uhoh7 wrote
BTW Chas, that Nokton is not so creamy as the f1, but look around and you will see some interesting comparisons which can flatter the now 700ish CV 50/1.1 But I\'ve given it little love since I bought a Sonnetar. Still I do take it to night events. But for personal stuff the tiny Sonnetar rules
While Mandler is lionised, for good reason, I prefer Karbe by a country mile, with a few caveats. Your 28 cron, the 50 Lux asph, SEM 18, 21, 24 and that unbelievable .95, even my 90/2.5, these are spectacular achievements to my eye. Digital features have dominating talking points since the turn of the century, while in truth, Karbe has revolutionized lens design in fundamental ways. Canikon have their constant aperture zooms, superb and remarkable, but for pure prime performance....I love the modern Leica glass, and the less numerous zeiss attempts to compete. I nearly bought a ZM 35/1.4 for 1650 yesterday.... I just love what Edward and others are doing with it. But I think without Karbe that lens would not exist. He pushes Zeiss hard.
I shoot wide open with my lenses 99% of the time. I find f2 a bit lacking in terms of thin DoF, but I\'m not sure how much a 28lux would give me in that respect as well as in terms of light gathering ability. I only recently started looking at CV glass in greater detail (largely due to the their new 35 1.7).
I think what\'s amazing is having 2 quite different eras of pre-modern/modern (for lack of a better distinction in my vocabulary) leica lenses to choose from. Part of me wonders what Mandler would have done if he designed lenses today with the technology and advancements we\'ve made since his time. I never thought of it that way, but you\'re probably right about the 35 1.4 ZM. But that said, the zeiss otus line is also pretty spectacular and in the end every manufacturer is pushing one another setting new standards and we\'re the one\'s to benefit.
uhoh7 wrote
BTW Chas, that Nokton is not so creamy as the f1, but look around and you will see some interesting comparisons which can flatter the now 700ish CV 50/1.1 But I\'ve given it little love since I bought a Sonnetar. Still I do take it to night events. But for personal stuff the tiny Sonnetar rules
While Mandler is lionised, for good reason, I prefer Karbe by a country mile, with a few caveats. Your 28 cron, the 50 Lux asph, SEM 18, 21, 24 and that unbelievable .95, even my 90/2.5, these are spectacular achievements to my eye. Digital features have dominating talking points since the turn of the century, while in truth, Karbe has revolutionized lens design in fundamental ways. Canikon have their constant aperture zooms, superb and remarkable, but for pure prime performance....I love the modern Leica glass, and the less numerous zeiss attempts to compete. I nearly bought a ZM 35/1.4 for 1650 yesterday.... I just love what Edward and others are doing with it. But I think without Karbe that lens would not exist. He pushes Zeiss hard.
I shoot wide open with my lenses 99% of the time. I find f2 a bit lacking in terms of thin DoF, but I\'m not sure how much a 28lux would give me in that respect as well as in terms of light gathering ability. As for CV glass, I\'ve just begun exploring that option in greater detail largely due to the their new 35 1.7
I think what\'s amazing is having 2 quite different eras of pre-modern/modern (for lack of a better distinction in my vocabulary) leica lenses to choose from. Part of me wonders what Mandler would have done if he designed lenses today with the technology and advancements we\'ve made since his time. I never thought of it that way, but you\'re probably right about the 35 1.4 ZM. But that said, the zeiss otus line is also pretty spectacular and in the end every manufacturer is pushing one another setting new standards and we\'re the one\'s to benefit.
