Canon AE-1

35mm MF film SLR camera

Specification

Production details:
Announced:April 1976
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:2 - 1/1000 + B
Exposure:
Exposure metering:Through-the-lens (TTL), open-aperture
Exposure modes:Shutter-priority Auto
Manual
Physical characteristics:
Weight:590g
Dimensions:141x87x47.5mm

Manufacturer description #1

Introduced in April 1976, the AE-1 was a very successful camera worldwide.

When the AE-1 came out, TTL manual-metering models (including the Canon FTb and FTb-N) were still the mainstream in the 35mm SLR market. Autoexposure models were still at the very top end of the SLR market. They were expensive and produced in small numbers.

The AE-1, however, was designed from the ground up with five major units and twenty-five minor units. They were centrally controlled by a microcomputer. By incorporating electronics, the parts count could be reduced by 300. The manufacturing of the camera was also highly automated. This made it possible to produce a low-cost camera having high-end features.

Manufacturer description #2

INSTANT RESPONSE SHUTTER PRIORITY AUTOMATIC EXPOSURE

a. Even someone who's never used a fine camera will take perfect pictures with the automatic AE-1. To get excellent results, just select the proper ASA setting, pick a convenient shutter speed, focus and shoot. The AE-1 picks the right aperture every time.

b. Most experienced photographers prefer shutter-priority automation, since they always know that the shutter speed will be high enough to prevent unwanted camera motion or subject blur.

c. Because of the extremely high reaction speed of the AE-1's silicon photocell, the user is virtually certain to get exposures that are exact, even with rapidly changing lighting situations.

d. A miniaturized "computer" Central Processing Unit (CPU) in the AE-1 handles all signal information in the camera, and makes it respond instantly.

TWO-STEP ELECTROMAGNETIC SHUTTER RELEASE BUTTON

a. One button controls all the camera's automatic functions. When it's depressed partway, it activates the exposure meter whose information is immediately shown in the finder. Full depression "locks in" the AE setting selected by the meter, and triggers the electromagnetic shutter. Because it's an electromagnetic release, it requires significantly less pressure than previous designs of this type. And, because its operation is sequential, it preserves energy from the battery.

EXPOSURE COMPENSATION FOR BACKLIT SITUATIONS

a. In backlit situations, or in the snow or at the beach, a button on the AE-1 conveniently gives an increase of +1.5f-stops when pressed.

b. A special preview lever is also provided for checking depth-of-field.

EASY-TO-READ VIEWFINDER APERTURE DISPLAY

a. The AE aperture setting is clearly displayed in the viewfinder when the shutter button is initially depressed. The aperture scale includes two red warning zones indicating the automatic coupling range limit when using lenses with f/16 or f/22 minimum apertures.

b. A flashing red LED indicator also shows when the lens in use has a slower maximum aperture than that indicated on the scale, so the user must select another shutter speed for proper exposure.

EXCEPTIONAL BATTERY ECONOMY

a. Thanks to unique construction, sequential electronic functioning (not all circuits are "on" at the same time) and special electromagnet design, the AE-1 gives outstanding power cell life - approximately one year with its 6V silver oxide battery.

ELECTRONIC SELF-TIMER

a. Solid-state circuitry replaces a conventional mechanical self-timer in the AE-1. When a lever at the shutter button is cocked, the release of the shutter causes a ten-second delay before the shutter is fired. During the delay, a red LED signal flashes to indicate the self-timer's operation.

b. A special cancellation button (which also serves as the battery check button) is provided which will stop the self-timer and cancel all AE functions of the camera - the "locked in" exposure reading taken when the self-timer is started will be "erased".

c. The self-timer can be overriden at any time by returning the lever to the "rest" position, firing the shutter.

FLASHING LED INDICATORS

a. Red flashing LED's (Light-Emitting Diodes) are used extensively in the AE-1 as indicators for self-timer operation, manual ("M") aperture operation and underexposure warning.

BUILT-IN BATTERY CHECK

a. The condition of the battery can be easily checked by pressing a button. When it has sufficient power, the meter needle in the aperture scale will fall below the indicator, or f/5.6.

HUMAN ENGINEERING

a. Because of its extensively electronic construction (20% fewer mechanical parts than conventional SLR's) the AE-1 is consequently much smaller and lighter in weight than other 35mm AE cameras.

b. All controls are designed for superb ease in handling, with control buttons falling perfectly into place, and all key controls being ideally Iocated. Even the battery chamber cover has a ridge which serves as a comfortable grip for the fingers of the right hand during shooting.

c. All numbers (shutter speeds, ASA settings and frame numbers) are extremely legible, compared with conventional SLR's.

