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Canon M39 Rangefinder Lenses 1939-1971. A Collector's Guide. Published by Peter Kitchingman. Perth, Australia. ISBN 978-0-646-48144-9. Peter Kitchingman's book is the definitive study of the more than three decades of M39 format camera lenses developed for Canon Rangefinder Cameras. 3 Nostalgic Canon Camera Book. It is quite unknown in Europe that CANON started its business with Rangefinder cameras with interchangeable lenses and accessories - which were invented by the famous German LEITZ in the Hessian small town Solms/Wetzlar - and growths from a small firm to the No.1 camera maker in the world. Admittedly, in 1968 the Rangefinder (RF) product line.
RANGEFINDER CAMERA COLLECTION (part I)(c) Frank Mechelhoff
Last update 2. Jan. 2007
The Race for thefastest 35mm lens
Four lenses designed of a Mr. Hiroshi Ito
Sonnar vs. Planar design competition
Canon 'Sonnar' RF 1.5/50mm
Update: NEW (2006) Zeiss Sonnar 1.5/50mm
Nikkor P.C 2/8.5cm
Nikkor P.C. 2.5/10.5cm
I'm not a collector - just obsessive forquality. I buy camerasfor using. What not works or doesn't make pictures sharpenough, will come away.. Cameras and lenses arefor catching moments in my life. If they do well, often this iscombinded with attributes like elegant functional technique, excellentdurable crafting and well-made design. The results are fine tools whichworks for decades due to their specs without asking questions fortheir pleased owners. More often than not better and more durable thancheap and disposable plastic articles of the present. So the questionoccurs, why any use this modern stuff, if the old gear still lasts formore than 50 years, and if you maintain it properly, will last the next50 years as well (as long as film will exist) whereas you can junk thenew stuff 10 years later...
This spirit - without the snobistic undertone of 'cult object' - embody(at least to me) the Japanese cameras of the late 50's und 60's: CANON,NIKON and (later on) PENTAX represent right from the beginning anattitude and spirit of entrepreneurship and ingenious competition. Theycontinued this attitude to the present, whereas German companies diedor shrinked down to niche provider without sufficient R&D budgetlike Leitz and Zeiss.
COPYRIGHT (ALL PICTURES AND TEXTS by FRANK MECHELHOFF 2004(you may use single copies for private use only)Questions and contact: fmechelh 'at' web.de
CANON RANGEFINDER
It is quite unknown in Europe that CANON started its business withRangefinder cameras
withinterchangeable lenses and accessories - which were invented by thefamous German LEITZ in the Hessian small town Solms/Wetzlar -and growths from a small firm to the No.1 camera maker in theworld. Admittedly, in 1968 the Rangefinder (RF) product line wasreplaced by rising demands for Single Reflex Cameras (SLR's) whichallows higher speed, longer focus and close-distace-lenses forambitious amateurs and professionals. At first Canon's success in thisnew prodcut line was quite limited (compared to NIKON und PENTAX )untill the high-level consumer and professional F-1 and AE1 werelaunched in the late 70's, early 80's. Today we experience a Renaissance of Rangefinder-cameras amidstthe digicam era - whereas the Film-SLR market starts to die..This makesus look back to the early history of Japanese Rangefinder industry.
LEICA-COPIES?
Canon started its career in the 30's with copies of the Leica-III withkind of a Contax bayonet mount. Both Leica and Contax were notprotected by Japanese patent law then. Its name was KWANON, agoddess of charity - and probably there was a need to look mercifull atthe making of these first Japanese cameras, of which less than ahandfull is preserved... But that was to change soon! After 1945 allGerman abroad patents were canceled effected by the lost war and law ofnations. A punch in the gud for the German industry. It was allowed tocopy German pre-war-products in any matter and companies in the wholeworld did that without bad conscience. NIKON whomade optical products for Japanese military during the war now launchedexcellent copies of the pre-war Contax (with very similar, but notcomplete compatible bayonet), which were enhanced in quick cycles andshortlybecoming better than the original -- the more so as ZEISS had problemsto relaunch production in the post-war era with Carl Zeiss Jena andIKON in the East part of Germany occupied and exploited by the Russianfor war reparation. CANON adhered to the West-German archetype LEICAwith lensesin the same screw mount (M39 aka Leica Thread Mount or LTM). In thebeginning CANON only manufactured cameras while Nikon made the lenses.Since 1947Canon made the lenses for their own cameras - at the beginning copiesofthe German (Zeiss) Tessars, Sonnars and Triotars for simple use, andX-Raycameras.
