Hanimex Lenses

7/28/2019 Hanimex Lenses

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Technologicalprogress n lens manufacture in Japan has been sodramatic that from the factor ies of Japan's largest manufacturerof precision-builtaccesgory enses, Hanimex is able to present arb_markableange of lenses for al l brands of single ldns reflex35 mm. cameras,at unusually attractive prices.. Japan's optical "know-how" has effected many economies inthe. production of top-grade lenses. The use oi computers inoptical design and automated m.achinery n manufactuie meansthat the buyer of Hanimex lenses is acquiring a product whichmight easily have been beyond his meanS not-so very long ago.The fact that Hanimex lenses are of the high-est opt i ialstandards,whilst avai lableat economy prices, s borne out by thephenomenal volume of sales to both professional and ambteurphotographershroughout the world-and by the numerousexpres-sions and examples of satisfaction from these tens of thousbndsof users.This book has been speciallywritten in such terms that even themost inexperiencedcamera owner may understand the correctappl icat ion of the various Hanimex lenses to dif ferent subjectsand situations, thereby ensuring that he is able to extraci theful l potent ial rom his camera and the maximum enjoyment fromthe vast spectrum of photography.To ful ly appreciate he benefi ts which can be gained from thevarious interchangeable enses comprising the oulstanding Hani-mex _range, he photographer should have an understanding ofthe characteristics f the 35 mm. single lens ref lexcamera systtm.For this reason, part of the first.chapter is used to introdu-cehereader o the versati le eaturesof this increasinglypopularcameradesign.



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C O N T E N T SPage

THE SINGLE LENSREFLEX PRINCIPLEWhy InterchangeableLenses? 7What "Focal Length"Means . . . . . . . . . . 7Understanding"f/numbers" andLens Speed . 8Image MagnificationFactors 9Automatic & PresetDiaphragms 9Relationship of"f/numbers" 15Arithmetic Progressionin ExposureDetermination 15CHOOSING THERIGHT LENSOptical Design FactorsAnti-Refl ection CoatinsThe Wide-Angle Lens l.MediumTelephoto LensesCamera Stability inTelephotographyLong Telephoto Lenses

PageFocal Length andPerspective 29PerspectivendScaleRelationshipSPECIAL PURPOSELENSESThe "Fish-eye" Lens andits applicationThe 500 mm. Mirror-Telephoto LensThe Variable FocalLength "Zoom"LensesInterchangeableAuto-Diaphragm AdapterMountsDEPTH OF FIELDUnderstandingDepth ofFieldDepth of Sharpness .Reading Depth of FieldScalesHyperfocal DistanceSettingsDepth of FieldPreviewinqDepth of fidlA& Definition

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PRACTICAL LENSTECHNIQUESInterchanging LensesHolding the Camera .Using a TripodFocusing Aids in S.L.R.Viewfinders ..PresetFocusing for"Grab" ShotsInfra-red Focusing IndexTELEPHOTOCONVERTER LENSESWhat "tele-converters"doPros and cons of"tele-converters"Depth of Field with"tele-converters"Practical AdvantasesUSEFUL LENSACCESSORIESValue of the Lens HoodFilters for Black & WhiteExposureCorrectionFactors with Filters .Filters for ReversalColourThe Ultra-violet FilterThe PolarisingFilterNeutral Density Filters

Negative Colour Filmand Filters .CLOSB-UPPHOTOGRAPHYDioptre LensesversusExtension Tubes andBellowsExposure Variations inClose-up PhotographyINTERCHANGEABLELENSES IN ACTIONUsing. the Wide-angleLensUsing the MediumTelephoto LensSportsAction TechniquesZoo PhotographyThe Approach to Wildlife

Care of Your Lenses ......TABULATED DATAHanimex PresetDiaphragm LensesHanimex Auto-Diaphragm LensesHanimex Auto-AdapterLensesFilm SpeedComparisonGuideDistance ConversionTable, Feet to MetricMeasure

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THE MOST VERSATILE CAMERAThe wise camera buyer looks ahead. It is false economy toprovide only for one's present level of technical knowlCdgeor for a presently limited subject interest. A camera suitablefor family record pictures may not have the capacity for moresophisticated projects such as sports action.Because the fundamental aspects of photographic tech-nique are relatively simple and quickly mastered, it is almostcertain that the new photographer will become more adven-turous ,as he gains confidence. Will a camera with per-manently mounted lens permit a satisfactory expansion of hissubject interests? Decidedly not!Such a camera may be fitted with a limited range ofaccessories o extend its application, but only to a degreewhich will compromise the photographer's creative require-ments.For ultra close-up pictures of flowers in the garden, close-up attachment lenses may be used, but, with a fixed lenscamera, the photographer will largely be shooting blindbecause cameras of this simpler type do not have a view-finder which clearly defines the arba covered by close-upattachments.

At the opposite end of the scale, we are often faced withthe need to magnify the image of distant subjects when it isnot possible to reduce the physical distance betweeri cameraand subject. This calls for a telephoto lens, but such a lenscannot be fitted to the fixed lens camera.These problems are answered by what is surely the mostversatile and creatively satisfying camera . . . the single lensreflex with lens interchangeability. This type of camera isthe most suitable choice for all but the most occasionalphotographer.



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The Single Lens Reflex PrincipleSimple fixed lens cameras employ a direct-vision opticalviewfinder which defines the area of coverage of the lens toa degree of similarity which is adequate for general snap-shots. However, due to the fact that this viewfinder isphysically separated from the lens which records the imageon film, it is obvious that there must be some discrepancybetween what the photographer sees through the viewfinderand what the lens actually records.This discrepancy is negligible when photographing subjectslocated at 10 feet or more from the camera, but it assumesgreater proportions at closer range and becomes quite seriousat distancei shorter than 3 feet (i.e., when close-up attach-ments are used).We refer to this problem as parallax error and it is thiserror which often causes the inexperienced photographer tomake close portraits in which the subjects' heads are cut off.The better class of fixed lens camera has a bright-line framewithin the viewfinder, which is continuously adjusted as thelens is focused at different distances. This feature is knownas automatic parallax coruection and it is relatively effective.Nonetheless, t ceases o operate when it is most needed . . .at ultra close range when the normal close focusing capacityof the lens has been extended by the use of close-up attach-ments.The superiority of the single lens reflex camera is selfevident when it is explained that the viewfinder of such acamera is not a direct vision type, but that it receives itsimage of the subject through the camera lens.This is achieved by the location of an inclined mirrorbehind the lens, in association with a roller-blind shuttersituated immediately in front of the film. A shutter of thistype is known as a local plane shutter and, because it is soplaced, it permits light to pass through the lens and to beieflected fiom the reflex mirror upwards to a groundglassfocusing viewfinder screen.All ihis is possible without any danger of light reachingthe film accidentally, for the reflex mirror acts as a protectivescreen.



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Above the groundglass focusing screen, most single lensreflex cameras have a permanently sealed prism whichredirects the viewfinder image to the viewing window at therear of the camera bodv. This facilitates eve-level view-finding.Unlike the direct vision optical viewfinder, which shows aclear image even though the lens may not be correctlyfocused on the subject, the reflex-focusing viewfinder of thesingle lens reflex camera does not show a crisply definedimage until the lens is focused precisely.The relationship between the subject's image on the focus-ing ground$lass s-creenand its eventual regislration on film,is so critical that when the sharpestpossible image is achievedin the viewfinder, by rotation of the focusing mount of thelens, one is assuredof an identically sharp image on film.The only qualifications to this statement are that (a) thecamera must not move at the moment of film exposure, (b)the shutter speed selected must be sufficiently brief to arrestsubject movement, and (c) the film must not be given an over-exposure (i.e., evaluation of the subject's illumination mustbe accurate).Thus it can be appreciated that the single ens reflex camera

makes possible the ultimate level of critical accuracy in focus-ing. This, in turn, improves the "enlargeability" of the result-ant negatives or slides.At this point, you may be asking: "How does the lightfinally get through to the film?"The answer is that when the shutter release s triggered, thereflex mirror flips upwards in perfect synchronisation with theopening of the-focal plane shutter, and returns to the view-finding- position immediately after tlle exposure of the film.Alllhis takes place in such a small fraction of a secondthatthe viewfinder is blacked-out for no longer than the blink ofan eyelid so rapidly, in fact, that the photographer willbarely be conscious of its happening.In- addition to its unexcelled system of viewfinding andfocusing, the single lens reflex camera offers the inflnite ad-vantages of lens interchangeability. Exactly what does thismean to you?



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Vhy Interchangeable Lenses?If your prer.ni camera has only a fixed lens, or if. you owna single lens reflex camera but as yet have only the standardlens, you will already have made some simple observations.If you wish to obtain a bigger image of the subject, you mustapproach it from a closer distance. This is often not possiblebbcauseof some physical obstacle between the camera and thesubject. Haven't-you wished you had a lens to magnify theimage of that distant subject something to bridge thephysical distance? You're stuck way back in the spectatorarea as Jack Brabham flashespast the winning post and eventhough you know that his car will come out no bigger than aflea on your film, you press the trigger. Wouldn't it be greatto have a place right on the edge of the track so that yourpicture clearly identified the driver?- Short of obtaining a special pass giving you privilegedentry to the track, your only real answer is a telephoto lens(and a suitable Hanimex lens is not actually expensive).You've also found that sometimes you can't fit everythinginto the picture. To cover a wider field, you must move awayfrom the. subject, but if you already have your back to a wallor are standing on the edge of a precipice, there's not muchyou can do. Maybe you're trying to photograph a tall build-ing in a rather narrow street, or a large group of people ina small room. When you simply cannot increase the camera-to-subject distance, the only answer is a lens with a widerangle of view.With access to a choice of several interchangeable lensesand a single lens reflex camera of the type which accommo-dates the entire range of Hanimex lenses, you can actuallyincrease your camera's field of coverage or magnify distantobjects, without moving from the one camera position (veryhandy when you are caught in a crowd).Vhat Focal Length llleansIn order that we may identify the magnifying power of alens and understand its relationship to the image sizedelivered by the standard lens of the camera, each lens bearsan inscription which indicates its maximum light-gatheringcapacity (or "speed") and its local length.



