By: Thorsten Overgaard
The Real Deal
When the first Noctilux
lens was made as a 50mm f/1.2 in 1966, it was the introduction of the most
unique lenses made in the history of photography. Soon after it became an f/1.0
model, and in 2008, Leica broke their own speed of light record with an f/0.95
version.
By the end of 2017 Leica
announced the first of what I presume to be a series of legendary Noctilux
lenses outside the 50mm range: The first is the 75mm Noctiliux, which is the
one I will write about today.
I've been using the 50mm
Noctiliux-M ASPH f/0.95 for many years, which you can read about in this
article, "Noctilux - King of the Night".
It's apparent from the
first photos with strong back-light that the purple fringe
is no more, or is
limited to very tiny lines in extreme conditions.
Leica M10 with Leica 75mm
Noctilux-M ASPH f/1.25 FLE.
© 2018 Thorsten von Overgaard.
Taking Noctilux to a new
Level
Conclusion: Beyond
everything, and something you will discover within the first hour (or minutes)
of taking on the 75mm Noctilux, is that the overall optical performance in
extreme low-light lens design has taken a step up. The contrast of what is in
focus has increased, giving the impression that the lens is much sharper.
The sense of micro details
you can touch and feel (when in focus) is extreme. The clarity of colors is
almost better than what you see with the eye (which only the 90mm APO and a few
others perform). The out-of-focus areas have become smooth and silky - as much
as you would think is possible for a Noctilux lens. Maybe almost too nice and
silky.
Textile of details you can
touch. Silky
out-of-focus areas
Most miraculous is the
fact that purple fringing is gone! It makes you immediately think, "When
does the next 50mm Noctilux come out?" (which is not promised or even
rumored to happen). Most likely, a 35mm Noctilux is due next, then maybe in
some years, a newly updated design of the 50mm Noctilux.
The demand on the user of
this lens is how to work with the out-of-focus areas that have become eventless
in the sense that they are smoky soft without sharp edges, as well as less
contrasty than the in-focus areas of the frame. The 75mm Noctilux has become a
civilized version of the 50mm Noctilux. A 50mm APO on steroids.
King of the Night
Noctilux means "light
of the night" [from Latin 'nocturnus' of the night, and 'lux' light]. The
Noctilux surpasses the speed of the human eye somewhat four times (which can
see as wide as f/2.1 in the dark and f/8.3 in bright daylight).
Originally, when the first
Noctilux lens was introduced in 1966, it was at a time where the race was about
how to make a really fast lens that would be able to photograph in the dark
with 100 ISO or 400 ISO film. Today we have 6400 ISO commonly on cameras, so
even a f/2.8 lens could work for low light.
But with the wide open
aperture comes the extremely narrow focus, and with that a dreamy bokeh (the
shape and visual quality of the out-of-focus areas). But also a lens that
balances so much on what is physically possible that it becomes a lens with
which to create art. A lens that has such a different take on handling light
that it opens up a world of new possibilities to make the everyday look like a
fantasy.
Leica M10 with Leica 75mm
Noctilux-M ASPH f/1.25.FLE
© 2018 Thorsten von Overgaard.
Size
The
75mm Noctilux is 1 mm larger in diameter
compared to the 50mm Noctilux.
compared to the 50mm Noctilux.
The Noctilux looks far
larger in photos than it is in the hand, or on the camera. The same goes with
the weight. Going from a 50mm Noctilux to the 75mm Noctilux is not a large
step, though you do check your camera strap an extra time to make sure it's
safe.
If you notice, the 75mm
Noctilux uses 67mm filters, whereas the 50mm Noctilux uses 60mm filters. If you
study the front of the two lenses, you'll realize that the tube is slimmer on
the 75mm: That alone accounts for 5-6mm of the 7mm difference in filter size
between the two.
It also means that filters
are so far out from the 75mm lens opening that the filter frame doesn't
influence the corners of the photo.
The "hole
through" of a 50mm Noctilux f/0.95 is 53mm, and the "hole
through" in a 75mm Noctilux at f/1.25 is 60mm in diameter.
Overall, it's a remarkable
masterpiece that the lens designers have managed to pack that much glass and
wide open aperture inside a barrel that measures just 1mm more in diameter (the
75mm Noctilux lens barrel is 74mm and the f/0.95 Noctilux is 73mm in diameter).
