The 20Mm F28 Carl Zeiss Flektogon Mc – Carl Zeiss Flektogon 20Mm F4

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The 20mm f28 carl zeiss flektogon mc

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If you want huge angle lenses you’ll love the 20mm Flektogon.

The 20mm Flektogon has the identical benefits as its’ little sister the Carl Zeiss Flektogon 35mm (close focusing, sharpness and a great bokeh). It provides a far wider angle of view with 93° in comparison with the 62° of a 35mm lens (on full body cameras). What actually units the 20mm Flektogon aside from different tremendous broad angle lenses isn’t solely the shut focusing distance however in addition that it’s a comparatively sharp lens at f2.8. This makes it appropriate for accessible mild images in most cases. Obviously all this goodness comes at a worth premium with the 20mm Flektogon being about twice as costly because the Carl Zeiss Flektogon 35mm.

The Flektogon doesn’t solely supply excellent picture high quality however this lens can additionally be extraordinary because of its’ extraordinarily brief focusing differ of solely 19cm, which is fairly superb for such a large angle lens. This allows you to get actually near your topics creating virtually fish-eye searching pictures and distorting effects. Obviously this guidelines out “natural looking” portraiture images if the topic is just too close.

When you focus to infinity, the distortion is absolutely minimal and also you do get professional searching pictures. The lens provides an enormous discipline of view which is particularly useful for panorama and structure photography.

The colors and sharpness are actually good, even though for my part not nearly as sensible because the Carl Zeiss Flektogon 35mm. Especially within the corners you do get some softness when shot huge open.

If you’ve the chance to accumulate one in all these jewels go for it – you won’t remorse it! Nonetheless, whenever you’re searching for a large angle M42 lens and are a piece on a funds you would possibly need to seem into the Carl Zeiss Flektogon 35mm or the Takumar 28mm.



Carl zeiss flektogon 20mm f4

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I am an enormous fan of huge angle lenses. So I become very excited when I received my palms on a Flektogon 20mm 4. I truthfully owned the successor, the Flektogon 20mm 2.8 for an extended time earlier than so I become searching ahead to seeing the evolution between these two Flektogon lenses.

The 20mm four Flektogon is famed for the shortage of distortion. Architecture and panorama photographers love this lens as a result of strains end up very straight. I completely agree, the shortage of distortion is unparalleled – hats of to the engineers at Carl Zeiss Jena for pulling that off. You won’t spend time in submit manufacturing to straighten lines.

Contrast is sweet and colours are faithful. This Flektogon can additionally be very sharp within the middle of the image. The bokeh can additionally be relatively fascinating and swirly. When you mix these elements and add the shortage of sharpness within the corners and the vignetting you may take reasonably uncommon searching photographs which look virtually as whenever you’re capturing by way of an previous searching glass. Obviously that isn’t to everyone’s style however when you’re on the experimental facet you’ll have lots of enjoyable with the previous Carl Zeiss Jena Flektogon.

Another unprecedented function is the minimal focusing distance of sixteen cm, which actually permits you to get very near your subject.

This lens is usually criticized for its ergonomics. It does really feel a piece clumsy because of its super entrance aspect however I can’t agree that the ergonomics will not be good. Everything is the place it’ll and the lens feels properly balanced and relatively compact in comparison with lots of different tremendous huge angle lenses.

Carl zeiss jena flektogon 35mm f2,8

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The Flektogon 35 2.8 is a superbly made lens, as you’d anticipate from Carl Zeiss Jena. Both the early silver model and the persist with up variations are effectively balanced. Focusing is buttery mushy and aperture settings are simply set. The lenses really feel very strong – however in addition considerably heavy. Overall the ergonomics are good and the lens is straightforward to use.As any Flektogon lens, the minimal focusing distance of the 2.8 model is fairly impressive. The early model has a minimal focusing distance of solely “36 cm”, however this become improved to 18cm with the persist with up versions. This permits you to get fairly near your subject.

Image sharpness is fairly extraordinary for such an previous broad angle lens, not less than within the middle of the image.

The lens manages to seize loads of details, which isn’t a given for an previous broad angle lens.

