C-sonnar!
p.31 #1C-sonnar!
I bought this to replace my 50mm Summicron, but I haven't been able to move on from either....
Fuji XE-2, 50 1.5 C
M6, 50 1.5 C, ACROSii
M6, 50 1.5 C, ACROSii
M6, 50 1.5 C, ACROSii
Fuji XE-2, 50 1.5 C
M6, 50 1.5 C, ACROSii
M6, 50 1.5 C, ACROSii
M6, 50 1.5 C, ACROSii
Nov 02, 2022 at 08:24 PM
p.31 #2C-sonnar!
I've had my C-sonnar less than a week, but it's already earning its keep.
The geese are still here by Brad Hurley, on Flickr
Fog on the river by Brad Hurley, on Flickr
The geese are still here by Brad Hurley, on FlickrFog on the river by Brad Hurley, on FlickrNov 05, 2022 at 06:10 PM
p.31 #3C-sonnar!
Love those Zeiss colors on the C-Sonnar...
Sarah 22 April 1 by Brad Hurley, on Flickr
Sarah 22 April 1 by Brad Hurley, on FlickrApr 25, 2023 at 10:51 AM
p.31 #4C-sonnar!
The 50/1.5 Sonnar still one of my favorite lenses. The only downside I see when shooting on a rangefinder is the severe focus shift.
May 01, 2023 at 01:20 PM
p.31 #5C-sonnar!
bjhurley wrote:
Love those Zeiss colors on the C-Sonnar...
https://live.staticflickr.com/65535/52838350053_faf53e3324_c.jpgSarah 22 April 1 by Brad Hurley, on Flickr
Great capture Brad! The ZM 50/1.5 colors are absolutely stunning--best of modern Zeiss. I just sold my (10,000th copy) copy, will probably get one again at some point.
Love those Zeiss colors on the C-Sonnar...
https://live.staticflickr.com/65535/52838350053_faf53e3324_c.jpgSarah 22 April 1 by Brad Hurley, on Flickr
Great capture Brad! The ZM 50/1.5 colors are absolutely stunning--best of modern Zeiss. I just sold my (10,000th copy) copy, will probably get one again at some point.
May 01, 2023 at 04:55 PM
p.31 #6C-sonnar!
Another C-sonnar shot, this one from New Orleans a few weekends ago:
beads, Garden District, New Orleans by Brad Hurley, on Flickr
beads, Garden District, New Orleans by Brad Hurley, on FlickrMay 02, 2023 at 09:33 AM
p.31 #7C-sonnar!
A few recent C-Sonnar shots:
On film (Fomapan 400, Leica M2R):
Paotrig by Brad Hurley, on Flickr
On Sony A7s:
Grand bal du Québec by Brad Hurley, on Flickr
Grand bal du Québec by Brad Hurley, on Flickr
Grand Bal du Québec 2023 by Brad Hurley, on Flickr
Grand bal du Québec by Brad Hurley, on Flickr
Grand Bal du Québec 2023 by Brad Hurley, on Flickr
Grand Bal du Québec 2023 by Brad Hurley, on Flickr
On film (Fomapan 400, Leica M2R):
Paotrig by Brad Hurley, on FlickrOn Sony A7s:
Grand bal du Québec by Brad Hurley, on FlickrGrand bal du Québec by Brad Hurley, on FlickrGrand Bal du Québec 2023 by Brad Hurley, on FlickrGrand bal du Québec by Brad Hurley, on FlickrGrand Bal du Québec 2023 by Brad Hurley, on FlickrGrand Bal du Québec 2023 by Brad Hurley, on FlickrOct 01, 2023 at 03:58 AM
p.31 #8C-sonnar!
Love going through this thread! Great images from a fantastic lens. Is there a 35mm that doesn't break the bank that exhibits similar optical rendering?
Thanks!
Thanks!
Oct 03, 2023 at 02:21 PM
p.31 #9C-sonnar!
One from last night with this lens:
Two Lane Exit by Brad Hurley, on Flickr
Two Lane Exit by Brad Hurley, on FlickrOct 03, 2023 at 02:37 PM
p.31 #10C-sonnar!
Fred Miranda wrote:
Took some test shots after optimizing my Sonnar 50 to 'f/1.5'.
On the Leica M10-R, it nails focus wide open at any distance now. It also works great at f/1.7. I also added 6-bit code to it. (50/1.4 lux)
I forgot how much I like the character of this lens.
How's the focus shift? How do you contend with it ... or, do you mostly shoot wide open with it? Is there a point at which the DOF (stopping down) offsets the focus shift?
I dig the draw ... but focus shift is annoying to me.
Took some test shots after optimizing my Sonnar 50 to 'f/1.5'.
