Contents New Perspectives in an Old Port
Strong Portraits in 2
Carl Zeiss SLR Objective Lenses: The Lenses for Digital Video and Photography
4
Photography in Space
8
Near Darkness
10
What is distortion?
12
A newsletter for anyone who enjoys using, writing about, buying and selling Carl Zeiss camera lenses.
Carl Zeiss Camera Lens Division
Camera Lens News
31 33
October 2009
Camera Lens News No 33 Carl Zeiss
October 2009
Page 2
New Perspectives in an Old Port Christian Merten works with striking perspectives and offbeat subjects. The Hamburg-based photographer, who specializes in fashion, cosmetics and portrait shots, tested the Carl Zeiss Distagon T* 3,5/18 ZE for Canon on a cloudy day in the Port of Hamburg. CLN: You recently put the new Distagon lens through its paces. What were your impressions? Christian Merten: This super wideangle lens opens up a new dimension and hugely expands your photographic perspective – and I mean that both literally and figuratively! This is a lens that allows you to give free rein to your creativity on a wider scale, making exquisite little moments look really quite remarkable. CLN: What subjects and backdrops did you choose for the test? Christian Merten: I am typically a photographer who specializes in fashion and beauty shoots, so I was keen to focus on this theme for the Distagon test, too. That‘s why I decided to get in touch with the fashion designer Birte Weiner, so that
present clothes like that than the Port
CLN: What were you expecting
we could put together some ideas
of Hamburg! Solid bridges, rustic-style
from the lens?
on how to showcase her collection
backdrops, sweeping views...
in a novel and interesting way. She is
Christian Merten: ZEISS lens are
a student at the Academy of Fashion
renowned for their top-notch
and Design in Hamburg, and the
precision. So my expectations were
clothes she designs cry out for airy,
correspondingly high for my outing
spacious settings. Where better to
with the new Distagon T* 3,5/18 ZE.
Camera Lens News No 33 Carl Zeiss
October 2009
CLN: So how did the lens perform in the Port of Hamburg tests? Christian Merten: The lens totally fulfilled my expectations with regard to lens speed, sharpness and color rendition. It helped us to achieve top quality results that did justice to our original ideas. It lets you tinker with sharp focus and blur, and the lens copes brilliantly with backlighting. Colors are superbly rendered in natural tones. What a difference in quality compared to the results produced by other lenses! I am genuinely impressed; the Distagon T* 3,5/18 ZE has really been quite a revelation. And it’s great to be one of the first people to have tried out the very latest ZEISS lens!
Following the Distagon T* 3,5/18 ZE, Carl Zeiss now presents the second super wide angle lens with an EF bayonet: the Distagon T* 2,8/21 ZE is ideal for architecture photography and landscapes.
Page 3
Camera Lens News No 33 Carl Zeiss
October 2009
Page 4
Carl Zeiss SLR Objective Lenses: The Lenses for Digital Video and Photography The briefly flashing eyes of
Video or film look?
P&S-Technik (Germany) and later
the hero, the crumbling asphalt
The unmistakable look of moving
included in the products of Redrock
of the urban street canyon in
pictures is the result of tiny details:
(USA) and SG-Pro (England). The
which he he‘ll soon vanish, the
for example, the color fidelity that
digital video camera captures a
unknown being gradually appea-
is particularly evident in the hues of
35 mm intermediate image that is
ring in the foreground. Narration
skin color, the specific aesthetics of
reproduced on a rotating ground
through pictures is always a mat-
movements captured at 24 frames
glass screen by a high-speed camera
ter of the technique used. Details
per second as compared to the
lens. Particularly popular in this
and effects, such as the look of
frames of TV, and the lower depth
context are the purely manually-
the film or the follow focus cap-
of field which makes the cinematic
operated Canon-FD lenses and the
tivate the audience and pull the
presentation of objects possible.
manual Nikon lenses of the past.
