Lenspire magazine 2

LENSPIRE 8/2016 The Camera Lenses magazine from the ZEISS Consumer Optics business groupOff to the islandPhotographer Christian Dandyk tookthe ZEISS Batis 2.8/18 on a trip to Rügenisland. Read about his impressions here.

CONTENT Exploring 3 Fast and 10 Exploring New Zealand 3 lithe in the New Zealand mountains Fast and lithe in 10 the mountains Christopher Wesser David Cliffordtraveled New Zealand just loves action A closer look at 15 shots of outdoorsy the T* coating with ZEISS Loxiaand ZEISS Batis lenses sportspeople. ZEISS Batis 2.8/18 in his luggage opens up whole new possibilities Off to the island 16 ZEISS Milvus lenses – 22 just how good are they16 Off to 22 in the real world? the island ZEISS Milvus Images from a thousand 32 Christian Dandyk lenses – just and one nights took pictures on how good are the bitterly cold they in the real The Highlander 37 island of Rügen world? with the new Want to capture 42 ZEISS Batis 2.8/18 Drew Gardner Cuba’s colors? shares his experiences 37 ZEISS Milvus | Loxia | Batis 50Images 32 The 42from a Highlanderthousand Want toand one Drew Gardner capturenights with the Cuba’s colors? ZEISS Batis 2.8/18Dany Eid in Scotland Tips and trickstested the from ZEISSZEISS Milvus Ambassadorlenses Brian MatiashLENSPIRE Magazine 8/2016 2

Exploring New ZealandChristopher Wesser traveled New Zealand Sony α7R II, ZEISS Loxiawith ZEISS Loxia and ZEISS Batis lenses in his 2/50, f/8, 1/640 sec, ISO 100luggage. Read about his experiences and seehis photos. © Christopher WesserLENSPIRE Magazine 8/2016 Exploring New Zealand 3

We are explorers. We always have been. We dreamt of scaling moun- tains, exploring other continents,diving deep into the ocean and flying in highup the air. Even after we conquered the ele-ments of our own planet, we didn’t sit backand pat ourselves on the back. We wantedmore. We’ve travelled to the moon, sent robotsto Mars, and pretty soon even our own milkyway won’t be challenging enough.As soon as I was old enough to travel alone, Sony α7R II, ZEISS Loxia 2/50,I felt this explorer’s instinct in myself, and stayed f/2, 1/2000 sec, ISO 100seldom in one place. Wherever I travelled, © Christopher WesserI wanted to see as much as I could. This wan-derlust exploded when I became more intenselyoccupied with photography. Travel was given acompletely new meaning through photogra-phy and it awakened a thrill for adventure inme. Photos are a great opportunity to inspirethe same wanderlust, the desire for theunknown, in other people.Even though I’m more than satisfied with my Island. I searched for a camera system that moments with only 18 megapixels in order tocombination of DSLRs and ZEISS Planar and would be able to create the picture quality I save memory space. However even the bestDistagon lenses for all of my portrait and wed- wanted, and at the same time be permanently camera wouldn’t be worth much without theding photos, I found the size and format of this carried in my backpack or simply on a camera- right lenses. The ZEISS Loxia and ZEISS Batisequipment to be suboptimal for travelling. It belt. I ended up with the Sony α7R II together lenses deliver exactly what one needs as anwas a catch22. with ZEISS Loxia and ZEISS Batis lenses from explorer: stability and character. Despite the ZEISS. I couldn’t have been happier. The mirror- small format, I always had the security of anI wanted the prime lenses, quality, and flexibil- less system allowed me to do whatever I extremely solid build, together with theity that I could achieve with a DSLR system, wanted, and was at my side 24/7. Sony has legendary ZEISS optics.without sacrificing most of the space in my lug- thought of many details that make sense whengage. One of my most recent trips brought me travelling. With the push of a button I can More importantly for me is that my cameraonce again to New Zealand, and the plan was decide if I’d rather shoot detailed landscapes at system is as adventure happy as I am, and thatclear: I wanted to travel around the entire North 42 megapixels, or rather document particular it does its job when I need it to. The mostLENSPIRE Magazine 8/2016 Exploring New Zealand 4

worthy photographic moments are often in the On another day I scrambled through a hole in a During the entire six weeks that I was travellingleast camerafriendly situations. For example, I broken fence and landed in a paddock on the around New Zealand’s North Island, not oncewas hiking over a mountain for 9 hours. As the foothills of a mountain, where a herd of horses did I have the feeling that something was miss-track came to an end and the way forward was were enjoying the sunset. When photograph- ing. With the ZEISS Loxia 2.8/21 and the ZEISSover rocks and partially vertical, I wanted more. ing animals, you usually only get a couple of Batis 2/25 I had two lenses that were made forI wanted to reach the pinnacle. The camera tries. It was important to me to capture this photographing the breadth and freedom ofhung at my side and in the moment that I clam- setting so I pushed the shutter a few times landscapes. The ZEISS Loxia 2/50 created abered upward, looked back and took in the without thinking too much about technique or wonderful ZEISS bokeh and helped me to cap-incredible panorama of forest and mountains, camera settings. Despite the difficult backlight ture details in nature. As I have realised in theit was ready for action, ready capture this situation, the camera astounded me with its past, 35mm is a great focal length for docu-moment. On other days New Zealand suc- dynamic scope, which allowed me to pull mentary pictures. The ZEISS Loxia 2/35 told theceeded in surprising me with a convincing des- details out of even the most imperfect pictures story exactly as I wanted to. On top of that, itert landscape, and I was grateful for the weath- in the postprocessing. allowed me to photograph long after sunset orerstability of the lenses. I wasn’t concerned in dark rooms.about the sand. It was for these conditions thatthis system was built. I was able to let my sur-roundings affect me, and enjoy the vast land-scape without getting distracted, and withoutworrying about my equipment. I waited until amoment moved me, and pressed the shutter.New Zealand is justifiably famous for its rich Sony α7R II, ZEISS Loxia 2/35,variability. Only a couple of days after my detour f/2, 1/6400 sec, ISO 100into the desert, I found myself in a kayak on © Christopher Wesserthe Pacific Ocean. My equipment was safelystowed in a watertight drybag, but how oftendoes one get to paddle on their own out intothe ocean? In exactly these situations is whenphotography is worth it. With my normal DSLRsystem I would have thought twice, but I knewthat my damp hands and a few drops of waterwould harm neither the lenses or the camera,so I took them out for a few seconds to sharethis extraordinary moment with the world.LENSPIRE Magazine 8/2016 Exploring New Zealand 5

