Nikon D600

35mm AF digital SLR camera

Specification

Production details:
Announced:September 2012
System: Nikon F (1959)
Format:
Maximum format:35mm full frame
Imaging sensor:35.9 × 24mm CMOS sensor
Resolution:6016 × 4016 - 24 MP
Sensor-shift image stabilization:-
Mount and Flange focal distance:Nikon F [46.5mm]
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:850g
Dimensions:141x113x82mm

Manufacturer description

TOKYO - Nikon Corporation is pleased to announce the release of the Nikon D600. Despite having the smallest and lightest body among Nikon FX-format cameras, the D600 offers advanced basic camera performance, and is equipped with a new FX-format CMOS image sensor with an effective pixel count of 24.3-million pixels and the same EXPEED 3 image-processing engine built into high-end Nikon D-SLRs (D4, D800, D800E) for superior definition and image quality.

The D600 is a new model added to the Nikon FX-format digital SLR lineup with a smaller size and lighter weight–approx. 141 (W) x 113 (H) x 82 (D) mm, 760 g*1 for excellent portability, yet offers the superior image quality and rendering performance, operation, and durability of high-end FX-format D-SLRs. The D600 is a compact and lightweight camera that offers excellent cost performance. In addition to a new FX-format CMOS image sensor with an effective pixel count of 24.3-million pixels and the same EXPEED 3 image-processing engine built into high-end models, the D600 inherits a number of advanced features from its high-end cousins, including an optical viewfinder with frame coverage of 100%*2, a large and clear, 3.2-inch LCD monitor with a wide viewing angle for superior visibility, and the same dust- and water-resistance as the D800 and D800E. What's more, this single FX-format camera also offers support for the complete DX NIKKOR lens lineup for greater convenience with both still image shooting and movie recording. The D600 makes full use of its 24.3-million effective pixels with high-resolution, full-HD movie recording (1920 x 1080/30p). It is also equipped with the Multi-area mode Full-HD D-Movie function, which enables recording in either FX- or DX-based movie format for more creative imaging expression.

D600 Development Background

Nikon has been strengthening and expanding its FX-format digital SLR camera lineup, most recently with the release of the D4, the new FX-format flagship model that offers the ultimate in functions and performance, followed by the D800 and D800E, both equipped with a CMOS image sensor with an effective pixel count of 36.3-million pixels, for incredible definition and image quality. The D600 was developed to bring the enjoyment of photography with an FX-format camera to a broader range of users. It offers the superior rendering characteristics, image quality, operation, and durability of previous FX-format D-SLRs in a body that is as compact, lightweight, and easy to use as DX-format cameras, thus making it suited not only to advanced amateur and professional photographers, but also photo enthusiasts looking to make the most of their more creative side.

D600 primary features

1. The Nikon FX format in a compact and lightweight body for excellent portability

The D600 measures approximately 141.0 x 113.0 x 82.0 mm (W x H x D) and weights approximately 760 g*, making it extremely compact and the lightest Nikon FX-format digital SLR camera available. In addition to adoption of a lightweight and durable magnesium alloy for the top and rear body covers, all joints are effectively sealed for the same superior dust- and water-resistance as the D800 and D800E.

2. A new 24.3-megapixel FX-format CMOS image sensor for superior image quality and resolution over a broad range of sensitivities

The D600 is equipped with a new FX-format CMOS image sensor with an effective pixel count of 24.3-million pixels that ensures a high signal-to-noise ratio and broad dynamic range. The camera supports a broad range of standard sensitivities, from ISO 100 to ISO 6400, for beautiful images exhibiting very little noise and rich expression of tones. The range of sensitivities can also be expanded to the equivalent of ISO 50 (Lo 1) or up to the ISO 25600 equivalent (Hi 2). What's more, use of NIKKOR lenses equipped with Nikon's advanced optical technologies maximizes performance of the D600's FX-format CMOS sensor, with its effective pixel count of 24.3-million pixels, for images that offer clear and sharp reproduction of even the finest details.

3. The EXPEED 3 image-processing engine, optimized for high-performance digital SLR cameras like the D600, for superior, high-speed processing

The D600 is equipped with the same EXPEED 3 high-speed image-processing engine built into high-end D4, D800, and D800E Nikon FX-format cameras. The EXPEED 3 image-processing engine has been optimized for digital SLR cameras to offer faster and better performance for faithful rendering, vivid color reproduction, and expression of a broad dynamic range. It also effectively suppresses noise with advanced noise-reduction processing for still images captured at high sensitivities under dim lighting, all while preserving definition and sharpness. Special noise-reduction processing designed especially for movies maintains crisp, clear outlines in movies recorded in low-light situations.

4. Excellent basic camera performance and operation for comfortable shooting

Adoption of the Multi-CAM4800 autofocus sensor module enables certain acquisition and tracking of the intended subject with 39 focus points. Cross-type sensors have been adopted for the nine most frequently used focus points at the center of the frame. In addition, seven focus points (5 horizontal focus points and 1 each above and below at the center of the frame) are fully functional at f/8. All of this means more precise autofocusing when super-telephoto NIKKOR lenses are used with a teleconverter (2.0x).

