Cooke Compendium

Lens Construction
Three lens anastigmat. Based on Cooke Triplet design; patent by H. Dennis Taylor, 1893.“For extra rapid artistic portraiture.  For photographing restless children or for instantaneous flashlight work.” (1921)Artistic Portraiture (c. 1921)
“The development in artistic portraiture has made further demands upon the optician’s skill. The artistic photographer no longer aims at always producing sharply defined portraits but wishes to vary his results to suit his subject.”“. . .Control of definition possessed by Cooke Portrait Lenses is secured by the diffusion adjustment with which all their mounts are fitted.  By its means varying degrees of soft focus can be obtained at the discretion of the operator, who should first set the adjustment to give the amount of diffusion desired, and afterwards focus upon that part which is required sharpest. The same lens can be used equally well to give sharp results.  Charming pictures can be produced by a combination of these qualities in the lens: the original may be taken sharp, or nearly so, and then enlargements made with the diffusion adjustment set to give its maximum degree of softness. In this way even softness is obtained throughout the picture, and on suitable paper such enlargements have a beautiful softness and roundness and look almost as if made upon porcelain.”Working the Diffusion Adjustment on Series I, f/3.1 Portric
The diffusion adjustment just described above “is obtained by sliding the body tube, to which the large hood is screwed, in the outer jacket on which the flange screw is cut. Instructions for operating are engraved upon each mount indicating that when the sliding tube is pulled forward as far as possible, the lens will be set to give sharp focus results. When pushed in as far as possible the maximum diffusion is given, while varying degrees at intermediate positions may be recorded by reference to lines engraved on the tube.”

Lens Construction
Three lens anastigmat. Based on Cooke Triplet design; patent by H. Dennis Taylor, 1893.Described as “a universal anastigmat in the fullest sense of the term.”  It has 3 focal lengths 8, 14 and 20 inches.  “Each of its components is a complete Cooke anastigmat of three thin glasses, covering its own size of plate sharply at full aperture.  All three lenses are interchangeable in one flange. Any of the systems may be placed complete in the velvet lined morocco case without displacing their parts, and the cap fittings are made to uniform standards, so that one cap or shutter will fit throughout the series. The mount is made of alloy aluminium combining durability with extreme lightness. The lens is also supplied in the Valute Shutter, which may be used with the complete combination or with each of its components at will (1908).

Lens Construction
Three lens anastigmat with diffusion adjustment. Based on Cooke Triplet design; patent by H. Dennis Taylor, 1893.Cooke Triplet.There were 6 incarnations of the Series II Portrait Lens from 1897 through about 1935.  Each redesign looks very different.  The Series II f/4.5 first appeared in an 1897 catalogue in two focal lengths.  In 1908, it appeared, obviously redesigned, in four more focal lengths as “ultra rapid anastigmats designed for the finest portraiture and for subjects demanding extreme speed.” Only the 10.5 and 13 inch Series II lenses included the diffusion adjustment, which was operated from the front of the camera. The 4, 5, 6 and 8 inch lenses were recommended for press photography.1897 catalogue — “These lenses combine the advantage of the modern anastigmat — flatness of field and freedom from astigmatism at full aperture with an adjustment enabling the photographer to introduce at will spherical aberration evenlyover the whole plate.  The maximum of fine definition is obtained when the back lens has been unscrewed exactly three turns.”  It was offered in 8 inch and 13 inch approximate focal lengths.  (1897).In 1908, the lens design appears different and additional focal lengths appeared in the catalogue.1910 catalogue — “The 10.5 and 13 inch lenses are provided with an improved means of diffusion adjustment, which is operated from the front of the camera. This enables the photographer to secure at will uniform sharp definition, or to introduce any required softness evenly throughout the plate.  The shorter focus lenses are recommended for press photography. . . . For Cinematograph work, lenses of 1.5, 2.25 and 3 inches focus can be supplied, with iris diaphragms and fixed flanges.”From a 1914 Cooke lens catalogue:  “The constant demand for Portrait lenses of high speed led us to introduce the series II Cooke Portrait lens several years ago. At  first we catalogued only one size, the 8×10 of 13 inch focus.  Since then studio photographers ever looking for equipment more complete and portraits more artistic, have urged us to add the 10×12 and 11×14 sizes. . . . The three largest sizes are fitted with a diffusing device which enables the photographer to regulate to a nicety the depth of focus and the softness and roundness of his image.  Any desired degree of softness may be introduced evenly throuout the plat, simply by revolving the front portion of the lens mount. . . . The No. 22-1/2 Portrait lens [10.5 inch focus, 6.5 x 8/5 plate]. . . focus is  just short enough for those cramped situations so often encountered in the home. . . . Nos. 23 [13 inch focus, 8×10 plate], 23-1/2 [14.5 inch focus, 8×10 plate] and 24 lenses [16 inch focus, 10×12 plate] have been designed for exceptionally difficult portraiture in galleries without the advantage of an ordinarily large skylight and where the lighting is unusually poor. They are fitted with the diffusing device referred to above.”By 1922/23, the diffusion adjustment was available in all of the focal lengths offered (see spec table), “operated by rotating the body of the mount, containing the hood and front glass, in the direction of the arrow as if it were being screwed into the other part of the mount.”
Some time after 1923, the Series II, f/4.5 design incorporated the finger-grip, and the term “Cooke Knuckler” was coined by photographers.  Diffusion was accomplished by turning the finger-grip on the mount while a bold and easily read scale indicated the degree of diffusion.”The right choice of a shutter is of vital importance. The highest efficiency in the photography of rapidly moving subjects is secured with focal-plane shutters.  The 10.5 and 13 inch lenses are provided with an improved means of diffusion adjustment, which is operated from the front of the camera. This enables the photographer to secure at will uniform sharp definition, or to introduce any required softness evenly throughout the plate” (1908).”The shorter focus lenses are recommended for press photography, and will take fine pictures at times when other less rapid lenses fail utterly.  For Cinematography work, lenses of 1.5, 2.25 and 3 inches focus can be supplied, with iris diaphragms and fixed flanges” (1909).
“These large Portrait lenses of wide aperture are made essentially for artistic portraiture in dark studios. Stopped to f/5.6, they give results equal to those of the more compact Series VI f/5.6 Portrait lenses.  The No. 22.5 [10.5 inch] Portrait lens deserves the particular attention of Home portrait photographers. Its focus is just short enough for those cramped situations so often encountered in the home, while its speed is so remarkable that this lens will catch even the most fleeting expression of a child. The Nos. 23 to 24 [13, 14.5, 16 inch] lenses have been designed for exceptionally difficult portraiture in galleries without the advantage of an ordinarily large skylight and where the lighting is unusually poor.  These three sizes are fitted with a diffusing device that enables the photographer to regulate to a nicety, the depth of focus and the softness and roundness of his image. Any desired degree of softness may be introduced evenly throughout the plate, simply by revolving the front portion of the lens-mount. The No. 23.5 lens of 14.5 inches focus naturally gives better perspective or “drawing” than does the No. 23 lens of 13 inches focus.  This is simply because the No. 23.5 lens has a greater focal length than the No. 23″ (1913).”Rendering a perfectly flat field these lenses are ideal for groups and cover a large area in proportion to their focal length, whilst for single figures any degree of softness or roundness of the image may be readily introduced by simply revolving the front of the element” (1915).”The requisite depth of focus for group work is readily obtained by stopping down. The diffusion adjustment in this Series is operated by rotating the body of the mount, containing the hood and front glass, in the direction of the arrow” (1921).”In addition to the Series II, f/4.5, the other “Knuckler” portrait lenses being produced at this time were the Cooke Series IId, f/3.5 and Cooke Series VIa, f/5.6″ (c.1935).Samples
8 inch, Series II, f/4.5, Cooke Portrait Lens, SN 18936.  Engraved, “TT&H, H.D. Taylor’s Patents, May 28, 1895, Sept. 22, 1896. Unscrew three turns for sharpest definition.”  Acquired mounted on original Graflex View C wooden board.
10.5 inch, Series II, f/4.5, Cooke Portrait Anastigmat, SN 29947. “With integral iris diaphragm.”
16 inch, Series II, f/4.5, Cooke Portrait Lens, SN 49209. (Older than 1923)
13 inch, Series II, f/4.5, Cooke Soft Focus Lens, SN 56927. “Big, heavy lens; glass is 73mm diameter and flange diameter is 117mm. Overall length is just under 4.5 inches. It weighs 3.5 lbs.”
13 inch, Series II, f/4.5, Cooke Portrait Lens, SN 104857.  “Acquired with a 1915 Century brand studio view camera.  The lens bears the name of the Canadian representative, J.C. Ramsey & Co., Toronto.”
12.75 inch, Series II, f/4.5, Cooke Portrait Anastigmat, SN 116336.  Brass, “Knuckler.”
10.5 inch, Cooke Portrait Anastigmat, Series II, f/4.5, SN 223063. Purchased on an “old Agfa 8×10 view camera.”

Lens Construction
Three lens anastigmat. Based on Cooke Triplet design; patent by H. Dennis Taylor, 1893.1913 catalogue:  These ultra rapid Cooke anastigmats are designed for subjects demanding extreme speed, and are for those photographers who desire the fastest possible lens for the Reflecting type of camera having the focal plane shutter necessary for high speed pictures.”Used with the diaphragm wide open, the Series II lenses require scarcely more than half the exposure necessary even for the Series IV, while if stopped to the same aperture they give the same results upon their OWN PLATES.  Some high speed lenses cannot be used successfully for making enlargement. Both the Series II and IV Cooke anastigmats make perfect enlargements from their own negatives and to sizes limited only by the enlarging apparatus.””It thus follows that a 4 x 5 Series II lens, for example, offers the widest possible range of usefulness with a 4 x 5 Graflex camera, because it has the greatest possible RESERVE of speed and definition. What can exceed the joy of foreign travel with such an equipment ready for every photographic emergency? What is more gratifying than to see one’s own permanent records of the moving traffic in our big American cities?””Notice in the table below on choosing the right lens for your Graflex camera, the lenses 20b [5.5 inch] to 22.5 [10.5 inch] have a longer focus when measured from the diaphragm than is their actual focus. This offers one very decided advantage. The lens specified for each Graflex camera can always be focused on distant objects even when racked backwards to the limit.  Users of Graflex cameras will appreciate this feature.””The Series II lens No. 22.5 is recommended for the 3.25 x 4.25 Auto Graflex. The focal length of 5 inches is found to give the best all around perspective effect.  Some photographers need rather larger images from the same point of view, however. In such cases, we recommend the No. 20b Series II lens.””For the 3A Graflex the No. 21.5 [7 inch] Series II lens is the best that money can buy. It is exceedingly compact, and its focal length is just right for general high-speed work with the 3.25 x 5.5 size of film. The No. 22 [8 inch] lens may also be fitted.””With the Press Graflex the No. 22 is recommended for general work. The No. 22.5 should, however, be chosen for the same camera by those photographers who wish to secure larger images. By thus operating the camera as far as possible from the subject, better timed negatives are obtained, and in dull weather this is a great advantage. The larger lens cannot, of course, be used with such good effect in cramped spaces.”Extension Lenses
Extension lenses made for the Series II lenses were designed to replace the front glass by unscrewing the normal lens and screwing on the Extension.Samples
8 inch, Series II, f/4.5, S/N 28318, brass barrel.  “In beautiful condition and I enjoy using it. The qualities are special.”
5.5 inch, Series II, f/4.5, S/N 30896, “I like the way the Cooke does twigs on winter trees at a range of 400 yards.” Used on plate camera made by Marion Camera Company of Soho Squared, London, c. 1920s.
8 inch, Series II, f/4.5, S/N 32071
10.5 inch, Series II, f/4.5, S/N 32694
7 inch, Series II, f/4.5, S/N 43538
8 inch, Series II, f/4.5, S/N 56215 (used on a 5×7 Graflex SLR)

