ampguy
Veteran
good info.
good info.
You're possibly right about it being a better lens with film than for digital, but with the M8, I get great b/w images (have only printed to 8x10 though).
Not sure about the changes, but my 2,38x,xxx with no infinity lock doesn't have the veiling flare that I've seen in others that seem to always have this flare. I can't help but wonder if the older lenses have haze. It does have lower contrast at 1.4 than a modern lens like the CV 35.
I do have the semi circular flare, like a hood reflection, when bright lights are shining towards the lens wide open. I've found the distortion is nil, less than the 35 asph lux, and much less than the Hexar AF and CV 35s, and stopped down to f2 and smaller, resolution and contrast similar to v3 and v4 Summicrons, but less contrast than the cron asph.
I use a variety of no filters, no hoods, to UV/IR in a 12504, R72 in 12504, and no filter but 12526 rect cron asph hood.
With the M8, and b/w, the lower contrast wide open, can be beneficial when shooting in the dark at high ISOs, the noise you'd normally have at 2500 with the M8 is not an issue with b/w and lower contrast in the dark, I have found.
The only lens that has let me shoot in the dark hand held better than this lens, is the noct E60 F1, but when using that lens, I never went above ISO 800 and the grain started showing worse than digi noise of the M8 at 2500.
Here is an old set that I've shown in a few threads here with ISO 2500, 1.4 shots in very dark light here
good info.
You're possibly right about it being a better lens with film than for digital, but with the M8, I get great b/w images (have only printed to 8x10 though).
Not sure about the changes, but my 2,38x,xxx with no infinity lock doesn't have the veiling flare that I've seen in others that seem to always have this flare. I can't help but wonder if the older lenses have haze. It does have lower contrast at 1.4 than a modern lens like the CV 35.
I do have the semi circular flare, like a hood reflection, when bright lights are shining towards the lens wide open. I've found the distortion is nil, less than the 35 asph lux, and much less than the Hexar AF and CV 35s, and stopped down to f2 and smaller, resolution and contrast similar to v3 and v4 Summicrons, but less contrast than the cron asph.
I use a variety of no filters, no hoods, to UV/IR in a 12504, R72 in 12504, and no filter but 12526 rect cron asph hood.
With the M8, and b/w, the lower contrast wide open, can be beneficial when shooting in the dark at high ISOs, the noise you'd normally have at 2500 with the M8 is not an issue with b/w and lower contrast in the dark, I have found.
The only lens that has let me shoot in the dark hand held better than this lens, is the noct E60 F1, but when using that lens, I never went above ISO 800 and the grain started showing worse than digi noise of the M8 at 2500.
Here is an old set that I've shown in a few threads here with ISO 2500, 1.4 shots in very dark light here
IMO the vintage probably matters a lot among ver. 2 pre-a Summiluxes, re: flare.
I've been using #319xxxx for a while on M9 & can't get it to flare the way I was warned it would! I've been using the old round hood with no filter, & can include a pretty strong light source in the edge of the frame with only a bit of flare.
I read somewhere that while the optical formula remained the same throughout the long production of the 2d version, nevertheless the glass quality & coatings changed, which may account for reduction in flare by the time mine was made (1982).
I'll add, however, that my copy not exactly impressive in resolution, even after 2 trips to NJ. My favorite 35 lens is a Summicron ver. 1 (1964), & it's noticeably the sharper when both are set for f2. I had previously been using a 35 Nokton 1.2 for low-light work & wide-open it resolves more than the Summilux, though its CA doesn't look good in color. At f2, my 40 mm Summilux-C is actually the best of these four from the standpoint of resolution.
My tentative conclusion is that the pre-a Lux is a world-class film lens, but its moderate resolution is more obvious that I'd like in digital. The famous 'glow' looks especially good when the film grain is in fine focus (for example when printing with a Focomat). The film grain creates an illusion of sharpness & the image glows with coma behind that.
The same thing is true of the 1.5 Sonnar that Robert Frank used. Critical folks have said he couldn't focus, but that's usually wrong if you look at his prints: the critical point is usually 'right on,' & he was simply working at the outer limits of resolution for these old lenses.
In criticizing pre-a 35 Lux resolution for digital, I'm talking about making fairly large prints (14x21" image area). On the web & in book reproduction, I get the glow without the telling detail of enlargement.
Kirk