Mamiya 7

Medium format MF film rangefinder camera

Specification

Production details:
Announced:June 1995
System: Mamiya 7 (1995)
Format:
Maximum format:Medium format 6x7
Film type:120 roll film
220 roll film
Mount and Flange focal distance:Mamiya 7 [59mm]
Shutter:
Type:In-lens leaf shutter
Exposure:
Exposure metering:Through the separate window
Exposure modes:Aperture-priority Auto
Manual
Rangefinder and Viewfinder:
Rangefinder:Built-in, combined with viewfinder
Viewfinder:Built-in, combined with rangefinder
Finder magnification:0.57x
Actual rangefinder base:60mm
Effective rangefinder base:34.2mm
Bright-line frames:65mm, 80mm, 150mm
Parallax compensation:Yes
Physical characteristics:
Weight:920g
Dimensions:159x112x69mm

Manufacturer description #1

June 1995

Elmsford, NY - The popularity of the Mamiya 6, 6x6cm rangefinder cameras with interchangeable lenses has created a consistent demand for a similar 6x7cm "Ideal Format" camera and Mamiya listened to the wishes of its customers.

The 6x7 format, the largest practical medium format size, made popular by Mamiya's RB67 and RZ67 SLR cameras, is preferred by many of America's top photographers because it can be enlarged to standard paper sizes without croping and without wasting image area. It produces superior quality images which 35mm cameras cannot equal, images large enough to be viewed without the need of a magnifier.

Only slightly larger than the Mamiya 6, and hardly larger than some 35mm professional cameras, the Mamiya 7 incorporates the latest advances in mechanical, optical and electronic camera design. Like the Mamiya 6, its electronic shutters are super quiet and its brilliant viewfinder with rangefinder system makes focusing easy and accurate, even in poor light. Like the Mamiya 6, it is a "quick on the draw" camera that handles with 35mm camera ease.

No camera can do everything best and the advantage of SLR groundglass viewing requires a mirror box which adds bulk and weight plus mirror noise and image blackout during shooting. Rangefinder design permits a compact, sleek and lighter body, fast and quiet operation and uninterrupted viewing. A much shorter flange-focal distance establishes ideal parameters for lens design which result in maximum optical quality.

Four new world-class lenses were specially designed for this camera: An 80mm f/4 standard, 150mm f/4.5 tele, 65mm f/4 wide angle and 43mm f/4.5 ultra-wide angle, distortion free lens. All are mounted in electronic leaf shutters, with speeds from 4 sec. to 1/500 sec, "X" synchronized at all speeds. All are coupled to the rangefinder and show the field of view within automatically indexed frame lines and with automatic parallax adjustment. Except the 43mm lens - also RF coupled - which is supplied with a special finder which slides into the accessory shoe and features a spirit level and diopter adjustment ring.

A 35mm film panoramic adapter, similar to the Mamiya 6MF's, is available as an optional accessory. It produces super large 24x65mm (1:2.7 aspect ratio) panoramic images, suitable for giant projections.

Manufacturer description #2

Mamiya pioneered the 6x7cm medium format SLR system camera when it introduced the first Mamiya RB67 in 1970. In 1982 an additional model followed, the Mamiya RZ67 with electronic features.

Both cameras soon became the market leaders and the preferred tool of trade for portrait, commercial and magazine photographers all over the world and established the 6x7 rectangular image as the "ideal format".

Now we are proud to present the Mamiya 7, 6 x 7cm rangefinder camera.

Reflecting Mamiya's traditional quality workmanship plus modern design, the Mamiya 7 is compact and lightweight. It offers the handling ease of a 35mm camera, while yielding far superior 4.5 times larger images. Featuring interchangeable, rangefinder coupled lenses and AE metering, it also permits taking 24 x 65mm panoramic images on 35mm film, by means of an optional adapter kit.

The Mamiya 7 lens program includes a standard 80mm lens, a 65mm wide angle lens, an ultra-wide 43mm lens and a 150mm telephoto lens.

