Chiyoko Super Rokkor 45mm F/2.8 (C)

Standard prime lens • Film era • Discontinued

Minolta-35 (Model A)

35mm MF film rangefinder camera

Announced: 1947
Mount: M39
Format: 32 × 24mm
Shutter type: Focal-plane
Shutter model: Mechanical
Speeds: 1 - 1/500 + B
Exposure metering: No
Dimensions: 137x76x62mm
Weight: 730g

Minolta-35 (Model B)

35mm MF film rangefinder camera

Announced: 1947
Mount: M39
Format: 32 × 24mm
Shutter type: Focal-plane
Shutter model: Mechanical
Speeds: 1 - 1/500 + B
Exposure metering: No
Dimensions: 137x76x63mm
Weight: 580g

Minolta-35 (Model C)

35mm MF film rangefinder camera

Announced: 1948
Mount: M39
Format: 33 × 24mm
Shutter type: Focal-plane
Shutter model: Mechanical
Speeds: 1 - 1/500 + B
Exposure metering: No
Dimensions: 137x77x61mm
Weight: 575g

Minolta-35 (Model D)

35mm MF film rangefinder camera

Announced: 1949
Mount: M39
Format: 34 × 24mm
Shutter type: Focal-plane
Shutter model: Mechanical
Speeds: 1 - 1/500 + B
Exposure metering: No

Minolta-35 (Model E)

35mm MF film rangefinder camera

Announced: 1951
Mount: M39
Format: 34 × 24mm
Shutter type: Focal-plane
Shutter model: Mechanical
Speeds: 1 - 1/500 + B
Exposure metering: No
Dimensions: 139x76x63mm
Weight: 565g

Minolta-35 (Model F)

35mm MF film rangefinder camera

Announced: 1952
Mount: M39
Format: 34 × 24mm
Shutter type: Focal-plane
Shutter model: Mechanical
Speeds: 1 - 1/500 + B
Exposure metering: No
Dimensions: 137x75x62mm
Weight: 565g

Minolta-35 (Model II)

35mm MF film rangefinder camera

Announced: 1953
Mount: M39
Format: 34 × 24mm
Shutter type: Focal-plane
Shutter model: Mechanical
Speeds: 1 - 1/500 + B
Exposure metering: No
Dimensions: 137x78x62mm
Weight: 591g

Minolta-35 (Model IIB)

35mm MF film rangefinder camera

Announced: 1958
Mount: M39
Format: 36 × 24mm
Shutter type: Focal-plane
Shutter model: Mechanical
Speeds: 1 - 1/500 + B
Exposure metering: No
Dimensions: 138x78x70mm
Weight: 596g

Specification / 仕様

Some basic information is missing as it was not provided by the manufacturer.

Production status and name / 生産状況と名称
Announced / 発表: 1947
Production status / 生産状況: Discontinued
Original name / 元の名前: Chiyoko SUPER ROKKOR 1:2.8 f=45mm
Chiyoko (C) SUPER ROKKOR 1:2.8 f=45mm
Optical design / 光学設計
Maximum format / 最大フォーマット: 35mm full frame
Mount / マウント: M39
Diagonal angle of view / 対角画角: 51.3° (35mm full frame)
Lens construction / レンズ構造: 5 elements - 3 groups
Diaphragm mechanism / ダイヤフラムメカニズム
Diaphragm type / ダイヤフラムタイプ: Manual
Number of blades / 絞り羽根の数: 8
Focusing / フォーカシング
Coupled to the rangefinder / 距離計に結合: Yes
Closest focusing distance / 最短撮影距離: 1m (coupled focusing)
Maximum magnification ratio / 最大倍率: <No information>
Focusing method / フォーカシング方法: <No information>
Focusing modes / フォーカシングモード: Manual focus only
Manual focus control / マニュアルフォーカス制御: Focusing lever
Physical characteristics / 体格的特徴
Weight / 重量: 150g
Maximum diameter x Length / 最大直径x長さ: ⌀?×38mm
Accessories / 付属品
Filters / フィルタ: <No information>
Lens hood / レンズフード: <No information>

Manufacturer description #1

The Super Rokkor Coated F/2.8-45mm lens fitted makes very sharp focus and from the shortest range to infinite it has superior capacity to make sharp fine depictions.

