.
Some of the above were replaced by the Dogmar as it was separable.
Dogmar
Dogmar A new dialyt series was announced in Photography 26/05/1914, working at f4.5 in the shorter foci.
Since it was very late prewar, most examples will be postwar. Adverts. stressed it was a very highly corrected
lens, but the major sales feature was that it was separable, the front cell giving 2x focus, and the rear one 1.5x
focus. It was said to be free from ghosting, and the f4.5 was initially made in up to wholeplate size, the longer
sizes being in f5.5. It covers 55° or 54° at full aperture, and 60° at smaller apertures. It was suggested to use
21cm for 13x18cm plate. The f5.5 covered a slightly larger angle (54-60°) and a slower version at f6.3 covered
a bit more again (60-65°). However it was not primarily sold for its angle of cover, and the slower version was
short lived, being replaced by the Tenastigmats, etc.
The designer was W. Zschokke, and it was covered under Patent 258,494 and sold from 1914. It is sharper
than Celor, and shows better edge detail than the Q15 type designs. [Zschokke then left Goerz after the
association as Zeiss Ikon, and designed rather similar lenses for Kern, possible perhaps due to the take over
by Zeiss Ikon and the absence of this lens type in the Zeiss lists.]
Dogmar
f4.5
60, 75mm for 2.375x2in, 90mm for 2.75x2.375in, 100mm for 2.5x3.5in,
125mm for 4.25x3.25in, 125mm for 4.25x3.25in, 135mm for 4.25x3.25in, 150mm for 4.75x3.5in, 165mm for
5x4in, 180mm for 6x4in, 195mm for 6.5x4.75in, 210mm for 7x5in, 240, 270, 300mm. Use 165mm for 5x4.,
14in for 10x8. (Goe005,009. Q26 type). Separable, 3 focus. It covers 55° and there is no suggestion of
improved cover when closed down. The other foci of the single cells were not detailed in adverts. (eg B.J.A.
1925, p739)
Fig 026 010 Goerz Dogmar f4.5/15cm No557,152.
f4.8
in 5in in 1912-1913. This was not noted in 1925.
Dogmar
f5.5
300, 360, 420, 480mm This was the same series as the above.
These were new in Photography, 26/05/1914. It is not in Frerk's 1926 list as such, nor in the 1925 advert.
Dogmar
f6.3
75, 90, 100, 125mm for 3.25x4.25in, 135mm for 4.75x3.5in, 150mm for
5x4in, 165mm for 6x4in, 180mm for 6.5x4.75in, and 210mm for 13x18cm.(Goe018) This was the slower
Dogmar in 1926, and covers 56°, or 65° closed down. The 100mm lens separates to give 163mm and 196mm.
An example was a f6.3/135mm lensNo411,76x in a dial set Compur No37800x (1919?)
A comparison with the preis data above for the Syntor and Celor on an Ango can be extended to the postwar
9x12cm Ango- no 5x4 was then listed in 1921, nor was there a "camera alone option". Prices were Ango
9x12cm with Dagor; 227Mk: camera with Dogmar, f4.5; 228Mk and camera with Dogmar f6.3; 230Mk. [The
logic of the last is not easy to understand, as normally the faster lens uses more material and needs to cost
more.] It was listed in the B.J.A. 1924, p739.
In use, an f6.3/135mm example was a very attractive lens, being really sharp but seeming to have an attractive
image quality. It did show increased flare but not enough to provide problems in normal use for B+W film and
the 135mm lens allowed considerable shift used close up on 6x9cm. One point was that the lens used was in
a dialset Compur which worked very smoothly, and the glass had formed a very fine natural blue self coating
which will have helped the contrast. (Old examples of Kallostigmat had not formed this type of coating, but
this may be chance.) Another was that it seemed very dim to focus on the ground glass screen- this was
probably due to the limited aperture as well as the effect of flare, but it did seem noticable.
Dogmar
f3.5
It was used on the f3.5 Tenax in VP and Ango-Anschutz camera in 1/4plate
in 1926 (B.J.A. 1926, p321 The f3.5 was seen as a 150mm lens at No631,xxx on a Press camera, this is a
late type for such use and the image on a ground glass screen looked crisp and clear- a good design for the
period.
A large Dogmar was on sale at Photographica 1988, probably an aerial survey lens, possibly from WW1.
Hypar This was the Goerz triplet and was made for portrait and general work in large sizes and for movie as
the Kino Hypar. The Kino versions are not especially sought after but the big portrait lenses are highly prized.
It was made as:
f3.5 in 12in for 6x4in; and 14in for 8x6in.
f4.5 in 14-24in This was a triplet, new in 1914 (B.J.A.) with a high degree of transparency due
to the thin glasses. It used very durable glasses. It was free from internal reflexions, and from astigmatism up
to 35° for f3.5, and 45° for f4.5 lenses. The B.J.A. described them as sharp over the angle used for Portraiture,
but with a certain quality which distinguishes them from the biting sharpness of the ordinary anastigmat.
Fig 026 013 Goerz Kino-Hypar f3/3,5cm No625,543.
A useful classification for the layouts of Goerz lenses was as Symmetrics and non-symmetrics, as follows:
Symmetrics (No of glasses in brackets):
Dagor (6), Syntor (4), Tenastigmat (4), Kalostigmat (4), Hypergon (2), Artar (4).
Non-Symmetrics:
Dogmar (4), Tenaxiar (3), Trilentar (3), Telegor (4).
Dogmar, Artar, Dagor, Hypar, Celor and Syntor were all available in the 1922 catalogue. Some lenses were for
Goerz cameras only, including Syntor f6.3, f6.8, Kalostigmat f6.8, Tenastigmat f6.3, f6.8, Axiar f7.7 (a triplet)
Trilentar f6.8 and Frontar.
Mollar These were front lenses =Vorsatz for close-up or to vary the focal length.
Telephoto Accessory.
This was noted in a 1911 list in 3 sizes for 1/4plate with 5in lens, 1/2plate with 7 or 8.5in lens and 5x4 with 6in
lens. It was made to take Dagor, Syntor or Celor lenses to match, the flange and focus varying but the
accessory taking any design of lens, provided the focal length was suitable. An illustration shows one on a
Ango in 1906 fitted with a Dagor. It was omitted by the 1922 catalogue, but another series was made as Type
V11b, which had a rack mechanism moving the rear glass back towards the film, relative to the flange. The
example seen was for a 50mm thread lens, possibly an 8.5in Dogmar, and was finished in black and scaled
for 3-8 (magnifications?).
Fig 026 016 Goerz Tele Accessory VIIb.
See also Telegor telephoto lens.
Telestarf4.5
150-330mm Telephoto type.
WW1
Kerkmann illustrates several WW1 and related cameras with Dagor 270mm, Lynkeiscope f7/480mm, Hypar
f3.5/300mm, and a naturalist camera with a f7.0/600mm lens. Also a balloon camera with a 300mm lens and
aircraft cameras with f4.5/210mm Celor, f4.4/180 Hypar and f3.5/300mm Hypar lenses. Big Hypars were
obviously in general use other than for portrait work. Goerz supplied two successive bomb sights, the GoerzVizier 219 and the Lotfernrohr (Lotfe) 219. Responsibility for the supply of these designs will probably have
passed to Carl Zeiss in the amalgamation.
Mainly post 1918.
A patent in the B.J.A. 1922, p323 covers a new triplet type (Brit Pat 158,902 of 1920).
Other lenses
Gotar Process
f6.8-f10 8-24in This was a dialyt type and was noted as a f8/480mm lens.
