More than just a camera lens database

LENS-DB.COM

Carl Zeiss Classic Planar T* 50mm F/1.4 ZE / ZF.2 / ZK / ZS

Standard prime lens • Digital era

Sample photos

F/1.4
F/2
F/1.4
F/1.4
F/1.4
F/1.4
F/???
F/???
F/???
F/1
F/1
F/1
F/10
F/???
F/???
F/???
F/???
F/2
F/1.4
F/1.4
F/1.4
F/2.2
F/3.5
F/2
F/2
F/5.6
F/???
F/???
F/???
F/???
F/???
F/???
F/???
F/???
F/1.4
F/1.4
F/1.4
F/1.4
F/1.4
F/1.4
F/2.5
F/1.4
F/1.4
F/2.8
F/1.4
F/1.4
F/1.4
F/8
F/1.4
F/1.4
F/1.4
F/8
F/1.4
F/11

Abbreviations

T* The multi-layer coating is applied to the surface of lens elements. It boosts light transmission, ensures sharp and high contrast images, minimizes ghosting and flares.
ZE The lens is designed for Canon EOS 35mm SLR cameras but can be also used on APS-C SLR cameras.
ZF.2 The lens is designed for Nikon 35mm SLR cameras but can be also used on APS-C SLR cameras. The lens features a built-in CPU which is used to transfer metering data from the lens to the camera.
ZK The lens is designed for Pentax 35mm SLR cameras but can be also used on APS-C SLR cameras.
ZS A version of the lens with M42 screw mount.

Features highlight

•
Ultra fast
•
MF
•
Auto
•
9 blades
•
Compact
•
E58
filters

Specification

■ Production details
Announced:January 2006
Production status:● In production (Canon EF, Nikon F)
● Discontinued (Pentax K, M42)
Original name:Carl Zeiss Planar 1,4/50 ZE T*
Carl Zeiss Planar 1,4/50 ZF.2 T*
Carl Zeiss Planar 1,4/50 ZK T*
Carl Zeiss Planar 1,4/50 ZS T*
System:-
■ Optical design
Focal length:50mm
Speed:F/1.4
Maximum format:35mm full frame
Mount and Flange focal distance:Canon EF [44mm]
M42 [45.5mm]
Nikon F [46.5mm]
Pentax K [45.5mm]
Diagonal angle of view:46.8°
Lens construction:7 elements in 6 groups
■ On Canon EOS APS-C [1.59x] cameras
35mm equivalent focal length:79.5mm (in terms of field of view)
35mm equivalent speed:F/2.2 (in terms of depth of field)
Diagonal angle of view:30.4°
■ On Nikon D APS-C [1.53x] cameras
35mm equivalent focal length:76.5mm (in terms of field of view)
35mm equivalent speed:F/2.1 (in terms of depth of field)
Diagonal angle of view:31.6°
■ On Pentax K APS-C [1.53x] cameras
35mm equivalent focal length:76.5mm (in terms of field of view)
35mm equivalent speed:F/2.1 (in terms of depth of field)
Diagonal angle of view:31.6°
■ Focusing
Closest focusing distance:0.45m
Maximum magnification:1:6.7 at the closest focusing distance
Focusing modes:Manual focus only
Manual focus control:Focusing ring
■ Diaphragm mechanism
Diaphragm type:Automatic
Aperture control:None; the aperture is controlled from the camera (Canon EF)
Aperture ring (Manual settings only) (M42)
Aperture ring (Manual settings only) (Nikon F, ZF version)
Aperture ring (Manual settings + Auto Exposure setting) (Nikon F, ZF.2 version)
Aperture ring (Manual settings + Auto Exposure setting) (Pentax K)
Number of blades:9 (nine)
■ Physical characteristics
Weight:380g (Canon EF)
330g (Nikon F)
Maximum diameter x Length:⌀71.3×48mm (Canon EF)
⌀66×45mm (Nikon F)
Weather sealing:-
Fluorine coating:-
■ Accessories
Filters:Screw-type 58mm
Lens hood:Bayonet-type 1454-475 (round)
Teleconverters:Not available
■ Sources of data
1. Manufacturer's technical data.
2. SLR lenses: Perfection from Carl Zeiss booklet (PUB. EN_10_025_148III).
3. ZEISS lenses for SLR cameras booklet (PUB. EN_10_025_0020II).