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As an example, let us examine the 1:4.5/200 mm. Hani-nqel tglephoto lens. It has a speedot f /4.5 and a focal lengthof 200 mm. (or 20 cm.), but just what does this mean?The focal length of a lens is that distance from its opticalcentre to the film plane of the camera when the lens isfocused on infinity.- Infinity is, of course, infinite distance, meaning everythingbeyond the most distant calibration of the focusing scale oTthe lens. It is sometimes indicated by the letters "INF,t' 6rr,morg generally by an odd-looking symbol which resemblesthllgure 8 lying on its side (horiZontally).

Th" speed of lhe lens is, in this case, indicated by theratio of 1:4.5, which simply means hat the physicaldiaineterof the adjustable iris diaphragm, at its maximum opening,may_bedivided 4.5 times into the focal length..This "speed" is also called the "f /num6er" and so youwill see that when the diaphragm of the lens is closed tosmaller diameters (or apertures) the relative values of thesesettings are also obtained by dividing the physical diametersinto the focal length of the lens.For convenience in s-ettingdifferent exposure values, thel/numbers calibrated on Hanimex lenses have click-stoppositions on the -adjusting ring. However, if the exposureevaluation calls for an intermediate position between twomarked l/numbers, it is quite possible to set any desiredintermediate position,Knowing how the l,/numbers are determined, you will beable to see that the smallest l/number indicates the largestopening of the exposure control diaphragm, and vice-versa.The standard lens of a 35 mm. camera is in the region of45 to 58 mm. in focal length, but for the purposesof simpleexplanation we will generalisea little by categorising standardlenses nto a 50 mm. focal length grouping.Most modern 35 mm. single lens reflex cameras have astandard lens of f/l.g or l/2 speed, which means that theyhave a fairly large physical diameter (remembering that focallength divided by maximum aperture equals."speed").It is obvious that lenses of long focal length cannot beas fast as the standard lens because thev would become



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unbearably cumbersome. For instance, to have a spe.edofl/I.8, a iSO mm. lens would need a diaphragm opening to100 mm. (4") width, whilst a 400 mm. lens would have anaperture over 22O mm. wide (almost 9"). Do you seewhylonger lensesare not so fast?Image hlagnificationTaking t-he-imagesize produced by the standard lens of50 mm. Jocal length as our yardstick, we can quickly andsimply gauge he eFect of any other Hanimex interchangeablelens by dividing 50 mm. into its focal length.This we see that a 400 mm. Hanimex telephoto lensdelivers an eight times larger image of the subject than wouldthe standard lens from the same camera position.Naturally this great magnification results in a greatlyreduced arigle of view. Whereas the 50 mm. standard lenscovers a 45" angle of view, a 400 mm. telephoto lensencompasses nly a 6o angle.The^widestcoverageof field is obtained with the Hanimex28 mm. wide-angle lens with a breath-taking 74" angle ofview. However, lt must be understood that a lens of focallength shorter than the 50 mm. standard lens will deliver aproportionately smaller image of the subject. In the caseofihe-Hanimex 28 mm. lens the image size would be almosthalf the size (an approximate magnification of 0.5x beingindicated).Autotnatic and Preset DiaphragrnsBeing interested n interchangeableenses,you will alreadybe acquainted with the rudiments of exposure control, .nodoubt understanding hat under a given level of illuminationeach shutter speed-wil[ require a -complementarysetting ofthe lens diaphragm or aperture.In case fhis point still perplexes you, here is a simpleexplanation.Our aim is to subject the film to a uniform degree ofexposure, regardlessof the lighting conditions. Let us com-pare this dim with the filling of a bucket under a wate-r_a-p.if we turn the tap to its maximum capacity, we will fill thebucket much more rapidly than if we had reduced the waterto a mere trickle.

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-- Similarly, if we open the lens diaphragm to its maximumdiqlneter (i..., smallest /number) the light from the subjectwill flood in and quickly over-expose the film unlesswe restrictthe duration of the flow. We do this by setting a relativelyfast shutter speedso that the exposureperiod is brief. Con-versely, if we set a small lens aperture to obtain extensivedepth of sharply defined image (depth of field) we need tokee-pthe shutter open for t longer period to maintain auniform exposure of the film.. At t!!s point, let us reconsider the reflex viewfinding prin-ciple. To- obtain the brightest possible image on the giound-glass to facilitate accurate focusing and observation of thesubject, it. is desirable to have the lens aperture wide opento its maximum light gatheringcapacity.

If we are to close it to a lesser value immediately prior tothe -exposlrre of the film and then re-open it proniptly inreadiness or the next picture, some form of mebhanica[aidwould make things much easier,wouldn't it?Fortunately, Hanimex lenses are fitted with one of twodevices to achieve this end. The first and simpler form isknowqras the preset diaphragm and is employed bn the lowerpriced lenses. It should be noted that a irrelet diaphragm isused to reduce the cost of manufacturing the niechinicalaspecrsof the lens and its use does not imp-ly nferior opticalquality, a point bg*g out by the fact that iensesof very longfocal length are, for both mechanical and economic relsonslrarely !tt.-d with any other form of rapid diaphragm control.On the lenseshaving a presetdiaphiagm, ybu w-ill find tworotating rings, each bearing the same l/nuniber calibrations.The ring furthest from the iamera is used to set the l/numberncessary or correct exposure of the film, whilst the secondring is an over-rider, permitting the lens to be opened to itsfull spe'ed or viewfinder clarity and which will stop at thepresetaperturewhen rotated in the reversedirection just priorto exposureof the film.This final closure of the diaphragm may be accomplishedwithout error,, and simply b.y-feel,-whilsf the photographercontinues o observe the subiect in the viewfindbr.The more sophisticateddevice is known as the lully auto-



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matic diaphragnl and, as its name suggests,does the wholejob automatically. The photographer preselects he aperturenecessary or correct exposure,but the lens will remain wideopen until the shutter release s triggered. At that moment,a tripping device within the camera depressesa diaphragmclosure pin at the rear of the lens, closing the diaphragm tothe preselected /number and releasing t to maximum aper-ture immediately the exposurehas been made.Relationship ol | /nurnbersThe aperture control ring of a lens is engravedwith a setof l/numbers which might, for example, run like this:2 2 . 8 4 5 . 6 8 1 1 1 6 2 2Why were these particular values chosen instead of otherintermediate values? After all, the iris diaphragm has acontinuous movement and, as the diameter or aperture isvaried, we can calculate a tremendous range of l/numbercalibrations.Again the answer s simple and underlinesthe arithmeticallogic of correct exposure. ]Each of the f /numbers/ engraved on your lens has anarithmetical relationship to the others. In photographers'jargon, eachof the marked settings s called a "stop." As weclose the diaphragm down, each stop will deliver only halfas much light to the film as the stop immediately before it(i.e., "stoppingdown" from f /2 to t/2.8 reduces he passageof light by 5O% and therefore requires twice the period ofopen shutter in order to maintain a uniform exposure of thef i lm) .Under a given lighting condition, we thereforehave a com-plete set of uniform aperture/shutter speedcombinations, ofwhich the following is an example:ShutterSpeeds in fractions of a second)1/so} 1 /2s0 r / t2s r /60 1/3o r / rs 1 /8 r /4

f / 2 2 . 8 4 s . 6 8 1 1 t 6 2 2It will also be noticed that every second /number has aneven more obvious arithmetical progressionand if we breakthe sequence nto two levels this is easier to follow:4 8 1 6

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The p re se l d io p h ro g m m e ch o n i sm of o H o n im e x t 3 . 5 / 1 3 5 m m. le n s i s sh o w nhere q l i l s lwo typ ico l se t f ings. ln the top p ic fure , the f ront oper lu re r ing i ssef lo f /8 whi ls t lhe rear oper ture r ing is sef ,o t /3 .5 . ln lh is posi f ion , lhe lensis open ot i ts fu l l speed of f /3 .5 wh i ls t lhe presef exposure hqs been se lectedos f /8 . A f te r focus ing, fhe reor r ing is fu rned gen l ly , w i thout tok ing one 's e /efrom fhe viewf inder, ond it wi l l oulomot icol ly stop of lhe presef oportvre (ossoen in lhe lower i l luslrot io i l for exposure of the f i lm.

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see how each is twice the number of the previous one onits own level? On gne level, each jump 'is an exposurevariation of not one but two stops and instead of doublinethe duration of exposurewe musf increas'et fourfold. Q. If,,1rn$.r_a.gr^v:Tighting condition, the necessaryexposureat f /2 is 1/500ttr second, we must give four" timbs theexposure l/125th second) f we closedown /wo stops o f /4.Naturally, th. entire procedure of adjusting the exposurepe-riodworks in reverse f we move from a sniall aperiure toa larger one.

