HD Pentax-D FA 100mm F/2.8 ED AW Macro

Macro lens • Digital era

Abbreviations

HD Multi-layer High Definition coating is applied to the surfaces of lens elements. This anti-reflection coating increases light transmission, eliminates flare and ghosting, and maintains color consistence among all lens models.
D FA Autofocus lens which is optimized for Pentax digital SLR cameras but can be also used on Pentax film SLR cameras. Learn more
ED The lens incorporates low dispersion elements.
AW Dust-proof and water-resistant lens.
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. Learn more

Model history (6)

smc Pentax-A 100mm F/2.8 Macro1:1A7 - 70.31m⌀58 1985 
smc Pentax-F 100mm F/2.8 Macro1:1A9 - 80.31m⌀58 1987 
smc Pentax-FA 100mm F/2.8 Macro1:1A9 - 80.31m⌀58 1991 
smc Pentax-D FA 100mm F/2.8 Macro1:1
aka Schneider-Kreuznach D-Xenon 100mm F/2.8 Macro
A9 - 80.30m⌀49 2004 
smc Pentax-D FA 100mm F/2.8 Macro WR1:1A9 - 80.30m⌀49 2009 
HD Pentax-D FA 100mm F/2.8 ED AW Macro1:1A10 - 80.30m⌀49 2022 
HD Pentax-D FA 100mm F/2.8 ED AW Macro Silver (300 units)1:1 2022 

Features highlight

Fast
1
ED
2
AD
F.E.
Macro 1:1
Body AF
QFS
8 blades
DP/WR
SP
⌀49
filters
TC

Specification

Production details:
Announced:October 2022
Production status: In production
Original name:HD PENTAX-D FA MACRO 1:2.8 100mm ED AW
System:Pentax K (1975)
Optical design:
Focal length:100mm
Speed:F/2.8
Maximum format:35mm full frame
Mount and Flange focal distance:Pentax K [45.5mm]
Diagonal angle of view:24.4°
Lens construction:10 elements in 8 groups
1 ED, 2 AD
Floating element system
On Pentax K APS-C [1.53x] cameras:
35mm equivalent focal length:153mm (in terms of field of view)
35mm equivalent speed:F/4.3 (in terms of depth of field)
Diagonal angle of view:16.1°
Diaphragm mechanism:
Diaphragm type:Automatic
Aperture control:None; the aperture is controlled from the camera
Number of blades:8 (eight)
Focusing:
Closest focusing distance:0.303m
Closest working distance:0.13m
Magnification ratio:1:1 (life-size)
Focusing modes:Autofocus, manual focus
Autofocus motor:In-camera motor
Manual focus control:Focusing ring
Focus mode selector:None; focusing mode is set from the camera
Quick-Shift Focus System (QFS):Yes
Shake Reduction (SR):
Built-in SR:-
Physical characteristics:
Weight:348g
Maximum diameter x Length:⌀65×80.5mm
Weather sealing:Dust-proof and water-resistant barrel
Super Protect (SP) coating:Yes
Accessories:
Filters:Screw-type 49mm
Lens hood:PH-RBE49 - Bayonet-type round
Teleconverters:HD Pentax-DA 1.4X AF Rear Converter AW → 140mm F/3.9
Source of data:
Manufacturer's technical data.

Compared to the smc Pentax-D FA 100mm F/2.8 Macro WR

  • HD Pentax-D FA 100mm F/2.8 ED AW Macro
    • Advantages: 0
    • Disadvantages: 0
  • Manufacturer description

    PARSIPPANY, N.J., Oct. 19, 2022 /PRNewswire/ -- Ricoh Imaging Americas Corporation today announced the HD PENTAX-D FA MACRO 100mm F2.8ED AW lens—the first PENTAX macro lens to feature All Weather (AW) dustproof, weather-resistant construction. Incorporating a new optical design developed using the latest optical design technologies, the lens optimizes image resolution and contrast, even at open aperture, and delivers clear, high-quality images.

    When mounted on a dustproof, weather-resistant PENTAX digital SLR camera body, the new HD PENTAX-D FA MACRO 100mm F2.8ED AW lens creates a highly dependable, durable imaging system that performs superbly in demanding shooting conditions — such as snow, mist, rain, or in locations prone to splashing or spraying water.

