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Hasselblad 907X 50c Special Edition
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Hasselblad X system cameras

Hasselblad 907X 50c Special Edition

Medium format AF digital mirrorless camera • Discontinued • Collectible

Specification

Format:
Medium format 44x33
Imaging sensor:
43.8 × 23.9mm CMOS sensor
Resolution:
8272 × 6200 - 51 MP
Sensor-shift image stabilization:
-
Hasselblad X [18.14mm]
Shutter:
Type:
In-lens leaf shutter
Exposure:
Exposure metering:
Through-the-lens (TTL), open-aperture
Exposure modes:
Programmed Auto
Aperture-priority Auto
Shutter-priority Auto
Manual
Physical characteristics:
Weight:
845g
Dimensions:
102x93x84mm

Manufacturer description #1

2019-07-18 - HASSELBLAD LAUNCHES THE 907X SPECIAL EDITION TO CELEBRATE 50 YEARS ON THE MOON

Commemorating the 50th anniversary of the historic Apollo 11 moon landing, Hasselblad proudly celebrates its role as the cameras chosen by NASA for space photography, and even more so, the cameras that documented the historical moment of the first humans on the Moon. In honour of this momentous occasion, Hasselblad launches the limited 907X Special Edition, which includes the 907X camera body and CFV II 50C digital back, both in matte black with commemorative “On the Moon Since 1969” anniversary text.

Considered one of the most iconic moments in history is the 1969 Apollo 11 mission to the Moon – an event so extraordinary that saw the first humans step off our planet and onto another celestial body. Taken down to the lunar surface, attached to astronaut Armstrong’s chest, was a silver Hasselblad Data Camera (HDC) fitted with a Zeiss Biogon 60mm ƒ/5,6 lens and 70mm film magazine which had never actually been tested in space before. A second black Hasselblad Electric Camera (HEC) with a Zeiss Planar 80mm ƒ/2,8 lens was used to shoot from inside the Eagle lunar module. A third black HEC was used by astronaut Michael Collins aboard the Command Module Columbia in lunar orbit. Standing up against the intense temperatures and lack of gravity in space, the Hasselblad cameras captured this once in a lifetime moment flawlessly, letting the rest of Earth see what astronauts Aldrin and Armstrong experienced on the Moon. The resulting images taken with the HDC and HEC have not only provided scientific insight but have proven to be legendary marvels recognized the world over. It was the HEC used by Collins that was taken back to Earth, while the HDC and HEC used on the lunar surface and lunar module were left on the Moon to meet narrow weight margins for successful return. As far as we know, they’ve been on the Moon since 1969. Hasselblad proudly celebrates being the camera that documented the historic Moon landing with the 907X Special Edition. The limited-edition kit includes the 907X camera body and CFV II 50C digital back, both in matte black, just as the HEC that made it back to Earth. On the digital back is the text “On the Moon Since 1969”, commemorating the HDC and HEC left behind on the lunar surface fifty years ago. Together, the 907X and CFV II 50C connect Hasselblad’s photographic history into one system. Coupling the CFV II 50C with Hasselblad’s smallest medium format camera body ever, the 907X, creates a highly compact mirrorless digital camera. This combination offers a truly distinct photographic experience, including the classic waist-level shooting style of the V System enabled by the CFV II 50C’s tilt screen. With the 907X attached to the CFV II 50C, the photographer gains access to all the high-quality XCD Lenses, providing autofocus and electronic exposure control. Coupled with the XH Adapter, all HC/HCD Lenses can be used on the 907X, along with XPan and V System Lenses in electronic shutter mode with the XPan and XV Lens Adapters, respectively. In addition, the 907X enables compatibility with a wide range of third-party adapters and lenses in electronic shutter mode. Reminiscent of the classic V System film magazine design, the modern CFV II 50C also works as a stand-alone digital back. Compatible with most V System cameras made from 1957 and onwards, the CFV II 50C can also be used on third party technical or view cameras.

