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Canon New F-1

35mm MF film SLR camera

Specification

Production details:
Announced:September 1981
System:● Canon FD (1971)
Format:
Maximum format:35mm full frame
Film type:135 cartridge-loaded film
Mount and Flange focal distance:Canon FD [42mm]
Shutter:
Type:Focal-plane
Model:Electronically controlled
Speeds:8 - 1/2000 + B
Exposure:
Exposure metering:Through-the-lens (TTL), open-aperture
Exposure modes:Manual
Physical characteristics:
Weight:795g
Dimensions:146.7x96.6x48.3mm

Manufacturer description #1

Instead of being a next-generation successor to the F-1, this camera was called the “New F-1,” and not the “F-2.” With the first F-1 in 1971, Canon promised that the camera would remain unchanged for 10 years. This promise was fulfilled. During those ten years, there were remarkable advances in electronics, precision manufacturing, and optics. The successor to the top-of-the-line F-1 had to incorporate the best electronic technology for better automation, versatility, and specifications.

For metering flexibility, the New F-1 uses interchangeable focusing screens to change the metering pattern with a segmented metering element. For automation, system AE is incorporated for optimum operation. The camera’s basic controls are also the same as the old F-1 so F-1 users can easily adapt to the New F-1.

Manufacturer description #2

The new F-1 is Canon's top-of-the-line professional camera. It is introduced as the successor to the original F-1 which, since its introduction in 1971, has become the mainstay system camera for growing numbers of professional photographers in all fields.

Continuing the unmatched tradition of durability and reliability established by its predecessor, the new F-1 will function perfectly for a minimum of 100,000 exposures. It has successfully undergone a demanding series of vibration, shock and operation tests as well as temperature testing between -30°C (-22°F) and +60°C (140°F).

Contributing to this impressive record are several revolutionary advances in production technology. These include the computer-controlled NC (Numerical Control) machine which performs a variety of grinding, milling and drilling functions, primarily on the die-cast body and AE Finder FN. The machine is also used for precision milling of individual parts. Other advances include the use of laser welding instead of conventional rivets, and burnishing of the inner surface of shafts by forcing ball bearings through under high pneumatic pressure.

Special measures are taken to protect the new F-1's sophisticated electronic circuitry inside, against vibration and moisture. Plastic and rubber seals prevent entry of dust and moisture from locations such as the shutter release button and dial to protect interior parts. And the shutter curtain control magnets are silver-plated to ensure better contacts and longer life cycle. Elastic connectors instead of solder connectors are used to connect the main PC board to the resistor board and other flexible circuit boards provide extra shock protection.

The new F-1 has two IC's, one for the photometry circuit with an analog operational amplifier to perform exposure calculations based on the subject illumination, shutter speed, aperture and ASA settings and the other a digital control circuit which controls the shutter speed, electromagnetic release, self-timer and exposure meter. These circuits also monitor the control status of both the camera and its accessories. The "Check and Go" system of electro-mechanical sequences checks each camera operation and function to determine whether it was normal or not before passing to the next stage. "Check and Go" is executed in three steps: prior to shutter button release, prior to making exposure after first press of the shutter button and prior to winding the film to next frame in continuous shooting.

Multiple AE Modes Plus Manual

Versatility comes in the form of system accessories which, besides fulfilling their basic functions, also provide additional AE modes. Thus, attaching the AE Motor Drive FN not only permits powered film advance but gives you shutter-priority AE, as well. Similarly, replacing the standard Eye-level Finder FN with the AE Finder FN makes possible aperture-priority and stopped-down AE.

1. Manual

The mode which puts you in total creative control.

Your customer has a choice of either full-aperture metering or stopped-down metering. The meter is activated by gently depressing the shutter release button. Turn the aperture ring so that the aperture needle matches the meter needle (or meter needle cuts the fixed index in case of stopped-down metering) for correct exposure.

2. Shutter-priority AE

The ideal mode for action photography. This kind of photography also calls for rapid film advance, so Canon decided to combine the two. Shutter-priority AE is attained by attaching either the AE Motor Drive FN or AE Power Winder FN. For this mode select a shutter speed and set the lens aperture ring to "A". Shutter-priority AE is possible with any of the 5 interchpngeable viewfinders installed.

