Olympus OM-1

aka Olympus M-1

35mm MF film SLR camera

Specification

Production details:
Announced:1972
System: Olympus OM (1972)
Format:
Maximum format:35mm full frame
Film type:135 cartridge-loaded film
Mount and Flange focal distance:Olympus OM [46mm]
Shutter:
Type:Focal-plane
Model:Mechanical
Speeds:1 - 1/1000 + B
Exposure:
Exposure metering:Through-the-lens (TTL), open-aperture
Exposure modes:Manual
Physical characteristics:
Weight:490g
Dimensions:136x83x50mm

Manufacturer description #1

Try this blindfold test...

... you can tell instantly this camera is smaller, lighter and quieter than any other 35mm SLR you've ever handled.

With your eyes closed you can feel the difference that quality makes in a camera that is totally different from the typical, bulky, heavy, noisy 35mm SLR.

Go into an Olympus dealer, close your eyes and put this remarkable camera through a few simple, but illuminating tests.

Cock the shutter. Then press the soft shutter release. Feel the silky, smooth and precise release and rememeber this smoothness is eliminating vibration. Now, cock the shutter again, but this time when you release the shutter, listen. You don't hear the usual parts slamming against each other. It's much quieter. Like a watch.

Olympus re-designed the whole shutter and mirror mechanism to eliminate noise and vibration. A unique air damper reduces mirror shock. The only one in a 35mm SLR camera. You can shoot at slower shutter speeds because there is less vibration.

Finally, before opening your eyes, run your fingers over the OM-1. Examine it carefully. The touch is more sensitive that the eye when it comes to judging quality of workmanship, how things fit together, how they're finished. Adjust shutter speed. Focus. Set the aperture. You'll know by touch alone that you are handling an extraordinary well-made camera.

Yes, this new Olympus OM-1 camera is smaller, lighter and quieter... but more important, it has that distinctive feel of quality, that extra touch that shows a manufacturer cares, down to the last tiny brass screw.

Take off the blindfold. Weigh and measure the OM-1. You'll find it 35% smaller and lighter.

Olympus has had many years of experience with small, precise cameras and ultra sophisticated scientific measurement equipment. For example, a medical camera so small its optical system (plus a built-in electronic flash) can be swallowed by a patient and give the doctor an accurate color picture of the inside of the stomach. Olympus applied this know-how to a 35mm SLR. The result is a camera that weighs only 23.3 ounces with an f1.8 lens and in volume is only 24.4 cubic inches. You can put two OM-1 bodies and five lenses into the same space that usually holds only one SLR body and three lenses.

12 interchangeable focusing screens.

One of the requirements of a professional system camera is a selection of focusing screens. Olympus has 12 focusing screens available and a new system for changing screens that eliminates the problems of bulk, grit and dust associated with interchangeable pentaprisms. The photographer changes the screen behind the lens. This method is faster and the viewing system is still sealed against dust.

Look at the larger, brighter viewfinder.

The OM-1 viewfinder shows an EV value of about 70% greater brightness than the average 35mm SLR. It also incorporates a wider angle of view (20°-30° vertically, 35° horizontally). What does this mean to the photographer? You see a larger, brighter image of the subject. If you looked through the same lens, the image in the OM-1 would be large and brighter than a conventional 35mm SLR viewfinder.

Open Aperture, through the lens metering.

The OM-1 reads the exposure at open aperture with the exposure weighted towards the center of the picture.

Recordata Back

Recordata Backs can be attached, providing a method of incorporating dates, numbers, alphabetical symbols etc. into the photograph.

The Olympus OM System

The Olympus system starts with an incredible 280 accessories covering the whole gamut of photography.

Motor Drive Group

Reduced in size as part of OM System basic concept. The handgrip battery pack with a built-in shutter release device is so compact the photographer can even hand-hold a long 300mm telephoto lens for shooting sports or other action subjects.

Photomicrography Group

A complete line of accessories for use with biological, metallurgical and stereoscopic microscopes expands the photomicrographic world not only into the scientific realm, but also into the creative world. The OM System includes special shutters, automatic electronically controlled exposure devices, ebservation viewers, plus every accessory required for the most demanding scientific photomicrographic applications.

Zuiko Interchangeable Lens Group

Zuiko lenses, designed and manufactured by Olympus, have long enjoyed a worldwide reputation for excellence. Combining exprience with innovative lens technologies, Olympus engineers have produced a new generation of superb lenses from 8mm to 1000mm with a host of special features. New optical constructions automatically compensate for close distance aberrations. Mechanical designs have been refined to achieve ultra-compact, lightweight configurations. All have automatic diaphragms except for certain special purpose lenses.

Macrophotography Group

A complete range of convenient, high performance accessories designed for specialists in the various fields of high magnification photography.

Starting with 4 macro lenses, auto bellows, macrophoto stands and a variety of holders and frames, lighting equipment, and other accessories, it is the world's most comprehensive and versatile macrophotographic system.

Close-up Photography Group

The extensive OM System Close-up Group includes copy stand, close-up lenses, extension tubes, 50mm f3.5 automatic macro lens and other accessories that offer extreme flexibility and scientifically precise results.

Manufacturer description #2

The cameras of Maitani. They're more than cameras. They're inventions.

When he was 10, Maitani built his first camera. In 1972, he built the camera that revolutionized the 35mm SLR.

The challenge: build the world's first compact SLR, a camera that was not bulky, heavy or noisy.

Lesser engineers would not have begun the five-year development program that resulted in the Olympus OM-1, and later, the OM-2. But Maitani dared. And Maitani succeeded.

OLYMPUS OM-1. First, Maitani increased internal room by relocating the shutter speed indicator and the exposure meter.

He then reduced external size by redesigning the focal plane shutter, allowing the prism to rest deeper inside the camera.

He next set out to reduce weight.

When he had finished, Maitani had reduced the bulk and weight of the 35mm SLR camera by 35 percent.

He next conquered noise and vibration, using four ball bearing trains, a unique lightweight curtain drum, an air damper and more than 20 shock absorbers.

Yet, though Maitani had built a compact SLR, he had not built a "miniaturized" camera. To enhance ease of operation, these critical components were actually made larger: The shutter speed dial. The rewind knob. The viewfinder mirror.

Together with the ample and comfortable shutter release button, these improvements made the OM-1 tough enough, good enough, to take on challenges of its own... able to conquer Mt. Everest and survive the punishing world of the working press.

OLYMPUS OM-2. Maitani followed the OM-1 with the OM-2, a professional caliber, fully automatic SLR.

The OM-2 offers a choice of full exposure control or fully automated operation... but automation with a design breakthrough: Off-The-Film metering.

OTF metering does what no camera before had done... measure the light reflected off the film during exposure.

Two sensors measure the OTF light the instant the shutter opens, keeping it open until correct exposure is assured.

The OM-2's metering system works at shutter speeds from 1/1000 sec. to over two minutes, a new standard of sensitivity.

The OM-1 and OM-2 are landmark achievements, creations of a man who stands alone.

Manufacturer description #3

The Olympus M-1 is what happens when an entirely fresh concept in 35mm SLR system photography is backed up by one of the world's leading all-round optical manufacturers.

The freshness lies in the new basic approach to the design, function and inter-relation of each part of the camera and of each unit of the 280-piece system.

The back-up comes from over half a century of Olympus technology encompassing the whole sphere of high grade optical equipment, such as microscopes and medical equipment, where precision is a matter of microns.

The result is a landmark on the photographic scene. An attractive-looking, top performance camera to answer every need of the most demanding professional, yet with a lightness, compactness and ease of operation that set new standards in the camera maker's art.

In fact, the finely engineered insides of the M-1 take up about a third less volume than you might expect, giving overall external dimensions of 136x83x81mm, and, with a standard F1.8 lens attached, total weight is a mere 660 grams.

This drastic miniaturization was made possible by 5 years of research into design & function, remorselessly trimming off useless bulk while scrupulously maintaining, or even increasing, essential structural features. The M-1 solves three of the most annoying SLR problems: weight, size and noise level. Noise level is cut to half or even less with 20 special noise reducing devices on the shutter and mirror system.

Prime attention has been given to ruggedness and durability in the M-1, with thorough testing of every part down to the smallest spring and screw. Special materials are used unsparingly, for instance to reduce wear in moving parts of the shutter mechanism and to insure smooth ball-bearing function over a wide temperature range. The lens mount is of extremely tough and long-lasting stainless steel.

