25

YEARS

Made in Germany

Historical Lenses

Beauty and Challenge of Historical Lenses

The Congeniality of Historical Lenses

The Perfection of Todays Lenses

Restoration of Vintage Lenses

Optical flaws: Creative Elements or

Disturbing Artefacts?

New Mechanics for Vintage Lenses

Further Solutions for Vintage Lenses

Historical Lenses

The Beauty and Challenge KEY ELEMENTS OF IMAGE COMPOSITION

of Historical Lenses BY SELECTION OF LENS:

Angle-of-view and homogeneous look throughout

Since the early 18th century, when the first achromatic
the focal lengths of a lens set
lens was produced (Jester Moor Hall, 1733), the desire
exists to bring lenses to the perfection of generating Depth-of-field to quickly understand the story
realistic images. This development is driven by improve- of the image and to focus on the essential
ments in mathematics as well as increasing processing
Look and character of a lens transports emotions
power of computers. Back in the 19th century the
(blur, low contrast, etc.)
creation of lenses usable for photography and since
Spatial image distortion (Petzval surface)
1895 for cinematography was the achievement of bril-
corresponds to natural vision
liant engineers.
Disturbing and supporting artefacts caused
Today optical aberrations, which appear in the image by lens aberrations (flares, etc.)
of reality, can be described, minimized and sometimes
Creating

a nightmare for
completely suppressed by algorithms. The result is

are beasts and

Vintage lenses
near-perfect optics. emotions for the

all involved
with them
audience, the team
The creative filmmaker naturally has other criteria. Not
the perfect image of reality, but a tool to tell the story
and the competitor
coherently; this is expected from a lens. Does the look HISTORICAL LENSES ARE NOT
EASY CONTROLLABLE THEY HAVE
work, works the scene. The look, the character of a lens
CHARACTER you must like to show their original
for specific applications is of great importance. Image
The vintage lens talents and you will get unbelievable
composition by choice of lens doesnt reach the viewer is part of the performance
through conscious perception, but subconsciously. game, not an
Historical
EFFECTS
TIMES SPECIAL
WITH SOME-
HUMAN LOOK
NATURAL

invisible tool lenses

are a hot
investment

Technology changes photography / ANALOGUE PHOTOGRAPHY

cinematography

1839 1840 1858

Milestones in development daguerreotype
Petzval lens;
Optical inventions achromatic lenses
fast lens for portraits
first wide angle lens

Technical achievements reduced astigmatism max. aperture f3.7 120 angle of view

Inventor / Maker Joseph Niepce and Joseph Petzval Thomas Sutton

Louis Daguerre

The Congeniality
of Historical Lenses
Nowadays very popular historical lenses from the middle
of last century were developed by ingenious engineers
who couldnt calculate and simulate all details of a new
lens before they first exposed it to light.
Those lenses were based on lens design principles from
the first half of the 20th century and the experience of
the following two generations of technicians. They had
access to new glass types and for the first time, the
possibility of anti-reflective coating of glass surfaces.
At the time lenses were developed for a booming cinema
and photography production in large volumes and in a
wide variety. Unlike today, a large number of different
lens manufacturers were in the market and each had
developed their own hand writing.
We still draw from this reservoir and are curious about
what is still left to be discovered.
1881 1886
Antiplanet (anti-planet for new glass sorts with higher
groups); douplet lens elements refraction index
reduced astigmatism
Hugo Steinheil, Charles Louis
Friedrich Schott, Ernst Abbe
Chevalier, Joseph v. Fraunhofer
Vintage lenses with various mounts
The Perfection
of Todays Lenses
Since 1990 the mathematics for lens design are widely
expressed in algorithms and as a result today smallest
manufacturing tolerances can be simulated.
Most lenses are now perfect in performance (resolution,
contrast, distortion, etc.) and they are constant in quality
throughout production output. Manufacturing single lens
elements is computer driven and measuring machines
assure quality standards before elements are assembled
into a complete cine lens.
Moreover, nowadays its an objective in lens design
to have a consistent set by equalizing the look of the
different focal lengths. This isnt usually given in a
historical lens set. We found, especially within the
Cooke Speed Panchro set, great differences in character
between different focal lengths. And that also applies
to the individual focal length throughout the production
period of 30 to 50 years.
1888 1893
double-gauss type lens
Aplanat Cooke Triplet
correction of mono chromatic
high-speed lens and chromatic aberration
Alvan Clark Harold D. Taylor
Historical Lenses

