Canon F-1

35mm MF film SLR camera

Specification

Format:
35mm full frame
Film type:
135 cartridge-loaded film
Canon FD [42mm]
Shutter:
Type:
Focal-plane
Model:
Mechanical
Speeds:
1 - 1/2000 + B
Exposure:
Exposure metering:
Through-the-lens (TTL), open-aperture
Exposure modes:
Manual
Physical characteristics:
Weight:
820g
Dimensions:
146.7x98.7x43mm

Manufacturer description #1

After five years and a large investment in money and labor, the top-of-the-line 35mm Canon F-1 system was born.

The FD lens mount was newly developed for the new line of FD lenses. The new lens mount enabled fully-coupled automatic exposure metering. The camera system also included the first accessory ever for remote picture-taking with the camera. The many accessories enabled seamless and instant compatibility.

The camera was built to endure 100,000 picture-taking cycles, temperatures ranging from -30 C to 60 C, and 90% humidity. Being a highly durable and reliable camera, the F-1 gained many followers including pros. Except for a one-time revision, the camera was manufactured and sold for ten years.

Manufacturer description #2

A Camera for All Seasons and Reasons

Summer, Fall, Winter, Spring. Arctic to tropical conditions. Anytime, anywhere. The Canon F-1 is ready to go where the pictures are.

Winter: There are plenty of picture-taking possibilities for a photographer with the right camera. One that will still operate when the weather really gets cold. How about using a motor drive on the ski slopes to catch all the action? Or would you like to photograph snow crystals through a microscope? It's easy with the F-1.

Spring: The season of new awakenings. In you as a photographer and in the earth around you. Flowers are starting to bloom. Of course you want to capture all this beauty, and you can with a Canon. Use the new FD 100mm macro lens or FD 50mm macro lens. By using with the life-size adapter, close-up photography of wild-life can be taken with the magnifcation of from 1/2 up to life-size.

Summer: Sports car races. Combine the Servo EE Finder with a 100-200mm zoom lens. You can focus and crop your shots in the camera while exposures are set for you automatically. Now you can concentrate on all the color and excitement of the event without worrying about missed shots. Campfires. Everyone is sitting around the fire roasting marshmallows. Use a Canon electronic flash unit and a Flash-Auto Ring on your standard 50mm or 35mm wide-angle lens to get perfect shots everytime. Focus on the faces, and they will be properly exposed. Not many other flash systems can guarantee that kind of performance outside at night.

Fall: The time of the year for breath-taking sunsets. Start shooting with the camera's accurate built-in exposure meter. After the sun sets, switch over to the meter in the optional Booster T Finder to catch the radient afterglow. When the harvest moon appears, you can continue shooting, because the Booster T Finder can read down to EV-5.5 with an ASA 25 film. That means long exposures of 60 seconds at f/1.2! The meter in this fantastic finder is the world's most sensitive TTL (through-the-Iens) meter.

Now that you have discovered the creative possibilities which photography has to offer, you need a camera which can keep pace with you. One that can transform your experiences into reality. Anytime during the year. The Canon F-1 is just this type of camera. The camera for all seasons and reasons.

Viewing and Focusing Flexibility

The name of the game in SLR photography is viewing and focusing. One of the main reasons for the widespread popularity of the SLR is that the image you see through the viewfinder is the same as the image recorded on the film. Viewing, focusing and composing become simple matters. There is no problem using a 500mm lens with an extremely small angle of view of only 5° or in taking life-size close-ups with a macro lens, because what you see through the lens is what you get.

But not all focusing screens work equally well with all lenses. Canon has solved this problem by giving you a choice of nine interchangeable focusing screens for the F-1 camera.

