Pentacon is a technique in filmmakingtography.
Technical Details
The Pentacon Six used the 6x6 format (56x56mm) with focal lengths from 50mm to 500mm. The standard Biometar 80mm f/2.8 achieved a resolution of 45 line pairs per millimeter at an aperture of 8. The central shutter operated with speeds from 1 to 1/500 second plus Bulb mode. Pentacon lenses utilize the M42 screw mount (42x1mm) or the proprietary Pentacon Six bayonet. The lenses are based on Zeiss designs: the Biometar corresponds to the Zeiss Planar, and the Flektogon to the Zeiss Distagon. Typical focal lengths include 30mm, 50mm, 65mm, 80mm, 120mm, 180mm, and 300mm.
History & Development
In 1959, VEB Pentacon was formed by the merger of camera manufacturers Ihagee and KW (Kamera-Werkstätten). The company took over the Zeiss lens designs, as Carl Zeiss Jena remained in the Soviet occupation zone after 1945. In 1966, the Pentacon Six was launched, followed by the Pentacon Super in 1968. Production ended in 1990 with German reunification. Between 1959 and 1990, Pentacon produced approximately 4 million lenses, 150,000 of which were for medium format.
Practical Use in Film
Pentacon lenses are now primarily used in arthouse and independent film production, where their characteristic bokeh and slight vignetting are valued as stylistic elements. The Flektogon 50mm f/4 produces significant edge shading at its widest aperture, which is used for dramatic portrait shots. Modern filmmakers adapt Pentacon lenses to digital cameras using lens adapters. The manual focus and stepless aperture allow for precise control during focus pulls.
Comparison & Alternatives
Pentacon lenses differ from West German Zeiss lenses through less elaborate coatings and simpler mechanics, despite identical optical designs. Compared to modern Zeiss CP.2 or Cooke lenses, Pentacon lenses exhibit more chromatic aberration and lower contrast. As an affordable alternative to vintage Zeiss lenses, they offer 80% of the optical performance at 20% of the cost. For low-budget productions, they can replace expensive cinema lenses, but require more post-production work and precise exposure.