|■Leitz Canada ELMAR 65mm F/3.5 Type 1 [Visoflex]||P||4 - 3||E41||1960 ●|
|■Leitz Wetzlar ELMAR 65mm F/3.5 Type 2 [Visoflex]||P||4 - 3||1970 ●|
■ Production details
|Production status:||● Discontinued|
|Order No.:||OCMOR / 11062 - silver chrome|
|Original name:||LEITZ CANADA ELMAR 1:3.5/65|
|System:||Leica SM (1930)|
■ Optical design
|Maximum format:||35mm full frame|
|Mount and Flange focal distance:||Leica Visoflex|
|Diagonal angle of view:||36.8°|
|Lens construction:||4 elements in 3 groups|
■ Diaphragm mechanism
|Aperture control:||Preset ring + Aperture ring|
|Number of blades:||10 (ten)|
|Closest focusing distance:||<No data>|
|Maximum magnification:||<No data>|
|Focusing modes:||Manual focus only|
|Manual focus control:||None|
■ Physical characteristics
|Maximum diameter x Length:||<No data>|
|Lens hood:||Not required|
|Lens caps:||14034 (front)|
|14059 / 14074 (rear)|
■ Sources of data
|1. Leica lenses booklet (PUB. 11-34d) (January 1963).|
|2. Leica lenses booklet (PUB. 11-34b) (October 1961).|
The 65 mm ELMAR is the shortest focal length giving a full focusing range from infinity to extreme close-up with the VISOFLEX II. With an angular field coverage exactly mid way between those of the 50- and 90mm lenses it is an extremely versatile lens for all applications in which groundglass image control is prefered. The lens is supplied without a focusing mount and must be used in the universal focusing mount OTZFO / 16 464 K for the VISOFLEX II. It is equipped with a built-in lens hood and a pre-set diaphragm ring with clicks at each stop and half-stop. Its 4-element triplet construction yields extremely good correction over the whole focusing range, and it is particularly suitable for close-up and macro photography.
From the LEICA photography magazine (1963, No. 2):
In the shadow of such spectacular Visoflex lenses as the 200, 280 and 400mm Telyts stands the compact and useful 65mm Elmar f/3.5 lens. It is designed exclusively for use on the Visoflex II, IIa and III, but many photographers have never even heard of it. Short enough to use as a normal lens and so versatile it focuses without accessories in the Universal Focusing Mount, from infinity down to cover a 2 1/4 x 3 1/4-inch area, the 65mm is a favorite with those discerning Leicamen who have discovered its virtues. Camera, 65mm lens and housing make an excellent outfit for day-trips, vacations or any situation that calls for traveling light but with maximum versatility. The focal length is long enough for easy groundglass focusing, yet short enough for general use. And the long focusing range of the mount eliminates the need for accessory equipment except in special cases.
In those special cases, however, simple extension tubes make it possible to make pictures at ratios up to 1.6:1 (1.6x life-size) using three OTRPO tubes (#16,471). Thus, three extension tubes, a table tripod (for steadiness with extreme close-ups) and a cable release are all the accessories needed to explore macrophotography in the field.
The 65mm lens is designed for use only on the Visoflex housings and fits the Universal Focusing Mount #16,464 (which can also be used for 90 and 135mm lens units).
If desired, however, the lens unit of the 65mm can also be used on the Bellows II; it fits the Adapter Ring (#16,558) which comes with the Bellows. It is used in this way without the Universal Focusing Mount and so is also available without the mount. In the Bellows II, the focusing range is from infinity to 11 inches, the latter distance producing a ratio of 1.4:1 (1.4x life-size).
The lens has a click-stop diaphragm control for both full and half stops from f/3.5 to f/22. Focusing is parallel, so that the lens does not rotate during focusing. Thus, a polarizing filter (#13,360) can be used without changing the plane of polarization.
The 65mm Elmar f/3.5 takes Leitz E 41 screw-in filters - the same ones used for the 35mm Summilux and 50mm Summarit lenses. A wide variety of filters is available for both black-and-white and color photography with the 65mm lens.
