First Exposure: Updated Lenses from Carl Zeiss

As Carl Zeiss released new manual focus lenses for SLRs over the last few years, they have been unanimously praised by users and reviewers (including myself) for the quality of both the manufacturing and the optics. With mounts for Nikon (compatible as far back as the Nikon F), Canon EOS, Pentax K mount and M42 screwmount bodies, they ranged in focal length from 18mm to 100mm. My only criticism of the Nikon-mount ZF lenses that I tested was their lack of an internal CPU, which limited the exposure modes to manual and aperture priority on the latest camera bodies, limited the available metering modes and didn’t pass EXIF data to the camera.

The ZF.2 series, the latest lenses released for Nikon bodies, now contain the missing CPU. While still manual focus, the updated lenses support all of the exposure and metering modes of modern Nikon bodies and pass on EXIF data including lens manufacturer, focal length, metering system and aperture setting to the camera.

To use the latest lenses in all of their available modes, they, like non G-series Nikon lenses, must be locked to their minimum aperture. Zeiss provides a recessed round button for this that I never released accidentally, unlike my experience on occasion with my Nikkors. The lenses can also be used on earlier model Nikons also (Zeiss provides a compatibility chart on their Web site). However, the meter coupling prong that limits its meter coupling on some of the earliest Nikon bodies has been removed from the lens.

Zeiss ZF.2 lenses are currently available in six focal lengths: 18mm f/3.5, 21mm f/2.8, 35mm f/2, 50mm f/1.4, 50mm f/2 Macro and 85mm f/1.4. The Distagon T* 28mm f/2 ZF.2 and the Makro-Planar T* 100mm f/2 are coming soon. Zeiss is reworking the Distagon T* 25mm f/2.8 ZF and the ZF.2 model will not be available until later in 2010.

The ZF.2 lenses share all of the best qualities of the original ZF line. The silky smooth focusing rings provide long rotations for more accurate focusing. The aperture ring includes half-stop detents that click firmly into place between all aperture settings except the one between the minimum aperture and the next to minimum aperture. Zeiss says that this is done to guarantee “reliable recognition of the automatic setting.” The extensive use of metal in the lens construction gives them the look, feel and weight of classic Nikkors. The aperture and focusing rings rotate in the same direction as Nikon lenses. Even the markings are engraved and filled with white paint—no silk-screening here. Zeiss has incorporated an improved T* anti-reflection coating and a nine-bladed aperture for an almost perfectly circular diaphragm, guaranteeing pleasing bokeh for photographers who desire it.
Zeiss generously allowed me to test the 18mm, 21mm, 50mm Macro and 85mm lenses. I shot them on a D2X (APS-C sensor), D700 (full-frame sensor) and F100 (film camera).

The image quality was outstanding, no matter what the camera body. Color rendition was amazingly uniform with all of the lenses and I was happy to have EXIF data to distinguish between captures with the 18mm and 21mm on the digital SLRs.

What I didn’t have available was a Nikon body with video capability, but a few words on this subject are appropriate with many photographers moving to video. Given that video-capable Nikon DSLRs do not support autofocus, manual focus lenses are no hindrance and are an advantage in many ways. For example, the focusing ring on autofocus lenses has no definite stop either at infinity or the minimum focusing distance, making it impossible to get a feel for the amount of turning that is need to cover the range. ZF.2 lenses stop precisely at these end points and the long rotation and silky-smooth action of the Zeiss focusing rings makes smooth, precise focusing easy.

As you become more comfortable shooting video, you either measure out distances from the camera or become expert at estimating them and transferring that information to the lens. So the wider spaced the distance marking on the lens barrel and the longer the rotation from minimum focusing distance to infinity, the more precise your focus will be. The focusing ring on my 17–35mm Nikkor moves through less than 90 degrees (hard to tell precisely) from infinity to minimum focus, while the ring on the 21mm ZF.2 moves through 120 degrees without a hint of play. ZF.2 lenses are definitely what you need for digital video as well as the highest quality still captures with your Nikon.

