ZEISS Loxia Planar T* 50mm F/2

Standard prime lens • Digital era

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.

Sample photos

F/5.6
F/2
F/5.6
F/5.6
F/5.6
F/2.8
F/2.8
F/2
F/2
F/2.8
F/5.6
F/13
F/8
F/4
F/2
F/2
F/11
F/2
F/8
F/2
F/8
F/11
F/11
F/2
F/2
F/16
F/2
F/2
F/5.6
F/2
F/2
F/8
F/8
F/2
F/2
F/2
F/8
F/11
F/16
F/8
F/4
F/11
F/2
F/2
F/2
F/4.5

Designed for

Click to expand or collapse section(s)

Features highlight

Fast
T*
Manual
10 blades
MF
Compact
WR mount

Specification

Production details
Announced:September 2014
Production status:In production
Production type:Mass production
Original name:ZEISS Planar 2/50 T*
Optical design
Focal length:50mm
Speed:F/2
Maximum format:35mm full frame
Mount:Sony E
Flange focal distance:18mm
Diagonal angle of view:46.8° (35mm full frame)
31.6° (Sony E APS-C)
Lens construction:6 elements - 4 groups
Diaphragm mechanism
Diaphragm type:Manual
Number of blades:10
Focusing
Closest focusing distance:0.45m
Maximum magnification ratio:1:6.9 at the closest focusing distance
Focusing method:<No information>
Focusing modes:Manual focus only
Manual focus control:Focusing ring
Physical characteristics
Weight:320g
Maximum diameter x Length:⌀62.1×59.2mm
Weather sealing:Water-resistant mount
Fluorine coating:-
Accessories
Filters:Screw-type 52mm
Lens hood:Bayonet-type 2122-487 (round)

*) Sources of data: Manufacturer's technical data ● ZEISS Lenses for Mirrorless System Cameras booklet (PUB. EN_10_025_0019V).

Manufacturer description #1

Manual Focusing, Manual Aperture and Maximal Image Quality

With the new Loxia 2/35 and Loxia 2/50 lenses, ZEISS combines maximum image quality with classic ease of use for E-mount full-frame cameras

OBERKOCHEN/Germany, 2014-09-02.

The ZEISS lenses Loxia 2/35 and Loxia 2/50 are the first members of a new family of manual focus lenses for the E-mount full frame. They are optimized for digital sensors and electronic viewfinders and feature a mechanical aperture setting and the mechanical deactivation of the click stop (de-click) for ambitious videography. But these are just a few of the highlights.

“Ever since the Sony Alpha 7/7r/7s helped compact system cameras break through to the full frame, there has been a growing desire for a ‘digital manual focus‘ experience that combines the best of both worlds. The Loxia 2/35 and Loxia 2/50 are the first members of a new family of manual focus lenses for the E-mount full frame. By entering this field, ZEISS not only wants to meet this desire, but exceed it,” said Christophe Casenave, Product Manager at ZEISS Camera Lenses.

Freedom of composition in photography was the guiding principle in developing the ZEISS Loxia 2/35 and ZEISS Loxia 2/50. An electronic interface transmits lens data (EXIF), but it also recognizes focus movements and, if desired, activates the camera’s magnifier function. This supports the possibilities of modern compact camera systems with an electronic viewfinder. Furthermore, the Loxia lenses allow for precise manual focusing as well as a mechanical setting of the aperture (aperture priority). This traditional way of working expresses one’s personal photo lifestyle, opening up surprising creative possibilities to compose the image that go beyond all automation.

It is not for nothing that compact camera systems are one of the most interesting developments on the photography market today. Many photographers also appreciate the combination of traditional principles of handling and operation with the most modern technology.

“If I had to describe Loxia lenses in just one sentence,” says Casenave, “I would say, ‘tradition meets modernity’. These lenses have been designed for photographers who enjoy shooting spontaneous scenes, without giving away the work of composing the image to the camera.”

Yet another highlight – the mechanical deactivation of aperture click stops (de-click), thus creating progressive and noiseless aperture settings– makes this new lens family a tool that provides a high degree of creative potential, not only for photographers but also for ambitious videographers. Thanks to their precise manual focusing, the Loxia 2/35 and Loxia 2/50 are also suitable for professional video productions.