Alethar ProcessSeries V f11 300-1200mm in 1911. It covers 70-85°. It was noted in 1903-1911 at least. It
used a costly 1+3+3+1 layout, Goe006, to get high colour and spherical correction. Artar replaced as less
costly. It is a rare item as a result. Both Artar and Alethar were designed by Zschokke. (E. Jb.1904, p165).
Artar Process
This was a dialyt type process lens, listed 1914, with apo colour correction. The
outer glasses are noticably close together in the drawings. Layout Goe007. It was made as: f9.0, 300,
360mm; f9.5, 420mm; f11, 480, 600, 750mm; f12.5, 900,1200mm. H&D quotes up to f16/70in. max. It was
not in a 1914 list,and there was also a version at f16 apparently. Listed 1924.
Quartz Anastigmat
f6.3-f15 for UV work. This works as a well corrected anastigmat over 40°, and was
made in 120mm, f6.3;240mm f7.7. It is a dialyt and 240mm is for use on 24x30cm (about 10x8in).
Pantoplan
A symmetrical anastigmat, no details available.
Aerotar
A symmetrical anastigmat, possibly an air-spaced Dagor. It may be related to the next item.
Geodar
f7.7 for photogrammetry. It seems to be a new version of the Dagor, distortion free to
70°. It was made in 120, 150, 180, 210, 240, 300, 360mm; and 300mm was used for 10x12in at f7.7. Goe020.
(Geotar: possibly another spelling of the above?)
Rectagon
1922 lists show this as a 4-glass Gauss
Axiar
f7.7
Q13, this was a triplet for cine.
Projection Axiar
f3.2
Q3, This was a Petzval type projection lens.
Movie and Cine Lenses
Cinegor
f1.2,f1.525mm These were Cine lenses and as Projection lenses.
f2.0-f2.550-100mm
"
Projection Hypar
f3.5
40-210mm This was a triplet, Q14.
Kino Hypar
f3.5
35, 40, 42, 50, 75, 100mm These were Q14 triplets in the initial lists of 1914.
An f3.5/3in has been noted on a Badgley 35mm movie and as a f3.0/55mm at No568,62x on a Darling 35mm
in wood, at auction, so it can be quite early in movie history.
Kino Hypar Later versions were in: f2.7-f3.0
35, 40, 42, 50, 55, 75, 100mm.These were also Q14 triplets.
The KinoHypar was for commercial movie work, and is thought to be designed as a sharp lens. The examples
seen were Nos 520,86x and 625,54x, both fairly late before the amalgamation. It is reasonably common and
was often in f3.0/55mm on cameras from the 1900-1920 period, but is little sought after today. It is not known
when production began but it would probably be after the 1895 Patents ran out, say in 1910, unless TTH and
Voigtlaender sub-licenced it to Goerz.
Trilentar
f6.8
Q13, this was an unsymmetrical triplet.
Frontar
f9.0
This was an achromatic (crown + flint) meniscus in the 1920's, used on box
and low price cameras. (Goe017) The trade name lived on after the amalgamation for box camera lenses for
many years, at least to the 1950's. But it seems likely that the achromat was replaced by a single glass
meniscus. For collectors, the noted example is the Frontar on the VP Baby box of f9.0 45mm. The trade
name Goerz also seems to have continued on these for many years after the amalgamation.
f11 This version was on the box Tengor in 1931 (B.J.A. p285). It may be a single
glass design.
Hann lens
f9
11cm This was noted on a Goerz folding rollfilm from about 1925, but there is
no further detail.
Hypar This was the prewar lens continued and probably in new uses.
Hypar Portrait
f3.5
300, 360mm Q14 type, for 35-45°. This was a triplet with three equally
spaced glasses with the iris after G2, and are of softish focus. It covers 35° and a 36cm is used for 13x18cm
plates. These sizes were for CDV and Cabinet; Cabinet or Boudoir respectively.
f4.5
360, 420, 480, 600mm. (Layout Goe008) This was like the f3.5 in layout but
covered 45°. This was made in Cabinet or Boudoir; Boudoir; Imperial; and Imperial and Larger.
This lens was once used by Nicola Perscheid of Berlin, and the "poor correction" leading to softness may
be due to uncorrected astigmatism. The longer versions are rated at 45°, the shorter at 35°. It is suggested to
use 420mm for 10x8in. It seems to have been made from about 1913, and softness is controlled by stopping
down. Houghton's catalogue for 1914, p372.) It does turn up in USA lists but is far from common.
Kino Hypar- see above.
Tenaxiar
f6.8
This was a triplet or possibly also dialyt, made in moderate sizes for folders.
Telgor
f6.3
240, 300, 360, 420mm This was a 2+2 telephoto. Issued in 1922, this was
the Goerz answer to the TeleTessar, and much less common owing to the short time it was on the market. It
used two cemented and two uncemented glass pairs, and was a fully anastigmatically corrected lens. Frerk
says the 24cm was for movie use, and the 30cm for 9x12, 36cm for 10x15cm.
Telegor (same item?) f6.3
240mm for 18x24mm, 300mm for 9x12cm, 360mm for 4x6in and 16.5in
(410mm ) for 5x7in. This has an unusual design with a concave rear surface.(Goe011, Goe013, App011). Note
that Frerk refers to it as a Telegor, and shows one on a Nettel Press, as a black tube fitted to the front plate;
and it has this spelling in the advert. in Photgrams 1924.
Telestar: no information.
Choroscop This was an older type meniscus lens according to Frerk.
Photometon
f2.0
3in It was said to be used on Photometon self portrait booths.
This was seen in a "general" everset shutter and was probably Ernostar-4 layout.
Fig 026 012 Goerz Photometon f2/3in No751,811.
The Goerz optical department seems to have continued and made some lenses for Zeiss Ikon, probably
Frontar, Novar and projection lenses but the design department seems to have had only R. Richter as a
survivor, continuing designing for Zeiss. And the glass production and other facilities were turned over to other
uses.
Zeiss Ikon Werk Berlin Zehlendorf was coded dpw for items produced in WW2.
As a collector, the brass items seem to be of great interest owing to their excellent appearance and heavy
construction: Goerz was surely reasonable in challenging von Hoegh as to whether he could improve the
Lynkeioskops. Also Dagor and Hypergon are surely Landmarks. But the later black items often suffer from
loss of paint and worn shutters- but if in good condition, they are among the most usable of the old lenses,
especially the Dagors. Sadly it is rather hard to find these in short (<100mm) and really big (>240mm) foci and
it can be really hard to read the fine engraving on many Goerz lenses. The highest serial number yet seen was
about No751,xxx on the Photometon, and it was "made in Germany". A number of Dagor f6.8 lenses and a
Kallostigmat f6.8/125mm were noted in dialset Compur shutters, at serial numbers around 600,000-674,000
and these are numbers from seem to be about 1925. The Goerz serial numbers do vary, as if lens stock was
taken from store and fitted to shutters for sale.
Goerz/Compur numbers are: No365,099/660,361; 422/604,640; 550,298/674,xxx (obscured);
572,405/604,640.
Chronology
No chronology has been noted in the books seen. One problem is that many of the lenses are too early to use
the Compur shutter chronology. It just might run a bit like this:
1886 Kingslake gives this as the start of production of lenses to Moser's designs. (These were the RR series
called Lynkeiskop). The serial numbers from about N10,47x on early Anschutz cameras may be a guide to
about 1889.
1890 von Hoegh visits and the Series III later called Dagor starts production. (It seems likely that the products
were numbered in one series- this was how Voigtlaender did it and was natural where the anastigmat was not
licensed in and the record of numbers was not needed separately.) A Series III at No34,14x and a Lynkeiskop
at No32,65x and an Rapid Weitwinkel Lynkeiskop at 67,82x suggest intermingling and continued RR
production.
