Taika, Japan. Super Cinconar f3.4 200mm: It seems this was the same as the TeleRokunar (Modern Photo. 01/1964). Super Harigon f1.2 58mm for Exakta, in black finish, brown coated, reported at No111,08x approx., and made to fit on the outer bayonet of the Varex Exakta camera.

Taisei Kogaku: The makers name on the Tamron lens below. They are noted for the following also: Taikor f3.5 45mm Terionon f3.5 45mm on Super Westomat 35a.

Taiyokoki Co Ltd, Japan. They are noted for a Lausar f3.5/2.5cm on a Viscawide ST-D camera.

Talbot, Fox. His initial cameras were surprisingly small and it is said that he used a 2in microscope lens of unknown source on some of them.

Talbot, Walter, Berlin, Germany. The lens on these "Invisible" cameras was an f5.5 Anastigmat of anonymous source. The camera was made in small numbers for many years roughly WW1 to mid interwar, so the lenses might have come from many makers of movie lenses.

Romaine-Talbot q.v.

Tamron Co Ltd, or Taisei Kogaku, Tamron Bdg, 17-11 Takinogawa 7-chome, Kita-ku, Tokyo, Japan. At this time the cable addresss was Tamrontaisei Tokyo. Surprisingly, no catalogue was available here, and this entry will be completed in the next edition. One important feature was the adaptamatic series with a unique adapter range for most SLR's. Also the use early on of matched extenders in the twin and converto Tamrons. These really are Landmarks, though perhaps modest ones, and were the sort of real novelties which deserve to be looked for. Tamron stated they produced all their lenses themselves. (Blackman, Amateur Photo 04/10/1978 p116)

Early Lenses: Extenders Converto Tamron with extender. Tamron seem to have started these extenders with the f2.8/f5.6 135/225mm which was rated as "outstanding" by Modern Photo (04/1963, 05/1964) shown as Tam 001, where the shaded part is the removable extender section. It is not too common in the UK as it was early in the period when foreign imports were freed, and from experience few retain their extenders as they were a unit screwed behind the prime lens with the camera adapter then screwed on the rear. Thus users stored the lens as the 135 with the rear M42 or Minolta etc. adaptor fitted and the extender was a rather featureless black tube with 1:5.5 225mm engraved on it but the purpose was obscure. Two of those seen were in M42 screw mount. (The mount seems to be a normal T-mount but with a c41mm fine thread inserted where the keeper ring is normally present on purchase and this is normally a reject item. Thus the shop could sell any T-mount by fitting it over the adaptor thread in the lens as supplied and the T-mount then could be ignored by the user until the camera was changed.) The lens seems to be all air spaced, at S. The converter seems to be 3g/2c and this one has gathered quite a lot of dust internally. The adaptor protrudes in front of the extender by some 7mm and is well forward of the camera flange. The lenses seen in UK were Nos 374,27x, and 375,77x in M42 and No371,85x in Minolta. It was sold in the UK as the Twin-Tele f2.8 135-225mm and listed by Hanimex in May 1964 at £29.97 approx. Fitted to a Canon, the image seemed to be really sharp and contrasty, but the f5.5 makes it rather slow except in good light. Fig 008 053 Tamron 2x Converto Tamron f2.8/135mm at No375,772 and Twin Tele Tamron f4.5/135mm dismantled. Twin-Tele The early examples are marked as Twin Tele instead of Converto Tamron but seem to be the same lens with the same front curve.

Twin Tamron with extender. This was a smaller item at f4.5/f7.7for 135/225mm in a case with the multiplier. It may have sold better in the UK at a lower price but is slower and here the adaptor certainly went between the mount and the camera flange making it slower to use. But the unique thread and case to keep it in means that the components are more often kept together for sale today. It was seen at No 51,56x. This was also listed in May 1964 and curiously was almost the same price at £19.95 even though it was slower, and had a slightly more limited focussing range to 6ft. The attraction may have been lightness for outdoor use. (see Fig above)

Tamron Nestar f6.9 400mm This was a collapsible 4 glass lens with adaptors for most makes, at a modest price. (May 1966). A correspondent to Modern Photo 02/1968 p45 was told the Nestar was no longer imported but rather a plain version of the identical optic, due to diaphragm problems with the Nestar- which Modern said they had not noted. Tamron f6.9 400mm as above, plain. Tamron f7.5 400mm This was also listed May 1966, and was a plainer non-collapsible lens focussing to 28ft.

Tamron Auxiliary telephoto 4x for fixed lens 35mm cameras or possible for 6x6. This was seen at No 58,69x and was a slim black and silver tube about 6in (150mm) long. These seem to have sold with an adaptor for the lens in use, often now lost or hard to identify. The lens seen had a c.33mm thread and needed to be some 15mm forward of the bayonet of the TLR. Sharpness looked to be useful and the screen was illuminated except perhaps for the very corners. It was not used so it was hard to see if it was used by focusing on the finder screen with the accessory in place on the taking lens but this seem to be true. The image with it on the finder screen is inverted. The front section focusses to 2.5m. Fig 008 051 Tamron Auxiliary 4x extender for ?6x6 TLR.

A March 1968 review in Camera 35 covered Adaptamatic lenses with interchangable bayonets for automatic action, then 'new'.These were made to suit Pentax, and M42, Nikon, Minolta, Canon and Miranda at least and were made in: f4.0, 21mm (1972); f2.8, 28mm;f2.8, 35mm;f2.8, 135mm;f3.5, f3.5,200mm (1972); 200mm; f5.6, 300mm. On the whole the review was favourable, especially in view of the prices. In 1972, the list extended to include the above and a f2.8/135mm; f4.0, 70-220mm Zoom. In 1973, there was a f3.5/24mm, f4.5/200mm, and zooms of 85-205; 80-250mm as well. There were more eg at Chicago show in Modern Photo 07/1971 p47 as f1.8/35mm; f3.5/24mm; f2.5/105mm; f4.5/200mm; and f3.5/35-100mm zoom.

A later list covers Adaptall lenses where there is auto exposure coupling, and it is essential to use the correct 'speed' of adaptor, ie all f2.5 lenses use an f2.5 ring and all f3.8's use an f3.8 ring, etc. Some were coded SP for super performance. At this time the prime lenses were: f3.5 17mm 104° 12g/10c f4.5 21mm in 05/1972 f2.5 24mm 84° 10g/9c f2.5 28mm 75° 7g/7c f2.8 28mm in 05/1972 r2.8 35mm in 05/1972 f2.5 90mm 27° 8g/6c f2.5 105mm This was in 05/1972, and was very compact and had 4 'elements'. f2.8 135mm in 05/1972 f3.5 135mm in 05/1972 f2.5 135mm 18° 4g/4c f3.5 200mm 12° 5g/5c f5.6 300mm 8° 6g/5c f5.6 350mm 7.3° 7g/4c f8.0 500mm 5° 7g/4c There was a steady decrease in the single focus lenes later as the zooms replaced them and one list has: f3.5/17mm 12g/10c f2.5/24mm 10g/9c f2.5/28mm 7g/7c f2.5/90mm 8g/6c f2.5/135mm 4g/4c f3.5/200mm 5g/5c f5.6/300mm flat field tele-macro to 1.4m focus. 6g/5c design. f5.6/350mm 7g/4c mirror f8/500mm 7g/4c mirror and 2x extender of 6 glass in 5 components. also Zooms in: 24-48mm at f3.5-3.8, 10g/9c, 28-50mm at f3.5-4.5, 9g/9c, 35-70mm at f3.5-4.5, 7g/7c, 35-80mm at f2.8-3.8,9g/8c, 70-150mm at f3.5, 13g/10c, 70-210mm at f3.5-f4, 16g/15c, 80-210mm at f3.8-f4, 13g/10c, 75-250mm at f3.8-f4.5, 13g/10c, 70-350mm at f4.5, 15g/13c, 200-500mm at f6.9, 14g/8c, also 70-220; 80-250; and 200-500mm in 1971. In May 1972, there were f2.8/28mm f2.8/135mm and f3.5/200mm with auto iris.

Later Lenses This is only a small part of the list. f4.5 21mm "new", budget specification in 11/1968. f2.5 105mm in Adaptomatic mount. f5.6 350mm mirror. f8.0 500mm mirror. A Tel-Macro was reviewed favourably as a specialist tool in B.J.P. 13/07/1979 p663. It focusses to 1:3 ratio. Aspherics came in August 1992, with a review of a f2.8 35-105mm zoom with one plastic element supported- on-glass aspheric element and a note in Am. Photo. that this was almost a dead heat for Nikon, Sigma and Tamron and that this might suggest a common origin for the aspheric elements. It maintained the f2.8 aperture while zooming but gave severe pincushion distortion at 105mm, a reverse of the usual. The B.J.P. 29/09/1978 listed the new SP lenses. There were 8 of these: Zoom f2.8 70-150mm f5.6 300mm f3.5 17mm super wide f2.8 135mm Zoom f3.5 70-210mm f8.0 500 mirror The design of this was unusual and allowed close focus to 1.7m ie 1:3 ratio, due to a novel design. f2.5 90mm macro SP 90mm f2.8 This is a manual set lens for up to 1:1 macro use, with a 9 blade iris to give the best out-of- focus image in portraiture. It has BBAR coating. The comment on the iris is a significant one. It was noted in B.J.P. 09/10/1996, p6. Zoom AF 28-105mm This was a new item expected in B.J.P. 09/07/1997, p6 having been at Photokina. It has 4 hybrid aspheric elements and 3 with low dispersion glass as well as internal focusing. Price: £799.95. Zoom CF Macro f2.8/f3.835-80mm This was noted in B.J.P. 04/07/1980, p629. It has 9g/8g design, and uses a 2group zooming configuration for improved astigmatism control.

A Millenium list for Tamron given in the Amateur Photographer Oct 2000 was as follows: f2.8 14mm 14g/12c f2.7-f3.5 20-40mm 15g/12c f3.3-f5.6 24-70mm 8g/7c f3.5-f5.6 28-80mm 7g/7c f3.5-f5.6 28-105mm 15g/12c f2.8 28-105mm 15g/13c f3.8-f5.6 28-200mm 16g/14c f3.5-f6.3 28-300mm 15g/14c f2.8 70-210mm 17g/13c f4.0-f5.6 70-300mm 13g/9c f4.5-f5.6 80-210mm 9g/8c f2.8 90mm 10g/9c Macro lens to 1:1 f5.0-f6.3 100-300mm 12g/9c f5.6 200-400mm 13g/11c f2.8 300mm 10g/7c Note many of these zooms have a macro function but the dedicated macro lens is the only one listed as such for 1:1 use.

Tanaka Kogaku, Japan. They seem to have been most active in the 1950's as the cameras and lenses are mainly in M39x26. They are very attractively finished items and must have sold well but are not common in the UK as most were sold before imports to the UK were easy. Some late ones were in bayonet mounts. It is thought they were proprietary in the sense the Tanaka were maintaining their product line by commissioning items.

Tanar f2.8 35mm Tanar f3.5 50mm Tanar f2.8 50mm This was noted on a Tanaka IVS body at No77,65x as Tanar No59,36x, also on 77,55x at No59,69x. Tanar f2.0 50mm This may be the easiest to find in UK as it was sold on Tanack bodies but can be transferred to other M39 bodies. They were seen at No22,58x, 24,96x, 24,97x. It seems to be a 6-glass triplet type with rather compact glasses. Tanar f1.9 50mm This was noted at No192,70x. Tanar f1.8 50mm This was noted at No192,70x. Tanar f1.5 50mm This is scarcer than the other versions. It was noted on the V3. Tanar f1.5 45mm(?) Tanar f3.5 135mm This seems to be another lens which it is possible to find in the UK in black and chrome at Serial No 14,50x, 15,74x, No15,55x, No15,03x, and 16,65:.and look for a case, finder and hood to match. They seem to be a 4-glass triplet type Q23. One point- these were also for Nikon or Contax mount and coupled. One dealer commented that he had had problems with one of these probably due to coupling difficulties, but no details were available.

Taron, Japan. This is known here for the lens on a fixed lens camera, the Taron Marquis which had a favourable review in Modern Photo 04/1963 p77.

Taylor's Patent, Hoxton, London, UK. This is the engraving on a early 19C lens with old style engraving , no iris and two +,+ components at the rear of a meniscus type barrel, but without further current information being available.

Taylor, A.and G, 78, Q. Victoria St, London, UK. This name was engraved on a brass RR 10in f8 (?) for Waterhouse stops, probably early 1890's, but probably represents a dealer rather than a maker. Fig 008 044 Several branded lenses with the camera maker or shops' names(l to r) Taylor, Thornton Pickard., Tomkinson, and (r) Underwood, all about f8 RR types.

Taylor, Taylor and Hobson, Ltd., Leicester, England. They were at Slate St., Leicester to 1900, then Stoughton St from about 1900- the 1990's.. Currently: CookeOpticsLimited, Cooke Close, Thurmaston, Leics. LE4-8PT Tel 0116 264 0700 "Always get Nature on your side", W. Taylor, (1865-1937) TTH, as it is usually abbreviated, was founded by the brothers T.S and W. Taylor in Victorian times, with an exceptionally rigorous attitude to precision. The former was the optician, the latter an engineer, and Mr Hobson the business man, and salesman.The initial products were conventional RR, Landscape and Globe lenses but of really high quality. (Am. Photo. 29/04/1887, 27/03/1891) But the products were noted as "budget" in price, and in 1889 they seem almost as interested in selling spirit levels as lenses. This was due to the brothers interest in engineering from an early age and T.S.Taylor had trained as an apprentice with R. and J. Beck in London and W.T. trained as an electrical engineer. In 1886 they (or Mr W. Taylor himself) began production at Slate St with capital of some £300 and were later joined in 1888 by Mr W.S.Hobson who was responsible for sales. Although the lenses were up-to-date in finish and with iris stops, profits were initially minimal to 1893, and there was a period when the firm was only marginally profitable, and the staff quite small. However they did develop a surprisingly modern actinometer in 1887 calibrated with a standard candle- it seems well ahead of the time.

They initially used the then standard mounting threads such as 1.5in fine as on lens No182 (a triplet) but must have been dissatisfied with the sloppy standards of the period, as reflected in press comments about threads such as in B.J.P. 20/02/1880, cited 22/02/1980, and played an important part in discussions on the standardization of lens threads in the 1890 period. They also developed novel thread cutting and engraving machines, and these were to be the basis of an important part of the business by 1891. The works then included a foundry, smith's shop, fitting shop, etc. and in 1900 many parts were illustrated in Hasluck's book. This included inspection equipment also. Mr D. Taylor was no relation and employed as optical ma at T. Cooke and Sons of York and when he developed a novel Triplet lens (which Cooke did not wish to commercialize themselves although they did make some as telescope objectives), they licensed the designs to TTH who then produced them for the UK and Empire and sub-licensed them to Voigtlaender (Germany) and Balbreck Aine et Fils (France) though the exact terms are not known. A number were made by Voigtlaender but the Balbreck production is not known here although one lens has been noted with in+metric focal length. TTH opened a branch in New York in 1902 under a third brother R.J.Taylor and they seem to have sold Leicester products with perhaps some from other sources.

TTH devisd and patented a form of thread for flanges in which the end of the thread was neatly squared off to avoid jamming, cross threading and make for easy engagement, and this is a very characteristic feature allowing the recognition today of their old equipment when the engraving is absent. They stated that when it was launched that some 20,000 older TTH lenses could be updated with this feature which may suggest their production up to that date. (Am Photo 02/09/1892, p160).

The codes RR=Rapid Rectilinear, RV= Rapid View, WAV= Wide Angle View and MAR= Medium Angle Rectilinear appear in their lists and at least some are engraved, eg. MAR; and they may have established them in use. Production initially could not have been large and the brass RR series has real scarcity in this field. Later the Triplets were produced in large numbers but the range was big and some are a real prize for the collector and user, such as the Portrait lenses. A further aspect was the movie lenses produced after the development of the OPIC and these are many of them still high value items in use and not often seen in the still collector and user area as they are sought after for the movie world.

W. Taylor sold the interest to Bell & Howell about 1930, and this lasted till 1946 when it was sold to the Rank Group. Biographical notes are in B.J.A. 1938, p195 on William Taylor (-02/1937, aet. sua 71 years) stressing his part in thread standardization: and Thomas S Taylor ( -14/03/1938 aet. sua 75) where they stress his contribution in WW1, and his start in business 52 years before (1879?). An important part of their production history is conserved at the Snibston Park, Leicester, UK. Today, we think the firm has two separate aspects, as TTH on the repair and maintainance of the Cooke lenses in use; and Cooke Optics for the design and production of new lenses. This is unique and shows the esteem with which Cooke lenses are held.

Special features can be the use of the portrait lenses by well known workers noted under them. Another feature in adverts. was the use on the Shackleton expedition in 1914-1917 by Mr Hurley, who is credited in the account of the expedition. [He took them under difficult conditions and preserved the plates with great tenacity.] B.J.A. 1922, p737. They were also used in Sept 1921.

Early Items mainly in brass, include from Slate St: Rapid Rectilinears Rapid Rectilinear (RR) with iris diaphragm f8.0 to cover 40-50°. It was offered in 1/4, 1/2, 1/1 plate sizes and was seen at No 1,28x with Waterhouse stops. Sharp & Hitchmough in 1889 listed it as 5.0in for 1/4plate, 7.0in for 1/2plate, 9.0in for 8x5in, 11in for 1/1plate, 13in for 10x8in, 16in for 12x10in, 18in for 15x12, 24in for 18x16in, and 30in for 22x20in. and suggested 13in for 10x8, and show lens serial No730 in the engraving. They were made with either Waterhouse stops or iris as an extra, and the iris had a black band enamelled in the control ring. The iris design has not been examined but at No580x it uses a raised band very like the Beck design of the period. Serial numbers noted include: No 580x, 11,37x. Some seem to be engraved "Landscape Lens". Fig 019 002 TTH RR's (l) 7in for 1/2pl with stops at No1287; (r) 9.2in for 8x5in No5800 with iris.

Rapid View and Portrait This was noted in 1885 approx. and revived or continued to 1911 at least, at about f11.3 or ?f7.5 and in 1911 was made as 10.5, 12, 15, 18in, where 10.5in was suggested for 5x4in. It was designed to cover about 40° angle.

Medium Angle Rectilinear MAR This has been seen as a squat lens, rather like a WAR but with more glass and engraved MAR at No11,38x, 6.27in for 8x5. There is no aperture marking but is likely to be f11 max. (?)

Wide Angle Rectilinear (WAR) with Waterhouse and disk stops. It covers 75-80° and was made in 1/4, 1/2, 1/1 plate, 10x8 and 10x12in sizes. Three examples seen were No3,65x a 4.02in for 1/2plate, No1,615x with an iris for 5.3in focus on 1/1plate, and an early one with disk stops. Surprisingly the 1887 note in the Amateur Photo. says f8.0 maximum aperture, but it may actually be less, such as f11 or f16. Fig 019 005 TTH WAR lenses (l) 4in for 1/2plate No3656; (l) 5.3in No16,158 for 1/1plate.

Extra Rapid Rectilinear f5.6 12in This was reported to be engraved 'Cabinet' and will be a Portrait and general purpose lens, probably an uncommon series. It leads onto the next item.

Rapid Rectilinear RR f5.0 A version was used of this at the Crystal Palace in 1890. Here it was for projection but it may have been a portrait design transferred to a new use.

Meniscus Lenses Rapid View Meniscus (RVM) This was made with an at f16 (F8 or 11 to focus) to cover 40°. It was made in 1/4, 1/2, 1/1plate, 10x8 and 10x12in. Wide Angle View It was made in 1/4, 1/2, 1/1plate and 12x10in only.

Portrait Rapid Portrait This was quoted as f8.0, it may be an RR rather than a Petzval. Portrait and Group Lenses in 5.0, 8.0, 12, 17in etc.

Casket Lenses These were noted as Series 111 in Amateur Photo. 27/03/1891. These were based on RR lenses and barrel but differed from other makers in often being a complete RR plus other complete lenses such as an WAR or RV rather than a package to fit one barrel. The common feature was the flange so that all items were usable on one flange. Caskets of RR and RV lenses were supplied for use with 1/4, 1/2, 1/1plate sizes of RR and WAR in the same sizes. Caskets of RR, WAR and RV in the same sizes. A casket set has been met with one barrel and glasses but with an extension ring to convert it from WAR to RR perhaps, but it may have not been complete. These were continued in 1898 as an RR with a triplet Series 111 packaged as a casket. Possibly a WAR was the RR used. An unspecified casket was sold at No398x on an Underwood of Birmingham 1/2plate camera. Stereo Sets: These were pairs of 3in lenses in WAR, 4in in MAR, 5 or 7in in RR, and 6in or 8in in RV. Projection Lenses These were initially in Rapid ie RR at f5.0. (Sources mainly from Amateur Photo 27/03/1891; B.J.Alm. 1889, plus lenses seen.) Detective and fixed focus camera lenses at f5.6, eg No1, 4in. (See B.J.A. 1889, advert. and p600 note), this was a rather special deeply curved lens (globular form) to cover a larger angle than normal at f5.6, (though it may well have needed to be closed down to succeed here). S&H offered them in 4.0, 5.0, 6.0in and TTH said 1/4plate was the best size for all Detective cameras and all these lenses. Hand camera Lenses These were in 4, 5, 6in and were designed to mount in shutters. Wide Angle By 1887 this includes a f11.3 version, which may be a MAR Wide Angle GLOBE lens This was f5.6 to view, f8.0 to focus, and probably was further closed down to use? It was noted in B.J.A. 1889. Cooke Achromatic Portrait f7.5 from 1885-1912 at least. This was advertised in 4 sizes to suit: 10.5in,for 5x4in; 12in for 5x8in, 15in for 6.5x8.5in; 18in for 10x8in. It was "used by Alfred Steiglitz, Clarence White and others."

It was in the RR period that the firm influenced and progressively adopted the new RPS flanges in sizes 1.25, 1.5, 1.75, 2, 2.25, 2.5, 2.75, 3, 3.5, 4, 5in. TTH devised and patented the use of a screw thread with the end cut off square for easy engagement and this is a good recognition point where a lens has lost its engraved identity.(Am Photo. 02/09/1892; Photo News 02/05/1890 p841). It was also used with the 'old size' threads. The initial serial number series seen on RR's ran up to No16,158 at least, here seen on a WAR and judging from a comment when lens threads were under discussion, about No20,000 in 1890. The low numbers such as No198 seen on some of the anastigmats therefore suggest a new start in numbering, and this may be connected with license agreements with the designers firm here.

Today, these early brass finish lenses can present problems for collectors. The lacquer seems to be an unusually tough one but where it is scratched, quite heavy deposits of oxide can build up and be hard to remove. And the engraving is often surrounded by this stuff, so legibility can be poor. Perhaps this is due to engraving after the lacquer has been applied and dried, with micro-fracture of the lacquer leading to oxidation. A complete clean off of the lacquer is also less easy and more messy than with lesser brands and paint stripper may be the answer. And the very high precision of the parts can make them hard to dismantle when corroded. Sadly this must be borne in mind when buying brass finish lenses, even though when in good order they should be premium items. Another problem is with early triplets, as listed below, where the centre glass seems to be permanently fitted to the barrel, perhaps to meet stringent alignment standards. This centre glass cannot be cleaned completely if either external cell is stuck in. Finally, the use of black enamel on some parts such as iris rings can prove a problem if lacquer and corrosion need to be attacked- it is resistant to some solvents, but only up to a point, when it finally softens and marks. These may be reasons leading to the fact that these old TTH lenses do not seem to fetch the sort of price which one might expect to pay, but rather sell at bargain levels.

A New Era The agreement with Cooke's to produce the Triplet must have given a real new impetus to the firm and lead to expansion of production. It was a hard lens to make in that the centre glass required very accurate centering- some early items have 3 special screws for this purpose. (This was not noted on lens No125 however, but this may be a small one of 6.3in and not have them. One possibility is that these 3 screws are internal on this small lens and only seen if the front cell is removed.) But it was inherently simpler than the symmetrical anastigmats and should have been profitable to sell. Certainly it was a brilliantly simple design. (Tay001). In the original, the glass was crown in the outers and light flint in the inner, and the focal length of the inner was nearly equal to the total of the foci of the outers, so that the separation gave the power. TTH developed several series in cooperation with Cooke. These lead to a more symmetrical design in later types (Tay003) and a new patent about 1895 covered lenses of up to f3.5- then very fast. These were to sell in parallel with the slower original which could be made with reasonably economical types of glass, including by one account with 'old' glasses. (Brit. Pat. 15107/1895; 22607/1893). There seems to have been a new start with serial numbers, as a 6.3in Series 111 is No125.

In fact TTH made them as 6 series of lenses as follows: Series 1 f3.1 for cine Series 11 f4.5 Series 111 f6.5 Series 1V f5.6 Series V f8/f10 Series V1 f5.6 Series V11 f6.5 and it extended up to Series XV eventually. It is very unusual for a maker to base a complete programme with so many products for so many years on one type of layout, and to use it to cover so many types of use. This does emphasize the unique position of the triplet. But today it does lead to problems in distinguishing the many different types.

Long term, users have shown some preference for Series V for fine sharp work and high values for Series 11 as a portrait lens. This was offered with variable softness due to altering the separations of the glasses, often unscrewing the rear cell. Altering the front cell position was found to give very effective front cell focusing and this feature was introduced in 1902 or just earlier (PhotoMiniature, 1902, p285) The series underwent some detailed changes shown by Series coded 'a' after the number but was basically in use to the end of still lens production well after WW2. (Later a unique new design was slipped in as Series 0.) H.D.Taylor (1862-1943) described the design of the triplet in Trans. Opt. Soc. 1923, p143, a very unusual paper, and discussed an f2.0 cine lens also. Apparently the original idea was an f8.0 Triplet of 6g/3c with each component separately achromatized, but as the design proceeded he found this was not needed and reduced the glasses to 3 singles. The final 3 glass type used: Glasses 1+3, Crowns, R.I.= 1.61, v= 58.8, Glass 2, Light Flint,R.I.= 1.604, v=38.0. The powers of glasses 1+3 is nearly equal to glass 2 to flatten the field and correct astigmatism.

