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This is page 2 of data on lens flange distance (see page 1) and image coverage of various legacy stills and movie lens.
It aims to provide information on the viability of adapting lenses from one system to another.
For more modern lenses see matthewduclos's image-circle-database

see also: neg size comparisons. Connectors


As of 2014 the prime candidates for adaption to digital are for Sony-E-mount (NEX), micro 4/3rds (M43, BMCC), or Black Magic Pocket cinema camera (BMPCC/S16).
As useful discussion on suitable lenses for BMPCC here: www.bmcuser.com/archive/index.php/t-3563.html ,

 

Lens vignetting, also known as peripheral shading or light fall-off is a result of lens design. It can be gentle like a soft grad or hard and obtrusive and merge with the lens Image Circle.
Another cause of vignetting on digital cameras is interaction of the angle of rays of light with the surface layer of the sensor, this predominantly visible with non-retrofocus fast and wide angle lenses when the iris is wide open. Recent NEX and Fuji sensors purport to be "better" in this respect. Lenses to be aware of are those for non reflex cameras, ie movie cameras and rangefinders.. eg the 35mm and 24mm Speed Panchros in the examples below (just to show it has nothing to do with "cheap" lenses!)... the effect is less obvious on anything other than a blank wall.. but is never the less still present.

Lens Image Circle, IC, on this page at least, is taken to mean the diameter of the largest usable image produced by the lens (it may vary with focus distance, when the smaller of the two diameters should be quoted, and by unusable I mean light fall off has fallen to zero or the image is significantly unsharp). Another way of looking at this is to say the largest usable image supposing one could compensate for vignetting in post (or in camera as now happens with some digital lens/camera combinations). In addition you might come across terms like 'circle of illumination' or the smaller 'circle of definition', the latter meaning the diameter of it's sharp image (these tend to converge on wide angle lenses, but the difference can be quite marked on longer focal lengths)..
IC may be the result of optical design or/and masking by the extremities of either end of the lens housing. For this reason the same lens may have a smaller IC in say D mount than it has in C mount, or smaller in a 16mm mount than in it's equivalent 35mm mount (the housing designer made more use of the leeway he had in the smaller mount, or deliberately masked the light path to improve contrast). However these variations are comparatively rare (eg Schnieder 16mm), more rare than finding the same lens in such wildly different mounts!.
Most times the diameter of the smallest sharp image with little or no vignetting is of more use but this, as it is subjective, maybe the same or several mm smaller than IC.
IQ: image quality. An acronym and phrase that might have been devised by Douglas Adams: with so much confusion and rubbish spoken about lens IQ, it's useful to see what one manufacturer with a large range of industrial lenses considers appropriate resolution for various sensors: http://www.rmassa.com/manu/kowa.htm (non-techies: prepare to be bored). Kowa of course also make professional movie lenses too, where (bokeh aside) the lenses require different, though mainly mechanical, qualities.


Despite measurements and examples shown results vary with aperture and distance to focus point.
The "cut off" point is often a matter of taste and application!


Incorporating a convex lens in a FF to M43 or Sony Alpha adapter will reduce the image circle and increase the illumination on the sensor, eg the Metabones Speed Booster adapter or Mitakon Lens Turbo, increase maximum aperture by 1 stop, and makes lens 'wider' by a factor of 0.71x. The speed booster reputedly does not impact on IQ and increases MTF, the Mitakon Lens Turbo introduces some barrel distortion and reduced resolution, particularly towards the edge of frame.

large format
focal length aperture lens_mfr_designation ......øIC...... ..source.. apprx
date
. notes, IQ etc.
  T1.3*18>75 ELITE S35 MKIII   OE 2000s 9.6,12,14,16,18,20,22,24,28,35,50,75,100,135,200,300, VRP=200/140 or better
  T1.3 ELITE 35 Digital   OE 2000s 18,24,35,50,75,100 Visual resolution power, 1/mm=200/140
  1.2/T1.3 ELITE S16 MK-IV   OE 2000s 4.5,6.6,8,9.5,12,14,16,20,25,35,50,85mm
  1.5 ELITE HD primes 5.4x9.6mm OE <2014 5 (f1.7),7,10,15,20,40mm (no longer supplied) usually in B4 mount
* 1.1/T1.25 CP Ultra T series       designed to cover 16mm: 9(f1.2), 12.5, 16 and 25mm. do not cover S16. usually Arri or Aaton bayo. (by Kowa for Cinema Products, low cost alt to Zeiss)
* T1.3 Zeiss Ultra primes ~16 CML 2000s *All with IC around ø16mm
  T1.3 Zeiss series 1 & 2 for 16mm   1980s-90s typically Arri Std or bayo. Identical glass, different housings. 8, 12, 16, 25mm. Only 8mm doesn't cover S16 satisfactorily.
* T1.3 Illumina ?     (8.0, 9.5, 12, 16, 25, 50mm)
* T 2.8 Cooke miniS4/i 33.54mm MS 2010s focal lengths: 18, 25, 32, 40, 50, 65, 75, 100 & 135mm
* T2 Cooke S4/i for S35   2000s 12, 14, 16, 18, 21, 25, 27, 32, 35, 40, 50, 65, 75, 100, 135, 150,180mm, +300mm @T2.8
* T1.4 Cooke 5/i for S35   2010s 18, 25, 32, 40, 50, 65, 75, 100, and 135mm
* f2 THC SP series 1 > 27.5mm   1935-60s designed to cover standard format 0.631 x 0.868 inch. (16x22-22.36mm)
* f2/T2.3 THC SP series 2 > 31mm   1945-70s designed for std Motion Picture Silent Format 0.723 in. x 0.980 in. (18.37 mm. x 24.89 mm)
    THC SP series 3 full frame   1950s designed to acomodate larger formats, CinemaScope, VistaVision etc (ie lower resolution than series I & II)
  T2 Schneider Cine Xenar II >33mm   c2005 Usually PL mount: 25mm/T2.2, 35mm/T2.1, 50mm/T2, 75mm/T2, 95mm/T2
    Schneider Xenon     1950s Usually Arri Std. eg 28/2.8
    Schneider Cine Xenon for 16mm   1950s-70s Usually Arri Std.( in unusual non rotating barrel which is more elegant than the Arri, but seems lighter and less robust). 12, 16/2, 25/1.4
* f1.8/T2 THC Kinetal     1950s-70s designed to cover 16mm, though the tele copies will cover 35mm, albeit slower (T2.8) than the SPs. 12.5, 100mm. Usually Arri Std or C-mount
    Zeiss (Jena) Tevidon     1960s-70s TV lens designed to cover 1 inch. 10, 16, 25, 35mm + 18-90zoom
             
