Zeiss Rumors

Megapixel interview with Zeiss at Photokina 2012

2013-01-15T14:06:00.000-05:00

Megapixel did a very extensive interview with Zeiss at photokina 2012, the interview is very informative, it sums up pretty much the future direction of Zeiss in the near future. Here is a few key points to note

A few points from the interview:

All other things being equal you can potentially decrease the size of a lens by 20-30 percent when going from Full Frame to APS-C and about 30-40 percent when moving to micro 4/3 – but this really depends on the type of lens.
The point of developing the new Carl Zeiss 55mm f/1.4 is to bring unprecedented performance in open apertures. The lens design is actually made of a combination of two different lenses and is a new, first of its kind for a 50mm lens.
The new 82mm front element was designed to produce sharpness across the entire frame.
Don't expect any AF capable lenses from Zeiss in the foreseeable future for Canon/Nikon.
Zeiss can add a stabilizer to manual focus lenses but this will degrade the optical quality of the lens to a degree (it will require some freedom of movement from the optical elements) and so not something Zeiss plans to do anytime soon.
Zeiss highly recommends that you use a focusing screen when using a MF lenses – this is because the conventional focusing screen of digital cameras isn't ideal for manual focus (we can surly attest to that).
Our final question had to do with a hypothetical size of a 50-100mm f/2 lens compared to the more conventional 70-200mm f/2.8. The answer – we are looking into a heavier and larger design and not something most people would like to carry or pay for…

Copied from: http://www.megapixel.co.il/english/archive/36565

Links:
http://www.megapixel.co.il/english/archive/36565
http://www.megapixel.co.il/photokina2012-en

Focusing screen makes a difference

2013-01-14T13:19:00.000-05:00

We have reported the issue of the lack of an official hi-precision screen from Canon. For those who would like to shoot manual Zeiss on newest Canon's, the solution lies in 3rd party screen suppliers. A post at Vít Kovalčík photography illustrates what difference a screen can make. If you still have your stock screen that optimizes AF, take a moment to see what it means to have a hi-precision screen.

Link: http://www.pastel.cz/en/2013/01/presna-matnice-pro-canon-5d-mark-iii/

Zeiss 15mm Hood Removal

2013-01-13T14:50:00.002-05:00

For those 15mm owners you may be bothered by the fixed pedal hood, because there are times you want to use different filter sizes. If you have also thought about sawing off the pedals, here is a quick tip to proceed.

Posted by LensRentals.com, there illustrates a step-by-step procedure of removing the hood on the 15mm lens. Not for the faint-of-hearts..

Link: http://www.lensrentals.com/blog/2013/01/zeiss-15mm-hood-removal

Zeiss Ikon film RF cameras are officially discontinued

2012-12-07T03:09:00.001-05:00

Source from fujiyacamera from Japan
【ついに生産完了！】カールツァイス Zeiss Ikon & Zeiss Ikon SW が生産完了！在庫限りにつきお早めに！

Discontinued - finally! Carl Zeiss production completion] Zeiss Ikon & Zeiss Ikon SW! For as long as stock as soon as possible!

Link: https://twitter.com/fujiyacamera/status/276534767091081216

My apology to all followers that I am not able to keep ZR up to date due to personal reason. But this news has to be announced.

Photokina 2: New FF Zeiss lens line

2012-09-19T08:27:00.001-04:00

prototype on high res FF camera

New Carl Zeiss full frame manual focus lens line for Canon and Nikon mounts: The new lens line will deliver uncompromising image performance, with extremely high resolution including the picture edges even at F1.4 aperture. Chromatic aberration will be extremely low. The new lens line aims at FF-sensors with a resolution of 30+MP. Sensors with a lower resolution will also profit from a better contrast at maximum aperture. According to todays statements the new lens line will 'approach' (confusing translation from German to English) medium format image quality, while the CZ announcement from Sep. 8th referred to image performance that will equal medium format quality.

1.4/55 distagon prototype

At the time, three lenses are under development for launch in autumn 2013. More lenses are planned. CZ does not want to reveal further information about what focal lengths will be launched in autumn 2013 and what lenses are planned for a later release. Today, the prototype of a 1.4/55mm Distagon only is known. The distagon type lens - usually a wide angle type of lens construction - for a standard focal length provides better image performance than the planar type. It will be interesting to see how the distagon behaves in terms of field curvature.

This new lens line will be made from the Zeiss manufacturer network in Japan according to CZ standards for a real lens performance corresponding to it's theoretical potential.

Prices for the lenses will be around 3000 Euros.

Link: http://blogs.zeiss.com/photo/en/?p=2860 and http://blogs.zeiss.com/photo/en/?p=3307
youtube: http://www.youtube.com/watch?v=1ZFENV-a7BU&feature=player_embedded#!
one more link for the image quality with thanks to Vishal: http://vishalsabharwal.com/2013/01/08/zeiss-55-distagon/

Photokina 1: New Zeiss CSC lens line

2012-09-18T06:00:00.000-04:00

New CZ lens line for Sony Nex E-mount and Fujifilm X-mount: The first set of lenses will be 2.8/12; 1.8/32 and 2.8/50makro. More primes will follow. Zoom lenses are about to discuss but not decided yet. This CSC lens line will have autofocus and cover the APS-C format. CZ didn’t decide to enter the Micro 4/3 market yet. The new lenses will support all camerafunctions. Both E-mount and X-mount lenses will have manual focus override, the X-mount lenses will have an additional aperture ring. The lenses will follow the CZ premium standard but won’t be all metal but durable and light weight. No in lens image stabilization. The lenses aim at a price range of about 1'000 Euros. First lenses will be on sale from spring/summer 2013.

