Repro Portrait
 FRAMED Paul Gauguin Self Portrait Repro CANVAS WALL ART US $212.98 
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 FRAMEABLE ART PRINT REPRO ALLESANDRO DEL BORRO PORTRAIT US $10.99
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 VINCENT VAN GOGH Self Portrait Repro FRAMED CANVAS ART US $90.93
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 MADAME GAUTREAU PORTRAIT J SARGENT PAPER REPRO SMALL US $7.92
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 Peter Paul Rubens Design Portrait Engraving Repro 20thC US $100.00
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 Set Rembrandt Portraits Vintage Repro Engraving Prints US $49.99
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 JAN VAN EYCK Arnolfini Wedding Portrait Repro CANVAS US $102.83
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 Modigliani Portrait Anna Zborowska 11x14 Print Repro US $8.88
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 VAN GOGH Self Portrait as Artist Repro CANVAS ART PRINT US $73.99
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 32x32 PORTRAIT OF ADELE BLOCH BAUER by GUSTAV KLIMT MASTERS MUSEUM REPRO CANVAS US $179.00
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how can you tell if a oil on canvas painting is a repro.?
i have a 35" x 20" portrait titled The Nude Maja by Francisco de Goya i know its probably a repro how can you tell.
The difference in the price commanded by an original print and a reproduction acknowledged as such is largely a reflection of the difference in their aesthetic qualities. No one would wish to pay for an original only to discover that he has acquired a reproduction which is worth far less.
Reproductions are dutiable while original prints are duty-free. If a custom declaration states that a print is a reproduction, the importer and anyone charged with his knowledge would be committing fraud if he sold it as an original print. The text of the pertinent provisions of the Tariff Act and Regulation is reproduced on page 30. [omitted]
A buyer might reasonably request a dealer to state on the invoice that the print purchased is an original print. Refusal on the part of the dealer to do so would at least warn the buyer that the dealer was not prepared to guarantee its authenticity.
The best protection is education. Exposure to prints not only increases one's connoisseurship and enjoyment of prints but is a pleasurable occupation in itself. Often, however, even the experienced collector cannot rely entirely on his own judgment. Very few have the inclination, time, or ability to become experts. Those who are not can best protect their interests by consulting reliable dealers or obtaining the guidance of museum curators. Buy prints only from those whom you know to be honorable and well informed. You should be able to obtain a written representation from the dealer describing the print in detail. The extent to which a dealer follows the recommendations of the Print Council (outlined in the next section), is a good index of his reliability.
There's a long article on the subject here:
http://www.lasanskyart.com/art/process/pca/reproductions.shtml
Rodenstock GmbH
Small format camera lenses
Euron
A 3-element, 3-group design, used for 8 mm motion picture cameras.
37.5 mm f/2.8
This section requires expansion.
Eurygon
A 7-element design.
This section requires expansion.
Heligon
A 6-element design.
12.5 mm f/1.5
This section requires expansion.
Heligaron
A 6-element design, used for 8 mm motion picture cameras.
6.5 mm f/1.6
This section requires expansion.
Ronar
Used for 8 mm motion picture cameras.
12.5 mm f/1.9
This section requires expansion.
Rotelar
A 5-element design.
This section requires expansion.
Yronar
A 4-element, 4-group design.
135 mm f/3.5
This section requires expansion.
Ysarex
Lenses for Graflex XL Camera system/Polaroid Land Camera. Single coated lanthium glass
95 mm f/3.5
127 mm f/4.7
150 mm f/4.5
This section requires expansion.
Large format camera lenses
Rodenstock has a long history of manufacturing lenses for large format cameras, and has several lines of lenses.
Geronar
The least expensive of the Rodenstock lenses, these 3-element, 3-group designs have a 60 angle of view, and perform best when stopped down.
150 mm f/6.3 (for 45 in)
210 mm f/6.8 (for 57 in)
Eurynar
A pre-war anastigmat 4-element, 4-group lens.
165mm f/4.5 (for 4x5 in)
APO-Sironar-N
The APO-Sironar-N line is a 6-element, 4-group apochromatic design for general photography. Angle of view is 72.
