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leffe

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Are new 28-50 Tri-Elmars still available from stock...if so WHERE????

 

Peter, no new 28-50 Tri-Elmars are available from stock as far as I know. Just one which appeared to be "Ausstellungsware" or Leica internal demo which was released after checkup to the retail channel in The Netherlands, coded and with full warranty (and a lower price tag to make things worse). LOL

I feel lucky of course when I ran into it and bought it immediately.

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Lars, "The Old Man from . . . " beat me to it re. the perspective thing. He is dead right. A thing that many missunderstand.

 

Perspective has NOTHING to do with any lens. Perspective is purely a relationship between the viewing position and the subject.

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I have a full array of focal lengths from 10 to 90mm, all in all 16 lenses.

 

The one I use nearly all the time on the M8, especially when travelling, is the 21mm Kobalux or Nikkor: both are small, lightweight, very sharp, with beautiful color rendition and low contrast that makes the pictures easy to correct in postprocessing. If I had to choose one, I would go for the Kobalux because it is coupled to the RF, although I prefer the color rendition of the Nikkor.

 

Having used SLR for years, I thought I needed all those lenses to compensate for the lack of zooms. The M8 changed my way of taking pictures like going back to the old days when I had a IIIb with a single Elmar (could not afford more).

 

My odd lens pack:

9.8mm Kinoptik Tegea

4 x 21mm: Kobalux, Nikkor, 2xZeiss Flektogon (4 and 2.8)

24 Nikkor

28 CV, 35CV

5x50mm: Summicron, Elmar, Kern Macro-Switar, Cooke Kinetal and Cooke Speed Panchro

75, 85, 90mm

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Hi,

 

I've thought long and hard about this one. There are several contenders, 50mm Cron, 50mm CV 50mm 1.5, CV 35mm 1.7, 50mm Elmar, and 90mm Elmarit 2.8, but none gives me quite as much pleasure as my 50mm f1.5 Summarit.

 

So, my choice will be the old, but gold, 50mm 1.5 Summarit.

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Lars, "The Old Man from . . . " beat me to it re. the perspective thing. He is dead right. A thing that many missunderstand.

 

Perspective has NOTHING to do with any lens. Perspective is purely a relationship between the viewing position and the subject.

 

I think what he meant was that the depth remains the same despite the crop so it appears wider than it is. I've noticed this phenomenon as well - one needs to get even closer to the subject with a 35 to replicate the look and feel of a 50mm on a full frame body. A 21mm shot with the M8 seems a lot wider than it is than with a 28mm on full frame and so on.

 

Make sense?

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Having been there, one lens can be quite liberating just as often as it can suck; if you only have one, good bet you know how to use it and don't waste any time worrying about which lens is mounted

 

But which one. On the M8 I would have to go with the last pre-aspheric 35mm Cron, though the last pre-aspheric 28mm Elmarit, last version pre-aspheric 50mm Lux or 35mm Asph Cron would all be very, very close seconds.

 

(PS: My preference is for the way the pre-aspheric lenses paint --- just generally smoother than the apshs IMO, though the 28 Cron and 35 Lux and Cron's seem to retain some of the Mandler-era look...)

 

Cheers,

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Hum!

 

An 'only' lense to go with a M8 would have to be wide to compensate for the crop, - and utilize the Leica M8's excellent handling of wide angle lenses (no/little vignetting etc.). Hum! I think I would go for a WATE. But if it were a price limit on the package, I would go for a Voigtländer Super Wide Heliar 15 mm 4,5 - an extraordinary lense that 'everybody' have.

 

On a full frame analogue MP or M7 I would have gone for either 21 mm or perhaps a 35 mm Lux.

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Another vote for the 35 Lux ASPH. If I had to sell my M8 gear, that would be the thing I kept till the end--even beyond the M8 itself (hey, it works on my film bodies

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35/1.4 Summilux Asph for me, too. I mostly used 50mm with film, so the 35 is the closest. And the fact that it is a little wider (47mm effective) than the 50 (actually 52mm)on a film M is actually a plus--it can work for shots that I would have had to use a 35 on film.

 

I like the outdoor, bright-light rendition of the pre-aspheric 35/2 Summicron-M a bit better. But if it had to be just one lens for everything, it would be the 35 'Lux ASPH.

 

--Peter

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I guess if I only had one choice, and only one, it would be the Noctilux 1.0 non-ASPH (latest) version. Why? Mastering wide angles takes a lot of effort, and most interesting situations call for subject isolation. I think the Nocti is the most versatile lens ever.

Granted, some people have misaligned or backfocusing samples, and it takes a long while to master that lens, but it pays off in spades.

When you subject is 3/4 ft away, you can change the field of view recorded by stepping closer or farther from the subject, making it close to a 75mm or a 35mm.

Also, take a look at the photographs people recognize or value the most, the large majority are not extremely sharp, but powerful in the emotional content.

My 2¢

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Guest guy_mancuso

Interesting most folks are in the 50mm FF look here aka 35mm on the M8. Apparently many bought 50mm standard lens in the old days and that became there norm.

 

What is interesting some of the older folks will remember this is when you bought a 35mm film camera it pretty much came with a 50mm as a kit and buying just a body was somewhat rare. Times have changed but i wonder if most remember this marketing back than.

 

also as we all know a 50mm FF lens resembles the view of the human eye.

 

But i always liked 35mm FF so i am the 28mm camp on the M8

 

pretty interesting the choices here

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Yes Guy. When I worked in a camera store in the early 70's almost every camera I sold came with a 50mm lens. We also had just bodies of the more expensive cameras.

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Guest guy_mancuso

Yes it is pretty interesting that it was sold as a kit even though they never used that word it was pretty much a given you buy a body and a 50mm is part of it

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