    Despite the new optical design and AW construction, the new lens is nearly as compact as its predecessor (the smc PENTAX-D FA MACRO 100mm F2.8 WR). It features a new exterior design and incorporates the PENTAX-original Quick-Shift Focus System, enabling the photographer to instantly shift the focus mode from auto to manual after the subject has been captured in focus by the camera's autofocus system.

    In addition to the standard black model, the HD PENTAX-D FA MACRO 100mm F2.8ED AW lens will also be available in a special-edition silver model — limited to just 300 units worldwide.

    | Main features of the HD PENTAX-D FA MACRO 100mmF2.8ED AW |

    1. Exceptional imaging performance made possible by the latest optical design technologies

    The lens incorporates one ED (Extra-low Dispersion) glass optical element and two Anomalous Dispersion glass optical elements to compensate for various aberrations and minimize the generation of the unwanted purple fringe effect. This is coupled with the high-grade, multi-layer HD (High Definition) Coating, which significantly reduces average reflectance in the visible ray spectrum to less than 50% compared to conventional models, and the innovative FREE (Fixed Rear Element Extension) focusing system. All together, these technologies effectively reduce the generation of flare and ghost images over the entire focus range — from minimum focusing distance to infinity — and deliver clear, high-quality images. The lens also provides life-size magnification in close-range shooting to capture dramatic, fine-detailed close-up images.

    2. Dustproof, weather-resistant AW construction for exceptional outdoor shooting reliability

    Ready for adverse weather conditions, the lens features dustproof, weather-resistant AW (All Weather) construction for the first time in a PENTAX macro lens. This dependable construction prevents the intrusion of dust and moisture into the lens body, using six sealing parts to optimize airtight performance. When mounted on a dustproof, weather-resistant PENTAX digital SLR camera body, it creates a highly dependable, durable imaging system that performs superbly in demanding shooting conditions — such as snow, mist, rain, or in locations prone to splashing or spraying water.

    3. Exclusive exterior design and outstanding operability

    The lens has an attractive, stylish appearance, with metallic exterior parts meticulously machined from high-grade aluminum. Its focus ring features the PENTAX-original Quick-Shift Focus System, which allows the photographer to instantly shift the focus mode from auto to manual after the subject has been captured in focus by the camera's autofocus system. This single-action operation assures a smooth, comfortable focus-mode switching maneuver during manual-focus shooting for dramatically improved operability.

    4. Compact, lightweight design for superb maneuverability

    Despite the improved imaging power made possible by the new optical design and outstanding AW construction, the lens is nearly as compact and lightweight as the smc PENTAX-D FA MACRO 100mm F2.8 WR (launched in December 2009), with outstanding weight distribution, ergonomics and maneuverability.

    5. Other features

    • A working distance of 5.1 inches (13 centimeters), at life-size magnification, to facilitate the shooting of typically uncooperative subjects, such as insects
    • Individual serial number assigned to each lens: black model starts at 0000001, the silver model starts at 1000001
    • Circular diaphragm to produce a natural, beautiful bokeh (defocus) effect from open aperture to F5.6, while minimizing the streaking effect of point light sources
    • SP(Super Protect)Coating applied to the front optical element to keep the front surface free of dust or stains

    Pentax-D FA series

    The fifth generation of autofocus lenses designed for Pentax digital SLR cameras, but compatible with Pentax 35mm film SLR cameras. Introduced after the Pentax *ist D in 2004.

    • Lens barrels made from engineering plastic;
    • Weather-resistant designs;
    • Do not have an aperture ring. The aperture is controlled from the camera;
    • Automatic focusing using in-lens motor (except for macro lenses which rely on in-camera motor);
    • Quick-Shift Focus System with Pentax digital SLR cameras.

    Travellers' choice

    • Fast speed (F/2.8)
    • Lightweight (348g)
    • Dust-proof and water-resistant barrel
    • Super Protect (SP) coating

    From the editor

    Ricoh claims that the lens has a new optical design, however if you compare the optical formulas of the HD D FA 100/2.8 ED AW Macro (2022) and the smc D FA 100/2.8 WR Macro (2009), you will see that the new lens is actually based on the 2009 design where the second element was replaced with a doublet, plus one element became ED and the other two became AD elements to eliminate lateral chromatic aberration (so called purple fringing), a big problem with the 2009 design. It took Ricoh a whole 13 years to fix this.

