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Selling the 50 Apo to return to the 50 lux?


Csacwp

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I have both. For street/landscape, APO is better. 50 Lux ASPH is a phenomenon lens for photographing people. Both have their unique characteristics. I have a tough time choosing one over the other. The way I see it, if you are missing either/or and, lacking funds to keep both:

50 APO/50 1.2 Nokton or
50 Lux/50 Planar

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  • 4 months later...
On 1/18/2018 at 6:18 AM, 01af said:

The Summilux-M 50 mm Asph used to be my workhorse standard lens for a couple of years ... but I never used it anymore after I got my Apo-Summicron. The notion that the Apo-Summicron was 'harsh' or 'sterile' is absurd. Do not, repeat: DO NOT sell the Apo-Summicron-M 50 mm Asph! You will regret. Selling yours now and re-purchasing another later will be a costly move. Instead, complement it with something else if you absolutely feel like it. I'd suggest an old Summitar 5 cm 1:2 or Summarit 5 cm 1:1.5 ... or maybe even an uncoated pre-war Elmar 5 cm 1:3.5. For better lens speed (for use with film) I'd suggest to skip the Summilux altogether and immediately go all the way to a Noctilux-M 50 mm 1:1 or 1:0.95 Asph.

Precisely, owning a 50 APO and F1 Noctilux are possibly the very best two lenses to own in order to capture two very distinct styles of photography. The F1 creates a journey for your eyes to take through the photograph, the 50 APO simply renders in the purest way possible through a lens. I own both along with many many other 50's but these are the most special two. 

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I find myself thinking that if I had an APO Summicron-M 50mm ASPH, one of the world’s technically best lenses, how could I bear to part with it? On the other hand,  Summilux-M 50mm ASPH images have a distinctive look, that caught my attention while viewing images on-line, which led to trying a pre-owned Summilix-M, at Houston Camera Exchange. This led to more internet research, and another visit, during which I bought the Summilux, and a new M10 camera, my first M camera. I could not imagine selling this Summilux. If/When I decide that I much achieve possession of an APO Summicron-M, keeping my senior Leica M lens will be part of that plan.

 

Edited by RexGig0
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2 hours ago, RexGig0 said:

I find myself thinking that if I had an APO Summicron-M 50mm ASPH, one of the world’s technically best lenses, how could I bear to part with it? On the other hand,  Summilux-M 50mm ASPH images have a distinctive look, that caught my attention while viewing images on-line, which led to trying a pre-owned Summilix-M, at Houston Camera Exchange. This led to more internet research, and another visit, during which I bought the Summilux, and a new M10 camera, my first M camera. I could not imagine selling this Summilux. If/When I decide that I much achieve possession of an APO Summicron-M, keeping my senior Leica M lens will be part of that plan.

 

I tell myself that the flat-field, low-geometric-distortion Zeiss Distagon 1,4/35mm ZM is the only highly-technically-correct lens I need for the M system, while I use beautifully-imperfect Leica M lenses, for their character. Summarons. Pre-ASPH Elmarits. Thambar. Pre-APO Summicrons. Summilux-M 50mm ASPH. Life is good. 😀

From 2010 to early 2018, my priority was technically-perfect images, for evidentiary/forensic/crime scene documentation purposes. Now, is the time, for imperfect images. 

Edited by RexGig0
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If you want character, you'll need to search out (often) older, less perfect lenses.  Modern optics are indeed harsh and clinical, especially for portraiture or B&W work.  Not sure changing to a Summilux ASPH will get you where you want to go, except for the extra stop of speed and creative bokeh possibilities, because it too can be clinical.  

This is why people have different lenses of the same focal length in their arsenal.  They paint differently.  Have you tried an old Summilux, a Cannon LTM 50mm f/1.4 or old any old Zeiss 50mm Sonnar?  The non-Leica lenses can be had relatively cheaply.  You just have to experiment a little.  

Not always is the most expensive lens the best for the purpose at hand.

As an aside, when I shot exclusively Leica lenses on rangefinders, about 15 years ago, I had both the 50m Summicron and the then new 50mm Summilux ASPH.  Just for practical size and weight considerations, I was mostly grabbing the Summicron.  I don't shoot 50's much anymore, on a rangefinder, and now only own a dual range summicron. But if you need the speed ...

Edited by TheBestSLIsALeicaflex
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According to my personal experience, the most unique Leica 50mm M-lens is the Noctilux f/1.0

...but for a fraction of its price you can also find a Summilux 50mm pre-asph and get the "Mandler Magic" that neither the APO Summicron nor the Lux (APO) Asph can replicate. 

PS. I never had the chance to try the Elcan 50mm f/2. 

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Summilux-M non-asph. (pre-asph.) 50mm "Mandler Magic", I do appreciate for decades.

At one time I sold my first Summilux-M pre-asph. 50mm when arrived the "same" asph. model.

Some years later, I wanted the same rendering as the "pre-asph." on my images, never found that on Summilux-M asph.

So searching for one, I ended with three "different" Summilux-M pre-asph. and never can decide which one to keep.

The Lux asph. model sold for little use and never regret it.

 

Happy to have choices of "Mandler Magic" to use when situation calls 😉

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I have many 5 cm and 50 mm lenses (including the Summilux-M 50 mm Asph and the Noctilux-M 50 mm Asph)—the oldest being a pre-war Elmar 5 cm 1:3.5 from 1937. The finest and smoothest of them all is the Apo-Summicron-M 50 mm Asph. No idea why so many goops call it 'clinical' or 'lacking of character.' The 50 mm Apo-Summicron the is the last lens I'd part with.

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11 minutes ago, evikne said:

I've never really understood what's the difference between 5 cm and 50 mm? 🤔

Depending on period, Leitz engraved the lenses in "cm" or in "mm".

So some Elmar were engraved "5cm" and some other Elmar engraved "50mm".

Have a look here at Wiki, Elmar 5cm and 50mm

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...

 

As some Summicron which I own, some "5cm" and many "50mm".

Edited by a.noctilux
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After shooting the APO, everything else pales in comparison for me. Especially if you shoot many shots wide open on both lenses. Wide open,  the lux is very soft everywhere except the very center circle. So, if you tend to prefer composing with subjects in the middle, then no problem at all. But if you shoot with subjects off center, you’ll need to stop down with the lux in most cases if you want it sharp. I’ve tried in the past to sell all my 50 lux lenses but somehow ended up still owning 2 of them as shelf decor.

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I've got a 50 APO; it presents a slice of life and a moment in time in perfectly corrected color, without sentimentality or exaggeration. Had a Summilux ASPH and it was a lovely lens but had limited occasion to use it at ƒ/1.4. For the Mandler imprint, a 75 Summilux is a keener choice by my personal reckoning. I have several LTM 50's (Canon 50/1.4, 1.8 & Nikkor 50/1.4) that impart their own unique imprimatur. The Summilux became superfluous.

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4 hours ago, Flu said:

Wide open,  the lux is very soft everywhere except the very center circle. So, if you tend to prefer composing with subjects in the middle, then no problem at all. But if you shoot with subjects off center, you’ll need to stop down with the lux in most cases if you want it sharp.

Are you referring to the Pre-ASPH versions? The ASPH copies I've had were surprisingly sharp across the frame, even all the way to the edge. I'd say that's one of the bigger differences between it and the Pre-ASPH. Perhaps field curvature is partially responsible.

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19 hours ago, a5m said:

Are you referring to the Pre-ASPH versions? The ASPH copies I've had were surprisingly sharp across the frame, even all the way to the edge. I'd say that's one of the bigger differences between it and the Pre-ASPH. Perhaps field curvature is partially responsible.

The current ASPH version. Yes, it is mainly a field curvature issue - wide open.

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50mm Summilux ASPH "wide-open" I dare say more wide-open than any Summicron. Nor do I mean to disparage the Summicron...gotta love Summicrons.  The subject below lies outside the circle where focus is "soft", looks pretty good.  Would I use this lens to shoot a flat surface at f1.4?  No more than I would reach into my bag to choose a Summicron if I was looking to shoot a scene at f 1.4  ;).  The beauty of working with tools and particularly lenses is dealing with workarounds. The world is not flat nor are most objects or people that we point our cameras at most of the time. Let's drink to that, and how thankful we should be to have these high-end lens problems!

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Just for comparison for anyone interested,  50 APO @ F2

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