Leica S Magazine No. 1

MANUEL PANDALIS · JOACHIM BALDAUF · STRAULINO

Inspiration in motion The Adobe® Photoshop® family of products is the ultimate playground for bringing out the best in your digital images, transforming them into anything you can imagine, and showcasing them in extraordinary ways.

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Manuel pandalis CoMe as you are NO MAKE-UP, NO STYLING, NO POSING

JoaChiM Baldauf STAR MODEL CHRISTINA KRUSE ON A TRIP BACK IN TIME

straulino EVELINE HALL AND THE BEAUTY OF AN EXTRAORDINARY WOMAN

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Adobe, the Adobe logo, Photoshop and Lightroom are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. © 2011 Adobe Systems Incorporated. All rights reserved.

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LEICA S2 Eine Klasse für sich.

Professionelles Arbeiten heißt, auch unter härtesten Bedingungen exzellente Ergebnisse zu erzielen und die Stärken der MittelformatFotografie mit dem DSLR-typischen, einfachen, schnellen Handling zu erreichen. Das ist die Idee der Leica S2. Die S2 ist auf das Wesentliche konzentriert und liegt auch bei Hochformataufnahmen perfekt austariert in der Hand. Ihr Mittelformat-Sensor ermöglicht bei einer Auflösung von 37,5 Megapixeln beste Bildqualität und einen großen Dynamikumfang auch bei hohen Empfindlichkeiten. Die neuen LeicaCS-Objektive garantieren unkompliziertes Arbeiten mit Schlitz- sowie Zentralverschlussfunktion auf gewohnt überlegenem Niveau.

So liefert die S2 nicht nur von Haus aus perfekte Bilder, sondern zudem Daten, die sich in allen professionellen Workflows sofort verarbeiten lassen. Viele gute Gründe, warum die extrem robuste Leica S2 auch für Sie ein echter Wettbewerbsvorteil werden kann. Würde man ihr das ansehen, wäre sie nicht mehr handlich.

Mehr Informationen erhalten Sie hier: www.s.leica-camera.com

Leica Camera AG / Oskar-Barnack-Straße 11 / 35606 Solms / www.leica-camera.com

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Editorial

S-Magazine a special edition of Leica Fotografie International

The curtain rises on a new project: Professional photographers showcase new works exclusively in S-Magazine – the new platform for photographers to freely publish contemporary photographic ideas.

At the beginning we have the famous fashion photographers Joachim Baldauf, Straulino and Manuel Pandalis, who present series of strong images, unusual facets and surprising perspectives. The medium they used for the purpose was the Leica S, which has occupied an exceptional position within professional contract photography since its introduction.

Model and photographer: An exciting, complex photographic motif. And not only in the fields of advertising and fashion. The creative dialog between photographer and model is the common element of the photo series presented in this magazine. The three photographers conduct their own distinctive visual dialogs and work with different approaches. Joachim Baldauf concentrates entirely on the game that top model Christina Kruse is playing in front of the camera. A photo shoot full of fashionable paragons and unrestrained travesty, whereby teamwork and the desire to dress up define perfect cooperation.

And Straulino also has found the perfect counterpart. He discovers the personality of the former ballet dancer, Eveline Hall, who has just launched her new modeling career, creating quite a stir. In his series, Manuel Pandalis searches for the true face of the model, drawing attention to the pure beauty beyond the professional make-up. In his spectacular close-ups, he draws close to the model in an unconventional, fascinating manner.

These remarkable photographic works presented by S-Magazine all originate from the experience of the photographers used. They have, however, quite deliberately exceeded the usual boundaries of contract photography in a playful – and thereby open-ended – manner. Independent of everyday stress and day-to-day business, they photograph innovative ideas for S-Magazine. The printed image in the featured series offers just the right forum for this approach and the magazine presents itself as a journey of discovery through new trends in commercial photography. With regularly changing themes, S-Magazine follows the latest trends closely and offers an additional platform for the creative ideas of the S photographers. Of course, the classic magazine format is also supplemented by an iPad app and the www.s-league.net website.

1st year LFI Photographie GmbH Hammerbrookstraße 93, 20097 Hamburg, Germany Phone 00 49/40/2 26 21 12 50 00 49/40/2 26 21 12 70 Fax ISSN 2192-8355 E-mail mail@lfi-online.de www.lfi-online.de Web site

The Leica S2

has occupied an exceptional position in the world of professional photography since its introduction three years ago. Learn more about the current develop­ments regarding the S2 on page 67 ff.

Editors in Chief Inas Fayed, Frank P. Lohstöter Creative Direction LFI Photographie and Tom Leifer Design Contributors Carla S. Erdmann, Kelsey Fain (New York), Michael J. Hußmann, Bernd Luxa, Anna Madelung, Henriette Primus (Berlin), Ulrich Rüter, Jon Sareen (London), Holger Sparr Art Direction Tom Leifer, Alessandro Argentato, Johannes Hermann Tom Leifer Design, Hamburg, www.tomleiferdesign.de Photography Joachim Baldauf, Frank Hülsböhmer, Manuel Pandalis, Mark Seelen, Alexander Straulino Advertising Sales and Marketing Kirstin Ahrndt-Buchholz, Samira Holtorf Phone 00 49/40/2 26 21 12 71 Fax 00 49/40/2 26 21 12 70 Email buchholz@lfi-online.de holtorf@lfi-online.de Readers’ Service E-mail mail@lfi-online.de Reproduction Alphabeta GmbH, Hamburg, Germany Paper papier union Tauro, papier union Lumisilk Printer Beisner Druck GmbH & Co. KG, Buchholz in der Nordheide, Germany Editorial and Copyright Letters, enquiries or material for publication are welcome.

Heavy mail such as manuscripts and photographs should include an appropriate number of International Reply Coupons if they are to be returned. We accept no responsibility for unsolicited material and this will only be returned if appropriate postage is included.

The S-Magazine as iPad app – available as a free download from the iTunes Store

The Editorial Staff

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All articles and illustrations contained in the magazine are subject to the laws of copyright. Any form of utilization beyond the narrow limits imposed by the laws of copyright and without the expressed permission of the publisher is forbidden and will be prosecuted. This applies particularly to reproduction, translation, microfilming or the storage and processing in electronic media.

Leica – is a registered trademark (91625).

the covers

CoMe as you are NO MAKE-UP, NO STYLING, NO POSING

NO MAKE-UP, NO STYLING, NO POSING

NO MAKE-UP, NO STYLING, NO POSING

JOACHIM BALDAUF

eclectic icon STAR MODEL CHRISTINA KRUSE ON A TRIP BACK IN TIME

STAR MODEL CHRISTINA KRUSE ON A TRIP BACK IN TIME

straulino

straulino

EVELINE HALL AND THE BEAUTY OF AN EXTRAORDINARY WOMAN

EVELINE HALL AND THE BEAUTY OF AN EXTRAORDINARY WOMAN

LUMINARY EVELINE HALL AND THE BEAUTY OF AN EXTRAORDINARY WOMAN

STAR MODEL CHRISTINA KRUSE ON A TRIP BACK IN TIME

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Three exceptional photographers, three exceptional portfolios and one logical consequence: The first S-Magazine is published with three different title motifs from Manuel Pandalis, Joachim Baldauf and Straulino’s photographic series

MANUEL PANDALIS

JoachiM Baldauf

JoaChiM Baldauf

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Manuel pandalis

MANUEL PANDALIS · JOACHIM BALDAUF · STRAULINO

Manuel pandalis

MANUEL PANDALIS · JOACHIM BALDAUF · STRAULINO

MANUEL PANDALIS · JOACHIM BALDAUF · STRAULINO

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STRAULINO

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FOTO JOACHIM BALDAUF STYLING CLAUDIA HOFMANN/Ballsaal MAKE UP STEFANIE WILLMANN/Ballsaal HAIR THOMAS LORENZ/Blossom FOTOASSISTENTEN STEFAN VORBECK & ALEX SCHERER

MARK Anzug von CLEMENS EN AUGUST. Shirt von JIL SANDER. Tuch von EDSOR KRONEN. Schuhe von MICHAEL MICHALSKY. Armband und Ring von ELFCRAFT über F95. HANNE Kleid von STINE GOYA. Schuhe von GIVENCHY über F95. Ohrringe von MAVI London über F95. HANS Sakko und Hemd von CLEMENS EN AUGUST. Hose von JIL SANDER. Fliege von EDSOR KRONEN. Schuhe von PRADA. MAGALI Top und Panty von PRADA. Weste von PATRIZIA PEPE. Armreif von ERICKSON BEAMON. Ring von NOIR. Schuhe von MICHAEL MICHALSKY. Alles über F95. JULES Blazer von STINE GOYA. Strümpfe von WOLFORD. Ohrringe von SABRINA DEHOFF. Schuhe von STEVEN MADDEN beides über F95 ISABELLE Kleid von KAVIAR GAUCHE. Kette von MAVI London.

Armreif von ERICKSON BEAMON. Schuhe von GIVENCHY. Alles über F95. CAROLINE Kleid von CLEMENS EN AUGUST. Kette von MAVI London. Armband von ERICKSON BEAMON beides über F95. Schuhe von MIU MIU. LINO Sakko von CLEMENS EN AUGUST. Hemd von WUNDERKIND. Hose von PRADA. Fliege und Kummerbund von EDSOR KRONEN. Schuhe von PRADA.