Final proof of reliability is provided by the rigorous 100,000-time testing of the camera's vital shutter, winding and mirror mechanisms at temperatures from -20° C to +50° C.

In addition to being the most comprehensive 35mm photographic system ever, the System features the same compactness, lightness and ease of handling as the M-1 itself. It boasts some 30 lenses of impeccable quality from 8mm fisheye to 1,000mm telephoto, including world firsts such as a 24mm F2 super wide-angle lens and a full set of four macro lenses.

There is a compact, lightweight motor drive system offering speeds up to 4 frames per second. There are also close-up, macrophoto and photomicro systems, all completely compatible.

The M-1 and the System set new standards in 35mm photography, by realizing the traditional Olympus standard of excellence.

Manufacturer description #4

CAMERA TYPE: 35m Single Lens Reflex with focal plane shutter.

FILM SIZE AND CAPACITY: 35mm perforated film in 12, 20 or 36 exposure cartridges; removable hinged back accepts 250 exposure back and Recordata back (optional accessories).

FILM FORMAT: 24mm x 36mm.

LENS MOUNT: OLYMPUS OM Mount, bayonet type.

SHUTTER: Focal plane shutter, dial mounted control, with speeds from 1 to 1/1000 second plus B.

SELF-TIMER: 4-12 second delay lever type; can be stopped after actuation.

EXPOSURE MEASUREMENT: Two highly-sensitive CdS cells located on either side of the eyepiece provide through-the-lens open aperture light measurement. Match needle setting visible in viewfinder. On/Off Switch located atop camera.

EXPOSURE RANGE: EV 2-17 (ASA 100 with F1.4 standard lens).

BATTERY: 1.3 volt mercury battery (Eveready E625, Mallory RM-625R, GE 625 or equivalent).

FILM SPEED RANGE: ASA 25-1600.

VIEWFINDER: Pentaprism type wide-vision finder shows 97% of actual picture field, Interchangeable focusing screens; Visible exposure meter needle.

VIEWFINDER MAGNIFICATION: 0.92X at infinity with standard 50mm lens.

VIEWFINDER APPARENT FIELD VIEW: 23°30' & 35°.

FOCUSING SCREENS: 1-1 Microprism-matte type provided. Interchangeable with any of 11 additional screens available.

REFLEX MIRROR: Oversize, quick return type with mirror lock-up control.

FLASH CONTACTS: X and FP with switch.

FLASH SYNCHRONIZATION: With electronic flash (X): 1 to 1/60 sec. With Class "M" bulbs (X): 1 to 1/15 sec. With Class "F" bulbs (X): 1 to 1/15 sec. With focal plane bulbs (FP): 1/60 to 1/1000 sec.

HOT SHOE SOCKET: Built-in. Easy to attach OLYMPUS hot shoe available.

FILM ADVANCE: Ratchet type film advance. May be advanced in one stroke or several short strokes for a total of 150° rotation. Built-in prevention against double advance with double exposure override capability.

FILM LOADING: OLYMPUS easy load system.

EXPOSURE COUNTER: Progressive type from "S" (Start) to 36 and "E" (End). Counter automatically resets to "S" when rear cover opened.

FILM REWINDING: Rewind crank with automatic resetting rewind release lever.

REAR COVER: Removable hinge type. Interchangeable with Recordata Back and 250 Film Back.

Subscribe
Notify of
guest

Copy this code

and paste it here *

0 comments
Inline Feedbacks
View all comments

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.

Rectilinear design

Design that does not introduce significant distortion, especially ultra-wide angle lenses that preserve straight lines and do not curve them (unlike a fisheye lens, for instance).

Focus shift

A change in the position of the plane of optimal focus, generally due to a change in focal length when using a zoom lens, and in some lenses, with a change in aperture.

Transmittance

The amount of light that passes through a lens without being either absorbed by the glass or being reflected by glass/air surfaces.

Modulation Transfer Function (MTF)

When optical designers attempt to compare the performance of optical systems, a commonly used measure is the modulation transfer function (MTF).

