Alpa Alnea 7

aka Alpa Reflex 7

35mm MF film SLR camera • Collectible

Specification

Production details:
Announced:1952
Production type:Small-batch production
System: Alpa (1952)
Format:
Maximum format:35mm full frame
Film type:135 cartridge-loaded film
Mount and Flange focal distance:Alpa [37.8mm]
Shutter:
Type:Focal-plane
Model:Mechanical
Speeds:1 - 1/1000 + B
Exposure:
Exposure metering:None
Exposure modes:Manual
Physical characteristics:
Weight:810g
Dimensions:149x88.9x101.6mm

Manufacturer description #1

ALPA-ALNEA is the most complete and versatile 35 mm camera that really satisfies all wishes of the modern photographer.

The name ALNEA is significant! It means "all near." And in fact with the new ALPA ALNEA, even with the standard lens (Switar or Xenon 50 mm) and without any additional equipment, you can take pictures from infinity down to less than 2 feet. This corresponds to a reproduction scale of 1/9, which means that an enlargement of only 9 times produces a picture the actual size of the object.

Just remember, with the usual focusing down to 3 1/3 feet the reproduction scale achieved is only 1/17 of the natural size!

And this is but one of the many novel features of our new camera.

The wide range of interchangeable ALPA lenses includes any focal length for satisfying the special requirements of the advanced photographer amateur, professional or scientist. It opens up prospects of photography that can hardly be imagined. And it is so very simple! All that is necessary is to insert any of the lenses into the camera (with a single turn, thanks to the practical bayonet mount), and it is immediately ready for use. No problems of parallax, no additional view-finders or other accessories. The image produced by the lens is directly reflected on the ground-glass.

The new ALPA ALNEA has also the advantage of a shutter setting controlled by a single knob. The entire speed range from 1 sec. to 1/1000 sec. with any intermediate speed between calibrations can be set directly on the handy rim of the winding knob, whether the shutter is wound or not. Bulb exposure (at P) is also available, which may be used for Time with the aid of a cable release.

The same knob winds the shutter, advances the film and operates the counter - and all this with a rotation of only 160°, less than half a turn ! One glance at the knob indicates whether the shutter is wound or not.

ALPA Model 7 is fitted with a self-timer whose tension lever can be set to any desired time-lag up to 15 seconds. It should be mentioned that the self-timer is useful not merely for taking pictures of one's self, alone or in a group, but also for technical purposes. When a picture has to be taken under difficult conditions, for instance on a high scaffolding, the only way to operate the camera absolutely without vibration is by means of the self-timer.

Internal Synchronization is obtained in a practical and reliable manner by means of two sockets - one for flash-bulbs (with about 16 milli-seconds ignition delay) and the other for electronic speedlights (with zero delay). Flash-bulbs with a long peak for focal plane shutters can be synchronized for all speeds up to 1/1000 sec., whereas electronic speedlights must be used at 1/50 sec. or slower speeds (when the shutter opens completely). A socket located above the view-finder permits attaching the Metraphot Exposure Meter which can remain fitted on the camera in the ALPA Ever-Ready Case.

Loading and unloading the ALPA is done very easily and safely by removing the entire back. Any ordinary cartridge for 36, 20 or 18 exposures can be used as well as Karat cartridges. Access to the picture window is unhindered, which makes it very easy to clean the film track.

Instead of the scales showing film sensitivity or the like, which are often found confusing, the new ALPA ALNEA has a white plate located beside the reflex eye-piece, on which notations concerning the film in the camera can be written in pencil. Rub lightly with a damp finger to erase old notes and make room for new ones.

The ALPA Ever-Ready Case is sturdy and protects the camera completely without hindering its operation. It is designed in such a way that not only the standard 50 mm lenses, but also the interchangeable lenses of 38, 75 or 90 mm focal length can remain on the camera and still allow the case to be closed.

The 2 sunshades, A 42 ⌀ and B 52 ⌀ serve for the whole range of interchangeable lenses from 38 to 180 mm. They can be attached and removed in an instant and fit absolutely firmly. When not in use they can be placed upside down over the lens (except with the short 38 mm lens) and housed in the carrying case.

All ALPA filters are of superior optical quality (glass dyed in the mass) and coated. Like the sunshades they are available in two diameters serving all lenses up to 180 mm. Lenses of 300 rnm and longer focal length are supplied with a special filter set.

Every detail of the new ALPA ALNEA has been carefully studied and successfully tested.

