Mitakon CREATOR 85mm f/2

Low cost, high creativity

Zhongyi Optical used to be an unknown chinese manufacturer, providing optical elements for major brands since 1984. It’s one of those obscure companies, much like Japan’s Cosina who produce some manual Zeiss lenses. Sometimes these factories offer their own line of products, like Cosina’s 1999 Voigtländer purchase, to use its name; Korean Samyang, who makes lenses under the Rokinon, Optic Pro and Opteka brands; and now Zhongyi with two distinct names, its own Zhongyi and the newer Mitakon. It’s almost as some CVS products, sharing the same USP: lower prices compared to brand products, an alternative to try a higher end spec on the cheap.

Zhongyi Mitakon CREATOR 85mm f/2

To enter the market with a kick, they announced in 2014 the Speedmaster series, made for mirrorless cameras, with exotic specifications like a full frame 50mm f/0.95 (previously available only on Leica’s US$10.000 Noctilux), and a never seen before 135mm f/1.4. And for reflex cameras, the CREATOR line, with much less impressive specs, but a much more affordable price like this US$199 85mm f/2. It’s the same strategy used by other low cost brands from Asia: an all manual operation, great build quality and fair optical performance. But considering Brazil’s weak currency, the Mitakon US$199 must deliver the goods. Can the Mitakon perform? Let’s find out! 



BUILD QUALITY

Zhongyi Mitakon CREATOR 85mm f/2

At 7.6 x 6.5cm of 410g, the Mitakon CREATOR 85mm f/2 is the smallest 85mm I’ve ever used. Very light on my EOS 6D, it behaves like a nifty fifty and it’s even weird to use. The Mitakon is a 85mm that doesn’t feel 85mm, and you get a compact camera in your hands, but with a tighter  viewfinder typical of the short telephoto. On Canon’s lineup we have two bigger 85mm: the f/1.8 USM, the same length and weight, but much fatter at 71mm; and the larger than life f/1.2L II USM, at 9.1 x 8.3cm and an absurd 1kg; both with electronic focus and aperture. And at Nikon’s both f/1.8G and f/1.4G, at 7.8 x 7.3cm of 350g, and 8.6 x 8.3cm of 595g respectively, are bigger. 

Zhongyi Mitakon CREATOR 85mm f/2

The magic behind such a small footprint is in part due to the conservative f/2 maximum aperture. But it’s thin body is mostly due to the lack of motors and electrical circuits, for an all-manual operation, and a single internal barrel casing the double-Gauss optics. Turning the frontal manual focusing ring expands the lens, moving the glasses about 1cm, for a minimum focusing distance of 0.85cm. It’s a long way from infinity to MFD at about 240º, making it impossible to focus quickly. It’s about 100º from 1m to 2m, with no chance of agility in the process. But it’s smooth as butter, nice to work wide open and the resulting shallow depth of field, or during video recording.

Zhongyi Mitakon CREATOR 85mm f/2

At the rear the manual aperture ring is mechanical and controls a 10 straight-blade diaphragm. There’s no way for the camera to communicate with the lens, so the photographer must select an aperture in the f/2 to f/22 range, with full stop clicks. I leave my EOS 6D on Shutter Priority and Auto ISO, selecting an adequate speed for my subject on the camera, and the aperture on the lens. Then the camera selects the lowest ISO possible, with exposure compensation available. There’s a smooth click at each stop, much lighter than a Nikon Ai-S, but not stepless like some Cinema lenses. And my copy has a noticeable play at f/2, going further but not opening the aperture more; and the last click is between f/11 and f/22; I must take it all the way to the right to really select the f/22. It’s the US$199 chinese precision speaking here, and we’re not in Leica’s camp anymore.

Zhongyi Mitakon CREATOR 85mm f/2

At the front the ø55mm filters are weird, I’ve never seen such size. At least the filter thread is metal, something all US$2000 Canon L lack. The lens hood is comically included outside the box, and the cheapest possible; I had to shave it with a precision cutter to get rid of some extra plastic. And all markings, from hyperfocal to focusing distances and aperture, and engraved and painted; much harder to erase over time. Overall it’s a simple lens, free of any extras to the photographers aid. It doesn’t get much simpler than this, and frankly it’s what I want to take with me when it’s time to shoot: a light, compact camera, with basic controls and plenty of discretion. A pleasure to use.



