ZEISS Otus Apo Sonnar T* 100mm F/1.4 ZE / ZF.2

Short telephoto prime lens • Pro • Digital era

Abbreviations

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

Production details

Announced:April 2019
Production type:Mass production
Production status: In production
Original name:ZEISS Apo Sonnar 1.4/100 T*
System:-

Features highlight

Ultra fast
APO
1
ASPH
9
AD
F.E.
Auto
9 blades
MF
E86
filters

Specification

Optical design
Focal length:100mm
Speed:F/1.4
Maximum format:35mm full frame
Mount and Flange focal distance:Canon EF [44mm]
Nikon F [46.5mm]
Diagonal angle of view:24.4°
Lens construction:14 elements - 11 groups
1 ASPH, 9 AD
Floating element system
Diaphragm mechanism
Diaphragm type:Automatic
Aperture control:None; the aperture is controlled from the camera (Canon EF)
Aperture ring (Manual settings + Auto Exposure setting) (Nikon F)
Number of blades:9 (nine)
Focusing
Closest focusing distance:1m
Maximum magnification ratio:1:8.6 at the closest focusing distance
Focusing modes:Manual focus only
Manual focus control:Focusing ring
Physical characteristics
Weight:1405g (Canon EF)
1336g (Nikon F)
Maximum diameter x Length:⌀101×129mm (Canon EF)
⌀101×127mm (Nikon F)
Weather sealing:-
Fluorine coating:-
Accessories
Filters:Screw-type 86mm
Lens hood:Bayonet-type (round)
Teleconverters:Not available

*) Sources of data: Manufacturer's technical data ● ZEISS lenses for SLR cameras booklet (PUB. EN_10_025_0020II).

35mm equivalent focal length and speed (on APS-C cameras)

In terms of FoV & DoF
Camera series [Crop factor] Focal length SpeedMax MR Dia. angle of view
Canon EOS APS-C [1.59x] 159mm F/2.21:5.41 15.5°
Nikon D APS-C [1.53x] 153mm F/2.11:5.62 16.1°

Manufacturer description #1

New ZEISS Otus 1.4/100 DSLR Lens for the Most Demanding Applications

ZEISS adds a tele focal length to its line of lenses for full-frame DSLR cameras from Canon or Nikon

OBERKOCHEN/Germany, 2019-04-24.

With the ZEISS Otus 1.4/100, ZEISS is expanding its lens family for Canon1)- and Nikon1)-photographers who do not want to make any compromises concerning image and build quality. Whether in the studio or on-the-go, for portrait or product photography, the tele focal length delivers high resolution and outstanding definition in any situation – even at maximum aperture. This high-speed lens clearly sets the subject apart from the background. The exceptional level of detail and harmonic bokeh ensure the “3D pop effect”, ZEISS lenses are known for.

Achieving the outstanding image quality of medium format cameras

"The extremely high imaging performance and reliable production quality set the ZEISS Otus 1.4/100 apart in this class of lenses," says Björn Pados, Product Manager for ZEISS Camera Lenses. "ZEISS' comprehensive expertise and many years of experience went into developing the lens. The images captured with a ZEISS Otus lens in combination with a high-resolution, full-frame DSLR camera are on par with those created using a medium format system."

The lens design, with aspheric lenses and special glass materials keeps chromatic aberrations and distortion to a minimum. Even when shooting against the light, the T* anti-reflective coating developed by ZEISS allows for extremely high contrast and minimizes stray light.

Robust and reliable

The ZEISS Otus 1.4/100 also features impressive production quality and ergonomics: the extended rotation angle and smooth operation of mechanical components enable highly precise manual focusing. The stable full-metal housing with internal focusing ensures a consistent center of gravity and optimum balance when taking photographs. "This makes the ZEISS Otus 1.4/100 well-suited for the rough conditions a professional photographer faces, and its high-quality mechanical design ensures it will last for a long time," adds Pados.

Manufacturer description #2

With its new Otus 1.4/100, ZEISS has expanded the tried and tested Otus family to include a new telephoto focal length. The ZEISS Otus 1.4/100 is one of the best lenses in its class due to its low sample variation, outstanding imaging performance, and superior build quality.

With the same uncompromising performance that makes all Otus lenses stand out, the ZEISS Otus 1.4/100 is a truly exceptional lens. A lens that is a reflection of the comprehensive expertise and extensive experience of ZEISS.

