For those who already got their Voigtlander 50/1 Nokton lenses, feel free to post comparisons and samples image on this thread. As always, I will link them to the first page of this review.
Taken a couple minutes ago at dusk. Testing wide open performance at long distance.
It's sharp and high in contrast at F1 all the way to the edges! That's really the differential for this lens.
Wow! So, this probably means that the reverse field curvature is caused by the floating lens element. I also think we can conclude that this sample is a good one, while there are others where we see odd things happening with the plane of focus at long distances.
Fred Miranda wrote:
Taken a couple minutes ago at dusk. Testing wide open performance at long distance.
It's sharp and high in contrast at F1 all the way to the edges! That's really the differential for this lens.
I feel like you've shown us some really pleasing overall results Fred. It's by no means a perfect lens, but for the size, weight and price I think it hits it out of the park. If you are looking for a do-it-all MF 50, this is the one.
I appreciate the reviews as always.
zz wrote:
It's by no means a perfect lens, but for the size, weight and price I think it hits it out of the park. If you are looking for a do-it-all MF 50, this is the one.
You are talking about the VM 50mm 1.2, right?
I really fail to see the advantages of the 50mm 1.0.
It is almost double the price.
Noticeably heavier and bigger.
The bokeh is significantly worse.
Flare resistance is significantly worse (I would like my "do-it-all 50" to fare good in this category).
The improvement in sharpness I find very hard to spot at most distances in an actual picture,
whereas the bokeh jumps at me yelling "something is terribly wrong here".
The following are cross posted from the "New Voigtlander 50mm f/1 Nokton in January 2022" thread. Will take me a while to get all these loaded:
I've now got 160+ images from the M10-R + Nokton 50/1 at f/1, f/1.4, f/2.8, and f/5.6(occasionally)
with the same shots, mostly on a tripod, from the late version Noctilux 50/1
and also from the 50/1.4 Summilux, f/1.4 onwards. All were focused using the LCD, focus peaking, and magnification. But not sure the best way to satisfy everyone with resizing. I normally have only posted to Buy and Sell from SmugMug host, so will start with that here.
All things considered, after looking through all these (and there are several series) at various distances, various f/stops, I'm not sure the conclusions as to which to own and which to ignore are as easy to reach as some are imagining, but maybe that's why I own so many fast Fifties. But, everyone is going to have different preferences.
All of these are going to have been taken with lens coding "off" and at standard jpg settings. Though I also have all the DNG files here as well.
Due to 4 different kinds of lighting in this scene, the jpg colors SOOC were a mess, so this series is done a little differently. YMMV. Lens coding off as with the others.
Instead of using the SOOC jpg files, .DNG files opened in LR, B+W LR profile applied, medium sharpening applied, LR Auto Tone applied.
Focus for all was on the edge of the moose nose on the left. Live View focus peaking with magnification for all.
If these look cold, it was. Wanting to get out early before the sun started hitting the snow, so I would not have to introduce the variable of different ND filters, and still be able to get something at f/1.
It was minus 14 deg F when I started and minus 8F when I finished the next set, 20 minutes later. Didn't quite finish the next set after this, because the fresh battery was gone in 20 minutes. Hands pretty much gone by then anyway.
And, the fact that there is nothing flat around here, never mind that a field, or even a patch, of flat gravel or grass, for checking field curvature, won't be seen within 200 miles of here for at least another two and a half months, is why I don't have those. Snow and ice, and inside mostly.
These are back to SOOC jpgs.
forgot to shoot the Summilux at f/5.6
The following is a crop from the .DNG file of the Nokton at f/5.6
Using a different approach, this series is done from .DNG files made with the Noctilux 50/1 code on in camera for both the 50/1 lenses, and the 50 Summilux code on for that one, opened in LR, Auto Tone in LR, and sharpened in PS. The Auto Tone made them too yellow, which I should have corrected, but was halfway through them before I decided that.
BastianK wrote:
You are talking about the VM 50mm 1.2, right?
I really fail to see the advantages of the 50mm 1.0.
It is almost double the price.
Noticeably heavier and bigger.
The bokeh is significantly worse.
Flare resistance is significantly worse (I would like my "do-it-all 50" to fare good in this category).
The improvement in sharpness I find very hard to spot at most distances in an actual picture,
whereas the bokeh jumps at me yelling "something is terribly wrong here".
Yes, the CV 50/1.2 is outstanding with a balanced design but it's not F1.
If one wants a 50mm F1 lens instead of a F1.2 or F1.4 lens, it looks like the extra speed advantage is a big headache for optical designers, especially when compactness is a priority.
To really correct that field curvature and optical vignetting while maintaining a high level of contrast and resolution at F1, the lens would've been bigger and even more expensive. It looks like Cosina went for high performance even at close distance + compactness with this design competing solely with the 13K Leica Noctilux. I will test them side by side so we can see how they compare.
zz wrote:
