Cosina Voigtlander Nokton 35mm F/1.2 X

Standard prime lens • Digital era

Fujifilm X-Pro1

APS-C AF digital mirrorless camera

Announced ⋅ 発表: January ⋅ 1月 2012
Mount ⋅ マウント: Fujifilm X
Format ⋅ フォーマット: 23.6 × 15.6mm - 1.53x
Resolution ⋅ 解像度: 4896 × 3264 - 16 MP
Sensor type ⋅ センサータイプ: X-Trans CMOS
Image stabilizer ⋅ 手ぶれ補正: -

Fujifilm X-E1

APS-C AF digital mirrorless camera

Announced ⋅ 発表: September ⋅ 9月 2012
Mount ⋅ マウント: Fujifilm X
Format ⋅ フォーマット: 23.6 × 15.6mm - 1.53x
Resolution ⋅ 解像度: 4896 × 3264 - 16 MP
Sensor type ⋅ センサータイプ: X-Trans CMOS
Image stabilizer ⋅ 手ぶれ補正: -

Fujifilm X-M1

APS-C AF digital mirrorless camera

Announced ⋅ 発表: June ⋅ 六月 2013
Mount ⋅ マウント: Fujifilm X
Format ⋅ フォーマット: 23.6 × 15.6mm - 1.53x
Resolution ⋅ 解像度: 4896 × 3264 - 16 MP
Sensor type ⋅ センサータイプ: X-Trans CMOS
Image stabilizer ⋅ 手ぶれ補正: -

Fujifilm X-A1

APS-C AF digital mirrorless camera

Announced ⋅ 発表: September ⋅ 9月 2013
Mount ⋅ マウント: Fujifilm X
Format ⋅ フォーマット: 23.6 × 15.6mm - 1.53x
Resolution ⋅ 解像度: 4896 × 3264 - 16 MP
Sensor type ⋅ センサータイプ: CMOS
Image stabilizer ⋅ 手ぶれ補正: -

Fujifilm X-E2

APS-C AF digital mirrorless camera

Announced ⋅ 発表: October ⋅ 10月 2013
Mount ⋅ マウント: Fujifilm X
Format ⋅ フォーマット: 23.6 × 15.6mm - 1.53x
Resolution ⋅ 解像度: 4896 × 3264 - 16 MP
Sensor type ⋅ センサータイプ: X-Trans CMOS II
Image stabilizer ⋅ 手ぶれ補正: -

Fujifilm X-T1

APS-C AF digital mirrorless camera

Announced ⋅ 発表: January ⋅ 1月 2014
Mount ⋅ マウント: Fujifilm X
Format ⋅ フォーマット: 23.6 × 15.6mm - 1.53x
Resolution ⋅ 解像度: 4896 × 3264 - 16 MP
Sensor type ⋅ センサータイプ: X-Trans CMOS II
Image stabilizer ⋅ 手ぶれ補正: -

Fujifilm X-A2

APS-C AF digital mirrorless camera

Announced ⋅ 発表: January ⋅ 1月 2015
Mount ⋅ マウント: Fujifilm X
Format ⋅ フォーマット: 23.6 × 15.6mm - 1.53x
Resolution ⋅ 解像度: 4896 × 3264 - 16 MP
Sensor type ⋅ センサータイプ: CMOS
Image stabilizer ⋅ 手ぶれ補正: -

Fujifilm X-T10

APS-C AF digital mirrorless camera

Announced ⋅ 発表: May ⋅ 5月 2015
Mount ⋅ マウント: Fujifilm X
Format ⋅ フォーマット: 23.6 × 15.6mm - 1.53x
Resolution ⋅ 解像度: 4896 × 3264 - 16 MP
Sensor type ⋅ センサータイプ: X-Trans CMOS II
Image stabilizer ⋅ 手ぶれ補正: -

Fujifilm X-E2S

APS-C AF digital mirrorless camera

Announced ⋅ 発表: January ⋅ 1月 2016
Mount ⋅ マウント: Fujifilm X
Format ⋅ フォーマット: 23.6 × 15.6mm - 1.53x
Resolution ⋅ 解像度: 4896 × 3264 - 16 MP
Sensor type ⋅ センサータイプ: X-Trans CMOS II
Image stabilizer ⋅ 手ぶれ補正: -

Fujifilm X-Pro2

APS-C AF digital mirrorless camera

Announced ⋅ 発表: January ⋅ 1月 2016
Mount ⋅ マウント: Fujifilm X
Format ⋅ フォーマット: 23.6 × 15.6mm - 1.53x
Resolution ⋅ 解像度: 6000 × 4000 - 24 MP
Sensor type ⋅ センサータイプ: X-Trans CMOS III
Image stabilizer ⋅ 手ぶれ補正: -

