Leica Camera Lens APO TELYT R User Manual

Leica R-Lenses  
by Erwin Puts  
September 2003  
Chapter 3: 180 mm and 280 mm lenses  
__ LEICA APO-ELMARIT-R 180 mm f/2.8  
__ LEICA APO-TELYT-R 280 mm f/4  
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Chapter 3  
__ LEICA APO-ELMARIT-R 180 mm f/2.8  
In 1975 Leitz Canada designers computed the 180 mm f/3.4  
Apo-Telyt-R lens for scientific purposes that required a very  
high information content. It is a seven-element system with four  
groups, corrected for the infrared region and it performs best at  
infinity. At the same time Canon introduced a new 300 mm  
f/2.8 lens with synthetically grown fluorite crystals, a solution  
that Leitz did not wish to use.  
markable. In addition, the ergonomics were no longer state-of-  
the-art as more and more companies introduced internal focu-  
sing.  
In 1998 Leica introduced the new 180 mm f/2.8 Apo-Elmarit-R,  
a system that can be described as "Return of the Empire".  
The price ratio to the 50 mm Summicron now became 3.5:1,  
just as it was in the thirties.  
With the 180 mm f/3.4 Apo-Telyt-R, Leitz offered a high perfor-  
mance lens that undoubtedly inspired a friendly competition  
with other prominent companies. Reduction of the weight of  
lenses was the primary concern and goal as such lenses grew  
in popularity for hand-held photography in available light. Sub-  
sequently, new lenses were introduced: in 1977 (180 mm f/4  
Elmar-R) and in 1980 a new computation was made for the 180  
mm f/2.8 lens.  
A lens with the focal length of 280 mm for the Visoflex system  
was introduced in 1961, and in 1970 a 250 mm lens was intro-  
duced for the Leica R-system.  
Both versions offered commendable but not top performances.  
The same challenge of optimal weight, high performance and  
short near focusing distance existed here as it did with the 180  
mm focal length, and the first computations by leitz were not  
entirely convincing.  
For a short period there was a choice of three 180mm lenses  
(f/4, f/3.4 and f/2.8) that were close in price: in relation to the  
standard 50 mm f/2 Summicron-R lens the ratio was: 2.4:1,  
2.9:1 and 3:1.  
This changed abruptly with the introduction in 1984 of the 280  
mm f/2.8 Apo-Elmarit-R, an outstandingly good performer with  
internal focusing and a weight of almost three kilograms (6.6  
pounds). These characteristics required the use of a tripod and  
they restricted the lens to static photography. With a price ratio  
of 10.6:1, it was not a lens for the normal Leica user.  
The second version of the 180 mm f/2.8 Elmarit-R lens could  
not outperform the 180 mm f/3.4 Apo-Telyt-R lens. And the  
shortest focusing distance of 2.5 meters (8.2 feet) was unre-  
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Chapter 3  
__ LEICA APO-TELYT-R 280 mm f/4  
In 1993 the 280 mm f/4 Apo-Telyt-R was introduced. Perfor-  
mance was improved, especially in the outer zones; the weight  
was reduced to 1875 grams (66.1 ounces) and the price ratio of  
4.8:1 was much better.  
We can explain this with a small experiment:  
Let us photograph two objects of the same size that are located  
one meter (3.28 feet) from each other at a distance from one  
meter (3.28 feet) from the first object.  
In terms of performance, both new lenses, the 180 mm f/2.8  
Apo-Elmarit-R and the 280 mm f/4 Apo-Telyt-R, are world-class  
lenses and they represent the finest examples of the outstan-  
ding excellence of the current quality of optical design at Leica  
Camera AG.  
The second object is then twice as far away from the lens as  
the first object. Therefore the second object will be seen and  
reproduced at half the viewing angle of the first object.  
It will be halved in linear size.  
Now we move the camera to a distance of three meters (9.8  
feet) from the first object. Now the viewing angle of the second  
object is 3/4 of that of the first object.  
__ Artistic considerations  
The linear magnification is thus 3/4 of that of the first object.  
