© jmse
By José Manuel
Serrano Esparza
The presentation of the 24 x 36 mm format and 24 megapixel Zenit M rangefinder digital camera (based on the body of the Leica M Typ 240) coupled to a Zenitar 35 mm f/1 has been the great surprise of the recent Photokina 2018 held in Cologne (Germany).
The presentation of the 24 x 36 mm format and 24 megapixel Zenit M rangefinder digital camera (based on the body of the Leica M Typ 240) coupled to a Zenitar 35 mm f/1 has been the great surprise of the recent Photokina 2018 held in Cologne (Germany).
© jmse
© jmse
And though being
a limited series of 500 units, it has undoubtedly been something truly amazing,
meaningful and unexpected, particularly if we bear in mind the market maelstrom
brought about by the great quantity of new top-notch and breakthrough
photographic products likewise presented during this historical Photokina 2018,
the most important one in the digital era celebrated hitherto : the 45.7
megapixel Nikon Z7 mirrorless EVF full frame and its Nikkor S lenses (whose
first prototypes had been shown in Tokyo on August 23, 2018), the 30.3
megapixel Canon EOS R mirrorless full frame and its RF lenses (whose first prototype units had been displayed
in London on September 5, 2018), the Panasonic full frame mirrorless EVF 47
megapixels SR1 and 24 megapixel S1, the L Mount Alliance between Leica,
Panasonic and Sigma, the 64 megapixel Leica S3 30 x 45 mm medium format camera,
the 50 megapixel Fujifilm GFX 50R rangefinder styled 33 x 44 medium format
camera, the 24 x 36 mm format 37.4 megapixel Zeiss ZX1 premium compact camera
with fixed Zeiss Distagon 35 mm f/2 lens along with integrated Lightroom CC as
well as a 512 GB inner SSD storing unit for roughly 50,000 images, and others.
© Zenit
Within such a
context, when Dr. Andreas Kaufmann (Chairman of the Supervisory Board of Leica
Camera A.G), Vadim Kalugin (General Director of KMZ) and Ivan Azhgikhina
(Deputy General Director of Shvabe) presented the new 24 megapixel Zenit M
digital rangefinder camera coupled to a Zenitar 35 mm f/1 lens in a joint press
conference held on September 26, 2018 inside Photokina Koelnmesse, there was
astonishment to spare, which skyrocketed when the attendees could behold from
near distance the great appearance of the camera and its shape.
A wave of
enthusiasm spread and most people commented that it was an exceedingly
beautiful camera, whose visual impact was enhanced by the impressive Zenitar 35
mm f/1 attached to it.
© jmse
Inevitably, a
question arises : Why the digital Zenit M appearance is so gorgeous ?
The answer is
not easy, but it´s highly related to the halcyon days of analogue photography.
To begin with,
though clearly inspired by the Leica M Typ 240 and sharing with it the same
rangefinder, sensor and innards (with the exception of some software
modifications), the Zenit M doesn´t copy designs of the legendary Zenit and
Zorki cameras, as has been stated, because the shape of the analogue
rangefinder FED Zorkis made between 1948 and 1978 (from the first FED-KMZ
camera production batch manufactured in Krasnogorsk in 1948 and designed by
N.A.Gabrilov, the first FED-ZORKI 1948, the best sellers Zorki Type-1e from
1954-1956, Zorki -S from 1955-1958. Zorki-2S from 1955-1960, Zorki-4 from
1956-1973, Zorki-6 from 1959-1966 and Zorki-4K from 1972-1978 to the last
thirty-six Zorki-4K cameras made in 1980) featured much more rounded shapes
than the Zenit M 24 x 36 mm digital rangefinder, specially in the front extreme
areas.
And regarding
the Zenits, as well as featuring a big pentaprism not existing in the digital
Zenit M rangefinder, the contours of the Zenit from 1953-1956, the Zenit S from
1955-1961 and the N. Marienkov designed Zenit-3 from 1960-1962, Zenit Kristal
from 1961-1962 and Zenit-3M from 1962-1970 boast much rounded shapes than the
Zenit M.
And generally
speaking, the Zenit reflex cameras manufactured between 1964 and 1990 feature
much more square shapes than the Zenit ZM, though the lateral extreme front
areas of the prototype Zenit 66 from 1965-1966 and the best sellers Zenit-B
from 1968-1973 and Zenit EM from 1972-1984 bear a resemblance to the ones
sported by the 24 x 36 mm format Zenit M digital rangefinder from XXI Century.
