EF180mmF3.5L MACRO USM镜头中文说明书
适马APO MACRO 180mm F3.5 EX微距镜头
适马APO MACRO 180mm F3.5 EX微距镜头镜片的镀膜质量很好,对着镜头望去,黝黑深邃。
用手转动调焦环,全程约转动270°,由无限远到3米仅仅转动约一厘米,近摄的调焦行程则很长,适用于近摄时的精确调焦,而且调焦环的转动十分顺畅,阻尼合适手感很好。
由于该镜头是微距镜头,所以在镜头上设有调焦距离的限制开关。
不同接口的镜头,限制开关也略有不同。
我试用的这只镜头,是尼康接口的,尼康口镜头的开关共设三个档次:全程0.46米—无限远;0.6米—无限远;0.46米—0.6米。
但是这个调焦距离限制开关,只是在自动对焦时才起作用。
在手动对焦时,无论开关放在哪一挡,调焦环都可以从最近的0.46米,一直调到无限远。
该镜头的自动对焦驱动方式,是采用超声波马达驱动,镜身上有“HSM”的标志。
所以装在自动对焦机身上,自动对焦速度快,噪音也很小,而且调焦环不会跟着转动。
但是根据不同的相机镜头接口,自动对焦和手动对焦的转换方式也是不同的。
有的是专门设置一个开关;有的是用推拉调焦环的方法转换。
尼康接口的镜头上并没有转换开关,调焦环也不能推拉。
自动对焦和手动对焦的转换,是用机身上的开关切换。
镜头的手动光圈调节环,是整挡调节,定位清晰。
若采用机身调节光圈的方法,根据不同的机身,可以实现1/3或1/2挡调节。
是采用内对焦的方式,镜身上有一“IF”的标志。
因此该镜头在调焦时,其长度是不会改变的。
镜头的前端也不会在调焦时旋转,使用偏振镜来说无疑很方便的。
这只适马镜头是尼康接口,自动对焦时,可以和尼康F5、F4、F100、F90系列、F70以后的相机配合使用。
装在其他尼康机身上,可以使用手动对焦的方式。
在近摄时,自动对焦的方式,一般是很难正常使用的。
一则近摄时景深非常小,二则自动对焦的区域又是有限的,取景器中自动对焦区域的位置,很可能不是在您所需要的位置上。
所以,还是应该使用手动对焦的方式,仔细对您所需要的部位调焦。
EF800mm镜头中文说明书
EF800mm f/5.6L IS USM
CHI
在使用本产品之前,请务必先仔细阅读本使用说明书。 请务必妥善保管好本书,以便日后能随时查阅。 请在充分理解内容的基础上,正确使用。
感谢您购买佳能产品!
佳能 EF800mm f/5.6L IS USM 镜头是一个专 4. 当拍摄对象在自动对焦模式(ONE SHOT 为佳能 EOS 相机而设计的高素质超远摄镜头, AF (单次自动对焦) 下进入对焦范围, ) 可以 配备有影像稳定器。 进行手动对焦。 5. AF 停止键可让您在任何时候停止自动对焦操 使用本镜头前,请详细阅读使用手册,使您对镜 作。 头更熟悉并掌握正确的操作方法。 6. 对焦预设能让您立即对焦在预设的距离。 如果遇到不能解决的问题 , 请联系随机附送顾客 7. 真正的圆形光圈生成更好的背景模糊效果。 联络表上列印的服务中心。 8. 镜头与增倍镜 EF1.4X ll 和 EF2X ll 兼容。 ¡ “IS”表示图像稳定器。 9. 严密的密封结构保证了出色的防尘和防水滴性 ¡ “USM”表示超声波马达。 能。 10. 主要部件由镁金属制造,体积轻巧。 特点 1. 图像稳定器具有与快四个档的快门等同的效 * 基于[1/ 焦距]秒的公式。在一般情况下,它要求快门 速度为[1/ 焦距]秒或更快,以防止相机抖动。 果 *。 镜头也有第二种图像稳定器模式, 适合用于移 本使用手册中使用的符号 动主体的追随拍摄。 2. 萤石、超级 UD 和 UD 镜片使影像清晰,画面 避免对镜头或相机造成故障或损坏的警告。 突出。 3. 装配超声波马达 (USM) 实现了高速和静音自 有关使用镜头和拍摄照片的补充说明。 动对焦。
CHI-3
1. 安装和卸下镜头
有关安装和卸下镜头的详细说明, 请参阅相机的 使用手册。
佳能EOS M 基本使用说明书使用指南操作说明入门手册
设定时区、日期和时间 ......................................................................27
选择界面语言 ...................................................................................29
有关如何浏览光盘中的使用说明书 (PDF),请参阅第87页。
软件
有关软件程序的概述、在计算机上安装的步骤以及如 何浏览软件使用说明书光盘,请参阅第87至88页。
EOS数码解决方案光盘 (EOS DIGITAL Solution Disk) (软件光盘)
3
物品清单
开始前,请检查相机包装内是否包含以下所有物品。如有缺失,请与经销商联 系。
3 菜单操作 ...............................................................................39
格式化存储卡 ...................................................................................42
6
目录
4 拍摄微距 (微距)....................................................................... 58 5 拍摄运动被摄体 (运动)............................................................ 59 6 拍摄夜景人像 (夜景人像)(使用三脚架).................................... 60 F 手持拍摄夜景 (手持夜景).......................................................... 61 G 拍摄逆光场景 (HDR 逆光控制)................................................. 62 x 图像回放................................................................................... 64 改变对焦方式 .................................................................................. 65 x 用触摸快门拍摄 ......................................................................... 73 j 使用自拍.................................................................................... 74
佳能 RF EF 镜头综合折页 产品手册
镜头综合折页RF35mm F1.8 MACRO IS STM滤镜直径52毫米约305克RF50mm F1.8 STM滤镜直径43毫米约160克RF16mm F2.8 STM滤镜直径43毫米约165克小型轻量・易携带RF85mm F2 MACRO IS STM滤镜直径67毫米约500克EF /RF 系列镜头的详细信息参见佳能官方网站。
EF 镜头RF镜头大光圈定焦镜头研磨非球面镜片x2非球面镜片x1UD 镜片x1ASC 镀膜环形USM 全时手动对焦防水滴防尘防污氟镀膜研磨非球面镜片x1UD 镜片x1BR 镜片x1ASC 镀膜DS 镀膜环形USM内对焦全时手动对焦防水滴防尘防污氟镀膜研磨非球面镜片x1UD 镜片x1BR 镜片x1ASC 镀膜环形USM 内对焦全时手动对焦防水滴防尘防污氟镀膜RF50mm F1.2 L USMRF85mm F1.2 L USMRF85mm F1.2 L USM DS滤镜直径77毫米约950克滤镜直径82毫米约1195克滤镜直径82毫米约1195克RF70-200mm F2.8 L IS USM滤镜直径77毫米约1070克RF15-35mm F2.8 L IS USM大三元镜头RF24-70mm F2.8 L IS USMx2x3滤镜直径82毫米约840克滤镜直径82毫米约900克卡口适配器控制环卡口适配器插入式滤镜卡口适配器(含插入式圆形偏光滤镜插入式滤镜卡口适配器(含插入式可变ND 滤镜超远摄变焦镜头滤镜直径67毫米约395克x2滤镜直径72毫米约750克高倍率变焦镜头x6--滤镜直径77毫米约1370克--滤镜直径67毫米约635克x1RF600mm F11 IS STM 滤镜直径82毫米约930克RF800mm F11 IS STM95毫米 约1260克RF400mm F2.8 L IS USM超远摄定焦镜头滤镜直径52毫米(插入型)约2890克x1RF600mm F4 L IS USM滤镜直径52毫米(插入型)约3090克x1RF800mm F5.6 L IS USM滤镜直径52毫米(插入型)约3140克x1x1RF1200mm F8 L IS USM滤镜直径52毫米(插入型)约3340克增倍镜约225克约340克RF1.4×RF2×小三元镜头RF24-105mm F4 L IS USMx1滤镜直径77毫米约700克RF70-200mm F4 L IS USM滤镜直径77毫米约695克RF14-35mm F4 L IS USM滤镜直径77毫米约540克x1可用滤镜后端插入式约540克EF 24-105mm f /4L IS II USMx3滤镜直径77毫米约795克EF 16-35mm f /4L IS USMx1滤镜直径77毫米约615克x2滤镜直径72毫米约780克EF 75-300mm f /4-5.6 III滤镜直径58毫米 约480克x2滤镜直径82毫米约805克EF 24-70mm f /4L IS USM x2滤镜直径77毫米约600克x5滤镜直径77毫米约1480克EF 70-300mm f /4-5.6 IS II USM滤镜直径67毫米 约710克EF 16-35mm f /2.8L III USM x2滤镜直径82毫米约790克EF 11-24mm f /4L USMx1可用滤镜后端插入式约1180克注:重量仅包含镜头本身。
EF-S18-200mm镜头中文说明书
CHI-11
CT1-7588-004
© CANON INC. 2009
பைடு நூலகம்
2010.8
¡不能安装近摄镜头 250D,因为没有适合的尺寸。 ¡若要精确对焦,建议采用手动对焦。
CHI-10
10
规格表
18 - 200 mm f/3.5-5.6 12 组,16 片 f/22-36* 对角线:74°20′- 7°50′ 垂直:45°30′- 4°20′ 水平:64°30′- 6°30′ 0.45 m 0.24X(200 mm 时) 291 × 452 - 62 × 93 mm(0.45 m 时) 72 mm 78.6 × 102 mm 595 g EW-78D(选购件) E-72 LP1116(选购件)
焦距 / 光圈 镜头结构 最小光圈 视角范围 最近对焦距离 最大放大倍率 视野范围 滤光镜直径 最大直径及长度 重量 遮光罩 镜头盖 镜头盒
* 所显示的数值适用于其光圈设置值增量以 1/3 级为单位显示的相机型号,而对于光圈设置值增量以 1/2 级为单位 显示的型号,该数值应为 f/22 至 f/38。 ¡相当于 35 mm 胶片格式下的 29 - 320 mm。 ¡镜头长度是指从安装面到镜头前端的距离。当装上镜头盖和防尘盖时增加 21.5 mm。 ¡除特别说明外,尺寸和重量只适用于镜头。 ¡EF1.4X Ⅱ /EF2X Ⅱ增倍镜不能与此镜头一同使用。 ¡光圈设置可以由相机指定,进行变焦操作时,相机可以自动补偿光圈设置的变化。 ¡上述所有数据均按照佳能标准测量。 ¡产品规格和外形如有改变,恕不另行通知。 原产地 :请参照保修卡或产品包装箱上的标示 进口商 :佳能(中国)有限公司 地 址 :100005 北京市东城区金宝街 89 号 金宝大厦 15 层
曼拉克大型镜头LENS CASE适配表说明书
MX5375MX5378MX5341MX5343MX5347Lens Case Medium Lens Case Large Lens Case- Pro 50Lens Case- Pro 100Lens Case- Pro 2003¼" Dia x 4½" H3½" Dia x 6¾" H 4 Dia" x 6" H3¾" Dia x 6⅝" H3¾ Dia" x 10" H8 x 11cm9 x 17cm10 x 15cm10 x 17cm10 x 25cm CanonEF 100-300mm f/4.5-5.6 USM√EF 100-400mm f/4.5-5.6L IS USM√EF 100mm f/2 USM√EF 100mm f/2.8 Macro USM√EF 135mm f/2.8 w/ Softfocus√EF 135mm f/2L USM√EF 14mm f/2.8L II USM√EF 15mm f/2.8 Fisheye√EF 16-35mm f/2.8L II USM√EF 17-40mm f/4L USM√EF 180mm f/3.5L Macro USM√EF 200mm f/2.8L II USM√EF 20mm f/2.8 USM√EF 24-105mm f4L USM√EF 24-70mm f/2.8L USM√EF 24-85mm f/3.5-4.5 USM√EF 24mm f/1.4L USM√EF 24mm f/2.8√EF 28-105mm f/3.5-4.5 II USM√EF 28-135mm f/3.5-5.6 IS USM√EF 28-200mm f/3.5-5.6 USM√EF 28-300mm f/3.5-5.6L IS USM√EF 28-80mm f/3.5-5.6 II√EF 28-90mm f/4-5.6 III√EF 28mm f/1.8 USM√EF 28mm f/2.8√EF 300mm f/4L IS USM√EF 35mm f/1.4L USM√EF 35mm f/2√EF 50mm f/1.2L USM√EF 50mm f/1.4 USM√EF 50mm f/1.8 II√EF 50mm f/2.5 Compact Macro√EF 70-200mm f/2.8L IS USM√EF 70-200mm f/2.8L USM√EF 70-200mm f/4L IS USM√EF 70-200mm f/4L USM√EF 70-300mm f/4.5-5.6 DO IS USM√EF 70-300mm f4-f5.6 IS USM√EF 75-300mm f/4-5.6 III√EF 75-300mm f/4-5.6 III USM√EF 85mm f/1.2L II USM√EF 85mm f/1.8 USM√EF-S 10-22mm f/3.5-4.5 USM√EF-S 17-55mm f/2.8 IS USM√EF-S 17-85mm f/4-5.6 IS USM√EF-S 18-55mm f/3.5-5.6 USM√EF-S 55-200mm f/4.5-5.6 II USM√EF-S 60mm f/2.8 Macro USM√Extenders EF 1.4x II√Extenders EF 2x II√Extension Tube EF 12 II√Extension Tube EF 25 II√Life Size Converter EF√MX5375MX5378MX5341MX5343MX5347Lens Case Medium Lens Case Large Lens Case- Pro 50Lens Case- Pro 100Lens Case- Pro 2003¼" Dia x 4½" H3½" Dia x 6¾" H 4 Dia" x 6" H3¾" Dia x 6⅝" H3¾ Dia" x 10" H8 x 11cm9 x 17cm10 x 15cm10 x 17cm10 x 25cm Canon (Continued)MP-E 65mm f/2.8 1-5x Macro√TS-E 24mm f/3.5L√TS-E 45mm f/2.8√TS-E 90mm f/2.8√NikonAF 10.5mm f/2.8G ED AF DX Fisheye√AF 105mm f/2D DC√AF 135mm f/2D DC√AF 14mm f.2.8D ED√AF 16mm f/2.8D Fisheye√AF 180mm f/2.8D IF ED√AF 200mm f/4D IF ED Micro√AF 20mm f/2.8D√AF 24-85mm f/2.8-4D IF√AF 24mm f/2.8D√AF 28mm f/2.8D√AF 300mm f/4D IF ED√AF 35mm f/2D√AF 50mm f/1.4D√AF 50mm f/1.8D√AF 70-300mm f/4-5.6G√AF 80-200mm f/2.8D ED√AF 80-400mm f/4.5-5.6D ED√AF 85mm f/1.4D IF√AF 85mm f/1.8D√AF-S 105mm f/2.8G IF ED VR√AF-S 10-24mm f/3.5-4.5√AF-S 12-24mm f/4√AF-S 14-24mm f/2.8G ED√AF-S 16-85mm f/3.5-5.6G ED VR√AF-S 17-35mm f/2.8D IF ED√AF-S 17-55mm f/2.8G IF ED√AF-S 18-135mm f/3.5-5.6G IF ED√AF-S 18-200mm f/3.5-5.6G IF ED√AF-S 18-55mm f/3.5-5.6G VR√AF-S 18-70mm f/3.5-4.5G IF ED√AF-S 24-120mm f/3.5-5.6G VR IF ED√AF-S 24-70 f/2.8G ED√AF-S 28-70mm f/2.8D IF ED√AF-S 55-200mm f/4-5.6G ED VR√AF-S 60mm f/2.8G Micro√AF-S 70-200mm f/2.8G IF ED VR√AF-S 70-300mm f/4.5-5.6G IF ED VR√AF-S TC-14E II Teleconverter√AF-S TC-17E II Teleconverter√AF-S TC-20E II Teleconverter√Olympus7-14mm f/4.0 Zuiko√9-18mm f/4-5.6 ED Zuiko√11-22mm f/2.8-3.5 ED√12-60mm f/2.8-4 ED SWD Zuiko√14-35 f/2.0 ED SWD Zuiko√14-42mm f/3.5-5.6 Zuiko ED√14-54mm f/2.8-3.5 II Zuiko√MX5375MX5378MX5341MX5343MX5347Lens Case Medium Lens Case Large Lens Case- Pro 50Lens Case- Pro 100Lens Case- Pro 2003¼" Dia x 4½" H3½" Dia x 6¾" H 4 Dia" x 6" H3¾" Dia x 6⅝" H3¾ Dia" x 10" H8 x 11cm9 x 17cm10 x 15cm10 x 17cm10 x 25cm Olympus (Continued)18-180mm f/3.5-6.3 ED Zuiko√35-100mm f/2.0 ED Zuiko√40-150mm f/4-5.6 Zuiko ED√50-200mm f/2.8-3.5 ED SWD Zuiko√70-300mm f/4-5.6 Zuiko ED√8mm f/3.5 Fisheye ED Zuiko√25mm f/2.8 ED Zuiko√35mm f/3.5 Macro ED√50mm f/2.0 Macro ED Zuiko√150mm f/2.0 ED√Sigma10-20mm f/4-5.6 EX DC HSM√12-24mm f/4-5.6 EX DG √15-30mm f/3.5-4.5 EX DG DF√17-35mm f/2.8-4 EX DG√17-70mm f/2.8-4.5 DC Macro√18-50mm f/2.8 EX√18-50mm f/3.5-5.6 DC√18-125mm f/3.8-5.6 DC√18-200mm f/3.5-6.3 DC OS√20-40mm f/2.8√24-60mm f/2.8 EX DG√24-70mm f/2.8 EX DG√28-70mm f/2.8 EX DG√28-70mm f/2.8-4 DG√28-300mm f/3.5-6.3 DG√50-150mm f/2.8 EX DC APO HSM√50-500mm f/4-6.3 EX DG APO HSM√55-200mm 4-5.6 DC HSM√70-200mm f/2.8 DG APO HSM√70-300mm f/4-5.6 DG APO Macro√70-300mm f/4-56 DG√80-400mm f/4.5-5.6 EX DG APO OS√100-300mm f/4 EX DG APO IF HSM√120-400mm f/4.5-5.6 EX DG OS√135-400mm f/4.5-5.6 DG APO√170-500mm f/5-6.3 DG APO√4.5mm f/2.8 EX DC Circ Fisheye√8mm f/3.5 EX DG Circ Fisheye√10mm f/2.8 EX DC Fisheye√15mm f/2.8 EX DG Diagonal Fisheye√20mm f/1.8 EX DG DF RF√24mm f/1.8 EX DF DF Macro√28mm f/1.8 EX DG DF Macro√30mm f/1.4 EX DC HSM√50mm f/2.8 EX DG Macro√70mm f/2.8 EX DG Macro√105mm f/2.8 EX DG APO Macro√Sony180mm f/3.5 EX DG APO Macro√1.4x EX DG DG APO Teleconverter√2.0x EX DG DG APO Teleconverter√11-18mm f/4.5-5.6 DT√16-105mm f/3.5-506√MX5375MX5378MX5341MX5343MX5347Lens Case Medium Lens Case Large Lens Case- Pro 50Lens Case- Pro 100Lens Case- Pro 2003¼" Dia x 4½" H3½" Dia x 6¾" H 4 Dia" x 6" H3¾" Dia x 6⅝" H3¾ Dia" x 10" H8 x 11cm9 x 17cm10 x 15cm10 x 17cm10 x 25cm Sony - continued16-35mm f/2.8 ZA SSM Carl Zeiss√16-80mm f/3.5-4.5 Carl Zeiss Sonnar√16mm f/2.8 Fisheye√18-200mm f/3.5-6.3 DT√18-250mm f/3.5-6.3√18-70mm f/3.5-5.6 √24-105mm f/3.5-4.5√24-70mm f/2.8 Carl Zeiss Vario-Sonnar√55-200mm f/4-5.6 DT√70-200mm f/2.8 APO G SSM√70-300mm f/4.5-5.6 G SSM√70-400mm f/4-5.6 SSM√75-300mm f/4.5-5.6√20mm f/2.8 AF√28mm f/2.8√35mm f/1.4 G√50mm f/1.4 √50mm f/2.8 Macro√85mm f/1.4 Carl Zeiss Planar√100mm f/2.8 Macro√135mm f/1.8 Carl Zeiss Sonnar√135mm f/2.8 STF√2.0x EX DG DG APO Teleconverter√Tamron17-35mm f/2.8-4 Di LD√28-75mm f/2.8 XR Di LD√28-300mm f/3.5-6.3 XR Di VC LD√28-200mm f/3.8-5.6 XR Di√70-300mm f/4-5.6 Di LD Macro√70-200mm f/2.8 Di LD IF Macro√200-500mm f/5-6.3 Di LD IF√90mm f/2.8 Di Macro√180mm f/3.5 Di LD IF Macro√11-18mm f/4.5-5.6√17-50mm f/2.8 XR Di II√18-200mm f/3.5-6.3 XR Di II√18-250mm f/3.5-6.3 XR DI II√18-270mm f/3.5-6.3 Di II√55-200mm f/4-5.6 DI II√1.4x Teleconverter√2.0x Teleconverter√Tokina12-24mm f/4 AT-X Pro DX√11-16mm f/2.8 AT-X Pro DX√10-17mm f/3.5-4.5 AT-X DX√50-135mm f/2.8 AT-X Pro DX√16-50mm f/2.8 AT-X Pro DX√35mm f/2.8 AT-X Pro DX Macro√80-400mm f/4.5-5.6 √100mm f/2.8 Macro√。
fujifilm富士xe1简体中文官方说明书介绍
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BL01756-600
ZHS
चࠠಚኇၯሮസ
X-E1
用户手册
感谢您购买本产品。本手册讲述了如何使用 FUJIFILM X-E1 数码照相机及安装附带的软件。 在使用照相机之前,请确定您已阅读并理解了本 手册内容。
使用之前 开始步骤 基础拍摄与回放 基础动画录制与回放 Q(快速菜单)按钮 有关拍摄和回放的详细信息 菜单
部件名称 外壳(金属部件) 外壳(树脂部件) 传感器部件 显示部件 光学部件 基板部件 外壳(金属部件) 外壳(树脂部件) 基板部件 电缆 电池 光盘 电池充电器 电缆部件
铅* (Pb) × ○ ○ ○ × × × ○ × × × × 汞 (Hg) ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ 有毒有害物质或元素 镉 六价铬 (Cd) (Cr (VI)) ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ 多溴联苯 (PBB) ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ 多溴二苯醚 (PBDE) ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
在常温下,电池大约可以充电 300 次。当电池可容纳电量的使用时间长度明 显减少时,表明电池已达最终使用寿命,需要进行更换。
■ 存放
电池在充满电时若长期闲置不用,其性能可能会被削弱。存放电池前请先 将其电量放尽。
黑白圆形多焦镜头设备操作指南说明书
