Contents

Contents
Getting the light right������������� 2
The right lens for each situation –
Carl Zeiss camera lens types...... 11
Photo competition:
„Light is my language”................. 6
Size Matters with Bryan Adams
in the Carl Zeiss Calendar.......... 14
Safely on Its Way – Lens from
Carl Zeiss Accompanies NASA
Space Shuttle............................... 8
A newsletter for anyone who enjoys using, writing about, buying and selling Carl Zeiss camera lenses.
Carl Zeiss Camera Lens Division
Camera Lens News
38
December 2010
Camera Lens News Nr. 38
Carl Zeiss
December 2010
Page 2
Getting the light right
Architectural photography using the Distagon T* 3,5/18 ZE: Natural light / exposure: f/8 at 1/200 sec. / ISO 200 (www.photography-kernchen.com)
Christian Kernchen is a profes-
Mr Kernchen, much of your
sures you can really bring out some
sional and highly experienced
work centers around architec-
interesting moods and contrasts.
architectural and portrait pho-
tural photography. How do you
tographer based in Munich, Ger-
work with light and shadows in
You put the Carl Zeiss
many. His work reveals a finely
that field?
Distagon T* 3,5/18 ZE to the test
balanced interplay between light,
I generally work with natural light
with a Canon 5D MK II. What
aperture, sharpness and focus.
when I take shots of buildings and
were your overall impressions?
He put three Carl Zeiss lenses
architecture, and I especially enjoy
I used the Carl Zeiss Distagon T*
through their paces, focusing on
working at dawn and dusk when the
3,5/18 ZE at twilight without a
architecture, portrait photogra-
contrasts are not so harsh. Artificial
tripod. All the shots I took were
phy and macro shots.
light produced by light shapers or
razor-sharp even though I was taking
flash units does not tend to produce
them handheld and in some instances
enough illumination for buildings.
stopping the lens down to f/8 or f/11.
High dynamic range (HDR) imaging is
The superb depth of field and level of
great for architectural photography
detail allow you to take wonderfully
– by merging a series of shots of the
dramatic and beautifully presented
same subject taken at different expo-
architectural shots that really draw
Camera Lens News Nr. 38
Carl Zeiss
December 2010
Page 3
Architectural photography using the Distagon T* 3,5/18 ZE: Natural light / exposure: f/10 at 1/250 sec. / ISO 200 (www.photography-kernchen.com)
the viewer’s attention to the pivotal
photography, and it was genuinely
with a narrow focus and by using
parts of the image. This ultra-wide-
fun to use. It will be part of my stan-
vignetting, which is when the image
angle lens is an excellent choice for
dard kit from now on!
darkens towards the edges.
you often end up working in very
You also do a lot of portrait, life-
You tried out the Carl Zeiss Pla-
confined spaces and trying to capture
style and fashion photography.
nar T* 1,4/50 ZE for your portrait
and hold a huge field of view in full
How do you deal with light on
shoot. How did it go?
frame mode. With conventional 18
those kinds of jobs?
I did the portrait shoot with the well-
millimeter lenses that often results in
The most important thing about
known model Rebecca Baur in an
distortion because full frame cameras
portrait photography is getting the
empty, modern office building. The
provide weak results at the edges,
illumination just right and making
huge windows and the bare concrete
but the ZEISS Distagon T* 3,5/18 pro-
skilled use of natural light, which
walls made it the perfect location,
duced sharp images without distor-
basically means knowing how to use
both for working with natural light
tion. I hardly lost any of the picture
light shapers, shadows and contrasts
and for taking shots in dark corners
area when I was editing the images
to emphasize or mute certain parts
with a flash unit and what we call a
and I didn’t need to use distortion
of the picture. I try to take an artistic
“beauty dish”, a device that makes
correction.
approach to the person in front of
the light softer.
