CVickery wrote:
Congrats on the M240 Abram. You might also want to consider the new Voigtlander VM 35/1.7...it's not quite as fast, but Ron seems to like his. The M240 does reasonably well in low light up to ISO 3200 and as such the f1.4, while nice, isn't as necessary.
AbramG wrote:
I have had the 50mm Nokton a couple times now and while I really, really like what it produces optically, I just find that for me the ergonomics of the lens don't quite work (which is unfortunate because I've grown to like the retro styling).
I'll keep it in mind however, I really love the size / ergonomics of the 35 Summilux Pre-Asph, but I feel like the 1m MFD would be a slight hindrance as is its less than stellar wide open performance (it really livens up as you stop down though!) But it sure is a perfect size / weight. ...Show more →
Yes, I like the 35/1.7's image quality, but dislike its ergonomics. IMO it's realistically more or less an f/2 lens. Wide open only gains you slightly more light in the center of the frame. It's greatest appeal is its price/performance ratio. If you want a sharp modern f/1.4 lens wider than 50mm in M mount, then I think it's the ZM 35/1.4 or the 28 Lux. Though for the price of the 28 you could consider the 35 Lux but the ZM is likely as good or better, ergonomics excepted.
What if I'm not technically chasing perfect performance? If I'm going with something f/2 then I will gladly go back to the 35 Summicron ASPH as I got along really well with that lens,
I just sold my MP today as I'm trying to streamline my kit as much as possible and kept my M-A as it holds sentimental value to me, I still shoot a lot of film but felt I only needed one M film body now that I have an M240 again. I also shoot film on an Old Nikon F so I have options.
Anyways back on track. The Summilux FLE of course is of great interest but I don't have the budget for a $4k lens right now. The pre-FLE is also of interest, as is the pre-Asph, the latter because I think it's rendering style would mesh well with my other lenses. I just don't like the 1m MFD.
All of that brings me back to my initial question about the ZM, from what I understand it's performance leaves nothing to be desired on film or digital M bodies but the size is of some concern. I'll have to rent one to try it out for myself.
I'm shooting 21/50 right now and that will cover me perfectly for most situations so I don't have to rush out any get anything, I'm just looking into which route I want to take for a primarily low light optic.
It boils down to a "character" f/1.4 or a "performance" f/1.4.
Am traveling and so busy that I've only been able to shoot a bit at night, and have continued with the M10 at ISO 3200.
My hotel is around the corner from the Leica Store - Mayfair. I stopped in briefly and met Sarah M. Lee, who was buying her second M10, a camera about which she very excited. A freelance photographer for the Guardian and the Observer — newspapers these days largely don't have staff photographer — she's a great talent, with originality and a great sense of color; her B&W work is also exciting. If you want inspiration for you work, I highly recommend you look at the projects on her excellent website.
Leica M10 | Summicron 35v4 | ISO 3200 | f/2.8 | 1/125 sec London
uhoh7 wrote:
But, one thing is obvious: the M7 has inspired you.
No kidding, Edward your film shots are excellent!
When I use my M7 with the ZM 35 1.4 I also add the M grip 14 405. It balances together really nicely.
I have a near perfect M6, and I really looked into the workflows. I need another me for that
New gear can make things interesting, and really push you. I'm fiddling endlessly now with the latest ultra-thin kolari mod, which drinks light in some unpredictable ways. But I've learned alot about WB in the process. And I have some images I really love and could not really have gotten any other way.
For fast documentation, nothing beats the M. I never let my M9 loose past ISO800, but that's enough with the 28 cron often, indoors. The M6 is a better low light camera . But that limit is another push, really. The cron can only go to F/2, and below f/1.4 would have helped immensely. Ironically the 28 Lux and the M10 are the same price My CV 35/1.2 will shoot anywhere you can see at ISO 800, but you must prioritize focus and hit it. For frequent low light professional events, I might invest in the M10, but since I don't have the shot lists to hit very often at night, I can afford to miss
Within a year I should have the option to shoot a A7r2.mod with silent shutter, that's going to be my ISO fix. There are new mods which are really remarkable for M on that body. The r2 sensor stripped bare with only IR cut will shoot a M wide like the ZM 21/4.5 as no digital camera ever has before in a technical sense*. Of course, it's still a friggin menu and button nightmare with tiny headache causing TVs But less than half the cost of an M10 and I can do some special tricks with it
Desmolicious wrote: uhoh7 wroteBut, one thing is obvious: the M7 has inspired you. No kidding, Edward your film shots are excellent!
When I use my M7 with the ZM 35 1.4 I also add the M grip 14 405. It balances together really nicely.
Thank you for the nice words Huss! I have to admit that I really enjoy the film shooting process and I can safely say it does inspire me more than digital, in a purely subjective and sentimental way.
Regarding the 35/1.4 and also 85/2, which is even bigger, I found that the A&A leather case that I use on the M7 gives plenty of grip though the handgrip is excellent too. I used to have one on my now deceased M6.
^Lovely image Rene! May I ask which city this is? The view with the city in the front and the mountains in the background is very nice.
I am still in Lofoten, and today we are stuck inside our "rorbu" (fisherman's´home). The weather has moved from rain and snow to a crazy storm! The wind is so intense that there are times I feel that it will grab the rorbu from its poles and lift it up. But between all the bad weather I still manage to go out and do some shooting. Here's a couple of shots from the recent days, first one with Zeiss Distagon 35/1.4 and the second with Leica Summicron 75 AA (both taken with Leica M246). More images will follow later