Voigtlander Nokton Classic 35mm F1.4 II VM

Leica isn’t the only brand offering M-mount lenses. Some other companies have also launched lenses for the Leica M. In the days of film, some Japanese lens manufacturers would make their best lenses into Leica mounts. For instance, there’s the Konica Hexanon 28mm 2.8, the Konica Hexanon 50mm 2, the Konica Hexanon 28mm 2.8, the Konica Hexanon 50mm 2.4 limited edition, the Konica Hexanon 35mm 2 limited edition, the Konica Hexanon 60mm 1.2 limited edition, the Konica Hexanon 50mm 1.2 limited edition, the Konica Card Hexanon dual 21-35 3.4-4 dual focus head limited edition. Also, we have the Minolta M-RIKKOR 40mm 2, the Minolta M-RIKKOR 28 2.8, and the Minolta M-RIKKOR 90 2.8. There are also the Ricoh GR 28mm 2.8 L39 limited edition and the Ricoh GR 21mm 2.8 L39 limited edition. There are also Rollei Sonnar 40mm 2.8 L39 Limited Edition, Rollei Planar 80mm 2.8 L39 Limited Edition, Minolta G-Rokkor 28mm 3.5 Limited Edition, Pentax Pentax 43mm 1.9 L39 Limited Edition, and so on. Today, I want to talk about Voigtlander’s 35mm 1.4 lens.

The Voigtlander M-mount 28mm f2 lens I have used has distortion, and this 35 1.4 lens also has distortion, especially when compared with the original Leica 35mm lens. This kind of distortion will not always be noticed by you. It can only make you feel a little unnatural under certain circumstances. If you use Leica lenses for a long time, you will have a mental expectation of the photos you take. If the expectation of Leica lenses is 90 points, then if you switch to Voigtlander, I will adjust it to 60 points. Hey, this is the feeling, you can’t The standards for Leica require Voigtlander.

It’s not a Leica. The details in the dark areas aren’t as sharp, the grayscale isn’t as natural as the Leica, the highlights are easily uncontrollable, and the performance on a digital camera isn’t as good as on film. But the price of the Voigtlander vm35 1.4 is very attractive, and what’s even more attractive is its appearance. It looks exactly like the Leica summilux 35 1.4 first edition.

I’ve found that the multi-coated version of the Voigtländer vm35 1.4 mc doesn’t quite match the color quality of the Leica summilux 35mm and Zeiss zm 35mm 1.4. The color is a bit unnatural. The single-layer coated version of the Voigtländer vm35 1.4 sc is great for shooting black and white, and it’s really good for shooting black and white film.

I wouldn’t recommend that Leica M users start with the Voigtlander vm35 1.4 as their first lens. It doesn’t match up to any Leica 35mm lens, and you can’t appreciate the wide-angle advantage of Leica rangefinder cameras. On the other hand, if you already have a bunch of Leica 35mm lenses but like the way the Voigtlander VM 35mm f/1.4 Nokton Classic looks, then I think you can go for it.

Leica Summicron-C 40mm f2 / minolta m-rokkor 40 f2

Leica Summicron-C 40mm f2 / minolta m-rokkor 40 f2

This 40mm lens from Leica is one that gets overlooked a lot. I actually enjoy using it for photography. And its imaging is also in line with Leica’s color style.

This lens was designed by Leica for use with Leica CL film cameras and is designed to be portable. There are three versions in total, and the optics are basically the same. The 40mm viewfinder range is between 35mm and 50mm, which might seem a bit weird for some people.

The workmanship of this lens is average, whether it’s the Minolta version or the Leica version. It’s not as good as the Leica Summicron 35mm lens. The good news is that the price is pretty reasonable. People say this lens isn’t great in bright light. It’s not ideal to face the light directly in front of the lens.

The Minolta 40/2 Rokkor is basically the same as the Leica Summicron-C. You can use this lens just like you would use a Leica. In fact, it’s just as sharp in the center as the Leica Summicron 35, and the color is similar too. However, the sharpness of the image does decrease quite a bit at the corners of the maximum aperture. I’m not too concerned about the slight blurring at the corners. The blurring creates a special hazy atmosphere. However, it’s best to avoid leaves and branches when choosing a background, as the blur will look messy and unflattering.

