Photo Cinema reproduct lens [Mu-Yichi-Kyo]
Founded in January 2012
Photo Cinema reproduct lens [Mu-Yichi-Kyo]
Founded in January 2012
Capture images closer and more beautifully
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 Makro **DE456912** was attached to Leica cameras and used for general still photography with other cameras, but was not supplied as a macro lens. This is probably because SLR cameras did not exist yet. However, looking at the optical design, it is clear that macro photography was possible and was taken into consideration. Macro photography involves taking large images of small objects, giving the feeling of seeing a different world from everyday life. This characteristic remains the same even when photographing landscapes, and therein lies the value of this lens.
There are four photos taken by Roland on a German macro-specialty website. (There are probably more if you search on the same website.)
Meyer Görlitz Makro Plasmat 2.7/105mm - Turkestanische Tulpe
Meyer Görlitz Makro Plasmat 2.7/105mm - Farnwedel mit Rotbuchenblatt
Meyer Görlitz Makro Plasmat 2.7/105mm - Feldahorn
Meyer Görlitz Makro Plasmat 2.7/105mm - durchstrahlte Baldachinspinne
I don't want to have a broken link, so I'll post a screenshot of Roland's masterpiece. All of his works were shot with a 105mm lens. Since it's macro photography, a longer lens would be better.
As a result, looking at later designs, it has been proven that Rudolf's decision to adopt the Xenotar type for macro wide-angle lenses was a good one, so I think that in terms of its historical impact, the invention of the Macro **DE456912** was a valuable one.
There are two documents remaining for the Macro **DE456912** (German patent DE456912, British patent GB261326, US patent US1812717). The one actually manufactured was the last, fourth design. The angle of view was 64 degrees (35mm), and the aperture was increased to f2.9. This was the one that was commercialized. The aperture actually goes up to f2.7, so the drawings below are for f2.7. Since it is a macro lens, the calculation is based on a maximum focal length of 1m, and so the specs are f2.9.
The drawing is for a focal length of 35mm, but if you change it to 50mm (see below), the half angle of view will be about 22.5 degrees, as shown here. It may be that the image intended by the design will not be achieved unless the focal length is 35mm.
Rudolf's later designs, like this one, were a major influence on Leica. If you limit it to 50mm, the aberration is similar to that of a Leica lens. It's not surprising that they look similar, since Dr. Rudolph gave technical guidance to Leica.
The amount of light around the edges is low. Depending on the lighting conditions, dark corners may appear.
The original is f/2.7. However, since there is almost no edge thickness, realistically manufacturing it to a thickness that is f/3.3 (curvature and glass remain the same). This causes spherical aberration (the upper part of the image is cut) to go from over to slightly under. Both are slight, but the difference is noticeable in the depiction. Looking at actual examples, focal lengths of 50mm and above are over, but 35mm is not. And it is dark. However, I believe the designation was standardized to f/2.7 to avoid confusion.
There was a slight undercorrection at the wide-angle. It was difficult, but after discussing it with Kinoshita Optical, we decided that full correction (±0) would be fine. Since it's a wide-angle, wouldn't that be better? Furthermore, the focal length of the actual lens was about 37mm, but that figure was naturally achieved by simply adjusting the thickness of the glass.
Reservations are accepted until the end of July 2026. Prices will change significantly from August onwards.
