Canon EF-S 35mm F/2.8 Macro IS STM

Macro lens • Digital era

EF-S The lens is designed for Canon EOS APS-C digital SLR cameras only.
MACRO Macro lens. Designed specially for shooting close-ups of small subjects but can be also used in other genres of photography, not necessarily requiring focusing at close distances.
IS The lens is equipped with Image Stabilizer.
STM The lens is equipped with Stepping Motor.

Canon EOS 300D

APS-C AF digital SLR camera

Also known as:Canon EOS Digital Rebel
Canon EOS Kiss Digital
Announced:August 2003
Mount:Canon EF-S
Format:22.7 × 15.1mm - 1.59x
Resolution:3072 × 2048 - 6 MP
Sensor type:CMOS
Image stabilizer:-

Canon EOS 20D

APS-C AF digital SLR camera

Announced:August 2004
Mount:Canon EF-S
Format:22.5 × 15mm - 1.6x
Resolution:3504 × 2336 - 8 MP
Sensor type:CMOS
Image stabilizer:-

Canon EOS 350D

APS-C AF digital SLR camera

Also known as:Canon EOS Digital Rebel XT
Canon EOS Kiss Digital N
Announced:February 2005
Mount:Canon EF-S
Format:22.2 × 14.8mm - 1.62x
Resolution:3456 × 2304 - 8 MP
Sensor type:CMOS
Image stabilizer:-

Canon EOS 30D

APS-C AF digital SLR camera

Announced:February 2006
Mount:Canon EF-S
Format:22.5 × 15mm - 1.6x
Resolution:3504 × 2336 - 8 MP
Sensor type:CMOS
Image stabilizer:-

Canon EOS 400D

APS-C AF digital SLR camera

Also known as:Canon EOS Digital Rebel XTi
Canon EOS Kiss Digital X
Announced:August 2006
Mount:Canon EF-S
Format:22.2 × 14.8mm - 1.62x
Resolution:3888 × 2592 - 10 MP
Sensor type:CMOS
Image stabilizer:-

Canon EOS 40D

APS-C AF digital SLR camera

Announced:August 2007
Mount:Canon EF-S
Format:22.2 × 14.8mm - 1.62x
Resolution:3888 × 2592 - 10 MP
Sensor type:CMOS
Image stabilizer:-

Canon EOS 450D

APS-C AF digital SLR camera

Also known as:Canon EOS Rebel XSi
Canon EOS Kiss X2
Announced:January 2008
Mount:Canon EF-S
Format:22.2 × 14.8mm - 1.62x
Resolution:4272 × 2848 - 12 MP
Sensor type:CMOS
Image stabilizer:-

Canon EOS 1000D

APS-C AF digital SLR camera

Also known as:Canon EOS Rebel XS
Canon EOS Kiss F
Announced:June 2008
Mount:Canon EF-S
Format:22.2 × 14.8mm - 1.62x
Resolution:3888 × 2592 - 10 MP
Sensor type:CMOS
Image stabilizer:-

Canon EOS 50D

APS-C AF digital SLR camera

Announced:August 2008
Mount:Canon EF-S
Format:22.3 × 14.9mm - 1.61x
Resolution:4752 × 3168 - 15 MP
Sensor type:CMOS
Image stabilizer:-

Canon EOS 500D

APS-C AF digital SLR camera

Also known as:Canon EOS Rebel T1i
Canon EOS Kiss X3
Announced:March 2009
Mount:Canon EF-S
Format:22.3 × 14.9mm - 1.61x
Resolution:4752 × 3168 - 15 MP
Sensor type:CMOS
Image stabilizer:-

Canon EOS 7D

APS-C AF digital SLR camera

Announced:September 2009
Mount:Canon EF-S
Format:22.3 × 14.9mm - 1.61x
Resolution:5184 × 3456 - 18 MP
Sensor type:CMOS
Image stabilizer:-