Lens Construction
Four separate glasses, no cement. Two outer elements are convex and inner elements are double concave. Enamelled black. British patent no. 113590, Arthur Warmisham, designer.”The importation of German and French glass as used for making photographic lenses in this country is now nearly negligible. Before the War, lens-makers depended largely upon the Continent for their glass supply, and because the first anastigmat lenses were made thirty odd years ago from certain glasses produced at the Jena works in Germany, Jena glass gained a reputation among photographers which it upheld for some years prior to the war.” (1926)With the onset of World War I, German and French glass, readily available before the war, was no longer accessible. At the same time there arose an urgent demand for special types of lenses, binoculars, range-finders, gun sights and other optical instruments. At first, the British government satisfied the need by purchasing German lenses from the public, then TT&H was “suddenly made responsible by the Government for the principle supply of optical glass.” (1926)Arthur Warmisham designed a new Cooke lens (British patent no.113590) that was accepted as superior in performance to foreign lenses for aerial reconnaissance.  The lenses were developed in various sizes and diaphragm apertures to meet the every-changing needs of the Air Force, while telephoto lenses of high magnification for distant views were produced for the same Government Department.The first sample “was tested in a stereo camera against the best foreign lens of similar focus and aperture ever produced for this class of work.  Mr. John H. Gear, F.R.P.S., when President of the R.P.S. [Royal Photographic Society], in 1916, made the following statement in his opening address about the comparative test that was made: –“I may say that plates were exposed simultaneously at an altitude of several thousand feet with a Zeiss and the new Cooke lens, of equal foci, the latter now known as the ‘Aviar’: the plates received identical exposures and development. I was subsequently asked to give an opinion upon the quality of the lenses used in making the negatives, not knowing what lenses had been used. Very little examination was necessary before I unhesitatingly selected one negative as being superior to the other—that one was made with the British Lens.” The Leicester firm deserves the congratulations of British photographers and the public, for having removed the stigma from British Science and Manufacture that English Lenses were inferior to German, especially at a time when there are war difficulties and shortage of suitable optical glass.” (1921)When the war ended in 1918, Great Britain was making the finest optical glass in the world and that status was maintained for many years. In 1919, King George and Queen Mary made an official visit to the TT&H factory in acknowledgement of the company’s contribution to the war effort.  Their majesties toured the factory and were introduced to some senior staff and long serving employees. The Leicester Mercury newspaper reported that “their majesties displayed great interest in both the technical and human sides of the work with several of the royal party commenting that they had never before seen work of such interest.”The Aviar lens was then adapted for general photography in 1924, becoming one of the most favoured of all high-grade anastigmats among both amateurs and professionals and was especially suited for use on Graflex and other reflex cameras.  It was produced in various focal lengths until about 1962.“These lenses are used extensively in Cinema Studios for “Stills,” where critically sharp definition is essential.” (1946)“On request they can be supplied corrected for use with Mercury vapour lighting for enlargers. All Aviar lenses enlarge from plates exceeding the sizes for which they are normally listed.” (1946)In a 1962 advert, Burke & James, Inc., 321 So. Wabash Avenue, Chicago 4, Illinois, USA offered the 8.25 inch f/4.5 Aviar for 5×7 plates for US$195.

Lens Construction
Three glasses, uncemented. Based on Cooke Triplet design; patent by H. Dennis Taylor, 1893.“These ultra-rapid Cooke Cinematograph lenses are designed specially for the latest Cinematograph cameras. They give needle-like definition at full aperture, and possess that great depth of field so necessary for this work. They are mounted with iris diaphragm and an improved focussing device” (1913).“Like other Cooke anastigmats, they have only three glasses, are without cement and can be used under the most trying conditions of temperature without damage.  They are mounted in a special barrel containing a focussing device and are fitted with an iris diaphragm.  These lenses are also supplied in standard barrel with iris diaphragm and flange. Special tube-hoods are provided for a nominal charge, to cut out extraneous light from the front of the lens. At $30 and $60 respectively, we furnish the two following sizes [2 inch and 3 inch] in special sunk mounts adapted to fit motion picture cameras having standard focussing jackets” (1914).For Tele-photography, we adapt in compact mountings the Nos. 1, 2 and 2.5 Cooke-Telar lenses to cinematograph cameras.  In this way large images of distant objects are shown, the No. 2.5 size giving a magnification seven times greater than that of a 2-inch lens. Cooke Anastigmat lenses of long focus can also be adapted.  We have a finely equipped workshop where we undertake the adaptation of lenses of all makes to the various forms of cinematograph cameras” (1914).

Lens Construction
Three lens anastigmat. Based on Cooke Triplet design; patent by H. Dennis Taylor, 1893.The Series IIa, f/3.5 lens was first introduced with the variable diffusion adjustment obtained by revolving the front of the lens.  By the early 1920s, the finger grip was added.From the 1909 lens catalogue:  “This remarkable lens opens out a new era for portraiture. Hitherto lenses of extreme rapidity specially suitable for portraiture have been of the old R.R. [Rapid Rectilinear] or Petzval type, which can only give sharp definition over the centres of their plates. This new Cooke Lens, however, is unique in many ways:1^st. Its extreme rapidity (f/3.5) ensures success under the most exacting conditions of subject and lighting.
2^nd. Being a perfectly corrected anastigmat it will give brilliant definition over a much larger plate than that for which it is listed, thus providing the covering power essential for group work.
3^rd. By simply revolving the front portion of the lens, any desired degree of diffusion may be readily introduced.   (1909)Extension Lenses:
Extension lenses made for the Series IIa lenses were designed to replace the front glass by unscrewing the normal lens and screwing on the Extension.Prices were shown for the 5, 6, 7 and 8 inch lenses supplied in Compound shutters, or in Sunk Mounts:  “To meet the growing demand for lenses in Sunk Mounts, suitable for collapsible and reflex types of cameras, we have designed this special form of mounting and shall be pleased to supply lenses in such mounts.”  (1912)“In point of SPEED it is the greatest advance in Portrait Anastigmats that has yet been accomplished, because at full aperture, these f/3.5 lenses require approximately only half the exposure necessary for any f/4.5 lens.  They cover their plates with the maximum of efficiency and possess in a remarkable degree the well known COOKE LENS qualities of flatness of field, definition and freedom from astigmatism.  The series has been extended to meet the requirements of the largest portrait workers, and each lens of the series is provided with an improved means of diffusion adjustment which reduces the amount of retouching. Moreover, by simply revolving the front portion of the mount, any desired degree of softness or roundness or image may be readily introduced.”  (1915)“A sharp or diffused image can now be obtained simply by turning the finger grip, the mountings of all three series (Series II, IIa and VI Portric lenses) having lately been redesigned and made uniform. A bold and easily read scale indicates the degree of diffusion produced. Alternatively, for convenience in using these lenses for enlargement in the dark room, a stop-device clicks off the degrees of diffusion.  When set to SHARP each lens covers sharply its specified plate when focussed on a far distant object. When focussed in the studio within say ten feet of the subject, the lens covers at full aperture the next size of plate larger than the one listed. In all cases, however, the longest possible focal length should be used so as to secure the best modelling.”(1924)”With these anastigmats, the studio worker can obtain microscopically sharp definition should he require it. The lenses are anastigmats in every sense of the term, but for individual portraits where a soft effect is essential, the artist has at his disposal a diffusion adjustment by which he can distribute at will any degree of softness evenly throughout the plate.””The lens can be used on a vertical type of enlarger without danger of the diffusion altering. In all these lenses the iris diaphragm is operated simply by turning the hood at the front.  Instructions for operating the diffusion adjustment are given with each lens.”“The portrait should always be refocused after diffusion to insure obtaining the exact effect desired.” (1930)