There is a few falloff and vignetting within the corners. This provides the lens an fascinating look, virtually movie like look. This might be fairly useful for panorama photographs for example. If you take pleasure in panorama images and wish to have some pure vignetting the Flektogon 2.8 could be lots of fun. On a beautiful, sunny day you’ll have the opportunity to take fairly photographs with loads of character. If you want slight vignetting and softer corners for a definite classic look, this lens is for you.

The Flektogon 35mm 2.8 can additionally be fairly sensible at maintaining distortion to a minimum. Distortion does happen however like with most Flektogon lenses, it’s not that bad. This makes the Flektogon 35mm 2.8 an inexpensive huge angle lens for architectural photography.

Since the lens is fairly susceptible to flaring and every type of effects, it’s additionally fairly good whenever you do longtime exposures in the dead of night to seize light-trails. If you want your lenses to have a slight inventive imperfection, the Flektogon 35mm 2.8 is a great choice because it’s very versatile and by no means will get boring.

The Flektogon 35 2.8 comes from a time when black and white images dominated the world. And for this motive the 35 2.8 is superb. The considerably contrast-less photos end up actually properly in black and white.

Carl zeiss jena mc flektogon 20mm f2.8 review

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It’s a sunny day in Leicester, outdoors of my entrance door. The six instance photographs are taken at f/2.8 and f/8 at one hundred ISO

It’s good and bright, so the slowest shutter velocity become 1/200 and the quickest 1/1600. I’ve used a cable launch and my most strong tripod.

The digital camera is levelled, so the numerous vertical strains within the image give a superb really feel for any distortions in common photography.

I know a few of the ‘sharpness fans’ would insist on utilizing mirror lock-up as well, however life is usually simply too short… I use a tripod for my architectural/interior work, however not often ever have one with me when I’m doing panorama print work. I’d must check, however I agree with there are solely two photographs within the 350+ within the panorama gallery on this website the place I used a tripod.

This article tries to present a piece of a really feel for utilizing the previous lens instead of any detailed optical evaluation – and when it comes right down to it (IMHO) images is about truthfully taking photos. I’d advocate performing some brief checks like this for any new lens you are trying out, simply to get a really feel for what variations it’d offer.

I’ve used liveview to talk about the brickwork subsequent to the crimson door over the road. If you progress your mouse over the images, you’ll be able to see the development at f/8 in comparison with f/2.8

First the entire body – Flektogon.

Note the vignetting and decrease distinction at f/2.8

Next, complete body Canon 16-35.

Some vignetting, however the lens is noticeably extra contasty.

Note that the sector of view is barely assorted – the digital digital digital camera EXIF knowledge says 20mm become the focal size for the Canon…

I’ve used the camera white stability in Adobe Camera Raw, to transform the RAW files. There become a slight distinction in colour, however hardly ever sufficient to point out meaningfully in small compressed, non color managed internet photos like these here.

Next, the centre of the body – Flektogon.

The corners present the most essential distinction (and additionally why I are likely to take advantage of the 16-35 at ~f/8 for panorama work.)

So, I get a really feel for a way the low contrast/vignetting of the Flektogon provides a distinct look to images.

Depending on what I become taking the photos for, this might be important. Given my normal dislike for tripods, you’ll possible guess that last sharpness isn’t all the time the important thing think about deciding whether or not I just like the outcomes of my photography. Other photographers might take a distinct method 😉

Image processing

I discover it useful too, to understand what styles of strategies I’ve acquired in processing my digital camera RAW files. I’ll usually use ACR in Photoshop.

For some work though, I decide to take advantage of a RAW converter reminiscent of DxO Optics Pro. It works biggest for lens/camera mixtures which can be completely supported, however provides conversions no matter lens you’re using.

The picture under (f/8) exhibits it’s barely improved sharpness and distinction once you high-quality tune the settings.

More noticeable within the corners the place I’ve tuned out a lot of the chromatic aberration.

You can do that in ACR as well

The actual advantages include a supported lens, similar to the 16-35 (at f/8 again) – not dangerous for the nook of the frame.