Key features of the 907X Special Edition include:

  • Large medium format 50MP CMOS sensor
  • Up to 14 stops of dynamic range
  • Captures 16-bit RAW images and full resolution JPEGs
  • High-resolution 3.0-inch 920K dot touch and tilt screen
  • Smooth live view experience with a high frame rate of 60fps
  • Focus peaking, enabling more accurate focusing (especially advantageous on the manual-focused V System cameras)
  • Intuitive user interface with swipe and pinch touch controls
  • Internal battery slot with the option to recharge in-camera via the USB-C port (same battery used on the X System)
  • Dual UHS-II SD card slots
  • Integrated Wi-Fi and USB-C connection
  • Portable workflow with Phocus Mobile 2 support

Continuing the celebration, Hasselblad releases a limited edition 50 Years on the Moon merchandise collection, including posters, t-shirts, patches and stickers that commemorate this historical anniversary.

Manufacturer description #2

On 20 July 1969, Astronauts Aldrin and Armstrong successfully landed on our lunar surface, becoming the first humans to step foot on the Moon. Apollo 11 was not only a huge milestone for NASA and space exploration but was also a defining moment for Hasselblad as the camera chosen to document this historic mission. Standing up against the intense temperatures and lack of gravity in space, the Hasselblad cameras captured this once in a lifetime moment flawlessly, letting the rest of Earth see what astronauts Aldrin and Armstrong experienced on the Moon. As the camera makers who enabled the capture of the iconic, legendary Moon landing photographs, we commemorate the 50th anniversary with the 907X Special Edition.

The limited-edition 907X Special Edition celebrates the anniversary of the first Moon landing and the Hasselblad cameras that documented this historic event, which were left behind on the lunar surface fifty years ago. The three cameras taken on the mission were a silver Hasselblad Data Camera (HDC), a black Hasselblad Electric Camera (HEC), and a third black HEC – the first camera was used by Astronaut Armstrong to shoot on the lunar surface, the second used from inside the Eagle lunar module, and the third used by Astronaut Michael Collins aboard the Command Module Columbia in lunar orbit. The HEC used by Collins was the one camera of the three that was brought back to Earth from the Apollo 11 mission.

The 907X Special Edition includes the 907X camera body and CFV II 50C digital back, both in matte black, just like the HEC used by Collins that made it back to Earth. On the digital back is the text “On the Moon Since 1969”, commemorating the HDC and HEC left behind on the lunar surface fifty years ago. Together, the 907X and CFV II 50C connect Hasselblad’s photographic history into one system. Photographers can then add any of Hasselblad's XCD lenses (sold separately) or support to V, H, or XPan systems through available lens adapters. The XCD 45 shown is not included with the 907X Special Edition.

Hasselblad’s smallest medium format camera body ever weighing in at only 206g, the 907X is extremely thin, lightweight and built to smoothly combine with the CFV II 50C, creating a highly compact photographic package. Connecting the 907X with the CFV II 50C enables shooting with a wide range of Hasselblad optics, including all XCD Lenses and all HC/HCD, V System and XPan Lenses via adapters.

The CFV II 50C digital back features a brilliant 50-megapixel CMOS medium format sensor, individually calibrated for excellent performance, with outstanding colour depth, a huge dynamic range of 14 stops and the ability to capture full size in-camera JPEG images. Hasselblad Natural Colour Solution technology is integrated into the camera’s system, delivering superb, true-to-life tones that match what the human eye sees. Ergonomically enhanced from the previous model, the CFV II 50C now has a touch and tilt rear display in addition to an internal battery slot, making it an even sleeker package. Also used as a stand-alone back, the CFV II 50C is compatible with most V System cameras from 1957 and onwards in addition to technical and view cameras.