Lens Construction
Three lens anastigmat. Based on Cooke Triplet design; patent by H. Dennis Taylor, 1893.The Series II f/4.5 lenses for portraits and reflex cameras were now offered a stop faster.   First appearing in a Cooke lens catalogue c.1912, TT&H introduced the speedier f/3.5 Series IIa lenses in various focal lengths for reflex cameras (5 to 8 inch), cine (2 to 4 inch) and portrait work (10.5 to 16 inch).“In designing this series, our chief consideration has been SPEED. The phenomenal aperture of f/3.5 is maintained right through the series from the tiny cinematograph lens to the large portrait anastigmat” (1915)The Series IIa, f/3.5 “Pressic” lens was made from about 1912 through 1924.  “The remarkable speed of these lenses makes them invaluable for press photography, sporting events and press subjects under unfavourable light conditions” (1912).The great advantage of this extreme rapidity will be realised when it is remembered that, for a lens working at f/3.5, the exposure required is only half that necessary for a f/4.5 aperture, so that for extremely high-speed subjects such as motor races, aeroplanes, motor boats at full speed, etc., one of these f/3.5 lenses ensures the maximum results when used in conjunction with a high speed focal-plane shutter.These lenses are perfectly corrected anastigmats, possessing all the well-known ‘COOKE’ qualities of flatness of field and freedom from astigmatism, while the definition of this series at full aperture is remarkable.For those photographers who have not had previous experience in the use of such large aperture lenses, we would point out that these Series IIa lenses are not suitable for subjects where a very wide angle of view is required, nor must they be expected to give great depth at full aperture, because depth of focus decreases as the aperture increases.  This is one of the fundamental laws of optics, and applies with equal force to any lens of similar aperture.” (1915)“Lenses are mounted detachably in cells, suitable for between lens shutters.”“Lenses of this aperture are more suitable for use by the expert than by the amateur. Their speed is greater than is required for ordinary photography, and with such large aperture lenses special care is needed in focussing, as very little depth of focus is possible. Further improvement in their definition and covering power has recently been effected.”  “The larger sizes are particularly adapted for use on reflecting cameras, their super-speed insuring good negatives even under the difficult conditions of light or in photographing rapidly moving objects with high speed shutters.” (1921)“For Autochrome work, they are invaluable.”  “With such a large aperture, depth of focus is limited and care is necessary in focussing. Increased depth can be readily obtained by ‘stopping down.’  In the hands of an expert photographer, these anastigmats produce negatives of remarkable crispness and brilliance. For press reproduction they are unrivalled.” (1922)“These lenses are designed and mounted specifically for use on Reflex cameras.  The distinguishing feature is an exceptionally wide angle of fine definition.  The optical design gives a beautifully flat field and exceptional freedom from astigmatism and distortion, combined with perfect colour corrections. Small wonder that opticians the word over have copied this formula. (c.1930)“These lenses were designed originally for use on Reflex cameras. The optical design gives beautifully flat field, and exceptional freedom from astigmatism and distortion, combined with perfect colour corrections.” (1946)“The lenses are supplied with all air-to-glass surfaces coated, to give improved transmission and contrast values, the coating being a durable one which will withstand all normal cleaning processes.”  “A high degree of aberration correction is attained over the specified negative areas in relation to flatness of field, freedom from astigmatism and distortion, combined with good chromatic correction for the production of colour transparencies.” (1955)

Lens Construction
Three lens anastigmat. Based on Cooke Triplet design; patent by H. Dennis Taylor, 1893.“The lenses are anastigmats in every sense of the term, but for individual portraits where a soft-focus effect is essential, the artist has at his disposal a diffusion adjustment enabling him to distribute at will any desired amount of softness evenly throughout the plate, and to duplicate this effect accurately at any time.””The diffusion adjustment is accomplished simply by turning the finger-grip illustrated, and provided on the mounts of all three series of lenses [IIa f/3.5, IIb f/4.5, VI f/5.6], while a bold and easily read scale indicates the degree of diffusion produced.  For convenience in using these lenses for enlarging in the dark room, a stop device clicks off the degrees of diffusion.  Cooke Portrait lenses can thus be used on vertical enlargers without danger of the diffusion altering.””Set to sharp and focussed on a far distant object, each lens covers its specified plate sharply to the corners with the diaphragm wide open.  When focussed in the studio within say 10 feet of the subject, the lens covers at full aperture the next size of plate larger than the one listed, though of course, every make of lens requires stopping down to secure the requisite depth.  The lens should be focussed with the iris diaphragm and diffusion adjustment set exactly as intended for exposure. In all cases a lens of the longest possible focal length should be chosen so as to secure the best modelling” (1930).””Instructions for operating the diffusion adjustment are given with each lens (1926).”“The Portrellic, f/4.5, is the most popular lens offered, so much so, that many photographers refer to it as the “universal” lens.  It is furnished with iris diaphragm and the regular type has a diffusing device, the same as the other lenses in the Portrait series.  A new Home Portrait Type is also available [see Cooke Series IIc] furnished without diffusing device” (c.1930).Samples
15 inch Series IIb, f/4.5 Brass Portrait Lens, SN 211681, “Inside filter thread appears to be 127mm. The lens is fairly heavy so you need a substantial camera to mount it to.”  eBay 2003.
15 inch Series IIb, f/4.5 “Knuckler” Portrait Lens, SN 172270.  “William Taylor patented screw thread.”

Lens Construction
Three lens anastigmat. Based on Cooke Triplet design; patent by H. Dennis Taylor, 1893.“The Portrellic, f/4.5 [Series IIb], is the most popular lens offered, so much so, that many photographers refer to it as the “universal” lens.  It is furnished with iris diaphragm and the regular type has a diffusing device [Series IIb], the same as the other lenses in the Portrait series [IIa f/3.5, VI f/5.6].”  This new Home Portrait type, now offered for the first time, is furnished without diffusing device in a light and compact mount which brings the size down to the minimum – thus enabling Home Portrait Workers to use the Portrellic on View and Home Portrait cameras”  (1930).

Lens Construction
Three lens anastigmat. Based on Cooke Triplet design; patent by H. Dennis Taylor, 1893.“The improved type of mount illustrated above affords the following improvements over the old model:(1) 60 percent greater diffusion graduated to five positions instead of three as hitherto.
(2) Iris operated by ring instead of by rotating front hood.
(3) Easier diffusion movement, still maintaining finger grip and definite stops.
(4) Graduated scales for diffusion and iris diaphragm, always readable from the same position at the side of the camera.The lenses are anastigmats in every sense of the term but for individual portraits where a soft-focus effect is essential, the artist has at his disposal a diffusion adjustment enabling him to distribute at will any desired amount of softness evenly throughout the plate, and to duplicate this effect accurately at any time.  The diffusion adjustment is accomplished simply by turning the finger-grip illustrated, and provided on the mounts of all three series of lenses, while a bold and easily read scale indicates the degree of diffusion produced.  For convenience in using these lenses for enlarging in the dark room, a stop device clicks off the degrees of diffusion.  Cooke Portrait lenses can thus be used on vertical enlargers without danger of the diffusion altering.””Set to sharp and focussed on a far distant object, each lens covers its specified plate sharply to the corners with the diaphragm wide open.  When focussed in the studio within say 10 feet of the subject, the lens covers at full aperture the next size of plate larger than the one listed, though of course every make of lens requires stopping down to secure the requisite depth.  The lens should be focussed with the iris diaphragm and diffusion adjustment set exactly as intended for exposure.  In all cases a lens of the longest possible focal length should be chosen so as to secure the best modelling” (c.1931).

Lens Construction
Three lens anastigmat. Based on Cooke Triplet design; patent by H. Dennis Taylor, 1893. As of April 10, 1947, the Series IIe (IId, VIa) were not coated.“The improved type of mount illustrated above affords the following improvements over the old model:  (1) 60 percent greater diffusion graduated to five positions instead of three as hitherto. (2) Iris operated by ring instead of by rotating front hood. (3) Easier diffusion movement, still maintaining finger grip and definite stops. (4) Graduated scales for diffusion and iris diaphragm, always readable from the same position at the side of the camera.The lenses are anastigmats in every sense of the term but for individual portraits where a soft-focus effect is essential, the artist has at his disposal a diffusion adjustment enabling him to distribute at will any desired amount of softness evenly throughout the plate, and to duplicate this effect accurately at any time. The diffusion adjustment is accomplished simply by turning the finger-grip illustrated, and provided on the mounts of all three series of lenses, while a bold and easily read scale indicates the degree of diffusion produced.  For convenience in using these lenses for enlarging in the dark room, a stop device clicks off the degrees of diffusion.  Cooke Portrait lenses can thus be used on vertical enlargers without danger of the diffusion altering.Set to sharp and focussed on a far distant object, each lens covers its specified plate sharply to the corners with the diaphragm wide open.  When focussed in the studio within say 10 feet of the subject, the lens covers at full aperture the next size of plate larger than the one listed, though of course every make of lens requires stopping down to secure the requisite depth.  The lens should be focussed with the iris diaphragm and diffusion adjustment set exactly as intended for exposure.  In all cases a lens of the longest possible focal length should be chosen so as to secure the best modelling” (c.1931).By 1956, the Cooke Series IIe, f/4.5 was the only Cooke portrait lens offered in the catalogues:“Cooke Portrait lenses are anastigmats of the highest grade, capable of giving needle-sharp definition, or by means of control over spherical aberration, a definite degree of diffusion can be introduced to give a soft-focus effect when desired, which can be repeated accurately at any time.  Close control is maintained on the balance of optical corrections and the chromatic correction achieved makes these lenses suitable not only for black and white work but also for colour-transparency production. . . . To ensure maximum light transmission and contrast values, the air-to-glass surfaces of all Taylor-Hobson lenses are provided with a hard, durable coating which will withstand all cleaning processes.”As of June 2016, Cooke received this report via email:  “I’m the director/photographer who’s inordinately fond of his Taylor Hobson Cooke IIE 12 ¾ inch 325mm large format portrait lens.  I’ve used and abused the lens on many large format cameras, including the 20 x 24 inch Polaroid.  I’m very fond of the Polaroid portraits I’ve taken for Bafta.  The lens is way too short for the 20 x 24 inch format, but by using it in its macro range with plenty of bellows I could still take advantage of its unique characteristics.” (1956)Samples
12.75 inch, Series IIe, f/4.5, SN 321317, brass
18 inch, Series IIe, f/4.5 SN 390395, coated, “love the look, high resolution and velvety” (made November 1951 to Beeckmans & Veep, Antwerp)
12.75 inch, Series IIe, f/4.5, SN 458392, “beautiful patina on the varnished brass” (made February 1952 to Beeckmans & Veep, Antwerp)
12.75 inch, Series IIe, f/4.5, SN 493983,