1895 Goerz say 30,000 Dagors were made by then, a rate of some 6,000 per year. This might suggest that
the number of Lynkeiskops made by 1890 would be only perhaps 3,000 per year or 12,000. If numbering
started at No1,000 this would give 13,000 in 1890 perhaps. It is reasonable to expect production to increase
with the Dagor in strong demand, and no doubt this did happen.
1897 Satz anastigmat on sale.
1899 The new design was the Type B, here later to be the Syntor and Celor.The lowest Type B number seen
is No137,45x, and it must be between the 1899 launch and the next event. Perhaps they began at about
No100,000.
1900 A Double Anastigmat was noted in a brass shutter which may be about 1902 at Serial number 82,09x. It
certainly looks an early shuttered item with a front bezel too narrow for easy engraving.
c.1900 The f6.8 Series III, as well as the Hypergon, were introduced.
1903 Alethar introduced
1904 Artar introduced, also Pantar.
1904 The use of trade names was adopted, such as DAGOR, Celor, Syntor. The lowest trade name lens seen
was 195,71x on a Syntor 1D; the highest "no name" was No153,76x on a Type B: but this is a date which
could be further refined. So lets guess 1904 is 170,000 for the present.
1906 A Syntor No184,845 has been noted in a Koilos marked "Patent angemeldet" = applied for. This is
surely an early Koilos, whose production began in c.1906.
1907 Pantoplan introduced.
1908 It is thought that the Dagor was redesigned with new glass by Zschokke and still as an f6.8 about this
year. This should be at about or just below No250,000 apparently.
1909 The Compound shutter was made with a radial adjustment for the TBI setting lever (ie 'vertical' movement)
and No 252,76x was mounted in one.
1909-1911 The Compound used a tangential ie horizontal adjustment but was operated by a pneumatic barrel,
and this was noted at No261,24x, say 1910.
1910 The Dagor production may have totalled 300,000 by now, but this seems high in view of the serial
numbers noted.
1911 Dagor No271,66x was put in a Compound here, while a Compur would be expected after about 1914. But
there is some suggestion that the Compur was introduced progressively, with some delays initially, probably
merely as demand outran supply.
1911 Dagor No323,98x is in a Compound with a Bowden cable release socket, introduced in 1911. Again a
Compur would be expected a little later.
1916 Dogmar introduced.
1914-1918 Kingslake suggests Goerz were heavily committed to the production of optics for the war in 19141918, and such items should be findable. There do seem to be binoculars for example.
1921 The Sendlingen plant opens.
1923 The first Compur shutter dated lens is a Dagor No422,72x in a 1923 Compur No606,640.
1925-6 Several lenses were noted in shutters at No630-660,000 from this period, the lenses being 550,572,000 approx. as above.
1926 End of normal production of Goerz lenses. But note there was major production of Novars and other
Zeiss Ikon lenses somewhere, and that the Photometon may be an odd case where a Goerz lens was
"made" later, possibly for sale in the USA as it is marked "Made in Germany" and is in an Ilex shutter. But
remember the trade name "Goerz" was used on Frontars for many years.
Fig 19 Goerz Lenses in Brass finish.
Includes:
Goerz Extra Rapid Lynkeioskop
Goerz Wide Angle Lynkeioskop
Goerz Doppel Anastigmat f6.8 at No c.74k.
Goerz Doppel Anasigmat f7.7 at No c.74k.
Goerz Doppel Anastigmat f6.8 at No c.74k.
Goerz Doppel Anastigmat DAGOR f6.8 at No c.344k.
Goerz Celor f4.8 at No c.333k.
Fig 20 Black Finish DAGORs
Exposure: Goerz Dagor f6.8/120mm
Back Row
In Compound Shutter.
In sunk mount
W/A in Compur by Zeiss-Goerz.
Front Row
In Compound.
In Compur (10cm).
W/A f9.0 by Goerz.
W/A Dagor by Zeiss Jena No2802xxx.
Fig 21 Other Goerz (Berlin) Lenses.
Exposure: Ross Xpres f4.5/5in
Back Row
Goerz TeleAccessory Type B NoV11b
Goerz Celor f4.8/150mm in sunk mount.
Goerz Dogmar f4.5/150mm
Goerz Photometon f2.0/3in (76mm)
Front Row
Goerz Doppel Anastigmat Type B f6.3/180mm
Goerz Syntor f6.8/125mm.
Goerz Tenastigmat f6.3/165mm.
Goerz Kallostigmat f6.8/125mm.
Goerz Syntor
Goerz Hypar f3.0/35mm
C.P.Goerz, Vienna, Austria.
This was one of the Goerz companies started early in the Dagor years, but apparently photographically
inactive until it appears as the source of a famous lens, the Helgor. Some WW2 production was coded bpd.
Helgor
f2.0
25mm on Goerz Minicord.
This was noted in MCM 3/1952. Auction examples have included No731x on body No7216, so the numbers
may run in parallel. In fact some may not be separately numbered or the body and lens numbers may be the
same.
An early number No143x was in black and supplied to Russia in 1951.Otherwise body/lens numbers noted
were:110x/110x; 1040x/10,47x; 143x/143x; --/423x; 731x/721x; 741x/--; --/15,00x/--; 15,27x/16,03x;
15,88x/15,52x; 16,19x/15/96x, 1603x/---.
C.P.Goerz, American Optical Co., Doughty Blvde, Inwood, Long Island, N.Y. USA.
In 1947, it was from 317 East 34th St New York, 16, USA (office and factory)
The USA company was founded in 1899 after the success of the Dagor was apparent at the Chicago show. In
the early 20C it ceased production, and was a sales agent for Goerz/Berlin and later again became an
independant American company with its own series of lenses. There is a slight feeling that after the Goerz
Berlin business lost its independance, the USA firm considered expanding in the UK. Thus there are adverts.
and notices in the B.J.A. 1930, pp347, 743advert. indicating the designs still available from the USA as it was
an independant company. These included Dagor f6.8, Dogmar f4.5, Cine-Hypar f2.7, with process lenses Artar
f9-f15 and Gotar f8. (Interestingly, the Goerz Frontar f11 was still advertised the next year on the Zeiss Ikon
Tengor, B.J.A. 1931, p285)
The company is said to have changed hands repeatedly, perhaps 7 times, including a period in American
Optical, and met competition from Berlin lenses held by Burke and James for many years. (L. Jones, View
Camera, 1/1996, p56). The Goerz company operated at several sites, including Long Island and Rochester,
and sometimes used bought-in optics or subcontracted the whole production. Some "Golden" Dagors are said
to merely be lenses quickly finished up in lacquer rather than paint. The last production seems to have been in
the 1960's, receivers then selling the assets to J. Schneider, who therefore own some interesting trade names
in the USA. They or Kern are said to have made some late lenses. In spite of all these stories, the Goerz/USA
lenses are highly rated, valued and sought after.
Dagor
f6.8-f7.710 foci 1.5-12in, 2 more later. Q9.(noted 1937)
It was designed and used as a general purpose lens, later coated.
One distinct group in dealers adverts. is the AmO or AOC version from the American Optical period, which is
often noted as such. This seems to be an older version, probably pre-war uncoated and pre-gold.
Gold is an emotive term in Dagors, and at least 3 types are noted: Gold dot, Gold Ring and Golden.