The CFV II 50C celebrates Hasselblad’s design-centric heritage with its timeless look featuring a similar form factor as the original V System film magazines, but in matte black like the HEC that made it back Earth. Coupling the digital back with Hasselblad’s smallest medium format camera body ever, the 907X, creates a very sleek, compact package. Combining modern technology with classic aesthetics reminiscent of the Hasselblad SWC camera, the CFV II 50C and 907X give a nod to Hasselblad’s history combined with its renowned image quality.

The CFV II 50C digital back can be paired with most Hasselblad V System cameras made from 1957 and onwards in addition to technical cameras, making it easy to combine analog and digital shooting. When combined with the 907X camera body, the photographer gains access to the entire XCD Lens range, providing autofocus and autoexposure. Unlike the previous CFV models, which are limited in terms of real wide-angle options, the CFV II 50C and 907X combination give access to excellent wide-angle lenses including the XCD 21 and 30. This combination becomes very reminiscent of the Hasselblad SWC camera, but with interchangeable lenses. All HC/HCD, V System, and XPan Lenses can also be used when coupled with the XH Adapter, XV Adapter, and XPan Lens Adapter, respectively. To broaden the spectrum of lens options even more, the 907X enables compatibility with a wide range of third-party adapters and lenses.

The CFV II 50C’s modern tilt screen features an intuitive touch interface with swipe and pinch-to-zoom options when image browsing. A high frame rate of 60fps enables a smooth live view through the digital display. Thanks to the high-resolution screen and improved live view, including focus peaking, more accurate focusing is made possible, which is especially advantageous on the manual-focused V System cameras.

The CFV II 50C is supported by Hasselblad’s Phocus software, allowing for the superb excellence in post-production, including lens corrections for most V System Lenses. A USB-C port enables seamless connectivity to your computer, iPad, or iPhone and built-in Wi-Fi to your iPad or iPhone, creating a smooth photographic workflow with wireless or tethered image export and tethered shooting. Dual UHS-II SD card slots ensure optimal storage space or the option to back up images to a second card when shooting. The CFV II 50C also allows for in-camera battery charging via a USB port.

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Chromatic aberration

There are two kinds of chromatic aberration: longitudinal and lateral. Longitudinal chromatic aberration is a variation in location of the image plane with changes in wave lengths. It produces the image point surrounded by different colors which result in a blurred image in black-and-white pictures. Lateral chromatic aberration is a variation in image size or magnification with wave length. This aberration does not appear at axial image points but toward the surrounding area, proportional to the distance from the center of the image field. Stopping down the lens has only a limited effect on these aberrations.

Spherical aberration

Spherical aberration is caused because the lens is round and the film or image sensor is flat. Light entering the edge of the lens is more severely refracted than light entering the center of the lens. This results in a blurred image, and also causes flare (non-image forming internal reflections). Stopping down the lens minimizes spherical aberration and flare, but introduces diffraction.

Astigmatism

Astigmatism in a lens causes a point in the subject to be reproduced as a line in the image. The effect becomes worse towards the corner of the image. Stopping down the lens has very little effect.

Coma

Coma in a lens causes a circular shape in the subject to be reproduced as an oval shape in the image. Stopping down the lens has almost no effect.

Curvature of field

Curvature of field is the inability of a lens to produce a flat image of a flat subject. The image is formed instead on a curved surface. If the center of the image is in focus, the edges are out of focus and vice versa. Stopping down the lens has a limited effect.

Distortion

Distortion is the inability of a lens to capture lines as straight across the entire image area. Barrel distortion causes straight lines at the edges of the frame to bow toward the center of the image, producing a barrel shape. Pincushion distortion causes straight lines at the edges of the frame to curve in toward the lens axis. Distortion, whether barrel or pincushion type, is caused by differences in magnification; stopping down the lens has no effect at all.

The term "distortion" is also sometimes used instead of the term "aberration". In this case, other types of optical aberrations may also be meant, not necessarily geometric distortion.

