Lenses (Manual Focus)

Zeiss Optics + Specialized

For nature hikes, I much prefer to use manual-focus glass for wide-, close-, and mid-range use. Truly precise manual-focus (MF) lenses, with well-dampened focus rings, create a more intimate photographic experience, and they (almost without exception) offer superior build quality, focus throw, and results, than do most of today’s plasticky AF lenses.

Zeiss lenses are the finest MF optics available in the Nikon mount. While the newer Otus optics are the epitome of this, they are too heavy and fragile for serious nature hikes in rough terrain. While the new Milvus optics are excellent also, aesthetically I prefer the ‘Classic’ Zeiss lenses, with their all-metal construction, over the newer ‘Milvus’ version, with their cheap rubber-bands for focus rings. Classic Zeiss glass not only perform at a superb level, they provide an inner satisfaction to implement and own.

For similar reasons, I prefer MF lenses for serious macro work as well. The legendary Voigtländer 125mm f/2.5 APO Lanthar Macro is my go-to lens for standard macro needs in the field. Manufactured by Cosina (who, btw, is also the actual manufacturer of all Zeiss glass), the Voigtländer 125mm f/2.5 APO Lanthar offers a level of control and precision ‘common’ macro lenses can’t. Speaking of macro, all of the Zeiss lenses I own reverse, to become ‘super-macro’ lenses in their own right.

Here is my MF lens lineup today:

Voigtländer 125mm f/2.5 Apo-Lanthar Macro SL

The Connoisseur's Macro Lens

This is the overall finest macro lens ever made, for artistic macro imagery in the field, despite being over 15 years old. It is a collector’s item for this reason and is highly-sought-after by macro connoisseurs. The Voigtländer 125mm f/2.5 Apo-Lanthar is renowned for its subtle color rendering, its very low chromatic aberration, and for producing a “3D-effect” compared to today’s modern ‘plastic macros.’ Its greatest use is for focus-stacking, live in the field, because it has 630° of focus throw, which is more than triple the precision of current AF macro lenses. The Voigtländer 125mm f/2.5 makes a particularly great short-telephoto lens as well. The “CV” (Cosina- Voigtländer) 125mm has an interesting history behind it for those who’d like to learn more about it. If you’re serious about your macro work, and especially if you like to stack in the field—and if you desire the finest bokeh possible—then I highly-recommend this lens over today’s commercial macro options.

Find on Ebay: Voigtländer 125mm f/2.5 APO-Lanthar Macro

ZEISS Makro-Planar T* 50mm f/2 ZF.2

As sharp as sharp gets ...

This lens is the sharpest, classiest 50mm macro lens available for Nikon shooters. With 330° of focus throw, it is also the most precise. A “jack-of-all-trades,” with very smooth bokeh–as well as good CA control–the Zeiss Makro-Planar T* 50mm easily substitutes as a portrait lens also. I tried many Micro-Nikkor 55mm iterations (fine lenses, optically), but their designs felt more like children’s toys rather than serious professional instruments. By contrast, the Zeiss Makro-Planar T* 50mm radiates class, and its rich image-rendering and micro-contrast simply stand out. Though not as light as the Micro-Nikkors, the minor additional weight to carry this superior optic with me is more than worth it.

This lens can also be reversed to achieve 1.4x magnification as a super-macro lens.

Find on @ Ebay: Zeiss Makro-Planar T* 50mm f/2 ZF.2

Zeiss Distagon T* 25mm F2.8 ZF.2

The Most Useful Wide on Earth

There are two “Classic Zeiss Distagon T* 25mm lenses”: the f/2.8 and the f/2.0. Almost every “lens rating site” will discredit the f/2.8 version and laud the f/2.0 … for the simple reason the f/2 has better “corner sharpness.” What the review sites don’t tell you (because they’re run by nerds, not photographers) is, while the f/2.8 version may be weaker in the corners, it is just as good in the center. More importantly, the 2.8 version has a 1:2 reproduction ratio (compared to a 1:6 reproduction ratio in the f/2), as well as a 6.69″ minimum focusing distance (compared to a 9.84″ MFD in the f/2). Finally, the 2.8 version has 330° of focus throw, for precision-focus, compared to 120° of focus throw in the f/2. The takeaway is this: if you’re a pure landscape shooter, then yes, the f/2 version may be the superior choice. However, if you’re a multi-dimensional wildlife shooter, particularly if you’re into macro (flowers/insects), then you don’t care about ‘corner sharpness,’ as much as intimate proximity, so the f/2.8 version will be the clear choice for you … as it was for me.

This lens can also be reversed to achieve 2.7x magnification as a super-macro lens.

Find on eBay: Zeiss Distagon T* 25mm F2.8 ZF.2

Zeiss Distagon T* 21mm F2.8 ZF.2

With this lens, I have replaced the last of my old Nikkor AI-S manual-focus lenses with Zeiss ‘Classic’ MF equivalents. The reason I have dropped Nikkor MF glass for Zeiss MF glass is both due to superior image quality as well as more flexibility that I get with the Zeiss. For example, the old 20mm Nikkor AI-S allowed me to come up to 9.84″ (for only .12x magnification), while the 21mm Zeiss Classic allows me to come up to 8.66″ (for .2x magnification)—producing superior resolution, color, and contrast the process. I do miss the lighter-weight of the Nikkor AI-S lenses while hiking; but the image quality + added versatility I get back from these Zeiss upgrades is more than worth the trade-off.

This lens can also be reversed to achieve 3.9x magnification as a super-macro lens.

Find on eBay: Zeiss Distagon T* 21mm F2.8 ZF.2

Zeiss Distagon T* 15mm f/2.8 ZF.2

The Finest Ultra-Wide-Angle Prime

This is the first Zeiss lens I bought. Almost immediately, with the traditional Zeiss design (all-metal/glass), I realized the “Classic Zeiss Distagon T* 15mm f/2.8” lens was an investment into a great era gone by. Optically, it has been the sharpest, cleanest-rendering wide-angle lens for many years, and it remains a benchmark in resolution and micro-contrast in its class, even today. The 15mm focal length is wider than I normally prefer to go, but I do use it for my work as an investigator, photographing interior/exterior scenes of accidents and/or crimes. It also offers an advantage as a landscape lens, when you “just can’t get enough in,” with the extra bonus of a 9.9″ close-focusing distance for unique perspectives. The quality of its rendering, and its incredible resistance to flare (for a lens this wide), put the Zeiss Distagon T* 15mm in a league of its own.

Find on eBay: Zeiss Distagon T* 15mm f/2.8 ZF.2