Schneider and Fu Lunda, who can understand DKL lens? Please come in!

I prefer Voigtlander Skoparex 35/3.4 of Freda, but it should be said that these two shots are the goals of enthusiasts. In fact, if you have money, you can play both. You can get the answer by carefully looking at the experience of the person I copied below.

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Photography lovers are different from professional photographers. Many times they are looking for fun in the process of thinking, and the process is often more exciting than the result.

Kodak Retina Reflex and Fu Lunda Bessamatic series cameras adopt DKL connecting rings, and their matching lenses are designed and manufactured by famous companies such as Fu Lunda, Schneider and Rodstock. First-class technology has become another major selling point of the blade shutter SLR camera system. I have used DKL interface lenses above 10, all of which are exquisite.

At present, these DKL interface lenses can be connected to digital SLR cameras through a connecting ring called DKL. DKL connection ring is sold by Guangzhou Yineng Company, and the price is 700 yuan money. The DKL connecting ring produced by Yineng is made of brass with excellent quality (Figure 1, Figure 2).

The author thinks that the best way to play DKL interface lens is to start with the head. The history of lens development of more than 100 years tells us that there is no weak team in the head, and the design of Tiansai and Double Gauss is enduring.

I have used four 50mm standard lenses, including Fu Lunda and Schneider, and none of them is broken.

Among them, Fu Lunda Septon 50mm F2.0 is known as a "landmark masterpiece" in the world optical history. In order to improve the imaging quality under large aperture, five groups of seven-plate structures are adopted, which is one more group of lenses than four groups of six-plate standard double Gaussian structures.

Under the full aperture, I compared the real shots with Septon 50mm F2.0 and Schneider Xenon 50mm F 1.9(4 groups and 6 pieces of double Gaussian structure). The conclusion is that there is little difference in in-focus imaging. For out-of-focus imaging, the bilinear of the 50mm F2.0 lens of Franda Septon is obviously better than that of the 50mm F 1.9 lens of Schneider Xenon.

Judging from the imaging style, these Fu Lunda original lenses with DKL interface have a strong classical flavor, especially the elegant yellow tone, which I like very much.

Due to the limitation of the process at that time, the phenomenon of glue opening on the joint surface of this kind of lens is relatively common, so special attention should be paid to the selection (Figure 3).

Schneider Xenon 50mm F 1.9 is also a lens that can enjoy the charm of large aperture. Although the defocus linearity of this lens is obvious, its defocus imaging is very distinctive, with strong vortex and vertigo effects.

When you use these two titles with a large aperture of 50mm, you will find it difficult to choose between them, and often you will miss the other one, if you have one.

In addition to the above-mentioned two standard lenses with a large aperture of 50mm, Fu Lunda and Schneider also have a popular product with a price of 50mm F2.8

These two lenses are small and exquisite, adopting 3 sets of 4-piece sky-inserted structure, with sharp imaging, which is more suitable for landscape photography.

If I had to choose one, I personally prefer the Fu Lunda Skopar 50mm F2.8 lens. The photos taken with this lens have a unique charm, and the color is slightly cold.

It has several versions, and the later version has a close-up function of 0.6m (Figure 8).

Among the wide-angle lenses with DKL interface, I have used Schneider Curtagon 28mm F4, Schneider Eurygon 35mm F2.8 and Fu Lunda Skoparex 35mm F3.4 lenses, among which Schneider Curtagon 28mm F4 is the only 28mm wide-angle lens with 6 groups and 7 films.

People often compare the imaging style of Schneider lens to real water without fragrance. These Schneider lenses with DKL interface have pure imaging colors, especially the elegant blue tone, which I like very much (Figure 10).

Fu Lunda 35mm F3.4 is the lens that impressed me the most. If a camera is equipped with a mirror, I will consider this lens first.

The lens is small and exquisite, exquisite in workmanship, heavy and textured in the hand, such as handicrafts, which are very pleasing to the eye.

The optical structure of Fu Lunda 35mm F3.4 lens is 5 groups and 6 lenses. Because the front lens group protrudes forward, it is dubbed "bead circle" by some film friends.

As far as I know, there are at least two versions of Fu Lunda's 35mm F3.4 lens, and I have both versions, one is a long focusing stroke with close-up function of 0.4m, and the other is the closest focusing distance 1m (Figure 12).

Schneider Curtagon 35mm F2.8 is a compact and pocket wide-angle lens, with an optical structure of 6 groups and 6 lenses. Judging from the actual shooting effect, the description of this lens is good, and the imaging color is saturated and true, with a heavy sense and rich layering (Figure 13).

Among the DKL interface lenses, there are two common lenses with focal length of 135mm, namely Fu Lunda Super Dynarex 135mm F4 and Schneider Tele-Xenar135mm F4.0. I have used both lenses.

Among them, Fu Lunda 135mm F4 adopts three groups of four-piece structure design, with slim appearance and black leather embedded in the mirror body. I feel a little thin in terms of materials, maybe it is too thin. The two levers loaded on the lens base often have problems, which leads to the failure of the diaphragm blade to shrink, which is rare in Schneider 135mm F4.0 lens.

From the actual shooting effect, the resolution and backlight imaging effect of Fu Lunda 135mm F4 lens are good, which is worth pondering (Figure 15 and Figure 16).

Among many DKL interface lenses, Retina Tele-Xenar135mm F4.0 is my favorite lens. This lens has beautiful shape, fine workmanship and good description performance. The optical structure is 4 groups of 5 lenses, and the closest focusing distance is 4m (Figure 18).

In addition to the common lenses mentioned above, there are 40mm F2.0 from Copagon, Rendas, 200mm F4.0 from Chaoda, 350mm F5.6 from Chaoda, 90 mm F4 from Schneider Tele Xenar 200mm F4.8 from Telexenar, and 30 mm F2.8 from Eurygon made by Rothschild, all of which are little-known products. At that time, these lenses had high process cost and low output, and not many people owned them. They have become rare products in DKL interface lenses and can also be used for collection.

From the exquisite technology and manufacturing, I think Schneider Tele-Arton 90mm F4 lens (Figure 19, Figure 20, Figure 2 1) is the most beautiful one among DKL interface lenses. It is small and exquisite, such as handicrafts. The black nozzle at the front of the lens is also beautifully designed, using metal materials with stronger wear resistance. Such a small size is rare in lenses with the same focal length.

The author checked some information, and this lens is not mentioned in many lens catalogues, perhaps it is a later product.

The optical structure of Tele-Arton 90mm F4 lens is 4 groups with 5 lenses, and the nearest focal length is 2m. Those with good colors can be collected as handicrafts.

The author once bought a Fu Lunda Super-Dynarex 200mm F4.0 lens from a cinematographer for 3500 yuan, which looked very good. I like the antique modeling technology and delicate picture of this lens. Now it has become an excellent collection in my hands. The optical structure of Super-Dynarex 200mm F4.0 lens is 4 groups with 5 lenses, and the closest focusing distance is 8.5m (Figure 22).

In short, with the popularity of digital lenses today, as far as I know, there are still quite a few film friends who are keen on using traditional lenses, especially some traditional mechanical lenses.

It is undeniable that these traditional lenses are not as fast and convenient to use as AF lenses, and they also have their own characteristics in imaging. Due to historical reasons, many old lenses were regarded as luxury goods in those years, and they were "original" in design, technology and materials, far from being comparable to large-scale "electronic" products now. Similarly, these products are far away from the noise and commercialization of the world, simpler and closer to nature.