Haiou, China. This seems to be one of the few Chinese lenses with a name to classify; Haiou f2.0 58mm on Seagull, a copy of the Minolta.

Ibn-el-Haitam, The list does not normally include pre-photographic lens data but one reader insisted el-Haitam must be included as the first known man to calculate mathematically the design and behaviour of light in a lens. He lived about year1000 ie 1000 years ago by current reckoning.

Halina, UK. Agents and importers of photographic equipment with their name on it. Haking Industries of Hong Kong are or were one of the biggest makers and Halina was the brand name. In 1978, the B.J.P. 07/07/1978 p587 says most were low price 110 for sale as Halina and under many other names. Also the Halina 700B for 35mm with f2.8/40mm lens and 110 Halina with f5.6/24mm were noted. Halina f3.5 80mm on Halina TLR (c.1952) Halina Anastigmat f2.8 40mm in 04/1972 on a Halina 500 pocket size 35mm. Halina Anastigmat f3.5 45mm on Halina 35X.

Fig 022 018 Halina Anastigmat f3.5/45mm on Halina camera.

There is some sort of tradition that the glasses for some Hong Kong cameras were ground in Wales by Chance and sent to Hong Kong to be assembled. But this is certainly not proven.

Hall, subsidiary of A.G.I., Croydon, UK. Unimar f4.5 105mm on A.R.L.Mk11. (1945 approx.) Hall were lens makers before they amalgamated with A.G.I. but there seems to be no trace of their former products now. Hall, Chester Moor, (1703-1771) Hall discovered the way to correct colour in lenses by combining flint with high colour dispersion with crown glass with lower dispersion to get a achromatic pair. Sadly in 1733 he delegated the making of the two glasses to 2 different makers for secrecy- who then both delegated the jobs to George Bass, who realized they had a common curve and the reason. Hall got his 65mm dia. 50cm lens pair, but the secret went on to Dollond (1706-1761) who made a lens but with better spherical correction, and patented the design. Thus for many years Hall's work was forgotten.

Hall, as Photo Hall, Paris. Photo Hall Anastigmats were listed on a Caillon Bioscope Stereo in 1912, and on a reflex in 1914. It may be that these were bought-in for a shop to sell.

Hama, UK. They supplied two portrait lenses for SLR's in T2 mounts. Portragon f4.0 100mm This seems to be identical with the Spiratone f4.0 100mm in T- mount for most SLR's normally sold in USA. It was a popular and interesting lens, but the absence of an iris meant there was no way of controlling the sharpness and depth of field. Focus 0.9m to infinity. Soft Focus f2.0 100mm no details.

Hamaphot, Monheim, Germany. They made a series of Hexi cameras, and therefore used the trade name Hexar on the lenses. They came as mainly f11/75mm lenses but other types were made eg f8/6.5cm but these may have not been Hexars.

Hanimex, UK and Australia. It was named from HAnnes IMport EXport. It seems this firm was founded by a German Jack Hannes, who went to to Sydney, Australia and worked to a motto "Little fish are sweet" while later running a low profile concern with an office in Regent St London, and selling lenses for various cameras by 1969. They supplied several series of lenses for SLR's including a 300mm f4.0 which owners respected and liked. They may have derived something from Makinon, but that is conjecture. A review in Camera 35 April/May 1969 p44 lists f2.8, 28mm; f2.8, 35mm; f2.8,135mm; f3.5, 135mm; f3.5, 200mm; f4.5, 200mm; at the time these were 'new' in M42 mounts only but other mounts were due. By Amateur Photo. 24/06/1989, they were "a complete range" and the review covers 4 zooms and a 500mm mirror. A May 1967 list has both auto and non-auto (preset) lenses: Automatic Iris: Hanimex Auto f2.8 28mm 7 glass Pentax, Minolta, Nikon, Canon mounts. Hanimex Auto f2.8 35mm 6 glass same Hanimex Auto f2.8 135mm 5 glass same The design of this specification may have changed as a 07 June 1967 advert. by R.G.Lewis (Am Photo p21) shows a section of a 2+2+1+1+1 ie 7glass/5component lens. This seems to have given really good performance. Hanimex Auto f3.5 135mm 4 glass Pentax, Minolta, Nikon. Hanimex Auto f4.5 200mm 4 glass Pentax, Minolta, Nikon, Canon mounts. NB These were in fixed mounts. Non-Auto Lenses: Hanorama f5.6 7mm Wide angle, this may be a fish but it is not listed as such. Hanimex f3.0 28mm 7 glass Interchangeable, most mounts. Hanimex f2.8 28mm in 1969 list. Hanimex f2.8 35mm 6 glass same. Hanimex f3.5 35mm 5 glass same. Sold with hood. Hanimex f4.0 100mm 3 glass Pentax and only. Hanimex f2.8 105mm 4 glass Interchangeable, most mounts. Hanimex f2.8 135mm 5 glass same, most mounts. Hanimex f3.5 135mm 4 glass same, most mounts. Hanimex f3.5 180mm 4 glass same, most mounts. Hanimex f4.5 200mm 4 glass same, most mounts. Hanimex f5.5 300mm 4 glass same, most mounts. Hanimex f6.3 400mm 3 glass same, most mounts. Hanimex f8.0 600mm 3 glass same, most mounts. Mirror f8 500mm Mirror f11 750mm (This is a very unusual focal length.) Hanimex Zoom f4.0 90-230mm Mounts listed included: Thread mounts (These will be M42) for Pentax, Pentacon, , Edixa, S, , Miranda (This just may be M39), and M39 for Leica and Zenith with different registers(!) Bayonet mounts for Exakta, Topcon, Nikon, Canon, Minolta, Miranda, Yashica, Singlex, Argus, Petriflex, Olympus PenF 1/2 frame. Hanimar f2.8 35mm This was auto iris for M42 and seems to be still another series.

Martin Hanke & Co, Monheim/Schwaben, Germany. Tricomat f6.3 65mm A 3 glass lens on a Hexi 6x6.

Hanovia, Newark, New Jersey, USA. Kalosat f4.5, f5.6, f6.5. These were simple meniscus lenses made of fused silica, known as spectral diffusion lenses. (Brit. Pat. 177,720/1921) They were soft focus, but the low dispersion of silica means that negligible separation of the visual and photographic foci occurs of 0.5% compared with 2.5% for normal glass lenses. The designer was Dr H. D. Power, and he reported on a lens of f4.0 4.5in focus and says it works to focus. (B.J.A, 1923, p304, also B. J. Photo., 1922, p281; B.J.A. 1921, p329). Kilmer reported on a f4.5 4.5in lens in Camera Craft Nov. 1919, Photo Era 04/1920, and another source says that two series were made: Series 1, f4.5: Series 11, f6.3.

Hare, UK. Hare was a leading camera maker, but an early 7.5x5in Stereo carried lenses marked "City Rapid Landscape" at No164x (2x) and these may be meniscus type.

Harrison and Schnitzer, New York, USA. Successor R.Morrison, 1864. Harrison was a Daguerrotypist with a knowledge of optics and he started in the late 1840's to make lenses in the USA, and cameras which were cheaper than imports and were of good quality. Thus he was probably the first photographic lens maker outside Europe, and was a very early one in any sense. During the 1850's, all sales were through Scovill's. Then there was a merger with Anthony's works. And Harrison's Globe lens was an international success, and the firm was sold to Nelson Wright, when Harrison became the optical supervisor. Incidentally the name Globe was valid as the outside surfaces were all on the surface of one sphere. It gave a new low in distortion, but had severe spherical aberration and could only be used stopped well down (f36-f72). The outer glass was crown n'H= 1.53, the inner flint n'H= 1.60, each pair being achromatic. The angle covered was 75°. Use 10cm for 12x14cm plates. Notice that this was actually slower than any meniscus lens sold. Also Kingslake quotes lens production as 8,800 ordinary lenses and 307 Globes by May 1863, and sadly Harrison died in 1864. After this Morrison (1836-1888) ran the works and simplified the Globe design.

Meniscus: like half a Globe. This has been illustrated but is thought not likely to have been used alone. (Traill- Taylor, p45) Layout Har001. Globe Lens (1860) for 80°, for use at f30 or less. Patent 17 of 27/06/1862, with J.Schnitzer. This lens was in production for a long time, the small covering up the limitations in the design. It threw a central flare spot in the original form, but this could be removed by decreasing the separations of the glasses slightly. (Har002). This may be a Landmark. For details, see Van Monckhoven, p128 and also entry under Gasc above. It has a good claim to be the very first anastigmat due to the design where thelight enters and leaves at right angles to the glass surfaces. Flick Iris This type of iris has both pins near together and outboard of the glass, so a small movement of the control ring closes them down; accurate work is needed to make it but it is now the norm on all auto SLR lenses. Harrison invented it, and used it even on very large Petzval lenses. It must be a landmark of a non- optical type! A very substantial example was noted at auction at No11,083 soon after 1858 perhaps as it had a flick iris.

Orthoscopic: These were a copy of the Petzval Orthoscop and had iris diaphragms in the centre of the lens.

After Morrison took part: Morrison's Wide Angle A simplified Globe lens. It has 2+1 glasses, and was apparently designed by Wenham (1857) (Layout Har003) Morrison's Rapid Doublet. This approaches a dialyt in layout. In 1860, the firm introduced the use of the rotating disc stop plate on the Globe lens. The firms history is actually more complex, as the beginning was by Lewis in 1851, then as Harrison about 1853, then as Palmer and Longkind in 1857, and as Harrison and Harrison and then as above. These early names are thought not to have made photographic lenses.

Hartnack, Potsdam, Germany. He was a microscope maker who was involved in the design of an early anastigmat lens. It seems the design was by A.Miethe and that Hartnack made it, but the use of phosphate glass exposed to the air was found to lead to excessive weathering and the design was abandoned. The layout was said to be rather like the Concentric of Schroeder for Ross, and this may explain the delay in issuing the Concentric which was attributed to testing for weather resistance of the glass. It may be that Schott were the final arbiters in some of these decisions.

