Is the New Leica Classic Summilux M 35/1.4 reissue better than the Original Steel Rim? THE MOVIE

This New Leica lens review is just an excuse for me to talk about something that will hopefully help you grow as a photographer.
First I am going to tell you all about the new Leica Steel Rim lens, how it compares to the original version and modern Leica 35 Summilux lenses.
Then, to improve your photography, I am going to tell you the reasons why you shouldn’t buy any new lens or any new camera from any brand.
All photos in the video were made with either the New Steel Rim, the Classic Summilux M-35/1.4 lens by Leica or one of 4 Original Steel Rim, or a 216 Last Batch, Golden Coating from 1966 and a 176 Goggled Steel Rim with close focusing.
The photos were made with either a Leica MP and Kodak Portra 400 or Kodak Tri-X for the analog photos and a Leica M10-D, M10-P, M10-R or M10 Monochrom for digital photos. If it’s in black and white it is either made with Kodak Tri-X or an M10-Monochrom.
If it’s in color it was made with Kodak Portra 400 or one of the M10 cameras. No other information provided by design, it’s the final resulting image that matters not what it was made with.
Word of the day, "Oops"... Two photos were made with a Leica APO 35 and one with a Summicron 35 Version IV let's see if you can spot them !! Have you got a good eye?
00:00 intro
01:36 final thoughts
09:34 in conclusion
11:16 but wait, there's more to it
44:46 how it all started
48:45 the Original Steel Rim
1:14:48 let's get Undone
1:28:45 if you can take away only one thing
1:34:49 the problem is
1:41:17 mic drop, a message in a bottle
1:41:52 outro
whoa, Whoa! WHOA!! More than 18,000 words, 65 scenes, huh... I don't remember how many acts plus quite a few camera gear b-roll and over 1200 unique photos, most never shown or shared before. Watch in 4K for the best viewing experience.
You may want to turn on the captions for a better experience and to understand what I say, even I have issues understanding what I was saying ... my enunciation and pronunciation leave me baffled and confused. It is what it is...
David's Instagram
/ mois_up
Steven's Instagram, or what good photography is and can be.
/ stev
My LinkedIn, I am not a photographer ...
/ patrickcolpron
My Patreon... to simply buy me a coffee or a glass of wine
/ patrickcolpron
I am working on my Patreon, just figuring out a way to bring you added value.
There is one more resource online I had forgotten about, confirming the 7500 numbers of original Steel Rim lenses made by Leica
wiki.l-camera-forum.com/leica...
The New Summilux FLE Version II video by Gajan Balan, "The Bucket List Lens"
• The Bucket List Lens
Part of my Leica kit shown on RedDotForum, commented on by David Farkas and Josh Lehrer
• Red Dot Forum Camera T...
A Financially Irresponsible Production
The hard reality is, there was zero budget and no sponsor for this thing. Totally out of pocket as it should be. It may be an absolutely financially irresponsible thing to do but, I can be truthful and honest about my conclusion. Plus this is a passion project for me.
For no good reasons, before making this video for KZbin, adding insult to injury last February, I purchased the domains:
financiallyirresponsibleproduction.com
financiallyirresponsibleproductions.com
I did... Plus for good measure I even purchased:
irresponsibleproduction.com
And created @irresponsibleproduction on Instagram, I kid you not
/ irresponsibleproduction
This may become an actual production company by the end of the day… who knows, I’m no expert. But making long form video content for brands may be the way to go.
I also like swimming against the current. When I see everyone making short content, there is definitely a need for long form content which can be cut down into shorter parts. I don't want to be a lemming running towards that same cliff as everyone else... I'll let the crowd jump off that cliff and take the road less travelled.
It is easier to make a long video and cut it down into 40 one minute bits than it is making 40 different one minutes short videos - but what do I know, I am a few slices short of a full pie.
My original plan was to make this New Steel Rim video and upload it on April 1st, last April 1st... to show how seriously I take all of this. But... before being an Instagram food influencer, I am a professional procrastinator. I am way better at procrastinating than I am at influencing... I seldom finish what I sta...

[@genobambino]

Your reviews are amazing. Jam-packed with useful info and opinion with a slant that matches mine and focuses on things that matter a lot but other reviews never talk about. Keep it up!

[@PatrickColpron]

Thank you greatly appreciated. I was left dissatisfied with the state of camera and lens review, instead of complaining I decided to be the change I wanted to see. The thing is, I use what I review a lot before reviewing it and want to show tons of images I made with it, that's pretty much it and or, plus I want to poke fun at the silly things reviewers repeat from one another which makes no sense or is not researched at all.

[@robifleming]

Watched this entire video this morning before work. Excellently done!

[@PatrickColpron]

@@robifleming Thank you, greatly appreciated.

[@donald5378]

Very meaningful discussion. Avoid any temptation to scrub through it if you want to understand the message. If Wes Anderson did lens reviews, this would be how.

[@PatrickColpron]

Thank you, greatly appreciated

[@johnkasianowicz6536]

Thank you for the thoughtful comments on the Leica 35 mm Steel Rim re-issue lens and photography (plus gear) in general. I agree with your thoughts on photography kit. I’ve had fun with cameras and lenses from several companies (it paid for half of my college tuition many moons ago). I really enjoyed the simplicity of Nikon F and Olympus OM-1 film cameras (the latter felt especially good in my hand). A few years ago, I bought a Leica Q2 Monochrom camera and started having fun with photography again after a very long hiatus from the hobby. Since then, I’ve picked up several other Leica cameras and lenses and am enjoy learning how to use it all. I’ll be working in Paris the last two weeks in May. Perhaps we’ll cross paths!

[@PatrickColpron]

Thank you, yes simple makes it more fun in some strange way. Let me know when you are in Paris, we can always grab a coffee to go, walk while drinking it to make some photos of a good area I know.

[@Michael-uj8ql]

A great way to send just under 2 hours. I don't typically watch camera/lens reviews. However, your walk through Paris was quite interesting. Hearing your outlook provided a wonderful look into your mind and witty quirkiness. (We are all quirky, just have to smile and enjoy our personality variants). Learned more from what you didn't say that what you did say. confirmed Keep making videos and expressing your view. Thanks, Mike

[@PatrickColpron]

Thank you Mike, means a lot and makes it worth while to have spent more time on this video than I had initially planned to do, yes we do all have our very own quirky personalities. Working on my next video to be filmed soon.

[@mrwhisperTV]

Fantastic video Patrick. Excited to see more 👏🏼👏🏼

[@PatrickColpron]

Thank you Bal means a lot coming from you. Already working on my next video.

[@mjcatto]

Patrick. I am extremely happy you are back! I thoroughly enjoyed this video as much as I did your earlier stuff. I am looking forward to your next appearance on the tubes. I am nearly as much of a Leica hoarder as you, but one day, I may catch up. I am through Paris frequently en route to the Avignon area. Paris is my favourite city to photograph (Istanbul and Venice close behind).Cheers! Mark from Vancouver Island...

[@PatrickColpron]

Thank you Mark, greatly appreciated. We definitely need to have a coffee when you pass by Paris on your way to Avignon next time! Hope the weather is good on Vancouver Island this time of the year. I absolutely love Istanbul and a great place to photograph while wandering around just like Paris. I have never been to Venice.

[@BabarKhan-oh6zq]

Superb video including the production value, wonderful locations, in addition to the content! Subscribed!

[@PatrickColpron]

Thank you greatly appreciated

[@richarddenise3886]

A Masterclass on photography and gear! Many thanks!

[@PatrickColpron]

Thank you, greatly appreciated

[@Hektormydog]

Thank you for the review and the work you put into this. It was enjoyable hearing your take on the new lens. Don’t have one myself, but agree with you from my brief handling of it and what I’ve read - missed opportunity to make it something perfect and special. And, I enjoyed the comparison to the older versions and the history behind them. But… you summed it up quickly (as you said at the beginning) and could have been more organized, not repeating yourself so many times, and edited everything down to make it more concise and to the point. As it is, it felt like what would have been a nice [sometimes raining] 😅afternoon walking around with you and reflecting on your experience and photographs with the lens. A good chat with a photographic friend. Sorry this turned out to be a bit long, but you may be interested… I’ve been using the v2 Summilux for 50+ years, and have had 3 examples of the lens, and had a couple of the v1 lenses. Back when I got my first v2 I was deciding between it and the Summicron. Leica gave me the Summilux to tryout [saying it was what I needed for my work] and I ended up buying it. The Summilux back in the early 1970s didn’t have all that great of a reputation, compromises for the speed, but my lens did fine and I used it for many years till I bought an ASPH when it came out. Regretted that - missed the compact size and the brass/titanium was way too heavy! - and then bought another #216 (great lens), and then a couple v1 because I thought of it as the most beautiful lens Leitz ever made. The #176 for the M3 was not very good, too much flare and not all that sharp. The #206 with the golden coatings was very good. Ended up selling them over time because I bought the AA Summilux and had a v4 Summicron in chrome and they were an ideal combination. Well… sold those (money) and got the lens I have now, a v2 #222 with a black painted chrome focus lock, learned my lesson and this lens is very good so I’ll be keeping it till the end. There is a lot of speculation on glass types used in the different versions. I guess collectors and users want to feel with the v1 they have something optically unique in their hands, and the change in glass to the v2 has taken on an almost mythical story. There is no hard evidence from Leitz on this from my research. The original v1 did use ‘special’ high quality glass, but not anything unusual that was not available in the glass catalogue of the time (no radioactive glass for sure). And, with the v2 Leitz did say that it was an ‘improvement in performance,’ if only for the fact that lens coatings were changed. In my talks with another well known Leica user about our 35 Summilux lenses we both agreed that ‘sample variations’ is more the logical explanation. The 35 Summilux may have been the most difficult lens [normal production] for Leitz to get right from paper to finished product (the original Noctilux and AA Summilux were more so with rejected lens not up to standards). Tolerances were very difficult to realize at this time to a finished product. I’ve experienced this myself with an early 1970s government/university research project and choosing better optical quality lenses from a production run at the Leitz factory, all lenses in a production run are not the same. With this in mind my friend sent his v2 35 Summilux to Leitz Midland and they adjusted/collimated it. He said it came back a ‘different lens’ and well corrected optically. My v2 #222 was also sent to a well known Leitz factory trained repair person and he adjusted/collimated it. It was a very good example as it was, but I’m very happy with it’s recent CLA and using with confidence. To sum it up; I’m sure over the long 35 Summilux production history there must have been glass types changes if just because those older glass type did become limited or not available, much like the new ‘steel rim’ has newer glass types for sure. But, when those changes came about (after the #216?) - unless someone wants sacrifice a v1 and v2 lens for glass analysis - or some Leitz records come to light, it will be speculation. As I’ve mentioned, my #176 was more of the not very good ‘a dog’ of a lens, but the #206 was very good, and would have used the same v1 glass. More than a few I’ve heard about 1970s v2 example users had optical expectations not met. Tolerances in production would be an explanation for this. I can’t compare now my #216 to the #222, but I can say they are similar in optical performance, and my first early 1970s lens I started all this with was good enough (and equal to the the v2 Summicron I was comparing it with) that I used it for around 15 years. Sample Variations in production just seemed to be the logical explanation for why some of these v1 and v2 lenses perform so differently. The fast and wide 35 Summilux will always be my Standard Lens. I love what it does with character and sharpness. I call it my ‘ART lens,’ and many years ago I may have started something with saying it is ‘two lenses in one.’ Thanks again for the continued review of this unique and enjoyable lens.

[@PatrickColpron]

Thank you, greatly appreciated, yes there are more repetition than I wanted, it is a little on purpose to cut the video into shorts and a lot due to bad planning when filming it. There are definitely differences in the lens manufacturing batches, in over time even in the same batch there are sample variations due to the way the lenses age and it might even be due to the way they were manufactured in those days. There are variation in the glass and lens coating used. The 216 Golden coating is definitely sharper and has better color rendition and contrast, mostly due to the lens coating. The 35mm lens Summilux is my preferred focal length, it is incredibly versatile and I love the size and ergonomics of the Steel Rim, plus I can use a lens filter on it without requiring a lens hood, I really don't like lens hoods. They just get in the way and make lenses appear bigger than they are. Those Summilux 35, V1 and V2 are, as you say, two lenses in one, I seldom use it at f/1.4, mainly f/4 to f/5.6 on digital cameras and f/8 to f/11 on my analog cameras. It is a do it all lens. This said I am starting to use the 50/1.2 Noctilux reissue a lot these days and absolutely love it as a complement to the Steel Rim. I am still looking for an original Steel Rim, it is just so perfect in hands, much better than the re-issue.

[@Hektormydog]

Like you, I mostly used my Summilux at f4-f8 (and the lens focus scale) for image quality, and quickness. The f1.4-f2.8 was reserved when I needed the speed. That was in the days before the bokeh concept. Things change, and now I appreciate what the lens offers over the whole frame and not just with the main subject and limited depth of field focus, and hay, why have a fast lens (and its extra expense) if you are are not ‘fulling’ using it? With that in mind, and maybe appreciating what this lens can do that is special and unique, I’ve started a project to use it at f1.4 for everything, closer subjects and even landscapes! and just let the limited out of focus areas with other lens character take their place in the picture. The Summilux image character is not for everyone, and it can flare unpredictably (not seen at exposure with the view on a film camera), add in the age and problems with ‘sample variations,’ and the high used cost (you may be the only photographer that will actually use a v1 when you get it!), I can say a v1/v2 is a lens hard to recommend. But, the new ‘steel rim’ could be a nice lens for someone wanting to try something different. You seem to be enjoying your’s and it is a good fit for the type of photography you are making. Use your’s in good health!

[@Hektormydog]

Oh, and please do a review of the reissued Nocliux, and hopefully you can barrow an original to compare it with ;-) I had an original for a time back-in-the-day and loved it. Only 1/2 stop faster than the Summilux, but there was something special about how it did color photography and the over-all image quality.

[@PatrickColpron]

@@Hektormydog I use it at f/1.4 and f/1.7 for speed, for street I mostly shoot during daytime at iso 400 and 1/3000s, at f/4 and f/5.6 it's perfect at this speed and when I transition into the shade, I just open it up to f/1.7 at times f/1.4 and keep a perfect exposure. I save f/5.6 for when I shoot with the light, the sun, at my back and f/4 for when I am against the light, shooting into the sun. These settings are great with a digital M. For analog photos, I am limited to 1/1000s, my lens is usually at f/8 to f/11 with Portra 400 and Tri-X, f/1.4 and f/1.7 come in handy indoors for family candid portraits with a much lower shutter speed. I love it's out of focus rendering in the background wide open for close up portraits where the principal subject is sharp enough pass 2 meters that's when it can get soft(er) The V1 depending on the batch can be a great lens to own, it is much better than the new Re-issue, V2 can be great too again depending on the batch and one's expectations in terms of rendition and sharpness. I just love the form factor, ergonomic and rendering of these lenses. And unlike modern mirrorless lenses, they a tiny, a pleasure to use even with their imperfections.

[@PatrickColpron]

@@Hektormydog I might just do that, I can compare it to the other 50's I have and try to find an original to borrow for a few days. It is by far my favourite modern(ish) 50 lens plus contrary to what everyone seems to claim, it can actually be sharp in the centre at minimum focusing distance when used wide open. The main issue with soft focus at f/1.2 is that people use either Live View or the Visoflex to focus, and that's far from accurate when compared to focusing with the range finder itself. People would probably have an easier time close focusing with the Noctilux reissue at f/1.2, and get sharper results if they would turn off the focus peaking highlight when using Live View or their Visoflex. With focus peaking on, whatever the color they choose, the focus is usually slightly off because when you think you are in focus - according to the focus peaking, you're not - you are either slightly back or forward focusing. The problem is at 1m away one eye can be in sharp focus and the other will be slightly out of focus when a person is facing you straight, the depth of field is that shallow at f/1.2, so if you are slightly off, both eyes end up slightly out of focus. I didn't really want to do lens reviews but writing this, I think it is needed, not so much for the lens performance but how to properly use such a lens and M digital cameras in combinations with these lenses to coax the best possible results for one's images. Thank you!

[@forgottenamericana]

Great analysis. I see the differences you talk about but I feel they are subtle. Another alternative is the Summilux V2 pre asph. I have that lens too and actually like the warmth better on that one. Keep up the great no BS straight up videos. Subscribed.

[@PatrickColpron]

Thank you, greatly appreciated. Older lenses were definitely made right.

[@MarcS4R]

great video, i briefly thought about getting one but passed. I found a cheap v3 35 cron that I had CLAd and i am using for film with my MP , love the rendering.

[@PatrickColpron]

Thank you greatly appreciated, I love the Steel Rim yet the Summicron 35 V4 IU have is often on one of my camera because I really love its rendering and ergonomics. The V3 6 elements is astounding for black and white photography. I should really find one for myself as it is a little lighter than a V4 and better built and I'd probably even forget I have it on my camera. And it flares beautifully on color when shooting against the light.

[@rumblestar5771]

Really nice presentation! I recently sold a minty 216* v2 Brass Infinity transition and after watching your video I’m almost regretting it now 😊 As much as I enjoyed the unique rendering of the 216* it provided too much of a statement and I’ve since moved to a 35 APO Summicron which I consider perfectly neutral, well behaved and maybe kinda boring 😮, but it works for the type of photographs that I make. Thanks again for the video.

[@PatrickColpron]

Thank you means a lot. The 216 Transition batch is quite something, but only one 35, I'd go for an APO 35 myself too. Simply because I prefer using lenses without any lens hood.You can't really do that with a Version II 216 because what makes the lens is the coating and it's a "fragile" coating, and I mean it can be easily damaged, as much as I also prefer shooting without a lens filter - I recently started using lens filters on my Leica lenses after noticing marks on one of my 35 (The FLE version one) and now I try to always shoot with a filter. The 35 APO is my desert Island lens. I may be neutral but the rendering is great on both digital and film. I just prefer the out of focus rendering of the Steel Rim and also how it flares at f/4 and f/5.6 when shooting against the light.

