Wide-angle head-to-head: Sigma 14mm f2.8 EX Aspherical HSM vs Carl Zeiss Distagon T* 2.8/15 comparison at DXO Mark

This is a two-in-two test, the DXO Mark labs check out the Zeiss lens performance difference between Canon and Nikon mounts (5D Mark II vs D3x) and then pits the Zeiss versus the Sigma: 

"In DxO Mark’s testing the quality of the Zeiss lenses over the Sigma lens is very clear. A DxO Mark score of 17 for the Sigma lens is an OK score for a lens with this extreme wide angle: there are few wider corrected lenses on the market to cover full frame 35mm so if the lens were considered in isolation the score might possibly be accepted as a reasonable consequence of the focal length. However, when you look at the other lenses in this category the score does not look quite as good. Zeiss on the other hand have a shining DxO Mark score of 23 for their Nikon version, the highest for any lens of 20mm or wider with a Nikon FX mount (the Canon version scores a creditable 21). The Zeiss lens is much more expensive, nearly 4 times the price of the Sigma, so there will . . . read more

Carl Zeiss Distagon T* 2,8/15 mm lens review at 3D-Kraft.de: It provides exceptional center sharpness already at F2.8 and vignettes at open aperture in a significant degree but correction is just one click away.

Carl Zeiss Distagon T* 2,8/15 mm - Ultrawide and Fast!

"The lens has an exceptional haptics and build quality. If you compare the RAW images without any software lens correction to those with a lens correction profile applied correction in post processing (Adobe Lightroom 4.1 and Camera Raw 7.1 already have profiles for that lens), you can see that this lens needs only very little distortion correction. It providies exceptional center sharpness already at F2.8 and vignettes at open aperture in a significant degree but correction is just one click away in many raw processors and not always favored. . . . read more

Ultrawide Comparison at 3D-Kraft.de: Carl Zeiss Distagon T* 15 mm f/2.8 vs Nikon 14-24mm f/2.8 ED-IF vs Samyang 14mm f/2.8 mounted on Nikon D800E and Sony NEX-7

"o you see that at F5.6 all three candidates deliver very sharp centers, the Nikon zoom shows slightly better contrasts here. As the images from the Zeiss and the Samyang were about 0.5 to 0.8 F-stops overexposed and had to be dimmed in that degree for better comparison, the difference in contrast may also be caused a little bit by that. I recognized quite often that the images with the Nikon zoom were about 0,2 to 0,8 stops shorter exposed which may be caused by the different degree of vignetting. . . . read more

Carl Zeiss Distagon T* 25 mm f/2.0 ZE/ZF.2 review at Lens Tip.

Let's  for a moment suppress the EOS 5D mark III/X rumor mill that unwinds around us, and check out if this manual focus lens is better than Canon's own and similarly priced EF 24mm f1.4 L I like this reviews because it is very detailed, and tests the lens on both full frame and cropped cameras, Canon 1Ds Mark III and 50D in this case:

 

"A manual focus ring is the next part of the casing. It is as wide as 39 mm and most of it is taken by metal ribbing under which you . . . read more

Zeiss Distagon T* 2/35 ZE Lens Review at The Digital Picture

Zeiss Distagon T* 2/35 ZE Lens Review at The Digital Picture

"The manual-focus-only Zeiss 35mm f/2.0 Distagon T* ZE Lens is a remarkably well-built lens that delivers very good image quality at a reasonable, moderate price. The Zeiss 35mm f/2.0 Lens review was created in conjunction with its wider-aperture sibling lens review - the Zeiss 35mm f/1.4 Distagon T* ZE Lens Review. As these lenses share some similar attributes - especially

. . . read more

Zeiss 35mm f/1.4 Distagon T* ZE Lens Review @ The Digital Picture

"The 35mm focal length has long been a first-choice for photojournalists. Wedding photographers, who work in some of the worst lighting venues to be found, also frequently often use 35mm f/1.4 lenses. Portrait photographers like the 35mm focal length for full to mid-body portraits and for group portraits. Landscape photographers have plenty of use for the 35mm focal length. Parents love 35mm . . . read more

Zeiss Distagon T* 1,4/35 ZE Lens Review at The Digital Picture

Zeiss Distagon T* 1,4/35 ZE Lens Review at The Digital Picture

"Selecting a focal length that will work well for your application is always the important first step in choosing a lens. The moderately wide angle 35mm focal length lenses have a huge range of uses - especially when they have an ultra-wide f/1.4 aperture available as does this model. 35mm is wide enough to capture the big scene but not so wide that people are readily distorted.

