Carl Zeiss 45mm 1:2.8 C/Y – final conclusion
Usually, pancakes aren’t gems and top-performers, they are about small size and convenience. This type of lenses with optical scheme 4el.3gr and 45mm 1:2.8 is very old, well known, and many companies have created “true pancakes” based on this design. (I mean really thin lenses). What about Tessar at all – it has been introduced by the Carl Zeiss company in 1902, so, if you interested – start to dig from Wiki.
Our reviewed current Zeiss is a typical pancake and has a few nice and a few poor traits:
- It has an average IQ because of bad corners. They stay bad even at F8.0
- On the other hand, the middle and center are very good and it makes this lens suitable for cropped-cameras
- But don’t expect the same “thin”-exterior on mirrorlesses – the flange focal distance of Contax C/Y is 45.5mm it means that the height of an adapter, for example, for Sony-E should be 27.5mm
- The lens is not very fast, it starts from F2.8 and becomes good at F4
- Most of the aberrations display some expected behavior for near-fifties. Just the vignetting looks higher than usual, but nothing critical for modern digital cameras
- Bokeh is a very subjective material and I think that here it is definitely not bad – enough smooth in the center and has elements of “swirly”-type, it looks like a bonus from problems in corners
Obviously, any cheap near-fifty will be better. But, as it was said above – this average IQ is the payment for the small sizes.
The main reason to get this lens – it looks very sexy on a film camera (I don’t have Contax to show it, sorry, Google may help). The second reason – it is really small and able to save a couple of centimeters on your digital set. And it is demanded on cropped-cameras at least because it is still faster than modern collapsible kit-zooms.
Can it be recommended as a near-fifty standard lens? No. Probably, for cropped cameras, but mostly – no. There are better variants. Can it be recommended as a little stylish lens for film-cameras? Yes, 100%.
Have a nice day!
The very helpful video If you need to fix something in this Zeiss:
Photos taken with Zeiss Jena Tessar 50mm f/2.8
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Reviews » Lenses » Lenses Zeiss » Zeiss Jena Tessar 50mm f/2.8
Variations and handling
This Tessar lens is compact with seemingly good build quality, though this one is super light. Judging from the weight of it you can suspect that it has not the same build quality as other Zeiss lenses in general. After WWII starting from 1950 they were produced for many camera brands with many mounts in various shapes and colors. They were built in metal silver, silver/black checkered grip (zebra version) and all black version. They also have come equipped with different number of aperture blades, e.g. 12 and even 14. The final versions were completely black and had an M42 camera mount with only 5 aperture blades. The apertures can be set in half a stop and the focusing ring has good grip and resistance with precise and impressively long travel (270°) but is a bit tiny due to the compact lens size.
Introduction
The Tessar is a very old design (1902), actually one of the oldest optical designs of all consumer lenses. It was produced before WWII for the first Contax rangefinder cameras and early Exakta cameras and post-war both in East and West Germany for several other camera brands.
Fun Fact 1: In 1932, when Leica II by Leitz of Wetzlar was the king of 35mm cameras, Zeiss Ikon of Dresden decided to produce a competitor that would be superior in every way. Thus the first Contax camera was born; the “Contax I”, which was designed to outperform the Leica in every aspect including the optics; thus the first Tessar 50/2.8 for 35mm format was born (a redesigned Tessar to cover 24x36mm negative), from Zeiss Jena.
Fun Fact 2: This lens was famous during its era and was called “Adlerauge” in German, which means “Eagle’s eye” because it was considered super sharp. Let’s see about that further down!
Carl Zeiss Super Q Gigantar 40мм f/0,33
В 1960-х шла настоящая гонка за светосилу
Вольф Веран, специалист по связям с общественностью из Zeiss AG, решил привлечь внимание к тому факту, что и фотографы слишком много внимания обращают на заявленную производителем светосилу, а не на реальные возможности объектива
Вместе с другом-конструктором он собрал вместе разные детали, что завалялись в лаборатории — так получился Carl Zeiss Super Q Gigantar 40мм f/0,33, представленный общественности как “самый светосильный объектив в истории”.
