|■Leitz Wetzlar XENON 50mm F/1.5 [LSM]||M||7 - 5||1m||A51||1936 ●|
|■Leitz Wetzlar / Leitz Canada SUMMARIT 50mm F/1.5 [LSM]||M||7 - 5||1m||E41||1949 ●|
|■Leitz Wetzlar / Leitz Canada SUMMARIT 50mm F/1.5||M||7 - 5||1m||E41||1954 ●|
|■Leitz Wetzlar SUMMILUX 50mm F/1.4 [I]||M||7 - 5||1m||E43||1959 ●|
|Leitz Wetzlar SUMMILUX 50mm F/1.4 (548 units) [LSM]||1960 ●|
|■Leitz Wetzlar SUMMILUX 50mm F/1.4 [II]||M||7 - 5||1m||E43||1961 ●|
|■Leitz Wetzlar SUMMILUX 50mm F/1.4 [II]||M||7 - 5||1m||E43||1968 ●|
|Leitz Wetzlar SUMMILUX 50mm F/1.4 “Oskar Barnack 100th Anniversary” (1000 units)||1979 ●|
|Leitz Wetzlar SUMMILUX 50mm F/1.4 “Leica 1913-1983” (200 units)||1983 ●|
|Leica SUMMILUX-M 50mm F/1.4 “150 Jahre Photographie, 75 Jahre Leica Photographie” (1250 units)||1989 ●|
|Leica SUMMILUX-M 50mm F/1.4 Gold “Sultan of Brunei” (350 units)||1992 ●|
|Leica SUMMILUX-M 50mm F/1.4 Platinum “Sultan of Brunei” (250 units)||1992 ●|
|Leica SUMMILUX-M 50mm F/1.4 “Traveller Edition” (500 units)||1994 ●|
|■Leica SUMMILUX-M 50mm F/1.4 [III]||M||7 - 5||0.7m||E46||1995 ●|
|Leica SUMMILUX-M 50mm F/1.4 Platinum “Sultan of Brunei” (125 units)||1996 ●|
|Leica SUMMILUX-M 50mm F/1.4 “150 Jahre Optik” (30 units)||1999 ●|
|Leica SUMMILUX 50mm F/1.4 [LSM]||1999 ●|
|Leica SUMMILUX-M 50mm F/1.4 for M6 TTL Millennium (2075 units)||2000 ●|
|Leica SUMMILUX-M 50mm F/1.4 “Al-Thani” (16 units)||2001 ●|
|■Leica SUMMILUX-M 50mm F/1.4 [III] Titanium||M||7 - 5||0.7m||E46||1995 ●|
|■Leica SUMMILUX-M 50mm F/1.4 ASPH. [I]||M||8 - 5||0.7m||E46||2004 ●|
|Leica SUMMILUX-M 50mm F/1.4 ASPH. Titanium “50 Jahre M-System” (550 units)||2004 ●|
|Leica SUMMILUX-M 50mm F/1.4 ASPH. Titanium “9/11 Memorial” (1 unit)||2005 ●|
|Leica SUMMILUX-M 50mm F/1.4 ASPH. “LHSA Special Edition” (1500 units)||2005 ●|
|Leica SUMMILUX-M 50mm F/1.4 ASPH. “60 Years PRC” (60 units)||2009 ●|
|Leica SUMMILUX-M 50mm F/1.4 ASPH. “China’s 1911 Revolution” (101 units)||2011 ●|
|Leica SUMMILUX-M 50mm F/1.4 ASPH. “Edition Hermès” (300 units)||2012 ●|
|Leica SUMMILUX-M 50mm F/1.4 ASPH. “Edition 100” (101 units)||2014 ●|
|Leica SUMMILUX-M 50mm F/1.4 ASPH. “Correspondent” (125 units)||2015 ●|
|Leica SUMMILUX-M 50mm F/1.4 ASPH. Black||2015 ●|
|Leica SUMMILUX-M 50mm F/1.4 ASPH. “Leica Galerie Frankfurt” (50 units)||2016 ●|
|Leica SUMMILUX-M 50mm F/1.4 ASPH. “Meister Edition Berlin” (20 units)||2017 ●|
|Leica SUMMILUX-M 50mm F/1.4 ASPH. “Jim Marshall” (50 units)||2017 ●|
|Leica SUMMILUX-M 50mm F/1.4 ASPH. “Terry O’Neill” (35 units)||2018 ●|
|Leica SUMMILUX-M 50mm F/1.4 ASPH. “SC Asset” (30 units)||2019 ●|
|Leica SUMMILUX-M 50mm F/1.4 ASPH. for M10-P “White” (350 units)||2019 ●|
|■Leica SUMMILUX-M 50mm F/1.4 ASPH. [II]||M||8 - 5||0.45m||E46||2023 ●|
■ Production details
|Production status:||● Discontinued|
|Order No.:||SOOIA / 11020|
|Original name:||Ernst Leitz Wetzlar Summarit f=5cm 1:1,5|
|Ernst Leitz GmbH Wetzlar Summarit f=5cm 1:1,5|
|Ernst Leitz Canada Ltd. Midland Summarit f=5cm 1:1,5|
|System:||Leica SM (1930)|
■ Optical design
|Maximum format:||35mm full frame|
