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Konica Minolta Maxxum 7D

aka A-7 Digital
aka Konica Minolta Dynax 7D

APS-C AF digital SLR camera

Specification

Production details:
Announced:February 2004
System:● Konica Minolta A APS-C (2004)
Format:
Maximum format:APS-C
Imaging sensor:23.5 × 15.7mm CCD sensor
Resolution:3008 × 2000 - 6 MP
Crop factor:1.53x
Sensor-shift image stabilization:Yes
Mount and Flange focal distance:Minolta/Sony A [44.5mm]
Shutter:
Type:Focal-plane
Model:Electronically controlled
Speeds:30 - 1/4000 + B
Exposure:
Exposure metering:Through-the-lens (TTL), open-aperture
Exposure modes:Programmed Auto
Aperture-priority Auto
Shutter-priority Auto
Manual
Physical characteristics:
Weight:760g
Dimensions:150x106x77.5mm

Manufacturer description #1

February 12, 2004

Konica Minolta Interchangeable-Lens Digital SLR Cameras

Konica Minolta is very proud to announce development of the interchangeable-lens digital single lens reflex cameras Dynax 7 Digital / Maxxum 7 Digital / α-7 Digital. These models are slated to go on sale in autumn of 2004.

The Dynax 7 Digital / Maxxum 7 Digital / α-7 Digital* will accept the Minolta A mount, compatible with the full range of Minolta AF lenses, as well as Maxxum/Dynax/α system accessories. Combining the best of established 35mm system photography with digital photography affords photographers the ability to more fully express themselves than ever before.

The Dynax 7 Digital / Maxxum 7 Digital / α-7 Digital is also equipped with the same technically sophisticated and highly effective CCD Shift-type Anti-Shake function, which has earned an excellent reputation in the DiMAGE A1 (SLR- type digital camera with built-in lens). As the Anti-Shake function is built into the camera body and not the lens, it is effective for the entire range of Minolta AF lenses. Thanks to the intuitive control layout being carried over from the three-time international award winning** and popular 35mm film AF SLR camera Dynax 7 / Maxxum 7 / α-7, the Dynax 7 Digital / Maxxum 7 Digital / α-7 Digital is a user-friendly and compatible design for 35mm film SLR camera users, enabling a smooth shift over to digital. Utilizing an APS-C sized 6 mega pixel CCD and advanced image processing technology, the resulting exquisite detail from highlights to shadows will satisfy even the most demanding photographers.

Konica Minolta is committed to develop additional digital SLR camera bodies, more interchangeable lenses, and other accessories to grow with digital SLR camera users' needs and the progress of technology.

* - The Maxxum 7 Digital is for the North American market, the α-7 Digital is for the Japan and China market, and the Dynax 7 Digital is for Europe and other all regions outside North America, Japan and China.

Products Highlights

  • Accepting the Minolta A mount, current owners of Minolta AF lenses will be able to use them on this model
  • With the CCD Shift in the camera body, the Anti-Shake function is effective with all lenses that can be used on this camera.

Note: The Dynax 7 Digital / Maxxum 7 Digital / α-7 Digital has been tentatively named for this release, with the final name to be announced at a later date.

Manufacturer description #2

  Konica Minolta is delighted to unveil the Konica Minolta Dynax7D/Maxxum7D. This groundbreaking new 6.1-million-pixel resolution, lens-changeable digital camera is the world’s first digital SLR boasting a body-integral CCD-shift, “Anti-shake” (camera-shake compensation) technology that combines enhanced picture quality, performance and improved handling characteristics. And the Dynax7D/Maxxum7D is compatible with the full range of Dynax/Maxxum AF lenses.

  The Konica Minolta Dynax7D/Maxxum7D is a lens-changeable digital SLR camera that inherits many of the high-specifications and performance from the Dynax/Maxxum series SLR cameras.
Introduced in 1985, the Minolta Maxxum 7000/Minolta 7000 boasted another world first; the first 35mm film SLR with a fully-fledged AF system able to use interchangeable AF lenses. The new model’s high technological standards and heritage make it an intensely appealing camera.

  The Dynax7D/Maxxum7D is a digital SLR created using a broad range of unique, sophisticated photographic technologies each developed with years of camera making experience for amateur and professional photographers alike.