It seems that Taylor did envisage splitting the centre glass to produce a dialyt type lens but this was much less attractive to the licencees and seems not to have been developed by the original licencees during the life of the patents. (There does seem to be a design study in Brit Pat. 24,391/1906, see Brit Jnl. 1907, p705; also 12/10/1906) Later about 1916, A. Warmisham (1891-1962) used the design for the Aviar for aerial work in WW1. He had joined from Manchester University in 1912 and designed the Aviar in about 1916 to work at 8.25in f4.5 and match or exceed the competing Tessar 1c of Zeiss: the lens also had to use only glass available in the UK during the conflict and the result was said to actually be an improvement in sharpness, though perhaps not in contrast. (W.B.Appleton, Photographic Journal, 04/1919, p114). Mr Twyman showed that the result can be improved by figuring (p120) and progressively longer lenses were made later, including an f6.0 10.5in and up to a 36in Tele, and also 4in Primoplane wide angle lenses. Mr Warmisham was to work for TTH until retiral in 1955. By the end of WW1 the number of employees had grown to 250. The presence of a Tele is of interest as TTH in New York seem to have agented teles made by Voigtlaender (1901), possibly in exchange for triplet licence fees, and by Busch (later) but had no Leicester product to sell up to 1914. [It may have been partly nationalistic pride, but C.G.Hetherington (B.J.P. 26/09/1919 cited 28/09/1979 p948) stated that comparison with captured Zeiss and Goerz lenses showed the RAF lenses to be superior.] An interesting report in Brit. Journal 1900, p847, covers Taylor's designs for interchangeable rear cells for Triplets Series 111a and 111b and Series V to change the focal length. Eventually there were 100% extension lenses sold for Series 11, 111, 1V, and Series V (B.J.A. 1911, p716; Photo. Jour. 1895, 19 p64). There were also versions of the lenses in sunk focusing mounts from 1906, and these lenses were in black paint. ((B.J.A. 1906, p905). Incidentally names such as Aviar and Pressic seem to have begun as telegram abbreviations or catalogue codes and some only have passed into general use. They are given in capitals and many are not engraved on the lenses (Aviar being an exception!). Serial numbers on early triplets can be very low, eg. No198 on a f6.5 Series 111 and it seems a new start was made in numbering them. [Conrady designs a triplet in the 1920's as an example using the glasses: G1=G3= Chance DBC 1565, 1.6105, 46.76; G2= Chance 360, DF 360 1.6225, 28.19. These may be some suggestion of then current choices!]

Other Lens Types An important point is that while there was major emphasis on the lenses in the "series", this was not the whole product range. It has been difficult to assign some of the others, such as the TTH Luxor or f3.9 Butcher. They have normally been fitted in here as if they were a version of a series lens, perhaps with the maximum aperture limited by a shutter or focusing mount. This is not ideal but may be the best possible so far. There is a compilation table at the end of the list of Series. There was a new patent by H.W.Lee and TTH for a improved Triplet in Brit. Pat. 155,640 of 1919 with two examples: the one in the B.J.A. seems fairly symmetrical with fairly pronounced external curves to rear and front.

LENS SERIES Series 0 This was a 1920's series, and is discussed below.

Series 1 It does seem that two quite different types of lens are involved here, made at quite different times. Initially this was a 3-focus symmetrical anastigmat of 3+3 design. This f6.5 lens converted from an 8in to give a 14in front and a 20in rear cell. (See Amateur Photo. 19/03/1909, p222) We have seen an early process lens which seemed to be of this type, but working at f16 max. It lacks any useful engraving as to type or use. Series 1 later was used for the Kinic f3.1 made over a long period in 1.625-3in for movie work and as a large portrait lens, and this is a much more typical product. Again it seems to be made as two versions. (a) Movie Some of these seem to become coded rather as f3.1 'Special Lens' probably to indicate a narrow angle design for movie. They were listed in B.J.A. 1921, p556 as: 1.625in for movie 2in for movie 2.25in for movie 3in for movie 3.5in for movie 4in for 6x4.5cm 5in for 2.25x2.25in This type was seen at No30,751x for an 3.5in/89mm "Special" and on an unnumbered 'Cinema Lens' 2.25in f3.1 to Pat No 155,640. Also f3.1/3in Series 1 No119,98x on a 35mm Williamson Paragon camera (about 1923) with a 2in version also. A late example was an f3.5/1in on a RCA Victor at No198,00x. There were also f3.1 Cooke lenses on Lancaster enlargers, eg for 3x4cm in Models No 1 and 2 (B.J.A. 1932, p62) though Aviar was used on the bigger sizes. Cooke Cinematographh may be a guide to an early lens: two were noted as f3.5/2in No74,51xand f3.5/3in No74,53x on a wooden Butcher's Empire 35mm camera with a Prestwich movement at auction. At this time there were two movie series at f3.5 and f3.1. (anon) Not in a Series apparently, there was an early f2.5 or f2.3 lens made as a 47mm and fitted at Nos 173,37x (f2.5, to a Newman & Sinclair) and (f2.3) 199,12x and 199,09x to an Akeley movie camera early on. It just may be a Petzval type lens. There do seem to be 2 series of f2.5. as an f2.5/40mm Panchro was noted on a 35mm Eclair and is thought to be a Gauss design. It is less easy to say whether a Cooke f2.5/15mm for 16mm is in the same design group.There was also a f2.5 camera anastigmat on a Midas camera-projector, and this type of product may have become the preserve of the National Optical Co.in later years.

(b) Portrait Series 1 These were noted in B.J.A. 1921 p557 in 3 foci as a fast big lens. Softness seems to be controlled by turning the front of the mount. It did not have spectacles at that time as these seem to have come in in the early 1920's, say before 1925.. 8.25in for 4.25x3.25in 10.5in for 7x5in 12.5in for 6.5x4.75in These are much more typical of the big triplet portrait lenses of the period, but must be hard to distinguish from other Series lenses such as PRESSIC below. The point may be that the Series I was not corrected over as wide an angle.

Cine Projection Lenses These can be in different apertures f1.8-f3.1 but are probably Petzval types rather than Series 1. Typically they are 3.5-6.0in focus, and in 2.1in barrel mounts. With 4 air-glass surfaces.

Series 11 Cooke Anastigmat f4.5 These were triplets, normally made in f4.5 and later in f3.5, and are portrait lenses in the larger sizes. The foci were: 4.0, 5.0, 6.0, 7.0, 8.0, 10.5, 13, 14.5, 16in. The layout is as shown in Tay003, Tay004. There may be slight changes in the designs here as the diagrams seen do seem to vary. It was at first sold as a portrait lens, and the B.J.A. 1921, 557; 1925, p665 shows it as this: 10.5in focus 270mm for 8x5in format. 12.75in 325mm 9x7in 15in 380mm 10x8in 18in 460mm 12x10in but it also developed into a first-choice standard lens for reflex and press cameras, a 1912 list showing it as a triplet. It was suggested to use 13in for 10x8in, 6.5in for 5x4in. For portraits, it gave adjustable sharpness by moving the rear glass and was sharpest with this 3 turns out. (B.J.A. 1900, p893), and this is engraved on the rear cell at the example seen, No19,20x in brass. Shorter examples do not have the soft feature, eg at No34,89x, for a 6.5in f4.5 lens in brass. It is a sharp lens then, and not very soft even screwed home. Early in the Century, exchange rear cells were made. These were revised in 1910 (see B.J.A.) and replaced the front glass of the lens instead of the back as in the other series. Series 11 (and Series 1V) was noted in B.J.A. 1906 and there was an impressive set of test data by Mr S.D.Chalmers of the Northampton Institute especially for field flatness. It was also in 1910 that TTH began the supply of lenses in sunk mounts for reflex and hand cameras, and these initially were 5, 5.5, 6, 8, 10.5in, in Series II, III, IV and V. Fig 019 008 TTH Series II f4.5/6.5in No34,999 in brass with iris.

TTH must have supplied a very large number of f4.5 triplet type lenses on cameras by Thornton-Pickard (such as the f4.5/5.75in seen at No58,685 and 82,39x, the latter on a Victory reflex for 6x9cm), and Houghton- Butcher etc. and it is common to find these as f4.5 lenses marked with these makers names as well as TTH such as a "7in f4.5 TTH/T-P Cooke No148,89x", "5in f4.5 Cooke Apem No91,53x", Cooke Luxor f4.5, "Cooke- Butcher 5in f6.8 No 88,41x"- a slower lens in a shutter. Normally these were Press and Reflex camera lenses, and will not be listed as extensively as they tend merely to reflect the camera makers buying the normal TTH product.

Fig 019 022 TTH Series II f4.5/7in and Cooke Apem f4.5/5in No91,530. Fig 020 005 TTH Cooke Luxor f4.5/5.75in No61,865.(Front cell is alloy and has shed paint!) Fig 020 018 TTH Cooke Butcher f6.8/5in No88,416 in Lukos III shutter.

A Cooke Luxor f6.8 No105,98x was noted on a Sanderson camera. It was probably a version of this which was a f3.96in version No119,58x which was noted on a 1/4plate Salex Tropical Reflex. It was also used for movie, eg on a 1923 Williamson Paragon. The f4.5/4.25in Luxor on the Dollond Owl No 2 in B.J.A. 1931 p286 may be a late example: at £2.97 it was a remarkable value and suggests the pressure on price that the recession was producing.

Series 11a f3.5 version PRESSIC for press work, this was a fast one. In 1916 it was specially for (a) movie in the shorter foci and for portraiture in the longer. By 1921 the f3.1/series 1 seems to have partly replaced this, and it seems to be as: (b) for hand and press photography and (c) for portraiture with ? adjustable softness by turning the front cell. It was made in 3.5in for 2.5x1.7in, 4in for 2.25x3.25in, 5.0in for 6.5x9cm, 6.25in for 4.25x3.25in, 7.5in for 5.5x3.5in, and was available by 1921 (eg B.J.A. 1921, 556, 1926, p650). Later it was made in 4.15-7.5in by 1947. It was seen at No122,54x uncoated. Fig 019 024 TTH Series IIA f3.5/7.5in No122,546.

It has been noted coded as Cooke-Marion Anastigmat Series IIa f3.5/7.5in No123,06x and as f3.5/127mm No83,45x on a 1/4plate Soho reflex. (The code may be used partly to indicate aperture but also triplet design as Series II was now normally the 4-glass AVIAR). Series ?? There was a scarce ? f3.9 TTH Cooke lens on a T-P Special Model in B.J.A. 1928, p159, and this may be a special version of the Series IIa, though it is hard to say today.

Series 11 f4.5 AVIAR This series switched to the Aviar 4-glass dialyt type after WW1 and became famous for its sharpness. Typically it was offered in 6.0, 7.0, 8.25, 11, 12.5, 13.5in as well as big aero versions such as the famous 14in f5.6. Late civilian examples were sold coated and are something to look out for. It was suggested to use 6.5in for 5x4.( Layout Tay005.) One account was that a captured German Tessar was shown to the British opticians with a command "Copy it!" and this met with refusal, as suitable glass was not available, due to pre-war reliance on imports from Schott of Germany. So Warmisham and TTH came up with a new design with easier glass needs, and got the contract. A major feature was reduction in coma leading to better edge sharpness (Brit. Pat. 113,590/1918; 312,536/1929 to Warmisham and TTH). Examples were seen uncoated at No71,82x*, 80,28x, and 185,46x*; and coated at No 309,13x. But no convincing WW1 AVIAR lens has actually been seen by us. (The first of those seen, a 10.5in lens, has more small bubbles in the glass than really seems reasonable- suggesting the production of the glass was still 'new' and had teething problems.So it could be a wartime lens, but there is no real indication of this. It has a quite deep integral flare ring to control the access of stray light.) Postwar adverts. said "designed for the British Government" (B.J.A. 1932, p54). Aviart was often used on Press cameras where the medium speed was accepted and has been noted as a "Sibyl Aviar" at No106,62x when a Series II was on a N&G camera. It was in fact a regular feature on N&G cameras after the War eg B.J.A. 1925, p18advert., in place of the Tessars used previously. (*The external curves on these two* seem to be the same seen here.) Fig 019 018 TTH Aviars f4.5/10.5in No71,824; and f4.5/8.5in No185,461.

Since the Series 11 Triplet was also in production eg in B.J.A. 1921 pp556-557, the use of AVIAR as a code was needed to prevent confusion. AVIAR continued to the last TTH advert. noted in B.J.A. 1955 p494 as follows: 3.75in focus 95mm for 3.25x2.25in format 4.25in 108mm 3.5x2,5in (This and 95mm are in B.J.A. 1925, p664) 5.25in 133mm 4.25x3.25in (in B.J.A. 1931, p532) 6in 152mm 5x4in 1.75 in flange 7in 178mm 6x4in 1.75in 8.25in 210mm 6.5x4.75in 2.25in 10in 254mm same 2.75in 12.5in 320mm 9x7in 3.5in 13.5in 342mm 10x8in 3.5in The recommended coverage seems unchanged from 1931 to the 1950's. Aviar was also used on movie cameras. Thus a N&S 35mm camera used a f4.5/4.5in No184,02x. Looking at modern reproductions of WW1 aerial pictures seems to show fine detail in the centre of the frames, but considerable fall-off at the corners. Later prints are much better all-over. At the time, Arthur Warmisham was a new young designer at TTH and made a special study of coma correction as a result of which he chose to split the centre glass of the triplet and use the 4-glass Aviar type-layout- although it was not new then, the design of this f4.5 was a real achievement. Aviar was used postwar as a copy/process lens in a de Vere Recorder camera with a 12.5in Aviar for 10x8 or even 12x10in noted in B.J.A. 1953 p206, and in an Eves Colour camera in B.J.A. 1952, p508. This would be a coated lens. It had been used for enlarging prewar eg in a Sickle vertical enlarger for up to1/2plate (B.J.A. 1931, p55) where mercury vapour lamps were used, a Wray being otherwise offered. (There may have been a difference in colour corrections?) and also on a Overton for up to 1/1plate in B.J.A. 1927, p748- these actually seem to be different names for the same enlarger series.

Series 11b f4.5 PORTRELLIC This was made in 10.5, 12.75, 15, 18, 20in, usually in brass and usually had prominent "spectacles" bolted on as a handle for the softness control. This moved the whole front group forward from the rear cell and a 10.5in lens moves some 6.8mm max. compared with the move rearwards of the earlier rear cell type of some 3 turns or 2mm for a 8in lens. There is a sharpness scale from sharp to 4, 'soft focus' and a very boldly engraved iris scale from f4.5-f16. An impressive and valued lens. Use 15in for 10x8in. The focus movement depends on the inner barrel moving forward guided by a bolt in a channel, and with time this can get very stiff and needs skilled attention to relube it. This is especially true if it is left set on "Soft" and it may be wiser to leave the lens on sharp as the barrel can then be treated with easing fluid if needed. The example seen was very sharp on the "sharp" setting, and did not soften up very much on the "soft" setting. So it is not one to choose for dramatically soft results, but is a really valuable item in its way. It was noted at f4.5/12.75in No211,22x.

Fig 019 015 TTH Soft Focus lenses (r) Series II old type 8in, No19,206 and (l) later spectacles type 10.5in No125,444.

The early versions of Series II and Series VI did not have spectacles up to and in 1916 (Fig above), but rather in Series II the front of the mount was turned, and in Series VI a set of cords and pulleys was used. Series II was a favourite especially in Hollywood, and as Series IIE was the last TTH portrait lens to survive, being advertized in a B.J.A. in 1955, p496. In comparison the IID and VIA were advertized in 1951 but have not been noted later (idem, 1951, p466). 10.5in focus 270mm 8x5in 12x20cm format 2.75in flange 10.75in 325mm 9x7in 17.5x23cm 3.5in 12.75in 325mm 9x7in 17.5x23cm 3.5in (This was in 1931, not postwar.) 15in 380mm 10x8in 20x25.5cm 4.5in 18 460mm 12x10in 24x30cm 5in 20in 508mm 15x12in30x38cm 5in It was then emphasized that it was suited to colour work as well as B+W. For IID, IIE, and VIA, the formats can be increased to the next bigger size in the studio at say 10ft working distance even when working at full aperture: (ie the formats are suggestions for good drawing not for optical reasons.) (a) Prewar, the TTH adverts in B.J.A. 1938, p42 and 1939 p50 are of Movie stars or stills and show the f4.5 'Spectacles' Portronic with credits to 'Pitchfords' and Houston Rogers, and a still which may be taken with a Speedic in the 1938 advert. One account is of a studio exposing hundreds of 10x8in plates during a session with a major star in order to obtain one ideal picture! (b) Also for many years, Mr Marcus Adams was a user of the TTH soft focus lenses and many examples of his work are in B.J.A. issues over a long period, eg. see 1949, 147. His toy littered studio was illustrated in Miniature Camera Magazine 12/1946 p7 and this shows that two cameras with big lenses (say 5in dia.) were in use in a substantial wooden cabinet pointing out through gaps in the front. One was a longer lens for large heads, the other shorter for full-lengths. An efficient lady assistant was on hand to change slides. The elaborate backgrounds of skies and landscapes were painted in afterwards. Series 11c Portrellic This still was made in 10.5, 12.75, 15in and later in 18in (1924). It had no soft focus adjustment and may be the same optic as the last but in a rigid mount.

Series IIa f3.6/11d f3.5

Portric went throughat least 2 phases. Series IIa in 1931 was an f3.6 Portrait lens with spectacles, made in 10.5in focus 270mm for 7x5in format 12.5in 320mm 8.5x6.5in 15in 380mm 10x8in

Portric IId f3.5 This was a late version for studio use. In 1947, 11d was PORTRIC f3.5 (and 11e was PORTRELLIC) so the code words may have been changed as well. In 1951, Portric was listed as f3.5: 10.5in focus 270mm 7x5in format 12.5in 320mm 8.5x6.5in 15in 380mm 10x8in

Series 11e f4.5This was a later version for studio use, also with variable softness. It was made in 10.5in for 8x5in; 12.75in for 9x7in; 15in for 10x8in; 18in for 12x10in; 20in for 15x12in at f4.5 and may be hard to tell from the spectacles version above. It was noted as a f4.5/10.5in at No246,36x. (see above and B.J.A. 1955, p496) as the last portrait lens listed. Series VIA f5.6 Portronic This was the third of the portrait lenses in the B.J.A. 1951 p466 advert. and was made in: 13in focus 330mm for 9x7in format 15.5in 393mm 10x8in 18in 460mm 12x10in

Series 11a PORTRIC f3.5 Triplet This was made in 9.5, 10.5, 12.5, 15in and later added 5.0, 7.5, 8.0in, and the use of 15in for 10x8 and 6in for 5x4 was suggested. Only later examples have spectacles, and there were detailed changes in the controls from a ring to cable operation and then to the 'spectacles' which became the recognition feature. It was noted in B.J.A. 1910 p676 as being only moderately soft and then was only in 12in, adding 5, 6, and 7in by 1914. The example seen was No 122,54x in black painted sunk alloy mount and was not fitted with spectacles. The short versions of Series IIa, up to 8in were for press and reflex use and were not so fitted. In 1935, the 11a was in 10.5, 12.75 15, 18, 20in and the 15in was for 10x8in use. Some tiny f3.5 triplets were made for cine, such as a C-mount 16mm f3.5 without focusing at No155,64x. An f3.5/2in at No79,31x for a E.F.Moy (London) 35mm movie camera may be a version of this.

Series 111 f6.5 as above This Triplet was one of the first issued and a most successful product, using the Tay001 layout. It was offered in 2.5, 3.0, 4.25, 5.0, 6.0, 7.5, 8.25in in the B.J.A. 1900. Use 6 or 6.375in for 5x4. It was available with front cell focusing in sizes up to 6.0in by 1901 (Photominiature 1902, p284), and was listed by N&G in a focusing mount for 4.25-8.25in and with front cell focus- ie it was aimed at serious users, not just the snapshot brigade. In USA it was supplied via Kodak as Series 111 in 4.25, 5.0, 5.5, 6.0, 7.5, 8.25in in 1911. In 1913 it was a common fitting to top cameras. Fig 019 006 TTH early Cooke Series III f6.5 lenses in brass. (r,rear) 6in for 5x4, No8312; (r,front 4.95in for 1/4plate No182; (l,front) 4.4in No16,861 with front cell focus; and (L, rear) 7.8in for 1/2plate in shutters.

Fig 019 013 TTH Primoplane f6.5 in alloy 8in ( rear); and in brass (l) 6in Ser IIIa No81,476 and (r) 7in No33,978.(The distinction of IIIa is not obvious today.) In No 10,422 the middle lens is still mounted separately in the barrel and Abney notes there were 3 screws to specially centre this component since a triplet is very sensitive to errors in this. The screws seem to be sealed with some sort of black sealant but in other cases are more visible. It is best not to adjust or touch them and to clean the glass surfaces from each end of the barrel. In this version the front two glasses are very close together and the focus is very sensitive to changes in the separation. The front cell focus was applied to Series 111 and V. The Patent was to W.Taylor 31/03/1900. Early examples used a pin-in-slot action, not the later screw thread. Retrofit was offered to previous customers. This shows that it is a version to look for in a shutter- these are relatively common in contrast to many other types where a shuttered version is a rarity with old lenses. Examples of up to 8in certainly can be found easily. It has been seen at No 103,75x in dial set Compur, No 12,58x in Compound. Longer versions seem to have been made in slower versions to suit shutters. This included 3.5in for Compur 00 but normally lenses in shutters are longer focus, such as 6.875 in., 7.5in., 8.25in. and longer. In these Series III lenses, use 5.0in for 1/4plate. One example at No11,32x is in a alloy barrel for 6.2in focus for 5x4in and here the front cell seems to focus on a thread- with a very smooth and positive action. It just may be for N&G use.

For interest see J.A.Hodges who unscrews the front element of a 5.5in lens to obtain a 4.5in for wider angle work. (Am.Photo. 20/09/1901). He had an alternative rear element for a focal length increase of +50% when his 5.5in lens became 8.5in. Thus the series III could really develop as a casket set! The editorial in B.J.A. 1925, p197 notes that the nodes of the 8.5in Series III both lie nearly 0.75in in front of the iris.

Cooke Series 3 was the normal TTH lens on pre-war Newman & Guardia cameras, up to serial number about No19,500 (Manthos, Photographica Sept 1992, p17) and there was one at No30,676 but postwar the use was of Aviar from about No122,676, suggesting a jump to a new level of serial number after the War. For sale of the focusing version see B.J.A. 1908, Photographic J. 1895, 19, p64. In 1908, the fitments to Kodak cameras were : No 3 lens for No 3 Kodak. No 4 lens for No 3a Kodak. No 6 lens for No4a Kodak. An early example may be No16,88x in brass, on a 4.4in lens. Cooke f6.8 Essentially this seems to be a slowed down Series 111, but it was also sold as a Cooke Butcher for Houghtons and in 1913, a Cooke Luxor probably also for Houghton: [Note:the f4.5 Luxor was the low price lens f4.5 lens on the Ensign de luxe reflex in 1916, being £16.25 while the f4.5 Cooke was £19 and the Serrac and Xpres were also more.] It was also the basis probably of the Cooke Primus on the Butcher Cameo and Carbine in th 1916 B.J.A. where it was the most expensive choice of Rapid Symmetrical, Aldis Uno and Primus. On the Carbine, it was above these in price but below the TTH Series III, Ross Homo III and Dallmeyer II. The f6.8 seems to be reasonably common. It was seen at Nos 88,41x and 103,75x. There was a TTH-Kodak f6.8 in B.J.A. 1925, p21 on a Autograph Kodak in 3 sizes. There was also a f4.5 Luxor in 4.25 and 5.75in at least as above. (4.25in in B.J.A. 1931, p286). Note two Luxor wide angle lenses at f16, and 7.5 and 9in (for 10x8in) were in a B&J list so Luxor may have been a brand name eg. for USA. But it does seem to be a lower price item though still a good one.

Series III Process Lens This was seen as a substantial f6.8 brass lens (say 12in focus) at a rather early serial number (?44,xxx)- but not extremely early. It is conjectured that the fine corrections of the Series III made it worth using as a process lens until the Series V was established- and possibly after this as a lower cost option. Typically a 'process lens' is used in close up and it is possible the Series III was adjusted for this purpose.

Series 111b AVIARICA f6.0 This was essentially a version of the AVIAR slowed down to f6 and sold in 8.5, 10.5in; f6.3, 5.25, 6.0, 6.625in, and later in 1955 in 8.5, 10.5, 12.5, 15in only. It would be a desirable slower lens but seems to be scarce. Some may be engraved "Copying" and adjusted for close-up, eg 5x on a f6/8.5in lens at No511,042, which is a beautifully coated lens marked ' Series IIIB 5x Copying'. It was still in the list advertized in B.J.A. 1955, p494 and has been seen in a coated (non-copying) example at No583,84x and 583,65x. It was possibly coming into its own in a new era when slower lenses were more looked for than previously, and today is a lens well worth seeking. Some data from the 1955 advert. is; 8.5in 216mm 6.5x4.75in 1.75in flange 10.5in 270mm 8.5x6.5in 2.25in 12.5in 320mm 10x8in 3in 15in 380mm 12x10in 3.5in "The crisp overall definition of Aviar lenses makes them prized amongst professional and amateur photographers as the finest anastigmats ever produced in any country, and they are eminently suitable either for monochrome or for the production of colour transparencies". Well that was true in 1955, and they are still very good today. Fig 019 027 Series IIIB Aviar f6/270mm NoNo583,659. This is a late example of this famous lens, ctd.

In B.J.A. 1930, p568;1931, p532 there were three versions, and later a single version of an f6.3 Aviarica at: 5.25in 133mm 4.25x3.25in 11x8cm 6in 152mm 4.825x2.825in 12.5x7.5cm 6.625in 168mm 5x4in 12x9cm but in 1931, only the 6.625in (168mm) for 5x4in was listed, possibly for some special use, not specified- it is not quoted as in a shutter for example, but will fit a 1.75in flange which may have been an attraction. Note that the f6.3 was in small sizes and did not overlap with the f6 which was the larger foci series. After WW2 it seems to have been a greater success than the f4.5, several f6 lenses being seen coated and it is still a desired professional lens due to the fine corrections and better contrast in the coated form. But it must be added that these do have older type single coating and use 8 air-glass surfaces so there is no immunity to flare and one user did say he had had some failures for this reason.

