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The Leica APO-Summicron-M 35mm f/2 ASPH - First Impressions


Steven

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2 hours ago, Steven said:

I don't understand the question 🤪

It was late.

Meant to ask "I wonder what type of halftone screening was used in the printing of the book?".

Coming from the print industry it was just a matter of curiosity since there are a lot of commercial printers that use more than 200 lpi screens for such books (150 - 200 lpi is the norm for most commercial printing).

For example LensWork uses 20-micron dot stochastic (equivalent to 300+ lpi) printing for all its publications (http://www.lenswork.com).

As long as you enjoy the book it doesn't really matter how it was printed.

Heidelberg has a good introduction on the topic http://geomatika.kma.zcu.cz/studium/krp/screening_technology_eng.pdf 

And here is the updated document https://printplanet.com/attachments/expert_guide_screening_tech-pdf.290157/

And here is the same document in German https://www.heidelberg.com/global/media/global_media/products___prinect_topics/pdf_1/screening_tech.pdf

The differences are much more evident when looking at the printed samples.

Cheers.

Edited by DavidA
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Guest Nowhereman

^ When you're having a book printing commercially by offset, the answer to this will depend on the type of paper used and, unless you're extremely technically inclined, this will be either taken care of by the printing company's printing manager or by the lithographer and printing manager you have on your team. In the case of my book, we used an uncoated paper because the book design has many foldout papers, for which papers that flake at the crease cannot be used. What amazed me was how rich the blacks turned out — not something I was aware could be done on uncoated paper, and the screening was not an issue to be dealt with by me.

Incidentally, the book was printed on a huge, new Heidelberg press in the Netherlands. What I learned was that, even with B&W quad-tone printing, there can be some color cast — it's there for compensation of the color of warm-toned papers. The lithographer and print manager looked at each first sheets that came off and had adjustments made to eliminate a very slight degree of blue cast. Each time that is done, you have to run a huge number of sheets through the press until the particular ink tone of the quadptone inks, is completely changed. This process made to the scrapping of 1,200 large sheets, it's a huge waste of paper, but the only way that can be done. 
_______________________________________
Frog Leaping photobook and Instagram 

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On 3/18/2021 at 1:55 PM, Steven said:

Quick little survey, for my own curiosity only. To those of you looking to buy the APO, I'm curious to know what your motivation is? Is it the look it creates? The need for a perfect optical formula? The need to replace another lens ? What's your reason for considering this lens ?  

I'm not decided yet. I don't own an M but am interested in owning one one day. I have the q2 and sl2 with 35/75 sl. 35 is all my all time favorite focal length so I was just curious about the performance of the lens and if it could provide any value and how it would fit in my line-up.

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25 minutes ago, cheekz4dayz said:

I'm not decided yet. I don't own an M but am interested in owning one one day. I have the q2 and sl2 with 35/75 sl. 35 is all my all time favorite focal length so I was just curious about the performance of the lens and if it could provide any value and how it would fit in my line-up.

It is, IMO, a very similar lens as your SL35. You just trade AF for compactness, and the choice to use the lens on both M and SL systems. 

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25 minutes ago, Jeff S said:

And weather sealing trade off.  Plus aperture ring, mechanical focus with hard stop, etc. 

Jeff

Yes. 
if we want to go in detail, a great advantage of the M lens is that you can see the depth of field in live through the evf of your SL. It’s something else that makes me enjoy my M lenses more than the SL ones. 

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3 hours ago, cheekz4dayz said:

I'm not decided yet. I don't own an M but am interested in owning one one day. I have the q2 and sl2 with 35/75 sl. 35 is all my all time favorite focal length so I was just curious about the performance of the lens and if it could provide any value and how it would fit in my line-up.

This will provide a couple of hours worth of discussion and performance comparisons between the 35 APO M and various other top Leica 35s, including the SL 35...


Jeff

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On 4/4/2021 at 11:17 AM, Steven said:

Yes. 
if we want to go in detail, a great advantage of the M lens is that you can see the depth of field in live through the evf of your SL. It’s something else that makes me enjoy my M lenses more than the SL ones. 

