Pentax K-S2

APS-C AF digital SLR camera

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Specification

Production details:
Announced:February 2015
System: Pentax K APS-C (2003)
Format:
Maximum format:APS-C
Imaging sensor:23.5 × 15.6mm CMOS sensor
Resolution:5472 × 3648 - 20 MP
Crop factor:1.53x
Sensor-shift image stabilization:Yes
Mount and Flange focal distance:Pentax K [45.5mm]
Shutter:
Type:Focal-plane
Model:Electronically controlled
Speeds:30 - 1/6000 + B
Exposure:
Exposure metering:Through-the-lens (TTL), open-aperture
Exposure modes:Programmed Auto
Aperture-priority Auto
Shutter-priority Auto
Manual
Physical characteristics:
Weight:618g
Dimensions:122.5x91x72.5mm

Manufacturer description

Meet the PENTAX K-S2 – the small digital SLR camera that packs a punch! Providing outstanding imaging performance to rival high-end models and incorporating a wide range of features to cover every eventuality, all packed in a compact, dustproof, weather-resistant body with a variable-angle LCD monitor.

The latest camera to join the ranks, this new upper-class model, is the world’s smallest dustproof, weather-resistant digital SLR camera* designed for active, outdoor shooting. In addition to the PENTAX-original SAFOX X autofocus system, which performs superbly with poorly illuminated and moving subjects, it provides a full range of advanced features, including: an AA (anti-aliasing) filter simulator to assure the same level of moiré-reduction effect as an optical AA filter; an optical viewfinder with a glass pentaprism to provide a nearly 100% field of view; an in-body shake reduction mechanism; and a top sensitivity of ISO 51200.

It also provides remote shooting functions and wireless LAN and NFC functions - for the first time in the PENTAX K series - to make it easier to pair with smartphones and tablets.

The K-S2 LCD monitor also features a variable-angle design for the first time in a PENTAX digital SLR camera. By rotating the monitor 180 degrees to face the subject, the user can activate the self-portrait shutter button, to capture the perfect selfie!

This model comes in a range of three main body colors: black, white and black & orange. And as with other models in the range also offers the PENTAX colour order service with a choice of seven additional colour options in two outdoor-themed collections: three in the Field Collection, and four in the Sports Collection.

To accompany the K-S2 RICOH IMAGING has also developed the smc PENTAX-DA L 18-50mm F4-5.6 DC WR RE standard zoom lens as an exclusive kit lens. This weather-resistant lens features a retractable mechanism to make it compact and portable without sacrificing optical performance. By pairing this lens with the compact K-S2 camera body, users are guaranteed a highly portable digital imaging system that performs brilliantly.

Main Features

1. The world’s smallest dustproof, weather-resistant body*: The K-S2 camera body is not only designed to be compact and portable, but also dustproof and weather-resistant. One hundred seals have been applied to crucial parts of the body to prevent the intrusion of rain and dust into the interior, making the K-S2 a perfect choice for a wide range of outdoor activities, including mountain climbing and camping. Included in its lens kits is a super-compact zoom lens, with a length of just 41mm in the stored position despite its weather-resistant construction. The combination of the K-S2 camera body and this lens creates a highly portable digital imaging system.

2. Variable-angle LCD monitor for easy image viewing: The K-S2 comes equipped with an Air Gapless LCD monitor, which has a special resin layer applied between the protective panel and the LCD screen to effectively cut down the reflection and dispersion of light and assure excellent visibility. This monitor also features a variable-angle design for the first time in a PENTAX digital SLR camera, allowing the user to set the monitor to the desired viewing angle and simplify high- and low-angle shootings. By rotating the monitor 180 degrees to face the subject, the user can activate the self-portrait shutter button, which is provided in addition to the regular shutter-release button, to keep a firm hold of the camera when shooting self portraits (or selfies!).

3. High-precision autofocus system with SAFOX X module: The K-S2 features the state-of-the-art SAFOX X AF sensor module, which assures responsive, high-precision autofocus operation. With its 11 sensors including nine cross-type sensors in the middle, this AF system assures pinpoint focus on a subject at a minimum brightness level of as low as –3 EV. Its select-area expansion function ensures that the sensor module keeps tracking a moving subject, even when the subject moves out of a pre-assigned auto-tracking area, by assessing the distance data collected by neighboring focus sensors. Its AF hold function maintains the in-focus position, even when the AF system loses track of the subject after once capturing it in focus. These advanced functions combine to improve the camera's accuracy in the detection of moving subjects.

4. High-resolution images produced by an image sensor with approximately 20.12 effective megapixels and a super-high sensitivity of ISO51200: The K-S2 features a high-performance CMOS image sensor with approximately 20.12 effective megapixels to deliver super-high-resolution images. It is also designed without an optical AA (anti-aliasing) filter to optimise the imaging power of its high-performance image sensor. By coupling this image sensor with the high-performance PRIME MII imaging engine, the K-S2 delivers true-to-life, fine-gradation images by effectively minimizing noise at all sensitivity levels, even during super-high-sensitivity shooting at ISO 51200.

5. In-body shake reduction (SR) mechanism, and anti-aliasing (AA) filter simulator for effective moiré reduction:

(1) In-body SR mechanism: The K-S2 features a PENTAX-developed SR (Shake Reduction) mechanism to minimise camera shake and assure sharp, blur-free images, even in camera-shake-prone conditions such as when using a telephoto lens, shooting low-light scenes with incident light only, or photographing sunset scenes.

