CLASH OF THE TITANS
The Ultimate Leica M Super Fast 50/60mm standard lens battle
by Kristian Dowling – His website is HERE
While Greek mythology brought us the Titans, it was the Germans who applied the Titan qualities to their cars and cameras. Like any good battle, the Japanese also made their presence known with their own version of Samurai. Fast lenses are like fast cars, and when considering both, they share the same kinds of adjectives like ‘exotic, alluring, superlative, amazing, glamorous, extraordinary, unique and unusual’. Both fast cars and fast lenses have an appeal for their ability to give its operator more speed, control and power. To photographers wanting to express their vision through shallow depth of field, the ultra fast lens is a valuable tool, as it enables you to narrow the vision to the exact precise focus position within a frame. But there is much more than subject isolation to think about when analyzing a fast lens. Different lenses exhibit different and unique characters in the way they draw both the focused and defocused areas, and there is no better way to explore this area than by comparing the world’s top Titans.
For the Leica M Rangefinder, the top competitors include lenses from Leica, Konica, Canon, Nikon, Zunow, Fuji, Voigtlander and many more. These fast lenses are large and heavy compared to their slower f/1.4-f/2.8 counterparts, so not exactly great all round lenses, as their qualities are focused around shooting at maximum aperture. They are also very expensive and often the buyer/user may have misconceptions about their perceived performance. Manufacturing a lens that performs consistently throughout all its apertures is the general goal of lens designers, and the faster the lens, the more challenges there are. Therefore there are a few compromises that need to be made. Fast lenses are often not so well corrected for field curvature and/or distortion. Field curvature in this case is an attribute often enjoyed by fast lens users as it can accentuate the effect of the out of focus areas (bokeh), as most notable in the Noctilux 50/1, which is often referred to as the ‘dream lens’, for it’s dream-like, swirly bokeh signature. Often, one caveat of this is that shooting off-center subjects can lead to focus difficulty, especially with a rangefinder where you need to focus in the center, then recompose. I am sure many photographers who have used these kinds of lenses on a rangefinder will tend to agree with such experiences, often resulting in miss-focused and spoiled shots.
I was fortunate enough to have access to the top players in this field in Chiang Mai, Thailand, so decided to put them to the test.
Therefore in this article I will focus my attention to three main factors:
• Bokeh – the way the out of focus areas look and feel.
• Sharpness and contrast around the focus point.
• Signature/Character – the way the lens renders/draws.
• Color – shifting from warm to cold depending on the lens design, coatings used and age of lens.
Here are the top 5 most sought after lenses for the M System being tested.
Leica Noctilux-M 50mm f/0.95 (Hermes edition used for test)
• Released in 2008 for regular production
• Current street price US$10,450 (regular black version)
• This is the largest lens in the group with excellent handling and the best build quality. Has a built in hood and is quite easy to focus.
• This lens was manufactured with modern lens design so I expect the sharpness and contrast to be excellent wide open with neutral bokeh. From my own experience owning this lens, it is extremely well corrected for such a fast lens and doesn’t exhibit many flaws except for purple fringing wide open against bright light sources.
Leica Noctilux-M 50mm f/1.2
• Released in 1976 with production limited to only 1700 units
• Current street price US$20,000+
• Leica’s first Noctilux is quite small in size, closer to the Summilux than the Noctilux f/1.
• I have yet to use this lens and as Leica’s first Noctilux, I expect contrast to be low and sharpness average, but possibly better than the f/1 Noct as f/1.2 lenses are easier to produce. I’m really not sure what to expect from the bokeh – possibly a little messy.
Leica Noctilux-M 50mm f/1
• Released 1976-2008 for regular production with several cosmetic changes during this time
• Current street price US$5,000+
• Quiet a large lens, slightly smaller than the Noct 0.95 but bigger than it’s older 1.2 brother, with average handling and slightly difficult focus.
• Known for it’s dreamy bokeh and slightly soft rendering I’ve always felt this lens is a one trick pony and best used with subjects centered due to the large amount of field curvature.
Konica Hexanon 60m f/1.2 Original Design
• Released 1956 for limited production with numbers unknown, but very rare
• Current street price US$13,000+
• A small lens for it’s design with nice handling and very smooth aperture transition. It’s a screw mount lens so requires a screw to M mount adapter, preferably with 50mm lens frame selection.
• I have never used this lens before but due to it’s age I expect very low contrast wide open. I have no idea about it’s potential for sharpness.
Konica Hexanon 60m f/1.2 Updated Design
• Released 1998 with production limited to only 800 units
• Current street price US$12,000+
• Small in size, similar to the Noctilux 50/1.2, the Hexanon
• Like it’s older brother, it’s a screw mount lens so requires a screw to M mount adapter, preferably with 50mm lens frame selection.
