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On 11/25/2025 at 10:05 PM, JoshuaR said:

In sum: I'm thinking that, even though I like these pictures, 21mm is just too wide for me.

I agree with you, I sold my 21 after 2 years in favor of the Elmarit 24. Although all of the photo's you presented are very nice and very good as documentary work. I hardly leave my 24 at home and it just works faster because you can use the outer borders of the viewfinders as a frame, the 21 really needs LV on the M and this takes time. But most of all I find the Elmarit 24 a very nice lens with character

Edited by otto.f
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21mm is too wide for me for documentary stuff. I do think you can get keeper photos with any focal length but it doesn’t necessarily mean it’s the right focal length for you. In an ideal scenario when funds do not need to be released for new purchases or anything else, a collection of all focal lengths would be nice and even if you use them sparingly, who cares, they are there when you need them or get an itch for something different.  My location changes often so I enjoy having choice. I tend to have 3rd party filler lenses in focal lengths I do not use often to keep the kit cost down and then when I’m sure about a focal length, I cough up for the stronger version.

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You have some nice examples of the 21 well applied. In the fire station of course a 28 might have also got the job done!  But, you have to shot the lens you have, not the one you wish you had.

When I am "photographing" I like to work close to people. Very close.   Generally a 28 is my goto for documentary style with 35 as 2nd string.  In fact I almost never shot longer than 35.

The 21...has been a challenge.  VC 21 f/4 Color Skopar in LTM.  It is my most challenging lens – and it is not because of one thing or another regarding that particular lens.

The 28 is pretty challenging with close work and people but I have that under control. Years of working in that focal pays off.  The 21 though, sheesh.  I am finally at the point where I can deploy and get the images I intend but the learning curve was tough.  A long time of nothing; even stretching the interpretation of keeper to the bad taste limit.  This was the only lens I used for about 3 months. I did that because I wanted to understand how to use it and more importantly how to visualise images with it.  

Including more stuff in the frame isn't the approach for me.  For me, it is using that 21mm prospective and proportion that can either be effective for things near and far or just look like it is a distorted caricature.  In tight spaces it can be a natural or simply grotesque.  If it makes sense, I think of a 21mm as a lens that can really play with the symbolic staging of the frame.  It is theatrical.  And  like theatre, there is good theatre and bad theatre.

 

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Edited by KFo
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I own 10+ Leica M lenses but my 21mm SEM has been the most important one from the beginning (actually bought as my Leica M lens)

Here some examples from last week...

Leica M11-P Visoflex 2 upright position

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Edited by IMAGEPOWER
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Leica M11-P Visoflex 2 upright position on tripod

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Edited by IMAGEPOWER
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...and here the last one...

As stated before you really have to make your brain see in wide angle mode

 

Leica M11-P Visoflex 2 at 90° (camera mounted on tripod directed upwards)

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Edited by IMAGEPOWER
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  • 2 weeks later...

Joshua, great images and a great display of the use of the lens. The only one I wasn't keen on was the architectural shot, nothing wrong with the shot but I don't think that a 21mm lens is a 'fitting everything in' lens; you've displayed on your other images that it's actually best deployed as a 'fitting the viewer in' lens, those shots pull me into the scene, make me feel I'm there, due to the wide angle vs closeness. Yes it can be used with Architecture but as you say, you're losing the drama and impact and in that situation simply making the viewer farther away.

My favourite lenses are in order 50mm, 35mm and 21mm. That would be my commonest group. I have a 28 and a 24 but to be honest, you can crop the 21mm quite successfully to those anyway. I'd be unlikely to take it out as a single lens but I'd typically have it ready mounted on a body. I've not had mine long but loving it.

Edited by Derbyshire Man
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My 21mm lenses are some of my most used.  I have converted many to panoramic 2:1.  Here is an example taken with the Zeiss Biogon-c 35mm f/4.5 ZM. I now have the 21mm SEM, but I really can’t say which one I prefer…both are great.

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On 11/28/2025 at 9:11 PM, RexGig0 said:

"21mm" and "documentary" immediately brought this presentation to mind.

Really interesting. I see he also uses the 35mm summilux v2, I'd wondered whether these lenses had aged and hence the imaging but no, his wide open 35mm shots look just the like 35mm summilux v2's now.

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I have the 21mm skopar for some years, trying to get to know the lens but to no avail.. fast forward 2024.. get the 21 SEM and the rest is history.. the latter somehow taught me how to use the 21 fov, like at least i m comfortable with and now use the skopar exclusively for street photos, while the SEM is my main landscape lens and street with digital M, and i dont think i could part with this SEM

some examples with street/documentary, excluding the landscape since it is irrelevant with what you are concerned

mind you i ‘m more a 50 shooter but i enjoy the 21 when travelling 

 

 

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I really like the 21mm for documenting a group. You can be part without anyone noticing. This one with some well-known forum members ten years ago conveys that well:

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Just a step away . . 

And then homing in to the action:

Russar 20mm on M9M

I see no unnatural perspecive, at least, I got acquainted to it. I once thought to buy an Leica 21mm f3.4 again (I had that in the past) because of the RF coupling but hey this Russar has way better (sharper and better illuminated) corners on digital - on a monochrome sensor that is; I'm so stupid to ponder on those things.

Edited by Alberti
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