Fujifilm X-T2

APS-C AF digital mirrorless camera

Announced ⋅ 発表: July ⋅ 7月 2016
Mount ⋅ マウント: Fujifilm X
Format ⋅ フォーマット: 23.6 × 15.6mm - 1.53x
Resolution ⋅ 解像度: 6000 × 4000 - 24 MP
Sensor type ⋅ センサータイプ: X-Trans CMOS III
Image stabilizer ⋅ 手ぶれ補正: -

Fujifilm X-A3

APS-C AF digital mirrorless camera

Announced ⋅ 発表: August ⋅ 8月 2016
Mount ⋅ マウント: Fujifilm X
Format ⋅ フォーマット: 23.5 × 15.7mm - 1.53x
Resolution ⋅ 解像度: 6000 × 4000 - 24 MP
Sensor type ⋅ センサータイプ: CMOS
Image stabilizer ⋅ 手ぶれ補正: -

Fujifilm X-A10

APS-C AF digital mirrorless camera

Announced ⋅ 発表: December ⋅ 12月 2016
Mount ⋅ マウント: Fujifilm X
Format ⋅ フォーマット: 23.6 × 15.6mm - 1.53x
Resolution ⋅ 解像度: 4896 × 3264 - 16 MP
Sensor type ⋅ センサータイプ: CMOS
Image stabilizer ⋅ 手ぶれ補正: -

Fujifilm X-T20

APS-C AF digital mirrorless camera

Announced ⋅ 発表: January ⋅ 1月 2017
Mount ⋅ マウント: Fujifilm X
Format ⋅ フォーマット: 23.6 × 15.6mm - 1.53x
Resolution ⋅ 解像度: 6000 × 4000 - 24 MP
Sensor type ⋅ センサータイプ: X-Trans CMOS III
Image stabilizer ⋅ 手ぶれ補正: -

Fujifilm X-E3

APS-C AF digital mirrorless camera

Announced ⋅ 発表: September ⋅ 9月 2017
Mount ⋅ マウント: Fujifilm X
Format ⋅ フォーマット: 23.5 × 15.6mm - 1.53x
Resolution ⋅ 解像度: 6000 × 4000 - 24 MP
Sensor type ⋅ センサータイプ: X-Trans CMOS III
Image stabilizer ⋅ 手ぶれ補正: -

Fujifilm X-A20

APS-C AF digital mirrorless camera

Announced ⋅ 発表: January ⋅ 1月 2018
Mount ⋅ マウント: Fujifilm X
Format ⋅ フォーマット: 23.6 × 15.6mm - 1.53x
Resolution ⋅ 解像度: 4896 × 3264 - 16 MP
Sensor type ⋅ センサータイプ: CMOS
Image stabilizer ⋅ 手ぶれ補正: -

Fujifilm X-A5

APS-C AF digital mirrorless camera

Announced ⋅ 発表: January ⋅ 1月 2018
Mount ⋅ マウント: Fujifilm X
Format ⋅ フォーマット: 23.5 × 15.7mm - 1.53x
Resolution ⋅ 解像度: 6000 × 4000 - 24 MP
Sensor type ⋅ センサータイプ: CMOS
Image stabilizer ⋅ 手ぶれ補正: -

Fujifilm X-H1

APS-C AF digital mirrorless camera

Announced ⋅ 発表: February ⋅ 2月 2018
Mount ⋅ マウント: Fujifilm X
Format ⋅ フォーマット: 23.5 × 15.6mm - 1.53x
Resolution ⋅ 解像度: 6000 × 4000 - 24 MP
Sensor type ⋅ センサータイプ: X-Trans CMOS III
Image stabilizer ⋅ 手ぶれ補正: Yes ⋅ はい

Fujifilm X-T100

APS-C AF digital mirrorless camera

Announced ⋅ 発表: May ⋅ 5月 2018
Mount ⋅ マウント: Fujifilm X
Format ⋅ フォーマット: 23.5 × 15.7mm - 1.53x
Resolution ⋅ 解像度: 6000 × 4000 - 24 MP
Sensor type ⋅ センサータイプ: CMOS
Image stabilizer ⋅ 手ぶれ補正: -

Fujifilm X-T3

APS-C AF digital mirrorless camera

Announced ⋅ 発表: September ⋅ 9月 2018
Mount ⋅ マウント: Fujifilm X
Format ⋅ フォーマット: 23.5 × 15.6mm - 1.53x
Resolution ⋅ 解像度: 6240 × 4160 - 26 MP
Sensor type ⋅ センサータイプ: X-Trans CMOS IV
Image stabilizer ⋅ 手ぶれ補正: -

Fujifilm X-T30

APS-C AF digital mirrorless camera

Announced ⋅ 発表: February ⋅ 2月 2019
Mount ⋅ マウント: Fujifilm X
Format ⋅ フォーマット: 23.5 × 15.6mm - 1.53x
Resolution ⋅ 解像度: 6240 × 4160 - 26 MP
Sensor type ⋅ センサータイプ: X-Trans CMOS IV
Image stabilizer ⋅ 手ぶれ補正: -

