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As far as my current lenses are concerned, 50/2 has more CA than 50/1.4 at the same apertures. Now even the best corrected lens like 50/2 apo will exhibit color fringes in case of severe overexposure, which happens quite easily when shooting dark things like tree branches into the light. 

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Design is the art of compromise. There's no such thing as perfection in this world. I've got a 50/2 R (version 2 ROM) and have never found CA a particular problem within the realms of my needs and experience. Now I'll just have to go looking for it and seeking situations which will provoke it. What I shall then do about it I have no idea. (Since I use an M240 and an SL2 these days, I suppose I'll just have to go to the expense of a 50 Apo Summicron M and an M to L adapter.)

 

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There are two Summilux 50/1.4 and two Summicton 50/2

It also depends on which camera body they are used as with or without an anti-aliasing filter.

So, for example a Nikon Z7 I and II will differ from a Z6 I and II using the same lens.

The aperture used will also affect the CA.

Finally irrelevant of the light refraction and condition , the editing application will also produce a different result.

So choose your poison carefully bearing in mind one lend is USD500-ish and the other USD5000-ish.

 

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  • 2 weeks later...

It is right to me Ornello opinion. Images are:

1. Entire image.
2. 50/1.4 2nd vers. (E60), f/2.8 full size.
3. 50/1.4 f//8 f.s.
4. 50/2 2nd vers., f/2.8 f.s.
5. 50/2 f/8 f.s.

Camera is the TL. CA is - to me - at least visible in 50/1.4, and completely negligible in 50/2.

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