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The Zeiss Loxia 21mm f/2.8, as the most representative ultra-wide-angle prime lens in the Loxia series, is designed for Sony E-mount cameras and stands out for its elegant appearance and excellent optical performance. This lens not only inherits the Zeiss brand’s unremitting pursuit of image quality, but also provides photography enthusiasts with rich creative possibilities and excellent manual focus experience with its unique ultra-wide-angle field of view and large aperture of f/2.8.
Zeiss Loxia 21mm f/2.8 review: Verdict
Our Rating:
| Pros | Cons |
|---|---|
| +Superb image quality +Refined build and handling +Compact and lightweight | –No autofocus –F2.8 aperture isn’t the fastest –Pricey to buy |
I love the retro look and feel of the Zeiss Loxia 21mm F2.8 manual-focus lens. Unlike ‘dumb’ lenses, however, it boasts a full complement of built-in electronics for communication with the host camera body. Build quality and handling are sublime and optical performance is top-drawer. It’s pretty compact and lightweight as well, making it a highly desirable prime if you can give up your autofocus habit.
| Zeiss Loxia 21mm f/2.8 review：Main Specs |
|---|
| Minimum aperture: f/22 Minimum focus distance: 0.25m Maximum magnification: 0.13x Mount options: Sony E (FE) Lens construction: 11 elements in 9 groups Angle of view: 91 degrees Focus type: Manual focus Filter size: 52mm Dimensions: 62x72mm Weight: 394g |
Table of Contents
The Zeiss Loxia 21mm F2.8 is the most wide-angle lens in the Zeiss collection of Loxia lenses. They take their name from a classification of bird, which I’ve grown used to seeing in Zeiss lenses, this time of a ‘chunky finch’. There’s nothing chunky about the lens, however, as it’s refreshingly compact and lightweight for such an ultra-wide-angle prime. Like the longer 25mm F2.4, 35mm F2, 50mm F2 and 85mm F2.4 lenses in the Loxia family, this one has a 52mm filter thread which makes it easy to mix and match filters across the board.
Zeiss Loxia 21mm f/2.8 review: Key Features
In these days of high-tech digital photography, one glaring omission is the lack of autofocus. You might argue that without the split screens and microprisms of 35mm film SLRs, manual focusing is a tricky and fiddly business. However, the Sony full-frame cameras for which this lens is designed feature focusing aids like magnified preview and focus peaking, so I don’t feel it’s much of a problem. Better still, as a manual-focus lens, the rubberized focus ring has a lengthy 90-degree throw and enables silky-smooth and ultra-precise adjustments. A focus distance scale is also present and correct on the lens, complete with depth of field markers for apertures of f/8 and f/22. The combination of a 21mm focal length and f/2.8 aperture also make the lens a prime candidate for astrophotography, where manual focusing rather than autofocus is the order of the day (or night) anyway.
I like that the lens features an aperture control ring, situated at the rear. Although it’s now quite commonplace, Loxia lenses were the first to include an aperture ring click/de-click mechanism, making them equally adept at stills and video capture. Switching between the two involves using a supplied key, the only downside being that you have to remove the lens from the camera to make the change.
Build quality feels rock solid. The weather-sealed lens features a metal casing as well as a metal mounting plate, and is impeccably turned out. Unlike some ultra-wide-angle lenses, the petal-shaped hood is removable, enabling the easy attachment of filters, and has the usual bayonet-mount fitting.
Zeiss Loxia 21mm f/2.8 review: Performance
For applications like landscape photography, cityscapes, architecture and astrophotography, edge-to-edge sharpness is often a bonus. The lens does well in this respect, especially in the f/5.6 to f/11 sector of the aperture range. Wide-open edge-sharpness at f/2.8 isn’t so impressive but still up to the task of astrophotography.
Along with strong sharpness performance, the lens exhibits negligible color fringing and practically no distortion whatsoever, That’s a massive difference to many wide-angle lenses designed for mirrorless cameras that rely entirely on automatic in-camera correction. Image quality is further boosted by the use of an aspherical element and four anomalous partial dispersion elements. The famous Zeiss T* anti-reflective coating is applied to every surface of all elements, to boost contrast and color fidelity while minimizing ghosting and flare.