[@bo_norris]

Did you sell your lens to a guy named Austin? My friend just bought a black paint 216 with infinity lock.

[@rumblestar5771]

@@bo_norris no, this 216* went to a someone else.

[@bo_norris]

@@rumblestar5771 ahh, I see. Just curious. Wild timing on a 216. What a coincidence!

[@djharmonix]

@@bo_norris haha small world! Austin has been telling me about his new lens after i « bragged » about my steel rim! Hahaha he definitely found a nice copy!

[@TucsonAnalogWorkshop]

I doubt if I'll ever afford a Leica 35 lens with a 1.4 aperture; and it's a matter of priorities--I am 50mm lover (an M3 and Dual range/Rigid is the only kit I ever needed, after many attempts with others). But what you say is spot on. I love your rapid-fire monologue; it approximates the stream of consciousness and internal debates we photographers so often engage in. Never having used an original steel rim, my first thought was: how cynical on Leica's part to produce something that is deliberately crippled by 1m close focus (and a piss poor hood) at those prices. They're giving the middle finger to their customers. BTW your street photos are excellent, you are the first youtuber doing street photography that doesn't make me cringe at our modern visual landscape.

[@PatrickColpron]

Thank you, means a lot. I tried to keep it interesting and I didn't want slide show with "musac" over my photos, they are not that special and I am with you, I am left unimpressed by KZbin streetphotos on review videos but I have a huge advantage, in Paris it seems easier to make a good photo. Leica 35 Summilux lenses are expensive, yet you have a dream combo, I always regretted selling my M3 which was my first M, and the 50 dual range rigid is an astounding lens. This year I have to get accustomed or reacquainted with the 50 all over again. I used a 50 only for over 15 years when I started photography and never very much once I moved on to digital. This said I love wider angles for a few reasons, more of the background included, providing context and they are also easier to focus accurately when shooting from the hip with their wider depth of field.

[@zenden6564]

​@@PatrickColpron- I was going to write a reply similarly about your unique stream of consciousness delivery, which really fits the tempo and vibe of the metropolitan flâneur 😊. It was almost a lover's lament, the daughter not as beautiful as the mother! A really beautiful homage critique to all its pretensions, but she is great against the light if you don't get too close! In fact, with unleashing some more your natural bite, the true Gonzo Flâneur has arrived on YT. Our man in Paris ❤. And your review of the lens was Proustian in considering all its relatives too. A Madeleine cake with that coffee would have nailed it for me 👌 ❤.

[@PatrickColpron]

@@zenden6564 thank you, means a lot and will definitely have a coffee and a madeleine in my next video for you

[@hkraytai]

Unlike other Leica content KZbinrs you actually post excellent photography. Didn’t know I would miss Paris.

[@PatrickColpron]

Thank you, means a lot. It is one of the reasons I started this channel a few years back. I wanted to be inspired by good photography not how sharp a lens is or how it renders sun stars. I decided to be the change I wanted to see in the world as opposed to just complain about it. And also I am not a camera gear reviewers, I am not selling the lenses or cameras I talk about.

[@thilipdhev]

Amazing. Amazing. Amazing review and comparison of all the summilux. Wow. Thank u so much. Pls one request kindly use a noise cancellation microphone.

[@PatrickColpron]

Thank you means a lot, greatly appreciated. Th microphone situation I am trying to find a solution for but unfortunately fillmimng in the city with lab mics for now is rather hard on the sound situation, will work on it in this fall but my next video is using the same microphone set up.

[@thilipdhev]

@@PatrickColpron again have to say. Such a lovely and detailed opinions which will suit and accomodate anybodys taste. You did not leave any point. And I liked it when u said u won't recommend to anyone. I really do. But ur information is so clear that I choose to buy the reissue version for my taste for the characteristics you mentioned. About the microphone background noise, u can remove the noise in post process very easily. Just try to search some videos for the editing software you use. Hope to see more videos. Keep posting 😊

[@PatrickColpron]

@@thilipdhev Good choice, it remains my favorite "modernish" Leica M lens, for its small size and how it handles shooting into the light. Will look for a software to reduce ambiant noise.

[@rexgigout1472]

Excellent presentation! So much more an a “review.” Well-done! I did buy a Re-Edition Steel Rim Classic Summilux 35, with its flaws, with no regrets, for a reason you suggested, a “character” lens to complement a technically better, more-modern-designed 35mm lens. (Zeiss Distagon 35mm f/1,4 ZM.) Having complementary lenses is a good thing, while I keep using my “older” M10 and M Type 246 cameras. Who needs 40MP or 60MP, anyway. There are others like them, but these are mine. 😉 Life is good.

[@PatrickColpron]

Excellent, I really love the New Steel Rim.I just wish Leica had executed its design like the 3 previous Classic reissue. Strangely enough today, is the first day where I actually put my APO 35 Summicron back on an M10, after more than a year of using almost exclusively the Steel Rim - now that this video is uploaded, time to work on the next one. I am with you, no one needs 40 or 60 megapixels. yes life is good !

[@JoyceBelfort]

Wow, that's a long video. Happy for you that you found a new passion project 👍🏻

[@PatrickColpron]

Thank you Joyce, yes it is loooong but I tried to keep it interesting. Hope to have lunch with you soon when your son gets better !

[@wrtlprmpft2]

Merci beaucoup for this superb video, Patrick. Super informative and very useful for your viewers' decision making. I am going to trade in my Q2 for an M11 plus lenses. A 35 is not a priority right now, I will start with a 28 Cron and a 50 Lux but I can see the use of the Steel Rim for street photography. On top, your images are really amazing. Very well done!