Golden Dagor
f6.8 It was made as 40, 60, 150, 210, 240, 270, 300mm and covered up to 87° in the
1960's form. Thus an 150mm sold for 5x4 was used on 5x7 and might cover 10x8 in emergency at small
aperture- much as the older Berlin version would! It certainly should be coated by then. It was noted at
No781,xxx in a 9/1955 advert. (Modern. Photo. 1960) These were coated in the 1950's, as "Gold Band"
(Layout Gus002, App012). These were available in Modern Photo 08/1978, p34 for use with Wistar 10x8in.
Super Dagor
f8.0
3.625, 4.375, 6.0, 6.5, in in 1940-50 period This was a wide angle for 100°.
Another source says 70°, but this may be too modest or at full aperture. Production ended, possibly in the
1970's.
Note the f8 Dagor is relatively common in USA lists and is sometimes featured as a wide-angle Dagor as in
3.625in (90mm approx.) and some only are Golden Dagors as well.
(Wide Angle)
?Same lens sold also as Wide angle Dagor.(1947)
Gold Dot Dagor
F6.8
6in, 8.25in and other foci.1963 onwards. A later product, possibly after a
change in company ownership.
Super Dagor- We have been told of a f5.6 version using an air-spaced Plasmat type.
Aerotar
f6.8
150mm This was an aerial survey lens and was noted in a B&J list.
Cine Paror
An early (1930's) anamorphic system.
Dogmar
f4.5/f5.510 foci made in 1930's.(Advert noted 1938)
This was sold as a fast lens for news, sport and as a convertible lens.
C-Dogmar
f4.5
150mm version for cine, C-mount.
Artar
f9.5-f16 4in and up, Dialyt, Apo correction.
There may also be a wide angle Gauss type.
Artar Apochromat
f9.0 as above, there may be an improved version. Thus there are "Goerz Optical Co
Inc" noted at 19in f11 No821,320" and "C.P.Goerz American Optical Co Apochromat Artar 30in f12.5 at
No798,824" in auction lists: both will be fine lenses but there is just a hint that the makers name has been
modified. In one list, it was made in 15 foci, 4-70in, 4 and 6in being for colour work, with 35mm movie where it
would be ideal if the speed was sufficient.
Red Dot Artar
f9.0
It was made in the 1960 period as 4.0, 6.0, 8.25, 9.5, 10.75, 12, 14, 16.5,
19, 24, 30, 35, 42, 47.5,70in. This seems to be a late version, apo, coated and a common and desired
process lens for 46° in USA and rare outside it. This type of design holds its corrections well in general use.
Red Dot commands a real premium over the plain Apochromat, of some 25% extra or more. (App013)
Trigor
A long focus process lens of high repute (or price) for 80°(?) eg 9.5in f6.8
in one advert. It seems to be a modern lens.
Tricolour Enlarging
Layout may be Gus001.
Gotar
f6.8, f8.0, f8.8, f10 for black and white, not colour, Q26, Dialyt.
It seems this was originally "Rotar" and renamed. It was sold for b+w process, commercial photography,
copying and enlarging, ie was a general purpose lens, but slower than most.
Hilgor
f5.8
180mm This seems to be a process lens?, possibly 5-glass Gauss or triplet.
It is interesting to compare the trade name with the Austrian Helgor.
Fig 026 019 Goerz USA Hilgor f5.6/180mm No834,969.
Hypar
f2.7/f3.0in 15-100mm for cine, movie. (noted 1947)
Hypar
f3.5 This version was listed in 1924 for large format use.
Apogor
f2.3 This was noted as 50, 75mm, etc(?) This was a high performance movie lens.
Tentatively it is a triplet type with 4g/3c in front of the iris and a cemented pair behind- approaching some
Ernostars perhaps. The example seen was a f2.3/3in coated, at No770,48x from the C.P.Goerz Am.Opt. Co. It
was covered by US Pat. 2,260,368. It was noted 1947.
Fig 026 017 Goerz USA Apogor f2.3/3in No770,480.
Apogar
This spelling was noted for a series of lenses suplied on the Cameraflex. This camera
was rather like an Arriflex camera, and was made in USA during WW2 in small numbers, but discontinued
after it.
Super Dagor
f8.0
35, 50, 75mm, coated movie lens, about 1951, for 16, and 35mm.
This was a "New" 6-glass type. In 1947, it was sold as a wide angle lens, with greatly extended coverage.
Rectagon
f6.3,
3in,posibly also f9.5 102mm It was listed in Modern Photo 9/1964, p26 exDefense, and in B&J's list about the same time but is less common than the Metrogon. It is a classic Gauss,
rather like the Topogon. It was used in WW2 as a wide angle aerial survey lens., for 90°, Gus003. This can be
used at full aperture.
A 1947 list was Dagor f6.8, Super Dagor f8.0, Dogmar f4.5, Artar f9-16, Gotar f6.8, f8.0, f10, Hypar f2.7, f3.0,
Apogor f2.3 movie. These lenses are scarce in the UK and only occasionally trade, often at high prices.
Goerz-Robinson
f9.0
12in No details, but this may be a process lens in a Robinson
camera
fitting.
Gorizont, USSR.
OO-28pi
f2.8
28mm on Gorizont panoramic camera, covering 120x45degrees.
Gotz, J.R., 215, Shaftesbury Ave. London, UK.
They were UK agents for Suter of Basel, at the turn of the Century, and not necessarily lens makers.
Channing and Dunn say he was active about 1885-1895, and especially about 1891 onwards with Suter's
lenses- which agrees with some Suter lenses noted secondhand today.
Graf Optical Co., Chacago, Ill.,USA.
This company was purchased by International Radio Corp., in 1938, apparently to make the Perfex lenses.
Graf seems to have been both a designer and a producer, and there may be confusion of different people here.
Graf Anastigmat
f7.7
40mm on QRS camera, (1930)
Achromat
f7.7
50mm
Graf Super Anastigmat f4.5 13in This seems to be roughly an Aviar type, and is a big studio lens in an
aluminium mount. It was seen at No4,61x, uncoated, in black and alloy, and was covered by (US?) Pat
No981,412. Note that this is related in design to the C. Graf soft focus below, but is itself a sharp lens giving
a nice detailed but rounded image. Just possibly the difference is in the lens mount which here lacks the long
thread needed to allow a softness adjustment. The front cell here is rather longer in focus than the rear, so it is
not really symmetyrical. It seems unlikely that the lens was separable as the single cells do not seem to
come to a fully sharp focus when used alone.
Fig 009 028
Graf Anastigmat f4.5/13in;
Fig 030 031
Graf Super Anastigmat f4.5/13in No4615 Pat No981,412. (Chicago Ill.)
Graf-Bishop Doublet
Soft focus
for 14 and 17in. This was a dialyt under corrected for spherical, for use as a soft
focus lens. (B.J.A. 1924, p277; Brit. Pat. 194,608/1922, see B.J. 27/04/1923). There is another in Brit Pat.
198,569 of 1922 for a wide aperture dialyt lens with a fixed rear doublet and a movable front doublet, so that
the separation of the 2 front glasses can be varied. It used as glass: crown for the outer positives and flint for
the inner negatives. Apertures of up to f1.9 in short foci and f3.5-f4.5 were planned. (B.J.A. 1925, p242)
Graf Variable Anastigmat f3.8 5.5, 6.5, 7.5, 8.5, 11, 14, 16, 18in. Layout Gra001 (This is probably the lens
in B.J.A. 1924, p276). The softness is controlled by unscrewing the front glass which gives a very soft lens
working at f4.5 due to the longer focus in use then. It may be the production lens of the above soft focus
patent.
Projection Lens eg as 2in.
Graf Super Anastigmat f8.0 475mm This seems to be a dialyt design for general purpose
photography.
Graf Anastigmat
f6.3
310mm for 10x8in.
see also Perfex camera lens.
