Pacific Optical Corp, USA. They are noted for one known item which seems to have been a very innovative one. A reference to it has been seen in an old USA magazine suggesting it was really very early for a fish . Perifoto cine lens, fish type, f1.5/3.5mm (0.1364in) for 165°coverage, for 16mm cine. Seen at No 34x, Model 730A, this has a large (4.5in dia, 4.5in deep) black barrel, which in this case seems to have lost the iris and filters with a big front negative lens well in front of a tiny rear system. It has only limited back focus, and was probably suitable for 16mm but not for larger .

Fig 031 008 Pacific Optical Corp, 165° Fish No730A-344.

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

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

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

Panavision Inc, Los Angeles, Cal., USA. Agent for UK Samuelson Film Service. This is a trade name of a anamorphic wide screen process and lead to lenses such as 70mm Panavision anamorphic attachment lenses for 1.25x (stretch?) normally in pairs. The cameras and lenses are rented, never sold: the cameras normally use 35mm film. In B.J.P. 19/10/1979, p1019 some lenses were listed: Ultra Speed Panavision T1.0 50mm Super Speed T1.1 55mm Super Speed T1.5 150mm Anamorphic T1.1 50mm The new 'Golden Panaflex' was introduced in 1980 (B.J.P. 26/09/1980 p944) with a new series of Golden Panatar ultra speed lenses comprising: T2.2/28mm; T1.4/35mm; T1.4/40mm; T1.1/50mm; T1.6/75mm; T1.6/100mm; T1.6/150mm. These all had a front anamorphotic squeeze element, or 'flat' without the front unit. These was also a new T1.9 20-125mm Ultrazoom in flat or with a rear anamorphot unit for T2.8/40-250mm.

A UK rental list (£) for 1992 has a set of Panavision Primo lenses all T1.9 as 17.5mm, 21mm, 35mm, 40mm or 50mm, 75mm. Rental was 585 per week. There was also an Ultra Speed set as T1.3 at 24mm, 35mm, 40mm, T1.0 at 50mm and T1.6 at 75mm. Rental was 435 per week. There was a 'Standard' lens set as T2.8 at 24mm, 32mm; T2.0 at 40mm, 50mm, 75mm. This was along with a very wide selection of other lenses by all the leading makers including Zeiss, Leitz, Canon, Angenieux, TTH Cooke, Bausch & Lomb and Kinoptic- and others.

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

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

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

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

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

Pathe, France. An early wooden Pathe had a 75mm=3in lens merely marked "Cinematographes Pathe, Paris". Pax Various fixed lenses were fitted but little information is available here. An example is: Luminor f3.5 45mm Triplet type.

Paxette- see Braun, Nurnberg, Germany.

Paxoramic- The name occurs on a lens used on a Lunar Orbiter 1966-1967. It was a f5.6/610mm lens and the maker is unknown here.

Pearson and Denham, 5 New Station St, Leeds, UK. They were noted in the 1889 BJA p168 as selling Rapid Rectilinears in 4 sizes as well as other agented items. 5.5in, for 5x4in; 8in for 1/2plate; 9in for 8x5in; 10.5in for 1/1plate.

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

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

Pentax, or Asahi Optical Co Ltd., CPO 895, Tokyo, Japan. Three lens mounts are involved for 35mm SLR cameras: Asahiflex screw, Pentax M42 screw, and Pentax bayonet. Adaptors from screw to bayonet were made. Some restrictions existed with different maker's M42 screw lenses due to the position and length of the auto iris pin and care is needed in fitting unknown lenses to cameras. Takumars are desirable and generally have held their price very well but were originally very successful products so that many types are in reasonable supply. Thus they sell on quality rather than scarcity. In dating them, note the iris type. Some of the very earliest were plain iris, but essentially they developed as auto spring wound, the fully auto, (Super) and then SMC (Super Multi Coated). There is a measure of compatibility with autofocus cameras. (E) has been added where the lens can be noted as an early one in the programme. Pentax created a major stir with the launch of multicoating about 04/1974, [Popular Photography noting it on p79. They discuss the use of layers of magnesium fluoride (MgF2) of different thicknesses to optimize transmission at different frequencies and the use of several layers to improve on the use of a single layer as was initially done. This period was responsible for Canon's 'Spectra Coating', Konica's 'Color Dynamic Coating' and Minolta's 'Achromatic Coating' as well as the many brightly colored coats on other-brand lenses.] But Optical Coatings Laboratory Inc. (OCLI) of USA with Balzers of Germany went further than others though the result was initially used non-photographically as 'High Efficiency Antireflection Coating' or 'HEA'. The patent here used 6 layers of MgF2 and Zirconium Oxide ZrO2 deposited alternately beginning with Zr (next glass?) and ending with MgF2 as the top (outer?) layer. The layers require accurate instrumental control during deposition but some tuning of thicknesses is possible to correct minor deviations and match different types of glass. They tried to sell the idea to some makers but initially failed: Pentax adopted it and modified the coats to work without giving the yellow color shift HEA did, as a new process 'PhotoHEA' and began to use it on the f1.4/50mm for the new Spotmatic II in Jan 1971. This involved 7 layers. One point is that the layers in coatings can include optically inactive ones for adhesion eg to glass, for barrier and for outer protection. Thus Pentaxes' 7 layers is important but it is wrong to just count layers as a guide to quality. Others did count up to 11 layers but the basis of this figure could mislead. One point: Pentax were the initiators of Super Multi Coating as a Commercial event, but were not the first to use an advanced multiple coating. Here look for Nikon f1.2/55mm, Leitz Summilux f1.4/35mm, Zeiss microscope lenses, Rollei filters, and others, back to Schott and Gen. in the 1940's. Another point is that MgF2 gives its best as a single coat with high refractive index glass- it is less effective with lower R.I. glasses as the RI match is less good. Now the German industry used more high R.I. glass than the Japanese and had less need of multilayer coats. This is a complex subject where reference to the original articles is rewarding. 's' is added to indicate if the lens seems to have been made with multicoating. Not all of a given design may be so coated however. The number in the last column is the number of elements ie.glasses in the design.

Asahiflex (This dates from the early 1950's) Takumar f3.5 50mm Takumar f2.4 50mm

Pentax M42. Macro Takumar f4.0 50mm 4,s These were described as 'excellent' in Modern Photo., 07/1965. There were also reviews of the 35mm f2.0 and 85mm f1.9. Autotakumar f2.2 55mm(E) Takumar f2.0 50mm Autotakumar f1.8 55mm 6,s Supertakumar f1.4 50mm 7,s or 8-glass to 07/1965. See ModernPhoto. p82. Supertakumar f2.0 55mm 6,s

Wide Angle lenses. Fisheye Takumar f4.0 17mm 11,s (180°) This was a full frame fisheye. Fisheye f11 18mm as above 4 glass(?) Supertakumar f4.5 20mm 11,s Supertakumar f3.5 24mm 9,s Supertakumar f3.5 28mm 7,s Supertakumar f2.0 35mm 8,s Autotakumar f2.3 35mm (E) 6, There was a possibly redesigned in c.1965 Supertakumar f3.5 35mm 5,s

Long Focus Lenses Zoom f4.5 70-150mm 14. Quartztakumarf3.5 85mm This was a rare lens with a 4 element design. Autotakumar f1.8 85mm (E) 5 SMC Takumar f1.8 85mm 6,s Supertakumar f1.9 85mm 5, This was also as an 83mm in some lists. This suggests there may be two types (Layout Pen003) Zoom f4.5 85-210mm 11,s Bellowstakumar f4.0 100mm 5,s Layout Pen005) Takumar= f2.8 105mm as preset and auto (Layout Pen004) Supertakumar f2.8 105mm 5,s (same optic) SMCTakumar f2.8 120mm (Scarce) 5,s Takumar= Supertakumar f3.5 135mm 5,s same optic, Pen006. Supertakumar f3.5 135mm 4, New optic. Supertakumar f2.5 135mm 5,s Supertakumar f4.0 150mm 5,s Supertakumar f4.0 200mm 5,s Takumar f5.6 200mm 5 (Layout Pen007) Teletakumar f5.6 200mm same lens (Modrn Photo 07/1964, p82). Takumar f3.5 200mm 4 (Pen008) Teletakumar f6.3 300mm 5 (Pen009) Takumar f4.0 300mm 5 (Pen010) Supertakumar f4.0 300mm Redesigned version. Teletakumar f5.6 400mm 5,s Takumar f4.5 500mm 4,s (Pen011) Takumar f5.0 500mm Manual, 1964. Teletakumar f8.0 1000mm 5,s UA-Takumar f4.5 85mm 5,s ] These last two use low dispersion glass UA-Takumar f5.6 300mm 5,s ]

K-Mount Lenses. These are all super multi coated and it is thought they are all called 'Pentax'. There was a review of the Pentax M camera and lenses by T. Hughes in B.J.P. 03/02/1978, p98. The new bayonet was patented as other firms had to licence its use- eg by Cosina and Topcon (B.J.P. 09/03/1979, p233). What was perhaps important was that such licences were granted so that the mount was in some measure in general use. Fisheye f4.0 17mm 11g/7c* g=glasses, c=components.

