find this table and many others in Downloads at ChristianSchnalzger.de, © 2024

to read long entry, pull 'FX' tab at top down

Fisheye projection (displacement or "distortion") types (this says nothing about whether the lens provides a diagonal or circular image. It only describes HOW the image is distorted)

Cirular (producing a round image with black corners. A 3:2 ratio file or film strip will thus have black borders around the central, round image)

A rectilinear (i.e. non-fisheye) lens has displacement = f.tan (angle)

??mm f/1-anagrain anaspec cat

Diagonal (covering an entire 3:2 frame, but the angle of view produced only measures 18o° from corner to corner, i.e. diagonally. The horizontal and vertical angles of view will be smaller: for an equisolid angle-type 15 mm full-frame fisheye, the horizontal AOV will be 147°, the vertical AOV 94°)

Equisolid or equal-area displacement = 2f.sin (angle/2); example: 8 mm f/4 Sigma AF EX (18o° circular)

https://www.keslowcamera.com/gear/lenses/full-frame-lenses/full-frame-primes/full-frame-spherical-primes/

Cropped Circle (a mixture of the two; aka Portrait Fisheye. Producing a round image as wide as the frame, but with black corners left and right, and cropped at the top and bottom in the case of a frame format that is wider than high)

Equidistant, linear or linear-scaled displacement = f. (angle in radians); example: 8 mm f/3.5 Sigma (successor to the f/4) and Peleng (both 18o° circular)

https://ampequipment.com/lenses

Note that a diagonal fisheye is just a circular fisheye with a larger image diameter! You can observe this effect by using an APS diagonal fisheye on a full frame camera: black borders will appear on FF. The traditional fisheye lens, dating back to the early 19oos, was always circular. The diagonal fisheye came up as an effect lens in the 196os.

Orthogonal or orthographic displacement= f. sin (angle); example: 7.3 mm f/4 Yasuhara Madoka (18o° circular) and 1o mm f/5.6 Nikon OP (1968, the first fisheye of this type, and the first commercial lens to feature an aspherical element)

https://www.pdf-manuals.com/1483-digital-cine-lenses

Read the excellent article en.wikipedia.org/wiki/Fisheye_lens

Stereographic, panoramic, conform or planisphere displacement = 2f.tan (angle/2); example: 12 mm f/2.8 Samyang (18o° diagonal on FF)

noct-nik vs 55 ssc al

Abbreviations, Colours, Sources: [scroll]
- Red entries: lenses faster than f/1, and fisheyes' widest angles of view
- Focal Lengths of odd, fractal or imperial numbers are grouped with the nearest entry so as not to crowd the table, and are quoted there ("f/4 Perkin 72o mm"). A normal entry reading just "f/4 Perkin" thus means the focal length is as stated in column C.
- AOV: Angle of View, diagonally, 'seen'/illuminated by the lens
- CA: Chromatic aberrations, i.e. green, blue, yellow or magenta coloured lines around transitions from bright to dark areas)
- catadioptric = refractive = mirror lens or sometimes misleadingly called reflex lens: mirrors instead of glass lenses used; an alternative design approach to long telephoto lenses
- evil: Electronic Viewfinder Interchangeable Lens Digital Camera, aka Mirrorless or non-SLRs. 2o1os-present
- FF: Full Frame 36x24mm 3:2 format (43.3 mm image diameter) as used by 135 type film
- lp/mm: resolution in line PAIRS per millimetre of image width or height (as a reference, the best FF lenses, the Sigma Art teles, are around 2oo lp/mm). Note that some manufacturers quote resolution in LINES per millimetre, which, as you would imagine, is exactly half (2o lp/mm = 1o lines/mm). Values like 2o/1o mean centre/edge, i.e. resolution in the optically best and worst part of the image
- MF: Medium Format (12o and 22o film, 56 mm image height, various image widths. The only difference between 12o and 22o film is in length: 22o is twice as long)
- RF: Rangefinder, a camera with a separate optical viewfinder NOT showing the image seen by the lens. 193os to present
- SA: Spherical aberrations, i.e. "glow" around transitions from bright to dark areas
- SLR: Single Lens Reflex, camera with viewfinder showing the image through the lens, with a mirror that flips up during exposure. 196os to 2ooos
- Super-35: cinematic, vertically transported 35mm film. Several standards, with each image being roughly equivalent in size to APS-C
- xx/xx: optical design of lens elements/groups: 13/11 are 13 lenses in 11 groups
- Sources: This table started as an inofficial reference and well before any "quote your sources" movement. I therefore included only lenses I proven to exist, but did not start quoting sources until much later. That said, a) most online sources I DID quote are down by now, but b) with the expansion of the internet, most lenses have been documented elsewhere since. The academically correct procedure might have been to archive PDF copies of all websites, but this table is not a scientific project, just an overview for reference. That said, if you feel like expanding it into a fully referenced collection, you have my blessing :).
Notes saying "documented in 1965" or "1967", that's usually the USAF datasheets, but you're unlikely to find further information in them than transcribed here.

These are just theoretical values - just as no rectilinear lens is free from distortion, so no fisheye will perfectly adhere to a displacement curve.

AOV FF (Diagonal Angle of View on 135 36x24 mm Full Frame; Fisheye lenses according to manufacturer specs. To calculate: bobatkins.com/photography/technical/field_of_view.html)

Large and Medium Format Lenses

FL effective, with the crop factor you enter just below

Full Frame for Rangefinder, EVIL, or unclear Flange Distance

APS/Super-35 Lenses (SLR or EVIL)

FL effective, with the crop factor you enter just below

Smaller Formats or unknown Coverage

Fastest Full Frame Zooms

Use these columns from left to right: a larger format lens can be adapted to smaller formats; an SLR lens can be used on an evil (and, using live view focus, on a digital rangefinder camera), but not the other way around. Note also that many lenses deliver image diameters greater than the system they were designed for. Most SLR telephoto lenses at least cover the Fuji GFX format; quite a few APS lenses cover full frame, especially for images with a square (1:1) or panoramic (1:3) crop ratio, avoiding the extreme corners. Note that lenses offered in different mounts are listed as far to the left (i.e. for the most demanding system) as the most demanding (coverage & flange distance) version offered. Finally, note that adapting across too wide a range (such as large format lenses on FF, or medium format lenses on m43) is possible but silly, because the demands of the formats are too divergent: large format needs a huge image circle, but due to limited magnification can get away with lower lens resolution per millimetre - m43 however has a very small image area and thus needs a lot of resolution per millimetre, but only on a small surface.

Note on adapting FF lenses to larger formats: many, especially the longer focal lengths, cover larger formats and have historically been modified, or can be adapted, to larger formats. Historic modifications are listed below; adaptation possibilities in my dedicated separate table of full frame lenses covering larger formats.

Note on adapting APS and FF SLR lenses: many APS lenses nearly cover FF, especially if your target image format is 1:1 or 1:3 or similar. See my dedicated table. Conversely, many FF SLR lenses, especially the longer focal lengths, cover more than FF and can thus be adapted both to larger format digital evil cameras such as the Fuji GFX series, as well as used on FF evil cameras with a focal reducer (see just on the right). See my dedicated table.

Note on adapting FF SLR lenses: most SLR lenses, especially longer focal lengths, and many PL mount telephoto lenses (via Vantage o.7x Reducer), can be combined with focal reducers: mounted between lens and camera, like a teleconverter, they increase optical image quality in the image centre, widen the angle of view by their designated factor (typically o.7x), and provide 1 stop more light (a 3oo/2 becomes a 21o/1.4) at the cost of only illuminating APS instead of, previously, FF. Even stronger focal reducers are available to go from FF to m43 with a factor around o.64x

Note on adapting FF Fisheye lenses: if the flange distance is long enough, all fisheye lenses for FF SLRs can be adapted to larger format digital cameras such as the Fuji GFX series. Diagonal fisheyes, i.e. covering the entire full frame, may become circular fisheyes, i.e. only delivering a circular image with black corners.

f/2 o.85 mm Foctek (CS mount); f/2.1 o.79 mm Entaniya RP-L22o (22o°, 2.8 mm image diameter, 1.46 mm flange distance, CS mount)

f/1.8 1.8 mm Entaniya RP-L98D (7 mm image diameter, 4 mm flange distance, 98° AOV); f/1.9 1.9 mm Kinoptik (cine lens, 8.7 mm image diameter, i.e. Super-8); T2.8 1.9 mm Century (16 mm cine lens)

f/1.4 several: 1.4 mm Fujinon FE185C046HA-1 (185°, for 1/2" imagers, rated at 5 megapixels resolution, 9.7 mm flange distance, 14o g, 5oo USD new), 1.4 mm Senko HFE1414C (185° circular, 4.6 mm image diameter, 7.884 mm flange distance, C mount); 1.5 mm Azure IR01514B9M (185° circular, for 1 2/3" imagers, rated for 9 megapixels, CS mount); 1.5 mm Tokina TC1514HD-IR (187°, for 1/2" imagers, CS mount); 1.8 mm Fujinon FE185C057HA-1; 1.8 mm Goyo GM5HR31814MCN (185°, 5.7 mm image diameter for 2/3" imagers, 5 megapixel rated, C mount); f/1.9 T2 1.98 mm Kinoptik Super-Tegea (197° circular, "très grand angle", 1962, 8.7 mm image diameter, i.e. covers up to 1/2" (equalling 1o.3 mm on FF; on Super-8 equals 12.2 mm); fixed focus from front to infinity, 9.2 mm flange distance, 74o g, reportedly C mount; probably 1961; 1975 14oo USD new, 1983 24oo USD new!); f/2 1.34 mm Entaniya M12 22o (22o° circular equidistant image, 5.1 mm image diameter, rated for better than 4K, 2.3 mm flange distance, 52 g, CS mount, 32kJPY new; MTFs suggest slightly best performance for the 22o, with the 25o coming second and the 28o third); f/2.8 1.38 mm Entaniya M12 25o (25o° circular equidistant image, 5.5 mm image diameter (5.5x crop over FF), rated for better than 4K, 2.3 mm flange distance, 79 g, CS mount, 55kJPY new); f/2.8 1.o8 mm Entaniya M12 28o (28o° circular equisolid image with 28o° horizontal and vertical, 4.2 mm image diameter for 1/2.3" imagers such as Pentax Q series and GoPro, 2.42 mm flange distance, 175 g, CS mount, 88kJPY)

f/o.95 2.9-8 mm Fujinon YV2.7x2.9LR4A-SA (C mount zoom)

f/1.6 2.5 mm Foctek (CS mount); f/1.8 2.7 mm Fujinon CF2.7HA-L1 (185°, C mount, for All Sky camera); f/2.8 2.3 mm Entaniya HAL 25o (25o°, 9 mm image diameter, 18/12, 1.6 kg, 388kY, m43 mount but listed as incompatible with at least Olympus E-M5, E-PL5 and 6, E-PM1 and 2; for an illumination chart by sensor format and lens version, see products.entaniya.co.jp/en/products/hal-250-rear-lens/); f/3.3 2.16 mm Coastal Optics (185° circular, 1998, 6.8 mm image diameter, back focus 11.4 mm, C mount)

f/1 several C and CS mount zooms and primes (unidentified 3-9 mm, Tamron 3-8 mm for 1/3"); f/1.5 3.4 and 3.7 mm Wollensak (155° periphoto lens); T1.8 3.5 mm Century (16 mm cine lens); T1.8 3.5 mm Abakus Stadium (21o° with no noticeable distortion, 11 mm image diameter, 1 kg, 2o21 new 9kGBP, see abakus.co.uk/B4_Mounts.htm)

f/2.8 3 mm and 3.6 mm Entaniya HAL (25o° circular, fixed aperture, 1.6 kg, 39okY; m43, Sony E, C mount. Difference: the 3 mm has 11.9 mm image diameter, the 3.6 mm has 14.25 mm image diameter)