Amazing effects can be realized
The low depth of field is a particularly
The moving picture thus attains a soft
in films and photography using
attractive design tool, but at the same
aesthetic appearance, a grainy look –
the SLR objective lenses made
time a true challenge of digital cine-
a smooth, non-digital overall image
by Carl Zeiss if you capitalize on
matography. When the surroundings
with no hard edges. The grain of the
their special features and follow
are imaged out of focus, the view of
ground-glass screen introduces blur
one or two tips.
the observer is automatically directed
as a result of the motion blur of the
to a point of interest which the came-
screen. In this context, the rotating
raman can deliberately extract from
speed and the type of surface must
the surroundings.
be selected carefully to ensure that
observer right into the action.
the image does not appear mushy or
Thoralf Abgarjan produces
For a long time, low depth of field
diffuse. Since the intermediate image
remained a domain of 35 mm film.
needs to be flipped – i.e. unreversed
This is due to the laws of physics as
and upright – another optical com-
the comparatively small sensors of
ponent, the flip module, is required.
digital video cameras (1/3 to 2/3 of
The back focus – i.e. focusing onto
an inch in size) do not allow for low
the imaging surface of the screen –
depth of field. Consequently, 35 mm
must be set and fixed with high
film allows a person in a room to be
precision by the filmmaker to ensure
set apart from the furnishings by the
that the images do not blurred.
deliberate use of low definition.
multimedia content for music and
This procedure also generates the
advertising: music composition
Depth of field via adapters:
desired depth of field in digital films.
and production for Expedia.de,
high effort, low-light
One crucial drawback is that the
Exquisa, Erdinger, ADAC, ÖAMTC,
transmission power
complex set-up leads to a loss of light
film projects for Koch-Universal,
One way of attaining targeted
intensity equivalent to up to three
Musik-Media-Verlag, YAMAHA,
blurring in digital films is the use
aperture stop settings. Considering
ADAC, ÖAMTC and many others.
of DOF adapters (DOF: depth of
that HD video cameras already have
field). The best known approach
difficulties in low light conditions,
to this issue was first provided by
this is a further shortcoming.
Camera Lens News No 33 Carl Zeiss
October 2009
Page 5
Depth of field without tricks:
excels through its superior low
the full-format sensor is key
light behavior. It is therefore self-
The Canon EOS-5D Mark II is the first
evident that only the fastest lenses,
camera to enable cinematographic
i.e. 1.4 - 1.2, should be used with
depth of field without additional loss
the unit because even the most
of light intensity, a feature that makes
sensitive sensor is useless if too little
it truly useful for professional film-
light passes through the lens.
making. The most interesting feature of the EOS-5D-Mark II to the video
Working in full HD, you need to have
photographer is optical imaging onto
razor-sharp images. Fixed focal length
a full-format sensor with the same
lenses produce much sharper images
geometric dimensions as 35 mm
than zoom lenses and tend to exhibit
analog film. The recording is in full
less distortion at the periphery. This
HD: progressive 1080p.
applies, in particular, to the Zeiss T*
Fig. 1: Canon EOS-5D-Mark II equipped with the Planar T* 1.4/50 ZE and Chrosziel Follow Focus
lenses. Moreover, fixed focal length The camera initially utilized some kind
lenses tend to exhibit substantially
of semiautomatic system which made
less „pumping“ than zoom lenses.
it quite difficult to manually set the
Pumping is observed when the geo-
aperture stop. This was impractical
metry of the object appears to change
for professional use, but this handi-
while focusing. However, only the
Fig. 2: Canon EOS-5D-Mark II used as a video-
cap was remedied with the release of
sharpness should shift while focus-
camera: ready-for-use Chrosziel rig equipped with
the eagerly awaited firmware update
sing, not the dimension of the image
1.1 in June 2009. Aperture stop, ISO
recorded.