Wide angle lenses f3.5 15mm 13g/12c f3.5 18mm 12g/11c f4.0 20mm 8g/8c f2.8 24mm 9g/8c f2.0 28mm 9g/8c f2.8 28mm 7g/7c f3.5 28mm 6g/6c f2.8 30mm 7g/7c f2.0 35mm 7g/7c f2.8 35mm 6g/6c

Standard Lenses f2.8 40mm 5g/5c f1.2 50mm 7g/6c f1.4 50mm 7g/6c to replace an 8g type. f1.7 50mm 6g/5c f2.0 50mm 5g/5c

Long Lenses f2.0 85mm 5g/4c f2.8 100mm 5g/5c f2.8 120mm 5g/5c f2.5 135mm 6g/6c f3.5 135mm 5g/5c f3.5 150mm 5g/5c f2.5 200mm 6g/6c f4.0 200mm 6g/5c

UltraLong Lenses f4.0 300mm 7g/5c One of these was noted at No1,988,53x with the flange made over rather permanently to bayonet. It was a substantial but very smooth focusing lens. f5.6 400mm 5g/5c f4.5 500mm 4g/4c f8.0 1000mm 5g/5c

Mirror Systems f11 1000mm f13.5 2000mm also: 8 zooms Shift Lens f3.5 28mm 12g/11c Macro Lens f4.0 50mm 4g/3c Macro Lens f4.0 100mm 5g/3c Bellows Macro f4.0 100mm 5g/3c *Figures in the last column are the number of g=glasses, c=components.

Pentax Auto 110 Wide f2.8 18mm This seems to be in two types, "Pan focus" or plain. Standard Lens f2.8 24mm Tele f2.8 50mm "Tele" ? 70mm Zoom f2.8 20-40mm This was noted but not yet reviewed in Modern Photo 10/1978 p75 with 18, 24, 50mm lenses. "Tiny, jewel like, sparkling portraits".

Lenses for Pentax 67 All seem to be coded Takumar initially. Standard f2.4 105mm 6 glass Fisheye f4.5 35mm full frame type, 11 glass (Am. Photo. 15/12/1990) f4.0 45mm (1982) f3.5 55mm 8-glass. f4.5 75mm 5-glass Perspective control 75mm Leaf mount 90mm Normal Version 90mm f2.4 105mm Macro f4.0 135mm 5-glass This was noted in Popular Photo 08/1973, p66 and was probably 'new' then. f2.8 150mm 5-glass 165mm f4.0 200mm 4-glass f4.0 300mm 5-glass f4.0 400mm 5-glass 500mm Takumar f4.0 600mm 6-glass Takumar f4.0 800mm 6-glass 1000mm Reflex Takumar f7.0 1000mm 7-glass Soft Focus f3.5 120mm It is 'soft' at f3.5-f5.6, sharp at f11 or less. By B.J.P. 18/09/1996 p43 the lenses were: f4.5/35mm; f4/45mm; f4/55mm; f4.5/75mm; f4.5/75mm shift; f2.8/90mm; f2.4/105mm; f3.5/120mm soft focus; f4/135mm macro; f2.8/165mm; f4/165mm in leaf shutter; f4/200mm; f4.300mm; f4/400mm EDIF; f5.6/500mm; f4/600mm; f4/800mm; f6.7/800mm EDIF and f8/1,000mm mirror.

Pentax see Asahi also. Two modern soft focus lenses issued in 1990 were as follows: SMC Pentax Soft f2.2 85mm This was an achromat 2g/1c. Seen at No1,006,70x This has stops to f5.6 only, and is noted to have a sharp centre and sharpen up all over quickly on stop down. It has a fairly long focus travel- but is basically a rather simple product with manual iris. It is multicoated and should be very contrasty at small but less so as the lens is opened up due to the softness limiting contrast in details. f2.8 85mm Here again the softness is under iris control, and the lens is sharp at f5.6 (See Am.Photo., 25/08/1990) There was also a later unique short focus for macro and close-up: FA Soft f2.8 28mm 5g/5c design for manual as well as autofocus cameras. (B.J.P. 12/03/1997, p6). SMC Pentax FA f5.6 400mm ED IF This was a major new item in B.J.P. 11/06/1997 p6 with low dispersion glass, and internal focus. Fish f4.0 17mm This was a Pentax Full frame fisheye 11g/7c. It covers 180° (Date 1980). [See also Durst Neonon, Cosmicar.]

A Millenium list seems to be in Am. Photographer Oct 2000 as follows: f3.5-f4.5 17-28mm 9g/7c f2.8 20mm 10g/9c f4.0 20-35mm 10g/8c f2.0 24mm 11g/9c f2.8 28mm 5g/5c f2.8 28mm 5g/5c This is a soft focus lens f4.0 28-70mm 9g/7c f2.8 28-70mm 14g/11c f4.0-f5.6 28-105mm 13g/11c f3.8-f5.6 28-200mm 16g/14c f4.0-f5.6 35-80mm 7g/6c f2.0 35mm 6g/5c f1.9 43mm 7g/6c f1.4 50mm 7g/6c f1.7 50mm 6g/5c f2.8 50mm 8g/7c This is a macro to 1:1 ratio f4.0-f5.6 70-200mm 10g/8c f2.8 80-200mm 16g/13c f4.7-f5.6 80-200mm 11g/7c f4.5-f5.6 80-320mm 13g/10c f1.4 85mm 8g/7c With internal focusing f2.8 85mm 5g/4c soft focus lens f2.8 100mm 9g/8c f3.5 100mm 5g/4c A macro lens to 1:2 ratio f4.7-f5.8 100-300mm 14g/11c f2.8 135mm 8g/7c f2.8 200mm 9g/8c f5.6 250-600mm 18g/16c f4.5 300mm 9g/7c f2.8 300mm 10g/7c f5.6 400mm 9g/8c f4.0 600mm 9g/7c for the Pentax 645N: f2.8 45mm 9g/8c f4.5 45-85mm 11g/9c f2.8 75mm 6g/5c f4.5 80-160mm 11g/10c f4.0 120mm 9g/7c Macro lens f2.8 150mm 7g/7c f4.0 200mm 6g/5c f4.0 300mm 8g/8c ED f5.6 400mm 7g/6c ED for Pentax 67: f4.5 35mm fisheye 11g/7c f4.0 45mm 9g/8c f4.0 55mm 8g/7c f4.5 55-100mm 11g/9c f4.5 75mm 5g/4c f2.8 90mm 7g/5c f4.0 100mm 6g/4c macro lens f2.4 105mm 6g/5c f3.5 120mm 4g/3c f4.0 135mm 5g/3c Macro lens f2.8 165mm 6g/5c f4.0 165mm 5g/4c in leaf shutter f4.0 200mm 5g/4c f4.0 300mm 9g/9c with ED glass f4.0 300mm 5g/5c f4.0 400mm 9g/9c ED f5.6 500mm 4g/4c f4.0 600mm 6g/5c coded Takumar f4.0 800mm 6g/6c coded Takumar f6.7 800mm 9g/8c ED f8.0 1000mm 6g/4c Takumar

Perfex see Camera Corp. of USA

Perken Son and Rayment, 99 Hatton Garden, Holborn Viaduct, London. In 1889, a specialist agent seems to be G.S.Martin of Birkbeck Institution, nr Chancery Lane. The firm was initially Lejeune and Perken but the lenses seen have all been engraved Perken Son and Rayment and this was the trading name in the 1880-1900 period. These are quite common in the UK and often very attractively finished and engraved but seem to be optically quite conventional. Their adverts. state they are makers and there are accounts of the factory to confirm it. It is likely that they were also trade suppliers, and these may not have had their name on them. Thus we have seen an Optimus lens without the maker's name. They were still flourishing in 1900 but were Perken Son and Co by 1914. Incidentally they were one of the firms which adopted the Voigtlaender trade name Euryscope for their own products. It probably was used on RR lenses with Jena glass and they may have been the source of some of the quite numerous adverts for Euryscopes in the UK. At least if they were lens makers, it is no longer necessary to assume they were all imported. At least one may have gone out to France to be fitted to a French 9x12 camera. Those seen do not have serial numbers but all have irises and are marked with the intended format. (see also Lejeune and Perken)

Optimus Rapid Euryscope f6.0 This was listed by 1889 and was presumeably an RR. It used "special optical glass", possible ex-Jena? It was made in 5.5in for 5x4, 6x5, 8.75in for 7x5, 8x5, 12in for 9x7, 14in for 10x8, 12x10in, ie, 5.5-18in. It was "a most useful lens" according to Traill-Taylor of the Brit. J. Photography. This may also be the "Portrait RR" f6.0 in 12 and 13in focus found later as it was classed as a Portrait lens in the small print in 1889.

Fig 008 037 Perken Son and Rayment: (l) Rapid Euryscope for 9x7in and (r) an alloy 'Portable Symmetrical' for 10x8in, and (front) a small WAR . RR Euryscope f7.7 This was made in 9 sizes for 5x4in up to 18x16in, and was seen as a 6in focus. Eurygraphe f8.0 This may be the same as the above( Per002). Optimus Wide Angle Euryscope f9.5 This seems a compromise design, and may be only part way to a wide angle. It was made in 3.25in for 5x4, 4.75in for 5x7, 6in for 9x7, 7in for 10x8, 9in for 15x12 and 12in for 18x16, with some extra in 1900, eg for 6x5. It may be part way to a "portable" RR as the small print shows but see also below. It was used by Mr Frith among others. Optimus RR f8.0 5.5 to 25in. The 1906 advert. says it was then 'improved'. It was made in 5.5in for 5x4,6.75in for 6x5, 8.8in for 5x7, 12in for 7x9, 14in for 10x8, 18in for 12x10, 20in for 15x12, 25in for 16x18in sizes. (Layout Per002)

Fig 031 031 Perken Son and Rayment f8/7in RR in brass with Waterhouse stop set. This may not be the exact product in the list but it is a RR!

