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Latest non-APO 50 Summicron vs Vintage 50 Summicron


Printmaker

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I was not sure if I should post this under Monochrom or Lenses but since I often shoot with both the M9 and the Monochrom, I put it here under lenses. Fell free to move this posting if you wish.

 

Before I purchased a Monochrom the choice was simple as I only had one 50 mm Summicron - a type 3 vintage 1969. I chose this lens because one came with my M4 back when both were new. I lost the original but replaced it a few years ago with a nice 50 of the same vintage. Nostalgia, I guess. To make a long story short, I'm more of a 35 mm lens guy and the 50 found a pocket in my bag and only came out when I wanted to shoot a portrait as this lens produces a wonderful "Leica Glow" especially in color.

 

When I got my Monochrom, I thought I had the perfect lens to use as a body cap - the 50 Summicron type 3. Well, the Monochrom invites you to examine the fine details at 200 or 300%. Especially when you are in post and trying to bring details out of the shadows. The old type 3 just did not seem to have the contrast it takes to bring out the shadow details. Case in point, the Salt Pond Sunset photo.  So I looked for and found a nearly new 50 Summicron and, as a bonus, it had just had a CLA done by Leica. So I got it and mounted it on the Monochrom.

 

I liked the look of the new 50 better. It was sharper and had better contrast. Those pesky shadows were easier to process. Okay, that's simple, keep the new 50 and sell the old. But in order to make the old 50 more desirable, I sent it off to DAG for a CLA. While it was away, I began to see images where the extra detail and contrast took away from the photo. Case in point, the Kokee Cabin photo where the leaves in the background are too sharp and thus distracting.

 

I figured out a work-around  by using -8 as a clarity setting and keeping my F stop under 4 through the use of filters. I also tested the lenses and while I can see slight differences, they are just not enough to make the decision of which lens to keep. I think the decision would have been easier had I not had the 69 professionally cleaned.

 

Anyway, I'm still sorting this choice out. I'm not going to keep both. One becomes the Mono body cap and one has to go. But I'd like to hear what others think.

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Here are the test photos:

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Another comparison: tattoo dad with pre-CLA 69 cron. Boogie boarders with type 5.

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I've also had a v3 since 1969, and added a "v5" (which I would call a v4 variation) a few years ago. On my M9 I can notice the differences, especially at f2, but I agree sometimes the v3 can be more pleasing. I also have v1 & v2, which also have their own look. I could be happy with any of them - all Summicrons are nice. I also use a 35 more on my M9, but 50 more on film.

Now I use the 2.5 Summarits in both F.L. more than the Summicrons, as I love the handling and images.

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I thought I'd take the Version 3 with me this morning as it was bright and contrasty at the beach. From the surf school.

 

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They all have their merits. Have tried them all (except the APO)

I currently have v1, v2, v4 Summicron 50.

 

The v1 is ultra portable (collapsible), has a specific look and 'greenish' color balance I like more than the 'reddish' balance of the newer lenses. v3 was in between. v1 looks a bit softer to me than the v2. I like the tab to focus.

 

v2 is my favorite, same color balance as v1 but sharper. Less contrast than v4 but that can be an advantage. On digital contrast can easily be added in PP. 

 

v3 has more contrrast than v2 but less than v4 and v5. Color is more to the red side, in between the v2 and v4.

That is why I sold mine. It is more a compromise lens to me.

 

v4 has more contrast. I like the focus tab. Is sharper than the v3, on par wiith the v2. But now sometimes contrast gets in the way. More contrasts triggers CA issues in highlights more easily, like on church windows edges when shooting full open in low light. 

And in general it is harder in PP to remove contrast than to add contrast without losing picture quality. 

On film the higher contrast is certainly an advantage.

 

v5 was the same optically as v4, no focussing tab. Convenient build in hood.

I sold it because I like focussing with tab and do not often need the hood.

 

If you had a v2 and a v5,  I would advise to keep the v2 for your MM.

Now I am inclined to advise keeping v5 or maybe sell both and get a v2 in perfect condition for your MM. I think the v2 would probably get you the detail you have with the v5 without the high contrast issues.

 

Selling v3, then buying a v2 to compare and keeping the best of those 2 is what I would do if I had to choose only one 50. 

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I love the v5 on the Monochrom and M-E and it is my go-to lens on both.  Its also terrific on film.  I had a clean v2, but sold it soon after getting the v5.  Of course I have a totally different lens for when I want lower contrast and glow, which is an uncoated Carl Zeiss Jena 5cm f/1.5 Sonnar made in 1937 with uncoated optics.

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I love the v5 on the Monochrom and M-E and it is my go-to lens on both.  Its also terrific on film.  I had a clean v2, but sold it soon after getting the v5.  Of course I have a totally different lens for when I want lower contrast and glow, which is an uncoated Carl Zeiss Jena 5cm f/1.5 Sonnar made in 1937 with uncoated optics.

 

I agree. I think I'll keep the V5, sell the V3 and maybe add a 50 Nikkor or Canon when I need a lens that is softer and less contrasty.

One last V5 - an endangered monk seal takes a nap.

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I agree. I think I'll keep the V5, sell the V3 and maybe add a 50 Nikkor or Canon when I need a lens that is softer and less contrasty.

One last V5 - an endangered monk seal takes a nap.

 

The thing is that the V2 is less contrasty but has more definition than the V5. This gives better digital results in most situations than with the v5 by adding a little extra contrast as needed by the shot in PP.

So replacing with a softer Nikkor or Canon would not be an option for me.

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I'd sell them both and get a 50 Lux.

 

Shoot that a while. You can always find the older crons if you want them back.

 

I've considered this and may go with a 50 Lux in the future. Right now I'm trying to keep things simple and as light as possible. Here's a V3.

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