| Article Index |
|---|
| Zeiss Contax MTF Comparison |
| 35mm Comparison |
| 50mm Comparison |
| 70-100mm Comparison |
| All Pages |
Lenses compared at 50mm:
• Carl Zeiss 28-85mm f3.3-4 Vario Sonnar at 52mm
• Carl Zeiss 35-70mm f3.4 Vario Sonnar at 50mm
• Carl Zeiss 35-135mm f3.3-4.5 Vario Sonnar at 48mm
• Carl Zeiss 50mm f1.4 Planar
• Carl Zeiss 50mm f1.7 Planar
• Carl Zeiss 60mm f2.8 Makro Planar 1:1
| 28-85mm | 35-70mm | 35-135mm | 50 / 1.4 | 50 / 1.7 | 60 Makro | ||||||||
| A | B | A | B | A | B | A | B | A | B | A | B | ||
| f1.4 | | | | | | | 6.6 | 4.8 | | ||||
| f1.7-2 | | | | | | | 8.1 | 5.3 | 8.0* | 6.0* | |||
| f2.8-3.5 | 7.8* | 7.0* | 9.0* | 6.0* | 8.6* | 7.0* | 8.8 | 7.2 | 9.0 | 7.4 | 8.9 | 6.0 | |
| f4 | 8.0* | 7.9* | 9.0* | 6.0* | 8.7 | 7.6 | 9.0 | 7.9 | 9.1 | 8.0 | 9.0 | 6.6 | |
| f5.6 | 8.4 | 7.9 | 8.9 | 8.2 | 8.4 | 8.1 | 8.9 | 8.4 | 9.0 | 8.4 | 9.0 | 7.2 | |
| f8 | 8.3 | 8.0 | 8.6 | 7.9 | 8.2 | 8.0 | 8.7 | 8.5 | 8.7 | 8.4 | 8.7 | 7.6 | |
| f11 | 8.0 | 7.8 | 8.1 | 7.7 | 7.8 | 7.6 | 8.3 | 8.3 | 8.3 | 8.1 | 8.2 | 7.5 | |
| f16 | 7.5 | 7.4 | 7.5 | 7.2 | 7.2 | 7.0 | 7.9 | 7.8 | 7.7 | 7.7 | 7.6 | 7.0 | |
| f22 | 6.8 | 6.6 | 6.4 | 6.4 | 6.4 | 6.0 | | | | | 6.8 | 6.3 | |
| Distortion | +1.0% | -0.5% | +3.0% | -2.5% | -2.0% | +0.4% | |||||||
| Vignetting | 0.20 | 0.25 | 0.50 | 0.8 | 0.85 | 0.70 | |||||||
* Zeiss 28-85mm tested at f3.3 and f4.
* Zeiss 35-70mm tested at f3.4
* Zeiss 35-135mm tested at f3.5
* Zeiss 50mm f1.7 tested at f1.7
Note here how the green markers have migrated away from the 35-70mm and towards the primes, which squabble among themselves for the lion's share of the plaudits at 50mm. The cheapest of them all – the Zeiss 50mm f1.7 – breaks the Zeiss 21mm ceiling by recording a stellar figure of 9.1 at f4 in Zone A. Actually, though, there's little difference between the best at most apertures: the slower 50mm prime is a hair less sharp than the f1.4 at f2 centre frame, but notably sharper in the corners; at f2.8, the f1.7 Planar is better overall. However, the f1.4 performs so strongly across the board that, combined with its extra speed and more attractive bokeh – and despite its relatively severe barrel distortion – it retains its premier status.
The surprise, perhaps, is a slightly weak showing from the 60mm f2.8 Makro, which enjoys urban legend status as the sharpest lens ever. In fact, its Zone B/C performance lags behind its more mundane siblings . . . at this subject distance. In reality, at close range, the 50mm primes struggle to deliver the sharp corners they draw at distance. Though the 35-70mm wins few green marks at 50mm, its performance remains excellent: actually peaking wide open centre frame here. The only lens that can't be recommend quite as strongly at this focal length is the 35-135mm.
