Schneider Optics Camera Lens PC SUPER ANGULON 28 mm f 28 User Guide

PC-SUPER-ANGULON  
28 mm f/2.8  
User Manual  
Schneider Optics Incꢀ  
285 Oser Avenue  
Hauppauge · NY ¡¡788 · USA  
Phone 63¡ꢀ76¡ꢀ5000  
Fax  
63¡ꢀ76¡ꢀ5090  
Exclusive distributor for the USA  
 
Name of Parts and Cross Section of the Lens  
Focusing ring  
PC  
-
SUPER  
-A  
NGULON  
Distance scale  
Depth of field scale  
Aperture scale  
1
1,25 1,5  
2
3
1
5
0,3  
0,35 0,4  
0,5 0,7  
3
Aperture setting ring  
22 16  
8
4
2,8  
4
5,6  
8
Pre-set aperture setting lever  
Shifting knob  
Index  
Knurled ring  
Camera mount  
Fixing screw for camera mount  
 
General Description  
The SCHNEIDER PC-SUPER-ANGULON 28 mm f/2ꢀ8 is a very high-quality  
wide-angle lens for 35 mm analog and digital SLR cameras and provides a  
parallel shift facility like the sliding lens panel of professional large-format  
cameras for correcting converging vertical lines and for manipulating the  
perspective especially for use in architectural and product photographyꢀ  
Whereas normal 35 mm lenses have an image circle diameter of around  
44 mm so that all four corners of the image are inside the image circle, the  
PC-SUPER-ANGULON 28 mm f/2ꢀ8 provides an incredible 62 mm image  
circleꢀ Decentration up to ¡1 mm is possible within this area using a dove-  
tail guide which can be adjusted easily and exactlyꢀ The rotatable mount  
allows any desired shift directionꢀ  
Not shifted  
Maximally shifted  
 
Vertical shift is the most popular: upward, especially when photographing  
high buildings, so that the camera does not have to be tilted upward; and  
downward for product shots at an oblique angle or also for shots from  
high locations such as towers or mountains so that the camera does not  
have to be tilted downwardꢀ When the camera is tilted either upward or  
downward, perpendicular lines are not imaged as perpendicular, but rather  
converge upward or downward, which is very pronounced in wide-angle  
shorts and can be very irritatingꢀ  
These converging lines can be prevented with the PC-SUPER-ANGULON  
28 mm f/2ꢀ8 just as with adjustable large-format camerasꢀ If the adjustment  
range of ¡1 mm (the clearance of the camera bayonet fixes this limit) is not  
sufficient in extreme cases due to the oblique view being too steep, the  
parallel shift of the lens largely prevents the sloped position of the con-  
verging lines and furthermore also reduces the vertical compression of the  
imaged object which would otherwise occurThe image then again corre-  
sponds to the natural visual impressionꢀ  
The rotary mount, however, also allows horizontal movements or a shift in  
a slanted direction, egꢀ to be able to take a frontal photograph without any  
distortion from a lateral location or a location with a slanted offset if this  
would otherwise be impossible due to an obstacle or potential reflectionsꢀ  
 
6 Perspective Correction for Analog and Digital Photography  
The equalizing of converging lines or of unfavorable perspective due to a  
camera location made necessary by obstacles, reflections or danger, eꢀgꢀ  
traffic, is not only interesting for conventional analog photography, but also  
for digital photography when higher quality demands are madeꢀ While digi-  
tal images or digitized (scanned) analog images can be equalized on the  
computer using image editing software such as Photoshop, this is, however,  
associated with substantial degrading: If the rectangular image is distorted  
in the manner of a trapezoid for the parallel alignment of the converging  
lines, the interpolation (recalculation of the pixels) required for this reduc-  
Building is true to scale  
but cropped on top  
Building not true to scale,  
vertically compressed  
Converging lines  
Horizon  
Horizon  
Too much  
foreground  
Optical axis  
≈ ¡3°  
 