Graf Economy
f3.5
35mm This was a D-mount 16mm cine lens.
Ariel lists several, such as f3.5/20mm, f5.6/20mm and f3.5/32mm, all on DeVry 16mm cameras.
Graf Perfex
f3.5
5cm This has no number apparently and was noted fitted to a Corfield
Interplan A body at auction. It probably had been transferred there from a Perfex camera.
Graphic, Rochester, New York USA.
Graphic were large format camera makers, founded as Folmer and Schwing in 1890 and using bought in
lenses, including Cooke, Kodak Bausch and Lomb and others. Later these were often Wollensak Raptars
rebadged as Optars, and some late lenses were from Rodenstock for the 35mm camera. (McBroom in View
Camera says for the 5x4 cameras the Optar lenses were all Wollensak but notes a f4.5/150mm Xenar, from
Schneider) and the last were f4.5/135mm Optars from Rodenstock in Graphlex 1000 shutters. Many cameras
were fitted with 127 and 135mm lenses for press use and these were not intended for use with movements,
the 165mm being sold for this use. The typical wide angle was the 90mm, wider lenses being rare and nonstandard. Longer lenses were offered but do seem to have had less use. Press photographers are very
resourceful and it is impressive what was done with the limited range of lenses often carried. Later a few small
cameras were made, or imported.
As Folmer & Schwing, the firm was old enough to use Graphic RR lenses on the 5x4in Cycle Graphic, but
without any sign of the source.
Large Format
Optar
f4.3
135mm
Optar
f4.5
127, 135, 162, 165, 210mm Q15 type.
Optar
f4.7
135mm The aperture may well be limited by the shutter, ie a f4.5
lens mounted in a shutter. Noted at No908,96x.
Optar
f6.8
Q15 This was a much scarcer lens.
Optar
f7.5
202mm, this was possibly a dialyt.
TeleOptar
f5.6
eg 202mm ex Wollensak Telephoto lens. 2+2 type
This has also been noted as 250mm (10in) and 380mm (15in)
Teleoptar
f6.5
270mm on 1967 Graphics a 2+2 tele.
Raptar Wide angle
f6.5
90mm
Optar
f6.8
90mm also as Graphlex wide angle Optar, eg at No907,176N which was
with a f4.7/135mm No908,963: thus N may indicate a redesign.
Graphlar
f4.5
101mm Triplet
Trioptar
f4.5
165mm
Trioptar
f4.5
103mm This was for 6x9cm. It was noted on a 6x9cm Graphlex along with a
Kodak Ektar f4.5/101mm RC173x of 1951.
Also Heligon f2.8/80; Tessar f3.5/100mm; and others.
for Photorecord 35mm recording camera.
Photorecord
f6.3
75mm in a Wollensak Alphax shutter. This seems to be a 4g/4c type, ?
dialyt? These seem to occur in UK from dismantling old assemblies, possibly ex-MoD.
Fig 031 017 Graphlex Photorecord f6.3/75mm in Alphax heavy duty shutter.
for Graphic XL
Super Angulon (Schneider)
Grandagon (Rodenstock)
Planar (Zeiss)
Heligon (Rodenstock)
Ysarex (Rodenstock)
Tessar (Zeiss)
f8.0
f5.6
f2.8
f2.8
f3.5
f2.8
47mm
58mm
80mm
95mm, also 80mm for 7x6cm especially.
95mm
100mm
Sonnar (Zeiss)
for 35mm cameras.
Graflar
Prominar
Graftar
f4.8
180mm
f3.5, f2.8 50mm from Rodenstock, for Graphic 35mm (1955-1958)
f3.5, f2.8, f2.0 on Century 35A, Century 2.8/35 and 35N, 35NE
f4.5, f3.5 50mm for 35mm use.
Greenpoint Optical Co, USA.
They supplied a pair of achromatic lenses with Waterhouse stops on a E. & H.T. Anthony 10x8in stereo
wood+brass camera .
Greens, 161, Kensington High St, London,W8.
In June 1965 they were selling the Steinheil 100mm f3.5 Cassarit and other Green's lenses for SLR's, such as:
200mm ?f4.5 and 135mm ?f3.5 as well as Green's extension tubes, teleconverters, a 4x Tamron optical
extender device, and tele and wide angle auxiliary lenses.
Grenier-Natkin, France.
He designed a prototype TLR with a Color-Planyl f3.5/75mm lens in 1954, but note that the commercial
cameras (Grenaflex) used lenses from SOM-Berthiot f4.5/75 and f3.5/75mm.
J.J.Griffin and Sons Ltd., 22, Garrick St, London.
They were and are dealers in scientific equipment and may have made cameras at East Molesley Works, but
it is doubtful if they made lenses until R and J Beck became part of the business in 1960, long after they
stopped making camera lenses. (But see a late coated Apo by Beck- it may represent a new aspect of their
production.) They did offer "Planiscope" supplementary lenses for RR and meniscus camera lenses for
close-up work in 1901. They were as "Wide Angle", "Copying", "Portrait", and "Telephoto" but the foci were
not specified.
Grimmel
They were noted for a Grimmel f3.5/50mm eg at No31,71x on a Gelto D-III for 127 film.
Grubb, T., later Sir H., Dublin and later St Albans, UK.
Agent in UK was: Wratten and Wainwright, 38, Great Queen St., London WC. and previously: W.Watson,
London. (noted 1886)
T.Grubb (1800-1878) was a "design and build" instrument maker, apparently beginning with billiard tables but
best known for his machinery for printing banknotes for the Bank of Ireland, and for astronomical telescopes.
He certainly made a series of camera lenses for many years, possibly to provide continuity of work for the staff
as the other jobs were large but spasmodic. His optical design was innovative, his first big lenses being a 15in
reflector telescope for Armagh Observatory, (1835) and finishing a Cauchoix 13.3in object glass, and
proposing a big achromat objective with the glasses separated by half the tube length to save on the size of
the rear flint glass. His Melbourne telescope however was somewhat of a disappointment. His son H. Grubb
(later Sir Howard Grubb, 1844-1931) worked with him, doing much of the travelling by the late 1860's. (He died
in the same year as Mr C. Parsons the head of Ross, Ltd. This may just have a bearing on the later formation
of Sir Howard Grubb, Parsons and Co.; for this date, see B.J.A. 1932, p332)
T.Grubb designed and patented the Grubb Aplanat, a new better form of achromatic meniscus, even though it
was near one component of the Ross-Collen lens (where Ross had envisaged its use separately as a
meniscus), and Grubb was 'disappointed' when Dallmeyer was able to patent the RR as he stated he had
used the design and that it was well known, the cells being like his aplanat. Their telescopes were refractors
up to about the 1880's but then Howard Grubb (1844-1931) turned to building reflectors and a 71cm refractor
of 1893 for Greenwich may be about his last). The last photgraphic lens seen was No520x from Howard Grubb
Dublin and is very finely finished in a lighter design with a perfect golden laquer and seems a different era to
the T. Grubb period. In general, Grubb lenses seem to have been used a lot, and several have become very
dark due to corrosion of the brass. They clean up well, but sadly, the surface of the brass is left pitted.
Later the firm moved to St Albans, England in 1918. Another move seems to have been to Newcastle, and a
1.9m Radcliffe telescope at the Sutherland Observatory South Africa, was probably made there by them in
1938.(Fin Times, 02/09/2000). As Sir Howard Grubb Parsons and Co they survived as premium grade
spectrometer makers into the 1960's at least, but it must be some time since they made camera lenses. (It
may be coincidence, but Lord Rosse who built a famous telescope in Ireland had a family name of William
Parsons so there may be a connection.)
