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Hasselblad XPan II
Announced
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System
Hasselblad XPan system cameras

Hasselblad XPan II

aka Fujifilm TX-2

35mm panoramic MF film rangefinder camera • Discontinued • Collectible

Specification

Format:
35mm panoramic
Film type:
135 cartridge-loaded film
Hasselblad XPan [34.27mm]
Shutter:
Type:
Focal-plane
Model:
Mechanical
Speeds:
8 - 1/1000 + B
Exposure:
Exposure metering:
Through-the-lens (TTL), stop-down
Exposure modes:
Aperture-priority Auto
Manual
Rangefinder and Viewfinder:
Rangefinder:
Built-in
Viewfinder:
Built-in
Bright-line frames:
-
Parallax compensation:
Yes
Physical characteristics:
Weight:
735g
Dimensions:
166x82x51mm

Manufacturer description #1

2003-04-23 The unique dual format Hasselblad XPan has been in high demand since its launch at Photokina in September 1998. Hasselblad is now proud to introduce the XPan II, adding a range of useful features to its highly successful XPan system.

Since its introduction the Hasselblad XPan has been widely praised for its innovative take on the panorama format. A flip of a switch makes this mild-mannered 35mm range-finder camera capable of taking true, panorama double-width frames of 24mm X 65mm; exceeding the actual frame width of even a 6X7 camera. The XPan actually doubles the width of the film exposed, unlike APS cameras for example, which create a panoramic impression by cropping the existing frame.

The XPan’s image quality, versatility, and pleasure of handling have opened new doors for creative photography, not only for traditional types of panoramic photography, but also for a variety of applications where the format has not been widely used before. Now, the convenience, ease-of-use, and superior quality of the XPan II system will combine with its range of added features to make even more new types of exciting images possible.

Improvements incorporated into the XPan II system include:

  • Shutter speed and exposure information visible in a viewfinder LCD display
  • Multi exposure (up to nine exposures)
  • B-time prolonged to maximum of 540 s
  • Self-timer delay with 2 s or 10 s option
  • Flash sync at the beginning or the end of the exposure
  • Improved IR film performance for high speed B&W IR film
  • Rewind of film with option to leave a film tip out of the cassette
  • Electrical remote control release (optional release cord)
  • Diopter lens with locking system
  • Lens shade for 45 mm and 90 mm lenses with locking device

Shutter speed and lens aperture settings are set using dials as on the Hasselblad XPan. Other camera settings are made through a simple programming function using the rear LCD, which has been enlarged on the XPan II. All camera settings are clearly visible on the rear LCD.

The introduction of the Hasselblad XPan II makes the camera is even easier to use and provides a number of added features, ideally suited for creative or otherwise specialized types of photography.

The Hasselblad XPan II will be available from late April, 2003.

Manufacturer description #2

Building upon the success of the original XPan, The unique dual format XPan II produces high quality panorama or standard format images on regular 35 mm film. Every exposure uses the full width of the film, producing panorama shots with an image width equal to those produced by a 6x7 medium format camera. The two formats can be mixed in any order on the same roll of film.

The 24x65 mm panorama format, together with the high quality XPan lenses (focal lengths 30 mm, 45 mm (standard lens) and 90 mm) brings medium format image quality to 35 mm film.

The XPan II features a wide range of convenient, user-friendly features such as automated film loading film transport, TTL exposure metering, and single or continuous exposure. The shutter release can be triggered by button, mechanically, via a dedicated electrical remote cable, or self-timer. And being a rangefinder camera, the Xpan II is very silent in operation.

Switching between formats is easily done with the simple twist of a knob. When changing format the camera automatically adjusts the film position to assure consistent film spacing and to avoid film waste.

A bright viewfinder and coupled rangefinder ensures optimal viewing and focusing. Viewfinder framing is adjusted automatically according to the focal length of the lens and the chosen format. The viewfinder also has an integral LCD display showing shutter speed and exposure information. The 30 mm lens is supplied with a separate viewfinder attached to the camera accessory shoe.

