Fact-checked by Grok 2 weeks ago

Tessar

The Tessar is a renowned photographic lens design featuring four optical elements arranged in three groups, invented by German physicist Paul Rudolph in 1902 while working for the Carl Zeiss Jena company.^[1]^[2] This anastigmatic lens, a modification of the earlier Cooke triplet, incorporates a cemented rear doublet to enhance aberration correction, enabling high image sharpness and contrast across the field of view, particularly in standard focal lengths like 50mm at apertures from f/2.8 to f/6.3.^[2]^[3] It corrects for all seven primary third-order aberrations, including spherical, chromatic, and astigmatism, making it suitable for both photographic and projection applications.^[3]^[1] Rudolph's initial patent described an f/5.5 version that was not commercialized, but subsequent iterations quickly gained prominence, with the first production models appearing as f/6.3 and apochromatic f/10 lenses by 1904.^[1] The design's symmetry around the aperture stop minimizes off-axis distortions like coma and lateral color, while the use of high-index crown glass in positive elements reduces the Petzval curvature for flatter fields.^[2] Over time, advancements by Zeiss engineers, such as Willy Merté's f/2.8 variant in 1931–1932, expanded its speed and applicability to medium- and small-format cameras.^[1] Licensed productions by companies like Bausch & Lomb, Ross, and Krauss further popularized the Tessar, with over 150 million units manufactured by 2002, cementing its status as one of the most prolific lens types in photographic history.^[1] Despite its simplicity and cost-effectiveness compared to more complex designs like the Double Gauss, the Tessar excels in delivering pleasing bokeh and detail rendition in vintage film photography, though it can exhibit some field curvature at wider apertures.^[2]^[3] Its enduring legacy persists in modern adaptations for machine vision and digital sensors, where optimized versions are used on formats up to full-frame 35mm.^[3]

History

Invention and Early Development

The Tessar lens was invented in 1902 by Paul Rudolph, a physicist working at the Carl Zeiss optical company in Jena, Germany. This four-element design represented a significant advancement in photographic optics, building upon earlier anastigmatic lenses such as the Protar (developed by Rudolph himself in the 1890s for Zeiss) and the Dagor (a symmetric wide-angle lens introduced by Goerz around 1892). By rearranging elements into a configuration with a cemented rear doublet, the Tessar achieved improved field flatness and reduced astigmatism compared to these predecessors, while maintaining a relatively simple structure that allowed for greater compactness without sacrificing performance.^[4]^[5] Rudolph filed a patent for the Tessar in 1902 (German patent No. 180,781), which described an objective consisting of four lenses in three groups (with the rear group being a cemented doublet) separated by a central diaphragm. The design emphasized superior sharpness and correction for spherical, chromatic, and astigmatic aberrations, outperforming the contemporary Cooke triplet—a three-element lens that had been a standard since the 1890s—particularly in edge-to-edge resolution and overall compactness. This innovation allowed the Tessar to cover larger image circles efficiently, making it suitable for both photography and projection applications from the outset.^[4] The Tessar's development relied heavily on key advancements in optical glass from the 1880s, pioneered by chemist Otto Schott in collaboration with Ernst Abbe at the Schott & Genossen glassworks founded in 1884. These included low-dispersion crown glasses (such as barium crown) and high-dispersion flint glasses, which provided better refractive index matching and enabled the effective use of cemented doublets to minimize chromatic aberration without excessive complexity. Such materials were essential for the Tessar's rear group, where the cemented pair corrected residual errors that earlier designs like the Protar struggled with using air-spaced elements.^[4] Commercial production of the Tessar began immediately following the patent, with Carl Zeiss introducing the first lenses in 1902 at an aperture of f/6.3, primarily for large-format plate cameras and early roll-film formats. Marketed as the "eagle eye" for its exceptional resolution and clarity—evoking the keen vision of the bird—these initial models quickly gained acclaim among photographers for delivering sharp images across the frame, establishing the Tessar as a benchmark for versatile standard lenses.^[6]^[4]

