Carl Zeiss newsletter nr34_en_web
-
Upload
transcontinenta-bv -
Category
Documents
-
view
235 -
download
6
description
Transcript of Carl Zeiss newsletter nr34_en_web
31
Contents
Setting My Sights
on Happines 2
Photo Contest:
Digital Culture 5
Quick and Automatic 6
Beyond the Visible 7
Fascination for the
Finer Details 10
December 200934 Carl Zeiss Camera Lens Division
Cam
era
Len
s N
ews
A n
ewsl
ette
r fo
r an
yone
who
enj
oys
usin
g, w
ritin
g ab
out,
buy
ing
and
selli
ng C
arl Z
eiss
cam
era
lens
es.
Carl Zeiss December 2009 Page 2
Camera Lens News No 34
Setting My Sights on Happiness
“Gross national happiness” is
the primary national objective in
Bhutan: every citizen has a funda-
mental right to happiness. There
is even a happiness commission
to ensure the happiness of the
population. Berlin-based photog-
rapher Philip Koschel traveled to
the Asian kingdom for the GEO
Saison magazine article “Journey
to Happiness” which appeared
in the 11/2009 issue. His lug-
gage included two Nikon D700
cam eras and various macro and
wide-angle lenses from Carl Zeiss.
He told us about his search for
happiness and his attempts to
capture it.
“Are you happy?” I asked everyone in
Bhutan whenever I took their picture.
The answer was always “Yes.” “Why?”
I pried. The reasons for happiness
were simple and moving. A young
monk, for example, told me that he
was happy to have the chance to
study in a monastery. The opportunity
to talk to me also made him happy.
I was touched. Bhutan is one of the
poorest countries in the world, yet
the people happy. This is most likely
because they have a different idea of
happiness than we do. They do not
fancy material possessions. Meeting
others, learning, expressing their feel
ings through religion – that is what
makes them happy.
On the trail of the Queen
I was invited by the Queen of Bhutan
to accompany her on a hike to a re
mote region of the country that is gen
erally off limits to foreigners. She was
on her way to a secluded village to
speak to the villagers about hy giene
and the risk of AIDS. I was allowed to
document the journey. Not only my
own fitness, but also the condition
of my material were put to the test.
It rained a lot, and a persistent mist
hung over the valleys. The camera
Like a bird’s nest: the Tiger’s Nest Monastery near Paro, Bhutan
Hanging bridge in the Paro Valley decorated with prayer flags
Carl Zeiss December 2009 Page 3
Camera Lens News No 34
and lens were engulfed in a gray
haze. Nonetheless, I was able to take
several outstanding pictures with bril
liant colors. This type of weather de
mands the utmost of material; many
lenses cannot withstand the moisture.
The images are often as dreary as the
weather. The altitude and air pressure
also take their toll on the material –
more than 80 percent of the country
in the eastern Himalayas is at least
2,000 meters above sea level. During
the trip, one of my cameras took its
very last picture, but I could always
rely on my ZEISS lenses.
Macro or wide-angle – just let it
be a fixed focal length
I am not a fan of zoom lenses. Zoom
lenses are for cowards! My motto is
simply “get up close and personal.”
Photographers really have to get on
people’s nerves if they want a good
photo. That is the only way for a
picture to communicate the atmos
phere of the colors and smells. It is
also why I like to use different wide
angles. In Bhutan, I often alternated
between the Distagon T* 3,5/18, the
Distagon T*2,8/21 and the Distagon
T* 2,8/25. The wideangle lenses
from Carl Zeiss are completely relia
ble. Most importantly, there are no
chromatic aberrations and the images
are razorsharp to the edges – even
at full aperture. I have experienced
problems with chromatic aberrations
with other wideangle lenses.
There are, of course, many situations
where I cannot get as close to an
object as I would like, for example,
a close up of someone‘s face. For
something like that, I need a lens like
the MakroPlanar T* 2/100. I have
developed a real fondness for this
lens. For example, when I use it to
photograph a monk’s eye, the result
is a razorsharp image that can only
come from a ZEISS lens. At the same
time, the image fades into a hazy blur
in the background. This is particularly
good when I am only interested in a
specific detail such as the radiant eyes
in the middle of a wrinkled face.