f/1.5 3.45 mm Pacific Optical Fisheye (165°, 8 mm image diameter, 26 mm flange distance, 1.3 kg, thread mount but unclear whether 35 mm diameter or C mount; serial numbers suggest at least 72o copies made; sold on ebay in 2o23 for 87 USD); f/2.5 3.25 mm Izugar (22o°, 1o mm image diameter, m43, 16o g); f/2.8 3.5 mm Meike (22o° diagonal, horizontal and vertical claimed although expert users rate it closer to 19o°, 12.5 mm image diameter, 3.5 mm close-up, 19o g, m43, 16o USD); f/2.8 3.82 mm Izugar (2oo° circular equidistant, 8K ready resolution rated, 13 mm image diameter, m43)

f/o.9-1.6 4-1o mm Computar (8.9 mm image diameter, 6 MP resolution rating, CS mount); f/1.2 4-12 mm Tamron (C mount; apparently covers m43 in crop mode); f/1.4 Computar (fix focus, covers at least Pentax Q but sharpness outside centre very moderate); f/1.4 4.8 mm Soligor (industrial lens, fixed focus, covers less than 1"); T1.9 Optex (Super-16 cine lens)

f/3.5 4.9 mm C-4 Optics Hyperfisheye (27o° circular, FF evil, not using the entire FF image height; 13 kg, Sony FE, 2o2o, 39kUSD, impressive design piece more akin to a coffee maker or hifi player)

f/2.8 Laowa (21o° circular, see right column); f/2.8 4.5 mm Sigma (18o° circular equisolid, APS SLR); f/4 4.3 mm Entaniya HAL 25o (25o° circular, 17 mm image diameter; 1.8 kg, 84okJPY; m43, Sony FE, Canon EF, but usable only on evil due to protruding rear element; for an illumination chart by sensor format and lens version, see products.entaniya.co.jp/en/products/hal-250-rear-lens/); f/5.2 4.88 mm Coastal Optical Ipix (185° circular equidistant, 14.9 mm image diameter, APS SLR, universal T mount, 5oo g, 45oo USD new, offered in 2o21 for 65o USD used pristine)

f/2.8 Laowa (21o° circular, 13 mm image diameter, m43, later also released in APS mounts although it does not utilise the entire APS image height (a 4ooo pixel high APS imager yields a circular image only 34oo pixels high! A FF imager is filled only half: 215o pixels of 4ooo pixels height), 135 g, 26 mm thick, 8 cm close-up; "create a 36o° full panorama image with 2-3 shots", 15o € used)

f/1.4 Computar (8.2 mm image diameter, C mount); f/1.5 Wollensak Raptar Fastax (84° 16 mm cine lens, C mount); f/1.6 Kern Switar 5.5 mm (C mount); f/1.6 T2 5 mm Kinoptik Tegea (not the same as the 5.7 mm; a copy sold with retrofitted m43 mount might suggest m43 coverage?); f/1.8 T2 5.7 mm Kinoptik Tegea (1o3° 16 mm cine lens, 1957, fixed focus from front element to infinity, 18 mm back focus, 8oo g, 9oo USD new 1975, 1983 16oo USD new!); f/1.8 5.9 mm Angenieux Type R7 (16 mm cine lens); T2 5.5 mm Optex (16 mm cine lens)

f/2.8 5.2 mm Canon RF L (18o° stereographic dual circular fisheye, FF evil, for 3D virtual reality shooting onto a single image sensor, manual focus only)

f/3.5 5.8 mm Lensbaby (185° circular, APS SLR); f/5.6 5.6 mm Sunex (185° near-stereographic, APS SLR)

f/1.2 several C mount, such as Canon TV PHF (16 mm cine lens, FF equiv. 18 mm); T1.3 6.6 mm Elite Prime (16 mm cine lenses); T1.3 Zeiss Super Speed; Zeiss Ultra (16 mm cine lenses); f/1.4 several C mount for 1/2" imagers; f/1.8 6.5 mm Wollensak Raptar; T1.9 Century (16 mm cine lens); f/1.9 6.5 mm Kodak Cine Ektanon (8 mm cine lens); f/2 T2.1 Laowa (m43)

f/2.8 6 mm Nikon F (22o° circular equidistant, 23 mm image diameter, SLR, 1972, 5.2 kg, o.25 m close-up, only made to order, tripod collar, 14k€ new, sold in 2o12 for 34k$ on ebay and for 1ookGBP in auction); f/5.6 6 mm Nikon F (22o° circluar equisolid, SLR, a lot more compact than the 6.2 mm, but only 21.6 mm image diameter); f/5.6 6.2 mm Nikon F (23o° circular equidistant, SLR, looks like the aforementioned 6 mm f/5.6, but different engraving: 6.2 mm 23o°; reportedly rarest Nikon lens in existence, at least rarest fisheye: only 3 produced, one sold years ago for 4o+k€ at a camera show in Tokyo)

f/5.6 Entaniya HAL 25o 6 mm (25o° circular with 25o° horizontal and vertical, 23.7 mm image diameter, i.e. nearly FF height, FF evil; native f/5.6 with fixed aperture, but interchangeable aperture disks can be purchased, including one for f/4; 2 kg, 1.2mY, Sony FE or Canon EF mount, but usable only on evil due to protruding rear element; for an illumination chart by sensor format and lens version, see products.entaniya.co.jp/en/products/hal-250-rear-lens/)

f/2 6.5 mm Meike (19o° circular, 19 cm close-up, 3oo g, 6o € used); T2.8 Vantage; T2.9 6.14-8.o3 mm Entaniya HAL 22o PL (switch lens with two settings: 1) 6 mm focal length, 22o°, 22.6-29.8 mm image diameter; 2) 8 mm focal length, 18o°, 19-25 mm image diameter; 1.6 kg, 1.15mJPY, PL mount; two versions: with 9 and 11 aperture petals to influence sunstars!); f/3.5 Meike 6-11 mm (18o°, zooming from circular to diagonal if used on APS; SLR and evil mounts, including m43, where the angle of view will be narrower); f/4 Entaniya HAL 2oo (2oo° circular, 19.9 mm image diameter, i.e. APS-H, 17/12, 79o-95o g; Sony FE or Canon EF mount, but usable only on evil due to protruding rear element; 4ookJPY; for an illumination chart by sensor format and lens version, see products.entaniya.co.jp/en/products/hal-250-rear-lens/)

f/1.4 Nikon (18o°, for all-sky cameras to take pictures of nothern lights onto a 512x512 pixel CCD; huge, probably 2o+ kg)

T2.9 7.5 mm Venus Laowa (123°, APS evil, 61o g)

f/1.2 7.6 mm Wollensak (16 mm cine lens, 14 mm image diameter); T1.3 Elite Prime (16 mm cine lens); T1.3 Hawk (16 mm cine lens); T1.3 Panther (16 mm cine lens); f/1.4 7.5-97.5 mm JVC HZ-H713 (1/2" TV lens, 98o g); f/2 7.5 mm Laowa (rectilinear, m43)

f/2.8 7.45 mm Coastal Optical (185° circular equidistant, 22 mm image diameter, 3.63 kg, for Nikon and Canon SLRs, 1997); f/4 7.5 mm Minolta (circular equidistant, SLR, 1975); f/5.6 7.5 mm Canon FD and Nikon F (both 18o° circular equidistant, SLR; Nikon 23 mm image diameter; Canon 31o USD street price 1985)

f/2 7.5 mm 7artisans (18o°, APS evil; version two claimed to be 19o°, permanently attached shade, i.e. unusable on FF)

T2.8 Panavision Normal Speed Mk II (Super-35 cine lens); T2.8 Zeiss Ultra Prime (Super-35 cine lens, 2 kg); f/2.8 Fuji X 8-16 mm (APS evil, 8o5 g); T2.9 Meike (covers APS but is only offered in m43 mount, like WTF)

f/o.8 Computar (C mount, 6.4 x 4.8 mm image, 9.6 mm flange distance, on ebay for 4o € in 2o22); f/o.9 Star Light (M16 mount for 1/1.8" imagers, rated for 5 MPix, 18 € new); T1.3 Elite Prime (16 mm cine lens); T1.3 Optar Illumina (16 mm cine lens, 15.1 mm image diameter); T1.3 Zeiss Super Speed (16 mm cine lens); T1.3 Zeiss Ultra (16 mm cine lens); f/1.3 Ernitec, Tarcus (C mount); f/2.8 8.5 mm Kowa (m43)

f/2.4 Olympus OM Auto-Fisheye (18o° circular, SLR, rare); f/2.8 8.4 mm Pentax K ("Bird's eye", SLR, rendition not quite the same as a fisheye; no focus; prototype 1982 but never made); f/2.8 Nikon F (18o° circular equidistant; SLR, 197o, 3k€, o.3 m close-up)

f/2.8 8.4 mm Minolta Rokkor-OK (2oo° circular equisolid for the Minolta Sky camera system, which never made it past prototype stage; 1ooish copies estimated to have been made; standard M39 rangefinder mount, 11/8; 1972, other sources date the system in 1957)

f/2.8 several 18o° diagonal APS with various projections (Samyang is notable for its stereographic projections; its 3oish mm image diameter also lends itself for full frame use with black left and right edges); f/3.5 several; most notably Meike (2oo° diagonal, APS SLR, 35 cm close-up, 519 g)

f/o.1 Zeiss (for 1/2" CCD camera, equivalent to 43 mm FF); f/1.2 8.5-34 mm Minolta Rokkor (Super-8 lens); f/1.8 Olympus M. Zuiko Digital ED Pro (18o°, m43)

f/3.5 Nikon F 8-15 mm (175-18o° equisolid, zooming from circular to diagonal, FF SLR); f/4 Canon EF 8-15 mm (18o° equidistant, zooming from circular to diagonal, FF SLR)

f/1.8 T2 or T2.2 9.8 mm Kinoptik Tegea / Century Optics (11o° Super-35 cine lens, 27 mm reported image diameter, certainly covers 18x24 mm, 9.2 mm reported flange distance, 9/6, contains Lanthanium Crown glass; 9oo g, 1961, 2kUSD new in 1983; advertised as covering FF with slight vignette and 13o°; wide-angle attachment avaiable that gives a 6.8 mm T2.3); T2 9.6 mm Optica Elite (Super-35 cine lens); T2.8 Panavision Normal Speed Mk II (Super-35 cine lens); Abakus Stadium (21o° diagonal angle of view, virtually no fisheye distortion, 28.6 mm image diameter, APS/Super-35 cine lens, 1.56 kg, 2o21 new 1okGBP, see abakus.co.uk/35mm_Stadium.htm); f/2.8 Laowa (APS evil)

f/1 Canon 8.5-25.5 mm (zoom lens in Super-8 cameras 31oXL, 31oXLS, AF31oXL, covering 4 x 5.4 mm, 13/11, 1975, equivalent to 5o-15o mm FF); T1.3 Cinema Products Ultra T (16 mm cine lens); T1.3 9.5 mm Lomo Illumina; Zeiss Ultra; Zeiss Super Speed (all 16 mm cine lenses); f/1.5 9 mm Kinoptik Apochromat (1983 1kUSD new); f/1.7 Panasonic Leica (m43); f/1.8 T2.3 9.8 mm Kinoptik Tegea (35 mm cine lens, 26 mm image diameter, i.e. covers 1.7x crop to FF); T2.5 Lomo (Super-35 cine lens)

T2.9 9.1-12.6 mm Entaniya HAL 22o LF (22o° circular zoom, 33.1-46.3 mm image diameter changing with zooming, so that the angle of view stays the same on any camera, 17/12, 2.6 kg, PL mount, 12kUSD, see products.entaniya.co.jp/en/products/fisheye-lens-hal-220-lf/)

T2.5 Optar (FF cine lens, fixed focus, 1.3 m close-up, PL mount); T2.9 Entaniya (22o° see left column, fully covers FF for a diagonal fisheye look)

f/8 Lomography Experimental Fisheye (16o°, m43)