Hartnett, L.J. As Director of Ordnance in Australia he sought production of gunsights there and it led to the involvment of Philip and Eric Waterworth and F.D. Cruickshank in optical production. (See P.Smith, Trader, c.1999). This seems to have lead to at least one M39 lens at the war end. (see also Waterworth).

Harukawa, Japan. They seem to be the makers of the Septon Pen camera for 16mm film, and it used a Septon f2.8/20mm lens, noted at No1414x. NB Note also the Voigtlaender Septon lens for Bessamatic.

Havlicek, F. J. He designed a simplified fisheye lens of f5.0 for 150-160°, probably about 1930. (See also H. Schultz, Z. fur Techn. Physik., 1932, 13,487-491).

Hayden: American maker of early Petzval portrait lenses on a fairly small scale.

V. Aktiebolag, Box 220, S-401 23 Goeteborg, Sweden Hasselblad Uk Ltd, York House, Empire Way, Wembley, Middlesex, HA9-0QQ Hasselblad are not lens makers but are important makers of aerial and 6x6 cameras, for which lenses were bespoken from Kodak, Dallmeyer, and especially Carl Zeiss (Oberkochen). Today a wider range of suppliers included Schneider and Rodenstock. An initial lens list was noted on launch as Kodak coated Ektars 55- 254mm. (MCM Dec 1948). The firm was connected with photography as dealers since 1887, when it was a department in a larger business, F.W.Hasselblad and Co. It grew to independance as Photografiska AB in 1908 and was the general agent for Kodak in Sweden till 1966. The camera making side of the firm was founded in 1940 by Victor Hasselblad (1906?-1978) a keen amateur photographer, who had trained at ICA/Zeiss Ikon and Kodak, initially to make aerial cameras for the Swedish government. Hasselblad was a keen bird photographer, and the idea of the SLR started about 1943. It seems the Williamson cameras were ones in the background of some of the concept. The 1600F was launched in 1948. Its successor went to the moon in 1969. In 1977, due to his age and lack of a successor, it became part of Safveans AB, thought to be in the Wallenberg Industrial group, Incentive concern, and in turn in 1996 to UBS Capital, who were formed by UBS of Nederlands (50%), CINVen of UK (40%) and Hasselblad's own management (10%). By then they were increasingly involved in digital imaging and data transmission. At least one lens was sold under the Hasselblad name: it was a 60-120mm for the 2000 series. (B.J.P. 15/01/1999, p13). The cameras at least have a serial number with 2 letters preceeding the number and these indicate the year of production from the code: VHPICTURES= 1234567890 so that a VE prefix indicates 1979 manufacture. There are a number of books etc on these cameras. These mention the lenses but are not specialised lens books. Look for: The Hasselblad System by R.Shell, Hove 1991 ISBN 0906447771 The Hasselblad Manual by E. Wildi, Focal press, 1980, 1982. ISBN 0-240-51186-7 Hasselblad published short specialized booklets of high quality on some subjects, eg 'Black and White Photography' by Ansel Adams but none has been noted specially on lenses though there is one on 'Telephotography' (20pp) and on 'Copying Techniques" (20pp). A very detailed long review is by R.G.Taylor, B.J.P. 08/12/1978, p1062 extending over some 5 issues. Apart from the official lenses by Zeiss, Kodak and Dallmeyer, a number of unofficial mountings were made for the Hasselblad 1600 and 1000F cameras, the most common being the f2.5/7in Kodal Ektar in a fine Cook and Perkins mount made in the late 1940's, and Pop Photo. 11/1963 adds f2.8/180mm Jena Sonnar, Astro 150mm in f1.8 and f2.3 from Ercona, New York, f2.7/150mm Carl Meyer from Burke & James Inc of Chicago, and also the f2.9/200mm Videostigmat.

Wallace Heaton, Bond St, London, UK. They are or were leading UK retailers, with their own brand names such as Zodel and Zodellar (which also see), and these were used over a long period. Old lenses included a page of Zodellar lenses in f3.5, f4.5, f6.8, f12.5 (a wide angle) in a whole page advert. in B.J.A. 1927, 609 and some of these just may be from Koristka of Italy. However, the B.J.A. 1925 p364 says "from a German optical firm" for the f4.5 that year. They were each in several mounts ie standard iris, sunk, focusing or Compur shutter, so it does seem they had a major maker behind them, probably on the Continent. There were:

(a) f3.5 for 2, 3in for V.P., 4, 4.75in for 3.5x2.5in, 5.25, 6in for 1/4plate, 6.5, 8.5, 9.5, 11.75in where 6.5in was for 5x4in. It was noted in B.J.A. 1926, p332.

(b) f4.5 This was German-sourced in 1924-5 and there is no hint of it being convertible, but rather it gave a good angle of coverage such as 10x8in with an f4.5/8.25in lens.(B.J.A. 1925, p364, 640advert.). It and the f3.5 could be used as soft focus lenses by unscrewing the front cells by up to one complete turn. They were claimed to be flare resistant and very sharp. The list was: f4.5 for 4.25, 4.75, 5.75, 6.0, 6.5, 7.25, 8.5, 9.5in where 6in was for 5x4in. For a use on a stereo camera there was a pair of convertible f4.5/3.25in Zodellar lenses in Stereo Compur, see B.J.A. 1926, p347. (There were few convertible f4.5 designs, but the Goerz Dogmar was a possible example. But the 1925 advert may explain it: there were accessory lenses sold for wide and long focus which may have allowed it to be classed as convertible.) Fig 008 046 Wallace Heaton Zodellar f4.5/16.5cm in fim.

(c) f6.8 Convertible for 90° for 3.5, 4.25, 5.375, 6.0, 7.0in where 5.375 was for 5x4in. f12.5 wide angle for 110° for 3.5in, 5.125in, 6.125in, 7.25in where 6.125in covers 10x8in.

(d) Zodellar f4.8 for 3.5x2.5in in 1928 and a Convertible anastigmat, for the plate camera Zodel de luxe in 6x9cm in B.J.A. 1930, p593, and a pair of Zodellar anastigmats, f4.5/8cm No487,11x (2x) on a /Zodel Stereo camera for 13x16cm.

(e) There was an f3.8/4.25in Zodellar on a Zodel 6x9cm plate in B.J.A. 1932, p312, 548advert. It was an attractive camera, especially in the Tropical version, and the lens allowed the use of the rise and cross movements.

(f) That year there were f2.9 Zodellar (above), f4.5 Zodellar on a rollfilm and a stereo and a square back plate camera, and probably a f6.3 Zodellar on a Zodel Junior plate. Some products were not named: there was an unnamed f6.3 in 1928 for example.

Modern products One modern product was a Zodellar f3.5/135mm with auto iris for M42 but it will be part of a series. The series for the 1972 season was as follows: Zodel Automatic Lenses: f4.0/24mm; f3.5/28mm; f3.5/135mm; f4.5/240mm; f5.6/300mm. These were M42 "threaded West German lenses, ... light and sturdy with critical definition and fine colour correction". In April 1969, there was a macro head for use on a bellows, at £13.50.

Helioprint This is the only name on a symmetrical design f9/150mm lens of some type of copier or plate maker. The iris here is fully engraved and the lens looks rather like a Repromaster one but the iris makes it more useful photographically. Performance is really good in contrast and sharpness. (see also Repromaster and Ekofisk for rather similar products.)

Societe Helios, France. They offered an f6.3 Heliostigmat on a 9x12 cm camera in 1905: It does not seem to be the Voigtlaender lens of this name.

Hermagis, 29, Rue de Louvre, Paris, France. Agent in 1925, etc. Anglo-French Photography Co, 46, New Kent Rd, London SE1. This may be a very old established firm as a M. Hermagis was involved in solar light enlargers when von Monckhoven wrote his book in 1866 and a separable Hermagis lens seems to have been offered in 1860. Many of the early lenses were Petzval Portrait lenses of conventional type. A 6in dia. Portrait lens was probably offered by about 1860, and an 8in was listed by Kramer in Vienna in March 1865, and in a Hermagis list by 1867. An Hermagis camera for 14x19cm of about 1875 had a Darlot No3 Hemisphere Rapide No14,027 so they may have bought in some types.There were also RR types by the 1880's and anastigmats by 1902 and possibly by 1898. They seem to have made or sold cameras as well as making lenses. (There is an impression that the firm was later associated with SOM-Berthiot later, but this is uncertain, and Hermagis lenses were listed up to about 1935.) Many lenses listed secondhand are only quoted as Hermagis without the TN, possibly owing to the long makers surname. Portrait Series 1 f3.4-f4.2 This was made in 25cm for 1/4plate; 31cm for 10x15cm; 35cm for 1/2plate; 39cm for 1/1plate; 45cm for 12x10in; 60cm for 16x12cm; 80cm for 20x16in These may be Petzvals. The two longest seem to have been to special order only. (B.J.A. 1924, p677advert.) Portrait Series 11 f2.7-f4.2 This was made in 25cm for 1/4plate; 28.5cm for 1/4plate; 31cm for 10x15cm (in two speeds with 8.6 and 9.5cm dia front glasses); 39cm for 1/2plate. (also 1924 advert.) Rapid Rectliniar There are no details but this was listed for 13x18cm in 1886, and 9x12cm in 1893. There was an f7 lens on a folder in 1899. L'Eidoscop f4.0, f5.0 7.5in/190mm for 1/4plate or 9x12cm; 11in/275mm for 1/2plate or 13x18cm; 15in/375mm for 1/1plate or 18x24cm; 19in/480mm for 12x10in, 25.5in/635mm for 16x18in. This seems normally to be a brass finish lens, for studio work, but has been seen in black enamel. The cells show two bright and probably one faint reflexion, so are probably a version of the RR (but with imperfect spherical correction, probably over-corrected so that the outer rays are focused further from the lens than those from the centre?). They seem to be heavier than some others, and very deep front-to-back. It was not a normal item on the UK market, but was noted in an advert. from the Anglo-French Co, 46, New Kent Rd, London SE1 in B.J.A.1925, p678 in detail; 1926, p750 where it was a item in a list: "Famous Portrait Lenses and Eidoscope Soft Focus Lens. Anastigmats. Special set of 7 different foci. Cinema Lenses, etc." The cinema lenses were f3.5 (1925) and the Anastigmats f6.3 and f4.5. (B.J.A. 1925, p734.)