Although developed for 35 mm full-frame cameras, the Otus® 1.4/100 gives you the quality and look of a medium-format system.

Whether in the studio or on location, this lens stands out in every situation thanks to its high resolution and excellent sharpness – even at the maximum aperture of f/1.4.

Whether portrait or product photography, the bokeh will impress you. The apochromatic lens design with aspherical lenses and special glass prevents almost all conceivable aberrations. In addition, the high-quality coating keeps the contrast high, even when shooting against the light, and minimizes lens flare.

Because this lens is an apochromat, chromatic aberrations (axial chromatic aberations) are corrected with elements of special glass with anomalous partial dispersion. The chromatic aberrations are therefore significantly below the defined limits. Bright-dark transitions in the image, and especially highlights, are reproduced almost completely free of color artifacts.

Aberrations caused by extreme differences between shadows and highlights are particularly obvious in images captured at night. Thanks to the outstanding correction of lateral chromatic aberration, the floodlit facade is reproduced with absolute perfection.

Sources of light located in front of or behind the plane of focus present particular challenges to every lens. In the case of the ZEISS Otus, longitudinal chromatic aberration is so low that practically no colour fringing occurs.

Thanks to its exceptional sharpness, the ZEISS Otus exploits the full potentials of contemporary high-resolution sensors and rewards photographers with images characterised by breathtaking rendition of even the finest details.

The aspherical lens design ensures consistent imaging performance throughout the entire focusing range as well as sharpness to the periphery of the image. The asphere's more complex surface profile can reduce or eliminate spherical aberration and also reduce other optical aberrations compared to a simple lens.

Typical application

Class:

Ultra-fast full-frame short telephoto prime lens • Apochromatic optical designProfessional model (Top class)

Apochromatic optical design

All glass elements in an optical system refract light in certain colors to a different extent. This leads to the effect that not all rays of light from a multi-colored subject are focused at a single imaging point – the result of this is chromatic aberration.

In this lens, the chromatic aberration is minimized by apochromatic correction.

A need for apochromatic correction arose with the increasing popularity of color film. Now, with high-resolution digital sensors, the need for superior control of chromatic aberrations is even more pertinent than when film changed from monochrome to color.

Professional model (Top class)

  • Combination of focal length and speed meets professional demands
  • Apochromatic optical design

Genres or subjects of photography (1):

Portraits

Adaptation to digital SLR cameras (Canon EF-mount version):

Sigma SD SLRsSony SLRs/SLTsPentax SLRsNikon SLRsMore information

Not adaptable

In order to adapt the lens, the flange focal distance (FFD) of the lens mount must be equal to or greater than the FFD of the camera mount. This lens has the Canon EF mount with a FFD of 44mm. This is even shorter than the FFD of Canon EOS digital SLR cameras, which have the shortest FFD of 44mm of any modern digital SLR cameras. Therefore, this lens cannot be adapted to any digital SLR camera.

Adaptation to digital SLR cameras (Nikon F-mount version):

Canon EOS SLRsSigma SD SLRsSony SLRs/SLTsPentax SLRsMore information

Not adaptable

In order to adapt the lens, the flange focal distance (FFD) of the lens mount must be equal to or greater than the FFD of the camera mount. This lens has the Nikon F mount with a FFD of 46.5mm. This is even shorter than the FFD of Canon EOS digital SLR cameras, which have the shortest FFD of 44mm of any modern digital SLR cameras. Therefore, this lens cannot be adapted to any digital SLR camera.

Recommended slowest shutter speed when shooting static subjects handheld:

1/100th of a second

Lenses with similar focal length and speed

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Pros and cons
Technical data
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ZEISS Otus series lenses (4)
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ZEISS Otus series lenses

The Otus lenses from ZEISS deliver uncompromising performance, even at full aperture. They are specially designed for modern digital SLR cameras with high-resolution sensors, and offer on these cameras the standard of quality otherwise only achieved on medium format systems.

  • Consistently high resolution and contrast over the entire image frame – even into the corners
  • No chromatic aberration, no distortion
  • Smooth transition between in-focus and out-of-focus areas, and beautiful bokeh thanks to ultra-fast speed of F/1.4
  • Highly precise and robust all-metal mechanical construction
  • Easy-grip focusing ring for the finest of manual focus adjustments
  • Large rotation angle for exact work

Copyright © 2012-2022 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.

35mm full frame

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

MF

Sorry, no additional information is available.