The new lens line will be made from the Zeiss manufacturer network in Japan. If it's the same manufacturer as for the ZM line, then Cosina is meant. Therefore the new lens line will be real Zeiss', not Sony or Fuji with the Zeiss stamp on. A good sign for the quality we can expect. Because the focal lengths are not much different from existing Fuji X or Sony E lenses, the image performance must make the difference.

CSC CZ 1.8/32 Planar

Link: http://blogs.zeiss.com/photo/en/?p=2864
youtube: http://www.youtube.com/watch?v=Chx17Sdl8qA

ZR speculation about new ZM 1.8/25mm lens

2012-09-17T09:36:00.000-04:00

On September 8th, 2012, ZR posted the Carl Zeiss promise of at least one new fast ZM-lens for 2013: http://www.zeissrumors.com/2012/09/great-carl-zeiss-prospect-for-photokina.html

Cosina Voigtlander just launched an F1.8 ultrawide 21mm M-mount lens. Cosina is the company that also manufactures the ZM lens line for Carl Zeiss. ZR is speculating about a new fast wideangle ZM lens with the same f-stop like the new CV lens. By watching the M-mount lenses available, a fast 25mm lens would nicely fill the gap in the existing lines of the known M-mount lens manufacturers. Therefore ZR’s prediction is a ZM 25mm F1.8 lens. Photokina starts tomorrow. So maybe we will know in short.

Canon's new 6D with interchangeable focusing screen

2012-09-17T08:30:00.001-04:00

Canon EOS 6D

On March 11th, 2012, ZR posted that the new 5D mk3 disadvantages manual lenses with a fixed focusing screen. Now the new 6D has an interchangeable focusing screen again. MF shooters regain the opportunity to change their focusing screens as it was possible with the 5D mk2. The 6D will therefore become the new small body for ZE lenses.

Question: ZR has conflicting information whether the 6D (as the 5D mk2) has a confirmation flash on the focus point or a green indicator dot at the finders bottom only? Please post a comment, if you have reliable information. Thanks!

Answer from Canon USA: (Quote) This works with Canon manual focus lenses (I used the (TS-E 24mm f/3.5L II)). First, you focus the lens. Next, press the shutter release halfway down to check for focus. If the lens is focused, you'll hear the AF beep and see the illuminated AF point in the viewfinder. I can't say if it would work for your Voigtlander Ultron manual focus lens, but I can't think of a reason why it wouldn't.
http://forums.usa.canon.com/t5/EOS/Canon-6D-Question-about-focus-confirmation-for-manual-focus/m-p/2259#U2259

March 11th post: http://www.zeissrumors.com/2012/03/canons-new-5d-mk3-disadvantages-manual.html

dpreview preview 6D / viewfinder: http://www.dpreview.com/previews/canon-eos-6d/3

Whereto Sony RX1?

2012-09-14T17:22:00.000-04:00

With the presentation of the smallest full frame camera Sony is showing it’s innovation spirit. The RX1 carries a fixed CZ 35mm lens with F2.0 as smallest aperture. The lens has an aperture ring and a focus ring. It can be used in macro and normal mode. The body has a physical mode dial (with aperture mode besides the aperture ring), a thumb dial to handle the modes and a compensation dial. So the camera can be controlled without use of the menu. Surprisingly there is no built in viewfinder.

Sony Cyber Shot DSC-RX1

There is a lot of discussion going on whether this camera is good or not. Basically Sony is showing us what their R&D is able to. The other camera manufacturers now are forced to follow this new path. Without a built in viewfinder the RX1 will be a full frame camera at arm’s length. Sometimes a compromise could be better than the extreme. The smallest full frame camera surely will deliver superb image quality. The fixed CZ lens will contribute to that. But does the customer prefer small to practical? No built in viewfinder is the dealbreaker for a lot of potential customers, more than the fixed lens. And what kind of viewfinder? Qualitywise OVF is still ahead of EVF. Sony surely keeps an eye on Fuji’s X-series because all Fuji has to do is to put an FF-sensor into the X-series and Sony will be behind again. No wonder the Fuji X-series is great, it’s that close to the Zeiss Ikon.

Although for reasons of costs and space it’s more likely that a future RX will have a built in EVF, the Zeiss Ikon would be role model for an exceptionally well executed optical viewfinder. The Zeiss Ikon’s viewfinder is that big and clear that one has to see it to believe. It's hard to imagine that EVFs will ever be there. With today’s sensor technology the rangefinder – a parallel focus mechanism – could be avoided or supported by a direct on sensor focus measuring that could be displayed as a focus flash into the OVF. Since there is no mechanical restriction, the photographer could choose any point in the OVF to focus on. In addition, in manual focus mode a displayed focus balance could show direction and distance of the focus throw to the point where the object is in focus.