Personally, I was very impressed with
me and focus attention on specific
the lens, especially for full format
details. I find I get the best results
architectural photography because
Camera Lens News Nr. 38
Carl Zeiss
December 2010
Page 4
Portrait shot using the Carl Zeiss Planar T* 1,4/50 ZE: Natural light / exposure: f/4 at 1/200 sec. / ISO 100 (www.christian-kernchen.com)
Portrait shot using the Carl Zeiss Planar T* 1,4/50 ZE: Natural light / exposure: f/5.6 at 1/125 sec. / ISO 200 (www.christian-kernchen.com)
Camera Lens News Nr. 38
Carl Zeiss
December 2010
Page 5
Once again, I chose the Canon 5D
MK II to test the Carl Zeiss Planar T*
1,4/50 ZE. Using manual focusing
means you have to take your time
with portraits and approach your
subject calmly, without rushing. The
superb bokeh you get with ZEISS lenses gives photographers real creative
scope for playing around with focus
and blur, and even with the aperture
wide open I find I can still achieve
precise focusing. I switched between
natural light and flash during the
shoot in order to bring out the details
I wanted. The lens gives fantastic
sharpness and image quality for
portraits and close-up shots, both in
natural light and in combination with
a professional flash unit. The results
were excellent – virtually none of the
images were out-of-focus or shaky.
Tinkering with focus and blur is
an important stylistic device in
landscape and macro photography, too. What approach do you
typically take in those areas?
I see my landscape photography
work as a kind of counterbalance to
my work as an architectural photog-
Macro shot using the Carl Zeiss Makro-Planar T* 2/100 ZE
rapher. As well as beautiful moun-
Natural light / exposure: f/2 at 1/50 sec. / ISO 100 (www.photography-kernchen.com)
tains and lakes, there are so many
interesting little details waiting to be
discovered. Nature contains all sorts
You also put the Carl Zeiss Mak-
good tripod, a remote trigger cable
of small, hidden wonders which you
ro-Planar T* 2/100 ZE through its
and mirror lock-up – just like with all
only find by getting as close as you
paces. What did you think of it?
macro photography. The f/2.0 lens
can to your subject, ideally with a
Once again I decided to use my
produced some interesting effects:
macro lens.
Canon 5D MK II full-format camera
The background becomes blurred
to test the Makro-Planar T* 2/100
and your gaze is immediately drawn
Christian Kernchen:
so that I could capture flowers and
to the main subject, such as a bud or
www.photography-kernchen.com
ferns from a distance without the
a flower. I got some superb, perfectly
www.christian-kernchen.com
limitations of a crop factor. The lens
focused results with the Makro-Pla-
has a very fine focus, so you need a
nar T* 2/100 even in natural light.
Camera Lens News Nr. 38
Carl Zeiss
December 2010
Page 6
Photo competition:
„Light is my language”
Without light there is no vision and no photography. The
theme of this year’s photography
competition therefore focuses
on light and darkness. Under the
motto „Light is my language”,
photographers and photo enthusiasts from anywhere in the
world are invited to submit pictures from their own perspective.
It makes no difference whether
the picture is shot with an SLR
single reflex lens or the camera
of a mobile phone. The only requirement is to use a ZEISS lens.
ZEISS fans will help select the
winners through the internet.
“Light is the most important creative
For the first time, anyone will be
Flickr gallery. From the 10 shortlisted
means in photography. Every pho-
able to follow the contest dur-ing its
images, the Flickr community will
tographer speaks his own language
entire duration on Flickr, the global
select the three best images. The
and ultimately expresses his creative
online photo com-munity. Partici-
picture that is added the most as a
messages through light and shadow,”
pants in the contest should upload
“favorite” after the start of the gallery
explains Martin Klottig, Marketing
their best image that fits the “Light is
will win.
Manager of the Carl Zeiss Camera
my language” theme and tag it with
Lens Division. There are many ways
the keyword “ZEISSContest2010”
The winner will receive a ZEISS SLR
of expressing one’s creativity through
on the official Carl Zeiss group
lens of his or her choice. The second
light and shadow. With light reflec-
on Flickr (www.flickr.com/groups/
prize is a set of cinemizer Plus video
tions, messages in bokeh (the out-
carlzeisslenses). Pictures can be sub-
glasses to-gether with a Nokia N8
of-focus area of an image), colorful
mitted until January 16, after which a
smartphone. The third-prize winner
accents derived from long exposure
jury from Carl Zeiss will select the 10
will receive a Sony DSC-TX9 compact
times or the soft glimmer of barely
best images. The jury will assess pic-
camera with ZEISS optics.
