Camera Lens News
Create successful ePaper yourself
Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.
37<br />
October 2010<br />
Carl Zeiss <strong>Camera</strong> <strong>Lens</strong> Division<br />
Contents<br />
Dan Busta:<br />
“Stories about people<br />
fascinate me” ........................ 2<br />
A speedy all-rounder:<br />
the new Distagon T* 1,4/35 ....... 6<br />
Guido Karp:<br />
“The eye is the decisive factor<br />
when it comes to detail“ ............ 8<br />
<strong>Camera</strong> strap and filters ........... 12<br />
Susi Childers:<br />
Giving people a voice<br />
through photographs .............. 15<br />
Portrait photography:<br />
the right equipment for the<br />
right ‘click’ ........................... 18<br />
Dates in November and<br />
December 2010 ....................... 21<br />
<strong>Camera</strong> <strong>Lens</strong> <strong>News</strong><br />
A newsletter for anyone who enjoys using, writing about, buying and selling Carl Zeiss camera lenses.<br />
Carl Zeiss<br />
at the 2010 photokina ............ 13
<strong>Camera</strong> <strong>Lens</strong> <strong>News</strong> Nr. 37<br />
Carl Zeiss October 2010 Page 2<br />
“Stories about people fascinate me“<br />
American star photographer<br />
Dan Busta describes himself as<br />
someone who is always observing<br />
people. He is particularly<br />
fascinated by the relationship<br />
between human instinct and<br />
conscious decision-making. Art<br />
and music also have a significant<br />
influence on his work. Dan lives<br />
in Los Angeles, California<br />
The human being is always at<br />
the center of your work. Why?<br />
People never cease to amaze me.<br />
Everything from their consciousness<br />
to subconscious fascinates me. I like<br />
to explore the different life decisions<br />
people make, the way they<br />
dress themselves, their similarities<br />
and differences, and above all the<br />
relationship between human instinct<br />
and conscious mental choice. I’m a<br />
permanent people-watcher and have<br />
translated this interest into my ongoing<br />
‘teal series’, which I worked on<br />
for five years and which portrays the<br />
most diverse range of people in front<br />
of a blue-green background.<br />
How did you get into photography?<br />
Did you have any formal<br />
education?<br />
I studied photography and graphic<br />
design at the Brooks Institute of Photography<br />
in Santa Barbara. Graphic<br />
design in particular opened up a totally<br />
new perspective on photography for<br />
me. Design allowed me to think more<br />
graphically and helped me understand<br />
art fundamentals and how to apply<br />
them in my work. Things like line<br />
shape, proportion, color or line and<br />
rhythm opened my eyes to the vast<br />
range of visual possibilities.<br />
I was raised in a very creative household,<br />
and I was drawn to art, architecture,<br />
interior design and music
<strong>Camera</strong> <strong>Lens</strong> <strong>News</strong> Nr. 37<br />
Carl Zeiss October 2010 Page 3<br />
from an early age. I can remember<br />
constantly constructing buildings and<br />
other things from Lego. I also played<br />
saxophone from the third grade of<br />
elementary school up to my senior<br />
year of high school.<br />
What do you want to convey<br />
with your photographs?<br />
I’m intrigued by people’s stories and<br />
I strive to share their stories in my<br />
pictures — no matter if it’s a built set<br />
or a stranger I meet along the way.<br />
I often have to rely on the camera’s<br />
frame to share the story and I use<br />
the surrounding environment to tell<br />
it. One theme in my photographs is<br />
people in this time of change. I feel<br />
this moment of one’s life — whether<br />
real or created — is part of one’s life<br />
that needs to be remembered forever.<br />
Who are your role models?<br />
My work is inspired by various<br />
historical photographers and portrait<br />
photography masters like Irving Penn,<br />
Richard Avedon, Gregory Crewdson,<br />
and Jeff Wall.<br />
How do you approach the shooting<br />
process?<br />
It depends on the assignment and<br />
shoot. I start with some grain of an<br />
idea, usually something very simple.<br />
This grain comes from many different<br />
places - my childhood, from movies,<br />
books, music or art history. Music<br />
stimulates my imagination. I listen<br />
to everything. Then the idea grows<br />
and builds into a brief drawing and<br />
develops further into lists of props<br />
and characters that dovetail the idea.<br />
Next I move on to think about the<br />
lighting I would like and that would<br />
be appropriate for the picture.<br />
Why is lighting so important in<br />
your work?<br />
Lighting helps me draw the mood<br />
and adds to the color of the image. I<br />
use color to communicate the mood.<br />
A picture with an intense blue will<br />
convey a cold feeling while a warmer<br />
color will create a more nurturing<br />
atmosphere. Like a lot of photographers,<br />
I almost don’t need to make<br />
the picture once this creative process<br />
is completed. At this point, there is<br />
almost no creative expression. Then<br />
it’s just about execution, which to me<br />
means building the set, getting all the<br />
props, creating the lighting, putting it<br />
all together, and clicking the button.