The basic rule to remember is that as we "stop down" tosmaller apertures each marked l/number requirds mice theexposure duration of the "stop" before it, and vice-versaaswe "open up" the diaphragm.CHOOSING THE RIGHT L-ENSJust as each camera type is more suited to some picturesituations than it is to others, so, too, is each type of inter-changeableHanimex lens. There is no such thing as a singleall-purpose lens hence the extensive rangJ offered -byHanimex in order.to equip the individual photographer withthe lensesmost suited to his subject intereits.^Undoubtedly,-after experiencihg the delightful expansionof your camera's potential whicli even onJ additiorial lensbrings, you will then wish to add others to your camera kit.It will thereforebe useful if we now examine the lenses nseveral categories to determine which one will be of thegreatest value for the immediate future. Let us group thecomplete range into four categories as follows:(a) wide angle .. . . . . . . . . . .- . . . 28 to 35 mm.(b) standard . . . . . . ..45 to 58 mm.(c) medium telephoto . 105 to 200 mm.(d) long telephoto ......... 300 to 600 mm.Before considering the various applications of each cate-gory, it is worthwhile learning a fe* basic facts about theo_pticalayout of a sophisticatedmodern lens.O ptical Designwhilst we have seenthat focal length is based on lens-to-film distance, this general rule of thumb has two principar

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variations. Part of the marked focal length of a lens is notcontained in the physical length of the lens itself. It is, infact, the distance wtrictr lies between the film and the back ofttre lens.Obviously there must be space within the single lens reflexcamera to -allow the up and down movement of the reflexmirror. Depending on the design of the camera body, thisdistancemust be in the region of 35 to 40 mm.It can thus be seen that a wide-angle lens having a focallength of 28 to 35 mm. would foul the mirror unless itsphysical layout could be such that the physical lens-to-filmilisiance was actually greater than its optical focal length.Fortunately it is possible for a lens to be constructed in

this fashion and this particular design s known as a retrolocussystem. Simple cameras have simple lenses of limited capacity,generally employing either a single glass element (meniscuslens) oi two-elementsmounted with concavesurfaces acingeachother (doublet lens).Lenses of this simple construction do not produce theclarity of detail (called "definition") which the enthusiastdemands. A single glass element, such as a common firagnifyingglass, will .c-ertainly produce a recognisable_photo^glaphicimage, but with severalunacceptable aults such as soft focus,dar[ened corners (vignetting) and bleeding of colours. Itcannot deliver uniform brightnessover the entire areaof view.However, the introduction of a secondglasscan achieveadegree of correction of these faults which we call "opticalaberrations." For optimum correction, it is common practiceto combine asmany as seven ndividual glasses, ach of whichis so designedand ground that the total correction of aberra-tions is of a very high order.The need for such sophisticated designs is greatest withlensesof high speed (smallest l/numbers) and so we neednot be concerned to find, for example, that the Hanimex18/600 mm. telephoto lens has only three glass elements(thesebeing quite adequate or its speed), whilst the Hani-

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mex 2.8/28elements.At the same time,of small physical sizetelephoto models.

mm. retrofocus wide-angle lens contains severwe can appreciatewhy the faster lensesare not less expensive han some of the

Returning to the variations on the focal length rule ofthumb, we, ind that in the telephoto categories there are twooptical constructions . . the long-focus lenses and the truet-elephoto enses. It is less expensive to manufacture a long-focus lens, which employs the simpler optical design. Thlstype of lens is physically as long as its marked focal length(minus the depth of the camera body for reasons alreadyunderstood).

'ICutawoy seclion of Honimex f3.5/135 rnm. presel lens cleorly shows opticolloyout comprising four gloss elemenfs, intr icole consfruclion of focusing mount,locolion of ir is diophrogm (operture conlroD. fhis "inside view" provides ofuller reolisolion of lhe complexily of conslruclion ond the excellenl voluerepresenled in Hqnimex lenses.

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All Hanimex telephoto lensesare of the true telephoto type,in which the optical construction is such that the physical-Iength is actualiy less than the optical fbcal length. - This isdone in order to minimise the problems of manoeuverabilitywhich obviously arise when the natural balance of the camerais affected by the weight and length of a longer lens.Lens CoatingIn the optical construction of a lens, some of the glasselements have air-space on either side whilst others may becemented together. At each air-to-glass surface, transmittedlight is lost by reflection and this causes a reduction in thelight-gathering capacity or speed of the lens in addition toscattering light inside the lens barrel, with the result thatdefinition of the film image is impaired, and contrast reduced.In the early days of photography the problem was quiteserious, but modern technology has provided us with a mosteffective means of combating the breakdown in light trans-mission through a highly corrected (multi-element) lens.This is the technique of coating each glass-to-air surface witha microscopically thin anti-reflectant film (commonly mag-nesium fluoride applied by evaporation and condensation ina vacuum chamber).

This coating is extremely hard and virtually permanentunless careless cleaning introduces abrasion. It is recog-nisable by a purple to blue tint, which is noticeable whenlight is reflected from the front surface of the lens.Sometimes called "blooming," this coating process is alsoused in the manufacture of binoculars.Whereas earlier lenses ost up to 3OVo of transmitted light,the modern coating technique has reduced light loss andinternal reflections to as little as zVo, which is quitenegligible.Four Lens CategoriesThe averagefocal length of the standard lens supplied witha 35 mm. single lens reflex camera is 50 mm., which isapproximately equal to the diagonal measurement of the24 X 36 mm. fllm frame.This standard lens is probably the best all-rounder, despiteis limitations. Firstly, it takes in a fairly broad angle of



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view (about 45"), which delivers a perspectiverelationshipbetween various elements of the scene which is pleasing tbthe eye.Of all focal lengths it is the one most suited to theeconomical manufacture of high speed characteristics andto the achievement of a large maximum aperture withincomfortable physical limits. For this reason, the standardlens offers the greatest potential for photography underunfavourably low levels of subject illumination.It is ideal for photographing groups of people where spaceis not restricted, or streetscenes nd medium distancescenics.Because of its greater light gathering capacity (speed) itdelivers the brightest image in the reflex fo-cusirigviewfinderand because of its large aperture it extracts the maximumbenefit from microprism focusing aids and split-imagedevices with which most 35 mm. single lens reflex camerasare provided in the centre of the groundglass screen. Thesecrilical focusing aids are inclined to black out when focusingis done at small aperturesThe standard lens is unsatisfactory when we wish to recordclearly the finer details of distant subjects and also when itis desired to encompassa wide field of view at short camera-to-subject distances.Furthermore, t is not well suited to head and shouldersportraitsdueto the tendencyof all shorter ocal length ensestowardsan unattractivelyexaggerated erspective iminution(i.e., the features losesto the cameraappear o be distortedin sizeand perspectiveelationship).The Wide-Angle LensOur own eyesdo not seethings in the sameway as thecamera ens. They are continuallyscanning he scene romside o side and from top to bottom and wiihout turning theheadfrom a fixed position it is possible or us to take-in averybroadviewof some140oextent.Even the 28 mm. wide-angle ens cannot equal this per-formance,but it doessubstanliailyncrease he^scope f^thecamera n relation to the standard ens coverase.- As it isrecording.a o muchwider fieldof view (74" arigleapproxi-mately), it will, of course,proportionately educe he image



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On occosions, fhe phofogropher wi l l wish tofrom o comparot ively shorf d istonce. In fh iscoveroge obfoined with the slondord 50 mm.dernonsfro les the t remendous pofent io l of theIens from the ident icol comera posif ion.

encomposs o brood oreo of v iewsef, lhe lower piclvre shows lhelens, whi lst fhe uppe, i11ut1ls| ionHonimex f2 .8 /28 mm. wide-ong le

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size and it is therefore unable to register distant objects infine detail.Being the shortest wide-angle lens in the Hanimex range,the 28 mm. lens exaggeratesperspective diminution evenmore than does the standard ens. Whilst this renders t quiteunsuitable for close portraits, it can also be of dramaticcreative potential. Its characteristicsof rapidly diminishingperspectivecan be used to great effect in emphasising thefeeling of tremendous depth in a scene. It especially lendsitself to the inclusion of foreground interests which create aframing of the more distant material and gives the viewer astrong feeling of participation and presence n the scene.For home interiors it is excellent, because it will covera substantial portion of a small room at necessarily shortdistances. For the same reason, the wide-angle ens is oftenused by candid cameramen photographing groups of peopleat social functions in the home or in small auditoriums.In the photography of tall buildings over short distances,the wide-angle lens is particularly useful, but certain pre-cautions must be taken. When the viewpoint is at groundlevel, there is a necessity to point the lens upwards and thiscauses he vertical lines of the building to converge towardsthe top. The effect may be acceptable in terms of artisticlicence, but is not satisfactory from a documentary point ofview (especially if one is making record pictures for architectsor builders).As the camera-to-subjectdistance increases, he degree ofvertical convergencediminishes, but then, if we could sig-nificantly increase the distance, the wide-angle lens would notbe necessary. The preventative step is to obtain a viewpointwhich is approximately half the height of the subject. Thiscan often by achieved by working from another building onthe opposite side of the street.Convergenceof verticals is an inherent hazard when work-ing with wide-angle lenses and it is particularly important tokeep the film plane vertical by virtue of a level camera aspect.Becausethe problem is magnified as the focal length of thelens is shortest, some photographers show preference for the35 mm. wide-angle lens, which has a not so dramatic angle



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of view (64' ) but is still significantly more panoramic thanthe standard ens.Hanimex Vide-Angle LensesThere is an interesting choice of four different wide-anglelenses in the Hanimex range. Two of these have preset-diaphragms the f2.8/28 mm. and the f2.8/35 mm.two have fully automatic diaphragms, thesebeing the f2.8/28mm. and the 12.8/35 mm. models.The two lenses of 28 mm. focal length have a nearestfocusing distance of 18", whilst the two 35 mm. lenseshavea nearest focusing distance of 24".Smallest aperture setting of both 28 mm. and 35 mm.automatic diaphragm models iS f /16, whereas the presetdiaphragm models (even including the f2.8/28 mm.) stopdown to | /22.This broad selection of wide-angle lenses not only satisfiesevery requirement in terms of mechanical and optical specifi-cations, but ensures that the purchase of a wide-angle lensis not beyond the financial means of the average amateurphotographer.Illedium T elephoto LensesBecauseHanimex telephoto lensesrange from 105 to 600mm. focal length with consequent magnification ratios of from2x to 12x compared with the standard lens, it is suggestedthat we examine these lenses n two distinct categoriesmedium telephoto and long telephoto . especially as theapplication of those in the 105 to 200 mm. range does nothave a close relationship to the usesof the really long models.One of the great advantagesof single lens reflex camerasis that the viewing image is enlarged in direct proportion tothe magnification factor of the lens which has been mountedin place of the standard one.Thus the application of a telephoto lens immediately revealsdistant subjects in greater detail and often far more clearlythan it can be discerned with the naked eve.The medium telephoto lensesare best suited to portraiture,scenics n which it is desired to optically close the camera-to-subjectdistancewhen it is not possible o do so physically,

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candid studies and nature studies over moderate distances(when it is desirable hat the camera be unnoticed by a timidsubject), and sporting events at moderate range.We have already learned that short focal length lenses,including the standard lens, are unsuitable for head andshouldersportraits and close head studies due to exaggeratedperspective distorting the features which are closest to thecamera.It is for this reason that medium telephoto lenses between105 mm. and 135 mm. focal length are especiallypopular forportraiture and are commonly referred to as "portrait lenses,"although this is not their only application.In the medium telephoto range, the 135 mm. lens isprobably the most popular choice of amateur photographersas it provides almost 3x magnification, is still comparativelyfast, yet it remains highly manoeuverable.There are eight lenses n the Hanimex medium telephotocategory, five of these being what we might term "portraitlenses."At the foot of the focal length scale we have the preset12.8/ 105 mm. model giving 2x magnification. This lens hasa nearest focusing distance of five feet.

