Here’s an updated long term review on what I call the “best lens that no one is using”. The Zeiss Milvus 135mm F2 APO Sonnar is one of the best optical instruments in the world, but it is in few people’s kits. I noted on B&H Photo that the Canon EF version I’m reviewing has only 5 user reviews (all five star, of course) despite being around for nearly four years. In my long term video review I explore what makes this lens so great, but also the reasons why few people are using it and why even I don’t reach for it as often as what I would like. If you want to read my original text review, you can find it here. I’m doing the video review on a Canon EOS R body, though photos in the gallery have been taken with everything from a Canon EOS R to a 6D to a Canon 5D Mark IV and even some shots adapted to Sony! Enjoy the video review of one of my favorite lenses!
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Keywords: Zeiss Milvus 135mm F2, Otus 135mm 2, Zeiss 135mm F2, Zeiss Milvus 135mm 2, Otus 135 Review, APO Sonnar, Milvus 135mm, Milvus 135 Review, Milvus2135, Milvus 135mm Review, Milvus 135 2 Review, Carl Zeiss, Zeiss, 135mm, F2, Canon EOS R, EOS R5, Dustin Abbott, Sample Images, Video, Video Test, review, Video review, Real World, Sony a7RIII, Sigma MC-11, Sharpness, Resolution, Bokeh
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Don’t get me wrong; I do love to post-process images. It is that second dimension of modern photography where you can take a good photo and make it great. About four years ago I wrote a series of articles for Alien Skin Exposure’s blog on how to take an image from good to great through post processing. (Part 1 | Part 2| Part 3) Through quality (and nuanced) processing technique you can take a good photo and make it transcendent. If you look at the top-rated photos at most photo sharing sites you will see a lot of fantastic images…almost all of which have received a good deal of processing work. But today’s article and photo gallery is called, “In Praise of Excellence”, and it celebrates the exceptional nature of two of my favorite lenses in my own personal kit along with the kind of images that come right out of the camera when you are using great glass.
There are definitely some things that you can improve through processing. Color rendition, contrast, tone curves, highlights, shadows, and more. You can change the whole look of an image. But there are some things that software simply cannot emulate. The quality of the rendering, the creaminess of the bokeh, subject isolation, and that unique three-dimensional look the best lenses can give.
I am unquestionably blessed to get to do what I do. I have access to all the most recent lenses and gear, and it is exceptionally rare that I don’t have gear that belongs to someone else sitting around. But can I make a rather jaded confession? There are moments when I crave using my own gear. I don’t want to use the latest and greatest; I just want to use what’s familiar. I have carefully put together a kit that includes a number of my favorite lenses, and often I’m not shooting with them because I need to be covering the newest gear.
Thursdays are my day off, and I often like to just get out in the woods for a few hours to hike, decompress, and shoot “just for the fun of it”. Thursday arrived somewhat cool, overcast, with periodic rain. The upside? Colors were rich and saturated. The downside? After a very wet spring and a damp morning the mosquitoes are out in force. I felt like I deserved a blood donor sticker by the time my hike was over.
When I selected the gear for my hike, this is what I chose:
I used the Cotton Carrier harness/vest to allow me to carry two camera bodies with lenses attached for quick access. I find that a backpack is less practical for me on these types of hikes (where I don’t need to carry other things) for the simple reason that if I don’t have quick access to the cameras I end up passing on photo opportunities because I don’t want to mess with stopping long enough to get at the gear. The quick access provided by the Cotton Carrier means that I come home with more photos.
I carried a 5D Mark IV with the exceptional Canon EF 35mm f/1.4L II mounted on it. Both of these items cost too much (particularly here in Canada), but when I tested them they stood out to me as being worth the extra money. I think that the 35L II is the best prime lens that Canon makes under 200mm. It has the most Zeiss-like rendering of any Canon lens that I’ve used, with that amazing mix of contrast, sharpness, and three dimensional subject rendering while also offering very smooth bokeh rendering. Combine that with one of the best builds ever in a Canon lens and fantastic autofocus, and you have a lens that just might be worth its lofty asking price. Roger Cicala from LensRentals said this after tearing down the 35L II and inspecting its build: “Sometimes things are expensive because they’re worth it. Sometimes they’re heavy because they’re so solidly constructed. This is one of those times.”
I also carried a Canon 6D with the also exceptional Zeiss Milvus APO Sonnar T* 2/135mm lens attached. The predecessor to this lens (APO Sonnar 2/135m “classic”) was the first modern Zeiss lens that I reviewed, and it was an eye-opening experience. I was shocked by how badly it outperformed the Canon 135mm f/2L that I had in my kit at the time. I definitely was interested in the lens, but it is extremely expensive…and manual focus only. Last year I reviewed the newer Milvus version of the lens, and was again reminded of just how exceptional a lens this is. I’ve reviewed all three of the Otus series lenses (Zeiss’ most high end line), and frankly the Milvus 2/135mm deserves to be named with them. It definitely upholds that standard of excellence. When I had an opportunity to add the Milvus 135mm to my kit, I didn’t hesitate. I keep a Canon 6D body setup for MF (manual focus) glass because the 6D allows the focus screen to be easily swapped out. I have an EG-S matte precision focus screen installed that makes manual focus a much simpler (and more enjoyable) process because you can literally watch things come into focus in the viewfinder. The sensor on the 6D has held up really, really well, and still provides beautiful image quality.
