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
ꢂ
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 occurꢀ The 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, eꢀgꢀ 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°
ꢃ
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 eꢀgꢀ 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-
ꢄ
entation can always be chosen, eꢀgꢀ 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-
driverꢀ The 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 userꢀ The 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 millimeterꢀ It 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 (iꢀeꢀ
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 eꢀgꢀ 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 filters 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 apprꢀ ¡:6
Filter thread ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ 67 EW (B+W Filter)
Total length (depending on camera mount) ꢀ ꢀ apprꢀ 89 mm
Maxꢀ diameter ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ 75 mm + 22 mm shifting knob
Weight (depending on camera mount) ꢀ ꢀ ꢀ ꢀ ꢀ ꢀ apprꢀ 565 g
Order number (without camera mount) ꢀ ꢀ ꢀ ꢀ 39789
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