B & W (Walter Biermann and Johannes Weber), Berlin, Germany. They started in Berlin in 1947 making high grade optical filters (color filters) and using Schott glass. They made filters under contract to many (most?) of the leading German firms inc Leica, Hasselblad, Rollei, as well as selling today (2000) under their own name. It is therefore interesting to compare the mounts of some in-house filters and also non-official ones and this explains why they are often so alike. (see advert. Fieldgrass and Gale, Am. Photo. 07/04/2001, p91.

Back, F.G. Back (1902-1983) was responsible for a number of developments in early zoom lenses. For 16mm these were available from 1946. His Zoomar Corp. dates from 1951. See especially Voigtlaender for the Zoomar lens.

Baker/Baker-Nunn, USA. Specialist makers of high quality aerial survey cameras, initiated at Harvard in WW2 using K22 cameras. Products included first a f5.0 40in lens, then f6.3 60in and f10 100in by 1947. These were thermostatted in use for optimum performance. Later there was a f8.0 144in, for 28x28in in 1960, mirror optics for tracking such as a f1.0 24in and a f4.0 64in. (The layout of the 40in is shown in Bak 001). (See also Polaroid for a J.Baker and W.Plummer designed lens, possibly the same firm.)

Balbreck Aine' et Fils, France. Balbreck were licencees for the Cooke triplet, from TTH of Leicester, along with Mssrs Voigtlaender of Germany. Balbreck lenses do not seem to be common, but one has been mentioned as a f16 290mm RR on a Guyard hand-and-stand camera. There was also a Balbreck option on Le Marsouin (Porpoise) stereo from about 1900. We have noted a "Max Balbreck" on a monocular about 7.5x and it may be they were mainly makers of glasses. Judging from FBB they were active about 1890-1920, but often, perhaps always, were listed for RR lenses even in 1920 on the 45x107mm stereo La Francia of Mackenstein. Often as here, they are fitted to Stereo cameras (Jumelles). They do not seem to have made triplets in quantity (one is noted below)but there was a Balbreck lens on a very early Lumiere 35mm Movie camera No130 of 200 initially made in 1895 noted at auction: but by 1900, Cooke lenses from TTH were listed in France by Fournier on a Jumelle and in 1903 by Gaumont on the Block Notes. Users included the Photo Album concealed camera (1890) and several Mackenstein cameras about 1896-1904. A small stereo camera for 40x110mm is shown by Hasbroeck as about 1920, with a pair of 'Rectiligne Balbreck' lenses but with no other engraving. Probably after 1914, the firm was essentially in other fields. One important item noted was a 'Objective Cooke / Brevete HD Taylor SCDG / Ser III 218mm 8.6in (also 13in.) Iris f6.5-f45.// Balbreck Aine et fils / Paris / No497'. This is an impressive brass lens in a Thornton- Pickard shutter and seems to be in imperial thread. Fig 022 004 Balbreck Cooke Series III Triplet f6.5/218mm No497 (with T-P roller blind shutter). 'Balbreck lenses' were noted as a f16 290mm rectilinear on a Guyard hand and stand. This was the first Balbreck noted, surprisingly in view of the note that they were the licencees for the triplet in France. It is likely that the firm was in fact Balbreck Aine et Fils and incompletely listed in the source seen.

Balda, Dresden, Germany Primarily a camera maker, their lenses had trade names which reflected their own, as in Baldanar, even though these lenses may have been bought in. Incidentally there was overlap in the Baltar trade name with a Bausch & Lomb movie lens. Examples are: Balda Primar f6.3 105mm This was on a 6x9cm camera about 1928. Baldanar f3.5 50mm This was on a on a 1930's Baldina. Zeconar f2.9 50mm This was on a 1930's Balda camera. Rigonar f3.5 50mm and (f4.5/75mm) on a Mess Rigona, Rigona 35mm and Baldix. Postwar Baltar f2.9 75mm This was on a 6x6cm Baldix, and Super Baldax (1952, 1954, 1956). Baltar f2.9 50mm This was used on the Baldinette and Rangefinder Baldinette about 1950. Baltar f4.5 ?75mm on R/F Baldix 6x6cm. Baldanar f3.5 50mm also on Baldinette. Here the cheapest option was Baldanar, then Baltar and then Radionar f3.5 and f2.9. The Baldinette II used a Color-Isconar f2.8/45mm from ISCO. Baldanar was also used as the entry level lens on the Baldina cameras in 1961, but seems to have phased out to be replaced by ISCO lenses, such as Color Isconar and Color Westanar f2.8/45mm. Color Baldanar f2.8 45mm on Baldessa 1a and 1b. Here Color Isconar was the low price option. Baldar f9.0 72mm on 6x6 Baldixette, about 1960. Baldanon f2.8 38mm on Balda C-35 - a late camera. Baldanar f5.6 38mm as above on Balda C-35, Baldanar f3.5 50mm noted as coated and on R/F Baldina (B.J.A. 1954, p189). Rigonar f4.5 ?75mm for 6x6cm on Baldix 6x6 (1956) and Rigonar f3.5 50mm? noted on Baldinette 35mm in 1954 (B.J.A. p526). Baltar f4.5 ?75mm same, see B.J.A. 1956, p561 Advert. [Ennagon from Enna, f3.5, f3.9 on Baldix. The following are probably related items. Max Baldaweg, Dresden, German. Balda Werk, Dresden, Germany. Among their 1930's lenses were a series probably bought in but of unknown make. Vidanar f4.5 50mm on Picochic 3x4cm Vidanar f3.5 50mm Vidanar f2.9 50mm on 35mm Baldas about 1936, 1934. Also on 3x4cm Picochic. Juwellar Anastigmat f6.3/105mm on Juwella rollfilm Juwellar Anastigmat f4.5/105mm on Juwella, about mid-1930's.

Balham Optics, 6, Weir Rd., London SW12-0NA. They are more correctly named Optical Instruments (Balham) Ltd. of Unit 39, Neville Court, Neville Road, Croydon, Surrey CR0-2DS They are repairers and makers of lenses, active currently.

Balsam Where glass components are in contact, a sticky clear layer is used to join them- both to keep them aligned and also to reduce light reflexion at the surfaces. The traditional material was from the gummy Canada Balsam of Canadian tree Abies balsamea Miller, though other pines such as Oregon Balsam from Pseuda- Tsuga trifolia are known but are less good. Crude balsam is a mixture and is first heated to 200°C, or to about 130°C in vacuum of 10mm Hg, to drive off light ends as turpentines, and the remainder called balsam, varies in viscosity with how hard (time and temperature) it was heated. Purification and treatment is described in F. Twyman, "Prism and Lens Making", p238. If the balsam is a soft one, the glasses were then balsamed together by warming them by putting a droplet on one, and the mating lens placed on and pressed down with a slight turning movement- pressing till the excess squeezes out and the edges of the glasses are lined up- more stringent alignement ["centering"] will often be needed on a optical test rig. The pair of glasses is then placed in an oven at 77°C for 60hours, and allowed to cool. This bakes light ends out of the balsam at the edges but leaves the centre little changed so that after cooling the glasses stay aligned and together. A harder balsam requires hotter glass before mating the glasses but the final treatment is shorter, say 2 hours at 40°C, as there is no need to bake out the light ends. Slightly different techniques were used in UK, Germany and other places, and factories also varied. Thus different makes have in the long term shown different amounts of balsam failure and this probably corresponds to the hardness of the balsams used and the care taken in annealing. [Thus this text notes elsewhere cases where one product goes yellow and fails partially while others from the same maker stay in excellent condition. Traill Taylor attributes this to assembly into the cell before the balsam has had time to harden, so it is affected by reaction with the brass cell wall]. However some lenses had to be assembled using soft balsam since they were large, subject to temperature changes and had glasses of differing thermal expansion. Typical examples were aerial lenses. One example is the Aero Ektars, where the f2.5/12in (c.120mm dia.) seems to be very subject now to balsam bubbles. There may be no complete answer to this situation. An early case was the Ross-Collen lens, where castor oil was used as balsam- and probably renewed regularly as it did not harden and leaked out. An exception to the use of balsam was when in Germany surfaces were contacted direct and if clean and accurate to 1/2 ring or better, when no balsam was needed. [It may not have been applied to photographic equipment however.] This underlines German difficulties with balsam supplies in wartime, but synthetic balsams were normally the answer and their chemists were adept at seeking such ersatz materials. In his 1952 Edition, Twyman mentions n-butyl methacrylate (H.T. Cement) as the one with suitable properties. (idem, p242) Apparently the monomer is applied, or a siropy mix of monomer and polymer and the glasses united and baked in an oven for eg. 16hours at 60°C when the are united by the clear new layer of plastic formed. Such synthetic balsams are excellent as they are clearer and more consistent, but can have problems. Thus while thickening, the material shrinks, and this can continue long term if the conversion was not completed during the intial heating. and the additions of other substances such as UV absorbers to trap UV light can exacerbate the situation. [This effect may be responsible for some of the balsam failures noted in German optics in the late 1950's and 1960's.] Balsam failure was also a regular occurrence in cinema lenses due to heat, and a top UK repairer made this repair work the basis of his business.

Traill Taylor suggests balsam is a diy job. Strip out the defective glasses, and place in tepid water in a pan on a piece of wood to prevent damage, and heat till the balsam softens. Slide apart, and clean up the glass with solvent (white spirit or aromatic hydrocarbon such as Hammerite thinners. When clean and dry, place the concave side up and place a good sized drop of Balsam in the middle, totally free of bubles, and keep the lens warm (not hot)while the othe surface is lowered onto it, and the balsam squeezed to the edge. Then wind a long piece of string round and round the glasses, crossing and recrossing repeatedly to centre them, and place in an oven till the balsam squeezed out is found to be hard. Cool, remove string and clean up before remounting. (It might be worth practicing before use on a va,uable lens...)

The synthetic balsams make lens repair much slower and in some cases prevent it. In the old balsams, the glasses were left to soak in petrol or toluene in a warm place, and eventually the balsam dissolved and the glasses came apart. Repairers could not quote a time, but it often was months for quality items where the glasses fitted well and the balsam was hard. Synthetics balsams do not always respond to this treatment and if applied, the waiting time can be prolonged. Apart from yellowing, Canada balsam apparently could lead to problems with fluorescence when exposed to UV light. (B.J.A. 1939, p235.)

A.C.Banfield He gave his name to a soft focus lens made by Dallmeyer (Q.V.) but also designed darkroom equipment for Mssrs Allan (Dallan) and a camera (B.J.A. 1924, p281) using a massive Compound shutter to allow the mounting of a wide series of fast lenses such as Xpres, Pentac, Staley-Wheeler and Dallon.

A. Banz, France. FBB records a 'box' type detective camera with a Banz RR from 1892.

Barlow, P. He initiated the use of negative lenses as magnifiers for telescopes. Later the same idea was applied to telephoto lenses. (Proc. Roy. Soc.,1834).

Barnes Engineering, USA. They made a synthetic fluoride lens for photography with ultraviolet light. (Modern Photo. 1/1970 p76). It was a f3.3 60mm lens mounted on a 70mm Maurer camera. Also noted; a mirror optic f2.3 290mm.

Barnet-Ensign, England. Barnet were an English plate and film maker and Ensign was a trade name used for cameras in a complex group of companies centered round Barnet, later Ross, and Houghton-Butcher. Ensign lenses were often bought-in from (mainly) Ross, but are mainly listed under the "Ensign" entry.

Barr and Stroud, Anniesland, Glasgow, UK. They were and are instrument makers eg. makers of binoculars eg. a 7x 50 cemented design for the Royal Navy in WW2 and other optical instruments, but not so far as is known camera lenses.

Barre Barre seems to be the maker of an old portrait or possibly landscape lens of f4/350mm, but no details were given.

Bauer, Bosch Group, Robert Bosch Gmbh, 7 Stuttgart 60, Beim Inselkraftwerk 10, Germany. Bauer are/were makers of movie projectors and listed a Bauer f1.6/35-65mm Bauer Vario Zoom, but may not have been the makers. Bausch and Lomb, 272, Smith St, Rochester, N.Y.,USA. UK Agents:A.E.Staley, 35, Aldermanbury, London EC. We thank J. Jasek, Texas, USA for additional information here. J.J.Bausch emigrated to America in 1849, after an optical apprenticeship and after an accident set up in optics in the USA with the cash from a collection in sympathy. Initially he sold spectacles, using imported frames but this failed and Lomb invested in the business which switched to manufacturing and became a major maker. They were licensed in 1891 to produce binoculars to the new Zeiss design, as well as the new range of Anastigmat lenses, and probably these were mainly sold in the USA. His son, E.Bausch (1854-1944) was responsible for the extension into microscope and camera lenses from 1893 (Zeiss designs) and E.Bausch designed the Plastigmat lens in 1900. The following can be only a fraction of their total product range, as their lenses are not common in UK and were not much advertised. Production began in 1878 with single achromatic lenses. Optical glass was produced in-house from 1915 due to the cut-off of German supplies. Here William Bausch, Edwards brother, was involved also. A late prewar advert. lists B&L Tessar, Protar VIIa and F-set, and B&L wide angle Protar V. Lenses were Balcoted by 1946-7, and used a new all-temperature cement. An advert. in the 1947 American Annual padvert 29 shows some 11 structures all of Tessar type.

Listed 1890 Here the Clarke lenses seem to be absent, the lenses being before the advent of the new Zeiss Anastigmats in the early 1890's, which were not noted in the 1890 list. Extra Rapid Universal f6.0 4.375-22.75in. It was still listed in 1908. RR Portrait Lens (Bau001) Two layouts have been seen, of which this is the more deeply curved one. Rapid Universal f8.0 5.25-31.625in. It was an RR, probably as above. It was still listed in 1908. (Typically Q5) Universal f8.0 RR, probably the same as above. B&L Telephoto Lenses: These were offered in 4 sizes, 3-8x, on a rack-and-pinion tube.

Listed 1891 Symmetrical Wide Angle lenses; These were a wide angle rectilinear, WAR (Bau002) B&L Petzval lenses. Rapid Universal (RR) from 1885 at least as follows; f6.7, 5.25in; f7.0,6.25in, 8.5in; f7.5, 11.25in, 13in. f8.4,16in; f8.8, 19.5in, f9.0, 23.75in, 30in. These were with Waterhouse stops, and 11.25 or 13in was suggested for 10x8in. It was still in use on the Long Focus Premo in1895-1900. Victor: a RR, possibly branded for use on a camera of this name. Rapid Convertible: an f8.0 RR on Houghton's Sanderson in 1906. Alvan G. Clarke (Gauss) Lens. This design was an important novelty as the basis of all modern Gauss lens designs, but is not common as it was a poor seller, and was not appreciated: and it barely reached Europe. It covered 60° at full aperture or even 100° at small apertures and this was the real value. It was patented as US Pat 399,499/1889. The review in Photo News 1/11/1889 says it will cover up to 100°, and that it has the best overall image of any available, but does not specifically claim it is corrected for astigmatism. The catalogue says since there was no cemented surfaces and the outer glasses were of 'the hardest glass', that it will never degenerate or become slower, and be less liable to become scratched. It was sold in iris barrel or in shutter by 1898 when the only version listed was the f8.0 (List 1 presumably). Later it was shown that anastigmats were possible with the old glasses and it would be interesting to know how far the Clarke lens was actually corrected for this. The layout shown (Bau003) is "typical" of the type. List 1 f7.5 5, 6.125, 8.25, 11, 13.25, 16.125, 19.25, 23.375, 29.5in. List 11 f12 3.75, 5, 6.125, 8.25, 11, 13.25in. List 111 f35 3.75, 5, 6.125, 8.25, 11, 13.25in. 1898 List f8.0 5.125in for 1/4plate; 6.125in for 4x5; 8.25in for 5x8in; 11.125in for 1/1plate; 13.125in for 8x10in; 16in for 10x12in; 19.25in for 12x15in; 23.4in for 16x18in; and 30in for 20x22in.. For 10x8, the suggestion was 13.25in in List 1, 8.25in in List 11, and 6.125in in List 111. This shows that List 111 was a really wide angle design.

Listed in Early 1890's Zeiss Anastigmats. These would be made under licence from Zeiss, where the dates of introduction are given. All these lenses had rather similar layouts, but were designed for differing angles and speeds. Deg. Series Aperture Focal lengths Layout Type 85 11 f6.3 3.375-23.25-35.5in 2+3 anastigmat use 5.5in for 5x4 75 11a f8.0 4.375-17in Bau004 2+3 anastigmat use 5.375in for 5x4 85 111 f7.2 3.81-23.25in Bau005 2+2 anastigmat

97 111a f9.0 3-32.5in. Bau006 2+2 anastigmat use 4.75in for 5x4 100 1V f12.5 2.44-48.375in Bau007 2+2 anastigmat use 3.875in for 5x4 110 V f18/16 3.75-37.31in (1925) Bau008 2+2 anastigmat . Of 3 versions of Series V noted, this layout seems to be the most convincing. The internal separations varied in the drawings. While initially f18 max., the Series V was later listed in the 1920-1945 period alone as the "Extreme angle Protar f16" but in a 1939 H&D list, it seems to be back to f18- a misprint perhaps. But an f20 version for 7x5in has also been reported- it is probably an early lens as no focal length seems to be engraved on it. At least in UK the Ross version was listed as f16 while still carrying the Zeiss name, and it seems likely that the actual glass was the same, and the graduation was falling into line with local practice. Larger sizes were initially listed for process and copying work. The range of Protar lenses was decreased progressively, but in 1908 they still listed Series 11, f8; Series 1V, f12.5; Series V, f18; as well as Series V11a (Below). This was a wide ranging list as it also offered Tessar f6.3, and f4.5 (new) as well as F8.0 Extra Rapid Universal and f8.0 Rapid Universal RR's. Series 1V and V were listed into the 1930's and Series V survived at least to 1938 and probably 1948 as a wide angle, when the range of focal lengths made was more limited. Anastigmat was the original Zeiss trade name but in addition the name Protar was added as Zeiss were able to ensure its use was limited to their own products only. B&L continued to use Zeiss trade names at least to the 1930's unlike some others who must have ended the licence agreement. A Korona 10x8in wide angle camera ("Sky Scraper" type) in B.J.A. 1927, p155 seems to have an Series V wide angle probably from B&L. It was also sold and used with a Goerz Hypergon elsewhere. (B.J.A. 1927, p305) It could use a 3in focus lens, on a 10x8in plate, or up to 6.5in extension. It has a 2.75in rising movement, and cost £18 plus the lens.

Double Protar V11 Subsequently Zeiss issued the Double Protar with two components each of 4 glasses, and related to the above anastigmats. Either single cells or pairs were usable, and the singles were sold separately as V11 and the pairs as V11a Protars. Protar Single Series V11 85° f12.5 a single 4-glass component made in 7.25-39.5-63.5in Protar Double Series V11a 80° f6.3, f7.0, f7.7 a pair of the above. made in 4.125-23.5in Double Protars are very desirable contrasty, well corrected lenses even today. They are fairly free from flare, show little distortion and do not shift focus on stopping down. Single Protars are even less open to flare but do shift focus slightly on stopping down, and the maximum aperture is rather low for convenience. The cells were also offered as casket sets with several components to mix or match in the set. Example was 11.5, 14, 16.5, 19.25in cells in a set. Note that the apertures vary with the cell mix, hence the varying maximum apertures given above for the double series. Caskets could be in shutter or barrel mounts, and are rather a select item, although most Double Protars are available if looked for. "F"-set: This was a Protar set in 1937 with 4 series V11 components and also a Series V lens to extend it to real wide ange work, all items fitting the same flange. Bausch & Lomb Protars are uncommon in the UK but a Protar VII 11 3/16 in (=284.1625mm) was noted at No1,286,629 in a shutter. It carried Pat date 8 Jan. 1895 and was optically in fine condition, free from balsam problems. The reflexions from the balsamed surfaces seemed slightly less than in a original Zeiss Protar VII No63,722 of 285mm, and the internal curves were identical but the outer seemed to just differ. It may be the glass supplies differed very slightly as these may be of different dates. It was not possible to use the B&L version as the threads were distinctive, ie different! An 1898 list (Note that by 1903, production was about 500,000). Here the Zeiss lenses had been extended to include Unar and Planar and some other non-Zeiss items were noted. Unar This was probably made but has not been noted. Portrait Unar f4.5 This was made in 10, 12, 14.75, and 18in. This was a special fast sharp portrait lens, probably continued from a time when the Unar was an important item. The portrait label is not attached to Unar by other makers, and it seems to have been offered with a softness control device which was unique. It was suggested to use 14.75in for 10x8in. Planar Series 1a f3.6-f5.0 (in longer focal lengths) to cover 72°. It was made as follows: f3.6, 4.5in; f3.8, 5.0, 6.25in; f4.0, 10in; f4.2, 12in; f4.5, 14.5in, 16.75in; f5.0, 18.5, 24in. It was suggested to use 16.75in for 10x8in.

