theno23 Posted December 10, 2011 Share #21 Â Posted December 10, 2011 Advertisement (gone after registration) I was there a couple of years ago, and shot 90% with a 50mm, a wide is also useful though, 28mm or 21mm I would say. Â But, given how small Leica lenses are, why not just take a range of lengths. Link to post Share on other sites More sharing options...
Advertisement Posted December 10, 2011 Posted December 10, 2011 Hi theno23, Take a look here Venice with M9 which lens. I'm sure you'll find what you were looking for!
Manolo Laguillo Posted December 11, 2011 Share #22 Â Posted December 11, 2011 The 90mm is not my preferred lens at all, I don't even have one (my longest lens is the 75mm), but if I would have one, and would travel to Venice, I would bring it with me, without doubt. There are many broad vistas, when the channels open up and become wider, or when you are on a bridge and catch some channels intersecting, or when looking from Venice to Giudecca, etc, etc, that call for a tele lens. The tele is sometimes the only way to photograph an interesting statue or painting as well. Don't forget to dress adequately, the humidity is extreme. Enjoy your time! Link to post Share on other sites More sharing options...
farnz Posted December 11, 2011 Share #23 Â Posted December 11, 2011 I was in Venice for the Leica One Challenge with Carl too and like him used a 35 Summicron much of the time. I found I used a 90 AA quite a lot too for shots down the canal or from the Vaparetto (river taxi) to the shore. I also had a 50 Summilux and 21/2.8 with me but the 35 and 90 were the most used. Â Pete. Link to post Share on other sites More sharing options...
myshkine Posted December 11, 2011 Share #24 Â Posted December 11, 2011 Don't forget to dress adequately, the humidity is extreme. Â Not only that...Venice in winter can be dark and foggy, so I'd bring fast lenses. But hey, with global warning who knows, you may get spring weather and plenty of light! At least I hope for you, although the winter atmosphere - which adds mistery to an already fascinating place - is what many love about Venice. Link to post Share on other sites More sharing options...
NZDavid Posted December 12, 2011 Share #25 Â Posted December 12, 2011 Yes, the lens question keeps popping up but everywhere is different. I'm a fan of the 2.8/24 Elmarit ASPH. It's an incredibly versatile lens -- wide enough for architectural interiors but also great for general street scenes. Converging verticals are easier to control than they are when using a 21. The 24 is the lens I'd keep on the camera most of the time in a city like Venice. Followed closely by the 35. It's also very handy and light. A fast lens will be useful as dusk falls which will make for moody shots in the Piazza San Marco, especially if it floods. It might also be worth taking a lightweight tripod. The 90 or a 50 would be handy for masks or details. Beware of taking close-ups of shopfronts: shopkeepers think you are pinching their designs. Link to post Share on other sites More sharing options...
jaapv Posted December 12, 2011 Share #26 Â Posted December 12, 2011 Whereas the Elmarit 24 is a superb lens, basically you are making an argument for a Summilux 24 here:p Link to post Share on other sites More sharing options...
Eastgreenlander Posted December 12, 2011 Share #27 Â Posted December 12, 2011 Advertisement (gone after registration) Lucky you. Have a nice trip. Â Â --- I am here: http://maps.google.com/maps?ll=65.613512,-37.637431 Link to post Share on other sites More sharing options...
roydonian Posted December 12, 2011 Share #28  Posted December 12, 2011 I was in Venice for eight days last month. For most of the time I was using the 28-35-50mm TriElmar and it was rarely set to other than the 50mm position. I did find my 90mm Elmarit handy when shooting aquatic scenes on the Grand Canal, but I don’t recall ever using my 21mm.  Best regards,  Doug Link to post Share on other sites More sharing options...
andybarton Posted December 12, 2011 Share #29 Â Posted December 12, 2011 If you are flying, sit on the right hand side of the plane Link to post Share on other sites More sharing options...
NZDavid Posted December 12, 2011 Share #30  Posted December 12, 2011 Whereas the Elmarit 24 is a superb lens, basically you are making an argument for a Summilux 24 here:p  Looks like an amazing optic. You'll have to make the most of it. Sounds like you are making a good argument for visiting Venice! Link to post Share on other sites More sharing options...
edmond_terakopian Posted December 15, 2011 Share #31 Â Posted December 15, 2011 Beautiful city. I took my 21, 28, 35, 50 & 90, but shot most things on my 28 and 50. Those are the two I would take. Do have spare batteries as it's cold and you'll be going through batteries quickly! Â Have fun, Â Edmond Link to post Share on other sites More sharing options...
vanhulsenbeek Posted December 15, 2011 Share #32 Â Posted December 15, 2011 OK, it's Hongkong, and OK, it's not a Leica in this little film, but is a well made plug for the 50mm lens. Â And the guy who does it is a Leica fan for sure: see his other films, equally entertaining and well made: Â Kanal von DigitalRevCom - YouTube Link to post Share on other sites More sharing options...
