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Zeiss Expands Manual Focus Milvus Lens Series

Three more of Zeiss's Classic line of lenses are getting the Milvus overhaul.

 & Jim Fisher Principal Writer, Cameras

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The first batch of Zeiss Milvus lenses was a mix of tried and true optical designs finished with a more modern design that incorporates dust and splash protection and a smooth rubber focus ring, along with complete optical redesigns of older lenses that had some room for improvement. The series did quite well in testing, with old classics like the Milvus 2/100M showing that they could still go toe-to-toe with the competition, and some under performers like the Planar T* 1,4/50 benefitting from an all new optical design in the form of the excellent Milvus 1.4/50.

The second wave of Milvus lenses is here, and like the first, it's a mix of old and new optical designs. The ultra-wide Milvus 2.8/15 uses the same optical formula as the T* 2,8/15, and the telephoto Milvus 2/135 is the superb Apo Sonnar T* 2/135.

The third, another ultra-wide angle, is an improved version of the T* 3,5/18 that can still be purchased as part of the Classic line. The Milvus 2.8/18 is a half-stop brighter, and manages to use smaller, more affordable 77mm front filters (as opposed to the 82mm filters that the older lens supports), all while focusing just a little bit closer—as close as 0.25 meters, instead of the 0.3 meters supported by the elder 18mm.

All three new Milvus lenses sport similar designs. Their metal barrels are finished in matte black, and paired with felt-lined metal lens hoods. Canon-mount versions don't have a physical aperture ring, but if you're buying for a Nikon you do have the option of using a ring that can be set to utilize click stops or turn freely to set the f-stop. The lenses are pure manual focus designs with a smooth rubber grip on the focus ring.

The freely turning ring is a plus for cinematographers who want to mount the lenses to the latest high-end video cameras. Zeiss promises that the lenses deliver enough resolution to be used with 6K recording devices, and our lab tests of the Milvus lenses released to date and the older Classic line confirm that these lenses deliver excellent performance, whether you are capturing stills or moving images.

With this announcement, only the older Distagon T* 2/25, Distagon T* 2,8/25, Distagon T* 2/28, and Distagon T* 1,4/35 await the Milvus makeover. There's no guarantee that any or all of those lenses will get upgrades, of course.

The new Milvuses will go on sale at the end of October. The 2.8/15 is priced at $2,699, the 2.8/18 is $2,299, and the 2/135 is $2,199. There are discounts available for buying in bulk—if you purchase three or four Milvus lenses together you'll get an 8 percent discount, and if you buy five or more you'll get 10 percent off the total.

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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