Hanimex lenses booklet Product booklet

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Technologicalprogress in lens manufacture in Japan has been so
dramatic that from the factories of Japan's largest manufacturer
of precision-builtaccesgory lenses, Hanimex is able to present a
rb_markablerange of lenses for  all brands of single ldns reflex
35 mm. cameras, at unusually attractive prices.
  . Japan's optical "know-how" has effected many economies in
the. production of top-grade lenses. The use oi computers in
optical design and automated m.achinery in manufactuie means
that the buyer of Hanimex lenses is acquiring a product which
might easily have been beyond his meanS not-so very long ago.
  The  fact  that  Hanimex lenses are  of  the  high-est optiial
standards, whilst available at economy prices, is borne out by the
phenomenal volume of sales to both professional and ambteur
photographersthroughout the world-and  by the numerous expres-
sions and examples of satisfaction from these tens of thousbnds
of users.
  This book has been speciallywritten in such terms that even the
most inexperienced camera owner may understand the correct
application of the various Hanimex lenses to different subjects
and situations, thereby ensuring that he  is able to extraci the
full potential from his camera and the maximum enjoyment from
the vast spectrum of photography.
  To fully appreciate the benefits which can be gained from the
various interchangeablelenses comprising the oulstanding Hani-
mex _range,the photographer should have an understanding of
the characteristicsof the 35 mm. single lens reflex camera systtm.
For this reason, part of the first.chapter is used to introdu-cethe
reader to the versatile features of this increasinglypopular camera
design.

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                   C O N T E N T S

                            Page                   Page
                                   Focal Length and      THE SINGLE LENS                                     Perspective        29       REFLEX PRINCIPLE                                   Perspectiveand Scale
       Why Interchangeable           Relationship
          Lenses?               7
       What "Focal Length"        SPECIAL PURPOSE
        Means            ...........  7  LENSES
         Understanding              The "Fish-eye" Lens and
           "f/numbers" and                   its application      33
          Lens Speed     .        8   The 500 mm. Mirror-
        Image Magnification             Telephoto Lens      34
           Factors               9   The Variable Focal
         Automatic & Preset             Length "Zoom"
          Diaphragms           9     Lenses            37
         Relationship of                Interchangeable Auto-
           "f/numbers"          15     Diaphragm Adapter
         Arithmetic Progression         Mounts             3 8
              in Exposure
           Determination        15  DEPTH OF FIELD
                                     Understanding Depth of       CHOOSING THE                                               Field              39       RIGHT LENS                                   Depth of Sharpness     .  39
          Optical Design Factors       l 7   Reading Depth  of Field
          Anti-Refl ection Coatins  20     Scales            45
        The Wide-Angle Lens l.  2 L   Hyperfocal Distance
       Medium                          Settings           47
           Telephoto Lenses    24   Depth of Field
        Camera Stability in              Previewinq         48
           Telephotography     26   Depth of fidlA
        Long Telephoto Lenses  28    & Definition        48



L

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                       Page                     Page

   PRACTICAL  LENS            Negative Colour Film
   TECHNIQUES                 and Filters .         64
    Interchanging Lenses   50   CLOSB-UP
    Holding the Camera  .   5 1   PHOTOGRAPHY
    Using a Tripod        52    Dioptre Lenses versus
    Focusing Aids  in S.L.R.          Extension Tubes and
      Viewfinders ..       52      Bellows            65
    Preset Focusing for            Exposure Variations in
      "Grab" Shots       53      Close-up Photography                                                                lrtt
     Infra-red Focusing Index 53   INTERCHANGEABLE
                          LENSES IN ACTION   TELEPHOTO                                                                                                                                  i                                     Using. the Wide-angle   CONVERTER  LENSES
                                  Lens              67    What "tele-converters"                                                  iln      do               54    Using the Medium                                              iili
iI   Pros and cons of                  Telephoto Lens      68                                           iiir                                                                                                                                                                                                                               ii       "tele-converters"     54    Sports Action Techniques 69
                              Zoo Photography       7 l    Depth of Field with                                                                                            iifif                              The Approach to Wildlife 72       "tele-converters"     57
     Practical Advantases    57    Care of Your Lenses . ......73                                ll                           TABULATED  DATA
   USEFUL LENS              Hanimex Preset
   ACCESSORIES                Diaphragm Lenses   76
    Value of the Lens Hood 59    Hanimex Auto-
     Filters for Black & White 59      Diaphragm Lenses   77
    Exposure Correction          Hanimex Auto-Adapter
       Factors with Filters  .  60      Lenses            78
     Filters for Reversal             Film Speed Comparison      Colour             6 l       Guide             79     1il
    The Ultra-violet Filter   62    Distance Conversion
    The PolarisingFilter    63       Table, Feet to Metric
    Neutral Density Filters  63      Measure           79