  The unique, built-in CCD shift-type “Anti-shake” technology makes the new camera the first digital SLR to feature a body-integral Anti-shake function. The key benefit of Anti-shake being it can support all Konica Minolta AF lenses.*2 Anti-shake technology allows photography with reduced blur due to camera shake, even when shooting dimly lit scenes or when using telephoto lenses and shooting macro subjects without the aid of flash or a tripod.

  Another key to the new camera’s performance are its 6.1-million effective pixels, housed on a large size CCD plus Konica Minolta’s proprietary, CxProcess™ III image processing technology that delivers high-definition, natural-looking images.

  High speed image processing is achieved using the all-new Advanced LSI engine designed to help provide fast data handling for improved camera responsiveness and control.

  The camera also boasts a large, easy-to-view, high-definition 2.5-inch color LCD monitor housed on it’s back-plate, the large screen handles the tasks of menu navigation and image display, also providing shooting information and camera setting displays.

  In keeping with its acclaimed Dynax/Maxxum film SLR counterpart, the Dynax7D/Maxxum7D inherits a similar, simple to use dial and lever operation system. Enhancing handling further, the new model also features a superbly-bright, easy-to-view, high-performance viewfinder designed to be comfortable and easy to use.

  In addition, the new digital SLR offers a comprehensive function set, designed to meet a diverse range of photographic challenges and user needs, complemented by a broad range of Dyanx/Maxxum accessories that give photographers a complete system back-up.


Product Highlights

  1. World’s first*1 digital SLR to be equipped with a body-integral, CCD-shift camera-shake compensation “Anti-shake” technology that supports all compatible interchangeable AF lenses*2.
  2. Stunning picture quality derived from a high resolution, 6.1-million-pixel (effective) CCD and original CxProcess™ III image processing technology.
  3. A large, easy-to-view 2.5-inch high-definition color LCD monitor that combines menu navigation with image and data display.
  4. Combines simple operation in a stylish, compact package inheriting the product ideals of the Dynax/Maxxum range of film SLRs. Upgraded, high-end shooting and versatile imaging functions designed to satisfy any photographer’s needs, whether they are amateur or enthusiast.
  5. Excellent system back-up and accessories to cater to a broad range of shooting styles and conditions.

Features

  1. The world’s first*1 digital SLR with body-integral Anti-shake Technology and CCD Shift Mechanism, including compatibility with Minolta A-Mount optics and allowing all Konica Minolta interchangeable AF lenses to be used.*2
  2. The award winning Anti-shake technology was selected as “European Photo Innovation of the Year 2004 – 2005” by EISA*4 and provides the equivalent correction effect*3 with a shutter speed 2 - 3 steps slower.
    Now it’s possible to reduce blur caused by camera shake, even when taking photos in dimly lit or twilight scenes, in natural light with a telephoto lens, as well as macro shots – without relying on a higher ISO setting, the aid of a flash or tripod. Anti-shake responds quickly to both broad, slow-swaying motion of the camera body and the higher frequency shaking typical of camera shake caused by the photographer’s hands.
    The Anti-shake technology can be switched on or off via a dedicated switch on the camera’s back and when active, an Anti-shake indicator is displayed on the viewfinder to keep the user informed when it’s active.
  3. Consistently high picture quality is ensured by the 6.1-million-effective-pixel APS-C size CCD, the unique CxProcess™ III image processing technology, and a combination of Konica Minolta’s expertise in photosensitive materials and exposure control technologies. Each is integrated here in the new model to ensure superb picture quality and to help make the most of any attached AF optic.
    • Large 6.1-million-effective-pixel APS-C size CCD allows shooting of high-resolution images that have a wide dynamic range but with reduced noise, in highlight and shadows.
    • A newly developed Advanced LSI image processing engine for the Dynax7D/Maxxum7D that enables high-speed processing of large quantities of data and designed to improve image processing at high-sensitivity settings ensuring reduced image noise while retaining high picture quality. This combination also helps ensure a handling response similar to the smooth-shooting rhythm associated with 35mm film SLRs.
    • CxProcess™ III is an original, image processing technology designed to provide impressive and natural-looking images. CxProcess™ III, achieves these stunning, natural-looking images by integrating a broad range of photographic technologies gained from Konica Minolta’s long years of experience in this field. It ensures clear and crisp pictures, natural skin tones and packs in detail, ideal for shooting landscapes or macro subjects.
  4. Large, easy-to-view monitor that works as both the menu Navigation Display and image playback/review screen.

