|SMC||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.|
|SHIFT||Perspective Control lens.|
|Production status:||● Discontinued|
|Production type:||Mass production|
|Original name:||ASAHI OPT. CO. SMC PENTAX-6X7 SHIFT 1:4.5 75mm|
|System:||● Pentax 6×7 (1969)|
|Maximum format:||Medium format 6x7|
|Mount and Flange focal distance:||Pentax 6x7 [84.95mm]|
|Diagonal angle of view:||60.9° (Medium format)|
|Lens construction:||9 elements - 8 groups|
|Number of blades:||10|
|Closest focusing distance:||0.7m|
|Maximum magnification ratio:||1:7.14 at the closest focusing distance|
|Focusing method:||<No information>|
|Focusing modes:||Manual focus only|
|Manual focus control:||Focusing ring|
|Tilt and Shift mechanism|
|Tilt range:||Not available|
|Maximum diameter x Length:||⌀97×106.5mm|
|Super Protect (SP) coating:||-|
|Additional features:||Rear gelatin filter holder|
|Lens hood:||Not available|
Designed for the professional in architectural photography, this unique lens features a continuously variable shift movement up to 20mm off axis for complete control over the degree of correction plus a full 360 lens barrel rotation. Exclusive Super-Multi-Coating minimizes flare and enhances resolution, contrast and color balance.
Filter size: 82mm threaded or bayonet. Gelatin filter holder in rear section of mount.
Your SMC Pentax 6x7 75mm shift lens is of great value for architectural, scenic and general purpose photography as well. Corresponding roughly to a 35mm lens in the 35mm format, it has the capability of correcting converging lines by making them perpendicular. lt features full 360-degree barrel rotation and offers a maximum shift of 2Omm, enabling creation of virtually an infinite variety of perspectives. You not only have the choice of correcting, but also of "over-correcting" or not correcting the subject in order to produce the most pleasing, striking or dramatic effect. Moreover, the precise shift capability of the lens makes it possible to create sweeping double-negative panoramas by joining together two corrected and perfectly matched negatives.
I. Operating the Shift Lens
For critical photography such as architecture, precise results and the most pleasing effects are obtained if shifts are made with the lens perpendicular to the film plane or tilted slightly upwards. For this reason, and due to the weight of the camera, use of a tripod is recgmmended. The lens may be mounted either vertically or horizontally to the tripod but a sturdy model should be used to prevent camera movement which causes misalignment.
Lens Rotation: The lens rotates a full 360 degree via the lens rotation ring. Click-stops are pvovided for every 3O degrees of rotation and inbetween settings may also be used. The green dot in front of the rotation ring indicates the direction in which the lens will shift as you turn the ring. With the dot at the top, the lens will shift upward (simultaneously the image in the viewfinder will move downward); with the dot at the bottom, the lens moves downward and the image upward; when the dot is located 90 degrees to the left, the lens moves horizontally to the left, etc.
Shifting: Because the lens rotates fully, two shift scales (with clickstops at 1 millimeter intervals) are provided to facilitate checking the degree of shift. As you turn the shift ring the amount of shift is indicated by the white index dot on the shift scale.
II. Correcting for Converging Lines
When set for zero millimeters shift, the shift lens will function as a normal 75mm wide-angle lens. Thus, when tilted upward, lines will converge at the top, conversely, when the lens faces downward (as when photographing from the top of a tall building) lines will converge at the bottom; when the camera is level lines will converge to the right or left in accordance with the direction the lens is moved off a perpendicular axis from the subject.
Whenever desiring to correct for converging lines, the lens must be shifted in the direction in which the lines converge. lf the lines appear to converge at the top as when photographing a tall building, for example, proceed as follows:
1. Turn the lens rotation ring so that the green dot is facing upward (the same applies whether the camera is mounted horizontally or vertically on the tripod).
2. Sight the subject through the viewfinder and slowly rotate shift ring counterclock- wise. As the shift ring is rotated, the lens will shift upward and the image in the viewfinder will simultaneously move downward.
3. Recenter the image in the viewfinder (you will find that the lines no longer converge to the same extent). Continue shifting the lens and recentering the image until the lines appear perpendicular.
Notes: When the desired shift cannot be obtained at maximum 2Omm shift, tilt the camera upward so that the axis inclines slightly; this will enable you to include the subject in the viewfinder, although lines will not be perfectly perpendicular. lf greater correction is still desired, back away from the subject to the point where where the desired correction can be obtained with the optical axis remaining perpendicular to the subject (excess can be trimmed later during enlarging).
