Schneider Kreuznach

Schneider Kreuznach is the abbreviated name of the company Jos. Schneider Optische Werke GmbH, which is sometimes also simply referred to as Schneider. They are a manufacturer of industrial and photographic optics.

The company was founded on 18 January 1913 by Joseph Schneider as Optische Anstalt Jos. Schneider & Co. at Bad Kreuznach in Germany. The company changed its name to Jos. Schneider & Co., Optische Werke, Kreuznach in 1922, and to the current Jos. Schneider Optische Werke GmbH in 1998.

The company is known partly for its many innovative lens designs over the course of its existence. In 2001, Schneider received an Oscar for Technical Achievement for their Super-Cinelux motion picture lenses. They are best known as manufacturers of high-quality large format lenses for view cameras, enlarger lenses, and high quality photographic loupes. They also make a limited amount of small- and medium-format lenses, and have, at various times, manufactured eyeglasses and camera rangefinders, and are currently an OEM lens maker for Kodak and Samsung digital cameras. They currently supply the lenses for the LG Dare. They also supplied the lenses for the classic Kodak Retina and Kodak Retinette camera series in the 50s and 60s. In 1961, they created Feinwerktechnik GmbH, a manufacturer of electrical-hydraulic servo valves. Over the past several years, they have acquired several other companies:
*In 1985, they acquired B+W Filterfabrik, Joh. Weber KG, Wiesbaden, maker of the well-respected line of B+W filters.
*In July 1987, they purchased Rollei Fototechnic GmbH.
*In 1989, they purchased Käsemann/Oberaudorf, a manufacturer of glass and plastic polarizing materials.
*In 2000, they acquired Century Optics, an American lensmaking firm.

From the start of its production in 1914, Schneider had produced their 500,000th lens by June 1932, their millionth by November 1936, and their 10 millionth lens by January 1967. As of April 2000, they have produced over 14,730,000 lenses. The list below converts any cm designations on earlier lenses to mm (so a 16.5 cm lens is shown as a 165 mm lens).

mall format lenses

C-Curtagon

A very small lens, available in M42 screw mount.

*35 mm f/2.8
*35 mm f/4

Curtagon

*28 mm f/4
*35 mm f/2.8

PA-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 in Praktica, Exakta, Alpa-Reflex, Leica R, Minolta, Miranda, Canon, Nikon, Contarex, and Olympus OM-1 mounts.

*35 mm f/4

Radionar

A 3-element, 3-group design with a minimum aperture of f/22.

*40 mm f/2.8

Reomar

A 3-element, 3-group design with a minimum aperture of f/22.

*45 mm f/2.8

uper-Angulon

An 8/4 wide-angle lens with a minimum aperture of f/22.

*21 mm f/3.4

uper-Angulon R

A 10/8 wide-angle lens with a minimum aperture of f/22.

*21 mm f/4

Tele-Arton

*90 mm f/4

Tele-Variogon

*80-240 mm f/4

Tele-Xenar

*5 cm f/5.5 (early 1930s)
*75 mm f/3.8
*90 mm f/3.8
*135 mm f/3.5
*135 mm f/4
*150 mm f/4
*150 mm f/4.5
*200 mm f/5.5
*360 mm f/5.5

Variogon

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

Xenagon

4 elements in 3 groups of genre "Wide Angle Tessar"

*30 mm f/3.5
*35 mm f/2.8

Xenar

*38 mm f/2.8
*45 mm f/2.8
*50 mm f/2.8
*5 cm f/3.5

Xenogon

A wide-angle of type Xenon. 7 elements in 5 groups.

*35 mm f/2.8

Xenon

Designed in 1925 by Tronnier, it is an asymmetrical derivative of the classical double-Gauss design.

*40 mm f/1.9
*50 mm f/1.9
*50 mm f/2.0 1954-1957
*17 mm f/0.95
*25 mm f/0.95

Medium format lenses

Variogon

The Variogon is a zoom lens.

