//NEW: Voigtlander 35mm Ultron v2 Versus 35mm APO Lanthar\\ by juan martinez

First off huge thanks to Camera Quest for lending us the brand new Voigtlander 35mm f2 APO Lanthar as well as the Voigtlander 35mm F2 Ultron v2; without their support we couldn’t have gotten our hands on these two spectacular lenses.

The first thing to note is that the Ultron v2, as we will refer to if from now-on, is exactly the same optically as the previously tested and impressive Ultron v1. That test can be reviewed here. So, because we already have a very sound and understood baseline as to the performance of the Ultron V1, we didn’t get into the weeds with the Ultron V2 in that respect.

The size differences are big, but depending on use, its not a concern. The 35mm APO Lanthar is definitely a larger lens, heavier and with hood, protrudes a bit through a rangefinder OVF. The Ultron v1/v2 are much smaller and arguably better suited when packing for a small form factor. Thats not to say the 35mm APO Lanthar is large, it isn’t when compared to many other lenses, but as far as 35mm’s go yes, its rather big.

Comparing the Ultron v2 tho the previous V1 you will notice 3 main differences. First, the finish on the v2 is black paint over brass material. This makes the V2 weigh 212 grams when the v1 weighs only 185. Thats a 15% increase in weight for the v2, so its not like gonna go from light to potentially shattering your wrists. They both use the same exact hood to, and the hood weighs 19grams, not bad.

Second, the v2 comes with a more typical lens tab as soon on many Leica lenses before. This design change does come at a cost however. You loose the ribbing found on the v1 as well as its polarizing lens focus “stick” instead of a tab. For some the inclusion of a tab is all the reason they need to sell their beloved v1’s to get the v2, however we aren’t too sure. The ribbing on the v1 is actually pretty damn nice and the focus “stick” simply unscrews if its not your thing.

Third, the feel. Our copy of the Ultron v2 has a level of stiction that we aren’t used to feeling on modern lenses from Voigtlander or any manufacture at all actually. If one is to flip the lens over its very apparent the amount of grease used on the v2 has been lessened compared to the complete surplus found on the v1; but at what cost? The feel of the v1 is muuuuch smoother allowing for precise adjustments of the focus throw when compared to the v2. Is it copy variance? We were assured by Camera Quest that this is a rare occurrence and not on their other copies; we surely hope so. Mainly because this focus feel alone would completely make the v2 a “do not buy” lens for us. Oh and it focuses under .58 meters, we think thats great for mirrorless application less so for rangefinders with .7 minimum focus abilities.

Now onto the 35mm APO Lanthar! What a lens! On casual observation the center sharpness of the 35mm APO is the same-ish as the Ultron v1/v2. BUT under closer inspection they are not at all. The amount of micro-contrast and detail captured while shooting with the 35mm APO is draw dropping. The feel of the lens is much like shooting with the similarly sized Voigtlander 50mm f2 APO Lanthar which still betters the 35 APO in IQ. The 35mm APO is amazing, simply the only lens one needs when it comes to a 35mm M-mount you could use as easily on a film rangefinder as a mirrorless digital camera and know you are getting the BEST IQ your camera and skills can muster.

We decided to compare some fairly popular 35mm focal length lenses to each other, ranging from $370 to the priciest being the 35mm APO at $1,149. The list of lenses is as follow:

Some direct samples of the rendering you will get between the Ultron v1, Ultron v2 and the 35mm APO Lanthar:

The images from the Ultron are identical to each other. There is zero difference between the two, which supports the fact they are the same optical formula and design. The 35mm APO Lanthar however doesn’t seem necessarily wider, BUT the background seems more “pushed back” something that will likely attribute to more apparent bokeh blur. We think? Not sure how to describe this condition, maybe its less distortion we are seeing? The bokeh on tiger 35mm APO Lanthar is smoother, and more “modern” though the Ultron’s do a pleasant job of providing character and modern bokeh rendering… how, we don’t know.

Between flare performance, both the cheaper Ultron V1 and v2 perform the same as the more expensive 35mm APO Lanthar; thats good news! That means you don’t sacrifice flare performance when it comes between choosing between these beautiful lenses. If we were to nit-pick we’d actually same the Ultron’s perform a little better not having a larger purple flare aberration you can clearly see below. BUT generally they perform “the same.”

Voigtlander 35mm Ultron v2 at f2

Voigtlander 35mm APO at f2

Voigtlander 35mm Ultron v2 at f2

Voigtlander 35mm APO at f2

Wide open comparison between the Leica 35mm Elmar, Voigtlander 40mm f1.2, TTArtisan 35mm f1.4, 7Artisans 35mm f1.4 WEN and of course the Voigtlander 35mm f2 Ultron v1 and V2 as well as the Voigtlander 35mm f2 APO Lanthar shot on the Leica SL (Type601) below.

