Red Dot Forum Camera Talk: Leica APO-Summicron 35mm f/2 ASPH

[Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] hello and welcome to another exciting episode of red dot forum camera talk. uh we are still switched. i mean, this is our maybe our new normal. i don't know. are you guys prepared for that? maybe it's 2021 normal. we're both wearing chex shirts today. so in blue, in blue candy cane tails apart. so all right. uh just switch over. make sure everyone is hanging out in the chat there. all right, hello everybody who's saying hi. hello from florida. yeah, hello from uh from sunny, hot, humid florida. it's march and uh that's the beginning of our summer, right? pretty much. yeah, yeah. all right. so uh in today's episode, the reason we have introduced yourself. no, no, i'm not. okay. are you just assuming everyone knows who you are by now? i mean, i kind of do. i see how. yeah, sure. let's do the intro. yeah. all right. so uh welcome to red.form camera talk. i am david farkas. i am joined as always by with josh lehrer. and producing the show, we've got jose rivera. hello, hello. uh hanging out in the chat. uh we've got kirsten vigness. and of course, you guys are watching us. so we've got you too. all right. what are we talking about today? well, today's episode is uh probably the most specific one we've ever done, which is all about what is in this box. the new, as of like a few weeks ago, like at apo summicron m 35 millimeter f2 asph, which is hopefully, um, we'll find out, the best 35 millimeter lens for m system that leica has ever made. um, we've had a lot of questions. inevitably, everybody wants to know how it compares to everything else. and we're going to talk about that. um, we've had good feedback about our real-time live view shooting. so david will be running the uh sl2 as we've done before. yep. it's a little bit harder with a 35 because we had to redo the whole, i say we, david had to redo the whole studio to uh accommodate the extra width. but you know, i think it'll be still demonstrative of what. yep. and uh just so you know, just a little taste of what's to come. uh we also had great feedback and you guys really liked seeing josh's testing that he does. so boring tests, super duper exciting testing. so we've got that queued up in lightroom. he's got all the tests and comparisons against all the other 35 lenses. and i did have the chance to go out and take some real world pictures uh yesterday for a brief amount of time here in miami. um, the light was me. but hey, you know, you get what you get. and you did okay. you did it. we did all right. don't worry, it's gonna be good. so i've got those queued up in lightroom as well. so i'll just steal the keyboard and mouse from josh. and so what we're going to do is we'll do some live shooting with all the different lenses. we're going to take a look at josh's tests with lots of exciting targets and testing, uh, bokeh and super flare and all that. and then i'll show you some, some real world results with the uh apo 35m. i think the first thing that i want to do is is talk with you, david, or have you talk to the to the viewers about what is, what is an apo? what is the benefit of apo? because we've seen this before with the 50 apo and the apo sl and all the other things. yeah. so before we get into the specific lens, um, itself, talk to them a little bit about what that means and why we want, well, we want all the good things. we do. we want the best things. so typically, i think without getting even too technical, i think most people understand when they see an apo lens, specifically a leica apo lens, that this is going to be, you know, the highest performance tier that they offer. you don't have to know anything more than that. if, if that's the, you know, you're super non-techy and you just say, what is good about this? it's like, okay, you see the letters apo on any leica lens, you're like, okay, well, that's going to be better than most everything else that's not apo. let's dive a little deeper though. so what apo stands for is apochromatic, or more precisely, apochromatically corrected. makes so much more sense now, doesn't it? i totally get it now. yeah. moving on. no, okay, keep going. so, um, i, i think we just have to describe light for a second. and light is real abstract now. all right, all right, buckle up for physics here, guys. so light is both, uh, photons, which are particles, but they're also waves. so we're going to talk about the waveform of light. okay, okay. and i think everyone gets this, right? we've got red, green, and blue wavelengths, but they move at different speeds. so we've got, you know, red waves, green waves, blue waves, and they all move at different wavelengths, which is the separation between the the peaks. and then amplitude is how much brightness we have at each channel. so the issue with, especially with digital cameras, some sometimes with film, but certainly with digital cameras, is there is a very, uh, definitive sensor plane. and those pixels have a hard surface. you either hit that pixel or you don't. and what can happen is if those wavelengths are moving at a different, let's say, um, they hit different points on the on the focus point on the focal plane, they can be out of phase with the other ones. so what that looks like is going to be what we call chromatic aberration, or purple fringing is is a form of that. and that's because the red and the blue light are out of phase with the green light. okay, does everyone with me so far? i don't know, chime up in the comments if i'm like losing everybody here. yeah, we'll keep going. i feel like a visual aid would have been better here, probably. but basically, the the different colors of light are hitting a different point of focus on the sensor. so in an apo chromatically corrected lens, all those different wavelengths, or colors, i should say, the colors of light to make it simple, are hitting the focus plane at the same spot. so they're phase corrected. does that kind of clarify a little bit? um, and we need special kind of glass to do that, a special kind of optics, um, whether it's high refractive lenses or what you sometimes see, you know, lenses with, uh, partial anomalous dispersion, uh, spheric elements, all function to align these the, um, the colors together so that they're all hitting at the same point and the same, uh, same focus point at the same depth. okay, because we're talking about microns, we're not talking about millimeters here. i'm waiting for some physicists in the comments. i know they're like, you are totally wrong. we're not trying to, we're not trying to act as the authority on optical design here. i think what we're trying to, or david's trying to get at, is it's about getting the most out of the light that hits the sensor. well, the objective, getting the colors to align, right? i think is the most effective objective of the. the harder, it's very hard to have all the wavelengths of light hit the exact same spot on the sensor. yes. so that's what all this is all about. is different types of glass, shapes of glass, chemical mixtures to make the lens more efficient, effectively. so i, i'm sure someone will correct us about something, which is fine. we're having a good time. and yep, we, um, hopefully that makes sense. um, did i lose everybody or was still here? remember, remember, i started off, i started off and said, if you see the word, the letters apo, it's the best leica make. yeah. so, yeah. so with the, the, the 50 apo, the apo summicron 50 millimeter, which is on the m10r at the moment, it was really the first, not the first apo lens by any means, but the first apo summicron that leica made where they said, we are just going to make this the best lens we can possibly make with the fewest amount of compromises possible. and the 35 apo follows the same concept. well, i think a lot of people have, let's say, there's some confusion around the 50 f2 apo. and now, obviously, this is not an episode on the 50. but i think it, it, it's a worthwhile path to revisit because like, it does make a 35 f 1.4. the 35 apo that we're talking about is an f2. and so many people are kind of trained into this mindset of faster lenses are pro and they're better, always, right? a 1.4 lens is always better than an f2 or a 2.8 lens. now, what do you, what do you say to that? i say no. i say, if you look at the noctilux, that's not sharper than a 50 f2. so it's not the last episode. so if you, if you've watched any of these shows about m lenses or any of the stuff we've talked about, you'll understand, or hopefully understand, it's not about maximum aperture in terms of performance. in the world of leica, the lens's maximum aperture is not a definitive indicator of it being the best in that focal length lineup. exactly. so, so, so let's revisit the 50 just for a second. yes. okay. so now the 50 apo. and i think there's a lot of parallels here because one, when it came out, it's a 50 millimeter f2 apo sumicron. sumicron means f2. there is also a regular, non-apo 50 sumicron lineup, is there not? yeah, of course. and so it didn't replace it. correct. okay. it's also, and there is also a 50 1.4 summilux aspheric, which is a great lens. we covered it last episode. um, but the f2 is better, right? the the apo is better optically than the 50 1.4. so even though the 1.4 is a faster aperture, it is not optically superior. and price-wise, 50 apo is something like almost $9,000. and then 50 1.4 is $40 something hundred. so it's almost double. yeah, or more than double the price. um, so, so i think this is a very similar scenario. and i think that could help people understand because we've got a 35 1.4. we've got a 35 f2. these are existing current lenses in the lineup. yes. and leica is introducing a 35 f2 apo. yes. so what we're going to do now is sort of like, uh, in-show unboxing video, but not as lengthy as some of david's standalone unboxing videos. let me make a little bit of room here for. feel like this is like, we're pretty much giving you all the things. yeah, because this is a new lens. i do want to show everybody. you can just put that right here. i didn't clear out the space ahead of time. um, yeah, it's definitely clearer over there. yeah. so this is, let's get a close-up. let's get the close-up going here. nice. it's gonna be very close. um, [Music] i can already see people correcting you, david. so what's that? your physics lesson? that's okay. i've never, i've been putting in a disclaimer that it's not, uh, that's okay. anyway, this is the 35 apo summicron m. and in addition to the quick unboxing, i'm also going to give you guys a couple little bit of, it's like, um, reference points about what is, what you're looking at. so here we've got the tan outer box. this is what leica ships their lenses in. um, you'll see here, we've got the five-digit leica product code for the lens, which is 11699. this is the really the identifying metric. so you know what lens is inside here. you've got the serial number. you'll notice for reasons i don't know necessarily that on the box, they have a zero in front. on the lens, it's not engraved with the zero. so the serial number, this lens is 4801677. you'll also see that there is a production date on the box as well. this is, this lens was made february 3rd, 2021. so some cool information there. now, if we open this up, i'm going to turn this back here. we can take the actual lens box out, which is here. there's our apo. so unlike the 50 apo, which comes in a big old presentation box situation, this is a much smaller box. this is like the traditional m lens box that you see. and again, we see that product code 11699. we see the lens designation here. it's black anodized. there's a little picture of it. and on the side, we see the same information as you saw on the box. so i'm gonna open this up. first thing we've got is our paperwork. that's gonna be a instruction booklet, or i guess they call it general information now. okay. your guarantee card, which is like your warranty. and your test certificate. you're, i'm not even going to try. it means test certificate, basically just saying that, you know, it's signed by the person who tested the lens. here's a little tip, um, for everyone who's watching this, if you go into the [Music] let's see if they have it on this one. they may not. this is not actually an instruction book. fascinating. normally in the m lens instruction booklets, if you look at the end, they list all of the replacement parts that go with the lens. i can see this one doesn't have it. i should have checked the head of that. um, so unfortunately not in this one. but normally in these little booklets, if you look in the back, it tells you like the product codes for the hoods and the caps and the cases and all that stuff. so i think you're just gonna have to tell everyone. um, yeah. so then we have the foam insert that comes out, blah, blah, blah. okay. so there's the case. kind of hard to show, but there it is. okay. now we're onto the good stuff. let me just put this. oh, yeah, we're cooking now. we're coaching here. i'm gonna take that away. i'll put this in here. all right. thank you. yep. right. so it's standard leica lens case, blah, blah, blah. open it up. here's the lens itself, which we'll get to in a second. now, one of the most missed aspects of a lot of leica lenses is that there's more in here than just the lens. if we take out this little foam doughnut, you'll see there's actually, if i catch the light, a lens ring. this is what you would use to put on the lens if you were not using the hood. so if you were doing a lot of like, uh, polarization or using, um, a filter adapter or anything that nested, not having the hood attached, you would use the ring instead. we're not going to need that now, so i'll put it back. then of course, we've got the lens itself. here we go. oh, there it is. now here is the, i know what's under focus. i was like, can we just focus closer? is that possible? so i can show them the lens a little better. do you have the technology for that? yes. thank you. okay. here is the 35 apo summicron m. one quick thing, you'll notice is the lens cap on here is actually the same aluminum black anodized metal cap that comes with the 35 summilux, leica's vexilar edition. i featured this cap on a previous episode and we've sold them by the truckload because they're super, super nice. and it actually is the standard cap on the 35 apo m. so quick little thing there. now we've got the very unique lens design. love it or hate it. you can see david has already nicked it. and he had this lens out for one day. one day. and he already nicked the lenses. unbelievable. what are you talking about? you just unboxed that. i know, right? right, right. so here is the lens itself. as you can see, it's quite small. i can remove the hood. the hood itself is pretty small. not like the hood on the 35 summicron non-apo, which is huge. um, the lens without the hood, really, take the back cap off, is pretty small. david pointed out to me, look at that. the rear is quite, is different. this area is like all sealed here. and there's additional baffling here. he'll grab me the, um, you can really see the difference now. this is the 35 apo here. and the non-apo summicron. look at the difference. there's all this like extra baffling material here, which is pretty cool. it looks very premium. and 6-bit coded, of course. now you can see you've got your, let me turn it here, standard focusing scale. and like we see with the infinity. and then if we turn it a little bit, we have the close focusing scale, which goes all the way around, all the way around to 0.3 meters. which of course will show, basically, you just keep turning and turning and turning. you get to a bit of a resistance point. we'll show them from the top, like from camera view. why don't you put it on the camera? like, oh, yeah, probably a good idea. throw it on the body. in that way, this is easier. then i can actually see what's going on. exactly. bring it on an m10r. okay. so i'm focusing normally. and when i get to 0.7 meters, i feel a little bit of resistance. this is very similar to what you feel on the q, the q2 when you're going to engage or disengage the autofocus mode on the lens. so you have a bit of a detent. and then you push past. and now you can focus all the way to 0.3 meters. and you'll notice that the small, it's really very easy to use. the focus feel is extremely smooth, as you would expect from a modern lens. it's not loose. aperture ring is nice. i mean, overall, just a nice, easy lens to use. i'm going to put the hood back on because i just think that's how it's going to be used by most people. you can see what it looks like with the hood on there. there we go. pretty small. looks really good. i like the design. it's like, uh, it's like very efficient. a lot of wasted space. oh, i forgot to talk about the cancer reproduction warning on the box. that's right. that sticker on there. i don't know why that's on there. it's not, as far as i know, there's nothing radioactive in this lens. um, anyway, so that was the quick unboxing and overview. no, it's great. of the lens. um, any questions about that before? also, the shape of the hood is really kind of interesting. if you look at it from the front. yeah, it's like that. it has like a weird, uh, baffling to it. i don't know. i'm sure it has a function. to block light. yeah, flare resistance. it's, i don't know. it's definitely different than any lens i've seen in the m lineup. i wonder if the 35 one, if the regular hood works. okay, that's an e4. no, give me the hood from the regular summicron. that one. yeah. i don't know if this one fits. here we go. world first, right here. we're going to see if this hood fits. it does not. it's a little bit too small. that's not. what about the 35 lux hood? let's see. well, that's 46. i know, but it's, it's me. i wonder if it's going to fit. i don't think. dropping stuff. nope. it's actually two, also too small. weird. so, yeah, so the front diameter of this lens is actually a little bit larger, at least in terms of where the filter threads are, where they sit. um, it's pretty close to the 35 1.4. so anyway, that is an unboxing overview of the 35 apo m. pretty nice. um, cool. now, what are people going to ask us, david? what are the burning questions? everybody wants to know. i don't know. what are the burning questions? we have. well, i think the questions inevitably are, how is it? i predicted that one. which one? the last one. i wish they would make it in chrome. i mean, maybe they will. we don't know. but if you look at the 50 apo, they had, uh, the black version. and then i think three years later, my memory serves, came out with the silver anodized version. it wasn't silver chrome, it was still right aluminum. yeah. um, so i wouldn't expect anytime soon a silver one to come out if we follow that trend. but as we've said, eight billion times, we don't really know. look, anything is possible. um, i, i had a few comments, uh, over the last, i don't know, week or two. so i think we should just get this out of the way too. yeah. in our 35 millimeter m lens episode eight months ago. and i, i think it was in response to a question where someone said, are they going to come out with a noctilux 35? and i'm like, i don't know. but i would love to see a 35 apo summicron. we called it. i, well, yeah, we didn't know. we didn't know, obviously. i just said what i would like to see. um, obviously, what, you know, what happened. so leica must have seen that. mm-hmm. and then it was only right. it was our idea, right? it only took them eight months. and it developed it. record time. record time. now, that's not what happens. if now there will be questions about 35s. what we don't have on the table. we do have an entire episode about 35 millimeter m lenses, which covers every single one except for the apo, because it didn't exist. correct. so if you want to know how the version four compares to the version five and the version one and all that, watch that episode. it's over two hours of us talking about 35 millimeter m lenses. is it? it's a good episode. it's one of my favorite episodes. so anyway, because we had every single 35 on the table, right? so david, what we, which we don't have today because we narrowed our focus to the 35s that we believe are relevant and current or recently discontinued, modern, modern, um, in terms of how we did the comparison. so what, what are we going to be comparing the apo 35m to today? so we're going to take a look. i think what's most interesting is going to be primarily m lenses. so we're going to look at the 35 summicron f2 aspheric, the current version. version. yeah. so that is going to be. and there actually is, again, look at our 35 episode, but there's two recent versions of that aspheric design. one was slightly revamped a few years ago. yeah, like 2014. yeah, yeah. um, they're very, very similar. uh, you can tell them apart by the, by