Vintage Canon FD Lenses
After a relatively short 7 years, the FL mount was in turn replaced in 1971 by the Canon FD lens mount. The Canon FD lens mount era was possibly the most famous and successful era in shaping the success that Canon enjoyed until the mid-2010s when Sony started to dethrone them as the de facto go-to camera brand.
This era spanned 21 years from 1971 to 1992, when the FD mount was officially phased out. It gave birth to some of the most popular vintage lenses and starter film cameras, the Canon AE-1, and it will be remembered as some of Canon’s best years. During the FD lens mount era of Canon SLRs, a total of 22 cameras were released.
Canon FD 7.5mm F/5.6 Fisheye Lens
With the Canon FD lens mount, came some of the most innovative lenses the world had seen yet. Once dubbed as the full sky lens, the Canon FD 7.5mm fisheye lens was designed for scientific studies, with primary use in astrophotography and astronomical observations.
Today, however, the fisheye lens is widely used by professional photographers to achieve a special look and feel through the various optical characteristics of a fisheye lens. The images create a world of mystery from the most conventional subject matter.
This lens was one of the many lenses in the FD lineup to receive the improved S.S.C. and nFD variants. This lens remains one of the most compact circular-image fisheye lenses available today for 35mm and full-frame cameras.
Canon FD 55mm F/1.2 S.S.C. Aspherical
Canon FD lenses were virtually identical to the famous Canon K35 vintage cinema lenses when it came to optics. In classic movies such as Aliens, nothing got photographers and filmmakers more excited than the 55mm f/1.2 S.S.C. Aspherical lens.
Open wide at f/1.2 the lens has a soft and expressive bokeh and is considerably sharp while maintaining a beautiful vintage look. While very dreamy at f/1.2, stopping to f/2.8 and f/4 introduces additional sharpness and contrast to images and video making this lens very versatile in storytelling and helping exude the right emotion from your audience.
This lens has the longest focal length of any Canon L-series lens from the FD mount era. Its diagonal angle of view is extremely narrow, at about 3 degrees. The lens has a magnification 16 times that of a 50mm standard lens and can fill the 35mm viewing frame with an area is only 1/256th the size of the area covered with the 50mm lens. This lens is best suited for sports and nature photography.
It incorporates Canon’s unique rear group focusing system in which focusing is performed by limiting the movement to the rear lens group. The overall length of the lens remains unchanged during focusing, thereby maintaining excellent balance over its entire shooting range. The secondary spectrum is minimized by a UD glass element
Lens Repair
More recently, as I picked up lens repairs, I picked up a few FD lenses, and my initial experience was like, why on earth would an engineer design it that way? Over designed, complex, were the first thoughts, and weeks would go by, and I would disassemble a lens over and over again, fiddle with the parts, just to figure out how they work, and why they don’t work when not mounted… This write-up is the culmination of the weeks of trial and error to figure out the innards of this line of lenses.
Just as a by the way, after understanding the way the lenses work, breech lock FD and new FD (typically called nFD, but I rather call it FDn for filing purposes), they became alright to work with.
Haha, after working with the Rollei QBM lenses, which are logical in the mechanical operation aspects (basically a M42 lens with a bayonet mount), but infinitely more illogical than Canon FD in the actual construction. An example – to work on the helicoids of a particular QBM lens, the entire aperture control assembly (with all the levers and springs) must be disassembled as they obstruct the optical unit helicoid (OUH) from getting out. That is like, to get to a gasket at the Citroen to address an oil leak, the entire engine block has to be disassembled…
Early Experience
I began my photographic journey in the mid 1970s with a shared/loaner camera and a single lens, the Canon AE-1 and its attending 50mm f/1.8 FD SC (and a Speedlight 155A). It was a time when I could not afford the purchase of a camera, and my friend Ngei finally got his father to buy him a Tamron 80-200mm f/3.8-4 Adaptall-2, after about 2 years of being restricted to only 50mm f/1.8. Nevertheless, I learned my fundamentals on the Canon.
