37 October 2010

Camera Lens News

Carl Zeiss Camera Lens Division

A newsletter for anyone who enjoys using, writing about, buying and selling Carl Zeiss camera lenses.

Contents
Dan Busta: Susi Childers:
“Stories about people Giving people a voice
fascinate me” ������������������������  2 through photographs ............... 15

A speedy all-rounder: Portrait photography:

the new Distagon T* 1,4/35 ........  6 the right equipment for the
right ‘click’ ............................ 18
Guido Karp:
“The eye is the decisive factor
Dates in November and
when it comes to detail“ . ........... 8
December 2010........................ 21
Camera strap and filters ...........  12

Carl Zeiss
at the 2010 photokina ............. 13
 Camera Lens News Nr. 37
Carl Zeiss October 2010 Page 2
“Stories about people fascinate me“
American star photographer
Dan Busta describes himself as
someone who is always observ-
ing people. He is particularly
fascinated by the relationship
between human instinct and
conscious decision-making. Art
and music also have a significant
influence on his work. Dan lives
in Los Angeles, California
The human being is always at
the center of your work. Why?
People never cease to amaze me.
Everything from their consciousness
to subconscious fascinates me. I like
to explore the different life deci-
sions people make, the way they
dress themselves, their similarities
and differences, and above all the
relationship between human instinct
and conscious mental choice. I’m a
permanent people-watcher and have
translated this interest into my ongo-
ing ‘teal series’, which I worked on
for five years and which portrays the
most diverse range of people in front
of a blue-green background.
How did you get into photog-
raphy? Did you have any formal
education?
I studied photography and graphic
design at the Brooks Institute of Pho-
tography in Santa Barbara. Graphic
design in particular opened up a totally
new perspective on photography for
me. Design allowed me to think more
graphically and helped me understand
art fundamentals and how to apply
them in my work. Things like line
shape, proportion, color or line and
rhythm opened my eyes to the vast
range of visual possibilities.
I was raised in a very creative house-
hold, and I was drawn to art, archi-
tecture, interior design and music
 Camera Lens News Nr. 37
Carl Zeiss October 2010 Page 3
from an early age. I can remember
constantly constructing buildings and
other things from Lego. I also played
saxophone from the third grade of
elementary school up to my senior
year of high school.
What do you want to convey
with your photographs?
I’m intrigued by people’s stories and
I strive to share their stories in my
pictures — no matter if it’s a built set
or a stranger I meet along the way.
I often have to rely on the camera’s
frame to share the story and I use
the surrounding environment to tell
it. One theme in my photographs is
people in this time of change. I feel
this moment of one’s life — whether
real or created — is part of one’s life
that needs to be remembered forever.
Who are your role models?
My work is inspired by various
historical photographers and portrait
photography masters like Irving Penn,
Richard Avedon, Gregory Crewdson,
and Jeff Wall.
How do you approach the shoot-
ing process?
It depends on the assignment and
shoot. I start with some grain of an
idea, usually something very simple.
This grain comes from many different
places - my childhood, from movies,
books, music or art history. Music
stimulates my imagination. I listen
to everything. Then the idea grows
and builds into a brief drawing and
develops further into lists of props
and characters that dovetail the idea.
Next I move on to think about the
lighting I would like and that would
be appropriate for the picture.
Why is lighting so important in
your work?
Lighting helps me draw the mood
and adds to the color of the image. I
use color to communicate the mood.
A picture with an intense blue will
convey a cold feeling while a warmer
color will create a more nurturing
atmosphere. Like a lot of photogra-
phers, I almost don’t need to make
the picture once this creative process
is completed. At this point, there is
almost no creative expression. Then
it’s just about execution, which to me
means building the set, getting all the
props, creating the lighting, putting it
all together, and clicking the button.
 Camera Lens News Nr. 37
Carl Zeiss October 2010 Page 4

