Because very many lenses Leitz/Leica have made so far are starting with Summi. So, we just dropping confusing part. Believe it or not, it is very difficult for me to remember which one is Summarit and which one is Summitar after I have tried both. With Summicron which I have tried three and Summilux I don't have money for. All are Summisomething. And then where are Summar and Summarons to add even more confusion. And I have tried them as well.
So, at least it is easy with just Lux and Cron.
What's so hot about the 50 Summicron version IV that I keep hearing about?
Yes indeed, it has more bull$hit. I mean bokeh.The Noctilux is faster, and so, better.
Yes.The thing that's so striking to me is that even on film, almost all of the current crop of 'ultimate' so-called 'no-compromise' lenses are all very sharp etc & yet completely devoid of any real character. The pre-aspherical rangefinder lens era seemed to offer a better compromise between character & resolution, distortion control etc, & in turn those slight quirks contribute quite strongly to the 'feel' and emotional character of the subsequent imagery. An imperfectly corrected lens may be exactly what is needed to communicate perfectly with the audience.
So, what is so special about this lens? What is the design?
It seems like many of the Leica lenses before this should also have been APO (APO is kinda passe by now). Engraving APO on the lens barrel is seen as marketing hype...and is so last century!
Seriously, what makes it so special? (and, please spare me the usual Leica fan boy speak..please just use plain old technical terms...like, "it has 8 element in 5 groups, a modified planar design", etc).
I always wonder why people say 'cron' instead of its full name, summicron.It is confusing for us non Leica folk.
Some Leica lenses with APO design has no APO label on them.
I'm not sure if it will makes sense for you, but just in case:
http://lenspire.zeiss.com/en/article/achromat-and-apochromat-what-is-the-difference/
That was an interesting article, thanks. If I would have been shown the example images (with the model, but minus the notes about color fringes) and asked about the differences between lenses I would have picked the APO as noticeably sharper but probably wouldn't have noticed the fringing issue. I can appreciate the pursuit of ultimate quality, but I guess that last little bit isn't for me.
I think, APO is post film era technology. To me APO is about ultra-fine presentation of color and it is most visible on digital sensor.
While on film it might be next to useless attempt to refine something not really present or to make something better, while is not so critical for many.
Process lenses were apochromatically corrected well before WWII. Postwar came the Apo Lanthars, although they had only a "relative" apochromatic correction compared to say a Goerz Artar.I think, APO is post film era technology. To me APO is about ultra-fine presentation of color and it is most visible on digital sensor.
While on film it might be next to useless attempt to refine something not really present or to make something better, while is not so critical for many.
I much prefer my J-8 lens than the Leica Apo Cron. The extremely light, clickless aperture ring allows me to get shots I never could with the Cron. It prevented me from capturing the decisive moment.
I much prefer my J-8 lens than the Leica Apo Cron. The extremely light, clickless aperture ring allows me to get shots I never could with the Cron. It prevented me from capturing the decisive moment.
Some people are special.Really? Prevented to that point?
Really? Prevented to that point?
Yes. Really. That's the whole point of capturing The Decisive Moment. It waits for no-one. Any slight delay, any hesitation, and it's gone. Gone. (gone gone gone)
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