Хочу получить ликбез про объективы Цейс.
Всего 7 сообщ.
|
Показаны 1 - 7
Хочу получить ликбез про объективы Цейс.
Хочу получить ликбез про объективы Цейс. Соннар, Дистагон, Тессар, Планар и т.д. - эти оптические схемы старые и популярные. Имеют ли эти объективы какое-то специфическое назначение каждый? Зачем они разные?
Re: Хочу получить ликбез про объективы Цейс.
А причем здесь Цейсс?У всех производителей есть разные объективы и все они применяются для разных целей ;)
Re: Хочу получить ликбез про объективы Цейс.
от:eduard
Хочу получить ликбез про объективы Цейс. Соннар, Дистагон, Тессар, Планар и т.д. - эти оптические схемы старые и популярные. Имеют ли эти объективы какое-то специфическое назначение каждый? Зачем они разные?Подробнее
Я Вам на мыло сбросил сводную таблицу объктивов. Почитайте. Если появятся вопросы, пишите.
Re: Re: Хочу получить ликбез про объективы Цейс.
Тессар он и так понятно,
Телетессар - злые телевики 300-ники, есть АПО с 2.8 дыркой,
Планар - полтинники и около, есть добрейший 100-тый портретник со 2-й дыркой.
Зоннар - телевики добрые от 85 до 200(АПО, 2-я дырка),
Глистагоны - ширики от 35-тника до рыбьего глаза.
Телетессар - злые телевики 300-ники, есть АПО с 2.8 дыркой,
Планар - полтинники и около, есть добрейший 100-тый портретник со 2-й дыркой.
Зоннар - телевики добрые от 85 до 200(АПО, 2-я дырка),
Глистагоны - ширики от 35-тника до рыбьего глаза.
Re: Хочу получить ликбез про объективы Цейс.
Tessar and Planar Lenses
http://www.foto.no/rolleiflex/Rollei-9.html
http://www.foto.no/rolleiflex/Rollei-9.html
Re: Хочу получить ликбез про объективы Цейс.
Тут есть про историю Зоннаров
http://www.kamepa.ru/neekeeteen/focushift/focushift.htm
http://www.kamepa.ru/neekeeteen/focushift/focushift.htm
Re: Хочу получить ликбез про объективы Цейс.
PLANAR
Designed by Dr. Paul Rudolph in 1896 based on the double Gauss design (in 1817, C F Gauss described a telescope objective consisting of a pair of meniscus shaped elements, one positive, and one negative.) The design was 4 groups of 6 elements, and a flat field design. Symmetrical optical configuration producing low spherical aberration and astigmatism. The normal wide airspace separating the positive and negative elements in the double gauss design made a large amount of spherical aberration. Rudolph thickened the negative elements and reduced the airspace as much as possible, which corrected the spherical aberration and the sagittal/ tangential astigmatic aberration. Rudolph also inserted a "buried surface" into the thick negative elements of a cemented interface separating two type of glass having the same refractive index, but different dispersive powers. Not widely used until coating processes were available, due to light loss from the large number of transmission surfaces causing very low contrast. Due to it's complexity and high number of transmission surfaces, it really did not come into it's own until coating was developed. The planar was used as a base for lens derivatives, though in asymmetric form. Almost all the high-aperture lenses supplied on Japanese cameras are modification on the Planar.
TESSAR
Designed by Dr. Paul Rudolph in 1902, utilizing the rear cemented doublet of the Anastigmat and the airspaced front component of Unar. The front element was of very low power, like the Anastigmat design, and it's sole function was to correct the remaining aberrations of the strong g new-achromat rear component. The cemented rear component reduces zonal spherical aberration, reduces overcorrected oblique spherical aberration, and reduces the gap between astigmatic foci at intermediate field angles. The first design was f/6.3, but by 1917 the aperture was raised to f/4.5, and in 1930, W. Merte and E. Wandersleb raised it to f/2.8. The 50mm f/3.5 Elmar lens fitted to the early Leica cameras was a Tessar type designed by Max Berek in 1920. The US patent was received 1903, giving Zeiss a monopoly on the design until 1920, the end of World War I. Uses a 4 elements 3 group design, light, small, relatively high resolution, inexpensive to produce comparatively to other designs. Designed to be sharp at most apertures, but has limited coverage. It was widely copied and many variants made as it was seen as a good compromise between the Dagor and Artar designs for coverage, sharpness, and contrast.
SONNAR
Designed by Ludwig Bertele in 1930, Zeiss Ernemann Company was taken over by the Zeiss-Ikon combine, and shortly in 1930, Ludwig Bertele started the design of the Sonnar type lens based on the second (f/1.8) Ernostar type. It was completed in 1931, and was a f/2 Sonnar. The sonnar negative triplet consisted of a high-index outside and a lower-index element between. In 1932, he released a f/1.5 version with a strong cemented interface on the rear component. This allowed correction on the higher-order spherical aberration which was needed in a lens of the high aperture. The name Sonnar had been used previously by the Contessa Company for a camera with a Tessar type lens, but as Zeiss-Ikon absorbed Contessa, they acquired rights to the name. The design uses less elements than Planar, so when coating tech was primitive, the lens had much less flare due to less surfaces in design. Simpler than Planar, smaller and comparatively inexpensive. Good contrast at edges at all apertures. Exhibits some softness at wide apertures. Sharp when stopped down.
