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50 lux vs 50 apo


FeralCoton

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I know the apo is supposed to be edge to edge sharp and eliminate CA. But how much different is it than the 50 lux, which is quite sharp itself (at least I thought sharper than 50 cron). But what makes the apo worth twice the price? (Worth in Leica world, of course).

 

 

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Actually there both brilliant lenses. You can ask the same question about the price difference between the Noctilux and Summilux too, but in this case you can justify it by just the weight alone. But is either better? Depends on your taste and purpose.

 

On this forum you need to understand that the 50 Lux has a cult following. It is one of the legendary lenses. The APO is the new kid on the block so it will take time to get Street cred.

 

Actually I prefer the APO, I’ve had the Lux and traded it for a Noctilux.

 

Again, it all comes down to style and taste. The only correct answer is one that satisfies you. You need to try both and compare.

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Matter of taste. Technically, perhaps also a matter of whether a 24mp Bayer sensor camera can record the differences clearly enough for you, and / or whether you print large enough to see it. And even then different people will have different views.

For what it’s worth, I own the M APO, and now don’t bother using any other M lenses. I also think that the resolution benefit of the APO is more easily visible on the Monochrom 246 compared to an M240 ....

Edited by Jon Warwick
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Digital versus film. The lux is brilliant.

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There you say something! I sold my Summilux 50 asph when I got the M9 and had sold my M7. It’s a wonderfull lens with Provia or Portra!

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There you say something! I sold my Summilux 50 asph when I got the M9 and had sold my M7. It’s a wonderfull lens with Provia or Portra!

The lux is a lovely old design, and in my humble opinion, made for film, as back then, there was nothing else. No doubt it’s also good on digital but leica will release an optimised for digital version in due course.

 

 

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I know the apo is supposed to be edge to edge sharp and eliminate CA. But how much different is it than the 50 lux, which is quite sharp itself (at least I thought sharper than 50 cron). [...]

 

Both have a modern design with floating elements. The 50/1.4 asph has more field curvature, is softer below f/4, especially on borders and corners, with a somewhat harsher bokeh around f/2.8 but i don't see significant differences re CA. Also the 50/1.4 asph is less prone to flare and is infinitely superior at f/1.4  ;). It is also a bit taller and feels less balanced with more weight on the top of the lens. Both great lenses anyway.

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The lux is a lovely old design, and in my humble opinion, made for film, as back then, there was nothing else. No doubt it’s also good on digital but leica will release an optimised for digital version in due course.

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Umm...The asph is a design from the digital age. It is a completely different lens from the previous Summiluxes.
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It has a floating element and an aspherical design. Obviously it renders well on film, but it was designed with a sensor in mind.

Obviously Leica builds on the expertise gained with previous lenses, but that goes for the Apo Summicron vs. The Summicron as well.

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Umm...The asph is a design from the digital age. It is a completely different lens from the previous Summiluxes.

As you know, the ASPH was designed during the time when Leica said a digital M was impossible. I bought one back in 2005 and I think it had been available for at least a year prior to that. Edited by wattsy
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Well, none of the 50mm f/1.4 are free of focus shift when using certain filters. So far my 50 APO is (haven’t tried IR yet).

Never got the least focus shift issue on my 50/1.4 asph. Another urban myth?

 

Maybe using a filter is a different phenomenon than focus shift? ;) An orange filter for instance is a filter which places the optimal sharpness point a bit behind the focal point. Focus shift is caused by changing aperture Edited by otto.f
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Never got the least focus shift issue on my 50/1.4 asph. Another urban myth?

Haha, coming from you that’s funny. I know you were part of the discussion about red filters causing focus shift and the physics behind it.

 

I even proved it by putting a deep red filter on my f/1 Noctilux.

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Haha, coming from you that’s funny. I know you were part of the discussion about red filters causing focus shift and the physics behind it. [...]

 

Sounds like you're mistaking me for somebody else and focus shift for something else as well...

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Haha, coming from you that’s funny. I know you were part of the discussion about red filters causing focus shift and the physics behind it.

I even proved it by putting a deep red filter on my f/1 Noctilux.

I think you proved that different colors of the spectrum have different focal points by that. Has nothing to do with the lens.

BTW an APO has been found out to reduce that phenomenon

Edited by otto.f
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Maybe using a filter is a different phenomenon than focus shift? ;) An orange filter for instance is a filter which places the optimal sharpness point a bit behind the focal point. Focus shift is caused by changing aperture

The FLE is a method to correct focus shift and does not require a change in aperture.

 

Focus shift is a change in focus point, which can be caused by many things.

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I think you proved that different colors of the spectrum have different focal points by that

And that’s the point of a APO lens! All colors focus on the same point.

 

This matters much more in the digital age than it did for film.

Edited by Soden
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