50 Lux is an absolute joy

[jay968]

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Funny how I *never* hear this kind of stuff from actual photographers who's immense raw talent results in brilliant visual narrative....must be the domain of the enthusiast....

 

Strange comment as this is an equipment forum. Presumably, those who frequent it are interested in sharing experiences with various equipment. I don't see how this has anything to do with whether or not they are "actual photographers" and to assume that they are not is plain unfair, sorry to say. I would also wonder why a person making this kind of statement would even bother frequenting a forum such as this one.

 

For what it's worth, I have been doing photography since 1963 when I started using my dad's Argus C3. It was my only camera, along with a cheap Polaroid until the early 70s when I started studying photography and earned a BFA and later an MFA in it. I worked as a pro for about 20 years and taught on both the undergraduate and graduate levels for about the same amount of time.

 

I have seen and studied the work of most all of the masters of the 20th century. Frankly, I feel that a few of the best image makers over the years have been so bad at technique and used such poor equipment that their work suffered more than they ever realized. Such a shame.

 

So, while I can appreciate good photography, and consider myself a decent photographer, I also enjoy talking and learning about the tools of the trade. True, no Leica alone is going to make a wonderful photo, but a poor lens and/or camera can sure spoil one. It's somewhat irritating to hear time after time, people complaining that those discussing equipment should rather go about shooting photos rather than wasting time discussing equipment. I mean, how does any one of us know WHAT people do with their equipment when they aren't discussing it here?

 

BTW KM-25, I am a little confused. In one of your posts, you talk about the Leicas you have owned and how you have gone through several 50s only to aquire a lux a few weeks ago. Then in the other post you seem to want to put down the "enthusiasts" who talk about this stuff but may not be "actual photographers." Am I misinterpreting what you are saying?

[KM-25]

Although I am no pro, I have about 35 years experience of handling various cameras and using them on my travels. I would say the 50 mm Summicron (with lens hood extended) let me down on the day causing flare in my images. Thankfully, my other equipment was OK.

 

I suppose I was mostly referring to the Lux Asph, for the short time I had a digi-Leica, the M9, there were simply no issues. I don't know that I have ever seen an MTF chart.

[Simon Bee]

For several years I had 4 Leica M bodies and 5 lenses including the LHSA version of the 50 lux Asph for a project based on a famous color film. Once I was done with that project, I sold almost all my Leica gear because I was moving to what I use most now and that is MF and LF black and white film.

 

I kept one M3 which is all I need and have and proceeded to go through 4 50mm lenses before realizing that what I really wanted was another 50 Lux Asph. I caved and bought one a few weeks ago and just LOVE it!

 

I have no interest in any other lens for my one and only Leica....

 

Very nice looking kit indeed

[B-A-C]

I just saw the price on B&H went up 6.3%, so if you can get it under $4k, go for it. Great lens.

[4X5B&W]

A classic combination.

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[KM-25]

Strange comment as this is an equipment forum.

 

Maybe so but it is still a forum and differing opinions will prevail...and stranger things have happened.

 

I only went through so many 50's because I was avoiding getting back the one that would cost me the most and would really work the way I wanted it to, others having issues with focus shift, back focus, soft wide open or at F2, too slow by exactly one stop indoors for my standard film of Tmax 400.

 

Remember, the 50 Lux is a joy to use? The reason for that is that if you put it in the hands of a great photographer, it will really have a chance to shine. If I am viewed as the guy who is a jerk for reminding people that say, once or twice a year, what is the harm in that?

[tobey bilek]

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Got interested in digital around 2006 and got a Nikon D200. Leica was out of price range.

 

Then I bumped into Leica rep at Calumet demo and tried the M8+50 lux. Better but not earth shaking. Then I looked at the interior store pics and I have never seen a lens that sharp at 1.4. I promised myself someday.

 

I did buy a collapsible 50 2.8 last version and that went on my M6 and then M8. That is a beautiful lens and 2.8 is fast enough for most of my photos. The M9 came and I am looking at a 1.4 Lux again.

 

As far a flare goes, I have tried to provoke it with the 1.4 and 2.8 outside with the summer sun just outside field. I can`t do it. Unfortunately my 50 2.0 is a Rigid in mint condition and a 1969 version 3 . I don`t think I will be buying a current 50 Summicron.

[gberger]

It replaced my 50 LHSA Chron. Love it for trannies, especially the extra stop.

[wjkotze]

Interesting article: Quality control, sample variation and what it means for photographers – Ming Thein | Photographer

[Fgcm]

It's easy to imagine too much and to see what one is looking for.

