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An Illustrated Guide to Antique and Classic Soft Focus Lenses Part 3
MAY 2010

 

 

We ended part two of this series with the Struss Pictorial Lens, first marketed in 1915.  World War I obviously caused a reduction in new lenses reaching the market between 1916 and 1919, but the 1920's saw a great number of new Soft Focus Lenses being introduced in the US and Europe.  In fact, more Soft Focus Lenses were introduced in the 1920's than any other decade. 

Companies large and small seized the opportunity to market a Soft Focus Lens or at least a lens or filter that featured a mode of diffusion.  By 1930, there were a significant number of Soft Focus Lenses available to the photographer for purchase.  While the pictorialist movement may have declined, there were more Soft Focus lenses available in catalogues than ever before.


Kalosat Lens

In 1919, the Kalosat, the "Spectral Diffusion Lens", was produced by the Hanovia Chemical and Manufacturing Company.  The company's name later became the Hanovia Lens Laboratories,.

 

The American Cinematographer Magazine of June 1, 1922, wrote the following about the Kalosat; "A most unusual lens is the Kalosat, made by the Hanovia Chemical and Mfg. Co. The lens, which was suggested by Dr. T. W. Kilman and Dr. H. D'Arcy Power of San Francisco, is made of quartz. After a series of lengthy experiments, the Kalosat was finally produced in October, 1919, being constructed of synthetic quartz of the desired optical quality.

The quartz of which the Kalosat is constructed is transparent to all the valuable light rays of the spectrum, including the ultra-violet. This feature makes it a very fast lens.  The lens was originally devised for speed, which it has, but it is marketed as a soft focus lens, and must be judged from this standpoint. The softness is due to the overlapping of the central image by the marginal image of slight intensity, so the degree of diffusion may be regulated by the diaphragm. In this lens the focus must be adjusted at the aperture at which the lens is to be used, as the focus varies with the aperture. The actinic and visual images very nearly, but not quite, coincide. There is a difference of one four-hundredth of the focal length of the lens between the two, so, if so desired, the lens may be focused visually and then racked back that distance to obtain the greatest sharpness.

The distribution of the area of softness in this type of lens depends upon the relation of the curvature of the lens to the plate and field. If the convex side of the lens is toward the plate, the diffusion is evenly distributed, and no area is critically sharp. This is usually the right position for general use. If the lens is reversed, sharp definition in the center, and rapid shading off into a blurring at the edges is obtained, a sometimes valuable effect.

The combination in the Kalosat lens of a high refractive index with a wide range of spectral transmission, produces in the picture a spectral diffusion of unique quality. The result of this phenomenon is a soft focus effect of remarkable quality. The spectral diffusion secured, combines a sufficiency of definition with a softness that permits of very broad handling, a feature not usually found in other lenses.

The quartz lens transmits a much greater amount of actual light than glass lenses. This makes the lens of greater actual intensity than the normal F. would indicate. In a comparative spectrograph, a standard anastigmat does not register light beyond the (ultra-violet) line 365, while the Kalosat registers beyond the line 238.  Since this end of the spectrum is the actinic end, the value of the quartz light-transmission is very apparent."

                                                                        _________

The Kalosat lens was made in two series; Series I had a speed of f/4.5, and Series II had a speed of f/6.3.  The Kalosat, like many other Soft Focus Lenses, were also sold for motion picture cameras.

The lenses are also marked on the barrel with letters (A to D) to denote lens size.  See Kalosat brochure page below.


Kalosat Lens
 
Kalosat Lens
Kalosat Lens
 
 
 
Kalosat Lens
Kalosat Series II A (4x5 f/6.3). Image Courtesy of Yamato Cameras
Kalosat Lens
Kalosat Series IIB (5x7 f/6.3). Image Courtesy of Yamato Cameras
 
Kalosat
Kalosat Brochure page
 
kalosat
Kalosat Series IA (4x5 f/4.5). Image Courtesy of Calphotography on LFF
 
 
Kalosat Lens
Kalosat Patent. Click to see full patent.
 
 
 
Graf-Bishop Soft Focus Lens
In October 1919, Lloyd C. Bishop applied for a patent on the lens that would become the f/4.5 "Graf-Bishop" Soft Focus lens.  The patent was awarded in July of 1920.  Bishop, an Indiana photographer, combined with Graf Optical Company, also of Indiana, to bring the lens to market by early 1921.

The New Photo-Miniature Magazine of December 1921, writes: "...the Graf-Bishop lens is described as a doublet composed of combinations of 14 1/2 and 17 1/2 inches respectively, with a flat field, corrected for color, and giving a pleasing degree of "diffusion with definition" at its largest aperture. The rear combination can be used separately and apparently gives a more diffused image, suitable for large heads and pictorial work."