<strong>Camera</strong> <strong>Lens</strong> <strong>News</strong> Nr. 37<br />
Carl Zeiss October 2010 Page 4<br />
The real work happens before you<br />
click the button.<br />
What are your plans for the<br />
future?<br />
I’d like to incorporate more of my<br />
concepts into editorial-type work. I<br />
often find that when I get hired to<br />
shoot, I don’t have much time to<br />
spend with my subjects - it’s tough to<br />
create a whole scene without much<br />
time and budget. I’d also like to shoot<br />
images with a little more of a positive<br />
tone. I think it would be wonderful to<br />
make images in the future that make<br />
people want to be in a certain place<br />
or be a certain person. This is a kind<br />
of advertising, but photography has<br />
that power — the power to idealize<br />
the real world. I would love to make<br />
images of fantastic things or a perfect<br />
world.<br />
Find out more about<br />
Dan Busta:<br />
http://danbusta.com
<strong>Camera</strong> <strong>Lens</strong> <strong>News</strong> Nr. 37<br />
Carl Zeiss October 2010 Page 5
<strong>Camera</strong> <strong>Lens</strong> <strong>News</strong> Nr. 37<br />
Carl Zeiss October 2010 Page 6<br />
A speedy all-rounder:<br />
the new Distagon T* 1,4/35<br />
From the moment we first announced<br />
the Distagon T*1,4/35<br />
on our Facebook page (www.<br />
facebook.com/carlzeisslenses),<br />
enthusiastic comments started<br />
to flood in. This very fast lens<br />
with its short focal length and<br />
harmonious bokeh had clearly<br />
hit a nerve! So we decided to<br />
pull together some of the key<br />
facts about this popular new kid<br />
on the block:<br />
The Distagon T*1,4/35 is designed<br />
to complement our Planar T*1,4/50<br />
and T*1,4/85 lenses, providing a<br />
wide-angle lens with the same bright<br />
aperture. That means you can take<br />
razor-sharp images at dusk or in<br />
dimly-lit cafes, even without a tripod.<br />
At 35 mm, the lens matches the traditional<br />
and versatile ‘standard’ focal<br />
lengths when used on cameras with<br />
APS-C format sensors. And thanks<br />
to the 72 mm filter diameter, the
<strong>Camera</strong> <strong>Lens</strong> <strong>News</strong> Nr. 37<br />
Carl Zeiss October 2010 Page 7<br />
Distagon T*1,4/35 can be used with<br />
the same filters as its sister lens, the<br />
Planar T*1,4/85.<br />
Boasting superb foreground and background<br />
bokeh, the Distagon T*1,4/35<br />
opens up new creative possibilities,<br />
giving photographers more options<br />
to play around with focus. The large<br />
focus ring enables sharp and accurate<br />
manual focusing even with the aperture<br />
wide open, and the optical design<br />
of the lens ensures excellent image<br />
quality across the entire range. Furthermore,<br />
with one step less than the<br />
full aperture opening, the light fall-off<br />
toward the edges is just one f-stop.<br />
Thanks to its ZEISS T* anti-reflective<br />
coating, sophisticated stray light<br />
reduction and excellent flare control,<br />
the new Distagon also takes pictures<br />
of bright light sources without artifacts.<br />
Its tremendously durable and<br />