Lens Construction
Three lens anastigmat. Based on Cooke Triplet design; patent by H. Dennis Taylor, 1893. Improvement in original design, by Horace W. Lee, TT&H, 1919. British Patent no. 155640, December 22, 1920.“For general purposes — landscapes, street scenes, interiors, copying and enlarging, and for difficult photographs on dull days.  For use as wide angle lenses for the photography of interiors and all views which must be taken at short distances they are perfect.  They may be focussed at full aperture and afterwards stopped down for the exposure without spoiling the image.  The smaller sizes are specially suitable for roll film and other hand cameras, the larger for portrait groups and commercial work” (1908).“The invention of lenses which, with large apertures, form images at once flat like the plates and sharply defined throughout, marks a new era in photography; making it easy to secure ample exposures with full detail and sharp definition all over the plates.  These improvements are attained in the highest perfection and by the simplest means in the Cooke lens here illustrated”  (1897).“The Cooke lens contains only three simple glasses, and while theoretically as perfect as any more complex anastigmat, its simplicity of construction facilitates the actual attainment of a uniformly high standard of excellence.  One point may be mentioned, is the peculiar power of adjusting the separation of the glasses by means of the screws shown in the illustration; by which means in the final testing and adjustment of each lens, we are able to obliterate certain aberrations which cannot be removed from more complex cemented systems.  With full apertures, Cooke lenses will give sharp definition at any part of the plate, and with proportionate smaller apertures will cover larger plates for use as wide angle lenses.  They are truly rectilinear and free from all traces of flare and ghost and other common defects of lenses, and are more compact and weigh much less than other anastigmats.  Briefly, they are universal lenses, suitable especially for all accurate and rapid work requiring uniformly fine definition.  For hand cameras, they are not only the most perfect lenses in the market, giving fine definition at f/6.5 and full exposures in dull light; but, their focus being measured from the surfaces of the front lens, they considerably reduce the necessary lengths of camera.  We guarantee Cooke lenses to be equal to the best of the more complex anastigmats, and are glad at any time to facilitate comparison”  (1897).Cooke Extension Lenses
The company made 50% and 100% extension lenses for this lens.“Used with extension lenses listed [in the catalogue], they give large images of distance objects. . . and require the same exposure as do the new Series IIIa lenses.  The present popularity of Cooke anastigmats is due largely to the remarkable performance of these lenses” (1908).“It is occasionally pointed out to us that a Series III Cooke lens with extension costs rather more than do certain anastigmats whose “combinations” may be used separately.  Our reply is the request that the complete anastigmat, formed by the Cooke Extension lens, be tested against any “separate combination” now on the market”  (1908).In Sunk Mounts
“To meet the growing demand for Lenses in Sunk Mounts, suitable for collapsible and reflex types of Cameras, we have designed this special form of mounting and shall be pleased to supply Lenses in such mounts at the following prices [see table]” (1912).In Shutters
“Cooke lenses can be fitted to most of the well known between-lens shutters, but we would emphasize the need of this being done by us to secure the proper adjustment of the lenses. We supply these shutters fitted with Cooke Lenses.  We also fit such combinations to customers’ own Kodaks and other cameras”  (1912).The shutter options provided were IBSO by Gauthier, the Automat by Bausch & Lomb, and the Koilos by Gauthier.  For the IBSO and the Automat shutters, the 1912 catalogue notes that “these two shutters give time, bulb and instantaneous exposures from 1 second to 1/100^th second. Each has a separate iris diaphragm. They have the advantage of being ever set.”  For the Koilos shutter, “time, bulb and instantaneous exposures are provided in the smaller sizes, from 1 second to 1/300^th second.  The catalogue pricing table also lists the Compound shutter, made by Friedrich Deckel AG, Munich.“It is rapid enough for all ordinary work in a good light while its smaller aperture permits of increased covering power, so that in architectural work the rising front may be freely used, and for wide angle work, the photographs may be taken on plates much larger than those for which the lens is listed.  For instance, a 7.5 lens, listed for a half plate, will cover a 10 x 8 inch plate when stopped down” (1921).“These lenses are supplied in cells for use with Rexos [Rexo Specials, De Luxe Models], Kodaks, Anscos and all other folding and hand cameras. Combined with a high grade shutter they provide the amateur with an optical equipment which leaves nothing to be desired” (1921)  Supplied in these “equivalent focal lengths”:  3.5, 4.25, 4.75, 5.25, 5.5, 6 7/8, 7.5, 8.5 inches.Samples
5.2 inch, Series IIIa, f/6.5, SN 23, (made c.1897) “Taylor, Taylor & Hobson, Leicester & London.” “There is no sign of any screws on the barrel for adjusting the middle element position.” (Note: The tiny screw on the lens barrel of the early lenses was for fine tuning the separation of the glass elements at the factory.  Once adjusted, the screw was lacquered over to discourage tampering with later.) “Dismantling the lens shows the top element to have an interesting adjustment using a sleeved threaded collar for adjusting the position of the top element with a locating pin to maintain its rotational position relative to the other elements. The central element is held in position using an inner threaded sleeve as in contemporary lenses and seems to butt against a shoulder machined in the barrel just above the iris.”7.53 inch, Series III, f/6.5, SN 2012, “Cooke Lens, H.D. Taylor’s Patents, Series III, Taylor, Taylor & Hobson, Leicester & London, ENG No. 2012, Sold by Max Levy, Philadelphia, PA., U.S.A., Patents 540122 May 28 1895, 568052 Sept 22 1896.”  “The outer diameter of the mounting flange is 2.25 inches.  The lens is approximately 1 7/8 inch in diameter and 1 5/8 inch in length.  The inside of the lens is almost all glass; it is heavy and well made. The iris diaphragm is not calibrated.2.5 inch Series III, f/6.5 SN 2683, “Cooke Lens, H.D. Taylor’s Patents, Taylor, Taylor & Hobson, Leicester & London.”  Brass lens in Bausch and Lomb shutter
7.5 inch, Series III, f/6.5 SN 2868, “Cooke Lens, H.D. Taylor’s Patents, Taylor, Taylor & Hobson, Leicester & London.”  Brass lens with apertures that range from f/6.5 to f/45.After 1910 “By H.D. Taylor’s Patents” was no longer engraved on the lenses.8.53 inch, Series III, f/6.5, SN 5415 and E5415, “Taylor, Taylor & Hobson, Leicester & London.” “It has two screws for adjusting the middle element position but they do not appear to have been lacquered over. It’s a shame that the original rear element is not also with the lens. With the extension lens giving a focal length of 12.97 it would be been an ideal convertible for 5×7.  As it is it may be a useful lens for 8×10.  With only three elements, the flare will be low and contrast reasonable.  I will be using this one as soon as possible!”  (Note:  The usual back glass was removed and the proper extension lens was retrofitted at the factor to ensure that the extension lens was fitted properly and to have its separate index scale engraved on the iris diaphragm, thus the extension SN E5415 that matches the serial number of the lens it’s attached to.)8.5 inch, Series III, f/6.5, SN 11053, “Cooke Lens, Taylor, Taylor & Hobson Ltd., New York, Leicester & London.”7.5 inch, Series III, f/6.5, SN 112510.  “This one looks like a 1920s lens and has front rim markings similar to a contemporary lens.  There are no markings on the barrel.”13.4 inch, Series III, f/6.5, SN 16197, “Cooke Lens, H.D. Taylor’s Patents, May 28 1895, Sept 22 1896, Taylor, Taylor & Hobson Ltd., New York, Leicester & London.” “I’ve used it and it is excellent with fine smooth gradation and good contrast.  It feels about perfect on an 8×10. This might be ideal on some of the 4×5 press cameras with curtain shutter and short bellows.”8.5 inch, Series III, f/6.5, SN 17378.  Patent date on optical unit if 6-14-1910.

16 inch, Series III, f/6, SN 304920, Mount B.  Owned by Cornel Lucas who photographed movie stars in the late 1940s and 1950s including Marlene Dietrich, David Niven and more.  Wikipedia notes that “he was in charge of the photographic studios set up by The Rank Organization.  This lens was shipped to D&P Studios, Denham in October 1947.  After 1947, these lenses were coated, thus f/6 focal length instead of f/6.5.

Lens Construction
Three lens anastigmat. Based on Cooke Triplet design; patent by H. Dennis Taylor, 1893. “These are a modification of the Series III made especially for Kodak and other hand cameras with a limited rise of front. . . particularly suited for fitting to between-lens shutters.”“For general photography and are recommended above all others for instantaneous work with hand-cameras.  Light and compact, they are mounted with special regard to the construction of Kodaks, Graflex, Century, Premo, and Hawkeye cameras” (1908, 1912).“Appropriate Kodak camera model to lens:  No. 3 Kodak / 5 inch lens.  No. 3A Kodak / 6.75 inch lens.  No. 4A Kodak / 8.25 inch lens.  Extension lenses are not supplied in this series” (1908).“With their diaphragms wide open, these anastigmats ‘cut sharper’ than do ordinary camera lenses ‘stopped down small.’  They are thus many times more rapid.  Their definition is such that a test chart photographed from corner to corner of the plate and examined under a powerful magnifier, shows detail as sharp at the corners as at the centre.  This claim is made confidentially.  From their own plates, the lenses make perfect enlargements to a size limited only by one’s enlarging apparatus” (1908).“The No. 3 Kodak receives the No. 3 lens, the No. 3A Kodak the No. 4 lens, and the No. 4A Kodak takes the No. 6 lens” (1912)1908 testimonial: “The Cooke lens, without a doubt, represents the highest point to which optics and mechanics have so far been brought.  A feature not to be overlooked is the absolute permanence of its construction due to the absence of cement which inevitably will discolour through long use, resulting in greatly reducing the speed of a lens so constructed.  Such a defect is equivalent to working with a light yellow screen, on account of the discoloration of the several cement films which are a feature of other lenses.” – A.P. Weaver, Montgomery, Alabama, USA.Samples
Series IIIa, f/6.5, SN18814, “Taylor, Taylor & Hobson Ltd., No. 6K Cooke Lens.”  “Used on a 7×5 camera.”  Note: “The No. 4A Kodak cameras take the No. 6 lens” (1913-1914).

Lens Construction
Four separate glasses. No cement.The popularity of the Aviar lens (Series II, f/4.5), introduced to the public in 1921, prompted the company to produce the Series IIIb f/6 and f/6.3 versions of the Aviar (code name: “Aviaric”) three years later.  You will see in the 1924 specificiation table that the Series IIIb was more affordably priced than the f/4.5 version.  By 1953, the price rose from ₤10 to ₤22.“Taylor-Hobson Cooke Aviar Lenses were originally designed to meet the demand of the British Government for an f/4.5 anastigmat having speed and definition sufficient for Aerial Photography.  The “Aviar” were the first to fulfil these exacting conditions, and were adopted by the R.A.F. as the best Aerial lenses obtainable.  They have been adapted for general photography and are today the most popular high grade anastigmats among both amateurs and professionals.Throughout the range of their own plates, the definition is sharper than that of any other lens of equal aperture. Government tests during the war proved this conclusively.  Aviar lenses are not meant, however, for use on larger plates.  Aviar negatives have a certain snap and brilliance that are distinctive; so have enlargements made from the negatives” (1924).

