Canonflex RM

35mm MF film SLR camera

Canonflex RM

Specification

Production details:
Announced:April 1962
System: Canon R (1959)
Format:
Maximum format:35mm full frame
Film type:135 cartridge-loaded film
Mount and Flange focal distance:Canon R [42mm]
Shutter:
Type:Focal-plane
Model:Mechanical
Speeds:1 - 1/1000 + B
Exposure:
Exposure metering:Through the separate window
Exposure modes:Manual
Physical characteristics:
Weight:940g
Dimensions:145x92x47mm

Manufacturer description #1

Lens: Super Canonmatic Lens R 50mm F 1.8 with completely automatic pre-set aperture and various interchangeable lenses from 35mm to 1000mm.

Shutter: Single pivot standard non-revolving shutter dial. Focal plane type.

Dial: 1/1000 - 1 second, B, (X).

Built-In Exposure Meter: Match-needle type coupled to shutter dial.

Exposure Meter Operating Range: Takes readings from indoors to bright snow or summer beach conditions. (LV6-17 for ASA 100 film.)

Sensitivity: ASA 10, 16, 32, 50, 100, 200, 400 and 800 are marked, or corresponding DIN sensitivity.

Viewfinder: Upright image eye-level viewfinder using Pentagonal Dach Prism. Canon Waist-Level Viewer Model 2, which has a high quality optical system providing edge-to-edge sharpness, can be attached.

Focusing Glass: Highly efficient in resolving power with special Fresnel lens system and built-in split-image rangefinder.

Mirror: Quick return, shock-proof type.

Flash synchronization: Canon's exclusive direct socket takes Canon Flash Unit V-2. Has built-in automatic time lag adjustor, and also takes standard flash connection.

Self-Timer: Built-in type. Self-timer for delayed action can be released only by shutter button.

Film Counter: Self-resetting type.

Film Loading: Back cover opening type. Uses both exclusive Canon Magazine V and standard cassette. One-operation mechanism for back cover lacking and Canon Magazine V opening.

Film Rewind: Push-button for clutch release. Rewind crank type. The push-button resets to advance position automatically when winding lever is wound.

***

SUPER CANOMATIC MECHANISM THAT MOVES AS QUICKLY AS THE WINK OF AN EYE

WORLD'S MOST ADVANCED COMPLETE AUTOMATIC OPERATION RESETS MIRROR IN 1/15 SEC.

When the shutter button is pressed down... The mirror springs up, the diaphragm closes down to the pre-selected aperture stop and the shutter clicks, the mirror drops back down and the diaphragm reopens to full aperture, the viewfinder once again becomes bright.

The greatest feature of Canonflex RM is in its special mechanism which allows these 5 movements to be completed while your viewfinder winks its eye once. Thus, the Super Canomatic is a mechanism which, by the movements of the completely automatic pre-set diaphragm and the quick-return mirror, almost eliminates the blackout of viewfinder image in relation to the image retentive power of the eye. Therefore, it immediately satisfies the need to recheck the subject after the picture is taken.

SUPER CANOMATIC DIAPHRAGM

The Super Canomatic Diaphragm has an automatic mechanism which closes the lens to the pre-selected aperture stop for only that moment while the picture is being taken and then reopens to full aperture instantly. Thus, viewing and focusing before and after the exposure can be done with full aperture brightness.

The automatic diaphragm leaves can be freely moved by the manually-operated aperture ring.

Another exclusive feature is this complete manual aperture control which has the full advantage of preview and fixed aperture shootings, unlike a skelton device for mere preview. Manual aperture setting enables true focusing and composition. In either case, aperture ring setting, one not in use, should be set at full aperture to give the best advantage of the system.

IDEAL SHOCK-PROOF, QUICK RETURN MIRROR

The mirror of Canonflex RM is of the flawless quick-return type which returns to its original position immediately after exposure. For this reason, it has the special characteristic of always seeing the proper focusing.

In addition, the action of the governor absorbs all shocks during the movement of the mirror. This safety mechanism protects the unique Canon Mirror.

Smooth shutter and quiet operation: There is no worry of any movement of the camera itself with this smooth and light shutter. Its quietness is another outstanding feature among the single-lens reflex cameras.

SUPER CANOMATIC WINDING MECHANISM

Winding is accomplished with the 120 deg. revolving winding lever. The film, shutter, mirror and automatic diaphragm are all charged at the same time, and the Super Canomatic mechanism is ready for operation at the push of the shutter button.

COUPLED BUILT-IN METER AND SHUTTER

The workings of the Canonflex RM are controlled by the Super Canomatic mechanism. Of equal importance, however, is the built-in exposure meter. This is a unique feature in the high-quality 35mm camera following the Canon Camera Model 7.