|Mount and Flange focal distance:||Leica screw mount [28.8mm]|
|Diagonal angle of view:||46.8°|
|Lens construction:||7 elements in 5 groups|
■ Diaphragm mechanism
|Aperture control:||Aperture ring|
|Number of blades:||16 (sixteen)|
|Coupled to the rangefinder:||Yes|
|Closest focusing distance:||1m|
|Maximum magnification:||<No data>|
|Focusing modes:||Manual focus only|
|Manual focus control:||Focusing lever|
■ Physical characteristics
|Maximum diameter x Length:||<No data>|
|Lens hood:||XOONS / 12520|
|Lens caps:||ORXDO / 14035 (front)|
|ORXNOCHROM / 66845 (front)|
|FIRHU / 35252 / 66835 (rear)|
|ORYFO / ORYFOCHROM / 14050 (rear)|
■ Source of data
|Leica lenses booklet (PUB. 1356) (March 1950).|
From the LEICA photography magazine (Christmas 1949, Vol. 2, No. 8):
THE NEW LEITZ SUMMARIT 50mm. F:1.5 COATED SPEED LENS
This new high aperture lens of 1.5 is a welcome addition to the comprehensive range of Leica objectives. Approximately double the speed of the famous Summitar, its main application will be for photography under the most difficult lighting conditions: i.e., circuses, horseshows, ice shows, theatres, or any other indoor event where supplementary flash lighting may be prohibited. In addition, portrait photographers will find the focal length of 50mm., plus the high speed of the Summarit lens, of great advantage for child photography in the studio where shutter speeds as high as 1/60th of a second are required to 'freeze' movement. While many beautiful photographs can be taken in artificial light with the F:2 Summitar, it remains for the new Summarit F:1.5 to widen the possibilities for the ultimate in photography.
It is not only the wide aperture which makes the Summarit lens of outstanding interest. It must be stressed that the new lens gives a magnificent sharpness over the entire field when working at full aperture. When we say magnificent sharpness, we mean for this class of lens, we do not mean to indicate that its results at can be compared with those of the Elmar 50mm. lens at F:3.5.
The definition of the Summarit lens improves further on stopping down: in other words, it is not computed so that its best achievement is only at F:1.5. This fact makes the objective more useful than it would otherwise be, for it can be used for all-round photographic purposes to the best advantage. The light distribution of the F:1.5 lens is remarkable even al full aperture, and the objective possesses a freedom from distortion which has not previously been achieved with a lens of such speed.
The Summarit lens couples with the rangefinder in the same way as the other Leitz objectives, and can be focused either with the knob which arrests at infinity, or by rotating the knurled grip on the lens barrel. Its focusiiig mount is rectilinear - the lens itself does not rotate during focusing. Because of its great light transmitting capacity the lens has a larger diameter than other 50mm. lenses, and therefore is not collapsible. A special lenshood of the collapsible type is in the course of preparation, but cannot as yet be supplied.