Hover Image

Flektogon 20mm f2.8 review

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The Zeiss firm became chargeable for lots improvements in optical design and engineering in every of their foremost fields of business. Today this turns into exemplarily seen within the newest EUV lithography systems, the package wanted to supply the newest generations of semiconductor components. It additionally consists of early high-performance optical microscopes as much as today’s electron and ion microscopes, which attain a sub-nanometers resolution. It consists of know-how management within the primary surgical microscopes and ophthalmic devices. It additionally consists of high-performance contact metrology systems. For a few years Zeiss confirmed improvements in fields as astronomical telescopes, photographic and cinematic lenses.

Early on, Carl Zeiss realised that he wanted a reliable scientist in order to take the agency past simply being one other optical workshop. In 1866, the service of Dr. Ernst Abbe became enlisted. From then on novel merchandise regarded in speedy succession which introduced the Zeiss firm to the vanguard of optical technology.

Abbe became instrumental within the event of the well-known Jena optical glass. When he became attempting to get rid of stigmatism from microscopes, he discovered that the variability of optical glasses out there became insufficient. After some calculations, he realised that efficiency of optical devices would dramatically recover if optical glasses of right houses have been available. His undertaking to glass producers became ultimately answered via Dr. Otto Schott, who established the well-known glassworks at Jena from which new styles of optical glass started to seem from 1888 to be employed via Zeiss and different makers.

The new Jena optical glass additionally opened up the prospect of elevated efficiency of photographic lenses. The first use of Jena glass in a photographic lens became via Voigtländer, however because the lens become an previous design its efficiency become not vastly improved. Subsequently, the recent glasses would show their worth in correcting astigmatism, and within the manufacturing of apochromatic lenses. Abbe began the design of a photographic lens of symmetrical design with 5 elements, however went no further.

Zeiss’ domination of photographic lens innovation become because of Dr Paul Rudolph. In 1890, Rudolph designed an asymmetrical lens with a cemented group at either facet of the diaphragm, correctly named “Anastigmat”. This lens became made in three series: Series III, IV and V, with most apertures of f/7.2, f/12.5, and f/18 respectively. In 1891, Series I, II and IIIa regarded with respective most apertures of f/4.5, f/6.3, and f/9 and in 1893 got here Series IIa of f/8 most aperture. These lenses at the moment are higher recognized via the trademark “Protar”, which became first utilized in 1900.

At the time, single mixture lenses, which occupy one facet of the diaphragm only, have been nonetheless popular. Rudolph designed one with three cemented components in 1893, with the choice of becoming two of them collectively in a lens barrel as a compound lens, however it surely became came across to be the identical because the Dagor by means of C.P. Goerz, designed via Emil von Hoegh. Rudolph then got here up with a single mixture with 4 cemented elements, which may be regarded as having all of the weather of the Protar caught collectively in a single piece. Marketed in 1894, it become referred to as the Protarlinse Series VII, probably the most extremely corrected single mixture lens with most apertures between f/11 and f/12.5, counting on its focal length.

But the foremost factor about this Protarlinse is that two of those lens models might be fixed within the identical lens barrel to type a compound lens of even better efficiency and a bigger aperture, between f/6.3 and f/7.7. In this configuration, it become referred to as the Double Protar Series VIIa. An immense differ of focal lengths can thus be acquired via the numerous mixture of Protarlinse units.

Rudolph additionally investigated the Double-Gauss idea of a symmetrical design with skinny advantageous menisci enclosing adverse elements. The end result become the Planar Series Ia of 1896, with most apertures as much as f/3.5, certainly one of the quickest lenses of its time. Whilst it became very sharp, it suffered from coma which restricted its popularity. However, additional tendencies of this configuration made it the design of selection for high-speed lenses of normal coverage.

Probably impressed via the Stigmatic lenses designed by means of Hugh Aldis for Dallmeyer of London, Rudolph designed a brand new asymmetrical lens with 4 skinny elements, the Unar Series Ib, with apertures as much as f/4.5. Due to its excessive speed, it became used extensively available cameras.

The primary Zeiss lens via Rudolph become the Tessar, first bought in 1902 in its Series IIb f/6.3 form. It might be stated as a mixture of the entrance half the Unar with the rear half the Protar. This proved to be probably the most respected and versatile design, with super progress potential. Its most aperture become elevated to f/4.7 in 1917 and reached f/2.7 in 1930. It is possible that each lens producer has produced lenses of the Tessar configurations.

