The Online Photographer

Zeiss ZE 21mm for Canon

Zeiss has introduced its fourth premium manual-focus lens in the ZE series, the Zeiss Distagon T* 21mm ƒ/2.8 ZE, fully compatible with Canon EF mount. (The 18mm ƒ/3.5 was introduced two weeks ago. The other two are the 50mm and 85mm ƒ/1.4's.) The new lens covers 24x36mm "full frame." The street price has not yet been determined, but the Nikon and Pentax versions each sell for $1,490.

Zeiss USA's Rich Schleuning has posted a flickr page of sample pictures taken with the new lens.

Mike

UPDATE: In response to a reader's question, I asked Rich about upcoming ZE Zeiss lenses for Canon EF mount. He tells me that although the four listed above are the only ones officially announced so far, "additional lenses will be announced over the next two months, including the 2/28, 2/35 and the 2/50 and 2/100 macros." —Mike

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More on the 20mm f/1.7 Lumix G

PhotographyBlog has posted a generous number of samples from the Panasonic Lumix GF1 and the Lumix G 20mm ƒ/1.7, including a full ISO set with raw files, taken at the European launch in Berlin. The picture above was shot on the "Elegant" My Color custom JPEG preset.

I must say it looks like a particularly fine lens. One wonders if the Wizards of Solms* had a hand in its design.

Also, the 20mm ƒ/1.7 will be sold separately for those who might wish to use it on their Olympus E-P1 or Panasonic G1 or GH1 cameras.

Mike

*Leica, although this locution doesn't have the nice alliteration of "Wizards of Wetzlar." So ist das Leben.

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Featured Comment by JonA: "I suggest 'Sorcerers of Solms' to keep the alliteration alive."

Sweet Prime for Canon DSLRs

By Sabrina Weniger

In the just-released current (July, 2009) issue of Zeiss Camera Lens News there's a short article by Sabrina Weniger about working with the new Zeiss ZE Planar T* 50mm ƒ/1.4 for Canon EF mount.

The Zeiss Planar 50mm ƒ/1.4 ZE is probably only "better" than its Canon equivalent at ƒ/1.4 and perhaps ƒ/2—but it "draws" differently (as Sean Reid might say), and its beautiful build and handling make it a very satisfying long-normal lens on full-frame DSLRs as well as a superb portrait-type optic for any of the better Canon APS-C cameras. (And thus, as I probably don't need to point out, a sweet lens to have both now and later if you're planning a future move from a reduced-sensor Canon to a full-frame one). There's a good review (of the Nikon equivalent, which I assume is optically identical) here.

Mike

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Weddings with a Telephoto

By Jeff Ascough

I'd never seen Jeff Ascough's wedding photography blog before. It's worthwhile—well-written and thoughtful, and Jeff obviously knows what he's doing. Here's a nice piece about shooting weddings with a telephoto lens. You might not agree with it, or all of it (I hope I don't just post links to things I agree with...), but it highlights the fact that a lot about shooting technique has nothing to do with the photo-technical aspect:

Being unobtrusive is largely about behaviour, rather than dressing in black and trying to blend into the shadows.

What people do find uncomfortable, is the idea that they are being 'spied on.' Standing away from a group of people at a drinks reception, and pointing a large telephoto at them is far more suspicious in terms of behaviour, than being in and around them taking pictures. Guests can't see the photographer's face, and non-verbal communication is missing. This can lead to a degree of discomfort and a change in behaviour patterns, which I believe leads to poorer pictures.

If I were a wedding photographer I think I'd bookmark that blog. Sometimes I think that the highest compliment I can pay another photographer is to say he's a good shooter. (Or she.) And good wedding photographers are good shooters, for sure.

Mike
(Thanks to Geoff McCann)

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Featured Comment by hlinton: "I'm kind of on the fence about this. Having shot events and weddings (and other assignments) all over the world I don't think one can limit themselves to just this or that approach. At times it works but as times change so do the processes. I use three zooms ranging from 16 to 200mm. Can't go anywhere without them. I was beginning to think that I never shoot anything wider than 28mm only to discover while shooting a party recently that I would have been in big trouble without the wider zoom. By the end of the night everything was shot on a 70–200. I really think it comes down to personalities. Jeff attracts the type of client that he shoots best allowing him to utilize his skills in a way that's appropriate for him. That's not to say that I don't agree with him. I just think that we all get to where we're going in our own way and his way may be (and most likely is) different than your way."

Now That's An Adapter

A couple of weeks ago, in response to a post about an apochromat enlarging lens, Tyler Monson linked to a picture of an apochromat of his own—a 4-inch Göerz Red-Dot Artar, c. 1960.

In passing, he threatened to find a way to mount it to a DSLR and actually take a picture with it.

