Rodenstock Quality Filters and Aspherical Magnifiers

Optically and mechanically perfectfor better photos with analog and digital cameras

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Filters may solve many problemsHigh-quality taking lenses create sharp,high-contrast images which are freefrom distortion. But what happens if itis too bright or if the light is not a neu-tral white, if it contains too much UVradiation or if unwanted reflections oc-cur on glossy surfaces? Or if black andwhite film does not convert the objectcolors into the gray values the photog-rapher really wants? Then Rodenstockquality filters can help.

Filters should never impair the lens qual-ity. Nobody is willing to obtain the de-sired effects at the cost of blur, flare orghost images. But LINOS guaranteesthat Rodenstock quality filters madefrom high-grade optical glass maintainsharpness, contrast and color faithful-ness even with the best lenses and thattheir excellent single or multi-coating(see above diagram and chart on pages11/12) prevents ghost images and flare.

Filters adapt the light to the filmso that it “sees” like the eyeThe human eye can adapt easily to thevarying conditions of brightness, con-trast and color hue and eliminate effectswhich create falsification for the film orthe digital sensor and which can lead tooverexposure or discoloring.

However, filters can frequently com-pletely eliminate such errors, or at leastcan reduce them to a negligible level.

But filters can do more than just remedydefects. Sometimes the photographerwill want to produce a creative shot andso will deliberately use a filter to achievea better effect by deviating from thenatural image. In these cases, too, thephotographer wants to enhance the re-sult so that once again only the best fil-ters are good enough.

Slimline filter mounts may preventvignetting in wide-angle shotsRecently, lenses and zooms with veryshort focal lengths have become popu-lar. For this reason, LINOS has intro-duced Slimline mounts for filter sizesfrom 28 to 95 mm. These mounts canpractically prevent vignetting (= shadingof the picture corners) even if the lensmanufacturer has actually designed thefront thread so that it is too small forthe use of filters. The Rodenstock Slim-

line mounts add only 4 mm (circular po-larizers 5 mm) to the front of the lens.

See page 11/12 for a filter overview chart.

Low-quality filters reduce sharpness,generate reflections and contrast-re-ducing flare when shooting againstthe sun and they can cause vignetting.

Rodenstock filters are manufacturedjust as carefully as precision lenses toensure sharp and brilliant photos anddigital or video recordings.

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UV/IR blocking filtersThese filters for digital or videocameras effectively block UV andinfrared (IR) radiation which, dueto the high IR sensitivity of the

CCD/CMOS sensors of digital camerascan lead to blur, color shift and fogging.

UV absorbing filtersThese glass filters are practicallyneutral in color effect. Theytransmit visible light without hin-drance while cutting out ultra-

violet radiation. Due to the very shortwavelength, UV is highly scattered andhas a high intensity especially in hazyconditions as diffuse radiation. Colorfilms react with a blue-violet veil, whileb&w films give the sky a brighter look,which reduces contrast in the clouds,and with both kinds of films UV radia-tion makes distance views pale. Roden-stock UV absorbing filters prevent this:the colors remain pure and distanceviews become clearer and crisper. Youdo not need to extend the exposuretime. A UV filter can also be used as alens protection, e.g. against watersplashes, sand, etc.

UV and UV/IR blocking filters · Neutral density filters

The “clear vision effect” of the UVblocking filter and the light absorp-tion of the ND filter required for ahigh speed or long exposure timecannot be simulated later on the PC.

UV causes the distance to fade. The UV absorbing filter restores clarity.

ND filtersThese glass filtershave a neutralgray tint and re-duce all visible

colors equally, e.g. by two f-stops. Thisallows motion blur (smear effect withpanning camera) to be achieved with alonger exposure time than would other-wise be permitted by the given filmspeed. Alternatively it allows less depthof field with a larger aperture. ND filtersare available in different densities for anextension of exposure time by a factorof 2, 4 or 8 or for an opening of the di-aphragm by 1, 2 or 3 f-stops.

The motif brightness makes a shutterspeed of 1/60 s necessary despite anf-stop of 16. Water appears frozen.