Canon EOS 550D

APS-C AF digital SLR camera

Also known as:Canon EOS Rebel T2i
Canon EOS Kiss X4
Announced:February 2010
Mount:Canon EF-S
Format:22.3 × 14.9mm - 1.61x
Resolution:5184 × 3456 - 18 MP
Sensor type:CMOS
Image stabilizer:-

Canon EOS 60D

APS-C AF digital SLR camera

Announced:August 2010
Mount:Canon EF-S
Format:22.3 × 14.9mm - 1.61x
Resolution:5184 × 3456 - 18 MP
Sensor type:CMOS
Image stabilizer:-

Canon EOS 1100D

APS-C AF digital SLR camera

Also known as:Canon EOS Rebel T3
Canon EOS Kiss X50
Announced:February 2011
Mount:Canon EF-S
Format:22.2 × 14.7mm - 1.62x
Resolution:4272 × 2848 - 12 MP
Sensor type:CMOS
Image stabilizer:-

Canon EOS 600D

APS-C AF digital SLR camera

Also known as:Canon EOS Rebel T3i
Canon EOS Kiss X5
Announced:February 2011
Mount:Canon EF-S
Format:22.3 × 14.9mm - 1.61x
Resolution:5184 × 3456 - 18 MP
Sensor type:CMOS
Image stabilizer:-

Canon EOS 650D

APS-C AF digital SLR camera

Also known as:Canon EOS Rebel T4i
Canon EOS Kiss X6i
Announced:June 2012
Mount:Canon EF-S
Format:22.3 × 14.9mm - 1.61x
Resolution:5184 × 3456 - 18 MP
Sensor type:CMOS
Image stabilizer:-

Canon EOS 100D

APS-C AF digital SLR camera

Also known as:Canon EOS Rebel SL1
Canon EOS Kiss X7
Announced:March 2013
Mount:Canon EF-S
Format:22.3 × 14.9mm - 1.61x
Resolution:5184 × 3456 - 18 MP
Sensor type:CMOS
Image stabilizer:-

Canon EOS 700D

APS-C AF digital SLR camera

Also known as:Canon EOS Rebel T5i
Canon EOS Kiss X7i
Announced:March 2013
Mount:Canon EF-S
Format:22.3 × 14.9mm - 1.61x
Resolution:5184 × 3456 - 18 MP
Sensor type:CMOS
Image stabilizer:-

Canon EOS 70D

APS-C AF digital SLR camera

Announced:July 2013
Mount:Canon EF-S
Format:22.5 × 15mm - 1.6x
Resolution:5472 × 3648 - 20 MP
Sensor type:CMOS
Image stabilizer:-

Canon EOS 1200D

APS-C AF digital SLR camera

Also known as:Canon EOS Rebel T5
Canon EOS Kiss X70
Announced:February 2014
Mount:Canon EF-S
Format:22.3 × 14.9mm - 1.61x
Resolution:5184 × 3456 - 18 MP
Sensor type:CMOS
Image stabilizer:-

Canon EOS 7D Mark II

APS-C AF digital SLR camera

Announced:September 2014
Mount:Canon EF-S
Format:22.4 × 15mm - 1.6x
Resolution:5472 × 3648 - 20 MP
Sensor type:CMOS
Image stabilizer:-

Canon EOS 750D

APS-C AF digital SLR camera

Also known as:Canon EOS Rebel T6i
Canon EOS Kiss X8i
Announced:February 2015
Mount:Canon EF-S
Format:22.3 × 14.9mm - 1.61x
Resolution:6000 × 4000 - 24 MP
Sensor type:CMOS
Image stabilizer:-

Canon EOS 760D

APS-C AF digital SLR camera

Also known as:Canon EOS Rebel T6s
Canon EOS 8000D
Announced:February 2015
Mount:Canon EF-S
Format:22.3 × 14.9mm - 1.61x
Resolution:6000 × 4000 - 24 MP
Sensor type:CMOS
Image stabilizer:-