CAMÉRA NOIR ET BLANC ÀDÔME EN POLYCARBONATE ÀL’ÉPREUVE DU VANDALISME AVEC 3 LENTILLES SUR PORTE-OBJECTIFGUIDE D’UTILISATIONVeuillez lire ce guide en entier avant de faire fonctionner cet appareil.VQ1232MISE EN GARDE RISQUE D'ÉLECTROCUTION NE PAS OUVRIR.!MISE EN GARDE:AFIN DE RÉDUIRE LES RISQUES D'ÉLECTROCUTION, NEPAS ENLEVER LE COUVERCLE (NI L'ARRIÈRE). NE CONTIENT AUCUNEPIÈCE POUVANT ÊTRE RÉPARÉE NI REMPLACÉE PAR L'UTILISATEUR.CONFIER TOUTE RÉPARATION ÀUN TECHNICIEN QUALIFIÉ.EXPLICATION DES DEUX SYMBOLES GRAPHIQUESLes symboles de l'éclair et de la pointe de flèche dans un triangle permettentd'alerter l'utilisateur de la présence de "tension dangereuse" non isolée àl'intérieur de l'appareil, ce qui constitue un risque d'électrocution.Le point d'exclamation àl'intérieur du triangle permet d'alerter l'utilisateur de laprésence d'instructions d'opération et d'entretien importantes accompagnant leproduit.DES SYMBOLES COMPORTANT DES INSCRIPTIONS SUPPLÉMENTAIRES SETROUVENT SOUS L’APPAREIL.AVERTISSEMENT : AFIN DE PRÉVENIR LES RISQUES D'ÉLECTROCUTION OUD'INCENDIE, NE LAISSEZ PAS CET APPAREIL SOUS LA PLUIE, PRÈS DE L'EAU NIDANS LES ENDROITS HUMIDES.MESURES DE SÉCURITÉIMPORTANTESCe composant A/V sans fil est muni d'une fiche polarisée de courant alternatif (une fichedont l'une des broches est plus large que l'autre).Cette fiche ne peut s'insérer que d'uneseule façon dans la prise de courant.Ceci constitue une mesure de sécurité.Si vous nepouvez pas insérer la fiche jusqu'au fond dans la prise,essayez de l'inverser.Si vous nepouvez toujours pas l'insérer,communiquez avec votre électricien qui changera votre prisede courant désuète.Ne tentez pas de neutraliser ni d'altérer cette caractéristique de sécuritéde la fiche polarisée en la limant, la coupant ou autre.NOMENCLATURE ET DESCRIPTION DES PIÈCES :Cet emballage contient:!1-Dôme en polycarbonateàl’épreuve du vandalismeavec 3caméras noir et blancàdispositif CCD de 1/3po.Adaptateur secteur 12 V CC Coupleur RCA/BNC-1-INTRODUCTION:Nous vous félicitons d’avoir achetécette caméra noir et blanc àdôme Vision Q àl’épreuve du vandalisme de conception unique.Cette caméra àdôme est fabriquée en polycarbonate afin de lui procurer une protection supérieure contre les impacts. La base faite en métal renforcée comporte un support pivotant et unequincaillerie inviolable offrant une protection accrue contre le vandalisme.Cette caméra àdôme peut être inclinée à90˚afin de choisir un angle de visionnement optimal.RACCORD DE LA CAMÉRA VISION Q ÀUN SYSTÈME DE SURVEILLANCE QUADRUPLE À2 PAGES/8 CANAUX1.Installez la caméra au plafond.2.Raccordez le câble de prolongement vidéo (non inclus) àla caméra et au moniteur.3.Raccordez le câble de prolongement de l’alimentation (non inclus) àl’adaptateur secteur de 12 V CC inclus.4.Reliez le câble de prolongement vidéo aux entrées de caméra du moniteur (référez-vous au schéma ci-dessous).5.Branchez une extrémitéde l’adaptateur secteur de 12 V CC au câble de prolongement de l’alimentation et le bloc,dans la prise de courant.6.Mettez votre moniteur en marche et syntonisez le canal sur lequel vous visionnez l’image.7.Répétez la procédure ci-dessus afin de raccorder les 3caméras au moniteur.RACCORD DE LA CAMÉRA VISION Q ÀUN SYSTÈME DE SURVEILLANCE QUADRUPLE ÀPAGE UNIQUE 1.Installez la caméra au plafond.2.Raccordez le câble de prolongement vidéo (non inclus) àla caméra et au moniteur.3.Raccordez le câble de prolongement de l’alimentation (non inclus) àl’adaptateur secteur de 12 V CC inclus.4.Reliez le câble de prolongement vidéo aux entrées de caméra du moniteur (référez-vous au schéma ci-dessous).5.Branchez une extrémitéde l’adaptateur secteur de 12 V CC au câble de prolongement de l’alimentation et le bloc,dans la prise de courant.6.Mettez votre moniteur en marche et syntonisez le canal sur lequel vous visionnez l’image.7.Répétez la procédure ci-dessus afin de raccorder les 3caméras au moniteur.VUE ARRIÈRE DU MONITEUR QUADRUPLE À2 PAGES/8 CANAUXENTRÉES BNC CAMÉRA NOIR ET BLANC ÀDÔME ÀL’ÉPREUVE DUVANDALISMECABLE DE PROLONGEMENTVIDÉO (NON INCLUS)CAMÉRA1CAMÉRA 2CAMÉRA 3-2-VUE ARRIÈRE DU MONITEUR QUADRUPLE ÀPAGE UNIQUEENTRÉES BNC CAMÉRA NOIR ET BLANC ÀDÔME ÀL’ÉPREUVE DUVANDALISMECABLE DE PROLONGEMENTVIDÉO (NON INCLUS)CAMÉRA1CAMÉRA 2CAMÉRA 3GUIDE DE DÉPANNAGE:Si la caméra ne fonctionne pas adéquatement, veuillez vérifier les points suivants. Si les problèmes persistent, n’hésitez pas àcommuniquer avec notre département du service àla clientèle, en composantle numéro d’assistance sans frais.PROBLÈMES CAUSES ET SOLUTIONSAUCUNE IMAGE L’ADAPTATEUR SECTEUR CA N’EST PAS BRANCHÉDANS LE MONITEUR OU CELUI-CI N’EST PAS BIENSYNTONISÉÀL’ENTRÉE OU AU CANAL APPROPRIÉ.L’IMAGE EST MÉDIOCRE NETTOYEZ LA LENTILLE DE LA CAMÉRA.AJUSTEZ LES COMMANDES DE CONTRASTE OUDE LUMINOSITÉDE VOTRE TÉLÉVISEUR POUR PLUS D’ASSISTANCE OU SI VOUS DÉSIREZ VOIR LAGAMME COMPLÈTE DES PRODUITS LOREX,VEUILLEZ VISITER NOTRE SITE WEB :SPÉCIFICATIONS TECHNIQUESDispositif de capture d’image Capteur CCD N&Bl. de 1/3 po.Nombre de pixels510 x 492Système de balayage 525 lignes, 60 champs/sec.Résolution330 lignesluxÉclairage minimum 0,5Rapport signal-bruit Plus de 48 dBÉquilibre du blanc Équilibre automatique du blancVitesse de l’obturateurélectronique 1/60 –1/100 000e sec.Lentille2,9 mmConsommation électrique12 V CC, 120 mATempérature de fonctionnement.-26°C –122°FDimensions 5-7/8 po.(Diam.) x 4 po. (Haut.)Poids29,02 ozSOYEZ TOUJOURS TRÈS DISCRET LORSQUE VOUS INSTALLEZ UN SYSTÈME DE SURVEILLANCE AUDIO/VIDÉO, SURTOUT DANS LES ENDROITS OÙL’INTIMITÉEST UN FACTEUR IMPORTANT. INFORMEZ-VOUS DES LOIS LOCALES, PROVINCIALES ET FÉDÉRALES QUI CONCERNENT L’INSTALLATION LÉGALE D’APPAREILS D’ENREGISTREMENT AUDIO ET VIDÉO OU DE SURVEILLANCE. IL SE PEUT QUE VOUS DEVIEZ OBTENIR LE CONSENTEMENT DE LA PARTIE CONCERNÉE.PUISQU’ELLE AMÉLIORE SANS CESSE LA CONCEPTION ET LA FABRICATION DE SES PRODUITS, LA CORPORATION SVCSE RÉSERVE LE DROIT DE MODIFIER LES SPÉCIFICATIONS DE SES APPAREILS SANS PRÉAVIS NI AUCUNE OBLIGATIONDE SA PART. CECI EST VALIDE POUR LES ÉQUIPEMENTS D’ORIGINE ET DE REMPLACEMENT D’ORIGINE.-3-。
富士胶片 CF 镜头适配器 使用说明书
User ManualCe texte dans votre langue? Utilisez “Google Translate” sur Internet.Diesen Text in Ihrer Sprache? Verwenden Sie “Google Translate” im Internet.Este texto en su idioma? El uso de “Google Translate” en Internet.Questo testo nella tua lingua? Utilizzare ‘Google Translate’ su Internet.Este texto na sua língua? Usar “Google Translate” na Internet.Denna text på ditt språk? Använd “Google Translate”på Internet.Deze tekst in uw taal? Gebruik ‘Google Translate’ op het internet.FRA DEU ESP ITA PRT SWE NLD JPNCHNINDRUSSAUThe CF Lens Adapter (3043500) allows the use of all C-type lenses from the V System on H cameras. Integral processors for data con-version bridge the two systems to access a number of the H-display and lens-control functions. The adapter allows:• light metering at full aperture.• electronic focus confirmation on viewfinder display.• exploitation of databus connection with CFE lenses.• access to shutter speeds (manually set on lens) from 1s–1/500s including B and T mode.Functions such as autofocus and continuous drive are an integral part of the H System only so they are therefore not available when C lenses are used. Likewise, as the light measuring and aperture/ shutter controls are also different between the two systems, then camera operation differs too. Some other restrictions also apply regarding specific lenses or combinations of lenses/converters. Operation of the adapter is not difficult but requires an awareness of certain points that contrast with regular H operation. You can use the adapter immediately by going through the procedures described under the Quick Start heading but a thorough reading of this manual is advised to ensure optimum performance.CF Lens Adapter compatibilityPlease make sure your camera has the latest firmware which you can find at .The H6D camera requires firmware 1.19.0 or later for CF Lens Adapter use.When using the CF lens Adapter together with an H6D camera, the function “My Lenses” is not available. Hence, all references to “My Lenses” is only valid for H5D cameras and earlier.F/FE type lenses and video with H6DFor still images it is not possible to use F/FE type lenses as they don’t have a built-in shutter. However, they can be used on the H6D for making video capture.Note that when attaching an FE 110 or FE 60-120 lens, there will be a message on the camera grip saying “Lens type not sup-ported” and the camera is blocked for still image captures. It is however, possible to activate video mode and recording from the Sensor Unit user interface. F type lenses will not generate this message and you can activate video mode and control re-cording from the grip.See H6D User Manual for more details.All Lenses screen with the H6D cameraThe illustration below shows the H6D grip screen that will ap-pear when a lens is mounted on the CF Lens Adapter. This cor-responds to illustration 5 on page 19.The figures beside the headings refer to the relevant illustrations for that section. Rotation directions are described as seen when facing the camera.Please note that the adapter requires firmware version 9.0.0 or later (H6D1.19.0 or later) installed in the camera! (see camera manual for details). Parts and Components 11. Lens locating index2. Connecting cable3. Databus connector for CFE lenses4. Lens cocking lever5. Adapter locating index6. Drive shaft7. Adapter release catch8. Camera databus connectorQuick start 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12 C-type lenses from the V System have changed over the years in functionality and appearance. The illustrations therefore show some variations that might not match the lenses you are using. The later CFE/i models, for example, have a locking device on the PC flash con-nector whereas earlier models did not. Please see the relevant user manual for details.a. Align the red adapter locating index on the rear of the adapter with the redindex on the camera body (illus 2) and rotate the adapter clockwise until it clicks into place.b. Align the index on the lens with the red lens locating index on the adapter(illus 3) and rotate the lens clockwise until it clicks into place.c. Attach the connecting cable to the PC socket on the lens (illus 4).d. The grip LCD on the camera will automatically display the lens and converterchoice screen (such as in illus 5).e. Rotate the front control wheel to choose the lens and the rear control wheelto choose the converter (or No converter). For example, 150 mm lens with ‘No converter’, as in illus 6. Finally, press the button labelled “Save” to store the setting and automatically access the standard screen.f. The focal length of the lens chosen (illus 7) as well as a ’X’ symbol for a con-verter if chosen (illus 8) now appears on the LCD beneath the AF button.g. Ensure the depth-of-field button on the lens is in the off position, illus 9.h. When measuring the light, the camera will display setting informationwhich has to be transferred to the lens, for example 1/60s at f/11 as in illus10. See relevant lens user manual if you are not familiar with the settingson C lenses. This procedure varies according to the type of lens:C/CF/CFi lenses — Rotate the front control wheel on the grip to scrollthrough the list of aperture/shutter combinations visible on the grip LCD and the viewfinder LCD. Transfer the chosen shutter speed / aperture combi-nation settings (or EV visible on grip LCD) to the lens.CFE lenses — Pre-set the aperture of your choice on the lens. This setting will appear on the grip and viewfinder LCD alongside the shutter speedchosen by the camera. Transfer the shutter speed setting from the grip or viewfinder LCD (or EV visible on the grip LCD) to the lens.i. Make the exposure.j. The message ‘Cock the lens’ now appears on the grip LCD (illus 11) and on the viewfinder LCD together with a warning triangle. Before another expo-sure can be made, the lens shutter must be re-cocked by pushing the lens cocking lever all the way up until it stops (illus 12).Attaching the adapter 13 The adapter should be attached to the camera body first and then the lens to the adapter. When using a converter or extension tube see ‘Converter/ Extension tubes’ section for specific details.✐Any resistance experienced when attaching a lens should be assumed to be a fault in fitting. If the lens does not click into place then check to see whether the lens shutter has been inadvertently tripped thereby causing the drive shaft to be out of alignment for attachment.If this is the case, the lens shutter can be cocked again by inserting a small coin or similar in the slot on the drive shaft coupling and rotating it clockwise (about 4/5 turn) until it locks. See illus 13 for correct alignment.