Optimus Wide Angle Symmetrical f16 3.25 to 16in. Layout Per 001) It was made in 5x4, 5x7, 7x9, 10x8, 12x10, 15x12, 16x18in sizes. Optimus Portable Symmetrical f16 max. These seem to cover a moderate angle (eg 10in for 10x8) and represent another product to sell as a lighter RR at least in the larger sizes, and the one seen is in an alloy mount for lightness. A smaller one is in a brass mount and looks like a WAR. Fig 008 037 Perken Son and Rayment: (r) an alloy 'Portable Symmetrical' for 10x8in. (above). Optimus Quick Acting Portrait f4.0 This was made in 1B, 4.5in for CDV; 2B 5.75in for Cabinet; and 3B 9.0in for Grand Cabinet, the last name suggesting these may just be from a French source. Note that in 1889 only 1B, 2B and 3B were listed but larger sizes were to order. Portrait Lenses (non-Optimus1) of good quality were also listed in 1889, to cover 1/4, 1/2, 1/1plate, 10x8 and 12x10in. The foci were not given, and again larger sizes were available. Detective f6.0 for 5x4 (1900) Wide Angle RR eg 3.0in focus. Fig 008 037 Perken Son and Rayment: (front) a small WAR . (see above)

Grossar enlarging lens f5.75 RR type (B.J.A. 1905, p912). It was made in 5 sizes. ( Layout Per004) It was 'new' in 1901, 7.0, 10.5, 15in and came with an orange glass (=filter) for adjustment. It was suitable for camera use as well. Optimus Multifocal Projection This was a lens supplied with extra negative lens behind (1906) and rack- and-pinion focusing. (B.J.A. 1906, pp158, 929). It was sold by the Service Co. and the normal lens was 6in focus, but the 'Tele' converted it to give 8-12in and could be fitted when needed. There was also a "" shutter and coloured glass filters for greater display. Optimus Rapid Landscape This worked at f11 in 5x4 ,7x5,9x7,10x8and 12x10in, 5 sizes. in 1889 and 1901. Movie Projection Lenses.

It may be that the background of the firm favoured a Continental approach or merely that they found trade names with a mild foreign flavour helped sales. Certainly Grossar might reflect German and Grand French influence.

Perkin Elmer, USA. American maker of advanced , including spectrometers and perhaps reprographic equipment. They produced some aerospace items and at least one well known item, the "Solid Cat" mirror lens. Solid Cat. Mirror system is a "cat", where the whole unit is solid glass, so that the length is still further reduced in line with the refractive index of the medium. The result is amazingly compact, a 680mm f12 being little bigger than some standard lenses. Another advantage is lack of change of focus with change in temperature. The bulk of the glass makes it heavy, and the sample seen is cracked, which may suggest a problem with thermal stability or merely that the life of a surveillance lens is a risky one. (The example seen was found in an American junk tray for a few dollars.) Even so the image is sharp and contrasty. It seems that other specifications were made. The idea seems to have been passed to Vivitar for commercilization and the Perkin Elmer examples are probably the rare ones and something of a collector item. In the UK it was the Vivitar which sold but even then probably mainly to the government. Fig 031 010 Perkin Elmar Compact Telephoto (Solid Cat) f12/650mm.

Fig 015 036 Perkin-Elmer Mirror f8/680mm on Pentacon M42 body with early postwar Biotar f2/58mm No5,628,526 APD.

These are other lenses noted over the years. Telephoto f8.0 36in These were sold off ex-Defense, (in 1959), at $130 compared with Dallmeyer items at $90 which suggests a later coated design. Aerial Survey (Aspheric) f4.0 72in (Petzval type lens) with image motion compensation. It was said to resolve 3in subjects from 50,000ft (Modern Photo. 03/1964, p16) (Layout Pek001) PPE UK? see as a lens of source of unknown, it is probably a Gauss type lens.

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

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

Petri, Japan. Photo Supplies Ltd London to April 1979. Fincamera SA, PO Box 7663, Freeport Bldg, 1117 ZK Schiphol C, Amsterdam, Nederlands Tel 020-173937. Most lenses were for the Petriflex SLR, from the 1960's. Import of Petri ceased in 01/04/1979. Auto f1.8 55mm 6-glass Gauss. This is an important lens as the Petri is now sought-after for its striking appearance. It was noted at auction at No71,96x and 128,32x. Auto f2.0 55mm This was a 6-glass Gauss, and was noted on the Petriflex V and VI. It was sometimes highlighted as the "Colour Corrected" lens when on the Model V. Auto f3.5 135mm Auto f3.5 28mm This was 'new' at Chicago show 1971 for the FT EE f3.5 135mm lightweight version also at Chicago. f5.0 300mm This also at Chicago in 1971.

Lenses with preset iris listed in the UK included: f2.8, 35mm and 135mm; f3.5, 200mm; f4.5, 200mm; f4.0, 300mm; f5.5, 300mm; f6,3, 400mm; Also due were other 200, 300, and 1000mm lenses, some perhaps in Auto mounts. Petri also made the lens for the Fotochrome Inc camera. A 1972 camera the Computor 35 used a Petri f2.8/40mm lens (4 element, coated).

Petzval, J.M. (1807- 1891) He seems to have been a somewhat shy and secretive man, living a retiring life. By 1839, he was a "young professor of mathematics". After the publication of the Daguerre process in 07/01/1839, A. von Ettingshausen returned to Vienna and talked to Petzval. Probably on Stampfer's (Director of the Polytechnic) suggestion, he initially approached W. Fr. Voigtlander for information on the glasses (R.I. and dispersion) available which may have not been published information as the new Waldstein glass plant was still in its infancy, and this lead to a rather informal relationship, and later Voigtlaender made a sample of the Portrait lens (by May 1840) and A. Martin (1812-1882) tested it. (Martin was assistant to Prof J.P.Neumann of the Physics Dept at the Polytechnicum, Vienna.) His test pictures survived at least to 1864. Three lenses were infact produced- a landscape front pair and two rear groups, which added to the first gave lenses now known as the Portrait and the Orthoscop. Of these the famous one is the Portrait lens and the less well known the Orthoscop (Pe 001, Pet002). See also Voigtlaender and Dietzler. Petzval calculated the lenses with the help of assistants, including Mr Riesinger, and by 1840 reached a Portrait lens design with 4 fairly thin glasses so that these lenses are not quite as heavy as they look. But they are often large to mount. His design did not correct for astigmatism and the field is far from flat. One limitation was certainly the types of glass available in 1840. van Monckhoven gives these as (from the front): Biconvex- crown ; cemented negative- flint: divergent negative - flint; back, crown; and lists only 5 types of glass as currently in use (Refractive index and dispersive power as shown in brackets: Crown No 1: 1.50/ 0.039; Crown No 1.52/0.04: Light flint No 1, 1.57/0.0473; Heavy flint No 2, 1.64/0.055; Very heavy flint,No 3, 1.64/0.059. Eder gives details of both in his main book on lenses. Those above are actually Chance types, but the range was small from all makers.

[The Petzval was often described as "Improved" in later adverts. but without detailing how it was modified. One basic change was to colour correction, by Lerebours and probably later by Dallmeyer and others. Another redesign was for variable softness, especially due to Dallmeyer, and Dallmeyer also developed faster versions for narrow angles, apparently by increasing the separations of the groups, and others followed (Extra Quick Acting" etc), or used the design for enlarging lenses: and Waterhouse and iris stops were fitted. The market thus was rather complex and a needed review was by Mr F.A. Velasco in the B.J.A. 1889, p568 who considered there were: (a) Portrait Lenses at about f4, useful for their speed in Portraiture and in enlarging, but with disadvantages. (b) Cabinet and Carte de Visite (CdV) lenses which give a more even definition over the field, work at f4.0 and are better adapted for enlarging and projection. (c)The "D" or Universal series at about f6, which are intermediate between the portrait and f8 view lenses. These seem to be Portrait RR lenses as he goes on to consider View lenses at f8.0 as unsuitable for portraiture (?as too slow) and best for outdoor use, copying and projection.]

