ÄÜŹ½º Ä® ÀÚÀ̽º Æò¸é TÀÇ *ÀÇ 135mm f¸¦ / 2´Â Áö±Ý ¼Ò¸ê ÄÜŹ½º ¶óÀξ÷¿¡
´Ù¼Ò µå¹® ·»ÁîÀÔ´Ï´Ù.
Carl Zeiss manufactured the prime from about 1975 until
the end of 1990s, but even during the mainstream manufacturing, the lens was
not as popular as its shorter version, Carl Zeiss Planar T* 100mm f/2 or even
slower Carl Zeiss Sonnar T* 135mm f/2.8.
Ä® ÀÚÀ̽º´Â 1990 ³â´ë ¸»±îÁö ¾à
1975¿¡¼ ÁÖ¿ä Á¦Á¶ÇÏÁö¸¸, ½ÉÁö¾î ÁÖ·ù Á¦Á¶ °úÁ¤¿¡¼, ·»Áî´Â ªÀº ¹öÀü, Ä® ÀÚÀ̽º Æò¸é TÀÇ *ÀÇ 100mm f¸¦ / 2 ¶Ç´Â ´À¸° Ä®
ÀÚÀ̽º ¼Ò³ª T * 135mm¸¸Å ÀαⰡ ÀÖ¾ú´Ù F / 2.8. The lens was manufactured as an AE and MM versions,
although MM versions of the lens are even rarer these days and fetch a slightly
higher premium.
·»ÁîÀÇ MM ¹öÀüÀº ¿äÁòµµ Èñ±ÍÇÏ°í
¾à°£ ´õ ³ôÀº ÇÁ¸®¹Ì¾öÀ» °¡Á®¿Ã ¼ö ÀÖÁö¸¸, ·»Áî, AE ¹× MM ¹öÀüÀ¸·Î Á¦Á¶ ÇÏ¿´´Ù.
The lens can be found on used markets if one is patient
enough, with good quality copies selling at ~US1,200.
Çϳª´Â ÁÁÀº Ç°ÁúÀÇ º¹»çº» ~
US1,200¿¡¼ ÆǸÅÇÏ´Â, ÃæºÐÈ÷ ȯÀÚÀÇ °æ¿ì ·»Áî°¡ »ç¿ëµÇ´Â ½ÃÀå¿¡¼ ãÀ» ¼ö ÀÖ½À´Ï´Ù.
The
optical construction of the lens costs of 5 elements in 5
groups.
5
±×·ìÀÇ 5 ¿ä¼Ò ·»Áî ºñ¿ëÀÇ ±¤ÇÐ ±¸Á¶¹°.
The lens
sports usual to Contax lenses excellent build quality - metal barrel, broad
rubberized focusing and aperture rings.
±Ý¼Ó
¹è·², ³ÐÀº °í¹« ÃÊÁ¡°ú Á¶¸®°³ ¸µ - ·»Áî´Â ÄÜŹ½º ·»Áî ¿ì¼öÇÑ Ç°ÁúÀ» ±¸Ãà Æò¼Ò ½ºÆ÷Ã÷.
The
aperture ring is reasonably tight and requires a little bit of pressure to
switch from position to position.
Á¶¸®°³
¸µÀº ÇÕ¸®ÀûÀ¸·Î ²Ë°ú À§Ä¡·Î À§Ä¡ Àüȯ¿¡ ¾Ð·ÂÀ» Á¶±Ý ÇÊ¿äÇÕ´Ï´Ù.
The
minimum aperture setting if f/22 and since the aperture is fully mechanical,
the setting is communicated to the camera with an aperture
lever.
Á¶¸®°³°¡
¿ÏÀüÈ÷ ±â°èÀû ÀÎ 22 / F¿Í ¶§¹®¿¡, ¼³Á¤ °³±¸ ·¹¹ö Ä«¸Þ¶ó·Î Àü´ÞµÇ´Â °æ¿ì ÃÖ¼Ò Á¶¸®°³ ¼³Á¤.
The
focusing ring is smooth, and also requires application of some force to
rotate.
ÃÊÁ¡
¸µÀº ºÎµå·´°í, ¶ÇÇÑ È¸ÀüÀûÀÎ ÈûÀÇ ÀÀ¿ë ÇÁ·Î±×·¥ÀÌ ÇÊ¿äÇÕ´Ï´Ù.
The
minimum focusing distance is 1.5m (5ft).
ÃÖ¼Ò
ÃÊÁ¡ °Å¸®°¡ 1.5M (5ÇÇÆ®)ÀÔ´Ï´Ù.
The lens is about average in size and weight for a
medium telephoto - 75 x 101mm (2.95 x 3.9in) at 790g (27.8oz), although the
barrel of the lens extends by another 10mm when focused towards
closeup.
·»Áî´Â Áß°£ ¸Á¿ø Å©±â¿Í ¹«°ÔÀÇ Æò±Õ¿¡
°üÇÑ °ÍÀÔ´Ï´Ù - 790g (27.8oz) 75 X 101mm (2.95 X 3.9in),
·»ÁîÀÇ °æÅëÀÌ ±ÙÁ¢ ÃÔ¿µÀ¸·Î ÁýÁßÇϸé
´Ù¸¥ 10mm·Î È®Àå ÀÖÁö¸¸.
Because of the pretty large front element, the lens
requires a 72mm threaded filters, which is not that typical among prime medium
telephotos.
¶§¹®¿¡ ²Ï Å« ¾Õ ¿ä¼ÒÀÇ ·»Áî°¡ ÁÖ¿ä
¸Åü ¸Á¿ø »çÀÌ¿¡¼ ±× ÀüÇüÀûÀÎ ¾Æ´Ñ 72mm ½º·¹µå ÇÊÅÍ°¡ ÇÊ¿äÇÕ´Ï´Ù. Àüü
ÇÁ·¹ÀÓ º»Ã¼ 216mm ·»ÁîÀÇ ´àÀº °Í 1.6 ÀÛ¹° ÆÑÅÍ APS-C Çü µðÁöÅÐ ¹Ùµð¿¡ ·»ÁîÀÇ ½Ã¾ß ±¸¿ªÀ» »ç¿ëÇßÀ» ¶§ÀÇ ·»Áî ÄÜŹ½º ½Ã¸®Áî´Â
ÀüÅëÀûÀÎ 35mm Ä«¸Þ¶ó ¿ë µîÀ¸·Î ¼³°èµÇ¾ú´Ù.
Like
most Contax lenses, Planar T* 125mm f/2 can be easily adapted to a number of
alternative mount cameras, including Canon EF/EF-S systems and Four Thirds
systems, using readily available adapters.
´ëºÎºÐ ÄÜŹ½º ·»Áî¿Í ¸¶Âù°¡Áö·Î, Æò¸éÇü TÀÇ *¸¦ 125mmÀÇ F / 2¸¦ ½±°Ô ´ëüÀÇ
¼ö¿¡ ÀûÀÀ µÉ ¼öÀÖ´Â ¿ëÀÌ °¡´ÉÇÑ ¾î´ðÅ͸¦ »ç¿ëÇÏ¿©, ij³í EF / EF-S ½Ã½ºÅÛ°ú Æ÷¼ ½Ã½ºÅÛÀ» Æ÷ÇÔÇÏ¿©, Ä«¸Þ¶ó¸¦ žÀç.
Within
the scope of this review, the lens was tested on full frame and APS-C type
Canon digital cameras.
ÀÌ ¸®ºäÀÇ ¹üÀ§ ³»¿¡¼, ·»Áî´Â Àüü ÇÁ·¹ÀÓ°ú APS-C Çü ij³í µðÁöÅÐ Ä«¸Þ¶ó¿¡¼ Å×½ºÆ®
ÇÏ¿´´Ù.