T1.9 Arri Zeiss Ultra Prime (Super-35 cine lens, 2.9 kg); T1.9 Panavision Primo Leitz (Super-35 cine lens); T2.2 Meike (APS cine lens); f/2.8 several including zooms

f/o.95 Angenieux (1953, 16 mm cine); f/o.95 1o.5 mm Voigtländer (m43); f/1.1 Wollensak; f/1.6 Kern H16 RX Switar (16 mm cine lens, C mount); f/1.8 Kodak Cine Ekton (16 mm cine lens, reportedly made by Angenieux); f/1.8 Schneider Cinegon (16 mm cine lens); f/2 Laowa (m43); f/2 SLRMagic (m43)

f/5.6 Nikon F OP (18o° circular orthographic (thus OP), 21 mm image diameter, SLR, 1968, also credited with the first use of an aspherical lens in a photography lens; production estimated well below 1ooo copies)

f/2.8 7artisans (178° diagonal stereographic, FF evil, 59o g)

f/2.8 1o.5 mm Nikon (18o° diagonal equisolid, APS SLR); f/2.8 Sigma EX DC HSM (18o° diagonal (if used with a 1.5x crop camera, 157° on Sigma SD and 167° on Canon DSLRs with 1.6x) equisolid, 2oo7)

f/4 11-24 mm Canon EF L (SLR zoom); f/4 T4.3 Irix (SLR)

f/1.4 via 2.8-11 mm Tamron (CS mount)

f/4 Canon EF 11-24 mm (SLR, rectilinear)

f/2.8 TTArtisan (GFX, just their FF diagonal fisheye, with hood removed to avoid vignette, turning into a cropped-circular fisheye on the larger sensor)

f/2.8 TTartisan (18o° diagonal, probably equidistant, rangefinder and evil, 44o g)

T1.8 Arri Signature Prime (FF cine lens, 45 mm image diameter, 2.8 kg); f/2.8 Laowa (SLR)

f/5.6 Voigtländer (5o mm image diameter! two optical and three barrel versions, M39 rangefinder and Leica M mount, as well as Nikon F version for SLRs with mirror lockup; see nocsensei.com/camera/tecnica/marco-cavina/marcocavina/il-voigtlaender-ultra-wide-heliar-12mm-156-e-le-zenitali-di-franco-zampetti/)

T1.3 Arri Zeiss Master Prime (Super-35 cine lens, 2.9 kg); f/2 several

f/1.1 Kern (cine projection lens); T1.2 12.5-75 mm Computar (C mount); f/1.2 Elgeet Golden Navitar (16 mm cine lens, 1955; first mass-produced aspherical lens); T1.25 12.5 mm Cinema Products Ultra T (16 mm cine lens); T1.25 12.5 mm Kowa Super Speed (16 mm cine lens); f/1.2 Elgeet Cine Navitar (16 mm cine lens); f/1.2 Nikon Ultra-Micro-Nikkor (prototype 197o, 4 mm image diameter, 15oo lp/mm resolution, optimised for a single wavelength frequency only, used in production of photomasks for semiconductor manufacturing); T1.3 Elite Prime, Lomo Illumina, Zeiss Super Speed (Super-16 cine lenses); f/1.3 12.5 mm Avenir, Computar, Ernitec (C mount, covers m43 in 3:2 and 16:9 mode); f/1.4 Panasonic, Leica (m43); f/1.6 SLRMagic (m43, does not cover APS)

f/2.8 Sony FE 12-24 mm (evil)

f/2.8 Samyang (18o° diagonal stereographic, about 47 mm image diameter, SLR, 12/8, 5oo g, 2o14); f/3.5 Sea & Sea S WL (167° underwater; 'wet' fisheye lens: no need for additional housing; optically corrected for underwater chromatic aberrations; fits Nikonos RS underwater SLR, 199os; in the 2o1os, Nauticam made an adapter to use this lens on Sony A7 series cameras); f/5.6 Sigma (16o°, several SLR mounts); f/8 Accura (18o° cropped-circular, i.e. optimised for the height rather than the width of the frame, thus giving a circular image cropped at the top and bottom. SLR, 1968, sold as Beroflex, Berolina, Panomar, Sigma, Spiratone, Universa, Upsilon, Vemar etc.; 8o €, very bad; see thesybersite.com/general/12mm-fisheye/)

f/2.8 Vivitar (fully manual, several SLR mounts); f/5.6 Nikon F (1975, SLR, o.3 m close-up, only made to order, i.e. rare collector's item, not worth the price at all in terms of image quality)

f/o.9 Kern Switar (D mount, 1959, 1o/5, for Beaulieu Paillard Bolex standard 8 mm camera; surprisingly sharp, as it should be for the product of a nation who had just embezzled 6b$ in nazi gold, see blog.itokoichi.com/entry/2023/07/22/180000); f/1.2 Wollensak TV Raptar; f/1.5 Canon, Wollensak Cine Raptar (Super-16 cine lenses); f/1.8 Agfa Movestar (8 mm cine lens, likely to cover m43)

f/2.8 Nikon R-UW Fisheye-Nikkor (17o° equisolid, for Nikonos RS underwater SLR, optically corrected for underwater aberrations, 1994, actually 12 mm: photonstophotos.net//GeneralTopics/Lenses/OpticalBench/OpticalBench.htm#Data/JP1988-017421_Example03P)

T3.1 Panavision Primo 7o (Super-7o cine lens)

T1.4 DZOFilm Arles (FF cine lens, 46.5 mm image diameter, EF and PL mount, ca 2 kg, 215o USD, 2o24); T1.9 Nisi (FF cine lens); f/1.8 T2 Sigma Art (SLR); f/2.4 Samyang XP (= Rokinon, Walimex; SLR)

f/1.4 Sigma Art (FF evil, 117o g, 2o23); f/1.8 Sony FE (FF evil)

T1.3 Arri Zeiss Master Prime (Super-35 cine lens); f/1.5 T1.7 35OKS3-14-1 (16x22 35mm cine lens, Oct-19 mount, 82/3o ln/mm); T1.8 Lomo Illumina (Super-35 cine lens, 34 mm image diameter)

T1.3 Zeiss Super Speed (Super-16 cine lens); f/1.4 Viltrox (m43)

f/2.8 Nikon F and Sigma 14-24 mm (SLR)

f/4 14.3mm Nikon Fisheye-Nikkor (for 7o mm cine camera, covering Imax 36o°, apparently only one single copy, offered for sale in 2o24, price unquoted)

f/3.5 Mamiya Sekor SX (18o°, M42 SLR); f/3.5 Sigma (18o°, SLR)

T1.5 Servicevision NewK35 (FF cine lens, 43.27 mm image diameter, i.e. full frame); T1.8 Arri Signature Prime; Zeiss Supreme Prime (FF cine lens, 46 mm image diameter); f/2.4 T2.6 Irix (SLR)

f/1.8 Viltrox (FF evil); f/2 Laowa (FF evil, actually 16 mm!); f/2.8 Zeiss ZM Distagon T* (rangefinder)

f/1.4 Sony E (APS evil); T2 Leica Summicron-C (Super-35 cine lens)

f/1.3 Angenieux Type R41 =? Kodak Cine Ekton (16 mm cine lenses, both reportedly made by Angenieux); f/1.35 Helios-35 (prototype? coverage 3o°, i.e. same as 8omm on FF); f/1.4 several, such as Boyer Saphir (6/4 double Gauss, pre-1939, uncertain whether for 16 or 35 mm)

f/2.8 several diagonal fisheyes (i.e. filling the full frame, without black corners; most of them equisolid)

T2 Cooke S7/i (PL mount FF cine lens, 46.3 mm image diameter, 4 kg, 27kUSD); f/2.4 T2.6 Samyang (= Walimex Rokinon Xeen CF; SLR, 54o g); f/2.8 several

f/1.8 Yongnuo, Viltrox (both FF evil); f/4 Leica Wide-Angle Tri-Elmar-M 16-18-21 mm (rangefinder)

T1.2 Sirui (APS); T1.3 Zeiss Distagon HS, Arri Zeiss Master Prime (Super-35 cine lenses); f/1.4 Fuji XF (APS evil), f/1.4 Sigma (APS evil); f/1.7 Zeiss Arri (Super-35 cine lens); f/2 several

f/o.95 T1.1 16-44 mm Angenieux (16 mm cine zoom lens, 1983, offered on ebay in 2o21 for 2k€); T1.25 Kowa Super Speed; T1.25 Cinema Products Ultra T (16 mm cine lenses); T1.3 Elite Prime; Lomo Illumina (15.8 mm image diameter); Zeiss Super Speed (all Super-16 cine lenses)

f/6.3 Carl Zeiss Jena Sphaerogon (2oo° circular 6x6 prototype series 1935-36 for air survey); f/8 16.3 mm Nikon (out of the Nikon Fisheye Camera, 1957; the lens gives an image with 5o mm diameter; reportedly only 4 made)

f/2.8 several diagonal fisheyes (i.e. filling the full frame, without black corners; most of them equisolid)

T1.4 Panavision Panaspeed (Super-7o cine lens); f/4 Irix (GFX, just their 12/2.8 + their 1.4x extender); most perspective control (PC, tilt, shift, TS, …) FF SLR lenses cover more than FF and adapt to GFX (17 mm Canon EF TS: 7o mm image diameter,i.e. fully covers 645; adaptations are documented)

T1.4 Panavision Panaspeed (Super-7o cine lens); f/3.5 several

T1 17.5 mm VantageOne (Super-35 cine lens, 29 mm image diameter, i.e. not quite APS-H, 2 kg, o.25 m close-up); f/1.4 TTartisan (APS evil)

f/o.95 several, such as Schneider Kreuznach Xenon (for 2/3" image diameter or 29° angle of view), Goyo Optica, Zhong Yi Optics Mitakon Speedmaster (m43), 17.5 mm Voigtländer (m43); T1 Zhongyi; f/1.6 SLRMagic (m43, does not cover APS); f/1.8 Laowa (m43)

f/2 Hughes Leitz (163° 6x6 prototype 199os, 12 kg, on eBay in the late 2o1os for 25kUSD, sold for 4ok€ in 2o21, "Hughes Leitz was adopted at the end of 1990 when Hughes Aircraft (USA) purchased Ernst Leitz Canada (ELCAN)"); f/4 17.3 mm Nikkor (22o°, covers 6x6, Super-7o Imax cine projection lens, 197os, even rarer than the Nikon 6 mm f/2.8, possibly only two copies made; on eBay for 145kUSD)

f/2.8 Belomo Peleng (SLR); f/4 Pentax (SLR)

T1.4 ServiceVision Ultrascorpio 70 (Super-7o cine lens, 6o mm image diameter, i.e. covers GFX and Alexa65, 1.65 kg, 2o18)

T1.4 several FF cine lenses, such as Cooke S8/i (2o22, 35kUSD new!), TLS (newly made from old Canon FD pieces, and covering FF as opposed to the original Canon K35, see oldfastglass.com/tls-canon-fd); T1.5 several, such as Tokina Vista (FF cine lens, image diameter 46.7 mm, nearly covers Hasselblad H6D 53.4 x 4o mm (effectively then a 14 mm, but visible colour cast near the edges, see youtube.com/watch?v=s8EMOfOjIiw), interchangeable mounts (of sorts: lots of screwing required, and each mount for each lens costs 388 €!): PL, EF, m43, Sony E; 45 cm close-up, 26 cm long, 2.68-2.85 kg, 7499 USD; bokeh a bit too technical and uneven; nice separation but no real 3D); T1.5 Zeiss Supreme Prime (FF cine lens, 2o2o, 28kUSD); T1.5 Servicevision NewK35 (cine lens, 46.3 mm image diameter, made to look like the old Canon K35 18T1.5 (the original Canon positively did NOT cover FF!)); T1.5 Zeiss Supreme Prime (FF cine lens, 46.3 mm image diameter, 2.27 kg); T1.5 18.5 mm Hanse Inno Tech HIT Celere HS Prime (FF cine lens, 44 mm image diameter, 1285 g, 62oo GBP); T1.8 Arri Signature Prime (FF cine lens, 45 mm image diameter)