Sony Carl Zeiss Planar T* 50mm F1.4 SSM

2012-09-13T16:28:00.001-04:00

Planar T* 1.4/50 ZA

Sony expands its ZA lens line with the Planar T* 1.4/50. The Japanese Sony website says Sony is developing this lens and plans to release it from spring 2013. This will be a full frame auto focus lens according to the existing ZA lens line.

This lens was rumored for years. The lens was broadly expected along with the launch of the Sony a900. Some sources claim the CA 1.4/50 was already rumored 2 years before. Sony got criticized for not offering a premium standard prime lens so far.

The Planar T* 50mm F1.4 ZA SSM could be the construction equivalent of the manual focus Planar T* 1.4/50 already existing for Canon and Nikon mounts. The MF version gets excellent ratings disturbed by some users claiming this lens not to be good enough from F1.4 to F2.0. The latter can not be confirmed: If the focus confirmation flash is adjusted (eg. Canon 5DII C.Fn III) or the lens is used with live view, the lens attests it’s technical potential even for close distances. The colors and contrasts are equally excellent. Consequently there is no reason to worry about the quality of the coming ZA version.

Great Carl Zeiss prospect for Photokina 2012

2012-09-08T01:19:00.000-04:00

Apo Sonnar T*2/135

After Carl Zeiss’ latest announcements of a new manual focus full frame lens line that claims to deliver medium format image performance, new auto focus lenses for mirrorless cameras and the promise of at least one new fast ZM-lens for 2013, Carl Zeiss just presented the expected Apo Sonnar T* 2/135 lens.

Click here for the latest announcements http://blogs.zeiss.com/photo/en/?p=2745
See the Apo Sonnar here at http://blogs.zeiss.com/photo/en/?p=2625

These are good news showing Carl Zeiss staying ahead. Photokina hopefully will unveil the details. And since everything at Carl Zeiss shines, the announcement of a digital rangefinder'ish camera would be the promise of the year.

ZR admin is behind the great firewall of China

2012-09-07T06:29:00.001-04:00

First of all, ZR apologizes to all followers of the site for not updating with the recent exciting Zeiss news. The reason being ZR has become a one-man project, and the site admin (me) is behind the Great Firewall of China, and in a couple of days I will be in the middle of nowhere and lose internet completely. As a result, ZR is not receiving the news postings as it should.

Second, to solve the problem, I would like to recruit somebody who shares the same interest to fill the role of an author, to help maintain the non-profit status of ZR.

ZR.

ZM 18/4 vs Fujinon 18/2.0 & ZM 35/2 vs Fujinon 35/1.4 on X-Pro1

2012-06-09T04:47:00.002-04:00

Photohea donline makes a head-to-head comparison with two ZM lenses and two Fujinon in the focal length 18mm and 35mm. The result favours Fujinon over ZM for mostly two reasons - the quality-cost ratio and the extra speed of the Fujinon. It also debunks the folklore of the Fujinon 18mm being mediocre. If you are shooting on an X-Pro 1, it is naturally more reasonable to choose the Fujinon lenses over ZM, however let's not forget that the ZM lenses are full frame 35mm lenses. They are designed differently and project images on a format that captures more information than APS-C.

Enjoy the review at http://photoheadonline.com/2012/06/03/zeiss-18mm-f4-vs-fujinon-18mm-f2/ and http://photoheadonline.com/2012/06/04/zeiss-35mm-f2-vs-fujinon-35mm-f1-4/

CZ.2 70-200/T2.9; CP.2 35, 50, 85/T1.5 lenses announced

2012-04-16T14:37:00.002-04:00

Zeiss announces three compact prime lenses 35mm, 50mm, 85mm with T/1.5 and a long awaited compact zoom 70-200mm with T/2.9 today.

The CP.2 lenses exist in the SLR line up already, but not the CZ.2 70-200/T2.9. We should expect its appearance in the SLR line up as a 70-200/2.8 zoom very soon, along with the Sonnar 135/2.

OBERKOCHEN/Germany, 16.04.2012.
During the NAB Trade Show in Las Vegas from April 16-19, 2012, Carl Zeiss will show its first Compact Zoom CZ.2 lens to complement the Compact Prime CP.2 line of lenses. According to customer requests it is the first compact zoom lens of its kind with interchangeable mount and full frame capturing capability. The Compact Zoom CZ.2 70-200/T2.9 gives the filmmaker the choice of a single lens in the short-long telephoto range, perfect for separating the fore- and background areas or for situations when the subject is a distance from the camera.

“The Compact Zoom CZ.2 70-200/T2.9 is first in a line of zoom lenses designed for the owner- operator from Carl Zeiss that allows them to be used with a wide variety of current and future cameras, because of their compact design, full- frame coverage and interchangeable mounts”, notes Christian Bannert, Senior Director R&D,Carl Zeiss Camera Lens Division. “There has never been a zoom lens on the market with similar features."

The Compact Zoom CZ.2 lens is a perfect complement to the smaller, lighter HD video and cine cameras introduced in the last year. Especially when used with Steadicam systems, the weight of the lens and camera becomes a critical factor. Weighing only 2.8kg (6.2lbs), it opens up new creative opportunities for action sequences by allowing the camera to be used hand-held for a greater range of motion.