The Mamiya 7 is the only camera in the world that has these exclusive features:

  • Ideal 6x7cm film format that enlarges to standard photographic and industrial paper sizes without cropping and without wasting film. A size that can be viewed with the naked eye and that is easy to retouch.
  • Lightweight, compact, "quick on the draw" and ergonomically designed to fit in your hand like a glove.
  • Crisp, accurate, broad based, split-image rangefinder, that is easy to focus, even in poor light.
  • Bright viewfinder with frame lines that are automatically indexed to match the focal length of lens in use and that automatically adjust for parallax.
  • Interchangeable, world-class Mamiya lenses, utilizing the latest optical glasses and computer aided design and that take advantage of the camera's short flange focal distance (there is no mirror box) to reach new heights in lens quality.
  • Precision, super quiet, electronic shutter with speeds from 4 to 1/500 sec., flash synchronized at all speeds.
  • Built-in "dark slide" curtain that permits changing lenses with film in camera.
  • Precision AE (automatic exposure) meter with manual overrides.
  • Selftimer (delayed action release) with automatic turn-off.
  • Optional external battery case to wear inside clothing in extreme cold.
  • Optional panoramic adapter that permits use of 35mm film and yields 24x65mm images.
  • Built with typical Mamiya quality for hard professional use and long service life.

***

Camera type: 6 x 7cm format interchangeable lenses, rangefinder camera, double formats (6 x 7 and 35mm panorama)

Film type: 120 Roll Film (10 exposures), 220 Roll Film (20 exposures), 135 Roll Film (16 exposures with 36 exp. film)

Actual image size: 56mm x 69.5mm with 120/220 film, 24mm x 65mm with 135 film, using Panoramic Adapter Kit

Film Winding: A single 185 deg. stroke

Lens Mount: Exclusive Bayonet Mount

Shutter: #00 electronic leaf shutter; B, 4 to 1/500 second, electro-magnetic shutter release; X-contact synchronizing at all shutter speeds with hot-shoe and PC Terminal; electronic self-timer (10 sec. delayed, automatic turn-off)

Exposure Control: Aperture priority AE, SPD receptor in viewfinder; metering range: EV 3 to EV 18 (80mm lens f/4, ISO 100); exposure compensation: +2 to -2EV (in 1/3 EV increments)

Film speed range: ISO 25-1600

Rangefinder: Lens declination, double image superimposing system; base length 60mm (effective base length 34.2mm)

Viewfinder: Coupled with rangefinder; automatic bright line frame indexing (65mm, 80mm, 150mm): parallax compensation; magnification: 0.57X; 83% of the field of view visible at infinity; built-in shutter speed and exposure display, safety interlock warning LED

Internal "Dark Slide" curtain: To permit changing lenses with loaded camera

Safety mechanism: 1. Double exposure prevention; 2. Shutter release is locked when internal dark slide curtain is engaged. 3. Shutter release button lock lever

Power supply: One 6V (4SR44, 4LR44 or 2CR1/3 lithium) battery

Manufacturer description #3

For years, serious photographers have desired a camera which produces the largest possible negative or transparency - yet is easily hand holdable. They wished for superb precision quality, dreamed of world class lenses, hoped for controllable exposure automation, a really whisper quiet shutter, a razor sharp focusing finder uncluttered by too much data - and unchallengeable accuracy in exposure.

The Mamiya 7 has made their dreams come true.

Using standard 120 or 220 film, the compact Mamiya 7 delivers ideal format 6 x 7cm images. This large image area can be viewed with the naked eye, enlarges to photographic paper sizes and magazine formats without cropping and is 4-1/2 times larger than 35mm images.

Yet the Mamiya 7 handles like a "35" — and fits the photographer's hand like a glove.

Truly, a dream come true.

The Sophisticated Mamiya 7 View/Rangefinder System with AE Metering

Automatic Mode

The bright Mamiya 7 viewfinder incorporates a precison SPD (Silicon Photo Diode) aperture priority exposure meter system which automatically interfaces with the electronic lens shutters through gold plated contacts.

The AE system is thus able to provide excellent exposures for virtually any lighting situation, even with high contrast subjects. An AE lock is provided to give the photographer final exposure control.

Manual Mode

All shutter speeds can also be set manually on the camera's shutter speed dial. In this mode the exposure meter can still be utilized by observing the LED readouts along the bottom edge of the view finder.

Exposure Compensation Lever

Exposure compensation from + 2 to - 2 EV give additional manual control to adjust for filters or to obtain certain desired effects.

Bright, Crisp Range/Viewfinder

As lenses are changed, corresponding frame lines are automatically indexed in the viewfinder. A clear, precise rangefinder makes focusing easy and fast, even in poor light.

LED Controls

Along the bottom edge of the viewfinder LEDs display shutter speeds, over or underexposure situations, battery condition and malfunctions.

The Advantages of the Mamiya 7 Rangefinder Camera

Smaller, lighter, faster, quieter but the same ideal 6x7 format

Why an RF Camera?