Leica M is a very compact
lens design in any regard. Comparatively, the Leica 75mm Summicron-SL f/2.0 is
73mm in diameter, despite the fact that it's a 1.5 stop slower lens than the
75mm Noctilux. The Leica 35mm Summilux-TL f/1.4 is 70mm in diameter for a lens
where the "hole through" is only 25mm.
LeicaM10 with Leica 75mm Noctilux-M ASPH f/1.25 FLE
© 2018 Thorsten von Overgaard.
The Nervous Photographer
I often meet people who
are nervous about their Leica 50mm Noctilux and other Leica lenses. As in
performance fear. Now I know what they face.
With the 75mm Noctilux, I
felt performance fear. The bare touch of the lens… and you know it can perform,
but can you get it to look as good as the lens was made to do? Will the face
look as dreamily perfect and beautiful as the lens was intended to do? Will all
my photos be slightly out of focus?
You can easily mess it up
and take photos that are not perfect. If you forget that it's light and
aesthetics that you are aiming for, why, if a photo has nothing in it, it
doesn't matter what lens you used. To make it shine, you must find beauty.
Leica M10 with Leica 75mm
Noctilux-M ASPH f/1.25 FLE
© 2018 Thorsten von Overgaard.
The secret to making the
Noctilux work
Look for the magic of
light, and take plenty of photographs. That's how you do it. Taking a new
camera or lens out into the garden, or in a hallway in the evening when you
first have it... it's seldom going to create masterpieces.
You need to take a good
long walk for a reasonable chance of getting something that is actually
photogenic. Don't take five photos. Take two hundred.
What you will likely
realize is that some scenes just aren’t going to look great, no matter what you
do. But others will. When the light is right, and the subject is right, it is
actually possible to make magic. Without a subject, and without great light,
nothing great will come out of it.
I make it a point that
when I am learning a new camera or a new lens, I seek things that don't move
fast. If they stay in place, I can examine my result, change settings and do it
again. Once I’ve got the controls, I can go seek action and challenging focusing.
GMC.
Leica M10 with Leica
75mm Noctilux-M ASPH f/1.25 FLE
© 2018 Thorsten von Overgaard.
Focusing the Noctilux
I found it relatively easy
to focus the 75mm Noctilux with the rangefinder the first time I tried. I
didn't have an EVF with me, so the choice was easy. I had to get the focus
right, and I did.
The basics of focusing
with a rangefinder are that the viewfinder must be clean on the back and front,
and that the focusing eye must be clean.
Next thing, you must know
that if you haven’t got contrast, you can't focus. You need contrasty lines and
edges to match in the rangefinder. It just isn't possible to match something
that isn't there to see, such as for example a dark edge on a dark surface.
Leica M10 with Leica 75mm
Noctilux-M ASPH f/1.25 FLE
© 2018 Thorsten von Overgaard.
The secret sauce to
focusing with a rangefinder is: be sloppy! Focus like you know how to do it, be
reckless about it. The harder you try, the harder it gets.
It means that you turn the
focus ring (usually clockwise, as seen from behind the camera), and the moment
the focus matches, take the photo. Then either move slightly back and forth
with the body until you see that it matches again, then take another photo. Or,
turn the focusing ring counter-clockwise back, then clockwise again until you
see it matches, then take the photo.
Leica M10 with Leica 75mm
Noctilux-M ASPH f/1.25 FLE
© 2018 Thorsten von Overgaard.
Don't turn the focusing
ring back and forth to "nail the focus" or "test where the most
focus is", because it's not an old safe that will open magically when you
hit the right combination. Trust what you see, and when you see that the focus
matches, press the shutter.
The result of this will
likely be that some photos will be in focus, and some won't. But you just need
one that is in focus, and that's why you may take a few to make sure you get
it. Don't think that it's supposed to always work with just one single photo,
and that if you can't do that, you have failed the test to enter the Leica
Cult.
Here's how it works: You
put on the EVF to get a Live View of the scene, and as you focus, the EVF 10X's
the view so you can really nail the focus. Then you take the picture. Ah, this
is the way to make sure you don't mess up this focusing thing, you think.
What do you know? Some
times that works, some times that doesn't work. "That's strange", you
think. "I really have no talent for this manual focusing".
Leica M10 with Leica 75mm
Noctilux-M ASPH f/1.25 FLE
© 2018 Thorsten von Overgaard.
Stop blaming yourself.
