Red Dot Forum Camera Talk: 35mm Leica M Lenses
Вставка
- Опубліковано 10 лип 2020
- Due to overwhelming feedback from the community, this episode is 100% dedicated to 35mm focal length M lenses. We've assembled every single 35mm M-Mount lens, in every version, that Leica has ever produced. From the early 35mm Summars to classic 35mm Summicrons to the most modern 35mm Summilux FLE, we'll discuss all the available Leica M lens options in 35mm focal length.
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Thanks to LHSA: The International Leica Society for helping us out with gear for this episode:
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What makes a 35 so flexible? 3:05
How to decide between 35mm lenses? 8:21
What is the sharpest 35mm? 12:24
Lux 35 FLE compared w/ ASPH Pre-FLE 13:30
What is an FLE? 16:13
The Ultra-rare Summicron 35 FLE 22:04
Which one has the best bokehhh 23:00
Vintage or modern lens for B&W? 28:45
Summicron v4 'bokeh king' 31:32
When was the 35 FLE introduced? 36:21
Is 28mm too similar to my 35? 37:16
How to ID a Cron V4 39:07
Desaturated FLE 42:05
The only Summicron with metal focusing tab 45:45
Lux FLE Ghost Edition 47:10
Cron V5 Black Chrome 49:50
Cron V5 Silver Chrome 51:50
Vintage Summicrons 54:50
Did did glass evolve over the years? 1:01:45
Summarit 2.5 vs 2.4 1:07:35
Why you only need 1 kidney 1:11:33
Will a protruding 35 crash the sensor? 1:15:53
Lux vs Cron at f2? 1:16:44
35 Lux v1 Steel Rim 1:19:45
Are FLE's tighter to focus? 1:22:07
Skip to the answer > 1:26:39
Which 35mm lens has 3D pop? 1:27:10
How does FLE perform on film? 1:30:13
Brass vs Aluminum focusing difference 1:31:18
Shoutouts 1:33:35
Lens Design & OOF Transitions 1:35:25
FLE vs APO-SL 1:38:33
What 1 lens would you take? 1:41:45
Lux Titanium 1:42:25
Are any of these lenses for sale? 1:44:49
Lux Double Aspherical dropped on the floor 1:46:57
Why do PJ's shoot with Cron and not Lux? 1:47:57
Why would anyone want a Summaron? 1:50:17
Can the Double Aspherical be coded? 1:52:17
New Leica 35mm f/0.95 Noctilux 1:52:57
You already have an FLE, what else do you want? 1:57:43
Summicron lens hoods 1:59:01
Ending comments 2:01:38
damn, can’t thank you more
Not all heroes wear capes... THANK YOU, Sir!
Thanks! They said they would timestamp but they rarely do. Sigh. You are a godsend!
I like your double aspherical joke 😊
Here's your 🏆, MVP!
I don’t know what this says about me, but I’m enjoying listening to this while editing instead of listening to music. Haha. Thanks to the whole team for making these Camera Talks happen. 🙏🏻
Awesome. Thanks for tuning in.
It's the podcast that will teach you more about Leica lenses than you ever thought you could know haha
I’ve binge listened to every episode now.
i'm at work editing photos listening to this in the background, occasionally taking a peak at what they're talking about ^_^
These episodes are such a joy - I continue to learn so much, already looking forward to the next one. Thank you for doing them!
You are so welcome!
I think this might be my favorite yet, I love how it's a whole episode dedicated just to 35mm
Thanks!
I love these forum since I learn more about optics and you guys straighten out the Leica line better. I only own one Leica at the moment but had others. I have the 90mm 2.0 Canada pre aspherical lens. I love it’s vintage look
Guys, once again amazing content!!You two are great! There is no such content anywhere else in the world of Leica. Well done !
Thanks so much.
This is such an informative discussion. I think I’ve watched this 6 times for reference info. Thanks for doing this!
Oh my goodness. ... I’m re-listening to this in preparation for the upcoming chat on 35mm APO-Summicron-M lens and I’m hearing David Farkas talking him wishing for the 35mm APO-Summicron- M lens 8 months ago. What a prediction!!!
Really looking forward to hearing about this amazing 35mm APO-Summicron-M lens! Well done guys!!!
