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Do We need fast and asph lenses with the MM?


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It is worth remembering that the title 'King of Bokeh', for the 35mm Summicron V4, was coined by Mike Johnston referring to the lens when used at f/4, a small detail that is often overlooked when the lens is discussed. I don't think he was as impressed at the performance wide open, although it isn't bad by any means.   So lenses do different things at different apertures, being used wide open isn't a guarantee for smooth bokeh, it just means you get more bokeh, good or bad (smooth or distract

To give you an idea of what you can do with a Summarit 35, tacke a look at this backlit scene to the 1:1 crop of the people. Very few lenses can do the same. Hello guest! Please register or sign in to view the hidden content. Hallo Gast! Du willst die Bilder sehen? Einfach registrieren oder anmelden! Hello guest! Please register or sign in to view the hidden content. Hallo Gast! Du willst die Bilder sehen? Einfach registrieren oder anmelden!

With the high ISO capability of today's digital sensors, I have found myself to not need the fastest lenses anymore. In fact, all my lenses are now f2.5 - 2.8 (28/2.8 ASPH, 50/2.8 Elmar-M, 75/2.5 Summarit). Lightweight, compact, and not to mention that money is no longer tied up unnecessarily. I like it this way.   As to the shallower DOF afforded by the faster lenses, it's a nice capability but not important enough for me to justify lugging around all that extra weight.   People seem to a

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With the high ISO capability of today's digital sensors, I have found myself to not need the fastest lenses anymore. In fact, all my lenses are now f2.5 - 2.8 (28/2.8 ASPH, 50/2.8 Elmar-M, 75/2.5 Summarit). Lightweight, compact, and not to mention that money is no longer tied up unnecessarily. I like it this way.

 

As to the shallower DOF afforded by the faster lenses, it's a nice capability but not important enough for me to justify lugging around all that extra weight.

 

People seem to assume that the fastest ASPH lenses also have the best optical performance. That may well be the case, but I can't say I care one way or the other. I have yet to come across any Leica prime designed in the last 20 years that has disappointed.

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And what about buy the 35 and 75 for portraits? 75 and 2.5 is good enough for smooth bokeh?

 

It is worth remembering that the title 'King of Bokeh', for the 35mm Summicron V4, was coined by Mike Johnston referring to the lens when used at f/4, a small detail that is often overlooked when the lens is discussed. I don't think he was as impressed at the performance wide open, although it isn't bad by any means.

 

So lenses do different things at different apertures, being used wide open isn't a guarantee for smooth bokeh, it just means you get more bokeh, good or bad (smooth or distracting). There aren't many lenses that are equally pleasant across the aperture range, there are others, but for me the 90mm Elmarit M comes very close to perfection for smooth bokeh and smooth tonal transitions, together with a nice medium contrast. It excels on the MM because the Monochrom's files are buckets of smooth tone, and combined with the Elmarit it's almost at overload. So again, I don't think the 'best' lenses for the Monochrom need to be the fastest or most highly corrected.

 

Steve

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This was shot with an X1. Granted, you're never going to get very shallow DOF on a 24/2.8 lens unless you shoot very close, but my point is that even the "lowly" members in Leica's lineup can be very good image qualitywise, and most of the time they are good enough for all intents and purposes.

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I am not sure if the 'fast and Asph lens with the MM' will really help the feet, eyes, brain, hands and finger coordination needed to capture the perfect moment.

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Thank so much!

 

What about the Cron 35 IV vs the summarit 35?

 

With digital photography you can easily correct the Summarit's distortion. Both lenses come in at the same price, the Summarit might be slightly cheaper. I would take the Summarit ANYTIME when choosing between a Summicron 35 or the Summarit.

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Why Marc?

 

and what about on film?

 

Cheers.

 

From my observations I wouldn't take the Summarit for critical architecture and landscape work on film. For everything else it's fine. I'd prefer the 35 Zeiss f/2 for that purposes. Most people wouldn't notice the distortion in everyday pictures anyway. If you scan your films you can correct it in post processing anyway.

 

The Summarit is a very modern lens design and the performance reflects this. It is superior to the 35/2 asph (I had the possibility to compare them with each other on my M-E on a tripod because this comparison has been itching me for a long time) regarding size, weight, price, bokeh, resolution across the frame and flare. The Summicron focuses 10cm closer and is 1/2 stop faster and has slightly less distortion. That's all.

 

The Summarits are optical gems, often overlooked due to reputation.

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thanks Marc for your comment.

 

Summarit line look awesome for the price, probably its give You better quality than the Cron IV or older lenses.

 

I have experience with the 35 and 90 Summarits and both lenses have a very sharp rendition, smooth bokeh. What else would you want? Furthermore the 75 and 90 Summarits are only a half stop slower than the APO Summicrons which represent the fastest (currenty in production) leica lenses in these focal lengths. So they both score with a large aperture too, besides their performance. At 35 and 50 the Summarits offer great performance in a tiny package but since there are Summilux and even a Noctilux designs currently in production people have more choices.

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Lot of choices indeed.

 

I will try the 35 and 50 summarit with the MM and with film if I can, and I will try the 35 IV cron and the 50 elmar V1 (have You seen that gooooorgeus OoF rendering?)

 

And will chose.

 

I don't think you will be disappointed with either of the Summarit lenses.

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