40mm or 50mm Nokton?

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So my M6 will arrive int he post tomorrow and Im in the process of deciding what 'normal' lens I should get to kick start my m6 fun! At the moment I have slimmed it down to two lens the CV 40mm 1.4 or 50 1.5 noktons. Now I love the size of the 40mm but I am little worried about the lack of framelines which might annoy me after a while. I will have the 50mm framelines for the 1.5 nokton but it is a bit bigger (from what the photos show) and I will need a adaptor to mount on the m6

It would be great to get you opinions on either lens
Cheers
 
M6 framelines for 50 lens are more like 60mm lens at infinity + the 75 frameline is so annoying that I rarely use 50 on M6.

the 40 Nokton triggers 50mm frameline, which is absolutely useless, but if you dare file down the one bayonet lug and modify it to trigger 35mm frameline, you get a very good approximation of 40mm at 3m and farther. Many people have done it, including myself, and it's much better that way. So much that the 40 is my 90% lens on M6.
 
Take the 40mm lens, you won't regret it. I also use a 40mm Minolta lens with my M6, very nice combo. Like Ondrej, I modified it for 35mm framelines. Very easy, I used a nail fail.
 
Ondrej and lucaz85 make sense. Many photographers use 50 as normal, many use 35: you will have 40, which is in the middle.
 
It is just a step back or forward more or less from one focal length to the other. They are so close in focal length that I would go by rendering in making my decision.
 
payasam said:
Ondrej and lucaz85 make sense. Many photographers use 50 as normal, many use 35: you will have 40, which is in the middle.
Click to expand...

That was exactly what I didn't like about the 40mm lens on my Canonet - it was in the middle, but never felt like the right lens. I almost always wanted wider or longer.

I now have the Nokton 50mm on my M2. I rarely want anything longer, but frequently wish I had something wider. Perhaps the 40mm wasn't so bad after all...
 
SebC said:
That was exactly what I didn't like about the 40mm lens on my Canonet - it was in the middle, but never felt like the right lens. I almost always wanted wider or longer.
Click to expand...
And that was precisely what I liked about my Canonet - it seemed like a perfect focal length - we are all different. :) I miss my Canonet and I'm thinking about getting the 40/1.4.
 
The CV 40/14 is a superb lens. Although it brings up the 50mm frame line without modifications, a simple way to deal with it is to think the frame line as the subject margin, not the frame margin. That way, when composed to the very edge of the frame leaves you a ~15% "print" margin all round...also a great way to visualize framing for eyeglass wearer.

This visualization method works on many lens/frame combo. [I use my ZM 35mm frame composing tightly for a CV 25/4 lens.]

If this visualization method bothers you, filing down that claw about 1mm is easy [you can finger hold the lever to the 35mm position to visualize the effect before surgery.]

The surgery procedures are:
  1. File the lower edge of the 9 o'clock claw [when the lens DoF white dot is at 12 o'clock position]. The upper edge is where the scoop for the cam follower starts...where the brass helical shows, leave it alone.
  2. Crank the lens to closest focal distance [rear element most recessed] and cover it with a cap. A Kodak plastic film canister cap is perfect size.
  3. Tape the cap down and completely seal the rear, also around the work area with masking tape.
  4. The mount is made of brass and files easy. Use a diamond needle type file...only cost a few dollars, half-round cross section type is best, use the flat side of course. The sharper file edge will help you get a neat corner.
  5. After removing the claw edge shy of 1mm, you will start see the 35mm frame line showing up. If the line thickness seems a little thin, file some more. [All that claw edge does is to give enough room for the lens selector lever get to the 35mm position when no lens is mounted.]
  6. Use a blower to clean the work area when finished.
Now your 35mm frame will be a very tight 40mm, Nikon F2 style. The simple math equation to estimate the actual frame coverage:
Multiply frame focal length by 1.15 (because such frames are only meant to be 85% coverage at 1m)...a 35 is thus really a 40.
​
I had long verified that by placing a Nikon B-type screen on the top surface of the film plane guide rails, set and hold shutter at "B", and checked using hard objects such as building edge...at all focal distances and apertures. This method also works for checking lens hood vignetting.
 