My trip was in many places raw and harsh and The photography felt like it belonged to my I wanted to capture exactly that sense. The trip; like a hike, sunburn or the many people way that the α7R II and the ZEISS Loxia lenses that I met. The Sony α7R II and the ZEISS lenses operate fits seamlessly into this feeling. As are as eager to explore as I am. They’re not close as you can get to nature is as close as you afraid to go with me off the beaten track and can get to pictures. The possibility of haptic understand what it means to immortalise wheels to directly adjust the aperture or over/ moments that are something special to me. under exposure prevented me from being After six weeks of exploring and discovery of distracted from the situation. New Zealand’s nature all I have left in me is a quote from the new Star Wars film: “I didn’t even know there’s this much in green in the whole galaxy.” Sony α7R II, ZEISS Loxia 2/35, Sony α7R II, ZEISS Batis 2/25, Sony α7R II, ZEISS Batis 2/25, f/8, 1/125 sec, ISO 125 f/8, 1/125 sec, ISO 100 f/11, 1/320 sec, ISO 100 © Christopher Wesser © Christopher Wesser © Christopher WesserLENSPIRE Magazine 8/2016 Exploring New Zealand 6

Sony α7R II, ZEISS Loxia 2.8/21, Exploring New Zealand 7 f/2,8, 1/4000 sec, ISO 100 © Christopher WesserLENSPIRE Magazine 8/2016

Sony α7R II, ZEISS Batis 2/25, Exploring New Zealand 8 f/10, 1/125 sec, ISO 200 © Christopher WesserLENSPIRE Magazine 8/2016

Sony α7R II, ZEISS Batis 2/25, Exploring New Zealand Photographer f/10, 1/125 sec, ISO 200 Christopher Wesser © Christopher Wesser Born 1987 in Ingolstadt, Germany,LENSPIRE Magazine 8/2016 Christopher discovered his love for creativity very early through making music. He now lives and works as a photographer in Stuttgart, Germany. Besides wedding photography, he specialised in Travel- and Lifestyle- photography. On his journeys he enjoys above all the discovery of wild landscapes and the contact with new people and mentalities. sandbox-photos.com facebook.com/sandboxphotos 9

Fast and light inthe mountainsDavid Clifford’s workplaces normallydon’t have heated bleachers set up forphotographers. His preferred motifs areaction images of outdoors sportspeople– in places where there are very few, ifany, spectators. For these jobs, the newZEISS Batis 2.8/18 opens up whole newpossibilities.LENSPIRE Magazine 8/2016 Fast and light in the mountains 10

When David Clifford shoots on location David knows that when you are embedded photographer, I always strive to work at their in rugged environments, he has to with the athletes, being able to keep up is very tempo, not mine.” To stay fit himself, David consider a few things: First, every important. He often photographs the very best often mountain bikes on his local trails in Car-ounce counts. Secondly, if he forgets some- people in their chosen discipline, be that rock bondale, CO and Skis on the slopes of Aspenthing, there’s usually no possibility of going climbing, ice climbing, skiing or biking. Many Highlands and Snowmass, Colorado. Staying inback to the truck. He often brings two cameras of the athletes are known for being the best shape is only half the battle. David also needsand three lenses plus food, water and and at the top of their game. “The athletes risk every edge when it comes to camera gear. He’sclothing. a lot – sometimes even their lives. So as the usually the first one to adopt new technologies and put them to use in Sports, Adventure, Life- The ski area in the Aspen highlands, style and Portraiture. When you’re at the top of photographed from Aspen Mountain the game you need to be pushing the creative boundaries and know that your systems are dialed in. “What’s really important for me is being able to move over the mountain relatively easily and unhindered: I often only take a backpack, but it also has to hold my food and drink and, in win- ter, avalanche safety gear.” Since he’s been using the cameras from the Sony α7 series, David estimates his load has been cut by at least half. And by that he means not just the size, but especially the weight and even cost of purchasing everything he needs for his kit. He says the ZEISS Batis 2.8/18 also contributes to a lighter load. High-resolution photo on Flickr As a ZEISS Camera Lenses Ambassador, he had the opportunity to test this new member of the ZEISS Batis family a few months before the offi- cial start of sales. Since then, he has joined a community of photographers who now favor- ably compare their system of Sony camera and ZEISS lenses to considerably heavier, larger and more expensive medium-format systems. “The quality of the picture speaks for itself. For me,LENSPIRE Magazine 8/2016 Fast and light in the mountains 11

as an outdoor photographer, the advantages of A Prinoth snow cat onbeing light and fast are obvious but the added Buttermilk Mountainbonus of being weather sealed and tack sharpreally make this lens shine.”When David wanted to try the ZEISS Batis2.8/18 for the first time, a heavy storm had justblown over his home mountain, and looking athis pictures you can feel the clear air, the cold,the tranquility. “After a stressful and exhaustingday of editing and marketing, I need a fewhours just for me alone.” He calls that time“serenity now” – the calm after the storm, youcould say. “I still love to shoot personal workwether it’s sports or my kids or even landscapesand architecture.” Having a super wide anglelens in the kit is essential for every sports andadventure photographer. Being at the top ofAspen Mountain after a clearing storm is oneof those moments you cherish as a photogra-pher. It’s just amazing to be able to stand ontop of a mountain and breath the fresh air andcapture a perfect moment in time. The ZEISSBatis 2.8/18 renders this perspective perfectlyhere.In the winter sports paradise of Aspen, tourists nation of aperture and exposure time. “For this High-resolution photo on Flickrcan learn how to drive a snow cat and groom a image, the ZEISS Batis 2.8/18 really blew meslope. David recently shot this story on assign- away.” “Having the ability to use the 5 axis Different types of sports require different typesment for Aspen Magazine. “I was pleasantly image stabilizer, track focus in low light, shoot of lenses in order to be able to capture the spe-surprised when the lamps of the snow cat took super wide with close to zero distortion and cific elements within each sport. For example,on their star-formed appearance,” explains get a star like pattern on the lights was soccer photos beg for telephoto lenses, whileDavid. “At the same time, I wanted to capture AMAZING!” pictures of outdoors sports love a wide angle.the movement of the vehicle, with the snow “I have to show the athletes in their surround-swirling up and get a star burst on the lights.” ings. That’s the only way you can understandThese two criteria were decisive for the combi- what they even do and what’s really decisive inLENSPIRE Magazine 8/2016 Fast and light in the mountains 12

