Kenko 400mm F/8 Mirror MC N II

Super telephoto prime lens • Digital era

MC The multi-layer coating is applied to the surface of lens elements. It boosts light transmission, ensures sharp and high contrast images, minimizes ghosting and flares.
II Second generation.

Model history

Kenko 400mm F/8 Mirror MC N II [T]--6 - 21.15m⌀67 2017 
Kenko 400mm F/8 Mirror MC [T]--6 - 21.15m⌀67 2012 

Features highlight

CFD 1.15m


Production details
Announced:September 2017
Production status: In production
Production type:<No information>
Original name:<No information>
Optical design
Focal length:400mm
Maximum format:35mm full frame
Mount:Interchangeable mount (T)
Diagonal angle of view:6.2° (35mm full frame)
Lens construction:6 elements - 2 groups
Diaphragm mechanism
Diaphragm type:Fixed
Number of blades:-
Closest focusing distance:1.15m
Maximum magnification ratio:1:2.5 at the closest focusing distance
Focusing method:<No information>
Focusing modes:Manual focus only
Manual focus control:Focusing ring
Physical characteristics
Maximum diameter x Length:⌀74×82mm
Weather sealing:-
Fluorine coating:-
Filters:Screw-type 67mm
Screw-type 30.5mm (rear)
Lens hood:Screw-type KMH-671 (round)
Teleconverters:<No information>

*) Source of data: Manufacturer's technical data.

Manufacturer description

The Kenko Mirror Lens 400mm F8 N II mirror super tele lens is extremely compact and lightweight. Ideal for those who prefer active shooting scenarios, this lens is a useful and practical addition to any photographer's kit bag which may already include sub super telephoto lenses, together with prime lenses.

Kenko Mirror Lens 400mm F8 N II already represents a recommended choice when shooting birds, animals, aereal objects, flora and more.

But that's not all. Its unique 1:2.5 magnification makes this lens suitable for macro photography as well. And its peculiar shape performs an appealing "donut" bokeh, to give photos a more creative and unique flavor.

The field of view of Kenko Mirror Lens 400mm F8 N II is 6°8' and the minimum focusing distance is 1.15m, giving a 1:2.5 magnification and making it possible to shoot and capture an object of 6x9cm in size on a full frame. That is why this lens is perfectly suitable for macro shooting!

With these specifications, Kenko Mirror Lens 400mm lens becomes in practice a tele lens also suitable for macro photography!

With tele photo lenses it's usually easier to get a blurred background. Due to its optical design, which is built around a central void and includes a second mirror on the front part, the blurring effect this Kenko tele photo lens performs is made unique by a peculiar donut-shape bokeh.

Kenko Mirror Lens 400mm F8 N II weights approx. 500g and measures approx. 74x82mm.

Despite being a tele lens, such measurements make it easy to carry in a small bag – or even a pocket – and have it always at hand.

Such an incredibly small tele lens widen up the number of shooting situations in which this lens will be your best ally.

Peek into flora and fauna world. And get closer without being noticed, for more natural, extemporaneous and barrier free photos of animals.

Reach far away objects. From airplanes, up to the Moon!

Enjoy "lens compression". And enrich your snap shots with an enchanting atmosphere.

Compared to other brands similar models of mirror tele lenses, Kenko Mirror Lens 400mm F8 N II has the additional advantage of a T mount, meaning it can be used with different camera bodies and with up to 9 different mounts by simply interposing a T-mount adapter*.

T-mount adapter is used to attach MILTOL lens to the DSLR camera. Choose appropriate adapter according to your camera mount.

Kenko Mirror Lens 400mm F8 N II can focus manually through a wide, excellent-in-grip focus ring incorporated in the lens body. The focus ring rotation is very smooth and its range reaches 270 degrees, going smoothly from "near" to "far" even in low temperature environments.

No "sucking sound" is detected when rotating the focus ring, meaning there is no chance for dust particles to be sucked into the lens.

Despite being only manual, its combination with cameras with built-in vibration reduction or image stabilization functions assures easy, accurate and satisfying focusing in every shooting situation.

The F8 fixed aperture of this lens frees you from worrying about aperture adjustments.

Kenko Mirror Lens 400mm F8 N II can be used with 67mm size filters.

The thread on the lens also allows attaching its dedicated hood*, a fundamental accessory to shade the lens from unwanted light rays during the whole shooting session, thus preventing ghosts and flares to appear on your final image.

Moreover, the hood itself allows attaching and using 77mm size filters.

