Huck Finn
Well-known
Excellent link, summaron. Thanks for posting it. 🙂
It explains why this lens was so popular as a 50 mm portrait lens. 😎
It explains why this lens was so popular as a 50 mm portrait lens. 😎
Mazurka said:I guess a portrait lens doesn't necessarily have good background bokeh then. 😛 My 50mm Summicron tends to render a smoother background than my Sonnar-clone (Jupiter 9) and Ernostars (Contax T2 and 85mm C/Y.)
Mazurka said:My 50mm Summicron tends to render a smoother background than my Sonnar-clone (Jupiter 9) and Ernostars (Contax T2 and 85mm C/Y.)
Huck Finn said:The 50 Sonnars were popular as a portrait lens in the '50's & earlier. What version of the 50 Summicron are you using from the '50's that offered a superior combination of sharpness & smooth bokeh to the Sonnars of that era? Nor would a Summicron offer the reduced depth of field available to the f/1.5 Sonnars. The 85 lenses & the T2 lenses are different beasts altogether, different focal lengths. 😉
Mazurka said:I don't think ANY Sonnar focuses as close as a Planar design with the same focal length. Seems to me the Sonnar/Ernostar formulations are very hard to correct at close range, as least without "floating elements."
It's certainly not a coincidence that most close-focusing and macro lenses have the double-Gauss construction. After all, the Planar got its name for a reason. 😛
horosu said:I have just had a look at the MTF of the Nokton (http://www.imx.nl/photosite/technical/highspeedlenses/t003.html) and Sonnar (http://www.zeiss.com/C12567A8003B8B6F/EmbedTitelIntern/CSonnar_1.5_50_ZM.EN/$File/CSonnar_1.5_50_ZM.EN.pdf) and to me they are quite similar wide open...
One thing that attracts me to the Sonnar is its beautiful (to my eyes, at least) color and texture rendition...It is sharp without being aggresively so ("clinical"?). It almost looks paint-like.