Take some more photos instead! What happens is that you focus, and before you
take the photo, the subject moves, or you do, or you accidentally turn the
focusing ring a tad as you take the photo. It doesn't really matter what it is,
but that's the way it is. To make sure you get one or two that are as much in
focus as intended, you take a few and re-focus for each.
You don't refocus, take
the photo, then check the screen of the camera. No, you focus, take the photo,
refocus and take another one.
Leica M10 with Leica 75mm
Noctilux-M ASPH f/1.25 FLE
© 2018 Thorsten von Overgaard.
Never check that screen
for other than the exposure. Even when it is really sharp, it doesn't look as
sharp on the screen. And often when it looks really sharp on the screen, it
isn't (but is just high contrast that makes the picture on the screen look
really crisp).
Let's repeat: Be sloppy.
Focus, take a photo, re-focus and take another. Keep doing just that.
Leica M10 with Leica 75mm
Noctilux-M ASPH f/1.25 FLE
© 2018 Thorsten von Overgaard.
When I was doing a
workshop in New York and we were sitting and editing, Lars from Sweden stands
behind my screen, and he says "Man, I wish I could get my Noctilux in
focus as you can". I told him what was true, which is, "That's
because you only see the ones that are in focus".
By the way, the Noctilux
is not about focusing. It's about how dreamy can you make it without losing
touch.
Leica M10 with Leica 75mm
Noctilux-M ASPH f/1.25 FLE
© 2018 Thorsten von Overgaard.
Using EVF: Turn Off the
Red Outline (Focus Peaking)
If you use an EVF with a
lens with narrow depth of field (which is basically all f/1.4 and f/1.25 and
f/0.95 lenses), you likely miss the real focus if you have turned on Focus
Peaking, which is the red outline that supposedly shows when you hit focus.
The focus aid works by
contrast, so when there is high contrast, there is a red outline. If there is
no high contrast, the red outline will never appear.
The reason I turn off the
red outline is that it disturbs the focus. I cannot see the thing that is supposed
to be in focus with red lines over it. And with narrow focus, the red outline
will show up before you have actually gotten 100% focus.
Leica Gallery Los Angeles.
Leica M10 with Leica 75mm Noctilux-M ASPH f/1.25 FLE
© 2018 Thorsten von
Overgaard.
If you put on a
"simple lens" as the Leica 28mm Summilux f/1.4, you will be able to
easily notice that the red outline turns on way before you get the actual
focus: You focus on a person sitting by a table at an outdoor restaurant, and
now the person, the wall behind and the cars in front of the restaurant lights
up with red outline.
It isn't that it doesn't
work or is extremely inaccurate, it's just that you can much easier see in the
EVF whether something is in focus or not - by simply looking at it.
Turn on your eyes instead
of obeying a piece of electronics.
This is very true for the
Leica M10 with the Visoflex EVF 020, and also true for the less resolution
EVF-2 on the Leica M240 and Leica M 246.
Chateau Marmont.
Leica M10
with Leica 75mm Noctilux-M ASPH f/1.25 FLE
© Thorsten von Overgaard.
50mm APO on Steroids
The best description of
the Leica 75mm Noctilux, is a 50mm APO on steroids. It's accurate, detailed,
exercises extreme control with light, but unlike the 50 APO it has some bad-boy
qualities. The 75mm Noctilux is walking on a thin line between being as perfect
as the 50mm APO and being reckless. Without losing any of the perfection.
Leica M10 with Leica 75mm
Noctilux-M ASPH f/1.25 FLE
© 2018 Thorsten von Overgaard.
The perfection is almost
breathtaking in the 75mm Noctilux, at least on paper. In any low-light lens
that you use wide open, the term "corner sharpness" is almost a joke.
Who cares what's going on in the corners of the lens when all you want is
selective focus on the main subject, and as much bokeh and out-of-focus for the
rest?
Yet, the 75mm Noctilux
boasts an even performance across the full field, to even "the most
extreme corners" of the image field. While it might not be visible very
often, it sets a standard for the lens. The designer has taken such extreme
care to control all factors that it is not just the center of the lens that is
great, but all of the lens.
Leica M10 with Leica 75mm
Noctilux-M ASPH f/1.25 FLE
© 2018 Thorsten von Overgaard.
When we talk f/1.25,
that's quite an accomplishment. An f/1.25 lens is not just twice as hard to
control in optical design as an f/2.0, it's ten to twenty times more difficult.
