Leica 28mm f/2

[Annibale G.]

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Hello,

Does anyone experience changing from 35mm M lenses to a 28 mm M lenses?

what about distorsion?

I'm thinking to change my 35 mm M f/2 to 28mm M f/2 because sometimes I need more space, but I'm worried about lense distorsion.

Thanks for any advice.

Annibale

[lct]

 

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[SJP]

there was a poll on 'what is "the best" Leica M lens' and if I recall the sequence was 50 lux ASPH, 28 cron ASPH, and 35 lux ASPH but searching for this is like finding a needle in a haystack.

 

I have no experience with the 35/2 but I can recommend the 28/2 summicron ASPH as a very good lens, whether you find the distortion as measured acceptable or not is up to you.

 

I have certainly never noticed any and condider it distortion free for all practical purposes.

[Jeff S]

I think he's referring to "perspective distortion" (this) not optical distortion (pincushion or barrel).

 

The 28 is not super wide, and can be a very useful lens. I own both and use the 28 more on my M8.2 than the 35, partially because of the crop factor, but more because I like 28/50 as a two-lens combo. When shooting with one lens, however, the 35 is a nice all-purpose lens.

 

I can usually get similar shots with either lens by using my feet, although the perspective will change. You might say this distorts reality, but all photography does that to some degree, and can work to your advantage depending on the goal.

 

So, a lot depends on your camera (FF or crop), subject matter, working methods and overall lens arsenal. Optically, both lenses are wonderful, and should pose no obstacles.

 

Jeff

[tobey bilek]

1% is only noticeable if you look for it. The graph is calibrated in % in the vertical axis.

 

3% is the design limit in general for DSLR lenses, zooms and wides. 60 2.8 is is distortion free as are the fixed focal long lenses.

 

Wides are difficult to make distortion free, reflex camera wides are even harder to impossible. 35mm is about the limit.

 

The old 21 3.4 SA had no distortion, but it had significant other issues.

 

You will also notice the current wides are not true wides, but hybred true wides and retrofocus ( reflex) lenses. True wides protrude way into the body and block the metering.

[Annibale G.]

mmmh a lot of thoughts

[SJP]

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this is what the 28/2 ASPH distortion looks like, just horrible

 

Apologies for posting a picture here but that is the only way forward to sort this out, note the horizon is straight out of camera. No corrections other than color, contrast, brightness.

 

Kijkduin 2008

 

 

Leica M8 summicron 28/2 ASPH

Edited February 26, 2010 by SJP

[lars_bergquist]

The 28mm Summicron is a lovely lens. I can find no fault at all with it. Linear distortion is of course negligible. Perspectival distortion is up to you. The wider the lens, the more careful you have to be in aligning the camera, unless you want to exploit the perspectival 'falling lines' pictorially -- but the devotees of the 'liberated camera' around 1930 found to their delight that you can have lots of perspectival even with a standard lens! Just point it in the right (wrong) direction.

 

The old man from the Age of the 3.5cm Elmar

[dpattinson]

You haven't said which camera you'll be using it on, which might make a difference if it's the M8 or M8.2.

 

Personally, if you only have one lens - then I think the 35mm is a better all-round lens on full frame. Of course this depends a great deal on what kind of work you do.

The 28 is a fantastic lens and if you are essentially shooting static stuff from a distance (landscape) then the only difference I think you will see between the two is that the 28 has a greater field of view.

If you shoot people in the street, then I think you will find you need to be quite a bit closer to your subject with the 28 to avoid having to manage a lot of peripheral scene in the shot. Doing portraits with the 28 is either going to include quite a bit of environment, or have noticeable perspective distortion of features (which may not matter, depending on your style). You can of course always step back and crop

 

HTH, David.

[menos I M6]

The 35 Cron ASPH has no visible distortion, whereas the 28 Cron ASPH does show some slight barrel distortion:

 

 

"lost space" EPSON R-D1 | 28 Cron ASPH

 

gallery update

 

This is the only shot, where I ever actually recognized the distortion.

It might very well be, that with a coded 28 Cron this is already corrected in the M8/ M9.

 

The 28 Cron ASPH is my absolute favorite right after the 50 Lux ASPH and is very close to it regarding flare resistance. The 35 Cron ASPH is no match to the 28 regarding this.

[ho_co]

this is what the 28/2 ASPH distortion looks like, just horrible

Sheesh, Stephen, the Flat Earth Society lost the race! Get real, man!

[palec]

Sheesh, Stephen, the Flat Earth Society lost the race! Get real, man!

 

Hilarious

[lct]

The Summicron is probably the best 28/2 available, at least it is my favorite over the Zuiko and the Nikkor. Now vignetting is not negligible to be honest. It is so with no wides for sure but the feeling that there is no vignetting with the M8 and (presumably) the M9 comes hardly from the lens.

[jaapv]

The M9 corrects the vignetting approx. to film level. On the M8 it is cropped out. Now when you are on digital things like distortion and vignetting have lost most of their impact, as those are extremely easily corrected.

[lct]

...Now when you are on digital things like distortion and vignetting have lost most of their impact, as those are extremely easily corrected.

Not sure if it is that easy with all non Leica bodies. The R-D1 is OK with a good raw converter but it is not the case with some FT cameras i've been told. Ever tried the Cron on a Panasonic G1? Just curious.

[jaapv]

What would the problem be:confused: Both Adobe and C1 products have simple sliders for those corrections and I am sure all other RAW converters and editing programs are similar.

[lct]

Noise and blur in the corners.

[jaapv]

In theory - yes. In pixel-peeping- probably. In print- I've yet to see it.

[BuenosDias]

The M9 corrects the vignetting approx. to film level. On the M8 it is cropped out. Now when you are on digital things like distortion and vignetting have lost most of their impact, as those are extremely easily corrected.

 

Fully agree. Having swapped the M8 to a M9 recently this is just what I feel when looking at the results.

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[menos I M6]

In theory - yes. In pixel-peeping- probably. In print- I've yet to see it.

 

Jaap, not really just in pixel peeping.

 

It really makes a big difference, which digital camera is been used for the Leica glass.

My R-D1 seriously ruins the output of the Leica 35 Summicron ASPH.

It produces extremely visible amounts of sagital coma and flare + ghost images from any bright light source within the frame.

 

This happens to such an extend, that I thought, my sample of the lens has a defect.

The 35 Cron ASPH is completely unusable in low light shots on my R-D1.

I do not know the exact reasons for that, but think a mixture of specific not ideal angle of light rays to sensor and possible internal reflection interferences within the light box of the R-D1 coincide in a not ideal fashion.

 

When I got my M8.2 I was fully surprised, the 35 Cron ASPH is one of the sharpest lenses from corner to corner with NO perceivable sagital coma, NO ghost images from bright light spots, whatsoever and quite controlled flare (not as good as the 28 Cron, and far away still from the alien like 50 Lux ASPH).

 

It can make a huuge difference, which digital body is used for the glass.

 

Since I experienced this dramatic change of character of lens, I pay close attention to the used camera body, when users/ reviewers claim a specific lens as very good or very bad.

Leica did something with the M sensor, other manufacturers might not do, so the best body and ONLY reference to Leica glass is the M8/9.