As you can see, and as he documents in a recent blog post of his own, he succeeded—shown above is his steampunk lensmount, allowing focusing of the Göerz process lens all the way from infinity down to one foot.

And here's one of the pictures taken with the Artar, stopped down to ƒ/45. And you thought a 50mm Summicron on a G1 was out there?

Nice, eh?

Mike
(Thanks to Tyler)

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Panasonic Gets In On Adapter Action

This morning Panasonic has released official versions of Leica lens adapters for its Lumix G cameras (G1 and GH1). The M Mount Adaptor (DMW-MA2M, left) and R Mount Adaptor (DMW-MA3R, right) for Leica manual-focus rangefinder (M) and manual-focus SLR (R) lenses were developed with the full c0-operation  of Leica Camera AG. Various third-party providers have previously marketed M adapters for the Micro 4/3 system. The rundown on compatibilities of specific lenses will eventually be found on this page, although nothing's been posted yet. No word yet on pricing or availability.

Mike
(Thanks to Vlatko)

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Voigtlaender Nokton 50mm f/1.1 in Leica M Mount

 
The word out of Japan today is that Voigtländer is introducing a premium, superfast 50mm ƒ/1.1 lens with ultra-high refractive index glass to commemorate the 10th anniversary of Cosina's Bessa series of rangefinder cameras (sorry I don't have a bigger picture of the lens). The 7-element lens in Leica M mount is 69.6mm long by 57.2mm diameter (2.74 x 2.25 in.), takes 58mm filters, and and weighs 428g (15 oz.). (The Google English translation of the Japanese page is a little rough...it says the lens weighs 15 oz. "food included." It should be "hood not included." Also note the charming translation of "bokeh" as "mild dementia"!) Significantly, the announced Japanese price of ¥125,000 is 1/5th the (Japanese) price of the Leica Noctilux ƒ/0.95, and 1/10th that of the "Last 100" Leica Noctilux ƒ/1. (¥125,000 is equivalent to $1,300, £840, and €954 at current exchange rates, although that does not mean those will be the lens's eventual export prices.) The focal length would be 65mm-e on the Leica M8.2. No word yet on whether the lens will be for export or Japan only.

Mike
(Thanks to Thien Onn Ming)

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ADDENDUM:

The great photo enthusiast Tom Abrahamsson. Photo by Kobayashi-san, President of Cosina and the mastermind behind the Voigtländer Bessa line of cameras, lenses and accessories, taken with the new lens.

A set of test pictures taken by Tom and Tuulikki Abrahamsson with the new lens. (Thanks to Simon Mitternacht for this.)

ADDENDUM II:

(Thanks to Amin and chanpei for this.)

Just to be clear, the camera apparently comes with the solid, screw-in hood pictured above; a clip on, ventilated hood is an optional accessory that costs ¥12,000 in Japan.

Featured Comment by Tom Abrahamsson: "I have heard a tentative price in the U.S. of $1149 with the stock hood. The LH7 hood is slightly larger, clamp type.

"I did have a chance to shoot half a dozen rolls with this lens in Japan in March. I am impressed! Not only is it good at ƒ/1.1—but it is also very sharp and has nice contrast at mid- apertures. It is slightly smaller than the Noctilux (58mm filter size) and combined with the performance wide open and at mid apertures, it will make a really attractive all-'round 50mm lens. I don't know what it is like fully stopped down—didn't shoot at ƒ/16—but I suspect it is just as good there."

Zeiss 35mm f/2 ZF Distagon T*

Sean Reid has just published his review of the Zeiss 35mm ƒ/2 lens for Nikon SLRs over at Reid Reviews (note: RR is a pay site). Interestingly, his review seems to confirm that the lens is upcoming in Canon EF mount as well. I'll see if I can dig up any further information on that.

The Zeiss 35mm ƒ/2 (it's also available in Pentax mount, although on Pentax DSLRs it's always 52mm-e) is probably my favorite 35mm lens of all the dozens of 35mms I've used over the years, although naturally I have some lingering sentimental affection for certain others, including the much older Mandler-designed Leica R lens. I've used the Zeiss only on a Nikon film camera so far, with B&W film. That might be a tad contrarian, since one of the major attractions of Zeiss lens designs is their splendid color transmission characteristics (a trait shared by the really quite special Pentax 15mm DA Limited lens I've been using recently).

Mike

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On Lenses for Portraits

As a perfessional pontificator, I seldom find myself in synchronous agreement with other pontificators, but Andy Westlake at dpreview.com has written an excellent little essay about lenses, portraits, and focal lengths that I think is spot on, as the British say. As an old fan of newthink, I agree in pretty much every particular with what he says, with one small exception: he neglects to mention how wonderfully useful body-integral IS is when shooting portraits at wide apertures with the type of fast prime lens he's describing. Otherwise (as they say), I couldn't have said it better myself.

Mike
(Thanks to Albano Garcia)

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