Only coming in one size, the lens was f/4.5 and 14 1/2 inches in focal length.  When the rear group was used alone, the lens became f/5 and 17 1/2 inches in length.  

The patent is shown below.

Click on the image to see the full patent data on this lens.
 
Graf-Bishop Lens
Graf-Bishop Lens. Image Courtesy of G. Berliner
 
Graf-Bishop Lens
Graf-Bishop Lens. Image Courtesy of G. Berliner
 
 
 
Graf Variable Lens
In 1922, the Graf Optical Company brought the "Graf Variable" lens to market.  The American Cinematographer Magazine of September, 1922 describes the lens as, "The Graf Variable is stated to be an anastigmat so designed as to be suitable for every kind of work from copying to portraiture. The lens consists of four elements, two of crown glass, two of flint, uncemented, and with an air space in both front and rear combinations. Introduction of a certain calculated degree of desirable aberration as well as change of focal length is accomplished by means of varying the air space thickness between the two front elements."

The lens came in two models, Series A, with a maximum aperture of f/3.8 and Series B, with a maximum aperture of f/4.5.

The lens was a bit complicated in use and function and required quite an extensive manual to describe its abilities.  Below you will find a link to that 22 page manual.




Graf Variable Lens
 
The various Graf Variable Lens sizes/series
 
1942 Advertisement
Graf Variable Lens
 
 
Images with the Graf Variable. Image Courtesy Flickr User Rado
 
1942 Advertisement
 
The Graf Variable Patent - click for more patent information
 
Graf Variable. Image Courtesy of Steven Tribe
 
Graf Variable Lens
Graf Variable. Image Courtesy of Steven Tribe
 
Despite all the advertising I have read and the manual stating f/3.8 as the maximum aperture on the Series I Variable Lens, a recent auction on ebay displayed the largest size Variable ( 18/20.5 inches ), with "F/3.5 - F/4.5" printed around the rim.  I confirmed with one veteran Soft Focus Lens collector that other Graf Variables have been seen with f/3.5 maximum apertures. 
 
 
 
 
Plasticca / Kronar & Kronarette Soft Focus Lenses
The Plasticca Lens ("Kunst-Portrait-Objektiv Plasticca") by Oskar Zwierzina, (Dresden, Germany) was on the market late 1920, early 1921.  The lens was f/4 in speed (save for an 18" version at f/3.5), and had no aperture control, so the lens was meant to be shot wide open.  Early versions of the Plasticca were sold with a separate, rear mounting yellow filter, while later models had the yellow filter "built-in."  I believe those Plasticca's marked "Serie B," to be the later version with built-in filter. 
 
As you can see from the catalogue page shown below, two other versions of Plasticca's were made - an f/4.8 version in barrel for 1/4 plate cameras and an f/4.5 version which was made to be fitted in a shutter.
 
 
About the same time, and same place (Dresden), Oscar Simon marketed the Kronar and Kronarette Lenses which appear to be remarkably similar to the Plasticca indicating they are the same lens or made by the same firm.  The Kronar, like Plasticca, are f/4 without aperture control, and included a yellow filter.  The Kronarette Lens was made for smaller plate/film cameras and was able to be mounted in a shutter (like Plasticca's f/4.5 lens).


If you have more data about these lenses, it would be appreciated.

Plasticca Lens
Plasticca Catalogue Page - Click for entire catalogue.
 
Plasticca Lens
1922 Catalogue Page. Image Courtesy of Steven Tribe
 
Plasticca and Kronar
Plasticca and Kronar 400mm Lenses for comparison. Image Courtesy of Westlicht.com
 

Images taken with the Plasticca by Jim Galli




More images taken with a Plasticca by Emil Schildt

 
Kronarette Lens
Kronarette in shutter. Image Courtesy of Emil Schildt
 
Image taken with Kronarette by Emil Schildt

 
 
 
Bausch & Lomb Plastigmat Portrait Lens
In 1921, Bausch & Lomb added the Plastigmat Portrait Lens to the market.  It claimed to correct the defects of Soft Focus Lenses that came before it. 
 