And so, here are the images that I got from these combinations over the process of my hike. Many of them are at very large apertures, to provide a unique depth of field look to set them apart. None of them have had any processing other than a RAW conversion in Lightroom. I’m sharing this article, and these photos, to let you know that while great photography is and will always be about the photographer and his or her eye, that quality gear does matter. These photos simply wouldn’t be possible with a kit lens…no matter how much you processed them!
Some lenses are just expensive, but others are expensive because of a wonderful excellence that sets them (and your photos) apart from the pack. This article and gallery is in celebration of excellence.
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Sigma has established a very clear objective with their ART series primes: deliver large aperture prime lenses with class-leading (or near to it) resolution. On multiple occasions they have pushed the envelope of what was possible in maximum aperture at different focal lengths, and, while Sony has already released a 135mm lens with a maximum aperture of f/1.8, the new Sigma 135mm f/1.8 ART trumps most competitors and sets a new standard at the focal length for Canon and Nikon shooters. The ART series has had a few significant flaws, but recent releases have seen them chipping away at things like autofocus consistency, and this lens promises to expand on that them. People have been excited since the announcement of the 135 ART…but have their hopes been realized? Read on to find out…
Prefer to watch your reviews? I’ve got you covered! Click on the thumbnail below to see my full video review of the lens.
135 ART Build and Design
Watch this video for an interactive look at the 135mm ART’s build, design, and features.
By this point I have become very familiar with the overall design of the ART series lenses, which have had a consistently excellent look and a good standard of build overall. What was lacking until recently was any kind of weather sealing, but Sigma now claims dust and splash-proof construction on the 135 ART. Like previous lenses the 135 ART is a mixture of metal and “thermal composite” (engineered plastics) and has a premium feel (though not quite Zeiss level). The bayonet mount is of a high quality brass, and Sigma is proud of the fact that this lens is made in Japan (unlike some competitors with new factories elsewhere). I’ve been consistently pleased with the appearance of ART lenses, and the 135 ART is no exception. The overall lens profile is VERY similar to that of the 85 ART released late last year (read my review here). In almost every detail the lens looks like the 85 ART, though it is just slightly smaller in most all dimensions.
The 135 ART is slightly narrower (3.6”/91.4mm vs 3.73”/94.7mm) and shorter (4.52”/114.9mm vs. 4.97”/126.2mm). It also weighs slightly less at 2.49lb/1130g vs 1139g. The front filter size is larger than competitors at 82mm, but is smaller than 85 ART’s 86mm filter size. So, while the 135 ART is a very large lens (the Canon 135mm f/2L weighs only 750g), it at least doesn’t continue to push the envelope of ever larger lenses in the ART series.
Still, if you aren’t using this on one of the larger DSLRs you will probably find it somewhat front heavy, as the design puts a lot of weight towards the front of the lens. It balances better either on larger full frame cameras or with a battery grip on a smaller one.
Like the 85 ART the lens is essentially dominated by a very large manual focus ring. The ring is nicely ridged and easy to find by touch. It moves fairly smoothly, though not quite like the better manual focus lenses. It does have good focus throw distance, and Sigma’s HSM motor does allow for full time manual override.
The lens barrel has a distance window and two switches. The first allows you to turn off autofocus and select MF only, while the second is a welcome focus limiter switch. There are three positions: Full, 1.5m to Infinity, and .87m – 1.5m. As you might have guessed, the .87m figure (2.87’) represents the minimum focus distance, which bests the 85 ART by a good margin and allows for a nice 0.20x magnification (1:5). This equals the figure for the Canon EF 135mm f/2L, but lags behind the 0.25x (1:4) of the Zeiss Milvus 135mm f/2 lens.
There will be some concerned by the upward creep in price for recent ART series releases, which after breaking the glass ceiling of $1000 in the US market have pushed ever upward to a new high (for an ART series prime) of $1399 USD ($1799 here in Canada). This makes it more expensive than the first party alternatives, and while it can be argued that it is deserving of that distinction, it still may provide a stumbling block for those accustomed to paying less for third party alternatives.
Like other Sigma ART series lenses the lens is compatible with the Sigma USB dock, their MC-11 Mount Converter for use on Sony E-Mount cameras, and also their Mount Conversion program should you switch from Canon to Nikon (or vice versa).
It should be noted that Sigma’s inclusion of dust and moisture resistance in this lens gives it a one up on the Canon 135mm f/2L, which seems like it should have weather sealing but actually doesn’t.
I see a lot to like and little to criticize in this design other than the size, which continues in the ART series tradition of being one of the largest in its class. It even tops the Zeiss Milvus 135mm f/2 in size, though by a small margin. Pushing the envelope in size and price means that this lens has to deliver in both image quality and autofocus performance. Has Sigma managed to do that with the 135 ART?
Autofocus Performance
Autofocus performance has long been the Achilles heel of the ART series in both my testing and the anecdotal evidence I receive from readers/viewers. Last year Sigma made a concerted effort to improve this area by revamping their HSM (Hypersonic Motor) to increase torque by around 30%. More torque meant more than just more speed; it meant that the lenses also reached the right destination more consistently. I saw improved autofocus performance with both the 85mm and 12-24mm f/4 ART lenses.