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    THE MOST VERSATILE CAMERA
  The wise camera buyer looks ahead.  It is false economy to
provide only for one's present level of technical knowlCdge
 or for a presently limited subject interest. A camera suitable
 for family record pictures may not have the capacity for more
 sophisticated projects such as sports action.
  Because the fundamental aspects of photographic tech-
nique are relatively simple and quickly mastered, it is almost
certain that the new photographer will become more adven-
turous          he gains confidence.  Will  a camera with  per-        ,as
manently mounted lens permit a satisfactory expansion of his
subject interests? Decidedly not!
  Such a camera may be  fitted  with  a limited  range of
 accessories to extend  its application, but only  to a degree
which  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 lens
camera, the photographer  will  largely be shooting  blind
because cameras of  this simpler type do not have a view-
finder which  clearly defines the arba covered by close-up
attachments.
   At  the opposite end of the scale, we are often faced with
the need to magnify the image of distant subjects when  it is
not possible to reduce the physical distance betweeri camera
and subject. This calls for a telephoto lens, but such a lens
cannot be fitted to the fixed lens camera.
  These problems are answered by what is surely the most
versatile and creatively satisfying camera .  .  . the single lens
reflex with  lens interchangeability.  This type of camera is
the most  suitable choice  for   all but  the most occasional
photographer.

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The Single Lens Reflex  Principle
  Simple fixed lens cameras employ a direct-vision optical
viewfinder which defines the area of coverage of the lens to
a degree of  similarity which  is adequate for general snap-
shots.  However, due  to  the  fact  that  this  viewfinder  is
physically separated from the lens which records the image
on film,  it  is obvious that there must be some discrepancy
between what the photographer sees through the viewfinder
and what the lens actually records.
  This discrepancy is negligible when photographing subjects
located at 10 feet or more from the camera, but  it assumes
greater proportions at closer range and becomes quite serious
at 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 this
error which often causes the inexperienced photographer to
make close portraits in which the subjects' heads are cut off.
  The better class of fixed lens camera has a bright-line frame
within the viewfinder, which  is continuously adjusted as the
lens is focused at different distances. This feature is known
as automatic parallax coruection and  it  is relatively effective.
Nonetheless, it ceasesto operate when  it is most needed .  .  .
at ultra close range when the normal close focusing capacity
of the lens has been extended by the use of close-up attach-
ments.
  The  superiority  of  the single lens reflex camera is  self
evident when  it  is explained that the viewfinder of such a
camera is not a direct vision type, but  that  it receives its
image of the subject through the camera lens.
   This  is achieved by the location  of an inclined mirror
behind the lens, in  association with  a  roller-blind  shutter
situated immediately in front  of the film. A  shutter of this
type is known as a local plane shutter and, because it  is so
placed,  it permits light  to pass through the lens and to be
ieflected fiom  the reflex mirror  upwards to a groundglass
focusing viewfinder screen.
   All  ihis  is possible without any danger of  light reaching
the film accidentally, for the reflex mirror acts as a protective
screen.

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  Above the groundglass focusing screen, most single lens
reflex cameras have a  permanently  sealed prism  which
redirects the viewfinder image to the viewing window at the
rear  of  the camera bodv.  This  facilitates eve-level view-
finding.
  Unlike the direct vision optical viewfinder, which shows a
clear image even though  the lens may  not be  correctly
focused on the subject, the reflex-focusing viewfinder of the
single lens reflex camera does not show a crisply defined
image 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 sharpest possible image is achieved
in the viewfinder, by rotation of the focusing mount of the
lens, one is assured of an identically sharp image on film.
  The only qualifications to this statement are that  (a)  the
camera must not move at the moment of film exposure, (b)
the shutter speed selected must be sufficiently brief to arrest
subject movement, and (c) the film must not be given an over-
exposure (i.e., evaluation of the subject's illumination must
be accurate).
  Thus it can be appreciated that the single lens 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 light
finally get through to the film?"
  The answer is that when the shutter release is triggered, the
reflex mirror  flips upwards in perfect synchronisation with the
opening 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 second that
the viewfinder is blacked-out for no longer than the blink of
an eyelid     so rapidly, in fact, that the photographer will
barely be conscious of its happening.
   In- addition  to  its unexcelled system of viewfinding and
focusing, the single lens reflex camera offers the inflnite ad-
vantages of lens interchangeability. Exactly what does this
mean to you?