Series 1V MEDIC f5.6 This was another triplet which was available with an alternative longer focus rear element to exchange for longer focus work. It offered a medium speed sharp lens initially for 5.0-18in, and was listed in B.J.A. 1921, p557 as: 5in 4.25x3.25in 6in 5x4in 8in 6.5x4.75in 9.5in 8x5in and as: 10.5 8.5x6.5in This actually was an f6 Aviar in the list and began a new series! But the range seems to have shrunk to a few longer sizes eg. 13, 15.5, 18in by the 1920's. It probably was being replaced by the Aviar f6. At least some of these use the very unsymmetrical layout as Tay001. One was seen at No 92,89x and here the iris was behind glass 2. It seems to be f5.6. Another was noted at No18,07x on a Talbot & Eamer Miral reflex. In 1931, this Series IVB was a f5.6 sold as 13in, 330mm for 9x7in ie 1/1plate for commercial photography and home portraiture. In B.J.A. 1924 p658 it was as: f5.6 13in 9x7in f5.6 15.5in 10x8in f5.6 18in 12x10in Fig 019 020 TTH Series IV f5.6/18in No92,896 in alloy mount.

Series V DENIC f8 This was a very sharp lens for professional, technical and process work and was made in 5.0-7.5-36in, and is still very sought after for use. It is a good lens for taking large groups and architecture and anywhere a slow lens is acceptable. It works well close up. (Layout 002). A large example at auction was No12,78x for 10x12in. A big 18in was No44,008, and another was a 16.3in No726x. A smaller 6.18in was noted at No4108 for 5x4; No874x for 1/2plate; 11in at No116,07x for 1/1plate, 13.5in at No17,96x for 10x8in; one list gives: f8.0 11, 13, 16, 18in. (Some 13in were made at f11max or f12 max.). f10 25in f16 30, 36in. Another list in B.J.A. 1924, p658 gives: f8 9in 8x5in f8 11in 8.5x6.5in f8 13in 10x8in f10 16in 10x8in f10 18in 12x10in f10 21in 15x12in f10 25in 17x13in The above serial numbers suggest that it sold especially well early on [when the alternatives were probably the f7.7 Goerz Dagor and the Zeiss Anastigmats], and that later the attention switched to faster f4.5 and f5.6 lenses as easier to focus on the screen. It would have been especially attractive for large groups and architecture for example. Most examples are rather too long focus for convenient use today- ie for 10x8 where 5x4 would be more useful now. Thus it overlapped Series 1 in application (Layout Tay002) It may have been a true process lens initially but was replaced by another about 1907, and this may have been a dialyt or a symmetrical anastigmat- or both are possible. (A symmetrical process has been seen and may be a Series 1.) Fig 019 016 TTH Process lens f16, symmetrical design. Today Series V is a comparatively compact, sharp and contrasty lens, remembering most or all will be uncoated: and it probably is not a lens to have coated for this reason. (At least one seen had been repolished and coated badly and had been virtually destroyed as a result.) Fig 019 011 TTH Series V (rear) 18in No4882; 16in No7261; (front) 13in for 10x8in No2198; and 12in for 1/1plate eg No126,966. All are mainly in brass finish.

Series Va This is noted in B.J.A. 1922, p738advert. but may be the normal f8 and the f10 listed the Vb. There the Series V/Va are listed twice as commercial lenses in f8, f10 and again as process lenses in f8 and f16.

Series Vb This was another process lens made in f8.0, f10, f16 and also sold for general view and studio use. It was seen as a brass lens 11in Series Vb at No126,96x, with iris and Waterhouse slot. f8. 8, 9.0, 11, 13in. Use 13in for 10x8. f10 16, 18, 21, 25in. f16 30, 36, 42, 48in. In the 1920's, the range listed was f8.0, 9in to f10, 25in.

Sunk Mount Lenses. These were available in 1914 as follows: Series 11a, 5-8in Series 11, 5-8in. Series 111, 5-9.5in. Series 1V, f5.6. Series V, f8.0

Extension Lenses These were the longer focus rear glasses and were available for Series 11, 1V and V but not for Series 111. These gave 50% increase in focus ie. 6in became 9in. It was noted that they were not always suitable if the prime lens was a "long" one as the extension lens needed extra extension on the camera and this might not be available. They were available in Series 11 by 1900. These do not seem to be common today, often being 'lost' as equipment changes hands. Exposure needs to be increased by a factor of 2x, so f11 behaves as f16. One seen for Series 11 was No E24,254 to indicate the use, with equivalent focus 16.3in. In general, two sizes were noted (no data for Series 11): Size 1V for 5, 6, 8, 9.5, 11, 13in lenses, and Size V for 7.5, 9, 11, 13, 16, 18in normal lenses.

Series V1 PORTRONIC f5.6 This was made in 13, 16, 18in initially, and 15.5 and 22in were added later in 1926, still at f5.6. In 1931 it was: 13in focus 330mm for 9x7in format 15.5in 393mm for 10x8in 18in 460mm for 12x10in It was a portrait lens with adjustable sharpness and the sharpness was initially controlled by cords lead back to the operator, but by the 1920's these were replaced by a large "spectacles" type control lever. Some early examples in 1907 used a third system, the softness being controlled by rotating the front glass. (This lens must be near Series 1V in optical design and the difference is not easy to see today! but note the distinction that here the front lens was moved for softness control, while in series 111 and 1V it was the rear.) One user was G.Hurrell, Esq, who did a self portrait with his f5.6/18in Series VI.

Expo/Ticka In 1908, a version of this miniature used a Cooke f5.6/30mm lens on the rarest and best ever version- but the series was not specified. Examples at auction included No20,63x 2064x, 21,53x. Series V1a f5.6 This was made in 13, 15.5, 18in and was a late 'Studio' lens, where it was suggested to use 15.5in for 10x8in.

Series V11 This was always a wide angle lens, but two types of design are used here and are distinguished by the suffix a or b. The a suffix may be absent on early examples of Primoplane before the second type was developed. Serries V11 / V11a PRIMOPLANE f6.5 Typically this was made in 3.0, 4.0, 5.0, 6.0, 7.0, 8.0in and 7in was suggested for 10x8in. Initially these were also a triplet design and were perfectly usable at quite large apertures- one of the few applications of the triplet design to a wide angle lens. There is a suggestion that f8- f16 was intended and that even f6.5 was considered for emergency use.

Fig 019 013 TTH Primoplane f6.5 in alloy 8in ( rear); and in brass (l) 6in Ser IIIa No81,476 and (r) 7in No33,978. The original note stressed there were two different products here- Series V11 was a mid-angle lens where the 7in is used for 1/1 plate. The Series V11a in contrast was for 90° and the 6in covers 1/1 and 10x8in.

These triplets may also have been less flary than the Gauss design normally used. They seem to have been sold at least from 1909 when it was offered as a 5in lens, and was listed at least to 1912 (Am.Photo. 29/03/1910, p321, B.J.A. 1911, p683) when it was "now issued" ie possibly new. It seems to be relatively common, being seen at No33,97x (in brass), 54,18x, 90,92x, and No182,96x in black paint. Series VII would be regarded as medium wide by some standards, (Tay021) and was partly replaced by a further design illustrated by lens No125,08x which has the new design. It therefore seems that the old version continued as an alternative, Series V11a, when the new Gauss one came out since serial numbers do overlap- but this is not certain. It was certainly VIIa that was listed in B.J.A. 1922, p738 with no mention of a VIIb. The triplet design is not usually applied to wide angle lenses and these are therefore quite unusual. They are perfectly usable today but rather a high proportion of those seen have been scratched, possibly badly- this may be due to the rough conditions professional 'spare' lenses encounter but just may suggest that the external glasses are softer than other TTH triplets. Add in the very hard TTH lacquer work on the brass which can make them hard to tidy up and they are a lens to buy with a little caution!

Series V11b EISTAL f6.5/f11 This was the 'new' Gauss version to overtake the V11 and was f6.5 to focus and f16 or less to shoot. It seems to have been introduced early in the 1920's, certainly by 1924. It was made typically in 63-222mm in 1935, and the shortest was for 6x9cm as on the 'Envoy' camera post WW2 (see B.J.A. 1951, p487 advert.), and this size could have actually been added later than 1935 or been in intermittent supply- it is there in B.J.A. 1928, p606 for example. Series VIIb covers 90°at f16 and 100° at f32 and these apertures were suggested for use over these angles. A lens No12,49x at 4.5in was used on 1/2plate. Normally 6.25in was used for 10x8 and 135mm for 1/1plate. Some were coded ANGLIC, probably in later lists, and it was made coated after WW2 and into the 1950's. It was seen at No 125,08x uncoated 4.18in, and Nos 310,39x in 5.25in; and 382,41x and 459,60x in 4.25in, these being coated lenses. These are fairly common coated ('a hard durable coating') as they were wanted postwar by professionals, and sold well: many are front mounted in Compur shutters, but this may be by repairers, rather than by TTH themselves as there is no mention of this in the advert. (see also Envoy). Results with these today can still be excellent if in good condition as they are sharp and contrasty. They may be the best of the Gauss lenses of this general type. It still featured in the last advert. noted in B.J.A. 1955, p495 as follows: 2.5in 63mm 4.25x3.25in at f16. This was offered for many years prewar but were not always listed postwar. It was used on the Envoy wide angle camera however. (B.J.A. 1926, p650). One point may be that purchase tax was levied on amateur products which were sizes up to and including 6x9cm, and this part of the market was therefore unduly expensive since it was a heavy tax burden for a product to carry. 3.25in focus 82mm for 5x4in at f16 1.25in flange 4.25in 108mm 7x5in 1.25in 5.25in 133mm 8.5x6.5in 1.25in 6.25in 158mm 10x8in 1.5in 8in 203mm 12x10in 1.75in 8.75in 222mmm 14x11in 2.25in This was in 1931, not in 1929 or postwar. Note that the lens was rated for these formats when used at f16, for 90°, at f32 it covers 100°. The coverages seem the same in 1929 as in 1955. Fig 019 032 TTH Series VIIB f6.5/5.25in coated lens No310,399 fitted to Compur shutter- probably an older shutter reused postwar.

They were the standard wide angle on Adams cameras (B.J.A. 1932, p79.) "Wide Angle" A version working at f7.0 max. was considered in 5in focus in 06/1936 and is in the collection at Snibston, but it was not passed for production. This may have been a V11b replacement or a version of it.

Series V111 TELIC f5.6 This was made in 216-508mm and was an anastigmatic telephoto of 2+2 layout. It seems to have been made from just before or just after WW1 and continued after WW2 as the last ones were coated. They seem to be listed in B.J.A. 1924, p658 without any special claim to newness. It must in fact shade into some of the long lenses used for movie work. In large format, use 12.5in for 5x4: 8.5in 216mm 6.5x9cm 11in 280mm 4.25x3.25in 12.5in 320mm 5x4in 15in 380mm 7x5in 20in 508mm 8.5x6.5in

Some were made at f5.8 to fit shutters, eg at No71,49x for an f5.8 11in lens. It is sharp and still fully usable. An example in plain mount with no iris has also been seen but the original use is not known. TTH seem to have used Booth's Patents for a tele with separated front glasses (Brit.Pat. 3,096/1914 and 151,507/1920) and others such as Lee's 198,958 with a three glass rear cell and Lee's Brit. Pat. 132,067. Some ex-MoD 36in 'Big Bertha' teles were engraved "Booth's" and this may suggest their origin but he may have worked for others, such as Dallmeyer, as well. A possible aspheric version was dated Feb. 1937 and this may underline the difficulty in the design of good tele lenses and the advantage in figuring them slightly. Postwar users said TELIC had more depth of field and less bite than the best German lenses such as TeleXenar and additionally was not sold mounted in a shutter as the Schneiders were: thus it sold but at a lower price and the characteristics had their own followers. (Advert. Photographic Journal 3/1951 p.viii shows a 2+2 tele.) Such a modern example may be a f5.6/15in No385,23x. Series VIII was specifically sold for movie on a N&S 35mm camera as an f5.6/8.5in No174,96x. It is also likely to be close to some Telekinics in design. Tele lenses were offered for the Korelle when it came out: eg Cooke f5.6/6in (B.J.A. 1938, p527; T.L.J.Bentley, B.J.A. 1930, p209).

Fig 019 035 TTH Telephoto lenses f5.6/11in in shutter and (l) no shutter, no iris possibly for MoD use. Fig 020 003 TTH Telephoto Series VIII f5.5/15in No123,037, a nice postwar coated example.

Telephoto Lenses. A number of telephoto and other lenses were made or designed which probably did not really fall under the above type. Some will be noted here. Non-distorting Tele Tay009, a design by Lee in Pat 222,709/1924. (Tay009) Split front tele Another Lee design in Brit Pat 222,709/1924 for up to f3.3. Cooke Tele 152mm f5.6 issued for Reflex Korelle (B.J.A. 1938, p253). This was a special mount but probably a normal TELIC lens head. 56in Tele: A unique long lens was based on existing lenses of shorter focal length in order to suit the only glasses available at such short notice (ie??it was assembled from existing components) for newsreel work at the Coronation of King George V1 (B.J.A. 1938, p299) The result had a flat field over the narrow angle involved, had slightly over corrected spherical aberration and complete freedom from zones, and a back focus of 28in and weighed 33.5lb. Other lenses for the Coronation were a f1.3/4in 'Special' and a f1.65/8in with very limited back focus of 0.85in for the 8in: this just might suggest an advanced Pertzval type such as could also be used for fluorography. (The Coronation from memory was on a wet days so these preparations may have been needed, but they were probably actually used to record the indoor part of the ceremont.)

Telar This seems not to be a TTH product but was sold by TTH New York early in the 20th Century as agents for Busch of Rathenow and was a Bis-Telar of 1.75x magnification. They sold on Graphlex cameras. They will be best stopped down eg to f16. At the time this was 'new' and the leading brand and TTH would want to complete their product range until their own design came out. It was listed as : f7.0 8.0, 10.75in f7.5 13.5in, f7.7 13.5in f9.0 10.75in. f9.0 7.0, 10, 12, 14in in 1914. f7.0 8.0, 10.75, 13.5, 16, 22in in 1914.

Telekinic These go back to before the Bell & Howell link-up was formalized as they are in the B.J.A. 1929, p362 as from TTH and B&H are on the next page with TTH lenses eg 20mm/f3.5 standard (?Cinar?) on a Filmo 75. Telekinic was featured on p362 as: Lens C 4in f4.5 6in f5.5 ?3.75in f3.3 An ex-MoD movie lens at No28817x was a f4.5/6in TeleKinic used remounted to a Kine Exakta and this was a contrasty lens, and extremely sharp in the centre, over about 18mm square, but requiring to be stopped down to really cover 24x36mm sharply. It would have been excellent for its original purpose. A later black lenshead at No31608x is ELC- ie coated, and the coat is a generous brown-purple color, noyt the initial pale blue.

Series V111b ELTIC? This was a fast version of the above Series V111 telephoto, of 2x magnification, and was to work on large format at f3.5 and the design used an extra front glass. It seems to be a 1926 introduction (B.J.A. 1927, p315). It was made only in: 203mm for 3.5x2.5in and 270mm for 4.25x3.25in (B.J.A. 1929, p566) and was not listed in 1924; ie it was late 1920's in sale. It seems to have survived into the 1947 list as COTAL made under patent No 222,709 as above, but is a distinctly scarce lens. The 1927 BJA report thought it much better than many ordinary anastigmats of f3.5 or f4.5 and said it had a liberal covering power. But use for architecture might show up some distortion.One reason for the scarcity may be that the some early batches were mounted in a light alloy which has not stood the test of time and seems to have swollen and distorted so that the glasses are no longer held in properly and the threads jam (see note below). This was seen at No134,43x on a 10.5in lens. Since it is an interesting design, this is a sad conclusion and also applies to some other TTH lenses from the 1920's where they were in light mounts for eg reflex or Press cameras due to the size and weight of the optics. T.L.J.Bentley, B.J.A. 1930, p209 refers to it as Eltic and dates it from soon after the 1925 launch of the Ruo f4.5 lens, and to match the f3.5 Dallmeyer.

Series 1X Process This seems to have been made in two versions and the first was not apochromatic, while the second was apo and replaced it, perhaps over a period about 1930 when the first seems to have stopped being listed. It is thought that both were dialyt type rather like the Aviar but slower and that these replaced an early-20C symmetrical anastigmat and a triplet, but the details here are rather obscure as adverts for process lenses were not too regular. Series 1X was not in a 1912 list. Non-Apo Version. f8.0 9, 11, 13in; f10, 16, 18, 21, 25in; f16, 30, 36in. Apo Version. f10, 13, 16, 18, 21, 25in; f16, 30, 36, 42, 48in. An item in the TTH collection is described as a Lens Set, Process, 1935, and may be some type of casket, or just a dismounted set of cells.

Series X SPEEDIC f2.5 This was made in 5.25in for 6.5x9cm, 6.375in for 4.25x3.25in (=1/4plate), 7.75in for 5x4in and 9.25in. (Tay 015) This suggests a lens with slightly limited coverage compared to some designs, but remember this was designed for use a full aperture. 5.25in 133mm 6.5x9cm 6.375 162mm 4.25x3.25 =1/4plate 7.75in 197mm 5x4in 9.25in 235mm 6.5x4.75in Another list says made in 35-235mm so there were shorter versions, probably for movie. For a large format lens in the 1920's, this was thought really fast and in fact was the first f2.5 to appear when it was issued (B.J.A. 1927, p593advert.;1932, p54) and was not too heavy and fully usable at full aperture, though a little softer than closed down. Thus it could be fitted to most reflexes. It was a very strong competitor for the f2.7 Tessar for example. It was designed by Lee (Brit Pat. 224,425) and was essentially a triplet with the rear glass split to improve the correction. Like the Series V111b above it is one to seek in good order owing to metal failure* of some samples of casting metal. (see note below) This can be due to a limited number in a defective batch, as No 149,45x is damaged while Nos 119,68x, 122,42x and 202,96x are in nice order. (For other related triplet derivatives see Brit Pats 299,983/1928 and 320,795/1929.) Incidentally, No122,42x was a f2.5/5.25in on a T-P Special Reflex as advertized by the Westminster Photographic Exchange in B.J.A. 1927, p593. It was used in all sizes 3.5x2.5in and 1/4plate and on the Special Ruby, Junior Special Ruby and Ruby de Luxe.(B.J.A. 1925, p51 etc.) Here the prices with Pentac f2.9 and Cooke series X were equal.

Fig 019 025 TTH Series X f2.5: (r) 6.75in No20,296; (rear) failure due to defective alloy* with loose optics; (r) 5.5in No.119,682.

Incidentally a computer study carried out many years later showed that if 4 pieces of glass are to be used for a lens, the best choice inherently is to have one negative in the centre with 3 positives outside, as in the Speedic type: but this ignores the effect of flare and probably in the 1920's the Zeiss Tessar type of cemented design could show real value in comparison.

Casting metal is attractive as a partly ready shaped source of die cast parts, with less subseqent loss of metal on the lathe. Alloys can be zinc with aluminium, magnesium, copper, tin and/or lead added. These can be relatively low melting and flowed well, which aided casting. One serious problem was that the presence of lead, tin or cadmium can lead to inter-crystalline corrosion and serious weakening of the alloy. High purity zinc is therefore required to make the alloys. Thus the maker of the alloy is responsible for the quality of the product to a far greater extent than is usual in industry. The problem occurs periodically, possibly here with the introduction of new technology, or in time of war when the composition could not be controlled, as with some Zeiss Ikon items below. It was endemic prewar with castings made for German industry, such as 35mm printers, printers such as the "Eldia" and enlarger "Focomat", and has been reported in early Rolleiflex body castings. Postwar, the industry went over to aluminium alloys with higher melting points so that they were less easy to cast but which did not have these problems. These latter can show surface corrosion but not the totally destructive breakdown of the zinc based types.

"Infrared" This marking has been reported on one f2.5 but the type of design is not known.

Series X1 f3.5 This was advertised on a Thornton Pickard Junior reflex in B.J.A. 1926, p554 and was an expensive lens at £5.25 more than the version of the camera with the Cooke f4.5.This has been seen as a triplet in a sunk mount for Reflex use at No 168,58x on a T-P 1/4plate reflex, and No171,56x, 6.25in, and this has the iris after glass 1 which is in keeping. It was covered by Patent 155,640, but the difference from Series 11a is not obvious now. Fig 019 030 TTH Series XI f3.5/6.25in No171,566. This is in sunk mount.

Series X11- no data here: by this date the Series coding was being partly replaced by trade names which may have obscured the old system.

Series X111 CORIC This was made in f2.9 127 and 162mm but the structure seems to be unknown and it is one of the less common types,and just may be a slower version of Speedic. It was noted on a Ensign 1/4plate reflex as a f2.9/5in at No161,10x, and on a T-P Junior reflex at No156,98x. It was listed in B.J.A. 1931, p567 as: 5in 127mm 3.5x2.5in 6.5x9cm 6.375in 162mm 4.25x3.25in 8x11cm

Series X1V Cooke f6.3 Anastigmat This was made in 13, 16.5, 21in and was a triplet with improved colour correction for critical work especially portraiture and groups, with panchromatic films, and was still noted in a 01/1947 list. Perhaps it is best described as between a process lens and a portrait lens. It was one of the later in the series, only coming into production in the 1930's as it was 'new' in the B.J.A. 1933, p281. It was especially for group and studio work. It is not a common lens but may have lead on to others such as the f9 copying. An example was made and is in the collection at Sibston for f6.3 13in for infra-red work, but this may be a prototype only. Originally a 13in lens cost £17.00.

Series XV Cooke Convertible f6.8 It has only been noted in 12.25in with components of 19 and 26.5in. This is a symmetrical anastigmat with 4+4 glasses but with an air-space in the middle of each component and these can give ghost images if used under adverse conditions. (Layout Tay026) Coated it would be excellent and one of the ultimate lenses. It was designed by Lee in 1931, Brit. Pat. 376,064, 376,044 (?) of 1932 and was still 'new' in 1933 (B.J.A. 1934, p289). It used glasses G1+8= 1.5472/45.8; G2+7= 1.5186/60.3; G3+6= 1.6437/48.3; G4+5= 1.5290/51.6. [But note another source gave f6.3, 13, 16.5 and 21in foci so perhaps several sizes were made.] (Some related Patents may also be No224,425 to Lee for an f4.5 lens; also Pat 260,801/1925 and 376,044/1932). An advert in American Annual 1939 lists the 12.25/19/26.5in set at $226.75 in barrel and $230.00 in Ilex shutter shown with 3 iris scales. The lens set was for 10x8in normally, but for copying at 10ft or less covered 11x14in at f16 or less, and the 19in and 26.5in cells covered 11x14in at f32. When used separately, the cells both should be used behind the iris diaphragm. For a longer description, see B.J.A. 1934, p289 where the comment is that TTH had hitherto made non- separable lenses, and used supplementaries to alter the focal length. In this case, they were making a lens where the components were fully useable separately. The whole lens gave exceedingly fine definition over the suggested plate size, but they noted the example was inevitably quite large. It gave f6.8/12.25in complete for 10x8in, or the cells were f12.5 at 19in and f16 at 26.5in, and coverage increased substantially in close up or when closed down. The price was £25 which now seems very modest.

Series XV1 This has been noted as a Profile Projection Lens of 3.54in (89.9mm) ie. not really photographic. Planital f12.5 This was an apo process lens, for 16-20in. A list in the B.J.A. 1934, p60 advert., 1935, p58advert., includes Series VIIB w/a, X, IIA, II AVIAR, IIIB, VIII, IX, VB, IID, IIE, VIA, XIV, XV convertible. It was unchanged from 1933 except for the addition of the new Series XV.

Some lenses which may not fit the usual series. Some of these are discussed above and are repeated here as a group. f3.1 'Special Lens'. ? f3.9 TTH Cooke lens. Cine Projection Lenses These can be in different apertures f1.8-f3.1 but are probably Petzval types. Luxor wide angle. Cooke Luxor f4.5 Luxor f6.8 ? This was noted on Ensign rollfilm cameras in 1922 (B.J.A. 1922, p650). It now seems odd they offered both Cooke Luxor f6.8 and Cooke Anastigmat f6.5 on the same models but in fact the f6.5 was appreciably more expensive and may have needed a bigger shutter. Luxor f7.7 This was noted on a Ensign roll film reflex- not an expensive camera at £4.20 especially as an achromat model was offered at f11 for £1.92. It just may result from the next item: Triplet Patent for f7.7 in B.J.A. 1922, p324, Brit Pat. 157,037 of 1920. This is a very unsymmetrical triplet of cheaper construction and equal quality. Kodak-TTH f6.8 Anastigmat. Noted in B.J.A. 1925, p21. It just may be the same as the f6.8 Luxor. f3.9 TTH Cooke. This type was used on the City Sale Salex reflex in B.J.A. 1925, p357, 565advert., and 1/4plate, on p369. Cooke Butcher for Houghtons. Tele Series VIII at f5.8 to fit shutters. TeleSeries VIII example in plain mount with no iris. " Infrared". There is a patent to H.W. Lee and Kapella (Brit Pat 209,371 of 1924) for an apo and f4.5 Triplet derivative with a compounded front collective system, well in front of the negative and rear positive glasses. There is a patent to A.Warmisham and Kapella for a convertible tele and wide angle made from a simple lens and a attachment of equal but opposite aberration so it can provide a tele or wide angle from the combination. (Brit.Pat. 198,592 of 1922, B.J.A. 1924, p280) It may not have been used as such.

The Movie Relation TTH had made an impact on the market in movie lenses early on, as shown by the f3.1 Cinema series; but after the first world war. This was to develop in two ways. Initially, there may have been interest in the f3.1 Cinema and Aviar f4.5. The f3.1 seems to have been important early postwar as it is not mentioned in the 1916 B.J.A. but appears on many cameras postwar. But in 1920-1, H.W.Lee designed a radical new lens, the TTH OPIC. It was a 6-glass Gauss design, and a development of that used by Zeiss in the Planar at up to f3.5, but Lee found that by making the lens slightly unsymmetrical and using crown glass with a refractive index higher than the flints, he could raise the aperture to at least f2.0- something of a new record at the time. (It used DBC of R.I. at least 1.6 for glasses 1,2,5,6 and has a requirement for an R.I. difference of at least 0.03 between the inner glasses. Brit Pat 157,040 of20/01/1921; see B.J.A. 1922, p323) (Layout Tay022)

Smethurst in Photographica World, 73, p36, 6/1995 says it was initially as an f2.3 but increased to f2 at the request of the Soc. Mot. Pic. Engineers, for use as a movie lens. This is reversing the usual order. From then on, the main interest at TTH may be in Gauss related designs and movie lenses, but there was still a parallel business in triplet, process and telephoto lenses and really the interwar years require a separate movie section. It is hard to describe many of the movie lenses as they were used till they wore out- and are now not available to study!