Thank you for doing these talks David and Josh. The depth of your knowledge amazes. I do want to offer a couple of small clarifications for folks to consider when deciding between the 35mm Summarit-M f/2.5 or f/2.4: The filter size is E39 on the f/2.5, while it is 46mm on the f/2.4. So, if you use filters, this could influence your purchase. Also, David states that the earlier f/2.5 comes with a "plastic clip-on" front cap. Mine (PN 11643) was supplied with a lovely Leica-branded metal cap with felt ring inside and a black suede leather pouch. Very posh. Also, as David demonstrated, the optional hood (PN 12459) for the f/2.5 has a slide-on plastic shade cap. This hood (PN 12459) does double duty and fits the 50mm Summarit-M f/2.5 as well.
The most informative video for 35mm Leica lenses.
David and Josh, another great program. Lots of good stuff. Can’t wait for the 50s!
Thanks!
Thank you guys! These are very interesting information covering all the Leica 35mm lenses.
Thanks for watching!
I just shot the Leitz version FLE directly into a lighthouse light on tri x....from inside the actual light housing and I cannot believe how well it handled the flare. I will never sell this lens. Truly amazing.
It's ability to handle flare and produce a pleasing image with bright point light sources is one of my favorite aspects of the 35 FLE.
Thanks guys for a great 35mm leica review. Fantastic!
Glad you enjoyed it!
Another great video! Thanks guys.
Our pleasure!
I’ve got a Leica Summilux f1.4 pre-ASPH. When fitted to my m9, it’s superb. Produces film-like images.
Sounds like a good combo!
Can’t wait for the next episode!
For sure. 50mm M lenses is going be a big one.
I have one of the "desaturated" Leitz Wetzlar Summiluxes (43:39) - the 35 Summilux FLE is a truly superb lens. And that edition of it is very nice looking too - both on my black M10P and on my chrome M4.
Thanks for doing these interesting and thoroughly nerdy talks!
I have long wanted a ‘Lux pre ASPH, but put off by prices. And now you have now pushed me towards the modern FLE , particularly as will be on an SL, as well as some older M’s .
And a belated thank you for your explanation (in an earlier Talk) of the added 6 Bit coding. Have been reluctant to get it done for my Summicron 35 (V4) , but will now consider it after ‘lockdown’ , and appears to be good value work.
Good choice! Can't go wrong with the FLE.
I fought the urge to get an FLE for about 3 years. Then, I saw one of the Leitz versions for a steal and it’s just an amazing piece of glass. If you are committed to leica, it is a lifetime lens.
Thanks for this most excellent episode.
realy great folks whart you are doing, especially the explanation of fle. therefore am using vintage walter mandler summilux lenses only with non leica digital body evf... great combi
I was hoping you had shown the stainless steel one as David mentioned! Thats the one I own from the M60 kit. You guys are amazing at explaining and keeping it technical as well as lustful. just an epic presentation
Love that stainless 35 Lux. #droolworthy
@@RedDotForum I got the kit from my local leica store here in San Francisco, used but very minty, I LOVE the simple design and that lens shade is to die for! Thought of selling the body, mind you I love the screen less body, but thought of selling it to recover the money, than I used it for the first time and decided to keep it. good decision, we only live ones, I am 35yrs old and not rich by any means but like my 83yr old Leica friend from Canada says, if you desire it, it becomes affordable, you find a way to save up that money!
Thanks for all this videos really appreciate it will be getting the 35 summilux currently using 50 summilux
Can't go wrong with the 35 Lux FLE. It'll pair well with the 50 Lux ASPH or a 50 APO.
RedDotForum yes using the leica m10p
I've had both together for shooting weddings and each is a lovely lens. However, they are close and so for personal shooting I was always faced with the question of which one should I take today ? Taking a 28mm, or a 75mm was an easier choice, so if budgets had constraints, or bags had weight limits, I'd go for a wider gap. Be interesting in the 50mm review when the Emperors are on the table. A 50mm Lux ..... plus what ??
The most popular focal length, best discussion, thanks
Yep. Can't go wrong with a 35!
I came back to this, hope you dont mind, sometimes i always rewatch the old episodes because it is so quality channel bout leica M information for my case, anyhow, i just aware the andy summers cron II was aluminium barrel since it was black painted, i mean how would they age? The brass look amazing… and what the barrel is made of from the Your Mark Edition?
I enjoy and have learned so much from these episodes. I watched 3 times in full; when it aired, then again when I started entertaining the idea of buying a digital Leica, and now again after doing a ton of digging and reading and even renting an M10R with 50mm 1.4 Lux. Photo walk on my channel if anyone can't get enough of Leica talk.
