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Canon EOS 5D

35mm AF digital SLR camera

Canon EOS 5D

Specification

Production details:
Announced:August 2005
System:● Canon EOS (1987)
Format:
Maximum format:35mm full frame
Imaging sensor:35.8 × 23.9mm CMOS sensor
Resolution:4368 × 2912 - 13 MP
Sensor-shift image stabilization:-
Mount and Flange focal distance:Canon EF [44mm]
Shutter:
Type:Focal-plane
Model:Electronically controlled
Speeds:30 - 1/8000 + B
Exposure:
Exposure metering:Through-the-lens (TTL), open-aperture
Exposure modes:Programmed Auto
Aperture-priority Auto
Shutter-priority Auto
Manual
Physical characteristics:
Weight:810g
Dimensions:152x113x75mm

Manufacturer description #1

The Canon EOS 5D was developed to meet the needs of advanced amateurs seeking a high-performance 35 mm full-frame image-sensor-equipped digital SLR camera that is smaller and lighter than professional models. Featuring a full-frame 35 mm CMOS sensor boasting 12.8 million effective pixels, the EOS 5D realizes outstanding image resolution, rich color gradation, and a wide ISO sensitivity range (ISO 100-1600, L:50, H:3200). The 35 mm sensor size also allows users to fully utilize the angles of view offered by the entire range of Canon EF lenses*, permitting unrestricted lens performance for a shooting feel on par with film SLR cameras. Moreover, the new camera incorporates Canon’s proprietary DIGIC II imaging engine, providing detailed and natural color reproduction, and ultra high-speed image processing to meet the needs of advanced users.

The latest addition to Canon’s EOS digital lineup backs outstanding image quality with high responsiveness. The Canon EOS 5D achieves a continuous shooting speed of approximately 3 frames per second for up to around 60 consecutive frames (JPEG L, fine) in a sequence while also realizing an ultra-fast startup of just 0.2 seconds. The model offers high-response writing of images to CompactFlash card media, and includes a Hi-Speed USB 2.0 interface, enabling high-speed transfer of image data to a PC. In addition, the EOS 5D sports a newly developed 9-point AF + 6 Assist AF point sensor (high precision AF at f/2.8 with three AF points).

Canon’s EOS 5D features a revolutionary new Picture Style function which consolidates and advances the processing parameters and color matrix settings. Users can achieve optimized images by simply selecting from six preset settings –Standard, Portrait, Landscape, Neutral, Faithful, and Monochrome– to match their shooting objectives, just as they would select the type of film according to the desired effect. Compared with previous models, the new function offers approximately double the adjustment range for sharpness, contrast, color saturation and color tone. Picture Style will also be incorporated in future Canon digital SLR cameras to ensure unified and consistent image characteristics across the EOS Digital lineup.

Other high-end features supporting superior performance sure to please advanced amateur users include a large 2.5″ LCD monitor with approximately 230,000 dots and a wide 170-degree viewing angle, and interchangeable focusing screens. The new camera also features 21 Custom Functions with 57 settings. The new EOS 5D offers outstanding resilience, realizing a maximum shutter speed of 1/8000 second with shutter durability capable of withstanding 100,000 cycles.

With a plethora of advanced features, including contained in a stylish, compact, and lightweight body made of magnesium alloy, the Canon EOS 5D offers users luxury and reliability on par with professional-use cameras.

Manufacturer description #2

Amstelveen, The Netherlands, 22 August, 2005 - Canon, a leader in photographic and imaging technology, announces the 12.8 Megapixel EOS 5D, creating a new D-SLR category combining a full frame CMOS sensor with a lightweight, compact magnesium alloy body. Weighing just 810 grams, it features a second generation 35.8 x 23.9 mm CMOS sensor, 3 frame per second, 60 Large JPEG frame burst and 0.2 second start up time operation.

“The discreet full frame EOS 5D is the camera many photojournalists and agencies have been asking us for,” said Mogens Jensen, Head of Canon Consumer Imaging Europe. “It will be an indispensable piece of equipment for a wide range of professionals – from contemporary wedding to reportage photographers.”