    • Easy-to-View 2.5-inch High-Definition LCD Monitor

      Mounted on the camera's back-plate is the large, easy-to-view 2.5-inch, high-resolution, 207,000-pixel color monitor. It quickly and clearly displays captured shots for fast image appraisal. Image histogram data can be overlaid without obscuring the displayed image and thanks to its large size, it can display up to a 16-frame thumbnail index display.

    • Menu and Navigation Display

      The LCD monitor works as a Navigation Display allowing seamless operation with clear and concise camera settings displayed with comprehensive shooting information, indicated with large, easy to read text. Aiding ease of use further, the display automatically switches from horizontal to vertical format when shooting in the upright “portrait” format.

  5. Simple operation and a stylish, design ethos that inherits design features and ease of use from its Dynax7/Maxxum7, 35mm film SLR camera heritage.

    • Intuitive Operation with Dial-&-Lever System

      The new model inherits the dial and lever operation system from the Dynax7D/Maxxum7D, a system highly regarded by owners of that system for its user friendliness. It offers intuitive operation, making it particularly good for users moving up to the new, digital model from the silver halide SLR predecessor. The exposure-compensation dial and easy to use exposure-mode dials is also borrowed from the Dynax7D/Maxxum7D, making it familiar and helping users respond quickly to changing shooting conditions or rapidly changing picture opportunities. A separate white-balance lever is provided for fast white balance control, enhancing the ease of use still further.

    • Easy-to-View, High-Performance Viewfinder

      A spherical acute matte focusing screen is used in the viewfinder for accurate, bright critical focusing assessment. The new model incorporates an optical glass pentaprism viewfinder with a 0.9X magnification factor and 95% field of view for easy scene assessment and composition.

    • Highly Durable and Reliable Magnesium-Alloy Body

      The new camera is compact and stylish with a combination of metal paneling body covering. It has a robust build quality thanks to its magnesium alloy front body panel and base; the tough build also enhances camera reliability.

  6. Enhanced shooting functions and versatile control designed to satisfy high-end enthusiast and amateur users.

    • High-Performance, High-Speed AF

      The new model incorporates a central, cross hair type, 9-point and 8-line AF sensor array providing high-precision AF and high performance subject tracking of moving subjects within the frame. The AF system enables both Predictive Focus Control and Subject Tracking for high-speed focus adjustment of moving subjects, making it ideal for fleeting moments or sports photography.

    • RAW+JPEG Simultaneous Recording

      You can choose to shoot either JPEG or RAW images or both combined with the simultaneous RAW + JPEG dual-format capture mode for improved, post-shoot workflow.

    • High-Speed Continuous Advance and Image Processing with Large Capacity Image Buffer

      The new model allows high speed continuous shooting of up to 9 consecutive frames at up to 3-frames per second in both RAW or RAW+JPEG modes thanks to a large image buffer. Additionally, it also allows continuous shooting of up to twelve 3008x2000 JPEG images at the extra-fine image-quality setting and fifteen JPEG images the same size at the fine image-quality setting. These high-speed shooting capabilities are ideal for capturing momentary expressions, sports or fleeting action shots while retaining high picture quality throughout.

    • Comprehensive Image Adjustment and Control for Creative Picture Capture

      a) Image correction:
      5-step fine control adjustment for sharpness, contrast, color saturation and hue.

      b) White balance (WB) setting:
      In addition to the auto mode, the new camera has six presets for WB plus a custom mode for precise white balance settings in difficult lighting conditions. This model also features numerical setting for color temperature, which gives photographers a higher degree of color temperature matching. Fine-tuning is possible over a range from 2500K to 9900K in 100K increments, providing a broader range than with the auto white balance or preset white balance alone.

      c) Zone Matching:
      New technology that allows the precise reproduction of tonal gradations in highlights and shadows, essential in difficult shooting conditions with predominant highlight and helps ensure noise-free low-light images. The Zone Matching system permits effective control of high and low key tone capture; the former important for highlight capture in shots such as white in a wedding dress, the latter for low light situations.

