Samsung HDcamcorder from 2012 with Schneider Varioplan zoom lens (30x)
Joseph Schneider Optische Werke GmbH (commonly referred to asSchneider) is a manufacturer of industrial and photographic optics. The company was founded on 18 January 1913 by Joseph Schneider asOptische Anstalt Jos. Schneider & Co. atBad Kreuznach inGermany. The company changed its name toJos. Schneider & Co., Optische Werke, Kreuznach in 1922, and to the currentJos. Schneider Optische Werke GmbH in 1998.
In 2001, Schneider received anOscar for Technical Achievement for their Super-Cinelux motion picture lenses. It is best known as manufacturers oflarge format lenses forview cameras,enlarger lenses, and photographicloupes. It also makes a limited amount ofsmall- andmedium-format lenses, and has at various times manufactured eyeglasses and camera rangefinders, as well as being anOEM lens maker forKodak andSamsung digital cameras. It has supplied the lenses for variousLG devices and theBlackBerry Priv. It also supplied the lenses for theKodak Regent camera in the 1930s and other classic cameras such as certain models of theRolleiflex starting in the 1940s, theKodak Retina andKodak Retinette camera series in the 1950s and 1960s, and certain specialty lenses forHasselblad. In 1961, it createdFeinwerktechnik GmbH, a manufacturer of electrical-hydraulic servo valves.
In recent years, it has acquired several other companies:
In 1985, it acquired theB+W Filter Manufacturing Company (founded in 1947 by partners Biermann and Weber), maker of the line of B+W filters.[2]B+W UV filter from Schneider Kreuznach
In July 1987, it purchasedRollei Fototechnic GmbH.[3]
In 1989, it purchasedKäsemann/Oberaudorf, a manufacturer of glass and plastic polarizing materials.
After 1991 it acquired the former East-German (GDR) camera and lens manufacturerPentacon/Practica (Dresden)
In 2000, it acquiredCentury Optics, an American lensmaking firm.
28 mm f/4 (Retina-Curtagon: different exterior design than the M42 mount lens,DKL-mount forKodak Retina Reflex S and later cameras)
28 mm f/4 Edixa-Curtagon M42 mount, no knurled zebra focus ring
28 mm f/4 Curtagon M42 mount, no knurled zebra focus ring, has dark red f stop scale with different exterior lens barrel design than the Edixa-Curtagon; similar to the 35mm f2.8 Curtagon photo shown to the right of this column
35 mm f/2.8
35 mm f/2.8 Exakta mount with large silver shutter release knob, aperture tab and clear plastic cover over the f stop scaleCaptain Jacks Schneider Lens Page
35 mm f2.8 Exakta mount, smaller silver shutter release knob with Auto / Manual switch, different style aperture tab, clear plastic cover over f stop scale and connection for selenium light meterCaptain Jacks Schneider Lens Page
35 mm f2.8 Exakta mount, smaller overall lens than above zebra Exakta Curtagons, small silver button within a larger shutter release knob no aperture tab, no clear plastic cover over f stop scale and no connection for selenium light meterCaptain Jacks Schneider Lens Page
35 mm f/4 Exakta standard mount zebra style focus ring, no shutter release knob, no clear plastic cover over f stop scale and no selenium light meter connection
35 mm f/4 M42 mount zebra style focus ring, no shutter release knob, no clear plastic cover over f stop scale and no selenium light meter connection
35 mm f4 Exakta REAL mount no shutter release knob or clear plastic cover for f stop scale.
Electric 35 mm f/2.8
Edixa 35 mm f2.8 (M42 mount, similar in appearance and design to the standard Curtagon 35mm f2.8 for Exakta with knurled Zebra focus ring)
Edixa 35 mm f2.8 (Edixa bayonet mount, Zebra non-knurled focus ring with 'Schneider Kreuznach - Edixa Curtagon' lettering on front of the lens but placed outside the filter ring)
Edixa 35 mm f2.8 (Edixa bayonet mount, a completely different external design in all silver compared to the previous 2 Edixa-Curtagon designs)
Edixa 35 mm f2.8 (COMPUR printed on outside lens barrel. Design similar in appearance to Schneider Kreuznach Lenses for the German Kodak camera)
Retina 35 mm f/2.8 (a complete lens with focusing ring and aperture control with the DKL Deckel mount)
Alpa 35 mm f2.8
35 mm f2.8, for Rollei SL 35 and SL 350 QBM mount (rare)
35 mm f2.8 Balda-Curtagon - exterior looks like a Retina-Curtagon but has the inscription Balda-Curtagon
A perspective-control lens of 7 elements in 6 groups for 35mm cameras, which allows shifting of up to 7 mm, in an axis defined by a separate rotating ring on the lens. The PA-Curtagon is available inPraktica (M42),Exakta,Alpa-Reflex,Contarex,Leica R,Minolta,Miranda,Canon,Nikon,Contarex, andOlympus OM mounts. It was also available for Rollei QBM mount under the name PC-Curtagon.