The OPIC in the long term it has proved to be the parent of all the modern fast Gauss lenses which play such an important part in modern systems- though equally the original Gauss and Zeiss Planar are sources. [Fast Gauss designs were also devised in the 1920's by Merte for Zeiss as the Biotar f1.4 and for Schneider, as the Xenon by Tronnier, but TTH certainly are usually said to have had some sort of Master Patent for a time and it certainly had a major influence on their business.]

Initially it may have proved a new question for TTH- how to make use of the design which is heavy in longer foci- to put it mildly. Some were sold mounted in a special camera made by Thornton-Pickard for the purpose- and now very scarce indeed. One was auctioned at Christies with an f2/3in No123,71x on a T-P Speed camera. And Lord Northcliffe bespoke some quite large lenses to mount in stand cameras for instantaneous pictures of London theatre performances- these were a feature of The Times for many years. C. O'Gorman cited by L.S.Shaw, B.J.P. 19/12/1980 p1281 says that initially a German Zeppelin f2/60in was used from the dress circle with a 5x4 or 1/2plate reflex- with some success. O'Gorman suggests someone called Bloch from TTH designed an improved item- he says the lens but it is likely Bloch was instrumental in getting the Lee design made and applied. Some of this was also recalled in Dirk Bogarde's autobiography as his Father was Mr Ulric van den Bogaerde, who was the chief photographer involved. (This must be in a later part of D.B's. account of the family, "Snakes and Ladders", Chatto and Windus, 1978, as it seems not to be in the other two volumes, pub. 1977, 1983). Mr Greer stated that the 8in OPIC was made and reserved for Lord Northcliffe's company and none other was supplied. And the MoD bought some, typically 4.25in lenses, probably for aerial photography in the 1930's. But sales were sluggish, (to the extent that a 6in seems to have taken root as a paper weight in the TTH design department according to an anecdote from Prof. Wynne.) Incidentally Mr Shaw (B.J.P. 06/04/1979) who worked for 'The Times' makes no mention of this aspect in his account. But one major factor in success was the importance of smaller sizes where the weight was less of a problem and the new 35mm miniature cameras were ideal mounts. Thus it has been suggested TTH were able to licence the design widely in the 1930 period, though the actual firms are now hard to recognise. The other major factor was the introduction of sound pictures in 1928. Previously, arc lighting was used in movie studios, but these were too noisy for use with sound stages, and tungsten was substituted- but with less intense light. Thus there was a new demand for fast and sharp lenses and TTH were able to supply it. Postwar prejudice in Hollywood may have prevented the sale of the f1.4 Biotar, ostensibly due to distortion in Smethurst's account, and there is an account of TTH being approached in 1925 to make OPIC lenses instead. Another in house account was that Wilfred Taylor made a sales trip to Hollywood and identified a demand. (In fact both versions could be true.) The trade name Panchro was applied to this series and it is said that the products were used for nearly all the classic movies of the period 1930-1950 and more. The 1935 advert carries a statement from the Director of Photography of MGM studios the "All our productions are made with TTH Cooke lenses and at least 50% are made with Speed Panchros.---- this studio is practically 100% Cooke equipped." (The illustration was a still of "The Barretts of Wimpole Street" with Norma Shearer, F. March and C. Laughton.) These lenses were not identified by the old Series numbers and now trade on a movie user/collector market, are valued and can be hard to find. Most carry the Panchro trade name, but often with some modifier such as "Deep Field" or "Double Speed" to indicate the type. Some guide can be the numerous patents TTH filed in the period. There are several later patents including one with the inner components split into 3 glasses. (W.Lee, Brit. Pat 298,769/1928). Also No427,008/1935 where the lens is rather less symmetrical especially as to the cemented curves. This may represent a Panchro version. Glasses are G1=1.6100/53.3; G2=1.6150/56.1; G3=1.6134/36.9; G4=1.6469/33.7; G5= 1.6437/48.3;G6=1.6234/56.3. Also No461 304/1936 which seems similar. Brit Pat. No 470,522/1937 by A. Warmisham for TTH uses additional crescent shaped inner glasses facing the iris and Merte in his book strikingly places this design next the Summarex which has one such glass in a rather later patent, Brit Pat 481,710/1938. By 1932 for the 1933 B.J.A. p573, Bell & Howell could write that TTH Cooke lenses were supplied as standard on their Filmo apparatus--- and had earned the premier place in professional and amateur cinematography. The advert. included an electrically driven Eymo 35mm camera and Eymo C as well as 16mm Filmo 70 and 70-D cameras.

Series 0 Cooke Anastigmat OPIC f2.0 It was made in one list as 1.375, 2, 3, 4.25, 5.25in by 1924 and 5.5in in 1931, and covers about 50°. A 6in has been mentioned, and a 210mm (8.25in) f2.0 is shown by Kerkmann, p97, and must be a later fitment to the camera- if the designation is correct which is likely. In fact, an f2/8.5in lens has since been reported, and is coated though this may not be original, and is described as 'heavy'. It was made at No114,73x and was to Pat. 157,040. Coverage was (1929, 1931 adverts): 1.375in focus 35mm Movie 18x24mm format 2.0 50mm 1.625x1.125in 40x30mm 3.0 76mm 2.5x1.75in 6x4.5cm 4.25in 108mm 2.5x3.5in 6.5x9cm 5.5 140mm 4.25x3.25in 9x12cm They were not in the Cooke TTH advert for 1924 (B.J.A. 1924, p658,etc.) but were in the Kodak (Australasia) Ltd advert. on p756, so the launch must have been very near the BJA press date. These were a 'new' introduction in B.J.A. 1925, p361, and described as the same optical quality as the TTH f4.5. Their great size caused more comment, relating the flange diameter at 2.25in of the 3in lens to the 45x60mm format that was covered. It was even then available in 5 foci, 1.375-5.25inThe f2/2in Cooke was noted on a Newman Sinclair camera in B.J.A. 1929, p529advert. This was a real bargain as only £7.50 above the price of the same camera with a Ross f3.5. The 4.25in (108mm) was for 6.5x9cm and the 5.5in for 4.25x3.25in in 1931, both at full aperture. The examples noted have been 2in at No119,79x in a rigid no-iris mount, and 4.25in at No 204,01x ex-MoD, here with iris to f32. Fig 021 004 TTH Cooke Series 0 f2/2in lens No119,790 in plain mount- no iris. This may be of interest as being pre-Panchro in design although this would not normally be a desired feature! Fig 020 009 TTH Series 0 f2/4in No204,015 mounted on a 4in square panel. Also note the T-P camera above at No123,71x. It was advertized in the B.J.A. 1926, p47 for 4.5x6cm plates. It was on the Baby Soho in 1927 (B.J.A. p360, advert. p43) This suggests the MoD lenses were rather later. These are still fully usable lenses at full aperture and well ahead of others of the period- but the number of air- glass surfaces can lead to flare and lower contrast in non-coated original lenses. The front and rear external surfaces in the 4.25in seem to be effectively the same- but are slightly unequal in the 50mm lens. The series 0 is not too common as if for movie use, it was updated fairly soon after sales took off and became the Panchro. The following are thought to be lineal descendants of the type. Incidentally, Lee left TTH in 1936 to work with Scophony and it is not quite clear when the lenses ceased to be his designs. Successors will have included Cook, Wynne, and others, with Warmisham.

Cooke Speed Panchro f2.0 This was seen as a 50mm lens at No 214,13x, and this has different external curves from the 50mm OPIC, but the curves are still nearly equal. This is in agreement with OPIC being to Pat. 157,040 and Panchro to Pat. 300,006. This example has an iris but no real mount for a camera. Others at auction were No175,70x f2/2in., 310,68x, and 315,86x. There are certainly lenses listed as Panchro as f2/1in 283,80x; f2.5/40mm at No223,54x and ELC Panchro as f2.0/28mm No303,04x and f2.0/35mm No303,27x. Others included Cooke Speed Panchro f2 seen as 50mm at No 303,40x, 303,44x and 308,06x, and f2/25mm at No283,80x. This is wartime or early postwar with ELC coating- which can now be rather worn as it is fairly soft. While all these three have different external curves, it is the ELC type which has the most obvious changes in the pattern of a reflected light bulb, suggesting a major redesign here perhaps in the 1940's. It is thought this type was used in other sizes such as 35mm. Smethurst says this was also a Lee design. By 30324x the coat was a dark purple-brown colour and hard. It will be well ahead of the early coated examples at about N0200,000 and even No284,157. Thus there was rapid improvements at this time. There may have been variants as No263,19x seems to have the later coat on some surfaces only. There were other foci. Thus there was an f2.8/28mm No249,58x on a 35mm Eclair with a series O f2 No175,70x and a Panchro f2.5/40mm No233,54x. A f2/35mm lens in barrel with 1.25in flange covers about 30mm circle with a brilliant contrasty image and could easily be mounted for M39 use on 1/2frame- the register would just allow it.

Fig 021 002 TTH Cooke Speed Panchro f2/2in No214,130; f2/75mm No284,157; Deep Field Panchro f2.5/100mm No288,452. These are in wartime black finish with locking wires to prevent the cells loosening. All or most will be uncoated and not much saught after today, unlike the Panchro II or III series. Fig 021 006 TTH Cooke f2/50mm ELC Speed Panchro No308,060. This will be an early example of a coated lens.

Cooke f1.8/25mm. Ariel lists this on an 1931 Bell & Howell 16mm camera and others of the period, so there were faster (?) Gauss lenses in small sizes. There was also a f2.8/28mm Speed Panchro at No249,58x and a f2.8/2in (anon) at No283,11x.

Cooke Speed Panchro f2.0 75mm These were available ex-MoD in moderate numbers after the WW2 as wartime movie cameras were sold off, and are usually in black finish marked 'War Finish' . They were noted with the same front surface curve at Nos 284,15x (uncoated); 284,77x (coated pale blue) and 311,36x (with ELC coating). One user said "Very sharp but low contrast" but they typically have had a hard life! A number of the ELC type were remounted for M39x26 by Cook and Perkin after the war, and are very desired lenses. But it is misleading that the only part of the original barrel to show is black and says 'War Finish' as the final appearance is a mount of white metal and is of course almost completely postwar! Coating was introduced by TTH from 1944, at least for the Deep Field Panchro. Fig 011 021 Taylor, Taylor and Hobson, Ltd., Speed Panchro f2/75mm (l) anon mount, No311,369; (r) C&P mount, lens No284,770. Both are M39. also Fig above.

Cooke Deep Field Panchro f2.5 100mm/4in Again seen as ex-Mod lenses at No 282,99x and 288,45x + 288,70x, from Sinclair cameras. It was redesigned about 1944 as coating was being introduced.These seem to be very early coated lenses (pre-ELC) and have the same front curves. Again some of these were mounted for M39x26. This is a sharp design, and the name is slightly obscure to non-movie users. It was so desired that when the Panchro series was retrod as Panchro 11, possibly in 04/1959, this was one lens continuing unchanged. It was the image quality of these lenses which was so important, and especially the transfer from sharp to unsharp zones, and the quality of the out-of-focus image. 020 026 TTH lenses fitted to Arriflex: Deep Field Panchro here retro-fitted for Arriflex, f2.5/4in No282,999 and Kinetals T2.8 75mm No668,034 and T1.9 17.5mm No686,658. Also Fig above.

Cooke Deep Field Panchro f2.5(?) 152mm There are reports of a longer 152mm version also being made but not continued in the new series.

Panchrotal 100mm f2.3 or perhaps also f2.5 This was seen as a substantial lens in a chrome mount, coated and relatively short. Thus it is conjectured that it is a triplet derivative and this is the difference from the above. They sold at the same price secondhand in 1960. An American list gives a Panchrotal f2.8/100mm lens and this was noted in a Foton advert. but this could be a misreading of f2.3. They were primarily for 35mm movie and were a rare lens for B&H Foton but the example seen had a 16mm C mount adaptor at the back. This use reflects the smaller rear glass which allows it to serve cameras with restricted front apertures. It is one of the very highly esteemed lenses. The date may be late pre-Panchro II in which case this one had been refurbished very well.

TTH Cinema f2.5 35, 47mm for 35mm movie. It was listed as 35 and 47mm on the Bell& Howell Eymo 35mm movie in B.J.A. 1930, p364, so it seems to be an older series before the Panchros came into the unique position they later had. The Eymo also had a f4.5/6in on the triple turret- which was well received as turrets seem to have still been a novelty.This has been noted twice, once at No127,12x on a 35mm Eymo. (This is also mentioned under Series I)

A listing of Panchro and Panchro 11 sizes in 1959 was then as follows: Focus Panchro Panchro 11 18mm - f1.7 (9g/7c) 25mm f2.0 (6g/4c) f1.8 (9g/7c) 28mm f2.0 (6g/4c) - 32mm f2.0 (6g/4c) f2.0 (7g/5c) 35mm f2.0 (6g/4c) - 40mm f2.0 (6g/4c) f2.0 (7g/5c) 50mm f2.0 (6g/4c) f2.0 (7g/5c) 75mm f2.0 (6g/4c) f2.0 (6g/4c) Panchro was designed for the Motion Picture Sound Format of 16.03x22.04mm while the Panchro 11 series covered the larger Motion Picture Silent Format of 18.37x24.89mm. The above Panchro series are probably all the classic OPIC layout, and are still sought after, and the designs are likely to be the work of a team with Lee and Warmisham in it. It seems to have been recomputed regularly, as the ELC version differs from the uncoated Panchro 50mm. But today the Panchro 11s are the most valued set. The redesign seems to have been the work of Mr G.H.Cook and a group which had access to a modern computer, type Elliott 402 High Speed with paper tape feed and magnetic drum storage for up to 4000 instructions. This and the availability of high quality coating lead to a choice of more varied designs. At the time of the redesign to Series 11, the lenses were offered for Eclair 35 Cameflex, for Arriflex and for Newall and Mitchell. Even later, a new legendary set of Panchro III lenses was produced. It seems that the Trade Name Panchro was used on 35mm movie lenses and the Kinic name was used on 16mm lenses but this is an inference from those seen. Longer lenses noted include the TelePanchro and Series 11 Telepanchro lenses, dating from the development of anastigmat telephoto lenses in 1920 and the optical designs have varied with time and focus. Typically these were of 6.0, 8.0, 12.5, 16, 22in. Older examples seen have been 2+2 designs eg at No288,17x in War Finish for 6in f4.5 but for the Series 11 lenses these were 5g/4c except for the 22in which was 4g/4c. These do not seem to have been redesigned at the same time as the Panchro 11's were issued. TelePanchros f2.8 6in 5g/4c f4.0 8in 5g/4c f4.0 12.5in 5g/4c f4.0 16in 5g/4c f5.6 22in 4/4 Contrast these with the slower f4.5 Telekinic and f5.6 Cooke telephoto noted in 150mm, and 310mm/500mm respectively. Other faster or special lenses were made, often now difficult to understand. Cooke Varo This was a pioneering zoom lens, and is thought to be prewar, but few details are available. It will be for 18x24mm movie.

Technicolor This was one of the early colour processes for commercial movies, and dominated the market for years before and after WW2. Some of these processes are discussed in B.J.A. 1925, p309-323, with Technicolor one of the last mentioned. The process described possibly never was used, but suggests some of the bipack technology they had developed for a successful process. When it came, TTH supplied the lenses in 25, 35, 40, 50, 70, 100 and 140mm. Initially, a two film bipack system "Two Color" was used and later a third film was added for "Three Colour" was added after 1932. Bipack needed special lenses in 25 and 35mm, and this was reinforced with the 3 colour which had a splitter prism in front of the film to supply the third film. These special lenses will have been the retrofocus TTH lenses. There was a need to refocus older lenses not marked S.L. by 0.0045in if used on normal film as the bipack placed the image zone behind one film layer, of this effective thickness. It is thought these items seldom come on the market. It is thought they were not merely rare but kept as the property of the Technicolor Corporation and rented out as needed.

Inverted Tele f2.0 35mm for Technicolor 3-strip cameras, this was developed by H.W.Lee in 1931 using a 6- glass OPIC type behind a uncemented negative front pair to give increased back focus to clear the beam splitter of the camera. (Tay023). Merte draws a version with the front glasses un-cemented (Brit Pat. 355,452) The glass used was G1= 1.6510/33.7;G2=1.6135/59.4; G3=1.5730/57.3; G4= 1.6135/59.4; G5= 1.6120/38.0; G6= 1.5790/40.4; G7= 1.6235/56.3; G8= 1.5730/57.3. This design was unique then and was not in competition till after WW2. Possibly the size of the front glasses involved was off- putting, as was the small demand for lenses for 24x36 SLR's.[P.C. Smethurst says it was Warmisham who designed it but this may be an understandable memory lapse in an old man who was never able to check his draft. He also says it was a 50mm lens, with a front component a foot square and some 15in in front of the lens. One factor seems to have been that Lee was rather deaf so discussion was difficult, and Warmisham was also a bit short of speech. Smethurst pays tribute to the speed with which Warmisham could solve a new design problem if needed. Lee left TTH in 1937 to work with Scophony-Baird, where he was later in charge of Gordon Cook. One patent he worked on there was on a Photogrammetric camera lighter and more resistant to temperature changes than the usual types. Brit Pat 603,085 of 09/06/1948 in B.J.A. 1950, p180.)]

"Technicolor lenses" This process used only TTH lenses in a 1936 advert.(B.J.A. p55) Panfo f2.8 medium long focus for 35mm movie but little is known of the structure. Super Speed Panchro f1.3 Several lenses occur in this group. Lee designed an OPIC with a split rear glass in USPat 2,619,895/1935; Brit Pat 373,950/1932; 397,281 (Tay006). This parallels a Schneider Xenon f1.3 design and the patent number was engraved on some Leitz f1.5 50mm Xenon and Summarit lenses. TTH production of these lenses seems to be small, and they are very sought after. Some Super Speed Panchros at least have a quite different 1+2 i 1+3 design (Tay025)and may be triplet derivatives. Special Speed Panchro f1.3 60mm for movie. This is also a scarce trade name.

TTH f1.3 25mm This was for 16mm Cine on Bell and Howell Filmo 70 and was also reported for cine at £10.5. No details were given of the design (B.J.A. 1933, p297) apart from the stress on the very big aperture. It was said to cover in a very satisfactory manner and be hard to beat for use in bad light. In 1933, it was for sale on Bell & Howell cameras, and was matched by a f1.65 projection lens and a new wide angle projection lens. For a bigger f1.3 see B.J.A. 1938, p299 where a lens of this type may have been used at the Coronation as f1.3/4in, together with an f1.65/8in. "8-glass type" Here the front and back glasses of the OPIC were both split, to give a 1+1+2+2+1+1 layout and this was used in up to f0.95 by some makers. See Brit Pat. 298,769/1927. Actual use of this layout by TTH is uncertain- it will be a highly flary design. "6-glass Aspheric" This was a Lee design in USPat 2,100,291/1937, Brit Pat. 477,448. It gave a f1.0 lens of higher contrast as the air-glass surfaces were fewer. Thus it would compete in this respect with the advanced triplets from German designers. Glasses were G1+4+7= 1.6130/59.7; G2+3+5+6= 1.5290/51.6. "Triplet" This was a fast lens in this design group and is included by Merte as a derivative or version of the Zeiss lens. It was covered in Brit Pat 419,552 of 1934, with a 1+1+2+1 layout. It seems to be a fairly narrow angle cine lens. See also Brit Pat No477,324 for a 4-glass lens which may be for movie or possibly for projection use. Zoom An 11-glass Zoom from 28-100mm was shown in Brit Pat No398,307/1933 for movie use. It essentially used an OPIC type lens with moving groups of lenses in the front and rear to make the zoom. (?App068) Radiography f1.5 50mm This is a solid black mounted lens with no iris, but a focus adjustment to the mount. It was seen at No321,45x, when it was (probably) not coated. Radiographic f0.80 This was a Petzval derivative.( A.Cox and H.W.Martin J. Sci. Insts, 22, 5, 1945.) This may also appear as a f0.8 Cine in wartime production for mass X-ray work. There was a fast lens patented in Brit Pat No 342,889 in 1931. Gauss wide angle of 5-glasses see Brit Pat 407,156/1934. This may be a 'special' one-off? Astronomy lens f2.0 Here a much older Petzval type with a corrector plate was used. (H.D.Taylor, Brit Pat 127,058/1917). It was probably a one-off. (Tay024) The interest may be the use of the corrector plate. Baird System TV lenses. These were rare and costly items used for this early system, and included 8-glass 6in f1.5 Projection lenses and also a 10in f1.6 lens. A 5in f1.5 seen may be from this set. It is said these were considered for the WW2 aerial lenses for night work, but rejected as too costly and hard to make in the number needed. The RAF chose its lenses in a very practical "down-to-earth" manner. (It seems the designer was Lee and it may have led to the fact that both Lee and G. Cook worked later for Scophony-Baird).

Prewar Cine and Movie Lenses. By 1931, there must have been much activity in Bell & Howell and TTH in providing cine lenses for Filmo 16mm and Eymo 35mm cameras. (B.J.A. 1931, p322) Foci were as 20mm to 6in in 16mm and 1.375-11in in movie, with apertures of f1.5 and f1.8 or slower, with interchangeability as a major feature. (However the TTH advert. is of still lenses, and Bell & Howell largely describe the cameras.) Ariel's list gives some sort of a cross section here. It included:

Kinic f3.5/20, 23/25mm and 50mm lenses for 16mm and 35mm use on a number of cameras, and also a faster series in f2.8/25mm, f2.7/25mm and f2.5/23 and 47mm. A very early f3.0/50mm was on a 1914 Williamson 35mm camera. There was also another series in f1.9 and also f1.5 and f1.4 post-WW2. These probably included Gauss and Kinic type designs. Fig 020 034 TTH Kinic (r) f1.8/1in No151,639; (l) f1.4/1in ctd No251,409. This is well coated so production must have continued well after the War probably as a premium grade 16mm lens for semi-professional use. There was also a: Cooke Anastigmat (TeleKinic?) f4.5/150mm probably by 1930, as noted with the f2.6 in B.J.A. 1930, p364. However they are all actually named as "Cooke" as well as sometimes Kinic or Panchro which complicates things today.

Cinematograph f3.5/50mm This was noted on a Moy of 1909. This group are probably versions of the Series 1 above, as is the f3.1 listed next. Ariel has the Cooke Special Cinematograph as f3.1 in 50mm on an 1912 Williamson 35mm camera and the f3.1 seems to have been used in several ways. The f3.1 was used in 1924 on the Salex Kinex 35mm camera, and on the Butcher's Paragon Cine camera where there were f3.1 in 2in, 3in and a f4.5/4in which may have been a tele. The prices with the 3 Cooke lenses was £10 above that with a comparable set from Ross at f3.5. [The illustration shows the turret with 3 lenses in black in cylindrical focus tubes with a prominent lever protruding but it does not say if these are TTH or Ross.] The f3.1 seems to have sold well on early movie cameras: it was noted at auction as a f3.1/2in on a 35mm Eymo at No127,12x and on an Ernemann, and as a f3.5/1in No198,00x on a RCA Victor Sound from about 1935 for newsreel work. Not all may be named: a f3.1/2in at No82,65x was on a wooden Williamson Kinematograph and a f3.5/20mm was on an Bell& Howell FILMO Model 75. But they may be retrofits here- the f3.1 was not mentioned in a 1916 BJA note (p545). Fig 020 032 TTH (r) Cinema f3.1 lens 2.25in No108,974: (l) f3.1 Special 89mm No307,510.

This requires a more extensive listing and some trade names are: Cinar One named series was Cinar used on 16mm lenses for Ensign (and other?) in the 1930's as f1.5/1in; f2.8/25mm and f3.5/25mm. (B.J.A. 1935, p86) This seems to be a Trade Name rather than a optical design code, so it will cover lenses made to different layouts. An f2.6 Cinar was used on the Ensign Super-Cinecam as the standard in B.J.A. 1931, 318) with an f1.5 as a faster option.

Fig 021 030 TTH Leicester Cinar f3.5 Pat 155,640. In fact several types were noted as follows: Cinar f2.6 This was used on the Ensign Autokinecam in 1933 (B.J.A. 1933, p74) and was noted in a secondhand list in B.J.A. 1936, p501 in 16mm mount. f1.5 This may be the same as the f1.5 on B&H cameras 16mm Filmo 70DA and Model 121 in B.J.A. 1937, p570advert., when "fastest on any amateur movie camera" was the claim. There was also an f1.5 Cooke lens on a Bell & Howell Filmo 70D in B.J.A. 1934, p315. f3.5 1in for Ensign anon f2.4 12.5mm This was in B.J.A. 1936 p579 on a B&H Filmo Straight 8 8mm camera, with 'mattes' (masks?) for 2 other lenses as follow next. f2.7 1in (25.4mm) TTH f2.8 1in on Ensign Kinecam 6 (B.J.A.1935, p86, 1937, p68) f3.5 11.5in (38mm) TTH Projection lensf1.8 An early f1.8 was on the Zolograph projector for W. Heaton in B.J.A. 1927, p361. f2.8 This projection lens was on a Kinex de Lux projector from City Sale in B.J.A. 1926, p352- it was probably aimed at amateur 35mm use. f1.6 1in (25.4mm) for Filmo 8 projector. Datal A unique lens was two Datal f1.9/1in on Victor 16mm cameras. However the point of this name 'Datal' is not obvious. Names may have been used in response to customers needs.

A Bell&Howell advert in American Annual 1939, pAdv8/9 mentions a TTH Cooke f2.7 lens on Filmo 70D and Filmo 121 16mm cameras. It may be a very fast Cooke Triplet. The relation with Bell & Howell showed in TTH f2.5 and f3.5/12.5mm lenses for the 8mm Filmo 134-E and 134- G models. (B.J.A. 1938, p307)

Prewar movie projection lenses Maximum Projection f2.9 eg 5.5in =140mm Petzval? Ultimum Projection f1.9 eg. 4.25in Petzval. (See also B.J.A. 1933, p297). Super Cinephore f2 Gauss type projection.