✐The connecting cable should be attached whether you intend to use flash or not as it not only conveys information about flash synchronisation but completion of the shutter action as well. The adapter/lens combinationwill work correctly (except for the lack of flash synchronisation) if the cable is not connected but film advance is consequently delayed by 1.5 seconds.Please note that with some older lens types there may be a delay anyway, even if the cable is correctly attached.Removing the adapterAfter exposure, you can remove the adapter from the camera without re-cocking the lens but you cannot remove a lens from the adapter without re-cocking the lens.Remove a lens from the adapter by pressing the lens adapter catch on the adapter and rotating the lens in an anticlockwise direction.Remove the adapter from the camera body as you would a lens by pressing the lens release button on the camera and rotating the adapter in an anticlockwise direction.Converters, extension tubes and lenses should be removed in reverse order to attachment, that is, lens first followed by the converter or extension tube. Avoid removing a lens and converter/extension tube as a combined unit as separation will cause the lens shutter to trip. See note above under ‘Attaching the adapter’ for details.Lens choice and H display 5, 6, 7, 8,16 Attachment of the adapter or adapter/lens combination auto-matically causes the camera to display the lens/converter choice screen on the grip LCD. The grip screen is scrollable or partly so, depending on lens type (see below). There are two possible screens (shown by the setting information on the lower row of the LCD), namely All lenses (as in illus 14) and My lenses.Toggle between these two screens by pressing the AF button (signified by the commands Next in the top row on the screen). The My lenses screen will provide access to a list you have already created (see below for details) while the All lenses will provide ac-cess to all lenses available.When a C/CF/CFi type lens is attached, all ‘C’ lenses are available (by scrolling) on the list.To simplify operation however, when a CFE lens is attached, only CFE lenses that share the same widest aperture appear on the list. For example, when attaching a CFE4/40 mm lens, the CFE4/120 mm and the CFE4/180 mm will also appear as they both have f/4 as their widest aperture. Therefore when attaching a CFE 2.8/80 mm lens, only that lens appears as it is the only f/2.8 lens in the CFE range. Please note that this feature functions by way of the databus connections and therefore will not work if the converter/extension tubes have no databus connectors.Whether choice is manual as in C/CF/CFi type lenses or semi-automatic with CFE lenses, a choice must still be made regarding a converter at least, and then saved. It is essential that the lens/ converter information is correct as failure to do so can cause er-rors in light metering while the camera will appear to behave normally.If you want to correct your choice afterwards then press the AF button in the standard screen mode to access the lens choice screen again.To set or reset a lens /converter choice proceed as follows:1. Press the AF button to access the lens choice screen.2. Toggle the AF button to access either the ‘My lenses’ or ‘All lenses’.3. Rotate the front control wheel to choose the lens attached and the rear con-trol wheel to choose converter (or No converter). For example, 150 mm lens with ‘No converter’, as in illus 6.4. Press the button labelled “Save” to store the setting and automaticallyaccess the standard screen. Note that the focal length of the lens attached now appears on the LCD beneath the AF button, illus 7, along with an ‘X’symbol to signify a chosen converter, illus 8.✐Remember to check and save the lens/converter settings when attaching a lens!✐Remember to check the lens/converter settings each time you change lenses or converters!The camera cannot recognize CFE or CF lenses when used in conjunction with converters or extension tubes without databus connectors so consequently manual settings must be made.Creating and using a ‘My lenses’ setting 14, 15, 16, 17 If you regularly use the same lenses, you might want to speed up lens choice when changing lenses by creating a personal My lenses list that matches your equipment. This method also helps to avoid errors in choice. Until you create such a list the My lenses screen will display the Empty! Select lenses in “My lenses” menu message. You can add to the list at any time by following the same procedure and you can delete any or all lenses at any time by using the same procedure simply by choos-ing No instead of Yes and saving. Note that CFE lenses will override a favourite list (see previous section) and automatically implement the correct setting (though the use of a converter still has to be set). How-ever, if you attach a CFE lens that is not on the My lenses list, the All lenses will display all the CFE lenses with the same maximum aper-ture instead.1. Press the ‘Menu’ button, illus 14.2. Rotate the front control wheel until screen 4 ‘Settings’ (illus 15) is displayedon the grip LCD and press the button labelled “Enter”.3. Rotate the front control wheel until screen4.5 ‘My lenses’, illus 16, appearsand press the button labelled “Enter”.4. Rotate the front control wheel until the desired lens appears, then rotatethe rear control wheel until ‘Yes’ appears, illus 17.5. When you have matched all lenses of your choice that you want on the listwith a ‘Yes’ and each lens you don’t want on the list has been matched witha ‘No’, finally press the button labelled “Save”.When accessed, the ‘Lens choice’ screen will now only display the lenses you have chosen when you rotate the front control wheel, allowing much faster choice. Please note that the correct lens still has to be chosen and the any converter must also be chosen before SAVE is pressed.✐Converters cannot be included on a favourite list and always remain asa choice that has to be set. “My Lenses“ is not applicable to the H6D. FocusingAlthough the autofocus function is not available with V System lenses, the H focus confirmation aid LEDs in the viewfinder func-tion as normal with exception of lenses slower than f/6.7. This function remains customizable in Custom Options #14. Operation is identical as with HC lenses. See the H user manual for full details.✐The focus confirmation function automatically shuts down with lenses slower than f/6.7 (as it does with HC lenses) on condition that the cor-rect lens/converter settings have been made. However, this automatic shutdown does not take place if extension tubes are fitted.Light metering 9 For all types of lenses, choice remains between metering meth-ods in the camera – average, centre weighted and spot – as well as exposure compensation.✐Remember to ensure the depth-of-field check/ stop down button is in the ‘off’ position when taking a light meter reading (illus 9).✐An error message -’Stopped down’ - appears on the grip LCD and a warning triangle appears in the viewfinder LCD if you have forgotten to open the aperture again after stopping down for a depth-of-field check, but only with CFE lenses. No warnings are possible with C/CF/CFi lenses as they have no databus connections.Exposure 18, 11 When the exposure button is pressed (or the remote release) the conventional sequence of events takes place. However, after exposure, the shutter in the lens remains closed and so conse-quently there is no image in the viewfinder.If you forget to re-cock the shutter, camera operation is blocked and the message ‘Cock the lens’ appears on the grip LCD (illus 11) and in the viewfinder LCD alongside a red warning triangle. The standard screen returns again on the grip LCD when the lens has been cocked.Avoid pushing up the lens cocking lever or holding it half way up when making an exposure as this will cause errors. An error message – ‘Lens cocking lever problem’ (illus 18)– appears to warn you of this.B- and T-release 19, 20 For B exposures, proceed as follows:1. Ensure the connecting cable is connected between the lens and adapter.2. Set the shutter on the lens to “B”.3. Program the USER button (AE-L button on H4D) to “B mode” by first pressingthe the MENU button and then the USER/AE-L button. Rotate the rear control wheel to set the function to “B mode”.4. Press the USER/AE-L button to activate “B mode”.5. Make the exposure (elapsed time shown on the grip LCD) as normal bymaintaining pressure on the exposure button or remote release cord for the desired amount of time.For T exposures, proceed as follows:1. Ensure the connecting cable is connected between the lens and adapter.2. Set the shutter on the lens to “B”.3. Program the USER button (AE-L button on H4D) to “T mode” by first pressingthe the MENU button and then the USER/AE-L button. Rotate the rear control wheel to set the function to “T mode”.4. Press the USER/AE-L button to activate “T mode”.5. Start the exposure (elapsed time shown on the grip LCD) by pressing the exposurebutton or remote release cord. The button can now be released. Stop the expo-sure by pressing the exposure button or remote release cord button again.In both cases, the Mirror Up function can be used as normal.✐An error message – ‘Set lens to B’ (illus 19) – appears if you made the wrong shutter setting on the lens (T exposures only).✐An error message – ‘Check cable’ (illus 20) – appears if you have omitted to attach the connecting cable (T exposures only).Converters / Extension tubesConverters or extension tubes are attached and removed in the conventional manner. They should be attached to the adapter first. When removing however, remove the lens first and then the converter/extension tube. If you remove the lens and converter/ extension tube together as a unit and then separate them, there is a possibility that the shutter in the lens will be tripped. In this case see the special note in the ‘Attaching the adapter’ section and illus 13 about how to re-cock the shutter when detached from the camera.✐If you remove a C/CF/CFi lens but leave the converter attached to the adapter which in turn is still attached to the camera, then you must manually make a new lens choice from the list and save it. This also applies to CFE lenses if the converter does not have databus connectors.✐Only V-series converters and extension tubes can be used with the adapter.✐When a converter or extension tube is attached, the camera cannot recognize lens changes when it is not active and therefore the semi-automatic choice facility normally available with CFE lenses is tem-porarily lost. The camera can only recall the information from the last lens change made when the camera was active. This means you should check settings carefully in these cases or simply ensure the camera is active when you make changes.Points to note• The camera must have firmware version 9.0.0 or later (H6D 1.19.0 or later) installed.• Continuous drive is disabled.• Interval timer is disabled.• Rear flash sync is disabled.• Bracketing is disabled.• The stop down button on the camera is disabled.• Ensure the stop down button on the lens is in the open position for light metering.• H System converters and extensions tubes cannot be used.Technical specificationsDimensions: approx. 86 x 112 x 20 mmWeight: 135 gCF Adapter.. 3.eps 040920DERS ENGSTRÖM LUSTRA TÖR 2112345678***********************To lensCOPYRIGHT ©2004ANDERS ENGSTRÖMANDERS ENGSTRÖM,ILLUSTRA TÖR Östra vägen 4643091HÖNÖtel/fax 031-968464***********************3501+3..41.eps 001206COPYRIGHT © 2000 ANDERS ENGSTRÖMANDERS ENGSTRÖM, ILLUSTRATÖR Östra vägen 46430 91 HÖNÖ tel/fax 031-96 84 64***********************4578CF Adapter.. 5.eps 041007TRÖM 6123COPYRIGHT © 2000 ANDERS ENGSTRÖANDERS ENGSTRÖM, ILLUSTRATÖR Östra vägen 46430 91 HÖNÖ tel/fax 031-96 84 64***********************9101112CF Adapter.. 4.ep ***********************131415S ENGSTRÖM,ILLUSTRA TÖR gen 46HÖNÖ31-968464***************16181917201600701 3043500 7 2018 2018 Item no:3043500。
SONY索尼E卡口变焦镜头SEL18135使用说明书
SONY索尼E卡口变焦镜头SEL18135使用说明书一、产品概述二、镜头规格焦距:18135mm最大光圈:F3.5(广角端) F5.6(长焦端)镜头结构:12组16片视角:76°(广角端)12°(长焦端)最近对焦距离:0.45米最大放大倍率:0.29倍滤镜尺寸:55mm重量:约325克三、安装与拆卸1. 确保相机电源关闭,将镜头对准相机E卡口,轻轻旋转并推入,直至听到“咔嗒”声,表示镜头已正确安装。
2. 拆卸镜头时,请先按下镜头释放按钮,然后顺时针旋转镜头并轻轻拔出。
四、基本操作1. 调整焦距:旋转镜头上的变焦环,即可在18135mm范围内调整焦距。
注意,在变焦过程中,镜头前端会伸缩,请确保操作平稳。
2. 对焦:半按快门按钮,相机将对被摄物体进行自动对焦。
若需要手动对焦,请将镜头对焦模式切换至MF(手动对焦)。
五、注意事项1. 请勿将镜头直接暴露在阳光或其他强光源下,以免损坏内部光学元件。
2. 避免在潮湿、多尘等恶劣环境中使用镜头,以免影响镜头性能。
3. 请使用专用镜头清洁工具进行清洁,避免使用粗糙的布料或纸张擦拭镜头。
4. 在不使用镜头时,请将其存放在干燥、清洁的地方,并放入镜头袋以保护镜头。
六、高级功能1. 防抖功能:SEL18135镜头具备光学防抖功能,能有效减少因手抖导致的画面模糊。
在光线不足或长焦端拍摄时,开启相机内的防抖功能可以显著提高拍摄成功率。
2. 快速对焦:得益于内置的线性马达,SEL18135镜头可以实现快速、安静的对焦,非常适合拍摄动态场景或录制视频。
3. 场景识别:与索尼相机配合使用时,镜头可以传递场景信息给相机,帮助相机更准确地识别拍摄场景,优化自动对焦、自动曝光等设置。
七、维护与保养1. 定期检查:建议每隔一段时间检查镜头的外观,确保无划痕、灰尘或污渍。
如有需要,可以使用软毛刷轻轻清除镜头表面的灰尘。
2. 清洁镜头:当镜头表面有指纹或油渍时,请使用专用的镜头清洁纸或镜头布轻轻擦拭。
Canon 长焦摄影系列产品说明书
ONLY A FEW of the mony fine telephotos available from Conan. From the left, the 100mm f/ 3.5, the 200mm f/3 .5, the 135mm f/ 2.5, the 85mm f/1.8 and the 300mm f/4. Note the uni que mount on the latter lens, consisting of a focusing bellows.
