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

Standard prime lens • Digital era

Abbreviations

T* Multi-layer anti-reflection coating is applied to the surfaces of lens elements. This anti-reflection coating increases light transmission, eliminates flare and ghosting, and maintains color consistence among all lens models.
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.

Model history

Carl Zeiss Planar T* 50mm F/1.4 [AE, MM]A7 - 60.45mE55 1974 
Carl Zeiss Planar T* 50mm F/1.4 Gold "CONTAX 50 Years" [AE] (200 units) 1982 
Carl Zeiss Classic Planar T* 50mm F/1.4 ZE / ZF.2 / ZK / ZSA7 - 60.45mE58 2006 
Carl Zeiss Classic Planar 50mm F/1.4 ZF-IR

Specification

Ultra fast
MF
Auto
9 blades
Compact
E58
filters

Optical design:
50mm
F/1.4
35mm full frame
Canon EF [44mm]
M42 [45.5mm]
Nikon F [46.5mm]
Pentax K [45.5mm]
46.8° (35mm full frame)
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°
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)
9 (nine)
Focusing:
0.45m
1:6.7
Focusing modes:
Manual focus only
Manual focus control:
Focusing ring
Physical characteristics:
380g (Canon EF)
330g (Nikon F)
⌀71.3×48mm (Canon EF)
⌀66×45mm (Nikon F)
-
-
Accessories:
Screw-type 58mm
1454-475 - Bayonet-type round
Not available

Sources of data

  • Manufacturer's technical data.
  • SLR lenses: Perfection from Carl Zeiss booklet (PUB. EN_10_025_148III).
  • 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.

ZEISS Classic series

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.

  • 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.

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.