Canon EOS 80D

APS-C AF digital SLR camera

Announced:February 2016
Mount:Canon EF-S
Format:22.5 × 15mm - 1.6x
Resolution:6000 × 4000 - 24 MP
Sensor type:CMOS
Image stabilizer:-

Canon EOS 1300D

APS-C AF digital SLR camera

Also known as:Canon EOS Rebel T6
Canon EOS Kiss X80
Announced:March 2016
Mount:Canon EF-S
Format:22.3 × 14.9mm - 1.61x
Resolution:5184 × 3456 - 18 MP
Sensor type:CMOS
Image stabilizer:-

Canon EOS 77D

APS-C AF digital SLR camera

Also known as:Canon EOS 9000D
Canon EOS 770D
Announced:February 2017
Mount:Canon EF-S
Format:22.3 × 14.9mm - 1.61x
Resolution:6000 × 4000 - 24 MP
Sensor type:CMOS
Image stabilizer:-

Canon EOS 800D

APS-C AF digital SLR camera

Also known as:Canon EOS Rebel T7i
Canon EOS Kiss X9i
Announced:February 2017
Mount:Canon EF-S
Format:22.3 × 14.9mm - 1.61x
Resolution:6000 × 4000 - 24 MP
Sensor type:CMOS
Image stabilizer:-

Canon EOS 200D

APS-C AF digital SLR camera

Also known as:Canon EOS Rebel SL2
Canon EOS Kiss X9
Announced:June 2017
Mount:Canon EF-S
Format:22.3 × 14.9mm - 1.61x
Resolution:6000 × 4000 - 24 MP
Sensor type:CMOS
Image stabilizer:-

Canon EOS 2000D

APS-C AF digital SLR camera

Also known as:Canon EOS Rebel T7
Canon EOS Kiss X90
Canon EOS 1500D
Announced:February 2018
Mount:Canon EF-S
Format:22.3 × 14.9mm - 1.61x
Resolution:6000 × 4000 - 24 MP
Sensor type:CMOS
Image stabilizer:-

Canon EOS 4000D

APS-C AF digital SLR camera

Also known as:Canon EOS Rebel T100
Canon EOS 3000D
Announced:February 2018
Mount:Canon EF-S
Format:22.3 × 14.9mm - 1.61x
Resolution:5184 × 3456 - 18 MP
Sensor type:CMOS
Image stabilizer:-

Canon EOS 250D

APS-C AF digital SLR camera

Also known as:Canon EOS Rebel SL3
Canon EOS Kiss X10
Announced:April 2019
Mount:Canon EF-S
Format:22.3 × 14.9mm - 1.61x
Resolution:6000 × 4000 - 24 MP
Sensor type:CMOS
Image stabilizer:-

Canon EOS 90D

APS-C AF digital SLR camera

Announced:August 2019
Mount:Canon EF-S
Format:22.3 × 14.9mm - 1.61x
Resolution:6960 × 4640 - 32 MP
Sensor type:CMOS
Image stabilizer:-

Canon EOS 850D

APS-C AF digital SLR camera

Also known as:Canon EOS Rebel T8i
Announced:February 2020
Mount:Canon EF-S
Format:22.3 × 14.9mm - 1.61x
Resolution:6000 × 4000 - 24 MP
Sensor type:CMOS
Image stabilizer:-

Designed for

Click to expand or collapse section(s)

Features highlight

APS-C
Fast
1 ASPH
Macro 1:1
IF
STM
FTM
IS 4 stops
IS Mode 1
Hybrid IS
Panning det.
Compact
Lightweight

Compatibility

  • You have to use a EOS camera with Hybrid CMOS AF or Dual Pixel CMOS AF technology in order to achieve smooth transfer of focus and effective subject tracking during video recording.