COUPLED SHUTTER DIAL

The built-in exposure meter is the highly reliable Canon meter. It is of the match-needle type which is coupled to the shutter dial, and together with the small viewfinder pentaprism is compactly assembled. It is precision-built, very durable and has superior controlling functions. The range is from a well-lit room to bright snow and summer beach lighting conditions.

In terms of the Light Value System, it is LV6-17 for ASA 100 film. LV6 is equivalent to 1/30 second at F 1.4.

Only one operation is necessary

By only aiming the camera toward the subject, turning the shutter dial and setting the indicator to the pre-set aperture scale dial reading, the correct exposure can be automatically obtained. In this way, it is of extremely great advantage, especially when using color film which demands the absolutely exact exposure, as the troublesome determination of the exposure can be accomplished with ease.

CANONFLEX RM SHUTTER

The mechanism of the focal plane shutter, which is represen-tative, both historically and technically, of all Canon cameras, including the highest class Canon Camera Model 7, is also used in the Canonflex RM. Thus, the highest degree of stability, uniformity and precision is assured.

The shutter speed dial, coupled to the exposure meter, is of the single-pivot, click-stop type with equally spaced graduations. Its speed ranges from 1 to 1/1000th second, plus B and X points. (X point corresponds to 1/60 second.)

The two small windows on the dial are the ASA and DIN film speed indicators. They can be set by lifting and then turning the shutter dial.

CANONFLEX RM'S ADVANCED VIEWFINDER

What You See Is What You Will Have On Film

This Canonflex RM viewfinder was perfected after a search for a viewfinder with the same precision as the double image aligned focusing system of the rangefinder. Its brightness and accuracy, therefore, leaves nothing to be desired. Furthermore, as the result of strict inspections conducted not only on the optical system, but also on all mechanical parts, including the lens mount for the interchangeable lenses, this single lens reflex camera has the highest efficiency.

The pentaprism used is very small in size, but its outstanding performance can be instantly seen when looking through the viewfinder. Magnification 0.8X with 50mm F 1.8 attached, 0.9X with 58mm F 1.2 attached.

TRUE-TO-LIFE EYE-LEVEL VIEWFINDER

Using the pentaprism, the subject will appear in true dimension in the viewfinder. The entire view seen through the viewfinder will be faithfully recorded on the film.

FOCUSING GLASS WITH EDGE-TO-EDGE BRIGHTNESS

The finely ground, specially processed focusing glass has high resolving power, and its image is extremely clear.

Moreover, it is backed up with a high-condensing Fresnel lens which enables clear visibility all around the edges of the focusing glass and the whole view can be seen with exact uniformity.

FIELD-OF-VIEW WITH NO PARALLAX ERROR

The dimensions of the field-of-view seen through the viewfinder is that of a standard 22 X 34mm color slide frame.

Since the image seen through the viewfinder and the picture recorded on the film will be exactly the same there is no need to worry about any parallax error, and the total field-of-view can be used freely to compose the picture.

This means that during focusing there will be no chance of overlooking any delicate changes in size, range, dimension, and there will be the additional advantage of being able to study the view right up to the very last moment in order to obtain the best photographic effects. In this case, the manual aperture ring will be useful in checking the depth of field.

LIGHTING CAN BE DETERMINED THROUGH THE VIEWFINDER

The position of the camera will determine whether the best use of the lighting effects is being made or whether the lighting is nullified completely. Also, any slight change in the camera angle will affect the final picture. However, with Canonflex RM there are none of these worries.

In this sense, professional photographers give high praise to Canonflex RM, especially when taking color pictures which cannot be trimmed. Canonflex RM will surely surpass all your expectations as an exclusive camera for portrait pictures.

PRECISE FOCAL ADJUSTMENT & SPLIT IMAGE

The split image focusing mechanism located in the center portion of the focusing glass, makes possible, as does the coupled rangefinder, very speedy focusing. It is very convenient as there is less serious blacking out even when the aperture is stopped down considerably.

The split image in the Canonflex RM is made up of Echelette grating arranged in reverse order within a circle of 5mm in diameter (grating of right angle prisms cut into many small pieces and lined up).

ATTACHMENT OF THE WAIST-LEVEL VIEWER

This Waist-Level Viewer Model 2 is provided for those desiring to take pictures with a Canonflex RM from a low position, or for copying or microphotography. It need only be inserted into the eyepiece when using.

CANONFLEX RM INTERCHANGEABLE LENSES

The world-famous Canon optical engineering staff have made 14 different kinds of interchangeable lenses for Canonflex RM, ranging from the 35mm wide-angle to the 1,000mm extra-long-telephoto lens. Moreover, there is the additional advantage that the standard screw mount lenses can be used on Canonflex RM in conjunction with Canon Lens Mount Converter A for close-up shots. Thus, in succession to Canon Camera Model 7 the photographic field has been further widened. It can be said that the Canon System has scored another technical achievement here. Also, the resolving power of all Canon lenses is superb and there are very few equivalent lenses to be found anywhere else.