    Having slightly changed the optical design, Ricoh decided not to change the mechanics: the lens still relies on the autofocus motor built into the camera, and there is still no focusing distance range limiter, which is somewhat disappointing, since the rotation angle of the focusing ring is about 270 degrees.

    What's more, the lens is exactly the same size as the 2009 model and accepts the same 49mm screw-type filters, as well as the lens hood PH-RBE49.

    For the Pentax system, the lens has excellent functionality, and using the camera's built-in motor for automatic focusing is not a significant drawback for a macro lens, since when shooting macro, experienced photographers still prefer to focus manually to get the desired result.

    For those who already have the smc D FA 100/2.8 WR Macro (2009), it makes sense to upgrade if the purple fringing really annoys you and you need more serious dust and moisture protection.

    Compared to other macro lenses in the Pentax K system

    Other macro lenses in the Pentax K system

    Sorted by focal length and speed, in ascending order

    Pentax K mount (9)
    smc Pentax-F 50mm F/2.8 Macro ⌀521:1 @ 0.195m 1988 Compare05
    smc Pentax-FA 50mm F/2.8 Macro ⌀521:1 @ 0.195m 1991 Compare05
    smc Pentax-D FA 50mm F/2.8 Macro ⌀491:1 @ 0.195m 2004 Compare22
    smc Pentax-FA 100mm F/3.5 Macro ⌀491:2 @ 0.43mPro 1998 Compare25
    smc Pentax-F 100mm F/2.8 Macro ⌀581:1 @ 0.306mPro 1987 Compare27
    smc Pentax-FA 100mm F/2.8 Macro ⌀581:1 @ 0.306mPro 1991 Compare27
    smc Pentax-D FA 100mm F/2.8 Macro ⌀491:1 @ 0.303m
    aka Schneider-Kreuznach D-Xenon 100mm F/2.8 Macro
    Pro 2004 Compare02
    smc Pentax-D FA 100mm F/2.8 Macro WR ⌀491:1 @ 0.303mPro 2009 Compare01
    smc Pentax-FA* 200mm F/4 ED [IF] Macro ⌀671:1 @ 0.5mPro 2000 Compare28

    Lenses with similar focal length

    Sorted by manufacturer name

    Pentax K mount (9)
    Cosina AF 100mm F/3.5 MC Macro ⌀491:2 @ 0.43m
    aka Phoenix AF 100mm F/3.5 Macro
    aka Promaster Spectrum 7 AF 100mm F/3.5 MC Macro
    aka Soligor AF 100mm F/3.5 MC Macro
    aka Tokina AF 100mm F/3.5 Macro
    aka Vivitar AF 100mm F/3.5 MC Macro
    aka Voigtlander Macro-Dynar AF 100mm F/3.5 VMC
    Pro Compare35
    Sigma 105mm F/2.8 EX DG OS HSM Macro ⌀621:1 @ 0.312mPro 2011 Compare24
    Sigma 105mm F/2.8 EX DG Macro ⌀581:1 @ 0.313mPro 2004 Compare17
    Sigma 105mm F/2.8 EX Macro ⌀581:1 @ 0.313mPro 1998 Compare17
    Tamron SP AF 90mm F/2.8 Di Macro 272E ⌀551:1 @ 0.29mPro 2004 Compare15
    Tamron SP AF 90mm F/2.8 Macro 172E ⌀551:1 @ 0.29mPro 2000 Compare17
    Tamron SP AF 90mm F/2.5 Macro 52E ⌀521:2 @ 0.39mPro 1990 Compare14
    Tamron SP AF 90mm F/2.8 Macro 72E ⌀551:1 @ 0.29mPro 1996 Compare16
    Tokina AT-X Macro AF 100mm F/2.8 [IF] ⌀551:2 @ 0.35mPro 1992 Compare06
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    Chromatic aberration

    There are two kinds of chromatic aberration: longitudinal and lateral. Longitudinal chromatic aberration is a variation in location of the image plane with changes in wave lengths. It produces the image point surrounded by different colors which result in a blurred image in black-and-white pictures. Lateral chromatic aberration is a variation in image size or magnification with wave length. This aberration does not appear at axial image points but toward the surrounding area, proportional to the distance from the center of the image field. Stopping down the lens has only a limited effect on these aberrations.

