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The 75 mm framelines are the best because they have clearly defined corners. For some odd reason, however, it has become fashionable to complain about these framelines, and everybody joins in complaining because everybody else does.

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The 75 mm framelines are the best because they have clearly defined corners. For some odd reason, however, it has become fashionable to complain about these framelines, and everybody joins in complaining because everybody else does.
On their own they are fine, I agree, but in combination with the 50 mm framelines they make the viewfinder cluttered imo.
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I had a 75 Summicron for a brief time. The fact that the 50 mm frame was visible when using the 75, made the lens for me unusable. Too often I would compose a shot with the 50 lines, only to realize the 75 was on.

Leica should have figured out how to combine the 75 corners with another lens frame lines that is further removed from the similar 50, (in focal length).

When I put a 50 on, I am thinking 50. Thinking 75 is close to thinking 50 .... kind of a "strong 50".

The 75 corners within the 50mm frame lines is a mistake. Period.

That is my experience with the 75. I loved the lens but absolutely had to sell it.

The next person might be perfectly happy. Different strokes .... ?

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Leica should have figured out how to combine the 75 corners with another lens frame lines that is further removed from the similar 50, (in focal length).

 

Which pairing would you have used (without throwing into the trash bin all the M lenses Leica had already built between 1953 and 1981 - the frameline selection is hard-wired into their mounting flanges)?

 

35 and 135 were already paired, from the M4 (1967). Well, really, since the M2 - but it just didn't include the 135 lines.

 

Leaving the choices of 50-75 and 28-90 as pairs, or 28-50 and 75-90 as pairs. The recent 28s (versions 2 and 3, at least) were already keyed to bring up the 90 mm frames, so using 28-50 would have obsoleted all those 28s.

 

I don't see that a 75-90 pairing would have been any less "confusing" than 50-75. And 28-90 is less confusing than 28-50.

 

There is actually a weird logic in putting the 50 and 75 lines together. As we know, M framelines have varying accuracy depending on subject distance. With the 50-75 pair, at close (portrait) distances the 75 lines are precise for a 75, and at longer (landscape) distances, the actual FoV of a 75 is about halfway between the 50 and 75 lines, and thus the 50 lines can help "rough in" what the 75 will really capture.

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I sold a 75mm Summilux many years ago because the frame lines were difficult to see and the lens was too large and heavy. However back then I was using a x0.72 M6.

 

Recently I decide to give 75mm another go and bought a 75mm Summicron for use on a M9 and MM.

At the same time, I added the x1.25 magnifier; thanks to this, I'm finding picking out the 75mm frame lines a lot easier.

I tried the x1.4 magnifier; which made 50/75 frame differentiation even easier, but as I very frequently use a 35mm lens, compromised on the x1.25 magnifier.

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Perhaps the trick is to add a magnifier with a 75mm lens so that the 50mm frame-lines are outside the area visible to the eye. It also would improve the focussing accuracy of the rangefinder.

 

I have come to find the inner 75mm frame-lines useful as grid-lines with a 50mm lens for aligning vertical and horizontal parts of an image, in the manner of some ground glass screens like those found on some medium format reflex cameras. On the other hand, I cannot get over how much of the lower 50mm frame-line was removed for the M9/Monochrom to make room for the LED display, which I still feel is vertically unbalanced.

 

Nick

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I have to admit I'm uncomfortable with the 75 frame lines. The 50 lines are dominant, the 75 unclear.

 

Yes. I tend to use framelines quite subconsciously and I find that, when using my 75, I have to think about the framelines that bit more than I do when using my other lenses (28, 35 and 50).

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I have come to find the inner 75mm frame-lines useful as grid-lines with a 50mm lens for aligning vertical and horizontal parts of an image, in the manner of some ground glass screens like those found on some medium format reflex cameras. On the other hand, I cannot get over how much of the lower 50mm frame-line was removed for the M9/Monochrom to make room for the LED display, which I still feel is vertically unbalanced.

 

Nick

 

I never owned a 75, and I too have often used the 75 frame as an alignment help when using a 50. In any case, the framelines are guides only -- the viewfinder is not a view camera or slr ground-glass. Over time, one gets to imprint the frame into the brain when using a particular lens.

Jean-Michel

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75 are difficult if not used frequently. I have got used to them, but they are not the best.

Digi .68 finders are worse then .72.

 

We did a portrait shoot over Christmas and the 75 is pretty small, but I did get them in focus.

 

75 finder from CV is better with defined lines, much like a 50 brightline which is the best 50 mm finder I ever used, but has no parallax compensation.

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I comes from an iron pattern which is - I presume - pressed with a mould in serial production. This pattern should be handmade for the 75 with a new mould or without that, so slim chance I guess. Unless they can tape the 50 frame.

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