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Everything posted by KFo

  1. For one thing the summaron is SMALL. I like the aesthetics of the images produced by the Summaron: slight vignetting and a bit of barrel distortion along with the falloff of resolution at the sides and corners. It fits well into my particular aesthetic sense. It also seems pretty flare proof... It is not a technical champion by any means, there are many lenses that would look much higher performance on a spec sheet or in detailed testing. Those things are not important to me for this lens. Size comparison....small....
  2. I have the Macro-Elmarit-M 90 and have found it to be execellent in it's role as a small 90. It's my only 90 in fact. In fact outside of a really super special use 180/360 the longest lens I typically use is 50. So a 90 has to be easy to bring along to make the cut. I try to use it to good effect. Works well in a role as color and I like in my more typical abstract vision.
  3. You know, I have played with Lomo and Holga. They are crappy in ways that don't interest me. For example light leaks, or in the case of Lomo failing to fire when the shutter release is pressed. I know this is a weird requirement: I wan bad optics and perfect camera mechanics. A Leica with a messed up lens...
  4. Messing up some filters is a nice idea. I'd forget all about filters since I went digital. I'm gonna head to the local foto monger and see if he's got some cheap filters I can mess with (that fit my lenses more or less).
  5. I'm looking for perfectly unusable lenses I think scratches are really an insufficient defect. Element separation sounds exciting....flare doesn't excite at all. I've already got expensive perfect lenses that flare.
  6. I've been heading down a very anti technical perfection path in imaging for quite some time now. I've been thinking about using messed up lenses (Sally Mann,etc) however I've not had much luck locally finding LTM/M mount lenses in the appropriately messed up condition. Unfortunately Leica lenses seem pretty durable....;) Any suggestions for broadening my search beyond local (I live in Barcelona)? It seems people just leave their messed up optics in the attic. What say the net wisdom? Thanks!!
  7. Me too! When I read here about sending things out to be worked on, CLA for example, I just think it sounds like a chance to get some cool tools and go for it!
  8. That's all very interesting re: the titanium version. I've been thinking about picking one up since seem pretty available. Something with less glow wide open than my 1972 version, but with still some interesting characteristics.
  9. Anyone have the titanium version if this lens? How does it render?
  10. Paid $2750US a few months ago for a 1972 version 2 with hood in VGC.
  11. Ah, nope. 😇 Summilux, Summicron, Summaron, Biogon, Summilux... All for particular reasons.
  12. Wait a minute! I have the Zeiss 35/2.8. I think finding something more acute is picking nits at the highest level. Reid does a review with APO lenses and throws the Zeiss into that group. It is an interesting review and the Zeiss comes out really well in that crowd. But really, the Zeiss is a fantastic lens, compact with awesome rendering. I don't worry about the f/2.8 much with an M10-P I just crank up the ISO.
  13. OMG, you didn't say which generation 'lux or 'cron! 🙃 I started with a new 35 Summilux ASPH FLE. I do not regret that as a starting point. I'd never had a fast wide lens so the experience was unique for me. There are physical differences between the 'lux and 'cron that might affect your choice. The Summilux is a good bit bigger, but interesting enough the Summicron hood is larger making them close to the same size with hoods mounted. Don't underestimate the importance of the physical dimensions. The 'lux captures a big chunk of viewfinder if that matters to you. In fact moving to the M system you may find that view finder blockage becomes important to you. IMHO, they both have benchmark quality and draw well in a modern way. There are an almost ridiculous array of 35 options for Leica, so just start someplace and begin forming an opinion after seeing if they draw in a way that you enjoy. Currently I use a pre-asph Summilux and a Zeiss Biogon 2.8 as well; both compact lenses that draw in interesting ways. Below, Summicron hood on the right.
  14. Not a collector here. I'm a user. I just thought the Safari looked interesting when I was buying in so I went that way.
  15. No they don't match perfectly. I don't know if the 50 is actually darker, but it is different. The lenses are about the same as one another. The camera wears the same as other Leica. It is brassing, quite rapidly in my opinion, but it doesn't matter that much to me. I'm sure someday my heirs will sell this at a premium due to the organic nature of the brassing.🤣
  16. The lens is on the expressive side of the equation (rather than recording side). Of course you should focus on expression rather than recording. Get the APO if that way of drawing pleases you.
  17. Yes. The reason I moved to Leica some time ago was to access the glass.
  18. I've got the Safari version M10P and the 28&50 Safari lenses. After some use, I don't baby my equipment, I've noticed that as the green wears off the lenses, it's black underneath. Under the black, silver maybe... What did these safari lenses start life as; black standard lenses?
  19. I'm having a look at the Ultron V1. Reid reviews has a review that includes that lens. I'm not certain that it is exactly what I'm imagining but the cost of entry is low enough that I will find one and give it a go. Thanks for the tips!
  20. Oh crap! I forgot about the cron. I'm asking about the Lux pre-A. Edited the question to be more clear.... Thanks!
  21. I've been enjoying my 35 pre-ASPH Summilux quite a bit. I like the cine look that my copy has been yielding, and I'm getting a handle on what it does in various conditions. This said, I've always enjoyed working with the 28mm prospective. I've got a "whole grip of 28s" (2-crons, an elmarit, and a new version summaron). All lovely lenses and each fills a niche in my work. But none render anything like the 35 P-A! Is there a 28 that yields that glow? I'm not a snob, so I'd buy any lens that draws in a similar way.
  22. I totally get it! Likewise a driving enthusiast here...I always have selected machines that I control exclusively as well. I found that my switch from FujiX to Leica happened SO QUICKLY once I started working with the Leica. I had my entire Fuji system sold off within a month. No comparison...
  23. Test shooting with a 35 only for awhile is a good dry run. For me I tend to imagine in terms of the lens I have along. If I've mounted a 28 (my most comfortable and familiar focal length) I don't look at something and think: "...if I'd only brought a 50..." For travel, given no push-pull from a special factor, I always grab a 28. For two lens, I go 28, 50 or 21, 35. I look for combos where each lens brings something unique to the party. If I had to carry a three lens kit (and this seldom happens), I'd just add my Elmarit Macro-M 90 to either of the combos. BTW, I left Fuji X to move into Leica several years ago. I had specific reasons for leaving Fuji (and all consumer digitals for that matter). What is pushing you?
  24. I find that I migrate over time. For a long time 28 was the core. Right now I've been a 35 only shooter for about 6 months. I've looked at the 50 cron a few times recently but it still hasn't made out into the world with me. Right now I have one 50 and probably wouldn't miss it if I didn't have it.
  25. I'm seeing that the Ti finish version is pretty available. Doing some research, I see two batches. One in 1992 and one in 1990. s/n 3599720 to 3602719 35mm f/1.4 Summilux-M (ELW.black+titanium) 1992 qty 3000 s/n 3519796 to 3520295 35mm f/1.4 Summilux-M (ELW.black+titan) 1990 qty 500 Would you steer one way or another for a Ti version? Or am I looking at lens to lens variability as being more significant than the actual batches?
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