These are the best Zeiss telephoto lenses when you want flattering compression, creamy yet controlled bokeh, exquisite micro-contrast, and long, silky focus throws (with reliable AF where offered) for portraits, beauty, product, stage, fashion, and compressed landscapes—and here’s what to look for as you buy: prioritize APO or near-APO designs for minimal LoCA on hair highlights and sequins, strong wide-open contrast, generous working distance (90–135–200 mm classes) for flags and hair lights, modest focus breathing if you film, and solid, all-metal housings with clear scales; pair unstabilized glass with bodies that have strong IBIS or plan on a monopod, and standardize front diameters with step-ups so one slim VND (plus a mild 1/8 diffusion if you like halation) covers the set. Full-frame mirrorless heroes: Batis 135mm ƒ2.8 (AF, lightweight, optical stabilization, lovely micro-contrast—outdoor portraits, stage, travel tele) and Batis 85mm ƒ1.8 (AF, OSS, skin-friendly rendering, great for weddings/events); manual-focus compact: Loxia 85mm ƒ2.4 (tiny, precise long throw, declickable aperture—beauty and travel tele that balances on gimbals). DSLR/adapted “classic Zeiss” tele primes: Milvus 135mm ƒ2 APO-Sonnar (reference-grade CA control and compression—editorial staple), Milvus 100mm ƒ2 Makro-Planar (1:2 macro with gorgeous falloff—beauty/product + tele portrait), Milvus 85mm ƒ1.4 (creamy transitions for character headshots), and the heritage Planar 1.4/85 and Sonnar 2.8/180 (Contax/Yashica) for vintage Zeiss pop on a budget; ultimate short-tele speed/clarity: Otus 100mm ƒ1.4 and Otus 85mm ƒ1.4 (clinical yet elegant, minimal aberrations, stunning wide open—adapt to mirrorless for best focus aids). Longer-reach legends (studio/daylight): Makro-Planar 120mm ƒ4 (Hasselblad V/Contax 645) and APO-Sonnar 200mm ƒ2 (rare, dreamy compression for fashion/portrait—heavier, tripod-friendly). Cine-ready options when motion rules: Compact Prime CP.3 85mm/100mm (T2.1) and CP.2 100mm Makro (matched 95 mm fronts, long throws, low breathing), or jump to Supreme Prime 100/135 T1.5 for FF/VV shows needing unified mechanics and /i or XD lens data via ZEISS eXtended Data variants. APS-C shooters get superb results adapting the same ZE/ZF/Contax tele primes (85/1.4 ≈ 128-eq, 100/2 ≈ 150-eq, 135/2 ≈ 200-eq) with the bonus of extra “reach”; the Batis 85/1.8 and 135/2.8 also shine on crop with fast, reliable AF and OSS. Practical buyer tips: build a two-prime spine (135/2 class for compression + 85/1.8–1.4 for versatility, or 100/2 Macro + 85/1.4 for beauty + portrait) and add a stabilized AF option (Batis 135/2.8 or 85/1.8) for run-and-gun gigs; standardize fronts (67/72/77→82/95 mm) so one VND/diffusion fits everything, keep a rigid adapter with zero play for ZE/ZF/Contax, add 0.8 focus gears if you pull video, and pack an Arca plate + compact monopod for long days. Tele-shooting tips: expose for skin and protect speculars, work near wide open and stop 1/3–2/3 stop for eyelash-crisp eyes with smooth falloff, hold shutters ~1/200–1/250s for posed sets (1/500–1/1000s for motion) and let ISO float rather than risk smear, manage background distance (1–3 m) for creamy bokeh, and use negative fill to carve jawlines; for beauty/product, cross-polarize (linear gels on lights + CPL on lens) with the 100/2 Macro and flag edges for sculpted shape; for video, lock a 180° shutter with a quality VND, enable IBIS but disable stabilization on sticks to avoid micro-jitter, set slower AF transitions or pull manual on long throws, avoid stacking filters that invite flare, and shade the front element under LED spots; whether you’re crafting glossy studio beauty, cinematic dusk portraits, runway/backstage candids, or compressed skyline layers from afar, the best Zeiss telephoto choices—Batis for stabilized AF, Milvus/Classic/Otus for signature rendering, and CP.3/Supreme for unified cine—combine APO discipline, graceful falloff, and rock-solid mechanics—so your subjects pop, your backgrounds melt, and your images look intentionally refined straight out of camera.