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The Leica Summilux-M 35mm f/1.4 is a wide-angle lens for FF and APS-C, manufactured from 1960 to 1995 (discontinued). The focus is done by Manual Focus, it does not have image stabilization. The average price, when it has been added to the JuzaPhoto database, is 1900 €;
3 users have given it an average vote of 9.3 out of 10.
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The following opinions have been automatically translated with Google Translate.
Cons:After decades, it still costs a disproportionate amount
Opinion:It was the Leitz M lens that I used for the most part on the Leica rangefinder ('90) and I always remember images that I couldn't criticize for the optical performance... the connoisseurs of Leitz to whom I do not even dare to compare myself, will find some fault with it, but I always remember the gratitude I felt towards the Leitz company, for having produced this jewel...
Pros:Size, weight, maximum aperture, versatility, no distortion, soft and pleasant blur
Cons:Very soft and suffers from spherical aberration at TA, it also suffers from flare a bit on all diaphragms
Opinion:Leica's longest-running lens, it was in production from 1960 to 1996, it went out of production only with the release of the second Summilux 35 Asph while it shared the price list with the first Summilux 35 Asph, today it is back in production again with the name of Steel Rim this makes you understand the goodness of the optics. Finally, it is interesting to note that its optical scheme with 7 lenses in 5 groups is the same as the famous and mythologized Summicron 35 mm IV series called KoB (in my personal opinion with a nonsensical current evaluation), but also of the subsequent Summicron 35 mm Asph which entered production in 1996 and is still currently in production (not to be confused with the Summicron 35 mm Apo) and this says a lot about the goodness of the optical scheme pretty much perfect. Personally I used it first on film, then sold it with the switch to digital and a Summilux 35 Asph and then recently bought it again for the M10P ... Having this little gem is a bit like having two lenses in one film and even a three in one in digital and I'll explain myself immediately. On f/2 film it already becomes a well-contrasted and performing lens, on the other hand, having given the optical scheme to its little brother Summicron IV Series it has the same performance, indeed at f/2 even better as the Lux already works at a smaller aperture while the Cron pays the TA ... in digital at f/2 and f/2.8 it has a pleasant softness ideal in female portraits, but the resolution is high and therefore in PP you can recover contrast without problems they also meet the need for an ethnic portrait, from f/4 onwards it offers a very high resolution so as to be able to make important crops without losing definition, the colors are always bright but are very natural, never violent while the rich black and white is always well contrasted, but with many shades of gray. I have deliberately omitted so far to talk about the maximum aperture because it is a story in itself as it is a very soft lens with a low contrast and therefore excellent for evening shots with situations of strong contrast with violent lights and very closed shadows (sometimes too much), its ideal field is night photography in general, theatre photography, photography in concerts (it is no coincidence that it was the preferred lens of Giuseppe Pino, a well-known jazz photographer) but also portraits, perhaps by candlelight, where the candle, thanks to the spherical aberration, takes on a particular iridescence and perhaps a white sweater that takes on a golden halo completes a practically unique rendering, here a classic example https://www.flickr.com/photos/ivandefrancesco/48415994721/in/album-72157675606119063/
Pros:Small, no distortion, risolvenza already at room temperature (calculating the year of design)
Cons:May not appeal to TA for haze, for those who demand perfection, colors than the darkest Leitz, suffers of flare
Opinion:I use it on A7s. My model is fairly recent (I think of 1991). My copy is in excellent condition with lens hood, case, various caps. Let me start by saying that I don't have for a long time (more or less 4-6 months) so I might say something inaccurate. ------------At room temperature is a very difficult to use, as well as for focus (you are likely often to be wrong), but especially for the surrender. Photos at TA have a slight haze (I think it's the fault of spherical aberration), can like it or not but it's the "post production" which makes the lens automatically;-) that characteristic touch and "painterly", it's up to you to find the right picture on which to apply it;-) This doesn't happen more already closing at f/2, while the contrast is great to 2.8. Always at room temperature there is a strong vignetting that honestly I really like (if you want with modern sensors at the end is easily recoverable), but it is thanks to this that the lens vignetting is extremely small. The lens solves very well already at room temperature and the edge improves a lot by closing a couple of stops. By contrast the coma is very present, shooting with light spots in the corners at night becomes a disaster, at night you have to then pay attention or close the aperture by using it on a tripod, this way you will get excellent results. The colors are saturated and bright, but slightly tending toward yellowish. At f 5.6-f8 offers its best with excellent contrast, brilliance, determination. A purpose designed and perfect for black and white, especially on the film (although I am using it in color and on digital MrGreen with excellent results). I already weighed to replace it with the new FLE that for higher costs, would offer a higher quality and less disappointments already at room temperature. But adding an additional variable to take into account when taking (the goal) I found a great challenge, one must have a good knowledge of the target. Moreover, coming from the Nokton I felt already one step ahead optically. I think it's still the second objective that I use more often in recent months. -------Objectives with which it makes sense to do a comparison:---------------Voigtländer Nokton 35 f/1.4 Classic MC or SC (I own MC version)--------doesn't have the typical yield at room temperature of the summilux, has already at room temperature more macro contrast and is absent the sails. Makes it so much easier to use but against some optical defects which I find a bit more annoying as more distortion, less risolvenza is at the edges than in the Centre, higher contrast (SC version should have a lower contrast). Yield remains totally different, despite the aesthetic resembling fifths. The construction is very similar, almost identical (hard not to think that designers Cosina have vivisected a summilux to for inspiration). Here comes the pro that makes me prefer the Nokton at Summilux in certain situations ... you can put on and take off the plug without removing the hood ... home really annoying having to mount and unmount all the summilux-MS-Apoqualia-G 35 f/1.4 Optics------this is the smallest existing 35 1.4 (who knows), produced in limited edition. It will be difficult to see down the price of these products in used but given the limited supplies could prices could increase soon. ----For full review: https://www.juzaphoto.com/topic2.php?t=2361583&l=it&findpost=12657406-----
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The following opinions have been automatically translated with Google Translate.
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