Late prewar, in 1939, Mr Ray Burnett told of visiting TTH and being told of production of cine and f6.3 lenses for Coronet and lenses for Woolworth for the V.P. Twin to keep the factory going, so bad was business. But it is just possible that TTH were doing this to train up staff for National Optical, which seems to have been making some Pathex lenses prewar- so getting prepared for orders expected from the Ministry. Or National may just have been a way of making lower price lenses without using the TTH name on them. But this is conjecture. There is no indication in Mr Conyers Nesbit's book that the MoD were ordering much photo equipment at this time but there may have been some sort of assurance given in private.

An odd uncoated lens pair is the following: Anon f2.8 0.95in (24.3mm approx.) These are merely marked Taylor-Hobson in gold fill on the tiny front ring, and are uncoated and have no iris. They were seen at serial numbers 268,794 and 269,136 and have no MoD engraving but were seen along with some Dallmeyer lenses engraved 'Ref 14A/808' etc. Their original use is obscure but just might have been from film examining equipment for footage from G45 cameras, or possibly for enlarging microfilmed document transmission such as was employed for air transit from the Far East during WW2. Fig 021 014 TTH f2.8/0.95in No268,794 and (r) similar Dallmeyer f3.5 No201,051. These may have been dismantled from 16mm film readers. They are not coated. Fig 021 012 TTH f2/1.5in ctd ex-MoD lens, possibly film reader type. This seems a more elaborate type of lens and might be from a printer.

It is thought likely that H.W.Lee left TTH late prewar, possibly as there was insufficient work for two designers of the seniority of himself and Mr Warmisham. He seems to have later worked for Scophony-Baird, possibly being succeeded there by Mr Cook, and then for Pullin Optical and independantly as a Consultant designer, for Dallmeyer and possibly others. Other TTH designers of the period included A. Cox, who wrote a series of article on lenses in Min. Cam. Mag. 03-06/1940 p233etc, p440 which seem to have developed into his book on Photographic Optics (Focal Press), and who later went to Bell & Howell, USA; Charles Wynne, who later went to Wray and took the chair of optical design at Imperial College about 1959; and Harold H Hopkins who went to Watsons and worked on zoom lenses. Other designers of the period were Mr Peter Merigold, who joined from Northern Scientific, of Bolton; W.S.S.Blaschke from Cooke, Troughton and Simms of York, Kenneth Coleman and Michael Wreathall, the last two being more senior men. ______We do not have a real list of products available in 1939- but it is probable that most of the Series lenses for large format were represented in some form, from the early postwar list. There were also many movie lenses, and the cine lens production was larger and more important than might be expected from secondhand items today- due to the small survival of many of them. In fact, most of the 8mm cameras made and sold in the UK offered TTH lenses as did the 16mm units. And the NOC status is still obscure. ______WW2 War Finish Era Many of these lenses went through a war finish period in black paint with little trim. Some were coated from 1942,3 or 4 during this period, and they were used among other things for newsreel footage of the Normandie landings. Radiographic lenses were important and among the first coated. (B.J.A. 1943) By the end of the War, the payroll was up 1450 persons, with some 50% female, and not 2 but 9 factories. This probably includes the subsidiary National Optical, and suggests that a major part of the UK aerial lens production was in fact from TTH and its subsidiaries. Such lenses were also supplied to the USAAF though few details are available here. Postwar shrinkage in size was a problem. Recognizable TTH product were limited as most wartime products had no makers name. But it is likely that they used serial numbers with TT initials as this has been noted on two 14in f5.6 AVIAR lenses of the period.(see Fig below) (Compare UU or VV for Dallmeyer, EE probably for Aldis and NoCo for National Optical. There were exceptions as when a Dallmeyer was paint stamped but escaped with only a serial number- but no letters, and a Ross 5in f4.0 had a full Ross makers name engraved. But it and a 20in Ross may have been prewar manufactures. A variation was O.R or ROL in paint stamp for Ross Optics London or some such. (There is a hint that before the war Ross were the main RAF suppliers). Certainly TTH adverts in 1945 showed an Aviar superimposed on a wartime aerial picture to emphasise why they had been unable to supply lenses during the war.

It is likely that the major design work now fell on Mr Cook, with Mr Warmisham (1891-1962) as the senior man, who was to retire after the War. TTH recruited very able young ladies as co-workers, from local schools, and Miss Hilda and Miss Dorothy Weaver were among those helping Mr Cook and Mr Merigold in the work (with an Elliot 402 Computer) on the Panchro redesign. (We thank Mr J. Maxwell of Imperial College and Cooke Optics Ltd for information here.) f5.6 20in Aviar This was a excellent, standard lens, uncoated, especially when used at about f7.0. f5.6 14in Aviar for 5x5 format. These were common but are now hard to find. Fig 020 020 TTH Aviar f5.6/14in NoTT285,276. Here the owner has stripped off the paint to make the brass show. Fig 020 022 TTH Aviar f5.6/14in No TT285,405 in original black finish. Note MoD 14A^3254 mark.

There were also said to be shorter versions. One contract number was 14A^2271 on lens TT284,474. f4.5 20in Some big triplets were also used. The maker was unknown. Aerial Reconnaisance f2.5 8in This may have been a competitor for the Pentac contract. Profile Projection- This was possibly a new line in war work. An interesting point is that Dr Cox quotes the design of a Q15 lens apparently of f4.5 for his 1943 Edition of "Optics" using G1= 1.6072, G2= 1.5760, G3= 1.5265, G4= 1.6238. It may well be that this was an actual product, though production may not have taken place.

Post War Products An important collection of postwar TTH lenses was presented to the Snibston Discovery Park, Leicestershire, and we thank Dr Brian Newman of Cooke Optics for telling of this source of information. These will normally be coated as TTH had a coating plant from 1944. After the war, they continued many of the prewar large format Series lenses after the war, but there was an increased interest in cine lenses to suit their associate Bell and Howell in the USA and to meet UK Government needs for foreign exchange. A 1947 list has these products, but lacks the foci for the lenses and these are added as available from a 1955 list. The last advert. in a B.J.A. was in the 1955 issue, rather as it was for Ross, and it had then been virtually unchanged for some years: and this may relate either to an increase in advertising rates or to declining trading making for specialization, here in movie and cine lenses and probably process lenses and defense items.

Trade Name Aperture (1947 list) Foci.(1955 list) Opic f2.0 50, 76mm. Series X f2.5 162, 197mm. Series 11a f3.5 127, 158, 190mm. Series 11 f4.5 Aviar 152, 178, 210, 254, 320, 342mm. Series 111b f6.0 Aviar 216, 270, 320, 380mm. Note this is now coded AVIAR rather than Aviarica as before. Series V11b f6.5,Anglic 82, 108, 133, 158, 203mm.Seen at No 382,41x, 384,49x and these are both coated. Coating makes a real difference here, and note the 108mm covers 5x7 easily, sharply. But also that the advert. in B.J.A. 1948 p27 specifies focus at f6.5, and close down without need to refocus. Use at f11 or less seems to be expected. At that time, it and the 2 AVIAR lenses seem to have been the most advertized items. None of these was in a shutter: Some vignetting can limit the angle covered if the Series VIIb lens is in the front of a blade shutter. An example was the above No382,41x in a Compur 2 No822,747 which is probably about 1953. Series V111 f5.5 Telephoto 216, 280, 320, 380, 508mm. It was seen at No 123,307, when it was coated, and a 15in. (It was in 8.5-20in in a Photogr. Journal Advert March 1951, pviii, and of 2+2 design. Series X1V f6.3 330, 420mm. Series 11d f3.5. Series 11e f4.5. 270, 325, 380, 460, 508mm. For details see above. Series V1a f5.6 Series XV f5.6 also f6.8 in 1955 list as 312, 483, 673mm. Talykron shutter Here it was "trade only supplied", as used for 80mm f2.8 Adotal (Tay 007) on the Kershaw Peregrine 111and other Kershaw cameras such as the Curlew III with the Roytal below. This was a quality reliable shutter and one to welcome today when offered. It may represent another attempt to keep a wartime factory, possibly a mechanical one, in production but this is a complete guess. It was reviewed in MCM Jan 1946. (T,B,1-1/500sec, with a 1ms opening time.) It seems to have been made or planned in 4 different sizes. It was only sold to the trade. Wide Angle The Series V11b appeared as an 64mm lens on the Envoy wide angle camera for 6x9cm, and was noted at No 381,55x on Envoy No 330x; and 381,27x and 381,60x, coated. These are in Epsilon shutters, and cut off by the shutter may make stopping down especially needed. They were a well liked product. (B.J.A. 1951, p487).

Miniature Anastigmats Rollfilm Lenses A series of lenses seems to have planned under this name but they are not really familiar now. They were listed in f2.8 (Adotal?, Tay007), f3.5, f4.0, f4.5 (Roytal?) for 75-135mm the last in Q15 layouts, and may have been an offer the camera makers did not take up as fully as hoped, though the identity of some can be guessed at. One fairly certain user was Kershaw, who launched their "Bird" series of cameras soon after the War, eg in B.J.A. 1948, p23 with the Peregrine group. A trade list, ie not for sale to the public, was as follows: f4.5 60mm f2.8 80mm ) f4.5 135mm ) These three are mentioned in B.J.A. 1947 p183 as aimed at a postwar 6x6cm f6.3 254mm ) camera, such as a reflex with interchangeable lenses, but it seems only the f2.8/80mm ever appeared, as the Adotal. f2.0 50mm f2.8 75mm f4.0 100mm Some of these may be for 6x6cm but others may be for full frame 35mm. Some may be spun off from the next item, and these are lenses actually noted as sold. Roytal f3.8/80mm It was made in 80mm (scarce?) and: f3.8/105mm, it was a coated 4-glass Q15 lens in Talykron shutter for the Kershaw Curlew 111 in Aug 1959. It is very sharp and contrasty in the centre, experience being that the edge seemed less good. This comment was from an example transferred from a damaged Curlew to a 6x9cm Linhof camera which did seem less useful than had been hoped. (The cheaper Curlew 11 made do with a Kershaw Critak f4.5/105mm lens). In June 1947 MCM noted the prototype Curlews as: No 1 with f6.3 lens; No11 with f4.5 lens; and No111 with a TTH f3.5 (for f3.8) lens. Examples seen or noted were at No336,35x on body 3/996x and No335,91x on body No3/757x, also No335,58x, 335,51x, 336,21x and 335,56x. Roytal f3.5/80mm The 80mm Roytal was noted on the Peregrine II at lenses No335,23x and 340,24x, in Talykron shutters. It was still forcaste, but without a name in B.J.A. 1948, p23. Adotal f2.8 80mm (Tay007) This was one of the top 6x6cm format lenses of the time, but sadly is rare as the only outlet seems to have been the scarce Peregrine III. It was seen with a dark purple coating at No344,46x on body No 4/25002. Others at auction were Adotal No344,46x on body No4/25,84x, 351,12x, 355,50x on 4/26,26x and Adotal No356,17x. (In June 1947 MCM, the Peregrine III was promised in May 1948 with an f2.9 lens- to appear as the f2.8 Adotal. The same speed is given in B.J.A. 1948 p23 so the f2.9 was not just a random printers error.) The base model Peregrine had a Kershaw f4.5 lens in a Kershaw shutter but it is not certain if Kershaw made it. A Cooke Anastigmat f2.8/80mm at No 384,416 shows a very similar reflexion pattern and external curves to Adotal and may be the same lens in an industrial setting, possibly for TV.

35mm Lenses Some still 35mm lenses were produced related to the Bell & Howell Foton camera and to the Reid. Amotal f2.0 50mm This was TTH's first lens for 24x36mm and is an item of major interest. It seems to have occurred in at least 3 and probably 4 versions as follows. (a) This was designed as the standard lens for the Foton. These were ELC coated, and this was a fine lens but the buyers did not respond to the T-speed engraving used. A Foton mounted example is No300,768. Next there was a series with both T and F stops, described as 'a jungle of numbers,' an early number being No297,28x. Thus the range can overlap real Foton numbers. Late examples are just in normal f-stops. No 300,54x was a late one and was remounted in Italy for M39x26 in a very soft alloy mount. The optic was made on 27/09/1947. Some 16,000 Fotons were said to have been made before production stopped suddenly. (The camera price was very high at $700, later $500, so that sales were limited apart from any question of the iris engraving.) This seems to have left a supply of Amotals in the production line and lead to some 3 variants. First, Peerless in New York arranged for the USA excess supply to be remounted in Italy (some only are engraved 'Made in Italy')and sold off for M39x26TPI ie Leica. Thus it is a lens most easily found in USA. This mount occurs in two or more like three versions recognized by enthusiasts, but with the lens heads which seem to be the same type, with f2 engraving not T stops. (b) At Nos298,89x and 299,02x, the knurling on the focus and rear threads is square form and interrupted by bold milled-in spaces for about 50% of the area. Screw heads at the lens flange suggest they are the limiter to the focus travel. No298,96x is probably also this type. (c) Later at No300,54x the knurling is plain linear type to closely match the knurling on the lenshead. The early type has a prominent screw head axially in the camera facing flange while the later one limits the focus travel with an additional screwed-in ring with a raised rim behind the focus threads. Fig 011 029 TTH Ltd (l) Amotal f2/50mm No300,544; (m) Reid lens f2/50mm 328,829; (r) NOC f2/50mm No354,196. All coupled for M39.

Fig 011 031 TTH Ltd (l) Amotal f2/50mm No300,544; (m) Reid lens f2/50mm 328,829; (r) NOC f2/50mm No354,196. All coupled for M39.

The only other lens noted as offered on Foton was the rare 100mm f2.8 (T=3.0) Panchrotal, eg at No364,74x, essentially a triplet derivative competitor to the deep field Panchro, though others such as an 28mm f2.0 may have been planned. (There is such a Double Speed Panchro lens listed in Cox's 'Optics' edition March 1956, p211 ref IT18.) The prototype may be No 298,69x at Snibston. The Foton was 'new' in MCM Dec 1948. Note there were a Amatol series of 35mm lenses at one period. Other Foton lenses are very hard to find: a group at auction was as follows: Amotal f2/50mm above, No300,768, also 301,41x; TeleKinic f5.6/8.5in, No382,55x and Deep Field Panchro f2.5/100mm, No282,97x. This just might suggest the Panchrotal above was a retrofit. A correspondent says the lenses issued for Foton were: Amotal f2.50mm TTH Cooke Panchrotal f2.5/100mm (4in) TTH Cooke TeleKinic f5.6/216mm (8.5in) TTH Cooke Telekinic f5.6/320mm (12.5in)

(d)NOC f2.0 50mm same. The external curves on the National Optical Co.f2.0 were effectively the same as the Amotal, and not as the Reid. Mr Cook confirmed that the Reid lens was a slight redesign and these changes seem to be to the rear surface. A comparison with other TTH f2.0 50mm Panchros etc. shows that these are also quite different in the front curves- the quality was the same but the product was different! But note the NOC does not carry the Amotal name. The mount is at least partly by Cook & Perkins.

Reid f2.0 50mm in M39x26. This was rated very highly indeed as a 35mm full format lens. It may be the preferred lens in E36 front. The last were sold off by A.W.Young as late as 1971 and still fetched £36 (Am. Photo. 25/10/1970). Slight changes were made to the barrel during the production life, (a) the early ones being highly polished ie. shiny and tended to show scratches due to the push-pull action of the collapsible mount running through a velvet lining, and this was seen at No328,82x, (b) and the finish was later changed to matt chrome, seen at No330,25x. These Reids are now very sought after. The Reid lens cap is distinctive and should accompany it. An early account of the Reid was in MCM May 1951, but it was first shown in 1947 at the BIF.(MCM May 1947 p294. There seems to just be a chance that the early lenses were actually Amotals, before the Reid lens was designed, since the dates of Foton and Reid introductions seem to overlap and this seems to be Mr Burnett's impression. The Reid seems to have the same front curves as Amotal but a slightly different rear curve and the designer, Mr Cook, said that there was a slight redesign. Mr G.H.Cook was a senior TTH designer then, and in a lecture to the R.P.S. (Photogr. Journal. Oct 1949, p223) described a 6g/4c Gauss (Amotal?) and said the corrections exceeded the Summitar, with a rather flatter field and comparable spherical and astigmatic corrections. But it was achieved using 6 glasses instead of 7. It probably also nearly matched the f2 Sonnar for field flatness and astigmatic correction and was rather better for spherical correction. The Kodak f1.9 Ektar was said to be rather like the Summitar in performance analysis. Reid lenses are engraved with Patents: Brit Pat. 377,537; 461,304; 507,184; 587,090; US Pat.1,955,591, 2,117,252. Some Reid lens numbers noted, many of them at auction, have been: Body No Lens No - 328,24x P108x 328,68x P108x 328,75x P114x 328,82x P124x 328,42x P141x 328,82x Shiny barrel P1452 329,04x - 329,64x P154x 330,09x P159x 329,69x P164x 328,83x 329,33x P187x 329,48x P187x 330,44x P196x 330,46x P205x 330,21x - 330,24x - 330,25x Matt barrel P208x 330,41x P233x 329,20x P241x 329,30x P258x 329,12x - 329,39x - 329,65x P262x 330,59x P266x 32968x P270x 329,08x P271x 329,16x P293x 329,28x - 329,29x P318x 328,64x P320x 328,59x - 328,40x P325x 329,58x P347x 330,13x

A tray of 24 Reid lenses was auctioned in the maker's compartmented box in 1988, and the account refers to the original Am.Photo. reviews of 23/05/1951p500-1 +512; and 23/06/1971 p34-5. Serial numbers were: 330,511 330,516 330,524 330,525 330,538 330,531 330,534 330,537 330,563 330,544 330,557 330,558 330,627 330,574 330,594 330,605 330,658 330,633 330,641 330,653 330,717 330,659 330,691 330,710. In considering this list, note that they are very easy to exchange from one body to another, and are here arranged under order of body number. Postwar Cook and Perkins mounted some ex-MoD 35mm movie lenses such as the f2.0/3in Panchro and f2.5/4in Deep Field Panchro in coupled M39x26 mounts and these are very sought after items. Those seen were later coated versions, not the very first types. The Reid f2.0 was the only lens dedicated to the Reid, though prototypes of others may exist. [Reid was able to test and if necessary adjust some lenses such as Dalrac and Dallac for the Reid and these can be engraved 'Reid' as can Xtralux lenses from Ross. An exception is that Wray made adaptors for some 35mm f3.5 Lustrars from Wrayflex to Reid for use in the Navy. These are very scarce as most of the tubes were scrapped after disposal from the MoD, and seem to be at No 330,51x-330,71x.] Pre-production lens prototypes for the Reid are reported to have included from TTH two types: f3.5 50mm, 6 made. f2.9 50mm, "a few". Undoubtedly other makes hoped to benefit from sales to Reid owners, but in fact it was not a big market due to limited civilian sales of Reids.

Process lenses were a very successful product as coating must have made many firms reequip postwar with modern optics. In addition, there was a real need for the ultimate in lens quality here. TTH did also produce some patents though it is not known how valuable these were in fact. Thus No603,519 of 17/06/1948 to TTH and Arthur Warmisham (B.J.A. 1950, p178) describes a reversing prism using a roof prism in one version of the patent.

Some process lenses were: Apotal f9, f10 There were many sizes, including 300, 450mm. They are thought to all be postwar ie after 1945. This seems to be a Q15 type, seen at No632,83x, and fairly common and these are well liked today for large format use. Several professional 10x8in users seen in fact have them. These are heavy but not as excessively so as some process lenses can be. It was made as f9-f16 in one list, for 9.5-35in. An example on a 10x8 Gandolfi was f9/18in No599,29x. Another was f9,14in, 623,55x, and also was brown coated. A slightly later 30cm (12in) f9 at No632,83x seems a little different. It is marked in cm rather than inches and has a very dark purple coating and the glass seems to be white while the older lenses are slightly brown in colour. In use the 12 and 14in versions were mounted (2.25inx24TPI threads) in a No4 Acme shutter using a thin ring to adapt the 2.25in (57mm) thread to the shutter's original 59.4mm/58.7mm/40TPI and in use they covered very well both for illumination and sharpness and they have common mounting threads front and rear so that they can be reversed. The central image is especially impressive: sharp and contrasty. Fig 019 033 TTH Apotal Process lenses. (l) f9/30cm (12in) No632,838: and f9/14in No623,552 in characteristic mounts. These are relatively modern coated lenses.

Apo Panchro Process: noted as a f16, 36in lens. No details. Butal f8.0 This seems a more complex 5-glass design, perhaps as Q19, Heliar, seen as a 9.75in lens at at No655,34x. Note this is from Rank Taylor Hobson, a later trade name, while the Apotal is just Taylor Hobson. It also is marked for Hunter-Penrose-Littlejohn, the makers of the process equipment it was to be used with. Fig 020 011 Rank/TTH Butal f8/9.75in (247.65mm) No655,343.

Planital f9.0 This was noted as a 21in lens, probably another process type. Copying f9.0 This was seen as f9.0 lenses at 6in, 12in. It seems to be a 4-glass Q15 type, brown coated and giving very high quality, and is also a useful compact lens so can be used on many big format cameras. It does not seem to be in shutters. In fact it may be near an Apotal perhaps being a less elaborately mounted version of it. It was seen at No 570,77x, (brown coated) and 598,01x in 6in with iris to f90. The 6in seems an attractive item and can be low priced. Some are ex-machines of Photostat Ltd, and seem dusty, as if ex-storage. The rear cell came out easily, but the front seemed to be sealed in with some adhesive in the threads and required quite a strong torque to free it. The mid glass then unscrewed from the back of the front cell, easily. The iris control ring runs in a grease track (AeroShell?) but is fitted by a bayonet and freed when two grub screws are removed. Fig 020 016 TTH Copying f9/6in ex Photostat Ltd.

Cooke copying f6.3 This was noted in 7in. Series Vb This may be an older type. This may be an older Series lens surviving or mixed with later lenses, as there was a Series Vb version in f8 etc., and it is listed above. Xerographic This was seen as a f4.5 8.25in coated triplet from RTH-Xerox Corporation, and was probably a photocopier lens. It was also noted in 9.5in. It was in a barrel mount, with an iris for a rather limited range of stops. Rolls-Royce Camera (1956) This was a camera 46ft long, 8ft square, with a lens not detailed but by TTH.

Postwar Aerial Lenses. Some important lenses were for the Vinten F95 and Agiflite 70mm cameras. Anastigmat f2.0 4in for 6x6cm on 70mm film. This is a high quality lens for an early version of the A.G.I. F95 aerial camera seen at No568,13x. These were 1955-1968 period and already selling off on F95 cameras in Am. Photo 28/12/1977 p95 advert. at £75 complete or f4.5/12in lens £35. They were coated, and are now rather scarce. f2.8 4in also, said to be as f2 but with the iris limited to f2.8. This is said to be "Rare" according to those who know. It has not been seen. Anastigmat f1.8 4in This may be the preferred lens if both are available. The mount looks the same but the barrel is bigger in front. The color will be rather warm in tone from the example seen, No638,78x. (14A/6635). The example seen had been sand-blasted with dust while in use- something to look for in purchasing as it seems to be not uncommon in use of aerial lenses. This is a case where repair is known to be difficult as the assembly is very tightly put together. Telephoto f4.0 12in This was the matching long lens for the Agiflite camera. It is also very desirable lens, but the rear clearance is rather limited for mounting to civilian 6x6cm or large format cameras, which limits resale values. It was seen at Nos 612,23x and 621,30x (14A/4271 MOD PHOT C/147). It is of extremely high quality for 6x6cm and nearly covers 5x4in. It was said to be made 1955-1975.

Fig 020 024 TTH lenses for Vinten F95 (rear) f4/12in 2x; (front l) f1.8/4in and (front r) f2/4in.

Anon f4.0 36in This was for aerial survey by night. It is rare. Anon f8.0 48in This was an aerial survey lens, also rare. Example noted was actually marked as 46.53in for calibration purposes.

Mr Cook was a senior designer at TTH during and after the War and produced a number of interesting designs, including a telephoto lens of f2.5 which had a concave external rear curve. (Brit. Pat. 552,024/ 1941; 565,411/1943). Postwar all the glasses of a lens like the "Lee distortionless tele" were separated for what seems a very highly corrected tele f4.0 design. (Brit Pat 697,336/1951). In 1952, Cook tried a Gauss layout with two negative glasses each side of the central iris in a complex design, possibly for aerial survey work. (f3.5, 46° angle.) He also suggested a fully air-spaced symmetrical lens for up to 50-70°. (Brit. Pat. 690402-5). At this time Mr R.E.Reason was a senior in surface measurement and Mr H.W.Martin was in the optical department. This period also saw the firm return to UK management by the Rank Organization, as part of their consolidation of the UK film and production industry.

Enlarging Lenses. The Ental series were one of the leading postwar types, widely used in the UK. They seem to be forcaste but not yet named in a note in B.J.A. 1947, p181 where f3.5/50mm, and f4.5/80 and 108mm are mentioned as due. Two series were noted, as Ental and Ental 11, and sales certainly go back to the 1950's or earlier. These are fine lenses but ones to buy with care as darkroom use can often lead to damage by damp (fungus) and scratches. This is a case where a number of old lenses have been rejected for these reasons before a good one was found. They often use heavy element glass and can be warm toned. Ental 11 may be from 11/1960 to judge from a sales leaflet. Ental f3.5 50mm for 24x36mm format f4.5 80mm for 60x60mm, and 108, 127mm for larger formats. Ental f3.5 50mm f4.0 3.25 (80mm) Q15 type (Note the 1955 advert gives f4.5 here.) f4.5 108mm Q15 type. This was for 65x90mm f4.5 5in (127mm) for 80x110mm f4.5 152, 190, 210, 266mm Q19 type, 5-glass. These may be f6.3 in longer sizes. Ental 11 was made in f3.5, 50mm; f4.0, 82.5mm; f4.5, 108, 152mm; f5.6, 190, 210, 266, 317mm;

Fig 020 013 TTH Ental II f4/3.25in No588,835 enlarging lens. Fig 020 014 TTH Ental II f4/3.25in No588,835 enlarging lens, here with original box.