When I finally got enough cash (begged from an aunt!) in the 1980s, after much considerations I went to a Nikon (FE2) instead, even if I was fascinated with the T90, the main reasons being FE2 felt so much more solidly built, and that I needed only aperture priority and manual, not the multi-mode gizmo of those days. It was a decision that I am glad I took, as Canon went EF shortly after, leaving all legacy FD lenses to linger on for a slow death.
35mm
- f3.5 Serenar. Four elements in three groups. Rigid, brass, with infinity lock. March 1950. Supplied with a case and finder. Designed by Kuroki Masana (黒木正名).
- f3.5 Canon. Six elements in four groups. March 1957. Supplied with a case.
- f3.2 Serenar. Six elements in four groups. June 1951. Rigid, brass, with infinity lock. marked in feet. Minimum aperture f22, six leaves. Supplied with a case and finder. Designed by Itō Hiroshi.
- f2.8 Serenar. Rigid, brass, with infinity lock. October 1951.
- f2.8 Canon. Six elements in four groups. Rigid, black and silver, marked in feet. March 1957.
- f2 Canon. Seven elements in four groups. Minimum aperture f22, nine aperture blades. Rigid, black, scalloped focusing ring, no infinity lock. Diameter 49mm, length 28mm, weight 107g, filter size 40mm. Designed by Mukai Jirō. April 1962. The front of a typical example reads: CANON LENS 35mm 1:2 No Canon Camera Co. Inc LENS MADE IN JAPAN Davidde Stella praises it very highly.
- f2 Canon. As they are listed by Canon, the specifications are identical to those of the earlier lens (aside from the diameter and length, which go unmentioned for the new lens). The optical design is different. Designed by Mukai Jirō. July 1963. The front of a typical example reads: CANON LENS 35mm 1:2 CANON LENS MADE IN JAPAN
- f1.8 Canon. Seven elements in four groups. Rigid. Designed by Mukai Jirō. April 1956.
- f1.5 Canon. Eight elements in four groups. Rigid, black and silver, marked in metres. Designed by Mukai Jirō. August 1959.
Типовые комплекты объективов
В качестве примера я постараюсь подобрать несколько минималистичных наборов оптики для фотокамер Canon EOS Full-Frame. Моё мнение вовсе не является безапелляционным и должно служить лишь ориентиром при составлении вашей собственной системы.
Универсальный комплект
Приведённый ниже набор позволит справиться с большинством фотографических задач.
- EF 17-40mm f/4L USM
- EF 70-300mm f/4-5.6 IS II USM
- EF 50mm f/1.8 STM
Широкоугольный зум 17-40mm f/4L можно при желании заменить фиксом EF 20mm f/2.8 USM или EF 24mm f/2.8 IS USM.
Очевидно, что любой среднедиапазонный зум в этой компании будет лишним.
Профессиональный комплект
Классический набор фоторепортёра включает в себя два зума – широкоугольный и длиннофокусный:
- EF 16-35mm f/2.8L III USM
- EF 70-200mm f/2.8L IS II USM
Обычно фотограф-профессионал держит эти объективы на двух отдельных фотоаппаратах, что избавляет его от необходимости тратить время на смену оптики.
При отсутствии острой необходимости в широком угле, можно заменить 16-35 на EF 24-70mm f/2.8L II USM, но брать их с собой одновременно не стоит, иначе часть диапазона фокусных расстояний окажется продублирована. Хорошей идеей будет в дополнение к 16-35 и 70-200 захватить любой светосильный полтинник, который сможет при необходимости выполнять функцию стандартного объектива, а также позволит снимать в полумраке.
Замечу, что объективная необходимость в светосиле f/2,8 возникает крайне редко, и в большинстве случаев можно ограничиться более лёгким и практичным набором из объективов со светосилой f/4.
- EF 16-35mm f/4L IS USM или EF 24-70mm f/4L IS USM
- EF 70-200mm f/4L IS USM
По качеству изображения f/4 объективы не уступают своим f/2,8 аналогам, а уменьшение светосилы на одну ступень в какой-то степени компенсируется наличием оптического стабилизатора.
Спасибо за внимание!
Василий А.