Fujifilm X-A7

APS-C AF digital mirrorless camera

Announced ⋅ 発表: September ⋅ 9月 2019
Mount ⋅ マウント: Fujifilm X
Format ⋅ フォーマット: 23.5 × 15.7mm - 1.53x
Resolution ⋅ 解像度: 6000 × 4000 - 24 MP
Sensor type ⋅ センサータイプ: CMOS
Image stabilizer ⋅ 手ぶれ補正: -

Fujifilm X-Pro3

APS-C AF digital mirrorless camera

Announced ⋅ 発表: October ⋅ 10月 2019
Mount ⋅ マウント: Fujifilm X
Format ⋅ フォーマット: 23.5 × 15.6mm - 1.53x
Resolution ⋅ 解像度: 6240 × 4160 - 26 MP
Sensor type ⋅ センサータイプ: X-Trans CMOS IV
Image stabilizer ⋅ 手ぶれ補正: -

Fujifilm X-T200

APS-C AF digital mirrorless camera

Announced ⋅ 発表: January ⋅ 1月 2020
Mount ⋅ マウント: Fujifilm X
Format ⋅ フォーマット: 23.5 × 15.7mm - 1.53x
Resolution ⋅ 解像度: 6000 × 4000 - 24 MP
Sensor type ⋅ センサータイプ: CMOS
Image stabilizer ⋅ 手ぶれ補正: -

Fujifilm X-T4

APS-C AF digital mirrorless camera

Announced ⋅ 発表: February ⋅ 2月 2020
Mount ⋅ マウント: Fujifilm X
Format ⋅ フォーマット: 23.5 × 15.6mm - 1.53x
Resolution ⋅ 解像度: 6240 × 4160 - 26 MP
Sensor type ⋅ センサータイプ: X-Trans CMOS IV
Image stabilizer ⋅ 手ぶれ補正: Yes ⋅ はい

Fujifilm X-S10

APS-C AF digital mirrorless camera

Announced ⋅ 発表: October ⋅ 10月 2020
Mount ⋅ マウント: Fujifilm X
Format ⋅ フォーマット: 23.5 × 15.6mm - 1.53x
Resolution ⋅ 解像度: 6240 × 4160 - 26 MP
Sensor type ⋅ センサータイプ: X-Trans CMOS IV
Image stabilizer ⋅ 手ぶれ補正: Yes ⋅ はい

Fujifilm X-E4

APS-C AF digital mirrorless camera

Announced ⋅ 発表: January ⋅ 1月 2021
Mount ⋅ マウント: Fujifilm X
Format ⋅ フォーマット: 23.5 × 15.6mm - 1.53x
Resolution ⋅ 解像度: 6240 × 4160 - 26 MP
Sensor type ⋅ センサータイプ: X-Trans CMOS IV
Image stabilizer ⋅ 手ぶれ補正: -

Designed for ⋅ のために設計された

Click to expand or collapse section(s)

Specification ⋅ 仕様

Production status and name ⋅ 生産状況と名称
Announced ⋅ 発表: July ⋅ 7月 2021
Production status ⋅ 生産状況: In production ⋅ 生産中
Original name ⋅ 元の名前: VOIGTLÄNDER NOKTON 35mm F1.2
Optical design ⋅ 光学設計
Maximum format ⋅ 最大フォーマット: APS-C
Mount ⋅ マウント: Fujifilm X
Diagonal angle of view ⋅ 対角画角: 44.2° (Fujifilm X APS-C)
Lens construction ⋅ レンズ構造: 8 elements ⋅ 要素 - 6 groups ⋅ グループ
1 AD
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 ⋅ マニュアル
Number of blades ⋅ 絞り羽根の数: 12
Focusing ⋅ フォーカシング
Closest focusing distance ⋅ 最短撮影距離: 0.3m
Maximum magnification ratio ⋅ 最大倍率: 1:6.7 at the closest focusing distance ⋅ 最寄りの距離で
Focusing method ⋅ フォーカシング方法: <No information ⋅ 情報なし>
Focusing modes ⋅ フォーカシングモード: Manual focus only ⋅ マニュアルフォーカスのみ
Manual focus control ⋅ マニュアルフォーカス制御: Focusing ring ⋅ フォーカシングリング
Physical characteristics ⋅ 体格的特徴
Weight ⋅ 重量: 196g
Maximum diameter x Length ⋅ 最大直径x長さ: ⌀59.6×39.8mm
Weather sealing ⋅ ウェザーシーリング: -
Fluorine coating ⋅ フッ素コーティング: -
Accessories ⋅ 付属品
Filters ⋅ フィルタ: Screw-type ⋅ ネジ式 46mm
Lens hood ⋅ レンズフード: Screw-type ⋅ ネジ式 (round ⋅ ラウンド)
  • Toggle description in Japanese

