Page 1

Contents Dan Busta:

Susi Childers:

“Stories about people

Giving people a voice

fascinate me” ������������������������  2

through photographs ............... 15

A speedy all-rounder:

Portrait photography:

the new Distagon T* 1,4/35 ........  6

the right equipment for the

Guido Karp: “The eye is the decisive factor when it comes to detail“ . ........... 8 Camera strap and filters ...........  12 Carl Zeiss at the 2010 photokina ............. 13

right ‘click’

............................ 18

Dates in November and December 2010........................ 21

A newsletter for anyone who enjoys using, writing about, buying and selling Carl Zeiss camera lenses.

Carl Zeiss Camera Lens Division

Camera Lens News

37

October 2010


Camera Lens News Nr. 37 Carl Zeiss

October 2010

Page 2

“Stories about people fascinate me“

American star photographer

to explore the different life deci-

I studied photography and graphic

Dan Busta describes himself as

sions people make, the way they

design at the Brooks Institute of Pho-

someone who is always observ-

dress themselves, their similarities

tography in Santa Barbara. Graphic

ing people. He is particularly

and differences, and above all the

design in particular opened up a totally

fascinated by the relationship

relationship between human instinct

new perspective on photography for

between human instinct and

and conscious mental choice. I’m a

me. Design allowed me to think more

conscious decision-making. Art

permanent people-watcher and have

graphically and helped me understand

and music also have a significant

translated this interest into my ongo-

art fundamentals and how to apply

influence on his work. Dan lives

ing ‘teal series’, which I worked on

them in my work. Things like line

in Los Angeles, California

for five years and which portrays the

shape, proportion, color or line and

most diverse range of people in front

rhythm opened my eyes to the vast

of a blue-green background.

range of visual possibilities.

People never cease to amaze me.

How did you get into photog-

I was raised in a very creative house-

Everything from their consciousness

raphy? Did you have any formal

hold, and I was drawn to art, archi-

to subconscious fascinates me. I like

education?

tecture, interior design and music

The human being is always at the center of your work. Why?


Camera Lens News Nr. 37 Carl Zeiss

October 2010

Page 3

from an early age. I can remember

Who are your role models?

lighting I would like and that would

constantly constructing buildings and

My work is inspired by various

be appropriate for the picture.

other things from Lego. I also played

historical photographers and portrait

saxophone from the third grade of

photography masters like Irving Penn,

Why is lighting so important in

elementary school up to my senior

Richard Avedon, Gregory Crewdson,

your work?

year of high school.

and Jeff Wall.

Lighting helps me draw the mood

What do you want to convey

How do you approach the shoot-

use color to communicate the mood.

with your photographs?

ing process?

A picture with an intense blue will

I’m intrigued by people’s stories and

It depends on the assignment and

convey a cold feeling while a warmer

I strive to share their stories in my

shoot. I start with some grain of an

color will create a more nurturing

pictures — no matter if it’s a built set

idea, usually something very simple.

atmosphere. Like a lot of photogra-

or a stranger I meet along the way.

This grain comes from many different

phers, I almost don’t need to make

I often have to rely on the camera’s

places - my childhood, from movies,

the picture once this creative process

frame to share the story and I use

books, music or art history. Music

is completed. At this point, there is

the surrounding environment to tell

stimulates my imagination. I listen

almost no creative expression. Then

it. One theme in my photographs is

to everything. Then the idea grows

it’s just about execution, which to me

people in this time of change. I feel

and builds into a brief drawing and

means building the set, getting all the

this moment of one’s life — whether

develops further into lists of props

props, creating the lighting, putting it

real or created — is part of one’s life

and characters that dovetail the idea.

all together, and clicking the button.

that needs to be remembered forever.

