mdg137
Established
I posted this yesterday on the LUF, but thought it might belong here on RFF as well:
I finally caved in and bought a mint in the box Noctilux f0.95 back in October. I've owned 2 of the f1 versions over the years, and still also have a 75mm Summilux- but I really wanted to try the new version, as I was never all that happy with the f1 versions.
After a couple months of use, it is my considered opinion that the f0.95 version functions as at least 3 distinct lenses, in much the same way a lot of the Mandler designs seem to function in 2 different ways depending on the aperture selected.
At f0.95, the Noctilux produces a completely unique signature. I had read that it is just as "sharp" as the 50mm Summilux ASPH in the center, and this absolutely does not hold true. It has a higher degree of resolution than I expected, certainly higher than the previous version, and higher than the 75mm Summilux, but there is still pronounced "glow", which affects small detail as well as the edges of large objects. Still, this contributes, along with the substantial vignetting, to the signature of the lens wide open. Wide open, the signature is so unique, it is impossible (at my level of skill) to create the look with another lens, and post processing-- you can get close, but you just cannot duplicate it. Conversely, shots made with the Noctilux wide open also cannot be post processed to the point it would have the acutance or edge contrast you would see with another lens-- the "glow" is impossible to remove in post.
At f1.2, there is a substantial change in the image-- detail cleans up considerably, the "glow" is greatly reduced, and the lens functions as the best super speed lens I have ever used. The vignetting is also reduced. Interestingly, there is a very visible change in the out of focus rendering-- not in the signature, but the degree of blur-- normally stopping down 1/2 stop doesn't cause all that much change in the degree of background blur, but from 0.95 to 1.2, it seems to jump more than expected.
At f1.4, the Noctilux starts to render contrast, etc like the 50mm Summilux ASPH, and from f1.4 or f2 (depending on your scrutiny), it functions as an excellent 50mm.
Additionally, for me, the most unique wide open rendering from this lens comes at middle distance shots-- images display a subject/background separation that is unlike any other lens, including other super speed 50s.
After using the lens for a couple months, and getting over the initial dissatisfaction with the acutance at f0.95-- my expectations were the untempered results of reading too many online reviews-- I am loving the lens as a 50mm f1.2 super speed lens, which additionally has a f0.95 setting for a totally different look.
I have also found that, properly calibrated, my focus success rate is just about the same whether using the EVF or the rangefinders in my M240 and M246, which has been a bit of a surprise.
Attached is a snapshot (with no artistic value) and a couple crops to illustrate the glow wide open and a shot at f1.2
at f0.95:
at f1.2:
I finally caved in and bought a mint in the box Noctilux f0.95 back in October. I've owned 2 of the f1 versions over the years, and still also have a 75mm Summilux- but I really wanted to try the new version, as I was never all that happy with the f1 versions.
After a couple months of use, it is my considered opinion that the f0.95 version functions as at least 3 distinct lenses, in much the same way a lot of the Mandler designs seem to function in 2 different ways depending on the aperture selected.
At f0.95, the Noctilux produces a completely unique signature. I had read that it is just as "sharp" as the 50mm Summilux ASPH in the center, and this absolutely does not hold true. It has a higher degree of resolution than I expected, certainly higher than the previous version, and higher than the 75mm Summilux, but there is still pronounced "glow", which affects small detail as well as the edges of large objects. Still, this contributes, along with the substantial vignetting, to the signature of the lens wide open. Wide open, the signature is so unique, it is impossible (at my level of skill) to create the look with another lens, and post processing-- you can get close, but you just cannot duplicate it. Conversely, shots made with the Noctilux wide open also cannot be post processed to the point it would have the acutance or edge contrast you would see with another lens-- the "glow" is impossible to remove in post.
At f1.2, there is a substantial change in the image-- detail cleans up considerably, the "glow" is greatly reduced, and the lens functions as the best super speed lens I have ever used. The vignetting is also reduced. Interestingly, there is a very visible change in the out of focus rendering-- not in the signature, but the degree of blur-- normally stopping down 1/2 stop doesn't cause all that much change in the degree of background blur, but from 0.95 to 1.2, it seems to jump more than expected.
At f1.4, the Noctilux starts to render contrast, etc like the 50mm Summilux ASPH, and from f1.4 or f2 (depending on your scrutiny), it functions as an excellent 50mm.
Additionally, for me, the most unique wide open rendering from this lens comes at middle distance shots-- images display a subject/background separation that is unlike any other lens, including other super speed 50s.
After using the lens for a couple months, and getting over the initial dissatisfaction with the acutance at f0.95-- my expectations were the untempered results of reading too many online reviews-- I am loving the lens as a 50mm f1.2 super speed lens, which additionally has a f0.95 setting for a totally different look.
I have also found that, properly calibrated, my focus success rate is just about the same whether using the EVF or the rangefinders in my M240 and M246, which has been a bit of a surprise.
Attached is a snapshot (with no artistic value) and a couple crops to illustrate the glow wide open and a shot at f1.2
at f0.95:
at f1.2:
