Smearing is also present to some extent on many cameras. In general the 15VM shows pronounced colour shifts on most digital cameras. The extent of the issues depend on the sensor design and filter stack of the camera being used, so issues I’ve encountered will be described under the in-use section. Performance suffers in the edges on digital bodies as compared to when shot on film, but with some care and simple post-processing this can mostly be worked around. Images have a fantastic presence with high resolution and clarity resulting in a striking rendering. The 15VM performs at a very impressive level. Since the lens isn’t very prone to flare in the first place I would prefer the smaller hood from the first version, or a non integrated one that could be used only when needed. ![]() It’s made from the same anodised aluminium as the rest of the housing, rather thick and likely very durable. The large petal hood is integrated and can’t be removed. There’s no options as wide even close to this small and light. It’s light as well, weighing in at just 30g more than the lightest lens Leica themselves have ever produced – the Summicron-C 40/2. It really is a tiny lens though - extending just under 4cm from the mount. It has stout proportions with its large diameter, short extension from the mount and gaping hood. With proper care I think this will hold up just as well as Leica’s lenses, and better than most of the Zeiss ZM lenses. Markings are engraved in Helvetica (oddly both Regular & Light weights are used, but you have to be a typophile to notice) and painted white, the imperial distance scale is painted in a less visible red colour. Visible internal components all seem like metal, the focussing helicoid brass. It’s made almost entirely of metal, the outer housing and controls are anodised aluminium, slightly prone to scuffing. ![]() As with most Voigtländer lenses the 15VM is well constructed, far closer to Leica standards than its reasonable price indicate.
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