the hood. one is a screw-on shade, and the other is a snap-on shade. okay. uh, so we're gonna compare it against that because it's the closest lens. we have the same aperture, the same focal length. yeah, roughly the same physical size. yeah. and i think we'll see where this lens matches up. and then, very interesting to both josh and myself, is everyone keeps asking what our favorite m lens is. and it's generally this one, which is the 35 summilux m 1.4 aspheric, the fle. yes. yes. fle. okay. fle stands for floating lens element. and and we do love that. the, um, i should say that the, the 35 apo is also a floating lens element design. it's just we don't specify fle because this came in a previous version that was non-fle. yes. just to clarify. and actually, this was, someone we weren't going to do this until yesterday. and i got a question over email. rod, thank you, rod, for asking. so thanks. uh, we are including the 35 f 2.4 sumerit m, just for fun. just for fun. because he said, hey, it would be cool to see how that compares. because it's, it's kind of a sleeper, underrated lens, which we agree. and soon you'll find out why. it's only $2,000. but in fact, uh, in the description below, i have a link to our ongoing petition to bring back the sumerit lenses. i think we have like 800 signatures. so we have 500 signatures. no, no, it's 800. it's a lot. i mean, people want this lens back. all right, maybe it's 500. and there's one more lens we're gonna compare it again, which is, and there is going to compare it against this, which is not an m lens. it's a 35 millimeter apo summicron sl. so this is the equivalent in the native sl mount, in an l mount equivalent to the m lens. and we're going to see how do the two apo lenses compare to each other when we put on the same camera. yes. because that's going to be really interesting to see. we already know this has been out for a while. and it's just exceptionally good. i mean, this lens is staggeringly good. so we got to see how, how the m lens compares, especially given, and i think we can talk when we're comparing it, also the physical differences. because there's more to it than just absolute optical performance, right? yes. yes. the whole use case. yes. so we, um, should we start with the live shooting? or should we start with the lightroom examples? um, no, i haven't thought about this. what, what do you guys? yes, there is a petition. is it in the link in the description to bring back the sumerits? sign it. and eventually, i think when we get to like, maybe a thousand, thousand signatures, we'll submit it to leica. and they'll be like, look, there's a thousand people who will give you money. yeah. well, you gotta put your money where your mouth is now. um, anyway, so why don't we fire up the live view? because that's kind of the most, it's fun. we'll, we'll show, oh, i gotta fix my little bear hat here. oh, you're bare hat? no, no. okay, fix your bear hat. well, because, sorry, let me look at the questions here. black. oh, someone wants a black paint. don't have apo. um, okay, okay. we, i don't know what they're gonna do next. but i can't imagine. maybe a special edition. okay. and i want black chrome. and i want silver chrome. and i want titanium. keyboard. i want a red one. you know, i want all these things. all the things. okay. so here we go. we're going to fire up our sl. and we brought back our, uh, our leica stiff bear. all right. can we get the, uh, well, where do we start? well, let's start with that. no, i want to start with the sumerit. because that is, we're going to go like least expensive, least expensive, the most expensive. there we go. that's what we'll do. that is the macro adapter doing a little swappy swaps. yeah. there's your, there you go. table full of 35. okay. i want to take away the things that we don't need this next. then this. then this. okay. so we are, we're ready to go. all right. so we tweaked our setup a little bit. and let's see. a little bit. apologize in advance. it's really, it's orders of magnitude more difficult to set up a test subject for 35 than it is for 50 because, um, photography, the background has to be, i think actually the background is about four times larger. yep. okay. why isn't the autofocus working? okay. so here we go. let me switch to the live view. and it is interesting, um, on the sumerit, just the focus throw is very, very rapid. i'll zoom out. sorry to blind everybody, but it's, it's very, very rapid. and pretty easy to focus this. yeah, the sumerit has an extremely quick focus throw, too quick for some people. yeah, good for going from minimum to infinity very quickly, that's for sure. so here we have the, the sumerit wide open on the sl2. let's go for the eyeball there. yeah, pretty sharp. i don't really have any issues. that's wide open. that's easy. that's good. i mean, compared to our noctilux episode. yeah. well, this, this i will preface this by saying, none of these things are going to be as dramatic as the noctilux because there's so much more inherent depth of field with a 35 millimeter lens than the razor-like 50. combined with the fact that those are all f1s or faster. so yeah, definitely 1.2. um, how do the crayons look? oh, let's, we didn't have the crayons. we tried to get the crayons last time. yeah, everyone's like, where did the crayons go? so now we, that is too much. there we go. well, that is exposure. there we go. you're doing good. sorry. there you go. okay. so i mean, they're behind the plane of focus. yeah. so that would be in the, in the plane of focus, right there. so 35 sumerit is small and light and sharp in the center. it's pretty not offensive. and they're inexpensive, relatively, right? for an m lens. certainly, it's less expensive than any of the other ones that's on this table right now. um, so let's do a couple shots. yeah. uh, i'll shoot wide open at 2.4, which is where we're at. and again, i'm going to go back. should we use the bear or the crayons? who's the bear? use the bear. we got to give this bear a name. how about ernst? ernst. i think, okay. so ernst the bear. here we go. we're gonna, uh, switch to two seconds self-timer. okay. two seconds self-timer. so we don't have anything. josh is stable. and okay. here we go. now we're gonna stop down to 2.8. fire again. and we're gonna go to f4 and five six. that's probably good. yeah. no, it means that f8 is not. no, okay. so let's take a look. so let's, let's do a little playback here. okay. yep. that is actual real photos. okay. i'm using the same memory card, guys. all right. so let's zoom in. and that is, i mean, that's pretty sharp. yeah. uh, that's wide open. that's, that's great performance in the center. and i know it's a 35 and we're not really looking at at bokeh per se, but, yeah, you know, not a lot of bokeh happening here. the year very clearly defines this is not a bokeh lens. it's not a lens for a different purpose. like, there's nothing to me that's terribly exciting. the focus fall off isn't super pleasing on this lens. it's a good lens for the money. and i like the sumerits a lot because they're small and they're light. these are great on an m240, on an m10. i probably wouldn't use it on an sl2. we're doing this obviously because we have hdmi out. but, um, it's for the money, this lens really does a good job. i mean, absolutely. so let's move on to, uh, the next photo. okay. so that is 2.8. and you can see there, it sharpened up a bit. and i'm gonna move on to f4. okay. so now that's f4. and you can definitely see the contrast improved a little bit, not a lot, but mainly we're just gaining depth of field. yeah. we, we wanted to have something in the corner. allen, but it's like, this setup is near impossible. but that way we do see my test images. i have corner sharpness. yeah. so don't worry. i'm gonna, i'm gonna show it. so yeah, here at f4, we're actually able to have enough depth of field because it is a 35 and not a 50. that's one of the nice things about a 35 is that you, at f4, even though this wasn't even in the same plane of focus obviously, uh, we're getting pretty sharp result there. so let me go now to to five six. and that's even better. so we've got plenty of sharpness in that crayon box. and i mean, just really sharp in, uh, in old, uh, ernst there. so let's, let's pop on the, uh, not bad at all. let's pop on the summicron non-apo. okay. real quick. i don't know if everyone wants to see the flash frame here, but, you know, whatever. it's okay. okay. so we're going to see this. this is the non, this is the non-apo aspheric, non-fle. this lens right here. it's the non, but not everything. all right. so next, we are using the 11673. that's the summicron non-apo, the version six, if you want to call it. uh, let's see how that looks. make sure you do your profile. i've got my profile selected. i'm gonna magnify and enhance here. and definitely, i mean, the first thing i notice is also just how much more nuance there is in the focusing versus the sumerit. i mean, not, not to knock the sumerit, but yeah, but i'd definitely say, especially this version six, the revised, uh, sumicron here, it's just mechanically is is beautiful to operate. you can feel the, the aperture design, the aperture ring, and the focusing is definitely superior towards the spot. you might as well grab a couple shots. and then we'll show the playback. yeah. so i'm going to focus. how much does it weigh? uh, i can tell you that. okay. hands off the table while david's shooting the pictures. the, i actually weighed all of the lenses. we have with and without their lens hood. so i got the real weights. the 35 apo m with the hood is 308 grams. without the hood, 297 grams. that's actually just a little bit lighter than the fle, which is 316 grams with the hood. so it's just a little lighter than the fle. the version six is 270 grams. so it's a little heavier than the version six by about 40 grams. so pretty nominal differences, really. the only 35 that's significantly lighter is the sumerit, yeah, which is 207 grams. i wrote this all down. and then of course, the apo sl, which is 744. so it's totally opposite. all right. so now i've got the playback here. okay. and we're starting at f2. stan, if you want to know the difference between version six and five, watch the 35 episode. yeah. um, we talk about it and along with everything else. so yes, worth the watch for sure. okay. so this is an f2. and i think, you know, right off the bat, uh, you can definitely tell it's a little nicer fall off. again, it's a 35. that's not. we're getting a more pleasurable bokeh here. it's still not a game changer. this is not also a bokeh lens, although definitely more character that we saw with the sumerit. yeah. let's take a look at the flowers behind here. yeah, i mean, it's, it's a little, it can be a little squirrely. yeah, not bad. not that, not bad. better than sumerit. yeah. okay. now let's move forward. so that is f2. that's 2.8. and definitely it sharpened up a little bit there, of course. yeah. and let's go to f4. same thing at five six. so i'm gonna go down to the crayons one more time here. yeah, i mean, it's, there is nothing to complain about there. and that, that is nice and crisp. and something i've always liked about the summicron is that it, it really has a lot of, you know, uh, kind of punchy color, good contrast. uh, that's something i've always loved about the cron. so let's pop on the, uh, the fle. okay. this is the most fun of all the ones on the table, in my humble opinion. there we go. all right. so next, we are trying the summilux m f 1.4. one of our favorites. that lens. we extol the virtues of frequently. too frequently, perhaps. okay. there we go. oh, lovely. hold on. i gotta select it. it is the seven eight one. yep. there you go. eleven six seven eight three. two. eleven six six three. yeah, that's it. there we go. i love that leica coming out into out right now. so you can definitely see because, so something else to note is we're not at minimum focus on these. we're actually at about a meter, just to kind of level the playing field a little bit. this lens, especially the summilux at 0.7 meters, you can see how much better the the out of focus areas are and how much nicer that bokeh is. yeah. let's, let's get the center sharpness. which maybe, maybe we should move this forward to kind of show that. let's, i'm going to show. i have plenty of bokeh testing. let's not mess anything up. it already took us the whole afternoon to get this this far. so let's see. well, it's easier if i move it closer. oh, no, don't start with me. and i can get this away from my face. right. so you can see now how little depth of field we're working with at one point. you're at 1.4, right? i am. yeah. i mean, there's very little tolerance for a missed focus here. and you can, yeah, look at the difference. yeah, like the nose is in focus and those eyes are way out of focus now. yeah, this is really a bokeh lens. now, if you look, let's take a shot. and yeah, so let's do the whole sequence. so this is, let's stop shaking the table. okay. so this is 1.4. here we go. okay. we're going to go to f2. 2.8. very exciting for. oh, yeah. this is riveting. riveting television right here. i mean, look, this is if you can't ask us how to compare without. and then i expect to show you how to compare. so you know what? i don't want to hear it. okay. so this was five six, four, two, eight, two, one, four. right now, go right to the, the lights in the background. i want four because i really want to show this. um, here we go. now we're really starting to get. it's a bokeh lens to a bokeh lens where you've got beautiful soft edges. nice circles. like the shapes are not as clearly defined. very, very, very pleasant. and a very fast focus fall off, which is hard to do on a 35. look how out of focus those flowers are. beautiful. if you can see the scene in my life, the flowers are probably six inches. so the bear's eyeball, i mean, not far away at. yeah, this is very pleasant. all right. and then, uh, let's go through and take a look at sharpness. i mean, it is very, very sharp wide open in the middle. oh, yeah. so let's go to f2. that's at f2. and we picked up a noticeable increase in contrast there. two point eight, four, and five six. and i mean, to my eyes, this probably is the sharpest of all the ones that we've tested so far. even if we're just looking at five six, where we have depth of field everywhere. and i can, yeah, look at crayons. look amazing there. we've got just great highlights, colors, tones, sharpness across the board. yeah, i'm just gonna go. there's a reason we like this lens. yeah, because it does. looks really nice wide open. yeah. look at that. and then you can stop it down and performance is superb. it is. and let's take. oh, and actually, by five six, we're starting to get some stars, which is kind of nice too. so all in all, yeah, there's lots of stars. um, i feel like it's a 2001 obscure reference there. okay. uh, let's go to the apo. so i would, i would say, um, you know, all in all, the, uh, so far, so far, uh, the, the 35 summilux definitely is, um, yeah, the front runner right now. make him wait. put the apo on there, man. let's do it. we gotta, like, let him sweat a little bit. no, no, no, no. sweating. and now commercial break. now. okay. okay. sponsored. now. okay. we are taking off the summilux. do we need like a drumroll or something? on the apo 35 summicron m. i, i feel like it is a little denser. it's slightly heavier. it's, well, i mean, it's a little bit lighter than the fle, but it's smaller. so it does feel denser. it's just like a nice little ingot. ingot. that's a good word. you got to do that. just put a. so there's no lens profile yet in the sl2 for this lens. there will be, i'm sure at some point. but we're just going to use the regular 35 summicron aspheric, which is this one. close enough. that one. okay. it's close enough. but it probably will be a little bit better, especially on the sl2, where there's some built-in magic happening. and oh, look at that. oh, see that's a trick. that is something we couldn't do with the other lenses. is it? what is that? minimum. that's minimum. now look at that bokeh. yeah, that's, this is not a bokeh lens either, though. so just be aware of that. why don't you do? can you focus it, please? somebody wants to see how to focus bears. there we go. thank you. well, i mean, it's, you can tell how, like, like how high contrast it is. even without magnifying, you can really see when those eyes pop into focus. and i can tell you a little spoiler alert. i found that when i was out shooting, i found the exact same thing when focusing with live view. this lens snaps into focus. i mean, so easily because you really see when it's sharp. yeah. okay. let's magnify. that is not at all the bear's face. there we go. and we'll dial the focus in. there we go. that is obviously the sharpest we've seen yet. crazy sharp. that's pretty good. yeah, it's pretty good. so again, notice the, the depth of field is almost. sorry, that was my hand. notice depth of field is almost similar to the summilux. and i think, you know, when we're talking about this lens, leica famously says that because the performance at the point of focus is so highly resolving, the fall off, the apparent fall off is actually greater than what the aperture might suggest. true. although it's the 35 lux is still the king. yeah. of focus fall off in the 35 realm. tony is asking about the 23 summicron tl. i thought about that, but because it's just such a different space, such a different price point, it's not full frame. um, i, i like that you're asking me that. and i, one day, i might try to compare, but not today. it's just was a little bit more than i could work into all the testing that i was doing. all right. so let's, let's do our test sequence here. yeah. we got f2. one of the nice things about modern lenses, unlike last week or two weeks ago with the noctilux episode, there's no more focus shift. no. you know, when you're doing these kind of tests and you're stopping down between wide open and one or two steps down with an older lens, you've got to refocus each time if you really want to nail it because you have focus shift. never an issue with any of these lenses, which was really, really nice when i was doing my testing for sure. okay. so this is five six, f four, two, eight, and f two. let's now, you can already see that it doesn't have the same magic that the 1.4 has, but it's much better behaved than the other. yeah, it's very clean. it's very circular, but it's not the same softness on the edges. it's not the same fall off. this is the lens that's about uncompromising performance and nothing else, in my opinion. at least for my. it doesn't do a bad job in the bokeh department either. no, it's very smooth, very modern. yeah. look at, look at that near fall off. like it's much more gradual transition than the sumerit. sumicron. oh, absolutely. yes. yeah, yeah. so much. it's a nice blend between the, uh, the lux performance. yeah, it's definitely, it's definitely smoother with less, you know, less jittery on the, uh, on those high frequency details. yeah. okay. now that's wide open. that's 2.8. that's f4. that's five six. and there's really no performance differences in the center. no. um, you really just, like with their other flagship lenses, you're only stopping down to gain depth of field. you're not really improving, um, improving performance very much. i think i actually see greater detail in that little crayon dude's sunglasses where it's like, you can actually see the printing details. you will because this lens. higher power. well, first, when we go to the next one, that's that's pretty amazing right there. yeah. and let's take a look. obviously, you would expect that the silvery surfaces are going to be perfect. there's, since it is an apo lens, and look at that, you know, perfect black and white, no chromatic aberration, as you would expect. and let's see. look at that. even actually, even nicer star patterns. yeah. really, really nice, actually. wow. the best that we've seen yet. and that's at five six. you know, it used to be you'd have to stop down to f11 to get stars like that. that is, uh, that is really nice. i actually saw that in some of my real world stuff. remember i was showing you some of the, uh, water droplets? yeah. we're gonna see that when, uh, we show those images. very, very nice. so this, i mean, obviously it matches up to our, our previous testing because we are doing this setup here for the first time. all right. now, now we put on the 35 apo sl. okay. so i'm excited. the one liner. i'll have to break because you're gonna get another one. not easily. no, not easily. all right. now, i, let's show this actually, because i did say we're going to show the difference. oh, here, let me get the close-ups on me. i think so. let me show. i think this is, if we're going to talk about apples, blocking, let's talk about apples.

