Dacora, Dacora Werk, Munchen, Germany. Dignar f2.8 45mm It is a triplet, at least on the 1958 version. Color Subitar f2.8 45mm on Dacora CC in the early 1960's. Dignar F4.5 on Dacora Record, about 1954. Dacora Anastigmat f6.3 75mm There was also a f3.5 version. Dacora Achromat This was the low price option on the Digna and Color-Digna. Color Subitar f2.8 45mm This was fitted on many models in early 1960's. It may mark the beginning of the use of rare earth glass? These lenses seem to have been fitted to all their cameras in the 1950's, and were commonly in UK shop windows at the time. Later they seem to have used lenses from Rodenstock, such as Trinon Lanthan on the Super Dignette 500 SR and also from ISCO.

Daguerre, France. His choice of the achromatic meniscus was a major factor in the early success of photography. During the development he was in contact with Chevalier regarding lenses, and after the launch, the main concern of users was the long exposures needed, up to 15min or more. These were reduced by the use of mixed halides, where Goddard (UK) and Claudet were involved, as well as probably workers in Austria. After the process was published, Petzval was asked in Austria to design a faster lens and came up with the Portrait lens, f3.7 in place of the former meniscus lenses at f11 or so. The combination of these improvements gave some 1000x increase in speed. The announcement of the process was Jan 1839, detailed in August 1839 and Goddard introduced bromine with the iodine in 1840. The process was replaced effectively by the wet plate process in 1851-1854. One of the original Giroux cameras with Daguerre's signature was in the Kodak collection at Harrow and came from the French Cromer collection which left France in 1941 just ahead of the Occupation. Then Mr B.Coe said there were 2 in France and 4 in the UK, 2 in Germany and one in the IMP/GEH collection and one in the Smithsonian in Washington, DC. This will be a fair proportion of the surviving Giroux lenses.

J.H.Dallmeyer,19, Bloomsbury St to 1889. The firm was originally established at 19, Bloomsbury St. WC and later at Denzil Works Neasden, London NW. He moved to 25, Newman St, London W about 1888 "as the old Establishment was too small". About 1900, it was selling from 25, Newman St. and sales were later from: Sales: 31, Mortimer St., London W1. Church End Works,Dallmeyer Rd., High Rd. Willesden, London, NW10. Also today as Watchams Electrooptics, Radlett Rd. Watford, Herts., UK. USA: Medo Photo Supply Co 15 West 47 St, N.Y., USA. Sales were concentrated on the Church End Works at the end of the War as noted in the MCM Dec 1945. This was sold in the 1980's and the factory and surround (?telephone exchange?, courthouse?) flattened about 1990, when a new road Dallmeyer Road was created, and the site was used for industrial development, eg. of soft drinks factory and by Dent-o-Care Ltd., at 7, Cygnus Centre, Dalmeyer Road- suggesting Willesden Council were economical over the "L". Dallmeyer is still active in 1997, but not in retail sales. The site of the Williamson camera works was converted to a bus garage and the C&P works may also have changed.

J.H.Dallmeyer was born at Loxten, Westphalia, in 1830, and worked in Osnabruck with an optician until moving to London in 1851, working for W.Hewitt who then joined Ross with his team. J.H.Dallmeyer worked for A. Ross, then left him and later rejoined in a more senior post as adviser. Later he married Ross's second daughter, Hannah, and continued with him to his death in 1859. He inherited as a result one third of Ross's fortune, and his telescope making business, which he changed to photo lenses. He did make photo-heliographs up to about 1873 as a side line. While he was with Ross, he may have been responsible for the development of the Orthographic due to his German background, and he proved to be a fine maker and also one of the most innovative designers. An early assistant was a Mr M.P.Tench (about 1867-1874) who left later to make cameras. The date of the Dallmeyer beginning will be about 1859-1860 and is officially taken as 1860 in company publications. Thus he probably fitted Waterhouse stops to all his lenses from the beginning. Much of the emphasis of the adverts. was certainly on better and faster portrait lenses and large format field lenses such as the triple and meniscus and later RR. J.H.Dallmeyer died in 1883. The business then was suffering from competition and imitation, some of it very blatant and a note in B.J.P. 12/03/1880, cited in 14/03/1980 refers to 'spurious vile imitations' and these fictitious lenses bear some remblance to the real thing and even being engraved with the name are generally found to lack the serial number which all genuine ones bear. However in B.J.P. 07/06/1878 cited 09/06/1978 p506 the lens was a common French landscape engraved 'Dallmvers 3B 3880 AB Patent' which apart from the misspelling was obviously not of Dallmeyer's quality but still might deceive the innocent.

But one solution was to initiate new products. Here his son T.R.Dallmeyer was also very effective, and launched a novelty in the telephoto lenses which became a major feature of the sales for many years. They also made quality anastigmats in the form of the Stigmatics, but these were rather less able to penetrate a market by then well supplied by other makers.

JHD Period: Petzvals 1860 Quick Acting Portrait f4.0 5-16in 45° Layout Da002/Q3 This was a "Petzval with improved spherical correction."

Fig 024 016 Dallmeyer Portrait Petzval Lens No26,388 about 9in with Waterhouse stops. Fig 024 017 Dallmeyer Petzval Portrait lens No11,950 nearer 6in with Waterhouse stops. It is probably this lens which is described in detail in van Monckhoven's 1866 book, listing the glasses as those in the Triple Meniscus below and giving the curves. This is slightly imprecise as there seem to be two crowns in the triple and no indication that they are both used in the Portrait. In order of light meeting them, the glasses are Crown, Flint, Flint, Crown. It worked at f4 maximum. The front cell used alone gave a sharp brilliant axial image with a very curved field away from the centre. The rear cell is designed to extend the focal legth of rays outside the axis to flatten the image, and to correct the spherical aberration of the front cell. The first correction was difficult but it is the rear negative which is able to do this. The rear is then adjusted to correct spherical aberration. The front cell is made smaller than the rear to even up the illumination and to avoid increasing the diameter of the rear which in turn makes the spherical aberration correction more difficult. This also prevented the further flattening of the image. He expects the image at full aperture f5 or f6 to extend only to some 33% of the focal length, but stopping down increases this to about half the focal length at f11 and more at f20-f30. Distortion is small and should not be a problem. Van Monckhoven says the front cell is considered for use reversed and at the rear as a meniscus- but does not have the ideal form (as the rear is too flat) and can never be good.

1860 Quick Acting Stereo Landscape f8.0,f10 4.5-8.0in (5 sizes) Achromatic meniscus. These may be like those auctioned at Nos32,803 and 32,804, which were meniscus lenses. 1860 New Stereoscopic Lens f4.0 4.5in Waterhouse stops for stereo c.3.5x4.5in or the front cell could be used alone as a meniscus of 6in for one plate 4.5x7.5in. This seems to have been used on a Hare Universal camera this way. They were probably Petzvals from the information. Petzval Portrait Versions 1860-61 Extra Quick Acting Portrait f2.2 1.6, 3, 4.5, 6, 8in Da003 This is scarce at least, being made especially for portraits of children. The greater speed meant a narrower angle was covered. It was fitted to "Mr Skaif's Pistol camera"(1858). Fast early lenses were also used on the 12 lens/12camera outfit used by E. Muybridge for motion studies as noted in a B.J.P. review (14.03/1980) of Muybridge's 'Complete Human and Animal Locomotion' Constable, London 3 vol 1980(?). The cameras were mainly used rather later (1870's?) and are mentioned as using Projection lenses and as 1872 below. 1861 EQAP version f1.1 version for medallion camera

1866 Patent Portrait Petzval cf3.7 Here the rear glasses were reversed and the outer was mounted so that it could be unscrewed for soft focus. It was a real novelty for the period. This is now one of the half-easy ones to find and must have sold well for many years to be so common. Layout Da001. One note says it was made in f3, f4 and f6 versions. The angle covered was given as 50-55°. It was often copied by other makers. (Brit Pat 2502/1866;USPat. 65,729). This is one of the very early lens patents. (See B.J.Photo 13, p606, 1866).

Fig 025 032 Dallmeyer Soft focus adjustment Petzvals (l) c.f4/9in 1A No100,065 and (r) c. f4/10in 2B No53,284. These early Petzvals often were quoted in terms of format or back focus, which are not useful now, rather than focal length. (Some old formats are listed under Carte de Visite, qv.) Fig 024 017 Dallmeyer Petzval Portrait lens No11,950 nearer 6in with Waterhouse stops. Lake Price as probably a working professional devotes several pages to what he a regards as a very valuable product. He streese that the lens has its spherical aberrations corrected when the rear glas is screwed home, and that a small increase in the separation will produce positive spherical aberration for the whole system. When home, it has all the good properties of the Petzval Portrait with perfect central correction of spherical and chromatic aberration but with more perfectly corrected oblique rays so that the image is flatter and the illumination more even. There was no distortion, no central flare spot and it worked at an equal speed to a Petzval Portrait lens in a comparative trial. He also notes the increased depth of field ('penetrating power') when set on 'soft' even though the sharpness is less intense.

One point is that Petzvals were recomputed about 1858 so that the visual and actinic foci coincided- this may have been only one of several detailed redesigns of this lens as Lerebours also improved the colour correction earlier. This redesign by Dallmeyer does seem to be an additional one. Some details are quoted by van Monckhoven in his 1866 book as a result of correspondence with M.Dallmeyer, and cover the 3-glass Triple meniscus (p121), Orthoscopic (p134), Petzval portrait (p137), and triplet (p142).

Stops Dallmeyer introduced the modern idea of stops with a exposure difference of 2x in 1860, the doubling being much more convenient than the previously arbitrarily chosen apertures supplied, and thence laid a basis for the modern f-number series. (A.T.Gill, MCM, April 1961).

Non-Petzval lenses 1861 Triple Achromat f10 5-50in for c.69°. Layout Da004 The inner surfaces of the outer cells are slightly concave which shows a difference from the rather later Ross triplet which had these flat. Patented 1860, the centre is a really flat field setting new standards, and it is non-distorting and was used for early copying and "process" work. For details of a "special" one see the list of the Science Museum, London, which includes the 72in f16 lens made to copy the Raphael cartoons. Another was described in Amateur Photographer 23/10/1863, p507. In some ways it was replaced by the RR in 1866, but the triple stayed in use and perhaps sale for many years (Am. Photo. 13/03/1886). Unlike others, the triple achromatic was nearly symmetrical in layout, and the inner surfaces of the outer components were slightly concave. Note that to early authors including Monckhoven it was the triplet- correctly but it is not really related to the later triplets intellectually. This has been seen as Nos 454x (1862) and No764x (1864), the latter both in brass with slots for Waterhouse stops. Lenses at auction were Nos 5294, 7236, 840x (here on a Rouch's 7x5 wood+brass camera). It seems to have been Dallmeyer practice to engrave the lens number on the stop plates as well as the lens to avoid mismatch, but rather few stop plates survive with lenses to show this. Having said it is symmetrical, No740x (c.1863) is far from this, the front two cells being quite close together while the rear is well separated. This just might suggest a redesign at some time and there are hints of this in one old source, but the glasses in the Monckhoven drawing are clearly different. The types of glass were the same as used in the 3-glass wide-angle meniscus below and were supplied by Mssrs Chance of Birmingham. Incidentally, there was an option to remove the centre component and just use the doublet- at about half the focal length, increased potential speed but with very poor correction- it was not recommended to use it this way. It covered a very flat field, wider than most lenses but not as wide as the 3-glass meniscus. It is practically free from distortion but suffers from astigmatism. On the axis it is free from spherical aberration. At f30, it covers a format with a long side equal to the focal length, and at larger apertures, the sharpness does not suffer but the angle covered decreases. To Van Monckhoven it was the most indespensible of known objectives and the use was therefore nearly universal. (Today it is a moderately easy lens to find though not always in the size wanted!) Lake Price also regards it as most valuable for copying, architecture, with great delicacy and refinement (ie sharpness?) and also ideal for out-door use, especially for recording clouds. He notes that with the centre cell removed, the field is no longer flat but severely curved and the lens practically useless.

Eder mentions one in use by W.Burger in Siberia with Count Wilczek in 09/1872. (History, p375). [By then other "triplet" lenses had been made by Ross for Fox Talbot, by F.S. Archer, J.T.Goddard (1859) and T.Sutton (1860) but these never came into general use as commercial products.]

1861 Group Lens f4.0, This was a faster version of the above, essentially using a larger diameter central lens in the same type of triple as above. It was less successful, and soon discontinued, an example having No 1181x of 1865. Incidentally, it was not noted by M. van Monckhoven in 1866-7 even though he was working from correspondence with M.Dallmeyer. Only one has actually been seen compared with several ordinary triplets. Fig 024 022 Dallmeyer Group Lens about 12in No11,846 for ?10x8in.

According to E.J.King, the first documented camera in use in Japan was a Dallmeyer B3 camera used by Hikoma Ueno with Horie in 1862. (It probably would have used a Petzval type lens, probably sized B3.) 1864 Rapid Landscape Lens f11 This was a 3-glass meniscus for 60° at f20; 85-90° at f30. It had reduced distortion, flatter field and better colour correction.But it still was not recommended for architecture. (Da005). The stop was nearer the glass, separated by the diameter of the lens only. It used: Front, Crown, 1.521;Mid, Flint 1.581;Rear, Crown 1.514. 1865 Rapid Landscape Lens f15 Meniscus type, for 75-80°. Da016 1865 Quick Acting Lanscape f15 5.25-36in, 15 sizes. for 75°, a 3-glass meniscus which seems to have existed in two versions. In 1865, Dallmeyer introduced the Wide Angle Landscape (DA 005), probably among the above. It consisted of a lens like a Grubb Aplanatic (Gru 001) but with the power of the crown glass biconvex lens divided between two glasses, one in front of the flint as in the Grubb and the other behind it as in the normal meniscus. Thus both were of lower power. It also protected the soft flint glass from wear. Van Monckhoven says it gave perfect sharpness over 72° at f20, and at f30 covered up to 85-90°. Thus it was most valuable for landscapes and the level of distortion was not here noticeable. It also allowed a gien plate size to be covered with a lighter lens and a shorter extension. The glasses and curves reported to M.Monkhoven by Dallmeyer himself were: Flint glass 1581 ie ?1.581 Crown glass 1 1521 ie ?1.521 Crown glass 2 1514 ie ?1.514 Many years later it was redesigned by T.R.Dallmeyer using new glasses but the same layout. 1866 (Patent Portrait Lens: noted with reversed glasses in Photo News 21/12/1866 p604) Experience is that older Dallmeyer lenses do not always have much information engraved on them, but "Patent" is a good guide on these Petzvals. Also look for 4 marks on the rear bezel which are used to set the degree of softness. It seems to cover about 50°, and in a lecture, Dallmeyer claimed that the change had cured the central flare spot which was a problem in the original Petzval type. Conrady quotes von Rohr as using glasses Crown= 1.517 and Flint= 1.575 as for the Petzval lens. It was now made in 3 series as follows: Quick Acting Portrait f3.0 This was noted as a lens on a Studio camera, series No 4b Ordinary Rapidity Portrait f4.0 Portrait and Group f6.0 These changed little for many years, as shown by lenses at No11,95x (1865), and No26,38x (1877), the coming of the iris being the next big change. The lecture by Dallmeyer is reported in Photo. News. 21/12/1866, p604. A note in B.J.P. 04/06/1920 cited 06/06/1980 p554 regards this as the first deliberately soft focus lens and a controllable one at that. Thus it is far more important than at first seems and may have seemed a very unusual device at the time. It was to sell for some 75 years and justified its purchase partly from the really sharp image on sharp. Today it is one of the less costly soft focus lenses but note that the softness adjustment was modified to a more convenient one in later years (see below). The thing to look for is 'Patent' on the Petzval mount, but note the faster Patzvals will probably not be available in this type. For a generation of Portrait photographers this was just 'the Patent Portrait' without further name needed. Traill Taylor noted in 1892 that the idea had lead to European opticians designing lenses with the rear glasses cemented together.

Rapid Rectilinear 1866 Wide Angle Rectilinear f15 2-18in 11 foci, 100°, or nearly. Later it was adjusted to f16 for convenience, Layout Da006. These seem to have come just before the normal RR. They tend to be small slim brass lenses, and are rather desireable and contrasty in use, but the margins can suffer severely from astigmatism. They often have disc stops for convenience, as in Nos 26,45x (1870's) and 44,02x of 1888 in brass mount. These may have been actually used as Portable RR's, ie slower RR lenses than the f8 series and lighter to carry. Traill Taylor says 'of flint and crown' with the denser glass on the outside. Normally, the front glass was made bigger and of longer focus: but some were made strictly symmetrical.

Fig 024 020 Dallmeyer RR about f8/11in No39,738; WAR about 4in No44,022. Writing in 1892, Traill Taylor gives the formula of a 8.5in WAR with a diameter of 2in as having radii: R1=-5.253; R2=+1.46in; R3=-1.46in; R4=+4.306in; R5=-4.306in; R6=+2.2in. It was made of Mr Chance's glasses and covered 10x8in closed down. He reports that it was useful even 'opened up' for portraiture as an f8 lens, though probably designed as an f16 max. In 1868, Lake Price notes the WAR, and that the flint (dense medium) is outside in both combinations, and that they are both deep menisci, but says they are flint and crown and are of about the same focal length but the front is of larger diameter than the rear. He knows it as having a revolving disc stop from f15, and covers 90-100° max. It was free from distortion and while not fully aplanatic (ie improved on close down) but does cover a really large surface on close down. Price seems to have bought several almost from first sale and notes the short ones are useful in including difficult wide expanses and that straigth lines are recorded as such.

1866 Rapid Rectilinear f8.0 4-48in (14foci.) Q5 Dallmeyer often illustrated the structure of the WAR but seldom the RR. The layout shown may be authentic (Da028) and seems to show a lens with rather thin glasses compared with the continental types, especially Steinheil's. The RR was a lens for normal general use, covering a good angle and being symmetrical or nearly so, with the result that it was free from distortion. Thus it displaced many of the early meniscus and triple lenses but the meniscus continued on sale at lower prices and to customers who valued the freedom from flare it gave. RR was not a cheap lens, at least until it was the low price version of later designs. It is said to have used new flint glass from Chance, and the date of issue may have partly depended on this. Later lenses were often of flint and crown. (eg Amateur Photo 03/04/1991, p243 which cites crown for the positive and flint for the negative.) It caused some tension with Grubb who had used the meniscus base of half a RR and patented it: and with Steinheil over priorities. The outcome was Steinheil was first by a short period but did not manage to get Patent cover for it in the UK. Dallmeyer's patent was No2502 of 27/09/1866. The use of the "Grubb" Patent meniscus layout went back to Ross in the Collen lens and in that sense the Aplanat and RR were of equal novelty. In experience, early Dallmeyer RR lenses are not too common, that seen being at No 39,78x (1886) in brass with Waterhouse stops. In use it was an excellent performer. The English tradition was to be to make the RR in f8 or f7.7, to cover a little more angle than the European Aplanat at f7.0 as there is a trade off of aperture against angle in these designs. A further compromise was the Portable RR: some makers offered this as a light version at about f11, with some increase in angle. A Dallmeyer lens may be of this type but it is not listed as a version in the adverts. Note A large 60in f10 version is or was in the Science Museum, London. The RR was still suggested as a valuable lens stopped down in 1920 when the price of new lenses had increased and workers were looking for cheaper alternatives. (B.J.P. 12/03/1920) But ominously the writer says only good ones will do- the RR was made by many others and often these were of very poor quality. Dallmeyer examples are not too easy to find but well worth looking for. In 1872, Dallmeyer supplied the projection lenses for Mr E. Muybridge for the trotting horse study.

Fig 024 020 Dallmeyer RR about f8/11in No39,738; WAR about 4in No44,022. Lake Price in 1868 had only just obtained an RR as it was 'recently constructed' so it seems to have gone on sale noticeably later: he had several WARs. He describes it as for 60-70° max, and having smaller glasses identical front and rear. It is aplanatic (ie can be used at full aperture) and at f8, is 4x the max speed of the WAR: and twice the speed of the Dallmeyer Triplet and the Orthoscopic. Price had only used his for copying but (due to its symmetry and design) was able there to speak most highly of its qualities, and say it was a very remarkable instrument.