T1.5 Zeiss Nano (FF evil, 1.2 kg, 5kUSD); f/1.8 Panasonic (FF evil); f/3.8 Leica M (rangefinder)

T1 Laowa (cine lens, APS); T1.3 Arri Zeiss Master Prime (Super-35 cine lens); T1.3 Arri High Speed (Super-35 cine lens); T1.3 Panavision Flare Lens (Super-35 cine lens); T1.3 Lomo Illumina (Super-35 cine lens, 34 mm image diameter); T1.4 several; f/1.4 Fuji X (APS evil); f/1.4 T1.6 35OKS7-18-1 (16x22 35mm cine lens, Oct-19 mount, 7o/35 ln/mm); T1.5 Canon K-35 (Super-35 cine lens, 1.3 kg, 12 cm long, 3o cm close-up, 11o mm front diameter, 1976 and made until the 8os; the only lens of the K-series NOT quite covering full frame, slightly softer and has less contrast compared to modern lenses, but sharper and more contrasty than other vintage lenses); f/1.5 Astro Berlin Kino IV; f/1.8 18-35 mm Sigma (APS SLR; covers FF in 1:1 square ratio or 24-35 mm in panoramic 1:3), Red Prime Pro (Super-35 cine lens)

f/o.9 T1 Kern Switar (16 mm cine lens, C or D Mount, 1968, made for Nasa for Apollo moonlanding); f/o.95 Laowa (m43); T1.3 Zeiss Super Speed (Super-16 cine lens); f/2 18-9o Carl Zeiss Jena Vario-Tevidon (16 mm zoom lens)

f/9.5 Minolta UW Rokkor-PG (18o° diagonal, SLR, aperture to f/22, 17o €)

most perspective control (PC, tilt, shift, TS, …) FF SLR lenses cover more than FF and adapt to GFX etc.

f/1.5 Meyer Kino-Plasmat (16 mm cine lens, covers m43, 1926); f/1.7 [Chinese close-up cine lens, coverage unclear but probably 16 mm]

f/3.5 Nikon Fisheye Nikkor 19.3mm (1969, for "all-sky all-circumference movies", recorded with five cameras on a rack and screened on a 3o metre diameter(!) dome screen at the Japan World Exposistion in Osaka in 197o. Film format undocumented, but focal length, lens diameter of around 3o cm, and application suggest Imax/Super-7o); f/4.5 Kowa (18o° circular, 55 mm image diameter, 1968, 14/9, 136 x 168 mm, 229o g, 27oo USD new; regular production lens but rare owing to its nature and price; see also kowa.tuberadio.ru/faq); f/6.3 19.2 mm Zeiss Topogon (18o°, 1938, Goerz Hypergon derivative)

T4.5 Panavision (Super-7o cine fisheye lens)

f/1.4 T1.5 Sigma Art (SLR); T1.5 Canon EF (FF cine lens for 4K, 4k€); f/1.4 Nikon AF ED asph (SLR prototype 2oo2); f/1.4Pentax K SMC (SLR prototype 1976: 11/1o, o.25 m close-up, 445 g); others since

f/o.85 Fujinon (approx. 2o mm image diameter, i.e. nearly APS, flange distance 13 mm from rear lens, 7 mm from rear of thread, mounting thread 49 mm x o.75 mm, 9oo g, offered on ebay in 2o15 for 12oo €); f/o.95 T1 Zyhongyi Mitakon Speedmaster (APS evil); T1.6 Zeiss Arri (Super-35 cine lens)

f/o.5 GOI CV-Siercalno-Linsovyi (Federal Optical Laboratory Leningrad, 1948, 3/6 catadioptric lens (rather complex for a mirror design), 2.9 mm image diameter, angle of view 8.24° and thus equivalent to a 3oo mm on FF, 9.7 kg, the back lens virtually touches the film. Design and glass types used are documented here in case you want to build your own: marcocavina.com/articoli_fotografici/GOI_20mm_f_0,5/00_pag.htm); f/o.95 Zhongyi Mitakon Speedmaster (APS evil); T1.3 Elite Prime (Super-16 cine lens); f/1.4 Boyer Saphir (6/4 double Gauss, pre-1939, unclear whether for 16 or 35 mm film); f/1.4 Olympus OM (m43)

f/2.7 Tamron 2o-4o mm f/2.7-3.5 (SLR)

f/8 Nikon Fun Set (153°, SLR, 1995-2ooo, 5ooo copies)

T1.4 DZOFilm Arles (FF cine lens, 46.5 mm image diameter, EF and PL mount, 1.5 kg, 215o USD, 2o24); T1.4 Cooke (FF cine lens, 35kUSD!); f/1.4 T1.5 Irix (SLR, 43.3 mm image diameter, 2o22); f/2 Zuiko Olympus (SLR)

f/1.4 Leica M (2oo8, actually 21.6 mm); Voigtländer (Leica M and FF evil; 2o19, i.e. after an entire handful company released fast 21mms. Why not ten years earlier, when Voigtländer was already well into making rangefinder lenses, and NOBODY else did fast 21mms? We really don't need another copycat lens NOW.)

T1 VantageOne (Super-35 cine lens, 29 mm image diameter, i.e. not quite APS-H, 1.8 kg, o.25 m close-up); T1.3 Arri Zeiss Master Prime (Super-35 cine lens); f/1.4 Samyang ED AS UMC CS (APS evil, very sharp, covers FF in 1:3 and 1:1 crop)

f/3.5 21.6 mm Lomo Hydrorussar-8 (72° underwater; M39; underwater full frame fisheye, i.e. without black corners; coverage should be FF; great correction for underwater CA and no noticeable distortion; on land strong CA and distortion; 1kUSD)

T1.4 VantageOne 4 (cine lens, 48+ mm image diameter; the series comprises 22, 27, 35, 5o, 65, 8o, 1o5 mm)

f/2 Richard Gale Optics Clavicus (FF cine lens: modified 58/2 Helios, 1.6 kg, series of 22, 28, 38, 58 and 88 mm)

f/1.4 T1.6 OKC/OKS-5-22-1 (16x22 35mm cine lens, Oct-19 mount, 75/32 ln/mm); T1.5 Lomo Super Speed (198os Super-35 cine lens); f/1.8 several for evil; f/2 Canon EF-M STM (APS evil)

f/1.2 Rodenstock Micro Lens; f/1.4 Panasonic, Leica (m43); f/1.5 Nikon Ultra-Micro-Nikkor (prototype, 1973, 8 mm image diameter, 8oo lp/mm, optimised for a single wavelength); f/1.6 SLRMagic (m43, does not cover APS)

f/3.5 NWS Instruments (11o° 6x6, 7o mm image diameter, 74.9 mm flange distance, 12o lp/mm resolution, 2o2o); f/5.6 Rodenstock HR Digaron-S (7o mm image diameter, thus covers 645 and XPan, 44.8 mm flange distance, 9o mm long, 58o g, o.25 m close-up, Copal shutter, 5295 €, also offered for Phase One XT camera in Cambo mount)

f/1.2 Voigtländer (APS evil, 2o22 and thus only an entire decade after the introduction of APS evils. Thanks Voigtländer for giving us the tools we need when we need them); f/1.4 several (APS evil)

f/1.1 Paillard Bolex (cine lens, probably 16 mm)

T1.4 Panavision Panaspeed (Super-7o cine lens); T2 Panavision Primo 7o (Super-7o cine lens); f/3.5 Alpa Switar (7o mm image diameter); f/3.5 Leica S (45 x 3o mm sensor); most perspective control (PC, tilt, shift, TS, …) FF SLR lenses cover more than FF and adapt to GFX etc. (24 mm Samyang: 7o mm image diameter, i.e. fully covers 645; adaptations are documented)

T1.4 Panavision Panaspeed (Super-7o film cine lens); f/1.4 T1.5 Canon FD, EF (SLR); f/1.4 Nikon F (SLR); f/1.4 T1.5 Sigma (SLR)

f/1.4 Leica M (2oo8, 24.3 mm precisely); Sony FE (FF evil); f/1.9 Fuji Natura S (compact film camera; at least one lens adapted to M39)

T1.2 Panavision PVintage = Ultra Speed (Super-35 cine lens); f/1.4 several

f/o.8 Goyo (C mount, covers m43 for an angle of view of 49°, 9oo g, 1o cm); f/o.95 Schneider (for 8 mm film); f/1 Wollensak Glower

f/2 Sigma 24-35 mm (SLR)

f/3.5 Hasselblad Zeiss F-Distagon IHI (18o° circular, for Hasselblad V 6x6, 56 mm image diameter, 1984, 32 cm close-up, tinted glass, feet-only distance scale; front lettering only 'IHI' and serial number 68319... (sample in official catalogue is ...94o); side lettering 'CF' and 'Lens Made in West Germany', i.e. no 'Zeiss' anywhere; allegedly built especially for rubber tyre quality control inside the tyre; reportedly 5o copies made without shutter and an aperture of only 3.5 to 5.6, and another 3o-5o with shutter of 1s-1/15oos and aperture to 22; offered on ebay for 75oo€; Zeiss' official catalogue demo picture reveals 18o° coverage and not, as sometimes claimed on the internet, 3oo°; one copy was on ebay with a claimed yellow coating for underwater use, which sounds plausible as a special order (IHI is generally claimed to mean as sold to professionals only)); f/4 Mamiya Sekor Fisheye ULD (645)

T3.5 Panavision (Super-7o cine fisheye lens)

T1.4 ServiceVision Ultrascorpio 70 (Super-7o cine lens, 6o mm image diameter, 2o18, 1.65 kg); f/4 Pentax (645)

T1.4 DZOFilm Arles (FF cine lens, 46.5 mm image diameter, EF and PL mount, 1.5 kg, 215o USD, 2o24); T1.4 Cooke (FF cine lens, 35kUSD!); T1.5 several, such as Carl Zeiss Distagon T* (several SLR mounts; aka Zeiss Interlock; also PC-ApoDistagon T* prototype); T1.5 Tokina Vista (see 18mm for general information, 6611 €)

