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Rigid Summicron 50/2


Raid Amin

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I used my M8 with a rigid Summicron again in one of the older buildings in Pensacola, Florida.  t was dark inside, and I used a kow ISO stting, so sharpness was expected or was seen.

 

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In color?

 

Cron50__-2-X2.jpg

Edited by Raid Amin
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Rigid was awesome retro lens on M9 for me. Less focus shift than Cron IV do, which I purchased as update from Rigid.

I don't like both of the on BW film, too sterile. But Rigid was better, IMO, on color film, comparing to Cron IV.

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Very nice, Raid. Your shots really demonstrate the versatility of this classic lens, and tempt me to acquire one, but I'll resist the GAS for now.

Thank you.

I once compared 25 or so 50mm ;lenses, and I was surprised how well the Rigid Summicron did when compared with several very expensive lenses that some people mailed me to include in the lens comparisons. This included a Noctilux 50/1, It is a very high resolution lens with medium contrast.

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Rigid was awesome retro lens on M9 for me. Less focus shift than Cron IV do, which I purchased as update from Rigid.

I don't like both of the on BW film, too sterile. But Rigid was better, IMO, on color film, comparing to Cron IV.

 

I use this lens mostly for color images as I use DNG images and any B&W versions of such images are just color removed images. The Rigid may have the "perfect balance" of sharpness and contrast for a  Leica 50mm lens.It is (for me) so good that it killed any real interest for other 50mm lenses. Of course, I also like to try things out, and so I have at least 20 50mm RF lenses now. For super sharpness, I recently got a Hexanon 60/2.4. For extra speed, I got a CV 50/1.1 and also (for fun) the 7artisans 50/1,1. For special Sonnar performance, I got several Zeiss 5cm/1.5 (converted to M) that are very special for portraits. Each lens is somehow special to me.

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I use this lens mostly for color images as I use DNG images and any B&W versions of such images are just color removed images. The Rigid may have the "perfect balance" of sharpness and contrast for a  Leica 50mm lens.It is (for me) so good that it killed any real interest for other 50mm lenses. Of course, I also like to try things out, and so I have at least 20 50mm RF lenses now. For super sharpness, I recently got a Hexanon 60/2.4. For extra speed, I got a CV 50/1.1 and also (for fun) the 7artisans 50/1,1. For special Sonnar performance, I got several Zeiss 5cm/1.5 (converted to M) that are very special for portraits. Each lens is somehow special to me.

 

I like provided examples. They are not weak as many film lenses on digital color M, but feels organic, close to low iso film.

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The Monochrom has a base ISO of 320, not the M8 or M9, which Raid was referring to. The M9 has a a "pull" ISO of 80, indeed below its base ISO.

Yes, this is correct. The base ISO for the M8 and M9 is 160. I sometimes use 320 or so, but with so much sunshine in Florida, it is  "Kodachrome weather". I am used to using ISO 50~100 with slide film in past years. 

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I set my M8 and M9 to ISO 160 most times. ==> "low ISO look"?

 

To me low ISO stops at 640 with M8, M9 sensors. On film it stops at 400 for me. After, it is push at both. It means more grain, less details, but absolutely usable.

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Its a great lens, and great images Raid!  Its one 50mm that i don't own. Now I have to get one!  Look at what you have done Raid! My girlfriend is going to kill me!  I will blame you in the ensuing argument...

Thanks, Johnny. It still is relatively inexpensive and you get a classic high performer. 

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Leica store in Porto has a "as new" rigid summicron for sale.

Not the cheapest but the best condition I have ever seen for a rigid.

Ask Paulo!

 

Good luck

John

 

 

My lens looks like new. I bought it with a M3 with 90 and 35 from an older gentleman who bought the equipment new from Germany when he lived there.  The wrapping paper was still there (beige turning) and with Leica store receipts. I kept the equipment clean over the years. My M3 has his "back-up Leica", and he told me that he got it out twice each year to "exercise" it. 

Edited by Raid Amin
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