With an ND filter 8x at aperture 16 andthe same brightness and film speed,the time is 1/8 s for “flowing” water.

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Center filtersThese filters for wide-angle lenses oftechnical cameras are described in thebrochures for the Rodenstock lensesGrandagon-N and Apo-Grandagon.

Without filterWithout filter With ND filter 8xWith ND filter 8x

Without filter With UV absorbing filterWithout filter With UV absorbing filter

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Polarizing filters

The high-quality polarization foil ofthese polarization filters has beencemented for the best optical qualityand the edge sealed for protectionagainst external influences.

How polarizing filters workIn a rotatable mount, these filters con-tain a micro-thin polarizing film sand-wiched between two protective lensplates. This film transmits light only inone polarization plane. Normal non-po-larized light is reduced by half withoutany further visible effect, roughly like anND filter 2×. In contrast, polarized lightis either transmitted without hindrance,more or less reduced or even totally re-jected by the polarizer, depending on itssetting (angle of rotation).

Polarized light is created when slantedincident light is reflected from an electri-cally non-conducting surface. Non-con-ductive surfaces include glass, varnishand plastics. However, water also has avery low conductivity (in comparisonwith metal) so that water reflections arepolarized. Even reflections on aluminumfronts are polarized and so can be influ-enced by a polarizing filter, because alu-minum forms a non-conductive surfacefilm of aluminum oxide and aluminumcarbonate in air after some time.

Polarizers can reduce reflectionsBy turning the polarizing filter in its ro-tatable mount in front of the lens, it istherefore possible to effectively controlthe intensity of reflections on these ma-terials according to the following rules:

● If the transmission direction of thepolarizing filter runs parallel to the po-larization plane, the reflection appearstwice as bright in the image, becausethe polarized reflected light is transmit-ted fully without hindrance while the re-maining light is reduced by about 50%.

● If the direction of vibration of the po-larized light and the transmission direc-tion of the polarizing filter are crossed,the reflection is reduced or even sup-pressed. At an incident/reflection angle

of 55°...60°, the effect is strongest andthe suppression practically complete.

Polarizers provide saturated colorsAs the blue sky light is also polarized(most strongly in a direction of around90° to the sun), the sky can be dark-ened with a polarizer to emphasize theclouds. In addition, the blue sky lightscattered by grass, leaves, roofs, etc.can also be eliminated in order to en-hance the purity of the object colors.

Rodenstock polarizing filters contain ahigh-grade polarizing film which is ce-mented between thin protective glassplates in order to minimize flare and re-flection loss. An edge seal protects thefilm from environmental influences.

There are linear as well as circular Rodenstock polarizing filtersNormal polarizers use linear polarizingfilters. As their light may falsify the TTLlight metering of cameras with a beamsplitter in front of the photo sensor (seecamera’s instructions for use) and canalso have an effect on the autofocus fa-cility of AF reflex cameras, alternativelyso-called circular polarizing filters arealso available with an additional optical-ly effective film. Their polarized light ex-its on the lens side in a fashion that be-haves like non-polarized light for thebeam splitter. Cameras without autofo-cus and without a beam splitter in frontof the photo cell of the exposure metercan be used with linear polarizers whichare equal to circular polarizers in quality,but which are cheaper.

Because polarizing filters have a sand-wich design (glass / plastic sheet / glass)and have to have a rotatable mount forthe alignment of the polarization plane,they are relatively thick and can causevignetting in combination with a wide-angle lens or zoom. For this reason,

LINOS can offer the circular polarizingfilters from 39 to 86 mm in a rotatableSlimline mount without a front thread.These polarizers add only 5 mm to thefront of the lens.

In contrast, the linear polarizing filtersof all thread sizes have a conventionalrotatable normal mount with a frontthread which can be used to fit a lenshood or another filter, e.g. a conversionfilter to match the color temperature.

However, polarizing filters should gener-ally not be used in conjunction with su-per wide-angle lenses because the filtereffect is greatly dependent on the angleof incident light so that with an ex-tremely large image angle completelydifferent effects can occur in the leftand right sides, e.g. with landscapeshots a dark violet sky on the left and adelicate blue sky on the right.