Thanks again for a terrific episode, super informative as always.
The reports of flaring with the Summicrons in your video and on discussion forums gives me pause when considering purchasing a 50 or 35 Cron. Being a film shooter I wouldn't discover the issue until it was too late. I have a 35mm/2.4 Summarit that I've shot exclusively for the past three years and I've never had it flare once. Makes me wonder why Leica can't make the more expensive Summicron lineup more flare resistant.
50 Cron doesn't have the flare issue, just the 35 Cron ASPH. Remember, Summicron isn't a designation of the optical design, just an indication of maximum aperture. If you're ok with the slower f/2.4 aperture and greater DOF, stick with the Summarit. It's a great lens. Very sharp. Extremely compact. And definitely more flare resistant.
@@RedDotForum Ah ok, I thought both the 50 and 35 suffered from flaring despite not having the same optional design. I plan on keeping the 35/2.4 Summarit but looking to add a 50 to the kit and was considering the latest Cron. If it doesn't suffer from flaring problems then that helps me in my decision. Thanks.
Timestamps would be really helpful!
We will be adding timestamps shortly, as we have done for our previous Camera Talk episodes.
@@RedDotForum No timestamps in the telephoto lens video yet :/
0:00 Start video
2:05:27 End video
@@RS-Amsterdam 🐱
@@RS-Amsterdam haha
Maybe I'm the only one with this opinion but most of the special finishes on these lenses and cameras I
don't care for. Having said that I really appreciate the information provided here and the video is quite entertaining.
35mm Summilux ASPHERICAL is by far the most magical and unique rendering, arguably of all Leica lenses. Its bokeh is distinctive and has a sense of movement about it that the others don't. It's not the same as the FLE or ASPH even though the FLE is 'technically' better.
FLE has been my main lens for 5 years. I was lucky enough to find an Aspherical at almost reasonable price. When I look at photos I immediately recognize the double. FLE technical perfection (somewhat boring) vs incredible magic AA rendering and depth perception
@@jls2975 Nice. I found mine before the prices went crazy too. Stunning lens isn't it? Magical really is the world and very satisfying to own.
+1 on the APO summicron 35mm
We can dream, right?
I wish voigtlander and zeiss lenses were brought into the conversation.
Hmmm. They're certainly less expensive. Are they as good?
@@gewglesux yes,especially later voigtlander designs and the zeiss 35 f1.4 distagon but leica make wonderful lenses of course,,all good for the customer i think?
@@stephenedmunds207 Agreed, I hear alot about VL'R lenses... I'm in the market for an MP so i will check them out also.
YT ads are next level ;)
I finally received my MP.. I was talked out of the voightlander and anything not Leica.
I would 100% attend the super nerdy Josh lens test workshop haha.
Maybe one day!
I have the Summilux pre-ASPH and the Summicron version 4.
Can we see the "Boring Test Shots" of all these lenses? LOL.
Yes, you are insane to talk 2 hours about one focal length - but I love it. I completely agree with you on your view on a potentialy 35-APO-Summicron. Especially with improving resolution of the sensors this would make sense. Thanks a lot.
Haha. But we know we are insane. We love this stuff!
Absolutely - an APO-Cron 35 would be incredible, especially well-suited to the new M10-R. We can hope and dream.
Guys, I really admire your knowledge especially in regards to Leica. One little secret though: I have a Leica Summicron-M that is missing on your table.
Which one?!
@@RedDotForum The silver version comes with M240 Safari. It comes with a round lens hood. I guess the optical design is the same as the current version though.
@@akibabamiri5582 That's a regular Summicron-M 35mm f/2 ASPH, silver chrome "V5" (Leica catalog number 11882) just with a different hood. But the lens itself is identical to the standard production version.
Don't see the 35mm F1.4 M0.8 Cine in your comparison? Leitz vs Leica? I have this 8-piece set to for ARRI and Sony Digital Cinema Cameras using the M-Mount adapter that Leitz offers, but also with my M10. Just wondering where it fits intro the image quality spectrum in your estimation, especially as Leitz indicates the glass is chosen from the best elements available?