Chronology
Early lenses are engraved 'Grubb', but by No 5,14x they are 'Howard Grubb'. Waterhouse slots only appear at
about No2,2xx and then not on all lenses, meniscus lenses lacking them at Nos262x and 272x but it was on
Petzvals later eg. at No3,66x. Some (early?) lenses have both a number, probably showing the "size" and a
letter possibly corresponding to the series or design. Thus "A" may be Petzval, "B" a symmetrical Patent
lens, "C" a Patent Doublet and "E" a Patent Meniscus: but B is also on a 10in meniscus so it may be more
complex. It was a long term code as Petzvals are A3 at Nos 118x and 366x. The patent meniscus may be a
Landmark. Hasbroeck dates an f8/8in Patent No2,603 as 1862- this is fairly definite as it is on the very first of
a camera patented that year. Another has been noted at No289x, so there were probably a number of sales
about then, but note the Patent may have been applied both to the meniscus and to the doublet types.
Doublet, this was rather as the Ross-Collen type, but an original design. This has probably not been seen by
us. It is mentioned in Traill Taylor, but probably was replaced by versions nearer the RR..
.
Grubb Aplanatic Meniscus (Single) This was sold from 1854 or 08/10/1857, and was sold for 40 years.
Gru001. B.Pat. 2,574/1857, also ?1968/1857.( B.J.A. 1886, p80) It was made in 3.75, 4.5, 6.0, 7.0, 8.0, 9.0,
10, 12, 15, 18in, use 8in for 5x4, 12in for 10x8. It was seen at No52x (6in?), 262x (7in?) and 2,72x (10in?), and
all are without Waterhouse slots, but use drop in washer stops, so these are likely to be early after the patent.
But note that Waterhouse slots are fitted on Nos222x and 118x, so the Landscape may have continued with
washers long after the Waterhouse slots came in for other items. The lenses are said to be of crown in front of
flint. In Gru 001 the two external curves seem about the same, but actually the concave is very slightly curved
and the positive notably stronger, but unlike Q2, neither is flat.
The mounts do vary: the 6in is in a focusing mount and may be from a stereo pair where such a focus would
be useful and this would explain the presence of two stop washers, both 7.5mm (f20) as if from a pair of
lenses where the f31's were kept in the other lens. And the 7in mount is rather like the 10in but does not have
the pull out extension tube.
Focus
6in (150mm)
7in (175mm)
10in
Glass Dia.
28mm
36mm
61mm
Ratio
0.19
0.21
0.24
Iris to glass
25.5mm
30.5mm
35 to 58mm
Ratio
0.17
0.17
0.13-0.22
The 25.4mm (10in) lens, No272x fitted a 74mmx1.1mm pitch flange, and illuminated about 1.0-1.1x the focal
length, so outside 260mm the image was notably dim. There was quite sharp fall-off as the iris is well in front
of the glass and the rim of the cell cuts off the light quite neatly. There is noticable pin-cushion distortion on
archtectural subjects but it is not serious on scenery. The image is sharp and really aggressively contrasty
and free from flare. The maximum aperture seems to be f14, and the stops then are at 1/16in intervals to give
f19.5, f23, f26, and f31 and at f31 the sharpness really covers the whole image area. (This suggests the sizes
were the drills on the workers bench set!) It is quite easy to focus at f14 and expose at f23 or f31 without
adjusting the focus- actually f31 was used. One point is that the stop is on a pull-out front unit extending by
23mm, and locking closed when slightly turned, which is possibly for compactness in transporting it, but it
might be possible to use the lens for a wider angle without pulling it out. Thus when the pull-out was only 1/3
of the normal (say 8mm), the lens seemed to illuminate the whole of 10x8in and corner sharpness seemed
useful at f31. The ratio of iris to glass of 0.22 when fully extended suggests this is greater than for the other
lenses and tends to support the idea that the extension could be used part way out, as 254 x 0.17mm would
be 43mm.
Fig 023 001 Grubb, Dublin Three meniscus lenses Nos 588 Pat., 2627 Pat E, 2729 B. Note the right one
focuses and the middle one has a pullout front to adjust the glass-stop distance, for about 1/1plate or 10x8in.
Stereo pair. The meniscus of 4.5in above was suggested for stereo and a pair may be used on a Mawson
camera
Single Aplanatic lenses- these may have been revised later.
Of the Aplanatic, V. Monckhoven says they give less distortion, are faster, less bulky, and have a wider angle
of coverage. The Waterhouse or rotating disc stop was standard in UK by 1866, but took longer to gain
acceptance in France. His translator adds that the Aplanatic was "old" when Grubb patented it and that Ross
had used it as early as 1842. A B.J.A. advert. for 1886 pxxxi lists them as:
5x4, 6in; 6.5x4.75in, 7in; 8x5in, 8in; 8.5x6.5in, 9in; 10x8, 10in; 12x10, 12in; 15x12in, 15in.
Aplanatic Doublet (Pair of aplanatics) eg 8.0in f8 seen. These were near an RR eg at No514x and 520x but
the latter seems faster, and it is uncertain how far they overlapped the RR. Bolas says they are as good as
the RR (p78) and that the chief credit for the RR really was Grubb's. In 1886 the list was:
1/4 plate, 4.5in; 5x4, 6in; 6.5x4.75in, 7.5in; 8x5, 8.5in; 1/1plate, 11in; 10x8in, 13in; 12x10in, 16in; 15x12in,
20in.
One of the above was also engraved by W.Morley, Upper St London as No1007x. It has a unusual design
feature, (common to bothof these Aplanatic Doublets) that the rear glasses seem to be permanently mounted
at the back of the barrel, rather than as is usual, mounted in a threaded ring. Thus for cleaning, the front is
unscrewed normally and the rear cleaned from inside.
Fig 023 003 Grubb Doublets (rear) Nos 2227, (l) 5148, (r)3465, and 5204, where 3465 seems a very fast
design- ie it will differ and may be a achromatic periscopic.
Petzval seen as eg f4.0, 10in approx. coded Grubb Dublin at No1,18x and No3,66x both with a slot for a stop,
so the Waterhouse idea came in before No1,18x. There is some roughness in the fit of the earlier of these
slots, and it just may be a retrofit feature. Compare the Serial Number with those for the other lenses specially
No262x. It seems that they went on with the washer type stop on the meniscus lenses after the Waterhouse
was introduced for the more costly Petzvals.
Fig 023 005 Grubb Petzval Lenses (l) a corroded one after cleaning (r) an initially better example as found.
Grubb Patent This seems to be an achromatised periscopic type, at No346x. A use may have been on the
Phantoscop of 1862.
A collection of Grubb lenses at auction was not itemized as to design, but included Nos 2,91x, 546, 2,45x,
1,85x, 2,72x with one unnumbered lens.
Achromatic Condenser Traill Taylor mentions an advanced 7 glass condenser probably for optical lanterns ie
slide projectors, of 1+1+2+2+1 design. It was T. Grubb period.
Fig 15 Grubb
Exposure: Dallmeyer RR
Back Row
Grubb Petzval Lens with Waterhouse slot.
Grubb Patent Doublet
Grubb Aplanatic Doublet
Grubb Petzval Lens
Front Row
Grubb Patent Meniscus E
Grubb Patent B
Grubb Aplanatic Doublet
Grubb Patent Meniscus.
(in focusing mount.)
Grun's Liquid lens.
A Dr Grun claimed a major increase in speed for the Petzval by filling the gap between the rear glasses with
liquid: there would be some due to the decreased number of air-glass surfaces, but this would be only 10% or
so, while the good doctor made big claims. These have been heavily questioned in print. (Photo. Miniature,
April 1901- Mar 1902, pp432, 433, 434, 435, 436; New Photographer, 25/07/1927, p406, The Jnl, 1990, p6). A
lens seen is engraved "Gruns Anastigmat" even though it is a normal RR as far as can be seen, so the good
doctor may have suffered even more damage to his repute than the above articles.