150 mm f/5.6 (for 45 in)
210 mm f/5.6 (for 57 in)
300 mm f/5.6 (for 810 in)
APO-Sironar-S
These 6-element, 4-group lenses are an update to the APO-Sironar-N line, incorporating a larger angle of view (75) and extra-low dispersion (ED) glass elements to further reduce chromatic aberrations. Light fall-off at the edges of the field has also been reduced from the Sironar-N lenses.
200 mm f/5.6 (for 69 cm)
135 mm f/5.6 (for 45 in)
150 mm f/5.6
180 mm f/5.6 (for 57 in)
210 mm f/5.6
240 mm f/5.6
300 mm f/5.6 (for 810 in)
360 mm f/6.8
APO-Macro-Sironar
This line of 6-element, 4-group macro lenses is optimized for reproduction ratios from 1:5 to 2:1.
120 mm f/5.6 (for 45 in)
180 mm f/5.6 (for 57 in)
APO-Grandagon
The Grandagon lines are Rodenstock's wide-angle lenses. The APO-Grandagon line is apochromatic, incorporating ED-glass elements. This series has a 120 angle of view, but the extremely short focal lengths only cover mostly medium format image sizes. Designs are 8 elements in 4 groups.
35 mm f/4.5 (for 69 cm)
45 mm f/4.5 (for 612 cm)
55 mm f/4.5 (for 45 in)
Grandagon-N
With an angle of view of 105, these 8-element, 4-group lenses are the standard wide angles of the Rodenstock line. In their respective focal lengths, they are among the fastest wide angles available from any manufacturer. The 90 mm f/6.8, by contrast to the rest of the line, is a 6 element design.
65 mm f/4.5 (for 45 in)
75 mm f/4.5
90 mm f/4.5 (for 57 in)
90 mm f/6.8 (for 45 in)
155 mm f/6.8 (for 810 in)
APO-Ronar
These are apochromatic lenses with 4 elements in 4 groups and an angle of view of approximately 48. They are optimized for 1:1 reproduction ratios, but also give excellent results in general photography, with extremely low distortion and superior sharpness. These lenses can be found mounted in shutter and as barrel lenses. In particular barrel lenses have a slot that allows to insert gel filters and waterhouse stops of any shape (for special effects) between the two optical groups; they also have a millimeters iris scale that indicates the real iris diameter, in order to calculate with high precision the effective f/stop when you work in close up and repro photography.
Format coverage given for Focus at infinity at f/22
150 mm f/9 (for 69 cm)
240 mm f/9 (for 45 in)
300 mm f/9 (for 57 in)
360 mm f/9 (for 57 in)
480 mm f/9 (for 810 in)
520 mm f/10(for 810 in)
600 mm f/9 (for 810 in) CL*
890 mm f/14(for 810 in) CL*
*Linear f-stop scale
Imagon
Introduced in 1931, the Imagon uses an achromat doublet which is uncorrected for spherical aberration, and the well-known "sink strainer" aperture grilles. It is one of the classic soft-focus "portrait lenses". Though most Imagons are mounted in shutters which have normal (though unmarked) aperture iris controls, the aperture is controlled by one of three supplied aperture grilles. Each grille has an open central portion, noted with an "h-stop" designation which approximates the corresponding f-stop, surrounded by a series of smaller variable-opening holes. By rotating the outer rim of the grille, the opening of these smaller holes can be changed, and by this the amount of softness is also changed. Wider h-stops, or more-open holes, mean more softness.
One hazard of using such a lens is that when rotating the aperture grille, there is the possibility of focus shift. The photographer must verify that the plane of focus is correct after setting the desired amount of softness.
200 mm h/5.8 (for 69 cm)
250 mm h/5.8 (for 45 in)
300 mm h/7.7 (for 57 in)
Digital camera lenses
The Rodenstock digital lenses are optimized for the small pixel grids common to most digital cameras' sensors, from 12 m to 5 m, to reduce the effects that diffraction and color noise have on sharpness.
APO-Sironar digital
These are the standard lenses in Rodenstock's digital lineup. They are optimized for working apertures of f/8 to f/11, and for extremely flat field and uniform illumination.
35 mm f/4.5 (for 4658 mm sensors)
45 mm f/4.5 (for 7296 mm sensors)
55 mm f/4.5
90 mm f/5.6
105 mm f/5.6
135 mm f/5.6
150 mm f/5.6
180 mm f/5.6
APO-Macro-Sironar digital
The APO-Macro is optimized for reproduction ratios of 1:5 to 2:1.
