The perfect 50 for film

[colonel]

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50's I currently use on film:

Noctilux 1.0

Elmar 2.8

Summicron v4

Voigtlander 1.5 nokton

 

The voigtlander is the first I would cut. It seems popular among other users, but my pictures are turning out flat compared to the other lenses.

At night indoors, with little light the summicron is too slow with 400 ISO film in my experience.

I haven't used the summilux 50, but I would get one if I had to use only one lens.

 

Although the Voigtlander its definitely not as "3D poppy" as the Summilux ASPH, I don't agree with flat:

 

 

 

[FrozenInTime]

The only thing I would say against the 50mm Summilux ASPH is that the focus action, at least on early lenses like mine, is not the smoothest. The FLE double helicoid makes for a lumpy action.

Anyone with a recent lens got any complaints in this area ?

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[colonel]

The only thing I would say against the 50mm Summilux ASPH is that the focus action, at least on early lenses like mine, is not the smoothest. The FLE double helicoid makes for a lumpy action.

Anyone with a recent lens got any complaints in this area ?

 

I have used a number of Summilux 50s ASPH. They mostly had very stiff focus, one had a smoother one. I didn't find them particularly "lumpy" (by which I take it to mean you have different resistance at different points on the dial)

 

I actually love the short throw of the Summilux and also the stiffness as opposed to the longer throw and more looseness of the Summicron. but its personal taste

[jmr237]

The only thing I would say against the 50mm Summilux ASPH is that the focus action, at least on early lenses like mine, is not the smoothest. The FLE double helicoid makes for a lumpy action.

Anyone with a recent lens got any complaints in this area ?

 

I've had mine for about three months and have not had issues. The action is smooth but offers more resistance than my 35 cron.

[Stealth3kpl]

My 50 lux asph has a light and smooth action; about the same as my 35 cron. I used to think my 35 Summilux fle was firm but perhaps it's loosened up since I've started using it more. My 28 cron, well that's another story - by far my stiffest lens, but smooth. It is much firmer than when it went away to Malcolm Taylor for a service. Perhaps it will slacken off with the increased use I intend to give it over the coming year.

Pete

Edited December 19, 2014 by Stealth3kpl

[FrozenInTime]

I actually love the short throw of the Summilux and also the stiffness as opposed to the longer throw and more looseness of the Summicron. but its personal taste

 

Mine was never stiff - perhaps that's why it presents low and high torque regions.

I've sent it into Leica - hopefully it will come back a good as a new lens with a more consistent feel.

[smkoush]

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I am familiar with 3 different kinds of 50's, and 4 lenses in total: Summicron-M (current, non-APO), Summilux-M pre-ASPH E46, and Summilux-M ASPH (one black one silver).

 

The Summicron is sharp, small and an excellent performer though flare is more of an issue than the pre-ASPH and ASPH versions of the Summilux-M.

 

The ASPH Summilux is magical at 1.4, and rather similar to the summicron at small apertures. It is stunning wide open and at close range. Very noticeable bigger than the summicron and the pre-ASPH summilux.

 

The pre-ASPH Summilux is gorgeous from f2.8 and smaller apertures. Sharp (but somehow not as "clinical as the ASPH) and with a very very pleasing rendition. It's absolutely gorgeous at f4. Noticeably smaller and lighter than the ASPH Summilux.

 

The silver ASPH version is much smoother overall than the black one (at least in the 2-lens sample I owed). It maybe the case that the extra weight/inertia makes it feel like that. Noticeably heavier than the black version of the same lens. I kept the silver one.

 

If you have to pick one lens as perfect, then the ASPH Summilux is probably the closest. However, ideally, I'd love to have the ASPH for shots at 1.4, and the pre-ASPH for anything else.

