Leaving summicron IV 35 f2 for a zeiss distagon 1.4 zm. Worth doing?

biginovero

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Just your opinion on this choice. I like what I have seen of the zeiss zm 1.4 on flickr, colors are exactly my liking. I'm worried by sharpness at maximum openings, talking of the zm at f2 and obviously at 1.4 where I'm afraid I could find surprises.

Usually I shot architectural details in daylight but I'm also a perfection lover ..

Also I have ever been hating distortion, even if zm's pictures I saw online seems to be perfectly ok under this pov, I still ask myself if tilting downward or upward the zm would cause some falling lines etc.

In any case my real concern is sharpness at f 2 and 1.4, sometimes I do interiors in artificial light, even if such are not memorable shots.
 
You mean, you are afraid that this lens is not sharp wide open?
So, which 35/1.4 lens on this planet would be sharper?
If you want a lens for architecture and you like perfection, get the Biogon 25/2.8 or 21/4.5, a tripod and a spirit level.

Biogon 25
20133620 by marek fogiel, on Flickr

Biogon 21
SCALE by marek fogiel, on Flickr
 
...Usually I shot architectural details in daylight but I'm also a perfection lover ..

Also I have ever been hating distortion, even if zm's pictures I saw online seems to be perfectly ok under this pov, I still ask myself if tilting downward or upward the zm would cause some falling lines etc...
Yes, of course there will be some geometric effects of tilting the camera away from square-on the subject, whether up or down or side to side though the latter seems more visually acceptable. This is simply a matter of optics true for all lenses. And it can be countered by rise/fall/shift of the lens relative to the camera. Absent that it can be dealt with satisfactorily in post processing... but this will entail a bit of cropping to square things up so a generous framing of the subject is useful.

To the lens choice... Interest in the 1.4/35mm implies a need for that larger aperture. Really necessary? Faster lenses usually have some sacrifices elsewhere, though the Zeiss is very well regarded. Have you considered the C-Biogon f/2.8 35mm? A gem.

Is there something lacking in the Summicron for your use? In general Leica's newer ASPH lenses perform better at wide apertures than the pre-ASPH versions... Just for your consideration! 🙂
 
I agree with Marek on the ZM 21 4.5 and 25. But there's also the ZM C Biogon 2.8 35. That's straight and sharp. The Distagon is big. Do you need f1.4?
 
Given suggestions, I checked both biogons on flickr etc.

What I was looking for in terms of visual footprint (they have almost none which is the same as for good hi-fi components, I can compare a biogon to my eyes' vision and that's all I want).

Now I have also gathered that somebody found some quality controll issues in such line, with some specimens being well built, centering etc, others being less well built.

So I should simply get reassured about this, eg about what to do to check performance and how to have it replaced in case it be a bad specimen

ty
 
IMHO a rangefinder with a wide angle isn't the most perfect combination for architecture shots if distortion and falling lines are an issue. Nor is any other handheld camera. It's near impossible to keep the camera level by hand and the negative size allows for little room when correcting perspective or distortion. Horses for courses.

Shooting in medium format, or better still shooting in large format (where cameras with tilt, shift and rise are all too common) off a tripod makes more sense to me.
There are wide-angle lenses that are almost without distortion, and the larger image contains more information and is easier to crop from while correcting perspective in post production.

Of course 4x5 color film isn't very funny to purchase, price wise...

You are quite right but for architecture I mean not pro work for documentation, I mean taking pics of charming medieval angles in art towns, athmosphere shooting of gates and their reflections on marble slabs, stuff like this.

Introducing too much distortion in such pics may ruin athmosphere by introducing excess dynamism, but I need not to be overzealous as if shooting documentation oriented pictures.

For that work I use digital, several shots in sony rx-100 with photo stitching by hugin and perspective correction in gimp by ez perspective plugin (zero cost open source software solution, quite effective).

Also I'm slightly handicapped so carrying proper tilt and shift equipment is verboten. I had considered a toyo feld camera for contemplative, extreme quality exhibition takes. Too heavy alas
 
Are you a film or a digital shooter? If digital, then the Zeiss 21/4.5 is no option. Horrible performance and corner colors on a digital body.
 
I go counter stream here: try out the new 35/1.7 Ultron. Perfectly usable wide open. Technically better than the v4, you gain half stop, and still small enough to carry around.