The new trend in rock andice climbing: mixed climbing.Anna Pfaff at Man Camp inRedstone, ColoradoHigh-resolution photo on Flickrtheir respective sport.” In this photo, Anna Pfaff scapes is one of David’s favorite subject matter. verse – a rope suspended between two pointsis climbing a “mixed” route rated at M10, which “I really wanted to shoot a fresh perspective on on which he can move along to get shots com-is extremely difficult. The lighting provided by ice climbing. Shooting from the bridge is easy pletely different. The second image shows thetwo Profoto B1s keeps the foreground and but setting up a Tyrolean traverse and dangling Profoto B1 that David controls via a remotebackground in balance. To increase the sense just above your climber really adds a sense of control in order to highlight the climber andof drama, David chose to take the picture just drama. The ZEISS Batis 2.8/18 gave me this give the ice that bluish shimmer. “Being on theas the sun was setting over the mountain, in a forced perspective that makes you feel like this sharp end means having to rely on your gear,so-called ‘sun burst’. The overhanging icicles climb is truly epic.” Only when you look a sec- your crew and your self to get the shot.”are starting to melt; processing the picture in ond time you see how far down David Roet-black and white reveals a lot of detail such as zel’s climbing partner is. In order to be considered one of the best Adven-the fine drops of water trickling down in the ture photographers, one thing is immediatelybacklight. Anna is depicted as a tiny element David‘s assistant Jeff Rueppel captured the clear: being able to get to locations safely is awithin a stunning natural setting, yet the viewer behind the scenes images and made adjust- prerequisite in every situation – for the photog-still feels her strength and sheer will. Shooting ments to the lighting set up. David takes the rapher and their gear. Everything you need andathletes in stunning locations and epic land- picture hanging along a so-called Tyrolian tra- nothing you don’t.LENSPIRE Magazine 8/2016 Fast and light in the mountains 13

Behind the scenes Photo: Jeff Rueppel Photo: Jeff Rueppel Photographer David CliffordLENSPIRE Magazine 8/2016 Fast and light in the mountains David Clifford, 46, studied photography at Northeastern University in Boston, Massa- chusetts. In 1991 he moved to the moun- tains of Aspen, Colorado, where he ini- tially worked as a C-41 tech and sales person at Walnut House films and photog- raphy store. Eventually David went on to become a Mountain Photographer for Aspen and Buttermilk Mountain. This was Clifford’s entry into the field of outdoor photography. Gradually well-known ath- letes such as the extreme ski athlete Chris Davenport and his Brother Ted Davenport started to hear about David. A ZEISS Cam- era Lens Ambassador, David is married and has three children. davidcliffordphotography.com 14

Technical article on T*-coating andreduction of reflections in lensesIn a technical article Dr. Vladan Vladan BenjaminBlahnik and Dr. Benjamin Blahnik VölkerVoelker from the ConsumerOptics business group demon- studied physics at studied nanotech-strate how reflection-reducing the Technical Uni- nology at the Uni-coatings enhance the quality versity of Braun- versity of Würz-of photographic images. schweig and at the burg. In 2010 heMoreover, the principles of Optical Sciences received his PhD atantireflective coatings and the Center in Tucson, the Department ofoptimization of the reflection Arizona and received a PhD in 2002 for Mechanical Engineering at KIT Karlsruhe.behavior of lenses in the pro- his dissertation on partially coherent opti- He continued his research work on multi-cess of optical systems devel- cal imaging theory. In 2001 he joined the scale modeling as a postdoc fellow at theopment are described. Semiconductor Manufacturing Technolo- Department of Mechanical Engineering at gies business group of ZEISS as a Lead the University of California, Santa Bar- Download here System Engineer of projection optics and bara. With a strong background in numer- illumination systems for optical lithogra- ical simulation methods and his passion phy. In 2008 he became Head of the Opti- for photography, he joined the Consumer cal Design Department in the Camera Optics business group of ZEISS in 2013. In Lenses Division of ZEISS. Since 2012 he is the optical design team he works as an Staff Scientist in the Consumer Optics expert on optical simulation methods, business group working in the field of especially in the field of stray light imaging and optical design. simulations.LENSPIRE Magazine 8/2016 Technical article on T*-coating and reduction of reflections in lenses 15

Off to the islandChristian Dandyk doesn’t put himselfin danger for his photography “On theother hand, I do go out of my way toget a good shot.” The Berlin-basedphotographer proved that while takingpictures on the bitterly cold island ofRügen with the new ZEISS Batis 2.8/18.LENSPIRE Magazine 8/2016 Off to the island 16

Rügen on the Baltic Sea is a magnet for and already entered into his car navigation sys- Contrary to all weather forecasts, the sun was many Berliners. Getting there takes only tem. Since November 2015, Dandyk had been shining when Dandyk arrived in Rügen in Janu- three hours by car, making it ideal for a carrying a prototype of the ZEISS Batis 2.8/18 in ary of 2016. His first excursion was to theshort break. Christian Dandyk had already been his photo bag and tested the lens in many every- water’s edge along Rügen’s high coast andthere a few times, the last being in January day photo situations. Now came the ‘field test’ chalk cliffs. However, he soon found the path2016 to take some example shots with the under rougher conditions. Dandyk, a ZEISS blocked with fallen rocks. Some tourists hadZEISS Batis 2.8/18. And nine months before Camera Lenses Ambassador, had high expecta- still managed to make their way through, butthat, he was on Rügen to create images with tions for a lens that he could use for everyday “that’s nothing for me,” says Christian Dandyk.the ZEISS Batis 2/25 and ZEISS Batis 1.8/85. The situations. Especially for landscape images, “I’m not a hero and I’m aware of the danger ofweather then was bad but Dandyk went any- where the reliability of weather and wind mat- Rügen’s chalk cliffs. In January, a piece canway, as the list of possible motifs was long. They ter most, a lens can’t disappoint the photogra- break off at any time and no photo in the worldhad been well researched using Google Earth pher when things don’t go as planned. is worth taking that risk.”Why yearn for faraway places? The pileof stones attracts the viewer’s attention High-resolution photo on Flickr Off to the island 17LENSPIRE Magazine 8/2016