Manual and intuitive for perfect
composition
I bought an extra Nikon camera so
that I could use the manual ZEISS
lenses. Now, many of the lenses can
be used on Canon cameras. It is an
indescribable feeling to turn the focus
Two young monks turn the prayer wheel at the Paro-Dzong Monastery
A monk at the Chorten National Memorial
Carl Zeiss December 2009 Page 4
Camera Lens News No 34
ring on these lenses the first time. It’s
like the first time you hold a hand
made Swiss watch and think, “Man,
what a watch.” You can also feel the
precision of the handcrafted parts on
these lenses. It is a calming and moti
vating feeling to work with the best
materials available. The transmission
ratio when focusing the ZEISS lenses
is also very good.
Manual operation is very important
to me. Composition is the key to a
good picture. This is supported by
lenses from Carl Zeiss. You can only
fully concentrate on your image, the
composition, the detail and the per
spective if you focus manually. I start
composing the picture as soon as I
put the camera in front of my eye. I
immediately see if I have to move the
detail to achieve a better effect. It is
just a good feeling.
I correct this intuitively. And this is
only possible because I am connected
to the image in a different, more
intense way when I focus manually.
Taking pictures is a structuring process
that I have to perform. It often has to
go quickly. Nonetheless, I have to take
things to another level to meet my
own high demands. The image must
have a certain concentration of detail,
but it must not be rigid and inflexible.
This is not possible with an autofocus
lens in this form. For example, if
photographers want to focus on an
object at the edge of the image, they
have to first direct their eyes to that
point and then move back to the
actual image frame. This takes a lot
of time and distracts them from the
actual composition.
Without a doubt, there were moments
when I would have enjoyed just tak
ing a simple snapshot during my tour
of Bhutan. With a manual lens, this
task is just more difficult. However, if I
focus on intermediate distances, I still
have a good chance of taking a good
picture.
Bhutan really impressed me. The
country and its inhabitants seem to
be from another planet. The people
inspired me: they seemed pure and
unadulterated; they didn’t change
just because I took their picture. They
had no ulterior motives, they didn’t
pose, didn’t cramp up and were never
impatient. Quite the opposite: they
felt honored and were happy to see
themselves in the camera display
afterwards.
Landscape in Monger in eastern Bhutan
Philip Koschel works for various
German travel and lifestyle maga
zines. During his communications
studies in Hamburg, he took pic
tures for surfing and skateboarding
magazines, which led him down
the road to fashion and advertising
photography. In 2003 he published
his first photography book: Behind
the Scenes Las Vegas, auf der
Suche nach dem Glück (Behind
the Scenes – Las Vegas, the Search
for Happiness). Since then he has
focused solely on documentaries
and traveled to the most remote
regions of the world looking for
inspiration and new horizons.
www.koschel.de
Carl Zeiss December 2009 Page 5
Camera Lens News No 34
Digital is spreading. Computers,
Internet and mobile devices have
become part of everyday life.
They simplify many things and
also change the way people treat
each other, exchange information,
work, play, meet friends, make
music and much, much more.
Digital is now deeply entrenched
in our culture. The Carl Zeiss
Photo Contest is for profession-
als and hobbyists who have a
very special way of viewing and
capturing the many aspects of
the “digital culture.”
The new Carl Zeiss Photo Contest
starts on December 15. The contest
is open to anyone using ZEISS lenses.
It doesn’t matter if the picture was
taken with an SLR lens or a camera
phone.
An international jury, including well
known photographers Edith Held
and Jürgen Müller, will judge both
creativeness and implementation.
Photographers who design their im
ages before and while taking them,
and largely forego editing will score
the most points.
After January 15, 2010, the jury will
select 10 winning photos for which
prizes will be given.
Prizes:
1st prize:
Your choice of a ZEISS SLR lens
2nd prize:
Cinemizer plus, including 8 GB iPod
touch
3rd prize:
Nokia N 86
All winning photos will be published
on the Carl Zeiss website. The top
three will be highlighted in an article
for CLN. The press work from Carl
Zeiss will draw a lot of attention to
the photos. The requirement for par
ticipation is that all submitted photos
can be used without licensing. Further
information and the submission form
are available at www.zeiss.de/photo.
The Carl Zeiss Photo Contest is held
every year in December. Last year, an
international jury of photographers,
including Uwe Ommer, selected the
pictures that best depicted the “Pulse
of the City.”
Exciting prizes await the winners of this year’s Carl Zeiss Photo Contest.
Photo Contest: Digital CultureEnter the Carl Zeiss Photo Contest between now and January 15, 2010.
