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ZEISS IKON Planar T f 2 ZM 50 mm

girphoto

By girphoto
in Digital Forum

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girphoto

girphoto

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Has anyone used the ZEISS 50 mm f 2 T. I see that the price is about $800.

Before I use my 30% M8 discount for a new 50mm I would like to get feed back.

Thanks

Best

Gary

Gary I. Rothstein, Photography

 

P.S. attached is latest b&w with 1250 ISO of Shuttle Atlantis in the Vehicle Assembly Building getting ready for the next launch.

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cocker

cocker

Posted
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Gary,

 

I had one but recently sold it. I don't think it measured up to the 50mm Summicron that I also had. It was not as sharp and had lower contrast. It also wore very badly. the paint finish began to brass very quickly and didn't look too good. I bought the Summicron second hand for about the same as I paid for the Zeiss new.

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wilfredo

wilfredo

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I actually preferred the Konica Hexanon M to the older version Summicron. Here are some M8 shots with the Hexanon. These are only available used but an incredible value.

 

Cheers,

Wilfredo

Benitez-Rivera Photography

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kdemas

kdemas

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All,

 

I have used the Contac G2 45mm 2.0 Planar, more or less the same lens I understand, and it is pretty spectacular. Not "better" than my 50 Summicron, Noct or Elmar.... just different. The colors tend to be a bit colder but there is an impression of extreme sharpness.

 

I have the Zeiss ZM 24mm and it's quite a lens. All that said, it's all a matter of personal taste. My favorite 50 - the Anistigmat on my O-series.

 

Enjoy!

 

Kent

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larry

larry

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Gary,

 

I'm quite taken by your shuttle photos, but the last one appears to have some horizontal banding coming off the lights. Sorry to be so overly picky, but this is one of those infamous M8 problems that was supposed to have been solved -- although it could be something else. (I haven't seen this happen with my M8, though.)

 

Larry

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girphoto

girphoto

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Hi All

Thanks to all that responded, This is one of the first M8's to arrive in the USA and I hve not yet sent it back to Germany for updating.

This images is the first I shot that had the Banding.

 

Since I never use or buy second market lenses (I shoot CANON for all of my assignments) and starting to carry the M8 with me where ever I go, I thoughht that since ZEISS (who always had a good name) might have produced a new set of lenses that stand up to others in Quality.

 

Sean, If you could let me know when your analysis of the 50's are complete, I would be very interested in reading it.

 

We at Kennedy Space Center are now into all Pre-Launch activities and If interested I will post other images taken during this time.

 

Attached are a few images of the world press waiting for the Broward County, Florida Medical examiner to post his findings on the death of Anna Nicole Smith.

Gary

Gary I. Rothstein, Photography

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sean_reid

sean_reid

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Hi All

T

Sean, If you could let me know when your analysis of the 50's are complete, I would be very interested in reading it.

]

 

Hi Gary,

 

I'm hoping the article on the 50s will be ready sometime next week. There's a review already on the site about three 50s (Leica, Zeiss, CV) on the R-D1 and that will give you a good starting sense of how they compare.

 

Cheers,

 

Sean

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robsteve

robsteve

Posted
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I just shot my 50mm Summicron with coding enabled and then disabled. With coding enabled, there is some vignette correction applied.

 

I don't think it matters what brand of lens you use, coding will probably help from 50mm and down. It may even help with some of the 90mm lenses that vignette a bit wide open.

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Jamie Roberts

Jamie Roberts

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Ah, I'm waiting for Stephen Gandy (from CameraQuest) to come back from vacation, then I'll get an Oly to M adapter and use this old "rare earth" (yes, the element has some trace radioactivity, evidently) Oly OM 50 1.4 I've got. It was a very cool lens on the Canon, though, oddly enough, has some barrel distortion.

 

But it's still a really pleasing lens in the way it draws, especially opened up! I got in on eBay for, I think, $50 USD ;)

 

Sean--any preview opinion, on the CV 50-ish lenses?

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sean_reid

sean_reid

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I just shot my 50mm Summicron with coding enabled and then disabled. With coding enabled, there is some vignette correction applied.

 

I don't think it matters what brand of lens you use, coding will probably help from 50mm and down. It may even help with some of the 90mm lenses that vignette a bit wide open.

 

Hi Rob,

 

Some of the 50 lenses do better (under some conditions) with the coding off, including the 50 Summicron. This based on careful testing of vignetting and cyan drift.