David wish came true i guess, data mining showed a 35mm APO summicron is right around the corner. Can’t wait.
how will the vintage AND modern(current) lenses perform with the upcoming high resolution digital cameras starting with the m10m & m10r? Will they perform less? this question goes the same for all focal length. thank you. I always look forward to your videos. cant wait for the 50s show
35 Summarit or 35 Summilux TL for the CL .... decisions :) Another good presentation .
35mm Summilux-TL all the way! It's my favorite lens on my CL.
@@RedDotForum Thank you .
What are your thoughts on the zeiss zm 1.4? to elaborate, I saw that Peter Karbe said the 35 FLE wide open is more adapted to the 24mp sensor as it cant fully resolve the SL2 47mp (andM10R/M10M I guess)... looking at the mtf on the Zeiss it seems that it outperforms the FLE wide open with over 50% contrast at 40lpmm. Have you had a chance to compare with the FLE and notice other differences. a lot of us are probably on the fence between the 2. though the FLE is more compact
I have the 35 Summilux Titanium version. Very nice, but hate the lens hood 12504 as it turns and the lugs are very close to the aperture ring tabs. What is the difference between this version and older versions?
I was wondering how much viewfinder blackout there is with the FLE? Maybe in comparison with the summicron.
Hello from Philadelphia
Just in case your still reading the comments.
I have a 1963 Summaron 2.8 apparently only only like 280 made that year. Still works great on both my M film and digital cameras
Nice!
Thanks for asking.I justified my M9 because I already had lenses for my M3, one of which was a Summaron with eyes (trouble was it had just gotten the awful haze). I found a pristine Summaron (no eyes) and love it on my M10M.
Thanks guys, really enjoying these. I know you guys mentioned this in a previous episode, but, could you go into more detail here in the comments on the image quality differences between the 35mm Summicron APSH V5 and the V6 please? Thanks.
Just responded to a similar question. Basically, they are almost the same optical design. The biggest change besides the barrel mechanics and hood is the move from an 8 blade aperture to 11 blades for more pleasing bokeh.
I’ve seen some side-by-side comparisons of identical scenes and the bokeh looks almost identical in both versions.
Very nice and informative session again. Really appreciate you guys doing this. I have a question regarding the special editions of the Summicrons. You mentioned the black chrome, the black paint versions and suggested that they are of good values to collect. How about the safari version? Is that of similar collect value? Thanks.
Yeah, Safari (olive green) lenses are always very cool!
Is there any image quality difference between a modern lens (FLE) and an vintage lens on f8 or f11? Thanks for Help.
Toward the end you talked about the summaron 2.8 on digital, but what if you’re shooting with an M3, black and white only, Ilford HP5 pushed to 1600 - would it make any sense for me to upgrade beyond the Summaron 2.8 with goggles which I have right now? I’m having trouble finding this type of info - ie if I’m film only like this, should I consider upgrading or would it not really be worth it?
I’m using a Summaron 3.5 with an MP because of the crazy compact size but I’m starting to see that its hard to get stronger contrast (obviously) in most light. What would you guys suggest for an upgrade that is different enough in terms of micro contrast (not vintage looking, but not overly modern), excluding the FLE? Other than the usual travel pictures, i take a lot of indoor shots. Thanks in advance!
If you shoot a lot indoor with film,I believe that f1.4 is the way to go.
Can I get a picture of both 35 summicron v5 and summilux fle next to each other. Just for visual size comparison.
Thank you very much for especially M lens videos. I have couple of questions. 1- 35mm summicron asph v2 ( after 2016) is it prone to flare issue than the previous version? It has the longest hood. In some tests, ıt looks more prone to flare. 2- In daily practice is there a real difference between de Asph and double Asph Summilux? 3- what is your opinion about the commonly accepted case, has asph non fle summulux creamier bokeh than the fle one?
To answer your questions:
1) The 35 Cron ASPH v1 and v2 share the same optical design, just with a change to the number of aperture blades (8 vs. 11) and an update to the physical barrel and hood configuration. So, yes, they would both be susceptible to flare under the right circumstances. Bear in mind that the hood is of little value if the illumination source is in-frame, which is often the culprit.
2) The ASPH is a refined version of the original Aspherical. From a pure performance point of view, the newer ASPH will be the better lens. But the Aspherical (Double Asph) is special due to its place in Leica history and how rare it is.
3) I think this is a myth. The bokeh on the 35 Lux ASPH and 35 Lux FLE are very similar, and we have zero complaints about the FLE bokeh.