The angle of coverage is approximately 24" and, despitethe doubling of focal length compared with the standard lensof the camera, this lens retains a comparatively fast light-transmitting speed and is very comfortable to handle.As the 135 mm. lens is such a popular choice, it is notsurprising that, in this single focal length, Hanimex offersfour different models. One may choose between f /3.5 andl/2.8 speeds in either preset diaphragms or automaticdiaphragms.The 135 mm. lens gives a handy 2.7x magnification andcovers an 18" angle of view. The nearest focusing distance issix feet for all models. The l/2.8 preset diaphragm modelstops down to f/ 16, whilst the other three models have f /22as their minimum aperture.Next step n the medium telephoto range s to the 180 mm.and 200 mm. lenses. The 200 mm. model comes in both25



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preset and automatic diaphragm versions, with f /4.5 speed,whilst there is a faster f /3.5 version available n both typesalso.These 200 mm. lensesprovide a 4x magnification'factor,but if the photographerseeks /3.5 speedat lessercost, andis prepared to accept a slight reduction of magnification to3.6x, the Hanimex f3.5/ 180 mm. can be recommended'.Whilst the f3.5/200 mm. Hanimex lenses have a fiveelement construction, some saving is effected n the 13.5 180mm. model by employing a simpler four element constructionwhich still delivers excellent deflnition and reduces com-parative weight by two ounces.Carnera StabilityIt is well to enter a note of caution at this point of ourdiscussion, or we have already been introduced to 4x mag-nification of the standard lens image and this is a significantdegreewhich has other implications.We noted earlier that when the reflex focusing screen isbrought to its sharpest point by focusing the lens, theresultantpicture will registerequally sharp on film with certainqualifications. One of these qualifications was that thecamera must not move at the moment of exposure.

The photographer is not the ideal support for his camera,especiallywhen shutter speedsof long duration are employed(we call these slow" speeds). However, most of us are ableto handhold the camera quite satisfactorily for exposuresunder daylight conditions.Any tendency towards unsteadiness at the moment ofexposure becomes more serious as we increase the imagemagnification. The slightest camera shake will be magnifiedin direct proportion to the image magnification factor of thelens n use.It is therefore of particular importance to take specialprecautions in this regard if we are using a telephoto lens.For static subjects t is advisable o use a tripod for mountingthe camera, but this is not convenient for action subjectswhich are subject to suddenchangesof pace and/or direction.Bracing oneself against a wall, fence, tree or other solidsupport is strongly recommended. If this is not possible,your



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Another inferest ing comporison is found in th is sef , which demonslro les howphysicol d isfonce is dromot icol ly br idged by fhe use of o Hsnimex {6.3/400mm. te lephoto lens. ln the lower p ic ture , token wi th the s londord 50 mm. lens,the smol l areo out l ined lyos mognif ied eight f imes by using the 400 mm.lens. fh is smol l o reo then f i l l ed the ent i re p ic ture . Phys ico l l y , lhe someviewpoin t cou ld nof hove been obfo ined hod the cemero, w i th stondord lens ,been brovght fo one-eighfh of lhe cctmerct- to-subjecf isfonce. Ihe elevotedviewpoinf shown here wos nof ot lo inoble of c loser ronge.2 7



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body can become a more stable support if you drop to oneknee and support your elbows on the other knee. You caneven lie on the ground and use your elbows as a support insimilar fashion to the classic position of a rifleman.It is generally conceded that a 200 mm. lens is about thelimit for handheld cameras. Longer lensesnot only have aneven greater magnification factor, with proportionate mag-nification of camera unsteadiness,but they affect manoeuver-ability. Some people can handhold a long lens satisfactorily,but most will require,either a tripod or a stabilising mountfor the camera, such as a shoulder brace modelled along thelines of a gunstock.Long Telephoto LensesThere are three Hanimex lenses in the "Big Bertha"category . . . the f5.5/30O ffiffi., the f6.3/400 mm. and the18/600 mm. models.For reasons of economy, each is fitted with a presetdiaphragm, as the technical problems associated with fittingfully automatic diaphragms to such long lenses result inconsiderably higher prices.Each of these three lensesstops down to t/32, which is asmaller value than the minimum apertures of any of theshorter lenses n the'range. Physical limitations make suchtiny apertures impracticable for short focal length lenses,butfor reasons of obtaining maximum depth of field (which wewill examine in detail further on) the l/32 setting is neces-sary on long lenses and also physically practicable.What are the principle applications of the really longlenses? Firstly, they enable the photographer to bridgephysical obstaclesof considerableproportions. It may be asmall scene on the opposite bank of a river, or a situation(such as most spectator sports) in which a closer viewpointcannot be obtained by reason of interference with the action,or size of the audience.It may even be that a closer viewpoint would actuallyendanger the photographer's life, as in motor racing or thephotography of dangerous animals in their wild state(although a 135 mm. to 200 mm. lens is generally adequatefor photography in zoos).



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The Hanimex f5.5/30O mm. lens provides a magnificationfactor of 6x and covers an angle of view of 8o onlylFor a more dramatic effecf, the f6.3/400 mm.iens mightbe chosen and this gives an 8x magnification with an angleof view of 6o.The Hanimex f8/600 mm. lens with its l2x magnificationis almost certainly a tripod job.Lenses in the long telephoto category can be consideredas absolutely esseittial for such subjects as surfboard ridersin action, as there is no possibility of the camera-to-subjectdistance being reduced physically.Focal Length and PerspectiueIt is sometimes said that a telephoto lens compressespers-pective, but this is only a half truth. From a given cameraposition the perspective rendition is identical with every lens.You can prove this beyond doubt, simply by enlarging froma negative produced by a short lens that section of the scenewhich equals the total coverage of a longer lens used fromthe same camera position.Whilst this enlargement will not have the same technicalquality as the already magnified image produced by the longlens, the perspective relationship of each element in thescenewill be found to be identical.However, it is certainly possible, and creatively useful, todramatically alter the perspective rendition by changing thecamera-to-subject distance when switching to longer lenses.When we speak of perspective, do we really understandwhat is meant? Most people have seen trick photographsin which an angler holds a small fish much closer to thecamera than his body (by extendinghis arm directly towardsthe lens) so that the fish appears to be much bigger than itis in fact.From this simple example we see that things closest to thecamera are registered in larger proportion than things atgreaterdistance.Imagine that you are looking down an avenue of treeswhich are all of uniform height and evenly spaced. If youfitted a 28 mm. wide-angle lens to your camera and took upa position from which the height of the first tree just fitteil



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into the depth of the viewfinder in its horizontal aspect,youwould note that the second tree was only about half as tallas the first tree, whilst the third tree's image would be onlyabout one-third as tall as the first, and so on down the line.The rate of diminution is more sudden between he nearerobjects than it is between hosemore distant. This is not onlyevident in their relative height, but also in their spacing indepth, until these evenly spaced objects appear to be muchcloser together in the distance than they really are.It is th-isoptical illusion which gives the wide-anglephoto-graph a very exaggeratedperspective.If we were to now fit the standard lens and take anotherpicture from the identical camera position, the nearest tree

would not even appear in the picture, but the perspectiverelationship between the remaining trees would actually bethe same.If we then used a telephoto lens, again from the samecamera position, we would only record those few trees at theend of the avenue but, once more, the perspective relation-ship would be the same. It would simply appear to bedifferent because the greater magnification would increasethe apparentdistance between the trees . . we would finallysee the space which was too small to be clearly defined inthe wide-angleview.For our next experiment, imagine a single tree standingin a field. Behind it, in the middle distance, s a farmhouse,whilst in the far distance s a small mountain range.Again we start with a wide-angle shot after firstly movingin to the point at which the tree is just contained n the depthof the viewfinder. The perspective elationshipbetween tree,farmhouse and mountains is just as we found it with the rowof trees in our first example.

Now we fit a i35 mm. leits and we move the camera backuntil the tree is of the same viewfinder image size as it wasin the wide-angle shot. Immediately we can note that thefarmhouse appears bigger in relationship to the tree, themountain has grown taller and the apparentdistancebetweenthe three elementsof the scene s reduced.30



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TelephatoLensFOR AI I SLA EAMEf fAS

TelaphotoLannFff8 ALL gTft SAfr'IfRA$

T*tsphotoLrncro8 As.L $[* AAftTSRAS

Here we see thot so-co l led " le lephofo perspecf ive compress ion" does no lex is f when d i f re rent foco l length lenses ore used f rom the some comeraposi f ion ond the resu l lon t imoges ore en lorged lo iden l ico l s ize . The topp ic ture wos loken wi th o Honimex f2"8 /35 mm. wide-ong le lens ond en lorgedto 22x l ineor d imension to obto in the some imoge s ize o f fhe lower i l l us l ro t ionlo ke n w i t h o H o n im e x f 3 . 5 / 1 3 5 mm . le n s f r o m f h e so m e co m e re p o s i t i o n .Whi ls t the techn ico l quo l i ty o f the wide-ong le shot hos svf te red by exl remeenlorgement , the perspec l i ve re lo t ionsh ip between the two p ic fures is ident ico l .Fo r b o t h p i c l u re s , h e l e n se s w e re se f o l f / 1 6 o p e r l u re .