This suggests L'Eidoscope was then well enough known for the name to be mentioned without needing explanation. They have been noted as: NoI f4.5 at No17547x There has also been a report of a 150mm f4.7 lens, No138,92x, probably of this type. The No1 was found as lens elements only, possibly from a dial-set Compur shutter, though there were a series of cell to shutter adaptor rings also in the sale but for unknown fittings. It was black enamelled round the cells and edges and in a small case. In use it illuminated 5x4in easily, and was really sharp stopped right down. The lens is quite soft at f4.7, with a halo round highlights of about 1.5-2.0mm dia., which decreases at f5.6 and is almost absent at f8, so only some 40% of the full aperture light is in the focused spot. The area of sharp definition spreads out with further close down. This part of the picture is not really normal 'soft focus' but more just 'not sharp' and seems to need f32 to really clear. Closed down, it is a fiercely clear and contrasty image, and on this basis cannot be easily separated from more modern lenses on a roll of negatives. Personally, it is best focused at f8 and then opened up: if it is focused at f4.7, the point of focus is indeterminate as the focus moves through quite a wide range, and may need closing to near f32 for real sharpness- and the position of best focus is less certain. No2 f5.0 unnumbered on a 24x30cm tailboard camera at auction. These were colour corrected, and resembled a Portrait RR. Fig 027 012 Hermagis L'Eidoscope f4.7/150mm

L'eidoscop was the lens used by J.Ortiz-Echague (1886-). (see F.I.Jordan, Amer. Ann. Photography, 1950, p7- 29. He used a f5.0/26cm symmetrical Eidoscope on a 13x18cm camera, apparently only, from 1925-1935 for portraits of common people, published in his first book, followed later by a 9x12cm reflex with a variety of lenses for work on the villages of Spain. If it is normally classed as soft-focus (see the advert. in B.J.A. 1924, p678), much of Echague's work shows quite a fine resolution of detail as might be expected if well stopped down in the fierce Spanish sun. Two mountings exist with Waterhouse and iris stops. We are told that the mounting of the glasses varies and some are harder to dismantle than others. In use, an example showed a substantial light patch about highlights, but also had a core of quite fine detail. Thus it is a flexible tool and the aperture may allow a great deal of control of the sharpnes and contrast. Eidoscop f5.0 75mm This was noted on a 1919 Prevost 35mm camera. f5 No2 size noted at No55,18x. Teleidoscop A variable focal length combination. Also a soft focus lens. Casket Set A set with 6 brass bound lenses in a fitted wooden box was noted at auction.

Aplanastigmat These were symmetrical anastigmats, 3+3 type and possibly Dagor or Kollinear types. They were used as early as 1900, and were on the VP Blocknotes in the f6.8 version in 1911. They were still a major item in the B.J.A. 1924 p675, in two speeds. Aplanastigmat was noted at auction as a 140mm No35,174 on a Velocigraph No39 which may date as early 1890's. FBB note it as with an Hermagis RR in 1891, which suggests there are several optical designs under one name. f6.3 This was made as: 3in/75mm for 2.25x2.25in; 3.375in/85mm for 2.5x2.25in; 4.375in/110mm for 3.5x2.5in; 5.5in/136mm for 4.75x3.5in at full aperture. The coverage was at least 1 size bigger when stopped down, as then it covered 72° at f10 and 90°at f14. Thus 110mm then covered 3.5x2.5 at f6.3, 6x4.5in at f10 and 6.5x4.75in at f14. It was sold as 75-135mm when coded 'Aplanastigmat Phos' on Blocknotes. [This suggests a Dagor type design?] It was probably the short focal length version of the next item. f6.8 The f6.8 covered the same angles at the same when stopped down and seems to be the long focus version of the same lens. It was made as: 6.66in/160mm for 6.5x4in; 6.75in/170mm for 6.25x4.75in; 8.3in/210mm for 7x5in; 10.75in/270mm for 8.25x6in; 12.5in/310mm for 12x10in; 14.5in/360mm for 13x12in; 18in/450mm for 16x12in. As before, these are at full aperture and the angle increased by about 1 size at f10 and f14. In another list it was made as: 160-450mm This is not a "Phos." It was suggested to use 170mm for ½plate. These were supplied in one list as sets with 4 components to give 4¾-16in for No7, 6½-20½ for No6, 8-24in for No5a. By 1924 they were as 4 cells per set, normally with 2 alike and two other foci for other focal lengths. Thus No7 used 2x No7, plus one each of No 8 and 9 for foci 4.75in to 16in. No6 used 2x No6, plus one each of No7 and 8 for foci 6.5 to 20.5in . No5a used 2xNo5a, plus one each of No6 and 7 for foci 8 to 24in. ie the cells were numbered up to 9 or so with the number increasing with decreasing focal length, and No7= 16in, No6=20.5in, and No5a= 24in. Or so it seems! Aplanastigmat is a name ocurring elsewhere and may have been reused? (Compare Aleksander Ginsberg's FOS company listed under 005efg= FOS.)

Dellor Anastigmat This was a 4 glass type. At least some of these were 4-glass Gauss type as in the Series D. Hermir f6.8 4½, 5½in. These were a moderate priced anastigmat, in shutters for rollfilm cameras. They were sold only in shutters in B.J.A. 1924, p675 where wholesale enquiries were wanted- they were not priced as a result. Magir) These were triplets, 3-glass type. Major has been noted as an f4.5/22mm on a XYZ in 1935. Major) Hellor Q15 type. It was listed as an f4.5 on a 4x4cm camera based on the German Karmaflex in 1937. Soft Focus This was noted as 1908 manufacture, and was rather like the Puyo lens.

Hermagis Anastigmat f4.5 This was listed as 45mm for 1.5x1.5in; 55mm for 2x2in; 75mm for 2.375x2.375in; 85mm for 2.5x2.375in; 110mm for 2/5x3.5in; 140mm for 1/4plate; 170mm for 6x4in; 210mm for 7x5in; 270mm for 8.25x6in; 310mm for 10x7in. A 200mm f4.5 was noted in a B&J list in the 1960's. Also noted was a Hermagis f4.5/40mm on Furet (c. 1923). The f4.5 was intended for allow use in Press and snapshot work in dull weather, and was said to be "used by all the well known photographers in France" and be available in blade shutters. It was not convertible. Hermagis Lynx f3.5 These were early movie lenses with the advantage of speed nd said to be brilliant and with high definition. They were made in: 1.375in, 2in, 3in and 4in in the B.J.A. 1924, p676. They were noted as the 45mm on 'Cent Vues', an early still 35mm camera, and these were noted at Nos 122,53x and 147,65x. Another may have had a f3.5/40mm Anastigmat at No161,46x. These were also noted in 20, 25, 70mm. F3.5 lenses for 17.5, 16, 9.5mm cine use from 1926-1930 mainly on Pathe cameras. Thus the Cine-Nizo had an f3.5 in 1931 (B.J.A. 1931, p594 advert.) Dellynx f3.5 75mm This was reported as two examples, and these were surprisingly said to be with negative front glasses which may be due to being incomplete possibly as when the front two glasses of a triplet being unscrewed and the second is left- and which was marked with an oldish iris scale ie. f3.5, f4.5, f7 etc. Hellynx f2.9 105mm, noted in rimset Compur at N°276,86x. This is a triplet with a degree of softness, even on closing down. (It is a case where a 10 year search has not yet revealed the camera it came off.) Lynx Q15 This was originally for movie use in 1.375-4in. But f4.5 and f3.5 Lynx were listed on the Mollier Cent Vues in 1924-6, and a f4.5 on the Furet in 1930. An example on Cents Vues No64x was a f3.5/40mm No116,19x and a later was No264,78x.. Perlynx f1.9 This was for cine, Layout Her001. f2.5 20mm for 8mm on 1934, 1939 Emel cameras, also for 9.5mm Pathe eg at No262,51x. Luxar f2.2 This was a 75mm lens on a 1928 Bol for 35mm use, possibly in projection. Objective Cinema This was noted as a 160mm lens in an rack and pinion mount, ie it was probably an early projection lens.

Herzberger,M. Designer of very high speed lenses, such as an f0.8 Gauss with a long rear component. He was also the designer of Super Achromat lenses (Applied Optics, 2, p553, 6/1963, (Hez001, Hez002). He graduated from Berlin in 1922, was in charge of lens computing at E.Leitz, then at Zeiss, Jena 1928, and joined Kodak in 1935. (Modern Photo 11/1964,p52). Dr Hans Hensoldt, Wetzlar, Germany. They seem to be best known for binoculars, but made some camera lenses and may have had an agreement with ISO, of Milan. One account is that production was by ISO and Hensoldt lent their name as designers. Iriar f2.8 50mm Noted at No0125x. Arion f1.9 50mm on Hensoldt Reporter (1953) Iriar f3.5 12.5cm No110x A long lens in a screw fit mount for the Reporter. Proto f1.8 55mm in M39x26 Scarce, and an unusual specification, compared with the 55mm f1.8 Luminar from Royal of Frankfurt- is there some relation here? It seems not to be coupled. One account is that they were responsible for the production of many Novar lenses postwar. This was probably related to their being members of the Zeiss organization.

Hensoldt, M. and Son, Wetzlar, Germany. These items were pre-1908. It seems that the firm of Moritz Hensoldt (1821-1903) was absorbed into Zeiss in 1928. It had made binoculars with a innovative and distinctive type of roof-ridge prism from 1897 rather like the prism in a modern(?) SLR. Walkar f6.3 Symmetrical Anastigmat, 4+4 layout, Hen001. This was a general purpose lens for groups and instaneous pictures outdoors. Euryscop Series 11 f7.0 RR Wide Angle Series 111 f15 This was possibly a WAR. Products for WW2 were coded bek from the Hensoldt Werk fur Optik und Mechanik, Herborn and bmj from M. Hensoldt & Sohne Wetzlar.