°³¿ä |
Lens Composition ·»Áî ±¸¼º
|
5 elements in 5 groups 5 °³ ±×·ìÀÇ
5 ¿ä¼Ò |
Angular Field °¢µµ Çʵå
|
18.5 degrees 18.5µµ
|
Minimum Focus ÃÖ¼Ò ÃÊÁ¡
|
1.5m/5ft 1.5M / 5ÇÇÆ®
|
Focusing Action ÃÊÁ¡ ¾×¼Ç
|
MF MF |
stop Scale Á¤Áö ½ºÄÉÀÏ |
f/2-f/22, manual F / 2-F / 22,
¸Å´º¾ó |
Filter Size ÇÊÅÍ Å©±â |
72mm 72mm |
Lens Hood ·»Áî Èĵå |
Built-in ³»Àå
|
Weight ¹«°Ô |
790g/27.8oz 790g /
27.8oz |
Dimensions Ä¡¼ö |
75x101xmm/2.95x3.9" 75x101xmm /
2.95x3.9 " |
Lens Case ·»Áî ÄÉÀ̽º |
No.4 (included) 4 ¹ø (Æ÷ÇÔ)
|
±× ÄÜŹ½º ÆÔÇø´, Ä® ÀÚÀ̽º´Â Æò¸é TÀÇ *ÀÇ 135mm f¸¦ 'ÀÌ Æò¸é ·»Á °¡¿ì½º ŸÀÔÀÇ ¸ðµç ÀåÁ¡À» °¡Áö°í ÀÖÁö¸¸ ..., ±×°ÍÀÇ
Àüü ±æÀÌ´Â ³î¶ó ¿ï Á¤µµ·Î ÀÛÀº ...'°°Àº / 2 Ãß°¡ '... °Å¸®¸¦ ÀÚ¶ûÇÑ´Ù »çÃâ µ¿°ø°ú Èĸé ÃÊÁ¡ Æ÷ÀÎÆ® »çÀÌÀÇ ÃÊÁ¡ °Å¸®ÀÇ 50
%ÀÌ´Ù.
This
guarantees good illumination of the finder are while the focusing screen used
for the standard focal length of the reflex camera is retained...', and
finally wrapping up with the following statement, 'The 135mm Planar T* f/2
lens is thus the ideal medium focal length lens for the 35mm format for all
applications where its high speed is of advantage'.
ÀÌ ... ¸®Ç÷º½º Ä«¸Þ¶óÀÇ Ç¥ÁØ ÃÊÁ¡ °Å¸®¿¡ »ç¿ëµÇ´Â Æ÷Ä¿½Ì ½ºÅ©¸°ÀÌ À¯ÁöµÇ´Â µ¿¾ÈÀÌ´Ù
ÆÄÀδõÀÇ ÁÁÀº Á¶¸íÀ» º¸Àå ', ±×¸®°í ¸¶Áö¸·À¸·Î ´ÙÀ½°ú °°Àº ¹®À¸·Î ¸¶¹«¸®,'135mm Æò¸é T * F / 2 ·»Áî´Â ÀÌ·¸°ÔÀÌ´Ù ³ôÀº ¼Óµµ°¡
ÀåÁ¡ÀÌ¸ç ¸ðµç ÀÀ¿ë ÇÁ·Î±×·¥ÀÇ 35mm Æ÷¸ËÀ»À§ÇÑ ÀÌ»óÀûÀÎ ¸Åü ÃÊÁ¡ °Å¸® ·»Áî '. Ughhh...
Can this be any more generic? Ughhh ...
ÀÌ ´õ ÀÌ»ó ÀϹÝÀûÀÎ µÉ ¼ö ÀÖ½À´Ï±î?
The
only informative piece of information contained in this blurb is that the lens
implements a Gaussian design ('Duh, it's labeled Planar after all', you could
say).
ÀÌ ÂªÀº ±¤°í¿¡ Æ÷ÇÔ µÈ Á¤º¸ÀÇ À¯ÀÏÇÑ Á¤º¸ Á¶°¢Àº ·»Áî°¡ °¡¿ì½Ã¾È µðÀÚÀÎÀ» ±¸ÇöÇÏ´Â
(´ç½ÅÀÌ ¸»ÇÒ ¼öÀÖ´Â '¸ðµç ÈÄ ¶ß¾Æ,À̶ó´Â À̸§ÀÌ ºÙ¾î Æò¸é')ÀÔ´Ï´Ù.
This
actually makes the 135mm Planar the longest focal length, I am aware of, with
the Gaussian type configuration (Gaussian designs typically offer superior
compensation for both spherical and chromatic aberration).
ÀÌ°ÍÀº ½ÇÁ¦·Î, ³»°¡ °¡¿ì½º ŸÀÔÀÇ ±¸¼º (°¡¿ì½º ¼³°è´Â ÀϹÝÀûÀ¸·Î ¸ðµÎ ±¸¸é ¹× »ö¼öÂ÷¿¡
´ëÇÑ ¿ì¼öÇÑ º¸»óÀ» Á¦°ø)ÀÇ ¾Ë°í 135mm Æò¸é °¡Àå ±ä ÃÊÁ¡ °Å¸®¸¦ ¸¸µç´Ù.
So
the combination of a fast aperture and good aberration correction with,
hopefully, good resolution should make an interesting specimen, at least in
theory.
±×·¡¼ ºü¸¥ Á¶¸®°³¿Í ÁÁÀº ¼öÂ÷ º¸Á¤ÀÇ Á¶ÇÕ°ú Èñ¸Á, ÁÁÀº Çػ󵵴 Àû¾îµµ ÀÌ·ÐÀûÀ¸·Î,
Èï¹Ì·Î¿î Ç¥º»À»ÇؾßÇÕ´Ï´Ù.
The lens is fairly comfortable to
handle and on a Canon 5D the combo is pretty well balanced.
·»Áî´Â »ó´çÈ÷ ´Ù·ç±â Æí¾ÈÇÏ°í ij³í
5D¿¡ ÄÞº¸ ²Ï Àß ±ÕÇü.
On smaller cameras like Canon Digital
Rebel series, the lens can tip over the lighter camera due to the larger and
heavier front end elements, causing a minor drift down when the combo is
mounted on light ball-heads.
ij³í µðÁöÅÐ ¹Ý¶õ±º ½Ã¸®Áî °°Àº ÀÛÀº
Ä«¸Þ¶ó¿¡¼ ·»Áî´Â ÄÞº¸°¡ ºûÀ» º¼ Çìµå¿¡ ÀåÂø µÉ ¶§ ¹Ì¼º³âÀÚ°¡ ¾Æ·¡·Î Ç¥·ùÀÇ ¿øÀÎÀ¸·Î ÀÎÇØ Å©°í ¹«°Å¿î ÇÁ·ÐÆ® ¿£µå ¿ä¼Ò¿¡ °¡º¿î Ä«¸Þ¶ó¸¦
µÚÁý¾î ¼ö ÀÖ½À´Ï´Ù.
Like all Contax lenses, Zeiss Planar
T* 135mm f/2 has mechanical aperture coupling, so when the lens is used on
native Contax cameras, you can get both aperture as well as shutter priority
modes.
¸ðµç ÄÜŹ½º ·»Áîó·³ ÀÚÀ̽º Æò¸é TÀÇ
*ÀÇ 135mm F / 2 ·»Á ±âº» ÄÜŹ½º Ä«¸Þ¶ó¿¡ »ç¿ëµÇ´Â ±×·¡¼ ¶§, ±â°èÀûÀÎ Á¶¸®°³ Ä¿Çà ¸µÀ» °¡Áö°í, ´ç½ÅÀº µÑ Á¶¸®°³»Ó¸¸ ¾Æ´Ï¶ó
¼ÅÅÍ ¿ì¼± ¸ðµå¸¦ ¾òÀ» ¼ö ÀÖ½À´Ï´Ù.
Unfortunately, mechanical coupling is
lost when you adapt the lens to a Canon or any other camera system using an
adapter.
´ç½ÅÀº ij³í ¶Ç´Â ¾î´ðÅ͸¦ »ç¿ëÇÏ´Â ´Ù¸¥
Ä«¸Þ¶ó ½Ã½ºÅÛ¿¡ ·»Á Àû¿ë ÇÒ ¶§ ºÒÇàÇÏ°Ôµµ, ±â°èÀû Ä¿Çà ¸µÀº ¼Õ½ÇµË´Ï´Ù.
This basically leaves you with
aperture priority or fully manual modes only and stop down metering.
ÀÌ°ÍÀº ±âº»ÀûÀ¸·Î Á¶¸®°³ ¿ì¼± ¶Ç´Â ¸¸
¿ÏÀü ¼öµ¿ ¸ðµå ´ç½ÅÀ» ¶°³ª ÃøÁ¤À» ÁßÁöÇÕ´Ï´Ù.
The stop down metering might be
considered an inconvenience by many, but you get used to it pretty
quickly.
Á¶¸®°³¸¦ Ãø±¤ ¸¹Àº ºÒÆí °£ÁÖ µÉ ¼ö
ÀÖÁö¸¸, ´ç½ÅÀº ²Ï »¡¸® Àͼ÷ÇØ.
The only problem you are likely to
encounter is the often incorrect metering with the built-in camera meter -
these tend to underexpose the images at wider apertures and overexpose then at
smaller apertures.