es the sharpness, produces just visible bluish violet or reddish brown color  
fringes at edges which have been made perpendicular under fairly high en-  
largement and gives an image with incorrect proportions (width-to-height  
ratio)ꢀ Since the final image must, however, be rectangular, the triangular ar-  
eas projecting on two sides have to be cut off, which shows how many pix-  
els, which are important for high resolution, are lostꢀ At the same time, the  
surroundings almost always become very small at the narrow side of the  
trapezoid or the actual motif is even croppedꢀ The optical equalization ac-  
tually during the shot with the PC-SUPER-Angulon 28 mm f/2ꢀ8 avoids thisꢀ  
Too  
low  
Building is true to scale and  
completely reproduced  
Vertical lines  
are parallel  
Too  
wide  
Horizon  
Vertical shift  
of 7 mm  
Optical axis  
 
8 Large Image Circle for Lens Shifts up to 1¡ mm  
The PC-SUPER-ANGULON 28 mm f/2ꢀ8 already produces an exceptionally  
flattened image at full aperture within the 62 mm image circle which is thus  
twice as large in area relative to the image circles of other 35 mm lensesꢀ  
Sharpness and contrast are increased further in the central area used with-  
out shift by stepping down slightly to f/4 to f/5ꢀ6ꢀ Sharpness, contrast and  
brightness naturally drop outside this area due to the huge image angle  
with an open apertureꢀ The full aperture with a decentered lens is there-  
fore only intended for the image composition and the focusingꢀ A good im-  
aging performance is obtained at the edge when stepping down further in  
dependence on the adjustment path; an aperture of ¡1 is recommended at  
maximum shiftꢀ Distortion and vignetting are exceptionally lowꢀ  
While the image quality falls considerably in the close range with many  
wide-angle lenses, the good imaging properties of this lens are maintained  
thanks to “floating elements” (a distance-coupled axial shift of a lens ele-  
ment group relative to the remaining system)ꢀ This makes this lens very in-  
teresting egꢀ for model shotsꢀ  
The adjustment takes place at a shifting knob on a flexible shaft which is  
easy to grip and sensitive in operationꢀ Millimeter scales on mutually oppo-  
site sides allow comfortable reading in any shifting knob positionꢀ Since the  
shift is possible at both sides of the zero position, the most favorable ori-  
 
entation can always be chosen, egꢀ irrespective of the shift direction with  
the knob at the bottom with free hands, or rather at the top at the tripodꢀ  
With a shift to  
the left or to the  
Natural size  
right, the shifting  
knob can always  
be at the left so  
max. ¡¡ mm  
that the right  
hand can hold  
the camera and  
remain on the  
release buttonꢀ  
max.  
¡0.5 mm  
With a diagonal  
shift, the adjust-  
ment path  
max.  
9.5 mm  
should not go  
c
beyond the lock  
noticeable at  
9ꢀ5 mm to pre-  
vent vignettingꢀ  
cl  
 
¡0 Fixing and Removing the Lens  
The lens is available in a connection socket to match different 35 mm SLR  
camera systems and is inserted into the camera bayonet or thread for fas-  
tening to the camera such that the red dot on the connection socket is op-  
posite the corresponding marking on the cameraꢀ  
To lock the lens in the bayonet or thread and to release it again, the lens  
should be rotated at the knurled ring and not at the tube since the latter is  
not rigidly connected to the bayonet or thread due to the rotary mount  
and since there is therefore a risk that the tube will turn without the bayo-  
net or thread engaging and tightening up to the stopꢀ  
Replacing the Mount for a Different Camera  
The camera mount of the lens is fastened using Phillips screws and can be  
replaced to match the new camera on a change of the camera systemꢀ The  
user can make the refitting him or herself using a size zero Phillips screw-  
driverThe table on page ¡5 shows the camera systems for which camera  
mounts can be obtained and gives their order numbersꢀ  
 