Here are just a few examples to prove this claim:

1. The retractable 50 mm lenses can be pushed back into the ALPA at any time regardless of the position of the mirror, which is withdrawn automatically.

2. If the photographer forgets to pull the lens out, the shutter release requires such a strong pressure that wrong exposures are out of the question.

3. If the control knob is not completely wound (due to haste) the shutter can be released by pressing the button, but remains closed while moving, so that the partly transported film is not exposed. On rewinding once more only the supplementary part of film is advanced, thus eliminating wastage.

4. When using slow speeds or taking time exposures the mirror returns to the viewing position only after the shutter is closed again. The release button therefore does not have to be depressed longer than usual.

5. The partially coloured image produced by the range-finder disappears in the view-finder, when lenses of other than the standard focal length of 50 mm are fitted. Since only the standard lenses are coupled with the range-finder, the latter cannot be used incorrectly for focusing with lenses of other focal lengths.

***

HOW THE SUBJECT IS SEEN...

...through the combined Range/View-finder (ALPA ALNEA, Mod. 7)

A large, brilliant, sharply defined image, corresponding to the frame of the standard lens of 50 mm focal length. The combined Range and View-finder is located very close to the camera lens.

The complementary colouring of the centre field gives a strongly contrasted second image, so that for sharp focusing superimposition can be checked with maximum accuracy.

Since the base of the range-finder is arranged vertically, it is best to aim at horizontal lines or corners.

The view-finder can be adjusted to the frames corresponding to lenses of 90 and 135 mm focal length by simply turning a dial. It then serves only for viewing the subject, but is not coupled with the range-finder.

***

HOW THE SUBJECT IS SEEN...

...through the REFLEX PRISM (ALPA ALNEA, Models 7 and 5)

The image is directly focused exactly, as it will appear on the film, on a fullsize ground-glass of 23 x 35 mm. This corresponds to the size of the area left free by the projection mask - allowing 1 mm leeway in each direction compared with the negative of 24x36 mm.

Parallax is completely eliminated, because the ground-glass image is obtained through the picture taking lens, whatever its focal length. The unique 3-lens system gives so great a magnification that the image appears to the eye even larger.

Upright and correct left to right (reinverted), the ground-glass image is exceptionally brilliant and sharp, right up to the very corners. Sharpness of focus, composition and depth of field can be judged at one glance, even at small stops. Following fast moving objects is as easy as it can be. On pressing the release button the image disappears at the last split second only, to reappear as soon as the exposure is finished. This makes it far easier to remember the snapshots actually taken.

There is no better method of checking any type of picture and with any of the interchangeable lenses.

***

ALPA ALNEA, Model 7

The most perfect version of all ALPA Cameras.

Main features summarized in brief:

  • Prism Reflex focusing: Ground-glass image, upright and correct left to right (reinverted).
  • Individual Range-finder coupled with all standard lenses of 50 mm focal length.
  • Multi-focal view-finder for 50, 90 and 135 mm lenses.
  • Self-timer allowing up to 15 seconds time-lag.

With Switar or Xenon in special mount, permitting direct focusing to 1/9 actual size (down to less than 2 feet): 5 7/8 x 3 1/2 x 4", 28 3/5 oz.

With Alfinon in retractable mount and focusing down to 3 1/4 feet: 5 7/8 x 3 1/2 x 3 1/8", 26 1/3 oz.

Manufacturer description #2

The ALPA-REFLEX camera is available in three different models:

Model 7: The most perfect camera with prism-reflex focusing and individual coupled rangefinder. Combined with multifocal "sportstype" viewfinder. Selftimer.

Model 5: without coupled rangefinder, selftimer.

Model 4: direct reflex focusing, without prism.

General Notes: The ALPA-REFLEX is a camera which has been developed over a period of many years and - after having reached utmost perfection - is now built in series. Every detail has been carefully studied and decided upon judging from the practical point of view of the actual user of the camera, the PHOTOGRAPHER.

The camera body is made of lightmetal precision diecasting, thus guaranteeing a perfect and lasting stability. The entire metal surface is chromiumfinished - using a most modern process - which provides not only superior appearance but also an additional protection against corrosion. The camera body is covered with synthetic leather which is sweat, heat and water proof, i.e. much more durable than real leather.

All levers and knobs are easy to reach, attractively designed and above all they can be operated even when wearing heavy gloves. The camera has been made "foolproof", which prevents wrong manipulations as well as damages.