But the
unutterable beauty of the Zenit M goes far beyond regarding its DNA, because
its appearance, a bit rougher than a Leica M Typ 240 and oozing a nice retro
look, includes a compendium of the cream of the crop of the German and Russian
analogue 24 x 36 mm format rangefinder cameras of XX Century.
© jmse
That´s to say,
the vertical straight stretches located at each front corner area of the Zenit
M and departing from the utterly rounded contours of the Leica M Typ 240 are
mainly related to:
a) The front
corner areas of the 24 x 36 mm format German Zeiss Ikon Contax II rangefinder
camera from 1936, designed by Hubert Nerwin, a very significant model in the
history of photography, since it was the first camera combining an RF and VF in
a single window, in addition to boasting an exceedingly large rangefinder base
of 90 mm with a magnification of approximately 0.75x, attaining an effective
baselength of 67.5 mm, even superior to the one boasted by the queen Leica M3
in 1954, and enabling a great focusing accuracy superior to the screwmount
Leicas of the time.
b) The front
corner areas of the 24 x 36 mm format Kiev rangefinder Soviet cameras, copies
of the Contax II, manufactured at the Zavod Arsenal Factory between 1947 and
1987, particularly the Kievs 48 A20 from 1948 and Kievs 49 A30 from 1949
coupled to 50 mm, 85 mm and 135 mm Carl Zeiss Jena Sonnar lenses and Carl Zeiss
Jena 35 mm Biogon ones, the Kiev II A40 from 1950-1955, the Kiev IIa A60 from
1955-1959, the Kiev-4A A81 from 1958-1974 and the Kiev-4a Type 2 A85 from
1974-80.
c) The front
corner areas of the 24 x 36 mm format Rodina prototype camera from 1952
(designed by I.M. Marensov and unveiled by P.A. Tikhomirov and the world-class
expert on Russian cameras Jean Loup Pricelle in his milestone book The
Authentic Guide to Russian and Soviet Cameras), which was an attempt to
create a camera boasting the best traits of the Leica III screwmount camera
(rubberized cloth shutter), Zeiss Ikon Contax II (coupled rangefinder with
large RF base and focusing through a knurled wheel) and Exakta (flash
synchronization with two contacts). It would have been a great camera, but the
huge accuracy needed to build it meant an exceedingly high production cost, so
it wasn´t possible to implement a series production. The front extreme areas of
this model are also very similar to the ones in the Zenit M.
It all speaks volumes about the thoroughness with which the Smirnov Industrial Design and
S.A. Zvereva (CMH) have made things designing this exotic digital 24 x 36 mm
rangefinder camera which has been manufactured in Wetzlar (Germany).
On the other
hand, two further major details embellish even more the 24 x 36 mm Zenit M
digital rangefinder camera, turning it into a riveting sight:
- The very
attractive colours of the two versions available : a Zenit M camera featuring
silver color on top plate, upper front area and lower cover, with the rest of
the body in black color, and the completely black Zenit M.
© jmse
© jmse
- The big screw
located on top of the lens, between the small window of the rangefinder and the
large window of the viewfinder, paying homage to the fabulous Leica M10-P
including the most whispering mechanic shutter ever made and also boasting this
highly meaningful screw in the same position, instead of the Leica logo, to
foster the maximum discretion feasible on shooting handheld with available
light, specially when doing street photography.
As to the Zenit
M dimensions and size, they are identical to the Leica M Typ 240, id est, 138.6
mm x 42 mm x 80 mm and 680 g with battery, in addition to sensitivity ranges
from ISO 200 to ISO 6400 and shutter speeds up to 1/4000 s.
ZENITAR 35 MM
F/1 LENS, A BOLD AND AMAZING LENS DESIGNED AND MADE IN RUSSIA AND TURNING THE
ZENIT M INTO AN EVEN MORE ENTICING ITEM
© jmse
If the
announcement of the Zenit M was undoubtedly one of the highlights of the recent
Photokina 2018, because of the far-reaching significance of the agreement
between Leica Camera A.G and Krasnogorsky Zavod im. S.A. Zvereva for the design
and construction of the camera, when it was known that the coupled kit lens was
nothing less than a 35 mm f/1 objective, emotions skyrocketed and many people
couldn´t believe it.