L1000216.jpg


L1000235.jpg


L1000210-LREdit-X2.jpg


The biggest advantage of the classic Summicrons is size.

Roland.
 
I cancelled my ZM35/1.4 order in favor of the Voigtlander 35/1.7 Ultron (the new version). In respect to sharpness I find nothing lacking with the Ultron, even wide open. I briefly shot with the Distagon and it too is excellent right from wide open. The Ultron is maybe 95% that of the ZM, perhaps just slightly lower in contrast.

In respect to distortion caused by the lens, such as barrel or pincushion, I cannot see any in the Ultron. It's also a fair amount smaller than the Distagon.

Though the Ultron is f/1.7, IMO, it's effectively more an f/2 lens. At f/1.7 you gain a very, very slight exposure increase in the very center of the frame, but the outer 2/3 remains the same at both aperture settings.

If you're shooting digitally, is it with Leica M cameras, or with Sony or some other mirrorless system? Just a warning that the Ultron and Distagon perform best on digital Leica M and suffer edge smearing on Sony, unless the sensor is modified with a thinner cover glass (i.e. Kolari Vision modification).

FWIW, I have the ZM35 C-Biogon too. It's a very nice, very small lens. Great contrast, rendering and flare resistance. However, it's not as sharp in the outer 1/3 of the frame compared to the Ultron or Distagon at wider apertures. It's not terrible, just that the Ultron and Distagon are better. The ZM35/2 is a great lens for across-frame sharpness by f/4, with negligible distortion. But if you shoot wide open a lot, at f/2 it has fairly noticeable lower contrast with a somewhat glowy quality that clears up around f/2.8.

There's also the Voigtlander 35/1.2 II.... I'd classify it as a more medium contrast lens vs. the higher contrast of the Ultron and Distagon. It also has some barrel type distortion, though not terrible and fairly easy to fix in post. It's pretty good wide open, though I think the Distagon is better. Where I had the most trouble with it wide open was holding focus across the frame. It appears to have some field curvature, which doesn't seem to be as noticeable a problem with the Distagon or Ultron. I found it needed stopping down to f/4-5.6 for good across-frame sharpness in technically challenging scenes. At this point, one might as well use a smaller, less expensive lens instead, unless the wide open speed was a significant benefit. While it's not all that much bigger than the Distagon, it certainly feels a lot heavier, even if at 470g it's only 89g heavier than the Distagon. I think the size of the Distagon makes you expect it's going to be very heavy, but then you pick it up and it feels lighter than you thought. At least that was my initial reaction. That said, the black version of the Ultron (aluminum rather than the chrome version's brass construction) is only about 240g...
 
I'm worried by sharpness at maximum openings
...
Usually I shot architectural details in daylight ...

Why do you need to keep your lens wide open if you are shooting architecture in broad daylight? 😕

If you stop down an f/1.4 lens one or two stops, you still have a fast lens plus great corner sharpness. 😉
 
Just your opinion on this choice. I like what I have seen of the zeiss zm 1.4 on flickr, colors are exactly my liking. I'm worried by sharpness at maximum openings, talking of the zm at f2 and obviously at 1.4 where I'm afraid I could find surprises. Usually I shot architectural details in daylight but I'm also a perfection lover .. Also I have ever been hating distortion, even if zm's pictures I saw online seems to be perfectly ok under this pov, I still ask myself if tilting downward or upward the zm would cause some falling lines etc. In any case my real concern is sharpness at f 2 and 1.4, sometimes I do interiors in artificial light, even if such are not memorable shots.

You think and worry too much. Take pictures and be happy.
 
If the v4 Cron is like my v3 was (and I've yet to see proof the optical formula changed 😉 ), the corners at f/2 leave a lot to be desired. If nothing else, the Zeiss should be a serious upgrade there.
 
Also I'm slightly handicapped so carrying proper tilt and shift equipment is verboten. I had considered a toyo feld camera for contemplative, extreme quality exhibition takes. Too heavy alas

Same here. I had the Toyo and a very heavy Zone VI tripod with Gitzo head. I sold both and got a Chamonix 45N-2, carbon fiber tripod and Acratech head. This cut my weight by at least 60%, perhaps as much as 75%.
 
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