Lens choice for MM

2WK

2WK

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I just got an MM with a 50 Summilux Asph and thinking of lens options. What would your next lens be? I have a VC 35 1.4 from my M6, which doesn't look too stellar on the Monochrom.

I have been thinking of either the 28 Elmarit Asph, or the 35 Summicron Asph. Or possibly save some $ and go for an earlier version of the two. The elmarit is very appealing because of the size and would be a nice change from my 50mm.

Anyway, curious of others experiences in pairing a lens with a 50mm. I think a solid 3rd lens would be a 90 summicron, but that will be a while out.

Thanks!
 
I would love to have half of your problems! I think the 28 2.8 ASPH would be a good fit. It is the first Leica lens formulated with the digital sensor considered. It is one of the cheapest Leica lenses - got mine through the Classifieds here for $1600 - and it is nice and small and extremely sharp. I carry my M9 every day and have either the v4 35 Summicron, the 28 or the modern collapsible Elmar 50. The small package makes for a camera that is in the hand and very unobtrusive.
 
Regardless of your system, I am a majority 50 mm shooter, but my other focal length is 20 mm. Leica wides are very expensive, but I've heard good things about the VC color skopar in M mount. I shoot a Nikkor 20 mm Ai f/4, and with the high iso performance of the MM lens speed would never be my biggest worry as the grain/noise seems really nice (from what I've seen).

With the thin DOF of the 50 summilux, it might be nice to have something with a drastically different perspective than a 50. Lens choice is all a matter of personal preference, but I've found that the extreme wide paired with the normal lets me cover pretty much everything. Just my 2 cents.
 
Vintage lenses are wonderful on the Monochrom. My all-time favoritein the 50 mm class is the Canon 1.8/50 ca. 1950. I like it better than the Summilux 50 asph on this camera.
And it cost me 150 Euro - mint.
Another excellent performer, to answer your post, is the Elmarit 28 version 3. It pairs well with a 50.
And for the 90 first choice would be an Elmarit-M 90/2.8 Exactly as sharp as the Summicron asph albeit one stop slower, but far smaller and lighter. In other words there is no need to go super-duper top dollar to get the best out of this camera.
 
I agree with Jaap, old lenses can be wonderful. I strongly recommend to have them matched to the body to maximize the full potential. Then the MM will reveal all the particular character of a certain lens design.
 
I would say, it depends of your preferences. For architecture or landscape I prefer with my M9 (ultra)-wide lenses (16mm / 28mm), for street 35mm/50mm (but I am deciding in advance, which to take and rarely change - using my legs for "zooming" in or out). The tack-sharp and light-weight Tele-Elmarit-M 2.8 90mm I always carry with me, but I am using it only in 5% of my shots. For travel in my opinion there is no better lens than the Tri-Elmar 28-35-50, a bit slow, but in combination with one Summilux unbeatable.
 
ChrisLivsey said:
If you fancy a 28mm than the f2 Summicron ASPH is supreme, ask the M8 shooters :rolleyes:
Click to expand...

The only thing better than a 28 Elmarit ASPH is a 28 Cron ASPH. I shoot with a chrome 50 Lux ASPH and a 28 Cron ASPH. This lens pair is a great spread of FOV while 35-50 might not be far enough difference. Kinda depends if you intend on carrying two lenses or if its your style to change lenses.

Also retro single coated glass is kinda special. I have a 35/1.8 Nikkor in LTM (only about 1500 made in LTM); a 35/2.8 Summaron; and now a 50 Rigid. This single coated glass does particularly well in overcast or rainy conditions where the level of detail in the midrange is amazing.

Cal
 
Thanks for all the advice you guys. 28 Summicron huh? For some reason I thought it was much larger than the elmarit, but I did a search and it doesn't look so huge. Is the extra stop really worth it, considering how much of a light absorbing monster the Monochrom is?

I'll check around for some LTM vintage gems as well.

35 biogon is also interesting, people seem to rave about this lens. Anyone try it out of the MM? Off to flickr I go...
 
2WK said:
I'll check around for some LTM vintage gems as well.
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This recent thread contains plenty of vintage lens ideas: http://www.rangefinderforum.com/forums/showthread.php?t=134709

How often do you find yourself really needing f/2 or faster? What do you plan on shooting? Looking at your website, I mostly see daytime shots for which your 50 Lux should be more than enough.

Personally, I don't see the need for another fast lens if I've already got one that shoots at f/1.4. If you don't need another fast lens, a whole world of options opens up to you.

For 35mm, I really like my CV Color Skopar, especially its compact size. Its f/2.5 aperture is plenty for that focal length. Handholding in the f/2.8 range is even easier with a 28mm, especially given your MM's high ISO capabilities.
 
2WK said:
28 Summicron huh? For some reason I thought it was much larger than the elmarit, but I did a search and it doesn't look so huge. Is the extra stop really worth it, considering how much of a light absorbing monster the Monochrom is?
Click to expand...

The 28 Cron is almost the same size as a 35 Lux ASPH pre-FLE but is about a quarter inch shorter. Both the 28 Cron and 35 Lux ASPH pre-FLE use the same hood. There is some VF'er blockage with the 28 Cron, but I use a Leica scalloped hood that offers better visability.

I will only say this: if you want the best buy the Cron; also know if you like or love the rendering and detail of the 50 Lux then the 28 Cron is a perfect match for a two lens kit. I can do a lot of photography with just a 50 Lux ASPH, a 28 Cron, and a Monochrom.

Know that I use to be a B&W film only die-hard, and that more than half of my cameras are medium format, but the Monochrom is basically a game changer. I will continue to shoot film, but it seems like the Monochrom has the capability of encroaching into my medium format shooting and for big prints because of the resolution, especially with the 28 Cron or 50 Lux ASPH.

Cal
 
Here's the thing: the MM's resolution and "look" can rejuvenate appreciation of many "vintage" lenses that have been used only on film or on bayer-based sensor configurations where they suffered in comparison to more modern formulations. But the MM also amps up the appreciation of modern lenses as well, imho. In my limited experience, a few lenses I own really seem to sing with the MM. The 28 Summicron ASPH is one of the them.

One modest example from Detroit's Belle Isle:


20130329-015-2-Web by Mike Tuomey, on Flickr
 
MCTuomey said:
Here's the thing: the MM's resolution and "look" can rejuvenate appreciation of many "vintage" lenses that have been used only on film or on bayer-based sensor configurations where they suffered in comparison to more modern formulations. But the MM also amps up the appreciation of modern lenses as well, imho. In my limited experience, a few lenses I own really seem to sing with the MM. The 28 Summicron ASPH is one of the them.

One modest example from Detroit's Belle Isle:


20130329-015-2-Web by Mike Tuomey, on Flickr
Click to expand...

Mike,

I agree and a nice shot.

Cal
 
As Jaap said the older lenses really bring out the 'filmic' quality of the MM I settled for a mixed bag of lenses.

28 f2.8 III non ASPH
35mm f1.2 Nokton
50mm f2 III non ASPH
90mm f2.8 non ASPH

The wife has a selection of really oldies
1934 50mm f2 Summar
1932 90mm f4
1950 35mm f3.5 and the results from these relatively cheap lenses is AMAZING!!! seriously.
 
Focusing was off wide open. Barrel distortion etc. But to be fair I haven't really used it extensively on the MM. I guess I was curious as to what would pair better with the summilux, since the Nokton has a much different signature. Less contrast, softer, glowing etc.
 
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