Aperture Setting: Although the 6x7 shift lens does not feature an automatic diaphragm, it features convenient open-aperture viewing by means of the combined use of a special preset ring in conjunction with the aperture ring. First, preset the shooting aperture, f/11 for example, on the preset ring by aligning f/11 with the aperture index dot. Then, set the aperture ring to f/4.5 for bright viewing. Next, after focusing and composing, rotate the aperture ring to the right until it stops in line with the preset ring. Now, proceed by making a stopped down exposure measurement and taking the picture.
Note: Shifting up until the point of shutter release should be carried out at open aperture. Because of the effects of shifting, shooting apertures when the lens is stopped down should be f/8 or f/11 or as near to these as possible. Conversely, if the lens is stopped down farther (to f/16, f/22, etc.) some loss of sharpness will result because of defraction during shifting.
Exposure Measurement: Exposure will vary in accordance with the extent and direction of shift. Moreover, when the lens is shifted, the sensitivity of the exposure needle differs slightly from normal. To compensate for this, with the camera mounted horizontally, underexpose 1/2 stop; conversely, with the camera mounted vertically, overexpose 1/2 stop. Another method is to frame the subject first and take the exposure reading, then make appropriate compensation for shifting. Because shooting conditions vary from photo to photo, your own experience will produce the best results in compensating for lens shift.
III. "Emphasizing and Overcorrecting"
In addition to correcting for converging lines at the top by shifting the lens upward, the shift lens can also be shifted downward (reverse shift) to emphasize or exaggerate the degree to which lines converge; for example, to apparently increase the height of a tall building, or the length of a models legs. Moreover, when an 8mm upward shift is required to make the converging lines of a building appear perpendicular, an overshift of 15mm will cause the lens to converge in the opposite direction for different emphasis. By employing the various shifting techniques, one can create new perspectives in order to achieve the most dramatic and pleasing effect.
Sweeping panoramics in which the picture format is effectively doubled horizontally from 6 x 7 to 6 x 14 are easily created with the SMC Pentax 75mm shift lens. Panoramics appear most attractive when made in the horizontal format; thus, the camera should be mounted to the tripod horizontally. Also, keep the camera perfectly level if you desire to keep lines from converging.
1. Shift the lens completely (20mm) to the left, and make the first exposure.
2. Next, rotate the lens 180 degrees so that the 20mm shift is on the right, and make the second exposure (rotating the lens and advancing the film should be carried out as gently as possible to prevent camera movement, which will result in mismatching of the two photographs).
3. Prints can later be made from the two negatives. The portions which overlap are removed, forming two perfectly matched negatives which are joined together to make one panoramic view.
In addition to accepting both 82mm screw-in type and bayonet-type filters which fit over the front of the lens, the 6 x 7 shift lens also features a gelatin filter clip at the rear which accepts gelatine filter squares, trimmed to size and inserted.
|4.5||smc Pentax 67 75mm F/4.5 Shift • B82||Pro||1989 ●|
Among autofocus lenses designed for 35mm full-frame mirrorless cameras only. Speed of standard and telephoto lenses is taken into account.
According to lens-db.com; among lenses designed for the same maximum format and mount.
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.
Sorry, no additional information is available.
Shift lenses are high-quality lenses, usually wide-angle, that provide a parallel shift facility like the sliding lens panel of professional large-format cameras for correcting converging vertical lines and manipulating the perspective especially for use in architectural and product photography.
Whereas normal lenses designed for 35mm full-frame cameras have an image circle diameter of 43.27mm so that all four corners of the image are inside the image circle, shift lenses provide much larger image circle (60mm or even more). Decentration of the lens is possible within this area.
Vertical shift is the most popular: upward when photographing high buildings, and downward for product shots, so that the camera does not have to be tilted. When the camera is tilted either upward or downward, perpendicular lines are not imaged as perpendicular, but rather converge upward or downward, which is very pronounced in wide-angle shots and can be very irritating.
By using rotation, the direction of the entire lens can be switched.
By using Tilt/Shift rotation, the relationship of the tilt and shift operation directions can be switched from right angle to parallel.
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".
Provides highly accurate diaphragm control and stable auto exposure performance during continuous shooting.
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.
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.