Retina-Curtar-Xenon C 35 mm f/4 (made for the GermanKodak Retina IIc/IIC, IIIc/IIIC, andKodak Retina Reflex cameras, the lens only incorporates the front optical block and has no aperture ring, these are part of the camera)
Retina-Curtar-Xenon C 35 mm f5.6 (made for the German Kodak Retina convertible lens cameras, the lens only incorporates the front optical block and has no aperture ring, these are part of the camera)
A 28 mm f/2.8 shift lens with 67EW filter thread and a lens shade with filter holder for 74R rimless filters and M92x1.00 filter ring. Many user-changeable mechanically-only mount modules available from Schneider Kreuznach. Also available as Leica PC-Super-Angulon R 28 mm f/2.8 with Leica R mount. Can be modified from a shift-only lens to atilt-only lens by the German company.
SUPER-ANGULON 28 f/2.8 for Canon EF and Nikon F mount (2014)
SUPER-ANGULON 50 f/2.8 for Canon EF and Nikon F mount (2014)
75 mm f/3.8 for C-mount silver and black finished barrel, inscriptions and front portion of lens barrel look very similar to the 150mm f/4.5 C-mount lens described later in this list
75 mm f/3.8 for Robot camera used in bombing assessment with Luftwaffe Eigentum (Luftwaffe Property) stamped on flange; lens barrel is all silver
75 mm f/3.8 for Robot camera - all black exterior and much more modern in appearance than the Robot lens listed above.
90 mm f/3.5
90 mm f/3.5 Exakta mount, all silver lens barrel
90 mm f/3.5 with Diax written in script on the lens barrel. For Diax camera
100 mm f/3.8
135 mm f/3.5
135 mm f/3.5 Edixa
135 mm f/3.5 SL Tele-Xenar for Rollei 35mm cameras
135 mm Alpa-Tele-Xenar for 35mm cameras has shutter release knob
135 mm f/3.5 Exakta mount with large shutter release knob in early zebra finish (alternating black and silver focus ring)
135 mm f/3.5 M42 mount no shutter release knob, with early zebra finish (alternating black and silver focus ring)
135 mm f/4 Edixa-Tele-Xenar - all silver lens barrel different design than the 2 different zebra finish Edixa Curtagons
135 mm f/4 DKL mount for German Kodak camera
135 mm f/4
135 mm f/4 Balda Tele-Xenar for Balda German Rangefinder
150 mm f/4
150 mm f/4 for C-mount, barrel is satin finished, completely different design than the 150mm f/4.5 listed below
150 mm f/4.5
150 mm (15 cm) f/4.5 C-mount - completely different design than the following 150mm f4.5 C-mount lens - this lens has a black and silver barrel - older in design appearance
150 mm f/4.5 Tele-Xenar for C-mount - very well crafted lens barrel, different in appearance than other lenses in the Tele-Xenar series except the 75mm f/3.8 C-mount lens described above
180 mm f/4.5 for Exakta mount
180 mm (18cm) f/5.5 for Exakta mount - completely different barrel design than the 180mm f/4.5 with partial satin finish
200 mm f/4.8 Retina-Tele-Xenar with DKL mount for German Kodak camera, has tripod mount on lens underside
200 mm f/5.5
200 mm f/5.5 for Robot Camera
200 mm f/5.5 for Exakta mount with later version zebra stripes on barrel
240 mm f/4.5
240 mm f/5.5
240 mm f/5.5 for the early 40mm Practiflex mount, in late 1948 Practiflex lenses were manufactured in M42 mount
360 mm f/5.5
360 mm f/5.5 Alpa Tele-Xenar for Alpa cameras
360 mm f/5.5 Exakta mount with tripod mount on lens barrel
The first variable-focal-length lens with fixed back focal distance for 35 mm cameras, introduced in 1964.
45–100 mm f/2.8
80–240 mm f/4
These lenses were available with 19 interchangeable mounts (loosen two screws and replace with a different mount). The mounts each have a small number on them and equate as follows:
Type of mount
2 = M42 (Pentax Screw, Universal Screw, etc.)
3 = Exacta Bayonet
4 = Alpa Bayonet
10 = Canon FD
11 = C Mount
13 = Nikon F
14 = Leica R
15 = Contare
? = Arriflex
? = Arri MT?
Production of the 80–240 mm f/4 is said to be approximately 250 units, the 45–100 mm f/2.8 about 57 units. The 80–240 is split amongst two different variants.
TheXenar uses aTessar-type optical formula, originally designed by Paul Rudolph for Zeiss, with 4 elements in 3 groups, and the rear group is a cemented doublet. The formula could only be used by Schneider Kreuznach after the original 1902Tessar patent had expired in 1919. Many contemporary lenses with long production runs were based on a similar 4 element / 3 group formula (e.g. LeitzElmar, VoigtländerSkopar, and KodakEktar).
38mmf/2.8 (for 24×24mm)
40mmf/3.5 (for Rollei 35)
45mmf/2.8
50mmf/2.8 (for 24×36mm)
50mmf/2.8 Braun-Xenar R with DKL mount 5 aperture blades
50mmf/2.8 Retina-Xenar for Kodak Type 1 1949 with integral compur shutter
50mmf/2.8 Karat-Xenar with Compur-Rapid Shutter
50mmf/2.8 Edixa-Xenar M42 mount with 5 blade aperture and hill-valley knurled focus ring
50mmf/2.8 Edixa-Reflex with 10 blade aperture (rare)
50mmf/2.8 Edixa-Lauder with 15 blade aperture, aluminum body and 4 elements in 3 groups
50mmf/2.8 Edixa-Reflex with 15 blade aperture, aluminum body and 4 elements in 3 groups
50mmf/2.8 Edixa-Reflex m39 screw mount for Braun-Paxette camera with 15 blade aperture, chromed brass body and 4 elements in 3 groups
50mmf/2.8 Edixa-Reflex with 15 blade aperture chromed brass body, also called Super Xenar in some references, 5 elements in 4 groups m42
50mmf/3.5 Edixa-Reflex with 15 blade aperture chromed brass body - similar in appearance to the '50mm f/2.8 Super Xenar - described above' m42
50mmf/3.5 Retina-Xenar for Kodak Type 1A camera with integral compur shutter
50mmf/3.5 Xenar for Braun-Akarette camera
60mmf/3.5
75mmf/2.8
75mmf/3.5 (for 6×6 medium format, e.g. Rolleicord from model III to Vb)
Designed in 1925 by Tronnier, it is an asymmetrical derivative of the classical double-Gauss design.
16 mm f/1.9
28mm mm f/2.0 Arri standard mount
25 mm f0.95 industrial C-mount lens
25 mm f1.5 Arri Arriflex 16mm movie camera
35 mm f/1.6 – made for Canon EF and Nikon F Mount 2015
40 mm f/1.9 - for Robot cameras
50 mm f/1.5 – made for Leica M39/Screw Mount ca.1942–1947
50 mm f/1.4 – made for Canon EF and Nikon F Mount 2015
50 mm f/1.9
50 mm f/1.9 - Type I 1952 Exakta mount all silver aluminum finish. Large shutter release knob, 6 elements in 4 groups. 18 aperture blades 0.75 m close focus distance. Aperture scale is recessed within a stylistic scalloped aluminum surround.https://lens-db.com/schneider-kreuznach-xenon-50mm-f19-type-1-1952/
50 mm f/1/9 - Type II 1958 Exakta mount with large shutter release knob and clear plastic cover over f stop scale, zebra finish on focus and aperture ring, 6 elements in 4 groups, close focus distance 0.5 m 18 aperture blades;https://lens-db.com/schneider-kreuznach-xenon-50mm-f19-type-2-1958/
50 mm f/1.9 - Retina-Xenon completely different exterior design than Exakta version with DKL Deckel mount for German Kodak
50 mm f/1.9 - Exakta mount with 18 aperture blades, no plastic cover over f stop scale, different design shutter release knob, zebra finish on focus and aperture rings (rare)
50 mm f/1.9 - Type III 1966 Exakta mount with smaller, black shutter release knob, no plastic covering over f stop scale, no zebra finish on focus ring. 6 elements in 4 groups, close focus distance 0.5 m.https://lens-db.com/schneider-kreuznach-xenon-50mm-f19-type-3-1966/ Overall lens is much smaller than the zebra finish lenses previously listed - similar in size to the M42 lens listed next
50 mm f/1.9 M42 mount with no shutter release knob, no plastic covering over f stop scale, no zebra finish on focus ring
50 mm f/1.9 M42 mount with no shutter release knob, no plastic covering over f stop scale, Schneider Krueuznach and Xenon are placed around the extreme outside of the lens beauty ring with focal length and maximum f stop and has vertical zebra stripes but of a different design than the Exakta lenses
PCS stands for "Perspective Control,Scheimpflug", which indicates that this is a tilt and shift version of the Super-Angulon. This lens will shift up to 12 mm up/10 mm down, and tilt up to 10°, all in the vertical axis.