Our brain assumes that large objects are always close to us.  
As the second object has 'grown' from 1/2 to 3/4 the size of  
the first object, we assume that it must now be closer to that  
object.  
Both lenses share essentially the same characteristics, but the  
strongest visual effects can clearly be seen with the 280 mm  
lens. Pictures with these lenses show the classical compressed  
image: two cars in a row look as if they collided and many cars  
acquire a new wedge shape. Pictures of groups of people look  
like the paintings of people by Rembrandt.  
This effect explains why telephoto lenses produce a compres-  
sed or foreshortened perspective.  
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Chapter 3  
With these considerations it is possible to create and define the  
image effects that you want.  
these distances there is a reduction of 1.8x in the luminance of  
the negative. The automatic exposure programs of Leica R  
cameras compensate for this effect, but when you make a  
manual exposure, it is wise to take this into account. The occa-  
sionally expressed wish for a true macro lens with a focal  
length of 200 mm is practically fulfilled with this combination. A  
bit outmoded nowadays, but still useful is the Bellows Attach-  
ment BR-2 that allows reproduction ratios of 1:3.3 to 1.2:1.  
If the main subject is encircled by objects in the fore- and bak-  
kground, you can visually emphasize the relationship between  
the subjects and even make it appear as threatening, as is the  
case with cars that seem to collide. If the photographer needs  
the impression of masses, the selection of subject matter beco-  
mes important. Pictures at the beach show the piling up of  
beach guests and pictures in shopping centers show the mas-  
ses of stacked-up buyers.  
The focal length of the 180 mm f/2.8 Apo-Elmarit-R lens has  
more interesting possibilities than is sometimes assumed. The  
subject area runs from portrait and children photography to  
landscape photography and from theatre- to fashion photogra-  
phy and reportage. The ergonomics are excellent, its functions  
are very smooth because of internal focusing and a new mount  
with ball-bearing rotation.  
On the other hand, it is also possible to isolate the subject com-  
pletely from the surroundings. Wide open, the depth of field is  
quite shallow and by adding light and shapes to the composi-  
tion we can create very interesting images. The shallow depth  
of field is enhanced by the following phenomenon:  
A 180 mm lens has a lateral magnification of 3.6x compared to  
a standard lens. The subject is enlarged 3.6 times in its height  
and width dimensions. But what happens to the third dimen-  
sion: depth? The optical laws tell us that the axial magnification  
(the depth) is the square of the lateral magnification. The depth  
magnification is now 12.96x. In photographic practice we see  
this as an abrupt change in the unsharpness gradient. The cir-  
cles of confusion are also enlarged! This effect is not related to  
the so-called ‘bo-ke’ effect. Both lenses (180 and 280 mm) have  
a somewhat granular unsharpness plane, without destroying  
the subject outlines in the out-of-focus areas.  
With an Apo-Extender-R 2x the focal length becomes 360mm.  
This is within the range of the 280 mm f/4 Apo-Telyt-R that was  
introduced in 1993 and that to this day still delivers the best  
image quality of all Leica R lenses, with the possible exception  
of the 400 mm f/4 module lens.  
This lens has somewhat higher contrast in the center of the  
image, but it is not so good at the comers and in the outer zonal  
areas. The 280 mm lens however, is usable as a hand-held lens.  
You should not be misled by the old rule of thumb that tells you  
that the slowest speed for handheld photography is the recipro-  
cal of the focal length. When taking pictures with the 280 mm  
lens, a shutter speed of 1/250 will often suffice for good quali-  
ty images and sometimes even for sharp pictures. If the highest  
quality is required, a tripod is a must. With the 280 mm lens,  
extremely fine texture details can be captured at longer distan-  
ces. A person can be photographed filling the entire negative  
area at a distance of 14 meters (46 feet). Perhaps the following  
is a more impressive example: with the 280 mm lens you can  
capture a 5x7 mm section of a full negative photographed with  
a 50 mm lens. This is a very small segment and it is an indica-  
tion of the many possibilities of this lens.  
