Elmarit 24mm M

[iglinari]

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Hi,

 

Can anyone kindly share their experience with this lens? I'm currently using a Summilux 35mm, which is an amazing all-rounder, but I've started feeling limitations with portraits (too wide) and architecture (converging verticals). I don't really do any "reportage". Would the cost of switching to a Summilux 50mm + Elmarit 24mm combo be justified in your opinion?

 

Thanks in advance!

[Vieri]

Hi,

 

Can anyone kindly share their experience with this lens? I'm currently using a Summilux 35mm, which is an amazing all-rounder, but I've started feeling limitations with portraits (too wide) and architecture (converging verticals). I don't really do any "reportage". Would the cost of switching to a Summilux 50mm + Elmarit 24mm combo be justified in your opinion?

 

Thanks in advance!

 

Hello there, both the 50 Lux & the 24 are fantastic lenses; however, I wouldn't honestly suggest that a RF is the best way to go for architectural shots: composition being somehow loose & the lack of tilt & shift lenses would make a SRL better suited for the task, IMHO - short of using a T/S lens, even with the 24 you would have converging verticals, unless what you meant is barrel distortion. In this case, if you want to use a distortion-free WA on a film M for architecture, I would probably suggest the Zeiss 21 f4.5 Biogon; not as fast as the 24 Elmarit, way cheaper, and much better corrected for distortion.

 

For portraits, the 50 Lux would be a versatile choice, of course - I'd go for a pre-ASPH version (smoother) in this case, but if portrait is your thing I would definitely skip the 50 and go for a s/h 75 Lux - a fantastic portrait lens - or a 90 Cron (pre-ASPH), another great portraiter.

 

A 21, 35, 75 or 21, 35, 90 kit would be perfect IMHO. By the way, add the 50 Noctilux and that's what I lug around...

 

Just my .02 of course.

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[iglinari]

thank you Vieri,

 

i really appreciate your knowledge and advice! unfortunately, photography is (just) a hobby for me, and my MP and Lux 35 are only justified by not owning a car can't possibly build a collection as you are describing. i've spent lots of time looking into large format for the reasons you mentioned, but just couldn't take the plunge...Leica claims that the 24mm helps handle converging verticals, thats why i was so intrigued by it. will do some more research on the Lux 75 and the Zeiss though, great lenses i'm sure. really like your website btw. just wondering: are the photographs from Stambul and Italy made with large format or with a Leica?

 

thank you very much again.

[Vieri]

thank you Vieri,

 

i really appreciate your knowledge and advice! unfortunately, photography is (just) a hobby for me, and my MP and Lux 35 are only justified by not owning a car can't possibly build a collection as you are describing. i've spent lots of time looking into large format for the reasons you mentioned, but just couldn't take the plunge...Leica claims that the 24mm helps handle converging verticals, thats why i was so intrigued by it. will do some more research on the Lux 75 and the Zeiss though, great lenses i'm sure. really like your website btw. just wondering: are the photographs from Stambul and Italy made with large format or with a Leica?

 

thank you very much again.

 

Hey again, first of all thank you very much for taking the time to browse my site and for the nice comments - much appreciated! About the Zeiss, it would be way cheaper than the Leica, offer slightly wider angle and practically no distortion; this way you could have some money left for a s/h 75 mm, and get both for the price of a new 50. If you were planning to trade your 35 Lux for a 50 Lux, on the other hand, I would suggest to trade it for the Zeiss (either the 21 as said above or the 25, another very good performer) and a s/h 90 Cron, they go for relatively cheap these days and you would get a great WA and a great portrait lens. The photos from Italy on pbase are made with Nikon DSLR (D70 & D2x), while the Istanbul gallery have been shot on D2x and various Leicas. Nothing in large format here

[biglouis]

I don't own the 50 lux but I do own both the 35lux and the 24/2.8. I use them on an M8 so, again, my experience may not be quite as valuable as Vieri.

 

Without doubt the 24/2.8 and the 35lux are the two best lenses I've ever owned or used. The lux is perfect for low light street photography (although I guess the new 21 and 24 luxes may be better). When I'm shooting just after dawn, which I do a lot, I pack the 35lux. Never let me down.

