In factР’В you could argue that focusing a faster lens like the Lux is more difficult as the focal plane is narrower. In practise, the Cron is every bit as easy to focus as the Lux. However, like all other Leica lenses, itРІР‚в„ўs focus ring is silky smooth РІР‚вЂњ not too stiff that you miss shots and not too loose that you canРІР‚в„ўt nail it. The Summicron, for some reason lacks the focus tab. I was worried about focusing on the Cron as IРІР‚в„ўm used to Leica lenses with focus tabs. The Cron is also shorter than the Lux by 9mm (approx 20%) at only 43.5mm as oppose to the LuxРІР‚в„ўs 52.5. This doesnРІР‚в„ўt sound much bit it is immediately noticeable in your hand. The Summicron is definitely the champ here weighing in at only 240g, nearly 100g lighter than the Summilux.

The big differences between these two lenses is how each lens renders the image, ease of focus and size/weight. Obviously f/1.4 is faster, but in real life f/2 is still really fast. ThereРІР‚в„ўs not a great deal of practical difference between f/1.4 and f/2. So thatРІР‚в„ўs what I went for and hereРІР‚в„ўs my findingРІР‚В¦ I was looking for a lighter, more compact lens that could deliver Summilux quality and the only answer as far as I could see was the Leica 50mm Summicron f/2. So I got to thinking what lens would be best for travel. ItРІР‚в„ўs also mounted on an M Monochrom most of the time and the Monochrom is noticeably heavier than the M9. This isnРІР‚в„ўt an issue unless you are carrying it about all day. That sounds ridiculous if you compare it to DSLR lenses, but for a Leica lens it is quite heavy and quite big. I use this lens for nearly everything from street photography to portraiture and really never thought of using anything else until I started to travel with work. The 50mm Lux, for me, epitomises everything Leica is aboutРІР‚В¦ amazing sharpness, incredible bokeh / depth of field and the ability to capture an almost 3D feel in selective focus. I have shot various 50mm lenses on my rangefinders including various Leicas, a Zeiss, a 1963 Canon and a Voigtlander, but the one I keep coming back to and the one I truly love is the Leica 50mm Summilux f/1.4. To me, the РІР‚СљwhatРІР‚в„ўs notРІР‚Сњ going to be framed is as important for composition as the РІР‚Сљwhat isРІР‚Сњ. I can move the viewfinder about and see exactly whatРІР‚в„ўs going to be in the frame and whatРІР‚в„ўs not. I like to have a little bit of РІР‚Сљbleed offРІР‚Сњ to play with. I also find a 50mm lens more natural to frame on a Leica than say a 35mm or a 75mm. I donРІР‚в„ўt like to alter a scene by being so close to a subject that they change what they were doing because they have a camera in their face and I find 50mm is the perfect length to get closeРІР‚В¦ but not too close. IРІР‚в„ўm a street photographer that doesnРІР‚в„ўt like to get in the way of his subjects. IРІР‚в„ўve tried numerous other focal lengths, but when it comes down to it, IРІР‚в„ўm a 50mm guy. IРІР‚в„ўve finally admitted to myself that IРІР‚в„ўm a 50mm guy.

Leica 50mm summicron wanted