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The Voigtländer 35mm f/1.2 ASPH II: The F/1.2 Sweet Spot & Other Heresies

1. Introduction: When “Too Sharp” Is a Real Problem

Let’s get real: most lenses are like overachieving students—they try too hard to be perfect. The Voigtländer 35mm f/1.2 ASPH II? It’s the cool art teacher of the lens world. It doesn’t care about your pixel-peeping obsessions. It just wants to make beautiful images and maybe smoke a cigarette behind the gym.

I bought this lens for pocket change (well, $350-ish) after it plummeted from its $1099 throne. Why? Because I’m a bargain hunter with a taste for forbidden optical fruit.

sony a7s + *Voigtländer* vm 35mm 1.2 asph ii

2. The F/1.2 Revelation: “Sharpness Is a Social Construct”

Here’s the scandal: This lens is too sharp at f/2. I mean, Nikon-level sharp. The kind of sharp that makes your pores look like craters on the moon. So what did I do? I opened it up to f/1.2 like a rebel without a cause.

The magic happens at f/1.2:

Sharpness: Not “cutting”—more like “gentle caress.”
Bokeh: Creamier than a latte in a Parisian café.
Vibes: Chef’s kiss.

Fun Fact: The designer probably high-fived a ghost when I wrote this.

3. Why F/1.2 on 35mm Is Bonkers (In a Good Way)

35mm lenses aren’t supposed to be this fast. It’s like putting a jet engine on a bicycle—thrilling, slightly unnecessary, but oh-so-fun.

Historical Context: Leica took decades to get to f/1.4. Voigtländer said, “Hold my beer” and dropped the world’s first 35mm f/1.2 in 2003.
Practicality: At f/1.2, you can shoot in a cave with a flickering candle and still get usable shots.

4. The “ASPHerical” Truth

Leica’s ASPH lenses are like Swiss watches—precise, consistent, boring. Voigtländer’s ASPH? It’s a punk rock Swiss watch.

Consistency: Same character at every aperture. No surprise personality disorders.
Modernity: Sharp where it counts, smooth where it matters.

5. The Price Plunge: A Tragedy in Three Acts

Thank you, impatient photographers. Your loss is my gain.

Information	1st Generation	2nd Generation	3rd Generation
Release Year	2003	2011	2020
Initial Release Price	Approximately $899 – $999	Approximately $999 – $1,099	Approximately $1,250
Current Price (2025)	Used: $400 – $600	Used: $400 – $600	Used: $600 – $800

6. Leica Comparison: The Elephant in the Room

Strengths:
- 90% of the Leica Summilux vibe for 20% of the price.
- Focus throw smoother than a jazz solo.
Weaknesses:
- Low-light shadow details? Leica still wins.
- Bragging rights? Sorry, it’s not red-dot certified.

Verdict: If Leica is a tailored suit, Voigtländer is a perfectly broken-in leather jacket.

7. The “Sony A7s” Love Affair

This lens was made for Sony mirrorless. It’s chunky on a Leica but feels right at home on an A7s.

No vignetting: Unlike some drama queen lenses.
Colors: Cold, clinical, and utterly gorgeous.
1200MP Resolution: More than enough for anyone not printing billboards.

8. Voigtländer’s Identity Crisis (It’s a Good Thing)

Voigtländer isn’t trying to be Leica. It’s trying to be Voigtländer—the brand that gave us:

The first roll-film camera (1840).
The first f/3.6 lens (1866).
The first 35mm f/1.2 (2003).

Lesson: Innovation > imitation.

9. Final Verdict: The People’s Champion

The Voigtländer 35mm f/1.2 ASPH II is for:

Street photographers who value character over clinical perfection.
Bargain hunters who love underdogs.
Artists who think f/1.2 is a mood, not just an aperture.

Rating: 5/5 stars (minus 0 for anything, because it’s perfect).

Now go shoot wide open. Your pixels will thank you. 📸✨

The Voigtländer VM 35mm f/1.2 ASPH II Has Arrived

Back in 2011, a used Leica Summicron 50mm f/2 Rigid in decent condition went for around $770, while the newly released Voigtländer VM 35mm f/1.4 II was priced over $1,300.

I’ve been keeping a sneaky eye on its price over the years—watched it dip to the $900 range, then $600, and now it’s finally down to about $350. The time had come. Big thanks to the friend who held onto it for me all these years… 😁

The Voigtländer has arrived.

