50mm Summilux ASPH -- My take

[35mmdelux]

Hello All;

Bought this 50mm Summilux ASPH from a RFFer; said it was in pretty good cond when in fact it was more like mint, just breaking in. As a Leica shooter thought Id check it out and see for myself what the hype was all about.

Well, WoW, it does live up to the hype AFAIK. I have owned several (5) summiluxes, perhaps ten summicrons (diff versions 1970-2000), a few 35's and the usual assortment of Hasselblad V glass.

Wide open, I found the summilux ASPH sharper than I could imagine and creamy boke on HP4 B&W film. Ive not seen any of my lenses produce this type of rendition. The highlights went into darkness with a smooth even transition. The boke was the best Ive seen, including from my 35 King of Boke.

Here is the kicker, if you will, on various shoots I have also shot with my 50mm/1.4 Zeiss Planar on my F6, and the Leica 50 Summi ASPH obilterated the Zeiss -- simply no comparison whatsoever. I was just like stunned. In color the Zeiss held up well, but in B&W it was totally out-classed by the Leica.

Moral of the story: The 50mm Summi ASPH stays in the lineup and the 50mm/1.4 Zeiss Planar becomes a backup lens as far as B&W is concerned. I had high hopes for the Zeiss Planar and now I am back testing Nikon mount lenses worthy of the F6.

Anybody go thru this type of epiphany?

 

[Rayt]

I have the Summilux asph and it is technically perfect. It is a matter of personal taste but for b/w I prefer a less perfect lens, something low contrast and not so much edge sharpness. I have the Summicron collapsible for that but have been thinking about one of the two ZM 50's to try out. I love the ASPH for color print film.

 

[cmogi10]

the proof is in the pictures.
Let's see em!

 

[antistatic]

Count me among the 50 lux asph fan boys.

 

[Krosya]

the proof is in the pictures.
Let's see em!

I was just about to say that - OP, could you post your photos from Lux, Zeiss, etc to see what you are talking about?

 

[kipkeston]

I wouldn't mind having one, but I'm not completely sold on its signature and tonality for b/w. I think a summicron from the 80s is still better here.

 

[J. Borger]

The 50 asph is my least used 50mm lens for B&W with M8 or R-D1.
My favourite 50 for this is a very early rigid summicron..... 2nd the 50mm Zeiss Sonnar C....
The newer leica lenses are not my choice for B&W ... a bit too perfect perhaps.....
They mostly sit on my shelf while i use the older glass.
Just a matter of personal taste i guess....

 

[boy_lah]

I know what everyone is saying. Having recently went crazy from zero RF to now m7 and m8 I have also been fortunate enough to have used (on loan) the 50/1.4 ASPH, 50/2 Rigid and Canon 50/1.4.

On m7 + film...the fuzzy lens rules. I love the Rigid and old Canon more.
On m8 - i don't know why, i love the 50/1.4 ASPH. Maybe it's my expectation of digital, maybe is the 'technically' perfect aspect of digital. The combo just works better for me. But most of all, 50 on m8 becomes 67mm which is a great portrait lens. Where as 50 on film is still more of a street shooter for me - for street i prefer 35mm.

ps - yes, the 50/1.4 asph @ 1.4 is a jaw drapping moment. with 1/8000 on the m8 - i'm in shallow DOF heaven.

 

[boy_lah]

Pix tells a thousand words...50/1.4 ASPH on m8

 

[boy_lah]

Canon 50/1.5 on m8

50/1.4 ASPH on m8

50/2 Rigid on m8 - film ones not scanned! sorry.

 

[Tim Gray]

Yeah I just got a 50 ASPH after shooting with the latest 50 Cron for a couple years (and a Canon 50/1.4 on my SLR for about 4 years). About 5 months ago I picked up a Nikkor 50/1.4 which is fun to use, has a great look, but not quite as dependable. The 50 ASPH just rocks. It just works all the time - no worrying about the strange flares I get with the Nikkor sometimes while shooting wide open, no worrying about fuzziness wide open, focus shift, up close performance, etc.

The Nikkor is great when I want that look, and for $250 it is a steal. Actually I've been really impressed by it. Some of the shots I get wide open are really nice, and it sharpens up really well too stopped down a bit. But it flares wide open and has funny ergonomics. 50 lovers would do well to pick one up if you don't have one. I'm curious to know how similar the Zeiss Sonnar is to it in terms of look, focus shift, etc.

That being said, the 50 ASPH is all it is said to be. Totally awesome. Though I've been having more fun shooting with the 28 Cron 🙂

The 50 ASPH wide open (and at 1/30s):



The Nikkor, probably wide open:

 

[35mmdelux]

I was just about to say that - OP, could you post your photos from Lux, Zeiss, etc to see what you are talking about?

I apologize for not posting pix to back up what I said. I am completing my Masters degree in a few months and my scanner is stored for the moment or I would never complete my thesis!

 

[MikeL]

Congrats Paul on nearing the finish line.

As for the 50mm asph, who wants perfect? Then what is one to do? 😉

 

[antistatic]

I don't think of it as perfect, just very pleasing to my eye (but harmful to the wallet)

 

[sleepyhead]

50mm Summilux ASPH and Fuji Superia 100 film:

 

[KM-25]

I am about to start a whole series of portraits with the 50 Lux asph using Kodachrome 25. I am going to try to shoot them all wide open, since it is just stunning:

 

[thomasw_]

Love the 50/1,4 ASPH....You can do virtually anything photographically with this 50.

 

[J J Kapsberger]

I'm very disappointed with the dry, jerky focusing feel of my copy. But the signature is fabulous.

 

[sleepyhead]

I am about to start a whole series of portraits with the 50 Lux asph using Kodachrome 25. I am going to try to shoot them all wide open, since it is just stunning:

Nicepic!

I didn't realise that Kodachrome 25 was still available or that you could get it processed. Sounds like an interesting combo with the Summilux ASPH. I guess you won't have much exposure latitude.

 

[sepiareverb]

I have one on the way, I'd like to hear more about this lens and mechanical problems...