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SebC said:
That was exactly what I didn't like about the 40mm lens on my Canonet - it was in the middle, but never felt like the right lens. I almost always wanted wider or longer.

I now have the Nokton 50mm on my M2. I rarely want anything longer, but frequently wish I had something wider. Perhaps the 40mm wasn't so bad after all...
Click to expand...
Sounds like you need a ...gulp!....ZOOM! :D
 
Frankie said:
The CV 40/14 is a superb lens. Although it brings up the 50mm frame line without modifications, a simple way to deal with it is to think the frame line as the subject margin, not the frame margin. That way, when composed to the very edge of the frame leaves you a ~15% "print" margin all round...also a great way to visualize framing for eyeglass wearer.

This visualization method works on many lens/frame combo. [I use my ZM 35mm frame composing tightly for a CV 25/4 lens.]

If this visualization method bothers you, filing down that claw about 1mm is easy [you can finger hold the lever to the 35mm position to visualize the effect before surgery.]

The surgery procedures are:
  1. File the lower edge of the 9 o'clock claw [when the lens DoF white dot is at 12 o'clock position]. The upper edge is where the scoop for the cam follower starts...where the brass helical shows, leave it alone.
  2. Crank the lens to closest focal distance [rear element most recessed] and cover it with a cap. A Kodak plastic film canister cap is perfect size.
  3. Tape the cap down and completely seal the rear, also around the work area with masking tape.
  4. The mount is made of brass and files easy. Use a diamond needle type file...only cost a few dollars, half-round cross section type is best, use the flat side of course. The sharper file edge will help you get a neat corner.
  5. After removing the claw edge shy of 1mm, you will start to see the 35mm frame line showing up. If the line thickness seems a little thin, file some more. [All that claw edge does is to give enough room for the lens selector lever get to the 35mm position when no lens is mounted.]
  6. Use a blower to clean the work area when finished.
Now your 35mm frame will be a very tight 40mm, Nikon F2 style. The simple math equation to estimate the actual frame coverage:
Multiply frame focal length by 1.15 (because such frames are only meant to be 85% coverage at 1m)...a 35 is thus really a 40.​
I had long verified that by placing a Nikon B-type screen on the top surface of the film plane guide rails, set and hold shutter at "B", and checked using hard objects such as building edge...at all focal distances and apertures. This method also works for checking lens hood vignetting.
Click to expand...

Attached is a picture...
 

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  • CV 40 mod.jpg
    CV 40 mod.jpg
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Hurrah! even more undecided!
the 35mm modification looks easy but I would be really hesitant to try and do that myself. Maybe its just a matter of deprogramming the voice in my head saying 'lens + hand tools = bad news'
 
The filing down of the bayonet claw is very simple. I did one using a nailfile! You dont have to take of a lot - usually only 0.8-1.0 mm. File it, check it on camera and if the 35 frame is not showing, file some more. The 35 frame is the "default" setting so you cant really muck it up to badly.
The 40 f1.4 is a great lens - a true bargain as a high quality, fast lens. Gives you the best of both worlds, a slightly wider view as well as something that can work as a 50 too.
Check "Flickr" for samples with both lenses.
 
No one will waste time by saying, again, that the Nokton 50 is good but bulky.

SebC, looks like you're stuck in it for life...
 
Yep, another vote for the Rokkor. I got the later multi-coated version and it is a stellar lens. Super sharp like the other poster said, with a wonderful transition to out of focus areas. It makes my 35mm 2.0 Biogon look very ordinary.

Also, you can pick Rokkors up cheap. They have been compared to the version 4 summicron by users who have both. The bokeh is classic without being clinical or overly contrasty!

The Rokkor would have to be one of the best lens value for money on the market. I got mine in Japan for $380 and the version 4 summicron in the same shop identical condition was close to $1400.

Good luck.
 
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