Nikkor Z 135mm F1.8 S Plena Review | The Bokeh Master?

Name: Nikkor Z 135mm F1.8 S Plena Review | The Bokeh Master? | Open Video
Uploaded: 2025-03-31T13:09:02+00:00
Duration: 32 min 16 s

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[Music]
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hi I'm Dustin Abbott and I'm here today to give you my review of the Nicor z 135mm f1.8 s plena lens today now they
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released their premium 135 mm which I'll just refer to as the plena from here on out which by the way I wish that all
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premium lenses had a unique name attached to them it would make my job much simpler but as many of you know I'm
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late to the Nikon party I didn't add a Nikon body to my own personal review kit
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until spring of 2024 so anything released before that point on Z Mount and some released after that point I'm
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still playing a bit of catchup trying to cover it at this point now one advantage
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however of being late is that I have an opportunity to compare the planet to the excellent vro lab 135 mm f1.8 certainly
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has been a bit of a disruptor here on the z-mount space I will be doing a separate head-to-head video later on
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that will come down the road but today I'm going to dive deep into the performance of the planet itself before
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I do that however I do want to express my gratitude to my friend Evelyn Drake of the camera store TV she is a
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fantastic person and she was kind enough when I lamented over my difficulty in
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getting Nikon loaners with connecting me with her contact Chris with Nikon candada and Chris has been great to work
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with and getting me a copy of the planet and hopefully future lenses and so that I can do Nikon zount reviews more
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regularly so thanks to both Evelyn and Chris that aside let's dive in today's
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out those of you that are familiar with Nikon's premium lenses here know that
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they are aren't particularly small lenses and often when compared side by side by side with the comparative lenses
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from other brands they tend to be the largest ones out there that's true here
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though the Advent of the lab makes it a little bit less true at this point this
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uh Nicor lens is 98 mm or 3.9 in in diameter and it is
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M or 5.5 in in overall length and so the vro is actually a little narrower and a
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little bit longer but when you put together all of the volume and you multiply that the planet is right around
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1% larger in volume so in other words they're pretty much the same that being said though the pla is a heavy lens it's
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considerably lighter than the lab the plena weighs 995 gam or as Chris Nichols calls it one
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plena or 35 ounces that about 273 G
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lighter than what the vro lab is at this point ironically as I did a little bit
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of research this of the kind of Premium sine lenses and so this kind of falls in the category with the f1.2 35 50mm and
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85 mm f1.2 s line lenses this is actually the smallest and lightest of
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those four lenses which kind of surprised me can because often 85 or 135
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mm lenses I should say tend to be the largest of Those comp comperative lenses front filter size is 82 mm which is
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pretty standard for all of these lenses the body is nicely made it is primarily Metals with some Plastics and obviously
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some rubberized surfaces there as well it is Thoroughly weather sealed with um Coatings like flooring on the front and
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rear elements and then there are 11 different seal points throughout the lens the dials buttons switches things
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like that one thing that I will just kind of briefly hit that's really not a knock against the plena but more just an
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observation about modern 135 mm design one of the things that I actually really
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enjoyed many years ago with the Canon 135mm f2l was the fact that it could be really
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effectively used with teleconverters which gave you some extra options with what you could do with 135 mm lens these
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days it doesn't seem like that's even a consideration with any of the modern 135mm lenses and so I do miss that extra
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versatility that a prime like this could potentially offer and just not the case anymore in this case however at least
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Nikon is doing something productive with that space there's no space at all for any kind of telecon converter but they
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do have an extra big rear uh element here that is very close to the lens
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mount it's also slightly curved which allows it to more evenly distribute light onto the sensor and that has some
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practical advantage that we'll talk about in just a moment now as far as the overall feature set here we do have an
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AF MF switch that is really near the lens mount I can't speak for other cameras since I'm reviewing it here on
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my Z8 but on the Z8 itself that is unfortunately located right between two
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camera functions and so here we have a flash SN Port that's covered with a rub rubber gasket and then we have the lens
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release Port that is our button that's right below that and so unfortunately this fits in a space that's kind of like
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squeezed right between those two things it's not necessarily an easy place to get to with my thumb because of those
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the position of those other things right beyond that we do have the customizable control ring that is standard on Nikon
