The lens encouraged the rebirth after the Second World War
Tonight, I would like to tell you about the early NIKKOR lenses, with focus on the Nikkor 5cm f/2 developed as the standard lens for Nikon S and L.
by Kouichi Ohshita
In 1945, with the end of the Second World War, Nippon Kogaku K.K. (the current Nikon Corporation) changed its direction and turned from prior involvement in military manufacturing to the production of goods for civilian industry. In the same year, the company decided to produce photographic lenses in addition to binoculars and ophthalmic lenses and developed a series of interchangeable lenses for Leica cameras, starting from the Leica-mount lens 5cm f/3.5 (1945) to 5cm f/2 (1946), 13.5cm f/4 (1947), 8.5cm f/2 (1948), 3.5cm f/3.5 (1948), and 5cm f/1.5 (1949).
About these six lenses, the story has been passed down within Nikon that Mr. Saburo Murakami designed all the six lenses by himself. Designing as many as six lenses in four years is a miraculous accomplishment even in the present computer age. Needless to say, there was no electronic computer available in those days, and even the mechanical calculators were of the hand-cranked design such as the Tiger calculating machines. Could such a feat be achieved under those circumstances?
It was pulled off successfully due to the researches and data accumulated from pre-war days. To tell the truth, for three standard lenses among the six, the optical designs had been completed in the pre-war days. The 5cm f/3.5 and 5cm f/2 were designed around 1935 for the "Hansa Canon" cameras, and also for the 5cm f/1.5, the optical design was completed around 1942. It is not known whether the 5cm f/1.5 was released to the general public as a photographic lens, though the lens is reported to have been put on sale as a lens for X-ray radiography. As a matter of fact, development of the six lenses actually took ten years or more.
Before the war, the designing of photographic lenses was assigned to the Optical System Research Department in the Research Division (Ashida Lab), where Mr. Murakami was consistently involved in the design of photographic lenses. At that time, the company's staple products were range finders, periscopes and binocular telescopes for military use. The Research Division did not have any manufacturing function, and it had to ask the manufacturing department to give form to every engineering design developed. The optical designers in the Research Division reportedly used to be treated coldly and often were told, "What, are you still designing those lenses for fun?" However, they consistently devoted all their energies to designing photographic lense even during the wartime and successively developed the 5cm f/1.5 and various other lenses.
Mr. Murakami must have been very pleased, I'm sure, when he heard the announcement about the decision to produce interchangeable lenses after the war. "The persistence at last paid off." That feeling would have encouraged him to make every effort to design the three lenses in only four years. In those days, it took five to ten minutes for ray trace of one side of a lens, and at least one day was required to examine the performance of existing lenses. It is such an outstanding achievement that he developed the three lenses in four years after the war.
The post-war rebirth of optical design functions was started with the collection and recovery of design data. Fortunately Ohi Plant survived from the fire of the war, though lots of data had been dispersed due to the confusion during the wartime. Then, Mr. Azuma and Mr. Murakami took the initiative to recover data from the notes of the staff members involved and the scattered pieces of reference materials, and they integrated those information into a whole document. The document was inherited by Mr. Wakimoto and Mr. Hatano and became available in the form of optical design reports.
For the three standard lenses with a focal length of 5cm, as they were designed by Mr. Murakami, the relevant data was successfully discovered and then, it was decided to go into production. However, for the 5cm f/1.5, the glass raw material was out of stock and the start of production was postponed until glass dissolution was launched. In this way, production of 5cm f/2 lens was successfully initiated, and it seemed to grow without any obstacle.
However, within one year of the start of production, Mr. Murakami received a bad news that the stock of glass was running short. Dissolution of optical glass materials, resumed after the war, met with repeated failures and failed to get off the ground smoothly, causing the stock accumulated even during the war to be exhausted.
There was no other choice but to make a change in the original engineering design. Mr. Murakami eventually made a decision. He renewed the design data by changing some glass materials based on the availability check sheet of glass in stock and managed to continue the production of the lens. However, again, within a few months of the change, the stock of the remaining glass also became depleted, and Mr. Murakami was forced to make an additional change. The confusion at last ceased in 1948 when glass dissolution took off on a full-fledged scale. Once again, Mr. Murakami reviewed the design data and redeveloped the design with more sophisticated performance, bringing the 5cm f/2 to its perfection. As explained above, there were many obstacles before the production got started, although the lens was designed before the war and the production was launched successfully after the war.