I’m happy to say that the trend continues here, and overall I feel like I saw roughly equal autofocus performance to what I had with the Canon 135mm f/2L. Focus speed is very fast, and the lens is fairly quiet in focus, too. A welcome addition to a lens like this is a focus limiter that allows you to choose between the full range, 0.875-1.5m, and 1.5m-Infinity. Using this appropriately can not only give you a bit more focus speed but can also eliminate some hunting in certain situations. I found autofocus speed to be very good as a result.
That’s not to say there isn’t room for improvement. While I got consistent focus results when using the center group of my 5D Mark IV, I had lower consistency when I moved to outer points, with an occasional significant miss. Here’s an example where I shot the same scene within a few seconds. On one I used an outer point, with the second I used center point focus and then a slight recompose. You can see that the focus results were excellent with the center focus + recompose shot, and completely missed when using the outer point.
This wasn’t always the case, but did happen sometimes. Using the USB Dock does help to calibrate for specific focus distances, but does less to correct something like this. Your mileage may vary, of course, but you may find you get greater consistency if you use the center group on your camera when and where possible.
One other focus quirk I encountered several times is when trying to focus on a more narrow object close to the camera (a budding branch, for example, about 4-6 feet away). The lens would often pulse back and forth, and eventually settle on the background rather than the foreground object that the focus point was right on. This is the kind of shot that I very often do, and so I know this behavior to not be typical. Further compounding this problem is that you can’t just manually override until there has been some kind of subject lock. On a few occasions I turned autofocus off and manually focused in that kind of situation. This shot is a case in point:
This could be copy specific, of course, or it could be something that Sigma could potentially address through firmware, as they have targeted focus behavior in firmware updates for other lenses. And, fortunately, that was a fairly isolated scenario that only occurred in a specific set of circumstances. In general my focus accuracy was good and I was happy with the results that I got. The lens also seemed to perform fairly well in AF Servo mode, and I shot some moving gymnasts at my children’s school with good accuracy. The lens was also good in general for shooting an event in a school gym-sized venue.
There is still room for Sigma to grow in this area, but I feel like autofocus issues are becoming less of a dominant issue with the ART series.
Sigma’s previous medium telephoto prime, the 85mm f/1.4 ART lens (read my review here), battled for the spot of the sharpest 85mm lens in existence. And, in absolute sense, the copy of the 85 ART that I had for comparison was definitely sharper compared to the 135 ART when shooting test charts. It was sharper across the frame at basically all apertures that I compared them at.
Here’s a look at various spots across the frame with both lenses wide open.
If I stop the lenses down to f/2.8, the 85 ART still shows a notable advantage.
But this also betrays the fact that charts don’t always tell the whole story. Real photographers don’t shoot charts; they shoot out in the real world. In the real world (where we don’t have control over the light), harsher lighting transitions can produce some fairly pronounced chromatic aberrations (LoCA) on the 85 ART. See the examples here:
I wasn’t purposefully testing for this during this comparison, but I was quickly reminded that I had observed the same thing when I did the review of the 85 ART. I was also reminded that after you correct for this chromatic aberration you often lose a fair bit of contrast, resulting in less apparent resolution at wide apertures in the field. Meanwhile, chromatic aberrations are almost perfectly controlled on the 135 ART. Look at this “high risk” subject.
Both the high contrast object and the defocused one show absolute neutrality in the places where CA might exist. What this means is that the 135 ART may actually produce equal real world sharpness while upping the ante in terms of bokeh and rendering.
Just for the fun of it I did a few comparisons to Tamron’s newest medium telephoto prime (the SP 85mm f/1.8 VC – read my review here) along with their new 70-200mm f/2.8 G2 lens. The 85 VC is very slightly behind the 135 ART at wide apertures (up to f/2.8), with the lead for the 135 ART roughly consistent across the frame. See comparisons at f/1.8 from left to right:
I compared the 70-200 G2 lens (read my review here) at f/2.8 to the 135 ART. I found them roughly similar, with perhaps a bit more microcontrast for the zoom lens and roughly equal levels of sharpness. The Sigma had an extreme advantage in vignette, however, and also can let in more than twice as much light due to its larger aperture. Here’s the comparison from left to right:
I also did some extensive comparisons to what I consider to be the finest 135mm lens optically that exists – the Zeiss Milvus APO Sonnar 135mm f/2 (you can read my review here). In an absolute sense the Milvus is sharper at every aperture than the 135 ART (it very slightly bests even the 85 ART at equivalent apertures), though the competition is not completely one sided. The Milvus is sharper in the center (both lenses at f/2), it’s fairly close on the left side, but the Milvus shows superior centering and consistency and is clearly sharper on the right side.