Next I move on to think about the

and adds to the color of the image. I


Camera Lens News Nr. 37 Carl Zeiss

October 2010

Page 4

The real work happens before you

people want to be in a certain place

click the button.

or be a certain person. This is a kind of advertising, but photography has

What are your plans for the

that power — the power to idealize

future?

the real world. I would love to make

I’d like to incorporate more of my

images of fantastic things or a perfect

concepts into editorial-type work. I

world.

often find that when I get hired to shoot, I don’t have much time to spend with my subjects - it’s tough to

Find out more about

create a whole scene without much

Dan Busta:

time and budget. I’d also like to shoot

http://danbusta.com

images with a little more of a positive tone. I think it would be wonderful to make images in the future that make


Camera Lens News Nr. 37 Carl Zeiss

October 2010

Page 5


Camera Lens News Nr. 37 Carl Zeiss

October 2010

Page 6

A speedy all-rounder: the new Distagon T* 1,4/35

From the moment we first an-

The Distagon T*1,4/35 is designed

nounced the Distagon T*1,4/35

to complement our Planar T*1,4/50

on our Facebook page (www.

and T*1,4/85 lenses, providing a

facebook.com/carlzeisslenses),

wide-angle lens with the same bright

enthusiastic comments started

aperture. That means you can take

to flood in. This very fast lens

razor-sharp images at dusk or in

with its short focal length and

dimly-lit cafes, even without a tripod.

harmonious bokeh had clearly

At 35 mm, the lens matches the tra-

hit a nerve! So we decided to

ditional and versatile ‘standard’ focal

pull together some of the key

lengths when used on cameras with

facts about this popular new kid

APS-C format sensors. And thanks

on the block:

to the 72 mm filter diameter, the


Camera Lens News Nr. 37 Carl Zeiss

October 2010

Page 7

Distagon T*1,4/35 can be used with

Thanks to its ZEISS T* anti-reflective

Technical specifications

the same filters as its sister lens, the

coating, sophisticated stray light

Focal length

35 mm

Planar T*1,4/85.

reduction and excellent flare control,

Aperture range

f/1,4 – f/16

the new Distagon also takes pictures

Number of

11/9

Boasting superb foreground and back-

of bright light sources without arti-

elements/groups

ground bokeh, the Distagon T*1,4/35

facts. Its tremendously durable and

Focusing range

opens up new creative possibilities,

robust all-metal precision mechanics

giving photographers more options

– one of the hallmarks of Carl Zeiss –

Angle of view**

to play around with focus. The large

make this lens the perfect choice for

(diag./horiz./vert.)

focus ring enables sharp and accurate

use on the go and for photo report-

Coverage at

18 x 12 cm

manual focusing even with the aper-

age.

close range

(close-up limit)

ture wide open, and the optical design

– infinity

Magnification

of the lens ensures excellent image

The Distagon T* 1,4/35 will be avail-

quality across the entire range. Fur-

able in the first quarter of 2011.

0.3 m 63/54/37 °

1:5 (close-up limit)

Filter thread

M 72 x 0.75

thermore, with one step less than the

Weight

830 –  850 g

full aperture opening, the light fall-off

Length with caps

120 – 122 mm

toward the edges is just one f-stop.

Mounts

ZF.2 (F bayonet) ZE (EF bayonet)

** 35 mm format equivalent


Camera Lens News Nr. 37 Carl Zeiss

October 2010

Page 8

© Dominik Kokocinski

“The eye is the decisive factor when it comes to detail” How has 2010 been for you so

of tips and advice to offer the public.

far?

We really had a lot of fun. Even after

Fantastic – we’ve done some great

more than 30 years in the business,

stuff. With “Princess for One Day”,

it’s always an inspiration for me to

we’re on our biggest tour so far,

work with top people.

with more than 100 sold-out venues throughout Germany. In between, I’ve

What are the most important

also managed to go on tour with the

things to remember when taking

group Rammstein, had a great session

a photo?

with Him, was at the Rock am Ring

Having a good eye for the image is

and Nature One music festivals, and

crucial. I have a good anecdote on

the most recent event on the program

the subject. At the beginning of my

was a show with four wonderful col-

career, I worked with Helmut Newton

leagues at the Photokina fair.