robust all-metal precision mechanics<br />
– one of the hallmarks of Carl Zeiss –<br />
make this lens the perfect choice for<br />
use on the go and for photo reportage.<br />
The Distagon T* 1,4/35 will be available<br />
in the first quarter of 2011.<br />
Technical specifications<br />
Focal length 35 mm<br />
Aperture range f/1,4 – f/16<br />
Number of 11/9<br />
elements/groups<br />
Focusing range 0.3 m<br />
– infinity<br />
Angle of view** 63/54/37 °<br />
(diag./horiz./vert.)<br />
Coverage at 18 x 12 cm<br />
close range (close-up limit)<br />
Magnification 1:5<br />
(close-up limit)<br />
Filter thread M 72 x 0.75<br />
Weight<br />
830 – 850 g<br />
Length with caps 120 – 122 mm<br />
Mounts<br />
ZF.2 (F bayonet)<br />
ZE (EF bayonet)<br />
** 35 mm format equivalent
<strong>Camera</strong> <strong>Lens</strong> <strong>News</strong> Nr. 37<br />
Carl Zeiss October 2010 Page 12<br />
<strong>Camera</strong> strap and filters<br />
Our Marketing Manager Martin<br />
Klottig recently provoked intense<br />
speculation when he announced<br />
that “for the first time ever,<br />
Photokina will see us showcasing<br />
our very own range of<br />
accessories for SLR lenses”. And<br />
official confirmation is now in:<br />
ZEISS photographers will soon<br />
have the opportunity to work<br />
with genuine ZEISS accessories,<br />
including UV and POL filters and<br />
a very special camera strap for<br />
SLR cameras!<br />
But what prompted us to suddenly<br />
expand our range of products 120<br />
years after the launch of the first Carl<br />
Zeiss lenses? Martin Klottig explains:<br />
“For the first time in the history of<br />
ZEISS camera lenses, we have decided<br />
to supply photographers with accessories<br />
for their SLR lenses. We are<br />
taking this step in response to massive<br />
demand from users. Our accessories<br />
are the perfect complement to ZEISS<br />
SLR lenses and have been carefully selected<br />
to meet the exacting demands<br />
of discerning photographers.”<br />
Our new UV and POL filters meet the<br />
highest standards of mechanical quality<br />
and are quick and easy to use. Specially<br />
designed for ZEISS SLR lenses,<br />
they feature the ZEISS T* multi-layer<br />
coating to protect against stray light.<br />
The filters’ top quality optical glass<br />
eliminates lens flare and eradicates<br />
the blur that can occur under certain<br />
lighting conditions. In addition to<br />
their filter function, they also protect<br />
the front of the lens against dirt and<br />
scratches – and with thread diameters<br />
of 58 mm, 67 mm, 72 mm and<br />
82 mm, the filters will also fit other<br />
manufacturers’ lenses.<br />
Our range of accessories also includes<br />
an air-cushioned camera strap, which<br />
helps prevent shoulder strain even<br />
during a long day on the road. The air<br />
cell padding and elastic neoprene material<br />
ensure maximum durability and<br />
comfort, while special quick-action<br />
locks enable users to quickly, easily<br />
and securely connect the strap to all<br />
standard SLR cameras and binoculars.<br />
The accessory will be available at<br />
beginning of 2011.