[Guest Benqui]

You have heard a lot of very good tips for your future 50mm lens. It really depends what you want to do with your camera. When I travel I prefer the Elmar 50mm. It is very compact and to me the perfect "one camera-one lens" combination. To me this is one of the most underrated Leica lenses.

best regards

 

Marc

 

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MP, Tmax 400, Elmar 50

[philipus]

(apologies for the long post)

 

Whichever lens to choose is very individual but in my experience as a film only photographer having an f1.4 lens makes a real difference to an f2 lens esp. indoors during evenings/at night. Sure, it's possible to expose for brighter areas (faces etc) and block up the rest (first image below) but there comes a point (at least for me) where the extra stop means 1/8th or 1/15th and I tend to prefer the latter. But, naturally, it is possible to use an f2 in darker surroundings. It's just a question of metering and a stable hand (second image)

 

Earnest conversation | Flickr

TTL 50 Asph Tri-X (HC-110 dil D)

 

Well, what now? | Flickr

M4 50 Summicron v.3 Superia 200

 

Bokeh is a very personal subject, but of course it will give similar results whether on film or digital (although it will, naturally, look much better on film ). I like the Asph's bokeh overall (I know some here hate it) but it is really quite different from what the Summicron (I have version 3/11817) and also the pre-Asph Summilux produce. How it will all look depends not only on the lens, though, but also (and to a great extent) on how the background is.

 

This image with the Asph (a few more in the next post).

 

Through the LCD | Flickr

TTL 50 Asph Tri-X (HC-110 dil D)

[MarkP]

You have heard a lot of very good tips for your future 50mm lens. It really depends what you want to do with your camera. When I travel I prefer the Elmar 50mm. It is very compact and to me the perfect "one camera-one lens" combination. To me this is one of the most underrated Leica lenses.

best regards

 

Marc

 

[ATTACH]474550[/ATTACH]

 

MP, Tmax 400, Elmar 50

 

I agree to some extent - I use it more and more but if I was only to have one 50m lens it would still be my 50 Summilux (FLE).

[philipus]

Here are a few more to show various bokeh. The Summicron is busy but still fairly well behaved, imo. The pre-asph Summilux is able to give very very smooth OOF areas but can also give a busy twinkly kind of bokeh, all depending on the background. It is busier than the Summicron in my experience. The last image is an example of the Asph with a busier background. Perhaps not the best example but I think it shows that it is a fairly well corrected lens that leaves very little to chance, so to speak. Each lens has its strengths and weaknesses as always.

 

It's very difficult to advise on which to get but I would suggest to go for a Summilux if your funds allow and not to overlook the pre-asph which is a great lens for portraits since it is typically a little bit softer than the Asph at the widest apertures. In post, it's easier to sharpen an image than trying to "soften" it.

 

Good luck

Philip

 

To be or not to be

TTL 50 Summicron v.3 Velvia 100

 

Hmm what's that? | Flickr

M3 50 pre-Asph (ltm) Tri-X

 

Smoker in bar | Flickr

Leica II 50 pre-Asph (ltm) Portra 160

 

Hanging gnome or something | Flickr

TTL 50 Asph Tri-X

[iaeaix]

I'm truly grateful for all the quick replies and thank you all for the warm welcome.

 

 

 

I'm a Fuji X shooter, and I'll be selling my gear (23mm, 56mm lenses and X-E1 body) to fund my move over to film. I actually love the output of my current system. I couldn't be happier with the images produced by the two lenses I own, but I've always been left frustrated using autofocus. I prefer manual focus as I feel more in control and it's generally a more fun experience, though the manual focusing system on the Fuji X cameras leave a lot to be desired. So yes, that is one of the main reason why I wanted to move over to a fully mechanical camera.

 

I actually plan to shoot in b/w and do the developing and scanning myself. It's all part of the fun of shooting film right? Probably start off with a reasonably priced scanner and if I require higher quality scans, there is a local film processing/scanning service that has a good reputation which I could use.

 

I plan to experiment with different films but I'm leaning more towards Tri-X 400 as my standard. My partner and I plan on doing a lot of travelling in the next few years, so I suppose I'll mostly be shooting environmental portraits. A prime reason as to why I gravitated towards the 50mm focal length, in which I am able to isolate as well as have context in the photos I shoot.

