Tokina SZ Pro 300mm F/7.1 Reflex MF CF

Super telephoto prime lens • Digital era



CF The lens is designed for APS-C digital cameras only.

Features highlight

Macro 1:2.5


Production details:
Announced:October 2022
Production status: In production
Original name:Tokina SZ 300mmPRO Reflex F7.1 MF CF
Optical design:
Focal length:300mm
Maximum format:APS-C
Mount and Flange focal distance:Canon EF-M [18mm]
Fujifilm X [17.7mm]
Sony E [18mm]
Diagonal angle of view:5.2° (Canon EOS M APS-C)
5.4° (Fujifilm X APS-C)
5.4° (Sony NEX/a/ZV APS-C)
Lens construction:8 elements in 8 groups
Diaphragm mechanism:
Diaphragm type:Fixed
Aperture control:None
Number of blades:-
On Canon EOS M APS-C [1.59x] cameras:
35mm equivalent focal length:477mm (in terms of field of view)
35mm equivalent speed:F/11.3 (in terms of depth of field)
On Fujifilm X APS-C [1.52x] cameras:
35mm equivalent focal length:456mm (in terms of field of view)
35mm equivalent speed:F/10.8 (in terms of depth of field)
On Sony NEX/a/ZV APS-C [1.53x] cameras:
35mm equivalent focal length:459mm (in terms of field of view)
35mm equivalent speed:F/10.9 (in terms of depth of field)
Closest focusing distance:0.92m
Magnification ratio:1:2.5 at the closest focusing distance
Focusing modes:Manual focus only
Manual focus control:Focusing ring
Physical characteristics:
Weight:235g (mount not specified)
Maximum diameter x Length:⌀61×74.5mm (mount not specified)
Weather sealing:-
Water Repellent (WR) coating:-
Filters:Screw-type 46mm
Screw-type 34mm (rear)
Lens hood:MH-461 - Screw-type round
Teleconverters:Not available
Source of data:
Manufacturer's technical data.

Manufacturer description

The Tokina SZ 300mmPRO Reflex F7.1 MF CF is a super compact, fully manual lens, which adopt a catadioptric-type optical design. These lens features 300mm focal lengths, and is exclusively designed for APS-C mirrorless cameras. The Tokina SZ 300mmPRO Reflex F7.1 MF CF incorporates integrated mounts for Sony E, Canon EF-M, and Fujifilm X.

Thanks to a catadioptric optical design this lens is very light weight and super compact. This product allows you to enjoy the world of super tele photography, and is a perfect option for users who are looking for affordable super tele photo lens.

Rediscover advantages of mirror lenses, by using it with contemporary mirrorless cameras.

We believe that the value and viability of mirror lenses should be reconsidered in contemporary photography. Therefore, we have renewed our lens technology and development. Our new mirror lens options will allow you to embark on a new tele photo journey.

Focus assist functions like focus peaking will help to find the sharpest focus point.

In-build multi-axis advanced image stabilization systems of mirrorless cameras will make you forget about blurred images due to hand shaking.

Newest mirrorless cameras featuring advanced wide ISO settings can offer photographer choosing faster shutter speed with minimum pixel noises on the image.

The Tokina SZ 300mmPRO Reflex F7.1 MF CF is an ultralight and compact mirror lens. No need to carry a large camera bag any more. You can enjoy super tele photography casually and comfortably. Our 300mm variant fits in one's pocket and is smaller than a tall size cup of coffee.

Tokina's compact mirror lens design was realized by incorporating mirrors on the front and rear side of the barrel. In standard optical lenses, light passes through the lens and enters the camera sensor. However, in mirror type lenses, light enters the lens and reflects of mirrors twice before reaching the sensor. By "folding" the light path twice, the focal length shortens, which allows for a smaller lens design.

Mirror lenses' optical system is known as a catadioptric system. NASA's Hubble Space Telescope and James Webb Space Telescope use this catadioptric system, albeit on a much larger scale.

Tele photo lenses are prone to chromatic aberrations (CA) due to their complex optical design. To reduce CA, manufacturers incorporate additional color correction lens elements into the already bulky and heavy construction.

On the contrary, mirror lenses mainly use mirrors combined with a few lens elements. This optical combination greatly suppresses chromatic aberrations. We went beyond this with the Tokina SZ 300mmPRO Reflex F7.1 MF CF by fully optimizing the optical configuration so that CA were further reduced.

Classic mirror lenses are known for their weakness to flares and ghosting, which occurs when light finds tiny gaps to leak directly onto the sensor.

The Tokina SZ 300mmPRO Reflex F7.1 MF CF is built with a shielding ring (baffle) which prevents light leaking directly onto the sensor. This suppresses flares and ghosting, and maintains contrast even without a lens hood under general shooting conditions.

*When shooting in conditions with severe backlighting, attaching the hood is recommended.

The Tokina SZ 300mmPRO Reflex F7.1 MF CF is compatible with APS-C Sony E, Canon EF-M, Fujifilm X mount cameras through an integrated mount design. This mount design allows one to maintain stable rendering quality, and makes attaching or removing the lens easier.

The Tokina SZ PRO series are manual focus lenses. Tokina's interchangeable lenses usually come equipped with a focus ring that rotates 45° to 200°. High grade cinema lenses have larger rotating angles of up to 300°.