Carl Zeiss December 2009 Page 6
Camera Lens News No 34
Quick and AutomaticThe new ZEISS ZF.2 lenses support automatic mechanismfor time, aperture and program
The new ZF.2 lenses provide
quick and easy handling, even in
the most hectic situations. The
photographer no longer needs
to adjust aperture and shutter
speed, as the lens automatically
transfers this data to the camera.
Featuring an electronic interface
(CPU), the ZF.2 lenses support
all relevant operating modes,
such as automatic shutter speed,
aperture and program control or
manual exposure adjustments,
even for camera casings that are
not AI-compatible. Enthusiasts of
uncomplicated photography can
use the new ZEISS lenses on all
digital single lens reflex cameras
with F-bayonet.
Not every photo enthusiast who
value creative, highquality images
wants to manually adjust his camera
for every shot. Precise creative pho
tography with high image quality is
now possible using automatic set
tings, with the high light speed and
depth of field typical for ZEISS lenses.
Carl Zeiss has developed its new ZF.2
range especially for photographers
who value convenience.
The ZF.2 lenses are tools for photo
g raphers who want to concentrate
more on their subject than on their
camera equipment. Whether at a
wedding, your daughter‘s first steps
or travelling in farflung countries, it
is all about capturing these unique
moments and encounters and preserv
ing them as a permanent memory.
These situations demand firstclass
technology that captures spontane
ous actions without too much effort
and ultimately delivers outstanding
images.
The ZF.2 lenses will be available in
eight focal lengths, six of which will
be launched at the end of November:
3,5/18, 2,8/21, 2/35, 1,4/50, 2/50
and 1,4/85. In spring, the Distagon
T* 2/28 ZF.2 and the MacroPlanar T*
2/100 ZF.2 will be available as well.
Carl Zeiss hopes to use the ZF.2 range
to supplement its proven ZF range of
lenses that is still available, but is cur
rently subject to long delivery delays
due to high demand.
For a list of compatible camera
models, please go to:
www.zeiss.com/photo
Carl Zeiss December 2009 Page 7
Camera Lens News No 34
Beyond the VisibleA visual voyage of discovery with infrared photography
From the very beginning infrared
photography has fascinated pho-
tographers. Unreal, dreamlike
landscapes, snow white leaves,
dramatic cloud formations and
bizarre colors are typical of the
surprising images captured with
infrared technology (IR). How-
ever, before heading off into the
realms of enjoyment, beginners
should acquaint themselves with
certain number of facts.
What creates the typical infrared
effect?
IR photography absorbs only the
longerwave infrared rays and hides
the remaining light with shorter
wavelengths. The human eye can
see light up to a wavelength of 780
nm. In infrared photography, the
camera’s imaging sensors, coupled
with suitable lenses, enable light
beyond this range to be visualized.
Familiar images thus take on a new
appearance, show more contrast and
display different colors. The nonde
script suddenly appears spectacular.
What accessories are needed?
An infrared filter is crucial. It screens
out the shortwave radiation of the
visible light either partially or fully
depending on the filter strength. This
considerably reduces the amount
of light reaching the film or sensor,
thus increasing the exposure times.
This makes a tripod essential in most
cases.
What kind of camera do I need?
All common digital cameras are
equipped with an IR barrier filter
intended to filter out the majority of
the longwave light before it falls on
the sensor. Photographers hoping
to achieve extreme infrared effects
should remove this filter. This means
delving into the camera body, some
thing many shy away from. Infrared
images can also be taken without
removing the sensor, but this requires
Wooden bridge, captured with a Planar T* 1,4/50 ZF IR, aperture 11, shutter speed 8 sec.
The sensor in current camera models filters out a large proportion of infrared light. The use of a camera with greater IR sensitivity is recommended to achieve a more intensive IR effect.
Carl Zeiss December 2009 Page 8
Camera Lens News No 34
longer exposure times and the images
will be less dramatic. Some older SLR
camera models are known for the fact
that their IR barrier filter works more
weakly on the sensor. For instance,
the Nikon D70 is popular among IR
photographers as it has a noticeably
higher infrared sensitivity. Photogra
phers working with analog cameras
are not affected by this limitation as
a special black and white infrared
film is used for exposure. The limited
control possibilities of analog photo
graphy require a certain amount of
experience, especially when it comes
to IR photography.