Other Lenses Periscopic for No4 folding Kodak. This is potentially an older product, noted in 1893. Planatograph f4.5 150mm no details here. Planatograph f8.0 This was a 6.5in lens on a 5x4in Pony Premo. Telenegative elements. Three types seem to have been offered, with one, two and probably 3 glasses. a/ This was initially a 2-glass negative component in a sliding tube mount for a B&L lens in a Unicum shutter, eg for 3.5x magnification for use on 5x4, 7x5, or 9x7in sizes. These had lenses of diameter 26mm, 34mm, and 43mm respectively. This was noted in an 1898 list, where it is teamed with a Series V11a Protar unit. The prime lens could be from 6.5in for 5x4 to 13.5in for 8x10in. With the 6.5in lens it gave overall 6.4-22.6in. b/ A single glass rear negative has also been shown, agented by Staley in 1901 (B.J.A. 1901, p1510) c/ During 1901 a more complex 3-8x unit to suit RR and Anastigmat lenses such as the Protar V11 was introduced. Universal Wide Angle Lens f16 This was listed as such in the 1898 catalogue, but the diagram suggests a Series V Protar was involved, with different front and rear cells. This may be a printers transposition. It was made in 3.5in, 5.25in, 6.5in, 8.0in, 10.5in, 14in, 17in and 22in and 8in covered 10x8in. It was rated for 80° but could cover 100° when stopped down. This version was definitely not an anastigmat from the text and was probably an RR. Plastigmat f6.8(?) 5.25, 6.25, 7.5, 9.25, 11, 13, 15in This was an 8g/2c symmetrical anastigmat introduced by B&L about 1900, and the reflexions in the one seen suggest it was a Dagor type design- ie one of the reflexions is hard to see. It will have been initially made as the Dagor patents would still be effective in 1900.(Layout Bau009) Note that drawings of this vary in the centre gap width. Also that it differs from the portrait lens below. It was recommended to use 6.25in for 5x4 and was fitted to the Premo Long Focus in 1902. The example (No NY985511 in a Compound shutter) seen did not have focus engraved on it, but was about 135mm 'for 4.25x4.25in' and covered a much bigger field, such as 5x4 with 2in rising front in use. Performance was rather like a Dagor, good at f6.8 and with some improvement on 1 or 2 stops down but a real wide field and excellent contrast even in an uncoated lens. Condition was also excellent, without signs of balsam failure or scratching. This seems a high quality product and still worth having. They can be very BIG as a 750mm f6.3 has been noted. It was listed as a portrait lens for 11x14in in barrel with iris. Extra Rapid Universal Lens, Series D for f6.0 max. The section shows a typical RR with thin cemented pairs of glasses back and front. It covered 70°. It was made in No0,4.375in for 6x9; No00, 6.375in for 5x4; No1 8.0in for 5x8in; No2 9.45in for 6.5x8.5in; No3 11.25in for 8x10in.; No4 14.25in for 10x12in; No5 17.5in for 12x15in; No6 22.75in for 16x20in. Rapid Universal Lens f8.0 max. This was for 70° and was the standard product to 1896 and still a favourite. (ie. the f6.0 above was ?new in 1896?) The f8 was made in 5.25, 6.75, 8.875, 11.75, 13.875, 17, 20.25, 24.75, 31.625in and 5in was suggested for 5x4. It was priced some 15% below the f6. Universal Portrait f4.0 These seem to be a Petzval type made in: No(1) 6.5, with front glass 2.75in dia. for 5x4in. No(2) 8.5, with front glass 3.5in dia. for 5x8in. No(3) 11.5, with front glass 4.16in dia. for 6.5x8.5in. No(4) 13.5in with front glass 4.5in dia., for 8x10in. The separation of the rear glasses was adjustable to control softness, and this may be most useful in close-up as it increases the depth and eveness of definition. "Edison" A brass and nickel projection Petzval type lens highlights the relation of Bausch & Lomb and the Edison Manufacturing Co, for whom this is a No1 type lens. It is probably about 3.5-4.0in. Fig 009 016 (l) Crown Optical, Projector lens; and (r) Bausch & Lomb Projector lens for Mr Edison.

Tessar This is from a 1911 list, some time after the f6.3 and f4.5 versions were new. B&L Tessars were used on two early 35mm cameras, the Simplex of 1914 where one was listed as No1,894,37x, and the Tourist Multiple about the same date which used an f3.5 eg at No1,862,55x. Tessar 11b f6.3 9.75-19.44in Layout Bau010. A high quality general purpose lens. Other lists give 3.5-23.25in and 4.6-12in, so the range probably varied. f6.9 3.5in (Possibly a 'special' for a small shutter?) Tessar 1c f4.5 3.625-19.44in. (Layout Bau011) It was suggested to use 5.5in for 5x4. Fig 031 005 Bausch and Lomb Tessar IC f4.5/190mm ctd ex Burke & James Ill. Tessar f3.5 32 to 75mm This was mainly for cine and 24x36mm use. It has been noted on various 35mm cameras from 1914-1918. However H&D mentions these were made in 10 and 12in for aerial use as below. Apo-Process Tessar f10-f15 These will be in long foci. Micro Tessar e.g. f4.5 48mm initially, later also 16,32,72mm were added. This was designed for macro and low power microscope work. It was a long lived item into the 1930's.

Other Lenses Process Apochromat f10 260-640mm This used a dialyt type design. "4-glass Gauss Process" There seems to have been this as an alternative, possibly for wider angle process work. The layout is Bau014. Sigmar(noted1931) f4.0 16,19,22in. This was a triplet, not fully corrected and softish for portraiture. It was suggested to use 16in for 10x8in. Plastigmat Portrait(1925) f5.6 9,12,15,18in This gave softish focus all over, and it was said the visual effect matched the photo effect. The design used 3glasses, as 2 components, ie 1+2. It seems at least two Plastigmat types exist, and possibly more.Here use 18in for 10x8. Plastigmat f5.6 9-18in This was a Petzval type, a possible reuse of an old T.N. Raytar f2.3-f2.735-152mm Designer was W.B.Rayton, of B&L. it includes: f2.3/100mm, f2.3/75mm These were commercial movie (35mm) lenses, and some have been adapted to use on 24x36mm eg. in M39 mounts. (Thus they were described in a LHSA issue and H.P.Rainer seems to consider them factory products.) Raytar f1.5 This was a triplet of 5 glasses as 1+1+3. f2.5 Noted as a 50mm lens from an 1918 Akeley camera, but it may be a later fitment. Graf Bishop Doublet This is a puzzle. See B.J.A. 1924, p277; B.Pat.194608/1922). (Ilex Portrait f5 and Ilex Photoplastic f4.5. These have been listed as B&L but the name suggests another make.) Wide angle f6.3/f6.867-88mm 4-glass Gauss for 88°. Ansix f1.9 25mm This was a cine lens, but no details are available, but it was probably a 6-glass Gauss. Process Anastigmat Lens f10 13-25in. with 4-glass Gauss layout. Super Cinephor f1.6 Gauss type projection lens, (A.E.Neumer, J.S.M.P.E., 52, p501, 1949). Also as Cinephor, in 6.5in. Varium f4.0 no details. Photo-Fluorographic f1.5 150mm This was probably to record X-ray traces onto film using larger sizes for better details than the very small 16mm films. This tended to be early postwar?

(They seem to have supplied lenses for the Ansco Memo camera at Nos 15,26x and 28,21x from auction records. These seem to have been made from 1927 for many years, and could have Wollensak, Ilex or B&L lenses but the types are not noted.) Anon Anastigmat f2.0 3in This was an odd lens used in an enlarger in Min. Camera World 01/1938 p110 probably for an unduly large format but it was noted for barrel distortion round the edge. The B&L was 'no longer available in the UK' at that time. It was probably a movie lens.

Aerial Lenses Metrogon f5.6/f6.36in, also a few at 3, 4,5.125, (prewar), 12in focus. 6in covers 9x9in., for 90/100°.(USPat 2031792). This is a deeply curved Gauss derived from Richter's D.R.Pat.636,167. It was made in up to 1000 lenses per month for fitting to the K17 Aerial camera from 1939, including as a Trimet triple fan mounted assembly for wide coverage. Fall-off in illumination can be a problem and exceeds the cos4 value and some distortion is present. This last was the reason for the later 5-glass version below. [This was a Topogon copy in most books. But remember they may well have been licensing them from Zeiss up to WW2.] It was selling off in Modern Photo 11/1971, p147 at $14.95 (no iris) or $24.95 with iris. Government cost was said to have been $900.

This is scarce in the UK but one seen was a 6in (152.5mm) f6.3 No MS1249 Spec 31281 to USPat 2,031,792. This is a 4-glass lens in a alloy mount, and the optics just push into a center barrel with the iris- now lost. Originally, there were probably bolts thru from the from bezel to the back to hold it in assembly, and there are signs that the front cell was pushed into another assembly, possibly with the bolts starting in front of it. Reassembly of this lens was not successful, possibly due to the centre barrel length being set wrongly (wrong barrel perhaps?), and it focussed on a very curved field- it must be worth finding an original example to start with. Metrogon (11) This was a 5-glass version, rather like the Ross Survey, but reversed. It has less distortion, and possibly more even illumination but is very rare as it was only coming into production as the war ended. This is the USPat 2,325,275, with a split front glass. The designer was W.B.Rayton. (Bau015). It was probably an f5.6 lens. Aero One list says Aero f4, f4.5, f5, f6, f11; all in Plasmat layout+ AeroTessar in f6.0 24in. Compare this list with the following lenses actually advertised including as clearances from Defense. Altimar f4.0 8.25in (210mm) Aerial survey Probably Q20 type. Kingslake in H&D refers to Aero lenses of Q20 type in: f4.0 8.25in f4.5 12in f5.0 8.25in f6.0 6in AeroTessar f4.5 10,12in: This was probably a 1920's introduction. Some of these are said to be 5-glass types rather like Gundlach or Ross lenses.(eg Gun003) Aero Tessar f6.0 11,24in for 18x9in survey work. Surplus sales included these in Modern Photo. 2/1960, p109, as well as a Kodak Ektar lens. "Aero" This name probably refers to the above. B&L Aerial f5.6 508mm (20in) This is said to be a tele with 4 uncemented glasses, (Rayton and Hudson, USPat 2,390,387) f8.0 40in The first was prewar. This seems to have been redesigned in 1940, and then replaced by an f5.6 version, which is said to be 5-glass in one account. B&L E.F. Anastigmat f2.0 75mm This was a probably a Movie lens or an early oscilloscope recording lens. It was noted as a 6glass Gauss at No3,230,081 in uncoated form, ie pre-war. See below also. B&L Baltar This was a prestige series of movie lenses noted on modern Mitchell cameras. They are still sought after at good prices and do not often come on the old lens market unless damaged or in an unusual mount. Baltar This was a series of movie lenses. f2.3 25, 30, 35, 40, 50, 75, 100mm One has been dated as 1946.The example seen was NoZF569 in black mount and purple coated: it looks a very fine lens of normal 6g/4c Gauss design. By 07/1976, these were listed by Mitchell as Super Baltars and made as: T3.0 20mm Super Baltar T2.3 25mm, 35mm, 50mm, 75mm, 100mm. It may be that these are f2 lenses which are equivalent in T number to T2.3. The prices fell with increase in focal length suggesting the shorter are elaborate retrofocus designs so that the 20mm cost $1,650.oo while the 75mm cost only $835.oo.

Fig 031 023 Bausch & Lomb Baltar f2.3/40mm NoZF569. (Ctd) f2.7 152mm f2.0 50mm "Movie lens of 6glass/4component type" (Do not confuse with the Balda lens of the same name.) Microfile lens f5.6 65-100mm This was a Q15 type copying lens.

Animar: a family of lenses of varying type, for movie or cine. a/ plasmat layout b/ 6-glass Gauss layout c/ retrofocus d/ triplet f2.7/f2.812-25mm for cine. An f2.8/12.7mm was noted for a 1940-7 Revere for 8mm. e/ Aviar f1.9 14-26mm An f1.9 26mm was noted for a 1950 Keystone 16mmcamera. f/ Ernostar-4 type f3.5 75-100mm Q21 layout (K. Pestrekov and J.D.Hayes, J.S.M.P.E. 54, p183, 1950.) Telestigmat f5.6 400mm, There is no indication of the date here (Bau013) Telestigmat f6.3 17in This was listed definitely as a Tele here. Cinemascope lenses These were launched in the 1950's aprox. These were the anamorphic lenses for the Cinemascope process and Bausch & Lomb designed and made them. Two types were used: in the first, the anamorphic unit was mounted on a standard movie lens to squeeze the image. In the later forms, the whole was designed as one single unit. They were made in 35, 40, 50, 75 to 152mm.

A table of US Navy lenses and cameras.

Camera Format Lens Specification F1 5x7 f4.0 8.25in Altimar; f4.5, 10in; f5.6 20in. F8 5x7 f4.5, 10in K3,K3a,K3b 18x24cm f5.0 12in F56 7x7 f8.0 40in f5.6 20in f4.0 8.5in K17 9x9 f6.3 3in. Metrogon apparently. They may be paired for stereo or actually for a 5x5camera. They do not cover 9x9. f5.0 12in f6.0 24in K18 9x18 F6.0 24in K19 9x9 f2.5 12in K20 4x5 f4.8 6.375in K21 5x7 f2.5 7in K22 9x9 as K17 K24 5x5 f2.5 7in f5.0 12in f5.6 20in K25 4x5 f4.8 6.375in F52 We are told this was for a smaller size than 9x9 but do not know exactly what. We are told B&L flourish today, partly as the source of Ray-Ban sunglasses. A more modern photo product surely is a B&L Zoom 90-230mm f4.5 noted for Nikon F.

C.S.Baynton, New St, Birmingham They are listed by Channing and Dunn as 'probably' camera makers though possibly just vendors. A Baynton lens seen was an RR in a brass mount of about f8/10in with no serial number- and both the barrel and flange are clearly marked 'Made in France' as well as 'Lightning' Regd. Lightning has been noted elsewhere and may be a Baynton trade name. Brass with iris to f64. It looks to be a solid professional item.

F.C.Beach, USA He was probably an American maker, seen as f4.5 16in., probably a studio lens.

Beaufort-Hewitt This camera seems to have been designed by Beaufort and made by Hewitt to Patent Application 28,455/1921 as a 35mm camera for 23x31mm fitted with a Cooke f3.1 50mm lens. As such it is one of the few pre-Leica 35mm cameras. (Min Cam Mag. Sept 1949, p470) Prototypes only.

R. and J. Beck, 68 Cornhill, London EC3, later Watford, UK. USA: agent Mr Walmsley. Although they were founded in 1843 as Smith and Beck, Robert Beck being helped with funds by Lord Lister, as a result of a complicated family relationship, the firm only really entered the photographic market much later, in the 1880's and then it seems much of the output was sold in the USA. Thus a collection tends to have rather fewer RR's then with other makes, perhaps 7% in one case. It is likely they used the new Jena glasses in a series of RRs from 1890 (B.J.A. 1890, p495) though this is not definitely stated. Many of those found are from the 1900-1910 period, and it is thought that some are concealed by being engraved by other names, such as Thornton-Pickard. They were of good and consistent quality. They were also active in Stereo equipment, as Smith, Beck and Beck making a handheld achromatic Stereoscope eg No249x and No1277. The company making lenses was now R. and J. Beck, and they were able to obtain the right to manufacture anastigmats from Steinheil, of Munich. Thus the RR period is replaced by two series of Orthostigmats and the Unofocal marked Steinheil-Beck. One account has been that the hazards of patent law prevented Steinheil making full use of his discoveries in Germany, and as a result he found a UK collaborator. The book "Photographic Lenses" by C. Beck and H. Andrews went through a series of editions at least from 1903-1906, and reflects the changing product range being made. It has interesting figures for the astigmatism curves for many Victorian lens types, contrasting good and bad designs. It is likely that the differences were partly due to the choice of good or bad was actually whether the maker used Jena glass in the design. For a f8 RR the astigmatism really began at 5-10° of axis while a good RR increased this to 10-15°, which today does not seem too impressive but actually doubled the good angle of correction. Beck were pioneers in the use of iris diaphragms (1885) and in the 1920's introduced the preset iris 'Iristop' with their f4.5 lens as used on reflex cameras, though with limited success. (B.J.A. 1922, p327; Brit Pat. 162,829 of 1920; B.J.P. 23/05/1980, p508). "W.H.Walmsley & Co, Sole American agent" has been noted on lenses at auction, eg. a 5x4 RR No2,44x. The business was acquired by J.J.Griffin and Sons in 1960.

1888 Autograph Wide Angle 100° 3-9in WAR (noted 1888-1890) They were made in 1889 with a rotating stop plate as : No1 5x4 3in No2 6.5x4.75 4in No3 8.5x6.5 5in No4 12x10 7in No5 15x12 9in.

Autograph Rectilinear 6-29in RR This was a long lived product, still being listed in the Beck&Andrews books in the 1905 period. No 1 4.25x3.25 5in No2 5x4 7in No3 8x5 8.75in No4 8.5x6.5 11in No5 10x8 13in No6 12x10 16in No7 13x10in 18in No8 17x14 24in No9 22x20 30in NB An iris was offered as extra here. Thus the No2 lens was £3.3 with Waterhouse stop and c.£3.67 with iris. Agents Sharp & Hitchmough were selling an Extra Rapid Rectilinear Lens for Portrait work in 4x the speed, ie 2 stops at f4, but there are no details. An early serial number was quoted as No343, but this may cover both lens and camera- a wooden Detective. One imported by Mr Walmsley above, was for 5x4 and of 7in focus at No244x on a Scovill Detective camera. Stereo Lenses These were a regular product. A pair were noted at auction at No2,11x on a brass panel.

Iris There is a claim that Beck applied the iris diaphragm as early as 1885 in some sort of dead heat with Lancaster. Lens No2,980 may be an example. The iris involved a prominent raised band round the middle of the barrel of the f8.0/13in RR as the iris is fairly conventional, 8-bladed with slotted actuating ring, but the setting ring is a flat disk actuating the iris by a axial pin since the slotted ring does not have the raised edge for a tangential pin as later became the norm. The mount used several very thin bits of tube, one retaining the setting ring, and has no mounting flange probably as it was used in a push in mount tube on the camera. It seems to be fairly common and must have sold well. A cut showing it is still in the Beck and Andrews books in the 1900's. Primus Beck This was a Beck trade name, but the Primus lens seen did not carry the Beck name and lacked any serial number.

Autograph Portrait Lens in 1889 was made in 4 sizes. Interestingly the back focus and format were given. No1 not given No2 7.5in focus 6in back focus CdV and Busts. No3 9.75in focus 7.75in back focus CdV and Cabinets No4 11.75in 9.5in back focus Cabinets No5 14in 11.25in back focusPanel Beck Portrait Lens f3.0-f6.0 6-24in Petzval type This was "New" in 1906, in 8.5in Petzval layout. Studio Lens f3.0 6in, etc. Petzval layout Bec001. Apparently the front cell has two separate glasses, not cemented, for better correction than most Petzvals, apart from the uncementing. It is a non-symmetrical doublet but much more nearly symmetrical than most Petzval type designs, apart from the uncementing, and is nearer other types.

Beck Symmetrical Autograph Rectilinear It was made in 6-29in and was an RR. Wide Angle View This was seen as a Cone type Meniscus lens of 10.5in with iris f16-f64 at No613x- a really impressive item in brass. The B.J.A. for 1890 p495 shows that Beck was aware of the new Jena glasses, and the reductions in astigmatism possible using them. He says that 'previously they had some 12 types of glass, all rather similar in quality and differing mainly in refractive index, but now the Jena factory were offering some 90 types of glass ...... some with entirely novel qualities. There were several lines of improvement possible, the most important of which is the elimination of astigmatism'.

1900 Some products from this period were: Double Aplanat Casket Set f8.0 for 1/4,1/2plate, in 1914. f9.0-f14 4 sets numbered 1 to 4. These were made for 1/4, 1/2, 1/1 plate and for 5x4. They used single cells of 8-26in, and pairs, 4.75-13in. Cells No0=8in, No1=10in, No2=12in,No 3=14in, No4=16in, No5=20in, No6=26in focus, and were still listed in the Beck and Andrews books. The barrel was calibrated to allow easy reading of the correct aperture scales and other sets were possible on request. Convertible Double Aplanat f7.7in 6in for Thornton Pickard Ruby(1911). This was known as a nice performer, with good contrast and overall sharpness and was in regular use into the 1940's without any real reservations about a need to update. It is worth pointing out that 6in is rather 'long' for the format of 1/4plate which helped it, and that a set of wide angle cells has since been found to extend it as they fit into the same shutter. See also Double Aplanat below. Symmetrical Wide Angle Aplanat f11? Extra Rapid Rectilinear f4.0 7.5 for CdeV and Busts, 9.75 for CdeV and Cabinets, 11.75 for Cabinets, 14in for Panels. This old series was still illustrated with the old type iris in the Beck and Andrews books. Size of Portraits was 5x4in for CDV and Busts, 6.5x4.75in for CDV and Cabinets, 8.5x6.5in for Cabinets, and 10x8 for Panels. Use a 9.75 or 11.75in lens for cabinet size. This was soft at full aperture, and in 1910 Beck suggested that the Isostigmar was better value. It is noticeable that Beck went on selling a lot of RR lenses well into the new Century. This was due to a good reputation, and the much lower price of the RR. Thus in 1910 they still listed 3 series in various grades and price, and a fourth was discontinued. Series 1 Biplanat f5.8 This was initially thought to be an RR but has been reported to have a 2+i+1 +1 layout rather like an Orthoskop- or Tessar, which it is not, as it is an earlier lens. In some lists, it was the most expensive grade. Beck and Andrews in their book show astigmatism curves for RRs and other lenses and the Biplanat f5.8 is included as one of these with astigmatism correction about the same as 'a good rapid rectilinear f8' but for a f5.8, it was a good design. (edn 3, p160) But there is no indication of the layout. It is not a well known lens but seems to be an early anastigmat, or a design moving that way. The example reported was a f5.8/16in lens No28,245 covering a big field such as 12x10in or more. Series 11 Portrait f6.0 5.5-17in (1905) This was an RR type portrait lens. An example noted was a Ser II No7 of 14in No43,38x on a 1/1plate tailboard by Dallmeyer. Series 111 This was discontinued. Series 1V This was in a focusing mount. Double Aplanat f 7.7/f8 5.5-14.5in(1910) This was an RR, in the medium price range but cheaper than the Autograph below, and it was also listed as sets in a "casket". They were list as 5.0, 6.0, 7.0, 8.75, and 11in, and covered 50-60°, with little astigmatism up to 20-30°. A small point but one of these from 1910 is a "Convertible Double Aplanat 6in f7.7 in Ilex shutter for a 1/4plate T-P Ruby Hand &Stand camera. Symmetrical f8.0 5-18in, a good RR but a cheaper product. This may have been the basis of lenses which seem to have sold under some Ensign and Thornton-Pickard labels. (Thus see the following note * on buy backs.