An image point always has a certain extension or radius that  
looks like a small circle or disc of light. If the radius is small  
enough, the eye will interpret it as a point. The largest circle  
that is seen as a point is called the circle of confusion and its  
diameter is 0.03 mm on the negative.  
The superb performance of the 180 mm f/2.8 Apo-Elmarit-R  
permits the unrestricted use of the Macro-Adapter-R. We can  
obtain a reproduction ratio of 1:3 with excellent quality. At  
LEICA APO-ELMARIT-R 180 mm f/2.8  
Picture: Erwin Puts  
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Chapter 3  
Atmospheric turbulence and heat waves can destroy the image  
quality at these large magnifications and one needs a skylight  
filter with color film and a medium orange filter with black-and-  
white film.  
For the first time, chromatic aberrations (color fringes) could  
be reduced to negligible amounts. Multi-layer coating was used  
sparingly, as these layers often create more problems than they  
solve. Especially with strongly curved surfaces and with glasses  
with high refractive indices, a uniform thickness over the entire  
surface could not be guaranteed.  
The discussion often arises as to whether a lens can be too  
sharp, a question that is certainly relevant for both of these  
lenses. In many discussions, sharpness and contrast are seen  
as the destroyers of subtle tonal values.  
It seemed impossible, but with the 180 mm f/2.8 Apo-Elmarit-R  
lens, image quality was improved significantly. With seven ele-  
ments in five groups, its design is totally different from that of  
the 180 mm f/3.4 lens, also with seven elements in four  
groups.  
This idea is associated with the effects of gradation of films  
and papers. A steep gradation of a film or a paper with a high  
contrast will accentuate small differences in brightness and  
also reduce the number of tonal shades of the overall tonal  
range. But these properties cannot be transferred to the optical  
sharpness or modulation transfer.  
Any lens should generate an accurate image of the subject.  
Every detail (subject outline, textural detail, tonal value) is a  
composition of very small point images of different brightness.  
If we have a lens that is free from aberrations, every point will  
be reproduced on film exactly as it is in the real world.  
A lens with optical aberrations will reproduce these points with  
some blur and the small differences in brightness will also be  
diffused. The better the lens, the more accurate the image  
reproduction and the finer the brightness differences that we  
can discern.  
The 280 mm f/4 Apo-Telyt-R lens can be combined quite effec-  
tively with the Macro-Adapter-R. Then you can take pictures at  
a distance of one meter (3’ 3 3/8”) from small animals that do  
not let you approach too closely, like frogs. You may even com-  
bine the Macro-Adapter-R and the Apo-Extender-R. This is also  
true for the 180 mm f/2.8 Apo-Elmarit-R lens.  
Maximum quality is already reached at full aperture. From the  
center to the edge of the image, a resolution of extremely fine  
details with high micro-contrast is ensured. Especially with  
fashion- and beauty photography, where hyper-realistic images  
are required, these lenses are ideal. From a lens tester’s point  
of view, the 180 mm f/2.8 Apo-Elmarit-R lens is not a challen-  
ging lens: there is hardly a point to criticize! Thanks to its floa-  
ting element design, performance in the close-up range is  
excellent.  
You might even use two Macro-Adapters together.  
The only recommendation I can give is to be willing to experi-  
ment and investigate which combination best suits your needs.  
__ Optical considerations  
The basic design of a telephoto lens consists of a converging  
front lens with a positive focal length and a diverging second  
lens with a negative focal length. The main optical problems  
with telephoto lenses are distortion (solved quite early), secon-  
dary spectrum and the longitudinal chromatic errors.  
The first 180 mm lenses from Leitz had five elements in four  
groups. Their design was derived from the 135 mm lenses. A  
low number of elements reduced flare, but it also limited the  
optical correction a bit. Chromatic correction was not optimal  
and overall contrast was on the low side. Image quality was  
quite good, especially because now one needed a lower magni-  
fication of the negative. The breakthrough came with the 180  
mm f/3.4 Apo-Telyt-R lens, a design that used new types of  
optical glass.  