*60-140mm f/4.6 AF (for Rollei 6000)
*70-140 mm f/4.5 (for Bronica ETR)
*75-150 mm f/4.5 (for Rollei 6000, Bronica SQ)
*125-250 mm f/5.6 (for Bronica ETR)
*140-280 mm f/5.6 (for Hasselblad 500 C/M, Hasselblad 2000 FC, Rollei 6000)

uper-Angulon

*40 mm f/3.5 (for Rollei 6000)
*50 mm f/2.8 (for Rollei 6000)
*50 mm f/2.8 AF (for Rollei 6000)

PCS Super-Angulon

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.

*55 mm f/4.5 (for Bronica ETR, Rollei 6000)

Curtagon

*60 mm f/3.5 (for Rollei 6000)

Xenotar

*80 mm f/2.8 (for Rollei 6000)
*80 mm f/2 (for Rollei 6000)
*80 mm f/2.8 AF (for Rollei 6000)

Apo-Symmar Makro

*90 mm f/4 (for Rollei 6000)
*150 mm f/4.6 (for Rollei 6000)

Tele-Xenar

*150 mm f/4 (for Rollei 6000)
*150 mm f/4 AF (for Rollei 6000)
*180 mm f/2.8 (for Rollei 6000)
*180 mm f/2.8 AF (for Rollei 6000)

Apo-Tele-Xenar

* 300 mm f/4 (for Rollei 6000)

Large format lenses

Schneider's line of large 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.

Angulon

Introduced in 1930, the Angulon is the original Schneider wide-angle lens line. It is a 6-element, 2-group, symmetric design somewhat related to the Goerz Dagor. Compared to many modern wide angles, they are quite compact, though the angle of coverage is only 80°. 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" in hot climates.

*65 mm f/6.8 (for 6×9 cm)
*90 mm f/6.8 (for 9×12 cm)
*120 mm f/6.8 (for 13×18 cm or 5×7 in)
*165 mm f/6.8 (for 18×24 cm, 8×10 in at small apertures)
*210 mm f/6.8 (for 24×30 cm)

uper-Angulon

These are wide-angle lenses which have been developed in several steps. The Super-Angulons are Biogon 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.

*47 mm f/5.6 (for 6×9 cm)
*47 mm f/8
*53 mm f/4 (for 6×7 cm)
*65 mm f/5.6 (for 4×5 in)
*65 mm f/8
*75 mm f/5.6
*75 mm f/8
*90 mm f/5.6
*90 mm f/8
*120 mm f/8 (for 5×7 in)
*121 mm f/8
*165 mm f/8 (for 8×10 in)
*210 mm f/8 (for 11×14 in)

uper-Angulon XL

This is an update of the Super-Angulon lens design, incorporating modern glass and multicoating technologies, and an expanded 120° angle of coverage.

*38 mm f/5.6 (for 6×9 cm)
*47 mm f/5.6 (for 4×5 in)
*58 mm f/5.6
*72 mm f/5.6 (for 5×7 in)
*90 mm f/5.6

ymmar

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. These 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 smaller maximum f-number. 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.

*80 mm f/5.6 (for 6×7 cm)
*100 mm f/5.6 (for 6×9 cm)
*105 mm f/5.6 (for 6×9 cm)
*135 mm f/5.6 (for 4×5 in)
*150 mm f/5.6
*180 mm f/5.6 (for 5×7 in)
*210 mm f/5.6
*240 mm f/5.6 (for 8×10 in)
*300 mm f/5.6
*360 mm f/5.6 (for 11×14 in)

ymmar-S

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.

*100 mm f/5.6 (for 6×9 cm)
*120 mm f/5.6 (for 4×5 in)
*135 mm f/5.6
*150 mm f/5.6
*180 mm f/5.6 (for 5×7 in)
*210 mm f/5.6
*240 mm f/5.6 (for 8×10 in)
*300 mm f/5.6
*360 mm f/6.8 (for 11×14 in)
*480 mm f/8.4
*480 mm f/9.4

Apo-Symmar

This is a 6-element, 4-group apochromatic 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.

