for me, the beauty of this lens is it's close focus ability. the bad thing is i have to use the visoflex 2 when I want the close focus and thus i have to remove my thumb grip from the m11 which i love.
But, the 28 1.5 is just a performer. and i love shooting close , wide open for that bokeh.
Jorge Torralba wrote:
for me, the beauty of this lens is it's close focus ability. the bad thing is i have to use the visoflex 2 when I want the close focus and thus i have to remove my thumb grip from the m11 which i love.
But, the 28 1.5 is just a performer. and i love shooting close , wide open for that bokeh.
The Leica 28mm f/1.4 Summilux used to be my favorite 28mm lens until the 28mm f/1.5 Nokton came along. In this review, I included several side by side comparisons that show just how similar their output is, from the amount of blur and CA control to their drawing style. To my eyes, they produce pretty much the same results, but the Nokton is significantly smaller and lighter. It ultimately convinced me to sell the Leica, a decision I have never regretted.
As for the rendering, at close distances like this, the blur tends to mask some of a lens's unique characteristics. At mid distances, however, the background rendering reveals more of the transition zone without being overwhelmed by blur. Here, the Nokton's output becomes more apparent, showing some outlining in highlights, which contributes to a structured rendering style. This is precisely what I love about the Leica and this lens.
I hadn't had the FE 28 for long but enjoyed it enough that I started getting MF GAS, sold most of my FE an Z mount AF kit off, and got an M10 and 40 nokton. Eventually grabbed the M-mount 28 nokton because thats where it all started.
Its interesting how despite the a7cr being smaller, a full Leica M body with M mount lenses actually feels more compact. Smaller throat size and flange distance + no grip makes for a smaller and sleeker set-up overall.
Mystik wrote:
I hadn't had the FE 28 for long but enjoyed it enough that I started getting MF GAS, sold most of my FE an Z mount AF kit off, and got an M10 and 40 nokton. Eventually grabbed the M-mount 28 nokton because thats where it all started.
Its interesting how despite the a7cr being smaller, a full Leica M body with M mount lenses actually feels more compact. Smaller throat size and flange distance + no grip makes for a smaller and sleeker set-up overall.
Having shot the 28 Summilux for a while now, curious to know if you have any samples of people's shots under very strong light (sunlight)? I feel the Nokton rendered different than the 28mm Summilux where halation (or spherical aberration if you will) will soften the image a bit wide open. Not something I prefer, otherwise the rendering really similar to the Summilux from your shots.
I also wonder if the purple fringing performance differ from copy to copy, the Summilux definitely render some purple fringing under very strong light and contrasty scene but I never felt the need to get rid of it except strong backlit foliage (which I believe no lens can really completely get rid of).
Mystik wrote:
I hadn't had the FE 28 for long but enjoyed it enough that I started getting MF GAS, sold most of my FE an Z mount AF kit off, and got an M10 and 40 nokton. Eventually grabbed the M-mount 28 nokton because thats where it all started.
Its interesting how despite the a7cr being smaller, a full Leica M body with M mount lenses actually feels more compact. Smaller throat size and flange distance + no grip makes for a smaller and sleeker set-up overall.
jeffersoncasey wrote:
Having shot the 28 Summilux for a while now, curious to know if you have any samples of people's shots under very strong light (sunlight)? I feel the Nokton rendered different than the 28mm Summilux where halation (or spherical aberration if you will) will soften the image a bit wide open. Not something I prefer, otherwise the rendering really similar to the Summilux from your shots.
I also wonder if the purple fringing performance differ from copy to copy, the Summilux definitely render some purple fringing under very strong light and contrasty scene but I never felt the need to get rid of it except strong backlit foliage (which I believe no lens can really completely get rid of).
Fred did some rendering tests against the Summilux you can reference in the first post that might be helpful. I actually in my GAS delirium ended up with a Q2 when I sold most of my Sony system off, so my point of reference from the Summilux is that, and the rendering really different in that strong light sources are contained to the point of being sterile to me. I actually put a pro mist filter on the Q2.
That said, the Nokton 28 does have a touch of glow when backlit and some halation in bokeh balls which look pretty nice, but its a lot more restricted than the Nokton 40 which is straight up dreamy wide open. I find with the Nokton there is a baseline glow that can mostly be worked back in post
Bottom two shots are where I specifically wanted to see how the nokton does backlit vs the Simera. Second one is the Simera, which does have a pretty strong glow
My experience with Summilux M is that the details will have some glow to it as long as there's strong light even if it's not backlit, but the Simera doesn't. Can't really tell with Fred's comparison.
Both Simera and Summilux performed similarly with loss of contrast backlit. Seems like the Nokton is very resistance to backlit? But Fred's comparison tells otherwise in one of the pair. And yes Q2 is pretty sterile...
Mystik wrote:
Fred did some rendering tests against the Summilux you can reference in the first post that might be helpful. I actually in my GAS delirium ended up with a Q2 when I sold most of my Sony system off, so my point of reference from the Summilux is that, and the rendering really different in that strong light sources are contained to the point of being sterile to me. I actually put a pro mist filter on the Q2.
That said, the Nokton 28 does have a touch of glow when backlit and some halation in bokeh balls which look pretty nice, but its a lot more restricted than the Nokton 40 which is straight up dreamy wide open. I find with the Nokton there is a baseline glow that can mostly be worked back in post
Bottom two shots are where I specifically wanted to see how the nokton does backlit vs the Simera. Second one is the Simera, which does have a pretty strong glow
Such a great lens, I love the rendering and sharpness plus the amazing sunstars, colors and contrast I get with it. Some high-country wildflowers recently captured with the 28mm Nokton, Sony E version.
ILCE-7CRVoigtlander NOKTON 28mm F1.5 Aspherical lens28mmf/13.01/320s200 ISO0.0 EV
ILCE-7CRVoigtlander NOKTON 28mm F1.5 Aspherical lens28mmf/13.01/320s200 ISO0.0 EV
ILCE-7CRVoigtlander NOKTON 28mm F1.5 Aspherical lens28mmf/13.01/250s200 ISO0.0 EV
gammarART wrote:
Mystik, your colors and contrasts are always 🤌🤌🤌
Thank you!!
I actually used Cobalt Profile Elite Fuji Superia for these. I feel like they set a good raw baseline that has a touch of film character that I can build from instead of leaning into an aggressive preset emulation