Schneider's line oflarge format lenses has a reputation for high-quality construction and durability, and all lenses carry a lifetime warranty. Some of the higher-end lenses of the Schneider line are among the most expensive optics available in large format photography.
Introduced in 1930, the Angulon is the original Schneider wide-angle lens line. It is a 6-element, 2-group, symmetric anastigmat design somewhat related to theGoerzDagor. Compared to many modern wide angles, they are quite compact, though the angle of coverage is only 80°[citation needed], although an early catalogue from 1934[4] lists this series as having an angle of view of 105° (it is unclear as to the test-conditions or what is deemed an acceptable result). They are color-corrected reasonably well, but suffer from significant softening of the image close to the edge of the circle of illumination. Only the outer elements are supported by the mount, the inner elements are mounted by cementing to the outer elements. For this reason they are prone to "slippage", especially if stored "on end"[clarification needed] in hot climates.
A catalogue from 1934[4] also proclaims the Angulon f/6.8 series as aconvertible anastigmat: "...the components of which can be used separately and give two different foci". When the elements are used separately, their focal lengths are approximately x1.5 for the Rear and x2 for the Front, the narrower aperture results in the need for 2x and 4x longer exposures, respectively.
These are wide-angle lenses which have been developed in several steps. The Super-Angulons areBiogon designs, making for huge, heavy lenses, but also giving very generous angles of coverage. The f/4 lenses give 95° of coverage, the f/8 models give 100°, and the f/5.6 units give a 105° coverage angle. The f/4 and f/5.6 lenses are 8-element, 4-group designs, while the f/8 lenses are older 6-element, 4-group, symmetrical designs. Coating technologies improved along the production life of these lenses, and recent Super-Angulons are multicoated.
47mm f/5.6 (for 6×9 cm)
47mm f/8
53mm f/4 (for 6×7 cm)
65mm f/5.6 (for 4×5 in)
65mm f/8
75mm f/5.6
75mm f/8
75mm f/8 for Linhof Technika
90mm f/5.6
90mm f/8
90mm f/8 SINAR version (SINAR in red letters before Super-Angulon on beauty ring)
The Symmar is one of the original Schneider designs, introduced in 1920, and is still relevant and used today. They have a 6-element, 4-group, symmetric design, and give a 70° angle of coverage. The f/5.6 series of lenses are "convertible", meaning that by removing one of the lens cells the user creates a 3 element lens of longer focal length than the complete lens. The resulting 3 element lens has a narrower aperture of f/12 and an angle of view of 40°. These lenses have two aperture markings, one in white for the complete lens and one in green for the converted lens. When "converted" the resulting 3 element lens will produce softer images than the complete lens.
The Symmar-S is an incremental improvement to the original Symmar design, adding multicoating to the feature set. The lens is not symmetric like its predecessor and is not convertible. The available focal lengths are slightly different, with the subtraction of the 80 mm, and addition of a 120 mm and two 480 mm lenses of varying speeds.
This is a 6-element, 4-groupapochromatic lens design, which has since been replaced by the Apo-Symmar L-Series. Using low-dispersion glass and multicoating techniques, secondary-spectrum reflections have been greatly reduced. The Apo-Symmar lenses up to 360 mm have a 72° angle of coverage, and the 480 mm lenses give a 56° angle.
This is a redesign of the Apo-Symmar line, using newenvironmentally friendly glass compositions and incorporating slightly more coverage. These are 6-element, 4-group apochromatic lenses with a 75° angle of coverage.
