Today Carl Zeiss introduced its new Distagon T* 2/25 ZE and ZF.2. This high-speed, moderate wide-angle lens loves to capture dramatic perspectives and is at its best in difficult lighting conditions.

Streetscape at night (Distagon T* 2/25; F/4; 1/8 sec.; ISO-1600).
Streetscape at night

The cathedral never quite fits. It’s difficult to capture the museum in its full glory. And the tourist group has to squeeze together so everyone appears on the picture. When on top of that the lighting is poor and the situation does not call for aggressive lighting, the new high-speed Distagon T* 2/25 is in its element.

Due to the large angular field of this lens, the photographer can capture exciting perspectives, even with low light. Particularly with photo documentaries shot indoors, where space is at a premium, the strengths of the Distagon T* 2/25 become apparent thanks to its high image performance at all aperture settings. This effect is also achieved when taking pictures of objects with a challenging perspective, as well as of architecture and landscapes.

Jefferson Memorial at night, without tripod (Distagon T* 2/25; F/3,5; 1/20 sec.; ISO-3200).
Lincoln Memorial at night, without tripod
Washington Monument at night, without tripod (Distagon T* 2/25; F/2; 1/30 sec.; ISO-3200).
Washington Monument at night, without tripod

Wide-angle shots always present photographers with unique creative challenges, because the ability to use depth of field as an additional design element is limited. To take a successful wide-angle image, a lot of different creative elements need to be in perfect balance. That includes the right alignment between light and shadow, foreground and background, sharpness and blur, lines and surfaces, and the motif’s perspective and position of the photographer. This works every time with the new Distagon T* 2/25. It makes wide-angle shots look natural and dynamic at the same time due to its moderate wide-angle angular field.

A special optical construction and selection of optical glasses virtually eliminate the chromatic aberrations on this lens. Two aspheric lens surfaces correct distortion and image field curvature. The floating elements design creates high imaging performance, regardless of the distance of the subject.

Halloween is coming. The Distagon T* 2/25 excels also with close-ups. (Distagon T* 2/25; F/2; 1/15 sec.; ISO-3200).
Halloween is coming. The Distagon T* 2/25 excels also with close-ups

“The Distagon T* 2/25 elegantly combines a compact build with a large initial aperture,” says Christian Bannert, Senior Director R&D in the Camera Lens Division of Carl Zeiss AG.

Distagon T* 2/25
Distagon T* 2/25

The combination of meticulously crafted lenses, which minimize stray light and reflections on the lens, and the Carl Zeiss T* anti-reflective coating, which increases light transmission, enables high-contrast image rendition and high color saturation.

The previously available Distagon T* 2,8/25 ZF.2 will continue to be in stock and supplements the new Distagon T* 2/25. This new lens is therefore also the first 25-mm lens from Carl Zeiss for the EF-bayonet.

The Distagon T* 2/25 will be available end of 2011 at a recommended retail price of €1217 (excluding VAT).

Tags: , , ,


  1. Art

    Will this lens be available as a Compact Prime (CP.2) as well? That range is in serious need of fast wide lenses.

  2. Richard

    I'm excited by this lens; glad to see the release by Zeiss.

    However, I'll echo the post by Dmitry above: kindly post high-quality, large-size images taken with this new lens, together with all related EXIF information. Thank you in advance.

  3. Matt

    I have the 35 and 85 Zeiss primes.
    I've been waiting for a real ultra-wide fast prime at f/2 or f/1.4

    What is the difference (angle of view and distortion) between this (the 25mm) and the the 28mm? Is it going to be 81deg @ 25mm and then it is 74deg @2 8mm.

    Isn't the AOV very similar between these two lenses? Is it the lack of distortion that is important for this lens?

    I would really love to see the 18mm at f/2. A 14mm f/1.4 would be a dream come true.

    The canon 14mm is at f/2.8 (which is not good enough) and it is not front filter accessible. Not being able to use ND filters makes the lens unusable for daytime and the f/2.8 makes it unusable during the nighttime.
    Canon might make a 14mm cine lens sometime next year, but it will be around 7,000USD.

    But I really wish the Zeiss made a fast 14mm prime.

    The Canon 14mm f/2.8 is 114 deg AOV
    The Zeiss 18mm f/3.5 is 99 deg AOV
    The Zeiss ultra prime 8mm t2.8 is 112 deg AOV

    Maybe next century a fast 14mm will be made, then two centuries for the 50mm f/.7 to be reintroduced... and then finally in the year 2312 some new tilt shift lenses?

  4. franco

    i love this lens and i will buy it .
    (i use the wonderful 100 mm.makro)

  5. I wait with great interest for this lens to become available. Right tomorrow I'm going to get my first ZF2 lens, the 100 and - given the excellent reviews seen so far - hope to afford the 25 as soon as possible. Most of my pics are taken with fixed lenght lenses and Zeiss has always appealed me for its optical rendition and excellent imagery

    1. Aside focal lenght preferences, it would be nice for zeiss keeping filter size uniform in lens ranges.
      Being the 25, the 50 and the 100 67mm, would be nice to see a 75 F/2 with the same optical rendition of the 35 (although different lens, most people think of the 35 as a greatly balanced lens in terms of versatility, optical excellence and first class imagery) and a 135/180 mm lens even F/2.5-F/3 (why not? F/3 is a "magical" number, although unusual) with equal filter size.

  6. Stina Garesio

    Sample images seems to be a problem for almost all lens and camera manufacturers. In this case the samples are worse than ever. The motives on the samples doesn't matter. The samples are for showing the technical quality of a lens. Small images with a 72 dpi resolution are of no use. Samples must be downloadable in high resolution.

  7. BJ

    I have used Zeiss lenses for years and there is noting in the market that comes close tothe way they allow one to caputre anything.


  8. I am perplexed as to how Zeiss, after investing so much optical science in making this new lens would allow sloppy photography to represent the optic. The pictures are really tragic! Also, there are no responses to the protests about the pictures made with this lens. I'd love to have a copy for review.

    Showing poor images is really something I don't understand.


Leave a Reply

Your email address will not be published. Required fields are marked *

You may use these HTML tags and attributes: <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <cite> <code> <del datetime=""> <em> <i> <q cite=""> <s> <strike> <strong>