Irix 15mm F/2.4

Ultra-wide angle prime lens • Digital era

Sample photos

F/9
F/2.4
F/6.3
F/11
F/8
F/8
F/10
F/8
F/2.8
F/11
F/2.5
F/4
F/2.5
F/???
F/9
F/6.3
F/7.1
F/5.6
F/2.5
F/11
F/11
F/11

Features highlight

Extreme AoV
Fast
2
ASPH
2
ED
3
HR
MF
Auto
9 blades
DP/WR
⌀95
filters
Gelatin filters

Specification

Production details:
Announced:March 2016
Production status: In production
Original name:15 irix f/2.4
System:-
Optical design:
Focal length:15mm
Speed:F/2.4
Maximum format:35mm full frame
Mount and Flange focal distance:Canon EF [44mm]
Nikon F [46.5mm]
Pentax K [45.5mm]
Diagonal angle of view:110.5°
Lens construction:15 elements in 11 groups
2 ASPH, 2 ED, 3 HR
On Canon EOS APS-C [1.59x] cameras:
35mm equivalent focal length:23.9mm (in terms of field of view)
35mm equivalent speed:F/3.8 (in terms of depth of field)
Diagonal angle of view:84.4°
On Nikon D APS-C [1.53x] cameras:
35mm equivalent focal length:23mm (in terms of field of view)
35mm equivalent speed:F/3.7 (in terms of depth of field)
Diagonal angle of view:86.6°
On Pentax K APS-C [1.53x] cameras:
35mm equivalent focal length:23mm (in terms of field of view)
35mm equivalent speed:F/3.7 (in terms of depth of field)
Diagonal angle of view:86.6°
Diaphragm mechanism:
Diaphragm type:Automatic
Aperture control:None; the aperture is controlled from the camera
Number of blades:9 (nine)
Focusing:
Closest focusing distance:0.25m
Magnification ratio:<No data>
Focusing modes:Manual focus only
Manual focus control:Focusing ring
Physical characteristics:
Weight:568g (Canon EF)
546g (Nikon F)
555g (Pentax K)
Maximum diameter x Length:⌀114×100mm (Canon EF)
⌀114×100mm (Nikon F)
⌀114×100mm (Pentax K)
Weather sealing:Dust-proof and water-resistant barrel
Fluorine coating:-
Accessories:
Filters:Screw-type 95mm
Additional features:Rear gelatin filter holder
Lens hood:ILH-15A - Bayonet-type petal-shaped, with filter access window
Teleconverters:Not available
Source of data:
Manufacturer's technical data.

Manufacturer description #1

The new special features such as focus lock, infinity click and hyperfocal scale set a new level of manual focus lens functionality. Thanks to sophisticated optical construction and special neutrino coating, colour aberration, ghosting and flare effects have been reduced to the absolute minimum. With a minimum focusing distance of 0.28 metre (0.92 ft) and 9 rounded shaped aperture blades, the lens stands for supremely smooth out-of-focus areas. The design of the lens allows the use of 95 mm screw-in filters at the front and square gelatin filters at the back of the lens.

Firefly is the standard version equipped with three rubber seals that protect camera mount and focusing mechanism against dust, moisture and accidental water splashes. Ergonomic focusing ring with rubber grip offers the freedom to operate with the camera. It is the most lightweight lens in its class.

Blackstone, the Premium version has durable body made with aluminium-magnesium alloy, that ensures foolproof protection of your lens, even in extreme situations. Its construction is equipped with four rubber seals, that protect the camera mount and focusing mechanism against the dust and moisture, as well as front or side accidental water splashes. Engraved fluorescent markings enable easy read-out and operation in low light conditions.

LENS-DB: The closest focusing distance is 0.25m, not 0.28, as Irix claims. This can be easily verified by looking at the focusing distance scale on the lens barrel.

Manufacturer description #2

It doesn’t matter if you are a professional photographer looking for a lens for your next job, or an amateur looking to expand your focal range – the Irix 15mm f/2.4 is a right choice for every landscape photographer!

The Irix 15mm f/2.4 lens is an ultra wide-angle lens created for your full frame (35mm) camera, available in Nikon F, Canon EF, and Pentax K mounts.

This lens will allow you to open up to a completely new type of photography – thanks to the 110-degree field of view you will be able to capture eye-catching images, and the excellent optical properties will make the image sharp and full of details.