The real work happens before you
click the button.
What are your plans for the
future?
I’d like to incorporate more of my
concepts into editorial-type work. I
often find that when I get hired to
shoot, I don’t have much time to
spend with my subjects - it’s tough to
create a whole scene without much
time and budget. I’d also like to shoot
images with a little more of a positive
tone. I think it would be wonderful to
make images in the future that make
people want to be in a certain place
or be a certain person. This is a kind
of advertising, but photography has
that power — the power to idealize
the real world. I would love to make
images of fantastic things or a perfect
world.
Find out more about
Dan Busta:
http://danbusta.com
Camera Lens News Nr. 37
Carl Zeiss October 2010 Page 5
 Camera Lens News Nr. 37
Carl Zeiss October 2010 Page 6
A speedy all-rounder:
the new Distagon T* 1,4/35
From the moment we first an-
nounced the Distagon T*1,4/35
on our Facebook page (www.
facebook.com/carlzeisslenses),
enthusiastic comments started
to flood in. This very fast lens
with its short focal length and
harmonious bokeh had clearly
hit a nerve! So we decided to
pull together some of the key
facts about this popular new kid
on the block:
The Distagon T*1,4/35 is designed
to complement our Planar T*1,4/50
and T*1,4/85 lenses, providing a
wide-angle lens with the same bright
aperture. That means you can take
razor-sharp images at dusk or in
dimly-lit cafes, even without a tripod.
At 35 mm, the lens matches the tra-
ditional and versatile ‘standard’ focal
lengths when used on cameras with
APS-C format sensors. And thanks
to the 72 mm filter diameter, the
 Camera Lens News Nr. 37
Carl Zeiss October 2010 Page 7
Distagon T*1,4/35 can be used with
the same filters as its sister lens, the
Planar T*1,4/85.
Boasting superb foreground and back-
ground bokeh, the Distagon T*1,4/35
opens up new creative possibilities,
giving photographers more options
to play around with focus. The large
focus ring enables sharp and accurate
manual focusing even with the aper-
ture wide open, and the optical design
of the lens ensures excellent image
quality across the entire range. Fur-
thermore, with one step less than the
full aperture opening, the light fall-off
toward the edges is just one f-stop.
Thanks to its ZEISS T* anti-reflective
coating, sophisticated stray light
reduction and excellent flare control,
the new Distagon also takes pictures
of bright light sources without arti-
facts. Its tremendously durable and
robust all-metal precision mechanics
– one of the hallmarks of Carl Zeiss –
make this lens the perfect choice for
use on the go and for photo report-
age.
The Distagon T* 1,4/35 will be avail-
able in the first quarter of 2011.
Technical specifications
Focal length 35 mm
Aperture range f/1,4 – f/16
Number of 11/9
elements/groups
Focusing range 0.3 m
– infinity
Angle of view** 63/54/37 °
(diag./horiz./vert.)
Coverage at 18 x 12 cm
close range (close-up limit)
Magnification 1:5
(close-up limit)
Filter thread M 72 x 0.75
Weight 830 –  850 g
Length with caps 120 – 122 mm
Mounts ZF.2 (F bayonet)
ZE (EF bayonet)
** 35 mm format equivalent
 Camera Lens News Nr. 37
Carl Zeiss October 2010 Page 8

“The eye is the decisive factor when it comes to detail”

How has 2010 been for you so of tips and advice to offer the public.