When it comes to adapting manual lenses, the Sony A7S is noticeably more friendly than the original A7. Vignetting is hardly noticeable, the color rendering feels more “serious” compared to the classic VM lenses, and sharpness is absolutely perfect wide open on a 12MP sensor—in fact, this lens was practically designed for Sony cameras back in the day. Its size isn’t exactly compact on a Leica M body, but it balances beautifully on a Sony A7.

This isn’t just a lens for fondling—it’s a lens for making images.

When Nikon D200 Meets Leica R28mm f/2.8: A CCD Love Story

As housing prices dip, so do DSLR values – and I say that’s a beautiful thing. True photographers never abandon gear just because it’s affordable. Like beer: you don’t dismiss a great lager simply because it’s reasonably priced.

To me, CCD sensors are that frosty-cold craft beer on tap, and street photography? That’s pure jazz.

So when I stumbled upon these streetball players lighting up a neighborhood court, I knew what to do: my Nikon D200 (CCD glory) paired with a manual-focus Leica Elmarit-R 28mm f/2.8 (≈42mm equiv.).

Shot on Standard JPEG straight out of camera.

The results?
Crisp. Gritty. Soulful.
Like that first sip of a perfectly poured German pilsner.

**When Nikon D200 Meets Leica R28mm f/2.8: A CCD Love Story**

The “Nifty Fifty” Lives Up to Its Name: Nikon AF 50mm f/1.8D (aka the “Human Optical Essence”)

In the world of 35mm photography, I’ve searched high and low for lenses that might replace Leica glass. The truth is, nothing truly does. Leica’s control over highlights and its unique way of rendering backgrounds are irreplaceable. Zeiss can’t do it. Nothing else can.

Secondly, the Nikon AF 50mm f/1.8 (non-D version, made in Japan) is the cream of the crop within the Nifty Fifty lineup.

However, I’ve also realized something else: often, any lens can replace Leica. Because photography isn’t just about a lens’s “character,” nor is it solely about scrutinizing highlights and bokeh. Ultimately, it comes down to content and presentation. This hit me after comparing the Leica Summicron 50mm f/2 and the Nikon 50mm f/1.8 (Japan, non-D). The D version is reportedly good too, but there are whispers that the non-D is better due to slight differences in the glass formulation. I snagged an almost mint, boxed non-D version for about 500 RMB years ago and barely used it. Hearing about its reputation recently is what prompted me to pit it against the Leica.

Sometimes, It’s Even More Pleasing Than Leica

At the same f/2 aperture, and sometimes even without zooming in to 100%, the Nikon gives me an impression of being sharper and cleaner than the Leica. It’s crisp, even wide open at f/1.8 (within 5 meters). But if you keep pixel-peeping, you see the Leica still resolves more fine detail. So, if you’re not scrutinizing huge prints, this 500 RMB Nikon lens can actually look more pleasingly sharp than the Leica.

A weakness of older Leica lenses is that they can get soft when shooting distant subjects wide open, and strong highlights can produce a “glowing halo” effect (“圣光” sheng guang). Even the highly-regarded Summicron isn’t the best choice for distant landscapes wide open. The Nikon Nifty Fifty? Well… it actually holds up better than the Leica at distance…

When Are They Most Similar?

I find that in simple, even lighting – flat, uncomplicated light without high contrast – it’s incredibly hard to tell them apart, both in focus and out of focus. They look like dead ringers. Only in subtle color tonality might seasoned veterans spot the Leica’s characteristically stable and nuanced rendering.

Sometimes the Nikon “Blows It”

Yep, sometimes, for no apparent reason (not metering error), it just blows highlights terribly. This happens roughly once every 300 shots or so – not super frequent. If you’re not comparing directly to Leica, you might just trash that shot and move on. But in a direct comparison, the Leica’s consistency shines through.

Low Light Shows the Real Difference

The legend about Leica excelling in low light? It’s absolutely true. Frankly, many people avoid shooting in dim light because the results are often muddy, dark, and unpleasant. But Leica pulls out distinct layers from the shadows. The transitions between highlights and deep shadows are smoother, richer. Photos taken in these conditions aren’t just viewable; they can be captivating.

It’s Not About the Camera Body

Sure, camera bodies make some difference, but in the digital age, the lens’s impact is far greater. The difference between CCD and CMOS sensors is nothing compared to swapping lenses. While the Nikon Nifty Fifty can sometimes stand in for Leica, it can never fully replace it.