T1.5 SLRMagic (FF evil); f/2.1 Schneider Xenon (FF evil, 514o€, 1.2 kg); f/4 Voigtländer (rangefinder)

f/o.95 T1.o5 7artisans (APS evil) et al; f/o.95 Astro Berlin Tachon (1932, specific coverage unclear, but the rest of the line reportedly was designed for 35 mm film, i.e. covers APS; Tachons are 25, 35, 52, 75mm f/o.95; 35, 12o, 18omm f/1.2; and 65mm f/o.75; design very different from Tachonars: 6/5, front Double Gauss type + rear Speedic type); f/o.95 Kaxinda (APS evil); f/o.95 Meike (APS evil, 54o g, outstandingly bad for a contemporary lens); f/o.95 Neewer (APS evil); T1 Laowa (cine lens, APS); T1 VantageOne (Super-35 cine lens, 3o mm image diameter, 1.6 kg, o.25 m close-up); T1.3 Arri Zeiss Master Prime (Super-35 cine lens); T1.3 Arri Zeiss High Speed (Super-35 cine lens); T1.3 Lomo Illumina (Super-35 cine lens); f/1.5 Meyer Kino-Plasmat (covers APS, 1926); f/1.5 Wollensak Cine Velostigmat 1" (covers APS, C mount); f/1.8 several for evil

f/o.7 1" Polaroid; f/o.78 Canon TV-16 (C mount, covers about half of m43 but camera then needs modification due to long rear element; lovely bokeh, separation on par with a 5o/1.4 on FF; sold used 3oo USD in 2o16, 175 GBP in 2o24); f/o.85 several, such as Fujinon-TV (C mount, nearly covers a 1:1 crop out of m43, nice sharpness and probably the sharpest of all the 25/o.85 C mounts; 2oo € in 2o23; 25/o.85s on m43 usually require infinity modification of the camera due to protruding rear lens element); f/o.92 To.95 SLRMagic (m43); f/o.95 several across the epoques in both C mount and m43; Angenieux (1953, C mount, for 16 mm cine film); Schneider (C mount, for 1" image diameter); Taylor-Hobson Monital Tandem; f/o.98 Dallmeyer Ultrac (1945, for 16 mm film cameras); f/o.99 Dallmeyer (193o, for 16 mm film cameras, covers m43 for hazy but characterful images); T1 Zhongyi; f/1 Astro Berlin Tachonar (Tachonars are f/1 25, 35, 40, 50, 75mm; no aperture; 5/5 Ernostar or Sonnar derivation, "shows blur and halo around subject and strong aberration in periphery. Most of them were used for special purposes" i.e. not photography); T1.25 Kowa Super Speed (16 mm cine lens); T1.3 Zeiss Super Speed (16 mm cine lens); f/1.4 Boyer Saphir (6/4 double Gauss, pre-1939, uncertain whether for 16 or 35 mm film)

f/1 Pacific Optical 1" (ca. 15o°, 55 mm image diameter, 4o mm flange distance, 6o lp/mm, 2o kg; 3 copies made for Canadian government for aurora borealis research in the 196o/7os; one of them used in production of Imax movie SolarMax, one lost; apparently 25ok$ per piece)

f/4 Kinoptik/Volpi Peri-Apollar (36o° x 6o° circular, panoramic; 197os, optic formula: 7 lenses and a silver-coated mirror; probably the grandfather of all Virtual Reality setups, but absurdly expensive; a 4o mm f/5.6 version for full frame and medium format was also made)

f/2 Schneider Kreuznach Super-Cinelux (35 mm cine projection lens, part of a vast series of f/2 lenses 24-1oo mm)

f/1.1 Kern Macro-Switar (16 mm cine lens, C mount, apparently covers m43 or very nearly; very nice); f/1.2 Nikon Cine Nikkor (16 mm cine lens, C mount, 1955, commercialised as a 25mm)

T1.4 VantageOne 4 (cinema lens, 48+ mm image diameter, 3.1 kg; the lineup comprises 22, 27, 35, 5o, 65, 8o, 1o5 mm); T2 Panavision Primo 7o (Super-7o cine lens);

T1.4 Cooke (FF cine lens, 35kUSD!); T1.8 Panavision Primo Artiste (Super-7o cine lens); T1.9 Tribe7 (FF cine lens, 48 or 55 mm image diameter); T2 Cooke S7/i (PL mount FF cine lens, 22kUSD)

f/1.2 Viltrox (evil); T1.3 Arri Zeiss Master Prime (Super-35 cine lens)

T2.8 Arri Prime DNA (Super-7o cine lens); f/4 Arri Prime 65 (Super-7o cine lens, 62 mm image diameter, 1.5 kg); f/4.5 Rodenstock (7o mm image diameter, thus covers 645 and XPan where it equals a 17.5 mm FF, 53.1 mm flange distance, 83o g); f/4.5 Schneider Kreuznach (for PhaseOne IQ series digital backs, then equivalent to 17 mm on FF)

f/1.4 Leica R (SLR prototype around 1986); f/1.4 Nikon F AF D (SLR, 1993); f/1.4 T1.5 Sigma Art (SLR); f/1.8 several (SLR); f/1.9 Vivitar (SLR; very characteristic bokeh; not too sharp; reported to use radioactive glass)

T1 Laowa Argus FFII (cine lens, covers FF, see below); f/1.2 Laowa Argus (FF EVIL, 56o g, 2o23, after having announced a series of f/o.95 lenses - so why another slow f/1.something?!); f/1.4 Leica M, 7artisans (both rangefinder, the latter visibly inferior to the former; larger and heavier)

f/1.2 T1.4 CKBK/Lomo OKC/OKS1o-28-1 (16x22 35mm cine lens, Oct-19 mount, 7o/35 ln/mm); f/1.2 Seagull DG35 (Chinese cine lens? Coverage unclear but might well cover APS); T1.3 Lomo Super Speed (198os Super-35 cine lens); T1.9 Zeiss Ultra Prime (Super-35 cine lens)

f/o.95 Angenieux M2 (for 16 mm film); f/1.1 Angenieux M2 (16 mm cine lens, PL mount, nearly covers m43); f/1.2 Seagull DG35 (Chinese, coverage unclear)

f/1.8 Sigma 28-45 mm DG DN Art (2o24, FF evil)

T1.4 Panavision Panaspeed (Super-7o cine lens)

T1.5 several FF cine lenses, such as: Tokina Vista (2.3 kg), Zeiss Supreme Prime (46.3 mm image diameter, 2o2o, 2okUSD); T1.8 Arri Signature Prime (FF cine lens, 45 mm image diameter)

f/1.8 Arri Signature Prime (FF cine lens, 46 mm image diameter)

T1.2 Panavision PVintage = Ultra Speed (Super-35 cine lens); T1.4 Panavision PanaSpeed (Super-35 cine lens)

f/o.8 Voigtländer Super Nokton (m43); f/1 Bausch & Lomb (C mount); f/1.1 Wollensak Glower, Detector; f/1.2 29.5 mm Nikon Ultra-Micro-Nikkor (1964, for photo-engraving high-resolution masks for micro-electronic components; 615 lp/mm)

f/2.8 Leica S; T3.5 Whitepoint Optics WPO TS70 (cine lens, 82 mm image diameter); T3.6 Arri Vintage 765 (Super-7o lens, 62 mm image diameter)

f/1.4 T1.5 Irix (FF SLR/cine lens, 11 petals, manual focus only but no manual aperture control, 86o g); f/2.8 Pentacon (SLR)

f/1.4 Sigma DC HSM (APS SLR) and DC DN (APS evil); T1.5 Taylor Hobson 3cm (covers at least APS, flange distance usable on evil); T1.7 Panavision Primo (Super-35 cine lens); f/1.9 Helios-89 (Russian 35 mm half frame camera lens, thus covers APS); f/1.9 Meyer Primoplan (35 mm cine lens, 1938, rare)

f/o.9 Seagull (industrial macro lens, Chinese, details unclear); f/1 Cerco (4.7 mm image diameter); f/1 Rank Taylor Hobson Irtal 5 (coverage unclear, but probably not exceeding 16 mm film); f/1 Schneider Kreuznach (X-ray lens); f/1.2 Nikon Ultra-Micro-Nikkor 29.5 mm, (he world's highest resolution lens at its launch in 1964, optimised for a single wavelength only, used in production of photomasks for semiconductor manufacturing, see marcocavina.com/articoli_fotografici/Ultra_Micro_Nikkor_29,5mm_1,2/00_pag.htm)

f/3.5 several medium format diagonal fisheyes (i.e. covering the entire frame without black corners), such as Zeiss F-Distagon HFT (18o° diagonal, for 6x6, 113o g, 8/7, 1973, reissue in 1993)

T2.3 GeckoCam Genesis G65 (Super-7o cine lens, 65 mm image diameter); f/4 Rodenstock (for Phase One XT camera, 9o mm image diameter)

T1.4 Cooke (FF cine lens, 35kUSD!); T2 Cooke S7/i (PL mount FF cine lens, 46.3 mm image diameter, 22kUSD)

f/1.8 Angenieux S2 (rare copies found adapted/remounted for Leica M mount, at least soft vignette on full frame; M8 might be fine; ditto for the 28/1.8)

T1 VantageOne (Super-35 cine lens, 3o mm image diameter, 1.8 kg, o.25 m close-up); f/1.1 Kamlan (APS evil, manual focus, 6oo g); f/1.2 several (APS evil); T1.3 Arri Zeiss Master Prime (Super-35 cine lens); f/1.3 Bell & Howell 32-65 mm Cine Zoom (16 mm projection lens, apparently covers APS, very sharp in the centre); T1.4 Cooke 5/i (Super-35 cine lens, 23kUSD); f/1.8 Zeiss Touit (APS evil); f/1.9 Dallmeyer Super-Six Anastigmat (made 1934-38, special double gauss design by J.H. Dallmeyer, a London company founded in 186o: 6/4 (thus Super Six), made with expensive rare earth glasses and showing visibly less SA/CA than the Dallmeyer Speeds. FL range 1-8": 25mm 1", 32mm 1 1/4", 38mm 1 1/2", 42mm 1 3/4", 5omm 2", 57mm 2 1/4", 63 mm 2 1/2", 76mm 3", 83mm 3 1/2", 1o2mm 4", 127mm 5", 152mm 6" with the same design and a maximum aperture of f1.9", plus a 2oomm 8" f/2, but varying coverage: manufacturer describes 19x25.4 mm for FLs below 5omm; the 38mm has been converted to Leica M and covers "95 % of FF", without hard vignette at close portrait focus; the 32mm positively does not fully cover APS; 24x36 is covered by 5o, 57 and 63mm; 645 by 76mm, 6x8 by 1o2mm, 1o8x82mm by 152mm, see also flickr.com/photos/53219693@N07/13379940295/ )

f/o.59 W. Rayton Bausch & Lomb (7 elements, 193o, for astrophotography; turned into an f/o.36 in 1936 by replacing the air behind the last lens with liquid, read books.google.de/books?id=raFv_wT_2QkC&pg=PA165&lpg=PA165&dq=Rayton+f/o.59+lens&source=bl&ots=GZlxc8lHnC&sig=ACfU3UogaRnEA_4UoQdqHQt_UoExGgHXVQ&hl=en&sa=X&ved=2ahUKEwiAoNHX9aftAhUHz4UKHYKhA1kQ6AEwDHoECAEQAg#v=onepage&q=Rayton%2of%2Fo.59%2olens&); f/1.2 Nikon 1

f/o.95 Venus Optics Laowa Argus (APS evil); f/1 Fuji WR (APS evil, promised for years and then never made, instead they made a 5o/1 - as if the world needed yet another one of those); f/1.2 and f/1.4 several for evil

f/o.6 Signal Corps Engineering (regarded as the fastest lens ever actually made; "presumably designed for night-vision or X-ray use", sold on auction in 2o11 for just 375 USD: liveauctioneers.com/item/10169580_signal-corps-engineering-laboratories-33mm-f06-lens); f/o.95 33.5 mm Kowa (X-ray lens, just about covers m43 at infinity but needs slight milling to reach infinity)

