Low Contrast Leica 50mm lenses

I assure you uncoated lenses do not show more shadow detail than a coated or multicoated lens.

The shadow detail is the same or less, but it is raised in tonal value giving the false impression there is more below it which is really not there.

Additionally the highlights block, have no contrast, and no printable detail.

I have run experiments with red scale elmars, uncoated elmars, and summars all with the same scene on the same roll of film.
 
Ronald M said:
I assure you uncoated lenses do not show more shadow detail than a coated or multicoated lens.

The shadow detail is the same or less, but it is raised in tonal value giving the false impression there is more below it which is really not there.

Additionally the highlights block, have no contrast, and no printable detail.

I have run experiments with red scale elmars, uncoated elmars, and summars all with the same scene on the same roll of film.
Click to expand...

Yes, Puts says the same thing. It seems right, since the reason for lower contrast is just stray, non-image forming light hitting the film. In terms of printing, though, dense negatives from lower contrast lenses seem easy to print, perhaps since the dynamic range has been squashed a bit.
 
I have some old Leica lenses, but they are all coated. Still, they are low(er) contrast when compared to today's. Some of my uncoated non Leica lenses are my favorites, even though many would hate them. I'm surprised that the digital world has not embraced these lower contrast lenses, when you think about the problem of limited digital dynamic range.
Very harsh light overcast on a 100 degree day in Sacramento shooting into the sun at Noon (not a Leica lens):

2421499498_9598d22603.jpg
 
Interesting that the single coated CV Nokton is advertised as showing more shadow detail as opposed to the MC version.
 
I would like to throw out the idea that it would easier to get your objective of a soft negative...tonal curve. I.e. the long curve with trying the new Rollie films. Like the R3 or Retro 100 or Retro 400..or any of the "thin" Efke 400 , Artista 100, 400 films. And then use the Rollie RLS or slow speed developers. XTOL can be used in dilutions that are allow for streching. The RLS developer tells you to cut your effect film speed in "HALF". Then also cut down on the amount of agiation. I can cut back to only one "flip" every 1 min or 1.5 min and the contrast cruve grows nicely. This was you do not give up any phiyiscal detail that is being loaded into the latent negative.

Good Luck....Laurance
 
Many thanks for the feedback. I guess I didn't do a great job of making myself that clear as I am aware of the issue that there is more to this than just the lens, many factors all of which I'm going to need well, years to perfect or get close to what I envisage!

I also like what I have seen with examples of particularly the Summar, Summaron etc. -- there's something magical about the results - due to various defects or quirks in an older lens so I'm quite keen to explore that as well.

I do need to also spend some serious time developing (no pun intended) my processing and printing skills which are basic at the moment but I can process easily enough and put out some good prints.

I've bought the Summar and will over time be sure to share some results of what I have got from it, I just need to experiment with the films I shoot already (which tend to be Ilford or Tri-X) rather than immediately jump on another emulsion -- too many variables at play.

Thanks again :)
Vicky
 
Chris, thank you so much for that link! I'm off sick from work today and that was so enjoyable to watch.
 
Frank - get well soon! I wouldn't mind a day off myself, but I'd rather not be sick with it.

Charjohncarter - I've noticed this openess in many of your images, and thought it must be your processing. Can you share with us which lens?
 
ChrisN said:
The (BBC?) program on Ravillious is available on Youtube, and well worth watching:

http://www.youtube.com/watch?v=TYg8mxvUgJE
Click to expand...

It is also currently on BBC's iPlayer in better quality.

But it was a very interesting programme, particularly having grown up in the area between 1988 and 2000 when I moved back to the South East. Even in my short time I saw it change very very quickly, there were only remnants of the ramshackle left in the late 80s, it's mostly all gone now. And it's a bit of a shame really.

But I do have fond memories climbing up an old railway signal before it was demolished on an abandoned railway line, and watching the old guy across the road play his records loud (jazz and blues) on sunny days on his smallholding where he kept chickens, quails and other small animals.

The railway is now paved, the old guy passed away and the small holding is no more and now a road runs right through where this all was...

Oh well :) That's life I guess.
 
I see that "An English Eye" was referenced in a previous reply. If I remember correctly, Mr. Ravilious' lens hood was a "Leitz proprietary model" masked into a rectangle. The text goes on to say that "this enabled him to shoot almost directly into the sun with virtually no flare". He definitely had an appreciation for contre jour shooting as the photographs in the book will attest.

The author of An English Eye , Peter Hamilton, has responded to a similar post on Photo.net where he describes Mr. Ravilious technique of masking the hood with black tape: he removed the back door of the M3 and covered the film gate with a piece of ground glass, pointed the camera a a bright light source and cut away the masking tape until it did not vignette.

I tried the same thing...it works like a charm.
 
Last edited:
Ahh what a clever idea, once I'be had my Summar CLA's and managed to find a suitable hood (Which will probably take some doing), I was wondering how he managed to mask off with tape the exact size/near as damn it of the 35mm frame. Good idea!

I'm not adverse to a bit of black insulating tape to get the job done :)
 
Hektor 50 2.5 is one the best 50mm lenses in the world. the optic design concept is same as the famous current version of Elmar 50mm 2.8.
By the way Hektor 28mm 6.3 is a great lens too, I'm planning to test it with Summaron 28 5.6 and Elmarit-M 28 2.8 Preasph. i'll let you know of the results. Well i already know whos the winner but i need to be sure. :D
 
Last edited:
I just chanced upon this thread and coincidentally, just developed some shots from my Rigid Cron 5cm. I think it renders a scene beautifully. It lends a sort of delicateness to the picture.

3390226576_925e8bd69a.jpg


3390225970_653c49d39f.jpg


3389413561_6121f9dd12.jpg


I was thinking of swapping it for a Canon 50mm 1.4 LTM, but i think ill hang on to this for some time to come.
 
You must log in or register to reply here.
Back
Top Bottom