Typically the Portrait worked at f4.0. (or a little faster) but only over a small angle, and there were difficulties over focusing initially as the visual focus was not optimum for photography. It is fairly free from distortion if the stop is central, about 1/3 of the gap behind the front lens, but can be severe if the stop is moved externally as did happen in Victorian times. Contrast should be good but users did complain of flare and ghosting at times. In fact Traill Taylor says it 'seems the worst to work with a diaphragm' and working with a bright lamp on the lens axis, notes at least 14 images of the bright flame at various distances from the lens! An anonymous letter to the B.J.A. about 1900 stated that the original plan that Petzval had conceived was to sell a lens set, (a) with one barrel, and a landscape meniscus normally at the front of it, but able to be placed at the rear for landscape work. Two separate rear elements were to be made (c) for Portraiture, as was done and (b) a second for outdoor work which eventually appeared as the Orthoscop, but Voigtlaender was never prepared to make the whole set as one, perhaps due to the restricted focus travel of the original all-metal cameras. It is known that Petzval felt substantially unhappy over the whole affair, especially as the designs were not patented, and it is likely that his was a greater achievment than is often realized. (Layouts Pet001, Pet002). [This account was straight out of Eder's book from the look of it.] At the request of the Government, Petzval redesigned the Orthoscop in 1854-6 for landscape, architectural and reprographic use with the new wet plate process, and with Dietzler, obtained the protection of an Austrian license for the design. van Monckhoven describes the correction as a front meniscus followed by an achromatised rear negative lens with appropriate radii and position to correct the field curvature of the front lens- and in fact the Orthoscop as an entire system has (for 1866!) a very flat field. (see Monckhoven, p95 in 1866 translation) van Monckhoven says the maximum was about f8, and it is usable at that but the angle covered is limited to half the focal length. The diaphragm is of two imbricated brass plates allowing it to be stopped down to f30 by when the sharp image has increased to be equal to the focal length. The image is brilliant as it is a faster lens than the Globe or other non-aplanatic lenses. (It is this type of performance which made the (slight) distortion present such a pity.) Petzval made the first himself. He then got Dietzler to make them over the period of roughly 1857-1866. He also agreed with Dietzler to make the Portrait lens, supervising the first 100 made which were excellent. Later Dietzler allowed the business to fall away in poor quality and uncertain prices, and ceased to trade soon after 1862, dying in poverty in 21/10/1872. Petzval made his own monorail camera for lens test purposes with the Orthoscop by 1857. Petzval was skilled in lens making and while he had no further contact with Voigtlaender, he continued to design lenses. He sold several "one-man" lenses privately and in 1843 made improved field glasses and microscopes, and in 1846 a new fast lens for projection. There is a suggestion that Voigtlaender also adopted the field-glass design. And in 1846, he designed a new camera lens, working at f2.0 with two cemented triplets: it was in the Voigtlaender collection at Brunswick but was not produced. (Eder, also Rohr, Theorie und Geschichte, 1899) and there was another type in 1870, fast, sharp but not achromatic. There was also a symmetrical f6.3 lens of two air-spaced doublets designed in 1872, where only Voigtlaender's notes survive. Harting said it was suitable for movie use, so it was probably a narrow angle design. According to Eder it was known to Zinke-Sommer that faster Petzval type lenses were possible but Voigtlaender resisted the idea for a long time. The lens (With Waterhouse stop) with Petzval's dates was the subject of a Republik Oesterreich S250 stamp ? in 1992. It was the only lens noted in a photographic stamp collection discussed by Pop Photo 04/1976 p89.

Some period French Petzval type lenses are shown below. Fig 48. Brass Period French Lenses. Exposure: C&G Euryscope Anastigmat. Bourgoni Paris Petzval type. Derogy Paris Adjustable Derogy Paris Again. Lerebours & Secretan Paris. Petzval. Darlot Paris Petzval.

Piazzi-Smyth, Prof. C. (1819-1900) He was astronomer Royal for Scotland and designed a new version of the Petzval portrait lens with a field flattener near the film plane- which Bolas suggests was also helpful in controlling astigmatism. (Pia001). It was a specialist high speed lens but was produced successfully by Swift of Tottenham as a projection lens. Some books dismiss it with 'jokey' references to pictures of the inside of the pyramids, (correctly), but it may have begun a trend, and modern lenses such as those of Lee and W. Schade (J.S.M.P.E. 54, 337, 1950) can be regarded as descendants. He regularly wrote in the BJA's. The editorial in B.J.A. 1932, p146 says it was a 1x1in format with 1.75in focus lens, and reproduces a section drawing from B.J.A. 1866, showing how the wet plate emulsion was coated and later developed. Dr J. Nicol exhibited the camera and very big enlargements from it at Edinburgh later. The rear field flattener was actually the front of the glass cell which contained the sensitive plate. Mr G. Brown obviously felt it rated with many modern miniatures as their ancestor and equal. And a note in the B.J.P. 07/11/1879, cited 09/11/1979, p1098, confirms the esteem with which this little camera with 1x1in plates was viewed in Victorian times for making fine 8.5x6.5in prints indistinguishable from contact prints. There was a Piazzi-Smyth camera in the Kodak collection at Harrow in 1980 (B.J.P. 26/09/1980).

Andre Pierrat, France. The series of Drepy rollfilm cameras used Drestar lenses and are listed under Drepy.

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

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

Phoenix Corporation of America, 112 Mott St., Oceanside, NY 11572, USA. They were note in Popular Photo 11/1999 with a very impressive line up of lenses including zooms and prime lenses. These were Phoenix and Samyang brands. Examples were 19-35mm zoom, f2.8 28-105mm zoom, 28-300mm zoom or even 100-4000mm zoom. This is a growing family.

Photographic Artist, Charterhouse Square, London, UK. This was a cooperative dealing in lenses along with other equipment from about 1877 to 1889 at least. (B.J.A. 1887, p12, 1889, p220) They certainly sold lenses but none have been seen so they may be anonymous or with the lens makers engravings. "Our true view lenses can now be supplied on receipt of order..." They did also supply Aldis and probably other makes, a case where they engraved their name on an Aldis lens being noted at auction.

Single View Meniscus. True View Meniscus.These were supplied in 1/4, 1/2, 1/1 plate, 10x8, 12x10in, 15x12in, 20x15in sizes.

Portrait Lenses (Petzval type) with rack and pinion and diaphragm, these were supplied in: No 1, CDV ; No 2, Cabinet; No 3, 8.5x6.5in.

Wide Angle Doublet Lens for 90°.This was supplied in 1/4, 1/2, 1/1, 12x10in. In 1889, the only items listed were the: "True View" RR in 7 sizes: 4.75in for up to 5x4in, 7.5in for 1/2plate; 10.25in for 1/1plate; 13.75in for 10x8in; 15.25in for 12x10in; 21in for 15x12in; 25in for 20x15in. They were f8 and used Waterhouse stops, but an iris was available at a slight increase in price. Rapid Rectilinear Portrait at f6.0 4.75in for 5x4; 8.25in for 5x7in; 10.5in for 9x7in and 12.25in for 11x9in.

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

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

Pignons S.A., Ballaigues, Switzerland. They are makers of the Alpa cameras, using bought in lenses from many top makers, and listed there. One "unknown" source lens is the Bol f2.8 50mm used on the Post camera, as the maker has not put a name on it.

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

Pinkham-Smith- see Smith. Noted for : Synthetic f5.6 250mm for 5x7 Portraitf5.6 300mm for 6x9.

Pinhole- see Adams, Watkins. The use of a pinhole as an image forming device was typically an 1890's interest, but has been an intermittent interest ever since emulsions were fast enough to record the dim images formed. There have been few commercial suppliers bar those above. Most books give the subject some mention with practical hints on making them, outlining the design criteria.The sharpness falls off if the hole is too big, and (due to diffraction) if it is too small, and there is a broad optimum at 1xL½/120, where L is the hole-to-film distance in inches. Thus for 9in extension use 3/120= 1/40in or about 0.6mm. The edges of the hole must be clean and sharp for good results. Lummer deduces the Petzval portrait lens was about 1800x faster and 180x sharper. (see Abney, Instruction in Photography, p106; Camera Club J. May,1890) An excellent modern article is G.L.Wakefield in B.J.Photo. 31/08/1977, p86+24/06/1977, p87. Laser cut holes are now available in the USA from Calumet for 35mm cameras as well as . A pinhole camera to the lining of the human stomach was invented by F.G.Back et al., B.J.A. 1932, p151 giving 8 stereo pictures at f60-f100 (1/800-1/500in dia. in platinum sheet) on 0.25x0.5in film. The patient had to take in the batteries and flash source as well. The Gevaert film was enlarged to normal 45x107mm pairs for interpretation. The subject had new interest in 1999 when a total eclipse of the sun was due in Europe and it was agreed that an image projected by a 2mm pinhole in a card sheet onto a white card at some 50cm was not just safe but the only safe way for the public to watch it. Filters, stops etc. all have dangers, and direct observation can result in eye damage and even blindness. The term now has another use for the tiny lenses used in surveillance eg where a lens is used to snoop through a drilling in a wall. A C-mount 9mm example is noted in B.J.P. 17/11/1978 from I.Weinberger, Foerrlibuck strasse, 110, CH-8005, Zurich with 17 elements in 5 groups and a clear aperture of 3mm giving f4- f11 with a smaller version also for Vidicon tubes.

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

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

Plasmat Gmbh, Berlin, Germany. Dr Winkler designed a special camera, the Roland, for the f2.7 Plasmat, and it was made in succession by Plasmat Gmbh, Kleinbild Plasmat Gesellschaft, Dr Winkler and Co Berlin; and finally Rudolph and Co Berlin. While the cameras vary in detail, (the early ones have a optical exposure meter), all have the f2.7/70mm Plasmat for 4.5x6cm. This leaves a question open as to who made the lenses, which do seem to have been in production by Meyer at the time but not necessarily in this size.

