LLL 50mm f/1.2 ASPH "1966"

[Duofold RF]

Hahahaha! It is. Well seen. In fact, I ate a hamburger right after I took this photo.

Your $50 dollars Nikkor 50mm f3.5 out performed this $2K onion ring king

 

[Slumgullion]

Your $50 dollars Nikkor 50mm f3.5 out performed this $2K onion ring king

Excuse me! It was $55! Hahahaha

 

[Freakscene]

Nothing that a good Fortran program running scene segmentation, cell recognition, and smoothign algorithm could not fix.
Just like a piece of code my wife had me write almost 30 years ago for her 1MPixel microscope camera to do cancer cell recognition.

Of course, but Adobe’s smoothing algorithm is much more effective and sophisticated than I can write, and can be set to fade to the edges, or to be even, or any number of things. But anyway, I’ll go back to searching for photos online from the Noct-Nikkor to decide what I think of its out-of-focus rendition and/or how it renders specular highlights in the out of focus.

Marty

 

[Sonnar Brian]

@Freakscene On the M Monochrom- when my code applies the Gamma curve it takes the 14-bit raw value and scales to 16-bits, changes the DNG fields to output 16-bit significant values. The idea is to avoid collisions, and have a reversible pixel.

GAMMA by fiftyonepointsix, on Flickr

Same code that I added the column restoration algorithm for the CCD.

Do the newer versions of Lightroom or other allow this type of conversion?

 

[Freakscene]

@Freakscene On the M Monochrom- when my code applies the Gamma curve it takes the 14-bit raw value and scales to 16-bits, changes the DNG fields to output 16-bit significant values. The idea is to avoid collisions, and have a reversible pixel.

GAMMA by fiftyonepointsix, on Flickr

Same code that I added the column restoration algorithm for the CCD.

Do the newer versions of Lightroom or other allow this type of conversion?

Yes, but I think it happens in Adobe Raw. The MM files were mostly ok, and when I expanded them out to 16 bits they looked very good. The 12 bit files from the 246 drove me insane. The M10M and M11M seem to output 14 bit natively but Adobe Raw expands them to 16 bit without any apparent problems.

That’s not what I’m interested in. I doubt I could write a script to identify the specular highlights to the exclusion of other areas of the same tone, smooth them and make them slightly tonally graded from the centre to the edge but not blur the edges. Lightroom can do that without any trouble.

 

[Freakscene]

And...just to freak you out (okokok...this is too much onion ring for me):

Jenny by Jim Fischer, on Flickr
Leica M5, LLL 50mm f/1.2 '1966,' Fomapan 400 @ 200, Xtol 1:1...handheld at 1/8 of a second.

I have to say I am surprised to see this on relatively coarse grained film. That’s some outSTANding work.

 

[Sonnar Brian]

Yes, but I think it happens in Adobe Raw. The MM files were mostly ok, and when I expanded them out to 16 bits they looked very good. The 12 bit files from the 246 drove me insane. The M10M and M11M seem to output 14 bit natively but Adobe Raw expands them to 16 bit without any apparent problems.

That’s not what I’m interested in. I doubt I could write a script to identify the specular highlights to the exclusion of other areas of the same tone, smooth them and make them slightly tonally graded from the centre to the edge but not blur the edges. Lightroom can do that without any trouble.

I know- I spent the 1980s developing image processing algorithms for digital imagers. It's fun, you get to see the results. In the 90s- went on to Optical Networks, and depended on my Wife to task me with image processing. These days- image processing algorithms just for my Leica DNG files. Just to relax.

But I'm not spending $2K on this lens just to write code.

 

[Slumgullion]

Jenny on Her Bday by Jim Fischer, on Flickr

Jenny on Her Bday by Jim Fischer, on Flickr

Jenny on Her Bday by Jim Fischer, on Flickr

Sony A7RII, LLL 50mm f/1.2 '1966.'

 

[Erik van Straten]

gelatin silver print (nokton 50mm f1.1) leica mp

Utrecht, 2015

 

[filmtwit]

It looks like they are on the way>?

 

[Slumgullion]

Stranger by Jim Fischer, on Flickr

Stranger by Jim Fischer, on Flickr

Leica M7, Light Lens Lab 50mm f/1.2 '1966,' Cinestill 800T.

Pigeon by Jim Fischer, on Flickr

Leica M7, Light Lens Lab 50mm f/1.2 '1966,' Ilford HP5+, Xtol 1:1

 

[Slumgullion]

Silvershot Vineyards by Jim Fischer, on Flickr

Silvershot Vineyards by Jim Fischer, on Flickr

Pinot Noir Vine by Jim Fischer, on Flickr

Leica M7, Light Lens Lab 50mm f/1.2 '1966,' Fuji Pro 400H

 

[Slumgullion]

Jenny by Jim Fischer, on Flickr

Leica M7, Light Lens Lab 50mm f/1.2 '1966,' Fuji Pro 400H

 

[Slumgullion]

Stopped down performance is not too bad. Unlike the f/1 Noctilux, there is no hard vignette in the corners at f/5.6-f/11:

COnes by Jim Fischer, on Flickr

Spring by Jim Fischer, on Flickr

Spring by Jim Fischer, on Flickr

Leica M5, Light Lens Lab 50mm f/1.2 '1966,' Ilford HP5+, Xtol 1:1

 

[Bill Blackwell]

 

[boojum]

There are a lot of good lenses out there. Politics are not part of my thoughts in shopping. I have a few FSU Sonnars, two KMZ J8's, one a dream lens made in '57. The other is a '51 I have not used much because the iris ring was frozen and sticky. It was just cold so I will slap it on the M9 and see how it does. And I have some other very, very nice 50's. They are retro's or retro remakes like the Skyllaney Bertele Sonnar, a honey.. I like the Sonnars for their IQ and color. That has saved me money because I can satisfy my lens lust by getting the 50's from the 50's and bypass Leitz. The same lenses now being snapped up by the cinema folks. The old '42 CZJ 5cm f/1.5 is as sweet, soft and accurate as you could wish for and a CV 35mm f/1.7 that is a sleeper was sent my way. Nice lenses. And from a fellow who knows lenses so I started out of the gate in good shape with these lenses.

I am at a point where it is ability not lenses that I need. And now that sunshine and warm weather have finally arrived in the Pacific Northwest, at least for today, I can get out and try that old '51 KMZ J8. Just to see how it works. I do not need to shop the new releases of old lenses which I am grateful for.

 

[Bill Blackwell]

Leica M11-P, LLL 50mm f/1.2




Rancho Palos Verdes, CA (west)

 

[Bill Blackwell]

 

[Bill Blackwell]

Leica M11-P, LLL 50mm f/1.2

 

[David Murphy]

Love those shots Bill! The lens certainly has appealing character too - at least to me!