Professional-Quality Exposure Measurement

Nowadays, all built-in exposure meters for cameras read light coming through-the-Iens (TTL), and most measure it with the lens at full aperture. But Canon is the only camera that uses a Central Area System for exposure measurement, too. Don't mistake the Central Area System for a center-weighed one, because it's different. In Canon's method, a 12 percent center portion is the only part of the picture area measured by the meter, and this portion is clearly indicated by a slightly darkened rectangle which does not interfere in the least with focusing or viewing. The Central Area System is employed to give the photographer two options, that of using the meter like an averaging type or like a true spot meter. The Central Area is large enough for the fast-shooting photographer simply to meter the main subject and get a reliable reading; yet it is small enough to allow the most exacting worker to meter small areas in the picture very accurately so as to ensure highlight or shadow details. Backlighting is no problem at all, because the metering area is clearly defined. Under all kinds of lighting conditions, the Canon F-1's Central Area System gives the photographer complete control over his exposures.

Automatic Exposure Control

When the action becomes fast and furious, there is usually not enough time to think about exposure. You are too busy following the subject, focusing and composing. When this is the case, just detach the Eye-Level Finder of the F-1 and attach the Servo EE Finder in its place. Immediately you have an automatic camera, one that sets the proper exposure for you quickly and accurately. You select the shutter speed depending on the amount of action you want to "freeze" or on the focal length of the telephoto lens you are using, and a special servo motor adjusts the diaphragm of the lens to the proper aperture. Central Emphasis Metering is employed in the Servo EE Finder to ensure good exposures in the majority of cases. In this type of system the entire picture area is read by the meter, but additional weight is given to the center where the main subject is likely to appear.

Dim-Light Photography

When the light grows dim, the Canon F-1 really starts to shine. Simply replace the Eye-Level Finder with the Booster T Finder, and now you can meter the faintest light through-the-Iens, even the light from the full moon. This incredible unit takes all the guesswork out of nighttime photography. It even times your long exposures for you electronically up to 60 seconds at ASA 25! There is no need for a cable release as the shutter is held open automatically for you while a blinking light on top of the finder indicates the number of seconds of the exposure. Nothing could be easier.

When the lens-to-film plane distance is increased with bellows or extension tubes to produce extreme magnifications in macro work or when the F-1 is used on a microscope, the light reaching the film becomes quite dim indeed. In this case, the Booster T Finder is the only way to get accurate TTL meter readings.

A Choice of Three Motor Drives

Motor drives have become quite popular in recent years, because they offer two distinct advantages. One advantage is rapid film advance. In the "Single" mode of operation, the film is automatically advanced to the next frame immediately following each individual shot. Therefore, the camera is always ready to use, and you never have to bother with advancing the film manually. The second advantage is sequence photography. In the "Continuous" mode, a rapid succession of photographs may be taken in bursts usually up to three or four frames per second (fps). You can capture fast action at its peak or analyze it in sequential form frame by frame. The most significant pose of a fashion model and the fleeting expression of a child may be recorded without missing the shot. Or an athlete's form can be studied step by step.

A motor drive is not only convenient and fun to use, but is indispensable for photojournalism, sports, and wildlife photography where quick response is essential.

Canon makes a total of three (that's right, three) motor drives for the F-1! All three use Canon's reliable two motor system: one motor to advance the film and a separate motor to release the shutter. Both the Motor Drive Unit and the Motor Drive MF are easily attachable to any F-1 camera without modification. Simply remove the camera's bottom cover and screw the motor into the tripod socket. The third motor drive is permanently built into the bottom of a modified F-1 body. This unit, including the body, motor and separate battery pack is called the High Speed Motor Drive Camera.

The Motor Drive Unit is a moderately priced, versatile accessory having many uses, including industrial and scientific applications. It has a built-in intervalometer which doubles as a handgrip underneath the camera. A total of eight shooting intervals ranging from one frame per minute to three per second are available. Either cord or cordless battery cases housing 10 penlight batteries (Size AA) can be used.

The Motor Drive MF is a recent addition to the Canon line and is perfect for hand-held action photography with its handgrip mounted on the front right side. Following suggestions from sports and news photographers, Canon designed a compact motor with a detachable handgrip (which also serves as the battery case for ten penlight cells) and made the intervalometer an optional accessory. In the "Continuous" mode, 3 1/2 fps may be shot at shutter speeds from 1/60 to 1/2000 sec. No mirror lock-up is required. When the accessory Interval Timer L is plugged into the side of the MF, nine rates from two fps to one frame every three minutes are available. Other accessories such as a self-timer, extension cord and remote switch extend the Motor Drive MF's range considerably.

