More than just a camera lens database

LENS-DB.COM

Fujifilm X-H2

APS-C AF digital mirrorless camera

Specification

Production details:
Announced:September 2022
System:● Fujifilm X (2012)
Format:
Maximum format:APS-C
Imaging sensor:23.5 × 15.6mm X-Trans CMOS 5 HS sensor
Resolution:7728 × 5152 - 40 MP
Crop factor:1.53x
Sensor-shift image stabilization:Yes
Mount and Flange focal distance:Fujifilm X [17.7mm]
Shutter:
Type:Focal-plane
Model:Electronically controlled
Speeds:900 - 1/180000 + B
Exposure:
Exposure metering:Through-the-lens (TTL), open-aperture
Exposure modes:Programmed Auto
Aperture-priority Auto
Shutter-priority Auto
Manual
Physical characteristics:
Weight:579g
Dimensions:136.3x92.9x84.6mm

Manufacturer description

TOKYO, September 9, 2022 – FUJIFILM Corporation (President and CEO, Representative Director: Teiichi Goto) is pleased to announce the launch of the mirrorless digital camera “FUJIFILM X-H2” (X-H2) in late September. It is the latest addition to the lineup of the X Series of compact and lightweight cameras renowned for their outstanding image quality, delivered by Fujifilm’s proprietary color reproduction technology.

The X-H2 features the new back-illuminated 40.2MP “X-Trans™ CMOS 5 HR”*1 sensor and the high-speed “X-Processor 5.” This is a new flagship model boasting the highest image quality in the history of the X Series, capable of capturing high-resolution stills and high-definition 8K/30P video. It extends photographic and videographic coverage of the X Series further to cater to diverse user needs.

The X-H2 equips with the 40.2MP APS-C sensor, capable of producing stills and videos with outstanding high resolution, and offers the shutter speed as fast as 1/180000 sec and ISO125 as standard sensitivity, thus broadening the coverage of photographic categories. This is also the first X Series camera that provides the Pixel Shift Multi-Shot function to enable 4x higher image resolution and accurate color reproduction, as well as the Smooth Skin Effect to automatically re-touch skin which enables to produce 160MP images and portraits with smoothed skin. The use of AI-based Auto White Balance function supports to create high-quality images with ease.

The X-H2 is the first APS-C sensor camera*2 to support the recording of high-resolution 8K/30P video. It is packed with other features to facilitate high-quality video production in a variety of conditions, including the subject-detection AF to detect animals, birds, etc. with AI, as well as the five-axis in-body image stabilization (IBIS) mechanism that offers up to 7.0-stops*3 of image stabilization.

In July this year, Fujifilm introduced the FUJIFILM X-H2S (X-H2S), an X-Series flagship suited to photograph a moving subject with the ability to take up to 40 frames per second in blackout-free continuous-shooting*4. Developing a double-flagship structure by adding the X-H2 to the X-H2S, the company ensures to cater to all the shooting needs of professional photographers and videographers.

*1 X-Trans is a trademark or registered trademark of FUJIFILM Corporation.

*2 As of September 9, 2022 according to Fujifilm.

*3 When mounted with the FUJINON Lens XF35mmF1.4 R.

*4 High-speed continuous shooting free from the viewfinder blacking out, which prevents users from seeing the subject; This is only available when using the electronic shutter.

1. Product features

(1) Featuring the new X-Trans™ CMOS 5 HR sensor to produce the highest image quality in the history of the X Series