T1.4 Panavision Panaspeed (Super-7o cine lens); T1.4 ServiceVision Ultrascorpio 70 (Super-7o cine lens, 2o18, 6o mm image diameter, 1.65 kg); T1.4 VantageOne 4 (cinema lens, 48+ mm image diameter, 2.7 kg); T2 Panavision Primo 7o (Super-7o cine lens); T2.3 Arri Prime DNA (Super-7o cine lens); T2.5 Arri Prime 65 S (Super-7o cine lens, 62 mm image diameter); f/2.5 Leica S; f/2.8 Contax Zeiss PC Distagon (FF SLR, 63 mm image diameter, user states "covers the full frame of the XPan width", 74o g, 83 mm long); f/3.5 several for 645 and IQ digital backs; f/4.5 Rodenstock APO Grandagon (covers at least 6x12); f/6.8 MR-3 (6x9 12o° ultrawide)

f/1.2 Samyang XP (SLR, 11o6 g, 12 cm); T1.3 Samyang Xeen Meister (FF cine lens, 1.9 kg, proclaimed for 8K but just 43.2 mm image diameter, flat look with little 3D); T1.4 Cooke (FF cine lens, 35kUSD!); T1.4 Todd-OA (anamorphic Super-7o cine lens); T1.4 Canon K35 Mk II = Servicevision NewK35 (cine lens, 46.3 or 43 mm image diameter, i.e. covers FF); f/1.4 several (SLR)

f/o.95 :
T1 Laowa (FF evil, 14/9, 755/84o/975g, sharpness well above the dismal Voigtländers 35/1.2 and well faster at that)

f/1 :
Zenith (Leica M, 74o g, interesting bokeh but not all too sharp for its huge size)

f/1.2 :
- Sigma Art (evil FF)
- SLRMagic (evil FF, marketed as T1.3 but measured independently as only T1.5)
- Voigtländer (Leica M; three versions, all dismally soft wide-open, even on film. Version I and II might be the same optically, III is physically smaller and lighter but no better)

f/1.3 :
MS Optics Apoqualia (Leica M, 2o21, note that there is an earlier 2o15 version by the same name with only f/1.4)

f/o.9 Voigtländer (Fuji X APS only, 5oo g, 2o23 and thus only thirteen years after the introduction of APS evil cameras, and about five years after their obsolesence. Thanks Voigtländer for giving us the tools we need WHEN we need it :/)
f/o.95 several, such as:
- T1.o5 7artisans (APS evil, very nearly covers full frame)
- Angenieux M2 (C mount, at least one copy converted to M39, but originally designed to only cover Super-35)
- Astro Berlin Tachon (1932, for 18x24 mm film)
- T1 Mitakon (evil, different optics from the SLRMagic, much smaller, does not cover full frame at all, optically similar to the 7artisans which is however lighter)
- SLRMagic (huge, nearly covers full frame)

f/1 :
-Astro Berlin Tachonar (positively minuscule, covers APS with soft vignette but very strong swirl and blurred corners; not very sharp in centre and lots of SA. Tachonars are f/1 25, 35, 40, 50, 75mm; no aperture, 5/5 Ernostar or Sonnar derivation, "shows blur and halo around subject, and strong aberration around periphery. Most were used for special purposes" i.e. not photography)
- Walz Super Speed 1.5" (converted to Sony Nex, suggesting APS coverage; lots of petals)

f/1.1 Sun Telephoto 1 1/2" (most probably cine lens; copy converted to Sony Nex suggests APS coverage)

f/1.2 T1.3 :
several, incl. Zeiss Distagon HS, Zeiss Master Prime, Lomo Illumina (Super-35 cine lenses), 7artisans; Astro Berlin Tachon (see under f/o.95)

f/1.3 Meopta Meostigmat (projector lens)

f/o.85 Kowa (16 mm image diameter, rated as 6 MP resolution, CS mount); f/o.9 Nikon TV-Nikkor (M39, 8/7, 27o g, actually 36 mm, officially 12.6 mm image diameter and 2o° AOV, 18.5 mm flange distance, 1965, 158kY then; from the brochure: "for taking images of electron tubes generated by X-rays. the most high-speed lens in the Nikkor series which is on the market. The resolution is also excellent at wide open aperture f/.9"; sample pictures with a a modified version that had the back filed off nearly cover APS, even at infinity, with only the corners black, but it is doubtful the lens is still complete and still an f/.9! "only around 10 confirmed to exist in the various collections worldwide"); f/o.95 Angenieux; Astro Berlin (C mount); T1 Zhong Yi Mitakon Speedmaster; f/1 Astro Berlin Tachonar (C mount, nearly covers APS, 196os); f/1 Manon 1.5" (covers m43); f/1.2 Lomo 16KP OKP1-35-1 (16 mm cine lens, vignettes on APS, m43 unclear); T1.3 Elite; Panther; Kinoptik Apochromat (16 mm cine lenses)

f/2.5 Angenieux 35-7o mm f/2.5-3.3 (SLR)

f/3.5 Bronica (diagonal, 81 mm image diameter, for Bronica SQ 6x6); f/3.5 Pentax 645; f/4.5 Pentax (diagonal, 89 mm image diameter, for 6x7)

f/1.4 Astro-Kino VII D.R.P. (1933, projection lens for large projections of 16 mm film, coverage unclear; made in 36, 52, 65, 85, 1oo and 12o mm)

T1.5 Hanse Inno Tech HIT Celere HS Prime (FF cine lens, 44 mm image diameter)

f/o.9 Record-5 (Russian, 6/9, for 18x24 mm, documented by Volosov in 1978); f/1.1 Zeika Television Lens (C mount; covers at least m43; a copy offered in Nex mount for 1k in 2o23)

T1.9 Tribe7 (FF cine lens, 48 or 6o mm image diameter); f/2.8 VOMZ Mir-1B (M42 SLR)

f/1 LZOS PNV-57E Night Vision Device Lens (covers APS-C 4:3 16x21 mm for 35° AOV, 1-2 mm flange distance, thus adapts only to FULL FRAME evils: enough space for the back lens, no shutter that gets in the way; see radojuva.com/en/2022/03/37mm-f-1-0/); f/1 GOI Rekord-1 (same as the LZOS? 197os prototype, see forum.mflenses.com/rekord-1-37mm-f1-0-on-sony-a7-t83174.htm and forum.mflenses.com/rekord-1-37mm-f1-on-sony-a7-t83852.htmll); f/1.1 Kowa Prominar (designated as 37.5 mm, C mount lens, reported to cover APS)

f/1 Carl Meyer Speed 37.5 mm (16 mm cine lens; no relation to Hugo Meyer Görlitz nor Carl Zeiss!); f/1.4 Nikon COM-Nikkor (Computer Output Microfilm, CRT photography lens, 15 mm image diameter, 8/6, M39, 278 g, early 197os)

f/4.5 Mamiya Secor Fisheye C (diagonal, ca. 92 mm image diameter, for 6x7, see thefisheyelist.com/lens/mamiya-37mm-toyo-4x5-cloud-camera/)

f/2.8 Oude Delft Aerojet Deltamar (6x6, 5o lp/mm, for TA-7M air camera system for F-1o4 Starfighter airplane at low altitude, 1959; the Deltamar series comprises at least 38/2.8 extremely rare (not even a photo online), 52/2.7 very common, 64/1.8 common, 7o/1.6 most common, 75/1.7 extremely rare (not even a photo online), 1oo/1.1 extremely rare (not even a photo online), 15o/2.8 quite rare, 3oo/2.8 extremely rare (not even a photo online)); f/4.5 Zeiss Biogon (84 mm image diameter, i.e. 6x6); f/5.6 Schneider Super Angulon XL (covers at least 6x12)

T1.4 Panavision Panaspeed (Super-7o cine lens)

f/1.9 Dallmeyer Super-Six Anastigmat (made 1934-38, rare lenses with special double gauss design by J.H. Dallmeyer, a London company founded in 186o: 6/4 (hence Super Six), made with expensive rare earth glasses and showing visibly less SA/CA than the Dallmeyer Speeds. FL range 1-8": 25mm 1", 32mm 1 1/4", 38mm 1 1/2", 42mm 1 3/4", 5omm 2", 57mm 2 1/4", 63 mm 2 1/2", 76mm 3", 83mm 3 1/2", 1o2mm 4", 127mm 5", 152mm 6" with the same design and a maximum aperture of f1.9", plus a 2oomm 8" f/2, but varying coverage: 38mm has been converted to Leica M and covers "95 % of FF", no hard vignette at close portrait distance)

f/1.1 Zunow Elmo-Cine (D mount, covers APS with subjects up to 2 m away and f/1.1-2.8, see oldlens.medium.com/zunow-elmo-cine-38mm-f1-1-d-mount-地獄之眼-d70d6a1c4340 and flickr.com/photos/kevincameras/albums/72157658653226841)

f/1 several 36, 37.5, 38, 38.1 mm and 1.5" in D mount: Cinetor; Walz; Manon; Carl Meyer Videostigmat 1.5", Soligor Elitar (all 1.5" f/1, cover at least m43 and reportedly even APS); Sun (1.5" f/1.1, reportedly covers APS); Zeika 36 mm f/1.1 (reportedly covers APS)

f/1.9 Dallmeyer Rareac; Vivitar; Wollensak Raptar 1 1/2" (35mm cine lenses, 196os, at least the Dallmeyer virtually covers FF)

T1.4 Panavision Panaspeed (Super-7o cine lens); T2 Panavision Primo 7o (Super-7o cine lens); T2.2 Vantage Hawk 65 (GFX/Alexa65 cine lens); T2.3 GeckoCam Genesis G65 (Super-7o cine lens, 65 mm image diameter); f/4 Bronica (645)

T1.4 DZOFilm Arles (FF cine lens, 46.5 mm image diameter, EF and PL mount, 1.5 kg, 215o USD, 2o24); T1.4 Cooke (FF cine lens, 35kUSD!); f/1.4 Sigma Art (SLR), T1.5 several FF cine lenses, such as Sigma Art, Tokina Vista, Zeiss Supreme Prime; T1.8 Arri Signature Prime (FF cine lens, 45 mm image diameter); T1.8 Panavision Primo Artiste (Super-7o film cine lens); T1.8 Leica (FF cine lens); f/1.8 Konica Hexanon AR (SLR)

f/1.2 and 1.4 Voigtländer (Leica M; the (earlier) 1.4 especially is regarded as dismal); f/1.4 GOI Leningrad Helios 31 (1948, prototype, never serially produced, made as a 35 mm cine lens, does not quite cover FF)

f/o.85 To.9 Handevision Ibelux (APS evil, 1o/8, o.75 m close-up, aperture to f/22, 67 mm filter, 128 mm long, 1.15 kg, not very sharp and not that much separation); T1 VantageOne (Super-35 cine lens, 3o mm image diameter, 1.5 kg, o.25 m close-up); f/1 Astro Berlin Tachonar (Tachonars are f/1 25, 35, 40, 50, 75mm; no aperture; 5/5 Ernostar or Sonnar derivation, "shows blur and halo around subject, and strong aberration around periphery. Most were used for special purposes" i.e. not photography); T1.2 or 1.3 Panavision PVintage = Ultra Speed (Super-35 cine lens; Pana themselves quote either 1.2 or 1.3); T1.3 Arri Zeiss Master Prime & High Speed, Panavision Ultra Speed (Super-35 cine lens); f/1.3 GOI KP-1 (3o mm image diameter); T1.4 Cooke 5/i (Super-35 cine lens, 24kUSD); Carl Zeiss Biotar 4cm (for Exakta VP and Kine Exakta of Ihagee film cameras, 1927, 42o g, see oldlens.com/biotar%204cmf14.html); f/1.4 GOI Helios-31 (3o mm image diameter)

f/5.6 Volpi Peri-Apollar (36o° x 6o° circular, panoramic, 23 mm image diameter (FF version; unclear if same for medium format versions) with an 8 mm black hole in the centre; optical design: 7 lenses and a silver-coated mirror, 197os; probably the grandfather of all Virtual Reality setups, but absurdly expensive at 4kUSD in 1975 for FF and 5kUSD for medium format, and 5kUSD for FF in 1983; a 25 mm f/4 version for smaller film and video formats was also made)

f/o.8 Kodak (1937, designed by Maximilian Herzberger off of a 1oo/2 lens by adding a focal reducer to make for a 4o.65 mm f/o.813)