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lenses it could be used as an aperture ring but it can be used for other functions as well and that could be like
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exposure compensation ISO various things like that so as an aperture ring it's
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you know it leaves a little bit to be desired in that obviously there is no markings here no communication so I mean
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I have the my Z8 does have a top mounted LCD so I could see if I was using it for aperture what I'm selecting but it's not
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going to be true for every Nikon body obviously and so I I don't love it as much for that I will say there's no
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click or dclick option it's always going to be D clicked but on the plus side what I did find is that if I you know
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move with good Pace I could do very smooth aperture racks which by the way I couldn't do with the vro vro does like
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visible steps as you can see here um even if I have it in the dclick mode and
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so certainly that is one advantage that the plena has and that you can do smooth aperture racks there one of the things
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that Engineers really went for is it allows them to have nearly perfectly round specular highlights which is
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different from all the other 135 mm lenses on the market the closest is actually the lab lens but it isn't as
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good as what the plan is the plan retains a nearly perfect circular shape near the edge of the frame and so if
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that's something that's a big deal to you to you it's something that it is something that the planet does really really well now one of the things that
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is missing here that I'm accustomed often seeing on 135 mm lenses is actually a focus limiter switch and for
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whatever reason Nikon elected to exclude that here what we do have is a couple of
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function buttons here that can be customized and so they both perform the same function and the purpose of that is
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just to have one if you're shooting in horizontal mode it's right there if you're shooting in vertical mode it's
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right there and so they are redundant to allow you to always have one close to hand whatever orientation that you're
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shooting in manual focus ring here is wide it is ribbed and it has great damping and so it's actually a really
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great manual focus ring there's not really any kind of sense of lag as you're doing input here and so you get a
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a pretty good Focus manual focus simulation and it I is able to focus with precision and good feel overall
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then there's a little bit of an oddity here and that what appears like a third ring near the front it's rubberized but
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it's not a ring at all it's just a a cosmetic ring I'm not quite sure what purpose it plays but anyway it's it's a
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little bit of an an oddity something that I've actually never seen before on any other lens design before now the
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planet does not come with any kind of lens-based VR and I would say that that
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isn't unusual at all that's the case with almost all the 135 mm lenses I've tested however there's one exception to
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that and Canon's own 135 f1.8 8 L on their RF Mount does have lens based
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stabilization so for me using the Z8 it wasn't a big deal because the camera based stabilization does a good job if
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you happen to be shooting with a camera that doesn't have stabilization it's obviously going to be much more of a factor unfortunately however you don't
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really have an option on Z Mount that comes with uh that lens based
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stabilization now the planet is able to focus as closely as 82 CM which is
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fairly close for 135 m M lens it is able to achieve a 0.20 times level of magnification that's
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a 1 to five and while that's nowhere near macro range I will say that the up close performance is really excellent
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you're able to uh get a nice flat plane of focus and really great contrast and detail so that's a plus there the vro
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has a little bit higher level of magnification at 0.25 times one final observation on the build
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that I'll make here is that the lenso kind of surprised me it feels frankly a little bit cheap for what is basically
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the most expensive 30 135 MIM lens on the market the Plastics Plastics don't feel particularly high grade it does
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have a little locking mechanism here but again everything about it just doesn't feel premium to me so it feels like a
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little bit of a misfit on a lens that otherwise the build quality is fantastic and so those kind of minor niggles aside
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this is a really beautifully made lens and yes it's it's big and heavy but that's true of all all the lenses in
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this class and so it certainly is not unusually so and your other only other option in Z Mount is the lab and it's
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considerably heavier and so overall I think the planet does what it needs to do so how about autofocus autofocus Here
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Comes courtesy of dual STM Focus Motors now I was a little surprised by that I expected to see uh linear Motors dual
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linear Motors or something like that which tends to be uh what's being used in other comparative lenses at the same
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time however focus seems to work just in fact I was in testing Focus early on I
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found that it was surprisingly reactive to the cats moving around and any of you that own cats or have been around cats
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know that they are not the most Cooperative of subjects and so I saw Nala you know she was set up very nicely