Where the Sigma takes an easy win is in vignette, where this chart test shows the edges looking much “murkier” for the Milvus despite them sharing a light transmission value of T2. In my other tests there is also some give and take. The Sigma has slightly softer bokeh due to having a larger maximum aperture (even at equivalent apertures), and shows no “bokeh fringing” whereas the Zeiss lens shows just the slightest bit of green fringing in bokeh highlights. The Milvus has a superior maximum magnification (and performs better at minimum focus), better condition rendition, and has more contrast/microcontrast in the fine details. Watch for a future video episode where I highlight the differences between the lenses in detail, but this crop from a comparison shows that the Milvus lens shows a better performance with reproducing fine details at minimum focus. If you are considering a 135mm lens to use also with extension tubes for macro work, I highly recommend the Milvus.
Between general use and many direct comparisons I feel like I was able to get an accurate feel for the resolution from the lens. In terms of general sharpness the 135 ART slightly trails the 85 ART and the Milvus, while slightly outperforming the two Tamrons. All of these are excellent lenses, so this is an excellent performance, particularly considering that the 135 ART is the only one of the pack that is pushing the envelope in terms of maximum aperture. At wide open aperture in real world use I see a lot of stunning detail in shots:
The lens is also very sharp for portrait work:
Those that shoot mostly in a studio with controlled lighting may find the superior resolution of the 85 ART the better choice, but if you shoot a lot of environmental (outdoor) portraits I would recommend going with the 135 ART.
Second Copy Observations
I had a number of people who felt like my copy of the 135 ART used for this review wasn’t performing up to the potential of the lens. I spoke to Sigma about that, and they sent me a second (retail) copy to compare. I ran a series of head to head comparisons with the best lens in the class (the Zeiss Milvus 135mm f/2), and this video details my findings:
I recommend that you watch the video to get the full story, but in short I found that the second copy was in fact sharper than the previous copy of the lens I tested. The Milvus was still superior at short distances, and minutely better at infinity, but at medium distances the Sigma was actually a bit sharper. Very, very impressive.
Other Image Quality Observations
The 135 ART definitely excels at a number of things. One of those has been mentioned, and that is some of the best, most neutral control of chromatic aberrations I have ever seen. This really gives you freedom when shooting the lens wide open, as you just don’t see CA.
Flare resistance is also impressive, particularly when one considers how bad the Canon 135mm f/2L does in this regard. Large aperture prime lenses with a lot of glass can struggle in this area, but not the 135 ART.
I’ve also mentioned vignette, which is present at f/1.8 but isn’t heavy. The larger-than-average front element (82mm filter thread) undoubtedly helps here. If you stop down the lens to f/2 (where most of the competitors start), the lens has impressively low amounts of vignette and delivers a nicely even result across the frame.
While on a technical level the lens has slightly more distortion than the 85 ART or Milvus 135, that distortion is still so negligible as to be a real world non-issue.
There’s only two minor things to criticize. The first is that I found that when using the lens with other lenses and having an Auto White Balance set in my Canon 5D Mark IV, the 135 ART would often deliver a very different white balance than other lenses (much cooler). It’s not a difference in actual color rendering, for when I set a custom white balance the colors would be close, but for whatever reason the lens skews AWB cooler. Look, for example at the comparison between the 135 ART and the Voigtländer 40mm f/2 lens I was also reviewing at the time:
The Voigtländer colors were more true to the life of the scene. This was true with most other lenses that I would be shooting side by side. You may want to monitor your white balance if you value color matching with other lenses.
The second issue (taste issue?) is that I found that colors were a little less saturated coming out of the camera before post. Part of that had to do with the white balance issue (warm rendering favors richer color), but I also found myself boosting saturation in post a little more than usual. I favor the color rendition and micro contrast of the Zeiss Milvus 135mm, but, to be fair, this is something that Zeiss really excels at.
But adding saturation or even a completely unique look in post is something many of us do anyway. I’ve shared a number of images that I’ve “pumped up” through processing on social media to very positive effect. Here’s a look at the out of camera vs finished product:
There are many more images worth taking a peek at in the Lens Image Gallery here. All in all Sigma has done a great job with this lens, and the best is yet to come.
Bokeh
This is a key area of measurement for this lens, as while neither the Canon or Nikon 135mm f/2 lenses cannot compete in absolute sharpness, they are both capable of beautiful, artful rendering (particularly the Canon 135L). Can Sigma manage to equal the rendering of these lenses? How does it compare to the 85 ART from Sigma? Find out in the video episode here:
Without question this is my favorite Sigma lens yet for producing incredible bokeh. Whether shooting Christmas lights or isolating leaves in the woods, the lens excels at producing soft, creamy bokeh. Here’s a look at the shape of the nine bladed aperture iris as you stop the lens down.
Out in the real world I found the bokeh produced from the lens was nice and creamy. Examining the bokeh highlights reveals a much smoother, less busy bokeh circle than those produced by the 85 ART. The nature of the narrower angle of view of a 135mm lens means that backgrounds were softer even when the subject occupied the same amount of the frame while using the 85mm f/1.4 ART…even with its aperture advantage. Furthermore, the slightly larger maximum aperture of the Sigma lens meant that it produced a more diffused background even when compared to the Milvus 135mm at similar apertures. It’s definitely a special lens for making bokeh, and is, in my opinion, the most optically complete yet of Sigma’s lenses due to the great combination of sharpness and quality rendering.