in Australia in his studio, and one evening we were having dinner in a

Which was a resounding suc-

restaurant. The head chef came over

For 30 years, German celebrity

cess…

to the table and said: “Mr Newton,

photographer Guido Karp has

Yes, I’m delighted to say. Mike Larson,

I love your photos. You must have a

been helping top stars from

Steve Thornton, Tim Mantoani and

really good camera.” Dead silence at

the music scene, such as Roll-

David Mecey are simply world-class

the table. Newton looked at him and

ing Stones, AC/DC and Robbie

in their respective areas – wedding,

said: “Thank you, I’m always glad to

Williams, look great in front of

fashion, advertising and nude pho-

receive compliments like that. Your

the camera. In addition, since

tography. They captured the visitors

meal was wonderful, too; you must

2002 Karp and his team of 23

to the fair superbly, and had all kinds

have really good pots and pans.”

staff have been turning normal everyday women into glamorous Day” tour. Karp had his first commercial photo published in the regional Rheinzeitung newspaper at the age of 14. His subject back then was German comedian Otto Waalkes during a performance. Mr. Karp, are there days when you sometimes wonder where you are when you wake up? It’s not quite as bad as all that [laughs]. But it’s true that I’ve always spent a lot of time on the road, even if I don’t shoot 250 concerts a year anymore.

Foto: Guido Karp/ FansUNITED.com

beauties in the “Princess for One


Camera Lens News Nr. 37 Carl Zeiss

October 2010

Page 9

A very clear message: individual

Jochen Bischof, the advertising and

which they can all somehow manage

skill is much more important than

industrial photographer, was one of

to handle. For that reason, I plan to

having all the best equipment.

the people I looked up to, and he

organize a special day next spring

How can you learn it – does it

was a photographic mentor to me: he

for 100 schoolchildren as part of the

come from training and study?

taught me how to look at things and

Horizonte-Zingst Photo Festival, where

What was your experience?

passed on a lot of professional knowl-

the focus will be on the children, and

There are many different ways. I

edge. Sadly, he passed away at much

we can show the world from their

didn’t complete any course of study

too young an age. Back then, he put

perspective for once. I’m also plan-

or receive any training. Instead, I had

his heart and soul into encouraging

ning a similar day with the mayor of

that amazing work experience with

young talent in the Haus Metternich

Koblenz, which is where I started out

Newton in Australia. And I was lucky

in Koblenz.

in photography.

with people like John Farnham, INXS,

You’re also very keen on promot-

What advice would you give to

Midnight Oil, Jason Donovan and Ky-

ing young talent.

someone who wants to become a

lie Minogue, had just exploded onto

I think the photographic industry is

photographer?

the international stage at that time,

making a huge mistake by not being

It’s really the same advice you would

and I was able to supply the European

child-friendly. I’m worried that the all-

offer for other professions – stay fo-

market from there.

important “unspoiled” curiosity kids

cused and passionate, and don’t lose

have about photography might be

sight of your goals. That’s the most

What photographer has influ-

lost to them because of the increas-

important advice I can give.

enced your work?

ing technology used in cameras,

Foto: Guido Karp/ FansUNITED.com

in that the Australian music scene,


Camera Lens News Nr. 37 Carl Zeiss

October 2010

Page 10

And what qualities does a celeb-

You photograph all kinds of

very well, otherwise they wouldn’t

rity photographer need to have?

celebrities – rock stars and folk

be where they are now. Needless to

The most crucial are continuity, reli-

musicians alike. What are the

say, AC/DC has a much livelier stage

ability and professionalism. By that I

differences in the work?

show than Sade. And the Flippers

mean putting up with the industry’s

People are always saying to me:

have more colorful outfits than Rob-

quirks and customs. Obsession in a

how can you be on the road today

bie Williams, but basically the job is

positive sense is certainly important,

with the Flippers, tomorrow with the

to capture some of the aspects of

too, if you want to make it to the top.

