0.95 X 2

[Ermelindo Klatt]

Thefirst step to converting 0.95 to a fraction is to re-write 0.95 in the form p/q where p and q are both positive integers. To start with, 0.95 can be written as simply 0.95/1 to technically be written as a fraction.

Next, we will count the number of fractional digits after the decimal point in 0.95, which in this case is 2. For however many digits after the decimal point there are, we will multiply the numerator and denominator of 0.95/1 each by 10 to the power of that many digits. For instance, for 0.45, there are 2 fractional digits so we would multiply by 100; or for 0.324, since there are 3 fractional digits, we would multiply by 1000. So, in this case, we will multiply the numerator and denominator of 0.95/1 each by 100:

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Uniting the senses of sight and sound: 0.95 is an homage to the Leica Noctilux - M 50 mm f/0.95 ASPH. lens which reveals details that are hidden to the human eye. Fueled by the human desire to explore new worlds of creativity, the Master & Dynamic collection merges the fine art of precision engineering with valuable materials, sophisticated design and detailed sound, to accompany you on your journey through life, whether you are traveling the globe or savoring the moments of everyday life.

4 months ago, I've sold my noctilux f1 ... and now, I miss him... I liked the size with my SL, the bokeh rendering, and his signature. But I've sold it because sharpness wasn't very good (mostly in the corner).

I love the 0.95 though and find it more useful for what I do, it's a very good compromise I think. It's not just the extra sharpness, it's the colour and tonality too. Stopped down it's a monster in terms of sharpness and it's very flexible versatile lens.

My solution was to buy an f2 Summitar 50mm. It's not the same as the f1 Noctilux obviously BUT it does have a lovely out of focus rendering that reminds me of the f1. It was also a fraction of the cost of the f1 Noctilux and also a tiny lens!

If your finances will permit you to own both, why not get another copy of the f/1 Noctilux to go with your 0.95? Keep both a year and see which one you use the most, then sell off the other (or just keep it).

I've had the f/1.0 v4 for quite a few years and had the opportunity to pick up the f/0.95 at a very reasonable price (through the forum's buy and sell page actually). I used both side by side and kept the f/0.95 for 6 months but released it back into wild because, although it is is a superb and sharp lens, it lacks the character of my f/1.0. The f/0.95's rendering is very similar to my 50/1.4 Summilux asph's rendering so I don't miss the f/0.95.

The f1 is special. If you own another 50 like the lux or Apo, then get the f1. If you plan on only one 50, get the .95. It is a good all in one (so is the 50 lux aspherical though). Also note that it is noticeably heavier than the f1.

I have the f1 E58. The size of the E58 Noctilux feels much smaller in my hands than the 0.95 (that I tried occasionally few times). Of course the signature of the f1 is extremely unique (which is the other reason of owing it).

I own the f/1 (v4) and went that direction based on various reviews and visual examples that more or less state what Pete has said. The f/1 is an extremely creative len...for me. If I want sharp, it certainly delivers all I need to see. The creative landscape is limitless given the unique signature that it carries. I shoot it on my SL and love the renderings I achieve with my M6 and a roll of Portra 400. If you keep an eye on the B&H used market, you can probably get an f/1 and 50lux in grade 9 condition for the price of a new 0.95 Grade 9 at BH is more or less like new.

Laowa Argus 33mm f/0.95 CF APO is a magnificent f/0.95 Standard lens for the Cropped Frame(APS-C) camera. Achieving the APO design, enjoy the clear images with well controlled chromatic aberration. The ultra-fast aperture lens with APO is perfect for low light photography, shallow depth of field portrait and narrative videography. It is blessed with crystal clear details, extraordinary sharpness and exquisite bokeh.

35cm closest focusing distance allows photographers to capture different perspectives with details of the object. With the maximum aperture of f/0.95, a breathtaking close up shot with shallow depth of field can be easily captured.

Laowa Argus 33mm f/0.95 CF APO with Internal focus helps the photographer with stability, preventing the dust or ashes falling into the lens. Also, it is able to use the accessories designed to be set to a specific position like polarizers, petal-shaped lens hoods.

