MY ZEISS BATIS 25MM LENS IS ALMOST TEN YEARS OLD
THE ZEISS BATIS 25MM LENS
I purchased this lens about ten years ago and about five years ago it developed a problem and as a result I can only it on warm sunny days. As a result I specifically sought reports of internal fogging or condensation issues with the Zeiss Batis 25mm f/2, similar to a problem experienced with my own copy where the lens interior becomes foggy and taking hours to clear.
An Expert Analysis of the Zeiss Batis 25mm f/2 E-Mount Lens and its Contemporary Relevance
1. Executive Summary
The Zeiss Batis 25mm f/2 stands as a significant lens within the Sony E-mount ecosystem, representing one of Zeiss's initial forays into crafting autofocus lenses specifically for Sony's full-frame mirrorless cameras. Launched in 2015, it aimed to blend traditional Zeiss optical characteristics – notably rich colour rendition and high contrast – with modern functionalities like autofocus, weather sealing, and a unique OLED information display, all within a relatively compact and lightweight package suitable for mirrorless systems. Optically, it is generally regarded as a strong performer, delivering good to excellent sharpness across the frame, even wide open, and commendable control over flare and distortion.
However, its bokeh rendering is often considered less refined compared to faster f/1.4 alternatives. Regarding the user-reported issue of persistent internal fogging, the research conducted using the available information did not uncover widespread reports of such a phenomenon, suggesting the problem may be specific to the individual unit rather than a common design flaw. In the current market, the Batis 25mm f/2 faces stiff competition, particularly from Sony's own G Master line, such as the FE 24mm f/1.4 GM, which offers a faster aperture, more comprehensive features, and potentially superior optics, albeit at a higher price and greater weight.
It also compares differently to the ultra-compact Sony FE 24mm f/2.8 G, which prioritises portability. Furthermore, Zeiss offers distinct manual focus alternatives within the E-mount: the Loxia series, prioritising tactile control and compact build, and the high-end Otus series, focused on ultimate optical performance without compromise.
The Batis 25mm f/2, therefore, occupies a specific niche, appealing to users who value its characteristic Zeiss rendering and autofocus convenience in a reasonably sized package, especially considering its increased accessibility on the used market.
2. Zeiss Batis 25mm f/2: A Comprehensive Review
Introduction and Market Context
The Zeiss Batis 25mm f/2, alongside the Batis 85mm f/1.8, marked Zeiss's entry into native autofocus lenses designed exclusively for Sony's burgeoning full-frame E-mount mirrorless camera system in 2015. This launch acknowledged the growing trend towards professional use of mirrorless cameras, aiming to provide photographers with high-performance tools tailored to these compact systems. Utilising the well-regarded Zeiss Distagon optical design, typically employed for high-performance wide-angle lenses, the Batis 25mm f/2 sought to deliver the renowned Zeiss image quality – excellent resolution, contrast, and colour – in a package that was both lighter and smaller than traditional DSLR lenses, yet featured modern conveniences like autofocus and weather sealing.
It was positioned as a professional-grade lens, intended for demanding applications like landscape, architecture, street photography, and photojournalism. Its 25mm focal length offers a popular wide-angle perspective, slightly wider than 28mm but generally avoiding the extreme distortion associated with ultra-wide lenses. At its launch, the Batis 2/25 carried a premium price tag of approximately $1299 / €1092. While considered potentially overpriced by some at release, its age means it is now frequently available on the used market at significantly lower prices, making it a more accessible option for enthusiasts seeking Zeiss quality with autofocus.
Optical Characteristics
The optical performance of the Batis 25mm f/2 is a key aspect of its appeal, blending traditional Zeiss traits with corrections necessary for modern high-resolution sensors.
Sharpness: The lens is consistently reported to offer very good to excellent sharpness across the full-frame sensor, extending well into the corners even when used wide open at its maximum aperture of f/2. It holds up well on high-resolution bodies like Sony's A7R series. While perhaps not setting absolute records compared to the very latest flagship primes, its performance is considered highly competent, with many users finding it more than sharp enough for professional work. Some tests suggest it might be slightly less sharp in the very centre compared to the Sony 24mm f/1.4 GM at equivalent wide apertures, but it can exhibit comparable or even superior sharpness towards the edges and corners in certain comparisons. Performance peaks across the frame when stopped down to typical landscape apertures like f/4 to f/8. However, as with many lenses, potential copy-to-copy variation has been mentioned by users, which could influence individual perceptions of sharpness.
Bokeh: The quality of the out-of-focus rendering, or bokeh, is generally described as acceptable but not the lens's standout feature, particularly when compared against faster f/1.4 competitors like the Sony 24mm GM, which can produce a shallower depth of field and smoother blur. The Batis 25mm f/2 can exhibit some common traits associated with modern lenses containing aspherical elements, such as 'onion ring' patterns within highlights in certain conditions. Mechanical vignetting can also cause specular highlights towards the edges of the frame to take on a 'cat's eye' shape rather than being perfectly circular. When stopped down, the 9-bladed aperture can result in highlights taking on a slightly polygonal shape rather than remaining perfectly round. Despite these points, the lens is still capable of producing pleasing subject separation and background blur, especially when focusing on close subjects due to its excellent minimum focus distance.
Chromatic Aberration (CA): The lens demonstrates good control over chromatic aberrations overall. Longitudinal chromatic aberration (LoCA), which manifests as colour fringing in out-of-focus areas (often magenta in the foreground and green in the background, or red/teal as noted in one comparison ), is present when shooting wide open at f/2 but is considered relatively low for a fast wide-angle lens. This LoCA significantly diminishes upon stopping down the aperture to f/2.8 or f/4. While generally well-managed, some users have noted that LoCA can occasionally be noticeable or potentially detract from images with shallow depth of field captured at wider apertures. Lateral chromatic aberration, which typically appears as colour fringing along high-contrast edges towards the corners of the frame, is also present but generally well-controlled and easily correctable during post-processing using lens profiles.
Distortion: Leveraging the Distagon retrofocus optical design, the Batis 25mm f/2 exhibits minimal geometric distortion. This makes it well-suited for subjects with straight lines, such as architecture and landscape photography, where distortion can be particularly undesirable.
Flare Resistance: Thanks to the application of Zeiss's renowned T* anti-reflective coating on the lens elements, the Batis 25mm f/2 generally offers good resistance against flare, ghosting, and loss of contrast when shooting into bright light sources. This coating is designed to minimise internal reflections within the optical system. However, one review did note the possibility of encountering unusual purple or green flare artefacts under specific conditions when pointing the lens directly towards the sun.
Colour & Contrast Rendering: A frequently cited strength of the Batis 25mm f/2 is its image rendering, often described as possessing the characteristic 'Zeiss look'. This typically translates to images with strong contrast, high micro-contrast (which contributes to the perception of fine detail and a 'three-dimensional' quality), and rich, vivid, saturated colours straight out of the camera. Some users explicitly prefer this rendering style over lenses that might be technically more perfect but perceived as flatter or less engaging.
Physical Attributes & Handling
The physical design and handling of the Batis 25mm f/2 reflect its positioning as a modern lens for mirrorless systems, balancing build quality with portability.