On the Leica M10-R, it nails focus wide open at any distance now. It also works great at f/1.7. I also added 6-bit code to it. (50/1.4 lux)
I forgot how much I like the character of this lens.
How's the focus shift? How do you contend with it ... or, do you mostly shoot wide open with it? Is there a point at which the DOF (stopping down) offsets the focus shift?
I dig the draw ... but focus shift is annoying to me.
Oct 03, 2023 at 09:12 PM
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p.31 #11C-sonnar!
RustyBug wrote:
On the Leica M10-R, it nails focus wide open at any distance now. It also works great at f/1.7. I also added 6-bit code to it. (50/1.4 lux)
I forgot how much I like the character of this lens.How's the focus shift? How do you contend with it ... or, do you mostly shoot wide open with it? Is there a point at which the DOF (stopping down) offsets the focus shift?
I dig the draw ... but focus shift is annoying to me.
It's the Achilles' heel of this lens. I've learned to compensate for the shift. It's quite noticeable when shooting at f/2.8-4 if the lens is optimized for wide-open shooting.
Fred Miranda wrote
Took some test shots after optimizing my Sonnar 50 to 'f/1.5'.On the Leica M10-R, it nails focus wide open at any distance now. It also works great at f/1.7. I also added 6-bit code to it. (50/1.4 lux)
I forgot how much I like the character of this lens.
I dig the draw ... but focus shift is annoying to me.
It's the Achilles' heel of this lens. I've learned to compensate for the shift. It's quite noticeable when shooting at f/2.8-4 if the lens is optimized for wide-open shooting.
Oct 03, 2023 at 09:49 PM
p.31 #12C-sonnar!
RustyBug wrote:
How's the focus shift? How do you contend with it ... or, do you mostly shoot wide open with it? Is there a point at which the DOF (stopping down) offsets the focus shift?
I've started using this lens on film, and while the focus shift is certainly an issue to contend with it's not a dealbreaker (for me, anyway).
My understanding is that the recent versions of this lens are calibrated by Cosina at f2, not wide open, so I mainly use the lens at f2 if I want shallow depth of field; I've found I can use f5.6 and above safely as the greater depth of field compensates for the focus shift. It's really just at 1.5 and between f2.8 and f4 that you can run into trouble; on film this is less of an issue since 35mm film is pretty low-resolution to begin with and slight misfocus is less obvious than it would be with digital.
If you don't want to recalibrate the lens to 1.5 but want to be able to shoot 1.5 occasionally, you could figure out through trial and error how much you need to compensate for what the rangefinder is suggesting is in focus but it'll always be imprecise unless you're using a digital rangefinder with liveview. In my case, on film I just don't use it wide open; I'm quite happy with it at f2 anyway. My Leica film camera came with a dual-range Summicron, also an f2 lens, but it's considerably heavier and larger than the C-Sonnar.
How's the focus shift? How do you contend with it ... or, do you mostly shoot wide open with it? Is there a point at which the DOF (stopping down) offsets the focus shift?
I've started using this lens on film, and while the focus shift is certainly an issue to contend with it's not a dealbreaker (for me, anyway).
My understanding is that the recent versions of this lens are calibrated by Cosina at f2, not wide open, so I mainly use the lens at f2 if I want shallow depth of field; I've found I can use f5.6 and above safely as the greater depth of field compensates for the focus shift. It's really just at 1.5 and between f2.8 and f4 that you can run into trouble; on film this is less of an issue since 35mm film is pretty low-resolution to begin with and slight misfocus is less obvious than it would be with digital.
If you don't want to recalibrate the lens to 1.5 but want to be able to shoot 1.5 occasionally, you could figure out through trial and error how much you need to compensate for what the rangefinder is suggesting is in focus but it'll always be imprecise unless you're using a digital rangefinder with liveview. In my case, on film I just don't use it wide open; I'm quite happy with it at f2 anyway. My Leica film camera came with a dual-range Summicron, also an f2 lens, but it's considerably heavier and larger than the C-Sonnar.
Oct 04, 2023 at 12:39 AM
p.31 #13C-sonnar!
bjhurley wrote:
Love those Zeiss colors on the C-Sonnar...
https://live.staticflickr.com/65535/52838350053_faf53e3324_c.jpgSarah 22 April 1 by Brad Hurley, on Flickr
Wow. These colors are fantastic. The skin tones in the dance photos too. Is this all Sony A7? (edit: I see metadata now)
Your color grading is excellent. A good example of technique, good lens and good post all accruing to wonderful output.
Love those Zeiss colors on the C-Sonnar...
https://live.staticflickr.com/65535/52838350053_faf53e3324_c.jpgSarah 22 April 1 by Brad Hurley, on Flickr
Wow. These colors are fantastic. The skin tones in the dance photos too. Is this all Sony A7? (edit: I see metadata now)
Your color grading is excellent. A good example of technique, good lens and good post all accruing to wonderful output.
