Canon A-1

35mm MF film SLR camera

Specification

Production details:
Announced:April 1978
System: Canon FD (1971)
Format:
Maximum format:35mm full frame
Film type:135 cartridge-loaded film
Mount and Flange focal distance:Canon FD [42mm]
Shutter:
Type:Focal-plane
Model:Electronically controlled
Speeds:30 - 1/1000 + B
Exposure:
Exposure metering:Through-the-lens (TTL), open-aperture
Exposure modes:Programmed Auto
Aperture-priority Auto
Shutter-priority Auto
Manual
Physical characteristics:
Weight:620g
Dimensions:141x91.5x47.5mm

Manufacturer description #1

In April, 1976, Canon introduced a landmark camera, the Canon AE-1. It incorporated a very reliable computerized AE mechanism into a compact body that can be marketed at a very competitive price due to revolutionary production techniques. The AE-1 has been a huge success and completely changed the face of photo hardware marketing.

With the AE-1 firmly established as the best selling SLR in the World, design work progressed on a more versitile version. This work is now complete and the result is the CANON A-1, the Apex of the AE camera world: the highest quality, most durable, most feature laden automatic exposure SLR in the world.

The major goals which guided the design of the A-1 were:

  • Incorporation of advanced digital technology
  • Compact, easy-to-handle body
  • Compatability with AE-1 system components
  • Interchangeability of parts with AE-1
  • Improved durability

Features

Five difference automatic exposure modes

  • Full Aperture TTL Metering: Shutter speed priority AE, Aperture priority AE, Programmed AE, Electronic flash AE
  • TTL Stopped-Down Metering: Stopped-down AE at (regardless of the types of lens attached or whether a lens is attached at all).

The employment of total digital system to process with speed and accuracy all incoming information

After converting the brightness information form into digital form, digital computation information input, calculation, information from analog takes care of storage, information display and exposure control.

Full Information Character Display Viewfinder

All information is displayed alphametricly is the dark area below the focusing screen by segmented LED's similar to those used in digital calculators. Information includes exposure information, mode information, and various warnings. Although it is probably the least intrusive full information viewfinder ever built, it can be turned off to completely eliminate any distraction to focusing and composition. Even when it is turned off, the camera continues to function normally in whichever mode it is in. Details are given later.

Expanded Range and Versitility

Expanded metering, film speed and shutter speed and exposure compensation ranges, EV memory and multiple exposure increase the A-1's versitility.

Essential Controls and Displays Grouped for Easy Reach and Rapid Operations

  1. AE mode
  2. AT dial
  3. Shutter button lock self-timer lever
  4. Viewfinder information display switch
  5. Multiple exposure lever

Automatic System Components

Motor Drive MA, Power Winder A, Data Back A, Speedlites 155A, and 199A.

Human Engineering, Miscellaneous

  • Safety Features: Lock Mechanisms, Flashing Warnings, Energy Conserv ing Design
  • Easy Operation: Action Grip, Human Engineering Design, Electro-magnetic release
  • Interchangeable Viewfinder Screens
  • Easy to read viewfinder
  • True-load battery checker gives visual indication of remaining battery power
  • Eyepiece Shutter to block extraneous light
  • Two delay self timer

Manufacturer description #2

The A-1 was the top-of-the-line A-series camera. (The AE-1 was the first in this series.) It was a sophisticated electronic camera with all-digital control.

Besides the shutter speed-priority AE and aperture-priority AE modes, it featured the first fully automatic program AE mode, preset aperture-priority AE, and Speedlite AE mode.

The viewfinder information was also easy to read with a 7-segment red LED readout. The control settings were displayed at the same time which made it very useful.

Besides Power Winder A, developed at the same time as the AE-1, accessories for the A-1 included the compact Motor Drive MA which attained a maximum shooting speed of 5 fps. This Motor Drive had a convenient vertical-grip shutter button. Also, there was the Speedlite 199A which had bounce flash capability.The A-1’s body had a fine black finish.

Manufacturer description #3

Application of the Most Advanced Electronics for the First SLR Ever to Have Five AE Modes

The inclusion of programmable logic array in the program unit has enabled, for the first time in the world, the production of a multi-mode AE camera over which camera users can exercise their choice for every conceivable picture-taking situation. The selection of automatic exposure systems over which you can pick your choice with a simple flip of a switch are: (1) shutter-speed priority AE, (2) aperture priority AE, (3) programmed AE, (4) stopped-down AE, and (5) electronic flash AE.

