Thursday, January 26, 2023

WHAT’S YOUR RANGEFINDER’S EFFECTIVE BASE LENGTH




By  JOHNNY MARTYR

Looking to buy your first rangefinder? Here’s a tip: start with the lenses! Effective Base Length, or EBL, is often left with little or no consideration by SLR shooters looking for their first interchangeable lens rangefinder.

Review after review will sing praises of a bright viewfinder, numerous (or lack of) framelines and a plethora of other features that are more on the mind of SLR shooters (like shutter speed range, light meter, and loading).

Those are all important, but the thing that I don’t think that many photographers grasp is that one must choose their rangefinder based first on what lenses they want to shoot with.

And this is where EBL comes into play.

 
Leica M6 TTL .85 with 75 & 90mm lenses. EBL = 59.1mm

Effective Base Length is calculated by multiplying a rangefinder’s Base Length (distance between its two RF windows) by its viewfinder magnification so:

BL x Mag = EBL

Base Length is the physical distance between your two rangefinder windows and can easily be measured by laying a ruler down on the front of your camera. This number represents the accuracy by which the rangefinder can triangulate focus.

x

Magnification is simply how far “zoomed in” the viewfinder is. The greater this number, the more accurately you can align the double image produced by the difference in distance between the two rangefinder windows.

=

Effective Base Length is a representation of the total accuracy of the rangefinder and viewfinder as a single unit, to measure distance.

 
Leica M6 TTL .85, Leitz 90mm f/2 Summicron Pre-ASPH, Fuji 400 Pro H

What’s essential to understand is that the longer, faster the lenses you intend to use, the greater the Effective Base Length your rangefinder should exhibit. And you can shoot wide lenses with a rangefinder of any Base Length, but a shorter one might be preferable for wider built-in framelines. You see, Base Length and angle of view are a balancing act. The longer your EBL, the narrower your view, the shorter your EBL, the wider your view can be.

Many people use 50mm f/2 or 35mm f/2 lenses and don’t think much about EBL. And that’s fine. But step up to simple upgrades like a 50mm f/1.4, 35mm f/1.4, 90mm f/2 or 28mm f/2.8, and your body preference may also need to change. More extreme lenses like 21mm and 13mm or wider will definitely require EBL consideration.

If wide-angle lenses are your primary lens but you sometimes use a normal or long lens, choose a rangefinder with EBL appropriate to your longest/fastest lens and then use an accessory shoe finder with your wide lenses. Veritably any EBL can focus a 15mm but only longer ones can focus a 90mm f/2 so you may have to cater to that long/fast lens when choosing a rangefinder.

 
Voigtländer Bessa R2, 15mm 4.5 Heliar, Fuji Pro 400H

However, if you mainly shoot wide-angle lenses and have another body for long/fast lenses or simply don’t use them at all, you may want to consider choosing a body with a very short EBL as this often comes with additional wide-angle framelines built into the viewfinder.

Bodies like the Voigtländer Bessa R4M and R4A have framelines down to 21mm and any .58 magnification Leica M has them down to 28mm. If you shoot these lengths frequently, it’s nice not to have to buy a dedicated viewfinder or to have that slight additional size atop your camera. If you don’t just use hyperfocal distance, it’s helpful to have the rangefinder focusing in the viewfinder that you’re using to compose too as this makes for faster shooting.

If you mainly shoot on fast or long lenses, you simply cannot skimp on a good, long EBL. My first interchangeable lens RF was the Voigt Bessa R2 which has an EBL of only 25.53mm. With it, I was running a 50mm f/1.5 Nokton. For months, I was under the impression this fantastic lens sucked because the R2 was simply incapable of making a sharp photo at full aperture and/or close distance. It was a really stupid rig.

 
Voigtländer Bessa R2 with 50mm & 75mm lenses, EBL = 25.53mm

It was only when I bought my Leica M6 TTL 0.85 with its killer 59.1mm EBL that I got full use out of that brilliant Nokton lens and I now reserve the R2 for shooting with a 15mm 4.5 Heliar!

