|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.|
|CFE||A lens with Prontor shutter. Also compatible with cameras with focal-plane shutter. Electronic databus. Learn more|
|Maximum format:||Medium format 6x6|
|Mount and Flange focal distance:||Hasselblad V [74.9mm]|
|Diagonal angle of view:||12.8° (Medium format)|
|Lens construction:||9 elements - 8 groups|
|Internal focusing (IF)|
|Aperture control:||Aperture ring (Manual settings only)|
|Number of blades:||5 (five)|
|Built-in leaf shutter|
|Speeds:||1 - 1/500 + B|
|Closest focusing distance:||3.75m|
|Closest working distance:||3.4m|
|Maximum magnification ratio:||1:9.9 at the closest focusing distance|
|Focusing modes:||Manual focus only|
|Manual focus control:||Focusing ring|
|Maximum diameter x Length:||⌀90×234mm|
|Filters:||Screw-type 93mm with adapter 3040703|
|Lens hood:||Screw-type Ø93/350-500 3040703 (round)|
|Teleconverters:||Hasselblad Teleconverter 1.4XE → 490mm F/7.8|
|Hasselblad Teleconverter APO 1.4XE → 490mm F/7.8|
|Hasselblad Converter 2XE → 700mm F/11.2|
Göteborg Sep 97 - Hasselblad News Autumn 1997
The Hasselblad System, the most comprehensive medium format system in the world, continues to expand! Both existing and new customers will be pleased at what is on offer. Imminent launches include a new camera - the Hasselblad ArcBody, specially destined for industrial, architectural and creative photography, the new CB lens line, the 501CM camera in black trim complete with the new Planar CB 2.8/80 mm lens, a new superachromatic lens with dedicated converter and a new versatile grip for hand-held flash photography.
- Tele-Superachromat CFE 5.6/350 mm. This new high performance lens from Carl Zeiss has been designed for the real demanding photographers. One of the major benefits of this lens is its exceptional image quality, which is ideal for pictures that will be greatly enlarged. The lens incorporates special optical materials to achieve a chromatic correction so good, that colour fringing of bright/dark edges is eliminated, and no special infrared index is needed. Another special feature is its internal focusing which results in easier and more precise focus adjustment. The Tele-Superachromat CFE 5.6/350 mm, equipped with databus connections, can be used on all Hasselblad cameras of the 200 and 500 series and is specially suited for fashion, advertising, nature and sports photography. It has a special tripod-connection equipped with the same quick-coupling plate as the Hasselblad cameras. Consequently it can be used on a tripod with the Hasselblad Tripod quick-coupling S. The Tele-Superachromat CFE 5.6/350 mm adds to the already existing Sonnar CF Superachromat 5.6/250 mm and thus creates a "Superachromat family" together with the new converter (see below).
- Hasselblad Teleconverter APO 1.4XE. Dedicated to the Tele-Superachromat CFE 5.6/350 lens, the Teleconverter APO 1.4XE increases its focal length resulting in an excellent f8/490 mm lens. Designed to be used together, the lens with converter offers optical qualities that are equally superb as the original lens itself.
The Carl Zeiss Tele-Superachromat T* 5,6/350 CFE is a high performance telephoto lens for the very demanding photographer. It can be used on any series 500 Hasselblad camera with central shutter (= C), series 200 camera with focal plane shutter (= F), even the electronic functions (= E) of the high end Hasselblads are catered for.
This exceptional new lens is extremely difficult to manufacture due to incredibly narrow tolerances and delicate materials. The Carl Zeiss Tele-Superachromat T* 5,6/350 CFE was designed to deliver its high image quality even wide open, the way many fashion photographers prefer to work these days. It incorporates special optical materials with anomalous partial dispersion to achieve a chromatic correction so good, that even for infrared photos no special index is needed. The Carl Zeiss Tele-Superachromat T* 5,6/350 CFE incorporates recent Carl Zeiss research findings about flare suppression and will impress photographers with outstanding contrast and color saturation.
The Carl Zeiss Tele-Superachromat T* 5,6/350 CFE is equipped with a very smooth internal focusing mechanism. Thus the outstanding sharpness of this lens can be directed with great ease and precision. The focusing mechanism is equipped with a lower and upper user-adjustable limiter. Sports and wildlife photographers will benefit from this new feature. The rear of the lens is equipped with the new Carl Zeiss heavy-duty camera bayonet with three-dimensional structure. Underneath the barrel the Hasselblad tripod quick mount is located right under the center of gravity of a combination of lens and camera.
The ergonomics have been greatly improved over the CF line, so scales are better legible and gloves may be used. The flash connector now has a positive lock. The new aperture stop-down button is protected against accidental damage by shear forces. Also the use of new materials extends the service life of the shutter. So the Carl Zeiss Tele- Superachromat T* 5,6/350 CFE will be an essential tool in the arsenal of the successful professional photographer.
The Carl Zeiss Tele-Superachromat T* 5.6/350 CFE lens is a high performance telephoto lens for the real demanding photographer. This exceptional lens incorporates considerable amounts of optical glass and metal parts of utmost precision. It is extremely difficult to manufacture. The Carl Zeiss Tele- Superachromat T* 5.6/350 CFE lens was designed to deliver its high image quality even wide open, the way fashion photographers prefer to work. It incorporates special optical materials to achieve a chromatic correction so good, that even for infrared photos no special index is needed for focusing.
The Carl Zeiss Tele-Superachromat T* 5.6/350 CFE lens features a very smooth internal focusing mechanism with user-adjustable limiters for both ends of the desired focusing range – which can even be narrowed down to zero, which means, the focusing ring can be locked in any position. Thus the outstanding sharpness of this lens can be placed and locked if desired with great ease and precision. Sports and wildlife photographers will benefit from this feature. The lens is equipped with the Hasselblad system tripod quick mount right under the center of gravity of camera and lens combined.
Preferred use: advertising, fashion, industrial, aerospace, architectural details, nature
Recommended slowest shutter speed when shooting static subjects handheld:
|Carl Zeiss Sonnar 250mm F/5.6 Superachromat CFi • B60||Pro||●|
|Carl Zeiss Sonnar 250mm F/5.6 Superachromat C • B50||Pro||1972 ●|
|Carl Zeiss Sonnar 250mm F/5.6 Superachromat CF • B60||Pro||1982 ●|
|Carl Zeiss Sonnar 250mm F/5.6 Superachromat CFE • B60||Pro||2001 ●|
|Carl Zeiss Tele-Superachromat T* 300mm F/2.8 FE||Pro||1999 ●|
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Cannot compare the lens to itself.
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.
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 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 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),
CF – crop-factor of a sensor,
FL – focal length of a lens.
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 – 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.
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.
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.
The minimum distance from the focal plane (film or sensor) to the subject where the lens is still able to focus.
The distance from the front edge of the lens to the subject at the maximum magnification.
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".
There is no helicoid in this lens and everything is in focus from the closest focusing distance to infinity.
Conventional lenses employ an all-group shifting system, in which all lens elements shift during focusing. The IF system, however, shifts only part of the optics during focusing. The advantages of the IF system are:
The diaphragm must be stopped down manually by rotating the detent aperture ring.
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.
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.
The camera automatically closes the diaphragm down during the shutter operation. On completion of the exposure, the diaphragm re-opens to its maximum value.
The aperture setting is fixed at F/5.6 on this lens, and cannot be adjusted.
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.
Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).
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.
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.
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.
Lens filters are accessories that can protect lenses from dirt and damage, enhance colors, minimize glare and reflections, and add creative effects to images.
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 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.
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.