Shooting with 50's on G1--Share Your Pics!

[m3photo]

Re: Wide Open CV50/1.5

.
The bright rings and hard edges seen at some places are in no way a show stopper. Together with the images ranger9 posted earlier I think this does it.
Thanks again, /Jonas

You're welcome. In my opinion this lens also fits beautifully on the G1, it's a weighty little piece of glass but well balanced and exquisitely made with a delicious 10 blade diaphragm which has precise half-stop clicking from f/2 onwards and a smooth focus mechanism. On top of that it's a 100mm f/1.5! Did I say I liked it?

 

[back alley]

zm 50/1.5 sonnar

 

[Ranger 9]

Brief reminder about bokeh: All other things being equal, you can't have "smooth" bokeh both in front of and behind the focus plane; you can have "edgy" bokeh in front and "smooth" bokeh behind, or vice-versa, but not both.

[Don't believe me? Read Section 2 of this; mind you, the guy who wrote it is merely a lens designer for Nikon, so you can't expect him to know as much as the experts who post on Internet photo forums ;-) ]

Anyway, having the smooth bokeh behind the subject makes more sense for carefully-composed flower pictures, portraits, etc., where you probably want to subdue distracting backgrounds.

But for documentary-style shooting, where it may be impossible to avoid having objects between the camera and the subject, it actually may make more sense to have the smooth bokeh in the front -- where it can help make these intruding objects less distracting.

So, how the lens is designed with regard to "bokeh distribution" may depend in part on the designer's assumptions on how the lens will be used!

 

[endre novak]

G1 & Cron 50

 

[Photomorgana]

Brief reminder about bokeh: All other things being equal, you can't have "smooth" bokeh both in front of and behind the focus plane; you can have "edgy" bokeh in front and "smooth" bokeh behind, or vice-versa, but not both.

[Don't believe me? Read Section 2 of this; mind you, the guy who wrote it is merely a lens designer for Nikon, so you can't expect him to know as much as the experts who post on Internet photo forums ;-) ]

Anyway, having the smooth bokeh behind the subject makes more sense for carefully-composed flower pictures, portraits, etc., where you probably want to subdue distracting backgrounds.

But for documentary-style shooting, where it may be impossible to avoid having objects between the camera and the subject, it actually may make more sense to have the smooth bokeh in the front -- where it can help make these intruding objects less distracting.

So, how the lens is designed with regard to "bokeh distribution" may depend in part on the designer's assumptions on how the lens will be used!

I think Switars have the best front and back bokeh. Also Leica 90mm-Cron.

 

[f6cvalkyrie]

I take the risk of sounding very stupid, what's Cron ???

Rafael

 

[jotloob]

Endre

That is a very nice natural portrait .
Thanks for showing . I will try to do something similar with my KONICA HEXAR 2,8/50 .

I think cron stands for SUMMICRON (Leica Lens)

Jürgen

 

[endre novak]

Endre

That is a very nice natural portrait .
Thanks for showing . I will try to do something similar with my KONICA HEXAR 2,8/50 .

I think cron stands for SUMMICRON (Leica Lens)

Jürgen

Thanks Jürgen. Appreciate your feedback! :salute:
Indeed, 50mm f2 Leitz. Not the fastest but a superb performing lens both on M8 being (60+mm effective) and on the G1 (effective 100mm short tele)
And in b/w I find it amazing, although I am not able to do the beautiful conversions some folks show on this site :-(
cheers,-

 

[endre novak]

I take the risk of sounding very stupid, what's Cron ???

Rafael

don't worry, Leicaland is a world full of slang (like most)

Noctilux = f/0.95-f/1.2,
Summilux = f/1.4,
Summicron = f/2,
Summarit = f/2.5,
Elmarit = f/2.8,
Elmar = f/3.5-f/4.

but

Noct, Lux and Cron are referred as short forms for Noctilux, Summilux and Summicron, respectively. Thus, 50 Cron uniquely identifies Summicron-M 50mm f/2 irrespective the date of manufacture, although for every lens there are countless (sub)versions. just too long history

cheers,-

 

[Diane B]

Really interesting to me. Seems reasonable--but hadn't read that before.