The Leica CL is a unique addition to Leica history. Designed by Leica and produced in Osaka, Japan. It comes with two lenses: a 40mm and a 90mm, both of which are true to the Leica style. Unfortunately, the CL was only produced for three years before it was discontinued.

Normally, the Leica CL is also seen as part of the Leica M camera family. To keep the weight down, this 40/2 lens has a simplified thread pitch design, so the focusing accuracy isn’t as good as a normal M lens. But for a Leica lens with an f2 aperture, it’s definitely worth it.

Leica Summicron-C 40mm f2 / minolta m-rokkor 40 f2
Leica Summicron-C 40mm f2 / minolta m-rokkor 40 f2
Leica Summicron-C 40mm f2 / minolta m-rokkor 40 f2
Leica Summicron-C 40mm f2 / minolta m-rokkor 40 f2
Leica Summicron-C 40mm f2 / minolta m-rokkor 40 f2
Leica Summicron-C 40mm f2 / minolta m-rokkor 40 f2
Leica Summicron-C 40mm f2 / minolta m-rokkor 40 f2
Leica Summicron-C 40mm f2 / minolta m-rokkor 40 f2
Leica Summicron-C 40mm f2 / minolta m-rokkor 40 f2
Leica Summicron-C 40mm f2 / minolta m-rokkor 40 f2
Leica Summicron-C 40mm f2 / minolta m-rokkor 40 f2
Leica Summicron-C 40mm f2 / minolta m-rokkor 40 f2
Leica Summicron-C 40mm f2 / minolta m-rokkor 40 f2
Leica Summicron-C 40mm f2 / minolta m-rokkor 40 f2

LEICA SUMMAR 50mm f/2

This lens was designed by Berek, the first designer of Leica, back in 1933. At the time, it was mainly designed to go up against Zeiss’ Sonnar lens. Leica Summar 50/f2 is produced in quite a lot. Because they’re so old, these lenses almost all need some maintenance. The good news is that it’s a great deal.

The glass on Summar’s camera is pretty soft, so it’s prone to scratches, which will reduce contrast. The matte paint inside the lens is also peeling off, which will also reduce contrast, so it’s probably best to use Summary for black and white photos. If you don’t have this mindset, it’s probably best to avoid using Summary.

When the Leica Summar50 is set to f2, it produces a blurry light at the edge of the highlight ratio, but some people like this feature. They say it’s a hazy, romantic look. This kind of light diffusion and infiltration effect can’t be achieved with software. The Summar disperses intense light throughout the entire image without overexposing any area, giving it a warm, charming tone.

The summar have a surprisingly high center sharpness, but it’s not the kind of sharpness you’d expect in a modern lens. The details are very rich and delicate. This lens is great for capturing elegant and romantic portraits. It creates a soft, atmospheric effect, which means you’re not just capturing an image, but an emotion.

The double Gaussian structure of Summar 50 uses six pieces of glass, while the Tiansai structure of Elmar 50mm 3.5 uses four pieces of glass. Adding more glass will reduce contrast and make it easier to glare. The double Gaussian lens requires more coating than the Tiansai lens. It’s still too early for the Summar lens to be coated, so the contrast is smaller than with the Tiansai lens.

The 1933 non-retractable Rigid version was produced in fewer than 2,000 pieces. Agfa also made a custom version (the aperture ring is notched), a folding version, a nickel version, a chrome version, a black version (the front ring is black), and different versions in meters and feet.

The Summar50 f2 is a pretty unique lens. The in-focus shots have a warm quality, while the out-of-focus shots have a romantic feel. If you don’t mind the quality, try it on the digital Leica M11 and you won’t be disappointed.

LEICA NOCTILUX-M 50 f/1.2 ASPH

LEICA NOCTILUX-M 50 f/1.2 ASPH

The 50mm lens is great for telling a story and making people stand out from the environment. The Leica Noctilux 50 1.2 is great for separating people from their surroundings, but it’s best for full-body portraits. This lens isn’t ideal for half-length portraits. The lack of clarity makes it difficult to distinguish between the half-length portrait and the environment. It’s not as good as the Summicron 50 f/2 V4 and the Summilux 50 1.4 pre-asph. I think shooting full-body portraits is the best way to use the Noctilux 50 1.2.

