Getting that last stop

[Doug A]

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When I was photographing people or animals indoors with the Nikon F I often used a 50mm f/1.4 lens wide open. Increasing difficulty focussing in marginal light was one reason I switched to the M2. At this point I have no lens faster than f/2.5 for the Leica. I haven't decided yet if I want a 35mm or 50mm for my "fast" lens (I have a 35mm f/2.5 VC and a 50mm f/3.5 Elmar) but first I want to settle on the maximum aperture. My experience with the Nikon was that I often wanted that last stop.

 

I'd like to stick with Leica glass if I can manage it. I am on a fairly tight budget so I am looking at lenses more or less contemporary with the M2. The two choices for getting that last stop seem to be an older Summilux or a Summicron and faster film than the Tri-X I shoot at 320.

 

Any thoughts?

[Posto 6]

I really find that the original 35 Summilux-M (non-asph) is difficult to beat, and have never found the need to upgrade. It is also small, and surprisingly reasonably priced if you are willing to take one in user condition. It was also produced for well over 30 years, so there is plenty of choice available.

[roguewave]

Jersey Boy, I also believe the 35 Summilux, pre -asph is one of the all time greatest lenses designed by Dr. Mandler, along with the Nocti, 80 Summilux & 35 Summlix R. As the other poster noted, it's very compact & has a rather small throw, which makes it very easy to focus quickly. The results are fabulous. Unfortunaly, with the success of the M9, this lens is becoming very popular again, so prices are still moving north. I have seen several in the 1200-1500 range.

 

Make no mistake, this lens is legendary. It does take some time to master it, particularly in low light, wide open. It can be prone to flare, which I often exploit, as the look can be very cool. It shines at night & in low light, particularly with single source lighting. If you buy one, you will never sell it.

 

 

I shoot a lot of TriX 400 with my M2 & 35 Summilux. The best results I get is to meter it at 400 & develop it straight. Let the lens do all the real work. Good Luck. Ben

[Doug A]

Would the 50mm Summilux be similar (except for the reduced depth of field of course)? I'm still undecided about the focal length for my "indoor" lens.

 

--Doug

[Posto 6]

There are various versions of the 50 Summilux, with the very early ones best avoided unless you are a collector. I have had all of them except the asph (a truly wonderful lens), and found that in the end I always ended up using the 35 Summilux, both due to it's versatility as well as it's signature. I would try the 35, and a 50 Summicron DR, which I still consider the best reasonably priced 50. BTW, as it can have problems with the M8/M9's, it is also still good value.

[Xmas]

Hi

 

There is a lot of choice

 

35mm f/1.2 to f/2 CV to Leica

5cm f/0.95 to f/2 Leica to CV (& ZM)

 

Lots of my friends have CV or ZM lenses, with no problems.

 

I've had the 35mm pre asph f/1.4 lux for a long time, never had any problems with it, but it was a statement lens in 1961, in response to the Nikon and Canon slower wides. It needs the preasph type IV cron's rectangular hood to minimize flare, as the one it was sold with is useless and will still have a strange signature until f/4 or smaller. It does not do well against profiles on stage shots.

 

It is a semi collector and expensive, thereby.

 

But it is small, and easy to handle and lots of people still use it. The CV lenses also have foibles. Getting a floating lens 35mm asph lux, is difficult at the moment.

 

Noel