An 1875 Summary. This list is based on an advert. and is almost a summary of J.H.D.'s career. C2 Extra Quick Acting Portrait for Children (EQAP) It was made as 4.5in, and later 6in. In the 1890's this was f2.2, and as f1.0 to special order. Structure a version of the Petzval. B1-4 Quick Acting Portrait 4.5, 4.75, 6.0in. In the 1890's this was to become the B-series, at f3.16, f3.0 for 6-17in. B Quick Acting Patent. 6.0, 8.0, 12in. This was the adjustable softness version. A1-6 Ordinary Intensity (Patent) 6 sizes for 1/2plate to 20x16in In the 1890's this was f6.0, 10-30in. D3-8 Rapid Portrait and Group in 6 sizes for 1/1plate to 25x20in. (Portrait RR?) [Dallmeyer may just have been getting a special grade of glass for some lenses since Frydman and Wright, B.J.P. 29/10/1987 p1281 noted that there was a measurable radiocount rate suggesting the presence of Thorium in the glass, which may well have been a rather improved optical grade as a result. It just may have originated in mid- Europe since such properties will not be normal in such glasses.] In the 1890's the D-series was f6.0, 9-37in. Stereo Petzval and RR lens pairs. The 1889 list gives these as: (a) Patent Stereographic, 3.75in plain or with rack&pinion. This was probably a Petzval type as it was more costly than the next item. (b)Quick Acting Single Combination No1, 4.5in focus, No2 6in focus. (c) Rectilinear Stereo Lenses in 2.0 and 2.5in. NB This was an unusually varied list offered in 1889, as the restricted size of stereo cards meant that no great range of foci was needed. Stereo pairs are moderately regular at auction and must have been an important part of the sales. Two examples were at Nos 692x where one number seems to cover the pair, and a later pair at No25,15x and 25,15x- ie sequential numbers. Optical Lantern Lenses These in 1889 were offered in No1 in 1.5 and 1.75in dia, No2 in 1.75 and 2in dia. RR view lens (Patent) in 6, 8.25, 11, 13, 16, 17.5, 19.5, 24, 30, 33in. Wide Angle Rectilinear (Patent) in 4, 5.25, 7, 8.5, 13, 15.5, to 19in. This was listed as use 6.5in for 10x8in, for 100°, f16 to focus and then stop down. Wide Angle (Patent) 5.25, 7, 8.5, 10, 12, 15, 18, 22, 25in. This list changed only slowly over many years, eg. in 1889 it was much the same with the addition of the: (a)New Rapid Landscape, in 7 sizes 9-30in, and (b) lantern lenses. Some lenses had iris stops, apparently by 1875, at No24,06x. 1878 Rectilinear Portrait f3.0 in 6, 8in only, and probably a portrait RR. 1880 there may be a new Quick Acting Landscape here. Certainly a Landscape No32,123 for 10x8in was noted at auction from this period. Wide Angle Landscape f15 made in 5.25, 7, 8.5, 9, 10, 12, 15, 18, 22, 25in. The usual published layout was Da016, but two versions of the 18in at least existed and the difference is now obscure. 1884 Rapid Landscape f11 5-30in. in 9 foci. This is a 3-glass meniscus. There was a tendency to use rather long lenses for the plate here and with many menisci, so that only a limited angle was used. Coverage was 40°, or up to 60° if stopped down. They may be f8 to focus. By 1889 it was listed as: No1, 9in for 1/2plate; No2, 12in for 1/1plate; No3,15in for 10x8in; No4, 18in for 12x10in; No5, 22in for 15x12in; No6, 25in for 18x16in and No7, 30in for 22x20in. 1887 Rectilinear Landscape f14 8.5-32in in 7 foci for 60°. This was not an RR but a 1+2 glass layout and rated by some users as the best of these lenses made with the old glasses only. It seems to be rather scarce as the new glass lenses were soon to come in. It is suggested to use 13.5in for 10x8in, Da008, (B.J.A.1889, p599). Traill Taylor descibes it as being like the old 3-glass meniscus Da 005 but with the rear crown glass mounted separately the other side of the doublet, and reversed. It was designed quite separately from the rather similar Goddard design, which had no public exposure. It was seen in alloy mount with iris from 1890, with 1888 Patent claim, at No47,42x. The review says free from distortion, as one of the crown elements of the Dallmeyer triple has been reversed, and acts as the positive element, while the other two form a pair of little focusing power but act to correct the aberrations of the positive. The editor (Traill-Taylor) seems to have been well aware of this in advance and may in fact have helped the designer. A provisional patent was granted on 02/02/1888 for a 'new' Rectilinear Landscape lens, and the 1889 BJA advert. lists 7 sizes. No1, 8.5in for 1/2plate; No2, 11.5in for 1/1plate; No3, 13.5in for 10x8; No4, 16.5in for 12x10in; No5, 20in for 15x12in; No6, 25in for 18x16in; No7, 32in for 22x20in. Fig 024 025 Dallmeyer Rectilinear Landscape about f14/12in (No 2 Patent 1888) No47,420 (1890) in alloy.

1888 Rapid Rectilinear This was mainly as an f8.0 in the 1890's, in brass or the new aluminium mounts at 10% extra. It was also beginning to be sold as an f7.7 in the same foci. Layout still Da028, Q5. It was made normally in 4, 5.25, 6.0, 8.25, 10, 11, 13, 16, 17, 19.5, 24, 30, 33in. Use 11in for 6.5x8.5in, 16in for 10x8in. It was used for 60-80° depending on the stop. But the 1889 BJA gives: 4.0in for 1/4plate; 6.0in for 5x4; 8.25in for 8x5; 11in for 1/1plate; 13in for 10x8in; 16in for 12x10in; 17.5in for the French size 13x11in; 19.5in for 15x12in; 24in for 18x16in; 30in for 22x20in; and 33in for 25x21in. This suggests that it was a lens with really good covering power though not a true wide angle. 1888 Wide Angle Rectilinear f16 This was now made in 4-15.5in, for 90-100°, WAR. It was used as a 4.625in for whole plate, and may have now used "new glass", Layout Da007. In 1889 it was listed as: No1AA, 4.0in for 7.25x4.5in; No1A, 5.25in for 1/1plate; No1, 7in for 12x10in; No2, 8.5in for 15x12in; No3 13in for 18x16in; No4, 15.5in for 22x20in; and 19in for 25x21in. These formats are very large and show that it was a real wide angle lens. The first two seem to be additions, made perhaps as the move to dry plates lead to a move to smaller formats. 1889 Landscape Lens.no details.

An 1892 list included still : Portrait lenses Extra Rapid Portrait Lenses Type C 4.5, 6.0in Petzval type. Quick Acting Portrait Lens Type B, also Petzval type in: f3.0, 2.75, 3.5, 4.5, 6.0, 8.5, 11, 13.5in; f3.8,17in. This was the lens Lan-Davis was to redesign with a slip ring mount, probably about 1910.(B.J.A. 1910,p666). It is not known if this still moved the outer glass or the inner of the rear pair, but the latter seems more likely. (see note below where one is dismantled.) The portrait lenses were given little space in the 1889 advert. as if the market was saturated- or the product so well known that little advertising was needed, though both the above were mentioned. Rapid Rectilinear Portrait f4.0 made in 6 foci, 10-22in, also f4.8, 30in. In 1889 this was the "NEW" Rapid Rectilinear portrait, and was sold as: Ordinary Intensity Type (A) This is probably the f4.0 series. No1A, 2.75in dia. for Cabinets, No2A, 3.5in dia. for Cabinets, No3A, 4in dia. for Cabinets up to 9x7in, No4A 4.5in dia. for 10x8 and Imperial Portraits, No5A 5in dia. for 15x12in, No6A 6in dia. for 20x16in Portrait and Group Type (D) in 6 foci, but note two smaller sizes are implied by the numbering. No3D, 10.5in, 2.125in dia., for 10x8in. No4D, 13in , 2.875in dia., for 12x10in; No5D, 16in 3.25in dia., for 12x10in., No6D, 19.5in, 4in dia., for 15x12in; No7D, 24in, 5in dia., for 22x20in; No8D, 30in, 6in dia., for 22x20in. These seem to be about f5 maximum.

T.R.Dallmeyer Period Thomas Rudolphus Dallmeyer was born in 1859, as his father was setting up in business, and ran the firm to a large extent during the last years of JHD's life. He died rather young in 1906. He was best known for his work on telephoto lenses. The business was a private limited company from 1892 and J. Ludovic, Earl of Crawford, was the Chairman for many years. It is convenient to class this period as from about 1880. It resulted in a number of new lenses using the new glasses and the telephoto versions established the company for the next 60 years or more. The basic patent seems to be to TRD in 15/12/1890. Dallmeyer was only one of several trying to design telephoto lenses: others were A. Dubosq in Paris and A. Miethe in Berlin (see Voigtlaender section). And Steinheil had actually made such units for the Brussels Observatory and the Marine Dept. in Berlin. However Dallmeyer certainly was the first to produce them in a commercially practical form. Also the Dallmeyer-Bergheim of 1895 was both an innovative telephoto and one of the first "soft focus" lenses. (The Barlow lens as a magnifier for telescopes was then well known, and lenses with negative rear cells included the Orthoscopic of Voigtlaender and the Ross Orthographich derived from it. Van Monckhoven (1867, p191, etc) stresses the value of a negative rear conponent in field flattening and correction of sphericals in the Petzval Portrait, and uses a single rear negative in a condenser system. And see Piazzi-Smyth who used a field flarrener behind a Petzval lens.) 1891 Practical Telephoto introduced. This date in a Dallmeyer leaflet may refer to the following: 1891 Adon clip-on front lens. (Patent 12/12/1889). The first 3 items in the list are shown in the catalogue for 1891, but may not be new then. But Adon seems to have been. Later an achromatic version was proposed. (see Marriage, p21). Another Dallmeyer account says 1892 sale. 1891 Simple telephoto Layout Da012. (The relation of some of these is obscure.) 1892 Tele Negative This was a negative lens to mount behind a normal lens to increase the focus. It was sold in 12 focal lengths, (-1 to -12in ) to suit the f8.0 positive lenses, ie the RR's. Abney shows a drawing with two rear lenses each of 4-glasses, and all apparently in use at once, but it is thought that these were alternatives and only one was used at one time. This is supported by the sight of one of -3in focus. It seems to have sold into the 1920's although the exact design and finish will vary. Layout Da013. Fig 024 027 Dallmeyer Teleaccessory No5598 with Stigmatic f6/10in No58,407. Fig 024 029 Dallmeyer Teleaccessory No5598 with Stigmatic f6/10in No58,407.as above, dismantled.

Dallmeyer-Bergheim Soft Focus Lens Design 1893, Sale 1896. f8.0 maximum.This lens was suggested by J.H.Bergheim 'the well known artist' and designed by T.R.D. and was about the first intentionally designed extra-soft focus lens, much softer than the Patent Petzval, and therefore must rate as a Landmark. It was a telephoto design (Da009 and 010), and may show the thinking he had at that time. The components are of equal power, with variable separation in most examples. Note that they can be very BIG, both in focal length and in size. Thus No 3 is 4.5in dia.,14.5in long and weighs 7.5lb., and gives up to 55in focus. (Amateur Photo. 27/12/1895, p424; also 08/10/1895). The iris is in front of the glasses to avoid distortion. Some clue as to the delay in sale is given in Amateur Photo. 18/10/1895, p261 where the use of a telephoto lens by Dr P.H.Emerson in 1893 was noted. Bergheim made an attempt to design one himself and then got TRD involved, and several prototypes were made, suggesting one without colour correction might be best. In fact the softness is due to limited spherical correction as well as lack of colour correction. The name was kept when the design was issued as a new model in 1914, with an aperture of f6.0 or f6.5. (Amateur Photo 11/03/1912, p274). Noted at No56,45x, in brass. No1 was initially f9.0, fixed at 20in focus, for cabinet work. By 1912 it was adjustable. No1 later(?) was for 1/2plate, f6.5-f20 12.5-36in focus. (B.J.A. 1921, p798) No2 for up to 12x15in f8.0-f12. 25-40in. No 3 for 10x8in and larger. f9.0-f15 35-55in. No ?, New series f6.0 11-36in at No 77,08x, in black alloy. This list was available into the 1920's at least, and some into the 1930's. The published drawings seem to vary and may indicate the redesign change, the Da009 perhaps being the early type. Incidentally Bergheim is scarce, desirable and now expensive, but mainly a collector item. The interest in soft focus partly resulted from the portraits of J.M.Cameron who used several lenses, including we think a Dallmeyer RR and a Jamin lens. But an exhibition at the N.P.G. London in 02/2000 highlighted the influence of David Wilkie Wynfield as her predecessor without giving any technical details of his equipment. Actually there were plenty of period lenses capable of soft focus if used in a suitable (or unsuitable!) way. It shifts focus and a note in B.J.P. 06/05/1921 suggests to focus on the eyes and then rack out until the focus is on the ears will give the best result A note in the B.J.P. 13/06/1919 refers to the Bergheim as rather too soft for most tastes when used in the smaller sizes, and prefers the Dallmeyer (Patent Portrait Petzval?) or Cooke or the more recent models of Ross lenses though all are said to need some trial exposures for experience.

Portrait Lenses. During the first part of the 20th Century, Dallmeyer sold several series of soft focus lenses, and these are as follows. Only the Patent Petzval Portrait (above) is easy to find. Patent Portrait The classic version to about 1905(?) altered the softness by unscrewing the rear cell by putting a hand up the camera. This was awkward and improved versions were needed as other soft focus lenses came on the market. But note that an internal, rear control one at No100,065 is later than a barrel control at No53,284 so the old version must have continued, perhaps as a low price alternative. Patent Portrait By the 1900-1920's this was sold in a new form with front control from outside the camera, due to a redesign by C. F. Lan Davies, the managing Director. In fact, the 1916 B.J.A. advert. describes it as "C.F.Lan Davies Patent Mount". (Very sadly, Lan Davies enlisted in the Naval Air Service, and was lost at sea from the Gallipoli campaign while seeking dental help. See "Telephotography".) Two forms seem to exist. (a) The earlier may be at No53,28x on a No2B lens, about 10in f4.0. This is in a blackened brass mount with Waterhouse slot, and to control the softness the whole front of the lens is turned in a thread cut around the rear cell, while it is supported on a cylindrical bearing in the mount. Thus turning the front barrel alters the distance between the rear pair of glasses by the thread pitch of 1/36in (0.7055mm) per turn. The barrel is fitted to the cells by a thread with locking screw, and if the screw if lost, then the action may merely alter the separation between the front and rear cells, with little softening apparent. This part therefore needs to be examined on purchase. The rear of the front barrel is engraved with 1-4 cuts to suggest the softness scale, and marked "Unscrew for Softness" with a single turn presumeably suggested. Reassembly was easier if the barrel was first pushed through the mount and then the reamost cell offered up and secured.

Fig 025 032 Dallmeyer Soft focus adjustment Petzvals (l) c.f4/9in 1A No100,065 and (r) c. f4/10in 2B No53,284. The enamelled version is the old, the right hand the revised design.

(b) The other, ?later type was in full brass with a slip ring round the mount to control softness and iris. It is not known just what element moved here, but it could again be the front glass of the rear pair. This type was featured in the B.J.A. for 1910: and as follows. Series A f4.0 1A = 10in for 5x4in; 1A'bis' 12in for Postcards; 2A 13.5in for Cabinets; 3A 16in for Cabinets and Promenades to 8.5x6.5in; 4A 18in for 10x8in; 5A 22in for 15x12in; 6A for 30in for 20x16in. Our example is marked "1A" and is an f4.0, so it fits a 10in for 5x4in but could be confusing. It is No10,06x, so is probably a late one, in black enamelled alloy, and surprisingly light. Even so it lacks a slip ring, softness being controlled from inside the camera by turning the rear ring. This does not seem to be a soft lens in the way some are, the screen image remaining quite crisp although the negatives will certainly show a loss of sharpness. So this does not seem to be one to choose for dramatically soft results. Series B f3.0 This was made in 4.5in 0B for 'sticky-backs'; 1B 6in for Carte de Visite; 2B 8.25in for CdV Portraits; 3B 11in for Cabinet Portraits; 4B'bis' f3.8/13.5in for 8.5x6.5in, 4B f3.8 17in for 8.5x6.5in. The longer lenses are rather slower at f3.8 and there has been some duplication of the numbers- hence the 'bis'. Series C no data. It was absent in 1921, 1922 lists. (Probably an old design.) Series D f5.6-f6. 2D 9in for 6.5x4.75in or 8x5in stopped down; 3D 12.5in for 8.5x6.5in; 3D'bis' 14.75in for 8.5x6.5in, 4D 17in for 10x8in; 5D 19in for 12x10in; 6D 24in for 15x12in; 7D 30.5in for 18x16in; 8D 37in for 22x20in or even 25x21in stopped down. All these seem to cover the next plate when stopped down somewhat but only 2 cases are given here. Series A,B,D only were listed in B.J.A.1921, p801; 1925, p782. C seems to have been less long lived.

Also the following other soft focus lenses: Bergheim as above. Banfield f6.0 18, 22, 26, 30, 36in, This was made in 5 sizes with all cells fitting the one 5.1in flange mount, and were for 36°. It is softest at f6.0. The 36in seems to have been short lived. There are few details of what seems to be a scarce lens. It is said to be flare free. (B.J.A. 1923, p326, B.J. 1922, p455). In the report, Banfield used a 22in lens of 2.5in dia, but reported that f7 was the maximum he would use, and the f8.5 was the fastest available on this. Mr A.C.Banfield was responsible for the design of a dish heater and film pack tank made by Mssrs D.Allan of Kingsland Rd to his designs and both were regarded as very good ideas. (B.J.A. 1928, p301) Thus he seems to have been a designer as well as probably a photographer. Dallmeyer f3.5-f4.6This was a simple achromat, in 1-12in. This may also be listed as a Soft Focus f3.5 in 9-15in in later years. Soft Focus for Amateurs Another lens in f3.5 for 1in, f4.5 for 2-12in. It was achromatic, and focused visually correctly. It sharpens up progressively on stopping down to f16, when it is sharp. Mutac f4.5 6in for 3.25x4.25in, 9in for 6.5x4.75in. It was sold from1924 onwards, and was a 2 component convertible lens giving 3 foci per set. It was in black alloy mounts and sharpness was controlled by stopping down. No1 for 6in, and +12 front and +9in rear as singles. No 2 for 9in, and +18(f) +13.5in(r) as singles. The components give 1.5x and 2x the focal lengths, and must be used behind the iris. It was noted in the B.J.A. 1925, p369, 780advert. as 'new' This seems to be available throughout the interwar years, but it is hard to date. It is certainly scarce and highly valued, almost excessively so perhaps. An example reported was described as very soft at f4.5- perhaps too soft for modern tastes- and very like a Gundlach Hyperion but with better contrast. The separate cells were said to be like the whole lens in softness. It seemed to be a 1+1 periscopic or achromatic? from the reflexions. [For instance, compare the Eidoscope of Hermagis.] It is said that the visual and actinic foci coincide so no refocusing was needed which suggests it was colour corrected. Note:There certainly was a simple achromat among the options, working at f3.5-f4.5 in foci 1-12in. It is not clear whether this is listed among the others here but there may actually be several above. Portrait Anastigmat f3.5-f6.0 9-18in. The f3.5 has variable softness, while the f4.5-f6.0 are sharp. This may be a triplet. The initial production date is uncertain but it was probably mainly sold in the interwar years. It covers 35°. A picture in B.J.A. 1937, p635 shows one with a prominent control lever for the softness at the front and an iris to f32. It is probably one version of the next item. New Portrait Anastigmat from about 1933 ("New"). These were 3 series of lenses, for adjustable sharpness with a large control lever, (B.J.A. 1934, p270). These were 4-element lenses. Series 1 f6.0 10, 12, 13, 14, 15, 18in (A Kodak catalogue adds 13.5,16in) Use 18in for10x8. Series 11 f4.5 10, 12, 16, 18in Series111 f3.5 9, 10, 12, 15in This was an adjustable softness type. The Kodak catalogue for 1933 also suggests older lenses of f3.0 and f4.0 were available. Soft Focus 1923 type. At this time this was a two glass meniscus lens in 6, 9, 12in only. The visual and actinic foci coincided so they were probably large achromats, and they were noted to go sharp at f16 which is to be expected here. 6in for 4.25x3.25in 1/4plate. £5.00 9in for 6.5x4.75in £7.00 12in for 8.5x6.5in £9.00 They were in alloy mounts, finshed in black alloy. Soft Focus f4.5 type. In 1933 this was made in 1, 2, 3.5, 6, 6, 9, 12, 18in. The smaller 4 sizes were added after the launch, as then there were 4 only. (B.J.A. 1934, p270). Only 4 glasses were used, and it was sharp at f16. Visual and actinic foci coincide. This just may coincide with Mutac.

Telephoto Lenses The Busch Bis-telar introduced in 1905 changed the market quickly to fixed separation telephoto lenses and Dallmeyer were very successful in entering and designing faster and improved versions. As a result they became a major feature of the firm. These were first seen in the 1910-1914 period.

1910? Popular Series f6.0 9,10,12in These were designed to fit the same flanges as the f4.5 standard lenses on 3.25x2.25in (10in); and 1/4plate (12in) cameras, which decided the speed and foci automatically. There may have been two series with: (a) the 1910 series as the first in 9, 10, 12in above; (b) and another 'new' in B.J.A. 1929, p302 when it was offered as 10in for 3.5x2.5in and 12in for 1/4plates. These were for 2x magnification on the cheaper sort of reflex camera. Prices were 'moderate', in 10in at £7.75 and 12in at £8.40. They were still in production in B.J.A. 1934, p646 and today are a fairly easy lens to find lens still.

