More than just a camera lens database

LENS-DB.COM

Hasselblad 503CWD "Victor Hasselblad 100th Anniversary"

Medium format MF film SLR camera • Collectible

Specification

Production details:
Announced:March 2006
Production type:Small-batch production: 500 (five hundred) units
System:● Hasselblad V (1957)
Format:
Maximum format:Medium format 6x6
Film type:120 roll film
220 roll film
Mount and Flange focal distance:Hasselblad V [74.9mm]
Shutter:
Type:In-lens leaf shutter
Exposure:
Exposure metering:None
Exposure modes:Manual
Physical characteristics:
Weight:1620g
Dimensions:193x113x110mm

Manufacturer description #1

28/02/2006 - Hasselblad Celebrates Centenary of Founder’s Birth with Launch of Limited Edition Hasselblad 503CWD Digital Camera

In recognition of the centenary of Victor Hasselblad’s birth on 8th March 2006, Hasselblad today unveiled the Hasselblad 503CWD Anniversary Kit, a prestige high-end photographic system that offers state-of-the-art digital capture technology elegantly integrated with a classically designed Hasselblad 503CW body. 

Combining the rugged reliability of the black and chrome V System body, with its range of high performance, central shutter-based lenses, and Hasselblad’s latest digital technology, the exclusive Hasselblad 503CWD perfectly melds the heritage of the old Hasselblad with the focus of the new Hasselblad on digital high-end photography to create a new digital workhorse. Of undoubted appeal to the Hasselblad connoisseur, the camera delivers the perfect blend of versatility and simplicity in a compact, professional tool that gives the user complete control over digital image capture and is a pleasure to operate.

Christian Poulsen, CEO of Hasselblad, comments: “Hasselblad’s reputation for excellence and outstanding quality was built on the V System. Therefore the Hasselblad 503CWD – a truly professional tool that is fully compatible with the Hasselblad V system, offers great value for money, and is built to the same exacting standards that have become the signature of the Hasselblad company - is a fitting tribute to the design process that Victor Hasselblad started himself in the 1940s. Having been passionate about photography, Victor would also have loved the concept of digital photography, and in the 503CWD kit, with its stylish retro body and advanced digital capture technology offering the ideal balance of old and new Hasselblad, he would recognize the culmination of his own work.”

The 503CWD Anniversary kit will be supplied as a limited edition of 500 cameras, each one numbered and engraved with Victor Hasselblad’s signature. Reassuringly solid, the kit comprises the 503CWD integrated digital camera with waist-level viewfinder, specially marked focusing screen and chrome winding lever, a Zeiss Planar CFE 2.8/80mm lens, and a beautifully produced book marking Victor’s anniversary.

Not only does the Hasselblad 503CWD satisfy the aesthetic needs of V System fans, but it also boasts very advanced and, in some aspects, unique digital technology, such as Hasselblad Natural Color Solution, Instant Approval Architecture, and versatile storage and workflow, alongside files captured on a CCD 50% larger than a full frame 35mm DSLR.

Hasselblad Natural Color SolutionColor management solutions have in the past imposed limitations on professional digital photographers, because of the forced choice of a specific color profile to suit the job: for example, capturing various skin tones, metals, fabrics or flowers. To combat this, Hasselblad has developed the Hasselblad Natural Color Solution to be used with its FlexColor imaging software. Working with the powerful, new Hasselblad Natural Color Solution enables professional photographers to produce outstanding, reliable out-of-the-box colors, with skin tones, special product gradations, and other difficult colors accurately reproduced.

Instant Approval Architecture

Some of the potential benefits of capturing large numbers of images can be lost if the photographer cannot quickly review and select the best images to present to the client. Hasselblad’s Instant Approval Architecture (IAA) assists by labelling images according to technical parameters and allowing the photographer to downgrade visually poor images, having previewed them on the clear, bright OLED viewing screen. Sorting the red, amber or green flagged images is then very quick. Audible and visible signals facilitate the selection process by giving instant feedback during a shoot.

Three modes of operation and storage

Optimum portability and image storage are critical for the professional photographer. Hasselblad 503CWD offers a choice of the portable CF card storage, the flexible Imagebank, or the tethered operation with extended, special capture controls. With these three operating and storage options, the photographer is able to select a mode to suit the nature of the work at hand, whether in the studio or on location.

