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Elmar 24mm M11, 1/100 1/100. f 3.4.     I find this lens perfect for bar photos.

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Elmar 24mm ISO 25,000. 1/60. 3.4 M11

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Continuation of a series on Bars I like. 1/30.  ISO 25000

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I really have to bring myself to put the lens on the camera. When I do, I am always amazed at how good the Elmarit is - both on the M10 and on the S1R, as you can see here.
S1R + Elmarit-M 1:2.8/24 ASPH.

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ISO 5000  1/60. f5

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ISO 800. 1/125. f4.5

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M11 24Elmar  1/40. ISO 6400  f5.6

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M11 1/40 f5.6 ISO 5000. M24 Elmar

Look closely at the guy in the middle of the bar taking his eyes off his date to glance at the lady passing behind him. Caught

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Nymphenburg palace, München

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24mm Elmar  1/100 f5.6 ISO 12,500. M11

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24/2.8 on ME (220)

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  • 2 weeks later...

Bars I like continued 

M11 24mm Elmar  1/40 ISO 2000. f5.

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This is made out of bottle caps.  Elmar 24mm on an SL2. 1/50 f5.6. ISO 400

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M10 + Elmarit-M 1:2,8/24 ASPH.

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M10 | Elmarit-M 24mm

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M10 | Elmarit-M 24mm

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M10 | Elmarit-M 24mm

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24mm Skopar on m9

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Sharing my initial experience with 24mm!

I am mostly 50mm, the "normal" focal. It was hard for me to adapt and learn how to see and shoot in 35mm even though I like it now. But the move from 50/35 to 24mm is something completely different! It is not about "adaptation", it is about discovering and learning something completely new - at least that's how I am experiencing it. This whole idea of being very close, putting the whole subject in a dominant way while also keeping it in its own context is amazing. Plus some interesting subject separation at 1.4. Now it is kind of easy to shoot and learn 24mm at home, I wonder what the experience will be on the street, something I will hopefully experience soon while challenging myself!

Compared to 21mm, 24mm feels different in my opinion even though they seem close. The 21mm brings additional drama. That's why I finally picked the Summilux 24mm based on some test shots. Not sure that was the right move as the experiment was quite limited in time and based on an early feeling & impression, but It looks to me that 24mm is the limit beyond which the dramatic aspect of the scene becomes dominant - what could also be interesting, though more "specific" and not something I often want or need. 

So the 50mm/24mm combo enables two different mindsets at capturing, even though I can now easily adjust to 35mm - compared to my 50mm default.

Back to the Summilux 24mm, it is a very nice lens, solidly built and easy to focus. While relatively big with the hood, it does not bother me knowing that I am generally sensitive to the dimensions of the lens (I could not for example adapt to the 50/.95 for street shots). The bokeh is not strong, but paradoxically both smooth and "slightly vibrating" depending on the content. Sharpness is fine at 1.4, not strong, transitions are smooth. In some shots depending on the light, we can perceive "contained" glow. It looks to me this lens has "multiple personalities" that need to be explored. There is some CA depending on lighting but not strong or initially visible so it does not disturb me (I am generally sensitive to CA and purple fringing); C1 could reduce it when I applied the lens profile. Again I barely made more than 30-40 shots so far.    

So here goes my son ie my first "test subject" with 24mm... I made another one with more drama and perspective by lowering the cam (yes we can have some drama with 24mm but it is not the default) though I don't have my son's seal of approval to publish it because he did not like it :) This one has been "validated", shot at the .7m limit

 

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  • 4 weeks later...

Charming flowers; Elmar 24:

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