Ecar Posted December 16, 2011 Share #33 Â Posted December 16, 2011 I found the MATE to be a very versatile lens in Venice - as in most other urban environments - as long as the light is reasonably good. However, for dusk/night scenes and for conveying the atmosphere of the city, I was glad I had my Noctilux with me. Make sure you don't leave your fastest lens at home: at this time of the year, even daytime can be fairly dark in Venice. Sample pictures taken with the M9 and both lenses (and a few with M8+Lux 21) here: Venezia - a set on Flickr Enjoy your trip! Link to post Share on other sites More sharing options...
panoreserve Posted December 16, 2011 Share #34  Posted December 16, 2011 ...just 3 pics from Venice (December 2010) - all with Summicron 28mm... Enjoy!  panoreserve Welcome, dear visitor! As registered member you'd see an image here… Simply register for free here – We are always happy to welcome new members! Link to post Share on other sites Simply register for free here – We are always happy to welcome new members! ' data-webShareUrl='https://www.l-camera-forum.com/topic/168250-venice-with-m9-which-lens/?do=findComment&comment=1872432'>More sharing options...
algrove Posted December 16, 2011 Share #35  Posted December 16, 2011 ...just 3 pics from Venice (December 2010) - all with Summicron 28mm...Enjoy!  panoreserve  Love that first shot as it so reminds me of Venice in winter. Nice mood.  Assume if one does not have a 28, a 24 or 35 would cover that FOV requirement? Perhaps a stupid question, since we all see shots differently.  Was that the entire frame or a crop? Hand held? What f stop? Link to post Share on other sites More sharing options...
lars_bergquist Posted December 16, 2011 Share #36  Posted December 16, 2011 In my experience, 'FOV requirements' sensu stricto arise only in some kinds of technical photography, way out of M territory. This is not what we do. You mount an XXmm lens, you put on 'XXmm eyes' and make your pictures accordingly. I don't doubt that during a walk through an autumnal Venice, I would have taken some interesting pictures – interesting to me, at least – with my 35mm Summilux.  In the Leica book I referred to (Leica M, the freedom to capture the decisive moment, Solms 2011, brochure order no. 91603 for UK English) Alex Majoli shows 32 pictures, taken with the 21mm Super-Elmar, 24mm Elmar, 35mm Summilux, 50mm Noctilux, 75mm Summicron and 90mm Macro-Elmar. Of these, 14 were taken with the 35mm Summilux, and these were not the least striking.  Mr Majoli seems to be a 35mm man, just like I am. It can be equally valid to be a 50mm man, a 28mm man or whatever. Whatever you are, follow your instincts. There is no single lens that is 'best for Venice' or 'best for Paris' or 'best for portraits' or 'best for landscapes'. There may be a lens that is best for you when photographing Venice, or Paris, or portraits, or landscapes. But that is for you to find out. Bon voyage.  The old man who strolls with a camera Link to post Share on other sites More sharing options...
panoreserve Posted December 16, 2011 Share #37  Posted December 16, 2011 Love that first shot as it so reminds me of Venice in winter. Nice mood. Assume if one does not have a 28, a 24 or 35 would cover that FOV requirement? Perhaps a stupid question, since we all see shots differently.  Was that the entire frame or a crop? Hand held? What f stop?   Thank you, algrove!  It was the entire frame (of course...) and hand held, too. Some technical notes: 28mm wide open (2.0), 1/30 second, Iso 800, DNG developped in Lr 3.5, no noise reduction, Velvia preset ( @ medium level).  That's all! panoreserve Link to post Share on other sites More sharing options...
algrove Posted December 16, 2011 Share #38 Â Posted December 16, 2011 When I look at my 1/60, 1/30 shots I do not like their sharpness since I either hit the shutter too hard (instead of squeeze) , cannot hold the darn thing steady, miss focus, etc., etc., or all of the above. I marvel at these hand held shots I keep seeing. Must practice MUCH more. Â Perhaps based an ISO 1250 thread I should go higher in ISO. I have been a 160 guy, but that will change on my next low light outing for sure. Link to post Share on other sites More sharing options...
edmond_terakopian Posted December 16, 2011 Share #39  Posted December 16, 2011 In my experience, 'FOV requirements' sensu stricto arise only in some kinds of technical photography, way out of M territory. This is not what we do. You mount an XXmm lens, you put on 'XXmm eyes' and make your pictures accordingly. I don't doubt that during a walk through an autumnal Venice, I would have taken some interesting pictures – interesting to me, at least – with my 35mm Summilux. In the Leica book I referred to (Leica M, the freedom to capture the decisive moment, Solms 2011, brochure order no. 91603 for UK English) Alex Majoli shows 32 pictures, taken with the 21mm Super-Elmar, 24mm Elmar, 35mm Summilux, 50mm Noctilux, 75mm Summicron and 90mm Macro-Elmar. Of these, 14 were taken with the 35mm Summilux, and these were not the least striking.  Mr Majoli seems to be a 35mm man, just like I am. It can be equally valid to be a 50mm man, a 28mm man or whatever. Whatever you are, follow your instincts. There is no single lens that is 'best for Venice' or 'best for Paris' or 'best for portraits' or 'best for landscapes'. There may be a lens that is best for you when photographing Venice, or Paris, or portraits, or landscapes. But that is for you to find out. Bon voyage.  The old man who strolls with a camera  Very nicely put; agree 100%. Link to post Share on other sites More sharing options...
Michael Geschlecht Posted December 17, 2011 Share #40 Â Posted December 17, 2011 Hello algrove, Â You might try a small sturdy table tripod w/ non-marking soft slippers on its feet. Also a large ball head. Also a cable release. You can put this combination against a wall, a doorway, a tree or a rock, etc. Also against a car w/ the engine off. Even on a table. Against my chest it gives me 2 stops. Â I actually use 2 different cable releases @ different times dependent on circumstance. A Kodak #1 w/ a "T" setting & a Linhof 25cm w/ a "B" setting. The Kodak #1 also has a "B" setting but it is too short for many "B" setting situations. Short is often preferable w/ "T". Â Best Regards, Â Michael Link to post Share on other sites More sharing options...
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