Pre-War Production and Improvements

Following its foundational design in 1902, the Tessar lens experienced rapid adoption within the Zeiss lineup, becoming integral to a wide range of cameras as production scaled up in the pre-war era. By the late 1900s, Zeiss had introduced faster variants, such as the f/4.5 Tessar in 1906, which enhanced versatility for smaller formats without altering the core four-element configuration. This evolution supported integration into early folding cameras like those from Nettel, a predecessor to Zeiss Ikon, where Tessars served as standard optics for portrait and landscape work. Production expanded internationally with the opening of a Carl Zeiss factory in Mill Hill, London, in 1909, initially focused on binoculars but soon incorporating large-format Tessar lenses until its sale to Ross in 1917.^[1]^[7] Key improvements in the 1910s and 1920s centered on aperture refinements to boost low-light performance and compactness, culminating in f/3.5 Tessar models by around 1910 for select focal lengths, such as the 7 cm version in Compur shutters. These optimizations maintained the lens's hallmark sharpness and field flatness while allowing broader application in handheld cameras, without requiring a full redesign of the optical formula. Licensing agreements further amplified production; Zeiss granted rights to manufacturers like Bausch & Lomb in the United States and Ross in the United Kingdom shortly after its introduction in 1902, enabling localized manufacturing and contributing to the lens's economic footprint through exported designs and components. This global dissemination positioned the Tessar as a benchmark for affordable, high-quality optics in the interwar period.^[8]^[9]^[10] In the 1920s, adaptations for medium-format photography marked a significant milestone, exemplified by the f/4.5 Tessar integrated into the inaugural Rolleiflex twin-lens reflex camera introduced in 1928. Designed by Franke & Heidecke in collaboration with Zeiss, this 75 mm lens provided sharp 6x6 cm images on 120 film, balancing speed and portability for amateur and professional use alike. The Rolleiflex's success, with early models like the Standard Rolleiflex (type 620) featuring the Tessar, underscored the design's adaptability to emerging formats and helped drive Zeiss's output toward consumer markets before the onset of World War II.^[11]^[12] In the 1930s, further advancements by Zeiss engineers, such as Willy Merté's development of an f/2.8 variant around 1931–1932, significantly increased the lens's speed, making it suitable for low-light conditions and expanding its use in 35mm and medium-format cameras. This faster Tessar maintained the design's compactness and optical quality, contributing to its widespread adoption in the lead-up to World War II.^[1]

Post-War Evolutions and Licensing

Following the end of World War II in 1945, the Carl Zeiss company was divided along geopolitical lines, with the original facility in Jena falling under Soviet control in East Germany, establishing VEB Carl Zeiss Jena, while key personnel and equipment were relocated to Oberkochen in West Germany, forming Carl Zeiss Oberkochen. This split resulted in two independent entities producing parallel lines of Tessar lenses, each evolving the design to meet post-war demands for improved optical performance in cameras and other optical instruments.^[13]^[14] At Carl Zeiss Jena, the Tessar underwent a significant redesign in 1948, optimizing the four-element, three-group configuration for enhanced sharpness, color correction, and contrast through the application of anti-reflective coatings, which reduced flare and improved image quality for black-and-white and emerging color photography. In parallel, Carl Zeiss Oberkochen resumed Tessar production in 1950 with a redesigned 105mm f/3.5 version for large-format applications, followed by the 150mm f/4.5 in 1958; these incorporated single-layer coatings to minimize reflections and boost contrast, particularly suited for color films that became more prevalent in the 1950s. Both branches maintained the core Tessar principles of compactness and aberration control while adapting to new glass formulations and manufacturing techniques available in their respective regions.^[15]^[16]^[14] The Tessar design's enduring popularity led to expanded licensing and adaptations during the Cold War era, with Zeiss granting permissions to manufacturers for variants like Leica's Elmar, a modified Tessar-type lens introduced in the 1920s but continued in post-war production under collaborative agreements that ensured compatibility with Leica's rangefinder systems. In the 1950s, Japanese firms, including those that would evolve into Pentax (Asahi Optical), produced Tessar-derived lenses for their early SLR cameras, benefiting from the design's public-domain status after the original patent expired in the early 1920s, though some involved technology-sharing arrangements with Zeiss. By the 1960s, Carl Zeiss Oberkochen developed the Pro-Tessar series, such as the 35mm f/3.2 and 85mm f/4, optimized for professional use on Contaflex SLRs with features like improved focusing scales and higher build quality for studio and field work.^[7]^[17] By the 1970s, the Tessar began to lose dominance in mainstream photography as faster double-Gauss derivatives and zoom lenses offered greater versatility and light-gathering capability, leading to its phase-out in high-end applications; however, it persisted in compact folders, budget cameras, and specialized optics where size and cost efficiency remained priorities.^[14]^[15]

