Contents Along the Horizon ������������������ 2
Night Colors ............................ 12
Getting the Right Balance for the Perfect Image .................. 5
A Broad Perspective ................. 14
Sublime Views
Landscape
at Breakneck Speede . ................. 8
Photography Exhibitions . ......... 14
A newsletter for anyone who enjoys using, writing about, buying and selling Carl Zeiss camera lenses.
Carl Zeiss Camera Lens Division
Camera Lens News
36
July 2010
Camera Lens News No. 36 Carl Zeiss
July 2010
Page 2
Along the Horizon Panoramic photography casts familiar subjects in a new light
Time-lapse panorama: Dubai’s skyline in a fixed location from sunrise to sunset (digitally blended together)
Panoramic photographers cre-
360 degree panoramas show the
“My goal is to capture interesting
ate extraordinary images by
seemingly impossible by presenting
details with a tremendous degree of
overcoming the limits of the
the views to the left, front, right and
sharpness,” states Josh von Staudach.
field of view imposed by the
rear in a single continuous image.
“Things like rusty rivets in a disused
camera. Josh von Staudach
The location is revealed to the
water tank, rails and planks scattered
from Stuttgart, Germany, has
observer from a previously unseen
around an abandoned railway yard,
perfected the art of 360 degree
perspective. Panoramic images can
or fallen branches in a forest deci-
photography. In this article he
sometimes appear confusing because
mated by storms.” The details merge
recounts his experiences with
they depict something real in an
into the picture to create an overall
the Distagon T* 3,5/18 ZE and
unreal way, but they simultane-
geometry that exudes harmony and
Distagon T* 2,8/21 ZE and gives
ously provoke enormous pleasure by
dramatic tension in equal measure.
some useful tips on how to get
providing a new take on something
started.
familiar.
360 degree panorama: A forest clearing damaged by a storm provides a perfectly composed image.
Camera Lens News No. 36 Carl Zeiss
July 2010
Page 3
Telephoto panorama: Mountain slope in Iceland at an astonishing level of detail – similar to a view through binoculars but much broader.
The basic equipment you need is
top and bottom of the picture in the
sometimes you cannot actually get
a tripod with a panorama bracket
frame as possible. After each shot,
to the center because it is occupied
that enables you to rotate your
the photographer rotates the camera
by a pillar or stairway, in which case
camera around what is known as
a little further around the nodal
it generally loses its appeal,” von
the ‘nodal point’. To eliminate image
point. Experts recommend that each
Staudach adds.
mismatches, generally referred to
shot overlaps with the previous shot
as ‘parallax errors’, it is necessary
by between 10 and 20 percent. On
To get optimum depth of field, the
to find the specific nodal point for
that basis, a 360 degree panorama
Stuttgart-based photographer works
the camera and focal length you
with a focal length of 20 mm would
with an aperture of between f6 and
are using in order to ensure that
require eight shots, for example.
f9. Focusing poses no problems
the camera rotates precisely around
assuming that all the objects are
that point. This ensures that vertical
A software program is then used
approximately the same distance
objects such as a street light and
to ‘stitch’ the images together into
away; if any objects do appear in
the corner of a house do not shift in
a panorama. There are numerous
the foreground then von Staudach
relation to each other as the camera
professional packages on the market,
adjusts the focus accordingly for
turns – an essential prerequisite for
but Josh von Staudach uses Pan-
those particular shots. He has no
ensuring that the shots you take can
orama Factory because it allows him
interest in deliberately using blur as
be smoothly stitched together in the
to specify the exact settings he wants
a stylistic device: “I need to see every
subsequent editing process. “Before
for aspects such as focal length.
detail of the images I create.”
little test set-up in my studio,” von
Choosing a subject and a good place
He recently used his Canon 5D MKII
Staudach explains. “I place a CD
to position your tripod ultimately
and the ZEISS Distagon T* 3,5/18 ZE
about five centimeters in front of
comes down to experience. “I look
and Distagon T* 2,8/21 ZE lenses
the tripod in the middle of the frame
for symmetry and try to locate the
to take some pictures in a forest
and tinker with the camera’s position
very center of the subject,” explains
near Stuttgart. “The 21 mm is a
until the edge of the CD no longer
von Staudach, who has devoted
fantastic lens that provides superb
shifts against the window frame or
himself to conceptual series of
performance right out to the corners
some other vertical object in the
industrial subjects such as turntables
without any gradient or loss of
room – then I know I have found the
and engine sheds. “I love the process
sharpness. It is easy to use and offers
nodal point.”