Oct 04, 2023 at 01:26 PM
p.31 #14C-sonnar!
I agree. I find it is a delicious rendering 
ottokbre wrote:
https://live.staticflickr.com/65535/52838350053_faf53e3324_c.jpgSarah 22 April 1 by Brad Hurley, on FlickrWow. These colors are fantastic. The skin tones in the dance photos too. Is this all Sony A7? (edit: I see metadata now)
Your color grading is excellent. A good example of technique, good lens and good post all accruing to wonderful output.
ottokbre wrote:
bjhurley wrote
Love those Zeiss colors on the C-Sonnar...https://live.staticflickr.com/65535/52838350053_faf53e3324_c.jpgSarah 22 April 1 by Brad Hurley, on Flickr
Your color grading is excellent. A good example of technique, good lens and good post all accruing to wonderful output.
Oct 04, 2023 at 01:39 PM
p.31 #15C-sonnar!
ottokbre wrote:
Wow. These colors are fantastic. The skin tones in the dance photos too. Is this all Sony A7? (edit: I see metadata now)
Your color grading is excellent. A good example of technique, good lens and good post all accruing to wonderful output.
Thanks! The portrait was shot with Sony A7iii and the dance photos were shot on A7s, all post done in Capture One. For the A7iii Capture One has ProStandard profiles that I find get very nice skin tones. For the A7s I just used the standard profile for that camera; they don't have a ProStandard version. I did a little color grading but not much as the output from this lens just pops with gorgeous colors.
The portrait was helped a lot by having exceptional natural light. I scouted out this location for months under different weather conditions and times; it has huge floor-to-ceiling windows facing north so you get gorgeous diffused but directional lighting that makes colors come alive.
Wow. These colors are fantastic. The skin tones in the dance photos too. Is this all Sony A7? (edit: I see metadata now)
Your color grading is excellent. A good example of technique, good lens and good post all accruing to wonderful output.
Thanks! The portrait was shot with Sony A7iii and the dance photos were shot on A7s, all post done in Capture One. For the A7iii Capture One has ProStandard profiles that I find get very nice skin tones. For the A7s I just used the standard profile for that camera; they don't have a ProStandard version. I did a little color grading but not much as the output from this lens just pops with gorgeous colors.
The portrait was helped a lot by having exceptional natural light. I scouted out this location for months under different weather conditions and times; it has huge floor-to-ceiling windows facing north so you get gorgeous diffused but directional lighting that makes colors come alive.
Oct 04, 2023 at 01:49 PM
p.31 #16C-sonnar!
This lens is also pretty awesome for B&W film. You just have to be careful about focus shift.
C-Sonnar 50/1.5 at f2 on Leica M2R, Ilford XP2 400:
Bus, Rimouski by Brad Hurley, on Flickr
C-Sonnar 50/1.5 at f2 on Leica M2R, Ilford XP2 400:
Bus, Rimouski by Brad Hurley, on FlickrOct 06, 2023 at 12:11 PM
p.31 #17C-sonnar!
Fred Miranda wrote:
On the Leica M10-R, it nails focus wide open at any distance now. It also works great at f/1.7. I also added 6-bit code to it. (50/1.4 lux)
I forgot how much I like the character of this lens.How's the focus shift? How do you contend with it ... or, do you mostly shoot wide open with it? Is there a point at which the DOF (stopping down) offsets the focus shift?
I dig the draw ... but focus shift is annoying to me.It's the Achilles' heel of this lens. I've learned to compensate for the shift. It's quite noticeable when shooting at f/2.8-4 if the lens is optimized for wide-open shooting.
What would be your "runner up" to this lens ... one that doesn't have the focus shift issue?
RustyBug wrote
Fred Miranda wrote
Took some test shots after optimizing my Sonnar 50 to 'f/1.5'.On the Leica M10-R, it nails focus wide open at any distance now. It also works great at f/1.7. I also added 6-bit code to it. (50/1.4 lux)
I forgot how much I like the character of this lens.
I dig the draw ... but focus shift is annoying to me.
What would be your "runner up" to this lens ... one that doesn't have the focus shift issue?
Oct 06, 2023 at 05:27 PM
p.31 #18C-sonnar!
bjhurley wrote:
I've started using this lens on film, and while the focus shift is certainly an issue to contend with it's not a dealbreaker (for me, anyway).
My understanding is that the recent versions of this lens are calibrated by Cosina at f2, not wide open, so I mainly use the lens at f2 if I want shallow depth of field; I've found I can use f5.6 and above safely as the greater depth of field compensates for the focus shift. It's really just at 1.5 and between f2.8 and f4 that you can run into trouble; on film this is less...Show more →
Gotcha.