In other words, it requires ten to twenty times more precise design and assembly.
So much glory for the lens
designers. Back behind the camera, we actually couldn't care less, because the
aim for the photos made with a f/1.25 lens is to break the laws of physics. In
the same way as a Formel 1 driver needs a perfect car to break the record, the
photographer needs a perfect lens to tweak reality.
Leica M10 with Leica 75mm
Noctilux-M ASPH f/1.25 FLE
© 2018 Thorsten von Overgaard.
If you want pretty, get
the 50mm APO which can make excellent colors, micro details and all - but it
can't play with depth of field like a Noctilux. It can't break the rules.
If you are all new to this
and unfamiliar with the 50mm APO, "The World's Best 50mm" released in
2013, read my article on the 50mm APO and the intverview with the designer
behind the APO and the Noctilux, Peter Karbe.
Leica M10 with Leica 75mm
Noctilux-M ASPH f/1.25 FLE
© 2018 Thorsten von Overgaard.
Made to be used wide open
at f/1.25
The lens designer Peter
Karbe who made this Noctilux and most of the current lenses in the Leica M
range, has said many times that aperture is for control of depth of field. Leica
lenses are designed to be used wide open. If you want less open aperture, get a
lens with less open aperture.
Leica M10 with Leica 75mm
Noctilux-M ASPH f/1.25 FLE
© 2018 Thorsten von Overgaard.
As an example, Peter Karbe
has stated that the only difference between the current 28mm lenses (image
quality, sharpness and everything considered) is the f-stop. So, no matter if
you buy the 28mm f/1.4, the f/2.0 or the f/2.8, you get the same image quality.
The wider you go, the more light, and the more narrow focus you get.
Likewise, the 75mm
Noctilux was designed to be used wide open. "Stopping down will increase the
performance, but in most cases it is not necessary except for reasons of image
composition with depth of field", as the manual of the 75mm Noctilux says.
Reasons of image
composition would be when three people ask if you can take a photo of them
together. In that case, the composition demands that you stop down so all three
people will be in focus.
Leica M10 with Leica 75mm
Noctilux-M ASPH f/1.25 FLE
© 2018 Thorsten von Overgaard.
Composition in the Third
Dimension
Where most composition
theory deals with composing a photograph as a two-dimensional concept (hight
and width), starting to work with light-strong lenses wide open, you enter the
art of composing in the third dimension. Now you have depth of field, selective
focus, artistic bokeh, blurred out and exploding masses of undefineable light
and an overall "unexplainable" visual array of effects to play with.
Then of course there's
composition in the Fourth Dimension, but that's a story for another day and my
upcoming Composition in Photography book.
Chateau Marmont.
Leica M10
with Leica 75mm Noctilux-M ASPH f/1.25 FLE
© Thorsten von Overgaard.
As soon as you start using
the aperture for light control, the depth of field changes. Many admire the
photographs made with dSLR cameras because of the blurred background. It looks
cool, and it focuses the viewer on the subject in focus.
In the case of the 75mm
Noctilux the out-of-focus background is to die for. If you don't think so,
don't get one.
The lens wide open has
selective focus; the background is out of focus.
When
you stop down the aperture to f/8, the background is also more in focus.
f/1.25 f/11
The necessary ND filter
for the Noctilux
To be able to keep using
the 75mm Noctilux wide open on a Leica M, you need a 3-stop ND filter. The
minimum ISO of the Leica M10 is 100 ISO, and the maximum shutter speed is
1/4000 of a second. In sunshine, any lens that is wider open than f/2.0 will
overexpose. On a Leica M240 with a base ISO of 200, the aperture has to be
reduced to f/2.8. On a Leica M Monochrom where the base ISO is 320, the lens
has to be stopped down to f/3.4.
(On a Leica SL, Leica CL
and Leica TL2, the shutter goes to much faster speeds (thanks to an electronic
shutter), making the need for ND filters unnecessary even in sunshine).
Add a
3-stop "X4-ND" filter from Breakthrough Photography.
To reduce the light going
through the lens, you need an ND filter. ND stands for Neutral Density, so it's
neutral. It doesn't add contrast, it doesn't change colors. It only reduces the
strength of the light. The 67mm 3-stop ND filter from Breakthrough Photography
($149) will fit the 75mm Noctilux and reduce the amount of light 3 stops, which
equals f/3.4.