There we go. Here's the 35 Apo-Summicron M and the 35 FLE. One has a hood on too. I mean, 300 grams, 750 grams. Wow, there's no comparison here. I just want to give some sense of scale. Like, this just fits in my hand like that. This is like, this is not a huge lens within the SL lineup. I think I put a fingerprint on it. But this is, you know what? To me, it's just, that's what's so impressive about the M lens is what they could do in such a small package.

Dude, why don't you put it on the camera? Yep, let's see what it can do. I know this is an episode about the 35 Apo-Summicron M, but we're talking about as good as it gets. We've got to talk about this lens, okay? I turn it on. All right. And, uh, here obviously we just have autofocus. So I just tap the rear button and we should be sharp and ready to go. Do I have focus? Yes. Look at that. Top front button, I have programmed as focus magnification. And it is in manual focus. So if we want to dial it in, and we probably, uh, I don't know if it's on linear focus or not. Uh, it doesn't feel like it. Probably not. Yeah, that's okay. It's okay. We can make it work.

I mean, this, I mean, I guess I can, I should just try to say it. No, no, don't say it yet. All right, so we're going to take our test shots. Here we go. So we're at f2, okay? And obviously, I don't have to change the aperture on the lens. I'm changing it on the top of the camera. It's at 2.8 and f4 will be our last one, okay? Now let us play back and see the goods. F4, 2.8, 2. Is that right? I don't know. You took these pictures. All right, that's not at all. Okay, hold on. Here we go. Ready. 5.6, f4, 2.8, f2. There we go.

All right, and we're going to zoom in, magnify, and enhance. And, uh, depth of field is extremely shallow here, as we were talking about. It, uh, gives you that impression of, you know, wider aperture than an f2 in terms of depth of field, or apparent depth of field. And now we're going to jump to 2.8, which is razor sharp. F4 and 5.6. So really, what we've done is just increased up the field tremendously. But look at the fur detail on that. Show the crayons. Is insane. Are some people, what do some people say? Crayons? I've heard some weird people, like weird ways to say crayons before. I don't know. Cranes. Here we go. That's pretty good. Look at that. Pretty good. And I, I can't go, but that's actually, I think 200. You can see the dust on the crayon tips there. Yeah, that's pretty good. It's pretty good. Let's see. Uh, we're going to go now. There is kind of a little bit of that star pattern, but not quite as nice. Actually, you got to stop. Uh, I'm just addressing Mike's question. You have to stop eating powdered doughnuts before you go on photograph. Then you want to have that powdery coating on your SL. Oh boy. Lens ring. Wow. Look at that. Look at the, uh, the matte texture of the cup. Oh, so good. Where you can actually see, I don't know, you can see a lot of detail here, obviously. Um, so this right here, and I'm going to go back. So that's 5.6, 4, 2.8, 2. I just want to take a look at the, uh, the lights here. Joe, we showed the 35 Summicron C-line, that was two lenses ago. Yep. All right. I would say rewind, but don't rewind. Wait till we're done. The name we want. So looking at, at our, our little bokeh balls there. Oh, bring that back one more second, Jose. There we go. I would probably say that the, I think the M lens is a little bit more pleasing. Yeah, a little bit rounder. Yeah. Uh, less footbally. And I think the reason for that is really simple. One, which one? Because what the difference that we're seeing because of the length of the lens barrel. Um, the light doesn't have to be manipulated as much to get in to the camera as it does on a, where's the lens? You, you hit it from me. I did on purpose. The light, the light has a lot less, uh, travel inside the barrel than it does here. So that is my educated guess as to why the bokeh is smoother on the M lens.