Sigma’s choice to go with a slightly larger maximum aperture of f/1.8 allows this lens to be perhaps the best lens short of a 200mm f/2 lens for creating subject isolation for outdoor portraits, and should become a favorite of many environmental portrait shooters. I also noted that while the 85 ART can get a little “busy” in the transition zone right after the plane of focus, the 135 ART stays much smoother.
Here are few “bokehicious examples” from the lens.
Conclusion
While the Sigma 135mm f/1.8 ART may not win any awards for being Sigma’s sharpest, brightest, or cheapest lens, I do think that in many ways it is Sigma’s most complete prime lens. Unlike some of the ART series, I didn’t find it clinical but instead appreciated the quality rendering from the lens. It does tend to skew white balances a little cool, and it doesn’t deliver the most deeply saturated colors out of the box, but the images process well. I have seen several excellent 135mm lenses for Canon/Nikon mounts in the past two years, including the Samyang/Rokinon 135mm f/2 and the outstanding Zeiss Milvus 135mm f/2, but both of these options are manual focus only. The Sigma 135 ART is the first 135mm lens to bring the excellence of modern lens design coupled with useful autofocus. The fact that they managed to push the envelope a bit with maximum aperture is icing on the cake. While a 135mm lens is often less versatile than an 85mm lens, it also has greater potential for producing beautifully unique imagery. This lens just jumped to the top of a lot of photographer’s wish list, and I see no reason for it to be bumped from there.
Pros:
Beautiful rending combined with excellent sharpness
Fast autofocus that is consistent in most situations
Quality build complete with dust and moisture resistance
Largest maximum aperture in a 135mm focal length
Beautiful bokeh
Compatible with Sigma USB dock, MC-11 Mount Converter, and Mount Conversion program
Excellent sharpness
Complete control of chromatic aberrations
Good flare resistance
Cons:
Largest lens in the class
New price point high for Sigma ART Prime lens
Autofocus consistency drops when using outer points
Seems to skew auto white balance cooler than other lenses
Less color saturation and microcontrast than Zeiss Milvus 135mm
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When the Milvus line launched in 2015 there were six concurrent lens releases. Of those six, two were brand new lenses replacing very different lenses in the “Classic” lineup (1.4/50mm and 1.4/85mm). Four others were “reskinned” lenses built around existing optical formulas but with a new look and build. But fast forward to September of 2016 and what Zeiss calls the “second wave” of the Milvus line. Two of these lenses are once again refreshes of existing optical formulas, though these two lenses are already some of Zeiss’s very best: the 2.8/15mm and the 2/135mm. The Milvus 2.8/18mm is a brand new lens, and I have it in hand and will be releasing my review of it shortly. Today’s review is of one of my absolute favorite lenses ever from Zeiss; the Zeiss Milvus APO Sonnar 2/135mm. This lens is what I like to call a “little bit of perfect.”
I recognize that this lens is not for everyone despite its near optical perfection, so let me get the qualifiers out of the way right up front. The Milvus 135mm is heavy, expensive, and manual focus only. If that rules you out, feel free to stop reading now. If you choose to read on, be warned: the image quality from the Milvus 135mm is addictive…and just might convert you!
When Zeiss sent me the 2/100mm lens for review they offered to let me have a sneak peek at an unreleased lens. I’d be a fool to pass up an opportunity like that, and my Momma didn’t raise no fool! I said “yes”, but literally didn’t know what I was getting until I rather impatiently opened up the box that FedEx brought to my front door. Inside I found the Milvus 135mm. I was delighted that this lens received the Milvus treatment, as it is truly a special lens. It’s predecessor, the “Classic” APO Sonnar 2/135mm was the first Zeiss lens I formally reviewed (you can read my review here), and it was a revelation. It came shortly before the first Otus lens, and after the Otus line was released many (myself included) kind of considered the Sonnar 2/135mm to be an “unofficial” Otus lens because it truly was an exceptional optical instrument in the same vein of those lenses. You can criticize the price, the fact that it is manual focus only, or perhaps the weight, but there just isn’t anything to criticize optically. It is pretty much flawless. In some ways the lens was caught in “no man’s land”; it wasn’t officially an Otus lens (though it optically belongs), but neither was it a part of the first wave of the Milvus lenses (and thus missed out on the weather sealing and improved build). The Otus lenses grabbed the spotlight, and the Milvus line represents the future of Zeiss SLR lenses. Where did that leave the APO Sonnar 2/135mm?
Part of the second wave, apparently, and this second wave includes two of Zeiss’s very best lenses (which means two the world’s best lenses). I have yet to deliver my verdict on the new Milvus 18mm f/2.8 lens (stay tuned), but I’ve reviewed the Distagon 15mm f/2.8 (and it stands as the best wide angle lens that I’ve used thus far) and the APO Sonnar 135mm f/2 (and it along with the Otus 85mm are the best short telephoto lenses I’ve used). I’ve owned the Canon EF 135mm f/2L for some years, and had always considered it a pretty exceptional lens, so it came to me as pretty huge shock when the APO Sonnar 135mm just completely demolished it when I put the two lenses head to head. I even got accusations from readers that I had somehow fudged the results.
But other reviews verified my results, and I will do a fresh comparison in this review. The (now) Milvus 135mm builds on that amazing lens with an improved barrel design and coatings, and, of course, the now familiar exceptional Milvus build. The Milvus 135mm now looks a lot like the Otus lenses that it was so optically comparable to.