Zeiss Loxia 21mm f/2.8 review: Lab Results
We run a range of lab tests under controlled conditions, using the Imatest Master testing suite. Photos of test charts are taken across the range of apertures and zooms (where available), then analyzed for sharpness, distortion and chromatic aberrations.
We use Imatest SFR (spatial frequency response) charts and analysis software to plot lens resolution at the center of the image frame, corners and mid-point distances, across the range of aperture settings and, with zoom lenses, at four different focal lengths. The tests also measure distortion and color fringing (chromatic aberration).
Sharpness:
Sharpness in the central region of the frame is excellent, even when shooting wide-open at f/2.8. Edges and corners come on strong at f/5.6, only really dropping off at the narrowest aperture of f/22, due to the usual phenomenon of diffraction.
Fringing:
There’s virtually no color fringing to be seen, even out at the extreme edges and corners of the frame, and that’s without using automatic in-camera correction.
Distortion: 0.07
It’s refreshing to see a wide-angle lens for mirrorless cameras that’s designed to give virtually zero distortion, without the need to correct for distortion in-camera.
Zoom Q2n-4K review: Verdict
I love the retro look and feel of the Zeiss Loxia 21mm F2.8 manual-focus lens. Unlike ‘dumb’ lenses, however, it boasts a full complement of built-in electronics for communication with the host camera body. Build quality and handling are sublime and optical performance is top-drawer. It’s pretty compact and lightweight as well, making it a highly desirable prime if you can give up your autofocus habit.
Our Rating:
In the vast world of exploring the art of photography, the lens is the eye of the camera, and its selection and use are undoubtedly an indispensable part of every photographer’s creative process. From the classic Zeiss Carl series to Canon’s EF lens group, to the continuous innovation of brands such as Sony and Nikon, each lens carries a different story and style, giving the photographic works a unique soul.
First of all, when it comes to Zeiss Carl, this optical giant from Germany has long won the favor of photographers around the world with its excellent optical performance, exquisite manufacturing process and unique color reproduction ability. Whether it is the Batis series or other high-end professional lenses, Zeiss has always been at the forefront of photographic lens technology, providing impeccable choices for photographers pursuing ultimate image quality.
Turning to Canon’s EF lens system, it has become the first choice of many professional photographers and photography enthusiasts with its huge lens lineup, comprehensive focal length coverage and excellent optical performance. EF lenses are not only suitable for Canon’s own SLR cameras, but also show cross-platform compatibility and flexibility through adapters and other methods.
When we talk about Sony lenses, we have to mention the FE lens group in its full-frame micro-single series. In particular, classic fixed-focus lenses such as Sony 35mm f/1.8 OSS and 50mm f/1.8 have become a powerful assistant for Sony users’ daily shooting and creation with their compact and lightweight design, fast focusing speed and excellent image quality. Among them, the addition of OSS (Optical SteadyShot) optical image stabilization technology makes handheld shooting more stable and reliable.
In addition, Sony continues to innovate. Lenses such as 35mm f/1.8 not only inherit the consistent high quality of Sony lenses, but also further improve the clarity and contrast of the picture through optimized design, allowing photographers to easily capture every wonderful moment.
In the Nikon camp, the 35mm f/1.8 Nikkor lens is also highly praised. This lens has become an ideal choice for street photography, humanities documentary and other fields with its excellent optical quality, wide viewing angle and excellent background blur ability.
In addition to these mainstream brands, there are some special types of lenses that deserve our attention, such as fisheye lens and Cameron lens. Fisheye lens, with its unique ultra-wide-angle field of view and strong distortion effect, brings unlimited possibilities to photography creation; while Cameron Lens, with its unique design and retro appearance, has become a weapon for many photographers to pursue individual expression.
It is worth mentioning the close relationship between lens and camera. Whether it is “camera lens camera” or “lens for a camera“, it emphasizes the status of lens as an important part of the camera. Without a good lens, no matter how advanced the camera is, it cannot play its full performance; and a suitable lens can make the camera’s potential fully utilized and create amazing works. Therefore, when choosing a camera, we also need to pay attention to the matching lens system to achieve the best shooting effect.
Whether it is Zeiss Carl, Canon EF, Sony FE or Nikon lens, each one has its unique charm and value. On the road of photography, choosing a lens that suits you and using the lens to capture the beautiful moments in life will be our eternal pursuit.