Typical application

distant subjects, distant landscapes with perspective compression effect, wild nature, travel

Lenses with similar focal length and speed

Sorted by manufacturer name

Kenko 400mm F/8 Mirror MC [T] ⌀67 2012 
Tokina SZX 400mm F/8 Reflex MF [T] ⌀67 2020 

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35mm full frame

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

Travellers' choice


Among autofocus lenses designed for 35mm full-frame mirrorless cameras only. Speed of standard and telephoto lenses is taken into account.

One of the best slow super telephoto primes

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

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Mirror/Reflex lens

A lens based on design principles used in large astronomical telescopes. It is a combination of mirror and lens elements. Incoming light is reflected twice on the mirror surfaces, resulting in compactness of the lens barrel and light weight relative to the focal length.

To adjust image brightness, neutral density or other filters are used, because lenses of this type are not equipped with diaphragms.

Sharpness of the focused image is unsurpassed because of the use of reflecting surfaces which do not cause any chromatic aberration.

Taken with this type of lens, the subjects in the out-of-focus range may appear as blurred rings or separate blurred lines.

Image stabilizer

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

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


Sorry, no additional information is available.

Original name

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


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

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

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

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

Angle of view

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

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

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

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


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


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

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

Lens mounts of competing manufacturers (Canon, Nikon, Pentax, Sony etc.) are always incompatible. In addition to the mechanical and electrical interface variations, the flange focal distance from the lens mount to the film or sensor can also be different.

Lens construction

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

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

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

Flange focal distance

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

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".

Electromagnetic diaphragm control system

Provides highly accurate diaphragm control and stable auto exposure performance during continuous shooting.

Fixed diaphragm

The aperture setting is fixed at F/8 on this lens, and cannot be adjusted.

Manual diaphragm

The diaphragm must be stopped down manually by rotating the detent aperture ring.

Preset diaphragm

The lens has two rings, one is for pre-setting, while the other is for normal diaphragm adjustment. The first ring must be set at the desired aperture, the second ring then should be fully opened for focusing, and turned back for stop down to the pre-set value.

Semi-automatic diaphragm

The lens features spring mechanism in the diaphragm, triggered by the shutter release, which stops down the diaphragm to the pre-set value. The spring needs to be reset manually after each exposure to re-open diaphragm to its maximum value.

Automatic diaphragm

The camera automatically closes the diaphragm down during the shutter operation. On completion of the exposure, the diaphragm re-opens to its maximum value.

Number of blades

As a general rule, the more blades that are used to create the aperture opening in the lens, the rounder the out-of-focus highlights will be.

Some lenses are designed with curved diaphragm blades, so the roundness of the aperture comes not from the number of blades, but from their shape. However, the fewer blades the diaphragm has, the more difficult it is to form a circle, regardless of rounded edges.

At maximum aperture, the opening will be circular regardless of the number of blades.


Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

Maximum diameter x Length

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

For lenses with collapsible design, the length is indicated for the working (retracted) state.

Weather sealing

A rubber material which is inserted in between each externally exposed part (manual focus and zoom rings, buttons, switch panels etc.) to ensure it is properly sealed against dust and moisture.

Lenses that accept front mounted filters typically do not have gaskets behind the filter mount. It is recommended to use a filter for complete weather resistance when desired.

Fluorine coating

Helps keep lenses clean by reducing the possibility of dust and dirt adhering to the lens and by facilitating cleaning should the need arise. Applied to the outer surface of the front and/or rear lens elements over multi-coatings.


Lens filters are accessories that can protect lenses from dirt and damage, enhance colors, minimize glare and reflections, and add creative effects to images.

Lens hood

A lens hood or lens shade is a device used on the end of a lens to block the sun or other light source in order to prevent glare and lens flare. Flare occurs when stray light strikes the front element of a lens and then bounces around within the lens. This stray light often comes from very bright light sources, such as the sun, bright studio lights, or a bright white background.

The geometry of the lens hood can vary from a plain cylindrical or conical section to a more complex shape, sometimes called a petal, tulip, or flower hood. This allows the lens hood to block stray light with the higher portions of the lens hood, while allowing more light into the corners of the image through the lowered portions of the hood.

Lens hoods are more prominent in long focus lenses because they have a smaller viewing angle than that of wide-angle lenses. For wide angle lenses, the length of the hood cannot be as long as those for telephoto lenses, as a longer hood would enter the wider field of view of the lens.

Lens hoods are often designed to fit onto the matching lens facing either forward, for normal use, or backwards, so that the hood may be stored with the lens without occupying much additional space. In addition, lens hoods can offer some degree of physical protection for the lens due to the hood extending farther than the lens itself.


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.