The combination of 65mm lens, Visoflex and Leica body, with either extension tubes or bellows, is an excellent outdoorsman's camera. Hunters, hikers, fishermen, naturalists, geologists - anyone who explores the world of summer - will find pictures waiting where they might never even have seen them before trying the 65mm. Pictures of everything from an entire mountain range to a small quartz crystal, from a flower-filled field to a single blossom are within the scope of this one lens and some simple extension tubes.
At ratios greater than 1:10 (image 1/10th the size of the object), a normal exposure reading is sufficiently accurate. But once below this ratio, additional exposure must be given. As the camera is brought closer to the subject, the lens moves further from the film plane to bring the image into focus. This affects the indicated "f/" value, since it was calibrated for the lens when focused at infinity. As the focal distance increases, the f/-value decreases and extra exposure must be given. Its amount is proportional to (among other things) the ratio of reproduction.
In any case, the result is that, when you begin to work at ratios of 1:4, 1:1, and so on, extra exposure is required. The actual amount is figured by the simple formula: Exposure factor = (R + 1)2. The exposure factor is the amount by which the meter reading must be multiplied and R is the ratio of reproduction. Thus, with a ratio of 1:1, the factor will be (1 + 1)2, or 4. Thus, the exposure must be multiplied by 4. A reading of f/11 at 1/100th, for instance, would become f/11 at 1/25th for a 1:1 photograph. The best rule for close-up work (when depth of field is very shallow) is to increase the time rather than the f/stop. Close-ups are best made at apertures of f/11 or smaller to provide maximum depth of field.
Slow full-frame short telephoto prime lens
Genres or subjects of photography (2):
Portraits • Travel photography
Recommended slowest shutter speed when shooting static subjects handheld:
1/80th of a second
Sorted by focal length and speed, in ascending order
|Leitz Wetzlar HEKTOR 73mm F/1.9||M||6 - 3||1.5m||A42||1931 ●|
|Leitz Wetzlar SUMMAREX 85mm F/1.5 Black (276 units)||M||7 - 5||1.5m||E58||1943 ●|
|Leitz Wetzlar SUMMAREX 85mm F/1.5||M||7 - 5||1.5m||E58||1950 ●|
|Leitz Wetzlar ELMAR 90mm F/4 [I] Type 1||M||4 - 3||1m||A36||1931 ●|
|Leitz Wetzlar ELMAR 90mm F/4 [I] Type 2||M||4 - 3||1m||1933 ●|
|Leitz Wetzlar ELMAR 90mm F/4 [I] Type 3||M||4 - 3||1m||1950 ●|
|Leitz Wetzlar ELMAR 90mm F/4 [II]||M||3 - 3||1m||E39||1964 ●|
|Leitz Wetzlar ELMARIT 90mm F/2.8||M||5 - 3||1m||E39||1959 ●|
|Leitz Wetzlar THAMBAR 90mm F/2.2||M||4 - 3||1m||E48||1935 ●|
|Leitz Wetzlar / Leitz Canada SUMMICRON 90mm F/2 [I] Type 1||M||6 - 5||1m||E48||1957 ●|
|Leitz Canada SUMMICRON 90mm F/2 [I] Type 2||M||6 - 5||1m||E48||1959 ●|
|Leitz Wetzlar ELMAR 105mm F/6.3||M||4 - 3||2.6m||1932 ●|
|Leitz Wetzlar / Leitz Canada HEKTOR 125mm F/2.5 [Visoflex]||M||4 - 3||1.2m||E58||1954 ●|
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Replacement lens cap, chrome plated, for the 65mm ELMAR.
Replacement rear cover for the 65mm ELMAR.
You are already on the page dedicated to this lens.
Cannot compare the lens to itself.
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.
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 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 – 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.
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.
The minimum distance from the focal plane (film or sensor) to the subject where the lens is still able to focus.
The distance from the front edge of the lens to the subject at the maximum magnification.
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".
The diaphragm must be stopped down manually by rotating the detent aperture ring.
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.
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.
The camera automatically closes the diaphragm down during the shutter operation. On completion of the exposure, the diaphragm re-opens to its maximum value.
The aperture setting is fixed at F/3.5 on this lens, and cannot be adjusted.
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.).
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.
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.
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.
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.
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.