goo0h wrote:
Some of these shots certainly have a dreamy quality to them! The shots of the mountain and the gate I’d be tempted to convert to bw.
Thank you.This is the major strength of contemporary Voigtlander Noktons to me.At f1.2-2 they behave like old lenses with undercorrected sperical aberrations,but stopping down reveals their sharp,contrasty modren nature with excellent colour rendition.
Peire wrote:
Thank you.This is the major strength of contemporary Voigtlander Noktons to me.At f1.2-2 they behave like old lenses with undercorrected sperical aberrations,but stopping down reveals their sharp,contrasty modren nature with excellent colour rendition.
yeah, I need to remember to pull out my 40/1.2. It’s been neglected in a drawer for too long.
Has anyone tried both the CV 50mm 1.0 and the 1.2? I’m torn between the two lenses but, to me, the 1.2 seems to have better subject separation even though that is counterintuitive. Maybe it’s the falloff in the transition zone that’s different between the two lenses. I love the way my 40 1.2 renders and separates subjects from the background and want a similar look at 50mm.
saxguy wrote:
Has anyone tried both the CV 50mm 1.0 and the 1.2? I’m torn between the two lenses but, to me, the 1.2 seems to have better subject separation even though that is counterintuitive. Maybe it’s the falloff in the transition zone that’s different between the two lenses. I love the way my 40 1.2 renders and separates subjects from the background and want a similar look at 50mm.
Thanks. To my eyes I still like the overall imagery of the 50 1.2 over the 1.0 in the examples from the review. I tend to favor lenses with a little more contrast/microcontrast as well, so the 50 1.2 may be the better lens for me.
You can't judge this (CV 50/1) kind of lens in a pseudo-scientific manner, as with the unrealistic scenes and poor light conditions used for the comparo review at that site. It's simply a lens that takes beautiful photographs but if you are the kind of person who needs a lens to first satisfy checklist items in isolation from suitable subject matter and conditions, it's not for you. CV can do that with aplomb and they do so in other lenses like the 50/1.2 andthe APOs, but that is not their intent nor the image qualities associated with the 50/1. In this sense it is an extreme, edge of spectrum lens.
If the image matters more than the forensics of lens testing, it's a straight line from taking the image to appreciating the image. The other stuff doesn't matter a whit for what that lens can produce, for the people who are attracted by its special imagery. Its aesthetics are not for everyone as is common in artistic endeavours, but it is very special as an image maker, nonetheless.
Some reviews actually identify the great beauty of the images even as they outline all the things they don't like - the usual stuff, CA, vignette, sharpness at f1 (lol), etc. It's a strange world when such lenses do not meet with greater approval, but here we are. I had thought beautiful creative, often abstract imagery was the aim of much of photography, it certainly is for me. Some excellent samples of these observations are sprinkled through this YT title from Chris Frost:
Voigtländer 50mm f/1.0 'Nokton' lens review
There's room for all of them - the CV 50mm lenses.
philip_pj wrote:
You can't judge this (CV 50/1) kind of lens in a pseudo-scientific manner, as with the unrealistic scenes and poor light conditions used for the comparo review at that site. It's simply a lens that takes beautiful photographs but if you are the kind of person who needs a lens to first satisfy checklist items in isolation from suitable subject matter and conditions, it's not for you. CV can do that with aplomb and they do so in other lenses like the 50/1.2 andthe APOs, but that is not their intent nor the image qualities associated with the 50/1. In this sense it is an extreme, edge of spectrum lens.
If the image matters more than the forensics of lens testing, it's a straight line from taking the image to appreciating the image. The other stuff doesn't matter a whit for what that lens can produce, for the people who are attracted by its special imagery. Its aesthetics are not for everyone as is common in artistic endeavours, but it is very special as an image maker, nonetheless.
Some reviews actually identify the great beauty of the images even as they outline all the things they don't like - the usual stuff, CA, vignette, sharpness at f1 (lol), etc. It's a strange world when such lenses do not meet with greater approval, but here we are. I had thought beautiful creative, often abstract imagery was the aim of much of photography, it certainly is for me. Some excellent samples of these observations are sprinkled through this YT title from Chris Frost:
Voigtländer 50mm f/1.0 'Nokton' lens review
There's room for all of them - the CV 50mm lenses....Show more →
Thank you for the insight. I wonder how the CV 50 1.0 would compare to the LLL 1966 50 1.2 in this regard. I assume it would be a matter of artistic taste.
Hey folks, appreciate the work Fred and the rest of the community have put into this review! I just got into the rangefinder ecosystem with a M10R, and want a great 50mm with a focusing tab. This lens seems to fit the bill minus the tab. Does anyone have experience using one of the aftermarket accessories like taab with this lens?
laveen123 wrote:
Hey folks, appreciate the work Fred and the rest of the community have put into this review! I just got into the rangefinder ecosystem with a M10R, and want a great 50mm with a focusing tab. This lens seems to fit the bill minus the tab. Does anyone have experience using one of the aftermarket accessories like taab with this lens?
Not with this lens but others. So far I have never liked any of the after market tabs. I find the TAAB ackward and uncomfortable to use. The stick on ones feel great but don't stay on. I am still searching for a good solution.
Read through this whole thread -- some great pics and lots of valuable assessments. Obviously, from Fred himself but also Guy's contribution has been terrific too. Thank you all.
Here in London I was seeking an e-mount version to try out, but the lens has disappeared from nearly all my usual shops (just trying now with Robert White). The 'SE' version is even marked as 'discontinued'. Is the lens being phased out, does anyone know? (At least, the Sony e-mount version ... ) And if so, is there a replacement of some sort in the pipeline??
Yes, production of the SE version was stopped some time ago and now the last copies have apparently been sold. Apparently most buyers preferred the vintage-look version. Since this is still available, the question of an alternative is actually superfluous.
Good luck!
Oct 05, 2024 at 10:54 AM
Steve Spencer Offline • • • • • • • Upload & Sell: On
Nifty Fifty wrote:
Yes, production of the SE version was stopped some time ago and now the last copies have apparently been sold. Apparently most buyers preferred the vintage-look version. Since this is still available, the question of an alternative is actually superfluous.
Good luck!
I'm not sure that buyer's preferred the declickable version over the SE version. Cosina may have just decided that production wise it didn't make sense to produce two versions and they went with the version with the declickable aperture because it could be used by those who wanted to use it for video and those who wanted to use it for stills, so with only one version that was the version it made sense to keep. I think the SE versions were a bit of an experiment to see if that increased overall sales and how well that worked we will never know (it might have worked a bit but not well enough), but however well it worked Cosina stopped making two versions and now they only make one.
I bought the SE version for its lighter weight, smaller size, and how it looks. I like its looks much better than the regular version. After using it, I liked it so much that I bought the 35/1.2 SE. Both have become two of my favorite lenses.