Parallel Shift  
¡1  
The lens is shifted perpendicular to the optical axis relative to the bayonet  
mount and so also relative to the taking format by rotating a knurled shift-  
ing knob at a shaft which is elastically flexible to protect against its damage  
or injury to the userThe lens tube can be rotated continuously to the left  
or the right in a rotary mount so that the parallel shift can be made in any  
desired directionꢀ It is best to grip the lens at the flattened part with the  
millimeter scales for this purposeꢀ 45° latch steps ensure a precise vertical  
or horizontal parallel shift as requiredꢀ  
The maximum path of ¡1 mm at both sides can be utilized to the full in the  
shift direction of the short image edge (vertical in landscape format and  
horizontal in portrait format) if the camera is stopped down to at least f/8ꢀ  
On a shift in the direction of the long image edge (horizontally in landscape  
and perpendicular in portrait), low vignetting of the image corners oppo-  
site to the shift (= of objects on the same side of the shift because of the  
upside-down image) may occur over the last half millimeterIt is therefore  
recommended only to utilize the shift path up to 10ꢀ5 mm here and to stop  
down to f/¡1 with more than 9 mm to avoid this vignetting in critical motifsꢀ  
The noticeable latch step at 9ꢀ5 mm should not be exceeded diagonally  
even at f/¡1 with parallel shifts since then the image corner decentered the  
most will contact the image circle edge (see image on page 9)ꢀ  
 
¡2 Focusing and Depth of Field  
The focusing of wide-angle lenses appears to be relatively non-critical due  
to their large depth of fieldꢀ However, careful focusing is actually necessary  
to utilize the high imaging quality of this lens to the fullꢀ To ensure maxi-  
mum brightness of the focusing screen and the best recognition of the ide-  
al focusing point, the aperture should be opened by pivoting the stopping-  
down lever toward the shifting knobꢀ The aperture setting ring therefore  
remains on the set working aperture so that the aperture can later again  
be closed to the working aperture quickly using the stopping-down lever  
directly before the shot without moving the eye from the viewfinderꢀ  
Focusing can generally take place before or after the parallel shift as de-  
siredꢀ However, if the LED focus display of an autofocus camera is used for  
manually focusing, focusing must take place in the centered position (ieꢀ  
with a non-shifted lens) because the AF sensor requires incidence of light  
approximately parallel to the axis, but the light is obliquely incident on the  
sensor when the lens is shiftedꢀ The parallel shift which then takes place  
after the focusing does not influence the set distanceꢀ  
The f-numbers at both sides of the index mark for distance and aperture  
indicate the depth of field: If egꢀ everything from ¡ m to 3 m should be  
sharp, the distance ring should be set so that the meter figures ¡ and 3 are  
above the same f-number (here: 8) at both sides of the index markꢀ  
 
Measuring the Exposure  
¡ꢀ  
If the measurement is not carried out using a separate hand exposure me-  
ter, but using the TTL exposure meter integrated in the camera, it is neces-  
sary to measure in the centered position of the parallel shift while stop-  
ping down to the working aperture because the arrangement and align-  
ment of the measuring cell of almost all SLR cameras requires a direction  
of light incidence axially symmetrically to the lens bayonetꢀ With an oblique  
incidence through the lens displaced from the center, some of the light  
bundle can be shadowed so that then less light is incident onto the mea-  
suring cellꢀ A higher exposure would therefore be displayed or set with an  
automatic exposure system so that overexposure would resultꢀ  
If the exposure is measured with a non-shifted lens, the camera must  
equally be aligned with the motif as if the motif would later also thus be  
photographed with a non-shifted lensꢀ  
The darkening of the image visible in the viewfinder with a lens shifted a  
large distance does not carry over to the image and so also does not re-  
quire any correction of the exposureꢀ This is due to a larger light fall-off at  
the open aperture and due to the viewfinder system being aligned to an  
exactly centered lens and not being adjustable to the shifted lens as well as  
to the mirror not going down far enough for the low position of the lens in  
the event of a downward shiftꢀ No vignetting occurs at the actual takingꢀ  
 