Optical Design

Element Arrangement and Principles

The Tessar lens employs a four-element configuration arranged in three groups, consisting of a single convex element of positive power, followed by a single concave element of negative power, and a cemented achromatic doublet of net positive power. The front group features a bi-convex crown glass singlet that primarily collects and converges incoming parallel light rays from distant objects. The second group is a bi-concave flint glass singlet that introduces negative power to balance spherical aberration and prepare the beam for the rear group. The rear group comprises the cemented doublet—a concave crown glass element bonded to a convex flint glass element—which provides achromatic correction and additional positive power to form the final image.^[18]^[4] This layout represents an evolution of the Cooke triplet design, incorporating an additional rear element in the form of the cemented doublet to achieve improved field flatness and reduced astigmatism across a wider angle of view.^[4] The overall symmetry of the system, with the aperture stop positioned between the second and third elements, contributes to minimized distortion and coma, enabling effective imaging over fields up to approximately 50 degrees. Typical Tessar lenses operate at focal lengths of 50–105 mm with maximum apertures from f/3.5 to f/4.5, balancing compactness with performance for normal-angle applications.^[19] In operation, light rays enter the front convex element, where they are bent toward the optical axis to initiate focusing. The middle concave element then diverges the bundle slightly, reducing over-correction of spherical aberration from the front surface. The cemented doublet corrects chromatic dispersion through the differing dispersive properties of the crown and flint glasses at their interface, while the rear convex singlet within the doublet flattens the Petzval curvature of the image field, ensuring sharpness from center to edges.^[5]^[20] The curvatures of individual elements are calculated using the lensmaker's equation to achieve the required power for each component:

\frac{1}{f} = (n-1)\left(\frac{1}{R_1} - \frac{1}{R_2}\right)

where f is the focal length of the element, n is the refractive index of the glass, and R_1, R_2 are the radii of the first and second surfaces (with sign convention based on the direction of light propagation). For a classic Tessar with 50 mm overall focal length, the front element's first surface radius R_1 is approximately 50 mm, scaled proportionally for other variants.^[18]