Heyde, Gustave. In 1905 the UK agent was Staley and they carried "actinometers and optical appliances". They also seem to have specialized in projection lenses. These products were pre-1908 developments. Rapid Apochromat Series 1 f7.5. ] These were general purpose outdoors lenses. Rapid Apochromat Series 11 f6.8 ]. Wide Angle Apochromat f9.0. This was for wide angle use. Alethar Process Lens f9.0 Alethar Process lens Type V f11. Double Anastigmat Type 1V f11 (This seems to be a Dagor type layout). A more modern item is: Isotar f3.5 135mm seen as lens No11x. Fig 008 057 Heyde, Dresden Isotar f3.5/135mm No1114 in barrel mount.

Hilger, Adam, 98, St Pancras Way, London, NW1. Hilger, later Hilger and Watts, and now Hilger Analytical Instruments, of Ramsgate Rd, Margate, Kent, UK. They became a member of the Rank Organization, and have been mainly a maker of scientific instruments and spectrometers, but were the associates of Wray Optical for a short period. Some of their optics must have been used for photorecording, even if only of spectra. A lens noted was marked "Double Profile 1.5in" and may have been from a WW2 engineering test unit. They are also said to have made some scientific and industrial cameras, possible with their own lenses. They were the publishers of F. Twyman's classic "Prism and Lens Making", published 1943, 1952. etc.

Hill, Robert. Hill designed the famous Hill Cloud fisheye , (Brit.Pat. 225,398/1923) made by Beck for 180° which used 2½x3½in plates. It had stops from f8-f32, and gave a 62mm dia. image circle. It was sold to 1939, and must be a Landmark as the first fish! (see J.Naylor, New England Photo History, Spring 1990, p4). This is one of the really rare items. (Layout Bec013)

Hirlemann & Moreau, France. They seem to have offered a de luxe camera in 1924 with a Novac f4.5/140mm lens for 9x12cm.

W. Hirschmann, Bayreuth, Germany. Frankar Anastigmat f3.5, f4.5, f5.6/75mm on Solida I and 6x6 .

Hitchmough: see Sharp & Hitchmough of 101, Dale St., Liverpool. Fig 029 003 Three RR lenses, 2 by Clement et Gilmer and by Sharp and Hitchmough, ? from CetG as it is a 'Panorthoscopique'.

Hockins Desideratum Lens noted on a tailboard wooden camera at auction. Hockins was a camera maker at 38, Duke St, Manchester Square, London in the 1860's, and later, and is listed in Channing & Dunn, p51, but without details of any lenses. It will probably be bought in and engraved with the firms name.

Hoffman, Dresden, Germany. This is the name on a 19C lens with Waterhouse stops, but there is no more data here. A No1 Universal Aplanat has been noted in one list.

Hofmeister, Jena, Germany. Frerk comments favourably on these excellent lenses which come from the same place as the famous Zeiss lenses and says they are not too much different. He may have wondered if they were a marketing exercise. One small point is that such an exercise is easier if the new 'name' has the same number of letters as the master firm. (Hofmeister is an archaic German word for a steward or private tutor.) Hofmeister lenses were used on the Norica Minor and Trumpf cameras by Conrad A. Müller of Strengenberg, nr Nürnberg, Germany about 1931. Here it was the low cost option, and fitted to 6x9, 9x12 and 10x15in cameras in f6.3, f5.4, in Varios and f4.8, in Ilex or Gammax shutters. [It was not fitted to other cameras in the same price range and date, and may have therefore been a limited contract supply. They were also using lenses from Steinheil, Friedrich, Schneider and Rodenstock but apparently not Zeiss from the adverts. noted.] Xenostar f6.3 105mm A triplet in a Vario shutter, probably off a 1920's folding camera. Fig 008 059 Hofmeister Xenostar f6.3/135mm No62,605 in Vario and (r) ICA Novar f6.8/135mm Xenostar f6.8 This is in Frerk's acount, and then a Dialyt. Syrkonar f6.8 This was a dialyt in Frerk's list Syrkonar f5.4 Same. Syrconar f4.5 This was noted at No115,35x as a 75mm in a rimset Compur 1- 1/300sec from about 1933. This is a Q26 Double Anastigmat, a 4g/4c type, and covers a reasonable angle as if for up to 6x9cm but not more- like the Xenostar it seems to be a well made item with the air-spaces accessible for cleaning. Syrconar has been noted among the lenses used on Ensign cameras.

Fig 016 030 Hofmeister Syrconar Doppel Anastigmat f4.5/75mm No115,350 in 1933 Compur. Syrconar f4.8 105mm This was reported on a Ensign Autorange 20 in a Gammax shutter. It may well be a f4.5 limited to f4.8 by the shutter. Xylonar f4.5 A really good faster lens.

Hokuto They are noted for a Hokuto Polytel f1.9/3in in C-mount for 16mm cine.

Holborn Trading name of Houghton's, UK, about 1906.

Holmes Booth: early USA maker of Petzval Portrait lenses. The firm seems to have been Holmes, Booth, and Haydens of New York at least on a Petzval No87x of about 6in and on one of No4,46x. The former has no provision for stops, the latter takes Waterhouse stops, so is likely to be after 1858, with the former before that date.

Honeywell, USA. Repronar f3.5/35mm, noted at No283x on a Repronar camera No269x, see B.J.Photography about 1961.

Honor, Japan. They used a series of names for lenses on the cameras from the Dai-Ichi works, related to Zenobia and Mejiro optical. Looking at the account in Pont et Princelle's book, they seem to have used lenses from Konishiroku as Hexar and Hexanon and later Honor and Hexanon, the name Honor being attached to a f2.0 or f1.9 50mm lens as alternative fitment to a f1.9/50mm Hexanon, which suggests that the name was applied to honour the name on the body.

Hopkins, Prof Harold H. also from Storz Endoscopy America Inc., 650 S. San Vicente Blvd., Los Angeles, Ca 990048. While he was at Reading University (Pop. Photo. 04/1976, p52) Hopkins invented the rod lens to increase contrast in endoscopy. It predated fibre optics(?) but had the same effect of reducing the number of air/surface reflections in the transmission of the image. (Brit Pat. 954,629; USPat 3,257,902)

Hora, 346 York Rd, Wandsworth, London SW. They were photographic traders and possibly camera makers but the lenses were imported, possibly from Schultze and Billerbeck. The main one noted was in the B.J.A. 1911, p1112. Monoplanar Series 111 f6.8 120, 150, 180, 240, 300, 360mm (Hor001) For 10x8 use 300mm normally, but 180mm will cover at small stops. (Typical of a Dagor type lens!) Fairfield This was a trade name of T.T.Hora, and it was used earlier on a mahogany and brass camera of 1899, and on lens such as : Fairfield Anastigmat f6.8 This was a 4+4 symmetrical design, for 82°. It was made in 4.75, 6.0, 7.0, 8.25, 9.5, 12, 14.5in. It was probably a commissioned lens bought-in.

Horne & Thornthwaite, Newgate St, London. They were eminent early camera makers, who are regarded as genuinely lens makers noted for telescopes and other instruments- this in contrast with shops who bought in lenses from an other sources and added their own name. See Channing and Dunn on the firms history, where they show the dates can be inferred from the address given. Thus a lens from Newgate probably suggests an early lens, before 1874, as later they were at Holborn Viaduct and then the Strand. It may be possible in time to relate the serial numbers to the addresses. Another example listed was No3,42x, from 121-123 Newgate St, on an c.10in c.f4.0 lens with Waterhouse stops. They were still at 121-123 Newgate when they sold No603x and the barrel still has no slot for a stop. This seems to be an unusually fine item- very well finished and with very finely worked threads, but these are entirely individual and none are interchangable even though the front and rear threads are of about the same diameter: this also applied to the rack mounting which needed to be reassembled in one sense to fit. In summary, it was classed as a rather desirable item.

Hasbroeck mentions 3 Horne & Thornthwaite lenses, including a landscape (meniscus?) at No2,950 and a portrait (Petzval?) at No3085, as about 1858. A Caloscopic lens for 10x12in No95 was at auction on a Kinnear type camera. A very early lens was marked 'Horne, Thornethwaite and Wood, No1329' and was sold probably for Daguerrotypy by Bland & Young before 1858. Another Petzval (number not known) was said to have a remarkably long narrow barrel for the specification.

Horseman, Japan. We thank Mr D. Evans for additional information on this topic. Horseman are makers of larger format cameras for 6x9 and 5x4in with a proprietary lens range. All lenses are coded Horseman, and are from Tokio Kogaku for whom Horseman is a leading brand. f3.5 105mm This was a standard lens for 6x9cm coded PS as for Professional Standard. f4.5 105mm This was a "Super" lens, for 6x9cm and for 5x4in on extension, ie it would cover the larger format as well. f5.6 62mm 1970, this covered 70°, for Horseman, and was a Convertible lens. f5.6 65mm This was a 'Normal' wide angle lens for 6x9cm, coded PW Compact. f7.0 65mm This was a 'Super Wide' for 6x9cm, coded Super Horseman. f5.6 75mm This was a 'Professional' Wide Angle. f5.6 90mm This was a "New" Super for 6x9cm. f5.6 120mm This was a 'Super' probably for up to 5x4in. f5.6 150mm This was a 'Super' for 5x4in and 6x9cm, coded 'Super' Horseman. f5.6 180mm This was a normal tele lens for 6x9cm only, coded PT. f3.5 42mm Microcopy and macro lens for 6x9cm Thus it seems there were lenses with normal coverage for 6x9cm in this list and also some 5x4in lenses coded 'Super' for use on both formats.

Hovey's Special This name was reported as on a brass RR lens of some f8/14in with a wide angle of coverage. It is probably an English shop's name but so far has not been identified.

