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Bronica EC

Medium format MF film SLR camera

Specification

Production details:
Announced:April 1972
System:● Bronica (1959)
Format:
Maximum format:Medium format 6x6
Film type:120 roll film
220 roll film
Mount and Flange focal distance:Bronica [102mm]
Shutter:
Type:Focal-plane
Model:Electronically controlled
Speeds:4 - 1/1000 + B
Exposure:
Exposure metering:None
Exposure modes:Manual
Physical characteristics:
Weight:1980g
Dimensions:139x117x170mm

Manufacturer description #1

The Electronic Connection

It's the connection between solid state circuitry and consistent exposure accuracy. Speeds, four full seconds through 1/1000th, permanently, repeatably accurate.

The connection that links the accessory Electro-Controlled Meter/Finder with the shutter, for continuously-variable through-the-lens exposure control.

The connection that doesn't exist between the built-in focal plane shutter and 10 interchangeable lenses.* One electronically-controlled shutter for all 10 lenses means perfectly consistent shutter speeds with all 10 lenses.

Three reasons why Bronica EC delivers most consistently accurate exposures in 2 1/4 photography. Plus the image quality of Nikkor and Zenzanon lenses.

A complete system of accessories. Bronica EC. Electronic. Accurate.

Manufacturer description #2

The New Bronica EC

The Fantastic Journey

An odyssey within the new Bronica EC

Ours is a journey with a mission.

A voyage through today and tomorrow.

Come with us beyond the conventional to preview the new era of 2 1/4 photography. A remarkable new camera with an electronically controlled shutter and a host of other meaningful photographic innovations.

The Bronica EC.

Let's journey inside and examine its inner most workings. Discover why it very much represents the current state of the 2 1/4 art.

Into the lenses

The EC was born with 12 of the finest lenses in the world. From 40mm ultra-wide angle thru 1200mm telephoto. And seven of them boast the famous Nikkor name. Every one with instant reopen diaphragm. One even has its own synchro shutter. Provides electronic flash synch from 1 sec. to 1/500th. Yet all with prices below what you've come to expect for prime 2 1/4 optics.

The magic mirror that splits

Finder blackout is an anachronism no modern photographer can accept - and naturally, the EC has an instant-return mirror. But the fascination is in how it works. Ingeniously, it is split. The top section flips up, covers the finder. The two sections effectively counter-balance each other. So you get that all-important visual follow-through with no danger of mirror-induced vibration. Even at slow shutter speeds. And the mirror is extra large, so there's no corner cutoff with extremely long lenses.

The meter that links without linkage

The EC Electro-Controlled Meter/Finder is a revolution in inself. Slip it on in place of the standard hood (itself unique with a patented sequential folding mechanism), and it connects electronically with the shutter. No mechanical linkage is needed! Simply pre-set the lens aperture (and program meter with lens and film speed information), center the needle within the meter's shutter speed dial. Or you can do it the other way around. ASA range is 16 to 3200.

Through the looking glass and into the electronic age

You will hear no grating of cams, no grinding of gears in the EC shutter control. Because there are none. In fact, there are no moving parts!

The EC focal plane shutter is electronically timed. So it is reliable, repeatable and matchlessly accurate in any extreme of temperature and even after years of use. The shutter is incredibly efficient, and actually crosses the 2 1/4'' aperture faster than most 35's cross their 1 1/3'' opening! There are 13 shutter speeds, from 4 seconds through 1/1000th, plus B, and electronic flash synch at 1/60th.

The back with the unloseable dark slide

120/220 backs for the EC (there are 2 1/4 square and 1 5/8 x 2 1/4 versions) incorporate such feeatures as an easy-reading magnified film counter, double exposure capability and conversion from 120 to 220 and back by simply setting the exposure counter. But, according to many, the most important of all, despite its amazing simplicity, the unique darkslide storage pocket. A Polaroid back is also available, of course.

Born with a complete system

Beyond lenses and backs, a complete system of accessoires is already available for the EC, including four instantly interchangeable viewfinder screens, eyelevel prism, magnifying and sports finders, closeup equipment including the distance to closeup focusing Bronica Bellows, a copying stand, and more.

This is the Bronica EC. A combination of the best of 35mm with the best of 2 1/4. For tomorrow's pro, the future begins now.

Manufacturer description #3

The New Bronica EC

Created with an Electronically-Controlled Shutter

The exciting new Bronica EC looks like a handsome, but conventional 2 1/4 square slr on the outside. But on the inside, it's a whole different world.

Where most focal plane shutter cameras have a clock-like mechanism of cams and gears that control the shutter, the EC has no mechanism at all. Instead, resistors, capacitors, an electronic circuit board. Because the shutter is electronically-controlled.

This means you get an unusually wide choice of shutter speeds; 4 full seconds through 1/1000th. But more importantly, it means total repeatability, utter reliability. Cams and gears are metal. No matter how precisely they are made, they expand and contract in extremes of heat and cold. And they wear. Inevitably, there are variations, inconsistencies, breakdowns.

But an electronic circuit has no moving parts. Nothing to wear out. Temperature changes have no significant effect. The EC electronics will give precisely the same impulses to the shutter every winter, every summer for as many years as you use the camera. To each of the lenses you use. Change lenses, change climates, shoot and shoot. Exposures will be perfectly consistent.

And there's more, much more. There is an ingenious split instant-return mirror that moves off in two opposite directions to cancel out vibration. An accessory Electro-Controlled Meter/Finder that can change shutter speeds directly because the shutter is electronically timed.

A fast-acting crank that winds the film and cocks the shutter in two quick turns. A unique synch socket that locks regular PC cords firmly in place. [Electronic flash synch is 1/60th].

Interchangeable 120/220 backs that change from 120 to 220 with the turn of a dial, have double exposure provision - in both 2 1/4 square and 2 1/4 x 1 1/2 formats (and incorporate a handy dark-slide pocket!). In fact, there's a complete system, including 12 nikkor and zenzanon lenses, 40mm through 1200mm.

Manufacturer description #4

BRONICA EC

The Bronica EC was introduced in March of 1972 and represents a new generation of Bronica design.

The primary innovation of this model is stepped electronically controlled shutter speeds from 4 seconds to 1/1000 second. The external evidence of this unique feature is the oblong battery compartment in the base of the camera, and the button and battery check light on the top left side of the body.

In addition, the EC offers double exposure control (on the film back on the right side), mirror lock up (lever on the left side), locking PC terminal, dark slide storage pocket, split mirror, interchangeable focusing screens and many other features.

All lenses of the Bronica system fit the EC, as does the extension tube set. A new series of grips, #82041 L grip and #82042 pistol grip fit both the EC and S2A. The EC has its own bellows, which due to the longer mirror has a different mounting plate than the S2A version, and its own series of prisms, finders and backs.

Manufacturer description #5

The use of solid-state electronics to control shutter speeds gives the Bronica EC photographer an assurance of shutter accuracy and exposure constancy vastly superior to any previously available. And its implications for future advances go far beyond these immediate benefits.

Along with this unique shutter, the Bronica EC provides numerous other important innovations. New facilities include interchangeable finder screens, a unique split mirror, locking synch terminal and sequentially-folding finder hood, to name a few.

Naturally, the EC retains such traditional Bronica advantages as automatic mirror and diaphragm action and true modular system versatility. A new array of interchangeable finders - including a shutter-coupled thru-the-Iens meter system - plus film backs and other accessories has been designed specifically for use with the EC. At the same time, it accepts the full, present complement of Bronica lenses with its incomparable Nikkor and Zenzanon optics, as well as present lens attachments and extension tubes.

Nothing has been spared to make the Bronica EC the most reliable, most ruggedly built camera of its type. Yet it handles with a speed and ease that would do credit to a fine "35", while offering the advantages of convenient ground-glass composition and easily enlargeable 2-1/4 x 2-1/4 format. In short, the Bronica EC combines the most advanced technology and widest photographic capabilities in a truly magnificent camera.

Manufacturer description #6

The Zenza Bronica EC is the result of human-engineering research for easier handling. It features a high-precision electronically control shutter mechanism and complete system-camera compatibility.

a. For easy operation, all graduations on the Bronica EC can be seen from above the camera at a glance, and controls are concentrated on the right-hand side of the body. Many special safety mechanisms have been built-in.

b. The mirror is a two-piece, main-mirror and sub-mirror combination to preclude mirror shock, usually one of the disadvantages of a large-format camera. A two-piece mirror yields a complete field of view in the viewfinder (top, bottom, and both sides) when using telephoto lenses with a longer than standard focal length.

c. The shutter is a highly-accurate, electronic-control type especially suitable for color photography. Shutter speeds are extremely accurate.

d. Film back interchangeability permits switchover during mid-roll, from color to black and white film, freely. The film back and camera body function automatically as an integral. The lens bayonet mount is identical to the type used for other Zenza Bronica cameras, permitting lenses to be interchanged without difficulty.

f. The waist-level finder opens and closes by a one-finger action, and the focusing screen and magnifiers can be interchanged freely.

g. Electronic flash synchronization at 1/60 sec. Once the plug of the electronic flash unit is inserted into the camera body, it is locked into place and cannot be removed unless the release lock is depressed. This insures perfect contact at all times.

h. Other Bronica EC features: Mirror locking mechanism, multiple exposure feature, and a camera body designed to readily permit mounting of a TTL exposure meter, the latter insuring the photographer a camera that is designed to display the full merits of system photography.

***

TYPE: 2-1/4" x 2-1/4" (6cm x 6cm) single lens reflex camera. Daylight film change type.

PICTURE SIZE: 55.2 x 55.2mm.

FILM: 120 film (12 exposures) and 220 film (24 exposures).

STANDARD LENS: Nikkor 75mm f/2.8 (Zenzanon 100mm f/2.8 lens is also available as standard).

LENS MOUNT: Large bayonet mount for 105, 300, 400, 600, 800, and 1200mm lenses. Small bayonet mount for 40, 50, 75, 100, 150, and 200mm lenses removable. Screw mount (57mm diameter, 1mm pitch) for close-up rings (fixed).

FOCUSING: Helical focusing system with parallel movement (stroke 14mm). Focusing ring is removable.

DIAPHRAGM: Fully automatic, equi-spaced graduations. Intermediate settings are possible. Permits depth of field previewing.

SHUTTER: Electronically timed focal plane shutter. Shutter speeds B-4-2-1-1/2-1/4-1/8-1/15-1/30-1/60-1/125-1/250-1/500-1/1000. Shutter button locking permits time exposure. Shutter is powered with a 6-volt silver oxide battery (Eveready No. 544, UCAR No. 544, or Mallory No. PX-28). Battery checker system (button and light) provided.

FILM BACK: Daylight film back change type, fully coupled as an integral to the camera body. Provided with multiple exposure lever, automatic reset exposure counter, film type indicator frame, selector dial for 12/24 exposures, manual film winder, dark slide pocket, and dark slide.

REFLEX MIRROR: Two-piece, up and down, instant return type. Mirror locking device.

FILM SHUTTER KNOB/CRANK: Film shutter winding is possible by two turns of the crank or by winding the knob.

WAIST-LEVEL FINDER: Interchangeable focusing hood type. One-action open/close operation. Magnifiers are interchangeable.

FOCUSING SCREEN: Interchangeable. Types available: with mat center, with microprism center, with split-image prism, and with fine mat finish.

SYNCHRONIZATION: Automatic switchover synchronization system. X (electronic flash): B-4 to 1/60 sec. FP: B-4 to 1/15-1/125 to 1/1000 sec. M: B-4 to 1/15 sec. F: B-4 to 1/30 sec. Self-locking socket.

OTHER PARTICULARS: Accessory shoe, shutter button safety lock, tripod mounting holes (1/4" diameter and 3/8" diameter) provided.

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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.