Manufacturer description #1

The focal length of the Planar T* 1,4/50 is equal to the perspective of the human eye. Its fast aperture and exceptional compactness are its outstanding features. This lens produces pleasing portrait style quality at the widest aperture and sharpens considerably beyond f/4 for any general purpose application.

Manufacturer description #2

Carl Zeiss SLR Lenses Now Available for K Bayonet

OBERKOCHEN/Germany, 2007-07-19.

Carl Zeiss now offers its premium lenses for 35 mm SLR (single lens reflex) cameras for an additional camera connector: the K bayonet. This lens series is sold under the ZK name. Until now, the manually focusable SLR lenses were only available for the F bayonet (ZF) and the M42 screw threads (ZS).

SLR lenses from Carl Zeiss are known for their outstanding image quality and precise, long- lasting mechanical parts. For the design of its lenses, Carl Zeiss draws on more than 100 years of experience in camera optics and current developments from the production of high-quality lenses for cinematography. Cine lenses from Carl Zeiss have been used in numerous major productions such as The Lord of the Rings and Perfume.

Lenses for the K bayonet will initially be available as Distagon T* 2.8/25 and 2/35, Planar T* 1.4/50 and 1.4/85 as well as Makro-Planar T* 2/50 and 2/100. In the future, the SLR line of lenses will be expanded to offer demanding photographers an even larger selection of focal lengths for their work.

The K bayonet has been available since 1975 and is the standard connector on various well-known analog and digital SLR cameras for the 35 mm format. The manually focused ZEISS SLR lenses (with their transmission elements) for the K bayonet fulfill the SMC-A standard and thus permit the utilization of the shutter priority, aperture priority and programmed auto exposure on all camera models with these features.

With the expansion of the line of SLR lenses, Carl Zeiss provides fans of SLR photography with lenses featuring outstanding imaging performance and high durability with which they can further enhance the performance of their camera system.

The first lens will be available for shipping in August 2007: Planar T* 1,4/50 ZK. All other lenses will be available in Q4 2007.

Manufacturer description #3

ZE – Carl Zeiss SLR lenses now also with EF bayonet

OBERKOCHEN/Germany, September 2008

Carl Zeiss is expanding its successful line of SLR lenses: ZE lenses with EF bayonet for all analog and digital EOS camera models. As with all EF lenses, the new ZE lenses from Carl Zeiss transfer all information exclusively via electronic contacts. This means that all exposure modes such as programmed auto exposure, shutter priority, aperture priority and manual setting are supported.

The camera’s automatic focus confirmation also remains available to an unlimited extent with these manual focus lenses. With digital SLRs, the lens data and all exposure data can also be accessed via the camera’s EXIF file. Even E-TTL flash metering is supported. The first lenses to be available will be the Planar T* 1.4/50 ZE and the Planar T* 1.4/85 ZE in the last quarter of this year.

Manufacturer description #4

Maximum image quality meets the comfort of automatic control

OBERKOCHEN/Germany, 16.11.2009

Optics specialist Carl Zeiss today announced its introduction of a new series of lenses for the semi-professional market: the ZF.2 with F bayonet for digital SLRs. Thanks to its electronic interface (CPU), these new ZEISS lenses support all- important operations such as the automatic mechanisms for time, aperture setting and program. The CPU also supports manual exposure settings, including those for camera casings that are not AI-compatible. Since the lens now transmits the EXIF data such as manufacturer, date, metering system and exposure to the camera, photographers no longer need to set the parameters manually. These quicker and faster handling capabilities of the ZF.2 lenses are especially useful under hectic shooting conditions.

