Upgrade to Nokton 50mm from Cron?

ywenz, I would simply buy the Nokton, keep it for a while, see how much you really use it and then decide whether to keep it or not. Fortunately, it's not like you need to sell the 'cron to fund the Nokton (with the cost of a Summicron you could buy three Noktons) In any event, I'd never part with my 'cron. Good luck in your search! 🙂
 
Avotius said:
hm....this makes me wonder what other lenses speeds are not as advertised


all of them f1:1.5 or f1:2 is a dimensional ratio not a measure of the transmitted light, I imagine things like the Noctilux and the CV 15mm are nowhere near there f-stop rating in t-stops
 
well, one thing is with the very fast lenses, they have lots of glass to air surfaces which lead to some loss of light i.e. they are slower. But same is valid for zoom lenses, even more.
However good optical multicoatings reduce the reflection per glass-air surface of about 6-8% (uncoated glass in air) to far less than 1 %.
In this respect the Nokton SC should be "slower" e.g. than the same glass with multicoating.

On the other hand, with superwides like the CV 15mm, or fast primes of old design, you have considerable light falloff towards the corners. The lens speed might be close to the theoretical f-stop ratio in the middle of the image frame but might be much less in the corners. In such case I don't see how one correctly should define the t-stop (transmission) value of the lens.
 
it was the corner falloff I was thinking about, I’m guessing 2 stops in the corners?, bound to have in impact on the overall illumination easily enough to make a difference with an external meter


sorry drifting OT
 
Sparrow said:
it was the corner falloff I was thinking about, I’m guessing 2 stops in the corners?, bound to have in impact on the overall illumination easily enough to make a difference with an external meter


sorry drifting OT

Not really, Stewart. If a f1.0 lens only achieves f2.8 in the corners but an f2 lens achieves f2 across the field which, then is the faster lens? Maybe this approaches philosophy rather than optics, but the point is valid on definitely on topic IMO. I sold my Nokton because for me the Summicron was effectively faster. It gave more shadow detail in the corners and I was more inclined to take it with me.
 
Avotius said:
hm....this makes me wonder what other lenses speeds are not as advertised

This kind of information is not readily available & it's generally accepted that the specs listed for a lens are approximations. In an M-mount 90mm lens, for example, measured focal lengths can be anywhere from the Leica 90/2 AA at 88 mm to the Konica 90/2.8 at 93mm. Same is true for 50mm lenses where a lens like the Leica Summilux is actually 53 mm long and for other focal lengths as well.

Here are some RF lens speeds that in Popular Photography's tests vary from what they are labeled:

Leica M
21/2.8 = 2.7
28/2 = f/2.1
35/1.4 - f/1.6
50/2 = f/1.9
50/1.4 = f/1.5
75/1.4 = f/1.6

Cosina/Voigtlander VM
12/5.6 = f/6.1
15/4.5 = f/f/4.1
25/4 = f/3.8
35/2.5 = f/2.7
35/1.7 = f/1.8
50/3.5 = f/3.7
50/1.5 = f/1.6
75/2.5 = f/2.7

Konica M-Hexanon
28/2.8 = f/2.9

Rollei
40/2.8 = f/3

The following lenses were measured as accurate for the maximum aperture listed:
Leica 35/1.4 ASPH, 50/2.8, 90/2 AA, 50/1.4, 90/4 Macro
CosinaVoigtlander VM 40/1.4
Konica M-Hexanon 50/2, 90/2.8
Rollei 80/2.8

None of this is a big deal, but it occasionally becomes significant as in the decision that ywenz is trying to make when the primary issue is speed. In this case, what appeared to be a full stop difference - more or less - turns out to be only a half stop.

Although they do a lot of good work otherwise, I do take issue with Cosina when I see such inaccuracy in their stated maximum apertures. This bothers me primarily because they label their lenses with non-standard maximum apertures, i.e. something other than full stops. To me at least, this gives the impression that they are not rounding off or approximating but are giving a more precise measurement than would normally be expected. When this turns out not to be the case & when the lenses are mostly slower than advertised - except for a couple of slow wide angles for which speed isn't much of a factor - I feel manipulated.

For example, why is Cosina clalling its 35, 50, & 75 lenses f/2.5? This is a maximum aperture I've never seen before. (It may be out there, but it's not common.) Why not call them f/2.8, which is what they're closer to than f/2.5? This would allow for proper comparison rather than mislead the consumer to think that he's getting a little more speed for his money. It's what any other company would do when the f-stops in question are f/2.7.

Maybe it's just me making too much of this because Cosina isn't really using this to hype their lenses, are they? Wait. You've seen the hype for the 29/1.9? "Fastest 28 ever for 35 RF." Where's the spin doctor when you need him.? 😉 I have not seen a review of the 28 Ultron that reports the actual maximum aperture, so it may be f/1.9 or even f/1.8 for all I know. But given the pattern of errors on the slow side by Cosina, I have no confidence that this is really "the fastest 28 ever". Why not just call it 28/2 & be done with it?

The reason for mislabeling these lenses seems to be quite clear. Marketing.

When I see such misleading information, it undermines my confidence in what's being sold to me by this company. I worry that the product is either misrepresented or that manufacture is sloppy.

In contrast, Leica specs are exceedingly accurate. Of the 11 lens reviews which I read & kept notes on, 5 of them were dead on & 4 more were +/- f/0.1. Only two was beyond that range. Of the 6 that varied from their spec, two were actually faster than advertised. No complaints in those cases. At least not from me. Same with Konica. Two were spot on & the one that varied was off by only f/0.1.

