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Archive 2025 · Do you prefer softer lenses on Digital M bodies?

  
 
Pindy
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p.1 #1 · Do you prefer softer lenses on Digital M bodies?


I was an M Film shooter for years. But I have an M10 M coming hopefully Monday and having sold my M6 and 35 Lux last year to fund a Q3, I’m starting over in M world.

I’m strongly considering a second hand lens (or Voigtländer) to begin with, either a 28 or 50 (28 is where I live most of the time), but I have been stuck wondering about whether a modern lens will be overly clinical on a modern sensor and maybe I should look at something a little softer (read: not optimized for digital sensors) to retain some character.

But I also adore my Q3, which is, in terms of optical performance, an embarrassment of riches. So maybe this quandary is meaningless. Interested in your thoughts.



Jan 12, 2025 at 02:24 AM
1bwana1
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p.1 #2 · Do you prefer softer lenses on Digital M bodies?




Pindy wrote:
I was an M Film shooter for years. But I have an M10 M coming hopefully Monday and having sold my M6 and 35 Lux last year to fund a Q3, I’m starting over in M world.

I’m strongly considering a second hand lens (or Voigtländer) to begin with, either a 28 or 50 (28 is where I live most of the time), but I have been stuck wondering about whether a modern lens will be overly clinical on a modern sensor and maybe I should look at something a little softer (read: not optimized for digital sensors) to retain
...Show more

Why not take a look at the new Thypoch Simera M lenses. The 50mm can give you a very well rounded set of personalities. The bokeh is very nice due to the 14 aperture blades, fast at f/1.4, close focus ability, and affordable. There are very comprehensive reviews here on FM.



Jan 12, 2025 at 03:57 AM
panos.v
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p.1 #3 · Do you prefer softer lenses on Digital M bodies?


If you buy a soft lens you'll be wondering if you need a sharp lens. If you buy a sharp lens you'll be wondering if you need a soft lens. So given that you can't win, just buy one and then be prepared to buy another one, because until you have both to compare you'll always be in the "what if".



Jan 12, 2025 at 05:41 AM
bjhurley
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p.1 #4 · Do you prefer softer lenses on Digital M bodies?


It's a lot easier to make a sharp lens look softer (e.g., reduce contrast and sharpness in post) than it is to make a soft lens look sharper. Many older vintage lenses are very sharp; I think their character comes from other things like aberrations, less flare resistance, etc.

You could also consider the ZM C-Sonnar 50/1.5, which has a lot of character wide open but takes on a more modern look stopped down just a bit. The main problem with that lens is focus shift, which makes rangefinder focusing inaccurate at some apertures, but since you have Live View on your digital M that won't be a problem, just use Live View instead of the rangefinder when focusing at f/1.5 or between f/2.8 and f/4. The rangefinder should be accurate at f2 (depending on when the lens was made) and above f/4.



Jan 12, 2025 at 05:50 AM
ftllens
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p.1 #5 · Do you prefer softer lenses on Digital M bodies?


On monochrom cameras I prefer sharp lenses but CA doesn't matter.

On M10M my favorites were:
CV 50 1.0
CV 21 1.4
CV 40 2.8 (I think just about perfect if you like the FL)

But I never tried the CV 28 which looked great.

Reason why I don't like smudginess blurry character on monochrom is same reason why more experienced artists don't smudge their gradients.



Jan 12, 2025 at 06:35 AM
RustyBug
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p.1 #6 · Do you prefer softer lenses on Digital M bodies?


I have an M 35/2 Cron ASPH and an M 40/2 Cron-C (non-ASPH) for the reasons you describe.

Basically it boils down to whether you want an ASPH, highly corrected for SA ... or a non-ASPH, undercorrected for SA.

Some of the new lenses are coming out with some non-ASPH designs that are a "bump" better than their vintage non-ASPH counterparts.

Finding that place that you like for your temperament of ASPH vs. non-ASPH ... SA levels of correction is a spectrum of creative preference.