On the way back, Dandyk took this photo of a The rope draws the viewer’s eye into the picture, before it wanderspile of stones sitting on a log protruding into through the frame created by the reflecting stakes on the horizonthe water. Getting the motif to fit nicely intothe image is a real joy with the wide angle withits 18-millimeter focal length. Here foreground,background, the forces of nature and humanprecision all come together wonderfully. Even ifthe ZEISS Loxia 2.8/21 would have sufficed totake this shot, with the ZEISS Batis 2.8/18 themotif gains so much more.In the harbor of Saßnitz on Rügen, Dandyk tookthis picture of the fishing boats. Using only awide angle, he was able to create in one imagean incredible sense of drama and expressivestrength, aspects that Dandyk seeks to achievein all his pictures. In such images, the converg-ing lines don’t bother Dandyk too much. Onthe contrary, they support the atmosphere Dan-dyk wants to attain by creating additional ten-sion. “I look for a play of forms and lines.”Every now and then Dandyk likes to insert cliffs, better known as Königsstuhl, so that he High-resolution photo on Flickrso-called “view-stoppers” into an image. These could walk down the long path to the beach.are things or objects – sometimes lines and But the path was extremely icy. “I’m not that the photographer and his equipment wet. “Atforms, occasionally even errors — that slow brave and if I had known how icy the path no point was I worried about the ZEISS Batis,”down the viewer’s flow when they look at a would be on the way down, I would have says Dandyk, as his experience with the ZEISSpicture. Of course, there are rules for construct- dropped the whole plan.” Once at the bottom, Batis 2/25 and the ZEISS Batis 1.8/85 hading and composing an image, but those rules he was rewarded with a deserted beach and already proved to him how well protected ZEISScan be intentionally broken – provided the pho- fantastic view of the water. The foamy spray Batis lenses are against spray water. However,tographer knows what he’s doing. interested him more, resulting in this photo of more care is recommended with the cameras. the rocks among the waves. Only seconds later,The next day was heavily overcast. “If bad a large wave crashed over the stones and got That night, Christian Dandyk caught a wonder-weather is good for anything, it’s that tourists ful view of dusk in the harbor of Saßnitz, wherestay away and you have a free, undisturbed he took this picture. The fishing boats had beenview on the motif.” Dandyk drove to the chalkLENSPIRE Magazine 8/2016 Off to the island 18

Harbor scene at blue hour High-resolution photo on Flickrprepared for their nighttime journey out to sea, used. For example, thanks to its large field of barely recognizable and a light, cold drizzle setand the lighting in this scene created a won- vision with extremely low distortion, it’s per- in. All of which conspired to put a quick end toderful atmosphere that Dandyk wanted to cap- fect for architectural photography. On Rügen that little tour.ture. Here, too, it’s clear how much more inter- there are many exciting motifs for landscapeesting a photograph is with the right foreground. photographers to explore. The treetop path, Looking at the photo above, you can hardlyFor Christian Dandyk, the ZEISS Batis 2.8/18 located between Saßnitz and Binz, is one place imagine it was taken under such unfavorablefulfilled a long-held wish he had had for a wide Dandyk had never been before. Previously he conditions. “The everyday life of a photogra-angle with excellent imaging performance. had only seen Rügen from above from a heli- pher is sometimes more unspectacular andDandyk doesn’t even bother to mention things copter. “For the entrance fee of 10 euros I can tedious than you would think when you seelike focus, colors or contrast, as he takes them fly for only a half a minute,” jokes Dandyk. certain pictures. Sometimes I can create dramafor granted with every ZEISS lens – and has Granted, the path to the top is not that exciting only when I’m behind my computer in thenever been disappointed. Just as photography in winter. Yet the lack of leaves creates a new warmth of my studio where I do my photo edit-is a very diverse field, so too are the applica- view. Once he was at the top, the sky turned ing.” A good picture simply requires time andtions for which the ZEISS Batis 2.8/18 can be cloudy within a few minutes, the island was lots of steps.LENSPIRE Magazine 8/2016 Off to the island 19

Not as harmless as it seems: Waves at theKönigsstuhl near the chalk cliffs in Rügen High-resolution photo on Flickr Off to the island 20LENSPIRE Magazine 8/2016

A glimpse into the treetop path on the island of Rügen High-resolution photo on FlickrLENSPIRE Magazine 8/2016 Off to the island Photographer Christian Dandyk Dandyk, 54, became a professional pho- tographer only five years ago. Within a short period of time, he has created an avid and loyal following of fans, many of whom collect his motifs in the form of textile prints. Dandyk is often on the road to photograph buildings, people or nature. His studio is in Berlin, but you can’t just drop in there, say to have a por- trait made, as Dandyk is very selective about the assignments he takes on. “In photography I only do what I think will be fun.” christian.dandyk.de 21

ZEISS Milvus lenses – Canon 6D,Just how good are ZEISS Milvus 100 mmthey in the real world? 1/1600s f/4.0 ISO 500New lenses are released all the 22time by manufacturers. Justhow good are the ZEISS Milvus?ZEISS Ambassador Drew Gard-ner shares his experience.LENSPIRE Magazine 8/2016

