21mm Focal length: Use for street photography, documentary, landscape or photojournalistic photography. Gives surrounding context to the subject.

Leica Super-Elmar-M 21/3.4 ASPH: Pros: Wide field of view and deep too. Extensive depth-of-field. Even at maximum aperture delivers outstanding rendition of details and optimum contrast up to its closest focusing distance. Compact, lightweight. Minimal distortion and vignetting. Metal screw-in hood to fend off flare.

24mm Focal length: The 24mm focal length offers a wide POV with natural perspectives, is almost distortion free and without being theatrically wide (eg. the more dramatic and aberration-prone 21mm focal length). 24mm suits documentary, photojournalism, reportage, street (see zone focussing above), landscapes, travel photography, environmental portraiture and architecture (almost no distortion), the 24 mm focal length means converging verticals when shooting buildings are easy to master without having to work from too great a distance). For portraits get in fairly but not too close to avoid distortion, whilst allowing some surrounding context.

Leica 24mm 3.8 Elmar-M: Jeff Melody says this is an underrated lens at a very useful focal length. This lens is sharp edge to edge. Nice contrast and micro contrast that is well balanced. When sharpened the images hold up very well.’

Leica Elmarit-M 24/2.8 ASPH: Serial number: 4036338 (2006). Black anodized. Purchased 29th June 2007 from Wey Cameras (£1,655). One of Leica’s optical greats. One of the best corrected (and most underrated) lenses, Leica or otherwise for this focal length. A lens ‘no Leica lens user should be without,’ (Erwin Puts). Technically) about as good wide open as stopped down – moderately. | Elmarit: F2.8 is fine if not fast for such a lens. Any wider would compromise the aberration corrections and the size and balance of the lens. Build quality: The use of an aspherical lens element makes the lens compact. Smooth focusing and aperture rings (click stops). Both focusing and aperture rings are well dampened which helps maintain a hyper-focal setting (the distance beyond which all objects can be brought into an acceptable focus). Weight: approx. 290g (10.3 oz) black anodized, 388g (13.6 oz) silver chrome. Filter size & mount: E55. Internal thread for screw-in filters. Hood: 12464 or 12592. A clip on rectangular, full-metal lens hood with a screw mount that can be mounted directly on the lens or replaced by a screw-in protector ring when not in use. This allows one filter to be fitted before the filter depth prevents the hood from fitting onto the lens barrel. Viewfinders: One can use the 24mm Elmarit without a separate viewfinder by squinting into the corners of the internal viewfinder. This is possible because the total frame of the RF-viewfinder, including the space outside the 28mm frame, covers 24mm. If the Leica camera body has a 0.58x viewfinder then the outermost frame-line gives fairly accurate estimate of the angle of view. 24mm External viewfinder: Black, plastic, now discontinued (12019). Painted brass black (12026) or silver (12027). The 24mm accessory viewfinder is not optically corrected. It is very bright and clear, gives a good perspective of the wide angle effect. 21/24/28 tri-finder: regarded as inferior to the 24mm External viewfinder above. Performance: Very sharp wide open. Images with depth and a three dimensional quality. Excellent flatness of field (nearly perfectly flat), barely any distortion. Brilliant, clinical image quality. Exceptional contrast, colour saturation, tone, sharpness, detail and resolution, even when wide open. Almost 3D rendering. fine colour shade separation. Desirable blend of reasonably strong micro-contrast with moderate macro contrast (Sean Reid). Interesting rather than standout Bokeh. No astigmatism or coma. Very good flare resistance (especially for a wide angle lens). Sweet spot: f/4. Zone focussing: For most situations one can zone focus, prioritising frame composition via the accessory finder. The rule for successful non-viewed blind shots with the 24mm is the distance from the subject is equal to the amount of coverage for the long side of the film. Five feet from the subject will cover five feet at the subject plane for the short side of the film. Pros: Relatively compact. Superbly flat field of view, super low distortion, super sharp wide open, well corrected. Images with depth and a three dimensional quality. Good bokeh. Very flare resistant (uncommon for very wide angle lenses). Stopping down: Stopping down by just 1 to 1.5 apertures delivers maximum optical performance across the entire image field.The high levels of brilliance and plasticity are retained even in close-up photography. Optical correction of all aberrations. Excellent superfine detail resolution even wide open that changes very little out to the edges. At F4 it’s performance is probably optimal – a great design achievement. Build quality – quality of design, build and finish. 24mm accessory viewfinder: This viewfinder gives a user a”real” perspective of the “stretch” factor a 24mm lens provides. It is not optically corrected. To avoid using it requires an M body with a 0.58x viewfinder in which the outermost frame is a fairly accurate estimate of the AOV (angle of view).

