The Summilux ASPH works better in low light and is more flare resistant than the Cron and is as sharp as I need. Plenty more testing to be done with each lens but those are my initial findings.Īfter having the Summicron 50mm and Summilux 50mm for more time I tend to use the Summilux for most applications when chosing that focal length. The Lux can be quite clinical in it’s rendering whereas I think the Cron is closer to the Sonnar with more character. It focuses closer than the Zeiss ZM Sonnar 50/1.5 (Cron = ~0.68M / ZM 0.9M) and is lighter and smaller than the Leica Summilux ASPH 50mm f1.4 (“Lux”) lens. The Leica Summicron 50mm f2 v5 (“Cron”) is fast becoming my go-to 50mm Leica M mount lens. Leica Summicron 50 vs Summilux 50 vs Sonnar 50
50MM SUMMICRON APO MICROCONTRAST SERIES
SeanReid will be posting a series of articles on his excellent website over the next few weeks covering black and white and colour rendering, vignetting and resolution on the M10-R compared with the M10-M and M10-P, together with the Q2 and the SL2.Sample images using the Summicron 50mm v5 on my Leica Summicron 50mm f2 Sample Photos Thanks as always to Emma for putting up with interminable camera talk and with me panicking as the deadline draws nearer! Generations before approximately 1960 were produced in M39 mount ('screw mount'), then made available in M-mount (Latch-on A42), R-mount, and C-mount. For later R series cameras, these lenses could also. The first Summicron was an evolved Summitar collapsible 50mm with Lanthanum glass, and was launched in 1953. It remained in production until 1968, at which time a version with two metering cams was made to fit the new Leicaflex SL (and the subsequent SL2 ). This lens is differentiated by later lenses by its single cam mount. Special thanks also to Paulo Silveira at Leica store in Porto for his hospitality back in March and for a wonderful weekend of Leica talk just before the lockdown The original Leicaflex saw the first release of a Summicron 50mm in R mount. Thanks to its meticulous optical design, high quality materials, and sophisticated manufacturing and finishing process, this high-performance lens is considered to be the reference lens among standard focal lengths. is now available in a silver anodised version. Thanks to Ivor and Elaine at Red Dot Cameras for being such great people and such an asset to Leica in the UK Leica Camera has today announced that the APO-Summicron-M 50mm f/2 ASPH. The Zeiss lens was criticized at the time for its busy bokey. Thanks to Michael Evans at Macfilos, to Silas Slack and to Scott Kirkpatrick for interesting discussions. Back in film times, I could easily see the difference between the Contax G 45mm F2 and the Leica 50mm Summilux : the first is incredibly sharp with lots of microcontrast and global contrast, while the second has a wonderful soft bokey. Thanks also to Andreas Jürgensen Leon Baumgardt and all the beta testers on the Leica forum for fun and informative discussions on LUF (you know who you are!). Thanks to Jesko von Oeynhausen, Stefan Daniel, Viktor Weigant and Brigitta Werner at Leica for answering questions, providing test cameras and being helpful generally. It’s hard to see how Leica can really improve on it without making radical changes in the M11, we shall see! This is a real photographers camera - in my opinion it has the best image quality of any M camera ever made, and it’s a pleasure to use. With the Summicron, Leica set the standard for how a 50mm lens should look and behave, a standard that holds to this day. Forget the speedy and expensive Summilux and Noctilux the Summicron is the lens that earned Leica glass its place at the very top. This time it’s different, and I’m saving up my pennies to grab myself an M10-R as soon as they start shipping. The Leica Summicron 50mm f/2 is Leica’s most famous lens. Generally speaking I get the first iteration of each new M camera and miss out the P and M variants, and so far that’s happened (although I still rather hanker after an M10-D). It has better high ISO, more Dynamic Range, nicer noise characteristics and the raw files are much nicer to work with in post processing, in practice the slightly slower shot to shot times and smaller buffer didn’t cause me any problems (and experiences with the M10-M suggests that it doesn’t cause others problems either). However, the sensor in the M10-R isn’t just higher resolution, it’s much better than the sensor in all the other colour M10 variants. Put like that doesn’t sound too exciting. So, It’s an M10 with a higher resolution sensor, a quieter shutter and an effectively smaller buffer in a discreet ‘no frills’ body.
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