Designed especially for the 1972 Sapporo Winter Olympic Games, the High Speed Motor Drive Camera is the rapid action photographer's dream come true. A semi-transparent stationary reflex mirror has been borrowed from the Canon Pellix camera and installed in a modified version of the F-1. A special high speed motor is permanently built into the bottom of the camera and is powered by 20 penlight cells ina separate battery pack. Both single frame and continuous shooting from four to nine fps are possible. Even at 9 fps, continuous uninterrupted viewing is possible right through the camera's viewfinder. The mirror never needs to be locked in the upward position. Fantastic!

Extended Shooting Capacity

Using a motor drive is a fast way to shoot and a sure way to use up a lot of film. A continuous burst will use up a 36 exposure roll in a little over ten seconds.

Suppose you're covering a championship fight. You've got to be ready to capture that crucial knockout blow if and when it occurs. But at 3 or 3 1/2 fps, you might run out of film before the end of the first round.

In this situation, the Film Chamber 250 is the answer. This specially designed unit is attached to the F-1 camera in place of the regular back cover. It permits 250 exposures of uninterrupted shooting using about 33 feet of bulk film. The Film Chamber 250 contains two Film Magazines 250, one on the left side of the camera for supply and the other on the right for take-up. When you run out of film, there is no rewinding. Just close the light traps on both magazines, and open the back cover. Remove the take-up magazine. Then transfer the empty supply magazine to the take-up side. Drop in another bulk loaded magazine, thread the film, and you're ready to shoot another 250 exposures. Immediately.

The exact length of film needed for 250 exposures can be pre-loaded into a magazine using the Canon Film Loader 250.

Match-Needle Flash Photography

Canon has developed an entirely new solution to the old problem of achieving correct exposures in electronic flash photography - it's called the CAT (Canon Auto Tuning) System.

With manual flash units, you have to make complicated calculations using guide numbers, whereas automatic sensor-type units do not work well outside at night or whan there is a large foreground object between you and the subject.

In the CAT System, the focused distance of the lens as well as the charging level of the flash unit's capacitor are transmitted as electrical signals to the F-1's metering system which then determines the position of the meter needle inside the viewfinder. To obtain proper exposure, just turn the aperture ring to match the aperture needle with the meter needle and shoot. It's as easy as normal daylight photography.

At present, four FD lenses - two standard 50mm lenses, the f/1.8 and the f/1.4, and two 35mm wide-angles, the f/3.5 and the f/2 - can be used with the CAT System when the Flash-Auto Ring A2 or B2 is bayonet mounted to the front of lens.

The compact Canon Speedlite 133D is a shoe mounting unit which couples directly to the F-1 via the Flash Coupler L. It has a guide number of 30 (ASA 25 in ft.) and uses four penlight batteries.

A Complete Line of Accessories

With a complete line of accessories for close-ups, macrophotography, and photomicrography, you too can capture the magic of the world in close-up with the F-1. Exotic flowers, strange insects and intricate watchworks all take on new meaning.when photographed at close range.

One of the easiest ways to enter this exciting field is with the fabulous FD 50mm f/3.5 S.S.C. Macro lens. It has an extra long helicoid which permits continous focusing from infinity down to 1/2 life size. With the addition of the Life Size Adapter, focusing down to 1: 1 is possible. A t this reproduction ratio, the subject area of the photograph is the same size as the 35mm frame, that is 24 x 36mm. You can fill the frame with just the center part of an orchid, while Super Spectra Coating ensures perfect color fidelity of its delicate shades even in backlit situations.

The newly developed Macro Lens FD 100mm f/4 S.C. offers the photographic magnification of up to 1/2 life size while the combined use of the Extension Tube FD 50 offers the photographic magnification ranging from 1:1 to 1/2 life size.

Since this macro lens has a focal length twice as long as the standard lens, photographs can be taken at a considerable distance from the subjects. This is highly effective for shooting plants, animals and insects which you cannot very easily approach and for the subjects requiring flash photography.