Not polarized(all directions)

Polarized,parallel

Polarized,slanting

Polarized,crossed

Almost 50% Almost 100% More or less light No light

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Polarizers (linear)The low-cost linear polarizationfilters are the ideal polarizationfilters (because they do not re-quire any additional foil for the

subsequent circular polarization). How-ever, they are only suitable for cameraswhich have no beam splitters in theautofocus beam path or the light meterbeam path. They can therefore above allbe used for viewfinder cameras andthose digital cameras which are not SLRcameras. With SLR cameras, it is neces-sary to consult the manual to clarifywhether linear polarization filters can beused without problem or whether circu-lar polarization filters are necessary.

Rodenstock polarization filters helpcreate brilliant images with rich colors without blue discolorationdue to a blue sky and allow a per-fect control of reflecting surfaces.

Polarizers (circular)Circular polarization filters are alittle more expensive due to anadditional foil to achieve the cir-cular polarization which is nec-

essary for some cameras to prevent anirritating interaction with beam splitters.They provide the same effects as linearpolarizers and are used in the same way.

Mirror effects of polarizing filterspromote creative experimentationIn this comparison, both shots weretaken with polarizing filters: In the left-hand photo, the polarizing filter wasturned while monitoring the reflex cam-era’s viewfinder image (this camera typeshows the effect correctly in the view-finder) so that the maximum reflectionelimination is performed on the verticalside surface of the car body. The frontfender area also shows lower reflectionsand appears very dark. The hood, wind-shield and roof edge, however, show in-

The diffuse blue sky light is reflectedmore or less strongly from the surfacesof almost all objects. This is the reasonwhy a bluish gray fog is usually super-imposed on the actual colors outdoors.

The polarizing filter darkens the sky sothat the clouds have more “depth” andit eliminates the polarized bluish fogto provide maximum color saturationfor a more impressive image.

A polarizer orientation for eliminatingreflections on vertical surfaces enhan-ces reflections on horizontal surfaces.

The polarizer has been rotated 90° fora much better result without the bluecast from the sky on the motor hood.

creased reflections and a clear blue dis-coloration (blue sky!).

For the second shot, the polarizer wasturned through 90° so that maximumreflection elimination now occurs on thehood, on the windshield and on theroof edge. The blue discoloration in theblack paintwork has now been fully

eliminated. Now the left side area andthe fender with the front spoiler to theright of the license plate show clearerreflections, which in this case, however,create a dynamic effect. The reflectionson the showroom window in the back-ground never change because the direc-tion of gaze is perpendicular to theglass surface.

WithoutpolarizerWithoutpolarizer

WithpolarizerWithpolarizer

Polarizerdir. IIIPolarizerdir. III

Polaari-zerdirs.

Polarizerdir.

III

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Whether the problem is blue discoloration in the shade or greendiscoloration with neon lights – theright Rodenstock filter will alwaysrestore natural colors.

Skylight filter · Fluorescent lamp filter (FLD filter)

Skylight filterThese filters have a pale pink tintand act like a UV absorbing filterto cut out ultraviolet radiation.In addition, they eliminate the

false colors in shadow due to indirectlight from the blue sky and the greenlandscape. This blue green color distor-tion is particularly unpleasant on skin.

A skylight filter should only be used ifthe entire motif is in the shade. For theareas lit by direct sunlight will also besubject to the pink filter even thoughthey do not have any blue-green colordistortion – they then turn pink. For thisreason, a skylight filter should never beused for front-lens protection (use an al-most neutral UV blocking filter instead).

Although a skylight filter can substan-tially enhance the color quality on slidefilm, it does not provide any advantagesfor color negative film or digital or videocameras. This is because its effect is verysubdued and easily replaced withoutany visible difference by filtering duringprinting or by an electronic white bal-ance if the UV radiation is not too high(and then a UV filter would be better).

Cloudy weather results in a bluish cast. The skylight filter helps neutralizing.

