The Nokton 50/1.1 Revisited

[Bill Blackwell]

Nokton f/1.1 vs. 40mm f/1.2 vs. 50mm Asph Summilux vs. Collapsible Summicron wide-open

Nokton f/1.1 - wide-open

40mm Nokton f/1.2 wide-open

 

[Bill Blackwell]

50mm Asph Summilux f/1.4 - wide-open

50mm Collapsible Summicron - wide open

 

[Bill Blackwell]

Nokton f/1.1 vs. 40mm f/1.2 vs. 50mm Asph Summilux vs. Collapsible Summicron wide-open (black & white)

Nokton f/1.1 - wide open

40mm Nokton f/1.2 - wide-open

 

[Bill Blackwell]

50mm Asph Summilux - wide-open

Collapsible Summicron - wide-open

 

[Bill Blackwell]

Nokton f/1.1 vs. 40mm f/1.2 vs. 50mm Asph Summilux vs. Collapsible Summicron (B&W @ f/2.8).
/
Nokton f/1.1 @ f/2.8

40mm Nokton f/1.2 @ f/2.8

50mm Asph Summilux @ f/2.8

Collapsible Summicron @ f/2.8

 

[Bill Blackwell]

In every example the focus point is on the leading edge of the pearl-topped caps with the assistance of focus peaking wide-open. I made no adjustments in PS excepting the B&W conversions (the "neutral" setting was used in Silver-Efex).

As has been my experience with the Nokton f/1.1, it never sharpens up much at f/1.1 (this is the fourth copy I've owned) - and as you can see, it back-focused at f/2.8. The Summilux has the best performance wide-open (and IMHO) has the most pleasing bokeh. The collapsible Summicron's resolution holds its own very well wide-open, but it looks like I got some camera shake at f/2.8.

If anyone's interested, the subject is a Flip Oakes Wild Thing cornet; 109 of these were produced - only 9 had the copper bell (most were silver plated over brass).

 

[Sonnar Brian]

When you send the Nokton to DAG- ask him to check the focus, see if he can do the equivalent of what I've done to mine.
If he cannot, I'll send you a strip of copper tape that I use on my RF cams when Shimming is not easy.

 

[Bill Blackwell]

When you send the Nokton to DAG- ask him to check the focus, see if he can do the equivalent of what I've done to mine.
If he cannot, I'll send you a strip of copper tape that I use on my RF cams when Shimming is not easy.

I'm way ahead of you. I've already discussed it with him (and, of course, included a note). It'll go out to him tomorrow. Thanks, Brian!

 

[Bill Blackwell]

Here's a new set. The 50mm Nokton f/1.1 has been 6-bit coded and calibrated.

Nokton f/1.1 (6-bit coded and calibrated) vs. Nokton 40mm f/1.2 vs. 50mm Asph Summilux vs. Collapsible Summicron

Nokton f/1.1 - wide-open

Nokton f/1.1 @ f/2.8

Nokton f/1.1 @ f/4

 

[Bill Blackwell]

40mm Nokton f/1.2 @ f/1.2

40mm Nokton f/1.2 @ 2.8

​​​​​​​40mm Nokton f/1.2 @ f/4

 

[Bill Blackwell]

50mm Asph Summilux @ f/1.4

50mm Asph Summilux @ f/2.8

50mm Asph Summilux @ f/4

 

[Bill Blackwell]

50mm Collapsible Summicron @ f/2

50mm Collapsible Summicron @ 2.8

50mm Collapsible Summicron @ f/4

 

[Bill Blackwell]

In every example the focus point is on the leading edge of the pearl-topped caps with the assistance of focus peaking - this time at every stop - with a cable release. I made no adjustments in PS.

Once again, the Nokton f/1.1 isn't particularly sharp at f/1.1, but it does sharpen up nicely by f/2 and holds its own compared to the other three by f/2.8. The Summilux has the best performance at every stop, but the 40mm Nokton f/1.2 does quite well at every stop too. The collapsible Summicron's resolution holds its own wide-open, but it never sharpens up beyond that. This copy has no scratches or cleaning marks on the front or rear elements, but does have some imperfections inside.

The subject is a Flip Oakes Wild Thing flugelhorn. I don't know the production numbers on this one, but most were produced with brass bells. However, by the end of its production they were only offered with the coper bell (as pictured here), which produces a warmer sound compared to brass.

Even though the Nokton f/1.1 doesn't blow my skirt up wide open, I do plan to keep this copy.

 

[Bill Blackwell]

Here are a few recent shots taken with the Nokton f/1.1

 

[peterm1]

I always feel this lens never gets the love it deserves. I have had one since it first came out, what, a decade or more back, and do not plan disposing of it any time soon. It is a fine lens. My only explanation is that it was one of the first extra fast 50s that had specs similar to the Leica Noctilux f1.1 so people compared it to this Noctilux and then complained that it did not quite match its performance especially in the bokeh department which in some settings can be somewhat "squirrelly" - though not always. In doing this they conveniently forgot that it cost literally one tenth the cost of the Leica lens. Thank you Kai-bloody-Wong from Digital Rev channel in Hong Kong who was, I think, the first to damn it with faint praise in this way. (I liked Kai then and still do but I think he was wrong to disparage this lens in his off hand manner which probably influenced a lot of people and not in a good way). Since then I have added to it the first version of the Voigtlander 35mm f1.2 (an equally fine lens) and though I have from time to time almost been seduced by the veritable flood of super fast 50s now hitting the market, I really cannot bring myself to part with this lens.

 

[Erik van Straten]

I do not use the lens often, but I love its effect and its sharpness.

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

Erik.

 

[Bill Blackwell]

I always feel this lens never gets the love it deserves. ... It is a fine lens. My only explanation is that it was one of the first extra fast 50s that had specs similar to the Leica Noctilux f1 so people compared it to this Noctilux and then complained that it did not quite match its performance especially in the bokeh department which in some settings can be somewhat "squirrelly" - though not always. In doing this they conveniently forgot that it cost literally one tenth the cost of the Leica lens. Thank you Kai-bloody-Wong from Digital Rev channel in Hong Kong who was, I think, the first to damn it with faint praise in this way. ... I really cannot bring myself to part with this lens.

Kai Wong wasn't the only reviewer to have an issue with the Nokton f/1.1. As I stated after the first group of test shots this is the 4th copy I've owned of this lens. I could never warm up to it because of the wonky bokeh and its tendency to back-focus. But I am now warming up to it - partly due to the reasons you mention (I can no longer afford any iteration of a Noctilux), but also because it compares very favorably to any low-cost (Chinese) alternative. As my test sots show, it's not particularly sharp wide-open, but neither is an f/1 Noctilux.

At least for now, I'm pretty happy with this copy.

 

[Erik van Straten]

it's not particularly sharp wide-open

My copy is VERY sharp wide open, just have good repairman have a look at it.

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

Erik.

 

[Bill Blackwell]

My copy is VERY sharp wide open, just have good repairman have a look at it. ...

Don Goldberg ("DAG") calibrated it for me and had it milled for 6-bit coding. It's no sharper now wide-open that it was when it went out to him. But it does sharpen up nicely by f/2.

 

[Erik van Straten]

Don Goldberg ("DAG") calibrated it for me and had it milled for 6-bit coding. It's no sharper now wide-open that it was when it went out to him. But it does sharpen up nicely by f/2.

Don Goldberg is a great repairman, but really, at f/1.1 the lens should be sharp, altough the dept of field will be very small. Try to take some pics at f/1.1 with the camera (equipped with a perfectly adjusted rangefinder) on a sturdy tripod.

Erik.