Fig 023 036 Beck RR lenses (l) for Ensign f8/8in; (r) Beck f8/13in with an early version of the iris. Rapid Symmetrical (?) f8.0 The addition to the above name may add little. Wide Angle Symmetrical f16 3-5in This was a WAR at lower cost.(1910) Wide Angle Aplanat f16 3 and 4in This was a WAR but a more expensive lens.(1910) Beck sold pairs of eg. 4in cells to replace the 6in f7.7 pair of Aplanats used on a 1/4plate camera, for wide angle use. Two sets of these have been noted. Both were in neat little flat cases in plum leather finish gold blocked with Beck's name and the product in the case of the Symmetrical.They were for effectively the same shutter fitting and diameter of glass, but differed slightly in optical design. (a) Beck Symmetrical Wide Angle 1/4pl Aplanat with bulges of 76 thou (front) and 56 thou (rear) in 12.5mm. (b) Beck W.A. Aplanat No6929x with bulges of 109 thou (front) and 78 thou (rear) in 12.5mm. The more bulgy aplanat may use the older glass (lower R.I.), though this is contrary to the above suggestion. Possibly the deeper curve was a better design but more costly to make. Sadly no instructions were available. They were typically about 1905-1914? as they matched a 1910 Thornton-Pickard Ruby shutter, but note the 1914 advert. does not show any RR lenses but only anastigmats and does have a *notice that Beck would take back in part exchange any of the following: Symmetrical, Beck Primus, Thornton-Pickard Beck Symmetrical allowing £1.5 against a Isostigmar or Neostigmar of the same size and this included B&Lomb shutterd lenses with some small print. (Brit. Jnl. Alman. 1914, p157) Autograph Series a/ Rapid Rectilinear Series 11 f8.0 This was made in 4.25, 5.0, 6.0, 7.0, 8.75, 11, 13, 16in. It was suggested to use 6in for 5x4 at f8, and it covers 1/2plate at f22. This was the general purpose lens of the 1890's if an anastigmat was too costly. Today they are slow sellers at not very good prices. b/ Mid Angle Autograph f11.5 This was made in 3.0, 4.0, 5.0, 6.0, 7.0in. Here a 3in lens covered 5x4. This would be a good choice in a longer focus as a general purpose lens, say 6in for 5x4 as it would allow movements and be light to carry. c/ Wide Angle Rectilinear f16 This was made in 3.0, 4.0, 5.0, 6.0, 7.0in. A 3in would cover 5x4, and a 6in would cover 10x8in. Thus it was little wider than a MAR but perhaps did the job at a slightly bigger aperture. It incidentally cost rather more for the same focus. d/ Autograph Narrow Angle View This was made in 8.5, 10.5, 12.5, 15, 18, 23in This was a meniscus and it was suggested to use a 10.5in lens for 5x4, and 18in for 10x8in. It was not costly, at £3.5 for a 12.5in lens, but this would have bought only an 8in RR so it was mainly a cheap means for larger formats. e/ Autograph Wide Angle View This was made in 5, 6.5, 8.5, 10, 12in. This was also a meniscus but more costly at £6.5 for a 12in lens, probably due to a deeper ground surface. Use 5in focus for 5x4 and 10in for 10x8in. This seems to be the normal Wide coverage of a meniscus of the period. View Lens for Handcameras. This was made in 4.5, 5in. This was also a Meniscus These were identical with those on the Beck Frena cameras.

By the 1890's, all major makers needed an anastigmat and Beck were well aware of this and the potential from the information above, and seem to have solved the need partly by their own efforts and partly by the licensing from Steinheil of two designs.

Orthostigmats At least 4 and perhaps 5 series were made and there is a suggestion that two layouts were involved. The designs were made under licence from Steinheil of Munich, perhaps due to patent restrictions in Germany which did not apply in the UK. The arrangment was not very long lived, adverts. in 1912 no longer showing the Beck version, though Steinheil were then selling several Orthostigmats and the Unofokal, so it may have been to supply the brisk initial demand, or to gain access to the Empire under preference conditions. Sales seem to have dated from 1896, and all were 3+3 type symmetrical anastigmats. One use was on the Beck Frena camera using a 4.25in lens No12,94x, on 1/4plate. There is a suggestion that there was a redesign about 1900. Collecting experience is that there are Orthostigmats to be found, but they are certainly not a very common lens, being sandwiched between the RR's and more commercially successful lenses such as the Unofocal and Isostigmars. Those seen are well made lenses in brass mounts and have been in good condition, due to the use of hard weather resistant glass. The iris has been a conventional one, not a raised rim early type. At least one was fitted to a Frena at No12,94x, although this just might be a later fit as McKeown's list says only achromats or RR lenses were used on these. 1896 Orthostigmat f6.8 This was the first series from 1896, and was made in 8.25-14.25in, and 6in was suggested for 5x4in. It was separable with cells of equal focus, but there was not much emphasis on this in the adverts. This type was roughly Kollinear in layout. (Bec003). 1900 Series 1 f6.3/f6.8/f7-f8.0. This was made in 2.5-60cm and was apparently a slight redesign of the original, the cells now being recommended as separable. A 6in lens was suggested for 5x4 but could cover 8.5x6.5in at small apertures.(f40) Both cells were of the same focus here. Beck's test results show a flat field over 60-70° and little astigmatism out to this angle. It was listed for Sanderson (1906), B.J.A. 1901, p924. The redesign seems to have made the middle glass in each cell thinner, especially at the edge, but there may be artistic licence here. It was made in f6.3 for 2.5-18cm, then f6.8 for 21-28cm, and the f7-f8 for the longest 36- 60cm. A 19in (c 475mm) f8.0 has been noted. Fig 024 002 Steinheil-Beck Orthostigmat Ser 1 f6.8/8.25in No10,094/Pat. 12,949.

1900 Series 11 f6.8/f7.7 This was made in 3.875-7.75in and the layout was as Bec004.This was essentially the Series 1 packaged with unequal cells. Thus it is another Kollinear type but the drawing suggests a redesign with thinner and flatter glasses. It was offered with unequal components, to offer three foci. This is why the apertures vary, depending on whether equal (f6.8) or unequal ones (f7.7) are fitted. (See Amateur Photo., 08/03/1901, p196). Normally the user thus got three foci, but it was also made in 4 sets, below, each with a barrel, 3 cells, aperture ring, and hood, all in a leather case. One set had cells of 7, 8.5, and 10in, and as pairs gave 4.5, 5.125, and 5.5in, and all covered 1/4plate, and most larger sizes. These must be desirable items but scarce- few caskets of anastigmats do in fact turn up. A very wide range of foci could be made but those sold were 3.875in, 4.125, 4.5, 5.125, 5.5, 5.9, 6.5, 7.125, 7.75, 8.125in, in f6.8/f7.7 apertures. Typically a 5.1in lens was adequate to cover 5x4 and covered 5x7 at f40. Orthostigmat Sets. Set 1 for 6x9 and larger, with cells 6.0, 7.0, and 8.5in for 3.9in and longer. Set 2 for 1/4plate, etc., with cells 7.0, 8.5, 10in for 4.5in and longer. Set 3 for 5x4 with cells 8.5, 10, 12.5in, for 5.5in and longer. Set 4 for 1/2plate with cells 10, 12.5, and 14.5in, for 6.5in and longer. 1900(?) Series 111 f10 This series was offered as a process lens and probably also as a general purpose long focus lens. It was made in 30, 40, 50, 60, 75, 90cm and covered 60-70° and this was well corrected for astigmatism out to the last 10°. A 30cm lens covered 20x16in for copying, 10.5x8.5in for groups, and 16x12in at f56. The layout was again Kollinear in type. 1905? Series 1V f12 2.875-10in This was a wide angle version, still with a Kollinear type layout. It was not in the third edition of Beck and Andrews, but is in the fifth, so it must be a later introduction. It was made in 7.5, 8.8, 10.5, 13, 15, 17.5, 20, 23, 26cm, and 75mm covered 5x4, and 175mm covered 10x8in. These figures were conservative and in fact a 75mm lens covered a 8in or 203mm circle sharply. It covered 100-110°. Series C Special Wide Angle Orthostigmat It is likely that these are the same lens as the above. Coverage is 100-110°. "Series X" A different Orthostigmat is shown in Abney's book (1905 edition) as a Beck lens in a barrel with thier name marked f6.8 but with a Dagor type (Q9) layout. At that time the Dagor patent was reaching the end of its life and Beck may have planned to introduce a lens of this type when it was free to do so, and then decided not to. It is not in the Beck and Andrews lists and may have been dropped as not attractive once the German imports of low priced copies began to arrive.

Unofokal (Unofocal in English) This was another Steinheil licensed lens and a successful product. It was a dialyt, with all the four glasses of nearly equal power, the focus action being due to the separations of the glasses. It was sold in two series, and many are in shutters, the Beck version being "new" in the 1905 B.J.A. (Bec006). Series 1 f6.0 seen at No13,21x. An example noted for 1/2 plate was a 7.2in at No13,617. Series 11 f4.5 seen at No13,82x.

Fig 024 004 Beck-Steinheil Unofokal (l) f6/7.2in in shutter; (r)f4.5/7.65in No13,823 in brass barrel.

Both series are drawn in the diagrams, but are very alike in layout- probably owning one type is enough, and usually the slower is to be preferred if the lens is to be used.

Microstigmar These were noted at auction in 48mm No29x and 25mm No41x, and may be low power microscope lenses or for macro work- which is much the same. No details were given.

Isostigmar These were made from from 1907 and seem all to have been introduced fairly quickly. The design was an unusual one at the time and still is today so they are a much more interesting lens than many others of the time. They were still made after WW1 into the 1920's, being last noted in 1922. This design was a Gauss type lens with an extra negative glass in the centre to improve the corrections. In one case the extra is in fact a negative doublet. The iris position may vary, and the design is said not to satisfy the Petzval condition but work as all the components are rather thin.(Photo J. 1907, 47,p191; Photography, 9/11/1909, p381 for Series 11 and 1V "new".) It was a three focus lens, as either the front or the rear could be used alone, and for this the cells were used in front of the barrel. The typical example was the Series 11, which the 7.25in lens converted to an 11in front and a 13in rear cell. Some care was required that the rear cell did not touch the iris or shutter blades in use.

Series 0 f3.5 2in for 35mm movie, 3in for 2.5x2in, 4.75in for 3.5x2.5in, 6in for 4.25x3.25in and 8.25in for 5.5x3.5in. This was made mainly for movie and reflexes, and the coverage was 60°. This may be a later addition as it is not in a 1908 list. This range of focal lengths was the same in 1914 and 1922. It was suggested to use 6in for 5x4in, and it was suggested as the prime lens for telephotography. It could be had in barrel, focusing and sunk mounts. Beck classed it with the Series 1, f4.5 for many purposes.

Series 1 f4.5 3-12in This was also mainly for reflexes, and again covered 60°. It was made in 3.0, 4.75, 6.0, 7.5, 8.25, 9.5, 12in; and 6in was again suggested for 5x4 and 12in for 10x8in. It was also supplied in the same range of mounts except that the larger sizes were only in barrel mount. The Layout is Bec007, and it was noted in 1908, but was not found after WW1.

Series 1a f6.4,f6.5 This was made as 9.5-19in. In detail, it was made as: Whole lens Front cell Rear cell Format Format at full aperture closed down. 9.5in 14.5in 17.75in 8.5x6.5in 10x8in 12in 18in 22.5in 10x8in 12x10in 17in 23.5in 36in 12x10in 15x12in 19in 29.5in 40in 15x12in 18x16in.

This was a longer focus version of Series 1, for 60-65° or possibly a lower price version. This was seen at No1176x on a f6.5 17in lens. It was made in 9.5in, 12in, 17in, 19in. in 1914 and 1922. It was suggested to use 12in for 10x8 at f6.5, and it covers 12x10in stopped down a little. These were separable, eg the 12in giving 18in front and 22.5in from the rear cell. They were also suggested for copying. An example was a massive 17in lens in a black barrel at No 117,65x.

Series 11 f5.8 (and f6.3 for 6.75in) It was made in 2.75-8.25in, as 2.75in for 2.5x1.5in, 4.25, 4.75in for 4.25x3.25in, 6.0in for 5x4in, 6.75in 5.5x3.5in, 7.25in for 6.5x4.75in, 8.25in for 7x5in in 1914 and 1922 where the formats are obtained. It was designed to cover 70°. It was suggested to use 6in for 5x4 but it will cover 7x5in at moderate stops, and in general the Isostigmars covered quite wide angles if used with care. It was seen as a brass finish barrel mount lens at No114,88x. for a 6in lens. Others noted were a 4.75in lens No116,50x on a 1/4plate Sanderson and a 7.2in No117,54x on a 1/4plate Press camera. Layout Bec008. It was supplied in Aluminium mount, or Celverex shutter, or brass focussing mount or sunk mount. One example seen was f5.8/6in No17,100 in Beck Celverex shutter for T,B,1/10-1/80sec- a bulky round unit to accommodate a rotary blade system. This is NOT self capping but can be a reliable and very smooth performer. Another was a f5.8/7.2in No17,88x which was in an alloy barrel in nice order but the filter rings had the screw threads cut so that too little metal was left and they broke off- corrosion at the base of the thread channel probably was the cause. The Celverex seems to be a Beck product as it is marked R&J Beck, London and it was flourishing about 1914 from the B.J.A. advert. that year (page 157). It might then be had in 3 sizes as No 1 with 7/10in aperture; No2 with 8.5/10in aperture and No3, with1.1in aperture. Fig 023 034 Beck Isostigmar f5.8 lenses of 3 types.

Series 111 f7.7 This was made in 4.75-9.5in as 4.75, 6.0, 6.75, 7.25, 9.5in and it was suggested to use 6in for 5x4 but it would cover 6.5x4.75in stopped down. The mounts as Series 11. This was to cover up to 65°. (It seems a cheaper longer version and was not noted in postwar adverts, possibly as replaced by triplet lenses.)

Series 1V f6.5/f6.3 It was made as 3.5-7.25in as: 3.5in for 3.5x2.5in or 5x4in stopped down. 4.75in for 4.25x3.25in , or 6.5x4.75in stopped down 6.0in for 5x4in or 8.5x6.5in stopped down, 7.25in for 6.5x4.75in or 10x8in stopped down in 1914 and 1922. Thus it was made to cover 90° stopped down, and was also a fast wide angle useful at full aperture. Here 3 glasses were in front of the iris, Layout being Bec010. This lens gets less prominance in the lists but was continued into the 1922 advert. One list says f6.3 but this seems to a policy change as it seems to have gone from f6.5 in 1914 to the more usual f6.3 in 1922. Fig 023 032 Beck Isostigmars f6.5/17in No117,654 and Beck 4.75in No117,558.

Series V f11 12-30in This was for 60°, and was a process lens. This decided the maximum aperture made. It was made in 11.75, 17, 19, 24, 30in and 11.75in covered 15x12 for copying and 10x8in at infinity- ie it was a generally useful lens. One at auction was f7.7/7.2in at No110,60x on a 1/4plate Sanderson, paired with a Beck wide angle aplanat. It was noted in 1908, Layout Bec011.

Series V1 f5.6 9.5-17in. where it was made for 9.5in for 8.5x6.5in, 12in for 10x8in, 17in for 12x10in. The formats are given in the old style. Thus the 12in covered 10x8in, or C.de.V. and Cabinet. It gave variable softness over 60°. It is described in one advert. as giving anything from perfect sharpness to perfect fuzziness. Now to make Series V1 as a portrait lens with variable softness, the softness was controlled by turning the front component with cords led back to the operator. This moved the front cell out by some 6mm, but in the long term this could lead to severe wear on the mount and this is an item to check carefully on purchase! (Layout Bec012). It was made at least from c.1908 (B.J.A. 1910, p654) until postwar (B.J.A. 1922, p49). A brass finish lens was seen at No11376x. Fig 023 028 Beck Variable Soft Focus Isostigmar f5.6/12in No113,763. It is noted that the wider angle Isostigmars are more compact, and all can be rather flary with 10 air/glass surfaces. All versions were separable, so that especially a 7in Series 11 of 7.25in gives 11 and 13in foci. The separate cells needed to be stopped down for use alone: but the rear could be used in front of the barrel if desired, eg. due to limited extension of the camera. The two cells differed in focus but were rather varied in ratio. Of the samples seen, both are in poor condition , perhaps due to the glass being rather soft. Others Isostigmars have been sound as in a Series 1V. Series 0, 1a, 11, 1V and V1 were still available in 1922. They are reasonably common, but a complete set would be hard to assemble, especiallly perhaps the Series 0. The glass seems to be better in the slower types, but is worn in a Series 1a where it protrudes from the mount at the rear, and in the Series V1.

Neostigmar They seem to have still been fairly 'new' in the 1914 B.J.A. when at least 4 and perhaps 7 types were listed. By 1921, these had shrunk to 3 or perhaps 4. (a) These were variations on the triplet, normally with a two glass rear component, so that the focal length could be varied by removing either of the glasses.Thus the Series 2 No 3 lens was normally 4.75in, but converted to give 9.5 and 7.5in in 1914 when the rear or third glasses were removed. (b) Others were normal 3-glass triplets, to give a single focal length, and these were coded "n" as V111N and are more common today, but there may be confusion here: some adverts show "n" as the convertible version. At least some have the negative glass much nearer the rear one than is normal, rather like Q13 reversed. Later the convertible lenses seem to have been discontinued, and only the 3-glass types continued. The convertible type is likely to be that of most interest to collectors, since it was an unusual means of obtaining a convertible lens. By 1939, H&D lists only Neostigmar No 1,2,3, and all are reversed Q13 triplets.

Mutar This seems to be an early version of the Neostigmar, but there are few details. A f6/4.75in lens No151,60x from about 1914 has been described on an Ensign Climax camera. It is in a dialset Compur No476,911 which just may be a later item- it is about 1919 in date. The Mutar seems to be a 4 glass lens with 4 separate glasses in front of the iris and one behind. This 4.75in lens can be converted to 7.5in by removing the third glass (unscrew from the rear of the front cell) and the front three glasses with the rear removed provide a 9.25in lens. These versions are also said to be fully useful. [The effect must thus be near the overall layout of the TTH Speedic but the Speedic will have particular design fearures as it was (?) patentable.] A part of a Mutar Series 1 No2 has been seen at No192,12x and seems to be the front of a triplet- or just possibly a dialyt. Neostigmar A series of triplet designs.

Series 1 f4.5 It was made as: 5.0in for 3.5x2.5in, 6.0in for 4.25x3.25in, 7.0in for 5.5x3.5in, 8.25in for 6.5x4.75in in the 1920's. There does not seem to be any indication that this was convertible in 1921, (but the early lenses may have been). It is not listed in 1914, though there is a Series 11 so logically it was in abeyance through lack of advertising space, possibly as the Mutar was closed out. Postwar it was offered with preset iris "Iristop" in 1921, in all the foci for use on reflex cameras (1921, p55). It covered 60°. (Bec002). It seems to be a triplet and was available in the 1920's. (B.J.A. 1920, p57) The 1921 edition shows lens No198,511 on p51.

Series 11 f6.0 It was made in 4.75, 6, 6.75, 7.25, 8.25in. for 70° ( Bec009) This was a 3-focus 4glass design. It was suggested to use 6in for 5x4 and it would cover 1/2plate at moderate stops. In 1922, the range was 4.75, 6.0, 6.75, 8.25in, with the same angle. A 6in lens gave 11.75in f12 with the front cell and 9.5in f9.0 with the rear cell. 11 and 111 were not made in the 1920's.

Fig 024 006 Neostigmars: (l) f4.5/6in SIM No213,633; (r) Ser II f6/7in No150,591.

Series 111 f7.7 It was made in 4.75, 6, 8.25, 10.5in for 60- 65- 70°. Here a 6in was suggested for 5x4 and covered 6.5x4.75in stopped down. The 6in lens gave cells of 11.75in front at f15 and 9.5in from the rear at f11.3. The above are separable, 6in gives 11.75+9.5in for 5x4. The N series are conventional triplets and are NON-SEPARABLE. Series 11n f6.0 This was made as 4.75in for 4.25x3.25in, 6in for 5x4in, 6.75in for 5.5x3.5in, 7.25in (in 1914 only), 8.25in for 7x5in and covered 70°. The next plate size up was covered when stopped down. Thus it was suggested to use 6.0in for 5x4 and this covered 5x7 stopped down. It was certainly a 3-glass triplet in 1920, Q14.

Series 111n f7.7 This was made in 4.75in for 4.25x3.25in, 6in for 5x4in, 6.75in for 5.5x3.5in, 8.25in for 6.5x4.75in, 10.5in for 8.5x6.5in, and covered 60/65°. It was suggested to use 6in for 5x4 and 1/2plate as the series 11 but the longest covered 1/1plate or 10x8 stopped down. It seems a rather narrower angle design than Series 11N, but again seems to be illustrated by the same diagram of a 3-glass triplet. (B.J.A. 1921, p56) One hint as to the purpose of these is a Table of the charges for fitting Neostigmars to various types of Kodak cameras, such as VPK, Carbine, Autographic and Folding Brownie. This was due to the high quality of the Kodak cameras but also to the fact that these were often purchased with rather simple lenses.

Series V111n f7.7 This was made in 13in for 10x8in, 16in for 12x10in, 22in for 15x12in for 60° coverage, and this was a 3-glass Triplet. (? is this the VIIIn sold by Ensign- it just could be.) This was a a large format lens for 10x8,12x10 and 15x12in, listed in 1914 and 1922. It is now hard to see how it differed from Series 111n except in marketing- it was more expensive but only in proportion to the longer foci involved. Again it was not separable.