THE CANON TELEPHOTOS
--------------------------------------------------------------------------------------~~---
The 600mm 1/ 5.6 Canon
WE IGHT . . ... . ........... . ... .7 Lbs. LENGTH . .. . .............. .. .. 151f2 In. MAXIMUM DIAMETER .. .. . ... .4112 In. FINISH ... .. .... . . . . . . .Satin Black DIAPHRAGM ... . ............. Manual FOCUSiNG ... . .... .. ......... Bellows DIAPHRAGM RANGE ... . .... .. f / 5.6-32
FOCUSING RANGE ....... . .311z Ft.-Inf.
DIAPHRAGM RANGE ........... f / 1.8·16
RESOLUTION TEST_ _ _ _ _-..
佳能 EF镜头 说明书
EF14mm f/2.8L USM 镜头的滤光镜 该镜头结构在后背带有内置明胶滤光镜支座 。要插入滤光镜,
· 自动对焦时,请勿触碰镜头上的对焦环。
只要将滤光镜剪裁成与白色托架相同的尺寸(31 mm×31 mm), 然后将滤光镜滑入支座即可。
˔
˔
8. 遮光罩
镜头长度是指从安装面到镜头前端的距离。当装上镜头盖和
10-14 9-11 9-11 9-10 9-11 6-7 7-9 6-8 7-9
最小光圈
22 22 22 22 22 22 22 22 32
最近对焦距离
0.10X/246 × 375 mm 0.14X/176 × 264 mm 0.16X/150 × 227 mm 0.18X/139 × 212 mm 0.18X/136 × 206 mm 0.15X/164 × 249 mm 0.13X/191 × 287 mm 0.14X/175 × 262 mm 0.16X/152 × 226 mm
˔⤓
安装或拆下遮光罩时,持住遮光罩的底部旋转。为防止遮光罩
变形,不要抓住它的外缘部分旋转。
尽管 EF50mm f/1.4 USM (ES-71 Ⅱ ) 用的遮光罩上没有红点,
但安装顺序则是相同的。
· 如果遮光罩安装不当,将挡住部分图像。
· 存放时,可将遮光罩反过来套在镜头上。
[ 夹持式 ]
EF85mm f/1.8 USM,EF100mm f/2 USM(选购件)
离设置 。
有关安装及拆卸镜头的详细说明,请参考相机的说明书。
拍摄时,请安装红色滤光镜。
· 拆卸镜头后,将镜头后端朝上放置,以避免划伤镜头表面和
·切换对焦模式为 MF,旋动对焦环进行调节。
腾龙 SP AF 180mm F 3.5 Di LD [IF] 微距 1 1(型号 B01)说明书
SP AF 180mmF/3.5 Di LD [IF] Macro 1:1(Model B01)Thank you for purchasing this Tamron lens as the latest addition to your photographic equipment. Before using your new lens,please read the contents of this Owner's Manual thoroughly to familiarize yourself with your lens and the proper techniques for creating the highest qual-ity images possible. With proper handling and care,your Tamron lens will give you many years of photographing beautiful and exciting pic-tures.NOMENCLATURE1. Lens hood2. Hood attaching alignment mark3. Hood attaching bayonet ring4. Filter Effect Control (FEC) Ring (B01)5. Focusing ring6. Focus macro magnification scale display7. Distance (macro magnification) scale8. Distance (macro magnification) index9. Depth-of-field scale10. Tripod socket (B01)11. Tripod socket fixing screw (B01)12. Aperture ring (Nikon)13. Aperture scale (Nikon)14. AE lock button15. Aperture index (Nikon)16. Aperture scale for finder display (Nikon)17. Lens mount/Lens mount contacts18. Lens attachment mark (Canon,Minolta) SPECIFICATIONSATTACHING L L ENS T T O C C AMERAHow t t o m m ount t t he l l ensRemove the rear cap of the lens,align the lens attachment mark on the lens barrel with its counterpart on the lens mount of the camera and insert the lens mount into camera's mount opening. Rotate the lens clockwise until it click-locks. For Nikon models,align the lens attachment mark with the dot on the camera and rotate the lens counter-clockwise until it click-locks.How t t o d d etach t t he l l ensPress the lens release button of the camera,turn the lens counter-clockwise (clockwise in case of Nikon),and lift the lens off the camera's lens mount.* For further details,please read the instruction manual of your camera.FOCUSING ((Autofocus) ((Ref. 55 && 66)1. Set the camera in the AF mode,and move the focusing ring upward to the AF position.2. Press the shutter release button half-way while looking through the viewfinder. The focusing ring will move automatically to focus.* With Minolta cameras,when focusing ring is set in the manual focus position while the camera is set in AF mode,the focusing ring rotates as if it were in the autofocus mode. Turning of the focusing ring in this instance may cause damage to the lens and/or the cam-era body. Also,do not force the focusing ring when it is set in the manual focus mode.FOCUSING ((Manual F F ocus)Nikon a a nd C C anon m m odels1. Simply move the focusing ring backward to the MF position.2. Rotate the focusing ring manually while looking through the viewfinder until the image in the finder comes into sharp focus.Minolta m m odels1. Switch the AF/MF selector switch on the camera body to MF mode,then slide the focus-ing ring backward to the MF position.2. Rotate the focusing ring manually while looking through the viewfinder until the image in the finder comes into sharp focus.* Before rotation of the focusing ring,make sure that the camera is set to the MF mode. Manual rotation of the focusing ring when the camera is till set in AF mode will cause mechanical damage to the lens and/or to the camera body.* When using the lens on Nikon F-501 (N2020),please use the switches both on camera body and the lens in order o select MF or AF.* When the focusing ring is set to the AF position,the focusing ring rotates freely and you cannot adjust focus.* If you use the lens in the manual focus mode on an autofocus camera,rotate the focusing ring while holding the shutter release button depressed half-way. The focus confir-mation indicator will light when subject comes into focus.* Because B01 uses an internal focus mechanism,the lens does not extend (grow longer out of the front of the camera) even during macro photography. This prevents large loss of balance during focusing.* The focusing ring rotates beyond the infinity position in order to properly focus to infinity under a variety of environmental conditions. When manually focusing,make sure the subject at infinity is sharp in the viewfinder.LENS A A PERTURE A A ND A A E M M ODE ((Ref. F F ig. 77)Setting l l ens f f-n n umbers w w ith C C anon && M M inolta c c amerasSet the f-number with aperture setting device of the camera body in accordance with the selected photographing mode.Setting l l ens f f-n n umbers w w ith N N ikonDepending on the photography mode,it is possible to set the aperture on either the lens aperture ring or on the camera body.Setting t t he a a perture o o n t t he a a perture r r ingSet the lens aperture ring so it is on the smallest f-stop for a Nikon camera,then set the f-stop you want with the indicator.LENS A A PERTURE A A ND A A E M M ODE ((Ref. F F ig. 77) (con’t)Setting t t he a a perture o o n t t he c c ameraSet the lens aperture ring so it is on the smallest f-stop for a Nikon camera,then set the f-stop you want with the indicator of the camera body.* The lens aperture varies with focusing movement. Cameras read the different lens openings and automatically adjust the exposure properly.* For further details,please read the instruction manual of your camera. ATTACHING T T HE L L ENS H H OOD ((Ref. F F igs 11, 22, 33 && 44) 1. Align the index mark on the hood with the corresponding index mark on the lens. Place the hood onto the hood's attaching bayonet ring.2. Turn the hood clockwise until it clicks. The index mark (O) on the hood appears on the top when it is correctly attached.Stowing l l ens h h ood o o n t t he l l ens1. Detach and reverse the lens hood. Then align the index mark (O) on the hood with the index mark on the lens. Place the hood onto the hood's attaching bayonet ring.2. Turn the hood clockwise until it clicks. The index mark on the hood appears at the top when correctly stowed.TRIPOD S S OCKET ((Ref. F F igs. 88 && 99)B01 has a socket for tripods. Secure the camera to the tripod with the tripod socket when you use a tripod.Changing t t he v v ertical a a nd h h orizontal p p osition o o f t t he c c amera1. Turn the tripod's locking knob in a counterclockwise direction to loosen it.2. Rotate the camera using the lens as the axis,and align the indicator on the tripod socket ring and the vertical and horizontal indicator.3. Tighten the locking knob and lock the camera into place.Removing t t he t t ripod s s ocket1. Turn the tripod's locking knob in a counterclockwise direction,and line up the white mark on the top of the knob and the tripod socket.2. Pull the tripod socket's locking knob outward. Open the tripod socket ring,and remove the tripod socket.TRIPOD S S OCKET ((Ref. F F igs. 88 && 99) ((con’t) Attaching t t he t t ripod s s ocket1. Open the tripod socket ring,and set the lens.2. Make sure that the white mark on the top of the tripod socket locking knob and the indi-cators on the tripod socket are aligned,and then pull the knob outward.3. Close the ring,and tighten the tripod socket locking knob.* Hold the camera firmly when removing the tripod socket so that you do not drop the camera or the lens.* Make sure that the white mark on the top of the knob and the indicators on the tri-pod socket are aligned before you pull on the knob.FILTER E E FFECT C C ONTROLB01 features a new mechanism that allows you to rotate the filter with the hood on. Rotation of the ring (4. Filter Effect Control Ring),which is near where the filter attaches, triggers rotation of the filter allowing you to adjust the effect of the PL filter.* The Filter Effect Control Ring and the filter rotate opposite to each other. When you rotate the Filter Effect Control Ring in a clockwise direction,the filter rotates in a counter-clockwise direction.* The rotation angle of the Filter Effect Control Ring is different from that of the filter. If you wish to rotate the PL filter to an exact position using the index as a standard,remove the hood and rotate the filter while keeping an eye on the index mark.* You can change the visual effect by rotating PL and non-PL special effect filters such as a cross filter.EXPOSURE R R ATEWhen the lens is moved outwards to increase the magnifications ratio for shooting close-ups,the actual brightness on the film decreases,and the effective F number changes. For auto exposure photographing,using an external exposure meter,or when using and exter-nal light-adjusting flash however,the exposure must be corrected for this decrease in brightness according to the magnification ratio. For the amount of the correction,refer to table 12.DEPTH-O O F-F F IELDWith a camera equipped with a depth-of-field preview button or an aperture-stop-down mechanism,the depth of field can be directly observed through the viewfinder screen of your camera. For the operational details,read the instruction manual of your camera. INFRARED P P HOTOGRAPHYPlease be aware that there is no infrared index line on any models listed in this owner's manual. Therefore practically no black-and-white infrared film can be used with these lenses.PRECAUTIONS I I N S S HOOTINGDo not use the lens hood when using the camera's built-in flash. Also,when shooting close-ups,the lens unit may obstruct the light of the flash even when not using the lens hood, resulting in vignetting at the bottom part of the image. Thus,we recommend using a special externally mounted flash or flash photography.Also refer to the section of your camera's instruction manual pertaining to the use of the built-in flash.When using a B01 with a tele-converter,use the manual focus. When a tele-convert-er is used with the macro lens,the autofocus may not operate correctly,depending on the focusing distance. This is due to the camera's mechanical system. Use a Tamron tele-con-verter with a Tamron lens or best results. Tele-converters produced by other manufacturers may not mount properly and/or cause malfunctions. When a tele-converter is mounted onto a lens,the focusing ring normally feels heavier when rotating.When using the lens in macro range,it may be necessary to use a tripod to avoid camera shake. Using high-speed film (ISO 400 or faster) with a fast shutter speed is also helpful to reduce the influence of camera shake.Do not forcibly turn the focusing ring when camera and/or lens is/are set in the AF mode. Doing so could damage the lens and/or camera.Certain camera models may indicate the maximum aperture values of the lens as approximate numbers. This is inherent to the design of the camera and not an indication of error.TO E E NSURE L L ONG-T T ERM S S ATISFACTIONAvoid touching the glass element surface. Use a photographic lens cloth or blower brush to remove dust from the lens element surface. When not using the lens,always place a lens cap on it for protection.Use a lens cleaning tissue or lint cloth with a drop of cleaning solution to remove fin-gerprints or dirt on the glass lens surface with a rotary motion from the center to the edge. Use a silicon cloth to clean your lens barrel only.Mildew is an enemy of your lens. Clean the lens after shooting near water or in any humid place. Store your lens in a clean,cool and dry place. When storing the lens in a lens case,store it with commercially available drying agent such as silica gel,and in change the agent occasionally. If you find mildew on your lens,consult an authorized repair shop or nearby photographic store.Do not touch the lens-camera interface contacts since dust,dirt,and/or stains may cause a contact failure between the lens and camera.When using your equipment [camera(s) and lens(es)] in an environment where the temperature changes from one extreme to the other,make sure to put your equipment tem-porarily in a case or a plastic bag for a length of time in order for the equipment to go through a gradual temperature shift. This will reduce potential equipment trouble.。
Canon EF Cinema Lens 说明书
CINE-SERVO CN20×50 IAS HSuper35 Meets Super TelephotoCINE-SERVOCN 20×50 IAS HWith the advance of digital cinematography, most new digital cine cameras have made use of the entrenched large global inventory of 35mm motion picture film lenses. Digital cinematography has squarely encompassed the emerging 4K movement – in both the television-centric UHD and the cinema-centric 4K digital motion imaging production formats.In the broadcast industry, large-format cameras and lenses for digital cinema are now being adopted for applications such as dramas, documentary programs, and promotional videos because of their superb imaging characteristics.Documentary, sports coverage and natural history programs seek extended focal ranges. Such focal ranges in the Super 35mm image format size with full 4K optical performance, pose significant challenges to size and weight of the lens.In recognition of this pressing production need, the CN20×50 IAS H ultra-telephoto zoom lens in Super 35mm format has been developed, significantly extending the imaging capabilities of 4K large-format cameras.The CN20x50 IAS H is a zoom lens for the Super 35mm format, having the superiority of the longest focal length(*) of 1500mm (with a 1.5× extender) and the highest zoom ratio(*) of 20× in the world of the Super 35mm format that offer a whole new image expression.Built-in 1.5× "4K" extender is another first in the large format optical arena, which maintains excellent 4K image quality.The lens weighs only 6.6 kg and has an overall length of only405.2mm (**) a combination that will readily support carryable documentary, natural history and sports shooting.Powerful 4K images created by unprecedented 1500mm focal length4K Optical PerformanceThe 4K optical performance is carefully managed across the entire image plane to ensure superb subjective sharpness especially on the wider angle settings. Sophisticated computer simulation in the design phase produced an excellent final optimization that maintains the 4K optical performance over the entire focal range even when the built-in extender is in use and over an object distance ranging from the minimum object distance to infinity.New glass materials assisted in the goal of achieving the necessary tight control of optical aberrations.The most contemporary multilayer optical coatings ensure very high contrast by their superb control of black reproduction augmented by optical and mechanical design innovations that substantially reduced flare and any internal reflections.Similar attention to minimization of ghost images and other highlight-related color bleeding extend the operational contrast range of the lens.f = 50mmf = 1000mmConversion Table (*) As of September 2014(**) 〈PL Mount 〉 CN20x50 IAS H/P1 :405.2mm 〈EF Mount 〉 CN20x50 IAS H/E1 :413.2mm Super 35mm2/3” 35mmFocal Length(mm)50 – 1,000 App. 20 – 370 App. 75 – 1,460 with 1.5× Ext(mm)75 – 1,500 App. 30 – 560App. 110 – 2,190The lens has a 1,500mm focal length at the telephoto end (with a 1.5x extender), a total length of 405.2 mm (PL mount), and a weight of 6.6 kg. Even when shooting documentaries in a harsh natural environment, this lens enables unprecedentedly expressive and dynamic 4K images at a distance from the subject.Display for easy user settingsThe display of the lens drive unit enables easy operation of digital functions such as speed and frame presets and shuttle shot in the same way as Canon’s high-end broadcast portable television lenses.Speed Preset : A speci c zoom speed can be preset in memory Frame Preset : An angle of view can be preset in either of two memories Shuttle Shot : Automatically shuttle between two focal length.Lens with ultra-long focal length, 4K optical performance, and high carryabilityServo Cine LensThe CN20×50 IAS H has a newly designed digital servo system that employs the miniature 16-bit optical encoders that endow the control of zoom, iris, and focus with the same legendary precision for which Canon is world-famous in the 2/3” ENG/EFP domain. This new digital drive system is compact and lightweight while providing impressive power to actuate the full 20:1 zoom range in 1.5 seconds – ensuring image capture in critical moments.Wide-ranging zoom speeds up to a maximum of 180 seconds support special creative shooting. The encoders do not require any initialization operation and accordingly the system starts immediately upon switch-on.A 12-pin connection cable from the drive unit carries the standard serialcommunication for broadcast lenses – ensuring that the CN20×50 IAS can be used with all professional Super35mm digital cine cameras. The camerasupplies power to the drive unit via this connection and remote iris operation is supported.Support for Virtual Image Data OutputStudio Broadcast Lens ControllersWhen used in a studio lens-camera con guration the CN20×50 IAS H drive unit has three 20-pinconnectors that facilitate the use of Canon standard broadcast zoom and focus controllers (such as the ZSD-300D and FPD-400D).Flange-back adjustment mechanismThe lens enables ange-back adjustment with an operation as easy as that ofbroadcast ENG lenses.Macro functionThe lens enables macro shooting with an operation as easy as that of broadcast ENG lenses.Iris close functionThe lens can close the iris completely, which is necessary to calibrate black balance.Immediate system start-upThe drive unit has a high-performance encoder so that the lens requires no initialization. Since the encoder does not require the initialization operation when the lens is powered on, the system can be started immediately.Robustness and durabilityThe lens features an optimal housing structure made by combining theknow-how acquired through the development of Canon broadcast lenses with the latest simulation technologies. The lens provides a robustness and durability that can endure in severe operating environments for broadcast applications.Operability and functions ideal for broadcast lens usersThe lens o ers the equivalent servo operation feel as broadcast portable lenses for all focus, zoom, and iris controls. The focus ring is provided with a knurled rubber for superior operability, which allows theequivalent manual operation feel as broadcast portable lenses.Virtual20pin connector180°Standard Broadcast Camera InterfaceFPD-400D Focus control20p20pZSD-300D Zoom controlWorld’s rst built-in 1.5× “4K”extenderThe lens has a built-in 1.5× extender, which makes it the rst zoom lens with a servo unit for Super 35mm sensor cameras. The lens is capable of 4K resolution performance even when a 1.5× extender is inserted.The drive unit has a 20-pinconnector which outputs 16-bit precision data for zoom, iris, and focus to support precision virtual imaging systems.The lens is equipped with multiple bladesthat make the aperture diaphragmrounder and achieves a soft and naturalblur e ect. It has also adopted an oddnumber of blades so that the beams ofreceived light spreads without a ectingfacing di raction light each other andcreates a soft and elegant beam of lightwhen optimal focus is achieved.Handheld Cinematography ShootingCompatible with cinema industry standardSuper 35mm image senserSupport for cinema industry standard accessoriesThe lens can be used with standard accessories in the cinema industry, such as amatte box, follow focus gear systems, and electronically operated controllers.The focus ring is equipped with 0.8mm and 0.5mm gear modules and the zoomring is equipped with a 0.5mm gear module, and these make it possible to use thelens with standard accessories in the cinema industry.(The iris ring is equipped with a 0.5mm gear module.)Easier-to-read ring markings•The lens provides focus ring markings on angledsurfaces on the lens barrel, which makes it easy toread the focus settings from behind the camera.•Each ring marking is indicated on both sides of thelens to facilitate operation when the cinema camerausers use the lens at a movie shooting location. Thering markings indicated on one side of the barrel arecoated with luminous paint so that they can beeasily read even in the dark.•The focus ring markings are indicated both in feetand metric units (ft/m), making it unnecessary toreplace the focus ring in order to switch from feet tometric and vice versa.Easy-to-understand focal lengthindicationsThe focal length is indicated on the side of the lensfront barrel. The lens adopts customary “focal lengthindications” normally used by cinema camera users.19mm-diameter rod systemThe lens is equipped with a support holder for cinema lens supportrods that can be used with 19mm-diameter rod systems. Anextension shaft (included in the product) is required to use the19mm-diameter rod system.11-blade aperture diaphragmEF Cinema Lens 11 blades9 blades 6 bladesCompliant with wide-ranging communication standards and with a lens-to-camera communication function for added convenience EOS Lens Data Communication• For the CN20×50 IAS H/E1 using the EF mount, data management functions and image compensation are enabled by Canon’s directelectrical communication between Cinema EOS cameras and this lens.Cooke /i Lens Camera Data• The lens supports the widely accepted Cooke /i Technology for direct transmission of lens data to the camera.• Furthermore, the lens is provided with the standard 12-pin interface connector that is used in the broadcast industry. Therefore, the lens canperform the same type of communications as conventional broadcast portable lenses, such as transmission of focus, zoom, and iris position dataas well as remote-controlled operation of the iris.Focus indicators are markedon the inclined surface.The focus ring markings areindicated both in feet andmetric units(ft/m).Pitch:0.8Pitch:0.5Pitch:0.5Not all productions will requirethe digital servo drive, withmany preferring traditionalmanual cinematography styleshooting – Canon has designedthe system so that the servo unitcan be removed. In this mode themanual focus control has a total rotation angle of 180 degrees. Ifthe drive unit is removed for a speci c production and thenre-mounted – this can be done in any rotation position and there isno need to adjust gear positions (zoom, iris, and focus).®Canon’s proprietary optical technology that realizes high image quality EF Cinema lenses*Canon's superb optical material technologyLens with ultra-long focal length, 4K optical performance, and high carryabilityMultilayer coating technology that reduces lens flare and ghosting[Fluorite]Theoretically, a slight chromatic aberration always occurs in standard optical glass. The use of fluorite resolves this issue by making the ideal chromatic aberration correction. Many of Canon’s zoom lenses demonstrate a correction effect particularly at the telephoto side that has a large aberration.Theoretically, in order to shoot an object dimension in Super 35mm equivalent to that of a 2/3” format camera lens, it is necessary to have a focal length that is about 2.7 times longer, which significantly affects the size of the lens. To obtain the brightness of a long focal length lens, a large diameter lens is required, thus making the size of the lens front huge. Because there is a close relationship among focal length, optical performance, and size of the lens, highly advanced technology is required to achieve the proper optical balance among them.Canon has put together industry cutting-edge technologies such as advanced optical simulation technology, as well as the optimal layout of the glass and mechanical components, wide-diameter aspherical lens technology, and the most suitable optical glass materials to develop a lens that achieves a high level of total balance.The newly developed EF Cinema lenses and EF lenses have a coating that is optimized for digital camera photography. For example, these lenses are provided with the optimal multilayer coating to prevent the reflection of incident lights on a lens and to reduce flare and ghosting. The EF Cinema lenses use an anti-reflection lens coating that further reduces the occurrence of flare and ghosting.[UD and Hi-UD glasses]An Ultra-low Dispersion (UD) glass has characteristics similar to fluorite. Since a UD glass has low dispersion as well as abnormal dispersibility, it can produce an effect similar to fluorite with an optimal layout of the glasses. A Hi-UD glass has a high refractive index and provides chromatic and spherical aberration correction effects while also providing the low dispersion and abnormal dispersibility of a UD glass. A Hi-UD glass is used in such products as zoom lenses and works effectively to reduce the aberration fluctuations caused by focusing and zooming, in addition to reducing the chromatic aberration that occurs at the telephoto side.Aspherical lens technologyA spherical lens refracts more in the peripheral parts than in the center. For that reason, these lenses are subject to spherical aberration. On the other hand, an aspherical lens can gather all light that passes through the center and peripheral parts of the lens at one point. This technology makes it possible to use an aspherical lens to provide the same correction effect that would normally need several spherical lenses, thus reducing the overall number of lenses required. This technology therefore helps produce sharp images through high optical performance, as well as being compact and lightweight.*: Technology applied to the lenses would differ depending on the model.Focal point alignment withaspherical lensSpherical aberration ofspherical lensRough uoriteArti cial uorite crystalsFluorite lensesComparison of Color Aberration CorrectionOrdinary optical glassFluoriteLarge color aberrationSmall color aberrationBlue Green RedPUB.0190W435Specifications subject to change without notice.North & South America Canon U.S.A., Inc.Imaging T echnologies & Communications Group Broadcast and Communications Sales & Marketing Division(Headquarters)One Canon ParkMelville, NY 11747-3336T el:+1(800)321-4388Email:***************.com /Chicago 100 Park Blvd. Itasca, IL 60143T el:+1(630)250-6236 Fax+1:(630)250-0399Atlanta5625 Oakbrook Pkwy. Norcross, GA 30093T el:+1(770)849-7890 Fax:+1(770)849-7888Los Angeles 15955 Alton Parkway lrvine, CA 92618T el:+1(949)753-4330 Fax:+1(949)753-4337Dallas3200 Regent Blvd. lrving, TX 75063T el:+1(972)409-8871 Fax:+1(972)409-8869Latin AmericaT el & Fax:+1(954)757-0980MexicoCanon Mexicana S.de R.L. de C.V .Professional Broadcast & Film Industry Business DepartmentBlvd. Manuel Avila Camacho No.138 Col. Lomas de Chapultepec Mexico 11000 D.F .T el:555249 4900 Fax:555249 4901CanadaCanon Canada, Inc.Broadcast and Communications Div.6390 Dixie RoadMississauga, Ontario, L5T 1P7, Canada T el:+1(905)795-2012 Fax:+1(905)795-2140Europe/Africa/Middle East Canon Europe LtdBroadcast products Div.3 The Square, Stockley Park Uxbridge MiddlesexUnited Kingdom UB11 1ET T el:+44 (0)20 8588 8140 Fax:+44 (0)20 8588 8603Email:***********************/tv-products/AustraliaCanon Australia Pty. Ltd.CCI DivisionBuilding A, The Park Estate, 5 Talavera Road, Macquarie Park, NSW 2113, Australia T el:+61(0)2-9805-2000ChinaCanon (China) Co., Ltd.Broadcast Equipment Products15F Jinbao Building No.89 Jinbao Street Dongcheng District, Beijing 100005, China T el:+86-10-8513-9999 Fax:+86-10-8513-9128Canon Hongkong Co., Ltd.19F The Metropolis T ower, 10 Metropolis Drive, Hunghom, Kowloon, Hong Kong T el:+852-2170-2828Asia/Japan Canon Inc.(ICP GROUP 5)30-2, Shimomaruko 3-chome, Ohta-ku, T okyo 146-8501, JapanT el:+81(0)3-3757-7453 Fax:+81(0)3-3757-7086Canon Singapore Pte Ltd.1 HarbourFront Avenue, #04-01 Keppel Bay T ower, Singapore 098632T el:+65-6799-8888.sgCanon Korea Consumer Imaging Inc.Canon Bldg. 5F , 168-12 Samseong-dong, Gangnam-gu, Seoul, 135-090, Korea T el:+82-2-2191-8500http://www.canon-ci.co.krSPECIFICATIONSCN20x50 IAS H/E1 or CN20x50 IAS H/P1* M.O.D. = Minimum Object DistanceBuilt-in extender MountImage format Focal Length Zoom RatioMax. Relative Aperture (T-number) Iris Blades Angle of view[1.9 :1 26.2 × 13.8] M.O.D.*Object dimension at M.O.D [1.9 :1 26.2 × 13.8] Front Diameter Approx. Size(W × H × L)Approx. Mass Pitch of gear1.0×50 – 1,000mm1:5.0 at 50 − 560mm 1:8.9 at 1,000mm1.5×75 – 1,500mm 1:7.5 at 75 − 840mm 1:13.35 at 1,500mmEF or PL Super35mm20×29.4° × 15.7°at 50mm1.5° × 0.8°at 1,000mm19.8° × 10.5°at 75mm 1.0° × 0.5°at 1,500mm 1198.9 × 52.1cm at 75mm5.2 × 2.7cm at 1,500mm 148.3 × 78.1cm at 50mm 7.8 × 4.1cm at 1,000mm3.5m / 11.5’ (From image sensor) 1.54m / 5.1’ (From lens front with macro) φ136mm[EF Mount] 175 × 170.6 × 413.2mm [PL Mount] 175 × 170.6 × 405.2mm6.6kg/14.55lbsFocus : 0.5mm or 0.8mm Zoom : 0.5mm Iris : 0.5mmDIMENSIONSCN20x50 IAS H/P1MACRO BUTTON EXTENDER LEVERF.B.ADJUSTING LOCK SCREW 68799.51706951175AUX SWITCHIRIS OPERATIONCHANGE-OVER SWITCHMEMORY SWITCHRETURN SWITCHZOOM OPERATION SWITCHMOMENTARY IRIS AUTO SWITCHVTR SWITCHZOOM SPEED ADJUTING VOLUME93.7140.8ZOOM LEVER348.1405.2488.883.5TIE CABLEUNC3/8-16SUPPORT ROD。
Canon Cinema Lenses 摄影电影镜头系列说明书
