Vivitar Series 1 70-210mm F/2.8-4 VMC Macro Q-Dos

Telephoto zoom lens • Film era • Discontinued

VMC 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.
MACRO A lens with better close-up focusing capabilities in comparison with traditional lenses. Not a macro lens though.

Model history

Vivitar Series 1 70-210mm F/2.8-4 VMC Macro Q-DosA14 - 111.1m⌀58 1991 
Vivitar Series 1 70-210mm F/2.8-4 VMC MacroA14 - 111.1m⌀58 1987 
Vivitar Series 1 70-210mm F/2.8-4 VMC MacroA14 - 101.6m⌀62 1984 

Features highlight

VMC
Auto
9 blades
MF
PUSH/PULL

Specification

Production details
Announced:1991
Production status:Discontinued
Production type:Mass production
Original name:Vivitar Series 1 70-210mm 1:2.8-4.0 VMC MACRO FOCUSING ZOOM
Optical design
Focal length range:70mm - 210mm
Speed range:F/2.8 @ 70mm - F/4 @ 210mm
Maximum format:35mm full frame
Mount:Canon FD
Contax/Yashica
Minolta SR
Nikon F
Olympus OM
Pentax K
Flange focal distance:42mm (Canon FD)
45.5mm (Contax/Yashica)
43.5mm (Minolta SR)
46.5mm (Nikon F)
46mm (Olympus OM)
45.5mm (Pentax K)
Diagonal angle of view:34.3° @ 70mm - 11.8° @ 210mm (35mm full frame)
22.8° @ 70mm - 7.7° @ 210mm (Nikon F APS-C)
22.8° @ 70mm - 7.7° @ 210mm (Pentax K APS-C)
Lens construction:14 elements - 11 groups
Diaphragm mechanism
Diaphragm type:Automatic
Number of blades:9
Zooming
Zoom type:Push/pull
Zooming method:<No information>
Focusing
Closest focusing distance:1.1m
Maximum magnification ratio:1:2.5 @ 210mm at the closest focusing distance
Focusing method:<No information>
Focusing modes:Manual focus only
Manual focus control:Focusing ring
Physical characteristics
Weight:760g (mount not specified)
Maximum diameter x Length:⌀69.5×131mm (mount not specified)
Accessories
Filters:Screw-type 58mm
Lens hood:<No information>

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

**) Some basic information is missing in the specification as it was not provided by the manufacturer.

Manufacturer description

Never forget, when it comes to excellence in photography it is the lens that makes the image. And Vivitar has a long held reputation for producing some of the finest lenses in the industry. What you see through a Vivitar lens will be faithfully recorded and the final picture - be it beautiful, terrifying or precise - will be enhanced by Vivitar technology.

Flat field zooms, 3 to 1 continuous macro zooms, and a host of other optical 'firsts' were achieved by Vivitar. It is perhaps why the Vivitar Series 1 70-210 is one of the best selling lenses of all time. And why more photographers favour the use of Vivitar lenses than any other brand. It is, after all, the foundation of our past and the framework for our future.

The Vivitar Series 1 Q-Dos 70-210mm lens is our crowning achievement.

A superb quality wide-ranging telephoto zoom that retains all the quality and sharpness of the original Series 1 70-210 providing a whole battery of focal lengths. From 70mm, ideal for portraits, to a stunning 210mm, perfect for capturing distance action shots.

But that's only the beginning. The Vivitar 70-210 Q-Dos lens offers a unique feature that revolutionises 35mm photography and, quite literally, adds a whole new dimension - or rather 'three dimensions' to your picture taking pleasure.

A new era in photography starts here.

It has always been Vivitar's aim to extend the boundaries of photography by bringing together the imagination and skill of the world's leading optical designers with manufacturing excellence to meet the requirements of the discerning and imaginative photographer.

Vivitar has always been renowned for innovation and currently holds over 115 U.S. and international design patents.

We are now proud to add one more to the list - Q-Dos.

Q-Dos is the world's first switchable 3 dimensional single lens system that requires no special film, no special camera or special processing, only a very special lens. The design is based on the legendary Vivitar 70-210 Series 1 lens with the inclusion of a high precision optical module that transforms the image into three dimensions and adds a stunning dramatic impact to your photographers.

Perhaps the most remarkable achievement is that Q-Dos photographs, viewed normally, are hardly distinguishable from traditional prints. However, with Q-Dos glasses they are transformed into dramatic 3-D images. Projected images are also given the dynamic impact of a three-dimensional effect when viewed with Q-Dos glasses.

The Vivitar Series 1 70-210mm Q-Dos lens is a creative tool for the enthusiast and professional photographer alike. But only by experimenting and exploiting composition can the full potential of this unique and remarkable lens be discovered and appreciated.

For example, the strongest three dimensional effect will be achieved by ensuring that the composition incorporates a clearly-defined foreground, main subject and background.