Build and Handling
Zeiss lenses are all metal and glass and have a unique density that no other lens quite has. They have a unique feel in the hand; you KNOW you are holding a Zeiss. The build quality surpasses any equivalent lens and feels designed to last for a lifetime or two. The only interruption of metal (a nicely anodized black with a satin finish) is the rubberized focus ring. The focus action is purely Zeiss, which is pretty much perfect. Beautiful damping, smooth movement, and just enough resistance to be able to locate and hold the right focus position. I break down the primary changes to the lens in this video segment:
Zeiss lenses have always been beautifully made, but the Milvus series upped the ante by implementing a Zeiss first: weather sealing. In typical Zeiss style this implementation is actually more thorough and rigorous than the competition. The lenses sport the standard rear gasket (though in a stylish Zeiss blue) but also have internal seals to help prevent in intrusion of dust or moisture. This is something that sets the Milvus 135mm apart from the competing 135mm available in a Canon mount; I’m not aware of any other of them having weather sealing. The Canon 135L certainly doesn’t, nor does the Samyang/Rokinon 135mm that I reviewed in early 2015.
There is a significant variation between the Canon and Nikon version of Zeiss lenses. The Canon versions (ZE) have an electronically controlled iris diaphragm for the aperture that functions just like any other lens. The Nikon versions (ZF) have the option to control the iris diaphragm electronically from within the body (though with slightly fewer “steps” at each aperture value), but also include a manual aperture ring. The extra trick for Nikon shooters is a nice one; you have the option to put the lens into “declicked” mode where there are no defined aperture positions and you can rack the aperture – useful for certain pulls in video use.
The Milvus 135mm has 11 elements in 8 groups and an aperture range of f/2-22. One strength of the Milvus 135mm relative to other 135mm lenses is its minimum focus distance (2.62’/80cm) which results in a 1:4 or .25x maximum magnification. This is a very strong figure, and one I find very useful. By comparison the 135L can only focus down to 3 feet (91.4 cm), which results in a significantly lower 1:5 (.19x) magnification ratio. Here’s a visual comparison of how much of a difference that makes:
The Milvus 135mm has nine aperture blades and retains a roundish aperture for a stop or two, but by f/5.6 the nonogonal shape has pretty clearly emerged. The Canon (ZE) mount that I reviewed the lens on has a fully electronically controlled aperture iris; you set the aperture in the camera body (or allow the camera to choose in different shooting modes) just like any other lens. The only difference in operation is that the Zeiss has no autofocus. It has a 77mm front filter thread, and, while that is a bit larger than the 72mm threads of the 135L, 77mm is a much more common filter size and more likely to be shared with other lenses.
No one will accuse the Milvus 135mm of being light. The Classic (hard to call a three yer old lens a classic!) APO Sonnar was already a significant 33 ounces (930g), but this Milvus design has put on some extra weight and is now 39.6oz (1123g). The Nikon version is almost 65 grams lighter despite having the manual aperture ring, but neither version will be considered svelte. You will feel this amount of weight, and, depending on your camera body, the lens might feel a little front heavy when holding it with one hand. In normal shooting the lens feels hefty but still comfortable for me to use, but I’m also very accustomed to shooting with heavier gear. Weight certainly joins price as one of the few criticisms that one could offer.
The physical design has changed somewhat. The Classic APO Sonnar extended during focus at two points: before and after the zoom ring. The largest extension was before the focus ring. The new version has a fixed barrel with only the inner barrel extending near the front of the lens. It extends for 3cm, if you’re counting. While the overall length of the Milvus version is a bit longer, I suspect the length when fully zoomed out is about the same because of this. It helps the lens to be better sealed, however, and the lens is really stunningly crafted.
This is a manual focus only lens, but the quality of that manual focus is unparalleled. It is incredibly smooth and perfectly damped. The focus ring has about 270 degrees of throw, which is pretty much perfect for being able to accurately nail focus at a variety of distances. There’s enough friction to slow down and nail the right spot. The quality of the focus will definitely spoil you for inferior lenses. While I have a 6D body set up for my manual focus lenses, the new 5D Mark IV that I also shot the lens on just has the standard focus screen. The traditional focus screen doesn’t accurately show depth of field, and, as a result, I had to rely more on the focus confirmation chipset. I was relieved to discover that it was nicely calibrated, though, and I got accurate focus results through this method.
The Milvus 135mm is very close to optical perfection. I’ve had a chance to not only shoot it on the Canon 6D body that I have set up for manual focuse with an EG-S Precision Matte Screen but also with the brand new Canon EOS 5D Mark IV. While the Milvus 100mm f/2 lens that I recently reviewed had one flaw (some chromatic aberration), it’s hard to find any real optical flaw with the Milvus 135mm. It is worth noting that DXO Mark actually gives an edge to the APO Sonnar 135mm over the Otus 85mm f/1.4. It is incredibly sharp across the frame. In fact, let’s pause for a moment to directly compare the Milvus 135mm and the Canon 135L. The Canon has long been regarded as an exceptional optical performer (and it exceptional in many ways), but a head to head comparison reveals the Canon is strongly outclassed by the Milvus lens. I encourage you to watch this video to get an interactive breakdown of how the two lenses compare.
