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ZEISS 25mm f/2.0 ZE Distagon T* for Canon EF

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4047865800211

ZEISS Distagon T* 2/25

Originally developed for SLR cameras requiring a long back focal distance for short focal lengths because of the mirror box (the distance between the back lens element and the film plane must be considerably longer than the focal length), the Distagon lenses (retrofocus design) are also ideal for mirrorless system cameras thanks to their optimized ray path. Even with longer focal lengths, the high-performance Distagon optical design enables consistently good correction all the way to the corners of the image and very low field curvature.

 Distagon Design

 Lens with aspheric optical surface
 Lens made of special glass with anomalous partial dispersion
 "Floating elements" design
ZEISS Distagon T* 2/25 - Lens CutZEISS Distagon T* 2/25 - Lens

Technical Specifications

ZEISS Distagon T* 2/25

Performance Focal length 25 mm
Aperture range f/2.0 – f/22
Camera mount Canon EF-Mount* (ZE) | Nikon F-Mount* (ZF.2)
Format compatibility Full Frame
Focusing range 0,25 m (9.84") – ∞
Free working distance 0,13 m (5.12") – ∞
Angular field** (diag. | horiz. | vert.) 81° / 71° / 51°
Diameter of image field 43 mm (1.69")
Coverage at close range (MOD)** 219 x 144 mm (8.62 x 5.67")
Image ratio at minimum object distance 1 : 5.9
Lens elements | groups 11 / 10
Flange focal distance ZE: 44 mm (1.73") | ZF.2: 46 mm (1.83")
Entrance pupil position (front of image plane) 89 mm (3.50")
Features Autofocus
Image Stabilization
Physical Filter thread M67 x 0.75
Rotation angle of focusing ring 123°
Diameter max. ZE: 73 mm (2.87") | ZF.2: 71 mm (2.80")
Diameter of focusing ring ZE: 73 mm (2.87") | ZF.2: 71 mm (2.80")
Length (with lens caps) ZE: 98 mm (3.86") | ZF.2: 95 mm (3.74")
Length (without lens caps) ZE: 74 mm (2.91") | ZF.2: 71 mm (2.80")
Weight ZE: 600 g (1.32 lbs) | ZF.2: 570 g (1.26 lbs)
฿50,800.00
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Aspherical design

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.

Floating Elements Design

Today’s camera technologies and high-resolution sensors demand continuous improvement of lens performance. Thanks to the use of the latest floating element design principles, optical aberration effects in ZEISS lenses are reduced to a minimum throughout their entire focusing range. This is achieved by variation of the axial distance between individual lens elements or groups. This adjustment of the lens-to-lens distance is coupled to the distance setting to ensure correct compensation at all times. The mechanical construction of these lenses is extremely complex and they must be assembled with utmost precision – both of which are key competencies of ZEISS.

Virtually distortion-free optics

Dramatic perspectives and a view from extraordinary image angles – ZEISS lenses open up new composition possibilities. Distortion would disrupt the composition because straight lines, whose image does not go through the image center, would be reproduced with a curved shape.  This annoying effect is accordingly and largely compensated through elaborate optical designs at all focal lengths.

Ideal aperture with nine blades

Photographers want to guide the observer through the image. Minimal depth of focus is often used as a design element. This keeps the background intentionally blurred to keep the attention of the observer on the main subject. These different representations of the blurred areas, as well as the quality of the transition, are referred to as the Bokeh of a lens. The finely tuned features of the optical design on ZEISS SLR lenses ensure a particularly harmonious effect of the blurred areas of the image. The nine diaphragm blades and the resulting, virtually circular aperture on ZEISS SLR lenses are crucial to favorable rendition of highlights in the fore and background.

High-Speed Lens

Impressive photographs captured in low light always begin with a fast lens for a system or SLR camera. Because, a fast, high-performance lens captures as much light as possible. And a lens with a large maximum aperture leads to the best results when shooting in unfavourable light.

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