 

Cheers,

 

Sean

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sean_reid

sean_reid

Posted
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Ah, I'm waiting for Stephen Gandy (from CameraQuest) to come back from vacation, then I'll get an Oly to M adapter and use this old "rare earth" (yes, the element has some trace radioactivity, evidently) Oly OM 50 1.4 I've got. It was a very cool lens on the Canon, though, oddly enough, has some barrel distortion.

 

But it's still a really pleasing lens in the way it draws, especially opened up! I got in on eBay for, I think, $50 USD ;)

 

Sean--any preview opinion, on the CV 50-ish lenses?

 

Sure...the CV 50/1.5 knocks the ball out of the park and, with 1.09, does better uncoded, so it is plug and play. Don't want to give away the whole article and I'm in the middle of writing it anyway.

 

Should I publish the very rough draft 50s article tonight? It has the res tables, vignetting and cyan drift charts but still needs much work. Anyone in a hurry to know about the 50s or is next week just fine?

 

Cheers,

 

Sean

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gurtch

gurtch

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Sure...the CV 50/1.5 knocks the ball out of the park and, with 1.09, does better uncoded, so it is plug and play. Don't want to give away the whole article and I'm in the middle of writing it anyway.

 

Should I publish the very rough draft 50s article tonight? It has the res tables, vignetting and cyan drift charts but still needs much work. Anyone in a hurry to know about the 50s or is next week just fine?

 

Cheers,

 

Sean

 

I vote for a draft.....will you include the ZM 50mm f1.5? I am very interested in this lens, as I bought it as an inexpensive alternative to the 50mm Leica f1.4 ASPH. Over on LL, MR and another tester stated this lens was very very "soft" wide open, and stopped down several stops. Zeiss said it was a conscious design point to recreate the "dreamy, glowing" look of early 1930s glamour movie poster look. Be interested in your opinion. No, I have not yet used mine wide open. Lazy I guess.

Thanks

Dave

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sean_reid

sean_reid

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I vote for a draft.....will you include the ZM 50mm f1.5? I am very interested in this lens, as I bought it as an inexpensive alternative to the 50mm Leica f1.4 ASPH. Over on LL, MR and another tester stated this lens was very very "soft" wide open, and stopped down several stops. Zeiss said it was a conscious design point to recreate the "dreamy, glowing" look of early 1930s glamour movie poster look. Be interested in your opinion. No, I have not yet used mine wide open. Lazy I guess.

Thanks

Dave

 

Hi Dave,

 

Yes, that lens is in the set: Leica 50/1.4 Aspherical, Leica 50/2.0, Zeiss 50/2.0, Zeiss 50/1.5 and CV 50/1.5. I'll see what I can do with the draft.

 

Cheers,

 

Sean

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scott kirkpatrick

scott kirkpatrick

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Sean, I'd love to see the draft as well. Vignetting in the longer lenses is much more a matter of the lens barrel cutting off parts of the aperture when wide open, rather than a gradual effect. So if Leica is really using the little blue dot to tell when a little extra correction is required, it should turn on quite suddenly. It will be interesting to see if the aperture dependence for a 50's vignetting correction when lens detection is enabled is different from what you've been seeing for the 28-and-unders. I wish you had a Noctilux in your test set. Leica publishes the vignetting curves (b/w only) for all their lenses. There is a wide range of variation in the shape of the curves, and the aperture dependences. The Noctilux is an extreme example. Vignetting at the edge of the M8's frame goes from less than 10% at 2.8 and above to 60% at 1.0.

 

I got the CV50/1.5 a while back on your recommendation, and like it a lot. But I don't use it too much, since it is a sort of weak telephoto. I noticed a while back that when you used wedding shots for an article, you presented one take from the 50 and all the rest were 28's.

 

cheers,

 

scott

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sean_reid

sean_reid

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Hi Scott,

 

I'm working on the draft right now and trying to get it into a form I'm willing to publish (even as a draft). There's always so much to do. I'll test the Noctilux on its own as it really is a unique lens. Some may use it as a all-arounder 50 but that's not really what it is.

 

You're right about the wedding pictures. I personally tend to be happiest with the 24 - 35 range on the M8 but that's very much a personal preference. At that wedding, I had a 50 on one body and a 28 on the other and the 28 body made most of the pictures. Once you see the Nokton results, I think you'll be happy you made that (very reasonable) investment.

 

Soon, you'll be introduced to "red drift".

 

Cheers,

 

Sean

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sean_reid

sean_reid

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OK, the working draft is up. Its fairly complete save for general illustrations (misc. pictures with the lenses) and the section on OOF rendering. Lots to think about for those who are interested. Leica 50/1.4 Aspherical, Leica 50/2.0, Zeiss 50/2.0, Zeiss 50/1.5 and CV 50/1.5

 

Cheers,

 

Sean

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