Making a "soft-razor" is a bit of a trick. Somewhere between a cheese spreader / butter knife and a scalpel is a good steak knife or a great pocket knife. Lens designs run the gamut, just as much as the gamut of steel hardness compositions does.

Voigt's newer "Vintage" glass and Thypoch are a couple that come to mind as trying "split the diff" in a way that kinda fits the "soft-razor" ethos.

Some folks want "one" that "does it all". And others want "multiples" that reach the extremes on both ends.

First things first ... you gotta know what YOU want to achieve. Are you looking for a general purpose lens, or one that maximizes the mono sensor.

And to the point of "maximizing" the mono sensor ... are you looking for the way it can render high contrast ... or the way it can render smooth tonality?

Short answer you gotta know what you want, which is in line with ... You gotta ask the right question, to get the right answer.



That said, I think the omission of the BFA in the monochrome cameras provides for (as we know) less noise so we can "push" the files a bit more than with color files. Also, the lack of the BFA provides for increased acutance, since there is "less loss".

For the inherent attributes that a monochrome camera provides ... I think the need for the scalpel of MTF is less significant. Also, the aberrations (CA) are less problematic. But, here again ... it kinda depends on what your preferred goals are for your rendering style preferences.

At the end of the day, the choices available for rendering style are as varied as ice cream flavors at Baskin Robbins.






Edited on Jan 12, 2025 at 11:34 AM · View previous versions



Jan 12, 2025 at 11:22 AM
Steve Spencer
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p.1 #7 · Do you prefer softer lenses on Digital M bodies?


RustyBug wrote:
I have an M 35/2 Cron ASPH and an M 40/2 Cron-C (non-ASPH) for the reasons you describe.

Basically it boils down to whether you want an ASPH, highly corrected for SA ... or a non-ASPH, undercorrected for SA.

Some of the new lenses are coming out with some non-ASPH designs that are a "bump" better than their vintage non-ASPH counterparts.

Finding that place that you like for your temperament of ASPH vs. non-ASPH ... SA levels of correction is a spectrum of creative preference.

Making a "soft-razor" is a bit of a trick. Somewhere between a cheese spreader / butter knife and
...Show more

Very well said Kent. For most focal lengths I want one highly corrected lens for some types of shooting (landscapes, cityscapes, closeups, nature, etc.) and one less corrected faster lens for people shots and for shallower depth of field when I want it. Even in these less corrected lenses, however,I typically want a bit of correction and not zero Asph elements (often 1 or maybe two is enough) and I still like ED, SLD, APD elements to control color errors, but I don't want the super highly corrected look either. In lieu of more correction I can also often be happy with a lens that is a bit less corrected wide open if it is well corrected stopped down a couple stops. Such dual character lenses are often among my favorites. Such dual character lenses can sometimes stand in for a two lens solution.



Jan 12, 2025 at 11:33 AM
RustyBug
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p.1 #8 · Do you prefer softer lenses on Digital M bodies?


Steve Spencer wrote:
Very well said Kent. For most focal lengths I want one highly corrected lens for some types of shooting (landscapes, cityscapes, closeups, nature, etc.) and one less corrected faster lens for people shots and for shallower depth of field when I want it. Even in these less corrected lenses, however,I typically want a bit of correction and not zero Asph elements (often 1 or maybe two is enough) and I still like ED, SLD, APD elements to control color errors, but I don't want the super highly corrected look either. In lieu of more correction I can also often
...Show more

Thanks, Steve.

Yeah, on one end of the spectrum are the true APO's. Lenses with one ASPH (vs. multiple) ... or recently, some designs with > 50% ED, etc. (and no ASPH) seem to be closer to a "soft-razor" approach.



Jan 12, 2025 at 11:38 AM
Pindy
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p.1 #9 · Do you prefer softer lenses on Digital M bodies?