[@PatrickColpron]

Mille mercis, thank you greatly appreciated. The M11 is outstanding in the IQ department, really great image quality and excellent colour rendition, you are going to love it. The 50 Lux is an excellent lens and the 28 Summicron is a great complement to it.

[@rnningmn]

Bravo! Such a good video! Liked every bit about it.

[@PatrickColpron]

Thank you, greatly appreciated

[@Leicam10]

Good one. Keep em coming and keep them long 👍

[@PatrickColpron]

Thank you greatly appreciated ! I am working on my next video, something I scripted 2 years ago - which I am finally getting to, polishing it and will film within the next few weeks.

[@bluein2red423]

Good video, thanks. Do you shoot wide open from the hip with this lens? Many of the portraits had an unusually low perspective (which I liked). I'm impressed with the sharpness if you didn't use the viewfinder! EDIT: - never mind sorry, you covered this later in the video.

[@PatrickColpron]

Thank you greatly appreciated, I mostly shoot between f/4 to f/5.6 from the hip but some where made at f/1.4 and f/1.7 from the hip, I had a lot of practice with it and other 35mm lenses these past few years.

[@emmanueltsI5]

Great insight sharing. From your experience, between the Steel Rim and 35 Summilux pre-asph (Canada) version, would it be a similar rendering?

[@PatrickColpron]

Thank you greatly appreciated, I don't have a lot of experience with the pre-asph but if like me you mostly shoot at f/4 to f/5.6 there is not a whole lot of difference between the VII and a Steel Rim in most shooting condition. I prefer the Steel Rim because it can take a filter and I use it mostly to shoot black and white, I don't like lens hoods, and always use a yellow filter for my black and white photos. I know a few people who have a pre-asph and love it. It is a small and very capable lens.

[@emmanueltsI5]

@@PatrickColpron thanks for the feedback! It does help even if you don’t have experience with the pre-asph. Loved your long/lengthy review style. Best review I have seen so far on that lens. Keep it up 👍

[@frankphotography8470]

Very in depth, can I ask the example pictures are which a mix of lenses or just the new steel rim?

[@PatrickColpron]

Thank you, it is a mix of original Steel Rim lenses and New Steel Rim using both analog film and digital M cameras

[@emmanueltsI5]

Patrick, I am just wondering which yellow filter do you use on your S.Rim. I can see some UV chrome 46mm filters from Leica, but no yellow ones. Will it be possible to share this info for us? Many thanks!

[@PatrickColpron]

I bought 2 Leica Chrome UV filters and 2 Leica Black Chrome Yellow filters and just unscrewed the filter from inside the filter rim and swapped them. On the Leica filters you can unscrew the glass filters in them if that makes sense. The first one you do will be the most difficult but then you'll get the hang of it.

[@emmanueltsI5]

@@PatrickColpron thank you so much for the feedback and the interesting solution. Very creative 👍

[@lottic]

Fantastic insight; I was not entirely convinced on the Steel Rim Reissue. What are your thoughts on the latest 35mm (non-APO) Summicron? (i.e. ASPH V2)

[@PatrickColpron]

Thank you, I am strangely not trying to convince anyone on the Steel Rim reissue. I haven't tried the latest 35 Summicron, I had the previous version in 2009 or 2010, with the plastic lens hood. I loved it, great resolution on both film and digital M cameras, great contrast and color rendition. I prefer older Summicron 35 lenses or the 35 APO but I haven't tried the latest 35 Cron as such I can't really answer this question properly.

[@xiiiconcepts]

I value your wisdom on this subject. What Leica 35mm would pair with the legendary made in Germany 75mm summilux? I currently shoot with m11 mono and 50mm asph lux and that lens lives on that camera. I also shoot the 75mm lux on SL2s, so I’m need of a wide angle lens to pair with that. I am open to pair the 50mm with a 28mm on the monochrome? Thank you for your input and content it’s great!

[@PatrickColpron]

The best lens with the M Monochrom to me is the 35 APO, because it has great contrasts, it is really really good on the Monochrom, this said the 28 Lux is one of the better lenses in the M line up, cinematic and truly works great with film too. I'd keep my kit all at f/1.4, and get a 28 Summilux, if I was you. You will not regret it. This is where I fall between two chairs, the thing is, I have a lot of trouble myself with the 28 mil focal length. I am bringing it on vacation to give it a spin. Maybe 28 will get to stick this time - but I have doubts, because at the wide end I much prefer either a 35 mil or a 24 mil lens and, the 24 Lux is stellar, I use it way more than the 28 Lux. Food for thoughts.

[@xiiiconcepts]

@@PatrickColpron 28 lux should be no brainer for myself as I started with Leica on a Q2 for two whole years. I love shooting people over time which is why 50mm is my bread and butter. I was thinking that the 35mm summicron v.IV would be a great match for the 75mm lux as far as rendering. But I’m with you on the lux, thanks for your input!

[@josephoxandale]

Really excellent; glad I watched this.

[@PatrickColpron]

Thank you, greatly appreciated

[@bondgabebond4907]

Is this video about Leica lens or more about photography. On one hand, a good lens makes for great color and sharp images. On the other hand, the person is the one who makes the good photo. Good mix of info and thanks for pointing out the shills whose only job is to hype and sell gear. Few dwell on photography but on videography, I shoot stills. My make-up motto is: Stills are forever and videos get lost in your hard drive. Unlike most commenters here, I use my favorite camera, the Sony A7R3, a wonderful, comfortable camera with a very good sensor at a good pixel count, 42. It seems to be the sweet spot, not too many pixels that make huge files, yet more than enough to all for serious cropping with image degradation. Before this technology age, I enjoyed one of the nicest cameras of the 70s, the Pentax Spotmatic F with the m42 mount. Great lens, great imagery, lots of fun, small and memory maker. I will pit its image quality against my Nikon F2. High cost of camera doesn't make better pictures, but it sure was cheap when I was stationed in the USAF near Tokyo.