• Unlike it’s older brother it was designed with modern lens design, optimized for excellent sharpness and contrast at wide apertures. This lens was made famous by street photographer Yanick Delafoge http://www.yanidel.net. I always say “pictures sell lenses” and Yanick’s amazing street pictures from his travels around the world have single handedly raised the value of this lens from $3k to $7k+ in a matter of a few years. According to Yanick, this lens is the sharpest standard lens at f/1.4, and from my own experience owning this lens, I would be confident agreeing with him.
• Camera used in test is the Leica M9 and (some) M Monochrom, all shot in manual exposure for consistency. Exposure will be adjusted to lighting changes.
• No tripod used as this is a field test, not an MTF or resolution test
• 3 hour time frame with model and lenses available for testing
• All exposures were recorded on paper with filename/lens used
• All images were shot wide open at maximum aperture of each lens, ranging from f/0.95 to f/1.2.
• Testing was done outside in the field so lighting changes in strength and color temperature will occur.
• No testing for CA/purple fringing on color digital sensors.
• No comparison of the lenses at the same apertures, which all would share at f/1.2 and up. Comparisons are for wide open to establish their ‘individual’ maximum abilities and characteristics.
• Such lenses are favoured for their abilities in low light as they allow both a lower ISO and/or higher shutter speeds, but I will not be testing for this.
• No testing these lenses for flare/internal reflections against strong light sources such as the sun. It is fair to assume that the newer the lens, the better the coatings and thus, better performance in such situations.
• No testing for distortion. I expect all lenses to exhibit average to poor distortion control and high field curvature as most fast lenses are designed this way due to the compromises needed in fast lens design.
• Lenses may suffer from slight sample variation, and therefore may not be 100% representative of the lens in general.
Individual Results – click images for full size files
Leica Noctilux-M 50mm f/0.95
I really like this lens. Its size is large but handles very well and focus is super smooth. It has a sliding built in hood that rotates and locks in, just like it’s smaller brother, the Summilux 50/1.4 ASPH.
I used it on production sets in Hollywood, and enjoyed this lens for it’s ability to represent a scene faithfully, meaning that it has minimal aberrations and field curvature, especially for having such a large f/0.95 maximum aperture. Out of focus elements are represented clearly and without much distortion. This is a very well corrected lens and is my recommendation for those needing a super fast lens for professional client work. Those looking to use this lens for ‘bokeh effect’ should look at other lenses that produce results with less perfection, such as the painterly Hexanon 60/1.2 V2.
Colors were noticeably warmer from this lens and sharpness wide open was exemplary. Contrast was also very high for the 0.95 aperture, matching its sharpness nicely. I would say that at f/0.95, it almost matches the Summilux 50/1.4 ASPH at f/1.4.
Leica Noctilux-M 50mm f/1.2
I really like this lens’s size to performance ratio. It’s the smallest lens in the group and renders in a neutral way, leaning slightly towards the newer f/1 version with a hint of ‘dream-like’ rendering.
Being the most expensive lens in this group, I had quite high expectations and hope for sharpness, so I was a little disappointed when I saw softness wide open, and felt the rendering to be a slightly softer character than both the Noct f/1 and the slower Summilux f/1.4. To best describe it’s drawing, I would say it’s a cross between the Noct f/1 and the f/0.95 with a soft rendering. For the money, I would have liked to see a little more character from this lens.
Colors were a little on the warm side which is not a bad thing. Contrast was quite high for such an old lens, which does help raise the perception of sharpness, when the reality is that it’s a little soft wide open at f/1.2.
Leica Noctilux-M 50mm f/1
I’ve had a lot of experience with this lens before and have bought and sold it a few times due to it being more of a ‘one-trick-pony’. By that I mean it isn’t so great when stopped down so it’s only really good for shooting wide open to create that ‘dream-like’ effect that has made this lens so famous. I am referring more to the way its bokeh is rendered than actual ‘glow’ as seen from older vintage lenses like the Hexanon 60/1.2 V1.
Due to it’s high field curvature and lack of correction for aberrations, the out of focus areas are very smooth, giving a rounded circular effect, especially noticeable when framing subjects in the center of the frame with a symmetrical background. The focus point isn’t what I’d call sharp, but more so ‘sharp-enough’, and a good step forward from the older and softer Noctilux f/1.2 version.
Focus isn’t as smooth as the Noctilux f/0.95 and the focus throw feels longer in use so I found handling to be a little slow. It’s also quite large and heavy but is also quite modern in the way it draws. It has neutral color balance and has medium contrast wide open, which works well for the way it renders bokeh. Overall, it was a nice improvement from the f/1.2 model it replaced.
Konica Hexanon 60m f/1.2 Original Design
I was super excited to try this lens. I’ve only ever seen two for sale and this is one of them, acquired by Bellamy from Japan Camera Hunter http://japancamerahunter.com. I really wasn’t sure what to expect from this lens except for low contrast because I’ve never seen samples from it before, even on film. What surprised me most was the size of this lens. It’s very small and built very well, as you’d expect from Konica.
