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Super Elmar 21


mandelbrot

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If you have a tendency to 'like a lens so much' you probably should stay away from the 2.8/28 ASPH, it's the Little Engine That Could.

 

s-a

I picked up a used copy of the 28 Summicron because the 21 SEM was released but not available. I wanted to bond with the 28 as its quality is legendary, but I could not see the edges of the frame lines and ended up using it as I would my 35 mm Summicron, all too often cropping a little off the edges. The IQ seemed much the same between the 28 and 35, so the 28 went into the bag and the 35 back on the camera. When I was offered my money back on a trade for the 21 a few months later, the 28 Summicron became the 21 SEM. 

 

I think lens choice depends both on your vision and on what is most comfortable to use. Because the 35 is my normal lens on my M9, the jump to 21 seems more natural. In fact, my do-everything kit is the M9 wearing a 35 and a  21 and 90 in the bag. On the other hand, my shoot something for myself kit is just the Monochrom and a 50. Perhaps I should have held on to the 28 for use on the Monochrom but often having too many lenses available can be confusing. And I like the simplicity of vision that the Monochrom gives when you just have one lens available.

 

Just to break things up a bit, I put the 35 and 90 away for a few weeks and put the Mono/50 and M9/21 in my old Domkie F5XA bag. I'm eager to see what turns up.

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SE21 is surprisingly nice with 10mm extension for bug perspectives.

 

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There's no questioning the quality of the lens. More interesting to think about is the way you'll use the focal length. 

 

Many have noted the challenge of using it for people shots, but it's a challenge that can be extremely fascinating and rewarding. I think that in many ways it's even more challenging to use it well for landscapes, because it almost forces you into cliche mode if you're not very careful.

 

You will inevitably at some early point find yourself looking for an interesting rock  or something to put in the huge foreground, which will be a shame because the rock is not really what you're trying to make a photo of.  As we've seen in this thread, a good 21mm photo can be an incomparably beautiful thing, but it certainly needs a great deal of imagination and care to achieve. It almost invites cliches. But this is a good thing if you want to explore your photographic intentions and ideas, and enjoy the personal challenge.

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In the film days, I lusted after the 21 3.4 Super Angulon,,,,,truly a classic Leica M lens.

 

Was never able to afford one back then, and they were very difficult to use on the first digital M's.

Today you can use the 21 Super Angulon on a M240 but the design doesn't work that well on digital sensors.

 

Interesting that Leica has fixed that with the 21 Super Elmar, a lens that not only does for digital what the classic Super Angulon did for film…..but it's reasonably affordable.

 

I now have one and I just love it….the Super Angulon revisited !! 

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There are cases where people and architecture come together and SEM is fantastic for these moments ! I love this lens.

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The 21mm is fine but sometimes, (actually quite often), the 18mm f/3.8 Super-Elmar-M ASPH is better.

 

 

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My apologies it seems like I made a complete hash of attaching pictures taken with my 18mm.

 

I will try again:-

 

 

 

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Both taken on a recent trip to Uzbekistan.

 

 

 

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Now look what you've done. I have a SEM 21. Jennifer was right, resistance was futile.

Tomorrow I go in search of wide odd numbers for Barnacks Monthly for June.

I'm cross with you all but very happy.

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Now look what you've done. I have a SEM 21. Jennifer was right, resistance was futile.

Tomorrow I go in search of wide odd numbers for Barnacks Monthly for June.

I'm cross with you all but very happy.

Remember to keep the back of the camera straight!

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Just like the 21mm the 18mm is perfectly usable with people.

Sometime they just come and sit down all around you.

 

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Don't laugh - first day out with my new 21mm lens and I discover how difficult it is to use.

 
Focusing is hard (I'm using an M 240 and EVF2). Focus peaking is either everywhere or nowhere depending on the scene. Live view zoom didn't help because I have no idea how what I am seeing compares to the whole frame. Switching to the OVF has the same problem. I have best results from guessing the distance.
 
Metering is hard. For one scene classic centre weighted was vastly overexposed, multi point less so. Best result was spot, pointed at the brightest feature but this needed one stop under to eliminate all blown highlights.
 
Framing is hard. Getting one object to fill the frame - you can't just walk up to it and shoot, it will be tiny. You have to walk up to it with your eye on the EVF and be careful you don't bump your nose on it. Taking a medium distance scene - keeping the camera vertical and horizontal is a struggle with your heart beat and breathing. People at the sides of the picture should have been on a diet before walking into your frame. For distant panoramic views - luckily I had some interesting clouds to fill up the top of the picture with the horizon low down. If it had been a grey day I would have put the horizon higher and been left with a very dull foreground.
 
So, a very productive photowalk, I discovered what I need to learn, I am delighted. Samples to follow...
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Attempt to use focus peaking

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Metering problem - spot -1ev

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Single object

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Is this distortion or overweight?

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