Nikon N50

aka Nikon F50

35mm AF film SLR camera

Specification

Production details:
Announced:1994
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:Electronically controlled
Speeds:30 - 1/2000 + B
Exposure:
Exposure metering:Through-the-lens (TTL), open-aperture
Exposure modes:Programmed Auto
Aperture-priority Auto
Shutter-priority Auto
Manual
Physical characteristics:
Weight:580g
Dimensions:149x96x70mm

Manufacturer description #1

Now great Nikon photographs are as easy as pushing a button. Want a portrait? Push a button. Want a silhouette? Push a button. Want a close-up? Push a button. The N50's automatic operation can give you the kind of photos you'll be proud to show and hang on your wall. Matrix metering, built-in flash, interchangeable lenses and other advanced features make the N50 the perfect step up to Nikon 35mm SLR photography.

GET THE KIND OF PICTURES YOU'VE ALWAYS WANTED - QUICKLY AND EASILY

Nikon's new N50 delivers an array of great 35mm SLR photographs at just the touch of a button. It's the ideal "step-up" camera for photographers who might have been intimidated by 35mm SLR photography.

SIMPLE MODE

With the camera set on the "simple" mode, just press a button to create the kind of Nikon photograph you want. While you compose, the N50 automatically sets the exposure. Focus is automatic in light as low as EV minus 1.

SIMPLE MODE PROGRAMS:

GENERAL PURPOSE PROGRAM

This selection appears automatically when the camera is turned on. It's great for changing everyday pictures into beautiful photographs.

LANDSCAPE PROGRAM

Press the button for the Landscape icon. Achieves greater depth-of-field for postcard-perfect pictures. Outstanding with AF Nikkor wide-angle lenses.

PORTRAIT PROGRAM

Press the button for the Portrait icon and the depth-of-field becomes shallower; Now the background becomes softer, making subjects stand out. Ideal with AF Nikkor portrait-range lenses (85 to 135mm).

CLOSE-UP PROGRAM

Again the subject stands out from the background. Especially effective with AF Micro-Nikkor lenses and AF Nikkor zoom lenses with macro focus.

ADVANCED MODE

With the camera set to the "advanced" mode, you can create even more types of photographs.

ADVANCED MODE PROGRAMS:

SPORT PROGRAM

Uses higher shutter speeds and creates a feeling of slight motion in your pictures. Add an extra dimension to your photos by panning with a moving subject. Effective with nearly every AF Nikkor lens.

SILHOUETTE PROGRAM

Imagine - automatic silhouettes! Subjects appear dark against a bright background. Outstanding near windows, at sunset or other strongly backlit situations.

NIGHT SCENE PROGRAM

Captures background lights. For dramatic photographs, add flash for automatically beautiful nighttime flash photography.

MOTION EFFECT

This selection automatically chooses slower shutter speeds to make subjects appear to flow through the scene. Also creates a great effect with panning.

ADVANCED FEATURES OF THE N50

SHARP, CLEAR INFORMATION READOUT

The N50 is the first SLR camera to use a dot-matrix LCD panel. It's not only easy to see in any light, it's also easy to understand!

6 SEGMENT 3D MATRIX METERING

The N50 uses a 6-segment matrix light-metering system to evaluate each scene. When used with Nikon's new D-type autofocus lenses, it combines exposure information with data on distance and focus. The result? Reliable exposures, frame after frame, even in difficult lightning.

BUILT-IN FLASH

Powerful built-in flash pops up. Advanced matrix-balanced fIll-flash means all-new pictures. Use flash in daylight to brighten shadows, while keeping background light natural-looking.

LOW LIGHT AUTOFOCUS/FOCUS TRACKING

The N50's advanced AM200 autofocus sensor module works in light as low as that of one candle (EV minus 1). In light where you can hardly see, it can! And, Nikon's revolutionary focus tracking has also been incorporated into the N50.