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Chapter 3  
Flare and secondary images are absent and specular highlights  
in the blazing sun are free from halo effects.  
Aperture Stop 2.8  
[%]  
100  
80  
60  
40  
20  
0
1
Vignetting may be visible under critical circumstances (wide  
open), but it is eliminated at f/5.6.  
[%]  
100  
8.0  
80  
5.6  
2.8  
60  
0
5
10  
15  
20  
40  
20  
0
Y'[mm]  
0
5
10  
15  
20  
Aperture Stop 5.6  
[%]  
100  
80  
60  
40  
20  
0
Y'[mm]  
Distortion amounts to 1% in the comers and may be visible  
when one photographs geometric figures (architectural details)  
near the edges of the negative.  
Y'[mm]  
12  
9
0
5
10  
15  
20  
Y'[mm]  
6
Aperture Stop 8.0  
3
[%]  
100  
80  
60  
40  
20  
0
0
0
3
6
9
12 15 18  
X'[mm]  
The high level of correction of the current 180 mm lens can be  
seen in the MTF graphs. The f/2.8 aperture delivers the best  
performance, it might be improved a bit at f/4, but at f/5.6 you  
already see a small reduction in contrast, which is even more  
pronounced at f/8.  
0
5
10  
15  
20  
Y'[mm]  
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Chapter 3  
The diverging curves at 40 Lp/mm for sagittal and tangential  
lines is of no relevance in practical photography. This reduction  
in contrast can only be computed; it is not visible in real life.  
This behavior indicates that the lens earns highest scores for  
color correction. The ‘APO’ designation is well deserved. We  
should explain this once again: there is no universally accepted  
definition for apochromatic correction.  
[%]  
100  
80  
60  
40  
20  
0
8.0  
5.6  
4.0  
When the secondary spectrum is small and/or when three  
wavelengths focus (almost) on one plane, the ‘APO’ designation  
is appropriate. The question now is: How do the other wave-  
lengths behave and how does the shape of the secondary spec-  
trum look as a whole.  
The 180 mm f/3.4 Apo-Telyt-R lens is at its optimum at f/5.6,  
implying that there are some residual aberrations that disappe-  
ar when the lens is stopped down. The often asked question as  
to which of these lenses is the best has an easy answer: up to  
an aperture of f/4, the Apo-Elmarit-R is the best and more so at  
the close-focus range. From f/5.6 both lenses are equal at infi-  
nity. But the higher overall correction of the Apo-Elmarit-R  
yields images with a crisper and tighter effect.  
0
5
10  
15  
20  
Y'[mm]  
Y'[mm]  
12  
9
The 180 mm f/2.8 Apo-Elmarit-R lens can be focused beyond  
the infinity mark (as the 280 mm lens can as well). This is inten-  
tional in order to accommodate heat expansion and it is not  
designed for searching the best infinity position. There is  
nothing beyond infinity and the true infinity mark is optically  
and mechanically fixed by the factory.  
6
3
0
0
3
6
9
12 15 18  
X'[mm]  
The telephoto ratio is 0.74 (Focal length/physical length) and  
close to that of the 180 mm lens:  
A protective filter, positioned in front of the lens, is part of the  
optical design and computation.  
The possible fear that the filter might reduce the optical perfor-  
mance is not justified. As with the 180 mm lens, optimum opti-  
cal performance is already reached at full aperture. Microfine  
textural details are reproduced with high edge sharpness and  
micro contrast, the clarity of the colors and tonal gradation are  
exemplary and give the image a special depth impression.  
The MTF graphs show superb results and are hardly distinguis-  
hable from those of the 180 mm lens.  
The 280 mm f/4 Apo-Telyt-R lens has a strong family resem-  
blance to the 180 mm lens. Here too, seven elements are used,  
now in six groups (the first cemented group is separated). Dis-  
tortion and vignetting of the two lenses are almost identical.  