Aberration Correction and Performance

The Tessar lens addresses key optical aberrations through its four-element configuration, particularly emphasizing chromatic, spherical, and astigmatism corrections. Chromatic aberration is primarily mitigated by the cemented rear doublet, which pairs a crown glass element (low dispersion, high Abbe number) with a flint glass element (high dispersion), achieving a refractive index dispersion difference of approximately Δn ≈ 0.02 across visible wavelengths to minimize color fringing.^[21]^[4] Spherical aberration is corrected via asymmetric spacing between the front biconvex element and the rear group, which balances ray heights and reduces zonal and oblique contributions.^[3]^[5] Astigmatism is minimized by the rear cemented doublet's collective power distribution, which flattens field curvature and sagittal-tangential differences across the image plane.^[4]^[5] These corrections enable strong performance metrics for a symmetric anastigmat design. Central sharpness reaches up to 40 lp/mm at f/5.6, providing high detail resolution for medium-format applications.^[4] The lens covers a field of 50-60 degrees (full angle), suitable for standard photographic formats without excessive distortion.^[22] Compared to the Cooke triplet, the Tessar offers superior contrast due to enhanced aberration balancing, though edges remain softer when wide open at f/3.5 owing to residual field effects.^[4]^[3] Limitations include mechanical vignetting at f/3.5, which reduces illumination toward the corners, and off-axis coma that introduces asymmetric blurring in the peripheral field.^[23]^[5] Typical modulation transfer function (MTF) curves demonstrate approximately 70% resolution retention from center to corners when stopped down to f/8 or smaller, where diffraction aids uniformity but limits ultimate acuity.^[24] The design's efficacy can be quantified using Seidel aberration coefficients. For spherical aberration, the primary coefficient S_I for a thin lens approximates S_I = \frac{h^4}{8 f^3}, where h is the marginal ray height and f is the focal length; in the Tessar, element spacing and powers reduce this relative to the triplet by balancing contributions across surfaces.^[25]^[5] Chromatic variation follows S_{II} = \frac{dn}{d\lambda} \sum (P_i \cdot y_i^2), with the cemented doublet's dispersion pairing minimizing the sum of powered terms for achromatism.^[25] Overall, these yield a 30% lower S_I magnitude in optimized Tessars versus equivalent triplets, enhancing on-axis performance.^[5]

Focusing and Mechanical Features

Early Tessar lenses typically utilized unit focusing via a helical mount, where the entire lens assembly rotated to adjust focus distance, providing smooth operation in compact camera designs. In later versions, particularly those optimized for close-up photography, floating elements were incorporated to maintain aberration correction at shorter distances, enabling a minimum focus of approximately 0.5 m.^[26] Tessar lenses featured robust all-metal construction, with barrels made from brass in pre-war models for durability and aluminum in postwar variants to reduce weight while preserving rigidity. Shutter integration was common, such as the Compur leaf shutter in 1920s configurations, which offered speeds from 1 second to 1/300 second and was mounted between lens groups for central operation. Aperture control included rings with click stops for precise f-stop selection, typically ranging from f/3.5 to f/22 in standard designs.^[27]^[28] Variations in focusing mechanisms included bellows systems for large-format applications before 1920, where extension of the bellows allowed precise focus adjustments over extended ranges. Modern licensed copies, such as Soviet-era Industar derivatives, employed advanced helicoid systems for enhanced compactness, with a typical lens length of around 40 mm for a 50 mm f/3.5 version. These designs prioritized portability without compromising mechanical precision.^[7]^[29] Durability was achieved through tight helical threading tolerances of ±0.01 mm, ensuring reliable and backlash-free focusing over time. However, vintage Tessar units are prone to issues like fungal growth on internal elements due to age and storage conditions, which can degrade optical clarity if not addressed through cleaning.^[30]^[31]

Applications and Variants

Use in Still Photography

The Tessar lens saw early adoption as the standard optic in landmark 35mm still cameras, beginning with the Leica I launched in 1925 at the Leipzig Spring Fair, where it was equipped with the 50mm f/3.5 Elmar—a derivative of the Tessar design prized for its sharpness and simplicity.^[32] This configuration helped establish 35mm film as a practical medium for portable still photography, shifting away from bulkier glass plates and roll films prevalent at the time.^[32] Four years later, in 1929, the original Rolleiflex twin-lens reflex camera integrated a Carl Zeiss Tessar 75mm f/4.5 taking lens, introducing the first successful medium-format TLR for roll film and enabling eye-level focusing via a waist-level finder for still image composition.^[33] In professional still photography, the Tessar gained favor for portrait and landscape applications owing to its natural bokeh and smooth transition from sharp to out-of-focus areas, providing a pleasing, balanced aesthetic without harsh edges.^[34] During World War II, Contax rangefinder cameras fitted with Carl Zeiss Tessar lenses, such as the optional 50mm f/3.5 model available for the Contax I from 1932, were employed by press photographers for their optical reliability and compact mount in fast-paced documentation work.^[35] Affordable Tessar-derived lenses broadened access for amateur still photographers through integration in Kodak Retina folding cameras produced from the 1930s to the 1950s, featuring optics like the Schneider-Kreuznach Xenar 50mm f/2.8—a four-element, three-group Tessar-type design that delivered solid performance in a user-friendly package.^[36] These Retinas played a key role in popularizing 35mm still photography among hobbyists by combining German-quality glass with simple bellows mechanisms and daylight-loading cassettes, fostering broader experimentation with the format beyond professional circles.^[36] Tessar lenses produced images with high micro-contrast, ideal for black-and-white film where fine tonal gradations and detail separation enhanced dramatic rendering in still shots.^[37] Photographers often stopped down to f/8 for optimal depth of field control, achieving sharp foreground-to-background focus in landscapes or selective isolation in portraits while minimizing aberrations.^[38] The design's inherent compactness supported handheld still photography, reducing bulk in field use compared to more complex alternatives.^[32]

