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One thing that has not been discussed yet aside from Zeissness is which type. Their lines have very different signatures—CY, G, N, ZA (e and a mount), ZF/ZE, Batis, Loxia, Conarex, CF—many more too. And I highly suspect M, but I have only really shot three M lenses extensively. Zeissness is a concept/discussion for decades now. I have only shot their medium format stuff a little bit, and on film. I know they color correct their cine lenses too, which is another whole thing.
To me, the Contax G, CY and ZF have the prettiest renditions. For a modern look, the ZM 35/Loxia 21 and 85 look superb and similar with extremely high micro-contrast and deep neutral color, though still natural looking—the files are not crunchy or overly digital looking to me like many modern lenses.
I like many of the ZA lenses, but their contrast is different, their colors more luminous (ZA 35/1.4, 50/1.4, 135/1.8, 85/1.4, 55/1.8, etc.) The Batis lenses I have shot land closer to these ZA’s than Loxias.
The ZF’s, like the 28/2, 100/2, 135/2, 35/1.4 etc seem to have a different palate and “moodier” draw. It’s quite lovely.
It is really interesting when Zeiss ports one optical formula across lines—like the 28/2 Hollywood. People were paying more (for a while anyway) for the CY version as it had more “magic.” I think they just preferred the more “organic” CY palate.
I’ve seen, heard and read many talking about that neutral and transparent look of Otus (APO Zeiss).
Of course the tonal signatures and contrast vary within lines,, but I feel like the lines are fairly consistent. I believe that is a deliberate decision by Zeiss.
Some photos from the different lines that I feel represent different signatures:
The one common denominator, which is truly amazing, is that there is this massive reverence for Zeiss of any era compared to peers. They really do understand and control their color reproduction, contrast and tonal renditions in such a harmonious way.

ZA

Loxia

CY

G

zm

Batis
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