Lenses with similar focal length

Sorted by manufacturer name
M42 mount (98)
Asahi SMC Takumar 55mm F/2 [37109]A6 - 50.45m⌀49 1973 
Asahi SMC Takumar 50mm F/1.4 [37908]A7 - 60.45m⌀49 1972 
Asahi Super-Multi-Coated Takumar 55mm F/1.8 [37101, 37104, 37106]A6 - 50.45m⌀49 1971 
Asahi Auto-Takumar 55mm F/1.8 [332]S6 - 50.55m⌀46 1958 
Asahi Auto-Takumar 55mm F/2 [341, 34100]S6 - 50.55m⌀46 1958 
Asahi Takumar 55mm F/2.2P5 - 50.55m⌀46 1957 
Asahi Auto-Takumar 55mm F/2.2S6 - 50.55m⌀46 1961 
Asahi Auto-Takumar 55mm F/1.9S6 - 50.55m⌀46 1958 
Asahi Super-Takumar 50mm F/1.4 [378, 37800, 37801]A7 - 60.45m⌀49 1965 
Asahi Super-Takumar 50mm F/1.4 [358, 35800]A8 - 60.45m⌀49 1964 
Asahi Super-Multi-Coated Takumar 50mm F/1.4 [37902]A7 - 60.45m⌀49 1971 
Asahi Takumar 55mm F/1.8P6 - 50.55m⌀46 1958 
Asahi Auto-Takumar 55mm F/1.8 [345]A6 - 50.45m⌀49 1960 
Asahi Super-Takumar 55mm F/1.8 [345-2, 345-5, 33450, 34520]A6 - 50.45m⌀49 1962 
Asahi Super-Takumar 55mm F/1.8 [371, 37100, 37101, 37104, 37106]A6 - 50.45m⌀49 1965 
Asahi SMC Takumar 55mm F/1.8 [37108]A6 - 50.45m⌀49 1972 
Asahi Super-Takumar 55mm F/2 [345-1, 345-6, 345-3]A6 - 50.45m⌀49 1962 
Asahi Super-Takumar 55mm F/2 [37102, 37103, 37107]A6 - 50.45m⌀49 1965 
Asahi Super-Takumar 50mm F/1.4 for SL [37802]A7 - 60.45m⌀49 1969 
Auto Chinon 55mm F/1.4 [Multi-Coated]
aka Argus Auto-Cintar 55mm F/1.4
aka Auto GAF 55mm F/1.4
aka Auto Revuenon 55mm F/1.4 [Multi-Coated]
aka Auto-Alpa 55mm F/1.4 Multi-Coated
aka Porst Color Reflex MC Auto 55mm F/1.4 G
A? - ?0.50m⌀55
Auto Chinon 55mm F/1.7 [Multi-Coated]
aka Argus Auto-Cintar 55mm F/1.7
aka Auto Edixon 55mm F/1.7
aka Auto Reflecta 55mm F/1.7
aka Auto Revuenon 55mm F/1.7
aka Hanimar 55mm F/1.7
aka Weltblick Auto Super 55mm F/1.7
A? - ?0.50m⌀52
Cosina Auto Cosinon 55mm F/2.8 Type 2
aka Carenar 55mm F/2.8
aka Exaktar Auto 55mm F/2.8
aka Petri C.C Auto 55mm F/2.8
aka Porst Color Reflex Auto 55mm F/2.8 D
A4 - 30.90m⌀49
Cosina Auto Cosinon 50mm F/1.9
aka Vivitar 50mm F/1.9 Auto
A6 - 40.50m⌀49
Cosina Auto Cosinon 55mm F/2.8 Type 1
aka Auto Revuetar 55mm F/2.8
aka Edixa Auto 55mm F/2.8
aka Porst Color Reflex Auto 55mm F/2.8
aka Super Carenar 55mm F/2.8
aka Vivitar 55mm F/2.8 Auto
A4 - 30.90m⌀49 1968 
Cosina Auto Cosinon 50mm F/1.8
aka Auto Revuenon 50mm F/1.8
aka Edixa Auto 50mm F/1.8
aka Exaktar Auto 50mm F/1.8
aka Vivitar 50mm F/1.8 Auto
A6 - 40.50m⌀49 1970 
Cosina Auto Cosinon 50mm F/1.7 [MC]
aka Porst Color Reflex Auto 50mm F/1.7
aka Super Carenar 50mm F/1.7
aka Vivitar 50mm F/1.7 Auto [VMC]
A6 - 40.50m⌀49 1970 
Cosina Auto Cosinon 55mm F/1.4 [MC]
aka Auto Revuenon 55mm F/1.4
aka Exaktar Auto 55mm F/1.4
aka Kobanar Auto 55mm F/1.4
aka Panorama Auto 55mm F/1.4
aka Porst Color Reflex [MC] Auto 55mm F/1.4 [G]
aka Super Carenar 55mm F/1.4
aka Super Reflecta 55mm F/1.4
aka Vivitar 55mm F/1.4 Auto VMC
A7 - 50.50m⌀55 1968 
Cosina Auto Cosinon 55mm F/2.1
aka Vivitar 55mm F/2.1 Auto
A4 - 40.60m⌀49
Cosina Auto Cosinon 55mm F/1.2 MC Type 1A7 - 60.50m⌀55
Cosina Auto Cosinon 55mm F/1.2 MC Type 2A7 - 50.50m⌀55
Cosina Auto Cosinon 55mm F/1.8A? - ?0.50m 1968 
