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Apo Summicron-sl 28


Daniel C.1975
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4 minutes ago, FrozenInTime said:

MTF becomes worse with each stop closed !

No vignetting curves ?

That's because we have bonkers Dr Karbe "but why stop down" 🙄philosophy interfering.... he maybe secretly a Sony engineer that never met actual photographers....

"F8 and be there" or Winogrand hyperfocal street photography lovers, beware = it's all about what's out of focus now. Just look at Leica's marketing page for the lens. Even curvature of field is (was) an advantage for 28mm lenses when you shoot street or indoor reportage... where the side of the streets/walls of the room are close than the rest of your subject.
But here they only show us flat urban nightscapes at infinity or arty reflections on a car bonnet at close focus and f2. 🤐

The high end Cine world is growing tired of "perfection" in their lenses (see how easy it is to find second hand Summicron and Summiluxes Leitz Cine lenses you will be suprised) whilst Panavision 1968 C-Series lenses keep racking profits since half a century (rental only... no private hands can have those lenses). Heck, even those summiluxes had a net filter at the rear to make them "less perfect" because DOP would just to it anyway... hence why we had Thalia lenses after that... because people would just pay thousands to get Leica R lenses rehoused.


I am still excited about this new 28, but it's not nearly as nicely put a release campaign as what they did for Summilux 28M...
Anyone remembers the Leica M9 and M monochrom brochures?

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I had been planning to wait for the  24 as well, but got a very nice Sigma 24/3.5 in the mean time.  But looking at the specs of the new 28 (much wider field of sharp focus and probably contrastier than my M 28 SX as well) I'm going to get this one.  In fact the 24 SL SC, when it comes, looks like it may be a stretch of the 28 design, while the 21 has a lot of new stuff and could be interesting.   Working with the Sigma 24 helps to point up the value of focusing really close, which even the best M lenses can't do.

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Hi Scott, 

 

yes, I also plan to buy the Sigma as a "interims-lens". My former kit always was 21, 35, 50, 90 .... (in between the 5.6 Summaron, which I do not count as it is such a special lens and will always be part of my kit). Now I've stretched it already a bit with 35 and 75, skipping 50. But 21 is more niche and I loved 24mm in the past. Therefore the 24 Sigma is good playing field to make up your mind if 24 or 21 is the way to go. What I've seen so far, also from you, the 24 Sigma is a quite capable and nice small lens. However, I am also looking towards the 1.8 24 from Panasonic, which also might be a nice one, once it is available. 

Reason is preventing me to buy all of the Summicron-sl and I really want to keep these expensive lenses only within my core-lens setup and don't want to expand this set towards the exotic corners of my use-area. Currently I have some coins in my Schmu-purse, but struggle how to spend it - too many nice choices, but then again too less (no 24 sc-sl 😉 )

 

Cheers

Daniel

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Reason has kept me from purchasing the SL SC 90, but elsewhere it has failed  I have the 35/50/75 and use all of them.  It helps that I have an SL, SL2, SL2-S and S1R all out and begging to be used.  And a CL in a drawer somewhere.

Edited by scott kirkpatrick
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2 hours ago, scott kirkpatrick said:

Reason has kept me from purchasing the SL SC 90, but elsewhere it has failed  I have the 35/50/75 and use all of them.  It helps that I have an SL, SL2, SL2-S and S1R all out and begging to be used.  And a CL in a drawer somewhere.

What are your criteria for choosing each of the L-Mount bodies that you have ?

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1 hour ago, RoySmith said:

What are your criteria for choosing each of the L-Mount bodies that you have ?

The SL has a Leica R to L adapter on it, and the files are coded R00nxxxx, so that's easy.  It is used with R 90/2, 80/1.4 or a macro lens.  The S1R is used with some Lumix lenses, especially the 70-200, since it offers IIBIS+OIS for those.  The SL2 and SL2S run everything else.  I might keep the 24/3.5 Sigma on the SL2S for a bit, because that is a nice setup for shooting 4K 10bit indoors.  If I get a 28 SL SC in the next few weeks it will live on the SL2, obviously.

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3 minutes ago, scott kirkpatrick said:

Jono's review article on the 28 APO SL Summicron is, for some reason, posted on the "Other Products" thread.  I assume it will show up on his own site as well soon, with additional pictures.

Thanks Scott! I was looking for it :)

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2 hours ago, Joakim said:

That was clearly meant as a joke but then internet took over and it became something else...

But surely you have noticed that those lenses get "worse" with each stop down right?  The diffraction limit is so low (bravo, I respect that) that the lense basically starts to "soften" at f4 if not 2.8.... a limit that used to show at f11-16 on lesser lenses.... or a mere f8 on recent "good" leica lenses.

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1 hour ago, Slender said:

But surely you have noticed that those lenses get "worse" with each stop down right?  The diffraction limit is so low (bravo, I respect that) that the lense basically starts to "soften" at f4 if not 2.8.... a limit that used to show at f11-16 on lesser lenses.... or a mere f8 on recent "good" leica lenses.

This is true. When stopped down, I’m not sure they are better then competitors. But wide open they certainly have a unique cinematic look. 

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