28mm Focal length: A focal length equivalent to 28mm on a 35mm camera is often considered ideal for landscape photography because it covers a relatively wide, natural field of view and potentially more dynamic images than 35mm without introducing obvious distortions. This is made possible by the use of an aspherical lens element.

Leica Elmarit-M 28 /2.8 ASPH: Leica’s smallest, lightest and most compact M-mount lens to date (See also the Summaron 28mm). Optimised for digital photography. A firm favourite with street and reportage photographers. Jeff Mellody suggests this lens is ‘Great for shooting groups of people when street shooting. Stop down to f8, focus to 8 feet and point and shoot. Everything is in focus. True point and shoot A 28mm f2.8 and a 75mm f2.0 make a great 2 lens combo if you like the 28mm focal length.’ There is an Aspherical element for compactness, but there are no compromises in terms of performance. Practically distortion-free from infinity to its closest focusing distance of 0.7 metres. Exceptionally clear view through the M camera viewfinder. Significantly reduced image field curvature in comparison to the previous model. This results in considerably improved image performance with high resolution and extremely impressive reproduction of details. Mine: Black. Serial No.: 4099679 (2006+).  An aspherical lens element enables particularly compact lens construction. It suits street and reportage photography. Mine: Black. Serial No.: 4099679 (2006+). Focusing range: 0.7 m to ∞. Focus ring: Tabbed. Filter thread: E39. Lens hood: The rectangular, full-metal lens hood has a screw mount that can be replaced by a screw-in protector ring when not in use. The plastic hood version falls off (mine did never to be found). Aperture ring: This can move if focussing in a hurry. External viewfinder: 21/24/28 tri-finder. Weight: 180 g / 6.3 oz. Use for:  Well corrected for distortion, ghosting. Very sharp edge to edge but not clinically so, both stopped down and wide open. Very contrasty, with character. High flare resistance. Best for street when you are part of the action you are photographing eg. Trent Parke of Magnum, and street photographer and New Yorker Gary Winogrand (1928-1984). Focus throw is short, ideal for a wide angle with a not too fast aperture. VG for architecture, landscapes, documentary, travel photography (a light carry). Pleasingly smooth bokeh but f/2.8 limits DOF compared to f/1.4, hard isolating subject from background but does reveal reactions of people in crowded backgrounds (eg. weddings). Sweet spot: At f/5.6 and f/8 it is especially good across the full frame. At f/2.8, there is some falloff of contrast, and some vignetting. Negatives: Too slow for low light, night or indoor shooting. One risk with such a physically short lens is the focussing finger appears in the photo. On the M9: As the M9’s internal finder makes objects appear closer than they actually are some prefer to use an external viewfinder (eg. the 21/24/28 tri-finder, see above). On the M10: The M10’s larger rangefinder makes the 28mm framelines easier to see (than on the M240 for example) and the higher magnification makes focusing easier. This is a subtle but definite improvement. Alternatives: Voigtlander 28mm f/3.5 Color-skopar. Weight: 180 g / 6.3 oz.

Leica Summaron-M 28mm f/5.6: Modelled on a screw-mount lens that Leitz manufactured from 1955 to 1963, this modern-day lens from the ‘Classic’ stable has the same look and feel, along with exactly the same optical properties. It’s  small and lightweight (165g). The f/5.6 aperture rating makes it ideal for using the hyperfocal distance and shooting on the fly.

35mm focal length: 35mm is seen as the universal wide angle focal length, very versatile and considered standard in the Leica M system. It is the closest to the focal composition of the human eye. The 35mm focal length pairs moderate wide-angle characteristics with natural dimension making it suitable for portraits (70cm minimum focus) to landscapes and architecture.