Environmental Portraits & Artistic Uses
This lens has incredible ability to render whimsical and ethereal scenes with its massive 1.2 aperture. It is surprisingly usable @ 1.2, however we found if used @ f2 or f2.8 it sharpens up like a tack. It also responds to flares in a big way! While this was probably to the detriment for the photographer of its day, today it’s quite welcome in our tool kit. Our modern high-end lenses manage flares and other artifacts so well. We crave for the power of the lens flare to help tell our love stories in a striking way. This lens achieves the look quite well, when shot into a very bright light source.[vc_column width=”1/6″]
[vc_column width=”1/6″]
[vc_column width=”2/3″]
100mm
- f4 Serenar. Three elements in three groups. Brass. Designed by Kuroki Masana. January 1948. Supplied with case and finder.
- f4 Serenar. Three elements in three groups. Brass. Weighs 265g (lighter than its predecessor). April 1950. Supplied with case and finder.
- f3.5 Serenar (later Canon). Five elements in four groups. February 1953. Supplied with case, finder, and hood. Designed by Itō Hiroshi.
- f3.5 Canon. Five elements in four groups. Black and silver. marked in metres. April 1958. Supplied with case and hood.
- f2 Canon. Six elements in four groups. Black. marked in metres and feet. Designed by Mukai Jirō. January 1959. Supplied with case and hood.
Bibliography
- Dechert, Peter. . Hove, East Sussex: Hove Foto Books, 1985. ISBN 0-906447-30-5.
- Deschin, Jacob. Canon Photography: A Working Manual of 35mm Photography with the Canon V and IVS2. San Francisco: Camera Craft; London: Fountain Press, 1957. Chapter 7 is devoted to the lenses of the time.
- Kikan kurashikku kamera (季刊クラシックカメラ) / Classic Camera 6. Tokyo: Futabasha, 2000. ISBN 4-575-47235-2. This issue of the quarterly is devoted to Canon. Although there is an English as well as a Japanese title, the content is in Japanese only.
- Manyuaru Kyanon no subete (マニュアルキヤノンのすべて, All about manual Canons). Tokyo: Ei, 2001. ISBN 4-87099-524-7. The screwmount lenses, and others for rangefinder cameras, are listed on pp.116–18.
- Miyazaki Yōji (宮崎洋司). Kyanon renjifaindā kamera (キヤノンレンジファインダーカメラ) / . Tokyo: Asahi Sonorama, 1996. ISBN 4-257-04011-4.
- Miyazaki Yōji (宮崎洋司). «Kyanon 50mm hyōjun renzu no hensen» (キヤノン50mm標準レンズの変遷). In Shashin Kōgyō (写真工業), December 2003. Pp.70–74.
-
Sekai no Raika-renzu (世界のライカレンズ, Leica lenses of the world). Tokyo: Shashinkogyo Syuppan-sha.
- Part 1. 2000. ISBN 4-87956-061-8.
- Part 2. 2002. ISBN 4-87956-065-0.
- Part 3. 2005. ISBN 4-87956-073-5.
- Teranishi Jirō (寺西二郎). «Omoshiro-renzu kyanon FL19mm F3.5» (面白レンズ キヤノン FL19mm F3.5, An interesting lens，the Canon FL 19mm f/3.5). In Kamera Rebyū: Kurashikku Kamera Senka (クラシックカメラ専科) / Camera Review. No.23. Pp.32–3. Tokyo: Asahi Sonorama, 1992.
Canon FL Lens Series
1964-1971
[vc_column width=”1/3″]
We start our project off with the Canon FL lens series. While this is not the first Lens Series in Canon’s lineage, lenses from this time period are still very available today. Canon launched the lineup in 1964 to critical acclaim. One of the biggest hits amongst photographers was the super fast 58mm 1.2 first released in 1964. While the 58mm is available on the used market it’s difficult to convert to EOS and so we’ve chosen to avoid it entirely. However, Canon had decided to drop the 58mm and reiterated in 1968 with it’s predecessor this the Canon 55mm 1.2. It, unlike the earlier version, can be modified to EOS easily, and we’ve done just that!