Lens Construction
Three lens anastigmat. Based on Cooke Triplet design; patent by H. Dennis Taylor, 1893.“For photographing restless children or for instantaneous flashlight work” (1908).  “These lenses are particularly well adapted for instantaneous work with between-lens shutters and for colour photography.  For the latter purpose colour screens can be used without unduly prolonging the exposure” (1912). “The best lenses for commercial photographers requiring one lens for all-round work” (1921).  “For subjects requiring a lens of medium rapidity” (1922-23).From 1908 through c.1921, the Series IV, f/5.6 was offered in eight focal lengths from 5 through 18 inch.  By c.1924, it was limited to 8, 15.5 and 18 inch focal lengths. By the end of 1926, the Series IV 15.5 inch lens was discontinued.Testimonial, 1908 catalogue, W.W. Thune, 1260 Oak Street, Columbus, Ohio:
“After corresponding with some of the best photographers in the country, regarding a lens to buy for newspaper work, I found that yours are the favorites.  Those who were using other lenses would say, that were they going to buy a lens to-day, they would buy a Cooke.  After careful consideration, I ordered a Cooke from a Chicago firm, and have found it everything you claimed, a perfect lens.”“With their diaphragms wide open, they require an exposure just double that of the Series II lenses, and about fifty percent shorter than the exposure needed for the Series III and IIIa.  The advantages of a simple construction are fully developed in this series, and result in objectives of greater rapidity and defining power, with a more uniform excellence than has hitherto been possible in lenses having such large apertures” (1908).“The give at full aperture f/5.6 perfect definition throughout the sizes of plates specified, and permit of a generous use of the rising front.  Owing to their larger aperture they cannot be used with such good effect as wide angle lenses, but in all other respects they are equal to the Series III” (1909).“This lens is recommended as the best that money can buy, for general high-speed work with the No. 3a Graflex Camera.  The No. 21 Series II [6.5 inch, f/4.5] Cooke lens should be chosen where greater speed is desired” (1911).  “. . .The No. 21.5 [7 inch, f/4.5] Cooke lens should be chosen where still greater speed is desired” (1912).“They must not be used for taking pictures upon plates larger than those for which they are listed, but they will enlarge from these to any desired size” (1921).Extension Lenses
“By removing the usual back glass of a Cooke lens, and substituting one of these extension glasses, the focus of the combination can be lengthened by about fifty percent.  For example, if the normal lens projects an image two inches long, the extension lens will project an image of the same object three inches long.  Extension lenses are not intended to cover larger plates than those which their respective normal lenses cover with large apertures, nor must they be expected to do the work equal to that of a normal Cooke lens of the increased focal length. They may be adapted to the Cooke lenses already issued, but it is necessary when ordering to send the original lens, both to have the extension lens properly adjusted, and to have its separate scale engraved upon the iris diaphragm” (1908).   “The Series III, IV and V Extension Lenses are designed to replace the back glass of the normal Cooke Lenses, and the Series II are designed to replace the front glass” (1909, 1910). “While the normal lens has a full aperture of f/5.6, the extended lens works at f/8” (1912).In Sunk Mounts
The Series IV, f/5.6 lenses were sold in sunk mounts in 5, 6 and 8 inch focal lengths (1909, 1910).In Shutters
The Series IV, f/5.6 lenses were sold in Compound, KOILOS, IBSO and Automat shutters in 5, 6, 8 and 9.5 inch focal lengths (1910).Samples
18 inch, Series IV, f/5.6, SN 31187, “Taylor, Taylor & Hobson Ltd., Leicester London & New York, Cooke Anastigmat Lens, 11×14”
8.5 inch, Series IV, f/5.6, SN 26367, 5×7
18 inch, Series IV, f/5.6, SN 119723, “Taylor-Hobson Cooke Anastigmat”

The Series IVb was offered in only one focal length.  From hand written notations on a catalogue in the archives, the intention was to eliminate the Series IV f/5.6 15.5 inch focal length and upgrade it to Series IVb.  That never appeared in any literature.  The only Series IVb lens offered was a 13 inch lens in 1930.  Because no serial number books exist covering this time period, if you find yourself the owner of a Cooke Series IVb, f/5.6, 13 inch lens, you own a very rare item.

“These lenses are recommended for general work by commercial photographers, while for home portraiture they are unrivalled.  Each lens gives critically sharp definition at full aperture to the extreme corners of the plane specified and need never be stopped down except to secure the necessary depth of focus.  The diffusion adjustment fitted to all studio lenses is purposely omitted so that the lenses may be made as light and compact as the size of their glasses permit” (1930).

Lens Construction
Three lens anastigmat. Based on Cooke Triplet design; patent by H. Dennis Taylor, 1893.“The Series V lenses are similar to the Series III except for their smaller apertures and more compact mountings.  Optically, the two series are identical and give equal results at equal apertures.  Especially suitable are the series V lenses for copying, enlarging, machine photography, and for everything demanding microscopically fine definition under average conditions of lighting.  Our success with Government departments and astronomical observatories has been largely with lenses of this series” (1908).By 1908, “The lens was offered in ordinary mount and sunk mount, with “projection of the 6 inch lens only 7/16ths of an inch.  The graduated rings for operating the iris diaphragm and focussing motion are readily accessible” (1908).“Several months ago I obtained one of your 11 inch Cooke V lenses and several other makes, on trial, fitted them to an 11 x 14 camera, set it up at a window and invited several of my photographic friends to examine the various images on the ground glass without their knowing what lens was on the front of the camera.  Without hesitation and without exception they chose the image made by the Cooke as the best.  I then tried them on copying maps, drawings, etc. and still found the Cooke the equal if not the superior of the others.  It was also the lightest, most compact and the lowest priced.  What more could be desired?  I have been using the Cooke ever since and it is giving perfect satisfaction.”  — Walter Gardner, Engineering Dept. of Waterworks, Boston, Mass. (1908).1911 specification table:  “Nos. 19, 19a and 19b lenses having smaller diaphragm apertures can be imported specially to definite orders, and at prices considerably lower than the above.”“These Series V lenses have been selected and purchased by Professor Pickering of The Harvard Observatory for his wonderful star negatives made nightly at Cambridge, Mass.” (1912).“There is a tendency nowadays on the part of certain photographers to reject as ‘too slow’ any lens having no larger aperture than f/8.  But how many of these same photographers ever use a larger stop than f/16?  The aperture of f/8 is ample for focussing even in dull lights.  The work of the commercial photographer almost invariably demands great ‘depth of focus’ and for such work the Series V Cooke lenses are inimitable.  The brilliance of the image rivals that of most lenses working at f/6.8 owing to the simple construction” (1914).By c.1915, the 4.25, 5, 5.5, 6, 7.5 and 9 inch Series V lenses were no longer being made but the 11, 13, 16, 18, 25 (f/10), 30 (f/16) and 36 (f/16) focal lengths were available.  About 1921, only the 11, 13, 16, 18 and 25 (f/10) were offered.By about 1921, Cooke Process Prisms were available for the Series V “for line, half-tone, three or four colour and opying work.”  The following year, in addition to its use for commercial photography, the Series V was being marketed as a process lens for photo-engraving and three colour work:“The illustrations in the leading magazines are made with Taylor-Hobson Cooke Process Lenses.  Three-fourths of the photo-engravers in Britain and America use and prefer them because of their uniformly well-defined images.  They are used in Government Departments for map copying and similar work.  The lens hood, which receives the cap is removable, and a screw-threat receives interchangeably any prism or mirror suitably mounted, and always in the correct position.  An iris diaphragm is provided instead of the old-fashioned stops with circular openings, and in front of it is a slot to receive process diaphragms if necessary.  This slot may be closed or opened at pleasure, merely by revolving the inscription tube” (1922-23).   The Series V Process Lenses were offered in 11, 13, 16 and 18 inch focal lengths.In 1924, the 9 inch Series V, f/8 lens was added and in the last catalogue it appeared in, 1926, the 9, 11 and 13 inch were the only focal lengths listed for sale.Extension Lenses
Extension lenses were offered for the Series V from 1899 through c.1913.Samples11.1 inch, Series V, f/8, SN 8718, Engraved: “Cooke Lens, H.D. Taylor’s Patents, Series V, 8 ½ x 6 ½ inches, Eq. Focus 11.1 inches.”  “I’ve owned this lens for nearly 30 years, which I bought in Victoria, BC. I no longer have the camera that came with the lens, but I had an adapter mount made so I can screw it into a Copal 3 shutter.  Its quite a nice image quality despite the fact that it’s uncoated.”Same lens, SN 8718, with new owner:  “The lens is mounted in a special Sinar shutter mount. It’s very sharp, but more important has a unique look that I don’t see in any of my other lenses.  Besides that, it is a beautiful thing to look at.  Produced in those days when lens designers used pencil and paper, glass was ground by hand, and master machinists created the brass barrel itself out of blocks of golden metal.  The negatives are very sharp but not overly contrasty unlike most modern lenses.  Good shadow and highlight detail.  Uncoated, I believe, which is not really a problem as I shield the lens from all directions.  A special mount has been machined so it mounts into a #3 Copal, however, I have it mounted in a Sinar shutter board for Copal 3 lenses.  Old world combined with today’s high precision = a wonderful combination.  I’m searching for more Cooke lenses. . . .”  — Per Volquartz, 2009.13.5 inch, Series V, f/8, SN 25997, Engraved: “Taylor, Taylor & Hobson, Leicester, London & New York / Cooke lens Series V, 10×8, eq focus 13.2 inches.”  Note from owner: “Diaphragm iris still works probably as well as it did at its birth; actually it works far better and smoother than some modern camera diaphragms I have come across over the years.”24.6 inch, Series V, f/8, SN 34924, Engraved: “Taylor, Taylor & Hobson, Ltd., Leicester,  London & New York, No. 34924, 24.6 inch, Series V, Cooke Process Lens.”  “brass lens with iris diaphragm and flange.”18 inch, Series V, f/8, SN 50050, Engraved: “Taylor, Taylor & Hobson, Ltd., Leicester, London & New York, No. 50050, 18 inch, Series V, Cooke Process Lens, 12 x 15 inches.”9 inch, Series V, f/8, SN 55220, “Originally owned by Elbridge W. Stein, a handwriting analysis expert from Pittsburgh who was one of the participating handwriting experts in the Lindberg kidnapping trial. His name is written on the underside of the case lid.  Brass lens with original maroon front cap, a brass screw on rear cap and original TT&H black leather case with TTH logo on the top. It has a filter/waterhouse stop slot.13 inch, Series V, f/8, SN 57094, Engraved: “Taylor, Taylor & Hobson, Ltd., Leicester, London & New York, No. 57094, 13 inch, Series V, Cooke Process Lens, 8 x 10 inches.” “Hand scribed on the side is Jahn & Ollier.”  “Aperture has smooth movement.”16 inch, Series V, f/8, SN 74280, “Made special for Italian consignee Lamperti & Garbagnati

16 inch, Series V, f/8, SN 99578, Engraved:  “Taylor, Taylor & Hobson, Leicester & London.”  “Aperture has smooth movement”

18 inch, Series V, f/8, SN 104837, Engraved:  “Taylor, Taylor & Hobson, Leicester & London.”  “Aperture has smooth movement”

13 inch, Series V, f/8, SN 109104, “Cooke Taylor Hobson Process Lens, was used on an enlarger.”