Thank you for your reply.
David got his wish granted, 35mm APO summicron :)
Wishes to come true! :)
V4 may be the lightest 35 Summicron, but it is not "the lightest 35mm lens 'Leica' has ever made" unless you exclude lenses made by Leitz (a technicality since the same company). The lightest 35 mm lens for Leica was the first 35mm lens for Leica, the TINY 35mm f3.5 Elmar.
Is 35 Summicron V4 #11882 exact same built quality and specs as 35mm Summicron on MP 240 Safari, Black Chrome limited edition and Black Paint?
How does 35mm M lenses perform on CL for portraits (50mm equivalent)? Don't own any M lens nor Summilux-TL 35mm, but when looking to buy 35mm, TL variant feels too heavy for travel. Either modern or vintage Summicron-M is light on paper, but isn't f/2 on cropped sensor too slow for portraits?
The 35mm M lenses work fine on the CL, but quite honestly, I'd go for the 35 Summilux-TL every time. The lens is extraordinarily sharp wide open with fantastic bokeh. Perhaps the biggest advantage is that the TL lens focuses down to 0.3m versus 0.7m on the M lenses. This allows for some incredibly shallow depth of field, despite the cropped sensor. And of course, autofocus and auto aperture is nice to have as well.
Great info, great job guys :)
I have a question, I'm from Malaysia and I had v4 35mm summicron, I would like to send it for service. Is there any place I can send my lens for service/CLA in Malaysia or neighbour country that is trusted?
I am a long time Leica user, M and R, in Singapore. For lens servicing, I send mine to Leica Singapore and the lens will be sent back to the factory. There is a Leica Store in Avenue K in KL. Is your 35mm 'Cron, the 7 element and 4th version? Then it is the bokeh king. I used to have this but I prefer the 35 mm 'Lux-Asph, non-FLE.
Here are some M and R photos, nns555.zenfolio.com
On my 35 FLE shot wide open on an M-10 there is noticeable vignetting. Is that standard with this lens.
Yes, this is part of the character of the lens. The vignetting should be gradual and pleasing not abrupt. Stopping down to f/2.8 eliminates most of the vignetting.
What's the difference between the Summicron 35 ASPH and the Summarit 35 2.4 both shot at F2.4 in terms of image look and bokeh and sharpness?
Both have very similar sharpness in the center, with the Summicron offering a bit nicer bokeh due to the 11-blade aperture. The Summarit has less vignetting, but the Summicron features more dimensionality and produces a more classic "Leica look."
Do you have a link for the lens hood cap that fits the plastic lens hood for the 35 2.0 and 28 2.8.
Here ya go: leicastoremiami.com/collections/match-technical/products/lens-cap-lc-sr-02-for-leica-hood-12524-12526-by-match-technical
RedDotForum ... did not find it in Germany, you’re shipping to Europe?
Is there a difference optically and on the image quality between the 35 summicron ASPH 1 vs the ASPH2?
Not really, no. Optically, they are almost identical. The bokeh will be smoother with the v2 since it features 11 aperture blades instead of 8. Points of light will be more circular and pleasing.
@@RedDotForum thank you for this. Keep it up!
In 2024, when buying for a 35 summicron would you choose the bokeh king v4 or the most recent ASPH v5?
I'd love to hear a question I can't get an answer to addressed. With the Leica M10 Monochrom and the soon to be announced M10-R, is there any issue with the M's lack of image stabilization? With 24+ MP, now heading up quickly we are way past 35mm film resolution capability. The wisdom in film from 35mm to 120mm was always that the more resolution one paid the price with increased potential for motion blur. Might the trend toward more and more and more MP render the M system obsolete (at least for the modern market)? Is the M10 Monochrome more susceptible to motion blur than the M10 or previous digital Ms?
It is not an issue. I find is laughable on camera reviews when people mention the lack of in camera stabilisation can result in blurred images. My thought is always "Millennials" I have been shooting for 42 years most of these without any in camera stabilisation. I still shoot with the M system and there is still not need for IBIS anywhere.