Another way to take close-ups is by using a bellows unit. The Bellows FL is a solidly built accessory which can be used between the F-1 body and any Canon lens for extreme macro work. With a standard 50mm lens mounted on the Bellows FL, magnifications up to approximately 3X are possible. Focusing and magnification adjustments can be made at the subject side or the camera side of the bellows, while the entire unit plus camera can be moved back and forth with a separate control. Semi-automatic diaphragm control is possible when the lens is mounted in the normal position. When a standard lens is mounted on the bellows in the reverse direction (using the Macrophoto Coupler FL55), you lose diaphragm automation, but it's possible to obtain up to 4X magnifications of your subject.

Canon has other accessories for taking close-ups, including Canon Close-up Lenses, Extension Tube FL 15 and FL 25, the Extension Tube M set and Bellows M.

"Photomicrography" means taking pictures through a microscope. Instead of using the camera lens, the microscope's optics are used to form the image. There are two accessories for coupling the F-1 to the microscope of your choice. The Photomicro Unit F attaches the F-1 directly to the microscope sleeve and permits 1/2 magnification of the microscope's image, whereas the Microphoto Hood must be used in conjunction with the Lens Mount Converter A, and a bellows and copy stand but can provide up to full size magnification.

For slide copying, Canon makes the Slide Duplicator FL which is used with the Bellows FL and a standard or macro lens in making up to 1:1 duplicate slides.

Copying pictures or diagrams from all types of printed materials is a cinch with either of Canon's two copy stands, the lightweight Handy Stand F or the sturdy Copy Stand 4 having a baseboard and upright post with a camera holder.

Canon also makes it own filters, cable releases, and gadget bags.

If you purchase the Canon F-1, you are not buying just another camera, but one having a total system of interchangeable parts and accessories built around it. As your involvement grows in photography and your interests change, the F-1 is ready and willing to keep pace with you. It's as flexible as your creative spirit and as wide ranging as your ideas. Without special weatherproofing, the F-1 can operate in temperatures from -4° to + 140° F. The Canon F-1 is truly a camera for all seasons and reasons. Your camera. From Canon.

Manufacturer description #3

Type : 35mm single-lens reflex camera with focal plane shutter. Picture size : 24 x 36mm.

Interchangeable Lenses : Canon FD series lenses with aperture signal lever.

Standard Lens : Canon FD 55mm F 1.2, FD 50mm F 1.4, FD 50mm F 1.8.

Viewfinder : Removable pentagonal prism viewfinder. Interchangeable with Servo EE Finder, Booster T Finder, Speed Finder, Waist-Level Finder.

Viewfinder Attachments : Angle Finder B, Magnifier, Dioptric Adjustment Lenses, Eyecup.

Focusing Screen : Using Fresnel lens, standard focusing glass with microprism screen rangefinder and three other interchangeable types. With metering beam-splitting condenser.

Field-of-View : 97% of actual picture area. 0.77X with standard 50mm lens at infinity.

Finder Information : Meter needle and aperture needle, outside shutter speed coupling range indicator, fixed dot for stopped-down metering use and battery check mark, shutter speed scale, metering limit marks.

Dioptric Adjustment Lenses : Standard -1.2 diopter (R-1). Interchangeable with R+3, R+2, R+1, R0, R-2, R-3, and R-4.

Mirror : Quick return mirror with shock-absorbing mechanism. Mirror can be fixed in upper position. Aperture is manually operated when mirror is fixed in upper position.

Lens Mount : Bayonet type FD mount. FL and R series of lenses mountable.

Function : FD lenses ; Full aperture metering, coupled with automatic diaphragm. FL lenses ; Stopped-down metering, coupled with automatic diaphragm. R lenses ; Stopped-down metering, manually operated diaphragm.

Shutter : Focal plane shutter using super thin titanium screen. Designed for elimination of functioning noise. Shutter release button can be locked.

Shutter Speed Dial : Single shaft non-revolving type with shutter scales and ASA film speed scales. Two coupling pins for setting attachments are provided.

