Nocti vs 50 APO

[hockey44]

Advertisement (gone after registration)

I would welcome thoughts on selling Lux 50 to purchase either Nocti or APO 50.  (I have Lux 35 FLE which I am very happy with).  Don't get me wrong, I like the Lux 50 but smitten with Nocti-lust when I see it....I have M240 body and my 'brain' thinks better in 50 than 35 (I can't explain that).

[leicameter]

If you have got "Nocti-lust" a Apo 50 would not help you ;-)

[Advertisement]

The Leica Q3 is available for pre-order at B&H Photo Video and Adorama

[NB23]

You're right in between them. Moving to one or another will emphasize the whole you will create.

 

You have to add a lens to the lux. To the EXCELLENT Lux.

 

Welcome to the Diabolical Leica world.

Edited April 11, 2016 by NB23

[earleygallery]

3 very different lenses. If you don't know which is best for you how can anyone else?

[james.liam]

One thing that can be said of the four 50's Leica makes, there isn't much overlap. Very distinct identities.

 

Do you really see yourself regularly lugging around the corpulent Noctilux a la Thorsten von Overgaard?

 

Not a tool for everyday shooting unless you've got strong shoulders or a willing assistant to carry it for you.

[Joshua Lowe]

The Summilux, Noctilux, and APO-Summicron each render very differently when opened up.

 

If you have a desire for the Nocti's distinctive look then neither of the others will give you what you want.

 

Rent or borrow one so you can test it out and see if you like it.  It's bulky and can be difficult to focus .

[CheshireCat]

Advertisement (gone after registration)

3 very different lenses. If you don't know which is best for you how can anyone else?

 

 

Well, rendering-wise, the Noctilux 50/0.95 is a Summilux 50/1.4 on steroids.

If you really want a different rendering character than the Summilux, then it is the Noctliux 50/1.

Weight and size, it's totally different though (in a bad way).

[Paul J]

the apo is superior but I would choose the Noctilux any day. You get the magic of 0.95 and quite a lot of the performance of the apo stopped down.

Edited April 11, 2016 by Paul J

[spydrxx]

Had both a 50 Lux 1.4 and Nocti 50/1...quickly learned the Nocti was too big and finiky when focusing wide open. YMMV

[darylgo]

The Summilux has character that is not all that different from the Apo when stopped down.  The Noctilux has great character that is not all that different than the Summilux when stopped down.  The weight is frequently mentioned with the Noctilux, and it is heavy, however I would describe the lens as having great density.   It is a medium sized lens by 35mm standards, other than Leica, so it's heft is quite dense and there is an imbalance on the Leica M bodies.   I find it's not difficult to carry, I will change to a more substantial strap (currently the S body strap) or use the grip.   Currently the prices are soft and availability is good, it's a great time to purchase this lens.   

[mdg1371]

I have, and use, all 3.

 

Before making any purchase, I would evaluate HOW use use your Summilux-- I shoot a substantial portion of my shots at or below one meter--when using the Noctilux, I find myself continually bumping up against the minimum focus distance-- to have it as my only 50 would entail frequent cropping in post.

 

If I had to part with one, I could make do with the Noctilux and the APO Summicron- the APO for daily carry and highest possible IQ, and the Noct for its own unique signature.

 

if I had to have only one, the Summilux ASPH splits the difference.

[adan]

I don't own either (no 50 at all), but have tried the F/0.95 and seen the APO examples - and I would back up every comment here so far.

 

My own preference, if I were adding a 50, would be for a large aperture over the last few ounces of image quality - likely the Summilux - but that's just me.

[adamdewilde]

I have all three.. I actually even have two 50APO lenses. Simply because it's my most used lens. So I have one on a M246 (honestly wasted on the M246) at all times and one on a M240-P at all times. The rest of the lenses in my kit get used equally if they're in the range of 35-75 and get used very infrequently if they're 18-28 or 90.

 

I'm getting rid of my excess lenses.. Trying to clear my mind and one of the 50APOs will have to go with the lot of lenses I'm going to be selling. So when I write this, it might seem a bit bias, simply because A) I obviously love the 50APO and B.) I'm actually considering selling one so it might seem like I'm talking it up.

 

Here goes.. The 50 Summilux-ASPH is a great wow lens. It's punchy, has nice colors and is sharp. If you nail focus it's breathtaking (closer up portraits). It's also a great lens for walking around. But by about 10-15 feet away the Noctilux starts to take over. I think for punching out the background or creating dreamy atmosphere to your images the Noctilux is great. The issue with it. It's big, not really sharp (unless stopped down where it turns into a completely different lens) and has issues with OOFH. Also I find the colors aren't as nice. A bit more muddy in comparison to the 50Lux. So for me it's always a question of how I intend to use the lens. And if I'm shooting subjects closer or further away.

As for the 50APO. It isn't any of those things mentioned above. It almost seems standard by comparison.. That is until you start to use it more. Then you realise that it just gives images such a realistic chrispness. The contrast and colors are realist but at the same time vivid and saturated. The only drawback to it is when you switch to other lenses and in the back of your mind you know something is missing. This feeling is lessened considerably with the M9M or M246. Which is why I mentioned above that it's wasted on the Monochrom. IF I were shooting with the monochrom I'd be tossed between using the 50Lux for it's size, or the Noct (where in bnw the flaws wide open are more well hidden).

 

Bottom line. If you buy the 50APO you'll need a month or so to convince yourself it was the right choice. IF you buy the Noctilux you'll probably want to sell it after a few months because the weight is just such a burden. Well unless you would do anything for that dreamy effect. Though if that were the case, I'd sooner suggest you buy a C645 80/2 or even the S006 + 100S. Both sharper and with less flaws wide open.