The Compact Zoom CZ.2 lenses feature an18-blade aperture, which creates a round iris opening and a natural, out of focus rendition. As with the rest of the Compact Prime CP.2 family, the cine-style housing with gearing allows the attachment of any standard follow-focus system. By using the interchangeable mounts for PL, EF, F, MFT and E, the Compact Zoom CZ.2 lens can be easily adapted to numerous camera systems and ensures compatibility with future cameras as technology changes. The Carl Zeiss T* anti- reflection coating ensures the maximum contrast and color rendition by minimizing stray light and ghosting within the lens. The Compact Zoom CZ.2 delivers flare-free results and it has no focus shift over the whole zoom range.

More compact zoom lenses also made in Germany with additional focal lengths will be announced during the course of this year.

The Compact Zoom CZ.2 70-200/T2.9 will start shipping in the fourth quarter of 2012 at a recommended retail price of €14,900 or US$19,900 (excluding VAT)*.

OBERKOCHEN/Germany, 16.04.2012.
During the NAB Trade Show in Las Vegas from April 16-19, 2012, Carl Zeiss will present three new Super Speed lenses. Available with a fast T1.5 aperture and in focal lengths of 35mm, 50mm and 85mm, the new Compact Prime CP.2 Super Speed lenses offer filmmakers new opportunities for shooting in low-light conditions. Like the other Compact Prime CP.2 lenses, the new Super Speed lenses cover a full-frame sensor format and are equipped with the interchangeable lens mount system for use with a variety of cameras ranging from HDSLR to professional cinema cameras.

“With the new Compact Prime CP.2 Super Speed lenses with a fast T-stop of T1.5, we expand our family of CP.2 lenses with an even more powerful choice of lenses”, says Michael Schiehlen, Sales Director of the Carl Zeiss Camera Lens Division. “This opens up new creative possibilities in low-light situations, especially with the new high ISO HDSLR’s and HD video cameras. The Super Speed name has a long history at Carl Zeiss and these new lenses are a fitting tribute to their legacy”.

The faster T1.5 aperture is one of the key advantages to the Compact Prime CP.2 Super Speed lenses, especially for night-time shots or under low-light conditions. This helps to limit the need for artificial light, delivering more natural looking scenes with less effort and expense.

The cinematographer Sebastian Wiegärtner has tested the Compact Prime CP.2 Super Speed lenses and was very enthusiastic about the faster aperture while shooting a short film: “We filmed for three days in outdoor locations, with about eighty percent of the shots being taken at night. During the medieval-looking filming of two actors, the faster aperture was particularly effective by using lighting accents in the form of torchlight. The resulting images achieved the desired look and were appropriately stylish and soft.”

As with the rest of the CP.2 family, the Compact Prime CP.2 Super Speed lenses feature a 14-blade aperture, which creates a round iris opening and a natural, out of focus rendition. The standard cine-style housing with gearing allows the attachment of any standard follow-focus system. A long, 300 degree focus rotation and smooth action provides fine control, which is especially important given the shallow depth-of-field when using these lenses at wide open aperture. By using the interchangeable mounts for PL, EF, F, MFT and E, the Compact Prime CP.2 Super Speed lenses can be easily adapted to numerous camera systems and ensures compatibility with future cameras as technology changes. Carl Zeiss T* anti-reflection coating ensures the maximum contrast and color rendition by minimizing stray light and ghosting within the lens.

The Compact Prime CP.2 Super Speed lenses can be purchased individually, or combined as set with other Compact Prime CP.2 lenses in the product line.

The lenses will be shipped in August 2012. The recommended retail price for the Compact Prime CP.2 35/T1.5 Super Speed is €3,700 or US$4,900 (excluding VAT)*. The recommended retail price for the Compact Prime CP.2 50/T1.5 Super Speed and Compact Prime CP.2 85/T1.5 Super Speed is €3,300 or US$4,500 (excluding VAT)*.

Links: Zeiss PR #1, #2

15mm T/2.9 and 135 T/2.1 C.P2 cine lenses announced

2012-04-05T17:35:00.002-04:00

Soon followed by the announcement of the Distagon 15/2.8 for SLR. Zeiss just announced an addition of two compact prime cine lenses today. They are the Distagon 15mm T/2.9, corresponds to the Distagon 15/2.8 just announced, and the Sonnar 135mm T/2.1, which isn't in the SLR lens line up yet.

Two messages, the T-stop of the Distagon 15/2.8 is 2.9, and a Sonnar 135/2.0 for SLR will be coming up very soon. Stay tuned.

Carl Zeiss is expanding its Compact Prime CP.2 product range with 15mm and 135mm lenses

/Germany, 05.04.2012.

During the NAB Trade Show in Las Vegas from April 16-19, 2012, Carl Zeiss will present two new cine prime lenses. Carl Zeiss is expanding its product range of the Compact Prime CP.2 series with two compact and uncommonly lightweight lenses. With new focal lengths of 15mm and 135mm, filmmakers can enhance their portfolios with these remarkable lenses.