The 35mm gives a wider field of view compared to 50mm but this also means there is greater depth of field. When the subject is closer more depth of field helps keep all of the subject in focus. As its FOV is wider than 50mm the 35mm focal length gives more surrounding context. 35mm suits shooting in close–both an individual and a crowd. In places with narrow streets a standard 50mm lens can be too tight, making the 35mm and 28mm focal lengths better choices to capture more context within the scene. Keeping the camera straight is needed to avoid wide angle distortion.

Using a Summilux 35mm at f/1.4 for subject separation is not advised. To achieve subject separation use distances (you – subject – background) at either f/2 or even f/2.8. The difference between the 35mm frame and the 50mm frame at 6 feet from the subject is somewhere in the region of 2 steps. It doesn’t sound like a big difference but being on the streets trying to capture moments and people experiencing their world’s 2 steps it can feel huge.

Leica Summilux-M 35mm f/1.4 M II: My first Leica lens–paired with my first Leica M body–an M6, bought together from Fieldgrass and Gale, London in late June or early July 1994 for £2,000. The lens serial number was 3434038 (Batch of 1500 in 1987 from 3433001–3434500). The more modern version is the Leica 35mm f/1.4 Summilux M ASPH. Use for: Tiny lens, thus discreet. Best in daylight. Pros: No viewfinder blockage. A light carry. Sweet spot: From f/5.6 and up.

Leica 50mm Leica Summicron-M 50 f/2: The flagship lens lauded for the detail it brings out.

75mm focal length: A focal length unique to the Leica M system. The 75mm focal length can be like a more intimate 50mm. For portraiture 75mm gives a slight perspective compression which draws your viewer to subject. It suits nature and landscapes and is ideal for reportage photography. The Summicron 75mm f2 ore “75 Cron” fits between the 50 and 90 mm lenses.

Leica APO Summicron-M 75/2.0 ASPH FLE: Mine: Serial number: 3995506 (2006): Batch 3993946 to 4004757. Jeff Melody says ‘this 75mm has just enough compression to make portraits look more natural but is still easy enough to focus unlike the 90mm Summicron which is hard to get in focus.’ This 75mm the closest focusing highest magnification “tele lens” in the M line-up, and a step up from 50mm without going too far: a longish standard lens rather than a short telephoto. The color rendition is very close to the 50mm APO,’ says Jeff Melody. Design: The 75 ‘cron is one of Leica’s flagship lenses. 7 elements in 5 groups with a “floating lens element” or FLE design, and aspherical surface. Optically, the Leica 75 Summicron is a bliss. It is free of distortion, free of focus shift, free of CA and basically free of most lens errors. It is incredibly sharp.

SD Cards: Use one card and shoot only with that. Download the images to the computer. Delete the images on the card. Put the card back in the camera. Have a backup card that you use only if your normal card fails.

Leica lense language: A Leica lens with a max aperture of f/1 is called Noctilux. f/1.4 is Summilux. f/2 is Summicron. f/2.8 is Elmarit. f/4 is Elmar. The old saying goes: if you travel with one lens only it means the correct lens is always on the camera. If you travel with two lenses, the wrong one is always on the camera. Some argue that the 35mm and 50mm focal lengths work best for Leica/rangefinder photography.

ASPH: ASPH denotes a lens with one or more aspherical elements, to correct optical errors to a higher degree; the implication being that the lens is of very high optical performance. 

APO: APO means that the lens is apochromatically corrected, i.e. all the wavelengths of light focus at the same point and there is no colour fringing. This implies a lens of ultimate performance. In Leica’s case an APO label is given only if the lens is able to deliver apochromatic performance over virtually the entire image field at any aperture and focus distance. Other manufacturers do not adhere to this standard quite so strictly. As for the APO prefix, it should be mentioned that there is currently no legal definition of what it refers to. In other words, the use of the term “APO” on a lens from manufacturer x may refer to a kind (and level) of optical correction completely different than that of another manufacturer. Not all “APO” are created alike. In the case of Leica, the term APO is used only if the lens in question meets the “classical” definition of apochromatic (i.e. a lens corrected for three color wavelengths – not two as is the case with other competitors…) and if the degree of correction of other optical “abberations” (the technical word for a “design” flaw if you wish – there are no perfect lenses!) in both the center and the corners of the image is of a very high degree – much MUCH higher degree of correction than even the best non-APO Leica lenses. In other words, when you buy a Leica APO lens, you are getting something very special.