Neostigmar Anastigmat Cine f3.5 This was listed 1914 as 0.75, 1.0, 1.5, 2.0, 2.5, 3.0, 3.5in for cine and movie. Postwar, these seem to have become just lenses for cinematography, in 1.6, 2.0, 3.0in and a wider range of projection lenses from 2.0 to 6.0in. Beck also supplied in 1914 a series of Movie projection lenses in 3, 4, 5in. By 1921 these were in 2, 2.5, 3, 3.5, 4, 4.5, 5, 6in and others. (B.J.A. 1921, p57)

Also Lantern Projection Lenses (1914) as 6.0, 7.0, 9.0, 11in. Symmetrical f8.0 5 and 6in for 1/4plate (4.25x3.25in), 8in and 9in for 6.5x4.75in,11in for 8.5x6.5in. It seems still to be the RR and was still made in 1922. The 8 and 9in seem to both have used a 16in rear cell and the 11in used a 20in rear cell and these could be used alone. Bynar f4.9, 5.5in; f6.0, f6.3 for 1/4 and 1/2plate; f7.7, in 4-8.25in. This may be a triplet as there is no sign of an extra reflexion but rather it seems to have a 1+ 1+i+1 layout. It has been seen at No19008x for a f7.7, 8.25in lens, and No19007x for an f4.9/6in lens in black+alloy mount. One point here is that the iris is marked from f5.8 and here is fully open- it seems the lens is really an f5.8 not an f4.9. (There is no sign of it being convertible or having an extra scale.) Fig 024 010 Beck Bynar f7.7/8.25in No190,084; with (l) front cell of Mutar and (r) Beck-Steinheil Tele Accessory.

Universal Telephoto Attachment The Beck and Andrews adverts show three series, corresponding to it being supplied in 3 powers, and 4 sizes in 1914 and the details varied with the date, for example early units being all brass (eg No11,33x) or magnalium at an extra cost, and later ones in black and brass, with scales to show the magnifications. Those examined were of 3-glass design, perhaps to match Orthostigmats. Series 1 Standard power, No1 for 4.0-5.5in; No1a or No11 for 5-6.5 and to 8.0in with No2; No11a for 8.0- 9.5in; No111 for 9.0-13in; and No1V for 13-15in. prime lenses. Series 11 High Power No1 for 7.0-9.0in; No11 for 9.0-12in. Series 111 Low power No 1 for 3.0-4.25in; No11 for 4.5-6.0in; No11a for 6.0-7.0in; No111 for 7.0-8.5in; No1V for 8.5-11in. Later they were sold with Isostigmars for choice, or without lens. No1 was for 1/4plate, No 2 for 5x4, No3 was for 1/2plate and No4 was for whole plate. This seems to have been constant from 1901-1914 at least. The No2 was designed to accept lenses from 5.5-7.25in, but a wide range can often be used. Thus a No4 S.P. was used with a 6in lens though it probably was designed for about 8in. There was also a simpler 2glass series as follows: Series 1V This was made in sizes 1 to 6 and suited lenses from 4in to 9in, but the specifications are rather complex, due to the need to fit different shutters, especially B&L shutters. Series V Multifex A 'new' simple 2-glass tele unit in Beck and Andrews about 1905, and combined a normal lens in a shutter with an extra negative lens to screw on behind, so that some 3 set-ups were possible by removing the front cell and /or fitting the tele to the rear. Beck-Steinheil Telephoto Objective seen at No 1052x as a slim black tube with an adjustable length carrying a negative lens, apparently to screw on to the back of a prime lens such as a 100mm f6.8- it is quite a small thing. There were other German makers who fitted the tele unit inside the camera and it is in fact a very sound but not always convenient way. "Simple" Telephoto attachment, in 1914, to screw between the flange and lens, rather as the Series 1V above. Fig 023 030 Beck-Steinheil Telephoto Objective [here fitted with Ross Symmetrical 6in lens.]

In WW1, Beck were 'busy with munitions work', and in the 1916 B.J.A. (ie Fall 1915), they overprint their advert. in red saying that the factories are entirely occupied so supply is limited and prices (mainly of Isostigmar and Neostigmar with some movie and process lenses) are advanced by 10%. It is known they made aerial lenses from the RPS lecture postwar. ------Other Lenses Bystigmar This seems to be a scarce and little known lens. It was noted as Series 11 in the B.J.A. for 1921 p53 and 1922, p47, as a 4+4 symmetrical anastigmat giving 3 anastigmats in one since the two cells could be of different focus. Thus it may have replaced the convertible Orthostigmat in a reborn form. Here a f6.0/6in lens gives 9.5 and 12in foci and f11 as the single cells. Only an f6.0 type has been noted for the "Two" series. Series 11 covered 60°, and a 5.5in was suggested for 5x4. Rather surprisingly, there is no suggestion of casket sets here though they may have been made and not listed. The layout is Bec005, which is rather like Q12, which is actually the Zeiss Protar V11a. [One point is that Ross were making a Combinable at the same time, but were well connected with some leading camera makers who sold it. And the Bystigmar could be only a little lower in price and was an f6 rather than f5.5 for the Ross. Thus a 9.5in Ross cells was £9.90 while the 9.5in Beck was £8.75. (B.J.A. 1922, p47). This may explain the apparent rarity, as it hasnot been seen.

Series 1 There is no data on this. It just may be single cells of Series 11. These seem to have been made in 8in, 9.5, 12, 15, 19in, and No7b for 9.5in covered 1/2plate rather than the 1/1plate that a 9.5in pair would have covered.

Series 11 f6.0 This was made in 4.5in for 3.5x2.5in, 5.0in for 4.25x3.25in, 5.5in for 5x4in, 6.0in for 5.5x3.5in, 6.75in for 5.5x3.5in, 7.5in for 6.5x4.75in, 8.5in for 6.5x4.75in, 9.5in for 8.5x6.5in, 11in for 8.5x6.5in. But this does not highlight two points: firstly, the majority of these are based on two equal focus cells to work as f6 and f11 separately; and also that the unequal ones may have a different maximum aperture, and there is no sign of this in the adverts. Where there are unequal cells, the longer was probably fitted at the rear.

Bystigmat(!) This may be a spelling error- no details available.

Hill Cloud Lens This is famous as the first fisheye lens to be sold. It is slow, and simple in design but works very well. The sale period was 1923-1939 so it was quite long lived but then for a very minor market. The Layout is Bec013. This was noted in the B.J.A. 1926, p244 where it is noted that the front negative lens concentrates the 180° acceptance angle to about 90° before it meets a more normal 2 glass photographic lens behind the iris. (R.Hill, Brit. Pat. 225,398, also Pat. No31,931/1923). It is a definite a Landmark. It covers 180° and this is confirmed by an excellent picture which is given in Hasbroeck's book, together with two examples taken with it. These seem to be a very sharp and flare free. The lens bezel is engraved Patent No31,931/23 and this just may be a camera patent number. Although it seems to have initially been used with 1/4plates, it actually covers a 2.5in diameter and at least one was used later with a 6x9cm Graphlex back. At auction, it was described as in brass, f8.0 for 180°. Originally, with a Wratten A filter, the exposure of a well lit sky did not exceed 1 sec.

Multifex Adjustable telephoto type projection lens for slide projectors. (also noted above) Cine Lens f3.5 1.6, 2.0, and 3.0 in The formats were not given but must be 35mm movie at that time.

Beck lenses were listed in the 1920's but later they seem to have concentrated on microscopes rather than photo goods. Beck patented a form of preset iris in the 1920's for reflex cameras.(B.J.A. 1921, p55; Brit. Pat., 162,829). ------

Later products, post WW2 include: Beck Anastigmat f6.3 for Purma 4x4 cameras. (B.J.A. 1947, p403; Modern Photo. 7/1965, p90) This seems to be their last camera lens. The viewfinder on the Purma is plastic, but the lens is definitely glass described as a 3-cell anastigmat which probably means a triplet. It was not expensive and a very good lens for the money.

Enlarger Lenses f4.5 57, 83, 108mm. These must be among their last photo products. Advertizing in B.J.A. stopped in the early 1920's and did not restart. But in the 1940's, the Miscellaneous Trading Co of 135 High Holborn sold a Beck Enlarging lens "newly" computed in f4.5 2.25, 3.25, 4.25in. as well as enlargers and other equipment. They were listed well into WW2, and may include a f4.5/4.25in Beck Enlarging Anastigmat at No42,791 in a matt black mount with click stops to f32. Note that this seems to be a new serial number series, and it looks as if the Company was commissioning/bulk ordering lenses for their own stock. It seems to be a triplet with the iris after glass 1. (B.J.A. 1941, p362, until 1951). Fig 024 012 Beck enlarging anastigmat f4.5/4.25in No42,791. A late Beck item.

Apochromatic f10 8.25in This has been reported as a nice blue-purple coated lens at No311,402. It is probably a process lens and may be a dialyt, ie 1+1+i+1+1. It suggests Beck went on making specialist lenses at least into the 1950's after they withdrew from general sale of camera lenses and this would be in line with their ability to make enlarging lenses. It has a rather unusual feature in that the external surfaces to front and rear seem to be flat.

There seem to be no mentions of products in the MCM issues postwar while most firms were getting going again. Beck were certainly major makers of microscopes postwar, including a Model 47 for standard laboratory work. It is a nicely made item in full chrome and grey enamel. A late advert. by the Miscellaneous Trading Co of High Holborn was in B.J.A. 1955, p597 for enlarging lenses as above. The firm was still at Watford in 1994, as part of J.J.Griffin Ltd. (see below).

Chronology No serial number information seems to be known. Many early lenses were given no engraved number though the factory may well have counted them in as part of the series. Two early RR's with the distinctive iris ring are known at No2,98x and 4,761 (in a Beck advert.) These are likely to be from the 1885-1895 period. An Orthostigmat Series 1 is No10,09x, and looks to be about 1900 or just after. And Isostigmars are noted at No113,6xx and up, especially at about No117,xxx and this may be about the 1907 launch period. Next two Unofokals are at No13,28x and 13,21x and do seem to be pre-1914 from the brass finish and the Koilos shutter on one. By 1921, the BJA advert shows Neostigmar No198,511, and actual lenses have been seen at No150,59x and 190,08x which are among the later ones seen. A Mutar No151,609 said to be from 1914 may be later from the number and Compur D/S shutter No476,911 which also seems to be a 1919 number. It may be that production ran down in the region of No200,000, and that other products such as microscope objectives were made to take the numbers up to the 311,40x on the process lens: but this is quite uncertain at present. Note that the last enlarging lenses are numbered in a new series. The business was acquired by John J. Griffin and Sons Ltd in 1960. Fig 7 Beck Back Row Beck Portrait Variable Isostigmar f5.6/12in. Steinheil-Beck Unofokal f4.5/7.6in in brass. Steinheil-Unofokal f6.0/7.2in. Beck Isostigmar f6.5/17in. Beck RR for 1/4plate on T-P camera. Mid Row Beck RR for 10x8in. Beck RR for 1/4plate. Beck Ensign Symmetrical Lens. Beck Isostigmar f5.8/7.2in. Front Row Steinheil-Beck Orthostigmat Ser 1 f8.0/8.25in. Beck Neostigmar No5 Ser 11 f6.0. Beck Bynar f7.7/8.25in. Beck Enlarging f4.5/4.25in. Beck Isostigmar f5.8/6.0in.

Beckers Anastigmat f6.8 150mm This was noted on a St. Etienne Universal (1908).

W. Beier, Freital, Dresden, Germany. They listed an Erisar f3.5/75mm lens on a 6x6 Beier Special in 1938, of unknown source.

Bell and Howell, Chicago, USA. Bell & Howell Co.,Ltd. 13, Castle St, Oxford Circus, London W1. Although they were primarily a USA firm with the Filmo cameras as prewar specialities, they also developed an important UK connection with TTH as their in-house lens maker. Their 'Standard' 35mm camera really was a Hollywood standard. One important growth point was the 16mm Filmo in 1923, and the 35mm Eymo was something of a 35mm extension of the Filmo. They often used TTH lenses in the 1920's. This UK link is not shown in the 1931 adverts, where the lenses are not named but in 1930 they do specify a f3.5 'THC' lens on the Filmo 75 16mm, and the notice lists these as Taylor-Hobson in f3.5/1 and 2in; and f4.5/3 or 4in. There are 'Eymo' lenses on the 35mm camera.(B.J.A. 1930, p351, 355) The later relation is not well understood, but prewar adverts show Filmo 16mm Type 141A cameras marked 'Made in USA' with lenses marked 'f1.9 Made in England', while postwar, the 16mm magazine B&H camera was marked 'Made in England' as was the 8mm Viceroy. Thus there does seem to be some flexibility as to where they manufactured cameras. Postwar, they would have found it difficult to import cameras from the USA to UK [but might have been able to supply the UK by adapting a National Optical works to produce an American design in the UK. But this is conjecture!] Their lenses seem to be mainly for cine and movie use. Thus Super Comat lenses for 16mm seem to have been made by both firms in USA and UK. An anonymous set is listed in 1938 for the Filmo 70 16mm camera and may be from either source but the B.J.A. advert. says 'TTH f2.7': f2.5, 15mm (fixed or focussing mounts); f2.7 1in (same); f1.5, 1in; f1.8, 1in; f3.5, 2in; f4.0, 3in; f4.5, 4in; f5.5, 6in; f4.5, 6in. The duplications of some foci may suggest two sources of lenses. (Listed: Heaton Blue Book, 1938). They and the trade name Eymax go back to the early days of movies as an Eymax 2in f4.5 Type V was fitted to a wooden Prestwich 35mm movie camera at No190x.

Other items. Telephoto lens WW2 f8.0 36in This was a 5-glass type, now scarce. Comat and Super Comat were major products in 10 to 37.5mm for 8 and 16mm use in the late 1940's and 1950's. It is uncertain whether they were made by Bell & Howell or for them by TTH as the mounts look very alike. There may be versions not listed here. Super Comat f1.9 10, 12.5, 25, 37.5mm, and as 1.5in. f1.9 20mm for 16mm This was being sold off in June 1965 at £4 each, as for B&H240. It seems to have an extra catch on the side of the mount. f2.3 10mm for 1955 8mm camera. f2.5 15mm/0.7in in 1955. Mytal f2.5 12.5mm on a 1935 Bell & Howell. Telate Type V f3.5/50mm;f4.5/76.2. (3in) The latter has a 2+2 tele layout, and was seen at No308,13x, probably pre- 1936 as it is in nickel plate. Fig 020 036 Bell & Howell Telate f4.5/3in (76.2mm) No308,137.

Eymax f4.5 254mm ex-WD movie lens. These turn up rather often and seem to have been a major item, possibly well after the War. Normally they are nicely coated and often in a movie camera mount. One was seen at Serial No367,635. This probably one of the next series.

Fig 031 006 Ex MoD f4.5/254mm Telephotos by [(l) Wollensak Fastax Raptar D35980] and (r)Bell & Howell Eymax No367,635 (both coated). Eymax (for 35mm Eyemo Mitchell camera) These were made in at least: f4.5/25mm, f4.5/50mm,f2.8/50mm, f4.5/150mm f4.5/250mm and ? others. Eymax f4.5 6in One was noted adapted to M39 at Serial No 364,094. Miltar f2.0 25mm secondhand in 1960, ?ex-Defense. f3.5 150mm also. Lumax This was an Ernostar-4 type. This trade name may also have been used earlier for a 4+4 anastigmat. Mirror System f10 1250mm This was a scarce item! Varo Zoom A 1930's Bell & Howell/TTH product. This was a famous early Zoom. Projection Lenses eg Super Proval and Excessalite. These were Petzval types, post WW2. Filmovara f1.5 50mm (this may be a zoom with 1 focus mentioned only) Filmovara f1.5 15-20mm zoom. Widor Wide Angle Attachment Extol, from B&H Germany (note the source!) Ansix f2.5 25mm on a Filmo Speedster movie f3.5 35mm for 8mm D mount. Anon f1.3 This was noted in an advert. for a Filmo 70DA in B.J.A. 1934, p589, and may be TTH but no maker is given. There was also a f1.5 on a 70E which could be a Kinic.

Bell International, Japan. Prominar f3.5/23mm lens on a 16mm Bell Kamra combined radio and camera.

Bellieni, H., Nancy, France. He seems to have been a camera maker, using Zeiss lenses about 1901 and also Goerz Dagors, where a Series III was noted at f6.8/130mm No199,56x on a 9x12cm camera.

Bennet This brand of RR was mentioned by a correspondent in B.J.P. 30/05/1919 cited in 01/06/1979 p534.

Berner, Hagen-in-Westphalia, Germany. This firm seems to have been a maker active early in the 1900's. Orthoscop Wide Angle f12.8 This was a wide angle lens. Orthoskop This was a normal Angle lens. (Ber002) Collar f5.8 This was a lens for groups and instantaneous work. Satz Anastigmat Collar f5.8 This may be an 2+3 anastigmat type. (Ber001) ie a casket set. Satz Anastigmat Series 1a f6.8This version is a 4+4 symmetrical anastigmat said to cover 95°. The design might be related to the Dagor by splitting the centre glass in each cell so it should cover well. It probably flourished about 1908. Anastigmat Set (Casket) Set No 1 for 9x12 with 3 components. Set No 2 for 13x18 with 3 components. Stereoscopic set 2 pairs of two lenses. Helios Anastigmat f5.4 No 1 for 13x18 f5.4 No2 for 18x24 Satz Anastigmat Series 1Va f5.0.This was a faster lens for groups and general purpose work. Satz Anastigmat Series 1a f6.8 This was a general purpose lens. Satz Anastigmat Series C f7.7/f8.2. This was a general purpose lens.

Berthiot, also as Som Berthiot, (? also Lacour Berthiot 1925), Paris, France. UK Agent in 1958 was Cinex Ltd., Bolex House, Burleigh Gardens, Southgate, London N14. Lenses were in production early in the 1890's and were listed at least into the 1980's. Judging from FBB, they were the most popular lens supplier in France, being listed on nearly 100 models of camera, starting from the 1890's and continuing to the latest products listed from the 1960's. They are also regularly noted in auction lists. Care is needed: some noted can be misleading, as the larger sizes are professional lenses and can be retrofitted to professional cameras as can movie lenses, so that dating can be a problem. An extra problem, unresolved, is the description of lenses as C. Berthiot, Berthiot, Benoist Berthiot, Lacour- Berthiot and SOM-Berthiot. Mr Brochmann suggests the company was founded by Benoist Berthiot which seems reasonable. Some of these variations also may be due to space limitations for the engraver, and others to changes in the names of those running the firm over some 60-70 years. All that can be added is that there was a Lacour who made a Jumelle in 1896, with an Eurygraph Lacour lens and the name and lens became part of the Berthiot saga, so there is likely to have been an amalgamation between 1896 and the listing of a Berthiot Eurygraphe in 1897 or 1899, eg on a Siegrist 6.5x9cm. There were also Lacour-Berthiot Perigraphes by 1910 and this description was still in use in B.J.A. 1925, p573. And Mr Brochmann tells of projection lenses from the early days of the century engraved Benoist Berthiot. An early lens may be an Extra Rapide No23,40x on a Mackenstein, and an Extra Rapide Eurygraphe No1 f7 No24,83x. It was probably an Aplanat or RR, as FBB class several early lenses as RR's. But the Eurygraphe seems also to be an early name, and may have been a new-glass RR design. But it does seem to have been continued in use for many years, as a Eurygraphe is on a colour camera of 1947- the name may well have been reused once the RR-era was well in the past and Kingslake classes it as a symmetrical anastigmat, though note it was made in up to f4.0 at least so another type of layout may exist. The new era brought in anastigmats such as the Stellor, perhaps in the early 1920's, the Flor by 1911, and the Olor by about 1915. It is impossible to say much at present about the layouts used, but it seems these did vary for lenses of the same name and both Flor and Olor can be Q15 type designs. But they may also have used triplets in the slower versions. There is a suggestion that they did not publicize their designs very much since they are absent from one very extensive list (Kingslake, in Henney and Dudley) and are not in the early editions of Cox.

Olor This was a long running trade name, for several series. f5.7-f6.8Large format lens, Q15 but with a 3-glass rear cell. These were used on aerial survey cameras in WW1 and the 1920's on, eg as f5.7/260mm for 13x18cm on cameras by Demaria- Lapierre, Richard, and so on. A Olor No4 Series II f6.8/200mm No62,22x was noted on a Thornton-Pickard reflex. f6.0 135mm, Q15 probably.029 030 Berthiot Olor f6/135mm No105,243. This may have been used on an Ensign camera- see Ensign. f5.7 38mm for Kine Exacta, eg at Nr 296,29x. See also below for the Super Lynx version Olor f5.7/38mm. A series IIa No6 f5.7/200mm was noted on a Tropical Klapp at auction. There is no suggestion of a symmetrical Olor in Cox's Optics, so these may well be triplet types. f4.7 85mm for stereo use. Series 11a f5.7 170mm This may be an Olor but no name was given.

Perigraph This was another long used name. It was used by Press photographers on the Gaumont Press cameras in 85 and 95mm, probably for 6x9 and 9x12 respectively, the last being coated. These were probably Series I lenses. Cox 'Optics' says it is also a Dagor type design, like the Eurygraphe. Series 1 f6.8 for 65°, Layout Br002. Series 1? f6.8 for 72°, layout Br002 Series 11 f14 for 105°, Layout Br001. The wider lens has thinner glasses and gap. One example noteed was a f6.8/95mm Perigraph 'wide lens' with a standard f3.5/135mm Flor and long focus f4.5/200mm Flor, all on a 9x12cm Gaumont Spido. This was and is a expensive outfit!

