M9 35mm vs 28mm when you are 50mm shooter

[menos I M6]

Advertisement (gone after registration)

Thanks a lot Menos and Ramosa. I tried framing with the 28mm and the line are a bit annoying....harder to see ! Anyways I agree with you regarding a 35/50/90. I think I will go with the 35summarit. A three lens kit with a top 50 is really what I like. the 50lux is really an awesome and could just go with that one.

 

This statement alone shows, you will be very happy with a more reasonably priced choice of wider and longer.

It must not be Leitz glass btw.

There are absolutely astonishing lenses "to fill gaps" available.

I am a big fan of the classic Canon 100/2 LTM lens (a lens as big and heavy, as the latest pre ASPH 90/2).

 

I just found a beautiful example of it's little brother, the Canon 100/3.5 LTM (also named "pocket rocket" over at RFF ).

 

Other interesting choices are slim Tele Elmarit 90mm or the venerable CV 75/2.5, possibly fitting very nice as a very light weight, bright day lens with the 35 Summarit.

 

This is one aspect, I learned, to love about shooting Leica M, when I sold the Nikon gear - wonderful lens choices are endless!

[PBatemanJ]

I have 35mm, 50mm and 28mm and all lens are totally different for making photos. I do not feel 35mm and 50mm are too close. Since I am using M8 and M9, 35mm is only used for M9, and I use 50mm on both M8 and M9. But most of the time, 50mm is on M8 and carry two bodies. Sometimes, M9 with 50mm and X100. Other times, M9 with 35mm and 5D2 with 28-75 zoom.

SATOKI

[lars_bergquist]

Asking somone else which focal length you should use is like asking him what size shoes you should wear.

 

The old man from the Age of the Standard Lens (5cm, 7.5cm, 8cm, 10.5cm, 13.5cm, 15cm ...)

[LDH_Prague]

IMO you wont find an answer here to a question like that...these things are just too subjective. My question to you would be: have you worked with a 28 or 35 before on any other 35mm camera?...if so which one feels like it fits how you shoot and compose...I don't think the fact that you are primarily a 50 user is of any relevance...and I wouldn't choose one over the other based upon that. I don't see a point in deciding on a lens based upon what other lenses you have or don't have. If you've worked with enough lenses over enough time you hopefully have moved into a groove with regard to how you work and what you choose to do that work with. Peoples opinions here....while well intentioned, are just that..opinions. You need to discover whats right for you by using them...surely the M9 cant be your first 35mm camera...and the 50mm the only lens you have used.

[RobSkeoch]

I've been repacking my bag for every job and trying different combos.

Right now I'm going with the 50, 35, Zeiss 25 and 85mm on the M9. I'm ok with both the 35 and 50mm in the bag. I just like the 25mm for up close and personal.

 

-Rob Skeoch

[larryk34]

You can take others' experiences into account, but it's no subsitute for your own. You are going to have to bite the bullet and experiment yourself. I became a 35mm Lux shooter on the M8, but found myself back to the 50mm lux with the M9. Reason is obvious. I like the 50mm perspective, and that's what you end up with using the 35 on the M8. But I love the images that the 35mm Lux can produce, nothing like it. But that's true of most of the Leica lenses. I also now have the 28mm cron. On the M9 when you shift from your own "normal" 50mm shooting to either the 28 or 35, you're going to wonder why everything suddenly recedes so much and gets smaller. In other words, it's natural to expect a wider lens to just be a wider version of the 50 perspective. They're not. It's hard to get used the wider, and seemingly more distant, perspective of the 28 or 35. Of course the difference is even greater and harder to get used to with the 28. But this is the purpose of the wider lenses. You have too learn how to take advantage of the wider and deeper perspective by learning how to shoot "layered" photographs with forground and up to 2 or more levels of background, each with their own interesting focal points. In other words, you have to learn hot to shoot different kinds of photos. Of course, the 35 and 28 still work better when you cannot back up with a 50. I had a layover in Amsterdam once and thought I had my 35mm lens (for my M6), but soon realized I only brought the 50. To capture the main square the way I wanted to, I had to back up. Soon I was part way down a side street and still could capture the whole thing. I needed my 28 recently while visiting the Acropolis in Athens. Again, you cannot back up without falling off a cliff. So, it helps in that situation. Those who say they only use the wider lenses for these situations are not trying to use them as wide angle lenses per se, with foreground and more distant layers all adding to the image. That takes a lot of pracice and of course willingness to learn a new technique. So, it's tempting to advise going one step at a time, 35 first, and then if you like it adding or substituing a 28 later. You can tell from others have said is that is exactly what they have done, buying and selling after trying them out. Fortunately, the resale prices are the same or higher, so don't worry about losing money by experimenting. Hope this helps.

[ramosa]

Advertisement (gone after registration)

Thanks a lot Menos and Ramosa. I tried framing with the 28mm and the line are a bit annoying....harder to see ! Anyways I agree with you regarding a 35/50/90. I think I will go with the 35summarit. A three lens kit with a top 50 is really what I like. the 50lux is really an awesome and could just go with that one.

