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ผลิตที่
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สูตรเลนส์
Bertele Sonnar formula reducing air/glass interfaces to six by adding low-index glass; classic 5cm f2 was 6 elements in 3 groups and f1.5 was 7 elements in 3 groups.
อัปเดต
10 ก.ค. 2569
Carl Zeiss Sonnar
M42
เรื่องราวของเลนส์
The Sonnar name traces to Ludwig Bertele, who worked for Ernemann (Krupp-Ernemann Kinoapparate AG) and developed the Ernostar F2, a 5-element/4-group asymmetric design with eight air/glass interfaces. After Ernemann merged with Zeiss, Bertele filled the space between the 2nd and 3rd element with low-index glass, reducing the design to just 6 air/glass interfaces and improving light transmission by nearly 10%. This gave rise to the classic Sonnar formula. The 5cm f2 Sonnar of 1931 was 6 elements in 3 groups (1-3-2), and by splitting the rear doublet into a triplet the 5cm f1.5 Sonnar of 1932 was born, with 7 elements in 3 groups (1-3-3). The whole design philosophy of Zeiss differed sharply from Leitz: where Leitz pursued highly corrected, symmetric double-Gauss designs (Summar, Xenon, Summitar) prioritizing distortion correction and resolution, Zeiss prioritized a bright, high-contrast image, treating flatness of field and geometric distortion as secondary to light transmission. The minimized air/glass count was a direct response to the primitive coatings of the era. The design was revived by Zeiss in the mid-2000s as the C-Sonnar T* 50mm f1.5 in the ZM (Leica M) series with modern coatings and only minor optical changes, keeping the classic formula alive. The C-Sonnar has a genuine cult following: reviewers note that Sonnar designs have a 'very particular rendering' prized by many photographers, especially for portraiture and its distinctive bokeh, though skeptics argue it is an old formula sold on nostalgia. Note: the reviews describe the M-mount ZM C-Sonnar and prewar Zeiss Jena 5cm Sonnars; specifics for an M42-mount 'Carl Zeiss Sonnar' are not directly covered, so many mechanical fields below are marked unknown.
สรุป: A Carl Zeiss Sonnar is for the photographer who values character over clinical perfection — a bright, high-contrast, portrait-flattering rendering with prized bokeh, born from Bertele's classic low-surface-count design. The fast f1.5 versions demand that you master their pronounced focus shift, while slower Sonnars like the 85mm f2.8 reward you with lovely circular bokeh and a fully usable wide-open aperture. Choose it for its cult rendering and history, not for corner-to-corner test-chart performance.
คาแรกเตอร์ของภาพ
โบเก้
เป็นเอกลักษณ์เด่นของเลนส์ Sonnar ที่มีผู้คลั่งไคล้ติดตามอย่างเหนียวแน่น มักถูกบรรยายว่าให้โบเก้สวยงาม กลม และเรียบเนียนโดยไม่มีเอฟเฟกต์สวิร์ลหรือบับเบิ้ล
ความคม (เปิดสุด)
เลนส์ Sonnar รูรับแสงกว้างมักมีปัญหาโฟกัสชิฟท์ (focus shift) อย่างชัดเจน ทำให้การได้ความคมชัดสูงสุดทำได้ยาก — คุณภาพมักลดลงเมื่อโฟกัสระยะใกล้ แม้ว่าเมื่อเปิดรูรับแสงกว้างสุดจะยังพอใช้งานได้
คอนทราสต์
ออกแบบมาให้มีคอนทราสต์สูง โดยรูรับแสงกว้างสุดยังใช้งานได้จริงโดยไม่ถูกปกคลุมด้วยแสงฟุ้งหรือการลดทอนคอนทราสต์
รีวิวจากผู้ใช้
ข้อดี
- The distinctive, cult-followed Sonnar rendering and bokeh that many find magical and flattering for portraits
- A usable, high-contrast wide-open aperture — Zeiss does not compromise the maximum aperture with haze or softness
- Circular, smooth out-of-focus rendering (notably praised in the 85mm f2.8 Sonnar)
- Compact, dense build for the focal length and speed
- The historical Bertele design lineage and its elegant reduction of air/glass surfaces for better light transmission
ข้อเสีย