Созданный в шутку, он существует всего в одном экземпляре и для съемки не пригоден. Но хотя он и не снял ни единой фотографии за полвека своего существования, в 2011 году Gigantar ушел с аукциона за 60 тысяч евро.
1 из 4
Carl Zeiss Super Q Gigantar 40мм f/0,33
Carl Zeiss Super Q Gigantar 40мм f/0,33
Carl Zeiss Super Q Gigantar 40мм f/0,33
Conclusion
| I like | Not Good / Not Bad | I don’t Like |
|---|---|---|
| Size Weight Colors CA resistance Bokeh Balls (wide open) Center Sharpness from F5.6 Close-up Bokeh Min Focusing Distance 270° Focusing Ring Rotation | Wide Open Center Sharpness Bokeh mid and long distance Build quality Contrast | Flare Resistance Corner sharpness Across the Frame Sharpness Sun stars F2.8 quite slow for a standard prime 5 aperture blades Coma |
Well, what did you expect? Or what should you expect? Yes, this is a Zeiss lens after all but it is one of the cheapest (if not the cheapest) Zeiss lenses you can buy. It can deliver rich colors and good contrast (most of the time). Stopped down in the center area sharpness is excellent even with today’s standards, but it can not be considered as “Eagle’s Eye” super sharp further away from center area or at longer distances. There are far sharper modern lenses.
Some people use this lens to take portraits and closeups, where edge/corner sharpness is not important. It would not be my choice of lens for portraits though. You can get excellent results in close-up photography. You can also get excellent results with extension tubes or bellows in macro photography as it can produce super sharp images in the center with a beautiful background blur. It is also used as a video lens on digital cameras for its vintage look despite the focus breathing. I have taken the lens with me on several trips for its small size, light weight, excellent close up sharpness stopped down with great bokeh in those situations combined with rich punchy colors. It is also good as travel/street photography because of the small size and very good sharpness and colors at f/5.6- f/8. as you can see from various sample images in this review. There are a lot of good qualities there with good results in controlled conditions but it is not a dream allrounder.
For taking pictures under special conditions, the personality of this lens can add charm to the result and a price of 50$ is a bonus.
If you are interested in buying a Carl Zeiss Jena Tessar 2.8/50 or any of the lenses in the Alternatives section you support our efforts by using the links below or given under each lens.
Buy Carl Zeiss Jena Tessar 50/2.8 from:ebay.com, ebay.de, ebay.co.uk, ebay.com.au (affiliate links)
Nikon Z6 | Carl Zeiss Jena Tessar 2.8/50 | f/5.6
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Martin
Martin M.H. lives outside Stockholm, Sweden. He is a M.Sc. in Computer Technology but he has been a passionate photographer for over 45 years. He started his photographic adventures when he was thirteen with an Agfamatic pocket camera, which he soon replaced with a Canon rangefinder camera that his mom gave him in his teenages. After that he has been using Canon SLR, Nikon SLR manual focus and Autofocus, Sony mirrorless crop sensor, Nikon DSLR and Nikon Mirrorless. He has photographed any genre he could throughout the years and you can see all kind of images in his portfolio. During the later years though it has been mostly landscape, nature, travel and some street/documentary photography.
Latest posts by Martin
- Review: TTArtisan 100mm f/2.8 – A modern and affordable Trioplan? — August 7, 2023
- Review: Sigma 105mm 1:2.8 DG OS Macro HSM — August 2, 2023
- Review: Nikon Nikkor Z 24mm f/1.8 S — July 20, 2023
Conclusion
| I like | Not Good / Not Bad | I don’t Like |
|---|---|---|
| Size Weight Colors CA resistance Bokeh Balls (wide open) Center Sharpness from F5.6 Close-up Bokeh Min Focusing Distance 270° Focusing Ring Rotation |
Wide Open Center Sharpness Bokeh mid and long distance Build quality Contrast |
Flare Resistance Corner sharpness Across the Frame Sharpness Sun stars F2.8 quite slow for a standard prime 5 aperture blades Coma |
Well, what did you expect? Or what should you expect? Yes, this is a Zeiss lens after all but it is one of the cheapest (if not the cheapest) Zeiss lenses you can buy. It can deliver rich colors and good contrast (most of the time). Stopped down in the center area sharpness is excellent even with today’s standards, but it can not be considered as “Eagle’s Eye” super sharp further away from center area or at longer distances. There are far sharper modern lenses.
