Carl Zeiss Mutar T* 2X

Teleconverter • Film era • Discontinued


Production details
Production status: Discontinued
Original name:Carl Zeiss Mutar 2x T*
System: Hasselblad V (1957)
Optical design
Magnification factor:2x
Maximum format:Medium format 6x6
Mount:Hasselblad V
Lens construction:7 elements
Physical characteristics
Maximum diameter x Length:⌀84.2×75mm
Weather sealing:-
Fluorine coating:-
Sources of data
1. Manufacturer's technical data.
2. Hasselblad product catalog 1985/86.
3. Hasselblad product catalog 1987/88.

Manufacturer description #1

The Garl Zeiss Mutar 2x teleconverter tor the range of Hasselblad lenges is inserted between the lens and the camera using a bayonet mount. The converter doubles the focal length of the lens and reduces the relative aperture set on the lens by two f-stops. Exposure time is therefore quadrupled.

The teleconverter provides very good results with all Carl Zeiss lenses.

Focusing of the lens is virtually unaffected by the Carl Zeiss Mutar 2x converter. Using the image plane as a reference, the distance setting changes only by the mechanical length of the Mutar (65.4 mm). The converter has been calibrated in such a way that all lenses combined with it can be set to infinity. This results in same lenses having the infinity setting in front of the INFINITY symbol on the focusing scale. For this reason, you should always use the focusing screen of the camera for focusing.

The number of available focal lengths is considerably increased by the use of a Mutar 2x teleconverter. Its low weight of barely 420 g makes it the ideal unit tor hiking and mountaineering, or for animal and sports photography.

WARNING! The 135 mm Makro-Planar f/5.6 lens or the converter can be damaged if you try to mount the lens directly on the converter. For use of this lens with the converter, a variable extension tube or an automatic bellows unit must be inserted between the converter and the lens.

Manufacturer description #2

This converter has a high level of correction and can even be used when the lens is wide open. The converter doubles the focal length of the lens and is compatible with Hasselblad F, CF, and C lenses. The Mutar teleconverter is especially suitable for telephoto lenses but can also be used on lenses with focal lengths down to 60 mm and still achieve excellent results. It is not as suitable for the Makro-Planar lenses.

The Hasselblad teleconverter is a compact piece of equipment that provides a high level of preparedness for long photographic distances.

Manufacturer description #3

The extraordinary quality of Hasselblad lenses has made it possible for Zeiss to design a teleconverter which, when combined with any Hasselblad lens, gives excellent results at even the largest apertures.

The converter doubles the focal length of the lens and reduces the aperture two f/stops. The close-up focus limit of the lens is not affected. Compatible with Hasselblad F, CF and C lenses. A Makro-Planar type lens can also be used in macro applications (*).

By using the Mutar 2X the photographer can double his available range of focal length options .

* - As always, a Makro-Planar 135 mm lens must be used with either the Hasselblad automatic bellows or a variable extension tube.

Compatible lenses (33)

Carl Zeiss F-Distagon 30mm F/3.5 CPro
Carl Zeiss F-Distagon T* 30mm F/3.5 CFPro 1982 
Carl Zeiss Distagon T* 40mm F/4 C B104Pro
Carl Zeiss Distagon T* 40mm F/4 CFPro 1982 
Carl Zeiss Distagon T* 50mm F/4 CPro
Carl Zeiss Distagon T* 50mm F/4 CF B60Pro 1982 
Carl Zeiss Distagon T* 50mm F/4 CF FLE B60Pro 1989 
Carl Zeiss Distagon T* 50mm F/2.8 FPro 1977 
Carl Zeiss Distagon [T*] 60mm F/3.5 CPro
Carl Zeiss Distagon T* 60mm F/3.5 CF B60Pro 1982 
Carl Zeiss Planar T* 80mm F/2.8 C B50Pro
Carl Zeiss Planar T* 80mm F/2.8 F B50Pro 1977 
Carl Zeiss Planar T* 80mm F/2.8 CF B60Pro 1982 
Carl Zeiss Planar T* 100mm F/3.5 C B50Pro
Carl Zeiss Planar T* 100mm F/3.5 C B50Pro
Carl Zeiss Planar T* 100mm F/3.5 CF B60Pro 1982 
Carl Zeiss Planar T* 110mm F/2 F B77Pro 1977 
Carl Zeiss S-Planar T* 120mm F/5.6 C B50 @ 0.95mPro
Carl Zeiss Makro-Planar T* 120mm F/4 CF B601:4.5 @ 0.8mPro 1982 
Carl Zeiss Sonnar T* 150mm F/4 C B50Pro
Carl Zeiss Sonnar T* 150mm F/4 CF B60Pro 1982 
Carl Zeiss Sonnar T* 150mm F/2.8 F B77Pro 1977 
Carl Zeiss Sonnar T* 180mm F/4 CF B60Pro 1990 
Carl Zeiss Sonnar T* 250mm F/5.6 C B50Pro
Carl Zeiss Sonnar 250mm F/5.6 Superachromat C B50Pro 1972 
Carl Zeiss Sonnar T* 250mm F/5.6 CF B60Pro 1982 
Carl Zeiss Sonnar 250mm F/5.6 Superachromat CF B60Pro 1982 
Carl Zeiss Tele-Tessar T* 250mm F/4 F B77Pro 1980 
Carl Zeiss Tele-Tessar T* 350mm F/5.6 C E86Pro
Carl Zeiss Tele-Tessar T* 350mm F/5.6 CFPro 1982 
Carl Zeiss Tele-Tessar T* 350mm F/4 F E96Pro 1984 
Carl Zeiss Tele-Tessar [T*] 500mm F/8 C E86Pro
Carl Zeiss Tele-Apotessar T* 500mm F/8 CFPro 1982 
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35mm full frame

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

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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 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),


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

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.


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".

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Electronic manual focus override is performed in the following way: half-press the shutter button, wait until the camera has finished the autofocusing and then focus manually without releasing the shutter button using the focusing ring.

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/ on this lens, and cannot be adjusted.

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.


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.


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 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.