Okay, so that, that sounded some real-world stuff. And what I think you can see here is that every modern 35 is pretty darn good in the center. They're amazing. And you've got options to choose from with regard to how you want your bokeh to be. Which one do you want? I'm going to, uh, the Apo. Wanna keep it on there? Well, I wanna show. What are you showing? How we can focus closer. You can keep talking. We should talk. I wanna talk about comparison because I wanna show the Lightroom stuff. Okay. Yeah, let's do that. And then we'll demonstrate the new ability. Yeah, I need the M adapter. As so, in addition to this sort of informal live view testing that we're showing you, I did some really thorough testing today, pretty much all afternoon, to get a very clear sense of how these lenses kind of stack up with each other with regard to center sharpness, corner sharpness, and, and real-world bokeh. So I'm going to show, um, let's see here. Some of these. Let me just talk. Give me a second, Jose. Here, here we go. Okay, everybody. For, for your, not close up. There we go. So, uh, sharpness. There we go. So what I did was this. I, our back closet here, our elevator equipment room, proved to be a pretty good place for testing because it was not affected by natural light. It's a flat surface. I could make sure everything was level. So I shot each lens with my super awesome Post-it notes, just like I did for the last test. So you, you can sort of see I put the five-digit product code. And what I want to talk about first is wide-open performance. So let me just show only the wide-open ones here. Here we go. So if we start to play around a little bit, we've got the 35 Apo. Let me just make this a little smaller. Here we go. We've got the 35 Apo-SL coming up first. Then we go to, oops, the 35-1.4. And you can already see, [Music] hopefully you can see performance difference. We're not talking about a small difference here. I mean, the SL lens is unbelievable. Let me go to these. I don't know why they're coming up in that corner there. 35 Super-Cron Aspherical, version six. Probably a little bit softer than the 1.4. Very close. Why don't you, why don't you pop up a, uh, comparison view? Yeah, let me do that. Well, let's, let's, let's get some good stuff. Let's get some of the good stuff. The number one question is, how does the new 35 Apo compare to the FLE? Let's just cut through the channels here. You're just going right forward. Yeah, the good stuff. All right, so on, oops, I'm breaking stuff. FLE, Apo here we go. So on the left, we've got the 35 Summilux FLE, floating lens element. On the right, we've got the 35 Apo-M. This is both wide open. If we zoom in to the center and let it render, and you can see a significant amount. Can you see the, can you see my cursor? Yeah, yeah. A significant amount more detail, even in the center, where these lenses are supposed to be the best. This, this goes to show you just how good this 35 Apo is. Now, you think that's impressive? As I start getting off-center, look at the differences here. Wow. Look at the tape. Yeah, you look at the tape. Look at this. The equipment room sign. I mean, whoa. The focus fall-off on the 35-1.4, which is this, that's how it's designed. Is extremely rapid, not just front to back, but also side to side, which is great for subject isolation and great for getting that Leica look all the time. So now, if I go to the corner, the differences become really apparent. This is, you see there's, it's also darker because there's more vignetting and considerably less detail versus the Apo. Well, a lot less contrast as well. Look at the, um, I mean, just the colors don't pop as much. Look at the colors here. I mean, this is a dramatic difference. Now, this is again, to really get into the core of what these two lenses are designed to do. One lens designed for uncompromising performance from corner to corner, landscape, architecture, interior, art reproduction. And another lens designed for the Leica look, the softness in the corners, the quick focus fall-off, the subject isolation, and allowing you to enjoy a lens that goes to 1.4. Um, now, although I think we need to be a little more fair. Yeah. Um, you want me to show the FLE at f2? I do. Oh, yeah. Yeah. You see that? It's not going to be that much different, actually. If we go to the FLE at f2, here we go. All right, so now let's switch sides here. Um, you can flip them again. Yeah. This one, right? Yep. Yeah, always forget. Okay, so I've got the FLE on the left at f2. So stop down one stop. And the Apo-Summicron M on the right, which is wide open at f2. So let's take a look at the center. Let it render here. And we can see that the FLE is dramatically sharper at f2. At f2, although the Apo still has an edge. If you look at the text here, this 2014 DGK text, there's still definitely more detail in the Apo than there is in the FLE. And as soon as you start to get off-center, the differences are still quite noticeable looking at the circle here. And just watch when we go to the corner, even stop down one stop versus wide open, the Apo is still superior. You have to go to about 5.6 on the FLE, I can show that to realize or to see a similar look. Let's show you that here. So now we've got, oops, keep flipping. I know, right? So I've got the FLE on the left at 5.6, and it's the 35 Apo-M on the right, still wide open. Now we're getting very, now, actually, the FLE has a slight, slight, slight edge, but only barely. We're talking about a 1.4 lens, stop down one, two, three, four, three steps, four stops, versus, versus one that's wide open. I mean, that is, to me, now, what happens? Scene, what happens if we take the, the Apo-Summicron and we stop it down to 2.8 against the 5.6? Let's do that. So now we've got, again, FLE on the left at 5.6, Apo on the right, stop down one stop to 2.8. Let's take a look at center sharpness here. Apo comes out ahead. I mean, you can see it's pretty close. Dead center, it's pretty close, but the Apo still has a higher contrast and higher resolving power. And if you start to get off-center, the difference is considered to be apparent. Again, more contrast. Pretty close though. I think in some areas, definitely has a little more contrast in the corners here. So I would say the 35 Apo still has the edge overall for detail. And again, we're not comparing the same aperture here. We're comparing two different apertures. So if I were to compare the Apo at 5.6, oh boy, for, uh, if we're really going to be fair, but unfair. Look, gold order. [Music] Let me look at, now, differences here. Look at the, the crispness of the line around the sort of color patches on the Apo. It's got considerably higher contrast. There's just more detail there. It's not dramatic at 5.6, but it's definitely noticeable. And again, most of the time, as a Leica M shooter, I'm spending my time at or near wide open. And the 35 Apo is a lens that's just designed, as I said, to give you a level of performance at every single aperture that just crushes anything else in the M line. I mean, look at the bottom left corner here. This is one of those sort of, um, like lens tolerance types of tests because here the Apo on the right demonstrates a higher level of detail. Look at this little test target here. So consistency from corner to corner in terms of sharpness and the linearity of the focus fall-off is significantly higher on the Apo than the FLE, which is, you know, a lens that they even, and I still love because it's still a very unique lens. And very quickly, and you can see, I mean, stop down just a little bit to 5.6, there's nothing. Let's say there's very little to complain about with the FLE. It's still a world-class optic. Take a look at that. I don't want to spend too much time staring at test images, but I just want to show. Now, what are we looking at here? Now we're looking at, um, again, Apo-M on the right, and the Apo-SL on the left. So here are the two lenses. These two lenses right now represent the highest quality 35-millimeter lenses Leica has ever made. On the left, you've got the Apo-Summicron SL. On the right, the Apo-Summicron M35. So above 35. Show the middle first. If we go middle, we can see very close. But the SL lens has a very, very, very, very slight edge, although it's negligible to the point where I would say it's not going to be noticeable in the real world. But if we start going out from center and go to our top right corner here, you can see how there's more detail and more sharpness in the SL lens here on the left. You might have to go a little further to the left because they're cutting off here. Nope, the other way. Yeah, like that. Oh, I see it. Sorry, guys. So as unbelievably good as the 35 Apo-M is, especially considering it's a rangefinder-coupled lens that's extremely small, 300 and something grams, as unbelievably good as that is, I'm reminded doing these tests that the 35 Apo-SL is the king. It is the highest performing 35-millimeter lens across Leica's entire product portfolio, hands down. The test is right here. Um, if we go to the bottom left corner, that's continuing to be obvious. Wow. I mean, the difference is again, this is wide open. Unbelievable. You could use an SL 35 Apo wide open for landscape with no real performance compromise. The M is a very close second. And obviously, if you have an M10-R or an M10 Monochrome, it doesn't really matter how good the SL is because you can't use it. Yeah. And I think this, what this really is, is a testament not only to how good the SL prime is, which is a lens that they have no real space restrictions for, it's how good that 35 Apo-M is, all things considered. Yes. But even without that, just how good it is objectively on its own. Um, now, let's see one more test before we move on. Yeah. Uh, let's take a look because some people might wonder, how does it compare? Of the, the standard Summicron versus the Apo-Summicron? Oh, yeah. Let's show that. Let me pop that here. So we've got 11673 and f2. Okay. So on the left, we've got the current version of the non-Apo Summicron Aspherical, the version six, 11673. These are the, um, Leica product codes I told you about earlier. And on the right, as before, we have the 35 Apo. I mean, no comparison here. The Apo is unbelievably sharp in the center. F2 is the f2 on its own. Like you saw with the bear, looks fine. But then you put it up against the 35 Apo and you're like, oh, now I'm, I'm almost hesitant to show the corners because it's, it's like, you don't know what you're looking at until you see their whole comparison, relative comparison. But all right, take a look at this. Take a look at that. On the left, the 35 Summicron, which is a good lens, a great lens, a lens that's fantastic for shooting street photography, portraits, and it's compact. But it's a standard barrier, really. If, but if we're talking about wide-open performance, where these lenses are really going to be living most of the time, the Apo-Summicron M is, I mean, it's a, it's a different class. It's a different class. I mean, and you're certainly paying for it. There's no doubt that there's a reason that the Apo is so expensive relative to the cost of the regular Cron. I mean, just look at the detail and the contrast difference. Let's check the bottom left here. Same story in the bottom left. I mean, you can't even make out the lines here, whereas here, this looks better here than this does in the center, I think. So there's no doubt that the 11673, not the, not the Apo 35, is a great lens and it does have a very nice focus fall-off, which I don't think the 35 Apo has. The 35 Apo is so linear, so sharp corner to corner, that it really doesn't have that, which is good or bad depending on your creative objectives. But this test is just designed to show you the relative comparison between them. And again, when I see these images and I look at all this as a whole, and we look at the difference here, this is just slightly off-center. I understand why this lens is both so difficult to design, why it's priced the way it is, and why they're not flooding the market with these things because I know they're hard to get right now. I can't imagine how difficult this must be to make. Hard. Do, let's, let's, let's do some questions. Yeah, let's take a break from this staring at this nonsense. Um, and then I do want to make sure we show your images. But let's, let me just pull up the chat. Jose, what do we got for questions? That was a lot of chat. I'm not ignoring you guys. I'm just looking. I'm actually paying more attention to you by looking over here. Yes. Uh, he's got a screen right there. Yeah, yeah. So we have one, um, since Apo is all about chromatic aberration, does the, do the Apo lenses have no advantage over the non-Apo lenses for monochrome cameras? I mean, you can clearly see in the, in the test samples. Um, well, let me answer indirectly. Obviously sharper, sharper, sharper in the corners. Sharper in the corners. Higher resolving is higher resolving. And especially the monochrome can really take advantage of that because it doesn't have any interpolation. Uh, you're resolving more detail than you would on a color interpolated sensor. Yeah. See our monochrome episodes, multiple per explanation on that. Um, as far as it goes with color, though, uh, keep in mind that that your grayscale images, you know, are still rendered with, um, you know, normal optical details. So if you can align those, that all wavelengths of light are hitting together, it will still be a higher contrast, sharper image for black and white, just as it would for color. Just you're not going to get chromatic aberration as a color, but you could get chromatic aberration as a halo. So this will have no haloing effects around the pixels. There you go. So performance is performance, whether it's color or black and white. And this lens has fades. Yeah. Um, it just goes because they have the questions for us. Yeah. So when will you shoot the 35 FLE over the 35 Apo-M? Well, that's a good question. Um, well, I mean, I've shot both now. I'm obviously much more limited here. I've shot the 35 Summilux FLE for years and years and years. That's my go-to lens. Josh too. I mean, we love this lens. Um, you know, it has more character to it. Uh, there's no two ways about that. This lens, the new Apo, it's perfect. And it's not, it's not bland. It's not sterile, as someone would say. It's just the 35 Lux simply has more character. It has natural, more natural vignetting. It has more natural fall-off. It has, uh, especially wide open, a much more dramatic fall-off from in-focus out-of-focus. And it's very high performing wide open in the center with a lot more fall-off to the edges, as Josh showed in the test shots. And as we saw with Ernst, the bear here. And real-life shooting bears that out too. I think the other place where I absolutely adore the, the 35 Lux is that it, it kind of, I like to say it's a, it's like two lenses in one. I'm going to pull up something. One more comparison while you're talking about bokeh. It's like, it's like two lenses in one because under soft light, soft indirect light, the Lux is very, it's very muted and painterly. Under really direct, you know, not harsh lighting, but really strong lighting, high contrast lighting, the lens just pops. So it's able to kind of walk the line of being a really poppy, high contrast lens and also being soft and subtle. I haven't shot enough with the Apo-Summicron under enough different conditions, like I shot for two hours yesterday, you know? Yeah, truth be told. Yeah, I don't have the years of experience yet to tell you that it's going to behave the same. But I, I still love the Lux. Yeah, I just, I'm very, I'm very enamored with the Apo, both for the sharpness and also for the close focusing, which is a whole new element that we want to get into. We'll talk about that. I want to show one more quick Lightroom thing, which is directly related to your question. Jose, if you can switch over to that. This is, uh, actually using the M10-R. This is my infamous Think Tank bag, which I use for all my bokeh tests. And, oops. This is the Apo on the left this time, and the Lux on the right. Both wide open. Both at about 0.85 meters, so near minimum distance, at least the standard rangefinder minimum distance. And if we look at the, look at the way the lights, there's an amorphousness to the Lux here on the right. There's a softness that you just don't get with the Apo. If you look at the way the lights render on the left here, um, okay, good. You can see it. It's very clear, more clearly defined shapes, more circular, a harsher edge here where the lights kind of finish, whereas on the Lux, it's a softer fall-off. It's a little more oval-shaped. It's almost like a translucency as well. Um, look here. Look at the way that this is like an LED light around our sort of front counter. At the way the fall, it's just so dispersed and it's so soft. This is, uh, like a stanchion with a rope on. I just use for a shape with color in it. And it's those edges, it just fades away on the Lux. The Apo is, it's so much more clearly defined. Um, if you look at the detail here, obviously the Apo, yeah, is has more detail. Although this is not a sharpness test, so my focus could be a teeny bit off. But, you know, the amount of, they're both excellent. Yeah. You can also see you have chromatic aberration here, which you don't have. This is a great example of the benefits of an Apo. Is on the right or on the left here. You look at the rings, these little hangers, there's no green color fringing. And here on the right, you've got some. Um, so this hopefully demonstrates that the focus fall-off. I mean, look at the corner of the back here. These are, this again, the same distance away. So it falls off so much faster from center. And again, it's all about subject isolation. And it gets you thinking more about the, the shapes, colors, and lighting of your backgrounds as they become softer, more with the Lux, you're thinking about than you are with the Apo. So anyway, go back to us. So that's just, that's a good example. Yeah, just trying to answer that question a little bit. Uh, go back to the chat. Yeah, let me go back to the chat here. I think you're still in Lightroom. I think people want to see the close focusing on the 35. Well, let's take a look and see if there's any other burning questions first. Yeah, let's see before we get jump back into the demo. Uh, we have a lot of questions. Jose, have you been, uh, yeah, storing some up here? Um, yeah, from Scott. There