Adapting a 1954 Ross Engson FullView Super Lens to a Modern Digital Camera

As a photographer with a passion for both vintage and modern equipment, I recently embarked on a unique project: adapting a 1954 Ross Engson FullView Super lens to my modern digital camera. This medium format camera, renowned for its simplicity and elegance, features a 75mm meniscus lens. This project was driven by curiosity and a desire to explore the potential of forgotten vintage lenses.

Historical Context

The Ross Engson FullView Super, produced in 1954 by Ross Ensign. This medium format camera, often referred to as a pseudo twin lens reflex (TLR), was a popular choice in its time for its simplicity and robust build. Unlike a true TLR, where both lenses are used for focusing, the FullView Super features a large, bright viewfinder that gives the illusion of a twin lens system but only serves as a viewfinder.

One of the standout features of this camera is its use of 620 film, a format that is now quite rare. The 620 film is essentially the same as the more common 120 film, but with slightly different spool dimensions, making it a bit of a challenge to find today. The FullView Super captures 12 square images per roll, each measuring 2¼ x 2¼ inches, which was quite generous for its era.

The lens on this camera is a 75mm meniscus lens, a type of lens known for its simple, single-element construction. Meniscus lenses often produce images with a unique character, including a gentle softness and noticeable spherical aberration, which can give photos a dreamy, vintage feel. The fixed aperture of f/11 and a fixed shutter speed of approximately 1/50 second mean that photographers had to rely on good lighting conditions or be adept at managing exposure through careful composition and technique.

With a focal range extending from 2 meters to infinity, the FullView Super was versatile for various types of photography, though its best performance was likely in well-lit environments where its fixed settings could be maximized.

Using this camera today, especially adapting its lens to a modern digital camera, one can expect images that are soft with a significant amount of flare, especially when shooting towards bright light sources. This softness can add a nostalgic touch to photos, and while the flare can sometimes wash out details, it also creates a distinctive, almost ethereal quality that is hard to replicate with modern lenses.

Key Specifications:

• Manufacturer: Ross Ensign

• Produced: 1954

• Format: Medium Format (620 film)

• Body Type: Pseudo Twin Lens Reflex

• Lens Type: 75mm Meniscus

• Aperture: Fixed at f/11

• Shutter Speed: Approximately 1/50 second

• Focal Range: 2m to infinity

Inspiration and Setup

I picked up the camera from my dad, who gave me a whole bunch of his old cameras when he moved off the island. Since the film format for this camera isn't available anymore, I've been trying to see if I can revive them. This sparked an idea: why not adapt the lens to my digital camera? After scouring eBay for the right parts, I assembled the necessary components.

To adapt the lens, I used a Helicoid lens adapter along with several step-up and step-down rings. This setup allowed me to control the focal distance by adjusting the Helicoid adapter rather than relying on an internal focus system. It’s worth noting that this is not a permanent solution; a fair amount of gaffer tape was used to secure the lens in place, making it more of a proof-of-concept.

Here’s a list of the equipment I used and where you can find it:

• M42 to M42 Mount Lens Adjustable Focus Helicoid Macro Tube Adapter 25-55mm

• Adjustable Iris Diaphragm 1.5mm-25mm Lens Iris Diaphragm ID 55mm OD M42 To M42

• RISE(UK)42-37MM 42MM-37MM 42 to 37 Step Down Ring Filter Adapter for Camera Lens

Shooting Experience

With everything set up, I took the adapted lens to a local public garden to test its capabilities. I aimed to capture a variety of subjects and conditions to understand the lens's performance. Here are a few notable observations from the shoot

• Flare: Pointing the lens towards the sun resulted in significant flare, often bleaching out the images and creating a washed-out effect. This characteristic required careful positioning and lighting adjustments to achieve satisfactory results.

• Softness: The images produced were notably soft, with a shallow depth of field only achievable at close distances due to it being an f11 lens. This softness, combined with the flare, gave the photos a unique, vintage aesthetic.

• Colour Rendition: The colours appeared muted and required shooting in shaded areas to prevent excessive washout and maintain some contrast.

It should be noted, during the 1950s, most photography was done using black and white film. Color film was available but much less common and more expensive. Therefore, the design of lenses like the meniscus lens on the FullView Super prioritized contrast and sharpness over color rendition. In black and white photography, the key aspects of image quality are contrast, sharpness, and tonal range. The unique optical characteristics, like softness and flare, which are now seen as giving a vintage aesthetic, were likely less of a concern because photographers were focused on capturing the scene with enough clarity and contrast to distinguish the various elements in the image.

Technical Considerations

• Focal Length Conversion: The 75mm focal length on a medium format camera roughly translates to a 40-50mm equivalent on a 35mm full-frame camera.

• Lens Construction: Meniscus lenses are typically made from a single piece of glass with one convex and one concave surface. This design is simple but can produce unique optical effects.

Future Plans

Encouraged by the results, I plan to adapt smaller lenses next. This setup, with some tweaking, allows for a wide range of lenses to be tested. My goal is to explore the potential of these vintage lenses, uncovering their unique properties and bringing them into the digital age. There's a treasure trove of vintage glass out there, waiting to be rediscovered and appreciated for their unique characteristics.

Modern Comparison

Here’s some photos taken with a modern 50mm lens (f/1.4) verses the vintage 70mm for comparison, showcasing the modern lens is sharper and more contrasty results.

Conclusion

Adapting vintage lenses to modern cameras offers a way to explore the history of photography. It's a fun opportunity to breathe new life into old equipment, revealing the unique characteristics of these lenses. Experimenting with these adaptations can yield interesting and unexpected results, encouraging creativity and a deeper appreciation for the craftsmanship of past eras. If you're interested in trying this at home, I highly encourage you to experiment and see what unique results you can achieve.

Links to Equipment:

• M42 to M42 Mount Lens Adjustable Focus Helicoid Macro Tube Adapter 25-55mm

• Adjustable Iris Diaphragm 1.5mm-25mm Lens Iris Diaphragm ID 55mm OD M42 To M42

• RISE(UK)42-37MM 42MM-37MM 42 to 37 Step Down Ring Filter Adapter for Camera Lens

Stay tuned for more adventures in adapting vintage lenses, and feel free to share your own experiences and results!