Floating Lens Elements: Floating elements (FLE) increase image sharpness at the plane of focus. They do this at the cost of lessening image sharpness as you move further away from the image plane in either direction. This loss of image sharpness decreases apparent depth of field. With a “floating element” design some of the lens elements move differentially in regard to each other during some or all of the focussing travel. Floating element design in 35mm photography began in the 20th-century as a method of improving image quality at the plane of focus. This improvement in image quality at the plane of focus was at the cost of lessening of depth of field in front of & behind this plane. 

Two lens-only combos: Some argue that from a FOV (field of view) perspective there is no point carrying two lenses if their focal lengths are less than 2x apart. So 28mm and 50mm makes sense, 35mm and 75mm makes sense (great coverage, easy to carry), or even 35mm and 90mm. 

21mm focal length: The Leica M9, Monochrom, M240 & M246 Monochrom all use Classic metering, which means that the light metre in the camera bases exposure on an oval about 1/3 of the centre of the sensor. It’s very easy to use the light metering with 50mm lenses and so on and get it right. With a wide angle lens you should notice that you often will get the sky (which is usually much brighter than everything else) as part of the 1/3 of the center of the sensor, simply because the lens see so wide. This is how and why the light metre will pick up bright light and underexpose the real center of interest in the photo. Tilt the camera slightly down or away from the strong light source, press the shutter release half down to lock the exposure reading, then recompose and press the shutter.

21mm f/4 Summilux ASPH: It seems this less was designed for shooting against the light, creating the possibility of composing not only two-dimensional, but three-dimensional images using the DOF (Depth Of Field). Peter Karbe who designed the lens suggested the 21mm Summilux be used for portraits because it had no distortion.

21/24/28mm external viewfinder attachment: Mine cost £269 from Wey Cameras 29th June 2007. One reason the 24mm f2.8 isn’t as popular now as it once was is that since Leica sells finders separately even with their 21s, someone who buys a used lens has to scout around for a finder. Leica no longer makes the 24mm bright line viewfinder. Used ones are rather scarce and sell for a premium, and many dislike the 21-24-28 tri-finder, citing its huge size, weight, short eye-relief and lack of bright line (not able to see outside the framelines).

21mm f/2.8 Elmarit ASPH: ‘The 21mm ASPH is among the few ASPH lenses with an “older” fingerprint. It is not especially contrasty like some newer ASPH lenses and shows some light and sharpness fall off into the corners (where the 35 cron Asph for example is sharp into the corners). Think about it. Assuming you will not shoot a landscape or building at f2,8 some softness in the corners is a blessing IMHO because it puts more attention to the main subject, which is more in the middle of the frame.’ (Source: Leica forum thread – 21mm Elmarit-M ASPH Poor wide open page 2). | Contrast The 21mm f/2.8 Elmarit ASPH has a great blend of reasonably strong micro-contrast with moderate macro contrast (Sean Reid).

21mm Asph Leica Super-Elmar M f/3.4: Aka ‘The Sem’ in Leica-speak Pros: Small, lightweight, compact. Little or no distortion. Little or no vignetting. Very good micro contrast. Good for street, documentary, landscape, editorial, reportage, photojournalism, interiors, exteriors. Cons: Relatively slow at f/3.4. Need an external viewfinder. Less good for portraits. | Composing | Use live view (if your M camera has it). Or use the Leica Visoflex Electronic Viewfinder (EVF2). Or use the Leica Universal Wide-Angle Viewfinder M. 

24mm Focal length: 

Leica Elmarit-m 24mm f/2.8 ASPH: On an M10. This lens is all about the subtleties of light flowing from brightness to darkness, so I want as much detail and nuance as possible in the dynamic range.

