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

Bad Kreuznach

Bad Kreuznach is the capital of the district of Bad Kreuznach, Rhineland-Palatinate, Germany. It is located on the Nahe river, a tributary of the Rhine...

 in Germany

Germany

Germany , officially the Federal Republic of Germany , is a federal parliamentary republic in Europe. The country consists of 16 states while the capital and largest city is Berlin. Germany covers an area of 357,021 km2 and has a largely temperate seasonal climate...

. 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

Academy Awards

An Academy Award, also known as an Oscar, is an accolade bestowed by the American Academy of Motion Picture Arts and Sciences to recognize excellence of professionals in the film industry, including directors, actors, and writers...

 for Technical Achievement for their Super-Cinelux motion picture lenses. They are best known as manufacturers of high-quality large format

Large format

Large format refers to any imaging format of 4×5 inches or larger. Large format is larger than "medium format", the 6×6 cm or 6×9 cm size of Hasselblad, Rollei, Kowa, Pentax etc cameras , and much larger than the 24×36 mm frame of 35 mm format.The main advantage...

 lenses for view camera

View camera

The view camera is a type of camera first developed in the era of the Daguerreotype and still in use today, though with many refinements. It comprises a flexible bellows which forms a light-tight seal between two adjustable standards, one of which holds a lens, and the other a viewfinder or a...

s, enlarger

Enlarger

An enlarger is a specialized transparency projector used to produce photographic prints from film or glass negatives using the gelatin silver process, or from transparencies.-Construction:...

 lenses, and high quality photographic loupe

Loupe

A loupe is a simple, small magnification device used to see small details more closely. Unlike a magnifying glass, a loupe does not have an attached handle, and its focusing lens are contained in an opaque cylinder or cone. Loupes are also called hand lenses .- Optics :Three basic types of loupes...

s. They also make a limited amount of small-

135 film

The term 135 was introduced by Kodak in 1934 as a designation for cartridge film wide, specifically for still photography. It quickly grew in popularity, surpassing 120 film by the late 1960s to become the most popular photographic film format...

 and medium-format lenses, and have, at various times, manufactured eyeglasses and camera rangefinders, as well as being an OEM

OEM

OEM means the original manufacturer of a component for a product, which may be resold by another company.OEM may also refer to:-Computing:* OEM font, or OEM-US, the original character set of the IBM PC, circa 1981...

 lens maker for Kodak and Samsung

Samsung Electronics

Samsung Electronics is a South Korean multinational electronics and information technology company headquartered in Samsung Town, Seoul...

 digital cameras. They currently supply the lenses for the LG Dare

LG Dare (VX9700)

The LG VX9700 is a CDMA touch screen cell phone made by LG. The phone features touch screen navigation, a 3.2 megapixel camera with face recognition and many photo enhancing tools, a camcorder, customizable shortcut menus, handwriting recognition, and a multitask music player. The LG Dare is the...

, LG Viewty KU990, LG Renoir KC910, LG Viewty Smart GC900 and the LG enV Touch

LG enV Touch (VX11000)

The LG enV Touch also known as the Voyager 2, or VX11000 is an internet-enabled, multimedia device created by LG Electronics for use with Verizon Wireless. The phone was released on June 5, 2009 as a successor to the LG Voyager. The phone's external screen is touch enabled with a virtual keyboard...

. They also supplied the lenses for the Kodak Regent camera in the 30s and the classic Kodak Retina

Kodak Retina

Retina was the name of a long-running series of German-built Kodak cameras. Retinas were manufactured in Stuttgart by Nagel Camerawerk, which Kodak had acquired in 1931, and sold under the Kodak nameplate. Retinas were noted for their compact size, quality, and low cost compared to their...

 and Kodak Retinette

Kodak Retinette

Kodak Retinette is the name of a classic series of cameras manufactured by the Eastman Kodak company. They were introduced in 1939 as a less expensive alternative to the Kodak Retina series. The first models were of the folding type using bellows and their lenses had three elements as compared to...

 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
  Rollei
  Rollei is a German manufacturer of optical goods founded in 1920 by Paul Franke and Reinhold Heidecke in Braunschweig, Lower Saxony, and maker of the Rolleiflex and Rolleicord series of cameras...
  
   Fototechnic GmbH.
• In 1989, they purchased Käsemann/Oberaudorf, a manufacturer of glass and plastic polarizing materials.
• After 1991 they acquired the former East-German (GDR) camera and lens manufacturer Pentacon/Practica (Dresden)
• 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).

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

Praktica

Praktica is a brand of camera manufactured by Pentacon in Dresden in eastern Germany, formerly within the GDR prior to reunification. Pentacon is the modern-day successor to Dresden camera firms such as Zeiss Ikon, and for many years Dresden was the world's largest producer of cameras...