Some people use this lens to take portraits and closeups, where edge/corner sharpness is not important. It would not be my choice of lens for portraits though. You can get excellent results in close-up photography. You can also get excellent results with extension tubes or bellows in macro photography as it can produce super sharp images in the center with a beautiful background blur. It is also used as a video lens on digital cameras for its vintage look despite the focus breathing. I have taken the lens with me on several trips for its small size, light weight, excellent close up sharpness stopped down with great bokeh in those situations combined with rich punchy colors. It is also good as travel/street photography because of the small size and very good sharpness and colors at f/5.6- f/8. as you can see from various sample images in this review. There are a lot of good qualities there with good results in controlled conditions but it is not a dream allrounder.
For taking pictures under special conditions, the personality of this lens can add charm to the result and a price of 50$ is a bonus.
If you are interested in buying a Carl Zeiss Jena Tessar 2.8/50 or any of the lenses in the Alternatives section you support our efforts by using the links below or given under each lens.
Buy Carl Zeiss Jena Tessar 50/2.8 from:ebay.com, ebay.de, ebay.co.uk, ebay.com.au (affiliate links)
Nikon Z6 | Carl Zeiss Jena Tessar 2.8/50 | f/5.6
CONs
- Usability
- Ergonomics
- Vignetting
- Value for money
- Availability
Having a small and tiny lens is great. It fits in your pocket and can come along anywhere you got. Problem is it makes the ergonomics incredibly painful to use. As with many older Zeiss and Leica lenses, the aperture setting is situated in the inside ring of the lens, close the front element. You basically have to put your finger inside the lens to set it. There is no ring on the outside so you need to constantly check at which aperture you are at. This is a bit annoying as you might inadvertently touch the front glass element. Try doing that on a colder day when your fingers are a bit numb. It’s a bit of a pain in the proverbial. Quick note for those who wish to use the lens on a non-Contax RF body, for example with an adapter for a digital camera – RF lenses have 2 types of mounts: one is internal (most lenses use this one) and some lenses, like the Tessar 28mm, use the external mount ( which is less common, the lens is wider than the camera mount). So make sure you have an adapter that offers both internal and external mount compatibility for RF lenses.
Another aspect to keep in mind is that when used natively on a classic Contax Rangefinder camera, the lens is uncoupled from the meter. That means that you cannot set the focusing in your camera. You need an additional external distance meter. This obviously does not apply on digital cameras.
The Contax RF 2.8cm Tessar lens is rather rare. Anything made by Zeiss that is rare is also automatically expensive. For a decent copy you will need to pay around 300 Euros but prices can easily double for mint condition or the black version. That is a lot of money for a rather disappointing optical performance. Although you need to factor in the age of the lenses and their historical importance and advanced design for the time – by today’s standard their are sub-par. If you simply want to shoot you have many much better alternatives around.
The optical performance is rather underwhelming. Vignetting is very noticeable. Sharpness is not a strong point either. There is some chromatic aberration and lack of contrast. Fastest aperture is f8 – which in theory means it is pretty in focus everywhere but the reality looks rather smudgy. All-in-all this wasn’t my favorite lens to use both in terms of shooting pleasure and results.
PROs
- Lightweight
- Compact
- Loads of character
- Historical milestone
One thing I always find fascinating about old glass is that vintage lenses are stripped down to the bare minimum. There are no fancy floating elements, no unnecessary rubber plastic strips, no electronics, no big autofocus. Old glass has nothing but the essentials, and it really shows how little you actually need to make a lens. The Tessar 2,8cm is a prime example for this. The lens is a lightweight midget. The glass elements are ridiculously small. This thing is closer to a pinhole lens than to a modern wide-angle one. But don’t get me wrong, the Carl Zeiss Jena Tessar 2,8cm f8 was actually very advanced for its’ time. In the 1930ies it was a groundbreaking concept that barely had any competitors. In terms of age and handling it resembles the Carl Zeiss Jena Topogon 25mm f4, also manufactured for Contax rangefinder cameras. Everything is super compact.
