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CW Winder and 503 CW

another fine ex&le of "propaganda":

This is one more ex&le of your true dislike for Zeiss. You have over the years made numerous comments that render your true colors.

Your synopsis of the making of the TPP is in my view just distorted, snide and disrespectful.
And, the following statement you wrote, slanderous.

"By the way, Zeiss' dr. Fleischer/Müller (he uses two names) has produced another piece of propaganda"

Regards:

Gilbert
 
Gilbert,

Are you for real? You're certainly seeing things.

I use Zeiss lenses almost exclusively, know them well, and like them very much.

The story about the TPP is very much like Zeiss itself tells it. Just shorter.
It indeed is how this lens came to be. No "distortion", no "snide remarks", no "disrespect".

I'm afraid your objecting to something that is real only somewhere inside your head.
So go and take your pills, and be a good boy.
 
ah, an adhomin response

The process of developing and producing the Zeiss
TELE-SUPERACHROMAT FE 2.8/300 Sa + APO-MUTAR 1.7XE

lens was shared with the public by Hasselblad and Carl Zeiss .

And, you characterized there statements as "proproganda": from a company that produces many medical and vision products, products that restore eyesight among them.

You also make an unfounded and disparaging remark about the quantity of glass, as though that is some kind of large failure. If you believe that you don't know much about manufacturing.

As, for your knowledge, I always acknowledge my source, I do not believe that you do!

Gilbert
 
An ad hominem reply is very appropriate, Gilbert.

Firstly, because your attack was that too.
Don't be a wimp and cry "ad hominem", when you start this game.

Secondly (and more importantly), because what you are taking issue with is in fact your failure to read what was said, plus your imagined way of how i would regard Zeiss and Zeiss lenses.
Both (a result of) qualities of your personality, so any remark about that will be ad hominem, by necessity.

You know about Zeiss telling us all about the TPP, yet call my remark about the amount of glass available and the limited number of lenses that allowed them to produce "unfounded".
You know about them publishing the TPP-story, but not what it said?

You then again let your troubled imagination get in the way and call mention of that fact "disparaging".
Ah well...

You read how i mentioned Zeiss' TPP story and then complain about me not acknowledging sources.
You're something else, aren't you?

You either are on drugs or need to be.
(Oh dear, ad hominem again!)

And yes, Zeiss also has a Propagandist on their pay roll. If you believe they do not, you don't know much about business in general, and marketing in particular.
Their Propagandist is the person who (among other things) first told us they, Zeiss, developed the TPP, because they, Zeiss, wanted to. And how they, Zeiss, chose Hasselblad cameras as the platform for their new product, how they, Zeiss, kept marketing and sales of these things a Zeiss-only affair, until Hasselblad decided to put an end to that and buy them all ; and who now tells us how this project has been a joint Hasselblad-Zeiss effort all along.
Can't be both true, so please tell us what you make of it.

Now, if you want to let your admiration for Zeiss make you go in denial of anything Zeiss related that is not so 'nice', that's your business.
I know the good bits and the not so good bits for what they are.
And i am not afraid to tell it as it is: the good as good, the not so good as not so good. You apparantly are (viz. your silly "restore eyesight" thingy. Very reminiscent of the way battered wives defend their battering hubbies, saying that "he was always kind to the children".)

I'm sorry, but you really need to do something to put you on track again.
 
And yes, Zeiss also has a Propagandist on their pay roll. If you believe they do not, you don't know much about business in general, and marketing in particular. >

Prove it.



<Now, if you want to let your admiration for Zeiss make you go in denial of anything Zeiss related that is not so 'nice', that's your business.
I know the good bits and the not so good bits for what they are.
And i am not afraid to tell it as it is: the good as good, the not so good as not so good. You apparantly are (viz. your silly "restore eyesight" thingy. Very reminiscent of the way battered wives defend their battering hubbies, saying that "he was always kind to the children".)>

Ah, Your true colors!

Gilbert
 
QG - interesting outline of the "branding/manufacturing" history. The European companies really got themselves into a flux from the 1950s only to allow the seemingly better organized Japanese companies to take the high ground.