Liquid Lens: see also Archer and Goethe Blair, who used liquid elements in lenses (Bolas, p95, Am. Photo.,
28/06/1901, on an Apo lens by Blair, 1749). The idea of a liquid coupling recurred. (M.J.Gunn, 1936, Brit. Pat.
468227, W.E. Williams, 1937, Brit. Pat, 490381). Significantly, the use of liquid lens elements is now known
to be needed for really fast lenses of above f0.5, and when even f0.3 may be attainable.(Kaprelian,
J.S.M.P.E.,53, p86, 1949).
Guitton, France.
The name occurs in FBB on a RR for a Grieshaber 13x18cm camera in 1900.
Gundlach-Manhattan Optical Company, Rochester, N.Y., USA.
The company was founded in 1884 as the Gundlach Optical Co and bought the Manhattan Optical Co in 1902.
The catalogue is actually Korona cameras by 1920, and they also made binoculars and microscopes. Later it
traded as the Seebold Invisible Camera Co from 1928 and then reverted to Gundlach Manufacturing Co in
1935, and continued to trade to 1972. It was then purchased by D. Goldstein and traded as Dynamic Optics
Co and finally as D.O.Industries. A major feature could be the Ultrastigmat as far as lens collectors are
concerned. The owners were Mssrs Turner and Reich, E. Gundlach designing the T-R lens below. The
company seems to have specialized to some extent in portrait lenses, several types being made over long
periods. Few dates are available here as they did not sell much in the UK.
about 1890.
Gundlach Equal Diffusion Portrait f4.0
2 component, convertible soft focus.
Rapid Rectigraph
f8.0 6.25-26in. Use 13in for 10x8in. Noted 1890-1910 at least. This may
be an RR with improved colour correction. In 1890, the range was 5.5-17in. (Gun002)
Convertible Orthoscope No details, this was on a Manhattan Wizard Special No93 and may be some sort of
RR.
about 1895, 1907-1910
Turner-Reich Symmetrical Anastigmat a symmetrical 5+5 glass lens.
There seem to have been two designs, as the first (Series I) was not too successful, though both were 5+5
glass designs.
(a) This was made from 1895, but had poor sales. It was made to Brit. Pat. 9528/1895, 14 May '95. A few
examples have been reported in the UK so it must have sold or been imported on old cameras, but was not a
major item.
It seems that a lens seen at No80,076 as an f7.5 10.5in with cells 24in front and 18in rear at f15 and f22 max
respectively was of this 'Series I' type. It was possible to compare it with a Series II No4 of the size below with
an f6.8 max aperture, which has the same specification of foci. The glass diameters seem to be about the
same, and the external curves match very well- but the internal curves differ, the Series II being just deeper.
The Series II is in a bigger shutter, with more generous cells 53.3mm OD on larger threads, compared to
44.2mm OD on the Series I, with the engraved names round the front bezel of the Series II rather than on the
side of the barrels as on the early lens. The Series II seemed to give a rather crisper central image and the
edge was also sharper, though this could depend on the well used examples seen
(b) It was redesigned in 1906, to work at f6.8, and this was then apparently commercially successful. The
later type still has the same Patent date of 14 May 1895 clearly engraved (the engraving is small and not too
legible on the Series I lens barrel.) These are marked Series 11 and this became a leading brand in the USA,
but with modest sales outside it where it is scarce. If the first type was poor it may explain the questions
posed in some books about the value of 5+5 glass designs. Normally the charge is that it was hard to truly
centre all these elements to a high enough standard. Actually after seeing a Series I, there is a feeling that it
was the f7.5 aperture which was increased to f6.8 to form the Series II, and the change was made in order to
compete with other symmetrical anastigmats of the period.
Gundlach stressed the individual adjustment of each lens, and the uniformity of the correction and illumination
all over the field. They also classed it as both a general lens, a convertible (the individual cells being highly
corrected) and when needed, a wide angle. This was used to justify the high manufacturing cost of the lens
even though the final price was said to be lower than competing makes. Incidentally, the shutter calibrations
include a separate W.A. scale with a series of numbers from 1 to 6 or so. As a convertible the cells on that
tried could be removed to use either, and the results were at least useful stopped down, even though it was
fitted at the front as the threads were jammed.
Today it can look rather different. At least one verbal report said it to needed to be refocused at each aperture
at which it was used. (Gun001) (This comment is supported by a letter from E. Weston to A. Adams quoted in
Adams Autobiography, p204 about Westons 12-21-28in T-R lens, and Adams suggested to replace it with a
Zeiss Protar No6 (Series V11a) for 6 and 19in. To be fair the complaint here was limited to the 21in cell in
extreme close up with the camera (?10x8in?) at near full extension). In usethe pair gave sharp negatives on
10x8in films though examination with a glass did not show the ultimate in fine detail. And single cells of 28
and 21in gave good results closed down, but again these lacked the gritty fine detail of a 24.5in Protar VII
used for comparison. There was some sign of a change in focus on stopping down, supporting the advice
reported to refocus at the aperture in use. What is probably true is that it is a sound lens but one which was
over complex and hard to make as a result, so that lenses may have varied more than with simpler types.
Examples seen today are apt to have balsam separation at the edges and be yellow in color. This was
noticeable in the images. They are heavy due to the thick glass and this seems to mean stopping down is
useful to limit vignetting. The layout (Gun001) can be compared with the Watson Holostigmat (Wat 004) and in
imagination, the Gundlach design could be reached by splitting the outer two glasses of each cell in the
Watson and then refining the design. (It is not to suggest that this actually was the design route!) Now the
Watson has an excellent wide field of image and the external negative glasses of the Gundlach lens may
confer the same advantage. Certainly a 12in lens allowed the full movements of a 10x8 Gandolfi camera to be
used. Gundlach suggested 12in for 10x8 and 6.25in for 5x4 but these must have been chosen to allow
considerable movement as was then expected. Sharpness was better than expected in the samples tried in
view of the balsam problems. What is surprising is that it stayed in production nominally at least till after
WW2 (ie for some 55 years!) but the USA is a more truly conservative country than foreigners often realize. In
buying look for clear glasses, freedom from balsam problems- and the Ser 11 mark!
Series 1 no details.The original patent has not been seen.
Series 11
f6.8
5in [8+12in], 6.25in [11+14in], 7.5in [12+18in],
8.5in [14+20in], 10.5in [18+24in], 12in [21+28in], 15in [24+36in]. The foci of the
individual cells are given in brackets. Here the components differ in focus, and either can be used but the
longer is better placed in front at infinity. Unusually all the convertibles here are marked as f6.8 max. with one
exception below. There may be variants: thus one noted has an aperture of f7.0 as 12in and this may be where
the different cell foci can lead to a slower lens. An example was No83,12x in an Autex shutter. It is said in
H&D to cover 57° but this probably is conservative. It seems to have been used on a F&S Cirkut 5x7 camera
as a Series II No2 No118,63x.
The Turner-Reich was seldom listed in the UK, but it was listed in an advert. for the Korona Panoramic camera
for 5x12, 7x17 and 8x20in with Radar 110° extreme wide angle lenses in B.J.A. 1927, p779, and in B.J.A.
1926, p803 there are listings of the camera with the Turner-Reich f6.8 (for use?), Radar f4.5, Hyperion Diffusion
Portrait f4, the Radar f5.6 Telephoto and the Pancratic Telephoto lens- and the Ultrastigmat f1.9 for cine
cameras.
f7.5
15in (1920?)