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Chapter 3  
Even so, the optical quality of the 280 mm lens is higher. Here  
we can detect the limit of the MTF graphs when we restrict our-  
selves to 40 Lp/mm as the highest frequency. There are sound  
arguments for this limit, but when dealing with very high perfor-  
mance lenses, the information may not be as we want it to be.  
The 280 mm f/4 Apo-Telyt-R lens is one of the every few lenses  
that is truly diffraction-limited. This means that the optical  
aberrations are so small that the size and shape of the image  
point is governed solely by physical laws. The absolute limit can  
be found at 450 Lp/mm. The most amazing feature is the follo-  
wing: a contrast value of 50% for 50 Lp/mm is the normal limit  
for high quality 35 mm photography.  
Aperture Stop 4.0  
[%]  
100  
80  
60  
40  
20  
0
The 280 mm f/4 Apo-Telyt-R lens delivers a resolution of 150  
Lp/mm with 50% contrast. Often the lower limit for usable con-  
trast is set at 20%. At this value this lens still delivers an out-  
standing 300 Lp/mm.  
0
5
10  
15  
20  
Y'[mm]  
The big question is: how do we obtain this performance on the  
negative?  
Aperture Stop 5.6  
[%]  
100  
80  
60  
40  
20  
0
__ High-resolution photography  
Let us make it clear from the start. Under practical circumstan-  
ces, we can achieve a visible and usable resolution of more  
than 150 Lp/mm on microfilm (Agfa Copex and Kodak Techni-  
cal Pan).  
At first sight this may appear to be a bit disappointing. But 150  
Lp/mm are 300 separate lines in one millimeter and that  
means that every single line has a width of 0.003 mm – an  
exceedingly small number!  
Between two black lines there is a single white separation of a  
mere 0.003 mm in width. The smallest halo caused by the lens  
or by the grain in the emulsion, will reduce that separation line  
to a dark gray one, making the difference between black and  
white disappear. The same holds for the slightest movement of  
camera or subject.  
0
5
10  
15  
20  
Y'[mm]  
Aperture Stop 8.0  
[%]  
100  
80  
60  
40  
20  
0
Occasionally you will read about film emulsions that are capa-  
ble of resolving 700 Lp/mm or more in normal photographic  
situations (film-lens combination). In this case we have a line  
width of less than 0.0007 mm and that is minute in the extre-  
me. But these theoretical claims are not so important because  
the results have never been seen or documented.  
The 280 mm f/4 Apo-Telyt-R, which has a theoretical (i.e. com-  
puted) resolving power of 450 Lp/mm (depending on the wave-  
length that is being used), can resolve 250 Lp/mm with a con-  
trast of 50%, of which approximately 150 Lp/mm can actually  
be recorded on film. The 180 mm f/2.8 Apo-Elmarit-R has  
values that are a bit lower.  
0
5
10  
15  
20  
Y'[mm]  
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9
Chapter 3  
You will have to find subjects that have extremely fine details to  
start with, and then you must take pictures at quite a large  
distance, because you need a high value of negative magnifica-  
tion, and then you must enlarge the tiny negative to big propor-  
tions. This places the imaging chain under heavy strain.  
from sandbags to bricks attached to the tripod in order to redu-  
ce vibrations. I used weights placed on the body and on the  
front part of the lens in order to eliminate the tremors.  
This may sound very elaborate. It may be partly so, but with  
some experience it becomes a natural habit in high-resolution  
photography. Without specific experiments, you will never  
master the imaging chain. I wish to dispel the impression that  
this type of photography is as easy as shooting from the hip.  
But it is not a big problem either. Leica camera bodies and len-  
ses are not the weakest links in the chain. And it is very gratify-  
ing to discover details in projected images or in big prints that  
you never knew were there in the first place!  
For example: I use a subject that consists of a black-and-white  
line pattern with line widths of 0.25 mm. The pattern has a  
resolution of 2 Lp/mm. I need a negative magnification of 100x  
to get a resolution of 200x on the negative. Using my 280 mm  
lens, the distance to the subject will be 28 meters (92 feet).  