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here on a planter I thought okay this is a great shot I go and I get my camera by the time I get the camera and start to
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take the picture she immediately starts running and jumping off and so typically in that case it's kind of a blown
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opportunity but I went ahead and just you know pivoted and snap a picture with zero expectations of it being in Focus I
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was very surprised to find that in fact it was in focus and it was perfectly focused and so uh kudos to them in that
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moment it exceeded my expectations for how good and reactive it was going to be and in general shooting I found that
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Focus speed was plenty uh adequate and I was able to take photos of whatever I uh
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planned to take photos of I wouldn't say that it's quite at the level of something like the Sony 135mm f1.8g
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Master which essentially is like a sports lens um in amongst its other qualities with its dual linear Motors
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but anything short of that I think that it performed at a really really high level what I found in my formal test
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where I was forcing major Focus changes back and forth is that Focus speed is good as you can see here the only thing
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that I noticed that I didn't like is that there was there's an occasional rack in the wrong direction before Focus
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then quickly progresses to the right destination and so you're losing split seconds there due to a little lack of
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confidence for whatever reason and so that's my only critique there I also found that in my portrait session that I
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did and I shot portraits at a lot of distances as close as about a meter and as far out as about 20 M and what I
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found is that I got really consistently good results and focus the only time that I had any kind of issue was in this
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particular shop where there are some foreground branches shooting along this the shore of a river and spring
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and and so I had limited angles to work from so it's fine I'll shoot through these branches to get to my subject who
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is standing out on some rocks but my friend Justin who is my model for this series uh he his position was fine but
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some of those foreground branches sometimes Focus would catch on those rather than getting to his eye the last
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time I did a review actually with this lens I had similar issue with uh with snowflakes that were falling and so I
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think that it's maybe just more that the iaf system in my Z8 is a little more easily tricked by that however I was
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able in the end to just get the result that I wanted just with a little bit of patience and so uh outside of that
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however my autofocus was generally fantastic for Stills on the video side of things I was a little bit less
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impressed for a couple of reasons first of all when doing just my basic Focus pulls you can see that there's a fair B
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of we'll call them H Jinks there those racks that I saw a little of for Stills they're more exaggerated here uh just a
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little bit more just kind of moving around it's certainly anything but a cinematic experience there's also a
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fairly significant amount of focus breathing there and so again that also pulls you out of the the shot and so I
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would definitely say I in this case I would personally be doing manual focus pools rather than autofocus pools
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because I just I don't like the way that that looks in general and then what I found when I tried to do my hand test
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which if you watch my channel you're familiar I do it on all the lenses that I test I just I could get focused to
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switch to my hand basically period even though it was there very prominently f um kind of situated uh it just wouldn't
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transition to my hand at all in that and so I tried to do a secondary test where I approached the camera and uh you know
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stepped in and out of frame and what I found there is is kind of the same symptom that even when I step back into
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frame so obviously there's something very easily to do eye detection on which was set up instead there's a it would
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one there's like this lag and once at some point where it decides to focus it you know snaps into Focus fairly quickly
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but it's not very reactive to a change that's happening in frame and so obviously I was not thrilled about that
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even though as I if I moved in a linear fashion where it's already tracking the eye and just was moving towards the
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camera it did fine in that instance the other thing that I also found is that when I shot just stable shots you know
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of be you know kind of landscape type scenes or things like that the focus was fine it was St did what I wanted it to
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do and so no hesitations on that so I would have no qualms with using it like
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what I'm doing right now on camera for stable static shots but things that require reactiveness in video I don't
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think that it did an excellent job on that however when we get to the image quality size of things I have zero
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reservations this is a gorgeous Optical instrument I will be doing a deep dive at the end of the video if you want more
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information on the actual lens performance but this is an optical design of 16 elements in 14 groups that
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includes a number of aspherical elements extra low dispersion and then two Sr or
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shortwave refractive elements as a part of the design as well you can see from the MTF chart that this is an extremely
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sharp lens uh MTF shows very very good results across the frame with a little