¡ꢁ Filters, Lens Hood and Camera Mounts  
Only the oversized B+W WA lters of the size 67 EW can be used with  
the SCHNEIDER PC-SUPER-ANGULON 28 mm f/2ꢀ8 due to the extreme-  
ly large image angle utilized at maximum shift up to 93ꢀ4°ꢀ The following  
table shows the order numbers of the most popular filter types – further  
types are availableꢀ The two B+W polarization filters shown there (linear  
and circular) have a special rotary mount and are dimensioned such that  
they do not produce vignetting even at maximum parallel shift of the lensꢀ  
An additional lens hood can, however, unfortunately not be used in combi-  
nation with these polarization filtersꢀ  
Furthermore, a special lens hood with a filter mount is also available which  
does not produce vignetting at maximum shiftꢀ The filter plates of 74 mm  
diameter which can be inserted there are held in this specal lens hood by  
an adapter ring belonging to the lens hoodꢀ  
The following table also shows the order numbers of the camera mounts  
with which the lens can be fitted to match the new camera bayonet or  
thread if the camera system is changedꢀ  
The PC-SUPER-ANGULON 28 mm f/2ꢀ8 with Leica R bayonet mount is  
only available through the camera manufacturer’s distribution channelꢀ  
 
¡ꢂ  
Wide-angle filters of size 6ꢃ EW  
Order no.  
B+W UV Filter with MRC coating ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ 40295  
B+W Skylight filter MRC coating ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ 14386  
B+W Käsemann linear polarizing filter ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ 75246  
B+W Käsemann circular polarizing filter with MRC coating ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ 16518  
More Filters of size 67 EW on request  
Special lens hood with filter holder ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ 60013  
B+W UV inlay filter 74 mm with MRC coating ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ 45366  
B+W Skylight inlay filter 74 mm with MRC coating ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ 46585  
Camera mounts  
Canon EOS ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ 45733  
Canon FD ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ 19106  
Contax/Yashica ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ 19118  
Leica R ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ Lens available only through Leica  
M42 thread ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ 19119  
Minolta AF/Sony a ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ 19124  
Minolta MD ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ 19105  
Nikon AI ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ 19104  
Olympus OM ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ 19120  
Pentax K/Samsung GX ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ 19098  
 
¡6 Specifications  
Relative aperture ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ¡:2ꢀ8  
Effective focal length ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ 29ꢀ2 mm  
Nodal point separation HH' ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ 57ꢀ9 mm  
Optical design ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ¡2 lenses in ¡0 groups  
Near distance correction ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ Floating elements  
Image circle diameter ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ 62 mm  
Image angle ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ 93ꢀ4°  
Format ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ 24x36 mm  
Format diagonal ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ 43ꢀ2 mm  
Maxꢀ displacements in landscape format ꢀ ꢀ ꢀ ꢀ 1¡ mm verticꢀ, ¡0ꢀ5 mm horizꢀ  
in portrait format ꢀ ꢀ ꢀ ꢀ ꢀ ¡0ꢀ5 mm verticꢀ, 1¡ mm horizꢀ  
in both formats ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ 9ꢀ5 mm diagonal  
Aperture settings ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ 2ꢀ8 to 22 in half stop incremꢀ  
Setting of preset working aperture ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ With stop-down lever  
Nearest distance ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ 0ꢀ28 m  
Smallest full-format object size ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ 2¡9x¡46 mm, scale appr¡:6  
Filter thread ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ 67 EW (B+W Filter)  
Total length (depending on camera mount) ꢀ ꢀ appr89 mm  
Maxꢀ diameter ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ 75 mm + 22 mm shifting knob  
Weight (depending on camera mount) ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ appr565 g  
Order number (without camera mount) ꢀ ꢀ ꢀ ꢀ 39789  
 

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