And it couldn´t
be other way, because evidently, such a huge maximum aperture lens as a kit is
something absolutely unusual, since until now the widest aperture 35 mm lenses
for 24 x 36 mm format had been the legendary 10 elements in 7 groups and 12
aperture blades Voigtländer Nokton 35 mm f/1.2 ASPH Version 1 ( very sharp and
delivering moderate contrast, optimized to get maximum detail in shadows, and
with a minimum focusing distance of 70 cm) and the 10 elements in 7 groups and
11 aperture blades Voigtländer Nokton 35 mm f/1.2 ASPH Version 2 (delivering
superior contrast and boasting an improved minimum focusing distance of 50 cm)
in M Mount, giving photographers half stop more light than the 35 mm f/1.4 lenses
for M rangefinder cameras and already considered highly luminous lenses.
Id est, both
versions of the Voigtländer Nokton 35 mm f/1.2 ASPH are deemed to be
tremendously luminous for their focal lengths and with a remarkable advantage
in comparison to 35 mm f/1.4 lenses when it comes to photograph under low or
very low available light conditions and when trying to get subject isolation
with respect to backgrounds and foregrounds.
© jmse
© jmse
Therefore, the
Zenitar 35 mm f/1 made in Krasnogorsky Zavod, outskirts of Moscow (Russia), is
the champion of luminosity of all the 35 mm lenses for rangefinder cameras
created in the world hitherto, significantly more luminous than the
aforementioned 35 mm f/1.2 Voigtländer lenses and even more adequate to
highlight persons or subjects with out of focus areas.
And inevitably,
if the Voigtländer Nokton 35 mm f/1.2 ASPH Version 1 from 2003-2010 (489 g and
63 x 78 mm long) and 2 ( dimensions of 60.8 x 62 mm and weight of 471 g) lenses
were large and heavy, the kit lens coupled to the Zenit M couldn´t be small.
© jmse
The Zenitar 35
mm f/1 lens featuring 9 elements in 6 groups, dimensions of 138.6 x 42 x 80 mm
and a weight of 740 g is a big and heavy lens, but not excessively large at all
for its widest f/1 aperture.
On the other
hand, as is usual with so highly luminous objectives, part of the barrel of the
Zenitar 35 mm f/1 protrudes in the viewfinder of the Zenit M, particularly at
the nearest focusing distances, in addition to feeling a bit front heavy in
relation to the camera body.
© jmse
This is a non
aspherical lens whose mechanical performance is linked to the halcyon days of
manual focusing lenses like the legendary Nikkor AI-S from eighties, Asahi
Pentax Takumar Super-Multi-Coated from early seventies, Canon FD from seventies
and first half of eighties, Olympus OM Zuiko from seventies and eighties, etc.
Therefore, the
Zenitar 35 mm f/1 has got a very long focus throw enabling an exceedingly accurate
focus, so it is a very good lens for videography.
© jmse
It features the
Leica M bayonet mount, so it can be coupled to any Leica M digital camera.
Nobody should
expect at all stratospheric performance in terms of resolving power and
contrast in center, borders and corners at every focusing distance and
diaphragm as happens with reference-class aspherical wide angle Leica M lenses
like the 9 elements in 5 groups (one aspherical) Summilux-M 35 mm f/1.4 ASPH or
such an extraordinary optical calculation and mechanic construction as the one
carried out by Michael Heiden and Holger Wieland with the 9 elements in 6
groups Summicron-M 28 mm f/2 ASPH.
But though
obviously being a far cry from the best Leica M wide angle f/1.4 and f/2
aspherical designs in terms of image quality,
© jmse
the Zenitar 35
mm f/1 utterly made in Russia is a good lens delivering an acceptable optical
performance at its widest f/1 aperture which significantly improves from f/2
onwards, and this is something undoubtedly great, since the combination Zenit M
+ Zenitar 35 mm f/1 for approximately 5.500 euros would have more than double
that price tag with a Leica M10 and an aspherical 35 mm f/1 Leica M lens.
