Upload & Sell: Off
Edward - nice sunsets! Tough to pick between the two. In the second my eye is immediately drawn to the ferris wheel. Not necessarily a bad thing, but if it's a matter of simply enjoying the sunset, then I prefer the moodiness of the first one.
Scott - looks good - and a good chance to compare against the CV in Ryan's photos. The Zeiss is definitely a bit edgier in background rendering.
Ryan - great set! The CV has very pleasing color and contrast. A very good balance. I'm not so sure there's any difference in the optical formula other than perhaps the coatings? Here's a post on LUF comparing the CV against the Lux ASPH as well as the older version. The only difference I see in his samples is better flare/contrast control in the new version vs. old. But that's a good thing because it's what I didn't really like about the older one - a sometimes slightly bland color/tonality quality. But purple fringing still happens, and may or may not be a problem for some.
Mitch - the idea of the 'ISO-less' approach when using the M9 was originally you set the ISO to 160 and when possible, make normal looking exposures. As light levels drop and you need to maintain higher shutter speeds or stop down for more depth of field, simply use what you need to make the photo and then push the DNG file accordingly in post. The technical analysis by Kasson found that you can actually do this up to ISO 640 in-camera without seeing a real difference in post. I'm not sure Doug was advocating a traditional ETTR approach, but in any case, my take on it is I try to get a pleasing looking exposure when possible, but if I can't, then I just ensure I don't clip the highlights. This goes for nighttime shooting, or full sun in the middle of the day.
Down by the water again last evening. While the sunset wasn't 'perfect' the clouds were relatively interesting...
50 Lux ASPH:
Nikkor 10.5cm f/2.5 LTM:
This time out I made an effort to shoot the Nikkor stopped down more in the f/4-5.6 range, and I somewhat retract my earlier misgivings about it for across frame sharpness compared to modern lenses. By this point it's already sharp across about 90% of the frame. Wide open it falls off quite substantially in the outer 1/3, which is where a lens like the modern 90 Summarit performs better.
I also shot a lot of the 50mm scenes with the Lux ASPH rather than the Zeiss Sonnar, and many of those were at or near wide open (the first above is wide open and the second is stopped down to f/2-2.8), primarily to blur the water in the foreground as much as possible. What you don't see at web-rez is that the landscape on the horizon is sharp across the frame, which impresses me a lot about this lens. It's simply a lens you can use wide open at all distances and get good results across the frame, without fuss, if that's what you want.