»Let me state right here right now there is nothing ‘wrong’ with the ZE and ZF.2 lenses, which are now referred to as the ‘classics’. It really all is about the march of time and as excellent and joyous the Classics (still) are to use they are from another time – a time before increasingly high density and unforgiving seniors came into being.«Drew GardnerNew lenses are released all the time by tion. Just how good are the ZEISS Milvus ? I do or not it does give a clue to,the fact that ZEISS manufacturers. ZEISS in many ways is intend to answer that question in full and post is not your run off the mill manufacturer – ZEISS ‘King of the the hill’ with unimpeach- a series of real world images some of them shot is a thinker.able quality which dates back to the dawn of in an exciting but quite high pressure situationcamera lens production – in fact ZEISS cele- in part two of this post. But why do we need the ZEISS Milvus? Whatbrate their 125th anniversary this year. was wrong with the ZE and ZF.2 lenses? I could Milvus – What’s in a name? On the face of it baffle you and myself by referring to lens dataI have been lucky enough to be working with Milvus does seem to be an unusual name but if sheets so I will give you my, concise I hope takeZEISS for the past few years and therefore I you have followed the last few lens releases, by on it.tend to get the occasional question from shoot- ZEISS you will know it is just the latest in line ofers I have met along the way. But I cannot recall families of lenses named after birds, Otus is an Cameras are so good these days and capable ofanything like the level of interest from fellow owl, Loxia is a finch, Batis is a flycatcher and delivering such remarkable detail they willshooters, getting many message – from as far Milvus is a Red Kite a majestic and agile raptor. expose any weak link in the chain and oftenaway as Africa and they all ask the same ques- Whether you approve of the naming strategy that can be the lens. With this in mind ZEISSLENSPIRE Magazine 8/2016 ZEISS Milvus lenses – Just how good are they in the real world? 23

revisited the ZE and ZF.2 range and today wehave the Milvus range. Some of the lenses inthe ZEISS Milvus range feature and entirely new»My palms may have beenoptical design – notably the 50mm F1.4 and85mm F1.4 and some of the designs were just sweaty but the new focusingtweaked with new coatings and minor enhance-ments. The result being cutting edge lenses «ring, is smooth rubber (a lacloaked in 21st century dust proofed housingswhich are a delight to use. ZEISS Otus) not milled metal was a treat to use.As a stills lens range I can attest to just how,good they are but there is more than just a lit-tle ‘nod’ to video shooters with all the ZEISSMilvus family being colour matched, meaning Drew Gardnerno battle with color correction in post if shoot-ing with different focal lengths, the ZF.2 lensescapable of having the aperture ring ‘declicked’by the user(a la ZEISS Loxia).I was lucky enough to use the ZEISS Milvus compete to build the remarkable human focus it accurately then it is all for nothing. Let’s50mm F1.4 and the ZEISS Milvus 100mm F2.0 towers? Just how good are they in the real just say my palms were sweating just a littlein a real world assignment ahead of launch. In world? more than they would have normally been –appearance they could not be more different to even though the mercury in the thermometerthe ZEISS Classic lenses I have used for some I had been considering shooting the festival of was pushing north of 30 deg C (86F). I wasyears now. Very modern and contemporary St Felix in Vilafranca in Catalonia for a little pleasantly surprised – very pleasantlybringing the physical appearance of the lenses while and when the chance came to try the surprised.bang up to date. The all new 50mm has an new ZEISS Milvus lenses at the event I madeinteresting optical design quirk – the front lens the decision to shoot the event entirely on the I’m not sure what, if anything, special ZEISS haselement is actually concave, not convex which ZEISS Milvus 50mm F1.4 and ZEISS Milvus done to the focusing throw on the new ZEISSI had not previous seen before. 100mm F2.0 macro, an easy enough decision I Milvus range but my focusing hit rate was bet- hear you say but there is the small nagging ter than I dared hope – by my reckoning 9 outHow did they fare? How did I manage manual matter of focusing – I’m 51 and my eyes are of ten shots razor sharp in fast moving situa-focus in the fast moving and sometimes not as good as they were and it is quite a while tions too. I was doubtless assisted by fitting thedramatic scenario Festival of St Felix in since I have shot action in a live news situation. specialist Canon eg-S focusing screen to myVilafranca in Catalonia where teams to No matter how brilliant a lens is if you can’t Canon 6D but I believe there is more to it thanLENSPIRE Magazine 8/2016 ZEISS Milvus lenses – Just how good are they in the real world? 24

Firstly theZEISS Milvus 50 mm f/1.4 that. I can’t recall getting that many sharp shots ously seen in images from a DSLR and some on a 100mm in a high pressure situation. It is savvy clients have commented on (yes, really). almost like it is easier to judge the focusing with the beautifully damped and calibrated Well the good news for those of us who can- focusing mechanism. Whatever they have done not quite financially stretch to the ZEISS Otus I am massively grateful. While we are on the range is that the ZEISS Milvus family posses it subject of ZEISS lens ‘hocus pocus’ I want to too, if my experiences are anything to go by, talk about the look and feel of the images. I the images having an indefinable sparkle which use a ZEISS Otus 55mm and 85mm lens and makes them stand out. While we are the small one of the defining qualities of this family is matter of resolution what impressed me greatly that is has a certain ‘pop’ of sharpness and con- was even though I was using a Canon 6D with trast, an undefinable almost 3D quality which a ‘mere’ 20megapixels was just how well the until the ZEISS Otus family I had never previ- images held together at 100%. 100 percent crop Canon 6D, ZEISS Milvus 50 mm Canon 6D, ZEISS Milvus 50 mm, 25 1/1600 s f/4.0 ISO 320 1/1600 s f/4.0 ISO 320LENSPIRE Magazine 8/2016 ZEISS Milvus lenses – Just how good are they in the real world?

100 percent cropCanon 6D, ZEISS Milvus 50 mm Canon 6D, ZEISS Milvus 50 mm,1/1000 s f/1.4 ISO 100 1/1000 s f/1.4 ISO 100 100 percent crop Canon 6D, ZEISS Milvus 50 mm, Canon 6D, ZEISS Milvus 50 mm 26 1/800 s f/1.4 ISO 100 1/800 s f/1.4 ISO 100LENSPIRE Magazine 8/2016 ZEISS Milvus lenses – Just how good are they in the real world?