ZEISS lenses truly come into their own in situations that demand extreme photographic creativity and maximum image quality. Carl Zeiss’ established fixed focal length lenses are known for their high light sensitivity and precise manual handling, leaving the photographer in full control. The new ZF.2 series will be especially interesting for photo enthusiasts who value creative, high-quality images combined with the comfort of automatic settings.

Martin Klottig, Marketing Manager of the Camera Lens Division at Carl Zeiss AG: “The ZF.2 lenses are ideal tools for photographers who want to concentrate more on the subject than on their camera equipment. Whether at a wedding, a toddler’s first steps or impressions from faraway countries, these lenses are perfect for photographers who want to capture once-only moments quickly and accurately. These situations demand first-class technology that captures spontaneous actions without too much effort and delivers fantastic images each time.”

The ZF.2 lenses are available in eight focal lengths, six of which will be available from the end of November: 3,5/18, 2,8/21, 2/35, 1,4/50, 2/50 and 1,4/85. The Distagon T* 2/28 ZF.2 and macro Planar T* 2/100 ZF.2 will be introduced in Spring 2010. “We are currently completely reworking and optimizing the Distagon T* 2.8/25 ZF. As a result, it will be available for other mounts somewhat later,“ says Klottig.

With the new ZF.2 series, Carl Zeiss extends its acclaimed ZF family of lenses, for which there is still high demand and possibly long waiting times.

“We will offer the ZF series as long as the demand lasts,” stresses Klottig.

From the editor

Optically the lens is based on Carl Zeiss Distagon T* 50mm F/1.4 lens designed for the Contax RTS series of 35mm film SLR cameras. In 2015 it was complemented by ZEISS Milvus Distagon T* 50mm F/1.4 with its modern sleek look, massive weather-sealed construction and more complex optical formula optimized for high-resolution digital SLR cameras.

Typical application

Class:

Ultra-fast full-frame standard prime lens

Genres or subjects of photography (7):

Landscapes • Cityscapes • Buildings • Interiors • Portraits • Street • Travel photography

Recommended slowest shutter speed when shooting static subjects handheld:

1/50th of a second

Lenses with similar focal length and speed

Sorted by manufacturer name

Subscribe
Notify of
guest

Copy this code

and paste it here *

0 comments
Inline Feedbacks
View all comments
Share
Clickable
Table of contents
Clickable
Pros and cons
Technical data
Clickable
Carl Zeiss Classic series lenses (13)
Clickable

Carl Zeiss Classic series lenses

Full-frame manual focus lenses developed for ambitious photographers and their wide diversity of applications: macro, landscape, architecture, portrait, journalism, fashion and beauty. Enjoyed an outstanding reputation with photographers all over the world for many years. Characterized by classic appearance and high optical performance. Offer an excellent entry into premium class photography.

Excellent workmanship, fast apertures and legendary bokeh – these are the outstanding features of the ZEISS Classic lenses.

Unlike standard autofocus lenses, they offer highly precise, intuitive manual focus. And, of course, they support all other automatic functions found in standard lenses.

  • Fast apertures and legendary bokeh
  • Robust, all-metal design
  • 1/2 f-stop intervals with easy-to-feel lock-in positions and exact photometric graduation in ZF.2 lenses
  • Extremely accurate manual focusing

Copyright © 2012-2023 Evgenii Artemov. All rights reserved. Translation and/or reproduction of website materials in any form, including the Internet, is prohibited without the express written permission of the website owner.

Limitation of liability • Privacy policy • Contact • Donate

35mm full frame

43.27 24 36
  • Dimensions: 36 × 24mm
  • Aspect ratio: 3:2
  • Diagonal: 43.27mm
  • Area: 864mm2

MF

Sorry, no additional information is available.

MF

Sorry, no additional information is available.

MF

Sorry, no additional information is available.

MF

Sorry, no additional information is available.

Unable to follow the link

You are already on the page dedicated to this lens.

Cannot perform comparison

Cannot compare the lens to itself.

