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Sonnar:
Ernemann Company was taken over by the Zeiss-Ikon combine, and shortly in 1930, Ludwig Bertele started the design of the Sonnar type lens based on the second (f/1.8) Ernostar type. It was completed in 1931, and was a f/2 Sonnar. The sonnar negative triplet consisted of a high-index outside and a lower-index element between. In 1932, he released a f/1.5 version with a strong cemented interface on the rear component. This allowed correction on the higher-order spherical aberration which was needed in a lens of the high aperture. The name Sonnar had been used previously by the Contessa Company for a camera with a Tessar type lens, but as Zeiss-Ikon absorbed Contessa, they acquired rights to the name. The design uses less elements than Planar, so when coating tech was primitive, the lens had much less flare due to less surfaces in design. Simpler than Planar, smaller and comparatively inexpensive. Good contrast at edges at all apertures. Exhibits some softness at wide apertures. Sharp when stopped down.
Tessar:
Designed by Dr. Paul Rudolph in 1902, utilizing the rear cemented doublet of the Anastigmat and the airspaced front component of Unar. The front element was of very low power, like the Anastigmat design, and it's sole function was to correct the remaining aberrations of the strong g new-achromat rear component. The cemented rear component reduces zonal spherical aberration, reduces overcorrected oblique spherical aberration, and reduces the gap between astigmatic foci at intermediate field angles. The first design was f/6.3, but by 1917 the aperture was raised to f/4.5, and in 1930, W. Merte and E. Wandersleb raised it to f/2.8. The 50mm f/3.5 Elmar lens fitted to the early Leica cameras was a Tessar type designed by Max Berek in 1920. The US patent was received 1903, giving Zeiss a monopoly on the design until 1920, the end of World War I. Uses a 4 elements 3 group design, light, small, relatively high resolution, inexpensive to produce comparatively to other designs. Designed to be sharp at most apertures, but has limited coverage. It was widely copied and many variants made as it was seen as a good compromise between the Dagor and Artar designs for coverage, sharpness, and contrast.
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