Build Quality: The lens features a high-quality construction, typically described as using an all-metal housing or a combination of metal composites and high-tech plastics. This results in a lens that feels solid, robust, and well-crafted, instilling confidence in its durability, while remaining relatively lightweight. The external design is sleek and modern, with smooth surfaces reminiscent of the higher-end Zeiss Otus line. The included lens hood is made of plastic, but it is described as durable and integrates well with the lens's overall aesthetic.
Weather Sealing: A significant feature is the inclusion of dust and weather sealing throughout the lens construction, including special felt and rubber seals within the housing and a distinctive blue rubber gasket at the lens mount. This sealing makes the lens suitable for use in challenging outdoor environments, offering protection against dust, splashes, rain, and snow. Some users consider the Batis line to have among the best weather sealing available for E-mount lenses.
Ergonomics: The Batis 25mm f/2 is designed to be compact and lightweight, measuring 78mm in length (without caps) and weighing 335g. This makes it balance well on Sony's full-frame mirrorless bodies and contributes to a portable setup. The design philosophy is minimalist, featuring only a wide, rubberised manual focus ring on the barrel. It lacks a dedicated aperture ring, AF/MF switch, or any customisable buttons, relying instead on camera body controls for these functions. The focus ring itself is smooth in operation but is positioned quite close to the camera body, which some users find slightly awkward to locate initially. The rubberised surface, while providing good grip, has been noted by some users as being prone to attracting dust.
OLED Display: A unique and innovative feature of the Batis line is the integrated OLED display located on the top of the lens barrel. This electronic display shows the set focusing distance and the corresponding depth of field range. It is designed to be readable even in low light conditions. While a novel concept, its practical utility has received mixed feedback. Some find it helpful, particularly for manual focusing , while others find it difficult to read in bright sunlight or consider it less useful on wider focal lengths like 25mm compared to telephoto or macro lenses. Activating the display typically requires switching the camera to manual focus mode.
Autofocus & Manual Focus Performance
The Batis 25mm f/2 employs modern motor technology for autofocus while offering a focus-by-wire system for manual adjustments.
Autofocus (AF): The lens utilises linear motors to drive the autofocus system, resulting in performance that is generally described as fast, quiet, smooth, and reliable. AF speed is considered quick, with one test measuring approximately 0.6 seconds to focus from infinity to 0.32 metres on a Sony A7R II. Focus accuracy and repeatability are reported to be very good. The autofocus operation is virtually silent, making it suitable for video recording where operational noise could be picked up by microphones. The lens supports modern AF features like Sony's Eye-AF for both stills and video. While generally reliable, isolated user reports exist mentioning issues with specific copies, such as focus hunting or inconsistency, suggesting potential quality control variations or compatibility nuances.
Manual Focus (MF): Manual focusing is achieved via a focus-by-wire system, meaning the focus ring is electronically coupled to the focusing motors rather than mechanically linked. The rubberised focus ring itself moves smoothly. The system features non-linear gearing; the speed at which the focus changes depends on how quickly the ring is turned. This allows for very fine, precise adjustments when the ring is turned slowly, but makes it difficult to perform smooth, consistent, and repeatable focus pulls at a constant speed, which is often desired for videography. This contrasts with the linear response found on some other lenses, like the Sony 24mm GM. The focus-by-wire system also lacks the tactile feedback of traditional manual focus lenses, such as hard stops at minimum focus and infinity. While the OLED display can provide distance information to aid manual focusing , the overall manual focus experience may be considered less intuitive or satisfying for dedicated manual focus shooters compared to lenses with mechanical focusing, such as the Zeiss Loxia series.
Close-Focusing Capabilities
A notable strength of the Zeiss Batis 25mm f/2 is its ability to focus exceptionally close to the subject.
The lens features a minimum object distance (MOD) of just 0.2 metres (20cm or approximately 7.9 inches) from the sensor plane. This allows photographers to get very near to their subjects, enabling dramatic wide-angle perspectives and creative compositions.
At this minimum focus distance, the lens achieves a maximum magnification ratio typically cited as 1:5.2 or 0.19x (though 1:4.8 is mentioned in one source ). This level of magnification is quite useful for a wide-angle lens and is notably better than that offered by competitors like the Sony FE 24mm f/1.4 GM (1:5.4) and the Sigma 24mm f/1.4 Art (1:5.3).
To maintain image quality at these close distances, the Batis 25mm f/2 incorporates a floating elements system in its optical design. This means specific lens groups shift independently during focusing to correct for aberrations that typically become more pronounced at close range, ensuring consistent performance throughout the focusing range.
3. Investigating the Internal Fogging Phenomenon
During my research I specifically requested an investigation into reports of internal fogging or condensation issues with the Zeiss Batis 25mm f/2.
A thorough review of the provided research materials, which include forum discussions from platforms like Fred Miranda frequented by enthusiast photographers and user reviews from retailers , was conducted specifically looking for mentions of "fog", "haze", "condensation", or "internal moisture" related to the Batis 25mm f/2.
Based on this analysis, there were no specific reports found within the provided data that match the user's description of persistent internal fogging taking hours to clear on the Batis 25mm f/2.
The discussions and reviews cover a range of topics, including praise for the lens's rendering and build , debates about its sharpness relative to newer lenses , concerns about copy variation , and isolated reports of autofocus malfunctions with used copies. However, chronic internal condensation or fogging does not appear as a commonly discussed or reported issue for this lens model within this dataset.
The Zeiss Batis lenses, including the 25mm f/2, are explicitly marketed as featuring robust weather and dust sealing, designed for reliable use in challenging outdoor conditions and intended for many years of intensive use. Persistent internal fogging that takes a significant amount of time to dissipate strongly suggests a breach or failure in these seals, allowing moisture to enter and become trapped within the lens barrel.
While temporary external condensation can occur on any lens when moving between significantly different temperature and humidity environments, internal fogging that lasts for hours points towards a potential defect.
Given the general reputation for weather sealing in the Batis line and the lack of widespread reports of this specific internal fogging issue in the provided materials, it is most probable that the problem experienced by the user is specific to their individual copy of the lens. This could be due to a manufacturing defect, damage incurred over time, or a previous improper repair that compromised the seals [my copy was never repaired].
Therefore, the recommended course of action is to have the specific lens unit professionally inspected. Contacting Zeiss customer service or a reputable independent camera lens repair technician would be advisable to diagnose the cause of the sealing failure and explore potential repair options. Attempting to self-repair or ignoring the issue could lead to further damage, including potential mould growth on internal elements.
4. Comparative Landscape: Batis 25mm f/2 vs. Key E-Mount Rivals
When the Zeiss Batis 25mm f/2 was released in 2015, it filled an important gap, offering a high-quality, native autofocus wide-angle prime for Sony's full-frame mirrorless cameras. Since then, the E-mount system has matured significantly, and numerous compelling alternatives have emerged, particularly from Sony itself under its G Master (GM) and G designations, as well as from third-party manufacturers like Sigma. Understanding how the Batis 25mm f/2 compares to these key rivals is crucial for assessing its current value and suitability.
Head-to-Head: Batis 25mm f/2 vs. Sony FE 24mm f/1.4 GM
The Sony FE 24mm f/1.4 GM, launched in 2018, is Sony's flagship offering in this focal range and represents a direct, high-end competitor to the Batis 25mm f/2.
