Pros & Cons
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- Sharp from edge to edge.
- Minimal distortion.
- Wide aperture design.
- Resistant to dust and splashes.
- Superb build.
- Available for Canon and Nikon SLRs.
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- Dim corners at f/2.
- Magnification limited to 1:2.
- Manual focus isn't for everyone.
- Expensive.
Zeiss Milvus 2/100M Specs
| 35mm Equivalent (Wide) | 100 |
| Dimensions | 3.2 by 4.1 inches |
| Lens Mount | Canon EF |
| Lens Mount | Nikon F |
| Stabilization | None |
| Type | Lens |
| Weight | 1.8 |
The Zeiss Milvus 2/100M ($1,843) is a purely cosmetic update to the discontinued Marko-Planar T* 2/100 ($750.00 at Amazon) , as there was no reason to update the excellent optics and unique f/2 macro design used in the older lens. For the same price, you get a lens that's sealed against dust and moisture, and—if you're a Nikon shooter—one that supports clickless aperture control for video recording. It's an exceptional performer, capturing images that are just as sharp at the edges of the frame as they are in the center, and focusing close enough to capture objects at half life-size, earning Editors' Choice honors in the process.
Design
The 2/100M ($1,843.00 at Amazon) matches the design of the other lenses in the Milvus family. It's housed in a matte black metal barrel that's sealed to protect the lens from dust and splashes. It's hefty, weighing in at 1.9 pounds and measuring 4.1 by 3.2 inches (HD). Its front element isn't huge, but it's big enough to require you to invest in the 67mm size if you wish to use a neutral density or polarizing filter. The barrel is all-metal, with a smooth rubber coating that covers about half of the manual focus ring.
A reversible lens hood is included. It's metal and finished in the same matte black as the body on the exterior, but the interior is lined with felt to minimize reflections. You can purchase the lens for Canon or Nikon SLRs. The Canon version features electronic aperture control only—that's been a staple of the EOS SLR system since it was launched back in the days of 35mm film.
The Nikon version of the lens has a physical aperture ring, so you can use it with modern digital cameras and analog classics like the F3 with equal aplomb. The ring itself can be set to turn freely, a plus for videographers, or to click into place at each f-stop, a more traditional interface for photographers. A tool is included to set the operation mode.
As a macro lens, you expect the 2/100M to focus close. It can lock onto subjects as close as 1.4 feet (0.44-meter), measured from the sensor plane. At its closest focus distance it projects objects onto the image sensor at half life-size (1:2). That's not as large as most macros in this focal range, like the autofocusing Tamron SP 90mm f/2.8 Di Macro 1:1 VC USD ($649.00 at Amazon) , which delivers 1:1 magnification, but those lenses are f/2.8 designs. With a maximum aperture of f/2, the Milvus captures twice the light when shot wide open as the competition.
The engraved focus scale is finished with white paint and marked in feet and meters. It requires close to a 360-degree turn to move from the minimum focus distance to infinity, and includes hard stops at both ends of the range. The barrel extends noticeably when moving toward the minimum focus distance. This long throw is a big plus, especially for use in a controlled studio environment, as it allows for very precise focus adjustment.
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Image Quality
I used Imatest to evaluate the sharpness of the lens when paired with the full-frame, 36-megapixel Nikon D810 ($1,996.95 at Amazon) . At f/2 it scores 3,283 lines per picture height on a center-weighted sharpness test, with edges that are almost as sharp as the center. That's the mark of an excellent optical design, and frees you to focus in on any point on the frame without worrying that you're sacrificing quality. Macro photography is generally done at narrower apertures, unless you want to focus on just a sliver of an object. Performance at f/2 means the lens doubles as a fantastic portrait lens.
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Resolution improves as you stop down. At f/2.8 the lens scores 3,473 lines, and it jumps to 3,693 lines at f/4 and 3,969 lines at f/5.6. It hits its peak at f/8 (4,058 lines), before starting to decline at f/11 (3,933 lines) and f/16 (3,432 lines). There is a noticeable drop in image quality at f/22, where the lens scores just 2,746 lines, so you should consider stacking shots together if your depth of field needs go beyond what's achievable at f/16.
There's no distortion of which to speak, which isn't surprising as it's a hallmark of a stellar macro. When working at f/2 there is some noticeable dimming at the corners of the image, which are about 2.6EV darker than the center of an image. Stopping down to f/2.8 narrows that deficit to a more reasonable -1.1EV, and it's less than -0.4EV at f/4 and beyond. It's very easy to brighten corners—Lightroom ($9.99/Month at Adobe) includes a tool to do so manually, as well as a one-click profile correction specifically tuned to this lens. But photographers who don't like to spend time post-processing images should be aware of the dimming at f/2, the only real complaint to be made here.
Conclusions
I have very little criticism of the Zeiss Milvus 2/100M. It's incredibly sharp, right up to the edge of the frame, doesn't show any distortion, focuses close, and its f/2 maximum aperture and 100mm focal length allow for extreme control over depth of field. Add in a sturdy metal barrel that's protected from the elements, and you have an all-weather lens that's capable of capturing some amazingly detailed photos that really pop, whether printed or viewed on a screen. It does require some effort and skill to use effectively, as more care must be taken when focusing manually—you can't simply put the focus point on a subject in the viewfinder and let your camera do the work for you. That can be a turnoff if you rely on autofocus, which is a shame because you'll be missing out on a truly fantastic lens that's an easy pick as our Editors' Choice.
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