Best "vintage look" rangefinder lenses of all time

What are the best rangefinder lenses (Leica, Canon,Voigtlander, Nikon, Zeiss etc.) for capturing images with the vintage look? Some are well known classics ;others are great buys you might not have thought of. I welcome your nominations and I'll be happy to share my own. Just ask the professor-:)
 
As an aficionado of the 35mm lens, I like the 35mm f 2.8 Summaron
 
From the lenses I've owned/tried

Leica 35mm f1.4 Summilux Pre-ASPH
Leica 35mm f2.8 Summaron
Leica 50mm f2.8 Elmar
Canon 50mm f1.4 LTM
Canon 50mm f1.2 LTM
 
Canon LTM 50/1.2.

Almost any Tessar lens, especially medium format.

Jim B.

Yes! I love the rendering of the Tessar especially wide open w a Rolleinar 1,
on my Rolleiflex T.
 
For me it’s probably an uncoated Zeiss Tessar 50mm F3.5 that I’m using on an old Contax III. But also a nice clean Orion-15 (28mm F6) m39 mounted with adapter on an M3.
 
My Zeiss Opton 50mm f2 Sonnar and recently acquired Carl Zeiss 35mm f2,8 Biogon are really nice. The 35mm may have a tiny bit of oil in it (lens flare/stars on occasion). I have a Voigtlander SC Skopar 21mm f4 which is very nice also, perhaps not as vintage, but with B&W film still give that vintage lens look.
 
I think speaking for myself, it’s a combination of a bit less overall contrast aka not super crispy, bitingly sharp, maybe also natural light falloff at larger apertures. But still very good resolution and well controlled distortion (typical for Tessar’s and also the Orion-15).
 
I like the Zeiss Jena 5cm/1.5 Sonnar from the 1930's. They are wonderful lenses. The Nokton 50/1.5 (for the Prominent) is also a classic. For 35mm, I like using the Version 1 Summicron 35/2 and the pre-asph Summilux 35/1.4. We all have our favorites.
 
It would be nice if somebody could explain what this "vintage look" is. Faded, blurry, men in hats? ;)
For me, its lenses that create low-contrast images where the tonal gradation rolls off gently into the highlights and shadows, and the midtones dominate. These are invariably older lenses, designed in the 70s and earlier.

This is in opposition to modern lenses, which produce a high-contrast look: tonal transitions are abrupt, so highlights are bright and shadows are black. I find the images harsh and "clinical", often lacking the emotion of older lenses.

This emotional effect helps me to create photographs that evoke a feeling and aids story-telling.

It's been suggested that the preference for high-contrast lenses came from Japan, and began to dominate with the decline of the European and American camera industries. Undoubtedly, technological advances such as computers and better lens coatings played their role too.

The low tonality of old is essentially a flaw - it's merely flare. However, virtuoso lens designers such as Mandler at Leica could tame aberrations and make them work with image-making rather than against it.

Of course, being old does not make a lens good! So, although it may be self-evident, I expect a lens to be sharp. A classic lens for me therefore has the twin qualities of low contrast and high resolution.

The writer and photographer Sean Reid coined a name for these classic optics many years ago, calling them "sunny day lenses". Here's an article where he describes these lenses in more detail: the entire article is worth reading, but if you want to stay with our topic, scroll two-thirds down the page to the "Sunny day lenses" heading. https://luminous-landscape.com/fast-lenses-for-the-epson-r-d1/

By the way, I couldn't care less about bokeh, provided it's not excessively weird or intrusive. Some older lens designs have "interesting" bokeh. For me, that's an "Oh, that's, err... interesting!" reaction – but some people love "swirly" circular bokeh!
 
I like the black version of the Summilux 50mm f/1.4 version 1. It is said that the glass elements of this lens are not made by Leitz, but by Taylor, Taylor and Hobson. Extreme sharpness and soft bokeh go together hand in hand.

Erik.

49748034432_e3c430417a_b.jpg
 
I second Raid's suggestion of the uncoated Sonnar. The Soviet coated versions are nice but the uncoated version paints particularly well. I like their 35/2.8 biogon though. In my book, these are the "old" lenses. In addition to the flare and spherical aberation, the high central resolution falling off peripherally adds to the period charm.

The thing that needs to be held in mind, though, is that the mainstream professional lenses up to this time are symmetrical achromats and then Tessars. In appropriate lighting and held at their optimum aperture, these lenses deliver technically good pictures. I applaud anyone who choses them: I just like a bit of weirdness.
 
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