...Color rendition of a lens ends up pretty well negated by color space and
white balance settings on digital SLRs and to a lesser extent by film
choice in film cameras. Nikon's D1H had very warm colors set to Adobe RGB
and cloudy -3 WB while Canon's EOS 1D (original) had very cold, pale colors
at any color space or white balance setting. These results obtained with
any lens I chose including off-brand Sigma, Tokina and Tamron.
Of course the king of over-green film saturation was ISO 50 Fuji Velveeta -
but Leica optics rendered it as neutrally as possible... my solution to
film neutrality was/is E100S or E200.
(Sorry, don't say cheese, it's Velvia!)
It is a lens you'd likke to own-- and it will cost plenty!
I've used this lens on Nikons -- it is a crisp lens, I suppose more "contrasty" --if those are the words -- than contemporary Leica glass.
In general in the 50s and 60s Japanese lenses were noted for two things; they cost less than German glass and delivered very sharp (higher contrast) images.
Nikon in the early 50s and 60s went for the Zeiss look (using mostly Zeiss formulations). This mostly meant very high contrast images which were ideal for print publication.
Canon followed the Leica formulations and went for higher resolution at the cost of contrast.
By the 70s and 80s, the lens were starting to get designed by computers and the difference in look betwen Canon and Nikon began to disappear. Now the main visible difference is in color temperature with Nikon being slightly colder (blueish) than Canon.
Karen
-- Karen Nakamura http://www.photoethnography.com/ClassicCameras/
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