Leicaflex

35mm MF film SLR camera

Specification

Production details:
Announced:1964
Order No.:10001 - body without lens
10218 - body with SUMMICRON-R 50/2
System: Leica R (1964)
Format:
Maximum format:35mm full frame
Film type:135 cartridge-loaded film
Mount and Flange focal distance:Leica R [47mm]
Shutter:
Type:Focal-plane
Model:Mechanical
Speeds:1 - 1/2000 + B
Exposure:
Exposure metering:Through the separate window
Exposure modes:Manual
Physical characteristics:
Weight:770g
Dimensions:148x97x57mm
Accessories:
Body cap:14103

Manufacturer description #1

From the LEICA photography magazine (1965, No. 1):

Offering traditional Leitz precision and ease of operation, the new Leicaflex is a no-nonsense camera which brings Leica quality, ruggedness and reliability to the 35mm single-lens reflex field. Built for results, the Leicaflex is the cornerstone of a new Leitz reflex camera system that will be developed to parallel (but not replace) the Leica-M range-viewfinder system from which it has inherited many of its sturdily dependable ways.

The Leicaflex is manufactured to tight, Leica-standard tolerances. It features a new family of auto-aperture lenses, a new instant-return mirror mechanism, new extra-bright viewfinder optics, a new built-in cadmium sulphide exposure meter, and a new focal-plane shutter that stops action cold at 1/2000 sec. and synchronizes with electronic flash a t 1/100th sec. And, it is quiet!

One of the first things that you'll notice about the Leicaflex (once having become acquainted with its bright focusing screen and smooth, precise mechanical functions) is its quietness. There's none of the usual reflex crash-bang.

human engineering

Designed by engineers who are also active photographers, for active photographers who are not engineers, the Leicaflex presents a comfortable handful of readily accessible, logically located, easy-to-operate controls with big, legible markings. Film-transport, shutter-release and speed selection are grouped together in a single coaxial assembly at the right-hand side of the top deck. The single-stroke advance lever snaps out to a comfortable ready position, well clear of the viewfinder eyepiece to permit left-eye use. Your right-hand thumb and forefinger fall naturally over these controls while your left hand engages the lens. Whichever eye you put to the extra-large eyepiece lens (it gives even eyeglass wearers a comfortable view of the whole field), the Leicaflex "fits" like a pair of well-worn gloves.

Speaking of gloves, the Leicaflex auto-aperture lenses can be manipulated while wearing them, if need be. All have the auto-aperture preselector ring at the base, right next to the camera body. And, in all cases, the focusing ring is at the front where you can grab it without worrying about upsetting the exposure. Learn to handle any one of these anodized beauties, and you've learned to handle all of them. The large, non-rotating speed selector dial has firm click-stops for speeds from 1 to 1/2000th sec., plus Bulb. A speed scale is also visible through the viewfinder, just underneath the picture-field. This lets you change speeds in mid-picture, so to speak, without taking your eye from the finder.

This feature also speeds up operation of the built-in exposure meter that lets you set the correct exposure as soon as the Leicaflex reaches its eye-level operating position.

focusing and viewing

The instant-return mirror and auto-aperture lenses keep the picture before your eye except for the instant of exposure. There's no visible mirror black-out, or aperture dim-out with the Leicaflex except at the instant of exposure. Computed in relation to the specially developed reflex-focusing Leicaflex lenses, the finder system works with all lenses at full aperture to provide maximum brightness.

A circular patch containing more than 13,000 tiny micro-prisms is centered in the unusually bright viewing screen. These precision surfaces make focusing fast and easy by deflecting out-of-focus light rays to exaggerate the visual difference between correctly and incorrectly focused objects. The prismatic effect is so pronounced that a second contour is found around the edges of out-of-focus objects, and a watery pattern is seen until the lens is in focus. When the center spot is clear, the image is sharp.

Fast, accurate focusing is enhanced by the camera's high screen-brilliance and the telescope power, or viewfinder magnification, of the system. This depends on the focal length of the lens being used and is almost 1:1 with the standard 50mm Summicron-R f/2 lens. Here are the finder magnifications provided by the four introductory Leicaflex lenses:

Focal Length - Finder Magnification

35mm - 0.6X

50mm - 0.9X

90mm - 1.5X

135mm - 2.3X

In addition to giving a parallax-free image with all lenses, and at all distances, the Leicaflex viewing screen is precision-adjusted in relation to the film-gate. The viewing screen shows a 23 x 35mm image (in accordance with the international standard for color film slide mounts), while the actual film dimensions are 1/2 mm more in all four directions. Viewfinder center and picture center correspond exactly.

steady as she goes!