Restoration of Vintage Lenses

CEMENTED LENS ELEMENTS
Many lenses contain a doublet or triplet lens group and
GLASS
the cement holding the elements together might open over
At the beginning of lens development (for astronomical
time. Re-gluing the elements is quite easy. The difficult
and nautical instruments) only crown and flint glass were
part is to completely separate the cemented elements
available. The mathematician Carl Friedrich Gau theo-
without damage. This is especially difficult if a repair
retically demonstrated in 1840 that optical aberrations
has been carried out improperly before, as todays high
can be corrected by combination of different refractive
performance UV glue usually cant be dissolved again.
glass sorts. Later, new glass types were researched with
Theres a constant risk of fracturing thin lenses.
scientific methods. In 1884 the Glastechnische Laboratori-
um, later Jenaer Glaswerke & Gen., was founded by Otto
Schott, Ernst Abbe, Carl Zeiss and Roderich Zeiss in Jena.
The engineers used the new glass sorts, but not all side
effects were known then. The consequences were colour
tint glasses and stains, so most of those lenses had low
environmental resistance over time. Not all those original
glass types are available today, but reasonable substitutes
can be used for recreating some spare lens elements.

COATING CRIMPED LENS ELEMENTS

In 1930 the first lens el-
ements were vaporized
with an anti-reflective
coating by Zeiss. Using
those coated elements,
it was possible to build
much better corrected
lenses with several grouped lens elements. Vintage lenses
that we receive for rehousing typically show damages in
the coating.
The individual lens element or group must be positioned
very accurately inside the lens block. Historically various
techniques have been used. Each manufacturer preferred
other techniques. The crimping technique makes it
extremely difficult to restore a lens element. With the
crimped metal rim polishing and a recoating bath is
impossible. The highly complex Cold Vacuum Coating is
the only method available in such cases.

Technology changes photography / ANALOGUE CINEMATOGRAPHY

cinematography

1895 1896 1902

patent Cinmatographe,
Milestones in development
first film camera
Optical inventions Planar Tessar

Technical achievements corrected field curvature improved image sharpness

Inventor / Maker Lumire brothers Zeiss Paul Rudolph / Zeiss

 OTHER DAMAGES
Older lenses sometimes
show fungus marks,
especially if the lens
wasnt stored in a dry
Complete iris and spare iris blades place for a longer period of time. In most cases fungus
can be removed completely. Cleaning marks and stains
LENS APERTURE can usually be removed with polishing and re-coating
Historical lens manufacturers had considerable problems of the lens elements. A yellow colour tint due to a radio-
to produce non-reflective iris blades. In some cases the active Thorium component of the glass sort can usually
complete iris must be replaced. be removed in a decolourization process.

Optical Flaws as Below find an incomplete summary of optical aberrations generally found with

Creative Elements lenses and more noticeably with historical lenses. Some of those aberrations
are very often a source for creative application. More complete descriptions
or Disturbing of all aberrations are available at www.wikipedia.com.
Artefacts?
Aberrations Note Usability
Chromatic aberration reduce effect by closing the iris disturbing, but has some potential as a special effect
Spherical aberration well corrected interesting effect, softer images, interesting in the area just before and after focus
Coma offers character
Petzval Field Curvature interesting, more spatial image
Distortion (barrel,
usually well corrected disturbing
pincushion, mustache)
Flares special effect, very often used
Strong differences
Contrast very useful, optimization for skin tones important
between manufacturers
Bokeh very interesting, general character of the lens outside the focus area
Edge illumination (usually
usually well corrected lens character
with wide angle lenses)
Vignetting mechanical problem disturbing
Ghosting disturbing

1920 1925 1930 1931

double-gauss anastigmat double-gauss anastigmat antireflection coating retrofocus lens

Speed Panchro Schneider Xenon inverted telephoto lens

allows space for mirror and

max. aperture f/2 max. aperture f/2 allows multi element lenses
beam splitter in camera
Horace Lee / Cooke Schneider Zeiss
Historical Lenses