Stones and the day after that with

a concert. And to do that well, you

Tokio Hotel? My answer is that they

need to have a good eye for detail. A

all do their own thing and they do it

concert consists of light, atmosphere and radiant faces. My speciality is to

Foto: Guido Karp/ FansUNITED.com

capture the totality of all that, and it’s the reason why artists ask for me again and again. How do you prepare? What was your most unforgettable job? II always try to avoid having any further business discussions for the last half an hour before a job so that I can concentrate fully on the task ahead of me. The pressure to do a good job was particularly intense with AC/DC two years ago, when they booked me for their Black Ice album. Since the band makes an appointment like this only once every eight to ten years, I knew that the press and marketing material booked had to be enough for over 10,000 publications. The president of Columbia Records in New York even phoned me beforehand and said that he needed at least one picture with all the members of the band on it. So I had an idea that it could get pretty chaotic. I was scared out of my mind, but thanks to meticulous preparation the three-hour session was the most successful I ever had. In the week of the launch, AC/DC sold more albums than all other bands throughout the world put together. And my photos were equally in demand.


Camera Lens News Nr. 37 Carl Zeiss

October 2010

Page 11

How big is your photo archive

Your most beautiful picture?

for years, will be back with the band

now?

II take lots of beautiful pictures.

again. And among many other book-

At a rough guess, it must be over 10 million pictures.

ings, I’m especially looking forward to Where are your photos pub-

the Zingst/Koblenz dates I mentioned

lished?

with the children.

And how many pictures do you

Everywhere. When I meet people at

shoot per session, for example at

dinner that I don’t know, I make a bet

One last question: which star,

“Princess for One Day”?

with them that they have at least one

whom you have never photo-

Around 10,000. I take the same num-

photo of mine in their apartment. I’ve

graphed, would be at the top of

ber at big music festivals.

made over 1,000 CD and music CD

your wish list?

covers alone.

John Lennon, but sadly, I can no

Wow. Then you must do the edit-

longer photograph him.

ing pretty quickly?

What will your next projects be?

It’s just a matter of training. With

I’m already 95 percent sure of what

“Princess for One Day”, I take be-

I’ll be doing up to the summer of

Guido Karp:

tween 50 and 100 pictures of each

2012. In October, I’ll be accompany-

www.guidokarp.com

woman, and I then need 30 seconds

ing pop singer Helene Fischer on

to pick the best shot. It’s usually obvi-

her German tour. Next year, I’m very

ous, especially since I’m looking at

excited and really looking forward

what I photographed myself.

to the Take That tour, where Robbie

Foto: Guido Karp/ FansUNITED.com

Williams, whom I have worked with


Camera Lens News Nr. 37 Carl Zeiss

October 2010

Page 12

Camera strap and filters Our Marketing Manager Martin

taking this step in response to massive

Klottig recently provoked intense

demand from users. Our accessories

speculation when he announced

are the perfect complement to ZEISS

that “for the first time ever,

SLR lenses and have been carefully se-

Photokina will see us show-

lected to meet the exacting demands

casing our very own range of

of discerning photographers.”

accessories for SLR lenses”. And official confirmation is now in:

Our new UV and POL filters meet the

ZEISS photographers will soon

highest standards of mechanical qual-

have the opportunity to work

ity and are quick and easy to use. Spe-

with genuine ZEISS accessories,

cially designed for ZEISS SLR lenses,

including UV and POL filters and

they feature the ZEISS T* multi-layer

a very special camera strap for

coating to protect against stray light.

SLR cameras!

The filters’ top quality optical glass

Our range of accessories also includes

eliminates lens flare and eradicates

an air-cushioned camera strap, which

But what prompted us to suddenly

the blur that can occur under certain

helps prevent shoulder strain even

expand our range of products 120

lighting conditions. In addition to

during a long day on the road. The air

years after the launch of the first Carl

their filter function, they also protect

cell padding and elastic neoprene ma-

Zeiss lenses? Martin Klottig explains:

the front of the lens against dirt and

terial ensure maximum durability and

“For the first time in the history of

scratches – and with thread diam-

comfort, while special quick-action

ZEISS camera lenses, we have decided

eters of 58 mm, 67 mm, 72 mm and

locks enable users to quickly, easily

to supply photographers with acces-

82 mm, the filters will also fit other

and securely connect the strap to all

sories for their SLR lenses. We are

manufacturers’ lenses.

standard SLR cameras and binoculars. The accessory will be available at beginning of 2011.