 

Vk: hey, thanks for the comments. With some Leica lenses so hard to get, I find myself wanting to figure things out before I get an M9. But that's probably a bad approach. I should probably wait so that I can try the Lux 50--and then that will help me decide whether I want 35-50 or 35-80/90 or whatever. What I know is that I don't use the Lux 50 much on the cropped M8, and that drives me crazy (believe it or not).

[menos I M6]

Vk: hey, thanks for the comments. With some Leica lenses so hard to get, I find myself wanting to figure things out before I get an M9. But that's probably a bad approach. I should probably wait so that I can try the Lux 50--and then that will help me decide whether I want 35-50 or 35-80/90 or whatever. What I know is that I don't use the Lux 50 much on the cropped M8, and that drives me crazy (believe it or not).

 

Forget about planning things before getting the M9.

Despite what possibly has been advised by other forum members, it is an entirely subjective thing.

 

I always have been shooting one or two film bodies together with the M8.2 and had for both formats my preferred lenses.

 

I for example loved the tighter 50mm on the M8.2 and have used the Noctilux as my favorite lens this way. When it came around quick, reliable shots more close up, the 35 Lux ASPH on the M8.2 was unbeatable - I liked the rendering much less (contrasty, harsh, super sharp), but it just worked.

 

Adding the M9 threw a big stick into my workflow - I thought, I had it all figured out, as I always shot film with the crop sensor in tow, but dang everything is so different now!

 

The rendering of some lenses on the M9 is just beautiful, but the different FOV especially with my formerly two most used focal lengths - 35 and 50mm are completely different!

 

I am still shuffling around, to relearn all of this, the 35mm seldom going on the M9.

 

I tell you: get the M9 one way or another, if you want.

Don't try to plan and get lenses before - you might find yourself with entirely different preferences later on.

It's not as easy as calculating a crop and translating this to current preferred cropped FOVs, but a lot of subjective feel is involved.

 

I for one have proceeded, to pick up a 75mm lens, a focal length, I have completely dismissed before the M9.

[lars_bergquist]

It all depends on what you used before the M8. You describe yourself as 'a 50mm shooter'. I could describe myself as a 'classical 'sixties shooter', meaning 35, 50 and 90mm, with a 21 thrown in for real wide angle work. When I used SLR cameras (OM system – quite M-like!) it was the same with a 50mm macro and with the 100mm standing in for the 90. While I had a M6, I acquired 35mm Summilux ASPH and a 50mm Summilux ASPH, because quality colour films ran to ISO64–100.

 

The M8 meant total disarray. I had to get a 28mm Summicron to give me the 35mm f.o.v. and a 75mm Summarit for 100mm. An 18mm Zeiss gave me wide angle capability – I could not stomach the WATE and its Frankenfinder – while the 50mm was simply shelved for the time being. I did not expect a FF M soon, but I could not bring me to sell the 50 ASPH. It is a fabulous lens.

 

When the M9 arrived, I had to jump back to normal again. The 75mm Summarit, though a lovely lens, was replaced with a 90mm Elmarit-M, because I have no use for the 75mm length – a personal thing. The 50mm returned in glory. The 28mm Summicron was sold. I kept the 18mm because I can use it on FF with good effect, but I am standing in line for a 21mm Super-Elmar.

 

The old man from the Age of the Box Camera

[Guest Holy Moly]

Why would you not be part of a story with a 50 mm ? see example

 

Hi Vadim,

 

good question, but your example isn't so good to demonstrate the 'art of the story'.

Shooting mainly street let me try to explain:

 

The difficulties with 50mm is the fact that the picture content in this angle of view should be as strong as possible. This is very very difficult to achieve.

Shooting with a 28 in cities you have to 'swim' inside the crowd and you have to look very carefully to the surrounding of the object in order to minimize the irritating items at the border the frame.

So shortly to say that with a 28 someone must be more 'aggressive' in terms of distances and approaches in terms of people and street pics.

 

The 35mm combines the best of both worlds:

You get 'flesh' for the story with your object but needs not so much closeness. The object isn't so prominent - you get something beside which is important for the total visual story.

 

Fact is that a given lens will 'educate' after a certain time of use but to feel comfortable is a different story.

My strategy is to buy a used good lens for moderate money in order to test ME. The money I might burn isn't too much for this period when a given angle of view might not work (for me).

 

Some pics might demonstrate above explanations:

 

50mm

 

A Guinness A Day... | Flickr - Photo Sharing!

 

35mm

 

.. | Flickr - Photo Sharing!

 

28mm

 

Forever Young | Flickr - Photo Sharing!

 

Today when I had to use just one lens it will be a 35mm and nothing else. But fortunately we are all different......

[Guest stanjan0]

HM, I was just perusing many of tour images and they were very good you know how to use a camera but, why no color images. I keep reading, seeing, and hearing from Leica B&W and M9 users their disdain of color why? Look I'm no kid and was brought up in the B&W medium but, now we have very good maybe excellent color medium so why? I'm new here using Leica camera's but can't understand why so many users still prefer B&W. I wish I understood. One last word please I mean no harm or ridicule I just don't understand.

