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leica 50mm apo or 50mm lux

gooomz

Member
which would you rather have if you could only have (1) 50mm:

the new 50mm apo f2 or the 50mm lux asph?


is the 50mm APO a no brainer?
 

Hosermage

Active member
Maybe the 50'Cron APO if you plan to use it with Monochrom. I did swore to never sell my 50'Lux ASPH...
 

bradhusick

Active member
The monochrom's resolving power and detail demand the most from lenses. Look at the MTF curves of the two lenses at f/2 for an enlightening comparison.
 

Nettar

New member
That's a good response, Brad. Indeed, the 50mm Summicron apo even looks a little better at f/2 than the Lux does at f/5.6 -- at least, this is true in the corners. But you mention MTF curves at f/2. Can you point me to f/2 MTF curves for the lux? Nettar
 

StephenPatterson

New member
which would you rather have if you could only have (1) 50mm: the new 50mm apo f2 or the 50mm lux asph?
Anyone who can afford to spend $8K on a lens does not need to worry about "only having one".

By all accounts the new APO is a marvelous lens, as is the 50 Summilux ASPH and the 0.95 Noctilux. I believe much of the APO's improved IQ will only be appreciated in viewing large prints (which of course is always the case, isn't it?).
 

glenerrolrd

Workshop Member
First ..all the 50 s are superb lenses . I can t think of any summicrons ,summiluxes or noctiluxes that aren t great lenses . The new APO summicron is clearly capable of the highest IQ of any Leica lens ....yet ...I have never found myself feeling that the 50 summilux asph was in any way deficient . So assuming you could buy either...how would you decided?

The 50 s do however differ in their character ...is the bokeh smooth and how does the transition to OOF areas roll off . Do the aberrations contribute to the aesthetic or are they distracting . How strong is the contrast and what is the balance between resolution and micro contrast . How is color rendered and does the lens impart a signature "tint" Sean Reid described this a few years ago in test as being similar to an artist selecting from his paint brushes . This is what causes the endless discussion of clinical verse flawed renderings .

The 50/2 APO is not yet in general circulation so you have to rely on the early tests and sample images . It seems a given that new lens will set the standard for the technical view of IQ ....MTF at given apertures , resolution edge to edge , micro contrast and freedom from aberrations . This will translate into image rendering that is exceeding sharp and approaching perfection . This of course will be most visible on the MONO because of its ability to render the finest detail of any M body .

What is not discussed much and needs to viewed ..is how this translates into color photography . You can see in the Noctilux 0.95 a brilliance and color purity , a fineness in the micro contrast that separates the tones that exceeds the 50 1.4asph . The best samples I have found are from ByBrett ( linked on the Leica User Forum) . Here the performance of the new 50 APO seems to render color similar to a Noctilux .

My feeling is that the elements of IQ that are defined by the MTF charts ,review of edge sharpness and apparent image contrast exceed my requirements and abilities (focus,camera motion etc) . But those that define the character of the lens ...bokeh,color fidelity ,aberrations etc can be seen in every capture .

Based on what I have seen so far and ignoring cost factors ....I would prefer the newer 50APO but I am not selling my 50 1.4asph anytime soon.
 

Paratom

Well-known member
Interesting question.
I have not yet seen enough images to make my own opinion how these compare at f.2.0 and stopped down.
However if it is about "just" one 50mm than it is also about the question if you want f1.4 here and then.
Personally I can not safely say I would be out of danger to want the new sum micron. However still believe it is getting to a real "extreme" level if we discuss the question of the 2500$ normal prime 50/1.4asph is good enough for us or if we need a better 50mm prime.
 

Double Negative

Not Available
Simply put - they'll bury me with the Lux. ;)

The APO is nice, but nothing can really take full advantage of it right now save for perhaps the MM. Not that you won't see improvements with the M9 - just not enough to justify the price I'd say. The new M? Who knows at this point.

It comes down to speed and cost. Do you need that extra stop? Do you care about spending twice as much in losing it? Does the ultimate quality matter that much to you?