© jmse
The Zenitar 35
mm f/1 is a classic lens mostly designed and manufactured according to
handcrafted parameters linked to the golden days of Krasnogorsky Mechanikansky
Zavod, when the legendary Russian photographic factory located in the outskirts
of Moscow churned out such top-notch lenses as the 4 elements in 3 groups
Tessar design Industar-58 75 mm f/3.5 for the Iskra 1 and 2 6 x 6 cm medium
format rangefinder camera, the 6 elements in 4 groups Helios-40 8,5 cm f/1.5
earliest version (a Planar derivative design with thickened optical elements
and generating great swirly bokeh at full aperture and very good for
portraits), the 6 elements in 5 groups Zenitar 50 mm f/1.7, and others with
excellent price/performance ratio like the 6 elements in 5 groups Mir-1 37 mm
f/2.8 based on the Carl Zeiss Jena Flektogon 35 mm f/2.8 and designed by
D.S.Volosov (which won the Grand Prix Brussels Expo of Photographic Lenses in
1958), the 6 elements in 3 groups Jupiter-8 50 mm f/2 (inspired by Ludwig
Beterle´s CZJ Sonnar 5 cm f/2) and others.
The Zenitar 35
mm f/1 is a very special lens,
© jmse
whose raison
d´etre is to be able to use it at its huge f/1 aperture with acceptable levels
of resolving power and contrast on the focused areas of the persons or subjects
photographed, highlighting them with a nice bokeh (enhanced by the 10 blade
round diaphragm) in the out of focused zones, with the further possibility of
getting pictures using diaphragms from f/2 onwards to get very good image
quality and more depth of field as a standard lens.
© jmse
Its manual
focusing is smooth on its whole travel from infinite to the nearest focusing
distance of 80 cm.
On the other
hand, though it lacks the black and white 6-bit coding spots enabling to know
the specific lens coupled (as happens with the Leica M digital cameras able to
make some optical corrections, particularly vignetting, through firmware), the
Zenit M features manual selection of parameters for different lenses.
On top of the viewfinder of the Zenit M 24 x 36 mm digital rangefinder camera is the famous logo showing the scheme of an optical
prism influencing the path of a light beam
© jmse
Whatever it may
be, if the introduction of the digital 24 x 36 mm Zenit M rangefinder camera
has been a flabbergasting and unexpected event,
© jmse
the Zenitar 35
mm f/1 attached to it hasn´t trailed behind in terms of excitement.
And a further
question arises : Why Krasnogorskiy zavod im. S. A. Zvereva factory within the
Shvabe Holding has made this strenuous effort to design and manufacture the
most luminous 35 mm lens for 24 x 36 mm format in the world ?
The answer has
got a number of major aspects explaining it, particularly the following ones:
© jmse
1) The agreement
with Leica is something of huge importance for Zenit, because Leica has got a
huge historical prestige as a photographic brand, as well as boasting a second
to none know-how and experience in the manufacture of benchmark highly luminous
lenses for 24 x 36 mm format rangefinder cameras, both non aspherical ones
harking back to the times of analogue photography of XX Century with foremost
figures of optical designing like Max Berek, Hugo Wehrenfenning, Prof. Helmut
Marx, Dr.Walter Mandler, Lothar Kölsch, Horst Schroeder, etc, and aspherical
ones in the digital XXI Century incepted by other eminent optical designers
like Peter Karbe, Sigrun Kammans and Dietmar Stuible.
Therefore, this
alliance with the German photographic firm for the creation of the Zenit M,
though being a limited series of 500 units, can be a pivotal factor for the
expansion and international projection of Krasnogorsky zavod im. A.A. Zvereva
factory and the Shvabe Holding, so they needed to make a great lens striving
upon matching the camera body designed in Russia and manufactured in Wetzlar
(Germany).
© jmse
And undoubtedly,
Zenit has made a strenuous effort designing and manufacturing this fascinating
and unusual Zenitar 35 mm f/1 kit lens made in Russia, trying to equal as much
as possible the top-notch quality of the camera body.
2) Albeit
featuring highly improved anti reflective multicoatings and top class optical
glasses which have enabled to attain a 0.86 transmission value, Zenit top brass
do know that the DNA of this amazing f/1 lens belongs to the golden era of
Krasnogorsky Mechanikansky Zavod between mid fifties and nineties of the XX
Century, in which after a period between mid thirties and early fifties
manufacturing copies of the Leica II Model D from 1932, Contax II from 1936 and
the 6 x 9 cm Zeiss Ikon Super Ikonta C, along with copies of the best lenses
designed by Max Berek and Ludwig Bertele, the Russian photographic industry had
to set its own route from mid fifties onwards, in the midst of huge economical
difficulties and political upheavals.