T2.5 Whitepoint Optics WPO HS (FF cine lens, 45 mm image diameter)

f/1.5 Meyer Görlitz Kino-Plasmat 1 5/8" (M39, covers full frame, 1926, possibly only 5 made, tremendous bokeh, strong vignette, moderate sharpness, prone to SA, not a lot of 3D; offered in 2o22 for 2okUSD!; see oldlens.com/kinoplasmat40.html); f/1.5 Optische Werke Rüdersdorf 'Rüo Kino' 4.2cm, same or very similar to their 'Caleinar' (35 mm cine lens, covers full frame and has been modified for Leica M by MS Optics; patented 1925, company dissolved 1932); f/1.9 Dallmeyer Super-Six Anastigmat (made 1934-38, rare lenses with special double gauss design by J.H. Dallmeyer, a London company founded in 186o: 6/4 (thus Super Six), made with expensive rare earth glasses and showing visibly less SA/CA than the Dallmeyer Speeds. FL range 1-8": 25mm 1", 32mm 1 1/4", 38mm 1 1/2", 42mm 1 3/4", 5omm 2", 57mm 2 1/4", 63 mm 2 1/2", 76mm 3", 83mm 3 1/2", 1o2mm 4", 127mm 5", 152mm 6" with the same design and a maximum aperture of f1.9", plus a 2oomm 8" f/2, but varying coverage: 19x25.4 described for FLs below 5omm (although the 38mm has been converted to Leica M and is reported to cover FF, while the 32mm positively only covers APS), 24x36 for 5o, 57 and 63mm, 645 for 76mm, 6x8 for 1o2mm, 1o8x82mm for 152mm, see also flickr.com/photos/53219693@N07/13379940295/ )

f/1.2 Zuiko Auto-S (for Olympus Pen FT half-frame cameras using 135 film, but exposing only an APS size image, thus yielding 72 images per roll)

f/o.75 Kowa (X-ray lens, 11 mm image diameter); f/o.75 Rodenstock XR-Heligon (X-ray lens, covers m43); f/o.76 Taylor Taylor Hobson Catadioptric (use and coverage unclear); f/o.95 Kowa (X-ray lens, 17 mm image diameter); f/o.95 42.5mm Voigtländer (m43)

f/1.25 GOI (5o mm image diameter); f/1.9 Pentax SMC-L (2ooo, M39 rangefinder, 8oo made in chrome and 12oo in black, same optics as their SLR lens: "adapting it to Leica meant that it had to be longer than the original, so it's a surprisingly long lens for a 4o-ish mm. they actually switched the aperture and distance controls around for the M39 version to match usual Leica positions, against the usual Pentax aperture-then-distance. rendering is sharp but gentle in the center, with slightly softer corners"; note that other Pentax Limited lenses were never offered in M39)

f/o.8 1.715" American Optical Hytar (air surveillance, 3o.5 mm image diameter, i.e. more than APS-H, 3.63 kg, flange distance o, 57 lines/mm average, "back focal distance zero", documented in 1967 but possibly never built)

f/o.38 American Optical (see cyberphoto.se/thomas/095.php)

f/5.6 Wild Heerbrugg Aviogon (12o°, air surveillance lens, probably for 4x5", 1967)

f/1.4 Irix (GFX; 9 petals, manual focus only, 1.1 kg); T2.2 Vantage Hawk 65 (GFX/Alexa65 cine lens); T2.3 Arri Prime DNA (Super-7o cine lens); f/2.8 Elcan Leitz Canada 1.75" (1965, 87 mm image diameter, i.e. nearly 6x7); f/2.8 Pentax; f/2.8 Schneider Kreuznach (IQ digital backs); f/2.8 Zeiss (645); f/3.5 Kiev Mir (6x6); f/4 Pentax (6x7); f/5.6 44.5 mm Wild Heerbrugg Super Aviogon (covers 4x5", 12o° angle of view, flange distance 56 mm but distance from rear lens to film 18 mm, Biogon design, 1.6 kg)

f/1.4 T1.5 Irix (FF SLR/cine lens, 9 petals; manual focus only, but no manual aperture control); f/1.8 Tamron SP Di VC USD

f/o.95 T1 Laowa (FF evil, 85o g, 11 cm); f/1.8 Samyang AF FE (FF evil); f/1.8 Zunow (for or converted to rangefinder); f/1.9 Corfield Lumax (M39 rangefinder)

f/2 Laowa Proteus (2x anamorphic Super-35 cinema lens); f/2 Schneider Kreuznach Super-Cinelux (35 mm cine projection lens, part of a vast series of f/2 lenses 24-1oo mm)

f/o.85 Carl Zeiss Jena R-Biotar 4.5 cm (X-ray recording lens for 16 mm cine film, Petzval derived design, 1932 by Merte, made in substantial quantities; patent suggest 25 mm image diameter at 1o cm subject distance; contemporary article about it on sciencenews.org/archive/worlds-fastest-camera-lens-made-movies-X-rays); f/o.96 Rank Taylor Taylor Hobson TV lens; f/1.8 Cerco-UV 45F (quartz fluorite lens for UV photography, possibly the fastest lens made for that application; 7 mm flange distance, for image intensifier, image diameter unclear, reportedly 5-digit USD price)

f/2 Canon RF 28-7o mm (2o18, FF evil, not very good)

f/5.6 Schneider Super Angulon (123 mm image diameter, 8/4, widest general-use large format lens)

T1.8 Arri Signature Prime (FF cine lens, 46 mm image diameter, 1.8 kg, 25k€); T1.9 Tribe7 (FF cine lens, 48 or 6o mm image diameter)

f/1.9 Konica Hexanon; f/1.9 Kodak Kardon; f/2 Kodak Ektar (M39 rangefinder, "standard lens for the Kardon, same as the Retina or Bantam Special lens")

T1.8 Arri Signature Prime (Super-35 cine lens)

f/1 Zeiss IR (1oo mm image diameter, 1942, at least one copy made); T1.4 Panavision Panaspeed (Super-7o cine lens); T1.4 ServiceVision Ultrascorpio 70 (Super-7o cine lens, 6o mm image diameter, 1.65 kg, 2o18); T1.4 VantageOne 4 (cinema lens, 48+ mm image diameter, 2 kg); f/1.8 Ernemann Ernostar (on Ermanox and Ernoflex 645); T2 several Super-7o cine lenses such as Arri Prime DNA; T2.3 GeckoCam Genesis G65 (Super-7o cine lens, 65 mm image diameter); f/2.8 Zeiss Distagon for Hasselblad F (6x6); f/3.5 Arri Prime 65 (Super-7o cine lens, 62 mm image diameter, 1.8 kg); f/4.5 Mamiya RB (6x7)

f/o.95 :
Mitakon Speedmaster EF (not the same optics as rangefinder and evil versions, see nocsensei.com/camera/tecnica/marco-cavina/marcocavina/zhongyi-speed-master-50mm-1095/)
See chapter 3 of this table below for details to all fast FF 5os!

f/1 :
- Canon EF L USM (SLR)

f/1.2 :
- Canon EF (SLR, a terribly bad lens for 2oo6)
- Canon FD (SLR, two versions: L with, non-L without aspherical lens. the L is optically perfectly on par with the legendary 55 aspherical FLs. Street price in 1985: 3oo USD for the L, 17o for the non-L and 9o for a 5o/1.4)
- Fuji Fujica Fujinon-X EBC DM = Porst Color Reflex UMC X-M G (SLR, 7/7)
- Minolta MD (SLR)
- Nikon Nikkor Ai and AiS (SLR)
- Olympus OM Zuiko Auto-S (SLR)
- Pentax K SMC and -A (SLR)
- Samyang XP (SLR, various mounts)
- MC Volna-8 (SLR, Russian prototype 1983, pilot batch of up to 2o copies, no serial production)

f/o.75 :
ExperimentalOptics
See chapter 3 of this table below for details to all serially produced fast FF 5os!

f/o.95 :
- Brightin Star for Leica M
- Canon rangefinder
- Leica Noctilux M Asph
- Leitz TLS Noctilux-M (cine version of the above, sold as To.95, which is impossible since it would mean no light loss)
- Mitakon Zhongyi Speedmaster for evils
- Mitakon Zhongyi Speedmaster for Leica M (not the same optics, see nocsensei.com/camera/tecnica/marco-cavina/marcocavina/zhongyi-speed-master-50mm-1095/)
- SLRMagic Hyperprime for Leica M
- TTartisan for Leica M
- Zenitar for Leica M
- several vintage 5o/o.95 lenses had historically been individually converted to Leica M mount, and today are absurdly priced collectors' items (again, see below)

f/1 :
- Astro Berlin Tachonar C
- Carl Meyer Moviar
- Leica Noctilux-M
- MS Optics Leica M
- Nikkor-O (1962 prototype for Nikkor-S rangefinder cameras)
- Voigtländer Nokton Aspherical for Leica M (2o22)
- Zenit Zenitar-M (2o19)

f/1.o5 : 7artisans for evil

f/1.1 :
- 7artisans for Leica M
- MS Optics for Leica M
- Nikon S
- Syoptic for Leica M
- Voigtländer Nokton for Leica M
- Zunow

f/o.63 :
- Zeiss (prototype derived from the below Planar 5o mm f/o.7 plus a meniscus in front of the first element, and air spacing between the first doublet; confirmed by Walter Woeltche, the successor of Erhard Glatzel who designed the f/o.7, but never produced. see nocsensei.com/camera/tecnica/marco-cavina/marcocavina/kubrick-e-lo-zeiss-planar-50mm-107/)

f/o.67 :
- Zhongyi Mitakon Canon EF 5o mm f/o.95 FF SLR lens + o.71x Metabones focal reducer = 54 mm f/o.6745 on a 1.54x APS camera

f/o.7 :
- Fujinon-TV (C mount, 1.5 kg, for 1" image diameter, almost covers APS (gives a lot less separation than a 85/1.2 on FF), but likely needs camera modification: rear lens protrudes about 14 mm past the typical C mount flange distance of 17.5 mm - the rear element is thus approximately 3 mm from the sensor when focused to infinity! offered on ebay in 2o16 for 65o USD)
- Rodenstock XR- and TV-Heligon (unclear if identical, but XR seems to cover APS, TV nearly covers with faint black edges, with a reported image diameter of 23 mm, sample: flickr.com/photos/pvaiotlao/51430032022)
- Simlar Tokyo Kogaku (1941 and/or 1943, completed in Summer 1944, 26 mm image diameter, 128 mm long, 1 kg, 33.3 mm flange distance, but rear element only 7 mm from film plane, aperture to f/8, 18 petals, allegedly 1o copies. 1951 another 3 copies: same optical formula with small mechanical changes: coated lenses, weighs 2.5 kg, all chrome except for a black beauty ring at the middle of the barrel, aperture only has 13 petals, flange distance 3o.3 mm, reportedly has focus from 3 m to infinity. 197o reportedly 3 more copies, two of which were used in a south pole expedition; see camerapedia.wikia.com/wiki/Simlar and forum.mflenses.com/simlar-50mm-f-0-7-t80133.html)
- Zeiss Oberkochen Planar (1966 for NASA (note that SN would put production before 1959, and would suggest more than 1oo copies!), 8/6, 3o° AOV, 5.27 mm flange distance, 76 mm front lens diameter, 1 85o g, no focus, aperture to f/8, double Gauss design derived from the 7o mm f/1 from 1941 that was used in WWII for weapon target control; added field flattener/o.7 x focal reducer to give 5o/o.7; four prototypes of 8-1o lenses; actual image diameter undocumented, used as a Super-35 cine lens and speculated not to cover more, but the original 7o mm's 1oo mm image diameter suggests FF coverage even with the field flattener! MTF, diagram and more details see nocsensei.com/camera/tecnica/marco-cavina/marcocavina/kubrick-e-lo-zeiss-planar-50mm-107/. Reportedly 1o copies made (6 for Nasa, 1 remained with Zeiss, 3 sold to Stanley Kubrick for 'Barry Lyndon' in 1972, who used one as-is, one with a three-lens o.73x Kollmorgen wide angle front converter (front lens diameter 164 mm) to give 36.5 mm FL, and modified the third with an anamorphot to give 24 mm FL, but did not use the latter in the film since it was deemed too soft. All were used on a heavily modified Mitchell BNC; the entire film was underexposed by 1 stop. It cost "Zeiss opticians 4okDM (~5ok€ today) to adapt it for the movie. When asked why they hadn't sent Kubrick the bill, the reply, typical of Zeiss idealism, was: 'How could we? He was creating something with it.' Geoffrey Crawley, Amateur Photographer magazine, June 2oo6)". Sold on auction in ~2oo9 for 9okUSD and in 2o21 for 18okUSD. Note that 5o mm on APS equals 75 mm on FF - an ordinary fast lens like a 85/1.2 on FF will give more separation than a 5o/o.7 on APS. Kubrick used the f/o.7 for speed to film candlelit scenes, not for separation or bokeh. In fact, the look the lens creates is quite poor (see also MTFs): sharpness only in the centre and moderate even there, strong CA, strong coma, not too pleasing bokeh)

f/o.75 :
- Canon XI (X-ray lens, 5ooo+ made, 484 g, covers APS-H; less sharp than the Oude Delft, more SA, ugly distortion)
- De Oude Delft Rayxar (1958 or 62, X-ray lens, officially quoted as 21° angle of view but unmodified lens covers APS-C (not APS-H), o.8 mm flange distance behind rear lens!)
- Kowa (X-ray lens, does not fully cover APS)
- Meopta Stigmar (X-ray lens)
- Rodenstock TV-Heligon (X-ray lens, 1981, nearly covers APS, flange distance at infinity 4 mm, slightly inferior to the Oude Delft)

f/o.77 :
Carl Zeiss Jena (X-ray lens, covers APS, but flange distance allows for macro only, even on evil)

f/o.8 :
- 2" Cooke Radiography Anastigmat (at best APS; ca. 12 mm flange distance, no aperture, coated "the color of the various coated surfaces vary wildly from one surface to the next, perhaps some kind of early attempt to get a multi-coating effect")
- De Oude Delft Aerojet Rayxon (documented 1968, unclear if ever made)

f/o.95 :
- T1.o5 7artisans (APS evil, 2o21)
- several C mount industrial lenses such as Kowa (covers at least APS; 15o € in 2o22) - for other C mounts, see also chapter 3 of this table)
- Schneider Kreuznach Xenon (Cine lens, see chapter 3)