[vc_column width=”1/3″]
Our 55m 1.2 was printed in 1968 and while it lacks today’s precise computer aided design, its very capable of creating a beautiful look. With it’s massive aperture and standard perspective it produces environmental portraits that radiate a very fine art feel. While the images certainly look high end, the cost was most certainly not. We picked up our copy from eBay for a mere $120USD at the time of this writing and converted it with the EdMika kit for another $99USD. Granted, our lens does have a few bumps and bruises and the focus is a little sticky (it is almost 50 years old). But, paired with the much more modern Canon 6D full frame camera it can really shine.
[vc_column width=”1/3″]
We should also mention this lens is quite antiquate, it was never designed to work with modern DSLRs at all. Due to this antiquity, you will forfeit modern bells and whistles when using this lens or other antiquated gear. For instance this lens has no auto focus and must be focused by turning the focusing ring. It also has no focus confirmation at all. We mostly employ live view focusing and will zoom in 5 to 10 times to acquire digital focus. For this shoot Ariel and I invited our longtime friend and Denver Stage Actress Melissa Jane Morris to strut the streets of Denver to create our specific 1968 fine art feel. She preformed wonderfully! Give her some love on Instagram!
[vc_column width=”1/2″][vc_column width=”1/2″][vc_column width=”1/6″]
[vc_column width=”2/3″]
85mm
- f2 Serenar. Designed by Kuroki Masana.
- f2 Serenar. Six elements in four groups. Brass. September 1951.
- f1.9 Serenar (later Canon). Six elements in four groups. Brass. marked in feet. April 1949. Designed by Itō Hiroshi.
- f1.9 Canon. Six elements in four groups. Black. marked in metres and feet. August 1958. Supplied with a case.
- f1.8 Canon. Five elements in four groups. Black. marked in metres and feet. Designed by Mukai Jirō. March 1961. Supplied with a case and hood.
- f1.5 Serenar. Seven elements in four groups. Brass. marked in feet. July 1952. Designed by Itō Hiroshi.
- f1.5 Serenar. Seven elements in four groups. January 1953.
- f1.5 Canon. Seven elements in four groups. Silver and black. March 1960.
Purchasing & Converting
Finding a pristine copy of this lens can be a lengthy, if not impossible processes if you are looking for the best deal possible. Read more about identifying and purchasing canon vintage equipment. This particular lens is now in popular demand and has since increased in cost due to cheap adapters and modification to mirrorless cameras. Recently, a very suitable adapter became available and the conversion process is actually quite simple. The hack of this lens from FL to EF mount literally took under 5 minutes. You will need an adapter kit made by EdMika. As a fellow photographer he designs each adapter specifically for each antique lens. He is bringing the classics back to life and we can’t thank him enough! He also has a very helpful YouTube Video to walk you through the conversion process.[vc_column width=”1/6″]
[vc_column width=”1/3″][vc_column width=”1/3″][vc_column width=”1/3″][vc_column width=”1/6″]
[vc_column width=”2/3″]
50mm
- f4 Serenar. Four elements in three groups. March 1947. Comes with a finder; not rangefinder coupled.
- f3.5 Serenar. Four elements in three groups. Collapsible. October 1946. Has a filter thread. In both the earlier, Canon-only mount and the regular LTM. Designed by Furukawa Ryōzō (古川良三).
- f3.5 Serenar. Four elements in three groups. Collapsible. August 1952. Has a filter thread.
- f2.8 Canon. Four elements in three groups. Designed by Mukai Jirō. January 1955.
- f2.8 Canon. Four elements in three groups. Rigid, black and silver, marked in metres. November 1957.
- f2.8 Canon. Four elements in three groups. Rigid, black and silver (focussing ring gives an effect of broad silver/black stripes), marked in feet. February 1959.
- f2.2 Canon. Five elements in four groups. Rigid. Designed by Mukai Jirō. January 1961.{{Flickr_image
- f2 Serenar. Six elements in four groups. February 1947. In both the earlier, Canon-only mount and the regular LTM. Designed by Furukawa Ryōzō.
- f1.9 Serenar. Six elements in four groups. Collapsible, with infinity lock. marked in feet. Designed by Kuroki Masana. April 1949.