Which lens is best suited
to the job?
Lenses are usually equipped with a
coating intended to filter out a large
proportion of the infrared light. With
the majority of ZEISS lenses, the T*
antireflex coating prevents light
reflexes and scattered light and lets
only very little longwave radiation
through. Carl Zeiss offers the lenses
Distagon T* 2,8/25 ZF IR, Planar
T* 1,4/50 ZF IR and 1,4/85 ZF IR for
infrared photography. Originally
developed for industrial and scientific
applications, these lenses feature a
lens coating that allows considerably
more infrared radiation to pass
through. With an Fbayonet mount,
they fit common Nikon cameras that
are widely used by professionals and
amateurs alike. The high luminosity
of ZEISS fixed focal length lenses
is also advantageous with infrared
photography. This enables the longer
exposure times needed when working
with IR filters to be reduced. The IR
index printed in red on every ZEISS
lens helps to find the slightly offset
focus range.
How to achieve the best images?
First things first: infrared photography
is unpredictable. Many factors, from
the lighting situation, to technical
components and postproduction,
affect the process. Trial and error is
the order of the day. It is important to
realize that the focus range is slightly
offset in the infrared range. The IR
index on the focus ring helps with
correct adjustment. The IR filter is
unscrewed during focusing. Exposure
measurement is a matter of expe
The snowy landscape and long shadows create an exciting visual impression.
Carl Zeiss December 2009 Page 9
Camera Lens News No 34
rience, as the automatic measurement
does not take into consideration the
IR proportions of the light. Digital SLR
photographers are at an advantage
here as they can check and adjust
the image on site. The white balance
should also be performed manually
according to your individual taste. A
green sunlit area of grass or a blue
sky are best used for this. In order
to allow for the maximum latitude
in image processing, capturing the
pictures in a RAW format is recom
mended. Infrared photography is the
discovery of the invisible, making it
hard to control. In addition to the
onsite lighting situation, three factors
affect the final image camera, lens
and filter. Surprises therefore cannot
be ruled out, but ultimately they can
create highly fascinating visual worlds.
About Thomas Lakner
38year old Thomas Lakner from
Schwaebisch Gmuend (Germany)
discovered photography at the
age of 12. His passion began
with a manual Petri MF1. The
trained Industrial Manager prefers
shooting portraits and working
with macros and infrared using
Nikon cameras in his leisure time.
www.thomaslakner.de/IR/
Carl Zeiss December 2009 Page 10
Camera Lens News No 34
Fascination for the Finer DetailsJim Clark, the American nature photographer, on taking the first steps in macro photography
Photographing nature is wonder-
ful and so varied. In all its wealth
of possibilities, there is one disci-
pline I find particularly exciting
and challenging: macro photo-
g raphy. Looking through the
viewfinder, the fascinating details
of fer access to entirely new
worlds. A wild flower or colorful
ensemble of autumn leaves
can become an experience that
touches the soul and moves
the spirit.
When photographing the tiniest ob
jects and details in nature, there are
a number of points that need to be
observed regarding technique and
approach.
1. Tripod: the most important
accessory
Even though new developments are
constantly moving technical picture
stabilisation on, the tripod is, and
always will be, an essential item in
mac ro photography. The closer we
get to our motif, the more marked
the reduction in the depth of field.
This means that we have to use
smaller apertures and longer shutter
speeds to achieve a more defined pic
ture. And for this, the camera needs
to be positioned stably on the tripod.
My recommendation: buy the best
and sturdiest tripod you can afford.
If lightness is important to you, then
consider a carbon fiber tripod, as they
are some 20 to 30 percent lighter
than most metal tripods. Ensure that
the legs of the tripod can be spread
out very wide, as the most interesting
macro motifs are often to be found
on the ground. Very low positions are
difficult on tripods that have a centre
post. On newer models, however, the
centre post can be removed so the
tripod head can be positioned directly
on the tripod.
When I was photographing the day
lilies I moved the tripod as close as
possible to the flowers. This enabled
me to hide an otherwise distracting
background. Despite the very small
aperture diameter (f 19) and slow
shutter speed (1/50), thanks to the
tripod I was able to take a perfectly
focused picture. For the shot with
the pebbles, the tripod enabled me
to set the camera so that the picture
was on the same level as the pebbles.
