Shortly after I wrote why you need a Leica 28mm lens for your M, I was asked if I’d want to try out the Leica Summilux-M 28/1.4 and the Leica Summicron-M 28/2.0. Of course I said yes. Stay tuned for some test shots soon on this website.
The Leica Summarit-M 90/2.4 review
The Leica Summarit-M 90/2.4 lens is only one of the two lenses in the 90mm department (at least from Leica). On the occasion market you have more choice in different 90mm lenses, but if you want to buy new from Leica, there’s just two options.
Both shorter and longer lenses have some kind of alienating effect on reality…
There’s probably a reason there are not as many different 90mm lenses as there are 35, or 50mm lenses. A 90mm lens on a rangefinder camera isn’t for everyone. It is harder to focus and errors in focusing are usually more visible than with shorter lenses (try my focus training tutorial if you want to get better). Composing is also a challenge. The 90mm framelines are just a big bigger than the rangefinder patch is. But there is also a more fundamental ‘issue’ with 90mm lenses. Most Leica users prefer to shoot with the natural focal lengths: the 35mm and 50mm. These lenses render the world in more or less the same way as we perceive the world with our own eyes. Both shorter and longer lenses have some kind of alienating effect on reality. But that doesn’t mean they’re not useful.
The practical challenges of shooting 90mm lenses can be overcome by using the EVF on the Leica M240, or better yet, on the brand new Leica M10. Problem solved. The more philosophical part of using longer lenses can also be solved. Whereas I usually don’t like street photography that is shot with long lenses, there’s a place for this focal length: the outdoors.
In 90% of the weddings I shoot, I don’t even bring a 90mm…
I only use my 90mm lens on a wedding if I have to cover a ceremony in a big church where I’m not allowed to come close to the action. In 90% of the weddings I shoot, I don’t even bring a 90mm. When I’m in the outdoors however, I often bring both shorter and longer lenses than I’d bring on a wedding. If there is more space around me, these longer and shorter lenses help me to capture the landscape and what we do in this landscape better than my 35 and 50 do. Wide angles add drama to a scene, without the downsides of using wide angles in buildings (distorted lines). Also, when canoeing, a wide angle lens is the only option in showing both the canoe and the landscape, without having to take a swim. The same goes for long lenses. Sometimes it’s easier to show the dimensions of our surroundings with a longer lens. And also, sometimes we just can’t reach what we want to shoot with a 50mm lens.
Longer and shorter lenses help me to capture the landscape and what we do in this landscape better than my 35 and 50 do…
So there we have it. A 90mm lens is a must have for outdoor photography and landscape photography. For both types of photography, I’d say the 90 Summicron is too heavy. With just 371 grams, including the hood, the 90 Summarit is a true lightweight.
Build quality and ergonomics
Like the other Summarits, the 90 Summarit feels more than sturdy enough. The lack of weight might be deceptive: a heavier lens is not necessarily a better built lens. Focus is smooth, aperture locks just the way I like it. Solid, not too stiff.
The focus throw on my tele-Elmarit is twice as long and results in a much better and more precise focusing…
Ergonomics then, or haptics if you prefer. If there is one thing that I would like to change about the Summarit 90 and 75, it is the focus throw. It is just too short. This becomes evident when you use the EVF for focusing. The tiniest, tiniest adjustment, which you absolutely cannot see with the rangefinder, ‘pops’ the image in focus. That also means that imprecise focusing results in an image where the focus is not on the point where it should be. If there is one thing that annoys me, it is uploading images on my computer and seeing that they’re not what I wanted them to be. The focus throw on my tele-Elmarit is twice as long and results in a much better and more precise focusing. Yes, a longer focus throw theoretically takes a bit more time to focus, but in reality, this isn’t true. It takes me less time to focus my tele-Elmarit, while I have more ‘focus action’ to do, because I can turn the focus ring quicker. Also, it is easier to use muscle memory on a lens that has a bigger focus throw, because the micro-alterations that are needed to focus the 90 Summarit are just too hard to learn for this type of memory.