In the case of Cosina's Voigtlander lenses, 8 of 9 lenses tested were off their spec & 6 of the 8 were off by more than +/- f/0.1. Two of these lenses was faster than advertised. Oddly enough, in the case of the 25/4, it's one of the few labeled at full aperture. In this case they could have legitimately called it f/3.8. And in the case of the 15/4.5, it's labeled slower by using a non-standard aperture. They could have called it f/4 & there wouldn't have been much to complain about. The silver lining is that the fastest lenses were the most accurate - 40/1.4, 50/1.5, & 35/1.7 all within +/- f/0.1 or so.

It does seem that Cosina wanted to create a market niche for itself that would not put it in direct competition with Leica, so they setlled on this .5 thing, i.e. f/1.5, 2.5, 3.5, 4.5. IMHO, this just creates confusion & misrepresentation.l
 
Keep the cron!

Keep the cron!

I would not take a nokton over the cron. I use my cron daily and LOVE it. I also own the Noct which gets much less use these days, but I bring it out when the lights go down and it does its job. BUT if I could have the best of both worlds, I would choose the 50 ASPH lux. It is the best 50 I have ever used and I regret selling it 2 years ago. GREAT lens.

The cron can be razor sharp and my Noct is smooth and creamy, even at F2 - the 50 ASPH Lux is sharp and creamy!

Anyway, the cron is a GREAT GREAT lens and I would only sell mine if I sold my Noct and cron for a Lux.

Good luck!
 
Pherdinand said:
well if the f1.0 lens has a light falloff of 3 stops in the corners, i'm not sure anyone would buy it...not for the price f1.0 lenses go for...

Puts on the Noctilux "Vignetting is three stops". From the Leica Lens Compendium. The Summicron rate at 1.6 stops according to the same source, so not as far apart as my hypothetical example.
 
markinlondon said:
Not really, Stewart. If a f1.0 lens only achieves f2.8 in the corners but an f2 lens achieves f2 across the field which, then is the faster lens? Maybe this approaches philosophy rather than optics, but the point is valid on definitely on topic IMO. I sold my Nokton because for me the Summicron was effectively faster. It gave more shadow detail in the corners and I was more inclined to take it with me.

now that’s strange I couldn’t say I’d seen that, mine isn’t the latest version, however it’s the one with the separate hood, perhaps the last version is different. The camera’s meter thinks the Nokton is faster but of course that’s biased
 
The only negative issue about a CV Nokton is that it's not a Leica. Apart from the focussing distance it's a great lens, specially taken the investment into account.

And you all can argue about LPM and other things one rarely sees on normal prints, might all be true, but it's still a great lens. And yes I do have one, I also have a summicron 2.0 latest.

ahhh Let me stand corrected here, it's a great lens for photographers, perhaps not so for "spec-f***ers"
 
I wont sell planar, plus it is very dirty used, alot of outside scratches and paint lose 😀
Lux asph is very expensive but that is the 50mm I want to own, I am trying to get used one (still expensive)
 
Avotius said:
hm....this makes me wonder what other lenses speeds are not as advertised

For some reason still camera lenses are marked in F stops where motion picture lenses ar in T (transmission) stops. The more complex the lens the less light generally. Almost all lenses have a different F and T stop. Sometimes it can be near a full stop.
 
I had the planar, bought it when they first came out, I sold it because of the "Red.Dot" illness of the brain I had (I am recovered) I liked the lens a lot and will purchase it again.
 
Huck - I am sure you are right, but really, in practice, film is not so exact a medium (and most users' practices are not so precise) that a 1/3 stop difference in rated lens speed will change the outcome of a picture. Keep in mind that there is also some real mechanical variation in actual shutter speed, manufacturing variation in film stock, differing film age and storage conditions, processing chemicals that are of varying ages, paper of varying ages, enlarging lenses with their own actual variation in focal length and speed . . . I would judge mainly on the results that you get -- that is, the actual pictures -- and if you are unhappy with the quality, tweak the process in a way that makes sense.

Or put another way, if you were able to measure the inaccuracies in the system you use and the result was that you were habitually underexposing by 0.2 of a stop, what would you do? In my case, if I decided to do anything, I'd probably lengthen my film development time by a few seconds. Because I really don't have control over the other aspects of the process. But the real point is that even if you could measure a difference that small, you would probably not be able to spot the effect of that difference in your finished product.

Now, I need to find my Leica M 50/1.9 and go make some pictures . . .

Ben
 
markinlondon said:
The Summicron rate at 1.6 stops according to the same source, so not as far apart as my hypothetical example.

Note that it's not uncommon at all for lens to have a stop or so of light falloff, especially as the angle gets wider. The Cosina 4.5/15 should theoretically have 3.2 stops of optical vignetting by the cos^4 rule, and Leica's new Tri-Elmar exactly 3 stops at 16mm and 2 stops at 21 mm if my maths is not mistaken. I think it drops below the 1 stop mark only at about 35mm. As this is optical vignetting, it will stay even when the lens is stopped down.

Philipp
 
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Magnus said:
The only negative issue about a CV Nokton is that it's not a Leica. Apart from the focussing distance it's a great lens, specially taken the investment into account.

And you all can argue about LPM and other things one rarely sees on normal prints, might all be true, but it's still a great lens. And yes I do have one, I also have a summicron 2.0 latest.

Which lens do you use more?
 
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