Specification

Production details
Announced:April 2017
Production status:In production
Production type:Mass production
Original name:CANON MACRO LENS EF-S 35mm 1:2.8 IS STM
Optical design
Focal length:35mm
Speed:F/2.8
Maximum format:APS-C
Mount:Canon EF-S
Diagonal angle of view:42.5° (Canon EF-S APS-C)
Lens construction:10 elements - 6 groups
1 ASPH
Diaphragm mechanism
Diaphragm control system:Electromagnetic
Number of blades:7
Focusing
Closest focusing distance:0.13m
Closest working distance:0.003m
Maximum magnification ratio:1:1 at the closest focusing distance
Focusing method:Internal focusing (IF)
Focusing modes:Autofocus, manual focus
Manual focus control:Focusing ring
Autofocus motor:Stepping motor (Lead screw-type)
Focus mode selector:AF/MF
Full-Time Manual Focus (FTM):Yes
Image Stabilizer (IS)
Built-in IS:Yes
IS features:Mode 1
Panning Detection
Hybrid IS
IS efficiency:up to 4 stops
Physical characteristics
Weight:190g
Maximum diameter x Length:⌀69.2×55.8mm
Weather sealing:-
Fluorine coating:-
Accessories
Filters:Screw-type 49mm
Lens hood:Screw-type ES-27 (round)

Manufacturer description

Expand your lens options with the EF-S 35mm f/2.8 Macro IS STM and see the world in exquisite detail. Designed for APS-C DSLR cameras, the built-in Macro Lite gives you flexibility to use only half the light, the full light and more to help you achieve your desired effect. Capturing detailed shots is fun and easy with small subjects and everyday photography coming to life in high image quality thanks to the optical design and the prime focal length (35mm equivalent of 56mm). Whether you're taking your first dive into the intriguing world of macro photography or looking to expand your line-up of lenses, it's great to have extra options with the creativity and power that the EF-S 35mm f/2.8 Macro IS STM offers.

The EF-S 35mm f/2.8 Macro IS STM is capable of shooting up to life-size magnification for stunning detail. In a first for EF-S lenses, it features a built-in Macro Lite, giving you the opportunity to light your close-up shots how you want to. You can independently control the right and left lamps, as well as dial up the intensity (bright and dim) for incredible flexibility. The EF-S 35mm f/2.8 Macro IS STM is capable of shooting up to life-size magnification for stunning up-close details of even the smallest subjects, including food, insects, flowers, still life and anything you want to fill the frame.

With a large, bright maximum aperture of f/2.8 you can let in a lot of light, as well as create beautiful shallow depth of field effects. The 35mm* standard angle of view gives you an equivalent of 56mm on a full-frame camera, making the EF-S 35mm f/2.8 Macro IS STM a fantastic walk-around lens for snapshots, street photography, portraits and anything where lots of detail is a bonus.

Image stabilization helps minimize blurring in an image that can occur even from small movements while taking handheld photos. Canon's Hybrid IS system helps minimize the effects of camera shake in the vertical plane (up and down), as well as when tilting or using the camera on an angle.

Beautiful photos and video are created courtesy of the refined optical configuration of 6 groups in 10 elements that uses one aspherical lens. The GMo (glass molded) aspheric lens is capable of delivering outstanding image quality across the entire scene, helping to ensure a high level of detail in your shots.

The EF-S 35mm f/2.8 Macro IS STM features a tapered design which allows you to get incredibly close to even small subjects, allowing you to fill the frame with beautiful, life-sized details. Its compact and lightweight body makes it easy to bring for shots on the go, and made possible thanks to clever construction that helps to reduce the lens' overall size and weight.

Keep your subjects in focus even when they're moving thanks to Movie Servo AF, which helps facilitate smooth video recording. The lead screw-type STM means you can focus quickly for both stills and video as well as staying nearly-silent – a key feature to help capture only the sounds you want in a video. In short, your movies are characterized by steady, near-quiet and beautiful focus transitions from one subject to another for a professional look and feel.

