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Canon EOS ELAN II

aka Canon EOS 50
aka Canon EOS 50E
aka Canon EOS 55
aka Canon EOS ELAN IIE

35mm AF film SLR camera

Specification

Production details:
Announced:September 1995
System:● Canon EOS (1987)
Format:
Maximum format:35mm full frame
Film type:135 cartridge-loaded film
Mount and Flange focal distance:Canon EF [44mm]
Shutter:
Type:Focal-plane
Model:Electronically controlled
Speeds:30 - 1/4000 + B
Exposure:
Exposure metering:Through-the-lens (TTL), open-aperture
Exposure modes:Programmed Auto
Aperture-priority Auto
Shutter-priority Auto
Manual
Physical characteristics:
Weight:595g
Dimensions:153x105x71mm

Manufacturer description #1

LAKE SUCCESS, N.Y., August 17, 1995 -- Canon U.S.A., Inc. is expanding its evolutionary camera design concept into a new generation EOS Elan. The Elan II, available in three versions, including an Eye-Control Autofocus model (Elan IIE) and Eye-Control Quartz Date model (Elan IIE QD), raises the standard of performance and technological excellence of photography with its new and improved camera features.

The improvements begin with the Elan II's new sturdy and attractive aluminum cover and simplified control layout for easy camera settings. Canon's exclusive AIM (Advanced Integrated Multi-Point Control) System links the camera's 3-point Autofocus to multi-zone metering for available light and flash, offering users sharp photographs regardless of where the main subject is within the picture frame. Metering can be set to 6-zone evaluative, 9.5 percent partial or center-weighted average for precise exposures and creative latitude in any shooting condition.

The Elan IIE features an improved version of Canon's exclusive Eye Controlled Focus technology. Focusing is faster, more precise and has the capability of functioning in the horizontal and vertical position. Additional features of the improved Eye Controlled Focus system include its direct link to the camera's Servo AF mode and Depth-of-Field indicator.

"The new EOS Elan II is designed with the same evolutionary concept that made the Canon EOS-1N overwhelmingly popular with professional and advanced amateur photographers worldwide," said Hank Maeda, vice president and general manager of Canon's Camera Division. "The new line of Elan cameras furthers Canon's commitment to combining form and function based on new and existing technology to better serve the needs of our customers," Mr. Maeda added. "The evolutionary changes incorporated into the Elan II bring the EOS System full circle as a truly integrated 35mm SLR system. Canon will continue to provide photographers with advanced imaging tools to help them realize their visions through photography."

The Elan II models also feature an improved Whisper Drive film transport system, improving the wind and rewind noise reduction. An exclusive belt transport system and other design improvements account for the noise reduction, enabling the camera to be used in shooting situations that require extreme quietness such as wildlife, theater and certain sporting events, such as golf.

Other new and advanced features of the EOS Elan II include:

  • A choice of 10 exposure modes including manual exposure with scale-metering
  • 11 Custom Functions including mirror lock and depth-of-field preview
  • Exclusive E-TTL evaluative flash metering with optional Speedlite 380EX

Sophisticated Design

Distinctively styled after traditional SLR models, the EOS Elan II provides a look of sophistication while providing additional protection of camera components through its rugged, high-density aluminum coverplate. Also taken from traditional SLR designs, control dials and other key function dials are raised from the camera body for easier access and functionality.

The Command Dial, located to the left of the viewfinder, provides users with easy access to a wide range of exposure modes. The metering mode lever, located just beneath the Command Dial, permits photographers to choose from any of the three metering patterns. The camera's AF Mode Dial, allows users to choose from three autofocus modes including: One Shot AF, AI Servo, and AI Focus. The camera's Film Advance Mode lever, positioned below the AF Mode Dial, offers single-frame or continuous shooting at 2.5 frames per second. All critical information relating to exposure is displayed inside the viewfinder, allowing users to concentrate more on the subject and composition and less on the mechanics of photography.

Maintaining its user-friendly design, the Elan II's Main Dial is conveniently located behind the camera's shutter release button. Whether used alone or in conjunction with other system controls, the Main Dial's location provides users with quick selection of apertures, shutter speeds, and other camera functions, without the need to remove their eye from the viewfinder. The Quick Control Dial, located on the back of the camera and a design trademark of the Canon EOS System, provides users with additional control options carefully positioned for easier accessibility.