Recording Lenses, etc. These include lenses for data recording and microfilming. Datal f1.9 made in 1.0, 1.5in. These were also noted above. Microtal f4.0 20mm probably for microfilming documents. Protal f1.8 20, 50mm said to be a mixed symmetrical. {Note also a possibly earlier lens in this group: Anon f2.8 0.95in (24.3mm approx.) These are merely marked Taylor-Hobson in gold fill on the tiny front ring, and are uncoated and have no iris. They were seen at serial numbers 268,794 and 269,136 and have no MoD engraving but were seen along with some Dallmeyer lenses engraved 'Ref 14A/808' etc. Their original date and use is now obscure but just might have been from film examining equipment for footage from G45 cameras, or possibly for enlarging microfilmed document transmission such as was employed for air transit from the Far East during WW2.}

Radiography Fast sharp lenses reduce radiation exposure and benefit the patient. There was a major X-ray programme in WW2 to limit the spread of TB, especially among troops and workers who were inevitable in close proximity with each other and a serious risk of contagion resulted. There is a suggestion that TTH saw this as a new oppotunity for the fast lenses they could design, as a report in the B.J.A. says the fastest lenses previously in use were f1.5 (?Septac?) and f1.9 (Super Six) and coating was now available to increase the apparent speeds. It may be noted that the reporter headed the account from TTH Ltd, 137, The Broadway, Mill Hill, London NW7, which is within walking distance of the Bittacy Hill site which seems to be a continuing one. This office might be used for sales if Bittacy Hill was also involved in secret war work. Thus the note of the TTH radiographic lenses in B.J.A. 1943, p166 describes several types including: (a) larger sizes such as f1.5/6in for 70mm film; used at 6:1 or 8:1 reduction, these gave clearance from the lens to film of 4in or more. They are in 3.5in/12TPI flanges. A smaller f1.5/5in covered the same format. (b) For smaller 24x18mm formats, there was an f1.0/2.25in lens for use at 16:1 reduction on 18x24mm, eg of chest X-Rays, and here the film-lens clearance is 0.82in, and the flange was 1.75inx24TPI. (c) On 16mm cine film, there was an f0.8/2in lens, focusing from 3ft to 6.5ft, and are in a 1.53in (M42?)x42TPI flange. These were all colour corrected to make the visual and actinic foci coincide- note the fluor screens were often blue or green.(ibid, idem, p167) At the time the 1943 B.J.A. went press, all these were available coated, so that the f1.5 matched an untreated f1.2, the f1.0 matched an untreated f0.75 and the f0.8 matched an untreated f0.6 lens. (These will be used on subjects with moderate contrast so the comparison will be a useful one here). Here is a later list, rather longer list from a dealers sale. Radiographic f1.5 2in These have been noted in a dealers list. f0.8 2.0, 2.25in in focusing mounts. f1.0 2.25in. f1.4 8in This in particular is a very large and impressive- and rare lens made of heavy exotic glass! Only 25 were made in 1952, and Watson was one customer. It was a 7glass 5component Gauss with a split front element. (Tay008) [see also the lenses used at the Coronation, B.J.A. 1938, p299 and above.) There is a suggestion in a list from Snibston that some of these high speed designs may have had WW2 uses as cine lenses. This could be for after-raid verification. A 1962 Burke and James catalogue lists new stock of: Aviar 8.25in f4.5; Cooke Process 16 and 25 in f10 and 30, 36, 63in f16; and f5.6 Cooke Telephoto in 11, 12.5, 15, 20in; Cooke Series X f2.5 in 6.375, 7.75 and 9.25in; Convertible Series XV f6.8 as 12.5in combined and 19 and 26.5in cells; Wide Angle Series V11B Cooke in 3.5 and 8in; Radiographic f1.4 in 3.5 and 5.0in and Cooke Series Vb Process in f8.0 13in; and f10 in 16, 18, 21, 25in. This is an interesting list as supplies were probably running down then and this may have been continuing stock- ie not replaceable from the factory though this is not stated anywhere.

Postwar Cine Lenses. These were made in large numbers and can often be found now on old Bell and Howell movie cameras for now obsolete sizes such as 8mm. Prices can be very low here. This may only be a small part of the whole programe. These do not carry the revered Kinic and Panchro names and may be a successful attempt to find a new and more popular market. One suggestion was that Bell & Howell/TTH kept part of the "War-developed" factory capacity in use this way. Also note that some Bell & Howell cine cameras were "made in England" and the same procedure may have been adopted here with a mechanical production line.

A major effort was in the redesign of the Panchro lenses for 35mm movie and this was associated with Gordon Henry Cook (1916-1997) who joined the company in 1948 from Scophony-Baird after training with Ross under George Richmond and J.W.Hasselkus, and at Imperial College, London probably nominally under B.K.Johnson and L.C.Martin although Cook by then had some 10 years design experience, and working at Ross to 1946 on optical ordinance in WW2. Cook was one of the leading designers- intuitive, perceptive and a perfectionist and his Panchro II series set a new standard which is still used as a yardstick for lenses in the 1990's. He was also to initiate a new series of zooms where the sharpness was diffraction controlled at all foci- then more than a novelty. As head of the design department, Cook will have overseen all the postwar TTH and Rank/TTH designs up to his retirement in 1981. He was awarded an Oscar award for his work in 1989, a very unusual feature.

Cine Lenses 1957 List 8mm Cine The absence of 8mm film means that these trade at very low prices- essentially as orphans. Pelotal f1.75 6.5mm 8-glass Retrofocus (Tay011) Taytal f1.7 12.5mm4-glass (Tay012) Ivotal f1.4 12.5mm Seen at No543,47x, This was engraved USP. 2,298,853. Serital f1.9 25mm 4-glass (Tay012) This was seen at No473,29x, BPat. 587,090. This as a C- mount lens sold with a D-mount adaptor. This added about 8mm length. Serital f1.9 38mm 2+2 glass (Tay014) This was seen at Nos 521,10x, 552,49x. Another one of these was seen with two threads at the mount as if it could be fitted to either 16 or 8mm cameras. Telekinic f3.5 50mm 3-glass triplet (Tay013) Kinetal f1.8 12.5mm Many of these can be found a low prices on cameras such as the Bell & Howell Model 605T 'Viceroy' turret cine camera, which are often sold with 3 such TTH lenses as 12, 25 and 38mm, or less often 6.5mm Pelotal, which probably was a later addition as it is not in the B.J.A. 1951 p225 note of the camera. In buying these cameras it should be noted that this 8mm film is discontinued, and that correctly the finder optics must match the lens. Mytal f2.5 12.5mm This was noted in 1951 but may have been discontinued by 1957 when the Pelotal extended the list. Mytal was the low cost version, at £6.00 alone or £47.50 + £21.1 tax with camera. It seems to have been the lens on the Bell & Howell 8mm Sportster Model 605 when it was launched in B.J.A. 1950, p218 and this closely followed a USA series but was made in the U.K. with "excellent mechanical and optical properties". It then had a patented interchangeable wedge mounting, and cost £37.50 + Tax £16.25. [It just may be possible that while the lenses came from one bit of NOC the bodies were made in another ex- NOC factory but this is pure conjecture.] (anon) f1.4 2in (51mm) This was the expensive listing in the 1951 B.J.A. above.

Fig 020 027 TTH lenses on Bell&Howell 8mm cameras, (left ) Ivotal f1.4/0.5in; Serital f1.5/1in; Serital f1.9/1.5in: (right body) Ivotal f1.4/0.5in; Pelotal f1.75/0.25in; Serital f1.9/1.5in: (Mid Front), NOC f3.5/2in No478,563.

16mm Cine These are more valued for use as 16mm film is still in production and some TV equipments use or have used C-mount lenses. Taytal f2.5 0.7in Not all of these lenses are named, thus at No 484,58x, it is anonymous. (Tay015) Serital f1.9 25mm (Tay016) See note above. This may also be near the Super Comat. Super Comat f1.9 25mm These were 'Made in USA' by Bell & Howell but some seem also to be by TTH. They were coated, in focussing mount and had click stops. It seems some TTH versions are without trade name, at No45,754x but do carry patent Brit. Pat. No 587,090. The design envisaged a filter glass dropped into the front of the mount and retained by a screw ring. A typical fitting would be to the (common) magazine load Bell & Howell Model 603 16mm cine: this used Kodak cassettes and service is now doubtful even though 16mm film is available. Ivotal f1.4 25mm 6-glass Gauss (Tay017) This is a chunky item, marked Cooke Ivotal at No529,84x, and well ahead of the Super Comat which was the budget alternative. But note that it is bigger, and may overflow some turret space. There are no patents citations on the mount. It was seen on a Bell & Howell Autoload 16mm camera, NoT24,502. Telekinic f2.0 50mm (Tay018) Telekinic f2.8 2.8in Triplet (Tay019) Telekinic f4.0 100mm (Tay020) Telekinic f4.5 150mm Tele 2+2, This was seen at No405,48x, and 417,68x, Brit Pat 198,958, 441,507, 587,090.USPat 2,053,231. A number seen vary in weight as alloy replaced brass: and some are very light indeed as at No405,48x- no bad thing if they are to hang on the turret of a 16mm Bolex.

Fig 020 029 TTH Cooke Telekinic f4.5/6in (l) black War finish, uncoated; (mid) No405,480 AP8686; (r) No417,684 also ex-MoD.

Other. These are a mixed collection, listed as noted, often from earlier lists. Kinic f1.5 1in =25mm Seen at No251,40x, blue coated, this seems to be a 16mm lens from the early postwar era. Here the designer was Warmisham, and as a f1.5 lens, it is a Petzval derivative of 1+2+i+1 +1 layout. (App069) Cooke f1.5 90mm This may be a Kinic but no name was given. Kinic f2.8, 50mm; f2,5, 75mm These were in one 1960 2nd hand list. Telekinic f3.3 noted in B.J.A. 1929, p362. Kinamette This was made in 1.5in, and it seems a lower price lens at No95,097. Mytal f2.5 0.7in This was for 16mm cine, and was a 3 glass Triplet in one list. Ivotal f1.4 2in, This was a design with 4-separate glasses. f1.4 50-75mm 35mm movie. f1.8 70mm for 24x36mm- no details of this! Ivotal f2.5 18mm for cine (18mm=0.7in?) Kinetal This was an "inverted tele design." But see also the Kinetal range below. Super Comat as above by TTH and Bell&Howell, eg on B&H Type 604 magazine cine. Protal f1.8 20, 50mm 6-glass mixed triplet (Tay010) Taytal Telequinic Octal There are no details here, but there was a very high quality 8-glass lens for film copying from one gauge to another in the 1950's. This may be it. The design was essentially 6g/4c Gauss but the outer glasses were both compounded as doublets. Mirotal f1.4 12.5mm Ivotal f1.8 20-50mm for 35mm movie. Amatol These were noted for Eyemo Mitchell 35mm cameras, as f2.0/50mm etc. Cooke Panfo: Structure of these is not known. This was a high quality item but in older lists. Probably f2.8, in 2 and 3in for 35mm movie. 'TTH Tele' f5.6 8in This may be a movie lens, but the interesting point is that it has no normal serial number but "Des. 2702133 Oct 1949 Property of TTH" on it. Compare the projection lens above: it seems TTH were partly hiring lenses possibly built-in on equipments.

Cooke Varo This was an early pioneering zoom lens. It is a major item in interest. Smethurst dates it as 1931 and Kingslake says Warmisham was responsible for the Patent. It may be the lens shown in App068. But a zoom remained an unusual item until after the war. Then G. Cook developed high quality zooms, and others included a 16mm 2-20in item by 1946, with others later.

Cooke Varotal/Varokinetal or VarioKinetal This is a leading zoom lens with resolution of 100 line pairs per mm on axis and usually actually giving at least 70 pairs in the corner of the picture- ie it was something special! And this was throughout the zoom range. It also had close focus to 0.33m and covered up to 58°, and the f2.8 had a high 80% transmission to shoot at T= 3.1. The zoom was internal, the front glass staying in the same place so matt boxes, filters etc stayed in the same place. And is rugged, withstanding shocks, or cradles hung on the lens. And the mechanics depend on rolling action rather than sliding so that they are free from wear. This is all a precis from the brochure but it underlines what has become a classic movie use item. It is something treasured, used and repaired if damaged and any have a value as a result. And finally, the brochure shows illustrations taken with one mounted on a 35mm still (SLR?) camera. Only the price limited sales. In fact, Varotal was sold by the then Rank Precision Industries, Taylor Hobson Optics, of Staughton St., in several forms. Incidentally, by brochures 1001-1/381.3M.CMS(Varotal) and 1003-1/381 5M CMS(Varokinetal) which may be March 1981, the coating was 'Varomag' for especially flare free shooting, even direct into the sun. By then, the 16mm version was the Varokinetal but note the f1.3 Varotal was also offered.

There is a very high degree of after sales service, with a substantial maintenance manual MP 200-72, something very unusual among lenses. The one seen covered several types. (i) For 35mm movie, the basic zoom was front zoom unit type K100/5740 for 5:1 ratio, with rear lens unit K100/5750 for Academy Frame format 22.05x16.03mm and f2.8=T3.1/20-100mm focus. Others covered were A100/5760; A100/5761; A100/5762; A100/5763 but it is unclear just how these differed. (ii) There was another for the Silent Frame, 24.9x18.4mm f3.2=T3.5/22-110mm. The back focus was 87.5mm. (iii) For 16mm the unit was K100/5740 with rear lens K100/5810 for f1.3=T1.5/9.5-47.5mm on a 10.2x7.4mm format. The back focus here was 66.00mm. When the manual was issued, patent cover in UK and USA included: UK: 1,167,373; 1,261,119; 1,214,341 USA pending France: 1,560,457. Lens cleaning was suggested to be by removing abrasive dust with air- draught, or hair brushing only, followed by wiping with a clean lint free cloth just moist with isopropyl alchohol or distilled methylated spirit followed by polishing with a clean cloth till free from smears.Later it suggests methyl or ethyl alcohol with 15% added distilled water as the fluid. These units were and are fully serviced by TTH or their associates. 35mm Sound Frame for 20-100mm, 70-16° diagonal angle, T=3.1-22, 80% transmission, overall length 370mm from image plane, focus inf. to 0.7m, 3.5Kg weight, covers 27.2mm on the diagonal, works down to 4in (98mm) wide field at closest/longest focus. By the '381' leaflet, it was f2.8 (T3.1) 20-100mm and covered an image diameter of 27.2mm. It weighed 4Kg. It was then a sealed unit with internal focusing. It was 'new' on the Arriflex 35II in B.J.P. 27/10/1978, p935. The Varotal listed for Mitchell BNCR in 07/1976 was T3.1 20-120mm at $10,750.oo but may be a version of the above.

Super Cine Varotal f2.8 25-250mm This was a 10:1 zoom lens, which held focus throughout the range and worked at T=3.1, for 27.2mm image diameter for 35mm Academy format. Weight 8.15Kg, the increase reflecting the increased zoom range. (B.J.P. 19/10/1979 p1018)

35mm silent frame for 22-110mm same angles, but T=3.5-22. These used a 18glass/11component front unit to provide the zoom action, mounted in front of a 5glass/3 component rear fixed unit, and were supplied to fit Arriflex 35IIC and 35BL and Mitchell BNCR and S-35R cameras as standard, with other fittings made order. Prices were for metric or imperial scales, with or without filter and included one camera adaptor + support bracket, manual operation levers and case. £2,000 in Sept 1972. Separate adaptors were £35-50 (Arri- Mitchell).

16mm version. This was promised with the 35mm version and was to be the fastest 16mm lens in the world shooting at f1.3 (T=f1.5) with the same quality as the 35mm version. When it came, it was for 9.5-47.5mm (70- 16° diagonal) and again 80% transmission. It was 350mm overall length, 145mm front dia. focused to 0.33m from the lens front, and weighed 3.5Kg and was listed to fit Eclair NPR and ACL (Cameflex) Arriflex 16BL, 16ST and 16M with others made to order. It is clearly from the weight not something to casually hang on the front of any old C-mount camera as amateur cameras do not take this weight!. There was reference to an T2.5 in 9-50mm in B.J.P. 19/10/1979, p1018.

A leaflet on the 35mm and 16mm versions No1001-1/381.CMS lists a Cooke Varotal for 16mm use. This is likely to be in March 1981 also and here the specification differs again. It was illustrated on an Arriflex with a lens support in use. These had been previewed in B.J.P. 12/09/1980, p892. By the 1/381 leaflet above it was Cooke Varokinetal as below. It was a sealed unit with internal focusing. Later the weight is given as 1Kg in the 03/1981 leaflet from Rank Taylor Hobson, 36, Guthlaxton St, Leicester, LE2-0SP, UK. At this stage, the foci were: Type Varokinetal Varokinetal Cooke Varotal Format 16mm Super 16mm 16mm? Focus 9-50mm 10.4-52mm 9.5-47.5mm Aperture f2.2 f2.5 f1.3 (T1.5) to f16 (T16) Angle 60° 60° 70° Max Image field 14.35mm 14.35mm 12.7mm The 16mm was supplied as a complete unit at £2,000: or alternatively a conversion kit was available for the zoom section to be used on both 35mm and 16mm alternatively. This seems to indicate a seemingly unique feature that the zoom section was an interchangable unit to fit in front of a prime lens. This was priced at £400 and probably included adaptors and a new prime lens for the rear section but this is not detailed in the list. The B.J.P. 26/12/1080 p1302 mentions a f1.9/25-250mm or 50-500mm anamorphic lens for Technovision, based on the TV lens and adjusted to cover 35mm format. The TTH were showing a f2.8 20-60mm Cooke Varo Panchro which they claimed was optically their best yet.

Projection Lenses. In a note on postwar TTH lenses in B.J.A. 1947, p181, the author gives priority to the f3.5/4in for slide projection. This may suggest the much greater emphasis then than might now be expected, due to the needs of education and government. Also that the prewar ATAL series were being extended by enlarging the barrel to embrace apertures of up to f1.4 and f1.65. Projection f1.65 This was made in 2.0, 2.5, 3.0in brown coated, for 16 or 35mm projection. (Petzval?). It was seen at No355,01x brown coated, and 309,18x uncoated. These were in threaded barrel. Apermax This was noted as f2.0, 5in; f1.9, 4.5in. Aperful f1.9 5.25in This was a projection lens. Unifit f1.8 3in This was another projection lens. Unifit This was seen as a 3.75in f2.1 lens uncoated in plain 52mm barrel at No240,53x Maximum Ultimum f1.9 4.25mm in 52mm barrel, this was seen at No289,60x, uncoated. It has been noted in a list for 06/1938. Cooke Projectionf1.8 4in This was a Gauss type, apparently for 70mm film. Another is just "Projection" 5in f2 and also a Gauss 6-glass type, and also marked "Property of Taylor, Taylor, and Hobson, Leicester" but without a serial number, which may suggest it was on rented equipment, now dismantled. These were high quality items optically, and probably not movie but inspection equipment lenses.

Fig 020 007 TTH Projection f2/5in Gauss type 'Property of TTH Ltd' Ctd. TTH Projection f1.5 5in This was a very compact lens from front to back, coated, with rather pronounced positive curves at back and front noted at No281,77x and it just might be TV related. Thus it could be a small version of the Scophony-Baird lenses above, and "compact" due to loss of the rear glasses. Super-Proval f1.65 2in This projection lens was noted on a G.B.-Bell & Howell Model 621 Sound Projector in B.J.A. 1952, p213. It could be easily exchanged with other lenses. Fig 021 010 A selection of TTH projection lenses f1.65 2,2.5,3in on left; f2 95, 108mm on right. Supertal f1.6 2in. Back Projection f1.8 1.5in. Catadioptric f0.76 42mm (use is ?) Afocal adaptor 2x wide angle in 12/1946, possible a prototype. Antiflare Lens f6.0 6.5in with 30° and very deep hood. Cine lens f0.8 2in This was possibly for wartime use or Radiography. Anon 58mm f2.8 This was noted in the Snibston holding. Anon 100mm f2.0 This just may be the prototype for the lens on the Vinten F95.

Cooke Speed Panchros A postwar advert for f2 Speed Panchros is by Bell & Howell of 17, Hanover Sq, London W1 in B.J.A. 1947, p355. It is mainly of prestige interest, but shows a 100mm lens No204,834. See List above under Panchro for the old and new lists when the Panchro 11 series were launched for 35mm work. Also see the report in the J.Soc.Mot.Pic.and TV 64, p155 (March 1956). Incidentally it does seem that a small number of aspherics were made both in the old and new series, but one source says especially in the new although this seems uncertain. It is worth noting that Rank Precision Industries were UK agents for Arriflex cameras, and naturally concentrated on them to some extent. But the adverts such as (B.J.A., 1962, advert. p20) did list other makes, selling lenses for Arris by Angenieux and Berthiot as well as their own TTH Cooke lenses in 16 and 35mm. The 1962 advert. shows some TTH Cooke lens sections but without detailing which is which, but one 8g/7c retrofocus is probably the wide angle Cooke, ?f2.0/18mm. The demand for Panchros meant that they crossed borders and iron curtains where other items could not. Thus H.M.R.Souto "The Technique of the Motion Picture Camera" 1982, ISBN 0-240-51123-9 mentions them as used on the ARK-1A cameras used in the Czech studios at Barrandov and Gotwaldov. This is a modern studio camera from a State concern. An older 35mm list (B.J.A. 1955, p42; 1956, p49) has: 18mm f1.7 Cooke Speed Panchro T2 35mm f2.0 Cooke Speed Panchro T2.3 50 and 75mm f2.0 T2.3 Cooke Speed Panchro f2.0 100mm T2.8 f2.5 Cooke Deep Field and a series of Cooke TeleKinics from 6in to 20in. A Panavision rental list of unknown date has two sets of Cooke lenses in BNCR mount as follows: Super Cookes T2.2 as 18mm, 25mm, T2.3 as 32mm, 40mm, 50mm, 75mm, T2.8 as 100mm. Super Cooke Macro Lenses in BNCR mount as: T2.2/18mm; T2.2/25mm; T2.3/32mm; T2.3/75mm; T2.8/100mm. They also listed Cooke Tele Panchro as f4.5/200mm, 300mm.

Panchro III This series seems to be scarce and has only been noted from one set of lenses sold in France. It is conjectured that they represent still a new generation of Panchros with the latest in coating and mount technology. Since the Cooke Zooms were well established by then, sales may have been lower than otherwise.

Kinetal for 16mm in 1950's. This was the professional 16mm programme. f1.85 9mm 9g/7c f1.8 12.5mmsame f1.8 17.5mmsame This was noted for Arriflex at No688,85x. f1.8 25mm 6g/4c This was noted for Arriflex at No567,40x. f1.8 37.5mmsame f1.8 50mm same This was noted for Arriflex at No636,35x. f2.6 75mm 5g/4c This was noted for Arriflex at No668,03x. f2.6 100mm same f3.8 150mm same Two Kinetals probably sold about 1965 had Nos 688,65x and 668,03x. B.Pat. 862,416, USPat. 2,942,539 on 17.5 and 75mm lenses (Both on both). These were in Arriflex mount and were a premium product. Fig 020 026 TTH lenses fitted to Arriflex: Kinetals T2.8 75mm No668,034 and T1.9 17.5mm No686,658; and Deep Field Panchro retro-fitted for Arriflex, f2.5/4in No282,999.

Vidital These were made for the Vidicon TV tube size and were for a 16mm diagonal, format 12.5x12mm and were scaled in cm in place of inches on the Ortal lens series. In Vidital use, the image lies within the glass tube at a depth of some 0.093mm thickness of glass and the Viditals were designed to take this into account. (Paper to J.S.M.T.E. 1958, Los Angeles). Otherwise they are rather a match for still 16mm lenses. The designs also had something in common. f1.7 20mm f1.4 30mm f1.4 50mm f1.4 80mm A Vidital seen as 5cm T1.5 is in a deep black barrel, with 8 blade iris at No569,84x and the glass here is quite brown as it was used for black + white only.

Ortal These were for Image Orthicon tube TV. UK system of 1.60in. for 405lines and 490elements per line. These run very parallel to the Panchros in layout and are impressive lenses with iris but no focus movement as the tube was moved to focus. f2.0 28mm f2.8 35mm f2.0 50mm f2.0 75mm f2.8 127mm f4.0 203mm f4.0 318mm f4.0 406mm f5.6 559mm Note that TV lenses were designed for maximum image definition at low resolution, rather for maximum fine detail resolution and to transfer them to eg. the movie world, may not be kind or wise. Ortals seem to be for black and white work, and the glass can be brown in colour.

Telecine Lens for film to TV conversion f3.0 5.5in (Date and details unknown. One broadcaster was said to use an 28mm Ortal for this.)

Landmarks There are certainly important Landmark lenses here. Thus the Triplet and OPIC are very important lenses and less certainly the fast Gauss designs such as the f1.3, and very likely the inverted Tele are a Landmark, but the latter two are really hard to find. And certainly the Panchro IIs and Varotals B are major items. It is a curiously unknown brand to many today, and can trade as a bargain. It was noted that an expert user of high grade optics in the 1960's gave as a considered opinion when asked to list the world's leading lens makers that they included Zeiss and TTH, and after that he stopped for a moment to think which to add next. In buying old TTH lenses, it is wise to be cautious as the very high precision of manufacture can lead to problems in dismantling and perhaps with fungus. Also note that some of the finest glasses postwar were brownish in colour and may not be wanted for modern use with colour materials.

Rank/TTH TV lens f0.96 45mm focus. Image Orthicon (no date) These were lenses to match the Ortal series. Monital These were a series from Sopelem (France) initially for Bolex and C-mount but later versions were for TV and a 15mm f1.3 has no iris scale and no focus action as a result. It is a very impressive lens all the same. Also seen as a black Monital 17-85mm f1.8 Zoom in C-mount for CCTV with servos.

Fig 021 008 Rank/TTH Sopelem f1.3/15mm CCTV lens. (Made in France). TTH were part of the Rank Organization at the time when Cinemascope was introduced and Gaumont -Kalee were involved with them in the production of suitable lenses at the Kershaw works. This is also mentioned under Wray/Rank Organization. Cinemascope Lenses Series S f1.9 5.5in Kalee (Kershaw) f2.2 4.5in.

Modern Items The current program is from CookeOptics, Thurmaston, Leicester LE4 8PT A list from Regional Film & Video 07/2000 Vol 4/7 p13 has a set of the new CookeOptics lenses as: S4 range 14, 18, 25, 32, 40, 50, 75 and 100m.