Sharpness, bokeh and rendering
Having said that, I’m happy to move on the the optical part of the review. The 90 Summarit is optically a much, much more modern lens than the 90 tele-Elmarit (the thin version). While I have been very happy with my tele-Elmarit, I also have struggled with series of photos for which I used different lenses. Sometimes it’s very hard to match the tele-Elmarit pictures with pictures that I took with a 35 or 50 Summicron. The rendering is that different (colour, transitions etc) that it’s hard to have these shots blend in with the other. If you recognize this problem, the 90mm Summarit is definitely a good performer.
The 90 Summarit is optically a much, much more modern lens than the 90 tele-Elmarit…
Yes, it is sharp. Maybe sometimes a bit too sharp for portraits, depending on the light. The center is very sharp, while the corners are slightly softer wide open. This improves a bit when stopping it down. There is an almost complete lack of purple fringing, which is nice, but never a deal breaker for me. Flare resistance is good, partly thanks to a very good metal screw on hood. Don’t use protecting filters. If you keep the hood on, the chance that anything will happen to the front element is close to zero.
Bokeh is nice: smooth and creamy. Thanks to the long focal length and the relative fast aperture, you don’t need to do anything spectacular to get that bokeh in your pictures. Bokeh isn’t as smooth as on the 90 Summicron pre-ASPH.
The 90/2.4 Summarit has a very modern rendering. It is sharp, sometimes bitingly sharp, with quite a bit of microcontrast which determines the rendering for the biggest part. Get up close (90cm max), find a smooth background and you’ll be able to create very attractive portraits or other shots where you isolate the subject from the background. Compared to the 90mm Summicron pre-ASPH (and probably to the ASPH as well) and even to the 90tele-Elmarit, the 90 Summarit is a bit ‘flat’. Lack of 3D you might call it. No big deal in corner to corner landscape shots, but when you want to play with in and out of focus areas, you might not get the results you would get with another lens.
Conclusion
I tend to like this lens. If its focus throw were just a bit longer, I’d buy it. To be honest, this is the only disadvantage. The rest is pretty good: it’s light, has a solid build quality, renders like the other Summarits, can easily be used in series with other lenses (Summicrons) and it’s not too expensive. For landscape photography, this is probably the perfect lens. Focusing is usually not really critical (set it to infinity and there you go) and low weight is at least as important as the price tag. If you buy this lens for portrait only, you might want to give it a try before you buy. Personally, a 90mm is a bit too long for portraits (unless you take a few steps back) and precise and quick focusing is a must.
it’s light, has a solid build quality, renders like the other Summarits, can easily be used in series with other lenses (Summicrons) and it’s not too expensive…
Other reviews you might be interested in:
The Leica Summicron 90/2.0 pre-ASPH
10 minutes with the Leica M10
This morning I had a meeting with Leica Netherlands to pick up a few 28mm lenses. But of course I just had to see the brand new M10. You’ve probably read a few reviews, plus 10 minutes of use isn’t nearly enough for the tiniest review on earth, but I thought it’d be nice to give you my very honest first impression.
The new Leica M10:
- is noticeably thinner and with the 35/1.4 Summilux it felt great
- my M240 felt very obese after that
- I don’t know what it is, but it also feels more solid, well made
- the rangefinder itself feels more solid and precise. No idea if this is true.
- the viewfinder is bigger and with glasses it’s now possible to actually see the 28mm framelines
- live view has improved, but still can’t keep up with the Q or SL
- the ISO dial is terrific!
- there’s finally an interval setting for exposures. I wished I had that while we were canoeing in Scandinavia…
- this ISO1600 file is very, very much more flexible than an M240 file!
The Leica Summarit-M 35/2.4 review
So here we have the second member of the Summarit quartet. You can find the review of the 50 Summarit-M here. The 35 Summarit-M is a lens that really looks beautiful, especially in aluminum. The all metal screw on hood makes this lens look stunning and if you compare this to the plastic hood of my 35 Summicron, it definitely looks a lot better. The new Summicron also has a steel hood.