The Laowa 35mm f/0.95 has an exceptional sharpness even when wide open. The lens renders a sharp and detail-rich image at portrait distance. It easily creates eye-capturing shots with the f/0.95 ultra-wide aperture.

At the same distance, a 35mm lens capturing more details when it is compared to a more tight 50mm framing. It gives a good sense of dimension from the background and is able to show what kind of area does the subject is in.

The lens also gives photographers more flexibility in framing. You can have the subject about the same size as 50mm by moving closer to the subject. Also, it would still offer more background details when keeping the subject about the same size in the frame.

Excellent performance when you get limited time at dark sites or wants the insane speed to get trail-free stars. Or you can do novel things like shooting live video at 24 frames a second of the milky way.

Offering a natural 50mm perspective along with an ultra-fast f/0.95 maximum aperture, the Mitakon 50mm f/0.95 is a compact prime characterized by its bright f/0.95 aperture to suit working in low-light conditions. It also affords a great degree of control over depth-of-field for isolating subjects from the background and producing selective focus effects.

The new version III features a new optics design which offers a slightly more compact size and a better flare resistance. A carefully-designed 10 elements in 7 groups optics system with 1pc of HRI (High Refractive Index) & 5pcs of UD (Ultra-low dispersion) elements successfully minimizes the chromatic aberrations and delivers exceptional image quality.

I am a big fan of the Zhong Yi Mitakon 50mm 0.95 II, but there was definitely room for improvement in some areas, so I was curious to find out if those have been addressed in this redesign. Luckily I got the chance to review one of the early production models, so let us find out if this is a worthy update!

The Zhong Yi Mitakon 50mm 0.95 III was kindly provided free of charge by the manufacturer for reviewing purpose. Unfortunately the first sample showed some onion ring structures in out of focus light sources which the manufacturer told me was only due to a faulty mold of the aspherical element. So I got a second review sample. For most parts of this review the first sample had been used.

The older version I am using in the comparisons I bought myself from the German retailer in 2015 and have been using it since.

The lens is full of glass and the outer barrel is an all metal construction, therefore the lens feels very solid but also has quite some heft to it. The focus ring has a nice resistance and it takes about 300 from Infinity to 0.5 m. The focus throw is 120 from 0.5 to 0.7 m and 180 from 0.7 m to infinity.

The aperture ring is quite narrow and is clickless. I managed a few times to accidentally change the aperture because of that. It also is slightly wobbly and makes a scratchy noise.

There is also a very plasticky cheap hood included, which is slightly petal shaped and has felt on the inside. It sits a bit loose, as was already the case with the MK II version of this lens.

Wide open there is light falloff of roughly 2.1 EV, stopped down to f/1.4 this improves to 1.5 EV, stopped down to f/2.0 it is 1.0 EV and further improves to 0.6 EV at f/8.0. These values are slightly lower (better) compared to the competition in this class. You can correct this in Lightroom, but there is no profile yet.

Very fast lenses usually show a significant amount of optical vignetting. Without going too much into technical details optical vignetting leads to the truncation of light circles towards the borders of the frame.

In the center of the frame almost every lens will render a perfect circle, but only lenses with very low optical vignetting will keep this shape in the corners.

So in the following comparison we move from the center (left) to the extreme corner (right) and see how the shape of the light circle changes.

Neither infinity nor the minimum focus distance is where most will be using this lens, so I will talk about my experiences with this lens on a 42mp sensor in the field a bit. At head and shoulder portrait distance this lens seems to perform best wide open. If you go closer (head shot distance) the lens is noticeably softer wide open and I found it to look much nicer between f/1.4 and f/2.0.

If you go a bit further away (full body or environmental portrait) I found that a bit of facial detail gets lost when looking at the 42mp files at 100% magnification. So one should really consider the designated output size when using this lens wide open for these applications.

The old MK II lens shows a similar behaviour.

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