INTERCHANGEABLE NIKKOR LENSES

Because the N50 incorporates Nikon's famous F lens mount, you can choose from a wide variety of AF Nikkor lenses. All are designed to take the world's greatest pictures.

OPTIONAL SPEEDLIGHTS

Use the N50's powerful built-in flash or choose an optional Nikon Speedlight like the compact SB-22, SB-23 or advanced SB-25. Either way, you'll gain power and versatility.

AN ARRAY OF ACCESSORIES

The N50 accepts a full range of Nikon system accessories, including camera cases, camera straps, eyepiece correction lenses and attachments for close-up photography.

OTHER ADVANCED FEATURES

Other advanced mode techniques include shutter-priority auto exposure, aperture priority, auto exposure and manual exposure. • Top shutter speed 1/2000 sec; top flash sync 1/125 sec. • Flexible Program enables you to shift an automatically selected shutter speed or aperture combination by 1 EV. • AE-lock lets you change picture composition without affecting exposure. • Exposure Compensation allows you to deliberately overexpose or underexpose photos by ±5EV in 1/2EV increments. • Exposure Memory stores your favorite exposure mode or program for instant recall. • Choice of Focus Modes lets you choose "Single Servo" autofocus for stationary subjects; "Continuous Servo" to stay with the action. Also focus manually. • Self Timer lets you become the subject of your own pictures. • Extra-long Time Exposure setting keeps the shutter open as long as you like.

Manufacturer description #2

TYPE OF CAMERA: Integral-motor autofocus 35mm single-lens reflex

PICTURE FORMAT: 24mm x 36mm (standard 35mm film format)

LENS MOUNT: Nikon F mount

LENSES: AF Nikkor lenses (except AF-Nikkor 80mm f/2.8, ED 200mm f/3.5 IF, and autofocus converter TC-16/TC-16A), and non-AF Nikkor lenses (with limitation) available

OPERATION mode: SIMPLE and ADVANCED

FOCUS MODES: Autofocus and manual

AUTOFOCUS MODE: Single Servo AF and Continuous Servo AF. Continuous Servo is possible in ADVANCED mode only

AUTOFOCUS DETECTION SYSTEM: TTL phase detection system using Nikon advanced AM200 autofocus module

AUTOFOCUS DETECTION RANGE Approx. EV -1 to EV 19 at ISO 100

AUTOFOCUS LOCK: Possible, in Single Servo AF mode, once a stationary subject is in focus as long as the shutter release button is lightly pressed

FOCUSING TRACKING: Automatically activated with a moving subject

EXPOSURE MODES: Programmed Auto in SIMPLE mode; Programmed Auto, Shutter-Priority Auto, Aperture-Priority Auto and Manual in ADVANCED mode

PROGRAM AUTO EXPOSURE CONTROL: Both shutter speed and aperture are set; in SIMPLE mode, General-Purpose Program, Landscape Program, Portrait Program and Close-Up Program are available; in ADVANCED mode, General-Purpose Program, Landscape Program, Portrait Program, Close-Up Program, Sport Program, Silhouette Program, Night-Scene Program, and Motion Effect Program are available

FLEXIBLE PROGRAM: Possible with General-Purpose Program in ADVANCED mode when flash is off

SHUTTER-PRIORITY AUTO EXPOSURE CONTROL: Aperture automatically selected to match manually set shutter speed

APERTURE-PRIORITY AUTO EXPOSURE CONTROL: Shutter speed automatically selected to match manually set aperture

MANUAL EXPOSURE CONTROL: Both aperture and shutter speed are set manually

SHUTTER SPEED / APERTURE ADJUSTMENT: Pressing the adjust button changes shutter speed or aperture in 1/2 step; holding down the adjust button rapidly changes shutter speed or aperture in one step

AUTO EXPOSURE LOCK: Available by pressing the AE-L button while the exposure meter is on