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Vhy  Interchangeable  Lenses?
    If your prer.ni camera has only a fixed lens, or  if. you own
a single lens reflex camera but as yet have only the standard
lens, you will already have made some simple observations.
If you wish to obtain a bigger image of the subject, you must
approach it from a closer distance. This is often not possible
bbcauseof some physical obstacle between the camera and the
subject. Haven't-you wished you had a lens to magnify the
image of that distant subject      something to bridge the
physical distance? You're  stuck way back in the spectator
area as Jack Brabham flashes past the winning post and even
though you know that his car will come out no bigger than a
flea on your film, you press the trigger. Wouldn't   it be great
to have a place right on the edge of the track so that your
picture-       clearly identified the driver?
  Short of  obtaining a special pass giving you  privileged
entry 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 everything
into the picture. To cover a wider field, you must move away
from the. subject, but  if you already have your back to a wall
or are standing on the edge of a precipice, there's not much
you can do. Maybe you're trying to photograph a tall build-
ing in a rather narrow street, or a large group of people in
a small room. When you simply cannot increase the camera-
to-subject distance, the only answer is a lens with a wider
angle of view.
  With access to a choice of several interchangeable lenses
and a single lens reflex camera of the type which accommo-
dates the entire range of Hanimex lenses, you can actually
increase your camera's field of coverage or magnify distant
objects, without moving from the one camera position (very
handy when you are caught in a crowd).
Vhat  Focal Length  llleans
   In order that we may identify the magnifying power of a
lens and  understand  its  relationship  to  the  image  size
delivered by the standard lens of the camera, each lens bears
an inscription which indicates its maximum  light-gathering
capacity (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 speed ot f /4.5 and a focal length
of 200 mm. (or 20 cm.), but just what does this mean?
  The focal length of a lens is that distance from  its optical
centre to the  film  plane of  the camera when the lens is
focused on infinity.
   Infinity  is, of course, infinite distance, meaning everything-
beyond the most distant calibration of the focusing scale oT
the lens.  It  is sometimes indicated by the letters "INF,t'  6rr,
morg generally by an odd-looking symbol which resembles
thllgure   8 lying on its side (horiZontally).
       speed of                      lens is, in  this case, indicated by the  Th"                  lhe
ratio of 1:4.5, which simply means that the physical diaineter
of the adjustable iris diaphragm, at  its maximum opening,
may_be divided 4.5 times into the focal length.
        "speed"  is also called the  "f /num6er"  and so you  .This
will see that when the diaphragm of the lens is closed to
smaller diameters (or apertures) the relative values of these
settings are also obtained by dividing the physical diameters
into the focal length of the lens.
   For convenience in s-etting different exposure values, the
l/numbers  calibrated on Hanimex  lenses have click-stop
positions on the                                ring.  However,   if  the exposure                  -adjusting
evaluation calls for an intermediate position between two
marked l/numbers,    it  is quite possible to set any desired
intermediate position,
  Knowing how the l,/numbers are determined, you will be
able to see that the smallest l/number  indicates the largest
opening of the exposure control diaphragm, and vice-versa.
  The standard lens of a 35 mm. camera is in the region of
45 to 58 mm. in focal length, but for the purposes of simple
explanation we will generalise a little by categorising standard
lenses into a 50 mm. focal length grouping.
  Most modern 35 mm. single lens reflex cameras have a
standard lens of f/l.g  or l/2  speed, which means that they
have a fairly large physical diameter (remembering that focal
length divided by maximum aperture equals."speed").
    It  is obvious that lenses of long focal length cannot be
as fast as the standard lens because thev would become