Think of it like the NBA during Yao Ming’s era: If the Leica Summicron 50 was Tracy McGrady, then the Nikon Nifty Fifty would be Bonzi Wells – the super-sub off the bench who could light it up.

Can you guess which lens took the left and right shots?

Is My Nikon 105mm f/2.5 AI-Modified Lens the Legendary “Afghan Girl” Lens?

Let’s settle this debate once and for all—with a mix of history, optics, and a dash of vintage obsession.

The “Afghan Girl” Lens: Myth vs. Reality

The iconic 1984 photograph by Steve McCurry was shot with a Nikon FM2, Nikkor 105mm f/2.5 AI-S lens, and Kodachrome 64 film. This specific AI-S version (released in 1977) features a 5-element/4-group Xenotar-type design, optimized for sharpness, color fidelity, and improved close-range performance with Nikon’s multicoating technology.

But here’s the twist:
My beloved Auto-era 105mm f/2.5 (officially AI-converted by Nikon) is not the “Afghan Girl” lens—yet I love it even more.

Why the Auto-to-AI Conversion Matters

In Nikon’s golden era (when Leica was their main rival), Auto lenses were built like tank engines: all-metal construction, buttery focus rings, and optical formulas designed for black-and-white film. However, they lacked compatibility with later Nikon SLRs due to missing aperture indexing (AI).

Nikon’s official AI conversion service (now rare) transformed these classics into hybrid gems:

Mechanical upgrades: Added AI coupling for accurate metering on modern film/digital bodies (like my D700/D800).
Cost efficiency: Back in the day, converted AI lenses cost barely $20–30 more than unmodified Auto versions.
Pure nostalgia: That factory-modified serial number feels like a seal from the Nikon gods.

Auto vs. AI-S: A Tale of Two 105mm Lenses

Let’s break down why my “non-Afghan Girl” Auto-converted lens steals my heart:

1. Optical Soul

Auto (Pre-AI, Sonnar design):
- 5 elements/3 groups (1959–1971).
- Single-coated for softer contrast—perfect for rendering creamy bokeh with a painterly glow.
- Lower sharpness at close distances but delivers a “vintage haze” that digital lenses can’t replicate.
AI-S (Xenotar design):
- 5 elements/4 groups (post-1977).
- Multicoated for punchier colors and clinical sharpness (ideal for McCurry’s Kodachrome).
- Linear aperture control for seamless shutter-priority modes.

My take: The Auto version’s lower contrast isn’t a flaw—it’s a time machine. Portraits feel like they’re wrapped in 1960s film grain, even when shot digitally.

2. The JPEG Test (Zero Editing)

[Insert your unedited JPEG example here]

Shot wide open at f/2.5, the Auto-converted lens delivers:

Tonal subtlety: Skin tones avoid the “plastic” look of modern lenses.
Bokeh alchemy: Backgrounds melt into watercolor washes, not busy “nervous” swirls.
WB accuracy: Nikon’s vintage coatings handle mixed light like a seasoned film lab technician.

Why Bother with a “Non-Afghan” Lens?

Character over clinical perfection: Modern AI-S/Zeiss lenses are technically superior, but they lack the Auto’s imperfect charm—like preferring a vinyl record’s crackle to a sterile Spotify stream.
DIY history: Using a factory-converted AI lens feels like driving a restomod classic car—vintage soul with modern reliability.
Collector’s thrill: Finding an official Nikon AI-converted lens today is like unearthing a mint-condition first-edition book.

Final Verdict

Is my 105mm f/2.5 the “Afghan Girl” lens? No.
Is it better? For my style—yes.

While McCurry needed the AI-S’s precision for Kodachrome’s unforgiving palette, my AI-converted Auto lens gives me something no algorithm can replicate: the joy of shooting through a 60-year-old optical formula, tweaked just enough to dance with digital sensors.

The Carl Zeiss Jena 35mm f/2.4: A Vintage Lens That Thinks It’s a Swiss Army Knife (And It’s Kinda Right)

1. Introduction: When East Germany Made Magic

Let’s get real: the Carl Zeiss Jena 35mm f/2.4 is the unicorn of vintage glass. It’s a Cold War relic that somehow outshines modern lenses, a socialist-era gem that laughs at capitalist logic, and a pancake lens that’s somehow also a macro beast. Released when disco was still cool, this little DDR darling proves that East Germany did more than just build the Berlin Wall—they built a damn fine lens.