Manufacturer description #3

As a raw beginner, as an advanced amateur, as a professional, scientific or industrial photographer, you will find the ALPA the most complete, the most versatile, the most precise, the one and only All-in-One 35 mm camera. The ALPA will be your key to the door of a photographer's paradise, where you will fulfil your most cherished ambitions!

First revelation: The finest grain groundglass of your ALPA's single lens reflex system offers you a razorsharp, strikingly brilliant image, in lifesize and in all its natural colors. Your subject appears so surprisingly close and sharp that it gives the impression of jumping at you.

Second revelation: The single lens Reflex system of your ALPA provides critical through-the-lens focusing, without all the parallax problems encountered in twin-lens-reflex and rangefinder cameras.

Third revelation: Your ALPA's accurately framed groundglass image guarantees perfect composition with any lens, at any distance, at any magnification. No cutting off of heads or feet! This is especially important in color work, where later correction by trimming is impossible.

Fourth revelation: The unique advantage of viewing through your picture-taking lens ensures perfect depth of field control. You see the exact zone of sharpness in front of and behind your main subject, at any aperture: never a fuzzy foreground or background!

Fifth revelation: The precision-ground prism of your ALPA, set at an exclusive 45°, enables you to view with your head in a natural and comfortable position, without any strain. This angle is also ideal for close-up shots, copy work, photomicrography, overhead and low angle shots. And those who wear glasses can rest them right on the rubber eyepiece of the prism without danger of scratching the lenses.

Sixth revelation: The separate rangefinder of your ALPA 7 or the built-in rangefinder of your ALPA 6 allow you to doublecheck and pinpoint your groundglass focusing quickly and automatically.

Seventh revelation: Your ALPA's shutter speeds ranging from 1 sec. to 1/1000 - with intermediate speeds between calibrations - work accurately on a Swiss precision watch movement that is practically indestructible.

Eighth revelation: A complete range of rapidly and easily interchangeable ALPA lenses from 28 mm to 3750 mm supertelephoto, brings the widest possible variety of pictures within your scope: extreme and medium wide angles, normal snapshots, ultra close-ups, copy work, portraiture, medium range photos and far distant views.

Ninth revelation: Your ALPA apochromats are the only lenses that give you complete correction of all primary colors as well as critical sharpness and highest contrast, even at full aperture: ALPA-Kern Switar 50 mm f/1.8 Apochromat (Automatic Diaphragm) with 7 precision ground lens elements and ALPA-Kinoptik 100 mm f/2 Apochromat (Preset Diaphragm) with 6 precision ground lens elements.

Tenth revelation: The parallax-free single lens reflex system of your ALPA combined with the extreme extension range of the ALPA lenses, breaks through the notoriously difficult "iron curtain" at 1 yard distance and lets you focus as close as you wish. Thus, you can photograph a butterfly's wing, a colorful flower, an ancient coin, a confidential document, a rare stamp, etc. without additional reflex housings, sliding attachments and other "extras". You can record an object magnified up to 2x on your negative, i.e. before enlarging it.

Eleventh revelation: The unequalled versatility of your ALPA, relying on a minimum of accessories, also eliminates much of the expensive and complicated equipment previously, required for scientific and industrial photography, including microscopic photography. In surgery, ophthalmology, dentistry and other medical sciences; in chemical, textile, metal and other industries; in police, military, government and educational work, the ALPA has become an indispensable recording instrument of unparalleled precision and dependability, synonymous with progress.

Twelfth revelation: All ALPA optics and lenses have been selected to give you equipment of the finest optical quality. Each individual lens passes two rigid quality control tests - by the lens manufacturer and the ALPA factory - and carries an unconditional guarantee for highest optical performance.

***

The ALPA 7 solves the photographer's eternal dilemma: reflex camera or rangefinder camera. Its exclusive design combines both ways of focusing in one camera, offering you a single lens reflex system for groundglass viewing and focusing plus a separate, super-imposed rangefinder for rapid action shooting combined with a multifocal "sports type" viewfinder for previewing scenes.

The precision ground ALPA prism reinvents the large, unbelievably brilliant image on the groundglass. You can carefully study your subject, compose your picture with utmost ease and bring it into sharpest focus, having complete depth of field control, even under the most adverse lighting conditions. The ALPA's optical system is a miracle of luminosity, providing highest possible illumination even at small diaphragm stops.