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Mega

Model Agency Hamburg 0049 ( 0 ) 40 355 22 00 Berlin 0049 ( 0 ) 30 44 03 32 90 nouvelle@megamodelagency.com www.megamodelagency.com

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content

Manuel Pandalis Come as you are · 9

Joachim baldauf eclectic icon · 34

Straulino Luminary · 54

Technology A STRONG PRESENCE New: The Elmarit-S 30 mm f/2.8 Asph · 67 A WORLD OF GLASS THE S2 AND ITS LENSES · 80

S-league International Photographers Present CURRENT campaigns · 88

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STOP THE WATER WHILE USING ME! ALL NATURAL COSMETICS The world’s first cosmetics range that gets people to save water where it goes to waste most: In the bathroom. Every day.

With natural essentials oils and ingredients from certified organic agriculture.

Shampoo, shower gel, hand soap and body lotion. Available in 200 ml, 500 ml, 5 l and as a refill package.

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MANUEL PANDALIS

come as you are In the course of his visual expedition into the intimacy of human physiognomy, Manuel Pandalis has created the unique portrait gallery ›Pure‹. We are presenting a selection of works shot last year with a Leica S2 by Manuel Pandalis.

Text: Ulrich Rüter

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Manuel Pandalis

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he idea is simple, its realization is consistent, and the result is amazing. Photographic portraiture with an unforgiving, clear, and straightforward style: in other words, pure. Varied time and time again with new faces, every one of them is surprisingly different. ›Pure‹ shows portraits that astound – capturing the viewers’ attention and refusing to let it go. The portraits are wonderful facial landscapes with an invitation to discover more that positively demands that viewers look more closely.

The idea for this portfolio developed more or less by chance during the daily work of the Hamburg fashion photographer Manuel Pandalis and has since become almost an obsession. The photographer began to think that the day-to-day work of models who market their faces and bodies for campaigns and products provides insufficient freedom for them to express their own individuality. It was the styling and wishes of clients that dictated the look – not the personality and character of the models. This is when Pandalis’s idea began to bear fruit: his wish to photograph directly and without the facade of makeup. And this led him back to one of the most exciting and essential genres of the medium. Since the invention and introduction of photography, the greatest fascination has always been found in the field of portraiture. Due to its unique depictive properties, photography has always reflected contemporary society, the spirit of the age, and, above all, the unmistakable individuality of the subjects portrayed.

Portrait photography leads us back to one of the fundamental aspects of the photographic process: every portrait initiates two dialogs. The first is the dialog be-

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tween the photographer and his subject, and the second between the portrait and the viewer. The camera is the initiator of these dialogs. As a tool, it simply registers and records with absolute impartiality. In contrast, the photographer sets, poses, and arranges; his decisions define the portrait. The viewer stands before the portrait, looks, attempts to recognize, seeks associations, and interprets. Manuel Pandalis intentionally chose black-andwhite photography as it abstracts while simultaneously revealing and emphasizing details that would hardly have been noticeable in color. »Particularly the rough edges, the little quirks and inadequacies that make up the true beauty of the individual behind the facade are what I consider relevant and uniquely fascinating.« Pandalis reveals the particular character of his subjects, their uniqueness, and, in turn, something completely different from what is generally demanded from a photo shoot. Intense concentration on the face and set against a plain background – almost completely without posing and postprocessing. The result is an effect that viewers find almost impossible to resist. Shown as a sequence, these portraits also possess comparability as an additional component. The eye of the viewer wanders between the individual images, constantly comparing and searching for similarities and differences. ›Pure‹ thus becomes an exciting tightrope walk between voyeurism, simply looking, and empathy. The sequence induces viewers to look more closely while, at the same time, the portraits remain inaccessible in their perfection. What now develops is an accomplished interplay of affection, reservation, intimacy, and superficiality.

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MANUEL PANDALIS

THE MODELS For the ›Pure‹ series, Manuel Pandalis usually works with professional models, whom he photographs ›pure‹: reduced to a focus on the face, with a neutral background, and, to a large extent, a rejection of poses, makeup, and postproduction.

LISA, 23

ALEXANDER WOLF, 20

M4 Models Management Germany

M4 Models Management Germany

GANTZ GILLES, 20

JORDI IVEN, 24

M4 Models Management Russia

M4 Models Management The Netherlands

LAURA SCHULLER, 19

EVA GREWE, 19

Place Model Management Agency Luxembourg

Spin Model Management Germany

ROSANNE SWART, 22

MAGALI N’DIAYE, 18

Mega Model Agency The Netherlands

Mega Model Agency Germany

ELIN LEDSKOG, 21

YVES HANKE, 32

Mega Model Agency Sweden

Founder and owner of Boys Boys Boys, Hamburg Germany

MASHA TYELNA, 20

ENEL SOESON, 23

M4 Models Management Ukraine

M4 Models Management Estonia

ANNIK A VOHTA, 20

ALLA KOSTROMICHOVA, 25

Louisa Models Estonia

MANUEL PANDALIS

Place Model Management Agency USA

ILSE DE BOER, 22

FLYNN, 35

Place Model Management Agency The Netherlands

Bohemian Germany

Born in Brilon, Germany, in 1972, the photographer with roots in Greece began his career in his early twenties as an assistant to various professional photographers.

After a five-year interlude in the music industry, he initially returned to his job as an assistant before becoming a freelance photographer, specializing in fashion and portrait photography, in Hamburg in 2004. He opened his own studio in the city in 2006.

His clients include numerous prominent fashion labels and designers, and his work has been shown in international magazines.

Alongside his purely commercial work, Manuel Pandalis is developing an increasing interest for his own concepts: »Some time ago, I realized I was fascinated less by a model’s facade than by the person behind it. For me, beauty is first revealed when I feel a rapport with the person.« He has now been working on the ›Pure‹ portfolio since 2007 and sees this ongoing project as an essential part of his work. ›Pure‹ was very well received at photokina 2010 and is currently on the exhibition program of various Leica galleries. The works shown here were all shot in 2010 with a Leica S2.

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Joachim Baldauf

Eclectic

icon

A summit of two unique characters: fashion photographer Joachim Baldauf meets fashion model Christina Kruse to capture a chronology of fashion between sharp parody and cool dramatization.

Interview: Ulrich Rüter

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Joachim baldauf

ot for the first time, Christina Kruse and Joachim Baldauf have been working together.

They have been a perfectly attuned team for many years now. So she was the immediate choice for Baldauf for this series initiated by Leica. The photographer spoke to S-Magazine about this rather special collaboration, his photography, and his techniques.

even when playing these roles.

She plays a one-day walk-on scene. The concept behind this series certainly possesses a certain severity and superficiality – at least at first glance. My idea was to consciously exploit this superficiality: the iconic as eye-catcher.

Is that why it was so important for you to work with Christina Kruse? We have known each other for many years. I love work­ ing with her, she always understands exactly what I want – she has a special empathy for my ideas and story lines. She is an artist in her own right in addition to having years of experience as a model, and I really appreciate the teamwork. And she shares my sense of humor, too.

You describe this kind of fashion photography as ›eclectic‹.

Don’t you find this slightly pe­ jo­rative term annoying? No, it has different connotations in the world of fashion; bringing together different styles has been quite typical since the nineties. For me, ›eclectic‹ also means that I can compose something completely new from things that are already familiar.

These days, everything has been seen before – there is hardly a trace of true innovation. At the moment, fashion photography is a parody. Today, fashion stories are told by dressing up.

Model Christina Kruse, Mega Model Agency Styling Claudia Hofmann Hair Patrick Gorra, Ballsaal Makeup Stefanie Willmann, Ballsaal Digital operator Patrice Brylla Photo assistant Stefan Vorbeck Fashion Alexander McQueen, Bless, Burberry Prorsum, Dior, Edsor Kronen, Gucci, Haider Ackermann, Maison Martin Margiela, Marc

by Marc Jacobs, Roeckl, Schmidttakahashi, Wolford

christina is a character, not just a canvas to paint on.

What are the ideas behind the ›Eclectic Icon‹ concept?

Well, the basic idea was to show Christina Kruse in looks you usually associate with the greatest female stars in the history of fashion and film. Take Marlene Dietrich, for instance: Christina’s enormous personality and radiance remain intact

But isn’t it all about the look?

Sure, she’s a character – very German. She’s not just a canvas to paint on. Her character always shines through despite all the styling. Our aim was to depict the iconic essence of various decades. Sometimes it is the makeup that makes it work, sometimes the hairstyle, and sometimes the fashion that does it, but her character always maintains a strong link to the present.

Did you have any specific role models in mind? I let the concept keep its ambivalence. Even when Marlene and Veruschka, Kim Basinger and Claudia Schiffer shimmer through, it is never about the realization of absolute authenticity. The more viewers know about fashion photography, the more they can recognize their own role models. The eclectic aspect of this retro style is that the images combine various different decades: details may be reminiscent of the fifties and the hairstyle could have more of a sixties look and so on.

And sometimes an homage to iconic photographers might just shimmer through, for instance Guy Bourdin or Helmut Newton.

My work plays with memories.

What matters most to you: the model or the fashion? The fashion factor is important, of course, because the collection

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Joachim baldauf

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JOACHIM BALDAUF

WHAT MATTERS TO ME IS NOT THE SENSATION BUT THE PRECISION.

is rather androgynous in this case. Trench coat, tailcoat, men’s shirt, torero jacket and hat are all articles that are distinctly masculine. I even used the gloves in an attempt to bring a little severity into the shots of the feminine evening gown. It is never totally feminine. I always show a bit of masculinity. It’s already present in the character of the model, and the outfits emphasize it even more. And when it does get feminine, the whole picture has an intentionally grotesque touch.

