Top-notch performance as to resolving power and contrast in center, borders andĬorners at every diaphragm and focusing distance (something that wouldn´t be Glasses combining very high refractive indexes and low chromatic dispersion toīe able to get with an acceptable production cost a high uniformity of Got the wherewithal, technical means, updated machinery, computers or optical Late forties and first years of fifties, Nippon Kogaku, being aware that hadn´t Summicron-R 50 mm f/2 for Leicaflex, whose optical formula reduced to 6Įlements (instead of 7), simultaneously improving contrast, above all at f/2,Īnd augmenting image quality with respect the previous design.Įxperimental furnaces for the melting of crystal for obtaining optical glassesĪnd a Naxos-Union machine acquired in Germany in 1922 and able to grind opticalĮlements, and even had set up an optical glass research facility in one of theĪreas of its factory at Shanagawa (in the south of Tokyo) in 1923, during the Mandler in 1969 in the Leitz factory at Midland, Ontario (Canada) with the Without reducing quality but even increasing it, which anticipatedĪpproximately eighteen years to realistic conceptual decisions of opticalĭesign according to market circumstances that had to be implemented by Walter 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
HISTORY NIKON S2 RANGEFINDER BLACK DIAL PROFESSIONAL
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
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