The ALPA 7 (like all other ALPA models) is available with the unique Kern Switar 50 mm f/1.8 APOCHROMAT with fully automatic diaphragm, which permits you to view and focus at full aperture, but photograph at any smaller aperture. As you release the shutter, the diaphragm closes automatically to the preselected stop, then reopens automatically immediately after the exposure. This is an indispensable feature for photography under poor lighting conditions. The ALPA 7 has a built-in selftimer for up to 15 seconds delayed action, enabling you to take pictures of yourself. The selftimer may also be used in place of a cable release, for photographs which require complete freedom from vibration.

***

The unique features of the ALPA ALL-IN-ONE camera briefly summarized:

A. Single lens reflex system with parallax-free through-the-lens focusing - with any lens, at any distance, for any magnification.

*B. Separate, single window, coupled rangefinder for rapid action shooting (Mod. 7).

*C. Multifocal "sports type" viewfinder for fast previewing of scenes (Mod. 7).

*D. Split-image prism rangefinder - built right into the groundglass - for instantaneous and automatic pinpointing of focus (Mod. 6).

E. Precision-ground prism gives reinverted strikingly brilliant image, in lifesize and in all its natural colors.

*F. Logical 45° viewing angle permits natural head position, especially convenient for wearers of glasses.

*G. Finest grain groundglass guarantees absolutely critical focusing and depth of field control at any aperture.

H. Accurate framing of groundglass image provides utmost ease of composition for any type of photography, including close-up and copy work.

*I. One rim-set-knob sets all speeds and winds camera in less than half a turn (160°) - ideal for fast sequence work.

J. Exposure speeds: 1 second to 1/1000 second, B (T) and selftimer up to 15 seconds delay, with intermediate settings between speed marks.

*K. Neoprene-coated, internally synchronized, focal plane shutter operates smoothly and accurately on a Swiss precision watch movement, even at extreme temperatures.

*L. Rapid gear mechanism speeds rewinding of exposed film for quick film change.

M. Reflex mirror flips up smoothly without vibration, returns to viewing position automatically immediately after exposure.

N. ALPA Clickstop lenses are of finest optical quality and coated - range from 28 mm wide angle to 3750 mm super telephoto.

*O. ALPA APOCHROMATS: Kern Switar 50 mm f/1.8 APOCHROMAT and Kinoptik 100 mm f/2 APOCHROMAT give exclusive correction of all primary colors, critical sharpness and highest contrast, even at full aperture.

P. ALPA All-in-one lenses: ALPA Makro-Kilar 40 mm f/2.8 focuses continuously from infinity down to 4" or 2", ALPA Makro-Kilar 90 mm f/2.8 from infinity to 8", without accessories!

*Q. ALPA lenses have extra long extensions, provide a continuous focusing range all the way down to ultra close-ups - ideal for scientific and industrial macrophotography.

*R. Automatic diaphragms, requiring minimum pressure, and extremely lightweight lens mounts permit handheld pictures, even with telephoto lenses at slow speeds.

*S. 100% lens consistency: Every single ALPA lens undergoes two scrupulous quality control tests - by the lens manufacturer and in the ALPA factory - and carries an unconditional guarantee for highest optical performance.

*T. Slip-in ALPA filters are made of finest optical glass dyed in the mass, plane parallel and coated.

*U. ALPA Macrostat copy and close-up stand, suitable for both indoor and outdoor use, is extremely lightweight and may be carried in an ordinary briefcase.

V. Microscopic photography: One 2-piece adapter ring attaches the ALPA to any microscope.

*W. ALPA All-in-one ever-ready case holds the ALPA with wide-angle, 50, 75, or 90 mm (!) lens plus lens shade, filters and exposure meter.

X. ALPA-Omnica de luxe gadget bag holds ALPA plus up to 6 ALPA lenses and most ALPA accessories.

*Y. Well balanced design: The ALPA weighs but 21 ounces and is exceptionally compact: 5 7/8" x 3 1/2" x 3 1/8".

*Z. A custom-built camera: Each ALPA is painstakingly assembled like a fine Swiss watch - a high precision instrument of extreme sturdiness.

* Exclusive ALPA feature.

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Copyright © 2012-2024 Evgenii Artemov. All rights reserved. Translation and/or reproduction of website materials in any form, including the Internet, is prohibited without the express written permission of the website owner.