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FLD filterThis pale magenta filter providesa higher absorption of the greenrange of the spectrum andtherefore prevents the typical

and frequently irritating greenish hue ondaylight film under most fluorescentlighting. Since his hue can hardly berecognized by the eye, it is generally un-derestimated. However, color slide filmis very sensitive to it. Unfortunately theintensity of the green light is not thesame for all common fluorescent tubes.The Rodenstock FLD filter (FL = fluores-cent lamp; D = daylight) is designed forthe very frequently used type of “day-light” fluorescent lamps.

The rich green in the fluorescent lampspectrum produces ugly discoloration.

The light purple FLD filter renders thecolors perfectly naturally again.

FLD

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Without filterWithout filter With skylight filterWith skylight filter

Without filterWithout filter With FLD filterWith FLD filter

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Conversion filters allow perfect white balance for shots on color re-versal film as with digital cameras.

Conversion filters (LB)With theserelativelypale blueand amber

tint filters, youcan raise or lowerthe color temper-ature of the light

(LB filter = light balancing filter). Day-light is reddish in the morning, white atnoon and reddish again in the evening.And from the 60 W household tungstento the 1000 W halogen bulb each ofthem has a different coloration. Unfor-tunately, unlike the human eye, colorslide film does not adapt to this change,but reacts with a color shift. Daylightfilms only render colors correctly aroundmid-day with direct sunlight and lightcloud (at a color temperature around5600 K). Tungsten films, in contrast, arebalanced for the light of halogen lamps(3200 K) with a very high red content.Therefore, conversion filters are a mustfor every discriminating photographer.

As a measure of corrective power, thefilter strength is given in “mired” (microreciprocal degree) or in “decamired”(= 10 mired). The Kodak filter codes arealso often used, but their numbers bearno logical relation to the filter power.The following chart shows both the Ko-dak codes and the mired values:

Kodak Color Usual MiredCode name value

82A Very pale bluish KB2 -- 1582B Very pale bluish KB3 -- 3082C Bluish KB6 -- 6080A Blue KB12 --120

81B Pale amber KR3 + 3085 Amber KR6 + 6085B Amber KR13 +120

The low afternoon sun has given allcolors a strong amber discoloration.

The pale bluish conversion filter KB3(82B) corrects this in a discreet manner.

High red and low blue content of thetungsten light shift colors to orange.

The blue conversion filter KB13 (80A)reduces red and yellow correctly.

Conversion filters (LB filters)

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Without filterWithout filter With conversion filterKB13 (80A)With conversion filterKB13 (80A)

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Objects of different color can be distinguished easily in color imagesdue to their color contrast evenwith the same brightness.

Color filters for black & white

Filters for enhancing gray contrastThese tinted glass filters in deep yellow,green, orange or red colors are usedwith b&w film to convert the filter colorinto lighter and its complementary colorinto darker gray tones. This may be tocorrect unfavorable tones (e.g. if thegray contrast would be too low despitea high color contrast) or as a deliberatemanipulation to obtain a more impres-sive representation. Although these fil-ters are not intended for use with colorfilms, they may occasionally provide in-teresting special effects.

Green filtersGreen filters make greenslighter and reds (and to alesser extent blue) darker.So they render leaves, for

example, as lighter and red blossoms ortiled roofs as darker. This is often an ad-vantage for landscapes or for close-upsof flowers or other plants. Green filtersalso give greater expression to portraits(do not use if subject has skin blemishes)and provide the correct gamut conver-sion of the colors to gray under tung-sten light with a high amber content.

Yellow filtersYellow filters are the mostpopular type of filter forb&w shots, particularlyfor landscape photogra-

phy. They darken a blue sky so that thewhite clouds (or the snow in the wintertime) appear with greater brilliance. Asthe effect of bright yellow filters is verydiscreet, medium to dark yellow filtersare preferred in most applications.

Orange filtersOrange filters darken blue evenmore than yellow filters and alsobluish-green and some green tocreate a very dramatic (cloud)

atmosphere in landscape shots. Withinfrared b&w or color film, they are themost popular filters for magical effects.