Fuji Photo Film [EBC] Fujinon 55mm F/1.8A6 - 40.45m⌀49 1970 
Fuji Photo Film Fujinon 55mm F/2.2A4 - 40.60m⌀49 1975 
Fuji Photo Film Fujinon 55mm F/1.6A5 - 40.60m⌀49 1978 
Fuji Photo Film [EBC] Fujinon 50mm F/1.4A7 - 60.45m⌀49 1970 
Auto Mamiya/Sekor 50mm F/2A6 - 40.50m⌀52 1966 
Auto Mamiya/Sekor SX 50mm F/2A6 - 40.45m⌀52 1974 
Auto Mamiya/Sekor 55mm F/1.8A6 - 40.50m⌀52 1966 
Auto Mamiya/Sekor SX 55mm F/1.4A7 - 50.45m⌀52 1974 
Auto Mamiya/Sekor SX 55mm F/1.8A6 - 50.45m⌀52 1974 
Auto Mamiya/Sekor 50mm F/2.8A4 - 30.50m⌀52
Auto Mamiya/Sekor 55mm F/1.4A7 - 50.50m⌀55
Meyer-Optik Gorlitz Domiplan 50mm F/2.8
aka Pentacon Orestor 50mm F/2.8
aka Pentaflex-Color 50mm F/2.8
A3 - 30.75m⌀49 1961 
Meyer-Optik Gorlitz Oreston 50mm F/1.8A6 - 40.33m⌀49 1965 
Meyer-Optik Gorlitz Primotar 50mm F/2.8P4 - 30.60m⌀40.5 1959 
Olympus G.Zuiko Auto-S 50mm F/1.4 for FTLA7 - 60.40m⌀49 1970 
Olympus F.Zuiko Auto-S 50mm F/1.8 for FTLA6 - 50.40m⌀49 1970 
Pentacon 50mm F/1.8 auto / electric Multi Coating
aka Auto Revuenon 50mm F/1.8 Multi Coating
A6 - 40.33m⌀49
Pentacon 50mm F/1.8 auto / electric
aka Pentaflex Auto-Color 50mm F/1.8
A6 - 40.33m⌀49 1971 
Kuribayashi C.C. Petri Orikkor 50mm F/2P7 - 40.50m⌀49 1959 
Ricoh Auto Rikenon 50mm F/1.7A6 - 50.50m⌀52
Ricoh Auto Rikenon 50mm F/1.7 EEA? - ?0.50m
Ricoh Auto Rikenon 55mm F/2.8A4 - 30.90m
Ricoh Auto Rikenon 50mm F/2.8A4 - 30.80m⌀52
Ricoh Auto Rikenon 50mm F/2A6 - 50.50m⌀52
Ricoh Auto Rikenon 50mm F/1.4 EEA? - ?0.50m
Ricoh Auto Rikenon 55mm F/1.8A? - ?0.50m⌀52
Ricoh Auto Rikenon 55mm F/1.4A6 - 50.50m⌀52
Schneider-Kreuznach Xenar 50mm F/2.8A4 - 30.50m⌀49
Schneider-Kreuznach Xenon 50mm F/1.9 Type 1A6 - 42.5 ft.S.VI 1952 
Schneider-Kreuznach Xenon 50mm F/1.9 Type 3A6 - 40.50m⌀49 1966 
Industar-61 L/Z 50mm F/2.8 [MC]
aka ИНДУСТАР-61Л/З 50mm F/2.8
aka ИНДУСТАР-61Л/З-МС 50mm F/2.8
P4 - 30.30m⌀49
Helios-77M-4 50mm F/1.8 MC
aka ГЕЛИОС-77М-4 50mm F/1.8 МС
A6 - 40.45m⌀52
Zenitar-M 50mm F/1.7 [MC]
aka ЗЕНИТАР-М 50mm F/1.7 [МС]
A6 - 50.45m⌀52 1977 
Zenitar-M 50mm F/1.9 MC
aka ЗЕНИТАР-М 50mm F/1.9 МС
A6 - 40.45m⌀52 1991 
Industar-61M 50mm F/2.8
aka ИНДУСТАР61-М 50mm F/2.8
A4 - 30.40m⌀52
Zenitar-ME1 50mm F/1.7 MC
aka ЗЕНИТАР-МЕ1 50mm F/1.7 МС
A6 - 50.45m⌀52 1980 
Tomioka Auto Yashinon 55mm F/1.2A7 - 60.50m⌀55 1970 
Tomioka Auto Chinon 55mm F/1.2A7 - 60.50m⌀55 1970 
Tomioka Auto Yashinon DS-M 55mm F/1.2A7 - 60.50m⌀55 1973 
Tomioka Auto Cosinon 55mm F/1.2A7 - 60.50m⌀55 1970 
Tomioka Auto Revuenon 55mm F/1.2A7 - 60.50m⌀55 1970 
Tomioka Auto Tominon 55mm F/1.2A7 - 60.50m⌀55 1970 
Tomioka Tominon C. 50mm F/2S? - ?0.55m⌀46
Tomioka Auto Chinon 55mm F/1.4
aka Auto Beroflex Ultra 55mm F/1.4
aka Super Reflecta 55mm F/1.4
aka Tomioka Auto Revuenon 55mm F/1.4
A7 - 50.50m⌀55
Vivitar 55mm F/1.2 VMC Auto (s/n 9xxxxxxx)A7 - 50.50m⌀55
Yashica Auto Yashinon-DX 50mm F/1.4A7 - 60.50m⌀55
Yashica Auto Yashinon DS-M 50mm F/1.7A6 - 50.50m⌀52
Yashica Auto Yashinon 55mm F/1.8A6 - 50.50m
Yashica Auto Yashinon-DS 50mm F/1.7A6 - 50.50m⌀52
Yashica Auto Yashinon 50mm F/2A6 - 50.55m⌀52 1961 
Yashica Auto Yashinon-DS 50mm F/1.4A7 - 60.50m⌀55