There is certainly more demand put on the lenses and on the photographer's technique as resolution increases. The SL2 with 47MP features IBIS which does help considerably in this regard, but we haven't experienced any issues with the 40MP M10 Monochrom. The key is to keep shutter speeds a bit higher than you might on the 24MP standard M10. If you haven't seen it, check out our M10 Monochrom Hands-On video with tons of low-light sample images: ua-cam.com/video/XU4rjFXfupU/v-deo.html
@@PatrickColpron Hi Patrick and thanks. I don't think this is laughable nor a silly concern of a particular age group. With more resolution an image is more susceptible to camera shake issues ( the reciprocal rule). The M system was built around 35mm film and its limitations. This is in part why 35mm ( and the M system) are often the chosen format for on the move photography (street, wedding, photojournalism, you name it). Medium format is less a perfect match- in part because of the increased resolution and its correlation with susceptibility to camera shake issues. The question deals with the most recent release in the M line (the M10 Monochrom ) and future (including the M10-R) higher megapixel cameras in the M system. Success shooting on 35mm film Ms and up to the standard M10 (24 Megapixels about the digital resolution equivalent of 35mm film) for however long does not address the question of how the M system (designed originally for 35mm film and its limitations) will perform as we begin increasing resolution into the medium format digital equivalent in the future.
@@scottbrennan4008 I wonder why I even try to talk based on experience. IBIS is a crutch no one needs to make sharp photos with even high mega pixels cameras. But what do I know... right?
@@PatrickColpron As resolution increasingly moves upward image stabilization may very well be just as much of a crutch as a tripod is and was for medium and large format photography. We are entering a new place for hand held cameras concerning resolution and image size. I too have been shooting M's for an extremely long time, but with 35mm, 18 and 24 MP. Those experiences don't guarantee that with increased MP into the medium format range equivalents I will see the same results. That's why I put the question out there. I'm not trying to insult anyone, just asking a question. Best!
Hi is the NOCTILUX-M 50 F/1.2 ASPH is better than the SUMMILUX-M 50MM F/1.4 ASPH ? Any advantages of the Summilux ?
The 50mm Noctulux f/1.2 is a re-issue of a classic design fom 1966. The 50mm Summilux ASPH is a modern floating element design. The 50 Lux is a superior lens from a purely performance perspective. But the 50 Noctilux f/1.2 gives an unmistakable vintage look and feel that is impossible to replicate with a modern lens.
Anything lower than f/1.4 is a Noctilux. I am sure Leica can build a Noctilux 35, as Voigtlander already released three versions of the excellent Nokton 35/1.2. I am sure Peter Karbe can make this happen.
When the 28mm episode? Thanks!
Video @ 1:18:04 "right into the SUN" - Of course you want to warn NON-metal shutter camera body owners, that a SUNBURN to the rubberized silk curtains (ALL M's upto M7) can occur within ONE second; think of a magnifying glass on a dry leaf in direct sun...😮
Video @ 1:24:01 "some FLE's with heavier focus rings" - There are two SEPARATE helical teams. The difference in lubricant failure/aging/degradation causes these odd variations.
As with cars, precision watches, lenses and cameras, it's certainly not prudent to run a bunch of OLD acidic oil & grease thru precision & polished surfaces.
So contrary to what's been stated in this video, don't force/"work-it"/"fidgit"/exercise the unit through cycles unnecessarily; get them serviced !
I'm a Nikon F mount shooter. I'm planning on getting into the Nikon Z mount system next year given all my F mount glass and I'm very much entertaining the idea of using a Leica M 35mm lens on a Z body. Am I crazy? I'm thinking it would make a very nice compact setup for a Z shooter. I would love a Leica body but don't see one in the near future.
Not crazy, but the best use of Leica glass is on a Leica camera. As always, we'd suggest trying one out for yourself. Leica doesn't get enough credit for their digital camera bodies. From ergonomics to build quality and the gorgeous files they produce, you'd be hard-pressed to get a similar experience with anything else. And their new Change to Leica promotion might help you move in that direction.
www.reddotforum.com/content/2021/11/leica-launches-sl-system-trade-in-promotion/
yah yah yah yah mhp mhmm mhmm yah yah crazy!
No doubt, Josh is a hyper guy!!.
Josh is simply enthusiastic! He loves this stuff.
Will an Apo Summilux or Apo Noctilux be a possibility in the future? Thoughts?
Anything is possible...but is it likely? Probably not. The 35 Summilux FLE is already an outstanding lens. Improving on it would be challenging. A 35mm Noctilux sounds intriguing for sure. It would be massively large and tremendously expensive. But, there's some precedent with the recent 75 Noctilux and 90 Summilux. Ultimately, we'll have to see.
