Archived posting to the Leica Users Group, 1999/11/29
[Author Prev] [Author Next] [Thread Prev] [Thread Next] [Author Index] [Topic Index] [Home] [Search]The 75/1.4 is an odd bird. It's about as clunky to carry as the Noctilux (and nearly as clunky to use -- focusing ring a bit stiff, but at least the throw isn't as hand-over-hand long as that of the Noctilux). The 75mm focal length has always been a bit uncomfortable for me (too long for when I'm in a 50mmish sort of mood: the 50 always seems to me like the "short tele" I want to use instead of a 35mm "normal" when photographing people who aren't yet used to me, whereas the 75 seems too stand-offish even for that; but the 75 seems to come up short when I have that rare "reach out and tele" impulse). Because the 50mm and 75mm frames come up simultaneously and they're the least dramatically different pair, I find it requires conscious thought to keep track of which I'm using -- and conscious thought is just what I don't want to have distracting me. The 75 is fast, but as the longest lens of its speed, some of that low-light advantage is given up by its magnification of hand shake. All that having been said -- if I were to pick one M lens from which the best pictures just look *good*, for whatever special weird reason - -- it'd be the 75/1.4. I don't know why, but pictures made with this lens have a greater chance of being a purely sensual pleasure. BTW, as for runners-up, other lenses which do something special, may I suggest: - the pre-ASPH 35mm Summicron, with its smooth, coherent, deep, painterly way of going out of focus; and - the one-and-only 24mm. I haven't yet used this one nearly as much as the others mentioned, but I'm seeing something special in its immediacy. A different flavor from the other lenses, but a compelling one. - ----- Jeff Moore