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
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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