¹ß»ýÇÒ °¡´É¼ºÀÌ À¯ÀÏÇÑ ¹®Á¦´Â ³»Àå µÈ
Ä«¸Þ¶ó ¹ÌÅÍ·Î Á¾Á¾ À߸øµÈ °è·®ÀÔ´Ï´Ù -ÀÌ ³ÐÀº ±¸¸Û¿¡ À̹ÌÁö¸¦ ³ëÃâÀ» Àû°ÔÇÏ°í ÀÛÀº ±¸¸Û¿¡¼ ´ÙÀ½À¸·Î ³ëÃâ °ú´Ù °æÇâÀÌÀÖ´Ù.
The problem is typical to any
alternative lens, not just Planar T* 135mm f/2, and the best way to minimize
it is to code the adapter for the maximum aperture so that the camera can
adjust its metering appropriately.
¹®Á¦¸¦ ´ëü ÇÒ ¼öÀÖ´Â ´Ù¸¥ ·»Áî¿¡
ÀüÇüÀûÀÎ ¾Æ´Ï¶ó Æò¸é T *ÀÌ 135mmÀÇ F / 2, ±×°ÍÀ» ÃÖ¼ÒÈÇÏ´Â ÃÖ¼±ÀÇ ¹æ¹ýÀº Ä«¸Þ¶ó¸¦ ÀûÀýÇÏ°Ô ±× Ãø±¤À» Á¶Á¤ÇÒ ¼ö ÀÖµµ·Ï ÃÖ´ë
Á¶¸®°³ ¿ë ¾î´ðÅ͸¦ ÄÚµùÇÏ´Â °ÍÀÌ´Ù.
Given its medium focal length and
fast aperture, one obvious application for Planar T* 135mm f/2 is portraiture
type photography.
Æò¸é TÀÇ *ÀÇ 135mm f¸¦ ÇϳªÀÇ
¸í¹éÇÑ ÀÀ¿ë ÇÁ·Î±×·¥ÀÇ Áß°£ ÃÊÁ¡ °Å¸®¿Í ºü¸¥ Á¶¸®°³, ÁÖ¾î / 2´Â ÃÊ»óÈ Çü½ÄÀÇ »çÁøÀÔ´Ï´Ù.
If you do plan to use the lens
primarily for portraits, you'd probably care about a couple of
characteristics, namely rendering of out of focus areas, resolution, contrast
and color reproduction.
´ç½ÅÀÌ ÃÊ»óÈ ÁÖ·Î ·»Á »ç¿ëÇÏ·Á´Â
°æ¿ì, ´ç½ÅÀº ¾Æ¸¶ Áï, ÃÊÁ¡ ¿µ¿ª, ÇØ»óµµ, ÄÜÆ®¶ó½ºÆ® ¹× »ö ÀçÇö ¹ÛÀ¸·ÎÀÇ ·»´õ¸µ, Ư¼ºÀÇ ¸î °¡Áö¿¡ ´ëÇØ ½Å°æ °ÍÀÔ´Ï´Ù.
Without going into a lengthy and
repetitive description of how these factors influence the look and feel of
your image, I'd note that an ideal portrait lens (in my opinion) would have
high center resolution at wide apertures, will be capable of reproducing very
fine tonal gradations (again in the center), be able to produce shallow DOF
with the background evenly smoothed and deliver well saturated color
palette.
ÀÌ·¯ÇÑ ¿ä¼Ò°¡ À̹ÌÁöÀÇ ¸ð¾ç°ú ´À³¦¿¡
¿µÇâÀ» ¹ÌÄ¡´Â ¹æ¹ý¿¡ ´ëÇÑ ±æ°í ¹Ýº¹Àû ÀÎ ¼³¸í¿¡ °¡Áö ¾Ê°í, ³ª´Â ¸Å¿ì ÀçÇö ÇÒ ¼öÀÖÀ» °ÍÀÔ´Ï´Ù, (³» »ý°¢¿¡) ÀÌ»óÀûÀÎ Àι° ·»Áî´Â ³ÐÀº
±¸¸Û¿¡¼ ³ôÀº ¼¾ÅÍ Çػ󵵸¦ÇØ¾ß ÀÖ½À´Ï´Ù °Í ¹Ì¼¼ ±×¶óµ¥ÀÌ¼Ç À½»öÀº (´Ù½Ã ¼¾ÅÍ), °ñ°í·ç ºÎµå·´°Ô ¹è°æÀ¸·Î ¾èÀº DOF¸¦ »ý»êÇÏ°í Àß Æ÷È
»ö»ó ÆÈ·¹Æ®¸¦ Á¦°ø ÇÒ ¼ö.
Your tasted might differ, and there
is really no right or wrong way of going about this, so instead, let's take a
look at how Planar behaves at close to minimum focusing distances (we're
limiting the tests to only the 'at minimum' or 'close to minimum' focusing
distances because a) majority of lenses would produce the shallowest DOF and
heavier out-of-focus blurring at closeup distances and b) testing all possible
combinations of focusing distance/aperture level would take a lifetime and
there are more important things in life that can be done in this time-frame
(like enjoying shooting your Planar T* 135mm f/2!).
±ÍÇÏ ´Ù¸¦ ¼ö ÀÖ½À´Ï´Ù ¸À, °Å±â¿¡ ±Ç¸®
¶Ç´Â ÀÌ°Í¿¡ ´ëÇØ°¡´Â À߸øµÈ ¹æ¹ýÀº Á¤¸» ¾ø½À´Ï´Ù, ±×·¡¼ ±× ´ë½Å, ¿ì¸®°¡ Å×½ºÆ®¸¦ Á¦ÇÑÇÏ°í (ÀÌÁ¦ Æò¸éÀÌ ÃÖ¼Ò¿¡ °¡±î¿î °Å¸®¸¦ Áß½ÉÀ¸·Î
µ¿ÀÛÇÏ´Â ¹æ¹ýÀ» »ìÆì º¸µµ·ÏÇÏÀÚ ¸¸ 'ÃÖ¼Ò' ¶Ç´Â ÃÊÁ¡ °Å¸® 'ÃÖ¼Ò¿¡ °¡±î¿î'·»ÁîÀÇ) ´ëºÎºÐÀº °¡Àå ¾èÀº DOF¿Í »ý»ê ¶§¹®¿¡ ¹«°Å¿î ÃÊÁ¡ÀÌ
¸ÂÁö ±ÙÁ¢ °Å¸®¿¡¼ ºí·¯¿Í b) Æò»ý °É¸± °Í ÃÊÁ¡ °Å¸® / Á¶¸®°³ ¼öÁØÀÇ °¡´ÉÇÑ ¸ðµç Á¶ÇÕÀ» Å×½ºÆ®ÇÏ°íÀÖ´Ù ÀÌ ½Ã°£ ÇÁ·¹ÀÓ¿¡¼ ¼öÇà ÇÒ ¼ö
ÀÖ½À´Ï´Ù Àλý¿¡¼ ´õ Áß¿äÇÑ ÀÏ (´ç½ÅÀÇ Æò¸é TÀÇ *ÀÇ 135mm f¸¦ / 2 ÃÔ¿µÀ» Áñ±â´Âó·³!).
The two shots below demonstrate the
rendering capabilities of the lens at closeup distances.
µÎ ¼¦ ¾Æ·¡ÀÇ ±ÙÁ¢ ÃÔ¿µ °Å¸®¿¡¼ ·»ÁîÀÇ
·»´õ¸µ ´É·ÂÀ» º¸¿©ÁÝ´Ï´Ù.
The first thing to note here is that
the DOF is indeed quite shallow at f/2 and the background out of focus area
fades away pretty quickly, with the lens smudging the bulk of the far
distanced objects into unrecognizable mass.
¿©±â¿¡¼ ÁÖ¸ñÇØ¾ß ÇÒ Ã¹ ¹ø° ÀÏÀº
DOF ½ÇÁ¦·Î F / 2¿¡¼ ¾ÆÁÖ ¾èÀºÀ̸ç, ÃÊÁ¡ ¿µ¿ª ¹ÛÀÇ ¹è°æÀÌ ÀÎ½Ä ÇÒ ¼ö¾ø´Â µ¢¾î¸®·Î ¸Õ °Å¸®¸¦ °´Ã¼ÀÇ ´ëºÎºÐÀ» ¾ó·è ·»Áî, ²Ï »¡¸®
»ç¶óÁø´Ù´Â °ÍÀÌ´Ù.
The effect is quite nice as the
foreground gets a nice, separated look here.
Àü°æ ¿©±â¿¡ ÁÁÀº, ºÐ¸® µÈ ¸ð½ÀÀ»¼ö·Ï
È¿°ú´Â ¾ÆÁÖ ÁÁÀº °ÍÀÔ´Ï´Ù.
The second thing to note is that the
lens is not critically sharp at f/2.