Chromatic aberration

There are two kinds of chromatic aberration: longitudinal and lateral. Longitudinal chromatic aberration is a variation in location of the image plane with changes in wave lengths. It produces the image point surrounded by different colors which result in a blurred image in black-and-white pictures. Lateral chromatic aberration is a variation in image size or magnification with wave length. This aberration does not appear at axial image points but toward the surrounding area, proportional to the distance from the center of the image field. Stopping down the lens has only a limited effect on these aberrations.

Spherical aberration

Spherical aberration is caused because the lens is round and the film or image sensor is flat. Light entering the edge of the lens is more severely refracted than light entering the center of the lens. This results in a blurred image, and also causes flare (non-image forming internal reflections). Stopping down the lens minimizes spherical aberration and flare, but introduces diffraction.

Astigmatism

Astigmatism in a lens causes a point in the subject to be reproduced as a line in the image. The effect becomes worse towards the corner of the image. Stopping down the lens has very little effect.

Coma

Coma in a lens causes a circular shape in the subject to be reproduced as an oval shape in the image. Stopping down the lens has almost no effect.

Curvature of field

Curvature of field is the inability of a lens to produce a flat image of a flat subject. The image is formed instead on a curved surface. If the center of the image is in focus, the edges are out of focus and vice versa. Stopping down the lens has a limited effect.

Distortion

Distortion is the inability of a lens to capture lines as straight across the entire image area. Barrel distortion causes straight lines at the edges of the frame to bow toward the center of the image, producing a barrel shape. Pincushion distortion causes straight lines at the edges of the frame to curve in toward the lens axis. Distortion, whether barrel or pincushion type, is caused by differences in magnification; stopping down the lens has no effect at all.

The term "distortion" is also sometimes used instead of the term "aberration". In this case, other types of optical aberrations may also be meant, not necessarily geometric distortion.

Diffraction

Classically, light is thought of as always traveling in straight lines, but in reality, light waves tend to bend around nearby barriers, spreading out in the process. This phenomenon is known as diffraction and occurs when a light wave passes by a corner or through an opening. Diffraction plays a paramount role in limiting the resolving power of any lens.

Doublet

Doublet is a lens design comprised of two elements grouped together. Sometimes the two elements are cemented together, and other times they are separated by an air gap. Examples of this type of lens include achromatic close-up lenses.

Dynamic range

Dynamic range is the maximum range of tones, from darkest shadows to brightest highlights, that can be produced by a device or perceived in an image. Also called tonal range.

Resolving power

Resolving power is the ability of a lens, photographic emulsion or imaging sensor to distinguish fine detail. Resolving power is expressed in terms of lines per millimeter that are distinctly recorded in the final image.

Vignetting

Vignetting is the darkening of the corners of an image relative to the center of the image. There are three types of vignetting: optical, mechanical, and natural vignetting.

Optical vignetting is caused by the physical dimensions of a multi-element lens. Rear elements are shaded by elements in front of them, which reduces the effective lens opening for off-axis incident light. The result is a gradual decrease of the light intensity towards the image periphery. Optical vignetting is sensitive to the aperture and can be completely cured by stopping down the lens. Two or three stops are usually sufficient.

Mechanical vignetting occurs when light beams are partially blocked by external objects such as thick or stacked filters, secondary lenses, and improper lens hoods.

Natural vignetting (also known as natural illumination falloff) is not due to the blocking of light rays. The falloff is approximated by the "cosine fourth" law of illumination falloff. Wide-angle rangefinder designs are particularly prone to natural vignetting. Stopping down the lens cannot cure it.

Flare

Bright shapes or lack of contrast caused when light is scattered by the surface of the lens or reflected off the interior surfaces of the lens barrel. This is most often seen when the lens is pointed toward the sun or another bright light source. Flare can be minimized by using anti-reflection coatings, light baffles, or a lens hood.

Ghosting

Glowing patches of light that appear in a photograph due to lens flare.

Retrofocus design

Design with negative lens group(s) positioned in front of the diaphragm and positive lens group(s) positioned at the rear of the diaphragm. This provides a short focal length with a long back focus or lens-to-film distance, allowing for movement of the reflex mirror in SLR cameras. Sometimes called an inverted telephoto lens.

Anastigmat

A photographic lens completely corrected for the three main optical aberrations: spherical aberration, coma, and astigmatism.

By the mid-20th century, the vast majority of lenses were close to being anastigmatic, so most manufacturers stopped including this characteristic in lens names and/or descriptions and focused on advertising other features (anti-reflection coating, for example).