Marking five years since Canon’s first CMOS image sensor appeared in the EOS D30, the release represents Canon’s fifth new CMOS sensor to be released since April 2004. “CMOS sensors are a critical technology advantage driving Canon’s rapid digital SLR development,” remarked Jensen.

Equivalent in size to a frame of 35mm film, the camera’s 35.8 x 23.9 mm CMOS sensor gives photographers a full angle of view without magnification or cropping effect. It provides tighter control over depth of field and improves image quality by capturing more light with its large pixels.

Key features

Super responsive, the EOS 5D is driven by the same DIGIC II processor found in Canon’s EOS-1D professional range cameras.

Protected with a rugged yet lightweight magnesium alloy exterior, the camera also features new Picture Style pre-sets, a new hi-resolution 2.5” LCD monitor, 9-point auto focus with 6 invisible Assist AF points to improve tracking performance, compatibility with Wireless File Transmitter WFT-E1, custom mode for fast recall of user defined camera set-ups, USB 2.0 Hi-Speed interface for fast downloads and 1/8000 – 30 second shutter speed with X-sync at 1/200s.

The CMOS advantage

With five years of in-house CMOS development since the original EOS D30, Canon’s latest CMOS sensor features 12.8 Megapixels, and the same second-generation on-chip noise reduction circuitry used on the EOS-1Ds Mark II. This effectively suppresses random noise and eliminates fixed-pattern noise for extremely clean, hi-fidelity images. Wide 100-1600 ISO speed range is extendable to L:50 and H:3200. Large 8.2 micron pixels allow the capture of a superior dynamic range, enabling the reproduction of subtle tonal gradations in shadow, midtone and highlight areas.

Improved in-camera control

New Picture Style pre-sets simplify in-camera control over image quality. Delivering more immediately usable JPEG images straight out of the camera without need for post-production, Picture Style pre-sets can be likened to different film types – each one offering a different colour response. Within each easily selectable pre-set, photographers have control over sharpness, contrast, colour tone and saturation.

The pre-sets include:

  • Standard – for crisp, vivid images that don’t require post-processing;
  • Portrait – optimises colour tone and saturation and weakens sharpening to achieve attractive skin tones;
  • Landscape – for deep greens and blues with stronger sharpening to give a crisp edge to mountain, tree and building outlines);
  • Neutral – ideal for post-processing;
  • Faithful – adjusts colour to match the subject colour when shot under a colour temperature of 5200K;
  • Monochrome – for black and white shooting with a range of filter effects (yellow, orange, red and green) and toning effects (sepia, blue, purple and green)

Additionally, 3 user-defined entries allow the possibility to create additional variations on the in-camera styles or install additional custom Picture Style files. Additional custom Picture Style files may be downloaded from Canon’s web site.

Picture Style replaces internal image processing previously controlled by setting processing parameters and colour matrix. Picture Style is also supported by the supplied Digital Photo Professional and RAW Image Task software.

New LCD monitor

For improved image review and menu readability, the EOS 5D is fitted with a new large-size high-resolution 2.5” 230K pixel poly-silicon TFT LCD monitor. The improved screen retains brightness and visibility throughout a wide 170° angle of view, both vertically and horizontally, making it easy to view images when the camera is mounted in a fixed position.

Auto focus

A newly developed 9-point auto focus system features 6 additional invisible Assist AF points located inside the spot-metering circle. These points come into effect when the camera is switched to AI SERVO AF with the centre focus point selected and are automatically used to improve the camera’s subject tracking performance.

Ergonomics and control

The ‘Premium EOS’ design features a magnesium alloy exterior with rubberized grip surfaces. The discreet and lightweight compact body measures just 152 x 113 x 75 mm and weighs only 810 g making it two thirds the volume and weight of the EOS-1Ds Mark II.