Thank you all for your replies, and RustyBug thanks for the thoughtful considerations. You describe a rich, promising world where so many desires can be catered for but for the money to make it happen! In the past, I essentially subsisted on one 35 Summilux ASPH (ver 1) and with the exception of renting a couple times, stuck with the one and made it work. I loved the look of that lens, so I will likely look to more correction than less.

The other fact is that I have to start somewhere. I've decided that I'll begin with 28mm and it'll be either a used 28 Summilux (more than anything I require a lens for indoor, low-lit environments) or perhaps the Voigtländer Nokton f/1.5. I will add lenses as funds become available, including smaller, slower ones for outdoor pursuits.

TO THAT POINT OF NON-LEICA LENSES, let me put it to the group:

Is it a bother to have a lens like a CV or Thypoch not register metadata? I installed and tried out Lenstagger, and it works fine, but it creates extra steps. I am very beguiled by the idea of a $999 lens that performs similarly to a Leica one I could buy for around $4,500 used. I've searched here for this topic and consensus, well... there doesn't seem to be one. One camp says "Yes, it bugged me and I have replaced everything with Leica glass" and the other camp says "No, I've got literally thousands of dollars left over and I'm holidaying in the Maldives as we speak with my CV arsenal."

6-bit coding a lens just fits some other lens' corrections over yours and is never gonna be perfect. But maybe I start by laying out out the least cash and seeing how it goes.




Jan 12, 2025 at 12:46 PM
retrofocus
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p.1 #10 · Do you prefer softer lenses on Digital M bodies?


I am using both on my digital M bodies depending on the situation. For landscape and scenery photos, I prefer more modern lenses including ASPH ones. For portraits and some fine art photography, I am selecting vintage ones including LTM mount lens versions.

Main difference of modern ASPH lenses is less the difference in sharpness when stopped down but more the avoidance of vignetting in the corners. I sometimes like to have some vignetting in images but not when it comes to landscape photography.

Bokeh is another one where differences can be seen but it is less visible for viewers unfamiliar with differences between vintage and modern lenses.

No matter which camera and lens (modern or vintage) are used, in the end it is all about the composition and the captured moment plus how the light is used. This makes > 90% of the photo, rest is just the detail.



Jan 12, 2025 at 01:12 PM
Steve Spencer
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p.1 #11 · Do you prefer softer lenses on Digital M bodies?


Pindy wrote:
Thank you all for your replies, and RustyBug thanks for the thoughtful considerations. You describe a rich, promising world where so many desires can be catered for but for the money to make it happen! In the past, I essentially subsisted on one 35 Summilux ASPH (ver 1) and with the exception of renting a couple times, stuck with the one and made it work. I loved the look of that lens, so I will likely look to more correction than less.

The other fact is that I have to start somewhere. I've decided that I'll begin with 28mm and
...Show more

I will try to offer my perspective on the issue of using CV and Thypoch lenses. When I had a Leica M10, at one point I had the CV 28 f/2 II and the CV 90 f/2.8 APO. They were both very good lenses. Eventually, however, I replaced them with the Leica M 28 cron Asph v. I, and the Leica M 90 Elmarit-M. For me part of the reason to do that was I could get the profile automatically added to DNG file if I shot with these lenses as they were 6-bit coded. I also got the right EXIF data, which I saw as a nice feature.

That said, I am not sure I would have made these switches if not for a few other benefits I saw in moving to all Leica lenses in my typical kit (my other lenses were the 21 SEM, the 35 lux Asph v. 1; and the 50 lux Asph, v. 1). I saw moving from the CV 90 APO to the 90 Elmarit-M as a pretty lateral move. There was not much difference in price at that time. The advantage of the CV was that it was smaller, but the advantage of the Elmarit-M was not only in getting EXIF and the profile automatically added the Elmarit-M has a little stronger performance in the mid-zone. I was basically trading a for a lens that was a little bigger, but had a little better performance with out really much difference in cost.