The AT Dial and Its Ramifications

One of the first things you will notice about the A-1 is its absence of a shutter-speed dial. This has been replaced by the AT dial, an all-purpose device. The dial has two settings: Tv (time value) and Av (aperture value). The former is for shutter-speed priority and the latter for aperture priority. The selection among AE modes is a very simple operation - a matter only of adjusting the AE mode selector and AT dial. A complete micro-computer used in the A-1 with a micro-processor and a program unit possesses operational and program storage functions. And depending on the photographer-selected AE mode, shutter speed, aperture and all important information pertaining to exposure, including warnings and reminders, appear in the form of digital displays and alphabetical letters for instant readouts.

The Viewfinder

The use of LED digital readouts in the A-1's viewfinder (split-image/microprism rangefinder as a focusing aid) enables a lot of photographic information to be displayed, below thel field of view and out of the photographer's way. This information includes: shutter speed, aperture, 'F' indicating condenser charge completion when using Canon dedicated Speedlites, "bulb" spelled-out when using Bulb setting, 'M' indicating manual operation and EEEE EE indicating incorrect stop-down operation.

In addition, the aperture or shutter speed indicator will start flashing if the settings the user has chosen result in under- or overexposure. The shutter speed indicator will flash when aperture priority AE is in use, and vice versa.

Divided into seven segments, the degree of illumination of these displays changes in four levels to provide consistency in brilliance under contrasting lighting conditions. The displays appear the instant the shutter release button is depressed half way or the exposure preview button pushed. However, if you do not care to see the displays at all, there is a switch to cancel all the readouts. This is one of the ways to concentrate on composing the picture, unhindered.

Expanded Metering Range

The A-1 meter uses a silicon photocell placed above the eyepiece. Its range of EV -2 to 18 for f/1.4 lens and ASA 100 film speed is much greater than that of the conventional CdS cell. For a lens with the maximum aperture of f/1.4 used with ASA 100 film, a low-light limit of the metering range is 8 seconds at f/1.4 irrespective of the AE mode selected.

Six-Mode Exposure Control

1. Shutter Speed Priority

Shutter-speed priority is especially useful for stopping motion in fast-action photography. It also helps the novice prevent blur caused by camera shake or cause blur for creative effect.

This AE mode is obtained by leaving the lens' aperture ring on the 'A' mark and setting the AE mode selector on Tv (time value). The photographer sets the shutter speed and the aperture is automatically adjusted for proper exposure. In the viewfinder, the shutter speed readout will stay the same while the one for aperture will change with the lighting conditions. Available shutter speeds range from 1/1000th sec. all the way to 30 seconds.

2. Aperture Priority AE

When the photographer wishes to easily control his depth-of-field, aperture priority is recommended. With the lens' aperture ring on 'A' and the AE mode selector switched to the Av position, the photographer selects the desired aperture and the shutter speed is automatically adjusted for proper exposure. The aperture readout in the viewfinder indicates the aperture selected, while the shutter speed readout changes.

3. Programmed AE

To obtain programmed AE, the aperture ring must be left on 'A' and the AE mode selector switched to Tv. Then the shutter speed scale must be set to 'P', located above the 1/1000 sec. speed setting. Focus and shoot photography is the result as both shutter speed and aperture are automatically adjusted to give optimum exposure. Both digital readouts will change with the subjects' brightness. However, once the aperture is fully open, only the shutter speed indicator will continue to change. Extremely wide·range programmed AE is great for beginners as well as professionals, allowing the photographer to concentrate on the subject without worrying about exposure control.

4. Electronic Flash AE

To take full advantage of this mode, the more powerful Canon dedicated Speedlites, such as the 199A shoe-mount and 533G and 577G handle-mount units are recommended. They offer three-f-stop range selection, bounce-flash capability and greater Iight output for better results under a wide variety of conditions. Attaching any Canon dedicated Speedlite to the A-1 automatically sets the camera for flash photography. A special control on the above-listed Canon Speedlites allows the A-1 to be used automatically for flash photography at speeds below 1/30th second for combination flashltime exposures.

5. Stopped-Down AE

This unique mode enables AE photography with FL lenses in addition to FD lenses and this mode is also used when non-coupling accessories for photomacrography or photomicrography are placed between body and lens. When the Stopped-Down lever is pressed, the lens aperture ring is taken off 'A' and set to the desired aperture. The AE mode selector can be left in' either the Tv or Av positions, as the proper shutter speed will be automatically selected in either case. In this mode, only the shutter speed readout will appear in the viewfinder. Proper exposure may be obtained by using any lens or accessory that can be physically attached to the A-1.

6. Manual Photography

For manual photography, the AE mode selector should be set to the Tv position and shutter speeds selected manually. The aperture ring of the lens should be moved from the 'A' position to the desired aperture. Although all functions are controlled manually, the viewfinder will provide readouts of the shutter speed selected, and the suggested aperture setting for proper exposure.