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bit of of Fade to the corners but overall very very high performance and
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as I begin to dive into that performance I was just I was just consistently impressed with the sharpness and
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contrast of all of my real world shots I thought they were fabulous you know this shop for example even at f1.8 of kind of
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some dried plants you can see that the amount of contrast and detail is just fantastic there's no bleeding around the
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edges there's no uh spherical aberration anything like that it's just fantastically sharp and as you can see
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it also has beautiful bouquet at the same time so as far as the technical side of things uh when it comes to
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vignette and Distortion uh it's another part of their design of that rear element was to minimize vignette as much
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as possible and basically vignette is so minuscule that yeah I could I could dial in a little
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bit of correction in the plus 20s to plus 30 range if I wanted to but for
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example this shot a real world shot that's at f1.8 you know All Bright edges
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uh with this lock in it you can see that there's just no hint of venette in the real world shot and so I basically could
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only find vignette when shooting on my test chart and not in the real world at all there is a tiny amount of pin
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cushion Distortion a minus three again it's so minimal that I doubt you would ever see it in real world shots and of
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course being a first-party lens you got all the corrections you need built in already I also found that there's very
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good fringing control that was true whether shooting longitudinal style chromatic aberration on my test chart or
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again out in the real world I just didn't see any fringing before or after the plane of focus likewise with lateral
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style chromatic aberration near the edge of the frame they're just not there and so this is an extremely well corrected
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lens and so that also means that it's very well corrected when it comes to my results on the the chart and so center
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of the frame it is fantastically sharp extremely sharp in the mid-frame and again a little bit of drop off in the
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corners but not much it's it still looks very very good there it's you know it's
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I would say it's sharper in the corners than what mini lenses are in the center of the frame overall performance perance
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is compared to the lab is they're close I think the pl is a little sharper in the center of the frame at least in the
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copies I tested the lab I would say is a little sharper in the mid-frame and then in the corners I had a hard time picking
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a winner they were roughly the same there likewise with portrait shots and testing portrait resolution again
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they're they're so close that I really couldn't call a winner there which is fantastic considering that this lab lens
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has been borne out to be one of the sharpest 135 mm lenses ever and so that tells us how good the
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plena already was I found that the lens produces really amazing micro contrast
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you know for example in uh this shot of Justin where look at his beard and the detail and contrast that's there again
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looking at another shot of these dried plants you can just see how much Precision is there in resolving all of
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the fine textures those Corners are fine wide open but you can see that they take
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a big Leap Forward at f2.8 and they become razor sharp at at f2.8 which
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means that anything between f2.8 and f8 you're going to get perfect results now
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you can stop down a bit if you want to extend the depth of field but outside of that you're going to get really
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consistent performance across all of those apertures means that landscape shots look amazing resolve all kinds of
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fine detail as is usual a at f11 you start to see a bit of defraction from a
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high resolution body like this and then at F16 it's a little more pronounced but again it still looks pretty good at F-16
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truth be told and so if you want to shoot at F-16 because you want that depth of field go for it your results
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are still going to look really really fantastic now as noted earlier the bokeh
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is exceptionally good here it's for one thing specular highlights they're the
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more most perfectly round that I've ever seen on 135 millim lens uh and really
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very few lenses match that kind of level of you know consistency of shape in general and so really really fantastic
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job on that but it's not just the specular highlights the bouquet in general is just beautiful it's creamy
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it's soft you got great subject isolation I love uh you know look at
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this shot for a moment of Justin I had taken this old vintage hat Hatchet along
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and I didn't know what we were going to do with it but we came upon the section where there had been some clearing done so I had him kind of stand in the midst
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of the devastation there at the hatchet so even at a distance of you know probably 15 M away you can see shooting
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at f1.8 he he looks amazingly sharp and then there's just this kind of cutout look of separation from the background
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that is unique to 135 mm lenses just no lens seems to really do it quite like
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that and and so it's it's it's fantastic I really really appreciate that colors