  7. A wide variety of system accessories are also available, adding versatility for all shooting styles and adding flexibility for any photographer’s needs.
    • The dedicated VC-7D Vertical Control Grip for Dynax7D/Maxxum7D connects to the camera body and provides a reassuringly firm grip on the camera, it enhances easy, upright camera control and overall ease of use, particularly when shooting upright, portrait-format shots.
      a) Comfortable operation and handling for vertical shooting
      The VC-7D’s sure-hold grip gives confident handling characteristics and the grip has a dedicated shutter-release button, front and rear control dials, AF/MF control button, AE lock button and AF area selector button, thereby delivering comfortable and reassuring handling characteristics to the camera in either horizontal or vertical shooting situations.
      b) Dual lithium-ion batteries can be attached at once
      The VC-7D allows two lithium-ion batteries to be used simultaneously for an enhanced power supply. This allows photographers to take advantage of shooting many more images before worrying about recharging the batteries.
      c) AA batteries can also be used
      Adding still more versatility, standard AA Ni-MH batteries can also be used.
    • A broad range of Dynax/Maxxum-system accessories are available including D-series flash units, remote cords and an angle viewfinder. The D-series flash and D-series lenses, which include built-in focus distance calculation, the new model gives improved exposure accuracy. Combined with high-precision ADI flash metering, the camera provides high-precision lighting control that answers the most demanding and diverse needs.
    • DiMAGE Master is optional software to improve creative workflow
      for advanced users. Diversified tools for classifying and comparing images boost work efficiency of selecting the best shots. Newly developed RAW processing program enables more accurate color reproduction.

NOTES:

*1 - As a lens-changeable digital SLR camera

*2 - With the camera’s AF macro-zoom 1X - 3X specialist lenses and Anti-shake function turned off.

*3 - Anti-shake picture blur correction effect amount varies with shooting conditions and lenses used.

*4 - The European Imaging and Sound Association, publishing 50 major photography and AV magazines in 20 European countries.

Manufacturer description #3

Mahwah, NJ (September 15, 2004) – Konica Minolta Photo Imaging U.S.A., Inc. today unveils the new Konica Minolta Maxxum 7D digital Single Lens Reflex (SLR) camera. This groundbreaking new 6.1-million-pixel resolution, interchangeable lens digital camera is the world’s first digital SLR featuring a body-integral CCD-shift, Anti-Shake (camera-shake compensation) technology that combines enhanced picture quality, performance and improved handling characteristics. This new digital SLR also features a large, easy-to-view, high-definition 2.5-inch color LCD monitor and is compatible with virtually any Maxxum AF lens.

“Drawing on the tradition of technical expertise that gave birth to the Maxxum 7000, the world's first body-integral autofocus 35mm SLR camera, the RD-175, one of the world's first consumer-use digital SLR's, and the world's first washless photofinishing system, the NPS-1 Mini Lab, the Konica Minolta Maxxum 7D draws on more than a century of optical and photo-imaging expertise of two of the most respected names in photography,” said Todd Schrader, vice president of marketing for Konica Minolta Photo Imaging U.S.A., Inc. “In addition, the new Maxxum 7D also inherits the intuitive operating ease of the award-winning Maxxum 7 35mm SLR, and maintains full compatibility with Maxxum system lenses and accessories which is sure to please loyal Maxxum photographers around the world.”

Specifically designed to match the performance requirements of the camera’s large 6-megapixel CCD, the Maxxum 7D’s unique, built-in exclusive CCD shift-type Anti-Shake technology makes this new camera the first digital SLR to feature a body-integral Anti-Shake function. This system instantly and precisely shifts the CCD to compensate for camera motion. And it’s so effective photographers can shoot at shutter speeds up to three steps slower than what they could use without it. So even in low light, photographers can keep their images clean and sharp, free of the image-degrading noise that creeps in when they boost ISO sensitivity. And because the mechanism is integrated directly into the Maxxum 7D’s cameras body, it works with virtually any Maxxum AF lens – a major advantage for photographers when compared to bulky and expensive lens-based optical stabilization systems and software-based “digital correction systems” that can degrade image quality.

Konica Minolta’s award-winning Anti-Shake technology provides images with reduced blur due to camera shake, even when shooting dimly lit scenes or when using telephoto lenses and shooting macro subjects without the aid of flash or a tripod.

The Maxxum 7D offers effective Anti-Shake protection with every lens*2 in the Maxxum AF line. Whether using telephoto, wide-angle, zoom, macro or standard, the system analyzes data on focal length, current aperture setting, and focusing distance so that it can optimize Anti-Shake performance to offer the highest level of protection.

In addition, the camera also features a large, easy-to-view, high-definition 2.5-inch color LCD monitor housed on its back-plate. The large screen handles the tasks of menu navigation and image display, also providing shooting information and camera setting displays.