How important is the mix of black-and-white and color images to you? I always decide in advance which shots are going to be in color and which ones I will be shooting in black and white. Black-and-white photography demands completely different lighting. It has to be hard – at least that’s the way I see it. It’s the same as it was before digital when you had to choose between color and blackand-white film. It’s one of those things photographers have to think about beforehand.

But your shots all seem to be rather static? That’s an illusion.

It’s just the way I shoot. My models are moving all the time, and I move around and talk with them. The big mistake most people make when they see my photographs is that they think I just pose the models, tell them what to do, and hit the button.

That’s just not the way it is. I usually shoot from an office chair that I can raise and lower and roll around the models on.

And then I keep my eye out for the right moments. Everything happens in constant motion and that’s why a central shutter is just perfect for my work. For me, its greatest benefit is the speed it allows.

Does that mean a faster pace?

That too – because movement was absolutely essential for this shoot, even though you do not see it at all in the final results.

And that’s why the central shutter is so decisive. Its great advantage is that it lets me use much shorter exposure times with a flash. A normal Leica lens allows a sync time of a 125th of a second, and this leads to motion blur. But with a central shutter, I get sync times of a 250th or 500th of a second. What matters to me is the precision – not the sensation.

You shot the series without props and concentrated intensely on the model set against a neutral background.

What significance does space have for you? I prefer shooting in big studios; I need the space.

Space means that I can set up the lighting so that it works from all sides and makes the model look wonderful the whole time. This also lets me highlight particular elements for the retro effects. Lighting has changed a lot – the shadows used to be different and much harder. Each shot can be lit just the way I want it – be it more powerful, more restrained, or backlit. It’s a quick-change act; I have a very efficient team. Things begin to happen with every movement.

Does this constant movement change the appearance of your shots? It certainly does. That’s why the models in my shots always look different from when they are shot by other photographers. And that’s all down to movement. At the end of the day, it’s all about the way the pictures turn out. The rest of it is the ›secret‹ of how they were made.

OK, you can reveal it to other photographers if you like – but, ultimately, the only thing that really counts is the picture.

JOACHIM BALDAUF Joachim Baldauf belongs to the international elite of German fashion photographers. Born in the Allgäu region in 1966, he first studied textile design and then worked as an art director in the music and advertising sector before taking up photography as a full-time profession in 1998. Even today, he still works as a creative director and is the copublisher of the magazine ›vorn‹ (www.vornmagazine.com).

He also supervises and is involved in the creative aspects of numerous book projects.

Baldauf lives and works in Berlin. Christina Kruse and the photographer can look back on a ten-year collaboration of photographing both commercial stock and freelance projects. In addition to her modeling work, Christina Kruse has also been successful with her own photographic and artistic projects for quite some time. Her artist’s book ›Reisebuch 1–5‹ can be ordered from www.printkultur.de.

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Straulino

luminary Straulino portrays Eveline Hall (65), formerly a dancer with Hamburg state ballet and now a model, using the Leica S2. Much of it is quite different from what you may have expected.

Text And Poem: CARLA SUSANNE ERDMANN

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Straulino

Black and white dance through a universe of colors collapsing into gray Eternally beautiful, the soul moves through eleven dimensions Stunningly graceful, yet imbued with unshakeable wisdom

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lexander Straulino became well known due to his unique and individual style of beauty photography. The majority of his works show oversized details of faces and bodies in a spectrum of colors akin to those employed by the artists of the Pop Art movement – loud, lush, and wildly exaggerated. Straulino’s images are so sharp that they even capture your attention when you least expect it. They stop you in your tracks. Always. »I never press the button if I am not 100 percent convinced about what I see,« says the photographer who taught himself this unique way of seeing things and whose creative urges in his youth were only very shortly interrupted by a brief intermezzo at the former Staatslehranstalt für Photographie (state academy of photography) in Munich. »I only learn by doing things myself.« In those days, he shot fashion photos with a friend as his model. What came out was a close-up of her lips. »They were like a magnet. I was just pulled in, closer and closer. And this still holds true to the present day.« That shot still hangs on the wall in his live-in studio in Berlin. He soon left fashion behind, saying there is »not enough couture: there’s no future for it in Germany.« But he continued to shoot his close-ups.

They characterized his style – up until now.

After almost 15 years of success as a photographer, Straulino now stands on the brink of a kind of artistic transformation. The series he

shot with Eveline Hall exclusively for S-Magazine gives you an idea of the ›new Straulino‹: »I now want to work in a less structured way.

I don’t make the shots look sleek any more.« His images now show more movement. Gone are the days of explosive color – all in all, an enormous contrast to his earlier work.

Eveline Hall, who only recently began her career as a model, seems to have been made specifically for the project. »We portrayed her as a saintly figure and let her wear designer outfits.« Everything else more or less just slipped into place: »As a dancer, she knows how to move so I just let her do her thing and followed everything she gave me with the camera. I wanted to keep the project abstract and timeless. The images were intended to be a backdrop for her personality,« explains Straulino, who prefers to work with models he has never met before. »The electric atmosphere of such brief encounters brings out so much more – that’s the most fascinating aspect. Like a mask.« Eveline Hall’s face tells countless stories but remains strangely remote in its own inimitable way. Her character is suffused by an intrinsic beauty both inside and out and mesmerizes more than just the photographer. »I achieved what I had in mind: the portrayal of this woman as an icon.« At the end of the day, a very satisfied icon made her way home. Her astounding presence, captured with such outstanding empathy by Straulino, remains.

Agency contact Straulino Julian Meijer Agency Assistance Georg Roske Model Eveline Hall, Mega Model Agency Hair/makeup Stefanie Willmann, Ballsaal Styling Mody Al Khufash, Sternenfänger Special thanks to Elektronische Schoenheit for the meticulous work in postproduction

Straulino Nº 2

Straulino reveals, »The book was the culmination of a strenuous year’s work in 2010. The most successful year of my career so far.« The book of his favorite shots from the last three years was compiled in six weeks of intense work with his friend and art director Reto Brunner. ›Straulino N° 2 – Sexual Overtones‹ is now his second book and follows ›Playtime‹, his first appearance in print, published in 2006. In July 2011 the photographer published ›Straulino N° 3‹, a book with his works for the exhibition ›Straulino Meets The Muses‹. All books are available on Straulino’s Web site.

Soft cover, card folder with 62 loose-leaf pages, full-format images, 27 × 35 cm, published by seltmann+söhne, 25.00 euros

Straulino Since the beginning of his career, Alexander Luitpold Straulino, born in Munich, Germany, in 1973, has always preferred to be called only by his surname. He has a passion for the abstract: »My goal is to give the people something to think about.« At the same time, he is a dedicated team player »but still with a stubborn streak« and loves to work in unison with assistants and stylists. He describes himself as accessible, humorous, and self-deprecating. »In private, I prefer women without makeup. Maybe I’m working off my complex in my work.« His way of working is also extremely personable. Anyone looking at his perfectly staged, hyperrealistic to surreal images would hardly believe that the wonderful smells of his home cooking for the team almost always pervade his studio.

Maybe this can be attributed to his Italian ancestors in the dim and distant past. »Photography is only one side of the business; the atmosphere is the other.« But he also serves up great music – not just pasta al Straulino. The selfconfessed music freak keeps 500 gigabytes of marvelous music on his computers. The images from this portfolio were shot to the sounds of Motown.

k www.studiostraulino.com

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WALK THIS WAY. EASYTONE YOUR DAY. EVA PADBERG

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Technology

Fast And Wide Leica has expanded the range of lenses for the S-system with the Elmarit-S 30 mm f/2.8 Asph, an extremely attractive and fast wide angle lens with excellent imaging qualities and a large initial aperture.

By Holger Sparr

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ome focal lengths have a rather special ring to them in the world of photography. A ›fifty‹ may seem useful, a ›thirty-five‹ is an established classic and a ›twenty-one‹ promises exciting perspectives. But what ideas does a ›thirty‹ conjure up? As this focal length is not one of the classics in 35-mm photography, a ›thirty‹ sounds more like something nice but less interesting – at least it does until you translate its focal length from 35-mm photography into that of the Leica S-System. Due to the 30 by 45 millimeter sensor of the S2, this translation is neither a crop factor, nor a multiplication factor – a contradiction in technical terms, any-

way – and, with a value of 0.8, it expresses the potential of the large format. The Elmarit-S 30 mm f/2.8 Asph is actually a ›twenty-four‹ and therefore, with good reason, one of the most popular classic focal lengths in the world of 35-mm photography.

A ›twenty-four‹ opens the door to a world of really wide perspectives. Traditionally, this focal length marks the beginning of the realm of super-wide-angle lenses. The perspectives in images shot with this focal length are very apparent, but, using a ›twenty-four‹ delivers results far-removed from the complete distortion produced by even wider lenses – which may be challenging to manage simultaneously. Naturally, handling a

›twenty-four‹ also demands a lot of care and experience, but at least there is no need to align it with a spirit level to avoid converging or diverging verticals in images.

The Elmarit-S 30 mm f/2.8 Asph is the first lens for the S-System that wasn’t announced at launch – proving that customer feedback played a key role in the decision to make this lens the next in the range –, and it echoes the enormously positive response following the release of the Summarit-S 35 mm f/2.5 Asph, a lens that set standards with its outstanding performance.

High performance wide angle lenses are few and far between in the world of medium-format photography, even though

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demand is extremely strong. It was logical that the Summarit-S 35 mm f/2.5 Asph, the virtual ›twenty-eight‹ in its role as the beast of burden, should be joined by the considerably more exciting Elmarit-S 30 mm f/2.8 Asph.