120 mm f/5.6 (for 7296 mm sensors)
APO-Sironar digital HR
Rodenstock Apo-Sironar digital HR 100 mm
The HR series of lenses is optimized for extreme resolving power, for use with extremely high-resolution (thus the name) CCD sensors, with pixel sizes smaller than 10 m. Recommended working apertures are f/8 to f/11.
35 mm f/4 (for 3749 mm sensors)
60 mm f/4
100 mm f/4
Enlarging lenses
The current line of Rodenstock enlarging lenses have removable click-stops for setting aperture in the dark, an illuminated f-stop display, and an aperture pre-set feature, which allows setting of the working aperture, and quick changing from full aperture to the working aperture, for easy focusing and framing.
Rogonar
This is the budget line of enlarging lenses, which have 3-element, 3-group designs. They are optimized for 2x-8x reproduction ratios.
50 mm f/2.8
75 mm f/4.5
Rogonar-S
The 4-element, 3-group Rogonar-S line is optimized for between 2x-8x and 2x-10x reproduction, depending on the model.
25 mm f/4
35 mm f/2.8
50 mm f/2.8
60 mm f/4.5
75 mm f/4.5
90 mm f/4.5
105 mm f/4.5
135 mm f/4.5
Rodagon
Rodenstock's 6-element, 4-group range of enlarger lenses carry very even field illumination, and can be used as on-camera macro lenses in addition to normal enlarging lenses. Optimum working apertures are 2 stops below maximum aperture.
28 mm f/4
35 mm f/4
50 mm f/2.8
60 mm f/4
80 mm f/4
105 mm f/5.6
135 mm f/5.6
150 mm f/5.6
180 mm f/5.6
210 mm f/5.6
240 mm f/5.6
300 mm f/5.6
360 mm f/6.3
Rodagon-G
This line of 6-element, 4-group lenses is optimized for reproduction ratios of 20x and above.
50 mm f/2.8
105 mm f/5.6
150 mm f/5.6
210 mm f/5.6
240 mm f/5.6
300 mm f/5.6
360 mm f/6.8
480 mm f/8.4
APO-Rodagon-N
The apochromatically-corrected Rodagon-N line features 7-element, 5-group designs, and optimum reproduction ratios of 2x-15x.
45 mm f/2.8
50 mm f/2.8
80 mm f/4
90 mm f/4
105 mm f/4
150 mm f/4
Rodagon-WA
This is a wide-angle series of lenses, which allow greater enlargements and use of shorter focal-length lenses than would otherwise be possible. The WA lenses are 6 elements in 4 groups, and are optimized for 4x-15x reproduction.
40 mm f/4
60 mm f/4
80 mm f/4
120 mm f/5.6
APO-Rodagon-D
Not necessarily enlarging lenses, these models are optimized for near 1:1 reproduction ratios, for purposes such as duplication of transparencies, or preparation of internegatives. They are 6-element, 4-group designs, and optimum f-stop is 2 stops below maximum aperture.
APO-Rodagon-D 1x 75 mm f/4 (for 66 cm)
APO-Rodagon-D 2x 75 mm f/4.5 (for 67 cm, optimized for 1.2x-2.5x reproduction)
120 mm f/5.6 (for 45 in)
APO-Rodagon-R
Optimized for 1:1 reproduction ratio.
APO-Rodagon-R 75 mm f/4
Hawk Anamorphic Lenses
In the late 1990s, Rodenstock was contracted by Vantage Film, Inc., with backing from Lucasfilm, to manufacture a new line of high-speed, high-resolution anamorphic lenses to be used for the Star Wars prequel trilogy. Only the first film ended up being shot with the lenses, the other two were shot on CineAlta HDTV. The lenses are still sold by Vantage Film.
Slide Projector Lenses
Rodenstock Splendar from a Braun slide projector, 1960ies
Rodenstock produced slide projector objectives (Rodenstock Splendar), e.g. for Braun's D-series of projectors designed by German design icon Dieter Rams. Typically, the Splendar would have an aperture of 1:2.8 at a focal lenght of 100 mm.
External links
Lenses from Linos
History of the Imagon Dr. Alfons Scholz Use and Operation
Tables of Rodenstock enlarging lens data
Some lens design profiles
Categories: Lens manufacturersHidden categories: Articles to be expanded from May 2008 | All articles to be expanded
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