This image contains no less than two compositional techniques I’ve previously discussed: a strong diagonal and symmetry.

They are important because they add harmony and balance to the photo.

(I’ll leave it to you to find their presence here.)

—Peter.

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↑Leica M9 and Leica Noctilux @ f/0.95.

Yesterday, I posted the image Father Figure, which was taken with the Leica Noctilux f/0.95.

I know many of you — in addition to being interested in viewing photographs taken with the Noctilux f/0.95 — are also interested in the technical aspects of this lens.

So, I’ve decided to display the central portion of the Father Figure image at 50% and 100% magnification.  Note that the photo was shot at f/0.95, at the minimum focusing distance of 1 meter, and therefore any conclusions you draw should be considered in the context of this aperture and distance.

First the 50% crop…

I’ve chosen the 50% crop because it nicely displays the quick — but extremely smooth — transition between the in-focus and the out-of-focus elements (I’ve used the word “rounded” to describe this exquisite rendering):

(please click on the image to view the large version)

↑Leica M9 and Leica Noctilux @ f/0.95 (50% crop).

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Now the 100% crop…

I’ve chosen the 100% crop to illustrate the level of central sharpness available at f/0.95:

[Note: the point of focus was his right eye; minimum sharpening was added during post-processing.]

(please click on the image to view the large version)

↑Leica M9 and Leica Noctilux @ f/0.95 (100% crop, minimum sharpening).

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I hope you’ve found the above useful.

—Peter.

This slightly cropped image is a good example of the pleasingly “rounded” rendering this lens is capable of @ f/0.95 (see my comment under yesterday’s post).

What I’m referring to is the gentle 3D effect, that — unlike the slightly more “cut out of the scene” 3D effect you get with the 50 Summilux ASPH — is exceptionally smooth, very organic.  Specifically, his face is gently simultaneously emerging from, and blending into, the background.

Despite this, the point of focus (the nearest edge of the sunglasses) is bitingly sharp.

Incidentally, it’s this level of sharpness at 1 meter (the near focus limit) and the exceptionally smooth bokeh that separate this Noctilux from the previous f/1 version, which renders in a slightly softer way, and which depicts backgrounds in a thick-brush-painterly manner.

—Peter.

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↑Leica M9 and Leica Noctilux @ f/0.95.