The internal glass element protrudes far into the camera, it hangs very closely to the film (and on digital this is not a good thing as it is very close to your sensor, which causes extra vignetting). On the plus side you could argue that the lens has loads of “character”. For those who like artsy pictures with loads of vignetting and old school softness, the Tessar 2,8cm might be a fun side-kick.
If I had written this review in the thirties I would give this lens 2 thumbs up for being groundbreaking and allowing a different type of photography. It still is a technological marvel that many people would enjoy to own. Unfortunately when you purely look at the shooting experience and optical performance it simply is not top notch anymore. Kudos to this 90 year old but honestly speaking, with this grandpa the CONs far outweigh the PROs. Yes you could argue that the lens is rare and will retain (or increase) in value – but apart from the size and weight and fun optical output the Tessar 28mm feels far outdated. For collectors it might be a GO but for users I would say: NO. There are better alternatives available that will provide you with more joy (and cash).
Introduction
The Tessar is a very old design (1902), actually one of the oldest optical designs of all consumer lenses. It was produced before WWII for the first Contax rangefinder cameras and early Exakta cameras and post-war both in East and West Germany for several other camera brands.
Fun Fact 1: In 1932, when Leica II by Leitz of Wetzlar was the king of 35mm cameras, Zeiss Ikon of Dresden decided to produce a competitor that would be superior in every way. Thus the first Contax camera was born; the “Contax I”, which was designed to outperform the Leica in every aspect including the optics; thus the first Tessar 50/2.8 for 35mm format was born (a redesigned Tessar to cover 24x36mm negative), from Zeiss Jena.
Fun Fact 2: This lens was famous during its era and was called “Adlerauge” in German, which means “Eagle’s eye” because it was considered super sharp. Let’s see about that further down!
Carl Zeiss 45mm 1:2.8 C/Y sharpness
Сlose-distance resolution test, minimal distance
Testing methods description
- Target: 10-15 cm picture, printed on glossy photo paper
- Distance: 1.7m
- Camera: Sony A7II (24mpx, full-frame, tripod, remote control). M-mode, ISO fixed, WB fixed, SteadyShot – OFF.
- The test was repeated for every F-stop on every focus position with manual focus adjustment for each shot. That is to avoid the effect of field curvature.
- RAW processing: Capture One, default settings. All quality settings – 100%. Crops – 300×200 px
Original target image (printed in horizontal orientation on 10cm X 15cm glossy photo paper)
Test results
Testing methods description
- Target: cityscape
- Distance: > 200 meters to center focus point
- Camera: Sony A7II (24mpx, full-frame, tripod, remote control). M-mode, ISO fixed, WB fixed, SteadyShot – OFF. The focus point is on the center only.
- RAW processing: Capture One, default settings. All quality settings – 100%. Crops – 300×200 px
Test results
Note: yes, I see a little lack of sharpness on F5.6, and it was a surprise because I’ve made three tries and all three show this behavior. Probably it is a focus-shift because I didn’t refocus on F5.6 for this lens because of the risk to move the DOF on corners. So it isn’t a deviation and seems not critical for understanding the lens sharpness and I decided to keep the test result as is.
Distagon
Недостатком обеих оптических схем Людвига Бертле является короткий рабочий отрезок, что делает их неприменимыми для зеркальных фотоаппаратов. Для объективов зеркалок схема Biogon не используется вообще, а Sonnar – используется в основном для телеобъективов с фокусным расстоянием от 135mm. Схемы Planar и Tessar, прекрасно подходя для нормальных фокусных расстояний, на сверхшироком угле приводят к потери яркости по краям кадра. Все это вызвало необходимость дополнительных разработок для широкоугольной съемки. И в 1950 году Харри Золингер из Carl Zeiss и француз Пьер Анженю, работая каждый сам по себе, практически одновременно нашли новое решение. Анженю назвал свою конструкцию Retrofocus, и это название стало нарицательным для объективов, сделанных по данной схеме – ретрофокусные объективы.