Marc, I totally agree about the sad un-involvement of Zeiss in the H series - a missed opportunity for Hasselblad. Hassy users not only had to adjust to the idea of 6x4.5 , but Japanese lens characteristics as well (I'm not saying anything adverse about them - they are IMHO often just different). I imaging that this was not a welcome change for pros used to the German tonality (and having a big investment in lens kits) and likewise not a welcome addition to pros systems I suspect. While I'm guessing here, if professionals fuss about trannies' colour and tonality and buy film in batches to retain consistency, then lens tonality within their kits must have at least some effect on their buying behaviour.

Even for me as an amateur, the consistent tonality among Zeiss (MF) and Schneider / Rodenstock (LF) and Leica (135) is an advantage. However, at least Fujinon optics are a closer match (as best I can tell andI'm not "expert") as far as I can see from LF and my XPan images.

My limited experience with Fuji lenses (XPan 45 & 90 I own and LF lenses I have tried) are certainly very very high quality optics with excellent characteristics. So, I'm sure the H series Fuji lenses are also excellent. I can't imagine Hasselblad partnering with Fuji and ending up with substandard optics that would be shown up by professionals who require excellent imaging characteristics. And again, like QG says, Hassy just had to take head on the lower "brand" image of Fuji at the time, which seems to have worked out ok.

I suppose that partnerships in business require both organisations to see opportunities through the "same" eyes - Hasselblad had its plans by introducing the H series and maybe Zeiss had other plans or other views resulting in a different partnered lense manufacturing for H cameras.

In addition to the tonality issue, I also find that mechanically German lenses seem to fucntion differently - Fuji lenses on the Xpan have a somewhat "too silky smooth" aperture and focus rings, whereas Zeiss and Leica lenses have more definite / positive movements. Maybe it's my personal touch when using them, but I seem to prefer the less soft silky feel of German mechanics.

But, like QG says I suppose in the end the imaging differences are mostly indistinguishable and we just need to "get over it".
 
OOps, I've just been reading the further comments about Zeiss and Hassy lens developments. Wow - and I'm the guy on Morphine!

My reading of this (and I'm fascinated by some of the history that QG has added since I never knew of the TTP and some of the lenses developed since my use of and interest in Hassy lenses is really limited to recent mainstream product) is that Hasselblad has had a close interest in optics that necessarily enhance its cameras and commitment of users to them. But, we users are never really privvy to all the specific lens/optics developments when the camnera company itself is not the lens manufacturer.

Leica's lens developments are clearer to users since the company designs and makes (mostly) the lenses and most of the components that go into them - even has specified glass requirements of its suppliers like Schott AG.

So, Hasselblad's often (to me) "cloudy" explanations or descriptions make it harder for people like me to fully understand the design and even the manufacturing source. Now, there is no compelling reason for them to tell us really, but sometimes I'm a bit nosey and like to know - it simply adds to my understanding about what I'm buying and why it ends up with Hasselblad's brand on it.

I don't think QG has (in the time I have read his interesting contributions) ever "bagged" Zeiss (possibly the opposite if anything), but he has often commented within a context of "reality" that sometimes we need to separate "marketing speak" from fact; or at least translate the marketing speak into facts that tell us something real. He has fairly pulled me up on that a few times. It certainly can awaken us from a cloud of brand "illusion" - it's not the only lens maker capable of producing outstanding products.

My thinking is that Hasselblad and its brand had become very tightly bound with the Zeiss name and brand - to good effect (and user results). But like most things in life, the strengths can also be the weaknesses! In a way Haselblad's Achilles heel was/is its dependence upon Zeiss.

I've learned 2 significant things in recent years as my hobby has become more intensive - 1. don't get too caught up in brands' "mystique" as others also produce great lenses (look at Mamiya's 7 series lenses for one ex&le); 2. superlative lens performance (and the cost that comes with that) is not always visible to the naked eye.

I once posted a question about any source of good "field" / practical and technical evaluations of MF lenses like are available for Leica lenses; but, alas there is none other than scattered one-off commentaries.

