More than just a camera lens database

LENS-DB.COM

Minolta Maxxum 5

aka Minolta A-5
aka Minolta A-Sweet II
aka Minolta Dynax 5

35mm AF film SLR camera

Specification

Production details:
Announced:2001
System:● Minolta A (1985)
Format:
Maximum format:35mm full frame
Film type:135 cartridge-loaded film
Mount and Flange focal distance:Minolta/Sony A [44.5mm]
Shutter:
Type:Focal-plane
Model:Electronically controlled
Speeds:30 - 1/4000 + B
Exposure:
Exposure metering:Through-the-lens (TTL), open-aperture
Exposure modes:Programmed Auto
Aperture-priority Auto
Shutter-priority Auto
Manual
Physical characteristics:
Weight:335g
Dimensions:127x87x60.5mm

Manufacturer description #1

Remember as a kid, all those long summer days filled with non-stop activities? Now, the Minolta Dynax 5 makes it easier to capture more of these special moments.

Equipped with the world's fastest autofocus system with super-quick predictive focus controls, the Dynax 5 can easily track, freeze and capture children at play, animals in the wild or any other fast-paced action.

Since the Dynax 5 is replete with the most powerful features, it's ready to handle numerous shooting conditions.

Want to freeze in crystal sharp focus a child playing in a lake? Or how about capturing an enchanting portrait with the perfect balance of light and shadow? With the Dynax 5, you'll possess adept control over both of these demanding shooting environments.

For point-and-shoot simplicity, just switch the Dynax 5 to full-auto P mode. And from the first time you shoot, you'll enjoy concentrating solely on the perfect composition and framing. To indulge your creative side, it's also loaded with a host of sophisticated settings: exposure bracketing, exposure compensation, A.S. and M. modes, and more-plus many custom functions.

*In its class of 35mm AF SLR cameras as of March 2002.

More advanced features than any other camera in its class -- yet it's still one of the world's smallest and lightest.

Naturally, the more places you can bring your camera, the more photo opportunities you'll have. And with the Dynax 5 being one of the most portable AF SLR camera in both size and weight, you'll take it everywhere you go.

Sure, the Dynax 5 has many progressive features which used to be found only on higher-class cameras. Features such as the most advanced autofocus system with highly responsive predictive focus controls, the most powerful specs in its category, a super bright, clear viewfinder, a metal lens mount, and more. And, thanks to Konica Minolta's world-renowned engineers, you'll also find these features smartly packed into a streamlined, user-friendly SLR body which offers the highest level of portability as well as comfort.

The Dynax 5. So powerful. So portable. So perfect.

Ultra-High-Speed AF Control

Compared to any camera in its class, the Dynax 5 is the flat-out world's fastest. That's because it inherits a similar AF technology from the Dynax 7, which is considered the world's fastest in any class. Its shared technology includes a high-power motor to drive the AF system, a high-speed microcomputer, improved efficiency in braking control, faster CCD control processing, improved control algorithm, and a new AF realtime start control. All of which enables its AF control to process multiple tasks while focusing amazingly fast.

*In its class of 35mm AF SLR cameras. As of March 2002, under Minolta test conditions.

Multi-Dimensional Predictive Focus Control

With the most responsive predictive focus control in its class, the Dynax 5 can track faster moving subjects. In fact, it's so responsive, it can even track abrupt changes in speed or direction while maintaining accurate focus. And, unlike other cameras, the Dynax 5's shutter will release the instant the shutter button is pressed. These upgrades were made possible by employing a high-power AF motor, a simultaneous lens drive during the mirror-up movement, and an improved AF algorithm.

Super-Wide 7-Point AF System

Provides optimum flexibility when composing a picture enabling you to achieve an aesthetically balanced framing. The new 7-Point AF System efficiently covers the wide focus area and its sensors are laid out to the "Rule of Thirds," making easy placement of subjects near their corners. The cross-hair sensor in the centre captures the subject's vertical or horizontal contrast orientation. In continuous AF mode, this feature takes care of subject tracking, allowing you to focus totally on composition.

LED Illuminated Super Impose

The Dynax 5 is also the first in its class to possess this convenient feature. Located within the viewfinder, the super impose's red indicator light confirms whether your camera is focused on your subject when there are multiple objects in your scene.