Admittedly, there are a lot of good reasons for the rarity of extreme wide angle lenses in the world of medium-format photography, because, the greater the angle of view, the more difficult it becomes to correct imaging problems like distortion, vignetting and chromatic aberration.

Photographers are naturally aware of this, and tend to tolerate these problems in favor of the creative opportunities offered by short focal lengths. However, although photographers are perhaps prepared to accept such weaknesses to a certain extent in 35-mm photography – and often try to explain it away as the special character of the lens – professional medium-format photographers understandably expect a certain degree of perfection that means no more and no less than the certainty that the lens will perform with absolute reliability in every shoot situation, it may be in the studio or on location.

If professional medium-format photographers have to stop down the lens considerably for optimum sharpness or sufficiently exposed corners, or have to avoid verticals close to the edges of the frame for fear of distortion, the lens would be anything but a reliable tool and entirely unsuitable for professional use – and, with such weaknesses, it would never fulfill the stringent demands of Leica’s S-System, either.

Fast Apertures open up new Creative Horizons In the case of the Elmarit-S 30 mm f/2.8 Asph, however, there’s an additional challenge – Leica was determined to deliver the creative advantages of a wider angle of view, as well as a speed unusually high for lenses of this focal length. Thanks to the larger image format of the S2, the depth of focus of the lens is correspondingly shallower than it would be in 35-mm format and, with an initial aperture of f/2.8, the lens would even be a fast wide angle in that format. In medium-format, however, the Elmarit-S 30 mm f/2.8 Asph is unparalleled since it is significantly faster than other lenses with a similar angle of view thus enabling much greater creative freedom.

Its outstanding speed lets photographers shoot hand-held or with available light in many situations in which slower lenses would demand the use of a tripod and artificial lighting. The speed of this lens also allows the photographers to work with selective focus, an unusual capability when combined with wide angles of view. Excellent examples of this capability are illustrated on pages 72 to 78 in the work of the Hamburg photographer Mark Seelen. All his images were shot exclusively with the lens wide open. The shallow depth of field focuses the viewer’s attention on the models, while the use of natural lighting adds very effectively to the composition.

In the words of the photographer, »The situation was difficult to shoot. So the logical decision was to exploit the high speed of the ›thirty‹ to the full«.

The combination of a wide angle of view and selective focus offers creative opportuni-

Leica Elmarit-S 30 mm f/2.8 Asph Image angle (diagonal, horizontal, vertical) approx. 84°, 74°, 53°, corresponds to approx. 24 mm focal length in 35 mm format

Bayonet Leica S quick-change bayonet with contact strip for Leica S models

optical design Number of lenses / groups 13 / 9 Aspherical surfaces 2

Filter mount And lens hood External bayonet for lens hood (included), non- rotating filter mount with internal thread for E82-size filters

Aperture Setting / function Electronically controlled diaphragm, set using setting / selection dial on camera, including half values Lowest value 22

Dimensions and weight Length to bayonet mount approx. 128 / 156 mm (without / with lens hood) Largest diameter approx. 88 / 132 mm (without / with lens hood) Weight approx. 1060 g

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ties that, in 35-mm photography, would have meant using one of the more exotic, and by no means inexpensive, lenses – if such lenses were actually available for the system used. In combination with the large sensor format of the S2, the high speed of the lens delivers the creative freedom that makes photographers stand out from the crowd. The high speed also ensures a bright and brilliant viewfinder image, an enormous help for focusing and composing images.

Considering that the lens will also be available in the future with a central shutter, the high speed, short focal length and high performance of the Elmarit-S 30 mm f/2.8 Asph are even more remarkable. The way a central shutter works means that it has to be installed together with the iris at the optical center of the lens. The space available for this in a wide angle lens is very limited and the diameter of the central shutter limits the size of the maximum aperture. So it’s even more astounding that Leica’s engineers have managed to install a central shutter as an alternative option with the very stringent demands of professional medium-format photographers in mind.

Excellent Performance Justifies Complexity of Construction The optical design and construction of the ›thirty‹ is based on that of the Summarit-S 35 mm f/2.5 Asph, but is even more complex and relies on the extensive use of specially formulated glasses. As is the case with all S-Lenses, the cover glass of the sensor is included as a part of the optical system in its calculation.

The lens features a total of 13 elements arranged in 9 groups. Five of these elements are made from glass with anomalous partial dispersion, and three of these are fluoride lenses that, due to their particularly low partial dispersion, are used to reduce chromatic aberration to an absolute minimum.

Three elements are made from glass with a particularly high refractive index, which, together with two aspherical surfaces, will correct monochromatic aberrations. As only the six elements comprising the rear group are moved when focusing, the length of the lens remains constant.

The extreme complexity of its construction ensures extraordinarily high optical resolution and excellent contrast, even at its widest aperture and at closest focusing

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Distance Focusing range 0,5 m to 

Scales Combined meter / feet graduation

Smallest object field / largest reproduction ratio approx. 330 x 495 mm / 1:11

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LEICA S2 With Lens The compact combination of the Elmarit-S 30 mm f/2.8/ASPH and the S2 is just ideal for hand-held shooting.

Actual Size

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100 %

A — Aperture 2.8 The contrast performance falls off slightly at the extreme edges of the image frame and only at maximum aperture. The remainder of the object field already shows that maximum resolution has been achieved. This makes the Elmarit-S 30 mm f/2.8 Asph the ideal lens for almost any situation.

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Reducing the aperture by only one stop is sufficient to achieve outstanding contrast from edge to edge and corner to corner of the object field – the contrast performance is excellent for a very fast and very wide lens and proves the effectiveness of the correction of aberrations.

C — Aperture 5.6

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Stopping down further shows practically no measurable, and certainly no visible, increase in imaging performance, in fact it only serves to increase the depth of field.

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Sagittal Structures 3

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MTF-Curves Explained The values plotted show the contrast for 5, 10, 20 and 40 line pairs/mm (white light, from the center to the edge).

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distances. Stopping down slightly leads to a minimal improvement of its performance exclusively in the extreme corners of the image. The typical aberrations of extreme wide angle lenses, like vignetting and distortion, are almost negligible. Vignetting can never be avoided entirely; here it is limited to a factor of 1.5 wide open at infinity and quickly subsides when stopping down. Within the context of stopping down it is important to consider that an initial aperture of f/2.8 for this focal length and sensor size is extraordinarily large. A distortion value of 2.8 percent at infinity is incredibly low when considering the wide angle of view. Using the Elmarit-S 30 mm f/2.8 Asph it is irrelevant looking for monochromatic aberrations such as curvature of field or coma; chromatic aberrations are also extremely low.

Photographers who use Adobe Photoshop Lightroom which is provided with the Leica S2 or Adobe Camera Raw for image processing can take advantage of a correction profile specially calculated by Leica for the Elmarit-S 30 mm f/2.8 Asph. This profile lets them remove even the last traces of distortion and lateral chromatic aberration from extremely critical images. Aberrations are all so well corrected that they rarely, if ever, give cause for concern, even without digital processing. As the software does offer a correction option, Leica’s engineers calculated an appropriate profile from the construction data of the lens. At the same time, its use is purely a matter of choice for each individual photographer.

As with all other S-Lenses, the constant length of the lens plays an essential role in sealing the lens against dust and water spray.

This not only ensures that the Elmarit-S 30 mm f/2.8 Asph can take even a heavy shower or a dusty environment in its stride, it also makes the lens easier to clean, guarantees a long working life and greater residual value.

Just like all other S-Lenses on the market, the exposed surfaces of its lenses are optimally protected by Leica’s proven water- and dirtrepellent AquaDura coating.

AquaDura is a water and dust-repellent nano-coating technology based on the lotus blossom effect. It lets water droplets simply roll off the glass and prevents the adhesion of dust particles. No other lenses enable users to wash off fingerprints and dust from the glass in this way. The engineers never lost

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Photographer Mark Seelen used the extremely fast Elmarit-S 30 mm f/2.8 Asph for a shooting in ›Haus F‹ in Hamburg

Leica S2, Leica Elmarit-S 30 mm f/2.8 Asph, ISO 160, f/2.8, 1/30 s

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Leica S2, Leica Elmarit-S 30 mm f/2.8 Asph, ISO 160, f/2.8, 1/60 s

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Leica S2, Leica Elmarit-S 30 mm f/2.8 Asph, ISO 160, f/2.8, 1/6 s

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WIDE-ANGLE ON AN INDOOR SHOOT Photographer Mark Seelen put the outstanding speed of the Leica Elmarit-S 30 mm f/2.8 Asph to excellent use to exploit available daylight in his compositions and concentrate the plane of focus on his model. All his images were shot wide open and show no recognizable light fall off towards the edges

Leica S2, Leica Elmarit-S 30 mm f/2.8 Asph, ISO 160, f/2.8, 1/3 s

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Leica S2, Leica Elmarit-S 30 mm f/2.8 Asph, ISO 160, f/2.8, 1/45 s

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Leica S2, Leica Elmarit-S 30 mm f/2.8 Asph, ISO 160, f/2.8, 1/25 s

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Photos Mark Seelen, markseelen.com Styling Hendrik Schaulin, Liga Nord Hair/ Makeup Sabine Wicker, Liga Nord Models Jenny K. und Hanna S., Place Model Management Agentur Location haus-f.com

Leica S2, Leica Elmarit-S 30 mm f/2.8 Asph, ISO 160, f/2.8, 1/60 s

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Technology

Focusing Group

A Welcome Addition to the S-System »The sharpness of this lens is really outstanding« was Mark Seelen’s comment on the imaging performance of the Elmarit-S 30 mm f/2.8 Asph when he checked the first shots he took with it. He also praised the significantly better handling characteristics of the S2 and the Elmarit-S 30 mm f/2.8 Asph in comparison with other medium-format systems, and noted that it is the ideal system for photography on the move, thanks to its suitability for hand-held shooting.

