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The Leica Summicron-R 50mm f/2 is a standard lens for FF and APS-C, manufactured from 1964 to 1976 (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 €;
17 users have given it an average vote of 9.6 out of 10.
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Pros: Exquisite rendering, decent sharpness wide open, good bokeh, excellent manufacturing quality, excellent handling, good value for money, easy mount conversion.
Cons: outdated coatings
Opinion: I have the second version (with built-in shade). It was already converted to Nikon mount when I bought it, so there are no diaph nor electrical couplings. Conversion is rather easy (from my limited experience with a 180/4). The Summicron R has been my favourite 50mm lens on the Nikon Df, alongside the Zeiss Milvus 50/2 (macro). While the latter is better in every respect, the rendering of those two lenses is very different. The Summicron is able to produce exquisite images, with lots of details, little aberration, and intermediate contrast (compared with the Zeiss). One should not shoot against the light, that's all.
On mirrorless bodies (Zf), the handling is slightly less comfortable, as the manual closing of the diaphragm will "darken" the image in the viewfinder (make it look noisy, that is). Of course you get DOF preview as a compensation. Also, the rotation direction of the focus ring is opposite, compared to Nikon lenses, so you'll have to get used to it.
The following opinions have been automatically translated with Google Translate.
Pros:Photo rendering, build quality and materials, price
Cons:Not easy to use against the light due to outdated anti-glare coatings
Opinion:I have the first Wetzlar version and it's my favorite lens among those I have (I prefer it to the Canon 70-200 f2.8L and 50mm 1.8 STM) because the rendering of the photo is unique. I use it on Canon R6 via K&F Concept adapter. The colors are simply beautiful and without casts. At F2 the shadows are more "open", less dark than the other lenses. The blur is beautiful, more bubble-like than the creamy Canon L and gives the photo a three-dimensional rendering. At F2 there is vignetting but it is nice, closing the aperture disappears. In in-focus areas, sharpness is perfect, and the transition between in-focus and out-of-focus areas is smooth. In some backlit angles the contrast drops a lot, but after a little experience you can get excellent results. On the other hand, in backlighting at F2 in the morning or at sunset you can create very beautiful effects such as a rainbow arc or the circular reflection of the lenses with a cross inside. I recommend this lens to those who want to upgrade from the modern 50mm f1.8 as I did and also to those who already own a professional 50mm but want to try to have photos with a different rendering.
Opinion:The Summicron R 50mm, speaking of what I own or the first type with VI or 44mm series filters, as typical of Leica optics, is able to add the Z axis to the photographic representation, where normally only X and Y are present. Using films such as the Ferrania P30, the Kodak Ektar 100 or the Rollei Superpan 200, it becomes almost instinctive to stretch out your hand to perceive the depth of the subject on the prints. The colors vibrate, the B / W has a sculptural quality. He doesn't even blink with his Elpro in close-range shots. The build quality, attention to detail and materials are moving. Mounted on a Leicaflex SL or R8 you feel armored and enjoy the world through their sights in Cinemascope. Of course it should also be added that Leica does not give anything even if, new or used, it is worth every penny of what it costs.
Pros:build quality (like all Leitz Wetzlar optics), bokeh, sharpness, colors
Cons:f2 vignetting, especially in version 1 (more a feature than a defect) and focus-shift on version 1 at closed apertures
Opinion:Two more masterpieces by Walter Mandler. Owning both versions (the first black and the second limited Safari - Made in Canada), I can only confirm what Marco Cavina wrote: they are two optics with different characteristics, the first is optimized for infinity, while the second, for short-medium distances. It follows that the second version is more suitable for everyday photos (portrait, street, etc.), while the first is more suitable for landscape photos. To fans of Leitz Wetzlar optics, I can only recommend the purchase of both, while to photographers, I can only say to try both and then decide which one best suits your photographic style. Surely you will be fascinated by both and it will be difficult to decide. I use them both with Fujifilm X-T2 and X-E3 bodies, with great satisfaction, both for the focus (focus peaking) and for the photographic rendering.
Pros:What model are we talking about? I think you mixed it all up.
Cons:There is some confusion in the re-comes of this goal.... let's see each other clearer...
Opinion:...... what model are we talking about? There are two models: the first one in 1964 (which should be the subject of this re-enactment as indicated in the list of re-enactments) is without integrated lampshade, was built only in Germany (in the 1960s leitz had not yet decentralized the assembly units in other countries for reasons of production costs) and is optimized for infinity. And the second model (which is absent from the list of reviewations) of the eighties conceived by Walter Mandler (to which we also owe all summicron (35, 50, 90) modern r and m, the 19mm f/2.8, the apo-telyt, some summilux, etc. In short, all the most famous leitz objectives), with integrated lampshade, optimized for medium distances and assembled in different assembly lines leitz in Germany, canada or Portugal but absolutely identical being precisely the same model only that was assembled in different units relocated for reasons of labor costs. For more than a year and a test visit the marco cavina website http://www.marcocavina.com/articoli_fotografici/Leitz_Summicron-R_50mm/00_pag.htm
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The following opinions have been automatically translated with Google Translate.
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