Aperture & Low Light: The most obvious difference is the maximum aperture. The Sony GM boasts a bright f/1.4, a full stop faster than the Batis's f/2. This gives the GM a significant advantage in low-light situations, allowing for lower ISO settings or faster shutter speeds, and enables a shallower depth of field for greater subject isolation.
Sharpness: Both lenses are capable of high resolution. However, comparisons generally indicate that the Sony GM offers superior sharpness, particularly when both lenses are shot wide open or near-wide open, and especially in the centre of the frame. The Batis remains very competitive, especially in the corners when stopped down slightly, but the GM often holds the edge in resolving power. Both deliver excellent results across the frame when stopped down to apertures like f/8.
Bokeh: The quality of the out-of-focus rendering is widely considered superior on the Sony GM. Its f/1.4 aperture combined with an 11-blade circular diaphragm produces bokeh often described as "buttery smooth," "creamy," and natural-looking. The Batis bokeh, while acceptable, can exhibit more texture (like 'onion rings') and less perfectly circular highlights, especially when stopped down.
Rendering/Colour: This is where the Batis often draws praise for its distinct 'Zeiss look,' characterised by strong contrast, rich saturation, and 'pop'. While the Sony GM delivers technically excellent images with high fidelity, some users find its rendering less characterful or even "boring" compared to the Batis. The choice here often comes down to subjective preference.
Features: The Sony GM is more feature-rich. It includes a physical aperture ring that can be de-clicked for smooth video adjustments, a customisable focus hold button, and an AF/MF switch directly on the lens barrel. Its manual focus ring employs a linear response mechanism, which is preferred for predictable focus pulls in video. The Batis features the unique OLED display but lacks any physical buttons or switches on the barrel, and its non-linear manual focus response is less suited for video work.
Autofocus: Both lenses feature fast and quiet autofocus systems driven by advanced motors (Linear motors for Batis, DDSSM for GM). The GM's newer Direct Drive SSM (DDSSM) is claimed to offer significantly greater thrust, potentially leading to slightly faster and more precise performance. Both support modern AF features like Eye-AF.
Build & Size: Both lenses are weather-sealed and built to high standards. However, the Batis 25mm f/2 is noticeably lighter (335g vs 445g) and slightly more compact than the Sony 24mm GM, making it a more portable option.
Price & Value: The Sony FE 24mm f/1.4 GM commands a significantly higher price new compared to the Batis 25mm f/2's original price, and especially compared to current used market prices for the Batis. The value proposition depends heavily on whether the GM's advantages in aperture, features, and outright optical performance justify the extra cost and weight over the Batis's appealing rendering and portability.
Compact Competitor: Batis 25mm f/2 vs. Sony FE 24mm f/2.8 G
Released in 2021 as part of a trio of compact G-series primes, the Sony FE 24mm f/2.8 G offers a different set of trade-offs, prioritising extreme portability.
Aperture: The Batis is a full stop faster at f/2 compared to the Sony G lens's f/2.8 maximum aperture. This gives the Batis an advantage in lower light and for achieving a shallower depth of field.
Size & Weight: This is the Sony 24G's main advantage. It is dramatically smaller and lighter (162g vs 335g), often described as a 'muffin' or 'pancake-style' lens, making it an ideal companion for smaller bodies like the Sony A7C or for situations where minimising kit size and weight is paramount.
Sharpness & Optics: The Batis 25mm f/2 is generally considered the optically superior lens. The Sony 24G, while capable, exhibits significant barrel distortion that relies heavily on software correction, and its corner sharpness may lag behind the Batis, particularly at wider apertures.
Rendering: The Batis is praised for its characteristic Zeiss rendering. The Sony 24G's rendering is considered competent, but some reviews mention potentially busier or less smooth bokeh compared to higher-end options.
Features: Despite its small size, the Sony 24G surprisingly includes more physical controls than the Batis. It features a manual aperture ring (which can be de-clicked), a customisable focus hold button, and an AF/MF switch. The Batis only offers the OLED screen and the focus ring.
Build: Both lenses feature weather sealing. The Sony 24G uses an aluminium exterior finish for durability but incorporates more plastic in its overall construction compared to the more metal-centric build of the Batis.
Price & Value: The Sony 24G was launched at a price point ($598) lower than the Batis's original RRP, but potentially higher than what the Batis can be found for on the used market today. The value of the Sony 24G lies almost entirely in its extreme portability combined with useful features and decent optical performance for its size.
Brief Notes on Other Alternatives
Sigma 24mm f/1.4 DG HSM Art: A popular third-party f/1.4 alternative, often priced significantly lower than the Sony GM. It delivers strong optical performance but is based on an older DSLR design, making it considerably larger and heavier than the native mirrorless options.
Sigma 24mm f/3.5 DG DN | Contemporary: Part of Sigma's compact 'I series', offering good build quality, an aperture ring, and impressive 1:2 macro capabilities in a small package. Mentioned as a potential alternative to the Sony 24mm G.
Samyang/Rokinon AF 24mm f/1.8 FE: A lightweight and relatively affordable f/1.8 autofocus option noted for low distortion and features aimed at astrophotography. Quality control consistency can sometimes be a concern with Samyang lenses.
Sony FE 28mm f/2: An older, very affordable, and lightweight native Sony prime. While competent for its price, the Batis 25mm f/2 is generally considered optically superior in terms of sharpness, distortion control, and rendering quality.
The existence of these varied alternatives underscores that the Batis 25mm f/2, while no longer the newest or fastest option, occupies a specific position. It doesn't match the raw performance or features of the top-tier Sony GM, but it offers a more distinct rendering signature and better overall optical quality than the ultra-compact Sony G, combined with the convenience of autofocus and weather sealing. Its appeal often hinges on a preference for the 'Zeiss look' and its availability at attractive prices on the second-hand market.
5. Exploring Zeiss Alternatives: Loxia and Otus Series
Beyond the autofocus Batis line, Zeiss offers two distinct families of manual focus lenses for the Sony E-mount, catering to photographers with different priorities and shooting styles: the compact Loxia series and the uncompromising Otus series.
The Manual Focus Appeal: Zeiss Loxia Series
The Zeiss Loxia lenses are designed specifically for Sony's full-frame mirrorless cameras, offering a classic, purely manual photographic experience combined with modern lens design.
Overview: Loxia lenses prioritise a highly tactile shooting process. They feature precise, all-metal construction, delivering a reassuringly dense and high-quality feel. Key characteristics include smooth-operating manual focus rings with long rotation angles for precise adjustments, and engraved distance and depth-of-field scales. They also possess manual aperture rings directly on the lens barrel, which include a 'DeClick' feature – allowing the click-stops to be disengaged via a small screw on the mount for smooth, silent aperture adjustments during video recording.
Loxia lenses are known for their compact dimensions, making the camera feel more like a traditional rangefinder. A practical benefit for users of multiple Loxia lenses is that the entire line shares a common 52mm filter thread diameter. Despite being fully manual, they incorporate electronic contacts to transmit EXIF data to the camera and enable automatic viewfinder magnification when the focus ring is turned.
