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Review: Leica Noctilux 50mm f1.2


jonoslack

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1 hour ago, steve 1959 said:

Manufacture a mediocre lens [in 2021] and sell them at very high prices

Perhaps mediocre by today's standards but far from mediocre by the standards of the day.  A ground-breaking lens that was the first to have two aspherical surfaces that had to be painstakingly manually ground resulting in a very high attrition rate and consequent high production cost.

Pete.

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16 minutes ago, farnz said:

Perhaps mediocre by today's standards but far from mediocre by the standards of the day.  A ground-breaking lens that was the first to have two aspherical surfaces that had to be painstakingly manually ground resulting in a very high attrition rate and consequent high production cost.

Pete.

Its a valid marketing ploy by leica without a doubt and i am not against the idea of releasing old classics.

I want one but not sure why when the mediocre voigtlander f1.1 nokton is probably a better lens.

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Am 29.1.2021 um 11:29 schrieb Milan_S:

Great review Jono

I was fortunate to be beta tester and Leica asked me to do the official release photos taken with the lens.

Shot on the M10-R

I saw those before knowing you shot them and honestly looks like a lot of your photos have a front focus. Was your sample badly calibrated? I´ve seen other photos with the new 50/1.2 Noct without these issues.

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Jono, although I am still waiting to receive the noctilux f1.2 ordered in September 2020 !! , seeing the film The Dig set in Suffolk I imagined that the rendering of colors, blur, not exasperated definition and three-dimensional plasticity of some scenes  could be assimilated to the rendering of our lens in question. Am I wrong? What do you think about ?

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32 minutes ago, fabior said:

Jono, although I am still waiting to receive the noctilux f1.2 ordered in September 2020 !! , seeing the film The Dig set in Suffolk I imagined that the rendering of colors, blur, not exasperated definition and three-dimensional plasticity of some scenes  could be assimilated to the rendering of our lens in question. Am I wrong? What do you think about ?

Something lost in translation? 

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23 minutes ago, wlaidlaw said:

Something lost in translation? 

I think Fabior is essentially asking whether the inherent softness of the 'new' Noctilux is suitable for photography in the style of the cinematography in the recent Netflix film, The Dig.

Edited by wattsy
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1 hour ago, wattsy said:

I think Fabior is essentially asking whether the inherent softness of the 'new' Noctilux is suitable for photography in the style of the cinematography in the recent Netflix film, The Dig.

Ian, 

As I am not a Netflix subscriber, that might explain why the comment puzzled me. 

Wilson

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1 hour ago, wlaidlaw said:

Ian, 

As I am not a Netflix subscriber, that might explain why the comment puzzled me. 

Wilson

Wilson, the film has had quite a bit of coverage in the news recently but it probably helps to have seen the film to understand Fabior's question. I'm not sure if much of the film was actually filmed in Suffolk (the village scenes looked like Hambleden near Marlow and the house was not Sutton Hoo) but it did capture the misty vibe of the real location.

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20 minutes ago, wattsy said:

Wilson, the film has had quite a bit of coverage in the news recently but it probably helps to have seen the film to understand Fabior's question. I'm not sure if much of the film was actually filmed in Suffolk (the village scenes looked like Hambleden near Marlow and the house was not Sutton Hoo) but it did capture the misty vibe of the real location.

Most of the background scenes were filmed in Suffolk - the Deben Estuary, Shingle Street, Aldeburgh and Thorpeness beaches, also Snape and the Boyton Marshes.  But the actual excavation was recreated in Surrey, close to Godalming.  The cinematography is excellent, as is Ralph Fiennes Suffolk accent.  Almost worth the Netflix subscription for this alone!

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