Creativity, ideas, and effort put into a photograph would be nothing without the right lens. Thanks to many years of experience in optical design, Irix lenses are characterized by their excellent resolution and minimal distortion (2%) and almost no vignetting. The Irix 15mm f/2.4 lens consists of as many as 15 elements arranged in 11 groups: 4 refractive elements, 2 ED elements and 2 aspherical elements. The focusing distance is only 28cm which, in combination with the f/2.4 light and 9 rounded aperture blades, make the lens stand out with extremely smooth bokeh with an amazing perspective.

You compose the frame – we will take care of the rest!

It doesn’t matter if you’re traversing the hot sands of the Sahara or the frigid expanse of Antarctica – Irix lenses never back down from any challenge.

The sealing system has been designed to protect the inside of the lens from moisture, dust, and sand. Equally important, the lens does not change its dimensions during focus pulling, eliminating the risk of dirt particles getting swept into the internal structure. These properties not only allow you to work in demanding conditions, but also guarantee the cleanliness of the camera’s mirror chamber sensor.

The Irix 15mm f/2.4 comes in two verisons: Firefly and Blackstone.

Firefly – Lightweight composite construction, with an embossed rubber focus ring, allowing for smooth and precise focusing. Included with the lens is a soft pouch.

Blackstone – Reinforced full-metal construction. All lens markings are engraved and filled with a UV-reactive paint enabling easy focusing in dark enviornments. Included with the lens is a hard case.

The Irix 15mm f/2.4 lens has a module that allows you to control the lens’ iris directly from the camera, thanks to which popular semi-automatic modes (PASM) and data recording in EXIF format are available.

The use of electronics also enable the lens to be equipped with a focus confirmation system – the camera will announce the correct focus setting (either in the form of an icon in the viewfinder or with a sound), every time you set the focus correctly – it’s easy and convenient!

It’s worth noting that Irix lenses have the appropriate correction profiles that are pre-loaded and readable by software (such as Adobe Lightroom and Adobe Photoshop), that will make your shooting experience even more enjoyable.

Additional Features

  • Click at infinity – enables precise, easy, and quick focusing. During focusing, you will feel the exact moment when your lens sets to infinity, which is extremely useful when shooting in difficult lighting conditions (i.e. at night).
  • Focus Lock – allows you to lock the focus ring in a specific position, which is extremely beneficial when you want to keep a specific focus plane i.e. in astrophotography, or when using the hyperfocal scale.
  • 95mm front filter thread – allows you to use screw-in filters such as Irix Edge UV & Protector, Irix Edge Circular Polarizer, Irix Edge ND, and Irix Edge Light Pollution filter and others.
  • Compatible with Irix Edge IFH-100 Filter Holder – allows you to expand your creativity thanks to Gradual Neutral Density filters with different gradients: Soft, Hard and Reverse
  • Rear Gel filter slot – allows the use of Neutral Grey filters mounted on the rear of the lens, which is a unique feature of the Irix 15mm f/2.4 and Irix 11mm f/4.0 lenses.
  • Circular Polariser Adjustment Window – the lens hood is equipped with a sliding window, allowing you to freely rotate the polarizing filter without the risk of getting dirty.
  • Focus Calibration window – due to the specifics of focus detection in DSLR cameras based on phase detection, it may sometimes happen that the lens needs to sync with the camera. Thanks to this special opening, you can easily calibrate the lens at home using basic tools within 5 minutes. Fast, simple and effective!

Night photography is not only interesting but also highly rewarding – it allows you to easily create eye-catching images, if you have the right lens. The Irix 15mm f/2.4 is an irreplaceable tool for any astrophotographer – its fast aperture of f/2.4, combined with a short focal length allows you to capture spectacular shots of the night sky and the Milky Way.

The night is yours!

The Irix 15mm f/2.4 is available in Nikon F, Canon EF, and Pentax K mounts.

LENS-DB: Irix says the optical design includes "4 refractive elements", however the image provided by Irix shows only 3 (three).

Travellers' choice

  • Fast speed (F/2.4)
  • Lightweight (546g)
  • Dust-proof and water-resistant barrel

From the editor

The weight is indicated for the Firefly version. The Blackstone version weighs 647g (Canon EF) / 619g (Nikon F) / 635g (Pentax K).

Notes

  • 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.