These are 8-element, 6-group variations of the Symmar line, which feature an 80° angle of coverage. The HM in the name indicates that these lenses use high-modulation glass elements.
These are wide-angle lenses of a 6-element, 5-group aspheric design, which give a 105° angle of coverage. These lenses are also heavily corrected for chromatic aberrations, and are physically more compact than other wide-angle lenses of similar focal lengths.
Schneider's inexpensive, classic Xenar asymmetrical, anastigmatic, 4-element, 3-group lens design was introduced in 1919, and is largely unchanged from the originalZeissTessar formula. They feature an angle of coverage of 60–62°.
An inexpensive 4-element, 2-grouptelephoto lens design featuring 35° of coverage. The 1000 mm lenses, by comparison, give only an 18° angle of coverage, but require even less focal distance than other telephoto designs (slightly more than 1/2 the effective focal length, as opposed to about 2/3 for a normal tele lens).
These are apochromatic telephoto lenses using a 5-element variation of the Tele-Xenar design. They can be used on subjects as close as 2 meters without a loss of resolution, and are painted a non-reflective flat grey to reduce thermal absorption and expansion under sunlight or hot studio lights. The 400 mm Compact model is half the length and 70% the weight of the normal Apo-Tele-Xenar 400 mm lens. The 350 mm compact model is actually not a tele-design but a dialyte; however it is called the Apo Tele Xenar 350 Compact.[7]
A 5-element, 4-group design, giving a 60° angle of coverage. These are fast lenses compared to other lens designs of similar focal length, but with somewhat less coverage.
The Tele-Arton is a telephoto design. Earlier f/4 and f/5.5 models are 5 elements in 4 groups. The 250 mm f/5.6 is a modern multicoated 5-element, 5-group lens. All models have a 35° angle of coverage.
85mm mm f/4 Retina -Tele-Arton for DKL Kodak mount
The Fine-Art XXL line is designed for ultra-large format shooting, covering 20×24 inches. Both lenses are large and heavy, but are designed with exceptional image quality and a huge 900 mm circle of coverage in mind. The 550 mm lens is a 6/2 construction, giving 78° of coverage, while the 1100 mm lens is 4/4 with 45.7° of coverage. Both lenses are mounted in a Copal 3shutter, and the longer lens is also available in a barrel mount withWaterhouse stops, if the faster f/14 version is desired.
The Digitar lenses are designed for use with digital imaging view camera systems, offering focal lengths ideal for the imaging area of digital backs, which are typically smaller than standardsheet film sizes. Digitar lenses also allow excellent results with film as well as digital imagers.
The M-Digitars are macro lenses offering 1:1 magnification, designed for use with digital imaging systems. They may also be used with good result with film cameras.
The C-Claron, or Copy-Claron, is a family of lenses designed for 1:1 reproduction. The f/4.5 lenses are 4 elements in 3 or 4 groups, the f/5.6 are a 6/4 design, and the f/8 is 8/4. All were supplied from the factory inbarrel mount.
The following Claron lens has these markings on the beauty ring Cy Ξ Claron 1:1,8/50 1:1,6
The Grafik-Clarons are 6-element, 4-group, symmetricalplasmat-type lenses with a 64° angle of coverage, designed for 1:1 flat-field reproduction, but can be used as macro lenses at magnifications up to 5:1 as well. It is recommended to stop down to at least than f/22 for use at infinity. They are available in barrel mount, as well as mounted in shutters.
A wide-angle process lens with 4 elements in 4 groups, optimized for reproduction ratios between 2:1 and 1:2. The 270 mm lens has an angle of coverage of 72°, the 240 mm has 80°, and the 210 mm has 86°, which give these lenses gigantic image circles, though the image softens considerably near the edges of coverage.
Repro-Claron 305 mm f/9, mounted on a Synchro-Compur shutter.
The Repro-Claron is a line of 4-element, 4-group lenses optimized for 1:1 reproduction ratios, but still usable at infinity. The f/9 lenses also have a slot for between-the-lens filtration orWaterhouse stops, the latter of which are available in f/128, f/180, and f/260.
Apo-Artar lenses are an apochromatic symmetrical 4-element design, which is optimized for 1:1 reproduction. These lenses give 46° of coverage up to 480mm, 40° in 890-1065mm, and 38° in 1205mm.
Apo-Artar HM lenses are an apochromatic symmetrical 6-element design, which is optimized for 1:1 reproduction. The HM in the name indicates that these lenses use high-modulation glass elements.