Fig 030 032 Turner-Reich Series II (l) 10in +18 +24in and (r) 12in +21+28in set.
Series 111 In the Series 111 both the components are of equal focus, and about 2x the focus of the pair.
f6.8
6in -26in
In 1920, it was limited to 14, 17, 21in It was listed as a parallel product to the above Series 11. It was
suggested to use 12in for 10x8in, 14in for 12x10in.
There were also 3 and 4 lens cell casket sets of Series II. The makers stressed that to add one extra cell
added 3 new foci and was good value. Two gave a total of 10 foci in all, though some will have been rather
alike. Thus a set might be made from single cells of 14, 18, 24, 28in working at f12.5, and offer these plus
pairs of 14+18=8in; 14+24=9.5in; 14+28=10.5in; 18+24=10.5in; 18+28in=11.5in; 24+28in=13in working at f6.8
max. All the cells had to be the same shutter fitting of course.
A convertible 12in lens seems to have 19.7in f12 and 25in f16 cells.
Process Anastigmat Series V f9.0
14, 18, 24, 30in These were for process and general work, and were
suggested for use in longer foci above 15in. They had the same type of design as the T-R lenses above apart
from the lower speed. The 14in was suggested for 10x12in and the prices were appreciably lower at $93.75 for
14in compared to $133 for a Series111 in 14in.
Portrait Lenses.
Achromatic Meniscus f6.0
5.25, 7.5, 10, 13.5, 15, 16.25 or 16.5, 18in, the first 4 sizes being absent in
some lists. It is suggested to use 15in for 10x8in. This may be the oldest of the portrait line.
Portrait
f5.0
9, 12, 15, 20in Petzval type, Q3 probably. Use 15in for 10x8in.
This is the "Series A Gundlach Portrait Lens"
Portrait
f4.0
7.5, 9, 12, 14, 18in. , also f6.0, 24in.
This also seems to be a Petzval, "Series B Gundlach Portrait lens", use 14in for 10x8. The Petzvals are
said to be improved designs, but without detailing the change. They are not adjustable so are probably not of
Q4 type.
Hyperion Diffusion
Portrait
f4.0
7, 9, 12, 14, 18in Here use 14in for 10x8. ?Q5
This is separable, and a 12in lens gives components of 19 and 33in focus, at f6.3 and f11 respectively. It is
colour corrected so the softness must be due to uncorrected spherical aberrations. It is sharp at about f6.3 or
smaller. This might suggest a portrait RR type of lens.
Other types.
Pancratic Telephoto 6in
3-8x (ie gives 18-48in overall). This was a variable focus type of complete
tele, with 6 different positives.
Rapid Convertible
f8.0
6.25-26in (Layout Gun005)
Process Anastigmat f9.0
14, 18, 24, 30in
Extreme Wide Angle Series X
f18
3-10in This covers 90° on baseline, it was suggested to use 5.375in for
10x8.
Wide Angle Symmetrical
f16
4-8in It was suggested to use 8in for 10x8.
Radar This was essentially a Q15, but with a 3-glass rear component. This was made in big studio sizes.
(Gun06)
Radar wide angle
f16 This was noted as a 7.5in wide angle.
Verastigmat
4+4 This was a symmetrical Anastigmat.
Ultrastigmat (1916 )
f1.9
40, 50, 75mm for 35mm movie. The layout is roughly Ernostar-4, but is more
compact and anti-dates it. The Brit. Pat. covers 2 types with different separations to the glasses 1 and 2,
working at f2, and also considers a cemented pair for glass 4.(Brit. Pat. 187,082/1921 to C.C. Minor and
H.A.de Vry). This claims coverage of 80° if a doublet is used at the rear, and may be the first use of the layout
and a Landmark (Layout Gun004). The two front lenses are high refractive index crown with low dispersion
and the third is dense flint of high R.I. and high dispersion, and the fourth is a crown of relatively low
dispersion. They note there is a telephoto effect so the lens is 'short'.
about 1920.
Turner-Reich
Series 11 and 111 are still listed
Anastigmat Series V f9.0
14-30in. These were for process work as well as commercial photography.
These are also described as "Turner-Reich" lenses and may be the same product noted above continued to
the same design.
Gundlach Anastigmatsf6.3
5.25-12in
Gundlach Portrait Series A
f5.0
9, 12, 15in This was a Petzval with new type glass, and the aperture was
limited to give better performance as well. It was a moderate price lens.
Meniscus Portrait
f6.0
13, 13,5, 15, 16.5, 18in It seems little changed from the above. They
give a soft rendering with even distribution of the diffudion, and have a flat field. They were partly directed at
amateur users.
Rapid Rectigraphic RRf8.0
It was made in 6.25, 7.5, 8.5, 10.5, 12, 16, 18.5, 22, 26in, as before. It was
suggested to use 6.25in for 5x4. It was said to be very flat field and to have been used as a process lens at
least till the anastigmats came out.
RR
f8.0
It was made in 6.25, 7.5, 8.5, 10.5, 12, 16, 18.5, 22, 26in.This was a lower
price lens, and was said also to be of high quality. It was suggested to use 6.25in for 5x4.
Perigraphic Convertible
f6.8 also f5.6 These two apertures were for 6-16in, for 56°, so there may be
two types. They offered a lens at moderate cost but one which benefitted from a bit of stopping down, at least
to f8 and even to f16. H&D suggests it is a convertible of 3+3 glass design.
Emil Wide Angle Lenses
These were sold as cells, 4-8in.These would screw into the customers own
shutter, and would cover 4x5, 5x7, 1/1plate and 10x8in respectively.
Wide Angle Series X f18 These were made in 3.375, 4.625, 5.375, 6.5, 7.5, 9.0, 11in, and 5.375in covered
10x8in, 3.375in covered 5x7in. They were probably a version based on the Protar V. They covered about 80°.
Wide Angle Symmetrical
f16. This was made in 4.0, 5.5, 6.5, 8.0in. It was suggested to use 8in for
10x8in, 4in for 5x4. This will be a WAR.
Anastigmat Series 1V f6.3
5.0, 5.25, 6.5, 7.5, 8.5, 10.5, 12in and then to16in. 6.5in was suggested for
5x4, 12in for 10x8in. This was now a dialyt type and a simpler type of design. They were less expensive and
had good covering power.
Pancratic Telephoto It was formed of a 6in f12 positive cell, and a -3in negative cell and gave overall foci of
18-48in with bellows extensions of 8-23in. It seems to have normally been sold in a Victus blade shutter,
scaled directly in f numbers, and covered from 1/4 plate up to 10x8in, depending on the focus.
Gundlach Projection Lenses These were made for movie and slide projection but details were not given in
full.
Later, about 1940.
Gundlach Double
Anastigmat
f6.8
This was a Dagor type.
Gundlach Convertible f6.3
This was rather after the Protar V11 type.
Korona Convertible
f6.3
This was an air-spaced Plasmat type.
Radar
f4.5
3.5-18in. These have a 3-glass rear cell.(Gun003/Gun006.) These can be big
studio lenses such as 12in. for 10x8in. in one list.
[Radiar
This spelling may be an alternative for the above or for a similar aerial lens.]
Radar Process
f9.0 Dialyt type.
Radar Telephoto
f5.5
Radar Wide Angle
f6.3, 4-glass Gauss.
Turner-Reich
f7.7, 5+5 glass as before.
Hyperion Portrait
f4.0
7-18in, for 52°.
Projection (No trade Name?)
We think an early example seen was a Petzval, with cells usable for Landscape work.