EXPOSURE COMPENSATION: Possible in ADVANCED mode within ±5 EV range in 1/2 steps

EXPOSURE METERING: Matrix Metering (for Programmed Auto, Shutter-Priority Auto, and Aperture-Priority Auto exposure modes); Centre-Weighted Metering for Manual exposure mode

EXPOSURE METERING RANGE: EV 1 to EV 20 at ISO 100 with f/1.4 lens

EXPOSURE METER SWITCH: Activated by lightly pressing shutter release button; when the LCD panel shows the Exposure Mode menu, Program menu, Optional - Function menu, or Optional Function settings, stays on for approx. 60 sec.; when the LCD panel shows the Program/exposure mode, stays on for approx. 8 sec. with the built-in flash off or 15 sec. with the built-in flash on

SHUTTER: Electronically controlled vertical-travel focal-plane shutter

SHUTTER RELEASE: Electromagnetic

SHUTTER SPEEDS: 1/2000 sec. to 30 sec.; electromagnetically controlled Time setting is provided (for ADVANCED mode)

VIEWFINDER: Fixed eye-level pentaprism type; 0.78x magnification with 50mm lens set at infinity; approx. 90% frame coverage

EYEPOINT: Approx. 18mm

FOCUSING SCREEN: Fixed Nikon advanced B-type BriteView screen with central focus brackets for autofocus operation

VIEWFINDER INFORMATION: In-focus/AF-impossible indication, correct exposure indicator, shutter speed, aperture, exposure information and exposure compensation indicatior are shown in LCD readout; also shows flash recommended-/ready-light

VIEWFINDER ILLUMINATOR: Automatically activates when exposure meter is on

FILM SPEED RANGE: ISO 25 to 5000 for DX-coded films; ISO 6 to 6400 for non-DX-coded films (for ADVANCED mode)

FILM SPEED SETTING: Auto for DX-coded films; manual setting for non-DX-coded films (for ADVANCED mode)

FILM LOADING: Film automatically advances to frame one when camera back is closed

FRAME COUNTER: Accumulative type (counts down during film rewind); displayed on the LCD panel

FILM ADVANCE: Film automatically advances one frame at approx. 1 sec. when shutter is released; film advance stops automatically at end of film roll

FILM REWIND: Automatic by built-in motor at end of film roll; manual mid-roll rewind possible by pressing rewind button

SELF-TIMER: Electronically controlled; 10-sec. timer duration

REFLEX MIRROR: Automatic, instant-return mirror

CAMERA BACK: Hinged back; unchangeable

ACCESSORY SHOE: Standard ISO-type with hot-shoe contact, ready-light contact, monitor contact, TTL flash contact

BUILT-IN TTL FLASH: Guide number: 13 meters (at ISO 100, 20 deg. C); angle of coverage: 35mm or longer lens

FLASH SYNCHRONIZATION SPEED: 1/125 sec. or slower

AUTOMATIC BALANCED FILL-FLASH: Possible with built-in TTL flash or Nikon dedicated Speedlights such as SB-28, SB-27, SB-26, SB-25, SB-24, SB-23, SB-22, SB-20, and SB-16B; Matrix Balanced Fill-Flash in Auto exposure modes; Centre- Weighted Fill-Flash in Manual exposure mode

FLASH READY-LIGHT: Without flash: Blinks when using flash is recommended. With flash: Lights up when built-in flash or Nikon dedicated Speedlight is ready to fire; blinks after flash shooting to warn of insufficient light for correct exposure

POWER SOURCE: 6V lithium battery pack (2CR5 or DL245 type)

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

Chromatic aberration

There are two kinds of chromatic aberration: longitudinal and lateral. Longitudinal chromatic aberration is a variation in location of the image plane with changes in wave lengths. It produces the image point surrounded by different colors which result in a blurred image in black-and-white pictures. Lateral chromatic aberration is a variation in image size or magnification with wave length. This aberration does not appear at axial image points but toward the surrounding area, proportional to the distance from the center of the image field. Stopping down the lens has only a limited effect on these aberrations.