<strong>Camera</strong> <strong>Lens</strong> <strong>News</strong> Nr. 37<br />
Carl Zeiss October 2010 Page 13<br />
Carl Zeiss at the 2010 photokina<br />
Although there were fewer exhibitors<br />
than in 2008, the 2010<br />
photokina (21-26 September)<br />
in Cologne registered a record<br />
number of visitors. More than<br />
180,000 guests from 160 nations<br />
made their way to the event.<br />
Together with its partner Nokia<br />
and Carl Zeiss Sports Optics, the<br />
Carl Zeiss <strong>Camera</strong> <strong>Lens</strong> Division<br />
displayed its products at a 430 m²<br />
booth. The highlights were the<br />
walk-through lens and the application<br />
island modeled after a<br />
Japanese garden that was twice the<br />
size of its 2008 predecessor. Visitors<br />
once again had the opportunity to<br />
hold our high-quality lenses and<br />
try them out on the latest cameras.<br />
The artificial garden served as a<br />
fascinating and multi-faceted stage.
<strong>Camera</strong> <strong>Lens</strong> <strong>News</strong> Nr. 37<br />
Carl Zeiss October 2010 Page 14<br />
Additionally, visitors were also able<br />
to test the coveted Compact Prime<br />
CP.2 cine lens on HDSLR cameras.<br />
The walk-through lens introduced<br />
in 2008, took visitors on a tour of<br />
the 120-year history of lenses at<br />
Carl Zeiss. They experienced the<br />
pioneering developments of the<br />
past that are paving the way to<br />
the future. For example, the latest<br />
generation of compact Tessar lenses<br />
lives on in Nokia mobile phones.<br />
The evolution of a piece of glass<br />
into a finished ZEISS lens was also<br />
on display. The high quality of ZEISS<br />
lenses was depicted in a way that<br />
everyone can understand.<br />
Carl Zeiss uploaded videos to its<br />
YouTube channel daily and linked<br />
them to Facebook, Twitter and the<br />
photokina blog for those unable to<br />
attend the event.<br />
In the year of its 120th anniversary,<br />
Carl Zeiss was very satisfied with the<br />
interest it generated at the photokina.<br />
The concept of conveying a special<br />
brand experience at the event was a<br />
complete success.<br />
http://www.youtube.com/carlzeisslenses<br />
http://www.facebook.com/carlzeisslenses<br />
http://twitter.com/carlzeisslenses<br />
http://www.zeiss.de/photokina
<strong>Camera</strong> <strong>Lens</strong> <strong>News</strong> Nr. 37<br />
Carl Zeiss October 2010 Page 15<br />
Giving people a voice through photographs<br />
Saharawi tribeswoman<br />
Providing a voice for the poor<br />
and suffering of the world<br />
through photographs of them<br />
– that has been the mission<br />
that has driven German portrait<br />
photographer Susi Childers for<br />
many years. In pursuit of her<br />
goal, she travels throughout the<br />
world. Together with husband,<br />
Paul Childers, she established the<br />
PhotogenX platform in 2003 to<br />
draw attention to social inequalities<br />
around the globe through<br />
the medium of photographic<br />
projects. The 43-year-old photographer<br />
comes from Nagold in<br />
Germany’s Black Forest region<br />
and lives with her husband and<br />
two children in Hawaii.<br />
Joy and suffering can often be found<br />
side by side in photographer Susi<br />
Childers’ photos. “The portraits reflect<br />
the contradictions of beauty in the<br />
face of injustice, and of joy against<br />
a background of oppression and<br />
poverty,” she explains. “The privilege<br />
of being able to portray people in<br />
over 50 different countries has helped<br />
me discover that each individual,<br />
irrespective of his or her background<br />
or appearance, is a unique and valuable<br />
human being.” “When I was<br />
finally able to focus through the<br />
viewfinder on my subject, my heart<br />
almost stopped; what I saw was just<br />
