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The LDS Ultra Prime 12mm T2.0 Lens creates a sharp image consistent with the other ARRI lenses in color and contrast, covers Super 35mm imagers, and integrates encoders and electronic contacts into its ARRI PL-mount. It is an internal focus lens for precise focusing, and it features fully floating lens elements that improve lens performance in close-ups. This lens is marked in feet.

The LDS Ultra Prime 12mm T2.0 Lens creates a sharp image consistent with the other ARRI lenses in color and contrast, covers Super 35mm imagers, and integrates encoders and electronic contacts into its ARRI PL-mount. It is an internal focus lens for precise focusing, and it features fully floating lens elements that improve lens performance in close-ups. This lens is marked in feet.

Based on the latest in design methods, optical glass, and findings on suppression of reflexes and stray light Carl Zeiss and its partner ARRI have introduced a new generation of fast prime lenses for 35 mm film, the Ultra Primes. Ultra Prime lenses come with large, easy to read calibrated scales, uniform diameters and position of focus and aperture drive rings, and uniform position of exit pupil. Ultra Prime lenses are particularly robust and easy to service. The optical performance is superb, even wide open. Floating elements keep the optical performance up all the way to the close-focusing limit. Distortion is well controlled and so is breathing, especially with the wider angle lenses, where it counts most.

The LDS Ultra Prime 12mm T2.0 Lens creates a sharp image consistent with the other ARRI lenses in color and contrast, covers Super 35mm imagers, and integrates encoders and electronic contacts into its ARRI PL-mount. It is an internal focus lens for precise focusing, and it features fully floating lens elements that improve lens performance in close-ups. This lens is marked in feet.

The LDS Ultra Prime 12mm T2.0 Lens creates a sharp image consistent with the other ARRI lenses in color and contrast, covers Super 35mm imagers, and integrates encoders and electronic contacts into its ARRI PL-mount. It is an internal focus lens for precise focusing, and it features fully floating lens elements that improve lens performance in close-ups. This lens is marked in feet.

The LDS Ultra Prime Lens creates a sharp image consistent with the other ARRI lenses in color and contrast, covers Super 35mm imagers, and integrates encoders and electronic contacts into its ARRI PL-mount. It is an internal focus lens for precise focusing, and it features fully floating lens elements that improve lens performance in close-ups.

The 32mm Master Prime is one in a set of 16 from ARRI/Zeiss featuring excellent resolution, advanced contrast, almost no breathing, and a fast T1.3 aperture for achieving shallow depth of field. Ranging from 12mm to 150mm, the Master Primes offer the skin tones and color rendition for which Zeiss is noted, and are color-matched for consistency across the set. These lenses incorporate an iris with at least nine blades for cinematic-looking bokeh with distinct focus fall-off. Dual floating elements provide optimal close-focus performance while Minimizing breathing when focusing. The advanced T*XP coating reduces reflections and glare while improving contrast.

Small, light, bright: a great normal prime. A large-aperture 50mm prime lens is a must-have for serious full-frame camera users, and this is an excellent, affordable choice. The optical design is state-of-the-art for high image quality, and the large F1.8 maximum aperture can produce gorgeous background bokeh. On APS-C format E-mount bodies it provides equally high quality with an equivalent focal length of about 75mm.

Small, light, bright: a great normal prime. A large-aperture 50mm prime lens is a must-have for serious full-frame camera users, and this is an excellent, affordable choice. The optical design is state-of-the-art for high image quality, and the large F1.8 maximum aperture can produce gorgeous background bokeh. On APS-C format E-mount bodies it provides equally high quality with an equivalent focal length of about 75mm.

Small, light, bright: a great normal prime. A large-aperture 50mm prime lens is a must-have for serious full-frame camera users, and this is an excellent, affordable choice. The optical design is state-of-the-art for high image quality, and the large F1.8 maximum aperture can produce gorgeous background bokeh. On APS-C format E-mount bodies it provides equally high quality with an equivalent focal length of about 75mm.

Small, light, bright: a great normal prime. A large-aperture 50mm prime lens is a must-have for serious full-frame camera users, and this is an excellent, affordable choice. The optical design is state-of-the-art for high image quality, and the large F1.8 maximum aperture can produce gorgeous background bokeh. On APS-C format E-mount bodies it provides equally high quality with an equivalent focal length of about 75mm.

Small, light, bright: a great normal prime. A large-aperture 50mm prime lens is a must-have for serious full-frame camera users, and this is an excellent, affordable choice. The optical design is state-of-the-art for high image quality, and the large F1.8 maximum aperture can produce gorgeous background bokeh. On APS-C format E-mount bodies it provides equally high quality with an equivalent focal length of about 75mm.

Small, light, bright: a great normal prime. A large-aperture 50mm prime lens is a must-have for serious full-frame camera users, and this is an excellent, affordable choice. The optical design is state-of-the-art for high image quality, and the large F1.8 maximum aperture can produce gorgeous background bokeh. On APS-C format E-mount bodies it provides equally high quality with an equivalent focal length of about 75mm.

Small, light, bright: a great normal prime. A large-aperture 50mm prime lens is a must-have for serious full-frame camera users, and this is an excellent, affordable choice. The optical design is state-of-the-art for high image quality, and the large F1.8 maximum aperture can produce gorgeous background bokeh. On APS-C format E-mount bodies it provides equally high quality with an equivalent focal length of about 75mm.

Small, light, bright: a great normal prime. A large-aperture 50mm prime lens is a must-have for serious full-frame camera users, and this is an excellent, affordable choice. The optical design is state-of-the-art for high image quality, and the large F1.8 maximum aperture can produce gorgeous background bokeh. On APS-C format E-mount bodies it provides equally high quality with an equivalent focal length of about 75mm.

Small, light, bright: a great normal prime. A large-aperture 50mm prime lens is a must-have for serious full-frame camera users, and this is an excellent, affordable choice. The optical design is state-of-the-art for high image quality, and the large F1.8 maximum aperture can produce gorgeous background bokeh. On APS-C format E-mount bodies it provides equally high quality with an equivalent focal length of about 75mm.

Small, light, bright: a great normal prime. A large-aperture 50mm prime lens is a must-have for serious full-frame camera users, and this is an excellent, affordable choice. The optical design is state-of-the-art for high image quality, and the large F1.8 maximum aperture can produce gorgeous background bokeh. On APS-C format E-mount bodies it provides equally high quality with an equivalent focal length of about 75mm.

Small, light, bright: a great normal prime. A large-aperture 50mm prime lens is a must-have for serious full-frame camera users, and this is an excellent, affordable choice. The optical design is state-of-the-art for high image quality, and the large F1.8 maximum aperture can produce gorgeous background bokeh. On APS-C format E-mount bodies it provides equally high quality with an equivalent focal length of about 75mm.

Small, light, bright: a great normal prime. A large-aperture 50mm prime lens is a must-have for serious full-frame camera users, and this is an excellent, affordable choice. The optical design is state-of-the-art for high image quality, and the large F1.8 maximum aperture can produce gorgeous background bokeh. On APS-C format E-mount bodies it provides equally high quality with an equivalent focal length of about 75mm.