The Series Va lens was short-lived.  It appeared in only 2 catalogues in the Cooke archives, along side the popular Series V process lenses with the same description (see Series V, description from 1922-23 catalogue).

Samples
43.7 inch, Series Va, SN 2478,  Engraved:  “Cooke Process Lens, Series VA, 36 inch x 30 inch, Eq. focus 43.7 inches, no. 2478, Taylor, Taylor & Hobson, sold by Penrose and Co.”

Lens Construction
Three lens anastigmat. Based on Cooke Triplet design; patent by H. Dennis Taylor, 1893. Improvement in original design, by Horace W. Lee, TT&H, 1919. British Patent no. 155640, December 22, 1920. As of 1947, the Series VB was not surface treated (coated).“. . . Provided with a removable lens-hood which can be covered with a leather cap.  The screw thread which receives this hood receives also any prism fitted with the standard screw.  An iris diaphragm is provided instead of the old-fashioned stops with circular openings, and in front to fit is a slot to receive process diaphragms if necessary.  This slot may be closed or opened by revolving the inscription tube” (1924).“Old and damaged Cooke Process Lenses can be re-polished and made equal to new.  Prices on application” (1926).“Cooke Process Lenses are so well and favourable known that their reputation as the best for halftone and line work is firmly established. . . .Series VB lenses are for use on Engravers’ cameras, also View, Commercial and Copying cameras” (c.1930).“The world-wide reputation of Cooke Process Lenses was founded on the excellent design of the Series VB Lenses.  Since the first appearance of this series many years ago, it has been possible to effect improvements both optically and mechanically, so that for producing half-tone and line negatives of the finest quality, the Series VB Lenses remain unrivalled” (1930s).“The Cooke Series VB Process Lens has held a world-wide reputation for many years. There is nothing finer than these lenses in the Photoengraving and like industries for highest quality half tone and line negatives.  They are in daily use and treasured as one of their most valuable accessories.  You can’t afford to overlook this lens, and it’s priced very fair.  Provided with fine leather case and two caps” (1962).  Offered in 13 (f/8), 16, 18, 21 and 25 inch (f/10) focal lengths, ranging in price from US$215 to US$385, in Burke & James, Inc. Cooke lens catalogue, 321 So. Wabash Ave., Chicago 4, Ill.Samples
18 inch, Series VB, f/10, SN 122831, “Taylor-Hobson Cooke Process Anastigmat” (brass lens, c.1924)
18 inch, Series VB, f/10, SN 125199, “Taylor-Hobson Cooke Anastigmat” (c.1930)
25 inch, Series VB, f/10, SN 196087
48 inch, Series VB, f/10, SN 240670, (c.1930)

Lens Construction
No patent numbers can be found for this lens.“The rapid advance in artistic photography has led us to introduce a new series of portrait lenses whose range of usefulness covers the entire field of high grade portraiture.  The Series VI lens, as shown in the illustration [PIX 1908 OF MOUNTED LENS ON BOARD], is supplied in a special mount with rotating rings which control the definition and work the iris diaphragm.  The rings are operated from the back of the camera by means of cords and pulleys, as show in the small drawing.  This device enables the photographer to watch his ground-glass and regulate to a nicety, the ‘depth of focus,’ the softness and roundness of his image, and the volume of light on the plate.  The desired softness is indicated on the lens by a scale and pointer, for future guidance if necessary.  With its full aperture of F/5.6, the lens is extremely rapid.  Containing only three thin glasses, it is in practice distinctly faster than the more complicated lenses marked with the same aperture.  It has greater ‘depth of focus’ than the ordinary portrait lens, and so is just as well adapted for groups as for heads and busts.  The prices include the cords and pulleys, which are easily attached by anyone, and also a cone-shaped, detachable hood.  This may be used at pleasure to cut off side light, and add to the brilliancy of the image” (1908).“The constant demand for Portrait lenses of high speed led us to introduce the Series II Cooke Portrait lens several years ago.  At first we catalogued only one size, the 8 x 10 of 13 inches focus. Since then studio photographers ever looking for equipments more complete and portraits more artistic, have urged us to add the 10 x 12 and 11 x 14 sizes.  In this series, we have the highest development of the Anastigmat lens for the making of portrait and group photographs.  The lenses, with their perfectly flat field, form ideal group lenses and cover a large area in proportion to the focal length.  Large size standing figures and groups are shown up to the limit of the size of the plate listed.The three largest sizes are fitted with a diffusing device which enables the photographer to regulate to a nicety the depth of focus and the softness may be introduced evenly throughout the plate, simply by revolving the front portion of the lens-mount, thus securing in the simplest manner that beautiful portrait quality which is the envy of so many studio photographers.Coupled, therefore, with phenomenal speed, is a RESERVE capable of yielding everything from the softest and most subtle definition to perfect crispness of detail, and a depth of focus almost incredible.  Thus has it been made possible for the photograph to use only one Studio lens for all of his portraiture, instead of several old fashioned lenses, causing delay and uncertainty.The No. 22 ½ Portrait lens deserves the particular attention of home portrait photographers.  Its focus deserves the particular attention of home portrait photographers.  Its focus is just short enough for those cramped situations so often encountered in the home, while its speed is so remarkable that this lens will catch even he most fleeting expression of a child. The Nos. 23, 23 ½  and 24 lenses have been designed for exceptionally difficult portraiture in galleries without the advantage of an ordinarily large skylight and where the lighting is unusually poor.  They are fitted with the diffusing device referred to above.The No. 23 ½ lens of 14 ½ inches focus naturally gives better perspective or ‘drawing’ than does the No. 23 lens of 13 inches focus.  This is simply because the No. 23 ½ lens has a greater focal length than the No. 23.The less expensive Series VI Cooke Portrait lenses are similar optically in every respect to the Series II, with the exception that their full aperture is F/5.6.  Because of this smaller aperture it is possible to mount them smaller than the Series II, and that alone is the reason for their lower cost.  The Series VI lens is supplied in a special mount with the rotating rings which control the definition and work the iris diaphragm.  The rings are operated either by hand or from the back of the camera by means of cords and pulleys, as shown in the small drawing.  This device enables the photographer to watch his ground-glass while securing the same qualities of depth, softness and roundness characteristic of the Series II lenses, and described above” (1914).“By reason of their smaller aperture these lenses are more compact and correspondingly lower in price than the Series II. . . These Studio Lenses are very popular in America and in many European countries.  F/5.6 is a very useful aperture for most all-round work, and for those photographers who have no desire for abnormal speed, these Series VI Studio Lenses are confidently recommended” (1915).“The diffusion adjustment is easily operated by rotating the engraved ring just behind the hood in the direction indicated” (c.1921).By 1924, the three Cooke Portrait lenses, Series II f/3.5, Series IIa, f/4.5 and Series VI f/5.6, were redesigned to accommodate the diffusion adjustment with the finger grip.“When set to ‘SHARP’ each lens covers sharply its specified plate when focussed on a far distant object.  When focussed in the studio within say ten feet of the subject, the lens coers at full aperture the next size of plate larger than the one listed.  In all cases, however, the longest possible focal length should be used so as to secure the best modelling.  With these anastigmats the studio worker can obtain microscopically sharp definition should he require it. The lenses are anastigmats in every sense of the term, but for individual portraits where a soft effect is essential, the artist has at his disposal a diffusion adjustment by which he can distribute at will any degree of softness evenly throughout the plate.  The lens can be used on a vertical type enlarger without danger of the diffusion altering.  The iris diaphragm is operated simply by turning the hood at the front.  Instructions for operating the diffusion adjustment are given with each lens” (1924).  In the 1924 catalogues in America and England, the prices for the Series VI in 1924:  13 inch for 7 x 9 ₤18 (US$130), 15.5 inch for 8 x 10 ₤25 (US$180), 18 inch for 10 x 12 ₤35 (US$252).Samples
13 inch, Series VI, f/5.6 (no serial number given), “variable soft focus ring is marked from ‘0’ sharp through #6 for maximum softness. Engraving: “Taylor, Taylor + Hobson, Leicester + London.”  Mounted in synched Packard shutter on 6 inch Burke & James wooden lens board.
18 inch, Series VI, f/5.6 SN 123176, “Taylor-Hobson Cooke Portrait Anastigmat, Made in England” “Knuckler lens (finger grip)”
18 inch, Series VI, f/5.6, SN 123488, “Taylor-Hobson Cooke Portrait Anastigmat, Made in England”  “Knuckler lens (finger grip)”
13 inch, Series VI, f/5.6, SN 125454, “Taylor-Hobson Cooke Portrait Anastigmat.” “Knuckler lens (finger grip)”
15.5 inch, Series VI, f/5.6, SN 157564, “Taylor-Hobson Cooke Portrait Anastigmat.” Brass.

Lens Construction
As of April 10, 1947, the Series IId (and IIe, VIa) were not coated.“The improved type of mount illustrated above affords the following improvements over the old model:  (1) 60 percent greater diffusion graduated to five positions instead of three as hitherto. (2) Iris operated by ring instead of by rotating front hood. (3) Easier diffusion movement, still maintaining finger grip and definite stops. (4) Graduated scales for diffusion and iris diaphragm, always readable from the same position at the side of the camera.The three series of Cooke Portrait Lenses offer a choice of speed sufficient for all needs of the modern studio.  The lenses are anastigmats in every sense of the term, but for individual portraits where a soft focus effect is essential, the artist has at his disposal a diffusion adjustment enabling him to distribute at will any desire amount of softness evenly throughout the plate, and to duplicate this effect accurately at any time” (1930s).“The lenses are anastigmats in every sense of the term but for individual portraits where a soft-focus effect is essential, the artist has at his disposal a diffusion adjustment enabling him to distribute at will any desired amount of softness evenly throughout the plate, and to duplicate this effect accurately at any time.  The diffusion adjustment is accomplished simply by turning the finger-grip illustrated, and provided on the mounts of all three series of lenses, while a bold and easily read scale indicates the degree of diffusion produced.  For convenience in using these lenses for enlarging in the dark room, a stop device clicks off the degrees of diffusion.  Cooke Portrait lenses can thus be used on vertical enlargers without danger of the diffusion altering.Set to sharp and focussed on a far distant object, each lens covers its specified plate sharply to the corners with the diaphragm wide open.  When focussed in the studio within say 10 feet of the subject, the lens covers at full aperture the next size of plate larger than the one listed, though of course every make of lens requires stopping down to secure the requisite depth.  The lens should be focussed with the iris diaphragm and diffusion adjustment set exactly as intended for exposure.  In all cases a lens of the longest possible focal length should be chosen so as to secure the best modelling” (c.1931).“The diffusion adjustment is accomplished simply by turning the finger-grip provided on the mounts of all three series of lenses, while a bold and easily read scale indicates the degree of diffusion produced” (1946).