The 35 Summarit-M has not only gained a tiny bit of speed compared to its predecessor, it has also transformed into an aspherical lens. That feature makes it even more attractive for photographers that are in to the 35mm market. Like the 50/2.4, the same thing applies to the 35mm Summarit. Where we ‘needed’ faster lenses with the M8 and M9, we can live with somewhat slower lenses nowadays. With only a few weeks until the M10 will be announced, we’re getting closer to accepting the 2.4 Summarit range as a very usable range of lenses. That means that the M-system will be more affordable in the future, because there is no need for expensive, fast lenses. Mind you, the need for speed is for most Leica shooter not the only reason to buy a Summilux or Noctilux. The rendering of these lenses is unlike anything your Summarit will ever produce. But they’re also heavy, so there’s a good chance you’ll carry your Summarit and new lightweight M10 easier than a Summilx-M combo.
With only a few weeks until the M10 will be announced, we’re getting closer to accepting the 2.4 Summarit range as a very usable range of lenses…
Build quality and ergonomics
With Leica, ‘entry level’ doesn’t mean you buy rubbish. Au contraire, the Summarit 35/2.4 may be light weight, it still feels very sturdy to me. Like the 50/2.4, focusing is smooth and the focus throw is relatively short. Not a bad thing for a 35mm with a focusing tab. The aperture ring is nice and solid. Better than the ring on the Elmarit 28/2.8. This lens will probably outlive you.
Sharpness, bokeh and rendering
So this is what it’s all about. A 35mm aspherical lens for less than 2k? It’s almost un-Leicaly. Was that funny? Anyway, what’s it like? Just like the 50/2.4, the 35/2.4 is very, very sharp. More than I’ll ever need. Photographers that need corner to corner sharpness might want to stop down one or two stops, but even wide open, the 35/2.4 is already very sharp. Rendering wise, the 35 does more or less the same as the 50. At moderate distance the 35/2.4 is quite clinical: sharp, contrasty, just very modern. Maybe a bit more microcontrast than the 50/2.4. Close up, the 35/2.4 transforms into a brush with which you can paint a scene in a more flattering, romantic way. Transitions from in focus to out of focus are smooth and the bokeh is also more creamy than I’d expect from a 35/2.4. Very satisfying. In fact, the 35/2.4 resembles the look of the 35 Cron a bit more than the 50/2.4 does with its bigger brother.
Conclusion
There are not many reasons I can think of NOT to buy this little Leica 35/2.4 lens. Maybe because you already have a 35? But then you might want to have a slightly more lightweight 35. The best reason to get this lens however is because it’s almost as good as the Leica 35/2 Summicron, but with a more attractive price tag, a removable all metal hood – that makes it look stunning- and with a lower volume and weight. If I didn’t have the excellent Zeiss 35/2.8 on my gear list, I’d buy this lens in a heartbeat.
There are not many reasons I can think of NOT to buy this little Leica 35/2.4 lens…
Speaking of the Zeiss 35/2.8: this lens is probably the main competitor of the Leica 35/2.4. Which one is better? Well, that depends on how you define ‘good’. The Zeiss doesn’t come with a hood, is not aspherical, but it is sharper wide open. For me, rendering is key and in this department the Leica wins hands down. To me it has a much smoother rendering and bokeh than the maybe slightly harsher Zeiss. Would that be worth the enormous difference in price? I guess you’re the only to decide about that.
One more reason to keep your Leica M8
Some time ago I gave you 8 reasons to buy a Leica M8. Today, I give you one more.
There are only a few things in life that make me happier than working with a Leica M. Ice skating is one of them. On average, I visit the local ice track three to four times a week (In my country there are more ice tracks per person than anywhere in the world). While a track is nice for training, all ice skaters want just one thing in winter: real ice. Endless, black, singing ice. And this morning I woke up at 4:30 (on Sunday!) to make a trip.
Yesterday I was in doubt. Should I bring a camera? The ice is still pretty thin and there’s a chance that you’ll take a swim, which is not good for any camera, but especially not for a 6k Leica M. What did I do? I took my M8 with a cheapish Zeiss 35/2.8 lens. If I’d had to take a swim with it, I’d be crying less than with a much more expensive kit.
So there it is:
9: You can take your M8 if you’re skating on thin ice and swimming might be a possibility.
Hello Leica M10
We’ve been waiting almost four years for a new M, but yesterday Leica delivered. The M10 is the new rangefinder flagship from our German friends. I haven’t had the chance to try it, but I’ve heard I will be able soon. So far, things look good. The M10 has been put on a strict diet and it has paid off.