The Tokina SZ 300mmPRO Reflex F7.1 MF CF provides 270° focus rotation angle, that allows precise focusing operations within a shallow depth of field.

Mirror lenses are known for their unique donut-shaped bokeh, which result from the way they render light sources in off-focus areas. Some mirror lenses render incomplete donut-shaped bokeh, which appear as a C-shape. The Tokina SZ 300mmPRO Reflex F7.1 MF CF has been designed to reduce vignetting, thus achieving beautifully complete bokeh rings.

The Tokina SZ 300mmPRO Reflex F7.1 MF CF performs well not only in long distance shooting, but also in macro photography. Common tele photo lenses do not allow for macro shooting. However, the maximum magnification of this lens is 1:2.5 (0.4x), large enough to enjoy macro photography.

The Tokina SZ 300mmPRO Reflex F7.1 MF CF lens is so tiny that it can be easily used for street telephotography. Just imagine a person walking the street and shooting with 300mm super tele lens in a very casual manner!

The best thing about tele photo lenses is that they "capture what the human eye cannot". With the Tokina SZ 300mmPRO Reflex F7.1 MF CF everyday scenery will appear dramatic and iconic.

One of the effects tele photo lenses boast is compression, which is when the background appears closer/ larger compared to foreground objects. By using the compression effect, you can enjoy capturing enchanting images that are out of this world.

Wild nature has never been so close! Enjoy wild life photography with the Tokina SZ 300mmPRO Reflex F7.1 MF CF mirror lenses.

Tokina is the only manufacturer in the world that produces and sells wide range of mirror lens for amateur and professional photographers.

From the editor

On October 25, 2022, Tokina announced new reflex lenses belonging to the SZ PRO series: 300/7.1, 600/8 and 900/11. All three are manual focus super telephoto lenses designed for popular APS-C digital mirrorless cameras.

The usual advantages of mirror/reflex lenses are light weight, compact size and affordable price, while the disadvantages are slow speed and a busy bokeh with ring-shaped out-of-focus highlights. Mirror/reflex lenses are always intended for hobbyists, so the word "PRO" in the names of these Tokina lenses should not mislead you.

In order to avoid image blur as a result of camera shake when shooting with these lenses, it is necessary to use shutter speeds no longer than 1/focal length: 1/300, 1/600 and 1/900 second, respectively (1/320, 1/640 and 1/1000, to be more precise, since we should use standard values). The speed of these lenses is very slow, while the aperture is fixed, so the only thing left for you to do when the lighting deteriorates is to increase the ISO setting, which will quickly lead to digital noise and blurring of fine details in your photos due to denoising. We think you've probably figured out by now that these lenses are only good for shooting in good lighting conditions. The longer the focal length of the lens, the narrower the range of lighting conditions in which it can be used to take pictures of acceptable quality.

On our website, we try not to give recommendations on the purchase of certain lenses. We believe that the choice is always yours, because only you know all the circumstances under which you will use those lenses. However, in this case, we believe that it would be reasonable to give our recommendation. In our opinion, based on a number of characteristics (ultra-slow speed, fixed aperture, manual focusing only, lack of optical image stabilization, busy bokeh), these Tokina lenses cannot be recommended for purchase, even though there are simply no alternatives to the 600 and 900mm models.

Frequently asked questions (1)

  • What are the main characteristics of mirror (reflex) lenses?

    A mirror (reflex) lens is 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.

Alternatives among third-party lenses

  • Samyang Reflex 300mm F/6.3 ED UMC CSAPS-C
    aka Bower Reflex 300mm F/6.3 ED UMC CS
    aka Rokinon Reflex 300mm F/6.3 ED UMC CS
    aka Walimex Pro Reflex 300mm F/6.3 ED UMC CS
    --9 - 90.90m⌀58 2013 
  • Samyang Reflex 300mm F/6.3 ED UMC CSAPS-C
    aka Bower Reflex 300mm F/6.3 ED UMC CS
    aka Rokinon Reflex 300mm F/6.3 ED UMC CS
    aka Walimex Pro Reflex 300mm F/6.3 ED UMC CS
    --9 - 90.90m⌀58 2013 
  • Samyang Reflex 300mm F/6.3 ED UMC CSAPS-C
    aka Bower Reflex 300mm F/6.3 ED UMC CS
    aka Rokinon Reflex 300mm F/6.3 ED UMC CS
    aka Walimex Pro Reflex 300mm F/6.3 ED UMC CS
    --9 - 90.90m⌀58 2013 
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Chromatic aberration

There are two kinds of chromatic aberration: longitudinal and lateral. Longitudinal chromatic aberration is also called dispersion and is caused by the different indices of refraction for each color of light. As a result, the image lacks sharpness and in color photography, there is a fringing effect. In lateral chromatic aberration, image magnification changes with wavelength, producing a blurred image similar to the type caused by longitudinal chromatic aberration. 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 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 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 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.


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 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 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.


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.


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.

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.


The amount of light that passes through a lens without being either absorbed by the glass or being reflected by glass/air surfaces.

Veiling glare

Lens flare that causes loss of contrast over part or all of the image.

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.


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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 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 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

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.


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/7.1 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.


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.

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.