Camera Lens News Nr. 37 Carl Zeiss

October 2010

Page 13

Carl Zeiss at the 2010 photokina

Although there were fewer ex-

Together with its partner Nokia

Japanese garden that was twice the

hibitors than in 2008, the 2010

and Carl Zeiss Sports Optics, the

size of its 2008 predecessor. Visitors

photokina (21-26 September)

Carl Zeiss Camera Lens Division

once again had the opportunity to

in Cologne registered a record

displayed its products at a 430 m²

hold our high-quality lenses and

number of visitors. More than

booth. The highlights were the

try them out on the latest cameras.

180,000 guests from 160 nations

walk-through lens and the ap-

The artificial garden served as a

made their way to the event.

plication island modeled after a

fascinating and multi-faceted stage.


Camera Lens News Nr. 37 Carl Zeiss

October 2010

Page 14

Additionally, visitors were also able

The evolution of a piece of glass

In the year of its 120th anniversary,

to test the coveted Compact Prime

into a finished ZEISS lens was also

Carl Zeiss was very satisfied with the

CP.2 cine lens on HDSLR cameras.

on display. The high quality of ZEISS

interest it generated at the photokina.

lenses was depicted in a way that

The concept of conveying a special

everyone can understand.

brand experience at the event was a

The walk-through lens introduced in 2008, took visitors on a tour of

complete success.

the 120-year history of lenses at

Carl Zeiss uploaded videos to its

Carl Zeiss. They experienced the

YouTube channel daily and linked

http://www.youtube.com/carlzeisslenses

pioneering developments of the

them to Facebook, Twitter and the

http://www.facebook.com/carlzeisslenses

past that are paving the way to

photokina blog for those unable to

http://twitter.com/carlzeisslenses

the future. For example, the latest

attend the event.

http://www.zeiss.de/photokina

generation of compact Tessar lenses lives on in Nokia mobile phones.


Camera Lens News Nr. 37 Carl Zeiss

October 2010

Page 15

Giving people a voice through photographs

Saharawi tribeswoman

Providing a voice for the poor

Childers’ photos. “The portraits reflect

All my 15 years of professional experi-

and suffering of the world

the contradictions of beauty in the

ence as a portrait photographer were

through photographs of them

face of injustice, and of joy against

not much use to me in this situation.

– that has been the mission

a background of oppression and

I had only a vague idea of how pro-

that has driven German portrait

poverty,” she explains. “The privilege

vocative my request for a photo might

photographer Susi Childers for

of being able to portray people in

be in this culture. For a long time, the

many years. In pursuit of her

over 50 different countries has helped

woman standing opposite me could

goal, she travels throughout the

me discover that each individual,

not bring herself to look directly into

world. Together with husband,

irrespective of his or her background

my eyes. She was not used to looking

Paul Childers, she established the

or appearance, is a unique and valu-

back at people. Patience and commu-

PhotogenX platform in 2003 to

able human being.” “When I was

nication skills were more useful than

draw attention to social inequali-

finally able to focus through the

professional knowledge and the best

ties around the globe through

viewfinder on my subject, my heart

of equipment. In the end, though, I

the medium of photographic

almost stopped; what I saw was just

managed to capture this wonderful

projects. The 43-year-old pho-

indescribable. There in front of me,

moment.

tographer comes from Nagold in

in the middle of the endless expanse

Germany’s Black Forest region

of the Sahara, stood a woman with

I now use this photo to highlight the

and lives with her husband and

expressive eyes and a concealed smile,

hopeless situation of the Saharawi.

two children in Hawaii.