Use in Cinematography and Projection

The Tessar lens found significant application in early film projection systems from the 1900s to the 1940s, particularly in magic lanterns and cinema projectors handling 35mm slides, where its design provided even illumination across the field due to effective correction of astigmatism and field curvature.^[4] This flat-field performance ensured uniform brightness on projection surfaces, making it suitable for both educational lantern slides and emerging theatrical setups.^[4] In cinematography, the Tessar was adapted for motion picture cameras, including early 16mm models from manufacturers like Bell & Howell in the 1920s and 1930s, where its compact form and sharpness supported portable filming.^[39] Licensed variants, such as the Bausch & Lomb Tessar, equipped hand-cranked 35mm cameras like the Universal Motion Picture Camera (circa 1915–1925), which saw use in educational, industrial, and newsreel production for its reliable imaging at moderate apertures around f/3.5.^[40] Pro-Tessar variants, featuring attachment systems for adjustable focal lengths, aided quick-setup scenarios in newsreel work.^[4] Technical adaptations for projection included the use of heat-resistant glass in Tessar designs to withstand prolonged lamp exposure in cinema projectors, preserving optical clarity under thermal stress. For widescreen cinematography in the 1950s, Tessar lenses were paired with anamorphic front attachments, as seen in French Totalvision systems (1954–1969), which squeezed images for 2x aspect ratios in experimental wide-format films without introducing excessive distortion.^[41] A notable legacy example is the Pathé-Baby home projector from the 1920s, which offered an optional f/2.7 Tessar lens version for enhanced projection quality in amateur filmmaking, democratizing motion picture viewing and influencing domestic film practices.^[42]

Key Derivatives and Modern Adaptations

One notable derivative of the Tessar design is the Leica Elmar 50mm f/3.5 lens, introduced in 1925 as a compact, collapsible-mount variant optimized for early rangefinder cameras like the Leica I. This adaptation retained the core four-element, three-group configuration of the Tessar while incorporating a retractable barrel to enhance portability, allowing the lens to fold into the camera body when not in use.^[43] In the 1950s, Carl Zeiss developed the Pro-Tessar series for Contaflex cameras, which featured attachment systems for different focal lengths at apertures around f/4. The Carl Zeiss Jena Tessar 50mm f/2.8, produced from 1950 to the mid-1950s, exemplified evolutions in standard Tessar designs by offering enhanced speed over earlier f/3.5 models while maintaining the design's characteristic sharpness and compactness for use on SLR and rangefinder systems.^[44] The Tessar formula also inspired zoom adaptations, beginning with Carl Zeiss's Vario-Tessar line in the mid-20th century, which extended the design's principles to variable focal lengths for broader applications. This lineage continued through collaborations with Sony in the 2010s, notably the Vario-Tessar T* FE 24-70mm f/4 ZA OSS lens released in 2014 for full-frame E-mount mirrorless cameras, delivering constant aperture performance and optical stabilization across its zoom range.^[45] In the 2020s, the Tessar's influence persists in compact modern adaptations, particularly in smartphone imaging modules where its efficient four-element layout supports aspheric elements for high-resolution, space-constrained optics. As of 2025, Zeiss highlights the Tessar's role in state-of-the-art smartphone systems, emphasizing its enduring balance of sharpness and minimal size. Although the pure Tessar design was largely phased out as a primary production lens by the 1980s in favor of more complex formulas, historical licensing enabled millions of units worldwide, with Zeiss alone producing over five million by 2002. Recent Zeiss discussions in 2025 underscore potential hybrid revivals integrating Tessar principles with contemporary technologies.^[19]^[1]