Which brings us to the number of potential areas of use which, thanks to the unique combination of a wide angle of view with high speed and outstanding imaging performance at all distances and apertures, covers an enormous range of situations. These range from classical uses for landscape and architectural photography to interior shots where the high speed of the lens reveals its true strengths. As the work of Mark Seelen shows, the perspectives delivered by the lens are also outstanding for people photography and fashion assignments. Despite its decidedly wide angle characteristics, the outstanding speed of the lens opens up opportunities for working with distinct planes of focus and offers greater flexibility for the use of creative lighting, as natural light sources can be exploited to the full.

Strictly speaking, photographers need not worry about the enormously elaborate calculation, optical design and construction of the Elmarit-S 30 mm f/2.8 Asph and the extreme quality of the glass used – what’s important to them is what these deliver in practical situations: they can depend on perfect imaging performance at all apertures and distances and a long-term durability, quite independent of shooting conditions. These properties ultimately apply to all lenses and other components of the Leica S-System, in which the ›thirty‹ now takes its place as a perfect addition to the wide angle lens portfolio.

IRIS / OPTIONAL CENTRAL SHUTTER

track of practical aspects, either: Despite its wider angle of view, the Elmarit-S 30 mm f/2.8 Asph uses the same rectangular hood as the Summarit-S 35 mm f/2.5 Asph and has the same E82 filter thread as this and the 70mm lens to ensure that no space for other accessories is wasted.

ASPHERICAL Lenses

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Lens cross-section Lens characteristics: 13 elements in 9 groups, central shutter (option), protection against environmental influences.

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Technology

A World of Glass A bigger sensor facilitates superior image quality, but it takes a fine lens to actually take advantage of it. Lens design is a multidisciplinary endeavor with many opportunities to fail or to excel.

By Michael j. HuSSmann

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Photo: Frank Hülsbömer

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hide any optical deficiencies from the merciless scrutiny of the sensor.

In a sense, lens design for the S2 owes more to Leica’s roots in the world of 35 mm photography than to the customs in the medium-format world. Traditionally, medium-format cameras were mainly chosen for the fine grain of the 120 film, not so much for any advantages that the lenses could confer. The larger image format relaxed the contrast requirements at high spatial frequencies like the 35 mm format did, which was a blessing, since 120 film wouldn’t keep absolutely flat and even the best corrected lenses couldn’t always fulfill their full potential.

Still, the smaller enlargement and the correspondingly finer grain in the resulting print was enough to maintain the superiority of medium-format photography. Today, a larger sensor is just as flat as a smaller one and the pixel sizes of medium-format sensors are in the same ballpark as those of their 35 mm cousins. A medium-format lens needs to deliver the same contrast as a 35 mm lens, but within a larger image circle.

hen you start developing a camera to challenge the existing solutions on the market, excellence in any single discipline does little in itself to achieve that goal. There is a chain of optical, mechanical, and electronic components that an image passes through in either analog or digital form, and the ultimate quality of the resulting picture depends on the consistently high performance of all the links in this chain, from the lens hood to the camera firmware.

The image size is a key parameter of a camera system with repercussions for all its components, including the lenses. A bigger sensor requires lenses with a longer focal length and a correspondingly larger effective opening at the same f-setting. The broader stream of light flowing through the system lands more light on the sensor, resulting in less noise and an increased dynamic range at a given number of sensor pixels. Put differently, sensor pixels could be larger without sacrificing resolution.

But while larger pixels would relax the resolution requirements on part of the lens, that doesn’t imply that lens design is rendered any simpler. Ultimately, image quality depends upon the lens producing high-contrast images of fine detail. And to be future-proof, the S-System lenses were designed to outperform even the S2 itself.

The sensor is an analog device at the interface between optics and digital imaging and thus a potential bottleneck when it comes to preserving the resolution and contrast delivered by the lens in the resulting digital image. In 35 mm DSLRs, an antialiasing filter is employed as a moiré-prevention measure, but this filter also acts as the great equalizer leveling the contrast transferred through the lens and on to the sensor. Unlike what is customary in the medium-format world, Leica decided to do away with artificial bottlenecks such as this, preferring to deal with moiré in software when and wherever necessary. With regard to lens design, this decision raises the bar significantly, as the difference between an excellent and a merely adequate lens would be leveled when an antialiasing filter blurred any fine detail that the lens might or might not have resolved.

Without the resolution-limiting filter there is no way to

Taming the light When talking about the virtues of a lens, the term that invariably comes up is ›correction‹ – a fine lens is a highly corrected lens. But isn’t that quite an odd state of affairs?

Why should you have to correct anything at all when you could be doing it right to begin with? The answer is simply that you cannot. A spherical lens will exhibit all kinds of optical aberrations, even if it is made from the finest optical glass and ground to the strictest of tolerances. It is just in the nature of a spherical lens to show spherical aberration, curvature of field, distortion, chromatic aberration, and other equally undesirable properties. The standard approach for correcting these deficiencies is to combine more than one spherical lens in a way that cancels out their aberrations. This approach has its drawbacks, as each additional lens increases the likelihood of lens flare and diminishes the amount of light delivered at the rear end. A second approach is the use of aspherical lenses, which are quite effective against monochromatic aberrations and can cut down on the total number of lens

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crosssections of four S lenses

elements required. Both approaches carry a cost. Correcting aberrations with multiple lens elements may require the employment of special, often expensive, types of glass that can also be difficult to process when they are either particularly soft or particularly brittle.

Manufacturing aspherical elements, on the other hand, is much more complex than grinding lenses to a spherical shape, especially when their diameter is large and the demanded tolerances are tight.

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Lofty goals Correcting optical aberrations for special cases is one thing, correcting over the whole gamut quite another. But that is what Leica had set out to do. Traditionally, lens designers strove to optimize the correction for the lens focused at infinity. In the past, when computer power was limited, this served to simplify the calculations necessary – but not any longer. Still, even with the fastest of computers, optimizing lens design not for a fixed distance but for the full range from the near limit to infinity is a daunting task.

It is something of a Leica tradition that a lens should be fully usable even wide open; otherwise boasting a high lens speed would just bolster the specs without offering any tangible benefits. Choosing a smaller aperture should only ever be necessary for extending the depth of field, not for suppressing aberrations. Stopping down for the sake of reducing spherical aberration also has a downside: when a smaller aperture cuts out peripheral rays of a lens under-corrected for spherical aberration, the plane of optimum focus starts to shift. This wasn’t much of an issue with silver-halide photography, but when Leica introduced the M8, both the nature of the sensor and the increased magnification factors customarily employed on the computer display made the effect quite evident. Affected lenses like the old Noctilux-M and the Summilux-M 35 mm were cherished for their creamy bokeh, but the very cause of that bokeh – under-corrected spherical aberration – was also responsible for a noticeable focus shift when stopping down. Just as these lenses have since been succeeded by new and improved designs without discernible focus shift, the lenses for the S2 were required to be highly corrected for spherical aberration and thus virtually free of focus shift. Compensating for a known focus shift in the autofocus, as some vendors do, would introduce a discrepancy between the viewfinder image and the eventual picture taken; making sure that the issue doesn’t crop up in the first place is clearly to be preferred.

Almost any lens can, and does, perform well near its center; it is the peripheral parts of the image where the wheat is separated from the chaff. In a painstakingly composed image the photographer could manage to keep his subject in the center where the lens excels, but a customer might have different ideas about an optimum crop.

D

B

A Leica Summarit-S 35 mm f/2.5 Asph B Leica Summarit-S 70 mm f/2.5 Asph C Leica Apo Macro-Summarit-S 120 mm f/2.5 D Leica Apo Elmar-S 180 mm f/2.5

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51-946. Photo Š Gregory heisler.

Light Shaping by

Gregory Heisler Shot with flash lighting or in natural daylight?

For further information go to

www.profoto.com

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See how at Profoto.com/lightshaping

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1 2 3 4 5 6 7 8 9 10

Anatomy of a lens While each lens has individual characteristics such as which of and how its elements move during focusing, this cross-section of the Summarit-S 35mm f/2.5 Asph also illustrates the general design of the S-Lenses. All the lenses share common or similar mechanical, electrical, and electronic components.

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1 · 10 Aspherical lenses Partly due to two precision polished aspherical elements at the front and rear the lens is largely free of monochromatic aberrations.

3 Manual override When the photographer starts to turn the focus ring, an optical sensor within the lens detects this and shuts off the fo­ cusing motor.

5 MONOBLOC Frame The lens elements are held in place by a single and thus very rigid and extremely robust aluminium barrel.

2 · 6 · 9 Sealing Seals at the front, the mount, and between the tubes help to pre­vent water or dust from getting inside the lens assembly.

4 Feedback A magnetic strip allows the lens to control the actual focus position reached.

7 Central shutter The CS version offers an opportunity to work with the central shutter as an alternative to the camera’s focal plane shutter.

8 REAR GROUP FOCUSING Focusing is achieved by moving only the six-element group at the rear so the lens doesn’t extend, making it much easier to achieve effective sealing.

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When the eventually published version shows more of the peripheral parts than of the center, a lens performing evenly well up to the bounds of the image circle pays off.