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Moving much further back, we then fit the 400 mm. Iens,still maintaining the same viewfinder image size for the tree.We will note that the size relationship of the three elementsis such that the house is almost as large as the tree and themountain has grown so much that we can now only includepart of it . . . iiseems to be right outside the back door of thefarmhouse.Thus we see that a long telephoto lens does compresspers-pective if we increase the camera-to-subjectdistance as weincrease he focal length of the lens selected or the job. _Thislittle example may explain why more experienced photo-graphers piefer medium telephoto lenses in the 135 mm.iegion foi. landscape photograpll,, rather than the all-encompassing wide-angle lens which so many beginnerschoose.Whilst the wide-angle lens will certainly record a sweepingpanorama, the medium telephoto lens makes mountains looklike mountains instead of molehills.We can now understand that the word "perspective" isanother way of saying scale relationship.Does the telephoto lens really make the mountains gigg-.t?No! It simply- reduces the exaggerated scale relationshipbetween foregiound and background elements in the scene.By moving the camera further away from the foregroundtree, we make the image of the tree smaller in relationship tothe other elements,yet we hold its image size by using a lensof longer focal length.

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SPECIAL PURPOSE LENSESIncluded in the range of Hanimex lensesare severalspecialpurpose types which, because of their unique qualities, wehave not yet discussed.Fish-Eye LensFirst of these s the f5.6/7 mm. 180" extremewide-anglelens, commonly referred to as a "fish-eye" lens for reasonswhich are obvious.Originally devised or photographicexaminationof tubularinteriors n the ceramics ndustry, this lens was found to haveinteresting otential n artisticapplications,whilst its astound-ing 180' angleof view made possiblewide-anglepictures npreviouslyrestrictivesituations.Exaggeratedperspectiveand linear distortion are inherentin a lens of this type, but can be turned to artistic advantage.The fish-eye lens does not cover the picture area fromcorner to corner like the conventionalwide-angle ens, butregisters circular image within the picture format.In fact, all lenses egistera circular image,but our camera!s designed to extract a clearly defined rectangular sectionfrom this circle.

Due to its virtually infinite depth of field at.al l apertures,the Hanimex15 6/7 mm. f ish-eyelenss of f ixeh-focus esignand its sole adjustment s that of aperture.Diaphragm adjustment is by the preset method with anaperture range of from f/5.6 to f/22. Due to the uniquecircular nature of the viewfinder mage, it is not possible-oobs_ervehe exposuremeterneedleof T.T.L. meteringsystemsand a separatemeter readingshould be taken,eithei by handmeter or by prior obscrvation with a conventional lensmounted on the camera.In many rcspects, he fish-eye s a "fun" Iens with whichone is able to give full reign to creative experimcnts. Thusit cannot be said that there are correct or incorrect methodsof application. The only caution which might be mentionedhere is that the extreme wide-anglecoverageof 180' oftenresults in portions of the photographer's own anatomyencroachingon the picture area.

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In particularly confined situations where even the widestof conventional wide-angle lenses cannot deliver sufficientcoverage, he fish-eye ens never ceases o astound even themost experienced photographers with its all-encompassingability.l9lSOO rtna. llliruor Lens- For the many photographersdedicatedto sports action ornature photography, his fine lens hasvery specialattractions.The Hanimei Mirror TelephotoLens is a modern adaptationof Maksutov's telescopewhich, by bending the optical pathwith a system of inteinal mirrors, makes possible a lens of500 mm. focal length in a highly manoeuverablephysicallength of only 8 ins. (less than half the normal physicallength of a conventional500 mm. lens).The mirror lens is more correctly described as a catl'dioptric lens,being a compound constructionof both mirrorsand glass ens elements.Its unusualoptical layout does not permit the inclusionofan adjustablediaphragm and it has a fixed apertureof f /8,with exposurecohtrol being either by shutter speedadjust-ment oi one of the two neutral density filters supplied asstandardequipment.

As a lens of this focal length is principally used outdoors,the speed of f/8 is quite adequate or focusing and clgalviewfinder observation. The neutral density filters suppliedwith this lens have factors of 2x and 4x, giving reducedaperturevalues ot f/l l and f/ 16 respectively. Provision ismade to insert the filters in a slot at the rear of the lensbarrel and this is made light-tight by a rotating spring-loadedcover plate.The closest ocusing distance s an advantageous10 ft.,making this an ideal choice for nature photography-involvingsmall -birds (500 mm. focal length delivers 10x imagemagnif icat ion!) .Whilst lensesof this focal length should be usedon a tripodor other firm support, the compact constructionof the Hani-mex Mirror TelephotoLens makes t possible o successfullyhand-holdexposuresat l/5}0th to l/1,000th secondshutterspeeds.34



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A h ig h -m a g n i f i co t i o n e le p h o f o le n s w h ich i s , o f f h e so m e l im e , co m p o c f o ndre o d i l y m Qn o e u v ro b le , s ve ry h o n d y f o r co n d id h u m o n in le re s l p i c l u re s su cho s f h i s , e n o b l i n g t h e p h o t o g ro p h e r t o o p e ro f e o f o d i sc re e f d i s f q n ce f ro m f h esu b ec fE n lo rg e d f ro m l i t t l e m o re t h o n h o t f f he t o t o l o re o o f o 35 mm n e g o t i ve ,t h i s " g ro b sh o l " w o s mode w i t h th e H o n im e x 50 0 mm. M i r ro r f e l e p h o t o L e n s ,fh e co m e ro b e in g h o n d -h e ld . R e m o rko b le d e f i n i t i o n ho s b e e n o ch ie ve d u n d e rt h e c i r cu m s f o n ce s .

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The lwo ext remes of coveroge och ieved wi th the vor iob le foco l lengfh Honimexf 4 , 5 / 9 0 -2 g O mm. le n s o re se e n in t h e se co m p o r i so n p h o t o g ra P h s , b o t h o fwhich were loken l rom lhe some camerct pos i t ion . The uPPer i l lust ro t ionshows the fu l t p ic ture area w i th lens se f o l 90 mm. foco l length , wh i l s l lhelo w e r on e sh o w s f u l l p i c l u re o re a o t 2 3 0 m m. se l f i n g o f t h i s Y e ry h o n d y le n s .Def in i f ion is exce l len l th roughouf the vor iob le foco l length range.

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. Definition is especially plta s eo ' r,. ,-i.r;., .#i3llr*:,#.*.# #.;,',?H.,,;iYr.fin:n'mosthighlvoii..t.a grais;;;;, or rong ocar

.For tripod,S,o_untinq,the-ens s fittedwith a soiid tripodrare n a rorating ol'iir *ni.rr *;i;;"r..rr.o at the mosronvenicnt ositio; in ..tutior-1g th" focusing aribrations.n practice,^. ufpu.."i'i iri,ations imposedby a fixedpertureare not particurairyrestrictiu"'u"n"Jtr,. handrinsuatities f the t.tir ui.l".i tnii i; ' i ,;, q"i.r.rv becomcavourite with prot *ionli"photographeri and advancedmateurs: h9 author rai-rdund-i1wett sui ied o candiduman nterest tudies rri.rr .uv u. .n .tiri.iy recordedatdiscreet ista.nce.s.. .oufr ilustration.he front rim "i t;; ;;r' b;;;;i-il tirr.ua"o to accept7 mm. fitters,", ',n..!ir

'Jri..r,?nd/or.oro,ir_r.mperaturealancing A l:,y rrb"J "1d-il:llL coy9.r rateare providedsstandard quipmentnd he rens,with icclssorics, omcsn a serviceablearrvingca;';i;h"i.ii ' i i"ilgl'"'|45./so-2Somm.Li]i*L".n"The undoub,teo"onu.ni.]-'"..f. a terephotoenshavinsariabreoc.r rengrh; i;;;;"in th! ri;;il.; zoomlenslhichhasa rqgJo t i/i'.; una u^local engthwhich sdiustableu.rih. ,aqJ'2i rnl. ,o 230mm.enses aving ariiu%;;ij."ilh ;,po,puru.ry eferredH.?':;ffifr1.1:;"'na-*.'J,st"int,ooiuS#.inhe erdr

. The zooming,actionis achievedby the rotation of a controrrng ncircrinelhele-nsarrer:';';,d.g ir"*1#'.'",ryone vxtendinghe-focal"td,h-';;'its

maxiqum e30 mm.) andhesubjecrs rhen..afi.O';';;. .ri.*n"Olrl-u,ihedesiredagnification,by tt e vaiiaUi. *uf length ontrol.- closestocusingistance1irr.uuniil.^ t;;; Terephoroens is g ft" andthe up.it, ir. 'control rangcs rom r/4.5 toI#?;"[!:,,'.'rl' i' ntt'H*itt'u',ripodmoi,ntingrate naTwo versionsof this lens are available . . the first being prcsct diaphragm lod^el wiir, i"l.r.rrung*,;r. adaptoiounts o sui t a, popular 3s mm. , ;s i ; l ; ;?"#;x cameras.3 7