© Dominik Kokocinski
far?
Fantastic – we’ve done some great
stuff. With “Princess for One Day”,
we’re on our biggest tour so far,
with more than 100 sold-out venues
throughout Germany. In between, I’ve
also managed to go on tour with the
group Rammstein, had a great session
with Him, was at the Rock am Ring
and Nature One music festivals, and
the most recent event on the program
was a show with four wonderful col-
leagues at the Photokina fair.
Which was a resounding suc-
For 30 years, German celebrity cess…
photographer Guido Karp has Yes, I’m delighted to say. Mike Larson,
been helping top stars from Steve Thornton, Tim Mantoani and
the music scene, such as Roll- David Mecey are simply world-class
ing Stones, AC/DC and Robbie in their respective areas – wedding,
Williams, look great in front of fashion, advertising and nude pho-
the camera. In addition, since tography. They captured the visitors
2002 Karp and his team of 23 to the fair superbly, and had all kinds
staff have been turning normal
everyday women into glamorous
beauties in the “Princess for One
We really had a lot of fun. Even after
more than 30 years in the business,
it’s always an inspiration for me to
work with top people.
What are the most important
things to remember when taking
a photo?
Having a good eye for the image is
crucial. I have a good anecdote on
the subject. At the beginning of my
career, I worked with Helmut Newton
in Australia in his studio, and one
evening we were having dinner in a
restaurant. The head chef came over
to the table and said: “Mr Newton,
I love your photos. You must have a
really good camera.” Dead silence at
the table. Newton looked at him and
said: “Thank you, I’m always glad to
receive compliments like that. Your
meal was wonderful, too; you must
have really good pots and pans.”
Foto: Guido Karp/ FansUNITED.com

Day” tour. Karp had his first com-

mercial photo published in the
regional Rheinzeitung newspaper
at the age of 14. His subject back
then was German comedian Otto
Waalkes during a performance.