2mm F2.2 Tamaha ~1/3"     Fisheye, C mount

4mm

2.8 Fuji ~1/3"      

4mm

  Optex ~      
4.8 1.8 Schneider Cinegon 11mm     c mount for 2/3" cctv
5.5 T1.9 Optex ~15mm DJ    
5.7 f1.8*/T2.3 Kinoptic Tegea ~14.5mm   1960s

*T2 or T2.3 GH1-16x9
Newer models are T2.0. Focus is fixed, and set to a hyperfocal distance of about 3ft 6in. Depth of field is 19 inches to infinity at T2.3, and 8 in to Inf. at T16

5.7 f1.8 Century Precision   AC vol56/7 1975 2'' in diameter. weight: 7 ounces. Angle of view: 100° and covers full 16mm format with less than 30% distortion at the edges. Optical resolution is 260 lines per mm
5.9 f1.8/T2.2 OKC1-5.9-1     c1985 made for 16Kinor (this is correct designation for 16OKC-6-1 below)
5.9 f1.8/T2.2 Angenieux R7 ~14mm DJ   usually Arri Std or bayo. Will hard vignette on S16 at some apertures:
5.9/6+ 1.8/T2? Angenieux R7 S16 >15mm u   usually Arri Std, bayo or PL. Visual Products S16 conversion.
6 T1.9 Century Precision ~     covers S16
6 T2 Cooke SK4 ~16 mm DJ    
6 2 16OKC-6-1   SE   see https://www.youtube.com/watch?v=glL_9aO-EWY
6.5 1.9 Schneider Cinegon       d mount
7.5 3.5 Samyang UMC for M43   2011 Fisheye, also as Bower, Rokinon, Wallimex
8 1.3 Optar for S16     Arri-B/PL c1995
8 1.4 Schneider Cinegon     p c-mount for 2/3" cctv
8 f1.8 Weinberger 20 MS   C-mount
8 f1.9/T2 Optex Super Cine ~      
8 f2/T2.2 Zeiss Distagon /Arri ~13     Arri Std, occasionaly seen with metal removed around cormer area of last element. Demo: youtube.com/watch?v=jKDtzYnyzrY
8 3.5 Lumix G Fisheye     2010  
8 3.5 Pelang ("T" mount) 23mm BS 2000 GH1-16x9 (11e/7g) Fish eye 55/17 l/mm
8.5 1.5 Cosmicar 12.5 BS   late rubberised grip version, c-mount: blurry beyond 12.1mm
8.5 3.5/T4 OKS1-8.5-1 >28 Raf   (lens block: 33x0.75@34mm ffd) BFL=22.1 mm Ekran
9 t2 Kinetal 12.5 JDA    
9 1.2/T1.3 Cinekowa, also sold as CinemaProducts ~14.5 mm/S16 BS   Arri-B GH1-16x9 (covers BMPCC)
9 1.2/T1.3 Kowa Ultra T ~14 mm/S16     On S16: modification required to eliminate vignetting: A collar, retaining an optic, protrudes into the optical path. Clearances for the corners of the frame can be dressed out of this part. Still edgy on SI-2k ?
9.5 1.2 Zeiss Mk3 ~14.5mm DJ   On S16: soft in corners and hard vignette beyond T11. Zeiss brochures never showed this as S16 compatible.

9.5

5.2 OKS1-9.5-1 >28     OKC-1-9.5-1 f5.2 (t5.7) Fish eye Ekran
9.5 2.2 Angenieux R3       c-mount Angenieux R3
9.5   Cooke SK4 ~16 mm DJ    
10 1.8 Angenieux R ~15mm PW  

c-mount, fixed focus. dark into corners of BMPCC to f4, pretty much unusable faster than f8 without adjustable focus mount.