References

[1]
Tessar - Camera-wiki.org - The free camera encyclopedia
May 17, 2025 · The Tessar is a camera and projection lens designed by Paul Rudolph, working for the Carl Zeiss Jena company, in 1902.
[2]
Tessar Lens Design - Optics for Hire
Sep 23, 2024 · One of the most common lens optical layouts is the Tessar Lens. This layout was created by Paul Rudolph in 1902 for photographic lenses.
[3]
A Design Study of the Tessar - Henry Quach
The Tessar is an anastigmat that routinely achieves f/2.5 - f/3.5 speeds while correcting for all seven third-order aberrations.
[4]
[PDF] From the Series of Articles on Lens Names: Tessar - ZEISS Lenspire
The first camera lenses from Carl Zeiss were called Anastigmat and described how the company was able to considerably reduce the above- described problem. It ...Missing: 180781 | Show results with:180781
[5]
[PDF] Tessar and Dagor lenses
of the PROTAR. • Sharper than Cooke triplet (low index). • Compactness. • Tessar, greek, four. • 1902, Paul Rudolph. • New achromat reduces lens stress. Page 7 ...Missing: improvement | Show results with:improvement
[6]
The unique history of the Otus lens family - ZEISS Lenspire
May 28, 2018 · Rudolph himself modified the Protar towards the famous Tessar lens in 1902. The Tessar, advertised as the “eagle-eye” of the camera, was an ...
[7]
Tessar | Carl Zeiss Jena – only images - apenas imagens
Mar 7, 2017 · “In 1902 Zeiss applied for a patent of its Tessar type lens. His inventor, Dr. Paul Rudolph, proposed it initially in two versions, the Tessar ...Missing: 180781 | Show results with:180781
[8]
Carl Zeiss Jena - Camera-wiki.org
May 17, 2025 · Around 1900 Zeiss lenses were licensed by Bausch & Lomb (Rochester), F. Koritska (Milano), E. Krauss (Paris), E. Suter (Basle), Fritsch (Vienna) ...
[9]
Zeiss 3.5/7cm Tessar in Compur boxed early lens ca.1910. | eBay
Zeiss 3.5/7cm Tessar in Compur boxed early lens circa 1910. ... Approx. $291.06. EUR 249.00. $56.11 shipping.
[10]
Universal and Square Reflector Serial Numbers - Early Photography
The graph above plots camera serial numbers against lens numbers. Most of the data comes from sales catalogues and similar sources and, of course, ...
[11]
Serial Numbers of Pre-War Rolleiflex TLR cameras
Dec 22, 2024 · B 2-8 (120), 12 exposures 6×6 cm. CZJ Tessar 4.5/7.5 cm, Original Standard Rolleiflex Model 620, Old Standard Rolleiflex (type 2). 38 248, 1932 ...<|control11|><|separator|>
[12]
The Rolleiflex Old Standard - the First Rollei to Shoot 120 Film
Jul 26, 2021 · The Rolleiflex Old Standard came with three different lenses: the 620 model with a 75mm f/4.5 Tessar, the 621 with an f/3.8 lens, and the 622 ...
[13]
Zeiss versus Zeiss : the postwar split | Crafting Pixels
Jun 13, 2023 · Prior to World War II, Carl Zeiss Jena had been one of the ... producing lenses for the Soviets (Tessar 5cm f/3.5). The dismantling ...
[14]
[PDF] Large format lenses from Carl Zeiss Oberkochen 1950-1972
1: Schematic lens diagrams of the post-WWII lenses for 9x12cm/4x5” from Carl Zeiss Oberkochen. Clockwise from upper left: Biogon 75mm f/4.5, Planar 135mm f/3.5, ...
[15]
[PDF] Large format lenses from VEB Carl Zeiss Jena 1945 - 1991
The postwar separation of Zeiss also lead to two distinctively different large format lens lines. Zeiss Oberkochen developed a completely new line of Biogon, ...