ASA Film Speed Setting

Pictures can be taken in unlimited fashion with an ASA film speed range from ASA 6 to 12,800 in 12 steps click stopped in one-third increments between the cal ibrated figures. Fast ratings of ASA 800 and above are especially convenient for pushing high-speed films, when the situation demands use of fast shutter speeds in low-light conditions. The inclusion of ASA 6 and other slow ratings should be of interest to those using slow duplicating films.

Easy exposure Compensation

The A-1 offers exposure compensation of ±2 f/stops by means of a large, easy-to-use dial. With 1/3-stop increments between each flstop, precise compensation for special techniques such as low- and high-key shots and against-the-light photography is possible.

Exposure Memory Switch

Another device that facilitates exposure compensation is the exposure memory switch. The photographer takes a reading on the subject and holds in the switch while taking the photograph. The memory feature of the A-1 is unique and the camera stores exposure value data. This leaves the photographer with a complete freedom to adjust shutter speed and f/stop while holding in the memory switch, for example, from 1/500 f/2.8 to 1/30 fill for the same exposure by rotating the Tv or Av dial.

Energy-Saving Design

Only one silver oxide battery runs the A-1 for an entire year. This is possible because every part of the camera is designed to save power, from its sequence circuitry to Pure I2L and combination magnet.

Lightweight, Compact and Totally Foolproof

Extensive use of electronics has enabled the A-1 to do many things, but yet remain as compact as and just a little heavier than the AE-1. And many of the camera's controls are equipped with locking devices to prevent accidental movement.

Total Accuracy and Reliability

Accuracy and reliability have been trademarks of Canon for mtlny years. Because it employs the most up-to-date technology, the A-1 actually improves on these two points.

Technology that Made the A-1 Possible

The A-1 is a unique camera because it employs the latest technology such as PLA (programmable logic array) available from the electronics world. Both input and output information are in the form of pulse signals, thus enabling a digital computer to be used for information input, calculation, storage, display and exposure control. And with its pure I2L, used for the first time in a camera, many times the amount of information can be processed than has been previously possible. All this information is arranged in correct order by a PLA, making possible the digital displays in the viewfinder.

Digital Control

With the A-1, a full-scale digital control micro-computer with a programmable logic array has been incorporated into the camera body. Transfer of data is done by means of digital controls (quantified values by pulse signals) coupled with the programmed arithmetic functions which provide answers to conditional requirements such as lighting levels and thus takes complete control over the exposure system in each AE mode.

Manufacturer description #4

Type: 35mm SLR (Single-Lens-Reflex) camera with selective, electronically controlled AE (Automatic Exposure) and focal plane shutter.

Format: 24 x 36mm

Photographic Modes: Six modes; including five AE modes: shutter priority AE, aperture priority AE, programme AE, full AE flash photography with specified Canon electronic flashes, and stopped-down AE; and manual override.

Interchangeable Lenses: Canon FD series lenses (usable with four full aperture metering AE modes and stopped-down AE); Canon FL series lenses (usable with stopped-down AE).

Standard Lens: Canon FD 50mm lenses.

Lens Mount: Canon Breech-Lock mount. Canon FD, FL and R lenses can be mounted.

Viewfinder: Fixed eye-level pentaprism.

Field of View: 93.4% vertical and 95.3% horizontal coverage of the actual picture area.

Magnification: 0.83X at infinity with a standard 50mm lens.

Focusing Screen: Standard split-image/microprism rangefinder.

Viewfinder Information: Displayed in form of LED digital readout below viewing area. Includes shutter speed (1/1000 sec. - 30 sec.), aperture (f/1.2 - f/32), flashing warning of incorrect exposures and settings, bulb indication, charge completion indicator for specified Canon flash units, manual aperture control signal, error indication for incorrect stopping-down operation. Shutter speed and aperture data displayed in 1/2 step increments. Viewfinder information can be cancelled by turning off viewfinder display switch.

Dioptric Attachment: Built-in eyepiece is adjusted to standard -1 diopter.

Eyepiece Attachments: Angle Finders A2 and B, Magnifier S, 10 different Dioptric Adjustment Lenses S for eyesight correction and Eyecup 4S.

Eyepiece Shutter: Built-in. Keeps out extraneous light during self-timer or remote control operation.

Mirror: Instant-return type with shock absorbing mechanism. No image cut-off in the viewfinder even with the FD 400mm telephoto lens.

AE Mechanism: Electronically controlled. Information output by means of AE mode selector and AT dial for full-aperture AE metering (FD lens at "A") and stopped-down AE metering. Employs three LSI's with I2L, one Linear LSI and one Bi-MOS IC for light metering.

