Otus 1.4/55 From Carl Zeiss

by JamesNYCNovember 19. 2013 01:00

The point of the Otus was to make the very best lens Zeiss could possibly make, and they believe they’ve done it. Why is this important news for those of us shooting video with DSLR? In the interview below, Rich Schleuning explains although this is a still lens, it represents the future of video lenses from Zeiss.

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CSI Brooklyn - Opening Monday June 3rd.

by JamesNYCMay 29. 2013 03:43

CSI Brooklyn - Opening Monday


Live in Brooklyn and have to truck all the way to Manhattan just to rent out high-end equipment from CSI Rentals? Well, truck no more: CSI is coming to Brooklyn. On June 3, they will open their new shop at 1138 Flushing Ave. in the East Williamsburg/Bushwick area. The store will have ground level loading, parking spaces and truck drive in—all that just a block away from the L train. They will also offer delivery and pickup in both Brooklyn and Manhattan. Ease and everything a professional photographer or videographer needs.

Visit CSI online for more information: csirentals.com

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Carl Zeiss Compact Zoom 28-80 Lens

by JamesNYCMay 15. 2013 11:54

The CZ.2 28-80/T2.9 as seen at the NAB Show in Las Vegas

OBERKOCHEN/Germany, April 5, 2013
Carl Zeiss presents its new zoom lenses from the Compact Family at the NAB Show 2013 (8-11 April) in Las Vegas at its booth C9043.Versatile, flexible and yet small and manageable – these are the characteristics that describe the Compact Zoom CZ.2 lenses. For the first time, the new CZ.2 28-80/T2.9 will be presented in the US. The Compact Zoom Family currently comprises the CZ.2 28-80/T2.9 and the CZ.2 70-200/T2.9; the latter won the prestigious iF product design award in February 2013.

The ZEISS Compact Zoom lenses weigh just 2.5 to 2.8 kilograms (5.5 to 6.2 pounds). “For cinema zoom lenses, that is very little. The light and compact design is ideal for hand-held and steadicam shooting,” explains Helmut Lenhof, Product Manager for the Compact Family in the Carl Zeiss Camera Lens Division. The lenses are suited for owner operators as well as episodic television series, documentary films, features and big-screen productions. Especially for shooting projects on a tight budget and time schedule, a ZEISS Compact Zoom lens is an extremely flexible solution. The zoom lens enables faster work and minimizes long set-up times.

Unlike zoom lenses for still photography, the Compact Zoom cinema lenses each have three independently moveable zoom groups. This complex design prevents undesired focus shift and ensures optimal image quality. The lenses have a continuous high aperture of T2.9 over the entire zoom range.

Filmmakers can also look forward to a new shorter super wide-angle zoom lens designed for the owner-operator when the Compact Zoom series will expand to a family of three at the end of 2014. This new zoom lens will replace the Lightweight Zoom LWZ.2.

As members of the ZEISS Compact Family, the zoom lenses are the perfect complement to the fixed focal length Compact Prime CP.2 and ARRI/ZEISS Ultra Prime lenses. Thanks to the exact color matching within the ZEISS cinema lens family, all lenses in this series can be combined flexibly with each other, with no visible deviations.

They cover full-frame format (24x36mm) and can therefore be used on HDSLR cameras, as well as professional HD video and cinema cameras. Being designed as full-frame lenses, they create a sweet spot effect and a uniformity of illumination when used on Super 35 sensors and are ‘future-proofed’ for next generation digital cinema cameras utilizing larger sensors.

Moreover, the interchangeable mount system makes it possible to use the lenses of the Compact Family on various camera models. The mounts currently available are for PL, EF, F, MFT and E. “Investing in this lens family is especially attractive for cinematographers and rental companies because the interchangeable mount also ensures the lenses’ long-term compatibility in the rapidly changing camera market. For all relevant future camera models, mounts will be available which the user can exchange very easily,” adds Lenhof.

Cinematographers can also rely on the quality features that ZEISS is known for:

The T* anti-reflective coating and the internal stray light reduction eliminate bothersome light reflections.