In a handy new feature, current camera settings can be stored and assigned to the C (camera settings) position on the Mode Dial. This allows photographers to switch quickly between two completely different camera set-ups without having to switch bodies – ideal for photographers who need to rapidly switch their cameras from an indoor to outdoor shooting condition, for example. Exposure mode, ISO speed, AF mode, drive mode, Picture Style, white balance and custom functions are all stored in the custom setting. There are 21 custom functions with 57 user-definable settings to enable photographers to configure the camera for their preferred way of working.

Connectivity

With the optional Wireless File Transmitter WFT-E1, photographers can work cable-free as full-frame image files can be transferred automatically through a wireless LAN to a computer in seconds .

A USB 2.0 Hi-Speed interface allows rapid transfer of images from camera to computer, ideal for shooting straight-to-hard-drive with the camera tethered to a computer in a studio environment, thus providing full screen previews of images as they are shot. The EOS 5D also has a Video out interface to allow playback and review on a TV monitor, and is PictBridge compliant to support direct printing to any compatible photo printer without the need for a computer. It takes both CompactFlash Type I and Type II cards, including cards of 2 Gb capacity and larger.

Compatibility and accessories

The EOS 5D offers complete compatibility with all Canon EF lenses , providing photographers with access to a vast range of lenses with focal lengths from 14 to 600 mm.

The camera’s launch coincides with the release of the high performance EF 24-105mm f/4L IS USM a lightweight Image Stabilizer lens. Completing Canon’s f/4L-series zoom lens range, the new lens complements the EF17-40mm f/4L USM and EF70-200mm f/4L USM lenses. An ideal match for the lightweight EOS 5D, these lenses are designed for professional photographers requiring high quality lightweight lenses with a fixed aperture throughout the zoom range.

Also compatible with EX series Speedlites and other EOS accessories, the camera provides photographers with a highly adaptable and flexible camera system. Canon’s E-TTL II flash metering ensures accurate flash exposures by taking into account such factors as lens distance information, ambient light readings and the detection of reflective objects in order to calculate flash output.

The BG-E4 is a new battery grip designed especially for the EOS 5D. Constructed with the same magnesium alloy as the camera’s exterior, it has a solid and comfortable hold. The grip can accommodate two BP-511A/514/512/511 battery packs or six AA batteries . The Battery Grip BG-E4 features a shutter release button, AE/FE lock button, AF point selector and main dial to enable comfortable use of the camera when held vertically.

The camera’s focussing screens are interchangeable: in addition to the “Standard Precision Matte” (Ee-A) focussing screen supplied with the camera, “Precision Matte with Grid” (Ee-D) and Super Precision Matte (Ee-S) screens are available.

The EOS 5D supports the optional Data Verification Kit DVK-E2 v2.2, which verifies the authenticity of images taken with the camera.

New software

The EOS 5D is supplied with the EOS Digital Solution Disk v11, which includes a new version of Canon’s Digital Photo Professional (DPP) RAW processing software – now at version 2.0. DPP now supports RAW images shot on all EOS digital cameras from the EOS D30 onwards, and includes support for Picture Styles. Improvements and additions are aimed at improving functionality and workflow efficiency for professionals, and include: easy image selection with three levels of check marks; real-time adjustment of sharpness; improved image correction (Copy Stamp); enhanced image transfer function –single image transfer to PhotoShop is possible; extended colour space support, now including Apple RGB and ColorMatch RGB; and improved usability of the CMYK simulation function.

Also provided is on the EOS Digital Solution Disk v11 is ZoomBrowser EX (PC) and ImageBrowser (MAC) v5.5 for managing images, EOS Capture v1.5 for remote shooting, PhotoStitch v3.1, PhotoRecord v2.2 (PC) and RAW ImageTask v2.2. The EOS 5D is compatible with CANON iMAGE GATEWAY , which provides a 100 MB online photo album.

Similar cameras (1)

35mm full frame • Auto focus • Digital • Singe-lens reflex • Canon EF mount

Model Shutter Metering Modes Year
Kodak DCS Pro SLR/c E, 1/6000 TTL • OA PASM 2004
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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.