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RagingCANE

35 vs 28 + 50

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Hello,

I finally jumped in and bought a M10-p and 35 Summilux 1.4. I tried a Q but decided to go all in on the M10. I wanted to slow down after shooting mostly Canon/Sony as of late and get one camera system that I will carry with me every day that makes me slow down and enjoy the process again. 

I used to prefer 35 over 28 for shooting but I’m starting to think a 28mm and 50mm setup would work better since I’m traveling a lot and shoot a lot of landscapes and architecture these days. My original plan was 21, 35, 50 and maybe 75 for the occasional portrait but I find that I usually take one camera and one lens out and leave the rest so I thought the 35 would be the most versatile.  Now I’m not sure after missing a few landscape shots with the 35 not being wide enough. I can still return the 35 and get a 28. Any suggestions are appreciated. 

Thanks

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Your proposed setup of 28-50 is certainly not a bad idea. Depending on your style of shooting you could also look at 24-35, adding the rather nice and small -albeit slow-  Voigtländer Color Skopar 25-4.0, which wouldn't break the bank, or the expensive and heavy - but superb- Summilux 24 to your present 35.

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If You are a one lens shooter, stay with it. If the 35 mm is not wide enough, take two shots and stitch them together.

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Sorry if I repeat myself in this, but if you would consider 24 - 35 following jaapv, I find the Elmarit 24mm an underrated lens since the Elmar and the Summilux 24 came out. It has in my opnion a more sympathetic sharpness than the Elmar and a bit more bite than the Summilux. The VC 25/4.0 is indeed very sympathetic too but I never regretted having stepped over to the Elmarit.

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Today all These lenses and sensors are so ggod that you can crop easily, so no Need for  75 ich you got a 50 mm. If you want to carry just one lens, stick to the Summilux, if you are more into wide add 24 or 25 mm. It's your pic, so your decision; I shoot mostly 50 + some 28 on travelling.

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55 minutes ago, elmars said:

If You are a one lens shooter, stay with it. If the 35 mm is not wide enough, take two shots and stitch them together.

This is a great idea for landscapes but I should have mentioned the shots I missed included my wife and son in them so stitching wouldn’t work unless they were on the edge of the frame. I will also need something for architecture. I’ve owned all the best cameras/lenses for architecture, since 3D CGI ArchViz is my current work, but unless I was going out to specifically shoot a location it stayed in the camera case. 

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Posted (edited)

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1 hour ago, otto.f said:

Sorry if I repeat myself in this, but if you would consider 24 - 35 following jaapv, I find the Elmarit 24mm an underrated lens since the Elmar and the Summilux 24 came out. It has in my opnion a more sympathetic sharpness than the Elmar and a bit more bite than the Summilux. The VC 25/4.0 is indeed very sympathetic too but I never regretted having stepped over to the Elmarit.

I owned the new Sony GM 24 1.4 that was on my A7rIII and that was an amazing setup, however, it spent most of the time in my camera bag which is why I’m moving to the M10. I do like the 24 focal length but read somewhere that the 21 might be a better choice for the M10 and it seems I will need the EVF to use those regardless. I’ve been doing so much research on this new setup that my head is about to explode along with my bank account, haha. 

Edited by RagingCANE

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Actually using a 24 does not really necessitate using the EVF. With some experience the framing can be estimated using the whole viewfinder and some mental gymnastics.

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If a 35mm is not wide enough for your landscapes, will 28mm make that much difference? Stitching can help but if you like those landscapes with foreground interest it can get tricky. 21mm would be my personal recommendation. I'm now using a 21-28-50 combo. 

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1 hour ago, RagingCANE said:

I owned the new Sony GM 24 1.4 that was on my A7rIII and that was an amazing setup, however, it spent most of the time in my camera bag which is why I’m moving to the M10. I do like the 24 focal length but read somewhere that the 21 might be a better choice for the M10 and it seems I will need the EVF to use those regardless. I’ve been doing so much research on this new setup that my head is about to explode along with my bank account, haha. 

I am puzzled why a 21 would be a better choice for the M10. Surely the sensor format is the same? Photographer, sensor (film) format and subject determine the focal length, not the camera brand.

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59 minutes ago, jaapv said:

Actually using a 24 does not really necessitate using the EVF. With some experience the framing can be estimated using the whole viewfinder and some mental gymnastics.

+1; I never used the optical extra viewfinder for the 24 either. On the M10 it’s even more easy because its rangefinder has the best quality ever

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28 minutes ago, jaapv said:

I am puzzled why a 21 would be a better choice for the M10. Surely the sensor format is the same? Photographer, sensor (film) format and subject determine the focal length, not the camera brand.

I don’t know either. As I’ve said I have read too much lately trying to decide. I am considering the 21 or 24 Elmar because I wouldn’t want to get the larger more expensive 24 Summilux 1.4. 

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Posted (edited)

One lens = 35. A good all rounder, but a (useful) compromise.

Two lenses = 28 + 50. My current travel setup for architecture, landscapes, cityscapes and environmental portraits.

28 is usefully wider than 35 and on the edge of easily controllable perspective distortion. The 50 is a short but very useful tele in comparison. A perfect setup IMHO. 

Edited by Mute-on

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Posted (edited)

Somehow I hardly used my 35mm lenses. With the M10 I use a 28 and 50. At home the 50 is used more, travelling the 28. The third lens I travel with is a Telyt  135.

Edited by stephan54

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Now looking at the 28 1.4 Summilux but at $7,500 it isn’t making sense to me. Uggh. It it that much better than the f2.0 Summicron? Do I just buy a Q-p for travel (Not the answer I know but...)? 

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It is not better, just faster and with narrow DOF (relatively) - and a lot bigger and heavier. It will be a bit more characterful wide open, as soon as you stop down to f 2.0 you will be hard pressed to see any difference. The Summicron might have slightly better corners at 2.0, but only when pixel-peeping. Actually, the Elmarit is even better if you don't need the speed. You are in Leica Land now, there are no better or worse lenses, only the specifications and intended use differ. For instance the APO-Summicron 50 is "better" than the normal Summicron 50, but you will only see it with flawless technique and on really large prints. For your intended use it would be money wasted.

 

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11 minutes ago, RagingCANE said:

Now looking at the 28 1.4 Summilux but at $7,500 it isn’t making sense to me. Uggh. It it that much better than the f2.0 Summicron? Do I just buy a Q-p for travel (Not the answer I know but...)? 

A Q and an M + 50mm make good companions and reduce lens swapping.

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Posted (edited)
27 minutes ago, RagingCANE said:

Now looking at the 28 1.4 Summilux but at $7,500 it isn’t making sense to me. Uggh. It it that much better than the f2.0 Summicron? Do I just buy a Q-p for travel (Not the answer I know but...)? 

I bought an Elmarit 28asph. Could not have been happier: light, good colours and sharp.

Edited by stephan54

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On the issue of architecture, just remember that the wider you go with your lens, the greater the potential to introduce a distorted perspective. I was basically a 35mm guy but I never had a problem with a 28mm, but definitely noticed with a 24 I was often keystoning in architectural shots. When I got a 15 for other work, I found it totally unsuitable for shots where architecture was an important component of the composition.

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