The CV 28 f/2 II was a different issue. I liked that lens, but the vignetting was pretty extreme wide open, and I saw moving to the 28 cron Asph as a fairly minor, but clear upgrade. For this upgrade there was a moderate cost (about $1,200 if I remember correctly). I was willing to spend it at the time, but I doubt I would be now with a different financial situation.

I can also say that at this point, I would not choose the 28 lux Asph over the CV 28 f/1.5 (the price difference is too big and the performance is too close, IMO). Neither would I choose the 50 lux Asph over the Thypoch 50 f/1.4, nor I believe the 90 cron AA over the new CV 90 f/2 APO (still a bit to see in Fred's review, but I think I have seen enough). In these cases the performance and even the ergonomics with the CV lenses are too close, IMO, to justify the extra cost of the Leica lenses, but that is a pretty personal decision and in the long run there is no guarantees as I think it is likely the Leica lenses will hold there value better than the CV and Thypoch lenses.

Another issue that favored going all Leica lenses, was that my typical 4 lens kit of 21 SEM, 28 cron Asph, 50 lux Asph, and 90 Elmarit-M all shared the same filter size, which I appreciated and let me shed a bit of the weight I had added by moving to all Leica.

I think only you can decide if it is worth going all Leica. Keep in mind that at least with the Voigtlander lenses and I suspect in time with the Thypoch lenses as well that you can add the profile after opening the file in Adobobe software if you use that. It was not a hassle (or at least I didn't find it one) adding the profile as it was just one step. I never 6-bit coded the Voigtlander lenses, but I suspect you could code them so the EXIF data is recorded, but then not have the profile be automatically applied or if it is automatically applied, override it by applying the proper Voigtlander profile when you import the files into Lightroom or Photoshop.



Jan 12, 2025 at 01:56 PM
Pindy
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p.1 #12 · Do you prefer softer lenses on Digital M bodies?


I wish I had the ability to LIKE this post multiple times.

Steve Spencer wrote:
I will try to offer my perspective on the issue of using CV and Thypoch lenses. When I had a Leica M10, at one point I had the CV 28 f/2 II and the CV 90 f/2.8 APO. They were both very good lenses. Eventually, however, I replaced them with the Leica M 28 cron Asph v. I, and the Leica M 90 Elmarit-M. For me part of the reason to do that was I could get the profile automatically added to DNG file if I shot with these lenses as they were 6-bit coded. I also got the
...Show more

Yeah this is a big draw for me. I like the convenience. And the ergonomics of a Leica lens is appealing and suits me.


I can also say that at this point, I would not choose the 28 lux Asph over the CV 28 f/1.5 (the price difference is too big and the performance is too close, IMO). Neither would I choose the 50 lux Asph over the Thypoch 50 f/1.4,
I think only you can decide if it is worth going all Leica.


The plot thickens. I could see buying a CV 28mm f/1.5 first and eventually an Elmarit of the same FL to walk around with.

I will continue to deliberate over this until I finally make a move, having reached my "F&$@ it Threshold". I will likely make purchases that I will replace in time, so it may be pointless to resist going in any direction.


Keep in mind that at least with the Voigtlander lenses and I suspect in time with the Thypoch lenses as well that you can add the profile after opening the file in Adobobe software if you use that. It was not a hassle (or at least I didn't find it one) adding the profile as it was just one step. I never 6-bit coded the Voigtlander lenses, but I suspect you could code them so the EXIF data is recorded, but then not have the profile be automatically applied or if it is automatically applied, override it by applying the proper
...Show more

Steve, are you referring to the profile in Lens Corrections? I have been using this—I only wish Adobe would let you use that as a way of "claiming" an "unknown" lens and to apply that data to the EXIF.



Jan 12, 2025 at 02:18 PM
Steve Spencer
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p.1 #13 · Do you prefer softer lenses on Digital M bodies?


Pindy wrote:
I wish I had the ability to LIKE this post multiple times.