(2) Innovative AA (anti-aliasing) filter simulator**: By applying microscopic vibrations to the image sensor unit at the sub-pixel level during image exposure, the K-S2’s AA filter simulator provides the same level of moiré-reduction effect as an optical AA filter. Unlike an optical AA filter, which always creates the identical result, this innovative simulator lets you not only switch the AA filter effect on and off, but also adjust the level of the effect, so the user can effortlessly apply the desired effect to a particular scene or subject.

(3) Supportive shooting functions: The K-S2’s SR unit has a flexible design that tilts the image sensor unit in all direction, by shifting it horizontally (left/right) and vertically (up/down), and even rotating it. Taking advantage of this flexibility, the K-S2 provides a host of handy shooting functions, including ASTRO TRACER, which simplifies advanced astronomical photography in combination with the optional O-GPS1 GPS Unit.

6. Optical viewfinder with nearly 100-percent field of view: Despite its compact body, the K-S2 is equipped with a glass prism finder featuring the same optics and coatings as those used in higher-level models. With a magnification of approximately 0.95 times, it provides a broad, bright image field for easy focusing and framing.

7. High-speed shutter to capture fast-moving subjects in crisp focus: The K-S2 provides a top shutter speed of 1/6000 second to assure sharply focused images, even with fast-moving subjects. Coupled with its high-speed continuous shooting function with a top speed of approximately 5.5 images per second, it lets the photographer freeze once-in-a-lifetime shutter opportunities in beautifully focused images.

8. Wireless LAN compatibility for easy access to smartphones, for the first time in the PENTAX K series: The K-S2 features wireless LAN (Wi-Fi) functions to provide better access to smartphones and tablet computers. It also provides NFC (Near Field Communication) functions for easy pairing with NFC-compatible smartphones and other communications devices, simply by bringing the K-S2 into proximity with a target device. Also by installing the newly developed, exclusive Image Sync application on a communications device, the user can effortlessly control the K-S2’s aperture, shutter-speed and ISO-sensitivity settings, release its shutter, check the live-view image, and even browse and upload recorded images onto SNS sites such as Facebook remotely.

9. RICOH-original image-processing technologies: The K-S2 features a Clarity Enhancement — a RICOH-developed imaging technology designed to capture the subject’s texture and unevenness more truthfully and produce a more true-to-life depiction of the subject based on the human visual characteristics. Also provided on the mode dial is a new A-HDR (Advanced HDR) position, which combines the Clarity Enhancement with the conventional HDR mode that composites a single, extra-wide-gradation image from three images taken at differing exposures. Thanks to this new mode, the user can capture more dramatic, painting-like HDR images with great ease.

10. An assortment of photo-shooting tools for creative, personalised expressions: The K-S2 provides a choice of 11 Custom Image modes for flexible control of various parameters, as well as nine digital filters. Coupled with 19 distinctive Scene Modes and the hands-off Auto Picture mode, the K-S2 assures simple, quick selection of the desired shooting mode for a given scene or subject.

11. Dual electronic dials: The K-S2 provides a pair of electronic dials: one on top of the grip, and another on the back panel. In the P (Program) mode shooting, for instance, the user can control the aperture and shutter-speed settings independently using these dials, allowing more intuitive camera operation without the need to remove the eye from the viewfinder.

12. Full HD movie recording: Equipped with a built-in stereo microphone, the K-S2 captures beautiful Full HD movie clips (1920 x 1080 pixels; 30/25/24 frame rate) in the H.264 recording format, along with natural, lively stereo sound. It also assures flawless, high-quality movies even with fast-moving subjects. It even provides advanced movie functions, such as a 4K Interval Movie mode that connects still images recorded at a certain interval to create a single movie file, and a Star Stream mode to fade in and out the traces of stars to recorded movies.

13. Other features:

  • 77-segment, multi-pattern metering system for high-precision light measurement
  • DR (Dust Removal) mechanism for effective elimination of dust on the CMOS image sensor using ultrasonic vibration
  • Self-timer functions usable in continuous shooting mode

Main features of the smc PENTAX-DA L 18-50mmF4-5.6 DC WR RE zoom lens

  • Ultra-thin standard zoom lens with a retractable storage mechanism, with a focal-length coverage between 27.5mm and 76.5mm in the 35mm format
  • Reliable weather-resistant construction for use in the rain or mist, or at locations prone to water splashes and spray

Outline of PENTAX K-S2 color order service

Model: PENTAX K-S2 digital SLR camera

Body color:

  • Nature Collection (3 products): Forest Green, Desert Beige, Stone Gray
  • Sports Collection (4 products): White x Lime, Black x Pink, White x Racing Stripe, Black x Racing Stripe

Product lineup:

  • Lens Kit (camera body with smc PENTAX-DA L 18-50mmF4-5.6 DC WR RE lens)

Similar cameras (4)

APS-C • Auto focus • Digital • Singe-lens reflex • Pentax K mount

Model Shutter Metering Modes Year
Samsung GX-10 E, 1/4000 TTL • OA PASM 2006
Samsung GX-1L E, 1/4000 TTL • OA PASM 2006
Samsung GX-1S E, 1/4000 TTL • OA PASM 2006
Samsung GX-20 E, 1/4000 TTL • OA PASM 2008
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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.

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.

Original name

Camera name as indicated on the camera body.

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.