Thanks to its 7-blade, circular aperture, the EF-S 35mm f/2.8 Macro IS STM is capable of creating gorgeous, evocative out-of-focus areas and soft backgrounds. By delivering an incredible level of control over background blur, it helps you create intimacy and intensity in your photos and videos for impactful results.

The EF-S 35mm f/2.8 Macro IS STM offers complete manual control, even when AF is engaged, with a simple twist of the lens' focus ring. Additionally, full-time manual focus means it's easy to achieve and maintain focus manually, which can be especially handy when shooting video or composing still images on an SLR's screen.

From the editor

The first EF-S mount macro lens which features a pair of built-in miniature Macro Lites to enhance image quality during close-up photography.

The part of the barrel around the front element is tapered thus minimizing the risk that the lens will cast a shadow on the subject during close-up photography.

The lens provides magnification ratio of 1:1 at the closest focusing distance of 13cm. The closest working distance at 1:1 is only 30mm.

Two curved LED flash units surround the front element of the lens, with the ability to illuminate both simultaneously, or one at a time: the switching can be performed through the corresponding button located at the bottom part of the barrel.

The brightness of the Macro Lites can be adjusted between “bright” and “dim” settings. Due to macro-flashes, it is possible to shoot at faster shutter speeds and "freeze" subject movement when shooting a close-up range, shoot at lower ISO settings and get more accurate color reproduction, emphasize the dimension and depth of the macro scene.

Filters are installed on a dedicated ES-27 lens hood.

The lens is compatible with EF 12 II and EF 25 II extension rings.

Typical application

landscapes, interiors, buildings, cityscapes, travel, macrophotography and product photography

Slowest shutter speed when shooting handheld

IS OFF11/21/41/81/151/301/401/601/1251/2501/5001/1000+
IS ON11/21/41/81/151/301/401/601/1251/2501/5001/1000+

Notes and recommendations

  • If you are into insect macro photography, consider acquiring a macro lens with a focal length of at least twice as much: its large closest working distance will allow not to scare away the subject, and the lens barrel will not cast a shadow over it.

Lenses with similar focal length

Tokina AT-X Pro Macro M35 AF 35mm F/2.8 DX ⌀52APS-C1:1 2007 Compare24

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35mm full frame

43.27 24 36
  • Dimensions: 36 × 24mm
  • Aspect ratio: 3:2
  • Diagonal: 43.27mm

Travellers' choice

Note

Among autofocus lenses designed for 35mm full-frame mirrorless cameras only. Speed of standard and telephoto lenses is taken into account.

One of the best standard macro primes

According to lens-db.com; among lenses designed for the same maximum format and mount.

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Quality control issues

The manufacturer of this lens does not provide adequate quality control. If you do decide to purchase this lens, do not order it online, but choose the best copy available in the store. In any case, there may also be problems with the build quality, and warranty repairs can take months.

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.

Stepping motor (Lead screw-type)

Simple direct drive mechanism to realize truly silent and smooth autofocus during video recording. Too large to fit inside compact prime lenses.

AF/MF

AFAutofocus mode.
MFManual focus mode.

Aspherical elements

Aspherical elements (ASPH, XA, XGM) are used in wide-angle lenses for correction of distortion and in large-aperture lenses for correction of spherical aberration, astigmatism and coma, thus ensuring excellent sharpness and contrast even at fully open aperture. The effect of the aspherical element is determined by its position within the optical formula: the more the aspherical element moves away from the aperture stop, the more it influences distortion; close to the aperture stop it can be particularly used to correct spherical aberration. Aspherical element can substitute one or several regular spherical elements to achieve similar or better optical results, which allows to develop more compact and lightweight lenses.

Use of aspherical elements has its downsides: it leads to non-uniform rendering of out-of-focus highlights. This effect usually appears as "onion-like" texture of concentric rings or "wooly-like" texture and is caused by very slight defects in the surface of aspherical element. It is difficult to predict such effect, but usually it occurs when the highlights are small enough and far enough out of focus.