10 1.8 Egleet cine-navitar       c-mount
10 1.8 Leitz Macro Cinegon   u   Leicina mount. covers S16 but darkens into corners
10 1.8 Schneider Cinegon ~14     2 versions: 55mm filter thread (& silver nose) which covers BMPCC, and a smaller fiter version that does not (u). Also a C-mount RX version.
10 1.8 Schneider Cinegon ~14     GH1 IC noticably less than Switar
10 1.8 Switar H16 RX ~14.4 BS   switar 10mm lens coverage GH1-16x9 very obvious darkening of corners down to f8, might be due to tunneling effect of built in 16mm shade. Historically a lens that didn't cover S16 satisfactorily. Blurry corners on BMPCC
10 1.9 Schneider Cinegon 16mm*   -p C mount, for 1" (M62x0.75 filters) *Schneider spec
10 f2 Zeiss Tevidon ~17.5 BS 1970s

C or Tev mount, soft into corners even on 16mm

10 1.8 OKC3-10-1   SE c1961-80 11e/9g Lomo made for 16Kinor. BFL= (16mm). Vignettes BMCPC
see https://www.youtube.com/watch?v=glL_9aO-EWY
10 2.8 OKC1-10-1     1960-70 less commonly 16-Krasnogorsk bayo mount. Kinor housings may vignette (9e) 58/25 l/mm (16mm) KMZ
10 2.8 T3 OKC6-10-1 >27.2     11e/9g Ekran/CKBK made for 16 x 22mm (OCT19) 60/22 l/mm . BFL=25.16mm
10 f1.9 Cinegon 16mm*   2000-p C-moun tfor 1" industrial version (M62x0.75 filter)
11.5mm f1.9 Schneider-Kreuznach Cinegon ~13mm     C-mount. hard vignettes on BMPCC
12 f1.2 Zeiss Mk1..3 ~16.5mm BS 1985 GH1-16x9
The Mk. 1 version has a focus barrel rotation of 180º, the Mk. 2: 160º (?), and the Mk. 3, a rotation of 320º. The glass remained the same.
12   Cooke SK4 ~16mm DJ    
12 1.4 Tokina TC1214   u   c-mount. designed for ½" min focus 11.8" (300mm)
12 1.4/T1.6 SLR Magic APSC u 2010 12e/10g
12 1.4 Erntec   NT 2013 c-mount cctv, very slight vignette BMPCC review
12 f2 m.Zuiko Digital M43   2011 AF
12 f2 Mir-11M 12.3 OK   usually Krasnogorsk bayo mount or Kiev16U thread. (7e) 58/30 l/mm ICø12.3mm KMZ
½" f2.5 TTH Mytal     1940/50 anstigmat made for 8mm cine, common as D mount
½" f1.7 TTH Taytal       made for 8mm cine, common as D mount
½" f1.9 TTH Serital       Sonnar, made for 8mm cine, common as D mount
½" f1.9 Egleet       made for 8mm cine, common as D mount
12.5 f1.3 Computar TV   BS   C-mount: flange dia=43.4mm (Nickle plate brass, removable to reveal a smaller version of "T" mount. There are other versions.). vignettes on M43
12.5 f1.3 Kowa Ultra T ~15.5mm DJ   uncommonly Krasnogorsk bayo mount
12.5 f1.4 Fujinon CF       C-mount. vignettes on M43, but mod possible for full coverage
12.5 f1.4 Fujinon HF   u   C-mount. Blurry corners on BMCC
12.5 f1.5 Wollensak Cine Raptar >15mm     A B&H Film lens, v soft wide open. covers BMPCC
13 1.2 Maikar       D-mount. Soligor?
13 1.5 Egleet ~13.9 RS   Egleet 13mm IC GH1-3x4
13mm
1:1.5/ Canon TV-16        
13 f1.8 Cine-Nikkor ~15   1955-9 C-mount. covers BMPCC
13 2.5 Egleet 15.9     c-mount fixed focus
14mm 2 Super Angulon M43   2014 AF
14 2.5 Panansonic Lumix M43   2010 AF
14 2.8 Canon FD 2.8L >27mm BS 1980s Canon 14mm f2.8 lens coverage GH1-16x9. Optex remounted these to BNCR in the 1980s
15mm f1.3 Balowstar for 16mm   1951 12 element by Dr. Frank Back, designer of the Zoqniar lens. Usually C mount on Bolex.
15 f1.5 Som Berthiot Cinor 14.8mm BSe    
15 t2.3 Baltar for 16mm      
15 2.8 Lomo OKC2-15        
16mm f1.2 Zeiss Mk1..3 ~19mm BS   GH1-16x9
16 1.4 Computar M1614 11mm MS    
16 1.4 Schneider Cinegon  ~18 u   Arri std & c-mount
16 f1.8 Kern Switar ~13.9mm BS 1960s

c-mount 16mm Switar coverage GH1 GH1-16x9 16mm Switar coverage GH1 (at f16)