Rudolph left Zeiss after World War I, however many different competent designers similar to Merté, Wandersleb, etc. kept the agency on the vanguard of photographic lens innovations. One of probably the most vital designers turned the ex-Ernemann man Dr Ludwig Bertele, famed for his Ernostar high-speed lens.

With the arrival of the Contax via Zeiss-Ikon, the primary skilled 35mm formulation digital camera became available. At this degree the Leica become no greater than a handy and moveable snapshot camera. However Leitz might see the potential provided via the Contax and quickly advanced a coupled rangefinder and commenced to introduce further lenses. As a components digital camera there became a necessity for a variety of lenses for the Contax. Bertele’s Sonnar collection of lenses designed for the Contax become the event in each respect for the Leica for not less than two decades. Other lenses for the Contax included the Biotar, Biogon, Orthometar, and numerous Tessars and Triotars.

The final foremost Zeiss innovation earlier than World War II became the strategy of making use of an anti-reflective coating to lens surfaces invented via Olexander Smakula in 1935.[21] A lens so handled became marked with a crimson “T”, brief for “Transparent”. The strategy of making use of a number of layers of coatings become advanced from this foundation after the war, and referred to as “T✻” (T-star).[22]

After the partitioning of Germany, a brand new Carl Zeiss optical agency became established in Oberkochen, whereas the unique Zeiss firm in Jena continued to operate. At first, each corporations produced very comparable strains of products, and extensively cooperated in product-sharing, however they drifted aside as time progressed. Jena’s new route become to pay attention on arising lenses for 35 mm single-lens reflex cameras, and lots of achievements have been made, particularly in ultra-wide angle designs. In addition to that, Oberkochen additionally labored on designing lenses for the 35 mm single-lens reflex digital digital camera Contarex, for the medium format camera Hasselblad, for giant format cameras just like the Linhof Technika, interchangeable entrance aspect lenses similar to for the 35 mm single-lens reflex Contaflex and different styles of cameras.

Since the start of Zeiss as a photographic lens manufacturer, it has had a licensing programme, permitting different producers to supply its lenses. Over the years its licensees included Voigtländer, Bausch & Lomb, Ross, Koristka, Krauss, Kodak. etc. In the 1970s, the western operation of Zeiss-Ikon collaborated with Yashica to supply the recent Contax cameras, and lots of of the Zeiss lenses for this camera, amongst others, have been produced by means of Yashica’s optical arm, Tomioka. As Yashica’s proprietor Kyocera ended digital digital camera manufacturing in 2006, and Yashica lenses have been then made via Cosina, who additionally manufactured a lot of the recent Zeiss designs for the recent Zeiss Ikon coupled rangefinder camera. Another licensee lively at this time is Sony who makes use of the Zeiss identify on lenses on its video and digital nonetheless cameras.

Flektogon 20mm f4 vs f2 8

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It could be between 30,000 yen and 50,000 yen counting on the state, even though it’s fewer than Flektogon 35 mm, it sort of feels that it’s available on the market because it is.

Carl Zeiss Jena Flektogon 20mm F4.0 Shortest capturing distance 10 cm made in 1973

So this time, it’s a Yahoo public sale buy after an extended absence accompanied by means of the variety of product photos, the small print of product description, safety sense and ease.

Although the delivery vacation spot become Germany, there became no drawback in any respect in Japanese rationalization / correspondence.
I bought the highest magnificence for procuring an previous lens besides Leica, however I received a reasonably sensible chassis.

Genuine entrance and rear cap, with real unique box.
In this way, even when you don’t want a field you’ll be able to not throw it away.

When purchasing

Even so, there’s additionally 50 mm F 4.0.
Flektogon checklist of eBay
I am additionally inquisitive about 25mm.

I’d wish to aim Mir-1 20mmtoo, however when it’s M42 mount, none is an economical price.

About Mount

[us_mountSelect something=”M42_EF”]
Canon is 35mm Flektogon and it interferes with the mirror, however this 20mm appears to be OK.

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