discernable light, photographers
tures on their creativity and technical
give their images meaning. “We’re
execution of the concept. The highest
looking for photographers who can
number of points will be given to ex-
For more information, visit
make something visible that would
citing images that have been created
www.zeiss.com/photo
otherwise remain hidden. The award-
before and during the shutter release,
www.zeiss.com/photo/contest
winning pictures will exude both cre-
with as little revising and adapting of
ativity and con-scious composition,”
the image as possible. The shortlisted
adds Klottig.
pictures will then be presented in a
Camera Lens News Nr. 38
Carl Zeiss
December 2010
Altes Stadthaus, Berlin, taken with Distagon T* 2,8/21
Sun over a lake, taken with Distagon T* 2,8/25
Page 7
Camera Lens News Nr. 38
Carl Zeiss
December 2010
Page 8
Safely on Its Way
Lens from Carl Zeiss Accompanies NASA Space Shuttle
Cape Canaveral. Night. The
hustle and bustle of preparations cannot be overlooked. The
employees of PCO AG, a leading
manufacturer of high-speed cameras for industry and research,
are anxious: the countdown for
the launch of the next space
shuttle mission is underway.
A camera from PCO and a lens
from Carl Zeiss are recording the
launch.
Artists are not the only ones who
need high-speed equipment to
draw attention to their subjects.
The demands of high-tech scenarios
in industry, e.g. recording a nighttime launch of the space shuttle, are
often much higher. More astounding is the fact that photographers
use the same lenses for their art.
The United States has sent more
than 100 space shuttles into space.
The National Aeronautics and Space
Administration filmed each launch to
learn from mistakes and make each
subsequent flight safer and more
reliable. The cameras and lenses
Space Shuttle before August 2009 launch
used for this purpose are subject to
rigorous requirements. So rigorous
that NASA has consistently stuck to
a Makro-Planar T* 2/100 ZF from
followed by a burst of light from the
traditional film cameras because, until
Carl Zeiss were there.
booster rockets. It is very difficult to
very recently, digital technology was
compensate for the resulting reflec-
still not up to the challenge. Time to
Superiority in light and darkness
tions. As with night photography, the
rethink this approach? In 2009, NASA
The material is really put to the test
cameras and lenses must feature very
asked four digital high-speed camera
while recording a shuttle launch. First
high speed. The cameras take several
makers to film the launch of a space
off, the differences in light intensity
hundreds of photos each second in
shuttle. A pco.dimax from PCO and
are enormous – the dead of night
order to capture all the details of a
Camera Lens News Nr. 38
Carl Zeiss
December 2010
Page 9
shuttle launch. The exposure times
are accordingly short. The image
sensors therefore have to be very sensitive and the lenses so powerful that
sufficient light reaches the sensor.
Focusing on the details
When photographers set out to
capture the tiniest details, their
primary requirement is good imaging
performance. This is no different
during a shuttle launch. The cameras
are positioned some 300 meters from
the launch pad, yet it is the close-up
details of the launch that are crucial:
Following installation, various high-speed cameras and lenses were protected against the elements only by a
Did the shuttle separate correctly
small enclosure (source: PCO)
from the launch platform? Did all the
engines ignite? Did the heat shield
remain intact? NASA depends on this
with a very high resolution – and
shuttle launch produces incredible
information to perform its subse-
lenses that are just as good.
vibrations,” explains Gerhard Holst,
quent launch analysis, a process that
PCO’s head of research, “plus you
could enable it to determine why
What about the weather
have to deal with high humidity and
a part became detached from the
A third key quality feature is the
significant temperature variations, be-
shuttle during launch or even prevent
workmanship of cameras and lenses.
cause it gets a lot colder in Florida at
a potential catastrophe in space. Pick-
NASA’s requirements far exceed
night.” Once the cameras have been
ing out that level of detail from such
anything that photographic equip-
set up and focused, they are simply
a large distance requires cameras
ment generally encounters. “The
left outside – protected from the
weather by nothing more than a mini
roof – because access is subsequently
prohibited for safety and security
reasons. The fact that NASA had
to repeatedly postpone the launch
meant that the equipment was exposed to adverse weather conditions
for more than a week – an indication
of just how robust the systems need
to be. “A standard lens wouldn’t even
survive the vibrations triggered by the
launch,” says Holst. So PCO chose
the Makro-Planar T* 2/100 ZF from
Carl Zeiss, a very fast lens that offers
equally impressive resolution.