Also, the use of wide apertures and correspondingly narrow depth of field enhances the illusion of depth.

The Q-Dos name is devised from Quantum - a name used by physicists to refer to a quantity of energy (such as light energy) and Duplex Optical System which describes the technical process that enables the Q-Dos 3-D effect to be achieved.

The Q-Dos 70-210 Series 1 lens is supplied with a high quality durable pouch case, a wallet-sized hints card, two pairs of quality viewing glasses, plus card framed viewers so that your friends and family can share in the excitement of Q-Dos.

It must be remembered that the Vivitar 70-210 Series 1 Q-Dos lens retains all the legendary qualities of the established Series 1 70-210 but with the unique feature of the switchable Q-Dos control. This means that the 70-210mm Series 1 Q-Dos lens can be used as a conventional lens or, at the flick of a switch, transform the optics to create exciting Q-Dos 3-D photographs.

From the editor

From Amateur Photographer w/e August 22, 1992:

The latest Vivitar system uses an old lens with a new idea for 3D effects

Vivitar is the first company to offer a lens capable of direct production of anaglyphic stereos. Vivitar calls its system Q-Dos (Quantum Duplex Optical System). Vivitar took its popular 70-210mm 2.8-4 Series One zoom lens and modified it to give the user the option of a stereo result. The stereo results are achieved by turning a ring on the lens. This places two half filters - one red and one cyan - at the center of the lens. This causes the defocused parts of the image to be split into red and blue parts and displaced slightly. The colours are displaced in opposite directions, depending on whether they are behind or in front of the subject. However, the colours in the plane of focus aren't displaced at all so the print can be viewed easily without 3D specs.

Using the supplied 3D glasses with red and blue lenses gives the sensation of depth with the right type of subject. It should be noted that although it's true that depth is seen - and seen strongly in a suitable subject - this isn't true stereo.

To obtain the full effect the zoom has to be at or near its longest focal length and the picture shot at near full aperture to reduce depth of field, and thus produce those displaced colour images within a short distance either side of the focused point. As the colour displacement is left to right, the camera must be used in the horizontal format when Q-Dos is in use.

The filters can cause some photographs to have red and blue tints and areas of red and blue can confuse the eye when wearing the glasses.

Vivitar recommends the Q-Dos be used with the lens set between 135mm and 210mm and with an aperture of around f/5.6.

Typical application

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

Lenses with similar focal length range and speed

Sorted by manufacturer name

Your comment

Copy this code

and paste it here *

Copyright © 2012-2021 Evgenii Artemov. All rights reserved. Translation and/or reproduction of website materials in any form, including the Internet, is prohibited without the express written permission of the website owner.

35mm full frame

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

Travellers' choice

Note

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 telephoto zooms

According to lens-db.com; among lenses designed for the same maximum format and mount.

Unable to follow the link

You are already on the page dedicated to this lens.

Cannot perform comparison

Cannot compare the lens to itself.

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.

MF

Sorry, no additional information is available.

MF

Sorry, no additional information is available.

MF

Sorry, no additional information is available.

MF

Sorry, no additional information is available.

MF

Sorry, no additional information is available.

MF

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

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),

where:

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

Mount

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.

Speed

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.

Convex protruding front element

The convex front element protrudes from the lens barrel, making it impossible to use filters.

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.

Weight

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.

Filters

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.

Rotary zoom

The change of focal length is achieved by turning the zoom ring and the manual focusing - by turning the separate focusing ring.

Push/pull zooming allows for faster change of focal length, however conventional method based on the rotation of the zoom ring provides more accurate and smooth zooming.

Push/pull zoom

The change of focal length and the manual focusing is achieved by one and the same ring. The change of focal length happens when the photographer moves the ring towards the mount or backwards and the rotation of the ring leads to change of focus.

Push/pull zooming allows for faster change of focal length, however conventional method based on the rotation of the zoom ring provides more accurate and smooth zooming.

Zoom lock

The lens features a zoom lock to keep the zoom ring fixed. This function is convenient for carrying a camera with the lens on a strap because it prevents the lens from extending.

Power Zoom

The lens features electronically driven zoom mechanism. It provides smoother, more natural zoom movements than you could accomplish by hand.

The Holy Trinity of lenses

The Holy Trinity of lenses refers to a three-lens set that covers a focal length range from the ultra-wide focal length of 14-16mm all the way long to the telephoto focal length of 200mm. The set typically consists of a 16-35mm ultra-wide angle zoom lens, a 24-70mm standard zoom lens and a 70-200mm telephoto zoom lens and usually represents the best constant-aperture zoom lenses in a manufacturer's lineup. The set is designed to cover almost every genre of photography, be it landscapes, architecture, portraits, weddings, sports, travel or even wildlife (with teleconverter). However, it is also expensive, large and heavy.