First of all, as noted the Milvus has a much stronger maximum magnification figure, so when we compare at minimum focus the Zeiss image is more magnified. This view only compares center of the frame performance (which favors the Canon), but even at this most advantaged situation the difference in the optical performance is pretty glaring.
The Zeiss is noticeably sharper, has much stronger contrast, and doesn’t exhibit any of the chromatic aberrations of the Canon. People have heard me mention “microcontrast” in reviews (often Zeiss ones) and wondered what exactly I was referring to. You will see it plainly in these series of comparisons. At high magnification one can clearly see that textures are more clearly rendered by the Zeiss lens. Where they come across as being somewhat flat and hazy in some areas on the Canon they have a very sharp, three dimensional rendering on the Zeiss.
When you compare the lenses at a distance where you can get a flat plane of focus you find the Zeiss is noticeably superior, well, everywhere. The difference in contrast and definition is obvious across the frame, and while the Zeiss is very consistent in its sharpness from edge to edge, the Canon’s sharpness falls off towards the edges. The 135L exhibits a fair bit of chromatic aberration as well. Note the indefinite haze along the edges of the text imprinted on the lenses on the Canon image and then compare it to the crisp delineation of Zeiss rendering. That microcontrast is very obvious too in the various textures on the lenses.
At further distances I noted a lot of the same trends. The area of focus here is the transformers on the utility poles, and it is easy to see the difference the improved contrast makes on the textures there and in the trees around them.
It is worth noting that in all of these tests I shot multiple apertures and could still see an advantage for the Zeiss even stopped down to f/5.6.
The only real optical weakness for the Milvus 135mm is some veiling when the sun is put in the corner of the frame. I list this as a flaw, but some may find it a strength, as the veiling has a very artistic mild prismatic effect that, used properly, will add to rather than detract from the image. There isn’t really any ghosting artifacts at all, so it handles much better than the Canon 135L. This series of shots shows the progression of the veiling when the sun is put in the frame. The Otus lenses retain stronger contrast than the Milvus 135mm in this scenario, though.
This prismatic veiling can be used to artistic effect if desired, though. Look at these portraits.
In this set I’ll show the out of camera look and then a minor tweak to restore contrast.
Only you can decide if this is a desirable or undesirable quality for you.
There’s literally nothing else to criticize. The amount of contrast, sharpness, and color rendition is shockingly good. Distortion is near non-existent (this showed up in the real world test where I could definitely see the distortion on my 135L). There is some vignette at f/2 (about 2 stops in the corners), but it moves into the frame in an almost perfectly linear fashion and results in an often useful, flattering result. I don’t find that I’m interested in correcting it very often. Stopping down to f/2.8 brings it down to less than a stop in the extreme corners.
Chromatic aberrations just don’t exist, and that makes images look even sharper. I tested the lens on the 5D Mark IV in a controlled environment to see how the Milvus 135mm handled the higher resolution. This shot was most informative. Take a look at the image and the crops – incredible!
In this setting I also compared it with a modern, excellent lens (Tamron SP 85mm f/1.8 VC). I was actually surprised by how notable the difference was in this comparison and was reminded of just how good the Milvus 135mm really is. This is a series of comparison crops from that comparison. The Tamron is clearly outclassed.
The only lens that I have on hand that [somewhat] competes at wide apertures is actually the Milvus 100mm (see the bottom for that comparison).
Perhaps most importantly, however, is that the lens does more than just perform well on chart testing. The lens has character, soul. I LOVE shooting candid photos of people with this lens (posed portraits are obviously exceptional, too). Backgrounds melt away, and the subject stands out with startling good three dimensional character. Faces seem to come alive, and I’ve had many moments where I looked at the LCD afterward and just said, “Wow!”
A moment on the 135mm focal length. It has both strengths and weaknesses. It is one of my favorite focal lengths for environmental portraits. It allows you to shoot from a fair distance away and still have great subject isolation. It creates really magical looking shots. It is a nice event focal length.
But it can also be too long for certain shooting situations (many indoor venues). There will be moments where you back up, and back up, and still discover it is too tight. I also find that for really tight headshots that it can have a little too much compression of the features. Some choose an 85mm or 100mm lens as their preferred portrait focal length for these reasons, but at the same time some of my favorite portraits are taken with the 135mm focal length. Look at the bottom of this review for a look at a few options to the Milvus 135mm.
Do yourself a favor and spend a few minutes in the Image Gallery from this lens. It is the greatest testament to it’s magic.
Conclusions
This little anecdote says it best. I had a nearly week long session of board meetings, and sat next to a friend of mine who is highly successful. He isn’t a photographer, per se, but has expressed some interest in getting some gear as he enters into a project trying to document some family history back in Jamaica. I happened to have this lens attached to the 5D Mark IV sitting with me as part of my responsibilities include doing headshots for the corporate website. My friend knows that I do reviews, so he asked what “toys” I was playing with at the moment. I explained to him about the lens that I was reviewing and the camera that I had actually purchased but was also reviewing. I highlighted how expensive everything was. Here in Canada the lens is $3000 and the camera is $5000. But then I told him about the kind of results I could get with the combo.
