CONTAX CLUB Carl Zeiss 討論區

Let's see the texture of the tires!! Terrible!!!

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Best Regards,

Terry Shum
香港互聯網康泰時攝影會幹事

好多謝大家提供有關 S50/1.5 的資料
不過小弟還未參透該怎樣玩盡此鏡的特性......

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會計
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鯨魚愛Zeiss

唔知講得對不對！
好似好沙！唔知形容得合不合理。

1 more comment from Zeiss. The 1st & final part is the same as the last one.

The C-SONNAR T* 1.5/50 ZM is a very special lens based on a classical lens design concept from the 1930's. This is expressed by the additional letter "C" in the name of the lens. It helps to achieve pictures with a special artistic touch. This lens draws your subject in a fine, flattering, a little bit glorifying way. It renders a sharpness which is a little bit rounded being less aggressive than in contemporary lens designs, but not soft. A lot of famous portraits shot of glamorous and prominent people of the 1930's used this effect. It gives the portrayed person something shining, nearly celestial. This effect is very well balanced, not exaggerated. Therefore many viewers see it in a subconscious way. The trained observer, however, knows why and enjoys it.

Provided that the lens is used with f-stops wider than f/2.8 the images are a bit similar to images that one can get with the soft filter ZEISS SOFTAR. The C-Sonnar T* 1.5/50 ZM, however, avoids some disadvantages in these softeners in the out-of-focus background area. When one makes a lens with such features, one has to pay for that and has to accept the following side effects:

1. Compared to the PLANAR type of the same focal length the C-SONNAR is less corrected for a flat field.
2. The C-SONNAR T* 1.5/50 ZM has a distinct focus shift when stepped down; this means that the focal plane "wanders" when the distance setting remains unchanged but the lens is stepped down. this focus shift occurs particularly in the near range.
3. The depth of field at high apertures of such a lens is slightly higher than with modern designs.

Field curvature is not necessarily a disadvantage in shooting 3-dimensional subjects. The "wandering " of the focal plane needs special considerations. When the lens is stopped down from wide open to medium apertures, the focal plane in the object space is shifted toward the background. (For example: from 5 to 6 meters when the lens is stopped down to f/4). Therefore the rangefinder cannot be easily corrected for all f-stops.

The special features of the C-SONNAR T* 1.5/50 ZM are best used in emotional, artistic, narrative images, portraits, or atmospheric landscapes. for documentation or technical subjects CARL ZEISS recommends to stop down the lens to f/5.6 or to use the PLANAR 2/50 T* ZM lens.

越睇越愛上呢支C Sonnar.

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Best Regards,

Terry Shum
香港互聯網康泰時攝影會幹事

有特點或缺點的鏡頭才有鏡味，
有鏡味的鏡頭才有性格，
有性格的鏡頭才好玩。

好玩才有 topic for conversation

要買 Planar 50/2 又要買 C Sonnar 50/1.5

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會計
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鯨魚愛Zeiss

有錢的人才有好鏡頭玩

非也, 非也, 曾幾何時C/Y 鏡平過C牌及N牌.........

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愛吃小菜, 更愛中菜, 想吃大菜 .......
www.digiback.net

而家更加係！
C牌N牌的鏡愈來愈貴！

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會計
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鯨魚愛Zeiss

請問巴打支鏡$?

睇過呢輯相後, 你絕對會愛上 C-Sonnar 1.5/50, 尤其是她的 "立體感"
http://myzeiss.blogspot.com/2007/02/c-sonnar-1550-zm-sample-pictures.html

呢幾張起沙相, 我係第4版Post過了:

_________________
Best Regards,

Terry Shum
香港互聯網康泰時攝影會幹事

希望盡快安排一次測試 (50/1.5):

War-time T-coat from Whale VS Post War (Carl Zeiss) from me VS C-Sonnar from Dick

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Wah
理事 - Board of Members
www.flickr.com/dicksonlau

快D啦

A focus shift comparison between ZM50/1.5 vs M50/1.4A.

http://photo.net/bboard/q-and-a-fetch-msg?msg_id=00Jtyq&tag=200702151102