DOWNLOAD ALL FILES HERE!


Two sample “portrait” images next:

Voigtlander 35mm Ultron v2 at f2

Voigtlander 35mm APO at f2

We literally have hundreds of sample images we could post here and we will post quite a few, if you would like to see more please just reach out and we will share our mega sample link.

The 35mm APO Lanthar excels at: ultimate micro-contrast, sharpness and pleasing bokeh. The Ultron 35mm v1/v2 excels with its small size, 80% performance of the APO Lanthar, 30% less expensive, similar flare performance as the 35mm APO Lanthar. So to conclude, the 35mm APO Lanthar performs “better” than the Ultron inline with its 30% premium. With that in mind we think that if you can live with the larger size, the 35mm APO Lanthar would be our choice especially if there is a price drop of you are actually on the hunt for Leica’s new 35mm APO Summicron; the Voigtlander would surely be a worthy contender at 1/8th the cost! Plus, you can rest assured you’d never need to upgrade your 35mm lens and it can become a lifelong lens to own!


Sample Voigtlander 35mm f2 APO Lanthar images (various cameras):

Sample Voigtlander 35mm f2 Ultron v2 images from Pocholo Francisco below! Also HERE from our previous Ultron v1 review.

7Artisans 35mm f2 M-Mount on Leica M9 by juan martinez

$289 for a brand new small M-mount lens, sonnar design with amazing build and stellar aperture and focus ring feel…too good to be true?

First off, you will not be disappointed by the build. Seriously good stuff there. The aperture and focus ring both smooth and wobble free, no extra stiffness or funny business, excellent. The lenses are free of stray debris (Mitakons should take note) and the packaging overall is nice, very much a cut-above what you should expect for the price . Rangefinder alignment on my Leica M9 was spot on on my copy. Thats not to say you couldn't adjust it if it was off ,the lens does come with an alignment sheet and instructions. In my experience you 100% need a digital rangefinder in order to make the tweaks, so grab yours or a friends.

Picture IQ is pretty good for a $300 lens, but besides surprisingly good center wide-open sharpness, its prone to flair and the bokeh can sometimes be less than smooth. Plus, the contrast just isn’t as strong as more modern Voigtlander’s we’ve tried. Its does have a definite “look” to the images. I do have to say that for $300 I would look at a well kept Voigtlander 35mm f2.5 Skopar and you may have a better lens overall.

All shots on Leica M9


QUICK LOOK: Konica Hexanon 28mm Vs 7Artisans 28mm M-mount by juan martinez

Our favorite budget 28mm, yes even over the Voigtlander 28mm f2 Ultron (see the test here), has a new friend at home thanks to KEH Cameras; the Konica Hexanon 28mm f2.8 designed for the Konica Hexar RF film cameras. Will this 20 year old lens keep-up with the newer (and less expensive) option from 7Artisans? Lets see how via this simple test of wide-open and stopped down sharpness/contrast and color performance.

All images were given a slight and equal post processing and same white balance value.

L1000015.jpg
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Each lens wide-open

7Artisan 28mm f1.4 at 1.4 aperture

Konica Hexanon 28mm f2.8 at 2.8 aperture

Each lens at f2.8 aperture cropped

7Artisan 28mm f1.4 at 2.8 aperture cropped

Konica Hexanon 28mm f2.8 at 2.8 aperture cropped

From what we have seen, the contrast and overall color from both is very close. The 7Artisans has the benefit of being stoped down 2 whole stops from wide-open, always improving the IQ. And at this stopped down aperture the center sharpness is only ever so slightly surpassing the wide-open sharpness of the Konica at f2.8. The 7Artisan commendably does a great job with the bokeh of the out of focus areas at this aperture, where they appear slightly more smooth than on the Konica. At f5.6 the Konica and 7Artisans are essentially on the same sharpness level, meaning, for street photography at apertures 5.6 or smaller like f8, you could be better off with the much smaller Konica lens (226 grams) versus the 2x heavier and larger 7Artisans (489 grams). BUT the 7Artisans exhibits more saturated colors, and perhaps slight increase of overall contrast that makes its images pop when directly compared; this of course can all be tweaked in post.

Konica Hexanon 28mm f2.8 on Leica M240

Konica Hexanon 28mm f2.8 on Leica M240

Konica Hexanon 28mm f2.8 on Leica M240

Konica Hexanon 28mm f2.8 on Leica M240 cropped

Konica Hexanon 28mm f2.8 on Leica M240

Konica Hexanon 28mm f2.8 on Leica M240

In-hand feel couldn’t be more different with the size and weight of the 7Artisans making it better for adapted mirrorless setups than on small rangefinders. You only get full stops clicks on the aperture as well, a small detail but one the Konica does better with 1/2 stops for more precise light metering via this adjustment. Our minty copy of the Konica from KEH is built just as well if not a touch nicer than the 7Artisans with a slightly longer and stiffer focus throw. The 7Artisans has a nicer finish though that doesn’t look “plastic” as the Konica does.