Can't go wrong with either in the end.
 

borge

New member
I have a 50 Lux ASPH and a MM, And I cannot see any reason to want more resolution. The resolution is extreme even wide open with this combo.

The main thing about the 50 Lux ASPH for me is it's flexibility. Due to the way it renders subjects and background at f/1.4 I can actually use it as a portrait lens and be very happy with the results. I can also use it as a regular 50 for anything that I desire, and It works brilliantly in low light due to f/1.4, and it's about the same size as a 50 Cron...

At f/2 the APO-Cron will not be as flexible by any means. that extra stop makes a bigger difference than the resolution increase, which already is superb/stellar with the 50 Lux.

I guess it depends on the use. Print huuuge? Then the 50 APO will probably be a very nice lens to ensure pin-sharp large prints.

It will be interesting to see how the APO-50 Cron will render images. What draws me to the Lux is the very 3-dimensional feel of the images that it renders, and the way it renders out-of-focus areas when it's wide open. I've tried a 50 Cron (the current non-APO version) and yes it is very nice, and the ergonomics are better than the Lux (easier to focus), but it doesn't have the lux's image characteristics - which is what I personally love about the lux.
 

Double Negative

Not Available
Indeed, it's not always about resolution ("sharpness") but rather character. And speaking of wide open on the Lux... The Cron can't do this (for better or for worse). Also My 5000th (online) photo. :p

 

bradhusick

Active member
This opens an interesting discussion I have had with a photo friend.

Are you better off capturing the maximum possible detail and resolution and contrast and micro-contrast in an image and then applying image processing to make the image the way or ways that you prefer, or should you just capture that way in the first place? It's a one-way ratchet - you can't extract more detail after the fact, but you can always subtract. I can shoot a sharp image and create the very soft one that Michael shows of the sunset and lights directly above.

Does it only come down to whether you like messing around with software or prefer just using out-of-camera images, or is there a flexibility gained in capturing the "max" image and manipulating later that offsets the extra work involved? Do some feel that this is in some way "dishonest" or "unpure" to the nature of photography?

When people ask me, "Did you use Photoshop on that image?," my answer is always, "That's the image as I saw it when I took it."

So, are you better off with the new 50mm APO-Summicron uber-lens or an old 50 collapsible cron with "character"? Perhaps the answer is "both", depending on how we feel at the time we shoot. Your thoughts?
 

Double Negative

Not Available
I like your answer of "That's the image as I saw it when I took it." Says it all, really.

Some interesting things for discussion there. Of course, you're right in that you can take an über sharp photo and scale down the focus as you see fit with things like Alien Skin's Bokeh plug-in. Depends on how much of a "purist" you are, I guess.

I tend to do as much as possible in camera, but use post-processing where needed. When shooting digital, it's a fact of life if you ask me. Just as dodging and burning were "in the old days." In any event, I prefer my bokeh to be the real deal...
 
C

ClydeR

Guest
I know it isn't on your list, but my choice would be used current 50 regular-old-Summicron and $7000 for some other great lenses.

If that doesn't appeal, get the new 50 'cron. Smaller and lighter than the lux, and it would be fun to be part of the initial exploration of a new certain-to-be-classic lens.
 
V

Vivek

Guest
Design wise, this is only the 4th version of the 50mm Summicron (# 2&3 being identical, optically). This is quite remarkable, given the long history!
 

edwardkaraa

New member
I am fan of the summicron look even though I have never owned one :D

In fact I have bought the Zeiss Planar specifically because it draws somewhat similarly, a bit like a poor man's summicron ;)

So if I had the funds, the AA would be the one to get IMHO.
 

Seascape

New member
Actually Vivek, it is the 6th version:

1. Collapsible.

2. Rigid and dual range (optically the same).

3. Wetzlar made, black anodize without focus tab.

4. Mandler design with tab (Midland and Solms).

5. Same optical design as #4, made in Solms with built in hood (no Tab).
 
V

Vivek

Guest
Hi, There is a rare black paint version of the DR Summicron.

I did say "design wise", perhaps I should have said "optical design wise"? :)

PS: There might have been odd Titanium versions and Hermes versions as well. :)
 
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