Now for the 100 percent crop Canon 6D, ZEISS MilvusZEISS Milvus 100 mm f/2.0 100 mm 1/2000 s f/3.5 ISO 500 Canon 6D, ZEISS Milvus 100 mm 1/2000 s f/3.5 ISO 500LENSPIRE Magazine 8/2016 ZEISS Milvus lenses – Just how good are they in the real world? 27

100 percent cropLENSPIRE Magazine 8/2016 Canon 6D, ZEISS Milvus Canon 6D, ZEISS Milvus 100 mm 1/800 s f/2.0 ISO 100 100 mm 1/2000 s f/3.5 ISO 500 ZEISS Milvus lenses – Just how good are they in the real world? 28

Canon 6D, ZEISS Milvus 100 percent crop100 mm 1/1250 s f/7.1 ISO 200LENSPIRE Magazine 8/2016 ZEISS Milvus lenses – Just how good are they in the real world? Canon 6D, ZEISS Milvus 100 mm 1/1250 s f/7.1 ISO 200 29

Canon 6D, ZEISS Milvus 100 percent crop Canon 6D, ZEISS Milvus100 mm 1/1600 s f/4.0 ISO 500 100 mm 1/1600 s f/4.0 ISO 500LENSPIRE Magazine 8/2016 ZEISS Milvus lenses – Just how good are they in the real world? 30

Conclusions Photographer Drew GardnerFirstly is shows what you can achieve with justa couple of well chosen prime lenses of superb Drew Gardner, 51, lives with his wife andquality – which allow you to crop deep into their four-year-old son in London. By theimages and still hold up beautifully, even if it is age of 15, Drew had already decided to‘just’ a 20megapixel camera. Should you buy become a professional photographer. Aone? ZEISS Camera Lenses Ambassador, Drew has become known primarily for his inter-That is really down to you but if you are a Canon active 360-degree panoramas.or Nikon shooter you could do an awful lotworse than to check out the new ZEISS Milvus drewgardner.comrange which are significantly more affordable gardnercreative.co.ukthan their ‘big’ ZEISS Otus brothers while deliv-ering remarkable and useable image quality,something that you might like to bear in mindif you are about to upgrade to something likethe Canon 5DS.One thing I have not mentioned is video – andthat is only because I did not shoot any videowith the lenses – but if you do shoot video youmight like to give these lenses even closer con-sideration as ZEISS had one eye on video shoot-ers when they made the Milvus range which iscolor matched and has a usefully long focusthrow.LENSPIRE Magazine 8/2016 ZEISS Milvus lenses – Just how good are they in the real world? 31

Images from a thousand Light chaos with flag: Amman,and one nights the capital of Jordan (D800, ZEISS Milvus 2/35, f/5, 15sec, ISO 125)Dany Eid is one of the best-known photographersin the Middle East. He recently tested the brand-new ZEISS Milvus lenses at his favorite locations.LENSPIRE Magazine 8/2016 Images from a thousand and one nights High-resolution photo on Flickr 32

The Wadi ElRayan waterfall in Egypt at night. Thanks to the high speed of the lens, the scene almost feels as if it was taken in the middle of the day. The only thing creating noise here is the water, not the photograph. (D800, ZEISS Milvus 2/35, f/5, 30sec, ISO 400)LENSPIRE Magazine 8/2016 Images from a thousand and one nights 33

High-resolution photo on Flickr Images from a thousand and one nights The boy in the room – an extraordinary portraitLENSPIRE Magazine 8/2016 taken with the ZEISS Milvus tele macro lens. (D800, ZEISS Milvus 2/100, f/2.8, 1/80sec, ISO 400) 34

Dany Eid has traveled extensively in his life- The quality of this lens also stands out when Dany Edi’s favorite motifs are people. “The lit- time. After his childhood in Lebanon, he there is little light. “I wanted to find out how tle boy in the street café really enjoyed being lived in many countries in the Near East the new lenses perform in weak lighting condi- my model.” Using an f/stop of 2.2, Eid man-and Middle East, always searching for photo- tions,” says Eid. He was enthusiastic about the aged to isolate the boy from the rest of thegraphic perfection and visiting places tourists results. This image of the Wadi ElRayan water- image, injecting more depth into a rather flatrarely go. His pictures of people, cities and land- fall southwest of Fayoum, Egypt, was taken motif. “The focus on the face, the depth of thescapes exude a touch of the exotic. “I don’t take with an extended time exposure, resulting in a image and the distribution of light are reallypictures of things. I try to tell stories,“ says fantastic, low-noise image. The camera and extraordinary.” This shot, like the others shown40-year old Eid. lens gathered enough light to illuminate the here, was also taken with natural light only. plummeting masses of water by slightly increas-Eid tried to capture this sense of a thousand ing the speed, together with a long exposure The boy pictured in the room is fully concen-and one nights during a series of short trips he time – even though for the photographer’s eye, trated as he removes food from his suitcase.took in August 2015 – with the goal to try out it was actually completely dark. The details, the way the photographer framedthe new ZEISS Milvus lenses. A ZEISS CameraLenses Ambassador, Eid had the privilege to Portrait with great depth. Shottest the lenses before they were available in with the standard focal lengthstores. “I wanted to test the lenses in situations from the new ZEISS Milvus family.with little light and to achieve maximum depth (D800, ZEISS Milvus 1.4/50, f/2.2,each time by using a large aperture opening.” 1/125sec, ISO 320)The lenses exceeded his expectations. “Theywere extraordinarily sharp, with consistentbrightness across the entire motif,” he sayseuphorically.Amman, the capital of Jordan, is one of Eid’s High-resolution photo on Flickrfavorite cities. Photographed from above, thepicture shows many houses which resemble achaotic mix of cardboard shoe boxes. The Jor-danian flag crowns the evening scene. Thebuildings are enormously sharp and rich indetail. “Here I wanted to show that you cantake a HDR-type image with this camera set-ting. The city lights were the only source oflight and the image is consistently bright all theway into the corners.”LENSPIRE Magazine 8/2016 Images from a thousand and one nights 35

