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Mamiya RB67 Professional S

Medium format MF film SLR camera

Specification

Production details:
Announced:1974
System:● Mamiya RB67 (1970)
Format:
Maximum format:Medium format 6x7
Film type:120 roll film
220 roll film
Mount and Flange focal distance:Mamiya RB67 [111mm]
Shutter:
Type:In-lens leaf shutter
Exposure:
Exposure metering:None
Exposure modes:Manual
Physical characteristics:
Weight:2705g
Dimensions:144x104x228mm

Manufacturer description #1

The modern photographer requires a camera that is suitable for any field, be it commercial, sports, industrial or scientific. The Mamiya RB67 PRO-S is ideal, first of all, because of its proportionally desirable 6 x 7 format. Then there are the systems of interchangeable accessories: the lenses, from 37mm wideangle to 500mm telephoto; a complete range of film backs for every conceivable type of film available on the market today; and interchangeable viewfinders and focusing screens to help the photographer see to best advantage what he is photographing. Flexibility is added by the revolving backs, allowing either horizontal or vertical format to permit the desired composition with a maximum of speed and a minimum of inconvenience.

The entire system is backed up by famous Mamiya technology and attention to detail. For example, the new multi-coating of the lenses, the rack-and-pinion bellows mechanism. And the new safety features to prevent wasted film and lost shots. Whatever his field, the modern photographer will find his dream camera in the Mamiya RB67 PRO-S.

This brilliant combination of the large 6 x 7 format with the parallax-free SLR system gives unsurpassed ease of focusing and exact framing for both horizontally and vertically framed shots. Red lines on the focusing screen indicate the picture area for horizontal compositions. When the back is rotated for vertical compositions these red lines disappear and picture limits are shown by dotted lines. You see exactly the area that will appear on the negative, even for extreme closeups. You get maximum use of the entire film area.

The single-action focusing hood of the PRO-S enhances the fast focusing and framing for which SLRs are famous. A new design allows the focusing hood to be collapsed or erected with a simple motion of one hand. And the finder screen is entirely screened from extraneous light when the magnifier is in position, eliminating troublesome glare and reflections. Magnifiers are available in various diopters to suit individual vision.

This lock allows the photographer to lock the focusing mechanism in place after adjusting the focus. A feature useful in any type of photography but especially in close-up work to prevent slips with the very critical depths of field that occur.

The only 6 x 7 format camera in the world with the revolving back, the Mamiya RB67 PRO-S boasts a complete system of interchangeable backs to meet every need of the discriminating and creative photographer. Any type of film can be used: color, black and white, or even Polariod films, merely by swiftly changing the back. Those who own other Mamiya cameras with film holders can use these without alteration. Four types of locks are available for attaching various adapters and film holders. Another Mamiya first.

With its smooth operating rack-and-pinion bellows the Mamiya RB67 PRO-S can be used for close-up photography with or without attachments . A full 46mm extension allows focusing to as close as 3.9cm lens-to-subject with the 50mm wideangle lens. Exposure corrections are made simple by the table on the camera body for all lenses and bellows extensions. With the auto- extension tubes even macrophotography is possible. A whole new world of photography made easy for professional or amateur.

A new multi-coating process has made the Mamiya-Sekor lenses among the sharpest in the world. Not only are images focused to perfection but the old problem of reflection has been overcome. Single-coated lenses can prevent reflection within the lens in only certain frequencies. Multi-coating overcomes this handicap and eliminates reflection over a wide range of frequencies, making images clearer and tones crystal clear as never before. In color work this is especially valuable as color rendition is vastly improved. Another asset is the prevention of ghosts which occur is complex lenses; this is possible only through multi-coating. A simple new way for you to get more out of photography.

Conditions of ten change in photography requiring a different focusing screen. Mamiya has available a selection of five of these screens to meet conditions encountered in all branches of photography. All of these screens have broken black lines for horizontal and solid lines for vertical framing. And included are the Standard Matte, which is standard equipment; the Checker, with grid markings; Rangefinder Spot, with a split-image prism; Microprism for quick focusing; and Cross Hair for high magnification close-up photography.

Manufacturer description #2

REVOLVING BACK

The back of the Mamiya RB67 Pro-S can be turned 90° in one direction and has a positive lock to insure proper alignment of double- exposure preventive system and alignment with finder. This allows the picture format to be changed from horizontal to vertical without changing the camera's position or removing it from the tripod. To help in composing the picture, red lines appear on the focusing screen to indicate when the horizontal format is being used.

