Should I get my Sonnar adjusted for f1.5?

[drjoke]

I have the f2.8 one, but the focusing ring has been rattling quite a lot lately. Before my warrantee runs out soon, I will send it in for repair. I might as well consider getting it readjusted for f1.5 if ever at all.

I am using Hexanon 50mm as my f2 and above lens. I might as well repurpose my Sonnar into a special purpose fast lens?

I will give my dealer a call tomorrow. What do you all think?

 

[MikeL]

Will you be using it at it's closest focus and f1.5 the majority of the time?

 

[mfogiel]

I have both versions, and I end up using the f2.8 version most of the time. I feel the f1.5 version is a rather specialist tool for delicate portraits or dreamy landscapes, you can still use it at f2.0 for some more contrast, but I prefer shooting portraits in the f2.8-f4.0 range, and using the f5.6 stop for a general purpose "round" rendering photography.

 

[Tuolumne]

I believe the new ones all come set for f1.5, if that helps any.

/T

 

[mfogiel]

No, Zeiss continues as before, and for a good reason.

 

[Tuolumne]

No, Zeiss continues as before, and for a good reason.

Tony Rose reported some time ago that all of the new Zeiss Sonnars were being calibrated for f1.5. No?

/T

 

[fuwen]

Tony Rose reported some time ago that all of the new Zeiss Sonnars were being calibrated for f1.5. No?

/T

Oh yes, I am confuse about this also. Can mfogiel clarify this? Maybe Tony Rose ones are specially requested calibrated for f1.5 before shipped to dealer?

 

[Tuolumne]

Oh yes, I am confuse about this also. Can mfogiel clarify this? Maybe Tony Rose ones are specially requested calibrated for f1.5 before shipped to dealer?

True enough. Perhaps Tony has made a special request. But I distinctly remember his saying the Zeiss US rep told him that the f1.5 calibration would be the new default.

I just checked my emails and here is a quote from Zeiss that Tony sent me on 12/19/2007:

"Straight from the horse’s mouth. Please let the forum know of this situation.

TR

“The factory informs us that production changed in the Spring of 2007 and the latest lenses are calibrated at f/1.5. There is no way to check by serial number if the lens is calibrated to f/1.5 or f/2.8. Depending how long the lens has been in the distribution pipeline between the distributor and dealer, there is still a likelihood of having a mix of products in new inventory. To be 100% sure, the customer can send their lens to the factory in Germany for a n/c examination and re-calibration (if requested). Please note, the recalibration of the lens does not change the focus shift characteristics. This is inherent in the lens, which is a classical design from the 1930's. A review of this lens and its features can be found at: http://www.rogerandfrances.com/photoschool/ps firstlook sonnar 50.html”

 

[Sonnar Brian]

Why have an F1.5 lens that you can't use at F1.5?

Do it. The DOF at F4 is going to cover the residual error. The Nikkor 5cm f1.4 was always optimized for wide-open, close-up work. According to my test, the Canon 50/1.5 was optimized for ~F2.8, focus was off at f1.5. Which lens got the fame? I shimmed my Canon after the tets.

 

[FanMan]

... but I prefer shooting portraits in the f2.8-f4.0 range, and using the f5.6 stop for a general purpose "round" rendering photography.

Exactly my approach, too.

 

[fleetwoodjazz]

Then perhaps the Planar will do just fine🙄

 

[Andrew Sowerby]

Then perhaps the Planar will do just fine🙄

The Planar and the Sonnar are very different lenses. It's not just a matter of one being faster than the other.

 

[noimmunity]

When I bought a C-Sonnar at the end of January, I had assumed based on posts here that it would be set for 1.5 . In use however I began to notice the focus shift at full aperture. First I tried to contact the seller (Matsuiyastore) but received no answer, so I contacted Zeiss. Their response was indirect, but leaves little doubt that the lenses are still set at 2.8 but they will adjust it to 1.5 at no charge if the lens is still covered under warranty. Perhaps certain dealers are able to specify lenses that have already been adjusted.

I am quite happy with it set for 2.8. I have the impression this is the best choice, yet it does not stop me from using the lens wide open. But certainly Marek's words have some authority, given that he has BOTH in his possession.

 

[awilder]

The focus shift issue really comes down to a fair amount undercorrected spherical aberration (regardless of distance) requiring f/2.8-4 to snuff most of it out. Getting an f/1.5 optimized version is fine for f/1.5-2, but optically the lens is at it's peak around f/4-5.6, so sharpness will suffer at those settings due to the lens' back focusing the subject when stopped down to those stops. DOF helps a little, but the images may still be less than tack sharp at those settings.

 

[mfogiel]

When I sent a mail to Zeiss to enquire about this a few months ago, the reply was, that lenses can be adjusted for wide open focus at no expense, they implicitly confirmed, that the lenses sold were not optimized for wide open.
The point about C Sonnar is, that the type of in and out of focus passage it produces at f2.8 is more like what other 50mm lenses would do at f1.4, so unless you really need this lens for low light shooting, it actually does a better job at f2.8-f 3.2, as the sharpness and contrast are already first rate, and the oof is still a wall of mist. You get this way a unique drawing which is so compelling.

 

[awilder]

The C Sonnar compared to the pre-asph. Summilux has advantages and disadvantges. The C Sonnar is more resistant to flare and secondary reflections in adverse lighting due to T* coating, fewer air spaces and curves in the glass. The C Sonnar also has less astigmatism and curvature of field outside the central image zone yielding a sharper image across the frame at modest apertures while the Summilux requires about 1-2 stops smaller to achieve the same degree of sharpness. The Summilux has minimal spherical aberration making it a much better choice for sharp imaging at wide apertures especially if the subject matter is within a radius of about 6 mm from the center of the frame where most or all aberrations are nicely controlled. Stopping the Summilux down to f/5.6-8 gives across the frame sharpness for super critical work. Years ago some people would own both the Summilux and Summicron reserving the Summilux for low light work and the Summicron for better performance from f/2.8-4 or for better close range sharpness.