Gaussian conclusions from a French perspective
It is a luxury lens used by Alpa, but for some reason, it is not selling well as a famous lens, there are only a few of them, and since they have been made since the war, many of them have deteriorated. Since the optical design is no longer available, we decided to make it by tracing the earliest model.
湖楼 korou A1 50mm f1.8 JPY ??0,000 No estimate given
Dedicated hood included. Filter diameter ?mm. Minimum shooting distance ?m. Aperture blades ?. No glass coating. Actual weight ?g.
Angénieux is known as an old French film lens, but below is an early catalog they offered for still photography.
The wide-angle lens uses a Retrofocus type, which is a decisive factor in achieving a long back focus for a reflex lens. The explanation includes diagrams. The telephoto lens is consistently an Ernostar-Sonnar type. It is long and heavy, so it is a two-stage structure with a lightweight type and a giant gun that can be used for portraits even at night. These lens structures have been around since the very early days before the war, but they have been reevaluated after being almost completely neglected.
The standard lens is a Gaussian type, which is also old, but is a standard configuration that is still used today. Regardless of the evaluation at the time, we have reviewed and evaluated the classic configuration.
There are two types of standard Gauss. The description says that the S1 is excellent for copying documents, and the S21 is suitable for shooting miniatures. I don't know what exactly is meant by miniatures, but if I take the image at face value, I don't think there is a wide demand for it, and it wasn't for hobby use. It seems reasonable to think that it was probably intended to create a painterly effect for product photography. It can shoot small objects, and it can actually get as close as 40cm, which is similar to the feeling of taking macro photos today. It's very good for portrait photography, but if you're just using it for regular snapshots, the S1 is far more attractive.
For movies, S2 and S3 are available. They have a lot of aberration. S3 is between S1 and S2, and S2 has more aberration. S21 appears to be a brighter version of the S2.
The only Gauss patent that Angénieux designed was the M1, and the data remains (French Patent FR1077189、US Patent US2701982)。The aperture is f1.0 and the angle of view is not listed, but it is limited to 36 degrees. The lens actually manufactured was 50mm and 35mm Kino (for movies). There is quite a difference between f1.0 and f0.95. Rumor has it that it was manufactured with some modifications, such as using radioactive glass, and changed to f0.95.
The M1 is said to be the first lens in the world to reach F1.0. It was provided to NASA's Apollo program. It seems that brightness was necessary in space. However, since aberrations remained, it seems that the M2 was developed by carefully improving its performance. Since the background blur in space is problematic as a reference, the requirements must be different from those on Earth. The M2 remains at 50mm f0.95, but the physical length has increased considerably, and it looks like a telephoto lens. It seems to have been an Ernostar type. And the angle of view has narrowed to 16mm film size.
First, the lens is f1.0 and the focal length is 50mm as stated in the patent. I circled two of the problems. Dark corners occur because there is no route for the light rays in the corners to pass through. At f1.0, spherical aberration is negative.
This is the one that was actually manufactured. It's f0.95. I don't think it uses radioactive lenses.
Looking at this, it is doubtful whether the lens really has an f/0.95 aperture. It is possible that f/0.95 is merely a spec in the optical design.
However, the optical design does not allow light to reach the corners. In fact, the real thing also has a lot of dark corners. So we slightly extended the focal length to 58mm and increased the diameter of the glass to allow more light in.
I put a cut in the position where I thought the lens barrel would cause vignetting. f0.95 is pretty much the limit. There isn't enough light in the corners, but it does reach a certain amount, so I don't think it feels like it's being cut off physically. I get the impression that making it any longer doesn't have much effect, and that this is the limit.
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