 

If it is spring or summer, when I can afford a minimum f-stop of 2.8 in the early morning I would without hesitation use the 24. It is the sharpest, most colourful lens I use. It is just fantastic and you should own one and keep the 35 lux.

 

Actually, at any time of the day with any kind of light (except straight into the sun) I would without hesitation use the 24. Pictures, imho, just jump out at you.

 

Here's a secret to save a ton of cash - get a CV 50/1.5, if you have to have a fast 50 and you will not be disappointed. I just had two potrait shots using the CV 50/1.5 published in a glossy magazine and they look absolutely fantastic. It is an amazingly sharp lens which draws light like a lux but for a 7th of the price. I think there is even one going s/h in the buy/sell section.

 

Just my two-pennoth as we say in the UK

 

LouisB

[Vieri]

...

 

Here's a secret to save a ton of cash - get a CV 50/1.5,

 

...

 

Second that - though I never owned one, I briefly tried one when shopping for a fast-ish 50 and it was very very good indeed. I ended up selling my 50 Lux ASPH, actually, and replacing it with another lens that can be one of the best secrets in the RF world: the Canon 50 1.4, screw-mount, incredibly inexpensive and a fantastic performer if you are into that pre-ASPH, not-so-clinical kinda look

[iglinari]

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Wow, thank you all so much! I will take your thoughtful comments into consideration. I guess with Leica cameras/lenses its always choosing between superb and outstanding: not that easy, but still a lot of fun. And then there's always the final option: sell all possessions and get the new Nocti 0.95 . Thanx again!

[tgray]

If you're really sold on the 24mm focal length, you might also want to check out the Zeiss ZM 25/2.8. Supposedly a very sharp lens. Though as was pointed out, the 21/4.5 has very little distortion.

[batmobile]

the 35 1.4 asph is one of teh finest lenses around according to user reports (I dont have one) and the 35mm FL about the most versatile. I would be tempted to stick with a winning lens and add to it when you can afford it. The good news is that the 35 asph is a high contrast lens, which means if you buy into the Zeiss ZM line your contrasts will be fairly consistent. I would recommend the 25 biogon. I have the 28, but the 25 is closer to the 24 you mention and under a third of the price. I you are interested in selling the 35 lux, how about the 21 4.5 ZM, 28 ZM and 50 planar. All very good, nicely contrast matched and you can have the lot for the proceeds fro selling your 35 asph lux. Food for thought..... I won't pretend I am not a fan of the ZM line

[mindlessdocumentation]

I'd keep that 35 if I were you...I've heard the CZ 25mm is very good.

[NZDavid]

I have the Elmarit 24 ASPH, purchased on the recommendation of forum member a few years ago, and it's a terrific lens. Excellent contrast and super fine resolution. No problem for architecture shots. In fact, I used it for a book (see website below). Obviously a 21 will fit more in. A Voigtländer 15 may be a good ultra-wideangle addition.

 

But the 24 is a very useful general purpose lens, good for travel and group or environmental portraits as well as buildings. The separate finder is easy to get used to. A 24 and 50 (one on the camera, one in a waist pouch) is a good way to go. I wouldn't get rid of the 35 though, it's compact and extremely versatile! As is the 50. Hmm, Leica lenses. Keep them, get more!

 

As for converging verticals, the only way to avoid them is to keep the film plane as level as possible. Aim for a vertical line about the same height as the camera. If you want to be ultra finicky, use a spirit level on a double hotshoe.

 

Best of luck,

David

David Killick, Freelance Journalist and Photographer, New Zealand

[peter_n]

See if you can rent/borrow the wider focal lengths to find out what suits you. I had a 21mm for a few years but could never really warm up to the focal length. Then I got a 24mm lens and just loved it immediately. You need to try them to see what you like. The 24 is a wonderful lens though.

 

Two scary looking guys skulking underneath an archway near Friedrichstrasse in Berlin. 24mm/f2.8 + MP.