Is it perfect? No.
Is it ridiculously fun to shoot? Abso-freaking-lutely.

2. Build Quality: “Chunky Charm with a Side of Nostalgia”

Specs:

Weight: 248g (or “heavy enough to feel German, light enough to avoid chiropractor bills”).
Materials: Metal, glass, and a dash of communist stubbornness.
Aesthetic: A brushed-metal brick that whispers, “I survived the ’70s, and I’ll outlive your mirrorless camera.”

The Flektogon 35mm f/2.4 is built like a Trabant—quirky, indestructible, and weirdly lovable. The focus ring turns smoother than a Bowie vinyl, and that M42 mount? Pure retro flex.

Pro Tip: If your lens doesn’t double as a self-defense tool, you’re not holding it right.

3. Optical Performance: “The F/2.4 That Out-Bokehs F/2”

Specs:

Focal Length: 35mm (the “Goldilocks” of street photography).
Aperture: f/2.4 (because East Germany loved almost breaking rules).
Special Sauce: Magic dust stolen from a Wes Anderson film.

Bokeh Sorcery:

This lens defies physics. At f/2.4, backgrounds melt into a watercolor dreamscape that’s creamier than a Bavarian latte. It’s like Zeiss said, *“Who needs f/1.4 when you’ve got socialist engineering?”*

Fun Fact: The bokeh is so smooth, it could convince a Leica fanboy to defect.

Sharpness:

Center: Cuts through reality like a Stasi agent interrogating a capitalist spy.
Edges: Soft enough to make you question capitalism… but who looks at edges anyway?

4. The “Swiss Army Knife” Superpowers

Macro Mode: Focuses down to 0.19m—close enough to count a ladybug’s freckles.
Street Photography: 35mm lets you capture life’s chaos without getting punched.
Portraits: f/2.4 serves just enough blur to make your subject pop like a strudel at a bake-off.

Pro Tip: Use it for everything. Literally. Flowers, faces, UFO sightings—this lens doesn’t care.

5. Color Science: “The Rainbow Factory Called Dresden”

Straight-out-of-camera JPEGs: Cold-war cool with a dash of Ostalgie (that’s “East German nostalgia” for you capitalists).
RAW Flexibility: Desaturate it, and it morphs into a moody poet. Crank the vibrancy, and it’s a disco ball.
Golden Hour Glory: Turns sunlight into liquid amber.

Warning: Shooting with this lens may cause sudden urges to wear Adidas tracksuits and hum 99 Luftballons.

6. Quirks & Quibbles: “Love Letters from 1975”

Pros:

Versatility: Does macro, street, and portraits like a caffeinated octopus.
Character: Delivers that “I shot this on expired film” vibe without the expired film.
Price: Cheaper than a weekend in Berlin (if you avoid eBay scalpers).

Cons:

Aperture Blades: 6 straight blades make bokeh balls look like ninja stars at f/2.8. Embrace the chaos.
Flare Drama: Shoot into the sun, and you’ll get artistic ghosting. Or just call it “Soviet ambiance.”

7. The “Leica vs. Zeiss” Cold War (Spoiler: Everyone Wins)

Leica Comparison: Sharper than a Leica Summicron in the center, but with 10% of the pretentiousness.
Modern Zeiss: Less clinical, more “let’s drink schnapps and write poetry.”
Verdict: This lens is the lovechild of Leica’s soul and Zeiss’s brains—raised behind the Iron Curtain.

8. Final Verdict: “The People’s Lens”

The Carl Zeiss Jena 35mm f/2.4 isn’t a lens. It’s a time machine. It’s for photographers who crave character over perfection, who think bokeh should be felt, not measured, and who’d rather shoot than flex their gear on Instagram.

Buy it if:

You want vintage charm without the vintage price tag.
You enjoy confusing millennials with “ancient tech.”
You’ve ever wondered, “What if Wes Anderson designed a lens?”

Skip it if:

You need autofocus (or basic human patience).
Your idea of fun is pixel-peeping at 400%.

Rating: 4.7/5 stars (minus 0.3 for the ninja-star bokeh balls, because priorities).

Spec Sheet for Geeks (Because We Know You’re Reading This):

Aperture Blades: 6 straight (ninja stars included).
Close Focus: 0.19m (aka “close enough to smell the sauerkraut”).
Weight: 248g (heavier than your regrets, lighter than your DSLR).
Flare Resistance: Optional.

