Zeiss Batis 135mm f/2.8 Review

Zeiss Batis 135mm f/2.8 Apo Sonnar T* Performance

In a practical sense, the optimum aperture of the lens in terms of sharpness is any aperture from f/2.8 to f/16. Both centre and edge the performance is excellent. If we are to be pedantic, the peak is reached about f/4-5.6. There is an incredible degree of evenness, with the resolution figures almost neck and neck through the range. At f/22 performance is still even across the frame and can be described as very good, making this smallest aperture perfectly usable.

How to read our MTF 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 A7 using Imatest.


CA (Chromatic Aberration) is very low indeed as befits the Apochromatic description. Centrally, this is reduced almost to zero at all apertures and even at the edges there is remarkably little fringing. I doubt that further correction will normally be necessary, but there is always the option of doing this in software.

How to read our CA charts

Chromatic aberration (CA) 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 minimise the problem, hence they usually cost more.

For this review, the lens was tested on a Sony Alpha A7 using Imatest.

 

As with most telephoto designs, there is some pincushion distortion, measuring +1.42%, and this may well be noticed in critical work, perhaps particularly some architectural shots. It is unlikely to intrude much if at all in most general photography. If desired, it can be corrected quite easily either in-camera or in software.

Generally, there is little evidence of flare. When shooting directly into the light some loss of contrast can be seen, but there is no evidence of artefacts in the images.

Bokeh does become more of an issue with longer lenses in that it is so much easier to obtain beautiful out of focus backgrounds. Here we see some gorgeous gradation in those areas, especially useful for throwing portraits forwards in an image. The narrow depth of field makes the most of some extremely smooth bokeh.

Value For Money

The Zeiss Batis 135mm f/2.8 is priced at £1749, a high price reflecting the high quality.

If we look at the SLR marques, and this is where the Sony A7 series is arguably pitching its appeal, then we have very few 135mm lenses, almost all of them faster than the Batis.

The Canon EF 135mm f/2L USM costs £949. The Nikon AF 135mm f/2 D DC is priced at £1149. Sony A series cameras are served by the Sony 135mm f/1.8 Sonnar T* £1299) and the Sony 135mm f/2.8 STF (£1099).

This leaves three lenses, the Sigma 135mm f/1.8 DG HSM (£1399), the Samyang 135mm f/2 ED UMC Manual Focus (£369) and the Zeiss 135mm f/2 T* Apo Sonnar (£1599).

For more options have a look at the Top 12 Best Sony E / FE Mount lenses, or have a look at the Top 27 Best Portrait lenses.

 

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