. . . read more

Carl Zeiss Distagon T* 2/35 review at SLR Gear

Carl Zeiss Distagon T* 2/35 review at SLR Gear

"The Zeiss 35mm ƒ/2 Distagon is a very sharp lens. Mounted on the D200, the APS-C sensor is concentrated on the 'sweet spot' of the lens, producing very sharp results even fully open at ƒ/2. In this case we note around 1.5 blur units across the frame. Stopping down to ƒ/2.8 produces slightly more

. . . read more

Zeiss Distagon T* 3,5/18 ZE Lens Review at The Digital Picture

Zeiss Distagon T* 3,5/18 ZE Lens Review at The Digital Picture

"When used on a full frame DSLR (example above is from a Canon EOS 5D Mark II), 18mm has a very wide angle of view. Ultra-wide angles of view are great for emphasizing the foreground subject, for de-emphasizing but retaining the background (making background details appear smaller but remaining sharp) and for creating a sense of presence.

The longer I shoot, the more I love shooting ultra-wide angle focal lengths. I find it challenging to locate a composition where everything in such a wide angle of view falls into place - and challenging to find

. . . read more

Zeiss 18mm f/3.5 Distagon T* ZE Lens Review @ The Digital Picture

"The longer I shoot, the more I love shooting ultra-wide angle focal lengths. I find it challenging to locate a composition where everything in such a wide angle of view falls into place - and challenging to find a foreground that adds to the big picture taken in by these lenses. When the right composition is found and the shot is properly executed, dramatic images are the result. Landscape and . . . read more

Sony Distagon T* 24mm F2 SSM review @ DPreview

"Sony has been grabbing the headlines over the past year or so for its innovative 'SLT' cameras, the mirrorless NEX system and prolific launches of inexpensive SLRs. But it has also been quietly building up an impressive line of high-end full frame equipment, spearheaded by an array of Carl Zeiss branded optics. And it's into this upper half of the company's curiously bifurcated product line . . . read more

Zeiss Distagon T* 2,8/21 ZE Lens Review at The Digital Picture

Zeiss Distagon T* 2,8/21 ZE Lens Review at The Digital Picture

"Lacking autofocus and image stabilization, the Zeiss 21mm f/2.8 Distagon T* ZE Lens has exactly zero buttons and switches. The entire smooth/straight part of the lens barrel is focus ring except for a just-barely-adequately-sized area to grip the lens for mounting/unmounting. The lens does not extend during focusing. The filter threads do not rotate. Only the focus ring moves - and it very smoothly, very precisely rotates in a 81° arc. Infinity focus is a hard stop (no focusing past infinity).

. . . read more

Zeiss 21mm f/2.8 Distagon T* ZE Lens Review @ The Digital Picture

"Lacking autofocus and image stabilization, the Zeiss 21mm f/2.8 Distagon T* ZE Lens has exactly zero buttons and switches. The entire smooth/straight part of the lens barrel is focus ring except for a just-barely-adequately-sized area to grip the lens for mounting/unmounting. The lens does not extend during focusing. The filter threads do not rotate. Only the focus ring moves - and it very . . . read more

Carl Zeiss Distagon T* 2/28 review at SLR Gear

 Carl Zeiss Distagon T* 2/28 review at SLR Gear

"If corner-to-corner sharpness is important, the lens can deliver it, but only if you stop down to ƒ/4 or ƒ/5.6 on a subframe digital sensor camera, or ƒ/5.6-ƒ/8 on a full-frame camera body.

The 28mm ƒ/2 Distagon produced softer results than we expected shot wide open. At ƒ/2 on our subframe

. . . read more

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