Âü°í·Î µÎ ¹ø° ¹®Á¦´Â ·»ÁîÀÇ f /
2¿¡¼ ¸Å¿ì ³¯Ä«·Î¿îµÇÁö ¾Ê´Â °ÍÀÔ´Ï´Ù.
Forget the image corners since
there's no way to evaluate the quality of image borders with such a shallow
DOF in this shot.
ÀÌ Àå¸é¿¡¼ ±×·¯ÇÑ ¾èÀº DOF¿Í À̹ÌÁö
Å׵θ®ÀÇ Ç°ÁúÀ» Æò°¡ ÇÒ ¼öÀÖ´Â ¹æ¹ýÀÌ ¾ø±â ¶§¹®¿¡ À̹ÌÁöÀÇ ¸ð¼¸®¸¦ ÀØ¾î ¹ö·Á.
I'm talking about the image center -
resolution is clearly lacking here, which by the way is the trait not only at
closeup distances, but rather throughout the entire focusing range.
³ª´Â À̹ÌÁöÀÇ Á߽ɿ¡ ´ëÇؼ À̾߱âÇÏ°í
- Çػ󵵰¡ ¸íÈ® ±×·±µ¥ ÀÌ´Â ±ÙÁ¢ °Å¸®¿¡¼, ¿ÀÈ÷·Á Àüü ÃÊÁ¡ ¹üÀ§¿¡ °ÉÃĻӸ¸ ¾Æ´Ï¶ó Ư¡À̸ç, ¿©±â¿¡ ºÎÁ·ÇÏ´Ù.
But I am jumping ahead here.
ÇÏÁö¸¸ ¿©±â¿¡ ¾Õ¼
Á¡ÇÁÇÏ°íÀÖ´Ù.
As we stop down the aperture, the DOF
is obviously going to increase, bringing in more detail in the background and
by f/8 you can see enough definition in the foliage behind the flowers in the
foreground.
¿ì¸®°¡ ±¸°æÀ» ÁßÁöÀ¸·Î, DOF´Â ºÐ¸í
¹è°æ¿¡¼ ÀÚ¼¼È÷ µ¥·Á Áõ°¡ ÇÒ °ÍÀÔ´Ï´Ù ¹× F / 8 Æ÷ ±×¶ó¿îµå¿¡¼ ²É µÚ¿¡ ´Üdz¿¡ ÃæºÐÇÑ Á¤ÀǸ¦ º¼ ¼ö ÀÖ½À´Ï´Ù.
You might not be impressed with how
the background is rendered here, but keep in mind that the foliage is located
fairly close to the now fully in-focus flowers - even with the expanded DOF,
objects that are located farther away will still remain fairly blurred.
¸Ö¸®ÀÖ´Â ¹°Ã¼°¡ ¿©ÀüÈ÷ ¸Å¿ì È帮°Ô ³²¾ÆÀÖÀ» °ÍÀÌ´Ù, ½ÉÁö¾î È®Àå DOF¿Í - ´ç½ÅÀº ¹è°æÀÌ ¿©±â¿¡ ·»´õ¸µÇÏ´Â ¹æ¹ý °¨µ¿,ÇÏÁö¸¸ ´ÜdzÀº ÀÌÁ¦
¿ÏÀüÈ÷¿¡ ÃÊÁ¡ ²É¿¡ ºñ½ÁÇÑ À§Ä¡ ÇÔÀ» ¸í½ÉÇÏÁö ¾ÊÀ» ¼ö ÀÖ½À´Ï´Ù .
±× ÄÜŹ½º ÆÔÇø´, Ä® ÀÚÀ̽º´Â Æò¸é TÀÇ *ÀÇ 135mm f¸¦ 'ÀÌ Æò¸é ·»Á °¡¿ì½º ŸÀÔÀÇ ¸ðµç ÀåÁ¡À» °¡Áö°í ÀÖÁö¸¸ ..., ±×°ÍÀÇ
Àüü ±æÀÌ´Â ³î¶ó ¿ï Á¤µµ·Î ÀÛÀº ...'°°Àº / 2 Ãß°¡ '... °Å¸®¸¦ ÀÚ¶ûÇÑ´Ù »çÃâ µ¿°ø°ú Èĸé ÃÊÁ¡ Æ÷ÀÎÆ® »çÀÌÀÇ ÃÊÁ¡ °Å¸®ÀÇ 50
%ÀÌ´Ù.
This
guarantees good illumination of the finder are while the focusing screen used
for the standard focal length of the reflex camera is retained...', and
finally wrapping up with the following statement, 'The 135mm Planar T* f/2
lens is thus the ideal medium focal length lens for the 35mm format for all
applications where its high speed is of advantage'.
ÀÌ ... ¸®Ç÷º½º Ä«¸Þ¶óÀÇ Ç¥ÁØ ÃÊÁ¡ °Å¸®¿¡ »ç¿ëµÇ´Â Æ÷Ä¿½Ì ½ºÅ©¸°ÀÌ À¯ÁöµÇ´Â µ¿¾ÈÀÌ´Ù
ÆÄÀδõÀÇ ÁÁÀº Á¶¸íÀ» º¸Àå ', ±×¸®°í ¸¶Áö¸·À¸·Î ´ÙÀ½°ú °°Àº ¹®À¸·Î ¸¶¹«¸®,'135mm Æò¸é T * F / 2 ·»Áî´Â ÀÌ·¸°ÔÀÌ´Ù ³ôÀº ¼Óµµ°¡
ÀåÁ¡ÀÌ¸ç ¸ðµç ÀÀ¿ë ÇÁ·Î±×·¥ÀÇ 35mm Æ÷¸ËÀ»À§ÇÑ ÀÌ»óÀûÀÎ ¸Åü ÃÊÁ¡ °Å¸® ·»Áî '. Ughhh...
Can this be any more generic? Ughhh
...ÀÌ ´õ ÀÌ»ó ÀϹÝÀûÀÎ µÉ ¼ö ÀÖ½À´Ï±î?
The
only informative piece of information contained in this blurb is that the lens
implements a Gaussian design ('Duh, it's labeled Planar after all', you could
say).
ÀÌ ÂªÀº ±¤°í¿¡ Æ÷ÇÔ µÈ Á¤º¸ÀÇ À¯ÀÏÇÑ Á¤º¸ Á¶°¢Àº ·»Áî°¡ °¡¿ì½Ã¾È µðÀÚÀÎÀ» ±¸ÇöÇÏ´Â
(´ç½ÅÀÌ ¸»ÇÒ ¼öÀÖ´Â '¸ðµç ÈÄ ¶ß¾Æ,À̶ó´Â À̸§ÀÌ ºÙ¾î Æò¸é')ÀÔ´Ï´Ù.
This
actually makes the 135mm Planar the longest focal length, I am aware of, with
the Gaussian type configuration (Gaussian designs typically offer superior
compensation for both spherical and chromatic aberration).
ÀÌ°ÍÀº ½ÇÁ¦·Î, ³»°¡ °¡¿ì½º ŸÀÔÀÇ ±¸¼º (°¡¿ì½º ¼³°è´Â ÀϹÝÀûÀ¸·Î ¸ðµÎ ±¸¸é ¹× »ö¼öÂ÷¿¡
´ëÇÑ ¿ì¼öÇÑ º¸»óÀ» Á¦°ø)ÀÇ ¾Ë°í 135mm Æò¸é °¡Àå ±ä ÃÊÁ¡ °Å¸®¸¦ ¸¸µç´Ù.
So
the combination of a fast aperture and good aberration correction with,
hopefully, good resolution should make an interesting specimen, at least in
theory.
±×·¡¼ ºü¸¥ Á¶¸®°³¿Í ÁÁÀº ¼öÂ÷ º¸Á¤ÀÇ Á¶ÇÕ°ú Èñ¸Á, ÁÁÀº Çػ󵵴 Àû¾îµµ ÀÌ·ÐÀûÀ¸·Î,
Èï¹Ì·Î¿î Ç¥º»À»ÇؾßÇÕ´Ï´Ù.
The lens is fairly comfortable to
handle and on a Canon 5D the combo is pretty well balanced.
·»Áî´Â »ó´çÈ÷ ´Ù·ç±â Æí¾ÈÇÏ°í ij³í
5D¿¡ ÄÞº¸ ²Ï Àß ±ÕÇü.