has been a lot of talk that the 50 Apo and the new 35 Apo were too clinical. What do you have to say about that? I'll show you some real-world images, but I don't really feel that the fit, the Apo. So I do have a lot of experience shooting with the 50 Apo in my personal kit. I was shooting with the 50 Summilux for a good number of years, and I actually transitioned to the 50 Apo-Summicron because I, I'm just a sucker for optical performance. I have nothing against the Lux. I love it. I've shot with it. I'll continue to shoot with it. But, but the, uh, kind of that starter position goes to the 50 Apo because it's usable. It's like what we're looking at here with the 35. It's usable wide open with uncompromising performance. And it still does have nice feel. It's not as magical as the 50 Lux, just as the 35 Apo is not as magical as the 35 Lux. So I think there's a lot of parallels between the 35 Summilux and the 35 Apo-Summicron and the 50 Summilux and the 50 Apo-Summicron. But to answer the question directly, no, I don't feel that either of those are too clinical or sterile or anything like that. It's just they're uncompromising, benchmark-level performance. Yeah. Yeah. We're just looking to see if there's any burning, burning questions. I think we, we're doing pretty well. Okay. Um, what did my almost one thing? Oh, Mike had said, is it a fair test on SL? And I would say it is fair because I did, as you probably just saw, some of the same testing on an M10-R. Yeah. And my results were exactly the same in terms of the relative performance differences between the two. We use the SL2 for testing just because it's so much faster with the high-res EVF to dial in the precise focus. And I also knew we had to check how they compared to the SL lens, which only was going to work on the SL. Right. Well, or the CL, I guess. But yeah, so that was full frame. Yeah. Yeah, that was, that was why we did. We did that. But I think, okay, are we gonna do the close thing? Yeah, we need to show close focus on. Oh, is my cord long enough? Can we get closer? Hold on. It might be. Stand by, please. Oh, we, oh, we can get closer. Ah, are you got the Apo on there now? I do. Is it at minimum? It's not, uh, it's gonna be closer to that, bro. That's minimum right there. Is it? Okay. Yeah, let me just magnify. It's gonna fall on the table. Well, I think it's worth showing. Okay, so this right there. Let Jose, let's pop to the, uh, live view. So this big bear. So what we're looking at right now, both, please. They can see what we're looking at. Well, I want to make sure it's sharp. Okay. What we're looking at right now is 0.7 meters, which is minimum distance. Also. And I think we should throw the 35 Lux on here just to look at the at the background. So I'm going to take a shot here. This is at 0.7 meters, minimum distance. Oh, this is 0.7, correct? Not minimum momentum. I was like, this thing is far from point three. No, no, no. We're doing 0.7. Okay. Okay. And I have a, I have some logic here. Okay. And I'm going to put on the, the 35 that is the 35 Summicron. Yep. We're going to put on the 35 Summilux FLE because I do want to show that character. I'm all for it. Let's do it like an old, old-timey camera. Right now. It's path on there. We go. Let me get the profile. Second one down. There you go. And we're going to go to minimum distance. There we go. Let's make sure that we're actually sharp. It's pretty close. There's, let's see here. Yeah, that right eye is sharp. And we're going to take a shot. Okay. So now I want to play those back. And what's going to be kind of interesting here is the full view of the day. Here we go. Nope, I don't want to magnify. I want to advance. You're in my view. I am in live. That is that is why we're doing that. Okay. Thanks. We're doing great here with your hour over here. Come on. Okay, there we go. All right. This is the Apo-Summicron M at 0.7 meters at f2. And we want to change our label here just to keep everything clear. Okay. So this one is the, is the Apo-Summicron. We'll just take the label away at this point because we're bouncing between the two lenses so fast. Let's see. I feel like we're, okay. There we go. So this is the Apo-Summicron M. And we're going to zoom in here. Now, this is at minimum distance. And we can obviously see the minimum rangefinder just minimum rangefinder coupled distance before it disengages. Yeah. And I do want to take a look at our, our out-of-focus bokeh balls here. So Josh, you want to give the analysis of what you see? I mean, very, um, clearly defined edges, but circular. Where are we in the image here? To zoom out for a second. Okay. We're still, I mean, we don't have a lot of the bokeh ball simulation thingies near the edge of the frame just because we don't have enough light. But here, you know, it's not magical, but it's very predictable and you can easily work with this. You're not gonna have to worry about something becoming crazy, crazy looking. Um, but, you know, 11 aperture blades are helpful for that. Yeah. And if we take a look here at, you know, our just out-of-focus areas with high, high frequency detail, you know, there's nothing objectionable there because I use the, um, SL2 for my elevator room sharpness test. Yeah. Yeah. All right. Now let's, let's change the, uh, change it up. We're going to go to the Summilux. We're just changing our label, guys. Bear with us. There we go. So this is the Summilux. And I mean, right off the bat, you can see first of all, well, you can see a little bit of chromatic aberration, just a touch. If you see that, a little bit of red there in the highlights. And, uh, it's, it's sharp wide open. But look how fast that fall-off is. And let's take a look at our lights. There we go. Softer fall-off, a little more character, a little more oval, oval-shaped. You know, this is, okay, this is the lens that just has more character. It's more fun for that purpose. That's not really an objective assessment, but, um, I feel like I've done a lot of objective assessments already. So, yeah, that's very fun. So, so that's it. We're going to go back to the, uh, the Summicron. Yeah. Let's, um, go back to the main view of Jose for a moment. Yep. So what Dave is going to hopefully show now, the close focus, is the real, the party trick of the 35 Apo-M, which is this close focus thingy. Now, it's important to understand that the lens is rangefinder calibrated to 0.7 meters. Once you go past the D-ten into the close focus range, it is no longer rangefinder calibrated, which means you need to use live view, either on the screen or the Visoflex, if you have an M camera, or of course, if you're in an SL2, you're always, Oh boy, that's not going to work. Um, all right, it's too close. Can you move the bear closer? So you need to make sure you're using live view. You can't use the rangefinder to focus. He's going to, pardon me, Dave's going to go make it so we can shoot closer. Yeah, yeah. Okay, don't knock anything over for the love of teddy bears. So anyway, that's something important I want to mention. So if you're shooting with the rangefinder and you go past that D-ten, you're not going to focus. You got to activate live view. Pop on the Visoflex. Another reason this lens is nice on the SL2 because it's always live view. Still so close. All right, one more, one more second. How are we doing? We're doing okay. We're running out of table. With, yeah, I shot the M10-R with this. Its performance is very, so similar that it was not worth trying to show the differences between the two. In terms of like, okay, 35 Apo-M on the SL2 and the M10-R. Very, very close, aside from the camera's performance differences, which are another story. That's another episode. Now you can actually see the bear in, in our frame now. Oh, he's right there. Yeah, I mean, this is very, very, very, like, you can see how close we are. Just off camera. I mean, it's really, really close. But all right, so let's see. I actually, I'm not gonna be able to see here. I don't have to use our studio monitor to focus. So Jose, pop up our little view here. And I think, oh my god, that's not zoomed in, by the way. This is, wow, that is, no, that's so frame. This is full frame. This is full frame. It's so close to the edge. I'm like, I know. I'm, I'm afraid our cable, something horrible is going to happen right now. So that is already predicting it. That is minimum focus. All right, so I am going to go. Actually, not looking. Unbelievable. Oh, the, the detail on the fur. Look at that. It just makes me so happy to see that. So like Josh says, this is, uh, this is its little party trick. It's incredible. This is an M lens, people. Okay. This is at, geez, okay. And look how fast this is. Wide open, right? Yeah. Look how fast that focus falls off. I mean, you know, depth of field, of course, decreases as you focus. Oh, no, that's, that's wide open there. We go. So you have so little that I mean, this is, ah, this is so exciting. I don't know if I'm speechless right now. Oh my gosh. You can't see that. Yes, in his eyes. And, you know, this is not a macro episode. I, I realize my, I'm probably not even getting picked up fully by my microphone here. Here we go. All right, so let's take a shot. Let's take a shot. I want to breathe. All right. Look at our, look at our buddy. Look at him go. Play back. Wow, that detail is amazing. Look at that. But look how little depth of field there is. There is no depth of field. This is like, this is like, uh, like I don't know. It's wild. This reminds me a little bit of using the, uh, El Pro on the FLE, but so much sharper. So much sharper. No, look at that. No depth of field. So now that, that, that bokeh is pretty good, right? Well, yeah. Now that, now we're talking. We're so close. We're so close that there's, it's just bokeh for days. But yeah, let me, let me angle up a little bit. Yeah, but I don't get to jump back here. I'm gonna try to see if I can get some of the, oh, there we go. Here we go. Wow. All right. And let's focus here if I can. There we go. Okay, the eye is sharp. On the table again. I'm taking them off. Oh, look at that. I love it. Okay, now we're talking some character. This is where the lens becomes really fun. Look at that. Number one, how little depth of field you have. Number two, the character of the bokeh. Oh, see the overlapping. Now again, look at the difference here though, is that you don't get, you still don't get a soft edge transition on your bokeh, but you certainly get very dispersed bokeh. I mean, it really, wow, something, you know, something else. I'll tell you what, that this bokeh right here, it actually reminds me of the 75 and 90 Apo-Summicron SLs. They have very similar bokeh response, especially at minimum distance. Yeah. This is, this is really cool. This is, yeah, I'm blown away by this. Um, now that's full, that's full frame. That's fine. This was territory that was previously reserved for the SL lens because the SL lens, since it's not rangefinder coupled, focuses actually a tiny bit closer. The SL 35. But again, in a lens that's a third of the size or less, this is crazy. Less than half the weight. To focus pretty much as close while still performing so well in every other scenario. There's no, there's no sacrifice here. Mind-blowing. Yeah. This is, love this. This is really cool. Bananas here. I mean, I'd say I need it, but I have it right here. So I don't know. I know, but like, if you guys even saw how close the tripod is, it's comical. Yeah, it's like, yeah, of course. Remember, you don't have to just go to point three. You've got the range from 0.7 to 0.3. So you can play. Yeah, let's do this. Yeah, let's go back to live view because I feel like all the hype's gonna be at point three. But you could go to point four or point five. Don't feel like you have to always just go to minimum. I mean, I guess where that's where. Look at, look at that range. That's beautiful, right? And what's that on your lens? Can you see the scale? Probably not. Um, it's like 0.53 or something. Okay. Okay. Okay. Let me just, I'm gonna go a little bit closer so just to be able to focus a little closer than 0.7 meters is nice. Well, I found in my real life, you know, my, my out in the world shooting, uh, what I did find is, we're trying to show next, by the way. I am. Yeah. Found that I wasn't always at minimum. Uh, I was kind of, I, I jumped into the, the close focus range a lot more often than I expected to, but just for added flexibility, not to do, you know, macro shots. Yeah, like it's cleanup team here. But you can take a look at this. This is at, uh, point. Yeah, sorry, I could have to see that's 0.45. So it's not minimum, but it still behaves amazingly well. Let's zoom in to that. Oh, the dog is awake. Look at that. Oh, sorry. Well, I kind of missed. I missed the eyes there, but, um, you can see that it's sharp and the bokeh still has a nice response there. Beautiful. Really cool. Really cool. This is how you turn a lens that's not a Lux into your Lux in terms of the, uh, the rendering. Yeah, really helps. Um, David, why do you take control of the keyboard here? He, because David shot some, um, images with this lens, like you mentioned, and we're going to show. We all look at the mouse. I'm gonna hold the mouse for me. Like, can't have it all. Right. Papers out of the way. Okay, let's go to the, um, Lightroom. The old. Wait, the dog's gonna say hi. Oh, there's a dog. Hey, he never makes appearances anymore. He's always asleep under the table. But this episode, he's very excited for this launch. He's probably, honestly, heard the excitement of my voice and was like, I want to get in on this. So this is Enzo, in case you haven't, uh, met him before. We haven't shown him in a long time. So he deserves like two or two seconds. Oh, there he is. Can we get a close-up on the doge? And he's out of focus. You got to do your job, focus, man. What are we doing? My dog is not permitted to be shown out of focus. Out of focus. He looks so out of focus. Oh my goodness. This is my job. The retriever. He'll be eight years old in May. He's, there we go. A big cuddly buddy. If somebody's tuning in right now, you don't even know what's going on. He's the best. He's the Lancaster M Miami mascot. So yay. There you go. A little bit of Enzo time. Okay, let's get to the, let's get to the good stuff. Let's get to the good stuff. Okay, so, uh, let's head over to the, the old computer. Yeah, yeah. We look at that fancy. Um, so like I said, I, um, and by minimum, what were you shooting with? This is SL2. So, right. Let me clarify. So I used actually this exact SL2 that I'm using for the testing right here, um, but the exact same lens and M adapter that you're, you're seeing live. Uh, that's what I headed out. And to answer the question, why didn't I use an M10-R when we have one that's a monochrome right here? Why, why didn't I just use this M10-R? Uh, basically, it's just a matter of, of time. And I knew that I wanted to do some shots with the close focus. And I just, I knew that the, the EVF experience, um, and also combined with the added benefit of image stabilization in body, also, you know, kind of helps the odds when you have a very short amount of time to deliver something and you got to come home with the goods. Yeah, sometimes you just go with the tool that you are, you know, more, more confident with. I think I'd absolutely want to take this out on the M10-R, on the M10 Monochrome, because I love working with those cameras, but I don't want to feel rushed. I mean, the big difference here is that just before you, very quickly, before you dive into the shots, is that wide open focusing with the Visoflex with most lenses can be tricky since they're not all super, super sharp wide open. And of course, the sharper our lenses might open, the easier it is to focus. More when I popped the Apo on the M10-R with the Visoflex, it was almost too easy. I mean, if you, if you struggled with the Visoflex with the non-Apo 35 or even the, the 1.4 FLE, you won't with the Apo because it's just that good. All right, so let's dive into it. I just quickly selected a few of these. Um, and I, I think before I show off pretty stuff, I do want to just show a couple test. We haven't shown enough test shots because we haven't showed enough test shots. So we definitely need to show way more test shots. We'll get rid of the stuff on the side. There we go. Okay, so what I'm, what I'm looking at here is, and this is something that I've been kind of spoiled with. The 35 Summilux FLE is very good at what you're seeing here. And this lens is equally good at it. We have, this is in a, in a parking garage. So there's no ambient light. And you have a very, very bright spectral light here that's that it is blown out. I mean, the camera is not able to capture how much brighter this is. And it's positioned towards the corner of the frame. But it hasn't reduced the overall contrast or resolving power of the lens. So there's no, uh, veiling flare and no drop in contrast. That's, this is excellent. This is, we want to see this kind of flare resistance because it's not just about sharpness, it's also how the lens performs under challenging lighting conditions. And you can see it's, I mean, the resolution is not affected at all having this bright light right there. In the show some real pictures, come on. Hold on, hold on. Now I'm going to show, and I don't, this is as ugly as I could get the lens to be, which is right into the light. And you'll see this spot. So we do want to talk about about that. I don't know if this is traditional flare or if this is actually just a reflection off the sensor. And it might explain, I mean, maybe that's what the extra baffling on the back of the lens is for or something. But, um, it's there. This is, I mean, if that's the worst we're ever gonna get, you're pointing it directly into a bright light. That's like, close, eight stops more than the exposure. Yeah, yeah. So that's not bad. Yeah. And here's just another view of that. So really, it's, this is not bad. Yeah. Keep them, keep that in mind. Now, now let's look at some actual goods. There we go. Um, so just in terms, this is wide open, just kind of showing that foreground background separation and our beautiful sunsets. This image is analogous to anyone who was on the fence about this lens. Oh, for this episode, can we have a little something? Yeah. Yes. But you can see that wide open, uh, in real life, as we get to the edge of the frame, there is no difference in resolving power at the edges as there is.