The loss of image sharpness through mirror vibration, one of the most-discussed SLR bugaboos, has been virtually eliminated by the Leitz-patented mirror mechanism of the Leicaflex. In fact, tests made with a high-power microscope prove conclusively that the vibration of the Leicaflex mirror is only negligibly more than vibration in the Leica-M camera. And, since the Leica-M shutter is famous for its unbeatable smoothness, this took some doing!

This has been achieved by a system of levers which starts the mirror from a dead-point, accelerates it to a maximum swinging speed in the center of its motion, and then brings it to a second dead-point stop without banging into the top-plate of the camera housing.

Another interesting aspect of this design is that the auto-aperture actuator arm is connected directly to the mirror-raising mechanism; both derive their energy from the same springs. This guarantees that the Leieaflex lens is always fully closed down to the preselected aperture before the shutter can begin to travel. By linking the two preliminary functions of mirror-raising and aperture-closing together, an often-overlooked source of SLR vibration has been eliminated in the Leieaflex. The action of the Leicaflex mirror, auto-aperture, and shutter-braking mechanisms eliminates any appreciable camera vibration, permitting confident use of even the slowest shutter speeds.

In photomicrography and high-magnification macro photography, however, all vibration, no matter how insignificant, is magnified in direct proportion to the image magnification. For these special applications, the Leieaflex has a mirror-control lever which permits the mirror to be raised separately, before the shutter is released.

fast, quiet, and efficient

The Leicaflex focal-plane shutter is a new design. Its increased curtain velocity permits a top speed of 1/2000th sec., and (even more important) the shutter synchronizes electronic-flash units at 1/100th sec. Automatic compensation for acceleration is provided by a Leica-type design in which the moving slit widens itself as it crosses the film gate. This ensures uniform exposures over the whole film area, even at the top speed of 1/2000th sec. The higher curtain velocity also increases the camera's optical efficiency since the moving slits for speeds are proportionately wider. Speeds are arranged in geometrically doubling progression from 1 to 1/2000th sec., plus Bulb. Firm click-stops are provided at each marked speed. As previously mentioned, the speed setting is also visible through the viewfinder, on a scale appearing directly underneath the picture-field. Intermediate exposure times can be set over the full range, when desired, except between 1/8th and 1/4th sec.

Two separate flash circuits, each with its own standard P-C polarized, marked contact, are provided for speedlight units as well as conventional flash-bulbs. Electronic-flash synchronization is available up to 1/100th sec., this setting being indicated by a lightning-bolt on the speed selector dial. Standard medium-peak (Class M) lamps can be synchronized at all speeds. Guide-numbers, however, become unprofitably low at speeds in excess of 1/250th sec., so most photographers prefer a setting of 1/125th sec. Small zirconium-filled flash lamps of the AG-1 type must be synchronized at speeds no higher than 1/60th sec. because of their different ignition characteristics. Flash-wise, the Leicaflex is ready to go with anything that glows!

easy loading

The design of the Leicaflex body, since it is deep and rugged enough to house the prism-and-mirror system, permits the use of a hinged back which swings wide open. This offers easy loading and a quick, positive, visual check that all is in order before locking up to begin shooting. Once the film leader has been pushed into any of three slots, equally spaced on the core of the permanently mounted take-up spool, you are ready to close the camera and crank the first frame into place. And when you've finished the last exposure, a built-in rewind crank stands ready to whisk the film back into its cartridge for a quick change to a new roll.

sensitive, accurate, and handy

The built-in Leicaflex exposure meter utilizes a battery-powered cadmium-sulphide photoresistor cell. The battery is the button-sized PX-625 (with white ring). Its useful life is between one and two years and it is recommended for use in the Leicaflex even at well-below-freezing temperatures - to 14°F. to be precise. Film-speed indexes are provided from ASA 8 to an optimistic 6,500 on a dial which is coupled to the meter's follower arm. A locking button positively preents accidental upsetting of the speed index, eliminating one of the most troublesome problems of exposure-metermanship. The meter's sensitivity ranges from approximately 0.2 to 1500 candles-per-square-foot, or from weak reading illumination to blinding equatorial sunlight.

When you look through the Leicaflex finder you see the meter needle and a circle-topped follower-arm at the right-hand side of the viewing screen. Match the needles and you've set the correct exposure. Since the meter follower-arm is cross-coupled with the shutter-speed selector dial and the auto-aperture rings of all the Leicaflex lenses, either can be turned to adjust the exposure. In practice, however, it is probably preferable to start by setting the shutter speed, then obtain the correct exposure by turning the auto-aperture ring until the follower-arm circle surrounds the tip of the meter needle.

