THE WEB'S MOST COMPLETE
FUJINON LARGE FORMAT LENS LIST
If you are viewing this page, you are undoubtedly aware of the great lines
of large-format lenses that Fujinon made -- and still makes! On these
pages are the best, most comprehensive information available on the web about
these lenses. However, this information is still not complete and most
certainly contains inaccuracies. The information has been gleaned from
Fuji literature, but Fuji literature contains obvious errors. These
have been corrected, where known, but others still exist. Fuji lenses
evolved over time and this has led to numerous variations both internally
and externally. For example, the 150mm f5.6 lens can be found with
and without EBC coating, with a 46mm filter thread, a 52mm filter thread,
a 55mm filter thread, and even a 67mm filter thread! This situation
has led to some confusion -- some of which will be sorted out on these pages.
If you have information that can help update these pages, please
let us know by emailing XKAES@AOL.COM.
Before exploring the lists, we recommend you take a look at
FIELD CAMERA. It
is a free, on-line discussion group with hundreds of members also interested
in this topic. See you there!
KEYS TO THE LISTS:
SERIES: The series is the general designation given to the lens
by Fuji. Different series had different purposes, even though their
specs may appear the same.
The Fujinar series was Fuji's first large format series of lenses. They
came in several focal lengths and configurations. Although they were
all single-coated, they are prized by collectors and hard to find.
The SWD (Super Wide Deluxe) series of wide-angle lenses are deluxe
super-wideangle lenses with wide f5.6 apertures and an eight element
design. From their inception, they had EBC (Electron Beam Coating) which
minimizes internal reflections that often occur with lenses this wide. A
wide coverage angle and short focal length facilitates photography in confined
areas and architectural photography which emphasizes interiors. They offer
greater coverage and greater swing-tilts-shifts-rise-fall.
The SW (Super Wide) series of wide-angle lenses offers slightly less coverage
than the SWD series and smaller apertures -- at significant savings. The
apertures of f8, with a 6-element, 4-group design, helps reduce the size
and weight as well. SW lenses provide excellent costperformance for
practical applications. These lenses were the forerunner to the NSW series.
The NSW (New Super Wide) series of wide-angle lenses is an updated version
of the SW series and offers slightly less coverage than the SWD series and
smaller apertures -- at significant savings. Apertures are f8 and the
air-spaced, 6-element, 6-group lenses are advantageous for photography with
a small lens aperture. NSW lenses provide excellent costperformance
for practical applications.
The W (Wide) series of normal lenses allows for almost unlimited camera movement
because of the wide angle of coverage. The six-element, four-group design
provides rich gradation, faithful reproduction of colors and textures, and
almost non-existent aberration and glare. These lenses were the forerunner
to the NW series.
The NW (New Wide) series of normal lenses is an updated version of the W
series and offers standard lenses that features an improved 6-element, 6-group
design providing complete aberration compensation. These lenses are marked
"W" instead of "NW" which leads to a lot of confusion.
The L (Long ) series offers a modified Tessar-type lens that features excellent
performance with a corresponding reduction in the angle of coverage.
Consequently there are no wide-angle lenses in this series. By
reducing the angle of coverage, the number of elements can be reduced --
as well as the price tag.
The T (Telephoto) series offers true telephoto lenses that allow much less
bellow draw than normally needed. These are large, heavy lenses, but
perfect for field cameras or other situations where bellows draw is limited.
The SF (Soft Focus) series offers soft-focus results that are perfect for
many situations, such as portraits. The degree of softness is perfectly
controllable with insertable discs and the f-stop.
The C (Compact) series offers compact lenses in longer focal lengths. By
reducing the maximum aperture, the number of elements can be reduced and
the size and weight of the lenses are dropped to a minimum. These are
perfect for situations where weight is a big concern, such as in backpacking.
The A (Apochromatic) series of APO lenses are designed for optimum results
in close-up work (1:5 to 1:1) magnifications, but work perfectly well all
the way to infinity.
The non-seriesed Fuji lenses have less covering power, but very wide apertures.
As a result they are often used where a very thin depth of field is
desired, such as in portrait work. They are only available "in barrel"
-- meaning without a shutter.
The CM-W series is the latest line from Fuji and are designed to compete
with the best APO lenses from other manufacturers.
There were other "seriesed" Fujinon lenses but not much is known about them,
such as the "W S" series, the "A S" series, and the "S" series. These
are listed here, but much of the information is missing or guesstimates --
much like the Fujinar series.
FOCAL LENGTH: Fuji large format lenses run from 65mm to
1200mm -- quite a spread. Keep in mind that on many lenses, the focal
length is not the same as the distance needed between the lens board and
the film plane. For example, the T series lenses need about half of
their focal length behind the lens board to focus at infinity -- the 600mm
T needs only 325mm of bellows extension to focus to infinity.
f-STOP: The numbers listed are the maximum and minimum apertures.
ELEMENTS / GROUPS: Generally speaking, the larger the aperture
and/or the greater angle of coverage, the more elements are needed to correct
for various optical aberrations. A lens with few elements can give
excellent results if the aperture or coverage are small. Most large
format camera lenses are based on a design where some of the glass elements
are cemented together. This is why the number of groups is typically
smaller than the number of glass elements. Fujinon was a pioneer in
the manufacture of air-spaced lenses where the number of groups is the same
as the number of elements since none of the elements are glued together.
While more difficult and more costly to make, these lenses yield
significantly sharper images across the entire film plane.
ANGLE OF COVERAGE / COVERING POWER (in degrees @ f22):
Not to be confused with the picture angle, the angle of coverage determines
how wide the image circle will be.
IMAGE CIRCLE (in millimeters @ f22): The image
circle determines what film formats can be used. You'll need an image
circle greater than 150mm to cover 4x5 film, for example. All of Fuji's
lenses cover at least 4x5 film.
SHUTTER: Fuji lenses came with various shutters: Seiko #0, Copal
#0, Copal #1, Electronic Copal #1, and Copal #3. These are abbreviated
on the lists. E1 means Electronic Copal #1 and C1 means Copal #1, for
example. A ?0 means that the shutter was a #0, but it is unclear if
it was Seiko or Copal. It is possible to see a lens in a shutter
different from the ones listed here, but chance are it is just a replaced
shutter from the original one. There are also several BARREL lenses
which were sold without shutters.
FILTER: The diameter of the front filter thread.
COATING: Two coatings were applied to Fuji lenses, either a single
coating or their famous EBC (Electron Beam Coating) multi-coating. The
more glass-to-air surfaces a lens has, the more it can benefit from
multi-coating. Single coating will work fine with most lenses in most
OTHER: Additional information and comments are listed in