I’m very curious about the implementation of live view, considering that this was laggy in the M240. So far, the only one that has mentioned this is Steve Huff. He estimates the live view to be twice as fast as the M240.
Another major thing is the rendering of the new sensor in the M. A couple of photographers have used the new M10 and you can check the pictures here. I must say that I like the images of Maik Scharfscheer most, although they’re slightly over edited for my taste.
It doesn’t make much sense to say something about a camera that I’ve never used – I’ll leave that to others – so, I’ll let you know when I get my hands on one of these…
The Leica 35 Summicron v2 short review
I was working on my Summarit 35/2.4 review when I thought about that old Summicron 35 v2 that I had for a few months. I borrowed it from Leica Boutique Lisse, but we both forgot I had it. And then I suddenly had to return it, without having shot with it much. I checked my Lightroom catalogue for some images and I had a few – this is why you have to use tags by the way, especially if lenses are not coded -. What results is to be regarded as an impression, or maybe a short review, but definitely not a full, comprehensive review.
The fact that it is already almost fifty years old and still works, says enough…
The second version of the Leica 35 Summicron was made between 1969 and 1971. It weighs 170 grams and is equipped with 10 aperture blades. It consists of six elements and the third version of the 35 Cron is almost the same as the second. It was manufactured in Canada however. The fourth version is probably the most famous 35 Cron, because it is called ‘the king of bokeh’ – of Leica 35mm cron lenses. Not of all lenses of course –
Build quality and ergonomics
You do sacrifice a bit of both, compared to a modern 35 Summicron. The 2nd version may be very light and incredibly small, it is a bit awkward ergonomically speaking. The aperture ring is very small and is hidden beneath the hood and is therefore not easy to adjust. The tabbed focus ring is easier to use and focuses smoothly and with a focus throw that is very usable: not too long, not too short. Although the lens feels a bit flimsy, the fact that it is already almost fifty years old and still works, says enough. My CV 35/1.2 v2 is a bit ‘worn out’ after less than ten years of service.
Sharpness, bokeh and rendering
It wouldn’t be fair to compare this lens to the 35 Summicron ASPH, but regarding sharpness, there’s a pretty big difference in favor of the modern 35 cron. I had some trouble testing the 35 v2 on Fowly, since my specimen seemed to front focus and also suffered from focus shift. Also, with lenses that suffer a bit from spherical aberration – like this one does – it is sometimes hard to judge sharpness adequately. This aberration is also responsible for the look, or rendering as I prefer to call it. It is very classic, quite soft wide open, with a bokeh that can be a bit jumpy, but also interesting if you like old lenses. If you get close up to your subject you can see how the transitions from in focus to out of focus draw with this lens.
The 35 cron v2 also suffers from vignetting wide open, if you can call this ‘suffering’. If it is natural, I tend to like vignetting, like the 50/0.95 does. If you have to add it in post process, it often looks unnatural to me.
Conclusion
Is the Leica 35 Summicron v2 worth buying? I guess that depends on what you’re looking for. If you want a classic lens that has some ergonomic quirks, suffers a bit from spherical aberration and vignetting, but weighs about half of a modern 35 cron and is very small: go for it. If you want a super sharp, clinical 35 that is asperical: get the 35 ASPH. If you want a sharp lens, but a more classic rendering and super smooth bokeh: get the v4.
I ‘borrowed’ the product shot from Camerahotel.nl, because it seems I didn’t make one myself. You can buy this lens here.
The Artisan and Artist ACAM-1000 camera bag review
The Artisan & Artist ACAM 1000 camera bag is the second bag that I bought for my Leica gear, many years ago. I gave it away to someone, some years later. Although I liked the bag, it did not have enough space for non-photographic equipment that I always bring on a wedding. Some food, a backup harddisk, a bottle of deodorant, a beanie in winter, you’ll need some extra pockets for that. The Billingham 225 is my current bag of choice for weddings, but a Billingham Hadley Pro also does the job.
The Leica M262 and complete range of Summarit lenses was delivered in an ACAM-1000 bag and this renewed my interest in the bag. Why, I hear you ask. Well, even with an almost complete range of Billingham bags in my office, there is one thing that no single Billingham bag offers: the best accessibility for rangefinder lenses ever.