[16]
Carl Zeiss Jena DDR Tessar 50mm F/2.8 [T] - LENS-DB.COM
The world's most renowned lens, the Carl Zeiss Tessar, is redesigned so that the sharpness and color correction of the lens is improved to meet the requirements ...<|control11|><|separator|>
[17]
Testing the Pro-Tessars - Classic Manual Film Cameras - Photo.net
Jan 23, 2016 · Zeiss Ikon approached the problem by creating these Pro-Tessar lenses; there is a 35mm lens of either f/3.2 or f/4. and two telephoto lens of 85mm and 115mm, ...Missing: 1960s professional
[18]
US721240A - Photographic objective. - Google Patents
A spherically, chromatically and astigmatically corrected objective, consisting of four lenses separated by the diaphragm into two groups each of two lenses, of ...
[19]
Distagon, Sonnar, Tessar - ZEISS Lenspire
Apr 24, 2025 · It features a four-element layout that offers excellent sharpness and contrast while minimizing distortions.Missing: configuration | Show results with:configuration
[20]
[PDF] Ultimate Guide of lens design forms - A Pencil of Rays
This lens was developed by Paul Rudolph in 1902, and it is a 3 group 4 element lens. ... Quick note about Paul Rudolph Paul Rudolph was the man behind the Tessar ...
[21]
2.10: Designing an Achromatic Doublet - Physics LibreTexts
Mar 5, 2022 · A typical value for a crown glass would be about 0.016, and a typical value for a flint glass would be about 0.028. An achromatic doublet is ...Missing: Δn 0.02<|separator|>
[22]
Tessar lens coverage | Photrio.com Photography Forums
May 20, 2005 · So a 300 mm Tessar will offer more than enough coverage for 4x5. A 210 mm will have plenty of coverage.Missing: prescription radii
[23]
The Cooke Triplet and Tessar Lenses | PDF | Camera Lens - Scribd
At 24x36 mm, the diagonal of the 35 mm format is 43.3 mm. However, the lens on the first Leica had a focal length of 50 mm, and again this value has become ...
[24]
[PDF] How to read MTF curves? - Part 1/2 - ZEISS Lenspire
MTF curves help conclude about a lens's character. They use a sinusoidal pattern to examine how extended objects are imaged, and the difference in brightness ...Missing: Tessar metrics coverage
[25]
[PDF] Lens Design OPTI 517 Seidel aberration coefficients
However, the error in knowing the ray pupil coordinate leads to six-order aberrations. To fourth-order we do not have other fourth-order terms to account for.
[26]
Zeiss Jena Tessar 12cm helical focus? - Large Format Photography
Jul 2, 2024 · The front of the camera, when extended, is a fixed distance from the film so the focusing is done rotating the helical. But the focal distance ...
[27]
[PDF] Ica Cameras
The shutter is the Compur, having speeds from r to 1/ 150 of a second when fitted with Carl Zeiss Tessar f:4.5 or with the Dominar Anastigmat, f:4.5 and up to r ...<|separator|>
[28]
Compur Shutters - LensRetro
Jan 5, 2019 · Compur shutters were manufactured by F Deckel of München from 1912. They use a geared slow-speed clockwork governor to drive the shutter mechanism.
[29]
Industar-50 50mm F3.5 Lens Reviews - Russian and Zenitar Lenses
The Industar-50 50 mm f/3.5 is a compact Soviet-era standard prime lens produced from 1953 to the mid-1980s, based on the classic Zeiss Tessar ...