Yeah this is a big draw for me. I like the convenience. And the ergonomics of a Leica lens is appealing and suits me.

The plot thickens. I could see buying a CV 28mm f/1.5 first and eventually an Elmarit of the same FL to walk around with.

I will continue to deliberate over this until I finally make a move, having reached my "F&$@ it Threshold". I will likely make purchases that I will replace in time, so it may be pointless to resist going in any direction.

Steve, are you
...Show more

Yes, I am referring to the profile in Lens Corrections. I think you ought to be able to use 6-bit coding to populate the EXIF and then use the correct Voigtlander profile in Lens Corrections. In my view, that ought to not be too bad and you would get both fairly accurate EXIF (e.g., the CV 28 f/1.5 coded as the 28 lux Asph) and the correct lens profile applied to the file.



Jan 12, 2025 at 02:35 PM
Pindy
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p.1 #14 · Do you prefer softer lenses on Digital M bodies?


I'm going to try the Nokton to start with, and I have 30 days to evaluate. If the vignetting is a bummer, I will look at options, like maybe a Summicron 28. It begins.


Jan 12, 2025 at 05:34 PM
philip_pj
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p.1 #15 · Do you prefer softer lenses on Digital M bodies?


Luckily, both 28mm and 50mm are well served with fast small lenses, in the M-mount ecosystem at least. If you plump for a modern vintage f1.4 class lens, it will sharpen significantly with between one and two stops. So it's not hard to obtain sharpness with character intact. Focus distance is less critical then also, so you get a bonus with them, with better face shaping and DOF if needed. Many better images are caused by this need to stop down a little.

De-sharpening many APO lenses will be much more problematic because you are interfering with the essence of the lens, either with filtration or post-processing fix ups. Worse still, such lenses are designed to perform at/near their best wide open, whereas the faster, smoother lenses give you a more graduated (and versatile) performance profile.

And their design brief was character oriented, not the pursuit of out-and-out sharpness. Several of them retain very pleasant bokeh stopped down a little, and also exhibit improved specular highlight shapes, less swirl.

About one range of cine lenses designed by the genius Iain Neil:

'The design of Leica Summilux-C lenses has undoubtedly been the greatest effort ever made to create cinematographic lenses, and they deliver exceptional image quality with a commendable balance in its visual aesthetics, since they aren't either all sharp or all soft, capturing details with impressive crystalline clarity and acutance in edges, but simultaneously depicting more human subjects like skin tones and out of focus elements with a softness which feels accurate, as well as yielding natural and consistent colors.'



Jan 12, 2025 at 06:12 PM
philip_pj
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p.1 #16 · Do you prefer softer lenses on Digital M bodies?


Digging a little deeper, Neil is now selling a bolt-on device he developed (https://www.module-8.com/), that adds aberrations back into the lens's images. It's a remarkable turnaround for a designer of his stature.

The movie world is in a minor revolt against digital, not so much because the established players in the industry want change, but because of the very real feedback huge budget movies are receiving from the 'bums on seats' index. People don't like the digital look and it is filtering back to DoPs and up the chain of command to the money men.

The inflection point came in 2013, when for the first time more movies were made with digital than film. Performance that would have been greeted with acclaim in film times now began to evoke disapproval in test views and it began to show up in audience reactions as time went by.

How do we make the surgical, clean digital imagery look like film? What is needed is not so much a de-tuned look placed over the top tier optics (Master Primes, Cooke, Leica Summilux-C) so much as the modern vintage look, with great care taken in balancing aberrations and designing for warm skin tones and attractive bokeh. This sea change is influencing the direction of lens design, and Neil does not see it reversing.

Neil feels that lens makers are not forthcoming about their 'recipes', and in the stills world this is particularly a problem because, unlike cinema, our field lacks any real feedback to the producers of the lenses we buy and use. They work in secret and make their own decisions, and say: 'well, this is our latest lens'. Few even give interviews or try to educate their users.