[PBatemanJ]

HM, I was just perusing many of tour images and they were very good you know how to use a camera but, why no color images. I keep reading, seeing, and hearing from Leica B&W and M9 users their disdain of color why? Look I'm no kid and was brought up in the B&W medium but, now we have very good maybe excellent color medium so why? I'm new here using Leica camera's but can't understand why so many users still prefer B&W. I wish I understood. One last word please I mean no harm or ridicule I just don't understand.

 

In my case, I chose B&W. This is simply but active personal choice. I am citing from interview on Samusung imaging blog.

SATOKI NAGATA: A VIEW FROM A STRANGER

 

Black & White

 

I found out all the photos were in black and white from the user interface of his homepage to most of his images.

Q. I noticed that you usually enjoy taking black and white photos. Is there any reason or purpose why you enjoy this?

A. In B&W, we concentrate on the light, shadow, tone, shape, and composition. A B&W image is simplified and shows the world in a different way, which is one main purpose of photography. I think photography is the art with limitation in the first place, and consider the limitations a good thing. Photography is also an art of symbolism and the abstraction of B&W is suitable for my street and documentary works.

SATOKI

[Guest Holy Moly]

HM, I was just perusing many of tour images and they were very good you know how to use a camera but, why no color images. I keep reading, seeing, and hearing from Leica B&W and M9 users their disdain of color why? Look I'm no kid and was brought up in the B&W medium but, now we have very good maybe excellent color medium so why? I'm new here using Leica camera's but can't understand why so many users still prefer B&W. I wish I understood. One last word please I mean no harm or ridicule I just don't understand.

 

Thanks, in my case there are several reasons:

 

Fourty years ago only b/w could be handled in my small darkroom (the negatives).

 

Color is an additional dimension in a photograph. Shooting in b&w the condensed moment is easier to visualize for people who look at the work. For me it's much more complicated...

After using a Olympus Pen with it's phantastic colors more and more color output from my side is done but compare to my old b&w work it's not so strong I believe.

 

In terms of Leica users the M system with it's very big heritage of all time heros which started with b&w as the only media, users of digital Ms try to get this mood in their output.

 

I think that Leica R users are more working in color because it's a different machine with different targets and lens ranges as macro, long teles etc.

Another reason was the launch of the first M8 with it's strange color output for some fabrics and the weak white balance under artifical light.

B&W was the solution to avoid the hassle with filters, reflections in night shots etc.

And when you like your output forced by this Leica-typical reasons the limitation becomes an advantage after some training......

 

Here is an example from one of my modern heroes, the first in b&w and the second in color. Totally different:

 

iN-PUBLiC | David Gibson

 

iN-PUBLiC | David Gibson

[Guest stanjan0]

David, after looking at your iN PUBLIC iN B&W then color, one walks away with your great sense of humor, not that the images were bad but, actually what they depicted was more important then the clarity, color, sharpness of the image itself. I really hope I expressed my feeling of your images and last but not least please take no offense for what scribblings I just posted. I enjoyed your pics and sense of humor very much.

[Guest Holy Moly]

David, after looking at your iN PUBLIC iN B&W then color, one walks away with your great sense of humor, not that the images were bad but, actually what they depicted was more important then the clarity, color, sharpness of the image itself. I really hope I expressed my feeling of your images and last but not least please take no offense for what scribblings I just posted. I enjoyed your pics and sense of humor very much.

 

Holy moly - I'm not David....... I'm Bernie......

 

This IN PUBLIC gallery just shows the more 'classical' interpretation of streetphotography. These pics are not from me unfortunately...... ;-)

[Guest stanjan0]

Holy Moly, sorry bout dat.

[Jamie Roberts]

FWIW, I'm like Lars here: 50 and 35 ain't the same thing at all.

 

I love 50mm and feel right at home with it. Same goes for 35--they're different "normal" views without too much distortion or "built-in drama."

 

A 28 really is a wide angle lens. I use mine, and wouldn't sell it (I love the 28 Summicron ASPH) but I don't use it nearly as much as a 35. Or a 50

 

I have a 19mm Elmarit R I'm also using on the M9 when I want an ultrawide and it fits that bill perfectly.

 

But when I want a wide, I use the 28. When I'm counting on a normal FOV with minimal distortion round the edges, it's a 35 for groups or context and a 50 for a little more isolation and magnification.

[Guest Holy Moly]

Jamie,

 

"built-in drama" is THE perfect expression for wide angle lenses. The wider the more 'drama'....great!

[Photoskeptic]

I found the 50 and 35 too close on my M8. I realize the FF M9 is a different bag of tricks. Shooting FF on a DSLR I use a 24 and 50, however if I could do it over I would go for the 28.

[Advertisement]

Hallo,

Look here: Leica M

[ramosa]

I found the 50 and 35 too close on my M8. I realize the FF M9 is a different bag of tricks. Shooting FF on a DSLR I use a 24 and 50, however if I could do it over I would go for the 28.

 

I agree that 35mm vs 50mm on the M8 is quite a different comparison than on M9. On M8, you have a solid street focal length, with the 35 becoming like a 47, but the 50 is like a portrait lens (at 67). In contrast, on the M9, you have the two most classic street focal lengths.