Red filtersRed filters have an evenmore dramatic effectthan yellow or orangefilters. They are ideal for

“moonlight shots” during the day (un-derexpose slightly!) and for the cloudtowers of an impending storm. Dark redfilters with infrared film serve to sup-press the shortwave portion of the visi-ble spectrum and so to achieve spectac-ular color distortion: because plantswhich contain chlorophyll reflect a lot ofIR, they appear red on IR color film andalmost white (like snow) on IR b&w film.

Clouds contrast strongly with the sky.

High contrast of red/pink against blue.

The eye sees a high color contrast.

Original colorsOriginal colors

Original colorsOriginal colors

Original colorsOriginal colors

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Color filters help the photographerto control the gray conversion ofthe colors such that there is alwaysadequate contrast.

Pale sky, low contrast (roofs, flowers) Emphasized clouds, lightened flowers.

Bright sky, transparent sails, dark sea. Enhanced contrast and better fidelity.

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Amost indistinguishable gray values. Red appears brighter and green darker.

B&W film without filterB&W film without filter B&W film with mediumyellow filterB&W film with mediumyellow filter

B&W film without filterB&W film without filter B&W film with green filterB&W film with green filter

B&W film without filterB&W film without filter B&W film with bright red filterB&W film with bright red filter

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Soft focus · Adapter rings

Soft-focus lenses produce magicallyappealing portraits without blur.

Adapter rings save money for an additional (smaller) filter set.

Softar I and IIThe famous professionallens Rodenstock Imagonsoft-focus producesbeautifully softened por-

traits – but at the price of a whole lens.But for those photographers who onlyoccasionally want to “soften” theirshots and do not want to spend quiteso much, the Rodenstock filter programalso includes the high-grade Softar sof-teners from CARL ZEISS in the powers Iand II. These soft focus filters are mosteffective with a short telephoto-lens(e.g. with a 35 mm camera with a focallength of around 85 or 105 mm) andwith a larger aperture, from aroundf/2.8 to f/5.6.

Although softeners have become verypopular as “de-wrinklers”, their use isby no means limited to this application,as the pictures on the right hand sideshow. The diffusion created at the edgeof highlights or other very bright partsspreading into the shadows can, for ex-ample, give even bouquets a touch ofromance or emphasize the dream-likegaze of a little sweet girl.

The most effective diffusion is achievedwhen a slanted backlighting generateshaloes at the edges which then light upagainst a dark background (blonde hairis the classical example).

A good lens provides a sharp image;however, for portraits of a little girlthis may produce too harsh an effect.

With the Zeiss Softar II, the sharp corepicture remains unchanged up to thedetails, but it is covered by a light veil.

Adapter ringsAdapter rings allow a filter to befitted to a lens with a smallerconnecting thread. In the oppo-site case, that is when a smaller

filter is adapted to a bigger lens with alarger thread, there is a strong possibili-ty of vignetting, particularly with wide-angle lenses. If you have lenses with dif-ferent thread sizes, we strongly recom-mend that you purchase the filters with

WithoutsoftenerWithoutsoftener

WithSoftar IIWithSoftar II

the larger diameters and then useadapter rings to fit these to the smallerlens diameters rather than vice versa.

When ordering, you should always givethe lens thread and the filter thread andstate which is which.

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Color falsification and unfavorablegray value conversions can be prevented and the color and grayvalues can be controlled with the right Rodenstock filters.

Rodenstock filters overview

Thread [mm] 27 28 30 30.5 37 39 40.5 43 46 49 52 55 58 60 62 67 72 77 82 86 95 100 105 112 127

Outer-Ø [mm] 29 30 32 32.5 39 40.5 42 45 48 51 54 57 60 62 65 70 75 80 85 90 100 103 110 115 132

Filter name Exp. factor Page Filter type No.