We will see strong efforts put into color error suppression, all agree fringing and LoCA must be minimized. But this celebrated figure of Iain Neil had some other very interesting things to say about how lens design will go in the digital era:

He sees medium-high contrast with lower resolution. You are not so much giving up resolution, it's still there but not emphasized. 'The contrast the lens produces is the most important thing'. 'That is what is wanted'.

Will this formula work in stills photography? There will always be a love of sharp images for their own sake because you can see so much more with a printable image, even if viewed on screens.

But the modern vintage look will likely carve out a significant niche for itself and we can look forward to watching it unfold, influenced by 'big brother'. It also dovetails into the film renaissance. You can't sensibly argue against beauty in the visual arts.



Jan 12, 2025 at 11:43 PM
bwcolor
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p.1 #17 · Do you prefer softer lenses on Digital M bodies?


Most of my lenses are Voigtlander, or Zeiss with Leica and M-Hexanon in the minority. In the film days, I valued Zeiss and appreciate the same characteristics when shooting my Monochrom. My newer lenses have been Voigtlander APO, which I tend to use wide open. I also like some of the compact Zeiss Biogon c lenses for size and rendition. I only have the 35mm, 50mm APO and Leica 90mm APO/Asph. I don’t have issue regarding the lack of six bit coding, but I do manually set the in camera lens equivalent of what I’m using. I don’t use JPG and I then use the proper lens compensation in Lightroom. Here is a shot using the 35mm APO @f/2.0. If you use the link you can see the full resolution view of the details of the 500mph+ jets.

South Korea 2024-10 by gary, on Flickr


Link to Full Size

The high ISO performance of your camera allows for slower/smaller lenses. My favorite 21mm lens is the Zeiss C Biogon f/4.5. The 35mm C is my preference vs the f/2.0. I sold my 28mm lenses. For fast 35mm the Zeiss f/1.4 is excellent, but is larger than the Leica offering. I use the Voigtlander 75mm f/1.9, but the APO/Asph Leica might be a better choice.

Edited on Jan 13, 2025 at 03:03 PM · View previous versions



Jan 13, 2025 at 02:37 PM
Pindy
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p.1 #18 · Do you prefer softer lenses on Digital M bodies?


philip_pj wrote:
Digging a little deeper, Neil is now selling a bolt-on device he developed (https://www.module-8.com/), that adds aberrations back into the lens's images. It's a remarkable turnaround for a designer of his stature.

The movie world is in a minor revolt against digital, not so much because the established players in the industry want change, but because of the very real feedback huge budget movies are receiving from the 'bums on seats' index. People don't like the digital look and it is filtering back to DoPs and up the chain of command to the money men.

The inflection point came in 2013,
...Show more

This is interesting and I could see the backlash start around the time of The Hobbit in 60fps, Avatar, or the push for 3D, which has mercifully waned to insignificance.

In the M-mount world, what might you give as exemplars of "modern vintage" lens making?



Jan 13, 2025 at 02:58 PM
Pindy
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p.1 #19 · Do you prefer softer lenses on Digital M bodies?


bwcolor wrote:
The high ISO performance of your camera allows for slower/smaller lenses.


I suppose this remains to be seen. Nothing would please me more than to shoot the sort of documentary stuff I shoot regularly with an f/2.8 lens. I will have an opportunity in a couple weeks, and I have traditionally done all right with an X100 camera, so f/2.0 and inferior ISO to this camera. Will report back.




Jan 13, 2025 at 07:08 PM
jackalooope
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p.1 #20 · Do you prefer softer lenses on Digital M bodies?


I have a pre-ASPH 35 lux that has great results paired with m10p, but it performs poorly on my film camera. So I like to use sharper lenses on my film body. For 50mm, I have LLL Cooke Speed Panchro II and I like the soft rendering on my m10p.


Jan 14, 2025 at 03:10 PM
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