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Don't have the comparison but I've since had a good go with the Sigma 50/2 and can confirm it outperforms the Panasonic 50/1.8 and subsequently also the Summicron.

It's a lens basically without flaws for photo. It's lighter than 50/1.4 M with adapter even though it's a metal design.

I just don't find it aesthetically pleasing and I'm struggling to find a use case where I leave the M-lens at home.

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Looks massive.

https://www.sonyalpharumors.com/exclusive-first-leaked-images-of-the-worlds-fastest-full-frame-wide-angle-lens-sigma-14mm-f-1-4/

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Sigma just keeps on bringing out new, high quality lenses. The L mount is very lucky to have them as a partner. This one is too extreme for me, but the astrophotographers are going to like it. The hint on an upcoming 70-200, will interest me more.

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I guess if one is used to shooting with the SL 24-90, this isn’t all that much bigger than that. I can see this being a dedicated astro lens but it wouldn’t be something I’d carry for use everyday. Currently, the Sigma Art 14-24mm f/2.8 DG DN is the dedicated astro lens for me but I can imagine if I had two SL bodies, I would conceivably use both concurrently. It’s not something I would want to haul up a mountain at night for but it’s definitely something I’d consider if I can bring on location by car. The extra 2 stops of light would really help with achieving pin-sharp stars without needing to shoot at ISO 12500. It would making something like the SL2 a viable astro camera, allowing you to shoot at ISO 3200 while maintaining some sensible exposure times.

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On 6/6/2023 at 7:01 PM, insomnia said:

Don't have the comparison but I've since had a good go with the Sigma 50/2 and can confirm it outperforms the Panasonic 50/1.8 and subsequently also the Summicron.

It's a lens basically without flaws for photo. It's lighter than 50/1.4 M with adapter even though it's a metal design.

I just don't find it aesthetically pleasing and I'm struggling to find a use case where I leave the M-lens at home.

When you say you don't find it aesthetically pleasing, are you referring to the appearance of the lens, or the rendering of its images? If it outperforms the Panasonic 50/1.8 then I'd be very interested in it.

As much as I like manual focus lenses, my work often demands fast autofocus, often with one hand while I steady/carry another camera in the other.

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Just the body of the lens, the lens hood is strange. It renders quite nice, also it's closer to being a real 50 mm, the Panasonic is a bit wider which I don't like. Colors I also found more pleasing (Sigma tends to the warmer side) then the Panasonic. Sharpness and lack of optical failures - strong win for the Sigma 50/2 as well.

I'd say go for it.

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Love the SL2 and bought into the system recently. Sorry bargain hunters but you get what you pay for. The best 50mm is the Summilux-SL. Adapters do impact IQ so only use native L mounts and never choose a non-Leica native L mount over any alternative from any manufacturer if you are truly after the best. Frankly you buy into a system for the lenses not for camera bodies and the best reasons to buy into this system is the 50 summilux, the 24-90, the 90-280 and the APO 90/75. 

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In spite I do have L-mount equipment, I don't own a Leica SL2, nor Leica lenses, because I can't afford to put so much money into a system to do some "photo hobby" with it, for those pixel peepers who, for their peace of mind, would only be satisfied with the "best". While the majority of those users take pictures, where these small differences in result shown, don't matter at all.

Frankly, in my case I didn't buy an L-mount camera (Lumix S1R) for the lenses.
The main reason only the possibility of the high
187 megapixels resolution mode of the camera itself.
To digitize my old analog 4x5 and 8x10 inch sheet film pictures by a more easy way, than by scanning methods.
(Not using a Sigma lens
, nor any Leica lens for this task).

Edited by Babylonia
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5 hours ago, Simone_DF said:

Again, best for what? Please define what you mean by "best".

You are attempting to bait people into defining what is best for them in a lens, which I assume that you then plan to debate. I understand this, and I agree the definition for "best" is entirely subjective and can only be defined by the individuals choices. Mr. Karbe, in this video, has defined what was best for him, and his design choices for Leica - in this particular lens. He chose to make the best possible 50mm Summilux lens that he could, within the constraints or lack thereof, that were placed upon him. In the end, he produced Leica's "best" 50mm Summilux to date as defined by Leica. Whether this is relevant to your use is, of course, only a determination that you can make.

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1 hour ago, Planetwide said:

You are attempting to bait people into defining what is best for them in a lens, which I assume that you then plan to debate. I understand this, and I agree the definition for "best" is entirely subjective and can only be defined by the individuals choices. Mr. Karbe, in this video, has defined what was best for him, and his design choices for Leica - in this particular lens. He chose to make the best possible 50mm Summilux lens that he could, within the constraints or lack thereof, that were placed upon him. In the end, he produced Leica's "best" 50mm Summilux to date as defined by Leica. Whether this is relevant to your use is, of course, only a determination that you can make.

No, it's just that claims like "this is the best 50mm" are utter bullshit, since use cases can be very different, even without entering the realm of personal preferences. 

And yes, of course, the creator of the lens says it's his best lens ever, no shit. It's a bit like when Apple every year says they are releasing "the best iPhone ever made" with each iteration. What is he supposed to say? Can you imagine Karbe - or any other person speaking officially for a company - saying "yes, we've just released this lens, but I think it's just ok, you are better served by buying a Voigtlander". 

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9 hours ago, Simone_DF said:

No, it's just that claims like "this is the best 50mm" are utter bullshit, since use cases can be very different, even without entering the realm of personal preferences. 

And yes, of course, the creator of the lens says it's his best lens ever, no shit. It's a bit like when Apple every year says they are releasing "the best iPhone ever made" with each iteration. What is he supposed to say? Can you imagine Karbe - or any other person speaking officially for a company - saying "yes, we've just released this lens, but I think it's just ok, you are better served by buying a Voigtlander". 

Karbe has mtf's and oodles of user opinions to back him up... At some point you need to place some trust in a lens designer. But lets ask: For you what is the best 50mm ever made?

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12 hours ago, Planetwide said:

Karbe has mtf's

If MTF's were so important, then clearly the 50mm APO Summicron would be the winner. But sharpness is not everything, and a MTF won't tell you how a lens will render, what's the size, footprint, weight, if the autofocus is fast or slow, how's the bokeh and a myriad of other information that all together will allow you to assess a lens.

Would you judge a car just by its engine power? I bet not, or we'd all be driving Formula 1 cars in our streets. 

12 hours ago, Planetwide said:

For you what is the best 50mm ever made?

None and all of them, and that's why I have 5 different 50mm, from Leica and other brands, because each one of them is good at something but not as good at something else, and I pick the right tool depending on the occasion. I'd probably pick the Summilux SL for studio portraits, but I wouldn't select it for landscapes, street photography or to go hiking all day. Other lenses may shine in these scenarios. 

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