But yeah, you just can’t reliably get shots like this image below with the 50mm Nokton 1.5 at full aperture, close distance, in low light without reasonably long EBL. I tried so many times to take images like this on my Bessa R2 and failed.

 
Leica M6 TTL .85, Voigtländer 50mm 1.5 Nokton, Kodak Portra 400

People often complain that the Leitz 90mm f/2 Summicron is soft wide open and are surprised by how sharp my images with that lens are. It comes down to a long EBL and of course a correctly calibrated lens and body.

People associate rangefinders with 50mm and wider lenses but shooting up to 135mm f/3.5 with an RF is totally possible and quite enjoyable/useful if one simply has enough EBL for the job.

It’s fine if you’re dipping your toe into rangefinder photography by picking up a sub $200 fixed lens RF like a Canonet, Olympus 35, Konica or even an Argus C3 Brick. These cameras feature 40mm to 50mm length lenses of reasonable speed fitted to them and short EBLs that are good enough for that single lens at middle to far distances.
  
Konica III with fixed 48mm f/2 Hexanon, EBL = Who knows, but probably in the 20s

But if you are interested in exploring the benefits of using wide lenses and short telephotos on a rangefinder body, it’s critical to understand what EBL does for you. Because the camera that a wide-angle shooter would be best off buying would likely be a different camera than a portrait shooter would want.

Understanding EBL can illuminate why one might prefer a screw mount Leica with its diminutive and separate view and rangefinder windows over a cheaper, easier to load Canon P or a new, metered Bessa, which, on the surface can appear to be a vastly smarter buy.

Believe it or not, those little Leicas from the 30s through 50s can focus much more precisely than a popular P or Bessa R, even if the experience of looking through them doesn’t inspire confidence! The early Leicas have a 58.5mm EBL while the often praised Canon P is only 41mm and the usual recommended upgrade, the Canon 7, is only 47.2mm. The longest Voigtländer Bessa, besides the T, is a mere 37mm EBL.

 
Canon VI-L with 50mm f/2 Summitar, EBL (variable) = 28.7mm, 41mm, 61.5mm

Most Leica Ms with .72 magnification only have a 49.32mm EBL. This isn’t much better than the Canon 7 or P. But like I said, totally adequate for your garden variety 50 or 35mm f/2.

Long EBL isn’t EVERYTHING. A dim finder, an RF that’s not very contrasty or isn’t perfectly calibrated to a particular lens, or even just a focusing patch that is not shaped to your preference can all throw off a camera boasting a very long EBL. Additionally, a bright finder, a contrasty, rectangular patch and perfect calibration on a short EBL body with a slower lens might nail focus effortlessly every time. Many people say they don’t like the 35mm framelines on the Leica M6 TTL .85 because they are right at the edge of the finder window.

So there’s a lot that goes into what makes a rangefinder camera perfect for your specific needs as a photographer. There is certainly much more to consider than when purchasing an SLR and slapping any old lens on it then off you go! Rangefinder selection requires technical understanding and forethought. But in my eyes, it should all begin with what lenses you plan to shoot and what EBL is best for those lenses.

 
1930 Leica with 50mm f/2 Summar, EBL = 58.5mm

Below, please find a pretty comprehensive chart that I’ve compiled of popular interchangeable lens rangefinders and what their EBLs are. At the top is the highest EBL and it goes downward in descending order. I couldn’t find much info on fixed lens rangefinders.

 

Thanks for reading and happy shooting!

About the author: 

Johnny Martyr is a East Coast film photographer. The opinions expressed in this article are solely those of the author. After an adventurous 20 year photographic journey, he now shoots exclusively on B&W 35mm film that he painstakingly hand-processes and digitizes. Choosing to work with only a select few clients per annum, Martyr’s uncommonly personalized process ensures unsurpassed quality as well as stylish, natural & timeless imagery that will endure for decades. You can find more of his work on his websiteFlickr, and Facebook.


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Tuesday, January 24, 2023

THE LEICA NOCTILUX F/1.2



By Jonathan Slack


Introduction

This is the third lens in Leica's historical lens series where they revisit classics and remake them with modern glass and coatings, but with the original basic design. The two previous lenses are the 28mm Summaron which is a tiny lens, originally released in 1954 with a screw mount. Then came the Leica Thambar M 90mm f2.2, a quirky soft focus portrait lens from the mid 30's.

