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35 Summilux Steel Rim - M10

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M-P w/Summarit-M 1:2.4/35 ASPH.

 

 

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The Cat

M10-P, Summicron 35mm ASPH

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Edited by heatlarx
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Dillenia seratta

M10-P + Summicron 35mm ASPH

 

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Zeiss Distagon T* 1,4/35 ZM, Infrared conversion.

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Zeppelinfeld, Nuremberg - January 2018

Leica M4, 35mm Summaron F2.8, Ilford Delta 400

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Leica m10-d, Summarit 35/2.4

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Leica m10-d, Summarit 35/2.4

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Streatham, London UK.

Zeiss Distagon T* 1,4/35 ZM, Infrared bw conversion

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  • 4 weeks later...

This thread is amazing. Having just discovered it, what strikes me is that all the photos I have seen so far simply look like life. Very muck like standing in the photo, rather than witnessing the photo. 

Perhaps this is why 35 can be thought of as the universal focal length. The king of the unforced perspective, and the environmental portrait. 

Very nice indeed.  Carry on.

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13 hours ago, Mute-on said:

This thread is amazing. Having just discovered it, what strikes me is that all the photos I have seen so far simply look like life. Very muck like standing in the photo, rather than witnessing the photo. 

Perhaps this is why 35 can be thought of as the universal focal length. The king of the unforced perspective, and the environmental portrait. 

Very nice indeed.  Carry on.

I think Mute-on is correct in his assessment.  I have pretty well concluded that 35mm is the ideal all-around lens on any M camera. 

I have shot a fair amount with a 28mm Summicron and a 35mm Summicron - and a bit with the 28mm Elmarit.  The 28mm focal length looks more three dimensional to me than any other focal length.  As Mute-on observes, images made with the 35mm focal length somehow look very life like and relaxed; finding the right description and/or quantifying these traits proves to be elusive.  All I can say is that it is what it is.

I used to be puzzled as to why someone would carry both a 28mm and a 35mm lens.  After having photographed with both, now I understand.  To my eye, the 28, 35, and 50 focal lengths would be a great three lens kit, capable of doing pretty much anything an M camera is capable of doing.  I could easily travel with these three focal lengths and be content.

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I think the observations made by Mute-On highlight the simultaneous strength and weakness of the 35mm focal length.  In the hands of an untalented or uninitiated photographer, the images created have a greater chance of feeling "boring" or "ordinary" to the viewer than those made by 28mm or 50mm.  I believe this is due to the human-eye perspective of the focal length.

On the other hand, a talented photographer can make a 35mm image feel remarkably realistic to the viewer, as if they were there witnessing it themselves.  This is where the 35mm focal length truly shines.

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3 hours ago, Herr Barnack said:

I think Mute-on is correct in his assessment.  I have pretty well concluded that 35mm is the ideal all-around lens on any M camera. 

I have shot a fair amount with a 28mm Summicron and a 35mm Summicron - and a bit with the 28mm Elmarit.  The 28mm focal length looks more three dimensional to me than any other focal length.  As Mute-on observes, images made with the 35mm focal length somehow look very life like and relaxed; finding the right description and/or quantifying these traits proves to be elusive.  All I can say is that it is what it is.

I used to be puzzled as to why someone would carry both a 28mm and a 35mm lens.  After having photographed with both, now I understand.  To my eye, the 28, 35, and 50 focal lengths would be a great three lens kit, capable of doing pretty much anything an M camera is capable of doing.  I could easily travel with these three focal lengths and be content.

 

32 minutes ago, bayernfan said:

I think the observations made by Mute-On highlight the simultaneous strength and weakness of the 35mm focal length.  In the hands of an untalented or uninitiated photographer, the images created have a greater chance of feeling "boring" or "ordinary" to the viewer than those made by 28mm or 50mm.  I believe this is due to the human-eye perspective of the focal length.

On the other hand, a talented photographer can make a 35mm image feel remarkably realistic to the viewer, as if they were there witnessing it themselves.  This is where the 35mm focal length truly shines.

Very eloquently put, both @Herr Barnack and @bayernfan

On the one hand I find the 28 and 35 focal lengths distinctly different in application.  Curiously, the 28 seems more challenging, in part because it is at the first step of perspective distortion, and noticeably more so than 35. 

Bayerfan has made a very poignant observation about the prospect of a 35mm photo seeming boring or ordinary if used carelessly. This is where the challenge of wide angle photography emerges. Composition is key when you have multiple elements in foreground, midfield and background. The challenge is more exaggerated at 28mm, but with greater opportunity. 

Whilst I indulge in a 28 + 50 pairing for travel, the 35mm focal length is very nearly as gratifying as the 28 + 50 pairing all by itself, and could easily be substituted for both. 

Enough of my waffle. Back to the photos 👍

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M4 35mm Summicron Tri-X

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M10 + Summicron 35mm asph

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Zeiss 35mm 1.4 ZM

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Summilux pre-asph

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Bermondsey Street, London UK

Zeiss 1,4/35 ZM

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I was always a 50mm type of guy from the moment i bought my first prime. Being more into portraits that mostly took place indoors, that gave me the intimate feel i was after. After seeing many reviews of 35mm 1.4 (Canon & Sigma) i purchased my first 35mm in 2012 as i loved the idea of having the subject in context of his/her surroundings and felt it told more of a story and thus my love for documentary style and street photography began. over they years i've bought a couple of 50's but always end up selling them as i always opt for the 35mm as i find it more versatile  and better suits my style. 

Edited by Leica001
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M-P w/Summilux-M 35 AA.

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