50 Lux ASPH quality in other lenses?

The OP loves his lens, as do I, mine. The 50'Lux is a great lens- and has doubled in value in the last 2 years :D
Does this bother some 'experts' who know all about the lens being merely a tool, but don't/can't own one ?

To the OP- Enjoy your lens- and all of this !! ;)
 
Jeff S said:
While not a direct response to your question, you might be interested in the thoughts presented here by the lens designer, Peter Karbe. He offers some insights into his inspiration from other lenses.

Jeff
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Thanks for the link -- I hadn't seen this posted before. Interesting reading.
 
I'd wager that the old SMC Takumar 50mm f/1.4 can hold up to any 50 'Lux. Of course, it's not Leica mount but as soon I finish my focus coupled adapter to use the Takumar on an M body, I'll be a very happy man.

Phil Forrest
 
I've measured the movement of the M42 Super Multi Coated and SMC Takumars (the difference being the focusing ring) and from 1m~infinity it corresponds exactly with the actual movement of my DR Summicron in normal range. And if it's not exactly on, it's within .02mm.

So, I've found that using existing M42-LTM adapters and a donor long focal length lens with a tabbed cam, I can easily impart the motion from the very thin collar that holds the rear element of the Takumar in, to the Leica cam follower. The only issue is to get the tabbed cam moving precisely along one direction. I'm thinking of possibly finding a ruined 10.5cm Nikkor in LTM and using the whole intermediate tabbed cam from that. It would be a perfect match and only the tab would have to be ground down to the correct length. The big problem there is if I grind it too short, I'd need to find another tab!

This has been a back burner project for the last 3 years but one I'm determined to finish when I have the time and parts available. Once I get it done, I've no need for a 50 Summilux!

Phil Forrest
 
Funny, very similar to what I want to do, Phil. A friend gave me that orphaned SMC, and I have no body for it. I have the donor lens for the cam (an ugly Nikkor 135/3.5) at home, and my Novoflex K->M mount adapter has been ordered 2 weeks ago :) Your M42/LTM adapter (Russian?) is probably cheaper .... The beauty of the SMC is that you can access the optical block from the rear and it doesn't rotate. I suspected that the SMC had 52mm focal length (like the DR) but didn't measure it. Thanks !

Apologies to the OP for defocusing this thread ...
 
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w1234ale said:
Since I started shooting my 50 lux ASPH on my M9-p I am constantly stunned by the results. Even a lousy picture has amazing contrast, color, and rendering. It truly is an amazing combination and dare I say it, there is a magic to this lens.

So, here is the question. What other lenses have this same feeling, quality?
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Yes, I understand what you are saying. I have the M8 and I feel the same way with any of my 3 or 4 lenses, especially the 35 Summicron ASPH. Its mainly about the colors the M8 produces.

The problem for me is cost. The Summilux 50 ASPH, at list is towards $4000 I think. What's the alternative? Can one get 3/4 of the way to a Summilux 50mm ASPH at 1/5 the price? There is a handful that has been listed in this thread.

digitalintrigue said:
Contax G 45/2 Planar has amazing 'pop.' .... Short of the $4k-$7k going rate those are, I'll make do with other amazing lenses like the Planar.
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The ZM 50 Planar would be a contender and an easy way out, but I share Phil's and ferider's lead in creating my own solution.

So, without tipping my hand that I like the Contax G 45mm, I'm working on my own alternative solution to the high cost of the perfect Summilux 50mm ASPH lens.
 
Oh, I never answered the question! I have four of the ASPH lenses, and they all have that "wow" factor for me. But two that come immediately to mind are the 24mm Elmarit ASPH and the 75mm Summicron.
 
Rob-F said:
Oh, I never answered the question! I have four of the ASPH lenses, and they all have that "wow" factor for me. But two that come immediately to mind are the 24mm Elmarit ASPH and the 75mm Summicron.
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I was really hoping the 24 Elmarit wouldn't come up -- I just sold mine... I don't regret it, yet. :/
 
So as you are typing, those magical lenses are sitting around doing nothing, they are not taking in the light that *only* a master can detect, before it even happens...

They are not brilliantly framing color and convergence like Manos, Maisel and McCurry can...