*100 mm f/5.6 (for 6×9 cm)
*120 mm f/5.6 (for 4×5 in)
*135 mm f/5.6
*150 mm f/5.6
*180 mm f/5.6 (for 5×7 in)
*210 mm f/5.6
*240 mm f/5.6 (for 8×10 in)
*300 mm f/5.6
*360 mm f/6.8 (for 11×14 in)
*480 mm f/8.4
*480 mm f/9.4

Apo-Symmar L-Series

This is a redesign of the Apo-Symmar line, using new environmentally-friendly glass compositions and incorporating slightly more coverage. These are 6-element, 4-group apochromatic lenses with a 75° angle of coverage.

*120 mm f/5.6 (for 4×5 in)
*150 mm f/5.6 (for 5×7 in)
*180 mm f/5.6
*210 mm f/5.6 (for 8×10 in)
*300 mm f/5.6
*480 mm f/8.4 (for 11×14 in)

uper-Symmar HM

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.

*120 mm f/5.6 (for 4×5 in)
*150 mm f/5.6 (for 5×7 in and 4x10 in)
*210 mm f/5.6 (for 8×10 in)

uper-Symmar XL

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.

*80 mm f/4.5 (for 5×7 in)
*110 mm f/5.6 (for 5x7 in)
*150 mm f/5.6 (for 8×10 in)
*210 mm f/9.4 (for 11×14 in)

Xenar

Schneider's inexpensive, classic Xenar asymmetrical, anastigmatic, 4-element, 3-group lens design was introduced in 1919, and is largely unchanged from the original Zeiss Tessar formula. They feature an angle of coverage of 60-62°.

*75 mm f/3.5 (for 6×6 cm)
*100 mm f/3.5 (for 6×9 cm)
*105 mm f/4.5
*135 mm f/3.8 (for 4×5 in)
*135 mm f/4.5
*135 mm f/4.7
*150 mm f/4.5
*150 mm f/5.6
*165 mm f/4.5
*180 mm f/4.5
*210 mm f/4.5 (for 5×7 in)
*210 mm f/6.1
*240 mm f/4.5
*300 mm f/4.5 (for 8×10 in)
*300 mm f/5.6
*360 mm f/4.5
*420 mm f/4.5 (for 11×14 in)
*480 mm f/4.5 (for 14×17 in)

Tele-Xenar

An inexpensive 4-element, 2-group telephoto 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). All of the Tele-Xenars except the 270 mm will cover the 5×7 inch format.

*180 mm f/5.6
*270 mm f/5.5
*360 mm f/5.5
*500 mm f/5.5
*1000 mm f/8
*1000 mm f/10

Apo-Tele-Xenar

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.

*400 mm f/5.6 (for 5×7 in)
*400 mm f/5.6 Compact
*800 mm f/12 (for 8×10 in)

Xenotar

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.

*75 mm f/3.5 (for 6×6 cm)
*80 mm f/2.8 (for 6×7 cm)
*100 mm f/2.8 (for 6×9 cm)
*100 mm f/4 (for 6×7 cm)
*135 mm f/3.5 (for 4x5 in)
*150 mm f/2.8 (for 4×5 in)
*210 mm f/2.8 (for 5×7 in - Very Rare)

Tele-Arton

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.

*180 mm f/4 (for 6×9 cm)
*180 mm f/5.5
*240 mm f/5.5
*250 mm f/5.6 (for 4×5 in)
*270 mm f/5.5
*360 mm f/5.5 (for 5×7 in)

Fine-Art XXL

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 3 shutter, and the longer lens is also available in a barrel mount with Waterhouse stops, if the faster f/14 version is desired.

*550 mm f/11
*1100 mm f/22(14)

Isconar

One of Schneider's original lens designs, a symmetric double gauss design, introduced in 1914. Sectstub|date=May 2008

Rubinar

Radiogon

A 4-element, 4-group design. Sectstub|date=May 2008

Motion picture lenses

Schneider produced its first cinema projection lenses in 1915.