AMBITIOUS JAPANESE
After the war 1945 Japanese industry wascompletely destroyed and no consumer market was conseivable exceptthe occupying force: US soldiers, who had destroyed the countrywith bombing before. These were the first customers for Japaneseoptical products. This marketing was supported by military leaders whofavorized US boys buying Japanese products rather than takingtheir pay into pubs, or brothels. Not only US soldiers but also newsmenbought these products and spread them quickly to the USA and all overthe world. There is famous tale of an American war correspondent in theKorea war 1951 who brought a couple of rolls to a New York photo lab.They turned out as the sharpest 35mm negs ever processed, andthey wanted to know which camera and lenses the photograph had used?Well, what was it..? Not a big name like ZEISS, LEICA, VOIGTLAENDER orKODAK.. Some kind of unknown Japanese Zeiss-copy lens, although nicelyfinished, brillant blue coating glass with a name like a mixture ofZEISS-IKON and the Japanese appelation of their country in their ownlanguage, NIPPON... A star was born.
NIKKOR P.C. f/2 8.5cm
The lens was a NIKKOR-P 2/8.5cm, with 5 elements, precursor ofthe famous Nikkor-P 2.5/105mm, build until present. Here on myCanon P in Leica Screw Mount. It was derived, but not opticallyindentical, to the pre-war Zeiss Sonnar f/2 8.5cm, which last groupconsistsof 3 elements like most of the early Sonnars, whereas the Nikkor hasone single element rear, but a thicker convex lens as third element,making the whole lens more front-heavy than the Zeiss.
| Nikkor P.C. f/2 8.5cm (1948 - 5elements/ 3 groups) | Zeiss Sonnar f/2 8.5cm (7elements/ 3 groups) |
Nikkor stands for the old name of Nikon-lenses engraved on themuntil the 80's. 'P' (penta) means a 5-element-lens. 'H' (hex) would be6, 'S' (septem) for 7 - the system went from3 to 11. 'C' means 'coated' glass. Since coating soon gets self-evidentafter the war - especially at Japanese producers - the C later wasleft out. All pre-war Nikkors are coated and moreover, have areputation to obtain the hardest andmost durable coating inthe world. Anyway, perhaps the old Nikkors are so rarely scratchedbecause they were owned mostly by professional photographs who neverpolish their lenses as well... but they are also least suspectible tofungus or hazing, which is a horror to all collectors of the world.
The focus length in Centimeters - a tradition that Nikon retained tothe early 70's , 30 years after the conservative Germans switched toMillimeters...
Next oddity: a Nikonlens that could be used with Leica-, Canon- andVoigtlander-cameras..? Strange nowadays, but common then. Nikon did thefacturing of lenses before making cameras themself. They deliveredCanon as well as other Japanese companies, and the aftermarket withattention to Contax and Leica users. A niche but profitying market.When Canon started producing lenses for their own, the buyer still hadfree choice. On the other hand,Canon produced (some) lenses with alien adapters too.. very few forNikon. The tale goes that Nikon hereupon in the end of the 1950'sshut-downthe production of LTM-lenses, which biggest producer now was Canon.Because LEICA has produced most of their lenses since 1953 in the new,patent-protected M-bayonet... which protection recently dropped. Amongeach other the Japanese behaved like Gentlemen:: No poaching inneighbor'shunting ground...
This was defining the new Japanese way: Not only copying the Germanparagons, but modifying and enhancing them consistently, combine a wayof venturing new ideas and designs and simplifying for cost andprocuction reasons. This challange wasn't discernedby the German competitors, or even arrogantly denied as a 'cheapcopy' which by definition couldn't be better than the origin. Tenyears later the bill was presented.