In the case of the Leica M
Monochrom, you might want to consider getting Leica's ND-filter, which is
4-stop. Thus you won't be balancing on the edge of over-exposure in sunshine at
the 320 ISO.
My preference is the Breakthrough Photography "X4-ND"
filters because they are the best filters made. Period. On the Leica M10, I
will set the ISO to 200 when using the ND filter. When on a walkabout in
sunshine, you also encounter shade, and you want as fast exposure as possible
in the shade. 200 ISO works well with the "f/3.4" of the lens in
sunshine, and it prevents slow shutter speeds when working in the shade.
On a normal day the M10
with this setup will be 1/4000 in sunshine and 1/250 - 1/750 in shade.
Getting darker ND filters
than 3-stop and 4-stop is a bad idea. In sunshine it makes no difference, but
in the shade you will suddenly find yourself working at 1/30th and 1/60th
second shutter speeds, creating motion blur and camera shake.
The 3-stop ND-filter
reduces the light going through the lens 3 stops,
so wide open, when the lens is in fact at f/1.25, it will take light in as if it was at f/3.4
while the lens remains the narrow depth of field of f/1.25.
I recommend "X4-ND" 3-stop filters from Breakthrough Photography.
so wide open, when the lens is in fact at f/1.25, it will take light in as if it was at f/3.4
while the lens remains the narrow depth of field of f/1.25.
I recommend "X4-ND" 3-stop filters from Breakthrough Photography.
As lens design improves
What's the difference
between old and new Leica lenses?
Generally speaking, the
newer a Leica lens, the more resolution (as in details recorded per mm),
contrast, clarity and correct colors. Newer lenses use optical design and
(mainly) lens coatings to control reflections and (skin) colors.
In high fidelity, watches,
cars and other things most would expect that the older the item, the better the
quality and the more care that went into the details. That's true for much
manufacturing, but not in the case of Leica lenses. Unlike most brands, Leica
will deploy the most expensive raw materials they see fit, extreme care in
hand-assembled production, and an overall extreme reach for the highest
quality, despite the costs.
The extreme quality is a
Leica tradition since 100 years ago, only changed for the better by the
improved precision in production, more accurate precision-assembling, grinding
of the optics, and computer-aided design. Many of the optical qualities are the
same: The idea of how the image must look is the same, but as we have moved
forward from 100 years until today, the overall precision has improved.
So much to love: Two
extremes that are in family and have many of the same qualities.
The $400 -
$1,800 50mm "Rigid" from 1956-68 (left), and
"The Worlds Best
50mm Lens" from 2013,
the APO-Summicron (right) in a limited
"LHSA" edition for $9.595.
With
an old 50mm "Rigid" from 1960's you can get flare
such as this by permitting relatively little backlight in.
such as this by permitting relatively little backlight in.
© Thorsten von Overgaard.
With the 75mm Noctilux the
optical design is so controlled,
you get this when having the sun going straight into the lens.
The 50mm APO is the same.
you get this when having the sun going straight into the lens.
The 50mm APO is the same.
© Thorsten von Overgaard.
If you want flare with
modern lenses,
you add it later (as in
the movie "gravity")
Even between extreme
lenses like the 50mm Noctilux f/0.95 from 2008 and the 75mm Noctilux-M f/1.25
from 2018, the extremely well-made optical design of 2008 has improved ten
years forward to 2018: Tighter control with light, colors and contrast (see
chair detail below).
Almost all Leica lenses
have the "Leica look", which may be described as "soft, detailed
and alive". They further have some qualities that defy words. You
recognize it when you see it.
This philosophy behind the
special Leica look is described by lens designer Peter Karbe in my interview
with him on the 50mm APO lens here.
75mm Noctilux 50mm
Noctliux
In this detail you may
sense the overall tightness of the 75mm Noctilux's control of light in a scene
with high contrast and backlight.
How to park a Noctilux
75mm lens.
Leica M10 with Leica 50mm APO-Summicron-M ASPH f/2.0 LHSA.
© 2018 Thorsten von Overgaard.
© 2018 Thorsten von Overgaard.
75mm Summilux vs 75mm
Noctilux
While I haven't made
direct comparisons between the 75mm Summilux f/1.4 and the 75mm Noctilux f/1.25
(and have no intention to do so), the difference in look is obvious even from
the small review screen of the camera already when you have taken the first
photo with the 75mm Noctilux.