Those were the
times in which engineers, industrial designers and technical experts like Yuri
Soloviev, N.A. Gabrilov, P.A. Denisov, I.A. Korolkov, N.M. Egorov, I.
Michoutine, D.M.Krivorotchenko, I.M.Marensov, P.A. Tikhomirov, G.M.Dorsky,
V.I.Ploujnikov, A.P. Orlov, I. Zamanskaya, I.D. Schifman, L.I.Kogan,
V.M.Bakovitski, R.M.Belenki, along with lenses calculated by great optical
designers like Mikhail Roosinov (Deputy Chief Engineer at Zenit and creator in
1956 — though its nearly symmetric negative-positive-negative construction
improving very much the illumination at the edge of the field with respect to
older designs dates back to 1946 — of the well-known Russar MR-2 20 mm f/5.6
superwideangle lens that would have a seminal influence in the history of
photography), F.S. Tsemekhman, Z.I. Zaitseva (who made the optical calculations
of the Tessar type 4 elements in 3 groups KMZ Industar-61 50 mm f/2.8 featuring
lanthane elements and manufactured from 1963 onwards), Dmitry Maksutov (creator
of the Zenit MTO 500 mm f/8 and Zenit MTO f/10 mirror lenses) and others had to
develop the Russian photographic industry with very few means in comparison to
the great Japanese and German multinational firms, and working themselves into
a lather.
3) The
remarkable influence exerted by Leica throughout the history of the Russian
photography.
As a matter of
fact, from late twenties of the XX Century there were a number of
internationally acclaimed Russian photographers using 24 x 36 mm format
screwmount rangefinder Leica cameras like Alexandr Rodchenko, Yevgheni Khaldei,
Max Alpert, Dmitri Debabov, Georgii Zelma, Simon Fridland, Georgy Petrusov,
Roman Vishniac and others.
A tradition that
has kept on already in the XXI century, now with 24 x 36 mm analogue and
digital Leica M cameras with such renowned photographers like Alexandr Lapin
(an outstanding black and white documentary photographer, writer and teacher of
History of Photography), Igor Mukhin (a great street and documentary photographer),
Evgenia Arbugaeva (Recipient of the 2015 ICP Infinity Young Photographer Award,
Leica Oscar Barnack Award 2013 and her work having appeared in National
Geographic magazine, Mare, Le Monde, The New Yorker and others, as well as
portfolios published in LFI magazine), Dmitry Pavlov (a great photographer of
glamour and artistic nude, with images published in LFI magazine), Emil
Gataullin (a remarkable photographer of the rural Russia villages, mostly
getting pictures with a Leica M7, and 1st Prize in the Art Photography category
of the 2010 Grand Prix of the Best Photo of the Year, 1st Prize in the 2009
Evertday Life Section of the My Best Photograph Competition by Epson, 1st Prize
of the 2015 International Festival of Photography " Photovisa " and author of the great 256 pages and 129
black and white photographs book Towards The Horizon, published by
Edition Lammerhuber), Aleksey Myakishev (a documentary photographer using Leica
M Monochrom), Ekaterina Solovieva (author of an amazing black and white essay
on the village of Kolodozero, hidden deep in the woods, 1,000 km in the north
of Moscow, near Karelia, published in LFI and a further one in color on the
German iron works of Völlingen in Saarland), and many others.
© jmse
4) The present
moment is very important for the future of
Krasnogorsky zavod im. A.A. Zvereva factory.
They are already
manufacturing manual focusing photographic lenses with very good optomechanical
performance/price ratio, highly improved anti reflective multicoatings and excellent
bokeh like the Zenitar-C 50 mm f/1.2 for APS-C format Canon EF and Nikon F
digital reflex cameras, the new 8 elements in 7 groups Zenitar 50 mm f/1.2 for
Canon EF and Nikon F digital full frame cameras, the Zenitar-1C 85 mm f/1.4,
the Helios-40-2 85 mm f/1.5 and the 9 elements in 8 groups and 14 blade
diaphragm Zenitar 50 mm f/0.95 for Sony full frame cameras and the Zenitar-N 85
mm f/1.2 for Canon and Nikon full frame cameras.
But Zenit needs
to increase its lineup of lenses in different focal lengths and luminosities if
it wants to really expand its international market chances with these
objectives lacking autofocus but delivering very good image quality for the
price, a frequent vintage aesthetics of image and gorgeous bokehs, whose
potential at full aperture is fostered by the great performance of digital
cameras at high and very high isos in comparison with chemical emulsions of the
analogue era over ISO 800 which produced a lot of grain.