Diane

Brief reminder about bokeh: All other things being equal, you can't have "smooth" bokeh both in front of and behind the focus plane; you can have "edgy" bokeh in front and "smooth" bokeh behind, or vice-versa, but not both.

[Don't believe me? Read Section 2 of this; mind you, the guy who wrote it is merely a lens designer for Nikon, so you can't expect him to know as much as the experts who post on Internet photo forums ;-) ]

Anyway, having the smooth bokeh behind the subject makes more sense for carefully-composed flower pictures, portraits, etc., where you probably want to subdue distracting backgrounds.

But for documentary-style shooting, where it may be impossible to avoid having objects between the camera and the subject, it actually may make more sense to have the smooth bokeh in the front -- where it can help make these intruding objects less distracting.

So, how the lens is designed with regard to "bokeh distribution" may depend in part on the designer's assumptions on how the lens will be used!

 

[Diane B]

I know--got this info before--but, sadly, they are all out of my budget LOL.

Diane

don't worry, Leicaland is a world full of slang (like most)

Noctilux = f/0.95-f/1.2,
Summilux = f/1.4,
Summicron = f/2,
Summarit = f/2.5,
Elmarit = f/2.8,
Elmar = f/3.5-f/4.

but

Noct, Lux and Cron are referred as short forms for Noctilux, Summilux and Summicron, respectively. Thus, 50 Cron uniquely identifies Summicron-M 50mm f/2 irrespective the date of manufacture, although for every lens there are countless (sub)versions. just too long history

cheers,-

 

[Jonas]

Brief reminder about bokeh: All other things being equal, you can't have "smooth" bokeh both in front of and behind the focus plane; you can have "edgy" bokeh in front and "smooth" bokeh behind, or vice-versa, but not both.
(...)
So, how the lens is designed with regard to "bokeh distribution" may depend in part on the designer's assumptions on how the lens will be used!

Yup, that's the way it is. Or I think it is like that in general. Maybe some lenses renders the OOF parts both in the back- and foreground ugly. It is not strange a Nikon publication points it out as they would like us to use their DC lenses...

In general I very much prefer lenses having the good bokeh in the background. The Pentax 50mm lenses with good foreground bokeh and ugly background bokeh always drove me nuts.

 

[Jonas]

Here are some with Voigtlandar Nokton 50mm f1.5
Shot #3 at f8 the rest at f2
I think its not bad of a bokeh.

I would like to thank you for all the comparison images! The CV50/1.5, again, seem to mix a nice balance between detail, contrast and bokeh. Regards, /Jonas

 

[Photomorgana]

Here are few more samples of 50mm. This time its a big tuna - Schneider 50mm f0.95.
All shots are at f0.95 except last one which was shot at f2.

 

[Leica 77]

Nice shots, Photomorgana, using the fast Schneider lens. My image was recorded by Lumix G1 + Summicron M 50mm during my recent conference travel to Macau. Thank you for looking. Leica 77

 

[Photomorgana]

Leica77, I like the bokeh and sharpness of your summilux. Which version is it. E43, E46, Asph?

 

[Leica 77]

Hello Photomorgana,
Many thanks for your positive feedback. The lens is a Summicron M 50mm (E39). One of these days, I hope to purchase a Summilux M 50mm lens. The bokeh seen in your images are extraordinary!!! Lecia 77

 

[Photomorgana]

Hi Leica 77,
Thank you and I like your pix a lot, especially the first one, great composition and bokeh. Sorry, I thought you have the Lux. But Cron is not bad at all and maybe even sharper at f2 than Lux at the same aperture. I was wondering if there is a big difference between Asph and pre Asph Luxes, in sharpness and bokeh. Id think sharpness should be better, but bokeh might be worse with Asph version. One day I might afford both and see for myself

 

[Michiel Schierbeek]

Here are few more samples of 50mm. This time its a big tuna - Schneider 50mm f0.95.
All shots are at f0.95 except last one which was shot at f2.

Great portrait! Very fast lens but the first photo has a little weird backround.
Very special.

Here is one of mine with Zeiss 50mm 1.8 wide open.

 

[Diane B]

I said no more flora somewhere LOL--but here on the farm they are the most accessible. G1 with FD 50 f/1.8 at f/1.8

Diane