of finding circular locations to
high-precision focusing. Although the
photograph. I end up climbing
18 mm lens features slight blurring in
The camera is placed on the tripod in
construction cranes and towers and
the corners, it is actually my favorite
portrait format to get as much of the
lowering myself into boiler tanks! But
because the lower focal length
I go on a shoot I put together a
Camera Lens News No. 36 Carl Zeiss
July 2010
Page 4
Blurred panorama: Triptych taken near Zingst on the Baltic Sea, with the colors of nature mixing together on the digital sensor.
Façade panorama: Berlin Hauptbahnhof – perspectives, angles of view and sharp focus that surpass single-shot photography.
enables me to fit more in the frame.
in’ the slope over a distance of
It copes brilliantly with backlighting:
several hundred meters while staying
Find out more about
instead of lens flare you just get a
in the same position. Obviously the
Josh von Staudach:
delicate glowing effect around lights.
focus has to be adjusted for each
http://www.stuttgart360.de/
The blurring issue does not make any
shot, but you end up perceiving
http://www.joshvonstaudach.de/
difference to me because the edge
connections and structures that you
regions fall by the wayside in the
would otherwise never have seen.”
stitching process anyhow. von Staudach also sometimes In addition to classic 360 degree
employs the polar opposite technique
panoramas, von Staudach also works
of actually moving the camera
with specialist techniques such as
horizontally while taking the shot.
macro panoramas, which involve
“Rapidly rotating the camera allows
photographing a surface centimeter
me to capture a broad swathe of the
by centimeter. He has also used the
surroundings within a single image.
telephoto panorama technique to
By blurring together colors and
shoot mountain slopes in Iceland:
shapes I can create paintings using
“I basically used the camera to ‘scan
the color palette provided by nature.
Camera Lens News No. 36 Carl Zeiss
July 2010
Page 5
Getting the Right Balance for the Perfect Image Whether you are taking extraordinary aerial photographs, atmospheric panoramic shots or captivating images of the polar lights, you can rest assured that Carl Zeiss lenses will deliver consistently superb quality and outstanding results even under challenging conditions. Christian Beder, an optical designer at Carl Zeiss, explains what makes the lenses so special. What is the biggest challenge in producing lenses?
Modern CAD programs support the work of design engineers.
It all comes down to finding the perfect balance. In optical design, we dictate how the optical system
offer the best possible combination of
parameters, it also requires the ability
is constructed, specifying everything
image quality, price, size and weight.
to handle those parameters creatively.
from the number, size and form of
Optical design at Carl Zeiss is based
the optical elements to the air spaces
What are the key factors you
on 120 years of in-house experience,
and coating. To do this, we have to
have to take into account?
but it also draws on tremendous
take numerous issues into account,
The ultimate goal is that the lens
sensitivity and the creative urge to tap
not only image quality aspects such as
should produce outstanding pictures:
into new possibilities.
sharp focus and freedom from distor-
razor-sharp, distortion-free images
tion, but also mechanical limitations
– without any chromatic aberrations –
What would it be like if you
and budget constraints. Generally
that stay crisp and bright right to the
could work without any of these
speaking, you cannot simultaneously
edges. Not only does that require
constraints?
satisfy every single requirement. If the
in-depth knowledge of the technical
Then there would be very little artistry
main emphasis is on price, then it is,
involved in developing the perfect
of course, possible to manufacture
lens. It would be about one meter
an economical lens – for example
long with a diameter of 50 centime-
by reducing the number of optical
ters and would cost millions, but it
elements – but then you have to
would be as perfect as the laws of
be willing to accept inferior image
physics allow!
quality, which is not something we are prepared to do. But if you focus
Wide-angle lenses pose a
solely on imaging performance, then
particular challenge to optical
the costs quickly get out of hand.
designers. Why is that?
We endeavor to strike just the right
Well, their wider angle of view means
balance to ensure that our lenses
that they show a large portion of the
Camera Lens News No. 36 Carl Zeiss
July 2010
Page 6
subject. In this situation it is quite a
and horizontal lines of the image to
which means they need to be placed
challenge to produce a consistently
appear at varying levels of quality.
a long way from the aperture –
good image of the entire field of view.
generally at the front, which is where
There are three field-dependent image
There are different types and forms
they can effectively counteract this
errors that are particularly significant
of optical elements that can be used
problem. That is why so many wide-
in this context: distortion, field
to correct these aberrations. The most
angle lenses have a tapering shape
curvature and astigmatism, a form
important aspect is ensuring that the
that makes them bigger and heavier
of aberration that causes the vertical
lens elements are correctly positioned,
at the front.