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and the second s an automatic diaphragmmodel with fixedmount to suit the cameranominated by the purchaser.^^^--fh;;;g; of iameras to which this lens may be fitted isgreater or-the presetdiaphragmmodel'iia,.xwtExAUTo-ADe.pronMoUNTLENSESIn addition to the comprehensive angeof Hanimex lensesafreaaydiscussed nder the headingsChrtrtsinglte Right Lensiia ilprriat pur::piie -Lenses,Han-imex offers a selection ofa further seven .nr.r of unique design, n the most popularfocal lengths.These lenses we term Auto-Adaptor lenses and theyditrer from the previously mentioned Hanimex AutomaticDiaohracm lenses n thai their automat ic ada-ptormountsur. Tt . . f -V nterchangeable,ermit t ing.he u;e oi,onc lcns onuuiiout Jingle ens rEflexcaireras having quite.different auto-matic trippTngmechanisms nd cameramountingsystems'.In the .or" of standard Hanimex Automatic Lenses, hemount is fixecland it is necessaryor the buyer to specify hecamcra with which the lensesare to be used'--iio*"u.i, with the Hanimex Auto-Adaptor Lenses, achangeof camcri involvesnothing morg than,the fitt ing of asui taf l lenterchangeablcdaptormbunt to the Hitn imexAuto-Adaptor Lenses he photographerhas previously ac.quired'Tfrir"l"rt-i uduptotion s n"otbnly simpl-eo accomplish,butit is also quite inexPensive.The selectionof iully automaticmounts available or theselenses overs he universalPraktica threadedmount commonio prattica, Pentax,Edixa, Yashica, Mamiya, Ricoh Singlex'Pentaflex and Pentacon cameras,plus Nikon, Minolta andCanon. In this rangeof Auto-Adaptor Lenses here are tyg wide-unel. models" . . the f2.8/28 mm' and the 12'8/35 mm' ', i t$ ;A; t . t tpt toio models . . . the l3'5/ 135 mm' andf2.8/135 ,n-. und the 13.5/2OO fiff i ' , one. ong telephotoi; ; ; ' . . . the 15.5/300 --. , and one var iable ocal lengthzoom lcns . . . the f4.5/90-230 mm. telephoto'. A complete Ta6le of Spccilications-s published in theApi.;; i l 'und it wil l be f6und that these Hanimex Auto-nhlptor Lenses have similar optical characteristics o the

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Hanimex Preset,and ixed-mount Automatic LenseS n theirrespective ocal leneths.whdn ordering iiterchangeabremounts for the HanimexAuto-Adaptor Zgom rerep-noto,.!.;; i t- ir necessary tospecify this fact--!_ue1o a sljgh! ditrerentoln'it. mechanicalcoupli_ng_f the mounts to this lens.UNDERSTANDING DEPTH OF FIELDwe have arreadyseen thai each diffei.ni ,t utt.r speedofthe camera demands a baiaicing f /number on the lensaperturescare. By this means,we control the voru.. .1 ri!'rrireaching he fi lm.It mieht therefore be assumed hat we arwaysserect heshutter peed first and th;1h;^.o-pt.r.;;; i.tt ing of theadjustabteris diaphlasm9t 1rr. ;l-a;;i;ii ,ni, i, correctif the srateof motioi of the ,;;j;.;;iJiuiJr''a particurarminimumspeed f theshutter. roiu.u.i^;h;;; wiil be manyoccasions hen he subjects in a stationaryondit ion nd.,-9o not require fastshutter peJ.*"""-', "'ln such cases' t can often b.e advantageouso makeselection f the l/number the prime consideration nd toalanceheexposure y ttreshutier peedppi"prirte to thatl /numberor aperture.th# #:?i}?r canoneaperture ebettersuited o thesubjectDepth ol SharpnessDo we wanteverycrcmcnt f thescene egisteredn crispetait.fromorcgrounao uu.tlround or do te wish o havene,plane harplydefined"g.iirt a soft backsround?Theanswcrs-tohese r.itioni *ri o.*-iuuJour.nt whenwe earrnhatsomeapertureso.pi.rt",ilt.'pr#f,f ,hu.pn.r,whi ls t thers xpand' i t .when we focuson a serectedrane in a portrait t is onhe subfcct's ves) tnis wiri--be:rh.-ril;;;#,"',irost crearlydefined. lT. in -th. o.pirr"oi",n. ,..n.. There wiil be hradual alt inggtr. in crdariy-r.girt.o J.tol i ' ioth towardsthecamera nhbehind t. rll*t of focus.The morewe enrargehe'piiolograph n the screen r onbromide rint, hem6re nis'tarrin! trwiil ue"or. apparenr.

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T*laphotoLpnrTd*phrto, ,l"lrffiTstarph,&tsLana

F&g ALL *Ln r r{t(.nLa

ffi,:,..Tdrp*rot"oi:'-. ' l,mt

'ffi

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#

When the imoge s ize is he ld lo the some opprox imole magni f ico l ion by usingd i f fe rent f oco l length lenses f rom vor ied camerc,pos i f ons, lhe dep lh of f ie ldobto ined of 6r g iven oper lu re set f ng remoins consfon l A t f i rs t g lonce, thesetwo i l lusf ro t ions oppeor ident ico l . However , d i f te rent comero posi l ions ondd i f te rent lenses used hove g iven o s l igh t l y d iss imi lq r perspecl ive rend i l ion .f h e t o p p i c t u re w o s lo ke n w i t h o H o n im e x f 3 . 5 / 1 3 5 mm. le n s w h i l s t th e lo w e rp ic tu re wos loken f rom c loser ronge us ing o stondord 50 mm. lens, bothle n se s b e in g se t o l f / 1 6 o p e r l u re .

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?, mm. (one inch) at the fu l l diaphragm opening, thef /number valueof that opening s f /2. 'Ho#ever, 'a 10b'mm.lens.having maximum ciiaphf ig- apertureof 25 mm. widthwould h.avean f /number at'that-settin of only f /4.. Despi te he-dif ferentl /numbers w6ictr mit t ' the 50 mm.lens so much faster l.ro. an exposureviewpoint, both lcnseil " :yr :9 on.a givcn distancewould del iver h. , " r . dcpth oiheld when their diaphrergms rg opcned to the s(ttneplil,,sicctlt l iameter. of course, his wourd not be the case-ifboth i.nr.,were set to the same /number value.Illore Depth or Less?Is it desirable to. always record the maximurn dcpth offield? Not neces.sarily! ery much dependson in. nrfu.. oithe subjectand its location.-whereas a streetsc.cnes generallybestwhcn the depth ofacceptablc harpnesss greatest,a distant andscape n wtrictrmost of the elementsare at infinite distanceancl n o .orn_pa.ratively estrictedp]an9might be aclequatelyecorclccl itha larger aperture of the lens.-

,one usually strives for maximum depth of field when thesubject tself is extensivc n depth . . . for example,a three-gyarter vicw of a train, ar ong building, a lizard,'a crococlile.Then there are such subjects as r5om interiors, churchinteriors and most architectural exampres, n which onewishes o record severaldifferentplanes n .i.u. detail.In these cases,on which plane does one focus the lens?Remembering hat the depth-of f ierdzone extends wice asfar behin9.t f . p lanc of focus as i t docs in front of i t , thelens should be focusedon that plane which is situatedatapproximltgly one-third of the depth of the scene n the fieldof view of the lens,presuming hat a smal l aperturehas bccnselected.

.we already know that the use of a fast shutter speedwillcall for a complementa.ry ncrease in the lens aperturediameterand that this wil l necessarilyesult n a compiession-ol the depth of field zone. This is ah inevitablecondition ofhigh speed action.photographybut, strangeas it may seemat first, t is often dbne inleniionallywith a"stationary ubject.43



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w4t;4h'n

Appl icot ion of one's knowledge ol deplh of f ie ld chorocler is l ics of onl lenscon be us ed lo subdue unfor tuno le bockgrounds, os shown in lhese com-por ison p ic fures. For both p ic tures, o Hon imex f3 .5 /135 mm. lens wos usedI rom lhe some comero posi t ion . In fhe top p ic lu re lhe oper lu re wos set to f /22ond in the lower p ic ture on oper ture of f /3 .5 wos used. No le how thesof len ing e f fect in lhe bockground, when fhe lens is used o l o wide oper lu re ,g ives o greofer v isuq l concen l ro t ion on lhe sub jecf , ond o fee l ing of lh i rdd imension.

#h

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The reason is that our subject mayunattractive background and we areassociation.be located against anunable to chlnge this

An appreciationof lgry deprh of fierdcan be controted tocreat ive advantagewi, heri th. . p!; i* ; 'h. , to subdueunsuitablebackgioundsby keeping-hescoutsidc thc dcpthof f ietdzonc' we can doinis t iv uj ing " r .1 i . r ro.ur [ ; ! ; i ;lens , ncrcas inq .he lens p. r iu r . . d iumctcr (us ing a smal le rf /number) oni by n' in i r l t ing trr . r .nr- i " rru jcct distance.At al l t imes. the. sharpnesi f l r i .-pn" i .g i"pr, ren* insdependenton a .s.teadvotir.i, i-o"q ii ir ;;;.. i?uy importantwhen using smai l aperturesuna rio* ' r r rrr l . ' tpeeds, in thequest for maximum'depth of fierd, rh"l ;;;;; . 'ur" b" takcnin relation to camera ,tobility. At :!ylt:r- speedsof longcrduration than r /,60th r..ond ?.ven r r25th iecono if you,reover 30) a sturdy tr ipod should be used.Depth ol Field'S"aieEach of the Hanimex interchangeabreensess inscr ibed:l i l^ " _depth,of field inclicator icate, which is of greatassrstancen detgr.miningust how much of the dcpth j i ;scenewi l l be registeredn-acceptabry harp 'o" i " i r .To the beeinner t has the dppedrance'ofa highry com-

pl icated calc i rator, uui on.; y. , rearn how it works i t isex t remely imp le .When you iocus a Hanimex. lens,.you. o so by rotat ingthe hel ic i l mount or the rens barrer l Ar i . , "Jbtuining the: l - : : : ,_ l?I ibt ._dcta i t of your subjcct i " - in. eroundgt.ssocusrng creen, efcrcnce o the incJcx oint on t i . l .nr ' * i t iindicate he exactdistance n *hi .n tne t lns h^' t . .n focuscd.Adjacent to this focusing ndex point on the imnrovabresection of the rensbarrer, the depti-;i f i;1i' ;are extendsboth to the reft and rhe fugrri. ri is, ;; y;; ivi i l noticc, arepl icaof the lens aperturelar ibrot ioh,o, ipr [ut .o on eitherside of the focusing' indexpoint.Having f i rst sct thc rcni diaphr.as.montror r ing to thedesired.alperturc.na hauinf ro. . i . .o thc rens.you thcn refcrto the depth of fierd scare.bn tnis i.ui.-, v."'16"k to the twopositions marked with the same f /num'bli;h;; you havechosen for the exposure. oppoiit" tnir- iunu,i-, 'b..on the45



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fhese lwo p ic lu res show o Tessor f 2 .8 50 mm. s tondord lens focused o ld i f te rent d is fonces. ln lhe lop i l lust ro t ion , we see fhe oper lu re sco le sef lof /22 ond the in f in i ty co l ib ro t ion of lhe focus ing sco le sef ogo inst lhe f /22p o in t o n f h e r i g h t s i d e o f t h e d e p t h o f f i e l d sco le . R e f e re n ce lo f h e f 2 2po in f on the opposi le end of the depth o f f ie ld sco le reveo ls tho t th is set l ingde l ivers o depth of f ie ld rong ing f rom oround 4 f t . fo in f in i t y . I h is is co l ledfh e " h yp e r f o co l d i s f o n ce se l l i n g " f o r f / 22 o p e r t u re . Fo r m o x im u m d e p t h o ff ie ld , one mere ly o l igns the in f in i ty se l f ing ogo inst the re levon l oper lvrecol ibrot ion on the r iSh hond side of the depfh of f ie ld scole.ln lhe lower p ic tvre lye see thot when the lens is focused of c lose ronge( t . 3 f t . i n t h i s e xo m p le ) f h e d e p t h o f f i e l d , e ve n o f f / 2 2 o p e r l u re , i s ve rysmo l l ( in th is exo mple , i t is on ly o l i t t le under 2 t /z inchesl .