The components of MTF are:

The MTF of a lens is a measurement of its ability to transfer contrast at a particular resolution from the object to the image. In other words, MTF is a way to incorporate resolution and contrast into a single specification.

Knowing the MTF curves of each photographic lens and camera sensor within a system allows a designer to make the appropriate selection when optimizing for a particular resolution.

Veiling glare

Lens flare that causes loss of contrast over part or all of the image.

Anti-reflection coating

When light enters or exits an uncoated lens approximately 5% of the light is reflected back at each lens-air boundary due to the difference in refractive index. This reflected light causes flare and ghosting, which results in deterioration of image quality. To counter this, a vapor-deposited coating that reduces light reflection is applied to the lens surface. Early coatings consisted of a single thin film with the correct refractive index differences to cancel out reflections. Multi-layer coatings, introduced in the early 1970s, are made up of several such films.

Benefits of anti-reflection coating:

Circular fisheye

Produces a 180° angle of view in all directions (horizontal, vertical and diagonal).

The image circle of the lens is inscribed in the image frame.

Diagonal (full-frame) fisheye

Covers the entire image frame. For this reason diagonal fisheye lenses are often called full-frame fisheyes.

Extension ring

Extension rings can be used singly or in combination to vary the reproduction ratio of lenses. They are mounted between the camera body and the lens. As a rule, the effect becomes stronger the shorter the focal length of the lens in use, and the longer the focal length of the extension ring.

View camera

A large-format camera with a ground-glass viewfinder at the image plane for viewing and focusing. The photographer must stick his head under a cloth hood in order to see the image projected on the ground glass. Because of their 4x5-inch (or larger) negatives, these cameras can produce extremely high-quality results. View cameras also usually support movements.

135 cartridge-loaded film

43.27 24 36
  • Introduced: 1934
  • Frame size: 36 × 24mm
  • Aspect ratio: 3:2
  • Diagonal: 43.27mm
  • Area: 864mm2
  • Double perforated
  • 8 perforations per frame

120 roll film

71.22 44 56
  • Introduced: 1901
  • Frame size: 56 × 44mm
  • Aspect ratio: 11:14
  • Diagonal: 71.22mm
  • Area: 2464mm2
  • Unperforated

120 roll film

79.2 56 56
  • Introduced: 1901
  • Frame size: 56 × 56mm
  • Aspect ratio: 1:1
  • Diagonal: 79.2mm
  • Area: 3136mm2
  • Unperforated

120 roll film

89.64 56 70
  • Introduced: 1901
  • Frame size: 70 × 56mm
  • Aspect ratio: 5:4
  • Diagonal: 89.64mm
  • Area: 3920mm2
  • Unperforated

220 roll film

71.22 44 56
  • Introduced: 1965
  • Frame size: 56 × 44mm
  • Aspect ratio: 11:14
  • Diagonal: 71.22mm
  • Area: 2464mm2
  • Unperforated
  • Double the length of 120 roll film

220 roll film

79.2 56 56
  • Introduced: 1965
  • Frame size: 56 × 56mm
  • Aspect ratio: 1:1
  • Diagonal: 79.2mm
  • Area: 3136mm2
  • Unperforated
  • Double the length of 120 roll film

220 roll film

89.64 56 70
  • Introduced: 1965
  • Frame size: 70 × 56mm
  • Aspect ratio: 5:4
  • Diagonal: 89.64mm
  • Area: 3920mm2
  • Unperforated
  • Double the length of 120 roll film

Shutter speed ring with "F" setting

The "F" setting disengages the leaf shutter and is set when using only the focal plane shutter in the camera body.

Catch for disengaging cross-coupling

The shutter and diaphragm settings are cross-coupled so that the diaphragm opens to a corresponding degree when faster shutter speeds are selected. The cross-coupling can be disengaged at the press of a catch.

Cross-coupling button

With the cross-coupling button depressed speed/aperture combinations can be altered without changing the Exposure Value setting.

M & X sync

The shutter is fully synchronized for M- and X-settings so that you can work with flash at all shutter speeds.

In M-sync, the shutter closes the flash-firing circuit slightly before it is fully open to catch the flash at maximum intensity. The M-setting is used for Class M flash bulbs.