, Exakta

Exakta

The Exakta is a pioneer brand camera produced by the Ihagee Kamerawerk in Dresden, Germany, founded as the Industrie und Handels-Gesellschaft mbH, in 1912.- Characteristics :Highlights of Exakta cameras include:...

, Alpa-Reflex

Alpa

Alpa was formerly a Swiss camera design company and manufacturer of 35 mm SLR cameras. The current owners bought the company name after bankruptcy of the original company and the company exists today as a designer and manufacturer of high-end medium-format cameras.-History:Alpa was an offshoot of...

, Leica R, Minolta

Minolta

Minolta Co., Ltd. was a Japanese worldwide manufacturer of cameras, camera accessories, photocopiers, fax machines, and laser printers. Minolta was founded in Osaka, Japan, in 1928 as . It is perhaps best known for making the first integrated autofocus 35mm SLR camera system...

, Miranda

Miranda Camera Company

The Miranda Camera Company, originally named the Orion Camera Company, manufactured cameras in Japan between 1955 and 1978. Their first camera was the Miranda T. Many of their products were single-lens reflex cameras for 135 film...

, Canon

Canon Inc.

is a Japanese multinational corporation that specialises in the manufacture of imaging and optical products, including cameras, camcorders, photocopiers, steppers and computer printers. Its headquarters are located in Ōta, Tokyo, Japan.-Origins:...

, Nikon

Nikon

, also known as just Nikon, is a multinational corporation headquartered in Tokyo, Japan, specializing in optics and imaging. Its products include cameras, binoculars, microscopes, measurement instruments, and the steppers used in the photolithography steps of semiconductor fabrication, of which...

, Contarex

Contarex

Zeiss Ikon was the result of several German lens and camera manufacturers joining forces in 1926 to survive the depression in Germany during the 1920s...

, and Olympus OM-1

Olympus OM-1

The Olympus OM-1 is a manually operated 35mm single-lens reflex camera, part of the Olympus OM system.-History:The very first model was presented at the Photokina of Köln in 1972 and was called the Olympus M-1...

 mounts.

• 35 mm f/4

Super-Angulon

• 21 mm f/4.0

A 9/4 wide-angle lens with a minimum aperture of f/22

• 21 mm f/3.4

An update of the f/4.0 model, with an 8/4 design and slightly increased sharpness.

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

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:

• 1. 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
• ? = 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.

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
• 60 mm f/3.5
• 5 cm f/3.5

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/1.5 - made for Leica M39/Screw Mount ca.1942-1947
• 50 mm f/1.9
• 50 mm f/1.8
• 50 mm f/2.0 1954-1957
• 17 mm f/0.95
• 25 mm f/0.95

Variogon

The Variogon is a zoom lens.

• 60-140mm f/4.6 AF (for Rollei 6000)
• 70–140 mm f/4.5 (for Bronica
  Bronica
  was a Japanese brand of professional medium format roll-film cameras, including rangefinder and single-lens reflex models.Bronica cameras first appeared in 1958, when the company's founder, Zenzaburo Yoshino, introduced a camera of his own design, the Bronica Z rollfilm camera, at the Philadelphia...
  
   ETR)
• 75–150 mm f/4.5 (for Rollei 6000, Bronica SQ & Exakta 66 [1980s-2000 version])
• 125–250 mm f/5.6 (for Bronica ETR)
• 140–280 mm f/5.6 (for Hasselblad
  Hasselblad
  Victor Hasselblad AB is a Swedish manufacturer of medium-format cameras and photographic equipment based in Gothenburg, Sweden.The company is best known for the medium-format cameras it has produced since World War II....
  
   500 C/M, Hasselblad 2000 FC, Rollei 6000 & Exakta 66 [1980s-2000 version])

Super-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

Scheimpflug principle

The Scheimpflug principle is a geometric rule that describes the orientation of the plane of focus of an optical system when the lens plane is not parallel to the image plane. It is commonly applied to the use of camera movements on a view camera...

", 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 & Exakta 66 [1980s-2000 version])

Xenotar

• 80 mm f/2.8 (for Rollei 6000 & Exakta 66 [1980s-2000 version])
• 80 mm f/2 (for Rollei 6000)
• 80 mm f/2.8 AF (for Rollei 6000)

Tele-Xenar

• 150 mm f/4 (for Rollei 6000 & Exakta 66 [1980s-2000 version])
• 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)
• 250 mm f/5.6 (for Exakta 66 [1980s-2000 version])

Large format lenses

Schneider's line of large format

Large format

Large format refers to any imaging format of 4×5 inches or larger. Large format is larger than "medium format", the 6×6 cm or 6×9 cm size of Hasselblad, Rollei, Kowa, Pentax etc cameras , and much larger than the 24×36 mm frame of 35 mm format.The main advantage...