Plastigmat Portrait Lens
 
 
Plastigmat Portrait Lens
12" B&L Plastigmat Portrait Lens
 
Plastigmat Portrait Lens
12" B&L Plastigmat Portrait Lens
 
Plastigmat Portrait Lens
12" B&L Plastigmat Portrait Lens
 
 
 
 
 
Gundlach Equal Diffusion Portrait Lens / Gundlach Hyperion Lens

In 1921, Gundlach-Manhattan Optical Co. brought the Equal Diffusion Portrait Lens to market.  The New-Photo Miniature magazine wrote the following: "Equal Diffusion Portrait Lens, F4 (Gundlach-Manhattan Optical Co.)....As the name indicates, it is designed to meet the requirements of the portrait photographer; its largest aperture making it available for short exposures even under difficult light conditions. In form the lens is of the convertible type, consisting of two cemented combinations of unequal focal length. This gives the user a choice of three different focal lengths and makes the lens of great general utility. The chemical and visual foci of the combined lens and of each combination exactly coincide, which means that the image secured in the negative is identical with that obtained on the focusing screen, without further adjustment of the focus before exposure. The whole lens is corrected for a flat field at F:4, and gives an image free from flare or double lines under normal lighting conditions. The optical effect obtained in use is a soft but agreeably well-defined image with the brilliancy resulting from good chromatic correction. I am informed that the lens has been thoroughly tested in practice by several professionals of reputation with complete success, thus satisfying its makers that it fulfils all their claims for it."



As described above, the lens was a triple convertible.  The lens had 4 elements, 2 groups of 2 elements.  Therefore, the lens could be used as a whole, with just the front group, or just the rear group.  See the catalog page below for all the combinations of focal lengths and apertures applicable to each size.  By 1922, the lens name was changed to the Hyperion Diffusion Portrait Lens.


 
 
 
Equal Diffusion in shutter. Image Courtesy of Steve Hamley
 
 
 
 
Images Taken with the Gundlach Hyperion by Jim Galli


 
 
 
 
 

 
 
Ilex-Acme Portrait f/3.8 ~ Ilex Paragon Anastigmat ~ Ilex Photoplastic
Ilex was formed by two former Bausch & Lomb shutter designers in 1910.  Originally called the XL Manufacturing Company, by 1911, it was renamed to the Ilex Optical Company.  Ilex became a major player in the camera shutter market, but in order to sell even more shutters, added lenses to its catalogues quickly.  I believe another company supplied the lenses to Ilex, but I am unable to confirm who.  Likely sources would be Bausch & Lomb or Wollensak, but given that Wollensak and Ilex were in court in 1911 over patent infringements ( Ilex eventually prevailed), they would seem an unlikely supplier. 

According to "The Rochester Camera and Lens Companies" by Rudolf Kingslake 1974;  "In 1921 [Ilex], they tried the experiment of setting up a separate lens factory at 814 St. Paul Street called the "Acme Optical Company," but it lasted only a couple of years."


Ilex would market a few Soft Focus Lenses in the 1920's, starting with the Ilex-Acme Portrait Lens about 1921.  By the mid 20's the lens name was changed to Ilex Portrait Lens. This lens appears to be identical to the
Wollensak Vitax Lens in look and function, only now mounted in a nice, modern Ilex shutter.

 
Ilex-Acme Portrait Lens
1922 Advertisement Ilex-Acme Portrait Lens
 
 
 
By 1922, Ilex was marketing its Ilex Paragon Anastigmat f/4.5 Lens with "simple diffusion device."  The lens is similar to Wollensak's Velostigmat Series II lens with an adjustable, rotating front cell to add varying degrees of diffusion.

I am unable to confirm how long the Paragon Anastigmat, which remained in catalogues for decades, had the diffusion feature.  At least in the 1920's, some of the Paragon lenses came with a Series designation.  The image below shows a 12" Ilex Paragon Anastigmat, Series A which has the diffusion feature, as does the lens in the 1922 advertisement below with no Series designation.

 
 

The red arrow shows the diffusion marking(s) around the lens edge.

Ilex Paragon Anastigmat Series A
Ilex Paragon Anastigmat Series A. Image Courtesy of Simon Benton
Ilex Paragon Anastigmat Series A.  Image Courtesy of Simon Benton
Ilex Paragon Anastigmat Series A. Image Courtesy of Simon Benton
 
 
Images taken with Paragon Anastigmat by Foolscape on Flickr

 
 
Ilex Paragon Anastigmat Lens with Diffusion feature - 1922
 
 
 
About 1924, Ilex brought the Photoplastic Soft Focus Lens to market.  This lens came with 3 different rear lens elements which, depending on which cell was mounted, allowed the user to choose image quality of "rectlinear definition," "medium softness," or, "extreme softness."


Ilex Photoplastic
Ilex Photoplastic Catalogue Page
 
ilex Photoplastic
Ilex Photoplastic. Image Courtesy of G. Berliner
 
 
______

 
Part Four and Five of these articles will include Beach, Dallmeyer-Banfield, Dallmeyer Soft Focus, Heliar Universal, Perscheid, Ars, Kershaw, Wray, Namias, Kuhn's Anachromat, and Mutac lenses.  Part Four hopefully to be out by July 1, 2010.
 


GO TO PART ONE OF THIS ARTICLE



GO TO PART TWO OF THIS ARTICLE

 
 
 
 
 

 
 
 

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