Take it easy.

[pgk]

Remember, the 50 Lux is a joy to use? The reason for that is that if you put it in the hands of a great photographer, it will really have a chance to shine. If I am viewed as the guy who is a jerk for reminding people that say, once or twice a year, what is the harm in that?

Interesting comment:eek:. Would you mind defining what a great photographer actually is so that I can appreciate my fabulous 50mm Summilux Aspheric just a little bit more that I actually already do;)?

[colint544]

Well, as long as we're posting shots of our cherished 50mm Summilux ASPH lenses on vintage M's, here's my favourite analogue combo - 50 Summilux ASPH, mounted on my 1966 M2.

 

Best wishes all,

 

Colin

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[jbl]

Gorgeous.

[erl]

Although I am no pro, I have about 35 years experience of handling various cameras and using them on my travels. I would say the 50 mm Summicron (with lens hood extended) let me down on the day causing flare in my images. Thankfully, my other equipment was OK.

Apologies for a late reply to this comment, I have only just found this thread.

One of my pet gripes is the absolute lack of effectiveness of Leica built in hoods. The one on the 50 cron is neat and discreet, and totally useless! I have permanently fitted a HeavyStar hood to mine, which is not brilliant but a lot better than the original.

 

It is even more important for RF cameras to have good flare control because you can't always see it happening, until it is too late. In the past I have done enough tests to prove to myself that the better the flare control by shade or whatever, the better the contrast of the. image. Look at serious movies shooters for a good guide on how important they believe it to be.

[Carduelis]

Can anyone comment on using the 50 mm Asph Summilux lens for landscape photography particularly in terms of edge to edge sharpness and performance out to infinity at mid apertures? From what I have read, it appears to be an absolute joy to use for portraits given its bokeh qualities and exceptional central sharpness wide open.

[pgk]

Can anyone comment on using the 50 mm Asph Summilux lens for landscape photography particularly in terms of edge to edge sharpness and performance out to infinity at mid apertures?

Yes. Its superb down to about f/11 then softens marginally after f/11 in my experience (as you might expect).

 

That said the pre-aspheric delivered fabulous shots for landscapes too with very smooth tonal transitions indeed.

[bephoto]

Can anyone comment on using the 50 mm Asph Summilux lens for landscape photography particularly in terms of edge to edge sharpness and performance out to infinity at mid apertures? From what I have read, it appears to be an absolute joy to use for portraits given its bokeh qualities and exceptional central sharpness wide open.

 

I got 50 Summilux and I love it but I won't recommend it for landscape since you are not going to need the extra stop. save money and get 50mm summicron, way more portable and equally good at f/8<

[bephoto]

Joy indeed! whenever commissioned to do portraits from artists or corporate figures I take 50 Summilux ASPH, 90 Apo-Summicron and 28mm Summicron and end up using 50lux 90% of the time

 

This is the only lens that you can stick it to someone's face (my preset is 0.7m) without distorting the hell out of them and keeping their genetic code intact. it has this je ne sais quoi Large format perspective correctness to it.

 

most recent shot with 50LuxASPH.

[jbl]

Gorgeous lighting.

 

-jbl

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Hallo,

Look here: Leica M

[Manolo Laguillo]

Joy indeed! whenever commissioned to do portraits from artists or corporate figures I take 50 Summilux ASPH, 90 Apo-Summicron and 28mm Summicron and end up using 50lux 90% of the time

 

This is the only lens that you can stick it to someone's face (my preset is 0.7m) without distorting the hell out of them and keeping their genetic code intact. it has this je ne sais quoi Large format perspective correctness to it.

 

most recent shot with 50LuxASPH.

 

The 'problem' you mention (you name it 'distorting') with being at 0,7 m from someone's face is the bizarre perspective (= relationship between fore- and background), bizarre because it doesn´t fit with what is considered the usual portrait. But this is TOTALLY independent from the focal length we are employing, it only has to do with that distance of 0,7 m between the face and the camera. If we don't change the distance between the camera and the face, we will have EXACTLY the same perspective, regardless of the focal length we are using (18, 21, 24, 28, 35, 50...). Let's say it again: the 50 Summilux delivers exactly the same perspective as the 28 Summicron or the 24 Elmarit if we don't change the distance from the camera to the face. There could be a subjective sense of this being not the case because the Summilux 50 allows f.1.4, and this will deliver a very shallow depth of field. Being the nose and ears without crisp detail the bizarre perspective, being of course present, is less evident. That's all.