I guess I could mount the Visoflex or use LCD LiveView ... either for shooting, or for "mental calibration" of where to land the RF patch.
Just as an "odd question" ... could (not saying would) the lens be re-calibrated to f/2.8 or f/4, or even f/5.6 if someone wanted to do such an "odd" thing?
RustyBug wrote
How's the focus shift? How do you contend with it ... or, do you mostly shoot wide open with it? Is there a point at which the DOF (stopping down) offsets the focus shift?My understanding is that the recent versions of this lens are calibrated by Cosina at f2, not wide open, so I mainly use the lens at f2 if I want shallow depth of field; I've found I can use f5.6 and above safely as the greater depth of field compensates for the focus shift. It's really just at 1.5 and between f2.8 and f4 that you can run into trouble; on film this is less...Show more →
Gotcha.
I guess I could mount the Visoflex or use LCD LiveView ... either for shooting, or for "mental calibration" of where to land the RF patch.
Just as an "odd question" ... could (not saying would) the lens be re-calibrated to f/2.8 or f/4, or even f/5.6 if someone wanted to do such an "odd" thing?
Oct 06, 2023 at 05:28 PM
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p.31 #19C-sonnar!
Why not go for the Voigtlander 50f1.5 Nokton II and avoid the focus shift problem?
Oct 06, 2023 at 05:58 PM
p.31 #20C-sonnar!
RustyBug wrote:
I've started using this lens on film, and while the focus shift is certainly an issue to contend with it's not a dealbreaker (for me, anyway).
My understanding is that the recent versions of this lens are calibrated by Cosina at f2, not wide open, so I mainly use the lens at f2 if I want shallow depth of field; I've found I can use f5.6 and above safely as the greater depth of field compensates for the focus shift. It's really just at 1.5 and between f2.8 and f4 that you can run into trouble; on film this is less of an issue since 35mm film is pretty low-resolution to begin with and slight misfocus is less obvious than it would be with digital.
If you don't want to recalibrate the lens to 1.5 but want to be able to shoot 1.5 occasionally, you could figure out through trial and error how much you need to compensate for what the rangefinder is suggesting is in focus but it'll always be imprecise unless you're using a digital rangefinder with liveview. In my case, on film I just don't use it wide open; I'm quite happy with it at f2 anyway. My Leica film camera came with a dual-range Summicron, also an f2 lens, but it's considerably heavier and larger than the C-Sonnar.Gotcha.
I guess I could mount the Visoflex or use LCD LiveView ... either for shooting, or for "mental calibration" of where to land the RF patch.
Just as an "odd question" ... could (not saying would) the lens be re-calibrated to f/2.8 or f/4, or even f/5.6 if someone wanted to do such an "odd" thing?
I had my ZM Sonnar 50/1.5 recalibrated by DAG years ago. At the time, he gave me the choice of recalibrating it at either f/1.5 or at f/2.8. I was told that the lens was cerebrated at f/2.8 out of factory when purchased new. So I believe it can be done at f/2.8. At f/4, the focus shit may not have that big of an effect.
bjhurley wrote
RustyBug wrote
How's the focus shift? How do you contend with it ... or, do you mostly shoot wide open with it? Is there a point at which the DOF (stopping down) offsets the focus shift?My understanding is that the recent versions of this lens are calibrated by Cosina at f2, not wide open, so I mainly use the lens at f2 if I want shallow depth of field; I've found I can use f5.6 and above safely as the greater depth of field compensates for the focus shift. It's really just at 1.5 and between f2.8 and f4 that you can run into trouble; on film this is less of an issue since 35mm film is pretty low-resolution to begin with and slight misfocus is less obvious than it would be with digital.
If you don't want to recalibrate the lens to 1.5 but want to be able to shoot 1.5 occasionally, you could figure out through trial and error how much you need to compensate for what the rangefinder is suggesting is in focus but it'll always be imprecise unless you're using a digital rangefinder with liveview. In my case, on film I just don't use it wide open; I'm quite happy with it at f2 anyway. My Leica film camera came with a dual-range Summicron, also an f2 lens, but it's considerably heavier and larger than the C-Sonnar.
I guess I could mount the Visoflex or use LCD LiveView ... either for shooting, or for "mental calibration" of where to land the RF patch.
Just as an "odd question" ... could (not saying would) the lens be re-calibrated to f/2.8 or f/4, or even f/5.6 if someone wanted to do such an "odd" thing?
I had my ZM Sonnar 50/1.5 recalibrated by DAG years ago. At the time, he gave me the choice of recalibrating it at either f/1.5 or at f/2.8. I was told that the lens was cerebrated at f/2.8 out of factory when purchased new. So I believe it can be done at f/2.8. At f/4, the focus shit may not have that big of an effect.
Oct 06, 2023 at 06:17 PM