which I could only guess at behind

For over 30 years, this tribe has been

her veil. Several hours went by before

engaged in a hopeless struggle for

Joy and suffering can often be found

I was finally able to take a portrait of

its homeland in the Western Sahara,

side by side in photographer Susi

a Saharawi woman.

which is occupied by Morocco and


Camera Lens News Nr. 37 Carl Zeiss

October 2010

Page 16

Amalé, from the Kamawure Indian tribe in the Amazon region

Mauritania. The third generation is already eking out a meager existence in the Sahara without any realistic prospect of a return to their homeland. I often find myself in situations with people who are suffering extreme injustice, and each time I find it a new challenge to employ my photography on behalf of these people in a very conscious manner. These are people who have been forgotten, or whose cries for help go unheeded in today’s noisy world.” Kimberly, from a slum in San José, Costa Rica

“One of these Indians is Amalé from the Kamawure tribe in the Brazilian

as multiple births also face a similar

was rescued. I can still hear his happy

Amazon basin. He was buried alive

fate. Each year, many hundreds of

laughter today.”

because his mother was unmar-

children are killed in this horrible way,

ried. This is seen as a curse. Babies

out of fear of evil spirits. But Amalé’s

“Kimberly lives in one of the many

born with a physical handicap or

desperate cries were heard and he

slums in San José, the capital of Costa


Camera Lens News Nr. 37 Carl Zeiss

October 2010

Page 17

Rica, where there is no electricity

ation of indigenous peoples in many

or running water. The social worker

different countries. In doing so, I dis-

for the district told us how the men

covered the uniqueness of indigenous

usually spend their evenings – sexually

tribes – an immeasurable variety of

abusing young girls.

art, skills and culture.”

When Kimberly’s gaze met mine, I left the protection of the group without

“I was overwhelmed by the poverty of

thinking and took a moment to get to

Haiti while documenting the coun-

know her. She was sitting at the en-

try’s situation for a charity follow-

trance to her corrugated iron hut just

ing the devastating earthquake. No

as a few white clouds passed over the

one knows how many people died.

sun, allowing the diffuse light to fall

Thousands remain anonymous and

directly into her radiant green-yellow

have already been forgotten. A name-

eyes. I felt such a wave of beauty and

less girl gazed at me from this ocean

joy as I seldom encounter in the grand

of destitution and misery. For me,

houses of our cities – even despite the

she was a reflection of the beauty,

abuse she had suffered.”

determination and aspirations of this

Hare Hei, the tattooed Maori chief from Kerikeri

Caribbean nation, which for 200 years “I was immediately struck by the

has suffered from grinding poverty

Susi Childers:

tattoos of Hare Hei Hei, a Maori

and oppression.”

www.photogenx.net

chief. I had photographed on several occasions the frequently difficult situ-

Anonymous girl in St Marc, Haiti


Camera Lens News Nr. 37 Carl Zeiss

October 2010

Page 18

Portrait photography: the right equipment for the right ‘click’

Portrait photo taken with Planar T* 1,4/85 on digital SLR camera at f/4.0 and 1/125s

Portrait photography is an art

of field. This can be used, for example,

is the lens’s optical design. In addition,

unto itself. In addition to creativ-

to isolate the subject’s face from the

the Planar T* 1.4/85’s iris creates an

ity and skill, it is essential that

background in order to lend the image

almost circular opening so that high-

you have the right, high-quality

a greater sense of drama.

lights such as bright, significant points

equipment — especially the

in the image appear soft and harmo-

right lens. A prime example is

An important feature for any portrait

nious in the out-of-focus area. Light

Carl Zeiss’s portrait ‘star’: the

lens is bokeh, i.e., the way out-of-

reflexes, which may appear on the

Planar T* 1,4/85 and the Makro-

focus front and background areas are

surface of moving water, for example,

Planar T* 2/100.

shot. Photographers like to ‘play’ with

form spots of color that can ‘flow’

these parts of the image. By experi-

into the overall picture composition.