No camera can do everything best and the advantage of groundglass focusing of an SLR requires a mirror box which adds bulk and weight and a mirror which causes noise and image blackout. Rangefinder design permits a compact, sleek and lighter body, fast and quiet operation and uninterrupted viewing. Its much shorter flange focal distance establishes ideal parameters for lens design, permitting super quality optics such as our 43mm ultra-wide angle lens.

Bright Split-Image Rangefinder

The bright, crisp Mamiya 7 rangefinder permits fast and easy focusing, in poor light, and, because of its 60mm base, is very precise.

Automatic Frame Indexing Parallax Correction

The bright frame displayed in the viewfinder changes automatical to show the field of view of the 65, 80 and 150mm lenses. Parallax is automatically adjusted as each lens is focused. The 43mm ultra-wide lens is supplied with a special finder but is also rangefinder coupled.

Zero Delay Shutter Action Whisper-quiet Operation

The precision electronic leaf shutters of the Mamiya 7 lenses, activated by its smooth electronic shutter release system, function instantly without any delay (there is no mirror movement), and what is equally important in many cases, in whisper-quiet fashion.

X Synchronized at All Speeds

The Mamiya 7 electronic leaf shutters are flash synchronized at all speeds. Both a hot shoe and synch socket are provided for connecting to flash units.

Mamiya, Master of the Medium, Leads Again

Mamiya built its first medium format rangefinder camera more than 50 years ago. It was a folding 6 x 6 with many exclusive features. It pioneered the first 6 x 7 SLR system camera, the RB67, with revolving back and bellows focusing more than 25 years ago. It was followed by the Mamiya RZ67, with electronic controls, in 1982. Both cameras became the "workhorses" of the top pros and made 6 x 7cm the "ideal format" all over the world and Mamiya the "Master of the Medium" and the "Medium of the Masters".

The Mamiya 7 Rangefinder camera, with its sleek and compact form, its light weight of only 1210 grams (36 ozs), with the 80mm F/4 lens attached, its ergonomic design that fits the hand like a glove and its modern gun metal finish, will further enhance the popularity of the 6x7 format.

Form Follows Function

The integral Mamiya 7 grip makes it easy to handhold the camera and all its operating controls — the electronic shutter release button, the shutter speed dial, the single stroke film advance lever — are conveniently placed to allow quick shooting without removing the camera from the eye.

Safety Controls to Prevent Errors

The lens cannot be removed unless the "dark slide" curtain is in place. The shutter cannot be released unless the curtain is open. The shutter can also not be released if there is nofilm in the camera (to override, open the back cover) or if the film is not completely transported. Weak battery power also blocks the release and is indicated by a flashing LED in the viewfinder.

"Dark Slide" Curtain for Changing Lenses

The built-in curtain, activated by a control on the bottom of the camera, permits lens change without fogging film. It locks if the lens is not securely attached to body.

35mm Panoramic Adapter Kit

The Mamiya 7 is designed to take 35mm film cassettes when the optional panoramic kit inserted. It yields spectacular 24 x 65mm images, an aspect ratio of 1:2.7

Rangefinder Camera Design Gives the Optical Engineer More Creative Freedom

A significant advantage of rangefinder camera design for the optical engineer is the elimination of the mirror box and the resulting shorter flange focal distance which permits placing the rear lens element close to the film plane. Various other restraints on lens design are also removed, providing far more versatility in coming up with a lens composition that approaches ideal optical theory. For just one example, lens groups can be positioned in near perfect opposition, doing away with almost all problems of spherical or chromatic aberration.

The four interchangeable lenses provided for the Mamiya 7 not only enjoy the benefits of superior design, they also yield the highest quality of pictorial impact thanks to cutting-edge optical technologies, manufacturing technologies of unmatched precision and the world's most rigorous, exacting quality tests. The ultra-wide 43mm lens is the first of its kind for medium-format rangefinder photography. If offers superb contrast and is unrivaled in its near total freedom from optical distortion.

Mamiya optical systems enjoy an enviable reputation among professional and serious amateur photographers the world over. Their secret is comprehensive design and production of the entire optical system, from the camera-lens mount to the individual elements, from glass selection to polishing, from multi-coating to final assembly. At every stage of production, Mamiya follows a single guiding principle: The lens is the life force of the image.

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Copyright © 2012-2024 Evgenii Artemov. All rights reserved. Translation and/or reproduction of website materials in any form, including the Internet, is prohibited without the express written permission of the website owner.

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.

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.