Photo Cinema reproduct lens [Mu-Yichi-Kyo]
Founded in January 2012
Photo Cinema reproduct lens [Mu-Yichi-Kyo]
Founded in January 2012
Kino **DE401630**
1924-2024
Centenary Reproduct
Since we cannot use names that are subject to trademark rights, we have decided to use a format such as "**DE401630**" that clearly indicates the source of the data. We apologize for any inconvenience this may cause. - 2025.3.17
The optical design of the Kino **DE401630** f1.5, a masterpiece by Paul Rudolph that was installed in the Ur-Leica and is said to have had the greatest influence on old Leica cameras, is no longer available, so I decided to create it by tracing the earliest model.
Paul Rudolph riding a bicycle without a chain, watched by Ernst Abbe and Otto Schott
Since the f2 (manufactured as f1.9) was good, I wanted to try f1.5 next and considered manufacturing a 75mm, but a lens that was a little longer would have limited uses and would be larger and more expensive, so I decided to go with the 50mm again for comparison.
There are documents remaining for the Kino **DE401630** f2 (German patent DE401630). This was a commercial specification, that is, for filming in Hollywood, and judging from the number of lenses currently on the market, it seems that it did not sell well, so the f1.5 was designed later.
Ernst Leitz, who could not design a photographic lens, seems to have asked Dr. Rudolph for help, and it is said that early prototypes of Leica were equipped with f2 and even Kino Tessar. However, it seems that it was difficult for Leica to make a Kino (movie) lens from the beginning, so Max Berek designed Elmar, an improved version of Kino Tessar. Kino **DE401630** was later sold at f1.5 instead of f2. There are more f1.5 lenses left on the market.
What is the origin of Leica's ephemeral imagery? It seems to have been the Kino **DE401630**, but the book on Berek's designs also includes a detailed description of the Kino **DE401630** f2(This is a simple topic, so there is nothing I can post here).
The optical design of Kino **DE401630** f1.5 has changed over time, but I traced the earliest model. The glass used and aberrations are already clear and can be checked on a computer. Factory has taken into account the length of the lens hood to avoid vignetting when using the large format 44x33. This design also exists in the 42mm, but since it is a Kino lens, the wider the angle of view, the more difficult it is to shoot.
P2 f1.5(Left)、P1 f1.9(Right)
The 75mm is quite a big gun, with a diameter close to that of the P3 and even longer. I'll have to check whether it will interfere with the Leica rangefinder, but I think it will be fine. It will likely be priced at the same level as the P3. It's basically just a scaled-up 50mm, but the angle of view is narrowed down from there, so it has a different balance than the 50mm. The 50mm f/1.5 has a very nice feel, and the 75mm, which is a little different from that, is likely to produce more refined images than the 50mm.
