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I have recently taken an interest in exploring the performance of older Leitz lenses. These are images from a 35mm Elmar, F3.5 (1941, uncoated) on my M9. The lens was not coded. All images shot at f3.5, full frame, unedited in PP.

 

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The Elmar clearly is not a Summilux ASPH-FLE, but, for a 1941 uncoated lens, the results are not bad at all!

 

Guy

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x

Super, love the pics!

 

My dream, with all the hype over sharpness and contrast of modern lenses, is 'what if' Leica could make a super sharp lower contrast range of lenses? I do get fed up with modern lenses almost poking you in the eye with contrast, its so easy to add in post processing, even for film, but less easy to get rid of. In the meantime the older lenses can fill the gap as you have shown very well.

 

Steve

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I don't want to leave a false impression of this lens. It does have its limitations which may not have been obvious in the first, 3 dimensional, images.

Here is another image, of a flat subject, not a brick wall, but still flat.

 

The first image is the full frame.

 

The second image is a 100% crop of the center.

 

The third is a 100% crop of the top-center.

 

Guy

(I still have to learn to manage images better :-)

 

P.S.: the date is 1844

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  • 4 weeks later...

It can indeed happen that a lens performs better on a digital M than with film. That was the case of my old v.4 35mm Summicron. The result was that I sent it to Solms for a CLA and now I do use it again occasionally (its performance does not compare with that of my Summilux ASPH "FLE", but it's compact!)

 

LB

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  • 6 months later...

let me revive this thread..i really enjoy this lens...here a quick shot from today...

 

shot at about f6...with IR filter on the M8.

 

Sharp enough for me for such shots.

 

best

andy

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Here we dive into subjectivity. This lens, like all early Elmar designs, is characterised by low micro-contrast in the central area going to effectively nil outside it, where coarse detail too takes a nose dive. This lends a certain kind of smoothness (= lack of fine definition) to the image that some people like. They are welcome to it, of course.

 

Problems arise only when enthusiasts try to establish as a general truth that "I like this" equals "this is best for everybody". Me, I have seen enough fuzz and 'Leica glow' in my younger days to last me a lifetime. But I am happy that my lifetime has come to be extended into an age where modern optics are available.

 

The old man from the Age of the 3.5cm Elmar

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Lars,

 

I agree with you entirely.

Particularly with the Elmar lighting conditions influence the result tremendously.Flare and glow can be in abundance under the wrong conditions.

 

Conversely I have seen enough edge to edge biting sharpness and detail to last me for a lifetime from some modern lenses.

 

At the end of the day I still wait to see good a photograph which was ruined by lens quality.

If it is good then it is good, either taken with an aged Elmar or the latest and greatest, within reason of course.

At the end of the day I suppose it is what you want and can afford.

I can afford a brace of older lenses instead of 1 newer lens, and at my level the lens is the least limiting factor to my photographs.

Andy

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Andy, these are wise words. The limiting factor is usually the photographer, not the gear.

 

I know. When I grew up a simple meniscus lens in a box camera was the norm, and a three-element Zeiss Novar (uncoated, of course) on a 6x9cm folder was a fine lens. Guess how much glow I've seen? But Edward Steichen used to say that there are more good pictures in a box camera than people suspected.

 

The old man from the Kodachrome Age

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Here we dive into subjectivity. This lens, like all early Elmar designs, is characterised by low micro-contrast in the central area going to effectively nil outside it, where coarse detail too takes a nose dive. This lends a certain kind of smoothness (= lack of fine definition) to the image that some people like. They are welcome to it, of course.

 

Problems arise only when enthusiasts try to establish as a general truth that "I like this" equals "this is best for everybody". Me, I have seen enough fuzz and 'Leica glow' in my younger days to last me a lifetime. But I am happy that my lifetime has come to be extended into an age where modern optics are available.

 

I have an instruction book [in three parts] for a Leica IIIa. In the section on the 3.5cm Elmar it says "only use at full aperture if you have no alternative."

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I have an instruction book [in three parts] for a Leica IIIa. In the section on the 3.5cm Elmar it says "only use at full aperture if you have no alternative."

 

I totally agree, and my second set illustrates this very well, but when one closes down the aperture, lenses tend to loose their "personnality".

 

I'll have to go back and retake that old church at f3.5 and f8 and post these here. Give me a few weeks.

 

Guy

Edited by gvaliquette
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  • 2 weeks later...

just to keep things moving here a shot from the weekend...my Elmar on the IIIf and sunny 16 exposure.

 

tri-x and hc110.

 

still good enough for me:D

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and one more...same roll.

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About the Elmar 3.5/50, some are better than the others and some are reallly exception due certainly from the combination (at random) of best elements put together during their assembly.

I will say based on the pictures posted in here during this last years that the one that James owned and the one from Andy are part of this ones

Edited by jc_braconi
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I really like this lens and use it regularly on my II and on my GXR. The GXR "likes" it too - it gives nice results, thus:

 

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It is also a classic example of a lens you will use because you have it with you :D

 

Regards,

 

Bill

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