ZM C Biogon 21mm F4.5 T* Close to “Zero-distortion” Ultra Wide Angle lens
ZM C Biogon 21mm F4.5 T* Close to “Zero-distortion” Ultra Wide Angle lens
2016 年時再次入手，499 USD 購入以上的ZMC 21/4.5
The first time I bought a ZMC 21/4.5 (from now on Call ZMC21) was back in 2010, when I got rid of the Contax G system and purchased a Minolta CLE, officially entering the world of manual rangefinder lenses, I was looking for a lens that could replace the Contax G21. In the end, it was a choice between the ZM 21/2.8 or the ZMC 21/4.5. But of course, the ZMC 21 was chosen.
Very light, weighing only 190g, with a 46mm diameter and a closest focusing distance of 0.5M
The most significant selling point of the ZMC21 is its excellent distortion control, which is as close to “zero distortion” as you can get, and its excellent centre resolution.
The M10D is very light on the zmc21 / I don’t actually use the hood most of the time.
I have found some old photos from the end of 2010 and would like to share them with you:
ZMC21 + Minolta CLE + ERA100 + HC110 + V700 SCAN
ZMC21 + Minolta CLE + ERA100 + HC110 + V700 SCAN
ZMC21 + Minolta CLE + ERA100 + HC110 + V700 SCAN
ZMC21 + Minolta CLE + ERA100 + HC110 + V700 SCAN
ZMC21 + Minolta CLE + ERA100 + HC110 + V700 SCAN
The half-circle shape of the rear lenses elements set creates a deviation in the amount of light entering the centre and the sides, which is not conducive to digital cameras.
Only two 21mm lenses remain in the digital age, the “ zero-distortion “ ZMC 21 and the Leica 21mm F3.4 Super-Elmar ASPH. The ZMC has a semi-circular shaped rear lens which is not conducive to digital light / the 21 SE has an entirely flat rear lens designed to optimize edge-on light.
In the digital age, due to the symmetrical Biogon optical structure of the ZMC 21, the rear lens is very close to the Cmos, and the angle of incidence is too large, which renders the image scattered at the edges and may lead to problems such as red-glaring. If a BSI sensor digital camera is used, the red-gloss problem seems to be solved. The author’s Sony A7R2/A73/A7R3 with the thinner camera have improved the image and no red-shrift problem.
Unprofessional simple handheld test, ZMC21 + A7R2 thin filter / centre image absolutely no problem, the edge is better at F5.6-F8, F11 edge has dropped
Straight line straight line
Left: Tamron FE 20/2.8 Transformation control is dependent on digital correction / Right: The lines of the building are really a bit… Of course, there may be some real trade-offs at this price, but the appeal has diminished considerably for me.
In the digital age, many lenses have been digitally corrected for various reasons, perhaps to save costs or make things easier. For many reasons, the control of lens distortion has been handed over to digital correction, which is forced on even when you open Lightroom/Capture one. For the average person, this is probably the best solution. However, there is a difference between digital and optical correction for those who like wide angle lenses. Optical correction is always more natural, and playing with Biogon / Hologon optics is all about excellent deformation control. The ZMC 21 is really the closest thing to a “zero-deformation” lens in modern times. Straight lines, straight lines, straight lines… maybe that’s what makes me feel moved XD.
The autofocus capability of the ZMC21 is not very good due to the Techart adapter/Firmware, and there are many times when it fails to focus or does not focus smoothly. I usually prefer the manual focus to autofocus, which is faster and more accurate.
ZMC 21 + A7R2 thin filter + LR9.0 / TCP K14 film preset Straight line straight line
ZMC 21 + A7R2 thin filter + LR9.0 / TCP K14 film preset
ZMC 21 + A7R2 thin filter + LR9.0 / TCP K14 film preset Each of the water pipes at the rear are also straight and linear
ZMC 21 + A7R2 thin filter + LR9.0 / TCP K14 film preset
ZMC 21 + A7R2 thin filter + LR9.0 / TCP K14 film preset
Imaging Performance
The resolution of the ZMC21 lens is adequate for a 42mp body, with very sharp central images, full of detail, and good edge-to-edge images on a slimmed-down body. 90% of the photos in this article were taken with the A7R2 thin filter version.
I always feel that it is better to buy a new wide-angle lens. New lenses can continually be optimized for maximum edge-to-edge imaging or better contrast performance for digital cameras. The ZMC21 is my last choice, but if I were to use it on film taking, I would probably choose the Contraex 21mm F4.5 or the Leica 21mm F3.4 Super Angulon. …
ZMC 21 + A7R2 thin filter + LR9.0 / TCP K14 film preset
左: 100% Crop, / 右: 200% Crop
Bokeh
ZMC 21 + A7R2 thin filter + LR9.0 / TCP K14 film preset The bokeh is not the main focus of the wide-angle lens, and the secondaries are a bit strong, but it is quite natural and soft.