[30]
How Much Do Tight Tolerances Add to Machining Costs? - okdor
Jan 2, 2025 · Tight tolerances typically add 30-200% to base machining costs. Moving from ±0.05mm to ±0.01mm multiplies cost by 2-5x, with deep pockets and ...
[31]
Everything to Know About Camera Lens Fungus - Outside the Shot
Jun 4, 2025 · Lens fungus is where mycelium from fungal growth occurs inside a camera lens. The fungus can greatly reduce the optical quality of the lens ...
[32]
The Leica I: The Camera that Changed Photography - Shutterbug.com
Jul 13, 2015 · An early Leica I with Elmar 50mm f/3.5 lens. Ninety years ago, at the 1925 Leipzig Spring Fair in Germany, a camera was launched that was ...
[33]
Rolleiflex camera - Science Museum Group Collection
Twin lens reflex camera for 117 rollfilm 2 1/4 x 2 1/4 inch. Taking lens is a Zeiss Tessar F:7.5cm f/4.5-32 No 1099367.Viewing lens, Heidoscope anastigmat F:7.5 ...
[34]
Why Do You Need Tessar Lens For Your Film Camera? -
Apr 11, 2024 · A Tessar lens, known for its sharpness and contrast, can bring out the fine details in your subject's features while also delivering a pleasing background blur.
[35]
https://camera-wiki.org/wiki/Contax_rangefinder
[36]
The Schneider Kreuznach 50mm f/2.8 Lens - Or Why I Love To Hate ...
Feb 7, 2018 · Both the Retina Ib's lens and the M42 lens has four elements in three groups in a Tessar-type design. Both use roughly the same focusing design.
[37]
Micro Contrast and the ZEISS 'Pop' – by Lloyd Chambers
Aug 28, 2017 · This article focuses on contrast, particularly micro contrast. Preserving the contrast of the subject matter is what makes an image look alive and real.Missing: characteristics | Show results with:characteristics
[38]
Planar vs Tessar lens character - Photrio.com Photography Forums
Sep 11, 2021 · Some Rolleiflexes with 3.8 and 3.5 Tessars are at hands, but I like the 4.5 Tessar better. My modern HFT 2.8/80mm Planar is better in terms of ...Missing: 1920s | Show results with:1920s
[39]
Lenses | CinemaGear.com
Bausch & Lomb Tessar 4x5 Series 1c lens in Bell & Howell 2709 mount. $900. Item# L10814. Bausch and Lomb Tessar 4x5 Series 1c Mitchell Standard mount. Bausch & ...
[40]
Universal Motion Picture Camera - Sam Dodge
The lens is a 50mm f3.5 Bausch & Lomb Tessar, series 1C, patented Feb. 24, 1903. The iris operation is very smooth. Home Navigator ...
[41]
Two TOTALVISION Anamorphic Cine Lenses | eBay
This pair of Carl Zeiss Jena shooting lenses, Tessar 50mm f/4.5 and 75mm f/4.5 with two front anamorphic blocks is the work of the French manufacturer ...
[42]
PatheScope Story - Pathefilm.uk
Mar 28, 2015 · There was also an f/2.7 Tessar lens version. The Baby Ciné Projector. The Baby Ciné Projector, later known as the Home Movie, also cost £5.
[43]
The 50mm Elmar - An Enduring Classic Leica Lens
Dec 10, 2015 · The 50mm Elmar lens dates back to 1926 when it replaced the original Anastigmat and Elmax lenses of 1925 on the LEICA 1 (Model A).
[44]
Repair: Carl Zeiss Jena Tessar 50mm f/2.8 - Richard Haw
Aug 5, 2021 · This screw is the main thing that centers everything and prevents the aperture ring from turning beyond its range. You can remove this later ...
[45]
https://electronics.sony.com/imaging/lenses/all-e-mount/p/sel2470zb