“Ghosting� can mar the effect of a photograph.
Camera Lens News No. 36 Carl Zeiss
July 2010
Page 7
simultaneously incur more costs in
What are the latest trends
production. We set some of our toler-
in optical design?
ances as low as just a few hundred
Reducing chromatic aberrations is
nanometers.
becoming increasingly significant. Digitalization means that anyone can
What is the greatest achieve-
now view their images in unprece-
ment ever in the field of optical
dented sizes. Nowadays we look at an
design?
image on the screen that corresponds
I would have to say the development
to a picture measuring 2x3 meters
of the anti-reflective coating, which
from a distance of 30 centimeters,
Carl Zeiss subsequently developed
which in some ways provides an
into the multi-layer coating T*. This
absurd, unnaturally enlarged view.
coating is applied in a vacuum by
It enables users to detect chromatic
Thorough checks and validation ensure that
means of vapor deposition and
aberrations on an individual pixel
every single product meets the stipulated quality
serves to reduce the amount of
level that they would never have seen
light reflected from the surface of
before. So our job now is to correct
the lens, so it essentially improves
these aberrations by using more and
Why is it that ZEISS lenses tend
light transmission and suppresses
more lens elements and increasingly
to be more expensive than lenses
unwanted reflections. It is only thanks
specialist and more sophisticated
made by other manufacturers?
to this invention that we can now
types of glass. So digitalization is also
That stems from two factors that
make optical systems with more than
having an effect on lenses!
lie behind the high quality of the
five or six lens elements – without
lenses, namely low tolerances and
this coating far too much light would
an almost pedantic obsession with
be lost through reflections. Some of
quality control. On its journey from
the zoom lenses Carl Zeiss currently
the raw material phase to the finished
makes for cinematography applica-
product, each lens passes through
tions have more than 25 optical
more than 50 quality control stages.
elements. The more elements an
standards.
optical system has, the better the None of our lenses can leave the
image quality – but only if we are able
production hall unless they have been
to adequately reduce the amount of
thoroughly tested, and the same
reflection, which is precisely where
applies to components manufactured
the T* coating has played such an
by our partners. And, on top of that,
essential role. This does not apply
we demand extraordinary precision
in a completely linear fashion of
in the manufacture and assembly of
course – doubling the number of lens
our lens elements. The surface of a
elements does not necessarily lead
lens element is never entirely flat; the
to a doubling of image quality – but
way it is constructed means that it will
there is certainly a clear correlation.
inevitably feature certain irregularities.
It works because the individual lenses
Anti-reflection coatings are applied to the surface
By having lower tolerances for this
are able to cancel out each other’s
of the lens using vapor deposition to suppress
surface unevenness we improve
optical aberrations.
the image quality of the lens but
reflections.
Camera Lens News No. 36 Carl Zeiss
July 2010
Page 8
Sublime Views at Breakneck Speed Aerial photographs pose particular challenges to photographers and their equipment
Carl Zeiss Planar T* 1,4/50
Algimantas Deikus and Vidas
The remarkable thing about Deikus
CLN: Vidas, what is the differ-
Kaupelis are photographers from
and Kaupelis is that they are both
ence between aerial photogra-
Lithuania who specialize in aerial
highly experienced pilots and pho-
phy and other forms of photog-
photography. These two fre-
tographers. This makes for a perfect
raphy? What technical challenges
quent fliers pursue the ambitious
combination: As photographers
does it pose in terms of the
goal of capturing superlatively
they understand that the speed of
equipment you need?
atmospheric images of nature.
an airplane requires rapid decision-
VK: The most difficult part of aerial
making and special equipment, while
photography is getting your shot in
their skill as pilots is intricately linked
focus. We take photographs from a
to their ability to see landscapes with
fast-moving, low-flying airplane, and
a photographic eye. We chatted to Vi-
if your subject is still partially hidden
das Kaupelis about aerial photography
by morning mist then it can be very
and his experiences with ZEISS lenses.
tricky indeed to get the perfect shot.