the Planar T* 1.4/50 ZE, Chrosziel Follow Focus, Redrock Mattebox, and Marshall Field Monitor
sensitivity and exposure time can now be set independently of each other
Common and important
quality videography such as mea-
in the manual mode. For filmmaking,
fixed focus lengths:
su-ring fields and face recognition.
the camera features sensational
The most important fixed focal
Although lenses for SLR cameras
low light behavior. Even at night,
lengths are 50 mm (the normal lens),
can be switched to manual mode,
exposures can be taken without any
28 mm (wide-angle for landscapes
this is basically only a minor applica-
significant noise – provided you have
and indoors), and the 85 mm tele-
tion. They often run imprecisely, or
a high-speed lens. One drawback is
photo lens which excels in portrait
even with substantial play in the
that the camera only offers a fixed
photography and „over-shoulder
worst case, and the focal points that
frame rate of 30 fps, making users
images“ in which a person in the
are so important for videography
anticipate the next firmware update
foreground is deliberately kept out
are difficult to reproduce.
that will accommodate the frame
of focus.
rate of 25 fps in Europe.
Purely manual lenses such as the Autofocus or manual focus?
ZEISS lenses are designed for manual
Fixed focal length or zoom?
A film-maker uses selective focus
focal adjustment. They offer much
Dedicated objective lenses for
mainly for scene design purposes
better precision than manually opera-
video-photography
and therefore as a creative element
ted autofocus lenses.
Fixed focal length lenses have
of style. For this reason, camera
tremendous advantages over zoom
lenses are used in the manual mode
lenses – especially in digital video-
exclusively in videography even if
graphy. Their speed is at least twice
they feature autofocus. In addition,
as high: the Canon EOS 5D Mark II
all autofocus strategies fail in high
Camera Lens News No 33 Carl Zeiss
October 2009
Page 6
Why lenses from ZEISS are
optimal precision that vastly exceeds
particularly well-suited for
the precision of flexible universal
videography:
rings. Since the cameras are usually
•
Carl Zeiss lenses are characterized
sold with this zoom, it is very wide-
by their high speed and are designed
spread. However, it is not the optimal
solely for use as manually adjusted
choice for high quality videography.
lenses – ideal for videography.
Since I used to work with the DOF
•
They produce razor-sharp images
adapter quite a bit in the past, I
and enable selective focus. Their
Fig. 3: The Planar T* 1.4/50mm equipped with
became familiar with the advantages
maximum aperture of 1.4 is optimal
gear ring (Chrosziel) for the follow focus. The
of the Canon FD lenses for purely
as larger aperture stops such as 1.2 have such a small focusing range
reverse gear drive shown on the left is extremely important for intuitive operation.
that the overall image appears blurred.
manual focusing. It was therefore a great joy to me when purely manually focusing ZEISS lenses finally became
Limitation to 1.4 is therefore a
ND (neutral density, for situations
available for Canon cameras. For
realistic value.
with too much light, sunlight, snow,
my applications, it would also be
The lenses come with an excellent
etc.), polarizing filters (intensify sky,
ideal to have a manual aperture ring.
manual focus ring whose motion is
eliminate reflections) etc.
Currently, the aperture stop is con-
perfectly suited for follow-focus.
4. Monitor for focus assessment,
trolled electronically by the camera
preferably with „peaking“ display of
which is a slight drawback.
•
•
The lenses have a special look,
the images appear fresh and the
the focal point using other colors
bokeh effect (area of blur) appears
Chrosziel was kind enough to
very classy. The bokeh plays a parti-
Based on the technical data alone, it
custom-manufacture a gear ring for
cularly important role in the overall
is difficult to explain the differences
my 50 mm lens – I cannot imagine
impression of the image.
in pricing of the accessories which
better customer service. It has come
are substantial in some cases. It’s the
to my attention that Chrosziel is
Accessories for videographers
details that count: for example the
considering adding fixed gear rings
As soon as you start working with
direction of focus shift. The follow
to their product line for ZEISS lenses.
the new ZEISS lenses, you develop a
focus supplied by Munich-based
The crank on the follow focus is also
desire for selective focus adjustment.
