[rollei_list] Re: Tell the tales of Triotars
- From: Chris Burck <chris.burck@xxxxxxxxx>
- To: rollei_list@xxxxxxxxxxxxx
- Date: Sun, 5 May 2013 16:12:15 -0400
I've been somewhat intrigued by this notion since the frist time I read it.
The two aperture values correspond to the same size opening. So it's
certainly possible that the same lens was just spaced slightly differently,
or just as possible that it's a question of shutter size, as Richard
suggests. It would be interesting to see these details mapped out (i.e.
how the lenses were typically offered in terms of shutter size). Apart
from the fact that the Medalist lens was mounted in No. 2 Supermatic, and
that the three 'standard' press camera focal lengths were offered, at least
theoretically, in the Synchro Rapid 800, I'm hopelessly unfamiliar with
this subject.
WRT the Triotar and the Tessar as well, ZI seems to have followed a fairly
conservative and methodical pattern, beginning with f/4.5 versions
(actually, f/6.3 if you want to reach all the way back) and progressing
thru f/3.8 intermediates to the final f/3.5 aperture. The 80mm Tessar
seems to be the exception to this pattern. The difference in speed *is*
pretty slight, but If you consider the slow film in those days, I can see
how it might be important to some photographers.
Georges Giralt, there's little difference between the Triotar and Apotar.
They are both fine triplets, though over the decades the Apotar seems to
have gained a stronger reputaion (if online testimonials are any
indication), in terms of sharpness and corrections. The best reputation of
all the triplets, in medium format at least, appears to be enjoyed by the
Trioplan made in Gorlitz by Meyer Optik.
--
¡Ay, Pachamamita! ¡Eres la cosa más bonita!
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