APO 50 images

[JCR33]

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Random snapshot at close range

 

[Jennifer]

M246, APO 50

 

The Flower Market at Cannes

 

 

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Edited April 17, 2016 by Jennifer

[Mornnb]

Anzac Day 2016 by mornnb, on Flickr

[Jan1985]

Yvonne . FineArt . Black&White by Jan Hartmann, auf Flickr

[Hayek]

I am in a steep learning curve with this 50 APO as I study the images

.

It is so distinct from every 50 I have ever worked with. Instinctively expect a fast lens to add some 'signature' and I see none. The bokeh is just inobtrusive and inoffensive background. The subjects at point of focus leap out with such silent vibrancy. Very unsettling, for want of a better descriptive..

I've owned the Nikkor 50/1.4, 50/1,2, and NOCT; all made their presence known. As does the 50 Summicron Rigid, 50 Summicron v.4 and 50 Summilux ASPH.

 

Fascinating and puzzling at the same time as I cannot tell you what exactly draws me in. Like a magic wand, it both upsets expectations yet forces me to look.

[BerndReini]

Then with the MM1 and 50Apo:

 

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[BerndReini]

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The 50Apo is prone to flaring (yes, mine is the improved version), but in most cases I find its flare very pictorial (not the geometric orbs some lenses create).

 

 

 

 

 

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[bybrett]

A snap which I think shows the way in which the 50 APO renders high contrast in the plane of focus and lower contrast in the out of focus areas

 

London to Brighton Veteran Car Run 2011 - Leica M9 + 1st prototype 50 APO Summicron ASPH

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[Hayek]

A snap which I think shows the way in which the 50 APO renders high contrast in the plane of focus and lower contrast in the out of focus areas

 

London to Brighton Veteran Car Run 2011 - Leica M9 + 1st prototype 50 APO Summicron ASPH

Thanks for that image to illustrate this effect. Messr. von Overgaard speaks of this effect in his interview with Herr Karbe regarding the 50 APO and I didn't quite get it. In fact, all the images on this page nicely demonstrate this phenomenon. Does explain subject separation visually more striking than is typical of an ƒ/2 lens.

[JCR33]

For coffee lovers

 

M240

 

Edited May 17, 2016 by JCR33

[Jon Warwick]

A snap which I think shows the way in which the 50 APO renders high contrast in the plane of focus and lower contrast in the out of focus areas

 

 

I've read a number of reviews that the 50 APO starts to get towards a medium format feel.

 

Is it the 50 APO's way of rendering contrast (high on plane .... then falling off very fast) that is potentially causing this?

 

For those with the 50 APO, do you find it noticeably produces more "depth" to the image - compared to your other M lenses?

[IWC Doppel]

For coffee lovers

 

M240

 

 

Shame about the over extracted coffe creating bitter oils already hitting the crema :-)

Edited May 17, 2016 by IWC Doppel

[BerndReini]

I've read a number of reviews that the 50 APO starts to get towards a medium format feel.

 

Is it the 50 APO's way of rendering contrast (high on plane .... then falling off very fast) that is potentially causing this?

 

For those with the 50 APO, do you find it noticeably produces more "depth" to the image - compared to your other M lenses?

 

It definitely renders differently. This is most apparent when you shoot wide open at medium distances (8ft-15ft). At these distances you have enough depth of field to keep a person in focus instead of just their eyes, but you still have nice fall-off in the background. People look like they are "cut out" from their surroundings. My friend said it looks like people were photographed on a green screen. It is a really stunning lens.

[Hayek]

Query to owners:

 

I'm renting one in the next few weeks for use on a Monochrom. Is a yellow filter really necessary?

[dem331]

It definitely renders differently. This is most apparent when you shoot wide open at medium distances (8ft-15ft). At these distances you have enough depth of field to keep a person in focus instead of just their eyes, but you still have nice fall-off in the background. People look like they are "cut out" from their surroundings. My friend said it looks like people were photographed on a green screen. It is a really stunning lens.

Oh no......

 

Please don't

 

I already own a Canada Noctilux and 50mm summicron (both purchased second hand over 10 years ago, and a 2 month old 50mm summilux Asph ( my only lens purchase in about 10 years)

 

I recently went on a long weekend with just the three of them, and didn't miss a thing, except for a little width and a little length for certain shots.

 

But now I see that classic car photo and the dog popping out against the water .......oh

[Hayek]

Oh no......

 

Please don't

 

I already own a Canada Noctilux and 50mm summicron (both purchased second hand over 10 years ago, and a 2 month old 50mm summilux Asph ( my only lens purchase in about 10 years)

 

I recently went on a long weekend with just the three of them, and didn't miss a thing, except for a little width and a little length for certain shots.

 

But now I see that classic car photo and the dog popping out against the water .......oh

 

Dead Man Walking.

[Peter Kilmister]

Bananas.

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[BerndReini]

Oh no......

 

Please don't

 

I already own a Canada Noctilux and 50mm summicron (both purchased second hand over 10 years ago, and a 2 month old 50mm summilux Asph ( my only lens purchase in about 10 years)

 

I recently went on a long weekend with just the three of them, and didn't miss a thing, except for a little width and a little length for certain shots.

 

But now I see that classic car photo and the dog popping out against the water .......oh

 

You can't ever have enough 50s ... or 35s for that matter.

[wattsy]

A snap which I think shows the way in which the 50 APO renders high contrast in the plane of focus and lower contrast in the out of focus areas

 

London to Brighton Veteran Car Run 2011 - Leica M9 + 1st prototype 50 APO Summicron ASPH

 

 

Impossible to tell from a web posting (and not knowing how significant are factors such as exhaust fumes in the scene or post processing choices such as cranking the clarity slider) but there's a low contrast haziness in that photograph that looks like veiling flare.

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Hallo,

Look here: Leica M

[Hayek]

The image of the man on the beach demonstrates that same thing. Granted, it is a subtle effect and at web-sized images, even more so. But after review of many other posted images on this thread (and others elsewhere) I'm beginning to see it when looking for it. The portrait shot of the model has that rapid drop off I usually appreciate from MF.