Angulor f6.3 28mm for M39x26 a post WW2 trade name. Angulor f3.3 28mm for Foca (Layout Br004.) and Super Lynx. Later also for Calypsophot, though production seems to be small or uncertain here.This has been reported for M39 in a alloy (and brass, it is heavy) mount at Nr 1,074,20x, a fairly early postwar item Eidoscop f4.5 This was a soft focus portrait lens. It was an older type. [The L'Eidoscop was usually from Hermagis and this just may suggest an amalgamation perhaps? Or confusion?] Projection lenses Mr Brochmann tells of a pair of these in brass which have been in continuous use in a theatre in Sweden from the beginning of the Century- say 1910 or so- and still give a picture of quality matching modern lenses so they have never been replaced, even though the projector was updated to an Ernemann VIIb about 1950! These will be for 35mm stock and are probably Petzval type from the date. Eurygraphie Several variations of this name and lens seem to exist. Eurygraphie This is a Triplet, possibly a 'late' item, and the name seems to have displaced the next. Eurygraphe f6.3 Symmetrical anastigmat, probably of 3+3 type. The example seen was very impressive with 3 cells in a casket, and seemed to be of Q9 type though an extra reflexion might have been present. It offered cells at 305, 390 and 575mm and pairs at 180, 205 and 240mm, ideal perhaps for 5x7 or 1/1plate. The iris was graduated in mm. It is inherently a very desirable item. Eurygraphe There seems also to be an f6.8 series for stereo coded OG f6.8 Nos 29,73x (2x) and also a f6.0 as NoOC f6 Nos 31,07x (2x) where succeeding serial numbers are given. These last were both on Bazin & Leroy stereo cameras. An f7 Eurygraphe Extra Rapid No1 was used on a Dr Hesekiel 9x12 reflex at No24,83x but may have been an earlier type. Eurygraphe f4.0 Possibly a Dagor type.This was listed for TP Imperial in 1/4-1/1 plate in 1913, and earlier in France, where the Dagor may not have been patented. This would explain it overlapping the RR period.

Flor: This was a trade name used for several series, often of Gauss type. Cox 'Optics' suggests it is of 6 or 7 glasses Gauss in the f2.8 and f1.5 Flors respectively, but that the slower f4.5 and f3.5 are triplets with 4 (Q15) or 5 glasses (roughly Ros 036). Series Ic f4.5 200mm at No218,40x. This will be one of a series but is noted as fitted to a 13x18cm Fiamma at auction. f1.5 50mm for M39, Layout Ber005 f1.5 55mm This was an impressive looking lens on the Pontiac Lynx de Nuit for 3x4cm. The product was announced from Oct 1942, but deliveries were delayed to 1945, when it was coated. f2.0 50mm Gauss, Q18 One application was to Exakta as a f2.0/50mm standard lens, and also as f2.8/75mm for VP Exakta as below. f2.8 50, (75)mm, It was used on the Lynx II from about 1944 and Vial suggests it was a 6-glass Gauss ie.Q18. A later camera, Lynx III for 35mm film used interchangable lenses, and here the Flor was accompanied by Olor f3.2 (?)and/or f3.5(?) 38mm (5 glass), Flor f1.5/55mm (7 glass) and TeleBerthiot f2.5/75mm. The f2.8/50mm was a premium item on the Gallus Derlux also. An example illustrated on an Ontobloc III was No965,00x. This lead to an unusual camera, the Fama, where the film was covered by a mask while the lens+shutter were exchanged- it is not apparent how many lenses were made but Flor f2.8/50mm NoK33,692 and f3.5/35mm J68,057 and a TeleOntor f4.5/90mm seem to be included in an illustration. Since there was no rangefinder, others might be easy to adapt. Another use was the Savoy in 1956, where the whole lens and shutter exchanged on the front panel. The later Savoyflex used an f3.8/50mm Berthiot in 1958, but this was a 3-glass lens, and used interchangable front auxiliary lenses, to give 35mm and 80mm when fitted, as well as a Macroflex close-up lens. A f2.8/50mm (?) was used on the Sem Orenac series also. f2.8 20mm This was on the Le Mundus Color at about serial NoQ35,93x, and 57,81x. Another is quoted as being 15mm not 20mm. f2.8 75mm This was used on the Super Lynx II as a longer focus option. f2.9 An f2.9 Berthiot was used on a Rex reflex, and may be of this type. There was also a teleBerthiot f5.5/150mm as an exchange on a second panel. f3.0/f3.5? 35mm for original Calypsophot. Production was small or uncertain. f3.5 35, 40, 50, 100mm Q15, inc. early examples of the Reyna Cornu camera as an alternative to the Boyer Saphir lens- later the idea was to go to a 45mm as it avoided the collapsible lens tube but by then it seems an Angenieux lens was used. A 35mm version was used on the Pontiac Lynx camera for 3x4cm from March 1942 on and later about 1944 on the Lynx II and about Mai 1950. It was also used as a 40mm in pairs for Verascope eg on an F40 at No423,47x and 423,48x; and also as f3.5/40mm for Kine Exakta. In Fig 027 019 there is a Berthiot Flor f3.5/100mm for Exakta which would have matched the 40mm nicely. A 50mm was used on the Lumiere Elax II 3x4cm. Vial suggests it is usually a 4-glass type as an f3.5. It could be either front cell focus eg when in Compur shutter, or be focussed by movement of the whole lens. The f3.5/50mm was a long lived product and probably much more common than the f2.8, etc. the f3.5/50mm was used on the Norca A and B, the first French 35mm cameras perhaps. It was certainly an f3.5/35mm on the Super Lynx II, below. A coated 75mm version was used on the Semflex Otomatic B camera (1956, p189, B.J.A. 1952, p240). In 1952, it was matched by a bloomed (ie coated) f2.8 Berthiot view lens. f3.5 35mm on Super Lynx II f3.5 75mm This specification was listed on the Kinax Kinaflex which was launched with a Berthiot f3.5/75mm which proved to have poor coverage, and was replaced later with a Flor f3.5, which was an excellent lens. A series of Berthiot f3.5 lenses was also used on the Royflex cameras, with 70mm view lenses (see f4.5 below). f3.9 75mm This version was used on the Scopaflex, and may be an aperture limited version of the above. f3.5 90mm This was the longest lens on the Super Lynx II about 1946. NB This was a bayonet fit 24x36mm camera from Pontiac in Maroc. There was also a Flor f3.5/90mm on the Cornu 6x9 Ontoflex stereo camera from about 1940. f3.5 40mm This focus was used on the Ontoscope stereo camera and on the Summum Stereo of L. Leullier. The use of 40mm as a focal length on Flor f3.5 was the origin of the digits in the name Verscope F40 from Jules Richard, made from about 1938 or 1940. It may have been planned to fit them to Le Kinax 3D = the French version of the ISO Super Duplex but in fact only Iriars seem to have sold. An unnamed f4.5 was used in B.J.A.1926, p766. f3.5 105mm This specification was used on the BlocMetal 45 and 145, 6x9cm cameras up to about 1950, and was a special 5-glass design. A few were used on the Altessa- a rare camera for 6x9cm, with a f4.5/105mm as alternative. (This was intended to take interchangeable lenses and 75mm and 190mm may have been conceived by Berthiot.)There was also a cheaper Berthiot Special This was probably always a f4.5/105mm which may be the same as the next item. It was used on the TeleRoy as an f3.5/105mm and an advert. shows No935,580. f4.5 Q15 It was noted as a Series 1c at Nr 26062x on an Isograph collapsible camera. There was an f4.5/105mm Berthiot on a Pontiac Bloc Metal BM41about 1941, and on a Gallus CadyLux 6x9 about 1940-1941. It may represent a design forced on the maker due to WW2 glasss restrictions. There was a f4.5/75mm Saphir on a Press camera from R. Vergue of Perreux, and Flor (?f4.5)was a common fitting to the Gaumont Press cameras in 6x9 and 9x12. There was an f4.5/135mm No491,95x on the uncommon Lubo 41 press (made about 1941 when some 20-30 were made). The trade name of the lenses on the Royflex cameras is not known, but they included f3.5 lenses with 70mm view lenses. (This was probably possible as the lenses were gear coupled as on the Foc.Brillant of Voigtlaender, but in threads of different pitch. But it seems an extra complication!) The most select may be the f4.5/105mm on the Cyclope noted at Nr 271,0xx. (Cyclope was from Alsaphot about 1950, some 1800 made: a later one from 1953 used a f3.5/105mm Saphir but only some 200 of these were made.) P. Gates (Photographica 11/1999 Vol 90, p9) points out that on the Ajax D of Alsaphot the 4g/3c Saphir was the expensive version compared with the 3 glass triplet Topaz used as an f3.5 in the faster model.

K-Berthiot Special f4.5 105mm This was noted on a Kinax III in B.J.A. 1952, p40advert, p258 text but without further details. It was a advanced camera, probably with a superior quality lens with very smooth front cell focus. see also B.J.A. 1949, p387 for the Kinax II with the same lens and the Kinax I with f4.5 Angenieux or Kinn lenses. f4.5 75mm The Sem TLR series used f4.5 and f3.5 Berthiot lenses, with one example of an f3.8 as well. The early ones were 3 glass designs.

A major item was the next. TeleBerthiot f5.4/f3.9150mm This was used on the Semflex studio- essentially a portrait camera, and this was adapted to long film lengths by P. Lachaize. A SEM at auction carried a TeleBerthiot f3.9/150mm No1,141,26x view lens and a Berthiot TeleObjective f5.4/150mm taking lens. Another Q43,1x/Q21,88x which seems a different system. This seems to be the camera in B.J.A. 1955, p227 at £88.6 + £28.8. There also was a review in Amateur Photographer. "Berthiot" f6.0 75mm This was a relatively simple lens on the very first ATOMS Aiglon TLR It was probably a rather simple triplet. Berthiot f6.3 f6.3 100?mm This was used on a few of the first Kodak 6x9cm cameras made postwar: but it is an uncommon version. Flor f4.5 75mm This was on a ATOMS Aiglons TLR and replaced the very first f6.0 version sold on it. f5.7 Q15

Cinor: This was another group of lenses, probably all of them for movie+cine. It does not occur on the still cameras in FBB, which tends to confirm that it was reserved for Cine. The older examples seem to be Cinor and postwar the letter code was added. Many without a letter code are f1.9 versions from the 1945-1955 period. They seem to have been replaced by the Cinor B which was slightly later. Cinor f0.95 25mm 8-glass Gauss Cinor f1.4 25mm Layout Br008 f1.5 Br006 This was made as a 25mm for Universal 9.5mm film cameras about 1934. There was also a 12.5mm for a 1939 Emel 8mm camera. Cinor-P f1.5/f1.620/25mm This was possibly a projection lens.(Bolex 1956) A Cinor projection lens f1.5/50mm No314,76x was noted on a Bolex 16mm projector at auction. Cinor Special f1.8 12.5mmThis was noted on a 1935 Ditmar 8mm (B.J.A. 1936, p292), when telephoto lenses Tele 2 f2.9 and Tele2 f1.8 and Tele 3 f2.9 and a wide angle f2.9 were also offered (it is likely the codings were the focus in inches but this is not stated: the numbers could also be magnifications.) It was also later also for 9.5 and 16mm (eg in B.J.A. 1939, p608), and a 1953 Beaulieu. It was on a Christen double run 8mm with fixed focus but interchangable mount in B.J.A. 1954, p199, and possibly also a Pathescope PAT 9.5mm where a f3.5/50mm long lens was also supplied (idem, p233). f1.8 10mm on 1960 SEM 8mm, 20mm on a 1946 Pathe 9.5mm, 25mm on 1950 16mm camera. Cinor Wide Angle f1.9 6.0, 10mm for cine (Layout Br008,) on Bolex. (One list gives 6.5mm) Cinor f1.9 10, 12.5, 20, 25, 51mm (This may be rather like Tay015 in layout). This seems to have been a long lived specification from 1934-1953 at least, and occurs for 8, 9.5 and 16mm cameras. It may have been mounted for 18x24mm Alpa in 1976. A f1.9/20mm was noted for a 1948 Ercsam 9.5mm camera, as was a 2in. Note there was also a Cinor Special of the same aperture, eg. f1.9/20mm about 1946/1947 on Ercsam. It is not known how far this differed, but it may have differed in being coated. An example was the Gevaert 8 Carena cine with f1.9/12.5mm Cinor B in B.J.A. 1955, p247. "Performs well, good definition out to the edges, -- even illumination. Cinor f1.9 12.5mm This was used on the Gevaert Double 8 cine camera, in 1959, and was either in a fixed mount or focussing to 1ft. The latter had a depth of focus scale. Cinor B f1.9 20, 23, 25, 35, 51mm, for 16, 9.5, 8mm use. f2.3 20mm on a 1935 16mm camera. f2.5 20mm noted on 1953 and 1960 8mm camera . f2.5 12.5mm This was noted on a 'Salex Admira' camera [together with a Dallmeyer f4/1.5in in B.J.A. 1939, p307- it seems to be a Czech Meopta body. f2.8 20mm on a 1935 Ditmar It was still listed on a 16mm Ditmar in 1939 (B.J.A. 1939, p608). Servo Cinor f1.8 12.5mm about 1958. Cinor f3.5 100mm This is a long focus lens, possibly a triplet, for Ercsam, probably a 16mm camera with a small bayonet. It was seen at NoK48,70x.

Fig 021 027 SOM Berthiot Cinors f3.5/100mm and f4.5/150mm. TeleCinor f4.5 150mm again for Ercsam. It was seen at No1,090,954. It seems to be a 2+2 telephoto. Here the mount was water damaged, showing how well the materials used had resisted the corrosive attack: the iris was damaged but still operated but the other parts had merely been stained even though the lens was filled with thick residues of mud. Lythar Noted as a fast 16mm lens in C mount. Hyper Cinor Extender 1.5x focus.

Zooms The Pan Cinor zooms seem to have been introduced to the UK at least about 1957, as the notice in the B.J.A. 1958, p247 seems to be of a 'new' series. It was the f2.4 17.5-70mm and an f3.4 25-100mm was also available, both fro 16mm use.

PanCinor 70 Zoom f2.4 17.5-70mm This was noted on the 1958 Bolex in the reference above. It had a standard C mount for most 16mm cameras as well as Bolex H16, with a 4in lever to control the zoom, and a black reflex finder along the side of the camera. This is removable for packing and the rear of the lens was separable for convenience in attaching. It uses 16 elements (=glasses?) which were coated, and all the unit was regarded as being to a very high standard.

PanCinor f2.0 17-85mm This was seen for C mount in a long black enamel mount, well used but still with good paint, which must be of very high quality. The focusing was eased by removing 3 grub screws on the grip and removing the grip, and freeing up the multistart threads. It was adjusted to screw home on a Bolex H16 by removing the rearmost locking ring and cutting a new location slot inside- an easy job if the iris is really well protected from the cuttings!

Fig 027 015 Berthiot Zoom C mount, less servos, 20-100mm with focus locked at infinity for use for surveillance. Fig 027 017 Berthiot Pan Cinor f2 17-85mm in C-mount for 16mm cine, a well used item.

Pan Cinor f3.4 25-100mm noted at No AC10,82x for Bolex reflex. Pan Cinor 40T f1.9 8-40mm for 1959 Bolex 8mm. Pan Cinor 30 zoom f2.8 10-30mm for 8mm especially Bolex cameras, (B.J.A. 1959, 231) Note this did not suit the BolexB8L due to interfering with the meter. Pan Cinor f3.8 17-85mm at NoT55,92x on a H16 Reflex. also f1.9 9-36mm in 1964. TeleCinor f3.5 75mm This was noted on a 1947 camera for 16mm. Cox 'Optics' gives an 6g'4c design (1+2+1+2).

Tele Objective Berthiot f4.5 These are a 5glass 3+2 design rather like the Ross Telecentric. "Berthiot " F3.5 35mm Perigon Layout Br003 Stellor Series 1 f3.5 50mm Triplet noted for Debrie in 1921. This may be just one of a big series as a 200mm f3.5 has been noted in a list. Fast Stellors are listed in Cox 'Optics' as triplets, eg. for portraiture (and probably movie). Stellor Series 11(?) f4.5 75mm in stereo pair c. 1924. These also can be triplets according to Cox, 'Optics'. f4.5 Stellors were noted at auction on a 45x107mm Jules Richard Verascope at Nos 72,839 and 72,853: and on an Ontoscope for 45x107mm.

Anastigmat Berthiot 1a f6.3 50mm Triplet Anastigmat Berthiot f4.5 50mm Triplet Anastigmat Berthiot f2.8 50mm Triplet. A lens of this specification at No963,12x was noted on a Ballerio Photochrome Prototype camera.

Altor wide angle Aquilor f6.2 125mm This was an aerial survey lens, and was possibly Topogon related, Q17. Orthar This was roughly a Q20 type, in the 1920's: do not confuse with Plaubel T.N. Orthor f5.0 A series for 60°, the spelling is uncertain and may overlap the above. Q20. Teleobjectif f4.5 145mm One use was for Exakta prewar. Berthiot f5.5 150mm This also was for Exacta 35mm. Projection Lenses Postwar these included an f1.3 35mm Petzval type. Lytar f1.8/25mm This was supplied on the Bolex H16M in 1959. This was a Bolex 16mm with C mount standard thread, but no turret, designed either for use with zooms such as the PanCinor 70 and 100 zooms, or possibly as a lower price model but one made without compromises as to quality. Thus Lytar was probably in some way a starter lens or compact lens for customers who would later buy or use a big zoom. Lytar f2.5 12.5mm for Bolex C8S This was a fixed focus lens, in D mount, supplied as a option to the Pan Cinor 30 zoom. (B.J.A. 1959, p184) It was not offered on the turret version of the camera, where Kern Switar and Yvar lenses were listed, but would fit, which tends to suggest it was the 'portable' alternative to the zoom.

Hyperchromatique (Dr Pollak) This was a portrait lens, soft due to under corrected chromatic aberrations, being well corrected for sphericals. This is an unusual design and care will be needed in use as it may not focus visually. Rectaflex was first noted as supplied with Berthiot lenses in the Utrecht Trade Fair 4/1949 (MCM 12/1949) in 28-180mm, but the wide lens was NOT retrofocus but rather required the mirror to be locked up as was later used for other brands with 19-21mm lenses. Lenses were Angulor 28mm f3.3, 6g/4c; Flor f2.8/50mm 6g/4c; Flor f1.5/55mm 7g/5c; and TeleBerthiot f3.5/135mm; f4.5/145mm 4g/2c; f3.5/180mm 4g/3c.

Chronology The following serial number information is from "Chiffres Cles" by P-H Pont , but sadly (so far?) there is no known book on the firm. The serial numbers in the old series are all approximate only, but should be a useful guide to age. 1900 25,000 1905 40,000 1910 60,000 1915 90,000 1920 120,000 1925 150,000 1930 190,000 1935 240,000 1940 350,000 (1941:Note Lubo Press lens above.) 1945 600,000 1950 1,000,000 1952 1,180,000 Then a new system using a prefix letter was introduced, and the code letters for the years were as follows, though note that one year may have two or three letters, possibly due to a 6-monthly or other change in code. 1952 A,B 1953 B,C,D 1954 D,E,F 1955 F,G,H 1956 H,J,K 1957 K,L,M,N 1958 N,O,P 1959 P,Q 1960 Q,R 1961 R,S 1962-1965 S, then T 1965-1982 T The system continued at least to 1985 as U.

A question so far open is the relation of Benoist-Berthiot to the well known Berthiot firm. Here is one example: Objectif Benoist Berthiot f2.8 40mm This was made by Berthiot for the Monaco version of the Mecaflex, under licence from H.Kilfitt, and we gather examples are engraved '40mm Kilfitt-Berthiot'. The Mecaflex production was moved round Europe from Germany to Leictenstein to Sarre and finally to Monaco: it is not obvious who made what! The camera was for 24x24 so the lens should not have been too hard to design but seems to be a MacroKilar transplanted. as Lacour-Berthiot: Eurygraph f4.0 This was noted as a series for ¼, ½ plate and 5x4 Thornton-Pickard reflexes about 1913. No details of the design are known but it seems to be a 3+3 anastigmat. Eurygraph Anast(igmat): Trousse This anastigmat casket is marked as indicated, Trousse = Set, Bundle in Fr. and seems to use a 3+3 glass design. It was seen at Nr 32,12x as a barrel with 305, 390, and 575mm cells for 13x18cm and up. Brass with iris in mm scale. Performance is really good and it seems like a high quality item. Fig 027 022 Lacour Berthiot Eurygraphe Casket set, for 180, 205, 240mm pairs made up with 305, 390m and 575mm cells

Perigraphe A wide angle symmetrical, certainly made as a Berthiot and possibly as a Lacour-Berthiot. Nebular: no details Graphor f6.0 This was used as an early movie lens on a 1909 Huet in Ariel's index.

Beseler Photo Marketing Co Inc, 8, Fernwood Rd., Flatham Park, N.J. USA 07932. This eminent maker of enlargers listed some enlarging lenses in Modern Photo 10/1978 p82 as: Beseler Color Pro f2.8 50mm f4.5 75mm f5.6 105mm f5.6 135mm These were advertized as very high quality items especially in colour correction.

S.Beverley, 86, Church St, Blackpool, UK. He seems to be a dealer with his own line in lenses in 1889. These were "The Modern Rapid Doublet" probably an RR, in 3.1, 4.75, 7.5, 10.25, 12.5, 14.5, 19.5, 23in. He also sold a Rapid Rectilinear in 4.75in, 8.0in, and 10.375in, at a lower price, so the Modern may be a new glass lens. There was also Portrait lenses, Single view lenses and Wide angle doublets.

Bickenbach and Co, Gmbh., Lichterfeld, Berlin, Germany. They supplied Nikette cameras in the 1930's with Ideal f3.5 for 3x4cm and Maxar f3.5 50mm for 3x4cm as lenses on the Fibi-Nickette II about 1932.

