Is paint art effected Leitz Lens Designers

[Mustafa Umut Sarac]

Do you think that there was a role of Da Vinci , Rembrandt at the design of Leitz lenses ?
As you know , a color seperation machine operator might have a mind which could imagine a color in his mind with thinking cyan , magenta , yellow and black inks.
Is it possible to do the same with aberrations ? Is it possible to say this aberration caused this three dimensional effect , blur , degrade or color burst at Da Vinci paint ? And lets put this aberration with mixed with other to get a paint effect at lens?

Best ,

Mustafa Umut Sarac

[fernando_b]

I'm not sure to have understood the point. However I think this, the soft and pictorial effect of some lensens is due to aberrations (not only chromatic), but not sure Leitz designers were really pointing at this while developing optical scheme. Think for example to a lens develped before 1975, the 180 APO telyt, it has terrific contrast and resolution, still unsurpassed by most of products of other brands.
Designing lenses it is diffucult, however, to think in CYMK or in RGB, it is compulsory to think in wavelengths, 400 to 700 nanometers.
Fernando.

[Bernd Banken]

Hello Mustafa,

welcome to the Leica Forum.
Your question is interesting and not so easy to answer, I fear. To develop a lens means to make decisions for a well balanced output. The specialists for this will have their "feeling&looking" when they decide what to do. This "fingerprint" of the visual properties of a lens ca be seen easily.
It's the same with musical instruments. There is a small group of persons which decide what tonal range a grand piano of maker xxx must have. Very difficult indeed....

Bernd

[Mustafa Umut Sarac]

Originally Posted by Bernd Banken

Hello Mustafa,

welcome to the Leica Forum.
Your question is interesting and not so easy to answer, I fear. To develop a lens means to make decisions for a well balanced output. The specialists for this will have their "feeling&looking" when they decide what to do. This "fingerprint" of the visual properties of a lens ca be seen easily.
It's the same with musical instruments. There is a small group of persons which decide what tonal range a grand piano of maker xxx must have. Very difficult indeed....

Bernd

You are all right. I think Leica archive can answer to this question. Or is there leica lens designers or designers from other firms at this list who can answer why a leica lens as it is ?
And is it possible to track a lenss design adventure at archives ? Is there personal notes , correspondance between experts ?
And if someone want to compare Leica and other lenses , he can build a code with below listed paper.
Its about integrating lens design in to simulation by Patrick Maeda.
white.stanford.edu/~brian/papers/ise/Maeda-Optics-SPIE-EI-5678-5.pdf

Best ,

Mustafa Umut Sarac

[Mustafa Umut Sarac]

I am suspicious about the old leica lenses - summitar - build with Italian and Dutch painting characteristics and Summicron is Spanish.
I think at black and white , summicron give pearl tones but elmar gives metallic.
What are your impressions ?

Mustafa Umut Sarac