New Mechanics LENS REHOUSING KEY FEATURES

for Vintage Lenses Equipped with completely new

New internal cam driven focus
mechanics a historical lens body
mechanics
is ready for modern handling and
meets todays requirements on set. Compatible with standard lens
Unlike in state-of-the-art lens design, accessories
we have to handle the whole glass
Compact and lightweight design
block as one piece. In one large
Two opposing scales (except
set we find large and heavy lens
some Super Baltar rehousings)
blocks for some focal lengths and
for others tiny flyweights, but very Standard 0.8 module iris and
close to the sensor, thus creating focus gear rings
very specific challenges for mechan-
Modern markings for focus and
ic design. Integrating both in a simi-
Rehousing for iris scale
Cooke Tele Panchro lar housing to offer the same han-
lenses as well as Individual markings on request
dling and interfaces for lens motors
Kinoptik, (Super) Baltar
and Schneider telephoto lenses throughout the set is the challenge Metric and imperial scales
and all Canon FD focal lengths
for our technicians. P+S Technik available
has specialized itself and achieved
Hard stops to protect iris and
a great price-performance-ratio by
focus mechanics
using a modular rehousing system.

KEY FEATURES CONVERSION KITS

P+S Technik conversion and rebarreling kits are based on the original mechanics
Focus gear ring 0.8 module
for focus and iris. If possible the iris is equipped with mechanical end stops to
Iris gear ring 0.8 module protect the iris blades from damages from electronic lens motorization.

Aperture ring with end stops

to protect the iris

Identical front lens ring and cap

PL mount and cap

Technology changes photography /

cinematography

1932 1936
Milestones in development first zoom lens first mirror-reflex film camera

Optical inventions Cooke 40-120 Varo viewfinder image = image projected on film

Technical achievements no paralax error

Inventor / Maker Bell Howell / Cooke Arnold & Richter (Arri)

REHOUSINGS
by P+S Technik for
Bausch & Lomb (Super) Baltar
Canon FD
Cooke Speed Panchro
Cooke Tele Panchro
Kinoptik
Lomo Spherical
Schneider (Cine) Xenon
and more
CONVERSION KITS
by P+S Technik for
Canon K35
Kowa Anamorphic and Prominar
Zeiss HS MKI Distagon
Arri Oberkochen Opton MKI
Cooke Speed Panchro 75mm
in original housing
Further Solutions for Vintage Lenses
PL ADAPTER & EXCHANGE MOUNTS
We offer a wide range of PL-Adapters for long lasting mount conversions which
can be installed by an experienced technician. All PL-Adapters can be shimmed.
AVAILABLE ADAPTERS
# 17491 PL-Adapter for Arri Standard Mount, diam. 41mm
# 17492 PL-Adapter for Bayonett, diam. 41mm
# 17493 PL-Adapter for ARRI Exchange Mount
# 22072 PL-Adapter for Angenieux zooms
# 29527 PL-Adapter for Mitchell Mount/KOWA Cine Prominar
# 29948 PL-Adapter for KOWA Anamorphic
# 29533 EF-Adapter for Zeiss ZF.2 and ZF
ACCESSORIES
- Trolley cases, airplane cabin allowed with high-quality foam cut
- Aluminium
 transport case, airplane cabin allowed with high-quality foam cut
- Front lens adapter ring 80/80 for easy use of Clip-on with Panchro lenses
- Front lens adapter ring 100/110 for lenses with 100mm
- Universal step-down ring 114/100 mm for 114 mm Clip-on Matte Box
- Interchangeable focus rings: metric and imperial
- Lens test charts
LENS SALES
LENS SERVICE
LENS SERVICE TRAINING
SPARE PARTS
Kowa Anamorphic
lens set rebarreled and
serviced by P+S Technik
Disassembled for service and rehousing. PS-rehoused Cooke Speed Panchro 75mm
Lens elements with yellow tint before with PL mount, geared focus and iris ring
decolourization process. and front lens 80 mm
Technical Specifications