Mr. Karp, are there days when you

sometimes wonder where you are
when you wake up?
It’s not quite as bad as all that [laughs].
But it’s true that I’ve always spent a
lot of time on the road, even if I don’t
shoot 250 concerts a year anymore.
 Camera Lens News Nr. 37
Carl Zeiss October 2010 Page 9
A very clear message: individual
skill is much more important than
having all the best equipment.
How can you learn it – does it
come from training and study?
What was your experience?
There are many different ways. I
didn’t complete any course of study
or receive any training. Instead, I had
that amazing work experience with
Newton in Australia. And I was lucky
in that the Australian music scene,
with people like John Farnham, INXS,
Midnight Oil, Jason Donovan and Ky-
lie Minogue, had just exploded onto
the international stage at that time,
and I was able to supply the European
market from there.
What photographer has influ-
enced your work?
Jochen Bischof, the advertising and
industrial photographer, was one of
the people I looked up to, and he
was a photographic mentor to me: he
taught me how to look at things and
passed on a lot of professional knowl-
edge. Sadly, he passed away at much
too young an age. Back then, he put
his heart and soul into encouraging
young talent in the Haus Metternich
in Koblenz.
You’re also very keen on promot-
ing young talent.
I think the photographic industry is
making a huge mistake by not being
child-friendly. I’m worried that the all-
important “unspoiled” curiosity kids
have about photography might be
lost to them because of the increas-
ing technology used in cameras,
which they can all somehow manage
to handle. For that reason, I plan to
organize a special day next spring
for 100 schoolchildren as part of the
Horizonte-Zingst Photo Festival, where
the focus will be on the children, and
we can show the world from their
perspective for once. I’m also plan-
ning a similar day with the mayor of
Koblenz, which is where I started out
in photography.
What advice would you give to
someone who wants to become a
photographer?
It’s really the same advice you would
offer for other professions – stay fo-
cused and passionate, and don’t lose
sight of your goals. That’s the most
important advice I can give.
Foto: Guido Karp/ FansUNITED.com
 Camera Lens News Nr. 37
Carl Zeiss October 2010 Page 10
And what qualities does a celeb-
rity photographer need to have?
The most crucial are continuity, reli-
ability and professionalism. By that I
mean putting up with the industry’s
quirks and customs. Obsession in a
positive sense is certainly important,
too, if you want to make it to the top.
You photograph all kinds of very well, otherwise they wouldn’t
celebrities – rock stars and folk be where they are now. Needless to
musicians alike. What are the say, AC/DC has a much livelier stage
differences in the work? show than Sade. And the Flippers
People are always saying to me: have more colorful outfits than Rob-
how can you be on the road today bie Williams, but basically the job is
with the Flippers, tomorrow with the to capture some of the aspects of
Stones and the day after that with a concert. And to do that well, you
Tokio Hotel? My answer is that they need to have a good eye for detail. A
all do their own thing and they do it concert consists of light, atmosphere
and radiant faces. My speciality is to
capture the totality of all that, and
it’s the reason why artists ask for me
Foto: Guido Karp/ FansUNITED.com
again and again.
How do you prepare? What was
your most unforgettable job?
II always try to avoid having any
further business discussions for the
last half an hour before a job so that
I can concentrate fully on the task
ahead of me. The pressure to do a
good job was particularly intense
with AC/DC two years ago, when
they booked me for their Black Ice
album. Since the band makes an
appointment like this only once
every eight to ten years, I knew that
the press and marketing material
booked had to be enough for over
10,000 publications. The president of
Columbia Records in New York even
phoned me beforehand and said that