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are generally really really pleasing my one complaint and it's kind of a general Nikon complaint is that with certain
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skin tones I find that the magentas are just a little oversaturated and so sometimes to produce a more pleasing end
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result I find that I do need to pull some of the saturation out of those magentas to avoid the skin looking kind
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of too Rosy uh it's less true with darker skin tones it's mostly with Caucasians that I see it but it's just
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something that's kind of a general observation and that was true of the pla but it's also true on the lab as well so it's it's more of a a Nikon color
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science thing and less of an optical glass thing in either of these lenses the final thing that I looked at was
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flare resistance and it is great it is very very resistant to uh any kind of
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bright lights in the frame so it makes it a really useful lens to use even when you're shooting back lit back lit
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portraits or things like that it really holds up well to the light and so fantastic so my conclusion is this this
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is a great combo of build features autofocus Optical performance all of
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those things but of course the elephant in the room is the price this is the
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most expensive of even the first party 135 mm lenses and now you've got this vro option that is is priced at
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$900 and so you could buy 2.7 of the lab lenses for the price of the $2,500 plena
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that's a challenge obviously but at the same time and I'll I'll bring this out more in my head-to-head comparison I did
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note a lot of subtle differences when using the two lenses side by side where the planet just works better you know
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aperture racking manual focus more consistent autofocus when I was shooting portrait side by side the plan and
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nailed basically all of them with that exception that I pointed out to the lab had some misses here and there and so if
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you're shooting professionally and you want the most reliable lens it's going to produce the most fabulous results the
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plum might be worth it for you there if you shoot an icon Z Mount and you want the best I would say the planet is still
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it you just need to be ready to pay for it as well I'm Dustin Abbott and if you want more information you can uh get all
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of that in either the full text review that's Linked In the description below there is linkage to an image gallery and
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some buying links there if you want to purchase one and of course if you want even more look at the optical
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performance stay tuned with me right now and we're going to dive into that Optical Deep dive together okay let's
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start by taking a look at vignette and Distortion and as you can see neither of those are really an issue here at all
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there's such a minimal amount of vignette that even doing a mild amount of Correction it you here on a test
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chart you might be able to see it a little bit but as we're going to see in a moment out in the real world you really can't see just a tiny bit of a
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pinch here from pin cushion Distortion but a minus three corrects all of that in a nice linear fashion now on the left
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I have the plena on the right I have the lab and you can see that it's there's definitely a tremendous amount of more
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vignette on the lab than there is on the plenel lens and it's just a much more evenly illuminated it really looks like
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an after correction result compared to the uh vro lab on the right side this
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real world shot has zero correction and you can see that all the corners that are to be bright you can see that they
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are bright and so vignette is just not an issue at all with this lens and furthermore you can see that if we punch
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in and take a look at the textures on the lock you can see just how beautiful all of those are being rendered
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longitudinal style chromatic aberration are really not much of an issue here you can see the tiniest amount of fringing
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there but it's not enough that it showed up in real world shots for me at all uh for example here along this chain link
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fence you can see in the links before and after the plane of focus you just don't see any fringing there so just not
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a problem likewise with lateral style chromatic aberations very very nice and clean really strong contrast right off
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into the corners great transitions from black to white without any kind of color fringing all of this helps to result in
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a really great looking resolution result as well so this is on a 45 megapixel Z8
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this result is shown at 200% magnification you can see in the center of the frame fantastic sharpness and
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contrast looks fantastic uh looking in the mid-frame it looks excellent there you can see all
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kinds of fine details all very very good as we pan down it stays strong and right
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off into the corner the corner looks really really strong as well for some perspective you can see that it is
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clearly the better result in the center of the frame compared to the lab which is now on the right side it just looks
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sharper crisper details mid-frame I think it the situation reverses and I would say that the contrast is better on
25:59
the lab lens it looks really really great there and as does the planet but I would say the lab looks a little bit
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better and if we poke back down into that corner you can see that they really are more similar than different and