Image stabilizer

A technology used for reducing or even eliminating the effects of camera shake. Gyro sensors inside the lens detect camera shake and pass the data to a microcomputer. Then an image stabilization group of elements controlled by the microcomputer moves inside the lens and compensates camera shake in order to keep the image static on the imaging sensor or film.

The technology allows to increase the shutter speed by several stops and shoot handheld in such lighting conditions and at such focal lengths where without image stabilizer you have to use tripod, decrease the shutter speed and/or increase the ISO setting which can lead to blurry and noisy images.

Original name

Lens name as indicated on the lens barrel (usually on the front ring). With lenses from film era, may vary slightly from batch to batch.

Format

Format refers to the shape and size of film or image sensor.

35mm is the common name of the 36x24mm film format or image sensor format. It has an aspect ratio of 3:2, and a diagonal measurement of approximately 43mm. The name originates with the total width of the 135 film which was the primary medium of the format prior to the invention of the full frame digital SLR. Historically the 35mm format was sometimes called small format to distinguish it from the medium and large formats.

APS-C is an image sensor format approximately equivalent in size to the film negatives of 25.1x16.7mm with an aspect ratio of 3:2.

Medium format is a film format or image sensor format larger than 36x24mm (35mm) but smaller than 4x5in (large format).

Angle of view

Angle of view describes the angular extent of a given scene that is imaged by a camera. It is used interchangeably with the more general term field of view.

As the focal length changes, the angle of view also changes. The shorter the focal length (eg 18mm), the wider the angle of view. Conversely, the longer the focal length (eg 55mm), the smaller the angle of view.

A camera's angle of view depends not only on the lens, but also on the sensor. Imaging sensors are sometimes smaller than 35mm film frame, and this causes the lens to have a narrower angle of view than with 35mm film, by a certain factor for each sensor (called the crop factor).

This website does not use the angles of view provided by lens manufacturers, but calculates them automatically by the following formula: 114.6 * arctan (21.622 / CF * FL),

where:

CF – crop-factor of a sensor,
FL – focal length of a lens.

Mount

A lens mount is an interface — mechanical and often also electrical — between a camera body and a lens.

A lens mount may be a screw-threaded type, a bayonet-type, or a breech-lock type. Modern camera lens mounts are of the bayonet type, because the bayonet mechanism precisely aligns mechanical and electrical features between lens and body, unlike screw-threaded mounts.

Lens mounts of competing manufacturers (Canon, Nikon, Pentax, Sony etc.) are always incompatible. In addition to the mechanical and electrical interface variations, the flange focal distance can also be different.

The flange focal distance (FFD) is the distance from the mechanical rear end surface of the lens mount to the focal plane.

Lens construction

Lens construction – a specific arrangement of elements and groups that make up the optical design, including type and size of elements, type of used materials etc.

Element - an individual piece of glass which makes up one component of a photographic lens. Photographic lenses are nearly always built up of multiple such elements.

Group – a cemented together pieces of glass which form a single unit or an individual piece of glass. The advantage is that there is no glass-air surfaces between cemented together pieces of glass, which reduces reflections.

Focal length

The focal length is the factor that determines the size of the image reproduced on the focal plane, picture angle which covers the area of the subject to be photographed, depth of field, etc.

Speed

The largest opening or stop at which a lens can be used is referred to as the speed of the lens. The larger the maximum aperture is, the faster the lens is considered to be. Lenses that offer a large maximum aperture are commonly referred to as fast lenses, and lenses with smaller maximum aperture are regarded as slow.

In low-light situations, having a wider maximum aperture means that you can shoot at a faster shutter speed or work at a lower ISO, or both.

Closest focusing distance

The minimum distance from the focal plane (film or sensor) to the subject where the lens is still able to focus.

Closest working distance

The distance from the front edge of the lens to the subject at the maximum magnification.

Magnification ratio

Determines how large the subject will appear in the final image. For example, a magnification ratio of 1:1 means that the image of the subject formed on the film or sensor will be the same size as the subject in real life. For this reason, a 1:1 ratio is often called "life-size".