1912 Adon Telephoto f4.5 Note that this is a new product under the old name, later becoming the NEW Large Adon f4.5 which was sold till the 1950's. This was a Lan-Davis design, and he really succeeded T.R.Dallmeyer as designer. His Father, Mr I. Davis was to become Chairman in the 1920's. It was made in 6.0- 24in. It was very often made in 12in, this being the only one listed in eg B.J.A. 1921, p797 and 1922, p782. This was due to this size covering 1/4plate, then in very common use, and suiting many cameras in size and weight. Being large, it gets heavy in the bigger sizes. New Large Adon1914 f4.5 6-24in. Designer Lan-Davis, 1914,( B.Pat 1185)

1914 Series VI, Dallon Telephoto f5.6 3-30in Layout Da014. This was the first tele Anastigmat, designed by L.B.Booth.B.Pat. 139,719, 151,507 of 1920. In general the f5.6 series of telephotos is the better for use today, with better corrections. They are easy to find but often well used and rather worn. One factor is that the alloy was finished in black paint and this scuffs rather badly. [For an example of a period design, see Conrady who designs a telephoto lens using glasses from the 1926 Chance list, and chooses G1= 1.5194, 63.0 (Chance 7742); G2= 1.6041, 37.8 (Chance 1034); G3= 1.5149, 57.9 (Chance 1066); G4= 1.6041, 37.8 again. So 3 types are used and he notes that the designs was not fully optimized, but that a very good lens could be found.] Dallon was made as: 9in to suit: 2.5x3.5in 11in 4.25x3.25in 12in 4.25x3.25in 14in P.Card 17in 6.5x4.75in Dallon f3.5 This was listed in 1930, B.J.A. p576 advert. (and just may be a f4.5?) The aperture is repeated in the Dallmeyer ad on p748, so it seems correct. 9in to suit: 2.5x3.5in 12in 4.25x3.25in

Series 18 f6.5 These were a slower less common series of telephoto made to fit into blade shutters. They were still available in B.J.A. 1930, p576. They seem to be scarcer than the above. With the f6.5 use: 9in to suit: 2.5x3.5in 2in 4.25x3.25in Series 16a f7.7 This was a type for lighter uses, especially for the Gun Training Camera.

Series 17 f6.8 This was a version for reflex cameras. The designed Lan-Davis died while on the Gallipoli campaign, see note in "Telephotography" by Carter.

A slightly retrospective but still contemporary account of telephoto lenses is in T.L.J. Bentley, B.J.A. 1930, p199, [who uses TeleTessar, Teleros and Dallon among others.] He feels that the Continental makers did not follow up the design of the Bis-Telar f9 as fast as might have been, especially in speed, but mentions the Ruo f4.5 and the response in the UK to produce f3.5 teles for cine use. He covers most teles then available.

1914 Cinematograph f1.9 This was a really fast f1.9 lens made initially in 3in for movie work and noted in B.J.A. 1914, p774. There was a long lived lens of this name and it may have stayed in production for years. It may be a Petzval derivative at that period.

H.L.Aldis and T.R.Dallmeyer. During the 1890's survival for a lens maker came to depend on the availability of a line of anastigmat designs to rival those from Zeiss. Dallmeyer seems to have been fortunate that Aldis was able to design a series sold as the Stigmatics, though officially he was employed as the company Secretary. T.R.Dallmeyer was to die young in 1906, so the fact that Aldis left to found his own business may have been a serious loss, especially as Lan-Davis was to die in the War. The Stigmatic design is related by Kingslake to the original anastigmats of Zeiss by splitting and compounding: at an earlier date H.W.Lee related it to the triplet with the negative in front of the two positive glasses and then this idea seems to have been general. Lummer merely says "new means of correcting"(Patents Dallmeyer/Aldis, B.Pat. 16640/1895) The triplet version seems most likely in view of Aldis' later designs, and Lee's relation to a company making triplets. Whatever, the result was a rather complex (6glass for f3.5) one but Aldis was able later to simplify it in the f4, f6, and f7 versions, and all were separable which must have helped sales by justifying the complexity. Note that the f4.0 version was recommended for use with the tele-accessory for many years. They are now rather forgotten but were better lenses in use than might be expected. And they were fast at a time when f6.8 was a common maximum aperture. Note: Stigmatic means point in Greek. .(An early reference is Photo. Journal., 1896, 20, p117) (Eder's comment was that of the early anastigmats, only the Cooke Triplet was designed outside Germany- but he may not have considered the Stigmatics or the Dallon/Adon teles. The Stigmatics certainly seem an original series. Incidentally the 4glass double Gauss seems another exception to the list as it was used by Clarke initially.)

Stigmatic Series 0 f3.5 Layout Da017 from 1895. Da017 Greer notes that the first Stigmatics were very novel when announced and very fast, and says they were scarce as replaced soon by the slower Ser II. The Stigmatic was introduced to a meeting of the R.P.S. in 1896 by Dallmeyer himself, with the designer, Mr Aldis, in attendance. It was still available in B.J.A. 1925, p782.

Stigmatic Series 1 f4.0 3.25-18in. from 1895 or 1892(?). Da018 This was illustrated as the front part of the tele accessory. It was made for many years but experience is that it is not too common. The longest version were stopped by 1905 lists, when it was offered 6-12in only. (Amateur Photo. 27/12/1895, p424) It was rated as for 60°, and for use as a sharp portrait type. The converging lenses are all dense barium crown and the diverging are a light silicate crown. It covers about 60°. An example noted at auction was No63,708.

Stigmatic Series 1a Listed 1903 f4.5 5, 6.5, 8in in `905. This seems to have been a light lens in magnalium mount.Da021.

Dallmeyer f6 f6.0 This was noted as a 3.5in lens on a Dallmeyer Snapshot camera when new in 1929, an example at auction being No132,97x. The snapshot was noted in the B.J.A. 1929, p307;1932, p301. It may be a Stigmatic but the price seems rather low for this at £8.4 for the de luxe model.

Stigmatic Series 11 f6.0 3.5-18in (11 foci) Da019 from 1897 It was also listed as 3.25, 4.0, 4.5, 5.3, 6.4, 7.6, 9.0, 10.7, 12.7, 15.1, 18in by Houghton's catalogue. They suggested to use 4in or longer for 5x4. They emphasise the good angle covered for cameras with movements. An example was noted as a Stigmatic f6/192mm No74,56x on a 1/2plate Sanderson and others at No69,58x in a Volute shutter on a Sinclair Una and at No77,20x in a dialset Compur. A late version was noted on a Soho Precision at No168,xxx in a Compur No3.00 million, form the middle 1930's, such as 1935. The choice may have been for the convertibility of the Stigmatic since it was an old design by then. These were separable for longer foci, (1.6 and 2x focus), were less costly and sold well so they are easier to find today. For 5x4, use 6.4in, at f6.0, 4.0in at f16. In use these seem to be good flat field lenses, the image gaining contrast at f8 and f11, but better than expected, and covering a really wide field. It could still be a use lens. It was made into the 1920's and 1930's. When separated, the front is 2x and the rear 1.5x the focus of the whole. It was rated for 70° at f6.0, and 75°-85° at f16. The f6.0 is the commonest of the Stigmatics today, which suggests the sales were often as a professional lens of about 10in, and then it is followed by the Carfac, which seems to have sold in smaller sizes probably to amateurs. The mount of the Stigmatic seems to have been revised about 1900 so that it was easier to dismantle to use separate cells. (B.J.A. 1900, p891, for the design story see: Photo. Jour. 1897, 21, p167). Series II was still offered in the 1920's in many sizes, with stress on the convertible nature of the lens and the great covering power. It was stressed that it was very well corrected for colour and that the front combination was fully corrected for astigmatism. Sizes were: Number Focus Format @f6 Format stopped down: !AA 3.25in for 2.5x2in (1/4plate) 1A 4in for 3.25x2.25 (5x4in) 1 4.5in for 3.25x3.25in 6.5x4.75in 2 5.3in for 4.25x3.25in 8x5in 3 6.4in for 5x4in 8.5x6.5in 4 7.6in for 6.5x4.75in 10x8in 5 9in for 8x5in 12x10in 6 10.7in for 8.5x6.5in 15x12in 7 12.7in for 10x8in 15x15in 8 15.1in for 12x10in 18x16in 9 18in for 15x12in 22x20in.

Fig 024 024 Dallmeyer Stigmatic f6/12in No64,952. Fig 024 036 Dallmeyer Ser. Stigmatic f6/27cm No88,734; and Carfac Ser III f6.3/8.25in No87,524.

Stigmatic Series 111, 111a f7.5 from 1899 Layout Da020 in 3-16in, etc. This was a design for a simpler and still lower price lens, and it seems to have been revised several times in the 1890's as a Stigmatic at least to 1901, an example being a Ser IIIa No1 No59,052 on a 1/4plate Detective camera. Another was a Series IV f6.3 3.75in No81,632 on a Tropical Rollfilm, which may not have been able to use the single cells. Another Series IV was a No2 f6.3/150mm No74,135. Some were quite big, such as a f6.3/8.25in No87,28x. It was launched in the B.J.A. 1910 with 1+1+i+2 design and was convertible to give cells which did not require much extra extension. It would compete with the Series II Stigmatic but was lower in price. It eventually was renamed Carfac, but was still a separable lens. Houghton lists it as a: Series 1V Stigmatic, f6.3, Carfac in 3.0, 3.75, 4.75, 6.0, 7.0, 8.25, 10, 12.5, 14.5in. in black, use 6in for 5x4. "It will cover a plate 2 sizes larger at f16". A 1901 account says it covers 75° at f16. A 6.0in example gave a 7.0in rear component and a 17in front one when used as a convertible lens. It was seen at No8181x. Dallmeyer Special Stigmatic Noted as an 3in lens No59,61x on a Prestwich/Dallmeyer Movie camera, probably from pre-1898. An 1897 model Prestwich had a Dallmeyer Special B lens, of 2in No57,006. Stigmat The first Dallmeyer cine lens noted was a Stigmat f5.0/75mm used on an 1898 Prestwich 35mm camera- it may actually be a Stigmatic or Stigmar. Thus in summary Ser 1, f4.0; Series 11, f6.0; Series 111 f7.5 all listed in 1904 Series 111a, f7.5 ;Series 1V, f6.3 low cost Carfac as later additions.

The Stigmatics did much to support the sale of telephoto accessory units, and some of these from 1903 have been noted; Adon Adjustable telephoto lens This had a 2+2 layout, with adjustable separation by rack and removable tube, and covered up to 15x12in. Performance was reasonable on the older colour blind emulsions, but modern colour sensitive films may respond less well to it today, making it seem less good. As with others, a heavy colour filter such as a Blue tricut might help. The positive lens was +4.5in focus, the normal negative was -2.5in focus, but a high power -1in was also made as an alternative. It was usually used as a prime lens, but also could be used as a front accessory lens. In the 1910 B.J.A. there is a note that it is now in aluminium mount, and this continued in the 1920's as in B.J.A. 1922, p782 and is the usual type found at sales today. It exchanges with the front cells of some Compur shutter lenses such as some 135m Tessars, probably in Compur O shutters. Also there was now a sliding action in place of the black tube previously used behind the front lens. And the power of the negative lens was slightly increased. It is illustrated at No73,490. The focus was noted as very long at eg. 30in for a short extension of eg 4in with a No1A positive lens. It was made up to 1939 (probably) and later versions have helical separation adjustment (B.J.A. 1927, p326). Carter's book has tables of extension and apertures for the Adon. These are a fairly common, low cost item today and must have been a really good selling product then.

024 032 Dallmeyer Adon No70,675 This is the 'classic' version in alloy with r+p adjust.

024 035 Dallmeyer Adon, a later version with helical adjustment. No 143,460.

Telephoto Camera This was made in 1903 and sold with No2a Patent portrait lens and -4in Tele negative component, ie the next item: Grandac Telephoto The above was essentially the lens sold as the Grandac f10/f11, for 1/4plate with No1 negative for f10/25in focus, and for No 2 for f11/1/2plate for 28in focus, examples being with a f4.0/10in Petzval lens. They were still sold in the 1920's eg on a W.Heaton Naturalist's reflex camera. ------It may be worth summarizing the products about 1901 from an original Dallmeyer Catalogue which says the Adon telephoto was due in early 1902- ie catalogue Fall 1901? They were then at 25 Newman St, Oxford St. London W. It lists:

Dallmeyer Stigmatic Series 1 in 4 sizes. No format Focus Back Focus Price* 1 4.25x3.25 5.5in 4in £7.00 especially for CdeV 2 5x4in 6.75in 5.25in £12.00 same 3 6.5x4.75in 8.25in 5in £18.00 Especially for Cabinets. 4 8.5x6.5in 11in 8.25in £25.00 same with Waterhouse stops, iris adds £0.5-1.5 depending on focus. There does not seem to be an option to have an alloy mount here or below with the Series II.

Dallmeyer Stigmatic Series II in 11 sizes. 5glass/3 component 1+2+i+2 design. No Format at f6 Format at f16 Focus Price with iris 1AA 2.5x2 3.25in £4.00 1A 3.25x2.5 4.0 £4.25 1 3.25x3.25 6.5x4.75 4.5 £4.75 2 4.25x3.25 8x5 5.3 £5.75 3 5x4 8.5x6.5 6.4 £6.75 4 6.5x4.75 10x8 7.6 £8.15 5 8x5 12x10 9 £10.5 6 8.5x6.5 15x12 10.7 £13.5 7 10x8 15x15 12.7 £18.5 8 12x10 18x16 15.1 £24.5 9 15x12 22x20 18 £31.5 This was a wide angle closed down to f16, a fast normal lens for smaller forat and separable so the front gave 2x the focus and the rear 1.5x focus.

Stigmatic Series III New Rapid Lens At f7.5, this was slower and not convertible but still covered an increased angle when stopped down. The text refers to it as only 4 elements but shows a ?5glass lens. It is probably 1+1+i+2 with the rear of glass 2 shaded in. It was made in 9 sizes. No Focus Format at f7.5 Format at F16 Price in with iris. 1AA 3 2.5x2 4.25x2.25 £3.25 1A 4 3.5x2.5 5x4 £3.75 1 5 4.25x3.25 6.5x4.75 £3.9 2 6 5x4 7.5x5 £4.75 3 8.25 6.5x4.75 8.5x6.5 £5.75 4 9.5 8x5 10x8 £6.75 5 11 8.5x6.5 12x10 £8.4 6 @f8 13 10x8 15x12 £10.5 7 @f8 15.75 12x10 18x16 £14.00 Series II and III might be had as stereo pairs in the smaller sizes only. There does not seem to be an option of alloy mount here.

Telephotographic Lenses These were rear telenegative type accessories with the Patent Portrait suggested as the prime lens at front. Series I High Power with the negative about 1/4 the focus of the Patent front lens. No Focus Price inc. Patent Portrait Negative lens alone No1 -1.6in negative £7.75 in brass, £9.25 in alloy £2.75 brass/3.25 alloy No2 -1.8in £11.5 £13.4 £3.75 brass/£4.25 alloy No3 -2.4in £18.9 £21.13 ££4.8 brass/£5.62 alloy Series II Moderate Power with rear negative about half the focus of the Portrait front lens. No Focus Price inc. Patent Portrait Negative Lens alone No1 -2.5in negative £8.5 £10.00 3.5 brass/4.0 alloy No2 -3.0 £11.25 £13.13 £3.5 brass/£4.13alloy No3 -4in £4.25 brass/£5.0 alloy It was possible to combine both the No1 and II series lenses for higher powers using an adjustable mount. Series III Moderate Power These were also priced with an RR lens and could also use a Stigmatic in the same mount. A wide range was made in 2.5, 3.0, 4.0, 5.0, 6.0, 7.0, 8.0, 10, and 12in focus. The focus of the corresponding positive was not given- merely the diameter. The reason was that they were often custom fitted to whatever lens was to be used and normally one of focus about 2x the negative was suggested.

Patent Portrait Lenses. These were then in 3 speeds as: f3.16 Quick Acting Portrait Lenses Type B No 1 6in focus 2in dia CdeVisite £7.00 Wh or £7.75 with iris. No2 8.25in 2.75in dia also Cde Visite £12.75 Wh or £14 with iris. No3 11.5in 3.5in dia Cabinet Portraits £19.00 Wh or £20.5 with iris No4 17in 4.5in dia Cabinet standing portrait£38.00 Wh or £40.5 with iris f4 Portrait Lenses Type A No1 10in c.2.75 in dia. £12.5 Wh/ £13.75 with iris No2 13.5in c.3.5in dia £17.00 Wh £18.5 with iris No3 16in c.4in dia £26.00 Wh £27.5 with iris No4 18in c.4.5in dia £36.5 Wh £38.5 with iris No5 22 in c.5in dia in Rigid mount, non focusing £47.5 Wh or £49.5 with iris No6 30in c.6in in Rigid mount as above £57.00 Wh or £59.5 with iris. Note Nos 1, 2, 3 were adapted for Cabinets but No1 was not suggested if a longer one could be used. The biggest sizes were in rigid mounts. 'c.'is used where the front and rear glasses differed in diameter. Wh indicates a Waterhouse stop set was used in place of the iris which cost more.

F6 Portrait Group and View Lenses. Type D No2 9in 6.5x4.75in portrait 8x5in view £6.75 Wh or £7.25 with iris No3 12.5 8.5x6.5in portrait 10x8in view £9.00 Wh or £9.75 with iris No4 17in 10x8in portrait 12x10in view £13.00 Wh or £14.25 with iris No5 19in 12x10in portrait 15x12in view £16.62 Wh or £18.12 with iris No6 24in 15x12in portrait 18x16in view £25.25 Wh or £26.75 with iris No7 30.5in 18x16in portrait 22x20in view £45.75 Wh or £47.75 with iris No8 37in 22x20in portrait 25x21in view £55.5 Wh or £58.00 with iris Most of these were in rigid settings, the smallest No2 and 3 being focusing. No2 could be used for Cabinet but No3 was preferrred. f2.2 Extra Quick Acting Portrait For experiments in colour photography and cinematography, details on application only- not given. (But see the Cinematography lenses below).

Bergheim Artistic Portraiture Lens. No 1 Cabinet and Boudoir £5 with Waterhouse stops, £6.25 with iris No2 8.5x6.5 to 15x12in £8.5 '' £10.0 '' No3 10x8in to life size £10.5 '' £12.00 '' (This uses variable separation so the format varied)

Rapid Rectilinear Lenses By 1901, these were obviously of less interest and the catalogue gives no text on them, merely a long list of sizes and formats, but does discuss the Wide Angle Rectilinears in more detail as if these were a continuing product with more interest. No Format in Focus Prices £ View in rigid mount Also in Alloy @ extra cost 1 4.25x3.25 4.0 3.5 2 5x4 6.0 4.25 3 6.5x4.75 8.25 5.25 4 8x5 10 6.00 5 8.5x6.5 11 6.6 6 10x8 13 8.5 7 12x10 16 10.5 8 13x11 17 11.5 9 15x12 19.5 14.25 10 18x16 24 19 11 22x20 30 25.75 12 25x21 33 31.50 Larger sizes to order only. Each lens can be used for the next plate size up if stopped down well. They were suggested for group use for a size smaller than that shown. Alloy was normally available as were options of Waterhouse or iris stops. Prices will have varied here.

Wide Angle Rectilinear These were in rigid tubes with disc stops or iris and the plate size shown may be reduced by one size if very fine marginal detail is required. It covers 100° and the maximum aperture is f16, but for the 100° a small stop is needed. No Format at Focus in Price £ with small stops disc stop. 1AA 7x5 4.o 4.25 1A 8.5x6.5 5.25 5.25 1B 10x8 6.25 6.26 1 12x10 7.0 7.25 2 15x12 8.5 10.00 3 18x16 13 13.25 4 22x20 15.5 19.00 5 24x21 19 28.5 Details included rotating disc stops (listed) or iris stops but apparently not alloy mounts.

Adon This New Telephoto lens was promised for the next year (1902) and was primarily for hand cameras as it fitted in front of the lens and was to be in one size only for 1/4plate or 5x4in cameras. (But note it was to be used quite differently!). It was actually illustrated on the back cover in the original alloy form. It was stressed that the plate was not fully covered when it was used but rather that a circle rather more than the width of the plate is covered. If the lens can be remoced and the Adon fitted on its own, then it will cover completely and at about 3x the diameter. Price £3.50

Cinematograph Lenses (a) For the taking of negatives Special B lens f4/2in focus covers 1x3/4in (25x18mm approx.) with focusing flange. @£2.00 Same with iris @£2.3 Special B lens 3in focus @£3.75 Special Stigmatic f5/3in with iris @£3.75 Patent Stereo Lens f4/5in for 3.25x3.25 with rack + pinion focus @£4.50 same with iris @£5.00 Medallion Lens f2.2/1.5in for 3/4x3/4in or 18x18mm @£2.35 Miniature Lens f2.2/3in for 2x2in (51x51mm) @£5.5 Projection Lens Special Lantern Lens f2.2/2in covers 1x3/4in (24x18mm) with rack+pinion focusing.@£3.75 NB.Some approximations have been made in converting old £sd to £p and inches to metric.