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there's just not a lot to separate them the lab might have the slightest bit more contrast right off in this little
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percentage but it's very very close we look up in this corner and again they're looking very very similar um up in this
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corner I would argue that maybe the plena is better and so you can see there's they're just very very similar
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and the plan's performance carries off into real world shots you can see here at f1.8 there's lots of little fine
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details there and all of them are just really really well resolved no bleeding at the end of those textures they look
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really fantastic uh this shot here I mentioned this in the earlier part of the review this is f1.8 at a good
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distance away from the subject you can see that all of the detail and contrast on my friend Justin they all look really
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really great you can see the plan of focus here is nice and crisp and then as we transition towards defocus just know
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that there's all kinds of junk here like they took some kind of machine through here and just shredded everything so
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there's lots of transition zone ugly materials and you can just see that it's
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melting away to defocus just beautifully well stepping back again you can see that really nice three-dimensional
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cutout effect and so that's what a great lens like this can accomplish another
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shot here of Nala and you can see that if I look in there at the details it just looks fabulous all of those little
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fine hairs are just really perfectly resolved there's no fringing on the whiskers as they come out fantastic I
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don't see much of a difference if I compare at f2 however at f2.8 you can see that even the center is now just
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like ridiculously sharp the mid-frame has improved significantly and even
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right up here into the corner look how great the corner looks now just really fantastic and that's true if if I pop
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down into this corner as well centering is just really really excellent you can see everywhere we look really really
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strong detail and performance so that's that's just great fantastic so we can see stop down a bit the pl is definitely
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outperforming the lab in the center of the frame if we look here in the midf frame I would say I'd still choose the
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plena and here into the corners it's probably a wash there very very close
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but you can see that the pla definitely sharpens up really really nice nicely the lab does too but the plena I think
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is just a tiny Cut Above an overall performance there now if we look in the middle of the aperture range like f5.6 I
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really don't see a whole lot of difference after f2.8 uh it was already just ridiculously good there's just not really hardly any
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room for improvement truth be told there's probably an extra percentage there but it's it's difficult to see
28:51
it's just a fantastically sharp lens I didn't see any drop off through f8 at f11 it's softened a bit due to
28:58
defraction and a bit more at F16 both of these results would still look really good at 100% level of magnification so
29:06
I'm not overly concerned with defraction on this particular lens even at f1.8 at minimum Focus distance you can see that
29:13
we've got just basically macro levels of resolution of the fine details all of
29:19
those little Ink Spots just show up really really nicely and we can see it looks good right off to the edge here a
29:25
nice flat plane of focus as well this is minimum Focus distance on a three-dimensional object again f1.8 you
29:32
can see that again contrast and detail are there there's no kind of fringing that's marring it it's just really
29:38
really fantastic and of course then melts off to the background and the way that we've come to expect here's another
29:45
shot that shows just that transition towards defocus and so I mean great detail where it matters here on the
29:52
subject which looks you know great and then that beautiful defocus very rare
29:58
lenses that can accomplish what this lens is doing to be that sharp and high contrast in the area of focus and then
30:04
that soft and creamy in the area of defocus then of course as noted with the plenum one of its great strengths is how
30:11
circular the specular highlights are right off into the corner and that's basically something that no other 135
30:17
MIM lens is doing and again also doing it while having great detail and contrast here's another shot that shows
30:24
again just you know it's they're very very slightly towards the edge but still
30:29
basically circular all throughout making for a really great looking end result I
30:34
love this shot it's very very simple but it just shows how great the kind of threedimensional rendering and how that
30:41
amazing contrast helps that to really just kind of Pop away from the background looks fantastic this shot
30:47
here this is f 3.2 I just I love all of those little fine details I love the
30:53
transition to defocus I like everything about it here's another shot of Justin and this was actually shot in apsc mode
31:00
so it's not high as high a resolution but you can see how great the detail and contrast there in his beard hair is just
31:07
every one of those just stands right out really really impressive looking this shot shows what I'm talking about when I
31:14
talk about just a little heavy in the magenta I you know because I was there taking the photos there wasn't this
31:20
level of pink in his face and so I think that that's a little oversaturated but I I love this rendering all around his
31:27
head the way it transition to defocus gorgeous finally at flare resistance this is f1.8 so if I put the sun right
31:34
up in the corner usually the position where I kind of get the worst results you can see it handled just great here
31:39
at f11 you can see you're not going to get much of a Sunburst effect here but what you can also see is there's no
31:44
flare pattern composing like this here I put it again at f11 a little bit more in the frame there's a very slight halo
31:51
effect but that's about all I could summon out of it this is an amazing lens optically so thanks for sticking around
31:57
to the end and I hope the Deep dive into the Optics of this bad boy has helped you to decide whether or not it is the
32:03
lens for you as always thanks for watching have a great day and let the light in
32:09
[Music]

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