What's more, extremely precise automatic control provided by the Scene Recognition System analyzes detailed scene brightness and color information acquired from the 2,016-pixel RGB sensor, and applies that information to autofocus, automatic exposure, i-TTL balanced fill-flash, and white balance control.

The D600 is also equipped with a high-magnification optical viewfinder that supports a frame coverage of approximately 100% with shooting in FX format and magnification of approximately 0.7x*1. The 3.2-inch, approximately 921k-dot monitor with wide viewing angle is equipped with an ambient brightness sensor that automatically controls monitor brightness and contrast according to ambient lighting conditions to ensure clear viewing. Dual SD memory card slots (SDXC, UHS-I2 compliant) that enable the use of two SD memory cards at a time make for smoother, stress-free still-image and movie recording.

5. High-resolution, full-HD movie recording at 1920 x 1080/30p making full use of a high effective pixel count of 24.3-million pixels, and Multi-area mode Full-HD D-Movie for recording movies in one of two formats

By simply pressing the movie-record button just above and to the left of the shutter-release button in movie live view mode, users can enjoy movie recording that makes full use of the camera's 24.3-million effective pixels. Not only does the D600 support full-HD movie recording at 1920 x 1080/30p, but adoption of the H.264/MPEG-4 AVC video compression standard ensures that superior picture quality is maintained while data is compressed to allow for recording of a single movie for up to 29 minutes and 59 seconds*1.

The Multi-area mode Full-HD D-Movie function offers two movie formats*2, FX-based movie format and DX-based movie format, for recording of full-HD 1920 x 1080/30p. (both FX- and DX lenses can be used). The FX-based movie format makes full use of the large image sensor and offers a shallow depth-of-field with an emphasis on blur characteristics while the DX-based movie format is optimal for recording movies that bring subjects closer when lenses with short focal lengths are used.

The D600 is also equipped with a headphone jack so that headphones may be used to check sound, and movies and the movie live view display can be viewed simultaneously in the camera's monitor and an external monitor. Uncompressed movie data recorded in movie live view mode can also be output to an external recorder via the built-in HDMI interface, and the time-lapse photography function can be used to automatically photograph relatively slow moving action, such as the blooming of a flower and the passing of clouds, at specified intervals. The camera then combines the photos and records them as a silent time-lapse movie.

6. Support for the Wireless Mobile Adapter WU-1b for collaboration with smart devices

When the Wireless Mobile Adapter WU-1b (sold separately) is connected, true, high-quality photos captured with a compatible digital SLR camera can be easily transferred to a smart device*1 for sharing of images. The smart device can be used to control camera shooting remotely with the live view display shown in the smart device screen, and images captured with the D600 can be transferred to the smart device over a wireless network connection*2 (remote movie recording is not supported). The WU-1b allows for the immediate transfer of photos captured with the D600 and NIKKOR lenses to family and friends, or uploading to blogs or social networking sites, increasing the ways users enjoy their photos after they are taken.

Additional D600 Features and Functions

  • Extremely fast response with high-speed continuous shooting at approximately 5.5 fps*, a power-up time of approximately 0.13 s*, and a shutter-release time lag of approximately 0.052 s*, as well as a virtual horizon feature showing not only horizontal tilt to the left or right (roll), but also forward and backward tilt (pitch; only the roll indicator is displayed in the viewfinder).
  • Equipped with a built-in flash that covers the angle of view of a wide-angle 24-mm lens and has a guide number of approximately 12/39 (m/ft, ISO 100, 20°C/68°F). The built-in commander function enables wireless control over up to two groups of remote optional flash units with the built-in flash serving as the master flash.
  • New Multi-Power Battery Pack MB-D14 (sold separately), which holds not only Rechargeable Li-ion Batteries EN-EL15, but also AA batteries (alkaline, lithium, Ni-MH) is available.
  • A durable shutter unit that has passed testing for approximately 150,000 cycles, and supports a maximum shutter speed of 1/4000 s and flash sync speed of 1/200 s. The shutter is equipped with a monitor function that automatically checks for, and detects, errors between the specified shutter speed and actual shutter speed.
  • A locking mechanism on the mode dial prevents accidental adjustment of the shooting. Operation has also been improved by positioning the mode dial on top of the release mode dial.
  • Independent Picture Control and movie-record buttons make the camera easier to operate.
  • A live view selector makes live view operation more convenient with smooth switching between live view photography and movie live view.
  • Nikon's image browsing and editing software, ViewNX 2, is supplied with purchase.

Similar cameras (2)

35mm full frame • Auto focus • Digital • Singe-lens reflex • Nikon F mount

Model Shutter Metering Modes Year
Kodak DCS Pro 14n E, 1/4000 TTL • OA PASM 2002
Kodak DCS Pro SLR/n E, 1/4000 TTL • OA PASM 2004
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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, Leica, Nikon, Pentax, Sony etc.) are always incompatible. In addition to the mechanical and electrical interface variations, the flange focal distance (distance from the mechanical rear end surface of the lens mount to the focal plane) is also different.

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 lens element 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.