CINEMA LENSESA story told is only as good as the scene that’s captured. Whether that’s shooting films, documentaries Canon Cinema Lenses continue Canon’s rich history of optics in blending some of the world’s mostLeave No Story UNtoLd– Go WHerever tHe Story taKeS yoU“The crispness of these lenses are incredibly sharp. With 4K imagery, I’d have to say pretty much almost every shot is a time when you have to pay attention to focus.”Dan McDonough / Assistant Cameraman for “Man & Beast”“I was lucky to get to use the cinema-zooms. We had the 30–300, an amazing lens, so sharp – what a range on that lens.”Peter Simonite / 2nd Unit Director of Photography for “Man & Beast”Above: Behind the scenes on the set of the 4K short film “Man & Beast.”Canon’s expanding lineup of dedicated Super 35mm Cinema Lenses are engineered to meet the most demanding requirements of high-end cinematography. Covering a wide range of popular cinema focal lengths in a series of zooms and compact zooms available in EF- or PL-mount, as well as a series of EF-mount prime lenses, it’s one of the most complete lineups of lenses available to any filmmaker. All lenses are optically matched to ensure consistent color balance, and each series shares uniform front lens diameters and gear positions – thus enabling film crews to seamlessly interchange lenses. Whether you are involved in film production, TV commercials, TV dramas, independent, video or film school production, these are the lenses you need for all reasons.CaNoN CiNema LeNSeS— tHe LeNSeS For aLL reaSoNSCanon Cinema Zoom and Compact Zoom LensesCanon’s Cinema Zoom and Compact Zoom Lenses offer extraordinary optical performance for demanding, high-end film and video productions. New optical glass materials, new optical coatings and powerful new design techniques have all been combined to offer advanced optical performance. All four lens models are available in EF- or PL-mount versions, and for added flexibility the mount on all models can be switched at a Canon service facility (call 855-CINE-EOS for details).Zoom Lens Series – Canon Cinema Zoom Lenses offerextraordinary optical performance that exceeds 4K resolution and are designed to meet the most demanding of high-end productions. They combine fluorite and aspherical lens elements, the latest in advanced optical coatings andsuperior lens designs for outstanding edge-to-edge image quality. These lenses also feature minimal lens distortions and exceed the resolving power of the prime lenses at all zoom levels. Surprisingly low-weight, the wide-angleCN-E14.5–60mm T2.6 L S/SP and telephoto CN-E30–300mm T2.95–3.7 L S/SP cover the range of focal lengths most commonly used in filmmaking.Compact Zoom Lens Series – Canon Cinema Compact Zoom Lenses offer 4K resolution in form factors that enable more flexible, less intrusive shooting. The CN-E15.5–47mm T2.8 L S/SP delivers a wide to medium range of focal lengths, while the CN-E30–105mm T2.8 L S/SP covers wide to modest telephoto shots. When the two lenses are used as a pair, they cover a very broad zoom range. They also feature a constantT-number (2.8) throughout their zoom ranges as well as the latest advancements in lens design for outstanding image quality and minimal distortion. Both zoom lenses are ideal for Steadicam™ and hand-held shooting as well as for applications beyond filmmaking.Canon Cinema Prime LensesThe flexible series of Canon Cinema Prime Lenses offers spectacular 4K-image quality and a full-frame image circle, in lightweight, compact designs. Prime Lenses consist of the CN-E14mm T3.1 L F, CN-E24mm T1.5 L F, CN-E50mm T1.3 L F, CN-E85mm T1.3 L F and CN-E135mm T2.2 L F. They feature high optical speed, produce exceptionally sharp 4K images and superb contrast, and maintain tightly controlled focus breathing and geometric distortion. Low T-numbers enable better low-light shooting and enhanced image expression with shallow depth-of-field and beautiful bokeh of large image circles. These EF-mount models offer consistent form factors and markings that have been optimized for motion picture production, and represent the beginning of an evolving family of cinema primes. Canon Cinema Prime Lenses are also compatible – under manual operation – with all Canon EOS DSLR models, including the full-frame EOS-1D X and EOS 5D Mark III, as well as the EOS 7D and EOS 60D models that use APS-C sized image sensors.Canon Cinema Lens Series MountImage Size 10Focal length (mm) Zoom LensesCompact Zoom Lenses Prime Lenses10015050300CN-E14.5–60mm T2.6 L S/SPCN-E15.5–47mm T2.8 L S/SPCN-E14mm T3.1 L FCN-E24mm T1.5 L F CN-E50mm T1.3 L FCN-E85mm T1.3 L FCN-E135mm T2.2 L FCN-E30–105mm T2.8 L S/SPCN-E30–300mm T2.95–3.7 L S/SPSuper 35mmFull FrameEFPLSUPerB imaGe qUaLity— PerFormaNCe ProveN iN tHe FieLdBuilt on years of know-how developing some of the world’s most advanced optical lenses, every Canon Cinema Lens is manufactured to meet the exacting needs of the world’s top filmmakers. All of these lenses share Canon’s renowned accuracy, clarity and optical brilliance to bring fresh perspective to your vision and stimulate creativity. They provide the highest performance in 4K/2K/HD motion imaging and are engineered to meet the imaging requirements of the latest large format, single sensor, digital cameras. It’s a lens system whose standard is measured by the professionals out on the field – day in and day out.Outstanding 4K Image QualityEvery Canon Cinema Lens is designed to fulfill contemporary 4K production standards, further enhancing the performance of any HD imaging system. Cinema Lenses feature largeaspherical lens elements that help achieve sharp, consistent images for virtually all situations. The optical characteristics of each lens and their associated coatings are matched to help ensure consistent color balance not only between each series of lenses (Zoom, Compact Zoom and Prime), but also between the entire family of Canon Cinema Lenses. While coatings specifically developed for cinematographyapplications help reduce ghosting and minimize flare, natural skin tones with astounding scenes of rich color, clarity and contrast are rendered.With edge-to-edge consistency across the entire focal plane at all focal lengths, Canon Cinema Zoom and Compact Zoom Lenses support industry-standard Super 35mm and APS-C equivalent sensor formats, while Canon Cinema Prime Lenses produce an imaging area that supports full-frame 35mm format cameras such as the Canon EOS-1D C. A geared inner-focusing mechanism helps minimize focus-induced changes in the angle of view, helping reduce focus breathing, while the 11-blade aperture diaphragms help ensure beautiful bokeh. Innovative glass construction also helps to counteract barrel expansion and contraction, avoiding temperature-induced marking discrepancies.Uncompromising Design for Working ProfessionalsPacked schedules and numerous locations are part and parcel of being a filmmaker. But, with rugged, durableconstruction and ease of operability, it’s the lens system you can rely on. Canon Cinema Lenses provide markings on angled surfaces on both sides of the lens barrel, simplifying focus reading and aperture settings from behind or on either side of the camera. Focus markings can be switched from standard to metric labeling. Torque of the control rings was designed specifically to help maintain the proper amount of resistance. To enable film crews to change optics quickly and without adjusting the rig setup, each series of Cinema Lenses shares uniform front diameter and rotation angle for operational controls and gear positions. Lenses are lighter weight, more compact and smaller than conventional cinema lenses, making them ideal for many of today’s shooting locations where space is at a premium. Cinema Zoom and Compact Zoom Lenses are available in both EF- or PL-mount versions (the mount on all these models can be switched at a Canon service facility) and feature a covered flange-back adjustment mechanism for additional versatility in applications such as broadcasting. Compatible with major third-party shooting accessories like matte boxes, support rods, geared control rings, and follow focusmechanisms, you can step up to the Canon Cinema Lenses without the worry of leaving your favorite equipment behind.MountFocal LengthZoom RatioMaximum ApertureMinimum FocusIris BladesAngle of ViewFront DiameterLengthWeightCN-E14.5–60mm T2.6 L S/SP EF/PL 14.5 – 60mm 4.1:1 2.628"11 1.78:124.6 x 13.8mm 80.6° x 50.9° at 14.5mm 23.2° x 13.1° at 60mm 1.78:124.0 x 13.5mm 79.2° x 49.9° at 14.5mm 22.6° x 12.8° at 60mm 136mm 318mm (PL)326mm (EF)9.9 lb./4.5kg CN-E30–300mm T2.95–3.7 L S/SP EF/PL 30 – 300mm 10:1 2.95/30–240mm 3.7/300mm 60"1144.6° x 25.9° at 30mm 4.7° x 2.6° at 300mm 43.6° x 25.4° at 30mm 4.6° x 2.6° at 300mm 136mm 342mm (PL)350mm (EF)12.79 lb./5.8kg CN-E15.5–47mm T2.8 L S/SP EF/PL 15.5 – 47mm 3:1 2.820"11 1.9:126.2 x 13.8mm80.4° x 48.0° at 15.5mm 31.1° x 16.7° at 47mm 1.78:124.0 x 13.5mm75.5° x 47.1° at 15.5mm 28.6° x 16.3° at 47mm 114mm 214mm (PL)222mm (EF) 4.8 lb./2.2kg CN-E30–105mm T2.8 L S/SP EF/PL 30 – 105mm 3.5:1 2.824"1147.2° x 25.9° at 30mm 14.2° x 7.5° at 105mm 43.6° x 25.4° at 30mm 13.0° x 7.4° at 105mm 114mm 210mm (PL)218mm (EF) 4.8 lb./2.2kg CN-E14mm T3.1 L F EF 14mm - 3.18"11 1.78:124.6 x 13.8mm82.6° x 52.5° 1.5:136.0 x 24.0mm104.3° x 81.2°114mm 94mm 2.64 lb./1.2kg CN-E24mm T1.5 L F EF 24mm - 1.512"1154.3° x 32.1°73.7° x 53.1°114mm 101.5mm 2.65 lb./1.2kg CN-E50mm T1.3 L F EF 50mm - 1.318"1127.6° x 15.7°39.6° x 27°114mm 101.5mm 2.42 lb./1.1kg CN-E85mm T1.3 L FEF 85mm - 1.338"1116.5° x 9.3°23.9° x 16.1°114mm 101.5mm 2.87 lb./1.3kg CN-E135mm T2.2 L FEF135mm-2.239"1110.4° x 5.9°15.2° x 10.2°114mm115.6mm3.08 lb./1.4kgCanon Cinema Lenses SpecificationsZoom Lens SeriesCompact Zoom Lens SeriesEasy-to-read controlsFocus, zoom, and iris markings are provided on angled surfaces. These markings are easier to read from behind the camera.New Inner FocusMinimizes focus-induced changes in the angle of view.Supports Industry-standard CamerasSupports industry-standard Super 35mm equivalent and APS-C formats.Markings on Both SidesLenses are marked on both sides. This makes markings visible from either side of the lens.Switchable Unit for Focus MarkingThe outer piece on marked focus rings can be switched from non-metric to metric labeling.Light, CompactSmaller and lighter than conventional cinema lenses, to meet a variety of shooting needs.Attractive Blurring11-blade circular aperture enables soft, beautiful background bokeh.Flange-back Adjustment MechanismA covered flange-back adjustmentmechanism is included, with broadcast applications in mind.Unified Front Lens Diameter, Gear PositionsUniform gear positions within the same categories eliminates the need for accessory gear position adjustment when switching lenses.Interchangeable MountLenses are available in EF- or PL-mount and for added flexibility the mount on all models can be switched at a Canon service facility.Cinema Zoom and Compact Zoom Lenses: Highlights Prime Lens SeriesReady for Full-size 35mm SensorsThe lenses are also compatible with thelarge imaging area of cameras equipped with a full-size 35mm-equivalent CMOS sensor.Fast ApertureEnables shooting with shallow depth-of-field and low-light capability.Accepts 105mm filtersPL or other individual filters 105mm in diameter can be attached to the end of the lens, enabling filter work in handheld shooting or other scenarios without using a matte box.Light, CompactSmall and light among conventional cinema lenses, to meet a variety of shooting needs.Comfortable UsabilityControl rings maintain the right amount of resistance while offering exceptional usability with consistent operating torque.Unified Front Lens Diameter, Gear PositionLenses have the same front lens diameter and consistent gear positions so they can be switched without adjusting the rig setup.Attractive Blurring11-blade circular aperture enables soft, beautiful background bokeh.Switchable Unit for Focus MarkingThe outer piece on marked focus rings can be switched from non-metric to metric labeling.Standard Accessories SupportedSupports industry-standard accessories such as power-drive devices and matte boxes.Cinema Prime Lenses: Highlights Canon EF-MountAvailable on every Canon Cinema Lens, the CanonEF-mount ensures compatibility with the full lineup of Canon Cinema EOS cameras. Aperture, focal length settings and lens models are communicated and may be recorded by the camera for Canon Cinema Prime Lenses and EF-mount Compact Zooms. Additionally, with manual operation, Cinema Zoom and Compact Zoom Lenses are compatible with APS-C size EOS DSLR cameras such as the EOS 7D while the Cinema Prime Lenses are compatible with the full lineup of EOS DSLR cameras including full-frame cameras such as the EOS-1D X and EOS 5D Mark III.Behind the scenes of the documentary “Pulse.”Canon EF-MountAll EF Lenses feature Canon’s EF-mount for full compatibility with Cinema EOS cameras. The EF-mount enables Cinema EOS cameras to utilize the advanced Peripheral IlluminationCorrection feature, which helps ensure beautiful consistent color and brightness across the entire image plane, in addition to communicating focal length, aperture settings and lens models. The EF-mount gives additional creative options such as EF specialty lenses, including Tilt-Shift, Macro and Fisheye.Tilt-shift Lenses — TS-E lenses incorporate tilt and shift functions to extend the shooting advantages of technical-view cameras to the EOS system. Tilt movements alter the angle of the focal plane between the lens and image sensor,modifying depth-of-field independently of the lens aperture. Shift movements slide the lens’ optical axis along the plane of the image sensor, enabling photographers to correct or alter perspective to almost any angle, and help add unimagined drama to a scene.Macro Lenses — By revealing the finest detail and achieving extraordinary edge-to-edge accuracy at very shallowdepth-of-field, macro photography can be an ultimate test of optical performance. Canon EF specialty lenses include six ultra-precise macro lenses and three screw-on, close-up lenses. Accompanied by the Life-Size Converter EF and two Extension Tube accessories, Canon’s macro lens array can uncover detail that is nearly impossible for the unaided human eye to detect.Fisheye Zoom Lense — Super wide-angle and special-effects photography let you capture each subject from a unique perspective. The Canon EF 8–15mm f/4L Fisheye USM is the world’s first fisheye zoom lens to create circularimages with a 180-degree angle-of-view on full-frame DSLRs.Canon L-Series LensesHighly regarded among professional photographers and videographers, Canon L-Series lenses are distinguished by a bold red ring around the outer barrel. Designed for professionals who demand uncompromising opticalperformance, these specialty lenses incorporate a number of innovative Canon technologies, including Ultra-lowDispersion (UD) glass, fluorite and aspherical lens elements, plus Super Spectra Multi Coating.Canon Optical Image StabilizerMany EF Lenses feature Canon Optical Image Stabilizer (OIS) technology, making handheld cinematography more practical than ever before. EF Lenses with OIS are useful in run-and-gun style shoots, low-budgets, or documentaries where an unobtrusive camera configuration may be ideal. Canon OIS technology is built into each IS lens, enabling it to be optimized for the focal lengths and optical characteristics unique to the lens.CaNoN eF LeNSeS— a WorLd oF Creative oPtioNSGreat images start with great lenses, and the highly flexible Cinema EOS system opens up new, creative possibilities for the cinematographer with a versatile breadth and scope of lenses. Canon EF Lenses incorporate a rare array of the world’s most advanced optical, micro-electronic and manufacturingtechnologies. They deliver extraordinary image quality and a wide range of choice – boasting an extensive selection of over 60 EF and EF-S Lenses, including Canon specialty lenses such as Tilt-Shift, Macro and Fisheye. With over 80 million produced, Canon EF Lenses are highly regarded among professionals.“With the EOS C100 you could actually go handheld on the back of a motorcycle and get great shots. And then pairing that with an EF 24–105mm f/4L IS USM lens, I could even zoom in a little bit and get shots in the rearview mirror and they were still steady.”Patrick Moreau / Stillmotion filmmaker for the documentary “Pulse”Unsurpassed Educational ResourcesEducation is another important cornerstone of Canon’scommitment to professional cinematographers. Whetherworking online, at a production lot or as part of a remoteshoot, we are here to provide you with all the essentialresources that you need to remain current and keep yourcreative passion alive.Canon Live Learning (CLL) seminars and workshops areconducted nationwide and in our Hollywood ProfessionalTechnology and Support Center, with classes taught by bothindustry experts as well as Canon’s renowned and experiencedExplorers of Light. Covering a wide range of still and cinematictopics, ranging from techniques through equipment selectionto in-depth system configuration, CLL events offer professionalsand enthusiasts alike the opportunity to sharpen their skillsin a number of immersive hands-on settings.Schedules are available at: /canonlivelearningThe Canon Digital Learning Center, our web-basededucation and information portal, is targeted at busy, workingprofessionals. It is widely recognized for its depth of availableinformation, which is presented in a friendly, compellingformat. The Canon Digital Learning Center’s comprehensiveonline resources include tutorials, interviews, QuickGuidesand downloadable White Papers; it continues to grow with theaddition of information in support of the new Cinema EOSfamily of video products. Available assets range fromcomprehensive system FAQs, technical articles by professionalcinematographers, interactive menu and button simulatorsto tutorials, sample videos, behind the scenes and muchmore. And because the Canon Digital Learning Center istablet friendly, our encyclopedic online materials are alwaysaccessible 24/7 via the internet, anywhere in the world. Thinkof it as the “Anytime, Anywhere” resource for professionals,enabling you to hit the set running with the confidence andknow-how to make the very most of the Cinema EOS system.Learn more at: oUr CoNtiNUiNG CommitmeNt toServiCe, SUPPort aNd edUCatioN。