LEICA NOCTILUX-M 50 f/1.2 ASPH

I was a bit underwhelmed by the Leica Noctilux 1.2 replica at first. When I set the aperture to 1.2, it wasn’t as good as the Noctilux 50 0.95. But later on, I found that when shooting full-body portraits with the Noctilux 50 1.2 Asph, a vortex of clarity and blur was formed in the center of the picture. It really brings out the sharpness in the focus, and it creates a kind of quiet, mysterious blur in the background when you’re not focusing. This is a style that no other Leica lens has. I set the lens at a distance of 4 meters and the aperture at 1.2. I can even use it to estimate the focus and take blind shots. I can get pretty clear full-body portraits and get that dreamy bokeh, which is pretty cool. “You say life is like a dream, and I say life is like honey.” What’s the difference? Not all of them are hazy. You’re there in the haze, and you and me are enough. Just love what you love. All the flowers are for you. Open, all the scenery is arranged for you.

LEICA NOCTILUX-M 50 f/1.2 ASPH

I’ve been taking photos for a few years now and I’ve picked up a few tricks along the way. It’s important to remember that beginners shouldn’t be looked down upon. It’s easier to see the Buddha nature with a beginner’s mind. That’s why so many people go for the original Leica lenses. Even if Leica makes a copy of this Noctilux, it won’t make collectors any less interested in the original Noctilux because the original idea is priceless.

LEICA NOCTILUX-M 50 f/1.2 ASPH
LEICA NOCTILUX-M 50 f/1.2 ASPH
LEICA NOCTILUX-M 50 f/1.2 ASPH
LEICA NOCTILUX-M 50 f/1.2 ASPH
LEICA NOCTILUX-M 50 f/1.2 ASPH + LEICA M9
LEICA NOCTILUX-M 50 f/1.2 ASPH + LEICA M9
LEICA NOCTILUX-M 50 f/1.2 ASPH + LEICA M9
LEICA NOCTILUX-M 50 f/1.2 ASPH + LEICA M9
LEICA NOCTILUX-M 50 f/1.2 ASPH + LEICA M9
LEICA NOCTILUX-M 50 f/1.2 ASPH + LEICA M9
LEICA NOCTILUX-M 50 f/1.2 ASPH + LEICA M9
LEICA NOCTILUX-M 50 f/1.2 ASPH + LEICA M9
LEICA NOCTILUX-M 50 f/1.2 ASPH + LEICA M9
LEICA NOCTILUX-M 50 f/1.2 ASPH + LEICA M9
LEICA NOCTILUX-M 50 f/1.2 ASPH + LEICA M9
LEICA NOCTILUX-M 50 f/1.2 ASPH + LEICA M9
LEICA NOCTILUX-M 50 f/1.2 ASPH + LEICA M9
LEICA NOCTILUX-M 50 f/1.2 ASPH + LEICA M9
LEICA NOCTILUX-M 50 f/1.2 ASPH + LEICA M9
LEICA NOCTILUX-M 50 f/1.2 ASPH + LEICA M9
LEICA NOCTILUX-M 50 f/1.2 ASPH + LEICA M9
LEICA NOCTILUX-M 50 f/1.2 ASPH + LEICA M9
LEICA NOCTILUX-M 50 f/1.2 ASPH + LEICA M9
LEICA NOCTILUX-M 50 f/1.2 ASPH + LEICA M9
LEICA NOCTILUX-M 50 f/1.2 ASPH + LEICA M9
LEICA NOCTILUX-M 50 f/1.2 ASPH + LEICA M9
LEICA NOCTILUX-M 50 f/1.2 ASPH + LEICA M9
LEICA NOCTILUX-M 50 f/1.2 ASPH + LEICA M9
LEICA NOCTILUX-M 50 f/1.2 ASPH + LEICA M9
LEICA NOCTILUX-M 50 f/1.2 ASPH + LEICA M9
LEICA NOCTILUX-M 50 f/1.2 ASPH + LEICA M9
LEICA NOCTILUX-M 50 f/1.2 ASPH + LEICA M9
LEICA NOCTILUX-M 50 f/1.2 ASPH + LEICA M9
LEICA NOCTILUX-M 50 f/1.2 ASPH + LEICA M9
LEICA NOCTILUX-M 50 f/1.2 ASPH + LEICA M9
LEICA NOCTILUX-M 50 f/1.2 ASPH + LEICA M9
LEICA NOCTILUX-M 50 f/1.2 ASPH + LEICA M9
LEICA NOCTILUX-M 50 f/1.2 ASPH + LEICA M9
LEICA NOCTILUX-M 50 f/1.2 ASPH + LEICA M9
LEICA NOCTILUX-M 50 f/1.2 ASPH + LEICA M9
LEICA NOCTILUX-M 50 f/1.2 ASPH + LEICA M9
LEICA NOCTILUX-M 50 f/1.2 ASPH + LEICA M9
LEICA NOCTILUX-M 50 f/1.2 ASPH + LEICA M9
LEICA NOCTILUX-M 50 f/1.2 ASPH + LEICA M9
LEICA NOCTILUX-M 50 f/1.2 ASPH + LEICA M9
LEICA NOCTILUX-M 50 f/1.2 ASPH + LEICA M9
LEICA NOCTILUX-M 50 f/1.2 ASPH + LEICA M9
LEICA NOCTILUX-M 50 f/1.2 ASPH + LEICA M9
LEICA NOCTILUX-M 50 f/1.2 ASPH + LEICA M9
LEICA NOCTILUX-M 50 f/1.2 ASPH + LEICA M9
LEICA NOCTILUX-M 50 f/1.2 ASPH + LEICA M9
LEICA NOCTILUX-M 50 f/1.2 ASPH + LEICA M9
LEICA NOCTILUX-M 50 f/1.2 ASPH + LEICA M9
LEICA NOCTILUX-M 50 f/1.2 ASPH + LEICA M9
LEICA NOCTILUX-M 50 f/1.2 ASPH + LEICA M9
LEICA NOCTILUX-M 50 f/1.2 ASPH + LEICA M9
LEICA NOCTILUX-M 50 f/1.2 ASPH + LEICA M9
LEICA NOCTILUX-M 50 f/1.2 ASPH + LEICA M9
LEICA NOCTILUX-M 50 f/1.2 ASPH + LEICA M9