Modified M42 mount

The mount has been modified by the manufacturer to allow exposure metering at full aperture.

Manual diaphragm

The diaphragm must be stopped down manually by rotating the detent aperture ring.

Preset diaphragm

The lens has two rings, one is for pre-setting, while the other is for normal diaphragm adjustment. The first ring must be set at the desired aperture, the second ring then should be fully opened for focusing, and turned back for stop down to the pre-set value.

Semi-automatic diaphragm

The lens features spring mechanism in the diaphragm, triggered by the shutter release, which stops down the diaphragm to the pre-set value. The spring needs to be reset manually after each exposure to re-open diaphragm to its maximum value.

Automatic diaphragm

The camera automatically closes the diaphragm down during the shutter operation. On completion of the exposure, the diaphragm re-opens to its maximum value.

Fixed diaphragm

The aperture setting is fixed at F/1.4 on this lens, and cannot be adjusted.

Automatic aperture control

For Programmed Auto or Shutter-priority Auto shooting, set the lens aperture ring to the "A" position.

Number of blades

As a general rule, the more blades that are used to create the aperture opening in the lens, the rounder the out-of-focus highlights will be.

Some lenses are designed with curved diaphragm blades, so the roundness of the aperture comes not from the number of blades, but from their shape. However, the fewer blades the diaphragm has, the more difficult it is to form a circle, regardless of rounded edges.

At maximum aperture, the opening will be circular regardless of the number of blades.

Weight

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

Maximum diameter x Length

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

For lenses with collapsible design, the length is indicated for the working (retracted) state.

Weather sealing

A rubber material which is inserted in between each externally exposed part (manual focus and zoom rings, buttons, switch panels etc.) to ensure it is properly sealed against dust and moisture.

Lenses that accept front mounted filters typically do not have gaskets behind the filter mount. It is recommended to use a filter for complete weather resistance when desired.

Fluorine coating

Helps keep lenses clean by reducing the possibility of dust and dirt adhering to the lens and by facilitating cleaning should the need arise. Applied to the outer surface of the front and/or rear lens elements over multi-coatings.

Filters

Lens filters are accessories that can protect lenses from dirt and damage, enhance colors, minimize glare and reflections, and add creative effects to images.

Lens hood

A lens hood or lens shade is a device used on the end of a lens to block the sun or other light source in order to prevent glare and lens flare. Flare occurs when stray light strikes the front element of a lens and then bounces around within the lens. This stray light often comes from very bright light sources, such as the sun, bright studio lights, or a bright white background.

The geometry of the lens hood can vary from a plain cylindrical or conical section to a more complex shape, sometimes called a petal, tulip, or flower hood. This allows the lens hood to block stray light with the higher portions of the lens hood, while allowing more light into the corners of the image through the lowered portions of the hood.

Lens hoods are more prominent in long focus lenses because they have a smaller viewing angle than that of wide-angle lenses. For wide angle lenses, the length of the hood cannot be as long as those for telephoto lenses, as a longer hood would enter the wider field of view of the lens.

Lens hoods are often designed to fit onto the matching lens facing either forward, for normal use, or backwards, so that the hood may be stored with the lens without occupying much additional space. In addition, lens hoods can offer some degree of physical protection for the lens due to the hood extending farther than the lens itself.

Teleconverters

Teleconverters increase the effective focal length of lenses. They also usually maintain the closest focusing distance of lenses, thus increasing the magnification significantly. A lens combined with a teleconverter is normally smaller, lighter and cheaper than a "direct" telephoto lens of the same focal length and speed.

Teleconverters are a convenient way of enhancing telephoto capability, but it comes at a cost − reduced maximum aperture. Also, since teleconverters magnify every detail in the image, they logically also magnify residual aberrations of the lens.

Lens caps

Scratched lens surfaces can spoil the definition and contrast of even the finest lenses. Lens covers are the best and most inexpensive protection available against dust, moisture and abrasion. Safeguard lens elements - both front and rear - whenever the lens is not in use.