松下180摄像机的常用操作
松下180摄像机的常用操作作者:佚名文章来源:无极大师的博客点击数:540 更新时间:2011-6-27对于不同的设备使用各不相同,家用级就不说了,从专业级的设备(如180B、1 90),到广播级的DVCPRO、DVW系列;从标清到高清;都有着各自独特的功能特点。
作为摄像师,要尽量把设备的各种功能用好用熟,这样才能将设备的功能发挥的淋漓尽致。
但是作为初学的摄像师,要想把所有功能都用好是很难的。
作为初学时间不长的摄影师,能够掌握比较常用的功能键,就可以完成95%以上的拍摄了。
本项将以松下-180B为例:一、常用功能键的调节:◆白平衡:是摄像机色彩还原的基础,因为CCD无法像人眼一样会自动修正光线的改变。
白色是各种颜色的基础色,摄像机只要将白色正确还原,那么其他颜色的还原也就准确了。
物体颜色会因投射光线颜色产生改变,在不同光线的场合下拍摄出的图像会有不同的色温。
①白平衡种类:白平衡主要有室外光、室内光两大类。
室外光包括晴天、多云、阴天等等,室内光包括钨光灯、荧光灯、镝灯等等。
②调节方式:主要有自动白平衡和手动白平衡两种方式。
◆自动白平衡:通常为摄像机经过精心设定的自动调节设置,它可跟随着画面中的白平衡基准点,以此来达到白平衡调校。
这种自动白平衡在室外的准确率是非常高的,但是在室内光线下拍摄时,效果较差,而在多云天气下,许多自动白平衡系统的效果极差,它可能会导致偏蓝。
◆手动调节白平衡:一般来说,你需要让摄像机知道,什么颜色是白色,摄像机就会通过修正白纸上反射光的颜色,使其它颜色准确还原,调白的时候将白纸拿到要拍摄的地点,由一人拿起白纸,倾斜45度角,让白纸充分受光,然后按摄像机的白平衡调节键【AWB】2秒钟左右,待显示屏中出现OK字样的英文,调白即宣告成功。
如果显示过亮或过暗,则需要用光圈将曝光调至正常值,然后再调白。
在没有白纸的时候,也可以用白墙、白盘子、白地毯等纯白色物体调白,方法大致相同。
◆预置白平衡:180自带预置功能,分别为3200K和5600K。
PENTAXME中文说明
2011-01-22 13:03:45 来自: kukunya(Not Nice)近日觅得ME彩版说明书,遂通览,获益良多,择要翻译并注,作备忘及参考。
主楼用作目录及勘误,按章节在跟帖中翻译,欢迎讨论!1、术语解释2、规格说明3、更换镜头4、更换电池5、基本操作6、装片与过片7、底片速度设定8、快门锁9、100X档与B档10、卸片11、自拍器12、闪光同步13、红外摄影14、多重曝光15、使用螺口太苦马镜头16、极限温度与温差抗力17、其他== 补充==上弦提示窗:规格说明部分提到的“上弦指示”是过片扳手旁的一个圆形小窗,快门上弦后呈红色,释放后为黑色;== 勘误==. 2011-01-22 13:39:24 kukunya (Not Nice) Pentax ME 术语解释(部分):3、自拍拨杆:机身前面,镜头卡口左侧(正视);7、快门表盘:机身上面,快门旁,刻有L、AUTO、100X及B四档标识;8、热靴:机顶最上方,单点式;9、曝光补偿表盘:机身上面,倒片转盘外围,刻有1/4x - 4x五档标识;13、凸起式校准点:手动镜头上凸起的“白点”,亦有的镜头为黄色或绿色等;19、X同步接口:镜头卡口右侧面(正视);21、过片/倒片指示:机身后面,过片扳手下方“小窗”,内红黑相间;22、导针通道:机身底面,手柄通信接口(下述)旁的圆形凹孔;23、手柄通信接口:机身底面,黑色条形,上有三个圆形金属触点;30、倒片钮:机身底面,凹槽内黑色按钮;31、输片接口:倒片钮旁边圆形接口,上有金属盖;33、承片轴:机内右侧(后视),上有多根白色细轴;> 删除. 2011-01-22 14:40:55 kukunya (Not Nice) Pentax ME 规格说明(部分):类型:35mm全幅SLR相机,光圈优先自动曝光,电子焦平面快门,全开光圈中央重点式TTL测光;镜头卡口:宾得K卡口;标准镜头:SMC 50/1.2,SMC-M 50/1.4,SMC-M 50/1.7,SMC-M 40/2.8;快门:精工(Seiko)MFC 纵走式金属焦平面,电子自动控制8 - 1/1000秒;手动控制机械1/100秒;B门;具有快门锁定和上弦指示("Cocked" indicator);闪光同步:X同步接口,热/冷靴接口,闪光同步1/100秒;自拍器:4 - 12秒延时快门;取景器:镀银五棱镜取景器,裂像及微棱对焦屏,92%视野率,0.97x放大率(50mm镜头,无穷远),目镜屈光度-0.5,取景器内LED红点快门速度指示和过/欠曝警告,目镜框可安装M型镜片校正转换器、M型放大器和M型直角取景器;过片及倒片:单次扳动过片,过片行程135°,预备角30°,快速倒片手柄;自动手柄:ME机身可安装使用1.5张/秒的自动连拍手柄,连续或单张曝光;测光表:全开光圈中央重点TTL测光,GPD测光元件快速响应,LED曝光读数,卷片手柄及快门按钮兼做测光快关;测光范围EV1 - EV19(ASA100,f/1.4),胶片ISO设定范围12 - 1600;电池:两节1.5V银芯电池(G13),测光LED指示电池电量;后背:可换ME日期后背;> 删除. 2011-01-22 14:49:45 kukunya (Not Nice) Pentax ME 更换镜头:1、镜头红点对准机身卡口红点,按下并顺时针旋至“滴答”一声为锁定;2、暗处难以看见红点时,将镜身凸起式校准点对齐机身卡口释放按键,按下并顺时针旋至“滴答”一声为锁定;注意:1、在没有前后盖时若需放置镜头,务必将镜头前组向下放置,切勿(NEVER)后组向下放置;2、室外更换镜头时,若机身内装有底片,注意避免阳光直射;> 删除. 2011-01-22 15:04:42 kukunya (Not Nice) Pentax ME 更换电池:1、安装电池用硬币旋开底面电池仓盖,放入两节电池,正极向下,旋紧电池仓盖;LR44碱性纽扣电池亦可;2、检查电池:正常情况下,一组新电池可使用一年或支撑快门动作约10000次;半按快门若取景器内一个LED指示灯亮起则电池为激活状态,若LED指示灯闪烁则电力不足,应尽快更换,若无LED指示灯亮起,则电池已不可使用;请随身携带备用电池;> 删除. 2011-01-22 15:15:00 kukunya (Not Nice) Pentax ME 基本操作(从略,重点翻译测光部分):基本步骤1 - 7:上卷- 曝光补偿置为0 - 设定对应底片速度- 设定镜头光圈- 快门表盘置为AUTO - 过片- 对焦8、测光:将过片扳手稍外拉至预备角(约30°,将开启一个电池开关),轻按快门释放钮(即半按,将开启另一个电池开关),开启测光系统,取景器内某个LED指示灯将会亮起,指示自动选择的曝光快门速度;若预设的光圈值会导致过曝或欠曝,“OVER”或“UNDER”旁的LED指示灯将亮起以示警告;9、完全按下快门释放钮,电子快门将按照LED指示的速度释放,完成曝光;> 删除. 2011-01-22 15:45:29 kukunya (Not Nice) Pentax ME 装片与过片:1、向上拉动倒片旋钮即可打开后盖;2、胶卷置入片仓,按下倒片旋钮,拉出片头并插入承片轴上任意两根白色细轴之间;3、交替扳动过片扳手和释放快门按钮,直至胶片上下边缘小孔均准确套上齿轮,合上后盖;4、扳动过片扳手并确认倒片旋钮随之逆时针转动,则装片正确,底片随过片而从片盒内移动至承片轴上;如果装片正确,过片/倒片指示窗口会“闪动”;按动快门,过片至计数器指示为“1”,即可开始拍摄;注意:1、上述步骤3、4应在快门表盘置为100X情况下操作,以避免不必要的电力浪费(同时可以避免慢速快门带来的等待时间,译注);2、拍摄前切记将快门表盘置回AUTO档;> 删除. 2011-01-22 16:05:10 kukunya (Not Nice) Pentax ME 底片速度设定:轻提曝光补偿表盘边缘,并旋转至底片对应的ASA指示值即可;表盘上可用的ASA依次为:1600,#1250,#1000,800,#640,#500,400,#320,#250,200,#160,#125,100,#80,64,#50,#40,32,#25,20,#16,12;其中加#的为表盘上仅以圆点标出而未注明具体数值的档位;> 删除. 2011-01-22 16:20:07 kukunya (Not Nice) Pentax ME 快门锁:为避免上弦后的快门被误操作,可按下快门表盘旋钮上的白色按钮,并旋转至“L”档,即可锁住快门;当希望转回至AUTO档时,无需按下白色按钮,直接旋转即可,当转至AUTO 档后,白色按钮会自动弹起并锁定旋钮;注意:当未取下镜头盖或在极暗的环境下时,按下处于AUTO档的快门,反光镜可能会锁定,进行超长时间的曝光;此时若需修正,请将快门表盘旋钮旋至100X档即可迅速关闭快门;下次拍摄前请确认快门表盘旋钮置回了AUTO档;> 删除. 2011-01-22 16:32:33 kukunya (Not Nice) Pentax ME 100X档与B档1、100X档为1/100秒机械快门,快门将维持工作在1/100秒速度,可以在没有电源的情况下配合光圈完成正确曝光;2、100X档同时用于配合电子闪光灯使用,后述;3、B档(Bulb)用于长于8秒的曝光控制,使用时先安装快门线至快门释放按钮,档快门线上的活塞按下期间,快门将持续开启;对于长达几分钟至几小时的曝光,请使用带有锁定装置的快门线;> 删除. 2011-01-22 16:41:57 kukunya (Not Nice) Pentax ME 卸片当一卷底片拍完最后一张后,过片扳手将会无法扳动(此时切勿用力扳动!),则需要更换底片;翻出倒片手柄,按下底面倒片钮,顺时针转动扳手从而将底片卷回片盒;若倒片顺利,过片/倒片指示窗口将会“闪动”,当倒片手柄上的紧张感突然减弱,说明片头已从承片轴上脱离,打开后盖,取出片盒;注意:1、卸片操作时尽量避免光线直射;2、片头脱落后即无需再旋动倒片扳手,以免片头缩入片盒造成不便——译注;> 删除. 2011-01-22 16:48:00 kukunya (Not Nice) Pentax ME 自拍器:自拍器延时范围为4 - 12秒,取决于自拍钮被拨动的程度;要使用自拍,将自拍钮逆时针拨动至静止状态,轻轻回拨自拍钮即可开始计时;> 删除. 2011-01-22 17:00:12 kukunya (Not Nice) Pentax ME 闪光同步:ME具有一个X同步接口和一个位于热/冷靴插槽内的独立X触点;热/冷靴触点在未插入闪光灯至热/冷靴时将不会接通,这是由靴内插槽下方的一个微型开关控制的,可以有效避免使用X同步接口时此处造成触电的危险;如果您使用的闪光灯有靴型插口,请将其插入机顶热/冷靴使用,如果您的闪光灯不适用于靴型插槽,请将其引线插至机身上的X同步接口;当使用电子闪光点时,务必将快门表盘旋钮旋至100X档,这是可供闪光灯使用的最高快门速度;> 删除. 2011-01-22 17:06:48 kukunya (Not Nice) Pentax ME 红外摄影:当希望拍摄红外照片时,请使用镜头景深表中橙色线标出的红外对焦标记,步骤如下:1、正常对焦至拍摄对象清晰;2、从对焦环上读出拍摄对象至相机的距离;3、调整对焦环,将红外对焦标记对准对焦环上刚才读到的距离;例如当对焦于无穷远处时,即将对焦环上无穷远位置对准红外对焦标记即可;注意:1、使用黑白红外底片时需要作上述对焦修正,使用彩色红外底片则不需要;2、红外对焦标记即镜头景深表上除中线外的橙色细线,亦有用红点或“R”标识的——译注,感谢smallandred、方方和quitsky同学提供帮助;> 删除. 2011-01-22 17:18:35 kukunya (Not Nice) Pentax ME 多重曝光:当试图多重曝光时,步骤如下:1、使用正常的曝光操作进行第一次曝光;2、旋转倒片手柄,将片盒内的底片旋紧,并保持倒片手柄位置(keep hold of the rewind knob);3、按下倒片钮并过片,这将在不过片的情况下为快门上弦;4、最后,释放快门完成第二次曝光;注意:1、完成多重曝光之后,请空拍一张,防止底片上影像重叠;2、由于计数器在每次快门上弦均会计数,两重曝光的一次拍摄将会在计数器上反映为两张;> 删除. 2011-01-22 17:47:00 kukunya (Not Nice) Pentax ME 使用螺口太苦马镜头:通过K型转接环,传统的螺口Takumar镜头(包括Super-Takumar和SMC Takumar)可以很容易地使用在您的ME机身上,然而,使用转接时会有以下问题:1、由于耦合系统的差异,自动光圈将无法工作;2、全开光圈测光的镜头将工作在收缩光圈测光状态;具体转接部分从略;--PS:验证码居然是mount,天意啊~~~> 删除. 2011-01-22 18:04:36 kukunya (Not Nice) Pentax ME 极限温度与温差抗力:您的ME相机将在摄氏50°至零下20°范围内正常工作,然而低温下被污染的润滑油可能会影响其对低温的耐受力,因此为确保相机在低温下正常工作,需要彻底检查并更换润滑油;突然的温度变化可能会导致相机内部受潮,并可能造成生锈,对相机机械结构造成极大伤害;如果从温暖环境突然进入低温环境,可能导致冷凝而造成更大伤害;因此应当尽量避免突然的温度变化,我们建议在温差超过10摄氏度的环境间应采取分步适应的方法,并保持30分钟以上适应时间,如果难以实现,将相机装入保护袋或相机包中可以减小温度突变带来的伤害;另外,低温将会影响电池的性能,所以应尽量避免低温使用,或尝试仅在拍摄前即时安装电池;温度极低时,应使用新电池;> 删除. 2011-01-22 18:19:33 kukunya (Not Nice) Pentax ME 其他以上是我的选择翻译,没有翻译的部分包括:1、曝光补偿的使用场合及方法;2、不同场合建议的光圈设定值(类似阳光十六法);3、裂像微棱对焦屏的使用方法;4、保持相机稳定的拍摄姿势;5、景深表的使用;6、全开光圈测光镜头与收缩光圈测光镜头;7、日常相机保养;8、免责条款;9、ME腰带夹:这个是ME的配件,可以装上机身,然后别在腰带上,亮骚利器,见过淘宝有人卖,比相机还贵,>_<10、以上翻译中另有说明从略的部分;以上如有需要,可以跟帖说明,我补充翻译;另外由于包含一些基于个人经验的注释,限于水平有限,如有错误或疑问之处欢迎讨论,我将在主楼设置勘误;。
玄蜂定焦电影镜头使用说明书
VESPID PRIME CINE LENS USER’S MANUAL玄蜂定焦电影镜头使用说明书电影镜头ContentsIntroduction (1)Safety Notes (1)Lens Parts (2)Lens Control (3)Flange Back Adjustment (4)1. Preparation (4)2. Flange Back Adjustment (5)Specification (7)After-sales Service (8)The Name and Content of Hazardous Substances (10)Click to goUsers can read the table of content(TOC) to have an overview of the Vespid Product Manual. Please click on the title or link to jump to the TOCSearch keywordThe Search-keyword Function is available in PDF Document. For example, In WPS Office, Windows users can search keywords with the keyboard shortcut <Ctrl+F> and Mac users can execute the same function with shortcut <Command+F>IntroductionBack to ContentsThank you for purchasing this product!Vespid is DZOFILM’s high-performance full frame cinema prime lens. It allows you to reproduce the details and color in filming. Clear images, natural transition from in-focus to defocus and minimal breathing in focusing...all these can be found in Vespid. A good companion for your documentory/ TVC/ MV/ commercials/ online movie/ variety show/ Live/ independent films, etc.Safety Notes● Please do not watch the sun or bright light source through the lens, otherwise it will cause visually disabled;● Never use organic solvents such as paint thinner or benzene to clean the lens;● Attach the front and rear caps when the lens is not in use;● Store the lens and filter in cool, dry locations to prevent mold and rust. Do not store in direct sunlight or with naphtha or camphor moth balls;● Please keep the lens dry and wipe the water droplets off if there are water droplets on the glass surface;● Leaving the lens near heater or in other extremely hot locations could cause damage or warping;● Use a blower to remove dust and lint from the glass surfaces of the lens or filter. T o remove smudges and fingerprints, apply a small amount of lens cleaner to a soft, clean cotton cloth or lens-cleaning tissue and clean from the center outwards using a circular motion. Do not leave smears or touch the glass with your finger.Front Cap Lens Mark Focusing RingAperture Ring Rear Cap451 2 3Focus ControlRotate the focus ring to increase or decrease the focus distance.Focusing RingAperture ControlRotate the aperture ring to stop aperture down, raising the T-stop and narrowing the aperture, or lower the T-stop to widen the aperture.Aperture Ring1.PreparationEvery Vespid lens will process flange back adjustment on standard. But due to the tolerance of different cameras, to achieve the best performance of this product and to match the cameras, please adjust flange back of the product.T ake Vespid 50mm as an example:Step Two : Attach the lens to the camera and adjust the aperture to T4;Step Three : Make the pointer align with the 1.6m scale on focusing ring, paste calibration tool on the ring with middle line of the tool aligning the 1.6m scale and the scale pointer (or choose 5’ focusing scale).Step One : Ready your subject and calibration tool. Y ou can use a "Star Chart", or other high-resolution black-and-white objects;download the "Back focus Calibration T ool for Prime Lens"(short for “Calibration Tool”) on the official website.Note : Y ou can download and print the chart on DZOFILM website-Down-load-Star Chart for Adjusting Back Flange (Click to jump to the website)Flange Back AdjustmentBack to Contents2.Flange Back AdjustmentPlease adjust as the following steps:Step Four : Set the object 1.6maway from the camera sensor plane, and adjust it to the center of the whole image.Step One : Rotate the focus ring until the image to its clearest. T ake the horizontal line in the middle of the calibration tool as the reference and observe the position of the deviating scale pointer to get the number of horizontal lines.Step Two : According to the deviation value and the reference below, add or subtract the corresponding shim to complete the flange back adjustment.Note: The direction of infinity indicates positive deviation value .The direction of the closest focusing distance indicates negative deviation value .If there are more than three horizontal lines, add or subtract the corresponding value .Example: If the scale pointer points to 3 spaces in the direction of the closest focusing distance, the deviation value is -3.If the scale pointer points to 4 spaces in the direction of infinity, the deviation value is +4. At this situation, the shim value of "+3" needs to be added to the shim value of "+1".Set the object 1.6m away from the camera sensor plane, and adjust it to the center of the whole image.Shim adjustment: "+" means adding shims, and "-" decreasing shims .Data in this sheet might have deviation and just for reference. Please adjust based on actual situation.Vespid Adjustment Referenceshim adjustment reference (mm)deviation valuemark value directiondirection of infinity focal length 16mm 21mm 25mm 35mm 40mm 50mm 75mm macro 90mm 100mm 125mm-3-2-1+1+2+3direction of the closest focusing distance-0.06-0.04-0.02+0.02+0.04+0.060-0.09-0.06-0.030+0.03+0.06+0.08-0.09-0.06-0.030+0.04+0.07+0.1-0.2-0.14-0.070+0.07+0.13+0.2-0.22-0.16-0.080+0.08+0.15+0.23-0.23-0.15-0.070+0.08+0.16+0.24-0.3-0.2-0.10+0.1+0.2+0.3-2.14-1.4-0.880+0.72+1.48+2.32-0.45-0.3-0.150+0.14+0.28+0.42-0.54-0.36-0.18+0.18+0.36+0.540.34m/1’20.291m/1’1.5m/5’1.5m/5’1.5m/5’1.5m/5’1.5m/5’1.5m/5’1.6m/5’1.6m/5’Note:How to Obtain After-Sales ServiceIf a product does not function as warranted during the warranty period, you may obtain after-sales service by contacting DZOFILM support team or DZOFILM’s authorized dealers.Charges may apply for services not covered by this After-Sales Policy.The After-Sales Policy varies with the country or region of purchase. Please contact DZOFILM for information specific to your location.Warranty ServiceDZOFILM grants a minimum warranty period of one year from the date of purchase for lenses purchased through DZOFILM’s official dealers. DZOFILM warrants that each DZOFILM product that you purchase will be free from material and workmanship defects under normal use in accordance with DZOFILM’s user manual and accompanying documenta-tion during the warranty period. Y ou may claim warranty service by returning it to the point of purchase. The owner is responsible for all shipping costs. The warranty period varies with the country or region of purchase. Stored dated receipts or other proof of purchase in a safe place, as you will need to provide a valid proof-of-purchase or receipt for the warranty service. Parts replaced during the warranty service become DZOFILM’s property.Service Outside the Warranty PeriodRequest for after-sales service will normally be accepted within a period of roughly 5 years following the end of production, during which time spares will be kept on hand, although owners may be offered an equivalent product during this period in the event that spares are not available. The specific cost standard is subject to DZOFILM’s quotation. Compatibility with consumables and accessories for the original product is not guaranteed. T o prevent waste, DZOFILM may collect returned parts or products.Service Turn Around TimeAfter we receive the product, the after-sales service will generally be completed within two weeks. This turn around time does not include the time of return shipping. If there are special circumstances, we will notify A er-sales ServiceBack to ContentsWhat This After-Sales Policy Does NOT CoverThis after-sales policy does not cover the following and charges may apply:× No valid proof-of-purchase or receipt of the product;× Damage caused by unauthorized modification, disassembly, or repair not in accordance with official instructions or manuals.× Damage caused by improper installation and operation not in accordance with official instructions or manuals.× Damage caused by the storage environment not in accordance with official instructions or manuals.× Damage caused by operation in bad weather or environment (i.e. rain, sand/dust storms, humid environment, etc.).× Damage caused by, any third party products, including those that DZOFILM may provide or integrate into the DZOFILM product at your request.× Damage caused by any third-party product.× Damage caused by force majeure;× Consumable accessories and optional parts that come with this product. PrivacyDZOFILM obeys all applicable laws and regulations concerning the handling of names, addresses, phone numbers, and other personal information provided by users.The Name and Content of Hazardous Substances点击跳转用户可以通过目录了解说明书整体结构,点击标题或链接即可跳转到相应页面。
Noflexar f 3.5 35 mm 双用镜头说明书
Bellows extension according to em-scale (Grip folded)
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Lens Quality Sharpness combined with outstand ing brilliance reflects Novoflex quality which has been proven a 1000 times over and is known throughout the world. It has a hard coating and is suitable for black and white as well as for exact color rep roduction with color-negatives and color-reversal film .
