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Pentax K-01

APS-C AF digital mirrorless camera

Specification

Production details:
Announced:February 2012
System:-
Format:
Maximum format:APS-C
Imaging sensor:23.7 × 15.7mm CMOS sensor
Resolution:4928 × 3264 - 16 MP
Crop factor:1.52x
Sensor-shift image stabilization:Yes
Mount and Flange focal distance:Pentax K [45.5mm]
Shutter:
Type:Focal-plane
Model:Electronically controlled
Speeds:30 - 1/4000 + B
Exposure:
Exposure metering:Through-the-lens (TTL), open-aperture
Exposure modes:Programmed Auto
Aperture-priority Auto
Shutter-priority Auto
Manual
Physical characteristics:
Weight:560g
Dimensions:121x79x59mm

Manufacturer description #1

DENVER, CO February 2, 2012…When is a camera more than a photographer’s tool? The answer is when it’s an object designed by Marc Newson, one of the most acclaimed and influential contemporary designers.

PENTAX RICOH IMAGING AMERICAS CORPORATION introduces the Marc Newson designed PENTAX K-01* interchangeable lens camera (ILC). The new PENTAX K-01 is another bold effort from the manufacturer that is known for pushing camera size, color, durability, and now, design, to the limit. Widely known for designing a wide range of objects from furniture and household products to bicycles, cars, aircraft and yachts, Marc Newson has had collected works displayed in The Museum of Modern Art (MoMA) in New York City and many other major museums.

The contemporary, timeless K-01 houses a full array of advanced functions and user-friendly features in a camera body with remarkable form and function. The elimination of an optical viewfinder and quick-return mirror gave Newson more freedom in designing the camera body, and the K-01 showcases Newson originality in every detail. Available in black, white and Newson’s signature yellow colors, the K-01 features the designer’s autograph logo stamp on the bottom of each camera.

The famed designer’s touch also is evident in a new smc PENTAX-DA 40mm F2.8 XS interchangeable lens. As the world’s thinnest interchangeable lens,* the new 40mm combines with the PENTAX K-01 camera body to deliver a unique ILC system that is perfect for photographers who are as keen on design as they are on performance. Together, the K-01 and 40mm lens system mark the intersection where high technology and high design meet.

Key features of the PENTAX K-01 include:

  • Durable machined aluminum frame under a stylish black, white, or yellow exterior.
  • PENTAX mirrorless body design is compatible with 25+ million PENTAX K-mount lenses spanning decades.
  • Large 16 megapixel APS-C sized CMOS image sensor with low noise image capture and multiple aspect ratios.
  • Bright, high resolution 3 inch LCD with 920,000 dots.
  • Full HD 1080p video capture at 30 FPS with h.264 compression (60 FPS at 720p) features outstanding video capture flexibility.
  • Sensor-shift PENTAX Shake and Dust Reduction system is compatible with every mounted PENTAX lens.
  • Fast 6 FPS burst mode is ideal for fast-action photography.
  • Flexible ISO range of 100-25600 ensures gorgeous noise-free imaging in any lighting condition.
  • Focus peaking mode provides fast and accurate manual focusing for critical focus applications.

The K-01 will be available in yellow, black and white in March 2012 for $749.95USD (body only) and $899.95USD (lens kit including new DA 40mm XS) in Marc Newson designed packaging and with the Marc Newson designed strap. The smc PENTAX-DA 40mm F2.8 XS unifocal interchangeable standard lens will ship at the same time for $249.95 USD.

Manufacturer description #2

February 2, 2012 - PENTAX RICOH IMAGING COMPANY, LTD. is pleased to announce the launch of the PENTAX K-01 lens-interchangeable digital camera. This new, stylish camera was designed in collaboration with one of the world’s most acclaimed designers, Mr. Marc Newson.