Chronology No major study of the numbers and dates of TTH lenses seems to be available, but it is being studied as part of the Vademecum project. Note the above comment that the RR series seems to have been replaced with new low numbers at the start of the Anastigmat era. An important date seems to be from a Series II f4.5/4.25in No117,62x in a dial set Compur No658,876 of 1926-7. In general few TTH lenses seem to be available in Compurs. A later date to note is that for the beginning of coating in 1942 or 1943, probably for radiographic, movie and defence lenses with a very light blue ELC coat. (NOC still supplied some uncoated Trinols early postwar, and then switched to an advanced browner coat, say in 1947. Also note the serial numbers of Adotals and Amotals in the 1940's, and later Reid lenses.

Incidentally, lenses occasionally are found engraved with "Property of Taylor, Taylor & Hobson, Ltd, England" as if they were rented in the case of a f2/5in projection lens. A T5.6/8in Telephoto marked "Des. 270.213.x Oct 1949" is more likely to be some sort of prototype eg of a revised Series VIII, especially as there was an iris but the scale was not engraved.

A rather imaginative Table of chronology might be: 1886 onwards, RR lenses from possibly No100- at least No16,858 and more likely to 20,000 or so by a statement in 1892. (See 'threads' below.) 1895 say No100 for Cooke lenses: ie. a new series was begun. 1900 possibly No5,000 1914 possible No19,500 on a late prewar N&G Sibyl (or up to 30,000) There just may be a break here, possibly for war items in a different field rather than photography. 1918 possibly No71,000 on an AVIAR with bubbly ie early glass. No92,xxx is on a Medic showing the number series continues. 1926-7 probably No117,xxx in a Compur No658,876. mid-1920's show early Speedics and Opics at Nos 119,7xx and 120,xxx. 1939 This may be about 250,000 No284,xxx is not coated, but late for this. 1942-3 Coating begins (see Radiographic) 1944 No303,xxx This is an early ELC coated Panchro and TTH coated from 1943?, ie perhaps at about No 290,00 or 300,000 and up. 1947 Adotal at No344,xxx, Roytal at No335,xxx and Amotal at No 298,69x (publicity picture) and 300,xxx 1950 Reid lenses from about 328,xxx. 1965 Kinetal possibly about No688,03x from other lenses on turret. Few secondhand lenses above No650,000 were noted as yet being available on the secondhand market.

Taylor, Taylor and Hobson is now active in making lenses, but as Cooke Optics, Ltd, following a management buyout in 1998, and has moved a few miles out of Leicester to a more peaceful village environment. They featured in BBC's Business Lunch program in 16/11/2000 with MD Mr David Stevens, polisher Mr R. Prendergast and assembler Mr Broadhurst, the program stressing the long experience of many employees but also their keeness to recruit a new generation. Learning polishing was said to be up to 6 years experience while other jobs might take 2 to learn. It was a bright clean new work place but they emphasized that much of the machinery was irreplaceable old items from the interwar years. They stressed the Hollywood award and the credits to many of their lenses in well known films. One famous user was Mr F. Hurley (Australia) on the Sir E. Shackleton expedition (1914), with its famous pictures of the Endurance frozen in the ice. TTH have extensive archives, but due to the move, these are not at present accessible. As indicated above, an important part of the output is represented in the collection at the Snibston Discovery Park in the safe keeping of the County authority

Fig 22 TTH Process Lenses Exposure: Uncoated TTH Aviar Lens f6.0/8.25in Ser 111B Back Row TTH Butal f8.0/9.75in. TTH Apotal f9.0/300mm TTH Series V f8.0/16.3in. Front Row TTH Ental Enlarging f4.0/3.25in. TTH Copying f9.0/6in. TTH Anon f11(?)/18in.

Fig 23 TTH Large Format Lenses. Exposure: Kodak f7.7 203mm Ektar. Back Row TTH Ser 1V f5.6/18in. TTH Ser X f2.5/6.375in (162mm) TTH Cooke Telephoto 11in. TTH Cooke Tele (no iris on this) TTH Cooke Tele f5.6/15in Ctd. Middle Row TTH Aviar f4.5/210mm Ctd. TTH Ser X1 f3.5/6.25in in sunk mount. TTH OPIC f2.0/4.25in. Front Row TTH Ser 11a f3.5/7.5in. TTH Cooke Luxor f4.5/5.75in. TTH Cooke f4.5/4.25in in shutter. TTH Cooke W/A 133mm in shuttter. TTH Cooke W/A in barrel 108mm f6.5. TTH Primoplane f11/8in.

Fig 24 TTH Lenses ex-MoD. Left TTH Gauss f1.8/4.0in. ex F95. Back TTH Telephoto f4.0/12in.ex F95. Right TTH f5.6/14in (?Aviar?) Front TTH Gauss f2.0/4.0in. ex F95.

Fig 25 TTH Cine Lenses Exposure: f2.0 4in OPIC Back Row TTH Serital f1.9/1.5in. D mount on Bell&Howell cine. TTH Ivotal f1.4/0.5in. D mount " TTH Serital f1.9/1in. D mount. " Rank/Sopelem Monital f1.3/15mm. C mount TTH TeleKinic f4.5/6in. C mount. Middle Row TTH Projection f1.65/2in TTH Cooke Panchro f2.0/2in. TTH Speed Panchro ELC f2.0/2in. TTH Speed Panchro f2.0/3in. TTH Deep Field Panchro f2.5/100mm. Front Row TTH Kinic f1.5/1in. TTH Kinic f1.8/1in. TTH Anon f1.8/1in (Super Comat type?) TTH Telate f4.5/76mm. TTH Anon f2.5/0.7in. TTH Special Cine f3.1/3.5in.(Head only) TTH Special Cine f3.1/2.25in. (Head only) TTH Cooke Speed Panchro f2.0/50mm TTH Cooke Anastigmat Series 0 f2.0/50mm.

Fig 26. TTH Lenses in Brass Finish. Exposure: Cooke Primoplane (a rather worn example.) Back Row TTH Series V f8.0/18in. TTH Series V f8.0(f16) 13in. TTH Series Vb f8.0/11in. TTH Series V f8.0/18in. Middle Row TTH RR f8.0/7in. TTH Cooke Anastigmat f4.5/6.5in. TTH Series 111 Cooke 5in. TTH Series 111 Cooke 7.8in in shutter. Front Row TTH WAR for 1/1plate. TTH WAR for 1/2 plate. TTH Series 111 4.4in Triplet with front cell focusing. TTH Series 111 6in. TTH Primoplane Series 111a f6.5/7.0in.

Fig 27 TTH Rank TV Ortal Lenses Exposure: Wray 8.25in lens. Ortals are shown as 28mm, 2in, 3in, 5in, 8in and the carry case for 2-8in lenses.

Technovision They carried a revitalized VistaVision camera for double frame 35mm (ie Leica frame) and for the forthcoming Star Wars production were likely to use: 20, 25, 50, 85 and 135mm lenses. They also carried Zeiss lenses 20mm f1.4 again with integral anamorphot mounted by Technovision with a BNCR mount. Other lenses treated this way were 35mm, 40mm, 50mm, 85mm and 135mm T1.4 and a 270mm T3.0 lenses. Put this way suggests they were all from Zeiss but this is not certain from the report in B.J.P. 27/10/1978, p936.

Tena This trade name or maker has been noted several times, and just may be a misprint for Jena but the items do not really seem to be those expected. Thus it does seem to be a real maker or brand.

Teraoka Seiko-sho Co. Ltd., Tokyo, Japan. They were a small company making spring equipment such as scales and motor driven cameras and used Plover lenses on the Auto Terra cameras. Plover f1.9/45mm This was a 6-glass lens. Plover f2.8/45mm This was a 5-glass lens. They also used a Zunow f1.8/45mm lens interspersed through production and this just might suggest the source of what seems to be a bought-in Plover lens. Date was late 1950's, UK sales being noted 1959-1961 and these were quite costly items.

Tercon This was a brand name listed by Regency Cameras, Ltd of 275 West End La., London NW6 in May 1966. Tercon f3.5 35mm This seems to be a 5 glass design. Tercon f3.5 135mm In fact more emphasis was placed on converters where Tercon 2x and 3x and Vario TeleExtenders were offered. All options had a wide range of camera mounts available.

Tewe, Berlin, West Germany. Tewe seem to have specialized in really big lenses at a time when fewer makers had these in their lists. They also made movie lenses, but again these seem to have been long ones. The results were reported to be excellent and such big lenses are a real test of quality as they are relatively simple optically but need to be very well made using high quality glass blanks. Two series are noted: Telagon f3.5-f5.0 300-500mm Petzval type (Tew001) The design changed about 1970, as a lens tested in that year was said to be a meniscus- if the comment was correct, and there may have been confusion with the next type. Telon f5.0 400-800mm A user for astronomy mentions that a 600mm lens was "superb" and says "look for an aluminium carry-case." Telon f6.3-f8.8-f10 1000-2000mm Some or all of these are meniscus lenses for lightness and high contrast. Tewe also made a series of zoom finders for 35mm and 5x4 under the name "Polyfocus" over a long period. The 35mm one may have been 'new' when advertised in MCM July 1951, p460. These are nice items of their type, and the 5x4 version was sold in the UK by MPP for their cameras. There are some variations in the exact design.

TeleAthenar, Telesar. These are USA trade names of lenses which did not trade under these names in the UK.They were in active use in the period 1961-1966. Telesar was used on lenses of 35-150mm.

Telescopic Sights, Binoculars etc. In times of war, optical ordinance demands mean optical makers have to switch, partly to aerial survey lenses but numerically far more to binoculars, telescopic rifle sights, spotting scopes, eg of 36x, periscopes and night vision units, to name just a few. For example note Voigtlaender's Skopar sight and a Beck rifle sight. Gilbert mentions the general shortage of both sights and men skilled to use them in the UK in 1914. These are not the subject here, but those interested in sights might look at: 'Stalk and Kill, the sniper Experience' by Adrian Gilbert, Sidgwick & Jackson, 1997, ISBN 0-283-06284-3. It does not list sights in detail but has appreciable lists of references and lists some detailed texts which should give details. Few will cover German equipment from the titles however. Binoculars have their own literature and there are several illustrated books here. Periscopes are probably less accessible. Most WW1 trench books do illustrate the often simple trench periscopes used however, which often owed more to carpenters than any more detailed work. However periscopic binoculars do turn up on the collector market and probably are discussed in books about binoculars.

TeleVue Optics, 100, Route 59, Suffern, N.Y., USA. This was founded in 1977 in Spring Valley, NY by Al Nagler ((1935- ) who had formerly been with Farrand Optical working on Lunar Landing simulator optics and trained in optics at City College, NY., and initially Tele Vue specialized in Ploessl eyepieces and later in original high price eyepiece designs. They also make refractor telescopes with apertures up to f4.0/5in (dia.) with accessories. (D. Levy, Sky and Telescope, 06/1999). Another account says their products included a f5.5 550mm Genisis lens which was said to be a 4- glass dialyt with fluorite. They were supplying a select 2.8in Pronto refractor telescope in AD2001 at L847 and the TeleVue 102 4in refractor at L3,400 and very active.

Tessina: see Concava, Grenchen, Schweiz. They were makers of the Tessina camera with a Q15 type lens probably sourced outside. This was the sub- miniature for the quality conscious spy, and was used at Watergate although the negsatives were so good that many seeing the prints thought them to be from 24x36mm negs. Fig 026 034 Tessina with Tessinon f2.8/25mm lens.

Thomas, R.W., 10 Pall Mall, London SW. He seems to have been a plate maker and general dealer, carrying a line in lenses in the BJA 1889, p623 et seq. Rectilinear or Symmetrical lens, works at f8.0 in 1/4, 1/2, 1/1plate and 10x8in. Portrait Lens with rack and Waterhouse stops, works at f4.0 for 1/4, 1/2, 1/1plates. Landscape Lens, in cone shaped mount, for views, etc. works at f8.0, in 1/4, 1/2, 1/1plate. This was one of the rather few 'cone' lenses noted in adverts.

Thornton-Pickard, Altrincham, England. Thornton-Pickard were makers of wooden cameras- field, Press and reflex-, and especially rollerblind shutters which sold as separate items. These shutters are one of the few English items regularly found on cameras abroad, so it is possible these will be seen in Europe. For example, a Balbreck triplet was found fitted to one. This gave Thornton-Pickard a close interest in lenses and lens fitting and for many years they listed lenses with their cameras and shutters, and in some cases these bore their name. It is unlikely they ever made anything of this sort however. They may have been of English (or possibly French) source as supplies seem to have been available in 1915 for the 1916 B.J.A. to carry Pantoplanat and Rectoplanat lenses, when German lenses would not have been available due to the War. The shutters still trade separately or with lenses but now often need new blinds and other repairs. They could be fitted either in front or behind the lens, and matched the wooden cameras of the period as they were mahogany cased. Dates are roughly 1890/1930, though the firm was in business to about 1940. For the last years, see D. Rendell, B.J.P. 18/07/1980, p679 where the firm was carried on by Mr W.G.Biddle, Co.Secy. who provided a repair service from an upper room in his mill where stocks of spare parts were kept in the upper repair room and he did this till his death in the 1950's, when a local firm took it over with a former employee as the repairer working from home. There is a book on T-P and several articles in the B.J.P. Some lenses noted aboout 1900-1906 are: Rapid Rectilinear f8.0 5.5, 9.0, 9.5, 11, 13.5in (TPI 001) These were sold with an iris in 1900-1906 at least and were good all-round lenses and 5.5in was suggested for 5x4. They were supplied in two grades, Ruby was the higher priced one and Amber was the lower cost one. There is no mention of Jena glass being used in the design and one at auction on a 1/4plate Amber camera seems to have been unnumbered. This may seem complex but it is possible that the two grades were sourced from different makers at different prices. Fig 008 044 Several branded lenses with the camera maker or shops' names(l to r) Taylor, Thornton-Pickard, Tomkinson, and (r) Underwood, all about f8 RR types.

"Crown" RR This grade was noted as a stereo pair at Nos 202/203. Telephoto Attachment: this was made for the RR above and was the MPRO type. It was also sold by other firms and confirms that Thornton Pickard were acting as agents in the sale of lenses. Actually these engravings were only part shown in the engravings, the whole being as follows: R.O. Extension of camera required M.P. The number of times the object photographed is enlarged with the above extension. Eq,F. Equivalent focus of lens required to give the same enlargment without the Telephoto attachment. S.C. Size of plate covered. It was supplied in 1/4, 1/2, 1/1 plate sizes. Ruby Convertible Lens This was "with Jena glass and iris". It was supplied in 1900 as TPI002 type so it was probably another RR. The aperture of f6 might suggest a European maker perhaps. f6.0, 5in; f6.5, 6.5in; f7.0, 7in; f8.0, 8in; f8.5, 10.5in, 13.5in, f9.0, 18.5in. Wide Angle Rectilinear to match the RR above. f11, 4.0, 5.5, 7.0, 9.0, 11in in 1900. It was suggested to use 4in for 5x4in. in 1906. One was noted at No890x on a 1/2plate T-P wood and brass Ruby field. Stereo Lenses Three types were made in the period above. Again these were in different grades, Amber, Ruby and Ruby Convertible as above. An 'Amber' has been noted at auction as No12x on a 1/2plate camera. See also Crown above. Other brands were TTH Cooke f6.5, Zeiss-Ross Convertible Series V11a. A later list suggests that Beck were major suppliers and some lenses were actually marked TP-Beck. Little change in the list was noted from 1900-1905, and often the customer was offered a package of a camera such as a Ruby Hand & Stand with a TP-Beck lens ready fitted. (Personal recollection, from Mr C.G.Crump). Later the lenses were in shutters with Beck as the only name but the package tended to still be the one purchased, and memory was that it was a good one to the buyer. Panoptic It was noted in 1905 list. Rectoplanat This was noted in 1912 on a 1913 Imperial Plate camera. One in brass has been noted at auction.

Anastigmats and later products Ruby Anastigmat Series 11, This was now an f4.5 and in 5.375, 6.0, 7.125, 8.25, 9.5in focus. It was suggested to use 6in for 5x4. The foci chosen suggest a European maker in metric sizes and a complex conversion to inches for sale. Ruby Anastigmat Series 111 f6.5 Here use 6in for 1/4plate and 5x4. Ruby Anastigmat f6.8 in 1910. This was now in 5.0, 6.0, 7.5, 8.0, 9.5, 10in. (TPI 003) Pantoplanat f8.0 RR type Here it was suggested to use 5.5in for 5x4. The example seen was a typical RR and seemed to be by Beck. Another was a 8 or 9in f8 RR type lens. Neither had a serial number. Gun Camera This was used in training in WW1 and after; and seems to have used a Dallmeyer lens, probably a longish RR but a f8.0 12in Tele has also been reported. It is illustrated in Conyers Nesbit's book, page 45, but without detail as to the lens. T-P made many aerial cameras in WW1 such as the A type (from March 1915) with a Zeiss Tessar lens, and seemingly the later C type. These were brass-bound wood, coned, with Mackenzie-Wishart plate backs.The next in the series was metal and possibly a different maker. A special item was the Ruby Speed Reflex with the f2.0 Cooke OPIC lens- a truly rare item, which is described under TTH above. (1920's). Thornton-Pickard/Beck Symmetrical This was noted on a T-P tailboard at auction.

Threads, Lens mounting. There was some sort of informal agreement on threads in Victorian times, many coming in a 1.5inx28TPI thread, and also a 2in one- but with serious problems of standardization so that fit is not to be relied on. (This was probably due to Dallmeyer and Wray adopting a older Ross thread.) And many other threads were used, eg. by Lancaster and Swift who had different standard sizes. By B.J. Photo. 25/05/1888 p331, there was a demand for a Committee to look into a better and more standardized thread. The Photo News reports a meeting on standards in 02/05/1890 p341, and says diameters of 1.5, 2.0, 2.5, 3.0in and 24 threads per in, and then in 1in steps with 12 threads per inch, with the supply of adaptors to take smaller lenses into bigger mounts were considered. The meeting included Mssrs Taylor, Beck, Swift, Dallmeyer, and others. By the next meeting on 27/06/1890 p501, some 200 copies (an interesting figure!) of a circular with the suggestions had been sent out to opticians in London and some 10 or 12 responded at a meeting. One point was that A.Ross's smallest size was widely used and was about 1.5in (and the next 2in) and Mr Dallmeyer offered to find out the exact specification (diameter, thread and pitch) for it, as some 100-120,000 lenses had been made in that size by then. (Dallmeyer was a major international figure, and his figure of c.110,000 is a considered and useful one, but will represent a considered estimate of the small lens market, ignoring Petzvals and other large lenses.) The next meeting reported in 27/06/1890 p502, when Mr Dallmeyer announced that Mr Ross's 1.5in was actually 1.513in and his 2in was actually 1.98in. Thus they were not really 1.5 or 2in as claimed. Add in that other houses had no access to the originals, and relied on fitting their lenses to flanges purchased from Ross's and that these were not of hardened metal and wore while in use, and the cause of the general lack of interchangeability was obvious. After discussion, the meeting agreed to keep to inch sizes, in 1.0, 1.25, 1.5 and then by 0.25in increments to 2in and by 0.5in to 4in, and chose a 55° thread angle for ease of getting Whitworth tools, and a rounded top to avoid binding if the thread were bruised, and finally chose a pitch of 24 TPI up to 3in, and above that 12 TPI with a series of adaptors from one to bigger sizes. (The 24TPI thread would involve a deeper thread cut, now more acceptable as power machinery would probably be in use, as were thicker barrel walls to accept it.) Notably it was Mr W. Taylor who discussed the gauges to maintain the required standards subsequently. Essentially this confirmed and extended the existing RPS standards, which were for 1.5, 2.0, 2.5, 3.0, 3.5, 4.0, 5.0in and had already been in use by Newton and Co, Reynolds and Co, Suter, TTH and the London Stereoscopic Co. This is an interesting list as it suggests TTH were trend setters, and it includes 2 names, Newton and Reynolds now largely forgotten, and a foreign make. (See also Amateur Photo 29/12/1893, 05/01/1894) In the latter TTH say they prefer to cut the threads with a rather sharper bottom than Whitworth so that contact with the other thread is only on the sloping thread wall and has less risk of jamming, and bruising has less effect. They also initiated the use of a square cut end to the thread to engage easily, and took in older lenses to retrofit this end. They mention some 20,000 TTH lenses as possibly needing this change- this may be their production to that date. (also Amateur Photo 02/09/1892, p160). In Europe, threads persisted as a different, partly metric series without so much standardization, except that the Deckel/Compur shutters forced a standard in some respect on their cells and flanges, but makers were slow to adopt them otherwise. The Leica used a metric diameter, 39mm but apparently a Whitworth form and pitch of 26 TPI perhaps due to tooling supplies. Many European firms were using machine tools made in the UK and used a mixture of metric diameters. and inch pitches as a result. Thus in remaking flanges, it is worth considering the use of Imperial Whitworth tools even when the actual diameters are metric. This ceases to be true later on- thus the later M42x 1mm was a truly metric thread and there will be others. Filter mounts are normally in metric sizes and bayonets tend to be based on metric dimensions with corrections to allow clearance to fit and turn.

Thumier and Wittenberg A "Conar" doppel anastigmat of f4.5 135mm has been reported as of their make.

Tiranty, 103, Rue Lafayette, Paris, France. They were long term members of the photographic world, and Transpar lenses were made or sold by them about 1921-1922 in B.J.A. adverts. (B.J.A.1921, 755; 1922, p756 advert.) These are interesting as they are Q15 type but with the cemented doublet at the front. They have not been seen. They also sold Huet lenses on a stereo camera. Later by 1954, they seem to have become Societe Kafta. No details are available but the later Transpars were: Transpar f4.5/105mm on a 6x9cm Transpar folder (1953) There must have been other foci surely. The cameras were offered at 3 prices mounted in Copper, Fr2070, Nickel Fr2160, Silver Fr2520. These are for the body finish and it is not known if the lenses varied as well, but copper was used on some French lenses. Transpar f6.3 (no details) This and the f4.5 were fitted to the Tiranty Verograph stereo as options to Tessar and Stylor. Transpar This was noted as an f4.5/80mm on a Banco by Kaftax, Kaftanski's postwar rollfilm camera for 6x9cm made in France.

Toko Photo Co, Japan. They were makers of a 16mm camera mounted on a binocular pair- which was made under the names Cyclops and Teleca, both with Telesigmar f4.5/3.5in lenses. Some serial number are lens Nos are 11,48x (2x); 11,94x, 12,90x; 12,97x, 19,71x, 19,74x and 20,16x. Also Tone anastigmat f3.5/25mmon a Toko Tone 16mm camera.

Tokyo Optical Co = Tokyo Kogaku, Tokyo, Japan. It seems that they were later amalgamated with Toshiba. We thank Mr D. Evans of Yorkshire, UK, for additional information here. There is also a useful review of Topcon by I.J.Matanle in Am. Photo. 14/04/2001. Initially they made a limited range of Topcon lenses for M39x26, followed by SLR lenses for Topcon cameras- still a very impressive range but hard to find. Other brands seem to have included Primo, Minion, Laurelflex, Topcoflex, and Horseman (see Horseman).

Toko lens Noted as an f3.5/4cm on a Minion 35B for 24x32mm (Made by Tokyo Kogaku early postwar). Simlar f3.5 75mm on Laurelflex

(A) M39x26 mount Lenses. Topcor f2.8 35mm 1961-1965 approx. Topcor f2.0 50mm same Simlar f3.5 50mm 1950's These are found on Leotax and other M39 bodies and seem to be unnumbered. A numbered one was No565,70x. Simlar or Topcor f1.5 50mm This was noted on a Leotax No305,46x at lens No151,68x, and 152,04x. No151,18x and 151,38x were Simlars. Topcor f3.5 50mm This was as rigid or collapsible mount for Leotax. It was noted at No580,01x. Topcor-S f2.0 5cm This was noted on Leotax. Noted at No220,00x. Topcor f1.8 50mm Topcor f2.8 50mm Topcor f3.5 90mm Topcor f3.5 135mm

(B) For Auto 100 See Modern Photo. 07/1965, p80. This was a leaf shutter camera, and not one with Exacta fitting. These lenses are quite common and cheap but the RE is the series of serious interest and the UV ones can be confused too easily. It is suggested to avoid these unless a camera is in the set as it is a unique fitting. The number of glasses was in a May 1972 advert. UV Topcor f4.0 28mm 6-glass UV Topcor f3.5 35mm 6-glass UV Topcor f2.0 53mm on Auto 100 in 1965. 6-glass. UV Topcor f2.0 50mm (1968) Hi Topcor f2.8 50mm on Topcon IC-1 (1974) UV Topcor f4.0 100mm 5-glass UV Topcor f4.0 135mm 5-glass These were in a black and chrome mount with big female bayonet. UV Topcor f4.0 200mm 6-glass The Modern Photo review was very favourable with many "excellent' ratings. also f3.5, 35mm; f4.0, 100mm; f4.0, 135mm. AM-Topcor f1.7 55mm These were now for Pentax K mount on 135 TTL SLR in 1979.

Topcon PR This was an earlier (?) leaf shutter SLR with a f2.8 4 element High Definition lens, and auxiliary converter lenses for f4/37mm and f4/95mm in June 1960.

(C) SLR Programme. This seems to be for an early SLR set. [At that time the release linkage went to 9.30 o'clock and the lenses were fairly compatible with Exakta- later they used an external trigger and became quite incompatible- it is possible to use Exakta-fit preset lenses on Topcon with TTL metering but they really became separate systems when the external trigger was introduced. Thus it is not really useful to an Exakta owner to obtain a late Topcon as an update camera.] Matanle above recognizes several periods of lens, (with possible carryover of optics into new type mounts). (1) Auto Topcor type with external release, for c.3 years 1957-1960 incl. f1.8/58mm, f2.8/35mm, f2.8/100mm f3.5/135mm, some being also in semi auto mounts. These included the f2.8/300mm. (2) Internally coupled for the Topcon RII as F Auto Topcor to 1963. (3) A really new RE Auto Topcor series came in in 1963 and sold to about 1970 for RESuper, RE-2 and Super DM/D. These were in f4.0/20mm to f5.6/500mm. These were initially in full bright satin chrome, later in black finish. (4) The late Super DM used GN lens for guide number, and the standard lenses changed to 50mm. Matanle quotes the f4/20mm, 25mm, f2.8/100mm and f5.6/200mm as lenses he has used and liked. This confirms the compilers high regard for the series.

