Production easiness and maximum reduction of optical elements possible, not only Pragmatic criteria of cost savings to the utmost feasible, enhancement of
The contrast of their new lenses for 24 x 34 mm and 24 x 36 mm format, applying Germany, in the city of Oberkochen) and decided to optimize as much as possible Opton Sonnar 50 mm f/1.5 and Zeiss Opton Sonnar 85 mm f/2 (manufactured in West Optical formula but featuring antireflective T Carl Zeiss Jena Sonnar 50 mmį/1.5, Carl Zeiss Jena Sonnar 85 mm f/2 (made in East Germany) and the Zeiss Ludwig Bertele in 19 and the postwar lenses sporting identical Zeiss Jena Sonnar 5 cm f/1.5 and Carl Zeiss Jena Sonnar 8,5 cm f/2 lenses without antireflectionĬoating for 35 mm format previous to the II World War created by the genius
Kogaku optical designers had painstakingly studied both the ultraluminous Carl IIIc and IIf, Contax II and Nikon S 24 x 34 mm) with Nikkor lenses manufactured Throughout the Korean War by the photographers who took 35 mm cameras (Leicas Than those same black and white emulsions in 24 x 36 mm format that were used XX ASA 100 film or Kodak Plus-X ASA 50 film featuring a 13 times larger surface With Kodak Ektar 127 mm f/4.7 or Raptar Wollensak 135 mm f/4.7 and Kodak Super Randolph or Max Desfor himself) used Speed Graphic 4 x 5 large format cameras Those belonging to Associated Press like George Sweers, James Martenhoff, Gene Majority of professional photographers on assignment in the Korean conflict (particularly Desfor, an Associated Press photographer and user of Speed Graphic 4 x 5 largeįormat camera who covered the Korean War too, bought a Nikon S and some NikkorĪs a second body, which is relevant, because between 19 vast
0 kommentar(er)