On smaller cameras like Canon Digital
Rebel series, the lens can tip over the lighter camera due to the larger and
heavier front end elements, causing a minor drift down when the combo is
mounted on light ball-heads.
ij³í µðÁöÅÐ ¹Ý¶õ±º ½Ã¸®Áî °°Àº ÀÛÀº
Ä«¸Þ¶ó¿¡¼ ·»Áî´Â ÄÞº¸°¡ ºûÀ» º¼ Çìµå¿¡ ÀåÂø µÉ ¶§ ¹Ì¼º³âÀÚ°¡ ¾Æ·¡·Î Ç¥·ùÀÇ ¿øÀÎÀ¸·Î ÀÎÇØ Å©°í ¹«°Å¿î ÇÁ·ÐÆ® ¿£µå ¿ä¼Ò¿¡ °¡º¿î Ä«¸Þ¶ó¸¦
µÚÁý¾î ¼ö ÀÖ½À´Ï´Ù. Like all Contax lenses, Zeiss Planar
T* 135mm f/2 has mechanical aperture coupling, so when the lens is used on
native Contax cameras, you can get both aperture as well as shutter priority
modes.
¸ðµç ÄÜŹ½º ·»Áîó·³ ÀÚÀ̽º Æò¸é TÀÇ
*ÀÇ 135mm F / 2 ·»Á ±âº» ÄÜŹ½º Ä«¸Þ¶ó¿¡ »ç¿ëµÇ´Â ±×·¡¼ ¶§, ±â°èÀûÀÎ Á¶¸®°³ Ä¿Çà ¸µÀ» °¡Áö°í, ´ç½ÅÀº µÑ Á¶¸®°³»Ó¸¸ ¾Æ´Ï¶ó
¼ÅÅÍ ¿ì¼± ¸ðµå¸¦ ¾òÀ» ¼ö ÀÖ½À´Ï´Ù.
Unfortunately, mechanical coupling is
lost when you adapt the lens to a Canon or any other camera system using an
adapter.
´ç½ÅÀº ij³í ¶Ç´Â ¾î´ðÅ͸¦ »ç¿ëÇÏ´Â ´Ù¸¥
Ä«¸Þ¶ó ½Ã½ºÅÛ¿¡ ·»Á Àû¿ë ÇÒ ¶§ ºÒÇàÇÏ°Ôµµ, ±â°èÀû Ä¿Çà ¸µÀº ¼Õ½ÇµË´Ï´Ù.
This basically leaves you with
aperture priority or fully manual modes only and stop down metering.
ÀÌ°ÍÀº ±âº»ÀûÀ¸·Î Á¶¸®°³ ¿ì¼± ¶Ç´Â ¸¸
¿ÏÀü ¼öµ¿ ¸ðµå ´ç½ÅÀ» ¶°³ª ÃøÁ¤À» ÁßÁöÇÕ´Ï´Ù.
The stop down metering might be
considered an inconvenience by many, but you get used to it pretty
quickly.
Á¶¸®°³¸¦ Ãø±¤ ¸¹Àº ºÒÆí °£ÁÖ µÉ ¼ö
ÀÖÁö¸¸, ´ç½ÅÀº ²Ï »¡¸® Àͼ÷ÇØ.
The only problem you are likely to
encounter is the often incorrect metering with the built-in camera meter -
these tend to underexpose the images at wider apertures and overexpose then at
smaller apertures.
¹ß»ýÇÒ °¡´É¼ºÀÌ À¯ÀÏÇÑ ¹®Á¦´Â ³»Àå µÈ
Ä«¸Þ¶ó ¹ÌÅÍ·Î Á¾Á¾ À߸øµÈ °è·®ÀÔ´Ï´Ù -ÀÌ ³ÐÀº ±¸¸Û¿¡ À̹ÌÁö¸¦ ³ëÃâÀ» Àû°ÔÇÏ°í ÀÛÀº ±¸¸Û¿¡¼ ´ÙÀ½À¸·Î ³ëÃâ °ú´Ù °æÇâÀÌÀÖ´Ù.
The problem is typical to any
alternative lens, not just Planar T* 135mm f/2, and the best way to minimize
it is to code the adapter for the maximum aperture so that the camera can
adjust its metering appropriately.
¹®Á¦¸¦ ´ëü ÇÒ ¼öÀÖ´Â ´Ù¸¥ ·»Áî¿¡
ÀüÇüÀûÀÎ ¾Æ´Ï¶ó Æò¸é T *ÀÌ 135mmÀÇ F / 2, ±×°ÍÀ» ÃÖ¼ÒÈÇÏ´Â ÃÖ¼±ÀÇ ¹æ¹ýÀº Ä«¸Þ¶ó¸¦ ÀûÀýÇÏ°Ô ±× Ãø±¤À» Á¶Á¤ÇÒ ¼ö ÀÖµµ·Ï ÃÖ´ë
Á¶¸®°³ ¿ë ¾î´ðÅ͸¦ ÄÚµùÇÏ´Â °ÍÀÌ´Ù.
Given its medium focal length and
fast aperture, one obvious application for Planar T* 135mm f/2 is portraiture
type photography.
Æò¸é TÀÇ *ÀÇ 135mm f¸¦ ÇϳªÀÇ
¸í¹éÇÑ ÀÀ¿ë ÇÁ·Î±×·¥ÀÇ Áß°£ ÃÊÁ¡ °Å¸®¿Í ºü¸¥ Á¶¸®°³, ÁÖ¾î / 2´Â ÃÊ»óÈ Çü½ÄÀÇ »çÁøÀÔ´Ï´Ù.
If you do plan to use the lens
primarily for portraits, you'd probably care about a couple of
characteristics, namely rendering of out of focus areas, resolution, contrast
and color reproduction.
´ç½ÅÀÌ ÃÊ»óÈ ÁÖ·Î ·»Á »ç¿ëÇÏ·Á´Â
°æ¿ì, ´ç½ÅÀº ¾Æ¸¶ Áï, ÃÊÁ¡ ¿µ¿ª, ÇØ»óµµ, ÄÜÆ®¶ó½ºÆ® ¹× »ö ÀçÇö ¹ÛÀ¸·ÎÀÇ ·»´õ¸µ, Ư¼ºÀÇ ¸î °¡Áö¿¡ ´ëÇØ ½Å°æ °ÍÀÔ´Ï´Ù.
Without going into a lengthy and
repetitive description of how these factors influence the look and feel of
your image, I'd note that an ideal portrait lens (in my opinion) would have
high center resolution at wide apertures, will be capable of reproducing very
fine tonal gradations (again in the center), be able to produce shallow DOF
with the background evenly smoothed and deliver well saturated color
palette.
ÀÌ·¯ÇÑ ¿ä¼Ò°¡ À̹ÌÁöÀÇ ¸ð¾ç°ú ´À³¦¿¡
¿µÇâÀ» ¹ÌÄ¡´Â ¹æ¹ý¿¡ ´ëÇÑ ±æ°í ¹Ýº¹Àû ÀÎ ¼³¸í¿¡ °¡Áö ¾Ê°í, ³ª´Â ¸Å¿ì ÀçÇö ÇÒ ¼öÀÖÀ» °ÍÀÔ´Ï´Ù, (³» »ý°¢¿¡) ÀÌ»óÀûÀÎ Àι° ·»Áî´Â ³ÐÀº
±¸¸Û¿¡¼ ³ôÀº ¼¾ÅÍ Çػ󵵸¦ÇØ¾ß ÀÖ½À´Ï´Ù °Í ¹Ì¼¼ ±×¶óµ¥ÀÌ¼Ç À½»öÀº (´Ù½Ã ¼¾ÅÍ), °ñ°í·ç ºÎµå·´°Ô ¹è°æÀ¸·Î ¾èÀº DOF¸¦ »ý»êÇÏ°í Àß Æ÷È
»ö»ó ÆÈ·¹Æ®¸¦ Á¦°ø ÇÒ ¼ö.
Your tasted might differ, and there
is really no right or wrong way of going about this, so instead, let's take a
look at how Planar behaves at close to minimum focusing distances (we're
limiting the tests to only the 'at minimum' or 'close to minimum' focusing
distances because a) majority of lenses would produce the shallowest DOF and
heavier out-of-focus blurring at closeup distances and b) testing all possible
combinations of focusing distance/aperture level would take a lifetime and
there are more important things in life that can be done in this time-frame
(like enjoying shooting your Planar T* 135mm f/2!).