LARGE SHUTTER-SPEED DIAL WITH GUARD

a. The shutter-speed dial is concentric with the film winding lever, and particularly large so that it can be operated with the right index finger without taking the eye from the viewfinder window. A protective guard prevents unintentional movement of the dial, and the ASA ring in green is located underneath.

COMFORTABLE, SHORT-THROW WINDING LEVER

a. The AE-1 's winding lever has a short, 120 degrees throw and may be ratcheted. It features a molded plastic tip for extra comfort .

b. For extra-fast operation, when the Power Winder A is not used, the winding lever will fire the shutter at the end of its stroke, when the shutter button is held in its depressed position .

SPECIAL PROTECTION AGAINST THE ELEMENTS

a. The AE-1 is especially well sealed against dust, sand and water. The battery chamber door is baffled to resist penetration, and the contacts between the AE-1 and Power Winder A are protected by a small rubber gasket .

RAPID SEQUENCE SHOOTING WITH THE POWER WINDER A

a. The Power Winder A is a small electric motor which can be used with the AE-1 either for single shot operation or continuous operation at a rate of up to 2 frame-per-second. It attaches to the AE-1 with a simple screw, and is quite Iight in weight and compact, because much of the signalling information comes from the camera itself.

b. When the shutter is locked (via cable release) and selftimer activated with the Power Winder A in place, the AE-1 will automatically make one exposure every ten seconds.

c. An LED indicator on the Power Winder A indicates when battery power is insufficient, as well as indicating the end of the roll of film in use.

CANON DEDICATED SPEEDLITES

a. A wide variety of Canon Dedicated Speedlites are available for use with the Canon AE-1. Each contains special circuitry designed to mate with the exposure control system of the AE-1 to automatically select the proper aperture for flash photography when they are turned on and the ready-light is activated, indicating a fully charged condition. In addition, attaching a Canon Speedlite to the AE-1 automatically sets the camera's shutter speed to 1/60th second for proper flash synchronization regardless of the setting on the AE-1's shutter speed dial! Should the shutter be released before the ready-light comes on, the AE-1 will revert to AE operation for proper available light exposure.

b. Canon Speedlites are the energy-saving, thyristor-type and they are particularly well suited for use with the Power Winder A when close to the subject. The more powerful units, like the 177A and 199A will allow continuous shooting at 2 fps. with the Power Winder A.

c. The 155A and 177A Speedlites offer a choice of two working apertures, while the 199A, 533G and 577G models offer a choice of three different apertures. Choosing an aperture on the color-coded controls of these Speedlites automatically sets the proper aperture on the AE-1 when the ready-lights indicate a fully charged condition.

DATA BACK A CLASSIFICATION SYSTEM

a, The AE-1 's back is removable, to accept the exclusive Data Back A which will imprint on the film information such as the year , month and day or other information. Three dials permit entering a maximum of 6 digits in the lower right corner of the frame, imprinted by a built-in neon lamp when the shutter is released.

b. Three light-intensity settings allow perfect imprinting according to the type of film in use.

c. More than 8,000 exposures are possible with data using the Data Back A and one mercury battery.

UNSURPASSED SERIES OF CANON LENSES

a. Nearly fifty superb Canon FD lenses are available for use with the AE-1. Each is critically sharp, contrasty and free from color and other aberrations.

b. Exclusive Canon Super Spectra multi-layer Coating insures maximum freedom from flare, top color correction and improved contrast. All Canon lenses are as compact as possible, for added convenience in traveling and handling.

COMPLETE LINE OF ACCESSORIES FOR ANY APPLICATION

a. Like all Canon SLR's, the AE-1 accepts accessories for any type of photography, from macro work to astronomical photography.

Manufacturer description #3

QUESTIONS AND ANSWERS

Why is the AE-1 so different from all the other AE SLR's?

The AE-1 is substantially different from conventional AE and TTL SLR's because of the technology involved in its production and design.

Until very recently, no technology existed that could further reduce the size of the electronic components used in an all-electronic AE camera like the AE-1. But thanks to recent breakthroughs in making integrated circuits for computers, special IC's are incorporated in the AE-1 which offer ten times the functional capability for the same area as a conventional IC. The result is a camera that has outstanding performance with fewer mechanical parts and smaller size than almost anything else available.

How can the AE-1 be so good when it is so relatively inexpensive?

The same technological breakthroughs that make it smaller and more compact also serve to reduce the production price of the AE-1 and this savings is passed directly on to you. Because the AE-1 is composed of only five major and twenty-five sub-assemblies, it can be assembled automatically. And, a special machine at Canon has the capability of performing 230 quality control checks in 7 seconds on the camera. Therefore cost is reduced and quality is uniformly excellent.

Isn't the AE-1 less rugged than other SLR's because it's more complicated?