Hoya, Japan Intraphoto Ltd, 89, Park St., Slough, Berkshire, UK, Slough 37779. They are major Japanese glass and accessory suppliers, and have offered lenses as a medium price set under their name about 1970, and may have been the source of others. This is supported by V.Blackman in an article in Amateur Photo 04/10/1978 who classes them as one of the biggest makers of optical glass and likely to make not just their own lenses but be a source of lenses for others. These included a zoom f3.8/70- 210mm, whose specification he felt was familiar. (Use "find" now to discover Vivitar had such a zoom- though a coincidence over specification is no proof. But the whole programme seems to have the same specifications. Well now.....) Hoya f2.9 28mm. Hoya f2.8 28mm Hoya f3.5 28mm Hoy001. Hoya f2.8 35mm Hoy002 Hoya f2.8 135mm Hoy003 Hoya f3.5 200mm Hoy004. also 3 zoom macro lenses in 1978. f3.5 25-42mm; 11g/11c; f3.5 35-105mm, 13g/11c; f3.8 70-210mm 14g/12c. (14/04/1978, p311) They were newly HMC multicoated from B.J.P. 10/03/1978 pXXIV. In B.J.P. 25/04/1980 p392 there was a new non-macro zoom f4.0 28-85mm of 16glass 10component design stopping down to f16 at c.£150. A later a list has f2.8, 24mm, 8g/8c; f2.8, 28mm, 7g/7c; f2.8, 35mm 6g/5c; f2.8, 135mm, 5g/4c; f3.5, 200mm, 5g/4c; f5.6, 300mm, 6g/3c; f5.6, 400mm, 8g/5c. There were also 7 zoom lenses. Sadly the lists are not dated.

Huet, France. These are from an advert. in B.J.A. 1921, p706; 1922, p637. It was issued by C.M.Gibson, 15, Charles St, Hatton Garden, London EC1 as wholesaler but this seems to be limited to 1921-22 or about this period. Series A f3.5 50mm for 18x24mm, 7.5cm for up to 3x3cm. This was for cine. Series B f4.5 12cm for 8x9cm, 13.5cm for 8x11cm, 15cm for 9x12cm, 18cm for 12x16cm, 21cm for 13x18cm. This had a layout as Dagor, Q9, and the others may have also been of this type. Series C f6.0 9cm for 6x8cm, 12cm for 8x10cm, 13.5cm for 9x12cm, 15cm for 10x13cm, 18cm for 12x16cm, 21cm for 13x18cm. Series D f6.5 This was a Universal Double Anastigmat for General work, Groups, Views and Architecture. It was made in 9cm for 6.5x9cm; 12cm for 9x12cm; 13.5cm for 9x12cm, 15cm for 10x15cm, 18cm for 13x18cm, 21cm for 16x21cm. There was an f5 Huet lens on a EPT stereo for 45x107mm in 1920. The same may be on a Polygraphe' stereo in B.J.A. 1921, p759 from MM Tiranty, 103, Rue La Fayette, Paris, France. [This just might be a pointer to the source of the Transpar lenses they also sold.] There may have been some WW2 items coded lww.

Jabez Hughes, 379, Oxford St., London. A brass lens noted at No410x on a 5x5in wood and brass camera for wet or dry work, and probably sold 1860- 1870, with the vendors name on it.

Hume, Wm. 14, Lothian Rd., later 8, Beccleuch Place, Edinburgh,UK. They were instrument makers, especially active in enlargers, selling lenses engraved with his name but probably bought-in for sale, though the source is not known. About 1901, he used the Trade Name "Cantilever" on much of his equipment, but not it seems engraving it on the lenses. These are likely to be of UK make since the threads are RPS standard but this is not absolute proof as the European makers did sometimes fall into line here. For a sample advert. see B.J.A. 1910, p1202. The example seen was in brass, about 1.5in dia., marked "enlarging objective 5in" and was of Petzval type, with a slot for stops. This reflects that much of his trade was in enlargers, but this was not all of it since a brass lens engraved "Standard Series Rapid Rectilinear 8x6 Wm. Hume Optician Edinburgh" has been seen with Waterhouse slot and seems to be a camera lens. It has no Serial Number He was still active in 1914, with a long list of secondhand items on p1378 of the BJA, including a "best RR for 1/1plate" at £1.0 and a line in new anastigmats: Barystigmat f7.7 in 4.75in for 1/4plate, 6in, 7.75in, 10.75in, and these were also good for enlarging. Their maker is unknown. Fig 008 055 Scottish Lenses engraved by (rear) Hume (l) RR for 8x6in with Wh stops and (r) a Petzval for enlarging [and (front) a Lizars' Challenge RR f8/5in.]

We think his death was noted in the B.J.A. about 1924.

Hummel, M.F., Hatton Garden, London,EC. see B.J.A. 1911, p1244. Biplan Anastigmat f6.8 Made in 90-300mm, these seem to be a label range, and may just be the source of many of the sets the shops were selling at the time. They also supplied movie lenses, slide projectors and projection lenses, etc.

Huth, B., Dresden, Germany. Huth Universal Aplanat f8.0 for 13x18cm. (1900) This may be the same as: "Universal Rapid Aplanat Series E for 13x18"cm, engraved "Gebruder Huth, Fabrik. photogr. Apparate, Dresden" noted at auction in the UK.

Hüttig, R., A.G. Dresden, Germany. The firm was later absorbed into I.C.A., and were camera makers, probably naming bought-in lenses. Some of their trade names were so valued that they were continued by Zeiss or Zeiss Ikon after the amalgamation, as in Novar. This can only be a beginning to this list.

Early items. Periscop f9.0 A 135mm was used in 1900 on a 9x12 standard plate camera. Baldour Extra Rapid Aplanat f8.0 A 125mm version was used in 1906 on the 9x12cm Lloyd. It was noted on a Stereolette 45x107mm camera as f8/65mm lenses at Nos 138,77x (2x) and this was actually just an ICA camera. Helios Extra Rapid Aplanat f8.0 125mm on Ideal plate camera. (1908), Juwel LLoyd etc. Lloyd Double anastigmat f8.0 This was the next up in price from Helios, by some 35%, on a Ideal, and a shorter lens was used as 90mm cf 105 for Helios. (1906). They were in sizes for 6x9, 9x12 and 13x18cm. Novar Double anastigmat f6.0 This was a 110mm for 6x9 and used in various sizes like the others. Extra Rapid Anastigmat f8.0 130mm on Jumel (1905) as part of I.C.A. Hekla f6.8 ICA 001 It was noted as a f6.8/65mm lens at Nos 335,08x and 335,12x, and as a f6.8/60mm lens on a Polyskop 45x107mm at Nos 176,47x and 204,06x. Note that both these pairs have numbers well separated as if a lot were going through the factory. Huttar Helios f8.0 130mm on Corrida 9x12cm. Litonar f6.8 135mm on Halloh ¼plate camera (A double anastigmat on sale in 1914-1926). Dominar f4.5 135mm on Icar 9x12cm. Novar f6.8 135mm on 1919 Icarette. They were also noted on a Stereo Klapp 1906 model, as f6.0/135mm at Nos 60,36x and 60,36x. (sequential numbers!). The birth of a famous name! Heklar f6.8 135mm (Does this differ from Hekla!) (LayoutICA.001) The structures and differences of these are now hard to see. Some may be merely labels on lenses to match a camera model.

Hyatt, H.A., 410,N.Broadway, St. Louis, Mo.,USA. Hyatt's New Special Portrait Lens f5.0 6.5, 8.5, 11.5in. They seem to be dealers offering a new line, and were quite early dealers in photgraphic goods.

I.C.A. A.G., Germany They can be regarded as an initial stage in the mergers which finally resulted in Zeiss Ikon, being formed from Huttig and other companies in 1909. Thus they used lens names derived from these source, but probably mainly relied on bought in lenses. See Hekla and Dominar above. A drawing for the Hekla was published (ICA001). There was a proprietary ICA Periscop in foci 15-65cm, probably a casket set. B&J listed a f6.8 Hekla and an ICA Orix f4.5 165mm has also been noted. It was unusual as it was drilled near the iris for locations for a peg which probably was used for a preset iris. In 1926, Frerk listed most of these but not Helios. Helios Rapid aplanat f8 This was still used on ICA Juwel and Volta models. It was noted on an VP Atom as f8/9cm at No226,87x. Novar f6.8 This was seen as a f6.8/135mm lens in ACG shutter at No674,90x, which is a triplet. This is typical, as these were normally a good quality triplet used in cameras and the Miraphot enlarger. Examples were: BeBe VP camera with f6.8/7.5cm N574,74x: Plascop Stereo with f6.8/6cm, No716,20x+716,20x: 543,96x+543,96x. Fig 008 059 ICA Novar f6.8/135mm and [Hofmeister Xenostar f6.3/135mm No62,605 in Vario.] Novar f4.5 135mm Noted on a 9x12cm tropical HEAG XI with a Novar f4.5/135mm No690,20x in a dialset Compur. Hekla f6.8 A well corrected dialyt type. It covered 60° at f6.8. It was used on the square back cameras, in the early 1920's, where it may have been the cheapest version. Maximar f6.8 This seems to be the most expensive in-house lens, above the Hekla and Novar. A 12cm was used for 6x9cm, here and on many of the ICA cameras. Maximar f5.4 Dominar f4.5 A good choice for an Q15 lens. The above 4 lenses are in the order of increasing price (probably!) with the Zeiss Tessar models f6.3 and f4.5 at higher prices. This probably indicates some sort of indication of quality of materials and stringency of rejection rate for the suppliers. f3.5 This was not for still use. An example was noted for movie as an f3.5/40mm Dominar on a 1921 I.C.A. 35mm movie camera. Litonar f6.8 It covered 58° at f6.8. Delta Vorsatz lenses These were ICA close-up and meniscus attachment lenses. Periscop Alpha f11 on ICA Volta, where 12cm was used for 6x9cm, but when a Novar was used, it was 105mm. Perhaps showing the special relation coming with Zeiss there are two which may be related to it: Carl Zeiss Icar f6.3 This was a bought in lens but obviously a trend setter as Zeiss would not normally make a lens named for another company. Here 12cm was used for 6.5x11cm. Zeiss Amatar f6.8 The Amatar was used on the ICA Nixe for 9x12cm etc., as a 15cm len, and as pairs on the Stereo Reicka as 2x135mm for 10x15cm. Also stereo Palmos and Panorama/Stereo Rekord. (1918) By then Amatar was seldom used and a rather special item.