The XPan II is almost as simple to use as a point and shoot 35 mm camera while still being – when you choose it to be – a highly flexible and sophisticated professional tool. A number of features can be easily programmed using the settings on the LCD panel on the rear of the camera. Film speed, exposure compensation, auto bracketing, multi exposure, flash sync mode, self timer delay and film return spooling mode can all be set to customized user preferences.

Manufacturer description #3

We know that your world doesn't always fit in the frame. So for all those who like to think a bit outside the box, Hasselblad presents the X System's XPan II – the worlds only truly dual-format 35 mm camera. The XPan II is a unique camera that takes great 35 mm shots with the famous Hasselblad quality and full, medium format panorama pictures on the same roll of 35 mm film. And when we say the XPan II's panorama shots have medium format quality, we mean medium format size as well, with an image width equal to that of shots produced by a 6x7 medium format camera.

A lot of so-called “panorama” cameras claim to offer panorama mode, but in reality all they do is crop off the top and bottom of a standard 35 mm frame. And when the whole idea behind panorama pictures is their size, lopping off your negative or slide is really only faking it. And losing image quality as well.

With XPan II, however, a mere turn of a knob expands the standard 35 mm image, producing an image just as high but nearly twice as long. In other words, the XPan II is two cameras in one: a high-quality 35 mm camera and a true panorama format camera. All rolled into one stylish package. Bringing the convenience of the 35 mm world and the image quality of the medium format world together at last.

If you think the XPan II is just another 35 mm or standard panorama camera, think again. Over half a century's experience and expertise go into the making of every Hasselblad camera and the XPan II is no exception.

Every detail tells you this is a Hasselblad, from its stylish appearance, in matte-black on a robust aluminum/titanium body, to its ergonomic form. And while smaller than its larger brothers in the V and H Systems, the XPan II has the same feel and balance, the same sturdiness of design, as Hasselblad's legendary – and legendarily rugged – medium format cameras.

The XPan II is built to withstand rigorous professional level use, but has a size and weight (just 970 grams (34 oz), including the 45 mm lens) more like a 35 mm camera. The XPan II's range of automatic features also reinforces the sense of user-friendliness, but the manual override ensures that professional control is always just a touch away.

Inside the XPan II's sleek body lies an ingenious system that allows you to choose between formats without sacrificing quality along the way. You get Hasselblad tradition and reliability combined with 35 mm convenience. You get razor sharp images combined with a panorama negative almost three times larger than traditional masking techniques and over five times larger than those produced by APS cameras. No compromises, just possibilities.

Both of the XPan II's formats can be mixed freely on the same roll of 35 mm film in any order, with no wasted film. And even when switching back and forth from regular 35 mm to panorama in mid-roll, the camera's film counter automatically compensates and shows the number of remaining shots at your current format.

While professional in design and image quality, the XPan II is a snap to use, featuring center-weighted TTL exposure metering (with manual override). Film loading, winding, and exposure are also simple and convenient. The camera automatically detects film speed (programmable auto DX with ISO override) and pre-winds the film onto the camera spool. It then rolls each exposed frame back into the film cassette. This valuable feature protects the exposed film inside the cassette even if the camera is opened by mistake. This also reduces the risk of untimely camera noise, as film is wound when you choose to load film, not at the unexpected end of a roll. And since rangefinder cameras have no reflex mirror to make noise when exposing a shot, the XPan II is virtually silent in operation.

The bright-frame viewfinder and coupled rangefinder make viewing and focusing easy and intuitive. Viewfinder information is adjusted automatically, reflecting the format and the focal length of the lens. An LCD display in the viewfinder shows shutter speed, exposure compensation, and symbols for exposure offset. A smaller LCD display, showing format and number of exposures remaining, is conveniently located on the top of the camera. The LCD on the rear of the camera displays ISO, shutter speed, exposure compensation, auto bracketing, self-timer delay time, sync mode, rewind mode, multi exposure, battery status, and exposure history. User functions such as auto-bracketing (0.5 or 1 EV increments) with either single or continuous exposure, exposure compensation (+/- 2 EV at 0.5 EV increments), and multi-exposure mode (up to 9 exposures per frame) can be programmed via the rear display. Rewind mode can also be set to leave the film tip exposed for easier extraction and flash sync can be programmed to trigger at the beginning or end of exposure.