© jmse
And it seems
that with this Zenitar 35 mm f/1, Zenit is trying to show its optical prowess
and experience and that they are able to design and manufacture the most
luminous 35 mm wideangle lens ever made, a lens working like a charm under dim
light conditions, delivering good image quality and a great rendering of the
out of focus areas.
5) And of
course, there has been a mutual search of synergies between Leica Camera A.G
and Krasnogorsky Zavod im. S.A. Zvereva within the Shvabe holding.
It´s widely
known that Russia is currently along with China, United States, Japan, United
Kingdom, Canada, France, Singapore and other countries, one of the best markets
of the German photographic firm, to such an extent that the Leica Store Moscow
Leninsky opened in 2009 has become the Eastern Europe Leica hub, with a
first-rate maintenance center, where highly qualified staff services and
repairs all kind of Leica cameras, both analogue and digital ones, in synergy
with the highly efficient work fullfilled by Vadim Berezkin, its owner, Dmitry
Borgachev (Representative of Leica Camera A.G in Moscow) and others.
In the same way,
the Boutique Phototechnique Novinskiy, also selling top gear from other
respected brands like Hasselblad, Sony, Olympus and Fujifilm, has turned into a
Leica core in Moscow.
On the other
hand, some major Leica exhibitions have been held hitherto in Russia, like the
milestone Leica, Magical Moments of Classic Camera, celebrated at the
Multimedia Art Museum of Moscow between April 4 and 29 of 1996 and organized
with the support of the Goethe Institute.
But coming back
to the role of Krasnogorsky zavod im. A.A. Zvereva factory in this story, it
seems that the Russian firm has taken the decision to manufacture more lenses
for both digital 24 x 36 mm rangefinder cameras and full frame mirrorless EVF
cameras.
To begin with,
it has already announced the Zenitar 21 mm f/2.8 and a Zenitar 50 mm f/1, both
of them in M mount, in the same way as the Zenitar 35 mm f/1.
Likewise, Zenit
has announced that it will also start making new lenses for Nikon and Canon
full frame digital cameras, as well as a further camera with new design,
electronic and lenses in 2019.
If all of it is
in progress, it will be interesting to see those new Zenit lenses and their optomechanical
performance.
Because though
the Russian photographic industry made very good lenses in the analogue era,
with a stunning quality/price ratio, it isn´t less true that the quality
control was far from the German and Japanese photographic industries, so there
were often significant differences in image quality depending on each sample
and production batch, to such and extent that connoisseurs frequently bought
two or more units of the same lens.
Obviously, Zenit
has significantly improved its lenses, but it needs to better a bit their
resolving power, contrast, sharpness and the overall uniformity of production
lens by lens, because though manual focusing objectives are a market niche, it
could be profitable (because apart from being very interesting photographic
lenses, their excel even more in videography, a scope where the Zenit lenses
with widest apertures f/1, f/1.2, f/1.4, f/1.5 and f/2 are a real bargain and
excel with their very precise manual focus, stemming from their very long
throw, and the very special image aesthetics they deliver, particularly thanks
to their unique bokeh) and there are already particularly three brands which
have made things really well for years, having gleaned tons of experience
manufacturing manual focusing lenses in different mounts and boasting
impressive price/quality ratio: Cosina Voigtländer and a bit behind Samyang and
Zhongyi Mitakon.
© jmse
Perhaps the
Zenitar 35 mm f/1 coupled to the Zenit M is the beginning of a surge of Zenit
as a manufacturer of manual focusing lenses with the beautiful image aesthetics
and bokeh traditionally inherent to a significant percentage of Russian lenses,
but if they want to really be able to compete they will have to design and make
lenses not only for reflex Nikon and Canon cameras and Leica M rangefinder
cameras, but also for other different cameras and mounts : SL for Leica,
Panasonic and Sigma, E-Mount for Sony mirrorless full EVF full frame cameras, Z
for the new Nikon mirrorless EVF full frame cameras, R for the new Canon
mirrorless EVF full frame cameras, etc.
Anyway, this
Zenitar 35 mm f/1 has been a good piece of news for every lover of manual
focusing lenses for rangefinder cameras and the history of Russian photographic
industry that seems to be gaining momentum.
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