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Apo Summicron-sl 28


Daniel C.1975
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4 hours ago, Jeff S said:

Forum sources have indicated a Leica SL 28-70 f2.8 zoom, likely by Summer.  Discussion in various other threads. 

Jeff

Good for people interested, but if that is really the case I wonder by how much this may have contributed to delay the release/development of the primes....

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8 hours ago, Archiver said:

A year or two ago, tokyocamerastyle mentioned that Daido was shooting with a Sony RX0, a 1" sensor camera with a fixed 24mm f4 equivalent lens. Interesting that he's moved back to the Nikon zoom compacts. In much earlier interviews, he has said that he has never bought a camera, but has only shot with cameras that were given to him! I do have to admit that zooms just make life easier.

My impression is that Moriyama has done promotional shoots with several cameras, including the Ricoh GR III upon its introduction. I'd hazard to guess that he may have done the same with the Sony camera you referred to. A tokyocamerastyle Instagram post from 2019 also states that he was using the Nikon Coolpix S7000. What surprises me is not the zoom lens but the tiny sensor size and the fact the this camera produces only JPGs — and that he hasn't upgraded to the successor camera of the S7000, the Coolpix A1000, which produces RAW files as well as JPGs. But if something works well for you, why upgrade? Moriyama certainly has never been into into camera consumerism.
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4 hours ago, Slender said:

Good for people interested, but if that is really the case I wonder by how much this may have contributed to delay the release/development of the primes....

I think you'll end up having GAS on that one. 24-90 being your favourite lens, a compact zoom makes sense for you. And the fact that you are getting more and more interested into video, the constant aperture will be a very welcome upgrade. Prepare your money. 

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22 minutes ago, Steven said:

I think you'll end up having GAS on that one. 24-90 being your favourite lens, a compact zoom makes sense for you. And the fact that you are getting more and more interested into video, the constant aperture will be a very welcome upgrade. Prepare your money. 

Please stop! I'm already developing GAS 😁

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1 hour ago, Steven said:

And the fact that you are getting more and more interested into video, the constant aperture will be a very welcome upgrade. Prepare your money. 

Ahahah, we will see if my meditation skills can prevail :)  but I have my eyes on the other polarizing SL lens of the family:  50 1.4, the perfect twin of my 24/90.

It is true that as for video; I found lately great pleasure with the SL2 5K mode (4:3 s35 open gate, sadly 4.2.0 but still 10bits in Log only, 200mbps in friendly HEVC h265... and no Atomos b/c not compatible with 5K) ... But small/bright APS-C lenses (sigma 16/30/56 f1.4 and the likes) would make more sense with the tigher framing on this one mode.

 

 

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1 hour ago, Steven said:

And the fact that you are getting more and more interested into video, the constant aperture will be a very welcome upgrade.

The critical thing for video isn't necessarily fixed aperture, it's lack of noticeable ramping. What's ramping? It's the lens' ability to maintain precise aperture markings throughout the zoom range. In other words, is 5.6 at the wide end the same as 5.6 at the long end? In many cases they aren't, even with "constant aperture" lenses, and this causes issues in multi-camera shoots. The problem is that you can't cut between two cameras without adjusting the gain, which isn't something that anyone wants to do in a live switching scenario. Even with a single-camera shoot, you don't want exposure jumping around during a typical dialogue shot/counter-shot edit.

Most modern zooms try to compensate for ramping by electronically changing the aperture size. Angénieux figured-out how to do this mechanically 60+ years ago.

It's very easy to understand why people confuse "variable aperture" zooms with zooms that ramp. Obviously, if you have a 2.8/3.5 zoom, it won't hold 2.8 all the way through the focal range, that's obvious. The key issue for video is "will it hold 3.5 throughout the focal range?" Many constant-aperture zooms don't, and many variable-aperture zooms do. That's because the stated maximum aperture has quite a bit of tolerance. You will barely notice a 1/3 stop difference in stills, but you will with moving images, because the human eye is very good at noticing such differences over a jump cut.