The new focal lengths allow professionals to realize creative ideas by expanding the angle-of-view-coverage of the Compact Prime CP.2 series from super wide through telephoto. Thanks to interchangeable mount system, the lenses can be attached to all standard HDSLR models, as well as on professional PL-mount cine and HD video cameras, providing the highest possible versatility. One of the key features of the Compact Prime CP.2 lenses is the full-frame coverage on 36x24 sensors. In this way, the complete angle of view is fully employed and the lenses will remain compatible with future cameras employing this sensor size.

"The two new focal lengths round out our existing range of nine lenses between 18mm and 100mm at both ends of the spectrum”, says Michael Schiehlen, Sales Director of the Carl Zeiss Camera Lens Division. “We have expanded our product range with the two new focal lengths in accordance with our customer feedback and in the course of working with photographers and filmmakers. We can therefore offer professionals greater possibilities for their creative process and through a variety of different focal lengths and related accessories, provide everything they need."

Compact Prime CP.2 lenses are ideally used on film sets for shooting in small, confined spaces. Especially with the Compact Prime CP.2 15/T2.9 the images appear more natural and can be realized without distortion of the image and editing tricks. Thanks to the cine-style housing, all current, standardized follow focus systems can be attached to the Compact Prime CP.2 lenses. The long standard focus rotation of 300° and smooth focus resistance provide excellent control for accurate follow focusing, especially with the shallow depth-of-field found with the large sensor cameras. The 14-blade aperture of all Compact Prime CP.2 lenses creates a round iris opening, resulting in a smooth and natural transition to the out of focus areas.

The Compact Prime CP.2 15/T2.9 super wide angle lens provides a broad field of coverage and is perfect for use in confined spaces or to provide dramatic panoramas to help set the scene. Distortion is extremely well controlled and horizontal and vertical lines are accurately captured in architectural settings. The Compact Prime CP.2 15/T2.9 incorporates two aspheric lenses and special types of glass material with abnormal partial dispersion to provide an extraordinary correction of chromatic aberration. Even on cameras with full-frame sensors, the image remains razor sharp out to the edges and details are recorded in the highest resolution. On cameras with smaller sensors the new Compact Prime CP.2 15/T2.9 lens also provides a super wide angle of view. The Compact PrimeCP.2 15/T2.9 weighs only 900 grams (1.98lbs).

The Compact Prime CP.2 135/T2.1 lens is the longest lens ever added to the Compact Prime CP.2 product line. With its focal length of 135mm and the shallow depth-of-field that comes from using a telephoto, the cameraman can maintain a relatively long distance from the subject while also isolating the subject from the background area. This is especially important for scenes in which the main characters are the main focus and the camera needs to capture expansive movement throughout the scene. Due to the working distance and the long focal length, the captured image looks very natural. At 1.6kg (3.52lbs), the 135mm lens is very lightweight for this product class, and yet, as with all Compact Prime CP.2 lenses, it is sturdy and suited for use in rugged filming environments.

“For several years now the trend is towards the use of HDSLR and HD video cameras with accompanying accessories on the set, especially for independent filmmakers, as well as for blockbuster productions. The quality of the filming is approaching a level that just a few years ago was only attainable with professional movie cameras in a much higher price class,” explains Schiehlen. Carl Zeiss offers lenses for every budget – from SLR lenses up to professional cine lenses.

Another key advantage of the entire Compact Prime CP.2 series is the availability of inter- changeable mounts for PL, EF, F, MFT and E. The mounts can be dismantled easily interchanged by the owner using the instructions provided on the Carl Zeiss website (http://www.zeiss.com/cine/cp2). This broad range of all major mounts offers filmmakers greater flexibility in the choice of choice of cameras depending on their budget of the needs of the project. Filmmakers also benefit from interchangeable mounts when upgrading to other equipment classes, helping to protect their investment from the inevitable changes in digital technology. For example, as independent film- makers expand their repertoire after their initial success, they can continue to use Compact Prime CP.2 camera lenses thanks to the interchange- able mounts. Filmmakers can continue to use the professional lenses they are already familiar with, regardless of the mount type required by the camera and avoid the costs for expensive new lenses.

The Compact Prime CP.2 lenses are color-matched throughout the series and can be mixed and matched without correcting for changes in post. The lenses are available for purchase individually or as part of a custom lens set at additional savings. An extensive range of accessories consists of lens cases, test chart, interchangeable mount sets, as well as adjustment shims are available. The lenses are compatible with camera rigs and follow-focus systems from most major suppliers.

The Compact Prime CP.2 15/T2.9 and Compact Prime CP.2 135/T2.1 will start shipping in the fourth quarter of 2012. The recommended retail price of each lens is €4,200 or US$5,700 (excluding VAT)*.

* Status: 5 April, 2012

Link: Zeiss PR,

Two more Distagon 15/2.8 reviews

2012-03-16T16:21:00.000-04:00

More reviews at The Photographer and Zeiss Images.

Again, it will be available in May.
Looks like there will be a lot going on in May -
Availability of Nokia 808 Pureview,
Announcement of BW only Leica M10,
And of course the availability of this 15elements 12 groups aspherical floating element 15mm f/2.8 lens for SLR.

Distagon 15mm f/2.8 for SLR officially announced; followed by KenRockwell review

2012-03-16T13:20:00.001-04:00

After plenty of guessing by Carl Zeiss fans, it’s now official: the new super wide angle Distagon T* 2,8/15 lens has arrived. With a large angle of view of 110 degrees in combination with a fast f/2.8 aperture, the lens enables the features for dramatic perspectives and performance demanded by the most ambitious landscape and architectural photographers.