You left out the Leica MATE(medium angle trim-elmar).
Are any of the M lenses weather sealed.
M lenses are not weather sealed, but due to their extremely high-tolerance all-metal construction, they offer some inherent resistance to the elements. I wouldn't risk shooting under a waterfall or in a rainstorm, but a a little drizzle won't hurt them. Just make sure to wipe off any water droplets so they doesn't accumulate.
Obviously what you won’t say about the limited editions is that while they are all current, at the time, few, if any of them will actually be used. This is my main issue with the whole limited edition policy. They are mainly bought by collectors who will never use them because that reduces their value.
Good
Guys, please publish time codes!
Didnt canon create floating lens elements first
I have a friend who claims he sees x-pan wide. Me, on a contrary feel like I see square:D I miss so many moments it’s embarassing
Can you sequence a monochrome lens build up for your dream bag. Where does the 35 sit in the context of 28/50/75/90 and where do 35 variants fit in. Love these shows. Best reviews of anything I've seen.
My ideal Monochrom kit *is* my standard M kit: 18mm Super-Elmar, 24mm Elmar, 35mm Summilux FLE, 50mm APO-Summicron, 90mm Elmarit
The 35 Lux is by far my most used lens. Everything else is built around it.
If you haven't seen my M10 Monochrom video, I shot with this exact kit of lenses: ua-cam.com/video/XU4rjFXfupU/v-deo.html
For better pictures (more time, more interesting subjects), you can read my M246 Monochrom review. Again, same setup of lenses. www.reddotforum.com/content/2015/04/leica-m-monochrom-typ-246-review/
Of course, I could recommend additions/subtractions like the 21 Super Elmar, 28mm Summilux or 75 APO-Summicron, all of which are outstanding as well, if you wanted to shift the focal length selections a bit. Regardless, I'd still build around the 35 Summilux.
Many thanks.
There are three on your website. Is the difference in price an aesthetic / special edition concept or are there technical differences? With thanks@@RedDotForum
I think we could have used an additional hour or so.
Haha. Gotta leave you hungry for more!
At 2x speed you guys sounds just like Ben Shapiro. :-)
Pro's using crons: Luxes (all 1.4 etc lenses, not only Leica) where called 'dentist lenses' among pro's, for amateurs with to much money. 2.0 was good enough.
This is definitely not true.I have three friends pro photografers.All of them use only f1.4 and also say exactly the opposite that all pro photografers use only f1.4 (my friends say this).
@@nickcr3919 How old are your pro friends? What type of photography do the do? Are they real Pro's, earning a decent yearly wage out of their profession or do they just sell some work from time to time?
My point is this: Real world commercial (Professional) photography means that you have to be very versatile, especially listen to the demands and visual wishes of your client. That means that you can rarely shoot at 1.4 because than all you pictures look exactly the same. In real life your clients need context around their subject, meaning stopping down considerably. In other words, in real commercial work environments 1.4 is seldom used and therefore a very expensive lens versus it's actual usability, 'how many shots did you create on 1.4'? If that is 'almost everything' than I would hesitate calling someone professional, more an artist-like person selling photographs, with a very limited artistic vocabulary, shooting everything the same way, at 1.4
Within the first 15 minutes, I learned that 35mm Zeiss lenses were not included in this two-hour discussion. l stopped listening as soon as I learned that only Leitz M-mount lenses would be discussed.
Floating lens element revolutionary? Sure when Canon introduced floating element lenses in the early 1970's...
Video @ 9:58 "GO FASTER" - Com'on Josh, I realize that you're young & impatient. But please, what David has to say is very important & interesting, so stop making your answering a high volume of questions paramount to the quality of the content. Allow him to speak at his pace; very annoying...
thought the m analog episode was very good, thought this episode was garbage , would have been better picking up on the difference and evolution of the lenses through time as you did with the m cameras ... just talking about the most popular and expensive or famous lenses was boring and missed the mark .. I have a 35mm Summaron f2.8 .. would have been interesting here something of these lenses and the models before ..
I feel like these two actually hate each other 🤔
Yes!!! The passive aggression is palpable. They’re like two sex-offenders chatting in therapy, avoiding the elephant in the room.
Barry Doyle 😆yer something like that.
Josh needs to talk a little slower. I can understand all you say but it seems like you're just flying thru a point. It's also uncomfortable listening to you. Your words have no flow