All Compact Zoom CZ.2 lenses have the same front diameter of 95 mm and the gears of the cine-style housing are always located exactly in the same position. This makes it possible to change lenses fast – without any adjustments to the rig or other accessories. The large focus rotation angle of almost 300 degrees and the calibrated focus scales ensure comfortable handling. All lenses in the Compact Zoom Family correspond to 4K production standards and cover a resolution of 4096 x 2160 with no distortion.

Australian cinematographer Warwick Brown has already used the Compact Zoom CZ.2 70-200/T2.9 for shooting a television production. “I have just finished shooting a dramatic short film using this lens and the Compact Prime CP.2 Super Speed lenses together. They are a real winning combination. The lens is sharp and handles highlights beautifully.”

The delivery of the Compact Zoom CZ.2 70-200/T2.9 began in early 2013. The Compact Zoom 28-80/T2.9 will be available starting June. Carl Zeiss authorized dealers are now accepting orders on both zoom lenses. The suggested list price of each Compact Zoom CZ.2 lens will be €14,900 or US$19,900 (excluding VAT). 

The lead time for the Compact Zoom CZ.2 70-200/T2.9 is currently six to seven months. A higher demand as expected led to these lead times. Carl Zeiss will increase its production capacities in order to reduce the lead time to three to four months.

 

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Giant wet Plate Camera project Part 2

by JamesNYCMarch 30. 2013 01:08

Our friend James Weber who when not shooting fashion and beauty, has become a serious Wet Plate photographer. And like every American he too wants things bigger. To achieve that James did a great deal of research and came up with the idea of using an "Indoor Grow Room" as a camera.

check out his full story with more images videos and details here.

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Carl Zeiss Lenses - Stress test

by JamesNYCFebruary 11. 2012 09:16

Camera and cine lenses need to operate perfectly in extreme conditions, withstanding everything from scorching heat and bitter cold to sandstorms and severe vibrations. The video shows how Carl Zeiss researchers systematically submit lenses to extreme stresses in order to arrive at findings that can help in future lens design and development.

The video was shot with a Sony NEX-FS100 and Carl Zeiss ZF.2 SLR lenses with an F to E mount adapter.

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Sigma Corporation’s New, Optically Stabilized 120-300mm F2.8 Now Shipping in US

by JamesNYCJune 1. 2011 12:18

Sigma Corporation’s New, Optically Stabilized 120-300mm F2.8 Now Shipping in US

Fast, fixed aperture telephoto zoom is ideal for sports and wildlife photographers 

RONKONKOMA, N.Y., June 1, 2011Sigma Corporation of America, a leading researcher, developer, manufacturer and service provider of some of the world’s most impressive lines of lenses,cameras and Flashes,has announced that its updated 120-300mm F2.8 EX DG OS APO HSM is now available for purchase in the U.S. for the MSRP of $4,700.

The upgraded version of the Sigma 120-300mm F2.8 EX DG OS APO HSM will replace its predecessor as the essential Sigma lens for sports and wildlife photographers. The fast, fixed-aperture telephoto zoom will now feature some of the company’s new “F” Low Dispersion (FLD) glass elements and a splash-proof design which protects from “water spattering” as buttons and connections benefit from O-ring sealing connections to prevent dust and water getting inside the camera body. It also boasts Sigma’s proprietary Optical Stabilizer (OS) system, which will enable handheld photography and the use of shutter speeds approximately four stops slower than would otherwise be possible.

"This lens is a must-have for sports and wildlife photographers," said Mark Amir-Hamzeh, president of Sigma Corporation of America. "Think of this as a prime 300mm F2.8 in terms of its ultra-high resolution, with the added bonus of it being an F2.8 constant-aperture zoom lens that allows the photographer to recompose the scene anywhere from 120mm to 300mm without having to change their capture position. There's really no other lens like it."