Back to what I think caused the disagreement above. I suppose Hasselblad and Zeiss felt the market for Zooms (for reasons of size/bulk among other things like QG suggested) is limited. Marc as a pro has specific requirements (and showed a fine ex&le of that above) when a zoom is essential and otherwise uses primes.

Maybe amatuers that use Hassy gear limit their MF shooting to the domain of primes like I do. But in 135 SLR format, zooms dominate my kit (wow
happy.gif
imagine an LF zoom - maybe the world's most useless tool!).

But, I wonder to what degree Hasselblad actually works on optical design and specification and how closely its people work with Fuji and Zeiss? This is where I find a "cloud" of marketing speak.

Marc's point about the unfortunate thing it was that Zeiss did not do the lenses for the H cameras makes me wonder what would have been the case if Zeiss was not Hasselblad's partner in the V series way back then?
 
IMO, the "history of the user" is as important as the history of lens maker when it comes to perceptual image qualities ... although not as interesting on a universal scale ; -)

My first "real" cameras were Canons (FTB and eventually F-1). I recall being wrapped up in the great historical shots as well as the photo essays in weekly publications such as Life magazine.

As I began my collection of Photography books ( now over 1000 strong), I began to note that many shots that attracted my asthetic eye ( I was a painter [for passion] and art director [for money] in those days), were shot with a tiny camera by the name of Leica. After much self-depravation, I eventually acquired one of these little gems, and upon first placing hand on it out of the box remarked to myself ... "no more excuses".

Extensive use of this equipment trained my eye for a certain asthetic ... which to this day is a deep part of my decision making process concerning lenses. Call it what you will (micro contrast, Leica glow, German verses Japanese qualities) it matters not the labels and matters completely as to what I like and don't like ... which is simply a personal prejudice based on using a lens and what the final prints look like.

In the ensuing years I have owned it all (with the cash to indulge since abandoning the passion of painting and concentrating on the more financially rewarding profession of Art Direction ; -) This included a full range of Japanese systems like the 35mm Canon stuff then to Nikon, then to Leica R .. then on to MF like Mamiya 7, RZ, Hasselblad 500 & 200 series, X-Pan (including the super wide) and a revert to Contax 645 and the complete N system ... all of which was used pretty extensively in paying jobs as well as personal work.

In my own work, I can immediately see a difference provided by Zeiss and Leica based lenses in a print ... verses a chart.
 
Marc, while an amateur my experience has been similar to yours and I totally agree about the characteristics I see in some of my Leica-M optics as well as my Hasselblad/Zeiss optics.

It was when I got deeply into my 6x6 shooting with Hassy lenses that I began to see attributes in my trannies that really stood out to my eyes from my friends' Japanese MF images - and I was not looking for that, I just noticed it. It was a certain feel that became apparent and then I began to look for it. That feel it others looking at my images too.

When I discovered Leica-M the course was similar - at first it was the convenience and simplicity of using the M camera that "grabbed" me but as I began to seriously look at my trannies I saw similar attributes that please me just like my 6x6 trannies. And then there are other attributes I see in my Leica optics that I don't see in any others.

Interestingly though I now understand more about what I like to see in images other than just the nice picture itself - an enhancement to the image; so now as I look for other focal lengths I evaluate candidates more deeply.

In addition to seeking specific attributes I desire, I have learned a lot more and discover other attributes that please me and this even causes me to have more than one version of a focal length (a not uncommon trait among enthusiastic Leica M users). My Canon 50mm f1.2 has its special place alongside my Summicron-M 50mm Leica.

For instance I recently played with a Voigtlander 40mm Nokton f1.4 and fell in love with its out of focus attributes and a 3D effect it creates on tranny film. But, alas a 40mm lens would annoy me without 40mm framelines on my M7.

So when I took up LF, I decided to use German lenses since I (to my eyes anyway) feel German lenses have some degree of common tonality that I really like and that is useful to me. Funnily enough I seem to also now understand the attributes of each of these other than their specific technical characteristics.

Yes, like you said the history and "certain asthetic" are are source of interest as well as understanding that adds to imaging pleasure.

My Canon EF L lenses (to me) are simply good technically enabling quality imaging - my purpose with these and 135 SLR are not so "asthetic".
 
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