Biddle and Co., Manchester, UK. They are noted for a lens marked Biddle, Manchester on a wood and brass 7x5 camera 'The Leviathan'. Billcliff, Manchester. One of his cameras was noted with a 'Morley, London' engraved lens on it: ie. Morley may have been a London agent of his, but also not a lens maker.

Bilora, see Kurbi & Niggeloh, Germany. Lenses included Biloxar, Trinar, Biloskop, mainly on rather budget cameras, with the Radix + Biloxar 38mm f5.6 and 3.5 the more ambitious.

Binoca Co, Japan. Binocular camera with Bicon f4.5/40mm lens. It is rare.

L.O.Bittner A.G., Muenchen, Germany. This firm seems to have replaced Dr Brecht's company, and traded making fairly early aplanats and anastigmats, perhaps before WW1. Lob Aplanat This was f7.2 maximum aperture. Lob may have been used on other older type lenses. Oxyplast f6.8, f6.3, f5.4, f4.5 W.Frerk seems to have regarded these as good dialyts, ie 4g/4c designs. Orthoklinar f4.8 Also a dialyt.

Blair, Dr., Scotland He was a Scottish savant who seems to have first used the term Aplanatic in 1791 for his lenses of superior construction. Later aplanatic has been used for lenses free from spherical aberrations, but not necessarily free from chromatic ones. (see Traill Taylor).

Blitz This was sold about 1908-1914 as the patents on the Dagor ran out, and is a "label" perhaps of the shop (eg. City Sale and Exchange, of London) rather than a makers' name. Possible makers are Meyer or Schultz and Billerbeck but there is no confirmation of this today. They seem to be nice lenses of general Q9 layout, for example as an f6.8 8.25in No4 lens without serial number. Several have been seen and prices were worthwhile- they are still useful lenses of their type. Blitz f6.8 5.5-14in Layout Ci001 under City. Blitz f4.8,f5.8 5-15in, these seem also to have the same type of layout, but have not been seen.

Bogen Photo Corp., 100, So. Van Brunt St., POB 448, Englewood, N.J., 07631, USA. They were noted for a series of enlarging lenses in Popular Photography, 04/1977, p8, as a medium wide angle 6-glass Plasmat type (it looks fairly conventional in layout), f3.5/40mm for 35mm and a 8-glass f4/60mm for 56x56mm with 8 glasses in 4 components with external negative glasses- a sort of 'Russar' type and very sophisticated.

Bolex Not normally a lens maker but a cine camera maker, they supplied at least one lens under their name, the Bolex Hi-Fi lens, possibly for projection.

BOLCO=British Optical Lens Co, Ltd., Walsall, Staffs., UK. They made the lens elements for the 50mm f3.5 Lumar for Corfield, to a design by Frederick Archenhold and K. Corfield. They also had made the Bolco lens for the Woolworth's V.P. Twin, a plastic camera sold in 3 parts at £0.025 per part, only as sets of parts, for the owner to assemble.

Bolsey Corporation of America. Not lens makers, the name appears on a Bolsey-Steinheil lens from Steinheil of Munich. A Finon f2.8/7.5mm lens may be a special for their cine camera.

Bolta Werk Gmbh., (Photovit), Nürnberg, Germany. UK Agent AICO, 15, Sheen Lane, London SW14. The Photovit was a compact 35mm camera for 24x24mm often with Schneider Xenar f3.5/37.5mm lenses, but also Luxar f2.9, and Radionar f3.5 lenses. See Photavit in B.J.A. 1952, p202. It was also made for 828 film. Two items may have their name, though the maker is uncertain. Doppel Objective f7.7 40mm Corygon f4.5 40mm on Boltavit (1936) for 25x25mm.( This was a Friedrich T.N.)

Booth, L.B. Booth seems to have worked both as an independant designer and a contract designer but little seems to be known about him. He designed the f2.9 Pentac for Dallmeyer (Brit Pat. 151,506) in 1919, and this was noted as an f3.0 Triplet anastigmat (B.J.A. 1922, p321). The front (and rear) biconvex used crown glass, R.I. 1.6 or 1.61 and with low dispersion cemented to flint of not greater R.I., and a lower R.I. flint centre glass. He also designed an f5.6/f6.8 telephoto lens (see Dallmeyer section) (Brit Pat 139,719 of 1919; 151,507 of 1920; see B.J.A. 1921, p331, 1922, 324) and some of the MoD lenses sold off in the 1950's still carried the engraving 'Booth's' on uncoated samples.

The Boots Co, Photographic Dept, Stamford St, London, SE1, UK. Boots sold and sell photographic equipment over a long period and are probably UK's biggest photofinishers in house business. In 04/1973 they were offering Boots Edixa lenses as a package with Edixa 2MTL cameras, a f1.8/50mm Cosina lens and Edixa f3.5/35mm; f3.5/135mm; f2.8/55mm; f4.5/200mm lenses. These may be German make or agented from the Far East- there is no indication of the source.

Boucher, France. His name occurs on a folding plate camera from 1905 made by Boucher and could well be bought-in as there are no other references in FBB and none has been seen

Bourgini, Paris. He was an early Parisian maker of lenses without Waterhouse stops, and of Petzval type. The lens seen has no serial number. Fig 027 028 Bourgini (Paris) Petzval an early lens, with no stops

Bourquien, France (?) This lens makers name occurs in "Master Georgie" by B. Bainbridge, a novel about the Crimea war: it may be fictional or derived from Bourgini above. (The fiction side is suggested since he also is said to have a 3in Ross as a portrait lens which seems very short unless it refers to the diameter- and this was in line with practice at the time).

R.H.Bow He seems to have been the first to deduce the Cos 4 dependance of the illumination to the angle away from the axis for lens images- it is mainly important for wide angle lenses. (B.J.A. 1925, 213; B. J. 06/04/1886, p160)

Boyer, = Etablissement Boyer, 25, Bvde Arago, Paris 13me, France. UK Agent Mssrs Actina, 15, Red Lion St., High Holborn, London W.C.1. Many or most of this product range are named after jewels.There may be a relation with Berthiot or confusion in a source. In 1929, they were Andre Levy, Succ. so there had been a change in ownership.

Saphir This seems to be a major product over a long period. It was used on the J. Richards Verascopes for example. (B.J.A. 1927, p557) The Saphir was featured in the adverts. as in B.J.A. 1926, 784; 1927, 760, Saphir f3.5 15-170mm This was a Q15 type. f3.5 105mm This was used on the last 200 Cyclope cameras, in place of the slower f4.5. f3.5 75mm (?) This was used on the Bioflex by Alsaphot where it replaced the Exotic SAGEM Jaguar f2.9. It was matched with a f2.8/75mm Topaz as finder lens. It was used roughly from 1944-1947 on the uncommon Photoelec Cameraflex, after a prototype which used a Topaz. f3.5 50mm It was used on the Derbyluxe (Gallus Derby) as an f3.5/50mm lens at No247,44x, and on some Reyna Cornu and Ontobloc cameras. An Ontobloc illustration shows No251,019 about ?1945. They were also on Norca A and B, noted at (?) No264,285 and 288,291 in illustrations. Also as f3.5/50mm at No258,04x on a Chor-Identar camera at auction. Saphir f3.5 35mm This was noted on an SIAP Memox 24x24mm camera made for Alsaphot where it replaced the original f4.5 Boyer saphir. There were also some with Topaz lenses. Saphir f4.5 15-500mm This was a 4-glass Q15 lens, Layout Bo001, and was noted in B.J.A. 1929, p321 who saw an 8.25in lens. It was sold as 4.25in, 5.0in for 4.25x3.25in, 5.25in for 4.75x3.5in, 6.0in for 5.5x3.5in, 6.75in for 6.5x4.75in, 8.25in for 7.5x5in in the UK list, where the 8.25in was for 7.5x5in. There were large versions as in a f4.5/300mm at No7845x on a tailboard 10x8in camera. This means they can be a feature at auctions of bigger format cameras. Thus they are noted for a f4.5 135mm No102,11x on a Sigriste camera and a f4.5/110mm No37,325.on a Giles & Faller Gilfa. A stereo Monobloc No185x by Jeannert et Cie, France, had two Saphirs f4.5/75mm Nos 12,435+12,445. They do not trade often in the UK but two were seen following a visit to France. They were a very solid and finely coated f4.5/300mm No536,78x in PIM made of brass + alloy; and a f4.5/210mm No697,32x in a Compound III shutter. These are lenses with a high reputation among professional but did not fetch high prices in the UK.. f4.5 105mm This was the lens on the Cyclope with f4.5/105mm when offered in May 1950 MCM. It was used on most (c.1800) of the bodies, but replaced with an f3.5 for the last 200. There must be some loss of light in this 2 mirror system but this has not been noted in the texts seen.The most select may be the f4.5/105mm on the Cyclope noted at Nr 271,0xx. (Cyclope was from Alsaphot about 1950, some 1,800 made: a later one from 1953 used a f3.5/105mm Saphir but only some 200 of these were made). Saphir f6.3 40, 54-500mm This was a Q15 type lens, eg as 40mm Saphir on Multiphoto camera in 1924, but mainly as a quality large format lens. UK sales of Saphir f4.5 was noted in B.J.A. 1929, p321, when it was reviewed as "excellent" Saphir B Enlarging f4.5 85-210mm Layout Q15 Saphir f2.8 50mm This can be Q15 or Q20 layout. A f2.8/50mm was a premium item on the early versions of the Gallus Derlux but was probably listed up to about 1952. Saphir f2.3 15-100mm This was a cine and 35mm still lens. Saphir f1.9 15-100mm but noted as a 100mm for movie. Sales may have included a 100mm for Rectaflex in 1949 but it has not been confirmed.This was a 6-glass Gauss. Saphir f1.4 15-100mmThis was a 6-glass Gauss cine and 24x36mm lens. Saphir f1.0 It is said to be an advanced triplet type. It was available as 100mm for 24x36mm, 75mm for 18x24mm and 50mm for 16mm cine in the May 1950 MCM report. Saphir Color f4.8 This was seen as a 150/265mm convertible lens in Compur. This has Q20 layout. This is a modern lens of fine quality. It was noted at No788,04x and 788,05x. Saphir Apo f9.0 50, 300-1200mm This is for process work. This was quite an important item postwar and turns up regularly in USA and UK dealers lists. Saphir Apo f10 This was noted at 240mm, 450mm. It is probably a longer version of the above f9 type, which may be f10 in the larger sizes, but has been seen as a f10/135mm coated lens at No64043x. Fig 027 013 Boyer lenses (l) ApoSaphir f9/150mm, Saphir Color f4.8/150mm/265mm and Topaz f4.5/105mm SaphirAviation f4.5/f6.320-120cm for aerial survey work. Q15 type.

Virlot f4.5 105mm This was noted in a Gitzo shutter and may be a Saphir related item.

Topaz These seem all to be triplets, in a lower price range. Topaz f2.9 20-210mm Triplet, Q14 Topaz f2.8 45mm There was a Boyer lens on the Mecilux 24x36mm camera of P.Lachaize of this specification and M.Vial suggests that it is a 3-glass Topaz. It was noted as an f2.8/45mm at No 614,74x. Topaz f3.5 20-180mm Triplet, Q14 A 75mm version of this was sold for the VP Exakta in the 1930's. Topaz f3.5 50mm This version of the above was used on eg. the Boumsell Auteuil 3x4 camera, as alternative to a FAP. It may also be the lens on the Le Bergy of Mecaoptic Photo Topaz f4.5 75-135mm, This was a 3-glass Triplet for cheaper cameras. Thus it was fitted to the bakelite Gallus in 1937 and later on the prototype of the Photolec Cameraflex just after the War. It was also used as an enlarging lens, etc. Topaz f6.3 eg 105mm with click stops, and as a 105mm for Gifca camera, 1922. It was used on the Midelly box type camera. In fact, Alsaphot seem to have used Topaz of f6.3, f4.5, f4.5, and f3.5 on Dauphin, Assas and Cady cameras. These will be in 75mm approx, for 6x4.5cm. One list has focal lengths available of 58-210mm.

Other Beryl f6.8 50-250mm This was made to cover 85°. It seems to be a convertible double anastigmat.?Q9, 3+3 glass. Opale f4.5 50-500mm This was for 56° and was a portrait lens with variable softness, and it seems to be corrected for the Sodium D-line. It is not a Petzval or triplet. It may be the lens in the advert. in B.J.A. 1929, p700 as made in 11.25, 14.25, 17.33in. Perle f9.0 60-145mm This was an Aerial survey lens, to cover 115°, a 4-glass Gauss. It may be a Q17 type. Rubis f3.5-f4.5300-700mm A triplet type Portrait lens for 30°. Possibly softish. Compare this with: Portrait Anastigmat ? 300mm for 9.5x7.5in; 360mm for 10.5x 8.25in; 450mm for 13x10.5in. This is shown in this form in the B.J.A. 1929, p700 but may actually be the lens above.

Brand-X, Caravelle, Yonkers, New York, USA. Registered trade name of importers, mid-1965. eg. Bellows lens, f3.5 135mm and extenders,etc.

Brass Brass is a copper based alloy, normally with zinc as the main other component. At 80-90% copper, the result is 'gilding metal' used for decoration only. Straight brasses are about 63-75% copper and can be subject to stress corrosion and a slow attck with loss of zinc from the surface known as 'dezincification' with formation of zinc oxide (weak) and a copper rich sponge of metal which is also weakened and copper coloured. This is accelerated by salt eg near the sea and in sweat. It can be prevented if the alloy has some arsenic or other inhibitor added, but this seems not to have been known in the 19Century from the corrosion of some mounts. Finally, at lower copper contents of 50-63% the alloy is used for hot worked items such as extrusions and stampings, and with some lead added, can be a free 'machining grade'. Other grades are 'Admiralty' , 'Naval' and 'aluminium' brass, and the former contained some 1% tin while the latter has aluminium and arsenic added but probably will not be a Victorian product. Then there are alloys sold as casting brasses, often rather soft and with poor quality, bronze with 'copper + tin' , 'gun metal' with copper, tin and zinc and cupro-nickel and true bronzes with small additions of aluminium to mainly copper, phosphorus added to copper + tin, or manganese added to copper + zinc alloys. In fact the range is enormous and the actual compositions of different makers will have varied with time or circumstances such as war. It is likely however that the normal Victorian alloy was a rather basic one, especially for some cast items such as flanges.

Most (perhaps all) of the early lenses were made with brass bodies, the metal being chosen for reasonable price, machineability, good appearance and resistance to corrosion. The basis was probably small brass castings from a local firm, which could be turned to form the mounts for the glasses at the front and rear of a brass tube formed by rolling out a tubular casting. The tube was often surprisingly thin- for lightness as well as cheapness, remembering that in the 19C, items were carried much more than today. No seams from rolling up flat sheet have been noted but this could be another option. Once machined, the brass was polished with a definite grain often left, normally engraved with the makers name and given a protective layer of lacquer. This involved a quick confident application to pre-warmed metal to get an even coat. Then the glass was mounted and the product was complete. With time other operations involving fitting slots for stops or an iris were added, and some companies featured other metals as trim, as in some Lancaster lenses- or seem to have used specially colored lacquers. (Metals seem to have been plated by smearing with a mercury/metal amalgam and then driving off the mercury by heat- Dangerous! Some small rings and components seem to have been done this way.) Finally as the 19C gave way to the 20C, there was introduced the black enamel finish (sometimes called Berlin Black) which on brass can be more long lasting than lacquer, but is often now scuffed badly. Slowly, there was an increased use of electro-plating in the 20C, first as nickel plate and then from about 1935, of chrome plate, which could be harder and did not slowly discolor as nickel can. Good chrome plate on brass is probably about as use-resistant as is needed, and the nickel was really very good. What can be disastrous is electroplating of surfaces which are badly prepared or unsuitable as can happen when chrome is coated without an underlayer of nickel (early post-1945 perhaps). Replating in nickel is just possible for the amateur, (kits are offered to auto restorers) but chrome is less easy. Rare metal plating normally involves highly toxic chemicals and is a specialist job- but lenses originally plated in gold or some such are extremely rare. Thus the collector with well used or corroded lenses is likely to be faced with either lacquered brass which has blackened with time or paint which has chipped. One means with the blackening is to rub the lens down with wirewool or fine wet-or-dry carbide paper. Or to use a polishing wheel such as a rag disk loaded with mild abrasive. It is normally best dismantle the lens or at least to remove the lens cells and protect any fittings and the edges of glasses with masking tape, etc. Sadly it must be said that this polishing can be rather too energetic where the brass is thin or the engraving shallow and real care is needed. There is something to be said therefore for using a corrosion-removing solution such as "Rustin's Rust Remover" which contains phosphoric acid in some sort of solvent. (Note makers safety advice- this is acid!) It quickly dissolves the black material, which probably has a high content of zinc oxide, and given some 15 min softens the lacquer softens, so that methylated spirit and wirewool removes it easily. Retreatment may be needed, but will not be as laborious. This gives less smoothing of the surface and typically leaves it covered with a soft thin layer of copper, which needs to be polished off with a metal polish such as Brasso or Duraglit wadding- it comes off easily as the removal off the zinc probably leaves an open textured copper layer, soft and easy to polish off. Rustin suggest a water wash (or wipe with a wet rag?) after each stage. The polished metal can then be relacquered. The lacquer on some lenses can be very hard to remove this way and it may be better to use both paint stripper for the lacquer and Rustin's for the corrosion products. The paint stripper proved to be dramatically quicker on an old Wray WAR where the barrel was cleaned slowly with Rustin's but immediately with stripper followed by Rustin's. Rustin also make a clear colourless lacquer which is easy to apply to a good finish and preserves the surface. Later this is easily removed with Cellulose thinners unlike the original, but sadly it does not emulate the original color. Some lacquer is essential to prevent fresh corrosion as repeated use of metal polish will lead to loss of fine engraving and weaken the metal. Lacquer is now hard to find. Ardenbrite Duralac used to be a stand-by but Tor Coatings have ceased to supply it. Old receipts in Prof Draiper's "600 Ways of Making Money" for lacquer were: Gold Lacquer: To a pint of strong alcohol add as much Gamboge as will give it a bright yellow colour, then add 2oz of Seed Lac in a fine powder, and set in a warm place till dissolved. Lacquer for Brass Rectified Spirits 1 pint, Tumeric, 1oz, Safron 1oz, Annatto, 1/4oz, Digest at a gentle heat for several days and then strain the mixture through coarse linen, put the mixture in a bottle and add 3oz Coarsely Pulverized Seed Lac. Place in a moderate heat and shake occasionally until dissolved. These may not be useful today but suggests Shellac may be the base and a yellow colour added to taste! Tried out today, shellac for French polish seemed rather too red, but mixed with button lac it was better. Note that the application of lacquer to give an even coat is difficult, and traditionally a wide thin soft brush was used, and the brass was warmed well before the application to aid evaporation. This skill is best acquired over a lifetime. It may be easier to learn to apply the lacquer with an airbrush (small sprayer) again using heated brass (Danger Fire Hazard. Take Care!), making a thin application and repeating perhaps 2 or 3 times. Hasluck describes and illustrates a TTH employee using a lathe to rotate a barrel while applying shellac+methylated spirit with a brush. The harder examples may have used boiled linseed oil wiped or mixed with the application. This is slow drying (days or weeks) and its use just may correlate with the lacquers noted above as needing paint stripper for removal.

Traill-Taylor makes a point that adding ammonia to shellac makes for a clear solution and layer- and that collodion was also used as an lacquer. He also suggests celluloid in acetone or amyl alcohol as a lacquer. This may explain some of the variations noted. He removes old lacquer with boiling water containing washing soda or potash- which is said to act immediately! It seems rather drastic today. Or with a tuft of wool wet with a mixture of alcohol in the cold. The use of ammonia also comes in as an addition to the application above.

He suggests blackening brass with copper/silver nitrates followed by heating and plunging into cold water. And with copper carbonate and ammonia. But today commercial finishes will be preferred. Finally he discribes glass etching with hydrofluoric acid- a very danderous practice.

The actual brass compositions will have varied as suggested above, sometimes in a casual fashion as the caster remelted old scrap. Thus there are variations in hardness. Certainly remachining old optics can lead to problems as the cutting quality of the metals varies. There is some sign that Zeiss played a major role in standardizing the compositions in a search for improved quality.

