Pinkham Visual Quality IV No. 2, Euryscop IV #3

[Jonathan Brewer]

I know the story behind the Pinkham & Smith, F Holland Day and his request to have a soft focus lens reproduced by said folks, and the end result of this lens, et al, what I'd like is specific info on the Pinkham & Smith Visual Quality IV No. 2, serial No. 2895. Barbara Lowry has been gracious enough to provide me with some valuble info, refering to the 12 inch VQ IV, the casing of this lens is 3.5 inches in diameter, and it's 3 5/8 inches long from the front edge of the casing to the rear flange. Is the No 2 a second run of the Visual Quality IV, if you know?

I'm not sure if this is a 12 inch, Clive Russ who sold me the lens guestimates 12-14 inches, now that I have the lens in hand, the iris incredily closes only from F4.5-8, I'm desperate to know the particulars of this lens.

Can anyone tell me any particulars about the Voigtlander & John, Euryscop IV No. 3, ser. #48319?

It's supposed to be a 10 inch lens.

[Ernest Purdum]

Regarding the P&S, the "No.2" is a size designation for the 12" focal length recommended for use on 5" X 7". The Series IV was made in at least three sizes of 9",. 12" and 14" focal lengths. The restricted diaphragm probably is due to a desire to keep the lens in the range of diffused focus. If stopped well down it would probably be sharper than the maker's intention.

A Euryscope IV No. 3 is an 11 1/2" lens recommended for portrait or group work on 8" X 10" or landscapes at 11" X 14". "Voigtlander & John" is a very frequent misreading of the fancy German script on the lens. The name is actually Voigtlander & Sohn, German for son. Curiously, the fourth series is called the "Extra Rapid" Euryscope, but the listing I have does not specify the aperture.

[Jason Greenberg Motamedi]

The listing I have (Benjamin French and Co., April 1890) has series IV as f/6

[Jonathan Brewer]

You're right, I certainly misread the script, .........................................this is a pleasant surprise about the Euryscop, I'm glad the P & S is 12 inches, because the 14 inch would've been too big for what I want to do, and I can still get F4.5 w/this lens, w/the advantage of mounting it in an Ilex #5 shutter. Adam did some measurements, and discovered that the English '4.5' on the iris ring, is really F4, mounted into the Ilex #5, the F4 is shaved down to F4.5.

I've had the P & S remounted by Steve Grimes and it's lens cells will go into an Ilex #5 shutter, Adam will also front mount the Euryscop to the same shutter, the Ilex # is at Grimes now being mounted in a toyo 110mm lensboard, so I can use these lenses in 4x5 or 810, w/the 110mm in an adaptor.

Thanks everybody, I really appreciate the info, it will change what format I attempt to shoot in w/both lenses.

[Jim Galli]

Jonathan,

When I received my P&S Serie IV Visual some months ago I asked similar questions and got similar response. There doesn't seem to be much out there. The generation that bought and used them is gone. After you have the pleasure of using it, you'll know as much as I do, that it indeed has a marvelous personality to it. It is perhaps my favorite lens followed closely by 2 cousins I fear to mention as it might affect future prices. If you get in the mood to do 8X10 the 12" will cover nicely by the time you move in for busts. Maybe sooner as these are a very simple design and short enough in length to allow far greater angle than the Petzval types. My P&S is a 13" which doesn't seem to match any of the lists ??? Did you see the tailgate portraits I did with it recently over at Ape Hug. Here's a direct link to my little blog, and here's a link to the Apug discussion. Here's a page where I used the P&S, the Euryscop IV, and a Verito in a shoot out comparison! There's some operator error that hinders the Verito but still one can get some idea.

Now, the Euryscope IV. It is one of those lenses that makes one ask why they bothered to make anastigmats. I have a #2, #5, and #6. Sadly they don't get used much as they are simply too sharp for my tastes in portraiture. With just 4 air glass surrfaces they have gorgeous contrast.

[Jonathan Brewer]

Hi Jim

Yes, I saw the tailgate portraits, and my wife wished I hadn't, the Euryscop has such a 'personality', I began thinking about this lens, and the next thing I knew, I was typing in a search daily, maybe I'm over the 'hump' now, and can stop now with this. Seriously, I'm happy I got the lens, 'bright', 'high energy', 'very crisp', but still 'muted' is what I got from your Euyscop shot.