UV blocking filter 1× 3 1095.0030.··· 027 028 030 031 037 039 040 043 046 049 052 055 058 060 062 067 072 077 082 086 095

UV blocking filter multi-coated 1× 3 1095.0032.··· 031 037 039 040 043 046 049 052 055 058 060 062 067 072 077 082 086 095 105

UV/IR blocking filter 1× 3 1095.0031.··· 027 028 031 037 040 043 046 049 052 055 058 062 067 072 077 082

ND filter 2× 2× 3 1095.2030.··· 0

ND filter 4× 4× 3 1095.2060.··· 0

ND filter 8× 8× 3 1095.2090.··· 0

Center filter (for Apo-Grandagon) 5× 1) 1094.2403.···

Center filter (for Grandagon-N) 3× 1) 1094.2403.···

Polarizing filter linear 2×…3× 4/5 1095.0087.··· 039 040 043 046 049 052 055 058 060 062 067 072 077 082 086Polarizing filter circular 2×…3× 4/5 1095.0088.··· 027 028 030 031 037 039 040 043 046 049 052 055 058 060 062 067 072 077 082 086

Polarizing filter circular multi-coated 2×…3× 4/5 1095.0089.··· 031 037 039 040 043 046 049 052 055 058 060 062 067 072 077 082 086 095 105

Skylight filter 1A 1× 6 1095.0040.··· 027 028 030 031 037 039 040 043 046 049 052 055 058 060 062 067 072 077 082 086 095

Skylight filter 1A multi-coated 1× 6 1095.0039.··· 031 037 039 040 043 046 049 052 055 058 060 062 067 072 077 082 086 095 105

Conversion filter 81B KR 2.5 1.2× 7 1095.0041.··· 0

Conversion filter 85 KR 11 2× 7 1095.0043.··· 0

Conversion filter 85B KR 13 2× 7 1095.0044.··· 0

Conversion filter 82A KB 2 1.2× 7 1095.0045.··· 0

Conversion filter 82B KB 3 1.5× 7 1095.0046.··· 0

Conversion filter 82C KB 4.5 2× 7 1095.0047.··· 0

Conversion filter 80A KB 13 4× 7 1095.0049.··· 0

Fluorescent light filter FLD 2× 6 1095.0050.··· 0

Medium yellow filter (8) 2.5×…3× 8 1095.1008.··· 027 028 031 037 039 040 043 046 049 052 055 058 060 062 067 072 077 082 086 095

Dark yellow filter (15) 4× 8 1095.1015.··· 027 028 031 037 039 040 043 046 049 052 055 058 060 062 067 072 077 082 086 095

Yellowish green filter (11) 2× 8 1095.1011.··· 027 028 031 037 039 040 043 046 049 052 055 058 060 062 067 072 077 082 086 095

Green filter (13) 3× 8 1095.1013.··· 027 028 031 037 039 040 043 046 049 052 055 058 060 062 067 072 077 082 086 095

Orange filter (22) 4× 8 1095.1022.··· 027 028 031 037 039 040 043 046 049 052 055 058 060 062 067 072 077 082 086 095

Bright red filter (25) 8× 8 1095.1025.··· 027 028 031 037 039 040 043 046 049 052 055 058 060 062 067 072 077 082 086 095

Dark red filter (29) 8×…12× 8 1095.1029.··· 027 028 031 037 039 040 043 046 049 052 055 058 060 062 067 072 077 082 086 095

Softener Zeiss Softar I 1× 10 1095.0071.···

Softener Zeiss Softar II 1× 10 1095.0072.···

Normal mount = gray bold numbers, e.g. “52”Slim mount = light-faced numbers, e.g. “52”

1) Center filter are special filters for reducing the light fall-offof large format lenses with an extremely large image angle.They are included in this overview only because of complete-ness. Center filters are described in great detail in the bro-chure “Rodenstock Lenses for Professional Photography” onthe pages with the lenses Apo-Grandagon and Grandagon-N.

All Rodenstock filters are high-grade coated, filters marked with a pink bar are multi-coated

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043 046 049 052 055 058 060 062 067 072 077 082 086 095 100 105 115 127043 046 049 052 055 058 060 062 067 072 077 082 086 095 105

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049 052 055 058 060 062 067 072 077 082 086 095 100 105 115 127049 052 055 058 060 062 067 072 077 082 086 095 100 105 115 127049 052 055 058 060 062 067 072 077 082 086 095 100 105 115 127049 052 055 058 060 062 067 072 077 082 086 095 100 105 115 127