“Architecture, dim interiors, and other subjects for which wide-angle lenses are used may be accurately focussed and the exposures made at full aperture f/6.5.  Where great depth is required, however, it is necessary to use a smaller stop.

Those who have experienced the difficulty and sometimes the impossibility of accurate focussing with the usual small aperture wide-angle rectilinear lenses will appreciate the time, materials, and annoyance saved by the Primoplane Cooke Lenses.  The saving of time alone is demonstrated by the fact that on a given subject, an exposure of one second with this lens would give a negative as fully exposed as that given by the ordinary rectilinear wide-angle lens at F/16 in eight seconds.

A further advantage lies in the fact that these lenses are excellently adapted for ordinary work on smaller sizes of plates.  For instance, when used on a quarter-plate camera, the 5-inch lens includes a normal angle, whilst  the 6-inch and 7-inch lenses are very suitable for an all round purpose on 5 x 4 and half-plates respectively, permitting an extreme rise or fall of front” (1909).

“Focus Carefully.  It is advisable to focus the lens a little ‘long,’ using the diaphragm wide open and afterwards stopping down to secure the requisite depth of focus.  In other words, with objects at varying distances from the camera, focus at F/6.5 upon a point about two-thirds of the way down the occupied space, and then ‘stop down’ until everything appears sharp.  Some photographers focus only half-way down, or only one-third, and then blame the lens. There is always difficulty, of course, in focussing at the same time objects both far and near, and in case it is difficult to obtain sharp definition, we would suggest that the article on ‘Depth of Focus’ be read carefully SEE PAGE 31 and 32 in 1914 catalog *****].  This presents the matter in an entirely new light.  Cooke Primoplane lenses are mounted to ‘between-lens’ shutters with the complete lens fitted in the front of the shutter.  When thus fitted to the correct size of shutter, the lenses permit the extreme rise of the camera-front (1914).
“The angle of view expressed in relation to the longer side of the plate for which each lens is listed is approximately 70 degrees.  These lenses will illuminate plates larger than those for which they are listed and the angle included, as expressed in relation to the diameter of the circle of illumination, is approximately 90 degrees” (1915).

Cooke Series VII, f/6.5
The Series VII, “Mid-angle anastigmats, working at F/6.5” were listed in the 1909 and 1910 catalogues only, at the bottom of the page for the Series VIIa f/6.5 Primoplane lenses.  “If mid-angle lens only is required, the Series VII has been designed specially for this purpose upon an entirely different formula, to give the best possible results” (1909, 1910).

Lens Construction
3 lens anastigmatThis was one of the most popular of all the Cooke stills lenses.  Compact and lightweight for field use; even in brass.“This Wide Angle series is new, and is offered with confidence.  The lenses excel even the famous Primoplane Lenses which they now supersede.  The new lenses include a considerably wider angle, the field is perfectly flat, and zonal defects have been completely eliminated.  Sharp definition is given throughout a field of 100º at F/32 and throughout 90º at F/16.  All of the new Series VIIb lenses open to an aperture of F/6.5 for focussing, and focussing should be done near to the centre of the plate.  The largest aperture engraved on the iris scale is F/11, but exposures at F/16 are recommended if the light is good enough.  At F/16 the plates listed are covered with exceedingly fine definition” (1924).“To ensure maximum light transmission and contrast values, the air-to-glass surfaces of all Taylor-Hobson lenses are provided with a hard, durable coating which will withstand all normal cleaning processes” (1956).By 1926, the 2.5 inch, Series VIIb was no longer made and by 1956, the 8 inch version was dropped.  A 12 inch, Series VIIb turned up in circulation in 2002 (see Samples), whose owner noted that he had only seen one other 12 inch version, also in the U.S.Samples
2.5 inch, Series VIIb, f/6.5, SN 115852, “Taylor-Hobson,” in Compur P shutter
5.25 inch, Series VIIb, f/6.5, SN 119327, “Taylor-Hobson”
12 inch, Series VIIb, f/6.5, SN 220799, “Cooke Wide Angle Anastigmat, 12” 305mm, Series VIIb f6.5.” (Made prior to 1940.)
Focal length?, Series VIIb, f/6.5, SN 246888, “Cooke Taylor-Hobson”
3.25 inch, Series VIIb, f/6.5, SN 384391, (made September 1950 to McMundo Instrument Co., Surrey)
5.25 inch, Series VIIb, f/6.5, SN 384714 (made November 1950 to Kodak, Australia)
5.25 inch, Series VIIb, f/6.3, SN 438939 (made February 1954 to Southall Bros + Barclay, Birmingham)
4.25 inch, Series VIIb, SN 458378 “Cooke Taylor-Hobson” (made October 1953 to Pelling + Corso, London)
5.25 inch, Series VIIb, f/6.5, SN 579604 (made January 1962 to A.W. Culting)Note: The Series VIIb lenses were advertised in the lens catalogues at f/6.5, but the samples that have surfaced along the way were marked f/6.3.

Lens Construction
Three lens anastigmat. Based on Cooke Triplet design; patent by H. Dennis Taylor, 1893. Improvement in original design, by Horace W. Lee, TT&H, 1919. British Patent no. 155640, December 22, 1920. The lenses were not coated until after 1947. “All air-to-glass surfaces have a durable coating which withstands all normal cleaning processes. The coating ensures maximum light transmission and contrast values” (1957).“A Taylor-Hobson Cooke Telephoto Anastigmat made a fine reputation on the Mount Everest Expedition of 1922 when it was used, for one thing, to photograph the climbers from a distance.  It was used also on both of the Shackleton Expeditions for long distance views in the Antarctic.  The mount is made from light metal and the flange screw is fixed near the centre to secure balance and prevent strain upon the camera front.The Telephoto Anastigmat is a compact, high-speed lens of long focus requiring only a short bellows extension.  It gives large images of far distant objects and is used for both time and instantaneous exposures of scenes which an ordinary lens would render too small.  For example, the press photographer who wishes, unobserved, to obtain photographs of celebrities, can stand far away and secure an image of the same size as with a normal lens used close at hand, using about the same bellows extension.  At twice the distance his image is the same size as with the ordinary lens, and at the same distance, it is twice the size” (1924).“The lenses are used extensively at Hollywood for Cinematograph film production and are steadily replacing other makes for this class of work” (1926).“Cooke Telephoto Anastigmats made a fine reputation on the Mount Everest Expedition when they were used for motion pictures of the climbers from a distance of two miles” (1930).“A sliding sunshade is provided” (1946).“They are used regularly by the leading photographers and newsreel Cinematographers, who accompany expeditions and whose negatives must be capable of subsequent enlargement” (1946).The lenses were not coated until after 1947.
“All air-to-glass surfaces have a durable coating which withstands all normal cleaning processes.  The coating ensures maximum light transmission and contrast values” (1957).“The Cooke Telephoto is an indispensible lens for long shots. At twice the distance, the image is the same size as with an average lens, and at the same distance, twice the height of four times the area. It is a high-speed anastigmat of long focus requieing only  short bellos extension. The lightness of the lens mount ensures correct balance and no camera strain.  The beauty and clarity of every shot is a revelation. Like ‘finding it’ with a pair of powerful binoculars” (1962).  Offered in 11, 12.5, 15 and 20 inch focal lengths in 1962 by Burke & James, Inc., Chicago, Illinois, USA.Telephoto anastigmat lens, coded in the Cooke lens catalogs: TELIC (1924); ELTIC (c.1930); COTAL (1947)Samples
20 inch, Series VIII, f/5.6, SN 202365. Engraved: “Taylor-Hobson Cooke Telephoto 20 inch (508mm), Series VIII f/5.6 Anastigmat Patent 198958.”  In original case with two leather lens caps.15 inch, Series VIII, f/5.6, SN 25925711 inch, Series VIII, f/5.6, SN 261378.  “On board a Speed Graphic.”15 inch, Series VIII, f/5.6, SN 418036. Engraved: “Cooke Telephoto Anastigmat Lens, Made by Taylor, Taylor & Hobson Ltd., England, Patent no. 198958” (made October 1952 to Burke & James, Chicago)12.5 inch, Series VIII, f/5.6, SN 544959. Engraved: “Cooke Telephoto Anastigmat, Series VIII, 12 ½ inch, 320mm, f5.6”

The Cooke VIIIb Anastigmat lens first appeared in the archived lens catalogues beginning in 1926, but the lens was used by Frank Hurley, official photographer for the Shackleton Polar Expedition in 1914 and was also used to shoot silent films before the Cooke Speed Panchros were introduced during the era of talking films.

“The lenses are used extensively at Hollywood for Cinematograph film production and are steadily replacing other makes for this class of work.  Taylor-Hobson Cooke Telephoto Anastigmats made a fine reputation on the Mount Everest Expeditions when they were used among other things to photograph the climbers from a distance.  They were used also on both of the Shackleton Polar Expeditions for long distance views in the Antarctic” (1926).

“Taylor-Hobson Cooke Telephoto Anastigmats are compact high speed lenses of long focus requiring only a short bellows extension.  They give large images of far distant objects, and are used for both time and instantaneous exposures of scenes which ordinary lenses would render too small.  For example, the press photographer who wishes unobserved to obtain photographs of celebrities can stand far away and secure an image of the same size as with a normal lens used close at hand, using about the same size bellows extension.  At twice the distance his image is the same size as with the ordinary lens, and at the same distance twice the size.  The lens mounts are made from light metal and the flange screws are fixed near the centre so that correct balance and freedom from camera strain are secured” (1926).