Plastic Lenses The first plastic lenses were probably made from Perspex ex ICI, UK when a piece was rescued from a waste tip and formed into a lens by Mr A. Kingston (1891-1974) in 1933/1934, the product being about f32/ 12in. A patent was filed in 02/1934 and the first application was as the finder lens of the Purma Special 4x4 camera- not the taking lens which was a glass Beck triplet.(see Amateur Photo. 12/04/1972, also J. Fenton, The Journal of the RPS, 11/12 /1982, p4,5.) It lead to opthalmic lenses, and the Kingston cameras for 127 and 120 sizes as well as the Purma finder. Use of plastic was well established by the time of the f1.9 lenses on the Ektramax 110 cameras, but B.Sherman in Modern Photo 09/1978, p21 notes that A.Cox had tried and discarded plastic wel before due to a haze round the core of the image point. [This may have related to limited homogeneity in the plastic, ie variations in R.I.] By 1978, Kodak seem to have made more homogeneous plastics and also made them in smaller components, limiting the problem.

Plaubel and Co, (Optima Gmbh.), Frankfurt/am/Main, Germany. In 1928-32, the maker and supplier was Wauckosin & Co., Frankfort on Main, Germany. Later, some cameras were marked Schrader. Plaubel publicity material says they were founded by Hugo Schrader (1873- 1939) about 1902, initially as a distributor, but produced a camera under his own name in 1910 though it is possible it used some parts from Linhof- the rack seem characteristic. No UK agent was appointed until about 1932-3. A complication is that the early adverts. were from "the Maker" Wauckosin and Co of Frankfort, who also sold a Warranette folder with Meyer lenses. (B.J.A. 1928, p352), but it is thought they were actually agents. An advert. in B.J.A. 1935, p580 says they (Plaubel) were 30 years old then, ie officially founded in 1904-5 perhaps. H. Schrader was succeeded by his son, Goetz Schrader (1907- ?), who worked in the firm from 1931, and finally sold to Doi Group, the Japanese agents, in 1975. Later Plaubel cameras do not have Plaubel lenses from about 1960, and it may be the lens aspect ends about then. Plaubel seem to be best known for press cameras with pull-out fronts called Makina and Stereo Makina from 1912 but they also made plate cameras at least from 1910 with a Peco 3.5x2.5in plate in 1928, fitted with an f3.2 Anticomar at £10.00 or a 1/4plate with f2.9 Anticomar at £15.00 (B.J.A. 1928, p527). This was a City Sale and Exchange advert. and some product swapping is just imaginable here. And much later, there were Peco monorail cameras, some of the latter being quite unusually neat and compact. There were some aerial cameras also, after WW2. Thus they were not restricted to making lenses for the Press cameras, though these certainly were a large part of their known optical output. Experience has shown up a handful of lenses at least for 9x12cm Pecos as above, and also including Anticomars mounted on eg. a Thornton-Pickard 1/4 plate and German 9x12cm cameras. The Makina press was initially used with an f3.2, f3.0 or later f2.9 Anticomar, and these first were probably 3- glass triplets. The optical equipment was progressively upgraded first with a 4-glass version of the f2.9 Anticomar and then adaption about 1935 (B.J.A. 1935, p306) on the Makina II so the front and rear components of this were both removed to fit similar components of wide and long focus lenses. Here the key factor was the design of the w/a and tele lenses needed. But this way of changing lenses was tedious and Plaubel went over in 1936 to mounting all the glasses in front of the shutter- any optical compromise over this principle being overwhelmed by the increased convenience. But it did mean they always had to fit a really big Compur and this often limited the top shutter speed available until large Compur Rapids were available. It did mean that the front now pulled out less by about 16mm to bring the 100mm to focus on intinity. And several lens designs had also to be revised in 1935. In the 1939 issue of American Annual of Photography, several pictorial workers had used Anticomar lenses with success- ie it sold outside the Press users. After his death, the work of Fr Frank Browne has proved of major interest, with pictures taken in France in WW1 and on the Titanic on its last voyage from Cherbourg to Cobh and published in Fr Browne's England by Wolfhound Press, review B.J.P. 11/12/1996 and he was a long term Makina user.

Postwar at least they made large format cameras including a Peco monorail for 9x12 and 5x4 (from 1952, MCM, April 1953, Sept 1955 in the UK) and later a series of Peco Universal and Supra monorails with round rails, and interchangable backs for up to 13x18cm (5x7in), updated as Model II in 1956-8, and Model III in 1960, now up to 10x8in, and Profia for up to 10x8in in 1966-8; and made a wide angle Veriwide and SuperWide in 1960 with Schneider Super Angulon lenses. They considered a rigid sports camera and a 16mm Makinette (in 1958), but the next really relevent item was the Makiflex in 1961, sold with a Schneider Xenotar lens. This was related to the Pecoflex of the same time, and was listed with Schneider Xenar 150, Xenotar, TeleArton, and TeleXenar lenses as well as ZI/V Apo Lanthar lenses. The classic Makina continued to 1960 as the Makina IIIR with Plaubel Antocomars but Herr Schrader then felt that the product had reached the end of the line. This may represent the end of the well known Plaubel lens line at least as such. However after the sale of the business to Doi, they designed a new Makina 67 with Nikkor lenses to produce a camera which was an exceptional performer and which was still very compact unit . Dates: No54,49x and 54,49x were noted on a StereoMakina about 1926. No 84,00x was noted on a f2.7 Anticomar on a Makinette leaflet 1931 or later. No70,43x was noted on a leaflet for a 'improved Makina 6x9cm' from 1932. No94,32x was noted on a leaflet for the Rangefinder Makina, made from 1933. No94,26x was noted on a leaflet for a Rollop II (R/F) made from 1935. No97,291 is a f2.8 Anticomar on a Rollop II, in Compur 0 No3,645,10x c.1938. No97,915 is a w/a Orthar 75mm in Compur 1 No3,187,66x c.1936 This suggests Cpr 1 was then in the same number series but about 1 year later in making than Cpr 0. No 102,000 is about 1948-1948, as shown by the Makina IIS below. No119,000 is about 1952 from the Makina III below.

Early Lenses. Planatograph, This was an unknown lens on Premo, c, 1902. Periscop f11 This was a 2-glass lens noted in 1914. Peco Rapid Aplanat f7.0 ?RR, Q5.

Orthar Lux Orthar Orthar was a long running trade name usually for symmetrical designs, being used later for a wide angle Gauss lens on the Makina camera. Many were 4-separate glass designs, possibly a Gauss or Dialyt. It seems to occur under several versions of the names as follows, and these are partly owing to translation perhaps. Frerk refers to their good corrections and the use of an unusual order of glass refractive indices. (1)Doppel Orthar Portrait f4.5 Frerk quotes an f4.5 as covering 13x18cm with an 18cm lens or 75°. (2)Dux Orthar This is also an f4.5 and may be the same lens. Dux and Lux look like a printers error. (3)Lux Orthar This was a 4-separate glass design, possibly a Gauss or Dialyt. Doppel Orthar f5.4/f6.0This may be the same lens. Frerk list a f5.4 Orthar as covering 80° Heli Orthar f6.3 or f5.2 Layout Pla001. The rear drawn is three glasses and Frerk says the design in 1926 was legally protected, ie probably subject to a patent action. The rear cell was usable on its own, and so can the front, so three foci are available. The complete lens was well corrected and compared with other lenses such as Q15. It was classed as a wise amateur purchase but was deleted by 1926. The f6.3 covered 90° so a 18cm was used with 13x18cm, and the cells separately gave also 41cm (front) and 33cm rear. It seems to be a rare lens, at least in the UK. Doppel Orthar f6.0,f6.8Q9, Pla002. The f6.0 was used in 1920 on the early Makina, and was then the slower version to the f3.0 or f4.2 Anticomars. The same name is used for a f6.0 60mm for Makina Stereo (c.1926) and is listed by Frerk as a Dagor Q9 type lens. He suggests 18cm for 13x18cm, which will also cover 18x24cm at f25. The greater speed was due to a new choice of glass. Anastigmat f6.8 This was a general purpose lens. Triple Orthar f5.2 or f5.5 in the longer foci. Frerk says this keeps all the good properties of the Dagor design.This may be the basis of the next item, or: Satz Orthar as lens sets. f6.0 This may be the strictly symmetrical version of the f6.3 below, since in these lenses the aperture varies with the cells in use. Thus there may be also an f6.3 and an f6.8, and an 18cm offers 2x34cm cells or 34cm front and 40cm rear cells, but the aperture is slowed to f6.8 when the longer rear cell is fittes. Satz Orthar Casket Sets f6.3, f6.8 in sets A, B, C for 9x12, 13x18, 18x24cm. Each has 3 cells. The Satz Orthar was a 4+4 glass symmetrical anastigmat, rather like the Suter design. It was sold as single lens pairs, and as Casket sets, hence the Satz. It had good corrections and seems to have been a personal favourite of Frerk. It is suggested to use 18cm for 13x18, but at f25, this will actually cover 18x24cm. or 90°.

TelePeconar TelePeconar f9.0 an adjustable tele (rather after the Dallmeyer Adon or Telinear of Rietzschel?) which at 3x gives 390-1440mm, the aperture presumably varying with the focus. The trade name seems to have been reused in the 1930's. One seen was described as "the compact type in a dial set Compur", and this may have been a 1920's version. Tele-Peconar f5 This was one type in 1926. It was noted for 9x12cm in a sales list. Anastigmat-Tele-Peconar f3.0-f4.5 This seems to have had variable magnification. It confirms collector experience the these do vary in type. Wide Angle Orthar f16.5 Anastigmat type, Q7? Wide Angle Orthar f6.8 73 or 75mm 4-glass Gauss for 6x9 Makina, etc. in various applications, it can cover 100°. It was seen at No97,29x, in rimset Compur shutter and will have sold as a separate lens not for Makina in this case. This was already made in 1926, and seems to be close to the next lens. Pekostigmat (or Pecostigmat in English) f6.8 This was a 4-glass Gauss It is also in Frerk's 1926 list. Plaubel Anastigmat This seems to be the same as the above f6.8 types.