 

 

If you just want full manual experience, why not a Leica M9 or M with M lens? You can use M mode so you have everything under your control.

I use both M9 and film Ms, both are very fun experience.

[Brenton C]

The original post was interesting to me for a number of reasons, but I'll emphasize one of them. There was a striking juxtaposition of, first, pretty clear assumptions that digital has surpassed film in its ability to represent detail resolved by modern lenses--yet, second, the OP longs for, and is intrigued by something about film. Between the two, he's seeking reassurance, if I read right, that digital hasn't already left film so far behind that he's on a fool's errand.

 

Regarding sub point 1, there's a world of fractious debate, but the point is still being debated. Certainly film isn't dead. At least one member commented on film's ability to capture the signature quality of a particular lens. In addition to the signature quality of a lens, it appers there's a rendering quality that is simply different begween film and digital. Those who acknowledge it, it seems to me, prefer the film rendition. But I might be guilty of selective attention, so want to acknowledge it. I wonder if this is whats drawing the op toward film.

 

The last poster raises an interesting "stay with digital" challenge, and proposes what is surely one of the most tempting options under the sun. Inn the ideal world, which Im still working toward, it would be my choice to add an M9 body to keep my M3 companion. Heck, I'll add in some of the lenses mentioned here above.

 

So, Santa, this year for Christmas. . .

Edited December 22, 2014 by Brenton C

[iphoenix]

Step 1, get the body.

Step 2, get a 2/50 Summicron

Step 3, if you then decide you need a wider aperture lens; get a Noctilux, version of your choice.

Life is really quite simple.

[GSharp]

I've been reading all of your comments and through much deliberation I have decided to go for the Summilux ASPH. The type of person I am, I just know that I wouldn't be able to live with the compromises of the Summicron, even though it is an wonderful lens in its own right. I was also looking for subject isolations, and from the examples I have seen, the 'Lux does this much better.

 

Anyway, here she is...

 

http://s3.postimg.org/huqniddw3/IMG_4479.jpg

 

I found it used but in immaculate condition for a fantastic price. The aperture clicks are super tight and precise, and the focus action is buttery smooth. My jaw literally fell to the floor when I held it in my hands. The build quality is unlike anything I have handled before.

 

Thank you again for all your help and advice.

 

PS I've already got my eyes set on a 28mm 'cron... so much for a one lens set-up.

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Edited December 23, 2014 by GSharp

[madNbad]

Very nice! Don't be in too big of a hurry to add a second lens but a 28 Summicron is a good choice. Now a about the scanner...

[honcho]

........When I travel I prefer the Elmar 50mm. It is very compact and to me the perfect "one camera-one lens" combination. To me this is one of the most underrated Leica lenses.

 

MP, Tmax 400, Elmar 50

 

I also think the 50mm Elmar-M is a good choice for pairing with a film M, especially for travel. It's a lens I enjoy using for what it is and for what it can do, it's Individual, traditional, lightning fast to focus for a manual lens and optically excellent. If it is underrated, then it's possibly a victim of irrational obsessions with maximum apertures and out of focus backgrounds.

 

Suits me and my MP, I don't need any other 50mm for film.

[MarkP]

Very nice! Don't be in too big of a hurry to add a second lens but a 28 Summicron is a good choice.

 

Couldn't agree more about the 28 Summicron.

Edited December 26, 2014 by MarkP

[gberger]

Another quiet vote for that 50 Lux you purchased.

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Hallo,

Look here: Leica M

[DigitalHeMan]

I also think the 50mm Elmar-M is a good choice for pairing with a film M, especially for travel. It's a lens I enjoy using for what it is and for what it can do, it's Individual, traditional, lightning fast to focus for a manual lens and optically excellent. If it is underrated, then it's possibly a victim of irrational obsessions with maximum apertures and out of focus backgrounds.

 

Suits me and my MP, I don't need any other 50mm for film.

 

 

I'm on the lookout for a 50mm Elmar for those reasons as well. Just waiting for an ebay auction to finish in my favor