MF

Sorry, no additional information is available.

Aspherical elements

Aspherical elements (ASPH, XA, XGM) are used in wide-angle lenses for correction of distortion and in large-aperture lenses for correction of spherical aberration, astigmatism and coma, thus ensuring excellent sharpness and contrast even at fully open aperture. The effect of the aspherical element is determined by its position within the optical formula: the more the aspherical element moves away from the aperture stop, the more it influences distortion; close to the aperture stop it can be particularly used to correct spherical aberration. Aspherical element can substitute one or several regular spherical elements to achieve similar or better optical results, which allows to develop more compact and lightweight lenses.

Use of aspherical elements has its downsides: it leads to non-uniform rendering of out-of-focus highlights. This effect usually appears as "onion-like" texture of concentric rings or "wooly-like" texture and is caused by very slight defects in the surface of aspherical element. It is difficult to predict such effect, but usually it occurs when the highlights are small enough and far enough out of focus.

Low dispersion elements

Low dispersion elements (ED, LD, SD, UD etc) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture. This type of glass exhibits low refractive index, low dispersion, and exceptional partial dispersion characteristics compared to standard optical glass. Two lenses made of low dispersion glass offer almost the same performance as one fluorite lens.

Low dispersion elements

Low dispersion elements (ED, LD, SD, UD etc) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture. This type of glass exhibits low refractive index, low dispersion, and exceptional partial dispersion characteristics compared to standard optical glass. Two lenses made of low dispersion glass offer almost the same performance as one fluorite lens.

Canon's Super UD, Nikon's Super ED, Pentax' Super ED, Sigma's FLD ("F" Low Dispersion), Sony' Super ED and Tamron's XLD glasses are the highest level low dispersion glasses available with extremely high light transmission. These optical glasses have a performance equal to fluorite glass.

High-refraction low-dispersion elements

High-refraction low-dispersion elements (HLD) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture.

High Index, High Dispersion elements

High Index, High Dispersion elements (HID) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture.

Anomalous partial dispersion elements

Anomalous partial dispersion elements (AD) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture.

Fluorite elements

Synthetic fluorite elements (FL) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture. Compared with optical glass, fluorite lenses have a considerably lower refraction index, low dispersion and extraordinary partial dispersion, and high transmission of infrared and ultraviolet light. They are also significantly lighter than optical glass.

According to Nikon, fluorite easily cracks and is sensitive to temperature changes that can adversely affect focusing by altering the lens' refractive index. To avoid this, Canon, as the manufacturer most widely using fluorite in its telephoto lenses, never uses fluorite in the front and rear lens elements, and the white coating is applied to the lens barrels to reflect light and prevent the lens from overheating.

Short-wavelength refractive elements

High and specialized-dispersion elements (SR) refract light with wavelengths shorter than that of blue to achieve highly precise chromatic aberration compensation. This technology also results in smaller and lighter lenses.

Blue Spectrum Refractive Optics

Organic Blue Spectrum Refractive Optics material (BR Optics) placed between convex and concave elements made from conventional optical glass provides more efficient correction of longitudinal chromatic aberrations in comparison with conventional technology.

Diffraction elements

Diffraction elements (DO, PF) cancel chromatic aberrations at various wavelengths. This technology results in smaller and lighter lenses in comparison with traditional designs with no compromise in image quality.

High refractive index elements

High refractive index elements (HR, HRI, XR etc) minimize field curvature and spherical aberration. High refractive index element can substitute one or several regular elements to achieve similar or better optical results, which allows to develop more compact and lightweight lenses.

Apodization element

Apodization element (APD) is in fact a radial gradient filter. It practically does not change the characteristics of light beam passing through its central part but absorbs the light at the periphery. It sort of softens the edges of the aperture making the transition from foreground to background zone very smooth and results in very attractive, natural looking and silky smooth bokeh.

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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

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

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

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

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

Angle of view

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

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

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

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

where:

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

Mount

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

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

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

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

Lens construction

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

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

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

Focal length

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

Speed

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

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

Floating element system

Provides correction of aberrations and ensures constantly high image quality at the entire range of focusing distances from infinity down to the closest focusing distance. It is particularly effective for the correction of field curvature that tends to occur with large-aperture, wide-angle lenses when shooting at close ranges.

The basic mechanism of the floating element system is also incorporated into the internal and rear focusing methods.

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 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, lock the lens aperture at its minimum 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.

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.