Makinar/Anticomar The Anticomar is so closely associated with the Makina press camera that these are taken together. Makinar f4.2, f4.4, f4.5, f4.8 This may be Q9 type, mentioned in Frerk's book. It covers 78-88° and the 18cm covers 13x18cm or 18x24cm closed down. The lenses actually were 6cm, f4.2; 7.5, 9.0cm, f4.4' 12-18cm f4.5; and longer, f4.8. It may reemerge as the f4.2 Anticomar at least in market position. f6.3 (This is listed in H&D but no further details are available. Anticomar This was made in several maximum apertures, with f4.2 listed as the large format lens and for 6x9cm as possibly the select version on the Makina. It was already offered in 1926, but f2.7 f2.8, f3.0, f4.5 and f6.3 were also made. Anticomar was a 3glass triplet type in some early designs, but was normally a 4glass Q15. The f4.2 covers 13x18cm with a 21cm lens, which covers 13x21cm at f12.5. A late list was in B.J.A. 1954, p597: Anticomar f4.2 150mm Anticomar f4.2 210mm Anticomar f4.2 300mm and these were listed with the 'Peco' monorail in 9x12cm or 5x4in sizes.

The f2.9 was produced later than 1925, but still in the mid-1920's. It was noted as used on a Curt Benzin Reflex in B.J.A. 1928, p305 as f2.9 for 3.5x2.5in but this was unusual. The f4.5 was a Q15 type as layout App047 shows. Anticomar f3.2 This was noted in an old list as a 10cm lens on a 9x12cm camera at No5482x. It was listed in B.J.A. 1925, p564 on the Makina and must be the earliest version of the f2.9. (If noted later, it could be a misprint for f4.2.) Anticomar f3.0 This was on the VP 4.5x6cm Makina in 1925 (advert B.J.A. p564) and must be one of the earliest versions.

Lenses for Makina Press Camera. The Makina goes back at least to 1912 in 4.5x6cm, and early lenses in the UK are the Anticomar f3.0 on the VP and f3.2 on the 6x9cm version both in the B.J.A. 1925, p564advert. It is likely these were both 3 glass lenses. The early adverts place as much emphasis on the VP as the 6x9cm model and it was a matter of time to see which was the success. (B.J.A. 1926, p554 City Sale advert., p790 Waukosin advert. as WARA Plaubel Makina) and the B.J.A. p353 says the definition and covering power at full aperture are fully up to modern standards and the freedom from ghost images is a real merit. These were naturally uncoated prewar. Prewar there were three series, first where they were essentially a fixed lens camera, then secondly, where both front and rear cells had to be removed to change lenses and then thirdly from about 1938, they were a single unit in front of the shutter. This came in on the Makina II or IIS (B.J.A. 1938, p260) and meant a redesign of the Anticomar 10cm (at least of the mount) and the sale of a f4.8/19cm Tele-Makinar S in place of the older Tele-Makinar f4.8/21cm. They are still not coated at No102,23x for a Orthar on Makina IIS in 1948-9 but the Anticomar No109,91x seems to be an early coated lens. A more modern coating is in use on a f4.2 Anticomar at No119,23x and Orthar at No121,90x, which were sold on a late type III body about 1952-3. The later lens uses normal f-numbers, as f5.6, f8 etc while the earlier used the continental series f4.5, f6 etc and is also less easy to read. Note that these postwar lenses have external male filter threads 45x0.5mm and use many 42mm filter holders reversed. Also that the types with the lens changing in front of the shutter use a 3-start thread, which may be a factor limiting non-Plaubel lenses being used (none are noted). Users say it is best to regard lenses as matched to bodies and not to exchange them freely, though the lenses tried seemed to register correctly as if they were of standard register for each focus. However one f2.9 (ex-IIS) Anticomar refused to enter the mount of the other Type III camera, although all the lenses fitted the other. (The infinity catch plates on the top of the front panel are said to be exchangable, but again with care.) No TeleMakinar was available to examine.

The special series were: Anticomar Anticomar f3.0 This was for the Makina cameras in 1920, (B.J.A. 1925, 564advert.) and seems to have gone over to f2.9 during the 1920's. Thus it was noted on a Baby Makina as f3/7.5cm No45,496 and 47,80x. Anticomar f3.2 This was the version offered in B.J.A. 1925, p564 for 6x9cm and was probably a triplet. It has not been seen. Anticomar f2.9 100mm for 6x9 on the press camera. (Layout Pla003)

(a) The earliest lens seen seems to be a 3-glass triplet. Certainly no faint reflexion was noted from the rear component (and it was noted from the later examples of the lenses.) This was at No. 68,53x, and was a reasonable but not very striking performer, but may be about the earliest of the 3-glass f2.9 lenses. The fitting of an f2.9 in this shutter seems to have required a larger thread of 34.5mm dia, x0.65mm pitch but there are only a few turns of this thread in the front of the Compur, which is actually almost a conical thread. Further in, the thread shrinks to about 32mm dia. This can make fitting new lenses 'interesting', but a 9in Dallmeyer Dallon was installed as an alternative lens and covered the frame very adequately. It probably was an easier operation than cutting the 3 start thread of the later models. It was set to focus at Infinity at the same setting as the Anticomar but the lens will have to be actually focused on the screen.

Fig 007 005 Plaubel Anticomar f2.9/10cm No 68,530 in Dialset Compur on Makina I. also replica (Dallmeyer) tele.

(b) It is certain that they upgraded very early to a visibly 4-glass Q15 type, as in Pla003 and this was probably from 1932 on the new model Makina with rimset Compur and is the type normally seen. Normally these early types have two glasses in front of the iris, and the rest of the glass behind. Fig 007 011 Plaubel lenses not on Makina: Anticomar f2.9/125mm and Orthar f6.3/73mm in dialset Compur.

(c) After 1936, all the glass is in front of the shutter, and the lens is easier to change as it all unscrews from the front as one item. To allow this, the front panel pulls out less far than in the old type, by a difference of about 16mm. This involved a redesign of some of the lens line, and this seems to have included the Anticomar (B.J.A. 1938, p260). However it probably most affected the Tele lens, which was shortened from 210mm to 190mm and was now rated as the TeleMakinar-S. (One list gives a focal length range of 75-180mm for the Anticomar as a 4-glass Q15, but only the 100mm was for Makina.)

007 007 Plaubel Anticomars (l) f4.2 and (r) f2.9/100mm and (front) wide angle Orthars for Makina II and III. The Anticomar and to some extent the other lenses were the subject of some controversy in the old days. They sold well, and those seen resolved a lot of detail but with a rather high flare level. In the old days authors said "Not sharp" (See note in Modern Photo. 10/1964, p64) and this is partly born out by limited personal experience. But they must have suited users in the old days and were successful with exhibitors (see above) and the explanation may be that press work at least the negative was not enlarged much and the coarse screens then used destroyed any fine detail, so that the lenses were in fact all that the users needed. It must be added that a very decent 10x12in print was possible from a negative taken at f2.9 with the 125mm lens below. And use of the 2 cameras available gave very useful negative quality. Really the situation seems that they were good lenses but not for some types of work, and lacked the ultimate detail of the best but normally slower lenses. One question must be: why so fast a lens? since the Makina used Compur shutters with rather modest top speeds so that the f2.9 would have often merely been speed in reserve. One answer was that Plaubel supplied a focal plane shutter for high speed use as a clip on accessory. It is rare and this suggests that few users felt the need for it. Anticomar f2.9 100mm,( 125, 150, 165, 180mm) Seen at No51,36x for a 165mm, this is a Q15 type, and is still a rather flary lens. Was it off a 9x12cm Makina or another type of camera such as a Peco plate.? Well, no 9x12cm Makina has been noted but other Plaubel cameras were made.Probably no! As above, Plaubel lenses sold or were mounted for other makes and they seem to have made other sizes, rather than just the Makinas for which they are so well known. A f3.2/100mm No542,82x was mounted for 9x12cm and a T-P 1/4 plate got a 150mm one. An 18cm f2.9 Anticomar has been noted for Primarflex but may be an old lens remounted. (MCM Oct 1946). The H&D list says it was in 75-180mm but without further application details, but note two above. It has been noted as f2.9/100mm at No112,69x on a Makina, and on Makina III (late 1940's) as No115,33x, and IIIR at Nos 101,69x and119,31x. (a) There are references to the very first as a 3-glass design, and other makes at the time make the use of an f3.0 triplet for Press use quite normal. (b) There seems to have been a change to a 4-glass Q15 design about 1931-2, while still on the Makina I. This should have lead to a real improvement in performance but was given little publicity and is now rather forgotten. (c) The range was given interchangeable lenses by exchange of front and rear cells before 1935. This is indicated in B.J.A. 1935 p306 on the Makina II although updates of Makina I to II ocurred and this may or may not have involved attention to the lenses. This is said from the literature: an early Makina with a 3-glass f2.9 has provision for a wide angle lens, but the distance scale is not calibrated and it does seem to be a update or conversion. (d) Later in 1936, the Makina IIS was altered to take complete lenses in front of the shutter, with a decrease in the register, and this involved lens changes, especially to the TeleMakinar but probably also to the Anticomar. Tentatively one factor regarding sharpness may be that the Makina does not really have a normal tripod mount. Plaubel sold an excellent base plate which was clamped on using the two 1/4in screw sockets and was provided with a central tripod socket, but it is rather scarce. A replica plate was made and the f4.2/100mm used on a tripod under careful conditions. The sharpness was excellent. It was then used handheld but still mounted on the plate and the results were nearly as sharp. But after removing the plate, there was a definite decrease. It may be that the lenses often suffered from slight tolerances in the mounting and rigidity of the bodies, especially when well used. This would be most acute with the big f2.9 lens.

