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 p.1164 #2 · Leica M/X/T/S/Q/CL/SL Picture Thread | |
adamdewilde wrote:
Two random questions if anyone wants to humour me.
1) Is it excessive to own a 35 Summicron-ASPH and a 35 Summilux-ASPH-FLE? Really just from a rendering standpoint. As in are they different enough? I can't decide what to keep and what to sell.
(keep in mind, it's a FL I use quite often for work)
2) Would it make sense to own a 75 Summicron-APO and a 75 Summilux? Assuming you think you needed the extra stop, but keeping in mind the 75 Summilux wide open is hard to hit focus, and isn't really all that sharp.
(keep in mind, it's a FL I use quite often for work)
3) Random probably repetitive question.. But do you all think you could live your lives happily (and shoot happy) with just one lens? And what would it be?
Kinda just trying to clean up my M lens kit, now that all other camera gear (other then S/Q) is gone. A lot of focus is on my M-system now, as I try to figure out what direction I want to move in. Wondering if I should go full hog into the S-sytem (since it seems to work well for most of my work situations) and pickup the remaining lenses I've been eyeing, and the S-007 now that it's about to be released. Or if I should turn my attention on the M-system and just fine tune it, so I can shoot more focused without to many lens choices (distractions). ...Show more →
1) I don't know. Haven't shot with either. My guess is the Lux is the more versatile lens. You could try trading your Cron for the new black chrome version, get an M246 and make it your out and about walk around combo. A little bit of gentle accelerated wear on the edges and you could have your own monokravitzchrom. 
2) I used the 75 Lux once, for a couple hours, and didn't seem to have any focusing problems with it. I'm not sure whether or not it's professionally sharp, but there might be an argument for it as an alternative rendering option to the Cron. That said, the Cron has some similarities to the 50 Lux ASPH. Thinking about my Canon kit, the 50L is not the sharpest lens out there, possibly not professionally sharp, but I still use it a lot. Point is you could probably make the Lux work for you if you liked it enough.
3) No. After nearly 5 years in the M system, I think I've conceded that when I'm out, I see in multiple focal lengths. Though compared to my SLR-only years, I've apparently been able to restrict my vision to 90mm and wider. Maybe I just need to be forced to do it. But at the moment, I don't see a point or need to doing so.
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canerino wrote:
Day 2 with the MM. I'm REALLY enjoying the camera. I'm in search of a 50mm to go with my 28....I'm thinking Voigt 50 1.5 or Zeiss planar. I really want to stay under $600.
Anyway, here are some pics. I've always documented my family life (10 years) and this camera seems to be 'the one'.
Chuck, really enjoying your family photos!
Regarding 50mm lenses... for the MM you have a lot of flexibility because you don't really need to account for color rendering and an overall lower contrast look can be tweaked in post. I'd suggest considering a fairly broad range, including vintage lenses, if you're looking for rendering as much as anything else. The Voigtlander 50/1.5 is a sharp lens and will have a smoother rendering than the 50 Planar, though somewhat lower contrast (at least based on my experience with the LTM version which has different coatings from the M version). My feeling is it's centrally sharper than the Planar, too. But overall the Planar is a very clean lens with good contrast/snap. There aren't normally any surprises when using it (though it can suffer a bit from veiling flare in some backlight situations). On the vintage side, the Canon 50/1.4 screw mount is a blend of older softer rendering with the sharpness of a modern 50 when stopped down a bit. The Leica 50 Cron Rigid is also interesting, but will be over your budget. You'll have to research it, but maybe the 50 Cron collapsible would be worthwhile? Leaning a bit more to the rendering over sharpness side, the Zeiss Opton 50/1.5 Sonnar is quite interesting. I carry it as my 'other' 50 at times when I'm after a less modern look. The Sonnar also has interesting background rendering. Sometimes it's a bit on the harsh side, but it retains good structure of out of focus objects, giving a sense of what's back there, rather than the super smooth look of some other lenses. But the Opton Sonnar is typically found in Contax RF mount, so you need a ~$250 M mount adapter for it. Other vintage Sonnar options are the Nikkor 5cm/1.4, Canon 50/1.5 and I guess some East German or Russian variants. The Nikkor is a wilder version of the Opton Sonnar. Very soft/glowy wide open with strong background rendering, though sharpens up quite a lot at f/2... Then there are the Nikkor and Canon f/2 or f/1.8 variants. I think also a 50/2 from Konica... There are a wealth of 50mm options available and some of them are quite reasonably priced.
This old lenses on the Monocrom images thread over at LUF could be a good chance to see some of these options in use.
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