Diffraction

Classically, light is thought of as always traveling in straight lines, but in reality, light waves tend to bend around nearby barriers, spreading out in the process. This phenomenon is known as diffraction and occurs when a light wave passes by a corner or through an opening. Diffraction plays a paramount role in limiting the resolving power of any lens.

Doublet

Doublet is a lens design comprised of two elements grouped together. Sometimes the two elements are cemented together, and other times they are separated by an air gap. Examples of this type of lens include achromatic close-up lenses.

Dynamic range

Dynamic range is the maximum range of tones, from darkest shadows to brightest highlights, that can be produced by a device or perceived in an image. Also called tonal range.

Resolving power

Resolving power is the ability of a lens, photographic emulsion or imaging sensor to distinguish fine detail. Resolving power is expressed in terms of lines per millimeter that are distinctly recorded in the final image.

Vignetting

Vignetting is the darkening of the corners of an image relative to the center of the image. There are three types of vignetting: optical, mechanical, and natural vignetting.

Optical vignetting is caused by the physical dimensions of a multi-element lens. Rear elements are shaded by elements in front of them, which reduces the effective lens opening for off-axis incident light. The result is a gradual decrease of the light intensity towards the image periphery. Optical vignetting is sensitive to the aperture and can be completely cured by stopping down the lens. Two or three stops are usually sufficient.

Mechanical vignetting occurs when light beams are partially blocked by external objects such as thick or stacked filters, secondary lenses, and improper lens hoods.

Natural vignetting (also known as natural illumination falloff) is not due to the blocking of light rays. The falloff is approximated by the "cosine fourth" law of illumination falloff. Wide-angle rangefinder designs are particularly prone to natural vignetting. Stopping down the lens cannot cure it.

Flare

Bright shapes or lack of contrast caused when light is scattered by the surface of the lens or reflected off the interior surfaces of the lens barrel. This is most often seen when the lens is pointed toward the sun or another bright light source. Flare can be minimized by using anti-reflection coatings, light baffles, or a lens hood.

Ghosting

Glowing patches of light that appear in a photograph due to lens flare.

Retrofocus design

Design with negative lens group(s) positioned in front of the diaphragm and positive lens group(s) positioned at the rear of the diaphragm. This provides a short focal length with a long back focus or lens-to-film distance, allowing for movement of the reflex mirror in SLR cameras. Sometimes called an inverted telephoto lens.

Anastigmat

A photographic lens completely corrected for the three main optical aberrations: spherical aberration, coma, and astigmatism.

By the mid-20th century, the vast majority of lenses were close to being anastigmatic, so most manufacturers stopped including this characteristic in lens names and/or descriptions and focused on advertising other features (anti-reflection coating, for example).

Rectilinear design

Design that does not introduce significant distortion, especially ultra-wide angle lenses that preserve straight lines and do not curve them (unlike a fisheye lens, for instance).

Focus shift

A change in the position of the plane of optimal focus, generally due to a change in focal length when using a zoom lens, and in some lenses, with a change in aperture.

Transmittance

The amount of light that passes through a lens without being either absorbed by the glass or being reflected by glass/air surfaces.

Modulation Transfer Function (MTF)

When optical designers attempt to compare the performance of optical systems, a commonly used measure is the modulation transfer function (MTF).

The components of MTF are:

The MTF of a lens is a measurement of its ability to transfer contrast at a particular resolution from the object to the image. In other words, MTF is a way to incorporate resolution and contrast into a single specification.

Knowing the MTF curves of each photographic lens and camera sensor within a system allows a designer to make the appropriate selection when optimizing for a particular resolution.

Veiling glare

Lens flare that causes loss of contrast over part or all of the image.

Anti-reflection coating

When light enters or exits an uncoated lens approximately 5% of the light is reflected back at each lens-air boundary due to the difference in refractive index. This reflected light causes flare and ghosting, which results in deterioration of image quality. To counter this, a vapor-deposited coating that reduces light reflection is applied to the lens surface. Early coatings consisted of a single thin film with the correct refractive index differences to cancel out reflections. Multi-layer coatings, introduced in the early 1970s, are made up of several such films.

