ZOOMS TO GET
28-85
35-70
35-135
80-200
100-300
28-85 3.3-f4 ($2,450 new , $650 today/used)
The 28-85 3.3-f4 is the most useful Contax zoom for filmmaking. A bag of primes in one lens (and once as expensive at the 35 1.4), it’s range makes it ideal on set. Unbelievably sharp wide open and stopped down, this marvel of a zoom is also blessed with great close focusing and gorgeous bokeh. We bring it on almost every job. It’s push pull design makes it ideal for run and gun - but not as convenient in a studio. Has tremendous barrel rotation, so rack focuses beautifully (approx 270 degrees even @ 28mm...unheard of for a full frame wide-angle!). Almost flawless. Only mild drawbacks are it’s gentle distortion at 28mm, and it’s ½ stop loss of light going from 28mm to 85mm.
35-70 3.4 ($1,750 new , $500 today/used)
The 35-70 3.4 is not as convenient as the 28-85 on set - but many say it’s better. Has probably the biggest cult following of any Contax lens (some say its one of the best full frame zooms ever made). Its combination of technical brilliance and superb color and 3D "pop" have earned it almost iconic status. Sharp wide open. World class stopped down. Has a 3:1 macro function. Does everything with brillo inside a tiny package. Has become one of the most sought after Contax lenses ever made. For photographers trying to save on size/weight, this zoom is a no brainer. But if you're filming on set (and your kit already weighs 15lbs), the 28-85 is hard to resist.
35-135 3.4-4.5 ($3,800 new , $1,250 today/used)
Is the 35-135 the Cadillac of Contax zooms? Outrageously expensive brand new, this 4X zoom was designed with tremendous range and versatility in mind. Large and heavy by Contax standards, this lens is nevertheless blisteringly sharp across the board. Add in a robust 1:25 macro function, and you can see how it's truly "many lenses in one". Paired with a 21 2.8 you could shoot all day outside. Only drawbacks are it's size, mild distortion at 35mm, it's one stop loss of light from wide to tight, and it's overall speed. For filmmaking it can be quite special - as there are very few FF zooms with this combination of range, versatility, and performance. On Vista Vision Weapon it would probably destroy. But it still seems best suited for shooting outdoors, where its speed and push-pull design make it well suited for run n gun shooting.
80-200 ($2,000 new, $300 today/used)
The 80-200 - Once quite expensive, and now outrageously affordable, the 80-200 is one of my favorite Contax lenses. For the price, it's almost impossible to beat. It's telephoto range is ideal on most jobs - but what makes it extra special is it's close focusing. Whereas most 200mm lenses focus down to btw 6-10 feet (the Nikkor 200 f2 @ 10 feet, the Contax 200 f2 @ 6 feet), this zoom can focus down to 3 feet at 200mm - making it a shockingly beautiful and creamy macro "tele" that's quite rare. Rack focuses gorgeously too. Only drawabacks are it's push pull design, slight slow speed at F4, and it's mild loss of resolution at 200 wide open (but still very professional).
100-300 4.5 -5.6 ($??? new, $1,250 today/used)
A world class zoom, the 100-300 has earned itself a cult following almost on par with the 35-70. Built with an "APO" design, this lens is unbelievably sharp, outclassing many primes. Even more surprising is it's tiny footprint - even though it covers more range than the 80-200, its actually smaller. For travel and doc work requiring a world class telephoto, this zoom is worth a long look. Only drawbacks are it's speed - it's quite slow for filmmaking at 4.5-5.6, but for exterior work it's a stunner. Remains quite expensive to this day. Close focusing not as dynamic as the 80-200, but still very good (4.5 feet).