1/4000th s. Ultra-High-Speed Shutter

By employing the fastest shutter speed in its class--1/4000 th s. the Dynax 5 can freeze fast moving subjects with astounding clarity and detail. This permits you to shoot with wider apertures in very bright backlit situations.

3 FPS Ultra-High-Speed Film Drive

At 3 frames per second*, no other camera in its class also lets you enjoy faster continuous shooting of moving subjects. That's because the Dynax 5 utilises a high-power motor, improved sequence of the parallel film drive transport and shutter charging, plus a flying release that was taken from the Dynax 9. You'll count on these upgrades to get more sequential shots of the exciting action you're trying to capture.

*Continuous drive speed based on following Konica Minolta test conditions: focus mode--single shot AF or MF, without date/time imprinting.

14-Segment Honeycomb-Pattern Metering

Ensures precise exposure for your subject even in the most difficult lighting situations. Its metering system collects data--brightness, distance, position of subject and focal length. This data is then analysed to decipher if the shot has normal or back lighting, is a portrait or a landscape, etc., and based on this analysis, the optimum exposure is set.

Spot Metering

The perfect mode for tricky exposure settings such as shooting subjects lit from behind or with high contrast. To achieve the most accurate spot metering of your subject, sensitivity is concentrated in an area that's 5.5mm or 3% of the total frame area.

Various Flash Modes

  • Fill Flash Mode enhances backlit subjects by lightening up shadows
  • For soft, natural light use Flash Cancel Mode
  • Red-Eye Reduction eliminates the red-eye effect caused by nighttime flash
  • Remote Off Camera TTL Flash Control adds an extra creative dimension while using Minolta Program Flash 5400HS, 5600HS(D) or 3600HS(D)
  • Also, while using Program Flash 5600HS(D) or 3600HS(D), Wireless High-Speed Sync lets you shoot in backlit situations using wider than customary apertures with the built-in flash and normal sync speeds

ADI Flash Metering

Attach a (D) lens* and Konica Minolta's ADI (Advanced Distance Integration) will ensure optimum flash metering--regardless of background conditions or subject's reflectance characteristics. Used with Program Flash 5600HS(D), Program Flash 3600HS(D) or even its built-in flash, the Dynax 5 calculates a guide number based on distance from subject, ambient light/pre-flash reflectivity** of the subject and the background to determine the ideal amount of flash.

*ADI flash metering operates only with (D) lenses.

**Does not operate with built-in flash.

Eye-Start Automation

Switch on this unique feature and it'll help you capture exciting candid shots the instant they happen. Sensors in the handgrip and viewfinder automatically activate the AF and AE systems the moment you bring the camera up to your eye--readying you for all the action.

Depth-Of-Field Preview

This convenient feature lets you continuously monitor the depth of field of your image. Thus, making it easy to ensure your subject and background are both in focus, or to check your focus during macro photography.

14 Custom Functions

You can customise your camera according to your shooting style by setting the Dynax 5's time-saving default settings.

Loaded with so many user-friendly features, the Dynax 5 lets anyone take exceptional pictures-right from the first time they look through its bright viewfinder.

Full-Auto P Mode

For point-and-shoot simplicity, just press the P button on your Dynax 5 and it'll do everything but compose your shot-even fire the flash if necessary.

Subject Program Selection

Offering 5 pre-programmed shooting modes, this feature automatically sets shutter speeds and aperture settings by simply pressing the icon button that coincides with your scene. All you do is compose and fire away.

Portrait Mode

Calls dramatic attention to a face. By using a large aperture to provide a shallow depth of focus, the subject remains in sharp focus while the background tends to be a blurred palette of color.

Landscape Mode

This mode adjusts the settings to ensure that a subject placed in the foreground, as well as scenes or vistas in the background, are both captured in detail and in crisp focus.

Close-Up Mode

Perfect for shooting memorabilia, flowers, or anything else that requires getting up close. Macro photography isolates subjects from their backgrounds, giving them a three-dimensional illusion.

Sports Action Mode

Lets you freeze fast moving subjects with detail and clarity. This mode harnesses the continuous autofocus power of the world's fastest AF system in its class.

Night Portrait Mode

Providing a more balanced exposure, this mode produces more details in night or in sunset backgrounds. It reduces background darkness by combining the flash with a longer exposure.

To indulge your creativity, the Dynax 5 is equipped with a wide range of sophisticated creative functions which open you to a world of photographic possibilities.

