alundeb wrote: edwardkaraa wrote:
One question: if the designer made the drawings at his desk in Cologne instead of Oberkochen, would that make it a lesser lens? What if the designer was Japanese, or Swedish, and not German, is it still a Zeiss?
Hi Edward, i was waiting for you when this came up, since you have experience with Sony Zeiss lenses, and were saying something about how they differ from the classical Zeiss rendering. If you knew that the lenses were designed by Sony engineers, could that explain how the ZA lenses have more \"modern rendering\" or whatever you call it. Pardon my inaccuricies, but I hope you remember what i am talking about
Of course I remember
I think there are 2 issues here. The first one is that Zeiss is gradually introducing lenses with the new modern look. They started with the ZA but followed with the ZE as well. In the ZA, I would include the 16-35, 135/1.8 and 24/2 as having the modern look. The ZE 35/1.4, 25/2 and the new 135/2 will fall in the same category.
The second issue is that the contrast curve of the A900 was somewhat anti-Zeiss look. I have used extensively the ZS 25/2.8, 35/2, and 50/1.4, all known for their classic Zeiss rendering. But somehow they failed to produce the same pop as the guys with Nikon and Canon bodies were producing.
So I don\'t think the ZA are designed by Sony engineers, it\'s just the design direction by Zeiss to cope with high resolution sensors and contemporary taste.
Oct 23, 2012 at 02:24 PM
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