The Leica Noctilux 50mm f1.2 is rather a different beast. Released in 1966 it was the state of the art lens for shooting in low light, it was very expensive, and very difficult to make, estimates of how many were produced vary between 500 and 2,500. But I understand that the actual number was 1,757. As a result of this it has become a photographic legend and a serious collectors item with production lenses selling for well over $20,000 and even lens hoods changing hands for around $4,000! Sadly I do not have an original lens to compare with the new one, but I guess that will be true of most of the people who buy this lovely lens.

 
Bluegrass 
Leica M10-r Noctilux f1.2   1/3000 f1.2 ISO 100

I've been lucky enough to have a prototype copy of the Noctilux for almost the whole of the lockdown. I've used it on both the SL2 and the M10-R and have very much fallen in love. Of course it has it's vices and would not come out well in a technical comparison between the current f0.95 Noctilux (or the 50 f1.4 Summilux come to that!). Just a glance at the MTF curves shows that pretty clearly. But this lens is an important part of Leica's history and it's great that Leica should re-make it so that us lesser mortals can have a go with it!

The Dawn of Austen
Leica M10 Noctilux f1.2   1/125 f4 ISO 200

History

In 1966 Leica was still a big player in the photojournalism world, and there was an increasing demand for fast lenses for shooting in very low light. Nikon, Minolta, Canon and Leica all produced f1.2 standard lenses in the 1960's. Canon was first out of the block in 1962 with the 58mm f1.2, they improved it to 55mm in 1968, but it was not until 1980 that the focal length was changed to 50mm.  Nikon hit the market in  1965 with its 55mm f1.2, in 1978 they managed the 50mm f1.2 AI Nikkor. Minolta brought out their 58mm f1.2 in 1966, the same year that Leica trumped them with their 50mm f1.2 double Aspherical.

 

Work started at Leica in 1957 on the production of aspherical elements: The first lens prototype produced in 1958  was the Summaron 35mm 1:2.8 ASPH This featured 2 Asph surfaces, but never went into production.

A 52mm f1 Asph prototype also featuring 2 aspherical surfaces was produced in 1959, But Leica realised the image quality wasn't good enough at f1 and settled for f1.2.

The first prototypes were made in April of 1964 Designed by Helmut Marx and Paul Sindel (Helmut Marx was Professor Max Berek's successor as head of the photographic lens design in Wetzlar, and creator of the first Summicron 50 in 1953). The Noctilux 50mm f1.2 was released as the 11820 in 1966.

Professor Helmut Marx used an Elliott 402F computer helping design and saving lots of time ray tracing. This was before he had begun to develop his COMO optimisation program for lens design in the late 60s

Leica M10 with Noctilux 50 f1.2
Leica SL2  ISO 1600 1/100 f3.2  APO Summicron SL 50 f2

The Leica Noctilux 50mm f1.2 has two aspherical elements (front and rear) which were made on a specially built grinding machine that had to be operated manually. There was only one machine, and only one person capable of operating it (Gerd Bergmann), he had to discard many elements as rubbish.

After the release in 1966 there was much research to produce an f1 version of the lens with 3 Aspherical elements, but in 1970 the project was abandoned because the aspherical technology was in its infancy, and the production costs were immense. The f1.2 lens remained in production only until 1975.

In 1975 Walter Mandler in Canada designed an f1 Noctilux without any aspherical elements. It was launched in 1976 and was a great success, staying in production until 2008. In 2009 Leica introduced Peter Karbe's stunning f0.95 Noctilux, a double Gauss design with 2 aspherical elements.

Cracked and Tracked
Leica SL2 Noctilux f1.2   1/100 f11 ISO 200

The Modern Lens

The original Noctilux did not have a filter thread on the front element, it was part of the clip-on lens hood. The new lens does have a filter thread, and as far as I'm aware that's the only obvious difference between the new and old lenses. Even the lens hood is superficially identical (although it says "LEICA CAMERA WETZLAR" and misses out the 'GERMANY' on the original lens - or at least my prototype does!.) Otherwise the size, handling and appearance of the modern lens is just the same as its illustrious predecessor.