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unbearably cumbersome. For instance, to have a spe.edof
l/I.8,  a iSO mm. lens would need a diaphragm opening to
100 mm. (4")  width, whilst a 400 mm. lens would have an                                           ulaperture over 22O mm. wide (almost 9").  Do you see why
longer lenses are not so fast?
Image  hlagnification
  Taking t-he-image size produced by the standard lens of
50 mm. Jocal length as our yardstick, we can quickly and
simply gauge the eFect of any other Hanimex interchangeable
lens by dividing 50 mm. into its focal length.
   This we see that a 400 mm. Hanimex telephoto lens
delivers an eight times larger image of the subject than would
the standard lens from the same camera position.
   Naturally  this  great magnification results in  a  greatly
reduced arigle of view. Whereas the 50 mm. standard lens
covers a  45"  angle of  view, a 400 mm.  telephoto lens
encompassesonly a 6o angle.
  The^widest coverage of field is obtained with the Hanimex
28 mm. wide-angle lens with a breath-taking 74" angle of
view. However, lt must be understood that a lens of focal
length shorter than the 50 mm. standard lens will deliver a
proportionately smaller image of the subject. In the case of
ihe-Hanimex 28 mm. lens the image size would be almost
half the size (an approximate magnification of 0.5x being
indicated).
Autotnatic  and Preset Diaphragrns
   Being interested in interchangeablelenses,you will already
be acquainted with the rudiments of exposure control, .no
doubt understanding that under a given-complementarylevel of illumination
each shutter speed-wil[ require a                  setting of
 the lens diaphragm or aperture.
   In case fhis point  still perplexes you, here is a simple
explanation.'Our
       aim  is to subject the film  to a uniform  degree of
 exposure, regardlessof the lighting conditions. Let us com-
 pare this dim with the filling of a bucket under a wate-r_ta-p.
 if we turn the tap to its maximum capacity, we will  fill the
 bucket much more rapidly than if we had reduced the water
 to a mere trickle.

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    Similarly, if we open the lens diaphragm to its maximum  --
 diqlneter (i..., smallest f /number)  the light from the subject
 will flood in and quickly over-expose the film unless we restrict
 the duration of the flow. We do this by setting a relatively
 fast shutter speed so that the exposure period is brief. Con-
 versely, if we set a small lens aperture to obtain extensive
 depth of sharply defined image (depth of field) we need to
 kee-p the shutter open for   t  longer period to maintain a
 uniform 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 the
 subject, it. is desirable to have the lens aperture wide open
 to its maximum light gathering capacity.
     If we are to close it to a lesser value immediately prior to
 the                 of the film and then re-open  it  proniptly  in    -exposlrre
 readinessfor the next picture, some form of mebhanica[ aid
 would make things much easier,wouldn't it?
   Fortunately, Hanimex lenses are fitted with one of two
devices to achieve this end. The  first and simpler form  is
knowqras the preset diaphragm and is employed bn the lower
priced lenses. It should be noted that a irrelet diaphragm is
used to reduce the cost of manufacturing the niechinical
aspecrsof the lens and its use does not imp-ly inferior optical
quality, a point bg*g  out by the fact that iensesof very long
focal length are, for both mechanical and economic relsonsl
rarely            with any other form of rapid diaphragm control.         !tt.-d
  On the lenseshaving a preset diaphiagm, ybu w-ill find two
rotating rings, each bearing the same l/nuniber  calibrations.
The ring furthest from the iamera is used to set the l/number
n€cessaryfor correct exposure of the film, whilst the second
ring is an over-rider, permitting the lens to be opened to its
full spe'edfor viewfinder clarity and which will stop at the
preset aperture when rotated in the reversedirection just prior
to exposure of the film.
  This final closure of the diaphragm-feel,-  may be accomplished
without error,, and simply b.y      whilsf the photographer
continues to 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 whole
job automatically. The photographer preselectsthe aperture
necessaryfor correct exposure, but the lens will remain wide
open until the shutter release is triggered. At  that moment,
a tripping device within the camera depressesa diaphragm
closure pin at the rear of the lens, closing the diaphragm to
the preselectedl/number and releasing it to maximum aper-
ture immediately the exposure has been made.
Relationship   ol   | /nurnbers
  The aperture control ring of a lens is engraved with a set
of l/numbers which might, for example, run like this:
2  2 . 8  4  5 . 6  8  1 1  1 6  2 2
  Why were these particular values chosen instead of other
intermediate values? After   all, the  iris diaphragm has a
continuous movement and, as the diameter or aperture is                I
varied, we can calculate a tremendous range of l/number             iilcalibrations.
  Again the answer is simple and underlines the arithmeticallogic of correct exposure.   ]                                ii  Each  of  the  f /numbers/ engraved on your  lens has anarithmetical relationship to the others.  In  photographers'          irxl
jargon, each of the marked settingsis called a "stop." As we
close the diaphragm down, each stop will deliver only half                                       l
as much light to the film as the stop immediately before  it
 (i.e., "stopping down" from  f /2 to t/2.8 reducesthe passage
of light by 5O% and therefore requires twice the period of
open shutter in order to maintain a uniform exposure of the
film).
  Under a given lighting condition, we therefore have a com-
plete set of uniform aperture/shutter speed combinations, of
which the following is an example:
Shutter Speeds (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 2
     It  will also be noticed that every second l/number has an
even more obvious arithmetical progression and if we break
the sequenceinto two levels this is easier to follow:
        4 8 1 6
   2.8    5.6     1t      22