Camera Lens News No. 36 Carl Zeiss
July 2010
Page 9
Carl Zeiss Planar T* 1,4/85
In such rapidly changing conditions,
which means you can simply set the
the solution is fairly simple: you just
it is often impossible to get the results
focus ring to infinity and start snap-
position your tripod where you want it
we want using autofocus lenses,
ping away without worrying about
and select a slow shutter speed. But in
which rely on contrast detection
focusing. The irony is that – however
an airplane you are racing above your
algorithms to focus.
much we all love high-tech solu-
subject at 300 km/h, and you can only
tions – omitting certain technologies
compensate for the extreme vibrations
CLN: So how did you get around
can occasionally be more of a benefit
by using shutter speeds of around
that problem?
than a hindrance!
1/1000.
solutions before we realized that
CLN: How do you deal with
CLN: So do you use special
manual focusing is the key to a suc-
exposure issues?
equipment?
cessful shot, because if you are taking
VK: In order to emphasize the charac-
VK: In weak light, we depend on
landscape shots at focal lengths
teristics of the terrain we are photo-
lenses that offer outstanding image
below 85-100 mm, the subject almost
graphing, we work at specific times of
quality at wide aperture settings. If
always lies beyond the infinity focus
day, basically just before sunrise or just
we are taking shots directly towards
point. Unfortunately, most autofocus
before sunset. That’s when the light
the Sun, we can only use lenses that
lenses are not suitable for manual
is at its most dramatic. But weak light
are designed not to produce flare,
focus operation. But Zeiss lenses
falling obliquely on a subject is one of
and the optical elements need to
have been designed to offer simple,
the greatest challenges the technol-
have a high-quality coating. Carl Zeiss
high-precision manual focusing,
ogy has to tackle. On the ground
lenses have proved to be a superb
We tried out a number of different
Camera Lens News No. 36 Carl Zeiss
Carl Zeiss Distagon T* 2/35
Carl Zeiss Distagon T* 2/28
July 2010
Page 10
Camera Lens News No. 36 Carl Zeiss
July 2010
Page 11
Carl Zeiss Planar T* 1,4/50
choice in terms of both those criteria. Lens flare is minimal and the image quality at wide aperture is visibly better than that of similar lenses from other manufacturers that we have tried out.
Algimantas Deikus and Vidas Kaupelis embarked on their career in aerial photography in 2006. They are both
Algimantas Deikus
Vidas Kaupelis
highly experienced pilots who have
is a professional pilot and photog-
is a computer scientist and project
racked up thousands of hours in the
raphy enthusiast. He lives in Vilnius,
manager who has a keen interest in
pilot’s seat, and every flight marks
Lithuania.
flying and photography. He also lives in Vilnius, Lithuania.
another step on their journey to find unusual aerial views. 2009 saw the first public exhibition of their work in
You can see more photographs
Lithuania.
and find out more about the duo at www.FlyFoto.lt
Camera Lens News No. 36 Carl Zeiss
July 2010
Page 12
Night Colors On the trail of the aurora phenomenon Auroras, also known as polar lights, are an extraordinary natural spectacle that present a major challenge to photographers, requiring good planning and a healthy dose of luck as well as the right equipment. The photographer Thilo Bubek from Tomasjord, Norway, has been involved in aurora photography for many years, producing fascinating images of the night sky with a ZEISS Distagon T* 2,8/21. Vivid colors and shapes flitting across the sky like gigantic creatures: Eyewitness accounts from more than 2,000 years ago reveal how a number of different cultures – especially in North America, Europe and Asia – interpreted these phenomena as signs from the gods, malign spirits or heavenly messages. Even today, this spectacular nocturnal light display continues to inspire interest and fascination. Scientists long ago discovered that auroras are caused by electrically charged particles that continuously flow outward from the Sun. Known as the solar wind, these particles are trapped by the Earth’s magnetic field and drawn into the atmosphere
and red. Auroras are known as the
This particular light show is only vis-
at high latitudes. At a height of
northern or southern polar lights
ible in the dark. Photographers need
between 100 and 200 kilometers,
because they primarily occur in polar
a tripod and very fast lenses since the
some of these particles collide with
regions such as northern Scandi-
delicate structure of the polar lights
oxygen and nitrogen atoms, causing
navia, Iceland, Greenland, Canada,
only remains visible when exposure
them to emit light. The color of light
Alaska, and Siberia, as well as in the
times are kept extremely short.
ranges from green to blue-violet
Antarctic.