In X-sync, the flash takes place when the shutter is fully opened. The X-setting is used for electronic flash.

X sync

The shutter is fully synchronized for X-setting so that you can work with flash at all shutter speeds.

In X-sync, the flash takes place when the shutter is fully opened. The X-setting is used for electronic flash.

Unable to follow the link

You are already on the page dedicated to this lens.

Cannot perform comparison

Cannot compare the lens to itself.

Image stabilizer

A technology used for reducing or even eliminating the effects of camera shake. Gyro sensors inside the lens detect camera shake and pass the data to a microcomputer. Then an image stabilization group of elements controlled by the microcomputer moves inside the lens and compensates camera shake in order to keep the image static on the imaging sensor or film.

The technology allows to increase the shutter speed by several stops and shoot handheld in such lighting conditions and at such focal lengths where without image stabilizer you have to use tripod, decrease the shutter speed and/or increase the ISO setting which can lead to blurry and noisy images.

Original name

Lens name as indicated on the lens barrel (usually on the front ring). With lenses from film era, may vary slightly from batch to batch.

Format

Format refers to the shape and size of film or image sensor.

35mm is the common name of the 36x24mm film format or image sensor format. It has an aspect ratio of 3:2, and a diagonal measurement of approximately 43mm. The name originates with the total width of the 135 film which was the primary medium of the format prior to the invention of the full frame digital SLR. Historically the 35mm format was sometimes called small format to distinguish it from the medium and large formats.

APS-C is an image sensor format approximately equivalent in size to the film negatives of 25.1x16.7mm with an aspect ratio of 3:2.

Medium format is a film format or image sensor format larger than 36x24mm (35mm) but smaller than 4x5in (large format).

Angle of view

Angle of view describes the angular extent of a given scene that is imaged by a camera. It is used interchangeably with the more general term field of view.

As the focal length changes, the angle of view also changes. The shorter the focal length (eg 18mm), the wider the angle of view. Conversely, the longer the focal length (eg 55mm), the smaller the angle of view.

A camera's angle of view depends not only on the lens, but also on the sensor. Imaging sensors are sometimes smaller than 35mm film frame, and this causes the lens to have a narrower angle of view than with 35mm film, by a certain factor for each sensor (called the crop factor).

This website does not use the angles of view provided by lens manufacturers, but calculates them automatically by the following formula: 114.6 * arctan (21.622 / CF * FL),

where:

CF – crop-factor of a sensor,
FL – focal length of a lens.

Mount

A lens mount is an interface — mechanical and often also electrical — between a camera body and a lens.

A lens mount may be a screw-threaded type, a bayonet-type, or a breech-lock type. Modern camera lens mounts are of the bayonet type, because the bayonet mechanism precisely aligns mechanical and electrical features between lens and body, unlike screw-threaded mounts.

Lens mounts of competing manufacturers (Canon, Nikon, Pentax, Sony etc.) are always incompatible. In addition to the mechanical and electrical interface variations, the flange focal distance can also be different.

The flange focal distance (FFD) is the distance from the mechanical rear end surface of the lens mount to the focal plane.

Lens construction

Lens construction – a specific arrangement of elements and groups that make up the optical design, including type and size of elements, type of used materials etc.

Element - an individual piece of glass which makes up one component of a photographic lens. Photographic lenses are nearly always built up of multiple such elements.

Group – a cemented together pieces of glass which form a single unit or an individual piece of glass. The advantage is that there is no glass-air surfaces between cemented together pieces of glass, which reduces reflections.

Focal length

The focal length is the factor that determines the size of the image reproduced on the focal plane, picture angle which covers the area of the subject to be photographed, depth of field, etc.

Speed

The largest opening or stop at which a lens can be used is referred to as the speed of the lens. The larger the maximum aperture is, the faster the lens is considered to be. Lenses that offer a large maximum aperture are commonly referred to as fast lenses, and lenses with smaller maximum aperture are regarded as slow.

In low-light situations, having a wider maximum aperture means that you can shoot at a faster shutter speed or work at a lower ISO, or both.

Closest focusing distance

The minimum distance from the focal plane (film or sensor) to the subject where the lens is still able to focus.

Closest working distance

The distance from the front edge of the lens to the subject at the maximum magnification.