This kind of mechanism is considered standard on a 4 x 5 inch (9 x 12 cm) format view camera. However, the Mamiya RB67 Pro-S is the first 6 x 7 cm camera to be equipped with it, putting it on a technical par with the view camera.

Since 35mm cameras are relatively small, changes from horizontal to vertical format and vice-versa are done by changing the position of the camera itself. With medium-format cameras, however, this puts quite a strain on the cameraman. Consequently, for many years 6 x 6 cm format cameras were used, despite the fact that the photographer later had to resort to wasteful cropping of the image. The advantage of the 6 x 6 cm format, of course, was the fact that there was no need to change the camera position to take horizontal or vertical photographs since the sides of the picture were all the same length.

FORMAT

The 6 x 7 cm format is a logical picture size which evolved after careful consideration of the pros and cons of other picture sizes.

The Mamiya RB67 Pro-S provides an actual picture size of 56mm x 68mm, with a width/length ratio of 1:1.2. This ratio is very similar to that of view cameras like the 4 x 5. People who are accustomed to such cameras will have no problem adjusting to the RB67 Pro-S film format.

Moreover, this length/width ratio is also very close to the ratios of most standard sizes of photographic paper, which means that the picture framed in the single lens reflex viewfinder can be printed exactly as it is seen in the viewfinder without cropping.

This format is also logical in terms of the number of photographs per roll. A 6 x 9 cm format camera can make onIy 8 exposures on 120 roll film. And while a 6 x 6 cm format camera can make 12 exposures, they must all be cropped to the paper size, making the effective part of the picture similar to that of a half-format. With the 6 x 7 cm format, however, 10 pictures can be taken, with an effective picture size similar to the older 6 x 9 cm format.

Today, the 120 size is not the only roll film available. There is a tendency towards longer films, with a 220 size (20 exposures) and a 70mm (50 exposures) on a 15 foot roll. Medium-format cameras are gradually acquiring the same number of frames per roll capabilities as the 35mm camera.

It is possible to change holders in mid-roll, and an interlock system is utilized to avoid mistakes when interchanging. The Polaroid® Land pack film holder also permits the use of instant films. The format changes to 7 x 7 cm but since it is roughly similar to the format of Polaroid ® type 80 pack films, image size loss is reduced to a minimum.

THE BELLOWS

With the Mamiya RB67 Pro-S, focusing is accomplished with a bellows extension system, rather than a helicoid lens extension system. Not only does this system produce a clear picture with little internal light reflection, it also makes the Mamiya RB67 Pro-S a good camera for close-ups. This enables it to be used for product photographs, a task that was formerly achieved only with a much larger view camera.

The bellows can be extended 46mm. With a 90mm f/3.8 lens, close-ups with a magnification of about 1/2x, (1/2 life- size) can be taken. Using a 127mm f/3.8 lens, a magnification of about 1/3x can be achieved.

The RB67 Pro-S has a unique distance scale graph on the side of the bellows which displays the curves of all the various focal length lenses. This feature makes it possible to easily read photographic distances graphically on the camera itself. It also shows precisely how many millimeters the bellows has been extended as well as exposure compensation factors for close-ups with each lens.

For larger magnification close-up photography, exclusive Auto Extension Tubes are available for the Mamiya RB 67 Pro-S. Extension Tube No. 1 is 45mm long and No. 2 is 82mm.

If you add the 45mm of the Auto Extension Tube No. 1 to the length of the bellows fully extended, it adds up to 91mm.

Using the No.1 Tube with a 90mm f/3.8 lens it is possible to take life-size close-up photographs in a 1:1 ratio. The Auto Extension Tube No.2, used together with the fully extended bellows and a 127mm f/3.8 lens, also makes it possible to take life-size close-ups. In addition, by varying combinations of lenses and extension tubes, and by varying the extended length of the bellows, it is possible to change lengths continuously from 0 - 173mm, with some overlap. What this means is that with a 90mm f/3.8 lens you can take a close-up with a magnification of 2x (of a photographic subject area 30 x 36mm) while a 180mm lens allows telescopic close-ups of the subject in almost its actual size.

Proper exposure is essential for obtaining sharp close-ups. For this reason, interchangeable viewfinders with built-in TTL metering systems are available for the RB67 Pro-S. The CdS Magnifying Hood Finder, in particular, provides excellent spot metering through a 6mm diameter spot in the middle of the picture, which helps assure correct exposures.