DISTAGON
This is a reversed telephoto lens, consisting of a large negative lens in front of an ordinary lens. This allows it to obtain a short overall focal length with elements of a larger and more manageable size, helps design a system that is favorable for both high relative aperture and wild-angular field, and increased the back focal distance beyond it's usual magnitude, which give space for the mirror of a SLR. The downsides are that is must be physically large, and of complex construction to correct all the aberrations, making the lens more expensive to produce. Reversed telephoto designs are rarely over 2 inches in focal length, and then it is only used for specific applications. Compared to the Biogon, it has a larger circle of illumination full aperture, though softer when wide open, though it is sharper when stopped down. Rear element does not interfere with mirrors in SLR's
Designed by Dr. Paul Rudolph in 1896 based on the double Gauss design (in 1817, C F Gauss described a telescope objective consisting of a pair of meniscus shaped elements, one positive, and one negative.) The design was 4 groups of 6 elements, and a flat field design. Symmetrical optical configuration producing low spherical aberration and astigmatism. The normal wide airspace separating the positive and negative elements in the double gauss design made a large amount of spherical aberration. Rudolph thickened the negative elements and reduced the airspace as much as possible, which corrected the spherical aberration and the sagittal/ tangential astigmatic aberration. Rudolph also inserted a "buried surface" into the thick negative elements of a cemented interface separating two type of glass having the same refractive index, but different dispersive powers. Not widely used until coating processes were available, due to light loss from the large number of transmission surfaces causing very low contrast. Due to it's complexity and high number of transmission surfaces, it really did not come into it's own until coating was developed. The planar was used as a base for lens derivatives, though in asymmetric form. Almost all the high-aperture lenses supplied on Japanese cameras are modification on the Planar.
TESSAR
Designed by Dr. Paul Rudolph in 1902, utilizing the rear cemented doublet of the Anastigmat and the airspaced front component of Unar. The front element was of very low power, like the Anastigmat design, and it's sole function was to correct the remaining aberrations of the strong g new-achromat rear component. The cemented rear component reduces zonal spherical aberration, reduces overcorrected oblique spherical aberration, and reduces the gap between astigmatic foci at intermediate field angles. The first design was f/6.3, but by 1917 the aperture was raised to f/4.5, and in 1930, W. Merte and E. Wandersleb raised it to f/2.8. The 50mm f/3.5 Elmar lens fitted to the early Leica cameras was a Tessar type designed by Max Berek in 1920. The US patent was received 1903, giving Zeiss a monopoly on the design until 1920, the end of World War I. Uses a 4 elements 3 group design, light, small, relatively high resolution, inexpensive to produce comparatively to other designs. Designed to be sharp at most apertures, but has limited coverage. It was widely copied and many variants made as it was seen as a good compromise between the Dagor and Artar designs for coverage, sharpness, and contrast.
SONNAR
Designed by Ludwig Bertele in 1930, Zeiss Ernemann Company was taken over by the Zeiss-Ikon combine, and shortly in 1930, Ludwig Bertele started the design of the Sonnar type lens based on the second (f/1.8) Ernostar type. It was completed in 1931, and was a f/2 Sonnar. The sonnar negative triplet consisted of a high-index outside and a lower-index element between. In 1932, he released a f/1.5 version with a strong cemented interface on the rear component. This allowed correction on the higher-order spherical aberration which was needed in a lens of the high aperture. The name Sonnar had been used previously by the Contessa Company for a camera with a Tessar type lens, but as Zeiss-Ikon absorbed Contessa, they acquired rights to the name. The design uses less elements than Planar, so when coating tech was primitive, the lens had much less flare due to less surfaces in design. Simpler than Planar, smaller and comparatively inexpensive. Good contrast at edges at all apertures. Exhibits some softness at wide apertures. Sharp when stopped down.
DISTAGON
This is a reversed telephoto lens, consisting of a large negative lens in front of an ordinary lens. This allows it to obtain a short overall focal length with elements of a larger and more manageable size, helps design a system that is favorable for both high relative aperture and wild-angular field, and increased the back focal distance beyond it's usual magnitude, which give space for the mirror of a SLR. The downsides are that is must be physically large, and of complex construction to correct all the aberrations, making the lens more expensive to produce. Reversed telephoto designs are rarely over 2 inches in focal length, and then it is only used for specific applications. Compared to the Biogon, it has a larger circle of illumination full aperture, though softer when wide open, though it is sharper when stopped down. Rear element does not interfere with mirrors in SLR's