Edited April 12, 2016 by adamdewilde

[adamdewilde]

I have, and use, all 3.

 

Before making any purchase, I would evaluate HOW use use your Summilux-- I shoot a substantial portion of my shots at or below one meter--when using the Noctilux, I find myself continually bumping up against the minimum focus distance-- to have it as my only 50 would entail frequent cropping in post.

 

If I had to part with one, I could make do with the Noctilux and the APO Summicron- the APO for daily carry and highest possible IQ, and the Noct for its own unique signature.

 

if I had to have only one, the Summilux ASPH splits the difference.

 

^ This is also really sound advice. The problem is, since you started with the 50Lux, I have a feeling you'll have to do the rounds. 

[indergaard]

While I loved the Noct 0.95 for what it is, it's just too big and heavy for the M system in my opinion.

The M240 + Noct + battery + sd card + lens filter + strap easily weighs about 1.5 kilos!

That's MORE than for example a Canon 6D + Canon 50mm f/1.2 L (which weighs 1.35 kilos).

 

I wrote an article about the Nocti 0.95 here: http://indergaard.net/2014/09/19/leica-noctilux-m-50mm-f0-95-asph-review/

 

I sold the Noct and bought a Summilux 50 ASPH which I was extremely happy with. Sadly I've almost never used it in the last year. The 35 FLE get's about  90% of the use. So I recently sold the Summilux as well, and I'm sure that it won't be replaced with another 50 for a long time... Maybe a 75/2, or even a 21/3.4 will be it's replacement.

Edited April 12, 2016 by indergaard

[Peter H]

I sold my Noctilux a few years ago and have never missed it. The Summilux is better for me in every photographic situation that I ever find myself in, and the fact that it is smaller and lighter is simply an added and very welcome bonus. I too prefer its colours and it is an incredibly versatile lens with no material weaknesses that I can perceive.

 

I can't speak for the APO Summicron. I have never found photos from the Summilux wanting for quality (my abilities aside) so the extra cost of the f2APO feels unjustifiable to me.

[Paul J]

It is, as always a personal decision and you have to try them out for yourself and come to your own conclusions.

 

I don't notice the weight of the Noctilux, I recommend using the grip with it. Some times finder blockage annoys me but it's no deal breaker.

 

I own a lot of lenses, the apo too, but I could quite possibly sell the rest if needed and just keep the noctilux.

 

To me, personally, it's the best lens ever. It's versatility is unmatched and it's look is entirely unique. Once you get over the "just shoot wide open" period and learn to use the aperture sparinglyly and judiciously, as another tool, learn when wide open doesn't suit, or technically work so well, then it becomes something else again and performs the task of the other lenses to a large degree, becoming a great all rounder and offering something, on top, that others can't, and it's a look I greatly value - of corse some people don't and some people even dislike it.

 

Optical imperfections and Chromatic aberration is there the wider you are and even stopped down there is some wavy curvature going on that I've never found an issue with and I've learned to remove chromatic aberration quite easily now.

 

It is a very capable lens, and good enough that I found it negated the need for medium format use up to 16x20ish in my commercial and editorial work.

[tobey bilek]

One thing that can be said of the four 50's Leica makes, there isn't much overlap. Very distinct identities.

 

Do you really see yourself regularly lugging around the corpulent Noctilux a la Thorsten von Overgaard?

 

Not a tool for everyday shooting unless you've got strong shoulders or a willing assistant to carry it for you.

 

 

Big heavy lens.   My two favorites are 50 ASPH 1.4  and 2.8 Elmar M collapsible.   Small get the most use

[james.liam]

One goes to the expense for any one of these three for their unique signatures at the widest apertures; if f/8 mattered, a 50 pre-APO Summicron or the excellent ZM 2/50 Biogon are more than sufficient.

I've owned  a D700 and a NOCT and don't care to replicate that weight in an M, That was the point of leaving DSLRs

[Advertisement]

Hallo,

Look here: Leica M

[Herr Barnack]

I would welcome thoughts on selling Lux 50 to purchase either Nocti or APO 50.  (I have Lux 35 FLE which I am very happy with).  Don't get me wrong, I like the Lux 50 but smitten with Nocti-lust when I see it....I have M240 body and my 'brain' thinks better in 50 than 35 (I can't explain that).

Given that, there would be nothing wrong with having more than one 50mm lens.  As noted above, all four current production 50s are very different in their rendering.  If the Noctilux gets your goat, none of the other three 50mm offerings will satisfy.  Do not overlook the older f/1.0 version of the Noctilux; it has a wonderful rendering and is considerably less costly than a minty new f/0.95 Nocti.

 

I would recommend that you consider the three following courses of action -

1:  Keep the 50 Summilux and add a f/1.0 Noctilux

2:  Sell the Summilux, acquire a 50mm f/2.8 Elmar M (not the more elderly non-M Elmar) and a f/1.0 Noctilux

3:  Sell the Summilux, acquire either a new or used 50mm Summicron "regular" (not the megadollar APO) and a f/1.0 Nocti

 

Any of these three scenarios gets you the Noctilux you want and you have a lighter all-around 50mm for day to day use.  It should also be noted that the f/1.0 Noctilux is considerably lighter than its f/0.95 successor:  20.6 oz./584 g. for the 50/1.0 vs. 24 oz./700 g. for the 50/0.95 version.

 

While some will moan about the exposure vignetting of the f/1.0 Noctilux, I have found that it is not objectionable in actual use.  When shooting in a low light environment, the vignetting will tend to blend in to the low light of the scene and more or less disappear.  When shooting in brighter environments, it produces a distinctive look that some of us like.  If this is not your cup of tea, it can be negated in post-processing. 

Edited April 12, 2016 by Carlos Danger