The Leica R 35-70mm f/3.5 E67: When German Engineering Marries Japanese Flair (And They Live Happily Ever After)

1. Introduction: The Unlikely Lovechild of Precision and Rebellion

Let’s get real: the Leica R 35-70mm f/3.5 E67 is the power couple of the lens world. It’s half German tank, half Japanese anime mech—sturdy enough to survive a nuclear winter, yet sleek enough to make your hipster friends weep into their pour-over coffee. Born from Leica’s obsession with perfection and Minolta’s “hold my sake” innovation, this zoom lens is proof that opposites attract… spectacularly.

Is it perfect? No.
Is it the most interesting lens in your bag? Abso-freaking-lutely.

2. Build Quality: “Built Like a Mercedes, Priced Like a Porsche”

Specs:

Weight: 450g (or “light enough to lift, heavy enough to bludgeon a thief”).
Materials: German metal, Japanese pragmatism, and enough heft to double as a dumbbell.
Aesthetic: A brushed-metal brick that whispers, “I’m here to work, not to accessorize.”

The E67 is built like a Bavarian bank vault—over-engineered, indestructible, and slightly intimidating. Minolta might’ve designed the optics, but Leica slapped on enough Teutonic polish to make even a Rolex feel insecure.

Pro Tip: If your lens doesn’t leave a dent in your coffee table, you’re not Leica-ing hard enough.

3. Optical Performance: “Leica’s Secret Sauce, Minolta’s Spice”

Specs:

Focal Range: 35-70mm (the “Swiss Army knife” of zooms).
Aperture: f/3.5 (or “how to flex subtlety”).
Special Sauce: Leica’s anti-chaos field (patent pending).

Color Science:

Leica’s signature “stable genius” meets Minolta’s rebellious flair. Reds don’t scream—they croon. Blues don’t glare—they serenade. Greens? Let’s just say they’ve got a PhD in chlorophyll.

Fun Fact: Shoot at golden hour, and your photos will look like they’ve been baptized in liquid amber.

Sharpness:

Center: Cuts through reality like a katana.
Edges: Soft enough to make you question your life choices… until you realize nobody cares about edges.

Bokeh:

Smoother than a jazz saxophonist’s riff. At f/3.5, backgrounds melt into a watercolor dreamscape. It’s not “creamy”—it’s butter churned by angels.

4. The “Leica Stability” Superpower

Leica’s secret weapon? Consistency. This lens laughs at harsh light, scoffs at backlighting, and side-eyes chromatic aberration like it’s a peasant.

Flare Control: Better than your therapist’s poker face.
Low Light: Shoots in the dark like a ninja with night vision goggles.
Color Stability: Your photos will age like Keanu Reeves—ageless and vaguely mystical.

Pro Tip: Pair it with a Nikon D700, and watch it transform into a nostalgia machine.

The Leica Magic Designed by Minolta

Leica Vario – Elmar – R 35 – 70mm f/3.5 E67 with Nikon D700

Some say that Minolta-designed lenses lack a bit of the Leica magic, but looking at this lens – the Leica R 35-70mm f3.5 E67 – I think it still has some Leica characteristics, especially in black and white. Both highlights and shadows retain a remarkable amount of detail and smooth transitions. It still has that Leica magic.

Let me whisper a secret to you: any standard lens beyond 50mm is a gem of a lens.

No wonder they say Nikon’s old masters excel at capturing landscapes—its scenery shots brim with an exhilarating vitality. Take Nikon’s 58mm f1.4 Auto lens, the first f1.4 large-aperture lens crafted for the formidable F-mount. Its lineage traces back to the rangefinder 50mm lenses, yet the reflex mirror of SLR cameras nudged it to 58mm. In truth, apart from a slightly narrower field of view compared to a 50mm, it transcends the standard in the ethereal realm of bokeh and that elusive, almost mystical quality. Heehee, here’s a little secret few know: when it comes to background blur, early standard lenses with focal lengths between 50mm and 65mm—think 58mm, 55mm, or 60mm—are truly exceptional. They share a deep kinship with that German flavor, steeped in a certain metaphysical allure.

Oh, and by the way, Leica’s 50mm lenses? They’re all ever so slightly larger than 50mm 😉—a subtle truth Leica kept quietly to itself back in the day.