28mm Focal length: Less distortion than wider lenses. Use for landscapes (incl with people in the foreground), street (less distortion compared to wider lenses), & architecture (sharp images). 

28mm f/2.0 Summicron M-ASPH: The size of the 28mm f/2.0 Summicron M-Aspherical lens remains very close to that of the Elmarit (easier to carry and use and more discrete). However, as the lens size increases, it will block more of the viewfinder. | Lens hood The supplied 28mm Summicron rigid lens hood blocks nearly a quarter of the viewfinder. There is a window in the back of the hood that allows the photographer to see a bit of what otherwise would be blocked, while in the meantime keeping the front of the lens adequately shaded (plus the window instantly tells the photographer if the lens cap is still on). With the lens hood removed, the lens blocks about one eighth of the viewfinder (0.72 magnification) viewfinder, and that results will be different when using the .58 magnification bodies. | Framelines Both the .72 and .58 magnification viewfinders support the 28mm lenses with frames for composition. The higher .85 magnification body can also be used with a 28mm lens, however a separate viewfinder must be used for accurate framing. | Weight The weight of the new 28mm Summicron is only 10 grams more than the Elmarit, and not much more than the 35mm f/2.0 Summicron-M ASPH, or the 50mm f/2.0 Summicron-M lenses.

28/f2.8 Elmarit ASPH: Said to be great on the M9. The 28/f2.8 Elmarit Asph. appears to be a brilliant lens in a very accommodating focal length and would be a worthy candidate for a one-camera solution, but I find that focal length’s areal distortion to be distracting at times and so, if I have multiple bodies or the luxury of time to choose lenses, I like having a wider lens for subjects that suit that view and a narrower lens for subjects that won’t do well with wide-angle distortion

28mm f/2.8 Voigtlander Cosima Ultron: Very sharp even at f.2. Well built, all balanced contrast, handles flare easily. Compact.

35mm Focal length: The 35mm focal length is seen as the universal wide angle lens, pairing moderate wide-angle characteristics with natural dimension. This makes it suitable for portraits (70cm minimum focus) at medium distances to landscapes (with immense depth of field) and architecture. The 35mm gives a wider field of view compared to 50mm but this also means there is greater depth of field. It allows more environment in the frame (see above), good for shooting in close–both an individual and a crowd– and can lead to more powerful images. 35mm’s versatility means it is considered standard in the Leica M system. 

The 35mm’s advantage over the 50mm focal length is its wider field of view, greater depth of field and less distortion. This also makes it better than 28mm for street photography. When the subject is closer the extra depth of field helps keep all of the subject in focus. Keeping the camera straight avoids wide angle distortion. In places with narrow streets a standard 50mm lens may be too tight, making the 35mm and 28mm focal lengths better choices to capture more context within the scene. This particular lens is considered a perfect match for the Leica M9.

35mm is the closest to the focal composition of the human eye. With 35mm the distance from the subject is equal to the amount of coverage for the long side of the film. Five feet from the subject will cover five feet at the subject plane for the long side of the film. At f/16 everything from 4ft to infinity is in focus (at f/11 set at 5.8ft to infinity). This means as a landscape lens both foreground and background are sharp. In low light 35mm gives greater depth of field compared to a 50mm lens.

35mm f/1.4 Summilux: My first leica lens (serial number 3434038), bought with my first Leica body (an M6). I sold it for €1,000 to Siena camera Thursday 15th Feb 2005). Size-wise the Leica 35/1.4 Summilux is a diminutive lens. It is espcially good between f4 & f5.6. At wider apertures it does suffer from astigmatism and may not be compared with its ASPH counterpart nor the 35mm Summicron asph.

