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October 2010Carl Zeiss Camera Lens Division37

Contents

Dan Busta:

“Stories about people

fascinate me” ........................ 2

A speedy all-rounder:

the new Distagon T* 1,4/35 ....... 6

Guido Karp:

“The eye is the decisive factor

when it comes to detail“ ............ 8

Camera strap and filters ........... 12

Carl Zeiss

at the 2010 photokina ............ 13

Susi Childers:

Giving people a voice

through photographs .............. 15

Portrait photography:

the right equipment for the

right ‘click’ ........................... 18

Dates in November and

December 2010 ....................... 21

Carl Zeiss October 2010

Camera Lens News Nr. 37

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

“Stories about people fascinate me“



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.



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



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

A speedy all-rounder: the new Distagon T* 1,4/35



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



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

For 30 years, German celebrity

photographer Guido Karp has

been helping top stars from

the music scene, such as Roll-

ing Stones, AC/DC and Robbie

Williams, look great in front of

the camera. In addition, since

2002 Karp and his team of 23

staff have been turning normal

everyday women into glamorous

beauties in the “Princess for One

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.

How has 2010 been for you so

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-

cess…

Yes, I’m delighted to say. Mike Larson,

Steve Thornton, Tim Mantoani and

David Mecey are simply world-class

in their respective areas – wedding,

fashion, advertising and nude pho-

tography. They captured the visitors

to the fair superbly, and had all kinds

of tips and advice to offer the public.

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.” Fo

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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

: Gui

do K

arp/

Fan

sUN

ITED

.com



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

celebrities – rock stars and folk

musicians alike. What are the

differences in the work?

People are always saying to me:

how can you be on the road today

with the Flippers, tomorrow with the

Stones and the day after that with

Tokio Hotel? My answer is that they

all do their own thing and they do it

very well, otherwise they wouldn’t

be where they are now. Needless to

say, AC/DC has a much livelier stage

show than Sade. And the Flippers

have more colorful outfits than Rob-

bie Williams, but basically the job is

to capture some of the aspects of

a concert. And to do that well, you

need to have a good eye for detail. A

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

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.

Foto

: Gui

do K

arp/

Fan

sUN

ITED

.com



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

: Gui

do K

arp/

Fan

sUN

ITED

.com



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

eliminates lens flare and eradicates

the blur that can occur under certain

lighting conditions. In addition to

their filter function, they also protect

the front of the lens against dirt and

scratches – and with thread diam-

eters of 58 mm, 67 mm, 72 mm and

82 mm, the filters will also fit other

manufacturers’ lenses.

Our range of accessories also includes

an air-cushioned camera strap, which

helps prevent shoulder strain even

during a long day on the road. The air

cell padding and elastic neoprene ma-

terial ensure maximum durability and

comfort, while special quick-action

locks enable users to quickly, easily

and securely connect the strap to all

standard SLR cameras and binoculars.

The accessory will be available at

beginning of 2011.



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.



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



Giving people a voice through photographs

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

Saharawi tribeswoman



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.”

“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

Amalé, from the Kamawure Indian tribe in the Amazon region

Kimberly, from a slum in San José, Costa Rica



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-

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,

determination and aspirations of this

Caribbean nation, which for 200 years

has suffered from grinding poverty

and oppression.”

Hare Hei, the tattooed Maori chief from Kerikeri

Anonymous girl in St Marc, Haiti

Susi Childers:

www.photogenx.net



Portrait photography: the right equipment for the right ‘click’

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

Portrait photo taken with Planar T* 1,4/85 on digital SLR camera at f/4.0 and 1/125s



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

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.

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

Makro-Planar T* 2/100 ZF.2Planar T* 1,4/85 ZE



Thanks to its higher contrast and im-

age performance, the Makro-Planar T*

2/100 is more flexible in its use than

the Planar T* 1.4/85. It has also been

optimized for digital and analog full-

format SLR cameras. Used with digital

SLR cameras with a crop factor of 1.5,

its viewing angle matches that of a

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,

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.

thus making them eminently suitable

for portrait photography. The differ-

ences described above also apply to

models with shorter focus lengths. As

such, the Planar T* 1,4/50 is “softer”

and the Makro-Planar T* 2/50 sharper

with an open aperture, and therefore

more flexible.



Camera Lens News

A newsletter for all who use, buy, sell,

like, report about and are interested in

Carl Zeiss camera lenses.

All information in Camera Lens News is

accurate to the best of our knowledge at

the time of publication.

Publisher:

Carl Zeiss AG

Camera Lens Division

Marketing

73446 Oberkochen

Germany

Phone: +49 (0) 7364/20-6175

Email: [email protected]

Internet: www.zeiss.de/photo

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Carl Zeiss newsletter nr37_en_web

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