indescribable. There in front of me,<br />
in the middle of the endless expanse<br />
of the Sahara, stood a woman with<br />
expressive eyes and a concealed smile,<br />
which I could only guess at behind<br />
her veil. Several hours went by before<br />
I was finally able to take a portrait of<br />
a Saharawi woman.<br />
All my 15 years of professional experience<br />
as a portrait photographer were<br />
not much use to me in this situation.<br />
I had only a vague idea of how provocative<br />
my request for a photo might<br />
be in this culture. For a long time, the<br />
woman standing opposite me could<br />
not bring herself to look directly into<br />
my eyes. She was not used to looking<br />
back at people. Patience and communication<br />
skills were more useful than<br />
professional knowledge and the best<br />
of equipment. In the end, though, I<br />
managed to capture this wonderful<br />
moment.<br />
I now use this photo to highlight the<br />
hopeless situation of the Saharawi.<br />
For over 30 years, this tribe has been<br />
engaged in a hopeless struggle for<br />
its homeland in the Western Sahara,<br />
which is occupied by Morocco and
<strong>Camera</strong> <strong>Lens</strong> <strong>News</strong> Nr. 37<br />
Carl Zeiss October 2010 Page 16<br />
Amalé, from the Kamawure Indian tribe in the Amazon region<br />
Mauritania. The third generation is already<br />
eking out a meager existence in<br />
the Sahara without any realistic prospect<br />
of a return to their homeland.<br />
I often find myself in situations with<br />
people who are suffering extreme<br />
injustice, and each time I find it a new<br />
challenge to employ my photography<br />
on behalf of these people in a very<br />
conscious manner. These are people<br />
who have been forgotten, or whose<br />
cries for help go unheeded in today’s<br />
noisy world.”<br />
“One of these Indians is Amalé from<br />
the Kamawure tribe in the Brazilian<br />
Amazon basin. He was buried alive<br />
because his mother was unmarried.<br />
This is seen as a curse. Babies<br />
born with a physical handicap or<br />
Kimberly, from a slum in San José, Costa Rica<br />
as multiple births also face a similar<br />
fate. Each year, many hundreds of<br />
children are killed in this horrible way,<br />
out of fear of evil spirits. But Amalé’s<br />
desperate cries were heard and he<br />
was rescued. I can still hear his happy<br />
laughter today.”<br />
“Kimberly lives in one of the many<br />
slums in San José, the capital of Costa
<strong>Camera</strong> <strong>Lens</strong> <strong>News</strong> Nr. 37<br />
Carl Zeiss October 2010 Page 17<br />
Rica, where there is no electricity<br />
or running water. The social worker<br />
for the district told us how the men<br />
usually spend their evenings – sexually<br />
abusing young girls.<br />
When Kimberly’s gaze met mine, I left<br />
the protection of the group without<br />
thinking and took a moment to get to<br />
know her. She was sitting at the entrance<br />
to her corrugated iron hut just<br />
as a few white clouds passed over the<br />
sun, allowing the diffuse light to fall<br />
directly into her radiant green-yellow<br />
eyes. I felt such a wave of beauty and<br />
joy as I seldom encounter in the grand<br />
houses of our cities – even despite the<br />
abuse she had suffered.”<br />
“I was immediately struck by the<br />
tattoos of Hare Hei Hei, a Maori<br />
chief. I had photographed on several<br />
occasions the frequently difficult situation<br />
of indigenous peoples in many<br />
different countries. In doing so, I discovered<br />
the uniqueness of indigenous<br />
tribes – an immeasurable variety of<br />
art, skills and culture.”<br />
“I was overwhelmed by the poverty of<br />
Haiti while documenting the country’s<br />
situation for a charity following<br />