So these were the goals to be reached – designing a set of lenses with excellent correction for optical aberrations, not just for special cases but maintaining a high level of correction over the full range of aperture values and subject distances, and across the full image frame.

slope implies a robust solution that degrades gracefully in the face of small deviations, either due to manufacturing tolerances, the temperature coefficient of the lens components, or shock. Conversely, a steep crag indicates a brittle solution requiring extreme precision – beyond a small spot of optimality the image quality deteriorates dramatically. Leica generally opted for a conservative approach avoiding such brittleness.

Mopping up digitally?

These days, optical correction is no longer the only game in town. Digital image processing offers its own solutions for correcting at least some aberrations, notably distortion, vignetting, and lateral chromatic aberration. Digital corrections have become commonplace, either in the camera or in the raw conversion software, and throughout the industry – professional DSLRs are just as likely to apply algorithmic corrections as compact digicams are. If done right and with consideration, digital corrections can offer real improvements, but these improvements have a downside. Removing either barrel or pincushion distortion drags some of the original pixels outside the image frame; these pixels are irretrievably lost, leaving gaps to be filled by interpolation. Compensating for vignetting is equivalent to locally increasing the ISO sensitivity, with the inevitable increase in noise it entails. Digital correction also detracts from the immediacy of the photographic experience, since what you see is no longer what you get – the optical image projected onto the focusing screen differs from the processed image written to the memory card. In Leica’s view, technology should never get in the way of the photographic experience, another reason for doing without digital corrections, and concentrating on optical correction instead.

Assembly The result of the lens design proper is merely a blueprint for a couple of pieces of glass in various shapes. On top of the glass, lenses need tubes, a helical screw, a diaphragm, motors, a CPU, and, optionally, a central shutter.

This opens yet another area for optimizations, some of which concern the image quality or other optical characteristics. Lens flare may not just be caused by reflections off the glass, but also by diffusely reflecting mechanical components within the lens barrel, so apart from applying reflection-reducing lens coatings, all the mechanical parts need to be blackened. Of course, the suppression of stray light starts with a lens hood individually optimized for each lens. The diameter of the shutter opening places a limit on possible lens speeds, while a larger shutter requires a larger diameter barrel, so when developing the central shutter, Leica strove for the largest-possible inner diameter at the smallest-possible outer diameter.

Being a renowned manufacturer of manual-focus lenses, Leica wanted to retain the accustomed feel of the focus ring moving smoothly with a minimum of play. With autofocus lenses, manual focus often appears as a mere afterthought, the short travel distance being optimized for automatic focusing. The S-System lenses, on the other hand, strive to deliver the best of both worlds. During focusing, the lens must remain sealed against dust or splash water, and while the 35, 70, and 180 mm lenses use inner or rear focusing exclusively so the barrel doesn’t extend and suck in air, seals in all the moving parts ensure that dust and water are kept out of the Apo Macro Summarit-S 120 mm f/2.5 as well. All the S-System lenses are also shockproof and cold-resistant down to −20°C.

Mountaineering in the design space Lens design is always a compromise, an attempt at reconciling conflicting requirements. Finding a solution that optimally satisfies a given set of requirements can be visualized as a journey through a multidimensional landscape of lens designs. There are mountains, hills, plains, and valleys, and the higher the altitude, the better the lens. Optimizing locally, i.e. climbing up the nearest peak, is simple enough, but such a local optimum could be a mere molehill between towering mountains. While simulation software accelerates these local optimizations and supports the testing of several ideas before deciding on the best approach, finding the absolutely highest mountain and thus the truly optimum lens still requires an experienced lens designer drawing upon a wealth of knowledge, talent, and the occasional stroke of genius.

But it isn’t just the height that counts. Everything else being equal, a gradually sloping peak or even a plateau should be preferred over a slender pinnacle. A gentle

Putting it all into practice A guiding principle in designing the lenses for the SSystem was to maintain an even distribution of the total refractive power among all the lens elements. Concentrating the refractive power in a single lens would tend to increase chromatic aberrations that would be difficult to correct for. That the lenses are optimized for high performance rather than low cost is evident in Leica’s choice of glass types. Both the telephoto lenses and the Summarit-S 35 mm f/2.5 Asph use low dispersion elements for reducing chromatic aberrations; these are ground from difficult to manufacture and difficult to process fluoride or fluoride-like glass. On average, glass types with anomalous

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partial dispersion account for about one half of the lens elements used.

In the Summarit-S 70 mm f/2.5 Asph and Apo Elmar-S 180 mm f/3.5, correcting for monochromatic aberrations is achieved in part by employing a highly refractive glass type in some of the lenses. The other part is shouldered by aspherical elements as used in the Summarit-S 35 mm f/2.5 Asph and Summarit-S 70 mm f/2.5 Asph.

The manufacture of even large-diameter aspherical elements is a Leica specialty; even lenses with extreme geometries can be ground and polished to an extreme precision with a minimum of waviness. This precision is achieved by magnetorheological finishing: the lenses are immersed in the polishing slurry, a suspension of magnetic particles in water that is computer-controlled by applying a magnetic field to create the desired shape and stiffness.

Grinding the glass to strict tolerances is just the first step. A lens design may appear to perform perfectly as a simulation model in a computer, but for the actually assembled lenses to perform equally well the elements have to assume a precisely defined position. Each lens element must be centered on the optical axis, orthogonal to that axis, and keep a fixed distance to the other elements and the mount. After assembly the lenses still have degrees of freedom for micron step adjustments until the desired tolerances are satisfied. There are also designated key distances between lens groups that can be adjusted for minimizing spherical aberration and curvature of field.

The focusing methods employed are quite diverse and optimized for each lens. The Summarit-S 35 mm f/2.5 Asph is focused by moving the rear group only; the overall length of the lens stays the same. The latter is also true of the Summarit-S 70 mm f/2.5 Asph, even when the entire lens assembly is moved for shifting the focus, as this happens behind a protective filter effectively sealing the lens. An additional floating element at the rear serves to ensure a uniform level of correction for monochromatic aberrations over the focusing range. A floating element is also used in the Apo Macro Summarit-S 120 mm f/2.5 where it improves the correction at close distances, but focusing is achieved by moving the front lens assembly.

Finally, the Apo Elmar-S 180 mm f/3.5 uses internal focusing by moving a group of three of its total of nine lenses.

Leica SUMMARIT-S 35 mm f / 2.5 Asph

100 80 60 40 20 0

0

0,2

0,4

0,6

0,8

1,0

Aperture f2.5 The lens maintains a high level of contrast from the center to the edges; the contrast of tangential structures is evidence of the effort that has been put into the correction of chromatic aberration.

Leica SUMMARIT-S 70 mm f / 2.5 Asph

100 80 60

Aperture f2.5 The high contrast in fine detail even at f2.5 that the lens delivers when focused to infinity is actually repre­ sentative of its performance up to its near limit of 0.5 m.

40 20 0

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Leica APO Macro-SUMMARIT-S 120 mm f / 2.5

100 80 60

Aperture f2.5 The lens achieves an almost uniformly high contrast across the image circle, even with the aperture fully open, so the potential for improvement by stopping down is consequently limited.

40 20 0

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Leica APO ELMAR-S 180 mm f / 3.5

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Aperture f3.5 With its nine lenses, all of them spherical, the performance of the Apo-Elmar-S is such that nothing but a desire to increase depth of field could be a reason for stopping down.

40 20 0

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Reading MTF curves MTF (short for Modulation Transfer Function) charts are a handy way of visualizing the performance of a lens in terms of sharpness and contrast. The modulation transfer function indicates how the contrast (and thus the sharpness) of alternating black and white lines varies from the center of the image to its edges. MTF charts differ­ entiate between the contrast of patterns in different orientations – sagittal patterns of lines running from the center towards the edges and tangential patterns of lines running perpendicular to the former.

The four pairs of curves in each chart show the contrast for spatial frequencies of 5, 10, 20, and 40 line pairs per mm (Lp/mm).

Cutline Sagittal structures

Wrapping up Leica had set out to offer lenses offering visible improvements over existing equipment, not just with regard to image quality but also concerning robustness and handling. Achieving these goals was not a matter of individual breakthroughs; rather it required perseverance in a series of disciplines where any failure would have compromised the final result.

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Tangential structures

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240x32

beds

cabinets

room divider

shelf systems

wardrobes

studimo www.interluebke.com

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S-League

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THE

S-LEAGUE INTERNATIONAL PHOTOGRAPHERS PRESENT A SELECTION OF THE BEST CAMPAIGNS. THE WEBSITE WWW.S-LEAGUE.NET AND IPAD APP CONTINUALLY PRESENT FURTHER PROJECTS.