Anticomar f2.8 This was listed for the older VP size Bebe Makina as a 75mm lens (eg at No55,16x) and on the Rollop, but not in larger sizes. (B.J.A. 1928, p353). An example on Rollop was Anticomar f2.8/7.5cm No97,91x (in nickel Rimset Compur No3,187,664, c.1936) and 99,22x. The carefull examination of the rear cell shows two bright reflexions only. It was a scruffy, worn and neglected camera, and not a fair one to test: but it turned in really good negatives used as a 'holiday snapshot' at f8 or less- the aperture limited by the top shutter speed in bright sunlight and it was clear that the lens would be a really useful one at least in this way. The adverts. stress the 4-lens design they now used. (B.J.A. 1936, pp 273, 623advert., 1937, p647advert.). Fig 007 010 Plaubel Anticomar f2.8/7.5cm No 97,915 on Rollop.

Anticomar f2.7 5cm lens on the 3x4cm Makinette VP camera, lens noted at No85,47x. This was from about 1931. The Makinette was noted in B.J.A. 1933, p275; 1934, p271. These are rather scarce and desired, especially with the Supracomar (below). Anticomar f3.5 70mm on 6x4.5 Optima folder (1934). This is not listed late pre-WW2. Anticomar f4.2 100, 150, 165, 300mm The 300mm covers 10x8in. These foci were noted in a B&J list in 1954, p597 Advert. f4.2 100mm for 6x9cm. This was the version for the customer for a Makina seeking a sharper lens than the f2.9, but sadly is a much scarcer lens. It is not mentioned in the B.J.A. 1938, p661, 1939, p668 adverts. which are detailed ones and it may be a postwar lens and the one forcaste below. (There have also been reports of an f4.5, eg a 30cm in H&D but the lens has not been seen.) Thus a very sharp version for reproduction and other work was promised in Photofreund 1941, p101, so there may have been an new version coming and stopped by the WW2 and finally appeared as the f4.2. The f4.2 has been noted on Makina III at No117,54x, and No117,45x, 119,23x on body SH51/117x, and (unspecified)at No116,77x. (Incidentally these cannot be dated from the Compur number as it seems to be buried inside the front panel in the Makinas seen). There is a hint here that later Makinas tend more often to have the f4.2 as film speeds had risen by then and the f2.9 was less needed. The rangefinders couple only to the 10cm lenses- other lenses need the scale to be read and transferred manually. Anticomar f3.5 100mm on Aerial camera (1955) eg at No121,28x. Anticomar f2.8 75mm on Baby Makinette, and Rollop.(about 1935). Antocomar f2.9 90mm on Stereo Makina. Anticomar f3.9 60mm on Stereo Makina. Antocomar f2.8 75mm on Plaubel Rollop. Anticomar f2.7 50mm on 3x4cm Makinette Q15 type, about 1927. Neocomar f1.8 No details, this was possibly for cine.(See H&D)

Wide Angle Orthar Rapid Wide Angle Orthar f6.8 73mm for 6x9cm (Layout Pla004) This was a wide angle Gauss type. It was the normal Makina wide angle for many years, and was noted at Nos 117,72x, 117,81x, 116,86x. A non-Makina example was No97,29x in rimset Compur Nr3,645,10x about 1936. No102,23x was on a Makina IIs from 1948-9 and was uncoated and No121,90x was on a Makina III from about 1952-3, and was coated. On purchase, look for the optic to correct the viewfinder for the wide angle! Of two examples seen, one seemed sharper than the other: the difference might be due to errors in mounting but it may well be worth seeking a late coated example and carefully checking the focus adjustment here. The curves seem to be the same externally back and front, so it is highly symmetrical, and they also seemed to be the same in prewar and postwar lenses, not surprisingly. On a 5x4in camera, a pre-war example covered about 9x12cm, so it has uses not applied in the 6x9cm Makina, but it clipped the corners of a 5x4in format, though only by a few mms. Users like it, eg for architecture, and regard it as really sharp. SupraComar f2.0 45m (or 50mm?) on 3x4, 6x4.5 Makinettes, this was and is a scarce and desired lens. It was noted as a 45mm at No84,008(?), and 91,94x. It seems to be a 6g/4c Gauss, see B.J.A. 1934, pp 271, 584 for the launch.

Long Focus TeleMakinar The normal focus tele was 19cm (about 7.5in) judged from auction catalogues. This 19cm f4.8 was noted at 117,63x, 118,98x, and 116,89x. These were all on Makina III or IIIR cameras. It seems the Makina IIS where all the optics were in front of the shutter needed a new lens and the only tele listed became the 19cm f4.8. A much older example was f6.3/21cm No97,29x in an early rimset Compur shutter. The adverts. suggest this was fitted to the Makina 1 and II up to 1938, when both back and front cells were changed to fit a tele. And before that, there was an f5.4/21cm TeleMakinar in the B.J.A. 1937, p646. It may have been very shortlived as it was not in the 1936 advert. and ended when the new model Makina III came in. So it was probably made for one year only, and for Makina II only! The tele fitted to a Makina needs to have a rather small rear glass and nest into the shutter- and have the correct register. Thus it is not easy to find other makes to fit in place of the real thing! In fact, the Plaubel designer had to meet a fairly tight specification of rear glass size and back focus as well as designing a sharp lens. It seems to be the least easy to find of the group of Makina lenses and was not actually seen. Makina III has the field of the Tele marked on the finder glass. [Incidentally, there do not seem to be non-Plaubel lenses to fit Makina mentioned in the old adverts.] TeleMakinar f6.3 210mm This was for 6x9cm on Makina 11 (B.J.A. 1934, p584) It was made in 15-250mm TeleMakinar f5.4 210mm in 1937 advert. TeleMakinar S f4.8 190mm This was new in 1938 in the 'new' Makina 11s mount. (Layout Pla005) It may be that the -S was only used for a short time until the product was established. TeleMakinar-S: it has also been noted as the f6.3/19cm. TeleMakinar f5.4 500mm This shows the extent of the Plaubel range, apart from the 6x9 camera. It will certainly not fit the Makina!

Supracomar f2.5 80mm for Makiflex, mid 1950's. Note that the Makina III (6x9cm) instructions list Anticomar f2.9/10cm, f4.2/10cm; Tele-Makinar f4.8/19cm and Rapid wide angle Orthar f6.8/7.3cm only. Close up lenses were T1.5 for down to 65cm (2ft 2in) with the 10cm, lens DIN for down to 45cm (16.25in) and lens R0.1 for small object natural size ie. 1:1.

Makina 67. This was a modern Makina with modern lenses ?in Photokina 08/1976 made with quality about which there can be no question. It was made after the link with DOI ('newly aquired' in Modern Photo, 04/1976 p46; B.J.P. 08/05/1981 p474). The original idea seems to have included lenses by Schneider as well as Nikon. Thus there was a Proshift 69 with f5.6/47mm Schneider Super Angulon. Nikkor f4.5 55mm 6g/4c on what was an interchangeable lens camera. Nikkor f2.8 80mm This was rated as 'Excellent', and was in Copal shutter.

S. Plossl, (1794-1868), Vienna, Austria. Simon Plossl was a well known optician in Vienna, and Eder says he made a "great number" of meniscus lenses rather along the lines of the Chevalier type in the earliest years. They were appreciably faster, with improved radii of curvature. He had trained with Voigtlaender, from 1812-1823, when he set up on his own. It was in 1839 that he made the first Wollaston-Chevalier type lens from a German speaking country. He pioneered achromatic microscope objectives. Polaroid, Cambridge, USA. The process goes back at least to 1948 or before when Land demonstrated a 10x8in prototype to the Press and promised popular products to come. By Feb 1949 finished cameras were available, for 1/4plate. (MCM Feb 1949 p114) Most of the lenses fitted to Polaroid cameras seem to be triplets giving fine performance in line with the product. (Pol002)and others could be meniscus lenses (Pol001) due to the high speed of the films. The lens enthusiast however has long noted that the Pathfinder 110/120 cameras, now obsolete, were fitted with very desirable lenses of Q15 type and these have often been cannibalized as the cameras went out of use. These are modern coated items and those noted have been: On 110 Wollensak f4.5 127mm On 110A Rodenstock Ysarex f4.7 127mm On 120 YashicaYashinon f4.7 127mm - Tominon (?) no details. The Yashinon at least is in a Seikosha shutter marked 'Pathfinder Land Camera' to make recognition easy. It was seen at No10,302,63x Another due-to-be-famous item is the triplet with a adjustable centre 'glass' made of a large disk which rotates to adjust the focus, the periphery offering different powers to focus. A large Polaroid unit was used to record the Raphael Transfiguration in the Vatican. It used a 600mm lens at 1.2m ie at about 1:1 on 50x60cm as 16 sections. Also for the whole painting, a f20/2000 lens designed by J. Baker and W Plummer was used- 38cm long, 20cm dia and over 23kg weight. (L.A.Mannheim, B.J.P. 02/05/1980, p432-3). Polaroid have obtained a number of optical patents and these include a compact of 4g/2c design (B.J.P. 21/03/1980)

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

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

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

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

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

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

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

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

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

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

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

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

Premo Camera Co., Rochester, USA. (a sub-division of Rochester Optical Co.) 1898 Victor RR Single Achromat Victor Wide Angle (WAR?) They were also agents for many well known makes.