he needed at least one picture with
all the members of the band on it. So
I had an idea that it could get pretty
chaotic. I was scared out of my mind,
but thanks to meticulous preparation
the three-hour session was the most
successful I ever had. In the week of
the launch, AC/DC sold more albums
than all other bands throughout the
world put together. And my photos
were equally in demand.
 Camera Lens News Nr. 37
Carl Zeiss October 2010 Page 11
How big is your photo archive
now?
At a rough guess, it must be over 10
million pictures.
And how many pictures do you
shoot per session, for example at
“Princess for One Day”?
Around 10,000. I take the same num-
ber at big music festivals.
Wow. Then you must do the edit-
ing pretty quickly?
It’s just a matter of training. With
“Princess for One Day”, I take be-
tween 50 and 100 pictures of each
woman, and I then need 30 seconds
to pick the best shot. It’s usually obvi-
ous, especially since I’m looking at
what I photographed myself.
Your most beautiful picture?
II take lots of beautiful pictures.
Where are your photos pub-
lished?
Everywhere. When I meet people at
dinner that I don’t know, I make a bet
with them that they have at least one
photo of mine in their apartment. I’ve
made over 1,000 CD and music CD
covers alone.
What will your next projects be?
I’m already 95 percent sure of what
I’ll be doing up to the summer of
2012. In October, I’ll be accompany-
ing pop singer Helene Fischer on
her German tour. Next year, I’m very
excited and really looking forward
to the Take That tour, where Robbie
Williams, whom I have worked with
for years, will be back with the band
again. And among many other book-
ings, I’m especially looking forward to
the Zingst/Koblenz dates I mentioned
with the children.
One last question: which star,
whom you have never photo-
graphed, would be at the top of
your wish list?
John Lennon, but sadly, I can no
longer photograph him.
Guido Karp:
www.guidokarp.com
Foto: Guido Karp/ FansUNITED.com
 Camera Lens News Nr. 37
Carl Zeiss October 2010 Page 12
Camera strap and filters
Our Marketing Manager Martin
Klottig recently provoked intense
speculation when he announced
that “for the first time ever,
Photokina will see us show-
casing our very own range of
accessories for SLR lenses”. And
official confirmation is now in:
ZEISS photographers will soon
have the opportunity to work
with genuine ZEISS accessories,
including UV and POL filters and
a very special camera strap for
SLR cameras!
But what prompted us to suddenly
expand our range of products 120
years after the launch of the first Carl
Zeiss lenses? Martin Klottig explains:
“For the first time in the history of
ZEISS camera lenses, we have decided
to supply photographers with acces-
sories for their SLR lenses. We are
taking this step in response to massive
demand from users. Our accessories
are the perfect complement to ZEISS
SLR lenses and have been carefully se-
lected to meet the exacting demands
of discerning photographers.”
Our new UV and POL filters meet the
highest standards of mechanical qual-
ity and are quick and easy to use. Spe-
cially designed for ZEISS SLR lenses,
they feature the ZEISS T* multi-layer
coating to protect against stray light.
The filters’ top quality optical glass Our range of accessories also includes
eliminates lens flare and eradicates an air-cushioned camera strap, which
the blur that can occur under certain helps prevent shoulder strain even
lighting conditions. In addition to during a long day on the road. The air
their filter function, they also protect cell padding and elastic neoprene ma-
the front of the lens against dirt and terial ensure maximum durability and
scratches – and with thread diam- comfort, while special quick-action
eters of 58 mm, 67 mm, 72 mm and locks enable users to quickly, easily
82 mm, the filters will also fit other and securely connect the strap to all
manufacturers’ lenses. standard SLR cameras and binoculars.
The accessory will be available at
beginning of 2011.
 Camera Lens News Nr. 37
Carl Zeiss October 2010 Page 13
Carl Zeiss at the 2010 photokina
Although there were fewer ex-