Technical Specifications

Focal length	15 mm
Aperture range	f/2.8 – f/22
Focusing range	0.25 m – infinity
Number of elements/groups	15/12
Angular field, diag./horiz./vert.	110° / 100° / 76°
Coverage at close range	340 x 221 mm
Filter thread	M95 x 1.0
Dimensions (with caps)	ø 103 mm, length 132-135 mm
Weight	730g-820g
Camera mounts	F Mount (ZF.2) EF Mount (ZE)

It design is extremely comlex, with 15 elements in 12 groups, compared to 11 elements in 9 groups of its ZM counterpart. It has a $3,000 price tag and is made in Japan. It also incorporates aspherical elements and floating element design.

Ken Rockwell already published a review of this newly announced premium super wide with distortion chart, MTF charts already. Go take a look at the kenrockwell review.

Links: Zeiss 15mm page, Ken Rockwell review, Official announcement.

Canon's new 5D mk3 disadvantages manual lenses with fixed focusing screen

2012-03-11T15:31:00.006-04:00

In our previous post about focusing aids for manual lenses, we observed that Canon's new 5D Mark III incorporates a fixed focusing screen that optimizes brightness with deep depth of field(DOF), roughly f/2.8, which means even your lens is faster than f/2.8, you won't see the shallower DOF from the viewfinder. Manual lens users are well aware of that, they often change this bright screen with a super precision screen that is dimmer, but it sees the real shallow DOF to aid accurate focusing. If the focusing screen is fixed, obviously you lose the option here. There could be advantages for having the focusing screen fixed, the first one is that it could provide a sealed unit for the viewfinder to prevent dusts, the other is that it provides tight tolerance as a whole unit. But one may argue, if there are dusts on the focusing screen, you can clean it, and the dust specks don't show on the actual picture anyway. For the tight tolerance, SLR's have been incorporating interchangeable screens since its inception, there has never been an issue (well except maybe 1 case that I heard from an AF film Nikon). On the other hand, the disadvantage to end users is obvious - tough time focusing manual lenses.
Canon's real reasons for incorporating a fixed focusing screen on this high end full frame dSLR have yet to be seen.
We have a reader who questioned Canon's motiviation behind during a 5D mk3 presentation, the reply is:

Motivation behind is unification with 7D design at least canon says that. The had no explanation on why 1dx has changeble screens and 5D has fixed screen. One of the guy even told me that 5D isnt for profesionals so why do I care. :/ Not very nice attitude there.

Specification page at Canon USA.

http://usa.canon.com/cusa/consumer/products/cameras/slr_cameras/eos_5d_mark_iii#Specifications

Quote: Focusing Screen Fixed

Update:

A reader of ours (who prefers to remain anonymous) raised the fixed focusing screen issue to Carl Zeiss, and Carl Zeiss replied with the following:

Carl Zeiss to date had no opportunity to check whether the focusing screen of the 5D III can be removed in one way or another.
Canons technical statement about a fixed focusing screen previously means that Canon does not provide other matte screens for this model. Like other models with so-called fixed screens (eg. 600D or 550D) the screens could easily be replaced by the customer with screens from KatzEye or Brightscreen.
That we should not overestimate Canons technical statement until the 5D III can be examined and until the third party suppliers will take actions.

Our reader further asked Carl Zeiss's opinion about obtaining rights to produce ZE lenses from Canon, then be suppressed by Canon's technical means, Carl Zeiss answered, that even Carl Zeiss does not have any information advantage over upcoming Canon products and that Carl Zeiss does not have influence on Canon's product policy.

Fair enough.

To summarize: Canon's definition of fixed focusing screen does not necessarily mean *fixed* in a literal sense, it could possibly mean that Canon does not provide alternative screens to interchange. That hope for the best, that is the screen can actually be removed. Then sooner or later, there will be 3rd party players producing focusing screens for Canon.

Thanks for following up the fixed screen issue for us.

Super wide Distagon 15mm f/2.8 for SLR available May 2012

2012-03-09T11:06:00.000-05:00

Official statement from Zeiss blog:

Close up: the new super wide angle lens from Carl Zeiss

Although the 'super wide angle lens' isn't spelled out, you can rest assure that it will be the rumored Distagon 15mm.

Available in May!

Link: http://blogs.zeiss.com/photo/en/?p=1520

Zeiss Ikon Silver version is discontinued

2012-03-08T20:15:00.011-05:00

Zeiss's M-mount rangefinder film camera, the Zeiss Ikon, made by Cosina, has its silver version discontinued, as stated on Cosina's website.

ツァイスイコンシルバーボディ　153,000円　＊レンズは含みません（この製品は生産終了しました）

Let's do a simple account.

The German made ZM Sonnar 85/2 was discontinued;
Silver version of ZM lenses was once rumored to be discontinued;
Zeiss Ikon SW was discontinued;
Now the silver ZI is discontinued.

If I am allowed to guess, the current German made ZM Distagon 15/2.8 will probably be replaced by a Cosina made version, if not to be discontinued (especially with the intro. of a 15mm Distagon for SLR).