For the studio photographer, the most accurate colours and highest degree of control can be achieved by using 3F RAW (3FR), Hasselblad’s raw file format, in Hasselblad’s workflow software, FlexColor. The file format also includes lossless image compression, saving 33% of storage space. In tethered operation tools such as live video and overlay masking bring increased productivity to advanced set composition. The newest FlexColor version allows the photographer to manipulate color temperature and compare image details across multiple images for precise image selection. Alternatively the 3FR files can be converted directly into Adobe’s raw image format DNG (Digital NeGative), which can be opened directly in Adobe PhotoShop CS2.

New digital back, the CFV, also available

Hasselblad is also launching the CFV, a new digital back and the successor of the V96C back, for existing Hasselblad V System users. 

Built to match the design and functionality of the Hasselblad V System cameras, it can be easily and elegantly integrated into an existing Hasselblad system, enabling the photographer to work in exactly the same manner and with their preferred equipment, but with the productivity benefits of digital photography over film.

The Hasselblad 503CWD will be available from Hasselblad’s Digital Partners in March at a list price of 11,900 Euros, excluding VAT and the Hasselblad CFV will similarly be available at a list price of 8,990 Euros, excluding VAT.

Manufacturer description #2

Camera type: Single lens reflex camera with 6 x 6 cm (2 1⁄4 x 2 1⁄4 in) max. film size. Interchangeable lenses, film magazines, viewfinders, and focusing screens.

Design: Mechanical, with an aluminum alloy camera body shell cast in one piece.

Viewfinder: Folding focusing hood interchangeable with reflex viewfinder, prism viewfinders with or without built-in light meter, or magnifying hood.

Film advance: Manual advance or motor driven with Winder CW. Simultaneous shutter winding. Winder CW winding time: 1.05 s, approx. 0.8 frames/sec in continuous mode.

Flash control: TTL/OTF-metering. ISO 64−4000 with flash adaptors SCA390 for connection with flash units from the SCA 300 systems. Metering area within 40 mm diameter in the centre of the image area.

Tripod coupling: 1⁄4 in. and 3/8 in. socket threads and base plate for quick coupling attachment.

Focusing screen: Hasselblad Acute-Matte D focusing screen with sensor format markings.

Sensor size: 16 million pixels.

Sensor dimensions: 36.7 x 36.7 mm.

Lens factor with V camera: 1.5.

Shooting mode: single shot.

Multi shot upgrade: not available.

File format: Lossless compressed Hasselblad 3F RAW format (3FR) or 3F.

Capture rate: 35 frames per minute.

Image storage: CF card type II; 100 GB portable Imagebank; computer disk with tethered shooting mode.

Colour definition: 16 bit.

Dynamic range: 12 f-stop.

Color management: Hasselblad RGB; full dynamics; reproduction dynamics.

Color display: OLED type, 2.2 inch, 24 bit color.

IR filter: Mounted on CCD sensor.

ISO speed range: 50, 100, 200, 400.

Battery power: SONY InfoLithium L, up to 8 hours of shooting capacity.

Host connection: Firewire 800 (IEEE1394b).

Operating temperature: 0 – 45 deg. C / 32 – 113 deg F.

***

The year 2006 marks the centenary of Victor Hasselblad, the founder of the world famous Hasselblad camera. It is therefore fitting that in commemoration of this anniversary, a camera should be be dedicated to his memory and with links to the both the past and the future. The Hasselblad 503CWD is just that.

The Hasselblad 503 CW is an extremely popular model from the 500 series. Soon after it was launched it became the workhorse for so many photographers, professional and amateur alike. It is an all-rounder, being as easy to use on location as in the studio. Entry into the new millenium naturally offered the opportunity of digital capture. Even though the camera design is mechanical, the modular concept allows the integration of a digital back to secure the optimal combination.

There are many who prefer a more traditional design of camera while wishing to exploit the latest in technology and that is where the Hasselblad 503 CWD comes in. It offers the best from both worlds, mechanical and electronic.

Hasselblad is the choice of the world’s leading photographers, and the name is synonymous with compatability, reliability and image quality, reaching beyond the ends of the earth and into space.

The System

The Hasselblad 500 system is the most comprehensive medium-format photographic system in the world. It offers magazines for different image formats and films, viewfinders with or without exposure metering capabilities, a number of focusing screens to mention just a few items to suit your special requirements.