If you need a fast 28mm f1.4 aperture, low-light lens and plan to use it on a mirrorless setup, the 7Artisans is the better option. If you are a streetphotographer looking for a unique and small alternative to Voigtlander or Leica glass for your rangefinder camera, the Konica Hexanon would be our pick.

//7Artisans VS TTArtisan 35mm f1.4 lenses\\ by juan martinez

Simple test here, all images taken in Leica SL and given same white balance. Link to all images here, but you will find some comparisons below.

Leica SL 7Artisan 35mm f1.4 at f1.4

Leica SL TTArtisan 35mm f1.4 at f1.4


TTArtisan 35mm f1.4 flare

TTArtisan

Pros

  • 1/2 stop aperture clicks

  • “Leica look”

  • Smoother background blur

  • Seemingly less barrel distortion

  • Better screw-in hood

  • Best CA performance in extreme back-lit situations

Cons

  • More focus breathing

  • Slightly less refined build

  • Heavier at 413 grams with hood, no rear lens cap

Same

  • Sharpness wide-open


7Artisan 35mm f1.4 flare

7Artisans

Pros

  • Better build

  • Less focus breathing, lens remains same size while focusing

  • Tighter build tolerances

  • Lighter at 376 grams with built-in hood and no lens caps

  • More contrast in extreme back-lit situations

Cons

  • Only full stop aperture adjustment

  • Slightly more CA in extreme back-lit situations

  • “Busier” out of focus areas

Same

  • Sharpness wide-open

//7Artisans 75mm f1.25 Vs. Canon 85mm f1.2 FD\\ by juan martinez

New versus old, a classic against a newcomer. Both are priced way under the $1,000 mark with the 7Artisans coming un at less than half that amount. Luckily you can find minty Canon 85’s for under $700, therefore a great deal under $1k as well. One is M-mount, the other Canon FD mount. One can be used on all Mirrorless cameras including the Leica M-mounts the other all excluding the Leica M mounts; unless you have live-view at your disposal.

We regard the 7Artisans 75 as a spectacular lens for the price and for its ability to dissolve backgrounds with ease when needed. Its a tank tho, built like one and heavy like one too; at 647 grams it’s beastly. The Canon in built even better, heavier at 710 grams but has this magnificent 1980’s Japanese feel to it; its epic awesome. For reference the new Voigtlander 75mm f1.5 Nokton weighs a lightweight 399 grams and the OG Summilux-R 80mm f1.4 weighs 757 grams.

Direct link to download all photos here.

The 7Artisans 75mm f1.25 wide open.

7Artisans 75mm f1.25 at f1.25

Canon 85mm f1.2 wide-open

Side by side both wide-open, center crop…

7Artisans 75mm f1.25 at f1.25

Canon 85mm f1.2 at f1.2

Far right side compared. Both wide-open…

7Artisans 75mm f1.25 at f1.25 far right side.

Canon 85mm f1.2 at f1.2 far right side

Side by side both at f2…

7Artisans 75mm f1.25 at f2

Canon 85mm f1.2 at f2

//Ricoh GR3 Versus Fuji X100V High ISO Performance\\ by juan martinez

We have the two top point and shoot cameras at HQ, the Ricoh GR3 and Fujifilm X100V, and wanted to do an informal high ISO test between these two. Here is what we found…

Fuji X100V at ISO 3200 with a crop to show center detail.

X100V 3200 f2.8 crop

The Ricoh GR3 at 3200 with a crop to show center detail.

GR3 3200 f2.8 crop

Fuji X100V at ISO 8000 with a crop to show center detail.

X100V 8000 f2.8 crop

The Ricoh GR3 at 8000 with a crop to show center detail.

GR3 8000 f2.8 crop

For all out high ISO performance I’d lean to the Fuji having the best performance overall but its also doing a bit of trickery as the images are darker per given shutter speed and ISO value. That tells me that the ISO values are probably a bit mis-representative. For example, on the GR3 you may be fine with the exposure of 1/50 at ISO 3200 but that same 1/50 shutter would require a bump up to ISO 4000 to get the same comparative exposure brightness. Also, the colors on the GR3 seem more saturated than the Fuji at ISO 8000. Not to mention the Ricoh has sensor stabilization so a still life image like our example could easily be shot at much slower shutter speeds and lower ISO’s used. In use however, both are amazing cameras with redeeming qualities that make both worthy of a place in your collection.