Mount Aperture Close Length 2) Front Weight Angular Min. Angular Image Focus Drive Iris Drive
Focus 1) diameter rotation Marked Rotation Diagonal Gear 7) 8) Gear 7) 8)
of iris Object to MOD Distance from Distance from
scale Distance end stop Image Plane Image Plane
LENS REHOUSINGS
Bausch & Lomb Super Baltar
20 mm PL T 2.422 21 cm 90 mm 100 mm 1,2 kg 95 0,36 m 200 > 32 mm 115125 mm 75 mm
8.3 in 3.5 in 3.94 in 2.65 lbs 14.2 in 4.534.92 in 2.95 in
25 mm PL T 2.322 28 cm 130 mm 100 mm 1,75 kg 100 0,46 m 250 > 32 mm 115125 mm 75 mm
11 in 5.1 in 3.94 in 3.86 lbs 18.1 in 4.534.92 in 2.95 in
35 mm PL T 2.422 68 cm 115 mm 100 mm 1,05 kg 95 0,85 m 220 > 32 mm 115125 mm 75 mm
27 in 4.5 in 3.94 in 2.31 lbs 2.79 ft 4.534.92 in 2.95 in
50 mm PL T 2.322 43 cm 120 mm 100 mm 0,98 kg 100 0,7 m 290 > 32 mm 115125 mm 75 mm
17 in 4.7 in 3.94 in 2.16 lbs 2.3 ft 4.534.92 in 2.95 in
75 mm PL T 2.322 75 cm 130 mm 100 mm 1,1 kg 100 0,85 m 230 > 32 mm 115125 mm 75 mm
30 in 5.1 in 3.94 in 2.43 lbs 2.79 ft 4.534.92 in 2.95 in
100 mm PL T 2.422 84 cm 160 mm 100 mm 1,9 kg 100 1,1 m 250 > 32 mm 135 mm 85 mm
33 in 6.3 in 3.94 in 4.19 lbs 3.61 ft 5.31 in 3.35 in
152 mm PL T 2.422 2,4 m 160 mm 100 mm 2,0 kg 100 2,4 m 250 > 32 mm 135 mm 85 mm
7.87 ft 6.3 in 3.94 in 4.41 lbs 7.87 ft 5.31 in 3.35 in
228 mm PL T 4.522 3,3m 190 mm 100 mm 3,2 kg 80 3,3 m 250 > 32 mm 135 mm 85 mm
10.8 ft 7.8 in 3.94 in 7.1 lbs 10.8 ft 5.31 in 3.35 in
Bausch & Lomb Baltar
100 mm PL f 2.322 84 cm 160 mm 100 mm 1,9 kg 100 1,1 m 250 > 32 mm 135 mm 85 mm
33 in 6.3 in 3.94 in 4.19 lbs 3.61 ft 5.31 in 3.35 in
152 mm PL f 2.822 2,4 m 160 mm 100 mm 2,0 kg 100 2,4 m 250 > 32 mm 135 mm 85 mm
7.87 ft 6.3 in 3.94 in 4.41 lbs 7.87 ft 5.31 in 3.35 in
Kinoptik
18 mm PL 2.822 8 cm 51 mm 100 mm 0,5 kg 90 0,18 m 250 27 mm 90 mm 70 mm
3.15 in 2.0 in 3.94 in 1.10 lbs 7.09 in 3.54 in 2.76 in
Angenieux PL 2.416 8 cm 51 mm 100 mm 0,5 kg 62 0,2 m 250 27 mm 90 mm 70 mm
18,5 mm 3.15 in 2.0 in 3.94 in 1.10 lbs 7.87 in 3.54 in 2.76 in
25 mm PL 2.422 20 cm 51 mm 100 mm 0,5 kg 96 0,3 m 250 27,5 mm 90 mm 70 mm
7.87 in 2.0 in 3.94 in 1.10 lbs 11.8 in 3.54 in 2.76 in
28 mm PL 2.822 27 cm 51 mm 100 mm 0,5 kg 90 0,38 m 250 29,5 mm 90 mm 70 mm
10.6 in 2.0 in 3.94 in 1.10 lbs 1.25 ft 3.54 in 2.76 in
32 mm PL 3.122 30 cm 51 mm 100 mm 0,5 kg 77 0,42 m 250 30 mm 90 mm 70 mm
11.8 in 2.0 in 3.94 in 1.10 lbs 1.38 ft 3.54 in 2.76 in
35 mm PL 2.422 43 cm 51 mm 100 mm 0,5 kg 90 0,55 m 250 31 mm 90 mm 70 mm
16.9 in 2.0 in 3.94 in 1.10 lbs 1.8 ft 3.54 in 2.76 in
40 mm PL 2.422 50 cm 51 mm 100 mm 0,5 kg 93 0,65 m 250 30 mm 90 mm 70 mm
19.7 in 2.0 in 3.94 in 1.10 lbs 2.13 ft 3.54 in 2.76 in
50 mm PL 2.822 nn 51 mm 100 mm 0,6 kg 90 1,2 m 250 > 31 mm 90 mm 70 mm
2.0 in 3.94 in 1.32 lbs 3.94 ft 3.54 in 2.76 in
75 mm PL 2.822 nn nn 100 mm 0,9 kg 90 0,9 m 250 > 31 mm 90 mm 70 mm
3.94 in 1.98 lbs 2.95 ft 3.54 in 2.76 in
100 mm PL 2.822 1,1 m 160 mm 100 mm 1,9 kg 85 1,1 m 250 > 31 mm 90 mm 70 mm
3.61 ft 6.3 in 3.94 in 4.19 lbs 3.61 ft 3.54 in 2.76 in
150 mm PL 2.822 2,4 m 160 mm 100 mm 2,0 kg 85 2,4 m 240 > 31 mm 90 mm 70 mm
7.87 ft 6.3 in 3.94 in 4.41 lbs 7.87 ft 3.54 in 2.76 in