Link: http://www.cosina.co.jp/seihin/cz/ikon/index.html (translate)

Zeiss Distagon T* 2,8/15 coming to SLR in a couple of days

2012-03-05T15:20:00.001-05:00

Reported from Photorumors just now. The long rumored 15mm super wide is finally coming to SLR, reportedly coming on the 16th of March in ZF.2 and ZE mounts. The ZM Distagon 15/2.8 is the only current 15mm by Zeiss, and it is made in Germany, costing $4,600. The SLR version though should be made in Japan, and costs a lot less.

Link: Photorumors, ZR

Question/Idea: Focus balance on manual SLR lenses

2012-03-05T12:11:00.001-05:00

One of our readers Daniel asked us a question:

There are quite a lot of manual focus lenses out there from Zeiss or Voigtlander or via adapter for DSLR. Would it be a big thing to implement a focusing balance into the viewfinder of a DSLR (maybe only a firmware issue)? A focusing balance would provide more information about approaching focus in the viewfinder. The current confirmation only shows in the short moment, when focus is there and can easily be overseen or overrun.

focusing balance = horizontal line where focus is fixed indicated in the middle of this line and a moving arrow on the line shows, how far or close focus is. If the moving arrow is on the right side of the fixed focus point, the objects focus is farther away and the focus ring therefore has to be thrown to the left according to the distance of the arrow to the fixed focus point. And vice versa for an object with closer focus.

I think, this was there in analog-times already and would make manual focus lensens even more attractive. In fact a DSLR would get the same focus orientation like a Rangefinder has with its rangefinder windows.

Well... In fact we already have it. It is a split-image focusing screen.

but I like this focus balance idea for several reasons: You can use off-center AF point, you can use full size matt-screen, and typically a matt screen with split-image aid has larger DOF, also in principle you can obtain distance reading between the object and the focused plane.

In theory implementing it is definitely plausible.

All the SLR's today use phase detection auto focus, that is there is a module that tells how the light rays enter the camera and if they are in focus, if not, which way to turn the lens to bring the in focus and by how much.

That's what the phase detection module in every SLR does. All the information is there, and used by the camera automatically. So is it a big step to make this info available to the operator behind the camera? I guess not. The analogy I have is the car that you are driving daily (assuming it isn't a classic), it's got dozens of sensors reading stuff like temperature, oxygen, air flow, fuel mixture, and what not. The data are then fed to the ECU, which determines how to run the engine automatically without the operator concerned over the readings. There are people who hacked their car to read those sensor readings, so why not for cameras?

I am not saying one can get a focus balance from a SLR with a simple firmware "hack", my point is all the information is there already, it isn't a big step forward to present them.

Now if the manufacturers will implement the focus balance feature is another question. I don't know how Zeiss struck the deal of producing lenses in those proprietary EF mount, F mount (perhaps Zeiss told those Canonikon: oh! don't worry, nobody likes manual lenses, our Zeiss lenses in your mount will not take away sales of your oem lenses), but implementing this feature that aids manual focusing indeed encourages the use of manual lenses. While letting Zeiss produce lenses in proprietary mount is more like Zeiss lives or dies on its own, encouraging manual lenses is a totally different matter.

In fact, it would be more reasonable if Canonikon discourage the use of manual lenses. We received a note from Dave, who reported that the focusing screen on the new Canon 5D mkIII (mark 3) is fixed, hence cannot be changed to one that optimizes manual focusing. If this is true, it looks indeed like at least 1 player doesn't want you to use manual lenses. Or perhaps Dave had a pre-production 5D mk III?

Could you folks verify this for us?
Canon 5D mk III having a fixed (non-interchangeable) focusing screen?

Update 1:
Focus screen on the Canon 5D mark 3 is fixed!

Specification page at Canon USA.

http://usa.canon.com/cusa/consumer/products/cameras/slr_cameras/eos_5d_mark_iii#Specifications

Quote: Focusing Screen Fixed

Update 2:

Markus from photozone.de noted that Nikon dSLR's do tell you which way to turn to bring the lens in focus. Given Nikon's attitude toward compatibility with its manual F mount lenses, Nikon *could* go a step forward to give a distance read-out between in focused plane and out of focus object, which will require knowing the focal length for instance. Canon obviously isn't interested.

ZA Vario-Sonnar 24-70mm f/2.8 Review at slrlensreview.com

2012-02-21T19:12:00.000-05:00

Have you ever dreamt about an all-around lens that covers most of the focal length range, with decent speed, good image quality, build quality, and good bokeh?
So it is a jack of all trades, right? All of you know the next line.

Well... Let's see if slrlensreview.com can convince you otherwise with this ZA Vario-Sonnar 24-70/2.8.
Other than some bad flare, and distortion, it does appear to be pretty close to a perfect all-around lens doesn't it? Well... maybe other than its AF speed too?

This lens alone is probably worth getting you into Sony's Alpha system.

