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75mm Summarit


leebert

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I must say I have enjoyed this lens for the primary purpose of portraiture photography. It provides a great space between the subject and myself - a balance of intimacy and respecting their 'boundary.' Then again, that's a function of it's focal length more than anything else.

 

But just for laughs, I did something I normally don't do - the 100% crop to see how sharp the image is. What I found floored me with this simple shot:

 

1) at f2.5, a very precious depth of field - to the point that one eye on a slightly canted head is in focus, while the other is not

 

2) resolving power not just in the details (eyelash, flower petal, etc.) but in the chromatic resolution in the subject's eye (in other words, I can see my reflection taking her photograph in her eyes)

 

I know there are a range of views on this modestly priced (for Leica) lens. But from my perspective, with over 4 decades of experience taking photographs, including a few decades with Large Format, I could never expect more resolution, nor greater functionality from a piece of equipment (actually, a union of M9 and lens)

 

Thought I'd share:

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.... (in other words, I can see my reflection taking her photograph in her eyes)....

 

 

:) I wonder if this is a magic of the Summarit or is inside little girls'eyes... :)

 

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Anyway... a fantastic lens : the first I bought as new in many years, and one of the "best buys" of my long history of Leica lenses of any ages...

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Well done on the original post. And I agree with the comments about the lens. Here's my example.

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One of the best aspects of this lens is its good resistance to flare. This is the only lens (any brand) that I have often used without the hood.

 

Anyone who claims that the current Summarit lenses are inferior because they don't carry the hallowed Summicron name, should go home and wash his mouth. It is the lens that takes the picture, not the name on the front ring.

 

The old man from the Age of Hard Facts

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leebert that's pretty convincing. Also, it shews up something else; below f2,8, with any medium lens 75mm plus) a non plane subject is starting to give you real problems at portrait range, the depth that is in true sharpness is very very small (there's a calculator on the 'Net). So, the old 1,4 75mm would have given you two speeds up (great for me, with the DT's and not using tripod) but even less depth, so then we turn to faster film and don't use the maximum aperture......compromise, compromise, as always.

Though I have the 75mm 1,4 the one that gets taken out more is the collapsible f4 90mm close focus (new type, used without macro adapter goggles) and the reason is it exhibits the same fingerprint as the collapsible 50mm (modern one now discontinued I think) though obviously stood further back!

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... it shews up something else; below f2,8, with any medium lens 75mm plus) a non plane subject is starting to give you real problems at portrait range, the depth that is in true sharpness is very very small...

 

Agreed, and again, this is what really strikes me about the example: the sharp focus zone is so tight, that shifts between focal plane and subject - measured in centemeters - will impact the photograph. The practical implications of this are huge: I will rarely photograph with this wide an aperture in the future, for as I open up in a dynamic setting, luck starts to play a larger role in what I actually record in the photograph. (no matter how good a focuser I imagine myself to be ;) )

 

Please know I have no explicit or implicit intent to adversely comment on the utility of faster lenses for this particular type of photography - what I did want to share is an example of the practical issues confronted in this type of photography - and how this could inform purchasing decisions for people who are considering a lens in this focal range.

 

Which ultimately is a testimony to how technically advanced this equipment has become - it's quite remarkable and a real golden age for our art.

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leebert, I agree and share your views. I bought mine to work with my M8 and thought it might be redundant on the M9. Not so; it is a 'keeper' and is used with both bodies.

 

Here is an example, selected at random from more than 1200; cropped 50%; taken at full aperture (despite EXIF suggesting otherwise); daylight indoors on M8. I show it because it illustrates how well the lens captures both the in-focus photograph (you can read its title) and out-of-focus male and female heads and background. Both faces are very nearly on the same focus plane, yet the clarity levels are markedly different. Taken in UK featuring a family member visiting from Australia in 2009!

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