16 f1.8 Cinegon 16mm*   2000-p C-mount for 1" industrial version (M30.5x0.5 filter)
16 f2 Samyang AS UMC CS M43   2013 Also as Bower, Rokinon, Wallimex
16 f2 SchneiderCineXenon S16 u 1960s C-mount version covers BMPCC, the arri-Std does not. GH1: Schneider Cine Zenon 16f2 [GH1 16x9) Schneider Cine Zenon 16f2 [GH1 16x9)
16 f2 SchneiderCinegon   AL 1970s arri-Std retrofocus (large front element)
16   Kowa Ultra T ~16 mm DJ    
16 f2.8 Kern Yvar AR   NT  

covers BMPCC

16 f2.8 Zeiss Tevidon ~18.5 BS 1970s

 

17mm f0.95 Schneider Xenon 11mm*   70s-p C-mount for 16mm or 2/3". slight vignette on BMPCC. (* Schneider spc sheet). Originally for Bolex, still manufactured (different barrel) as an industrial lens.
17mm f1.4/1.7 Schneider Xenoplan 11mm*   2000s C-mount for 16mm or 2/3". covers BMPCC?. (* Schneider spc sheet) manufactured (1.4/17-0503) as an industrial lens. see schneider-17mm.html
17 f1.8 m.Zuiko Digital M43   2012 AF
17 f2.8 m.Zuiko Digital M43   2009 AF
17.5mm 0.95 Nokton     2012  
17.5 t2 Kinetal ~19mm JS,
NEX7
  just vignettes on M43@3x4
as mentioned elsewhere on this site, the Kinetal elements sit further into the throat of the camera, in the case of Arri movie cameras, these won't clear the mirror. For video sensors, it means the incident angle is more oblique and may contribute to "sensor vignetting".
17.5 t2.5 Baltar for 16mm   1940s In Mitchell Pro 16mm mount the flange distance is too shallow for adapting to M43 or NEX without repositioning the lens head within the helicoid (if this is possible).
18 f1.8 Weinberger 20 MS 2010 C-mount
18 2 Cooke SP II (sn506...) >27mm BS 1950s f2f2.8f4 f5.6 (NEX16x9)
18 2.8 Pentax (110) >27mm BS 1978-85 6e/6g. no iris, bit soft wide open?, slight corner darkening
18 2.8 Pentax (110) PF >27mm BS 1981-5 6e/6g. no iris, no helicoid
18 2.8/T3.2 Lomo OKC1-18-1   Raf c1966 barrel distortion and vignetting (NEX5) (6e/4g ?) 64/27 l/mm
18.3 2.5/T3.2 Lomo OKC5-18-1 >27 Raf 1985-91 10e/6g. (lens block: 36x0.75) BFL=33.6 mm (10e/9g) Ekran
18mm f2.8 Canon K35 >27 BS 1975 GH1-16x9
19 f2.8 Sigma EX DN M43   2012

AF ( same as Sigma DN Art released 2012 )

20mm f1.7 LUMIX G M43   2009 AF 7e/5g ( 2 asph), 100gms, a 15gms lighter version released 2013
20mm f1.9 B&H Super Comat       found on B&H 627 Filmo 16mm. Breech lock, Not adapatable to Digital cameras
20 f2 VEGA-7-1 14.07 OK   usually M27, for Kiev16 or M32 for Kiev16U
20 f2 OCK22-20-1   SE   see https://www.youtube.com/watch?v=glL_9aO-EWY
20 f2.5 MIR47 FF     not a sharp lens on FF ?.
20 t2.5? Baltar for 16mm?      
20mm f2.8 PO-51       usually M27, for Kiev16
20mm f2.8 Canon K35 >27 BS   GH1-16x9
20 f2.8 Arsat-h FF      
20 f3.5 MIR20 FF     MC Mir-20M (M42) or MC Mir-20H (Nikon mount)
21 3.2 Pentax DA21 APSC     8e/5g/1a
22 f2/T2.4 OKS3-22     c1980s  
22 T2.8 KMZ/Lomo RO70 >22mm u    
23 1.7 SLR Magic M43   2013  
24 2.8 Pentax (110) >27mm BS 1978-85 6e/5g. no iris, bit soft wide open
25mm
1:0.78 Canon TV-16        
25mm 1:1.4 Canon TV-16        
25mm 0.95 JML ~20      
25 0.95 Voigtländer Nokton     2010 AF
25 0.95 SLR Magic     2013 AF
25 0.95 Soligor ~19 u    
25 0.95 Angenieux ~19 u    
25 0.95 Schneider Zenon       c-mount, "film" version
25 0.95 Schneider Xenon 16mm*   2000s C-mount 2/3". (* Schneider spc sheet). manufactured as an industrial lens (Black & M39 x 0.5 filters).
25 0.95 SOM-Berthiot >22mm getdpi    
25 0.98 Dallmeyer Ultrac ~17.5 BS   c-mount, hard vignette around ø18.5mm
25mm f1.2 Zeiss Mk1..3 >20 BS  

Arri Zeiss Mk1..3 25mm f1.2 sensor coverage, GH1 Arri Zeiss Mk1..3 25mm f1.2 sensor coverage, GH1 (GH1) Arri Zeiss Mk1..3 25mm f1.2 sensor coverage, GF2 Arri Zeiss Mk1..3 25mm f1.2 sensor coverage, GF2 (GF2) Arri Zeiss Mk1..3 25mm f1.2 sensor coverage, NEX5n Arri Zeiss Mk1..3 25mm f1.2 sensor coverage, NEX5n (NEX5n)