leica summicron-m 35mm f2 v1 8-element

leica summicron-m 35mm f2 v1 8-element

I’d heard about this lens before I even owned a Leica camera. I’d heard from older colleagues how great the first-generation Summicron 35mm lens is. It wasn’t until I got my own Leica camera and put it on this legendary lens that I could confirm what my colleagues had said. It’s really excellent.

I often use this lens with black and white film, and it has consistently delivered excellent results. It has high definition, overly natural grayscale, rich shadow sculpting, and the colors are pretty good, too. This lens is pretty solid, whether you’re using it with a digital camera or a film camera.

leica summicron-m 35mm f2 v1 8-element
leica summicron-m 35mm f2 v1 8-element
leica summicron-m 35mm f2 v1 8-element
leica summicron-m 35mm f2 v1 8-element
leica summicron-m 35mm f2 v1 8-element
leica summicron-m 35mm f2 v1 8-element
leica summicron-m 35mm f2 v1 8-element
leica summicron-m 35mm f2 v1 8-element
leica summicron-m 35mm f2 v1 8-element
leica summicron-m 35mm f2 v1 8-element
leica summicron-m 35mm f2 v1 8-element
leica summicron-m 35mm f2 v1 8-element
leica summicron-m 35mm f2 v1 8-element
leica summicron-m 35mm f2 v1 8-element
leica summicron-m 35mm f2 v1 8-element
leica summicron-m 35mm f2 v1 8-element
leica summicron-m 35mm f2 v1 8-element
leica summicron-m 35mm f2 v1 8-element
leica summicron-m 35mm f2 v1 8-element
leica summicron-m 35mm f2 v1 8-element
leica summicron-m 35mm f2 v1 8-element
leica summicron-m 35mm f2 v1 8-element
leica summicron-m 35mm f2 v1 8-element
leica summicron-m 35mm f2 v1 8-element
leica summicron-m 35mm f2 v1 8-element
leica summicron-m 35mm f2 v1 8-element
leica summicron-m 35mm f2 v1 8-element
leica summicron-m 35mm f2 v1 8-element
leica summicron-m 35mm f2 v1 8-element
leica summicron-m 35mm f2 v1 8-element
leica summicron-m 35mm f2 v1 8-element
leica summicron-m 35mm f2 v1 8-element
leica summicron-m 35mm f2 v1 8-element
leica summicron-m 35mm f2 v1 8-element
leica summicron-m 35mm f2 v1 8-element
leica summicron-m 35mm f2 v1 8-element
leica summicron-m 35mm f2 v1 8-element
leica summicron-m 35mm f2 v1 8-element

LEICA 0 Series Oskar Barnack Limited Edition camera w/Anastigmat 50/3.5 lens

LEICA 0 Series

Slow

If you’re looking for a truly unique photography experience, the Leica 0 series camera is the one for you! It’s the perfect blend of classic Leica style and cutting-edge technology. Capture stunning images with the “slow” and “portable” philosophy at the heart of every Leica camera. It may be a bit slow, but I sell this camera quickly.