Benefits of anti-reflection coating:

Circular fisheye

Produces a 180° angle of view in all directions (horizontal, vertical and diagonal).

The image circle of the lens is inscribed in the image frame.

Diagonal (full-frame) fisheye

Covers the entire image frame. For this reason diagonal fisheye lenses are often called full-frame fisheyes.

Extension ring

Extension rings can be used singly or in combination to vary the reproduction ratio of lenses. They are mounted between the camera body and the lens. As a rule, the effect becomes stronger the shorter the focal length of the lens in use, and the longer the focal length of the extension ring.

View camera

A large-format camera with a ground-glass viewfinder at the image plane for viewing and focusing. The photographer must stick his head under a cloth hood in order to see the image projected on the ground glass. Because of their 4x5-inch (or larger) negatives, these cameras can produce extremely high-quality results. View cameras also usually support movements.

135 cartridge-loaded film

43.27 24 36
  • Introduced: 1934
  • Frame size: 36 × 24mm
  • Aspect ratio: 3:2
  • Diagonal: 43.27mm
  • Area: 864mm2
  • Double perforated
  • 8 perforations per frame

120 roll film

71.22 44 56
  • Introduced: 1901
  • Frame size: 56 × 44mm
  • Aspect ratio: 11:14
  • Diagonal: 71.22mm
  • Area: 2464mm2
  • Unperforated

120 roll film

79.2 56 56
  • Introduced: 1901
  • Frame size: 56 × 56mm
  • Aspect ratio: 1:1
  • Diagonal: 79.2mm
  • Area: 3136mm2
  • Unperforated

120 roll film

89.64 56 70
  • Introduced: 1901
  • Frame size: 70 × 56mm
  • Aspect ratio: 5:4
  • Diagonal: 89.64mm
  • Area: 3920mm2
  • Unperforated

220 roll film

71.22 44 56
  • Introduced: 1965
  • Frame size: 56 × 44mm
  • Aspect ratio: 11:14
  • Diagonal: 71.22mm
  • Area: 2464mm2
  • Unperforated
  • Double the length of 120 roll film

220 roll film

79.2 56 56
  • Introduced: 1965
  • Frame size: 56 × 56mm
  • Aspect ratio: 1:1
  • Diagonal: 79.2mm
  • Area: 3136mm2
  • Unperforated
  • Double the length of 120 roll film

220 roll film

89.64 56 70
  • Introduced: 1965
  • Frame size: 70 × 56mm
  • Aspect ratio: 5:4
  • Diagonal: 89.64mm
  • Area: 3920mm2
  • Unperforated
  • Double the length of 120 roll film

Shutter speed ring with "F" setting

The "F" setting disengages the leaf shutter and is set when using only the focal plane shutter in the camera body.

Catch for disengaging cross-coupling

The shutter and diaphragm settings are cross-coupled so that the diaphragm opens to a corresponding degree when faster shutter speeds are selected. The cross-coupling can be disengaged at the press of a catch.

Cross-coupling button

With the cross-coupling button depressed speed/aperture combinations can be altered without changing the Exposure Value setting.

M & X sync

The shutter is fully synchronized for M- and X-settings so that you can work with flash at all shutter speeds.

In M-sync, the shutter closes the flash-firing circuit slightly before it is fully open to catch the flash at maximum intensity. The M-setting is used for Class M flash bulbs.

In X-sync, the flash takes place when the shutter is fully opened. The X-setting is used for electronic flash.

X sync

The shutter is fully synchronized for X-setting so that you can work with flash at all shutter speeds.

In X-sync, the flash takes place when the shutter is fully opened. The X-setting is used for electronic flash.

Unable to follow the link

You are already on the page dedicated to this lens.

