50 APO - what do you see as the difference?

[TRIago]

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Cron V5 images flat and lifeless? Can you provide us some examples of APO vs V5, please? Danke.

Edited July 28, 2017 by TRIago

[Jon Warwick]

Cron V5 images flat and lifeless? Can you provide us some examples of APO vs V5, please? Danke.

I don't think small jpegs on an internet screen will give much (if any) of an idea of the differences that I perceive. My personal observations -- which others may or may not see -- are based on my workflow, which centres around prints (and quite large ones at that ...30-40" wide). All that in consideration, I think the 50 APO is magnificent.

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[mhicks]

I don't think small jpegs on an internet screen will give much (if any) of an idea of the differences that I perceive. My personal observations -- which others may or may not see -- are based on my workflow, which centres around prints (and quite large ones at that ...30-40" wide). All that in consideration, I think the 50 APO is magnificent.

I've seen variations on this quote now several times regarding this lens. My follow up question is, if I am not printing 30-40" wide, does this lens merit the up charge over, say, the 50mm Summilux? Or even the 50mm Summicron? When I print I'm usually printing 8x11" or similar. My "workflow" consists of a few touch ups in lightroom then sending the image to whichever printing supplier is running the best deal. I know, so much for sophistication

[james.liam]

I don't think small jpegs on an internet screen will give much (if any) of an idea of the differences that I perceive. ...I think the 50 APO is magnificent.

 

 

1+

 

You have to look at it on a high-res monitor or prints to see and it is obvious when you do.

 

What you're "paying for" is subjective and only you can decide if it's worth the toll. My take, having owned all three at one time or another:

The Summilux (when it's properly calibrated) resolves nearly as well by ƒ/2.8 but offers a whole different look--OOF is softer and distinctive. What you pay for in the 50 AA are APO correction (also present to a great degree in the Summilux) and resolution at ƒ/2 unmatched by anything out there, scarcely improved by stopping down to ƒ/5.6. The bokeh, for want of a better description, neither adds nor detracts so when conjoined to rapid roll-off of the in-focus, isolates the subject more intensely.

What I noticed in the v5 was a bokeh WO that tended to be more 'nervous', resolution noticeably less--though intrinsically high in its own right-- and ƒ/2 rendered at lower contrast with a touch of 'glow'. All advantageous and desirable for certain subjects.

Because of the APO's greater resolution at wider apertures, you can crop more dramatically and still yield impressive images.

By ƒ/5.6 and beyond, these distinct advantages are gone.

 

At the cost of a decent 2nd-hand auto, rent one before you consider buying; opinions are subjective in nature and all descriptions poor substitutes for what you "see".

Edited July 28, 2017 by james.liam

[TRIago]

I don't think small jpegs on an internet screen will give much (if any) of an idea of the differences that I perceive. My personal observations -- which others may or may not see -- are based on my workflow, which centres around prints (and quite large ones at that ...30-40" wide). All that in consideration, I think the 50 APO is magnificent.

Well, I never asked for jpgs. You could simply wetransfer two dng files. I also never said the apo is not magnificent, i just dont see the v5 being flat at all.

[otho]

BTW, the new APO 50 asph. LHSA:

https://leicarumors.com/2017/10/08/new-leica-apo-summicron-50mm-lhsa-50th-anniversary-lens.aspx/

[onasj]

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For me the “50 APO magic” comes down to three things in real-life use:

 

1) Sharpness edge to edge, noticeably better at f/2 than even other outstanding lenses at f/2 (35 FLE, 28 lux, 90 APO)

2) Round bokeh of out-of-focus light sources, rather than odd nonagons like most Leica lenses

3) Most important: the drop off in sharpness and apparent brightness between in-focus and out-of-focus areas is so dramatic and happens so quickly that it can look like you are illuminating your subject with a soft box strobe, when you aren’t.

 

Less apparent but also noticeable:

4) Very high contrast over the whole frame

5) No chromatic aberration pretty much anywhere

[pedaes]

 

BTW, the new APO 50 asph. LHSA:

https://leicarumors.com/2017/10/08/new-leica-apo-summicron-50mm-lhsa-50th-anniversary-lens.aspx/

Not sure the 'Reader comment' is correct.

[Csacwp]

Having owned the pre-apsh Summicron, Summicron Rigid, Summilux asph, and Summicron APO, I find the APO to be superior in most ways.

 

1. It has the best color rendering/transparency

2. Wide open it offers edge to edge sharpness and incredible resolution, but it is somehow still more flattering for portraits than say the 35mm cron asph despite showing more detail.

3. Stopped down, all of the 50's I've owned out resolve the sensor. I like the renderings of the Rigid and APO the best, and the APO particularly has a very 3D rendering stopped down.

4. The APO is small.

[lct]

Small lens at the exception of all other Leica M 50/2 lenses i suspect. The 50/2 v4 looks like a dwarf by comparison. It is a softer lens at f/2 and f/2.8 though, especially in borders and corners. 50/2 v4 and v5 have also more CA than 50/2 apo which has less focus shift and less fied curvature. Noblesse oblige .