Klimsch

[Kevin J. Kolosky]

Okay, I did the search and looked at Wooden's Lens guide first. I have two rath er large (24 inch and 32 inch) apo-rodenstock lenses that are marked Klimsch in red. Does anyone know what Klimsch stands for? Thank you. Kevin

[David Vickery]

I think it means Even Heavier.

[Brian C. Miller]

Perhaps in this case it refers to the designer. A search on Google came up with a few people with the surname of Klimsch, and also a number of products bearing the name Klimsch. Perhaps Rodenstock manufactured the lenses for Klimsch cameras.

[Bob Salomon]

It is the name of the process camera that the lenses were mounted on. The lenses were marketed by Klimsch

[Kevin J. Kolosky]

Thanks Bob. would you know if they differ much from examples that are not marked Klimsch. Kevin

[Bob Salomon]

They were matched to the camera they were made for. Special mounts, levers, etc.

But all process lenses are designed for the same purpose.

making seps and copys from fat field originals at a specific aperture (600mm + at f32 only, shorter versions at f22 only).

They are outperformed by other lens designs for 3 dimensional objects at any ratio the lens is designed for. Also other designs perform better over a wider range of apertures then a process lens does.

[Kevin J. Kolosky]

Bob

when you say "designed for" what does that mean. For instance, I have looked at prints made from schneider and rodenstock 360mm lenses as compared to an apo-nikkor 360 mm lens. all shot at infinity focus at the same subject on the same film developed for the same time. except for very tiny differnces in contrast my eyes could not see a difference in terms of sharpness or quality, and in fact the apo looked sharper even though it was designed for 1 to 1 ratios.

Kevin

[Bob Salomon]

Try comparing them to an Apo Sironar S shot at 1:5 to 00 at apertures from f8 to 22 of identical scenes, shot at the same time on the same film.

[Kevin J. Kolosky]

Bob

Send one right over in 360mm and I will try it.

Kevin

[Per Volquartz]

I own Apo Ronars, Apo Nikkors, Sironar N's, Apo Tessars, Super Angulons, etc... If you make contact prints from negs. made from any of these large format lenses you cannot tell the difference in sharpness. If you do still life photography like product / table top the Apo Nikkors and Apo ronars are extremely sharp with incredible color and contrast. But these lenses do have a narrower angle of view and will not allow for extreme camera movements.

My all time sharpest lens (that I unfortunaly sold at a careless moment) was an 180mm Apo Nikkor process lens. You could lay different transparencies shot with different lenses out on a light table and stand back. The color, clarity and sharpness of the transparencies that this particular lens created was unbelievable. Today the Apo Nikkors can be bought for a song on ebay. In my mind they represent about the best value for the money anywhere...

I don't really look at lens specs or descriptions that much except as an initial guide. What really counts is the final result: what is on the film...