Cannot perform comparison

Cannot compare the lens to itself.

Image stabilizer

A technology used for reducing or even eliminating the effects of camera shake. Gyro sensors inside the lens detect camera shake and pass the data to a microcomputer. Then an image stabilization group of elements controlled by the microcomputer moves inside the lens and compensates camera shake in order to keep the image static on the imaging sensor or film.

The technology allows to increase the shutter speed by several stops and shoot handheld in such lighting conditions and at such focal lengths where without image stabilizer you have to use tripod, decrease the shutter speed and/or increase the ISO setting which can lead to blurry and noisy images.

Original name

Lens name as indicated on the lens barrel (usually on the front ring). With lenses from film era, may vary slightly from batch to batch.

Format

Format refers to the shape and size of film or image sensor.

35mm is the common name of the 36x24mm film format or image sensor format. It has an aspect ratio of 3:2, and a diagonal measurement of approximately 43mm. The name originates with the total width of the 135 film which was the primary medium of the format prior to the invention of the full frame digital SLR. Historically the 35mm format was sometimes called small format to distinguish it from the medium and large formats.

APS-C is an image sensor format approximately equivalent in size to the film negatives of 25.1x16.7mm with an aspect ratio of 3:2.

Medium format is a film format or image sensor format larger than 36x24mm (35mm) but smaller than 4x5in (large format).

Angle of view

Angle of view describes the angular extent of a given scene that is imaged by a camera. It is used interchangeably with the more general term field of view.

As the focal length changes, the angle of view also changes. The shorter the focal length (eg 18mm), the wider the angle of view. Conversely, the longer the focal length (eg 55mm), the smaller the angle of view.

A camera's angle of view depends not only on the lens, but also on the sensor. Imaging sensors are sometimes smaller than 35mm film frame, and this causes the lens to have a narrower angle of view than with 35mm film, by a certain factor for each sensor (called the crop factor).

This website does not use the angles of view provided by lens manufacturers, but calculates them automatically by the following formula: 114.6 * arctan (21.622 / CF * FL),

where:

CF – crop-factor of a sensor,
FL – focal length of a lens.

Mount

A lens mount is an interface — mechanical and often also electrical — between a camera body and a lens.

A lens mount may be a screw-threaded type, a bayonet-type, or a breech-lock type. Modern camera lens mounts are of the bayonet type, because the bayonet mechanism precisely aligns mechanical and electrical features between lens and body, unlike screw-threaded mounts.

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

Lens construction

Lens construction – a specific arrangement of elements and groups that make up the optical design, including type and size of elements, type of used materials etc.

Element - an individual piece of glass which makes up one component of a photographic lens. Photographic lenses are nearly always built up of multiple such elements.

Group – a cemented together pieces of glass which form a single unit or an individual piece of glass. The advantage is that there is no glass-air surfaces between cemented together pieces of glass, which reduces reflections.

Focal length

The focal length is the factor that determines the size of the image reproduced on the focal plane, picture angle which covers the area of the subject to be photographed, depth of field, etc.

Speed

The largest opening or stop at which a lens can be used is referred to as the speed of the lens. The larger the maximum aperture is, the faster the lens is considered to be. Lenses that offer a large maximum aperture are commonly referred to as fast lenses, and lenses with smaller maximum aperture are regarded as slow.

In low-light situations, having a wider maximum aperture means that you can shoot at a faster shutter speed or work at a lower ISO, or both.

Closest focusing distance

The minimum distance from the focal plane (film or sensor) to the subject where the lens is still able to focus.

Closest working distance

The distance from the front edge of the lens to the subject at the maximum magnification.

Magnification ratio

Determines how large the subject will appear in the final image. Magnification is expressed as a ratio. For example, a magnification ratio of 1:1 means that the image of the subject formed on the film or sensor will be the same size as the subject in real life. For this reason, a 1:1 ratio is often called "life-size".

