Nikon F2

35mm MF film SLR camera

Specification

Production details:
Announced:November 1971
System: Nikon F (1959)
Format:
Maximum format:35mm full frame
Film type:135 cartridge-loaded film
Mount and Flange focal distance:Nikon F [46.5mm]
Shutter:
Type:Focal-plane
Model:Mechanical
Speeds:10 - 1/2000 + B
Exposure:
Exposure metering:None
Exposure modes:Manual
Physical characteristics:
Weight:730g
Dimensions:152.5x98x65mm

Manufacturer description #1

Nikon F2 • F2A & F2AS Photomic are the most advanced, most versatile of all Nikon cameras - indeed, of all 35mm cameras. Differing only in their respective pentaprism finders and meter/finders, they offer ready interchangeability of all components: viewfinders (including Photomic meter/finders), finder screens, motor drives, and camera backs, in addition to all lenses and countless accessories from the Nikon system.

The Nikon F2 is more than the finest of all 35mm cameras; it is the foundation of the entire Nikon System of 35mm photography - the world's largest. Through its uniquely modular concept and construction, it not only challenges but successfully defies obsolescence, permitting interchangeability of all basic components:

  • Interchangeable Nikkor and AI-Nikkor Lenses... more than 55 available, from 6mm to 2000mm.
  • Interchangeable Viewfinders... including Standard Prism; Photomic through-the-Iens meter/finders,with expanded sensitivity and automatic-exposure capability; Action Prism Finder; Waist-Level Finder, and 6X Focusing Finder.
  • Interchangeable Finder Screens... 21 precision screens for every need.
  • Interchangeable Nikon Motor Drive System... giving up to 5 exposures per second, requiring no modification, not even removal of camera back.
  • Interchangeable Backs... including 250- and 750-Exposure Magazines plus Speed Magny Attachments for Polaroid® and other large-format films.
  • Hundreds of Nikon accessories for every requirement.

Through this ingenious, modular design, the Nikon photographer can, in effect, create an infinite number of picture-taking instruments attuned precisely to his specific needs-today and tomorrow.

There are three basic types of Nikon F2 camera/ finder combinations:

  • Nikon F2 with Pentaprism Finder DE-1, first choice of photographers employing separate exposure meters.
  • Nikon F2 Photomic and F2SB Photomic, supplied with Photomic meter/finders DP-1 and DP-3, respectively, these offer full-aperture, center-weighted metering with all Nikkor lenses with meter-coupling shoe, including all AI-Nikkor lenses; the maximum aperture of the selected lens is indexed with a quick turn of the aperture ring.
  • Nikon F2A Photomic and F2AS Photomic, supplied with Photomic DP-11 and DP-12 meter/ finders (respectively), provide center-weighted, full-aperture exposure control, automatic aperture indexing (AI), and through-the-finder Aperture Direct Reading (ADR) with all AI-Nikkor lenses. These most advanced F2 models also permit stop-down metering with non-AI lenses and, like other F2 models, accept all Nikkor SLR lenses from 6mm to 2000mm.

Significantly, any Nikon F2 camera can be converted to any other F2 model by simply substituting the appropriate finder - an example of true modular versatility unrivalled in all photography.

Ultimate Precision and Versatility

Nucleus of the Nikon system, the Nikon F2 camera permits the photographer to choose the lens, viewfinder, finder screen, film magazine, even film transport and exposure control system appropriate to any assignment. Its fast-handling, responsive controls simplify every aspect of the picture-taking process. Each of its 1506 individual parts is engineered to quality standards that have made the name Nikon a universal symbol of optical and mechanical excellence.

Interchangeable Pentaprism Viewfinder

The DE-1 eye-level pentaprism finder supplied with the standard Nikon F2 is silver-coated for maximum brightness and contrast. It gives an upright, laterally-correct image at eye-level and incorporates a built-in ready light for connection with Nikon electronic flash units. Weighing only 3.2 ounces, this compact viewfinder is interchangeable with all other Nikon F2 cameras and accepts all Nikon Eyepiece Correction Lenses and other Nikon eyepiece attachments. Virtually 100% of the film image appears within any F2 viewfinder, for the most accurate image control of any 35mm SLR camera.