Loxia 25mm f/2.4: This lens serves as a direct focal length alternative within the Loxia family. It is lauded for its superb optical performance, delivering phenomenal sharpness, especially when stopped down slightly, excellent corner-to-corner consistency, and near-perfect correction of geometric distortion. Chromatic aberrations are also very well controlled. Its build quality is considered a step above even the Batis line by some reviewers, with precisely engineered metal components. The manual focus feel is highly praised for its smoothness and precision. Its maximum aperture of f/2.4 is slightly slower than the Batis 25mm's f/2. One minor handling critique mentioned is the limited amount of non-rotating surface on the barrel, which can make mounting and unmounting slightly awkward.
Batis vs. Loxia: The choice between Batis and Loxia fundamentally comes down to a preference for autofocus versus manual focus, and the associated design philosophies. Batis provides the convenience of fast, reliable autofocus and assured weather sealing. Loxia offers a more engaging and precise manual focus experience, potentially a more 'classic' Zeiss rendering (described as 'richer' by one user ), the useful de-clickable aperture ring for video, and consistent sizing across the lens family. While Loxia lenses feature a blue sealing gasket at the mount , there is conflicting information regarding their overall weather sealing compared to the Batis line, with some sources stating Batis is sealed while Loxia is not. Optically, both lines offer excellent performance, though some users perceive a slight edge in image quality or rendering character for the Loxia lenses. Physically, Loxia lenses tend to have smaller diameters but can feel denser and heavier due to their all-metal construction, while Batis lenses might have larger diameters but are generally lighter overall.
The Pinnacle of Manual Focus: Zeiss Otus Series
The Zeiss Otus line represents the apex of Zeiss's optical engineering for still photography and cinematography, prioritising ultimate image quality above all other considerations.
Overview: Originally designed for DSLR mounts (ZF.2 for Nikon F, ZE for Canon EF), the Otus philosophy is to achieve the highest possible resolution, contrast, and correction of aberrations (like chromatic aberration and distortion) across the entire frame, even when shooting at the maximum aperture (typically f/1.4), with absolutely no compromises made for size, weight, or cost. These are large, heavy, exceptionally well-built manual focus lenses designed for demanding professionals who require the best possible optical performance and prefer manual control. They are often regarded as reference standards against which other lenses are measured.
Otus ML: Recently, Zeiss announced the 'Otus ML' sub-series, bringing this no-compromise optical design to native mirrorless mounts, including Sony E-mount, Canon RF, and Nikon Z. The initial Otus ML offerings are the 50mm f/1.4 and 85mm f/1.4. While still very expensive (around $2500-$3000 USD), their launch prices are notably lower than the original DSLR Otus lenses.
These lenses maintain the Otus characteristics: large size, substantial weight, all-metal construction, purely manual focus with precise mechanics, and a focus on delivering unparalleled sharpness, colour, and three-dimensional rendering. Even at this level, achieving complete freedom from aberrations like chromatic aberration remains challenging, with some initial discussions suggesting minor CA might still be present.
Positioning vs. Batis: The Otus series occupies a fundamentally different space compared to the Batis line. Otus is purely about achieving the highest attainable image quality through manual focus, regardless of practicality. Batis represents a balance, aiming to deliver excellent Zeiss optical quality combined with the convenience of autofocus and portability suitable for the mirrorless platform. Otus lenses are tools for meticulous, often tripod-based work where manual focus is preferred and optical perfection is the primary goal. Batis lenses are more versatile, suited to a wider range of photographic situations, including dynamic ones where autofocus is essential. There is currently no Otus lens in the 25mm focal length range for E-mount.
The existence of Batis, Loxia, and Otus ML lines for the same mount demonstrates Zeiss's strategy of catering to distinct segments of the market. Rather than a single 'best' approach, Zeiss offers photographers the choice between autofocus convenience (Batis), tactile manual focus control in a compact form (Loxia), or the pursuit of ultimate optical quality via manual focus (Otus), allowing users to select the lens family that best aligns with their individual shooting style, priorities, and budget.
6. Conclusion and Strategic Considerations
The Zeiss Batis 25mm f/2, assessed within the context of the contemporary Sony E-mount landscape, remains a relevant and compelling lens, albeit one with distinct strengths and weaknesses compared to newer alternatives. Its primary strengths lie in its characteristic Zeiss rendering – delivering images with notable contrast, vibrant colours, and 'pop' – combined with good to excellent sharpness across the frame, robust build quality including effective weather sealing, reliable autofocus performance, and excellent close-focusing capabilities, all packaged in a relatively lightweight design.
However, it is no longer the leading edge. Its f/2 maximum aperture is surpassed by f/1.4 competitors like the Sony FE 24mm f/1.4 GM, which also offers generally superior bokeh quality and a more comprehensive feature set including physical controls and video-friendly linear manual focus. The Batis's focus-by-wire system with non-linear response is less ideal for precise manual focus pulls, and its minimalist design lacks the direct controls found on many newer lenses. Furthermore, potential for copy variation exists , and while its unique OLED display is innovative, its practical utility is debatable for many users.
Regarding the my specific concern about internal fogging, the analysis of available information suggests this is likely an issue specific to their lens unit, possibly due to a compromised seal, rather than a widespread design flaw. Professional inspection and repair are recommended.
Choosing between the Batis 25mm f/2 and its rivals requires careful consideration of individual photographic priorities:
For Maximum Aperture, Low Light Performance, and Bokeh Quality: The Sony FE 24mm f/1.4 GM is the clear choice, offering a full stop advantage and superior rendering of out-of-focus areas, though it comes at a higher cost and weight.
For the Best Autofocus Experience and On-Lens Features: The Sony FE 24mm f/1.4 GM again leads with its linear manual focus response, de-clickable aperture ring, and focus hold button, enhancing usability especially for video.
For Prioritising Unique Rendering ('Zeiss Look') with Autofocus: The Batis 25mm f/2 holds strong appeal. If its specific colour and contrast signature is desired, and autofocus is required, it remains a unique proposition, particularly attractive value on the used market.
For Ultimate Portability: The Sony FE 24mm f/2.8 G is unmatched in size and weight, making it ideal for travel or minimalist kits, but this comes with compromises in maximum aperture and potentially overall optical refinement compared to the Batis.
For a Dedicated Manual Focus Experience: The Zeiss Loxia 25mm f/2.4 (or other Loxia lenses) offers superior manual focusing feel, tactile controls (aperture ring), and compact (though dense) build, suitable for those who prefer or require precise manual control.
For Ultimate Manual Focus Optical Quality (Cost/Size No Object): While no direct 25mm Otus exists for E-mount, the Otus philosophy represents the peak for those prioritising optical perfection above all else.
For Budget-Conscious Buyers: Exploring the used market for the Batis 25mm f/2 can offer excellent value. Alternatively, older options like the Sony FE 28mm f/2 or third-party lenses from Sigma or Samyang provide more affordable routes into this focal length range.
In essence, the Zeiss Batis 25mm f/2, while an older design, successfully carved out a niche by blending desirable Zeiss optical traits with the autofocus convenience needed for the mirrorless era. It is a lens chosen not necessarily for having the absolute best technical specifications across the board, but for its specific character, reliable performance, and the balance it strikes between quality, usability, and portability – a balance whose value is often best realised through the accessibility offered by the second-hand market. The "best" lens ultimately remains subjective, contingent upon the photographer's individual needs, shooting style, and budget.