    Spherical aberration

    Spherical aberration is caused because the lens is round and the film or image sensor is flat. Light entering the edge of the lens is more severely refracted than light entering the center of the lens. This results in a blurred image, and also causes flare (non-image forming internal reflections). Stopping down the lens minimizes spherical aberration and flare, but introduces diffraction.

    Astigmatism

    Astigmatism in a lens causes a point in the subject to be reproduced as a line in the image. The effect becomes worse towards the corner of the image. Stopping down the lens has very little effect.

    Coma

    Coma in a lens causes a circular shape in the subject to be reproduced as an oval shape in the image. Stopping down the lens has almost no effect.

    Curvature of field

    Curvature of field is the inability of a lens to produce a flat image of a flat subject. The image is formed instead on a curved surface. If the center of the image is in focus, the edges are out of focus and vice versa. Stopping down the lens has a limited effect.

    Distortion

    Distortion is the inability of a lens to capture lines as straight across the entire image area. Barrel distortion causes straight lines at the edges of the frame to bow toward the center of the image, producing a barrel shape. Pincushion distortion causes straight lines at the edges of the frame to curve in toward the lens axis. Distortion, whether barrel or pincushion type, is caused by differences in magnification; stopping down the lens has no effect at all.

    The term "distortion" is also sometimes used instead of the term "aberration". In this case, other types of optical aberrations may also be meant, not necessarily geometric distortion.

    Diffraction

    Classically, light is thought of as always traveling in straight lines, but in reality, light waves tend to bend around nearby barriers, spreading out in the process. This phenomenon is known as diffraction and occurs when a light wave passes by a corner or through an opening. Diffraction plays a paramount role in limiting the resolving power of any lens.

    Doublet

    Doublet is a lens design comprised of two elements grouped together. Sometimes the two elements are cemented together, and other times they are separated by an air gap. Examples of this type of lens include achromatic close-up lenses.

    Dynamic range

    Dynamic range is the maximum range of tones, from darkest shadows to brightest highlights, that can be produced by a device or perceived in an image. Also called tonal range.

    Resolving power

    Resolving power is the ability of a lens, photographic emulsion or imaging sensor to distinguish fine detail. Resolving power is expressed in terms of lines per millimeter that are distinctly recorded in the final image.

    Vignetting

    Vignetting is the darkening of the corners of an image relative to the center of the image. There are three types of vignetting: optical, mechanical, and natural vignetting.

    Optical vignetting is caused by the physical dimensions of a multi-element lens. Rear elements are shaded by elements in front of them, which reduces the effective lens opening for off-axis incident light. The result is a gradual decrease of the light intensity towards the image periphery. Optical vignetting is sensitive to the aperture and can be completely cured by stopping down the lens. Two or three stops are usually sufficient.

    Mechanical vignetting occurs when light beams are partially blocked by external objects such as thick or stacked filters, secondary lenses, and improper lens hoods.

    Natural vignetting (also known as natural illumination falloff) is not due to the blocking of light rays. The falloff is approximated by the "cosine fourth" law of illumination falloff. Wide-angle rangefinder designs are particularly prone to natural vignetting. Stopping down the lens cannot cure it.

    Flare

    Bright shapes or lack of contrast caused when light is scattered by the surface of the lens or reflected off the interior surfaces of the lens barrel. This is most often seen when the lens is pointed toward the sun or another bright light source. Flare can be minimized by using anti-reflection coatings, light baffles, or a lens hood.

    Ghosting

    Glowing patches of light that appear in a photograph due to lens flare.

    Retrofocus design

    Design with negative lens group(s) positioned in front of the diaphragm and positive lens group(s) positioned at the rear of the diaphragm. This provides a short focal length with a long back focus or lens-to-film distance, allowing for movement of the reflex mirror in SLR cameras. Sometimes called an inverted telephoto lens.

    Anastigmat

    A photographic lens completely corrected for the three main optical aberrations: spherical aberration, coma, and astigmatism.

