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Carl Zeiss Apo Sonnar T* 2/135

 & Jim Fisher Principal Writer, Cameras

Our team tests, rates, and reviews more than 1,500 products each year to help you make better buying decisions and get more from technology.

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The Carl Zeiss Apo Sonnar T* 2/135 lens is impressively sharp from edge to edge, even at its widest aperture—but it doesn't support autofocus. - Carl Zeiss Apo Sonnar T* 2/135
4.5 Outstanding

The Bottom Line

The Carl Zeiss Apo Sonnar T* 2/135 lens is impressively sharp from edge to edge, even at its widest aperture—but it doesn't support autofocus.

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Pros & Cons

    • Insanely sharp from edge to edge.
    • No distortion.
    • All-metal design.
    • Nikon version includes aperture ring.
    • Very fast aperture.
    • Expensive.
    • Manual focus only.

Carl Zeiss Apo Sonnar T* 2/135 Specs

Type Lens

If you're going to benefit from the amazing image quality that the Carl Zeiss Apo Sonnar T* 2/135 ($2,122 list) delivers, you're going to have to live with focusing manually and be prepared to part with a good chunk of change. If you're not familiar with Zeiss naming conventions, the Apo Sonnar has a 135mm focal length and a maximum aperture of f/2. The lens, which is available for Canon and Nikon cameras, is nearly double the cost of native autofocus equivalents, but it's not too far off in price from the Sony Carl Zeiss 135mm f/1.8. That lens isn't quite as sharp, and can only be used with Sony D-SLRs, but does support autofocus. Despite the price tag, the build quality and optical performance of the Apo Sonnar T* 2/135 make it worthy of our Editors' Choice award—it's simply a perfect lens from an optical standpoint.

As impressive as its imaging capability is, the Apo Sonnar is not a small lens. It measures 5.1 by 3.3 inches (HD), weighs about 2 pounds, and its front filter thread is compatible with large 77mm filters. Using the included metal hood adds a few inches to the front of the lens, but will prevent flares and improve contrast. The close focus distance is 2.6 feet, which equates to 1:4 magnification—a quarter of what you'd expect from a good 100mm or 150mm macro lens. The Nikon mount version of the Apo Sonnar does have a physical aperture ring, so you can use it on older film bodies; the Canon version does not, but it's not a concern as even the oldest Canon EOS cameras support electronic aperture control.

I shot a few images with the lens and the Nikon D800SEE IT before running tests through Imatest. The photos looked good and sharp, with a lovely out-of-focus rendering when shot at wider apertures; but I was surprised to see just how sharp the lens was according to our SFRPlus test chart. We use a score of 1,800 lines per picture height using a center-weighted testing method as the cutoff point for an acceptably sharp image. At f/2 the lens scores 3,357 lines on that test, with the extreme edges notching 3,200 lines. Stopping down to f/2.8 increases the score to 3,668 lines, and resolution increases steadily as you close the aperture. It peaks at 3,887 lines at f/5.6. Distortion is virtually nonexistent, so straight lines will remain perfectly straight in your photos.

The Carl Zeiss Apo Sonnar T* 2/135 is one of those lenses that stands out in the crowd. Even though it doesn't support autofocus, shooters who are willing to forgo that convenience will be rewarded by a lens with exemplary optics and gorgeous out-of-focus rendering. The fast aperture will let you create an extremely shallow depth of field, especially when working close to your subject, and you can shoot the lens wide open without sacrificing image quality. Yes, it's expensive, but this is a case where performance actually exceeds the asking price. As such, the Apo Sonnar earns our Editors' Choice award.

Final Thoughts

The Carl Zeiss Apo Sonnar T* 2/135 lens is impressively sharp from edge to edge, even at its widest aperture—but it doesn't support autofocus. - Carl Zeiss Apo Sonnar T* 2/135

Carl Zeiss Apo Sonnar T* 2/135

4.5 Outstanding

The Carl Zeiss Apo Sonnar T* 2/135 lens is impressively sharp from edge to edge, even at its widest aperture—but it doesn't support autofocus.

Get It Now

Buy It Now

About Our Expert

Jim Fisher

Jim Fisher

Principal Writer, Cameras

My Experience

Images, and the devices that capture them, are my focus. I've covered cameras at PCMag for the past 14 years, which has given me a front row seat for the changeover from DSLRs to mirrorless cameras, the smartphone camera revolution, and the emergence of drones for aerial imaging. I have extensive experience with every major mirrorless and SLR system, and am also comfortable using point-and-shoot and action cameras. As a Part 107 Certified drone pilot, I’m licensed to fly unmanned aircraft systems (UAS) for commercial and editorial purposes, and am knowledgeable about federal rules and regulations regarding drones.

The Technology I Use

I use all of the major camera systems on a regular basis, swapping between Canon, Fujifilm, L-Mount, Micro Four Thirds, Nikon, and Sony systems. I still find time to use Leica M rangefinders and Pentax SLRs on occasion, too. I keep an iPhone 13 in my pocket for the rare occasions I'm not carrying a camera.

I'm not a brand-specific photographer. For product review photos, I swap between a Canon EOS R5 and a Sony a7R IV. I use Flashpoint and Godox TTL lights and Peak Design tripods, and I most often reach for a Think Tank or Peak Design backpack to carry equipment.

When it comes to computers, I'm an unapologetic Mac person and have been for the past 20 years. I write in Pages and use Numbers for spreadsheets. I currently swap between an Intel i9 MacBook Pro and an Apple Silicon Mac Studio for writing and use a calibrated BenQ 32.5-inch with the Studio for photo and video editing. I rely on a LaCie 6big RAID for media storage. I also keep a PC around for gaming, but please don't tell my Macs about it; they'll get jealous.

I split time between several different software apps depending on the type of editing I'm doing. For Raw image processing, Adobe Photoshop Lightroom Classic is my standard. I pair it with a LoupeDeck CT console to supplement my keyboard and trackpad, and I lean on RNI All Films 5 presets when I want to give an image a film look. I use Apple Final Cut Pro for video editing.

My first digital camera was the Canon PowerShot Elph S200, and my first DSLR was the Pentax *ist DL. I have a soft spot for antique film gear. I still use a 1950 vintage Rolleiflex Automat TLR and love trying mid-century Leica lenses on film and digital alike. I mainly use whatever's in front of me for review for digital snaps, but I pick up either my Leica M Typ 240 or Pentax K-3 III Monochrome when I want to step away from review work. In my downtime, I enjoy bird watching, reading, video games, and both good and bad movies, especially in the sci-fi and horror genres.

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