Not in the least. It is because many of the mechanical parts (which often wear and malfunction in some conventional cameras) have been eliminated from the AE-1 that it is even more rugged and dependable than other SLR's. In fact, should the camera ever need repair, it is quite easy and simple to do so, thanks to its "layered" and modular construction. Because it has fewer moving parts, it is especially resistant to problems caused by shock and rough handling.

Hasn't the 6V silver oxide cell used in the AE-1 been known for its lack of long life?

In the past, yes - but that's because of the type of cameras it's been used in. The AE-1 has several ingenious energy saving features that will prolong the life of its silver oxide cell to a duration comparable with regular mercury button cells - a year or more.

In operation, the circuits in the AE-1 go through sequential rather than concurrent operation. In other words, from the time the shutter button is pressed until the exposure is completed, different circuits are activated, while others are shut off. This is an excellent way to preserve energy. In addition, the main electromagnet is connected to a permanent iron magnet. When current passed through the electro- magnet, it releases the permanent magnet, setting the AE functions to work. Other camera designs are such that when the electromagnet is turned on, it must exert enough force to attract a piece of iron or steel. This required considerably more power than the system in the AE-1.

Can I trust an AE camera? Is automatic operation really worthwhile? Creative?

Yes. Yes. Yes. The metering system in the AE-1 has been designed through exhaustive testing of actual exposure situations. Its center-weighted sensitivity (and extremely wide metering range, thanks to the silicon photo cell) is ideal for getting outstanding exposures under almost any lighting conditions. When difficult lighting is encountered, a +1.5 f/stop increase was found to give just about perfect compensation for backlighting and snow or beach scenes.

Automatic operation is definitely worthwhile and it is definitely the direction all SLR design is headed. Why? Because it makes sense. No one says you have to be technician to be a great photographer. It combines the ease of operation of box cameras with sophistication of the most highly-regarded SLR's, with a complete line of fine lenses for all the flexibility you'll ever need.

The AE-1 is made precisely for creativity. When you're really involved with your subject, most photographers agree that the less a camera demands from them, the better - because they can concentrate on the content, composition and action. It's the nearest thing to not using a camera at all.

What's the difference between the AE-1 and the other Canon SLR's?

All Canon SLR's share the same lenses and accessories. And, they share the same excellent quality that has made Canon famous . Because of its unique new technology, the AE-1 has some operational features not found on other Canon SLR's - and lacks some features, too. The best Canon is the Canon that's best for you and fits your shooting habits.

Why is the Power Winder A so small?

Unlike conventional motorized winders, the signalling circuitry for the Power Winder A is not in the winder, but in the camera body of the AE-1 itself. The Power Winder A is therefore a very simple - and inexpensive - piece of equipment. It contains a motor, gears and power supply.

Are Canon Dedicated Speedlites really superior to other auto flash units on the market?

Yes, indeed. Canon Dedicated Speedlites were specially-designed for use with Canon "A" Series cameras, like the AE-1. To get perfect flash exposures, attach a unit like the 177A to the camera, turn it on, focus and shoot. That's it! Shutter speed and lens aperture are both automatically set for proper exposures when Canon Speedlites are used. Should the AE-1 's shutter be released before the Speedlite is ready to fire, the camera will be switched back to standard AE operation automatically. It's almost impossible to get a bad picture when a Canon Speedlite is used!

What are the differences between the conventional mechanical shutter and the AE-1 's electronic shutter?

In a conventional mechanical shutter, shutter speed is regulated through the mechanical operation of gears, cams and springs that control the duration of exposure before the second shutter curtain closes. However, with the AE-1's electronic shutter, the duration of exposure is controlled by an electronic circuit. With an electrical signal transmitted from the mirror mechanism, the first curtain is released from its starting position and travels across while the second curtain is still retained by an electromagnet. After the preset time, the second curtain closes upon receiving the signal from the second curtain electromagnetic release.

What makes the AE-1 's viewfinder so bright?

Two things. First, it is a newly-designed screen, specially molded from acrylic. It combines the best of both worlds - brightness and focusing accuracy. If a screen is too bright, it offers focusing problems. Second, the AE-1 uses an exceptionally large mirror. There is no mirror cutoff in the finder, even with lenses as long as the FD 400mm f/4.5 S.S.C. With longer lenses, or at apertures smaller than f/5.6 (with lenses from 300mm up) there is only slight cutoff - quite an accomplishment in a camera this compact.

Manufacturer description #4

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

Picture Size: 24 x 36mm

Interchangeable Lenses: Canon FD series with full aperture metering and AE coupling. Canon FL series with stopped-down metering.

Standard Lenses: Canon FD 55mm f/1.2 S.S.C., Canon FD 50mm f/1.4 S.S.C., Canon FD 50mm f/1.8 S.C.