U-Boot Special Camera. This had a f10/45cm lens, probably a Zeiss Magnar. There will be other uses of bought-in proprietary lenses.

Ichizuky Optical Industry Co. Ltd., Tokyo, Japan. Kinotar f1.4 13mm, this was a cine lens. Kinotar f1.4 This was made in 38 and 75mm and was a Petzval type design, possibly for projection. Kinotar f1.4 25mm, this was a 6g/4c Gauss, and was made for cine. Kinotar f1.9 This was for 8mm use.

Ihagee Kamera Werk, Dresden, Germany. Garner & Jones, Ltd., Polebrook House, Golden Sq, London W1, UK. It is unlikely that Ihagee ever made a lens, but bought in those sold under the Ihagee anastigmat and Exaktar names. They certainly seem to have made part or all of the mounts at least for the Kine Exakta, which seem to be common to different brands of lens. The source was probably Meyer and Schulze and Billerbeck, though there is no real proof of this. One hint is that brochures tended to bulk them with the Meyer Trioplan in referring to the structures- but this is not final proof. The older lenses were triplets, and tend not to be inspiring performers from some accounts. Ihagee Anastigmats f6.8, f6.3 f4.5 (an unsymmetrical anastigmat (ie Q15?) are offered on Newgold and Photoklapp and Ultrix Duplex in B.J.A 1930, p727. The only Ihagee labelled lenses listed in Frerk's rather inclusive list for 1926 are the Verax Vorsatz linsen.

Periscopic Doppel f11 This was fitted on Victor plate camera, as the low cost option. Luxar f7.7 135mm on PhotoKlapp Derby (1924) RR f8 This was on a 3.25x2.25in Ultrix Popular in B.J.A. 1927, p648;1928, p358. It also came with an f6.3 below.

Ihagee Anastigmats. Anastigmat f4.5 105mm on 6x9 Pioneer Automat, Duplex, Press Camera, Photoklapp Victor, etc. This was on the Weeny Ultrix in Pronto or Compur in 1932 (B.J.A. 1932, p625 advert.) and Autolette for 1933 (B.J.A. 1933, p597advert.) And Auto Ultrix in B.J.A. 1931, p297. Unsymmetrical, it may be a Q15 type. Anastigmat (Triplex in 1927,1928) f6.3 This was again in several sizes for 6x9, 9x12, 10x15cm etc. An example was the Ihagee Auto Ultrix in 1927,1928, 1931, and Autolette of 1933.(B.J.A. 1927, p648; 1933, p284, 597 advert). Another example was a f6.3/135mm No278,42x on a 2020 AutoPhotoklapp for 9x12cm. It is suspected that this was a triplet and it could be a really good lens at this specification. Anastigmat f6.8 The Victor and possibly other cameras had this version, even when the f6.3 was an option, so it was an alternative. It was slightly less expensive, and normally on the smaller sizes at least in 1930. Triplex Anastigmat f4.5 105mm This was used on the New Gold in a gilt dial Compur. Doppel f6.8/f4.5This seems to have been a Meyer Veraplan, roughly Q26 in design. In some lists it was actually described as 'Doppel Anastigmat Veraplan f4.5' as on the 2 shutter Duplex in 1939. It cost appreciably more than the Ihagee anastigmats. In the older days, the expensive options could be lens makers named lenses such as Meyer Trioplan f3.5,Meyer Veraplan f6.8 and f4.5, Meyer Primotar f3.5, Schneider Xenar f4.5, Zeiss Tessar f4.5, f3.5, Zeiss Biotar f2 (on Parvola) and Rudolph/Meyer Plasmat f4.5, f2.7 and f1.5 (on Nacht ). One question is that Ihagee described the triplets as Ihagee or Meyer in f7.7, f6.8, f6.3, f4.5, f3.5, but without saying just who made what- or how they were labelled. Possibly both makers supplied in the same apertures so that there would be no easy way to distinguish them. Early cameras could have a Goerz Dagor (Tropen Neugold, 1923) or Eurynar or Plaubel Anticomar. Verax Vorsatz front lenses available about 1926, listed in Frerk's book.

Exaktar This was the Ihagee name for their own lenses on the Exakta SLR's. For VP Exakta f3.5 70mm f3.5 75mm Noted at No 751,67x, 112,55x, 809,15x f4.5 75mm For Kine Exakta f3.5 54mm about 1936. Noted at No751,95x. These Exaktar numbers do not seem quite logical, unless the "750-809,000" three are from one maker (Meyer for example) and the 112,xxx is from another. This is more than 'just possible'. For 6x6 Exakta (1939) f3.5 85mm(?) For Exakta Twin TL f1.8 50mm (1969). A brand new lens, likely to be Gauss 6 glass.

Ilex Optical Co. Rochester 5, New York, USA. Ilex did not often advertise in the UK but were noted in B.J.A. 1924, p765 with a advert. for their shutters and Paragon f4.5 lenses. They were noted in a 1947 Annual listing an f4.5 Paragon, with other lenses,shutters, and optical instruments. At this time the No3 Acme synchro shutter had a characteristic 4 position lever on the side at 10 o'clock. This was a long established firm, which got a new lease of life when M. Kriner of Ilex and Burke and James about 1960 agreed to issue a series of large format lenses simultaneously as Ilex Paragon and Caltar, the latter for direct sale through B&J. These were newly redesigned, high quality coated lenses, and seem to have sold well. Later the arrangement ended, and Caltars were sourced from Germany. See Caltar, the source suggesting the firm is no longer active. Ilex Paragon or Caltar f6.3 165, 215, 254, 305, 375mm Wide Field Paragon f4.8 210mm for 103° This was an air spaced Plasmat type, almost unique as the series was closed off at this point. Older Lenses. Portrait Lenses. One book listed these as f3.5-f5.0 for 6.5-21in. In fact they seem to have made a number of different types but these may now be hard to list. Portrait f3.8 10-16in Petzval type, with variable softness. It was made in 10, 13, 16in, and use 16in for 10x8in. Portrait f3.5 10-16in Structure not known, possibly also Petzval. It was made in 10, 13, 16in, and use 16in for 10x8in. Photoplastic Portrait f4.5 Made in 4.5, 6.0, 6.5, 8.5, 10.5, 13, 16, 21in. These vary from very soft to quite sharp. The design might be Portrait RR but is not known, though it was said to give "Rectilinear definition". The control was obtained by the use of 3 separate rear components, fitted in turn in the shorter lenses: or by unscrewing the front component in the 16 and 21in lenses. The first two sizes are for movie use. Photoplastic Portrait f4.0 4.5-21in for 45°. There may be confusion with the above lens. Portrait f5.0 6.5, 7.75, 10.5, 12.75, 15.5, (16), 21.5in This may be a simpler, lower cost item, such as a meniscus. Ilex Seminat f4.5 175mm Structure unknown. Paragon (Series S) f4.5 8.5in and many others.Eg 1.25, 3.5-20in.This was a staple, a big Q15 type, for news and studio work. An example seen at No46,85x was in an Ilex Acme shutter, and coded Series S . It was sharp but better stopped down a little. Uncoated but in a flash synchronized shutter, it was probably late 1930's. In the 1950's there were coated versions, and one source says these were based on the Kodak anastigmats of the 1940's.

Fig 030 034 Ilex Paragon f4.5/8.5in No46,855 in No4 Acme shutter. Portronic Paragon f4.5 63/8in (161.9mm) This was seen as a coated lens in barrel iris mount at No2,429.

Fig 031 012 Ilex Portronic f4.5/6.375in No2426 ctd for Coleman Engn Co. It was made "Especially for Coleman Engr. Co Inc by Ilex Optical Co Rochester". It seems to be a sharp Q15 lens, not really a specialist portrait lens. (Several are known to have changed hands in the hope they would be less sharp than they proved to be...) Paragon f3.5 35mm, paired on Stereo Realist Q15 layout in 10/1946. Wide angle f16 5.25-12.75in for about 80° Accugon Wide Angle f8.0 90mm Acutar f6.3 165, 190mm. This was a general purpose lens. Ilex-Ansco Cinemat f6.3 40mm on Memo (1927) Paragon Cinemat f3.5 2.0, 3.0in. An f3.5/25mm was noted for 16mm Keystone and others from the 1930's, and seems to have been a popular fitment. It may be that not all were rated as Paragons. Univar f4.5, f5.6 This may have been a special for Universal Camera in the 1930's. Ilex f6.3 35mm This was also on Memo (c.1927) Anastigmat Series D f7.5 3.5-12in This is possibly a 4-glass Gauss for about 60°. Cinemat f1.5 25, 30, 50mm This was a cine lens. Telephoto f2.9 100mm for 35mm movie. Telephoto f3.5 150mm for 35mm movie. Teletar f3.5 50mm for C-mount 16mm cine. Super Cinemat f2.6 35-75mm Ilextigmat f6.3 3.5-23.5in This seems to be an earlier convertible symmmetrical lens(?) Note also the Caltar series.