±ÍÇÏ ´Ù¸¦ ¼ö ÀÖ½À´Ï´Ù ¸À, °Å±â¿¡ ±Ç¸®
¶Ç´Â ÀÌ°Í¿¡ ´ëÇØ°¡´Â À߸øµÈ ¹æ¹ýÀº Á¤¸» ¾ø½À´Ï´Ù, ±×·¡¼ ±× ´ë½Å, ¿ì¸®°¡ Å×½ºÆ®¸¦ Á¦ÇÑÇÏ°í (ÀÌÁ¦ Æò¸éÀÌ ÃÖ¼Ò¿¡ °¡±î¿î °Å¸®¸¦ Áß½ÉÀ¸·Î
µ¿ÀÛÇÏ´Â ¹æ¹ýÀ» »ìÆì º¸µµ·ÏÇÏÀÚ ¸¸ 'ÃÖ¼Ò' ¶Ç´Â ÃÊÁ¡ °Å¸® 'ÃÖ¼Ò¿¡ °¡±î¿î'·»ÁîÀÇ) ´ëºÎºÐÀº °¡Àå ¾èÀº DOF¿Í »ý»ê ¶§¹®¿¡ ¹«°Å¿î ÃÊÁ¡ÀÌ
¸ÂÁö ±ÙÁ¢ °Å¸®¿¡¼ ºí·¯¿Í b) Æò»ý °É¸± °Í ÃÊÁ¡ °Å¸® / Á¶¸®°³ ¼öÁØÀÇ °¡´ÉÇÑ ¸ðµç Á¶ÇÕÀ» Å×½ºÆ®ÇÏ°íÀÖ´Ù ÀÌ ½Ã°£ ÇÁ·¹ÀÓ¿¡¼ ¼öÇà ÇÒ ¼ö
ÀÖ½À´Ï´Ù Àλý¿¡¼ ´õ Áß¿äÇÑ ÀÏ (´ç½ÅÀÇ Æò¸é TÀÇ *ÀÇ 135mm f¸¦ / 2 ÃÔ¿µÀ» Áñ±â´Âó·³!).
The two shots below demonstrate the
rendering capabilities of the lens at closeup distances.
µÎ ¼¦ ¾Æ·¡ÀÇ ±ÙÁ¢ ÃÔ¿µ °Å¸®¿¡¼ ·»ÁîÀÇ
·»´õ¸µ ´É·ÂÀ» º¸¿©ÁÝ´Ï´Ù.
The first thing to note here is that
the DOF is indeed quite shallow at f/2 and the background out of focus area
fades away pretty quickly, with the lens smudging the bulk of the far
distanced objects into unrecognizable mass.
¿©±â¿¡¼ ÁÖ¸ñÇØ¾ß ÇÒ Ã¹ ¹ø° ÀÏÀº
DOF ½ÇÁ¦·Î F / 2¿¡¼ ¾ÆÁÖ ¾èÀºÀ̸ç, ÃÊÁ¡ ¿µ¿ª ¹ÛÀÇ ¹è°æÀÌ ÀÎ½Ä ÇÒ ¼ö¾ø´Â µ¢¾î¸®·Î ¸Õ °Å¸®¸¦ °´Ã¼ÀÇ ´ëºÎºÐÀ» ¾ó·è ·»Áî, ²Ï »¡¸®
»ç¶óÁø´Ù´Â °ÍÀÌ´Ù.
The effect is quite nice as the
foreground gets a nice, separated look here.
Àü°æ ¿©±â¿¡ ÁÁÀº, ºÐ¸® µÈ ¸ð½ÀÀ»¼ö·Ï
È¿°ú´Â ¾ÆÁÖ ÁÁÀº °ÍÀÔ´Ï´Ù.
The second thing to note is that the
lens is not critically sharp at f/2.
Âü°í·Î µÎ ¹ø° ¹®Á¦´Â ·»ÁîÀÇ f /
2¿¡¼ ¸Å¿ì ³¯Ä«·Î¿îµÇÁö ¾Ê´Â °ÍÀÔ´Ï´Ù.
Forget the image corners since
there's no way to evaluate the quality of image borders with such a shallow
DOF in this shot.
ÀÌ Àå¸é¿¡¼ ±×·¯ÇÑ ¾èÀº DOF¿Í À̹ÌÁö
Å׵θ®ÀÇ Ç°ÁúÀ» Æò°¡ ÇÒ ¼öÀÖ´Â ¹æ¹ýÀÌ ¾ø±â ¶§¹®¿¡ À̹ÌÁöÀÇ ¸ð¼¸®¸¦ ÀØ¾î ¹ö·Á.
I'm talking about the image center -
resolution is clearly lacking here, which by the way is the trait not only at
closeup distances, but rather throughout the entire focusing range.
³ª´Â À̹ÌÁöÀÇ Á߽ɿ¡ ´ëÇؼ À̾߱âÇÏ°í
- Çػ󵵰¡ ¸íÈ® ±×·±µ¥ ÀÌ´Â ±ÙÁ¢ °Å¸®¿¡¼, ¿ÀÈ÷·Á Àüü ÃÊÁ¡ ¹üÀ§¿¡ °ÉÃĻӸ¸ ¾Æ´Ï¶ó Ư¡À̸ç, ¿©±â¿¡ ºÎÁ·ÇÏ´Ù.
But I am jumping ahead here.
ÇÏÁö¸¸ ¿©±â¿¡ ¾Õ¼
Á¡ÇÁÇÏ°íÀÖ´Ù.
As we stop down the aperture, the DOF
is obviously going to increase, bringing in more detail in the background and
by f/8 you can see enough definition in the foliage behind the flowers in the
foreground.
¿ì¸®°¡ ±¸°æÀ» ÁßÁöÀ¸·Î, DOF´Â ºÐ¸í
¹è°æ¿¡¼ ÀÚ¼¼È÷ µ¥·Á Áõ°¡ ÇÒ °ÍÀÔ´Ï´Ù ¹× F / 8 Æ÷ ±×¶ó¿îµå¿¡¼ ²É µÚ¿¡ ´Üdz¿¡ ÃæºÐÇÑ Á¤ÀǸ¦ º¼ ¼ö ÀÖ½À´Ï´Ù.
You might not be impressed with how
the background is rendered here, but keep in mind that the foliage is located
fairly close to the now fully in-focus flowers - even with the expanded DOF,
objects that are located farther away will still remain fairly blurred.
¸Ö¸®ÀÖ´Â ¹°Ã¼°¡ ¿©ÀüÈ÷ ¸Å¿ì È帮°Ô
³²¾ÆÀÖÀ» °ÍÀÌ´Ù, ½ÉÁö¾î È®Àå DOF¿Í - ´ç½ÅÀº ¹è°æÀÌ ¿©±â¿¡ ·»´õ¸µÇÏ´Â ¹æ¹ý °¨µ¿,ÇÏÁö¸¸ ´ÜdzÀº ÀÌÁ¦ ¿ÏÀüÈ÷¿¡ ÃÊÁ¡ ²É¿¡ ºñ½ÁÇÑ À§Ä¡
ÇÔÀ» ¸í½ÉÇÏÁö ¾ÊÀ» ¼ö ÀÖ½À´Ï´Ù .
ISO 100, 1/4000, f/2, 135mm /
2, 135mm F ISO 100, 1/4000, |
ISO 100, 1/125, f/8, 135mm / 8,
135mm F ISO 100, 1/125, |
Ok, so the lens does produce a fairly
smooth, blurred background with wide open aperture (at least at the closeup
distances - your actual mileage will vary here, depending on the distance to
the subject in focus and distance to the background objects).
·»Áî´Â ³ÐÀº °³¹æ Á¶¸®°³¿Í »ó´çÈ÷
ºÎµå·¯¿î, ¹è°æÀ» È帮°Ô ¸¸µé¾î ¾Êµµ·Ï ÁÁ¾Æ, (Àû¾îµµ ±ÙÁ¢ °Å¸®¿¡¼¸¦ - ½ÇÁ¦ ÁÖÇà °Å¸®°¡ ¹è°æ °´Ã¼¿¡ ÃÊÁ¡°ú °Å¸®¿¡¼ ÇÇ»çü¿ÍÀÇ °Å¸®¿¡
µû¶ó, ¿©±â¿¡ ´Þ¶óÁý´Ï´Ù).
One thing that bothered me a little
bit was the rather low resolution the lens sported at f/2.
³ª¿¡°Ô Á¶±Ý ±ÍÂú°Ô ÇÑ °¡Áö´Â ·»Áî´Â F
/ 2¿¡¼ ÀÚ¶û ÇØ º¸¿´´Ù ´Ù¼Ò ³·Àº ÇØ»óµµÀ̾ú´Ù.
Now, before we jump to any
conclusions here, it is worth mentioning that certain lens designs were
developed to produce soft results at wide apertures.
¿ì¸®°¡ ¿©±â¼ ¾î¶² °á·ÐÀ¸·Î À̵¿Çϱâ
Àü¿¡ Áö±Ý, ±×°ÍÀº ƯÁ¤ ·»Áî ¼³°è°¡ ³ÐÀº ±¸¸Û¿¡¼ ºÎµå·¯¿î °á°ú¸¦ »ý»êÇϱâ À§ÇØ °³¹ß µÈ °ÍÀ» ¾ð±Þ ÇÒ °¡Ä¡°¡ÀÖ´Ù.
