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Elmarit 2.8/28 versions?


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I missed to make this a quote... This is ment to be a quote to Adans post about the practical definition of contrast...

 

"Bottom line - if I want the maximum amount of shadow and highlight detail, I'll pick a "lower-contrast" lens. If it has good micro-contrast to define tonal edges as well, that's a plus."

 

I really appreciate your very practical interpretation of the term "contrast"... This is also the way IT IS in my world. At the same time I must confess that I learned something in the sense that contrast could be defined as the capability to separate... i.e. separate more details in darker area etc...

However, my immediate and possibly "naiv" comment is that the two different definitions of "picture" contrast could... in LR... be represented by the contrast lever... and the "lens" definition could be represented by the clarity lever... Probably many technical errors in this... but makes some sense to me at least...

Edited by Stein K S
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To me, photographic "contrast" (with no other qualifier) is contrast. A "high-contrast" lens is like "high-contrast" paper or "high-contrast" film - it turns the world in chalk and charcoal, rather than a continuum of tones. In the small world of lens designers, "contrast" may have a different meaning - but out here in the real world where I take pictures, I'd submit that my definition is more useful.   Let's consider the attached picture, made (on-topic) with the 28 Elmarit v. 3 (M4-P, Pan F

Five:   - (v.1) symmetrical 28 Elmarit 1965-1972 (low distortion). Rear element comes very close to the shutter/film/sensor plane. Will damage the metering arms of M5/CL cameras unless it has a modified mount to keep the metering arm in its well (no metering). Will not damage post-1978 cameras, but will block metering light path in M6/7/digital cameras**, so requires hand-held or estimated light metering on those. 48mm filters. Will produce some color stains around the edges on full-color digi

This has come up before. If a lens could deliver the contrast of the scene being imaged (greyscale or whatever) perfectly, it would deliver 100% contrast. Actual lenses can't - there is always some veiling flare which impinges on the deepest shadows. So a high contrast lens can deliver more of the shadow detail onto the film/sensor than a low contrast one can. Quite simple. High contrast lenses are preferable because they provide more tonal information, however there are innumerable other attrib

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hi all, instead of starting a new thread I figure I'll just go ahead and bump this since it's relevant:

can anyone tell me if there are two versions of the ASPH model at this point, and if so, what are the differences? I've run into some information that suggests there is but I can't find anything confirming it, let alone detailing what the differences might be. 

also, is there any truth to the claim that the ASPH is more prone to vignetting on film than the v4 due to the (alleged) care taken towards pairing it w/ the M8's digital sensor?

many thanks

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There are two versions.  I've owned both.  The first version is a bit sharper in the center and abit lower contrast and a tiny bit more vintage looking.  The newer version is sharper in the corners and more modern looking. It supposedly also works better on the sl.  The differences are minor.  The second version is no where near as "modern" / clinical as the 35 summicron.  I like it's size and rendering much better (and sold the 35 and 28 summicrons). 

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excellent, thank you. I also did just come across a Thorsten Overgaard article that confirmed the ASPH v2 was released in 2016 and also contains a hood upgrade.

another query I have that I would appreciate anyone's insight on: if I am planning on pairing a 28mm Elmarit w/ a 50mm Summicron v4, and I am for now and in the foreseeable future *only* going to be shooting film, is there enough of a difference in contrast between the 'Cron and the modern ASPH Elmarit's that I would consistently run into annoyances with my development of otherwise similarly lit scenes? 

I am simply torn because 1) contrary to what many sources on the internet say, I have preferred the ASPH's rendering on film to those (admittedly *much* fewer) examples I have seen from the v4 on film, and 2) prefer the smaller size, but 3) am sure the bevy of individuals singing the praises of the v4 (and specifically in relation to film) are not just high on their own supply and that it is indeed a most enviable lens that is 5) not insignificantly more affordable. I don't know, I'm just thinking out loud at this point and should probably snap the v4 up while I can.

Edited by MesaArchive
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Great similar tastes!   I paired a 28mm elmarit apsh v2 with a summicron 50mm v4 in a recent trip to Hawaii.  Great light setup.  

They are different.  The elmarit bridges modern - i.e. karbe - and classic - ie mandler.  The summicron is definitely a mandler lens with a classic look.  The closest in rendering to the 50 summicron v4 is another mandler lens -  35mm summicron v4 or one from a similar period - 35mm summilux apsh.  They are not so far apart as to be striking (as pairing with the 35mm summicron apsh would be) but different. 

The 50 summicron v4 is the exact same optical design as the v5 - just the coatings are different.  I find it very sharp with medium contrast. 

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Ha! Yeah, another reason I'm drawn to the ASPH Elmarit is because I can turn to the 50 for anything I want a more classic rendering from and/or need f/2 for (but don't want to run into huge discrepancies in lens contrasts). I think I am going to (try and) sleep on it and likely pull the trigger on the 28mm Elmarit v4 tomorrow, use it in my wedding set-up next weekend, and then decide if I want to hang on to it or flip it for the ASPH upgrade. I'm waiting on an M3 to return from CLA anyways so I may as well play around with potential set-ups in the meantime, right? ;) This way I can at least eliminate the pesky What If?

I haven't shot a 28mm prime in years and I absolutely miss it!

Edited by MesaArchive
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