Iloca, Iloca Werk/Wilhelm Witt, Hamburg, Germany. UK Agent Photax, 70 Charlotte St, London W1, UK. Iloca made a series of rigid 35mm cameras popular in the 1950's though the UK only imported the lower price versions due to Government restriction so that the lenses fitted had to be unambitious ones, often with modest edge resolution unless stopped down somewhat. Some were bought in, such as Steinheil's Cassarit, a 'new glass' triplet, and Rodenstock's Ysarex f2.8/45mm and Heligon f2.0; and others were under Iloca related names. Ilitar f3.5 45mm in pairs on the Iloca Ia, IIa (1953), stereo, (1950- 1953), and Iloca 35. B.J.A. 1954, p177 and as next item.) Ilitar f2.9 45mm on Iloca (1950), a triplet of Q14 type. (see advert. B.J.A. 1953, p476). Ilitar f2.8 45mm on Quick II about 1951. Super Ilitar f2.8 50mm Q15. This was a 4-glass version to replace the Ilitar 3-glass for better performance at probably a higher price. The Super Illitar and Cassarit were novel when MCM noted them in Feb 1955, and were thought a very interesting novelty. (see ISCO below) The Cassarit was a much improved 3-glass lens. For the Rapid series of cameras, Iloca chose lenses from Steinheil and Rodenstock, including a Heligon f2 on the top cameras. Eventually, Iloca became part of Agfa in 1960. (Partly based on I. Baxter, PCC GB Tailboard October AD 2000.

INA This was a trade name for a series of SLR lenses including at least one very fast one described as Rolmax Ina. In 1967 sales were through Bush & Meissner of London W1 and were preset in T-mounts. f3.5/35mm; f2.8/35mm; f2.8/105mm; f3.5/135mm; f2.8/135mm; f3.5/180mm; f4.5/200mm; f5.5/350mm; f8.0/500mm; f8.0/800mm; f5.6/100-200mm Zoom. Then the BIG feature was the f1.5/135mm High Speed lens. Ultra High Speed f1.5 135mm This was a very big lens sold in June 1967 at £170 approx. with preset iris. The UK sales in 1972 were through Camera Arts Group, 24, St Ann's Rd Harrow, Middx, UK. in 1972. Auto iris for Pentax (M42?) only. Ina f2.8 135mm Ina f3.5 200mm Preset iris in 1972. Ina f3.5 35mm Ina f3.5 135mm Ina f4.5 200mm.

Societe INDO, Lyon, France. FBB lists several cameras such as the Supedex M35 of 1981 and the Weber Fex of 1960 with lenses including ones by Ugo-Lantz and Fexars in 1960. Color Fexar f4.5/ This was on a Fex 4.5 (1960) Fexar Optic f4.5 This was on a Elite II (1960) Ugo-Lantz Rectar f3.5 50mm (1961) Ugo-Lantz Ikar f2.8/50mm also 1961. Ugo-Lantz lenses were also used on cameras for 126 film in the 1978-1980 period. This is a entry where more information is needed as the above really only whets the appetite. Especially- who was Ugo Lanz?

Indra Camera, Frankfurt, Germany. Zeyer Anastigmat f3.8 50mm on Inflex 4x4 (1950).

Iris Diaphragm A B.J.A. note in the 1891 edition mentions that J.N.Niepce had an iris fitted to one of the very earliest cameras made. The idea lay fallow for generations as lenses were little stopped down at first, but note Harrison's contribution, and work by Beck, who used it from 1880 (Encyc. Brit., 1928) or 1885 (Beck and Andrews Ed 6 p90) , Wray (see B.J.A. 1889, p598) and Lancaster, which made it come into general use in the 1890's. Note Ross soon fitted click stops to some lenses and Wray and ICA seem to have tried preset versions. And late prewar Zeiss developed what became the Jena preset iris and a model for others. Also note Schneider's cable- operated one early postwar which may have triggered off the Auto iris at least in Germany.

ISO, Milan, Italy. We thank Dr Rex Watson for additional information here. Iriar f3.5 50mm also f3.5, 35mm in pairs on ISO Duplex, and Lux which was noted in MCM Nov 1955. It was also on the Hensoldt Reporter body No6,22x as a f2.8/5cm at No30x. also on a 35mm Bilux, noted at No03,32x. Some numbers for the ISO Duplex at auction were: Body Lens 1 Lens 2 -- 0029x both 3,99x 753x 754x 2,22x 3,15x 3,22x -- 430x 459x 297x 459x 430x -- 596x 705x -- 638x 644x 417x 791x 756x -- 562x 565x 464x 965x 836x -- 1621x 16,07x

Iriar f3.5 125mm.see also Hensoldt here. Iriar f2.8 50mm posible also as Arion. Luxar f3.5 50mm collapsible on ISO/Henso (M39x26) Trixar f3.5 50mm on Bilux Arion f1.9 50mm on Reporter. Iperang f6.3 25mm in pairs on ISA Duplex (1950) and on Lux. These do not seem to be numbered. It is likely they were the lower cost option. Aglar f2.5 50mm on Lux, (?also as Argon) Aglar f2.5 80mm or as Argon. "Proto" f1.8 55mm an uncoupled prototype. Jadar f3.5 50mm Elmar look-a-like in M39x26. It was noted at No65x on a Standard at No10,76x.

Iston, China. Iston f4.5 Sold in UK as 210mm in Copal 111 shutter, during 1995. An Iston camera for 5x4 was sold with a Navitar f5.6/150mm in a Copal.

ISCO, Gottingen, Germany. A well known subsidiary of J.Schneider of Kreuznach, but perhaps able to pursue a rather freer production pattern. Contemporary tests suggested the lenses compared well with Schneider's own, but that the mounts were less costly. (Modern Photo. 7/1963, p55). Large format lenses were offered at times, but most items were lenses for SLR's. The earliest known was a WW2 aerial camera lens, engraved as Schneider/Gottingen (but there may have been prewar lenses either under Schneider's name or for sale to camera makers under their names.) There were some cine lenses. (There is also just a vague feeling that they may have made some of the 58mm Sonnars for the X-ray program but this is certainly not definite.)

Xenon f2.0 125mm for Handkamera; see Schneider section. This was a coated lens at Serial No 48,046, though the coat could have been applied later. The serial number seems to be not a normal Schneider one but one for the Goettingen plant. Isconar f6.8 90mm on 4.5x6cm Espi plate about 1910, ie. one of Schneider's oldest products, but with the Isc name already. Isconar f4.5 105, 135mm on K.W. Patent Etui for 6x9 and 9x12cm in 1924, 1934. Here it was a relatively expensive version above the Trioplan f6.3 and f4.5 but below the Tessar version. It was described as a Doppel Anastigmat. Super Illitar f2.8 50mm for Iloca Rapid in early 1955. Color Gotar f2.8/45mm on Orgacolor, also Regula Sprinty.(1949) Gotar was an old process lens name, and ISCO may have purchased the T.N. Another report says "improved colour correction." Cine lenses. Super Kiptar f1.7-f1.8 45-105mm for cine. This was a 6-glass Gauss. It was noted as an f2.0/85mm lens from a 1949 Frieseker & Hoepfner. Kiptagon cine Gauss or Ernostar-4 types. Duotar f1.5 20mm ?for cine use.

More recent SLR etc. lenses Westrogon f4.0 24mm A large and very impressive lens in an excellent mount, and possibly the widest for SLR when it was made, but it does not seem as sharp as later lenses of the same angle. It was seen at No687,28x. (Isc001) Westron f4.0 28mm Layout Isc002. Westron f3.5 35mm Layout Q15 Westron f2.8 35mm Layout Isc003. Isconar f2.8 43mm Triplet Color Westanar f2.8 45mm on Arette (c1957). Color Isconar f2.8 45mm on Champion 11 camera. Westragon f2.0 50mm (Isc004) Westagon Auto f2.0 50mm 6-glass Gauss, c.1955, and noted 5/1960. This was "new" then in auto iris for Exakta, Isc005. Westromat f1.9 50mm 6g/4c Gauss. This was used on the Edixa Prismat about 1960. Color Westromat f1.9 50mm This was noted on the Regula Reflex in 1966 and may be the same as the above, but the advert. lists them separately. Westrocolor f1.9 50mm New in 4/1960. (Q18) Iscotar f2.8 50mm This was a triplet and was used on the Akarex, etc about 1954. It was noted at No352,03x. Iscolor f2.8 50mm This was used on the Edixa Reflex II/a about 1960. Westanar f2.8 50mm This was a reversed Q15 Westarit f2.5 12.5mm for Zimmerman 8mm camera. Westar f2.8 45mm Noted on the Arette 1A 35mm camera coated and colour corrected and with definition 'could not be faulted' in B.J.A. 1957, p151. Westar f2.8 50mm Triplet, Q14. Westar f3.5 75mm Triplet, Q14. Westar f2.9 75mm This was noted on a Baldix 6x6cm camera in B.J.A. 1953, p202, who noted the unusual speed for the format. Isconar f4.5 85mm This was noted on a Diax camera. Isconar f4.0/f4.5100mm These were triplets for Exakta. and Exa, Layout Isc006 in 1957. TeleWestanar f3.5 135mm Layout Isc007 TeleIscaron f2.8 135mm new in 4/1960 Layout Isc008. Isconar f3.5 135mm Triplet. Iscoplan f1.9 13mm This was on a 1958 camera for 8mm. Iscovaron f1.8 9-30mm This was on a 1961 8mm Bauer camera. TeleWestanar f4.0 180mm Layout Isc010. TeleIscaron f2.8 180mm This was new in 4/1960 (layout Isc009.) Modern Photo tested this in 4/1960 when it was new, and thought it good [but not good as the Zeiss Sonnar of the same specification.] Reflexogon 35mm This was probably made for Exakta for sale by Herbert Koehler of Bad Kissingen and for Reflex Phot-Kino-Optik Gmbh about 1968, and they seem to have later merged into Beroflex (H. Mandermann) in 1969. Iscorama This was noted as an M42 mounted f2.8/50mm lens for anamorphic work. The system was announced in Popular Photo 02.1968 p13 as a front accessory with 5 spherical and 4 cylindrical optical elements with the anamophic part in front of a prime lens, on a rotating mount to give stretch vertically or normally horizontally. There is about 50% squeeze. The front lens can be transferred to a projector lens separately. Available 1968.