Spherical aberration

Spherical aberration is caused because the lens is round and the film or image sensor is flat. Light entering the edge of the lens is more severely refracted than light entering the center of the lens. This results in a blurred image, and also causes flare (non-image forming internal reflections). Stopping down the lens minimizes spherical aberration and flare, but introduces diffraction.

Astigmatism

Astigmatism in a lens causes a point in the subject to be reproduced as a line in the image. The effect becomes worse towards the corner of the image. Stopping down the lens has very little effect.

Coma

Coma in a lens causes a circular shape in the subject to be reproduced as an oval shape in the image. Stopping down the lens has almost no effect.

Curvature of field

Curvature of field is the inability of a lens to produce a flat image of a flat subject. The image is formed instead on a curved surface. If the center of the image is in focus, the edges are out of focus and vice versa. Stopping down the lens has a limited effect.

Distortion

Distortion is the inability of a lens to capture lines as straight across the entire image area. Barrel distortion causes straight lines at the edges of the frame to bow toward the center of the image, producing a barrel shape. Pincushion distortion causes straight lines at the edges of the frame to curve in toward the lens axis. Distortion, whether barrel or pincushion type, is caused by differences in magnification; stopping down the lens has no effect at all.

The term "distortion" is also sometimes used instead of the term "aberration". In this case, other types of optical aberrations may also be meant, not necessarily geometric distortion.

Diffraction

Classically, light is thought of as always traveling in straight lines, but in reality, light waves tend to bend around nearby barriers, spreading out in the process. This phenomenon is known as diffraction and occurs when a light wave passes by a corner or through an opening. Diffraction plays a paramount role in limiting the resolving power of any lens.

Doublet

Doublet is a lens design comprised of two elements grouped together. Sometimes the two elements are cemented together, and other times they are separated by an air gap. Examples of this type of lens include achromatic close-up lenses.

Dynamic range

Dynamic range is the maximum range of tones, from darkest shadows to brightest highlights, that can be produced by a device or perceived in an image. Also called tonal range.

Resolving power

Resolving power is the ability of a lens, photographic emulsion or imaging sensor to distinguish fine detail. Resolving power is expressed in terms of lines per millimeter that are distinctly recorded in the final image.

Vignetting

Vignetting is the darkening of the corners of an image relative to the center of the image. There are three types of vignetting: optical, mechanical, and natural vignetting.

Optical vignetting is caused by the physical dimensions of a multi-element lens. Rear elements are shaded by elements in front of them, which reduces the effective lens opening for off-axis incident light. The result is a gradual decrease of the light intensity towards the image periphery. Optical vignetting is sensitive to the aperture and can be completely cured by stopping down the lens. Two or three stops are usually sufficient.

Mechanical vignetting occurs when light beams are partially blocked by external objects such as thick or stacked filters, secondary lenses, and improper lens hoods.

Natural vignetting (also known as natural illumination falloff) is not due to the blocking of light rays. The falloff is approximated by the "cosine fourth" law of illumination falloff. Wide-angle rangefinder designs are particularly prone to natural vignetting. Stopping down the lens cannot cure it.

Flare

Bright shapes or lack of contrast caused when light is scattered by the surface of the lens or reflected off the interior surfaces of the lens barrel. This is most often seen when the lens is pointed toward the sun or another bright light source. Flare can be minimized by using anti-reflection coatings, light baffles, or a lens hood.

Ghosting

Glowing patches of light that appear in a photograph due to lens flare.

Retrofocus design

Design with negative lens group(s) positioned in front of the diaphragm and positive lens group(s) positioned at the rear of the diaphragm. This provides a short focal length with a long back focus or lens-to-film distance, allowing for movement of the reflex mirror in SLR cameras. Sometimes called an inverted telephoto lens.

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.