This listing does not cover the cameras which take up about 1/3 of the catalogue even though they were probably items being agented from other makers. They would be a way of selling Dallmeyer lenses such as Teles and Stigmatics especially unusual ones where the Naturalists camera was a novelty to carry the telephoto lens, a 1/4plate camera having the 2B Portrait lens and a -4in negative in alloy, or a 1B lens and - 3in negative. ------New Series T.R.Dallmeyer died in 1906, and Lan-Davis was probably the technical man under Lord Crawford as Company Chairman. Collecting experience suggests that through the period the telephoto lens was important enough to be the life blood of the company so these products will be listed with the Series numbers used, though these are now rather obscure. Much of this derives from a leaflet "Why a telephoto" dating from 1935, Edn 5. Most or all Dallmeyer fixed separation telephotos give a focal length of near 2x the normal for that extension. (see B.J.A. 1928, p754) Some 15 foci were made by 1936, and applied actively to the new movie market. A patent to L.B.Booth in 1919 may have signalled the new series, and some of the 36in Big Bertha lenses were engraved "Booth's".

Still Cameras Dallmeyer were involved with several still cameras in the 1920's, but these seem to have faded out and the 1934 B.J.A. p648 seems the last year they had a big exposure. They were the Snapshot with f6 4-glass lens, Dual with f3.5 Dalmac, the Speed with the f2,9 Pentac, in VP, 6x9 and 1/4plate sizes, and the Pentac rollfilm- one of the few with Pentac in blade shutter, here a dialset Compur. And there were large format reflexes. These bodies were bought-in from Newman & Guardia and others, and perhaps sold also by the makers with Dallmeyer lenses. And the Telephoto camera: see above. In the 1920's Dallmeyer advertised Packard Ideal and Ilex shutters, and were probably agents for them. (B.J.A. 1921, 1922) In 1924, Dallmeyer were listing Dallon in 4 apertures, f5.6, f6.5, f6.8 and f7.7; thus it seems correct to use the one name for most of the 2+2 teles and just name Adon and New Large Adon separately. They emphasise it is a true anastigmat, made of very clear thin glass for maximum speed and sharpness.

Series V1 f5.6 Dallon This was a fixed separation tele and the one best corrected for distortion and astigmatism, and normally useable at full aperture. It was made in 4, 6in for 4.5x6cm, 9in for 3.5x2.5in, 10in for 4.25x3.25in, 11in for 4.25x3.25in, 12in for 5x4in, 14, 17in for 6.5x4.75in, 20in for 5x7in, 24in for 8.5x6.5in, and 30in and finally to f8.0, 40in. It had 2x magnification and covered a fair angle, eg use 12in for 5x4. Series V1 replaced the older f6.0 New Large Adon and used a new glass (DBC) made for it by Chance. It was mounted for M39x26 in 4in f5.6 and longer versions for reflex, etc. This is the easy one to find today. A unique 60in f8.0 version was mentioned. (Min. Cam. Mag. 11/1938, p1039. It covered 10x8). Dallon was used under this trade name on miniature cameras eg as the f5.6/6in Dallon Tele Anastigmat for Exakta (?) at No 211,84x. This is in a rather nice rectilinear chromed brass mount. Dallon was the favorite lens of Mr J.E.Saunders, the zoologist (B.J.A. 1932, p174) who used a 5x4in camera with 11in, the 12in, and finally 17in versions. He mentions 45x35in enlargements.

Series V111 f6.5 This was a slower version of Dallon, continued for shutter mounting for folding cameras, ans was possibly pre-war but noted from 1923 onwards. It was made in 6, 9, 10, 11, 12, 20, 24, 30in, where 10, 11, 12in were all suggested for 1/4plate. Examples in shutters are not easy to find today. It is worth noting that it could be used on a fairly light camera such as the Etui as a result. (B.J.A. 1931, p138advert.) It was a more important product than might be thought today and was commented on in the Editorial in B.J.A. 1925, p197 as having in the 11in lens the nodes "crossed", with the entrance node 3.45in and the exit node 5.55in in front of the iris. A f6.7 lens of 10.5in noted at No237,18x may be a version of this or of the next. It lacks any iris, and may fit the sleeve mount of the "Hythe Gun" camera- used for training purposes in WW1. These seem to have no number and probably no details engraved in a visible position, as they are auctioned without these details. the gun camera was thought well enough of to apparently need a Patent in No123,999 of 26/05/1917 quoted in B.J.P. 11/05/1979 p454, 09/05/1919. (see also below.) At least one 10in lens was mounted for a N&S shutter to exchange with a 5.3in f4.5 Serrac for bird work. The lenses were issued with consecutive serial numbers at No107,55x and used the front threads only of the shutter.

Series XV1 f7.7 This was for reflex and focal plane press cameras, and sold to match the older BisTelar. It is noted from 1920 (B.J.A. 1921, p799; 1925, p777) as: 12in 304mm for up to 5x4in 17in 431mm for up to 6.5x4.75in There were other sizes and Dallmeyer added a 60in version in 1933. A 12in f7.7 was used in the Hythe gun camera for training. It was made in 12, 17, 40, 60in at least. The gun camera has also said to have used an 11in RR lens and this would have been adequate. A probable example used a RR 1in dia and 11in long ie about f11, in a large brass shutter. Production was said to be 6000 lenses. (see Jennings in Photo. Journal, R.P.S. 04/1919, p127). This one accepted 120 size film for frames about 4.5x6cm. The shutter only gave bulb but may have been sticky. The use of an RR has been confirmed by another owner of a Hythe camera, so the other telephoto lenses may actually have had other uses. But sales of telephotos to the MoD do seem to have ocurred.

Fig 025 005 Dallmeyer f7.7/10in Dallon in tube without iris, possibly for the Hythe gun training camera.

Series XV11 f6.8 as 15in This was for reflex and focal plane press cameras. These gave 2.5x magnifications ie 6in extension for a 15in lens on a 1/4plate camera, and they were made about 1923-1933 at least. Thus it was noted as 'new' in B.J.A. 1926, p351 (but the 15in was in B.J.A. 1925, p777advert.). A 15in needed only 6in back extension. H&D lists only 15in in 1939. (Series XV11) f8.0 a slower version of the above (possibly also a Dallon) was used for a ship-to- shore survey camera, "The Williamson Hydrographic" which was fitted with a f8.0 27in lens. A f8/40in Dallon Tele was noted in B.J.A. 1931, p220 used by Capt. C.J.P. Cave to photograph architectural details illuminated by a signalling light.

Series XVIII f6.5 This was made for folding cameras especially where there were blade shutters so that a smaller lens was easier to fit. It was listed in B.J.A. 1925, p777 as: 5.3in and 6in for 4.5x6cm VP; 9in for 3.5x2.5in; 10 and 10.5in for 4.25x3.25in; 11in for 4.25x3.25in; 12in for 5x4in, 14in for Post Card, 17in for 1/2plate, and 24in. The later series numbers are a bit complex with an f8 series overlapping with the f7.7.in actuality. Fig 025 005 Dallmeyer f7.7/10in Dallon in tube without iris, possibly for Hythe gun training camera.

New Large Adon f4.5 It was made in 6, 9, 10, 12, 14, 17, 20, 24in. This seems to be a revised version of the prewar lens, and is usually rated as faster but not as well corrected as the f5.6 lenses which were usually recommended for discriminating users. It may have been introduced first as an 12in lens. Note interwar versions are not coated, and the makers name is engraved in cursive, which is a dating point for many of these products. New versions for plate use in B.J.A. 1928, p347 were the 9in for 3.5x2.5in and the 17in for 1/2plate, which used extensions half the focus. They could be had in focusing mounts. Fig 025 002 Dallmeyer New Large Adon f4.5/12in (l) ctd for Television No470,932; (r) ctd for 35mm use on Kine Exakta No500,342, with mount tube for the latter at rear.

Dallon f3.5 series In 10 and 12in in 1927 (Westminster Photo advert.) This very fast series seems to have been mainly used for movie lenses but initially was mounted for large format use. [The first seem to have been part of a group of new fast lenses launched by several competing makers in the mid- 1920's and including f3.5 Teles from TTH and Wray as well.] The 12in was launched in B.J.A. 1927, p345 to cover 1/4plate or 9x12cm, and was in a 2.25in screw flange. It was classed as 'big, but as surprisingly light for the specification'. It was expensive which is why it now seems to be scarce and has not been seen; and the f4.5 N.L.Adon probably was a better seller in comparison. This included a new item in 1928 of a f3.5/14in lens for 5x4in with 7in back focus, at £45.00. Compare this with the f4.5/17in at £20.00 the same year.

New Large Adon f10 A slower version was made, probably about 1911.

Popular Fixed Separation f6.0 A good lower cost version. It seems to have been issued by 1911 as a "New Large Adon" in 12 and 17in only, and later was made as f6.5, 9in for 6x9; f6.0, 10in, f6.0, 12in for 1/4plate. It was possible to fit these to shutters, leaving the shutter iris wide open and using the lens iris and the magnification was 2x. It was normally sold to replace an f4.5 normal lens.

Adon Adjustable Tele was still made in 1936, some 43 years after the launch. Normally it had a 4.5in front lens and -2.25in rear lens for 12-50in overall focus. It gave about 3x magnification, ie focus relative to extension. The -1in alternative rear lens seems scarce, and gave about 4x magnifications. It was then sold with a Luc shutter if requested.(T.B,1/25sec). In use, measure the film-to -flange distance and multiply by 2.5 to get the focal length in use. The maximum aperture is 1.2in or 30mm. Divide the focal length by the aperture to get the f number, using the same units for both. Example: for 5x4, and a 7in extension, the focal length is actually7x2.5= 18.5in.and the maximum aperture is 18.5/1.2 working in inches. Now calculate the exposure at f15, say 1/60sec, and finally multiply this by the number on the iris scale used. These numbers are 1-8, and at say No4, the exposure would be 1/15sec.( Or use a ttl meter!). They can be used with formats from below 6x9cm up to 15x12in, but do not cover a very wide angle. Junior Adon for folding cameras. In all, 4 types of Adon adjustable are noted: Type 1 early with rack and pinion adjustment, the 'normal' type. Type 11 with rack modified about 1909 ( as in B.J.A. 1910,p711). Type 111 with a helical thread, often now stiff especially the pull out adjustment of the front.('new' in B.J.A. 1927, p326). A major advantage was freedom from backlash such as ocurred in the rack + pinion used before. At camera extension 4in it gave 13.5in focus and at 20in extension, 50in focus.

Fig 024 032 Dallmeyer Adon No70,675 This is the 'classic' version in alloy with r+p adjust.

Fig 024 035 Dallmeyer Adon, a later version with helical adjustment. No 143,460. "Junior" No details but it must be type 1V NB Most seen are type 1 in light alloy+rack. Grandac Telephoto Listed for many years with the f4.0 10in Patent Portrait lens. No 1 -4in lens, 6in extension, f10/25in lens, up to f16/40in, and is designed especially for 1/4plate. No2 -5in lens, 9in extension , f11/28in; up to f20/50in., mainly for 1/2plate. The B.J.A. 1922, p787 says that the positive element is the same in both the No1 and 2 Grandac and works at f4/10in, and the focus depends on both the extension and the negative lens in use. They are in alloy, finished in black and have a rack+pinion mount. These are not common, look very impressive and can work really well.

Dallmeyer Cine Lenses. Dallmeyer's took a keen interest in the cine world and the shop in Mortimer St must have looked more like a cine specialist than one now realizes. They were not just selling lenses but movie cameras, and were the UK agent for the US maker Victor. (B.J.A. 1931, p324; 1934, p316) (But not in 1930?) And naturally, they sold their lenses on the Victor bodies. There were also rewinders, Tripods, meters and all the accessories. In B.J.A. 1928, p340 they summarize the wide range as from 1in to 24in and in apertures from f1.5. They then covered 35mm and 16mm, with some 17 items for 16mm especially B&H Filmo, and 20 ultra rapid lenses and 22 telephoto lenses and almost as many projector lenses as well for 35mm. The earliest noted was a f1.9 3in from a 1914 list- perhaps the fastest Petzval of the period though an f1.1 Petzval was made earlier. (It is not quite certain this f1.9 was actually a Petzval). A sample was noted at No92,997 in a RPS historical article, and Dallmeyers dated it as "mid-1920's".(MCM Oct 1957). An advert. in B.J.A. 1930, p749 lists f1.3, f1.5, f1.9, f2.9, f3.5, f4.5, and foci. These were often telephotos in the longer version. Dallmeyer lenses were fitted on a range of cameras including most UK makes and imported ones such as Victor (B.J.A. 1936, p317) Shorter ones include the Triple Anastigmat and Triplar (Triplets) eg in 25, 50 and 75mm f2.9 (B.J.A. 1936 p315) on Ensign Simplex Pockette 16mm, as well as a: Dallmeyer f0.99 In B.J.A. 1930, p352 this set a new limit, as a lens of 'gigantic aperture' for 16mm use in 1in focus. It was in a focusing mount, with built-in hood, and the writer felt it was about as fast as could be achieved- probably correctly. £20. There is no suggestion of the structure- it might possibly be an 8-glass Gauss which would have just been historically possible by then.(?) Dallmeyer f1.9 This was noted in B.J.A. 1927, p320 and was being mounted for the Bell & Howell Eymo. It was then a well established product (ie. not the Super Six) being on the Filmo 16mm in 1926 and the Baby Pathe (B.J.A. 1926, p336). It was also noted in B.J.A. 1930, p536. There may well be a change in optical design at some time as the 6-glass Gauss may have replaced the unknown older design. Is this the first Super Six in 1927 or 1930 or when? It was for 16mm, ie ?1in. and a set was available next year in 2-6in foci. (B.J.A. 1931, p327). Night photography was just beginning in B.J.A. 1931, p213 with work noted by F.Judge with a f1.9 (anon) and by A.C.Banfield with a f2.9 Dallmeyer- which was too slow. A f1.8 was more successful (?Ernostar?) Dallmeyer f1.3 There is a suggestion of this in B.J.A. 1930, p366 on a Victor but no actual name is given. And there is an f1.3 in the advert. on p749. Anastigmat f3.5 13-75mm This was made on Ensign and on Filmo, and there was an f3.5 for B&H Filmo etc. It seems the Anastigmat was made in f3.5 as 13-75mm in all for 8 and 16mm cameras with standard mounts in: 1.5in, f4.0; 3in, f3.5; 3in, f4.0; 3.75in, f3.3; 4.0in, f3.5; 4.0in, f4.5; 6in, f3.5, f4.5, f5.6; 10in f4.5, f5.6; 12in, f4.5, f5.6; up to 40in f8.0. Triplar The triplar seen was for 16mm, and about 1930 at No15733x. The 6in seems to have been popular for 16mm use. It may overlap with the f3.5 above and possibly the popular series. Fig 025 014 Dallmeyer (l) Gauge projection No351,477; Triplar Anastigmat f2.9/2in No 157,330 in C-mount barrel.

Popular telephoto It seems to first occur as a f4.0 3in tele for 16mm cine, including Kodak Model BB in 1934. This may be another version of the f5.6 Dallon in miniature eg as a 3in f6.0 at No16613x. It was seen with a 1in f1.9 Dallmeyer (?Super Six) at No16440x in C-mounts. But there was an f4 Popular tele in 1.5in and 3in for the Cine Kodak 8 in 1935, p335. Triple Anastigmat f2.9 15mm to 3in This is probably the same f2.9 Triplar in 12-75mm in H&D, 1939. But an f2.3/1in and f2.0 (2.9?)/2in have been noted. It was advertised as 'new' in B.J.A. 1934, p647, in the 'new' form of focusing mount. Telephoto f2.9/3in This is in B.J.A. 1931, p327. It looks like a normal tele mount.

Cine f1.9 This is in the 1936 B.J.A. advert p665 as 13mm to 3in. It may be a Super Six by this date. Speed Anastigmat f1.5, in 0.6-3.0inm in 6 foci, all for 16mm use. (a) It was a 'new' speed lens of very large aperture and the aperture certainly goes back to 1928 (B.J.A. 1928, p340) though this could be a different product. (b) A little later this includes lenses in 20mm, 1in=25mm, 2in, 2.5in and 3in, from the early-1930's. (B.J.A. 1932, p649ad., 1934, p647, 1936, p665) Cox says this is not eg. a Septac layout but related to the Kino- Plasmat. It seems a simple type and some may be related to the triplets and it was still available coated, ie postwar. An impressive 3in has been seen at a sale, but it covered only 16mm. It was a sensational item and must be a rare one. It was noted at No175,09x and 189,82x, both in 25mm size, for 16mm on Bolex and Filmos. (c) It seems to have sold over a long period as a coated example was seen and probably was early postwar. It was said to be very well corrected and flat field. There may just be another f1.5/50mm lens of the pre-war period. An example has been reported adapted to coupled Leica mount at Serial No277,22x. However it may be a Speed Anastigmat remounted or a projection lens- the latter is suggested as it was said to have a 'very coarse' mounting thread for the lenshead. F2.4 Cine in medium long focus- This has been noted but the layout is not known. Anon f3.5 These are a set of tiny lenses marked No14A/808, so are ex-MoD, and are thought to be about 24mm focus as they are in the group of products with a TTH f2.8/0.95in(24.2mm) lens described below, and thought to be from 16mm film readers or enlargers. These were noted at Dallmeyer serial numbers 181,014; 185,238; 200,564; 201,028; 201,051. This suggests manufacture over a considerable period, late prewar or early in the war; they are not coated and have no iris. [The same product group contained two quite unengraved coated lenses which seem to be postwar 4glass Q15 replacements, not quite so fast but more sophisticated in design. The maker here will remain a mystery!]

Cine Teles Two announced in 1926 were f4/4in and f4.5/6in both for Filmo cameras.(B.J.A. 1926, p336). In 1936 these were in several apertures and possibly designs; f3.3/3.75in This was noted in B.J.A. 1930, p361. It was initially in a plate bayonet mount for Kodak Model B and came with a finder mask. It was also made in longer foci as f3.5 3-6in; f4, 1.5-4in This may be a New Large Adon with a slightly stretched aperture for a narrow angle. f4.5 as 4-12in; and f6 as 6-12in Dallon. These are among the commonest perhaps today. But there were also faster lenses.

Fig 021 034 Dallmeyer Cine lenses (r) f1.9/1in No164,405 Unctd; (mid) f4.5/3in No166,131 unctd; (l) f1.9/1in 375,539 ctd.

Of these longer telephoto lenses, it is possible they were selected or adjusted for best centre sharpness. A 17in f5.6 movie lens No145,61x proved to be a very fine performer on 35mm, but an f4.5 was less good, needing to be closed to f8 for good contrast. Pictures in the press at the time showed Dallmeyer's long lenses dwarfing the movie and Leica cameras to which they were attached. (See Am. Photo 16/02/1938 p169 for a 40in on a Leica). Lenses for Magazine Cine Kodak These were noted in B.J.A. 1938, p304 in 2-12in, the f3.5/3in noted was in black. They were in focusing mounts with stops to f32. Projection Lenses included an: f1.8 series for 0.75-4in focus, and these were noted in B.J.A. 1930, p365. SuperLite series in 2-4in and a: Max-Lite series in 2-4in. Wide Angle projection for Kodak-8 projector with 75% bigger picture. (B.J.A. 1934, p323)

Large Format Teles The official advice for these was to choose Dallon for lower pincushion distortion with architecture, and the New Large Adon for modelling and portraiture, and Grandac was the preferred item for an adjustable telephoto. Thus they were regarded as a complementary programme.

Q15 types By 1912 or 1914, the patent on the Zeiss Tessar was maturing and Dallmeyer was free to launch lenses of this type. There may be confusion over the layouts, since the first f4.5 Serrac from 1914 just may be a rename of the Stigmatic or a triplet type. Certainly after 1918, most makers felt free to use the layout, and Dallmeyer sold 3 series. Of these, the Serrac was the only name in a 1919 list (Amateur Photo.16/04/1919 p324). These were long lived items, often still in good condition today, since only hard types of glass were used, and seem to have been made into the 1970's. The main designer now seems to be L.B.Booth, but he may have also worked for other firms. Serrac Series XV f4.5 It was initially made as: 4.8, 5.3, 6.0, 6.5, 7, 8.25in. The design was noted for a large rear glass, for more even illumination. By B.J.A. 1925, p778, the foci had changed a bit; 3.0in for 4.5x6cm, 3.5in for 3.25x2.25in, 4.5in for 3.5x2.5in, 5.3in for 4.25x3.25in, 6.0in for 5x4in, 6.5in for 5.5x3.5in, 7.5in for 6.5x4.75in, 8.5in for 7x5in, 12in for 8.5x6.5in, 16in for 10x8in and finally 18in, and then 20in for 12x10in. It was suggested to use 6in for 5x4 Layout Da023. They could be supplied in focusing mounts and in Compur shutters. The long ones especially are noted performers even today. Q15 type. It was seen at No84,74x on a 15cm (6in)/f4.5 in SIM and this rather worn specimen proved to be a very good performer under poor lighting conditions. It had originally been bought for bird photography in the 1920's. More seem to be in 8in such as No311,227 though supplies are irregular and experience is that it is not always easy to find especially in shutters. One rare application was to the Williamson Pistol Aircraft camera (1930's) as an f4.5/5.3in No146,54x, although it was merely marked Dallmeyer. It probably was often used on press cameras of which survival is poor, explaining the relative scarcity. One was the V.N. Press described in B.J.A. 1933, p280. It was probably also the f4.5 on the Dallmeyer rollfilm in B.J.A. 1928, p344. A note in the B.J.A. 1935 p269 mentions a f4.5/7in on a 3-colour camera by Colour Photographs Ltd. Another unusual camera was the Duoflex 6x9cm reflex with metal flap focal plane shutter, and f4.5 Dallmeyer, [as well as a 25in f6.3 Teleros.]