From top to toe, the XPan II is designed to deliver professional features in an intuitive way, so that your energy can be spent where it belongs: taking creative photographs.

Manufacturer description #4

This camera incorporates an innovative dual format facility providing a 24x65 mm format - full panorama - as well as a conventional 24x36 mm format on the same film. This means you can have all the convenience and advantages on the 35 mm format but can produce an image with one side wider than the 6x6 cm format. Put simply - medium-format panorama quality from a 35 mm camera while still providing the option of the conventional format!

It follows on in the well-established Hasselblad tradition of superb craftsmanship founded on intensive development which has helped create the world famous name. The quality and reliability of Hasselblad equipment was clearly witnessed when it was chosen by NASA for the lunar missions.

The Hasselblad XPan II is a feature-packed and highly professional tool. It includes both automatic facilities and total manual override for complete control to suit all situations and working methods. Auto exposure, auto bracketing, coupled rangefinder and pre-wind are just some of the advantageous features.

The camera body is robustly built from aluminium and titanium for the long working-life expected from such a camera. The interchangeable Hasselblad lenses are made to the most exacting standards producing excellent coverage and 'razor' sharpness for top quality images. Digital technology controls a host of functions making camera use simplicity itself so you can concentrate more on composition and image making.

***

CAMERA TYPE: Couple rangefinder with interchangeable lenses.

DESIGN: Aluminium and titanium camera body.

VIEWFINDER: Bright frame viewfinder (ambient light), automatic parallax compensation, automatic standard/panoramic switch over via format selector dial, automatic bright frame switch-over according to lens fitted, integral LCD display showing shutter speed and exposure metering indications. Field of view 85% or more.

FOCUSING: Lens helicoid interlocked to coupled rangefinder.

FILM TRANSPORT: Pre-wind type, automatic positioning according to format, automatic wind-on, automatic rewind. Programmable selection of full rewinding of the film into the cassette or leaving a film tip exposed for easy film extraction. Film advance of 1.2 frames per second in standard format, 0.9 frames per second in panorama format. Programmable multiexposure mode with up to 9 exposures per frame.

FILM TYPE: 35mm.

FORMAT: 24x36 mm and 24x65 mm.

FRAMES PER FILM: 36, 24 and 12 frames in standard format or 21, 13 and 6 frames in panorama format from 36 exp, 24 exp and 12 exp cassettes respectively.

EXPOSURE COUNTER: LCD. Automatic, shows number of frames remaining. Illuminated. Panorama format indication.

SHUTTER: Focal plane shutter, B (max 540s) - 1/1000 s, flash synchro from B - 1/125 s. Flash sync programmable at the beginning or the end of the exposure. 1EV step control on manual, 1/12 EV step control on automatic, self-timer with 2s or 10s delay. Activated by button or cable release socket.

EXPOSURE CONTROL: TTL measured at shutter plane, centre weighted averaging system, aperture priority automatic/manual switch over, EV4 (f4) - EV19 (f22) at ISO 100.

EXPOSURE COMPENSATION: +/- 2EV at 1/2EV step intervals.

AUTO BRACKET: 0.5EV or 1.0EV step intervals. Order: standard, under, over.

FILM SPEED: Programmable auto DX setting and manual setting. ISO 25 - 3200, +/- 1/3 EV accuracy.

CAMERA LCD INFORMATION: ISO, shutter speed (Tv), exposure compensation, auto bracketing, self-timer delay time, sync mode, rewind mode, multi-exposure, battery status and exposure history. Illuminated.

BATTERIES: CR2 x 2 (6v total).

From the editor

The camera was produced for Hasselblad by Fujifilm under the name Hasselblad XPan II (black finish). According to Hasselblad, about 5,500 XPan II cameras were produced between 2003 and 2006. It was also sold by Fujifilm in the Japanese market under the name Fujifilm TX-2 (black finish).

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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.