Link: http://www.slrlensreview.com/web/reviews/carl-zeiss-lenses-swhorizontalmenu-172/zeiss-standard-zoom/771-carl-zeiss-vario-sonnar-t-24-70mm-f28-za

Distagon T* 25 mm f/2.0 Review at lenstip.com

2012-02-21T19:03:00.000-05:00

Lenstip.com has a review of this popular Distagon 25/2.0.
This lens has a respectable speed in a rather good weight/size package, it is loved by many for this reason.
Other than its superb build quality, lenstip.com reports that it has very good longitudinal CA (bokeh fringing), which is hard to achieve for fast wide angles, but this Zeiss Distagon 25/2.0 does it well.
Its floating element design assures sharpness at all focusing distance. The distortion is pretty decent too.

Take a look at the full review at http://www.lenstip.com/index.php?test=obiektywu&test_ob=331

Business model of the 21st century

2012-02-03T17:28:00.001-05:00

We received a letter asking us to ask Zeiss about producing a camera. A camera of this kind of spec is often discussed over at different enthusiast site like RFF, FM, APUG etc.., it has certain number of supporters, also about the equal number of nay-sayers. Those discussions often turn into arguments about actual buyers in the end, or the insignificance of the niche market (think Leica?).

Here is the content of the letter:

I recently read, the average Leica owner owns 1.4pieces of lenses, so one great lens per owner would certainly do also from marketing aspects:
So I ask you to ask the Zeiss guys, why are they not producing a fixed lens Zeiss RF like the Fuji X100 but FF, real RF (means MF only), without all the Fuji gimmick. I would die for a high IQ camera with a focal length somewhere between 35 and 50mm and f2 to f2.8. This would also avoid the CMOS disadvantages for RF's. And if I could add some more wishes, throw away the displays, meanwhile WB is so good, mine is always on AWB, or on Kelvin if I take pictures at night; for the settings I see them in the viewfinder, so I don't need a display. And make it a rugged small tool. And yes, focus confirmation in the RF.
I want to throw away my 5DII but stay with Zeiss lenses, that's why. The 5DII is good enough in all aspects, but toooooo big.
I know a lot of people who would go for something like my wish, tech is all there, I don't know what Zeiss is waiting for. We would pay good for such a pro-tool.

I decided to give a *PERSONAL* answer to this wish. (repeat, this answer is personal, subjective, or even fictional, so even if you absolutely hate it, disagree with it, or even get annoyed by it. Stay calm, this is a small opinion of an individual among billions of netizens).

First of all, we need to face the fact that manufacturing is hardly profitable in the 21st century. Second, technology advancement is so rapid that producing day-to-day intellectual properties becomes very competitive and exhaustive. For a company to stay on top of others and ahead of the game, the first step would be to step away from those two mentioned aspects. This is what Zeiss did. Zeiss's business model is very different from Zeiss 20 years ago or Leica, or Canonikonympusonicohuji. Restrict ourselves to Zeiss photography division (just to avoid counter examples). Zeiss produces optic designs, lens formulae, product ion standards, quality control management etc.... They are not the typical manufacturing like assembling iPads, or day-to-day technologies like squeezing pixels onto a sensor. They are unique aspects of Zeiss that it carried from the previous century, and they will allow Zeiss to play the game in the 21st century in a unique way. Think IBM, they are another company that made this transition of their business model for the 21st century. Think Kodak, they are a company who failed the transition. And think Canonikonympusonicohuji, are they really that successful as companies? compared to Zeiss?I suppose we would be seeing more business model transitions for the manufacturing sectors in developed countries. The transition will be either to a niche market fetcher or turning oneself into the ``service'' sector.

This is it. I haven't spelled out that many solid points, but the ideas are there.

Zeiss Rumors

Megapixel interview with Zeiss at Photokina 2012

Focusing screen makes a difference

Zeiss 15mm Hood Removal

Zeiss Ikon film RF cameras are officially discontinued

Photokina 2: New FF Zeiss lens line

Photokina 1: New Zeiss CSC lens line

ZR speculation about new ZM 1.8/25mm lens

Canon's new 6D with interchangeable focusing screen

Whereto Sony RX1?

Sony Carl Zeiss Planar T* 50mm F1.4 SSM

Great Carl Zeiss prospect for Photokina 2012

ZR admin is behind the great firewall of China

ZM 18/4 vs Fujinon 18/2.0 & ZM 35/2 vs Fujinon 35/1.4 on X-Pro1

CZ.2 70-200/T2.9; CP.2 35, 50, 85/T1.5 lenses announced

15mm T/2.9 and 135 T/2.1 C.P2 cine lenses announced

Two more Distagon 15/2.8 reviews

Distagon 15mm f/2.8 for SLR officially announced; followed by KenRockwell review

Technical Specifications

Canon's new 5D mk3 disadvantages manual lenses with fixed focusing screen

Super wide Distagon 15mm f/2.8 for SLR available May 2012

Close up: the new super wide angle lens from Carl Zeiss

Zeiss Ikon Silver version is discontinued

ツァイス イコン シルバーボディ 153,000円 ＊レンズは含みません（この製品は生産終了しました）

Zeiss Distagon T* 2,8/15 coming to SLR in a couple of days

Question/Idea: Focus balance on manual SLR lenses

ZA Vario-Sonnar 24-70mm f/2.8 Review at slrlensreview.com

Distagon T* 25 mm f/2.0 Review at lenstip.com

Business model of the 21st century

ツァイスイコンシルバーボディ　153,000円　＊レンズは含みません（この製品は生産終了しました）