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

Telephoto zoom lens • Film era • Discontinued

SHARE TWIT EMAIL

Abbreviations

VMC Multi-layer anti-reflection coating is applied to the surfaces of lens elements. This anti-reflection coating increases light transmission, eliminates flare and ghosting, and maintains color consistence among all lens models.
MACRO A lens with better close-up focusing capabilities in comparison with traditional lenses. Not a macro lens though.
III Third generation.

Model history (3)

Vivitar Series 1 70-210mm F/2.8-4 VMC Macro [I] (s/n 28xxxxxx)Push/pullA14 - 100.80m⌀62 1984 
Vivitar Series 1 70-210mm F/2.8-4 VMC Macro [II] (s/n 09xxxxxx)Push/pullA14 - 111.10m⌀58 1987 
Vivitar Series 1 70-210mm F/2.8-4 "50th Anniversary"Push/pull 1988 
Vivitar Series 1 70-210mm F/2.8-4 VMC Macro Q-Dos [III] (s/n 09xxxxxx)Push/pullA14 - 111.10m⌀58 1991 

Features highlight

MF
Macro 1:2.5
Auto
9 blades
PUSH/PULL
⌀58
filters

Specification

Production details:
Announced:1991
Production status: Discontinued
Original name:Vivitar Series 1 70-210mm 1:2.8-4.0 VMC MACRO FOCUSING ZOOM
System:-
Optical design:
Focal length range:70mm - 210mm [3X zoom ratio]
Speed range:F/2.8 @ 70mm - F/4 @ 210mm
Maximum format:35mm full frame
Mount and Flange focal distance:Canon FD [42mm]
Contax/Yashica [45.5mm]
Minolta SR [43.5mm]
Nikon F [46.5mm]
Olympus OM [46mm]
Pentax K [45.5mm]
Diagonal angle of view:34.3° @ 70mm - 11.8° @ 210mm
Lens construction:14 elements in 11 groups
On Nikon D APS-C [1.53x] cameras:
35mm equivalent focal length range:107.1mm - 321.3mm (in terms of field of view)
35mm equivalent speed range:F/4.3 @ 70mm - F/6.1 @ 210mm (in terms of depth of field)
Diagonal angle of view:22.8° @ 70mm - 7.7° @ 210mm
On Pentax K APS-C [1.53x] cameras:
35mm equivalent focal length range:107.1mm - 321.3mm (in terms of field of view)
35mm equivalent speed range:F/4.3 @ 70mm - F/6.1 @ 210mm (in terms of depth of field)
Diagonal angle of view:22.8° @ 70mm - 7.7° @ 210mm
Diaphragm mechanism:
Diaphragm type:Automatic
Aperture control:<No data>
Number of blades:9 (nine)
Zooming:
Zoom mechanism:Manual
Zoom control:Combined zoom/focusing ring
Zoom type:Push/pull (70mm → 210mm)
Zooming method:<No data>
Focusing:
Closest focusing distance:1.1m
Magnification ratio:1:2.5 at the closest focusing distance @ 210mm
Focusing modes:Manual focus only
Manual focus control:Combined zoom/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 data>
Teleconverters:<No data>
Source of data:
Manufacturer's technical data.

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 Amateur Photographer magazine (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.

Notes

  • Independent-brand lenses were made for 35mm film SLR cameras by companies that competed with the camera manufacturers. Some came from factories that made lenses under their own brand names (Angenieux, Kiron, Sigma, Tamron, Tokina). Many others were national and international marketing organizations (Kalimar, Panagor, Rokunar, Soligor, Starblitz) that bought lenses from anonymous manufacturers. One firm — Vivitar — actually designed its own lenses and accessories, which were then subcontracted to manufacturing firms. Still others were private labels, sold only by specific photo specialty shops (Cambron, Quantaray, Spiratone).
  • The actual manufacturer of a Vivitar lens can be identified by the first digits of the serial number: 09 - Cosina, 13 - Schneider-Kreuznach, 19 - Sigma, 22 - Kino Precision Industries, 25 - Ozone Optical, 28 - Komine, 32 - Makina Optical, 33 - Asanuma, 37 - Tokina, 42 - Eugen Bauer, 44 - Perkin Elmer, 47 - Chinon, 51 - Tokyo Trading, 56 - Kyoe Shoji, 61 - Samyang, 6x - Olympus, 75 - Hoya, 77 - Kobori, 81 - Polar, 9x - Cosina. This numbering system, however, was used by Vivitar only between 1969 and 1991 (approx.).
  • This Vivitar lens has s/n 09xxxxxx, therefore it was produced by Cosina.

Alternatives among lenses that are part of a system

Sorted by focal length and speed, in ascending order

Alternatives among third-party lenses

Sorted by manufacturer name

Subscribe
Notify of
guest

Copy this code

and paste it here *

0 comments
Inline Feedbacks
View all comments

Copyright © 2012-2024 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.

Chromatic aberration

There are two kinds of chromatic aberration: longitudinal and lateral. Longitudinal chromatic aberration is a variation in location of the image plane with changes in wave lengths. It produces the image point surrounded by different colors which result in a blurred image in black-and-white pictures. Lateral chromatic aberration is a variation in image size or magnification with wave length. This aberration does not appear at axial image points but toward the surrounding area, proportional to the distance from the center of the image field. 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

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

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

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.

Diffraction

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

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

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.

Flare

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.

Ghosting

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.

Transmittance

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

Modulation Transfer Function (MTF)

When optical designers attempt to compare the performance of optical systems, a commonly used measure is the modulation transfer function (MTF).

The components of MTF are:

The MTF of a lens is a measurement of its ability to transfer contrast at a particular resolution from the object to the image. In other words, MTF is a way to incorporate resolution and contrast into a single specification.

Knowing the MTF curves of each photographic lens and camera sensor within a system allows a designer to make the appropriate selection when optimizing for a particular resolution.

Veiling glare

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

Anti-reflection coating

When light enters or exits an uncoated lens approximately 5% of the light is reflected back at each lens-air boundary due to the difference in refractive index. This reflected light causes flare and ghosting, which results in deterioration of image quality. To counter this, a vapor-deposited coating that reduces light reflection is applied to the lens surface. Early coatings consisted of a single thin film with the correct refractive index differences to cancel out reflections. Multi-layer coatings, introduced in the early 1970s, are made up of several such films.

Benefits of anti-reflection coating:

Circular fisheye

Produces a 180° angle of view in all directions (horizontal, vertical and diagonal).

The image circle of the lens is inscribed in the image frame.

Diagonal (full-frame) fisheye

Covers the entire image frame. For this reason diagonal fisheye lenses are often called full-frame fisheyes.

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.

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.

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.

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.

Original name

Camera name as indicated on the camera body.

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 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.

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. 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/2.8 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.

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.

Teleconverters

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.

Rotary zoom

The change of focal length is achieved by turning the zoom 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.

Zoom clutch

To set the manual zoom mode, pull the zoom ring towards the camera side until the words "POWER ZOOM" disappear.