Yashica Auto Yashinon-DX 50mm F/1.7A6 - 50.50m⌀52
Yashica Auto Yashinon-DX 50mm F/2A6 - 50.50m⌀52
Yashica Auto Yashinon-DS 50mm F/1.9A6 - 50.50m⌀52
Yashica Auto Yashinon DS-M 50mm F/1.4A7 - 60.50m⌀55
Yashica Auto Yashinon-DS 50mm F/2A6 - 50.50m⌀52
Carl Zeiss Ultron 50mm F/1.8A7 - 60.45mB50 1968 
Carl Zeiss Planar [HFT] 50mm F/1.8
aka Ifbagon 50mm F/1.8
aka Opton Oberkochen Pl HFT 50mm F/1.8
aka Rollei-HFT Planar 50mm F/1.8
aka Voigtlander Color-Ultron 50mm F/1.8
A7 - 60.45mE49 1970 
Carl Zeiss Tessar 50mm F/2.8A4 - 30.45mB50 1966 
Carl Zeiss Jena DDR Pancolar 55mm F/1.4A7 - 50.39mE58 1966 
Carl Zeiss Jena DDR Pancolar 50mm F/1.8 "Zebra" [I]A6 - 40.35mE49 1965 
Carl Zeiss Jena DDR Pancolar 50mm F/1.8 "Zebra" [II]A6 - 50.35mE49 1967 
Carl Zeiss Jena DDR Pancolar 50mm F/1.8 auto / electric MCA6 - 50.35mE49 1976 
Carl Zeiss Jena DDR Pancolar 50mm F/2A6 - 40.50mE49 1960 
Carl Zeiss Jena DDR Tessar 50mm F/2.8 [T] Type 2S4 - 30.50mE49 1955 
Carl Zeiss Jena DDR Tessar 50mm F/2.8 [T] Type 1P4 - 30.50mE49 1954 
Carl Zeiss Jena DDR Tessar 50mm F/2.8 Type 4A4 - 30.35mE49 1966 
Pentax K mount (43)
Auto Chinon 50mm F/1.9
aka Agfa Color 50mm F/1.9 Coated
aka Auto Revuenon 50mm F/1.9
A? - ?0.45m⌀49
Auto Chinon 50mm F/1.4 [Multi-Coated]
aka Agfa Color 50mm F/1.4 Multi-Coated
aka Auto Revuenon 50mm F/1.4 MC
A7 - 60.45m⌀49 1979 
Auto Chinon 50mm F/1.7 [Multi-Coated]
aka Agfa Color 50mm F/1.7 Multi-Coated
aka Auto Revuenon 50mm F/1.7 MC
A? - ?0.45m⌀49 1979 
Cima Kogaku AM Topcor 55mm F/1.7 [MC]
aka Edixar 55mm F/1.7 MC
aka Exaktar 55mm F/1.7 MC
A6 - 40.60m⌀52 1978 
Cosina 55mm F/1.2 MC
aka Revuenon 55mm F/1.2 MC
A7 - 60.60m⌀58
Cosina Auto Cosinon 45mm F/2.8 MC
aka Auto Chinon 45mm F/2.8
aka Auto Revuenon 45mm F/2.8
A? - ?0.60m⌀49 1979 
Cosina Auto Cosinon 55mm F/2.1
aka Vivitar 55mm F/2.1 Auto
A4 - 40.60m⌀49
Cosina Cosinon-S 50mm F/1.8
aka Petri 50mm F/1.8
A6 - 50.50m⌀49 1981 
Cosina Cosinon-S 50mm F/2
aka Casio 50mm F/2
aka Petri 50mm F/2
aka Soligor 50mm F/2
aka Vivitar 50mm F/2 Auto
A6 - 50.50m⌀49 1979 
Cosina [Auto] Cosinon-S 50mm F/1.7 MC
aka Bauer Neovaron 50mm F/1.7 Multicoated
aka Petri 50mm F/1.7 MC
A6 - 50.50m⌀49 1978 
Cosina [Auto] Cosinon-S 50mm F/1.4 MC
aka Bauer Neovaron 50mm F/1.4 Multicoated
aka Petri 50mm F/1.4 MC
aka Porst Color Reflex MC Auto 50mm F/1.4 G
aka Vivitar 50mm F/1.4 Auto VMC
A7 - 60.50m⌀49 1978 
Irix 45mm F/1.4A11 - 90.40m⌀77 2020 
smc Pentax-M 50mm F/1.7A6 - 50.45m⌀49 1977 
smc Pentax-A 50mm F/1.2A7 - 60.45m⌀52 1983 
smc Pentax-A 50mm F/1.4A7 - 60.45m⌀49 1983 
smc Pentax-A 50mm F/1.7A6 - 50.45m⌀49 1983 
smc Pentax-A 50mm F/2A5 - 50.45m⌀49 1985 
smc Pentax-M 50mm F/1.4A7 - 60.45m⌀49 1977 
smc Pentax-M 50mm F/2A5 - 50.45m⌀49 1979 
smc Pentax 50mm F/1.2A7 - 60.45m⌀52 1975 
smc Pentax 50mm F/1.4A7 - 60.45m⌀52 1975 
smc Pentax 55mm F/1.8A6 - 50.45m⌀52 1975 
smc Pentax 55mm F/2A6 - 50.45m⌀52 1976 
Ricoh XR Rikenon 50mm F/1.4A7 - 60.45m⌀52 1977 
Ricoh XR Rikenon 50mm F/1.7 [I]A6 - 50.45m⌀52 1977 
Ricoh XR Rikenon 50mm F/2A6 - 50.45m⌀52 1977 
Ricoh XR Rikenon 55mm F/1.2A7 - 60.60m⌀58
