East German camera manufacturer (1959–1990) producing medium-format cameras and approximately 4 million lenses based on Zeiss designs.
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.
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.
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.
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.
Ich schätze Pentacon-Objektive für ihre organische Bildwirkung – das Biometar 80mm gibt mir bei T2.8 ein cremiges Bokeh mit leichtem Swirl, das digital nicht replizierbar ist. Die manuelle Iris erlaubt stufenlose Blendenänderungen während der Aufnahme, allerdings muss ich bei Weitwinkel-Flektogons die starke Randabschattung in meine Lichtführung einkalkulieren.
Pentacon-Objektive verleihen meinen Bildern eine nostalgische, leicht entrückte Atmosphäre, die perfekt für Flashbacks oder emotionale Sequenzen funktioniert. Das charakteristische Flimmern und die weiche Zeichnung bei offener Blende schaffen eine intime Nähe zu den Charakteren, die moderne Objektive nicht erreichen – allerdings plane ich längere Postproduktion für Farbkorrektur ein.
Ein kompletter Pentacon-Objektivsatz kostet mich 2.000-3.000 Euro statt 40.000 Euro für vergleichbare Zeiss CP.2 – das macht Low-Budget-Produktionen mit Cine-Look möglich. Allerdings steigen meine Postkosten um 15-20%, da die Objektive mehr Nachbearbeitung erfordern, und ich muss einen erfahrenen Focus Puller engagieren, da keine elektronischen Hilfsmittel verfügbar sind.
1. Zu welchem Department gehört „Pentacon"?
2. Wie viele verschiedene Fachperspektiven bietet dieser Eintrag?
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