The Macro-Symmar HM is a variation of the Symmar design, engineered for 1:1 macro work and flat-field copying. The 80 mm is a 6-element, 4-group lens with a 47° angle of coverage, while the other lenses in the line are 8-element, 4-group designs with 55° of coverage. The HM in the name indicates that these lenses use high-modulation glass elements.
85 f/2.4 HM (for 24×36 mm) for Canon EF and Nikon F mount (2014)
A process lens with 12 elements in 8 groups and a fixed aperture, optimized for a 1:1 reproduction ratio. It has the capability of altering theaspect ratio of the image by up to 8% without any image degradation.
These lenses are designed for work with a photographicenlarger. They have barrel mounts and many current models feature glow-in-the-dark aperture scales.
This was the original high-end enlarging lens line, the Componar-Satz. This is the currently available low-end enlarging lens line. They are 4-element, 3-group designs, and optimized for enlargements in the 6×-10× range.
An F4.5/105mm Comparon lens used for making photographic enlargements
A middle-grade (but still very good quality) line of enlarging optics. They are 4-element, 3-group,Tessar-based designs, and optimized for enlargements in the 2×-6× range.
The Componon is a high-quality enlarging lens line. These models have been largely superseded by the Componon-S units, though a few Componon lenses are still manufactured today. Optical designs are 6 elements in 4 groups, and they are optimized for >10× enlargements.[11]
50 mm f/4.0 (Durst Componon printed on beauty ring - Durst in red - black lens barrel)
50 mm f/4.0 (Componon printed on beauty ring - Durst printed is Script letters on the silver barrel next to the abbreviation Pat. different design than black barrel version)
80 mm f/5.6 (Durst Componon printed on beauty ring - Durst in red - black lens barrel)
80 mm f/5.6 (Durst Componon printed on beauty ring - Durst in red - silver lens barrel of a different design than the black version)
105 mm f5.6 (Durst Componon printed on beauty ring - Durst in red -black lens barrel)
105 mm f5.6 (Durst Componon printed on beauty ring - Durst in red - barrel is silver rather than black. Different design than black barreled version)
150 mm f5.6 (Durst Componon printed on beauty ring - Durst in red - black lens barrel)
210 mm f5.0 (Durst Componon printed on beauty ring - Durst in red - black lens barrel looks like a large format lens design)
These are high quality enlarger lenses which are updated versions of the Componon line. Most are 6-element, 4-group lenses except for the 50mm F2.8 which was originally released as a 5-element, 4-group design but which changed (from serial number ...?) to a 6-element, 4-group design. They are corrected for flatness of field, contrast, and color rendition.
These are 6-element, 4-group apochromatic enlarger lenses, using high-modulation glass elements, designed for critical color rendition and precision industrial applications.
The Betavaron is a zoom enlarging lens for 35 mm film. The relative positions of the negative, paper easel, and lens remain fixed, while the magnification setting of the lens is changed to alter the degree of enlargement. The design is 11 elements. The Betavaron 3...10, the base model, is limited to 3.1–10× magnification, with a maximum aperture of f/4.1-f/5.6 (the aperture changes slightly with the magnification). Adding a supplementary −0.9 diopter lens turns the unit into a Betavaron 5,3...17, and changes the magnification range to 5.3–17×, and the maximum aperture to f/5.4-f/5.7.
Available as either anamorphic converters for prime lenses longer than 42.5 mm, or as standalong anamorphic projection lenses, in focal lengths from 42.5 mm to 100 mm.
The Super-35-Cinelux is a line of projection lenses designed for 35 mm film. Lenses of 55 mm focal length and shorter are 7 elements, and 60 and longer are 6, with no cemented surfaces to avoid any possible damage due to heat.
A projection lens incorporatingaspheric elements to correct forspherical aberration. They feature a variable aperture with an aperture range from f/1.7 to f/4. These are available in normal oranamorphic models.
0.75x projector lens black with zebra bars around lens barrel - Schneider Kreuznach Vario-Curtar 0.75 x is printed around the beauty ring
0.75x projector lens black different lens barrel design - shorter than the above listed zebra lens. Schneider Kreuznach Vario-Curtar 0.75 x is printed around the outside of the lens barrel near the main lens element.
.svg)
![[icon]](/mt/?noimg=&dark=on&url=https%3a%2f%2fen.wikipedia.org%2fwiki%2fFile%3aWiki_letter_w_cropped.svg)
