75 APO Summicron, 75 Summilux, 75 Noctilux mini-shoot out

[onasj]

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I was checking rangefinder calibration of these three lenses and realized I had the images to do a simple comparison of near-subject bokeh at 1.1 m distance for these lenses and apertures:

75 APO Summicron-M at f/2

75 Summilux-M at f/1.4

75 Summilux-M at f/2

75 Noctilux-M at f/1.25

75 Noctilux-M at f/2

All images were captured on the M10-M, handheld, rangefinder-focused, at 1.1 m.  So perspectives aren't identical, but the general rendering, bokeh, and sharpness characteristics of each lens are still apparent.  The small starburst on the right side of each cropped image is actually the center and focusing target of each photo. 

First, the 75 APO at f/2:

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Edited May 31, 2020 by onasj

[onasj]

Now the 75 Summilux-M at f/1.4 and at f/2:

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[onasj]

Finally, the 75 Noctilux-M at f/1.25 and f/2:

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[onasj]

Results, more or less as expected:

- The 75 Summilux is the "dreamiest" (least sharp and least contrasty) of the three lenses.  But at f/2 it's reasonably sharp, reasonably contrasty, and more similar to the 75 APO than I anticipated.  The bokeh of the 75 APO at f/2 is still smoother than the bokeh of the 75 lux at f/2, even though at f/2 the 75 lux arguably has smoother bokeh than at f/1.4 (as has been noted by others, including Phillip Reeve: https://phillipreeve.net/blog/leica-m-summilux-75mm-f1-4/)

- The 75 APO is a great performer, plus the smallest, lightest, and easiest to handle of the three lenses.

- The 75 Noct is optically superb, sharper wide open (f/1.25) than any of the other lenses at any tested aperture, and with bokeh that is very smooth on a microscope level, though it can be a bit heterogeneous at a macroscopic level as bokeh elements overlap to form more pronounced lines.  This observation is consistent with my past notes in this forum that at some picture element frequencies, the 75 Noct can render out-of-focus areas with outlining, which can be appealing or distracting depending on the subject and your tastes.  But overall, I continue to be reminded that the 75 Noct is an optical masterpiece.  If only it were half the size and half the price...

Edited May 31, 2020 by onasj

[jaeger]

Wish you had a full body shoot and incl. the CV 75, f/1.5 in this test, for the price, size and balance, CV was a steal. 

[Guest]

The 75 Noctilux really is a terific lens, however For the same money or less you can buy the 90 mm Thambar,75 sumicron and a mint condition 75 Summilux. Personally I prefer the Thambar and the Summilux but appreshiate we are all differant.

[flipsa00]

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Great comparison, Onasj! I've been thinking about selling my newly-acquired 75 Noct and getting a 75 Lux/APO instead. Portraits look a little clinical/generic on my noct. But seeing the sharpness in this test makes me reconsider. I guess I'll hang on to my 75 Noct for now.

I know the point of this post was to show objectively how each of the lenses perform. Which would you gravitate towards if you had to pick *just one*?

Edited June 2, 2020 by flipsa00

[onasj]

2 hours ago, flipsa00 said:

Great comparison, Onasj! I've been thinking about selling my newly-acquired 75 Noct and getting a 75 Lux/APO instead. Portraits look a little clinical/generic on my noct. But seeing the sharpness in this test makes me reconsider. I guess I'll hang on to my 75 Noct for now.

I know the point of this post was to show objectively how each of the lenses perform. Which would you gravitate towards if you had to pick *just one*?

Depends on what you are shooting, but for general all-around use I would pick the 75 APO.  If you demand the highest possible image quality, or really need the extra 1.5 stops, then of course it's the 75 Noct.  The 75 Lux's niche is if you like your shots dreamy.  Stopped down the 75 lux looks like the 75 APO, but if you primarily shooting it stopped down you might as well get the APO.

[ibramr]

Thank you for the comparison.   I can’t comment on the 75mm Noctilux, but among the three 75mm lenses I owned and used (Summarit, Summicron Apo, and Summilux), the Summilux is most enjoyable to use.  Perhaps  it’s ease to focus accurately, in comparison to the other two, Is one of its most endearing characteristics.  Many also consider the bokeh of Summilux a close cousin to the Noctilux 50mm f1 lens that I hope to buy shortly.  So far, it is a keeper, no question.   Once more, thank you.  

[otto.f]

On 5/31/2020 at 3:21 PM, onasj said:

handheld

🤨

[adan]

Good example of how the old Summilux produces more "readable" and "effective" DoF at both f/1.4 and f/2, thanks to spherical aberration.

The middle "16" and "20" (and at f/2, "24") in the background are more recognizable (not sharp, just recognizable) with the Summilux. And I've found that useful when focusing via the rangefinder - a bit more leeway in getting a "pretty sharp" picture, or DoF that seems to include more than one eyelash.

On the flip-side, I think this helps do away with the myth that ASPH lenses can't do soft bokeh well (except for artifacts like onion rings, which is a manufacturing issue, not optics).

And in all cases, it is a nice demonstration that soft "good" bokeh in the background is almost always mirrored by nervous, not-so-good "bright-ring" bokeh in the foreground - or vice versa. Can't have your cake and eat it too. It just has to do with how the light cones cross the image plane.

https://en.wikipedia.org/wiki/Spherical_aberration#/media/File:Spherical-aberration-disk.jpg

For the record, I'm currently using the APO-Summicron, for its extra close-focus range (0.7 vs. 0.75 m) and better closeup performance (floating elephant ) in the studio. Since that work is usually at smaller apertures, f/1.25 (plus weight, size and price) does nothing for me. If I want soft bokeh, the 1980 Mandler 90mm Summicron-M is a pretty good "poor man's Summilux."

But that is always subject to change....