Perfac f6.3/f8 It was made as two series: (a)f6.3 for 3.0in for 3.25x2.25in, 3.5in for 3.25x2.25in, 4.0in 3.5x2.5in, 4.9in for 1/4plate, 5.3in for 1/4plate, 6.0in for 5x4in, 6.5in for Postcard, 7.5in for 1/2plate, 8.5in for 7x5in, 10in for 1/1plate, and as (b)f8.0,12.25in for 10x8in, 14.5in for 12x10in, 18in for 15x12in and then to 30in. Again the suggestion is 6in for 5x4. It was listed in B.J.A. 1921, p802; 1924, and 1925, p782advert. This list was unchanged into the late 1930's. Shorter foci were aimed at folders such as the Carbine, ICA, Kodak, and the longer ones at field and stand cameras. A modern notice is B.J.A. 1961, p216. It seems to be the least known of the three Q15 types even though it may well be optically the best due to the limited aperture which makes the corrections easier and limits flare.

Dalmac Series XX11 Dalmac f3.5 It was made as: 2, 3, 6, 7, 7.5, 9, 10, 12, 15in. It was suggested to use 7in for 5x4. It was 'new' in 3-9in for VP to 1/2plate formats and even up to 15in at £50 were listed, in B.J.A. 1926, p340 and the 2in was added later in about 1933. It was suggested to use a 5in lens for 1/4plate so coverage was good- and allowed the use of a moderate amount of rising front. The layout was Q15, or Da022. In use, a Dalmac covered a good angle (50°), and was probably more of an achievement than is now apparent. It is not common, and most users seem to have bought Serrac of these three types. A normal use might be a 1/4plate press camera with a f3.5/5in Dalmac at No131,36x. And there was a Dallmeyer f3.5/5in on a 3.5x2.5in Press Reflex in B.J.A. 1927, p350, and it was also made in 1/4plate and 9x12cm. But most are smaller, often without the Dalmac name which is often omitted in adverts, (as were Serrac and Perfac). Thus: Dalmac was used on the Dallmeyer Dual camera, (1931). (A notice on issue was in Amateur Photo 24/06/1925, p642, also B.J.A. 1932, p273). Dalmac was offered for M39 as a f3.5/3in lens at No126,90x and was tried out on a prototype camera made for 35mm and auctioned with a 35mm lens at No29605x, but the history was not indicated. One point in collecting is that the engraving seems often just to be Dallmeyer Anastigmat without Dalmac. This seems to explain a f3.5/3in lens No199,23x on a VP Exakta, and another on a M39 camera at No126,90x. It incidentally is a valued alien in this mount. A bigger example was a 4.75in f3.5 noted at Nos145,32x and 149,96x in rimset Compurs on Ensign Tropicals for 6x9cm. Press A f3.5/5in lens has been noted in SIM marked merely 'Press'. It seems to be a Q15 type, just possibly before the Dalmac trade name was adopted- or possibly it was felt Press was better for the use intended. Fig 025 010 Dallmeyer f3.5 lenses (l) Press 5in No142,138; (r) Dalmac 7.5in No597,155 ctd.

Pentac Series XIX Pentac The Pentac was designed by L.B.Booth, after leaving Ch. Ch. College, Cambridge. This must have been quite a sensation when it was issued in 1920, when there were few other lenses of this speed. Remember the Ernostars and f2.8 Zeiss lenses were still to come as was the f2 Opic.(See Brit.Pat. 151506 ). The series was noted in B.J.A. 1925, p366, in 13 foci from 1.5-12in and several mounts including focusing ones. It was suggested to use one a little longer than normal, such as 6in for 1/4plate, though the BJA author says this is not really needed as covering power is really very good, and that a 6in will really cover 5x4in. (Incidentally, the MoD made use of this in fitting an 8in Pentac to a 5x5in aerial camera as Dallmeyer would have only rated it for 5x4, a slightly smaller diagonal.) It still looks a major item, fast, covering a good angle and reasonably sharp at full aperture: in fairness, the original review praises the very fine definition and flat field. Today too many users only know 8in versions sold off ex-WD and too often these are below par due to damage or to wartime pressure to supply regardless of perfection by sub-contractors. A stage picture by C. P. Crowther F.R.P.S. with the Pentac at f2.9 on a Dallmeyer Speed camera is shown in Photograms 1924 p31advert. The Speed was offered quickly and was on sale in 1923 for 1924 season. One point in the B.J.A. is that Pentac was offered in a soft focus diffusion mount, in 6-12in sizes, where the separations of the elements could be adjusted. Pentac f2.9 1.0, 1.5in for 1x0.75in movie, 2.0in for movie,3.0, 2.5in for movie 4.0in for 3x2in, 4.25in for3.25x2.25in, 5.0in for 3.5x2.5in, 5.5in for 4.25x3.25in, 6in for 4.25x3.25in, 6.5in for 5x4in, 7, 8in for 5x4in, 10in for 6.5x4.75in, 12in. Q19, Layout Da029. (The foci did vary over the years, hence some where the coverage is not given.) Pentac was sold for some 10 years on cameras which carried Dallmeyers own name: (a) on the Dallmeyer Speed camera, body by N&G, for VP and 6x9, from 03/1923 and 03/1924 respectively (B.J.A. 1925, p356), and finally a 1/4plate version at £40 ( B.J.A. 1927, p336); The Speed camera seems to have sold quite well and cost £25, £32 and £40 respectively in 1927, but the focal plane shutter could be a problem to maintain. It does emphasise that the Pentac was then an expensive lens. (b) on a Pentac 6x9cm rollfilm, (B.J.A. 1926, p350;1927, p331) where a 4.25in Pentac in a D/S Compur was used; a 9in f6.5 Dallon could be fitted in place of the Pentac. (c) also on VP size Baby Speed Reflex with 4in Pentac at £33. (d) A group of f3.9/3in Pentacs in Gammax No2 shutters (1/10 to 1/100 +T,B) were remaindered in Min Cam World 03/1938, p221 but their usual fitting is unknown- there may have been a cancelled project here. It is possible that Matt Wilkinson owned one of these at No128,855 as the shutter is a distinctive one. Fig 025 012 Dallmeyer Pentac f2.9 (rear) 8in ex-W.D. JHD (1) No 263,944; (right) 4in, No452,498; (front) 1.5in No100,441.

These products seem to be run down in the 1930's however. The small Pentacs were cine and possibly projection lenses. Thus a f2.9 Pentac was on a de Vry 35mm movie camera in the B.J.A. 1929, p333, with a choice of 27 other Dallmeyer lenses. There was a matching de Vry projector with a Dallmeyer f1.8 projection lens. This may be the first year Dallmeyer were agents for Victor and also de Vry, a less long lived agency perhaps. Victor had previously advertised from the USA with a (Wollensak) Velostigmat f3.5 as standard among some 5 makers. Examples on VP Speed cameras are Pentac f2.9/3in No104,014 on body NoD188, 105,697 on body D435, 10709x on body DS135, others being 110,09x, 113,502 on D105, and 108,28x: and 6x9cm cameras are 4.25in f2.9 No11149x on DS348 and 107,337, 109,435, 109,710 on body NoDS258, and 111,50x, and No116,840 also for 6x9. A larger camera for 9x12 was auctioned with a 5.5in at No127,46x, and another was No123,40x.

Gauss Type Lenses. Following the launch of the OPIC, TTH were said to have licensed the Patent widely. Thus it is likely that Dallmeyer were one of the licencees, but it is likely that they made their own detailed design as Opic and Super Six lenses of the same focus have different curves, and seem different in philosophy. The Super Six seems to have been issued from about 1930 (it was 'new' in B.J.A. 1933, p302) and became a workhorse lens for taking, recording, and projecting where a fast lens was wanted. It is shown roughly as in Da024. [A comparison of Opic and Super Six 4in lenses suggested they were fairly alike in performance at full aperture, and also matched the Pentac f2.9, all being fully useable at full aperture. But note the Gauss design is much heavier and can be more open to flare.] Super Six f1.9 This was made as 1, 1.25, 1.5, -3.0in, in 8 sizes for cine including 8mm, and all these will cover 24x18mm movie frames. There were then 6 foci up to f2.0 8in for larger formats. These lenses do work well at the full aperture of f1.9. The shorter sizes in 1-2.5in were also specially available for back projection. There was a special mount to allow the use of the 2in lens on the Leica camera with the standard "O" flange. Thus it was made for M39x26 in both coupled and non-coupled forms. It was noted at Nos 148,35x and 156,82x. There are few mentions in the magazines but Min Cam. World 09/1938 p537 has an article by N. Barrie on making a fitted case- and the Leica has 9cm Elmar, 135mm Hektor- and a 5cm Super Six! It was also for Exakta below (B.J.A. 1935, p293) where a 3in lens is fitted to a V.P. model, as well as a f5.6/6in Dallon. It is likely that one of these was the f1.9/1in lens on the Thornton-Pickard prototype cine camera shown in Nov 1927 or so. It covered 50-60°. In 1934, it was noted that the large (rear?) glass meant that they could only fit the VP Exakta, Leica and 3.5x2.5in reflexes. [This limitation did not apply so much to the Pentac.]

Fig 025 016 Dallmeyer Super Six f1.9 (rear l) 5in No553,101; (r)3in No250,070 with a long thread mount; (front mid) 2.5in No441,573, white ? for movie; (l) 1.5 No562,219 in in smooth barrel ? for projection; and 2in No521,070 with gear cut drive for focus- ? for TV.

(Septac f1.5 20, 25, 51, 76mm for cine.) This item may be incorrect and refer to the f1.5 anastigmat. It is likely that Septac lenses are really wartime introductions: see below.

Wide Angle. f6.5/f11 It was made as: 60-228mm/2.375-9.0in. This was a 4-glass Gauss type Q16. for up to 100° at f11. These were 'new' in the advert. in B.J.A. 1930, p312, 1932, p647, and had the following covering power: 3.25in 82.55mm for 1/4plate or 5.5x3.5in £5.25 4.25in 107.95mm 7x5in £6.00 5.25in 133.35mm 8.5x6.5in 6.25in 158.75mm 10x8in 7.875in 200.03 12x10in 9in 228.6mm 15x12in £9.75. These were important products in the 1930's as wide angle lenses, the 80mm/3.25in for 1/4plate being quite a common lens today. They were designed to be used stopped down to f11 or better f22, and the f6.5 max. was really to compose, then check focus at f11 but they were designed not to change focus. They were carefully corrected for astigmatism, colour and spherical and should give good definition. These sold well and are quite common, especially perhaps small versions of 1/4 plate cameras. They were apt to be flary until coated postwar. Many of those sold coated have the antireflection coat splashed over the mount as well as the glass suggesting stock was returned for this to be done. Most commercially valuable today may be the 2.375in (60mm) for the VP Exakta, reported at No165,756 and 34031x.

Enlarging Lenses Uncoated (prewar?) Dallmeyer enlarging lenses are fairly common, and were of excellent quality for the period, some having click stops eg on a 7in at NoUU283,763, which is possibly a wartime ex MoD lens. Those seen all used a Q15 4-glass layout.They were made in 2.0-8.5in. Note that this series were in f4.0 in 3-8.5in in 1934, but later f4.5 and f5.6, possibly in the larger sizes. They were sharp quality lenses in very substantial mounts. H&D quotes them as being made in f4.5 and 2-8.5in, (but some f5.6 examples have been seen in longer sizes.) Enlarging f4.0 This was 'new' in B.J.A. 1929, p303, and made in 6in for 1/4plate, 7in for postcard, and 8.5in for 1/2plate, at prices of £7.63 to £12.50. They were said to be corrected for colour, coma and astigmatism. The iris was calibrated in terms of exposure factors and it could be supplied with a hinged orange colour filter as part of the mount.This was still present in 1934 (B.J.A. p646) in 3-8.5in, and the Popular f4.5 series was just beginning. Enlarging f4.0 The series was extended to shorter foci of 3, 4, 5in in 1933. Serrac f4.5 This was suggested for enlarging when using the new mercury vapour lights. There was a £1.05 modification to fit it for the purpose. The change may have been 'click' stops or a change in separation of the glasses- it is not specified. (One deduction was that the f4.0 enlarging lens differed from Serrac in some basic way.)

In 1936 they seem to have had hinged filters attached to the front cell, ? red for composing but these were not seen yet. Such filters can be easily broken off! The lenses were all specially designed for the purpose of enlarging. (B.J.A. 1934, p646, 1936, p288). They were fitted on the Kodak Professional and finisher enlargers (idem, ibid, p274, 282). In 1934-1936, there was a 'new series' of Popular lenses, also f4.5, in 3in -7in to sell at a lower price- possibly with simpler iris as they are still in solid brass mounts but none seen had a clicking iris.

Miniature Lenses. Dallmeyer developed lenses for most of the prewar miniature cameras which used interchangeable lenses, including Leica, Exakta and Reflex Korelle. There were some limits due to patent rights so that not all the products which might have been made were legally possible.Thus for M39x26, they supplied a range of lenses for the Ploot reflex housing, but few lenses in rangefinder coupled mounts. The exceptions were some 50mm f1.9 Super Six lenses, a Dalmac noted above, and some where the mount had a uncoupled feeler ring to read out the distance which was then transferred manually to the focus setting .These patent problems may have been less serious with the reflexes, but the bayonets may still have been under some control by the makers. Dallon for Ploot housing. f5.6, 6.0, 10, 12, 14, 17, 20, 24in; also f8.0 40in. For Leica, they offered the 6in and 9in f5.6 in 1936 (B.J.A. p298) to extend the range as a 12in was already available then. The ultimate was an f5.6/40in on a Ploot+Leica in Min. Cam. World, 03/1938, p216 where the lens was £75 and the mount additionally £40. Dallon in non-coupled mount for Leica, f5.6, 4.0in. One of these at auction was No141,38x. Fig 011 023 Dallmeyer Dallons for M39. f5.6/4in at Nos 144,923, 284,77x for body 65,76x; adapted f5.6/150mm. Dallon for Korelle and Kine Exakta This was a f5.6/6in lens in matt chrome mount in B.J.A. noted on 1938, p271 for Kine Exakta;1939, p278 for Korelle and Exakta). The earlier note says with a pull out lens hood, which seems absent in the next years model, so there may have been a 'rethink' here. Dallon f5.6 22.5cm Noted to fit Primareflex (B.J.A. 1939, p614advert.) New Large Adon f4.5 9, 12, 14, 17, 20, 24in. Of these 6, 9, 12in were in unique mounts with rangefinder feeler. Pentac for M39 This was noted at auction as f2.9/3in No 130,71x. They are surprisingly compact items. The above telephotos were also mounted for the reflexes, especially the Kine Exakta. Pentac, 2in f2.9, mounted for Exakta. Super Six f1.9/2in This was noted for 35mm Exakta at No296,18x at auction. Super Six For M39 at Nos148,35x (uncpld), 156,82x (cpld). The telephotos were also mounted for Vest Pocket Exakta, plus 2.375mm wide angle eg noted at No165,756, Super Six f1.9 83mm, Dalmac f3.5 3in, Serrac f4.5 and probably f2.9 Pentac. Most of these are very scarce items. For Korelle, 6in and over telephotos: also Dalmac f3.5, 3in; Pentac, 3.0, 4.5, 5.5in Dallon f5.6,6in.

Camera Obscura A very distinctive Dallmeyer lens was reported from a naturalists camera, which used a lens marked "Dallmeyer Camera Obscura Anastigmat 30in f8 No216,xxx" which reputedly was sourced from a camera obscura built down on the South coast: it just may have had to be dismantled during WW2 as a possible danger for war secrets. The number is a late prewar one (Probably!) though few lenses at that number area have been met.

______The 1939 B.J.A. advert (p708-10) lists: (extra items from 1937 advert in italics) Super Six f1.9, as 2in, 83mm, 3in. (It was also as 1-6in in 1937). Pentac f2.9 in 1-12in Dalmac f3.5 2-15in Serrac f4.5 3-18in Perfac f6.3 3-30in Stigmatic f6 4-15.1in (An interesting survivor!) Wide Angle Anastigmat f6.5 focus with f11 expose.(2.375-9in) Portrait lenses f3B Patent Portrait 6-17in f4A Patent Portrait 10-30in f6 D Patent Portrait 9-37in f3.5 Portrait Anastigmat 9-15in f4.5 and f6 Portrait Anastigmats in 10-18in Soft Focus f4.5 Mutac convertible type 6 and 9in f4.5 series, 1-12in Dallmeyer Banfield Astigmat 18-30in Dallmeyer-Bergheim, 12.5-55in Telephoto Lenses New Large Adon f4.5 9-24in Dallon TeleAnastigmat from 4-40in inc 6in for VP Exakta or Korelle. Dallon f6.5 3-24in Dallon f7.7 12-40in Popular f6.0 10-12in Popular f6.5 9in. Adon multiple focus Grandac Adjustable focus f10. Telenegative units -1=-6ins focus. Enlarging lenses in 11 foci. f4.5, 2-8.5in f4.5 Popular 2-8.5in Movie, Cine Projection lenses for 35mm Optical Sound Reproduction system.Type A, Type B type C for 9.5, 16, 35mm. Projection lenses f1.8 for 8. 9.5, 16mm use. Rear Projection in 1.5-2.25in, Super Six version in 1-2.25in Rear Projection in Series XII 2.5-7in, Series XIV 3-7in, and Super-Lite 4.75-7in. Max lite 2-4in Superlite 2-4in f3.3/3.75in; f3.5, 3-6in f4 1.5-4in f4.5 4-12in f6 6-12in Popular Tele f4 for most 8mm cameras. f1.5 Speed lens. 15mm to 3in (75mm) f1.9 Cine 13mm to 3in f2.9 Triple Anastigmat 15mm-3in. Telephoto Lenses f3.5 and f4.5 for Cine Kodak Special Popular Tele f4/3in for most substandard cine cameras. Comparing the 1938 and 1939 adverts there was a change in progress to more chromed finish and there do seem to be fewer large format items in the 1939 advert. In addition Dallmeyer were agenting equipment by Victor, Thalhammer, Sixtus, Craig and probably others at the 31 Mortimer St London W1 shop. ______

World War 11 Dallmeyer designs used seem to have been the 8in f2.9 Pentac and the 20 and 36in Telephotos, essentially versions of the Dallon, but perhaps tuned for the purpose. Most were uncoated, but the later 36in lenses were coated and in lightweight mounts, which reduced them to a mere 14lb. Other products are likely to have been made, such as enlarging lenses. Dallmeyer WW2 lenses can turn up with 'JHD' stamped on them in white paint but no other makers name and the serial numbers are often begun with UU or VV if original Dallmeyer. Mr H.W.Lee was involved in the design at one stage, possibly as a consultant after he left Pullin Optical Co. Pentac f2.9 8in for 5x5in. These were made by many firms and only Dallmeyer engraved their name, or stamped it in paint. Examples with the name stamped on are Nrs 263,94x and 249,33x, without any prefix letters, but with A.^M. 14A/7080, and later Nr 406,44x (where the mount is missing) which does not quite agree with the above conclusions. (One has been seen marked prominently NoCo for the maker National Optical of Leicester.) No Name f5.6 14in. Collectors tend to class these as a Serrac version, but this is uncertain. Telephoto f6.3 20in Probably often these are Dallon related, for 5x5in. Telephoto BIG Bertha 36in f6.3 These were common at postwar MoD sales as Williamson F52 9x9 in cameras were sold off, and many were reused, adapted for cricket cameras, and for natural history photography. Long term the astronomy field values them most. The image sharpens a lot at f10, and colour correction improves. Originally they were used with a heavy yellow filter so colour correction could be relaxed a bit in the design. Some were marked "Booths" and a collection shows a good deal of variation in engraving and finish. Known serial numbers include VV 193,045 14A/2443: No 181,865 14A/2443 and VV 425,990 14A2442, which unusually has balsam faults. Back focus is reported as 18.75in from the mount, or 23.75in from the flange which has 6 bolt holes at 6.8in pitch. This may suggest two different A.M. contracts with the 2443 numbers from Dallmeyer, the latter after introduction of a 2 letter "maker code": and another less experienced maker as 2442, possibly NoCo, and the use of the year (19)42 as the initial digits. But this is an area which has not been seriously studied. Late WW2 and Korean war items include a range of coated Super Six lenses and the postwar Rareac, a rare earth version of the Gauss, also coated Septacs.