Magnification ratio

Determines how large the subject will appear in the final image. Magnification is expressed as a ratio. For example, a magnification ratio of 1:1 means that the image of the subject formed on the film or sensor will be the same size as the subject in real life. For this reason, a 1:1 ratio is often called "life-size".

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Electronic manual focus override is performed in the following way: half-press the shutter button, wait until the camera has finished the autofocusing and then focus manually without releasing the shutter button using the focusing ring.

Manual diaphragm

The diaphragm must be stopped down manually by rotating the detent aperture ring.

Preset diaphragm

The lens has two rings, one is for pre-setting, while the other is for normal diaphragm adjustment. The first ring must be set at the desired aperture, the second ring then should be fully opened for focusing, and turned back for stop down to the pre-set value.

Semi-automatic diaphragm

The lens features spring mechanism in the diaphragm, triggered by the shutter release, which stops down the diaphragm to the pre-set value. The spring needs to be reset manually after each exposure to re-open diaphragm to its maximum value.

Automatic diaphragm

The camera automatically closes the diaphragm down during the shutter operation. On completion of the exposure, the diaphragm re-opens to its maximum value.

Fixed diaphragm

The aperture setting is fixed at F/ on this lens, and cannot be adjusted.

Number of blades

As a general rule, the more blades that are used to create the aperture opening in the lens, the rounder the out-of-focus highlights will be.

Some lenses are designed with curved diaphragm blades, so the roundness of the aperture comes not from the number of blades, but from their shape. However, the fewer blades the diaphragm has, the more difficult it is to form a circle, regardless of rounded edges.

At maximum aperture, the opening will be circular regardless of the number of blades.

Weight

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

Maximum diameter x Length

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

For lenses with collapsible design, the length is indicated for the working (retracted) state.

Weather sealing

A rubber material which is inserted in between each externally exposed part (manual focus and zoom rings, buttons, switch panels etc.) to ensure it is properly sealed against dust and moisture.

Lenses that accept front mounted filters typically do not have gaskets behind the filter mount. It is recommended to use a filter for complete weather resistance when desired.

Fluorine coating

Helps keep lenses clean by reducing the possibility of dust and dirt adhering to the lens and by facilitating cleaning should the need arise. Applied to the outer surface of the front and/or rear lens elements over multi-coatings.

Filters

Lens filters are accessories that can protect lenses from dirt and damage, enhance colors, minimize glare and reflections, and add creative effects to images.

Lens hood

A lens hood or lens shade is a device used on the end of a lens to block the sun or other light source in order to prevent glare and lens flare. Flare occurs when stray light strikes the front element of a lens and then bounces around within the lens. This stray light often comes from very bright light sources, such as the sun, bright studio lights, or a bright white background.

The geometry of the lens hood can vary from a plain cylindrical or conical section to a more complex shape, sometimes called a petal, tulip, or flower hood. This allows the lens hood to block stray light with the higher portions of the lens hood, while allowing more light into the corners of the image through the lowered portions of the hood.

Lens hoods are more prominent in long focus lenses because they have a smaller viewing angle than that of wide-angle lenses. For wide angle lenses, the length of the hood cannot be as long as those for telephoto lenses, as a longer hood would enter the wider field of view of the lens.

Lens hoods are often designed to fit onto the matching lens facing either forward, for normal use, or backwards, so that the hood may be stored with the lens without occupying much additional space. In addition, lens hoods can offer some degree of physical protection for the lens due to the hood extending farther than the lens itself.

Teleconverters

Teleconverters increase the effective focal length of lenses. They also usually maintain the closest focusing distance of lenses, thus increasing the magnification significantly. A lens combined with a teleconverter is normally smaller, lighter and cheaper than a "direct" telephoto lens of the same focal length and speed.

Teleconverters are a convenient way of enhancing telephoto capability, but it comes at a cost − reduced maximum aperture. Also, since teleconverters magnify every detail in the image, they logically also magnify residual aberrations of the lens.

Lens caps

Scratched lens surfaces can spoil the definition and contrast of even the finest lenses. Lens covers are the best and most inexpensive protection available against dust, moisture and abrasion. Safeguard lens elements - both front and rear - whenever the lens is not in use.