'tilt' photography is all the fashion at the moment for people without ideas to put an unusual look on an ordinary scene - reminds me of the zoom and expose craze when zoom lenses became popular. The very useful use of tilt is in studio photography where you can extend sharpness along a plane that is not parallel to the film/sensor.Shift is far more usefull in my opinion for both stitching and for avoiding converging verticals in architecture and interior photography. Unfortunatley the 40mm with only 12mm of shift is not going to get many architectural photographers interested esp if the price is around what a 40mm is from Hassleblad for the V series.
If you guys think people want to buy expensive tilt lenses to throw objects OUT of focus, you are mistaken.
John, do you mean you are waiting for a better 25TSE?
dcmiller wrote:
If you guys think people want to buy expensive tilt lenses to throw objects OUT of focus, you are mistaken.
John, do you mean you are waiting for a better 25TSE?
For architectural work/interiors, shifting and tilting are handy features for perspective and focus control. Right now, there is no Zeiss 25TS at all. A 25Shift version never made it past prototype stage.
Stephen said he only had time for some quick shots. So he could shoot some attractive women, or line up bottles to show an altered plane of focus. Who can blame him? Babes over bottles.
Edited by dcmiller on Sep 13, 2006 at 09:18 AM GMT
jjlphoto wrote:
For architectural work/interiors, shifting and tilting are handy features for perspective and focus control. Right now, there is no Zeiss 25TS at all. A 25Shift version never made it past prototype stage.
I was refering to the Canon 24TSE. But I realize this lens is not ideal for interiors.
What is the alternative (apart from the super rare OL24) to the 24mm TS-E? Sometimes when shooting exteriors and interiors there is no alternative but to pull out the 24mm TS-E.
Ok- I´m amazed that some have never seen a sharp picture from a Zeiss Lens before, so here we go : there is sample 15 on the www.hartblei.de/english.htm with a cutout of full size 1:1. remember this is f 1:2,8 open aperture and no tripod was used with 400 Asa and a bouncer flash, background is already pretty dark twilight on Maidan/Kreshatik. This is not sharpened, only opened with Aperture and exported as cropped 1:1 Version.I guess there is not much to say about that.
Same applies to the other cutouts. Also to be mentioned is they are shot INTO the incoming sunlight, all open aperture and how good the saturation and shadow details are NO whatsoever manipulation done. If you can do this with a lensbaby - congratulations, than you are probably a genius. Me after 30 years of Largeformat Photography am quite Happy I can manage to do this with the Zeiss stuff.......
BTW the German aluminium has got a much higher density and resistance against scratches, but also costa about 3 times as much as normal stuff. The lenses are centered and measured with a Zeiss K6 computerized Measurement setup worth over 100k € so it´s made shure every lens is fit and mounted correctly.
This applies to the same standards as Zeiss uses.
Stefan Steib wrote:
Ok- I´m amazed that some have never seen a sharp picture from a Zeiss Lens before
Stefan- you're preaching to the choir here. I currently own Contax Distagons 21/2.8, 28/2.0, and a PC35/2.8. I have also owned many many other Zeiss Contax lenses, including the 85/1.2.
Yup I know, of course people have seen this, but I really wonder why some refuse to see the obvious: you can cut with sharpnes through a picture with FULL control exactly where you want to have it. You can build up a fully new view or perspektive. Some people pay 10 grands for getting the same stuff with 2.0/ 300mm´s or similar. They only can use this in parallel to their film/chip plane. Now you can isolate exactly the point that you want to show. I have shot so many sharp pictures during my lif I´m really bored of that. I had so much fun doing these test shots, I took about 500 on this day with about 30 different locations, it´s amazing how fast you can be with this setup. Whereas with Mediumformat film you would have the need of at least some porty flash stuff this is really a handout and shoot solution. Shure the same lenses go perfectly as workhorses in the studio, but is life really all about doing another 50 sharp shots of washing powder packages or a screwdriver catalog ? Come on if a photographer stops experimenting he´s probably already dead even though still walking.
Stefan, Forgive my rather dry sense of humor. I'm really trying not to slip down Guy's "slippery slope" of exotic glass. But if the 120 comes in at a reasonable (to me) price I'll buy one. John
Uh, say Paul could you do a little latin translation for me, google doesn't and I'm afraid to ask any little old latin teachers because of what I think it is. The signature line is whats in question.
Stefan, we're having fun. I doubt if any one here is concerned about the quality of Zeiss. I was hoping the price would be more 35mm than medium format, but I understand why it is priced high. Most Canon users will have difficulty justifying this lens, due to less expensive alternative. But it's a big world and I'm sure these lenses will do well.