Septac f1.5 20, 25, 51, 76mm for cine. Of these , 51mm was also mounted for oscillograph and perhaps still work. It was covered by Pat 553,844 and this is typically engraved on the outside of the front ring. (Note B.Pat No544,694 was granted in 1941approx, No 575,075 in 1944 approx.) This suggests the Septac was patented early in the war. (This can be checked, as these dates are from the US equivalents of B.Pats.) It covers 48°, and 51mm is nice for 18x24mm, but struggles slightly to cover 24x36mm unless closed down a bit. It is relatively free from flare as there were only 8 air/glass surfaces (an extra glass is used, but cemented in component 2) compared with 10 on the competing Gauss types. It occurs in M39x26 thread but those seen had a deeper register, and did not have a protruding coupling flange; and were probably off the Langham- Thompson Oscillograph camera. They were used for recording by the MoD but the camera is not known. Alternatively they may be ex-movie. It has been mounted (transplanted to Contax), one at auction being No265,06x, and this may be easier to use short head lenses this way than converting them to M39 as no focusing mount is needed. Coated versions were made but are scarce. Several mounts seem to have been involved. (The leaflet is all about applications in technical recording, not general or movie work.) It was noted at Nos 369,17x and 470,48x, both uncoated, and one also has the number 178 on the mount, possibly the number of the M39 camera it matched. Fig 011 026 Dallmeyer Septac f1.5/50mm in M39 No156,824; lens head No369,176.

A minor item was the f3.5/50mm anastigmat on the Williamson G45 gun camera for recording in training and service. It was a sound but cheap narrow angle lens made in thousands. It was fine for 16mm but postwar dealers tried to sell it for 35mm use and it was not suited to this. It was uncoated and had no iris, but some may have had a (Waterhouse?) stop at f6.3 as indicated by D. Rendell in a later article (Sales see MCM June 1946, Rendell, B.J.P. 08/02/1980, p124). An earlier version was the G42B shown in Conyers Nesbit 'Eyes of the RAF' on p105, and it is likely also to have had the same lens, but this is not stated there or in the B.J.A. notice in 1938, p302, which does mention a graticule with etched rings and a 30hr clock to be also recorded on the film. The older camera had some Bakelite body parts. It entered production as the Hurricane and Spitfire came into service. Losses were severe in the Battle of Britain and the G45 was brought in to replace it with some new features- all metal body, and loading from both side and top in quick change metal 25ft magazines. Postwar the G45 was sold off at (from memory!) £2.50, often after fitting a hand wind lever. Few new items were issued to the public in the war years, adverts. typically being formal one to keep the name before the public. Looking at that for 1942 (B.J.A. 1942, p361) it is noted that movie/cine lenses were at least half the interest, with the still lenses having a substantial number of tele lenses. This probably explains why some still lenses such a Perfac are fairly hard to find.

1945 and after. The following is taken from an early postwar, but undated list, plus adverts. and B.J.A. mentions. Among the most interesting to collectors is a small range of M39x26 lenses from Dallmeyer and Cooke and Perkins, who made their mounts and worked closely with them- thus some of C&P's mounts for ex-WD lenses such as the 3in f2 Speed Panchro look like a dress rehearsal for the ones made later for the Dallac. Coating came late in the war or just after it, and was indicated by Dc for Dallcoated engraved on the mount. Some existing product seems to have been withdrawn for coating, from the coat visible on the mounts in some cases. At least for the wide angle Gauss, the coat seems to have begun at a serial number of about 340-350,000, a later break being at between 616,69x and 635,80x when focal lengths were marked in mm in place of the old inch marking, which is inconvenient for small wide angle lenses. But a few lenses are anomalous. Thus a Dallmeyer Projection 14in No544,989 was uncoated even though it was marked Dc. Postwar lenses have the name in capitals, not the old cursive of prewar.

Rareac for 55° f1.9 It was made in 20, 25, 38, 51, 80, 102mm, eg as 4in for Vinten F95. These are normally coated, use heavy glass, and are often warm in color. Layout Da025 but this may be a generic Gauss drawing. This was an updated Super Six but both were still produced for many years. It seems uncertain if Rareac ever reached the open market but leaflets did. It was noted at No 575,12x, on a 4in lens.

Fig 025 021 Dallmeyer Rareac f1.9/4in with iris missing.

Septac It has been difficult to date the introduction of Septac, but one clue may be the Patent Number (below) and another is the number which are not coated, as Dallmeyer began coating late in the war or soon after it. A f1.5 Coated Anastigmat is noticed in the B.J.A. 1946, p180, and seems to be to a design patented in the war- which would fit. It has 7 components (=glasses?) and covers 47° and it has proved its worth in fluorography and is rated to cover the full 24x36mm format. It was then in standard iris mount only, ie barrel and probably only as an f1.5/2in This was featured in a note in the B.J.A. 1962, p484-37, and was then in 51mm (2in) for 48° only, for recording on up to 24x36mm (nb, in close up) and fluorography and radiography, and could be had in a flange, or plain 42.5mm tube, without iris, or a micrometer focussing mount was available. These will be 'late' coated lenses. They carry the Patent number 553,844 on the side and were often illustrated early postwar (B.J.A. 1947, p428.)

Dalrac f4.5 This was made only as a 135mm lens, of Q15 layout. As a visitor to Dallmeyer, it was found that this was a Serrac with the spacing of the glasses slightly changed to get best centre sharpness. It was said to have special attention to the colour correction. The mount was by Cook & Perkin, and varied slightly in finish and direction of rotation to focus. Most are in M39x26, but some are for M42 or Exakta. (Am. Photo. 03/05/1950, p319, MCM Jan 1950). All were coated. It sold well and is usually available today if looked for. These were marketed for Leica, but some were used on Reid and we think were checked and matched by Reid as shown by their engraving. It was noted at No346,16x-516,25x- over a considerable period. The M39 version was noted in B.J.A. 1950, p242 when it was stressed that the moderate aperture and angular field allowed a very high degree of correction especially of astigmatism for colour work and anodized focusing threads, and coated optics; also B.J.A. 1957, p202; 1958; the Exakta version in idem, 1959, p229. By the 1957 notice, the lens head was made removable to fit the Leitz focusing mount and reflex unit. Cost then was £29.75 + Tax £11.60 The price is also given for Type B (in a short head focusing mount) at £24.35 etc and for a fixed mount version for use on a bellows + reflex assembly at £16.00. or £24.35 + Tax £7.93 (B.J.A. 1955, p177) [Modern experience has shown some care is needed with the coupling, possibly with lenses fiddled since manufacture. As mentioned above, it was a lens which Reid occasionally tested, adjusted and added their name to.]

Dallac f2.0 This was made only as 85mm for Leica, about Da024, but this is like a Super Six but not officially the same. All of these are coated. These were listed for many years, and were officially for Leica though they would fit Reid,etc. (new in MCM 6/1948, 5/1949, Amateur Photo 1949, p312). Initially it was only sold for export, and this may explain why it was still 'new' in B.J.A. 1950, p202, where it is stressed the focussing threads are anodized to prevent wear, the mounts are individually calibrated, and the lenses coated and excellent. This initial type had a black band next the screw flange, and took 51mm filters. It was noted at No339,25x-494,62x, also 544,72x, 544,74x. It sold reasonably well and can usually be found if needed.

Super Six f1.9 1, 1.25, 1.5, 1.75, 2.0, 2.25, 2.5, 3.0, 3.25, 4.0, 5.0, 6.0in, f2.0, 8.0in. Layout Da024 still. This was applied to many uses in recording , technical and movie work, and mounts can make them hard to reuse. Some have no iris being for projection. It was said at Dallmeyers that they were still made in the 1970's to the original design. Using a uncoated 4in and a coated 5in lens the value of coating is quite apparent, the image being much more contrasty and clear. Also, on stopping down the 5in seemed to hold focus much better than the older 4in which seemed to need to be refocused, but this is said with caution as both were old lenses in used condition. The 4in at No303,64x came off a large focusing mount, possibly for 70mm or for early TV, [with a f2.8/80mm Cooke as the other lens of the pair.] It seemed possible to use it on 6x9cm but the 5in tried would be much more comfortable to use, with a margin of excess coverage outside the frame in use. Large examples of Super Six are not too uncommon, though their original use is obscure- possibly for CRT work or television. The f1.9/5in specification has been seen several times, and at No553,10x a coated lens, found as a PIM lens, was reused on a Press camera, covering 6x9cm easily and probably 1/4plate but not 5x4in. The image seemed very good, contrasty and really sharp all over the screen. And the amount of light gathered is very impressive. It is in a light weight mount and less heavy than would be expected. It must have been a really valuable lens for some jobs. Super Six was still in production late in the London period.(1980) to meet at least one customers specific orders. The most valued are 50mm versions in M39x26 thread. Prewar examples are: (Fig 011 027 Dallmeyer Super Six f1.9/2in =50mm, (r) Nos 156,824 (cpld), (l)148,352 (uncpld), Postwar numbers reported have included those below. They are desirable, especially the few made in interrupted thread for Witness for which they were original equipment. These last are really scarce but serial numbers noted were No381,69x, 383,47x, 437,66x and 439,13x, 443,459 (on a Witness). The camera was noted in MCM, Jan 1953. Super Six was also mounted for Exakta 35mm as described in B.J.A. 1957, p190, where it was in a polished white mount, lightweight and focused to 30in, with stops to f22. It takes External 36mm filters. By March 1950 Dallmeyer were selling the 3 lenses: f1.9/50, f2.0/85mm and f4.5/135mm in coated form. A 1in in C mount was noted in B.J.A. 1956, p259. f1,9 2in (51mm) This was mounted for Kine Exakta in B.J.A. 1951, p212. Fig 025 016 Dallmeyer Super Six f1.9 (rear l) 5in No553,101; (r)3in No250,070 with a long thread mount; (front mid) 2.5in No441,573, white ? for movie; (l) 1.5 No562,219 in in smooth barrel ? for projection; and 2in No521,070 with gear cut drive for focus- ? for TV. Most of these will be postwar versions.

Others noted were 3in lenses at Nos 366,37x and 380,92x. Pentac f2.9 This was available postwar as 3, 4, 5, 6, 8, 10in, and was mounted for Exakta in 75mm(3in) and 101mm (4in) f2.9. These last are scarce items.

Dalmac Q15 type f3.5 This was listed postwar as 2.0, 3.0, 6.0, 7.0, 7.5, 9.0, 10, 12, 15in. 14 sizes made. It was suggested to use 7in for 5x4. It covered 50°. This was probably the prewar type now coated. The 2in was seen at No469,36x (Dallcoated, iris to f16, but this was not in some lists. It was in a alloy adapter with roughly Leica thread and register. Dalmac was available into the late London period, eg at No597,15x and probably was used in two special version as follows: (a) Portrait f3.5 10in This was made in 9,10, 12 and 14in and all are 4 element anastigmats- they could be supplied in a special mount which allowed a variable amount of diffusion to be introduced, the amount being controlled by rotation of the front cell. It was fully sharp in the normal position, and the mount was finished in matt chrome and black and the lens was very heavy from experience. The cost was £29.5 for 9in to £75 for 14in, or including the extra, at £34.5 to £83 in the diffusion mount. This is a scarce and select item, coated and with a versatile performance. (b) Advocate Lens f4.5 35mm The optics are the same as the f3.5 below, and this suggests that it was Dalmac related, noting the good angle covered by the Dalmac in original form. It was 'new' in May 1949 when the MCM saw it for review, and in the B.J.A. 1950, p78 advert. p246 review. The lens then was coated, and 'the perfection of the Dallmeyer lens allows of adequate enlargement from --less than the whole frame for portraits'. It was still sold in 1953, (B.J.A. p88 Advert.) but the same B.J.A. noted the new f3.5 version on p198. It was seen at No370,22x. (c) Advocate Lens f3.5 35mm The lens was as above, but with the iris freed to open to f3.5. At f3.5 the vignetting is noticable in colour work, and f4.5 or f5.6 is better. This optic was sadly not used in M39 or other mounts. Advocate is a camera with a definite following, and a lens noted was No465,20x, and 389,08x.

Serrac as prewar,ctd. f4.5 These have been noted postwar in 2-18in. in 18 foci but by 1962 they was 'in a full range from 2-8in' including Compur shuttered models. An especial claim was that the rear glass was about the same diameter as the front giving more even illumination and that while flare was kept to a minimum, there was a generous coverage for use of rising fronts, eg on MPP and Gandolfi cameras. It was suggested to use 6in for 5x4, and 5.5in cost £36.00. A f4.5/7in in a Compur EX/CII/5 was noted in B.J.A. 1956, p217.at No471,581. The iris closed to f22, or less, and Dallcoated. These can be excellent! Layout 023. It was noted at No445,69x as a coated lens. They were noted on the Gandolfi Berthillon identification cameras for 5.5x3.25in with a sliding back, using a Serrac f4.5/7.5in, No343,886.

Perfac as prewar f6.3 This was made in 3, then 6-30in. in 11 foci, where it was suggested to use 6in for 5x4. (B.J.A. 1961, p216). The notice showed No471,584 in a Compound shutter and noted the high corrections and fine resolution obtained. It was then in 7.5 - 30in focus, and the 12in reported on was £66.75 tax free.

Wide Angle as prewar f6.5/f11. It was made in 60-228mm or 2.375-9in. These are limited by coma to use at f11 or less, but f6.5 is there to compose. Now they were supplied with coating for better contrast, from about No340-350,000 and up. The later version has the focus in mm at No635,80x.

Fig 025 026 Dallmeyer wide angle lenses f6.3 (rear) 178mm No670,890 ex-instrument use; also 5.25in No616,692 and 135mm No635,801; and front 3.25in No385,552 and (r) 4.25in No174,479. An unusual version is a f6.3/178mm coated lens in a plain barrel mount, the iris being uncalibrated and controlled by a wide band on the mount with 2 slots for a control. These seem to be from some type of copier at No670,86x and at least 2 have been seen. They are impressive items.

Dallon f5.6 (a) It was made in 6, 9, 10, 12, 14, 17, 20, 24, 40in.in one list, 4-30in in another list. It was suggested to chose 12in for 5x4, (b) It was also made as an f6.5 for 24,30in, and f8 for 40 and 60in A very select version was the f5.6/508mm series for the Hasselblad, where one at auction was No487,99x, engraved "Manufactured by Cook and Perkins Ltd London, for Victor Hasselblad AB, Sweden" It was a normal listed item and some 12 were bought for the Swedish Navy. The f5.6/6in Dallon was featured in B.J.A. 1956, p227 in white alloy finish, and 1960 p185, and focused to 9ft, on a rectilinear mount, and it was Dallcoated, and fitted 35mm and 6x6cm cameras, such as M39, M42, Exakta, Rectaflex, and Alpa as well as Agiflex (B.J.A. 1951, p195), which was reviewed. Cost £22.75 + Tax £3.65. The 17in was in B.J.A. 1958 p214 at £74.00 + Tax £28.85 and had a black mount with a tripod bush was 12.5in long with a 3in dia lens hood, and stops to f45, and was here fitted for Kine Exakta. Experience has been enough to suggest that the Dallon was probably the wiser choice than the next item unless the extra speed was essential, as it usually had higher contrast and often sharpness.

New Large Adon f4.5 It was made in 6, 9, 10, 12, 14, 17, 20, 24in but not all were in all lists. The catalogue covers mounts for most of the European reflexes of the time, including Exakta, Korelle, Praktica, Praktisix, Alpa, etc. but not the Japanese ones. (B.J.A. 1957, p195). It noted the short mount, smooth easy focusing and dull black mount, and that it stopped to f32, but the 9in described did not have a tripod bush while the 12in does. Postwar these were Dallcoated, but the external curves where checked are the same on prewar and postwar f4.5 12in lenses. These were Nos. 122,91x, and 500,34x, which was later coated and mounted for 35mm Exacta. Another is No470,932 which is marked 'Television' but otherwise seems to match the 35mm type.

Enlarging Lenses These were a major postwar market and at least two or three series are noted. (a) The originals were probably continued from prewar, but coated and probably in alloy mounts. They seem to be: f4.5 This was made as 2.0, 2.4, 3.0, 3.25, 4.0, 5.3, 6.0, 7.0in. These seem to be Q15 type. A B.J.A. note (1946, p175) says 19 foci were made. Some at No477,47x have the iris behind glass 1, but normally it is behind glass 2, Three types existed: In 1946, there were 12 items in the highly corrected f4.5 type of premium quality. In 1946, there were also 7 in the 'Popular' series, to provide a really good lens at a reasonable price. Thus not all are marked 'popular', and these will include uncoated lenses of both types. A 7in f5.6 of fine quality was noted at UU283,76x, suggesting a wartime lens. A coated 3.25in f4.5 was noted in B.J.A. 1951, p203 at £8.00 + Tax £3.47. It had click stops and was added to the previous set which had a 3in which was felt too short for 6x6cm. In 1946, the f3.5/2in was "Now there has been added" so it was a new item. There was no mention of coating then. (b) There seems to be a redesign in the late 1950's. A 'new' standard type is described in B.J.A. 1957, p192, where a 5.5in to cover 9x12in in a black mount is described. It is a new design of 4 glass type, coated and with iris scaled in factors. It used a 1.75in flange and cost £12.25 + Tax £4.78. The mounts of the 'big' versions may differ from the smaller, and the optical similarities may be masked by this. (c) De Luxe or "Quality Enlarging" f3.5, 2in, f4.5, 2-10in. These were later lenses with brown coating and self illuminating scales, and are of high quality. Last sales may have been a close out at Thoroughbred Cameras in 1980, at Serial No 718,66x. These were a Q15 type with iris after glass 1, and there seems to be an 'entirely new' series beginning in 1958 with the 5cm version in 1.25in flange (noted in the B.J.A. 1959, p268.) The advert. p608 however suggests the older series were still available in up to 10in focus, with click stops. The 1962 B.J.A. p484-38 stresses these were then all of them de luxe and 4 glass design,with iris blades of thin brass, and with click stops, and some had illuminated iris scales. The 7in was suggested for 6.5x4.75in at £24.5.

Technical lenses. These are taken to include recording lenses and oscillograph lenses. Since there were three or four apertures, it adds up to quite a comprehensive programme. It was probably more important commercially than one might think now to judge from the number of ex-MoD lenses noted.

High resolution Microfile lens. 2.0in focus. possibly wartime? That noted was a postwar, coated lens. The B.J.A. 1952, p195;1961 p217 notices cover an f8 lens, in 2in (1952) or 1 and 2in in 1962, for 8:1 to 18:1 magnification or reduction, at a fixed f8- there is no iris so exposures were by altering time or lighting. Prices £22.75 in 1in; £25.2 in 2in. (Tax free.) There was a ordinary screw mount and flange. It was noted that it could have other uses as a macro lens when reversed for larger formats, even 1/4plate at 3in from the subject. A Dallmeyer microfilm lens was used on a Williamson-Kodak camera in B.J.A. 1949, p224.

Underwater Lens f3.5 38mm This was reported as used in the Institute of Oceanic Studies camera, (IOS, Wormley, Surrey, UK) designed by Prof C.G. Wynne to operate with 35mm film thru a plate glass window of RI1.343 for 450-650nm spectral range to 200m depth and flash- there is no shutter for the sake of reliability. (A.L.Rice and E.P.Collins, B.J.P. 09/05/1980, p449)

Instrument Recording Oscillograph f3.5 76mm lens in Prontor Press shutter, No640,84x., ?Q15. Oscillograph f2.8 76mm lens in Prontor Press, No577,755, 582,010, also a Q15 type. This has a front cell mounted as the positive threaded into the negative and thence to the shutter- and the first can come unscrewed leaving the second as a 'hard-to-remove' item. These are well coated. Instrument Recording f1.9 51mm This is not a Super Six, but possibly a version of the Rareac, and was noted at No709,61x for Shackman camera.

Fig 025 024 Dallmeyer recording lenses in shutters.(r) f2.8/3in in Prontor Press No582,010; (l) Oscillograph f1.9/51mm No726,263 in Copal. Dallmeyer Recording f1.6 80mm in Wollensak shutter, no details. Oscillac f1.0 2in (50mm) This may be the trade name for CRT copying but there is little information here. It was for 4:1 ratio.

Cine/TV Lenses These tended to be for specialist applications after the initial post war boom. The Focal Press Guide to the Bolex cameras lists some 29 types in all, though not all were made at the same time. Incidentally, they seem to have been in white finish to the late 1950's and then gone over to black. The black may be a new anodized finish. A long Tele such as an 6in f3.5 Cine Tele is shown in white in B.J.A. 1955, pp 174, 625adv.