Low dispersion elements

Low dispersion elements (ED, LD, SD, UD etc) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture. This type of glass exhibits low refractive index, low dispersion, and exceptional partial dispersion characteristics compared to standard optical glass. Two lenses made of low dispersion glass offer almost the same performance as one fluorite lens.

Low dispersion elements

Low dispersion elements (ED, LD, SD, UD etc) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture. This type of glass exhibits low refractive index, low dispersion, and exceptional partial dispersion characteristics compared to standard optical glass. Two lenses made of low dispersion glass offer almost the same performance as one fluorite lens.

Canon's Super UD, Nikon's Super ED, Pentax' Super ED, Sigma's FLD ("F" Low Dispersion), Sony' Super ED and Tamron's XLD glasses are the highest level low dispersion glasses available with extremely high light transmission. These optical glasses have a performance equal to fluorite glass.

High-refraction low-dispersion elements

High-refraction low-dispersion elements (HLD) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture.

High Index, High Dispersion elements

High Index, High Dispersion elements (HID) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture.

Anomalous partial dispersion elements

Anomalous partial dispersion elements (AD) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture.

Fluorite elements

Synthetic fluorite elements (FL) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture. Compared with optical glass, fluorite lenses have a considerably lower refraction index, low dispersion and extraordinary partial dispersion, and high transmission of infrared and ultraviolet light. They are also significantly lighter than optical glass.

According to Nikon, fluorite easily cracks and is sensitive to temperature changes that can adversely affect focusing by altering the lens' refractive index. To avoid this, Canon, as the manufacturer most widely using fluorite in its telephoto lenses, never uses fluorite in the front and rear lens elements, and the white coating is applied to the lens barrels to reflect light and prevent the lens from overheating.

Short-wavelength refractive elements

High and specialized-dispersion elements (SR) refract light with wavelengths shorter than that of blue to achieve highly precise chromatic aberration compensation. This technology also results in smaller and lighter lenses.

Blue Spectrum Refractive Optics

Organic Blue Spectrum Refractive Optics material (BR Optics) placed between convex and concave elements made from conventional optical glass provides more efficient correction of longitudinal chromatic aberrations in comparison with conventional technology.

Diffraction elements

Diffraction elements (DO, PF) cancel chromatic aberrations at various wavelengths. This technology results in smaller and lighter lenses in comparison with traditional designs with no compromise in image quality.

High refractive index elements

High refractive index elements (HR, HRI, XR etc) minimize field curvature and spherical aberration. High refractive index element can substitute one or several regular elements to achieve similar or better optical results, which allows to develop more compact and lightweight lenses.

Apodization element

Apodization element (APD) is in fact a radial gradient filter. It practically does not change the characteristics of light beam passing through its central part but absorbs the light at the periphery. It sort of softens the edges of the aperture making the transition from foreground to background zone very smooth and results in very attractive, natural looking and silky smooth bokeh.

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 from the lens mount to the film or sensor can also be different.

Lens construction

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

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

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

Flange focal distance

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

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. 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.

Electromagnetic diaphragm control system

Provides highly accurate diaphragm control and stable auto exposure performance during continuous shooting.

Convex protruding front element

The convex front element protrudes from the lens barrel, making it impossible to use filters.

Fixed focus

There is no helicoid in this lens and everything is in focus from the closest focusing distance to infinity.

Overall linear extension

The entire lens optical system moves straight backward and forward when focusing is carried out. This is the simplest type of focusing used mainly in wide-angle and standard prime lenses. It has the advantage of introducing relatively little change in aberrations with respect to change in focusing distance. With telephoto and super telephoto lenses this method becomes less beneficial in terms of operability because of the increased size and weight of the lens system.