25 1.3 Computar ~20mm u    
25mm f1.4 Cosmicar/Kinotar       This is the more common (retrofocus) Cosmicar, also sold as Kinotar for 16mm
25mm f1.4 Fujian CCTV ~17mm u    
25 f1.4 Switar AR >22 mm     darkening corners, blurry beyond 17mm
1" 1.4/T1.6 TTHC Ivotal ~19mm     darkening corners, blurry beyond ?mm
25 f1.4 B&H Extol ~18 mm? u   GH1-3x4
25 f1.4 Switar ~15 mm DJ   darkening corners, clips at f11+. covers BMPCC
25 1.4 Zeiss Tevidon ~20mm AC  

Tevidon 25mm coverage on M43 vignetting on 3x4 M43 examples

25 1.4 Zeiss Sonnar std 16mm   1930s

eg movikon mount: APSC coverage but 3/4 very very blurry on 3x4 M43 examples

25 1.4 AK16 Jena ~20mm u   vignetting on FF M43
25 1.4 Schneider cineXenon S16 BS   covers M43, though dark into corners wide open, ( arri-Std sn997....) soft w/o?
25 1.5 TTH       C mount
25 1.5 Schneider Xenon S16 AL   covers BMPCC,( arri-Std sn438....) soft w/o?
25 1.5 Cooke Kinic >22mm u    
25mm f1.7 Leica DG Summilux M43   2011 AF (Panasonic)
25 1.8 Cooke Filmo >22mm      
1" 1.8 Cooke Filmo (4A) >22mm*     * but blurry beyond 12 or 13mm
25mm 1.9 Cosmicar TV (ICH) ~19mm BS 1960s

C-mount. Dark & soft into M43 corners. Perfect BMPCC. Needs 1mm taken off rear focus stop ring diameter to fit M43 adapter.. Quite rare. Ichizuka became Cosmicar (Pentax) in 1967. also marketed for 16mm as Kinotar Professional.

1" 1.9 Cooke Kinic ~21mm u  

severe astigmatism to edges on M43 GH1-3x4

1" 1.9 TTH Serital ~18mm BS   Sonnar: GH1-16x9 NEX-16x9
25 1.1 Maikar >M43     Soligor rebadge?
25 1.4 Switar AR >M43 BS   C-mount. note earlier (pre187300) likly to have too deep a mount (~6mm) to fully fit M43/NEX cameras with c-mount adapters, ie will not achive infinity focus.
25 1.4 Kodak Cine-Ekton     62-64 Made by Angenieux. only in Kodak R-mount
25 1.4 Kodak Cine-Ektar     1936-53 Kodak S-mount
25 1.4 Kodak Cine-EktarII     1953-64 Kodak S-mount
25 1.9 Kodak Cine-Ektar ~17mm BS 1936-52 Kodak S-mount, 4e/4g. hard vignette M43, perfect BMPCC
25 1.9 Kodak Cine-EktarII     1952-64 Kodak S-mount
25 1.9 Kodak Anastigmat >22mm   1936-48 4e4g, Kodak S-mount
25 1.9 B&H Super Comat ~16 u   GH1-3x4
25 2.5 B&H Comat ~16 u   C mount
25 2.5 TTH     1930s C mount, probably an early Comat (see B&H)
25 1.9 Kern Genevar ?      
25 1.9 Wollensak Cine Raptar >22mm      
25mm 1.9 Schneider Xenoplan >22mm getdpi    
25 2 Kinoptik apochromat >27mm BS 1940s-60s c-mount, cameflex, Parvo, Std Mitchell mounts
1" f2 Cooke SP >27mm BS 1935-1950s f2 f8 (NEX16x9)
25 2.3 Baltar ~27mm u 1940s  
25mm 2.5 B&H Ansix ~14mm??     c-mount, fixed focus
25mm T2.5 Lomo OKC1-25 >27mm SE   see https://www.youtube.com/watch?v=glL_9aO-EWY
26 1.1 Kern Macro Switar ~19mm u    
26 1.9 KP Pizar (AR) ~19mm BS  
28 1.2/T1.4 Lomo OKC10-28 >27mm      
28 f1.4 Lomo OKC9-28 >27mm      
28 f2/T2.3 Lomo OKC7-28 >27mm   1980s 9e/7g (lens block: 33x0.75@41mm ffd) BFL=31.5 mm
28 f2/T2.4 Lomo OKS4-28 >27mm   1970s BFL<28mm
28 2.5/T2.7 Lomo OKC1-28 >27mm   early 1960s pre reflex design
28 2.5 KMZ/Lomo PO61-28 >27mm   1950s pre reflex design
30 1.4 Schneider Xenon M43   2014 AF
30 2.3 Baltar     1940s Gauss design
30 2.8 Sigma EX DN / Art M43   2012/3 AF
32 f1.9 Kinoptic ERAX16      

f1.9 (NEX 3x4)