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The presel diophrogm mechonism of o Honimex t3.5/135 mm. lens is shown
here ql  ils lwo  typicol setfings.  ln the top picfure, the front operlure  ring  is
sef lo  f /8  whilst lhe rear operture ring  is sef ,o t/3.5.  ln lhis posifion, lhe lens
is open ot  its full speed of   f /3.5  whilst lhe presef exposure hqs been selected
os  f /8.  After focusing, fhe reor ring  is furned genlly, without toking one's e/e
from fhe viewfinder, ond   it  will  oulomoticolly stop  of lhe presef  oportvre (os
soen in lhe lower  illuslrotioil  for exposure of the  film.

                             1 6

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  see how each is twice the number of the previous'is      one on
its own level? On gne level, each jump    an exposure
variation of not one but two stops and instead of doublineQthe duration of exposure we musf increas'eit fourfold.
   If,,1rn$.r_a.gr^v:Tlighting condition, the necessaryexposure   .
at  f /2   is  1/500ttr second, we must give four" timbs the
exposure(l/125th  second)if we close down /wo stopsto f /4.   Naturally,                  entire procedure of adjusting the exposure                th.
pe-riod works in reverse if we move from a sniall aperiure to
a larger one.
  The basic rule to remember is that as we "stop down" to
smaller apertures each marked l/number  requirds mice  the
exposure duration of the "stop" before it, and vice-versa as
we "open up" the diaphragm.
      CHOOSING THE RIGHT  L-ENS
   Just as each camera type is more suited to some picture
situations than  it is to others, so, too, is each type of inter-
changeableHanimex lens. There is no such thing as a single-by
all-purpose lens     hence the extensive rangJ offered
Hanimex in order.to equip the individual photographer with
the lenses most suited to his subject intereits.
   Undoubtedly,- after experiencihg the delightful expansion  ^
of your camera's potential whicli even onJ additiorial lens
brings, you will then wish to add others to your camera kit.
    It will therefore be useful if we now examine the lenses in   W
several categories to determine which one  will  be of  the
greatest value for the immediate future.  Let us group the
complete range into four categories as follows:                                  lr     (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 the
o_pticallayout of a sophisticated modern lens.
O ptical Design
   whilst we have seen that focal length is based on lens-to-
film distance, this general rule of thumb has two principar

                             1 7                   IIIW

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variations. Part of the marked focal length of a lens is not
contained in the physical length of the lens itself.  It  is, in
fact, the distance wtrictr lies between the film and the back of
ttre lens.
  Obviously-allowthere must be space within the single lens reflex
camera to        the up and down movement of the reflex
mirror.  Depending on the design of the camera body, this
distance must be in the region of 35 to 40 mm.
    It can thus be seen that a wide-angle lens having a focal
length of 28 to 35 mm. would foul the mirror unless its
physical layout could be such that the physical lens-to-film
ilisiance 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 is known as a retrolocus
system.-
  Simple cameras have simple lenses of  limited capacity,
generally employing either a single glass element (meniscus
lens) oi two-elements mounted with concave surfaces facing
each other (doublet lens).
  Lenses "of  this simple construction do not produce the
clarity of  detail (called "definition")  which the enthusiast
demands.-
  A  single glass element, such as a common firagnifying
glass, will .c-ertainly produce a recognisable_photo^glaphic
image, but with several unacceptablefaults such as soft focus,
dar[ened corners (vignetting) and bleeding of colours.  It
cannot deliver uniform brightnessover the entire area of view.
  However, the introduction of a second glass can achieve a
degree of correction of these faults which we call "optical
 aberrations." For optimum correction, it is common practice
to combine as many as sevenindividual glasses,each of which
 is so designed and ground that the total correction of aberra-
 tions is of a very high order.
  The need for such sophisticated designs is greatest with
lenses of high speed (smallest l/numbers)  and so we need
 not be concerned to  find, for example, that the Hanimex
18/600 mm. telephoto lens has only three glass elements
 (these being quite adequatefor its speed), whilst the Hani-