Lenses with similar focal length

Sorted by manufacturer name

Nikon F mount (20)
Cosina Voigtlander Super Wide-Heliar 15mm F/4.5 Aspherical SLPancake lensM8 - 60.30m-- 2003 
Nikon AI-S Nikkor 15mm F/3.5A14 - 110.30m-- 1981 
Nikon AI-S Nikkor 13mm F/5.6A16 - 120.30m-- 1982 
Nikon Nikkor 13mm F/5.6A16 - 120.30m-- 1975 
Nikon AI Nikkor 13mm F/5.6A16 - 120.30m-- 1977 
Nikon Nikkor-QD[·C] Auto 15mm F/5.6A14 - 120.30m-- 1970 
Nikon Nikkor 15mm F/5.6A14 - 120.30m-- 1976 
Nikon AI Nikkor 15mm F/5.6A14 - 120.30m-- 1977 
Nikon AI Nikkor 15mm F/3.5A14 - 110.30m-- 1978 
Norita Kogaku Noritar 17mm F/4A11 - 100.30m⌀72 1972 
Samyang XP 14mm F/2.4
aka Rokinon SP 14mm F/2.4
A18 - 140.28m-- 2016 
Sigma MF 14mm F/3.5 ZEN Type 1A13 - 110.18m-- 1990 
Sigma MF 14mm F/3.5 ZEN Type 2A13 - 110.18m-- 1992 
Soligor Wide-Auto 17mm F/3.5 [MC] (s/n 1xxxxxxx)A11 - 80.22m⌀72
RMC Tokina 17mm F/3.5 Type 2
aka Spiratone 17mm F/3.5 Pluracoat
aka Tokina SL 17mm F/3.5
A11 - 90.25m⌀67 1980 
RMC Tokina 17mm F/3.5 Wide-Auto Type 1A11 - 80.22m⌀72
Vivitar 17mm F/3.5 Auto (s/n 37xxxxxx)A11 - 80.22m⌀72 1976 
Vivitar 17mm F/3.5 MC (s/n 37xxxxxx)A11 - 90.25m⌀67
Carl Zeiss Classic Distagon T* 15mm F/2.8 ZE / ZF.2A15 - 120.25mE95 2012 
ZEISS Milvus Distagon T* 15mm F/2.8 ZE / ZF.2A15 - 120.25mE95 2016 
Pentax K mount (9)
smc Pentax-A 15mm F/3.5A13 - 120.30m-- 1984 
smc Pentax 15mm F/3.5A13 - 120.30m-- 1975 
Sigma MF 14mm F/3.5 ZEN Type 1A13 - 110.18m-- 1990 
Sigma MF 14mm F/3.5 ZEN Type 2A13 - 110.18m-- 1992 
Soligor Wide-Auto 17mm F/3.5 [MC] (s/n 1xxxxxxx)A11 - 80.22m⌀72
RMC Tokina 17mm F/3.5 Type 2
aka Spiratone 17mm F/3.5 Pluracoat
aka Tokina SL 17mm F/3.5
A11 - 90.25m⌀67 1980 
RMC Tokina 17mm F/3.5 Wide-Auto Type 1A11 - 80.22m⌀72
Vivitar 17mm F/3.5 Auto (s/n 37xxxxxx)A11 - 80.22m⌀72 1976 
Vivitar 17mm F/3.5 MC (s/n 37xxxxxx)A11 - 90.25m⌀67
Canon EF mount (5)
Samyang 14mm F/2.8 IF ED Aspherical UMC
aka Bower 14mm F/2.8 IF ED Aspherical UMC
aka Rokinon 14mm F/2.8 IF ED Aspherical UMC
aka Vivitar Series 1 14mm F/2.8 IF ED Aspherical UMC
aka Walimex Pro 14mm F/2.8 IF ED Aspherical UMC
M14 - 120.28m-- 2010 
Samyang XP 14mm F/2.4
aka Rokinon SP 14mm F/2.4
A18 - 140.28m-- 2016 
Samyang 14mm F/2.8 MK2
aka Rokinon 14mm F/2.8 MK2
M14 - 100.28m-- 2020 
Carl Zeiss Classic Distagon T* 15mm F/2.8 ZE / ZF.2A15 - 120.25mE95 2012 
ZEISS Milvus Distagon T* 15mm F/2.8 ZE / ZF.2A15 - 120.25mE95 2016 
Canon EF mount (1) • APS-C
Samyang 16mm F/2 CS ED AS UMC
aka Bower 16mm F/2 CS ED AS UMC
aka Rokinon 16mm F/2 CS ED AS UMC
aka Walimex Pro 16mm F/2 CS ED AS UMC
M13 - 110.20m⌀77 2013 
Interchangeable mount (2)
Tamron SP 17mm F/3.5 51B [Adaptall-2]A12 - 100.25m-- 1979 
Tamron SP 17mm F/3.5 151B [Adaptall-2]A12 - 100.25m-- 1984 
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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.

MF

Sorry, no additional information is available.

MF

Sorry, no additional information is available.

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.

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

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.

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 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/2.4 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.