DaveEP wrote:
Just been told I should expect April/May for UK availability
This would be ok with me if it means they fullfill pre-orders on the mainland first before heading for the islands
Seriously .. according to whom?
Eoin wrote:
Can I ask for some thoughts from you all regarding 3 lenses,
My dilemma is the choice between the 75Lux, 75Cron APO ASPH and to a lesser degree the 90Cron APO ASPH. My favourite focal lenght has been without a doubt the 85L on the Canon 1.25 crop which I tend to shoot between f2.2 f/4. I just love the feel this lens imparts to the images. My choices for the M8 should I go down that road seem to be heading in the direction of the 2 75's given the 1.33 crop of the M8, but as to which to choose, that's the question.
What difference apart from aperture 1.4 v 2.0 does the APO ASPH impart to the image, is it more contrast, better colour, less flare, more sharpness?. I have read / searched and there seems to be two schools of thought, three in fact if you count the 90Cron. I read they all draw differently but which would you choose and why?.
You should be happy with any of them if you are shooting at f2.2 to f4. The 75mm Summilux should be getting pretty sharp by then. If you want the ultimate lens quality, you will need to go to the APO lenses. You may want to just wait until the M8 is out and you see some samples from each lens.
In regards to the crop, if you were using a Canon 1D, the crop is about the same size as the M8. Canon says 1.3, Leica is 1.33. They are both APS-H sized sensors.
Rob,
correct me if I'm wrong but I always thought the corp on the Canon 1DmkI/II was 1.25 not 1.3 that canon say or is that just another internet myth?.
Eoin wrote:
Rob,
correct me if I'm wrong but I always thought the corp on the Canon 1DmkI/II was 1.25 not 1.3 that canon say or is that just another internet myth?.
Eoin wrote:
Rob,
correct me if I'm wrong but I always thought the corp on the Canon 1DmkI/II was 1.25 not 1.3 that canon say or is that just another internet myth?.
28.7mm x 19.1mm
Compares to a format of 24.0mm x 36.0mm
That leads to a ratio of 1.2550...
Rounded : 1.26
If the size of 24x36 is a little smaller(talking fraction of mm here!), the rounding might be 1.25. If not, 1.26 should be the value. 1.3 from Canon is the rounding at the 1/10. It's like Nikon sensor which is 1.52 instead of 1.5.
jaapv wrote:
This is an eternal Leica question. You must understand that these two lenses are very different in character and that the stop difference in maximum speed is not all that important. Basically the answer is that the Summicron apo draws with a finer brush and thus paints a little more harshly. Steeper defined bokeh and more clear outlines in the unsharp zone. The Summilux is a bit more "impressionistic", gives a more smooth OOF and is conceived for low light shooting, thus rendering spotlights etc. wide open absolutely coma- and flare-free. From 4.0 upwards there is very little to choose between the two. So the choice is up to you: for romantic portraits, theatre and general work one could prefer the Summilux, for powerful contrasty shots the Summicron. Personally I prefer the Summilux. The 90 Summicron apo is very close to the 75 Summicron apo in performance. ...Show more →
This definitely holds true and the difference is more pronounced if film is the medium. But nowadays, in the digital world we are in, I believe the difference is not that noticeable and can be "manipulated" (although I dislike that word but for lack of a better one, I use it) to look more closely together.
Eoin wrote:
Rob,
correct me if I'm wrong but I always thought the corp on the Canon 1DmkI/II was 1.25 not 1.3 that canon say or is that just another internet myth?.
Canon said 1.3. Regardless, they are both APS-H sensor sizes. It might just be how each company does their calculations for crop.
AGeoJO wrote:
This definitely holds true and the difference is more pronounced if film is the medium. But nowadays, in the digital world we are in, I believe the difference is not that noticeable and can be "manipulated" (although I dislike that word but for lack of a better one, I use it) to look more closely together. .
I have to disagree .. no way you can make the file of a 35 lux pre asph look like the file of a cron 35 asph. The same holds for the 75 lux vs. 75 cron.