Cinegon

10mm f 1.8 (16mm format)

Cinelux

uper-Cinelux

A range of projection lenses with an aperture of f/2.

*24 mm f/2 (for 35 mm)
*26 mm f/2
*28 mm f/2
*30 mm f/2
*32.5 mm f/2
*35 mm f/2
*37.5 mm f/2
*40 mm f/2
*42.5 mm f/2
*45 mm f/2
*47.5 mm f/2
*50 mm f/2
*52.5 mm f/2
*55 mm f/2
*57.7 mm f/2
*60 mm f/2 (for 35 mm or 70 mm)
*65 mm f/2
*70 mm f/2
*75 mm f/2
*80 mm f/2
*85 mm f/2
*90 mm f/2
*95 mm f/2
*100 mm f/2

ES Super-Cinelux 2X

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.

uper-35-Cinelux

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.

*42.5 mm f/2
*47.5 mm f/2
*50 mm f/2
*55 mm f/2
*60 mm f/2
*65 mm f/2
*70 mm f/2
*75 mm f/2
*80 mm f/2
*85 mm f/2
*90 mm f/2
*95 mm f/2
*100 mm f/2

Cinelux-Ultra

*30-45 mm Sectstub|date=May 2008

Cinelux-Première

A projection lens incorporating aspheric elements to correct for spherical aberration. They feature an aperture range from f/1.7 to f/4. These are available in normal or anamorphic models.

*57.5 mm f/1.7
*60 mm f/1.7
*62.5 mm f/1.7
*65 mm f/1.7
*67.5 mm f/1.7
*70 mm f/1.7
*72.5 mm f/1.7
*75 mm f/1.7
*77.5 mm f/1.7
*80 mm f/1.7
*82.5 mm f/1.7
*85 mm f/1.7

Cine-Xenon

A 6-element double gauss lens for film projection.

*26 mm f/2.8
*30 mm f/2
*35 mm f/2
*35 mm f/2.8
*40 mm f/2
*45 mm f/2
*45 mm f/2.8
*50 mm f/2
*50 mm f/2.8
*55 mm f/2
*60 mm f/2
*60 mm f/2.8
*65 mm f/2
*70 mm f/2
*75 mm f/2
*80 mm f/2
*85 mm f/2
*90 mm f/2
*90 mm f/2.5
*95 mm f/2
*100 mm f/2
*105 mm f/2
*105 mm f/2.4
*110 mm f/2
*115 mm f/2
*120 mm f/2
*125 mm f/2
*130 mm f/2
*135 mm f/2
*140 mm f/2
*145 mm f/2
*150 mm f/2
*150 mm f/2.8

Note that some Xenon formula lenses sold for motion picture use are marked 'Xenon' rather than 'Cine-Xenon'.

Vario-Cine-Xenon

A variable-focal-length projection lens.

*85-210 mm f/3.9

Optivaron

*6-66 mm f/1.8 C-mount zoom lens (1.5 m to inf.) with macro control from 0 to 1.5 meters (0 to 59 inches)

PC Cine-Xenon

A 6-element projection lens with perspective control, to eliminate problems with cross-fading multiple projectors.

*45 mm f/2.8
*60 mm f/2.8
*90 mm f/2.8
*105 mm f/2.9

Prolux

Long focal-length projection lenses.

*135 mm f/3
*150 mm f/3
*180 mm f/3.5
*200 mm f/3.5
*250 mm f/4.3

Vario-Prolux

Variable-focal-length projection lenses.

*70-120 mm f/3.5

Variogon

A variable-focal-length lens of 13 elements in 9 groups, originally introduced in 1959, after two years of development.

*8-48 mm f/1.8 (for 8 mm)
*10-40 mm f/2.8

Digital lenses

Digitar

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 standard sheet film sizes. Digitar lenses also allow excellent results with film as well as digital imagers.