[@PatrickColpron]

Thank you, indeed this video about the lens is my excuse to talk about photography. You are absolutely right, stills are forever, videos get lost. I love the photos I see out of Sony cameras, because it is never the camer or the lens, but how one uses it. You are correct, the price of a camera or lens does not correlate in better photos. One of the best lens ever produced is an inexpensive Nikkor 28/2 AI-S, I still use it to this day.

[@Astro-zy6zl]

Excellent video and information. I have a 216 V2 transition, brass infinity. I know it sounds like hype, but there is just something special about the way this lens renders.

[@PatrickColpron]

Thank you greatly appreciated. There is definitely something special about the 216 last batch and transition batch glass and lens coating. I wish Leica would have approximated its rendering with the reissue. They sadly didn't it. I am truly surprised the 216 V@ Transition batch doesn't sell for more these days. It's no hype they have a unique rendering.

[@Astro-zy6zl]

Yes, and I'm curious as to why you are specifically after a steel rim 216 and not settling for a 216 transition. You seem to like the black lenses. Is it that you just want the steel rim version and have your heart set on one? Nothing wrong with that at all. We want what we want. On another note...a lot of the older photogs I've talked to, who used them professionally told me they had that 'dog of a lens', either the 35 steel rim or Ver2, and got rid of it long ago! My version came to me blurry, ratchety and unusable after being "cleaned and serviced" by a quite reputable tech (sorry, no names here!) I sent it off to DAG and he told me "this lens is all messed up, it has to be dismantled and collimated." It came back smooth like butter and super sharp, I was quite amazed, so sharp that I have never wanted for a 35 summicron. I'm wondering if a lot of the bad rap it has received over the years is from bad servicing?

[@PatrickColpron]

@@Astro-zy6zl short answer long, I am after a Steel Rim as opposed to a V2 transition batch because I don't like using lens hoods. The Steel Rim is threaded for a lens filter and can be used without a lens hood while protecting the fragile lens coating. I can't do that with a V2 35 Summilux.

[@kevin-parratt-artist]

The company has the resources to replicate the original version. It's an insult to us that they didn't. Worse, to give us the crap lens-hood-vs-filter issue, deserves penalties. 😖

[@PatrickColpron]

I agree that was bad design on the reissue

[@vha42]

I have the V2, since its made in germany i assume its mid-early 90s. Worked great on my M9 Monochrom, and now on my M10M, sharp enough after 2,8. I like it and it’s a keeper, and i like the hood, not so much fan of series filters thou. Interesting to hear about the different batches and versions, assume that will keep the secondhand prices as is, aka unreachable. But i have a summilux, so no complaining

[@PatrickColpron]

With a V2 no need to go for a V1 original Steel Rim unless you don't like lens hoods and shoot mostly film. I did recommend a Version II Summilux to a good friend of mine and she loves it, it is a great lens too. I really love the size of these early 35 Lux lenses

[@MoghulVeyron]

I have the MP with a 35mm Summilux FLE V1, I'm tempted to move over to the steel rim, any thoughts or advice?

[@PatrickColpron]

That's a difficult one to answer, I honestly would recommend you to stick with what you have... That FLE V1 is not slouch, I made quite a few photos over 10 0r 12 years years ago in Toronto and Paris with mine both with an M2 and M9 cameras and was totally fine with my results. I prefer the rendering of the new Steel Rim over both Version I and V2 of the FLE. But will keep the FLE I have because I still like what I get with it. Your question made me just try both lenses on my black paint MP. It comes down to if your MP is a black paint MP I much prefer the looks of the black chrome Summilux FLE 35 V1 on my black paint MP. The black chrome FLE looks better on a black paint MP than it does with the silver chrome new Steel Rim on it. That strangely plays a part in the photo making process for me, how the camera feels and looks in my hands - it shouldn't but it does. I don't use the lens hood on my FLE, if you have a silver chrome MP go for the new Steel Rim, if it is a black camera - stick with the FLE. I was never dissatisfied with the results I had with the photos I made with the FLE V1, this is why I ended up buying it twice (new) I sold my first one and repurchased one when I bought an M10, that FLE is no slouch.

[@MoghulVeyron]

Thanks for the detailed response, very helpful. I do have the black paint MP and agree the FLE looks great on there. I too have never been dissatisfied with the FLE results, more times I realise that the developers tend to over sharpen scans which can become confused with the sharpness of lens but overall it performs great throughout all apertures. The only thing pulling me to the steel rim was the softer focus wide open with the glow mixed with the sharpness when stopped down. I figured it may offer more versatility, the rendering looks interesting and close to a look I like which prevents any post work. I’m going to try the lens tomorrow at the Leica store but I do think you’re right, the FLE is no slouch in any way. If you could choose one lens to keep, which 35mm would you keep?

[@PatrickColpron]

@@MoghulVeyron Only one lens to keep, that's an even more difficult question to answer. Short answer the New Steel Rim. Long answer, because at this point, having gone back to using 3 other different 35 lenses in the past week and a half. It would be the New Steel Rim between the four 35 lenses I own. But if I had a only one black camera, I'd keep the APO 35 because it is great against the light but then again... I really love the out of focus area of the Steel Rim much better than the 35 APO, the 35 APO has onion ring in the blob of light in the bokeh which is not pleasant at all in terms of rendering, so my final answer would be the new Steel Rim, it has a much better rendering of all the four 35 mil lenses I have.

[@MoghulVeyron]

For this reason I might make the jump to Steel Rim, even though it’ll give the MP a silver nose. I think optically the FLE is incredible, cannot be faulted, but in the end, like film makers using different glass, we’re after a result not the best optically calibrated lens, although they do have their purpose. I would like to keep both but I prefer to limit my gear to keep myself focused, although I think i’ll eventually miss the FLE, your answer has helped. If i want sharpness, I’ll stop down, if I want ‘character’ i’ll shoot wide open. After all I don’t shoot film because it’s perfect.

[@genobambino]

This is really good. What’s the silver body? I recognize the black M10 but not the silver.