Evolutionary Process Includes Improved Eye Controlled Focus

The revolutionary concept of Eye Controlled Focus was originally incorporated into the EOS A2E. Since that time, Canon has made tremendous improvements in Eye Controlled Focus technology. In the EOS Elan IIE model, the improvement lies in the camera's ability to utilize Eye Controlled Focus in both the horizontal and vertical camera positions. The Eye Controlled Focus system is linked directly to the three focusing points, allowing users to simply look through the viewfinder at their subject. The camera acknowledges the main subject, regardless of its positioning within the frame. This allows photographers to compose and focus simultaneously, providing greater access to the decisive moment of peak action or expression.

Beyond the camera's ability to focus in the horizontal and vertical positions using Eye-Control, additional camera functions can now be controlled through the camera's Eye-Control feature. For instance, photographers can use the Eye-Control function to control the Depth-of-Field mode for regulating near and distant subjects rendered as sharp in the final image. Eye Controlled Focus works in harmony with the Canon AIM (Advanced Integrated Multi-Point) system to integrate focus, exposure, and flash for optimum results.

Calibrating the camera's Eye Controlled Focus is a simple process. Setting the camera's Command Dial to the calibration setting (CAL), the user simply looks at the flashing focusing point in the viewfinder while depressing the shutter button half way. Another focusing point will flash and the same procedure is followed. The Eye Controlled Focus functions of the camera are now calibrated to the user's eye. The Elan IIE is capable of storing Eye Controlled Focus calibration settings for up to three users.

The speed and accuracy of the Elan II's autofocus system is built around its multi-BASIS (Base Stored Image Sensor) system. Utilizing the camera's three-zone autofocus system, the BASIS system features a cross-type sensor at the center, coupled with vertical line sensors to the left and right, which enable the camera to anticipate changes in the subject's position.

The Canon Elan II offers users three autofocus modes for precise focus in any shooting situation -- One-Shot AF, AI Servo and AI Focus. In the One-Shot AF mode, users can focus on a subject by depressing the shutter button down half way to lock focus. As long as the shutter button remains depressed half way, focus will remain locked, allowing users to recompose the subject. In the AI Servo focus mode, users can track moving subjects as they move from one focusing point to another at a rate of 2.5 frames per second with the camera's built-in motor drive. In the AI Focus mode, the camera begins operation in the One-Shot AF mode, but will automatically shift to AI Servo for predictive autofocus if the main subject begins to move. Manual focus is available by moving a switch on the lens. Sharp focus can be confirmed by using the in-focus indicator in the viewfinder.

Exposure Control at Your Fingertips

The Elan II and IIE Command Dial, located to the left of the viewfinder, enables quick and easy access to several exposure modes from Programmed exposure to full manual control. The camera offers 10 exposure modes including a scale-metered mode when using manual exposure for precise metering.

In the Intelligent Program AE mode, the camera selects the proper shutter speed and aperture settings for a correct exposure based on lighting conditions, film speed, focal-length and maximum aperture of the lens being used.

The Shutter-Priority mode allows the user to pre-select the shutter speed while the camera designates the corresponding aperture for proper exposure. Photographers can choose any shutter-speed ranging from 30-seconds for time exposure to 1/4000 second for high speed action photography.

Photographers wishing to control depth-of-field can use the Aperture-Priority mode. The camera will automatically select the proper shutter speed based on the pre-selected aperture setting made by the photographer.

Manual exposure gives the photographer complete control over shutter speeds and apertures. The Elan II and IIE provide a metering scale in the viewfinder, permitting the photographer to better determine the effects of their creative techniques.

When using the Depth-of-Field AE mode, users can pre-determine precisely what areas of the frame will render sharp by simply selecting the nearest and farthest objects prior to exposure. This mode is especially beneficial for close-up and nature photography.

Programmed Image Control (PIC) Provides Complete Automation

Programmed Image Control (PIC) is designed to optimize aperture, metering, shutter speeds and other camera functions under some of the most common shooting situations encountered by photographers. Using Icons to identify common subjects, users can simply rotate the camera's Command Dial to the corresponding icon for the subject they are photographing.

In the Portrait PIC mode, the camera will favor a wide aperture to maintain focus on the main subject and blur distracting backgrounds. By using this mode with One-Shot AF, the user can focus on the subject and recompose the scene.

In the Landscape PIC mode, the camera favors a small aperture setting to assure that foreground and background subjects in the frame remain in sharp focus.

Close-Up PIC is ideal for flower and macro-type photography. In this mode, the camera controls depth-of-field to isolate the main subject from the background. Partial metering is used in this mode for precise exposure of the main subject.

Sports PIC is ideal for photographing fast-moving action such as a sporting event. In this mode, the camera will set a fast shutter speed to stop action. A wide aperture would also be used to isolate the main subject from the background.