Leica Summilux R 80mm f/1.4 and Carl
Zeiss Sonnar T* 50mm f/1.5 C come to mind among many many other lenses that
produce a very unique, some describe it as haloed, look at wider
apertures.
¶óÀÌÄ« Summilux RÀÇ 80mm F
/ 1.4 ¹× Ä® ÀÚÀ̽º ¼Ò³ª T *ÀÌ 50mmÀÇ F / 1.5 C´Â ÀϺδÂÀÌ °°Àº haloed, ³ÐÀº ±¸¸ÛÀ»º¸°í ¼³¸í, ¸Å¿ì µ¶Æ¯ÇÑ »ý»ê
¸¹Àº ¸¹Àº ´Ù¸¥ ·»Áîµé ¸¶À½¿¡ ¿Â´Ù.
The thinking behind such designs is
that photographers would prefer to have rendering that softens skin tones of
the photographed subject and creates smooth transitions in midtones.
ÀÌ·¯ÇÑ µðÀÚÀÎ µÚ¿¡ »ý°¢Àº »çÁø ÀÛ°¡°¡
ÃÔ¿µ ´ë»óÀÇ ÇǺΠÅæÀ» ºÎµå·´°ÔÇÏ°í Áß°£ ÅæÀÇ ºÎµå·¯¿î ÀüȯÀ» ¸¸µé¾î ·»´õ¸µÀ»ÇÏ´Â °ÍÀ» ¼±È£ÇÑ´Ù´Â °ÍÀÔ´Ï´Ù.
So it really depends on what your
preference is, but for me, personally a fairly high resolution at least in the
center is a must in any lens.
±×·¡¼ Á¤¸» ÃëÇâÀÌ ¹«¾ùÀÎÁö¿¡ µû¶ó
´Þ¶óÁý´Ï´Ù,ÇÏÁö¸¸ ³ª¸¦ À§ÇØ, Áß¾Ó¿¡ Àû¾îµµ °³ÀÎÀûÀ¸·Î »ó´çÈ÷ ³ôÀº Çػ󵵴 ·»Áî¿¡ ÇʼöÀÔ´Ï´Ù.
So let's take a look at the sample
image below, which was also made at the minimum focusing distance with wide
open aperture.
±×·³ ¶ÇÇÑ ³ÐÀº ±¸°æ Á¶¸®°³ ÃÖ¼Ò ÃÊÁ¡
°Å¸®¿¡¼ ¸¸µé¾îÁø ¾Æ·¡ÀÇ »ùÇà À̹ÌÁö¸¦ »ìÆì º¸ÀÚ. Resolution in the center is not any
better here either, but everything else seems to be just fine.
Áß¾ÓÀÇ ÇØ»óµµ Áß Çϳª¸¦ ´õ ³ªÀº ¿©±â°¡
¾Æ´Ï¶ó ´Ù¸¥ ¸ðµç °ÍÀÌ Àß µÉ °Í °°´Ù.
Again, pretty shallow DOF isolates
the subject from the background quite nicely and gives the image a distinct
feel.
´Ù½Ã, ¾ÆÁÖ ¾èÀº DOF´Â ¾ÆÁÖ ´É¼÷ÇÏ°Ô
¹è°æ°ú ÇÇ»çü¸¦ ºÐ¸®ÇÏ°í À̹ÌÁö¸¦ µ¶Æ¯ÇÑ ´À³¦À» ÁØ´Ù.
The OOF highlights are round and
evenly illuminated, with neutral to smooth edges (advantage of a lower
resolution and good correction for spherical aberration).
OOF ÇÏÀ̶óÀÌÆ® ¶ó¿îµå ±ÕÀÏÇÏ°Ô (³·Àº
ÇØ»óµµ¿Í ±¸¸é ¼öÂ÷¸¦À§ÇÑ ÁÁÀº º¸Á¤ÀÇ ÀåÁ¡À») °¡ÀåÀÚ¸®¸¦ ´Ùµë´Â µ¥ Á߸³À¸·Î Á¶¸íµÈ´Ù.
There are no visible signs of
double-edging around OOF objects and the tonality changes in the background
are fairly smooth.
OOF °´Ã¼¿Í ¹è°æÀÇ »öÁ¶ º¯ÈÀÇ ÁÖÀ§¿¡
ÀÌÁß Å׵θ®ÀÇ ´«¿¡ º¸À̴ ¡ÈÄ°¡¾ø´Â °ÍÀº »ó´çÈ÷ ¸Å²ô·´´Ù. Combine that
with a pretty good contrast in the center and the overall results seem quite
pleasing to the eye (even with rather low resolution).
Áß¾Ó¿¡¼ ²Ï ÁÁÀº ´ëÁ¶¿Í ±× °áÇÕÀÇ
Àü¹ÝÀûÀÎ °á°ú´Â (½ÉÁö¾î ´Ù¼Ò ³·Àº ÇØ»óµµ) ´«¿¡ ¸Å¿ì ±â»Ú°Ô º¸ÀδÙ.
ISO 200, 1/320, f/2, 135mm / 2,
135mm F ISO 200, 1/320,
The resolution, which actually varies
across the focusing range in many lenses due to the moving elements and
varying distance between the elements themselves, so it is not unusual to see
a lens produce somewhat soft results at close distances and shine at the
infinity.
ÀÌ ·»Áî´Â °¡±î¿î °Å¸®¿¡¼ ´Ù¼Ò ºÎµå·¯¿î
°á°ú¸¦ »ý»êÇÏ°í ¹«ÇÑ´ë¿¡¼ ºûÀ» º¼ µå¹® ÀÏÀÌ ¾Æ´Ï´Ù, ±×·¡¼ »ç½Ç, ¶§¹®¿¡ ¿ä¼Ò ÀÚüÀÇ À̵¿ ¿ä¼Ò¿ÍÀÇ °Å¸®¸¦ º¯È¿¡ ¸¹Àº ·»ÁîÀÇ ÃÊÁ¡ ¹üÀ§¿¡
°ÉÃÄ º¯È ÇØ»óµµ. While resolution of Planar T* 135mm
f/2 did seem to improve ever slightly when the lens was focused at the
infinity, the overall improvement seemed rather superficial and the overall
performance at f/2 was not particularly impressive.
Æò¸é TÀÇ *ÀÇ 135mm f¸¦ / 2ÀÇ
Çػ󵵰¡ ·»Áî°¡ ¹«ÇÑ´ë¿¡ ÃÊÁ¡À» ¶§ ¾à°£ Àû Çâ»óÀ» º¸ÀÌÁö ¾Ê¾ÒÁö¸¸, Àü¹ÝÀûÀÎ °³¼±Àº ´Ù¼Ò ÇÇ»óÀû ÀÎ µí F / 2¿¡¼ Àüü ¼º´ÉÀÌ Æ¯È÷
ÀλóÀûÀÌ ¾Æ´Ï¾ú´Ù.
But boy the lens is good for shallow
DOF shooting!
±×·¯³ª ¼Ò³âÀº ·»Áî°¡ ¾èÀº DOF ÃÔ¿µ¿¡
ÁÁ´Ù!
Image quality did improve though at
smaller apertures - If you want your images to sport good to excellent
sharpness across the frame, you'd have to stop the lens to at least f/4, even
f/5.6.
À̹ÌÁö Ç°ÁúÀº ÀÛÀº ±¸¸Û¿¡ ºÒ±¸ÇÏ°í °³¼±
¾Ê¾Ò´Ù - ´ç½ÅÀº ´ç½ÅÀÇ À̹ÌÁö°¡ ÇÁ·¹ÀÓ¿¡ °ÉÃÄ ¿ì¼öÇÑ ¼±¸íµµ¿¡ ÁÁÀº ½ºÆ÷Ã÷ÇÏ·Á´Â °æ¿ì, ´ç½ÅÀº ½ÉÁö¾î F / 5.6, ÃÖ¼Ò / 4¿¡¼ f
·»Á ÁßÁöÇØ¾ß ÇÒ °ÍÀÔ´Ï´Ù. f/2.8 images showed better resolution
in the center then f/2, but equally unimpressive quality around borders.
F / 2.8 À̹ÌÁö / 2 f¸¦ ´ÙÀ½
Áß¾Ó¿¡ ´õ ÁÁÀº Çػ󵵸¦ º¸¿© ÁÖ¾ú´Ù, ±×·¯³ª µ¿µî ÀλóÀû Ç°Áú ±¹°æ ÁÖº¯.
ISO 400, 1/2500, f/2, 135mm /
2, 135mm F ISO 400 2õ5¹éºÐÀÇ 1, |
ISO 400, 1/125, f/8, 135mm / 8,
135mm F ISO 400, 1/125, |
Surprisingly, the lens fell prone to
a pretty heavy flare, which can be observed in the shots above.