My story

I found the Leica 50mm/0.95 around my neck to be too heavy, and it caused my neck to hurt for days. So I missed out on the smaller Leica, the 0 series replica is compact, even smaller than today’s smartphones, but it still has a solid case and pure Leica lenses, so I bought one to free my neck.

This is a replica of the Series 0. The original Model 0 sold for $2.16 million at auction, making it the most expensive camera in the world at the time. This special edition Leica camera has a gorgeous black lacquer finish and brass top. I had planned to use this camera for a while and then let the black paint wear off naturally.

Before I started using it for photos, I really liked the design. If you could carry it around with you, this camera could last a lifetime. The reality is that it’s really difficult to use, so you have to cover the lens every time you switch to the next negative.

Of course, it’s not the camera, it’s me! This limited-edition camera is meant to be a collector’s item, not a tool for street photographers like me.

Slow Philosophy

The concept of “slow” is relative and depends on the context. Back when the Leica 0 was first introduced, it was seen as a fast photography tool. Just like computers, you can’t really compare CPU speeds from 20 years ago to today’s standards.

Just a few more things to keep in mind when taking pictures with this camera. For instance, you’ve got to put the lens cap back on before you can switch to the next picture. Also, you’ve got to hold down the shutter while rewinding the film.

Just a heads-up: Once you’ve finished winding, the shutter speed is fixed, so it’s important to set it first.

How to use

To get the most out of this vintage camera, it’s important to develop good operating habits, like:

  • When you’re ready to stow the camera away in your bag, leave the shutter on release so you can adjust the shutter speed for your next shooting need.
  • Trim the spare film in advance before using it.
  • When installing a new roll of film, ensure that the protrusion on the film aligns with the notch on the spindle to ensure proper installation. Instead of using the spindle to locate the notch, you can use the notch to locate the protrusion on the spindle.
  • Always remember to open the lens cover before taking a photo, and cover it after winding the film. This simple mantra is worth remembering.
  • It may take some practice and skill to use a 0-type camera effectively, but the stunning results make it all worthwhile.

The Leica 0-series camera used the Anastigmat 50 3.5 lens, which was originally designed by Berek in 1920. Despite what some people said, the lens only had four elements in three groups, which is similar to the Elmar lens. The new version of this lens has four elements in three groups, but it’s got a new design and coated glass. It’s said to offer better contrast and sharpness when used at full aperture, and it’s pretty similar to the Summicron 50 f2.

The lens is really excellent. However, I really think that this camera is not suitable for use, only for collection.

Continue reading LEICA 0 Series Oskar Barnack Limited Edition camera w/Anastigmat 50/3.5 lens

Leica Summaron 28mm f/5.6

Leica Summaron 28mm f/5.6

M mount Classic lenses

This classic Leica lens has an interesting history. Since the Hektor 28mm 6.3 didn’t have a true aperture ring, it needed to be upgraded. They redesigned it with new glass and a half-stop increase in aperture, plus more refined craftsmanship. When this 28mm lens was first released, it was only available with the L39 mount. When the M3 was released in 1954 with the new M mount, there was no M mount version. It wasn’t until 2017 that an m-mount version of this lens became available.

Yes, it’s a recently listed older lens.

f/5.6

This Leica lens with an f/5.6 aperture has got to be one of the best optical lenses out there. It has great sharpness and contrast, with a Leica feel to it. In fact, most Leica lenses have an optimal aperture of f/5.6. For street photographers, this aperture is more than enough during the day. It’s very compact.

Just to let you know, the lens I have is the original, not the latest production. It still performs great optically, in line with the usual Leica philosophy. Of course, the main thing is how compact it is. For street photographers, image quality isn’t the most important thing. Hahaha. In the old days, lenses were designed to be very small, which was pretty incredible at the time. These days, lenses are getting bigger and bigger, and the light gap is also getting bigger. However, with a small f/5.6 lens, you can really shoot on the street for 12 hours during the day.