Ricoh Riconar 55mm F/2.2A4 - 40.80m⌀52 1978 
Ricoh Rikenon 50mm F/2A6 - 50.60m⌀52 1982 
Ricoh XR Rikenon 55mm F/2.2A4 - 40.80m⌀52 1980 
Ricoh XR Rikenon 45mm F/2.8Pancake lensA4 - 30.60m⌀52 1994 
Ricoh XR Rikenon 50mm F/2 LA6 - 50.60m⌀52 1980 
Ricoh XR Rikenon 50mm F/2 SA6 - 50.60m⌀52 1981 
Ricoh XR Rikenon 50mm F/1.7 [II]A6 - 50.60m⌀52 1981 
Ricoh Rikenon P 55mm F/1.2A7 - 60.60m⌀58
Ricoh Rikenon P 50mm F/1.4A7 - 60.45m⌀52 1985 
Ricoh Rikenon P 50mm F/1.7A6 - 50.60m⌀52 1984 
Ricoh Rikenon 50mm F/1.7A6 - 50.60m⌀52 1982 
Ricoh Rikenon P 50mm F/2A6 - 50.60m⌀52 1984 
Helios-77K-4 50mm F/1.8 [MC]
aka ГЕЛИОС-77К-4 50mm F/1.8 МС
A6 - 40.45m⌀52
Volna 50mm F/1.8 MC
aka ВОЛНА 50mm F/1.8 МС
A6 - ?0.45m⌀46 1980 
Vivitar Series 1 55mm F/1.2 VMCA7 - 60.60m⌀58 1984 
Porst Color Reflex MC Auto 55mm F/1.2 FA6 - 40.50m⌀55
Nikon F mount (30)
Cosina Voigtlander Nokton 55mm F/1.2 SL II SA7 - 60.45m⌀52 2023 
Irix 45mm F/1.4A11 - 90.40m⌀77 2020 
Nikon AI-S Nikkor 50mm F/1.2A7 - 60.50m⌀52 1981 
Nikon AI-S Nikkor 50mm F/1.4A7 - 60.45m⌀52 1981 
Nikon AI-S Nikkor 45mm F/2.8PPancake lensA4 - 30.45m⌀52 2001 
Nikon AI-S Nikkor 50mm F/1.8A6 - 50.45m⌀52 1980 
Nikon AI-S Nikkor 50mm F/1.8A6 - 50.60m⌀52 1985 
Nikon AI-S Nikkor 50mm F/1.8A6 - 50.45m⌀52 1981 
Nikon Series E 50mm F/1.8 Type 1Pancake lensA6 - 50.60m⌀52 1979 
Nikon Series E 50mm F/1.8 Type 2Pancake lensA6 - 50.60m⌀52 1981 
Nikon GN Auto Nikkor[·C] 45mm F/2.8Pancake lensA4 - 30.80m⌀52 1968 
Nikon Nikkor-S Auto 50mm F/2A7 - 50.60m⌀52 1959 
Nikon Nikkor-H Auto 50mm F/2A6 - 40.60m⌀52 1964 
Nikon Nikkor-H[·C] Auto 50mm F/2A6 - 40.60m⌀52 1967 
Nikon Nikkor 50mm F/2A6 - 40.45m⌀52 1974 
Nikon AI Nikkor 50mm F/2A6 - 40.45m⌀52 1977 
Nikon AI Nikkor 50mm F/1.8A6 - 50.45m⌀52 1978 
Nikon Nikkor-S Auto 50mm F/1.4A7 - 50.60m⌀52 1962 
Nikon Nikkor-S[·C] Auto 50mm F/1.4A7 - 50.60m⌀52 1966 
Nikon Nikkor 50mm F/1.4A7 - 50.45m⌀52 1974 
Nikon Nikkor 50mm F/1.4A7 - 60.45m⌀52 1976 
Nikon AI Nikkor 50mm F/1.4A7 - 60.45m⌀52 1977 
Nikon Nikkor-S Auto 55mm F/1.2A7 - 50.60m⌀52 1965 
Nikon Nikkor-S[·C] Auto 55mm F/1.2A7 - 50.60m⌀52 1967 
Nikon Nikkor 55mm F/1.2A7 - 50.50m⌀52 1974 
Nikon AI Nikkor 55mm F/1.2A7 - 50.50m⌀52 1977 
Nikon AI Nikkor 50mm F/1.2A7 - 60.50m⌀52 1978 
Helios-81N 50mm F/2 MC
aka Helios-81M 53mm F/2 [MC]
aka Helios-81N 53mm F/2
aka ГЕЛИОС-81М 53mm F/2 [МС]
aka ГЕЛИОС-81Н 50mm F/2 МС
aka ГЕЛИОС-81Н 53mm F/2
A6 - 40.50m⌀49
ZEISS Otus Apo Distagon T* 55mm F/1.4 ZE / ZF.2A12 - 100.50mE77 2013 
ZEISS Milvus Distagon T* 50mm F/1.4 ZE / ZF.2A10 - 80.45mE67 2015 
Canon EF mount (5)
Irix 45mm F/1.4A11 - 90.40m⌀77 2020 
Samyang 50mm F/1.4 AS UMC
aka Bower 50mm F/1.4 AS UMC
aka Rokinon 50mm F/1.4 AS UMC
aka Walimex Pro 50mm F/1.4 AS UMC
M9 - 60.45m⌀77 2014 
Samyang XP 50mm F/1.2
aka Rokinon SP 50mm F/1.2
A11 - 80.45m⌀86 2018 
ZEISS Otus Apo Distagon T* 55mm F/1.4 ZE / ZF.2A12 - 100.50mE77 2013 
ZEISS Milvus Distagon T* 50mm F/1.4 ZE / ZF.2A10 - 80.45mE67 2015 
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Copyright © 2012-2024 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.