1 3/8" f3.5 B&H Ansix ~30mm BS   (f=35mm, GASP lens, 1940s)
34 1.8

Jackar Snapshooter

    2012 stepless manual aperture
35 0.95

Mitakon AMC

    2012  
35 0.95

SLR Magic

    2013  
35 1.4

SLR Magic Cine

    2012  
35mm 1.7 Fujia(n) GGS >22     c-mount. pretty much always brighter in centre.
35 f1.9 Zeiss Tevidon      

 

  f2 Lomo OKC11-35 FF Raf 1980s (last version in series, still pre reflex)
  f2 Lomo OKC8-35 FF Raf c1972 (pre reflex)
  f2 Lomo OKC1-35 FF Raf 1960s (pre reflex)
35 2 Cooke SP >27mm BS   f2 f2.8f4 f5.6 (NEX16x9)
35   Super Baltar     1960s Retrofocus
1½"/38mm 1.3 Balowstar     1950s  
1½" 1.9 TTH Serital ~10mm BS   D mount Sonnar
40 2 Cooke SP >27mm BS  

NEX f2 f4 f5.6
IC is soft towards the edges, probable max is 35-37mm and likely to hard vignette on FF.

40 2.8 Zeiss Jena Sonnar ~19mm link 1960s Pentaka 8mm lens, slight hard vignette on M43
42 1.2 Leica DG Noctilux M43   2013 AF (Panasonic)
42.5 0.95 Nokton        
45 1.8 m.Zuiko Digital M43   2011 AF (Olympus)
45 2.8 Leica DG Macro-Elmarit M43   2009 AF (Panasonic) 1:1 macro, OIS
50 0.95 SLR Magic Noktor M43   2011  
50mm 1:0.95 Canon TV Lens       covers 35mm film, originally made for the Canon 7 rangefinder. has a Canon bayonet mount and its own dedicated c-mount adapter. can be labled “Canon Lens”, “Canon Cine” or “Canon TV”.
50mm
1:1.4 Canon TV-16        
50mm 1:1.8 Canon TV-16        
50 2 Cooke SP >27mm BS   ½ frame: dark corners minimal by f2.8½
2" 1.4 TTHC Ivotal >27mm BS 1960s? c-mount Taylor Taylor Hobson Cooke Ivotal 2" Taylor Taylor Hobson Cooke Ivotal 2" GH1-16x9
50mm 1.4 Cosmicar TV     1970s?

"Silver". c-mount, by Pentax. (compared lens reflections show it is NOT an Ivotal design)

50mm 1.4 Cosmicar TV     1980s?

c-mount, by Pentax, rubber grip. flange dia > M43 throat.

50mm 1.9 Cosmicar TV ICH     1960s

c-mount, by Pentax

50 f2 Tair-41M        
50 f2.1 Vega-9 >50mm* BS   Krasnogorsk versions: front bezel vignettes image to ICø36mm, otherwise >50mm
50 2.8 Pentax (110) >27mm BS '78-85 5e/5g.no iris, bit soft wide open?
60 2.4 Makro-Symmar M43   2014 AF (Schneider)
60 2.8 Sigma DN Art M43   2013 AF
60 2.8 m.Zuiko Digital M43   2012 (Olympus)
75 1.8 m.Zuiko Digital M43   2012 (Olympus)
3" f4 Wollensack Cine-telephoto C-mnt BS 1940s vignettes APSC (@ infinity, part due to rear barrel & can be machined off. vignetting minimal or nil on 16x9 or cu shots). OK M43
75 2 Cooke SP   BS 1940s dark corners minimal by f2.8 (NEX)
75 f2 Lomo OKC-75-1 S35+   c1976 uncoated (T3.1)
75 f2 Lomo PO60-1 S35+   c1980 coated (T2.2), uncoated (T2.3)
75mm 3.2 Canon TV-16        
4" 2.5 Cooke deepfield P   BS 1950s dark corners minimal by f2.8 (NEX)
100mm
1:2 Canon TV-16        
100mm f3.3 Kern Yvar AR       dark corners minimal by ?? (M43)
150 2.8 Lumix G M43   2014 (Panasonic) OIS
300mm f6.3 Tokina Reflex macro       M43 Mirror lens
++++++ ++++++ Zoom Lenses: ++++++ ++++++   ++++++++++++++++++++++++++++++++++++++++++++++++++++++
  • various
½" video zooms       target IC is 8mm, close to GH2's 1080 ETC-mode IC (8.3mm).
    Canon "P" or "PV", Fujinon "C" series       target is 1" video, IC=15.9 mm
    Canon "J" series       target IC is 2/3", (8.47x6.35mm), IC=10.6 mm
6.6-92mm 1.4 Fujinon S14x6.6BERM       B4, +2x TC, 1/2" ENG Lens
7-14 f4 Lumix G Vario M43   2009 2 Aspherical lenses and 4 ED. OIS version from 2012/3
    Fujinon HA18x7.6BERM       B4 2/3", kit lens for PDW700
    Fujinon HA17x7.8BERM-28B       B4 2/3", HDcam etc
9-18 f4.0-5.6 m.Zuiko Digital M43   2010  
9-144mm 1.8 Fujinon A16x9BRM28       Was kit lens for Sony M7 (as VCL-916-BYA), 12 pin camera connection
8-128mm 1.9 Fujinon XA16x8A XB8       Was kit lens for Sony PMW-350, optimised for 3x 2/3-inch type Exmor CMOS sensors, 12 pin camera connection
8-64 1.9 Angenieux       ( info )
8-64 T2.4 Canon ~17mm min u 1990s PL mount S16. review Possible vignette on BMCC
8.5-119mm   Angenieux       B4
8.5-119 mm 1.7 Fujinon Pegasus III A14x8.5BERM-28        
9-27mm f2 Kodak Ekton SVS 10.5mm BS    
9-36
9-38
f2.4
f1.8
Meteor 2
Meteor-8M-1
    19?0s
1990s
made for 8mm film (Quartz camera)
9-50
10.4-52 *
10.8-60 *
T2.5
T2.8
T3
Varokinetal for 16mm
*S16 conversion
  1980s
-2005