The New Maxxum 7D also features Konica Minolta’s proprietary, CxProcess™ III image processing technology that delivers high-definition, natural-looking images. High speed image processing is achieved using the all-new Advanced LSI engine designed to help provide fast data handling for improved camera responsiveness and control.

In keeping with its acclaimed Maxxum film SLR counterpart, the Maxxum 7D inherits a similar, simple-to-use dial and lever operation system. Enhancing handling further, the new model also features a superbly-bright, easy-to-view, high-performance viewfinder designed to be comfortable and easy to use.

The new digital SLR also offers a comprehensive function set, designed to meet a diverse range of photographic challenges and user needs, complemented by a broad range of Maxxum accessories that give photographers a complete system back-up.

Similar cameras (15)

APS-C • Auto focus • Digital • Singe-lens reflex • Minolta/Sony A mount

Model Shutter Metering Modes Year
Sony Alpha DSLR-A100 E, 1/4000 TTL • OA PASM 2006
Sony Alpha DSLR-A200 E, 1/4000 TTL • OA PASM 2008
Sony Alpha DSLR-A230 E, 1/4000 TTL • OA PASM 2009
Sony Alpha DSLR-A290 E, 1/4000 TTL • OA PASM 2010
Sony Alpha DSLR-A300 E, 1/4000 TTL • OA PASM 2008
Sony Alpha DSLR-A330 E, 1/4000 TTL • OA PASM 2009
Sony Alpha DSLR-A350 E, 1/4000 TTL • OA PASM 2008
Sony Alpha DSLR-A380 E, 1/4000 TTL • OA PASM 2009
Sony Alpha DSLR-A390 E, 1/4000 TTL • OA PASM 2010
Sony Alpha DSLR-A450 E, 1/4000 TTL • OA PASM 2010
Sony Alpha DSLR-A500 E, 1/4000 TTL • OA PASM 2009
Sony Alpha DSLR-A550 E, 1/4000 TTL • OA PASM 2009
Sony Alpha DSLR-A560 E, 1/4000 TTL • OA PASM 2010
Sony Alpha DSLR-A580 E, 1/4000 TTL • OA PASM 2010
Sony Alpha DSLR-A700 E, 1/8000 TTL • OA PASM 2007
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Chromatic aberration

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

Spherical aberration

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

Astigmatism

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

Coma

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

Curvature of field

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

Distortion

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

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

Diffraction

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

Doublet

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

Dynamic range

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

Resolving power

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

Vignetting

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

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

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

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

Flare

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

Ghosting

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

Retrofocus design

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

Anastigmat

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

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

Rectilinear design

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

Focus shift

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

Transmittance

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

Modulation Transfer Function (MTF)

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

The components of MTF are:

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

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

Veiling glare

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

Anti-reflection coating

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

Benefits of anti-reflection coating:

Circular fisheye

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

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

Diagonal (full-frame) fisheye

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

Extension ring

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

View camera

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

135 cartridge-loaded film

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

120 roll film

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

120 roll film

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

120 roll film

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

220 roll film

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

220 roll film

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

220 roll film

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

Shutter speed ring with "F" setting

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

Catch for disengaging cross-coupling

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

Cross-coupling button

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

M & X sync

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

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

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

X sync

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

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

Unable to follow the link

You are already on the page dedicated to this lens.

Cannot perform comparison

Cannot compare the lens to itself.

Image stabilizer

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

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

Original name

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

Format

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

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

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

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

Angle of view

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

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

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

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

where:

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

Mount

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

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

Lens mounts of competing manufacturers (Canon, Nikon, Pentax, Sony etc.) are always incompatible. In addition to the mechanical and electrical interface variations, the flange focal distance can also be different.

The flange focal distance (FFD) is the distance from the mechanical rear end surface of the lens mount to the focal plane.

Lens construction

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

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

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

Focal length

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

Speed

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

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

Closest focusing distance

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

Closest working distance

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

Magnification ratio

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

Manual focus override in autofocus mode

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

Manual focus override in autofocus mode

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

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

Manual diaphragm

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

Preset diaphragm

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

Semi-automatic diaphragm

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

Automatic diaphragm

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

Fixed diaphragm

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

Number of blades

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

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

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

Weight

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

Maximum diameter x Length

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

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

Weather sealing

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

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

Fluorine coating

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

Filters

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

Lens hood

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

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

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

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

Teleconverters

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

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

Lens caps

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