REVIEWS - Zeiss "Classic" 50mm F2 Makro-Planar ZE

OVERVIEW

The newly released Zeiss "Classic" 50mm F2 Makro-Planar ZE is the same lens optically as the the ZF version for Nikon released a couple years ago. For Canon owners the key differences in the ZE mount are: automatic aperture operation, complete EXIF data, focus confirmation and no need for third party lens adapters. Using a Zeiss ZE lens is like using any other Canon manual focus EF lens - aperture is set via the controls on the Canon camera body, EXIF data shows the lens and exposure information - including the aperture selected, focus confirmation beeps and so on. The Zeiss ZE’s work on all EF and EF-S dSLR bodies.

BUILD QUALITY

After spending several years shooting with the Leica M8 and Leica M9, it is easy to grow accustom to Leica’s build quality. Leica lenses are known for tight tolerances, smooth focus action, lightly dampened focus rings and high grade materials. I am happy to write that the Zeiss 50mm F2 Makro-Planar ZE’s build quality and materials feel as a good Leica lens.

The focus scale and macro magnification markings are engraved on the lens barrel. The knurling on the focus ring is very fine. It is likely that finger oil and dust will accumulate in the ridges, so wiping down the lens with micro fiber lens cloth is good preventive maintenance.

Compared to the Canon EF 50mm F1.4 USM, the Zeiss 50/2 ZE is not a light lens. Part of the weight difference is the all metal barrel construction. Also the Zeiss 50mm F2 Makro-Planar ZE employs a floating element design, so there are 8 elements. A typical kit 50mm lens has around 6 elements.

The front lens cap tends to pop off as the lens is pulled out in placed into the camera bag. A half twist helps to “lock” the cap into the filter threads.

HANDLING

When focused at infinity (the lens’ shortest barrel length), the 50/2 ZE balances nicely on the Canon 1Ds Mark III. At the infinity position the lens is relatively compact - about the size of the Canon 35L. At 1:2 magnification the 50/2 ZE is about 1.5 inches longer. Being a macro lens, the added length is expected, but it does shift the balance. The 50/2's size and mass become more noticeable.

The front element is recessed very deep. With the front element being so deeply recessed, I am not sure if the lens even needs its hood except in extreme lighting conditions. Thus far I have been shooting the 50/2 ZE without a hood and have not encountered any lens flare with the sun to my back or side. A metal lens hood is included. To attach the hood, it rotates into place and locks into position with metal spring clips.

The 50/2 ZE’s focus ring turns smoothly, but feels stiffer than 28/2 ZE and 21/2.8 ZE. Both the Zeiss 50/2 ZF and 100/2 ZF are infamous for their stiff focus rings, and it appears the 50/2 ZE continues the family tradition. A stiff focus ring makes one more aware of the long focus throw when racking the lens.

MANUAL FOCUS

Like the other ZE lenses, the focus ring is well positioned. The ring is about a half inch wide and easy to find by touch. Focus confirmation works fine with the 1Ds Mark III. he Canon focus points cover an area larger than the specific point on the focus screen, so whether focus confirmation beeped for the exact point for where focus was intended may or may not be the case. If shooting at extreme close distances, Live View is more exact.

The focus confirmation beep puts focus in the right right area, but hitting the exact point takes added effort. The 50/2 ZE’s long focus throw can complicate matters. First, going from one end of the range to the opposite end takes several twists. Next, once the focus is in the right range, deciding whether focus should be tweaked forward slightly, or backed-off by a hair can be difficult to judge. Again, Live View can make the focus process much easier when trying to “nail” focus.

Racking the focus from infinity to the minimum focus distance is almost a full turn of the focus ring (about 330º of rotation). The focus throw when focusing from 1M to Infinity is only about 30 degrees of rotation, so for normal walk-around pictures, the focus throw is a normal amount of distance.

PERFORMANCE

The Zeiss 50mm Makro-Planar ZE’s sweet spot is wide apertures at close distances. Under those conditions the 50/2 ZE delivers shallow DOF, highly abstracted bokeh, a sharp, pronounced focal plane, and bold, contrasty colors. The amount of fine detail is amazing. The Zeiss 50/2 ZE renders those images in lovely with colors and contrast that I really like. I have seen the usual Zeiss chromatic aberrations (CA) in the bokeh. The CA has not been objectionable and the focus plane is essentially CA free.

In my opinion the 50/2 ZE’s standout features are its sharpness, resolution and bokeh when focusing at close distances. Light fall-off in the corners in minimal and is a non-issue around F4. Likewise, the corners are a tad soft F2, and by F2.8 to F4.0 they are quite sharp. CA is well managed. There be a slight touch of pincushion distortion. I have seen no signs of focus shift. The 3D pop is there from time to time, but it really depends on the scene, lighting and aperture. In the 3 to 5 foot range the 50/2 ZE has a nice 3D feel. Starting around 10-15 feet, the 3D feel slips away.

CONCLUSION

Similar to the Zeiss 28mm F2 Distagon ZE, the 50mm Makro Planar’s signature / fingerprint is most apparent at close focusing distances. For landscape work at mid distances and infinity, the Zeiss 50mm F2 Makro-Planar performs admirably, however, its fingerprint is less distinctive. If trying to decide between the Zeiss 50mm F1.4 Planar ZE and the Makro-Planar ZE, I have no love for Zeiss 50mm F1.4 Planar ZE because its wide open sharpness was very poor and exhibited moderate focus shift.

The Zeiss 50mm F2 Makro-Planar ZE is a definitely a high performing lens and I would probably like it much more if were a regular 50mm and NOT a macro lens. As a walk-around lens, it performs well and I have enjoyed the lens. However, the “macro” part adds weight and size. And for casual use that is some extra weight I could do without.