The Summarit lens cannot be used (if only for mechanical reasons) for enlarging. Due to its large diameter it cannot be screwed into the Focomat enlarger. It may, however, be employed for projection - especially for color pictures. But it is never advisable to stop down wide aperture lenses for projection, as the lamellae of the iris diaphragm will absorb heat and cause internal condensation.
We have used one of the first Summarit lenses to arrive in New York for a wide range of photographic assignments, on both color and monochrome film, in a variety of lighting situations, and have found the 'modeling' and definition to be superb. The use of this objective has moved the impossible into the realm of every-day-photography.
From the LEICA photography magazine (Christmas 1950, Vol. 3, No. 12):
The Leitz 50mm. f/1.5 Summarit, manufactured at Leitz, Wetzlar, is sold in the United States under license from Messrs. Taylor, Taylor and Hobson Ltd. of Leicester, England, who hold the original patents on this type of lens construction. Leitz precision has completely eliminated mechanical and centering troubles which could unfavorably enter such a complicated lens system.
... the performance of this form of lens at full aperture is well up to the required standard and that at one or two stops below full aperture it compares very favorably with the performance of the 50mm. Sonnar and the 50mm. Summitar.
Even at full aperture this highly corrected 7 element lens gives brilliant images of outstanding definition. The SUMMARIT opens up new and exciting possibilities for color photography in poor light. News shots which require fast shutter speeds in unfavorable light are possible because of the efficiency of the LEICA focal plane shutter and fast lenses. It is only a focal plane shutter that can take advantage of the full light-transmitting ability of these high-aperture lenses.
The high speed Summarit 50mm., f/1.5 (2"), angle 45 deg., is a seven-lens objective belonging to the group of Gauss types, which affords especially favorable correction possibilities for the present purpose. Color correction and contrast is excellent, so that considerable sharpness is obtained over the entire image area even at full aperture. The general sharpness is further increased with moderate closing of the aperture, and at about f/4 it reaches an unusually high degree of contrast and resolution. Also, the uniform distribution of light over the entire image area, and the elimination of distortion, are excellent for an objective of such a large initial aperture. We have here an especially successful contruction of excellent performance, such as is probably seldom found in objectives of this kind.
It is not only the wide aperture which makes the Summarit lens of outstanding interest. It must be stressed that the new lens gives a magnificent sharpness over the entire field when working at full aperture.
The definition of the Summarit lens improves further on stopping down; in other words, it is not computed so that its best achievement is only at F:1.5. This fact makes the objective more useful than it would otherwise be, for it can be used for all-round photographic purposes to the best advantage. The light distribution of the F:1.5 lens is remarkable even at full aperture, and the objective possesses a freedom from distortion which has not previously been achieved with a lens of such speed.
The Summarit lens couples with the rangefinder in the same way as the other Leitz objectives, and is focused by rotating the knurled grip on the lens barrel. Its focusing mount is rectilinear-the lens itself does not rotate during focusing. Because of its great light transmitting capacity the lens has a larger diameter than other 50mm. lenses, and therefore is not collapsible.
From the LEICA photography magazine (Spring 1952, Vol. 5, No. 1):
The new Summarit sunshade (Catalogue No. 66,718) as illustrated in the Summer, 1951 issue of LEICA PHOTOGRAPHY, now has a clamping screw to hold it in place over the lens, The previous design did not fit securely.
A coated Xenon 50mm F/1.5.