The contrast of the 75mm
Noctilux (2018) is way above the Summilux (1980-2007). There are many
differences between a 38-year old excellent lens design compared to a current
excellent lens design. The control of light (flare and ghosting), the accuracy
of colors (the glass doesn't add warm or cold tones to the colors, thanks to
advanced glass types and advanced coatings to control colors and reduce
reflections), the clarity of colors by control of light rays (that makes you
suspect it's an APO lens design), the application of modern lens design where
Peter Karbe and his team designs the look towards high contrast in the focal
plane and "fast falling contrast" in the out-of-focus areas.
Straight into the sun.
Not
many lenses can do this.
Leica M10 with Leica 75mm Noctilux-M ASPH f/1.25 FLE
Leica M10 with Leica 75mm Noctilux-M ASPH f/1.25 FLE
©
2018 Thorsten von Overgaard.
The 75mm Summilux is a
great lens for color photography when not disturbed by ghosting or flare light,
and it is a beautiful lens for monochrom photography where the "soft and
rich in details" look seems to feed the Leica M Monochrom with more
tonality than you can explain.
Both lenses, the 75mm
Noctilux and the 38-year older 75 Summilux have the richness in details that
makes you wonder how this is possible. The face being photographed by either
lens will love the detailed skin that looks healthy and alive, while the
"soft" look doesn't age the face unnecessarily (which an
over-sharpened look will). Leica lenses give you the skin details (texture),
but not the wrinkles (lines), so to speak.
While I haven't made
direct comparisons between the 75mm Summilux f/1.4 and
the 75mm Noctilux f/1.25, this comparison of the 75mm Summilux and
the 75mm Summicron SL illustrates the effect of high contrast in the focus area,
and fast downfall in the out-of-focus area in front and behind the subject in focus.
the 75mm Noctilux f/1.25, this comparison of the 75mm Summilux and
the 75mm Summicron SL illustrates the effect of high contrast in the focus area,
and fast downfall in the out-of-focus area in front and behind the subject in focus.
Isolated not only by depth
of field but also high contract in focus and fast falling
contrast in out of focus areas. Leica M10 with Leica 75mm Noctilux-M ASPH f/1.25 FLE
contrast in out of focus areas. Leica M10 with Leica 75mm Noctilux-M ASPH f/1.25 FLE
© 2018 Thorsten
von Overgaard.
What is ghosting and
flare?
Ghosting = Secondary light
or image from internal reflections between (and within) lens elements inside a
lens. The reflected light may not always be in focus, so overall it looks like
a "milked out" image. A subject in focus has brightened patches in front
of it that come from reflections inside the lens. the most elementary look of
ghosting is when you look in a rear-view mirror in a car at night and you see
doubles of the headlights behind you (a strong one and a weaker one), because
the headlights are reflected in a layer of clear glass on top of the mirror
glass.
Degrees of ghosting from strong sunlight entering from outside the frame.
To the right the outside light has been shielded with a shade.
Flare = Burst of light.
Internal reflections between (and within) lens elements inside a lens. Mostly,
flare has a characteristic "space travel" look to it, making it cool.
Particularly in older lenses with less or no coating of the glass surfaces to
suppress this, it can be a really cool effect. In newer lens designs, the
coatings and overall design try to suppress flare and any reflections to a
degree, so that there is seldom any flare to be picked up (moving the lens to
pick up a strong sunbeam), but instead a "milking out" (or
"ghosting") of a circular area of the frame; meaning simply
overexposed without any flare-looking flares.
The
camera moved slightly to avoid the flare.
Mel's Drive-In on Sunset
Boulevard. Leica M10 with Leica 75mm Noctilux-M ASPH f/1.25 FLE
© 2018 Thorsten
von Overgaard.
Breaking the perfection
I always look to see how a
lens handles light coming straight into it. It's my way of playing with it and
learning how to create something unique with it. I always do that with lenses,
it's my way of learning how they work with extremes.
Traffic at night on the
highway. It's extreme how well the Noctilux holds its ground
on the shadow with no overflow. Only the out-of-focus areas show some effects
I might find useful for something.
3200 ISO. Leica M10 with Leica 75mm Noctilux-M ASPH f/1.25 FLE
on the shadow with no overflow. Only the out-of-focus areas show some effects
I might find useful for something.