*47 mm f/5.6
*60 mm f/4.0
*80 mm f/4.0
*90 mm f/4.5
*100 mm f/5.6
*120 mm f/5.6
*150 mm f/5.6

WA-Digitar

The WA-Digitar is a wide angle lens designed for use with digital imaging systems.

*28 mm f/2.8

M-Digitar

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.

*80 mm f/5.6
*120 mm f/5.6

Variogon

Copy and macro lenses

Claron

One of the original lens designs. Sectstub|date=May 2008

C-Claron

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 in barrel mount.

*100 mm f/8
*200 mm f/4.5
*200 mm f/5.6
*210 mm f/4.5
*210 mm f/5.6
*240 mm f/5.6

D-Claron

The D-Claron (Dokumentations-Claron) is a lens family designed for copying of documents onto microfilm.

*10 mm f/1.8 (for 16 mm)
*16 mm f/2
*25 mm f/1.4
*28 mm f/2
*35 mm f/2
*40 mm f/2
*60 mm f/5.6 (for 35 mm)
*105 mm f/5.6 (for 70 mm)
*210 mm f/5.6 (for 105 mm)

G-Claron

The Grafik-Clarons are 6-element, 4-group, symmetrical dialyte-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.

*150 mm f/9 (for 4×5 in)
*210 mm f/9 (for 5×7 in)
*240 mm f/9
*270 mm f/9 (for 8×10 in)
*305 mm f/9
*355 mm f/9

G-Claron WA

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.

*210 mm f/11 (for 20×24 in)
*240 mm f/11 (for 16×20 in)
*270 mm f/11 (for 20×24 in)

Repro-Claron

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 or Waterhouse stops, the latter of which are available in f/128, f/180, and f/260.

*55 mm f/8
*135 mm f/8
*210 mm f/9
*305 mm f/9
*355 mm f/9
*420 mm f/9
*485 mm f/9
*610 mm f/9

Apo-Artar

Apo-Artar lenses are an apochromatic symmetrical 4-element design, which is optimized for 1:1 reproduction. These lenses give 40° of coverage, and are free from mechanical vignetting at f/22 and above.

*240 mm f/9 (for 4×5 in)
*360 mm f/9 (for 8×10 in)
*480 mm f/11

Macro-Symmar HM

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.

*80 mm f/5.6 (for 6×9 cm)
*120 mm f/5.6 (for 5×7 in)
*180 mm f/5.6 (for 8×10 in)

M-Componon

The M-Componon is a special-purpose macro (makro) lens, designed for greater than 1:1 reproduction.

*28 mm f/4 (4:1 ~ 20:1)
*50 mm f/4 (2:1 ~ 12:1)
*80 mm f/4 (1:1 ~ 7:1)

Variomorphot

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 the aspect ratio of the image by up to 8% without any image degradation.

*480 mm f/22 (for 18×20 in)

Enlarger lenses

These lenses are designed for work with a photographic enlarger. They have barrel mounts and many current models feature glow-in-the-dark aperture scales.

Componar

This is the original Schneider line of enlarging lenses, introduced in 1914. Optical designs are 3 elements in 3 groups.

*50 mm f/4 (for 35 mm)
*50 mm f/4.5
*60 mm f/4 (for 4×4 cm)
*75 mm f/4.5 (for 6×6 cm)
*80 mm f/4.5 (for 6×7 cm)
*105 mm f/4.5 (for 6×9 cm)
*135 mm f/4.5 (for 4×5 in)

Componar-C

A 3-element, 3-group line of enlarging lenses, optimized for enlargements of 4×-8×.

*50 mm f/2.8 (for 35 mm)
*75 mm f/4 (for 6×6 cm)
*105 mm f/4.5 (for 6×9 cm)

Componar-S

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.

*50 mm f/2.8
*80 mm f/4.5
*90 mm f/4.5
*105 mm f/4.5

Comparon

A mid-grade line of enlarging optics. They are 4-element, 3-group, Tessar-based designs, and optimized for enlargements in the 2×-6× range.