hibitors than in 2008, the 2010
photokina (21-26 September)
in Cologne registered a record
number of visitors. More than
180,000 guests from 160 nations
made their way to the event.
Together with its partner Nokia
and Carl Zeiss Sports Optics, the
Carl Zeiss Camera Lens Division
displayed its products at a 430 m²
booth. The highlights were the
walk-through lens and the ap-
plication island modeled after a
Japanese garden that was twice the
size of its 2008 predecessor. Visitors
once again had the opportunity to
hold our high-quality lenses and
try them out on the latest cameras.
The artificial garden served as a
fascinating and multi-faceted stage.
 Camera Lens News Nr. 37
Carl Zeiss October 2010 Page 14
Additionally, visitors were also able
to test the coveted Compact Prime
CP.2 cine lens on HDSLR cameras.
The walk-through lens introduced
in 2008, took visitors on a tour of
the 120-year history of lenses at
Carl Zeiss. They experienced the
pioneering developments of the
past that are paving the way to
the future. For example, the latest
generation of compact Tessar lenses
lives on in Nokia mobile phones.
The evolution of a piece of glass
into a finished ZEISS lens was also
on display. The high quality of ZEISS
lenses was depicted in a way that
everyone can understand.
Carl Zeiss uploaded videos to its
YouTube channel daily and linked
them to Facebook, Twitter and the
photokina blog for those unable to
attend the event.
In the year of its 120th anniversary,
Carl Zeiss was very satisfied with the
interest it generated at the photokina.
The concept of conveying a special
brand experience at the event was a
complete success.
http://www.youtube.com/carlzeisslenses
http://www.facebook.com/carlzeisslenses
http://twitter.com/carlzeisslenses
http://www.zeiss.de/photokina
 Camera Lens News Nr. 37
Carl Zeiss October 2010 Page 15
Giving people a voice through photographs
Saharawi tribeswoman
Providing a voice for the poor
and suffering of the world
through photographs of them
– that has been the mission
that has driven German portrait
photographer Susi Childers for
many years. In pursuit of her
goal, she travels throughout the
world. Together with husband,
Paul Childers, she established the
PhotogenX platform in 2003 to
draw attention to social inequali-
ties around the globe through
the medium of photographic
projects. The 43-year-old pho-
tographer comes from Nagold in
Germany’s Black Forest region
and lives with her husband and
two children in Hawaii.
Joy and suffering can often be found
side by side in photographer Susi
Childers’ photos. “The portraits reflect
the contradictions of beauty in the
face of injustice, and of joy against
a background of oppression and
poverty,” she explains. “The privilege
of being able to portray people in
over 50 different countries has helped
me discover that each individual,
irrespective of his or her background
or appearance, is a unique and valu-
able human being.” “When I was
finally able to focus through the
viewfinder on my subject, my heart
almost stopped; what I saw was just
indescribable. There in front of me,
in the middle of the endless expanse
of the Sahara, stood a woman with
expressive eyes and a concealed smile,
which I could only guess at behind
her veil. Several hours went by before
I was finally able to take a portrait of
a Saharawi woman.
All my 15 years of professional experi-
ence as a portrait photographer were
not much use to me in this situation.
I had only a vague idea of how pro-
vocative my request for a photo might
be in this culture. For a long time, the
woman standing opposite me could
not bring herself to look directly into
my eyes. She was not used to looking
back at people. Patience and commu-
nication skills were more useful than
professional knowledge and the best
of equipment. In the end, though, I
managed to capture this wonderful
moment.
I now use this photo to highlight the
hopeless situation of the Saharawi.
For over 30 years, this tribe has been
engaged in a hopeless struggle for
its homeland in the Western Sahara,
which is occupied by Morocco and
 Camera Lens News Nr. 37
Carl Zeiss October 2010 Page 16