Figure 1 Cross section of NIKKOR-H·C 5cm f/2 lens
As you can see in Figure 1, NIKKOR-H·C 5cm f/2 is a Sonnar-type lens comprised of six elements in threes groups. Last night in Tale Thirty Three, Mr. Haruo Sato picked up the 35mm f/2.8 developed for the L35AF, first Pikaichi compact camera, as a Sonnar-type lens, and the 5cm f/2 may be the ancestor of that lens.
At first glance, these two lenses look considerably different from each other in lens configuration. Why are they classified as the same Sonnar-type lens? Let me comment on the reasons. The 5cm f/2 features the three-element cemented lens, combining the second, the third, and the fourth element. Optically, the second and fourth elements are high-refractive-index lenses, while the third element is a low-refractive-index lens. This cemented lens offers both the effects of the convex lens of the second element and the concave lens of the fourth element. Based on this configuration, the Pikaichi lens was integrated with the third element substituted by an extremely low-refractive-index material, that is, air.
The three-element cemented lens was an excellent invention to reduce the interface with air, which contributed to the realization of a lens system with increased transmittance and minimized ghost in those days when the antireflective coating on the lens surface was not available. However, in the age of compact cameras when the coating technique made advances, the need for a cemented lens was obviated. Then, the second lens was removed and the 4-group 5-element system configuration was developed.
The Sonnar-type lens system features properly reduced coma for broader angles of view even when configured with relatively lower refractive index elements, despite the larger diameter of f/2. It contributes to yield high-contrast images even at full-open aperture.
On the other hand, due to the highly asymmetrical optical system, the pincushion distortion is difficult to compensate, and a slight astigmatism remains in the limited combination of the low-refractive-index elements that were available at that time, creating somewhat unsatisfactory defocused images.
Also, for the Nikkor 5cm f/2, a triangular out-of-focus background appears in the periphery of images under some shooting conditions, which is one of the imaging characteristics of this lens. In addition, for the astigmatism, the improvement gradually takes into effect as the lens gets stopped down, giving limited change in performance. That makes this lens yield consistent imaging characteristics at all available aperture settings.
Sample 1
Leica IIIf
NIKKOR-H·C 5cm f/2 f/2
1/2 sec. RVP100
©2007 Kouichi OhshitaSample 2
Leica IIIf
NIKKOR-H·C 5cm f/2 f/4.5
1/100 sec. RVP100
©2007 Kouichi OhshitaSample 3
Leica IIIf
NIKKOR-H·C 5cm f/2 f/2
1/30 sec. RVP100
©2007 Kouichi Ohshita
Here, let's examine the imaging characteristics of the lens with the sample photos. The sample photos were taken with a combination of a Leica L-mount lens at hand and Leica IIIf. Unfortunately the sample photos show some unintentional flares at the highlighted part due to a scratch on the front element and a slight clouding on the medial element.
This lens represents high-contrast images with less coma flares even at full-open aperture, which is a typical characteristic of the Sonnar-type lens. Sample 1 shows a night scene taken at full-open aperture. On the periphery of the frame a small number of triangular or arrow-shaped coma flares are shown, though the lens delivers has high contrast images.
Sample 2 shows the autumn leaves taken with the lens stopped down a little to f/4.5. Stopping down the lens from f/4 to f/5.6, the coma flares seen at full-open aperture disappear over the frame, providing images of increased sharpness. Due to the remaining slight astigmatism, significant improvement in detailed resolution is not seen, although contrast is further increased. The thickness of the outline may account for the dynamic imaging characteristics befitting the NIKKOR lens. Image disturbance remains on the limited range of the frame corners due to coma flares at apertures of f/4 to f/5.6, though the disturbed images at the corners disappear by stopping down the lens to f/8 to f/11. Then the effects of astigmatism are eliminated, providing magnificent results throughout the entire shot.
