Voigtlander 50mm f/2 APO-Lanthar Aspherical Photos





My Old John Deere- and Little Leaf Blower. That is also great for dust bunnies under the furniture.
 
My front Yard, anybody need firewood?





This lens does like the color green.

This lens is sharp. On the M9- it easily out-resolved the sensor with color mosaic filter.
I'll test it on the M Monochrom. Maybe I'll try the 3-filter color process with it.
 
My M10 does not let dial in as lens choice A for an automatic choice with the CV APO 50mm lens. I set it manually to 50/2. I have taken a quick drive to downtown, and I have some images that are not just of brown boardwalks and blue skies. Which manual choice would you try out with this lens?


APO-CV-50Test-X3.jpg


APO-CV-50Test-3-X3.jpg


APO-CV-50Test-4-X3.jpg


APO-CV-50Test-5-X3.jpg
 
astrobuoy said:
I'm wrestling over whether to sell my Voigtlander Nokton 50mm f/1.5 II in favor of this (I can't afford to own both). Wondering if anyone has done a comparison or has some thoughts?

I find that I mostly end up shooting the Nokton between f/2 and f/2.8, so the speed increase isn't really a factor. And I mostly shoot color film, and wonder whether colors from the APO design might be "truer." I do enjoy the portability of the Nokton, but don't mind larger lenses. Any input would be appreciated!
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Of course, I can't speak with any direct experience, as I've shot neither. But based on what I've seen so far, I'd be inclined to keep the Nokton. The apochromatic correction would be the only benefit to the Apo-Lanthar.

If I didn't already own the 50mm Asph Summilux (my favorite lens) I would have either the 50mm Nokton v. II MC or the 50mm Nokton f/1.2 - even though (based on this thread alone) I can see the definite advantage to using the Apo-Lanthar as a B&W-only lens (90% of my M10-P images are converted to B&W).

However, there may yet be an M10 lens profile just perfect for colors on the Apo-Lanthar.

Stephen's pics (and Raid's latest group) look like my 40mm Nokton f/1.2 w/ the 50mm Asph Summilux lens profile. Looks like the Apo-Lanthar close-up shots shine (even the colors look better) - distance shots, not so much.
 
I turned lens coding off for my shots. If the camera or post-processing software attempts to apply corrections for chromatic aberration, I believe it will introduce color fringing.
 
Bill Blackwell said:
Of course, I can't speak with any direct experience, as I've shot neither. But based on what I've seen so far, I'd be inclined to keep the Nokton. The apochromatic correction would be the only benefit to the Apo-Lanthar.

If I didn't already own the 50mm Asph Summilux (my favorite lens) I would have either the 50mm Nokton v. II MC or the 50mm Nokton f/1.2 - even though (based on this thread alone) I can see the definite advantage to using the Apo-Lanthar as a B&W-only lens (90% of my M10-P images are converted to B&W).

However, there may yet be an M10 lens profile just perfect for colors on the Apo-Lanthar.
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read the FredMiranda thread on the Voigt 50/2 APO
the 50mm Asph Summilux is shockingly bad compared to the Voigt APO in terms of flare
https://www.fredmiranda.com/forum/topic/1676157/8#lastmessage
 
Sonnar Brian said:
I turned lens coding off for my shots. If the camera or post-processing software attempts to apply corrections for chromatic aberration, I believe it will introduce color fringing.
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This is good to know, Brian. I will try next turning lens coding off.
 
CameraQuest said:
read the FredMiranda thread on the Voigt 50/2 APO
the 50mm Asph Summilux is shockingly bad compared to the Voigt APO in terms of flare ...
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Yes, I see. Relative to the Apo-Lanthar, at least, which is surprisingly flare resistant. The nature of the flare on the Summilux, however, allows you to recover most of the details in post. I've never had an issue here.

On a side note -
The worst flare-prone lens in my bag is the 28mm Ultron f/2. That tiny screw-in shade really sucks, measuring barely above the filter rim! I wish they made a [better] alternative shade for that lens. Its design negates any 3rd-party option(s).
 
CameraQuest said:
read the FredMiranda thread on the Voigt 50/2 APO
the 50mm Asph Summilux is shockingly bad compared to the Voigt APO in terms of flare
https://www.fredmiranda.com/forum/topic/1676157/8#lastmessage
Click to expand...

Yup, one of those was me. While I was able to much more easily induce flare with the ASPH Summilux, I don’t think I’ve ever really had an issue with it in the 10+ years I’ve used it. It really is a great lens.

The Voigtlander APO will be a fun lens though. It is nice to have a super sharp contrasty lens for certain things. It is shockingly sharp, even at f/2, at 100% on my M10M. I can’t believe how good these Voigtlander lenses are for the money.
 
I'd be very interested to see some finished prints from this lens. While things straight out of a modern digital camera can be informative, they only tell a small part of the story. It's not too different from looking at a video shot in a log format before any color grading is done. Images would be super flat in color and contrast -- nothing at all like how beautiful finished color graded images might look.

I'm guessing with the large number of glass elements used to correct for this APO lens, the images would be a bit on the lower contrast side and with less saturated colors, at least compared to a design using fewer elements and having fewer air to glass surfaces. Not necessarily a bad thing, it's just that approaching perfection for some parameters, like APO correction for 3 colors as here, often comes at a price for others, such as contrast and saturation. Just theorizing. Maybe the designers have found an ingenious way to defy physics here.

p.s., I think the photo of the Christmas tree and ornaments above looks lovely. Colors appear saturated and vibrant without being overblown. I'm actually pulling for this lens.
 
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