Out of all the lenses, this is my favorite, due to it’s unique glow qualities, but with excellent sharpness underneath the glow. Contrast is very low, which makes it fantastic on a camera like the M Monochrom, but not as great on the M9. It takes a bit of adjusting to processing these pictures to a modern state of contrast, especially in color. With the lower contrast comes more shadow detail, which was very welcomed when using this on the M Monochrom.
Konica Hexanon 60m f/1.2 Updated Design
Out of all these lenses, I would have to rate this lens as the most sought after lens in the M line for users wanting a unique lens that delivers outstanding performance. I have also owned this lens before and it has been the best overall standard lens I’ve ever had the pleasure of owning and using. It’s handling is fantastic. While not being a small lens, it fits well in the hand and focuses very smoothly. It’s also noticeably lighter than the Noct f/1 and f/0.95 lenses.
Sharpness and contrast is medium to high and works beautifully with the way it renders out of focus areas. Just for reference, this lens sharpens up considerably at f/1.4. What I like most about this lens is the way it renders the bokeh. It’s smooth, but with a painterly quality of smaller circles that have more edge definition than those of the Noct variety. Compared to the V1, the V2 is a very different lens. It’s more modern design makes it a great all round lens in any situation. I love the way it draws using natural colors, compared to the extra warm Noct 0.95. They just seem to look more natural to my eyes.
Hexanon 60/1.2 V1 vs V2
Leica 50 f/0.95
100% Crop Comparison
Leica Monochrome Comparison of ALL
I was fortunate to be able to shoot some of the Padaung Long Long Neck Karen people as they were visiting the Manadarin Oriental Dhara Dhevi hotel for the New Years celebrations. They have never left their village before and it was such a privilege to meet and photography them.
Noctilux 50 0.95
Noctilux 50 f/1
Noctilux 50 f/1.2
Hexanon 60 1.2 V1
Hexanon 60 1.2 V2
Conclusion and thoughts about the lenses and applications
Let me be blunt. It is impossible to pic a winner in this clash of the titans. While there is no doubt that the Noctilux 0.95 is the Zeus of this bunch, there is so much more to a lens than just technical perfection. The Hexanon lenses pack a punch that’s well above their weight grade, albeit in different ways, and the Noct f/1 and f/1.2 are truly unique lenses that have their own strengths and abilities that will be very compelling to photographers.
The best way to summarize the their rankings is with the table below.
In application, these lenses are very difficult to focus, especially for newcomers to rangefinders. With such shallow depth of field, the plane of focus is so narrow that recomposing can cause major issues for maintaining focus until the point of exposure. I would advise that photographers use the focus bracketing technique where you take 3-5 exposures, each at a slightly different focus distance. This can be achieved by either shifting focus ever so slightly in front and behind the focus point, or shifting the camera forwards and backwards, again, every so slightly.
The more important the shot, the more exposures you should take. In general, you should aim to keep your focus point more front-focused than back-focused. Most recomposed shots by Leica photographers suffer from back-focus, so try to move slightly backwards after recomposing and your hit rate will increase. Also, front-focused images tend to look better than back-focused ones, in my opinion.
As a photography coach I always stress one important factor to my students – The photographer should be very mindful of one important factor when using these ultra fast lenses…..a blurred background does not necessarily make the photo a better picture! It’s very easy to get carried away, focusing on the bokeh attributes of a picture, when in fact, the background may be of high importance to the subject and may require some depth of field to establish the relationship between subject/background. Take history’s best pictures for example. I can’t think of many that were shot with such shallow depth of field. The background is a very important element to a photographer and should be taken seriously when creating pictures.
I see the use of fast aperture lenses in a similar way that I view using fisheye lenses. Shooting fast lenses at their maximum aperture is a novelty technique that should be used carefully, and not too often, unless for portraiture use where the background is not so relevant to the subject. I’d rather increase my hit rate of focus by stopping down a little to counter any potential focus issues, than missing focus all together and ruining the shot. Fast lenses also have apertures that extend to around f/16 for a reason (wink). So I recommend shooting wide open all you like, but for important pictures, also take a frame or two stopped down 1-2 stops.
Lastly lets not forget that when a photographer has the opportunity and privilege to herald one of these incredible lenses, it is still his responsibility to make the picture great, using all the usual photographic techniques to create the best picture possible. No lens in the world, no matter how sharp, how amazing the bokeh, will not make a great photo – that my friends if the responsibility of the photographer!
Testing equipment provided by Khun Suchet www.suwanmonkol.com
Models: Tukta from Chiang Mai, and a member of the Karen people, Padaung tribe, Burma.
Location: courtesy of Mandarin Oriental Dhara Dhevi Hotel, Chiang Mai, Thailand. www.mandarinoriental.com/chiangmai