Titanium-Foil Focal-Plane Shutter

Exceptionally accurate, resistant to heat and humidity, the Titanium-foil, horizontal-travel shutter is specially "quilted" for extra strength. Basic shutter speed range is 1 second-1/2000th second plus "B", with stepless, continuously variable speed selection from 1/80th second to 1/2000th. Additional shutter speeds of 2, 4, 6, 8, and 10 seconds (or any intermediate interval) are obtained via the built-in self timer. The shutter movement is ball-bearing mounted for ultimate accuracy and repeatability. Shutter curtains "scan" the film plane in just 10 milliseconds. The shutter is built to take the action of motor drive at up to 5 fps.

Oversize Instant-Return Mirror

Enlarged mirror eliminates finder image cut-off even with long telephoto lenses. Sophisticated damping mechanism virtually eliminates impact shock. Mirror may be locked up for special applications. Entire mirror chamber is effectively baffled and finished in matte material to prevent internal reflections.

Automatic Flash-Synch Adjustment

Setting shutter speed automatically adjusts for flash type in use. Electronic flash synch at all speeds to 1/80th second; FP synch from "B" and 1 to 1/30th and 1/125 to 1/2000th second. Special hot shoe provides cordless synch with Nikon-System flash units; automatic safety switch in shoe prevents electrical shock when unit is not in place. Single PC outlet accepts either Nikon screw-in or conventional PC cords.

Interchangeable Finder Screens

Standard Nikon Type K screen incorporates central split-image range-finder with microprism circle and overall matte/Fresnel groundglass for edge-to-edge brightness. Interchangeable with 20 optional Nikon screens.

Short-Stroke Transport Lever

Large, plastic-tipped lever requires only 120 deg. stroke, or any equivalent number of shorter strokes, to advance film, wind shutter, and count exposure. Lever pivots on ball bearings for smoothest operation. Integral locking device prevents accidental shutter release before transport lever has completed its cycle.

Accurately-Registered Multiple Exposures

Simply by depressing the rewind button, then operating the film transport lever, the shutter may be recocked, producing multiple exposures in precise registration. As many exposures as desired may be made on a single frame.

Multi-Function Self-Timer

Calibrated for delays of 2, 4, 6, 8, and 10 seconds. Alternativeiy, with shutter set at "B" and shutter release fingerguard turned to "T", the self-timer produces accurate slow shutter speeds of these durations, or any intermediate times.

Easy Film Loading

The hinged back and multi-slotted take-up spool aid fast, error-free loading. Exposure counter automatically resets to "0" when camera back is opened. Rapid-rewind crank rises 6mm above camera top for unobstructed operation. A Film Memo Holder on the camera back accepts the film carton end tab for a practical reminder of film in use. A unique safety lock makes inadvertent back opening virtually impossible.

Superior Film Flatness

Film winds onto take-up spool emulsion-side-out for greatest tension. The large pressure plate, polished guide rails, and cassette stabilizer combine to assure exceptional film flatness for edge-to-edge sharpness.

Other Features

The fingerguard (around shutter release button) locks/unlocks shutter release, permits time exposures in the absence of a locking cable release, and also allows accurately-timed exposures of 2, 4, 6, 8, and 10 seconds (in conjunction with the self timer) according to the position selected. Depth-of-field preview is provided for focus check (or stop-down exposure measurement with Photomic meter/finder). Neckstrap eyelets are reinforced with stainless steel, and the camera lensmount is made of stainless steel for maximum durability and strength. The Nikon F2 camera accepts all Nikkor and AI-Nikkor lenses from 6mm to 2000mm. It is supplied in satin chrome (Product No. 1600) or professional black finish (Product No. 1605).

Manufacturer description #2

CAMERA TYPE: 35mm SLR with interchangeable lenses, viewfinders, finder screens, film magazines and backs, and motor drives.

LENSMOUNT: Stainless-steel Nikon bayonet accepts all Nikkor lenses 6mm-2000mm and all Nikon-mount accessories. Flange/film distance: 46.5mm. Automatic diaphragm coupling.