    メーカーの説明

    NOKTON 35mm F1.2 Xマウントは、富士フイルムXマウント専用として設計された大口径標準レンズです。レンズ構成は、トラディショナルなダブルガウス型を採用。絞り位置を中心としてほぼ左右対象に配置された全レンズが球面で構成される“8枚玉”のスタイルで、F1.2の大口径を実現。コンパクトなサイズでありながら絞り開放でも安定した描写力を持ち、なめらかで大きなボケ味が楽しめます。

    特長

    ■ 富士フイルムXマウント専用設計

    富士フイルムXシステムカメラのイメージセンサーに最適化された光学系を実装。カメラの光学補正機能に依存することなく画像周辺部まで高い解像を保ち、色被りなどの現象も抑制されています。

    ■ 電子接点によるボディとの情報通信

    電子接点を搭載し、レンズとボディ間で信頼性の高い電気通信を実現。電気通信対応のボディと最新ファームウエアの組み合わせ(*1)によりExif情報、フォーカスチェック、撮影距離連動表示に加え、特定の機種ではボディ内手ブレ補正やパララックス補正にも対応します。

    ■ 確実なピント合わせが可能なマニュアルフォーカス

    高い精度で加工・調整された総金属製ヘリコイドユニットと、適度なトルクを生み出す高品質グリースの採用により、滑らかな操作感覚のフォーカシングを実現。微妙なピント調整を可能にしています。

    ■ 12枚の絞り羽根による美しいボケ味

    絞り羽根が形づくる孔を円形に近づけるため、12枚構成の絞りを採用。アウトフォーカス部が自然な描写で、点光源なども多角形ではなく丸くやわらかなボケとなります。

    ■ メカニカル直結操作の絞りリング

    絞りのメカニズムには、フォクトレンダーのVMマウントやミラーレスマウント用レンズと同様に、絞りリングが絞り羽根の開閉に直結した機構を採用。1/3ステップのクリック付きで、メカニズムをダイレクトに操作する手応えを味わえます。

    ■ 最短撮影距離0.3m

    レンズ全群繰り出し方式による最短撮影距離は0.3m。近接撮影効果で遠景の撮影時よりもさらに大きなボケ量が得られ、開放でのボケ味を活かした撮影の可能性が拡がります。

From the editor ⋅ 編集者から

Cosina's first lens designed for Fujifilm X-series mirrorless cameras. Optically it is based on the almost symmetrical modified double Gauss formula which helps to maintain high resolution across the frame. Optimization of the design for the APS-C format and the use of a fairly simple optical formula allowed for the development of a relatively lightweight and compact lens. In comparison, the 35/1.2 SE model designed for Sony 35mm full-frame mirrorless cameras weighs twice as much, uses 58mm filters instead of 46mm, and is 1.5 times longer.

Typical application ⋅ 典型的なアプリケーション

landscapes ⋅ 風景, interiors ⋅ インテリア, buildings ⋅ 建物, cityscapes ⋅ 都市の景観, portraits ⋅ 肖像画, street ⋅ 街, travel ⋅ トラベル

Lenses with similar focal length and speed

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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 fast standard primes

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

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You are already on the page dedicated to this lens.

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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.

SL series

Full-frame manual focus lenses developed for ambitious photographers and their wide diversity of applications: macro, landscape, architecture, portrait, journalism, fashion and beauty. Characterized by classic appearance and high optical performance.

SL II series

Full-frame manual focus lenses developed for ambitious photographers and their wide diversity of applications: macro, landscape, architecture, portrait, journalism, fashion and beauty. Characterized by classic appearance and high optical performance.

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.

Classic focal length

35mm is the classic focal length of moderate wide-angle lenses for 35mm full-frame cameras. Lenses with this focal length are often used as standard lenses, since they allow you to shoot almost the same wide range of scenes as lenses with focal lengths of 50-55mm, while providing a wider field of view. This is facilitated by the high speed, which is often not inferior to standard 50-55mm lenses, as well as, as a rule, compact size and low weight (at least for lenses intended for amateur photographers). In addition, lenses of this class have recently been equipped with optical image stabilization, making them a good choice for casual and travel photography. For comparison: almost all lenses with focal lengths of 50-55mm currently do not have an image stabilizer, although due to the need to use faster shutter speeds at these focal lengths, its presence in lenses of this class would be more justified than in the class of moderate wide-angle lenses.

The background blur provided by moderate wide-angle lenses is not as smooth and pleasing to the eye as with standard 50-55mm lenses, therefore, in the genre of portrait photography, they are usually used only for group portraits.

MF

Sorry, no additional information is available.

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.

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.

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.