Speed Anastigmat, f1.5/f1.312, 15, 20, 25, 50, 75mm The 25mm (1in) version was noted in B.J.A. 1952, p208 in C-mount, alloy with chrome plate finish, and gave a crisp image but at that time both coated and uncoated lenses were offered and the lens seen was not coated. Uncoated £16.00, coated £17.75, both plus tax, eg £6.94 and £7.13.

Triple Anastigmat f2.9 15, 20, 25, 50, 75mm The 15mm version was noted as a wide angle for 16mm covering 46° in B.J.A. 1957, p178, where it was Dallcoated and in fixed focus mount. Price £12.25 + Tax £4.75. It seems to be 'new' in B.J.A. 1933, p287 as f2.9 in 1,2,3,4in versions for cine. The Triple Anastigmat f2.9/3in for 16mm was noted in light alloy as a coated lens in B.J.A. 1953, p223.

Cinematograph f1.9 25, 50, 75mm This may be a very old type of lens as the launch of a Dallmeyer Cinematograph f1.9 3in lens was noted in B.J.A. 1914. Thus it is likely to be a Petzval type which will have been updated over the years, coated and given a 'Litewate' mount. There was still a 1in f1.9 in B.J.A. 1958, p222, and a 2in f1.9 Cine lens in the 1961 B.J.A. p176, and 3in f1.9 in 1960 p207: (and this was probably not a Super Six), in C and D mounts, in black and silver finish and the hood acts also as a filter retainer ring. The writer notes the high reputation of Dallmeyer in the cine lens field at the time.

Cine f1.9 13mm This was in D mount in polished alloy, focusing from infinity to 1ft and with iris to f16 in B.J.A. 1956, p169. It may not be in the same series as those above. A lens of this specification was used on the Miller 8mm cine (B.J.A. 1949, p215, 401 advert.) and on the Dekko 8mm Model 110 (B.J.A. 1948, p163) where it was in chrome trim and provided excellent definition. It was a focusing anastigmat.

Super Six f1.9 25mm VIDIAC A 25mm f1.9 Super Six was mounted and coded this way, probably for TV use. Sixtac f1.9 25mm

Popular f4.0 75mm It was coated, 'lightwate' alloy mount and a versatile fast long lens (B.J.A. 1954, p232.)

Popular Long Focus f4.0 1.5in (38mm) This was noted in B.J.A. 1957, p229. It was in a black D mount in brass, with focusing movement to 2.5ft, but the writer mentioned that the focus scale was not as boldly machined as he might like. Cost was £9.65 + Tax £3.75. A 3in Popular was 'new' in 1933.

Cine Long Focus f1.9 75mm This may be the fast product to compare with the next: Triple Anastigmat f2.9 3in for 16mm in light alloy coated in B.J.A. 1953, p223.

Telephoto f3.5 75, 100, 150mm One of these was noted at No326,22x on a Bolex. It was featured in the B.J.A. note in 1955, p174;1962, p484-38. It was in C and D mounts, white finish in 1955, black finish in 1962 and with click stops, at £18.90 + tax+3.38 in 1962. In 1955, the 6in was £25.25 + £8.20. Note C mount was 1in dia, 32 TPI, 0.69in register. D mount was 5/8in dia, 32 TPI, 0.484in register.

Telephoto f4.5 100, 150, 225, 250, 300mm This was featured as a Cine Tele in B.J.A. 1960, p227; 1962, p484-39, and was a bigger, faster version of the next item, but not for Leica then. It had a tripod bush and cost £67.00 + £11.95 tax. The 1960 writer was obviously very impressed with it, and for the 300mm (12in) the hood at 8in long was a major part as the lens and mount were a mere 9.25in on their part. Cost £57 + £9.25.

Telephoto f5.6 225, 250, 300mm. This was described as a Dallon in the B.J.A. 1953, p221, 1962, p484-38, and was for a wide range of cine cameras, as well as the Leica Ploot reflex unit. Surely the longest normally was the f8.0/40in mounted for Leica Ploot reflex unit noted in B.J.A. 1955, p200. It was supplied in a wooden case, and dismantled into two parts for transit, and was coated and had an iris which closed to f45. Price was £210.00 + £68.25 tax. f5.6 6in for Reflex Korelle in white mount, and coated at £18.75 + Tax £8.1.

Wide Angle Anastigmat f2.5 6.5mm This was in a neat black fixed focus mount with D fitting for 8mm cameras, noted in B.J.A. 1958, p222, for 53° but the optical design is unknown and it may be a retrofocus design but this is not certain.

Inverted Tele f2.5 28mm This was an inverted tele with 5 glasses, and was for 35mm movie with a rear clearance of some 25mm (or 1.25in) and was sold in a rigid barrel mount with stops to f16, but a focusing mount could also be obtained. (B.J.A. 1958, p268). An example seen actually was 25mm f2.5 and may be a further version, at No543,35x. It again seemed to be a commercial movie lens. Fig 025 027 Dallmeyer Retrofocus w/a f2.5/25mm No543,358.

Inverted Tele f1.3 12mm Retrofocus type, for cine only, later tv. 67° coverage. Layout Da027.

Inverted tele f3.5 12.5mm This was noted on a Vinten 16mm scientific camera listed in B.J.A. 1960, 187 and seems to be an earlier version. The other lenses were TTH ones, so it may have been before TTH released their retrofocus types.

Cine Teles (and above) f3.5 3.0, 4.0, 6.0in.

Orthiac, Vidiac and Teleog . These are series of TV lenses, available pre-1960.

Octac This was a fast and well corrected lens for Oscilloscope recording. It was noted as a ?100mm f1.5, ?8-glass Gauss and a 80mm f1.5 lens marked 1:1 has also been seen at No693,12x, blue coated and showing the 2x 7 reflexions required for a lens with 4 glasses back and front with two cemented surfaces. Fig 025 019 Dallmeyer Octac Oscillograph recording lens f1.5/80mm No693,129.

Ultrac f0.98 25mm for use with 16mm or TV, 8-glass Gauss, Da026 Octac and Ultrac may be related. Noted at No561,76x. In use it proved to be extremely fast and it was hard to find a suitable subject but the image of this example was not up to the standard of other 16mm lenses. This may merely say that it needs greater care in use than was possible in this trial.

Projection Lenses Maxlite Projection f1.5/f1.81-4in (or f1.6, 2 - 4in in 0.5in steps) ?Petzval. Some are not coated, ie it was a long lived product. This and the Maxlite were noticed in B.J.A. 1955, p190 as 4in; 1961, p177. It seems to have been a fast but narrower angle lens than the Super Six. It was made in B mount, 1.156in dia, 8TPI. for B&H 16mm projectors.

Film strip Projection These seem to be a newish product now issued in B.J.A. 1946, p175, where lenses of 1-6in were offered for 24x36mm and smaller. Apertures of up to f1.9 were included. Projection f3.5 2in (51mm) This was in a plain tube mount 42.5mm dia. for when a large picture is needed in a small hall. Coated, it gave a brilliant and evenly illuminated picture. (B.J.A. 1955, p194)

Dallmeyer f3.5 4in This was noted on a Johnson Autoscope noted in B.J.A. 1948, p161.

Super Six for some uses. Cine Super Six was made in 1-1.75in in 0.25in steps, in cases where a high magnification is needed with only a short throw. A need for a longer throw would have indicated a Maxlite as the recommended product.

Fig 025 016 Dallmeyer Super Six f1.9 (rear l) 5in No553,101; (r)3in No250,070 with a long thread mount; (front mid) 2.5in No441,573, white ? for movie; (l) 1.5 No562,219 in in smooth barrel ? for projection; and 2in No521,070 with gear cut drive for focus- ? for TV.

Super Lite Projection f1.8-f2.72-7in, Petzval type. Series X11 Projection seen as a 6.5in of uncertain age. Projection Series X1V It seems to be a Triplet. The figure may show an example which unusually is uncoated even though it has the Dc mark which normally indicate a lens was coated. Fig 025 023 Dallmeyer 'Dc' Projection 14in No544,989- this is not coated but has the Dc mark.

Also Projection Mk11 and Projection f1.65 lenses. Profile Projection seen as 1.5in, ?non-photographic use. Gauge Projection seen as a c.3in lens.

Fig 025 014 Dallmeyer (l) Gauge projection lens, No351,477; on left.

Dallmeyer were also trade suppliers of Flanges in 1-4.5in sizes, including M39, C and D mounts, and in RPS threads in 0.25in intervals up to 6.5in then in 0.5in sets. They also supplied irises, focusing mounts, studio shutters, and lens accessories.

When visited in the late 1970's, Dallmeyer were switching from making retail lenses to subcontracting for the industry, where their size and on-line computer facilities were valuable. Later they moved out of London, to a lower cost base in the country and are still active in the 1990's. However it has not been possible to make contact with them at the turn of the Century. The arkiv is at the Cricklewood Public Library and Records office and is being worked on as a feature of the Millenium to make it possible for it to be accessible to the public.

Chronology The company had excellent records and some serial data was transcribed by Mr Falchenberg and published in Photographica No17, May 1981. This is in part the source of the following table in shortened form, and part was from a visit in 1980. 1860, begin: 1865, No 9,000; 1870, No18,000; 1875, No24,000; 1880, No29,000; 1885, No38,000;1890, No47,000;1895, No55,000;1900, No62,000. In addition, it seems that No107,55x is mid- 1920's (No121,xxx was about 1927) and a Dalmac No147,14x is in a rimset Compur No2,421,56x of about 1934,and that coating began early post-1945 at No 340,000 approx.

Fig 9 Dallmeyer Brass Lenses Exposure: Busch Perscheid f32 Back Row Dallmeyer Petzval Lens Dallmeyer Teleaccessory with Stigmatic Ser 11 Dallmeyer Petzval Lens. Dallmeyer Group Triple Lens. Front Row Dallmeyer Rectilinear Landscape Dallmeyer RR Dallmeyer WAR Dallmeyer ADON Tele Dallmeyer Triple Achromatic

Fig 10 Dallmeyer for 35mm inc. M39x26. Exposure: Dallmeyer RR 6in. Back Row Dallmeyer New Large Adon f4.5/12in for Exakta. Middle Row Dallmeyer Super Six f1.9/50mm (1930's). Dallmeyer Super Six f1.9/50mm.on Reid 3. Dallmeyer Dallon f5.6/4in for M39x26. Dallmeyer Dallac Lens Head f2.0/85mm. Dallmeyer Dallac f2.0/85mm (2x) Dallmeyer Dalrac f4.5/135mm in M42 (M42 Filters). Dallmeyer Dalrac f4.5/135mm in M39x26 (M36 filters) Front Row Dallmeyer Septac f1.5/50mm adapted to Contax. Dallmeyer Septac f1.5/50mm in M39x26. Dallmeyer Dalrac f4.5/135mm in M42 (M42 Filters). Dallmeyer Dalrac f4.5/135mm in M39x26 (M36 filters)

Fig 11 Dallmeyer: Some Postwar Lenses. Exposure: Super Six f1.9/4in. Back Row Dallmeyer Octac Oscillo f1.5/80mm Dallmeyer W/A f6.3/178mm. Dallmeyer Super Six Dallmeyer Ultrac Cine f0.98/1in. Dallmeyer Rareac f1.9/4in. Front Row Dallmeyer Oscilloscope f1.9/2in. Dallmeyer Oscilloscope f3.5/76mm Dallmeyer W/A f6.5/3.25in. Dallmeyer Speed 16mm cine f1.9/1in. Dallmeyer Super Six f1.9/2in. Fig 12 Dallmeyer c.1900-1940. Back Row Dallmeyer Patent Petzval Dallmeyer New Large Adon f4.5/12in. Dallmeyer Pentac f2.9/8in ex-MoD. Dallmeyer Pentac f2.9/5in ex-MoD. Dallmeyer Super Six f1.9/4in. Middle Row Dallmeyer Tele Anastigmat f6.7/10in. Dallmeyer Carfac f6.3/8.25in ex-Aero use(?) Dallmeyer Gauge Projection Lens. Dallmeyer Pentac f2.9/3in. Dallmeyer Triple f2.9/2in Cine. Dallmeyer Projection Super Six f1.9/1.5in Dallmeyer Adjustable Adon New Type. Front Row Dallmeyer Stigmatic f6.0/12in. Dallmeyer Stigmatic f6.0/27cm Dallmeyer Focussing Mount Carfac. Dallmeyer Dalmac f3.5/3in. Dallmeyer Pentac f2.9/1.5in for projection. Dallmeyer W/A f6.5/5.25in. Dallmeyer Dalmac f3.5/7.25in.

DAN Camera Works, Japan. Eria Anastigmat f3.5/40mm No3173 This was noted on a Dan 35 camera for 24x24mm.

J.B.Dancer (1812-1887) A self taught Daguerrotypist who taught his friends in Manchester and started the local interest as well as working as an optician and instrument maker. He used Lerebours et Secretan lenses on at least one stereo camera. He proposed rotating disk stops in Brit. Pat. No2064 on 05/09/1856. (Book see B.J. P. 26/10/1979, p1027, it was then published by M.Hallett, 134 Henwick Rd, Worcester, WR-5PB).

A.Darlot, (Opticien), Paris, France. Jamin was at 14, Rue Chapon, Paris. Darlot probably began work here. Certainly he was later at 125, Boulevarde Voltaire, Paris. In USA, he seems to have sold on the E. & H.T. Anthony Normandie, Phantom view at No62x for 5x8in, and other cameras. Also on a Gennert N.Y. 10x8in camera. They have also been noted marked "B.F. & Co" on an early Daguerre type lens. The company was founded by J. Th. Jamin in 1822- ie it was pre-photographic, and was purchased by Darlot (1828-1895), a former employee, in 1855-1860, with the lenses carrying both names in c.1860-1861. Production was mainly of Petzval lenses but also included RR's, described as having 3 swing-out stops fitted. Another feature was the "cone centralisateur" which was a Jamin design of the mount, with a prominent cone behind the Petzval lens. Kingslake says that when Darlot succeeded in 1860, the lenses had both names for one year. An example at auction says: "Jamin et Darlot, Btes SGDG, R. Chapon 14, Paris." This is likely to be the form for one year. More often the engraving is: "Darlot, Anciennement Monsieur Jamin" as below, to indicate formerly Mr Jamin. Darlot established himself as a well known 19-Century lens maker whose products now include highly valued ones.Thus in 1865, he seems to have made a new casket set using one barrel and several components for a selection of foci at the suggestion of Mr Johnson, and at least one "Universal" set was based on a Petzval barrel and RR components to screw into it in its place.(B.J.Photo. 17/08/1888, No1476). He probably also made the Jamin-Darlot lens on a W. Morley camera in the 1860's. The Darlot Trousse was noted with respect as 'the earliest form of the lens casket' with adjustable stop position by sliding the position, depending on whether it is used as a doublet or a single meniscus. The doublet was 'free from deformation and a very wide angle'. But it was noted to be heavy and a rotating stop would be more convenient. He seems to have been succeeded by 1901 by L.Turillon, 121, Rue Gravel, Lavallois, (works) and 99 Rue Lafayette, Paris (shop). An anastigmat symmetrique at No189x was by Turillon which just may suggest a new series of numbers. Some late lenses were in aluminium, as was one for a Shew Xit camera, where the body was in alloy and wood.

Meniscus An early lens seen was a meniscus of some 16in with washer stops (about f22, f32), engraved: Darlot, Sr OPTn Bte SGDG and ANCne Mon Jamin (No) 25951, ie a 1860 approx lens, and the barrel here was fitted with dual end screws threads to mount the lens at either end of the barrel for "Paysages" ie views and "Portraits" which seems to be unusual. This might suggest an interest in soft focus portraits by 1860 but it is more likely a Petzval which has lost the rear pair (used for portraits only) and therefore appears to be a meniscus only.

Fig 018 034 Darlot lens reversible for 'Paysages' (views) and 'Portraits' (Portraits)

Triple: This type is recognised by collectors on the Continent. It seems to be an achromatised periscopic with variable separation using a sliding tube with a locking knob to extend the front cell, as well as a normal rack and pinion focus. There does not seem to be much change in the back focus due to the adjustment (say 12mm) but moving the front could offer 3 options to use as 'in', 'extended' and 'out' as a meniscus lens. The cells have unlike screw threads so that there seems no likelyhood they were both used, even though this would give an extra focal length. In 1889, he listed in the BJA "Lenses of every description" including "The Universal Lens" several lenses in one, replacing the ordinary landscape lenses, "New Rapid Hemispherical" lenses, recommended by Prof Stebbing, as well as cameras and accessories. By 1899, the Rochester Optical Co. was listing a fair range of lenses from Darlot, as follows;

Wide Angle Hemispherical 90° f? 3.5-8.75in (1899), 3.0-8.0in (1890) This may be a Globe? or Kingslake suggests it is an RR.

Rapid Hemispherical for 60-75°. 5.5-14in (1890), to 21in (1888). This may be near the above and an example was noted on a Hermagis 14x19cm camera from about 1875 at No14,02x.

Darlot Portrait lens 1870 onwards, 1888 lists 4.5, 7, 10.5, 15in foci. At least one smallish Darlot Petzval when dismantled for cleaning showed the name "Darlot" written in ink on the edge of the rear glass- but sadly no date. Fig 018 036 Darlot Small Petzval lens A Darlot Portrait lens is in the Kodak Museum and is about f4/18in focus with 5.25in dia. rear glass and is dated as about 1855.

Quick Acting Lenses list 5.5, 8.5, 11.5in. These last two were probably Petzval types.

Anon F2 This fast lens was noted in B.J.A. 1933, p199, as it was then adapted to make a night camera, being about a f2/2.75in, though this just may be the back focus of a still very fast lens but of longer focus. It was adapted by Mr J.H.Cleet, and described in B.J. 01/04/1932, p195-7. (?It does not seem to be a hoax.)

Gem lenses, sold in caskets. as sets of 4 cells. Single View This was a meniscus lens, 5-20in. "Imitation Dallmeyer Stereoscope lens" The front component is usable as a 6in Landscape lens on its own. It was probably a Petzval. If genuine Dallmeyer, it should have reversed rear glasses, as Q4.

Casket Sets (various) One version was from 1865 (B.J.P. No 1476, of 17/08/1888). This may have been at the suggestion of Mr J.R.Johnson, who was his English agent at the time. Fig 016 006 Darlot Casket set based on achromatic cells to form RR lenses.

Magic Lantern Lenses No date can be given- they may well have been fairly normal Petzvals. They were a matched pair for dissolving action.

1885 list has: Universal= Casket set as Petzval in mount with 6 achromatic cells to exchange. This gives foci 5.5-17.75in, singly or 2-9in in pairs. These screw into a Petzval tube, as above.

Petzval type Portrait lens. eg. 6in f4.0 7in f3.7. These were sold in the UK by "B.F. and Co", possibly A. and B. Franks of Manchester(?) Petzvals have also been noted on earlier cameras such as a 1870's wet- plate camera and a 1905 "Phototicket" which used an f4.5 95mm lens.

Objectif d'Artiste eg f11 8.0in in brass. This can be a very impressive soft focus outfit with extra cells and a large barrel with an iris but it is logical to discuss this under the instigators Pulligny et Puyo rather than as a Darlot lens. Fig 016 002 Objective d'Artiste Pulligny et Pujo (Darlot) casket set. Fig 016 004 Detail of engraving on Objectif d'Artiste

Darlot RR fitted to some of Shew's Xit cameras. Q5 type. These RR's were stil available in 1911 on Blocknotes. A Darlot lens No55,75x on a 10x8in (?) camera was probably an RR made in the 1890's(?). It seems to be a late lens.

1894 Achromatic f11, 130mm, for Cyclograph. "Darlot Paris" lens was used at No16,02x on an 1897 model Tourtin camera.

1889 Planigraph f9.0, 210mm on Photosport (Dubroni) Hasbroeck illustrates a Damoizeau Cyclograph datable from 1896 with a Darlot f7.5/11cm lens but does not give much information about it.

Foyer Planigraphe f9/81mm noted as a pair at No 2817+2818 on a L. LeRoy, Paris Stereo for 13x16cm

1906 Darlot lenses noted fitted to Le Roy Stereo f9.0, c.80mm. 1901New Anastigmat lenses, f9.0 if dissymmetric, ie 3 foci. f7 if symmetric. This will be the type of lens noted as by Turillon at No189x for a 9x12cm format.

1911 Symmetrical Anastigmat f7.5, on Blocknotes, in VP size. Universal Lens- no details. Hemispheric Lens: probably the same as the Hemispherical above.

Daroth Ltd, Bolton, Lancashire. D.A.Roth and R.Sternberg designed a camera to be known as the Ilford Witness, and intended the lenses to include their own Daron f2.9 50mm lens. Very few Darons were made, essentially for the prototype bodies. The normal lens for the camera was the Dallmeyer Super Six described above.