Canon lenses are outstanding for their ability to bring out harmony in color photography. Among them, the telephoto lens, which utilizes the functions of the single-lens reflex camera to its maximum, has an irresistible appeal for photographers, professional artists and newsmen. The 85mm to 200mm telephoto lenses, which have an extremely natural perspective for portrait photography, and the extra-long-telephoto lens, which boasts a uniquely clear view for use in gathering news material, are among the best.

1. SUPER CANOMATIC LENS R

A lens with an automatically-operated diaphragm which operates as quickly as the wink of an eye, together with a full manual control for preview and fixed aperture photography. Lenses are available from 35mm to 135mm.

2. CANOMATIC LENS R

A semi-automatic focusing lens in which the lens aperture is closed down by shutter release and is opened back fully by operation of the charge ring.

3. PRE-SET LENS R

A manually-operated pre-set aperture lens is provided with a long focal lens.

4. EXTRA-LONG TELEPHOTO LENS R SET WITH MANUAL APERTURE SYSTEM

Each with tripod socket, lens supporter, lens intermediate tube, Bellows R, lens hood, and metal carrying case.

FLASH SYNCHRONIZATION

The folding type Canon Flash Unit V-2, with revolving head, is attached to the socket without any conventional cord. When the flash is to be used away from the camera, it can be actuated by means of the Extension Cord Va (15 ft.) or Vb (3 ft.).

SYNCHRONIZING RANGE OF FLASH

FP-Class Bulb: 1/1000-1sec. (excluding 1/60•1/30 seconds).

M-Class Bulb: 1/250-1sec. (excluding 1/60•1/30 seconds).

F-Class Bulb: 1/30-1sec.

Speedlight: 1/60-1sec.

When taking flash pictures just set the shutter dial. There is no need to make any adjustments for the time lag.

FILM COUNTER

When the back cover is opened this counter will automatically return to starting position. The numbers can be read through the magnifier.

SELF-TIMER

A built-in self-timer lever which operates with the shutter button. Maximum delay time is approximately 10 seconds.

REWIND CRANK

The exposed film can be quickly rewound back into the magazine. The rewind button on the bottom releases the clutch of the sprocket.

SINGLE-ACTION HINGED-BACK COVER

Film loading and the interior of the camera can be checked readily. The film plane is held securely in place and film curling is prevented.

USE OF EXCLUSIVE AGAZINE POSSIBLE

Besides the standard cassette, the use of the exclusive type film magazine Canon Magazine V is recommended. The film surface will not become scratched because the mouth of the magazine will open automatically when loaded in the camera. A few extras will be handy on extended trips.

Manufacturer description #2

Canonflex RM is a single-lens relex camera that ranks among the top level cameras of the world. With its precision mechanism, comparable to the deluxe Canon 7 range-viewfinder type dream camera, it is creating a sensation in the camera world.

The well-known Super Canonmatic mechanism with focal plane shutter is a unique product developed by Canon after long years of research and is a perfection of the optical techniques which produced the superb interchangeable lenses.

In the field of the single-lens reflex camera there are a number of interchangeable lenses which faithfully reproduce what is seen through the viewfinder and which also allow on abundant variety of expression. You will enjoy photography when you use a Canon camera.

Manufacturer description #3

Although this camera belongs to the Canonflex series, it was developed as an entirely different model.

Although it used the same body shell as the Canonflex, the pentaprism was set very low, giving the body a unique shape. The top cover looked high, and the film advance lever fitted stylishly into a slot on the top cover. Coupled to the large shutter speed dial was the built-in selenium exposure meter which indicated the proper aperture. Following the Konica F in 1960, the Canonflex RM was Japan’s second SLR camera to feature a built-in exposure meter. The RM’s meter was based on the same concept as the Canon 7’s built-in meter. A built-in exposure meter was deemed as essential for taking good pictures.

From the Classic Camera magazine (May 1999)

The Canonflex RM, while keeping the same name and lens mount, was a new design, featuring a top plate mounted film advance lever, an internal, coupled light meter and a new design. There was no looking back. With this model, Canon aimed squarely at the amateur market. After two years in production, the Canonflex RM was replaced by the well known Canon FX model, which was the first to use the new camera-lens coupling that remained in production for over ten years, when the successful Canon FTb was announced. It was only ten years after the demise of the Canonflex R 2000, that Canon addressed the professional market again with the Canon F1, the success of which is in some measure due to the wisdom gained from the negative experience of the irreplaceable, but unlucky Canonflex product line.

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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.