The character of the different lenses shines through in digital files .... just as with film! At least that's my experience from 2 years use of the R-D1 .....
Perhaps not if you shoot a landscape or architecture ...... but as soon as people are involved the differences are rather huge!
J. Borger wrote:
I have to disagree .. no way you can make the file of a 35 lux pre asph look like the file of a cron 35 asph. The same holds for the 75 lux vs. 75 cron.
The character of the different lenses shines through in digital files .... just as with film! At least that's my experience from 2 years use of the R-D1 .....
Perhaps not if you shoot a landscape or architecture ...... but as soon as people are involved the differences are rather huge!
I am not disagreeing with you..... Yes, there is a difference but the difference can be reduced if the digital files are post processed. Using film, you are under the mercy of the emulsion, whether you like it or not. Yes, people use different film to get different characteristics as well.
Am I the only one who carries over from his darkroom days the practice of "burning in" the edges and corners of their prints? The wide angle "slight vignetting" without coded lenses may save me the trouble of burning in in Photoshop (). Examples of subtle burning in the corners and edges are on my site here:
www.modernpictorials.com
I agree my way of seeing and printing isn't for averyone, but it's my style, and others seem to like it (they take out their wallets).
Just another point of view. BTW this forum thread is GREAT!
Dave G in NJ
gurtch wrote:
Am I the only one who carries over from his darkroom days the practice of "burning in" the edges and corners of their prints? The wide angle "slight vignetting" without coded lenses may save me the trouble of burning in in Photoshop (). Examples of subtle burning in the corners and edges are on my site here:
www.modernpictorials.com
I agree my way of seeing and printing isn't for averyone, but it's my style, and others seem to like it (they take out their wallets).
Just another point of view. BTW this forum thread is GREAT!
Dave G in NJ
I too was taught to burn the edges of my prints -it helps contain the image within the frame. Post-darkroom days I've made up PS actions that accomplish the same.
Of course you can always turn off the six-bit code recognition.
gurtch wrote:
Am I the only one who carries over from his darkroom days the practice of "burning in" the edges and corners of their prints?
No, I do that too. However, I like control over where to burn and how much, and how the gradient should look. Here's a shot from with the CV 15 on the R-D1; I find the effect a little too heavy-handed personally, I would have preferred something a little less obvious. Of course I would have preferred to do it myself, because I would have done it very differently.
jmilich wrote:
I just opened my 15. that is a cute little bugger, eh? and the 21mm finder seems very nice.
now I have to start thinking about a 24 or 25...
I also got the CV Filter Adapter for the Ultra Wide 12mm CV lens. A little black electrical tape on the built in hood of the CV 15, and the filter adapter fits, so you can use 77mm Polarizers, etc. Neat!
Dave
Guy Mancuso wrote:
I have a feeling that vignetting will be somewhat a moot point with this camera. We may only see this on the very wide lenses and frankly besides the Tri_elmar which would have the coding anyway, there really is the 21 and 24. I doubt very highly the 24 will and maybe the leica 21 may have a pinch if any.
This is what it's starting to sound like! That's awesome, I may be able to put the CV 21 into use as a compact outdoor 28-fov lens. It likes to be shot at f/8-f/11 to be at its best, so needs lots of light. But it has a nice tonal gradation on film and is a very nice lens. (The 15 is, too.)
BTW, the 28/1.9 is a very nice lens, tack sharp at f/4 but without obnoxiously high contrast. Flare resistance looks great, skin tones pretty good. It has a slight knee in the quarter tones, causing the midtones, especially caucasian skin, to pop up a bit; but that's easily fixed with a style setting in C1 (just drop the midtones somewhat). I haven't tried it with color or wide open yet though, I shot it all outdoors.
The cron 75 rocks. Fantastic lens. It just takes one glance at the negs on the light table to tell it's got Leica magic dust inside.
). Examples of subtle burning in the corners and edges are on my site here: