Exodies Posted April 26, 2018 Share #61 Posted April 26, 2018 Advertisement (gone after registration) The man and his concepts are a given. What we can vary are the tools. They have an effect on how the picture looks. 2 Quote Link to post Share on other sites More sharing options...
Advertisement Posted April 26, 2018 Posted April 26, 2018 Hi Exodies, Take a look here Selling the 50 Apo to return to the 50 lux?. I'm sure you'll find what you were looking for!
lct Posted April 26, 2018 Share #62 Posted April 26, 2018 Indeed and only men can be pompous, not tools . Quote Link to post Share on other sites More sharing options...
PaulJohn Posted April 27, 2018 Share #63 Posted April 27, 2018 It’s the way they draw. To me, the lux looks serene and kind of dark. The 50 Apo is very transparent and bright in a cheerful, energetic way. I am intrigued. Can you post a sample of each to illustrate? Quote Link to post Share on other sites More sharing options...
efreed2754 Posted April 27, 2018 Share #64 Posted April 27, 2018 (edited) Tailwagger mentions pianos which is close to home. Yes I play the piano, but that’s not it. My wife is a professional musician with decades in a major orchestra. The best musicians make great music with whatever instrument they have. Once a reasonable instrument is in the artist’s hands its upto the player. There are always a few who hope the instrument will play for them. They are always looking for the next great gizmo to break through. Of course it’s never the instrument that’s the limiting factor once a reasonable example is used. Any Leica lens is sufficiently capable of performing at the highest level. Old 50Summicron, latest 50cron, Lux or APO— each can do an extraordinary job. It is upto the photographer. So yes like in music, guess it’s a human behavior to believe the instrument will push you over the top. Someone in LUF mentioned we like a new lens if we see a difference. Identical to some with new musical instruments. They hear the difference as better when it may only be different. Saw the same phenomenon when tweaking high end stereo systems. Perhaps this is why our passion has reviewers who test lenses. Don’t know if an improvement doesn’t exist unless it can be measured. Everything else might be deemed subjective? Perhaps a subject for it’s own thread. Edited April 27, 2018 by efreed2754 4 Quote Link to post Share on other sites More sharing options...
microview Posted August 2, 2018 Share #65 Posted August 2, 2018 Some while ago I decided that I preferred the look of my Summiluz pics to those taken with the 50APO so I sold the latter – went at London dealer's within three weeks, and was the only lens where i received more than I paid for it! Found a Summilux (new) offered well below current rrp at London shop (not Leica specialist) and so far I'd say the resolution was a match for my former 50APO; indeed Leica may have upped its game in adjusting the lens during manufacture: it is a remarkable example, better than older versions I have owned over the years. Well satisfied with the 'reversion, with only a slight weight increase the downside. Quote Link to post Share on other sites More sharing options...
Flu Posted August 2, 2018 Share #66 Posted August 2, 2018 Keep the APO and add a BC lux. I don't think I'd be able to sell my APOs for the foreseeable future. I have 10 50mm with 9 of them being Leicas and 90% of the time, it's an APO mounted on my camera. Quote Link to post Share on other sites More sharing options...
keithlaban.co.uk Posted August 2, 2018 Share #67 Posted August 2, 2018 Advertisement (gone after registration) If it were my decision I'd not use a 50mm anything for portraiture. Quote Link to post Share on other sites More sharing options...
tsleica Posted August 2, 2018 Share #68 Posted August 2, 2018 Sometimes you have to switch tools..to avoid becoming stagnant.. The musician switches instruments to change the ear input.. The photog changes lenses..even in the same focal length.. Best not to sell stuff..as you never know when you need a change.. I think that famous Samauri Mushasi said..paraphrasing here..he needed a sword that he was not too familiar with..to keep that ..edge...lol.. Quote Link to post Share on other sites More sharing options...
leonasj Posted August 2, 2018 Share #69 Posted August 2, 2018 sold my apo50 and never miss it, keeping summilux50asph for m9 and cl Quote Link to post Share on other sites More sharing options...
Peter Kilmister Posted August 2, 2018 Share #70 Posted August 2, 2018 Regarding 50mm lenses: A couple of years ago I sold a Noctilux in exchange for an APO Summicron (plus a huge cash bonus). I hated the Noctilux because of its size and weight. The APO Summicron is small, light, and delivers fantastic results. Since acquiring the APO Summicron I haven't used my ASPH Summilux. Again it is too big and too heavy ... although a lot lighter than the monster Noctilux. Would I sell my APO Summicron and replace it with my ASPH Summilux? No, not unless I was really short of cash. Each to their own, for me light and small beats big and heavy. The thing I love about Leica is how compact everything is. If I wanted big and heavy I would have a Canon. To each their own taste. 6 Quote Link to post Share on other sites More sharing options...
pgk Posted August 2, 2018 Share #71 Posted August 2, 2018 Tailwagger mentions pianos which is close to home. Yes I play the piano, but that’s not it. My wife is a professional musician with decades in a major orchestra. The best musicians make great music with whatever instrument they have. Once a reasonable instrument is in the artist’s hands its upto the player. There are always a few who hope the instrument will play for them. They are always looking for the next great gizmo to break through. Of course it’s never the instrument that’s the limiting factor once a reasonable example is used. I wonder if piano manufacturers supply full technical details and breakdowns of the exact harmonics and other detailed information about the pianos that they sell? And if they do how many pianists would actually: a) appreciate such data, and base their buying decision on it? I suspect very few. Most probably play one which they contemplate using/buying and base their decision on that. 2 Quote Link to post Share on other sites More sharing options...
Herr Barnack Posted August 2, 2018 Share #72 Posted August 2, 2018 For two years now I have been shooting the 50 Apo. It’s a superb lens, but I find that it can be too harsh for portraiture, and every so often I miss having an extra stop for low-light (I often shoot film). Should I sell it and get a Black Chrome 50 lux asph, or maybe even a pre-asph? I wouldn't do it. If you do, sooner or later you will be kicking yourself. That's not JMHO - many others on this forum can regretfully testify as such. Since you shoot film frequently, the 50 Summilux #11868 (black) or #11856 (silver) would be a good choice; both are the version 3 Summilux, the last non-ASPH 50 Summiluxes built. I had the millennium edition of this lens (black paint) and ended up trading it away. I am still hoping to replace it at some point. More often than not, selling/trading an M lens only leads to regret and heartache down the road. That, and even more money spent to rectify an ill advised transaction. 1 Quote Link to post Share on other sites More sharing options...
lexontario Posted August 3, 2018 Share #73 Posted August 3, 2018 I like my APO Welcome, dear visitor! As registered member you'd see an image here… Simply register for free here – We are always happy to welcome new members! 9 Quote Link to post Share on other sites Simply register for free here – We are always happy to welcome new members! ' data-webShareUrl='https://www.l-camera-forum.com/topic/280972-selling-the-50-apo-to-return-to-the-50-lux/?do=findComment&comment=3565909'>More sharing options...
low325 Posted August 3, 2018 Share #74 Posted August 3, 2018 I have the lux and APO. Both in silver and the lux being the first to own. The lux is actually quite good sharpness wise @f2 and of course @ f1.4.(my Otus is better IMO ) The APO @f2 is pretty special. It’s only when you are lucky enough to shoot them back to back or on alternate days that you can really appreciate the performance gap. Again, the elephant in the room is the cost. And unfortunately, the APO comes at an expense. If I were to think out of the box I would rethink my body strategy... meaning if I only had a RF body (I have a Q also) with absolute no interest of obtaining a SL or alike, then I’d sell off my lux. If I had an SL body (or do plan on getting one, maybe?) then the benefits of getting precise focusing I’d find more motivation to shoot with the Lux. Quote Link to post Share on other sites More sharing options...
MarkP Posted August 3, 2018 Share #75 Posted August 3, 2018 I like my APO L1002923.jpeg Bugger the APO, I like that car! What is it! Quote Link to post Share on other sites More sharing options...
horosu Posted August 3, 2018 Share #76 Posted August 3, 2018 Well, I sold both of them and kept the Rigid Summicron. My only 50mm M lens: smal, beautiful, plenty resolution, low contrast (and this is unique), which delivers wonderful results on a digital M 4 Quote Link to post Share on other sites More sharing options...
Exodies Posted August 3, 2018 Share #77 Posted August 3, 2018 Bugger the APO, I like that car! What is it! A red one. 2 Quote Link to post Share on other sites More sharing options...
Stein K S Posted August 4, 2018 Share #78 Posted August 4, 2018 Bugger the APO, I like that car! What is it! I would not really know... but possibly a 1952ish customized/chopped Mercury? Quote Link to post Share on other sites More sharing options...
Guest Posted September 8, 2019 Share #79 Posted September 8, 2019 I wonder if anyone has gone from an APO to a Sonnar 50 1.5? I know there's quite a substantial price gap- even more than between APO and Lux-, but if we take the economics out of the question and talk purely lens rendering and such... Though I imagine not many will have made that move as they seem to be polar opposites insofar as rendering and what each is capable of. I was just thinking that if someone would go from the APO to the Lux that the Sonnar might also be a consideration due to the similar (to a Lux) aperture. But perhaps a better comparison would be pre-asph Lux to ZM Sonnar 50 1.5? Would be really curious to know how those lenses compare. I'm new to Leica and would have thought the idea of such painstaking and extensive comparisons between 50's would be superfluous, but I quickly realized just how necessary all the comparisons are- in fact, mentioning the APO and Lux (or Nocti) in the same sentence suddenly seems silly to me as they're so inherently different. Perhaps the Lux ASPH and APO (both being Karbe designs) have more in common than a pre-ASPH Lux and the APO though... Quote Link to post Share on other sites More sharing options...
lct Posted September 8, 2019 Share #80 Posted September 8, 2019 (edited) 3 hours ago, White Buffalo said: I wonder if anyone has gone from an APO to a Sonnar 50 1.5? I know there's quite a substantial price gap- even more than between APO and Lux-, but if we take the economics out of the question and talk purely lens rendering and such... Though I imagine not many will have made that move as they seem to be polar opposites insofar as rendering and what each is capable of. I was just thinking that if someone would go from the APO to the Lux that the Sonnar might also be a consideration due to the similar (to a Lux) aperture. But perhaps a better comparison would be pre-asph Lux to ZM Sonnar 50 1.5? Would be really curious to know how those lenses compare. I'm new to Leica and would have thought the idea of such painstaking and extensive comparisons between 50's would be superfluous, but I quickly realized just how necessary all the comparisons are- in fact, mentioning the APO and Lux (or Nocti) in the same sentence suddenly seems silly to me as they're so inherently different. Perhaps the Lux ASPH and APO (both being Karbe designs) have more in common than a pre-ASPH Lux and the APO though... Depends if you intend to use a mirrorless or an accessory EVF. If not, forget the ZM Sonnar 50/1.5 unlike you like struggling with focus shift. If yes, comparing f/1.5 (or f/1.4) to f/2 lenses is like comparing apples to oranges IMO, let alone between a lens tending to perfection and another one with a lot of character. As far as i'm concerned, the Sonnar is my favorite lens for indoor portraits especially on APS mirrorless cameras where it replaces the bulky Summilux 75/1.4 when i have not enough room or courage to carry it with an FF camera. On the other hand, the Summicron apo is a transparent lens whose only character is transparency so to speak. It is my favorite 50 when i don't know what kind of pics i will take i.e. typically for travels. As for the Summilux 50/1.4 asph it is indeed a modern lens like the apo i.e. with more acutance than the Sonnar and less focus shift as well. Means that your models won't like them much if they don't have a perfect skin though. For portraits, i prefer the Summilux 50/1.4 pre-asph for this reason and because it has no visible focus shift on rangefinders. For landscapes, the apo is the winner (to me) due to its acutance and lack of field curvature essentially. FWIW. Edited September 8, 2019 by lct 1 Quote Link to post Share on other sites More sharing options...
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