I purchased this lens about ten years ago and about five years ago it developed a problem and as a result I can only it on warm sunny days. As a result I specifically sought reports of internal fogging or condensation issues with the Zeiss Batis 25mm f/2, similar to a problem experienced with my own copy where the lens interior becomes foggy and taking hours to clear.
An Expert Analysis of the Zeiss Batis 25mm f/2 E-Mount Lens and its Contemporary Relevance
1. Executive Summary
The Zeiss Batis 25mm f/2 stands as a significant lens within the Sony E-mount ecosystem, representing one of Zeiss's initial forays into crafting autofocus lenses specifically for Sony's full-frame mirrorless cameras. Launched in 2015, it aimed to blend traditional Zeiss optical characteristics – notably rich colour rendition and high contrast – with modern functionalities like autofocus, weather sealing, and a unique OLED information display, all within a relatively compact and lightweight package suitable for mirrorless systems. Optically, it is generally regarded as a strong performer, delivering good to excellent sharpness across the frame, even wide open, and commendable control over flare and distortion.
However, its bokeh rendering is often considered less refined compared to faster f/1.4 alternatives. Regarding the user-reported issue of persistent internal fogging, the research conducted using the available information did not uncover widespread reports of such a phenomenon, suggesting the problem may be specific to the individual unit rather than a common design flaw. In the current market, the Batis 25mm f/2 faces stiff competition, particularly from Sony's own G Master line, such as the FE 24mm f/1.4 GM, which offers a faster aperture, more comprehensive features, and potentially superior optics, albeit at a higher price and greater weight.
It also compares differently to the ultra-compact Sony FE 24mm f/2.8 G, which prioritises portability. Furthermore, Zeiss offers distinct manual focus alternatives within the E-mount: the Loxia series, prioritising tactile control and compact build, and the high-end Otus series, focused on ultimate optical performance without compromise.
The Batis 25mm f/2, therefore, occupies a specific niche, appealing to users who value its characteristic Zeiss rendering and autofocus convenience in a reasonably sized package, especially considering its increased accessibility on the used market.
2. Zeiss Batis 25mm f/2: A Comprehensive Review
Introduction and Market Context
The Zeiss Batis 25mm f/2, alongside the Batis 85mm f/1.8, marked Zeiss's entry into native autofocus lenses designed exclusively for Sony's burgeoning full-frame E-mount mirrorless camera system in 2015. This launch acknowledged the growing trend towards professional use of mirrorless cameras, aiming to provide photographers with high-performance tools tailored to these compact systems. Utilising the well-regarded Zeiss Distagon optical design, typically employed for high-performance wide-angle lenses, the Batis 25mm f/2 sought to deliver the renowned Zeiss image quality – excellent resolution, contrast, and colour – in a package that was both lighter and smaller than traditional DSLR lenses, yet featured modern conveniences like autofocus and weather sealing.
It was positioned as a professional-grade lens, intended for demanding applications like landscape, architecture, street photography, and photojournalism. Its 25mm focal length offers a popular wide-angle perspective, slightly wider than 28mm but generally avoiding the extreme distortion associated with ultra-wide lenses. At its launch, the Batis 2/25 carried a premium price tag of approximately $1299 / €1092. While considered potentially overpriced by some at release, its age means it is now frequently available on the used market at significantly lower prices, making it a more accessible option for enthusiasts seeking Zeiss quality with autofocus.
Optical Characteristics
The optical performance of the Batis 25mm f/2 is a key aspect of its appeal, blending traditional Zeiss traits with corrections necessary for modern high-resolution sensors.
Sharpness: The lens is consistently reported to offer very good to excellent sharpness across the full-frame sensor, extending well into the corners even when used wide open at its maximum aperture of f/2. It holds up well on high-resolution bodies like Sony's A7R series. While perhaps not setting absolute records compared to the very latest flagship primes, its performance is considered highly competent, with many users finding it more than sharp enough for professional work. Some tests suggest it might be slightly less sharp in the very centre compared to the Sony 24mm f/1.4 GM at equivalent wide apertures, but it can exhibit comparable or even superior sharpness towards the edges and corners in certain comparisons. Performance peaks across the frame when stopped down to typical landscape apertures like f/4 to f/8. However, as with many lenses, potential copy-to-copy variation has been mentioned by users, which could influence individual perceptions of sharpness.
Bokeh: The quality of the out-of-focus rendering, or bokeh, is generally described as acceptable but not the lens's standout feature, particularly when compared against faster f/1.4 competitors like the Sony 24mm GM, which can produce a shallower depth of field and smoother blur. The Batis 25mm f/2 can exhibit some common traits associated with modern lenses containing aspherical elements, such as 'onion ring' patterns within highlights in certain conditions. Mechanical vignetting can also cause specular highlights towards the edges of the frame to take on a 'cat's eye' shape rather than being perfectly circular. When stopped down, the 9-bladed aperture can result in highlights taking on a slightly polygonal shape rather than remaining perfectly round. Despite these points, the lens is still capable of producing pleasing subject separation and background blur, especially when focusing on close subjects due to its excellent minimum focus distance.
Chromatic Aberration (CA): The lens demonstrates good control over chromatic aberrations overall. Longitudinal chromatic aberration (LoCA), which manifests as colour fringing in out-of-focus areas (often magenta in the foreground and green in the background, or red/teal as noted in one comparison ), is present when shooting wide open at f/2 but is considered relatively low for a fast wide-angle lens. This LoCA significantly diminishes upon stopping down the aperture to f/2.8 or f/4. While generally well-managed, some users have noted that LoCA can occasionally be noticeable or potentially detract from images with shallow depth of field captured at wider apertures. Lateral chromatic aberration, which typically appears as colour fringing along high-contrast edges towards the corners of the frame, is also present but generally well-controlled and easily correctable during post-processing using lens profiles.
Distortion: Leveraging the Distagon retrofocus optical design, the Batis 25mm f/2 exhibits minimal geometric distortion. This makes it well-suited for subjects with straight lines, such as architecture and landscape photography, where distortion can be particularly undesirable.
Flare Resistance: Thanks to the application of Zeiss's renowned T* anti-reflective coating on the lens elements, the Batis 25mm f/2 generally offers good resistance against flare, ghosting, and loss of contrast when shooting into bright light sources. This coating is designed to minimise internal reflections within the optical system. However, one review did note the possibility of encountering unusual purple or green flare artefacts under specific conditions when pointing the lens directly towards the sun.
Colour & Contrast Rendering: A frequently cited strength of the Batis 25mm f/2 is its image rendering, often described as possessing the characteristic 'Zeiss look'. This typically translates to images with strong contrast, high micro-contrast (which contributes to the perception of fine detail and a 'three-dimensional' quality), and rich, vivid, saturated colours straight out of the camera. Some users explicitly prefer this rendering style over lenses that might be technically more perfect but perceived as flatter or less engaging.
Physical Attributes & Handling
The physical design and handling of the Batis 25mm f/2 reflect its positioning as a modern lens for mirrorless systems, balancing build quality with portability.
