Recently, the trend amongst some Leica shooters has been to purchase vintage lenses and mount them on modern digital camera bodies.
There’s no doubt about the appeal of many of these old Leica lenses: they offer an alternative visual fingerprint, are more compact, and may be had at a low purchase price as compared to their modern counterparts.
Given all this, why did I “buck the trend” and return the 1937 50mm Summar Collapsible f/2 I had in my possession last week, after only 24 hrs of use?
Because there’s always a trade-off.
In the case of the 50mm Summar, the problem is its jarring bokeh:
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More and more these days, I seek out lenses that help me to tell my story, not ones that (unpredictably) impose their own.
In the examples above, the lens is interfering with the visual narrative by drawing attention away from the (intended) subjects and onto its vertiginous background blur.
Admittedly, when conditions are right, the 50mm Summar performs acceptably — perhaps even admirably:
↑All images: Leica M9 and Leitz (Leica) 50mm Summar Collapsible f/2 (1937).
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Even when this old 50mm Summar exhibits relatively tame bokeh, when I compare other aspects of its performance (including microcontrast) to, say, my 50mm Summilux ASPH, there’s just no contest.
—Peter.
Prosophos 
Swirly, swirlier, swirliest… reminds me of my memory. I wonder if it’s just something that happened to her as she aged… 😉
There is definitely a nostalgic vibe to the rendering, and that’s a good thing, in my book… it’s just a bit overdone in the first two images.
-Two points for use of the word “vertiginous” in a sentence.
🙂
M.
Yes, but I lose two points for using the word “ditched” in the title.
Yep…got to agree with you there Peter. I find some of these older lenses very harsh. I guess in context though this “resurgence” came about from the Monochrom, with the B&W rendering being the view where they shine. People like Ashwin whittled it down to a few key contenders(Canon 1.4, 1.8, 85mm 1.8/.4-not sure?, Nikkors of the same ilk and off course the Leica Rigid Crons from 1956).
I like some of the above but for me it’s the Rigid cron which renders the best on the MM. I can not comment on the M9 or otherwise as do not have nor used anything else. The other one is the Canon 1.4.
The one lens I would keep above all else though is the Lux ASPH. Even on the MM.
To be honest (with all due respect and nothing to do with your images….they are SUPERB) I am also not a big fan of the Noct. I find it in certain situations a bit too harsh (not harsh though like we have seen here….just different) though perhaps just presents like that if the light is not suitable.
Here is where the Lux and 1.4 is more forgiving across a broader spectrum of light….imo!
I do like the new 50mm APO. Though far too expensive for the speed..again just imo. In fact it is one lens i think is best suited to a colour sensor….not sure why just something unknown leaning me towards that.
Just catching up on some of your images and love Sunday Morning and Brothers…
Thanks Andrew. And as for the 50 lux ASPH, it’s the best all-purpose lens ever produced by anybody, IMHO.
I agree. I owned a 50mm summilux version 1 for about 6 months and just couldn’t find myself using it. It had a unique look because it really over saturated yellow’s and greens but I found the focus was very difficult because it had a “very long through”.
Also, I’ve noticed most who are trying out classic lenses are doing so on the M Monochrom. I believe Ashwin has made this real popular (he’s the one that got me interested in the older summilux). I think there is some good reasoning in using older lenses on the M Monochrom. The “sharpness” of the MM, especially shadows can be very unpleasing and the older lenses make up for this to a point because they are less sharp then the newer ones.
gage
Thanks Gage,
The M Monochrom, with its tendency to blow out highlights, has definitely sent many searching for old glass which renders in a less contrasty fashion (this is good for highlight preservation). Still, there is no mistaking that image quality is taking a hit, but that’s OK of course, if one understands this and uses it as part of artistic expression (as Ashwin has done).
The “long focus throw” of older glass is a good observation. It makes for more precise focusing at the expense of quick focusing.
As an aside, I’m thinking of dusting off my trusty M3 after months of neglect, but will most certainly be coupling it with my 50 lux ASPH.
—Peter.
I’ve considered buying a film camera but I know I wouldn’t take the time to process the film.
gage