[@PatrickColpron]

Thank you, greatly appreciated, on the thumbnail photo they are both recent Leica MP cameras, a black paint and a chrome one and in the video it is the same silver chrome MP with a Leicavit

[@JacobChristiansen1]

I am curious why you wouldn't just use the KOB instead of this re-issue? I think you mentioned you prefer the rendering over the FLE and it has the 0.7meters that the re-issue lacks. I have both as well (and the FLE) and I constantly go back and forth between whether I should sell the re-issue or not.

[@PatrickColpron]

Against the light the KOB is terrible compared to the Steel Rim, both the reissue and original version of the lens. I do prefer the rendering of the KOB over the FLE and the APO 35 in all cases but against the light it fares terribly compared to all Steel Rim, FLE and APO 35 lenses. If I didn't shoot against the light I would only keep the KOB as my 35 of choice.

[@JacobChristiansen1]

@@PatrickColpron thanks so much. Do you know if it's "easy" to convert or degoggle a 216? I assume the resale value after degoggeling them falls quite a bit

[@PatrickColpron]

@@JacobChristiansen1 The difficult part is finding the right person to do it, yes it can and will hurt the resale value. This always depends who worked on it and how it was done. The difficult part is getting the lens adjusted once the goggles are removed for the rangefinder to work properly without the goggles. This is why finding the right person to do it is the difficult part. The lens cam is made and adjusted to work with the goggles, once removed your rename finder patch will seem to work but the focus will be off at all ranges unless it is also adjusted and this is not just a matter of grinding a part, it is a slightly more complicated process. .

[@bo_norris]

I just bought a summicron v4 made in Germany version for $1400 after taxes. Came with the front and back caps as well as the original carry case. Also got the made in Germany hood for it. For portraits this lens is KILLERRR. I didn’t care for the black and white photos I took with it. Which was kind of saddening considering I shoot mostly black and white. I just decided I’d shoot color with the v4 cron and black and white with my v2 elmarit 28. Absolutely love these two lens though for the purposes I’ll be using them. Great lens the both of them.

[@PatrickColpron]

For color portrait photos and color photos in general the cron V4 is really great, I did use it for black and white photos too never had an issue with it but, you seeded a germ of doubt in y mind this is why I took some time to reply. I wanted to try on the M10-Monochrom this morning first. Quite happy with the result, also keep in mind I always use a yellow filter for black and white photos. This may make a difference. The Elmarit 28 is a great lens, I much prefer it to the Summicron, the 28 Summicron isn't anything special in my opinion whereas both the 35 Summicron V4 and the 28 Elemarit (I have the latest ASPH version of the 28 Elmarit) are both great on digital M bodies as well as having a great rendering on film photos both with Kodak Tri-X and Portra 400. I wonder what it is you find missing in the black and white photos you made with the Cron V4?

[@bo_norris]

@@PatrickColpron it’s just a preference thing! There’s nothing wrong with the photos, they’re just not for me. I think they’re just too sharp and punchy for me? I think that’s what it is. But when you’re shooting colored portraits with it, man…. That thing shines! I could show you photos I took with it and you might like them. I just have a certain look I go for with black and white that I feel it didn’t grab that for me. Mine is an absolute mint copy so it has nothing to do with a bad lens. This is on my m2 btw so film only. On digital, I’m sure this lens is a dream! I love using it very much. Light weight and so compact you really can hardly tell it’s on the body. At least compared to my v2 elmarit, that thing is anchor in comparison. Hahah. I haven’t tried the 28 summicron so I can’t speak on that, though I’ve heard quite a few people say the same as you now. I’m on instagram bo_norris. You can see the kind of photos I take there. Also keep in mind I’ve only shot three black and white and five color rolls with it so maybe I just need to spend more time with it. Though, usually I know if I’m in love with a lens right away. Hahah. Thanks for sharing your input on the lens though btw. I’m definitely keeping this lens for portraits alone regardless.

[@PatrickColpron]

@@bo_norris It is definitely not the most contrasty for Black and White photography but I get good results with it - then again as much as I love B&W photography I am still totally bad at it. I am more of a color photo guy myself. It's a colourful world, but good native black and white has something truly special. This is why now for family events and family photos I either shoot with a Leica MP and Tri-X or a Leica M10-Monochrom. The V4 is a true pleasure for its small size and light weight.

[@guillaumevalli5031]

Weirdest Leica related video I have ever seen, but also kind of awesome.

[@PatrickColpron]

Thank you, not sure I was looking for weird but certainly went for different that's for sure

[@zenden6564]

​@@PatrickColpron- it was epic and original!

[@PatrickColpron]

@@zenden6564 Thank you greatly appreciated

[@stepitup5409]

I cant tell which lens you like the best. My mind cant keep up with your fast switching from one lens to another from one sentence to the next.

[@PatrickColpron]

It's all in the video, desert island lens is the 35 APO and the original Steel Rim is much better than the new Steel Rim. It is subtitled and you can slow down the speed on KZbin videos if that helps.

[@richardsimms251]

Great discussion.

[@PatrickColpron]

Thank you, greatly appreciated.

[@djharmonix]

I shoot landscapes wide open (or almost) all the time! It works really well with classic lenses such as the original steel rim.

[@PatrickColpron]

Hi Nicolas, I am not talking about the orientation in which the photos are made but more about fine arts photographers who sell prints and architecture photographer who do commission work. I just took a look at your Instagram, it is great to see some places I frequented as a kind when I grew up in Montreal and that you only share film photos on your Instagram.

[@djharmonix]

@@PatrickColpron as you say in the video, there are an infinite amount of ways to take pictures and achieve different looks. I shoot architecture and real estate for a living on digital all day so film is my way to escape the routine… Hence why I want to mix it up and shoot almost everything wide open, even landscapes! And no, not talking about the camera orientation. I just like to see the lenses full character on display. Thank you for visiting my page and for the good work reviewing the legendary lenses!

[@djharmonix]

I even shoot landscapes with the Noctilux .95 wide open or at 1.4-1.8 (or whatever i can do with 1/1000th shutter speed) Hahaha

[@PatrickColpron]

@@djharmonix That's a true character lens !

