Heinz Kilfitt Munchen [Tele-]Kilar 150mm F/3.5

Medium telephoto prime lens • Film era • Discontinued


Features highlight

I/C mount
16 blades


Production details:
Announced:<No data>
Production status: Discontinued
Original name:Heinz Kilfitt München Tele-Kilar 1:3.5 f=150mm
Heinz Kilfitt München Kilar 1:3.5 f=150mm C
Heinz Kilfitt München Kilar 1:3.5 f=150mm ○○○
Optical design:
Focal length:150mm
Maximum format:35mm full frame
Mount and Flange focal distance:Interchangeable mount
Diagonal angle of view:16.4° (35mm full frame)
Lens construction:3 elements
Diaphragm mechanism:
Diaphragm type:Preset
Aperture control:Preset ring + Aperture ring
Number of blades:16 (sixteen)
Closest focusing distance:1.5m
Maximum magnification:<No data>
Focusing modes:Manual focus only
Manual focus control:Focusing ring
Physical characteristics:
Maximum diameter x Length:⌀72×148mm
Weather sealing:-
Fluorine coating:-
Filters:Screw-type 52mm
Lens hood:Screw-type round
Teleconverters:<No data>
Sources of data:
1. Kilfitt lenses price list by Kling Photo (September 1963).
2. Kilfitt price-list and technical data (in German) (October 1961).

Manufacturer description

The large aperture of this popular long focus lens provides ample speed for color photography under all conditions in sports, press, and feature photography. Helical focusing mount. Threaded for use with 'kil' or 'tul' adapters, or reflex housings. Supplied complete with deep, screw-in lens shade, front and rear lens caps.

From the Popular Photography - ND magazine (April 1950)

It's many years now (almost ten) since long-range telephoto lenses have been available on demand to owners of precision miniature cameras like the Leica and Contax. In the recent past, an intriguing assortment of high-magnification lenses focused by mirror-reflex systems have been announced and introduced. It all began in mid-1948 when E. Leitz, Inc. announced the return of its Mirror Reflex Housing in an improved post-war version - at $157.50. (This is the interchangeable focusing and viewing element of the various Leitz "Telyt" lenses - the 200-mm f/4.5, the 400-mm f/5, and a brand-new f/6 800-mm job due to arrive here in the early part of 1950.)

The first actual break came in mid-December 1949 when Peerless Camera Stores of New York announced the arrival (from Germany) of their first shipment of Kilfitt-Kilar Telephoto Lenses for which they have exclusive U.S. importation rights. Equipped with a "prism reflex housing" for focusing and framing the photographic image, the Kilfitt-Kilar comes in two "Leica models" - a 150-mm, f/3.5 priced at $274.50 producing 3 times "normal" image size, and a 300-mm, f/5.6 (6 times "normal") at $314.50. With Contax bayonet-type adapters instead of Leica screw-in couplings, these lenses cost $40 more. Since one "prism reflex housing" may be used interchangeably with both lenses, the latter are available without housing too - at $125 for the 150-mm and $185 for the 300-mm. Early in 1949, we had the privilege of trying out a pair of Kilar telephoto lenses and found that they both produced critically sharp negatives of distant objects at full aperture. The early model had a lever-type system to raise the mirror of the reflex housing an instant before the tripping of the camera shutter - now replaced by a more efficient single-plunger cable release.

From the editor

According to the Kilfitt price-list and technical data (in German) (October 1961), the lens was available with interchangeable "kil-" adapters for the following cameras: Edixa-Reflex, Pentacon, Praktica, Alpa, Exakta, Exa, Rectaflex, Contarex, Nikon, Canon, Minolta, Miranda, Pentax, Topcon, Cine Reflex m. C-Gewinde, Camex Reflex, Nizo Reflex.

The lens was also available in a screw mount version for the Kilarscope (Kilfitt Reflex Housing for Leica rangefinder cameras). It could also be used on the Leica Visoflex I or II/IIa with the matching adapter (codewords "Cozwi" or "Kivis", respectively). The adapter for Arriflex cameras also existed.

The Kilfitt price list (September 1963) lists Alpa, Canonflex, Contax D, S, Contarex, Edixa Reflex, Exa, Exakta, Hexacon, Leica I-IIIg, Leica M2-M3, Minolta, Miranda, Nikon Reflex, Novoflex, Pentacon, Pentax, Praktica, Praktiflex, Praktina, Topcon, Arriflex CineKodak Special, C-mount cameras (reflex type). The lens could be mounted on these cameras by means of "DeLuxe" (codeword "kil-") adapters for general photography with slot for 2x2" gelatine filters in holder, built-in tripod socket, click stops for turning camera horizontal or vertical while on tripod.

The variable extension macro adapter (codeword "tul-") with an auxiliary helical focusing mount was also available for this lens. It reduced the closest focusing distance down to 0.7m for a reproduction ratio of 1:2.7. Like "kil-" adapters, the "tul-" ones also had slot for 2x2" gelatine filters in holder, built-in tripod socket, click stops for turning camera horizontal or vertical while on tripod.


With the dedicated adapter (codeword "kifis 2583"), the lens also accepted Series VII filters.


The Kilfitt price list (September 1963) indicates different weight: 14 oz. (=397g).

Lenses with similar focal length and speed

Sorted by manufacturer name

Notify of

Copy this code

and paste it here *

Inline Feedbacks
View all comments

Medium telephoto prime lens

Sorry, no additional information is available.

Copyright © 2012-2023 Evgenii Artemov. All rights reserved. Translation and/or reproduction of website materials in any form, including the Internet, is prohibited without the express written permission of the website owner.

35mm full frame

43.27 24 36
  • Dimensions: 36 × 24mm
  • Aspect ratio: 3:2
  • Diagonal: 43.27mm
  • Area: 864mm2


Sorry, no additional information is available.

Unable to follow the link

You are already on the page dedicated to this lens.

Cannot perform comparison

Cannot compare the lens to itself.

Image stabilizer

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

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

Original name

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


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 can also be different.

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

Lens construction

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

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

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

Focal length

The focal length is the factor that determines the size of the image reproduced on the focal plane, picture angle which covers the area of the subject to be photographed, depth of field, etc.


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 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/3.5 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.


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.


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.