Shutter Speeds : B, 1-1/2000. Multiple series. Equiinterval index. X contact at "60".

Film Speed Scale : ASA 25-2000.

Self-Timer : Built in. Activate with shutter release button. Approx. 10 sec. time lag. Self-timer lever is used in common as stopped-down functioning lever.

Exposure Adjusting Mechanism : Built in. Using CdS photocell. Coupled to shutter speeds, film speeds and f/stop. Match needle type TTL full aperture metering mechanism. Center-spot metering system, measures 12% of picture area. Stopped-down metering possible. Fixed dot type metering using stopped-down functioning lever. Locking of the lever possible.

Exposure Meter Coupling Range : With ASA 100 film, EV2.5 (f/1.2 at 1/4 sec.)-EV 18 (f/11 at 1/2000 sec.). Meter information window turns red when outside of coupling range.

Meter Battery : One 1.3 V M20 (#625) mercury battery used.

Battery Checker : Built in. Check at ASA 100, shutter speed at 1/2000 sec.

TTL Full Aperture Metering System EE : Uses exclusive Servo EE Finder and Battery Case in combination. Full aperture metering with FD lens. Shutter priority type EE. Functioning range ; with ASA 100 film, EV 2.5 (f/1.2 at 1/4 sec.)-EV 18 (f/11 at 1/2000 sec.).

Ultra-low Illumination Metering : Metering possible, with ASA 100 film, between EV 15 (f/22 at 1/60 sec.) and EV-3.5 (f/1.2 at 15 sec.) with use of exclusive Booster T Finder.

Synchronized Flash : FP and X contact. Automatic time lag adjusting type.

Flash Socket : On side body. Two contacts on film rewind knob for flash circuit for directly connected adapter, and meter circuit.

Canon Auto Tuning (CAT) System : Diaphragm control by recharge completion signal and focusing distance signal. Proper aperture is established by the meter matching needle system through the connection of the Speedlite 133D, Flash Auto Ring, Flash Coupler L and prescribed FD 50mm F 1.4, FD 50mm F 1.8, or FD 35mm F 2 lens.

Synchronizing Range : FP class ; 1/2000-1/125 sec. and 1/30 sec. or under. Speedlite ; 1/60 sec. or under. M, MF class ; 1/30 sec. or under.

Film Loading : With multislit film spool.

Film Winding : Short-stroke winding possible. Single operation 180° winding lever. Play ; 15°.

Film Rewinding : Performed by rewind button and crank.

Double Exposure : Possible by operating film rewind button.

Back Cover : Crank pull-up type. Removable for Film Chamber 250.

Bottom Cover : Motor Drive Unit can be attached after removing bottom cover.

Frame Counter : Self-resetting type activated by opening back cover.

Accessory Shoe : Exclusive. Flash Couplers D, L, and other couplers can be attached.

From the Popular Photography magazine (January 1971)

Photokina '70

Canon's show-stealing F-1 SLR system was launched in Cologne with no less that 25 lenses, 16 of which are either completely new, or thorough redesigns of previous models. Those preceded by "FD" provide full-aperture exposure reading with the Canon F-1; the others employ the stop-down method.

7.5-mm Fisheye f/5.6 (circular-free 180-degree images), FD 17-mm f/4 (distortion-free 104-degrees), FD 24-mm f/2.8, TS 35-mm f/2.8 AL, FD 35-mm f/2, FD 55-mm f/1.2 AL, FD 85-mm f/1.8, FD 100-mm f/2.8, FD 135-mm f/2.5, FD 200-mm f/4, FD 300-mm f/5.6, FD 55-135-mm Zoom f/3.5, FL 400-mm f/5.6, FL 600-mm f/5.6, FL 800-mm f/8, FL 1,200-mm f/11.

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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, Leica, Nikon, Pentax, Sony etc.) are always incompatible. In addition to the mechanical and electrical interface variations, the flange focal distance (distance from the mechanical rear end surface of the lens mount to the focal plane) is also different.

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 lens element 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.