The Planar T* 1,4/85 is a classic lens

menting with sharpness and blur, they

The Planar T* 1,4/85 is available with F

for portrait photography. Despite its

can create an interesting, distinguish-

bayonet (ZF, ZF.2) and EF bayonet (ZE)

great focal length, it has a very high

able environment for the person being

and is optimized for both digital and

light intensity, allowing photographers

photographed. The most important

analog SLR cameras. For digital SLR

to work creatively with minimal depth

factor for achieving this bokeh effect

cameras with a crop factor of 1.5, its


Camera Lens News Nr. 37 Carl Zeiss

October 2010

Page 19

Portrait photo taken with Planar T* 2/100 ZF.2 on digital SLR camera at f/2.8 and 1/250s

picture angle corresponds to that of a

to its longer focal length, the photog-

While on the one hand the telephoto

128 mm lens of a full-format camera.

rapher can position himself further

lens allows you stand further away

from the model. These longer focal

from the model, it has the benefit of

The Makro-Planar T* 2/100 is also

lengths are useful for shy models as

a far shorter close-focus distance as

perfect for portrait photography,

the photographer can be less intrusive.

compared with a classic 85 mm lens.

albeit for different reasons. Thanks

While the latter can focus from up to a meter, the 100 lens allows you to focus as close as 44 centimeters. This gives the photographer additional options for creating details. For example, parts from the eye or mouth or other details of a face can be portrayed individually and delicately. On the whole, the photographer has a lot more room to experiment with this lens. The Makro-Planar T* 2/100 is not as fast as the Planar T* 1,4/85, but with an aperture ratio of 1:2 it’s still

Planar T* 1,4/85 ZE

Makro-Planar T* 2/100 ZF.2

the superior option and unique on the market. It offers almost identical


Camera Lens News Nr. 37 Carl Zeiss

October 2010

Page 20

features for working with a lower

Thanks to its higher contrast and im-

thus making them eminently suitable

depth of field as the Planar T* 1,4/85.

age performance, the Makro-Planar T*

for portrait photography. The differ-

However, the image performance

2/100 is more flexible in its use than

ences described above also apply to

when the aperture is open (which is

the Planar T* 1.4/85. It has also been

models with shorter focus lengths. As

typical for upwardly corrected macro

optimized for digital and analog full-

such, the Planar T* 1,4/50 is “softer”

lenses) is higher than with the 85 mm

format SLR cameras. Used with digital

and the Makro-Planar T* 2/50 sharper

so that the photographer must con-

SLR cameras with a crop factor of 1.5,

with an open aperture, and therefore

sider very carefully whether he wants

its viewing angle matches that of a

more flexible.

to use the special “softness” of the

150 mm telephoto lens when used on

85 mm or the special detail sharpness

an analog or digital KB camera.

afforded by the 100. The Makro-Pla-

The “smaller” sister models of the

nar T* 2/100 can be “too sharp” for

above-mentioned lenses are also

portrait photographers if they don’t

great for portrait photography: the

want to highlight unevenness in the

Planar T* 1,4/50 and the Makro-Pla-

subject’s skin. If, on the other hand,

nar T* 2/50. Originally conceived as a

the photographer wants to emphasize

standard focal width for KB cameras,

scars, pores and pigments to give the

they can also be ideal for digital

subject more character, the Makro-

cameras, depending on the size of

Planar T* 2/100 is the better choice.

their sensors as light telephoto lenses,


Camera Lens News Nr. 37 Carl Zeiss

October 2010

Page 21

Exhibits for Canon Profoto Roadshow Dates in November and December 2010 16 November 2010

25 November 2010

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Camera Lens News

A newsletter for all who use, buy, sell, like, report about and are interested in Carl Zeiss camera lenses. All information in Camera Lens News is accurate to the best of our knowledge at the time of publication. Publisher: Carl Zeiss AG Camera Lens Division Marketing 73446 Oberkochen Germany Phone: +49 (0) 7364/20-6175 Email: photo@zeiss.de Internet: www.zeiss.de/photo

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