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

Viewfinder: Fixed eye-level pentaprism.

Field of View: 93.5% vertical and 96% horizontal coverage of the actual picture area.

Magnification: 1:0.86 at infinity with a standard 50mm lens.

Viewfinder Information: Split-image/microprism rangefinder, aperture scale with meter needle and stopped-down metering index mark which also serves as battery charge level check mark. Besides, there are two red zones at the top of the aperture scale to warn of overexposure. Below the aperture scale, a red warning LED lamp blinks to indicate under-exposure.This lamp also indicates that the selected shutter speed is outside the AE coupling range with respect to the ASA of the film being used. Above the aperture scale, a manual aperture control "M" signal (red LED) blinks as a warning that the aperture ring is not set at the "A" mark for AE photography.

Viewfinder Attachments: Angle Finder A2 and B, Magnifier S, Dioptric Adjustment Lenses (10 kinds), and Eyecup 4S.

Mirror: Instant-return, large reflector mirror with shock absorbing mechanism.

AE Mechanism: Shutter priority, electronically controlled AE metering system incorporating two ICs and one LSI equipped with I2 L (Integrated Injection Logic)

Light Metering System: TTL (Through-The-Lens) Central Emphasis Metering method employing a Silicon Photocell as photosensitive element.

Exposure Meter Coupling Range: With ASA 100 film, EV1 (f/1.4 at one second) to EV18 (f/16 at 1/1000 second).

Film Speed Range: ASA 25 to ASA 3200.

Exposure Correction: By pressing the back-light control switch, exposure is corrected by the automatic opening of the diaphragm 1.5 stops more on the aperture scale than the actual setting.

Exposure Preview: The meter needle will indicate in the viewfinder when the shutter release button is depressed half-way or the exposure preview switch is depressed.

Shutter: Cloth focal plane shutter with four spindles. Shock and noise damping mechanisms are incorporated. All shutter speeds are electronically controlled.

Shutter Speeds: 1/1000, 1/500, 1/250, 1/125, 1/60, 1/30, 1/15, 1/8, 1/4, 1/2, 1, 2 (seconds) and B. X synchronization is at 1/60 seconds.

Shutter Speed Dial: The shutter speed dial is on the same axis as the film advance lever. The number 2 for two seconds is marked in orange; other numbers as well as X synchronization are in white. There is a shutter dial guard to prevent unintentional movement of the dial. The ASA dial is located underneath the shutter speed dial.

Shutter Release Button: It is a large, button type magnetic release switch. Depressing the shutter release button halfway switches on the light metering circuit, while full depression releases the shutter. The shutter release button has a locking device, besides a socket for the cable release in the center.

Self-Timer: Electronically controlled self-timer. After the self-timer lever is pushed forward, the self-timer is activated by the shutter release button. The self-timer releases the shutter after a time lag of 10 seconds. A self-timer lamp (red LED) blinks on and off to indicate when the self-timer is in operation.

Stopping-Down the Lens: Stopping-down the lens can be performed by pushing the stopped-down lever after setting the aperture ring.

Power Source: One 6V silver oxide battery (Eveready No.544, UCAR No.544, JIS 4G13, or Mallory PX28) or alkaline manganese battery (Eveready No.537, UCAR No.537, or Mallory 7K 34). The battery lasts approximately one year under normal use.

Battery Check: Battery power level can be checked by the meter needle in the viewfinder when the battery check button is pressed.

Flash Synchronization: X synchronization is at 1/60 second. M synchronization is at 1/30 second and below.

Flash Terminal: The accessory shoe has a direct flash contact and automatic flash control contacts. On the front of the camera body is the flash terminal, JIS-B type for flash units with a cord. It has a built-in protective rim to prevent electrical shock.

Automatic Flash: With the exclusive Canon Speedlite 155A, the shutter speed and aperture are automatically set. The amount of light is automatically controlled for correct flash exposure.

Back Cover: The camera's back cover has a memo holder for your convenience. The cover can be removed for attaching the Canon Data Back A. To open, pull the rewind crank up.

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

Film Advance Lever: Single stroke with 120° throw and 30° stand-off. The film can be wound with several short strokes. The Canon Power Winder A also can be mounted for automatic winding of the film.

Frame Counter: Additive type. Automatically resets when the back cover is opened. While rewinding film, it counts back the frame numbers.

Film Rewinding: Performed by pressing the rewind button on the bottom and by using the rewind crank on the top. The rewind button is automatically reset when the film is advanced with the film advance lever.

Safety Devices: The shutter does not drain battery power when not released. The film cannot be wound while the shutter is in operation.

Subscribe
Notify of
guest

Copy this code

and paste it here *

0 comments
Inline Feedbacks
View all comments

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.