35mm f/1.4 Summilux ASPH: Leica part no.: 1874. Serial number: 3987226 (Part of a batch of 299 examples running from 3986844–3987143). Delivers high contrasts (high-contrast available-light), excellent detail rendition over the entire image area, good field flatness, and it has extremely low coma. Because all these qualities remain practically unchanged in the close-up range down to 0.7 m (28 in), this Summilux lens is the universal wide angle lens. I The 35mm lenses are already considered to be standard lenses in the Leica M system. With its large aperture, this lens masters all photographic situations superbly. | Aperture ring The aperture ring has clicks at half stops. FLE The lens has a floating lens-element which retains sharpness when focusing at close range (70cm minimum focus). Very sharp at f/4. | Filter E46 (46mm). | Weight 320 grammes. Focal length: Performance: High contrast (high-contrast available-light), excellent detail rendition over the entire image area, good field flatness.

35/f1.4 on the M9. The moderate wide angle combined with a fast aperture make it suitable for a wide range of situations. Using an M9 here isn’t much of a compromise at all.The M9’s moderate dynamic range makes all of its images quite nice quite easily nearly straight out of the box. For snapshots or observational rather than contemplative photography, say no more: 35/1.4 and M9.

Subject separation: Using a Summilux 35mm at f/1.4 for subject separation is not advised. To achieve subject separation use distances (you – subject – background) at either f/2 or even f/2.8. Sweet spot: Very sharp at f/4. Aperture ring: clicks at half stops. Weight: 320 grammes. Accessories: Filter: E46 (46mm). Front lens cap: E46 (14231). Screw-on lens hood (12551). | Cap for lens hood (14212). | Rear lens cap (14379). Use for: Landscapes and architecture. The 35mm FOV makes allows more environment in the frame (see above) and can lead to more powerful images. It can also be used for portraits.

35mm f/2.0 Summicron ASPH: Compact with high performance optics. Hood: Supplied with compact rectangular hood. | Filter E39. | Weight 255 grams for the black version, 340 grams for the chrome version.

35mm f/2.4 Summicron: Light in terms of weight and price.

50mm Focal length: 50mm lenses have traditionally been considered “normal”. The absence of of distortion produces photos with “natural-looking” perspective at normal enlargement sizes, especially of people, and for documentary photography. It’s no accident that the basic geometry of the M rangefinder is set around the movement of a 50mm lens as you focus it from infinity to closest focus. When it was put together, lenses such as the APO 75mm Summicron and 24mm Summilux were simply not envisaged. 

There exist 5 major versions of the 50mm: 1995 – Present = Summicron V (6 Elements, same optical cell as IV version). This is the version I own. Built in lens-hood

50mm f/1.0 Noctilux ASPH

A new optical formula with ASPH technology and a floating element for increased close focus performance. The standard model, has a 46mm filter size and has both a focusing ring and a focusing tab, and a built-in hood. | Filter E60. | Weight Heavy compared to the 50mm Summicron or the 50mm Summilux.

50mm f/1.0 Noctilux ASPH LHSA Special Edition: The LHSA Special Edition has a 43mm filter size and has a focusing ring but no focusing tab, and a clip-on hood.

50mm f/1.4 Summilux: There are four versions of the 1.4/50 mm Summilux, that came in three different optical formulas. | Type-1 1959-1961 (#1,645,300 – 1,844,0000, circa 12,000 units). This is the original formula. It was produced for only a few years and while it is better than the Summarit, it is soft wide open and needs to be stopped down to at least f8 to really be sharp. There are people that shoot them, but it’s mainly a collectors item. This version was replaced by Type 2 which featured a new optical computation and increased performance (especially at 1.4). / Type-2 1962-1994 (1,844,001-?). This is the most common version of the Lux. A greatly improved optical formula that remained in production for over 40 years (over 40 years until the arrival of the ASPH model and is very, very good). In my experience this lens performs identical to the 3rd generation 2/50 Summicon, except of course it is a stop faster. I also find the Summilux to be far more resistant to flare than any of the 50mm Summicrons. Bokeh is perfectly smooth and the lens produces silky smooth images, especially in black and white. This version has a clip on hood and focuses as close as 1 meter. | Type-3 (Summilux-M) 1995-2006 (no serial numbers available). This version uses the IDENTICAL optical formula as the Type-2 that was introduced in 1962. The only difference is the dreaded built in collapsible hood (which doesn’t lock in place) and a new focusing mount that lets you get as close as .7 meters (70cm) to your subject. Performance is identical to Type 2. The color of the coating on mine is different than on the Type two, but that’s it. | Type-4 2005 – present see 1.4/50 Summilux-M ASPH.