MADE MOI SELLE

Lingerie shoot for ›Caffeine Nicotine‹ magazine

by London photographer John Wright

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John wright Caffeine Nicotine

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Client Caffeine Nicotine / John Wright Art director John Wright Models Alena Kolchina / First Model Management, Karina / Profi le Model Management, Roos / Models 1 Styling Natasha Freeman Hair/makeup Sam Norman Camera Leica S2 with Summarit-S 35 mm f/2.5 Asph and Summarit-S 70 mm f/2.5 Asph

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Chiun-Kai Shih Client Magazine

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Client Client Magazine UK / Tom Ford Art director Chiun-Kai Shih Model Jules / Adam Models Styling Brent Austin Coover Hair/makeup Scott McMahan Camera Leica S2 with Summarit-S 70 mm f/2.5 Asph and Apo Macro Summarit-S 120 mm f/2.5

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Daniel Josefsohn

HERR VON EDEN.COM I PHOTO: DANIEL JOSEFSOHN.COM

herr von eden.com ı PhoTo: danıel josefsohn.com

herr von eden.com ı PhoTo: danıel josefsohn.com

herr von eden

Client Herr von Eden Art director Jessica Broscheit Models Bent Angelo Jensen, Peter Kisur Styling Bent Angelo Jensen, Peter Kisur Hair/makeup Peter Kisur Postproduction www.primate.tv Camera Leica S2 with Summarit-S 35 mm f/2.5 Asph, Summarit-S 70 mm f/2.5 Asph and Apo Macro Summarit-S 120 mm f/2.5

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herr von eden.com 覺 PhoTo: dan覺el josefsohn.com

herr von eden.com 覺 PhoTo: dan覺el josefsohn.com

S-League

Joachim baldauf Bree

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Client Bree / Büro Uebele Models Christina Kruse / Mega Model Agency, Chris Schwarz / Kult Styling Martina Riebeck / Ballsaal Hair Helge Branscheidt / Ballsaal Makeup Stefanie Willmann / Ballsaal Camera Leica S2 with Summarit-S 70 mm f/2.5 Asph

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Robert Grischek

best fashion, The style magazine from Men’s Health STYLE-CHECK Bustier aus Kalbsleder mit Zipper vorn von HE RM ÈS, um 2900 Euro. Brille mit Acetatrahmen von OL I V E R PE OPL ES, um 285 Euro.

Füllfederhalter von M ON T BL A NC, um 650 Euro

D ER K N UP P E R EPO RT

SI E T RÄGT : Bodenlanges Kleid aus Seidencrêpe mit Leopardenmuster von M I CH A L SKY , um 1900 Euro.

Peep-Toe-Sandaletten von CHRIST I A N DI OR, um 640 Euro

Franziska Knuppe ist Top-Model, Moderatorin, eine der schönsten Frauen Deutschlands und glücklich verheiratet.

Ein Auge auf andere Männer wirft sie trotzdem ab und

E R T RÄGT : Naturfarbene Badehose in Retro-Optik aus einer Baumwollmischung von DOL CE & GA BBA N A, Preis auf Anfrage. Sneakers von Y -3 , um 260 Euro.

Trimm-dich-Rad von CI CL OT T E , um 8300 Euro

zu - natürlich rein beruflich. Was sie von Männern und ihrer Mode hält, verrät sie Ihnen nur hier FOTOS: ROBERT GRISCHEK PRODUKTION: ISA PETEREIT

E R T R ÄGT : Hausmantel aus schwarzer Baumwolle mit feinem Webmuster von B R I O N I , Preis auf Anfrage. Langhantel von M E N ’ S H E A L T H P O W E R T O O L S , um 300 Euro

BEST FASHION 01/2011

Ü B E R

KURZE

HOSEN:

BEST FASHION 01/2011

S IE TRÄGT: Schmales Trägerkleid aus Seidencrêpe mit Lacklederbesatz von V ERSA CE, um 1600 Euro. Plateaupumps von PR A DA , um 800 Euro

H O M E W E A R :

„Auch in den eigenen vier Wänden sollte man seinen Stil nicht vergessen.

Vor allem dann, wenn man nicht alleine zu Hause ist! ist!“

ER TRÄGT: Sakko und Jogpants aus grauem Jersey von DIRK BIK K EMBERGS SPORT COU T URE, um 710 und 360 Euro

PRODUKTIONSASSISTENZ: MARC WEINREUTER; LOCATION: SCOUT FOR LOCATION

S I E T R ÄGT : Jumpsuit aus schwarzem, glänzendem Jersey von A C N E , um 800 Euro

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FOTOS: ROBERT GRISCHEK/WWW.GRISCHEK.COM, FOTOGRAFIERT MIT LEICA S2; MODELS: FRANZISKA KNUPPE/MODEL-MANAGEMENT, ARTUR/KULT; HAARE/MAKE-UP: SONJA SHENOUDA/BIGOUDI USING MAC;

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ÜBER

„Ein Mann, der sich in kurze Hosen traut, sollte schmale Beine haben. Für alle anderen gilt: Mit weiten Bermudas ist man immer auf der sicheren Seite!"

Seite!“

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DEN

JOGGINGHOSEN-TREND:

„Dieser Trend ist nur etwas für junge, gut trainierte Typen, die noch dazu gut gestylt sind. Über 30 wird es kritisch mit Lässig-Look" dem Lässig-Look“

Schwarzes Kleid mit Zierschleife von DSQUA RE D, um 1450 Euro.

Lacklederpumps von BURBE RRY PRORSUM , um 730 Euro

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ÜBER

BEST FASHION 01/2011

Client Best Fashion Production Isa Petereit Model Franziska Knuppe / Model Management Styling Marc Weinreuter Hair/makeup Sonja Shenouda Camera Leica S2 with Summarit-S 35 mm f/2.5 Asph and Summarit-S 70 mm f/2.5 Asph

ESSENTIALS:

„Männer haben es eigentlich ganz einfach: Gut sitzende Jeans, ein cooles T-Shirt und ein hochwertiger Gürtel, und man ist (fast immer) gut angezogen" angezogen“

S I E T R ÄGT : Knöchellanges, roséfarbenes Seidenkleid, um 980 Euro, Sandaletten mit Animal-Print, um 410 Euro, beides von DS Q U A R E D E R T R ÄGT : Braunes Ledersakko, um 410 Euro, apricotfarbenes T-Shirt, um 260 Euro, Raw-Denim-Jeans, um 440 Euro, Gürtel, um 410 Euro, alles von DS Q U A R E D .

Braune Glattleder-Loafers von T O D ’ S , um 440 Euro. Hanteln aus dem Wellness-Rack von T E C H N O G Y M , Set um 650 Euro

01/2011 BEST FASHION

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JONATHAN MANNION CROWN ROYAL BLACK WITH BIG BOI

Client Diageo, Crown Royal Black / Cornerstone Art director Adam Cohen Model Big Boi Production Stardust Visions Camera Leica S2 with Summarit-S 70 mm f/2.5 Asph

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WWW.S-LEAGUE.NET

20.09.11 20:29

Does the word “Chronometer” have a superlative form?

Zeitmeister.

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A milestone in fine German watchmaking: The first German wristwatch chronometers that underwent the strict testing procedures at Glashütte Observatory. WEMPE ZEITMEISTER Chronograph in stainless steel with self-winding movement.

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20.09.11 10:48 20:30 01.08.11

S-LEAGUE

MANUEL PANDALIS MADAME

Beauty & Wellness

Client Madame Production Susanne Stefanski Model Marina / Place Model Mangement Agentur Hair/makeup Helge Branscheidt / Ballsaal Camera Leica S2 with Summarit-S 70 mm f/2.5 Asph

beauty

Sun kissed Ein schöner Sommer-Teint ohne Nebenwirkungen? Intelligentes Bräunen und die richtigen Pflegeprodukte garantieren perfektes Sonnen-Management Fotos: Manuel Pandalis Für tank ManageMent

FOTO: Manuel Pandalis für Tank Management

Safe & schön

Sun-kiSSed PerFekT geschüTzT in die sOnne • Look süsser caPri-sTil • SpaS iTaliens TOP-adressen • fitneSS sPOrTarTen, die sich PerFekT ergänzen • favoriten iTalienische düFTe • GeSundheit die wichTigsTen VOrsOrge-checks • pSycho FlirT Oder liebe?

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Model: Marina für Place Models. Haare & Make-up: Helge Branscheidt für Ballsaal, mit Produkten von Estée Lauder Produktion: susanne steFanski MADAME 6/2011

beauty

COOL-DOWN

SanfteS

M Bodygards 1

clevere

nach der Sonne

2

3

4

5

6

1

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PFlege-exPerten 1 Abkühlung für erhitzte Haut: „Posthelios“ von La Roche-Posay, um 16 Euro 2 „After Sun Intensive Recovery Cream“ stellt dank Lilienextrakten den Feuchtigkeitsgehalt wieder her, von Shiseido, um 28 Euro 3 „Gel d’ Aloès à la Menthe“ beschleunigt den Regenerationsprozess mit Aloe vera und Minze, von Ligne St Barth, um 42 Euro 4 „SOS After Sun Repair Lotion“ erfrischt den Teint nach dem Sonnenbad und schenkt eine Extraportion Pflege, von Nivea, um 6 Euro 5 Soforthilfe: „After Sun Fluid“ beruhigt sonnengestresste Haut mit Melisse und Magnolienblüte, von Babor, 7 x 2 ml, um 22 Euro 6 Enzyme der Blaualge wirken regenerierend und lassen Rötungen sofort abklingen: „Pflege und Regeneration“ von Ladival, um 19 Euro

indestens zwölf Stunden Ruhe braucht die Haut nach einem Sonnentag. Damit Zellteilung und -versorgung wieder reibungslos ablaufen, funken spezielle Botenzellen SOS. Sofort werden Reparaturteams losgeschickt, die aber viele Stunden benötigen, um ihr Ziel zu erreichen. Das hauteigene Reparatursystem kümmert sich dann um die Zellschäden und kann einen Großteil davon auch wieder beheben. Grundsätzlich raten Hautärzte, nicht mehr als 50 Sonnenbäder pro Jahr zu nehmen, wobei 1 bis 2 Stunden sonnen pro Tag das absolute Maximum sind – auch mit UV-Schutz! Beim Cool-down helfen After-Sun-Produkte mit Reparaturenzymen, die man am besten noch am Strand auftragen sollte. Viele Produkte enthalten zusätzlich hautberuhigende und entzündungshemmende Substanzen.