Build Quality: The lens features a high-quality construction, typically described as using an all-metal housing or a combination of metal composites and high-tech plastics. This results in a lens that feels solid, robust, and well-crafted, instilling confidence in its durability, while remaining relatively lightweight. The external design is sleek and modern, with smooth surfaces reminiscent of the higher-end Zeiss Otus line. The included lens hood is made of plastic, but it is described as durable and integrates well with the lens's overall aesthetic.
Weather Sealing: A significant feature is the inclusion of dust and weather sealing throughout the lens construction, including special felt and rubber seals within the housing and a distinctive blue rubber gasket at the lens mount. This sealing makes the lens suitable for use in challenging outdoor environments, offering protection against dust, splashes, rain, and snow. Some users consider the Batis line to have among the best weather sealing available for E-mount lenses.
Ergonomics: The Batis 25mm f/2 is designed to be compact and lightweight, measuring 78mm in length (without caps) and weighing 335g. This makes it balance well on Sony's full-frame mirrorless bodies and contributes to a portable setup. The design philosophy is minimalist, featuring only a wide, rubberised manual focus ring on the barrel. It lacks a dedicated aperture ring, AF/MF switch, or any customisable buttons, relying instead on camera body controls for these functions. The focus ring itself is smooth in operation but is positioned quite close to the camera body, which some users find slightly awkward to locate initially. The rubberised surface, while providing good grip, has been noted by some users as being prone to attracting dust.
OLED Display: A unique and innovative feature of the Batis line is the integrated OLED display located on the top of the lens barrel. This electronic display shows the set focusing distance and the corresponding depth of field range. It is designed to be readable even in low light conditions. While a novel concept, its practical utility has received mixed feedback. Some find it helpful, particularly for manual focusing , while others find it difficult to read in bright sunlight or consider it less useful on wider focal lengths like 25mm compared to telephoto or macro lenses. Activating the display typically requires switching the camera to manual focus mode.
Autofocus & Manual Focus Performance
The Batis 25mm f/2 employs modern motor technology for autofocus while offering a focus-by-wire system for manual adjustments.
Autofocus (AF): The lens utilises linear motors to drive the autofocus system, resulting in performance that is generally described as fast, quiet, smooth, and reliable. AF speed is considered quick, with one test measuring approximately 0.6 seconds to focus from infinity to 0.32 metres on a Sony A7R II. Focus accuracy and repeatability are reported to be very good. The autofocus operation is virtually silent, making it suitable for video recording where operational noise could be picked up by microphones. The lens supports modern AF features like Sony's Eye-AF for both stills and video. While generally reliable, isolated user reports exist mentioning issues with specific copies, such as focus hunting or inconsistency, suggesting potential quality control variations or compatibility nuances.
Manual Focus (MF): Manual focusing is achieved via a focus-by-wire system, meaning the focus ring is electronically coupled to the focusing motors rather than mechanically linked. The rubberised focus ring itself moves smoothly. The system features non-linear gearing; the speed at which the focus changes depends on how quickly the ring is turned. This allows for very fine, precise adjustments when the ring is turned slowly, but makes it difficult to perform smooth, consistent, and repeatable focus pulls at a constant speed, which is often desired for videography. This contrasts with the linear response found on some other lenses, like the Sony 24mm GM. The focus-by-wire system also lacks the tactile feedback of traditional manual focus lenses, such as hard stops at minimum focus and infinity. While the OLED display can provide distance information to aid manual focusing , the overall manual focus experience may be considered less intuitive or satisfying for dedicated manual focus shooters compared to lenses with mechanical focusing, such as the Zeiss Loxia series.
Close-Focusing Capabilities
A notable strength of the Zeiss Batis 25mm f/2 is its ability to focus exceptionally close to the subject.
The lens features a minimum object distance (MOD) of just 0.2 metres (20cm or approximately 7.9 inches) from the sensor plane. This allows photographers to get very near to their subjects, enabling dramatic wide-angle perspectives and creative compositions.
At this minimum focus distance, the lens achieves a maximum magnification ratio typically cited as 1:5.2 or 0.19x (though 1:4.8 is mentioned in one source ). This level of magnification is quite useful for a wide-angle lens and is notably better than that offered by competitors like the Sony FE 24mm f/1.4 GM (1:5.4) and the Sigma 24mm f/1.4 Art (1:5.3).
To maintain image quality at these close distances, the Batis 25mm f/2 incorporates a floating elements system in its optical design. This means specific lens groups shift independently during focusing to correct for aberrations that typically become more pronounced at close range, ensuring consistent performance throughout the focusing range.
3. Investigating the Internal Fogging Phenomenon
During my research I specifically requested an investigation into reports of internal fogging or condensation issues with the Zeiss Batis 25mm f/2.
A thorough review of the provided research materials, which include forum discussions from platforms like Fred Miranda frequented by enthusiast photographers and user reviews from retailers , was conducted specifically looking for mentions of "fog", "haze", "condensation", or "internal moisture" related to the Batis 25mm f/2.
Based on this analysis, there were no specific reports found within the provided data that match the user's description of persistent internal fogging taking hours to clear on the Batis 25mm f/2.
The discussions and reviews cover a range of topics, including praise for the lens's rendering and build , debates about its sharpness relative to newer lenses , concerns about copy variation , and isolated reports of autofocus malfunctions with used copies. However, chronic internal condensation or fogging does not appear as a commonly discussed or reported issue for this lens model within this dataset.
The Zeiss Batis lenses, including the 25mm f/2, are explicitly marketed as featuring robust weather and dust sealing, designed for reliable use in challenging outdoor conditions and intended for many years of intensive use. Persistent internal fogging that takes a significant amount of time to dissipate strongly suggests a breach or failure in these seals, allowing moisture to enter and become trapped within the lens barrel.
While temporary external condensation can occur on any lens when moving between significantly different temperature and humidity environments, internal fogging that lasts for hours points towards a potential defect.
Given the general reputation for weather sealing in the Batis line and the lack of widespread reports of this specific internal fogging issue in the provided materials, it is most probable that the problem experienced by the user is specific to their individual copy of the lens. This could be due to a manufacturing defect, damage incurred over time, or a previous improper repair that compromised the seals [my copy was never repaired].
Therefore, the recommended course of action is to have the specific lens unit professionally inspected. Contacting Zeiss customer service or a reputable independent camera lens repair technician would be advisable to diagnose the cause of the sealing failure and explore potential repair options. Attempting to self-repair or ignoring the issue could lead to further damage, including potential mould growth on internal elements.
4. Comparative Landscape: Batis 25mm f/2 vs. Key E-Mount Rivals
When the Zeiss Batis 25mm f/2 was released in 2015, it filled an important gap, offering a high-quality, native autofocus wide-angle prime for Sony's full-frame mirrorless cameras. Since then, the E-mount system has matured significantly, and numerous compelling alternatives have emerged, particularly from Sony itself under its G Master (GM) and G designations, as well as from third-party manufacturers like Sigma. Understanding how the Batis 25mm f/2 compares to these key rivals is crucial for assessing its current value and suitability.
Head-to-Head: Batis 25mm f/2 vs. Sony FE 24mm f/1.4 GM
The Sony FE 24mm f/1.4 GM, launched in 2018, is Sony's flagship offering in this focal range and represents a direct, high-end competitor to the Batis 25mm f/2.