The versatile lens is designed for use with full frame digital SLR cameras but may also be used with smaller APS-C size sensors with a corresponding effective increase in focal length to approximately 180-450mm with most cameras. The Hyper Sonic Motor (HSM) ensures quiet and high speed auto focus, while allowing full-time manual focus override. The maximum aperture remains constant at F2.8 throughout the entire zoom range. The addition of the optional Sigma 1.4x APO teleconverter effectively makes this lens a 168mm to 420mm F4.0 lens. Adding the Sigma 2x APO teleconverter makes this lens a 240-600mm F5.6 lens (full autofocus operation is possible using the Sigma 120-300mm F2.8 EX DG OS APO HSM and either the 1.4x APO or the 2x APO teleconverter in Sigma, Canon and Nikon mounts).

One SLD and two FLD glass elements, which are comparable in optical performance to fluorite glass, provide maximum correction of chromatic aberrations. The super multi-layer coating reduces flare and ghosting, and the lens design incorporates an inner focusing and inner zooming system to ensure sharp images throughout the entire zoom range. Improved optical performance provides excellent correction of sagittal coma flare and ensures ultra-high resolution, comparable to a fixed focal length lens.

To locate an authorized Sigma dealer near you, visit http://www.sigmaphoto.com/where-to-buy-sigma. To use Sigma’s new Lens Finder Tool to find the best glass to suit your needs, visit http://www.sigmaphoto.com/sigma-lens-finder.

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Stuff people say

Any photographer who says he’s not a voyeur is either stupid or a liar. - Helmut Newton

 

"The Camera does not lie, Post Production and Publishers do". - James-ism 09/06/2013

 

"Papa, ... Music is your love, but Photography is your Religion." - Joya D. Hall-Sullivan | Age 10

 

"All photographs are accurate. None of them is the truth." - Richard Avedon - 1984

 

 "I have not failed. I've just found 10,000 ways that won't work." - Thomas Alva Edison

 

"Any photographer who says he’s not a voyeur is either stupid or a liar." - Helmut Newton

 

"You don’t have to sort of enhance reality. There is nothing stranger than truth." - Annie Leibovitz

 

"When you find yourself beginning to feel a bond between yourself and the people you photograph, when you laugh and cry with their laughter and tears, you will know you are on the right track." - Weegee

 

" The camera is much more than a recording apparatus. It is a medium via which messages reach us from another world." - Orson Welles

 

"Some people's photography is an art. Not mine. Art is a dirty word in photography. All this fine art crap is killing it already." - Helmut Newton

 

"Our virtues and our failings are inseparable, like force and matter. When they separate, man is no more. " - Nikola Tesla

 

"I think all art is about control - the encounter between control and the uncontrollable." - Richard Avedon

 

"The first 10 000 shots are the worst." - Helmut Newton

 

“If I have any ‘message’ worth giving to a beginner it is that there are no short cuts in photography.” – Edward Weston

 

"Men often become what they believe themselves to be. If I believe I cannot do something, it makes me incapable of doing it. But when I believe I can, then I acquire the ability to do it even if I didn't have it in the beginning." - Mahatma Gandhi

 

"Ultimately success or failure in photographing people depends on the photographer's ability to understand his fellow man." - Edward Weston

 

"If you want reality take the bus." - David LaChapelle

 

"You don't take a photograph, you make it." - Ansel Adams

 

"When I have sex with someone I forget who I am. For a minute I even forget I’m human. It’s the same thing when I’m behind a camera. I forget I exist." - Robert Mapplethorpe

 

" Great photography is always on the edge of failure." - Garry Winogrand

 

"I don’t think photography has anything remotely to do with the brain. It has to do with eye appeal." - Horst P. Horst

 

"Be yourself. I much prefer seeing something, even it is clumsy, that doesn't look like somebody else's work." - William Klein

 

"Avedon claims to have been the best photographer in the '60s - bullshit - Bob Richardson was - despite or because of being insane and strung out on drugs, I managed to do photographs that are considered iconic - being known as the 'photographer's photographer' means I lead and they follow - I'm broke and they are rich." - Bob Richardson

 

"If you're absent during my struggle, don't expect to be present during my success" - Will Smith

 

"Either take the lead or follow behind, just stay the fuck out of my way." - James Sullivan

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