Pairing a 50mm with the 28 Summicron

agoglanian

agoglanian

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Hey everyone,

So I wonder if you'd all appease my curiosity and think about what 50mm lens you'd pair with a 28 Summicron (the first version).

I'll be up front and say I'm currently shooting with the 50 Summilux ASPH and while it's undoubtedly an impressive lens, I found that I definitely preferred it on digital over film. Seeing as how I no longer have my M240 and I'm only shooting film M bodies now I've been giving some thought to what I want out of my M kit.

I do also have the 35 Summicron ASPH but that's not up for question, and I'll probably be selling my 90mm Summicron as well.

I was thinking of going back to the 50mm Summicron (I had a V5 that I really enjoyed previously) but I'd love to hear your thoughts on why you'd pair a specific lens with the Character of the 28 Summicron. And if what I have is what you'd recommend I still want to hear it!

Share your opinions with me 🙂
 
maybe go for the 50 summilux pre-asph for film.
Or find a nice balance between the pre-asph and asph with a nokton-m f1.5.

To me, either of those would nicely compliment the 28 summicron with a lens that will render similarly with a bit more laid back rendering with still a bit of signature, but not so much as something like a sonnar.

I have a handful of lenses as well including that nokton-m 50mm, but pretty much only shoot the 28 summicron v1 and the 50 summilux asph, but both on digital only.
 
If 2.8 is fast enough, 50 2.8 elmar last version. Have two.

I assume you know about the flare issues V5 Summicron. Bokeh is poor compared to your `Lux, tried it.

You might consider third party lenses, but I would not buy them. CV & Zeiss.
 
Sonnar

Sonnar

I use a Sonner alongside the 28 cron and they go together well.

The cron is ultra reliable whereas the Sonnar can bring a little magic to the mix. I find they make a great travel pair.
 
I have and use, alongside my 28mm Summicron, a 50mm Collapsible Summicron; the Dual Range Summicron; and the 11817, or version III, Summicron, the one made from 1969 to 1979. I like them all! I especially like the collapsible for its "soft-sharp" look wide open. The DRS is excellent for black and white! And for all-around compactness and versatility, I use the version III. I almost never use my 50 Summilux.
 
Why you like the Summicron 28 determines what you might want in the 50. I love the light and rendering of your Summicron I don't have. I agree with others: latest Elmar M 50 2.8, collapsed smaller than the 28. Or the not so big C Sonnar which is glorious and a good only 50 despite what you read to the contrary.
 
The 28 Cron is my favorite lens of all time. Good choice! I must say though, after owning dozens of 50mm lenses throughout the last 20 years... the lens I pair it with is the 50 Summicron APO. With these two lenses I can travel around the world and do anything with. My second choice would be the great Summilux ASPH but you mentioned you didn't not like it for film. I find that odd because mine is an absolute stellar workhorse in regards to film.

Another mention would be for the 50 Summicron DR.
 
Honestly, I can't find what is Summicron 28 version one is. I have purchased 28 Elmarit-M III instead 🙂 So, I'm not eligible to give my opinion based on this, but I will.

To me matching lenses is something related to sharing of same filters, hoods and having same tab. And lens manufacturer 🙂

Leica tabs have at least three, most common versions. Nipple Nickel, Canadian Plastic and German Metal (which has subversions). Focusing is also related to tabs.
So far, I like modern German Metal tab focusing, less Canadian Plastic and slowest, less convenient is Nipple Nickel.

To me it would be ideal to have my 28, 35 and 50 matching in modern German Metal focusing style, but I would like to have all three lenses to be different in optical schema.
 
I had the Elmarit V3 previously as my 28mm and I really liked the rendering style to be sure!

I don't want to bash on the 50 Summilux Asph, that's not my intent, as I mentioned it is a seriously impressive lens and I can find no fault in the quality. It just seems that for me, as I'm typically using HP5 or Tri-X it delivers negatives that can be a little TOO contrasty for me, I'm certainly NOT opposed to keeping it obviously I was just curious to see what you all were pairing with the 28 Cron as it's indeed a special lens as you have all mentioned.
 
agoglanian said:
Hey everyone,

So I wonder if you'd all appease my curiosity and think about what 50mm lens you'd pair with a 28 Summicron (the first version).

