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Leica APO-Elmarit-R 180mm f2.8 / Leica M11

 

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As the Culture Club song (sort of) goes: "Coma-coma-coma-chameleon ..." 😇

35/1.4 Summilux pre-asph v2 wide open on a digital CL at ISO 1600 - showing how uncorrected Coma can affect a picture.

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SL2S + Pentax Takumar 85mm F1.8 [radioactive]

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35 Summilux v2 1966 on M10M

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35 Summilux v2 1966 on M10M

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M11 + 1957 Tanar 50/1.5, wide open

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Same camera and lens as above @ f/2.8 (I think) and ISO 6400

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SL2S + Zenit Helios-40 85mm

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2 hours ago, Ecar said:

Same camera and lens as above @ f/2.8 (I think) and ISO 6400

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Was the vignetting done in post? I didn't notice as much on the image right above it even though it was shot wide open and this is at 2.8.

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SL2S + Zenit Helios-40 85mm

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2 hours ago, fotografr said:

Was the vignetting done in post? I didn't notice as much on the image right above it even though it was shot wide open and this is at 2.8.

Funny, I had the same impression of a strong vignette when I first looked at the picture on my computer... It's actually the very uneven lighting of the scene (located in a museum house in Florence, Italy) that causes it, mostly by casting a shadow on the left edge of the image. Below is one taken in the same location, with a directional light from the ceiling. The statue is about 60cm (or 2 ft.) tall and the wall is roughly the same distance behind it IIRC. Just a basic 30-sec editing job here: tweaked WB, increased exposure and added a low amount of clarity and sharpening, with vignette sliders untouched and no cropping. Vignetting is actually surprisingly low with this lens - at least when mounted on the M11. Whether this is due to the lens design (a 7e/4g Sonnar derivative) or the BSI sensor, I don't know yet.

Edit: I just checked by shooting a white wall with the M11 and the M9P. Essentially, it's the lens that shows very little vignetting - select the 50/1.4 pre-ASPH code in the menu and it's pretty much gone, even at f/1.5.

M11 + 1957 Tanar 50/1.5, wide open @ ISO 6400

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35 Summilux v2 1966 on M10M

 

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Summer lights and clothes
M10 + Noctilux-M 1:1/50

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Topcor-S 5cm F2 Chrome(LTM), M10-P

 

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M9 and 9cm f/4 Elmar, coated, from 1947. A very sharp little lens which cost me in the region of £40 which is not at all bad.

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On 3/3/2024 at 11:18 PM, farnz said:

As the Culture Club song (sort of) goes: "Coma-coma-coma-chameleon ..." 😇

35/1.4 Summilux pre-asph v2 wide open on a digital CL at ISO 1600 - showing how uncorrected Coma can affect a picture.

Pete, so this is inherent to the lens?  I have a problem too with aberations - vintage flavours. Now I have a higher resolution lens, I see more COMA. In several vintage lenses.  [Actually because, to avoid noise, I open the lens more 🥵]  My question is:

  • Is coma lens-inherent, & was it a accepted as a design  trade-off by dear Mr Mandler? So cherish that and be joyfull?

Or is it also a decentering problem in older lenses?

  1. In other words, below I have an example, is it decentering or coma;
  2. will it  help to send the lens to leica  such that they can reallign a lens (or is that money lost).

Below a summicron 35 from 1973. And I know that at that time I avoided the F2 opening as the plague. Now I open it up. Close-up on the other hand the lens is perfect with F2.  

albert

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35mm Summilux pre asph v2 on M10-P

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3 hours ago, Alberti said:

Is coma lens-inherent, & was it a accepted as a design  trade-off by dear Mr Mandler? So cherish that and be joyfull?

Or is it also a decentering problem in older lenses?

I'll comment too if you don't mind?

Simplistically, Coma is an oblique aberration the effect of which increases as the ray of angle of incidence increases. It increases with greater apertures, angle of view and distance from axis so is most noticable on fast aperture, wide-angle lenses towards the periphery of the image (corners). It was a trade off. Your Summicron shows bright point source coma (although not as bad as the Summilux) which may well be present throughout its focus range, but only really shows up with point light sources which you probably don't photograph close up. Pete's Summilux shows coma very clearly wide-open, and this is a characteristic of this lens's design and unavoidable with the glass available to Mandler when he designed it. According to a paper by some of his successors at Elcan, without more modern glass, it could not have been bettered at the time.

Decentering tends to show as a part of an image being unsharp. I had an Elmarit-M which at full aperture and wide-open would show one side of the image softer than the other. A good repairer took a look at it and concluded that little could  be done about it. I would suspect that unless a lens has taken a substantial knock, decentering may have been there since new.

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