50mm APO-Summicron-M ASPH f/2.0

[Herr Barnack]

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Here's a new and comprehensive article by Messr. Overgaard on the 50mm APO-Summicron-M ASPH f/2.0 lens.  Up until now, I have not given this lens much thought; after reading his treatise, I can see the intrigue that this lens has for many M camera users.

 

http://www.overgaard.dk/leica-50mm-APO-Summicron-M-ASPH-f-20.html#What%20is%20purple%20fringing%20and%20how%20to%20get%20rid%20of%20it

 

An added bonus is that about 2/3 the way through the article, Overgaard addresses purple fringing and how to get rid of it in Lightroom; this is a gem of information for those who use LR.

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[PaulJohn]

Great article. His writings are always interesting and informative. And his photos are inspiring too.

[james.liam]

Refreshing to read thoughtfully considered, real-life impressions instead of technical crap on MTF graphs. 

 

Will add though, as someone toying with the idea of replacing a 50 Lux ASPH with the APO for my Monochrom, I am as unsure as ever after reading the piece.  

[pedaes]

Every time I am tempted by this lens I re-read Ming Thein's review, and if I may quote him "I want to make one thing clear upfront:were already at the bleeding edge of diminishing returns with most lenses; your shooting discipline and rangefinder calibration are going to make far more difference to the pixel-level results than switching from the 50/1.4 ASPH to the 50AA", but please read the full article (on his website).

[james.liam]

Every time I am tempted by this lens I re-read Ming Thein's review, and if I may quote him "I want to make one thing clear upfront:were already at the bleeding edge of diminishing returns with most lenses; your shooting discipline and rangefinder calibration are going to make far more difference to the pixel-level results than switching from the 50/1.4 ASPH to the 50AA", but please read the full article (on his website).

 

Thanks for the splash of refreshing cold water, because my credit card bill needed it.

 

This GAS crap is a killer...

[EoinC]

I have a Summicron 50mm APO and am very happy with it. I haven't used a Summilux 50mm, so can't directly compare. I do have a Zeiss Otus 55mm f/1.4 for another camera and, if the Summilux 50mm is in some ways similar in performance to the Otus, I would not drop the Summilux to get the Summicron. I guess that means they are great lenses, and it is down to whether you cannot achieve the look that you want from the Summilux.

 

For me, however, were I to start again, I would still buy the Summicron - It gives me what I want.

[james.liam]

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Every time I am tempted by this lens I re-read Ming Thein's review, and if I may quote him "I want to make one thing clear upfront:were already at the bleeding edge of diminishing returns with most lenses; your shooting discipline and rangefinder calibration are going to make far more difference to the pixel-level results than switching from the 50/1.4 ASPH to the 50AA", but please read the full article (on his website).

 

 

His review is based on a mixed experience with theM9 and MM v.1. The only M that I own is a Monochrom, so the answer isn't so clear to me. Using a medium yellow filter on the 50 ASPH, I often find myself dialing down the contrast already. Granted, that by ƒ/5.6 and beyond, the shear resolving power will likely be as you quote Ming saying, "at the bleeding-edge of diminishing returns". Shooting the 50 Summilux ASPH at ƒ/1.4 with a ND filter, plays to its charming bokeh. It is also no slouch in resolution. Then again, I see some work with the APO and Monochrome that leaps out for its startling clarity and I begin to wonder again...

[Jon Pop]

I enjoyed Thorsten's article and thought it gave a pretty good explanation of things, particularly since it's based in his interview with the designer himself vs. the usual internet opinions and rants. I also respect Ming Thein's reviews a great deal; they're very thorough...his photography is also of a very exacting nature.  I think Ming's point about diminishing returns is correct, when it comes to pixel-peeping and outright sharpness. And I don't think Karbe disagrees....indeed all of these lenses are at the cutting edge of performance.  In Thorsten's article, Karbe himself acknowledges the primary difference between the old Summicron and the APO lays not in the sharpness per se, but in terms of contrast behaviour. The fast fall off at point of focus, and the way it uses the light in terms of pulling out structure and definition.  This is important because it shows the way in which they've designed the lens for a specific characteristic. It's a given that the APO is ridiculously sharp; the Summilux 50 ASPH can be as well. Again, it's all about the way in which these lenses handle the light they have. Also important is how he alludes to the fact that the Leica designers think about the type of photography, the types of images, in balancing the characteristics (since you can't have it all for every circumstance). In the end, the APO has a character as do the other Leica 50mm lenses. Its character just isn't as dramatic up-front as the Noctilux shot at 0.95, for example. But rather it's in what I feel is a specific subtelty with a very high sophistication. The lens intrigues me for a bunch of other reasons.

[james.liam]

Agreed

 

The lens intrigues me for a bunch of other reasons.

 

Completely agree.

As I mentioned in my last entry, its a certain, not-easily-defined clarity that strikes me. The bokeh neither adds or detracts from the image and subject separation appears more dramatic because of this clarity. It become about the subject alone and not the optical aura about it. Takes a bit getting used to but In B&W, with the correct scene, I personally find the effect quite engaging.