That being said, all of this is anecdotal for the type of single-camera videos that most people here probably create. We aren't live-switching the Oscars broadcast, or the World Cup finals. Having a constant maximum aperture is a small plus, but it's a lot less important than a host of other features.

 

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56 minutes ago, aksclix said:

is there a sample image of this upcoming Leica 28-70? I couldn't find one.. nobody leaking any designs I guess? 

It's still an early rumour so far which to my knowledge has only been revealed by ..... me. 

I don't think anyone else has backed me on this yet ? 

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38 minutes ago, BernardC said:

The critical thing for video isn't necessarily fixed aperture, it's lack of noticeable ramping. What's ramping? It's the lens' ability to maintain precise aperture markings throughout the zoom range. In other words, is 5.6 at the wide end the same as 5.6 at the long end? In many cases they aren't, even with "constant aperture" lenses, and this causes issues in multi-camera shoots. The problem is that you can't cut between two cameras without adjusting the gain, which isn't something that anyone wants to do in a live switching scenario. Even with a single-camera shoot, you don't want exposure jumping around during a typical dialogue shot/counter-shot edit.

Most modern zooms try to compensate for ramping by electronically changing the aperture size. Angénieux figured-out how to do this mechanically 60+ years ago.

It's very easy to understand why people confuse "variable aperture" zooms with zooms that ramp. Obviously, if you have a 2.8/3.5 zoom, it won't hold 2.8 all the way through the focal range, that's obvious. The key issue for video is "will it hold 3.5 throughout the focal range?" Many constant-aperture zooms don't, and many variable-aperture zooms do. That's because the stated maximum aperture has quite a bit of tolerance. You will barely notice a 1/3 stop difference in stills, but you will with moving images, because the human eye is very good at noticing such differences over a jump cut.

That being said, all of this is anecdotal for the type of single-camera videos that most people here probably create. We aren't live-switching the Oscars broadcast, or the World Cup finals. Having a constant maximum aperture is a small plus, but it's a lot less important than a host of other features.

 

Yes true, but I think that the scenario you are describing is not one that many SL2S users will find themselves into. For 99% of us, constant aperture will make a world of difference. 

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1 hour ago, Steven said:

It's still an early rumour so far which to my knowledge has only been revealed by ..... me. 

I don't think anyone else has backed me on this yet ? 

Oh ok.. 😌 anyway, I like my 24-90 enough to not look for an alternative.. losing some fl at both ends.. 

Edited by aksclix
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2 hours ago, BernardC said:

 Many constant-aperture zooms don't, and many variable-aperture zooms do. That's because the stated maximum aperture has quite a bit of tolerance.

I think her Dr. Karbe said many times that "constant aperture" zooms "leave something behind" in terms of optimal aperture. You can really notice a darkening of the image with a canon 24-105 f4 L series by zooming in, ar most aperture.. But if you set your Leica 24-90 at f4, you can zoom in and out w/o any variation in illumination at all (not a floating iso trick)

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4 hours ago, Steven said:

It's still an early rumour so far which to my knowledge has only been revealed by ..... me. 

I started the follow-on rumour that it would be a re-badged Sigma. And now Sigma is also rumoured to be releasing a 28-70!

My part was completely made-up, but now I am starting to wonder if it is true. 

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vor 47 Minuten schrieb Slender:

http://summilux.net/forums/viewtopic.php?f=99&t=98595

 

Some lucky guy in belgium got it already. Official launch tmr 1500 GMT+1.

thank you!

funny, except for this surely genuine hint I can't find anything about it on the web, not even on the Leica site itself

 

Edited by MediaFotografie
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On 2/16/2021 at 1:44 PM, TigerSheep said:

Amazing website and photos. 

 

Thank you!

What comes to photography, I really find Leicas attentation to essential details — so called Leica magic — be real, true and truly essential to my image making.

Actually, some call it’s magic of Leica, I’d rather say the opposite: it’s not about making unordinary disappear, but about making everyday really visible. Choices and consequences tangible. 

Edited by mikaelrydenfelt
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