Asahi Pentax MX

35mm MF film SLR camera

Specification

Production details:
Announced:November 1976
System: Pentax K (1975)
Format:
Maximum format:35mm full frame
Film type:135 cartridge-loaded film
Mount and Flange focal distance:Pentax K [45.5mm]
Shutter:
Type:Focal-plane
Model:Mechanical
Speeds:1 - 1/1000 + B
Exposure:
Exposure metering:Through-the-lens (TTL), open-aperture
Exposure modes:Manual
Physical characteristics:
Weight:495g
Dimensions:135.8x82.5x49.3mm

Manufacturer description #1

Introducing the new Pentax MX, the world's smallest, lightest, most compact, full-featured 35mm SLR with complete professional capabilities.

You're looking at the future. No other camera - regardless of size - has all the advanced features you'll find in the new Pentax MX.

Revolutionary new technology.

Our new light sensors represent a major advance in photo science. They're called Gallium Arsenide Phosphide Photo Diodes. GPDs for short. They give you a level of exposure accuracy and reliability never before attainable. GPDs react 1,000 times faster than conventional CdS cells at low light levels. There's no "memory lag."

The meter responds instantly and precisely to sudden changes in light. And, unlike silicon cells, GPDs are practically insensitive to infrared and temperature extremes. A special Temperature Compensation Circuit makes the metering system even more reliable.

Overall, our advanced new electronic circuitry uses only a fraction of the current needed by other cameras. That means extended battery life. Less frequent replacement. And many more exposures per set of batteries.

New full info viewfinder.

You'll see an image that's bigger and brighter than in most standard-size SLRs. You'll also see the aperture setting and the speed you've selected plus the two adjacent speeds. So you can concentrate on creating the picture. With our advanced LED technology, you just turn the settings until you see the green light inside the viewfinder. Click. Another perfect exposure. Want to control the exposure yourself? Easy. There are two amber LED signals: +1/2 stop and -1/2 stop. And two red LED signals: +1 stop and -1 stop or greater. You have total control.

New mirror system.

Our ingenious new air damping system minimizes mirror vibration. There is no need for mirror lock-up. Your pictures are always critically sharp. Even when you're doing exacting macro-photography or shooting at motor drive speeds.

New miniature lenses.

We have 11 of them. Ultra-compact. Lightweight. Super-multicoated (SMC Pentax M) lenses. And more are coming. With the full line of SMC Pentax bayonet mount lenses (all of which fit the new MX), you now have a choice of more than 40 lenses. From 15mm to 1000mm. Including superb macros and zooms.

New special screens. Our standard microprism/split-image screen will meet almost all your focusing requirements. But we have seven more for special applications. In seconds, you can change from one to another without the dust problems associated with removable prisms.

New accessory backs.

We have a bulk film back for 250 exposures. And a Dial Data back for imprinting each frame with the date, technical, identification or other information your picture assignments may require.

New Auto Winder and Motor Drive.

The Auto Winder MX is exceptionally small. Attached to the camera, the whole package is no bigger than a standard-size SLR. It enables you to shoot sequentially at nearly two frames per second. The Motor Drive MX is also extraordinarily compact. And shoots up to 5 fps. And, it works with either rechargeable NiCad battery pack, penlight batteries or AC current.

New human engineering.

The new MX is immediately comfortable in your hands. From its beveled edges to the placement of the controls, every part of the new MX is designed for fast, smooth, easy handling. Our advanced solid state electronics also makes it possible to pack more functions into less space. And, unlike some small camera bodies, we didn't use plastic to reduce weight. The MX body is all metal. And we made the mechanical parts stronger, too. The new MX is probably the most durable, most dependable camera you'll ever own.

Manufacturer description #2

Up against a challenge, you need a team you can count on. A team that's geared to work together, function smoothly and deliver results. That team's the MX system, from Pentax.

The sleek MX machine is human engineered to handle smoothly at any pace. Compact, perfectly balanced - and so lightweight it'll never slow you down.

MX advanced design and precision construction includes "most wanted" options as part of the standard equipment. GPD metering for fast, accurate response. Unaffected by normal temperature extremes or infrared rays, GPD's provide the consistency champions must deliver. "Magic Needles" make loading a snap.

One look through the brilliant panoramic viewfinder and you'll know you're handling something special. Silvered penta-prism shows a big, bright image. Full information viewfinder with LED shutter speed readout means you never have to remove the MX from your eye. Eight interchangeable focusing screens assure fast, sharp focusing for your exact photographic needs.

And precision MX can take it! Rugged, durable focal plane shutter and all metal body help keep MX out of the shop, right on track.

MX boasts a strong support system, too. Dozens of Super-Multi-Coated Pentax bayonet mount lenses, including the new ultra compact M-series miniatures, offer strong and easy-to-pack versatility. SMC lenses attach smoothly and instantly, bearing the high standards in craftsmanship that have made Pentax a leader in the optical industry. Screw-on filters for color correction and special effects give you extra mileage from your lenses. There's even special equipment like slide copiers, extension tubes and bellows.

If it's more speed you want, you've got it. Two ways. The MX motor drive shoots at up to 5 frames a second - while the lightweight MX auto winder advances at almost 2 frames per second.

Pentax MX system. Lightweight. Dependable. Versatile. And built to take whatever you can dish out.

Manufacturer description #3

TYPE: 35mm full-frame SLR camera with open-aperture center-weighted Through-The-Lens meter

LENS MOUNT: Pentax K bayonet

SHUTTER: Horizontal-run, rubberized silk focal-plane shutter; speeds from 1 to 1/1000 sec. plus B; shutter lock and "Cocked" indicator

FLASH SYNCHRONIZATION: FP and X sockets, plus hot/cold accessory shoe for X contact; 1/60 sec. X synchronization

SELF-TIMER: Delays shutter release to 4-12 seconds; self-timer starter button provided

VIEWFINDER: Silver-coated pentaprism finder; split-image microprism focusing screen (8 interchangeable screens); 95% of picture-taking area visible and 0.97x magnification (with 50mm lens at infinity); -0.5 diopter eyepiece. Information viewfinder shows f/stop, shutter speed and tri-colored LED read-out dots. Correction lens adaptor M, Magnifier M and Refconverter M fit the viewfinder frame

MIRROR AND DIAPHRAGM: Instant-return mirror and automatic diaphragm. Depth-of-field preview with self-timer lever

FILM WIND AND REWIND: Ratchet-type rapid wind lever, plastic-tipped for winding comfort. 162° throw with a stand-off angle of 20°. Rewind crank for speedy film rewind

FILM LOADING: New magic-needle quick/sure loading

AUTOMATIC WINDER: MX camera body accepts Winder MX for up to 2 frames-per-second (single-frame and consecutive exposure operation possible) and Motor Drive MX for up to 5 frames per second (single-frame and consecutive exposure operation possible), for automatic, speedy film wind and shutter cocking

EXPOSURE COUNTER: Automatic reset type

EXPOSURE METER: Open-aperture, center-weighted Through-The-Lens meter, with GPD cells for fast light response, with tri-colored LED exposure read-out; rapid wind lever and shutter release button acting as meter switch. Exposure range: EV 1-19 (ASA 100, f/1.4). Film speed range: ASA 25-1600

POWER SOURCE: Two 1.5V Alkaline (LR44) or Silver-oxide (G13) batteries; LEDs double as battery check lamp

BACK COVER: Standard back with memo holder, interchangeable with Magazine Back MX, Dial Data MX for data recording on film

Manufacturer description #4

The new Pentax MX is the smallest and lightest professional motor drive 35mm SLR available.

Plus, it has the most advanced features of any 35mm SLR...

  • GPD metering for instant accurate response
  • Full information viewfinder
  • Tri Color LED exposure readout
  • Interchangeable focusing screens
  • MX Winder (2 fps) or MX Motor Drive (5 fps)

The MX is backed by the full line of Pentax accessories and over 40 Super-Multi-Coated Pentax lenses, including the new compact M Series lenses.

Manufacturer description #5

The announcement of another high quality camera from Asahi Optical Company can hardly come as a surprise. After all, Asahi Optical has been manufacturing incomparable cameras for the past 25 years. With 6,000,000 Asahi Pentaxes already sold, there isn't anyone who hasn't heard of a Pentax camera. So why all the fuss about another one?

Well, a revolution is always exciting. Take the time Asahi Optical introduced the world's first through-the-lens metering system, there was a lot of excitement created then, and you have to admin the excitement was justified. The same is true for the time Asahi unveiled the first quick-return mirror, or the first aperture-priority automatic exposure 35mm single lens reflex. What specifically, then, is so exciting about the very latest Asahi Pentax, the MX? The big fuss is doubtlessly due to the fact that never before have so many revolutionary features been simultaneously incorporated into a single camera.

  • World's smallest 35mm SLR motor drive camera.
  • World's lightest 35mm SLR motor drive camera.
  • Absence of mirror shock.
  • World's first camera with Gallium Arsenide Phosphide Photo Diodes.
  • World's first professional ultra compact camera with full-information viewfinder.
  • World's first "magic needle" loading system.
  • 8 interchangeable focusing screens.
  • Choice of Auto Winder (2 fps) or Motor Drive (5 fps).
  • Accepts interchangeable data back.
  • 250 exposure Bulk Film Back available.
  • Extensive range of SMC Pentax lenses to choose from.
  • Smaller camera, but bigger, brighter viewfinder.
  • Smaller camera, but bigger, stronger parts.
  • Tri-color LED exposure read-out.
  • Center-weighted exposure measurement.
  • Three-way focusing.
  • Hot shoe with built-in circuit breaker.
  • Memo holder.
  • Self-timer.
  • FP and X synchronization.
  • Depth of field preview.
  • Unique meter switch.
  • Shutter release button lock.
  • Shutter cocked indicator.
  • Extensive ASA range of 25-1600.
  • ASA dial safety lock.
  • Broad exposure measurement range of EV 1-19 (ASA 100, f/1.4).

Special limited editions (1)

Similar cameras (26)

35mm full frame • Manual focus • Film • Singe-lens reflex • Pentax K mount

Model Shutter Metering Modes Year
Almaz-103 M, 1/1000 -- M 1980
Ricoh KR-10
aka Ricoh CR-10
aka Ricoh XR-1000S
E, 1/1000 TTL • OA AM 1980
Ricoh KR-10SE E, 1/1000 TTL • OA AM 1980
Ricoh KR-5SV M, 1/2000 TTL • OA M 2000
Ricoh XR Solar M, 1/2000 TTL • OA M 1994
Ricoh XR-1 M, 1/1000 TTL • OA M 1977
Ricoh XR-1S M, 1/1000 TTL • OA M 1979
Ricoh XR-2 E, 1/1000 TTL • OA AM 1977
Ricoh XR-2000
aka Ricoh KR-10 Super
E, 1/1000 TTL • OA AM 1982
Ricoh XR-2S E, 1/1000 TTL • OA AM 1979
Ricoh XR-8
aka Ricoh KR-5 Super II
M, 1/2000 TTL • OA M 1993
Ricoh XR-8 Super
aka Ricoh KR-5 III
M, 1/2000 TTL • OA M 1994
Ricoh XR-F E, 1/1000 TTL • OA AM 1983
Ricoh XR-S E, 1/1000 TTL • OA AM 1981
Ricoh XR5
aka Ricoh CR-5
aka Ricoh KR-5 Super
M, 1/1000 TTL • OA M 1980
Ricoh XR500
aka Ricoh KR-5
M, 1/500 TTL • OA M 1978
Ricoh XR500 auto E, 1/1000 TTL • OA AM 1982
Ricoh XR6 E, 1/1000 TTL • OA AM 1981
Ricoh XR7 E, 1/1000 TTL • OA AM 1982
Zenit-122K M, 1/500 TTL • WA M 1990
Zenit-14 E, 1/1000 TTL • OA M 1987
Zenit-212k M, 1/500 TTL • WA M 1995
Zenit-AM / AM2 / AM3 E, 1/1000 TTL • OA A 1989
Zenit-APK E, 1/2000 TTL • OA AM 1992
Zenit-Avtomat E, 1/1000 TTL • OA A 1985
Zenit-km E, 1/2000 TTL • OA AM 2001
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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.