the image, and the softness of the light are per- Photographer fect. The image is completely focused on the Danny Eid boy and what’s in front of him on the table. Eid selected the ZEISS Milvus 2/100M; at the same Dany Eid, 40, grew up in Lebanon, where time he wanted the entire scene to fit in the he studied interior architecture and paint- image. Getting the right light was not easy. “I ing. Later he moved from one country to balanced the light coming in from the window country in the Middle East, always search- with the light in the foreground by increasing ing for new experiences to inspire his pho- the speed to ISO 400. The 100-millimeter lens tography, his great passion. Today he lives is truly exceptional,” says Eid. in Dubai. He specializes in architectural, landscape, travel and lifestyle photogra- In the pottery school in Fayoum, street children phy. His works have been published in a learn how to make small terracotta objects. wide range of international magazines, This photo shows a teacher demonstrating how books and travel guides and he has won to make a jug. The focus is on his hand and on many prizes. Eid also regularly offers work- the machine’s movements. For this picture, the shops for photographers, and he sits on photographer chose a large aperture opening the jury of various photography contests in order to also create additional depth. “You in the Middle East. can almost see how the pottery wheel turns.” says Eid. “A lens can’t get any better than this.” danyeid.com High-resolution photo on Flickr The fast ZEISS Milvus lens with standardLENSPIRE Magazine 8/2016 focal length captured the movements perfectly. (D800, ZEISS Milvus 1.4/50, f/2,2, 1/100sec, ISO 400) Images from a thousand and one nights 36

The HighlanderScotland is one of Drew Gard-ner’s favorite travel destinations.This time he took along his wife,son, dog Wriggle and the newZEISS Batis 2.8/18.LENSPIRE Magazine 8/2016 The Highlander 37

The Isle of Mull in northwestern Scotland Deserted fishing boats on a ‘milk lake’ is one of the most beautiful places on the British Isles, says Drew Gardner. And heshould know. The photographer has traveledto many corners of Great Britain and Europefor his photo shoots, and frequently to theScottish islands. Anyone who likes hiking, wet-windy weather, a good whisky and the cheesetypical of the Highlands is in the right placehere. In December there are few tourists, mak-ing it the ideal time of year for a short trip awaywith the family to take some pictures with thenew ZEISS Batis 2.8/18.Drew is a fan of premium lenses and likes to High-resolution photo on Flickr angle where the two other boats at the frontcompare them to other models. So he was butt up against each other, stretching out omi-eager to find out how the new lens would stack the water almost reached the top of his boots nously towards the sky. This time Drew couldup against the ZEISS Loxia 2.8/21, which cur- and then looked for a secure spot to place his stand on dry ground, as it was low tide.rently occupies the space in his camera bag for tripod. Under these circumstances, thethe wide angle lens and has been his favorite extremely long exposure time of 57 seconds According to mythology, Scotland is home tolens until now. “Those are two lenses with a feels even longer. But the effort was worth it: many elves and fairies. In this shot, the photog-very different character,” he says. But both the clouds are softly blurred and the water lies rapher was able to capture the shroud of watermust fit the character of the photographer. The there like a calm milky lake. The picture is in fairies – almost invisible to the naked eye –surprisingly lightweight ZEISS Batis is the ideal focus, even though more and more rain drops thanks to the excellent imaging quality of thelens for people who are often on the go, want collected on the lens during the exposure. lens. Or is it simply that the water shines due tooccasionally to be able to take pictures of mov- the long exposure time, which means lots ofing objects, and therefore appreciate having an The rain was nevertheless welcome “because light is reflected from the whitecaps of theautofocus. “The ZEISS Batis is a limousine with normally you meet a lot of tourists here, but on stream? The latter version is more probable –automatic gear box, while the ZEISS Loxia is those days we were alone.” As a result, Drew though the first one makes for a better story.more of a sports car with manual shift.” The could photograph one of Scotland’s best-imaging quality of both lenses he found fantas- known motifs at different times of the day and The second premise is supported by the manytic. If you travel to Scotland in December, count from different perspectives, without anyone to enchanting forests that can be found in Scot-on rain. And if you want to take good pictures, disturb him. On the second picture you see all land, a country that by no means consists ofyou’ll sometimes have to deal with a wet three boats, but the third one – which appearedground. To take this photo of the abandoned large on the first photo – peeps through the tri-fishing boats, Drew stepped into the lake untilLENSPIRE Magazine 8/2016 The Highlander 38

just windy, barren highlands. Areas that today the camera’s 42-megapixel sensor and the pre- thank Wriggle, the dog of Drew’s sister-in-law,teem with forests used to be inhabited by farm- cise optics are pushed to the extreme. Both for transforming a slightly boring picture shoters, but they moved away generations ago. passed the test brilliantly. You can zoom into in the highlands into a real eye-catcher. Like aSince then, nature has been able to spread the image almost endlessly, without recogniz- black monster, the animal emerges from theuninhibited and remarkable colors and forms ing any blur worth mentioning. “The focus and shiny blue lagoon to chase after a stone. Thehave developed. color rendition remind me of a medium-format dog’s movement and splashing water drops camera, even into the corners.” appear frozen. “I held the camera very low in“This is what life must have been like 300 years order to strengthen the impression that Wrig-ago,” surmises Drew. The knotty tree covered Action photography is not really a genre that gle is flying.” For a lens with an 18-millimeterentirely with moss is a pretty eye-catcher – and lends itself to a wide-angle lens, which is nor- focal length, that’s a pretty unusual motif. “Buta technical challenge for the photo equipment. mally used for landscape or architectural pho- the ZEISS Batis 2.8/18 is a crazy lens,” says DrewThe tiny leaves of the moss are so delicate that tography. But no rule without an exception: with a wink.Water games with Wriggle: A wide angle lenscan even be used for action photography.Sony α7R II, ZEISS Batis 2.8/18, f/6.3,1/2000 sec, ISO 1000 High-resolution photo on Flickr The Highlander 39LENSPIRE Magazine 8/2016

Richly green, amazingly sharp: a tree overgrown “Water fairies in an enchantedwith moss in an area that used to be farmland forest” or the foamy whitecapsgenerations ago of the stream High-resolution photo on Flickr High-resolution photo on Flickr 40LENSPIRE Magazine 8/2016 The Highlander

The same fishing boats –this time at low tide.Sony α7R II, ZEISS Batis 2.8/18,f/9, 1/25 sec, ISO 50 High-resolution photo on Flickr The Highlander Photographer Drew GardnerLENSPIRE Magazine 8/2016 Drew Gardner, 51, lives with his wife and their four-year-old son in London. By the age of 15, Drew had already decided to become a professional photographer. A ZEISS Camera Lenses Ambassador, Drew has become known primarily for his inter- active 360-degree panoramas. drewgardner.com gardnercreative.co.uk 41