Also the lens has noted colour transparency capacity, highly praised by many known photo specialists in homeland as well as those in abroad and it is now an established fact that the fullest satisfactions are being expected by various users of this lens. This is one of the reasons that we are still sticking to this fine standard f/2.8 lens rather than those of larger in diameter.

Manufacturer description #2

Interchangeable standard lens SUPER ROKKOR 1:2.8 45mm is an ultra-sharp lens designed for general purpose - perfectly corrected for all optical aberration, and fully coated on all glass-to-air surfaces, to insure crisp, sparkling negatives capable of maximum enlargement and is highly recommended for Color Photography as well as For Black-and-White. It is mounted to focus without pulling out the lens tube.

From the editor / 編集者から

Standard lens for Minolta-35 series 35mm rangefinder cameras (from Model A to Model F).

Typical application / 典型的なアプリケーション

landscapes, interiors, buildings, cityscapes, portraits, street, travel

Lenses with similar focal length and speed

Sorted by manufacturer name

Canon 50mm F/1.2 1956 
Canon 50mm F/1.4 I 1957 
Canon 50mm F/1.4 II 1959 
Canon 50mm F/1.5 1952 
Canon 50mm F/1.8 II 1956 
Canon 50mm F/1.8 III 1958 
Canon 50mm F/2.2 1961 
Canon 50mm F/2.8 I 1955 
Canon 50mm F/2.8 II 1957 
Canon 50mm F/2.8 III 1959 
Canon Serenar 50mm F/1.8 I 1951 
Canon Serenar 50mm F/1.9 1949 
Chiyoda Kogaku Super Rokkor 50mm F/1.8 1958 
Chiyoko Super Rokkor 50mm F/2 1955 
Chiyoko Super Rokkor 50mm F/2 (C) 1955 
Chiyoko Super Rokkor 50mm F/2.8 (C) 1954 
Fuji Photo Film Fujinon 50mm F/1.2 1954 
Leica Summicron 50mm F/2 1999 
Leica Summilux 50mm F/1.4 1999 
Leitz (Wetzlar) Summar 50mm F/2 1933 
Leitz (Wetzlar) Summitar 50mm F/2 1938 
Leitz Hektor 50mm F/2.5 1930 
Leitz Wetzlar (Canada) Summarit 50mm F/1.5 1949 
Leitz Wetzlar Elmar 50mm F/2.8 1957 
Leitz Wetzlar Summicron 50mm F/2 1951 
Leitz Wetzlar Summicron 50mm F/2 1951 
Leitz Wetzlar Summilux 50mm F/1.4 1959 
Leitz Wetzlar Xenon 50mm F/1.5 1935 
Nikon Nikkor-H(·C) 50mm F/2 1950 
Nikon Nikkor-H·C 50mm F/2 1946 
Nikon Nikkor-N 50mm F/1.1 1959 
Nikon Nikkor-N(·C) 50mm F/1.1 1956 
Nikon Nikkor-S(·C) 50mm F/1.4 1950 
Nikon Nikkor-S·C 50mm F/1.5 1949 
Olympus Zuiko C. 40mm F/2.8 1950 
Teikoku Kogaku (Zunow Opt.) ZUNOW 50mm F/1.1 1955 
Teikoku Kogaku ZUNOW 50mm F/1.1 1953 
Voigtlander Nokton 50mm F/1.5
Yashica (Super-)Yashinon 50mm F/1.8 1959 
Yashica Yashikor 50mm F/2.8 (I) 1959 
Yashica Yashikor 50mm F/2.8 (II) 1959 
Small-batch production
Cosina Voigtlander Color-Skopar 50mm F/2.5 LTM 2002 
Cosina Voigtlander Heliar 50mm F/2 LTM (Cosina 50th Anniversary, Bessa 10th Anniversary) 2009 
Cosina Voigtlander Nokton 50mm F/1.5 Aspherical LTM 1999 
Konica Hexanon 50mm F/2.4 1997 
Rollei HFT Sonnar 40mm F/2.8 2002 
smc Pentax-L 43mm F/1.9 Special 2000 

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35mm full frame

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

Travellers' choice


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 fast standard primes

According to; among lenses designed for the same maximum format and mount.

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Cannot compare the lens to itself.

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.

Model produced in a small batch. It is collectible and can only be found on the secondary market.

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.


Sorry, no additional information is available.

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 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),


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


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.

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".

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.

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.

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.


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.


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.