Test installation with a pco.dimax and ZEISS Makro-Planar T* 2/100 ZF in Florida (source: PCO)
Camera Lens News Nr. 38
Carl Zeiss
December 2010
Page 10
The test results were impressive, with
arena. After all, the high-speed cam-
the shots taken by PCO showing
eras from PCO and the lenses from
details such as thin cables that are
Carl Zeiss have demonstrated that
not visible on images taken by the
they are more than capable of stand-
other systems. “Even the folks at
ing up to the challenges of a space
NASA were impressed with that,”
shuttle launch regardless of the envi-
laughs Holst. It is still unclear if NASA
ronment – darkest night or incredible
will soon actually switch over to
light, rain or wind, near or far.
digital photography. The future of the
American shuttle has not been written – NASA intends to discontinue
the program. However, the results of
the test could also be of great interest
for the shuttle’s planned successor,
The ZEISS Makro-Planar T* 2/100 ZF has an
the Orion spacecraft, as well as for
excellent track record
other applications in the aerospace
Camera Lens News Nr. 38
Carl Zeiss
December 2010
Page 11
The right lens for each situation
Carl Zeiss camera lens types
Distagon, Planar, Tessar… Carl Zeiss lenses have been known by these names for decades. But what actually lies behind these long-familiar names? What distinguishes the different lens types and what were they
originally designed for?
Planar:
an exceptionally flat image plane
The Planar was one of the first lenses
developed by Carl Zeiss. Launched in
1896, this symmetrical lens was the
first to achieve almost perfect image
flatness, correcting both spherical and
chromatic aberrations as well as astigmatism. As the name suggests, the
Planar was designed to have minimal
field curvature. Nowadays, the Planar
Special versions are available for
world – for NASA, enabling photos
comes in a wide range of different
industrial applications. For example,
to be taken of the dark side of the
models with focal lengths of between
Carl Zeiss designed the Planar
Moon for the very first time.
50 and 100 millimeters.
1:0,7/50 – the fastest lens in the
Distagon:
the distance between the groups
broadening your horizons
within the lens in order to provide
The lenses sold under the Distagon
excellent field flattening even at close
moniker are retrofocus lenses, in
focusing distances. Thanks to their
other words non-symmetrical, wide-
minimal distortion, Distagon lenses
angle lenses in which the distance
are the perfect choice for advertising
between the rear element and the
and architectural photography. They
film plane is significantly greater than
are available in a range of models,
the focal length. Distagon lenses use
for example as wide-angle and super
floating elements, a type of lens con-
wide-angle lenses with focal lengths
struction that automatically adjusts
of between 18 and 35 millimeters.
Camera Lens News Nr. 38
Carl Zeiss
December 2010
Page 12
Tessar:
and perfectly suited to applications
the eagle eye of your camera
where size and weight are critical
IIn 1902, Carl Zeiss developed what
– for example in Nokia cell phones
would arguably become the most
such as the Nokia N8 smart phone,
famous lens in the history of photog-
which uses Tessar lenses to obtain
raphy – the Tessar. Since then, more
maximum image quality in a remark-
than 100 million units have been sold
ably small package. Rangefinder
and the Tessar has inspired countless
cameras can tap into the benefits of
imitations. Offering unprecedented
the Tele-Tessar T* 4/85 ZM, a slim and
levels of brilliance when it was first
extremely compact tele lens that fits
launched, its crisp image definition
easily into almost any jacket pocket,
continues to impress today. By design,
making it the perfect companion for
Tessar lenses are highly compact
portrait and landscape photography.
Sonnar: bringing light and con-
were invented – and this made them
trast into 35mm photography
into the first viable fast lenses. Now
Carl Zeiss developed the Sonnar
that this baton has been passed on to
range of lenses in 1930 for 35mm
the Planar, the Sonnar has begun to
photography. The name comes from
flex its muscles in other areas. Models
the German word for sun, and it was
from this range nowadays form the
the bright aperture and high contrast
basis for compact high-performance
echoed in that name which quickly
lenses such as the C Sonnar T* 1,5/50
caught people’s attention when these
ZM, the Sonnar T* 2/85 ZM and the
lenses were launched. Sonnar lenses
Vario-Sonnar T* DT 3,5-4,5/16-80 ZA
have very few air/glass surfaces de-
for Sony DSLRs. Photographers ben-
spite their wide aperture – something
efit from the Sonnar lenses’ superb
that was of the utmost importance in
aberration correction and uniform
the days before anti-reflective coatings
illumination of the image field.