Pre-Photographic Lenses At present, one source of press comment has been the idea that some of the classic artist drew their work initially with the aid of lenses or pin hole devices. It was first floated out as a suggestion for one of the classic Flemish artists but David Hockney has extended the idea to a wide range of artists (The Times, 08/02/2000, p19) including Caravaggio, who tended to work in a 'cellar,' Velazquez, Vermeer and others. Admitted problems are the lack of evidence in their own and others' writings, and the absence of the actual lenses which should have been valued items. Equally later drawing equipments such as Camera Lucida are well known and are valued auction items in several forms. There are well documented studies of spectacles as they do show in portraits from an early date and the reader is referred to specialized texts. Such technology might well have led to long focus lenses of about 0.5D= 500mm suitable for use in drawings, as above.

A long and exhaustive account of pre-historic optics is in R. Temple, 'The Crystal Sun' Century London, ISBN 0 7126 7888 3, published AD2,000 pp 3-41 and Appendix 2 pp455-482. This is one of the first general listings of lenses from early sites. What is surprising is that a technology which seems to have been well established in several places to make eye correction lenses, burning glasses and cauterization glasses should have died out so completely. But it does seem that polished optics disappeared for many centuries in early Christian times.

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

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

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

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

Projection Optics, Rochester, USA. Super Hilux f2.0 3.75in (?) Hilux f1.8 3.00in

Prokesch, Vienna, Austria. See Fritsch.

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

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

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

Proskar Optical Co Ltd. Projection lenses for many formats.

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

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

Carl Pulfrich (1858-1928) He was a collaborator of E.Abbe at Zeiss working on refractometers previously at Bonn. For Zeiss he was responsible for rangefinders, stereocomparators, and after E. von Orel the steroautograph for making contour maps from aerial pictures.

Pulligny et Puyo, France. They specialized in "Objectif's d'Artiste" or soft focus lenses. It is not clear just how many different designs were sold, or how far this was a commercial item. S&B seem to list at least 3 versions, and Darlot also made it. Some were certainly sold with these names attached and articles were written suggesting the lenses. The book is "Les Objectifs d'Artiste" by Pulligny et Puyo, Paris, 1906. The lenses seem to have been made by Hermagis, and Turillon et Morin in addition to the above. Fig 016 002 Objective d'Artiste Pulligny et Pujo (Darlot) casket set. Fig 016 004 Detail of engraving on Objectif d'Artiste

Anachromatic from the 1890's, an uncorrected meniscus with iris in front of the concave or flat surface. It was used as a rather long focus, narrow angle lens, at f5.0-f8.0 and seems to have been rather like the Struss pictorial and Koristka Little Ars. (In fact there is limited freedom to vary an achromatic meniscus!). Some were sold as caskets, with up to 4 components (B.J.A. 1907, p705) and the references therein for an excellent discussion of the use. Also note "Baigneuse" (a nude) by Ct C. Puyo, B.J.A. 1928. The ideas for the lens go back to the 1890's as listed in the 1907 B.J.A.

Adjustable Landscape This was made in France by L.Turillon, 99 Rue LaFayette, Paris from 1897. (Successor to A.Darlot) in some 3 sizes. Size 1, for 13x18cm; Size 11, for 18x24cm, Size 3 for 24x30cm. (Quelques Beaux Appareils, 1900)

"Objectif d'Artiste Formule Anachromatique L.de Pulligny et C. Puyo" One of several designs. One source lists several lenses as:(a) a plano-convex crown with convex side forward and used at f8 or even f5;(2) a simple thin concavo-convex with the concave side forward at f10 (3) a symmetrical system of two concavo-convex lenses with the concave side inwards at f10 or even f5; ((4) adjustable landscape lens, formed of a front (+)plano-convex lens, with a plano-concave of equal (-)focal length behind it at about 10cm separation, but with the separation variable so that when they are in contact the focal length is infinite. The casket outfit seen at Darlot serial number 35,82x is one barrel and 4 single glass cells (all concavo-convex) so that several of these systems (but not (a)), could be envisaged from the one outfit though since there are no instructions, this can only be guessed at. [These do seem to be specialized forms of well-known designs such as the Chevalier and Wollaston meniscus lense, the Steinheil Periscop and the Bergheim, but the value is in the fine tuning of the design for the required amount of softness]. In fact, the image seems to be adjustable from soft or very soft to quite sharp, but being uncorrected for colour, it is never bitingly sharp.

Pullin Optical Co, High Wycombe and London, UK. They were originally Measuring Instruments Pullin (MIP) but began to produce about 1946 (B.J.A. 1947, M.C.M. 12/1946, p31) and made projector lenses to fit, as well as photographic rangefinders, exposure meters, and acted as Linhof agents. Mr H.W. Lee was with them for a period postwar. They later became part of the Rank Organization in 1964, and as Pullin were agents for Nikon, Rank took this on, arranging servicing and so on. The most common Pullin item for collectors is a Pulnar f2.8 100mm (c.4in) slide projector lens, often ex-WD. It has M39x26 thread but no iris or focus scale. It was seen at No47,20x. It was an early postwar product, (MCM Dec 1946, B.J.A. 1950, p475advert.) The Pulnar was listed in 1955 as made in f2.8, 50, 100, 150mm. There is a notice of the Pullin 35mm slide projector in B.J.A. 1947, p188, and the lenses were f2.8 in 8 foci from 2in to 6in. They gave excellent definition and clarity. One of these has been reported in alloy and black finish at Projection Pulnar f2.8/F=2" (50mm) No F104x.

Fig 007 027 Pullin Pulnar Projection f2.8/100mm No47,207 in M39 screw.

There was quite a range of Pulkino projection lenses for Bell & Howell and like projectors: Pulkino f1.7 25, 37.5mm (1.5 and 2in)for cine projection. Pulkino f1.6 51, 62.5, 75mm (2, 2.5 and 3in) for cine projection. For Debrie there was the f1.7/1.5in; and 2.0, 2.5, 3.0, 4.0in as f1.6; They made at least one f2.0 50mm lens in M39 mount, and this may be an unfinished prototype for a lens for the Reid or like camera. It just may reflect the fact that H.W.Lee was working for them for some time just postwar. Pullin were able to coat lenses early postwar and in fact took in older lenses from eg R.G.Lewis for coating at £0.50 per surface, ie about £2.00 per lens. This suggest that only interior surfaces were being coated.

Pultan f4.5 5.5in (139.7mm) This was used on the Dawe Press camera (scarce) when it was mounted in a synchro Compur shutter. (B.J.A. 1952, p489 at lens No1484) There was a f4.5 135mm Pultran (or Pultan?) shorthead for Novoflex bellows also, which will be the same in barrel mount. An advert. in M.C.M. 1952, p498 lists a 5.5in (c.140mm) for the Dawe Press camera, with a 1+1+i+2 layout ie Q15?.The front was crown and flint and the rear specially selected glasses for good overall sharpness. Another Novoflex list from Pullin Optical Co Ltd as agents included a Wraypul f4.5/135mm Wray-Pullin Anastigmat at £13.1 + £4.26 Tax. Thus here they were certainly selling a Wray sourced lens in the same product position as the Pultran.

P.Z.O. =Polskie Zaklady Optyczne, Poland. Reported for a simple f11 lens with Waterhouse stops on a Korona camera from the mid-1930's. see Cyclope, Nr 26-27 1996).

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

Questar, Box S700, New Hope, Pa. 18938, USA. L. Braymer was President in 1964 and seems to have been the leading light behind the enterprise. They are makers of very compact high performance telescopes, also sold for camera use as cats. with the necessary adaptors and other modifications. Here they typically work as a f15 1300mm system. Others were 3.5in dia. and 1600mm, 8in overall length (03/1970); and 1400mm (1964). This was a high quality item, and handles like a jewel and was ideal for surveillance and wild life photography. The focus action is by moving the mirror, and mirrors of quartz or Pyrex were used (1965). The choice of alloy and the precision of assembly mean that purchase secondhand must be very dependant on condition, especially as ex- surveillance items may have had a hard life. They also made larger mirrors for specialist use., eg 7in and 12in diameter. The camera item seems to have been launched in 1957 as the 'new field' model. This photo model focussed more easily by movement of the adaptor and was rated 'optically excellent' (Modern Photo 08/1964, p54). A Questar claim was that the relatively small diameter mirror cut through heat haze better than a large one would (Modern Photo 09/1965) (Layout Que001). But the larger mirror may be better for 6x6. A black tube type photo model is shown in Modern Photo06/1978, p12 with 4 elements, 700mm, f8max.,88.9mm aperture focus to 10ft, 3°25' acceptance. They are said to still be in production in 1998.