[@PatrickColpron]

@@djharmonix I had to look at your photos before replying, really love your film photography and it was nice seeing the Jacques-Cartier bridge again after so many years.

[@patrickhao8473]

What is your comment on the many loose aperture rings on this lens?

[@PatrickColpron]

It's in the video, nothing to lose sleep over, I am sure there has been real issues in a couple of cases but from hat I have mainly seen and experienced it is really nothing to lose sleep over, a few people even called it a wobble when there is no wobble... It is a bit loose specially compared to an original version but versus a modern 35 Summilux lens, it is only slightly looser but then again it has these big aperture tabs other Leica lenses don't have, make it easier to move and giving it a greater sense of "looseness".

[@patrickhao8473]

Thanks for the reply! This is by far the best review of any lens i’ve ever watched!❤ i have a summilux 50mm as my only lens, i plan to get a 35mm next, would you recommend getting the steel rim reissue? My main concern is lightweight and ergonomics, followed by output

[@PatrickColpron]

@@patrickhao8473 I love the smallness and light weight of the Steel Rim, truly made it a joy to use. For a 35 I would recommend either one of the 35 Lux FLE before a Steel Rim Version I or Version II of the FLE, because a Steel Rim is more of a secondary 35 as opposed to a primary 35 specially when you mostly use a 50. The FLE is a lens that will most closely match the visual signature of your 50 makes more sense to me to keep some sort of visual cohesion.

[@crispin8888]

Excellent video. 'Sloppy' is absolutely correct.

[@PatrickColpron]

Thank you, greatly appreciated.They definitely cut some corners on this lens design

[@crispin8888]

@@PatrickColpron And then call it 'like the original'. It isn't. Loose aperture rings, amongst other QC issues, are a modern Leica curse. The signed QC card does not live up to the promise.

[@PatrickColpron]

@@crispin8888 Absolutely right, at this price point I expect more for my money.

[@vinylisland6386]

The 21mm Super Angulon f.4 does a similar flare, bit like a Gaudi parabolic arch, at night.

[@PatrickColpron]

Never tried that lens but that would seem on par with older lens design

[@vinylisland6386]

@@PatrickColpron It's fab if you like soft vignetting not caused by bad hood/filter design and close focus without needing live view. 16 inches. 1'4"

[@hkraytai]

I knew someone who was a huge fan of the 21/4 and said it was flare free and the lens hood was unnecessary. He said it was a better lens compared to the SA 21/3.4. Do you agree?

[@vinylisland6386]

@@hkraytai I only had the 3.4 briefly so I was never able to compare them, but he had a great copy if it didn't flare. Mind you I live in Greece...

[@vinylisland6386]

Are the rumours true that the directors cut is even longer, the wit even sharper, than this version? ;-)

[@PatrickColpron]

Have I ever told you that you were funny, but your face does all the work! Kidding aside, too much repetition in this video, live and learn, live and learn.

[@vinylisland6386]

Love.

[@PatrickColpron]

Thank you, greatly appreciated. Hope you like the long form video with tons of photos

[@vinylisland6386]

@@PatrickColpron Especially as I am in one of the photos...

[@richarddenise3886]

And, this lecture is transcript or book worthy!!

[@PatrickColpron]

Thank you, not sure I'd want to make it a book, requires much more work and would leave me less time to make photos ;-)

[@richarddenise3886]

@@PatrickColpron I understand. Of course! :-)

[@PatrickColpron]

@@richarddenise3886 Then again who knows as I script these videos and I am currently writing my next one - everything will be already written , it will just need a good edit once a few are put together and ... who knows it could make a book. ;-)

[@richarddenise3886]

@@PatrickColpron No joke, young man, you are seriously brilliant, and I, for one appreciate your considerable knowledge, experience and effort!

[@xavierfumat7567]

who makes this car?

[@PatrickColpron]

Funny... the 2CV?

[@GillesQuennevilleGQ]

One day you gonna get old and be happy to use a Visoflex. Hope you consider this for other aging photograph.

[@PatrickColpron]

I do consider it for aging photographers but when I see a 20 or a 30 year old and even guys in their 40's using a Visoflex 100% of the time on their M10 and M11, I just know they are using the wrong camera for their photography.

[@GillesQuennevilleGQ]

@@PatrickColpron i agree with you.

[@verygoodlord]

C'est parti pour 1h42 😄

[@PatrickColpron]

Tu me diras ce que tu en pense

[@musa7606]

Both prices are absurd.

[@PatrickColpron]

Yes and no, one will last over 60 years and the other is already over 60 years old, most lenses made these days will not last more than 6 or 7 years before falling apart and then ... try getting parts for them, good luck with that. You pay more - but both these lenses will still be here long after I am gone.

[@musa7606]

@@PatrickColpron I have 60 year old Takumars and Nikkors that disagree with you. I'll take my Takumars and luxurious trip around the world over the old Leica lens :)

[@PatrickColpron]

@@musa7606 it’s not the lens it’s what you do with it. One of the best lens I have is an old Nikkor 28/2 AI-S which is so underrated one can have it for less than $400 and it’s stellar but … Leica lenses are smaller

[@johnkasianowicz6536]

⁠@@musa7606I’ve never used Pentax gear, but have had the pleasure of shooting with kit from Minolta, Nikon, Canon, Olympus, and more recently, Leica. I don’t understand your comment regarding Leica lenses. They are well designed and built, and the company clearly stands behind them. Not all camera companies service their old gear. As much as I love Nikon F film cameras and many of Nikon’s lenses, I asked them to clean and relubricate a 20-35 mm f/2.8 D AF lens (the manual focus was too stiff). I shipped it to Nikon and soon thereafter got a note saying they don’t stock spare parts for the lens. I finally found a camera repair store who kindly did the clean and lubricate service for me, and the lens is back in business. I should add that the Nikon lens in question wasn’t cheap (I think it was designed for photojournalists).

[@arrangearrange]

Terrible lens sorry

[@PatrickColpron]

It is not a terrible lens, it is just not as good as it could have been. Leica completely missed the mark on this one compared to the 3 previous classic M lens reissue.