I'll be up front and say I'm currently shooting with the 50 Summilux ASPH and while it's undoubtedly an impressive lens, I found that I definitely preferred it on digital over film. Seeing as how I no longer have my M240 and I'm only shooting film M bodies now I've been giving some thought to what I want out of my M kit.

I do also have the 35 Summicron ASPH but that's not up for question, and I'll probably be selling my 90mm Summicron as well.

I was thinking of going back to the 50mm Summicron (I had a V5 that I really enjoyed previously) but I'd love to hear your thoughts on why you'd pair a specific lens with the Character of the 28 Summicron. And if what I have is what you'd recommend I still want to hear it!

Share your opinions with me 🙂
Click to expand...

28 and 50 is my holiday standard setup
last 3 holidays , i use 50 lux preasph in Mp or Zeiss Ikon plus a Cron 28 in R4M
plus a rolleiflex 3.5

those never fail me (no digital for last 3 years now)

sincerely
William Jusuf
 
agoglanian said:
I had the Elmarit V3 previously as my 28mm and I really liked the rendering style to be sure!

I don't want to bash on the 50 Summilux Asph, that's not my intent, as I mentioned it is a seriously impressive lens and I can find no fault in the quality. It just seems that for me, as I'm typically using HP5 or Tri-X it delivers negatives that can be a little TOO contrasty for me, I'm certainly NOT opposed to keeping it obviously I was just curious to see what you all were pairing with the 28 Cron as it's indeed a special lens as you have all mentioned.
Click to expand...

A,

I understand your dilema. The 50 Lux ASPH has more contrast than the 28 Cron which has mucho broad midrange.

Might I suggest developing the films shot with the 50 to be segragated and perhaps underdeveloped by processing with slightly less aggitation or a slightly shorter time.

It seems like you have a good eye, and customizing and tailoring your processing might be what you need rather than a new 50.

BTW my 28 Cron is my most used lens, and the 50 Lux ASPH is my 50.

Cal
 
The 28/2.0 V1 is up there on my list of most used lenses too. I think you've nailed it with the 50/2 V5, I find it draws very much like the 35/2 ASPH. I never got on with the 50/1.4 pre-ASPH for I was too often disappointed by the corner performance wide open.
 
tightsqueez said:
My second choice would be the great Summilux ASPH but you mentioned you didn't not like it for film. I find that odd because mine is an absolute stellar workhorse in regards to film.
Click to expand...

+1, simply gorgeous, color or black and white. My favorite combo for Kodachrome 2006-2011 was the 28/2, 35/1.4 & 50/1.4.

I'm now running a 28/2.8 asph, 35/2V4, 35/1.4FLE & 50 Planar, all with Tmax 400 pushed to 800.

Been very tempted to get another 28 Summicron though due to low prices.
 
It just seems that for me, as I'm typically using HP5 or Tri-X it delivers negatives that can be a little TOO contrasty for me,

Abram, have you tried simply reducing your development time by 60 or 90 seconds>?


oops...Cal, now I see you beat me to it 🙂
 
I'll try some alternate development methods, though to be perfectly honest I hadn't had a lot of time to do development at home lately so I've been having my lab do my processing, which gives me little control over the outcome of the processing (a reality that I never liked, but that's just what it is. )
 
Say I were to just keep the Summilux Asph (Gee Darn. What a bummer 😉 ) would there be any other film stocks you'd all recommend to maybe get slightly lower contrast out of it (knowing that I use a lab for development).

I'm typically using HP5 these days, but I was thinking about trying some FP4 again to try and get a little more wide open than f/8 😉
 
Sometimes a high contrast lens that is created and formatted for color..can be just plain crap in B&W..esp for contrasty scenes..esp nite shots..as in...where did the detail in the shadows and highlights go...
 
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