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depth of f ie ld scaleyou wi l l f ind the nearcstd istance teftof the focusing ndex point) and furthestdistance r ight s ideof the scale) at which the lens wi l l registeracceptably leardetai l at the focused distance and using that part icularaperture.If this distancezone does not provide suffficient epth, thescalewi l l quickly reveal at what l /numbcr you wi l l obtainthe dcpth desired.Now rotate the focusing mount of the lens to anothcrdistancesetting and you w-il l see that the depth of fielcl iscont inuously variable at each l/number as the focuseddistance hances.Knowing t6at depth of field increases s the focuseddis-t_ancencreases, ne might assumc hat the grcatest cpth off ie ld existswhen the lens is focuscdon inf ini tv. but th is isnot quite so. You wi l l see why by furthcr referenceo thcdepth of field scaleon the lens.Hyperlocal Distance SettingFor each aperture setting,every lens has a point on thefocu_singcalewhich provides he maximum possibledepthof field. This position is callcd thc hypeifoc'al distancesetting.Insteadof set t ing he inf in i ty mark of the focusingcol laragainst he f ixed index point, you set i t to thc r ight of thatpoint, against the relevarnt /number of the depth of ficldscale. Whilst your lens wi l l then be focusedon a distancecloser han nf in i ty,you wi l l sce hat the depthof f ie ldextendsfrom near distance isht to inf in i tv.Assuming hat you"havenot yei chosenyour first Hanimexinterchangeableens, take the standard ens of your cameraand try th is l i t t le exercisc.

Turn the focusingmount of thc lensunt i l thc inf in i ty cal i -bration is opposite the number 16 at the extreme right ofthe depth of f ie ld scale. Now look to thc number l6 on theIeft side of the scale and you will see that this lens wil lprovide its greatest depth of field (from about 8 feet toinf in i ty) when i t is used at f /16 apertureand focusedonthe distancenow opposite the focusing ndex point. Thisdistancesctting s the hyperfocaldistance or your standard4 7



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l ens ,when se t a t l /16 .By locating the infinity mark against each successivenumbcr on the r ight hand sideof the depth of f ie ld indicatoryou will f ind that there is a different hyperfocal distancesetting or each apertureof the lens.This hyperfocaldistancesetting s ideal for scenicpicturesin which i t is not part icular ly mportant to securecr i t ica lfocus on any part icular catureof the scene. However, t isinrportant o remember hat nothingwith in the depth of f ic ldzone can ever bc as precisely harp as the point on whichthe lcns has bcen focusedby observationof thc groundglassscreen. Thercfore, he settingof hyperfocaldistance s merelya rapid systemof prefocusing or quick snapshots nd cannottakc the placc of cr i t ica l focusing,espccia l ly or subjects t

close range.Cheap cameraswith f ixed focus lenses, or which i t isc la imcd hart veryth ingwi l l be sharp rom six feet to inf in i ty,are constructed n thc basisof a smal l maxinrum apcrture(gencral lynot adjustable)and the lcns permanent lyocusedon the hyperfocaldistance.Depth ol Field PreaieuingHanimcx automat ic d iaphragm lensesare f i t ted with amanual ovcr-r iderwhich pcrmits the photographcr o closethc aperture manual ly, whi lst the presetdiaphragrn ensesare closcddown manual ly n any casc.By doing this one can preview he dcpth of f ie ld by obser-vation in the reflex viewfinder. As you close down theaperturcwhilst observing he viewfinder mage you can notean increase n the depth of acceptable harpness.Objectswhich were qui te indist inctwhen you focused he ground-glass creenat the ful l apertureof thc lenswi l l then becomerecosnisablc.Somc photographers ind this faci l i ty uscfu l , al though thas i ts l imi tat ions n view of the fact that c losingdown theaperturealso d ims the viewf inder mace to a point where tis diff icult to observe he scenecomfortably.Depth or Sharpness?Earlier in this book we learned that a sophisticated ensdesignemploysmult ip le glasselements n order to correct

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the inherent abeirationsof a simple meniscusor doublet lens.Although the degre-eof correction achi"uJ i, ;i ; ;,g;order, the lens nevertheressdoes not give iti best at evervape.rture,etting. -ryitlr th.eaperture wid"eop.n, ih;;.;;y;;noticeable oss of definition'in the .orn.rr'-uni-ut th.- ;ag;;of the film frame.As the aperture is closed down, the definition improvesuntil we reach the so-called optimum aperture, *tii.t iigene.rallyhree stops smaller than the ma*imum op"ning.-. closing down beyond. his point will increasedepih of-field,but it will not increase.imag6 harpness. n fact, 'tt,. ,.u.ireis the case. The physically smalrer apertures introduce theproblem of diffractio^n.of light-wav.s, which bend .";;rriu;ltaround the edges of the smaller lens opening ind thus failto register the sharpest possible rmage pornrs on film. w;thus find that there is a price fo-p"uy'in terms of imagedefinition when we seek to êxtendOdpt'tr f field.Becausediffraction is relative to physical diameter of thelens aperture rather than-to-its f /numtjer value, ttre proutembecomesmore acute with the ihorter focal ierigth lenses n*f[-rt complete iris diaphragm mechanis- ]r ptivii."riysmal lerat any given l/number"^ T.h_tr,gxplains hy wide-angle_ensesdo not stop down asIar rn /,znumbervalues as do the rong telephoto enses. In,lgrrl^ of physical diameter, the ô*iû^^ opening oi tn.f2.8/28 mm. wide-angre ens is only r0 mml,-which is tosay ^that his 10 mm. diameter has'an f /number value off /2.8, whilst the samephysicaldiameteroi'the iris diaphiagmon a 300 mm. lens would have an f/number value of alm6stl /32 .. .Hence

the physical diameter of the wide_angleens whenrully opened s roughly. quivalent o the long te'iephotowhenstopped{own to its minimum aperture! It i i atsd nterestinsto note that the long.telephoto ens of 300 mm. focal lengtf;delivers approximately-the .ime depth of fieid at f /32"asthe 2E mm. wide-angle ens doeswhen fully opened o f /2.gvalue., Naturally, Hanimex interchangeableensesare so designedthat, for all practical purpor"s. he smallesi aferture sJtting



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o r o v i d e d o n t h e a d j u s t a b | e d i a p h r a g m . w i l l n o t r e s u l t i n a nLnacceptableoss of definition at the plane ot locus'-- F;;Lpti-u- ."*tit,_it is suggesteil hat despite the pro-vision of smaller' i7""tU.tt tot"".*posurecontrol, the wide-ansle lenses, n pirii.ufar, should riot be used at values ess;i "t; ii^il "lt ^r.iti."i -rrruipn.tt is required. lvluch-depends;iil'ruture of ih" s"bje'.t,of course,aswell asthe degreeof enlargementn PaPe{ l-s9ryen'1NNS HANDLING TECHNIQUESHanimex interchangeable enses for 35 mm' single lensreflex cameras .o-. i-, iwo basic typ.e-s . . those with fully"ri"-"ii" diaphragm and those witfr the manual

presetsystem.'-ii i, important to note that when hand-ling he {ully -quto-matic-typr, "u..--.htuld be taken not to damage the delicateautomatrc t.rpping-a"uicl which is in the foim of a small;il";;;;udirig fr:om the rear of the lens mount' Do notstand the lens on ttrir end without first fitting the protective;;;;;;t which is supplied as standardequipment'Interchanging LensesEach Hanimei- pi.r.t lens is fitted with an interchangeablemount to -."i ' if{"-ipecifications of. your camera. If thecamera accepts enses^ aving-the universal Praktica screw-thread mount, you simply oider a Praktica-fitting Hanimexlens.-^'iio*.uer, if your camera s one which accepts-lensesavinga bayonet-type tnount' it t: possible to purchase suitable^a.pt"^ toi youi ff animex lensesat ve_rymoderate cost. Bythis means it is fos.ibfe to fit a Hanimex -preset inter-changeable ens-to' virtually any 35 mm. singlb lens reflexcamera.- Arto-atic diaphragm lensescan also be fitted to bayonetmounting .um.rir, b"ut it will sometimes be necessary toop.tui. ifr. diaphiagm manually due to variations in the,I"iirf,l oi automatrc .pprng employed by different cameras'V;; ihould nr.i.ontutt youi Aedtei to ascertainwhether theselected }{animex lens 'is available with fully automaticdiaphragm mechanism for your particular camera'

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Holding the Carnera. -r! .uy seem rather elementary to advise you on how tohold your camera,but there are riitle tricks of ihe trade whichcan often help the less experiencedphotographer.