At the center and color contrast tone is really great. Uh, this is the one I was talking about with Josh. This is the sun actually peaked out for a moment here, and I was able to get some, some, um, high contrast direct sun. And I love the we rendered. Nope, nope, it's fast. It's not that fast. There we go. Big files. And I just, I mean, the textural detail here is extraordinary. Uh, you can also see in the, in the spectral highlights, there's little stars. And this is wide open. This is at F2. So also in real life, when we get into that close focus range, just like I showed you with, with the bear, you can see that the details definitely start falling away in the background. This is not very far. This is, you know, a plant on the ground. So it's only a foot or two to this object. This other plant behind it, but we're still able to isolate our subject, uh, pretty well. And you can see it's just, I mean, even again, as we get to the corners, it's just extraordinarily sharp, wide open, and, and the color and contrast is great.

Uh, more, more plants. Uh, this is kind of showing that softness at F2, how it gradually falls away because here, as we get into that close focus range, this is more what I was expecting to see from the 35 Summilux, this kind of look and gentle gradation into the edges. Uh, more of everything. I see there's more. Don't worry about those. These aren't the plants you're looking for. I say I see. All right.

This one just is, is pure detail. Um, it's just, it's ridiculous. I want to talk to you about when you start to get this close. Now, you're taking a lens that's designed to give you this lack of focus fall-off, for lack of a better description, but it's so close that your focus fall-off is, it's very rapid, very, very fast. But it's still extremely linear, extremely even and consistent from corner to corner throughout the frame, which is exactly what you want to see. I mean, this is, it's not bad. There we go.

So here is a little more like urban, urban street stuff. Yeah. And here, you know, had some nice afternoon light. Um, just kind of a cool subject. But here we are again, you know, when we glance at the details, we'll show them the corners too. I'm going to. So here's the middle. There we go. And it, I mean, that, what aperture, David? No, this is wide open. Okay. Okay. Yeah. So this is, I mean, just extraordinarily level of detail here, F2. And as we get to the corners, it's, I mean, it's the exactly the same level of detail. Yeah. Uh, there's no fall-off. There's no sacrifice for shooting wide open. It is, that's ridiculous. Yeah. It's absurd. Sweet. And of course, you see these metal edges, no chromatic aberration whatsoever, which is what you would expect.

Uh, we're back to these. Let's jump ahead. Okay. Now, where I think this lens would shine, and I, I kind of, you know, Josh and I were talking about this before I even went out and did testing, we do feel that this would excel at at architecture or landscape because of its very even performance. And here you can see it excels at architecture. I may not, but it does. And again, we are just, just to clarify, the FLE and F8, right? 6.3. It does fantastic for this. Where we are, when we talk about where the lens shines, where the caveat or the qualifier is, at or near wide open aperture, that's the whole point. Yeah. And it's just, I mean, it's good everywhere. It's good everywhere. So, uh, a little bit more contrast, pretty abstract. Thank you. Thank you. Yeah, usually I photograph real things and plants. I do a lot of plants, plants, and bicycles, teddy bears, teddy bears, teddy bears. Yeah. Here's another just example. When you look at that texture, that textural nuance and detail is just, it's just awesome. Yeah. Look at these cracks. I mean, that's absurd. Yeah. That one.

So, uh, this is a little bit more, you know, infinity performance. And, yep, let's just do it. Let's jump in there. Yeah, we gotta load. Loading. There we go. What aperture? Uh, yes, it's definitely an aperture that was on the lens. Um, not wide open. I think it's five six. Okay. I think it's five six only because it's, it's pretty bright out. Yeah. But you can see a non-APO lens sometimes can struggle with these very, um, bright highlights against darker backgrounds in, in that bright afternoon sun because, you know, this is metal, after all, it's aluminum, and sometimes that can glow, it can have chromatic aberration. Here, it is just clean. It's perfectly clean. You can read this exit sign as if you were standing right there. You can see, you know, I mean, all the fine details, it's just extraordinary. Um, all the fine details on the leaves, obviously, into the shadows. You know, we're not doing a camera review here. The SL2 is great, but the lens, the lens.

Um, and now here's some street photography. Um, I love just the way that it captures the color, the bright color, the light mixing the light. I mean, this kid's hair, like, hold on. It's loading. Big files. You know, every strand of hair on this kid's head, and he was moving. I mean, this is, I probably shot at a decent shutter speed here, 500th of a second. And you can see F2. So this is shot wide open. We've got a little bit of separation between our, our subject and the, this guy behind there. But it just, it really just has a very 3D pop to it. Which show the next one? What do we expect? No, not that one. Where's the other one? Oh, the next one. Yeah, that was boring. Yeah, that one. I love the shot. Yeah, so sick. This to me is, it is a shot that really exemplifies two things about this lens. One is its performance corner to corner in terms of color, contrast, sharpness, focus, all those metrics that matter. And two is just the pleasant nature by which the focus falls off, where it's not, you know, the FLE would have made a very, very different image here. I'm not saying it would be better, I'm not saying it would be worse, but I think as an architectural image that involves a lot of graphics and lines and shapes, not having an overly characterized bokeh lends to a better image, at least in my opinion. And I really like the way this came out. Yeah, this one is pretty cool. And, you know, just to, sorry about the loading, guys. These are big files. They are big files. Oh, this computer is supposed to kind of power. It is a powerhouse. Yeah. And, and that point of focus is very well defined. And what Josh is talking about is that gradual fall-off. Nothing is jarring. And likewise, something that's even more challenging is that front focus fall-off doesn't get nervous or jittery. It's just very, very squiggles or broken up. Yeah. It's very smooth. It's just. And, and you can see on these monotone images, there's no chromatic aberration front to back. Um, you know, no lateral chromatic aberration. So this is a great example of that. I love that one. Yeah.

Um, just stuff. You know, Miami. You know what it is. It's just Miami. It's actually, what's crazy about that giant bubble thing is that's all that is is the parking garage. Parking garage. Yeah. That's it. It's not even like a. That's ridiculous. Yeah. And there's plenty of detail here, but it's not the most interesting shot. Yeah. Linearity, you know, in terms of just how straight everything is, lack of distortion. Also, we should mention, in, in full disclosure, that the SL2 firmware actually doesn't have a lens profile for this. So this is just a generic. I'm actually using a non-APO 35 Summicron profile. Um, and it's obviously doesn't require any correction. Yeah.