Amalé, from the Kamawure Indian tribe in the Amazon region

Mauritania. The third generation is al-

ready eking out a meager existence in
the Sahara without any realistic pros-
pect of a return to their homeland.
I often find myself in situations with
people who are suffering extreme
injustice, and each time I find it a new
challenge to employ my photography
on behalf of these people in a very
conscious manner. These are people
who have been forgotten, or whose
cries for help go unheeded in today’s
noisy world.”
Kimberly, from a slum in San José, Costa Rica

“One of these Indians is Amalé from

the Kamawure tribe in the Brazilian
Amazon basin. He was buried alive
because his mother was unmar-
ried. This is seen as a curse. Babies
born with a physical handicap or
as multiple births also face a similar
fate. Each year, many hundreds of
children are killed in this horrible way,
out of fear of evil spirits. But Amalé’s
desperate cries were heard and he
was rescued. I can still hear his happy
laughter today.”
“Kimberly lives in one of the many
slums in San José, the capital of Costa
 Camera Lens News Nr. 37
Carl Zeiss October 2010 Page 17
Rica, where there is no electricity
or running water. The social worker
for the district told us how the men
usually spend their evenings – sexually
abusing young girls.
When Kimberly’s gaze met mine, I left
the protection of the group without
thinking and took a moment to get to
know her. She was sitting at the en-
trance to her corrugated iron hut just
as a few white clouds passed over the
sun, allowing the diffuse light to fall
directly into her radiant green-yellow
eyes. I felt such a wave of beauty and
joy as I seldom encounter in the grand
houses of our cities – even despite the
abuse she had suffered.”
“I was immediately struck by the
tattoos of Hare Hei Hei, a Maori
chief. I had photographed on several
occasions the frequently difficult situ-
Anonymous girl in St Marc, Haiti
ation of indigenous peoples in many
different countries. In doing so, I dis-
covered the uniqueness of indigenous
tribes – an immeasurable variety of
art, skills and culture.”
“I was overwhelmed by the poverty of
Haiti while documenting the coun-
try’s situation for a charity follow-
ing the devastating earthquake. No
one knows how many people died.
Thousands remain anonymous and
have already been forgotten. A name-
less girl gazed at me from this ocean
of destitution and misery. For me,
she was a reflection of the beauty, Hare Hei, the tattooed Maori chief from Kerikeri
determination and aspirations of this
Caribbean nation, which for 200 years
has suffered from grinding poverty Susi Childers:
and oppression.” www.photogenx.net
 Camera Lens News Nr. 37
Carl Zeiss October 2010 Page 18
Portrait photography:
the right equipment for the right ‘click’
Portrait photo taken with Planar T* 1,4/85 on digital SLR camera at f/4.0 and 1/125s
Portrait photography is an art
unto itself. In addition to creativ-
ity and skill, it is essential that
you have the right, high-quality
equipment — especially the
right lens. A prime example is
Carl Zeiss’s portrait ‘star’: the
Planar T* 1,4/85 and the Makro-
Planar T* 2/100.
The Planar T* 1,4/85 is a classic lens
for portrait photography. Despite its
great focal length, it has a very high
light intensity, allowing photographers
to work creatively with minimal depth
of field. This can be used, for example,
to isolate the subject’s face from the
background in order to lend the image
a greater sense of drama.
An important feature for any portrait
lens is bokeh, i.e., the way out-of-
focus front and background areas are
shot. Photographers like to ‘play’ with
these parts of the image. By experi-
menting with sharpness and blur, they
can create an interesting, distinguish-
able environment for the person being
photographed. The most important
factor for achieving this bokeh effect
is the lens’s optical design. In addition,
the Planar T* 1.4/85’s iris creates an
almost circular opening so that high-
lights such as bright, significant points
in the image appear soft and harmo-
nious in the out-of-focus area. Light
reflexes, which may appear on the
surface of moving water, for example,
form spots of color that can ‘flow’
into the overall picture composition.
The Planar T* 1,4/85 is available with F
bayonet (ZF, ZF.2) and EF bayonet (ZE)
and is optimized for both digital and
analog SLR cameras. For digital SLR
cameras with a crop factor of 1.5, its
 Camera Lens News Nr. 37
Carl Zeiss October 2010 Page 19
Portrait photo taken with Planar T* 2/100 ZF.2 on digital SLR camera at f/2.8 and 1/250s
picture angle corresponds to that of a
128 mm lens of a full-format camera.
The Makro-Planar T* 2/100 is also
perfect for portrait photography,
albeit for different reasons. Thanks
Planar T* 1,4/85 ZE
to its longer focal length, the photog-
rapher can position himself further
from the model. These longer focal
lengths are useful for shy models as
the photographer can be less intrusive.
Makro-Planar T* 2/100 ZF.2
While on the one hand the telephoto
lens allows you stand further away
from the model, it has the benefit of
a far shorter close-focus distance as
compared with a classic 85 mm lens.
While the latter can focus from up to
a meter, the 100 lens allows you to
focus as close as 44 centimeters. This
gives the photographer additional op-
tions for creating details. For example,
parts from the eye or mouth or other
details of a face can be portrayed indi-
vidually and delicately. On the whole,
the photographer has a lot more room
to experiment with this lens.
The Makro-Planar T* 2/100 is not
as fast as the Planar T* 1,4/85, but
with an aperture ratio of 1:2 it’s still
the superior option and unique on
the market. It offers almost identical
 Camera Lens News Nr. 37
Carl Zeiss October 2010 Page 20
features for working with a lower
depth of field as the Planar T* 1,4/85.
However, the image performance
when the aperture is open (which is
typical for upwardly corrected macro
lenses) is higher than with the 85 mm
so that the photographer must con-
sider very carefully whether he wants
to use the special “softness” of the
85 mm or the special detail sharpness
afforded by the 100. The Makro-Pla-
nar T* 2/100 can be “too sharp” for
portrait photographers if they don’t
want to highlight unevenness in the
subject’s skin. If, on the other hand,
the photographer wants to emphasize
scars, pores and pigments to give the
subject more character, the Makro-
Planar T* 2/100 is the better choice.
Thanks to its higher contrast and im- thus making them eminently suitable
age performance, the Makro-Planar T* for portrait photography. The differ-
2/100 is more flexible in its use than ences described above also apply to
the Planar T* 1.4/85. It has also been models with shorter focus lengths. As
optimized for digital and analog full- such, the Planar T* 1,4/50 is “softer”
format SLR cameras. Used with digital and the Makro-Planar T* 2/50 sharper
SLR cameras with a crop factor of 1.5, with an open aperture, and therefore
its viewing angle matches that of a more flexible.
150 mm telephoto lens when used on
an analog or digital KB camera.
The “smaller” sister models of the
above-mentioned lenses are also
great for portrait photography: the
Planar T* 1,4/50 and the Makro-Pla-
nar T* 2/50. Originally conceived as a
standard focal width for KB cameras,
they can also be ideal for digital
cameras, depending on the size of
their sensors as light telephoto lenses,
 Camera Lens News Nr. 37
Carl Zeiss October 2010 Page 21

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23 November 2010 2 December 2010 Carl Zeiss AG
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