GEAR
CINE LENS SPECIAL
DON’T FORGET THE CP.3 RANGE The Zeiss CP.3 range has proven hugely popular and now includes the upgraded CP.3 XDs, which add lens data technology to speed up post thanks to real-time data on distortion and shading. Unless you need that complexity, the standard range offers the same optical quality but is cheaper. The CP.3 range is slightly more accessible than the faster Nanos, and has user-interchangeable lens mounts available in PL, Canon EF, Nikon F, Micro Four Thirds and Sony E-mount, in standard or eXtended Data (XD) versions. So they are currently the only affordable Zeiss option for anyone who doesn’t use E-mount. High contrast, rich blacks and saturated colours without nasty glares or flares are key features. This is possible due to advanced coatings, painted lens rims and light traps in the barrel. The full range is 15mm, 18mm, 21mm, 25mm, 28mm, 35mm, 50mm, 85mm, 100mm and 135mm. Every lens offers a maximum aperture of T2.1, apart from the three most wide angle which are T.2.9. They all have a 95mm front diameter and are the same size – except the slightly longer 100mm and 135mm telephotos. A set of five PL mount lenses in 15mm, 25mm, 35mm, 50mm and 85mm lengths costs $42,140 in the US only. Or buy them individually from £3750/$4390. zeiss.com
DOG DAYS The 35mm Zeiss Nano gives a field of view that many say is more natural than a conventional 50mm standard lens, and it’s ideal for getting close up to your subject like our faithful canine sunning itself
focus on micro-contrast really helps with the three-dimensional look to help your subject stand out from the background. Add in the neutral colour rendition – and sharpness that’s not over-sharp and digital-looking – and this set of lenses works exceedingly well. From stylised narrative drama to brightly lit commercial work, the Nanos are capable of anything you might like. Flare is well controlled, with very circular highlight rendition thanks to the 12-bladed iris. Though in some cases there can be cat’s-eye aberrations at the extreme edges, especially on the longer lenses shot wide open. But it’s not too much and still looks smooth. Close the lens down and provoke flares, and you get distinctive 12-pointed starbursts, so you can show off how many blades your lens has. Not all the lenses flare exactly the same, due to differences in their optical design, so it’s worth experimenting to see which best fits the shot you want to take. Pixel-peeping shows some minor chromatic aberration when lenses are aimed into the light, but it’s not a deal-
breaker at all. You could argue that it adds to the character. The lenses are compact – with the 24mm, 35mm and 50mm versions being 89mm/3.5in long and the rest of the range 112mm/4.4in. Weight varies more, with the 24mm and 35mm versions tipping the scales at 867g/1.9lb ranging through to the 100mm at 1255g/2.8lb. That’s a testament to the typical Zeiss build quality, complex lens arrangement and high-end materials used to house the technology. They just ooze mechanical quality, from the precise fit at the mount to the beautifully damped focus movement. Additionally, they are sealed against the elements – including low temperatures – so should last for a long time and work in pretty much all situations or conditions. The Nanos look and perform like mini Zeiss Supremes, but at a fraction of the size, weight and price. These are seriously versatile optics that produce a modern, clean image with a lot of three- dimensionality. If you can afford them or fancy renting them for a special project, you’ll not be disappointed.
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