Rectilinear design

Design that does not introduce significant distortion, especially ultra-wide angle lenses that preserve straight lines and do not curve them (unlike a fisheye lens, for instance).

Focus shift

A change in the position of the plane of optimal focus, generally due to a change in focal length when using a zoom lens, and in some lenses, with a change in aperture.

Transmittance

The amount of light that passes through a lens without being either absorbed by the glass or being reflected by glass/air surfaces.

Modulation Transfer Function (MTF)

When optical designers attempt to compare the performance of optical systems, a commonly used measure is the modulation transfer function (MTF).

The components of MTF are:

The MTF of a lens is a measurement of its ability to transfer contrast at a particular resolution from the object to the image. In other words, MTF is a way to incorporate resolution and contrast into a single specification.

Knowing the MTF curves of each photographic lens and camera sensor within a system allows a designer to make the appropriate selection when optimizing for a particular resolution.

Veiling glare

Lens flare that causes loss of contrast over part or all of the image.

Anti-reflection coating

When light enters or exits an uncoated lens approximately 5% of the light is reflected back at each lens-air boundary due to the difference in refractive index. This reflected light causes flare and ghosting, which results in deterioration of image quality. To counter this, a vapor-deposited coating that reduces light reflection is applied to the lens surface. Early coatings consisted of a single thin film with the correct refractive index differences to cancel out reflections. Multi-layer coatings, introduced in the early 1970s, are made up of several such films.

Benefits of anti-reflection coating:

Circular fisheye

Produces a 180° angle of view in all directions (horizontal, vertical and diagonal).

The image circle of the lens is inscribed in the image frame.

Diagonal (full-frame) fisheye

Covers the entire image frame. For this reason diagonal fisheye lenses are often called full-frame fisheyes.

Extension ring

Extension rings can be used singly or in combination to vary the reproduction ratio of lenses. They are mounted between the camera body and the lens. As a rule, the effect becomes stronger the shorter the focal length of the lens in use, and the longer the focal length of the extension ring.

View camera

A large-format camera with a ground-glass viewfinder at the image plane for viewing and focusing. The photographer must stick his head under a cloth hood in order to see the image projected on the ground glass. Because of their 4x5-inch (or larger) negatives, these cameras can produce extremely high-quality results. View cameras also usually support movements.

135 cartridge-loaded film

43.27 24 36
  • Introduced: 1934
  • Frame size: 36 × 24mm
  • Aspect ratio: 3:2
  • Diagonal: 43.27mm
  • Area: 864mm2
  • Double perforated
  • 8 perforations per frame

120 roll film

71.22 44 56
  • Introduced: 1901
  • Frame size: 56 × 44mm
  • Aspect ratio: 11:14
  • Diagonal: 71.22mm
  • Area: 2464mm2
  • Unperforated

120 roll film

79.2 56 56
  • Introduced: 1901
  • Frame size: 56 × 56mm
  • Aspect ratio: 1:1
  • Diagonal: 79.2mm
  • Area: 3136mm2
  • Unperforated

120 roll film

89.64 56 70
  • Introduced: 1901
  • Frame size: 70 × 56mm
  • Aspect ratio: 5:4
  • Diagonal: 89.64mm
  • Area: 3920mm2
  • Unperforated

220 roll film

71.22 44 56
  • Introduced: 1965
  • Frame size: 56 × 44mm
  • Aspect ratio: 11:14
  • Diagonal: 71.22mm
  • Area: 2464mm2
  • Unperforated
  • Double the length of 120 roll film

220 roll film

79.2 56 56
  • Introduced: 1965
  • Frame size: 56 × 56mm
  • Aspect ratio: 1:1
  • Diagonal: 79.2mm
  • Area: 3136mm2
  • Unperforated
  • Double the length of 120 roll film

220 roll film

89.64 56 70
  • Introduced: 1965
  • Frame size: 70 × 56mm
  • Aspect ratio: 5:4
  • Diagonal: 89.64mm
  • Area: 3920mm2
  • Unperforated
  • Double the length of 120 roll film

Shutter speed ring with "F" setting

The "F" setting disengages the leaf shutter and is set when using only the focal plane shutter in the camera body.

Catch for disengaging cross-coupling

The shutter and diaphragm settings are cross-coupled so that the diaphragm opens to a corresponding degree when faster shutter speeds are selected. The cross-coupling can be disengaged at the press of a catch.

