Like many photographers, the Golden Gate Bridge is one Matt Walker’s most popular motifs. When the fog lies low in the bay of San Francisco he’s off, searching for the best spot from which to capture the lights of the Golden Gate Bridge in the far distance – especially at dusk and at night. And with his ZEISS lenses in tow, he produces impressive images every time.
“Escape” is a dramatic and sensitive journey played through the delicate performance of Sara Tonkin to showcase the new Cine Zooms from ZEISS. Presented for the first time at the ZEISS Cine Lens Day 2013, British DOP Den Lennie demonstrates how ZEISS lenses are first and foremost tools for creativity that deliver the highest quality.
Tags: Adam de la Cour, cine, Compact Zoom CZ.2 28-80/T2.9, Compact Zoom CZ.2 70-200/T2.9, Den Lennie, James Tonkin, Master Macro T2.0/100, Sara Tonkin, Ultra Prime 20/T1.9, Ultra Prime 24/T1.9, zeiss, ZEISS lenses
A clear night sky has always appealed to Loscar Numael. No smog and no light pollution — conditions you will only find outside in nature. When Numael points his ZEISS lenses at the sky — toward the Milky Way above California, for example, or the Northern Lights — he loses himself in another world. With fascinating photographic results.
Around four years ago, Loscar Numael was gripped: during a trip to Oregon (USA) he experimented for the first time with taking landscape images at night. He liked the results so much that night photography has been a fixed element in his photographic adventures ever since. During these trips he always takes five ZEISS lenses with him. He entered the “world of ZEISS” around five years go. He used his first ZEISS optic — a head loupe needed for his studies. From there it was just a small step to the Distagon T* 2,8/21, whose precision thrilled him so much that he gradually came to augment his photo gear exclusively with ZEISS lenses: the Distagon T* 2/35, the Makro-Planar T* 2/50, the Makro-Planar T* 2/100 and finally the Distagon T* 2,8/15.
Tags: Distagon T* 2.8/15, Distagon T* 2.8/21, Distagon T* 2/35, Loscar Numael, Makro-Planar T* 2/100, Makro-Planar T* 2/50, Milky Way, Night photography, Northern lights, slr, Star photography, zeiss, ZEISS lenses
The ZEISS Touit 2.8/50M is the newest member of the Touit family of lenses. It is a powerful autofocus macro lens for compact system cameras (CSC) that also shows its strengths in portraiture.
Los Angeles, Cannes, Berlin. There are many cities in the world associated with important events in the film industry. In most cases, the films, actors and directors are the center of attention. Seldom is the spotlight on the people who work with the cameras and lenses. Not so in Jena, Germany. With the Cine Lens Day, ZEISS has created a special event that focuses on these professionals and their needs.
This was the fifth edition of the Cine Lens Day, and it didn’t take place just anywhere. By staging it in Jena from November 13-14, 2013, ZEISS chose to hold its event in the birthplace of the optics industry. And when ZEISS calls, they come: more than 120 directors of photography, rental experts and other partners from 25 countries including Japan, India, China and the United States, showed up in cozy Jena. Among them were well-known names from the film industry, including Denny Clairmont, owner of Hollywood’s largest rental firm, and many internationally active DOPs including Stijn van der Veken, Tom Fährmann and Maher Maleh, who came to share their perspective as users of ZEISS cine lenses.
Tags: ARRI, August Bradley, Cinematography, Compact Zoom CZ.2 15-30/T2.9, CP.2, CZ.2, Danys Bruyère, Den Lennie, Escape, MA 40/T1.9, MA 60/T1.9, Maher Maleh, Michael Schiehlen, Tom Fährmann, zeiss, ZEISS Cine Lens Day
Spain is teeming with architectural masterpieces from the Middle Ages, the early and later Gothic periods, as well as works of well-known 19th and early 20th century architects. There is also plenty of modern 21st century architecture to make a photographer’s heart beat a little faster. When David Aguado photographs these jewels, ZEISS lenses are among his most important companions.
Architectural photography does not have to limit itself to conventionally „pretty” buildings. The appeal of architectural structures and forms often lies in how they fit within a wider image. On the coast of South-East England, Mark Coe searches out such rewarding pictures about buildings and their history with ZEISS lenses.
The new building in the Ecole Poly Federale de Lausanne is a masterpiece of contemporary architecture. Berlin photographer and physicist Peter Fauland embarked on a photographic tour of discovery, accompanied by his Touit 2.8/12.
Like a UFO that has just landed” – this is the description that springs to mind the first time you set eyes on the Rolex Learning Center on the campus of the Ecole Poly Federale de Lausanne (EPFL). The interconnected complex of buildings was opened in 2010 and extends over an area of 88,000 square meters (980,000 square feet). Despite its size, the structure radiates a sense of lightness and movement: the roof and floor run parallel to one another in the shape of a wave. The building is intended to serve as a laboratory for new forms of learning. For Berlin photographer Peter Fauland, it became a laboratory for photographic experimentation: “I’ve been fascinated by the Rolex Learning Center for some time now. A few weeks ago, I finally saw the building in its complete form and knew right away that it had to be the venue for my next workshop. At the same time, I thought that this masterpiece of modern architecture would be the perfect setting for a photo series with the Touit 2.8/12.”
Lars Müller has always had a fascination for optics and its practical applications. He first trained as an optician, and is a qualified optometrist. Now, as regional sales manager at ZEISS for Berlin/Potsdam, he is responsible for the distribution of testing devices and lenses to opticians. In addition, he regularly studies the “natural optics” of the human eye. As a keen amateur photographer, he relies on the Makro-Planar T* 2/100, and was recently given an opportunity to try out the new Otus 1.4/55.
Food photography is considered the art of presenting food in elegant compositions that resemble true works of art. When Daniel Dytrych takes up his camera, he sees himself as an artist seeking to examine the origins of the food through photography – from a natural perspective. Whenever he needs to produce the best possible pictures, ZEISS lenses are always nearby.
The key element in Daniel Dytrych’s photography is light – in this case natural light, because he believes that only natural light, not artificial studio lighting, can present food at its best. The dishes and foods for his photo shoots are always freshly prepared, using the best ingredients. The image produced should speak for itself – without artificial embellishments.