  • The X-H2 is equipped with the all-new back-illuminated 40.2MP “X-Trans™ CMOS 5 HR” sensor and updated image-processing algorithm to enhance image resolution without compromising the S/N level, producing the highest image quality in the history of the X series. The new sensor has an improved pixel structure to efficiently bring in a greater amount of light. This means ISO125 is available as a standard sensitivity. This is particularly beneficial during day-time outdoor shooting or to take advantage of fast lenses to produce bokeh.
  • The use of the new sensor and resulting ability to control exposure time at a greater precision have improved the fastest shutter speed for the electronic shutter by approximately 2.5 stops from the previous model’s*5 1/32000 sec to 1/180000 sec. This allows users to leave the aperture wide open in glary conditions such as a sunny beach or a ski slope, or to capture a split-second motion in studio and other locations.
  • This is the first X Series camera featuring the Pixel Shift Multi-Shot function, which quadruples image resolution and produces accurate color reproduction. The camera uses the IBIS mechanism to shift the image sensor at high precision to carry out automatic shooting of 20 frames in a single click of the shutter. The dedicated software “Pixel Shift Combiner” processes the captured frames to generate an image containing some 160 million pixels, which is perfect for commercial photography and digital archiving of cultural assets.
  • The Smooth Skin Effect which automatically smooths the skin tone is also featured for the first time in the X Series camera. It reduces post-processing workload required in portrait photography, etc., so that images can be finished at an advanced level of perfection much quicker than ever before.
  • Using the Deep Learning technology, Fujifilm has boosted the camera’s performance in Auto White Balance. The AI technology accurately identifies warm light-bulb color cast to adjust white balance for improved accuracy.
  • The X-H2 comes with 19 Film Simulation modes, including “Nostalgic Neg.,” characterized by high saturation and soft tonality. Users can use Film Simulation presets, designed for various subject types and scenes, as if they are choosing photographic films.
  • The camera supports the HEIF format, which enables recording images with a rich 10-bit color depth despite being 70% of the size of an equivalent JPEG file. It can store image data more efficiently while retaining advanced quality.

*5 Mirrorless digital camera “FUJIFILM X-T4.”

(2) Excellent video performance that caters to professional video production needs

  • This is the first X Series camera to support the recording of 8K/30P video in 4:2:2 10-bit. Featuring the heat-dissipating structure same as that of the X-H2S, this model iseis capable of recording 8K/30P video for approximately 160 minutes*6. It also supports the 4K HQ mode, i.e. 8K over-sampling to produce high-quality 4K video, making the maximum advantage of the high-resolution sensor to deliver images in superior image resolution.
  • X-H2 supports three Apple ProRes*7 codecs; ProRes 422 HQ, ProRes 422, and ProRes 422 LT. When recording ProRes, X-H2 also supports proxy recording such as ProRes 422 Proxy*8. This reduces 8K video’s editing workload and streamlines the overall workflow from filming to post-production.
  • The camera features the new digital zooming function*9 for use during video recording. Even when mounted with a prime lens, the camera can achieve up to 2x digital zoom without compromising image resolution. When the XF18-120mmF4 LM PZ WR, which supports power zoom, is mounted, the camera can deliver smooth zooming as it can seamlessly transition from optical zoom to digital zoom.
  • Combined with a compatible HDMI recording device, ATMOS NINJA V+*10 or Blackmagic Design’s Video Assist 12G*11, 12-bit RAW video output from X-H2 can be recorded as Apple ProRes RAW or Blackmagic RAW at resolutions and frame rates of up to 8K and 30 frames per second.
  • The X-H2 features F-Log2 for recording video in the expanded 13+ stop dynamic range for enriched tonality and adds freedom in post-production creativity.

*6 At the time of a cold start in the operating environment at 25℃, with the Auto Power Off Temperature set for “High,” H.265 4:2:0, Bitrate setting at 200Mbps, the vertical battery grip “VG-XH” attached and three batteries used. The recording time depends on the remaining level of battery charge and the type / capacity of memory card used. Note that the camera may automatically stop recording video when the body temperature rises beyond the threshold.

*7 Apple ProRes is a trademark of Apple Inc., registered in the United States and other countries.

*8 Not available in 8K/30P and 8K/25P.

*9 Available in the 4K HQ, 4K DCI HQ and FHD modes.

*10 An integrated monitor and recorder by ATOMOS.

*11 An integrated monitor and recorder by Blackmagic Design.

(3) Evolved AF performance that captures details accurately

  • The X-H2 is equipped with subject-detection AF, developed with Deep Learning technology. It uses AI to detect a variety of subjects including animals, birds, cars, motorcycles, bicycles, airplanes and trains. The system automatically tracks a subject while maintaining focus, so that users can concentrate on shutter opportunities and framing.
  • The new high-resolution sensor has an increased number of phase detection pixels, resulting in an improved ability to attain AF-S*12 focus on a subject with high-frequency subject such as animal fur and fine leaves. Users can easily autofocus accurately in situations where AF-S is typically used, such as landscape and portrait photography. The new camera also features an AF prediction algorithm, originally developed for the X-H2S, for stable focusing even in the AF-C*13 mode.
  • The magnification for the Focus Check function, in which the area to be focused can be enlarged in the AF/MF mode, has been doubled the previous model’s*5 up to 12 times. A focus meter has been newly added to assist manual focusing during video recording to enable focus adjustment with greater precision.
  • The video AF algorithm has been optimized to substantially improve AF accuracy during video recording. This gives users peace of mind when recording 8K video, which requires focusing of advanced accuracy.

