Born in 1984, the Leica M6 was the brand’s first “everyman” rangefinder. Gone were the brass top plates of the M3/M4; in came zinc alloy, plastic counters, and TTL metering. Purists howled, but photographers voted with their wallets – 20 years of production (1984-2003) cemented its status as Leica’s best-selling M. The genius of the M6? It made the unattainable attainable by wrapping professional-grade optics in a blue-collar shell.
The Leica M8’s Love Affair with the CCD Camera.
When you decide to give up the ccd camera, perhaps unexpectedly, the ccd camera will also quietly leave you. I, on the other hand, am deeply grateful to be able to use the Leica M8 with the Elmarit 21mm f2.8 E60 to take tons of wonderful ccd photos. I can’t wait to tell you that this lens is without a doubt the perfect partner for the Leica M8.
The excellence of the Leica m8.
I firmly believe that the Leica m8 is an exceptional camera. In these challenging times of full-frame ccd technology, Leica’s aps-h format for the m8 shows significant advantages over the aps-c format of common DSLRs. Admittedly, not being full-frame, the camera loses some of the lens’s field of view in use, but the APS-H’s 1.33 equivalent conversion makes a 21 mm lens equivalent to 28 mm and manages to capture the best image quality areas of a 21 mm lens. As a result, film shot with the Leica M8 has a very high degree of sharpness.
The lens is a wonderful match for the m8.
When this lens is combined with the m8, the results are extremely impressive. Not only are the colors vibrant, but the sharpness is excellent. I am in love with its colors, which in my opinion are even more captivating than the Leica Elmarit 21mm asph version .
How the lens performs on the M8 vs. M9.
Half of the time this lens was mounted and used on the m9, the other half of the time it was mounted on the m8. I was actually more impressed with the color performance on the M8. Although it’s hard for me to say exactly why, it always seemed to me that the m8’s ccd was able to show its color appeal more fully.
Street photography is like a solo trip, in this field some people recognize the 35mm lens, while others prefer the 28mm lens. I, on the other hand, don’t get hung up on which lens to use. I have always believed that photographers should be willing to experiment. In fact, this 21mm lens with the Leica M8 is my favorite combination. I love it even more than the 28mm lens on the m9, even though they have the same field of view.
When my heart is ignited by the magnificence captured by a wide angle lens, the passion is like a holy fire that drives me to share – to pour out the vastness of the world and the delicate emotions under the lens to anyone who wants to witness this extraordinary perspective.
In all my years of photography, the Voigtlander 15mm/f4.5 Ultra Wide-Angle Lens is undoubtedly one of the most striking lenses I’ve encountered. It’s reputation has been so well established in the photographic world for so long that Voigtlander has now developed it into its third generation. However, the most charismatic in my mind has always been the small and exquisite first generation L39 mount lens.
The small size of this lens perfectly illustrates the spirit of Leica. It is lightweight and easy to carry, and can be easily converted to M-mount with a simple 1mm adapter ring, making it a perfect fit for my Leica camera. What’s even more surprising is that this first-generation lens also comes with a dedicated 15mm viewfinder, a thoughtful design that was not continued in subsequent products, which I appreciate.
In actual use, the image quality of this lens is impressive. The center is extremely sharp, capturing fine and crisp details. The color performance is very rich, producing a full and layered color effect. This made it easy for me to capture every vibrant moment while shooting.
However, this lens is not without its challenges. Because it is an ultra-wide angle lens, you have to pay more attention to composition and camera angle when shooting. Especially when using the Leica M3 camera, I have to rely more on my own feeling and experience to estimate the shooting distance, as there is no linkage rangefinder structure. This is a real challenge for me, but it also makes me more focused and attentive during the shooting process.
With this lens mounted on the Leica M8, this lens has an equivalent focal length of about 20mm, which is still moderate enough for me to get used to. However, when placed on the M3, it transforms into a true 15mm ultra-wide angle, and the stunning field of view was a bit too much for my heart to handle. The visual impact of this ultra-wide angle makes me passionate and expectant when shooting.
However, I also realized that the 15mm focal length may not be suitable for street photographers like me. In street photography, if the characters are too close, it is easy to appear “big head” effect; while if the distance is too far, the characters will appear too small. In addition, due to the characteristics of the ultra-wide-angle lens, the shooting of the characters will be stretched out of shape. This made it a bit difficult for me to shoot on the street, so I decided to keep it more company with the M8 and turn it into a 20mm lens for use until I could find a better way to use it.
That said, I still think the 15mm/f4.5 lens from Voigtlander is a worthy lens. Its ultra-wide focal length may not be for everyone, but there’s no chance it’ll suit your shooting style. If you really like it, you’re getting a real bargain because not only is it small, portable and affordable, it also offers such a wide angle of view. The lens is also highly traded on the second-hand market, which means you don’t have to worry about buying or selling it. Whether you want to get in or get out, it’s easy to find the right deal.