ISCO OPTIC Star/ISCO OPTIC ULTRA Star HD Anamorphic 2x These seem to be a series of anamophic projection lenses made for commercial movie projection in the 1990's as: Widescreen Format 1:1.85 Focus 55mm Widescreen Format 1:1.66 Focus 60mm Cinemascope Format Focus 85mm These were expensive, (Stars DM 1,300 and Cinemascope DM 3,250 approx) and then made to special order.

Iscomats During Dec 1961, ISCO launched a series of lenses with a top mounted selenium exposure meter which swapped between them, as did Schneider in the same fittings. These were called Iscomats, and the launch list was f2.8, 35mm; f1.9,50mm; f3.5,135mm. The meter was not coupled, and the items are now scarce. Kipronar f2.1/115mm, f2.0/110mm, f2.0/85mm, f1.6/50mm, f1.6/20mm These were made over a long period, about 1933-1953 perhaps. The firm is or was still active and in 1981 was making projection lenses for 8 and 16mm cine, anamorphic units, and 4 and 6 glass Kiptar and Cinelux projection lenses for 16 and 35mm use, as well as Cinelux Xenon f1.6 high speed lenses in 45-135mm and wide and long focus converters, and Cinelux AV and Projar lenses for still use.

Italian Makers An important source of information on Italian photoproducts is "Made in Italy: Italian Cameras" by M. Antonetto and M. Malavolti, Foto Camera, Milano, 200pp, 1983. This source allowed the list of items from the major makers (Koristka, Murer, Galileo) to be extended and corrected, and added a large number of other items. Some are listed here, as the makers are not well known outside Italy. Most of these lenses were built into cameras, and few will be traded separately. Ballerio, Milano Perseo f3.5 50mm on Perseo (M39x26. Capelli, Milano Duplar f4.0 on 127 box camera.(1925) Closter, Roma Mizar f4.5 50mm on Closter 35mm camera. (1950). Aries f3.5 50mm on Closter 11b (1952), Princessa. It is in a Closter shutter. Zeltar f6.3 50mm Zemen f2.8 50mm Achromat f8.0 50, 56mm on Sport. Lambron f7.0 50mm Achromat on C60. Comi, Roma Frontal f8.0 Periscop on Fotonesa. Eliot (London) Lens on Bardelli Camera (1890). (Eliot is not a known London maker. He may have been the agent supplying the lens?) FAF, Venezia. Elinar f4.5 50mm on Acies 11 (1947) Gamma, Roma Actom f6.3 50mm on Atlas. This is said to be imported from Munchen, Germany. Stigmar f3.5 on Perle. GNM, Milano Duotar f11 45mm Trixar f3.5 50mm on Kristal 11s Grilli, Roma Falco, f6.5 60mm on Ammer-Grilli cameras. GPM, Roma Frontal f8.0 Periscop on Fotonesa. Ganzini Hemi-Anastigmat f7.5 on Alba (1912) LePage and Co Lepages Lens ?RR about 1890. Ligny Apoquartz 240mm on Resti camera, (1900). Luzzi, Bologna Luzzi's RR. (c. 1880) OMI, Roma Lunar f6.3 50mm on Rollina (1950) Omiterna f3.5 50mm on Sunshine(1947) PEB, Torino Tennar f6.3 105mm on Tennar folder for 6x9, c1940 Photoalpha Perkeus f6.3 on Ikorette (1945) Korrect f8.8 50mm on Loret (1945) SCAT, Roma Aplanatic f3.5 25mm on SCAT camera (1950) SEDE (Kelvin), Roma Achromat f8.0 50mm on Minor (1960) SIRIO, Firenze Sculptor f5.6 40mm on Elettra 11 (1946) Semitelar f8.0 50mm on Elettra (1945). Torrani, Milano Taurus Achromat f11/16 (1905, 1907

Itek, USA They are a maker of Aero-space lenses and mirrors. There was a Metritek 305mm f6.0 lens for 73° on the Large Format Camera for 80 ll/mm on Kodal 3414 film, on 9x18in format. The lens was related to the Russar and Biogon types, and is of 8g/5c with doubled external negative glasses at the rear and a single at the front. (H.J.P.Arnold in B.J.P. 27/04/1979, p404).

Jamin, Paris, France. Kingslake gives several addressses which can help in dating: 71, Rue St Martin to 1850, then at No127 R. St Martin, and from 1856 at 14 Rue Chapon. He retired in 1860 so all his lenses will rate as quite early ones: and Alphonse Darlot, his employee, took over and for 1 year, ie 1860-1861? the lenses carry both names. (Eg on a meniscus with ANCne Mon Jamin) though FBB seem to attribute this to a year or so earlier, ie 1858. (It is possible that 'Jamin-Darlot' is the 1858 engraving and that 'Ancne Jamin' continued longer). Jamin was the maker of a Petzval type lens used by Mrs Cameron: it was 12in on a 9x11in plate and it gave gave imperfect coverage on her format. About 1864, the Jamin's qualities were to lead to interest in soft focus lenses which J.H .Dallmeyer was ultimately to answer with his adjustable Patent Petzval. Jamin was also the maker of a rival convertible lens to Chevalier's "Photograph a Verres Combinee" in the "Cone Centralisateur." (Mrs Cameron also used a 30in Dallmeyer RR on 15x12in). Jamin also supplied an f3.0 Petzval of c7.5in with a 1dioptre positive in the centre of the tube which could be removed to increase the focal length from 7.5 to 9.5in. (A Darlot lens of this type has been mentioned above.) The Kodak Museum has a Jamin Paris c.1860 Portrait lens with Waterhouse stops, about f4/21in focus with 5in dia lenses. A large lens, probably a Petzval of his at No231x was sold at auction- it had a stubby black cone at the rear end. FBB list a good series of cameras with RR lenses by Darlot from the 1880-1900 period and these were probably the basis of the business then. They also list a achromat for 1893, and a 'Hemispherique'= Globe in 1885. The only trade name noted was a 'Planigraph on cameras about 1888. Jamin lenses do seem to be scarce today, and good examples are hard to find. Darlot lenses are much more common and often have both names: and this seems to show that the production must have increased considerably in his time.

Jaeger, USA They were a maker of achromatic doublets in large sizes especially, both for civilian and for military use. They are said to have suffered damage to their factory by fire and production was run down in the 1980's but this is not confirmed.

Japan The optical industry is poorly understood in the West, and the following will be a poor account. Some idea of the origin is given under Nikon, where the rise of a 'military supported' optical industry was noted. This was a kind of seed-corn to development. There were other companies but statistics for 1913 (quoted in B.J.P. 19/12/1980 p1286from 1920) showed 'Japan is unable to manufacture lenses'. This must be one of the errors of all time. But at that time Japan did not in significant amounts. This changed in the interwar years, eg with Nikon supplying lenses to Canon and ? for technical and process work, and with Yamazaki (?), Olympus and Minolta beginning work. It is true of Japan that industry can be very fragments with small firms cooperating to do different stages of manufacture so that the giant firms obvious in the West were not needed. This probably allowed the surprisingly fast production of a number of cameras including Leica-copies during and after WW2, as industry switched back from munitions to peace time products. Later a group of major companies developed and were later to set up their own companies as distributors abroad. But in parallel there was a vaste production of other brands known as 'own-brand', 'shop lenses', aliens or anons. These varied in quality and price but typically were good value especially in the long focal lengths- there was criticism of many wide angles and mention of problems with the focusing helices but then they were cheap and sold in large numbers and still flood dealers Tables at Fairs! Among them were M39 lenses and many have proved to be really well made. Some have been noted but listing all the names is hard. One point seems to be that a large number came from one source- a firm called Nitto Optical which is scarcely known in the West, though it in turn seems to have swapped or sub-contracted product so that the actual maker is hard to determine. This can also be true of major manufacturers lenses where excess demand would be met by subcontracting- no bad thing as the quality would be assured by both parties. It also perhaps allowed some lower price to be included in otherwise very expensive lens programmes. At the other extreme, Makinon lenses seem to have come from one maker, Makina who designed, made and named them all themselves. A note in Am. Photo 14/10/2000 shows the large production of APS cameras and lenses in 1999 was not maintained in 2000, falling by some 73%, though the lens makers probably switched to making lenses for digital cameras instead.

Japanese Air Force Japanese aerial lenses in WW2 included 70, 140, 250, 500, 700, 1000mm (2 types), and 2000mm lenses, also 3.9, 7.8, 10 and 20in. The 2000mm may be the longest to have been used in that war, as the USAAF used up to 60in, and the RAF only up to 40in. These were partly related to the operating heights expected to be used.

Jarrett, Paris, France. FBB mention several cameras with Jarret lenses from the period 1899-1903, but with little detail, one being merely an achromat in 1903. Jarrett Lens f5.6 55mm on Periphot (Lumiere Patent, 01/03/190

R. Jeffrey and Son, Cheltenham, UK. They were noted in the photographic trade from 1854 and are still in business today. Early lenses were at auction with pill box stops, showing they were before the introduction of the Waterhouse stop in 1858.

Jehane, France. There is one mention in FBB of a Dona anastigmat on a Jehane camera for 6.5x9cm in 1924.

Jerome, UK A UK photographic firm marketing a special film and studio package, and using lenses made for it and engraved for example as " 6in f4.5 No41 Jerome Ltd." The actual lens maker is not known. Fig 008 065 Jerome Ltd f4.5/6in No41 in black barrel.

Johnson, London, UK. This name was engraved on a lens sold at auction on a tailboard camera- he is not a known maker of cameras or lenses and it may be the shop that sold the camera.

Jos-Pe, Hamburg 1, Germany. Jos-Pe supplied a now collectible colour camera in the 1930's, and the lens on it is a special f3.0, and this seems actually to be for 9x12cm a 21cm f3.0 Cassar from Steinheil, Munich, possibly being specially selected or ordered as it was not usually made in that focus. Other lens sizes were needed for eg. 4.5x6cm.

Juplen, USA. This was a brand name in use in 1963, and the review (Modern Photo. 07/1963) suggests that it was or a line derived from more than one actual maker. The importer was Kine Kamera, Broadway, New York, USA.