Today I’m looking at another Carl Zeiss lens from the Milvus series—the 35mm f/2. A lens that is popular for street, travel, and everyday photography. As Zeiss’s final DSLR-era lineup, the Milvus lenses benefited from decades of optical experience, aiming to deliver high image quality in a more practical, less bulky package than the no-compromise Otus line. I was impressed by the Milvus 21mm’s build and manual handling. Let’s see how it performs.
Zeiss Jena designed the first Pancolar 50mm with a maximum aperture of f/2 in 1960, partly to offer a faster and better-performing alternative to the Tessar 50mm f/2.8. As competitors began designing and releasing standard 50mm lenses with f/1.8 apertures, Zeiss found it necessary to respond with a lens of similar specification. The result was the Pancolar 50mm f/1.8, which was designed and produced starting in 1964. It was considered one of the best lenses of its era and remains quite popular today. When this lens was around, I was using Japanese cameras and lenses, so I’ve often wondered whether it was better than what I had. Let’s see how it actually performs by modern standards.
Zeiss Milvus 25mm 1.4 via Sigma MC-11 on Sony A7rII
About a year after the release of the Zeiss Otus 28mm 1.4 Distagon – to the surprise of many – Zeiss released this Zeiss Milvus 25mm 1.4 Distagon. Almost as complex optical design, almost as big, almost as heavy, but “only” half the price – making it the most expensive lens of the Milvus lineup. What are you giving up in terms of performance compared to the 28mm Otus? Let’s try to find out in this review.
Martin recently reviewed Lomo’s replica of a Petzval lens. I commented, perhaps slightly snidely, that vintage Petzval lenses are still around, often for less money, and often with better centre sharpness – and certainly with a vast choice of models and thus rendition nuances.
Martin suggested I share my knowledge in an article. And like an inverse Spice Girl, one became two. This one seeks to introduce you to the weird magic of Petzval lenses and their widespread availability from old cinema film projectors. The next will look at adapting them, and indeed any old projection lens, to a modern-day camera.
So here we go, I guess.
All pictures were taken on full-frame evils: a Sony a7r2 and an a7cr. Some were cropped; all were adjusted for proper blacks and whites according to ancient darkroom principles. None had additional sharpening or aberration correction applied.
Sample Images
Meyer Görlitz Kinon Superior 50/2.2.Meopta Meostigmat 50/1.3, 617-inspired 1:3 crop out of 3:2 full frame image.Meyer Görlitz Kinon Superior 50/1.6 – A characteristic of Petzval lenses is the swirly bokeh, which also results in lentilesque distortion of highlights (some call it cat’s eyes; you’d need a pretty deformed cat to see that analogy).Meopta 50/1.3The Meyers date from the 1930s! This 50/1.6 cost someone 6 pound sterling in 1938, according to an old advert.
Zeiss offered a wide variety of manual focus lenses for Nikon F-mount and Canon EF. Many of these lenses have been famous not only for being purely manual focus lenses, but also for being pretty big compared to the competition. Sitting inbetween the huge Zeiss 15mm 2.8 and 21mm 2.8, this Zeiss 18mm 3.5 was Zeiss’ “compact” ultra wide angle prime. It also has a reputation for being the worst of them, is that justified? Let’s find out in this review!
Sony α | Leica M | Nikon Z/F New articles every week
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I tested this lens on a 46 Mp Nikon Z7ii (Sample images were taken with a Nikon Zf)
You can see this review as a YouTube video here!
Sample images in high resolution here.