Chrosziel has a reverse gear drive
very convenient and important to
The following accessories are helpful
which I find extremely important.
me: it makes it much easier for me to
and recommended for this:
The intuitive component offered by
overcome the limited range of angles
1. Rig, lifting the camera to the
a reverse gear drive should not be
that can be set with my left hand.
standardized level of the optical axis
underestimated. Intuitive means that
The monitor with peaking function
and facilitating the attachment of
you rotate forwards to move the
is indispensable as it allows me to
follow focus and matte box
focal point farther away. The preci-
assess the focus properly. Chrosziel
2. Follow focus: despite the precise
sion of the rig is evident from the
supplies the matching solution in an
motion of the focus ring, it is difficult
firm and fixed attachment of the
additional kit for this application as
to smoothly and precisely adjust
parts and by how easy they are to
well.
the focus using the lens ring. The
disassemble when needed without
follow focus should be as precisely
hurting your hands.
as possible. Only then can the capa-
Objective lenses for videography and photography
bilities of these sophisticated lenses
Until now, Chrosziel has supplied a
The strengths of the lens – such as
be fully utilized.
fixed gear ring for the standard zoom
high-speed, razor-sharp images, a
3. Matte box to eliminate stray light
of Canon. The fixed ring that is
noble look and beautiful background
and as a holder for filters such as
seated directly on the lens ensures
blur – can also be advantageous to
Camera Lens News No 33 Carl Zeiss
October 2009
Page 7
Fig. 4: Carl Zeiss SLR lenses are ideally suited for
Fig. 5: The crank on the follow focus is a necessity,
Fig. 6: The matte box accommodates the filters
precise follow focus.
especially for camera lenses.
and provides protection against stray light.
Fig. 7: The matte box must be sealed tightly on
Fig. 8: The fixed gear ring on the lens.
Fig. 9: Free-hand night exposure: made possible
the objective lens (here with neoprene) to prevent
only by the high speed of the Zeiss 50 mm lens.
uncontrollable reflections from forming on the surfaces of the filters.
normal photography. Photographers
determination or rough setting using
you can takes your time. Nothing
must be aware of the following:
the viewfinder are from the true focal
here is left to automatic controls!
Snapshots are not a strength of
point. While this permits perfectly
And this feature is the strength of
ZEISS lenses since focusing usually
focused images, it takes time. Having
these lenses. The photographer
takes more time than with auto-
a good monitor with a „peaking“
has everything under control and
focus lenses.
feature significantly simplifies focusing
has the opportunity and the means
in videography.
to produce very good pictures.
•
•
Planar-T* lenses are ideal for fully
designed images with high aesthetic appeal. •
The imaging performance is so
Conclusion In my experience, the new SLR lenses
good and the images so sharp that
from Carl Zeiss are first class and
checking via the measuring field
unparalleled in digital videography
of the camera does not provide
with the Canon EOS-5D-Mark II. As
sufficiently accurate feedback alt-
lenses for purely manual focussing,
hough it generally works. The manual
they are perfectly suited for this
assessment of focus via the view-
application. The brilliant look of the
finder is also problematic, but the
lenses, their crispness, and the stylish
„live view“ feature can help. It
bokeh are excellent additions for
magnifies the image in the display
photography unless you talking about
by a factor of 5 to 10 and you can
snapshots and not well-balanced,
see how far the measuring field
perfectly-designed pictures for which
Camera Lens News No 33 Carl Zeiss
October 2009
Page 8
Photography in Space “That‘s one small step for man, one
the position of extremely small, one-
three lenses from different manufac-
giant step for mankind“ – words
kilogram satellites. The camera will
turers. The Planar T* 1,4/85 ZF-I was
that would go down in history when
be integrated into nano-satellites
quickly identified as the best of the
Neil Armstrong became the first
where it will take pictures of the stars
three. In the industrial version of the
human to set foot on the moon in
during flight. A computer program
ZF lenses, the focus ring and aperture
1969. His baggage included a lens
will then compare the size, brightness
can be fixed with just five screws.