50mm f/2.0 Summicron Pre-ASPH: Version 1 Collapsible. A 1950 design which offers the lowest level of performance of the series). | Version 2 Rigid and DR. Same formula, different mounts. The Rigid/DR is single coated and delivers very sharp, but medium contrast images. | Version 3 Version #3 and 4 are sharper below f5.6 than versions 1 and 2. | Version 4 Initially with clip on hood, now built in hood. Same optical formula as version 3. Unless you shoot test charts, you will have a very difficult time telling version 3 from #4. These are modern high contrast designs. | Version 5 ASPH–see below. The M10’s better rangefinder makes it easier to find that crisp, shallow focus on this lens.

50mm f/2.0 Summicron ASPH

Leica 50mm 2.0 Summicron-M ASPH

Since it’s introduction the 50mm 2.0 Summicron is the standard lens that all others are compared against. Small and fast but exceptionally sharp wide open and obtains it’s highest optical performance at f5.6.

75mm Focal length: The three choices are the  Leica 75mm Summicron f/2.0, Leica Summilux f1.4 and the Cosina-Voigtländer f/2.5 Color Heliar. “Re Sean Reid’s newly published comparison of the 75/2.0 Apo-Summicron M with the 75/2.5 Color Heliar. The verdict on the Summicron might not surprise: probably one of the best lenses money can buy. What almost blew me away, though, is the outstanding performance of the inexpensive CV Heliar. I strongly recommend everybody to read Sean’s review. The 75 Heliar results may surprise many people, especially in the corners. “The “pop” is mostly contrast. The Leica is a slightly higher-contrast lens. It also shows slightly higher resolution on center. As a rule (with some exceptions) the CV lenses tend to be of moderate contrast. That makes for less initial “pop” but greater effective dynamic range with the M8 (if the subject lighting is contrasty). It comes down to taste, intentions, etc. Some prefer more contrast in their lenses, others prefer more shadow info. Neither is universally “better”,” says Sean Reid,” (Source: Leica forum thread: Summicron 75mm versus CV 75mm-Sean Reid’s new review, p.1 Voigtlander CV = Color Heliar 75mm f/2.5).

 

75mm f/1.4 Summilux: Focus shift The 75lux suffers from focus shift wide open.

90mm Leica APO-Sum-micron-M 90mm f/2 ASPH: Vivid colours. Images with a ‘unique 3D feel’. Sharp across the frame at f/2. | Filter E55. 

90mm Elmarit: Filter E46. 

Aperture: Leica lens designer Peter Karbe says ‘aperture is only for depth of field, not light control.

Keywords

Contrast: Sean Reid says “Higher lens contrast does not automatically make a lens better. High lens contrast is indeed a technical achievement but not necessarily one that will make a given lens more suitable for a specific task.” [Source: Leica forum thread – Summicron 75mm versus CV 75mm-Sean Reid’s new review, p.7]

Focus shift: Focus shift is an inevitable quality of all high-speed, small-format camera lenses – but is largely mitigated by Leica’s latest generation floating element (FLE) designs. To the point of practical inconsequence.

Reportage: Manfred Klimek takes: 2 Bodies. No Zooms. First body: 24mm. Second body: 85mm. In bag: 180mm, 35mm. 50mm.

Keystoning: With the superwide angle lenses keep the camera level otherwise to avoid prominent keystoning.

Zone focussing: Henri Cartier-Bresson, a very fast street shooter, used zone focusing. When someone noticed that he had marked 4 meters on his lens with red nail polish he said “Yes, that’s my life: keeping a certain distance from things.” He also marked 125th on his shutter speed dial, [he shot mostly Ilford ISO 100 film] adjusting only the aperture as the light changed. When he had an M3 he taped over the rangefinder window, presumably to get rid of that annoying little rectangle in the middle of the image! All of this made it possible to keep his camera, hanging from its strap, down on his chest, with his hands folded over it, until he saw the shot. Then up it would come, but only for a second, and it would be down and concealed again before his subject noticed being photographed. This was crucial to him, because he needed to go on shooting unnoticed as a situation developed towards that decisive moment. No autofocusing camera is nearly fast enough for that kind of work. He also frequently used, even on his M-cameras, an obsolete 1930s accessory finder called a VIDOM that renders the image backwards and upside down, so as to see the composition in abstract terms. Not many of us would care for that, but the point is that he subordinated everything to seeing – sharpness and correct exposure were not his priorities.