The Leica L-mount 5cm f/2 lens equipped with helicoids that allow you to increase the amount of displacement of the lens to 1.5 ft. Not interlocked with the rangefinder, it enables you to easily capture small subjects. Sample 3 was taken at full-open aperture at a subject distance of 50 to 60cm. Though not interlocked with the rangefinder, it is possible to measure short distance of approx. 50cm with a measure or to move the entire camera in regards to parallax handling.
The lens can cause triangular defocusing on the periphery of the image due to the influence of the residual coma and astigmatism. This type of defocusing is not favorable in general, but it is not so inconspicuous that the defocused image becomes larger in such short distance shooting. Defocusing should be improved by stopping down the lens, and it is recommended to narrow the aperture to around f/4 to obtain better results.
The six lenses designed by Mr. Murakami constituted the bread-and-butter lines jointly with binoculars and other products for what Nippon Kogaku was then. The Nikon I was completed in 1948 as the first compact camera developed immediately after the war. In actuality, however, the production scale of cameras was smaller than expected, and really did not get into the full swing until 1951 when the Nikon S was released. Until that time, the six NIKKOR lenses had supported the camera business. The 5cm f/2 was at the center of the production of these six lenses, and it should be credited as a mainstay encouraging the post-war rebirth of the camera business.
The basis of performance of every piece of optical equipment lies in optical technologies.
As a pioneer of optical technologies, Nikon has continuously faced and pursued "light", investigated its possibilities, and meticulously researched how to precisely manipulate it to be more efficiently utilized by people for over 100 years.
Some of the fruits of such challenges for Nikon include "synthetic silica glass" that provides superior refractive-index uniformity and high transmittance, "aspherical ED glass" that effectively compensates chromatic and spherical aberrations, "Nano Crystal Coat" and "ARNEO Coat" that both significantly reduce ghost and flare effects, "fluorine coat" that realizes remarkable antifouling performance and durability, and "PF (Phase Fresnel) lens" that contributes to achieving compact and light design.
As well as all of these accomplishments, Nikon has developed various techniques and measures to attain the targeted optical performance. These include "active optics" that maintain an optical system in the optimum condition by moving the mechanical structure. In addition, there is effective collaboration between the materials and processing techniques development departments that aim to achieve higher optical performance and the designing department. In this way, while continuously pursuing unprecedented innovation, Nikon has successfully produced a diversified range of products such as semiconductor lithography systems incorporating immersion technology that pushes the boundaries of semiconductor miniaturization, and mirrorless cameras featuring the Z mount system that enables next-generation image expression with new-dimensional optical performance.
An effective optical system need not always be static or fixed. The required optical performance can sometimes be obtained by moving the optics. For example, with semiconductor lithography systems, the optical system is kept in the optimum condition by controlling both optical elements including lenses and mechanical structure to hold them at high speed and with high accuracy. Thus, ultrahigh-precision compensation for lens aberrations is realized by moving mirrors in the order of 0.01 nanometers. In the development of such active optics, extremely careful consideration for which component should be moved and how much strength is required for the movement is essential, and abundant knowledge of mechanical and electronic fields as well as highly advanced skills are indispensable.
One of Nikon's strong points is that there are many specialists in diverse fields within the group who synergetically cooperate to achieve active optics. The reason for the superior optical performance of Nikon products is due to the fact that the company can design and develop optical systems from a comprehensive viewpoint by fully maximizing this strength.
Nikon is an optical manufacturer that conducts comprehensive and consistent manufacturing from the raw materials to the final products. By making the most of this advantage, Nikon has developed a variety of new technologies to meet the requirements of the optical design department. These include production technology for glasses featuring innovative characteristics to attain unprecedented optical performance, and for lenses and mirrors of diverse dimensions and shapes, as well as coating technology that maximizes lens performance. In addition, a unique technology for assembly/adjustment that achieves the targeted optical performance stably has also been developed. Via the close commitment of the designing department to each part of the manufacturing process as well as the close collaboration with production facilities both in Japan and around the world, Nikon is realizing the outstanding optical performance it is renowned for and continuing further advancement.
