Pekka Buttler, 03/2026
Specifications
The table below summarises the lens’ key specifications (measurements based on pictured sample):
| Brand: | Meyer-Optik Görlitz | Lens name | Telemegor 4.5/300 |
| Focal length(s) 1 | 300 mm | Angle-of-view 2 | 15 ° (medium format) 8 ° (full frame) |
| Maximum Aperture | f/4.5 | In Production | 1955–1965 (all variants) 1958–1965 (Pentacon Six) |
| Lens mount (this lens) | Pentacon Six | Other lens mounts | Exakta (inner and external), M42, Praktina |
| Length 3 | 183 mm (to flange) | Diameter 4 | 93,2 mm (focus ring) |
| Filter ring diameter | 82 mm | Weight | 1760 grams |
| Lens element count | 4 | Lens group count | 3 |
| Aperture blades (S/R/C) 5 | 19 S | Focus throw | 345 ° |
| Minimum focusing distance (indicated) | 3,3 m | Maximum magnification (calculated) | 1:9 |
| Has manual aperture ring | YES | Has Manual focus ring | YES |
| Aperture mechanism type | Preset | Aperture click stops | preset ring has clicks at 4.5-5.6•8-11-16-22 |
Further notes:
• The name Telemegor is a compression of TELEobjektiv MEyer GORlitz, and is the name used by Meyer-Optik Görlitz for its entire line of classic tele lenses (4 elements, 2 groups construction), featuring focal lengths from 150 mm to 400 mm.
• This 300 mm f/4.5 Telemegor was introduced 1955 to replace the aged 250/5.5 [data sheet] and 400/5.5 Telemegor lenses. Raising the brightness from f/5.5 to f/4.5 while also improving image quality was a major engineering feat.
• This 300 mm Telemegor has an integrated tripod mount that can be rotated and locked in 0–240 °.
• Alike all Telemegor lenses, this lens came with a dedicated, thread-mounted lens hood that however needs to be unscrewed to access the (non-rotating) filter threads.
• For further notes on Meyer-Optik Görlitz and especially their naming logic, see the JAPB article on MOGnames (the company’s later history is summarised below).
History of Meyer-Optik Görlitz
The original Meyer-Optik Görlitz (not the modern company that has taken the classic company’s name) was founded in the town of Görlitz (modern-day Germany) by Hugo Meyer in 1896, and remained in existence until the state-directed merger into VEB Pentacon 1970. Due to its vicinity with the German camera and optics industries in Saxony (Dresden, etc.), Meyer-Optik was from an early stage heavily involved with manufacturing lenses for all kinds of cameras, but the company’s real golden age started with the advent of interchangeable lens cameras, where Meyer-Optik was uniquely placed to offer a cost-effective alternative to premium brands such as Carl Zeiss Jena.
Meyer-Optik was pronouncedly a camera lens manufacturer and never had serious ambitions for pursuing horizontal integration (diversifying into cameras and other photo gear). Instead, MOG pursued a vigorous strategy of seeking economies of scale, combined with never putting too many eggs in any basket – typically Meyer-Optik would choose which designs to put into production based on being able to cover as many platforms/mounts with one basic design. As a result, many early MOG designs were made available for a wide range of camera platforms. Later, as the number of alternative platforms diminished, that strategy had to go in favour of a strong focus on M42 and (to a somewhat lesser extent) Exakta. Even so, throughout the 60s, MOG vigorously pursued innovative designs and could by the end of the decade proudly offer a wide range of high-quality, cost effective designs.
When the lens maker Meyer-Optik was then merged with the camera maker Pentacon, it became obvious that the role the company (and its product portfolio) was intended to play was to aid Pentacon in its designs of gaining a significant global market share in the price-conscious consumer segment (and help bring hard currency to the G.D.R). Instead of focusing on continued optical innovation, the new overlords were more keen on redesigning lenses for greater economy and easier manufacture. As a result, the pace of optical innovation at MOG/Pentacon fell drastically, and very few new designs or significant redesigns were to be forthcoming in the next two decades.
Versions
Firstly, the 300 mm Telemegor left the factory with the Pentacon Six mount as well as several 35 mm film mounts. The later lenses are unavoidably longer (to make up for the shorter flange focal distance of 35 mm film systems).
Secondly, after the 1965 launch of the replacement lens (the 300/4 Orestegor [data sheet]) the 300/4.5 Telemegor seems to have remained in small-batch production, partially to cater to those mounts that the successor lens did not service (such as the external Exakta mount). These lenses share the design language of the 300 mm Orestegor (its zebra-like but all-black aperture and focus rings) instead of the older ribbed aperture and focus rings.
Adapting
The Pentacon 6 mount offers a wide range of alternatives for adapting.
To use this lens natively, you will need a Pentacon 6 mount film body. In practical terms this means either a Praktisix or Pentacon Six medium format film camera or a Kiev 60/6C medium format film camera. While neither of these families of bodies were manufactured in their millions, they remain readily available, and even serviceable.
Thanks to the generous image circle Pentacon 6 lenses offer, and thanks to the copious flange focal distance (74,1 mm) of the Pentacon 6 system, this lens can be adapted to every full frame (and smaller) SLR, dSLR and mirrorless camera assuming a suitable adapter can be found or manufactured. Moreover, Pentacon 6 lenses are so uncomplicated that a simple ‘dumb adapter’ will do the job perfectly.
Thanks to the generous image circle, Pentacon 6 lenses have also long been a strong candidate to be used on smaller formats (full frame and smaller) in conjunction with tilt/shift adapters. Alternatively, one can choose to daisy-chain adapters (e.g. Pentacon 6->Canon EF; Canon EF –> mirrorless) which not only broadens the range of available adapters, but also allows using speed boosters for those photographers that use smaller than full-frame sensors.
Finally, regarding larger than full frame, there are also options. Digital medium format is perfectly usable (assuming adapter availability) and many 6×4,5 film formats are likewise theoretical possibilities, but gaining functional adapters may necessitate some DIY.
Footnotes
- Focal length is (unless stated otherwise) given in absolute terms, and not in Full-frame equivalent. For an understanding of whether the lens is wide/tele, see ‘Angle-of-view’. ↩︎
- Picture angle is given in degrees (based on manufacturers’ specs) and concerns the diagonal picture angle. Rule of thumb:
> 90 ° ==> Ultra-wide-angle
70–90 ° ==> Wide-angle
50–70 ° ==> Moderate wide-angle
40–50 ° ==> ‘Standard’ or ‘normal’ lens
20–40 ° ==> Short tele lens
10-20 ° ==> Tele lens
5-10 ° ==> Long tele lens
< 5 ° ==> Ultra-tele lens ↩︎ - Length is given from the mount flange to the front of lens at infinity. ↩︎
- Diameter excludes protrusions such as rabbit ears or stop-down levers. ↩︎
- S=straight; R=rounded; C=(almost)circular at all apertures. ↩︎