Third-party lens

Voigtlander-Zoomar 36-82mm F/2.8

Standard zoom lens • Film era • Discontinued

Production details

Announced:May 1959
Production status: Discontinued
Production type:Mass production
Original name:VOIGTLÄNDER-ZOOMAR 1:2.8 f=36....82mm
System:-

Model history (2)

Voigtlander-Zoomar 36-82mm F/2.8Push/pullA14 - 111.3m⌀95 1968 
Voigtlander-Zoomar 36-82mm F/2.8Push/pullA14 - 111.3m⌀95 1959 

Features highlight

Fast
Constant F/2.8
Auto
MF
PUSH/PULL

Specification

Optical design
Focal length range:36mm - 82mm [2.3X zoom ratio]
Speed range:F/2.8 across the focal length range
Maximum format:35mm full frame
Mount and Flange focal distance:Deckel [45.7mm]
M42 [45.5mm]
Diagonal angle of view:62° @ 36mm - 29.5° @ 82mm (35mm full frame)
Lens construction:14 elements - 11 groups
Diaphragm mechanism
Diaphragm type:Automatic
Aperture control:None; the aperture is controlled from the camera (Deckel)
Aperture ring (Manual settings only) (M42)
Number of blades:7
Zooming
Zoom mechanism:Manual
Zoom control:Zoom ring
Zoom type:Push/pull (36mm → 82mm)
Zooming method:<No data>
Focusing
Closest focusing distance:1.3m
Maximum magnification ratio:<No data>
Focusing method:<No data>
Focusing modes:Manual focus only
Manual focus control:Focusing ring
Physical characteristics
Weight:869g (Deckel)
Maximum diameter x Length:⌀90×135mm (Deckel)
Weather sealing:-
Fluorine coating:-
Accessories
Filters:Screw-type 95mm with adapter 296/95
Lens hood:Screw-type 305/95 (round) with adapter 296/95
Teleconverters:Not compatible

*) Source of data: Voigtlander Zoomar 1:2,8 f=36mm..82mm for Bessamatic instructions.

Manufacturer description #1

The Voigtlander-Zoomar is the only Zoomar lens for still cameras. This model, with fully automatic diaphragm, is designed expressly for use with the Bessamatic Camera. A high-precision varifocal lens, in focus at all focal lengths from 36 to 82mm, it enables the photographer to shoot continuously at variable focal lengths without changing camera position. Simple, positive setting with lens ring.

Manufacturer description #2

With the Voigtlander Zoomar, you open up new fields of application in all situations in which you need to be able to vary the field of view without changing your own working position. This lens has a working range of 36 to 82mm. Merely by sliding a ring on the lens mount forward or away from the camera, you can set any intermediate focal length you desire from wide-angle to telephoto. Thus, with this lens you embrace the three most popular focal lengths of 35, 50 and 80mm in one self-contained optical and mechanical unit. The changing of the field of view is smooth and continuous so that you can stop at any intermediate point in the range from 36 to 82mm. While doing this, your exposure and distance settings remain constant. You can take flash shots continuously without having to make any changes in the camera controls.

From the editor

Designed by Dr. Frank G.Back and produced by Voigtlander in Germany, the 1959 36-82/2.8 Zoomar was the world's first production zoom for 35mm still cameras. Dr. Back and Zoomar had previously produced Zooms for TV and movie cameras. Looking back today, it's amazing how much he got right from the start. Dr. Back succeeded in obtaining a very useful wide to short tele zoom range, with a fast 2.8 aperture and a convenient single zoom control ring. He not only invented the lens, he invented the term "Zoom" as it applies to 35mm lenses. Prophetically, the 36-82 was introduced to America at the Philadelphia camera show that also introduced the Nikon F and Canon Canonflex to the American public.

Today collectors usually associate the 36-82/2.8 Zoomar with Voigtlander's excellent leaf shutter Bessamatic SLR. Actually the Zoomar was introduced from day one in both Voigtlander Bessamatic and Exakta mounts. Later it was also produced in other mounts, including 42mm screw mount. It was introduced in May 1959, but not generally available until 1960. Optically, the Zoomar 36-82 was a great breakthrough, made possible according to Dr. Back by new rare earth element glasses and computer aided optical designs. 14 elements in 11 groups, focusing with front element. Groups 2, 3 and 6 move lineary together for focal length change. All elements have a simple anti-reflex coating. Standard close focus is 4 1/2 feet, but two close up lenses were available - the Focar A and B - which provided focus as close as 10 inches.

Filters, Focar lenses and the collapsible rubber lens hood are attached to the lens with the aid of the clamping ring. Assembly: Clamp the ring to the front lens mount and screw the accessory into the inner screw thread of the ring (95mm diameter). Several attachments can of course be combined.

Typical application

landscapes, interiors, buildings, cityscapes, portraits, photojournalism, weddings, parties, carnivals, live concerts, travel

Lenses with similar focal length range and speed

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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.

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You are already on the page dedicated to this lens.

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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.

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 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. 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.

Modified M42 mount

The mount has been modified by the manufacturer to allow exposure metering at full aperture.

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 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 happens when the photographer moves the ring towards the mount or backwards.

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.

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.