For instance,holding the camera^in its"naiural horizontalpo.sition,we obtain a hbrizontal _picture,but if the subject isprincipally vertical in nature, db not hesitate to turn thecamera through 90" to obtain a vertical framinsMost came-rasare designed with irr. piir.i-p"r controlsconvenient o the right hand so that we can advance he filmand cock the shutter, set the shutter speed and release thetrigger with the minimum of effort.It is therefore generalpractice to focus the lens by meansof the rotating collar (helical focusing mount) ,ning"our-i.iihand. In. fact, .when.using short lenses,we can"grip thecamera with both hands and merely extend the middle hngerof each hand to ^provide a two-sided manipulation of ihefocusingmount of-the lens.with longer enses,which tend to upset the balance of thecamera, the left han-d s placed undei the lens barrel, bothin order to focus and also^as support which providesbetterbalance or a stable camera posiiion. If the ieft elbow canbe pulled tightly on to the chest, or if we can lean it on ahrm support such as a table or a fence, the ability to holdthe camerasteadywil l be greatlyenhanced.This ir 6rpr"iuliyimportant with the. longei lens-esas a counter to tne mai-nification factor which nbt onry magnifies mage size,but aliounsteadiness f the camera.^ Releasi.ng-ofhe shutter should be a very smooth operation.Do not jab the release,but squeeze t smoirthly. some peoplehave the mistaken idea thaf a rapid pr.sui. will st5p ihesubject action . . . it will not!. The. only infl-uencing-actor in stopping subject action isthe selection of suitable shutter- spe,ja. a .iui"t ;uuuingreleaseof the trigger wil l invariably' introduce .u.r. camerashake at the moment of exposure ind result in a completeiyblurred picture.Remember the instructionsgiven to a rifleman . . . squeeze

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the trigger gently and you will remain on target . . . jerk itsuddenly an-dyou will miss every time.Using a Tripod Th; very fi'rst accessorywith which a photographer shouldequip himielf is a sturdy tripod-becausemore good shots arelcist by camera movement than by any gthe^rcause.When you invest in a tripod, don't aim for one which willfit in youi gadget bag. Theie miniature models are- oo lim-syto be of ilru6tr prfctical value. A solid tripod with theminimum number of leg extensions s by far the best choice.It should also have an ldjustable head to permit a va-rietyofcamera positions, including the vertical format. Althoughmost modern tripods of suitable calibre are fitted with a panand tilt head, itris is really more satisfactory for moviecameras and it is recommended that you add a sturdy balland socket head, which is far more manoeuverable or stillcamera work.Your camera is fitted with a threaded bush on the under-side for mounting it on to a tripod and this thread is universallyused in all but a few European countries.The camera with shortei focal length lenses will balancenicely on the tripod when this mounting. s used. However,the length and weight of the_onge.r-elephoto lenses s likelyto intro?uce some undesirable oscillation around the mount-ing position and you will find that the Hanimex- ong tele-ph"odo enses are provided with a special tripod-mountingbracket to effect a better balance. In this case' you shouldscrew the tripod into the special lens bush instead of intothe base of the camera.Focusing AidsWe hive already seen that the image of your subject canbe critically focused on the groundglass viewing screen byrotating the focusing mount of the lens smoothly and withcare.In addition to this visual observation and evaluation sys-tem, most modern 35 mm. single lens reflex cameras have arpeciul focusing aid in the centre of the viewfinder. Thismay take the fo-rmof a split-image rangefinder device (calleda ';stygmometer") or it may be a microprism grid-

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To use the stygmometer it is necessaryto centre it over aprominent vertical element of the subjeci and it will then benoticed, if the lens is not precisely folused, that the verticalelement is broken into two parts. Focusing the lens willbring this into a single continirous line withoit the break inthe centre of the stygmometer..The microprisp grid consists of a centre spot of tinypnlTs_ which will break Pp-the clarity of the subject imageuntil the lens is accurately brought to focus on the "orr#tl^aqe.when the image is preciseltf focused the grainy puit.*of the.microprism wi-il viriually disappear. uBoth of these focusing- aids do not operate satisfactorilywhen the lens is stoppedtown to a small'ervalue than abou"t

l/3.5 and so they ar-eof_most value with high speed lenseswh1gh,when fully-opened, do not have -u"h"aepttr of field.The fact that theie aids are ineffective when'the lens issto,pped9.oy". to smaller apertures is of little consequencebecause this is only done after correct focus has' beendetermined.Preset Scale Focusing" tngr" may be occasionswhen time does not permit precisetocusing,such as when the photographer s touring and^wishesto -makequick 1.eco1d ictures oT sienic attracti6ns . . . per_haps even shooting from a vehicle.under these circumstances, it is sound practice to presetthe focusing scale of the lens according to the hyp"iro.uidrstancefystem which we have discussedpreviously.^ n thisrnanner he can T.3k. ra.pid-snapshots of adequaie clarity,using his-camera like a simple fiied focus moddt. one needonly evaluate the average- lighting condition and set theaperture and shrrtter spped- accoidingly. The hyperfocaldistancecan then be setior that apertu-re alue.Inf ra-Red Focusing PointEach Hanimex lens is provided with a special focusingreferencepoint for infra-red-photography. This is recognisefiPy a. red. spot or line slightly to the right of the nbrmalrocuslngrnctexpornt on the lens barrel.Because infra-red rays do not come to the same focuspoint on film that normht tigtrt rays do, it is necessarywhen



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using infra-red film to adjust the focus of the lens.Flrst focus normally, then refer to the distance scaleopposite he regular index point. The distance ying at thatpbint must then be moved ilightly to the right to correspondwith the infra-red focus index.However, very few amateurswil l ever use this feature, asinfra-red film is not readily available n camera storesyou may need o place a specialorde . . . and its applicationsare principally in the field of crime detection ahd research.Nonetheless,t is made possible or the amateur o experi-ment in the unusual effectsof infra-red photography if he sodesires.ALL ABOUT TELE.CONVERTER LENSES

The versatil ity of a limited kit of Hanintex lensescan beextended by the addition of an inexpensiveoptical deviceknown as the tele-converterens.This is a groupingof two or threenegativeoptical elementswhich has a relationship to the rear elements of a true tele-photo construction. By adding t to the rear of any lens (i.e.,by mounting betweencamerabody and lens) we can achievea doubling or tripling of the focal length of the lens.This handy conversion of any Hanimex lens is achievedwith a mere 33 mm. additional physical depth.

Hanimex T ele-ConrseirterLensesThcre are three models available, these being the 2x, the3x and the 2 to 3x tele-converters. As their identificationsuggests,hey are used to double thc focal length 9f tl. grimeleris-,o iripli: it or, in the caseof the latter model, do either.Furthermore, tele-convertersare additive, so that by 9oT-bining two 3x converters you effect a 6x incrcase of thefocal"length of the lens. However, this degrec of multiplica-tion is n6t very practicable due to the fact that -the_greaterthe tele-converter magnification, the greater the loss ofdelinition deliveredby the prime lens.It is recommended that only one converter be added tothe lens.The Pros and ConsThe principle of the tele-converter offers some positive54



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Here we see o Honimex f 3 .5 | 35 mm. medium fe lephofo lens, se f fo lhehyperfocol d istonce for f /22 operture. Mony phofogrophers l ike fo use sucho lens of fh is sef f ing for mqximum depth of f ie ld in londscope picfures. Wecon see thol fhe depth of f ie ld ronges from oround 35 ft . fo inf in i ty in lh isexomple .

advantageswhich are extremely attractive and the followingl ist out l ines hese:(a) Any lens can be quickly converted to a longer focallength at minimum cost.(b) This conversion s achievedwith a considerable avingin length and weight over a prime lens of comparablefocal length.( c ) This compactnessprovides improved manoeuverabilityover the comparable ocal length prime lens.(d) If the converter has an inbuilt tripping mechanism orthe automaticdiaphragm of the prime lens, one obtainsthis convenience n a longer focal length where it maynot be avai lable n an equivalentprime lens (e.g., aHanimex f4.5/200 mm. auto diaphragm ens becomesa 600 mm. lens by adding a tele-converterwith auto55



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diaphragm control, but the Hanimex f8/6O0 mm. lensdoes not have an automatic diaphragm).(e) The focusing range of a prime lens is unaltered by theaddition of a tele-converter; therefore, one can have alens/converter combination of much longer focal lengthwhich retains he near focusing feature of the prime lens.(l) Just one tele-converter doubles the number of differentfocal lengths provided by a limited range of lenses. Ifyou have a standard50 mm. lens, a 135 mm. lens, anda 300 mm. lens in your kit, the addition of a 2x tele-converter will convert these nto 100 mm., 270 mm. and600 mm. focal lengths at will, giving you a choice ofsix lenses.

The Other SideTele-converters also have certain limitations which mustalso be considered in the final analysis and these are asfollows:( 1) When the tele-converter ncreases he focal length of alens it also multiplies the l/numbers by the same factor.Thus a 2x +,ele-converterreduces the speed of an f /2.8lens to f /5.6 and likewise reduces the exposure valueof each aperture throughout the range. From this youwill see the great loss of light-gathering capacity whichwould result from combining two tele-convertersand aprime lens. If this resulted in a 6x magnification of thefocal length of a Hanimex f4.5/200 mm. lens, that lenswould then have a maximum speed of f /27 and aminimum l/number setting of f /132!(2) With the maximum aperture of the lens thus reduced in| /number value, focusing aids of the stygmometer andmicroprism grid type would be rendered ineffective.(3) When a lens is designed, its potential performance iscarefully calculated without provision for additionaloptical units and so the optimum performancecannot bemaintained when a tele-converter is introduced. Theloss of definition is greatest when tele-converters areadded to the shorter focal length lensesand they are notrecommended for wide-angle lenses. Even with thestandard ens and medium telephoto enses t is advisable



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to stop (own a little to minimise fall-off in definition atthe edgegof the film frame.(4) Because the addition of a tele-converter provides agreatly increased image magnification with little con-

sequent ncrease n the overall manoeuverability of thelens, one is tempted to handhold the camera when theuse of a tripod might be absolutely essential. Theresultant magnification of the image would reveal anunacceptableunsteadiness f the camera.Conaerters and Depth ol FieldBecausea converter necessitatesworking at reduced aper-ture values, most pictures taken wi

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Hanimex Lenses