*conversion to S16, giving 10.4-52mm
*Optex conversion to S16, giving 10.8-60mm
9½-143 1.8 Canon J15x9.5   BS   B4 mount: will only cover micro 4/3rds from 80mm-143mm
9½-57 T1.8 Angenieux 6x9.5 for 16mm     std/bayo arri/Cmount. Also some HEC versions.
10-100​ f1.6-2.1 Tokina       c-mount, sometimes motorised
10-100​
11-110 *
12-120 *
1.8/T2.2
f2/T2.2
2.4/T2.8
Zeiss vari-sonnar for 16mm/
*S16 conversion
BS 1980s typically sn74xxxxx. Nice film lens, the only downside is they breath.
Abakus, Optex and VP conversions to S16, giving 12-120, f2.4/T2.8.
Zeiss factory conversion gives 11-110 T2.2, S16.
10-100​
11½-115 *
2.8/T3
f3/T3.5
Zeiss vari-sonnar for 16mm/
*S16 conversion
  1970s typically sn629xxxx.
until 2005 cinematechnic.com offered a S16 conversion (11.5-115mm T3.5)
10-100​   Fujinon A10x10BMD-D8       Kit lens for Sony DXC-3000A (3CCD)
10-100​ 2.5/T2.8 16OPF12-1 >12.5 u 1990s coverage: 7.42mm x 10.05. usually Krasnogorsk bayo mount.
10-101mm f1.8 LOMO-201     c89-93 usually 3 prong bayonet mount
10-140mm :1.7 Fujinon H14x10A-ALC-S1        
10-120mm f1.7 Fujinon
A12 x 10 BRM-88
    c83-89 B4 Kit lens for SONY BVW-3P (3 tube saticon 2/3")
10.5-126 f1.6 Canon J12x10     89/90 for 2/3". with macro, usually motorised 12v as on Canon VCL-1012SY (studio remote for this was Fujinon LO-25 & camera: Sony DXC 1820 ) lens has 1.2mm BF adjustment (cam & locking screw on last element group)
11-110mm 1.8 Canon TV Zoom J10x11       for 2/3" c mount
11-16 f2.8 Tokina DX   ~2010 in Nikon, Canon EOS etc
11.5-69mm 1.4 Canon TV Zoom J6x11 macro       for 2/3" c mount see http://www.c-mountlens.com/lenses/c-mount-lens-brands-a-e/canon/
11.5-90mm 2.1 Canon TV Zoom J8x11 12-16mm     for 2/3" c mount sometimes motorised, Also labeled Tarcus/Akai & f2 (!)
11.5-138mm T2.5 Canon       for S16.
12-35 2.8 Lumix G X Vario M43   2012 ASPH./POWER O.I.S.
12-50 2.8 m.Zuiko Digital M43   2011  
12.5-50mm f2 Sony "TV lens"     1970s C-mnt (removable to reveal T mount size (?) thread).
12.5-75mm f1.2 Fujinon H6 X 12.5R       C-mnt (removable to reveal T mount size (?) thread). No M43 coverage under 25mm focal length (info)
12.5-75mm f1.8 Toyo/Erntec       http://vimeo.com/29508304 .C-mount, sometimes motorised
13-460mm f1.7 OCT 35x13mm 20@13mm RAFcam c93 Pro TV lens, 16Kg,
14-42 3.5-5.6

m.Zuiko Digital (I & II)

M43   2009/11 I & II: 40.5 & 37mm filter threads.
14-42 3.5-5.6

Lumix G Vario

M43   2009/11 . 52mm filter t has OIS. Also "37"/"PZ" Power zoom
14-45 3.5-5.6

Lumix G Vario

M43   2009/11 . 52mm filter t has OIS. Also "37"/"PZ" Power zoom
14-140

3.5-5.6
4.0-5.8

Lumix G Vario

M43   2013
2009
 
14-150

4.0-5.6

m.Zuiko Digital

M43   2010

 
14-150

3.5-5.8

Di III Tamron

M43   2013

OIS
15-45 1.8 Cosmicar (ICH)       hard vignette on BMPCC. youtu.be
15-150 f2 Tevidon     89-90 ~2Kg. Large heavy, no filter thread.