All right. Let's show like a few more because I'm going to get some questions. Yeah, I'm almost to the end here. No, you're not. Oh, yeah, there's only people anyway. These are just some more architectural. Just got to bounce through some stuff. Um, great, great tone. Keep going. Well, this one is at F2. It's the same building. It is, but I wanted to show you. Okay. Okay. It is the same building at a slightly different time. Oh, of course. And a different angle, actually. But it didn't quite open. And that's no. Actually, this is stopped down a little bit. Well, you know, yeah, this is stopped down, and there's a reason. Okay. Because we looked at the wide open, and it was perfectly sharp on the building. But here, I just wanted to show the usability in terms of what I would use it for, which is landscape. And you can see that the foreground, I mean, these, this grass is just, I mean, every little blade is perfectly resolved. Every, you know, leaf on that tree is perfectly resolved. And then we have that same level of performance on the fine details close to infinity. It's fantastic. Like, this is a gorgeous landscape lens or architecture. Um, we're going to see the same thing here. It's just amazing details. Okay. More plants. No more plants. Oh my god. Shot though. I like this shot too. So this is the last plane shot. You get some of the last. This, this one is of using the close focus for creative purposes, where you can make these more abstract compositions that you would typically need a macro adapter for or a dedicated lens. And in that close focus range, this is at closest focus, and the level of detail resolving is again, there's no sacrifice in this close focus range than there is at infinity. Um, and, and that, uh, fall-off between focus and out of focus is very nice. Uh, here. And this one I like quite a lot. Um, just it shows that edge-to-edge performance and just, I think this is really where, where a lens like this shines because when you have a flat field shot like this of architecture, if this got soft and smeary into the corners or if it had excessive amount of vignetting, you just lose the effect of the shot. And of course, yes, we could zoom in and you can see that there's just detail for days. But that's not really what the idea of that, of that particular shot is. And this was just not a great shot. I just wanted to show that it was actually Miami. And I think. Oh, um, they're all kind of simple. Yeah. This one's just a little more character shot. Um, and being able to shoot so far, uh, off-center, having such an off-center subject, let it render. No, that is not what I. Oh, no, now we did it. There we go. Okay. It's not rendered yet. It's thinking about rendering. It. Go, go, go, go, go. There we go. To have this kind of perfect rendering all the way to the edge of the frame, and being, and having the confidence that, you know, that you can do that without sacrificing the overall image, just lends some creative possibilities. And you can also see there's no vignetting, you know, um, and totally sharp. That actually is through a fence. I wanted to show that you, the lens practically, because it's so small, you can fit it through an opening. A little bit of street photography as it's getting into night here, and it behaves really nicely. You know, even just the light play off of the subject's faces, it's what you would expect. Um, everything is sharp. You can practically read the menu here once it renders, if it ever renders. There we go. Yeah, you can read these bottles. And this is wide open at a higher ISO on the SL2, and it's just, it's just fantastic. So this lens would be equally good for night photography as it is for during the day. And then I'll just leave you with one kind of cool abstraction. Uh, this reminds me of stuff like Ashland shoots, which is really cool. She's always really working the, you know, colors and stuff. Let's go back to us. Jose, I'm sure we have some questions that we have to answer. Maybe not. I don't know. What do we got in the chat? Anything good? But why don't we bring it up from Alan? Is there generally more distortion with M lenses than SL lenses because of the size of the lens? Um, I don't think as a rule there's a lot more M lenses than their lenses. So I don't know if I can answer that comprehensively. But I think, yeah, in general, the SL primes are better than the M primes. We've talked about this before. The SL primes are the benchmark. It's just that simple. M lenses are great, and you can't, no matter how good the SL prime is, you can't put it on an M camera. So it's a point. Yes. Okay. Now, this, you can't mount it on an M camera. True. So, yeah.

