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 p.24 #9 · p.24 #9 · Back On Sale: Sony FE 20mm f/1.8 G lens for only $798 ($100 off) | |
All opinions: two of these variables are more or less fixed. Most lenses are close to each other in macro contrast, you can check this roughly by looking at RAW histos (framing must be exact for more rigour); black and white points will not vary greatly in distances apart, once adjusted. Some older lenses depart from this general rule, e.g. CZ's C-Sonnar, ultra contrasty old design.
CZ's famed micro-contrast is shared by most all same tier lenses - it's measured as MTF (focal plane contrast transfer). The two forms of contrast should not be confused. These measures apply to the full spectrum or for individual channels, green light gives a better result. But, if you look at a desaturated image, contrast/micro-contrast remain intact.
Within the bounds of the above, colour varies greatly between lenses, but it is interwoven with tonal increments. It's a phenomenon Mike Johnston called 'microcolor', this ability of certain lenses to break apart hues inside small steps in the tonal scale.
Signing off with a pointer to a real world example: Dustin Abbott's video comparo of two cutting edge 35mm lenses, Canon's 35/1.4II and Zeiss's 35/1.4 Milvus - similar design intents and price levels. To muddy the waters, the Zeiss not only shows massively better colour hue separation, but wider DOF, visible at the front of the scene as he scans around at 100% (another big topic). Load this text below into a search engine, load the video and go to 13.00 (f5.6) for quite a revelation:
Zeiss Milvus 1.4/35 vs Canon 35L II | Part 1: Resolution | 4K
'are there others?' Yes, the guys that make all the modern Zeiss lenses, who know all the glass formulations, who is using what, what works best, etc.
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Was not the greatest conditions this morning but here is a 3 shot pano. People crap all over Sony's IBIS but winds reached 72mp on top of Mt. Washington this morning. (you can look it up if you don't believe me) With out it none of my images would have been usable. Really struggled. Winter skull cap flew right off the my head while I was trying to hold the tripod steady (never to be seen again). Tried to compose using the train car as a wind break. But the wind was moving the train car and just blowing right under and around it. I think if I played around with the warp I could straighten some things out. In the end it was not the sunrise I was hoping for but it is still always worth getting up anyway. In this case never went to bed. 