The journey of using this lens is like a drama on the stage of life, intertwining challenge and joy, frustration and fulfillment. The moments that seem impossible to capture perfectly have become the goals that I constantly pursue; and the meandering horizons under the lens are precisely the paths that I am eager to explore in my heart. Every time I put the camera down and take a break, not only to catch my breath, but also for the new round of longing for the unknown beauty in my heart, I am ready to set out again, using this 15mm (20mm leica m8) wide angle to continue to capture every moving moment of life.
With the Leica Elmarit-M 28mm f2.8 ASPH lens in my hands, I never thought about changing anyone. It is like the sun that hangs high in the sky, quietly radiating light and warmth without seeking a response or asking for a return date. Everyone’s reaction to capturing the world through this lens is different; some marvel at its clarity and sharpness, some are mesmerized by its splashes of color, while others feel alienated by its unique perspective and choose to keep their distance.
It’s like a seed that silently builds up its strength before breaking through the ground, with no sign that it’s about to bloom, because that’s its own rhythm and it’s not yet at the right time. It is the same with my Leica 28mm lens, which is not in a hurry to show all its charms, but with each soft click of the shutter it gradually takes root in my heart, until one day I find myself deeply addicted to the world of images it creates.
I realized that whether it was photography or life, the real savior was always myself. This lens, however, helped me open a window to a better world, so that I could learn to feel everything around me with a more delicate and sensitive heart. It teaches me that there is no need to force myself, but to shine quietly like the sun, allowing each soul to receive this unique light and warmth according to its own rhythm.
Therefore, I am grateful for my Leica Elmarit-M 28mm f2.8 ASPH lens, which is not only a tool for capturing images, but also a partner in exploring myself and realizing life. During this journey, I have come to realize that true beauty is not in changing others, but in reconciling with yourself, discovering and cherishing those unique moments that belong only to you.
First, let’s talk about its first impression – it’s compact and lightweight. In this day and age when you can’t leave home without your cell phone, the weight and size of a lens is an important factor in my choice. This Elmarit-M lens is just “portable”. Whether you hang it around your neck or stuff it in your pocket, there is no pressure. Traveling, daily street photography, it is my best partner to enjoy the fun of photography without being weighed down by heavy equipment.
Let’s talk about its appearance. That classic Leica design, simple but not lose style, metal texture of the mirror body, in the sunlight with a charming sheen. Just attaching it to the camera before each shot is a pleasure. It is so well proportioned with the Leica M camera that it can be the golden ratio.
Of course, the most important thing about a lens is its image quality, and the Elmarit-M 28mm f2.8 ASPH certainly didn’t disappoint. Clear and sharp is the first impression it gave me. Whether it’s wide-angle landscapes or portrait close-ups, it handles them all with ease, retaining just the right amount of detail to give you that “knife-edge” clarity right off the bat. Color performance is also excellent, with high saturation without distortion and natural color transitions that make photos look more vibrant and layered.
What surprised me the most was the bokeh effect when shooting outdoors. It’s almost like being smeared with cream, soft and sweet without losing the sense of layering. Every time I see those photos with dreamy background bokeh, I can’t help but silently give this lens a shout-out in my heart. It allows me to easily capture those fleeting human moments while shooting landscapes and capturing every beautiful moment in life.
Under the gaze of this lens, I captured an unspoken story, silent and deep, like a word never uttered, hidden in the softest corners of my heart; I witnessed a ray of light that did not shine directly, that pierced the clouds and gently sprinkled in every corner, but left no traces, like some of the warmth of life, silent; I recorded a unique chaos, which in its disorder I recorded a unique chaos, which in its disorder contains order, and a miracle hidden in the mundane, is the truest representation of life, incomparable; I also walked on a street that seems to have no end, and every frame in the camera is a new beginning and an eternal continuation, leading me to keep exploring and moving forward, searching for my own answer and destination in this journey of light and shadow intertwined.
Leica Elmarit 28mm f2.8 v3
This lovely Leica lens is often overlooked, but it’s definitely worth a second look! The first-generation Leica Elmarit 28mm f2.8 was a real favorite among collectors and photographers thanks to its stylish design, solid construction, and limited production run. More photographers are recommending the current version of the Leica Elmarit 28mm ASPH because of its compact size, which is great! That’s why the third generation is rarely recommended, and why it’s so reasonably priced. In fact, the third generation still has that Leica style and excellent optical performance, which is fantastic!
I absolutely love using this lens for close-up street photography! I’m really happy with how well this lens performs up close, with such great sharpness! I love the high color contrast! It makes me think it was designed for digital cameras. Oh, you know what? It is a lens from 1980!
