Reproduction of historically famous photographic and cinematic lenses
Manufacturing was initially planned to take place in China, but was eventually moved to Tokyo.
Unless otherwise stated, lenses are Leica L39 mount rangefinder-linked.
The patents and other numerical values are faithfully copied. No corrections have been made to the problems in the old design. However, there is one thing that has been changed. Lead is not used in the glass. Lead was a cheap material and was used in large quantities. It's not bad, but it produces a relatively gloomy image in digital. The rare earths used today produce a glossy, high-quality image. However, if that is the case, it is different from the original of the past. It is no longer an exact copy. Nevertheless, please compare a number of examples. Many people will say that the modern version is better.
Our lenses are basically made by Ohara Corporation in Sagamihara, Kanagawa Japan. For lenses other than Ohara, we also use HIKARI glass made by Nikon Corporation in Yuzawa, Akita Japan.
This is the posthumous work of Paul Rudolph, which was never manufactured. It is the last Kino Plasmat. The patent states f1.0, but this is impossible, and the aperture is unique at f1.2-2.8. It is quite a large cannon (length from the flange to the front lens is about 6.5cm, so it is a cylindrical lens.). However, the depiction shows the tranquil appearance of the Kino Plasmat.
Note:So far, our shop has manufactured the following Plasmat
院落 P1 50mm Kino Plasmat f1.9(f2) 2021.07.27
院落 P2 50mm Kino Plasmat f1.5 2024.11.23
Looking at the sample images, the professors were able to take normal photos, but to the general public it was a defective product. It is an extremely difficult lens to take photos with. Even we, who should have known better and made it, were stunned when we saw the actual product. My parents even asked, "Is this a product?" Since it was sold 100 years ago, I can't help but feel the greatness of Professor Rudolf. It has only been appreciated in the last 10 years or so, and before that it was in a slump and the number of units produced was small. The Rapid Plasmat is not very different, although the distortion is different. Rather, it was tagged as Rapid by later generations, and in fact this is the final form of Kino Plasmat. It is not the general public but artists who praise Dr. Rudolf's lenses in his later years as masterpieces. We ask everyone to calmly consider whether it is really what you want and not be misled by public opinion when making a purchase. When you look at movies before talkies, there are some that have very hard-edged depictions, and when you look at those, you can see that soft lenses like Speed Panchro were researched. However, even though development has advanced and film has improved, only a very small number of experts used lenses like Kino Plasmat to create works with a painterly expression. Now that we are in the digital age, I get the impression that the hard-edged lenses we choose have gone back to the old days.
This is a masterpiece that has been improved for over 100 years and is still manufactured by the original British company Cook. There are many types of bokeh lenses, but this lens is a perfect example of what a bokeh lens looks like when defined by the British. During the British Empire, there was a tradition of incorporating global tastes and further refining them, so it has a unique and exquisite sense of balance. The idea of something completely ordinary, the ultimate in universal beauty, is unique to the British. The bokeh lens is ordinary with an exquisite balance. There is room for the aperture up to about f1.9, but we thought that changing it would change the balance that is important for panchro, so we manufactured it at f2. I think the value of this lens is that it has good balance while having the same chromatic aberration as the Nicola Perscheid.
Photographing 香箋 G1 with the 院落 P1 and a Leica M9.
香箋 Kousen G1 50mm f2 JPY 195,000
Old building in Ginza Imperial Theatre f2 Leica M9
Shinjuku Hatsudai stage f2 Leica M9
Shibuya Neon signs of Shibuya Yokocho f2 Leica M9
I wanted to make a lens with the same characteristics as the Leica Thambar, but I changed it to 60mm (58mm to be exact) and thought about giving up because it was impossible to make it that short. However, I thought it might be better than the real thing, so I decided to make it. With the elegant bokeh of the Thambar, the Petzval-like aberrations, and the lustrous coloring, I was convinced that there was no other lens with such a soft focus. It is the most glamorous and noble lens in the history of optics.
The weight is 360g.
花影 Hanakage S1 60mm f2.2 JPY 125,000
Only brass stripped (gold) in stock
Beijing Xinjiekou area Mr.Shibaten f2.5 Leica M3 Neopan No glass coating (scanned at a professional lab in Beijing)
Tokyo Azabu-Juban area flower f2.5 Leica M9 No glass coating
Tokyo Azabu-Juban area Street lamp f2.5 Leica M9 No glass coating
Angkor Wat Epson R-D1 No glass coating
Angkor Wat Epson R-D1 No glass coating