Carl Braun, Nürnberg, Germany. The firm was founded in 1906 as Karl Braun and became a limited partnership in 1915 as Karl Braun KG, to make optical instruments but no cameras are known before 1939, or rather 1949, when Karl Braun Werke Gmbh sold a box camera, the Imperial. The Paxette cameras were their most famous product, sold from 1950. At the lower end of the price range, they were solid items with caste alloy bodies now often rather dulled (? due to the use of zinc alloy? and a matt finish to knobs?) with standard Prontor SVS, etc. shutters, normally reliable and often with a sort of bridge or buttress to carry interchangable lenses in front before bayonet mounting to eg. Compurs was usual- so they were innovative. The lens and maker range was very wide due possibly to a wish to ensure supply or to competitive tendering by the firms. The thread closely matched the M39x26TPI used on the Leitz Leica but the register was much deeper at 45mm compared with 28.8mm for the Leica. Extension tubes to mount Paxette lenses to Leica were made in the 1950's by W.Heaton at al. and are now possible to make. They were usually fitted bought-in lenses from Enna (Plastigon), Roeschlein, Steinheil (Cassar, Cassarit, Culminar, Quinon), Staeble (Kata, Kataplast), ISCO (Isconar, Westanar), Enna (Plastigon), Wray (Architron, Lustrar), Schneider (Xenar), Zeiss (Tessar) and others. However the maker is not always apparent now. An example of unknown source is the Braun Color Ultralit f2.8/50 mm on the Braun Paxette Reflex. There were also Paxanar achromats on Paxina 1 for 6x6cm, and Gotar f6.3 and f4.5 on the Norca 6x9cm folder. Thus lenses are listed here even though Braun may well have bought them in. Camera production decreased later and rangefinder production seems to have ended about 1963/4 and later the reflex ended with all camera production about 1970, when they began to concentrate on slide projectors, although they imported Konica and their own brand cameras from the Far East for many years. The product range was reviewed by I. Baxter, Photographica World, Autumn 2000, p21. Achromat f7.7 on Paxina, just before the next item. (maker unknown). Praxar f2.9 75mm on 1953 Gloria. This was on the Braun Paxette and Gloria and Paxina for 6x6cm, but the lens maker is unknown. It was noted in B.J.A. 1956, p537. Plastigon f2.8 50mm This was an Enna 4g lens. It was used on the Paxette IA in May 1957. f2.8 45mm This was used on the Super Colorette Ib. Pointar f2.8 45mm on Paxette, new in MCM April 1953. Noted B.J.A.1954, p546 advert., 1955, 271; 1956, p537. This was from Roeschlein of Kreuznach. Baxter says he has seen an advert. for a Steinheil Pointar although this just could be a mistprint. And Pointars are also common without the Roeschlein name but still from Kreuznach. Pointikar f2.8 50mm This may have come from several sources- but equally the name suggests Roeschlein as the Pointar above. It is thought to be a 4g/3c lens of improved performance, although others says it was still a 3-glass lens. It does not carry a makers name possibly as if Braun wished to source it from several makers . Color Ennit f2.8 50mm ex Enna. Braun Optik This was probably a simple meniscus, fitted to the 6x9cm box cameras "Imperial" Gotar f6.3 105mm? on 6x9cm Norca about 1952? These were from Optical Werke Gottingen, (just possibly related to ISCO of Gottingen?) Gotar f4.5 ?105mm on Norca III about 1952? or a little earlier. Luxon f2.0 50mm on Super Paxette IIb. Telexor f3.8 135mm on Super Paxette 35 Color Ultralit This also seems to be sourced from several makers. One is certainly ISCO on a Super III Automatic, No626,51x while a Braun Reflex Ultralit NoS910060 is anonymous but just possibly from Staeble. Cassarit f2.9 50mm Noted 1956 from Steinheil. The slightly longer focus and rare earth glass combine to give an improved performance here, and stopped down it can give 10x8 prints of good quality even in the corner. Xenar f2.8 50mm noted 1956 from Schneider. This is a full quality item in a heavy chromed brass mount and well above the 3 glass lenses in performance- and original price. For most purposes it matches the Zeiss Tessar below as a top grade lens and finding differences would be a laboratory test job. Tessar f2.8 50mm Noted 1956 from Zeiss (probably West Germany, it was an expensive option). The example seen was No2,308,42x in an alloy mount with brass coupling track. This is a West Zeiss Number (as from Jena this would be early 1940's.) It has a good single purple coating. This was the prestige lens in the series and an expensive item when new. Today, they are distinctly uncommon even compared with the Schneider Xenar which was also quite pricey. Thus it may be a good guide to the serial numbers Zeiss was making that year. One point is the Tessar mount is larger than most others and may offer more shade to the lens. Tele-Ultralit f3.5 135mm on Automatic Super III Katagon f2.8 50mm probably from Staeble, noted 1956. Kata This was a Staeble lens, eg. f2.8/45mm, also f5.6/85mm Neoplast. E-Luxon f2 50mm This is worth noting as a rare late Roeschlein lens for the Paxette. Westron f3.5 35mm (1956) Telexon f5.6 85mm (1956) Tele Quinar f3.5 85mm from Syeinheil (1956) Teletar f3.9 90mm (1956) Telenar f5.6 135mm (1956)

Color Ennalyt f1.9 for Super Paxette III from Enna Ultralyt f2.8 for Super Paxette III Lithagon f3.5 35mm from Enna as above TeleEnnalyt f3.5 135mm from Enna as above

Lineogon f3.5 35mm for Super Paxette Automatic Choro f3.5 35mm as above Trigon f2.8 50mm Architron f3.5 35mm This was a Wray lens, ? as for the Wrayflex about June 1953. 4g/3c design. (Anon) f4.0 90mm This was also a Wray lens (Wrayflex Lustrar?) advertised by Nebro in the Am. Photo 24/06/1953 and forcasting as a f3.5/35mm lens, probably the Architron above. This just may explain the cause- if Nebro then found they could import lenses legally and more cheaply, they may have lost interest in the Wray products which they had planned. Tele Ennalyt? ? 200mm This lens seems to exist but be quite rare.

In use A small collection of these were used on a Paxette IIBL on a tripod with T-MAX film on a bright winter day, each lens being used at f5.6 and f11 at 12m distance to a brick wall. The negatives were nice printable quality, clean and contrasty and the best standard lens was the f2.8/50mm Xenar, which was in a chromed brass mount while the others were mainly alloy with brass coupling flanges. After the Xenar, the Westar f2.8/45mm seemed the next best standard lens, above the Cassarit f2.8/50mm and Kata f2.8/45mm where the edge sharpness was rather less. In fact the edge of the Cassarit negatives benefited on closing well down. Centrally, the Architron was sharp, but illumination and sharpness spread out as it was closed down at least to f8, while the Lithagon, a retrofocus design, seemed to cover more easily. The Telon f5.6/85mm was fairly sharp all over at f11 but was soft at f5.6- it may not have been exactly on focus. The f3.5/135mm Tele Ennalyt was really decent at f5.6 and f11- and the image had good contrast and clarity. What was more impressive was that the outfit was obviously a budget one when new and even more so today, but worked well mechanically and optically within the range one would expect- full aperture for snapshots or emergencies and closed down for bigger prints. (This was much better than feared.) Note that all the lenses were in the M39 mount but that the Westar, Architron, and Telon were not coupled and that the Westar and Kata did seem to have some surfaces which were not coated- and in general that the cheaper lenses had more modest coatings than the Xenar.

It is interesting to compare the front diameters and curves (as bulge in thou in 13mm approx.) for some of these triplets.

bulge (thou) dia (mm) Pointar Roeschlein 149 17 Pointar Roeschlein 148 17 Pointar Kreuznach 149 17

Pointikar 138 15

Cassarit Steinheil 50mm 148 19.2 @ No2,015,187 Cassarit Steinheil 50mm 148 18.2 @ No1,683,602

Westar ISCO 134 16

Kata Staeble 130 16 Kata Staeble 130 16

Ennagon Enna 152 16

One point is the Pointikar (compared with the Pointar) is different and less bulgy- possibly higher refractive index glass, rare earthperhaps, and can use a smaller front diameter. This flatter front seems to be shared by the Westar and the Kata but not the Ennagon, but note the curves do vary- these are individually designed lenses even though they do have features in common. Where 2 alike are seen they are closely the same. And note that the Roeschlein and Anonymous Pointars do seem to be the same lens. The Cassarits are 50mm lenses and should be larger in diameter, as is found. The difference in diameter may be just significant but is marginal. This study seems to dispose of any idea that many German 3-glass lenses of the period came from a common source or even design. They seem to be the result of many competing designs and plants. Dr Brecht, later L.O.Bittner A.G., Muenchen, Germany. see L.O.Bittner.

Brewster, Edinburgh, Scotland, UK Brewster constructed a 'double eyed camera' ie a stereo in 04/1844 as well as the better known viewer, and showed it in Paris in 1850, when the idea was accepted and Dubosq began to manufacture equipment. It is thought that Dancer was one of the early English users.

Brichaut, France. His name occurs on a lens on a Brichaut L'Imperial camera from 1892, but may well be bought-in as none has been seen and FBB mentions only the one Brichaut item.

British Journal Almanac The first was issued in 01/01/1860 and was a plain sheet of paper (free with the magazine) for fixing to the wall. It grew and in 1865 was a waist coat pocket size volume but still slim. In 1866, the page increased to the 'present size' (?near A5) and during the 1890's the thickness increased with advertising. This reflected the increased market with dry plates. It became the major and most profitable advertising medium for the English speaking world and the publishers had to set a limit of 40pp per firm and this continued to 1914, when 1496pp were still required for the volume. (B.J.P. 05/11/1915, cited 07/11/1975 p1018). These volumes are now most highly valued. It is now a major source of collector information and of many references in the Vademecum. It should be noted that issues were a maximum in 1914 and shrank during the wars, especially WW2 and after this it reexpanded but did not quite reach the same position again. Here prices are lower and supply better. It was discontinued about 1962 and replaced by an Annual which does not have the same amount of advertising.

British Lenses. As with France, the British makers were initially in a strong position to make products based on the new invention- but the initial Callotype process did not have the same sales impact as the Daguerre process, and there were fewer optical firms interested to develop lenses. Thus very early British lenses tend to be by Ross- or from imports. The position improved as the wet plate process increased the market, and new firms such as Dallmeyer and Grubb entered the market. Today, it seems to be difficult to say how many others were involved but certainly by the end of the Century, one can point to Wray, Beck, Crouch and Perken Son and Rayment in or near London, as well as Lancaster in Birmingham and Taylor, Taylor and Hobson in Leicester. Dallmeyer was strikingly innovative, both in the 1860 period with the rapid rectilinear and triplet, and in the 1890's with the telephotos; and Grubb produced novel ideas, though today they are hard to number. But the important point was that in the 1890's the English were able to make the transfer to the new anastigmat era: TTH with a strikingly simple triplet by Taylor of Cookes, and Dallmeyer by an Aldis design leading to the Stigmatics, Carfac and Aldis's own Uno. And Ross were able to license Zeiss anastigmat designs as well as produce their own Concentric. And Beck licensed two anastigmats from Steinheil, the Orthostigmat and the Unofokal, with his own Isostigmar to follow. But they were all dependant on Schott for optical glasses and may have suffered some problems due to remoteness. Certainly WW1 showed up this limitation, and lenses such as Aviar were designed to avoid their use.

After WW1, the German industry suffered from a poor economy and postwar reparations, but they were able to offer very low prices, such as could cripple competitors, and sales in the UK tended to be poor for British makers- especially as there was a local recession to consider as well. Thus there was a story of firms leaving the industry, as Beck seem to have done, or failing to develop new products: there was no prewar British miniature of note for example. Equally, a trawl of camera fairs will show lenses of this period, sold to professionals or keen amateurs. And it did lead first to an energetic industry in WW2 making very large numbers of fairly simple lenses for a very effective aerial survey campaign. And after the war, to the beginning of a new industry, curtailed when the imports of foreign cameras were allowed in the 1950-1960 period. Today, it seems that too little time was given if the Government really intended a native popular industry, and too much otherwise. Certainly, the best from that period are superb, such as the TTH Reid, Micronar, Adotal and Movie lenses- and the worst are less good, with soft coating and muddy imaging. What is sad is that the industry had to go from one extreme of over-demand to the other of decline, though actually what ended was the purely photographic side rather than the industry as a whole.

High value items include the really early museum items, but especially portrait lenses such as Dallmeyer's Bergheim and the top TTH portrait lenses with spectacles. But rather unusually, a special feature are the TTH modern lenses, where TTH still exist to rebuild them as needed at a price: and Panchro II and Varotal are long lived use items and valued in a way few other makes can be.

British Optical Lens Co, Ltd., Walsall, Staffs. UK. They made the glass for the first Corfield Periflex lenses and helped with the designs. They are also noted for the BOLCO lens on a VP twin camera for 3x4cm. Also see BOLCO above.

Broadhurst, Clarkson, and Fuller Co Ltd. 63, Farringdon Rd. London EC1M 3JB Tel 0171 405 2156 The firm was founded by Mr Tulley in 1790 as an optical house eg making telescopes, and must be about the oldest established such firm still active. When Tulley died, the chief optician bought the business and carried on and was joined by Mr Clarkson and subsequently also Mr Broadhurst. They have been in Farringdon Road at least since 1800 but the building had to be rebuilt after bombing by a Zeppelin in WW1. It is primarily a telescope and spottingscope maker and supplier eg as the UK agent for Meade of USA, but the owner thinks long focus triplets were made in past years, possibly for astronomical work. During WW2 eyepieces were supplied made from plate glass windows broken in the blitz and the pieces picked up by the staff for reuse due to the glass shortages.

Bronzavia S.A., Courbevoie, France. The name is on a gun camera lens made by Bronzavia in 1948, f3.5/75mm noted by FBB.

Bronica- see Zenza under Z

Browning, John, Optician, 78 The Strand, London WC. Browning seems to have not been a professional lens maker but a trader and camera maker who had lenses engraved for his business. However he is mentioned as a maker of binoculars in the later years of the 19 Century. Orford mentions him as designer and lens maker, while writing about amateurs making lenses, so he was probably able to make them on occasion. His name is on an Extra Rapid Rectilinear on a Le Merveilleux by Lancaster for 1/4plate, probably of about 6in f7.7. A microscopy camera by him included an RR with a Waterhouse slot.

Buckler, France. There are two mentions in FBB of Buckler RR lenses from 1903 and 1905 but no further details of the lenses.

Burke and James, Inc, 321. So. Wabash Ave, Chicago 4, Ill, USA. A famous American retailer who also ran a repair and occasional production department and who elsewhere is noted to have initiated Caltar lenses and taken in the Goerz Berlin stock when Zeiss bought them over. They seem to have had their own brands as 'Carl Meyer' for esp. cine lenses and 'Rembrandt' for Darlot-Petzval portrait lenses. They are said to have taken over the Zeiss collection when the US government sold it. See also Carl Meyer entry. B&J catalogues are still valued documents in the lens collector world as they contain details of a remarkable range of optics both new and preowned. [So seek them if they are offered!] Rembrandt Portrait Lenses Darlot exported "Genuine Imitation Dallmeyer" portrait lenses at the end of the 19C and this may have associated him with an adjustable softness Petzval layout. They "give a "soft-sharp" quality so sought after in portraiture.... and minimize retouching,... Pinkham-Smith style... made like the originals.- modified Darlot-Petzval formula." Rembrandt Super Portrait f8.0 10in (254mm) in barrel with iris or in Alphax Synchro shutter. f6.0 14in (356mm) in barrel with iris or in Alphax Synchro shutter. f6.8 18in (457mm) in barrel with iris or in Alphax Synchro shutter. B&J also sold a range of Quartz optics for transmission in the UV region to 2700° to visible light. They included Carl Meyer Quartz Optics lenses as follows: f6.0, 4in; f8.0, 3.5in; and f14, 6.5in. Also unbranded probably single components as: 25mm focus x20mm dia.; 50mm focusx 20, 30, 40, 50mm dia. ;100mm focus x20, 30, 40, 50, 60, 70, 80mm dia.; 150mm focus x same 20-80mm dias.; 135mm focus x 160mm dia.; 200mm focus x 20-90mm dia.; 300mm focus x 20-100mm dia.

Burleigh Brooks Inc, 44, Burlew Court, Hackensack, N.J. 07601, USA. They are thought to be USA agents and importers, and were noted for two zoom enlarging lenses in B.J.P. 13/07/1979 as Apo Computer f4.5-f5.6 50-80mm and f4.5-f5.6 105-150mm in M39 screw thread as well as a series of large format Computar lenses in f6.3 150, 180, 210mm of 4 glass 4 component design and enlarging lenses from f2.8/25mm to f5.6/135mm.

Burr, Charles, 138, Wakefield St., East Ham, London. Burr was listed as a maker of portrait lenses about 1900-1905 and advertised in the B.J.A. The firm were long established as opticians, and their range was wider in the 1890's, probably then shrinking as new designs and competition came. A biggish Petzval has been seen, a No2 lens, about 9in. No 632x, working at about f4. Another portrait was a No3 at No4622, of unknown size. Fig 024 013 C. Burr Portrait Petzval No6322 No2 size. A doublet lens (ie ?RR) on a 12x15in Lizars was No4,78x. Wide angle This was noted as a 8in lens for 12x8in with wheel stops.

E. Burton, UK?. He is known from an early brass lens, probably 1860's, and was probably the owner of a shop rather than a maker.

Ludwig Bünger, Berlin-Schmargendorf, Germany. Schmidt lists him as the source of a Pantoplan about 1908. This was an f6.0 design to D.R.P. 135,742 and covered 90°. It seems to have been a Q20 version rather like the Euryplan, designed by airspacing the inner glasses of the Dagor.

Busch, E. Rathenow, Germany. Agent for UK Mr H.F.Purser, 33, Hatton Garden, London in 1898. Lenses also marked ROJA or Rath Opt Ind Anst. for Rathenow Optical Industry Anstalt with a I like a "J" in old script. This trade name began in about 12/8/1898 (Amateur Photo 12/08/1898, p644) but was found not to be a success and later the firm reverted to Busch, but the date is not available here. It seems to be Emil Busch in 1901 adverts. The change was after the sale of the Omnar since some at least of these carry the ROJA engaving, about 1898 ('new') to 1902 and apparently to 1908. These have been given a code (R) where known to occur. The firm began in 1800, but was really refounded in 1845 by Mr E.Dunders, when he began 26 years of direction especially for opthalmic work. One innovation was a more modern form of opthalmic lenses. They also competed with Voigtlaender for large Portrait lenses, making a 7in dia example in about 1864, and a 10in shown in Paris in 1867. (This was later destroyed.) And Mr Busch (1820-1888) was a nephew of Edouard Dunders and essentially redefined the business, which bore his name. His major designs included the innovative Pantoscop anastigmat in1865. They were also known for binoculars in the 1890's. The UK agent was Mr Purser of Hatton Garden, later of 35, Charles St., Hatton Garden, London EC. Some USA sales may have been through TTH, in 1912 of Cylex and BisTelar lenses. Not all items have a serial number- in fact none in the older lenses seen. Early items are marked Prussia and may be before or soon after the unification of Germany. The treaty of unification was 18/01/1871, so that the engraving "Preussen" suggests a fairly early lens- say pre 1875. (But they may have used the description long after). Rathenow is some 60miles east of Berlin and likely to have been in the Russian zone postwar. It was an innovative firm, contributing the Pantoscop, Bis telar and Nicola Perscheid as first class collectables, the first two being major Landmarks. A problem can be that Busch often engraved details on the flange rather than on the lens barrel, so loss of the flange leaves an anonymous lens. And working through a collection, there seemed to be few serial numbers to form a guide to the age of a lens. It also seemed that the older lenses were more blackened with age and corrosion than other makes- well, they are older than some but early Pantoscop has quite thin metal parts and small ones may be suffering weakening of the brass. This does not apply after about 1890-1900 and Omnar can be a heavy and formidable item.

Early Lenses Vademecum set: No 1 A classic casket set, B.J. Photo. 29/8/1899 to give foci 4.375-14in -30in, the 30in being with one cell in place. The 4 cells are only single glass menisci and the sharpness is not high. But there were subsidiary lenses to correct the visual error while focusing and color filters, at least on the next set. No 2 with 7 cells for 4.375-17in, with up to 29.5 from a single cell. A No 11 set seen is marked DRGM 110275/76. In barrel or with shutters. It is worth noting that the alloy threads of the shutters can wear badly- this is something to check on purchase as it may not be a standard type of shutter, and hard to replace. Model E This was another, later type with cells based on achromats, so that pairs are RR's or nearly so: one has been seen in decayed condition, but without detailed information as to the foci of the cells, etc. It was in a dialset Compur shutter No447,48x, and probably from the early 1920's, but 20 years later than the No1 above. It uses the same diameter threads for the cells and flange as the older and was also noted in a barrel version as Model E, and here the threads matched accurately. This gives a very versatile pair, as the cells can give either a set of meniscus lenses with or without achromaticity and also a pair of periscopic or pair of 'RR' cells. The model E has 2 cells of each of 12, 16, 20in and the pairs are 6, 7, 8, 9, 10in, depending on the use of like and unlike cells, the longer lens with the higher number always in front. Apertures are f7.6 max, and coverage is from 1/4plate at 6in and f7.6 to 20x15in for the 20in cells at small aperture. Cells 1 + II (12 + 16in) give 7in and cover 5x4in at f8 and 9x6in at small aperture. In use, this did seem to be happiest stopped down to f16 or so, when it gave really sharp results. The use of different foci cells may have been the cause of this need to stop down as the 6in pair (equal cells) seemed to give better results.) Note that these do not seem to have serial numbers, just 'Busch Rathenow' and 'Aplanatsatz'. Fig 016 010 Busch Aplanat set with Compur shutter. Fig 016 012 Busch 'Vademecum' meniscus set in case.

Fig 016 014 Busch Aplanat set in barrel mount and case.

Lantern Lenses. This seems to be a casket set for projection. Stereoskop Aplanat sets, with 2x6glasses. These were also in barrel or in Unicum shutters. Triachromat This was a three glass single component meniscus dating from "new" in B.J.A. 1901, advert. p439. It was probably about f11? Biperiscop An early trade name for a Periscop version. Portrait Objective f3.0, f4.0 Petzvals, Layout Bu003, with wider spacing of the rear glasses suggested. (R) These were an early item often in large sizes as mentioned above. Series 1 f4.0-f4.5 6.25-12.25in This is the sharpest. Series 11 f3.5-f4.0 5.5-11in This is faster. Series 111 f3.0-f3.5 5.125-9in. This covers a narrower angle. Foci of this group were 6.25, 8.5, 9.5, 10.25, 12.25in typically. Kinematograph projection lenses. These were mentioned as early as 1898.

Portrait Aplanat f6.0 These were made in 5, 7, 11, 14, 18in. Use 18in for 10x8 at f6, 14in at smaller stops. Rapid Symmetrical f8.0 This was noted on a Sanderson 1/2plate in 1906, and also on an anonymous 1/2plate. Rapid Aplanat f8.0 This was made in 6, 8, 10, 13, 18, 24in.and has been noted as 150, 200, 300mm and will be on plate cameras rather than later types. It covers 70-75° and it was suggested to use 10in for 1/1plate, while 8in covers 10x8in at small stops. (Bus 008) A German advert. lists 15cm for 65x100mm at f8, 9x12 at f12 and 13x18 fully stopped down. Then it was made as Series F in 150, 200 and 260cm.