In response to the ever-growing digital camera market, PENTAX RICOH IMAGING COMPANY, LTD. has taken a number of major steps in the development of digital SLR cameras as attractive, user-friendly imaging tools. These include a camera offering a choice of 120 lens-and-body color combinations, and concept models designed in collaboration with various firms and artists. The new PENTAX K-01 is another bold effort in camera design, developed in line with Mr. Newson’s three design themes — a TIMELESS, TRUSTY and TOUCHABLE. At the same time, it provides the full array of advanced functions and user-friendly features expected from digital SLR cameras. The optical viewfinder and quick-return mirror were eliminated to allow more freedom in designing the camera body. The result is a camera that shows Mr. Newson’s originality in every detail, with meticulous attention paid to all body parts to faithfully reproduce his designs. His design scheme has also been applied to the new smc PENTAX-DA 40mm F2.8 XS unifocal interchangeable standard lens — the world’s thinnest interchangeable lens,* to be launched in the market simultaneously with the PENTAX K-01 camera body — to make the lens-mounted K-01 a complete design package.

The PENTAX K-01 comes with outstanding basic specifications, including sharp, high-resolution images captured by approximately 16.28 effective megapixels, high-speed burst shooting, an extra-wide sensitivity range with a top sensitivity of ISO 25600 (when expanded), and Full HD video recording. In addition, it features the reliable, ever-popular PENTAX K lens mount, so users can make effective use of their entire lens stock — even lenses produced for film-format SLR cameras. While the K-01 makes the perfect choice for start-up digital interchangeable lens camera photographers looking for an easy-to-operate camera, as well as those who demand originality and stylishness from their imaging tool, it also can be a wonderful second camera for current PENTAX digital SLR users who find pleasure in totally new photographic styles that only the K-01 can offer.

* The world's thinnest interchangeable lens for lens-interchangeable digital cameras, as of February 1, 2012 (based on PENTAX' research).

Design concept of PENTAX K-01 by Marc Newson

  • A modern digital camera with a contemporary yet timeless design.
  • The camera body is compact and trim whilst preserving all the functions of a professional camera.
  • The lines are clean and simple creating an elegant graphical composition.
  • The materials convey quality and honesty.
  • Machined aluminium and natural rubber provide the user with a tactile and durable piece of technology.

TIMELESS, TRUSTY, TOUCHABLE

Major Features

1. Immaculate, tasteful design by Marc Newson

The PENTAX K-01’s body consists of neat, straight lines to optimize both functionality and visual attractiveness. Original-design push buttons and control levers are efficiently laid out across the body, while brilliant colors are used on two key buttons for instant recognition: red for the video recording button, and green for the functional green button. The mode dial and the power switch are made of high-quality aluminum alloy, while the memory card slot and connectors on the comfortable, easy-to-hold grip are covered with protective rubber. What’s more, Mr. Newson’s original design scheme is evident in all elements of the K-01, including the product logo, the camera strap (included) and even the start-up screen that comes on when the K-01’s power is turned on.

2. Exceptional image quality assured by digital SLR camera system

The PENTAX K-01 comes equipped with a newly developed CMOS image sensor measuring 23.7 millimeters by 15.7 millimeters. With approximately 16.28 effective megapixels, this extra-large sensor assures high-speed readout of image data signals. The K-01 also features the new “PRIME M” imaging engine to assure first-rate movie recording performance in a digital interchangeable lens camera. It also offers an extra-wide sensitivity range — from ISO 100 to ISO 12800, or to ISO 25600 when expanded using a custom function — while minimizing annoying digital noise at all sensitivity levels.

3. Compatibility with all PENTAX lenses

The ability to change lenses is a great benefit of the digital interchangeable lens camera system. That’s why the PENTAX K-01 is designed to accept a wide array of PENTAX interchangeable lenses,** including those produced for film-format SLR cameras. Thanks to this lens compatibility, the user can choose a most suitable lens for a particular subject or scene and create the desired visual effect and perspective with great ease.

** K-, KA- KAF, KAF2, and KAF3- mount lenses can be used with the PENTAX K-01, while screw-mount lenses, 645-system lenses and 67-system lenses can be used with an adapter. Some functions may not be available on certain lenses.

4. High-quality video recording

The PENTAX K-01 comes equipped with a Full HD video-recording function to capture high-quality movie clips (1920 x 1080 pixels). With the H.264 recording format, it offers a choice of frame rate (30, 25 or 24 frames per second) to accommodate user-specific applications. It also comes with two new features to facilitate video recording: Red button for instant pushbutton start, and a stereo microphone for more realistic sound. While adding personal touches to recorded clips using various Custom Images, or recording the subject in a series of video clips using the interval movie shooting mode. The PENTAX K-01 also comes with an HDMI type C terminal, which allows the user to simultaneously output both Full HD movie clips and stereo sound, as well as an external microphone input terminal.