Chromatic aberration

There are two kinds of chromatic aberration: longitudinal and lateral. Longitudinal chromatic aberration is a variation in location of the image plane with changes in wave lengths. It produces the image point surrounded by different colors which result in a blurred image in black-and-white pictures. Lateral chromatic aberration is a variation in image size or magnification with wave length. This aberration does not appear at axial image points but toward the surrounding area, proportional to the distance from the center of the image field. Stopping down the lens has only a limited effect on these aberrations.

Spherical aberration

Spherical aberration is caused because the lens is round and the film or image sensor is flat. Light entering the edge of the lens is more severely refracted than light entering the center of the lens. This results in a blurred image, and also causes flare (non-image forming internal reflections). Stopping down the lens minimizes spherical aberration and flare, but introduces diffraction.

Astigmatism

Astigmatism in a lens causes a point in the subject to be reproduced as a line in the image. The effect becomes worse towards the corner of the image. Stopping down the lens has very little effect.

Coma

Coma in a lens causes a circular shape in the subject to be reproduced as an oval shape in the image. Stopping down the lens has almost no effect.

Curvature of field

Curvature of field is the inability of a lens to produce a flat image of a flat subject. The image is formed instead on a curved surface. If the center of the image is in focus, the edges are out of focus and vice versa. Stopping down the lens has a limited effect.