Z 9 - Unstoppable as Nikon's first flagship mirrorless camera, brings long-awaited professional reliability into its category while rewriting what's possible in image-making across the board. A great leap forward in autofocus performance, a revolutionary electronic viewfinder that eliminates blackout, and a 4-axis vertical/horizontal tilting monitor offering freedom in shooting angle redefine what you can capture. Its 8K UHD video with the world's longest recording time of up to 125 minutes, without overheating problems, lets you push your boundaries further than ever. Whether you aim to shoot sports, wildlife, fashion, movies or other disciplines, the Z 9's speed, power, quality and ease of use will help you go beyond your limits in every situation.Z fc - Capture your iconic momentsPhotography is not only about the outcome but about enjoying every step of the process. In an age when everything changes rapidly, the Z fc was introduced to savor the joy of the creation process further. Inspired by the designs of classic Nikon cameras, the Z fc lets you control it with tactile dial operations. By slowing down to take each picture, you can discover precious, simple moments that might have been overlooked in busy modern life. Nikon's latest mirrorless imaging technology will transform your everyday moments into something truly iconic.NIKKOR Z lensesLargest mount. Abundant light. Ultimate imaging experience. The Z mount system is the rich and solid foundation for ever-growing imaging potential. Every NIKKOR Z lens is designed to bring a clear difference in your experience both for photography and videography. High resolution all the way to the edge of the frame, amazing sharpness even at wide open apertures, and depth of image achieved through natural and beautiful bokeh - all these characteristics work to enrich the visual experience. As many professionals attest, once you discover what's possible with NIKKOR Z lenses, you can't go back to your old aesthetic standards.
Robot Vision Robot vision The marriage of robotics and vision brings forth a paradigm shift in manufacturing. Nikon's robot vision can make robot motion extremely fast, precise and flexible. By leveraging the optical and precision technologies we have cultivated over the years, we are helping contribute to the evolution of robotics.
Robotics...
Artificial Intelligence (AI) has been steadily infiltrating various industries, and photography is no exception. The advent of AI in photography has sparked a blend of excitement and concern within the community. With the potential to revolutionize everything from the creative process to post-production, AI photography presents a paradigm shift that merits a closer examination. When photography came into being in the 1800's was there great concerns that it would kill or damage painting as an art? Are we faced with the same artistic backlash and reticence at this juncture too?
The potential Pros of AI Photography are, as a generalisation, possibly being more accepted by the younger generation of photographer. But in balance what are some of the pro's and con's?
AI-driven tools have the capability to significantly streamline the creative process for some busy or non-technical creators. These tools can automatically adjust settings, suggest compositions, and even mimic the styles of renownedphotographers. This not only saves time but also allows users to explore creative avenues they might not have considered otherwise. For example, AI-powered applications like Adobe's Sensei can suggest the best edits for a photo, from colour correction to cropping.
This enables photographers to focus more on the artistic aspects rather than getting bogged down by technical details. Enhancing Image Quality: AI algorithms excel at improving low res images by "res-ing up" files to a better image quality. They can enhance resolution, reduce noise, and even resurrect details from underexposed or overexposed shots. Tools like Topaz Labs' Gigapixel AI claim that it can enlarge images up to 600% without loss of detail, a feat previously impossible without noticeable degradation. Moreover, AI can now handle complex tasks such as high dynamic range (HDR) imaging and panoramic stitching with remarkable precision, creating images that are more vivid and detailed, should that be your creative desire.
It can be argued that AI photography tools democratize access to high-quality photography. Amateur photographers can now produce professional-grade images with minimal technical knowledge. Smartphone cameras, equipped with AI, can automatically adjust settings to capture stunning shots, lowering the entry barrier for photography enthusiasts. Applications like Google Photos use AI to organize and enhance images automatically, making advanced photography accessible to anyone with a smartphone.
AI can simplify some tedious aspects of photography, such as sorting and culling large volumes of images. Software like Photo Mechanic, integrated with AI, can help to quickly select the best technically correct images from a
shoot..sharpness…exposure etc.. drastically reducing the time photographers spend on post-production.
AI can enable entirely new forms of artistic expression. Generative adversarial networks (GANs) can create unique images based on existing datasets, opening up new possibilities for visual storytelling. Artists like Mario Klingemann, known for his AI-generated art, push the boundaries of what is traditionally considered photography. Applications like Prisma, enable easy access to apply artistic styles to photographs for those who previously might have struggled to use that effect.