15-60 &
30-120

f2.8/
f5.6
Pentavar       for Pentaflex16, lens has secondary engravings for matching 2x adapter
16-100 1.9 Canon V6x16   BS   C-mount. Covers NEX with 1.7x (equiv: 27-170). Dial style iris. 605gms. [C-mount barrel/flange dia=48.5mm] BFL too short to allow use of Fujinon 1.5x adapter.
16-160 f1.8 Fujinon TV-Z   BS   C-mount. (6 blade/plus ND spot). [various mounts inc cine barrel, can be made to fit M43 adapters]. covers NEX with 1.6x (1.1x at tele end).
16-160 f1.8 Fujinon C10x16A   BS   C-mount. (4 blade/plus 2 ND bladed iris, undamped) 2.3Kg. [C-mount barrel/flange dia=44.5mm, but fits most NEX adapters (if backfocus ring is modified) and can be machined to fit M43 adapters]. covers NEX with 1.6x (1.1x at tele end).
16-160 f2.5 Fujinon C10x16B       C-mount. (4 blade/plus 2 ND bladed iris, undamped)
16-32 f2.5 Sony     c1982 Zoom made by Kowa for 2/3" Sony HVM-100 b/w camera
17-102 f2 Canon V6x17       C-mount. Some M43 vignetting at 16..??mm
17-69 f1.9 Meteor 14ish u   Krasnogorsk bayo mount, or M42
17–68 2.2 Angenieux 4x17 (also Bell & Howell) 14ish u 1958.. 16mm lens. 'Type L2' for non reflex and 'Type L3' for the reflex Bolex. On digital cameras Type L3 may show more spherical aberations wide open, particularly at short focal lengths.
17–68 2.2 Angenieux 4x17B   u 1970s? some reports it covers S16
17–85 f4/T3.8 Som Berthiot/ Sopelem for 16mm     C-mount & Std Arri. Also sold as Pan Cinor and Taylor Hobson Monital. covers S16 but very edgy.
17,5–70 2.2 Angenieux 4x17.5 (also Kodak Cine Ekton)       std arri/ C-mount. Later, better version of the 17-68.
18-35 f1.8 Sigma       AF
18-90 2 SK Variogon       C-mount, 1" video. typ 800gms+ , soft corners, ok from f4. looks same as Tevidon
18-90mm f2 Tevidon   BS   GH1-16x9
18-108 2.5 Navitar 7000
= Fujinon?
12@wide-19     C-mount, soft wide open, ok by f5.6 (lens tends to flat field rather than just sharp centre)
20-80 f2.5 Sony "TV lens" >27mm u 1980s C-mount, usually Silver coloured. M43: vignettes at focal lengths less than 70mm
20-40 f2.8 Pentax (110) >27mm u 1981-5 6e/5g. no iris, push-pull zoom!. relativly weak flange mount
20-100 f2.1 Monital (also RTH) 16.4mm (minimum)     "TV Zoom". C-mount, 0.9kg dark corners on M43/16x9 - extreme vignetting at wide end. Usually motorised.
22-66 f1.8 Cosmicar (also Sun-Cosmicar)       "Television Zoom". C-mount, 0.9kg dark corners on M43/16x9
22.5-90 f1.5 Cosmicar TV (also Sun-Cosmicar) ICH 18(@wide) BS   C-mount. "Television Zoom".1.1 kg vignettes slightly until 70mm on M43
22-89 2.4 Meteor-5       Krasnogorsk bayo mount, or M42
16-42 & 30-80   Optimo DP >32 JM   >32 for the full zoom range
15-40 & 26-76   Optimo >32 JM   >32 for the full zoom range
17-80   Optimo >28 JM   >32mm IC between 26mm & 80mm focal length
24-290   Optimo >28 JM   >32mm IC between 30mm & 290mm focal length
24-180 f3.7 Monital (also RTH)       "TV Zoom". C-mount
35-100

2.8

Lumix G X Vario

M43   2012

OIS
37-140mm f3.5 t4.4 Lomo Foton Super 35   c1975 ex Kinor OST18. reputed soft in corners on APSC
40-150

4.0-5.6

m.Zuiko Digital

M43   2010

 
40-160 & 50-200mm f3.4 & f4.5 Lenar 2     1960s dual range. Usually OST18/Konvas 35mm
45-150/175/200

4.0-5.6

Lumix G Vario HD

M43   2008/12

OIS. 45-175 has Power Zoom
75-300

4.8-6.7

m.Zuiko Digital (I & II)

M43   2010/13

 
100-300

4.0-5.6

Lumix G Vario

M43   2010

OIS
             
Other:
IC reducer   Fujinon LO-3830       1/2" Lens Adapter (to use 2/3" lenses with camera)
  0.72x       2013 Mitakon / Zhongyi
IC reducer 0.71x Speed Booster     2012 Metabones Speed Booster

source: MS - manufacturer's spec sheet.
source: u - unconfirmed.
date: c - circa, e - early, L - late.

AC: American Cinematographer magazine.
BFL : Back focal length, distance from last lens element to sensor (at infinity focus). On reflex cameras this has to be greater than the mirror interference distance. On a lot of specialist lenses, inc projector lenses, BFL can be scarily short.
FF : Full frame (Stills camera 35mm coverage)
ffd : minimum (infinity position) flange distance to sensor.
ø : indicates diameter measurement.

last updated: May 2017

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