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If I were starting from scratch right now, I would definitely be looking at the two new Noktons (1.2 and 1.5). Both look pretty good - pick a little faster and larger, or slower, smaller, and sharper. But still fast!

I always found on film that speed is probably more useful since you can’t change ISO on the fly, and you are limited in how fast of film you can get. Also, the resolution differences in the two lenses will probably be less noticeable. So I might lean towards the 1.2. 

I don’t think you’ll be missing much. I’d save the Leica lens money for focal lengths where Voigtlander or Zeiss aren’t as extensive. 
 

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13 hours ago, lct said:

Seems like the OP is referring to the current Summilux 50/1.4 asph and Nokton 50/1.5 asph but i may be wrong. 

We don't know. Maybe OPs dream is V1 Lux. Which is great on BW film.

All three modern Nokton 50 1.5 are ASPH, with some differences in optics and big differences in handling.

 

 

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The Voigtlander 75mm f1.5 Nokton is a very special lens. I've had the 75mm Summilux and while it has that Mandler pop (at f1.4) that the Nokton might not, you will save a ton of money and lose very little. Personally, the Nokton has been a joy.

Joel

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4 hours ago, lct said:

I did not know that. Would you mind to elaborate? Just curious.

Yep the 50mm Nokton f/1.5 is aspherical (rear element) dating all the way back to the original screw-mount version.

The official advertising name says Aspherical, but only that first LTM version had the word actually engraved (in red).

Version I (LTM) and version IM (M-mount, gear-toothed focus ring) use similar 6-element formulas.

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Version II has 8 elements (even though it is shorter externally. ;) )

Edited by adan
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As a generalization (and generalizations are always flawed), it is my impression that Voigtlander, rather than compete head-to-head with Leica's post-1994 APO/ASPH revolution in all cases, is occasionally pursuing "improved" versions of the classic Mandler ideas.

Applying todays' techniques while following certain Mandler principles, such as, 1) center resolution is more important than corner-to-corner resolution, and 2) a smooth fall-off in sharpness from the in-focus plane is more useful than a rapid fall-off. (In both cases referring to behavior at large apertures - not at f/8 ;) )

"Mandler lenses, the way Dr. Mandler would design them today." Although I'm not sure Dr. Mandler would not have happily jumped on the APO/ASPH bandwagon himself, had those tools been available to him. It's always tricky to assign motivations to the dearly departed.

It was noted when it first came out that the 50mm Nokton f/1.5 was "a slight improvement" on the then-current 50 Summilux pre-ASPH. Leica's own 50 Summilux ASPH is a whole different animal.

The 75 Nokton f/1.5 is a "slightly different" 75 Summilux - but both are quite different from the 75 APO-Summicron.

The 35 Nokton f/1.4 I/II is the 35 Summilux pre-ASPH - rethought. Not as cloudy and dreamy at f/1.4, but with a remnant of "glow" and soft corners. But in no way a 35 Summilux-ASPH FLE - which goes to great lengths (literally) to keep the corners sharp (if not contrasty) even at f/1.4.

As it happens, I find as a photojournalist and rangefinder-user that I agree with 1) and 2) for lenses faster  than f/2.8 - they are not bad principles when "focusing fast, by proxy, with a patch in the middle of the frame."

I use C/Vs where the original f/1.4 Mandler values have skyrocketed (75 and 35 Summilux). And purportedly-Mandler designs everywhere else (21/28/50/90/135).

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