Leica Summaron 28mm f/5.6
Leica Summaron 28mm f/5.6
Leica Summaron 28mm f/5.6
Leica Summaron 28mm f/5.6
Leica Summaron 28mm f/5.6
Leica Summaron 28mm f/5.6
Leica Summaron 28mm f/5.6
Leica Summaron 28mm f/5.6
Leica Summaron 28mm f/5.6
Leica Summaron 28mm f/5.6
Leica Summaron 28mm f/5.6
Leica Summaron 28mm f/5.6
Leica Summaron 28mm f/5.6
Leica Summaron 28mm f/5.6
Leica Summaron 28mm f/5.6
Leica Summaron 28mm f/5.6
Leica Summaron 28mm f/5.6
Leica Summaron 28mm f/5.6
Leica Summaron 28mm f/5.6
Leica Summaron 28mm f/5.6
Leica Summaron 28mm f/5.6
Leica Summaron 28mm f/5.6
Leica Summaron 28mm f/5.6

Leica 28mm f/2.8 ASPH Elmarit-M

Compact lens

It’s a compact Leica 28mm lens with a maximum aperture of f/2.8, which is pretty large for a wide-angle lens. I hadn’t planned on buying this Elmarit lens, but then it came with a set of used cameras. The main advantage is its compactness, but the main disadvantage is that it lacks character compared to other lenses. In terms of quality and features, it’s not quite as good as the more expensive Summicron 28 f/2 ASPH. I like that lens a bit more.

Pretty Compact

However, the clear winner in the 28mm lens category is the Leica 28mm f/2.8 v1 (9-element lens). It offers top-notch imaging, a rich Schneider character, excellent craftsmanship, zero distortion, and great potential for appreciation. Plus, it’s the only symmetrical design lens in the Leica 28mm focal length.

The APS-H version is pretty compact, and for a 28mm lens, that’s one of the main perks. A lot of street photographers like to carry a 28mm lens with them all the time.

Even so, the Elmarit M28 2.8 ASPH is still a Leica lens with its own unique character, and many Leica users can still choose it. First, a new lens won’t have any defects, and second, it works well with digital cameras.

LEICA m8 + 28mm f/2.8 ASPHELMARIT-M

SN StartSN EndProductYearTotal
-3928917unknown-28mm f/2.8 ASPH Elmarit-M2006unknown
-39976823999025-28mm f/2.8 ASPH Elmarit-M20071,344+
-40058774007583-28mm f/2.8 ASPH Elmarit-M20081707+
~40370994043484-28mm f/2.8 ASPH Elmarit-M20096,386+
-40868054100089-28mm f/2.8 ASPH Elmarit-M201013,285+
-41181834136266-28mm f/2.8 ASPH Elmarit-M201118,084+
-unknown4191851-28mm f/2.8 ASPH Elmarit-M2012unknown
TOTALASSIGNEDSERIAL NUMBERS2006-currentunknown
This Elmarit is the most compact lens in the entire portfolio of Leica M-Lenses. This is made possible by the use of an aspherical lens element, which enables particularly compact lens construction and a weight of only 180 grams. 
Leica 28mm f/2.8 Elmarit-M Aspherical Lens - Rectangular Metal Lens Hood - Metal Lens Caps - Threaded Protection Ring
Focal length: 28.4mm
Aperture: f/2.8 to f/22
Camera Mount Type: Leica M
Angle of View: 75-degrees
Leica 28mm f/2.8 ASPH Elmarit-M
Leica 28mm f/2.8 ASPH Elmarit-M
Leica 28mm f/2.8 ASPH Elmarit-M
Leica 28mm f/2.8 ASPH Elmarit-M
Leica 28mm f/2.8 ASPH Elmarit-M
Leica 28mm f/2.8 ASPH Elmarit-M
Leica 28mm f/2.8 ASPH Elmarit-M
Leica 28mm f/2.8 ASPH Elmarit-M
Leica 28mm f/2.8 ASPH Elmarit-M
Leica 28mm f/2.8 ASPH Elmarit-M
Leica 28mm f/2.8 ASPH Elmarit-M
Leica 28mm f/2.8 ASPH Elmarit-M
Leica 28mm f/2.8 ASPH Elmarit-M
Leica 28mm f/2.8 ASPH Elmarit-M
Leica 28mm f/2.8 ASPH Elmarit-M
Leica 28mm f/2.8 ASPH Elmarit-M
Leica 28mm f/2.8 ASPH Elmarit-M
Leica 28mm f/2.8 ASPH Elmarit-M
Leica 28mm f/2.8 ASPH Elmarit-M
Leica 28mm f/2.8 ASPH Elmarit-M
Leica 28mm f/2.8 ASPH Elmarit-M
Leica 28mm f/2.8 ASPH Elmarit-M
Leica 28mm f/2.8 ASPH Elmarit-M
Leica 28mm f/2.8 ASPH Elmarit-M
Leica 28mm f/2.8 ASPH Elmarit-M