Davidson, Castle Hill, Edinburgh, Scotland. An early and innovative maker of Symmetrical Achromatic lenses, from about 1841. These were a plano- convex crown cemented to a plano-concave flint and were of good quality, but too slow for the market of the time, eg for portraiture,and were not a success, so they will be rare. They included a casket set, for 6.5, 14, 21in (B.J.A. 1900, p826) with the layout Dav001. "In 1841 he used a pair of single landscape lenses mounted like a modern RR", but it is likely these were not the same type of achromat. These lenses were probably used by Hill and Adamson though this is not certain. Traill Taylor says his son continued to make them at least up to about 25 years later ie 1866.

DDA Optics. These were listed by Whitby of 254 Victoria Rd. Aldershot, etc., UK. But they may not have been exclusive to them. The list in 04/1969 was: Auto: f2.8/28mm; f2.8/25mm; f2.8/35mm; f2.8/135mm; f3.9/200mm. They were in a mix of M42 and Nikon fits. Preset: f3.5/28mm; f2.8/35mm; f1.9/85mm; f3.5/135mm; f2.8/135mm; f4.5/200mm; f4.5/300mm; f6.3/400mm; f5.9/400mm.

Debrie, France It is worth noting the lenses for the Debrie Sept compact 35mm movie and still camera. They include Roussel Stylors where f3.5/50mm lenses have been noted at Nos 38,46x and 43,19x.

A.Dehors, France. 1887 This was a commercially made Pinhole Device. = Le Stenope'-Photographique with 0.3, 0.38, 0.5mm holes. 1895 There was also a Meniscus(=Spectacle ) lens set for soft focus work.

Delmonta, Montanus, Solingen. Pluscanar f3.5 75mm on Delmonta TLR (1954): also on Plascaflex.

Demaria-Lapierre, 169-171, Quai de Valmy, Paris, France. A long established firm, founded in 1848, and later said to be "combining old world experience with new world efficiency", but only occasionally selling in England. Thus the products are not well known in England. The firm seems to be Demaria Freres up to about 1900, then Demaria-Lapierre and advertised as such in B.J.A. 1922, p748 offering Condendensers, Lenses, Lanterns Cameras and film cameras. Their later folders tended to use rather shorter foci than usual such as 90mm for 6x9cm. There was a short period in the late 1940's when they were imported to the UK and the compiler remembers a 16-on '20 camera with a Manar lens- impressively compact in the way it folded up. Some products noted were:

Older types Rectilinear f8.0 55mm on DMR stereo, 1908. The oldest noted is in 1895, on a 12 lens multiple camera. There then are several RR lenses listed on cameras in FBB from 1900-1908 with one in 1925. In some cases the RR's seem to be sold to other camera makers such as Naudin, suggesting that Demaria were both camera and lens makers. Thus it was an important product. In some cases anastigmats were offered as alternatives. Fig 029 032 Demaria-Lapierre Paris RR (No serial No). Hektor Rectilinear, on Caleb plate, 9x12cm, probably f7.7, 1920's. Rektor RR's used in 1925 on a Jumelle stereo camera. Sagittar An old type of lens of 4 separate glasses noticed in B.J.A. 1900, p1394. This source also lists RR, WAR, Periscopic and Meniscus lenses. A Rectiliniaire Extra Rapide in a TBI shutter has been seen. The name was to be reused later. Sigmar f6.3 This was noted on a 6x9cm plate camera. Sumar This was a lens on a 1914 Ferrotype camera. Kelar An early anastigmat in 1904, as follows: Kelar f6.8 This was described at auction as Series XII, No50, f6.8, No1753x. It may be the same as the next: Anastigmat f6.8 A 180mm version was noted at No1554x on a 13x18cm wood+brass camera.

More modern lenses include: Manar f3.5 75 mm(or possibly 80mm) on Dehel or Telka 1 folders, for 16-on, 1949-1959, it was probably Q14?. It was used by 1942 on a Dehel 16on camera. They were imported as 16-on and possibly other sizes for a short period about 1948 by R.G.Lewis and an example (focus in feet!) may have been seen with a f3.5/75mm Manar. It was uncoated and in an ACG 1-1/250sec + B shutter, it proved to be a much better performer than feared- useful at f3.5, and really sharp stopped down, and with little sign of flare under normal outdoor conditions- it did flare up shooting into a sunny window but this was a severe test. The bellows were in poor order and may be of ersatz material due to war, and could be a cause of closure problems. One point is the front diameter seems to be about 19mm while a f3.5/75mm lens requires 21.4mm but this is a small point. (Thus it may actually be a slower or shorter focus lens than specified.) Anon f6.3 75mm made in 1941 for 16on Dehel. Manar f3.5 90mm This specification was used on the 6x9cm cameras from 1941 and suffered some problems, due to spherical aberration and the cameras used a curved film track suggesting a lack of flatness of the image. A batch of these was imported into the UK about 1949, as one of the first 'new' cameras to appear. f2.5 90mm Vial suggests this was considered but not made. Manar f4.5 90, 110mm This is described as a 3-glass lens in B. Vial's book. It was used on 6x9cm cameras, probably as a 90mm lens, but a f4.5/110mm lens was used on the Telka XX, the last type. Sagittar This as f3.5/95mm on Telka 6x9 MkIII. It was a premium grade lens of 4 glasses, about 1948. Sagittar f3.5 70mm This was a 4-glass made in about 1,000 items for the Telka Sport about 1957-60. Kelar f6.8 This was described at auction as Series XII, No50, f6.8, No17,53x.

De Mornay Budd, 475, Grand Concourse, New York 51, USA. They made or sold accessories, including flash units, drying cabinets, and at least one De Mornay-Budd Special f3.5/50mm lens in a focusing accessory for Leica. (Amer. Annual. Photo. 1947, Adv 18).

Den Oude: see Old Delft.

Fig 010 064 Den Oude Delft, (front) 2x Minor f3.5/35mm eg at No493,30x, 501,00x and (rear) Delfar f4.5/9cm No494,52x all in M39 mounts. Fig 010 066 Den Oude Fototel f5.6/45cm No493,602 for M39. Fig 027 033 Den Oude Delft Rayxar f0.75/65mm and Electronar f1.0/68mm (Made in Holland).

Derogy, Eugene, Paris, France. NB Some lenses are engraved "Paris and France" as if he had two establishments (shops) eg at lens No45,18x. In the late 1850's, a lens on a Waite camera was just "Paris".

1858 He is best known for a Petzval variant with bayonet joints, which allow the focus to be changed by inserting one or other of a pair of + or - low power lenses. Add in the use of the front glasses for landscape work, and a lot of focal lengths are possible. It was made in at least 3 sizes, and the layout Der001, may have varied as one known to us has a separated (ie not cemented) pair of front glases rather like most Petzval rear pairs. They are rather unusual and scarce items, but do turn up though they sadly are seldom complete, often missing even one main glass and several of the centre glasses. They seem not to be numbered, No12,849 appearing on several, as it is the B.Pat No. A late example was fitted with rotating disc stops. (There is also an enormous Petzval by Derogy of some 10in dia. in the George Eastman collection. ) Fig 018 030 Derogy multiple focus with adjustable centre No13849 complete.

Fig 018 032 Derogy multiple adjustable,as above, dismantled. FBB list Derogy items from a triplet (? as above) on a Tailboard 13x18cm camera of 1860 until about 1905. But note that Derogy also made or sold cameras, and some may have had other makers lenses, as a 1895 9x12cm which at least now has a Berthiot lens.

Wide angle This was listed for 13x18cm on a 1885 Gilles Freres camera, and was probably a WAR? Achromat This was listed on an 1888 13x18cm camera. Orthoperiscopic, for plastic camera Versak. This is shown in M.Auer, p149 (1897). An example was auctioned as a 9x12cm lens but without details which may suggest there was little engraving on it apart from the type. It was also on the 9x12cm Detective Cyclos in 1897 (FBB).

Aplanat=RR f8.0 ( ie a double aplanat, noted coded No2.) FBB lists several RR lenses from 1888 to 1903, but without giving trade names or specifications so they were probably f8 lenses.

Secklar f6.8 This was an 72mm Anastigmat fitted as pairs on a Derogy Stereo camera in 1905 Luciclar f6.3 This is an anastigmat noted, in FBB on an stereo camera in 1910.

Desmoulins, France. FBB list an RR from Desmoulins on a 9x12cm in 1895, but none has been seen.

Diana This lens is on the modern (late 1990's) Diana camera for 4x4 approx. on 120 film which is noted as a well made rigid camera at a very reasonable price, which has achieved note due to the lens which fans say has almost the quality they look for in a soft focus, and as a result the price of Dianas can be relatively high. The image is described as soft and coverage limited on the examples reported. But note: the date may be earlier as it was first noted in Modern Photo 04/1979 p61 when Mr M.Schwartz sent an example for examination. Cost was $1.75 for an all-plastic contraption from Athens, Georgia, USA . But the project seems to have been "coming to a close" then

Diax Camera, Ulm, Germany. Their cameras were normally fitted with lenses from Rodenstock and ISCO or Schneider but one early model, the Diax IIa had a Diaxar as a low cost alternative to the f2.0/50mm Xenon.

Dieterich, USA(?) Detrar f3.7, This was a variable focus which varied it rapidly for increased depth of field, See Electronics, 15, 44, (1942/3), also USPat. 2,025,731.

Dietzler, Wien, Austria. c.1850 Dialyt= Orthoscop, Petzval's second original design of 1840. See also Petzval for the story. Essentially there are both: (a)Orthoscops of a revised design (1854-1856) produced from about 1856 -1865, and (b)Petzval Portraits from about 1860, where the first 100 were supervised by Petzval himself. He had offered a 6in Portrait by 1856. Of the Orthoscop, a comment was "A lens of the future".(Traill Taylor, 1892) The business was poorly run later, and declined, closing soon after 1862, and Dietzler died in poverty in 21/10/1872.

Ditmar Cine camera makers, but it is not known if they made lenses. A series of f1.8/12.5, 25mm, f2.5/12.5mm and f2.8 or f2.9/20mm lenses were used. about 1935 onwards.

Dixons, 88 Oxford St, London, W1, etc., UK. Dixons are a major UK retailer, with many branches and bespoke special items under trade names such as Prinxflex and Galaxy. Thus a f3.5/135mm Prinzflex Auto tele (5 glasses) or Galaxy will often have been part of a package offered at a special rate as on April 1970 with a Zenith or Prinzflex camera, though the standard lens was a f1.7 Reflectar. A. April 1969 list includes: Prinzflex Automatic Lenses: f2.8/28mm; f2.8/35mm; f3.5/135mm; f2.8/135mm; f3.5/200mm. B. April 1969 list includes: Prinz Galaxy Preset Lenses: f3.5/135mm; f2.8/135mm; f4.5/200mm; f5.6/300mm; f6.3/400mm; also f3.5/35mm. In 1965, the 35mm was a 5g/5c retrofocus lens, and the 135mm was a 2+1+1 triplet type.

Djian Designer in 1936 of a very high speed lens, with aspheric surfaces.(B.Pat. 489381.)

Docter. See entry under Zeiss, Jena, also.

Fig003 025 Docter Optic Tessar f4.5/105mm No1540 and ApoGerminar w/a f8/150mm No1043.

Dodin He designed a optical rangefinder using wedge prisms and it sold on the Alsaphot Co's Alsaflex in May 1950, and was probably then 'new'. Also Dodin designed the optically interesting "Cyclope" camera. (For the focusing device see B.J.A. 1951, p182-3. Fr. Patent No628, 953 of 09/08/1943 to Lucien J.A.E. Dodin of 1 Place Charles Le Roux, Nantes, France; B.J. 1950, p357.) Versions were developed for 35mm SLR's world wide.

D.O.Instruments. This was noted as the name on large format, enlarging and movie camera lenses, and may be related to Navitar,Inc., 200,Commerce Drive, Rochester, N.Y. 14623. [See also Gundlach Optical and its conversion to Dynamic Optics.] The item seen was a : D.O.I. lens, f6.3 210mm, for Toyo monorail. for which they may be agents.

Dollond, John (1706-1761) Dollnd & Aitchison from 1889 The family were Huguenots, coming to England in 1687 as silk workers. The optical business began in 21/04/1750 when at 21, Peter Dollond set up in Vine St near Hatton Garden as an optician, making spectacles at first- a poor business. He therefore aimed more at navigational and astronomical instruments. This was successful and in some 2 years later, his Father John Dollond gave up silk weaving and joined him. Soon they moved to the Strand at the sign of the Golden Spectacles and Sea Quadrant. It was about this time that they began to make achromatic field lenses for telescopes. They got credited with the invention of the achromatic lens pair in 1757, but see Hall, C.M. also. But the Dollonds did improve the design and the son Peter (1730-1820) invented a triple lens with a convex each side of a central concave. John was appointed optician to King George III in the year of his death, 1761, which still continues today. These telescopes were so good the UK Navy called telescopes 'Dollonds' as slang, and the Duke of Wellington claimed they gave him an advantage over his enemies. Peter retired in 1817 due to poor sight, and the business was run by his nephew George Dollond I, and next by his nephew and apprentice Gorge Dollond II and then George's son William, running it to 1871after which it traded as Dollond & Co but fell into difficulties. James Aitchison (1869- 1911) was a Scotsman and fine optical designer and set up on his own in 1889 aiming to improve methods of sight testing, then very haphazard. He was followed by his son Irvine (then 23 years old) in 1911,who instigated the merger with Dollonds in 1927 and the joint firm moved into photography, selling still cameras and accessories, some of their own make. Some under their own name used the famous 'Owl' trade mark. See note under Wray also where they helped found a purchase. One 'Owl' camera lens has been noted, possibly a bought-in item. There are likely to be others. The photographic side continued until 1962, when the firm was taken over by Television Wales and West Ltd, after Irvine's son died young in a motorbike accident. But the photographic side was phased out fairly soon in favour of other optical business. (Source firms Anniversary Special Brochure, AD2000, etc.)

Dollond Owl f4.5 about 4in, probably a Q15 type. (NB The Owl was the trade mark of Dollond & Aitchison.)

Fig 009 018 Contessa Nettel Conastigmat f6.3/135mm in Derval shutter; and Dollond Owl f4.5/4in in Compur.

By 04/1972-3, they were selling their own series of preset iris SLR lenses and some in M42 with auto iris. Preset lenses Dollond f2.8 28mm The 28 and 35mm were not in a June 1967 list. Dollond f3.5 35mm Dollond f3.5 135mm Dollond f4.5 200mm Dollond f5.6 300mm Dollond f6.3 400mm The 300 and 400mm were also listed as available for Visoflex 11 and 111 Dollond f6.3 500mm In 1971, they were a little different: f3.5/135; f4.5/200mm; f5.5/300mm; f6.3/400mm: so they were all long lenses then. There was also a f8/500mm in 1969. Most mounts were listed. Auto iris for M42 only (in 1969, these were Nikon, Canon, Minolta and M42). Dollond f2.8 28mm Dollond f2.8 35mm Dollond f2.8 135mm Dollond f3.5 200mm for Canon and Minolta only in 1969. Dollond f3.9 200mm for Nikon.(1969) In 1971, they were auto iris as follows: f2.8/35mm; f2.8/135mm; f3.9/200mm.

Dralowid, Berlin, Germany. This is the name on an 8mm cine projector in B.J.A. 1954, p204 and may be used on the lens, a f1.4. There was a Reporter 8mm camera with a Minox Wetzlar Dralonar f2.5/12.5mm but no details are available. (see also Minox section.)

Draper, Dr J.W. He was responsible for one of the first symmetrical doublet lenses in 1839, of two double convex 4in dia lenses to give 8in focus, in a tube with a diaphragm 3.5in in front.

Drepy, France. The name was derived from Andre Pierrat He seems to have made most of the parts for his cameras and may well be a lens maker. They were sold as Drestars. Production seems to be from 1942 as 6x9cm cameras. The Drestar seems to be a 1+1+2 Q15 type. Pierrat anastigmat initially f4.5 105mm (1945) on Drepy Model 1 Drestar f4.5 105mm in 1946. Drestar f4.5 85mm on T85 for 6x9 or 6x6 with masks, this was a solid bodied camera. Drestar f3.5 80mm on Le Drepy T85 as option. f3.5 100mm (or 105mm, 1952) also on 6x9 folders, as option to Drestyl and Boyer Topaz f6.3 lenses. Drestar f3.5 75 or 80mm on the Le Dreflex 6x6 in the 1950's. The view lens was a Drestyl f3.5 and while they will both be one focal length there is some doubt as to f=75 or 80mm for both. Drestyl f6.3 This seems to be a cheaper 3 glass lens. Drestyl f4.5 105mm as above. This was coated in 1950. Drestar This has a Q15 type design.

Drucker, A. and Co, Chicago, USA. Polaris f2.0 50mm on Ranger 16 on 127. Polaris f2.8 50mm on Ranger 16 on 127. The lenses change on a thread near M39x26.

Druoptar, Prague, Czechoslavakia. Druoptar f6.3 75mm Druoptar f4.5 50mm ) Druoptar f3.5 50mm ) on Vega 11, and 111. Their brass finish lenses go back to 1910 at least.

Dubosq, Paris. An early maker of a cone lens called a Policonigraph, auctioned as example No14. Dubroni = M. A. Bourdin, 236, Rue de Rivoli, Paris, france. Anagram of Bourdin, who made a quick process wet-plate outfit,but the lenses were bought in and usually of Petzval type. In 1864, three format sizes were made: 4cm round, 5.5x5.5cm and 9cm oval. There were also 10x10cm. Dubroni seems to have continued in business into the 1880's as FBB lists some Dubroni achromats on folding cameras for 9x12 and 13x18cm from 1888. The lenses may vary in complexity, as one at auction had no number but provision for portraits and views (Paysages) with apparently a separate meniscus lens for the latter, and another seems to have the same. The cameras could be quite small, as one to give a 1.5in dia. negative was described in MCM 1/1947 with a small brass lens in a rack focus movement. Note the lens (possibly Petzval type) was also used to view the development of the image. A pair was on sale in London in AD2000.

Ducati, Milan, Italy. This was a general instrument and engineering company whose Ducati camera was a most interesting item, with some 8 lenses of 19-120mm for use on 18x24mm. It was an early postwar product noted in MCM Oct 1947 and is now a desirable auction item.The lenses included : Vitor f3.5 on Sogno camera (1938) Vitor f2.8 35mm This was noted at No33,06x. An example on a Ducati was body No278x, lens 33,25x. Vitor f3.5 35mm This is the usual Ducati specification. It was noted at numbers: Body/lens; 02096/03598; 304x/824x; 364x/844x; 400x/861x; 625x/3052x; 634x/30,61x, 07442/31089; 6345/3061;.--/32,112; (Anon) f3.5 35mm on Ducati (1947) " f4.0 24mm "" " f5.6 120mm "" Etar f3.5 35mm on Simplex (1950). It was noted at body number No17,22x, but seems to be unnumbered itself. Argon f4.0 25mm (Experimental lens, 1950). Lator f2.8 60mm This was noted at No00,832.

Dupluich,H., Opticien, France. He obtains several entries in FBB, and must have been both a camera maker or agent as well as a lens maker, since other brands seem to have carried his lenses such as Dumont in 1903. The lenses included anastigmats but the names are not given apart from the Verax. RR This was mentioned on a Ferrotype camera in 1900. Triplet This seems to be by Dupluich but used on a Dumont L'Indiscret in 1903. Verax Anastigmat, of 3+3 anastigmat layout. In 1901, 1903 it was used on a Dupluich Myosotis camera for 6x9 or 9x12cm. It was also used by Milhau in 1901. Teleobjective, in focusing mount, (Telenegative accessory type). This was noted as a large alloy mounted telenegative in a London shop in the late 1990's. Dissymetrique Lucidior An early 35mm movie lens about 1904, and noted on a 1906 Breviare. It is not known how it relates to the next item but it may be series I. Lucidor Series II f3.8/54mm This was on an early (c.1904) movie camera, at No390x. But it was also used for still work. Orthoplatiscope f16.5 This just may be a wide angle based on the Zeiss anastigmat after the patent had ended. Fig 029 033 Dupluich Orthoplatiscope f16.5/110mm No2830.

Durst S.A., Bozen, Italy. Durst made some cameras after the war, and the lenses have Durst related names, and are of unknown source. Later they concentrated on high quality enlargers, and sold Neonon enlarging lenses to match. It seems these were bought in, and it is said that many came from Pentax. Ducar f11,f8.0 50mm on Duca 24x36mm (c. 1946) (?) f3.5 for Automatica, 1950's. Color Duplor f2.2 80mm on Durst 66 in June 1958, at £8.6 This was a focussing lens, coated and with 2 apertures, ie fairly simple. Neonon f2.8, 50mm; f5.6, 80, 105mm. Users say "Excellent".

Dynalens This is a image stabilization component consisting of two optical flats with a liquid layer between, which can be converted to a prism by tilting one of the flats, so bending the light to compensate for a deflection. It is made by Dynalens Corporation.