ZMC 21 + A7R2 thin filter + LR9.0 / TCP K14 film preset
Performance of loss of light in dark corners
ZMC 21 + A7R2 thin filter / LR9.0 Left: LR without lens correction file open / Right: LR with lens correction file open
ZMC 21 + A7R2 thin filter / LR9.0 左: LR No lens correction file open / Right: LR with lens correction file open If the subject is placed in the centre of the shot, the loss of light around the subject may make it more focused.
ZMC 21 + A7R2 thin filter + LR9.0 / TCP FirstMan Kodachrome Filmpreset
ZMC 21 + A7R2 thin filter + LR9.0 / TCP FirstMan Kodachrome Filmpreset
ZMC 21 + A7R2 thin filter + LR9.0 / TCP FirstMan Kodachrome Filmpreset
ZMC 21 + A7R2 thin filter + LR9.0 / TCP FirstMan Kodachrome Filmpreset
CAT
ZMC 21 + A7R2 thin filter + LR9.0 / TCP K14 film preset The only thing you can do with a 21mm is to get as close to the meow as possible XD
ZMC 21 + A7R2 thin filter + LR9.0 / TCP K14 film preset The only thing you can do with a 21mm is to get as close to the meow as possible XD
ZMC 21 + A7R2 thin filter + LR9.0 / TCP K14 film preset The only thing you can do with a 21mm is to get as close to the meow as possible XD
Street photography:
The contrast of the ZMC21 is perfect for street photography, and the small, low-profile lens doesn’t seem to be a problem even after a full day of use. Basically, the ZMC21 is used at F5.6 or F8 to get a good range of adequate depth of field. I only shoot at 24mp or lower with a hyperfocal/closing aperture, and it is still not easy to see where the centre of focus is and where the adequate depth of field is with lower resolution models. With 42mp and above, I will try to get as close to the centre of focus as possible by zooming in/looking at the depth-of-field scale to get a better effective depth-of-field range.
ZMC 21 + A7R2 thin filter + LR9.0 / TCP K14 film preset 21mm Perfect for photographing back alley shops
ZMC 21 + A7R2 thin filter + LR9.0 / TCP K14 film preset
ZMC 21 + A7R2 thin filter + LR9.0 / TCP K14 film preset The digital convenience is that even with an aperture of only F4.5, pushing up the iso to 1600–3200 and the camera body being shockproof, there is no big problem even when shooting indoors or in low light XD
The ZMC21 is exposed to direct sunlight, and there is a chance of coloured mosquito-like flares, light shifts, etc. Of course, this can be avoided by a simple hand shift or by avoiding the direct light source, but the author likes to use this small optical deficit to create more atmosphere.
ZMC 21 + A7R2 thin filter + LR9.0 / TCP K14 film preset
Performance under M10D:
Even though the M10 uses a micro lens to improve its edge-to-edge image, the ZMC21 still has a little bit of a red-gate phenomenon due to the lack of technology such as the bsi sensor. The author is still used to using the M10D with the leica Super-Elmar 21/3.4 ASPH, it’s simple and straightforward, and the M10 processor will be the one with the stronger taste anyway, haha.
ZMC 21 + Leica M10-D + LR9.0 / TCP K14 film preset On the right hand side of the screen, there is a red gate of about 5%, but of course a simple cut-out or conversion to black and white will solve the problem
ZMC 21 + Leica M10-D + LR9.0 / TCP K14 film preset
ZMC 21 + Leica M10-D + LR9.0 / TCP K14 film preset
ZMC 21 + Leica M10-D + LR9.0 / TCP K14 film preset
ZMC 21 + Leica M10-D + LR9.0 / TCP K14 film preset
ZM21/2.8 or ZM 21/4.5 ? Leica Super Elmar 21mm F3.4 (21SE)
。The ZM21/2.8 is better than the ZMC21 in terms of edge-to-edge appearance on unthinned bodies, and the ZM21/2.8 does not have red gates and other problems.
。The ZM21/2.8 is more landscape oriented, with higher contrast/saturation, while the ZMC21/4.5 has lower contrast/saturation and is suitable for humanities photography or a small amount of landscapes. If landscape photography is the main focus, I would prefer the Loxia 21/2.8, which is indeed the best 21mm wide-angle lens available today XD If you want a lighter, more portable lens, the VM Classic 21/3.5 may be another good choice
。ZMC distortion control/sharp side is better than ZM21/2.8
。The Leica super Elmar 21mm F3.4 is definitely the wide-angle lens of today’s leica digital performance, the centre to edge image is also very sharp, very suitable for street photography, travel, etc. The only bad thing is the taste of modern lenses, higher contrast sharpness, etc.. But it is indeed a lens worth having for more than 10 years XD
The ZMC21 may not be a lens for everyone, but if you are a fan of wide-angle lenses and are looking for near “zero distortion/straight line” effects, you will be pleased with the ZMC21. I think the ZM contrast is actually more suitable for digital performance. I hope that Cosina will continue to update the ZM / ZMC series of lenses for the digital version, as the colour performance, white balance and QC of the ZM lenses are more attractive than the VM lenses. I hope to try out the ZMC 21/4.5 ver 2 digital version one day XD
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