If your shutter speed is too high or too low for the anticipated subject motion, the speed scale in the finder lets you change this without taking the camera from your eye. Two circles engraved on the focusing screen, a large one in the upper-right-hand corner, and a small one below at the right-hand corner, let you know if you're opening-up or closing-down the lens. When the follower-arm moves toward the large circle, the aperture is increasing, and vice-versa. My own method for "reading" the aperture without taking my eye from the Leicaflex finder is quite simple.

It takes only a few seconds to turn the auto-aperture ring of the lens all the way to the right (thus opening the lens to full aperture) and then to count the clicks as you come down the scale to match the meter needles. Since all auto-aperture Leicaflex lenses work in exactly the same way, all you have to remember is that each click is worth exactly half an f/stop.

The rectangular measuring field of the Leicaflex meter corresponds to the field of the 90mm lens. Because of the relatively narrow 27° acceptance angle, the meter gives accurate exposures when the most important part of the subject is covered by the focusing spot in the center of the Leicaflex viewing screen.

The meter's measuring field, when used with a 35mm lens, is a small rectangle just surrounding the focusing circle. With the 50mm lens, the field is a rectangle occupying about half the finder field, with the same center. The meter's field is about 50% larger than that produced by the 135mm lens.

The beauty of this precise, built-in CdS meter is that it's cross-coupled in such a way that it in no way interferes with, or changes, normal camera-handling. When you want it, it's there. You can line the needles up in less time than it took to read this sentence. When you don't need its advice, go your way: All shutter-speeds and lens-apertures can be used regardless of the film-speed index set into the meter.

More than this, it's one of the most accurate and dependable meters, and one that's always right there in front of you every time you take a picture. With its pointers permanently imaged inside the finder field, the meter keeps you aware of lighting changes as they occur. You need never take your eye from the finder to make the necessary adjustment.

The Leicaflex checks out as a very regal reflex camera - smooth and fast-handling, with a quiet, practically vibration-free mirror/shutter action and the brightest viewfinder of any. After all, it's the only 35mm single-lens reflex camera that's made to the standards of a Leica. Need I say more?

Manufacturer description #2

From the LEICA photography magazine (1965, No. 3):

Queen Elizabeth II of England, who shares an enjoyment of photography with her husband, sister and brother-in-law, is now the owner of a unique Leicaflex. During her recent visit to Germany, she was presented with the camera and accessory lenses by Dr. Georg August Zinn, minister of the province of Hessen.

The camera and handsome carrying case are both adorned with a crown and the royal initials "E. II R." Queen Elizabeth also owns a similarly engraved Leica M3.

Manufacturer description #3

Single-lens-reflex camera, focusing screen with microprism measuring field, built-in CdS exposure meter, lens bayonet mount, focal plane shutter 1 to 1/2000 sec. and B, electronic flash 1/100 sec., automatic frame counter under magnifier.

Serial No. from 1080114.

Manufacturer description #4

The LEICAFLEX is a solid, fast-handling SLR built for results plus reliability by the people who made 35mm photography famous. Manufactured to traditional LEICA standards of optical and mechanical excellence, this is the precision reflex that critical photographers have long demanded.

The wonderful world of reflex photography is imaged through the LEICAFLEX viewfinder with unbelievable brilliance and clarity. New too are the high-speed focal-plane shutter and the vibration-free instant-return mirror that comes to a gentle stop before the shutter can begin to move. This is only one of the hidden features that ensure top optical performance from the auto-aperture LEICAFLEX lenses. These newly designed optics, computed especially for reflex photography, bring LEICA definition and crispness to the reflex camera field.

Matched picture-taking and viewfinder optics of advanced LEITZ design bring new reflex brilliance and clarity. Precision micro-prisms make focusing fast, accurate, and easy - ensure top performance from superbly corrected new LEICAFLEX lenses. Instant-return mirror and automatic lens apertures eliminate mirror black-out, aperture dim-down.The ultra-bright finder image is always there, except for the very brief interval of exposure.

New high-speed focal-plane shutter freezes action at 1/2000 sec, synchronizes electronic-flash at 1/100 sec.

The shutter speed selector dial, release button, and single-stroke advance lever are united in a control cluster. No need to take your eye from the finder for a speed change: a second scale, just below the picture field, always shows your shooting speed.

Forget about the narrow latitude of color films: this highly accurate battery-powered CdS meter is always on the job, its needle and follow-pointer ever-present in the LEICAFLEX viewing screen. Cross-coupled for maximum convenience, the meter permits exposure setting with full freedom to adjust either shutter speed or lens aperture. Wide-range meter sensitivity extends from 0.2 to 1,500 candles/ft2.

From the editor

The first Leica SLR camera. Lenses for LEICAFLEX had single cam giving automatic diaphragm coupling so that focusing was at full aperture.

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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.

14103

Replacement camera body cover, plastic, for all LEICA R-mount cameras.

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.