Bottle Green Dawn
Leica M10r Noctilux f1.2   1/350 f4.8 ISO 100

By modern standards it's a small  lens, about the same height as the current 50mm Summilux Asph and only a little fatter. It handles beautifully on an M body, perfectly balanced, but with a much longer focus throw than the more modern M lenses. It only focuses down to 1metre, I was hoping it would focus closer, but apparently that wasn't possible.

Sleepy Leica 
M10r Noctilux f1.2   1/90 f2.8 ISO 1250

Image Quality

First of all I should say that I had quite an early prototype lens, but I expect that the image quality is pretty representative. It almost behaves like two different lenses.

At f1.2 nothing is quite sharp, even in focus at the centre, by the edge of the frame it's very soft and there is quite a lot of vignetting. It doesn't sound so good, but it's actually rather a lovely dreamy look.

By f2 the centre is quite sharp and the vignetting has mostly gone, however, the edges and corners are still quite soft. At f2.8 things have improved further and by f5.6 everything but the corners are incredibly sharp, however the corners are still soft and remain so at all apertures.

Splish Splosh 
Leica M10r Noctilux f1.2   1/500 f5.6 ISO 100

Overall Contrast is fine, but not like a modern Leica Aspheric. However, stopped down, in common with the rigid Summicron the Noctilux has incredible micro-contrast and really great acuity. In fact the image quality is very comparable to the rigid summicron from about f4 and on.

Bokeh is lovely (well, I think so, it's rather a personal subject). Stopping down a little the 16 aperture blades ensure that the aperture remains completely circular.

 

I can See You 
Leica M10r Noctilux f1.2   1/1000 f1.2 ISO 100

Which Version?

The Noctilux f1.2 is coming in two versions. The simple version is €7,000 and is black with an aluminium body, this is the one for normal mortals! There is also a Silver Chrome version with a brass body in a strictly limited edition of 100 copies. This retails for €15,000. and being brass I imagine it's pretty heavy; lovely, but more for collectors than for everyday use. I suppose one could buy both!

Spring Window 
Leica M10r Noctilux f1.2   1/350 f4 ISO 100

Conclusion

I really like the concept of remaking classic lenses, and this Noctilux is a lovely example, especially as the second hand price of the original lens makes it well outside the range of the average photographer. At €7,000 this lens seems like a something of a bargain, especially considering it's rather exotic double aspherical design. (Apparently it's still pretty difficult to make). Unlike the 90mm Thambar or the 28mm Summaron (lovely as they are), the Noctilux is very usable as an everyday lens, both on M and SL cameras (I guess it might also be fun on the CL). Dreamy and strange wide open, stopped down it is wonderfully sharp, and, if you like the look of the classic Leica lenses from the 50s and 60s then this would be an exciting addition. I'm going to start saving!

 

Fast Car 
Leica M10r Noctilux f1.2   1/90 f1.2 ISO 1250

Acknowledgements

Special thanks to Emma for putting up with me writing another article

Thank you to Stefan Daniel and Jesko von Oeynhausen from Leica and especially Stefan Janssen from Leica who provided the historical documents in the 'more pictures' link below (and the one in the text above).

Thank you to Hari Subramanyan who let me play with his original Noctilux f1.2, to Amitava Chatterjee who helped with the selection of photos and to Milan Swolfs for discussions about the two lenses. Milan took the lovely images on the Leica web page.

Squirrel Hunting 
Leica M10r Noctilux f1.2   1/90 f4 ISO 800

More Pictures (and someLeica documents)

Bosky 
Leica M10r Noctilux f1.2   1/90 f8 ISO 400 

Blue Grass 
Leica M10r Noctilux f1.2   1/4000 f1.2 ISO 100

Cornflower 
Leica M10r Noctilux f1.2   1/2000 f1.2 ISO 100

Patina - Dreaming of Summer 
Leica M10r Noctilux f1.2   1/90 f5.6 ISO 640



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