Distagon T* 18mm f/3.5 ZF.2
This lens is a more than worthy replacement to the 18mm f/2.8 Nikkor that was removed from the Nikon line a few years ago. Lens flare or lowered contrast from light sources within or just outside the field of view was never an issue despite the angle of view and complex optical design, even with the sun reflecting off the corner of a stainless steel-clad building.

With a minimum focusing distance of just under 12 inches (giving a 1:12 reproduction ratio), you can use it to create dramatic perspectives. But, by carefully leveling your camera, you can also achieve dramatic wide-angle interiors with negligible distortion. Wide open there is some vignetting at the edges that disappears by f/5.6. And as you might expect, at f/22 diffraction takes its toll on sharpness, as it does with the 21mm. If I had to make a choice between it and the 21mm, I would probably choose the 18mm for its shorter physical length, lighter weight and slightly wider field of view, despite its 2/3-stop slower speed and theoretically lesser optical performance. MSRP: $1395.

Distagon T* 21mm f/2.8 ZF.2
For truly dramatic perspective, the 21mm f/2.8 focuses to less than 9 inches for a reproduction ration of 1:5. While I was walking around with this lens mounted on my F100, I spotted an interesting looking manhole cover made in India (see top left of pg. 140). Setting the lens on its minimum focusing distance I bent down to take the shot, but everything was out of focus because I wasn’t nearly close enough. I ended up on my knees with the lens inches off the ground to finally make the shot.

While it can share the same flower-petal lens hood with the 18mm, the 21mm lens is heavier and much longer, though somewhat slimmer. Optically, I’m convinced it is the highest performing ultra wide-angle lens ever produced by any lens manufacturer. Zeiss has designed it using glass types with abnormal partial dispersion and high refractive index to deliver images without color fringes right to the edges, even at f/2.8. Color, sharpness, lack of distortion and absence of color fringing make the 21mm the standard to which other lens designers should aspire. MSRP: $1732.

Makro-Planar T* 50mm f/2 ZF.2
Much of my commercial work involves close-up and macro photography, now using digital SLRs, so I was really excited to get my hands on this lens that is a full stop faster than my Nikkor. So imagine my disappointment to find that it only delivered a maximum magnification ratio of 1:2 rather than 1:1. Now I lived with that for years with my old 55mm f/2.8 Nikkor, but it came with an extension tube to get me to 1:1. The Zeiss lens does not.

I was willing to forgive Zeiss for this once I saw digital captures with this lens on my monitor. The image was sharper than any close-up capture I had ever made with my Nikkors. Image quality is excellent from close-up to infinity. I have always used my Macro Nikkors as my “normal” focal length lens, never owning a conventional 50mm lens. You could certainly do that with this Zeiss lens with its fast maximum aperture, close-focusing capability and superb sharpness. MSRP: $1283.

Planar T* 85mm f/1.4 ZF.2
For studio or location portraiture, you couldn’t go wrong with this lens, whether you’re shooting film, an APS-C digital camera or a full-frame digital. There is a quality (not softness but something that is just really pleasing) at f/1.4 and f/2 that sets this lens apart from other 85–100mm lenses I have used. From f/2.8 to its minimum aperture of f/16, it is superbly sharp at all but closest focusing distances and seemingly totally free of distortion. Even though it is a moderate telephoto, perspective doesn’t appear flattened, producing images with a three-dimensional quality. I just wish it focused closer than head and shoulders so I could do really frame-filling headshots.

It is a large-diameter lens, of course, but it doesn’t seem as heavy as it is because it is so well balanced. With the wide maximum aperture, that silky-smooth focusing ring and nearly 270 degrees of turning from minimum focusing distance to infinity, subjects pop in and out of focus dramatically. You’ll need a steady hand and a high shutter speed, or a flash or a tripod, to deliver consistently sharp images wide open. MSRP: $1283.

The ZF.2 lens line builds on the reputation that Zeiss has always had for the finest build quality combined with outstanding optical performance. By adding a CPU to the ZF line, the updated ZF.2’s should appeal to even more photographers searching for the finest lenses available today.

Stan Sholik is a contributing writer for NewsWatch Feature Service. He is also a commercial photographer with over 30 years of large-format studio and location experience.