NIKKOR-P.C. 2.5/10,5cm (LTM)
This (my) lens is from about 1958, the fastest lens in the 100mm areathen. Not a lightweight due to the thick middle-lenses butwell-balanced at a solid camera like the Canon P The mounting withalloy and nice and durable black enamel. In due time no manufacturer inthe world beats Nikon's manufacturing quality of glasses and corpus.You will not see it again either with older or newer lenses. It's anunsurpassed peak level.. The NIKKOR rangefinder lenses are getting moreand more expensive, searched by all collectors in the world. Fanciersnow look for Nikon-F lenses, also well finished. Prices will not comeback to that low level again..!The Nikkor 2.5/105 has the reputation of being one of the bestportrait-lenses ever. multiple altered mounting for SLR product line,the optical design stays unchallenged except one minor change 1971 tothe present. I beg even in today's econmy class with plastic mountingit will dispose more pleasure and nice pictures totheir users than a pervasive standard 28-80mm zoom.
1951 - Four lenses designed of aMr.HIROSHIITO
In June 1951 four lens patents are registered by CANON - in Japan,USA and Germany as well-as invented by Mr. HIROSHIITO...
- A 'Super Wide Angle' 3.5/28mm -that time there were just two 28mm's, one of Zeiss (f/8) and one ofLeica (f/5.6) both of mediocre performance. This one is by margin thefastest and best, and, with excellent sharpness. contrast and lowlight-falloff still a good user lens today
- The Tele Objektive 3.5/100mm withthe smallest weight lof alllenses of that kind - and still record-suspect - of great correctionfor spherical aberration, astigmatism and distortion (DE 1022027)
- A super fast 1.5/85 - the messageis: Canon has one of the mostprestigious optics the same like Leitz and Zeiss.
- And last but not least a six-elementsPlanar Standard lens1.8/50mm, well ahead in quality to the contemporary Zeiss Sonnar2/50 and LeitzSummitar 2.0/50 and again a well usable lens today.
SONNAR vs. PLANAR - design competition
Before WWII 'standard lenses' for 35mm cameras had supposed to becompact...fast lenses were accounted distrustful for this reason,and because of the focussing precision which was not present at mostcameras of that time.
Compactness in standard lenses today and 1955: Canon FD/ SLR1.4/50 of 1979 on the left, Canon RF 1.5/50 of 1955 on the right. Nxtsurprise if taken lenses in hand: The chrome RF lens weoghts 270g, 30gmore than the black FD-lens
Dr. Helmut Naumann (after 1950 head of reserach anddevelopment at Rodenstock) wrote about high-speed lenses in 1947 'for35mm film they are usable for image photographing, but because of thehigh price and small area-of-focus their circle-of-friends will besmall'. A bad prognosis about the future market!
In 1934 ZEISS had developed the SONNAR - with f/2(6 elements) and f/1.5 (7 elements) by far the most complex, fastestand best standard lens for at least the next 15 years....Thus laped the'standard' f/3.5 Leitz Elmar - a 4-element Tessar-type. Theadvantageof the Sonnars were compactness in comparison to the Planar(Double-Gauss)designs and less number of optical groups (two cemented triples ofelements)resulting in enhanced contrast and sharpness. In the past coatingtechnique(invented also bey Zeiss in 1936) these lenses performed well enoughfor critical appliances at f/4 or f/5.6 whereas others need to beclosedto f/11 or more.
| Sonnar f/1.5 (7 elements/ 3groups) | Planar f/2 (6 elements/ 4groups) |
The first developed Planars for 35mm were only strongif not faster than f/2. Examples were the Leica Summicron f/2.0 orCanon f/1.8. Contrarivise the Sonnar allowed a more compact (shorter)build, but was more expensive in production and not usable for SLRcameras because the rear groups didn't allow enough clearance for theswinging mirror. It takes to 1958 to design f/1.4-speed-Planars withconvincing quality. Then the Sonnar died off as a highspeed 35mmstandard lens.
Two Canon-lenses from about 1955, very similar from outside view, butrepresenting two different design approaches. On the left a Sonnar(f/1.5),on the right a Planar (f/1.8). Designs like the above diagrams.Weight of both is equally (270g). The Sonnar is thicker due to higherspeed but 5mm shorte. Both makes great pictures or slides, but thecharacteristic of the Sonnar-results are unique and away of the 'coldperfection' of typical modern Planar lenses.