We are confident that the Mamiya RB67 Pro-S camera and lens system will produce excellent close-up photographs because of the large 6 x 7 cm image size and the optics that are believed to be superior to others in the field.

Manufacturer description #3

Designed with the professional in mind, this fine camera system provides the ultimate in quality, versatility, and photographic excellence. The superb precision and innovative features help to make the RB67 Pro-S the practical system for serious photographers. The ideal 6x7cm format is proportioned to the most common print sizes. The unique revolving back system, which accepts a multitude of film holders and adapters, provides convenience and efficiency. A fully interchangeable system of lenses with built-in shutters, viewfinders and screens for every application, and other accessories help to make the RB67 Pro-S the working photographer's dream.

  • SINGLE-ACTION FOCUSING HOOD opens and closes with a touch. Interchanges with magnifying hoods and prism finders, including types with built-in CdS metering systems (will fit original RB67).
  • BREECH LOCK LENS MOUNT is designed for quick lens changing and secure locking. A safety device prevents the lens from being removed if the mirror is not cocked.
  • BELLOWS FOCUSING SYSTEM permits smooth rack-and-pinion focusing and allows close-up work without special attachments. For ultra-close photography, automatic extension tubes are available.
  • INTERCHANGEABLE LENS-SHUTTER COMBINATIONS give highest effeciency and matched performance, All shutters are identical with speeds from 1 to 1/400 second plus T and full flash synchronization at any speed. Lenses have multi-layer coatings, automatic diaphragms, depth-of-field scales, and common (77mm) filter threads.
  • FILM ADVANCE LEVER is conveniently located on the 120 and 220 roll film holders. A single movement or multiple strokes of the lever quickly advances the film. The double exposure prevention system has an intentional override.
  • UNIQUE REVOLVING.BACK system enables horizontal or vertical format photography without changing the camera positiofl. Red lines appear on the focusing screen to indicate when the back is set to the horizontal position.
  • FILM HOLDERS include those for 120 and 220 rolls, film packs, cut film and plates, and Polaroid film packs. With appropriate adapters, film holders for the Mamiya press camera as may also be used.
  • SHUTTER COCKING LEVER also cocks the mirror with a single quick motion. A safety device prevents the lens from being removed unless the mirror is down.
  • INTERCHANGEABLE BACKS allow complete film-use flexibility. Any back or film holder may be removed in mid-roll without frame loss.
  • FOCUSING KNOB is large and easy to use. Another focusing knob is on the opposite side of the camera for added convenience.
  • SHUTTER RELEASE is conveniently located for efficient exposures. A locking ring prevents accidental exposure.
  • LOCK LEVER for the focusing knob secures the focus setting once it is made and prevents accidental movement.
  • 6x7cm FORMAT is considered ideal as the negative can be enlarged to 8x10 proportions with virtually no loss of picture area.
  • INTERCHANGEABLE FOCUSING SCREENS provide the desired view for every type of photographic application. Five different screens are available.

PLUS: Film exposure counter. Film position indicator. Multiple exposure lever. Mirror release operating knob. Accessory shoe on camera body. Dark slide storing lug. Magnifier with interchangeable lenses. Distance scale for all lenses. Depth-of-field preview lever. Multiple safety interlocks and more!

Manufacturer description #4

The Mamiya RB67 Pro-S is a unique, high-grade, 6 x 7cm lens-shutter type, single-lens reflex camera developed to offer excellent picture quality and easy handling. Mamiya feels confident that the extensive versatility and capabilities of the Pro-S will meet and satisfy the requirements of all photographers.

1. Rational 6 x 7cm format

Since the 6 x 7cm format covers an area 4.5 times the 35mm format, excellent picture quality is obtainable. Especially, it demonstrates superb results in color photography. The ratio between the length and width of 6 x7cm formats is almost the same as that of large photographic paper, permitting economical enlargements without cropping.

When designing a magazine layout, a sufficient blank space is reserved for headlines and explanatory notes, so that the entire picture format can be fully utilized.

2. Single-lens reflex camera offering a bright, large finder image

Since parallax-free focusing in the outstanding feature of the single-lens reflex camera, speedy camera operation is possible through brilliant, precise 6 x 7cm picture composition.

3. Excellent Mamiya Sekor lenses

Mamiya Sekor lenses boast excellent image rendition and color balance. Various types ranging from wide-angle lenses to telephoto lenses are available.

These lenses are rationally grouped in series, whereby those exactly adaptable to one’s particular photographing objectives are optionally selectable with ease.