049 052 055 058 060 062 067 072 077 082 086 095 105

043 046 049 052 055 058 060 062 067 072 077 082 086 095 100 105 115 127043 046 049 052 055 058 060 062 067 072 077 082 086 095 100 105 115 127043 046 049 052 055 058 060 062 067 072 077 082 086 095 100 105 115 127043 046 049 052 055 058 060 062 067 072 077 082 086 095 100 105 115 127

043 046 049 052 055 058 060 062 067 072 077 082 086 095 100 105 115 127043 046 049 052 055 058 060 062 067 072 077 082 086 095 100 105 115 127043 046 049 052 055 058 060 062 067 072 077 082 086 095 100 105 115 127

052 055 058 062 067 072 077 082 086 095 105052 055 058 062 067 072 077 082 086 095 105

When ordering, please quote both the filter name and thefilter type number. The filter type number is the 8-digit figurein the fourth column with the thread size number, e.g. for aconversion filter 81B with thread M 77×0.75:

Conversion filter 81B # 1095.0041.077

13

Aspherical magnifiers

Our loupes are precision instrumentsAll aspherical Rodenstock magnifiersexcel by highest optical performance,provide a comfortable, fatigue-free vieweven for eyeglass wearers and duringlong-term observation. They provide astable image, too, even if the eye doesnot rest in a fixed position above theeyepiece. They convince with a puredesign without frills and with very prac-tical details.

Their multi-element optical design isoptimized for the special demands ofvisual usage and comprises differentglass types for eliminating color fringesas well as aspherical lens surfaces forachieving uniform sharpness up to themargin, freedom from distortion andgood flatness of field. So these magni-fiers are real precision instruments of anextraordinary quality level.

Multi-coating for a brilliant imageMulticoating enhances light transmis-sion for a bright and brilliant image andeliminates contrast-reducing flare andreflections. An efficient reflection reduc-ing coating is important because magni-fiers are often used (especially by pho-tographers) for evaluating transparen-cies or negatives on a light table. In thisapplication the extremely bright backlight could generate nebulous flare, irri-tating reflections and ghost images.

The 3x loupe (top) shows a largeimage field of 6x6 cm; the 4x loupe(on the right) shows the full 35 mmformat or a circle of 41 mm; the 6xloupe (left) shows much more thana 35 mm film or a circle of 57 mm.

For viewing with reflected light, thetube is pushed upwardly with the4x loupe (left); with the 6x loupe(right) and the 3x loupe, the remov-able lower tube is inserted with thetranslucent part downwards.

With a good Rodenstock loupe, youwill never lose sight of even thesmallest details at work or at homewhich are often so very important.

All three magnifiers can be adapted tofrontal illuminated or backlit subjects:Both magnifiers 3× and 6× have a halfblack and half transparent base that canbe turned, and the magnifier 4× has asliding skirt that shades frontal light inits lower position for viewing transpar-encies and allows diffused light to fallthrough a translucent tube in its upperposition for viewing opaque subjects inalmost shadow-free illumination.

Perfect look – even with eyeglasses All magnifiers can be adjusted fordiopter compensation. Eyeglass wearerscan fold down the rubber eyecups; eye-glasses cannot be scratched. The verylong eye relief, a large lens and exitpupil diameter provide a very comfort-able viewing, allow the eye to movewithout cropping the large field of view.

With the detachable neck strap themagnifiers can be taken along perma-nently, will be available and can be usedinstantly whenever they are needed,e.g. in a graphics studio or photo studio.

Model Field of view Diopter adjustment Weight

Aspherical loupe 3× 60 × 60 mm ±0 D … -1.5 D 210 g

Aspherical loupe 4× 41 mm Ø +0.5 D … -2.5 D 83 g

Aspherical loupe 6× 57 mm Ø +1 D … -2.0 D 210 g

LP/P

LT/0

1/20

06/2

/24

24-0

02-0

17-0

2

LINOS Photonics GmbH & Co. KGPhoto and Lab TechnologyIsartalstr. 43D-80469 MuenchenGermany

Phone +49 (0)89 72 02-285Telefax +49 (0)89 72 02-164Internet www.linos.dee-mail photo@linos.de