the devastating earthquake. No<br />
one knows how many people died.<br />
Thousands remain anonymous and<br />
have already been forgotten. A nameless<br />
girl gazed at me from this ocean<br />
of destitution and misery. For me,<br />
she was a reflection of the beauty,<br />
determination and aspirations of this<br />
Caribbean nation, which for 200 years<br />
has suffered from grinding poverty<br />
and oppression.”<br />
Hare Hei, the tattooed Maori chief from Kerikeri<br />
Susi Childers:<br />
www.photogenx.net<br />
Anonymous girl in St Marc, Haiti
<strong>Camera</strong> <strong>Lens</strong> <strong>News</strong> Nr. 37<br />
Carl Zeiss October 2010 Page 18<br />
Portrait photography:<br />
the right equipment for the right ‘click’<br />
Portrait photo taken with Planar T* 1,4/85 on digital SLR camera at f/4.0 and 1/125s<br />
Portrait photography is an art<br />
unto itself. In addition to creativity<br />
and skill, it is essential that<br />
you have the right, high-quality<br />
equipment — especially the<br />
right lens. A prime example is<br />
Carl Zeiss’s portrait ‘star’: the<br />
Planar T* 1,4/85 and the Makro-<br />
Planar T* 2/100.<br />
The Planar T* 1,4/85 is a classic lens<br />
for portrait photography. Despite its<br />
great focal length, it has a very high<br />
light intensity, allowing photographers<br />
to work creatively with minimal depth<br />
of field. This can be used, for example,<br />
to isolate the subject’s face from the<br />
background in order to lend the image<br />
a greater sense of drama.<br />
An important feature for any portrait<br />
lens is bokeh, i.e., the way out-offocus<br />
front and background areas are<br />
shot. Photographers like to ‘play’ with<br />
these parts of the image. By experimenting<br />
with sharpness and blur, they<br />
can create an interesting, distinguishable<br />
environment for the person being<br />
photographed. The most important<br />
factor for achieving this bokeh effect<br />
is the lens’s optical design. In addition,<br />
the Planar T* 1.4/85’s iris creates an<br />
almost circular opening so that highlights<br />
such as bright, significant points<br />
in the image appear soft and harmonious<br />
in the out-of-focus area. Light<br />
reflexes, which may appear on the<br />
surface of moving water, for example,<br />
form spots of color that can ‘flow’<br />
into the overall picture composition.<br />
The Planar T* 1,4/85 is available with F<br />
bayonet (ZF, ZF.2) and EF bayonet (ZE)<br />
and is optimized for both digital and<br />
analog SLR cameras. For digital SLR<br />
cameras with a crop factor of 1.5, its
<strong>Camera</strong> <strong>Lens</strong> <strong>News</strong> Nr. 37<br />
Carl Zeiss October 2010 Page 19<br />
Portrait photo taken with Planar T* 2/100 ZF.2 on digital SLR camera at f/2.8 and 1/250s<br />
picture angle corresponds to that of a<br />
128 mm lens of a full-format camera.<br />
The Makro-Planar T* 2/100 is also<br />
perfect for portrait photography,<br />
albeit for different reasons. Thanks<br />
to its longer focal length, the photographer<br />
can position himself further<br />
from the model. These longer focal<br />
lengths are useful for shy models as<br />
the photographer can be less intrusive.<br />
While on the one hand the telephoto<br />
lens allows you stand further away<br />
from the model, it has the benefit of<br />
a far shorter close-focus distance as<br />
compared with a classic 85 mm lens.<br />
While the latter can focus from up to<br />
a meter, the 100 lens allows you to<br />
focus as close as 44 centimeters. This<br />
gives the photographer additional options<br />
for creating details. For example,<br />
parts from the eye or mouth or other<br />
details of a face can be portrayed individually<br />
and delicately. On the whole,<br />
the photographer has a lot more room<br />
to experiment with this lens.<br />