Fig 022 034 Busch Rapid Aplanat No5 about 18in Nono. as found. Fig 022 036 Busch Rapid Aplanat No5 about 18in Nono. Here as above, after cleaning and lacquering. Fig 023 008 Busch Aplanat f8/18in after cleaning and reassembly. Aplanat Casket: These were sets with 6 lenses, 3 sets. up to 8 foci, range 6-20in and probably overlap the Vademecum sets above. The aperture varies with the cells in use. These were in plain barrel or with shutters. (This is Model E, f8 in one list, 1908). Set A 6-16in, SetB 4.75in-16in, Set C 6-20in. Rapid or Portrait Aplanat f6.0 This was made in 5-18in (1909) This may be the portrait above, f6, it covers 65°. Rektiplanat f8.0 This was noted as an 140mm lens to cover 54°, and may be an RR? Wide angle Aplanat f15 This was a WAR, "New" in 1899 to cover 90-95°, but 105° was possible. It was made in 4.125, 6, 7.5, 9.5in, use 7.5in for 9x7in at f15, 6in at small stops. It was still listed in 1906 (B.J.A. 1906,p435) and 1911. Fig 022 024 Busch Wide Angle Aplanat No2 f16 Ser C about 6in. Wide Angle Aplanat f16 4.125-9.5in 90-95°, possibly an older or cheaper lens.(R) This was Type C, seen as a No 2 lens. Rapid Aplanat Type D f8.0 6-24in 75°, still listed in 1914. It was seen and used as a 10x8in lens and this gave excellent results at small apertures. It is the sort of Aplanat which makes one wonder how small was the advantage of the anastigmatically corrected lenses which replaced it. But remember it was used at small aperture. Detective Aplanat f6.0 This was made as: 4.7, 6.0, 7.5in. Longer versions were slower as f6.5, as 9.25in; f7.0, as 9.5in. Another list gives 105, 120, at f6.0, 180mm at f7.0, also 165mm (probably at f6.) They covered 70-75°. The 120mm covered 8x11cm at f6, 9x12cm at f12 and 12x15cm stopped down. Jena glass was used, with either mount A, PIM or mount B focusing. They were also supplied in shutters and were available as stereo pairs, in 1901-1906 at least. Fig 022 026 Busch Detective Aplanat No2 f6/5in.

Metaplanat f9.0 5.25, 8.25in This was a low price beginners lens. = Periplanat (1+2 glass design, B.J.A. 1901, p434) Periplanat was fitted to Busch stereo cameras for 9x12, and 5.25in was suggested for 1/4plate. Busch claimed it covered 80°, but note the review in Amateur Photo. 29/8/1899 suggested 100-110° was possible, and said it had a less curved field than Pantoscop. It was softish at full aperture but sharp on stopping down. The design was unsymmetrical with 3 glasses and was unusual! It was sold for those who "do not desire very critical and perfect definition." One was fitted to an Adams 1/2plate so it attracted better off customers as well: it was an f9/225mm No2 No207,36x and was probably about 1910. Schueler Objektive A low cost meniscus series mentioned by Frerk in 1926.

Pantoscop This is a major lens but one scarcely known in many circles today.

Pantoscop f22 (No1)2.375in, No2) 3.5in, (No3) 5.5in, (No4) 7.25in, (No5) 9.625in, (No6) 14.5in, (No7), 21.625in. One dealers list gives No5 as 10in (approx.?) and No3 as 6in, which is compatible with the above. The lens of 5.5in focus covers 11.75in dia., 9.25in for 16x20in; and 100-110°. (1901) Layout Bus010(R) Launched in 1865, the Pantoscop has a good case to be rated the first anastigmat. The optical design looks like an RR but the correction was made for astigmatism in view of the wide angle rather than spherical aberrations, and the trade off is actually much preferable. But it does mean a very slow lens. A small one has a fixed aperture of f32 only, while a larger one has lost the Waterhouse plates. Early lenses are marked Prussia and may be pre-unification (18/01/1871), although they may have used the description long after unification. It is likely that it found some market as a normal angle lens as the larger versions are relatively common. After all a 21in example covered a 46in diameter. This might be used for process work, but still seems very large. (A large photograph taken by Doebbelin and Remele was shown at the 1865 Berlin Exposition and may well be taken with one of these, as they were using a 36mm 'spherical' Busch lens.) Note that it was developed later than the Globe and Dallmeyer's new Landscape but still was a very early lens. It was reviewed next the Periscope of Steinheil, and was used at f37 9.25in focus on 16x20in and was noted as much the sharper lens, and with almost flat field, freedom from distortion and from a centre flare spot- and works at above f30.(P.Remele, Photo News, 9/3/1866). His notes relate to it satisfying criteria laid down by J.H.Dallmeyer for a perfect landscape lens in Photographic Mittellungen Nr 15. They are soft and hard to focus a full aperture but improve on stopping down. It may be useful today to use a heavy blue filter to avoid colour softness. (See also Amateur Photo 12/08/1898). Some variations in the mounts ocurred, and a "new" series was sold from 1905, and 1911. Here there were further improvments in the correction of astigmatism and field curvature for up to 90°. It was then in 2.375, 3.5, 5.5, 7.25, 9.625, 14.5, and 21.625in. Conrady quotes von Rohr as giving the glasses as: G1= 1.6079 (flint), G2= 1.5331 (extra light flint).

Fig 022 020 Busch Pantoscop about 7in f30. Small examples seem to be in a characteristic mount where the optic is screwed into a large outer dish or flare ring: but this is really a flange and it seems other small optics would interchange. Fig 022 022 Busch (right) Pantoscop about f32/90mm in brass (left) Lux Artium periscopic, also about 90mm. Thus another small lens has been noted which looks very like a 3.5in Pantoscope but is actually a 3in (75mm) Periscopic lens, ie 1+1 glasses. Here the 3in example had lost the outer parts of the mount and just a lens barrel was on offer: in some ways this makes it a more usable lens. This one lacked or had lost the drop-in stop making it very soft and the inner was marked 'Lux Artium' (L., 'Light of a practical skill') suggesting the softness was intended. It would be very easy to confuse the Lux with a Pantoscop on purchase. There is no sign of a stop ever being fitted so it must have always been a very soft lens. The name is scratched on the rear mount and just could be the user's but it seems more likely that the owner had a flange with the name on it but was used to exchanging the lens with another eg. Pantoscop, and so marked the rear to tell which lens was in use. Lux Artium ?f11/16 Periscopic as above. It was noted as a 75mm lens. It covers a very wide field. But is very soft unless stopped down well. It just might seem a cheap option to a Pantoscop but really was never in the same ballpark.

Kinematascope f4.0 1.625-3.2in, 2 sizes at first, a taking lens for movie, Petzval type. Cinematograph Projection 2, 3, 4, 5, and later 7.5in. also later 3-5.375in,47mm dia., There was here a version with rack focusing.

Anastigmats and More Modern designs Anastigmat f7.7 This was an early anastigmat made in 90, 130, 150, 190, 255, 330, 450, 550mm and a 150mm lens covered 11x15cm at f7.7, and up to 14x20cm closed right down, and the angle covered was 80°. The rear cell could be used on its own after unscrewing the front.

Glaukar This seems to be used for a range of structures, possibly all triplets or derivatives. It is first noted about 1913. Glaukar f2.5 13mm only, This was a Triplet type for 8mm cine noted in focusing mount on a 1936 Siemens camera (B.J.A. 1936, p289)and for Model C8 in the 1939 B.J.A. advert. f2.7/f2.820mm again Triplets (16mm cine) An f2.8 was sold on a Siemens 16mm camera in 1938 with simplified focussing, and was the low cost option. (B.J.A. 1939, p631) This tends to suggest a simple triplet. f2.8 This was on a Siemens 16mm Model A in B.J.A. 1936, p605advert. ?as a 1in. lens. f3.1 2.375, 3.125, 4.125, 5.125, 6, 7, 8.25in in 1914. (Bu001) or 60-400mm in 1939 (H&D).This was "new" in Amateur Photo 22/13/1913 pii, pi, B.J.A. 1914,pp143) which show a triplet for cine, portrait and general use. Use 7in for 5x4, or 29cm for 13x18, so it was a narrow angle correction. The layout is nearly a symmetrical one. An f3.1/75mm No260,63x was noted on a Vest Pocket Tropical Clarissa at auction. f3.5 20mm This was used about 1932 for 16mm work, and an f3.5 was still on a Siemens 16mm Model B in 1936 (B.J.A. p605 advert.). Glaukar f4.5 85-165mm, a large format Triplet. Glaukar f5.0 420-600mm A large format portrait lens. It is not in the H&D list for 1939. Glaukar f6.3 90-150mm A large format version of the triplet. Glaukar f2.0 85mm for movie and an example has been noted in a USA list as such. It was also mounted for M39x26 (coupled). A post 1918 lens (not in Frerk's 1926 list), near sharp in the centre, seemingly with a 1+2+1+1 layout. Rare, these are normally high priced items. Iris is to f5.0 only, so these do seem to be portrait lenses. An example in M39x26 was seen at No322,72x while a plain one was No322,76x in movie mount. Fig 010 070 Busch Glaukar f2/8cm No322,727 in M39 mount.

Glyptar These seem to be 4-glass Q15 type lenses, and were made in 2 series by the late 1930's. Glyptar f3.5 25-75mm Glyptar f4.5 55-400mm They were initially sold as Tiaranar.

Stigmar These were convertible anastigmats, and may have been still listed late in the 1930's. Stigmar Series 1 f6.3 This is an air spaced symmetrical anastigmat of roughly Plasmat type, with unequal focus components. It seems to be listed in 3 sizes for 9x12, 13x18, 18x24cm. (1908)(R) (Bu006) A late example of about 325mm with a 525mm front cell has been noted on a military green air camera from the 1940's and this was given an early antireflexion coating. It covers 18x24cm very well. Stigmar Series 11 f6.0(?) This seems to be another series, but no details are known. (Layout Bu006) It seems to be a lens made in large professional sizes. Frerk refers to an f6 Stigmar, of Euryplan air-spaced type, but it was then discontinued, as was the casket version, and he seems to regret this.

Omnar This covers 80°. It was sold from 1902. This is a classic normal Gauss 4-glass type (Bu005) with the relatively wide angle of cover that this type usually has. In designing it, Busch said that they were avoiding heavy barium glass for ones with better weather resistance and Frerk says they used the old glasses. Omnar is convertible, the rear cell being about 1.75x the focal length of the whole lens. Many are in shutters, but sadly one seen was painted over an aluminium cell and shed the painted details as soon as it was handled in 1996.This was an early example and seemed to have no trade name on it. The designer was K. Martin for Busch (B.Pat. 19,504/1901) Earlier Gauss lenses included the Clarke lens and perhaps designs by Meyer. Before the Omnar trade name was used in c1906, the design was sold as the Series 1, 11 and 111. Omnar could be made with old or new glasses, and it is not important whether the refractive index of the flint or the crown is the higher.(E.Jahrbuch, 1902, p68) Normally the negative meniscus is the flint, the positive the crown. The f4.5 was initially sold for portraiture. The single cells are useable alone but do show coma, which is balanced out in the whole doublet lens. It was designed as a medium wide field lens, especially for press and reflex cameras. Omnar Series 1 f4.5 (R) 3.5-5.1-10in. use 10in for 10x8. 5in for 5x4. This series was "New" in 1906 lists and initially was as 5.125, 6, 7.5, 10in only. Omnar Series 11 f5.5 (R) 3.5-17.75in, as series 111. Use 6in for 5x4, but this may not really suggest much difference from the Series 1 lens. This was the general purpose lens in the set, and should cover 75°. Thus a 7.5in has been noted on a 1/2plate camera. In use it was fair at f5.5, definitely better at f8 and f11, and some care was taken to minimize flare in the 8air-glass surface design. (Layout Bu005.)

Fig 022 028 Busch Series II (=Omnar) f5.5/7.5in with push-pull stop plate in shutter, all paint and 'engraving' lost. Fig 022 030 Busch Omnar Ser II f5.5/7.5in Nono.

Omnar Series 111 (1902) f7.7 3.5-21.75in This was not a fully symmetrical type by one comment. It was made as 3.5, 5.125, 6, 7.5, 10, 13, 17.75in (Layout Bu004) This may be the first to appear after Martin designed them, and the cells differ, possible in focus, or the lens is designed only to work as a whole. It seems that a 6in Omnar of any series will suit 5x4 with free cover to use movements. It seems that Martin considered more complex types with a compound inner glass from the patents.(B.J.A. 1906, p731, Ger Pats 241222, 241241, etc). Frerk refers to an f6.8 or f7.7 as a real wide angle lens, for 80° or more and suggests 19cm for 13x18cm or for 18x24cm stopped down. It may be slightly redesigned by then.

BisTelar This was important as the first telephoto to be designed and made with fixed separation of the glasses, allowing better corrections by the designer K.Martin in 1905. It was developed in successive designs and is a fairly easy lens to find as it sold well. Bistelar Series 1 f9.0 It was made in 7, 10, 12, (1911) 14in later. use 10in for 5x4. from 1905.(R) Layout Bu007, gives 1.65x the image size expected for extension. (B.J.A. 1907, p869) It was sold from 1905, and in two magnifications, ie ? as below. It is not in H&D's list in 1939, or Frerk's 1926 list. Fig 022 032 Busch Bis-Telar f9/14in No 3 Pat 15732/05. Telar This seems to be a separate series of long lenses. Kerkman lists a f9.0/600mm Telar on a Naturalists camera for 9x12cm, and this just may be a special version of the Bis-Telar. A Series 11 No3 at No211,32x was fitted to a 13x18cm Ernemann. Bistelar Series 11 f7.0 It was made in 8,10.75, 12 (1911), 13.5 (1914) 16,22in from 1908. Series 11 seems to be 2x magnification, and use 13.5in for 5x4. Frerk suggests 34cm for 10x15cm and 18cm extension will be needed, and describes it as very useful. Layout Bu009. The layouts seem very alike and both lenses sold at the same time, the second perhaps covering a smaller angle. (B.J.A. 1909, p697) The f7/22in lens was the basis of the Telar reflex camera with 8.25in extension listed in B.J.A. 1914. A f7.0/340mm was fitted to a Deckrouleau-Nettel and is shown in Kerkmann, p199. A slower f7.3 10.75in at No39,73x on a Newman Sinclair reflex may be a lighter version. Fig 031 036 E. Busch Rathenow BisTelar Ser II f7/8in No157,32/05 Fig 031 037 E.Busch BisTelar f7 repeat. Bistelar Series 11a This was made in 24 and 40in only, and needed only 12in extension and gave much higher magnification than the others. Thus it gave a really big image on cameras with limited extension.

Used today, the image from an f9 Bistelar seems soft at f9, but tidies up on closing down, though a small aperture such as f22 was really needed for good results. It was well ahead of the accessory tele units tried, and justified the success it certainly had. It is fairly easy to obtain today, and is often regarded as a soft focus lens, which was not the original intention.

Leukar This name is found on a range especially about 1908-1914, and seems to be used normally as Doppel Leukar, as on Lilliput, Neostar, Lynx and plate cameras. Leukar f9.0 This was possibly a wide-angle Q9= Dagor type? Double Leukar f6.8 2.5, 3.5, 5.125, 6, 7.5, 10, 13, 18in or 90-250mm Use 6in for 5x4. The layout is Bu002. Frerk refers to this as close to the Dagor but with a harder type of glass less open to weathering, and the design was Patented. He says use 19cm for 13x18cm, and it covers 21x27cm at f44, so it has the good cover of the original. A 72mm version was used on a VP size Ridan stereo camera. f7.7 330-450mm A slower longer version of the above. Leukar f9.0 65-300mm This was rated as for 80° compared with 60° for the f6.8 and f7.7 versions so it must have been some sort of wider angle design. All of these were a Q9 Dagor type lens, and seems to be a "New " model in the 1909 list. It gives a wider angle coverage than the Omnar at up to 90°. It was made in PIM or SIM or focusing mounts, as well as shutters, and sold as a standard lens with the angle as an extra benefit. It seems not to be common, but seems to have been listed over a long period till about 1939.

Kalar Convertible f6.3 This was a symmetrical anastigmat made in 105-135mm. Frerk classes it as a 4glass 4 component lens. It may be an Omnar version. Pantoscop New Series (1905) f22 still. It was now made as 2.375-21.625in, use 5.5in for 9x7in It covers a plate with a diagonal twice the focal length, ie 80mm covers 5x4 and the advert. stressed the correction for field curvature, and astigmatism. By now it had rotating disc stops, and was for 100°. It was noted to be apt to have a central flare spot. Triachromat Triple Landscape: This was a Symmetrical Anastigmat, roughly a Dagor type. (B.J.A. 1901, p439).

Perscheid Two items use the name. This can confuse and note that the Nicola is the valued one. The plain version is not in the 1939 H&D list and may be older and/or shorter lived. Perscheid f6.0 165mm seen. Not well known, it seems to be a triplet, designed for centre sharpness, but with severe fall off in resolution away from the centre. This can be obtained by not correcting for astigmatism perhaps. It is neglected as it is in the shadow of the better known Nicola Perscheid. It was seen at No317,67x, marked also D.R.P.372,059. Nicola Perscheid f6.0 6.5 (for 1/2plate) -23.5in ( f4.5) This was a studio portrait lens. It was especially used as a f4.9 8.25in lens for 5x4. Nicola Perscheid was a well known Berlin professional, (Amateur Photo 12/12/1928, p533). A 1935 list has f4.5, 8.25, 12, 14.5, 16.5, 19in. f5.5, 23.5in; for 12x10in. A Houghton list of 1920 claims that it covers a rather wider angle than Busch says- so a rather smaller and cheaper lens might be sold. They suggest f4.5, 8.25in for 1/4plate; 12in for 1/2plate; 14.5in for 7x5; 16.5in or 19in for 9x7; 23.5in for 12x10. So it is possible that there was an improved product. One noted was a 42cm f4.5 at No343,30x and made under D.R.P. 372,059.

Movie Camera and Projector Lenses. Kinematoscopes f4.0 for 52° for cine. It was made in 1.625 and 3.5in. f3.1 55mm This was a late 1920's specification, on Bol cameras for 35mm and a major product. Cylex Anastigmats: These are in a TTH catalogue for 1912 with BisTelar. Cylex Double Anastigmat f6.8 This was made in 5.0, 6.0, 7.5, 8.25, 10, 13, 18in. It was suggested to use 6in for 5x4, but this covers 1/1 plate at f64! It seems to be a separable Dagor type. Cylex Convertible Double Anastigmat This was a three focus lens with unlike cells. Made in 4.25-12in. Thus a 5.8in lens has cells of 11 and 9in. Busch Vario Glaukar A notable early zoom for movie projection. It was made in the 1930's, and much used at the climax of films. There was more effort in the movie business in those days to obtain zooms than is now realized as it was mainly in the professional area, and some was kept under wraps. Kingslake shows one on a Siemens camera. Other Busch zooms were: Vario Glaukar f2.8 25-75mm or 25-80mm for 16mm work. Kingslake (History, p261) gives this as 25-80mm so there maybe two versions. He credits the design to R.H.Naumann (1903-1985) who worked for Busch until 1945, and then also worked for Voigtlaender at Braunschweig, teaching at the Technical Institute, and writing "Optik fur Konstrukteure" (Optics for Designers", 1949) and then from 1954 at Rodenstock (Munich) as head of Patent and Literary research until 1973. It has been noted on a 1938 Siemens & Halske camera.

Vario NeoKino f2.0 70-140mm for projection work. Polyneo Kino 80-130mm projection. Models V,W Still projection lenses for slides. Neostar Petzval type 16mm Projection lens. Neokino Petzval type 35mm projection lens, 52.5 and 75mm. Noted on a 1924 Ernemann projector. f1.6 50, 100mm from the 1920-1930 period for 35 and 16mm projection. f2.0 50mm from an 1915 Ensign (projector). Filmar f1.5, f1.8 20-65mm as movie copying lenses. Anastigmat f3.5 75mm This seems to be a taking lens for 35mm. Anastigmat f2.8 20mm Noted as a taking lens on a Siemens cine.

WW2 Equipment was coded cxn. This suggests a major effort in movie lenses in the 1920-1939 period when fewer still lenses seem to have been made. Another aspect was the 30cm square aerial cameras used with Zeiss Topogon 200mm f6.3 lenses. The cameras were marked "Hersteller Busch A.G.Rathenow" or "Hersteller cxn F.No38,66x". These may have been a major effort late prewar, when Stigmar lenses such as a c.325mm were noted, but later the civilian range may have been put aside. But it might not have helped relations when the Russian army moved in and may explain why the company seems not to be active postwar.

Fig. 3 Busch Exposure: Steinheil-Beck Unofokal f4.5/6in in d/s Compur. Back Row Busch Aplanat Busch Pantoscope 90mm. Busch Pantoscope 203mm approx. Busch Vademecum Casket. Mid/Front Row Busch wide angle Aplanat. Busch Omnar Busch Detective Aplanat Busch pre-Omnar lens. Busch Bis-Telar

Busch, USA. Prestar f4.5 103mm on a Busch 6x9cm Press.

Bushnell, USA. Bushnell was the maker of a spotting telescope "Spacemaster" adapted to SLR's to give 750-3000mm f50 and of a Bushnell Televar which gives 350-650mm at f16 (about 7/1962). Bushnell seem also to have sold zoom lenses as a 350-650mm Zoom for Exakta has been referred to. They seem to have merged with Bausch & Lomb in 1992.