*12 AF-S autofocuses on a subject when the shutter button is half-pressed, and keeps it locked once the focus is attained.

*13 AF-C continuously maintains focus on a subject within the focus area while the shutter button is half-pressed.

(4) Hardware that promises ease of operation to support users’ content creation

  • The X-H2 features a five-axis IBIS mechanism that offers up to 7.0-stops of image stabilization. Users can shoot hand-held even in low light conditions such as nightscape photography.
  • The X-H2 is equipped with a high-magnification and high-definition 5.76-million-dot EVF with 0.8x magnification. It suppresses parallax and distortion which typically occurs when an eye position becomes displaced while using the viewfinder for stellar visibility. It boasts smooth refresh frame rate of approx. 120fps to accurately identify a subject’s fast movements.
  • The X-H2 shares the same design features as the X-H2S such as an LCD display on the top panel that allows users to check settings at any time, a highly-robust body that withstands heavy professional use, the shutter button’s feel when it is half-pressed, adjustment to the feel of the AF ON button when it is pressed.
  • The camera has a standalone video-recording button and features a 1.62-million-dot vari-angle rear LCD monitor, which can be positioned in a range of angles to enable filming as intended.
  • The camera features dual memory card slots supporting CFexpress™ Type B*14 and SD cards. Use CFexpress™ Type B memory card, which has high-speed data writing capability, to draw out the full potential of X-H2’s video performance.*15
  • The X-H2 can be combined with the file transmitter “FT-XH” to enable wired and wireless LAN tethered video recording.*16 Up to four cameras*17 can be connected simultaneously to enable the following operations from a computer browser:
    • Checking and operating each camera’s settings
    • Simultaneously recording video on multiple cameras
    • Saving / loading / copying camera settings*18

*14 CFexpress is a trademark or registered trademark of the CompactFlash Association.

*15 See the Fujifilm website for a list of memory cards that have been verified to work with this camera.

*16 To use the remote recording function on the X-H2S, update the camera to the latest firmware.

*17 Available with the X-H2 and X-H2S.

*18 Each camera’s shooting settings can be saved on devices such as a computer and a tablet device. Shooting settings saved in such a device can be loaded or copied to a camera.

2. Optional accessories

(1) Vertical battery grip “VG-XH” (for X-H2 and X-H2S) (Available)

  • The vertical battery grip can load two of the high-capacity battery “NP-W235.” It is also dust and moisture resistant and operates at temperatures as low as -10℃ for advanced practical applications.
  • The grip features various buttons on convenient locations for vertical shooting to provide the same level of operability with horizontal shooting.

(2) File transmitter “FT-XH” (for X-H2 and X-H2S) (Due to be released in the middle of October)

  • This file transmitter features wired LAN connectivity and high-speed wireless communications capability, essential for in-studio tethered shooting or sports / media shooting. It can be also used as a vertical grip and fits two of the high-capacity battery “NP-W235.”
  • It can be combined with the X-H2 / X-H2S to support the following:
    • FTP transfer by wired LAN / wireless LAN / Smartphone tethering
    • Tethered shooting by wired LAN / wireless LAN
    • Remote Rec function by wired LAN / wireless LAN

(3) Cooling fan “FAN-001” (for X-H2 and X-H2S) (Available)

  • This cooling fan can be fitted to the rear panel of the camera body without a cable, supporting long hour shooting and video recording in a high temperature condition. The power can be supplied to the fan from the camera body.

(4) Cover kit “CVR-XH (for the X-H2 and X-H2S) (Available)

  • Items contained in the cover kit for protecting various terminals on the camera
    • 1 x Sync terminal cover
    • 1 x Hot shoe cover
    • 1 x File transmitter / vertical battery grip terminal cover
    • 1 x Cooling fan terminal cover
    • 1 x Memory card slot cover
Subscribe
Notify of
guest

Copy this code

and paste it here *

0 comments
Inline Feedbacks
View all comments
Table of contents
Clickable
Fujifilm X system cameras
Clickable

Copyright © 2012-2024 Evgenii Artemov. All rights reserved. Translation and/or reproduction of website materials in any form, including the Internet, is prohibited without the express written permission of the website owner.

Limitation of liability • Privacy policy • Contact • Donate

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.