Front group linear extension

The rear group remains fixed and only the front group moves straight backward and forward during focusing. This method is primarily used in zoom lenses and allows to design comparatively simple lens construction, but also places restrictions on zoom magnification and size reduction.

Front group rotational extension

The lens barrel section holding the front lens group rotates to move the front group backward and forward during focusing. This method of focusing is also used only in zoom lenses.

Internal focusing (IF)

Focusing is performed by moving one or more lens groups positioned between the front lens group and the diaphragm.

Methods of internal and rear focusing have the following advantages:

Rear focusing (RF)

Focusing is performed by moving one or more lens groups positioned behind the diaphragm.

Methods of internal and rear focusing have the following advantages:

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.

Efficiency of image stabilizer

The efficiency of image stabilizer is measured in stops and each stop corresponds to a two-times increase of shutter speed. For example, if you are shooting at focal length of 80mm and it is known that the efficiency of image stabilizer is 3 stops, it means that during handheld shooting at such focal length you can use shutter speed of 1/10 second which is exactly 23 times longer than the shutter speed 1/80 second needed to obtain sharp image in sufficient lighting conditions.

Hybrid IS

The image stabilizer has Hybrid IS technology which corrects not only angle but also shift camera shake, which is more pronounced in close-range shooting when a camera moves parallel to the imaging scene. Hybrid IS dramatically enhances the effects of image stabilization during shooting, including macro shooting, which had proven difficult for conventional image stabilization technologies.

XY-Shift

The image stabilizer has XY-Shift technology which corrects not only angle but also shift camera shake, which is more pronounced in close-range shooting when a camera moves parallel to the imaging scene. XY-Shift dramatically enhances the effects of image stabilization during shooting, including macro shooting, which had proven difficult for conventional image stabilization technologies.

Dynamic IS

The image stabilizer has Dynamic IS technology which especially effective when shooting while walking because it compensates strong camera shake. Dynamic IS activates automatically when the camera is set to movie shooting.

Mode 1

Corrects vertical and horizontal camera shake. Mainly effective for shooting still subjects.

Mode 2

Corrects vertical camera shake during following shots in a horizontal direction. Corrects horizontal camera shake during following shots in a vertical direction.

Mode 2

Corrects vertical camera shake during following shots in a horizontal direction.

Mode 2 (Intelligent OS)

The lens incorporates Intelligent OS with algorithm capable of panning in all directions. In Mode 2, the movements of subjects can be captured with panning effects even when the camera is moved horizontally, vertically, or diagonally — regardless of the position of the lens.

Mode 3

Corrects camera shake only during exposure. During panning shots, corrects camera shake during exposure only in one direction the same as Mode 2. Effective for following fast and irregulary moving subjects.

Panning Detection

The image stabilizer automatically detects panning and then corrects camera shake only in one direction.

Tripod Detection

It is often thought that image blur caused by camera shake can be prevented by using a tripod. Actually, however, even using a tripod may result in image blur because of tripod vibration caused by mirror or shutter movement at the time of exposure. The image stabilizer automatically differentiates the frequency of the vibration from that of camera shake, and changes algorithm to correct image blur caused by slight tripod vibration.

VR NORMAL

Corrects vertical and horizontal camera shake. Automatically detects panning and then corrects camera shake only in one direction.

VR ACTIVE

Corrects vertical and horizontal camera shake when shooting from a moving vehicle, or some other unstable position. Panning is not detected.

VR SPORT

Allows a continuous shooting frame rate and release time lag similar to those that are possible when image stabilizer is turned off. Automatically detects panning and then corrects camera shake only in one direction.

VR TRIPOD

It is often thought that image blur caused by camera shake can be prevented by using a tripod. Actually, however, even using a tripod may result in image blur because of tripod vibration caused by mirror or shutter movement at the time of exposure. The image stabilizer automatically differentiates the frequency of the vibration from that of camera shake, and changes algorithm to correct image blur caused by slight tripod vibration.