13/10/09
The breaking dawn is a special time for photo- graphers. When the
early-morning sun reluctantly chases away the still-glistening dew on the trees,
this delicate transition between night and day creates moments of calm and
anticipation. But without a tripod at hand, these shots will only succeed with a
lens that can handle intense light.
Carl Zeiss today introduces the wide-angle lens Distagon T* 2/28 ZE with EF
bayonet, suitable for all analog and digital EOS camera models. With an initial
aperture opening of 1:2, it is among the most light-intense of its kind in its
focal length. From landscape photography at dawn to interior shots with weak
lighting and close-up portraits, the Distagon T* 2/28 ZE offers photographers
plenty of room for creativity when a tripod is not used. Following the recent
introduction of its two ultra-wide-angle lenses, the Distagon T* 3,5/18 ZE and
the T* 2,8/21, the new Distagon T* 2/28 ZE is Carl Zeiss’ first moderate
wide-angle lens with EF bayonet.
Despite its high light intensity and complex retro-focus construction, the
Distagon T* 2/28 ZE has a compact build. These characteristics make the lens a
highly versatile and performance-driven tool for all types of photographers.
Even with its wide angle, the lens enables photographers to play fully with an
image’s depth of focus. With a wide aperture opening, for example, one can
effectively separate the motif from its background. With a small aperture
opening, photographers can use the sharpness of the lens system for the entire
image range. The floating elements design guarantees high imaging performance
each time, from close-ups to infinity, enabling the photo- grapher to make
razor-sharp close-up images of even the tiniest objects. Thanks to the Carl
Zeiss T* anti-reflective coating and meticulously crafted lenses, the new
Distagon T* 2/28 ZE deals effortlessly with reflections and stray light.
Brilliant pictures work every time, even under tough lighting conditions such as
a breaking dawn.
Photo Quote: Now to consult the rules of composition before making a picture is a little like consulting the law of gravitation before going for a walk. Such rules and laws are deduced from the accomplished fact; they are the products of reflection . . . -Edward Weston