I shot some of the faces around the room and showed him on the back of the camera. We popped out the SD card and stuck it in his MacBook. He zoomed in…and in…and said, “Wow” over and over. He held the combo and tried focusing and taking some shots. When he felt the beautiful precision of that focus ring and the experience of it all, he [reluctantly] handed it back and said, “You’ve almost persuaded me”. I wasn’t trying to persuade him of anything, but anyone who enjoys beautifully made things is going to enjoy this lens. Something about Zeiss lenses brings a special pride of ownership. They are special.
The nature of Zeiss lenses makes them niche products. Some photographers aren’t interested in expensive, manual focus lenses. One consolation is that the Milvus version of the APO Sonnar has added weather sealing, optimizations, and better coatings while retaining an identical MSRP – $2199 USD. It’s expensive, yes, but undercuts the Otus line that it optically competes with by a large margin (it is about half the price of the Otus 85mm, for example). It is fairly large and definitely heavy, but this isn’t unusual in the current trend of full frame lens design. Despite these very real challenges the lens is a masterful option for those looking for the ultimate 135mm lens. It’s a joy to shoot with, and produces images that look amazing right out of the camera. If you pride yourself on doing minimal post processing, you will love the Zeiss Milvus APO Sonnar 2/135mm; images look great without being touched. If you are looking for a magical telephoto for shooting video, you will love this lens. It is special, and I’m so glad that it has found its way into the Milvus lineup. I’ve been eyeing a Milvus lens for my own kit, and this is very likely the one that I will choose. I guess I too am almost persuaded…
Pros:
Superb optical performance that is rarely matched and never outdone
No distortion or chromatic aberration
Incredibly smooth and creamy bokeh
Beautiful build and advanced weather resistance
Perfect focus ring
No price increase on Milvus version
Amazing contrast at all focus distances
Cons:
Manual Focus only
Expensive
Heavy
Some veiling when the sun enters the frame
Alternatives:
The Canon and Nikon 135mm options are long in the tooth, but there are a few strong alternatives from third parties.
Ironically, the strongest alternative argument to the Milvus 135mm is the Zeiss Milvus 100mm f/2. Although the Milvus 135mm is the sharper lens, it is hard to really see that difference in the field. The Milvus 100mm exhibits chromatic aberrations that don’t exist on the Milvus 135mm, but it adds the benefits of twice the maximum magnification (1:2 vs 1:4, or .50x vs .25x). It is also smaller, lighter, and cheaper, and a lot of people love the lens. The lenses are close enough in real world use that I would suggest you choose your preference in focal length. The Milvus 135mm is the better lens optically, but perhaps the poorer lens in versatility. Bryan over at the Digital Picture has good comparison tool for showing chart tests of the optical performance. Here’s some crops from a real world comparison that I shot at f/2.
You can see the superior resolution and contrast if you look close, and the Milvus 135mm has less CA. But the performance is close enough that it would be hard to tell the difference when, say, shooting portraits. The shots from the 135mm will look a bit “closer” in the comparisons below.
While few photographers are directly cross-shopping Zeiss and Samyang, there is no question that the Samyang 135mm f/2 offers up a pretty remarkable budget alternative at 1/4 of the price. While it doesn’t quite reach the lofty standard of the Milvus 135mm, it is closer than most. It too is a manual focus only lens, though the biggest difference between the two lenses is in the ergonomics. The Samyang isn’t in the same ballpark as the Zeiss in the build department, and the little details (smoothness of the focus ring, precision of focus) detract a bit from the joy of use, but if you are on a budget you can cope with those things. If you are shooting with a Canon version there is no focus confirm or electronic connection to the camera with the Samyang, so there are a few handling issues that come with that. Still, if you are budget conscious and can deal with a few annoyances in operation, it is an impressive lens for the money.
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I’m delighted that Zeiss has released a new Milvus version of one of my favorite Zeiss lenses – the Milvus APO Sonnar T* 2/135mm. This lens is pretty much optical perfection, though now in an improved build that includes weather sealing (one more way to set it apart from the Canon EF 135mm f/2L). Also good news: the price has not increased though the lens has received minor optical tweaks and a serious upgrade in build. The lens will be announced today, but I’ve had the privilege of having a sneak peek at it and have been shooting with it for a few weeks. Here are some images of this beautiful lens along with some of the shots I’ve been getting with this Zeiss favorite. Watch for my review to come shortly!
Images of the Zeiss Milvus APO Sonnar 2/135mm
Images Taken by the Zeiss Milvus APO Sonnar 2/135mm
Purchasing your gear through B&H and these links helps fund this website and keeps the articles coming. Thank you for your support.
Great News! I can now offer a 5% discount on all purchases at Amplis Foto, Canada’s Leading Photographic Supplier. Please enter discount code: AMPLIS52016DA in your cart. It is good for everything in your cart, and is stackable with other coupons, too! It will take 5% off your entire order! Proceeds go towards keeping this site going and providing you with new reviews!
DISCLAIMER: This article and description contains affiliate links, which means that if you click on one of the product links, I’ll receive a small commission. As an Amazon Associate I earn from qualifying purchases.
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