IMAGE QUALITY

“Obelisco” at f/22 10” ISO100.

“Obelisck” at f/22 10” ISO100.

* All photos with the EOS 6D. Raw files available at Patreon.

With a simple 6 elements in 6 groups formula, the Mitakon 85mm f/2 is a legit double-Gauss lens. Designed to eliminate lateral aberrations and offer high resolution at optimized apertures with fewer glasses, thus the lower price, it’s the minimum requirement for high image quality, the same logic behind some market favorites like Canon’s f/1.8 EF nifty fifties. It’s almost like a tool to understand the physics behind optics: position two Gauss groups back to back and the rendered image is free of lateral aberrations. It could be done on a DIY kit at home, but it shouldn’t. And a closer look at the files reveals what is missing from this barebones lens: quality control.

“Av. Paulista” at f/22 10” ISO100.

“Av. Paulista” at f/22 10” ISO100.

The main issue with my copy of the Mitakon 85mm f/2 is some misalignment. Before we start to think about optical properties, we must first take into consideration its mechanical qualities, and not forget it’s included on the measly US$199 price tag. I don’t know if it’s a lack of quality control; the very thin, unprotected box it comes in; the delicate build of the all-metal barrel, the reality is my CREATOR is less sharp on one side and expose a typical problem of low cost lenses. My 35mm f/1.4 Sigma Art DG misaligned with just three years of use (thus the 5 years warranty); the Tamron SP 24-70mm f/2.8 Di VC USD we saw a few years ago was lacking sharpness on the left half of the frame also; so test your lens prior to purchasing. Don’t expect miracles from the US$199.

“SP/noite” at f/8 13” ISO100; de longe nem dá para perceber.

“SP/noite” at f/8 13” ISO100; you can’t really notice on this web output.

100% crop, note como o lado esquerdo está bem desfocado…

100% crop, notice the very soft left corner…

100% crop, enquanto o direito, embora longe de perfeito, está mais nítido.

100% crop, while the right corner, indeed not perfect, is much sharper.

“SP/dia” at f/8 1/1000 ISO125.

“SP/dia” at f/8 1/1000 ISO125.

100% crop, canto inferior esquerdo totalmente sem nitidez at f/8.

100% crop, a very soft lower left corner at f/8.

100% crop, canto inferior direito com área maior de nitidez.

100% crop, lower right corner a bit sharper.

Misalignment aside, pure optical power speaking, the Mitakon actually delivers above my expectations. The resolution is reasonable wide open at the center frame, maybe a bit soft around the edges of two dimensional subjects. It’s not even the low quality of the glasses. It’s the over simplified double-Gauss formula that doesn’t get extra glasses for correcting spherical aberration. It’s easy to understand: the lens curvature is higher around the edges, and the light enter through a different angle, on a different distance in relation to the image plane. The result: an out of focus image around the edges. It’s only when we stop three, four stops and use only the center of the optics that we get uniform resolution around the image.

“MAC” at f/8 1/320 ISO125.

“MAC” at f/8 1/320 ISO125.

100% crop, resolução perfeita de sujeitos gráficos.

100% crop, perfect resolution for graphic compositions.

“MAC II” at f/8 1/320 ISO100; note a distorção geométrica discreta.

“MAC II” at f/8 1/320 ISO100; notice the discrete geometric distortion.

100% crop, nitidez impecável de linhas e contornos.

100% crop, impeccable sharpness around the edges.

“23” at f/8 1/125 ISO125.

“23” at f/8 1/125 ISO125.

100% crop, texturas saem bem resolvidas na abertura otimizada.

100% crop, high resolution textures at f/8.

“M135i” at f/2 1/160 ISO100.

“M135i” at f/2 1/160 ISO100.

100% crop, mas na abertura máxima a CREATOR também pode impressionar.

100% crop, even wide open the CREATOR may impress.

“Lucia Koch” at f/2 1/160 ISO125; vinheta na abertura máxima.

“Lucia Koch” at f/2 1/160 ISO125; wide open vignette.

100% crop, mas a resolução é tamanha que dá para ver as tramas da tela ao fundo.