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35/1.4 Summilux asph on one of your M10 bodies for low light shooting with the 35’s fast aperture and the M10’s improved high ISO performance over the M9.

24/2.8 Elmarit on the other M10 so you can use the Visoflex 020 if you wish/need to.

75/2 APO-Summicron asph on the M9 to give you a short telephoto option.

M10 frame lines are optimized at 2m; M9 frame lines are optimized at 1m.  Depending on your subject matter and distance, that could influence your decision. One gets used to framing, but more difficult when your brain must adjust to different tools simultaneously. Two M10s makes more sense to me, although I stick to one body at a time. Besides the frameline distance optimization distinctions I mentioned, the M10 VF has a larger opening, higher magnification and better eye relief. This may or may not result in more or less viewing or focusing ease when using certain lenses. And you’ve probably already considered any differences in rendering (colors, resolution, noise or otherwise).

One of the key benefits of the MM is to retain a b/w mindset throughout the shooting and processing experience. Lens decisions are, as always, dependent on specific shooting goals and conditions.

I would put the 35 f/1.4 on the M9 (needs a fast aperture more than the M10s) and the 24 and 75 on the M10s. Of course, that could also be 28/75 – or 24/50, or any other such mix.

My own personal carry with three lenses, centered on a 35mm, is – bright light, 21/35/135 f/4; low-light 21/35/75

24/2.8 on an M10. This lens (well, at least my 21/2.8 Asph., which I understand is of a similar design) is all about the subtleties of light flowing from brightness to darkness, so I want as much detail and nuance as possible in the dynamic range.

50/2 on an M10. The better rangefinder makes it easier to find that crisp, shallow focus.

35/1.4 on the M9. This is a do-everything lens on a never-say-die body. The moderate wide angle combined with a fast aperture make it suitable for a wide range of situations. I think the M9’s high ISO capabilities are just fine; certainly newer cameras are better, but the M9 is stunningly capable when compared with the film that is my benchmark, and if there isn’t enough light to make a good photo with an M9 then there isn’t enough light for my skills to create a good photo with. I could wax poetic about this lens for hours, and the M9’s moderate dynamic range makes all of its images quite nice quite easily nearly straight out of the box. For snapshots or observational rather than contemplative photography, say no more: 35/1.4 and M9. Not that an M10 is overall inferior — I’d happily take three M10s over three M9s if cost weren’t a factor — but using an M9 here isn’t much of a compromise at all.

Of course, the implied question is important, too: why not the other lenses. The 28 Elmarit Asph. appears to be a brilliant lens in a very accommodating focal length and would be a worthy candidate for a one-camera solution, but I find that focal length’s areal distortion to be distracting at times and so, if I have multiple bodies or the luxury of time to choose lenses, I like having a wider lens for subjects that suit that view and a narrower lens for subjects that won’t do well with wide-angle distortion, ergo my choice here of 24 & 35. The 75mm Asph. has a lot of character in common with the 35/1.4, and I like that a lot, but I simply don’t go out to that focal length very often. I see wide; for me, 50mm is tele, so for my tele lens it would see the most use.

Post: The best results come from the best technical photographs. In this digital age it is still worth getting it right in the camera. “fixing in post” always loses quality. See Jeff Schewe in”The Digital Negative’ where he points out that the principle of GIGO does apply. An essential must-read for any serious digital photographer IMO. It answers about 90% of post-processing and workflow questions that we see in this forum.

One suggestion (I was given ) would be: 28mm Elmarit ASPH, 35mm Summilux ASPH, 50mm Summicron and the two M10 bodies.  That kit should cover 95% or more of subjects, situations and gear needs.

Sensor cleaning video: See here.

 

Bibliography

Jeff Melody Blog