3200 ISO. Leica M10 with Leica 75mm Noctilux-M ASPH f/1.25 FLE
©
2018 Thorsten von Overgaard.
In the focus area there is only perfection.
In the out-of-focus area there's some
effect
that might be useful one day.
that might be useful one day.
Conclusion: Useless or
necessary?
When I first heard of the
75mm Noctilux, I was certain I wanted to have one, try it and not keep it.
Now I'm not that certain
anymore. I think it's a keeper.
The f/1.25 of the lens
(rather than f/0.95) to begin with, seemed a "half solution", but in
practical use and results, it's a well-thought step. The size of the lens and
the final look of the images makes sense when you have used it for a while.
A 75mm f/0.95 would have
been revolutionary, but extremely heavy and something like 95 mm in diameter.
The results of the 50mm
Noctilux and the 75mm Noctilux are similar. There seems little sense in using
both, one of them will win and it could be the 75mm for image quality, or the
50mm for being more compact and for being able to work closer to the subject.
We'll have to figure that one out on our own.
Sunset Strip with a view
to downtown LA.
Leica M10 with Leica 75mm Noctilux-M ASPH f/1.25 FLE
Leica M10 with Leica 75mm Noctilux-M ASPH f/1.25 FLE
© 2018
Thorsten von Overgaard.
Waiting time for the 75mm
Noctilux
Two days after I had found
my 75mm Notilux on the website of PopFlashin California (with 3-year passport
warranty), I got an email from Leica Salzburgthat they had gotten one for me
too (which they might still have if you are fast). While the wailing list is
very long in many places, there are 75mm Noctilux being shipped, so you’ve got
to find the stores that don't have a 5-person, or 30-person or 150-person
waiting list.
The bottleneck in the 75mm
Noctilux, the 50mm Noctilux and 50mm APO is not just production capacity. These
three lenses, along with the Cine Lenses, are hand-assembled, tested,
re-adjusted and tested endlessly for hours by a handful of specialists in Wetzlar
who can fine-tune a lens to extreme tolerances.
Leica lenses are in any
case exclusive, expensive and from a small factory. With the 75mm Noctilux, we
likely face the same scenario as when the 0.95 Noctilux was introduced in 2008,
which means waiting lists and small drips of lenses during the first year or
two.
Here's how Cine Lenses are
made.
The lens is tested by projecting a test slide onto a wall and checking its performance with a loupe!
Then it goes back for more fine-tuning before it's tested again.
A Cine Lens takes about two days to tune in.
The lens is tested by projecting a test slide onto a wall and checking its performance with a loupe!
Then it goes back for more fine-tuning before it's tested again.
A Cine Lens takes about two days to tune in.
Leica M 240
with 28mm Summilux-M ASPH f/1.4.
© 2018 Thorsten von Overgaard
Leica M10 with Leica 75mm
Noctilux-M ASPH f/1.25 FLE
© 2018 Thorsten von Overgaard.
Which camera for the 75mm
Noctilux?
While the Leica SL does
really well with Leica M lenses (and most likely better than the Leica M in the
case of the 50mm APO-Summicron), the Leica CL and Leica TL don't handle Leica M
lenses just as well as Leica M camera sensors.
I would say that the 75mm
Noctilux-M ASPH f/1.25 is equally good on the Leica M and Leica SL, which are
both full-frame.
On the Leica TL2 and Leica
CL ... nah, I don't think so. The crop factor makes it onto a 115mm lens, and
the sensor can't handle the image quality as well as the M and SL. If you're
going to get a $12,500 lens, save the adapter and buy a Leica M or Leica SL for
this lens.
Leica M-Adapter L for
using Leica M lenses
on the Leica SL, Leica TL2 and Leica CL.
Leica M10 with Leica 75mm
Noctilux-M ASPH f/1.25 FLE
© 2018 Thorsten von Overgaard.
Thorsten von Overgaard by
Robert Farrands.
Thorsten von Overgaard is
a Danish writer and photographer, specializing in portrait photography and
documentary photography, known for writings about photography and as an
educator. Some photos are available as signed editions via galleries or online.
For specific photography needs, contact Thorsten Overgaard via e-mail.
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It boggles the mind to see the wide open performance of this lens.
ReplyDeleteAt that price it should be that good
DeleteThe cost of that lens is the direct result of a no-compromise design. There is nothing like it available anywhere from any other manufacturer.
Delete