5. New-generation HDR mode

The HDR (High Dynamic Range) mode, which produces one extra-wide-gradation composite photo from three images taken at different exposure levels, has been upgraded to create a greater range of visual expressions. This upgraded HDR mode can be instantly selected with a turn of the mode dial. The user can take advantage of newly added features to select one of three exposure increments as well as the level of effects, while an automatic position adjustment function assures precise alignment of three images even when they are taken with a handheld K-01.

6. A selection of image processing tools for personalized expressions

The PENTAX K-01’s Custom Image function allows the user to select the most appropriate finishing touch for a particular subject or scene to express the photographer’s creative intention or taste. Included in 11 Custom Images are: Bleach Bypass to create a dramatic visual effect used in motion pictures, and Cross Process to produce a fanciful image with unusual colors. The K-01 also features 19 distinctive digital filters — including Miniature, which turns an actual scene into an image full of miniature models — to easily apply different visual effects to recorded images. The user can be even more creative and imaginative by applying multiple digital filters to a single image.

7. Smooth, quiet, high-speed burst shooting

The PENTAX K-01’s high-speed burst shooting mode comes in handy when preserving the action of fast-moving subjects in a series of images, since it captures up to six images per second. With its mirrorless construction, K-01 also offers exceptionally silent mechanical operation incomparable to existing PENTAX digital SLRs that allows user to concentrate on to photography even when shooting such subjects as stage performances.

8. Large, wide-angle 3.0-inch LCD monitor with approx. 921,000 dots

The PENTAX K-01 features a large, easy-to-view, high-resolution 3.0-inch color LCD monitor with approximately 921,000 dots. Its wide-view design assures a clear view of the monitor from approximately 170 degrees horizontally and vertically, making it particularly useful in low- and high-angle shooting.

9. PENTAX-original SR mechanism for sharp, blur-free images

The PENTAX K-01 incorporates the PENTAX-developed SR (Shake Reduction) mechanism. Usable with all compatible lenses, including those produced for film-format SLR cameras, this mechanism produces sharp, blur-free images even under demanding conditions that are prone to camera shake, such as when using a telephoto lens, shooting in the dark without flash illumination, or capturing landscapes in the twilight.

10. Effortless, user-friendly Auto Picture and Scene modes

The PENTAX K-01 features the PENTAX-original, user-friendly Auto Picture mode, which selects the most appropriate shooting mode for a given subject or scene from Portrait, Landscape, Macro and other distinctive shooting modes, while optimizing all camera settings, such as aperture, shutter speed, white balance, saturation, contrast and sharpness. As the result, the photographer can concentrate on image composition and shutter opportunity. The K-01 also offers 19 different Scene modes, which simplifies the photographing of difficult subjects or demanding scenes — such as Night Scene Portrait mode, Pet mode, and Backlight Silhouette mode — simply by choosing the corresponding icon on the camera’s LCD monitor.

11. Other features

  1. TTL image-sensor metering, with a choice of multi-segment, center-weighted and spot modes
  2. Contrast-detection autofocus system, with 81 selectable focus points
  3. DR (Dust Removal) mechanism to shake off dust adhering to the surface of the CMOS image sensor
  4. CTE white-balance control mode to emphasize the predominant color of a particular scene, such as the sunset
  5. A choice of four image sizes (4:3, 3:2, 16:9 and 1:1) to accommodate different subjects and applications
  6. Multi-exposure mode (up to nine exposures on a single image), with an auto exposure compensation function
  7. Interval shooting mode, useful in time laps recording of landscapes and flowers/plants from an exact same location and angle
  8. Compatibility with the new-standard SDXC and UHS Speed Class 1 memory cards
  9. SILKY Developer Studio 3.0 for PENTAX RAW-data development software (developed by Ichikawa Soft Laboratory) included; in-camera RAW-data development also available
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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, 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.