Distortion

Distortion is the inability of a lens to capture lines as straight across the entire image area. Barrel distortion causes straight lines at the edges of the frame to bow toward the center of the image, producing a barrel shape. Pincushion distortion causes straight lines at the edges of the frame to curve in toward the lens axis. Distortion, whether barrel or pincushion type, is caused by differences in magnification; stopping down the lens has no effect at all.

The term "distortion" is also sometimes used instead of the term "aberration". In this case, other types of optical aberrations may also be meant, not necessarily geometric distortion.

Diffraction

Classically, light is thought of as always traveling in straight lines, but in reality, light waves tend to bend around nearby barriers, spreading out in the process. This phenomenon is known as diffraction and occurs when a light wave passes by a corner or through an opening. Diffraction plays a paramount role in limiting the resolving power of any lens.

Doublet

Doublet is a lens design comprised of two elements grouped together. Sometimes the two elements are cemented together, and other times they are separated by an air gap. Examples of this type of lens include achromatic close-up lenses.

Dynamic range

Dynamic range is the maximum range of tones, from darkest shadows to brightest highlights, that can be produced by a device or perceived in an image. Also called tonal range.

Resolving power

Resolving power is the ability of a lens, photographic emulsion or imaging sensor to distinguish fine detail. Resolving power is expressed in terms of lines per millimeter that are distinctly recorded in the final image.

Vignetting

Vignetting is the darkening of the corners of an image relative to the center of the image. There are three types of vignetting: optical, mechanical, and natural vignetting.

Optical vignetting is caused by the physical dimensions of a multi-element lens. Rear elements are shaded by elements in front of them, which reduces the effective lens opening for off-axis incident light. The result is a gradual decrease of the light intensity towards the image periphery. Optical vignetting is sensitive to the aperture and can be completely cured by stopping down the lens. Two or three stops are usually sufficient.

Mechanical vignetting occurs when light beams are partially blocked by external objects such as thick or stacked filters, secondary lenses, and improper lens hoods.

Natural vignetting (also known as natural illumination falloff) is not due to the blocking of light rays. The falloff is approximated by the "cosine fourth" law of illumination falloff. Wide-angle rangefinder designs are particularly prone to natural vignetting. Stopping down the lens cannot cure it.

Flare

Bright shapes or lack of contrast caused when light is scattered by the surface of the lens or reflected off the interior surfaces of the lens barrel. This is most often seen when the lens is pointed toward the sun or another bright light source. Flare can be minimized by using anti-reflection coatings, light baffles, or a lens hood.

Ghosting

Glowing patches of light that appear in a photograph due to lens flare.

Retrofocus design

Design with negative lens group(s) positioned in front of the diaphragm and positive lens group(s) positioned at the rear of the diaphragm. This provides a short focal length with a long back focus or lens-to-film distance, allowing for movement of the reflex mirror in SLR cameras. Sometimes called an inverted telephoto lens.

Anastigmat

A photographic lens completely corrected for the three main optical aberrations: spherical aberration, coma, and astigmatism.

By the mid-20th century, the vast majority of lenses were close to being anastigmatic, so most manufacturers stopped including this characteristic in lens names and/or descriptions and focused on advertising other features (anti-reflection coating, for example).

Rectilinear design

Design that does not introduce significant distortion, especially ultra-wide angle lenses that preserve straight lines and do not curve them (unlike a fisheye lens, for instance).

Focus shift

A change in the position of the plane of optimal focus, generally due to a change in focal length when using a zoom lens, and in some lenses, with a change in aperture.

Transmittance

The amount of light that passes through a lens without being either absorbed by the glass or being reflected by glass/air surfaces.

Modulation Transfer Function (MTF)

When optical designers attempt to compare the performance of optical systems, a commonly used measure is the modulation transfer function (MTF).

The components of MTF are:

The MTF of a lens is a measurement of its ability to transfer contrast at a particular resolution from the object to the image. In other words, MTF is a way to incorporate resolution and contrast into a single specification.

Knowing the MTF curves of each photographic lens and camera sensor within a system allows a designer to make the appropriate selection when optimizing for a particular resolution.

Veiling glare

Lens flare that causes loss of contrast over part or all of the image.