Am besten sind reichhaltige Cremes, die die Haut zusätzlich mit jeder Menge Feuchtigkeit versorgen, wodurch die Bräune länger hält. Frisch entstandene Knitterfältchen um die Augenpartie lassen sich erstaunlich gut „wegpflegen“, bevor sie sich dauerhaft in die Haut graben. Zweimal täglich – morgens und abends – eine wirkstoffreiche Augenmaske auftragen. Reichhaltige Augencremes oder -pads mit Hyaluronsäure, Aloe vera oder Thermalwasser sind auch zwischendurch eine Wohltat und sehr effektiv. Auch die Haare sind der Sonne gnadenlos ausgeliefert. Durch das UV-Licht bleicht die Farbe schneller aus, aus seidigem Haar wird schnell ein trockener Pflegefall. Nach dem Strandtag deshalb Shampoos, Kuren und Conditioner mit Proteinen und Panthenol verwenden. Unter der Dusche gilt: Weniger ist mehr. Nur lauwarmes Wasser verwenden und nicht zu lange berieseln lassen. Duschöle versorgen die Haut mit Pflegeextrakten und verhindern, dass zu viel Wasser in die oberste Hautschicht eindringt. Anschließend die Haut trocken tupfen, nicht trocken reiben. Wenn es auch sonderbar klingt: Für eine schöne und gleichmäßige Bräune sorgt außerdem ein sanftes Peeling. Gerade nach der Sonne schuppt sich die Haut intensiver. Das Peeling lässt den Teint frisch gebräunt strahlen.

Marina JageMann

für Sonnenanbeterinnen

B

2

FOTOS: 2011 Michael Holz Studio (1)

beauty

eim Sonnenschutz gilt: Wer B sagt, muss auch A sagen. Das ist wohl die wichtigste Regel für den gesunden Umgang mit UV-Licht. Die lange unterschätzten UVA-Strahlen verursachen zwar keinen Sonnenbrand, dringen aber deutlich tiefer in die Haut ein als UVB-Strahlen und beschleunigen dort den Alterungsprozess, machen das Bindegewebe schwach, fördern Cellulite GemäSSiGte und sogar Hautkrebs. Deshalb enthalten Sonnenbäder laSSen den TEINT Strahlen moderne Sonnenschutzmittel immer beide Filter in einem ausgeglichenen Verhältnis. Wenn das Verhältnis den Empfehlungen der EU-Kommission entspricht, wird dies durch ein Logo (die Buchstaben UVA in einem Kreis) auf den Packungen angezeigt. Neue wissenschaftliche Erkenntnisse gehen allerdings noch einen Schritt weiter und bestätigen, dass Sonnenlicht das Immunsystem schwächt und die Langerhans-Zellen schädigt. Diese Zellen arbeiten normalerweise wie eine Art Schutzpolizei in der Haut und spüren jeden Schaden auf. Durch UV-Licht werden sie in ihrer Arbeit behindert und sind erst zwei bis vier Wochen nach dem Sonnenbad wieder voll funktionstüchtig. Deshalb sind in Sonnenprodukten immer häufiger Wirkstoffe eingebaut, mit denen sich in der Natur Pflanzen vor zu viel Sonne schützen. Sie können auch in der menschlichen Haut die Reparaturmechanismen ankurbeln. Die beste Sonnencreme hilft allerdings nicht, wenn sie nicht richtig angewendet 101 wird. Für den Körper braucht man mindestens zwei Esslöffel Sonnencreme, sonst kann sich der Lichtschutz um bis zu 70 Prozent reduzieren. Für die Wahl des richigen Lichtschutzfaktors hilft der sogenannte UV-Index, kurz UVI. Das ist ein international gültiger Wert, mit dem man ausrechnen kann, wie lange man sich Sonnenstrahlen aussetzen darf.

Je höher der Wert, desto größer das Risiko von Sonnenschäden. Werden beispielsweise UVI-Werte von 5 bis 7 erwartet, so bedeutet dies eine hohe UV-Belastung. Ein Sonnenbrand ist dann schon nach 20 Minuten sehr wahrscheinlich. Als Faustformel für den Lichtschutzfaktor (LSF) gilt: Doppelter UVI-Wert ergibt den LSF des Sonnenschutzmittels, mit dem sich Erwachsene schützen sollten. Informationen über den aktuellen UVI: www.bfs.de/uv/ir MADAME 6/2011

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amit die Haut im Gesicht besonders gut geschützt ist, beschränkt sich gezielte Anti-Aging-Sonnenpflege heute längst nicht mehr allein auf die Abwehr von Strahlen. Das ist wichtig, denn erwiesenermaßen entstehen 80 Prozent der Hautalterung durch UV-Licht. Die Cremes enthalten deshalb ausgefeilte Rezepturen und spezielle Inhaltsstoffe, wie etwa Vitamine oder Pflanzenwirkstoffe, die freie Radikale neutralisieren sollen. Diese neuen Wirkstoffcocktails mit Multizellschutz können die Auslöser für lichtbedingte Hautalterung hemmen und das Erbgut der Zellen vor Schäden bewahren. Innovative Technologien verhindern außerdem, dass sich sonnenbedingte Pigmentflecke und unregelmäßige Hautpigmentierungen bilden. Die meisten Sonnencremes sind sehr reichhaltig und deshalb auch ein perfekter Ersatz für die Tagescreme. Eine große Brille mit breiten Bügeln schützt die Netzhaut vor UV-Strahlen – und sieht gut aus. Allerdings hält sich hartnäckig ein weit verbreiteter Irrtum: Je dunkler die Sonnenbrille, desto besser ist der Schutz vor UV-Strahlen. Das Gegenteil gilt: Durch die dunklen Gläser werden die Pupillen erweitert und es können besonders viel UV-Strahlen eindringen. Schützen kann nur ein separat eingebauter UV-Filter. Den Lichtschutz gibt es in den Kategorien 0 bis 4. Für unsere Sommersonne reicht Schutzstufe 2, am Strand besser 3 benutzen. In Augencremes sind die Filter so verpackt, dass sie nicht ins Auge wandern können. Auch die Lippen brauchen Extrapflege, weil sie kaum schützendes Melanin bilden können. Ein Sonnenpflegestift oder Lippenstifte mit Lichtschutz sind deshalb im Sommer ein Must. Auch für das Gesicht gilt: reichlich cremen. Die offizielle Empfehlung der Hautärzte lautet: zwei Milligramm pro Quadratzentimeter Haut, was etwa einem Teelöffel Sonnencreme für das Gesicht entspricht. Es gibt zwar mittlerweile Cremes, die einen Sofortschutz versprechen. Auf der sicheren Seite ist man, wenn man den Sonnenschutz 20 bis 30 Minuten vor dem Sonnenbad aufträgt. So lange brauchen die chemischen Lichtschutzfilter, um ihre Wirkung zu entfalten. Den Schutz außerdem mindestens alle zwei Stunden erneuern.

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sonnensicher 1 „Sonne Intensiv“ erhöht die Sonnenverträglichkeit der Haut von innen heraus, von Oenobiol, um 21 Euro 2 „Sun Fluid Mattierend 50+“ hinterlässt keinen Fettfilm, von Eucerin, um 17 Euro 3 „UV Plus HP Ecran Multi-Protection SPF 40“ schützt zuverlässig mit Extrakten der Cantaloupe-Melone, von Clarins, um 36 Euro 4 „Crème Protectrice Sublimante Visage, SPF 15“ lässt das Gesicht besonders gleichmäßig bräunen, von Dior, um 32 Euro 5 „Bronzage Anti-Age SPF 15“ verhindert die Entstehung von Pigmentflecken, von Liérac, um 22 Euro 6 Schnelle Hilfe bei Rötungen: „Intelligence Soleil AfterSun Mask“ von Dr. Pierre Ricaud, um 14 Euro 7 Ideal für empfindliche Gesichtspartien: „Large Écran UV SPF 30“ von Guinot, um 37 Euro

MADAME 6/2011

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schutzschilde 1 Hoher Schutz für empfindliche Haut: „Sonnenschutz-Öl LSF 40“ von Vichy, um 15 Euro 2 „Sun Age Control Body Lotion SPF 30“ schützt die Haut vor UV-bedingten Schäden, die sie altern lassen, von Lancaster, um 49 Euro 3 „Sonnenmilch Light & Silky LSF 30“ lässt sich besonders gleichmäßig verteilen, von Garnier, um 13 Euro 4 „Soleil Divin 20“ verhilft zu einer ebenmäßigen Bräune, von Caudalie, um 21 Euro 5 Zuverlässiger Schutz gegen Sonnenbrand: „Lait Solaire 30“ von Biotherm, um 20 Euro 6 Nahrungsergänzung „Intensive Bräune Anti-Ox“ bereitet auf die Sonne vor und hilft, die Bräune zu verlängern, von Innéov, um 20 Euro 7 Praktisch: „Body Spray SPF 25“ pflegt bereits während des Sonnenbadens, von Clinique, um 24 Euro

MADAME 6/2011

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WOHNSTOFFE UND TEPPICHE

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Showrooms: Bielefeld | Hamburg | Berlin | München | www.jab.de

Client JAB Anstoetz Creative Director Kai Stuht Models Nelli Tombor, Anna Kuen / Most Wanted Models Styling Patrizia Bitschnau Hair Doris Holzapfel / www.artistgroupmierau.com Makeup John Elliott / www.artistgroupmierau.com Prop master Cristl Wein Props Zeitlos Berlin, Bauhaus furniture from Stilwerk Berlin Camera Leica S2 with Summarit-S 35 mm f/2.5 Asph

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LEICA S2 A class of its own.

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