Great Scott, Holmes! I must have multiple personalities! I have shot and still
shoot with Leica, 'Blad, Mamiya C220, 4X5, 5X7 and 8X10 and, GASP!!!, Canon 5D
MK IV!
From: "Myron Gochnauer" <goch@xxxxxx>
To: "pure-silver@xxxxxxxxxxxxx" <pure-silver@xxxxxxxxxxxxx>
Sent: Wednesday, July 18, 2018 10:28:49 AM
Subject: [pure-silver] Re: Speaking of film...
But have you ever looked at the modulation transfer function curves of
these lenses? The Leitz lenses seem to have been designed to get the
highest possible resolution, whereas the Nikkors seem to have been
designed to get the highest modulation transfer up to some spatial
frequency, and sacrificing the extreme resolution at the higher spacial
frequencies.
I’ll have to have a look at some MTF’s. My recollection is that many people
used to be of the view that lenses such as the classic Summicron 50/f2 had been
optimized for greater contrast in low and medium frequencies, and that this is
what gave them their striking ‘presence’ or ‘clarity’. Also, whether intended
or not, the Summicron 50 and 35 seemed to have better resolution in the corners
than their Nikon equivalents, but at the expense of central resolution, where
the Nikon was better. My experience, though, was only with lenses from the 70’s
and early 80’s. I can’t (or won’t) afford the current Leica designs.
I don’t think we should downplay the psychology involved in using various
formats, cameras, lenses and films. Using equipment that you know was used by a
favourite photographer or common for a particular style or ‘movement’ can
change what and how you see, and give you the "courage of your vision”. How
many large-format photographers don’t see themselves as kin to Ansel Adams,
Edward or Brett Weston, Paul Strand or some other great? How many Leica users
have never seen themselves in the tradition of Cartier-Bresson, Robert Frank,
or some other in-the-moment 35mm photographer?
Myron