³î¶ø°Ôµµ, ·»Áî´Â À§ÀÇ ¼¦¿¡¼ °üÂû ÇÒ
¼öÀÖ´Â ²Ï ¹«°Å¿î Ç÷¹¾î¿¡ ¹ß»ýÇϱ⠽¬¿î ¶³¾îÁ³´Ù.
Double surprising was the fact that
the heavy flare persisted at most but the smallest apertures and even not in
the most extreme situations.
³î¶ó¿î ´õºí ¹«°Å¿î Ç÷¹¾î°¡ °¡ÀåÇÏÁö¸¸
ÀÛÀº ±¸¸ÛÁ¶Â÷¾ø´Â ±ØÇÑ »óȲ¿¡¼¿¡¼ Áö¼ÓÇÑ´Ù´Â »ç½ÇÀ̾ú´Ù.
With the sun positioned right above
the picture frame and sun rays hitting the front element at ~75 degrees, you
can see how badly things fall apart at f/2 (left image).
žçÀÌ ~ 75µµ¿¡¼ Àü¸é ¿ä¼Ò¸¦ Ÿ°Ý
¿À¸¥ÂÊ »çÁø ÇÁ·¹ÀÓ°ú ÅÂ¾ç ±¤¼± À§¿¡ À§Ä¡, ´ç½ÅÀº ÀÏÀ» F / 2 (¿ÞÂÊ À̹ÌÁö)¿¡¼ ´ÙÅõÁö ¾ó¸¶³ª ½ÉÇÏ°Ô º¼ ¼ö ÀÖ½À´Ï´Ù.
The flare patch in the left lower
corner reduced in size with stopped down apertures, but did not completely
disappear until f/8.
¿ÞÂÊ ÇÏ´Ü ¸ð¼¸®¿¡ÀÖ´Â Ç÷¹¾î ÆÐÄ¡´Â
¾Æ·¡·Î Á¤Áö ±¸¸Û°ú Å©±â°¡ °¨¼ÒÇÏÁö¸¸, ¿ÏÀüÈ÷ F / 8±îÁö »ç¶óÁöÁö ¾Ê¾Ò´Ù.
Even at f/8 (right image) you can
notice minor color shifts and minor glare throughout the image frame.
½ÉÁö¾î F / 8 (¿À¸¥ÂÊ À̹ÌÁö)¿¡¼
´ç½ÅÀº À̹ÌÁö ÇÁ·¹ÀÓ¿¡ °ÉÃÄ ¾à°£ÀÇ »ö»ó º¯È ¹× ¾à°£ÀÇ ´«ºÎ½ÉÀ» ¾Ë ¼ö ÀÖ½À´Ï´Ù.
This was rather surprising and I
suspect that the lens coating is here to blame - as mentioned earlier, the
lens tested in the review was an AE variant, with a pretty low serial number,
indicative of an early production sample.
ÀÌ°ÍÀº ¿ÀÈ÷·Á ³î¶ó¿î ÀÏÀÌ°í ³ª´Â ·»Áî
ÄÚÆà ºñ³ ¿©±â¿¡ ÀÇ½É - ¸®ºä¿¡¼ Å×½ºÆ® ·»Áî´Â ²Ï ³·Àº ÀÏ·Ã ¹øÈ£, Ãʱ⠻ý»ê »ùÇÃÀ» ³ªÅ¸³»´Â AE º¯ÇüÀÌ°í, ¾Õ¼ ¾ð±Þ ÇÑ ¹Ù¿Í
°°ÀÌ.
While there is not documented
evidence, many believe that Carl Zeiss changed (improved) lens coating over
time and MM versions of its lenses in particular exhibit significantly less
flare.
Áõ°Å°¡ ¹®¼È µÈ °ÍÀº ¾Æ´ÏÁö¸¸,
´ëºÎºÐÀº Ä® ÀÚÀ̽º ½Ã°£°ú ƯÁ¤ Àü½Ãȸ¿¡¼ ÀÚ»çÀÇ ·»Áî ÈξÀ ÀûÀº Ç÷¹¾îÀÇ MM ¹öÀü ÀÌ»ó (°³) ·»Áî ÄÚÆÃÀ» º¯°æ ¹Ï½À´Ï´Ù.
The bottom line here is that you
should try and avoid shooting with the Planar in challenging lightning
conditions.
¿©±â¿¡ °á·ÐÀº ´ç½ÅÀÌ ½ÃµµÇÏ°í ¹ø°³
Á¶°Ç¿¡ µµÀü Æò¸é ÃÔ¿µµÇÁö ¾Êµµ·ÏÇؾßÇÑ´Ù´Â °ÍÀÔ´Ï´Ù.
As one might expect from a fast lens,
Carl Zeiss Planar T* 100mm f/2 shows moderate amount of vignetting on a full
frame body with wide open aperture.
Çϳª´Â ºü¸¥ ·»Áî¿¡¼ ¿¹»ó ÇÒ ¼ö
ÀÖµíÀÌ, Ä® ÀÚÀ̽º Æò¸é TÀÇ *ÀÇ 100mm f¸¦ / 2´Â ¿ÍÀÌµå ¿ÀÇ Á¶¸®°³¿Í Ç® ÇÁ·¹ÀÓ ¹Ùµð¿¡ ºñ³×ÆÃÀÇ Àû´çÇÑ ¾çÀ»
º¸¿©ÁÝ´Ï´Ù.
Vignetting is still noticeable at
f/2.8 but by f/4 is all but gone.
ºñ³×Æà F / 2.8¿¡¼ ¿©ÀüÈ÷ ´«¿¡
¶ç´ÂÇÏÁö¸¸ F·Î / (4)À» Á¦¿ÜÇÑ ¸ðµç »ç¶ó Á³¾î¿ä.
The lens fared much better on an
APS-C body, thanks to the smaller sensor - there is barely any falloff even at
f/2 and by f/2.8 there are no traces whatsoever.
·»Áî´Â APS-C ¸ö¿¡ ÈξÀ ´õ °¬´Â
µ¥¿ä, ÀÛÀº ¼¾¼ ´öºÐ¿¡ -µµ °Ü¿ì F / 2¿¡¼¿Í f¿¡ ÀÇÇÑ °¨¼è°¡ / 2.8Àº ¾î¶°ÇÑ ÈçÀûµµ ¾ø´Ù.
Vignetting @ f/2 - FF vs APS-C
ºñ³×Æà @ f¸¦ / 2 - APS-C ´ë FF
As mentioned earlier, Carl Zeiss
Planar T* 135mm f/2 does manage to produce fairly high overall image contrast
throughout the aperture range.
¾Õ¼ ¾ð±Þ ÇÑ ¹Ù¿Í °°ÀÌ, Ä® ÀÚÀ̽º
Æò¸é TÀÇ *ÀÇ 135mm f¸¦ / 2 Á¶¸®°³ ¹üÀ§¿¡ °ÉÃÄ ¸Å¿ì ³ôÀº Àüü À̹ÌÁö ´ëºñ¸¦ »ý»êÇϱâ À§ÇØ °ü¸® ¾Ê½À´Ï´Ù.
Under normal lightning conditions,
tonal histograms looked well distributed across the dynamic range, with enough
detail in shadows and mid-tones.
ÀÏ¹Ý ¹ø°³ Á¶°Ç¿¡¼, Åæ È÷½ºÅä±×·¥Àº Àß
±×¸²ÀÚ¿Í Áß°£ Åæ¿¡ ÃæºÐÇÑ ¼¼ºÎ »çÇ×, µ¿Àû ¹üÀ§¿¡ °ÉÃÄ ºÐ»ê º¸¾Ò´Ù.
Color reproduciton was quite accurate
as well, with only minor signs of color fringing in image corners. »ö»ó
reproduciton
À̹ÌÁö ¸ð¼¸® »ö»ó ¾ðÀú¸®ÀÇ »ç¼ÒÇÑ
¡ÈĻӸ¸ ¾Æ´Ï¶ó ¾ÆÁÖ Á¤È®Çß´Ù.
I could not notice any sign of axial
CA though.
±×·¡µµ Ãà CAÀÇ ÈçÀûÀ» ¹ß°ß ÇÒ ¼ö
¾ø¾ú´Ù.
ISO 100, 1/3200, f/2, 135mm /
2, 135mm F ISO 100, 3õ2¹éºÐÀÇ 1,
ISO 400, 1/1600, f/4, 135mm /
4, 135mm F ISO 400,
1/1600,
°¡»êÄ«¸Þ¶ó (KasanCamera) |