100% crop, the resolution is so high, even at f/2, that you can see the fabric threads.

“Mobili” at f/2 1/160 ISO400.

“Mobili” at f/2 1/160 ISO400.

 100% crop, aberrações de eixto e resolução caindo nas distâncias curtas de foco.

100% crop, axial aberration and a drop in resolution at the shortest focusing distance.

“giusè” at f/2 1/160 ISO320.

100% crop, nitidez aceitável no centro do quadro.

100% crop, acceptable resolution on the center frame.

“giusè II” at f/2 1/160 ISO100.

“giusè II” at f/2 1/160 ISO100.

100% crop, texturas na abertura máxima e baixa profundidade de campo.

100% crop, wide open textures and shallow depth of field.

“Unidade Tripartida, Max Bill” at f/2 1/320 ISO640.

“Unidade Tripartida, Max Bill” at f/2 1/320 ISO640.

100% crop, resolução mais ou menos, aberrações leves.

100% crop, so so resolution, light aberrations.

“Unidade Tripartida, Max Bill II” at f/2 1/320 ISO800.

“Unidade Tripartida, Max Bill II” at f/2 1/320 ISO800.

100% crop, linha nítida na borda da base.

100% crop, sharp edges on the artwork stand.

“nara roesler” at f/2 1/200 ISO1000; distorção geométrica quase nula.

“nara roesler” at f/2 1/200 ISO1000; near zero geometric distortion.

100% crop, resolução impecável no centro.

100% crop, impeccable center resolution.

“Tryptique” at f/2 1/160 ISO320.

“Tryptique” at f/2 1/160 ISO320.

100% crop, resolução na abertura máxima.

100% crop, wide open resolution.

“Caixas” at f/2 1/160 ISO800.

“Caixas” at f/2 1/160 ISO800.

100% crop, note o fio de nylon no centro, resolução impecável.

100% crop, notice the nylon fabric, impeccable center resolution.

“Construção Vermelha, Eduardo Ramirez Villamizar” at f/2 1/250 ISO160.

“Construção Vermelha, Eduardo Ramirez Villamizar” at f/2 1/250 ISO160.

100% crop, contorno nítidos e de alto contraste.

100% crop, sharp edges, high contrast images.

“Rafael França” at f/2 1/320 ISO4000; zero distorção geométrica.

“Rafael França” at f/2 1/320 ISO4000; zero geometric distortion.

100% crop, plano de imagem desuniforme tira qualquer chance de nitidez nas bordas.

100% crop, uneven image plane make it impossible for edge to edge resolution.

“Rafael França II” at f/2 1/320 ISO2500.

“Rafael França II” at f/2 1/320 ISO2500.

100% crop, alta resolução no centro.

100% crop, high center resolution.

100% crop, mas bordas ficam atrás no eixo horizontal.

100% crop, but the edges lag behind on the horizontal axis.

Stopping down to the f/8 and f/11 and the CREATOR reaches top resolution on the EOS 6D, identical to most branded primes but costing less than a basic zoom. Other issues like axial chromatic aberration are also solved, eliminating purple fringing on high contrast highlights. But the most interesting usage of stopping down comes from the 10 straight blades aperture, that generates beautiful 10 point stars on bright spots of light. If used creatively, the results can be awesome and rival much higher end lenses. Who knew we could get this performance for so little?



“Mesão” at f/2 1/160 ISO1000.

“Mesão” at f/2 1/160 ISO1000.

100% crop, aberração típica da abertura máxima e fontes fortes de luz.

100% crop, typical wide open aberration on strong light sources.

“???” at f/2 1/160 ISO100.

“???” at f/2 1/160 ISO100.

100% crop, antes (esquerda) e depois da correção da aberração cromática no Adobe Camera Raw.

100% crop, before (left) and after Adobe’s Camera Raw chromatic aberration correction.

“??? II? at f/2 1/1260 ISO125.

“??? II? at f/2 1/1260 ISO125.

100% crop, antes (esquerda) e depois, correção perfeita do software.

100% crop, before (left) and after, a perfect software solution.

“SP/noite II” at f/8 25” ISO320.

“SP/noite II” at f/8 25” ISO320.

100% crop, note as diferenças nas aberrações e formato das estrelas.