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Electronic manual focus override is performed in the following way: half-press the shutter button, wait until the camera has finished the autofocusing and then focus manually without releasing the shutter button using the focusing ring.

Manual diaphragm

The diaphragm must be stopped down manually by rotating the detent aperture ring.

Preset diaphragm

The lens has two rings, one is for pre-setting, while the other is for normal diaphragm adjustment. The first ring must be set at the desired aperture, the second ring then should be fully opened for focusing, and turned back for stop down to the pre-set value.

Semi-automatic diaphragm

The lens features spring mechanism in the diaphragm, triggered by the shutter release, which stops down the diaphragm to the pre-set value. The spring needs to be reset manually after each exposure to re-open diaphragm to its maximum value.

Automatic diaphragm

The camera automatically closes the diaphragm down during the shutter operation. On completion of the exposure, the diaphragm re-opens to its maximum value.

Fixed diaphragm

The aperture setting is fixed at F/ on this lens, and cannot be adjusted.

Number of blades

As a general rule, the more blades that are used to create the aperture opening in the lens, the rounder the out-of-focus highlights will be.

Some lenses are designed with curved diaphragm blades, so the roundness of the aperture comes not from the number of blades, but from their shape. However, the fewer blades the diaphragm has, the more difficult it is to form a circle, regardless of rounded edges.

At maximum aperture, the opening will be circular regardless of the number of blades.

Weight

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

Maximum diameter x Length

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

For lenses with collapsible design, the length is indicated for the working (retracted) state.

Weather sealing

A rubber material which is inserted in between each externally exposed part (manual focus and zoom rings, buttons, switch panels etc.) to ensure it is properly sealed against dust and moisture.

Lenses that accept front mounted filters typically do not have gaskets behind the filter mount. It is recommended to use a filter for complete weather resistance when desired.

Fluorine coating

Helps keep lenses clean by reducing the possibility of dust and dirt adhering to the lens and by facilitating cleaning should the need arise. Applied to the outer surface of the front lens element over multi-coatings.

Filters

Lens filters are accessories that can protect lenses from dirt and damage, enhance colors, minimize glare and reflections, and add creative effects to images.

Lens hood

A lens hood or lens shade is a device used on the end of a lens to block the sun or other light source in order to prevent glare and lens flare. Flare occurs when stray light strikes the front element of a lens and then bounces around within the lens. This stray light often comes from very bright light sources, such as the sun, bright studio lights, or a bright white background.

The geometry of the lens hood can vary from a plain cylindrical or conical section to a more complex shape, sometimes called a petal, tulip, or flower hood. This allows the lens hood to block stray light with the higher portions of the lens hood, while allowing more light into the corners of the image through the lowered portions of the hood.

Lens hoods are more prominent in long focus lenses because they have a smaller viewing angle than that of wide-angle lenses. For wide angle lenses, the length of the hood cannot be as long as those for telephoto lenses, as a longer hood would enter the wider field of view of the lens.

Lens hoods are often designed to fit onto the matching lens facing either forward, for normal use, or backwards, so that the hood may be stored with the lens without occupying much additional space. In addition, lens hoods can offer some degree of physical protection for the lens due to the hood extending farther than the lens itself.

Teleconverters

Teleconverters increase the effective focal length of lenses. They also usually maintain the closest focusing distance of lenses, thus increasing the magnification significantly. A lens combined with a teleconverter is normally smaller, lighter and cheaper than a "direct" telephoto lens of the same focal length and speed.

Teleconverters are a convenient way of enhancing telephoto capability, but it comes at a cost − reduced maximum aperture. Also, since teleconverters magnify every detail in the image, they logically also magnify residual aberrations of the lens.

Lens caps

Scratched lens surfaces can spoil the definition and contrast of even the finest lenses. Lens covers are the best and most inexpensive protection available against dust, moisture and abrasion. Safeguard lens elements - both front and rear - whenever the lens is not in use.