Fast full-frame standard prime lens
Genres or subjects of photography (7):
Landscapes • Cityscapes • Buildings • Interiors • Portraits • Street • Travel photography
Recommended slowest shutter speed when shooting static subjects handheld:
1/50th of a second
Sorted by focal length and speed, in ascending order
|Leitz ELMAR 50mm F/3.5 [I] • Collapsible||M||4 - 3||1m||A36||1930 ●|
|Leitz ELMAR 50mm F/3.5 [II] • Collapsible||M||4 - 3||1m||A36||1951 ●|
|Leitz Wetzlar ELMAR 50mm F/3.5 [III] • Collapsible||M||4 - 3||1m||E39||1954 ●|
|Leitz Wetzlar ELMAR 50mm F/2.8 [I] • Collapsible||M||4 - 3||1m||E39||1957 ●|
|Leitz HEKTOR 50mm F/2.5 • Collapsible||M||6 - 3||1m||A36||1931 ●|
|Leitz / Leitz Wetzlar SUMMAR 50mm F/2||M||6 - 4||1m||A36||1933 ●|
|Leitz / Leitz Wetzlar SUMMAR 50mm F/2 • Collapsible||M||6 - 4||1m||A36||1934 ●|
|Leitz / Leitz Wetzlar SUMMITAR 50mm F/2 • Collapsible||M||7 - 4||1m||E36.4||1939 ●|
|Leitz Wetzlar SUMMICRON 50mm F/2 [I] • Collapsible||M||7 - 6||1m||E39||1953 ●|
|Leitz Wetzlar Compur-SUMMICRON 50mm F/2 (150 units)||M||? - ?||1m||1954 ●|
|Leitz Wetzlar XENON 50mm F/1.5||M||7 - 5||1m||A51||1936 ●|
Sorted by manufacturer name
|Taylor-Hobson Anastigmat 50mm F/2 [LSM] • Collapsible||M||6 - 4||1.0668m||1951 ●|
|Taylor-Hobson Cooke Amotal Anastigmat 50mm F/2 ELC [LSM]||M||6 - 4||1.0668m||1947 ●|
|Canon 50mm F/0.95||M||7 - 5||1m||⌀72||1961 ●|
|Canon 50mm F/1.2 [LSM]||M||7 - 5||1m||⌀55||1956 ●|
|Canon 50mm F/1.4 I [LSM]||M||6 - 4||1m||⌀48||1957 ●|
|Canon 50mm F/1.4 II [LSM]||M||6 - 4||1m||⌀48||1959 ●|
|Canon 50mm F/1.5 [LSM]||M||7 - 3||1m||S.VII||1952 ●|
|Canon SERENAR 50mm F/1.8 I [LSM]||M||6 - 4||1m||S.VI||1951 ●|
|Canon 50mm F/1.8 II [LSM]||M||6 - 4||1m||S.VI||1956 ●|
|Canon 50mm F/1.8 III [LSM]||M||6 - 4||1m||⌀40||1958 ●|
|Canon SERENAR 50mm F/1.9 [LSM] • Collapsible||M||6 - 4||1.0668m||S.VI||1949 ●|
|Canon 50mm F/2.2 [LSM]||M||5 - 4||1m||⌀40||1961 ●|
|Canon 50mm F/2.8 I [LSM]||M||4 - 3||1m||S.VI||1955 ●|
|Canon 50mm F/2.8 II [LSM]||M||4 - 3||1m||⌀40||1957 ●|
|Chiyoko Super ROKKOR 45mm F/2.8 [C] [LSM]||M||5 - 3||1m||1947 ●|
|Chiyoda Kogaku Super ROKKOR 50mm F/1.8 [LSM]||M||6 - 5||1m||⌀46||1958 ●|
|Chiyoko Super ROKKOR 50mm F/2.8 [C] [LSM]||M||5 - 3||1m||⌀40.5||1954 ●|
|Chiyoko Super ROKKOR 50mm F/2 [C] [LSM]||M||7 - 6||1m||⌀43||1955 ●|
|Chiyoko Super ROKKOR 50mm F/2 [LSM]||M||7 - 6||1m||⌀40.5||1955 ●|
|Cosina Voigtlander Color-SKOPAR 50mm F/2.5 [LSM]||M||7 - 6||0.75m||⌀39||2002 ●|
|Cosina Voigtlander HELIAR 50mm F/2 “Cosina 50th Anniversary, Bessa 10th Anniversary” (600 units) [LSM]||M||5 - 3||1m||⌀39||2009 ●|
|Cosina Voigtlander NOKTON 50mm F/1.5 Aspherical [LSM]||M||6 - 5||0.9m||⌀52||1999 ●|
|Fuji Photo Film FUJINON 50mm F/1.2||M||8 - 6||1m||1954 ●|