Voigtlander nokton VM50 1.1

Voigtlander nokton VM50 1.1

It’s Cheap

In general, the larger the aperture, the higher the price. However, the Voigtlander Nokton VM50 1.1 is very affordable despite its large aperture. This is a Japanese-made lens. It has a large aperture and is very affordable.

Street Photography

A good street photography lens lets users focus on shooting and focus quickly. The Voigtlander vm50/F1.1 is a great example of this. The focus ring has a short travel distance, which makes it easy to quickly focus. Despite its size, the VM50 1.1 is actually pretty lightweight. The Leica Summarit M50 1.5 is smaller than the Nokton 50, but it’s much heavier. Of course, the Leica Noctilux 50 0.95 weighs more. The Voigtlander Nokton 50 is much lighter than the others.

Large aperture lens

Just a heads-up: Leica Noctilux lenses aren’t as sharp at full aperture as you might think. For instance, the Noctilux 50 1.0 and the Noctilux 50 1.2 aren’t as sharp as they could be. The Voigtlander Nokton 50 1.1 shouldn’t be too demanding at f/1.1. After all, the point of using an f/1.1 aperture is to get that beautiful bokeh. This lens is definitely worth using, even if it’s not the most expensive option out there. I’ve been using the f/1.1 aperture for portraits of family and friends, and they’ve all loved it.

Color

The only downside is that the colors aren’t as vibrant as they could be. When I look at the lens coating, I think it’s not as beautiful as those from Leica and Zeiss. That might be the main reason why it’s so cheap. I really like converting the image to black and white; it looks perfect that way. With digital cameras, you can adjust the color through software.

Digital Camera

Just a heads-up: the Leica Noctilux 50 f/1.0 and Noctilux 50 1.2 Asph lenses will have purple fringing on digital cameras. The same goes for the Voigtlander lens. When a lens with a large aperture meets a digital camera, it’s normal for purple fringing to appear. It can be removed with software. My favorite way to use it is with a Leica M8 camera to take black and white photos. It works really well.L1023808.jpg

Voigtlander nokton VM50 1.1
Voigtlander nokton VM50 1.1
Voigtlander nokton VM50 1.1
Voigtlander nokton VM50 1.1
Voigtlander nokton VM50 1.1
Voigtlander nokton VM50 1.1
Voigtlander nokton VM50 1.1
Voigtlander nokton VM50 1.1
Voigtlander nokton VM50 1.1
Voigtlander nokton VM50 1.1
Voigtlander nokton VM50 1.1
Voigtlander nokton VM50 1.1
Voigtlander nokton VM50 1.1
Voigtlander nokton VM50 1.1
Voigtlander nokton VM50 1.1
Voigtlander nokton VM50 1.1
Voigtlander nokton VM50 1.1
Voigtlander nokton VM50 1.1
Voigtlander nokton VM50 1.1
Voigtlander nokton VM50 1.1
Voigtlander nokton VM50 1.1
Voigtlander nokton VM50 1.1
Voigtlander nokton VM50 1.1
Voigtlander nokton VM50 1.1
Voigtlander nokton VM50 1.1
Voigtlander nokton VM50 1.1
Voigtlander nokton VM50 1.1
Voigtlander nokton VM50 1.1
Voigtlander nokton VM50 1.1
Voigtlander nokton VM50 1.1
Voigtlander nokton VM50 1.1
Voigtlander nokton VM50 1.1
Voigtlander nokton VM50 1.1
Voigtlander nokton VM50 1.1
Voigtlander nokton VM50 1.1
Voigtlander nokton VM50 1.1
Voigtlander nokton VM50 1.1
Voigtlander nokton VM50 1.1
Voigtlander nokton VM50 1.1
Voigtlander nokton VM50 1.1
Voigtlander nokton VM50 1.1