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E.A. Eastern Optical, Brooklyn, New York, USA. Ebata A. Ebner and Co

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E.A. Eastern Optical, Brooklyn, New York, USA. Ebata A. Ebner and Co E.A. This engraving was used by E. and H.T. Anthony, New York q.v. It was noted on a No2 Hemispherique Rapide lens . Eastern Optical, Brooklyn, New York, USA. This may be related to Kollmorgen. Anastigmat f6.3 520mm was listed in the USA secondhand. (1962). Ebata This was noted as a Trade Name on an Exakta fit f2.8/135mm pre-set lens, of unknown source. A. Ebner and Co, Gmbh, Vaihingen, Stuttgart, Germany. About 1934, Ebner made a series of folders for 6x9 and 4.5x6cm with bakelite bodies, using Meyer and Zeiss lenses as the expensive ones, but the low cost versions had Ebner Anastigmat f6.3/75mm and f4.5/75mm lenses. Eclaire Cameflex, Paris, France. Formed by Coutant and Mathot in the last Century, this company designed a compact novel 35mm camera during WW2 and released it in 1947 with great success, and it sold well in the UK so that lenses with this bayonet are among the more common 35mm items now on the "old" lens market. It is thought these have a prominent rear stub with a 2 leaf bayonet with a slot cut in one leaf. These can include very desireable Kinoptic and Angenieux items. Eclipse It is worth noting that total eclipses of the sun and other astronomical events bring out some amazing old optics, especially as small apertures may be quite acceptable for some work but fast lenses are also needed during totality. Thus the 1927 eclipse in the UK seems to have been recorded (B.A.A. 29 June 1927) with f8/24in Beck Doublet and a 16in Dallmeyer tele by R.L.Waterfield; f4.5/27in Franklin-Adams lens and Aldis f5.6/20in by a ship Fitzroy at sea; an f15/60in Abney lens on Ilford Zenith plates; f126/63ft (19.2meter) Cooke Photo Visual on 12x12in plates; 2.5in dia. Ross lens on a Ross-Williamson Telephoto camera; Zeiss triplet aircraft lens; lenses by Beck, Aldis, Dallmeyer RR and a f8.0/33in used by the N.P.L.and a Kodak cine camera; Ross f4.0/16.5in Portrait (Petzval?) and Aldis 20in anon; and a TTH Series 0 used in the air at 11,700ft by Capt Barnard for the Daily Mail. Edison Lenses with this name are noted for movie projection elsewhere. But an Edison 9x12 Detective seems to have had a lens engraved as an "Edison Extra Rapid Aplanat". Ehira, Japan. Enoi Anastigmat f3.5/75mm No2,68x on Ehira Chrome Six. ELCAN-see E. Leitz Canada. Elega, Japan. Elegar f3.5 45mm on 1952 Konax camera, a scarce 35mm Japanese camera. Elektro Optik, Glucksburg, Germany. Agent for UK Luminos, 45, Belsize Lane, Hampstead, London, NW3. They were active about 1947-55 as camera makers with their own lens names, such as Elocar f4.5/36mm on the 1947 Elca for 24x24mm; Elopan f2.5 and Elocar f4.5 on the Elca II. (B.J.A. 1953, p22). These were unusually compact cameras, the Elca costing £15.72 + Tax £6.80. Also : Ucalux f1.9 50mm for the Ucaflex 35mm Ucapan f2.5 36mm same. Elge, France. A lens noted on a 1911 Blocknotes was an Elge RR for VP size stereo. Elicar This brand was distributed in 1977 by Highgate-Dufay, 38 Jameestown Rd., London NW1-7EJ. It included a Elicar zoom f3.8 75-205mm with 13glasses in 8 components. £90. A 'new' programme was begun in 1979 with: f2.8/28mm; f2.8/35mm; f2.8/135mm; f3.5/200mm; f4.5 80-200mm zoom. (B.J.P. 14/12/1979. p1205). Elitar a series of lenses from Allied Impex, (10/1955) for cine, also Elitar Soligor which may suggest another relation. They included Elitar f1.9/13mm for Mansfield about 1955, and an f2.5/25mm Cinepar for Mansfield 16mm about 1955. Elgeet Optical Co., Rochester, NY, USA. They seem to be best known for their cine lenses, especially the Golden Navitar with its sensational speed, and aspheric rear glass. However they also made large format lenses and early examples of retrofocus lenses for 16mm cine. Elgeet f2.5 7mm ] Elgeet f1.5 13mm ] These were among the really early amateur retrofocus type lenses sold for 8 and 16mm, marketed by c.1950, eg on Auricon and 1954 on DeJur. There may also be an f2.3/7mm version from 1956. Some 10 types of retrofocus lens were made for cine, in 6.5- 13mm. Elgeet f1.9 7mm This was noted on 1952 Revere 8mm f2.5 1in This was on a 1949 Keystone for 16mm. There was also a f2.5/12.5mm on 1950- 1956 Keystone for 8mm. f2.0 25mm f1.9 75mm Golden Navitarf1.2 12mm This was a 9-glass lens with field flattener (aspheric) Layout El001. Projection Golden Navitar f2.8 2in with PC. Navitar f1.9 13mm for 1954 DeJur 8mm f1.9 12.5mm Navitar f1.8 10mm for Bolsey 8 (USA, 1948). This was a single 8 and very compact camera and was also suggested for still use. It focused to 1ft with suggested settings for Landscape, Portrait etc. (Another account says 1956 but this seems rather late.) Navitar f1.8 13mm for 1958 DeJur 8mm Navitar: some 9 types were made in all, for cine in 25-76mm. Cine Navitar this can be a retrofocus (as above) or a triplet type. Elgeet; this can also be a triplet. Cinematar Budget priced lenses in 10/1955 lists. Oscillonavitar f1.9 76mm This was a 6g/4c Gauss for CRT recording cameras. Super Navitar f0.95 120mm This was a 8-glass Gauss. Synchronex lens f1.8 13mm This was integrated with an exposure meter for early auto exposure and could be fitted to cameras lacking this feature to upgrade them. Elgeet These were long focus types, in 125-305mm Elgeet anastigmat f4.5 This was noted as a 250mm lens. Mini-Tel f4.5 4in This was a triplet, in chrome p.i.m Exakta mount, and looks real posh quality if of simple optical design. Dismantling however showed an iris of light construction, possibly prone to trouble. Note Elgeet is seldom traded in the UK and not familiar here. Elgy, France. UK Agent: Claude Lyons Ltd, 180/182 Tottenham Court Rd., London W1, also Liverpool 3. Lypar on miniature Elgy, see Lumiere, France. Q14. The Elgy cameras had a short fling while there was the phoney war in 1939-1940 being imported to fill the gap in German supplies. The Min Cam World 10/1939 p839 advert. shows one with an unnumbered Lumiere Anastigmat 'Lypar' f3.5/4.2mm in 4 spd shutter. Elop, Flensburg, Germany. Emel, France. Noted for cine camera, the Emel, fitted with an Emelon f1.9, 13mm lens (8/1957). The actual maker is not known. EMO This is an currently obscure name quoted in 1974 as the maker of a Emo Emostar projection lens used by Bauer. Emostar f1.5/65mm; f1.6/75mm; but no further information is available. Emulsion Speed Eder in 'History' gives a useful table of relative exposures up to 1900 on which this is closely based: it is assumed that the lens aperture was kept constant. Note that he does not list the mixed halide change with the Daguerrotype and stops at 1900. 1827 Asphalt engraving by Niepce 6 hours 1839 Daguerrotype with iodide only 30 mins 1841 Same with mixed halides faster 1841 Talbotype with gallic acid development 3min 1851 Wet Collodion process 10secs 1864 Collodion emulsion with silver bromide 15sec 1878 Early dry plate gelatine AgBr emulsion 1-1/200sec 1900 Gelatine silver bromide 1/1000sec Enlarging Lenses. The earliest seem to be Petzval types developing with iris stops as a special item in the 1880's. For examples see Grossar, and Hume, but there were others. The industry then developed specialized anastigmats, where Beck and Wray seem to have been early makers for the MoD and then for civilian sales. It probably was easy to buy a specialized one by the mid-1920's from several sources and they grew more common as miniature work developed, possibly being a standard lens in a special mount as the Leitz Varob Elmar. However there are advantages in having a lens designed for close-up work ie nearer 1:1 than most camera lenses. Probably this was achieved at times with the normal glass but different spacings. And the designs grew more complex. Thus prewar, a triplet Q14 or Tessar Q15 would be used. Postwar, there have been many uses of 6 glass types such as Gauss Q18 and Plasmat Q20. A 2-part review by W.D.G. Cox in B.J.P. 20-27 July 1979 basically suggests that the 3 glass types such as the Wray Supar are poor, and that a 6 glass design is really worthwhile. It is too long and detailed to precis adequately. The limitations show most at big enlargements and at the corner of the image and use of a rather longer lens than usual mitigates the problems. It must be added that in careful use today, a Wray Supar gave nice prints with good definition without much difficulty. Enna, Ennawerk, Dr Appelt Gmbh., Munich, Germany. A well known and active lens maker, especially in the 1950-1970 period, making especially lenses for SLR cameras and for the Corfield Periflex. In the UK they were distributed by Corfield, and also later by Highgate- Dufay, 38, Jamestown Rd, London about 1980. The earlier lenses and layouts are in the Corfield list and will not be repeated.
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