Planar T* 1,4/85 ZE<br />
Makro-Planar T* 2/100 ZF.2<br />
The Makro-Planar T* 2/100 is not<br />
as fast as the Planar T* 1,4/85, but<br />
with an aperture ratio of 1:2 it’s still<br />
the superior option and unique on<br />
the market. It offers almost identical
<strong>Camera</strong> <strong>Lens</strong> <strong>News</strong> Nr. 37<br />
Carl Zeiss October 2010 Page 20<br />
features for working with a lower<br />
depth of field as the Planar T* 1,4/85.<br />
However, the image performance<br />
when the aperture is open (which is<br />
typical for upwardly corrected macro<br />
lenses) is higher than with the 85 mm<br />
so that the photographer must consider<br />
very carefully whether he wants<br />
to use the special “softness” of the<br />
85 mm or the special detail sharpness<br />
afforded by the 100. The Makro-Planar<br />
T* 2/100 can be “too sharp” for<br />
portrait photographers if they don’t<br />
want to highlight unevenness in the<br />
subject’s skin. If, on the other hand,<br />
the photographer wants to emphasize<br />
scars, pores and pigments to give the<br />
subject more character, the Makro-<br />
Planar T* 2/100 is the better choice.<br />
Thanks to its higher contrast and image<br />
performance, the Makro-Planar T*<br />
2/100 is more flexible in its use than<br />
the Planar T* 1.4/85. It has also been<br />
optimized for digital and analog fullformat<br />
SLR cameras. Used with digital<br />
SLR cameras with a crop factor of 1.5,<br />
its viewing angle matches that of a<br />
150 mm telephoto lens when used on<br />
an analog or digital KB camera.<br />
The “smaller” sister models of the<br />
above-mentioned lenses are also<br />
great for portrait photography: the<br />
Planar T* 1,4/50 and the Makro-Planar<br />
T* 2/50. Originally conceived as a<br />
standard focal width for KB cameras,<br />
they can also be ideal for digital<br />
cameras, depending on the size of<br />
their sensors as light telephoto lenses,<br />
thus making them eminently suitable<br />
for portrait photography. The differences<br />
described above also apply to<br />
models with shorter focus lengths. As<br />
such, the Planar T* 1,4/50 is “softer”<br />
and the Makro-Planar T* 2/50 sharper<br />
with an open aperture, and therefore<br />
more flexible.
<strong>Camera</strong> <strong>Lens</strong> <strong>News</strong> Nr. 37<br />
Carl Zeiss October 2010 Page 21<br />
Exhibits for Canon Profoto Roadshow<br />
Dates in November and December 2010<br />
16 November 2010<br />
Alte Kelter<br />
Untertürkheimer Straße 33<br />
70734 Fellbach<br />
www.schwabenlandhalle.de<br />
18 November 2010<br />
Botanikum<br />
Feldmochinger Straße 75-79<br />
80993 München<br />
www.botanikum.de<br />
25 November 2010<br />
Technische Sammlungen Dresden<br />
Junghansstraße 1-3<br />
01277 Dresden<br />
www.tsd.de<br />
30 November 2010<br />
Union Halle<br />
Hanauer Landstrasse 184<br />
60314 Frankfurt<br />
www.unionhalle.de<br />
Register at<br />
www3.canon.de/themen/cps/<br />
anmeldung_cps_roadshow<br />
<strong>Camera</strong> <strong>Lens</strong> <strong>News</strong><br />
A newsletter for all who use, buy, sell,<br />
like, report about and are interested in<br />
Carl Zeiss camera lenses.<br />
All information in <strong>Camera</strong> <strong>Lens</strong> <strong>News</strong> is<br />
accurate to the best of our knowledge at<br />
the time of publication.<br />
23 November 2010<br />
Umspannwerk Kreuzberg<br />
Paul-Lincke-Ufer 20-22<br />
10999 Berlin<br />
www.umspannwerk-kreuzberg.de<br />
2 December 2010<br />
Odysseum<br />
Corintostraße<br />
51103 Köln<br />
www.odysseum.de<br />
Publisher:<br />
Carl Zeiss AG<br />
<strong>Camera</strong> <strong>Lens</strong> Division<br />
Marketing<br />
73446 Oberkochen<br />
Germany<br />
Phone: +49 (0) 7364/20-6175<br />
Email: photo@zeiss.de<br />
Internet: www.zeiss.de/photo