    By the mid-20th century, the vast majority of lenses were close to being anastigmatic, so most manufacturers stopped including this characteristic in lens names and/or descriptions and focused on advertising other features (anti-reflection coating, for example).

    Rectilinear design

    Design that does not introduce significant distortion, especially ultra-wide angle lenses that preserve straight lines and do not curve them (unlike a fisheye lens, for instance).

    Focus shift

    A change in the position of the plane of optimal focus, generally due to a change in focal length when using a zoom lens, and in some lenses, with a change in aperture.

    Transmittance

    The amount of light that passes through a lens without being either absorbed by the glass or being reflected by glass/air surfaces.

    Modulation Transfer Function (MTF)

    When optical designers attempt to compare the performance of optical systems, a commonly used measure is the modulation transfer function (MTF).

    The components of MTF are:

    The MTF of a lens is a measurement of its ability to transfer contrast at a particular resolution from the object to the image. In other words, MTF is a way to incorporate resolution and contrast into a single specification.

    Knowing the MTF curves of each photographic lens and camera sensor within a system allows a designer to make the appropriate selection when optimizing for a particular resolution.

    Veiling glare

    Lens flare that causes loss of contrast over part or all of the image.

    Anti-reflection coating

    When light enters or exits an uncoated lens approximately 5% of the light is reflected back at each lens-air boundary due to the difference in refractive index. This reflected light causes flare and ghosting, which results in deterioration of image quality. To counter this, a vapor-deposited coating that reduces light reflection is applied to the lens surface. Early coatings consisted of a single thin film with the correct refractive index differences to cancel out reflections. Multi-layer coatings, introduced in the early 1970s, are made up of several such films.

    Benefits of anti-reflection coating:

    Circular fisheye

    Produces a 180° angle of view in all directions (horizontal, vertical and diagonal).

    The image circle of the lens is inscribed in the image frame.

    Diagonal (full-frame) fisheye

    Covers the entire image frame. For this reason diagonal fisheye lenses are often called full-frame fisheyes.

    Extension ring

    Extension rings can be used singly or in combination to vary the reproduction ratio of lenses. They are mounted between the camera body and the lens. As a rule, the effect becomes stronger the shorter the focal length of the lens in use, and the longer the focal length of the extension ring.

    View camera

    A large-format camera with a ground-glass viewfinder at the image plane for viewing and focusing. The photographer must stick his head under a cloth hood in order to see the image projected on the ground glass. Because of their 4x5-inch (or larger) negatives, these cameras can produce extremely high-quality results. View cameras also usually support movements.

    135 cartridge-loaded film

    43.27 24 36
    • Introduced: 1934
    • Frame size: 36 × 24mm
    • Aspect ratio: 3:2
    • Diagonal: 43.27mm
    • Area: 864mm2
    • Double perforated
    • 8 perforations per frame

    120 roll film

    71.22 44 56
    • Introduced: 1901
    • Frame size: 56 × 44mm
    • Aspect ratio: 11:14
    • Diagonal: 71.22mm
    • Area: 2464mm2
    • Unperforated

    120 roll film

    79.2 56 56
    • Introduced: 1901
    • Frame size: 56 × 56mm
    • Aspect ratio: 1:1
    • Diagonal: 79.2mm
    • Area: 3136mm2
    • Unperforated

    120 roll film

    89.64 56 70
    • Introduced: 1901
    • Frame size: 70 × 56mm
    • Aspect ratio: 5:4
    • Diagonal: 89.64mm
    • Area: 3920mm2
    • Unperforated

    220 roll film

    71.22 44 56
    • Introduced: 1965
    • Frame size: 56 × 44mm
    • Aspect ratio: 11:14
    • Diagonal: 71.22mm
    • Area: 2464mm2
    • Unperforated
    • Double the length of 120 roll film

    220 roll film

    79.2 56 56
    • Introduced: 1965
    • Frame size: 56 × 56mm
    • Aspect ratio: 1:1
    • Diagonal: 79.2mm
    • Area: 3136mm2
    • Unperforated
    • Double the length of 120 roll film

    220 roll film

    89.64 56 70
    • Introduced: 1965
    • Frame size: 70 × 56mm
    • Aspect ratio: 5:4
    • Diagonal: 89.64mm
    • Area: 3920mm2
    • Unperforated
    • Double the length of 120 roll film

    Shutter speed ring with "F" setting

    The "F" setting disengages the leaf shutter and is set when using only the focal plane shutter in the camera body.