But that positions me so far away from the subject that I cannot  
even see the pattern! To achieve an accurate focus I affixed the  
pattern to a large piece of white cardboard with a big black line  
on it for easy focusing. It is too optimistic to assume that all  
my problems have now been solved.  
You will get the best performance of around 150 Lp/mm with  
Agfa Copex exposed at a film speed of ISO 12 to 16 and proces-  
sed in Spur Nanospeed developer, or Kodak Technical Pan  
exposed at a film speed of ISO 20 to 25 and processed in Spur  
Dokuspeed developer. There are no secret tricks here: just  
develop according to normal practice. With Agfa Rodinal devel-  
oper you will have to experiment: at a dilution of 1:50, you will  
get quite a steep gradation. And users have reported very good  
results at dilutions of 1:100 and even 1:300 (this maybe a  
secret tip!).  
The focusing on the viewfinder screen is performed visually,  
with the eye being the final judge, but the eye is easily fooled!  
Therefore you have to bracket your focus by making several  
exposures with a slightly shifted focus in both directions from  
the original focus. The amount of that shift is a matter of expe-  
rience: I would suggest that you begin with one or two millime-  
ters at a time. The accuracy of Leica R8 or R9 cameras can be  
taken for granted! If errors occur, they will be human errors.  
Cable release, mirror lock-up and fast shutter speeds are fun-  
damental requirements. A shutter speed of 1/30 second, even  
on a heavy tripod, is not the best solution, it may even be hope-  
less.  
Up to 110/120 Lp/mm can be achieved with ISO 100 slide  
films from Fuji (Velvia, Velvia 100F, Astia 100F) and Kodak  
(E100G/GX). The advantage here is the higher film speed.  
Current ISO 100 black-and-white films can deliver up to 100  
Lp/mm and slightly more with dedicated developers and speed  
settings (often ISO 64 and 50). Recommendations are not easy,  
because every worker has his or her own methods and devel-  
oper solutions. You need a developer that has a low amount of  
sulfite. The formulas from noted experts like Beutler, Windisch,  
Cyril Blood or Crawley (FXl) are good starting points.  
The lens mount of the 280 mm lens has a built-in tripod socket,  
which is a necessity. But camera- and lens-induced vibration  
frequencies cannot be avoided (this involves thousandths of a  
millimeter). Experienced wildlife photographers use everything  
LEICA APO-TELYT-R 280 mm f/4  
Picture: Martin Trippen  
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Chapter 3  
__ Summary  
In the roaring twenties there was a 540 SSK Mercedes Benz  
sports car with a turbo-charged engine.  
The turbo charger could only be used for a few minutes, other-  
wise it would overheat the engine. But the driving experience  
was breathtakingly exilarating.  
Both the 180 mm f/2.8 Apo-Elmarit-R and the 280 mm f/4  
Apo-Telyt-R Leica lenses offer superior image quality plus that  
special turbo-feeling and sensation, not for just a few minutes,  
but always and everywhere!  
These lenses are eminently suited for the type of photography  
where you need to capture every possible detail and when you  
wish to explore the limits of analog emulsions. As with the afo-  
rementioned sports car, you do not always have to use the  
turbo. The optical performance is superb even with high-speed  
films (the grain will be tight and compact because the small  
image points will not cause flare or halo in the grain pattern).  
Hand-held pictures will preserve the high overall contrast and  
the reproduction of finely graded colors and tonal values. You  
may compare it with music with a final sound that is composed  
of many frequencies and a wide dynamic range.  
There are some very high and some very low frequencies that  
you cannot hear, but they are required for the character of the  
sound. This is comparable to what happens in optical phenome-  
na. Good MTF values at the very high frequencies are a must  
for a high contour sharpness at the lower frequencies.  
If you have not yet experienced image-making with current slide  
films and these superb Leica lenses, you should really do so.  
Photography with a ‘turbo’ effect will open up a whole new  
world for you!  
LEICA APO-TELYT-R 280 mm f/4  
Picture: Martin Trippen  
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