The Loxia lens family has been specially optimized for digital sensors. The design of the Loxia 2/50 is based on a Planar and has six lens elements in four groups. As a ‘classic’ standard lens with a full-frame focal length of 50 millimeters, it offers photographers a field of view that corresponds to natural eyesight. The Loxia 2/50 is ideally suited for a wide range of situations, from travel photography, family photography and photojournalism to portraiture – and with a minimum working distance of 0.37 meters it is suitable for close-ups, too. The Loxia 2/50 is an uncomplicated but at the same time high-quality standard lens that photographers can keep on their camera continuously, therefore allowing them to react flexibly to a wide range of everyday situations.

Both Loxia lenses have a high speed of f/2, which expands the creative possibilities even more. Two examples are the effective isolation of motifs with a low depth of field or free-handed photography, even with poor lighting conditions.

The Loxia lens range intentionally eschews autofocus. This makes them compact and ideal for travel and street photography. Photographers who work in these fields often do not like to be recognized right away as professionals. The Loxia lenses offer a high resolution across the entire image field and a harmonious bokeh in the background, especially at the maximal aperture opening of f/2. The Loxia family stands out for its superb mechanical quality. The smooth focus operation with a large focus rotation angle of approximately 180 degrees allows for the finest variations in focusing. The filter diameter is a consistent M52 across the entire lens family. The robust barrel is made completely of metal so that it can withstand the rough everyday situations that professional photographers face and ensuring a long product life. In addition, the lenses have a special weather sealing at the lens mount to prevent spray water from getting between the camera and the lens.

Product manager Christophe Casenave summarizes the benefits: “Exceptional optical performance combined with compact, modern and unobtrusive design allows the photographer to disappear into the scenery and thus get the most natural attitudes – ideal for street and reportage photography. Through manual focusing, the physical aperture ring and a noiseless aperture position, photojournalists will be able to use the lenses for semi-professional video shoots.”

The Loxia 2/50 will be available worldwide starting October 2014 and the Loxia 2/35 from the end of the fourth quarter of 2014.

Manufacturer description #2

Our compact standard lens for full frame Sony α7 cameras. Revel in the exceptional feel of precise manual focus, giving you unparalleled creative freedom at your fingertips.

A 50mm lens was legendary photographer Cartier Bresson’s favourite. The reason is simple: this focal length provides the equivalent field of view of the human eye on a 35mm camera, which makes for a very natural perspective. Compact, light and extremely flexible, the ZEISS Loxia® 2/50 shines in the most varied of applications. Regardless of whether it’s for street photography, landscapes, portraits or spontaneous discoveries, the ZEISS Loxia 2/50 is the ideal companion for photographic and filmic exploration.

ZEISS Loxia lenses were specifically designed for Sony α7 cameras. This means that they can make the most of the mirrorless, full frame system, while giving you all the creative possibilities of ‚classic’ photography with manual focus at the same time.

And that’s not all: ZEISS Loxia lenses also provide everything you need to shoot high quality video, such as the unique DeClick feature for smooth adjustment of the aperture, for example.

Typical application

landscapes, interiors, buildings, cityscapes, portraits, street, travel

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35mm full frame

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

Travellers' choice

Note

Among autofocus lenses designed for 35mm full-frame mirrorless cameras only. Speed of standard and telephoto lenses is taken into account.

One of the best fast standard primes

According to lens-db.com; among lenses designed for the same maximum format and mount.

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Unique Zeiss Look

Zeiss lenses are one-of-a-kind optical masterpieces that are impressive because of their unique Zeiss Look. This is ensured through exceptional optical design combined with selected materials and the highest quality standards.

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.

MF

Sorry, no additional information is available.

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 from the lens mount to the film or sensor can also be 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.

Flange focal distance

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

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".

Electromagnetic diaphragm control system

Provides highly accurate diaphragm control and stable auto exposure performance during continuous shooting.

Convex protruding front element

The convex front element protrudes from the lens barrel, making it impossible to use filters.

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.

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.