This is important so that the depth
remains the same all over the picture,
right to the edges. However, as this
was a flat motif with little depth of
field, I could have opted for a shorter
exposure and larger aperture open
Carl Zeiss December 2009 Page 11
Camera Lens News No 34
ing. But I prefer to work with slower
settings.
As you get better and your enthusiasm
for macro photography increases, you
can move on to a better tripod that is
more stable and more hardwearing. A
good quality tripod will last a lifetime,
so it is well worth the investment.
2. Excellent lenses for the best
picture quality
Macro photography is not very forgiv
ing when it comes to quality. Even the
smallest inconsistency in the lens will
be visible in the picture.
I have had excellent results with the
MakroPlanar T* 2/50 ZF and Makro
Planar T* 2/100 ZF by ZEISS. Their
absolute precision makes these lenses
two of the very best that are availa
ble on the market. They are perfectly
made, and take an absolutely clear
picture with no distortion. For a
nature photographer who is out and
about in all weathers, they are sturdy,
reliable companions even in windy
situations. Shutter and depth need to
be set manually on both. This goes
well with the slow, thorough type of
macro photography that I prefer. It is
important to me that I compose the
picture “by hand”, and look carefully
at what it is in the viewfinder. For
closeups I prefer a longer focus,
which I can use to achieve a tighter
picture angle and uninterrupted
background. Which is why I was
impressed by the T* 2/50 ZF. I used it
for the pictures of the bumblebee and
the butterfly gathering nectar from
a buttonbush. Many people would
find working in the midst of hungry
bumblebees and butterflies somewhat
unnerving rather than enjoyable. I was
perfectly happy, though having been
an environmentalist, naturalist and
beekeeper for many years, I know
that these wonderful pollengatherers
are more interested in food than in
attacking. I used a Nikon R1C1 macro
flash to freeze the movement and
lighten the shadows on the flower. I
took both of these pictures by hand,
as there was enough light from the
flash.
3. Less light - more saturation.
Close-ups of autumn colors
It is important to understand light
and know how it influences the
picture composition to produce
strong pictures. Do you use frontal
light, backlight, light from the side or
diffuse light? Each type has its own
strengths, but the photographer
has to know which one suits his
purposes best.
Diffused light is my preferred choice
for macro photography, especially of
autumn colors. I really like discove
ring a pattern of freshly fallen leaves
on the forest floor. I can spend hours
composing a lovely ensemble of frag
ile ferns that are gradually changing
color.
The lighting is crucial when photo
graphing autumn leaves, ferns and
pebbles or stones. Diffused light bal
ances the colors of the composi tion
and provides rich color saturation.
The challenge that extreme shadows
and lights cause is eliminated, since
the light falls evenly over the whole
picture.
The light is diffuse either when the
sky is cloudy, or you can create it
with a diffuser. A slightly cloudy sky
will reduce contrasts. On days like
that, you can spend the whole day
taking pictures without having to
worry about the light. I often use a
polarizing filter to reduce reflections
on wet leaves and make the colors
even richer. You can use a diffuser
when the sky is clear. However, they
Carl Zeiss December 2009 Page 12
Camera Lens News No 34
do have a limited range. Despite that,
though, I often use them to screen
the motif from direct light and reduce
contrasts.
I took the picture of the autumn ferns
on a cloudy day. That is why the light
is distributed evenly over the entire
area. The ZEISS MakroPlanar T*
2/100 ZF enabled me to go up close
enough to leave out the irritating
background. The arrangement of
darker ferns interwoven with lighter
ones was soon “in the can”. All I
did was find the right viewing angle
to put the observer in the scene. I
used the stems of the two ferns for
alignment.
I took the photo of the autumn leaves
on a day when the weather was
changeable and the sun was in and
out. So I used a diffuser. As the leaves
were already on the ground, I took
the liberty of arranging them in a
pretty composition. Again, I used the
100mm lens to guide the eye just to
the desired area on the forest floor.
I love nature, and I can spend hours
and days discovering tiny aspects of
it and recording them. I am able
to share my passion through my
photog raphy and hopefully also
share my enthusiasm.
Jim Clark, the American nature
photographer, is the editor of
Outdoor Photographer magazine.
He is the author and photographer
of four books. His latest book is
“Between Ocean and Bay and The
Adventures of Buddy the Beaver”,
which he wrote and photographed
with his 10yearold son, Carston.
www.jimclarkphotography.com
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/ 206175
Email: [email protected]
Internet: www.zeiss.de/photo