- f1.8 Serenar (later Canon). Six elements in four groups. Rigid, brass, with infinity lock. marked in feet. November 1951. Designed by Itō Hiroshi.
- f1.8 Canon. Six elements in four groups. Rigid. marked in metres or feet. August 1956.
- f1.8 Canon. Six elements in four groups. Rigid. December 1958.
- f1.5 Serenar (later Canon). Seven elements in three groups. Rigid, brass. November 1952. Mild praise as a Sonnar copy from Davidde Stella. Designed by Kuroki Masana.
- f1.4 Canon. Six elements in four groups. Rigid, black and silver, with infinity lock. Marked in metres. August 1959. Designed by Itō Hiroshi.
- f1.4 Canon. Six elements in four groups. Rigid, black and silver, with infinity lock. marked in metres and feet.
- f1.2 Canon. Seven elements in five groups. April 1956. Review by Davidde Stella. Designed by Itō Hiroshi.
Famously, Canon also made an f0.95 lens for its rangefinder cameras; this is not screwmount but instead requires an additional bayonet mount provided on the Canon 7 and Canon 7s.
Honorable Mentions
Canon S 50mm F/0.95 Lens
Due to its use of a non-standard Canon lens mount an honorable mention goes out to the Canon S 50mm f/0.95. This lens was originally designed for the Canon 7 rangefinder camera that used the Leica M39 Screw Mount. Known as one of the “dream lenses” the Canon 50mm f/0.95 is an absolute legend when it comes to low light and bokeh; the dream for most photographers and filmmakers alike. With one of the largest apertures in the world, it is four times faster than the human eye.This lens mostly recently garnered a lot of attention after the release of Zak Snider’s Army of the Dead movie on Netflix, which was shot in part with this lens. While this movie might not be for everyone, have a watch and see for yourself what might make this lens special in the eyes of many.
Canon FD 24mm F/1.4 S.S.C. Aspherical Lens
Due to its exuberant price point at around $20,000 the second honourable mention goes to the Canon FD 24 F/1.4 S.S.C. Aspherical Lens. As an absolute fan favorite lens from the FD era, this epoch-making wide-angle lens boasts an extremely large maximum aperture of f/1.4 for its focal length, which is made possible through the incorporation of an aspherical element.
With regular spherical lenses, it is not possible to completely eliminate flare which usually increases with aperture size and becomes most obvious at maximum aperture settings.
The aspherical element has virtually eliminated flare while, at the same time, enhancing the resolving power and solving the problem of diminishing brightness at the periphery of the image field, a shortcoming of conventional spherical lenses. As a result, the lens is free from halo often appearing in nighttime snapshots as blurred outlines of light sources such as lighted windows, street lights, etc.
This improvement makes it possible to shoot available-light photographs under relatively poor lighting conditions where the use of flash is not possible. The lens has, thus, drastically expanded the horizons for wide-angle photography. Barrel-form distortion inherent in spherical wide-angle lenses and comae are almost entirely absent.
What is your favorite vintage Canon lens?
Notes for prospective buyers
Canon also made several of the lenses described above (particularly the faster ones) in other mounts, notably mounts for cinephotography. Most, perhaps all of these are completely unusable with still cameras (with the possible exception of SLRs used for extreme close-ups). Worse, some have mounts with the Leica thread but designed for a shorter distance to the film plane: you may be able to screw these lenses into a still camera body but they will then be unusable. Ignorant or unscrupulous dealers may describe such lenses as being for Leica. Make sure that the lens is rangefinder-coupled: those for rangefinder use are coupled (with occasional exceptions as noted above); those for other uses are not.
135mm
- f4 Serenar. Four elements in three groups. Brass. March 1947. Designed by Furukawa Ryōzō.
- f4 Serenar. Four elements in three groups. Brass. February 1948. Supplied with case and finder.
- f4 Serenar. Four elements in three groups. June 1948. Supplied with case and finder.
- f3.5 Serenar. Four elements in three groups. Brass. marked in feet. Designed by Mukai Jirō. January 1953. Supplied with a case, finder, and hood.