The gentleman who sold me the Euryscop is a photographer, but was asking me questions about the lens, all I could tell him is what I wanted to do with this lens. I've become sick of all the diffusion I used to put over the lens, I don't do it anymore, why should I put an expensive and supersharp lens on a camera, and then feel like an idiot, while I figure out if I've got enough diffusion over the lens to degrade it's perfromance. I feel much better doing what I do with a lens that does it naturally.

The tailgate portraits have raised awareness in terms of the flexibility/capability of these types of lenses, I believe Tedd Harris also touched on this, talking about the Cooke PS 945 stopped down, and it perceived sharpness. These lenses can produce a muted texture and tone, and they can be stopped down for some nice results.

I've also seen some of your still lifes, shot along the same lines w/projection lenses, I think you're onto something, you have a book size odyssey with unique statements in selective focus and texture with all this, all the lenses and pictures of the lenses themselves et al, and their imagery, is in a way, it seems to me, bringing this type of photography back to life. I think you got a book, and I'd buy it, great and interesting shots from $10.00 lenses, artistry from nothing.

I didn't think of it at the time, but I actually wish I'd had Adam @ S.K. Grimes photograph the guts of my P & S after he converted the lens to be remounted in shutter, there must be somebody somewhere w/documentation that could unlock more of this lense secrets.

[Jonathan Brewer]

Your shot of Roger is excellent, doesn't look 'mushy', 'selective focus' right on the money, the framing in on the money, he's squinting, but he looks like he's supposed to be doing that, this shot looks right, I can't imagine this shot done better.

It all goes back to who's using these lenses, overkill turning the shot to mush gives this type of photography a bad name, Roger is what it's all about.

[Jonathan Brewer]

BTW............................Theres a Voigtlander brass lens on e-bay, it is 14 inches long, and 6 inches in diameter, and is on a 2 inch THICK lensboard!!!!

[Jim Galli]

Did you see what that brute finished for! I think it's the same as my 22" Petzval. Glad I've got some of this stuff under lock and key already as I couldn't afford it NOW! Thanks for the nice words. I agree that when we get this stuff it's very hard not to overdo the effects that we bought it for. I'm playing with some new toys this afternoon. 15.5" Wolly Series II Velostigmat with the diffusion control. Came with a #4 Century. That makes 3! Anybody need one? Sorry Ralph.

[Asher Kelman]

I know the story behind the Pinkham & Smith, F Holland Day and his request to have a soft focus lens reproduced by said folks, and the end result of this lens, et al, what I'd like is specific info on the Pinkham & Smith Visual Quality IV No. 2, serial No. 2895. Barbara Lowry has been gracious enough to provide me with some valuble info, refering to the 12 inch VQ IV, the casing of this lens is 3.5 inches in diameter, and it's 3 5/8 inches long from the front edge of the casing to the rear flange. Is the No 2 a second run of the Visual Quality IV, if you know?

I'm not sure if this is a 12 inch, Clive Russ who sold me the lens guestimates 12-14 inches, now that I have the lens in hand, the iris incredily closes only from F4.5-8, I'm desperate to know the particulars of this lens.

Can anyone tell me any particulars about the Voigtlander & John, Euryscop IV No. 3, ser. #48319?

It's supposed to be a 10 inch lens.

Hi Jonathan,

May I join your esteemed thread, albeit late!

Just for documentation, my own P&S Visual Quality, No 2 Series IV serial # 2846, so it's close to the one Barbara's "historic" one at # 2895. I've now collected most of the the lenses I want and will be mounting them for use as intended and then deciding which to keep where the lenses are similar. Well this lens is close to the modern PS945.

For 8x10 and portraits, the focal length of 12", (304.8mm) and f4.0 is better for me than the PS945 at 229mm and f4.5. Well I will be testing them side by side and see which suits me better. The nice thing about the newer Cooke lens is that it's pristine and in a modern Copal shutter. However the extra focal length of the older lens is happiness for me!

Does anyone rebuild the Wollensak studio shutters? That would be nice. As the apertures work and the lens closes down with the lever, I guess that with cleaning it could be brought back to life. I Could simply use a Packard and a series of neutral density filters!

Asher