Cross-coupling button

With the cross-coupling button depressed speed/aperture combinations can be altered without changing the Exposure Value setting.

M & X sync

The shutter is fully synchronized for M- and X-settings so that you can work with flash at all shutter speeds.

In M-sync, the shutter closes the flash-firing circuit slightly before it is fully open to catch the flash at maximum intensity. The M-setting is used for Class M flash bulbs.

In X-sync, the flash takes place when the shutter is fully opened. The X-setting is used for electronic flash.

X sync

The shutter is fully synchronized for X-setting so that you can work with flash at all shutter speeds.

In X-sync, the flash takes place when the shutter is fully opened. The X-setting is used for electronic flash.

Unable to follow the link

You are already on the page dedicated to this lens.

Cannot perform comparison

Cannot compare the lens to itself.

Image stabilizer

A technology used for reducing or even eliminating the effects of camera shake. Gyro sensors inside the lens detect camera shake and pass the data to a microcomputer. Then an image stabilization group of elements controlled by the microcomputer moves inside the lens and compensates camera shake in order to keep the image static on the imaging sensor or film.

The technology allows to increase the shutter speed by several stops and shoot handheld in such lighting conditions and at such focal lengths where without image stabilizer you have to use tripod, decrease the shutter speed and/or increase the ISO setting which can lead to blurry and noisy images.

Original name

Lens name as indicated on the lens barrel (usually on the front ring). With lenses from film era, may vary slightly from batch to batch.

Format

Format refers to the shape and size of film or image sensor.

35mm is the common name of the 36x24mm film format or image sensor format. It has an aspect ratio of 3:2, and a diagonal measurement of approximately 43mm. The name originates with the total width of the 135 film which was the primary medium of the format prior to the invention of the full frame digital SLR. Historically the 35mm format was sometimes called small format to distinguish it from the medium and large formats.

APS-C is an image sensor format approximately equivalent in size to the film negatives of 25.1x16.7mm with an aspect ratio of 3:2.

Medium format is a film format or image sensor format larger than 36x24mm (35mm) but smaller than 4x5in (large format).

Angle of view

Angle of view describes the angular extent of a given scene that is imaged by a camera. It is used interchangeably with the more general term field of view.

As the focal length changes, the angle of view also changes. The shorter the focal length (eg 18mm), the wider the angle of view. Conversely, the longer the focal length (eg 55mm), the smaller the angle of view.

A camera's angle of view depends not only on the lens, but also on the sensor. Imaging sensors are sometimes smaller than 35mm film frame, and this causes the lens to have a narrower angle of view than with 35mm film, by a certain factor for each sensor (called the crop factor).

This website does not use the angles of view provided by lens manufacturers, but calculates them automatically by the following formula: 114.6 * arctan (21.622 / CF * FL),

where:

CF – crop-factor of a sensor,
FL – focal length of a lens.

Mount

A lens mount is an interface — mechanical and often also electrical — between a camera body and a lens.

A lens mount may be a screw-threaded type, a bayonet-type, or a breech-lock type. Modern camera lens mounts are of the bayonet type, because the bayonet mechanism precisely aligns mechanical and electrical features between lens and body, unlike screw-threaded mounts.

Lens mounts of competing manufacturers (Canon, Nikon, Pentax, Sony etc.) are always incompatible. In addition to the mechanical and electrical interface variations, the flange focal distance can also be different.

The flange focal distance (FFD) is the distance from the mechanical rear end surface of the lens mount to the focal plane.

Lens construction

Lens construction – a specific arrangement of elements and groups that make up the optical design, including type and size of elements, type of used materials etc.

Element - an individual piece of glass which makes up one component of a photographic lens. Photographic lenses are nearly always built up of multiple such elements.

Group – a cemented together pieces of glass which form a single unit or an individual piece of glass. The advantage is that there is no glass-air surfaces between cemented together pieces of glass, which reduces reflections.

Focal length

The focal length is the factor that determines the size of the image reproduced on the focal plane, picture angle which covers the area of the subject to be photographed, depth of field, etc.

Speed

The largest opening or stop at which a lens can be used is referred to as the speed of the lens. The larger the maximum aperture is, the faster the lens is considered to be. Lenses that offer a large maximum aperture are commonly referred to as fast lenses, and lenses with smaller maximum aperture are regarded as slow.

In low-light situations, having a wider maximum aperture means that you can shoot at a faster shutter speed or work at a lower ISO, or both.