Notes:
1) from front lens
2) length from front of lens to lens mount
3) Internal Front Fitting Filter available with 100/110 front lens adapter ring for all lenses with 100mm front lens diameter
4) metric or footage scales, with hard stop two opposing focus scales, readable from Camera Operator side
5) iris scales, with hard stop, readable from Camera Operator side
6) two opposing scales
7) 0.8 gear module
8) with hard stops

1953 196x 1967

Cinemascope aspherical lenses floating element

anamorphic image recording

more natural side ratio for 35mm format fast wide angle lenses

Henri Chrtien / FOX Canon Nikon

 Mount Aperture Close Length 2) Front Weight Angular Min. Angular Image Focus Drive Iris Drive
Focus 1) diameter rotation Marked Rotation Diagonal Gear 7) 8) Gear 7) 8)
of iris Object to MOD Distance from Distance from
scale Distance end stop Image Plane Image Plane
Cooke Panchro
S3 PL T 2.332 10 cm 90 cm 80 mm 0,65 kg 85 0,32 m 250 < 27 mm 90 mm 70 mm
18 mm 0.39 in 3.54 in 3.15 in 1.43 lbs 12.6 in 3.54 in 2.76 in
S3 PL T 2.332 8 cm 130 mm 80 mm 0,6 kg 100 0,5 m 250 < 29 mm 90 mm 70 mm
25 mm 3.15 in 5.12 in 3.15 in 1.32 lbs 19.7 in 3.54 in 2.76 in
S2 PL T 2.432 20 cm 115 mm 80 mm 0,5 kg 90 0,34 m 280 30 mm 90 mm 70 mm
32 mm 7.87 in 4.53 in 3.15 in 1.10 lbs 13.4 in 3.54 in 2.76 in
S2 PL T 2.432 27 cm 120 mm 80 mm 0,55 kg 76 0,55 m 280 30 mm 90 mm 70 mm
40 mm 10.6 in 4.72 in 3.15 in 1.21 lbs 21.6 in 3.54 in 2.76 in
S2 PL T 2.332 13 cm 80 cm 80 mm 0,8 kg 85 0,9 m 280 30 mm 90 mm 70 mm
50 mm 5.12 in 3.15 in 3.15 in 1.76 lbs 2.95 ft 3.54 in 2.76 in
S2 PL T 2.832 40 cm 80 cm 80 mm 0,85 kg 85 1,3 m 280 30 mm 90 mm 70 mm
75 mm 15.75 in 3.15 in 3.15 in 1.87 lbs 4,27 ft 3.54 in 2.76 in
S2 PL T 2.822 <75 cm 160 mm 80 mm 1,35 kg 85 1,2 m 240 30 mm 90 mm 70 mm
100 mm 6.3 in 3.15 in 2.98 lbs 3.94 ft 3.54 in 2.76 in
150 mm PL nn nn nn 80 mm nn 85 2,4 m 250 90 mm 70 mm
3.15 in 7.87 ft 3.54 in 2.76 in
Schneider
Cinegon PL f 1.816 8 cm 51 mm 100 mm 0,9 kg 70 0,2 m 250 30 mm 90 mm 70 mm
18 mm 3.15 in 2.0 in 3.94 in 1.98 lbs 7.87 in 3.54 in 2.76 in
Cinegon PL f 2.016 nn nn nn nn nn nn nn nn 90 mm 70 mm
20 mm 3.54 in 2.76 in
Cine Xenon PL f 2.017 27 cm 51 mm 100 mm 0,6 kg 80 0,34 m 250 30 mm 90 mm 70 mm
or Xenon 10.6 in 2.0 in 3.94 in 1.32 lbs 13.39 in 3.54 in 2.76 in
28 mm
Cine Xenon PL f 2.018 43 cm 51 mm 100 mm 0,6 kg 70 0,5 m 250 30 mm 90 mm 70 mm