- Pronounced focus shift on the fast f1.5 versions, a known headache that shifts the focus plane as you stop down
- Quality drops off quickly when focused mechanically at close distances (C-Sonnar)
- The design is old and 'it shows' — some reviewers feel it trades technical correction for nostalgia
- Skepticism that revived classic formulas are sold at premium prices for their vintage look rather than outright performance
เทคนิคการใช้
- Learn and compensate for focus shift on fast Sonnars: the sharp plane moves as you stop down, so adjust focus slightly after changing aperture or shoot wide open where you calibrated
- Favor mid-distance and portrait subjects; avoid relying on close mechanical focus where fast Sonnar quality falls off
- Lean into the lens's high-contrast, characterful wide-open rendering for portraits rather than expecting clinical corner-to-corner sharpness
- Stop down when you need cleaner overall resolution, accepting the focus-plane shift that comes with it
- Use the smooth, circular bokeh deliberately by placing subjects against distant, uncluttered backgrounds
อะแดปเตอร์ที่ใช้ได้
อะแดปเตอร์จริงจากร้านที่ใช้กับเมาท์ของเลนส์นี้ได้
Standard · ฿325 · มีสินค้า
Standard · ฿325 · มีสินค้า
Standard · ฿325 · มีสินค้า
Standard · ฿325 · มีสินค้า
Standard · ฿540 · มีสินค้า
Standard · ฿540 · มีสินค้า
Standard · ฿540 · มีสินค้า
Standard · ฿540 · มีสินค้า
Standard · ฿540 · มีสินค้า
Standard · ฿1,250 · มีสินค้า
Standard · ฿890 · หมด
Standard · ฿890 · หมด
แหล่งอ้างอิง (1)
Web-grounded synthesissecondary
The Sonnar name traces to Ludwig Bertele, who worked for Ernemann (Krupp-Ernemann Kinoapparate AG) and developed the Ernostar F2, a 5-element/4-group asymmetric design with eight air/glass interfaces. After Ernemann merged with Zeiss, Bertele filled the space between the 2nd and 3rd element with low-index glass, reducing the design to just 6 air/glass interfaces and improving light transmission by nearly 10%. This gave rise to the classic Sonnar formula. The 5cm f2 Sonnar of 1931 was 6 elements in 3 groups (1-3-2), and by splitting the rear doublet into a triplet the 5cm f1.5 Sonnar of 1932 was born, with 7 elements in 3 groups (1-3-3). The whole design philosophy of Zeiss differed sharply from Leitz: where Leitz pursued highly corrected, symmetric double-Gauss designs (Summar, Xenon, Summitar) prioritizing distortion correction and resolution, Zeiss prioritized a bright, high-contrast image, treating flatness of field and geometric distortion as secondary to light transmission. The minimized air/glass count was a direct response to the primitive coatings of the era. The design was revived by Zeiss in the mid-2000s as the C-Sonnar T* 50mm f1.5 in the ZM (Leica M) series with modern coatings and only minor optical changes, keeping the classic formula alive. The C-Sonnar has a genuine cult following: reviewers note that Sonnar designs have a 'very particular rendering' prized by many photographers, especially for portraiture and its distinctive bokeh, though skeptics argue it is an old formula sold on nostalgia. Note: the reviews describe the M-mount ZM C-Sonnar and prewar Zeiss Jena 5cm Sonnars; specifics for an M42-mount 'Carl Zeiss Sonnar' are not directly covered, so many mechanical fields below are marked unknown.
https://phillipreeve.net/blog/carl-zeiss-c-sonnar-t-50mm-f1-5-zm-a-detailed-review/https://www.35mmc.com/29/04/2020/zeiss-jena-5cm-sonnars-the-magic-of-the-prewar-uncoated-sonnar-by-brian-sweeney/https://www.47-degree.com/focus-shift/zeiss-c-sonnar-50mm-1-5-zm-reviewhttps://www.theatreofnoise.com/2023/07/carl-zeiss-sonnar-2885mm-review.html