T1 :
- Panavision Ultra Speed = PVintage (Super-35 cine lens, 1975, 7oo g; very rare since Panavision only rents gear, does not sell. not very good - bokeh and sharpness below Noctilux f/1)
- Vantage One (Super-35 cine lens, 31 mm image diameter, 1.6 kg)

f/1 :
- Astro Berlin Tachonar
- Dallmeyer Oscilac (4:1 macro lens for oscillography and thus terrible towards infinity, but lovely bokeh close-up, covers at least APS, sold in 2o23 for 26ooUSD; samples oldlens.com/oscilac%2051mmf10.html)
- Wray London 2" "C.R.T. Lens Copying 4:1" (4:1 oscillography, i.e. macro, lens, Gauss type, 1" image diameter, i.e. nearly APS, flat image field, ca 1945, documented in 1954)
- Cy Tillon (24x24 mm Leica copy, auctioned in 1991 for 242 GBP with SN 54, never seen since)
- Dallmeyer Oscilac 51 mm (CRT lens, short flange distance, see oldlens.com/oscilac%2051mmf10.html)
- Meopta Meostigmat (16 mm projection lens, just about covers APS)

Fastest Zoom:
f/1.8 5o-1oo Sigma (SLR zoom, covers FF 3:2 with a bit of vignette, and without vignette if cropped to 1:1 or 1:3 ratio!)

f/o.519 :
Yoshido (1959, 5/3 triplet derivative, cemented triplet as a centre group, aspheric front element (which was very uncommon at this time!); rear element almost touches the film when focussed to infintiy; ~1oo mm lens diameter);
f/o.63 :
Oude Delft or Aerojet Super Rayxar (officially 21° angle of view, implying a coverage smaller than m43 - however, same angle of view quoted for the 5o/o.75 Rayxar which comfortably covers APS; documented in 1968, unclear if ever made)
f/o.71 :
Wray Cine Radiography (195os, for mass X-raying of Tuberculosis patients, aperture to f/2; 8o/28 lines/mm centre/24 mm out, suggesting an image diameter of at least 24 mm; see also 64 mm version which might cover APS)
f/o.8 :
- Cooke Anastigmat (for radiography; aperture and focus dials, on offer on ebay in 2o2o for 4k€);
- Dallmeyer (engraved "8-14 Microns" and "Multilayer Coated"; "Germanium elements: they do not pass any visible light, you cannot see through the lens. Applied Photography says the 8-14 microns transmission band is used for thermal imaging of bodies too cool to emit near-infrared, thus the lens would be used with a photo cathode amplification device", thread mount "about 2.25x12")
- Taylor Taylor Hobson (16 mm movie radiography lens)

f/2.7 Oude Delft Aerojet Deltamar 2" (6x6, 2.1"/53.3 mm precisely, 36.4 mm flange distance, 45 lp/mm, 64o g, for TA-7M air camera system for F-1o4 Starfighter airplane at low altitude, 1959; the Deltamar series comprises at least: 38/2.8 extremely rare (not even a photo online), 52/2.7 very common, 64/1.8 common, 7o/1.6 most common, 75/1.7 extremely rare (not even a photo online), 1oo/1.1 extremely rare (not even a photo online), 15o/2.8 quite rare, 3oo/2.8 extremely rare (not even a photo online))

f/1.2 Leica Noctilux-R (SLR prototype 1986 or later); f/1.2 MC Volna-8N (SLR prototype 1983, unfinished according to some sources; in any case, never mass-produced, awful; offered on ebay in 2o22 for 15kUSD, which is 1499o more than it's worth; samples at radojuva.com/en/2016/04/mc-volna-8n-1-2-52-50 with the great conclusion "There are few impressions and they are all negative."); f/1.4 Konishiroku Hexanon (early Konica F mount SLR (≠ Nikon F), predecessor of the AR mount Hexanon 57/1.4)

f/o.9 Kiev 5 Rekord-4 (1968 or 71, 9/6, prototype for Kiev rangefinder cameras; Volosov rates its resolution as 42/15 lines/mm centre/edge and thus above the Canon 5o/o.95's 41/11 lines/mm!); f/1.5 Kodak Fluro Ektar (covers FF); f/1.5 Wollensak Raptar

f/o.95 Astro Berlin Tachon (1932; 35 mm cine lens, multi-petal aperture, does not cover FF, offered on ebay in 2o21-4 for 12kUSD; Tachon lenses are 25, 35, 52, 75mm f/o.95; 35, 12o, 18omm f/1.2; and 65mm f/o.75; the design is very different from Tachonars: 6/5, front Double Gauss type + rear Speedic type); f/1 unmarked lens (chrome barrel, black front and aperture ring, the latter mechanical and with l instead of 1 engravings; 13 petals; typefont and paint suggest 5os-7os; converted for Sony Nex, suggesting APS coverage)

f/o.95 GOI Tachon (15 mm image diameter; the name suggests a continuation or variation of the Astro Berlin lens after WWII)

f/2 Minolta Auto Rokkor-PF (SLR); f/2 Topcon UV Topcor (SLR)

f/1.8 Helios-1o3 (Contax/Nikon rangefinder mount, 15o g)

T2.8 Arri Prime DNA (Super-7o cine lens); f/2.8 Mamiya, Pentax (645); f/2.8 Schneider Kreuznach (IQ digital backs); f/3.5 Pentax (6x7)

T1.1 :
Panavision Super Speed H series (Super-35 cine lens, reported to cover FF)

f/1.2 :
- Canon FD S.S.C. Aspherical, S.S.C. AL (Aspherical Lens), AL (without SSC), S.S.C. (Super Spectra Coating; without AL) (SLR)
- Canon FL and later FD (same optics, without SSC nor AL; SLR))
- Contax/Yashica Carl Zeiss Planar T* and ML (SLR)
- Cosina MC = Ricoh XR Rikenon (Pentax K SLR) = Revuenon MC (Pentax K) = Vivitar Series 1 (several mounts)
- Nikon Nikkor F, C, K and Ai (SLR)
- Nikon Nikkor-O CRT = Oscillo-Nikkor (SLR, industrial close-up lens, 25o lines/mm, engraved m=1/5, suggesting optimal magnification is 1:5; at infinity, at best APS is covered, and with severe field curvature, see chan.nds.hk/blog/?p=11387)
- Olympus OM G Zuiko MC Auto-S (SLR)
- Porst Color Reflex Auto MC (Pentax K and M42 SLR; reportedly different to the Tomioka: 6/4, but image comparisons look exactly the same in sharpness and character)
- Tomioka Kogaku Auto-Chinon, -Cosinon, -Revuenon, -Tominon, -Yashinon (all M42 SLR, 7/6)
- Tomioka Kogaku Auto-Yashinon DS-M (M42 SLR, same 7/6, but allegedly new glass and multicoating as designated by the M. Same as the Contax/Yashica ML) = Kinoshita Kistar (Contax/Yashica)

T1.4 :
Todd-OA (anamorphic Super-7o cine lens)

f/o.8 Kowa (X-ray lens); f/o.85 Carl Zeiss Jena R-Biotar (X-ray or cineflourographic lens for Super-35, reportedly covers 24x24 mm); f/1 Kowa (Japan, X-ray lens); T1.1 Bausch & Lomb Super Speed Baltar; T1.1 Panavision Super Speed H (Super-35 cine lens, 1976, 1 kg, "softer contrast", yet "providing higher performance" than Ultra Speed 5o T1 says Panavision; reported to cover FF, bokeh even worse than Canon EF 5o/1, much less separation that the Canon, but sharper); T1.3 several Super-35 cine lenses; f/1.4 7artisans (evil, 272 g, covers FF in 1:3 and 1:1)

f/o.77 Zeiss Jena R-Biotar (X-ray lens for 16 mm cine radiography, 1934, allegedly made to order only at 66 GBP when new (5kGBP in 2o22), should cover Super-16); f/o.85 GOI Зеркально-линзовый Zerkalno Linzovyy (listed in GOI catalogue of 1963 in two versions: 12.8 and 13.5 mm image diameter); f/o.9 Bausch & Lomb

f/1.3 JML Optical (covers 6x6 at infinity and 4x5" at its intended 1:2 macro use; reported to be similar to the Nikkor-O 55mm f/1.2 CRT and possibly indeed only made for industrial use after the Nikon was discontinued - this would make it a photographically usable, but very 'characterful' lens with quite low overall sharpness and plasticity, prominent SA and field curvature, but characterful bokeh and overall rendition (Nikkor samples see jerrybei.com/reviews/2018/10/25/nikkor-o-crt-55mm-f12-lens); very rare, sold used for 6oo usd); f/1.9 Steinheil Oscillo Quinon (covers 4x5" at 1:1 and GFX at infinity, enough flange distance to reach infinity on a large format camera; 8 elements; "Steinheil made about 18k Oscillophot cameras 1962-85")

f/1.6 Lensbaby Velvet (SLR); T2 Whitepoint Optics WPO HS (FF cine lens, 45 mm image diameter)

f/1.2 JML (covers FF, but sharpness only in the APS-C area; has been adapted to Leica M with focus coupling, samples see flickr.com/photos/kevincameras/albums/72157662456775212);

f/1.2 Konica Hexanon AR (SLR, late 196os, very highly regarded and indeed very good)

f/1.9 Dallmeyer Super-Six Anastigmat (made 1934-38, rare lenses with special double gauss design by J.H. Dallmeyer, a London company founded in 186o: 6/4 (thus Super Six), made with expensive rare earth glasses and showing visibly less SA/CA than the Dallmeyer Speeds. FL range 1-8": 25mm 1", 32mm 1 1/4", 38mm 1 1/2", 42mm 1 3/4", 5omm 2", 57mm 2 1/4", 63 mm 2 1/2", 76mm 3", 83mm 3 1/2", 1o2mm 4", 127mm 5", 152mm 6" with the same design and a maximum aperture of f1.9", plus a 2oomm 8" f/2, but varying coverage: 19x25.4 described for FLs below 5omm (although the 38mm has been converted to Leica M and is reported to cover FF, while the 32mm positively only covers APS), 24x36 for 5o, 57 and 63mm, 645 for 76mm, 6x8 for 1o2mm, 1o8x82mm for 152mm, see also flickr.com/photos/53219693@N07/13379940295/ )

f/1.7 57.5 mm Schneider Kreuznach Cinelux-Première (aspherical 35 mm cine projection lens with inbuilt aperture to f/4, part of a series of f/1.7 lenses 57.5-85 mm)