Info:how to avoid Zeiss Sonnar fakes at ebay or elsewhere
CANON RF 1.5/50mm
Canons first 'fast speed lens' (since ca. 1947;my version is about 1955) High speed, though very compact lens,solid made with brass, quite heavy for the small volume. Derivedfrom the pre-war Zeiss Sonnar (7 elements/ 3 groups). Best correctionfor medium distance and apertures. Very fine for portrait andnight-shots. Until 1952 this was marketed as 'Serenar', than 'CanonLens'. Very good performer wide open (as most early Sonnars). Excellentcontrast thanks to the low number of optical groups, typically for aSonnar construction. Suspectible for flare due to the compact mount andsingle-coating; but the shade helps a lot. There is no need to closeaperture farther than f/5.6 with a Sonnar for performance reasons. Somehave f/11 as smallest, this on has f/16. In 1959 replaced by the (alsoexcellent; easier to craft) 6-elements Planar 1.4/50 RF.
Canon Rangefinder Cameras For Sale
| Canon 'Sonnar' 1.5/50 (1947-1958) | Canon 'Planar'1.4/50 (1959-1968) | Voigtländer Nokton 1.5/50mm (2000) |
I very much like the 'Canon-Sonnar' for their nice pictures. Very sharp10x enlargements are possible. It is well balanced with the 50 yearsnewer Bessa-R, compact and lightweight. A trueuniversal lens. Maybe the newer Planar-Type Voigtlaender Nokton 1.5/50is slightly better, but according to Erwin Putsis back light sensible as well... Nevertheless I wanted a 'Sonnar' typewhich nowadays is too big an effort to produce it in series, and thepictures have some special charme and atmosphere newer lenses miss.
sample pictures (klick for larger resultion):
Canon Digital Rangefinder Cameras
UPDATE: June 2006 -- Zeissannounced Sonnar 1.5/50 for Zeiss-Ikon Rangefinder Camera
| June 2006 ZEISS announced forthe first time since CONTAX IIa/ IIIa was ceased more than 40 yearsago, a Sonnar 35mm film lens with the classical data f/1.5 50mm -fitting the Rangefinder camera Zeiss-Ikon (Leica M mount) availablesince 3/4 year on the market.. It is more like the initial Sonnar-type invented by LudwigBertele than any other lens Zeiss had launched within the last 40years under the 'Sonnar' name. The third element of the Bertele designwith lower optical power was replaced by (what old lens designers call)'air-lens'. Different to those Ernostar-types mostly containing 4-5elements, this one has one cemented triple in thge rear. In the 1950's companies likeCanon and Asahi Optical experimenting with the Sonnar type, dissolvingthe last groups creating a 6 elements- 4 groups design, still keeping aSonnar type. So in 2006 Zeiss did the same stuff with the front triple group andshows to the market that the initial design still has reserves (assumedby traditionalists all the time). Maybe it will not showclinicalsharpness like the hyper-modern designed Leica Apo-Summicron ASPH.1.4/50mm -- but probably will cost only 1/3 of it. Anyway directcomparison picture-by-picture to the ZM-Planar 2.0/50mm will beinteresting. For these guys using Rangefinder the traditional way, as a journeyor reportage camera, it may be worth a thought that the Sonnar is 6mmshorterthan the ZM-Planar and uses 46mm filter (which is a quite common size) Testpictures of this lens here - available soon..! |
| Comparison of measured MTF-Data publishedby Zeiss of ZM-lenses 2.0/50 Planar(downside) and 1.5/50 C-Sonnar (above): At a level of highresolution fine structures were shown with lower contrast atf/1.5 than with the Planar at f/2, what can be detected by the 40lp/mmline.At f/4 contrast of both lenses is very high with both lenses, but atvery fine structures the Sonnar is weaker by a breeze. Both showingvisible falloff of performance to the outmost edges of the pictures -stronger for the Sonnar. No surprise, the f/1.5 Sonnar shows abit more light-falloff to the edges wide open. Anyway both lenseslooking quite resembling form paper values - pictures will tell..! |
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Canon Rangefinder Cameras S 2
Voigtlander Bessa Rangefinder Cameras1930's, 1950's and present (German Language, NEW)
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