Camera Lens News Nr. 38
Carl Zeiss
December 2010
Page 13
able tool for documentary work. Their
abilities have even been put to the
test in space. On July 20, 1969, Neil
Armstrong took the first pictures of
the Moon using a Hasselblad EDC and
a Carl Zeiss Biogon, and this lens type
also proved to be a reliable companion for astronauts on subsequent
Apollo missions.
Biogon: truly out of this world
Biogon is a range of super wideangle lenses which were designed
Would you like to learn more
to capture as much of the photogra-
about our different types of
pher’s surroundings as possible in a
lenses?
single shot. Their almost completely
Next year we will be running a
symmetrical and highly compact lens
series of technical articles examin-
construction enables Biogon lenses
ing in much greater depth how
to produce a 90 degree field angle.
ur lenses are designed, how they
Thanks to very low distortion, excel-
work and what features they offer.
lent field flatness and superb resolving
power, Biogon lenses are an unbeat-
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: [email protected]
Internet: www.zeiss.de/photo
Camera Lens News Nr. 38
Carl Zeiss
December 2010
Page 14
Size Matters with Bryan Adams in the
Carl Zeiss Calendar
He’s not just a famous rock
Michael J. Fox, who measures 1.62
Head of Corporate Communications
singer and songwriter, but also
meters. Bryan Adams put the two
at Carl Zeiss. “The title ‘Size and the
a talented photographer: Bryan
world-famous stars in the spotlight
City’ should not be understood as a
Adams took fascinating shots of
as an imaginary romantic couple.
motto. It combines the subject of size
model Tatjana Patitz and actor
Whether they are eating a meal,
with scenes from big city life. And, of
Michael J. Fox in New York for
shopping or just out for a walk, the
course, it is a play on the title of then
the 2011 Carl Zeiss Calendar. In
goal is always to contrast big and
famous TV series.”
lavish images, all captured in
small, and far and near. Patitz takes
Manhattan, the calendar titled
a leisurely walk with a pug, for ex-
A guy who focuses on the es-
“Size and the City” has big and
ample, while Fox is being dragged off
sentials
small as its subject.
his feet by a Great Dane.
Bryan Adams, who has had No.1 hits
in more than 30 countries, has made
The couple shown could not be any
“Photographing a couple of very
a name for himself as a photographer
different – especially as far as their
different sizes was Byran Adam’s
and has received numerous inter-
size is concerned: top model Tatjana
idea. He also wanted New York as
national awards for his work. Jörg
Patitz with her 1.80 meters and actor
the location,” says Jörg Nitschke,
Nitschke, who was present during the
Camera Lens News Nr. 38
Carl Zeiss
December 2010
Page 15
two-day photo shoot in New York,
The calendar has been published in
in our media contacts,” Nitschke says
describes Adams’ approach as very
a limited edition for customers and
with obvious delight and admits that
focused: “He is highly concentrated
friends of Carl Zeiss and is not avail-
it will be no easy project to follow
and in no way sees this part of his
able for purchase. “We do not wish to
next year. “Our plans for 2012 are
artistic work as a hobby or as a means
do business with the calendar. It is part
already underway. I am really excited
of relaxation between gigs. He is not
of our understanding of originality and
about what we come up with next
the type of guy that wants a lot of
an indication of how greatly we value
time.”
complicated, high-tech equipment,
our friends and partners. We want to
but starts by getting a feel for the
offer them something special, and that
location and the players and then im-
is precisely what the photos are.”
mediately begins implementing.” The
Win a 2011 Carl Zeiss
Calendar!
shots were in the can after just two
On 12 October 2010, ZEISS pre-
We are organizing a drawing for
days. For Nitschke, the photos exude
sented the photos of the calendar to
three of the limited edition cal-
a sense of liberal and casual generos-
a selected, international public during
endars. Send us an email marked
ity and combine a zest for life with
a private viewing in the House of
“Win a Calendar” to photo@zeiss.
a tinge of inner reflection. They are
Photography in Hamburg, Germany.
de before 14 January 2010. The
a plea for love – also in the face of
The response in the international
winners will then be selected in a
seemingly insurmountable contrasts
press was sensational. “In October we
drawing.
and contradictions.
already surpassed the 90 million mark