                              1 8

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mex f2.8/28 mm. retrofocus wide-angle lens contains sever
elements.
   At the same time, we can appreciate why the faster lenses
 of small physical size are not less expensivethan some of the
 telephoto models.
   Returning to the variations on the focal length rule  of
thumb, we,find that in the telephoto categories there are two
 optical constructions    .  . the long-focus lenses and the true
 t-elephotolenses.  It  is less expensive to manufacture a long-
focus lens, which employs the simpler optical design. Thls
type of lens is physically as long as its marked focal length
 (minus the depth of the camera body  for reasons already
understood).





         '
          I
Cutawoy  seclion  of  Honimex  f3.5/135  rnm. presel  lens cleorly shows  opticol
loyout comprising four gloss elemenfs,  intricole consfruclion of focusing  mount,
locolion  of  iris  diophrogm  (operture  conlroD.  fhis  "inside  view"  provides  o
fuller  reolisolion  of  lhe  complexily   of  conslruclion  ond  the  excellenl  volue
represenled  in Hqnimex lenses.

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   All Hanimex telephoto lenses are 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 is
done in order to minimise the problems of manoeuverability
which obviously arise when the natural balance of the camera
is affected by the weight and length of a longer lens.
Lens Coating
   In  the optical construction of a lens, some of the glass
elements have air-space on either side whilst others may be
cemented together. At each air-to-glass surface, transmitted
light  is lost by reflection and this causes a reduction in the
light-gathering capacity or speed of the lens in addition to
scattering light  inside the lens barrel, with  the result that
definition of the film image is impaired, and contrast reduced.
   In the early days of photography the problem was quite
serious, but modern technology has provided us with a most
effective 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 with
a microscopically thin  anti-reflectant film (commonly mag-
nesium fluoride applied by evaporation and condensation in
a vacuum chamber).
   This coating  is extremely hard and virtually  permanent
unless careless cleaning introduces abrasion.   It  is recog-
nisable by a purple to blue  tint, which  is noticeable when
light is reflected from the front surface of the lens.
  Sometimes called "blooming,"  this coating process is also
used in the manufacture of binoculars.
  Whereas earlier lenses lost up to 3OVo of transmitted light,
the modern coating technique has reduced light  loss and
internal  reflections  to  as  little  as zVo,  which  is  quite
negligible.
Four Lens Categories
  The average focal length of the standard lens supplied with
a 35 mm. single lens reflex camera is 50 mm., which  is
approximately equal  to  the diagonal measurement of  the
24 X 36 mm. fllm frame.
   This standard lens is probably the best all-rounder, despite
is  limitations.   Firstly,   it takes in a  fairly broad angle of

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view (about 45"), which delivers a perspective relationship
between various elements of the scene which  is pleasing tb
the eye.
  Of  all  focal lengths   it  is  the one most  suited  to  the
economical manufacture of  high speed characteristics and
to  the achievement of  a large maximum  aperture within
comfortable physical limits.  For  this reason, the standard
lens offers the  greatest potential  for  photography  under
unfavourably low levels of subject illumination.
    It is ideal for photographing groups of people where space
is not restricted,for street scenesand medium distance scenics.
  Because of  its greater light gathering capacity (speed)  it
delivers the brightest image in the reflex fo-cusirigviewfinder
and because of  its large aperture  it extracts the maximum
benefit  from  microprism  focusing  aids  and  split-image
devices with which most 35 mm. single lens reflex cameras
are provided in the centre of the groundglass screen. These
crilical focusing aids are inclined to black out when focusing
is done at small apertures
  The standard lens is unsatisfactory when we wish to record
clearly the finer details of distant subjects and also when  it
is desired to encompass a wide field of view at short camera-
to-subject distances.
  Furthermore, it is not well suited to head and shoulders
portraits due to the tendencyof all shorterfocal length lenses
towards an unattractivelyexaggeratedperspectivediminution
(i.e., the featuresclosestto the cameraappearto be distorted
in size and perspectiverelationship).
The Wide-Angle Lens
  Our own eyes do not see things in the same way as the
camera lens. They are continually scanningthe scenefrom
side to side and from top to bottom and wiihout turning the
head from a fixed position it is possiblefor us to take-in a
very broad view of some 140o extent.
  Even the 28 mm. wide-anglelens cannot equal this per-
formance,but it does substanliailyincreasethe^scope-  of^the
camera in relation to the standard lens coverase. As  it  is
recording.aso much wider field of view (74" arigleapproxi-
mately), it will, of course,proportionatelyreducethe image