The Camera

The 503CWD features the sophisticated GMS (Gliding Mirror System) which provides a full viewfinder image with virtually all Hasselblad ‘C’ lenses. The bright viewfinder image is further enhanced by the improved focusing screen from the brilliant 'Acute-Matte D' range. The completely mechanical camera body boasts a one-piece aluminium alloy construction for serious work. The Winder CW, specifically designed for the 503CW models, provides fast sequential photography and various choices of remote control, including IR. Altogether, a winning combination for professional or dedicated amateur use.

The Lenses

You have access to the whole range of Hasselblad ‘C’ series lenses both old and new. Lenses are specially manufactured for Hasselblad by Carl Zeiss of Germany − the indisputable leader in camera optics. The Hasselblad specifications of these lenses exceeds the demands made by digital capture to ensure the optimum in performance whatever the chosen medium. The Hasselblad V system features more than a dozen different lenses, as well as 1.4x and 2x teleconverters. The integral shutter feature combines with the TTL/OTF facility to provide tremendous flash freedom.

The Digital Back

The 16 Mpix based digital back is custom built to fit the design and functionality of Hasselblad V cameras with its range of high performance, leaf-shutter based lenses. However, it can also fit onto view cameras using the V-system interface plate for mechanical attachment and flash sync connection to trigger the digital capture for optimum compatibility and economy. It provides both cable free and computer tethered options to suit all types of work. The back offers an ultra high level of integration, image quality and flexibility to the specialist professional photographer or highend amateur user.

Instant Approval Architecture: Limitless digital image capture loses some of its potential if the photographer cannot quickly review and select the best image. Building on the success of its Audio Exposure Feedback technology, Hasselblad has created Instant Approval Architecture (IAA), an enhanced set of feedback tools, designed to liberate the photographer to focus on the shoot rather than the selection process. IAA triggers audible and visible signals for each image captured, telling the photographer immediately whether the image has a red, yellow or green light status. The information is recorded both in the file and in the file name, providing a quick and easy way to classify and select images, in the field or in the lab. A larger, enhanced OLED display provides a realistic, high quality and perfect contrast image view, even in bright sunlight, to allow instant on-site image approval. IAA is a Hasselblad trademark and is patent pending.

Large format digital capture: Today’s photographers demand higher resolution, less noise, and improved flexibility, all of which the 503CWD addresses. The 503CWD uses an optical format allowing for digital capture with sensors more than twice the physical size of today’s 35mm sensors. The sensor can therefore hold more and larger pixels, which secure a high-end image quality in terms of moiré free color rendering without gradation break-ups in even the finest lit surfaces.

“Instant” user interface: The 503CWD is operated with a straight forward user interface with a series of “instant” one-button-click operations including: instant capture, instant browse, instant approval, instant zoom, and instant image info.

Three modes of operation and storage: Optimum portability and image storage are critical for the professional photographer. 503CWD offers a choice of portable CF card storage, flexible FireWire drive, or tethered operation with extended, special capture controls. With these three operating and storage options, the photographer is able to select a mode to suit the nature of the work at hand, whether in the studio or on location.

Hasselblad 3F RAW files: Hasselblad 3F image raw files carry full sets of metadata, including capture conditions, keywords and copyright, facilitating work with image asset management solutions. The files also define the colours in the Hasselblad RGB colour space, removing the need for experimenting with different colour profiles to get optimal colours and the need for selective colour corrections.

From the editor

A special limited edition Hasselblad 503CW camera released in 500 units in 2006 to commemorate the 100th anniversary of the birth of Victor Hasselbad. Each camera was numbered and engraved with Victor Hasselblad’s signature. Each camera was supplied in a kit consisting of the 503CWD integrated digital camera with waist-level viewfinder, specially marked focusing screen and chrome winding lever, a Carl Zeiss Planar 80mm F/2.8 CFE lens, and a book marking Victor’s anniversary.

Dimensions are indicated for the complete camera with the 80mm Planar CFE lens. The weight is indicated excluding battery and CF card.

Subscribe
Notify of
guest

Copy this code

and paste it here *

0 comments
Inline Feedbacks
View all comments
Table of contents
Clickable
Instruction manual
Clickable
Hasselblad V 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.