Question from Mark. Why didn't Leica follow the like Q 28 millimeter dual range design instead of the long focus throw of the 35 Apo-M? Well, when you have a camera where half the focus and landing mechanism is built into the camera because it's not removable, you can do a lot more. I think when you have a lens that has to come off, you're a little more limited in what you can do. And honestly, I like this implementation a little better because I don't necessarily want to be in a macro range all the time. I like the flexibility of of jumping. Let's say I don't want to shoot at 0.3, but I also don't want to shoot at 0.7. I want to shoot at 0.6. I can. Yeah, because you just jump right into that closer focus range and you're good to go. Let's see. How would this lens work with the with a macro adapter? The 35 Apo-M? Oh, I knew someone's going to ask us that. I can't. I can't even get close enough. I can't get in the author. Um, probably fine. I, that's why I did not test that because I only had so much time here. I'll do this for you guys. Um, take the next question. I'm going to like grab these crayons. All right. All right. Okay. Why don't you take the macro adapter? Does this really should be posted? Probably not. But if you email David, he might send them to you. So because if there's one thing David loves to do is share his pictures. So email this guy and he'll send you all the things you want to see. Well, he's doing that. Um, how do you think this lens will perform? You know, the differences between on an M10R and, uh, an M10? Well, the same. I mean, it's going to be exceptional on either. There's no real, like, the differences you're going to see are going to be because the cameras are different or the sensors are different. It's not going to be like this lens is not going to perform better on an M10R. They would, you know, it's not that, that's not a variable. It's still going to be exceptional on M10 or on a M240, even. Oh my gosh. Or any of those things. Are you doing okay over there? No. Okay. No. I think I think I'm broken. What else we got, Jose? Geez. Can I use the rangefinder camera with the close focusing mode? We talked about that. You can, but only if you have live view because the 0.3 to 0.69 meter focusing is only for live view. It's not rangefinder calibrated. What else? If I have an M10R and a 35 Summilux pre-FLE, should I upgrade to the FLE or 35 Apo-M? Oh, that's a good question. I think a lot of that depends on what you shoot. If you're doing a lot of low light or street or portrait, or if you like the character your pre-FLE puts out, get the FLE. It's a lens that will feel familiar to you, except better. But if you're shooting landscape, architecture, and you're just looking to get the maximum performance possible, get the Apo. Of course, the other variable, at least as of the time of this taping, is well, you can buy a new FLE right now, but the way there's a waiting list for the Apo-M 35. So it also depends on your needs. If your needs are not urgent, you could wait. You have more considerations there. But if you need something tomorrow, well, you're not going to get an Apo, at least not from me. Okay. If anyone has them. Jose, yes. If you would. Oh my goodness. Wow. This is live view. This is live view. Okay. You can see. So we are at, this is 35 Apo-M. Yep. What aperture? Wide open. Yep. Focus to 0.3. Yep. Macro adapter, full extension. Yes. Yes. Macro adapter is fully engaged. So if you know how big crayons are, this is just the edges of the tips of the crayons. Yeah. Here's my finger. So that is, wow, that's so close. Yeah. Here. And I'll magnify. But is there anything that's sharp? Is anything in focus? Well, because when you take a floating lens element lens and you put an extension tube on it, it never seems to work as well as it should. I don't know. What do you think? I don't know. I don't think so. I would think the L-Pro is better suited then. Well, let's see. So if I, let's just stop down a little bit and see what it does. Yeah, I would say you gotta go to five six at least. Wow. There we go. Now you're starting to get it. Well, it's still not as sharp as it is without the macro map. No, it's not. I, I think the L-Pro is better. Why would you take a shot with that? And then let's pop on the L-Pro, which I can give you. Is right here. That's pretty good right there. It's not bad. But I'm just saying the L-Pro is going to be better. I'm just telling you straight up. You think so? Let me clean it up for you. All right. I'm going to take a shot here. We go. That's not bad. Okay. Try this. You gotta, you know. Oh my gosh. But I, here, let. Turn the. Why are you moving it? Well, because I wanted to show you. We want to show the same time with the L-Pro. All right. All right. All right. I can't take you anywhere. No. Very few places. Okay. So we're taking the macro adapter off. Off. Okay. Up already has the adapter on it. And take the hood off. That's right. This is another reason you'd want to take the hood off. Look at that. You already messed it up once. Thank you. You're welcome. Look at that. The first time. The open. This is probably the first time someone's put an L-Pro on this lens. I, but not the last, I bet. Okay. It is a little confusing because the focus tab is flipped over. I'm like, wait, where? Oh, here. Look at the round. Oh, I always look for the red dot. Yeah. Exactly. All right. So we just tried the macro adapter on the 35 Apo-M. Now we are trying the L-Pro on the 35 Apo-M. Not as close. Yeah. Oh, let's see. All the way to minimum. Oh, uh, yeah, that's the minimum. So we're definitely not as close. Not nearly as close. Where's the phone? We got to move back. Oh, boy. Yep. Yeah, we gotta move back way farther back and tilt it up a little bit so you can see. You're not getting as close, but it definitely is sharper. Has more of a wide feel to it. Yeah, it does have more of a wide angle feel. Oh, no, I feel like I could be closer. Oh, are you good? Yeah, there we go. Nice. Nice. You guys can see how easy it is to do this, especially in real time while people are watching you and judging you. There you go. Correct. Okay. Um, yes, quite a bit farther away. So take a shot. And then make sure you have the same aperture, five six. I am. Okay. Oh, unknown lens. Hold on. Let me set a lens profile here real quick. This is really good experimenting. We haven't done this yet. So this is, we're actually in real time discovering this with you guys. Um, um, we have to find. Oh, wow. Look at that. It's definitely sharper. I think. Well, it's stopped down. So. Well, I gotta go back. Just. There we go. Nice. That's not bad. No. And a shot. Hands up. Okay. Just balance between the two. Here we go. So this is with the, the L-Pro. Thank you, Jose. What is sharp? Not much. Well, that's pretty sharp. Yeah. It's not bad. I mean, that's like crayon dust. Yeah. All right. And let's jump to the macro adapter. Quite a bit closer. Yeah. I think I think the macro adapter is going to take the win here. Look at that. Honestly, if you have an M, many M lenses that are 45 or longer, you should have at least one of these macro things. And we talked about this at length in our last macro episode. Look at that. That's that's a lot of detail. Yeah. So, yeah, it does work, although it doesn't have the same biting sharpness that the lens does on its own. Obviously, it gets a lot closer, which is pretty nice. So that was cool. That was a cool test. Yeah. And I want to show them. I'm going to go back to this. Let's switch out for the macro adapter. Okay. I take the. We're taking only the output itself off of the adapter. Whoops. Yeah. And we'll head back. Just. Oop. Did you get some lights here? I did. Flag the light today. Ah, no flare problems. I'm doing my job. That's what we call light control. That's right. So they'll go back. So sorry for the administrations here, but we are. I wanted, I think it's worth seeing how close we are. Um, when I'm at minimum distance here on the L-Pro, or not of the L-Pro, on the macro adapter. Let me get this out of your way. Here we go. Okay. So that one to be sharp was about right there. And I'm going to turn this so you guys can see. Oops. Careful. How close we're talking. Okay. Now, yep, it's sharp. And that's evidenced there. We go. Here we go. Okay, that's sharp. Now go back to the full view. Let me, let me raise it up for a little better composition. There we go. Okay. Now go back to the full view of both of us. So you can see. And let's see. Let's see. There's an iPhone. Uh, here's one iPhone. Two iPhones. Three. It's about four iPhone thicknesses away. Um, I can barely fit my hand in between here. Just barely. Slaps the 35 Apo-M. Yes. On the SL2 with the macro adapter, everything fully extended, minimum focus. Oh, no, no. Oh my goodness. What? Wait, you're not at minimum. I wasn't quite at minimum. You're literally killing me. Oh, I'm so sorry. Jump back to the live view so I can see. Oh, no, it was, it was. Okay. Okay. So that is, that actually looks not. That's pretty good. I take it back. I retract my previous theme. I think you just weren't in focus before. Yeah. I think this is really good. Okay. So if you have an M, many M lenses, you should get the 35 or the, um, if you have a 35 Apo-M, you should get the macro adapter M instead of the, if you don't have it, instead of the L-Pro. Yes. All right. And I'm reversing my stance. Jump, jump back to, uh, that. There we go. Oh my goodness. So that's, that's, um, that's decent. That's, yeah. And again, this is like, we're doing this very quickly and very informally. This is, this is not what we call, yeah, I, I have to do something for old testing, critical shooting situation, but it's pretty cool. All right. And we got the crayons for the macro. So I would say since it's almost 10, um, are there any questions in the chat left or anyone who's watching that wants to submit us a last-minute question about the 35 Apo-M? I'm, we're here to answer it. I think we've, we've somehow not surprisingly managed to go two hours about one week. Yes. Just imagine spending time with us in person. It's really, it's, it's almost unbearable. But, let's say, as I sit there and take it, we are going to get a Jose cam at some point. We are going to do it. You're going to see. All right. What's going on in the chat? How many, what kind of questions can we answer? I think we've done a pretty good. I'm going to scroll through real quick. A lot of comments, a lot of comments. Contrast difference between 50 and 35 Apo-M's, really not nominal enough that it's not going to be noticeable once you put a preset on there. I'm just saying. How about corner distortion? Corner distort, corner distortion? You mean corner fall-off? Corner, like fall-off of focus? Or, uh, I think the SL lens has less distortion than the 35 does, but not, it's not bad. It's probably better corrected. And that's also endorsed. The new lens, it's a lot bigger. Oh, right. I didn't see any comments when Enzo was on screen. When I can, I'm scrolling up. Like Enzo. Let's see. Good question. So I have a, I have a question. Yes. Okay. So let's say I have an SL2. Yes. And I'm looking for a 35 Apo. Should I get the SL or should I get the M? Knowing that they're going to be very close in performance and the M is a lot smaller. Like, what am I giving up if I go with the sure M lens? I think if you have an M camera, the answer is you probably should get a 35 Apo-M. But a lot of it depends on what you're going to do. Because if you go with the Apo-SL, you're getting autofocus, weather sealing, electronic aperture control, slightly closer focus than even the M lens, 0.26 meters rather than 0.3, which makes a difference. And it is still a better performer, right? I mean, we're splitting hairs, but it is better. The real downside, really, is that it's larger. And of course, it doesn't work on an M. So if you don't, if you already have an FLE and an M camera, I would get the Apo-SL. If you don't have any 35, maybe you've got like a version five of Summicron or something, then I would probably get the Apo-M. But of course, the Apo-M, I have the pricing here because I always forget, is $3,000 more than the Apo-SL. So that may also factor in because you can get an Apo-SL and then a 35 Summicron regular. Now, now that brings up, let me, I'm going to just play devil's advocate. Sure. Fire away. Okay. Well, why would this lens, the M lens, be $3,000 more than the SL lens if the SL lens is a slightly better performer and it's autofocus and it's weather-sealed? Yeah, because the precision and the complexity required to pack, I think, 10 elements with macro with that level of performance and have a rangefinder coupled is insane. Well, coupling and decoupling, exactly. Yeah. So, you know, they have a lot more space to work with with the SL primes. So much more. It's so much easier to do that. Let's take another look at the size difference here. Think about the gearing and the mechanics required to get the manual preciseness of the 35 M. I mean, right, keep in mind that this ring, please don't put it down, this focus ring on the, on the SL lens is a fly-by-wire. There's no mechanical linkage to the focus system. It's actually magnets and it measures the polarity difference, uh, to translate that to the motor. But it's electronic. It's fly-by-wire. So there is no mechanical linkage in this lens the way there is in the M lens. Yeah. I've seen a few questions about like, oh, is there hard to get? Yeah, I mean, impossible. When the 50 Apo came out in 2012, we took us, I don't know, 18 months to fulfill our waiting list. This is just the reality of Leica making a very exotic lens. It just takes time. But, you know what, 50 Apo, of course, it's actually not in stock right now, but after that initial wait, it was relatively easy to get. So everybody forgot about the wait time. So that initial sort of teething period where the stuff is really, really hard to get, it's frustrating, but it'll pass. It will pass eventually. I remember what knockouts is. Remember the 50 Noctilux? I do. That's like a three-year waiting list. Yeah. Now you can walk in and buy one. I remember when the FLE, the F1. You're right, it'll be worth the wait. I think. I mean, I know from using it, um, that it's, it's crazy good. Yeah. Um, let's see. Any other last-minute questions before we sign off? Let's see. Another one. Looking, looking filter size? An E39. 39. E39. So same as the regular Summicron. You know, I do wish we brought a filter. It actually sits inside. Yeah. You can't use a polarizer with a hood because you can't reach it. No, but you can use a. Let's get a close-up. Where is the close-up camera? Uh, and Josh here. They got it. Just kind of show them also, uh, just the inside, how there's a cutaway, inside. You gotta move back a little bit. I think there we go. Um, just angle it so you can see that there's actually a recess. There's a lip under here. There's a ridge kind of area where the filter can still sit inside the hood. Oh, of course. Yeah, you can use a hood and the filter at the same time. You just have to remove the hood first, access the filter threads, which are here, and then you put the filter on, and then you put the hood over it. I don't. Yeah, that's easy because it has diff. The hood is on the outer threading. The filter is on the inner thread. Of course, if, again, if you're using a polarizer or the El Pro or something like that, you'll just remove the hood and use the protective ring that comes in the leather case. Very nice. There it is. Okay. Put that here. Is this the new one lens to do it all for you guys? No, I don't think so. It's pretty flexible though. I know, but I still think that I don't know. I said no, pretty fast because I still love the FLE. But I've had a long time to to use the FLE. I know me too. And I, I, I would say for me, the FLE on an M10R and the 35 Apo-SL and an SL2 or SL2S is a is the dream combo. I realize that's four things instead of two things, but it's so hard for me to choose. And I, the reality is that the tools we use are situational dependent and creative objective dependent. So there's really not. Look, I respect anyone that can take one lens and one camera, just do everything with it. I cannot. David definitely cannot. And that's fine. Everyone's got their own way. Yesterday though, you did do it yesterday. But I do think that if you are just looking to get the the best performance, the just bleeding edge, no compromises, you're not trying to get magical bokeh or portrait character, yada yada, you just want the best performance possible. When I say performance, I mean sharpness, contrast, chromatic aberration, distortion, all those, those metrics. The 35 Apo-M on an M10R or an M10 Monochrome would be killer. You know, this might make me rethink my strategy. Tell someone because up until now, I use the 35 FLE Summilux as my low light because it's one for, um, my, my bokeh-y character lens. And I have the 50 Apo as my. I see where this is going. As my look. This is just perfect. But I'll be honest, I don't use. I'm more of a 35 shooter. I don't use the 50 as much. So what if, you know where I'm going? Right. Mm-hmm. I go back 50 Lux to the 50 Summilux, 35 Apo, and the 35 Apo-M. I, that is interesting. I'm going to try that soon because I do have a bit of a renewed love affair with the 50 Lux as of late, especially when we took a look at it in the Noctbox. Yeah, I'm like, wow, really? Kind of like blinded us. And that's probably what the 35 Apo is going to do with the FLE at some point. I think so. Um, fascinating. I think like right now, yeah, this is where the gears are turning. As because you guys have to understand something, you know, we just shot this yesterday. Josh just shot all these tests today. Like we spent the better part of today analyzing and and looking at these files and then live with you actually test shooting and seeing how this worked. And, you know, we're still kind of processing all this and seeing where does this fit in for our own photography. Yeah. And that's like just sitting here. I, I'm really leaning that way of like, 35 Apo, 50 Lux is just going to slot in, I think, really nicely into my system because then the 50 takes that, that job as, as kind of the look lens, the portrait lens. And the 35 is going to be that kind of do everything. And, yeah, it can do close-ups. It can do a lot of. I think with the macro adapter and the Visoflex in your bag, yeah, do you have? You have everything from a super macro setup to a nice portrait with the 50. Yeah. I do think that an M10R with a 35 Apo, 50 Lux, macro adapter, Visoflex in your bag, you could put that in a Bowery owner, battery, little bag. Yeah. Or smaller would be a really, really, really nice two-lens kit for a lot of things. And then because you can't just have two lenses, I would think, you know, you could throw, you could throw a, uh, a 21 in there. Oh, 21 Super Elmar would be amazing. And then it gives you, then you'd have your wide-angle flexibility. Yeah. You'd have the 35 as a kind of a do everything lens, and you have the 50 as a, as a look lens. Get the macro adapter. Let me do some. People are asking size comparison. Let me do that really quick. Um, did you want to put it on the on the table? Can we do that, Jose? Is it, or is it too high? Sure. Let's try that. Here. Is distracting. Yeah. I'll show it again. So let me put it at minimum infinity here. Infinity. Wrap these points. Yeah. Thank you. Just so you guys can see how the lenses compare in size. Okay. So here we've got. Yep. There you go. There we go. Let me go a little bit over. Okay. Okay. All right. Here we've got 35 Apo FLE. I'll take off the hoods so you can see them without the hoods. This will just be good for screenshots later if you wanted to see the size differences. So not that much different. They're pretty close. So that's 35 Apo-M and the FLE. Then we can go to the Summicron version six, if I can get this hood back on there. There we go. Let's take the FLE out for a second. This is the Summicron version six, curved version against the Apo. You can see it's actually a bit taller, but that's really only because the hood is quite large. If we again, take off the hoods. Breaking stuff. There we go. You can see. There we go. Exactly how much smaller the anonymous. And the way. There we go. The non-Apple is. Wow. Yeah. So it, but although not that one. I mean, it's smaller. But then if we go to the. Someone asked about. There we go. They're very, very, very close in size. The hood shape is what the hood's attached. Of course. Again, take off the hoods and you'll see just how much smaller this human. Even though ironically, this terminates a larger filter size at an E46. Consumer. It is smaller. So hopefully that answers the size comparison questions. If not, I don't know. One more. Oh, yeah. Yeah. Apo-M. Okay. Uh, I don't have a rear cap for this one. That's okay. Oh, yeah. Okay. Well, that's obviously, uh, kind of comical in a sense, but it's real. I mean, and we see the same thing with the Lux. The 75 Apo-SL versus the 75 Apo-M. Yeah. Yeah. So there's your size comparisons, people. Hopefully answer some of those questions for sure. Um, can the Summicron hood go on the Apo 35? I was thinking that, and I just put it. Okay, let's try it. I love it. I love all this like real-time. Does this? Does that? Like, will it blend? I don't know. Let's not try that. Is that you're going to think anymore? Yeah, it will not. It's just, it's so close. Uh, about the other way around? Just for, just for fun. I doubt it. Uh, really? Okay. So look at this. The 35 Apo hood. Wow. Fits on the Summicron. Don't do that. But the 35 Summicron hood. That's not because not fit on the Apo. That's cool. I wonder why that is. Now I'm like, but wait. Oh, it does. It does. That's hilarious. Okay. So if you don't like, here we go. World first. World first. Right here. Let's get the close-up. If you don't like the, the look of this Summicron shade for the Apo-Silver Crown hood, you can actually mount the Summicron. This is product code 12439. It actually does fit on the Apo Summicron. Operators are standing by. Opera. That is hilarious. Wow. Well, there you go. Learning something new every day. Well, that actually might afford a little bit more protection because it's deeper. True. Although I don't know if it'll bend. Yeah, I doubt it. If it's the same. No, no, it shouldn't have been yet at all. Yeah. Are there any spots on this thing? What's going on? I don't know. I'm not allowed to take anything anymore. Nope. Not even a little bit. There we go. At least I didn't take it in the right. It's good. Now it's good now. Okay. Uh, other questions? Other questions? Um, I want an Apo for my Summicron. I don't know. The Apo hoods. Is there even a code on here? Um, not even a product like episode on the inside. Hold on. Hold on. Hold on. We're looking. Yeah, because nobody loves hoods more than this guy right here. There is no product code on this hood and it wasn't in the instruction manual. Oh, I'll have to find out. I will ping the Germans and they will tell me. Um, world exclusive. Yes. Oh my goodness. All right. I think we've probably covered more than we really needed to. Um, I think in summary, yeah, it's a lens. It's 35 millimeter focal length. Yep. It's F2. Yep. It's uncompromising performance. Yep. It's smaller than the SL. And, uh, it's really good. And it focuses, uh, close. Oh, so our next episode, uh, will be kind of our 30th. Yeah. Sort of. That means because we do every 10, we do ask us anything. So are we doing next weekend or just two weeks? Yeah, two weeks. Two weeks. Normal surrounding, normal every other week schedule. Now, uh, we'll have our ask us anything episode, episode 30. So come prepared with all of your wide-ranging questions. Pretty much all will be about what Leica is going to do next, and we don't know. And you can send your questions ahead of time to questions@red.forum.com. Yes. Questions@red.forum.com. Again, this episode will be ask us anything. So whatever you want to know about something we covered, didn't cover, something we said wrong, anything like a related or technique related, ask us and we'll have two full hours to cover it on air. And I might even leave the shooting set up so we can do some live comparisons. Yeah, if someone's like, hey, how does, uh, I don't even. And you know what? I'm not going to say. I'm not even going to say. I don't want to like have that rabbit. Yeah, we're going to leave it. Um, so we'll leave a live shooting set up like we have here, but we will remember to water the flowers this time because the previous flowers died. Flowers were harmed in the making of this production. Um, the other ones were planted outside and they're in a happier place now. About sexy. Um, okay, so make sure to send your questions. I think you can also, yeah, you could also tweet us questions at red.forum.com, just @red.forum. Um, or you can, uh, message us at red.forum on YouTube as well. So many ways. So many ways. We're here for you. All right. Well, I think we, uh, we definitely did it. And live shooting test shots, real world shooting. And remember, if there's more stuff you want to know, you can comment on this video once it's posted and David reviews all the comments. So he will answer you. Yeah. And, uh, yeah, thanks for for sticking with us, guys. This was, I know, just probably a bit more techy and and laser focused than we usually are, which is saying something. Uh, I, I know I had a great time. Uh, this lens, I think, is something I've been looking forward to for a long time. Um, in terms of wishing and hoping and, you know, maybe one day they'll have this. Yeah. And they have it. So, I wish you do come true, guys. And I got it. Um, so, yeah, uh, big thanks as always to Josh, his testing is invaluable. Um, and insights and encyclopedic knowledge of lens hoods. Big thanks to Jose for, uh, keeping us in the angles and getting our captions and handling your questions. And, uh, thanks for you guys for tuning in again. This was a lot of fun for us. This is what we love to do. And, um, if you, um, if anybody who is, would be willing to watch more lens-specific episodes, I'm curious about that. So mention in the comments because this is the first time we've done that and I wonder if we could keep going. I liked it. And the last thing you have to mention is the milestone. Oh, yes. Oh, and again, thanks to you guys. Uh, this morning we hit, uh, 15,000 subscribers, which, like, I know that's not like a ton, but it's a lot for us. It's a lot for us. We're flattered. We are. And we're honored to that you keep coming back and, uh, allowing you, allowing us to, you know, nerd out with you on all things Leica and photography. Indeed. So in the meantime, uh, be sure to check out red.forum.com. Be sure to subscribe because we got to add to that subscriber count. 15,000 just isn't enough. So hit that subscribe button. Give us a thumbs up if you like this content. And, uh, we will see you in two weeks for ask us anything. Again. Again. All right. All right. Thanks, guys. And have a good night. Good night, guys.

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