Aperture & Low Light: The most obvious difference is the maximum aperture. The Sony GM boasts a bright f/1.4, a full stop faster than the Batis's f/2. This gives the GM a significant advantage in low-light situations, allowing for lower ISO settings or faster shutter speeds, and enables a shallower depth of field for greater subject isolation.
Sharpness: Both lenses are capable of high resolution. However, comparisons generally indicate that the Sony GM offers superior sharpness, particularly when both lenses are shot wide open or near-wide open, and especially in the centre of the frame. The Batis remains very competitive, especially in the corners when stopped down slightly, but the GM often holds the edge in resolving power. Both deliver excellent results across the frame when stopped down to apertures like f/8.
Bokeh: The quality of the out-of-focus rendering is widely considered superior on the Sony GM. Its f/1.4 aperture combined with an 11-blade circular diaphragm produces bokeh often described as "buttery smooth," "creamy," and natural-looking. The Batis bokeh, while acceptable, can exhibit more texture (like 'onion rings') and less perfectly circular highlights, especially when stopped down.
Rendering/Colour: This is where the Batis often draws praise for its distinct 'Zeiss look,' characterised by strong contrast, rich saturation, and 'pop'. While the Sony GM delivers technically excellent images with high fidelity, some users find its rendering less characterful or even "boring" compared to the Batis. The choice here often comes down to subjective preference.
Features: The Sony GM is more feature-rich. It includes a physical aperture ring that can be de-clicked for smooth video adjustments, a customisable focus hold button, and an AF/MF switch directly on the lens barrel. Its manual focus ring employs a linear response mechanism, which is preferred for predictable focus pulls in video. The Batis features the unique OLED display but lacks any physical buttons or switches on the barrel, and its non-linear manual focus response is less suited for video work.
Autofocus: Both lenses feature fast and quiet autofocus systems driven by advanced motors (Linear motors for Batis, DDSSM for GM). The GM's newer Direct Drive SSM (DDSSM) is claimed to offer significantly greater thrust, potentially leading to slightly faster and more precise performance. Both support modern AF features like Eye-AF.
Build & Size: Both lenses are weather-sealed and built to high standards. However, the Batis 25mm f/2 is noticeably lighter (335g vs 445g) and slightly more compact than the Sony 24mm GM, making it a more portable option.
Price & Value: The Sony FE 24mm f/1.4 GM commands a significantly higher price new compared to the Batis 25mm f/2's original price, and especially compared to current used market prices for the Batis. The value proposition depends heavily on whether the GM's advantages in aperture, features, and outright optical performance justify the extra cost and weight over the Batis's appealing rendering and portability.
Compact Competitor: Batis 25mm f/2 vs. Sony FE 24mm f/2.8 G
Released in 2021 as part of a trio of compact G-series primes, the Sony FE 24mm f/2.8 G offers a different set of trade-offs, prioritising extreme portability.
Aperture: The Batis is a full stop faster at f/2 compared to the Sony G lens's f/2.8 maximum aperture. This gives the Batis an advantage in lower light and for achieving a shallower depth of field.
Size & Weight: This is the Sony 24G's main advantage. It is dramatically smaller and lighter (162g vs 335g), often described as a 'muffin' or 'pancake-style' lens, making it an ideal companion for smaller bodies like the Sony A7C or for situations where minimising kit size and weight is paramount.
Sharpness & Optics: The Batis 25mm f/2 is generally considered the optically superior lens. The Sony 24G, while capable, exhibits significant barrel distortion that relies heavily on software correction, and its corner sharpness may lag behind the Batis, particularly at wider apertures.
Rendering: The Batis is praised for its characteristic Zeiss rendering. The Sony 24G's rendering is considered competent, but some reviews mention potentially busier or less smooth bokeh compared to higher-end options.
Features: Despite its small size, the Sony 24G surprisingly includes more physical controls than the Batis. It features a manual aperture ring (which can be de-clicked), a customisable focus hold button, and an AF/MF switch. The Batis only offers the OLED screen and the focus ring.
Build: Both lenses feature weather sealing. The Sony 24G uses an aluminium exterior finish for durability but incorporates more plastic in its overall construction compared to the more metal-centric build of the Batis.
Price & Value: The Sony 24G was launched at a price point ($598) lower than the Batis's original RRP, but potentially higher than what the Batis can be found for on the used market today. The value of the Sony 24G lies almost entirely in its extreme portability combined with useful features and decent optical performance for its size.
Brief Notes on Other Alternatives
Sigma 24mm f/1.4 DG HSM Art: A popular third-party f/1.4 alternative, often priced significantly lower than the Sony GM. It delivers strong optical performance but is based on an older DSLR design, making it considerably larger and heavier than the native mirrorless options.
Sigma 24mm f/3.5 DG DN | Contemporary: Part of Sigma's compact 'I series', offering good build quality, an aperture ring, and impressive 1:2 macro capabilities in a small package. Mentioned as a potential alternative to the Sony 24mm G.
Samyang/Rokinon AF 24mm f/1.8 FE: A lightweight and relatively affordable f/1.8 autofocus option noted for low distortion and features aimed at astrophotography. Quality control consistency can sometimes be a concern with Samyang lenses.
Sony FE 28mm f/2: An older, very affordable, and lightweight native Sony prime. While competent for its price, the Batis 25mm f/2 is generally considered optically superior in terms of sharpness, distortion control, and rendering quality.
The existence of these varied alternatives underscores that the Batis 25mm f/2, while no longer the newest or fastest option, occupies a specific position. It doesn't match the raw performance or features of the top-tier Sony GM, but it offers a more distinct rendering signature and better overall optical quality than the ultra-compact Sony G, combined with the convenience of autofocus and weather sealing. Its appeal often hinges on a preference for the 'Zeiss look' and its availability at attractive prices on the second-hand market.
5. Exploring Zeiss Alternatives: Loxia and Otus Series
Beyond the autofocus Batis line, Zeiss offers two distinct families of manual focus lenses for the Sony E-mount, catering to photographers with different priorities and shooting styles: the compact Loxia series and the uncompromising Otus series.
The Manual Focus Appeal: Zeiss Loxia Series
The Zeiss Loxia lenses are designed specifically for Sony's full-frame mirrorless cameras, offering a classic, purely manual photographic experience combined with modern lens design.
Overview: Loxia lenses prioritise a highly tactile shooting process. They feature precise, all-metal construction, delivering a reassuringly dense and high-quality feel. Key characteristics include smooth-operating manual focus rings with long rotation angles for precise adjustments, and engraved distance and depth-of-field scales. They also possess manual aperture rings directly on the lens barrel, which include a 'DeClick' feature – allowing the click-stops to be disengaged via a small screw on the mount for smooth, silent aperture adjustments during video recording.
Loxia lenses are known for their compact dimensions, making the camera feel more like a traditional rangefinder. A practical benefit for users of multiple Loxia lenses is that the entire line shares a common 52mm filter thread diameter. Despite being fully manual, they incorporate electronic contacts to transmit EXIF data to the camera and enable automatic viewfinder magnification when the focus ring is turned.