Topcor-S f1.8 58mm Price £53.6 in 06/1960 A-Topcor f1.4 58mm This is a particularly impressive looking lens. It has multicoloured coatings at No1,126,93x though these may relate to the type of glass rather than the coating technology? Coded RE Auto-Topcor Macro Topcor f3.5 58mm This was noted a white finish lens with a black ring (grip?) for close up and bellows use. A-Topcor f2.0 50mm A-Topcor f2.8 35mm Price £53.6 in 06/1960 The example seen was an RE Auto-Topcor at No7,404,40x and this seemed to give an excellent image on screen. The front surface was slightly scratched and this underlines that this series are not very deeply sunk and can be exposed to damage. R-Topcor f3.5 90mm A-Topcor f2.8 100mm Price £67 in 06/1960.This was seen as an RE Auto Topcor at No7,508,85x. Coating matched the 135mm lens, but with more brown surfaces. R-Topcor f2.8 135mm R-Topcor f3.5 135mm The one seen has a extending 2-section hood at No7,609,85x in white and black barrel. In camera, the image looked very fine. It seems to be a 1+2+i+ 1 design, in purple coating. It was coded RE Auto-Topcor. f2.0 135mm Listed June 1960 at £127. R-Topcor f2.8 300mm This was about the first at this aperture for 300mm and must have been exceptional when it was first sold. It is big, heavy and fitted in a too-small bayonet which could vignet, but later was also offered in other mounts such as Canon, Minolta and Pentax where the mounts were larger and vignetting less apparent- and may have resulted in other makers developing competing products too, so the Topcor may have been a trendsetter for big fast lenses. (for a note, see Modern Photo. 02/1977). Price £301 in 06/1960. A Topcon RE Super actually has RE Auto Topcor f1.4/5.8cm No1,126,933; RE GN Topcor f1.8/50mm No15,802,927 in mainly black mount; RE Auto Topcor f2.8/35mm No7,404,40x; RE Auto Topcor f2.8/100mm 7,508,85x. The f1.8 seems to be a later design, where GN may be a flash guide number and this is suggested also by an extra scale in GN numbers. Finger grips are black rubber with straigth knurling on the RE and diamond on the RE GN. The rubber here seems to be lasting in good condition so far. These are lenses with normally a striking black+white finish, many for 49mm screw fit or 51mm push-on hoods, filters, etc.

Fig 033 035 Topcon Super lenses RE Auto Topcor f1.4/58mm, f2.8/100mm; f2.8/35mm; RE GN f1.8/50mm.

Fig 033 038 Topcon Super Bayonets By 1965 the list added: f3.5 25mm f4.0 135mm (about 1963) f3.5 35mm f5.6 200mm f2.0 53mm f2.0 135mm f4.0 100mm f4.0 200mm xxx 500mm f5.6 500mm

(D) See note on the lack of compatibility with Exakta above. Auto Topcor f1.8 58mm This specification was seen as a lens well later than the RE Auto lenses above, as a RE GN Topcor in black with a thin white edge only at No15,802,92x. The grip is diamond marked black rubber. R-Topcor f2.8 50mm R-Topcor f2.0 135mm R-Topcor f3.5 135mm See above as RE Auto Topcor. R-Topcor f2.8 300mm Auto-Topcor f2.8 35mm See above as RE Auto Topcor. Auto-Topcor f2.8 100mm R-Topcor f3.5 90mm

(E) Other Tokyo Optical made several series of cameras from about 1938 and fixed lens cameras include the following lenses: Toko f3.5 60mm on Minion 4x4 (1938) and Minion 35 (1948). Simlar f3.5 75mm on Laurelflex 6x6 (1951) Topcor f3.5 75mm on Topcoflex (1957) Topcor f2.0 44mm on Topcon 35-L (1957) Topcor f2.8 60mm on Promo Jnr 4x4 (1958)

(F) The last series may be in Pentax bayonet as B.J.P. 23/03/1979 p269 mentions that Topcon were launching such a camera with f1.7/55m AM Topcor lens. Other lenses were f2.8/28mm; f2.8/135mm; f3.3/200mm; f3.5/4.3 35-100mm Zoom; f3.5/4.5 28-50mm Zoom. There had been doubts whether the bayonet could be protected by a patent but this seems to have been obtained. (B.J.P. 09/03/1979 p233).

Tokina, Japan. An advert. in 12/10/1977 listed: f3.5 17mm f2.8 28mm f2.8 35mm f2.8 135mm f3.5 200mm f5.5 300mm f6.3 400mm f3.5 35-105mm f4.4 75-260mm f3.5 100-300mm f4.5 90-230mm f3.5 70-210mm f3.5 70-220mm. These could be used on most Japanese makes of SLR at the time. The other lists seen are late, from 1989-1990, and are much involved with a major series of Zooms. There were three series, AT-X, AF, and SZ-X . Prime lenses in both lists are : Tokina SL17 f3.5 17mm 11g/9c This was a rectilinear wide angle (See Amateur Photo 08/07/1989) It was a way into this wide field for many budget customers at the time, and was for 103°. Tokina SL24 f2.8 24mm 7g/7c for 84°. Tokina SL28 f2.8 28mm 5g/5c for 75°. Tokina SL400 f5.6 400mm 8g/5c for 6°. Tokina 500 f8.0 500mm Mirror Doubler- a teleextender.

ATX lenses A group of 35mm Tokina lenses was reviewed by G.Crawley in B.J.P. 04/12/1996, p14 and it was noted that Tokina uses Hoya glass. He noted that other-brand makers now had to match the camera maker in precision for auto lenses and that these were very good. They were felt to offer a high standard of optical desin and production.For Tokina, a new era began in 1981 with the ATX lenses. He reviewed : f2.6-70mm 28-70mm f2.8 80-200mm f4.5-5.6 80-400mm Others not seen were: f4 100-300mm f3.5 17mm f2.8 100mm f2.8 300mm f4 300mm f5.6 400mm Non-AF ATX lenses included: f2.8 80-200mm f5.6 150-500mm f2.8 300mm The SZ-X series had 5 zooms: f3.5-6.3 28-200mm f2.8 17mm f2.8 28mm f5.6 400mm

The 17 and 400mm were older designs without the gold ring which showed current designs. Other older AF series lenses were: f3.5-4.5 20-35mm f2.8-4.5 28-70mm f4-5.6 70-210mm f4-5.6 75-300mm.

A Tokina Millenium list is as follows: f3.5 17mm 11g/9c ATX Pro f3.5-f4.5 19-35mm 13g/11c apo IF f2.8 20-35mm 15g/11c aspherical design ATX Pro f2.8 28-80mm 16g/11c ATX Pro IF f3.5-f4.5 28-105mm 15g/11c IF f2.8 80-200mm 17g/11c ATX Pro apochromatic f4.5-f5.6 80-400mm 16g/10c ATX apochromatic f2.8 100mm 11g/10c ATX Macro IF f2.8 300mm 9g/7c ATX Pro f3.5-f5.6 24-200mm AT-X zoom 15g/13c When issued in Oct 2000, this was a new extreme in wide-to-long lenses as till then the norm was 28-200mm. This was the result of the use of aspherical surface (s?) and Super-Low Dispersion glass.(K. Ruffell, of Introphoto, to Amateur Photo., 21 Oct 2000 p4)

Tower. This seems to be a trade name of Sears-Roebuck in USA. It was used on cameras as well as the lenses attached to them and these noted were 1950-1969 items, especially 1961. Tower f3.5 35mm Tower f3.5 105mm Tower f3.5 135mm

Tomioka, Japan. It seems that Yashica amalgamated with them in 1969. Tominon f1.8 50mm in M39x26 for Honor camera. Tominon for Polaroid. (?127mm f4.5) Lausar f2.8 45mm on Fodor 35mm camera, and Taron 35. Lausar f3.5 85mm on Ehira Six Yashinon f2.8 60mm (The relation to Yashica needs to be studied here.) In 1979 Osawa carried a series of Tominon enlarging lenses, which seem both familiar and impressive. They were coded Osawa Tominon EL. Sizes were: f3.5/40mm w/a; f4/60mm w/a; f2.8/50mm; f4.5/75mm; f5.6/90mm; f5.6/105mm; f5.6/135mm. All were in M39 screw mounts. The sole UK distributer was Pelling & Cross, and it was noted that the maker was a sub- contracter for some of the Contax lenses. (B.J.P. 24/11/1978p1017). There is a similar but slightly longer note under Osawa. That seen seemed a nice bargain at a modest price today.

Tomkinson, W.H., 81, Dale St., Liverpool, UK. They were vendors or makers of a "Practical" magazine camera for 1/4plate and 5x4 in the 1890's and are noted for 2 brass RR's, eg No 480, of about 6 for 1/4plate and 11in f8, ie not for 1/4plate. One is coded "Practical" and this may be a Trade Name on all their equipment. The owners name was apparently Mr H.Stevenson.

Fig 008 044 Several branded lenses with the camera maker or shops' names(l to r) Taylor, Thornton Pickard., Tomkinson, and (r) Underwood, all about f8 RR types.

Traill-Taylor. He seems to have forseen the telephoto lens ("We long ago used one of the barrels of a 12 lens opera glass but felt dissatisfied on account of the very small field covered.") and written about it in 1890 approx., and have suggested modifying lenses to increase the range of foci by introducing a barrels modified to take low power lenses in the middle. He was Editor of the B.J.P. for many influential years and his book on lenses has much useful information.

Treatment after Purchase

Lenses are extremely difficult to repair! This is something which one learns from experiences in buying and owning them, and is a factor which must be considered on purchase: otherwise, the buyer will often be stuck long term with the defects in the lens at the time of purchase. Thus there is a premium on care in purchase so that the buyer is not left with unexpected faults which cannot be corrected. One aspect of this is cost- anything or nearly anything is possible but at a price but sadly very few lenses are sufficiently valuable to make repair worthwhile. Or alternatively it can be said that very often the vendor prices a lens so that after the repair bill, it will have cost more than an example without faults. Thus there is normally an advantage in seeking the faultless lens.

This situation arises largely from the skill and experience needed to dismantle, rework and reassemble optical parts. Few lenses are designed to make it easy to do this work, and few optical workers chose to do this type of work. Now add in that lenses have changed substantially in their details over the last 160 years and the repairer may be faced with successive lenses from quite different makers, dates and designs and the problems become apparent. This section deals first with the things to look for in purchasing a secondhand lens, and then at some of the work which can be done simply and safely at home- and finally at a few more complex options. But it does not cover optical work on lens surfaces, which is thought to be a job for a professional.

Examination on purchase When a lens is seen for the first time, it is probably best to begin by trying to give it a quick look all-over basically to decide if it is "as new" or "well used" and if so, how well it has been treated. Worn or chipped paint will be a giveaway on many lenses as will be scuffing on alloy or lacquered brass. But some chrome plated lenses have kept their looks remarkably well through generations of use and can be misleading in this respect. This basic wear is difficult to correct as the lens would have to be dismantled and the old finish stripped off before refinishing it, which makes it a complex and expensive job. The exception may be some brass finish lenses where a lot can be done by cleaning and relacquering at home. (see Brass section). This is the time to check for any dents or flats knocked on the mount. They may not affect the performance but on the barrel they are hard to remove without leaving a trace or worse. The filter threads often show flats from lenses being dropped. Makers probably design these to give on impact, acting as a sort of shock absorber or 'crumple zone', so that the rest of the lens may be undamaged- it often is- but the filter ring will need to be pulled or knocked out. And note that it is seldom possible to do this perfectly, there is usually some rippling of the finish afterwards and the screw thread inside is often hard to use. Two points are to always remove filters on lenses while examining them as they are often fitted to cover such damage: and that in use a push on filter can be a good answer to a damaged thread if the lens can be purchased at the right price. Equally there can be damage to the mounting threads or bayonets at the body end of the mount. Thus it is wise to carry a camera body of the right type if the purchase of a matching lens is expected. Faults can be wear and crushed threads in screw mounts and wear and impact damage on bayonets.

Next try to check the mechanical actions of the iris and focusing movement. The focusing should be smooth and without sloppiness. Often on old lenses, the grease has become hard and needs to be replaced. On expensive miniature lenses this may well be a job for a professional repairer. But on simpler types such as lenses on old Press cameras it is usually possible to soak the movement in dismantling fluid and after cleaning, reassemble with fresh grease. Now check the iris. The blades should close easily, to give a neat round or hexagonal spot when at the minimum aperture. Defects can be worn blades with shiny areas due to friction, or ones which are bent or even missing which show up when closed down. These are serious faults as new blades are seldom available to replace imperfect ones. In the old days, a repairer would shape a blade from a broken lens and rivet in new pins as needed but it is hard to get this done today.

Now the real question is always the glass. It may have suffered in several ways: look for scratches (very common!) or chips (less common) or defects in coatings where the coats has been stained or rubbed off- early coats were very soft compared to modern ones. And dirt, which can range from specks of dust which are easy to remove to a hard and adherent grey cloudiness. And especially for mould which can spread all over a lens leaving a fine network etched into the surface of the glass, which has a drastic effect on contrast since so much of the surface has been eroded. And finally for the haziness which too frequent polishing can give, as the whole surface is rubbed till the original finish is destroyed. This is hard to distinguish from haziness due to a film of dirt, but dirt can be removed but wear will need repolishing. The lens cells on big format lenses should unscrew from the shutter or barrel, to allow access to the shutter for repair and for cleaning the inner lens surfaces. It is a definite fault if these are stuck in as commonly has happened. This can suggest a damaged or damp affected lens or just one which has not been opened for many years.

The more modern coated lenses present their own problems. Today the coatings are hard, often harder than the glass to which they are applied. But in the early years the coats were very soft and could be easily damaged, sometimes rubbing off with a duster. As a result they are often marked and this should be noted. Such damage will show up in the beam of a torch and can make old coated lenses less desirable than clean untreated ones. Incidentally, a few light marks called "sleeks" are probably forgivable, but in general marks on coatings have the same effect as scratches on glass.

Another point is the presence of a mounting flange. Older lenses were originally attached to wooden panels by screwing them into brass flanges fixed to the panel. The flange should be sold with the lens on old items as there are an almost unlimited number of versions of them and it is harder to reuse a lens if the flange is missing. There are some pointers here: (a) Old English lenses up to about 1880 came in fairly fine threaded flanges but many were in 1.5 or 2.0in flanges which were roughly standardized between Ross, Wray, Dallmeyer and Taylor, Taylor and Hobson lenses as well as some others. Thus there is a fair prospect of a match here. (b) After 1880, the English makers tended to use 24TPI threads in a rather wide range of sizes so the problem is limited to finding the correct diameter but the thread is probably standard up to quite large sizes. (c) Compur and Copal shutters use standard threads and flanges are available from the makers, though care would be needed with older shutters and some old sizes here. Some other lenses have used the same mounting threads but this is not very common. (d) But there are many exceptions and here a new flange will have to be made with the trouble and expense this involves. (e) There are a wide range of modern fittings used in miniature cameras, where some are easy to match but others are rapidly dropping into obscurity. The makers name on the lens may suggest the mount, but there are pitfalls as with the Canon lens for the Reflecta which fits no other camera satisfactorily.

It is stressed that the fit should be checked. Dealers can be optimistic as to whether threads match and have a tendency to screw lenses into flanges where the fit is surprisingly poor- half a turn and it jams suggests the wrong pitch rather than the right flange! What is needed is a smooth action and several turns till it screws up tight. Waterhouse stop plates are another item to seek. If an old lens has a slot for these, there should either be a set of stops or at the very least, one useful one, but these are usually missing today as they were often stored separately or left behind on some ancient expedition. This also applies to the older washer type stops which can be harder to replace.

Easy Homework. Lenses from shops or private vendors may be clean and polished, but many old lenses are covered in the grime of many years of neglect and careless storage. The first job may well be to clean the mounts with a duster to remove as much of this as possible, working over some old newspaper in bad cases. It may be useful to damp the duster with water or a little dismantling fluid to soften the dirt, but do not let water penetrate inside the lens as it can be hard to get it out again. It may be wise to unscrew the lens cells next to give them separate attention, noting how they will go on reassembly. Once the mount can be handled without spreading dirt, the glass can receive attention. Here the intention is to clean it as gently as possible, but to obtain a really clean surface as this does help prevent later problems with mould and abrasion. (a) The mildest way for removing loose dust can be compressed air or a soft brush. A brush can be improvised from paper towelling by rolling it up and tearing it in two to leave soft hairy ends. These pick up dust well and can be renewed by retearing the paper. The idea is not to rub dust on the glass as many dust particles are sharp and abrasive and scratch lenses easily. Never use a dirty paper or handkerchief as the dust embedded in it will scratch. (b) There is often grease on a lens, from finger prints and dandruff. It will come off with the paper towel, but more easily if it is just damped with an organic solvent such as white spirit, lighter fuel, isopropanol or alcohol. (DANGER! There is risk of fire- work safely in a well ventilated place, without naked lights. Do NOT smoke.) Check that the solvent does not leave its own residue by letting a drop dry on a clean sheet of glass before use. As little solvent is used as possible to avoid damage to paint work round the glass and on the mount. Once the dirt is removed the glass can be polished with a soft cloth or clean tissue. Isopropanol may have a good effect in killing moulds by desiccation as well as cleaning well. Some fluids for cleaning spectacles are to be avoided as they contain silicone oils to prevent condenstion and leave an oily smear on lenses which is hard to remove. (c) There have been several uses of adherent (ie sticky) films to remove dirt. One type uses a solution which is painted on the glass and allowed to dry before being pulled off to leave a brilliantly clean surface. It works excellently but failed to remove some very hard deposits on old lenses and can require care round the edge of a lens. Older ideas were to press wrapping or masking tape onto the glass and then pull both it and the dirt off together- it normally works well but it would be worth checking ahead that no residue is left on the glass and removing coarse particles before they can be pressed against the glass. It may be worth then using treatment (b) above. (d) There are old optics which remain grey and clouded after all these treatments. A desparate last resort (apart from a trade repolishing!) just might be the following. The glass is smeared with metal polish such as Brasso Duraglit and the polish allowed to dry without being rubbed. The polish is then wiped off very gently and the glass only polished after all the polish has been removed. This can leave a bright clean surface where other treatments have failed. It is thought that polishes contain special components to dissolve oxidized metals and solvents to loosen waxes, and combined these can do an amazingly good job. Coated lenses have been cleaned this way without removing the coating so it does not necessarily change the surface curve but note that any serious rubbing or polishing will destroy the purity of the surface and destroy the lens- it is a treatment of last resort. It is conjectured that on some uncoated lenses, the grey layer is partly metal salts which have leached from the glass onto the surface and absorbed dirt, but which are chemically sufficiently like metal corrosion products to be dissolved under these conditions. Lenses treated successfully this way have included Meyer Doppel Anastigmats, Ross Xpres and a Beck Isostigmar. They are normally 'new' glass lenses, as the Victorian glasses were much harder and resist wear and damp well- to the extent that moulds on them often can be cleaned off completely, without leaving marks on the glass.

It will be necessary to unscrew the cells for access to the inner surfaces and it is wise to note carefully how it was assembled as parts come out so they can go back in the same order. With some brass lenses the clue may be that the rear cell is matt black on the outside while the front is brass of glass paint. In other cases such as Voigtlaender Petzval lenses, the front and rear cells have different threads so that confusion is impossible. And some of the old lenses have a small shade or flare ring machine integrally with the front cell or screwing onto the outside of it, and then it is obvious. Many older RR and anastigmat lenses will require no more, but more modern designs will often have air spaces within the cells which may need to be opened and cleaned. An example is the Zeiss Tessar where removal of the front cell needs to be followed by unscrewing the rear of the cell to get at the interior- which is normally quite straight forward. Other Q15 type designs can use a different approach where the front engraved ring has to be unscrewed before the front glass can be tipped out and the inside cleaned. This is rather more stressful for the owner, and care and a dustfree room is really needed to ensure the glass goes back neatly in its socket for reassembly. It is about here that many owners prefer to seek a repairer! With others, it is important to make sure the glasses go back in the correct direction. It is rather easy to take the rear of a Petzval apart and forget which way round the glasses shoud sit. One answer is to put a small bits of masking tape on the outside surfaces before dismantling. Another can be to refer to the diagrams in this book on reassembly. It is worth noting that a definite proportion of lenses traded are incorrectly assembled by previous owners fiddling with them, so that a lens which is hopelessly "soft" may merely need to have the glasses turned round. Examples have been Dallmeyer Dallac, Beck Isostigmars and one man who purchased a whole box of Leitz Projection Hektor lenses, where a user had tried to clean them without learning how they should be reassembled. Here the new owner made repeated trials until he found the correct order and rebuilt the collection successfully.

If a cell is stuck in there are ways of persuading it to come loose. The simplest may be to use a bit of rubber sheet to get a better grip on the rim or to press the end against rubber lying on a matt surface. It is thought the trade use a large rubber bung to press on the mount and glass but these have not been seen. Bigger lenses may respond to the use of one or two strap wrenches of the type mechanics use to free oil filters on car engines. Used on a 4in diameter lens, these can get a real grip. Do not use chain wrenches. The strap wrench usually does little damage to the mount but a chain wrench can be seriously damaging. Using two wrenches may be easier if there are two workers present. Less pleasantly as it seems rather vicious, Victorian lenses may free up if the edge is tapped lightly with a rubber hammer or squeezed at various points- the rings are often slightly oval and this can have a big effect. There are dismantling fluids such as WD40 which can help, but note that they will probably have to penetrate across the threads and it will take time, probably some days, for the fluid to do the job.

One idea can be to follow some makers who cut small sockets in the end of the cell to allow a tool to fit in and twist cell free. Here it may be possible to use a table knife to twist the cell out, but if the glass bulges out, the knife will have to be ground away to clear the glass. There are special tools called "spanners" made with adjustable arms to grip such sockets and a collector may like to buy them. A cheaper answer is to buy steel strip and cut and grind a suitable tool especially where the same size is needed frequently as with the rear locking rings of Compur and other shutters where there are 2 or perhaps 4 sizes which are often used. One collector had a set made out of steel rulers which had been cut up for the job. Once made they will last a lifetime if used with care. If there are no sockets, it may be reasonable to cut them carefully working at opposite sides of the lens. The use of a centering square will help here. Mark the positions for cutting, and then place the lens on a wooden block and cut the slot at the rear before turning it through 180° to cut the other side. (Cutting at the back seems to reduce the risk of the saw touching the glass- which will mark it immediately!) The cut must not go deep and can later be widened with a Swiss file to take the tool. Usually a cell will now come free and finally the cuts are given a touch of paint and are nearly invisible. But it may be something to practice on an old lens initially! Locking rings are less easy to deal with but some have responded to having 2 small holes drilled to accept pegs to grip the ring. Try to find places to drill where there is no engraving and fill the holes after with black shoemakers wax or other fill.

The glasses of a lens are normally fitted rather permanently into the metal mounts for rigidity and accurate alignment. This is a problem if they need to be repolished as this has to be done with the glass out of the mount. In some cases the glass is held into the tube by a small amount of a hardened cement. In others, the back of the mount was machined to form a very thin leaf edge which could be spun over the glass to hold it in place. In others, both are used, and in all cases there will be a layer of paint covering the parts. It is thought that a repairer often begins by removing the paint with stripper to see what is involved, and then removes the metal spinning with a small file. After this the glass is forced out of the mount. It is this stage at which the glass is at risk of breaking and it does seem that the owner is seldom invited to watch the process. Experienced workers actually seldom damage the lens, but one Tessar is known where there is a substantial chip broken off the edge, and it is known Mr J.Adams refused some lenses such as Leitz Elmar f3.5/35mm where the rear glass was said to be "too brittle". Once the glass is out, it can be repolished by a skilled worker fairly conventionally.

Trioptiscope This was a special double lens for Mitchell cameras when used for stereo work. (H.J. Heuel and G.Koshofer, B.J.P. 24/11/1978, p1033)

Tropel Co, Rochester, New York, USA. They designed an all solid path lens system faster than f0.5 using a liquid coupling to the film, and also made an f1.0 Wide field unit.

LTurillon, Successeurs to M.A.Darlot, 25, Bd Voltaire, Paris 125, France. Fabrique, Bureau: 121, Rue Gravel, a Levallois, Seine. Listed as above on a M.I.de Pulligny lens by Darlot, made by L.Turillon,in "Quelques beaux Appareils", Brochard, Montreuil, 1900). In 1908, it was Turillon et Morin. UK Agent was Mr F. Shew, 88 Newman St, London. This is a 1900 list. Anastigmat f9.0 Planigraph Dissymetric Anastigmat f7.5 Planigraph Symmetric Soft Focus, rather like the Puyo lens. It seems they were actually makers for Pulligny et Puyo in two accounts. No 1 for 13x18, No2 for 18x24, No3 for 24x30cm. also Portrait, Landscape, Wide- Angle, Instantaneous, Rectilinear (RR, ) Rapid Hemispheric, Universal (a casket set).

UCA, Flensburg, Germany. They were related to ELOP who made the Elca camera, and UCA made the Ucaflex, with the Ucalux f1.9, Ucalux V f1.5/50mm (noted at auction at No100,358 on Ucaflex 1,304) and Ucapan f2.5 lenses, and the Ucapan was also used on the Ucanette camera about 1950. It was probably much the same lens as the Elopan but sold from a new plant, as it is an unusual specification.

Unitel This T.N. is found on cine lenses probably from Universal, USA such as f3.8/37.5mm.

Universal Camera Corp., USA. Tricor f2.7 50mm on Mercury 11, possibly from Wollensak. This was noted on Mercury II at No60,56x and 144,91x. Tricor f3.5 45mm This was in the same fitting for 18x24mm. Universal f5.6 75mm This was an anastigmat on a 6x6cm TLR in the USA about 1950. Hexar f2.0 35mm about 1947 on Mercury. Tricor f3.5 35mm same. Tricor f2.7 35mm same.

Underwood. He was a maker and perhaps dealer in cameras from about 1885-1900. His adverts. show RR, WAR, and meniscus lenses, but are not always very informative, as with the 1889 one. One actually seen was a RR of about 9in f8.0 for 1/2plate. It had no serial number and was in brass. It is likely he bought-in his lens stock, but note that Channing and Dunn regard him as a maker- they were in business as opticians otherwise, but it is hard to tell. See also under TTH above.

Fig 008 044 Several branded lenses with the camera maker or shops' names(l to r) Taylor, Thornton Pickard., Tomkinson, and (r) Underwood, all about f8 RR types.

Unitor This was a series of lenses for SLR's noted as a f2.8/28mm for Canon F.

Uyeda Camera Co., Japan. Verona f3.5 60mm on Vero 4x4 folder.-