|Fuji Photo Film FUJINON L 50mm F/2 [LSM]||M||6 - 5||1m||⌀43||●|
|Fuji Photo Film FUJINON L 50mm F/2.8 [LSM]||M||5 - 4||1m||⌀40.5||●|
|Fuji Photo Film CRISTAR 50mm F/2 [LSM] • Collapsible||M||6 - 4||1m||1949 ●|
|Konica HEXANON 50mm F/2.4 (1000 units) [LSM] • Collapsible||M||6 - 4||0.8m||⌀40.5||1997 ●|
|Konishiroku HEXANON 50mm F/1.9 [LSM]||M||6 - 5||1.0668m||⌀40.5||1956 ●|
|Meyer-Optik Gorlitz Primoplan 50mm F/1.9 [LSM] • Collapsible||M||? - ?||1m||●|
|Meyer-Optik Gorlitz Kino Plasmat 50mm F/1.5 Type 1 [LSM]||M||? - ?||0.9m||●|
|Meyer-Optik Gorlitz Kino Plasmat 50mm F/1.5 Type 2||M||? - ?||1m||1933 ●|
|Meyer-Optik Gorlitz Makro Plasmat 50mm F/2.7 V • Collapsible||M||? - ?||1m||1933 ●|
|Nikon NIKKOR-H·C 50mm F/2 [LSM] • Collapsible||M||6 - 3||0.9m||S.VI||●|
|Nikon NIKKOR-H[·C] 50mm F/2 [LSM]||M||6 - 3||0.45m||S.VI||●|
|Nikon NIKKOR-S·C 50mm F/1.5 [LSM]||M||7 - 5||0.45m||⌀40.5||●|
|Nikon NIKKOR-S[·C] 50mm F/1.4 [LSM]||M||7 - 3||0.45m||S.VII||●|
|Nikon NIKKOR-N[·C] 50mm F/1.1 [LSM]||M||9 - 6||1m||⌀62||●|
|P. Angenieux Paris 50mm F/1.8 Type S1||M||6 - 4||1942 ●|
|P. Angenieux Paris 50mm F/1.5 Type S21||M||6 - 4||●|
|P. Angenieux Paris 50mm F/1.8 Type S1 [LSM]||M||6 - 4||1m||●|
|Ross London Xtralux 50mm F/2 [LSM] • Collapsible||M||6 - 4||1.0668m||1948 ●|
|Ross London Xtralux 50mm F/2 [LSM]||M||6 - 4||1.0668m||●|
|Schneider-Kreuznach Xenon 50mm F/2 [LSM] • Collapsible||M||? - ?||1.2m||●|
|Schneider-Kreuznach Xenon 50mm F/1.5 [LSM]||M||7 - 5||1m||●|
|Teikoku Kogaku ZUNOW 50mm F/1.1 Type 1||M||9 - 5||1m||1953 ●|
|Teikoku Kogaku (Zunow Opt.) ZUNOW 50mm F/1.1 Type 2||M||8 - 5||1m||⌀54.5||1955 ●|
|Teikoku Kogaku (Zunow Opt.) ZUNOW 50mm F/1.9||M||? - ?||0.4m||⌀40.5||●|
|Teikoku Kogaku (Zunow Opt.) ZUNOW 50mm F/1.3||M||? - ?||0.9m||●|
|Voigtlander NOKTON 50mm F/1.5||M||7 - 5||1m||●|
|Yashica [Super-]YASHINON 50mm F/1.8 [LSM]||M||6 - 5||1.0668m||⌀43||1959 ●|
|Yashica YASHIKOR 50mm F/2.8 [II] [LSM]||M||5 - 4||0.9m||⌀40.5||1959 ●|
|Yashica YASHIKOR 50mm F/2.8 [I] [LSM]||M||4 - 3||1.0668m||⌀40.5||1959 ●|
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For SUMMARIT 50mm, f1.5. Casting with black crackle finish. Original model had bayonet fitting, although Lager (LIG. II, p. 39) doubts whether it was ever generally available. Normal form has the conventional clamping ring and set screw.
Rear cover, chromium plated, for screwing on base of LEICA lens when not in use.
Spare lens cap, chromium plated, for the SUMMARIT 50mm f:1.5.
Dust cap, for screwing on base of LEICA lens when not in use.
Spare lens cap, chromium plated, for SUMMARIT 50mm f:1.5, XENON 50mm f:1.5.
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/1.5 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.