AI photography raises significant ethical questions. The ease with which AI can manipulate images blurs the line between reality and fiction. Deepfakes, which use AI to create hyper-realistic fake images or videos, have already caused
widespread concern regarding misinformation and privacy.The authenticity of a photograph is paramount in fields like photojournalism. AI's ability to alter images seamlessly poses a threat to the credibility of visual documentation.
The automation of tasks traditionally performed by human photographers and editors could lead to job displacement. As AI tools become more sophisticated, the demand for certain skills may diminish, potentially disrupting the photography industry. For instance, AI-powered photo editing services could reduce the need for professional retouchers, impacting those who rely on such roles for their livelihood.
While AI can enhance creativity, there is a risk of over-reliance. Photographers might become dependent on AI tools, leading to a decline in traditional photography skills. The ease of AI-driven automation might discourage photographers from learning and mastering fundamental techniques.This dependency could result in a homogenization of styles, where unique, manual touches are lost in favor of AI-generated uniformity.
AI photography tools often require access to large datasets, raising concerns about data privacy and security. Users may unknowingly grant access to personal photos, which could be misused or compromised. Moreover, the storage and processing of such vast amounts of data pose significant security challenges. Ensuring that AI tools comply with privacy regulations and protect user data is crucial to mitigate these risks.
Perhaps the greatest fear for the art… AI-generated images, while technically flawless, may lack the emotional depth and subjective nuances that characterize human-created art. Photography is not just about capturing images but also about
conveying emotions and stories through a human lens. There is a concern that the widespread use of AI in photography could lead to a loss of this artistic human touch, making images feel impersonal and devoid of the photographer's unique artistic perspective.
The integration of AI into photography is inevitable, and its impact will continue to grow. Striking a balance between embracing technological advancements and preserving the integrity of the art form is essential. Agree or disagree…here are some discussions you might want to consider should you want help to navigate this evolving landscape?
Photographers should focus on continuous learning to keep up with technological advancements while honing their traditional skills. Understanding the fundamentals of photography, along with the capabilities and limitations of AI tools, will allow photographers to leverage AI effectively without losing their artistic identity.
The photography community should establish ethical standards and guidelines for the use of AI. Clear protocols for image manipulation, especially in fields like journalism and documentary photography, will help maintain credibility and
trust. Promoting transparency about AI usage and ensuring that manipulated images are appropriately labeled can mitigate the risk of misinformation.
Rather than viewing AI as a replacement, photographers should see it as a collaborator. AI can handle repetitive tasks and technical adjustments, freeing photographers to focus on creative and conceptual aspects. This symbiotic relationship can lead to innovative and inspiring outcomes.
To preserve the human touch in photography, photographers should emphasize storytelling and emotional engagement. AI can enhance technical quality, but the photographer's vision, empathy, and personal connection to the
subject will always be irreplaceable.
Developers of AI photography tools must prioritize data privacy and security. Implementing robust encryption, ensuring user consent, and adhering to privacy regulations are essential steps to protect users' data.
It's reasonable to assume that AI photography is a double-edged sword, offering remarkable opportunities while posing significant challenges. Its ability to enhance creativity, improve image quality, and democratize access to photography can be seen as
transformative. However, ethical concerns, job displacement, skill degradation, and the potential loss of the human touch are critical issues that need wider attention and addressing. Much as some might wish..we can say with certainty is that AI in photography is not going away. The Genie is out of the box. So the future of at least some elements of the photography world, lies in harmonizing the strengths of AI with the irreplaceable qualities of human artistry. By embracing innovation while upholding ethical standards and preserving the emotional depth of human-created art, we must hope that the photography world can navigateb this new frontier successfully. As AI continues to evolve, photographers must remain adaptable, ethical, and committed to
their craft. The shift from analogue to digital capture was an intense step for many..the pain has receded and the new capture format pretty much universally used. We have to stay alert and informed, but interplay between technology and creativity should always hold the promise of a richer, more diverse photographic landscape, where the essence of human expression is amplified rather than overshadowed by new technological steps …but could artificial intelligence pushing into our art be a step too far for many?
