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I had the same doubts about it and decided for the new one. I think the rendering is about the same and you deal with a new lens with all the benefits (warranty, 6bit coded, tighter tolerances…). The new one it’s very well made. A jewel as someone pointed out.

 

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3 hours ago, Unknown said:

In fact I’m looking for images. So if anyone has a comparison please post. Thanks. 

I think there are comparisons in the early pages of this thread. Go back and look. Bottom line is the older lens will have less contrast but more a prominent and distinctive flare character. Other than that, they produce nearly identical images.

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  • 2 weeks later...

Batiquitos

 

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15 minutes ago, Al Brown said:

You… can’t… fake… character. It has to be WELDED and FORGED in it during the immaculate conception ☺️

A bit OT, but if the photographer has character, any lens will do. 
(One of the characteristics of the Summaron is its small size and it’s related handling and the TTA copied that aspect rather well …)

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1 hour ago, Al Brown said:

I strongly disagree with such generalization. It is true that a good photographer can make images shot with a beer bottle bottom look good, but most of the greatest Hollywood directors seek out specific lenses together with their DoPs just because of a certain character that cannot be created otherwise.

In the world of cinematography, lenses obviously play a crucial role in creating the visual style of a film. Take for example The Batman, cinematographer Greig Fraser knew exactly what kind of lenses he wanted but there were none such samples so had them DESIGNED by Arri. His Alfa Anamorphic Lenses were purposely detuned, giving the film a unique look and feel, “dirtying” up the frame with natural fall-off, unsharpness at the edges and other flaws. This distinct character  adds to the overall atmosphere of the film and even if Greig Fraser would have been the best DoP in the world he would not have been able to achieve this with, say, Master Primes “just by adding some vignette” as somebody said above.

 

+1. Also vignetting applied in post is a destructive edit just like adding contrast, dehaze, clarity, raising shadows, etc. Adding vignette can ruin smooth gradients such as those from a dramatic blue sky for example. Add to that: vignetting added in post looks fake and less appealing than the vignetting from the lens itself.

It’s worth noting that not every lens has beautiful vignetting like the 28 Summaron, 28 Lux, and others. The vignette from say the Canon RF 28-70 2.8 is terrible (IMO) because it has a nearly uncorrectable “dog ear” vignette in the far corners that is separate from the rest of its light falloff gradient. 

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downstairs...

M10 + Summaron M 28mm 5,6

Claus

 

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With M9

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The image below is not a splendid one, far from it. I took it one hour after I bought this lens and ofcourse I was very curious. Took this inside a dark restaurant with the m10m.

I really like the smooth transition from focus to out of focus. This will be the lens which will me teach layers, background, midground, foreground, all important, all with a story. Really looking forward what this lens can do.

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Isar, München

M10 + Summaron-M 28mm

Claus

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sooc, m10m, view from my bedroom 

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M10 + Summaron M 28mm

Claus

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Final selected and processed image. Straight into the sun with the m10m.

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M10 + Summaron-M  28mm

Claus

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The copy of the Summaron I bought turned out to be damaged, so I've sent it back. While I had it, though, I took some pictures I really like. I think I may have to track down another copy....

Fall afternoons + M10 + Summaron:

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some images using the m10:

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