SiOnara Posted February 18, 2015 Share #61 Posted February 18, 2015 Advertisement (gone after registration) 50mm Summitar is almost like a cheap f1 Noctilux. Really beautiful lens that draws in a most wonderful ethereal way. Link to post Share on other sites More sharing options...
Advertisement Posted February 18, 2015 Posted February 18, 2015 Hi SiOnara, Take a look here The perfect 50 for film. I'm sure you'll find what you were looking for!
pico Posted February 19, 2015 Share #62 Posted February 19, 2015 50mm Summitar is almost like a cheap Until enthusiasts realize the best of the Summitar were made for only a year or maybe two. . Link to post Share on other sites More sharing options...
steve_hoffman Posted February 19, 2015 Share #63 Posted February 19, 2015 Until enthusiasts realize the best of the Summitar was made for only a year or maybe two.. How do you mean? Can you elaborate? Link to post Share on other sites More sharing options...
pico Posted February 19, 2015 Share #64 Posted February 19, 2015 How do you mean? Can you elaborate? My opinion is in an earlier post here. . Link to post Share on other sites More sharing options...
steve_hoffman Posted February 19, 2015 Share #65 Posted February 19, 2015 My opinion is in an earlier post here.. Thanks. I agree with you, a very short span of making the "keeper" version... Link to post Share on other sites More sharing options...
andym911 Posted February 20, 2015 Share #66 Posted February 20, 2015 My thoughts... Lux is too Heavy and I never shoot wide open Cron is lovely weight and well balanced and great performance Elmar 2.8 is just perfect for me.. Best focussing movement of them all Elmer 3.5 is my favorite for film Can't go wrong with any except the lux imo Andy Link to post Share on other sites More sharing options...
gberger Posted February 20, 2015 Share #67 Posted February 20, 2015 Advertisement (gone after registration) Since I shoot color ttranparencies 95+%, the 50 Lux ASPH fills the bill. Link to post Share on other sites More sharing options...
IkarusJohn Posted February 20, 2015 Share #68 Posted February 20, 2015 My LTM Summitar 50 from 1948 has the round aperture. Link to post Share on other sites More sharing options...
pico Posted February 21, 2015 Share #69 Posted February 21, 2015 My LTM Summitar 50 from 1948 has the round aperture. Mine is # .... damn, I can't get the freaking lens shade adapter off to check. Maybe later. . Link to post Share on other sites More sharing options...
otto.f Posted February 21, 2015 Share #70 Posted February 21, 2015 Is there such a thing as a lens being better for film than for digital (apart from the speed)? I doubt it, I doubt even my own experience: I sold my Summilux 50asph after I stepped over to digital because I could not enjoy it anymore that much as I enjoyed it with slide film on my M7 Link to post Share on other sites More sharing options...
Guest ausgeknipst Posted February 21, 2015 Share #71 Posted February 21, 2015 I love my dreamteam the Nocti 1.0 with film, especially color @400 iso and low light. Link to post Share on other sites More sharing options...
horosu Posted February 21, 2015 Share #72 Posted February 21, 2015 I loved my C-Sonnar on film and digital. I sold it foolishly some time ago and now I regret it Link to post Share on other sites More sharing options...
Paulus Posted February 21, 2015 Share #73 Posted February 21, 2015 Is there such a thing as a lens being better for film than for digital (apart from the speed)? I doubt it, I doubt even my own experience: I sold my Summilux 50asph after I stepped over to digital because I could not enjoy it anymore that much as I enjoyed it with slide film on my M7 Can I ask you why not. I have the same experience. Bought it for the MP but still use it on the M8,9,10. To me it's the best lens I ever had. Link to post Share on other sites More sharing options...
sblitz Posted February 21, 2015 Share #74 Posted February 21, 2015 there are lenses better for digital and the newer lenses are "tuned" for the resolution digital sensors deliver -- according to leica tech in nj. what that does mean is older lenses have more relative value for film shooters and are therefore "bargains" Link to post Share on other sites More sharing options...
otto.f Posted February 21, 2015 Share #75 Posted February 21, 2015 Maybe it's the other way around: modern lenses better for film and old lenses for digital. Especially with the Monochrom old lenses start to shine, where they can be a bit muddy with for instance TriX if not in bright sunlight. Link to post Share on other sites More sharing options...
otto.f Posted February 21, 2015 Share #76 Posted February 21, 2015 Can I ask you why not. I have the same experience. Bought it for the MP but still use it on the M8,9,10. To me it's the best lens I ever had. I found the color rendition of the 50lux asph, especially on Provia, astounding and very special/unique. Somehow on my M9, this did not come through that much, relatively speaking. In the mean time I acquired an Elmar50 which gives a lot of IQ. As a Summilux I prefer a 75 (smallest object field) in combination with the 35FLE, which has astounding color rendition too. There were other disadvantages for me too, the 50lux asph is quite heavy for a 50 and it hangs over. It began to irritate me that there is no good balance between lens and body. With the 75lux this is perfect for me, because the lens carries the body so to speak. Link to post Share on other sites More sharing options...
Paulus Posted February 22, 2015 Share #77 Posted February 22, 2015 There were other disadvantages for me too, the 50lux asph is quite heavy for a 50 and it hangs over. It began to irritate me that there is no good balance between lens and body. With the 75lux this is perfect for me, because the lens carries the body so to speak. Funny how it 's different for each induvidual. I like the hanging over of the asph 50 lux. It prevents the camera of " looking" directly into the sun while carrying. I did not notice the balance thing. May because I always put my left hand , thumb to the left, under the lens? Link to post Share on other sites More sharing options...
Antonio Russell Posted February 22, 2015 Share #78 Posted February 22, 2015 Because digital is so clinical looking I think some people try to mask that by using older lenses with abbreviations, very shallow DOF, etc. Trying to make digital look less perfect. Whereas on film they all work superbly! But if you are printing your work you have to consider more than one lens. Don't forget that the enlarger has a lens also and film/paper/developer choices also change the look (as do camera sensor/computer screen/print choice affect things in the digital domain). Why just focus on one part of the chain? Link to post Share on other sites More sharing options...
otto.f Posted February 22, 2015 Share #79 Posted February 22, 2015 My opinion is in an earlier post here.. Thanx pico, for the information on the Summitar. I found one yesterday with round iris. Very interesting rendering! At f2.8/4.0 it is amazingly bright and clear for a 1946-8 lens. I thought to go safe with my expectations to use it at least on my Monochrom, but what amazes me are the colors on my M9: very nice and at first sight better than the Summaron 35/2.8. Link to post Share on other sites More sharing options...
otto.f Posted February 22, 2015 Share #80 Posted February 22, 2015 Funny how it 's different for each induvidual. I like the hanging over of the asph 50 lux. It prevents the camera of " looking" directly into the sun while carrying. I did not notice the balance thing. May because I always put my left hand , thumb to the left, under the lens? When you put the camera on the table it always falls down. Link to post Share on other sites More sharing options...
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