3. Aperture-priority AE

Aperture-priority AE is provided by installing the AE Finder FN. Set the shutter dial to "A" and select the desired aperture. The exposure information display shifts from the right side to below the image. The AE Finder FN also makes feasible stopped-down AE which is a convenience in close-up work.

4. Multiple Exposure Modes

For the photographer who demands maximum exposure mode flexibility, the new F-1 is the perfect system camera. Attaching either of the two power drives and the AE Finder FN gives three AE Modes (shutter-priority AE, aperture-priority AE and stopped-down AE) plus manual. For others, such as sports or news photographers who are more concerned with capturing fast action scenes, the power drives' shutter-priority AE capability will usually suffice.

Reliable Electromechanical Hybrid Shutter

The new F-1 has an electromechanical hybrid shutter. The fast speeds from 1/2000 - 1/125, ↯ (1/90) and B are mechanically controlled, whereas electronic circuitry controls the slower speeds from 1/60 to 8 secs. With the AE Finder FN set for aperture-priority and stopped-down AE, all shutter speeds become electronic, although in this case the fastest speed is 1/1000 sec. Battery failure, the bane of the professional photographer, thus poses no problem. The battery must be removed for mechanically- controlled speeds in case of battery failure.

Expanded Metering Range

The metering range is a wide EV-1 to EV20 (ASA 100; 50mm f/1.4), permitting shutter speeds of down to 4 seconds. The film speed range is also wider: ASA 6 to ASA 6400.

Choice of Three Metering Areas

Many cameras feature interchangeable focusing screens. The new F-1, however, is the only one that also offers a choice of metering sensitivity patterns, just by changing the screen.

There are three different patterns: center-weighted average, selective-area and spot metering. Dividing the 13 different focusing screens available into three groups yields a total of 32 focusing screen-metering system combinations. The entire series of screens is available for center-weighted average metering and selective-area metering. Six screens - only those effective for this specialized metering method are available for spot metering.

Center-weighted average metering is ideal for AE photography, particularly with wide-angle lenses. The degree of center-weighting in the horizontal direction is significantly increased to minimize exposure difference between vertical and horizontal positions. Selective-area metering is also effective for AE photography and stopped-down AE in close-up applications where precise exposure of a specific area of the image is necessary. Approximately 12% of the viewfinder area is metered. The 3% spot metering pattern is difficult to use, yet yields spectacular results. Ideal for situations where there is extreme contrast between subject and background.

New screens include two Bright Laser-Mattes which are approx. 20% brighter than the laser matte and the Cross Split which facilitates both horizontal and vertical format focusing.

Manufacturer description #3

Type: 35mm single-lens reflex (SLR) camera

Format: 24 x 36mm

Interchangeable Lenses: Canon FD (for full-aperture metering) and Canon FL, R and non-FD (for stopped-down metering) series lenses.

Standard Lenses: FD 50mm f/1.2L, FD 50mm f/1.2, FD 50mm f/1.4 and FD 50mm f/1.8

Lens Mount: Canon breech-lock mount.

Exposure Modes: Match-needle and stopped-down manual exposure. Shutter-priority AE possible by attaching AE Power Winder FN or AE Motor Drive FN and setting lens' aperture ring to "A." Aperture-priority AE and stopped-down AE possible by attaching AE Finder FN and setting shutter dial to "A." AE flash possible with specified Canon Speedlites.

Viewfinder: Interchangeable eye-level pentaprism as standard. 97% vertical and horizontal coverage of actual picture area with 0.8x magnification at infinity with a standard lens. Aperture scale with f/stops from f/1.2 to f/32, overexposure and underexposure warning marks, meter needle, aperture needle and battery check/stopped-down metering index are displayed to the right of the field of view. Shutter speed displayed below aperture scale. Speeds include 1/2000 to 1 sec, ↯ and "B" in green; full seconds of 2, 4 and 8 are in orange.

Viewfinder Illuminator: Provided; illuminates aperture scale and shutter speed for 16 seconds when meter mode selector is set to "LIGHT" and shutter button pressed half-way.

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

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

Focusing Screen: Standard split-image/microprism rangefinder. Twelve other types of interchangeable screens are optionally available.

Light Metering System: Through-the-lens (TTL) metering by silicon photocell (SPC). Metering area is determined by special optical element incorporated in each focusing screen. Center-weighted average, selective-area and spot metering are optionally available by changing the focusing screen.