    Catch for disengaging cross-coupling

    The shutter and diaphragm settings are cross-coupled so that the diaphragm opens to a corresponding degree when faster shutter speeds are selected. The cross-coupling can be disengaged at the press of a catch.

    Cross-coupling button

    With the cross-coupling button depressed speed/aperture combinations can be altered without changing the Exposure Value setting.

    M & X sync

    The shutter is fully synchronized for M- and X-settings so that you can work with flash at all shutter speeds.

    In M-sync, the shutter closes the flash-firing circuit slightly before it is fully open to catch the flash at maximum intensity. The M-setting is used for Class M flash bulbs.

    In X-sync, the flash takes place when the shutter is fully opened. The X-setting is used for electronic flash.

    X sync

    The shutter is fully synchronized for X-setting so that you can work with flash at all shutter speeds.

    In X-sync, the flash takes place when the shutter is fully opened. The X-setting is used for electronic flash.

    In-camera motor

    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.

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    You are already on the page dedicated to this lens.

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    Cannot compare the lens to itself.

    Image stabilizer

    A technology used for reducing or even eliminating the effects of camera shake. Gyro sensors inside the lens detect camera shake and pass the data to a microcomputer. Then an image stabilization group of elements controlled by the microcomputer moves inside the lens and compensates camera shake in order to keep the image static on the imaging sensor or film.

    The technology allows to increase the shutter speed by several stops and shoot handheld in such lighting conditions and at such focal lengths where without image stabilizer you have to use tripod, decrease the shutter speed and/or increase the ISO setting which can lead to blurry and noisy images.

    Original name

    Lens name as indicated on the lens barrel (usually on the front ring). With lenses from film era, may vary slightly from batch to batch.

    Format

    Format refers to the shape and size of film or image sensor.

    35mm is the common name of the 36x24mm film format or image sensor format. It has an aspect ratio of 3:2, and a diagonal measurement of approximately 43mm. The name originates with the total width of the 135 film which was the primary medium of the format prior to the invention of the full frame digital SLR. Historically the 35mm format was sometimes called small format to distinguish it from the medium and large formats.

    APS-C is an image sensor format approximately equivalent in size to the film negatives of 25.1x16.7mm with an aspect ratio of 3:2.

    Medium format is a film format or image sensor format larger than 36x24mm (35mm) but smaller than 4x5in (large format).

    Angle of view

    Angle of view describes the angular extent of a given scene that is imaged by a camera. It is used interchangeably with the more general term field of view.

    As the focal length changes, the angle of view also changes. The shorter the focal length (eg 18mm), the wider the angle of view. Conversely, the longer the focal length (eg 55mm), the smaller the angle of view.

    A camera's angle of view depends not only on the lens, but also on the sensor. Imaging sensors are sometimes smaller than 35mm film frame, and this causes the lens to have a narrower angle of view than with 35mm film, by a certain factor for each sensor (called the crop factor).

    This website does not use the angles of view provided by lens manufacturers, but calculates them automatically by the following formula: 114.6 * arctan (21.622 / CF * FL),

    where:

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

    Mount

    A lens mount is an interface — mechanical and often also electrical — between a camera body and a lens.

    A lens mount may be a screw-threaded type, a bayonet-type, or a breech-lock type. Modern camera lens mounts are of the bayonet type, because the bayonet mechanism precisely aligns mechanical and electrical features between lens and body, unlike screw-threaded mounts.

    Lens mounts of competing manufacturers (Canon, Leica, Nikon, Pentax, Sony etc.) are always incompatible. In addition to the mechanical and electrical interface variations, the flange focal distance (distance from the mechanical rear end surface of the lens mount to the focal plane) is also 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.

    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.

    Floating element system

    Provides correction of aberrations and ensures constantly high image quality at the entire range of focusing distances from infinity down to the closest focusing distance. It is particularly effective for the correction of field curvature that tends to occur with large-aperture, wide-angle lenses when shooting at close ranges.

    The basic mechanism of the floating element system is also incorporated into the internal and rear focusing methods.

    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/2.8 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 lens element 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.