I just love the v3 version! It’s so much better than the ASPH version. The colors in v3 are so warm and in line with that classic Leica look we all know and love. Another great thing about the v3 is that it has a better depth of field, which makes it really easy to take clear photos, especially up close! I think this is because the classic Leica bokeh blur is a lovely, gradual pattern from clear to blurry. The ASPH version doesn’t have this gradual blurring process, which is a shame! So, if you take a picture with the ASPH version at close range (about one meter), it’ll be a little blurry because the camera makes a slight mistake.
If there’s one thing to watch out for with the V3, it’s that it’s on the larger side, especially with the lens hood attached. The V3 is a little more visible in street shots than the ASPH version, which is a bit of a bummer. Overall, I’m absolutely thrilled with it! I think the V3 is probably the cheapest Leica lens with the best optical quality, which is pretty impressive!
I’ve always thought that good photos can be taken with any lens, and I’ve found that good weather and a good mood are often just as important as the lens you use! I’m in a great mood because the price of this lens is so reasonable!
The next photo was taken using the Leica M9 camera’s built-in JPEG standard mode.
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.
If you stop by a Leica store, you’ll see that this lens is their best-seller. The 35mm lens has always been Leica’s most popular, and many newbies to Leica will choose this lens with the Leica M10p as their preferred configuration. One of the best 35mm prime lenses on the market.
The Leica aspherical lens is sharp, has high contrast, and creates beautiful blur. It has almost no shortcomings. The quality of f1.4 can match the sharpness and contrast of f4 lenses from other brands. Narrowing the aperture isn’t the way to improve image quality anymore. It produces similar image quality at all apertures, so you only have to think about the depth of field change. However, many people also say that it lacks personality, and the style barely changes at each aperture.
The second version of Summilux 35 1.4 ASPH has a warmer color, and many people like it wide open. While it’s not as sharp as the third version, the bokeh is more appealing.
The Summicron 35mm f/2 ASPH is about the same size as the Summilux 35mm 1.4 ASPH, just a bit shorter, and the first piece of glass is also recessed. The truth is that the Summicron ASPH was actually derived from the Summilux. But in use, I feel that Summilux’s anti-glare ability is actually better than Summicron. I’m not sure if it’s just my perception, but…
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.
The original Leica, created in 1914, was the first camera to use film in the 24 x 36mm format. At least three UR Leicas were built by Barnack, who also tried out different lenses, including the retractable Mikro-Summar 42mm f/4.5.
A standard lens is one whose focal length is about the same as the diagonal of the film. For a standard 24 x 36mm format camera, this is about 43mm. In reality, the actual focal length designed by Ernst Leitz for the Ur-Leica seems to be closer to 43mm.
Max Berek came up with the Elmax 50mm f/3.5 lens for the Ur-Leica, which stands for “Ernst Leitz and MAX (Berek).” The 42mm lens was replaced by the Elmax 50mm f/3.5, which offered better optics, in the production Leica I.
Since then, the 50mm lens has become the standard lens, but some companies do offer lenses that are closer to a 43mm focal length, like the Pentax 43mm f/1.9 and the Contax 45mm f/2.
I’ve always had a soft spot for the compact and collapsible 50mm Elmar f/3.5. I tend to be a bit reserved when it comes to using larger lenses for street photography, but the Elmar’s small size makes me feel at ease. When shooting in well-lit conditions, I typically set the aperture to f/5.6 – f/8, and with an ISO 400 film loaded, I’m ready to go for some serious street photography. Overall, the Elmar’s convenience and reliable performance make it a great choice for my photographic adventures.
This Tessar-type lens was considered one of the best of its time, with four elements in four groups. However, it does lose some sharpness in the outer zones when used wide open. However, I’ve found that the Elmar f/3.5 is sharper than the Summar and Summitar when stopped down, even by just a stop or two. The Elmar f/3.5 also has better contrast than uncoated lenses, which tend to have lower contrast and flares. This makes it ideal for black and white photography. The smallest aperture for my collection of f/3.5 Elmars is f/18, except for the last series, which has f/22 and the red scale.
You can use the lens with digital Leica M cameras if you get an L39-M adapter. Just a heads-up: collapsible lenses might contribute to sensor dust. I’ve noticed this more often with f/3.5 Elmars. From my experience, the Leica M9 sensor seems to collect more dust than my DSLRs with built-in automatic sensor cleaning.
One possible reason for this is that collapsing or uncollapsing the lens may create a pumping effect that introduces air and dust into the camera mount. To avoid this issue, it’s best not to collapse the lens while it’s attached to the digital M camera.
Personally, I prefer to use non-collapsible lenses on digital M cameras to minimize the risk of sensor dust. If you are concerned about sensor dust, you might want to consider shooting film instead.