Want to capture Cuba’s colors?ZEISS Ambassador Brian Matiashreveals his tips and tricks for whatto watch out for on a trip like this.LENSPIRE Magazine 8/2016 Want to capture Cuba’s colors? Sony α7R II, ZEISS Loxia 2.8/21, f/2.8, 1/100 sec, ISO 100 42

As a person who was born and raised in Sony α7R II, ZEISS Loxia 2.8/21, the United States – Brooklyn, NY to be f/2.8, 1/320 sec, ISO 100 exact – my earliest memories of Cubawere more like folklore than anything else. Iremember it being portrayed as this far-awayland that was illegal to visit and the most valu-able possession an American could have wasan authentic Cuban cigar. Of course, this is allme recounting what I seem to remember as akid. Fortunately, I was finally able to form myown real, tangible experiences during my firstvisit to Cuba this past January. The first thing Irealized as I gazed at the in-flight map dis-played on the screen in front of me was justhow close Cuba is to Florida. I mean, I knew itwas close but as we made our brisk 90 minuteflight over, the reality truly set in and it wasn’tuntil I exited the airport in Havana that the fullbrunt of it hit me: despite being so close geo-graphically, I was in an entirely different worldaltogether.After spending nearly three weeks exploring friend or with a local guide, I can’t stress gamut of focal lengths that I’d need. Also, theHavana and Trinidad, I’d like to take this oppor- enough how valuable it is to simply roam. No small size of these lenses was a bonus becausetunity to share what I’ve learned along with matter what time of day – or night – I never they don’t scream, “LOOK AT ME, I’M Asome of my favorite photos taken. It’s worth felt unsafe or worried. It was my experience PHOTOGRAPHER!”noting that every photo in this article was that the people of Havana were genuinelytaken with either the Zeiss Loxia 2.8/21 or the kind, courteous, and always up for a conversa- No matter the time of day, you can always findZeiss Bats 1.8/85, both on the Sony a7R II. In tion. With that said, if you’re going to be walk- something interesting happening in one cor-fact, I’d say that about 90% of all the 2544 ing around a bunch, you’ll have to be extra ner of Havana or another. And for the mostphotos I took were taken with one of these considerate about what gear you pack. My part, the locals are more than happy to obligetwo prime lenses. So, let’s use this little fact to typical walkaround bag was packed with a you with a photo. However, just because yousegue to a discussion about what gear to bring. Sony a7R II, the Loxia 2.8/21, the Loxia 2/50, have a camera does not entitle you to photo-If you want to explore Havana right, you’ll do and the Batis 1.8/85. These three prime lenses graph whomever you want. If you find some-so on foot. Whether it’s on your own, with a are small, light, and fast. They also cover the one of interest, use courtesy and strike up aLENSPIRE Magazine 8/2016 Want to capture Cuba’s colors? 43

conversation first. If you’re more of the shy nect at one of the main touristy hotels or an type, simply learn how to ask for photography “internet park.” With that said, I strongly rec- permission in Spanish: (¿Puedo tomar su foto?) ommend that you install a map app on your or, at the very least, smile and gesture at your smartphone that supports downloading offline camera. That will usually result in a clear “Yes” maps. This will make navigating around the or “No” gesture in return. And above all else, city much easier. respect whatever decision is made. In other ways, traveling to Cuba is very similar to trav- Despite the crazy heat, temperamental eling anywhere else in the world in terms of weather, and vastly different cultures, I had keeping an open mind while also maintaining such a memorable time in Havana. It was an common sense. It’s not advised to drink the eye-opening experience unlike any other I had tap water in Cuba and because it is generally and I am so thankful for the opportunity to quite hot there, be sure you’re always stocked have documented it with my camera. If you with at least one bottle of water. Also, because have the opportunity to visit Cuba for yourself, Cuba’s internet infrastructure is quite poor I can’t recommend it enough. Just remember compared to other developed nations, you’ll that if you want to truly experience it, get off have to purchase prepaid WiFi cards and con- the beaten path right away. Sony α7R II, ZEISS Batis 1.8/85, f/5.6, 1/30 sec, ISO 125 Sony α7R II, ZEISS Batis 1.8/85, Want to capture Cuba’s colors? 44 f/2, 1/5000 sec, ISO 200LENSPIRE Magazine 8/2016

Sony α7R II, ZEISS Batis 1.8/85, f/1.8, 1/125 sec, ISO 200 Sony α7R II, ZEISS Batis 1.8/85, Sony α7R II, ZEISS Batis 1.8/85, 45 f/1.8, 1/500 sec, ISO 200 f/1.8, 1/2500 sec, ISO 200LENSPIRE Magazine 8/2016 Want to capture Cuba’s colors?

Sony α7R II, ZEISS Loxia 2.8/21, Want to capture Cuba’s colors? 46 f/7.1, 1/500 sec, ISO 320LENSPIRE Magazine 8/2016

Sony α7R II, ZEISS Batis 1.8/85, Want to capture Cuba’s colors? 47 f/1.8, 1/640 sec, ISO 100LENSPIRE Magazine 8/2016

Sony α7R II, ZEISS Loxia 2.8/21,f/2.8, 1/500 sec, ISO 100LENSPIRE Magazine 8/2016 Want to capture Cuba’s colors? 48

Sony α7R II, ZEISS Batis 1.8/85, Want to capture Cuba’s colors? Photographer f/1.8, 1/640 sec, ISO 200 Brian MatiashLENSPIRE Magazine 8/2016 Brian Matiash is a professional photogra- pher and published author based in Port- land, OR. He specializes in the visual story- telling of natural landscapes and foreign locations throughout his global travels. Brian has spent the better part of a decade empowering, educating and inspiring photographers all around the world with his tutorials, videos, and blog posts. matiash.com 49

The ZEISS camera lenses fromthis issue at a glance:ZEISS Milvus ZEISS LoxiaFurther information on the lenses is available on the following websites: ZEISS BatisZEISS Milvus Website | ZEISS Loxia Website | ZEISS Batis Website 50LENSPIRE Magazine 8/2016 ZEISS Milvus | ZEISS Loxia | ZEISS Batis