That is true, but then you need to open the lens wide to focus and then close it to working aperture before taking a picture (the most precise way to focus, bar focus shift issues).

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55 minutes ago, SrMi said:

That is true, but then you need to open the lens wide to focus and then close it to working aperture before taking a picture (the most precise way to focus, bar focus shift issues).

Don't count me in please. EVFs allow to focus stop down so easily that i never focus wide open with my (good) EVFs personally. YMMV.

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4 hours ago, Steven said:

Petet Turnley shoots with an M240 as well before converting to BW. He has a 35 FLE glued to it. 

He also was enthusiastic about the M10 he bought in late 2017, and has used a Monochrom (for pics/prints he sold at TOP from his Paris book), as well as film Leica gear, I think an M-P.   
 

Jeff

Edited by Jeff S
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3 hours ago, lct said:

Don't count me in please. EVFs allow to focus stop down so easily that i never focus wide open with my (good) EVFs personally. YMMV.

I think everybody should use a technique that works for them. I am not arguing that you are doing it wrong.
The focal plane is the only place where the subject is in focus. Everything closer and further from the focal plane is out-of-focus at a varying amount. A shallow DOF (open aperture) helps to determine the exact focal plane. Depending on the situation and subject, that precision may not be required.
 

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38 minutes ago, Jeff S said:

He also was enthusiastic about the M10 he bought in late 2017, and has used a Monochrom (for pics/prints he sold at TOP from his Paris book), as well as film Leica gear, I think an M-P.   
 

Jeff

Interesting. I wonder why he went back to the M240 then. 

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54 minutes ago, Steven said:

Interesting. I wonder why he went back to the M240 then. 

He doesn’t talk much about gear, so I’ve only gathered a few bits here and there.  But you’re in Paris and I’m not, so you may have better insight.  He wrote this in 2017...

https://m.facebook.com/peterturnleyofficial/posts/1722893874408633
 

Before that, he evidently shot with the original Monochrom, as evidenced by some of his Paris work...  


I don’t know what he has used in-between or since, but he was obviously a Leica film shooter before the digital Leicas.  Don’t know if he uses a later Monochrom.

Edit....I did find some video content (not available to post) of Peter shooting his recent Covid project in NY, using an M10.

Jeff

 

Edited by Jeff S
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57 minutes ago, SrMi said:

I think everybody should use a technique that works for them. I am not arguing that you are doing it wrong.
The focal plane is the only place where the subject is in focus. Everything closer and further from the focal plane is out-of-focus at a varying amount. A shallow DOF (open aperture) helps to determine the exact focal plane. Depending on the situation and subject, that precision may not be required.

I wonder if you take focus magnification into account. Allows me to focus at up to f/11 this way. FWIW.

Edited by lct
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6 minutes ago, lct said:

I wonder if you take focus magnification into account. Allows me to focus at up to f/11 this way. FWIW.

Always with focus magnification, but never with focus peaking. It also depends on the focal length. It is tough to focus correctly with EVF and wide angles (large DOF). It may depend on eyesight as well. 
 

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24 minutes ago, Jeff S said:

He doesn’t talk much about gear, so I’ve only gathered a few bits here and there.  But you’re in Paris and I’m not, so you may have better insight.  He wrote this in 2017...

https://m.facebook.com/peterturnleyofficial/posts/1722893874408633
 

Before that, he evidently shot with the original Monochrom, as evidenced by some of his Paris work...  


I don’t know what he has used in-between or since, but he was obviously a Leica film shooter before the digital Leicas.  Don’t know if he uses a later Monochrom.

Edit....I did find some video content (not available to post) of Peter shooting his recent Covid project in NY, using an M10.

Jeff

 

Very nice. I saw him twice this week. Two days ago, we was using an m240, with a thumb rest and the exact same lens as on the Facebook picture. With the damaged hood. Anyway, it’s not very important. Thanks for sharing Jeff. 
 

By the way, did you take the plunge on the M10M ? 

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