Closest focusing distance

The minimum distance from the focal plane (film or sensor) to the subject where the lens is still able to focus.

Closest working distance

The distance from the front edge of the lens to the subject at the maximum magnification.

Magnification ratio

Determines how large the subject will appear in the final image. Magnification is expressed as a ratio. For example, a magnification ratio of 1:1 means that the image of the subject formed on the film or sensor will be the same size as the subject in real life. For this reason, a 1:1 ratio is often called "life-size".

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Electronic manual focus override is performed in the following way: half-press the shutter button, wait until the camera has finished the autofocusing and then focus manually without releasing the shutter button using the focusing ring.

Manual diaphragm

The diaphragm must be stopped down manually by rotating the detent aperture ring.

Preset diaphragm

The lens has two rings, one is for pre-setting, while the other is for normal diaphragm adjustment. The first ring must be set at the desired aperture, the second ring then should be fully opened for focusing, and turned back for stop down to the pre-set value.

Semi-automatic diaphragm

The lens features spring mechanism in the diaphragm, triggered by the shutter release, which stops down the diaphragm to the pre-set value. The spring needs to be reset manually after each exposure to re-open diaphragm to its maximum value.

Automatic diaphragm

The camera automatically closes the diaphragm down during the shutter operation. On completion of the exposure, the diaphragm re-opens to its maximum value.

Fixed diaphragm

The aperture setting is fixed at F/ on this lens, and cannot be adjusted.

Number of blades

As a general rule, the more blades that are used to create the aperture opening in the lens, the rounder the out-of-focus highlights will be.

Some lenses are designed with curved diaphragm blades, so the roundness of the aperture comes not from the number of blades, but from their shape. However, the fewer blades the diaphragm has, the more difficult it is to form a circle, regardless of rounded edges.

At maximum aperture, the opening will be circular regardless of the number of blades.

Weight

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

Maximum diameter x Length

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

For lenses with collapsible design, the length is indicated for the working (retracted) state.

Weather sealing

A rubber material which is inserted in between each externally exposed part (manual focus and zoom rings, buttons, switch panels etc.) to ensure it is properly sealed against dust and moisture.

Lenses that accept front mounted filters typically do not have gaskets behind the filter mount. It is recommended to use a filter for complete weather resistance when desired.

Fluorine coating

Helps keep lenses clean by reducing the possibility of dust and dirt adhering to the lens and by facilitating cleaning should the need arise. Applied to the outer surface of the front and/or rear lens elements over multi-coatings.

Filters

Lens filters are accessories that can protect lenses from dirt and damage, enhance colors, minimize glare and reflections, and add creative effects to images.

Lens hood

A lens hood or lens shade is a device used on the end of a lens to block the sun or other light source in order to prevent glare and lens flare. Flare occurs when stray light strikes the front element of a lens and then bounces around within the lens. This stray light often comes from very bright light sources, such as the sun, bright studio lights, or a bright white background.

The geometry of the lens hood can vary from a plain cylindrical or conical section to a more complex shape, sometimes called a petal, tulip, or flower hood. This allows the lens hood to block stray light with the higher portions of the lens hood, while allowing more light into the corners of the image through the lowered portions of the hood.

Lens hoods are more prominent in long focus lenses because they have a smaller viewing angle than that of wide-angle lenses. For wide angle lenses, the length of the hood cannot be as long as those for telephoto lenses, as a longer hood would enter the wider field of view of the lens.

Lens hoods are often designed to fit onto the matching lens facing either forward, for normal use, or backwards, so that the hood may be stored with the lens without occupying much additional space. In addition, lens hoods can offer some degree of physical protection for the lens due to the hood extending farther than the lens itself.

Teleconverters

Teleconverters increase the effective focal length of lenses. They also usually maintain the closest focusing distance of lenses, thus increasing the magnification significantly. A lens combined with a teleconverter is normally smaller, lighter and cheaper than a "direct" telephoto lens of the same focal length and speed.

Teleconverters are a convenient way of enhancing telephoto capability, but it comes at a cost − reduced maximum aperture. Also, since teleconverters magnify every detail in the image, they logically also magnify residual aberrations of the lens.

Lens caps

Scratched lens surfaces can spoil the definition and contrast of even the finest lenses. Lens covers are the best and most inexpensive protection available against dust, moisture and abrasion. Safeguard lens elements - both front and rear - whenever the lens is not in use.