In the Full Auto mode, also known as the "Green Zone" by the way it is identified on the Command Dial, provides the greatest level of automation and the maximum assurance of never missing a photo opportunity. In the Full Auto mode, the camera will set the optimum combination of shutter speed and aperture based on lighting conditions, film speed and the lens being used. If the subject is moving, the camera will automatically switch to AI Servo Focus to follow the subject anywhere within the picture frame. In low light conditions, the flash will automatically pop-up, providing additional light for a proper exposure.

Elan II and Elan IIE Offer Total Exposure Control

Bright backgrounds and backlit subjects can pose serious exposure problems for photographers if not metered properly. In many cases, a camera's metering system will take all the available light and average it together to give an overall acceptable exposure. In special instances, such as backlit subjects, this type of metering would render your main subject as a silhouette, or underexposed.

The EOS Elan and Elan IIE offer three built-in metering modes which provide properly exposed photographs under any lighting condition.

Six-Zone Evaluative Metering

Using the Elan II's Six-Zone Evaluative Metering system, photographers can be assured of proper exposure of the main subject, while rendering a "natural" exposure for the rest of the image. The three main zones of the six-zone system correspond directly to the camera's three-zone autofocus system, ensuring proper exposure of the main subject. The meter also weighs intermediate and peripheral metering zones and automatically compares them to the main subject. The result is a perfectly exposed photograph with emphasis on the main subject.

Partial Metering

Another improvement with the EOS Elan II is its ability to use Partial Metering (9.5%) in any of the three autofocus zones. Even if the main subject is off-center, the result is an ideal exposure. Partial metering is ideal for extremely bright and dark backgrounds and can be used with the camera's creative exposure modes including Intelligent Program, Shutter-Priority, Aperture-Priority, Depth-of-Field and Manual.

Centered-Weighted Average Metering

In the Center-Weighted Average Metering mode, the camera will view all the light available in a particular scene, placing emphasis on the camera's center zone. This mode is ideal for everyday shooting situations where the main subject is traditionally in the center of the frame.

Auto Exposure Lock

The Elan II and IIE's evaluative metering system is linked to the three focusing points in the viewfinder. Based on the focus point in use, it can control the exposure according to the subject's position in the frame. Exposure is automatically locked upon focus completion when using Intelligent Program, Shutter-Priority, Aperture-Priority, or Depth-of-Field modes in One-Shot AF. However, if the user wishes to lock exposure while in AI Servo AF or Manual focusing modes, the user must depress the AE Lock button located on the back of the camera. AE Lock is particularly effective when combined with Partial Metering for heavily backlit or small subjects.

Built-in Flash Offers Creative Opportunities

The EOS Elan II cameras offer a built-in retractable flash, providing TTL flash control. In the full-Auto, Portrait PIC, and Close-Up PIC modes, the flash will automatically pop-up and provide optimum exposure in low-light conditions. In Intelligent Program mode, the viewfinder will advise the user when flash is necessary for proper exposures. The flash provides a wide angle of coverage and may be used with focal lengths as wide as 28mm, making it ideal for use with standard zoom lenses.

The built-in flash features a red-eye reduction mode to minimize red-eye of subjects in low-lighting conditions. The flash features a guide number of 43/13 (ft./m) with ISO 100 film and a rapid recycle time of approximately two seconds.

The camera's built-in flash also offers creative functions such as Slow-Speed Synchronization for combining foreground subjects with a low light background. The camera's AIM system integrates low light exposure control, flash exposure control, and autofocus functions, for natural-looking photographs.

To create a dramatic combination of sharp subjects and "natural-looking" blurred movements, such as light streaks behind automobile tail-lights at night, Second-Curtain Sync fires the flash toward the end of the exposure. This makes light streaks appear behind moving subjects instead of around or in front of them.

New E-TTL Flash System Offers Tremendous Creative Latitude

Canon has taken TTL flash exposure systems one further step with its new E-TTL (Evaluative TTL) flash system. While conventional TTL and A-TTL flash systems measure and control flash illumination reflected from the film's surface during exposure, Canon's Speedlite 380EX provides even greater convenience and accuracy. The new features of the 380EX were designed for use exclusively with the EOS Elan II and IIE camera bodies.

With E-TTL, flash exposure is measured and controlled by the Elan II's six-zone evaluative metering sensor in combination with the AIM system. Ambient light levels, subject position in the frame and pre-flash data are instantly analyzed, providing a natural balance between subject and background. Working in conjunction with Canon's AIM system, E-TTL flash metering is linked to the active focusing points for precise exposure of the subject.