*50 mm f/4 (for 35 mm)
*75 mm f/4.5 (for 6×6 cm)
*105 mm f/4.5 (for 6×9 cm)
*135 mm f/4.5 (for 4×5 in)
*150 mm f/5.6 (for 4×5 in)
*210 mm f/5.6 (for 5×7 in)
*300 mm f/5.6 (for 8×10 in)

Componon

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 2×-20× enlargements.

*16 mm f/2.8
*25 mm f/4
*28 mm f/4 (for 18×24 mm)
*35 mm f/4 (for 126 film)
*40 mm f/4 (for 24x24 mm)
*50 mm f/4 (for 24x36 mm)
*60 mm f/5.6 (for 4×4 cm)
*80 mm f/5.6 (for 6×6 cm)
*100 mm f/5.6 (for 6×7 cm)
*105 mm f/5.6 (for 6×9 cm)
*135 mm f/5.6 (for 4×5 in)
*150 mm f/5.6 (for 4×5 in)
*180 mm f/5.6 (for 5×7 in)
*210 mm f/5.6 (for 5×7 in)
*240 mm f/5.6 (for 8×10 in)
*300 mm f/5.6 (for 24×30 cm)
*360 mm f/5.6 (for 30×40 cm)

Componon-S

These are high quality, 6-element, 4-group enlarger lenses, which are updated versions of the Componon line. They are corrected for flatness of field, contrast, and color rendition.

*50 mm f/2.8 (for 35 mm)
*80 mm f/4 (for 6×6 cm)
*80 mm f/5.6
*100 mm f/5.6 (for 6×9 cm)
*105 mm f/5.6
*135 mm f/5.6 (for 4×5 in)
*150 mm f/5.6 (for 4×5 in)
*180 mm f/5.6 (for 5×7 in)
*210 mm f/5.6 (for 5×7 in)
*240 mm f/5.6 (for 8×10 in)
*300 mm f/5.6 (for 24×30 cm)
*360 mm f/6.8 (for 10x12 in)

WA-Componon

A 6-element, 3-group line of wide-angle enlarging lenses.

*40 mm f/4 (for 35 mm)
*60 mm f/5.6 (for 6×6 cm)
*80 mm f/5.6 (for 6×9 cm)

G-Componon

A 6-element, 4-group line of lenses optimized for enlargements above 20×.

*100 mm f/5.6 (for 6×9 cm)
*150 mm f/5.6 (for 4×5 in)
*210 mm f/5.6 (for 5×7 in)
*240 mm f/5.6
*300 mm f/5.6 (for 8×10 in)
*360 mm f/6.8
*480 mm f/9.4 (for 24×30 cm)

APO-Componon HM

These are 6-element, 4-group apochromatic enlarger lenses, using high-modulation glass elements, designed for critical color rendition and precision industrial applications.

*40 mm f/2.8
*45 mm f/4
*60 mm f/4
*90 mm f/4.5
*120 mm f/5.6
*150 mm f/4

Betavaron

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.

External links

* [http://www.schneider-kreuznach.com/index_e.htm Homepage of Schneider Kreuznach in English]
* [http://www.schneideroptics.com Schneider Optics - Subsidiary of Schneider Kreuznach]
* [http://www.schneideroptics.com/info/vintage_lens_data/index.htm Vintage lens data] from Schneider-Kreuznach
* [http://www.schneiderkreuznach.com/archiv/archiv.htm Brochure archive] from Schneider-Kreuznach (page is in German, but brochures are in German, English, and French)
* [http://www.apug.org/forums/showthread.php?t=24634 Some discussion of the Angulon] from APUG
* [http://www.fortunecity.com/meltingpot/lawrence/250/lens.html Some lens design profiles]
* [http://www.cartage.org.lb/en/themes/Arts/photography/photproces/photogralens/carlzeiss/carlzeiss.htm Information on various lens designs]