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5 minutes ago, Steven said:

Wow. 
is the Pre fle also a Karbe lens ? 

According to the Leica Wiki the pre-FLE was designed by Walter Watz in 1993. But the sharpness is practically the same, except at shorter distances, where the FLE has an advantage.

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I love the 120mm 2.5 APO Macro Summarit S. It is one of those lenses that is essentially beyond criticism. It is tack sharp from corner to corner from wide open until diffraction becomes an issue, the bokeh is smooth and lovely and natural, there are no visible aberrations, no visible distortions, it is great from infinity to 1 to 2. I think the only reason it is not talked about all the time is that there are so few S system users.

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2 hours ago, sebben said:

The thing with the 28mm summicron is that it is designed by Michael Heiden...

To paraphrase some film or other; "We're Going to need a New Thread..."...

It's interesting because, having looked through the list of Mandler lenses and checked Herr Karbe's timeframe, the majority of my Leitz lenses were designed by neither of those gentlemen.....

Food for thought.

Philip.

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I like what the Karbe lenses do when paired with a digital M camera.  I also like what the f/1.0 (Mandler) Noctilux does, whether on a film or digital M body.   I feel no need to "commit" to either the Karbe or Mandler ethos.  Each has its place at the table and each can be used effectively for specific subject matter or subjects.

For a given body of work, it seems a good idea to use one specific lens in order to produce a cohesive rendering. 

That's not to say that using a Karbe lens for project "A" and a Mandler lens for project "B" is sacrilege.  Choose your lens wisely with the desired result in mind. 

JMHO...

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4 hours ago, sebben said:

The thing with the 28mm summicron is that it is designed by Michael Heiden...

That is correct, regarding the 28/2 v1 (11604) Michael Heiden is no slouch and has quite a few patents under his belt to prove it.

My comment was in reference to the v2 (11672). Optimized by or under the supervision of Peter Karbe.

 

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Apo Summicron M 75/2,  Monochrom Typ 246

 

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M240, APO-Summicron-M 75

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M240, APO-Summicron-M 75

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Mexico City, 2019

21/3.4 SEM, M10-P

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In general i don't think the Mandler versus Karbe thing  makes any sense. It´s what you make with the lens. But looking into my drawer, i find that out of 10+ lenses there is only one non-Karbe lens.... the Summaron 2,8/35. So maybe I'm a Karbe boy too, unknowingly until now. 

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MP, SLX 35 FLE; Kodak Portra 400

Edited by Kl@usW.
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MP, 3,8/24; Film 

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M10 APO Summicron 50

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Do we have an exact list of Karbe-designed lenses somewhere? The "Leica wiki" lists only three.

 

50 Summilux-M ASPH is the only Karbe lens that I shoot.

 

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Edited by mike3996
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MP, NLX @ 0,95; Film

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11 hours ago, Kl@usW. said:

Mandler versus Karbe

I don't think the OP was suggesting a 'versus'. Mandler lenses were/are superb for there time. I think this was a bit of fun to balance the 'Mandler Magic' thread - or that's how I saw it😀 

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Toronto, 2018

Summicron 28/2, v2 - Monochrom Typ 246

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