The lens was made for the Minolta CLE, so it should fit and focus just fine on an M6 Classic ... But there is one fly in the ointment: Upon mounting it to the M6 it will cause the 35/135mm frameline set to display, not the 28/90 pair. The CLE has only 28, 40, and 90 frames, mapped to the same activation as 35, 50, and 90 on M Leicas.
By contrast with the reverse situation, the 28 Summicron has no such problem on the CLE, which displays its 28mm frame always. While the 'cron triggers the little frame corners for the 90 to appear, they're easy to ignore.
Or unless you make very large prints that are hung on walls. There was an interesting comparison of the CV 75/2.5 and Leica 75/2 on the German Leica forum a few months ago:
Scroll about 1/4 of the way down the thread to Andy Piper's comparison shots, especially the pair at f2.5. Yes the Leica ASPH prices are ridiculous but there you can see why for some people the 10x differential in cost is worth it. On the internet you would never see the difference, but a big enlargement on a wall would show it.
Scroll about 1/4 of the way down the thread to Andy Piper's comparison shots, especially the pair at f2.5. Yes the Leica ASPH prices are ridiculous but there you can see why for some people the 10x differential in cost is worth it. On the internet you would never see the difference, but a big enlargement on a wall would show it.
Figure how large you would have to print if at 4000 dpi like he scanned. He stated it was about 18.5 mp which would give roughly a 60 inch print at 100% crop like viewed on the computer. How many 60% prints have you made lately and how may will you make in the future and view at 12 inches like the computer monitor? In real terms most people will never print larger than 13x19 and probably do this rarely. My guess is most people print only a few in a life time and mostly 11 inches or smaller. In that size print there will be very little difference if any.
If you aren't scanning with a top of the line drum scanner you aren't even getting the full potenetial of either lens. Individual technique plays a big part in getting the value out of each lens. Do you always shoot on a tripod with a cable release? Use the finest grain and sharpest film?
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