4. Lens-shutter system suitable for electronic flash photography

By adopting the lens-shutter system, electronic flash is synchronized with all shutter speeds, making it possible to produce highly impressive photographs.

5. Double-exposure prevention and multiexposure devices

An interlocking device for double-exposure prevention is incorporated in the Pro-S roll film holder. Since this device is interlocked with the Pro-S body mechanism, the shutter cannot be released unless the film is advanced. Also, film advance for the next exposure is impossible unless the shutter is released.

When the shutter is released, the film wind-stop is automatically released.

Multiple exposure photography is available simply by switching a lever.

6. Vertical or horizontal picture format quickly changed over with the revolving adapter

A revolving adapter is provided as a standard outfit, whereby the vertical or horizontal picture format is promptly selected by turning the camera body back by 90° without changing the camera position.

This is especially convenient when the camera is mounted on a tripod.

7. Finder format index interlocked with revolving adapter

When the revolving adapter is turned up to 90°, horizontal format picture index red lines appear (or disappear), presenting proper picture composition.

8. Excellent film flatness ensured by Pro-S roll film holder

Various tests have been applied to the Pro-S roll film holder to stabilize film flatness. As a result, film flatness has been further improved.

9. Camera back adapter changeable according to photographing objectives

By changing the back adapter, depending on your photographic objective, the range of film applications can be widened to include 120 and 220 roll films, dry plates, cut films, and 70mm film.

The film holders and back adapters are very easily exchanged.

10. Unique mirror shockless mechanism

By adopting a unique centrifuged friction governor system, the mirror functions smoothly without sensing shocks. Mirror shock, constituting the most important problem involved in large, single-lens reflex cameras, has been solved.

11. Large variety of finders

A big selection of finders conforming to your photographic objective are available.

They include a CdS finder (appropriate exposure obtainable with Through-the-lens measuring system), a Prism finder (subjects can be seen as an erect image), a CdS prism finder (former two types of finders are combined). a Magnifying hood (easily visible and bright), a Dual magnifying hood (performs precision focusing by speedily changing the magnifier of high magnification), and a Universal sportsfinder (permits focusing on the focusing screen after it has been installed).

The focusing screens are also easily exchangeable. Depending on the photographing objectives, a checker, a rangefinder spot, a microprism, and a cross-hair can be selected at your option.

12. Excellent heat- and cold-resistant capacity

Camera component parts are capable of demonstrating their functions within a wide temperature range from approximately 120°F to - 50°F (5°C to - 20°C).

The lens-shutter maintains accurate function, even in severe cold, and shutter speed deviation is negligible. Its resistivity to coldness is superb.

Although the camera operating unit grows sluggish at or below 15°F (-10°C), it is sufficiently capable of operating the camera until the temperature drops to approximately - 50°F (-20°C).

13. Mirror-up photography (independent mirror release) possible

When sharp pictures are demanded, the mirror-up mechanism plays a big role. When taking a picture unhurriedly with the camera mounted on a tripod. or when photographing at slow shutter speeds or using a telephoto lens, the mirror-up operation merit is highly effective.

14. Close-up photography through full use of bellows characteristic features

Since the bellows can be extended up to 46mm, photographing small subjects in the frame full size is possible. When auto extension tubes are used, the subject can be further enlarged. When a standard lens is employed, life-size (1 :1) or larger pictures can be photographed.

15. Single-action focusing hood

Available as a standard outfit is a collapsible focusing hood, which can be opened and closed by single action, and which can be shielded from extraneous light by raising the magnifier. Depending on diopter of your eyes, the magnifiers are interchangeable. A double-lock mechanism prevents the focusing hood from accidentally slipping off.

16. Focusing knob fixing device

A focusing knob fixing device is provided so that the focusing knob will not be moved inadvertently during close-up photography, taking snapshots, fixed focus photography, or using a telephoto lens.

17. Dark slide lock for safety while carrying

A dark slide lock is provided for the Pro-S roll film holder so that the dark slide will not slip off while carrying the holder detached from the camera body.

18. Accessory shoe

An accessory shoe is provided for convenient use when mounting the clip-on-type flash unit.

19. Unique safety devices

Various safety devices eliminate possible photographic failures.

20. Complete set of accessories

Availability of a complete set of various accessories further augments photographic possibilities and camera versatility.

From the editor

The weight is indicated with the Mamiya Sekor 90mm F/3.8 C lens mounted.

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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.