Zeiss Planar T* FE 50mm f/1.4 ZA Review

Zeiss Planar T* FE 50mm F1.4 ZA Performance

In terms of sharpness, it is difficult to see how any improvement could be reasonably made. Central sharpness borders on outstanding at f/1.4 and f/11 and is definitely outstanding at all the intermediate apertures, from f/2 to f/8. It remains excellent at f/16. In practice, this means all apertures are absolutely usable and the only effect of aperture is to adjust the depth of field.

The edges are slightly soft at f/1.4, but crisp up the being excellent at f/2 and f/2.8, outstanding at f/4 and excellent from f/5.6 through to f/16. Overall, f/4 is the sharpest and most even aperture across the frame, but the margin of difference is small and the standard very high indeed.

MTF Chart
 

How to read our charts

The blue column represents readings from the centre of the picture frame at the various apertures and the green is from the edges.

The scale on the left side is an indication of actual image resolution as LW/PH and is described in detail above. The taller the column, the better the lens performance.

For this review, the lens was tested on a Sony Alpha A7R II using Imatest.

CA (Chromatic Aberration) is very much under control, especially at the centre. In fact, centrally, figures are as close to zero as could possibly be expected from any lens. The edges do show some CA, but this only becomes apparent under extreme conditions. If it should be a problem, then correction in software can be applied.

CA Chart
 

How to read our charts

Chromatic aberration is the lens' inability to focus on the sensor or film all colours of visible light at the same point. Severe chromatic aberration gives a noticeable fringing or a halo effect around sharp edges within the picture. It can be cured in software.

Apochromatic lenses have special lens elements (aspheric, extra-low dispersion etc) to minimize the problem, hence they usually cost more.

For this review, the lens was tested on a Sony Alpha A7R II using Imatest.

Flare does have some effect and when shooting against the light there can be a drop in contrast. This is only observed where very bright light sources, such as the sun, are just outside the edge of the frame. In all normal circumstances flare is not intrusive at all.

There is a small amount of barrel distortion, measuring at -0.0271%, but this is really insignificant and an excellent result. Further correction could be applied in software, but is unlikely to be needed.

The bokeh of the lens is very smooth, and in the various bokeh shots we can see the almost perfectly circular aperture. The “character” of the lens is crisp and clean and it will suit a very wide variety of subjects. This is exactly what a “standard lens” should be.

Value For Money

The Sony Planar FE 50mm f/1.4 lens has a price tag of £1499, certainly not an insubstantial amount. There are though a large number of 50mm lenses on the market that we can use to see how this price relates to the overall situation.

Sacrificing a small amount of speed, FE format users could look at the Zeiss FE 55mm f/1.8 ZA Sonnar (£749), the Sony FE 50mm f/1.8 (£279), or the Samyang AF 50mm f/1.4 FE (£449).

Manual focus alternatives include the Samyang 50mm f/1.4 AS UMC (£309) and the Samyang 50mm T1.5 AS UMC Video lens (£439).

Just to put things in perspective, DSLR users would be looking at the Canon EF 50mm f/1.4 USM (£279), the Nikon 50mm f/1.4 G AF-S (£385) the SMC Pentax-FA 50mm f/1.4 (£339), and Sigma 50mm f/1.4 DG HSM Art (£570).

All of these lenses give very good or excellent results, so whether or not that £1499 is worth it to gain the impeccable performance of the new Sony lens is an individual choice. In the highest quality studio, fashion and advertising work then no doubt the choice will be clear. For more options have a look at the Top 27 Best Portrait Lenses.

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