Lens Construction
Patent 113590. As of 1947, the Series IX was not surface treated (coated).“For the most exacting needs of work in three colors a development of the Cooke Process Lens is now offered—the new Apochromatic Process Series IX.  By the introduction of new optical glasses and a modification of the normal Cooke lens formula, it has been found possible to produce a combination which is guaranteed to answer the most exacting color tests.  This is the first Apochromatic Process Lens of British design and make, and it surpasses any foreign production.  Both series [the Series VB and IX] are provided with a removeable lens-hood which can be covered with a leather cap.  The screw thread which receives this hood receives also any prism fitted with the standard screw.  An iris diaphragm is provided instead of the old-fashioned stops with circular openings, and in front of it is a slot to receive process diaphragms if necessary.  This slot may be closed or opened by revolving the inscription tube” (1924).“Series IX lenses are for use on Engravers’ cameras, also View, Commercial and Copying cameras.” (c.1930).In 1930, the 54 inch, f/16 Series IX lens was made to order.“Lenses can be repolished and made equal to new. Prices on application” (1930s).“The Series IX Apochromatic Lenses possess all the merits of the Series VB and are qually suitable for producing half-tone and line negatives.  By the use of specially made optical glass, and a patented formula, Taylor, Taylor & Hobson Limted offer this series of lenses which answer the most exacting tests of colour work. These were the first Apochromatic Process Lenses of British design and have remained supreme for performance. For half-tone and line work they give a high standard of definition. They are particularly valuable for map reproduction and for other work demanding extreme accuracy” (1947)“The Cooke Process Series IX Apochromatic f/10 an f/16 have all the qualities of the Series VB for half-tone and fine work and in addition are unsurpassed for the most exacting color work.  Absolutely supreme! For close and very accurate work like maps and scientific and industrial detail the Series IX is champion. It’s the jewel in your treasure chest of fine lenses.  Provided with leather case and two caps.  Again, its performance that counts! Your first trial will absolutely convince you” (1962).Process Prisms
“Into the manufacture of these prisms are put the finest material and workmanship obtainable. The accuracy of each surface is guaranteed, while the convenience of the mountings is unique” (1947).Samples
16 inch, Series IX, f/10, SN 132454, “Taylor-Hobson Cooke Apochromatic” (1930s)
18 inch, Series IX, f/10, SN 302259, “Taylor-Hobson Cooke Apochromatic”
21 inch, Series IX, f/10, SN 386936, “Looks slightly coated. Lens is heavy 3.25 lbs. and 3.5 inches tall” (made January 1951 to Kelly Photo Supply, Chicago)

Lens Construction
As of 1947, the Series X lenses were not treated.“These were the first f/2.5 lenses to appear and remain the fastest that can usually be fitted to reflex cameras.  They are next in speed to the Taylor-Hobson f/2 Anastigmats, which made the Times pictures so famous, but which are, of course, too large for ordinary hand cameras.  Taylor-Hobson f/2.5 lenses are also too large for most folding cameras, but they can be used on Reflex cameras, and a limited use of the rising front is possible.  At f/2.5 they are nearly twice as fast as the Series IIa lenses at f/3.5 and more than three times faster than the Aviar used at f/4.5” (1926).“Newspaper men and others who work in all sorts of weather, will find the Speedic dependable and fast enough for every occasion.  Speedic lenses can be used on hand cameras and cameras of the reflecting type.  The 9.5 inch lens can also be used on View and Portrait cameras fitted with focal plane shutters.  Their speed is sufficient for working in ordinary studio light” (c.1930).The Revolving Back Graflex Series C camera was sold with a 6.5 inch, Cooke Series X, f/2.5 lens built in.  From Richard Paine’s book* on Graflex cameras:  “The 2.5 Cooke was a magnificent optic, quite sharp at its maximum aperture but, unfortunately, enclosed in a lightweight mount of magnesium alloy which has not withstood the test of time.  Many of the brittle barrels have cracked; others have locked up at their most recent setting and cannot be loosened.  Those in working condition are rare and sought after.  Nevertheless, Series C is unquestionably one of the most desirable Graflexes ever produced.  Its demise was probably due to the fact that the Series D would permit lenses as fast as f/2.9.  Therefore, the practicality of producing a Series C in later years was questionable.”Samples6.5 inch, Series X, f/2.5, SN 228065. “There is no aperture but the scale is present.  There is some corrosion on the barrel.”
7.75 inch, Series X, f/2.5 SN 320137*A Review of Graflex, The All-American Cameras, p.25.  By Richard Paine.  Alpha Publishing Company, Houston, Texas, 1981. Second printing 1985 by A Photographers Place, Inc., New York, NY.

Lens Construction
Cooke Triplet construction. Patent: GB 155640, Horace W. Lee, 1919Samples5 inch, Series XI, f/3.5, SN 138174, “Taylor-Hobson Cooke Anastigmat, Made in England, Patent No. 155640.”6.25 inch, Series XI, f/3.5, SN 138272, “Taylor-Hobson Cooke Anastigmat, Made in England, Patent No. 155640.”6.25 inch, Series XI, f/3.5, SN 199442, “Taylor-Hobson Cooke Anastigmat, Made in England, Patent No. 155640.”5″ inch, Series XI, f/3.5, Cooke Anastigmat  came attached to the Thornton Pickard Junior Special.

“By the introduction of Series XIII f/2.9 lenses, still another choice is offered in the already popular line of Taylor-Hobson ‘speed models.’  In the newcomers there is the same fine combination of extreme speed with faultless covering power and definition that made Series X f/2.5 leaders in their class.  Used at the full opening of f/2.9, Series XIII can be relied upon to give negatives as satisfying as those made at f/4.5 in better light.

At all times of year they enable difficult subjects to be approached with confidence—they are as capable with home portraits as with quick-action scenes outdoors.

Series XIII can be chosen without visions of a bulky and inconvenient outfit.  Despite the large aperture, the mount is light and compact, and goes easily into most well-known reflex outfits.  There’s no strain on the camera front” (1926).

Lens Construction
“The Series XIV are of the three-glass type, and are intermediate between Process and Portrait lenses” (1933). Up to 1947, the lenses were not coated. The 1955 catalogue entry notes that the “lenses are supplied with all air-to-glass surfaces coated, to ensure maximum transmissions and contrast values.”“The growing use of panchromatic material for general photography has made such lenses essential for certain types of work.  Super-sensitive panchromatic plates and films do not require the large aperture so essential in the ordinary Portrait Anastigmat, and assisted by this fact we have been able to produce lenses which focus all colours with critical sharpness and uniform size of image on all types of sensitive photographic material.Cooke Series XIV lenses are designed to give images varying in scale between one-fourth the size of the object and ‘infinity.’  They are recommended for use in the studio, especially for group work, and are also suitable for colour separation negatives from life or other originals.For copying work in black and white and in colour, Cooke Process lenses should, of course, be used” (c.1935).Some time between 1936 and 1955, the 21 inch focal length was no longer offered.SamplesSeries XIV, f/6.3, 16.5 inch, SN 221722Series XIV, f/6.3, 13 inch, 330mm, SN 245734Series XIV, f/6.3, SN 247343Series XIV, f/6.3, SN 516885

Lens Construction
British patent GB376044, 1932, Horace W. Lee, B.A. Cemented front and back combinations, “necessary to secure achromatism and other corrections in each component to permit of their being used separately, which is not possible with a Cooke triplet” (1921). As of 1947, the glass was untreated.“. . .With only one complete lens, the photographer has the choice of three different foci.  In the past such lenses have usually been made with a smaller aperture than f/4.5 and this has necessitated the use of the components with very small apertures; but with the Cooke Convertible Lens, having a full aperture of f/4.5, this drawback has been overcome.  Some of the glass employed in the manufacture of these lenses is of such exceptional transparency as to partially neutralise the disadvantages of cemented lenses” (1921).Three Lenses in One
“Three lenses in one (1) Combined lens, (2) Front component, (3) Back component.  The front and rear components, individually, are complete optical units—giving perfect definition over the plate they are designed to cover.  Simplicity
The front component is unscrewed when the back is used alone and the back is unscrewed when using the front, but both of them used alone must be screwed behind the iris diaphragm. When used with Iris Barrel the standard 2.25 inch flange is provided.Covering Power
All three lenses will cover 10 x 8 inches at infinity.  For copying at 10 feet or nearer:
The 12.25 inch lens covers 14 x 11 at f/16
The 19 inch lens covers 14 x 11 at f/32
The 26.5 inch lens covers 14 x 11 at f/32”
(c.1930s)“The quality and performance is so great that the world’s foremost professionals have produced their best pictures with this unusual lens” (1962).Ansel Adams used many different lenses, including Zeiss, Goerz, Ross, Kodak and Cooke.  Ansel Adam’s now-famous photograph, “Moonrise, Hernandez 1941” was shot with the Cooke Triple Convertible as was “Sunset, Carmel, California.” “Lens coating minimized flare from bright sun and reflections”  [Camera and Lens, The Creative Approach, Studio, Laboratory and Operation, Basic Photo One, Ansel Adams. Morgan & Morgan, Inc., Publishers, third printing 1973]When Cooke Optics Limited decided to make a modern redesign of the original Cooke Triple Convertible, we contacted Ansel Adam’s former assistant, John Sexton, in 2004 to inquire about the whereabouts of his lens.  He replied that the Cooke lens was stored in a case with Ansel’s other view camera lenses that were shipped to the University of Arizona with the rest of his gear.Samples
Series XV, SN 309272, Ansel Adam’s lens, located at University of Arizona
Series XV, SN 470382 (made March 1955 to Burke & James, Chicago)
Series XV, SN 474899 (made Novmeber 1954 to Burke & James, Chicago)

Lens Construction
Patent 157040.The Cooke Speed Panchro lenses for motion pictures were developed by Horace W. Lee from his original Cooke Series O optical design.“This new series is designed for work which falls outside the scope of ordinary lenses. They are not the first produced with an aperture of F/2, but they are the first to combine this extraordinary aperture with a fully corrected anastigmatic field of the same angle as that of the leading F/4.5 anastigmats . . . The Series O lenses are singularly well adapted for instantaneous exposures in direct colour photography, and for all purposes where the maximum of lens speed and covering power are essential. They are used for night photography from aeroplanes, for stage scenes with ordinary stage lighting, and for other abnormally difficult work” (1924).“Until introduction of the Cooke Series O lens with “an abnormally large aperture of F/2”, capturing live stage performances were impossible except for images made by flashlight.  The nearest approach was the Grun lens used many years before 1924, which required an exposure of about two seconds.  A special performance of Brighter Shakespeare at the London Coliseum was captured with a Series O, f/2.0 Cooke lens in 1/10 second” (1924).“An exclusive license, under patent no. 157040 has been granted to The Times, London and its nominees for the use of our Series O lenses in taking photographs for press illustration purposes, with the exception of its use by portrait photographers for studio work” (1924).Samples3 inch, Series O, f/2.0, “Taylor-Hobson Cooke Anastigmat, No. 123702, Made in England, Patent No. 175040.”  Sold on eBay on a Thorton Pickard Ruby Speed Camera, 2004.2 inch, Series O, “Taylor-Hobson, Cooke Anastigmat, No. 190456.