With the ACAM-1000, it never was easier to get a lens out of the bag…
It looks like someone at Artisan & Artist designed the ACAM-1100 and thought: ‘We also need a bigger bag. Let’s just glue a very small box to this bag and call it ACAM-1000.” It probably didn’t go like that, but who cares, the ACAM-1000 is a unique bag. Most camera bags, if not all, feature lens pockets that are too deep for rangefinder lenses. The result: getting your lens out is harder than strictly necessary and if you bring more lenses than there are pockets, you’ll have to stack lenses. To me, stacking lenses is almost as annoying as getting a parking ticket. When you need to get a lens in a hurry – and on a wedding I’m always in a hurry – another lens on top of the lens that I need, makes matters complicated. With the ACAM-1000, it never was easier to get a lens out of the bag. And that alone is a good reason to buy this bag.
Before you order, let’s talk some details. The ACAM-1000 is not only very, very accessible, it is also very lightweight. 840 Grams is about as light as it gets with this capacity. The outer material is made out of some kind of canvas (although there is probably also an synthetic component for durability), while is inside is generously filled with a removable padding. Your precious equipment is safe from mechanical impact. But how safe is it from rain?
Well, that’s one of the few things that I don’t really like about the ACAM-1000. In the middle of both compartments runs a big zipper, which is not protected by anything inside, or outside the zip. And that’s where you find the biggest difference with Billingham bags. The bags from this British manufacturer are simply a better choice in wet and dusty environments.
The ACAM-1000 wears quite comfortably. Contrary to the Billingham bags, the A&A has a fixed padding on the shoulder strap and I think that’s a good thing. At least it doesn’t move while wearing, something that often happens with bags with a removable shoulder pad. The pad is thick enough, unless you put two Noctiluxes in the bag and walk around with it all day. The ACAM-1000 also has a short strap that you can use to pick it up. It would be nice if this short strap would be usable as a strap to fixate the bag to your waist while walking or biking, but that’s just a detail.
So who’s it for? Anyone that wants superb accessibility to their rangefinder lenses, but without the need for a lot of extra ‘non-photographical’ storage and more than average weather protection.
Check out my Flipboard magazine
I’m a big fan of Flipboard. It’s a nice way to read interesting articles on mobile devices without having to zoom in, click and do other things that are impossible on your iPhone. I’ve been following a few Flipboard users, but now its time to create my own online magazine. If you like the content on my website, make sure to check it out. I’ll also add content that I like from other websites.
Here you can find my Flipboard magazine.
I’ll give it a few months. If there’ll be enough viewers, I’ll continue. Did you know this website gets more than 10.000 pageviews per month?
In 2017 I’ll also start sending newsletters – yes, in case you wondered why you never got one, I never sent one – , but Flipboard may also be interesting for you to stay tuned.
The Leica Summarit-M 50/2.4 review
For many photographers, the 50mm focal length is a favorite and you can count me among them. While I do not regard 50mm as a ‘standard lens’ – it’s too long for that -, I do regard it as a ‘standard piece of equipment’ that every photographers should have. So we ‘need’ a 50mm, that’s out of the question. The next logical question would be: which 50mm do we need?
Today, with the M240 and a Summarit, you can achieve better low-light images than you would have with an M8 and a Noctilux…
In the early days of digital Leica M bodies, the good old adagium ‘the faster the better’ did make sense. With the M8, anything above ISO 640 would start to look funny and fuzzy. A summicron was the least you should have, but the Summilux would be better. Sometimes it seems that we still cling on to this old adagium, while ignoring the evolution in camera technology. Today, with the M240 and a Summarit, you can achieve better low-light images than you would have with an M8 and a Noctilux. Also, using a Summilux or a Noctilux comes at a considerable cost. First in money, second in weight and volume. If
you’re lugging around a camera all day, faster isn’t always better.
Faster isn’t always better…
So the existence of the Summarit range is very much legit. If you want the smallest, most lightweight camera-lens combination – and you disregard other brands -, the Summarit is what you want. Most people will ask another question: is the Summarit 50/2.4 good enough?