35 mm 16.9 in 2.0 in 3.94 in 1.32 lbs 1.64 ft 3.54 in 2.76 in
Cine Xenon PL f 2.019 50 cm 51 mm 100 mm 0,6 kg 70 0,65 m 250 32,5 mm 90 mm 70 mm
or Xenon 19.7 in 2.0 in 3.94 in 1.32 lbs 2.13 ft 3.54 in 2.76 in
40 mm
Cine Xenon PL f 2.020 40 cm 51 mm 100 mm 0,7 kg 70 0,4 m 250 42 mm 90 mm 70 mm
or Xenon 15.7 in 2.0 in 3.94 in 1.54 lbs 15.75 in 3.54 in 2.76 in
50 mm
Cine Xenon PL f 2.021 80 cm 74 mm 100 mm 0,96 kg 70 0,8 m 250 42 mm 90 mm 70 mm
or Xenon 31.5 in 2.93 in 3.94 in 2.12 lbs 31.5 in 3.54 in 2.76 in
75 mm
Cine Xenon PL f 2.022 1,1 m 160 mm 100 mm 2,1 kg 90 1,1 m 250 43 mm 90 mm 70 mm
100 mm 3.61 ft 6.3 in 3.94 in 4.63 lbs 3.61 ft 3.54 in 2.76 in
Tele-Xenar PL f 2.023 nn 160 mm 100 mm nn nn nn 250 nn 90 mm 70 mm
135 mm 6.3 in 3.94 in 3.54 in 2.76 in
Canon FD
14 mm PL 2.8 nn nn 100 mm nn nn nn nn nn 90 mm 90 mm
3.94 in 3.54 in 3.54 in
24 mm PL 2.0 nn nn 100 mm nn nn nn nn nn 90 mm 90 mm
3.94 in 3.54 in 3.54 in
28 mm PL 2.0 nn nn 100 mm nn nn nn nn nn 90 mm 90 mm
3.94 in 3.54 in 3.54 in
35 mm PL 2.0 nn nn 100 mm nn nn nn nn nn 90 mm 90 mm
3.94 in 3.54 in 3.54 in
50 mm PL 1.2 and 1.4 nn nn 100 mm nn nn nn nn nn 90 mm 90 mm
3.94 in 3.54 in 3.54 in
85 mm PL 1.8 nn 120 mm 100 mm nn nn nn nn nn 90 mm 90 mm
4.72 in 3.94 in 3.54 in 3.54 in
100 mm PL 2.0 nn 120 mm 100 mm nn nn nn nn nn 90 mm 90 mm
4.72 in 3.94 in 3.54 in 3.54 in
135 mm PL 2.0 nn 160 mm 100 mm nn nn nn nn nn 90 mm 90 mm
6.3 in 3.94 in 3.54 in 3.54 in
200 mm PL 2.8 nn 160 mm 100 mm nn nn nn nn nn 90 mm 90 mm
6.3 in 3.94 in 3.54 in 3.54 in

DIGITAL PHOTOGRAPHY DIGITAL VIDEO DIGITAL CINEMATOGRAPHY

1990 2000 2009

Digital mirror-reflex camera (conversion for Nikon F3) CineAlta feature film Slumdog Millionaire receives Oscar
for cinematography
DigiPrimes

fast lens, unaberrated image single chip cameras are ready for Oscar movie making

Kodak Sony , Zeiss Red, Silicon Imaging

 Rehousing for
French Kinoptik and
Schneider Cinegon
and (Cine) Xenon lenses

PS-Rehoused
Cam drive for the new focus mechanics Baltar 228mm

Position of tiny Schneider

lens block (orange) inside
the rehousing, PL-mount PS-Rehoused
highlighted in yellow. Super Baltar lenses

PS-Rehoused set of Cooke Speed Panchro lenses. The rehousing of Lomo spherical lenses is very similar.

P+S Technik GmbH

Siemensstr. 12
D-85521 Ottobrunn b. Mnchen
Germany

+49-89-45 09 82-30 sales@pstechnik.de

+49-89-45 09 82-40 www.pstechnik.de

www.pstechnik.de