100% crop, notice the aberration improvement and the stars shape.

100% crop, e nas bordas, a resolução da Canon é maior; lembrem que a minha Mitakon está desalinhada.

100% crop, around the edges the Canon resolution is higher; remember my Mitakon copy is misaligned.

“Cromado” at f/2 1/160 ISO250.

“Cromado” at f/2 1/160 ISO250.

100% crop, detalhe das aberrações entre as objetivas, melhores controladas na Canon.

100% crop, notice the better handled Canon aberrations.

Crop no desfoque revela como a Canon é muito mais suave, mesmo no f/2. A distância de foco é 1.5m.

Smoother bokeh on the Canon, even at the similar f/2 aperture; focusing distance is about 1.5m.

“Flaring” com a Mitakon CREATOR 85mm f/2 at f/2 1/125 ISO100.

“Flaring” with the Mitakon CREATOR 85mm f/2 at f/2 1/125 ISO100.

“Flaring” com a Canon EF 85mm f/1.2L II USM at f/2 1/125 ISO100; apesar da mesma exposição, o quadro é mais claro porque não sofre com vinheta.

“Flaring” with the Canon EF 85mm f/1.2L II USM at f/2 1/125 ISO100; besides the same exposure, the Canon frame is brighter due to the corrected vignette.

Even the bokeh in interesting on the Mitakon 85mm f/2, thanks to the double-Gauss design and the short telephoto distance. The longer focal length makes for a shorter depth of field, so the background also looks smoother. At the 0.85cm minimum focusing distance I can hardly see some difference between the CREATOR and the 10x more expensive Canon EF 85mm f/1.2L II USM. They look near identical even at f/8, also hard to believe considering the Canon’s oh-so-desired rounded aperture. The EF bokeh does look smoother at the front plane, while the Mitakon looks smeared.

“Planta” at f/2 1/500 ISO125, bokeh relativamente suave considerando a confusão que era o segundo plano.

“Planta” at f/2 1/500 ISO125, relatively smooth bokeh considering how messy the background was.

100% crop, resolução mais ou menos no centro.

100% crop, so so center resolution.

“Planta II” at f/2 1/500 ISO160; contre a luz do sol.

“Planta II” at f/2 1/500 ISO160; naturally backlit.

100% crop, um pouco de blooming, perda de contraste e boa resolução contra a luz.

100% crop, some blooming, lack of contrast and good resolution when backlit.

“Planta III” at f/2 1/500 ISO160; flaring contra a luz.

“Planta III” at f/2 1/500 ISO160; backlit flaring.

100% crop, resolução e perda de contraste com muita luz no quadro.

100% crop, good resolution and drop of contrast when strongly backlit.

“Ângelo Venosa” at f/2 1/160 ISO1000.

“Ângelo Venosa” at f/2 1/160 ISO1000.

100% crop, nitidez no plano focal e aparência do desfoque nos highlights.

100% crop, a sharp image plane and out of focus highlights.

“Ângelo Venosa II” at f/2 1/160 ISO500.

“Ângelo Venosa II” at f/2 1/160 ISO500.

100% crop, aberrações, resolução e highlights em desfoque.

100% crop, aberrations, resolution and out of focus highlights.

“Madulaques” at f/2 1/80 ISO160; distância mínima de foco 0.85cm.

“Madulaques” at f/2 1/80 ISO160; 0.85cm minimum focusing distance.

100% crop, resolução é praticamente a mesma at f/8.

100% crop, the resolution is practically the same at f/8.

E o desfoque no segundo plano também é parecidíssimo entre as duas.

And the background bokeh is very similar among the two.

Porém o desfoque no primeiro plano é muito mais suave na Canon.

However the front plane bokeh is much smoother on the Canon EF L.

VERDICT

I wrote this once and I’ll repeat it about the Mitakon CREATOR 85mm f/2. It’s one of those lenses that make me question this website when for US$199 you can get a working lens, with a metal body, smooth manual control and reasonable image quality; things Canon won’t deliver outside the L series. Nikon’s AF-Ss are mechanically laughable on the f/1.8G lineup: bad manual focusing rings, all plastic build and questionable image quality. Then you get a chinese lens that, except some misalignment, deliver better results at a fraction of the cost. Be creative and nice shooting!