Build quality and ergonomics
Sometimes people seem to attribute the build quality of M-lenses entirely to how solid the aperture ring clicks. As far as I’m concerned, this is just one aspect of the build quality of a lens. But if you ask me, the aperture ring on the 50/2.4 clicks just as nice as my 50/0.95 does -which is slightly too loose for my taste -. Yes, the lens itself feels less sturdy than a 50/1.4 Summilux, but that’s because it is a lot lighter. I never moved the aperture by accident while using the Summarit-M 50/2.4. Focusing is smooth and nice, but as you know, I care about the focus throw more than the smoothness of the focus. Like all Summarit lenses, the focus throw is relatively short. I’m usually not a big fan of that, because it increases the chance of getting out of focus images. For the 50 however, I’m happy with the throw. For this focal length and maximum aperture, it works. The tab increases your speed if you know how to work it. If you don’t like tabs, you might be happier with a Summicron.
Another aspect that I’m quite happy with, is the hood. First, it looks terrific! Without any doubt I’d rate the aesthetics of the lens way higher than the Summicron. The Summicron looks a bit silly with the slide out hood and there’s a practical side to it as well. I don’t use filters, so I rely on the hood for its protection of the front lens element. The slide out hood of the cron offers less protection than the solid metal screw on hood of the Summarit. That’s a bonus, isn’t it?
Sharpness, bokeh and rendering
Time to bring out my old friend Fowly. As you can see, the Summarit-M 50/2.4 is sharp wide open. Sharpness does improve a bit when stopping it down, but I can’t imagine there are situations where you need more sharpness than the wide-open sharpness. I never used the older version of this lens, so I cannot comment on that. If you use this lens for architecture or landscape, where sharpness is more important than the work I do, I’m sure it will deliver.
Rendering is more important for me, because this is something you can create a signature with. The new 50 Summarit is crispy sharp, but lacks the microcontrast you see with the Summicron. Also, the transition from in focus to out of focus areas is less pleasant than with either the Cron, Lux, but most of all (of course) the Nocti. It’s a bit flatter, less 3D-like if your distance form your subject is more than two to three meters. If you get closer, the image gets milkier, smoother, more to my liking – yes, I’m still talking about lenses – . In fact, I think the 50 Summarit has two faces: the razor sharp, no-nonsense observing look when used for subjects at moderate distance. And a more classic, softer look when used in close-up situations.
The new 50 Summarit is crispy sharp, but lacks the microcontrast you see with the Summicron.
This two faced look also applies for the bokeh. If you move away from your subject, there’s not really much to bokeh about, but if you get close, bokeh is pretty good!
Conclusion
The Leica Summarit-M 50/2.4 is a very interesting lens. Handling is good, build quality is good and personally, I like the rendering as well. Up close, there’s plenty of smooth bokeh and a nice transition from in focus areas to out of focus areas. Resistance to flare is good, maybe thanks to the excellent hood. All of this 50mm goodness comes in a very small and very lightweight package. It almost seems like a no-brainer. Or is it? The 50 Cron is ‘only’ 450 Euros more expensive, 50 grams heavier and offers 10 centimeters more of close up focusing. The Cron also delivers a more pleasing picture that bears the legendary ‘Leica look’ – a high microcontrast and unique transition -, so why buy the Summarit? Well, you will feel the extra 50 grams on the end of the day, 450 Euros isn’t nothing, you do get a focusing tab, the hood is much better, the Summarit looks better, what else do you want? I think there’s two type of Leica Summarit 50 buyers: first the photographers that are buying into a new system and don’t want to spurge on a Cron or Lux. Second, the Leica shooters that already have a 50 Lux – or Nocti – and are looking for something lightweight and small for long days of shooting.
Am I interested myself? Yes, I am. 50 Grams is a lot on an outdoor adventure where every gram counts. On a wedding, I’d take my Cron and/or Nocti to be able to cope with low light settings. Depending on the new Leica M to come, the Summarit will be even more of interest for a lot of Leica shooters.
Other reviews you might like:
- The Leica 50 summicron (latest version)
- The Leica 50 Summilux (version II)
- The Cosina Voigtländer 50/1.5 (new release)