Anti-reflection coating

When light enters or exits an uncoated lens approximately 5% of the light is reflected back at each lens-air boundary due to the difference in refractive index. This reflected light causes flare and ghosting, which results in deterioration of image quality. To counter this, a vapor-deposited coating that reduces light reflection is applied to the lens surface. Early coatings consisted of a single thin film with the correct refractive index differences to cancel out reflections. Multi-layer coatings, introduced in the early 1970s, are made up of several such films.

Benefits of anti-reflection coating:

Circular fisheye

Produces a 180° angle of view in all directions (horizontal, vertical and diagonal).

The image circle of the lens is inscribed in the image frame.

Diagonal (full-frame) fisheye

Covers the entire image frame. For this reason diagonal fisheye lenses are often called full-frame fisheyes.

Extension ring

Extension rings can be used singly or in combination to vary the reproduction ratio of lenses. They are mounted between the camera body and the lens. As a rule, the effect becomes stronger the shorter the focal length of the lens in use, and the longer the focal length of the extension ring.

View camera

A large-format camera with a ground-glass viewfinder at the image plane for viewing and focusing. The photographer must stick his head under a cloth hood in order to see the image projected on the ground glass. Because of their 4x5-inch (or larger) negatives, these cameras can produce extremely high-quality results. View cameras also usually support movements.

135 cartridge-loaded film

43.27 24 36
  • Introduced: 1934
  • Frame size: 36 × 24mm
  • Aspect ratio: 3:2
  • Diagonal: 43.27mm
  • Area: 864mm2
  • Double perforated
  • 8 perforations per frame

120 roll film

71.22 44 56
  • Introduced: 1901
  • Frame size: 56 × 44mm
  • Aspect ratio: 11:14
  • Diagonal: 71.22mm
  • Area: 2464mm2
  • Unperforated

120 roll film

79.2 56 56
  • Introduced: 1901
  • Frame size: 56 × 56mm
  • Aspect ratio: 1:1
  • Diagonal: 79.2mm
  • Area: 3136mm2
  • Unperforated

120 roll film

89.64 56 70
  • Introduced: 1901
  • Frame size: 70 × 56mm
  • Aspect ratio: 5:4
  • Diagonal: 89.64mm
  • Area: 3920mm2
  • Unperforated

220 roll film

71.22 44 56
  • Introduced: 1965
  • Frame size: 56 × 44mm
  • Aspect ratio: 11:14
  • Diagonal: 71.22mm
  • Area: 2464mm2
  • Unperforated
  • Double the length of 120 roll film

220 roll film

79.2 56 56
  • Introduced: 1965
  • Frame size: 56 × 56mm
  • Aspect ratio: 1:1
  • Diagonal: 79.2mm
  • Area: 3136mm2
  • Unperforated
  • Double the length of 120 roll film

220 roll film

89.64 56 70
  • Introduced: 1965
  • Frame size: 70 × 56mm
  • Aspect ratio: 5:4
  • Diagonal: 89.64mm
  • Area: 3920mm2
  • Unperforated
  • Double the length of 120 roll film

Shutter speed ring with "F" setting

The "F" setting disengages the leaf shutter and is set when using only the focal plane shutter in the camera body.

Catch for disengaging cross-coupling

The shutter and diaphragm settings are cross-coupled so that the diaphragm opens to a corresponding degree when faster shutter speeds are selected. The cross-coupling can be disengaged at the press of a catch.

Cross-coupling button

With the cross-coupling button depressed speed/aperture combinations can be altered without changing the Exposure Value setting.

M & X sync

The shutter is fully synchronized for M- and X-settings so that you can work with flash at all shutter speeds.

In M-sync, the shutter closes the flash-firing circuit slightly before it is fully open to catch the flash at maximum intensity. The M-setting is used for Class M flash bulbs.

In X-sync, the flash takes place when the shutter is fully opened. The X-setting is used for electronic flash.

X sync

The shutter is fully synchronized for X-setting so that you can work with flash at all shutter speeds.

In X-sync, the flash takes place when the shutter is fully opened. The X-setting is used for electronic flash.

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, Leica, Nikon, Pentax, Sony etc.) are always incompatible. In addition to the mechanical and electrical interface variations, the flange focal distance (distance from the mechanical rear end surface of the lens mount to the focal plane) is also different.

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. Magnification is expressed as a ratio. 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 of this lens was 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 lens element 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.