AE Mode Selection: By means of AE mode selector. Two settings: Tv (Time value) for shutter priority AE, Av (Aperture value) for aperture priority AE.

Light Metering System: Through-The-Lens Central Emphasis Average metering by silicon photocell located just above eyepiece lens. Light reaches silicon photocell after passing through fresnel lens condenser.

ASA Film Speed Settings: ASA 6 to ASA 12800 in 1/3 step increments. With lock.

Meter Coupling Range: EV-2 (8 sec. at f/1.4) to EV 18 (1/1000 sec. at f/16) at ASA 100 with FD 50mm f/1.4 lens.

Exposure Compensation: +/-2 f/stop range in 1/3 f/stop increments: 1/4 •• 1/2 •• 1 •• 2 •• 4.

Exposure Memory: EV locked in when exposure memory switch is pressed. When pressed, the shutter-speed/aperture combination can be changed for the same locked-in EV.

Exposure Preview: Viewfinder digital readout activated by pressing shutter button halfway or by pressing exposure preview switch or exposure memory switch.

Stop-down Lever: Foldable. Stopping-down an FD lens is possible only when aperture ring is disengaged from "A" mark.

Manual Override: Possible by disengaging FD lens from "A" mark and setting AE mode selector to Tv. Aperture manually controlled with aperture ring, shutter speed with AT dial.

Shutter: Cloth focal plane shutter with four spindles. Electronically controlled, steplessly, from 30 sec. to 1/1000 sec. Shock and noise damper mechanisms are incorporated.

Shutter Speed Scale: B, 30, 15, 8, 4, 2, 1, 2, 4, 8, 15, 30, 60, 125, 250, 500, 1000 plus P (with the AE mode selector at Tv). "P" setting is for programmed AE mode. Intermediate speeds not on the scale cannot be set.

Aperture Scale: 1.4 • 2 • 2.8 • 4 • 5.6 • 8 • 11 • 16 • 22 (with the AE mode selector at Av).

Shutter Release Button: Oversized, two-step button with electromagnetic shutter release. Pressing it halfway activates meter circuit, pressing it all the way sets shutter in operation. Can be locked by setting main switch to "L" to guard against accidental shutter release. With cable release socket.

Power Source: One 6v alkaline-manganese (Eveready [UCAR] No. A544, IEC 4LR44), silver oxide (Eveready [UCAR] No. 544, IEC 4SR44, Duracell PX 28), or lithium (Duracell PX 28L) battery. Battery lasts about one year under normal use.

Battery Check: A red LED on top of camera flashes on and off to indicate power level when battery check button is pressed. Flashing frequency decreases with power level.

Main Switch: Two positions: "A" and "L". At "L" all active circuits are off and shutter button is locked as safety feature. Doubles as self-timer lever.

Cancellation of Camera Circuit: Shutter and self-timer operation cancelled by setting main switch to "L" or by pressing battery check button.

Multiple Exposure: Possible by setting multiple exposure lever before winding film advance lever to recock shutter. Frame counter does not advance. Automatically resets. Unlimited.

Self-Timer: Electronically controlled. Activated by pressing shutter button. Timelag of 2 or 10 seconds possible. Red LED flashes on and off to indicate its operation. Flashing frequency increases 2 sec. before shutter release.

Flash Synchronization: X-synch at 1/60 sec.; FP- and M-synch at 1/30 sec. and slower.

Flash Coupling: Accessory shoe has contacts for directly-coupled flash units and automatic flash control contacts for automatic exposure. JIS-B (PC) type flash terminal with shock preventive rim on front of body.

Automatic Flash: Full AE flash photography with Canon Speedlities 133A, 155A, 177A, 188A, 199A, 533G and 577G. Shutter speed automatically set. Aperture automatically controlled according to setting of flash when flash is sufficiently charged.

Back Cover: Opened by pulling up rewind knob. Removable for attaching Data Back A. With memo holder.

Film Loading: Easy film loading with multi-slot take-up spool.

Film Advance Lever: Single-stroke 120° throw with 30° stand-off. Winding with several short strokes possible. Automatic winding possible by mounting Canon Motor Drive MA, Power Winder A2, or Power Winder A.

Frame Counter: Additive type. Counts back frames as film rewound. Automatically resets to "S" upon opening back cover. Does not advance during multiple exposures.

Film Rewinding: By pressing rewind button and cranking rewind knob. Rewind button automatically resets when film advance lever turned.

Other Safety Devices: Camera will not function when power level insufficient. Film winding impossible while shutter is in operation. Lockable controls.

Special limited editions (1)

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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.