Aperture/Shutter Priorities & Manual Mode

For exceptional portraits, landscapes or macro images, switch to A (Aperture Priority) mode and shoot with a superior command of your depth of field. With shutter speeds from 1/4000 th s. to 30 s., S (Shutter Priority) mode allows you to go from freezing fast moving subjects in sharp focus to capturing speed-blurred images. For creative nighttime photography, M (Manual) mode gives you total control over shutter release time.

Exposure Bracketing

A feature which allows you to capture up to a 3 frame sequence of a scene where each varies slightly in exposure value. It's the perfect solution for difficult lighting situations and when shooting slides, or when you're looking for more creative results.

Multiple ExposureMultiple Exposure

Create compelling and haunting effects by combining two exposures on a single frame. This mode overrides the camera's automatic frame advance-permitting one shot to be placed on top of another.

Exposure CompensationExposure Compensation

Add your own creative touch to every shot. This feature allows specific over-and-under exposure selections giving you more control over metering, as well as your end result.

ISO Automatic & Manual Setting

Insert a roll of film into the Dynax 5 and it automatically reads the speed, then sets the proper exposure. If you're feeling creative, you can override the auto setting and manually select a desired speed.

Viewfinder

To achieve a clear and bright image field, the Dynax 5 uses the same spherical acute matte as the Dynax 7 for its focusing screen. Plus, a double-sided aspheric element and silver deposition on Dach mirror to sharpen image quality.

NOTE: Brightness as compared to a previous Minolta model using a 28-80mm/f3.5-5.6 lens and at 80mm. All cameras compared under the same conditions.

Minimum Mirror-Up Vibration

To ensure sharp focus while using long shutter speeds on a tripod, the Dynax 5 uses a super-thin, lightweight mirror and balancer to reduce vibration to the lowest in its class.

Film Chamber Lock

A safety feature which prohibits you from accidentally opening the camera and exposing your film. When engaged, the lock indicator next to back-cover release turns red. At the same time, because of the lock's location, it's also designed to provide faster film changing.

Metal Lens Mount

The Dynax 5 has a durable metal lens mount which offers maximum rigidness--even when a heavy lens is mounted.

Manufacturer description #2

CAMERA TYPE: 35mm SLR with built-in flash, autoexposure (AE), and action predictive autofocus (AF)

LENS MOUNT: Minolta A-type bayonet mount

VIEWFINDER: SLR roof mirror type, 90% field of view, Magnification: 0.75X

SHUTTER: Type: Electronically-controlled, vertical-traverse, focal-plane type. Speeds: 30 sec. - 1/4000 sec., bulb. Flash sync speed: 1/125s or slower (synchronizes with all speeds in HSS mode)

FOCUS: Type: TTL phase-detection system, multi metering with cross hair type CCD line sensor metering cell. Autofocus and manual focus modes. AF Sensitivity Range: EV -1 to 18 (ISO 100). AF Illuminator: Built-in with range of 1.0 - 5.0m. Automatically activated in low-light/low-contrast situations. AF Controls: Single-shot, continuous, automatic AF-mode selection

EXPOSURE MODES: P, A, S, M, (PA/PS available) and 5 Subject Program modes (Portrait, Landscape, Close-up, Sports, Night Portrait). Type: TTL metering; direct TTL metering for flash. Metering Cell: 14-segment honeycomb pattern SPC for ambient light and 4-segment flash-metering SPC for flash. Metering Range: 14-segment honeycomb pattern metering: EV 1 - 20, Spot metering: EV 4 - 20 (ISO 100, f/1.4 lens). Film-speed setting: Automatic: ISO 25 to 5000 for DX-coded film. Manual: ISO 6 to 6400 in 1/3 EV increments. Flash: ISO 25 - 1000.

FILM TRANSPORT: Loading: Auto load. Drive Modes: Single frame, continuous advance (3 frames/sec.), self-timer, exposure bracketing, and multiple exposure. Rewind: Auto rewind, manual start (Count-down display). Frame counter: Forward (shows number of exposures taken)

BUILT-IN FLASH: GN: 12 (ISO 100 in meters). Coverage: 28mm angle of view

POWER: Two CR2 lithium batteries

Subscribe
Notify of
guest

Copy this code

and paste it here *

0 comments
Inline Feedbacks
View all comments
Table of contents
Clickable
Instruction manual
Clickable
Minolta A system cameras
Clickable

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.

Limitation of liability • Privacy policy • Contact • Donate

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.