Оптическая схема Distagon и пример фотографии, сделанной объективом Sony A 24mm f/2.0 SSM Carl Zeiss
Distagon – оптическая схема, разработанная Золингером специально для широкоугольных объективов зеркальных фотоаппаратов. Название происходит от слов «distance» и «gonia» – «расстояние» и «угол», что подчеркивает две важнейшие особенности конструкции: широкий угол обзора и большое расстояние от задней линзы до кадра (рабочий отрезок). Оптическая схема Distagon очень ассиметрична: передние элементы значительно крупнее, чем задние, и имеют выпуклую сферическую форму. Это вызывает ряд оптических искажений, таких как дисторсия и аберрации, а также делает объективы довольно громоздкими и дорогими. На устранения этих недостатков были направлены дальнейшие доработки схемы.
Разработка сверхширокоугольных объективов – до сих пор остается самой сложной задачей у производителей оптики. Ее решение включает ряд узкоспециализированных задач. В связи с этим, например, группа специалистов компании Nikon, занимавшаяся разработкой широкоугольных объективов, отсоединилась от компании, чтобы сосредоточиться на своих исследованиях, и со временем основала собственный бренд Tokina, который разрабатывает лучшие на сегодняшний день сверхширокоугольные зум-объективы.
Основные характеристики объектива Carl Zeiss Jena Tessar 4,5/300
Фокусное расстояние: 300 мм
Диапазон диафрагмирования: f/ 4.5 — f/ 32
Количество лепестков диафрагмы: 18 штук
Длинна: 85 мм
Вес: 1270 г
Диаметр под светофильтр: 95 мм
Посадочная резьба: 88 мм
Конструктив Carl Zeiss Jena Tessar 4,5/300
Объектив представляет собой большой увесистый цилиндр диаметром 100 мм, длинной 65 мм и весом более чем в 1,2 кг.
Посредине оправы размещено кольцо установки диафрагмы. Диафрагма имеет 18 лепестков, и формирует ровный круг. Закрывается дискретно, с тихими щелчками.
Как и все объективы большого формата он не имеет фокусировочного механизма.
Сзади имеется резьба для крепления М88.
Carl Zeiss Jena Tessar 4,5/300 вместе с Гелиос-44-2 2/58
Carl Zeiss Jena Tessar 4,5/300 вместе с Таир-3 4,5/300
Установка Carl Zeiss Jena Tessar 4,5/300 на зеркальный фотоаппарат
Мне было интересно установить такого монстра на зеркальный фотоаппарат и посмотреть как он себя будет вести на фотоаппарате с APS-C матрицей.
У меня есть специальный фокусировочный геликоид, для установки объективов большого формата на зеркальный фотоаппарат. Но с этим объективом оказалось не все так просто.
Резьба крепления М88 довольно редкая. В комплект с объективом шел какой-то переходник с резьбы М88 на М70. Мой же геликоид имеет резьбу М60. Поэтом, чтобы прикрепить его к своему геликоиду мне понадобился еще один переходник М70-М60, который я попросил выточить у знакомого токаря.
Переходники для установки Carl Zeiss Jena Tessar 4,5/300 на геликоид.
Задачу с креплением решили. Теперь нужно скомпенсировать задний отрезок. Мне понадобилось для этого большое макрокольцо среднего формата и переходник КП88/Н.
Вот так он выглядит на фотоаппарате Nikon D7000.
По моим подсчетам вся эта конструкция, если не считать фотоаппарат, весит примерно 1,6 кг.
Sample Images
Nikon Z6 | Carl Zeiss Jena Tessar 2.8/50 | f/5.6
Nikon Z6 | Carl Zeiss Jena Tessar 2.8/50 | 2.8
Nikon Z6 | Carl Zeiss Jena Tessar 2.8/50 | f/5.6
Nikon Z6 | Carl Zeiss Jena Tessar 2.8/50 | 2.8
Nikon Z6 | Carl Zeiss Jena Tessar 2.8/50 | f/5.6
Nikon Z6 | Carl Zeiss Jena Tessar 2.8/50 | 8
Nikon Z6 | Carl Zeiss Jena Tessar 2.8/50 | f/5.6
Nikon Z6 | Carl Zeiss Jena Tessar 2.8/50 | 2.8
Nikon Z6 | Carl Zeiss Jena Tessar 2.8/50 | 4
Nikon Z6 | Carl Zeiss Jena Tessar 2.8/50 | 2.8
Nikon Z6 | Carl Zeiss Jena Tessar 2.8/50 | 2.8
Nikon Z6 | Carl Zeiss Jena Tessar 2.8/50 | 2.8
Nikon Z6 | Carl Zeiss Jena Tessar 2.8/50 | f/5.6
Nikon Z6 | Carl Zeiss Jena Tessar 2.8/50 | f/5.6
Buy Now
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Sample Images
Nikon Z6 | Carl Zeiss Jena Tessar 2.8/50 | f/5.6
Nikon Z6 | Carl Zeiss Jena Tessar 2.8/50 | 2.8
Nikon Z6 | Carl Zeiss Jena Tessar 2.8/50 | f/5.6
Nikon Z6 | Carl Zeiss Jena Tessar 2.8/50 | 2.8
Nikon Z6 | Carl Zeiss Jena Tessar 2.8/50 | f/5.6
Nikon Z6 | Carl Zeiss Jena Tessar 2.8/50 | 8
Nikon Z6 | Carl Zeiss Jena Tessar 2.8/50 | f/5.6
Nikon Z6 | Carl Zeiss Jena Tessar 2.8/50 | 2.8
Nikon Z6 | Carl Zeiss Jena Tessar 2.8/50 | 4
Nikon Z6 | Carl Zeiss Jena Tessar 2.8/50 | 2.8
Nikon Z6 | Carl Zeiss Jena Tessar 2.8/50 | 2.8
Nikon Z6 | Carl Zeiss Jena Tessar 2.8/50 | 2.8
Nikon Z6 | Carl Zeiss Jena Tessar 2.8/50 | f/5.6
Nikon Z6 | Carl Zeiss Jena Tessar 2.8/50 | f/5.6
Variations and handling
This Tessar lens is compact with seemingly good build quality, though this one is super light. Judging from the weight of it you can suspect that it has not the same build quality as other Zeiss lenses in general. After WWII starting from 1950 they were produced for many camera brands with many mounts in various shapes and colors. They were built in metal silver, silver/black checkered grip (zebra version) and all black version. They also have come equipped with different number of aperture blades, e.g. 12 and even 14. The final versions were completely black and had an M42 camera mount with only 5 aperture blades. The apertures can be set in half a stop and the focusing ring has good grip and resistance with precise and impressively long travel (270°) but is a bit tiny due to the compact lens size.
Примеры фотографий снятых объективом Carl Zeiss Jena Tessar 4,5/300
К сожалению из-за нехватки времени я им снимал только один раз, по дороге домой. Полноценный тест с наглядными примерами сделать не получилось. А поскольку сейчас уже не сезон, выкладываю то что есть, когда будет время сделаю больше примеров.
Все примеры сняты на открытой диафрагме фотоаппаратом Nikon D3100, экспорт из RAW без постобработки.
Резкость Carl Zeiss Jena Tessar 4,5/300
Объектив показывает неплохую резкость как для своего фокусного и светосилы. Но все же ощущается, что он для большого формата. Разрешение не столь высокое,
Из используемых аналогов я пробовал только Таир-3 4,5/300, по ощущением он показался мне чуть резче Carl Zeiss Jena Tessar 4,5/300, но отрыв небольшой.
Характер и боке Carl Zeiss Jena Tessar 4,5/300
Объектив имеет приятный пластичный рисунок и боке.
Полноценно снять портрет им пока что не получилось.
Тополиный пух, который не попал в зону резкости превратился в волшебные кружочки с ореолом вокруг.
Контраст и цветопередача Carl Zeiss Jena Tessar 4,5/300
Объектив имеет однослойное просветление. Благодаря своей оптической схеме имеет хороший контраст. Засветок не боится.
Если сравнивать с Таир-3 4,5/300 то у Carl Zeiss Jena Tessar 4,5/300 контраст лучше.
Личный опыт
Я снимал этим объективом где-то пол часа пока шел домой. За эти пол часа моя рука так устала, будто я не фотографировал а тягал гантелю. Да, удобством использования он однозначно проигрывает объективам малого формата. Но рисунок у него интересный.