Meter Coupling Range: EV -1 (4 sec. at f 1.4) to EV 20 (1/2000 sec. at f/22) with ISO 100 film and FD 50mm f/1.4 lens.

Exposure Preview: By pressing shutter button halfway.

Meter Mode: At "NORMAL," meter activated as long as shutter button is pressed half-way. At "HOLD," meter, once activated, stays on for 16 sec. At "LIGHT," meter, once activated, stays on for 16 secs. and viewfinder information is illuminated. Cancellation possible.

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

Shutter: Horizontal-travel, titanium focal-plane shutter with four spindles. Electromechanical hybrid control. Mechanically controlled at speeds from 1/2000 to 1/125 sec., "↯" (1/90 sec.) and B. Electronically controlled at speeds from 1/60 to 8 secs.

Mechanical Shutter Operation: By removing battery from battery chamber. Only mechanically controlled speeds can be used.

Mirror: Instant-return type with shock-absorbing mechanism.

ISO (ASA) Film Speed Scale: ISO 6-6400.

Shutter Dial: 1/2000 to 8 sec., "A" (for aperture-priority AE or stopped-down AE with AE Finder FN), "B" (bulb) and "↯" (1/90 sec.). Shutter speeds from 1/2000 to 1 sec., "↯" and "B" are in white, 2 to 8 secs. in yellow and "A" is in red.

Shutter Button: Two-step button with electromagnetic release. Mechanical release when battery is removed from the camera. Pressing it halfway activates meter circuit, pressing it fully releases the shutter. Can be locked by setting self-timer/lock lever to "L." With cable release socket.

Self-timer/Lock Lever: Three positions: "A," "L," and "S." At "L," the shutter button is locked as a safety feature. "S" position is for self-timer operation.

Self-timer: Electronically controlled. Self-timer/lock lever set to "S." Activated by pressing shutter button. Ten-second delay with electronic "beep-beep" sound. Number of beeps emitted per second increases two seconds before shutter release. Cancellation possible.

Stop-down Slide: For depth-of-field preview or stopped-down metering.

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

Battery Check: By pressing battery check button. Battery power is sufficient if the meter needle registers above the battery check index.

Cancellation of Camera Circuit: By pressing battery check button. Cancels shutter operation, self-timer operation, meter reading and viewfinder illumination.

Multiple Exposure: Possible by engaging rewind lever before winding film advance lever to recock the shutter. Cancelled by lightly pressing shutter button.

Flash Synchronization: Speeds up to 1/90 sec. with electronic flash; FP- and M-sync at 1/30 sec. or slower. Direct contact at accessory shoe for hot-shoe flash. Threaded PC socket (JIS-B type) for cord-type flash or multiple flash photography. Accessory shoe has contact for normal automatic flash and special contact for AE flash with specified Canon Speedlites.

Automatic Flash: New Canon Auto Tuning System (New CATS) with specified Canon Speedlites. Shutter speed is automatically set to 1/90 sec. with shutter dial at any setting except B. Meter needle indicates auto working aperture in the viewfinder as soon as Speedlite's pilot lamp glows. Aperture controlled automatically when AE Power Winder FN or AE Motor Drive FN is attached and lens' aperture ring set to "A" mark.

Slow-Sync Flash Photography: Possible with Speedlites 199A, 533G and 577G. Flash synchronizes with shutter speed set at slow settings from 1/60 to 8 secs. Camera switches automatically to 1/90 sec. when shutter dial is set from 1/2000 to 1 125 sec. or "↯"

Camera Back: Opened by pressing safety stopper while pulling up rewind knob. Removable for attaching Data Back FN or Film Chamber FN-100. With memo holder.

Film Loading: Via multi-slot take-up spool.

Film Advance Lever: Single-stroke 139° throw with 30° stand-off. Ratchet winding possible.

Frame Counter: Additive type. Automatically resets to "S" upon opening camera back. Advances during multiple exposures.

Film Rewinding: By turning rewind lever clock-wise and pressing it down and turning rewind crank. Rewind lever automatically resets when camera back is opened and when shutter button is lightly pressed.

Other Safety Devices: Camera will not function when power level is insufficient or when lens' aperture ring is set to "A" and the power winder or motor drive is not attached. Film winding impossible while shutter is in operation.

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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.