(The other stumbling block of longer
Camera Lens News No. 36 Carl Zeiss
July 2010
Page 13
exposure times is that stars appear as
suited to nighttime photography than
infinity saves me time and avoids the
lines due to the rotation of the Earth.)
a camera with a comparatively small
kind of focusing errors that crop up
“The level of quality you get with
DX sensor. “But that only holds true if
every now and then when you are
digital images of the polar lights is far
you can get hold of wide-angle lenses
using autofocus lenses, however much
superior to what you could get using
for the large full-frame sensor that
care you take.”
old-fashioned film,” enthuses Thilo
offer superior image quality even at a
Bubek. One of the aspects he likes
low aperture,” Bubek cautions.
best about digital technology is the
The polar light expert also emphasizes how important it is to frame the
fact that he can check the exposure
Bubek tested the new ZEISS Distagon T*
auroras as part of an ensemble with
right after taking a shot by simply
2,8/21 ZF with his Nikon D3 and D700.
the landscape: “I seek out attractive
viewing the RGB histogram.
“In terms of optical performance, I
backgrounds such as mountains, the
would say from my experience that
ocean and fjords. I am particularly
Bubek is flexible when it comes to the
the ZEISS is roughly on a par with the
interested in tracking down unspoiled
choice of camera: “I have worked with
standard-setting lens in the wide-angle
scenes that are not marred by artificial
a whole range of different cameras
arena, the Nikon 14-24mm/2.8,“
light.” Just some of the techniques
over the last seven years, mostly with
Bubek reports. But the manual
that have enabled this photographer
the professional Nikon bodies from
focusing of the ZEISS lens proved to
to capture such timeless landscapes
the D1, D2 and D3 series, though oc-
be a major advantage in practical use.
infused with almost unearthly magic.
casionally also with the Fuji S2Pro and
“The importance of manual focusing
S3Pro bodies and an EOS 5D.” The
cannot be underestimated, because
Find out more about
choice of sensor, however, is a much
the camera’s autofocus function does
Thilo Bubek:
more significant factor: A camera with
not perform reliably in the dark. Being
http://www.bubek-fotodesign.com
a large, full-frame sensor is better
able to manually focus my lens to
Camera Lens News No. 36 Carl Zeiss
July 2010
Page 14
A Broad Perspective The new ZEISS Distagon T* 2,8/25 ZF.2 wide-angle lens with electronic interface The Distagon T* 2,8/25 is now
crevices forming patterns and forma-
available in the ZF.2 version for
tions that extend to the horizon. The
digital SLR cameras with an F
Distagon T* 2,8/25 from Carl Zeiss can
bayonet. One of the most excit-
help you create these kinds of unusual
ing features of the lenses from
images – and not only in the realm of
the ZF.2 series is that they sup-
nature photography.
port all the key modes such as shutter priority, aperture priority
Thanks to its electronic interface
and program mode.
(CPU), the ZF.2 range of lenses supports all the essential modes such
Wide-angle lenses open up a scene
as shutter priority, aperture priority
by providing maximum depth of field:
and program mode as well as manual
Think of a dragonfly landing on a
mode, even with non-AI camera
water lily with dozens of blossoms
bodies. This makes a ZF.2 lens easy
behind its iridescent body all in crisp
to use even under the most hectic
perspective, or rocks, moss and
conditions.
Landscape Photography Exhibitions July events Berlin: Wagner + Partner Gallery
Munich: Jordanow Gallery
Open Landscape
Chiffreschrift Landschaft
Peter Dreher, Friederike Jokisch, Josef
(Landscape Cipher Codes)
Schulz, Thomas Wrede
Group exhibition
21.05. – 31.07.10
07.05.10 – 21.08.10
http://galerie-wagner-partner.com/
http://www.galerie-jordanow.de/
exhibitions/current
chiffreschrift.html
Hamburg: Flo Peters Gallery
Cologne: Karsten Greve Gallery
Woodlands and Beyond
Water & Rocks
Mat Hennek
Lynn Davis
02.07.10 – 28.08.10
07.05.10 – 31.07.10
http://www.flopetersgallery.com/
http://www.artnet.com/kgreve.html
http://www.mat-hennek.com/
http://lynndavisphotography.com/
flash_hennek.html
waterrocks.htm
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