Nah...! You only need to point out the bits you think were wrong, and say what about them in particular is wrong and how it would be right.
Originally Posted by Fred De Van
Not much more work than writing the wrong bits has been.
It would be easier (though a lot of work) to discuss the various lens design families.
Triplets, for instance, are early examples of a design idea that evolved into more complicated lens types. But not all lenses have triplets in their ancestry. Double-Gauss lenses, for instance, are a different, separate lineage. You would run into severe difficulties trying to explain a Planar as an 'evolved' Tessar.
Do it like this, and an Biogon would not seem to be an 'outlier'. It does indeed fit a scheme.
But i fear Fred is right: there's enough to say to fill entire books with.
One more remark though, so there is no misunderstanding: the number of elements are an indicator for from what idea a lens design family started, and how it evolved.
Progress is not just a matter of adding more elements. Better, newer lenses have been made by reducing the number of elements as well.
This page on the Carl Zeiss site explains the names:
It's the third link in the middle section of the page ("Lens names").
Some of the lenses are extremely complex and have a large number of elements, while others are simpler designs.
I notice they don't list the Triotar (a triplet). I guess they've stopped production of that lens. I'm trying to think of the last camera to carry that lens, and I'm thinking that it might be the Rollei C35/35 LED.
This is a very interesting thread, by the way.
All of these lenses are excellent, and each produces a different look.
The more wide open, the more distinctive the look. The more stopped down, the more they look alike. In my gallery I have examples of the different looks of the Sonnar, Tessar, and Summicron.
A "telephoto" lens is a telephoto by design, not by focal length. In essence it moves the nodal points.
Originally Posted by Anscojohn
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This is really funny! No wonder the OP is confused... so am I.
"Where can I learn about the difference in all of these lens classifications? I have no idea what these classifications mean."
The main thing they mean to me is how they produce distinctive images.
As for the physical make-up, I think it was Lynn Jones who years ago had a running series in View Camera magazine about the history of lens design, which might be informative.
So, on the topic, what exactly does it mean when you say a lens is a Petzval? I heard that it was some sort of early apochromatic triplet, but I don't really know jack... Help out a younger member of the photo community!
Per http://en.wikipedia.org/wiki/Petzval_lens, it's a kind of double-doublet.
Originally Posted by sidearm613
A descendant, the "Nagler-Petzval"---I don't know exactly what the differences are---is well known in the high-end refracting telescope world; http://www.cloudynights.com/item.php?item_id=1749 has a few words on the history of the design (along with a detailed review of an extremely sexy scope).
San Diego, CA, USA
The lady of the house has to be a pretty swell sort of person to put up with the annoyance of a photographer.
-The Little Technical Library, _Developing, Printing, And Enlarging_
Pre-AI Nikkors also used letters to indicate the number of elements; Nikkor-H, Nikkor-P and so on.
Originally Posted by ntenny
I think no current manufacturer is doing that, it probably isn't considered immediately important information any more.
There is a *tendency* with Zeiss and Leitz to give their different aperture lenses different signatures. What I've noticed is that fast Zeiss and Leica lenses 35/1.4, 35/2.0, 85/1.4 & 90/2.0) tend to be more pictorial with a nice 3-d effect, bokeh and all that. Slower lenses (35/2.8, 85/2.8 & 90/2.8) tend to be more technical/analytical: High contrast, flat field, even lower distortion.
From what I've read, the differences between the Zeiss ZM 21/2.8 and 21/4.5 should be similar.
M6, SL, SL2, R5, P6x7, SL3003, SL35-E, F, F2, FM, FE-2, Varex IIa