Summilux 35mm f/1.4 v2 (Canada, 1978)

[Godfrey]

I acquired a Summilux 35mm f/1.4, about 1978 issue. I've done some shooting with is on the M9 now, not enough as yet.

It's a very interesting lens: the character of the image it makes changes radically from wide open to two stops down. Wide open, it reminds me of a Zeiss Softar effect, only more subtle. A couple of stops down, it's beautifully sharp everywhere but not bitingly so ... there's a lovely quiet to its rendering even with everything pin-sharp.

I think I'm going to like it a lot, the rendering qualities are quite unique to my eye. It has the look of all the Mandler designs from that era, closest to the Summilux-R 50/1.4 and Summicron-R 90/2 of the other lenses I have.

On the M9, I see a small amount of color shifting across the field; I may not have chosen the best lens code for it yet. Anyone have any suggestions?

thx,
G

 

[cam]

No suggestions from me because I used to convert everything on the M9 in C1 using an old M8 pre-set I have for easier b/w conversions so I don't much notice colour or colour shifts… sorry.

I just wanted to congratulate on that lens -- one of my favourites!

(just wait until you get the alien spaceship flare )

Many of the older lenses have coatings that will render colours slightly different, so I think it's just a matter of finding a tweak in PP and it should work across the board? Eh, don't listen to me on colour…

Just enjoy that lens! I think the character it gives is more than worth the little extra work you may have to put into processing the images… It's a little gem!

 

[Vivek]

Many of the older lenses have coatings that will render colours slightly different, so I think it's just a matter of finding a tweak in PP and it should work across the board? Eh, don't listen to me on colour…

Cam, Nothing to do with the coatings (or the lack of it) on the glass but everything to do with the shiny metal bits in the optical path. Look at the rear of the lens and check what the sensor sees. All that shiny brass bits send out the alien ghosts unexpectedly. It is possible to paint it black (as in the latest Summarits or the AA 50) but is very expensive. It is better to celebrate and enjoy the "unique lens draw" as is.

 

[ramosa]

Cool lens, one that has always tempted me. Like you intimated, dreamy Leica look wide open (with flaws and all), but tack sharp from f4 or so. And darn small. Is it the one with the odd hood filters?

 

[Godfrey]

Thanks for responding!

Interesting about the source of the flareyness ... I doubt I want to change how it draws, the aberrations are its big draw, to me. If I was looking for a modern, ultra-crisp, ultra-well corrected lens, I would have bought the new Summarit or Summicron; the Summarit would have been the same or less money. No, I wanted the old Mandler design. ;-)

This one was complete in the box with hood and caps from Dan Tamarkin in Chicago. Not the cheapest, but Dan's always done me great service and good prices for the quality of the gear I've bought. It's in beautiful shape.

Time for my walk ... Taking the M9 and 35mm today...

G

 

[Godfrey]

Follow up:
For the walk, I turned off all lens codes. The color shifting went away. Yay!

- The Summilux flares a good bit, have to be careful where the sun is and where specular reflections are. The flare can be neat on occasion.

- The rendering difference from wide-open to f/2.8 is very dramatic. There's good stuff, different stuff, to be had at every different aperture down to f/5.6 it seems.

I think this lens sings for B&W and needs a more careful hand for color.
I suspect I'm not sending it back ...

G

 

[cam]

I'm so pleased, Godfrey!

It really is a truly special lens and you'll learn pretty quickly how to avoid (or enhance) the flare… The martian vessels still catch me up, but that's because they are rare enough to have me roaring when they happen

The only reason I stopped using this lens much was the 1M near focus limit (Parisian cafes are teensy). I still prefer it to any iteration of the Asph (aside from the Aspherical, which combines the unpredictability of this along with the closer focus of the Asphs -- if anyone has a user, I want one!!!). It will now get a new lease on life with me via the A7s with the V/ME.

One of my favourite combos to shoot on the Epson was this lens by day and, when day was done and even f1/4 wasn't enough, switch to the Noctilux.

Enjoy!

c.

P.S. this is what entranced me enough to make this lens one of my very first: The legend of Lux-do

 

[Duane Pandorf]

I have this lens too and shot with it for a year. Most of the photos on my blog from 6 months ago back a year are with this lens. You can use a 49mm filter in the Series VII filter holder. I too moved to the 35 Lux ASPH. (pre-FLE) for the .7 meter min. focus distance compared to 1 meter for the pre-ASPH version. I learned very quickly that wide open with most any light source in the area could cause those weird flare issues. I normally shot the lens at f2.0 and enjoy the transition between tones. Definitely has the Mandler signature "glow".

 

[Godfrey]

Leica M9 + Summilux 35mm v2
ISO 640 @ f/2 @ 1/45 sec​

Yes, the 1m minimum focus is a bit disconcerting and can get in the way, but I have other lenses (and other cameras) when I want closer focus.

I have a couple from the walk in the park today I'll post another time, but I like this portrait of Jack so it goes first. ;-)

G

 

[Duane Pandorf]

That's a very nice B&W.

 

[Godfrey]

From Guadalupe River Park this morning:

Leica M9 + Summilux 35 v2
ISO 160 @ f/1.4 @ 1/2000 sec​

enjoy,
G

 

[Godfrey]

Leica M9 + Summilux 35mm v2
ISO 200 @ f/1.7 @ 1/30​

I went back and forth over whether I was going to give this lens a try. I already had the Color Skopar 35mm f/2.5, which is a remarkably good lens for $500 or so. I also already had the Leica X, on which camera's APS-C format the Summilux 23/1.7 ASPH provides the same FoV and is absolutely stunning quality from wide open to fully stopped down, AND which focuses down to 8". AND I had the Summicron-R 35mm f/2, used on the Sony A7 body, which is another outstanding 35mm lens with superb imaging character.

I'd considered buying a new Super Elmar-M 24mm, a used Summicron-M 28mm, and a couple of other choices in the ultra-wide category. All in the same ballpark price.

This old Mandler, on technical merit, doesn't hold a candle to any of the above, and is a little crippled with a 1m minimum focus distance. This, a 1978 35mm lens, is the most expensive lens I've purchased in the past decade. But after three days of sporadic shooting with it, I'd have to say that its unique and lovely imaging signature is worth the money: it produces striking and lovely photographs.

So much for having money in the bank...

enjoy,

G