from Carl Zeiss. Deployed on a
and arrangement of the celestial
Furthermore, Carl Zeiss supplied the
Hasselblad camera, it captured what
bodies in the images with known
institutes with very detailed informa-
had never been seen before – the
stars listed in a NASA star catalog.
tion on the lens, which was vital
dusty surface of the moon, its barren
The program can determine precisely
for the successful modification. The
landscape pockmarked by numerous
where the satellite was when it took
first-class quality of the lenses, for
meteorites, the first footprints in
the picture. The new star camera
which Carl Zeiss is known the world
the Sea of Tranquility. NASA also
is based on an SDL camera model
over, also played a key role.
used cameras with Carl Zeiss optics
known for its particularly accurate
for later trips to the moon. Now, 40
target localization and extremely low
A lens has to take a lot of punishment
years later, the Space Dynamics
energy consumption. The prototype
in space. Mechanical forces during
Laboratory (SDL) at the University
will demonstrate its capabilities
launch, temperature fluctuations,
of Utah and the Washington Naval
during a test flight on the Interna-
pressure and the vacuum of space
research Laboratory (NRL) are once
tional Space Station.
demand the utmost. Like the moon
again preparing a ZEISS lens for
lens for Apollo 11, the Planar
space – albeit with a different
The costs and development time
T* 1,4/85 ZF-I was modified to survive
mission in mind.
for such a camera are enormous.
in these extreme conditions.
The scientists wanted to use existing The two institutes jointly developed
lenses and modify them for the
The researchers first took the lens
the prototype of a miniature star
current job in order to keep costs to
completely apart, and removed the
camera that will be used to determine
a minimum. They put to the test
grease, lubricants and cements. These substances, which normally ensure that the lenses remain in one piece and work properly, would contaminate the optics in space. The scientists then took precautions to maintain optimal pressure compensation. To do this, they aired out the spaces between the single lens elements and bored holes in the lens housing to enable air exchange. Finally, they removed the diaphragm that is not needed for the special mission of the camera. After all, every gram and every millimeter counts when it comes to adapting the camerato the size and weight
Scientists use existing ZEISS lenses and modify them to fit their needs.
limits of the nano-satellites.
Camera Lens News No 33 Carl Zeiss
October 2009
Page 9
The greatest challenge was properly reassembling the lens after the corrections. Excellent image quality requires each part of the lens to be perfectly aligned and matched to the other components. During production, Carl Zeiss therefore conducts extensive measurements and quality controls after each step to ensure the high quality. As a result, a ZEISS lens is once again making its way into space. It is uncertain if it will ever return to the earth – weight limits have
Additional holes are drilled to enable air exchange which enables optimal pressure compensation.
forced astronauts to leave many cameras and lenses behind over the past 40 years.
The finished camera module must deliver excellent image quality despite the modifications.
Camera Lens News No 33 Carl Zeiss
October 2009
Page 10
Strong Portraits in Near Darkness There’s just something about abadoned buildings. Where people used to live and work; where the machines have long been silent. Silence spreads like wildfire. The relics of the past are literally peeling, decaying, and covered in leaves and dust, but somehow still present. When I am out on the road, I am always on the lookout for old factory buildings, warehouses and deserted train stations. If I notice an interesting site, I immediately think of ways to take pictures. It often takes a bit of courage to climb in, get dirty and explore the old ruins. Every discovery is exciting: what is The first shoot was in an empty
I liked the strong, selective definition
structure near Stuttgart. The light
achieved with the lens. I was also
Because of my passion for dilapidated
was not good, however, the Planar
impressed by the astoundingly natural
buildings, I took my ZEISS Planar
T* 1,4/50 ZE certainly proved its
color rendition.