- f3.5 Canon. Four elements in three groups. marked in metres and feet. April 1958. Supplied with a case and hood.
- f3.5 Canon. Four elements in three groups. January 1961. Supplied with a case and hood.
Canon also made a 135/2.5 lens for rangefinder cameras; this needs a mirror box to be usable.
19mm
The Canon 19mm f/3.5 lens, designed by Mr Koyanagi has nine elements in seven groups. Its minimum aperture is f/16, with six aperture blades. It is rigid, and finished in black and silver with a scalloped black focusing ring. Its diameter is 58.6mm, length 30.5mm, and weight 200g; it has a 55mm filter thread. It is marked in metres and feet, minimum focusing distance 50cm. Released in August 1964 for ¥40,100. Supplied with a case and finder. Oddly, some of these lenses — in addition to the lenses described immediately below — were marked «FL».
This was the last rangefinder lens that Canon would release. (Unusually, Canon did not participate in the Japanese rangefinder revival of the 1990s, which even brought a Pentax LTM lens.)
Also in August 1964, Canon released the earlier of two 19/3.5 FL-mount lenses (for SLR) as a set with a finder and FL-to-LTM adapter. The specifications are the same as those of the rangefinder-coupled lens, except for its dimensions (in addition to any adapter: diameter 65mm, length 18mm, filter thread 58mm, weight 150g). It cost ¥45,000; presumably the adapter cost extra.
Vintage Canon R Lenses
The R mount, not to be confused with the modern RF lens mount first announced in 2018, was used by Canon’s first SLR cameras. The cameras built for the R lens mount were the:
- Canon Canonflex
- Canon Canonflex R2000
- Canon Canonflex RP
- Canon Canonflex RM
In 1964 the R mount was replaced with the more commonly known Canon FL lens mount. While the mechanism for changing the aperture is different from the FL and FD mounts the discontinued R mount can still be adapted to mirrorless interchangeable lens cameras via an adaptor.
Canon R Super-Canomatic 58mm F/1.2 Lens
Released in 1962 the Canon R Super-Canomatic was marketed to the world as the fastest lenses with a maximum aperture of f/1.2. This incredible lens was the predecessor to some of the most famous Canon vintage lenses such as the Canon FD 55mm F/1.2 S.C.C. The aspherical version of the Canon FD 55mm F/1.2 S.C.C. sells for as much as $5,000. Rarity aside, one could imagine how sought after and popular this lens must be.
For any photographer considering purchasing this lens which inspired some of the greats of Canon vintage, you should do so on a mirrorless camera. Due to the flange distance between the lens mirror on DSLR cameras, the mirror will unavoidably hit the lens.
Canon R Super-Canomatic 85mm F/1.8 Lens
Released in 1961, a year earlier than the previously mentioned Canon 58mm F1.2, the Canon R Super-Canomatic 85mm f/1.8 lens was a favorite among professional photographers for its excellent qualities. The wide aperture in a 85mm focal length was effective for vintage portrait photography, fashion photography, and available light photography at live events. Despite the 60 plus years on the age of this lens, the image quality is still admired today.
Canon R Super Canomatic 100mm F/2 Lens
The Canon Super Canomatic R 100mm f/2 was released in 1959, being one of the earlier lenses in the Canon R mount lineup. The Canomatic R 100mm f/2 is a very sharp vintage lens at wide open and its focal length is perfect in a full-frame format. Even on crop sensors, the lens performs brilliantly for certain shooting situations where the extra reach is welcomed. The Canomatic R 100mm f2 has quite a bit of purple fringing at f2, its color is not quite as saturated as other lenses from that era.
Canon R Super-Canomatic 135mm F/2.5 Lens
In July of 1960 Canon introduced the wider aperture version of the 135mm f/3.5 lens, which was released a year prior. The more luxurious f/2.5 “Super Canomatic” lens came equipt with two aperture rings. The Canomatic’s front ring is for automatic operation, the second aperture ring operates the iris manually. This vintage Canon telephoto lens is a popular choice for portrait photographers. Its lack of sharpness when open wide open will bring that soft vintage look to your photos you’ve been looking for.