Loxia 25mm f/2.4: This lens serves as a direct focal length alternative within the Loxia family. It is lauded for its superb optical performance, delivering phenomenal sharpness, especially when stopped down slightly, excellent corner-to-corner consistency, and near-perfect correction of geometric distortion. Chromatic aberrations are also very well controlled. Its build quality is considered a step above even the Batis line by some reviewers, with precisely engineered metal components. The manual focus feel is highly praised for its smoothness and precision. Its maximum aperture of f/2.4 is slightly slower than the Batis 25mm's f/2. One minor handling critique mentioned is the limited amount of non-rotating surface on the barrel, which can make mounting and unmounting slightly awkward.
Batis vs. Loxia: The choice between Batis and Loxia fundamentally comes down to a preference for autofocus versus manual focus, and the associated design philosophies. Batis provides the convenience of fast, reliable autofocus and assured weather sealing. Loxia offers a more engaging and precise manual focus experience, potentially a more 'classic' Zeiss rendering (described as 'richer' by one user ), the useful de-clickable aperture ring for video, and consistent sizing across the lens family. While Loxia lenses feature a blue sealing gasket at the mount , there is conflicting information regarding their overall weather sealing compared to the Batis line, with some sources stating Batis is sealed while Loxia is not. Optically, both lines offer excellent performance, though some users perceive a slight edge in image quality or rendering character for the Loxia lenses. Physically, Loxia lenses tend to have smaller diameters but can feel denser and heavier due to their all-metal construction, while Batis lenses might have larger diameters but are generally lighter overall.
The Pinnacle of Manual Focus: Zeiss Otus Series
The Zeiss Otus line represents the apex of Zeiss's optical engineering for still photography and cinematography, prioritising ultimate image quality above all other considerations.
Overview: Originally designed for DSLR mounts (ZF.2 for Nikon F, ZE for Canon EF), the Otus philosophy is to achieve the highest possible resolution, contrast, and correction of aberrations (like chromatic aberration and distortion) across the entire frame, even when shooting at the maximum aperture (typically f/1.4), with absolutely no compromises made for size, weight, or cost. These are large, heavy, exceptionally well-built manual focus lenses designed for demanding professionals who require the best possible optical performance and prefer manual control. They are often regarded as reference standards against which other lenses are measured.
Otus ML: Recently, Zeiss announced the 'Otus ML' sub-series, bringing this no-compromise optical design to native mirrorless mounts, including Sony E-mount, Canon RF, and Nikon Z. The initial Otus ML offerings are the 50mm f/1.4 and 85mm f/1.4. While still very expensive (around $2500-$3000 USD), their launch prices are notably lower than the original DSLR Otus lenses.
These lenses maintain the Otus characteristics: large size, substantial weight, all-metal construction, purely manual focus with precise mechanics, and a focus on delivering unparalleled sharpness, colour, and three-dimensional rendering. Even at this level, achieving complete freedom from aberrations like chromatic aberration remains challenging, with some initial discussions suggesting minor CA might still be present.
Positioning vs. Batis: The Otus series occupies a fundamentally different space compared to the Batis line. Otus is purely about achieving the highest attainable image quality through manual focus, regardless of practicality. Batis represents a balance, aiming to deliver excellent Zeiss optical quality combined with the convenience of autofocus and portability suitable for the mirrorless platform. Otus lenses are tools for meticulous, often tripod-based work where manual focus is preferred and optical perfection is the primary goal. Batis lenses are more versatile, suited to a wider range of photographic situations, including dynamic ones where autofocus is essential. There is currently no Otus lens in the 25mm focal length range for E-mount.
The existence of Batis, Loxia, and Otus ML lines for the same mount demonstrates Zeiss's strategy of catering to distinct segments of the market. Rather than a single 'best' approach, Zeiss offers photographers the choice between autofocus convenience (Batis), tactile manual focus control in a compact form (Loxia), or the pursuit of ultimate optical quality via manual focus (Otus), allowing users to select the lens family that best aligns with their individual shooting style, priorities, and budget.
6. Conclusion and Strategic Considerations
The Zeiss Batis 25mm f/2, assessed within the context of the contemporary Sony E-mount landscape, remains a relevant and compelling lens, albeit one with distinct strengths and weaknesses compared to newer alternatives. Its primary strengths lie in its characteristic Zeiss rendering – delivering images with notable contrast, vibrant colours, and 'pop' – combined with good to excellent sharpness across the frame, robust build quality including effective weather sealing, reliable autofocus performance, and excellent close-focusing capabilities, all packaged in a relatively lightweight design.
However, it is no longer the leading edge. Its f/2 maximum aperture is surpassed by f/1.4 competitors like the Sony FE 24mm f/1.4 GM, which also offers generally superior bokeh quality and a more comprehensive feature set including physical controls and video-friendly linear manual focus. The Batis's focus-by-wire system with non-linear response is less ideal for precise manual focus pulls, and its minimalist design lacks the direct controls found on many newer lenses. Furthermore, potential for copy variation exists , and while its unique OLED display is innovative, its practical utility is debatable for many users.
Regarding the my specific concern about internal fogging, the analysis of available information suggests this is likely an issue specific to their lens unit, possibly due to a compromised seal, rather than a widespread design flaw. Professional inspection and repair are recommended.
Choosing between the Batis 25mm f/2 and its rivals requires careful consideration of individual photographic priorities:
For Maximum Aperture, Low Light Performance, and Bokeh Quality: The Sony FE 24mm f/1.4 GM is the clear choice, offering a full stop advantage and superior rendering of out-of-focus areas, though it comes at a higher cost and weight.
For the Best Autofocus Experience and On-Lens Features: The Sony FE 24mm f/1.4 GM again leads with its linear manual focus response, de-clickable aperture ring, and focus hold button, enhancing usability especially for video.
For Prioritising Unique Rendering ('Zeiss Look') with Autofocus: The Batis 25mm f/2 holds strong appeal. If its specific colour and contrast signature is desired, and autofocus is required, it remains a unique proposition, particularly attractive value on the used market.
For Ultimate Portability: The Sony FE 24mm f/2.8 G is unmatched in size and weight, making it ideal for travel or minimalist kits, but this comes with compromises in maximum aperture and potentially overall optical refinement compared to the Batis.
For a Dedicated Manual Focus Experience: The Zeiss Loxia 25mm f/2.4 (or other Loxia lenses) offers superior manual focusing feel, tactile controls (aperture ring), and compact (though dense) build, suitable for those who prefer or require precise manual control.
For Ultimate Manual Focus Optical Quality (Cost/Size No Object): While no direct 25mm Otus exists for E-mount, the Otus philosophy represents the peak for those prioritising optical perfection above all else.
For Budget-Conscious Buyers: Exploring the used market for the Batis 25mm f/2 can offer excellent value. Alternatively, older options like the Sony FE 28mm f/2 or third-party lenses from Sigma or Samyang provide more affordable routes into this focal length range.
In essence, the Zeiss Batis 25mm f/2, while an older design, successfully carved out a niche by blending desirable Zeiss optical traits with the autofocus convenience needed for the mirrorless era. It is a lens chosen not necessarily for having the absolute best technical specifications across the board, but for its specific character, reliable performance, and the balance it strikes between quality, usability, and portability – a balance whose value is often best realised through the accessibility offered by the second-hand market. The "best" lens ultimately remains subjective, contingent upon the photographer's individual needs, shooting style, and budget.
MY ZEISS BATIS 25MM LENS IS ALMOST TEN YEARS OLD