 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)

Super-Angulon

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

Biogon

Biogon is a brand name of Carl Zeiss for a series of photographic camera lenses. Biogons are typically wide angle lenses.The first Biogon was created in 1935 by Ludwig Bertele, then referenced by designer Zeiss Ikon Dresden, the Contax created as a modification of the then Sonnar...

 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)

Super-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

Symmar

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)

Symmar-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)

Super-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)

Super-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/5.6 (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

Zeiss formula

In photographic optics, the Zeiss formula is a supposed formula for computing a circle of confusion criterion for depth of field calculations...

 Tessar

Tessar

The Tessar is a famous photographic lens design conceived by physicist Paul Rudolph in 1902 while he worked at the Zeiss optical company and patented by Zeiss; the lens type is usually known as the 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/3.5
• 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)
• 105 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

Shutter (photography)

In photography, a shutter is a device that allows light to pass for a determined period of time, for the purpose of exposing photographic film or a light-sensitive electronic sensor to light to capture a permanent image of a scene...

, and the longer lens is also available in a barrel mount with Waterhouse stop

Waterhouse stop

The Waterhouse stop or Waterhouse diaphragm is an interchangeable diaphragm with an aperture for controlling the entry of light into a camera. A thin piece of metal is drilled with a hole ; a set of these with varying hole sizes makes up a set of Waterhouse stops, corresponding to what today we...

s, 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

Double-Gauss

The double Gauss lens is a compound lens used mostly in camera lenses that reduces optical aberrations over a large focal plane.-Design:The double Gauss lens consists of two back-to-back Gauss lenses making two positive meniscus lenses on the outside with two negative meniscus...

 design, introduced in 1914.

Super-Cinelux

A range of projection lenses for 35mm motion picture film 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.

Super-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-Première

A projection lens incorporating aspheric elements to correct for spherical aberration

Spherical aberration

thumb|right|Spherical aberration. A perfect lens focuses all incoming rays to a point on the [[Optical axis|optic axis]]. A real lens with spherical surfaces suffers from spherical aberration: it focuses rays more tightly if they enter it far from the optic axis than if they enter closer to the...

. They feature a variable aperture with 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

Double-Gauss

The double Gauss lens is a compound lens used mostly in camera lenses that reduces optical aberrations over a large focal plane.-Design:The double Gauss lens consists of two back-to-back Gauss lenses making two positive meniscus lenses on the outside with two negative meniscus...

 lens.

• 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'.

Cine-Xenon also refers to projection lenses of the same design.

For 16mm

• 10 mm f/1.8
• 70 mm f/2.0

Vario-Cine-Xenon

A variable-focal-length projection lens for 35mm slides.

• 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 for 35mm slides 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 for 35mm slides.

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

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

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

Sheet film

Sheet film is large format and medium format photographic film supplied on individual sheets of acetate or polyester film base rather than rolls. Sheet film was initially supplied as an alternative to glass plates...

 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

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
• 135 mm f/4.5
• 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
• 45 mm f/3.5
• 60 mm f/5.6 (for 35 mm)
• 100 mm f/4.0
• 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 stop

Waterhouse stop

The Waterhouse stop or Waterhouse diaphragm is an interchangeable diaphragm with an aperture for controlling the entry of light into a camera. A thin piece of metal is drilled with a hole ; a set of these with varying hole sizes makes up a set of Waterhouse stops, corresponding to what today we...

s, 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 (image:subject).

• 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

Aspect ratio (image)

The aspect ratio of an image is the ratio of the width of the image to its height, expressed as two numbers separated by a colon. That is, for an x:y aspect ratio, no matter how big or small the image is, if the width is divided into x units of equal length and the height is measured using this...

 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

Enlarger

An enlarger is a specialized transparency projector used to produce photographic prints from film or glass negatives using the gelatin silver process, or from transparencies.-Construction:...

. 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 middle-grade (but still very good quality) line of enlarging optics. They are 4-element, 3-group, Tessar

Tessar

The Tessar is a famous photographic lens design conceived by physicist Paul Rudolph in 1902 while he worked at the Zeiss optical company and patented by Zeiss; the lens type is usually known as the Zeiss 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
  126 film
  126 is the number given to a cartridge-based film format used in still photography. It was introduced by Kodak in 1963, and is associated mainly with low-end point-and-shoot cameras, particularly Kodak's own Instamatic series of cameras....
  
  )
• 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

• Homepage of Schneider Kreuznach in English
• Schneider Optics - Subsidiary of Schneider Kreuznach
• Vintage lens data from Schneider-Kreuznach
• Brochure archive from Schneider-Kreuznach (page is in German, but brochures are in German, English, and French)
• Some discussion of the Angulon from APUG
  APUG
  APUG is the Analog Photography Users Group,a website and internet forum for an international group of photographers who use analog photography. The website was founded in September 2002, and has attracted approximately 50,000 members, including paying subscribers...
  
  
• Some lens design profiles
• Information on various lens designs