The Leica M 50mm F1.4 Aspheric is only a magical lens in the hands of a magical photographer, that is the way it is and should always be....
 
Douche-baggery abounds! The OP asked a simple question, why scare him off by being so uppity?

Leicashot, are you trying to get banned from ALL of the forums?



KM-25 said:
So as you are typing, those magical lenses are sitting around doing nothing, they are not taking in the light that *only* a master can detect, before it even happens...

They are not brilliantly framing color and convergence like Manos, Maisel and McCurry can...

The Leica M 50mm F1.4 Aspheric is only a magical lens in the hands of a magical photographer, that is the way it is and should always be....
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leicashot said:
You don't need to use such language to validate your purchases. Just be happy with what you have and use your 'skills' to improve your pictures, without relying on the 'magic' somehow built into your lenses. There is a big difference between a great 'picture' and a lousy 'image' created with a modern sharp lens.

I suggest you concentrate on creating brilliant pictures with your lenses. Your lucky to own the best, most technically advanced 50mm ever made, so concentrate your pictures and don't contribute to all the lousy test shots floating the internet already....then post them here so we can ll appreciate 'your work' - and not the magic of 'your lens'.
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Applause! Best post so far.

As for the OP, I guess he'll think twice before he ever makes another post about his excitement over a new lens. Welcome to the forum w1234ale!

JSU said:
For me there are numerous magic lenses, some I own, some I've owned (ouch).

The LM Hexanon 60/1.2 is scary sharp and contrasty from at least f-2.0 on down to ~ f-8.0. It doesn't suck at f-1.4 and really isn't bad wide open if the photographer does his part and gets it in focus. DoF for F-1.2 on a 60mm lens at 0.8m is less than that for f-1.0 for a 50mm lens at 1.0m, the magnification is somewhat more, too.

The Micro-Nikkor 50/2.8 AIS has always made me wonder can it possibly get any better? Granted it is only f-2.8 but it is really good at all apertures, well f-22, etc does present the potential for diffusion.

It is my belief that it is the individual image that tells the tale of the tape. Would anyone shoot a woman's portrait with a 75 Summicron if an older 90 Elmar with questionable coatings was available? Or a man's portrait with hard side light with a 50 Summilux (pre-asph) if any 50 Summicron was available?

Use the best tool for the job at hand with what you have in your tool chest. If you need your 50 Summilux pre-asph scary sharp use it at f-5.6 and don't point it towards any light source. If your 75 Summicron is too sharp then put on an old UV filter with a smudge of vaseline or take sand paper to it (the filter, not the lens) and create some diffusion.

Make the best of what you have. Realize there is no one best lens. In the hands of one who knows light and lenses much is possible.

If the image is good enough no one will ever ask what lens was used, save for maybe a member of some www forum.
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I have a real liking for my 24 lux, but its only ever used with B&W film. It was outrageously expensive, but delivered some of the nicest negs I had had in ages. I will take the praise for the photos, rather than give it to the lens, but it does have a lovely rendition in B&W. The speed and FOV also allowed me to do things I was unable to do before but really wanted to. I had previously been using a 21 2.8 (too slow and too wide) and a 28 2.8 (too slow and not wide enough) for a specific project and so it is no surprise that the 24 lux made a real impression. I bought it grey market and told myself I would sell it after the project was complete, but I was so happy with how well we worked together they its the last lens you would prise out of my cold hands. However, I will happily hang images shot on a CV 21 or 25 next to them because image quality/look issues just dont matter that much to me. I love the 24 lux for what it makes possible.

To help one see one's own kit in perspective, I think it is very useful to go and see lots of original photography in really good exhibitions. When you see shots that leave you speechless and see what they were shot on (often humble kit) it helps to appreciate how marginal individual lens attributes can be in the wider context of great photography. That said, being confident in your kit and enjoying it is rather important...
 
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Yes - but the catchphrase is "being able to do things you were unable to do before". The wide Summiluxes are of course very interesting in that respect as they combine a WA perspective with a shallow depth of field, but on a less spectacular scale the Summilux 50 asph will give the plane of focus a rendering that other lenses do not.
 
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