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On occosions, fhe phofogropher   will wish to encomposs o brood oreo  of  view
from o  comparotively shorf distonce.  In  fhis sef, lhe lower  piclvre shows lhe
coveroge obfoined  with the slondord 50 mm. lens, whilst fhe uppe,  i11ut1ls|ion
dernonsfroles the tremendous pofentiol  of the Honimex f2.8/28 mm. wide-ongle
Iens from  the identicol comera posifion.

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size and  it  is therefore unable to register distant objects in
fine detail.
  Being the shortest wide-angle lens in the Hanimex range,
the 28 mm. lens exaggerates perspective diminution even
more than does the standard lens. Whilst this renders it quite
unsuitable for  close portraits,  it can also be of dramatic
creative potential.  Its characteristics of rapidly diminishing
perspective can be used to great effect in emphasising the
feeling of tremendous depth in a scene. It especially lends
itself to the inclusion of foreground interests which create a
framing of the more distant material and gives the viewer a
strong feeling of participation and presence in the scene.
  For home interiors  it  is excellent, because it  will  cover
a substantial portion of a small room  at necessarily short
distances. For the same reason, the wide-angle lens is often
used by candid cameramen photographing groups of people
at 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 ground
level, there is a necessity to point the lens upwards and this
causes the vertical lines of the building to converge towards
the top.  The effect may be acceptable in terms of  artistic
licence, but is not satisfactory from a documentary point of
view (especially if one is making record pictures for architects
or builders).
  As the camera-to-subjectdistance increases,the degree of
vertical convergence diminishes, but then,  if we could sig-
nificantly increase the distance, the wide-angle lens would not
be necessary. The preventative step is to obtain a viewpoint
which  is approximately half the height of the subject. This
can often by achieved by working from another building on
the opposite side of the street.
  Convergence of verticals is an inherent hazard when work-
ing with wide-angle lenses and  it is particularly important to
keep the film plane vertical by virtue of a level camera aspect.
  Because the problem is magnified as the focal length of the
lens is shortest, some photographers show preference for the
35 mm. wide-angle lens, which has a not so dramatic angle

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of view (64'  ) but  is still significantly more panoramic than
the standard lens.
Hanimex  Vide-Angle  Lenses
  There is an interesting choice of four different wide-angle
lenses 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, these being the f2.8/28
mm. and the 12.8/35 mm. models.
  The two lenses of 28 mm.  focal length have a nearest
focusing distance of 18", whilst the two 35 mm. lenses have
a nearest focusing distance of 24".
   Smallest aperture setting of both 28 mm. and 35 mm.
automatic diaphragm models iS  f /16,  whereas the preset
diaphragm models (even including the f2.8/28 mm.)  stop
down to  | /22.
   This broad selection of wide-angle lenses not only satisfies
every requirement in terms of mechanical and optical specifi-
cations, but ensures that the purchase of a wide-angle lens
 is not beyond the financial means of the average amateur
photographer.
Illedium  T elephoto Lenses
  Because Hanimex telephoto lenses range from 105 to 600
mm. focal length with consequent magnification ratios of from
2x to 12x compared with the standard lens, it  is suggested
 that we examine these lenses in two distinct categories
medium telephoto and long telephoto        . especially as the
application of those in the 105 to 200 mm. range does not
have a close relationship to the uses of the really long models.
  One of the great advantagesof single lens reflex cameras
is that the viewing image is enlarged in direct proportion to
the magnification factor of the lens which has been mounted
in place of the standard one.
  Thus the application of a telephoto lens immediately reveals
distant subjects in greater detail and often far more clearly
than it can be discerned with the naked eve.
  The medium telephoto lensesare best suited to portraiture,
scenics in which  it  is desired to optically close the camera-
to-subject distance when it is not possible to do so physically,

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