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7artisans 50mm F1.1 Leica M Mount


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I don't know what all the QC bashing is about? I've never seen a lens out of China with the entire optical assembly installed upside down. Unlike lenses from Germany which cost many times more. If anything, QC from Europe really needs be brought up to speed to match that of China.   In the end, this lens is only 1/2 the cost of the CV equivalent at retail. This lens appears to be sold more or less direct (not through dealers anyway) which would account for most if not all of that price differ

Wrapped-up against the cold. M8.2, 7a, 1/30 f1.1 @ ISO 160.   Hello guest! Please register or sign in to view the hidden content. Hallo Gast! Du willst die Bilder sehen? Einfach registrieren oder anmelden!  Pip.

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Interestingly his appraisal pretty much echoes what has been reported by everyone here...

I found this bit rather intriguing;

 

"When the focus is too near or too far, you can loosen two tiny screws at the back of the copper optical cell and turn the unit clockwise or counterclockwise according to instructions.......you need to be very careful and repeat the operation several times before the focus is spot on. I used my M8.2 and MM2 and both required different settings. The smart choice was to settle for a position between both cameras..."

 

Why Is this the case? If we are to assume that Mr. Puts has his rangefinder cams properly adjusted why are the results from one body different from another?

 

 

Pip.

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Two images from the 7Artisans on the CL

 


 


 

I backed off from f1.1 and the bokeh gets a *lot* nicer. F1.3 is very different from wide open.

Edited by hteasley
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  • 2 weeks later...

Here is another photo from this lens @ f/3.4

L1003350 by Bluesky Overaquatic, on Flickr Edited by blueskyoveraquatic
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Edited by arvin
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Sent from my iPhone using Tapatalk

Edited by arvin
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I too use the 7A 50 and have no issues with it within the limitations..... it was only AUD500....

 

It vignettes a little and can be soft, but I like the bokeh and rendering.

 

Having said that, I am awaiting a near new 50 Cron for the M10

 

Leica M10 and & Artisans 50mm f1.1.

 

Flanked on the left with a Voigtlander 35mm f1.2 v2 Nokton and Voigtlander 75mm f1.8 Heliar Classic.

 

On the right is a Leica 90mm f2.8 Tele-Elmarit and Leica 135mm f4 Tele-Elmar (both 1970's vintage).

Edited by Photos_By_Cowz
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  • 1 month later...

I didn’t read the whole thread here, but I did read Puts about this lens. I don’t think it’s interesting to take sharpness as the most important comparison criterium between several fast 50’s and the 7a. What strikes me the most is the bo-keh. It is very nice and reminds me of the Summilux75. I think they would fit perfectly together on a MM1 along with the 35 Summicron iv. Just hate it that you seem to have to buy the hood separately.

Edited by otto.f
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I have found the quality of the bokeh to be very (ie, more than you'd normally expect from a Sonnar) variable depending on background and distance to subject. IMHO, the 75/1.4 and 35/2 v4 are, on average, better (meaning more predictable). But the 7a is an amazing lens for its price.

A 55mm screw-in vented hood and matching cap are very easy to source online for a few bucks. The same can't be said of several CV, Zeiss or even Leica lenses.

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Interesting. Can you elaborate a bit on the "cheap look" please? 

 

It depends on the aperture and the subject matter, of course.  At widest aperture I'm seeing a mostly busy and distracting bokeh, sometimes with double lines.  Sometimes with a radiating-from-center "exploding" look.  It's an unrefined look that we're not used to seeing with quality lenses.  When bokeh really calls attention to itself like this, it takes something away from the subject in focus. I generally dislike it, but I'm sure it could have fun uses anyway.  Stopped down it's likely very good, as most lenses are when stopped down.

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But I thought that the "exploding" look and the double lining are quite typical of a wide-open shot from a Sonnar 50mm lens, of which the 7 Artisan 50mm purports to be one, no? 

 

The same can be quite clearly seen in the early Zeiss Jena Sonnar 50mm F1.5 lens and its many later Japanese and FSU avatars. The same can also be seen in the modern Zeiss ZM Sonnar 50mm 1.5. 

 

For the early Zeiss and Canon LTM as well as J3 pictures, you can find them here: 

http://www.clubsnap.com/forums/showthread.php?t=666762

 

and here one by the modern Zeiss ZM 50/1.5:

https://flic.kr/p/22VJNZt

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Here is a photo of my lenses taken by 7Artisans 50mm f1.1 mounted on my M240 :-): (left to right) CV 35mm f/1.7 ASPH, Leica 50mm Cron-R, Helios 58mm f/2, Leica 90mm Elmar-M, Canon 135mm f/3.5 LTM

Edited by blueskyoveraquatic
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It depends on the aperture and the subject matter, of course.  At widest aperture I'm seeing a mostly busy and distracting bokeh, sometimes with double lines.  Sometimes with a radiating-from-center "exploding" look.  It's an unrefined look that we're not used to seeing with quality lenses.  When bokeh really calls attention to itself like this, it takes something away from the subject in focus. I generally dislike it, but I'm sure it could have fun uses anyway.  Stopped down it's likely very good, as most lenses are when stopped down.

 

Add awful swirl of bokeh and you will describe the Noctilux.

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