T* 1,4/50 ZE and Distagon T* 2,8/21 ZF
metal in the gloomy ambience. I
lenses with me into the abandoned
obtained high image quality even at
I then tested the Planar T* 1,4/50
buildings and tested how well
full aperture. When taking portraits,
for pictures in an old train station in
they capture the room and work to
I like to work with the contrast
Stuttgart. In portrait photography,
perfection with so little light.
created between focused and blurred
the objective is to embed the models
areas because it adds a very distinc-
in their environment, to come to
tive character to the picture.
terms with the lighting and to find
hiding behind the next door?
the right image composition. While taking pictures against this backdrop, I wanted the few light areas to lift the model out of the darkness. The lens did a very good job of capturing the contrasts, resulting in really breathtaking images. I was impressed. Finally, I used a Distagon T* 2,8/21 ZF in an old building near Berlin. I usually use 50 mm lenses for portraits because they make it possible to generate a feeling of closeness. However, if space is to be a key element of the composition, I need a wide-angle lens that captures the
Camera Lens News No 33 Carl Zeiss
October 2009
Page 11
dimensions. The super wide-angle enabled me to completely capture the large room and infuse the image with enormous depth. Despite the difficult lighting conditions, I was once again able to achieve fantastic image quality.
The fixed focal length of the ZEISS lenses turned out to be perfect for portraits. With manual focusing, you work more carefully and know precisely when you press the trigger.
As a result, you are more likely to
Delia Baum takes amazing
capture that special moment. There
portraits in the nooks and crannies
are certainly situations, such as glare,
of abandoned buildings. The
when manual focusing can be a bit
young photographer from
tricky. However, the precise setting
Leonberg, Germany, tested the
possibilities are a clear advantage
Planar T* 1,4/50 ZE and Distagon
when I want to specifically showcase
T* 2,8/ 21 ZF lenses with a Nikon
a subject. My models should not
D3 in her favorite environment.
have empty faces but appeal to and
At first she found working with a
engage the observer. People, com-
fixed focal length a bit unusual,
position, details, light and colors must
but soon became a fan. Delia
interact perfectly. When I succeed
Baum is 22 and is currently lear-
in showing character and vibrancy,
ning to be a photographer at the
the portrait is a success.
RenĂŠ Staud Studio in Leonberg.
Camera Lens News No 33 Carl Zeiss
October 2009
Page 12
What is distortion? The majority of camera lenses produce images in line with the laws of central perspective. This kind of projection of three-dimensional space onto a two-dimensional image surface is also called gnomonic projection. This Greek term (gnomon = gnomon = shadow-producing rod) denotes a type of sundial because, as with a sundial, an image point is produced by connecting a point in the object space to the center of the projection using a straight line; the image point is where this straight line intersects the flat projection surface.
is not the physical aperture stop, but
The center of projection of the image
rather its virtual image – and as such
is the tip of the rod used by DĂźrer‘s
may even be situated outside the lens
artist to draw attention to the charms
altogether. This is often the case with
of the young lady in this picture. The
short telescopic lenses.
projection surface is the frame fitted with a grid placed between the two
The gnomonic (central perspective)
and is used by the artist to transfer the
projection has a special feature where
image points onto his drawing paper
all straight lines of the object space
with the proper perspective.
are reproduced in the image as a straight line regardless of where they
The center of projection of camera
are situated and to where they are
lenses is their entrance pupil, i.e.
projected.
the image of the aperture stop viewed from the front. When taking
Distortion is defined as an image
panorama photos, it is necessary
aberration in which this property is
to swivel around the entrance pupil
no longer exactly fulfilled. A lens that
to ensure that objects in the fore-
exhibits distortion produces slightly
ground and background are not
warped images of lines that do not
shifted with respect to each other.
pass through the center of the image.
This special point is often also called the nodal point, but it has a very different meaning in optics. There is nothing particularly mysterious about the entrance pupil either, since anyone can see it without any special aids and estimate its approximate position. However, the entrance pupil
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