EXPOSURE CONTROL: Accepts optional Nikon Photomic meter/finder for through-the-Iens metering.

SHUTTER: Titanium foil, horizontal-travel focal plane; speeds B, 1, 1/2, 1/4, 1/8, 1/15, 1/30, 1/60, 1/80, 1/125, 1/250, 1/500, 1/1000, 1/2000th second via shutter speed dial and 2, 4, 6, 8, and 10 seconds at 'B' position, via self-timer. Speeds continuously variable from 2-10 seconds and 1/80-1/2000th second.

FLASH SYNCHRONIZATION: "X" synch at "B" to 1/80th second; "FP" synch at B, 1-1/30th, and 1/125-1/2000th second; automatic synch adjustment as shutter speed is set.

FLASH CONTACTS: Built-in Nikon F2 hot shoe with automatic safety switch; single PC outlet accepting Nikon screw-in or conventional PC cords.

VIEWFINDER: Interchangeable eye-level Pentaprism Finder DE-1 (supplied) with -1.0 diopter eyepiece and built-in ready light for Nikon electronic flash units. Virtually 100% finder coverage.

FOCUSING SCREEN: Nikon Type K Screen (supplied) with 3mm-diameter split-image rangefinder, 1mm microprism circle plus overall matte/Fresnel area, interchangeable with 20 other Nikon screens.

REFLEX MIRROR: Oversize instant-return type with independent locking control.

FILM LOADING: Multi-slotted take-up spool, hinged back and additive automatic-reset exposure counter for fast loading.

FILM TRANSPORT: Ratchet-action lever advances film, winds shutter, and counts exposures in 120 deg. action, may be left at "ready" position 20 deg. from camera body or folded flush for storage.

FILM REWIND: Rewind-release button on camera baseplate; fold-out rewind crank may be elevated up to 6mm for convenient access.

MULTIPLE EXPOSURE CONTROL: By depressing rewind button while operating transport lever, also operates with Nikon Motor Drive attached.

BATTERY TYPE: None required, camera accepts two 1.5v silver oxide batteries (Eveready S76 or equivalent) to power flash ready light or optional meter/finder.

OTHER FEATURES: Depth-of-field preview; stainless steel reinforced neckstrap eyelets; built-in self timer with calibrated delays of 2, 4, 6, 8, and 10 seconds, also provides slow shutter speeds; fingerguard around shutter release button adjustable to lock or unlock shutter, permits time exposures 2-10 seconds with self timer; film memo holder on camera back stores film carton end tab or other data.

From the editor

The following versions of the Nikon F2 were offered:

  • Nikon F2 (1971) - a standard model with conventional DE-1 pentaprism eye-level finder;
  • Nikon F2 Photomic (1971) - as F2, but with interchangeable DP-1 Photomic eye-level finder with built-in TTL CdS exposure meter with center-weighted metering. Shutter speed, aperture, and meter needle displayed in the finder;
  • Nikon F2 Photomic S (1973) - as F2, but with interchangeable DP-2 Photomic eye-level finder with built-in TTL CdS exposure meter with center-weighted metering. Exposure information displayed with two LEDs;
  • Nikon F2 Photomic SB (1976) - as F2, but with interchangeable DP-3 Photomic eye-level finder with built-in TTL SPD exposure meter with center-weighted metering and eyepiece shutter. Exposure information displayed with three LEDs;
  • Nikon F2 Photomic A (1977) - as F2, but with interchangeable DP-11 Photomic eye-level finder, the AI version of the DP-1;
  • Nikon F2 Photomic AS (1977) - as F2, but with interchangeable DP-12 Photomic eye-level finder, the AI version of the DP-3.

Special limited editions (1)

Similar cameras (4)

35mm full frame • Manual focus • Film • Singe-lens reflex • Nikon F mount

Model Shutter Metering Modes Year
Kiev-17 M, 1/1000 -- M 1978
Kiev-19 M, 1/500 TTL • WA M 1985
Kiev-19M M, 1/500 TTL • OA M 1988
Kiev-20 M, 1/1000 TTL • OA M 1983
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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.