Vintage Canon FL Lenses
The next installment into the Canon SLR history came with the new FL lens mount. It was first introduced in April 1964 with the Canon FX camera, replacing the previous Canon R lens mount. During the FL lens mount era of Canon SLRs, a total of 6 cameras were released:
- Canon FX
- Canon FP
- Canon Pellix
- Canon FT QL
- Canon Pellix QL
- Canon TL
Vintage FL Canon lenses are very popular choices for photographers in the modern photography era as many mirrorless interchangeable-lens cameras are able to use Canon FL lenses via an adapter. FL lenses can also be used on FD-mount cameras, a later developed mount for Canon cameras in the early 1970s.
Canon FL 19mm F/3.5 Wide Angle Lens
The Canon FL 19mm f/3.5 is our first notable vintage wide-angle lens on this list. It was famous during its time for being free of astigmatism and its impressive control over distortion held to less than one percent. The lens produces clear and sharp images edge to edge. The second version of this lens, the Canon FL 19mm f/3.5R achieved another impressive feat during its time of through-the-lens focusing which allowed for the entire 96° degree field-of-view to be recorded on film.
Canon FL 58mm F/1.2 Lens
The Canon FL 58mm f1.2 lens adapted to a digital camera gives a mindblowing dream-sequence look at one of the most affordable price points for an f1.2 vintage lens. This lens renders a beautiful glow and bloom in its highlights which is a look many photographers and videographers chase with modern photography equipment by using diffusion filters.
Designed for a wide range of uses, the Canon FL 85mm f1.8 lens is perfect for anything from portraiture to nature work as well as general, all-round photography. This lens provides faithful reproductions of colors, exactly as seen with the eyes of the user. The wide aperture provides light even in the darkest settings, and when used at maximum aperture, the softness in the lens renders pleasing soft highlights, giving the final images a ethereal look and feel.
Notes
- The 19mm lens extends some way into the body and thus may be incompatible with certain bodies. The collapsible lenses may be used in extended state with any body; however, like the collapsible lenses of Leitz or any other manufacturer they should be collapsed with great care within any body with which they are not known to be completely compatible. The Bessa and small Leitz/Minolta bodies are rather less accommodating than most.
- Dechert, p. 200.
- Sale as a set: Dechert, pp. 199–200. There’s a review in Camera Review 33 and also on pp. 34–5 of Sekai no Raika-renzu Part 2.
- Miyazaki’s book says January 1956.
- Article on pp. 114–15 of Sekai no Raika-renzu Part 1.
- Article on pp. 40–41 of Sekai no Raika-renzu Part 2.
- Miyazawa says «Ryuzo» within the English text of Canon Rangefinder Camera on p. 122; 良三 within the Japanese text on p. 46. «Ryūzō» (let alone «Ryuzo») is a most unlikely reading of 良三, for which the obvious reading is «Ryōzō».
- Article on pp. 108–9 of Sekai no Raika-renzu Part 3.
- Article on pp. 56–7 of Sekai no Raika-renzu Part 2.
- Article on pp. 46–7 of Sekai no Raika-renzu Part 2.
- Article on pp. 126–7 of Sekai no Raika-renzu Part 1.
- Article on pp. 44–5 of Sekai no Raika-renzu Part 2.
- Article on pp. 42–3 of Sekai no Raika-renzu Part 2.
- Article on pp. 124–5 of Sekai no Raika-renzu Part 1.
- Article on pp. 116–17 of Sekai no Raika-renzu Part 1.
- Date from Miyazaki. «Canon» version written up on pp. 48–9 of Sekai no Raika-renzu Part 2; the writer says that the «Serenar» version came out in 1951.
- Article on pp. 110–11 of Sekai no Raika-renzu Part 3.
- Article on pp. 118–19 of Sekai no Raika-renzu Part 1.
- Article on pp. 52–3 of Sekai no Raika-renzu Part 2.
- The Serenar version is mentioned in Awano, p.124 of Kurashikku Kamera Senka no.32.
- Article on pp. 50–51 of Sekai no Raika-renzu Part 2.
- Article on pp. 54–5 of Sekai no Raika-renzu Part 2.