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"Two In One" Lens As the classification Wide Angle-Close-up implies, the Noflexar f/3.5 35 mm (Patents pending) fulfills two duties . 1. With a 63° angle the Noflexar 35 mm takes in the entire subject, where space is limited and the focal lengths require more d istance between camera and subject (i .e . when taking pictures of high buildings in narrow streets, interiors of rooms, etc.) . The depth of field and unusual perspective in these cases are often highly useful for special effects and interesting compositions. 2. As a Macro or Close-up lens the Noflexar opens the highly interesting world of small objects, (i.e. flowers, insects, details of photographs, documents, table-tops, jewelry, etc.). The unique Noflexar is immediately adaptable to this field of close-up photography as no bellows extension is needed. Extension is rapidly accomplished with the dual-helical lens tube by extending the outer ring four cl ick-stop positions. Thus close-ups up to a reproduction ratio of 1 : 2 are possible with this lens. In extreme cases a bellows extension unit can be employed to produce a 2'f, to 5-times enlargement on the negative or transparency (see table 1). At a ratio larger than 1 : 1 it is advisable to reverse the optical system. We supply the reversal rings UMCO or UMEX which have a thread of M 49 x 0.75 on one side, and a thread or bayonet on the other side, depending on the bellows extension unit.
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本使用手册中使用的符号
避免对镜头或相机造成故障或损坏的警告。
有关使用镜头和拍摄照片的补充说明。
CHI-1
a 安全注意事项
a 安全注意事项
¡ 请勿透过镜头或相机观看太阳或明亮的光源。 否则会使视力受损。透过镜头直接观看太阳尤 其有害。 ¡ 无论镜头是否装在相机上,请勿将没有盖上镜 头盖的镜头置于太阳下。否则镜头可能汇聚光 线并引起火灾。
CHI-4
3. 切换对焦距离范围
4. 遮光罩
可以将对焦距离范围设定为 0.48 m 至无限远或 遮光罩 ET-78 II 能够阻挡不必要的光线进入镜 1.5 m至无限远。 通过设定合适的对焦距离范围, 头,并能保护镜头,使其避免受到雨、雪和灰尘 可以缩短自动对焦实际所需的时间。 的侵扰。 将遮光罩安装和调整至镜头前面的遮光罩座上, 如果您的自动对焦在设定的对焦距离范围之外, 按箭头所示方向旋转遮光罩以将其固定。 镜头可能在对焦范围开始时停止对焦;但是,这 可以将遮光罩反面安装在镜头上以便存放。
CHI-2
部件名称
(→ 5) (→ 6) (→ 6) (→ 6) (→ 4) (→ 4)
(→ 11)
(→ 4) (→ 4) (→ 10) (→ 5) (→ 10)
请您参阅括号(→ **)中提供的参考页码,以了解更详细的信息。
CHI-3
1. 安装和卸下镜头
有关安装和卸下镜头的详细说明, 请参阅相机的 使用手册。
因为微距拍摄的景深很浅, 所以要精细对焦才能 获得清晰的图像。 ¡ 由于衍射, 在接近最小光圈时图像质量将会恶 化。 ¡ 放大倍率是指拍摄对象尺寸与在焦平面上相应 的图像尺寸之间的比率。在距离标记上是以 1:x 来表示。 ¡ 为防止照相机晃动, 建议使用快门线和三脚架 (两者都是选购件) 。 ¡ 要查看景深,请按照相机的景深预视按钮。
2. 设置对焦模式
¡ 卸下镜头后,将镜头后端朝上放置,以避免划 伤镜头表面和电子触点。 ¡ 如果电子触点被弄脏,划伤或沾有指纹,可能 会导致腐蚀或接触不良。 相机和镜头就可能无 法正常工作。 ¡ 如果电子触点被弄脏或沾上指纹, 请用柔软的 布将其擦净。 ¡ 取下镜头时,需要装上防尘盖。要正确安装防 尘盖, 将如图所示的防尘盖上的○标记对准镜 头安装标记,并朝顺时针方向转动。要取下防 尘盖,则朝逆时针方向转动。
您可以安装 EF12 Ⅱ或 EF25 Ⅱ增距延长管进行 放大拍摄。拍摄距离和放大倍率显示如。
相机至拍摄主体 的距离(mm) 近
EF12 II EF25 II 477 480
放大倍率 近
1.09x 1.21x
远
2930 1501
远
0.07x 0.15x
若要精确对焦,建议采用手动对焦。
CHI-11
13. 增倍镜(选购件)
微距拍摄
微距照片 (最近对焦距离0.48 m) 的放大倍率最 高可达 1x(原尺寸放大) 。最近对焦距离是指从 拍摄对象到焦平面的距离。 从镜头前面到拍摄对 象的距离(工作距离)大约为 0.25 m。 对焦时,可以优先调整构图或优先调整放大倍 率。
[构图优先]
通过取景器观看时进行构图, 然后用自动对焦或 手动对焦模式对焦。
并不是故障。请再次半按快门按钮。 ¡ 如果遮光罩安装不当,可能会挡住部分图像。 ¡ 安装或拆下遮光罩时,持住遮光罩的底部旋 转。为防止遮光罩变形,不要抓住它的外缘部 分旋转。 ¡ 在使用微距闪光灯时,请卸下遮光罩。
CHI-5
5. 无限远距离标记
无限远距离标记
6. 景深刻度
距离标记
用于补偿由于温度变化而导致无限远对焦点的偏 移。 L标记垂直线和距离刻度上的距离指示标记对齐 的一点就是常温下的无限远位置。
使用注意事项
¡ 如果将镜头从寒冷的环境拿到温暖的环境中, 镜头表面和内部零件可能会发生结露。 为了防 止在这种情况下出现结露, 将镜头从寒冷的环 境拿到温暖的环境之前, 先将镜头放入密封的 塑料袋里。 镜头逐渐变暖以后, 再将其拿出来 使用。 将镜头从温暖的环境拿到寒冷的环境中 时,也请使用同样的方法。 ¡ 请勿将镜头放在温度过高的地方, 如处于阳光 直射的汽车内。高温可能导致镜头故障。
部件名称 电气实装部分 金属部件
铅 (Pb) × ×
汞 (Hg) ○ ○
有毒有害物质或元素 镉 六价铬 多溴联苯 多溴二苯醚 (Cd) (Cr(VI)) (PBB) (PBDE) ○ ○ ○ ○ ○ ○ ○ ○
○:表示该有毒有害物质在该部件所有均质材料中的含量均在 SJ/T11363-2006标准规定的限量要求以下。 ×:表示该有毒有害物质至少在该部件的某一均质材料中的含量超出 SJ/T11363-2006标准规定的限量要求。 FOR P.R.C. ONLY 本标志适用于在中华人民共和国销售的电子信息产品、标志中央的数字 代表产品的环保使用期限。
[放大倍率优先]
1. 将镜头对焦模式开关设置到手动对焦(MF) 。 2. 设定放大倍率。 在看着镜头上的放大率刻度的同时, 转动对焦 环至想要的放大率。
CHI-7
8. 关于曝光
设定曝光
使用TTL测量方法拍摄照片时, 不需要曝光补偿 来计量通过镜头进入的光。 使用 TTL 测量方法,可在所有的对焦距离采用 AE (自动曝光) 只需设置想要的照片拍摄模式, 。 检查快门速度和光圈,然后再拍摄照片。 放大倍率和有效 f -值 照相机所显示的光圈是假定焦距设定为无限远时 的数值。 以较此更近的对焦距离 (放大倍率增加) 拍摄时,实际光圈(有效 f -值)变暗(有效 f - 值增加) 。在普通拍摄时,这不会造成曝光问题, 但在微距拍摄时, 则不能忽视有效f-值的变化。 当您使用手持测光表设定曝光时, 必须考虑下表 列出的曝光因数。
CHI-9
10. 使用三脚架安装座
调整旋转座
松开三脚架座上的方向锁定旋钮, 让您任意转动三脚架座以将其安装到所需的相机上, 可在纵向和 横向之间变换。
拆卸
首先从相机上取下镜头, 然后按下图所示从镜头上取下三脚架安装座。 装上三脚架安装座的方法与 此过程相反。
拧松定位锁定旋钮。
转动三脚架座使三脚架座上 的指示和镜头上的指示对 齐。
从镜头的后部将三脚架环滑 下。
如果三脚架座的一支脚与开关重叠,松开三脚架座的锁定旋钮来移动该脚。
CHI-10
11. 滤光镜(选购件)
您可以将滤光镜装在镜头前端的滤光镜安装螺纹 上。
¡ 如果您需要偏光滤光镜, 使用佳能圆形偏光滤 光镜(72 mm) 。 ¡ 调整偏光滤光镜之前,请先取下遮光罩。
12. 增距延长管(选购件)
CHI-8
9. 微距闪光灯(选购件)
使用佳能微距环形闪光灯 MR-14EX 或微距双头 闪光灯 MT-24EX,在 E-TTL 自动闪光模式下能 够进行全自动微距闪光拍摄,放大倍率可达 1x。 微距闪光拍摄时, 将微距闪光灯适配器 72C (选 购件)安装在镜头前面的滤光镜安装螺纹上。
普通拍摄时,请卸下微距闪光灯适配器,因为它 可能产生一个黑圈。 ¡ 关于操作佳能微距环形闪光灯 MR-14EX 或微 距双头闪光灯 MT-24EX 的信息,请参阅各自 的说明书。 ¡ 建议使用光圈优先自动曝光 (Av) 或手动曝光 (M) 。
要在自动对焦模式 (AF) 下进行拍摄, 请将对焦 模式开关设置为 AF。 要仅使用手动对焦(MF) ,请将对焦模式开关设 置为 MF,然后转动对焦环进行对焦。您可以在 所有对焦模式下使用对焦环。
在单次自动对焦(ONE SHOT AF)模式下进行 自动对焦后, 您可以半按快门键并转动对焦环来 进行手动对焦。 (全时手动对焦)
要精确地对无限远主体进行手动对焦, 请在转动 对焦环时通过取景器观看。
景深即主体清晰对焦时对焦平面前后的距离。 景 深由位于距离刻度之下的景深刻度线之间的区域 指示。 刻度上的数字是 F 值。
景深刻度是一种近似的指示值。
CHI-6
7. 拍摄
普通拍摄
该镜头可作为望远镜头使用于普通拍摄。 3. 对拍摄对象对焦。 在通过取景器观看的同时, 前后移动照相机寻 找对焦点。 4. 精细对焦。 转动对焦环进行精细对焦。
¡ 先在镜头上装上增倍镜 , 然后把镜头装到相机上。从相机拆卸时顺序相反。如果先把镜头装在相 机上 , 有可能会发生误动作。 ¡ 装上 EF1.4X II 增倍镜后,自动对焦的范围可以从 0.8 m 到无限远。因为有效 F 值的关系,不能 使用自动对焦模式拍摄小于 0.8 m 的照片,所以只能使用手动对焦。 ¡ 如果在安装于 EOS 5 上的镜头上使用增倍镜,请将 EF1.4X ll 的曝光补偿设定为 -1/2 级,或者 将 EF2X ll 的曝光补偿设定为 -1 级。 ¡ 镜头和照相机上只能安装一个增倍镜。
放大倍率 有效 f/ 值 曝光因数 以 级 (级) 以 级 1:10 1:5 1:3 1:2 1:1.5 1:1.2 1:1 3.8 4 4.3 4.7 + + + + 5 +1 +1 5.4 5.8 +1 +1 +1 +1
¡ 微距拍摄的正确曝光主要取决于拍摄对象。 因 此, 建议对于同一对象以不同的曝光进行多次 拍摄。 ¡ 对于微距拍摄,建议使用光圈优先自动曝光 (Av)或手动曝光(M)照片拍摄模式,因为 这些模式易于调节景深和曝光。
CHI-12
14. 近摄镜头(选购件)
可安装近摄镜头 500D (72 mm 进行近景拍摄。 ) 放大倍率为 1.48 ×- 0.36 ×。
¡ 不能安装近摄镜头 250D,因为没有适合的尺 寸。 ¡ 若要精确对焦,建议采用手动对焦。
CHI-13
规格表
焦距 / 光圈 镜头结构 最小光圈 视角范围 最近对焦距离 最大放大倍率 视野范围 滤光镜直径 最大直径及长度 重量 遮光罩 镜头盖 镜头盒 180 mm f/3.5 12 组,14 片 f/32 对角线∶13°40′ 垂直∶7°40′ 0.48 m 1X 24 × 36 mm (0.48 m 时) 72 mm 82.5 × 186.6 mm 1090 g ET-78 ll E-72U LZ1324