FE Lock and High-Speed Sync Exclusive Features To Elan II / IIE Cameras

FE Lock (Flash Exposure Lock) provides an AE Lock function for flash photography. Available exclusively with the combination of the EOS Elan II cameras and Speedlite 380EX, FE Lock takes advantage of the camera's AIM System and 9.5% Partial Metering capability to isolate flash readings to a small part of the picture area.

With FE Lock, the Speedlite 380EX pre-flash fires when the camera's AE lock button is depressed, storing AF and metering data for up to 16 seconds, providing enough time for composition or background exposure adjustments. FE Lock can be used in conjunction with Intelligent program, Shutter-Priority, Aperture-Priority, or Manual exposure modes.

When the optional Speedlite 380EX is set to the FP mode, the Elan II cameras can be synchronized with flash at speeds of up to 1/4000 second, the same high speed shutter range as with daylight photography.

All Canon Speedlites designed for use with the EOS System cameras are fully compatible with the Elan II cameras. The new Speedlite 380EX is compatible with all cameras in the EOS line but only offer E-TTL flash metering when used in conjunction with the EOS Elan II cameras.

Improvements Made to Quiet Whisper Drive Film Transport System

The original EOS Elan was the first EOS camera to incorporate comprehensive noise reduction measures for quiet, more pleasant shooting. The Elan II cameras maintain the same noise reducing Whisper Drive System. The new cameras offer users a choice of rewind modes: silent and high speed rewind. Selected through the Custom Functions features of the camera, the silent mode will rewind a 24-exposure roll of film in 12-seconds. In the high speed mode, the same roll of film will rewind in just 6-seconds.

Eleven Custom Functions Expand Creative Choices

Canon has incorporated eleven Custom Function features into the new EOS Elan II, allowing users to customize the camera to their specific photographic style and needs.

Elan II Camera Accessories

Several new accessories will be available with the new EOS Elan II cameras. The Battery Pack BP-50 enables the camera to be operated with four AA-size alkaline or NiCd batteries. These batteries are more easily obtainable than the standard 2CR5 battery. In addition to supplying power, the unit also provides an ON/OFF switch and an additional shutter-release button for vertical shooting.

The High-Capacity Battery Pack BP-5B is designed to be clipped on to a belt and provides extended power to the camera via four D-size batteries. It lasts approximately 8.5 times longer than the standard 2CR5 battery and is an ideal accessory when shooting in extreme weather conditions. The External Battery Pack BP-5B must be used in conjunction with the Battery Pack BP-50.

The Dioptric Adjustment Lens Ed can be interchanged with the standard EOS Elan II and IIE eyepiece The Ed series lenses are available in settings from +3 to -4 and are ideal for users who wear eyeglasses.

All EOS Elan II cameras can be used with optional remote controls including the wired Remote Switch RS-60E3 and wireless remote Controller RC-1.

The complete line of EOS /Elan II cameras will be available nationwide in early September.

Manufacturer description #2

Photography provides an endless variety of subjects, and every subject provides an endless variety of creative compositions. The EOS 50E makes it easy for you to concentrate on composition, rather than camera function.

The three-point Eye Controlled Focus system almost always puts a focusing mark where you want it... where you're looking! This intuitive interface joins you and the camera as never before. For creative images as never before. With its advanced Eye Controlled Focus, the EOS 50E literally becomes an extension of your vision. After you complete a simple calibration process to customise the system for your eyesight, the camera stores your personal data in one of three calibration channels. An intelligent program accumulates even more data when you add calibrations to your channel during various indoor and outdoor lighting conditions.

The Canon EOS 50EQD is identical to the EOS 50E but comes equipped with a QuartzDate back that allows you to print the date (Day, Month, Year/Month/Day, Year/Year, Month, Day) or the exact time in Hours and Minutes directly on the photo.

Manufacturer description #3

Following the EOS 5, this is the second AF SLR camera featuring Eye Controlled Focus. The EOS 55’s Eye Controlled Focus is twice as fast as the EOS 5’s. Also, the Eye Control BASIS AF sensor enables Eye Controlled Focus even during vertical shooting. The new AF sensor also enables focus tracking with your eye while you press the shutter button halfway or during continuous shooting. The camera controls include a Command Dial (well received on other EOS cameras), LCD panel, a new AF mode dial on the camera’s right shoulder, a metering mode lever, and a film advance mode lever. This two-dial and two-lever system makes camera operation quick and easy. The exterior finish incorporates high-quality aluminum.

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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.